"Il mio tesoro" (or "Il mio tesoro intanto") is an aria for lyric tenor voice from scene 2 in act 2 of Mozart's opera Don Giovanni . It is often performed in recitals and featured in anthologies of music for tenor. [1] In the aria, Don Ottavio, a young nobleman, urges the listener to assure his (the nobleman's) beloved fiancée, Donna Anna, that he intends to secure vengeance for her against the man who murdered her father.
Il mio tesoro intanto
andate a consolar,
E del bel ciglio il pianto
cercate di asciugar.
Ditele che i suoi torti
a vendicar io vado;
Che sol di stragi e morti
nunzio vogl'io tornar.
My treasure, meanwhile,
Go and console.
And from her beautiful eyes, the tears,
Try to wipe away.
Tell her that the wrongs against her,
I'm going to avenge,
That only of killing and death
As announcer will I return.
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The aria is set in B-flat major and in cut common time ( 
), with tempo indication of Andante grazioso. It is 101 bars long and takes about four minutes to perform. Its vocal range covers D3 to A4, while its tessitura is roughly F3 to G4. [1] For most of the piece, the violins and violas play con sordino (with mutes) for a mellow effect. In addition to the strings, the aria uses clarinets in B-flat, bassoons and B♭ alto horns.
A concert performance of "Il mio tesoro" is mentioned in the opening paragraphs of Tolstoy's novel Anna Karenina [2] Excerpts from it are sung by the protagonist's father in the 1949 black comedy film Kind Hearts and Coronets .
Così fan tutte, ossia La scuola degli amanti, K. 588, is an opera buffa in two acts by Wolfgang Amadeus Mozart. It was first performed on 26 January 1790 at the Burgtheater in Vienna, Austria. The libretto was written by Lorenzo Da Ponte who also wrote Le nozze di Figaro and Don Giovanni.
Don Giovanni is an opera in two acts with music by Wolfgang Amadeus Mozart to an Italian libretto by Lorenzo Da Ponte. Its subject is a centuries-old Spanish legend about a libertine as told by playwright Tirso de Molina in his 1630 play El burlador de Sevilla y convidado de piedra. It is a dramma giocoso blending comedy, melodrama and supernatural elements. It was premiered by the Prague Italian opera at the National Theater, now called the Estates Theatre, on 29 October 1787. Don Giovanni is regarded as one of the greatest operas of all time and has proved a fruitful subject for commentary in its own right; critic Fiona Maddocks has described it as one of Mozart's "trio of masterpieces with librettos by Da Ponte".
"Vorrei spiegarvi, oh Dio!" is a soprano aria by Wolfgang Amadeus Mozart.
Ascanio in Alba, K. 111, is a pastoral opera in two parts by Wolfgang Amadeus Mozart to an Italian libretto by Giuseppe Parini. It was commissioned by the Empress Maria Theresa for the wedding of her son, Archduke Ferdinand Karl, to Maria Beatrice d'Este on 15 October 1771.
"Dove sono" is an aria in Italian for lyric soprano from the third act of Mozart's 1786 opera Le nozze di Figaro. Countess Almaviva laments, in an initial recitative, that her husband has become a philanderer, and that she must rely on assistance from her maid to manipulate him. In the aria, she calmly remembers moments of love, and hopes, with increasing agitation, that her persistence may make him love her again. It is frequently performed in recitals and featured in anthologies of vocal music for lyric soprano.
La finta semplice, K. 51 (46a) is an opera buffa in three acts for seven voices and orchestra, composed in 1768 by then 12-year-old Wolfgang Amadeus Mozart. Young Mozart and his father Leopold were spending the year in Vienna, where Leopold was trying to establish his son as an opera composer. He was acting on a suggested request from the Emperor Joseph II that the young boy should write an opera.
Blagoj Nacoski, is a Macedonian tenor opera singer.
"Madamina, il catalogo è questo" is a bass catalogue aria from Mozart's opera Don Giovanni to an Italian libretto by Lorenzo Da Ponte, and is one of Mozart's most famous and popular arias.
Wiesław Ochman is a Polish tenor.
"Ch'io mi scordi di te? ... Non temer, amato bene", K. 505, is a concert aria by Wolfgang Amadeus Mozart for soprano, piano obbligato and orchestra, composed in December 1786 in Vienna. It is often considered to be one of his greatest compositions in this genre.
Armida is an opera in three acts by Josef Mysliveček set to a libretto by Giovanni Ambrogio Migliavacca based on an earlier libretto by Philippe Quinault. It is one of many operas set at the time of the Crusades that is based on characters and incidents from Torquato Tasso's epic poem La Gerusalemme liberata. This opera belong to the serious type in Italian language referred to as opera seria. It incorporates many elements from the operatic "reform" movement of the 1770s, including short vocal numbers and short choruses incorporated into the fabric of the drama and lavish use of accompanied recitative.
La Nitteti is an 18th-century Italian opera in 3 acts by the Czech composer Josef Mysliveček. It was composed to a libretto by the Italian poet Metastasio that was first performed in 1756, one of the newer of the Metastasian librettos in Mysliveček's day. For a performance in the 1770s, it would only be expected that a libretto of such age would be abbreviated and altered to suit contemporary operatic taste. This opera contains more substitutions of original aria texts than any other Mysliveček setting of a Metastasian libretto. The cuts and changes in the text made for the 1770 performance of Mysliveček's opera are not attributable. All of Mysliveček's operas are of the serious type in Italian language referred to as opera seria.
L'Ipermestra is an 18th-century Italian opera in 3 acts by the Czech composer Josef Mysliveček composed to the libretto Ipermestra by the Italian poet Metastasio first set by Hasse in 1744. This opera belong to the serious type in Italian language referred to as opera seria.
Antigono is an 18th-century Italian opera in 3 acts by the Czech composer Josef Mysliveček composed to a libretto by the Italian poet Metastasio first produced in 1744 with music of Johann Adolf Hasse. This opera belong to the serious type in Italian language referred to as opera seria. For a performance in the 1780s, it would only be expected that a libretto by Metastasio would be abbreviated and altered to suit contemporary operatic taste. The cuts and changes in the text made for the performance of Mysliveček's version are not attributable.
"Torna ai felici dì" is a tenor aria from act 2 of the 1884 opera, Le Villi by Giacomo Puccini. It is sung by Roberto as he mourns the loss of the days of his youth and his beloved Anna. Anna has been killed by fairies that were conjured by a witch that seduced Roberto when he was away in Mainz. However, he does not find this out until after it happens.
"Popoli di Tessaglia! – Io non chiedo, eterni Dei" (K. 316/300b) is a recitative and aria for soprano and orchestra that Wolfgang Amadeus Mozart wrote for Aloysia Weber. It is famous for including two occurrences of a G6, i.e. the G above high C, or 1568 Hz by modern concert pitch – according to the Guinness Book of Records, the highest musical note ever scored for the human voice. (However, an A6 is scored in Ignaz Umlauf's Das Irrlicht, also sung by Aloysia Weber.)
"Rivolgete a lui lo sguardo", K. 584, is a concert aria by Wolfgang Amadeus Mozart for solo bass and orchestra conceived for the role of Guglielmo the opera Così fan tutte but replaced by "Non siate ritrosi". It is considered one of the outstanding opera buffa arias for the bass voice. The text of this aria is by Lorenzo Da Ponte.
"Ah, lo previdi!” – “Ah, t’invola” – “Deh, non varcar", K. 272, is a concert aria by Wolfgang Amadeus Mozart for solo soprano and orchestra, one of Mozart's first large-scale operatic concert pieces.
"Non più. Tutto ascoltai...Non temer, amato bene", K. 490, is a concert aria by Wolfgang Amadeus Mozart for solo soprano or tenor and orchestra, composed in Vienna in 1786. The text of this aria is taken from Mozart's 1781 opera Idomeneo, by Giambattista Varesco. Originally written for the tenor voice, the aria is mostly now performed by sopranos. The aria was published by Breitkopf & Härtel in 1881.
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