There is the "Et je sais votre nom...Nous vivrons a Paris" scene in Act 1
of Massenet's MANON in which Manon and Des Grieux meet for the first time.
This is an utterly charming scene, and ideal for young singers both
vocally and dramatically.
There's also a love scene for Iphigenie and Achille in Gluck's IPHIGENIE
EN AULIDE (the less familiar of his two Iphigenie operas), at the end of
Act I, and an even more interesting scene for them in Act III (Scene 3).
There is the love scene in Act III Sc 2 of Charpentier's LOUISE in which
Louise and Julien sing a lot about Paris, eternal love, and kissing.
Act III Sc 2 of Donizetti's POLIUTO, in which Paolina - daughter of a
Roman governor - visits her husband, Poliuto, in prison because he is a
Christian, and convinces him that she did not - as he wrongly believes -
betray him.
In Gounod's ROMEO ET JULIETTE, Act IV Sc. 1 - the "morning after"
"Nuit d'hymenee" scene
There is also the scene in Act I of Menotti's THE SAINT OF BLEECKER STREET
in which Michele attempts to convince his sickly but mystical sister
Annina that her saintly visions are really nothing more than hallucinations.
In Bizet's CARMEN, the "Parle-moi de ma mere" scene in Act I, for Don Jose
and Micaela
In Mascagni's L'AMICO FRITZ, the "Suzel, buon di" (Cherry duet) scene
A few scenes from earlier Verdi operas may work for you as well:
Act III Sc 5 of Verdi's opera AROLDO (and its counterpart in the earlier
version of this opera, STIFFELIO) might be another option - this is the
scene in which Aroldo, who has returned from the Crusades to discover that
his wife Mina has been unfaithful to him in his absence, confronts her
with her guilt and demands a divorce.
Act I Sc 2 of Verdi's ATTILA, the confrontation between Foresto who (in
typical dense Verdi hero fashion) believes Odabella has been unfaithful,
while Odabella - who is proving her faithfulness, Judithlike, by
insinuating herself into Attila's camp (and, by implication, his bed),
only to eventually assassinate him - fiercely defends herself.
Act III Sc 3 of Verdi's I LOMBARDI ALLA PRIMA CROCIATA, in which the
Muslim Oronte - who has been reported killed - shows up costumed as a
Christian crusader to secretly meet with Giselda, the Christian prisoner
with whom he is in love; in this scene, the two confess their love for
each other.
Karen Mercedes
http://www.radix.net/~dalila/index.html
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I want to know God's thoughts...
the rest are details.
- Albert Einstein
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