I have to counter the Mozart recommendations Karen has offered.
Dove sono, from LE NOZZE DI FIGARO (Countess - it's shorter than > "Porgi amor")
While shorter, Dove sono has it's own diffuculties, including requiring a tremendous command of legato singing in a fairly high tessitura.
> Batti, batti - or - Vedrai carino, from DON GIOVANNI (Zerlina)
fine
> E amore un ladroncello, from COSI FAN TUTTE (Dorabella)
don't know it...
> Non piu di fiori, from LA CLEMENZA DI TITO (Vitellia)
No young singer has any business going for Vitellia - in most repertoire books (see Richard Boldrey, for instance) she's listed as a dramatic mezzo soprano. The aria is REALLY long, really heavy, and really involved - slow legato mixed with coloratura passages, and requires an incredible command of the various parts of the voice. As I teacher, I would never ever assign this to an undergraduate, let alone any graduate student who I didn't feel really had a command of their instrument.
Rachel A.
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