How about "Fair Robin I loved" from Kirke Mechem's TARTUFFE?
Also "Be kind and courteous", Titania's aria from Britten's A MIDSUMMER NIGHT'S DREAM (highest note is the C6, I believe). Or one of Miss Wordsworth's arias in Britten's ALBERT HERRING. Or "Tarquinius does not dare...I remember when her hair fell", i.e., Bianca's aria, from Britten's THE RAPE OF LUCRETIA. I believe there's also an arioso for the Lady in Waiting in Britten's GLORIANA which would be appropriate for your voice.
Would one of Lucy's arias from Menotti's THE TELEPHONE work for you?
If the above are too common, let's consider something more obscure:
Etain's arias from Rutland Boughton's THE IMMORTAL HOUR
One of Mary's arias from Vaughan Williams' HUGH THE DROVER
"Young Svanhild sat alone and sighed ... can it be! From Niels?" - Fennimore's aria from Delius' FENNIMORE AND GERDA.
Other possibilities:
It has been a long time since I heard it, but I remember Mollicone's THE FACE ON THE BARROOM FLOOR as having both accessible music and a lyric coloratura female lead (the double role of Isabelle and Madeleine). What I don't remember is whether she had an excerptable aria.
For some really showy coloratura, you should look at the operas by Thomas Arne. ARTAXERXES is probably his best-known, and "The soldier tir'd" is the most famous soprano aria from that work, which is rich in arias for soprano, mezzo, and contralto. But there are some wonderfully dazzling coloratura arias in many of his operas - plus some that are more stately, e.g., "Rise, glory, rise" from his ROSAMOND. Also look for arias from COMUS and ALFRED.
John Frederick Lampe is another English operatic composer of the baroque who wrote some lovely arias for lyric coloratura soprano. His operas BRITANNI, PYRAMUS AND THISBE, and DIONE are a good place to start looking. Lampe's contemporary, William Boyce may also prove a good source, particularly his masque PELEUS AND THETIS.
Charles Dibdin was another early English opera composer, contemporary with Mozart. You might look at his THE BRICKDUST MAN, THE EPHESIAN MAIDEN, and THE GRENADIER.
If you want something 19th Century, "O what full delight" from Balfe's THE BOHEMIAN GIRL is a not-terribly-high coloratura dazzler.
You might also look at the arias for Belinda from Purcell's DIDO AND AENEAS (there are several of them). And don't forget Purcell's other operas, THE INDIAN QUEEN, THE FAERIE QUEEN, and KING ARTHUR - all good potential sources.
It may be possible to stretch your search to Handel's secular, English-language oratorios, ACIS AND GALATEA, HERCULES, ALEXANDER BALUS, and SEMELE - and possibly his non-Biblical sacred oratorios THEODORA and SUSANNA. In any case, all are rich with Handelian gems for coloratura soprano. ACIS is a particular favourite of mine.
Not sure if the Anne Truelove arias from Stravinsky's THE RAKE'S PROGRESS are done too much, or right for your voice, but another possibility....
Karen Mercedes http://www.radix.net/~dalila/index.html
--- Hillaire Belloc's flawed but insightful essay on Islam: http://www.ewtn.com/library/HOMELIBR/HERESY4.TXT
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