There are two arias for Fatima in von Weber's opera OBERON, "Ariabiens
einsam kind" and "Arabien, mein Heimatland". I personally prefer the
latter. Neither is particularly dazzling vocally, but I think they are
both superior to Orlofsky's song. There is also an aria for Puck in the
same opera, "Geister der Luft und Erd' und See!" which is fun.
In Richard Strauss's DIE FRAU OHNE SCHATTEN, there's an aria for Reinhild
Runkel, "Bei den Menschen". In Strauss's Daphne, there's Gaea's aria
"Daphne, wir warten dein".
There is the aria for Nancy in von Flotow's MARTHA (when sung in German),
"Jaegerin, schlau im Sinn, Nimmermehr wird mein Herze".
There is also the aria for Frau Reich (Meg Page) in Nikolai's DIE LUSTIGEN
WEIBER VON WINDSOR, "Vom Jaeger Herne die Maer ist alt".
There is also the arietta for Antippo in Telemann's DER GEDULDIGE
SOCRATES, "O Schoene, bist du hier?...Die Sonne brennet" (Antippo was
written for castrato),and his aria "Hegt dein Herze". He has a third aria,
but it's nearly 7 minutes long - rather too long for an audition.
Depending on whether this is an audition for which you can stretch the
definition of "opera", there are also numerous possibilities from Weill's
DIE DREIGROSCHENOPER, AUFSTIEG UND FALL DER STADT MAHAGONNY, and HAPPY END
(which, despite its title, is sung in German).
Karen Mercedes
http://www.radix.net/~dalila/index.html
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One must be something if one
wishes to put on appearances.
- Ludwig von Beethoven
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