- Dido and Aeneas, opera, Z. 626: When I am laid in earth (Dido's Lament)
- Orfeo ed Euridice (Italian version), opera in 3 acts, Wq. 30: Che fiero momento
- Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Deh vieni, non tardar
- Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Giunse alfin il momento...
- Lungi dal caro bene, aria (from the opera "Armida e Rinaldo")
- A Chloris, for voice & piano (from "Melodies, Book II")
- Après un rêve ("Dans un sommeil"), song for voice & piano, Op. 7/1
- Si Tu le Voulais
- Canciones negras (5) for voice & piano (or orchestra): Punto de Habanera
- La paloma, for voice & piano (or orchestra)
- L' heure espagnole, opera in 1 act: Oh! la pitoyable aventure!
- Turandot, opera: Tu che di gel sei cinta
- Rusalka, opera, B. 203 (Op. 114): Mesícku na nebi hlubokém (Song to the Moon)
- Suor Angelica, opera: Senza mamma
- La Wally, opera (dramma musicale) in 4 acts: Ebben, ne andrò lontana
- La bohème, opera: Sì. Mi chiamano Mimì
17.77 Out Of Stock
There's a lot of hype and myth surrounding South African soprano Pumeza Matshikiza. She's been billed as the township soprano, for instance, when actually she came from an extremely small town called Lady Frere in Eastern Cape province. Her debut album proclaimed her "The Voice of Hope," a difficult status for anyone to live up to. She had a top-flight musical education at the University of Cape Town and then in Covent Garden's Young Artist Programme, and you can set aside the hype and discover that yes, this young soprano is well above average. There's a particular specialty that fits her to a T, and the program of this selection of arias, which goes all over the map, does not fully play to her strengths. No one would choose Matshikiza in "Dido's Lament;" she overwhelms Paolo Tosti; and she does not seem to connect with Mozart or Gluck. When you put her in the late 19th century, though, watch out. The arias from "La Bohème" and especially "La Wally" have the kind of effortless, controlled power and silky richness that come along only rarely, and if you want to hear what everyone is really excited about, sample the "Song of the Moon" from Dvorák's "Rusalka" and listen all the way to the absolutely nailed conclusion. The Aarhus Symfonieorkester under Tobias Ringborg basically stays out of Matshikiza's way, which is right, and the sound from the Musikhuset in Aarhus is clear. This is one to watch; the right roles for Matshikiza in upcoming years could propel her to superstardom.