We invite you to a unique musical event that combines the brilliance of opera art with an educational experience. Two radiant artists — Elena Cornelisse-Syssojeva and Marina Trosmane — together with pianist Svetlana Stankeviča, will present an unforgettable evening in two parts.

The first part of the program features the world’s most famous opera arias, requiring not only exceptional vocal technique but also profound dramatic expression. This program is a true challenge for a dramatic soprano, spanning polar opposite states: from operetta flirtation to the extreme drama of Verdi and Puccini roles.

Judith’s Aria (“Meine Lippen, sie küssen so heiß”) from Fr. Lehár’s operetta Giuditta – a playful and passionate anthem to female beauty.

Magda’s Aria (“Chi il bel sogno di Doretta”) from the opera La Rondine – a lyrical and dreamy piece where the heroine sings of finding true love with exquisite piano and a soaring upper register.

Carmen’s Habanera (“L’amour est un oiseau rebelle”) from G. Bizet’s Carmen – a manifesto of freedom, where Carmen warns that love is an untameable bird that cannot be caged—and if she loves, one must beware!

Elisabeth’s Aria (“Dich, teure Halle”) from R. Wagner’s Tannhäuser – a solemn and energetic greeting to the hall of song at Wartburg Castle. Elisabeth sings of her joy and hope upon Tannhäuser’s return.

Abigaille’s Aria and Cabaletta from G. Verdi’s Nabucco – one of the most difficult roles in the soprano repertoire. Abigaille discovers her origins as a slave and vows revenge.

Lady Macbeth’s Aria (“La luce langue”) from G. Verdi’s Macbeth – dark reflections on power and crime. The light fades, night falls—the time for cruel deeds.

Amalia’s Aria and Cabaletta (“Tu del mio Carlo…”) from G. Verdi’s I Masnadieri – a classic example of Verdi’s bel canto. Amalia believes her beloved Carlo is alive; virtuosic passages and technical mastery combined with deep emotion.

Gioconda’s Aria (“Suicidio!..”) from A. Ponchielli’s La Gioconda – the culmination of despair. The heroine faces a choice: suicide or a life of shame to save her beloved. The aria requires immense emotional commitment and vocal power.

Norma’s Final Aria (“Deh! non volerli vittime”) from V. Bellini’s Norma – a tragic prayer. As Norma goes to the pyre, she begs her father to spare her children. The highest point of tragedy, where the voice must sound noble and poignant.

Turandot’s Aria (“In questa reggia”) from G. Puccini’s Turandot – famous for its “steely” high notes that must soar over a large orchestra. Here, the icy princess explains her cruelty as revenge for the fate of a distant ancestor.

Barcarolle from J. Offenbach’s The Tales of Hoffmann – the perfect finale to dispel the dramatic tension. A peaceful and harmonious conclusion, imitating the swaying of a Venetian gondola on the waves.

After a 15-minute intermission, we invite you to stay for the second part of the evening — a vocal masterclass. This is a rare opportunity to look into the “opera kitchen,” understand the secrets of voice formation, and the process of creating an artistic image under professional guidance.

Don’t miss this festive program where classical heritage meets a modern dramatic vision!

🌟 THE ARTISTS

Elena Cornelisse-Syssojeva (Soprano): International competition laureate from the Netherlands, whose voice has graced prestigious concert halls. Elena is not only an outstanding opera singer but also a professional pianist and choral conductor with extensive experience in chamber music and the oratorio genre.

Marina Trosmane (Dramatic Soprano): An artist with “steely” confidence in the upper register and timbral depth. Soloist of the Latvian National Opera and Ballet, who refined her skills under the legendary Elena Obraztsova and other world masters.

Svetlana Stankeviča (Piano): Lecturer at the Jāzeps Vītols Latvian Academy of Music, an experienced accompanist who collaborates with Sinfonietta Rīga and numerous international opera productions.