- Poliuto, opera: Act 2. Scene. Veleno è l'aura ch'io respiro!
- Poliuto, opera: Act 2. Aria. Sfolgorò divino raggio
- La sonnambula, opera: Act 1. Duet. Prendi, l'anel ti dono
- La favorita, opera: Act 1. Cavatina. Un ange, une femme inconnue
- La favorita, opera: Act 4. Recitative. La maîtresse du roi?
- La favorita, opera: Act 4. Romance. Ange si pur
- Don Pasquale, opera: Act 1. Sogno soave e casto
- Norma, opera: Act 1. Cavatina. Meco all'altar di Venere
- Norma, opera: Act 1. Cabaletta. Me protegge, me difende
- Roberto Devereux (Il Conte di Essex), opera: Act 3. Scene. Ed ancor la tremenda porta
- Roberto Devereux (Il Conte di Essex), opera: Act 3. Aria. A te dirò negli ultimi
- Dom Sébastien, roi du Portugal, opera: Act 2. Cavatina. Seul sur la terre
- I Puritani, opera: Part 1. A te, o cara
- L'elisir d'amore, opera: Act 1. Cavatina. Quanto è bella
- L'elisir d'amore, opera: Act 2. Romance. Una furtiva lagrima
- Il Pirata, opera: Act 1. Cavatina. Ascolta. Nel furor delle tempeste
- La fille du régiment, opera: Act 2. Romance. Pour me rapprocher de Marie
- La fille du régiment, opera: Act 1. Cavatina. Ah, mes amis
- La fille du régiment, opera: Act 1. Cavatina. Messieurs son père
- La fille du régiment, opera: Act 1. Cavatina. Pour mon âme
What is special about Roberto Alagna's singing -- besides being vibrant and sweetly lyrical -- is its intelligence. One doesn't necessarily think of bel canto opera as requiring much brainpower, but it comes in handy, especially in a mixed program such as this one. Bellini and Donizetti are linked together so often, yet their styles are very different, and Alagna clearly understands this. He invests the music from Donizetti's Poliuto with blood and guts, for example, while "A te, o cara" from Bellini's I Puritani is more elegantly phrased, though no less expressive. The program is also cleverly conceived to offer well-known arias (from L'elisir d'amore, Don Pasquale, and La Fille du régiment) along with rarer numbers (from La Favorite, Dom Sébastien, and Il Pirata, among others). Alagna is in very good voice throughout, and if his nine high C's in "Ah, mes amis" (from La Fille) are not as easily brilliant as in Pavarotti's famous recording, they are still very impressive indeed. He is joined by his wife, Angela Gheorghiu, in several selections -- most touchingly in a duet from La Sonnambula -- and the London Philharmonic with conductor Evelino Pidò provide solid, sensitive support.