- La sonnambula, opera: Act II (Finale): Ah! Non giunge uman pensiero
- La sonnambula, opera: Act II (Finale): Ah! Non credea mirarti
- La sonnambula, opera: Act II (Finale): Oh, se una volta sola
- Dinorah (Le pardon de Ploërmel), comic opera in 3 acts: Act II (Shadow Song): Dieu, comme cette nuit est l
- La Straniera, opera: Act II (Finale): Vaneggia! Il passo sgombrisi...Or
- La Straniera, opera: Act II (Finale): Pari all'amor degli angioli
- La Straniera, opera: Act II (Finale): Sono all'ara
- Linda di Chamounix, opera: Act I: Ah! Tardai troppo...O luce di quest'anima
- Lucia di Lammermoor, opera: Act III: Spargi d'amaro pianto
- Lucia di Lammermoor, opera: Act III: S'avanza Enrico!
- Lucia di Lammermoor, opera: Act III: Ohimè! Sorge il tremendo fantasma... Ardo
- Lucia di Lammermoor, opera: Act III: Eccola!...il dolce suono
- Roméo et Juliette, opera: Act I: Ah! Je veux vivre
Soprano Pretty Yende made a big splash with her debut album, A Journey, which musically reenacted her path from small-town South Africa to Europe's major operatic stages. On that album she had both star quality and rough spots, and it was a matter of some interest to learn whether she was just a novelty or a major new voice. As it happens, Yende's second album, Dreams, does not answer the question. There is still the fact that Yende is one of those performers who just transmit; even in the chilly language of digital ones and zeroes, she has charisma. And in Italian bel canto repertoire she's clearly progressing. In both the more ornate Donizetti excerpts from "Lucia di Lammermoor" (sample "Ohimè! Sorge il tremendo fantasma" to hear Yende's control in quiet passages in the stratosphere) and in the more melodic Bellini, Yende delivers very fetching sounds. In the French music the news is not so good; Yende can't live up to the striking opening gesture in "Ah! je veux vivire" from Gounod's "Roméo et Juliette," and her voice shows strain here. Still, most of the music sounds great, and the Orchestra Sinfonica di Milano "Giuseppe Verdi" under Giacomo Sagripanti has an ideally subdued way of accompanying her. The indications are at this point that the way to deal with Yende is to play to her considerable strengths. Just before this album's release, Yende pulled out of a Rome production of "Fra Diavolo" for unspecified artistic reasons. One hopes that vocal problems were not involved.