- Salome, opera, Op. 54 (TrV 215): Ah! Tu n'as pas voulu...
- Hérodiade, opera in 4 acts: Celui dont la parole efface toutes peines...Il est
- Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Porgi, amor
- Il barbière di Siviglia (The Barber of Seville), opera: Un voce poco fa
- Roméo et Juliette, opera: Dieu! Quel frisson court dans mes veines?...Viens!
- Roméo et Juliette, opera: Je vais donc usurper les droits de la nature..., U
- Manon, opera in 5 acts: Allons, il le faut!...Adieu notre petite table
- Manon Lescaut, opera: In quelle trine morbide
- Thaïs, opera in 3 acts: Ah! Je suis seule... Dis-moi que je suis belle
- Faust, opera: Les grands seigneurs..., Ah! Je ris de me voir si
French singer Elsa Dreisig, of Danish background, has made a splash with a voice that can soar as only those of the young can do. Miroir(s) is her debut album, and it certainly gains her points for boldness: instead of offering a program of well-worn arias, she opts for an unusual thematic program that includes a pair of world premieres. The program doesn't totally work. The "miroirs" (mirrors) are billed as pairs of views of the same character from different operas and different composers. This is an intriguing idea, but it is not really realized, and indeed it could have been realized more fully than it is. The opening pair, Gounod's Marguerite, from "Faust," and Massenet's "Thaïs," are linked merely by their fascination with looking in the mirror, and to call Rossini's Rosina in "Il barbiere di Siviglia" and Mozart's Countess Almaviva from "Le nozze di Figaro" the same character is stretching a point; even if one is the sequel to the other, the presentation does little to illuminate the composers' interpretive decisions. All this said, Dreisig makes a positive impression. The premieres -- an aria by the French Revolution-era composer Daniel Steibelt and a neglected passage from Gounod's "Roméo et Juliette" -- are well worth rediscovery. And what really strikes one is Dreisig's versatility: she handles music from the late 18th century to Strauss as if to the manner born. Recommended.