- Manon Lescaut, opera: Act 1. Donna non vidi mai
- Tosca, opera: Act 3. E lucevan le stelle
- Werther, lyric drama in 4 acts: Act 3. Pourquoi me réveiller?
- Turandot, opera: Act 3. Nessun dorma
- Turandot, opera: Act 1. Non piangere Liù
- Rigoletto, opera: Act 3. La donna è mobile
- L'elisir d'amore, opera: Act 2. Una furtiva lagrima
- Luisa Miller, opera: Act 2. Quando le sere al placido
- La Gioconda, opera in 4 acts: Act 2. Cielo e mar!
- Tosca, opera: Act 1. Recondita armonia
- La bohème, opera: Act 1. Che gelida manina
- Cavalleria rusticana, opera (melodramma) in 1 act: Mamma, quel vino è generoso
Add Yu Qiang Dai to the steadily growing crop of up-and-coming young tenors. As on recent solo debut albums by the Mexican Rolando Villazón, the Maltese Joseph Calleja, and the Italian Salvatore Licitra, the Chinese Dai focuses on Italian Romantic opera on his introductory disc, offering a program of popular arias by Verdi, Puccini, Donizetti, and others, including such perennial favorites as "La donna è mobile" and "Nessun dorma." A lyric tenor with hints of spinto colors, Dai places several notches below Calleja on the lightness scale, yet he doesn't broach the vocal weight and darker shades of a Villazón or even a Licitra. His finest calling cards are surely his vibrant, muscular top notes, which provide a stab of excitement and seem only to bloom as they linger on and on. A potent high C near the end of "Che gelida manina," for one, challenges Pavarotti territory, yet he can also draw velvety softness from his voice in more tender phrases. Stylistically, he seems at his best in the later repertoire. The concluding aria from Mascagni's Cavalleria rusticana shows his sympathy for verismo style, as does the tear-in-the-voice conclusion to the earlier aria from Massenet's Werther. Still, his Donizetti "Una furtiva lagrima" is attractive, and the assurance of his Puccini and Verdi selections reveals a talented artist with a stand-and-deliver voice that bears the promise of a true opera star.