Giuseppe Verdi (1813–1901)
Brindisi Libiamo ne’ lieti calici / Let us drink from the joyful cups – from the opera La Traviata
Wolfgang Amadeus Mozart (1756–1791)
Leporello’s aria Notte e giorno / Night and day
Zerlina and Don Giovanni’s duettino Là ci darem la mano / There we shall give each other our hands
from the opera Don Giovanni
Claudio Monteverdi (1567–1643)
Arnalta’s recitative and aria Adagiati, Poppea – Oblivion soave / Rest, Poppea – Sweet oblivion – from the opera L’incoronazione di Poppea / The Coronation of Poppea
Wolfgang Amadeus Mozart
Sarastro’s aria O Isis und Osiris / O Isis and Osiris
Pamina, Tamino and Sarastro’s trio Soll ich dich, Teurer, nicht mehr sehen / Shall I no longer see you, dearest?
from the opera Die Zauberflöte / The Magic Flute
Modest Mussorgsky (1839–1881)
The Holy Fool’s scene Mesyats idyot, kotyonok plachet / The moon rises, the kitten cries – from the opera Boris Godunov
Antonín Dvořák (1841–1904)
Rusalka’s Song to the Moon Měsíčku na nebi hlubokém / Song to the Moon – from the opera Rusalka
Pyotr Tchaikovsky (1840–1893)
Lensky and Onegin’s duet Vragi! Davno li drug ot druga / Enemies! Have we really been friends for so long? – from the opera Eugene Onegin
Jules Massenet (1842–1912)
Salomé’s aria Il est doux, il est bon / He is gentle, he is good – from the opera Hérodiade
Georges Bizet (1838 – 1875)
Ralph’s aria Quand la flamme de l’amour / When the flame of love – from the opera La jolie fille de Perth / The Fair Maid of Perth
Ruggero Leoncavallo (1857–1919)
Peppe (Arlecchino)’s serenade O Colombina, il tenero fido Arlecchin / O Colombina, tender and faithful Arlecchino – from the opera Pagliacci / The Clowns
Giuseppe Verdi
Banco’s recitative and aria Studia il passo, o mio figlio – Come dal ciel precipita / Watch your step, my son – How he falls from the sky – from the opera Macbeth
Giacomo Puccini (1858–1924)
Lauretta’s aria O mio babbino caro / O my dear papa – from the opera Gianni Schicchi
Gaetano Donizetti (1797–1848)
Adina and Nemorino’s recitative and scene Caro elisir – Lallaralla / Dear elixir – Lallaralla – from the opera L’elisir d’amore / The Elixir of Love
Francesco Sartori (b. 1957)
Con te partirò / Time to Say Goodbye / Time to Say Goodbye
KRISTINA VÄHI has received recognition as an opera, operetta and musical soloist. She graduated from the Georg Ots Tallinn Music School (teacher M. Jõgeva) and the Estonian Academy of Music and Theatre, obtaining bachelor’s and master’s degrees in opera singing (teachers R. Airenne and Prof. T. Novitšenko). Vähi furthered her studies at the Royal Conservatoire The Hague and has participated in numerous masterclasses (E. Märtson, G. Kahry, C. Deutekom, R. Piernay, I. Kremling, J. Beckman, M. Pelo, M. Hauswalter). Vähi won first prize at the Klaudia Taev International Competition for Young Singers (1996). From 2006 to 2013, Vähi worked as a soloist at the Estonian National Opera. She has also performed in productions at Vanemuine Theatre and the Opera Studio of the Estonian Academy of Music and Theatre, at the Saaremaa Opera Days, and has been invited to sing at various festivals and in musicals organised by Smithbridge Productions and Vanemuine Theatre. Since 1997, she has been a soloist of the creative association Operetta Scretta. Her roles include Adina (Donizetti’s The Elixir of Love), Baroness (Lortzing’s The Poacher), Ännchen (Weber’s Der Freischütz), Oscar (Verdi’s Un ballo in maschera), and among Mozart’s roles Zerlina, First Lady and Despina (Don Giovanni, The Magic Flute, Così fan tutte); in Menotti’s operas Lucy, Monica and Miss Pinkerton (The Telephone, The Medium, The Old Maid and the Thief); in Rossini’s operas Fanny and Clorinda (The Marriage Contract, Cinderella); Nedda (Leoncavallo’s Pagliacci), Ninetta (Prokofiev’s The Love for Three Oranges), Luise (Aints’ Rehepapp), Adele and Gagliari (Strauss’s Die Fledermaus, Wiener Blut), Lisa and Stasi (Kálmán’s Countess Maritza, Die Csárdásfürstin), Damon (Handel’s Acis and Galatea), Maria (Leigh’s Man of La Mancha), Soulgirl and Carlotta (Webber’s Jesus Christ Superstar, The Phantom of the Opera) and many others. Vähi currently works as a freelance opera soloist. Kristina Vähi is a scholarship holder of Music Trust PLMF.
FILIPP VARIK graduated from the Tallinn Music High School in singing under the guidance of teacher U. Joller (2018) and obtained a master’s degree from the Estonian Academy of Music and Theatre (2023) under J. Tralla. He later furthered his studies with M. Hauswalter. Varik currently works at the Opera Studio of the Lyon National Opera. In addition to classical singing, he has studied choral conducting under H. Surva. Varik has collaborated with renowned conductors such as D. Rustioni, G. Sacripanti, W. Marshall and V. Pähn, and with directors such as C. Loy, L. Pelly, R. Brunel and L. Kolle. Varik has sung in operas including “Akhnaten” (Philip Glass), “Abstrakte Oper” (Boris Blacher), “Wozzeck” (Alban Berg), “Il turco in Italia” (Gioachino Rossini), “Andrea Chénier” (Umberto Giordano), “Peter Grimes” (Benjamin Britten) and “Louise” (Gustave Charpentier).
STANISLAV ŠELJAHHOVSKI is a bass-baritone who received his vocal education at the Estonian Academy of Music and Theatre. In 2024, he completed his master’s studies in singing in the class of M. Turi. His professional career is connected with opera stages in Estonia and Europe: he has participated in productions at the Estonian National Opera, Vanemuine Theatre and the Savonlinna Opera Festival. He has participated in masterclasses with renowned opera singers and teachers, including M. Guleghina and Prof. S. Patarino’s recitative masterclass at the Cesare Pollini Conservatory in Padua. In 2023, Šeljahhovski received a scholarship from the Elfrida and Erich Rämmeld Foundation. Šeljahhovski’s repertoire encompasses both classical opera roles and parts in vocal-symphonic large-scale works, as well as a broad stylistic range from Baroque to works of the 20th and 21st centuries. He has focused on performing works by Bach, Mozart, Rossini and Verdi, as well as Russian vocal-symphonic repertoire. An important part of Stanislav Šeljahhovski’s concert and stage practice also consists of works by 20th-century composers, including Stravinsky and Janáček, creating a versatile and stylistically balanced repertoire profile.
Pianist and singer KATRIN LEHISMETS graduated in piano from Haapsalu Children’s Music School and the Georg Ots Tallinn Music School. She continued her piano studies at the Tallinn Conservatory from 1989 to 1991. In 1995, she graduated from the Estonian Academy of Music with a degree in singing. In 1999, Lehismets obtained a master’s degree in the same field, cum laude, at the Mozarteum University Salzburg. She furthered her studies in 1992 at the Hanns Eisler School of Music in Berlin and, since 2014, with Michèle Crider. Already during her studies, Lehismets also worked as a répétiteur. As a singer, she made her debut in 1998 at Prague’s Estates Theatre in Mozart’s opera “Don Giovanni” in the role of Zerlina. Lehismets has been a soloist at the Prague State Opera, a répétiteur at the Salzburg Landestheater, as well as music director and soloist, a soloist, répétiteur and orchestral pianist at Landestheater Niederbayern, and a singer, actress, pianist and music director at Theater Offensive in Salzburg. As an actress, she has also worked at Varius Theatre. As a répétiteur, Lehismets has worked at the Salzburg Festival, the International Summer Academy of the Mozarteum, the Eva Lind Academy and Grace Bumbry’s private studio, and has been an accompanist at masterclasses by prominent opera singers (J. Kaufmann, S. Jo, etc.). Since 2012, Lehismets has worked at the Mozarteum University Salzburg as a répétiteur and vocal coach. Her concert career has taken her to almost every European country, as well as America, Canada, Cyprus, the Philippines and Egypt. She has performed at numerous international festivals, including Saaremaa Opera Days, Solothurn Classics, Prague Spring, Festival Internazionale di Musica Antica e Contemporanea Torino, Trieste Prima, Mezinárodní hudební festival Brno, International Music Festival Santanyí and, on several occasions, Aspekte Salzburg.