This week, we follow Carmen down a very different alley — the seductive “Seguidilla” from Bizet’s Carmen. Sung just after her arrest, it’s flirty, cunning, and calculated, as she tempts Don José into untying more than just her hands. We sip Cava, Albariño, and Rioja — because it’s set in Spain (even if the opera’s in French, we know, we know) — and ask: is she seducing him… or just singing him stupid?This episode wraps up our first series of Aria Listening? — thanks for coming along for the ride! We’ve sipped, ranted, swooned, and occasionally spiralled… and we’re already plotting more arias for next time. Think duets, trios, ensembles — we’re open to suggestions. As always, it’s all about listening to great opera, and having a bloody good time doing it. Stay tuned.

Disclaimer: Music excerpts are used for commentary and educational purposes. All rights remain with the original creators. If you believe any content infringes your rights, please contact us and we’ll happily address it.

This week we plunge into the low notes (and low morals) of Osmin’s “O, wie will ich triumphieren” from Mozart’s Die Entführung aus dem Serail. It’s all revenge fantasies, rapid-fire runs, and growling bottom Fs — classic Mozart with a malicious grin.

We pair it with Austrian Grüner Veltliner and debate whether Osmin is funny, frightening, or just vocally sadistic… and whether any bass can actually pull it off.

Disclaimer: Music excerpts are used for commentary and educational purposes. All rights remain with the original creators. If you believe any content infringes your rights, please contact us and we’ll happily address it.

This week, it’s all heart and velvet as we turn to “Voce di donna” from Ponchielli’s La Gioconda.

La Cieca may be blind, but she sees straight into the soul with one of the great mezzo arias — gentle, generous, and rich with feeling.

We explore the beauty of restraint, the power of simplicity, and which singer truly lets the voice speak for itself.

Disclaimer: Music excerpts are used for commentary and educational purposes. All rights remain with the original creators. If you believe any content infringes your rights, please contact us and we’ll happily address it.

Spring is coming... and so is Wagner. In this episode, we explore “Winterstürme” from Die Walküre, where Siegmund forgets the snow, sees a woman, and suddenly becomes a poet.

We pair it with German Riesling and Henkell Trocken and ask: is this soaring lyricism or just Wagner turning up the emotional heat?

Disclaimer: Music excerpts are used for commentary and educational purposes. All rights remain with the original creators. If you believe any content infringes your rights, please contact us and we’ll happily address it.

This week, it’s the baritone’s turn — and no one broods like Rigoletto.

We dive into “Cortigiani, vil razza dannata” from Verdi’s Rigoletto, where a court jester drops the sarcasm and pleads for his daughter’s life.

Passion, rage, desperation... and a Tuscan red to match. But which recording truly bleeds?

Disclaimer: Music excerpts are used for commentary and educational purposes. All rights remain with the original creators. If you believe any content infringes your rights, please contact us and we’ll happily address it.

In this episode, we dive into Marguerite’s dazzling descent into vocal madness with “The Jewel Song” from Gounod’s Faust.

As the soprano unleashes her inner diva, we sip Champagne and weigh the sparkle against the shriek.

Is it all glitter and no soul — or a true showcase of vocal brilliance?

Disclaimer: Music excerpts are used for commentary and educational purposes. All rights remain with the original creators. If you believe any content infringes your rights, please contact us and we’ll happily address it.