This thesis consists of three parts: first, the “Solo Recital” program notes and interpretation viewpoints; Second, the “Performance Recital” program notes and interpretation viewpoints focusing on the role “Tamino” in Mozart’s Opera “Die Zauberflöte”. The third part is the Graduate Student research paper of the interpretation viewpoints of the role of Nemorino in Donizetti’s opera “L’elisir d’amore”.

The program of the Solo Recital includes, George Frideric Handel (1685-1759): “Comfort ye / Ev’ry valley shall be exaulted” from “Messiah”, HWV 56; Vincenzo Bellini (1801-1835): “Vaga luna che inargenti” from “Tre Ariette”, “Malinconia, Ninfa gentile” and “Vanne, o rosa fortunata” from “Sei Ariette”; Gabriel Fauré (1845-1924): ‘Après un rêve’, Op. 7, No. 1, ‘Mandoline’, from “Cinq mélodies de Venise”, Op. 58, No.1 and ‘En prière’; Franz Schubert (1797-1828): Excerpts from “Winterreise”, D.911, include No.1: ‘Gute Nacht’, No.5: ‘Der Lindenbaum’, No.15: ‘Die Krähe’ and No.24: ‘Der Leiermann’; Benjamin Britten’s (1913-1976) folk song arrangement: ‘O Waly, Waly’, ‘The Plough Boy’, ‘The Last Rose of Summer’; Gaetano Donizetti (1797-1848): “Una furtiva lagrima” from “L'elisir d'amore”.

In addition, the program of the Mozart’s Opera “Die Zauberflöte” includes major arias and quintets which performed by tenor “Tamino”: “Dies Bildnis ist bezaubernd schön”, “Hm! Hm! Hm!”, “Wie stark ist nicht dein Zauberton”, and “Wie? Ihr an diesem Schreckensort?”.

The third part consist of “Interpretations of Nemorino in Donizetti’s Opera ‛L’elisir d’amore’: A Primary Discussion”, which include discussions on performance of two arias: “Quanto è bella, quanto è cara” and “Una furtiva lagrima”, and of three duets: “Una parola..chiedi all’aura”, “Ardir! Ha forse il cielo mandato” and “Esulti pur la barbara”.