Abstract
Using research based on past operatic harp auditions, this paper details some of the most important excerpts for a professional harpist to master if they want to apply for future opera positions or would like to expand their knowledge about the genre. Opera is not always a part of the ensemble excerpt curriculum whether in studio instruction or in practice. The research in this paper to two-fold: a survey of current harpists as well as a look into the archives of three of the largest opera companies in the US and looking for trends in programming. Afterwards, analyzing both data sets reveal a pool of potential excepts to study. Each excerpt is holistically treated providing historical context, performance practice, suggested recordings, and marked parts. This allows the harpist to immerse themselves in the details of the work rather than the music alone.