This diploma paper entitled The Voice Recital deals with the topic of recital as a form of a soloist concert as well as with the review of the recital programme by means of research firstly, into the composers biography and work and secondly into the formal-interpretative analysis of particular compositions. Since voice recital comprises words and music the theoretical basis of the paper topic has been given with an emphasis on the voice, music, drama, motivation and performance of these compositions. This paper introduces the historical and theoretical background of the compositions performed at the recital. Eleven chapters of the paper offer insight into the life and work of Antonio Vivaldi and the formal-interpretative analysis of Aria del Vagante, Josip Hatze and his Serenada, Hugo Wolf and the compositions Schweig' einmal still and Auch kleine Dinge, Gaettano Donizetti and the aria Ah, tardai troppo...o luce di quest 'anima, Claude Debussy and his Ariettes Oubliees and Mandoline, George Bizet's work and life with the contents of his opera Carmen and the formal-interpretative analysis of the aria Je dis que rien ne m'épouvante, Krešimir Baranović and his work Crn bel, and finally the life and work of Wolfgang Amadeus Mozart and the formal-interpretative analysis of Exsultate jubilate. The results of the analyses and research into the theory of the recital led to the conclusion that detailed work both on the text and score is required, that continuous exercise and the application of voice technique as well as ability to impersonate and focus on the work contents and characters are essential prerequisites for a successful voice recital performance.