This dissertation examines operatic influences in late nineteenth and early twentieth century viola repertoire drawn from the Morceaux de Concours, written for the final examination at the Conservatoire de Paris between 1896 and 1939. Focusing on four works published in Schott Music’s Pièces de Concours by Paul Rougnon, Hans Sitt, George Enescu, and Andrey Arends, the study analyzes how composers adapted vocal idioms, including recitative, aria, and cadenza-like passages, for the viola. These works transcend their pedagogical origins, treating the viola as an operatic voice rather than a secondary string instrument. A performer's guide accompanies the analysis, offering interpretive suggestions regarding vibrato, bowing, and articulation informed by vocal aesthetics. Situated within the broader history of French musical culture and the viola's gradual rise as a solo instrument, this study advocates for the continued performance and study of these underexplored works as tools for developing both technical proficiency and lyrical expressivity in violists.