Recital

Recital
by
Theresa Nelson and David Watt
With Eric Howe
Piano and Clavinova
Shira Kammen
Vielle, Violin and Harp
Daniel Reiter
Violincello
Sunday, 9 August 2009, 4:00pm
Valley Center for the Performing Arts – Studio Theatre
Part One: Iconic Women
Codex de Saint-Germain-de-Près, 12th C.
Belle Doette/Chanson de Toile
Venus’ Birds (1600)
John Bennet
1570-1615
Admeto, 1727
Vedrà frà poco (Alceste)
Gelosia (Alceste)
Là dove gli occhi (Alceste)
G. F. Handel
1685 - 1759
Cleopatra, 1704
Johannes Mattheson
Gute Nacht (Cleopatra)
1681 - 1764
Mein Leben ist hin, Wer in seinem Busen, Darum, Komm (Cleopatra)
Intermission
La Fraîcheur et le feu, 1950
Rayons des yeux …
Le matin les branches attisent …
Tout disparut …
Dans les ténèbres du jardin …
Unis la fraîcheur et le feu …
Homme au sourire tendre …
La grande rivière qui va …
Francis Poulenc
1899 – 1963
Tartuffe, 1980
Fair Robin (Dorina)
Kirke Mechem
1925 -
Don Quichotte à Dulcinée, 1932
Chanson Romanesque
Chanson épique
Chanson à boire
Maurice Ravel
1875 – 1937
Part Three: Duets
Part Two: Women, Men and Duets
Le Nozze di Figaro, 1786,
Porgi amor (Countess)
W.A. Mozart
1756 - 1791
Idomeneo, 1781
Tutte nel cor via sento (Elettra)
W.A. Mozart
1756 - 1791
Die Zauberflöte (The Magic Flute), 1791
Bei Mannern (Papageno & Pamina)
W.A. Mozart
1756-1791
Le Nozze di Figaro, 1786
Cinque … dieci (Figaro & Susanna)
W.A. Mozart
1756-1791
Admeto, re di Tessaglia, 1727
Alma Mia (Admeto & Antigona)
G. F. Handel
1685 - 1759
Belle Doette/Chanson de Toile, Codex de Saint-Germain-des-Près, 12th C.
This lovely French Medieval song tells the story of the tragic, beautiful
Doette, whose love, Doon, has gone away to war. She sits at a window
reading, when a squire comes to her door to tell her that Doon has been killed
in a joust.
The anonymous 12th century chansons de toile from this codex are part of a
tradition of love songs, lyrical laments sung by women, often engaged in
sewing or other women’s activities. A woman’s success in the arts of sewing
was linked to her ability to make love happen, the joining threads together
with cloth being like the joining of two partners in love.
Only in Bele Doette does the conclusion of the song not bring the listener to the
union of lovers. In this case, her lover dead, the distraught Bele Doette sings
“see now what grief I have,” vowing to become a nun in the church of St.
Paul. Even she cannot repair the love torn away from her. In this
performance, Theresa will sing four of the eight verses. This edition and
translation is by P. Meyer and Gaston Raynaud, Paris, 1892. Shira has
recorded this piece on her CD, Pastourelle, www.cdbaby.com.
Bele Doette as fenestres se siet
Lovely Doette sat by the window
Lit en un livre mais au cuer ne l'en tient
Trying to read, but her heart not in it
De son ami Doon li resovient
She recalled her friend Doon
Q'en autres terres est alez tornoier.
Who had gone tourneying in other lands.
E or en ai dol!
See now what grief I have!
Uns escuiers as degrez de la sale
Est dessendu, s'est destrossé sa male.
Bele Doette les degrez en avale,
Ne cuide pas oïr novele male.
E or en ai dol!
A squire rode up to the hall staircase
Dismounted and unpacked his bag.
Lovely Doette ran down the steps
Not thinking to hear bad news
See now what grief I have!
Bele Doette li prist a demander:
"Ou est mes sires cui je doi tant amer?"
"En non Deu, dame, nel vos quier mais
celer:
Morz est mes sires, ocis fu au joster."
E or en ai dol!
Bele Doette a pris son duel a faire:
"Tant mar i fustes, cuens Do, frans
debonaire,
Por vostre amor vestirai je la haire,
Ne sor mon cors n'avra pelice vaire.
E or en ai dol!
Por vos devenrai nonne en l'eglyse
saint Pol.
Lovely Doette asked him:
“Where is my lord whom I love so
much?”
“In the name of God, Lady, I shall not
hide anything from you:
My Lord is dead, killed in jousting.”
See now what grief I have!
Lovely Doette began to mourn:
“Such sorrow was there, Count Do, true
noble man.
For love of you I shall wear a hair shirt,
On my body I shall not wear a fur cloak.
See now what grief I have!
For you I shall become a nun in the
church of Saint Paul.
Venus’ Birds, John Bennet, 1600
Theresa, soprano; Shira, medieval harp
John Bennet (1575-1614) composed songs and consort music during the
Elizabethan era, and his style emulated that of his popular contemporaries,
John Dowland and Thomas Morley. This haunting and melancholy song
contrasts the songs of the birds to the singer’s sadness.
Venus’ birds, whose mournful tunes
Sing lullaby, lulula lullaby to my unrest,
For so partaking of my wrongs,
In my bosom build your nest.
Lulla, lulla, lulla, lullaby,
Love live loyal or I die.
Admeto, re di Tessaglia, G. F. Handel, 1727
Theresa, soprano; Shira, violin; Daniel, cello; Eric, harpsichord
Handel’s Admeto premiered to great success in London, and featured
glorious arias written especially for the great castrato Senesino in the title
role, and the famous “dueling sopranos” of the day, Faustina Bordoni as
Alceste and Francesca Cuzzoni as Antigona. Based on the Euripides play, in a
libretto by Aurelio Aureli, its complex plot offers many twists and turns and
opportunities for characters to appears, disappear, re-appear in disguise, seek
revenge, and be reconciled.
The brave and noble Queen Alceste offers to give up her life for her husband,
King Admeto, who was destined to die on a certain day unless someone
volunteers to die for him. After he promises her that he will be faithful to her
for the rest of his life and take no other wife, she dies. He realizes life is
worthless without her, and sends his friend Heracles goes to the underworld
to rescue her. Then appears the Trojan princess Antigona, who had been
betrothed to Admeto before his brother Trasimede, in love with Antigona
himself, switched her portrait with a less beautiful woman, ensuring Admeto
would instead marry the noble Alcestis. Admeto becomes interested in
Antigona even while mourning the loss of Alceste, who has returned from the
underworld disguised as a warrior so she may observe whether or not
Amdeto has been faithful to her in the optimistic aria, Vedrà frà poco.
Learning of Trasimede’s deceit, Admeto considers reuniting with Antigona,
sparking Alceste’s jealousy and rage in the furious and fuming Gelosia (so
angry she sings only the A section!). Alceste confronts Antigona, who admits
her love for Admeto, but Alceste remains loyal to Admeto, and rejoices in his
faithfulness in a light-hearted aria filled with birds, trees and gentle breezes,
La dove gli occhi io giro. But, when Antigona is kidnapped, Admeto finds
himself longing for both women. Heracles fulfills the wish of Alceste by
telling Admeto that he could not find her in Hades (though she is actually
there in disguise). Antigona is rescued, Admeto has given up hope of
Alceste’s return, and he and Antigona sing the lovely, optimistic duet Alma
mia, overheard by Alceste (still in disguise), which we’ll sing in the second
half of the recital. Alceste is unmasked after Trasimede tries to kill Admeto,
and Admeto hesitates between the two women. Antigona presents Alceste to
Admeto, withdrawing as she states that Alceste has twice saved his life and
they should be together, and so the opera ends happily.
Theresa first learned these arias in the mid-1980s, when the idea of authentic
performance of Baroque opera was just becoming popular, and she is
delighted to be able to sing them again today. Each aria offers some
wonderful opportunities for classic Handellian ornamentation on the repeat
of the first, or A, section of each aria. She is grateful to Eric for his work in
taking the opera score and making a keyboard reduction for today’s
performance, and to Shira and Daniel for beautifully expressing the
instruments in the original orchestration. The translation is by Hugh Graham.
Vedrà frà poco (Alceste)
Vedrà frà poco se l’idol mio
cangio desio, o se costante
ei pur m’adora qual m’adorò.
Poi s’egli a giuoco prende il mio
affetto,
a suo dispetto
constante ancora io l’amerò.
I shall soon see if my idol
has changed in his affections, or if he
faithfully
still adores me as he used to do.
But then, if he sports with my feelings
despite his inconstancy
I shall still love him faithfully.
Gelosia (Alceste)
Gelosia spietata Aletto,
meco uscisti dall’inferno,
e m’entrasti a forza in petto
per affligger questo cor.
Pitiless Alecto, jealous Fury,
you escaped the inferno with me,
and entered my breast by force,
to wound this heart.
Là dove gli occhi io giro (Alceste)
Là dove gli occhi io giro
e l’erba, e i fior rimiro
farsi più vaghi e belli,
perche il mio ben fra lor
mosse le piante.
Ogn ‘aura dolce vento
a me porge contento,
e il canto degli augelli
perche a me dica ogn’ or: egli costante.
Wherever I turn my eyes
I see the grass and the flowers
grow more charming and lovely,
because among them
my love has trodden.
Every breeze and gentle gust of wind
brings me happiness,
and the song of the birds
seems to say to me: he is faithful.
Cleopatra, Johannes Mattheson, 1704
Theresa, soprano; Shira, violin; Daniel, cello; Eric, harpsichord
Mattheson (1681-1764) wrote his opera Cleopatra in 1704, the only one of his
operas though to survive destruction of the archives in 1943 (other come to
light a few years ago. Mattheson was a composer, arranger, singer,
instrumentalist, author, translator, music theorist, and later in life, a diplomat.
Mattheson was the king of opera in Hamburg, and sang the role of Marcus
Antonius in the premiere of Cleopatra at Hamburg Opera, with his younger
associate Handel conducting from the harpsichord. They had a quarrel
during a performance, as Mattheson usually took over the conducting spot
after his singing role died onstage, but one night Handel resisted and a fight
ensued, becoming a post-performance duel in which Mattheson nearly killed
Handel with his sword.
Mattheson influenced Handel while they worked together at the Hamburg
Opera, and Handel incorporated some of Mattheson’s music in arias for
Rinaldo and Agrippina. They parted ways after Handel turned to the Italian
style of opera then becoming popular, while Mattheson continued to write in
the German style he helped to create.
These selections demonstrate Mattheson’s lovely, concise melodies and his
emphasis on storytelling, with the libretto by Friedrich Christian Feustkins.
Gute Nacht from Act I is Cleopatra’s haunting, farewell lullaby to Marc
Antony, supported by a lovely continuo line. The death scene in Act III begins
with Mein Leben ist hin, as Cleopatra entwines her melody with that of the
violin, reconciling herself to the need for royal suicide as the only alternative.
The story continues with Wer in seinem Busen nährt as she confronts the
poisonous asp (snake) whose darting tongue is evidenced by the sharp
figures in the violin and cello. Finally, Cleopatra sings to the deadly asp,
Darum komm, while the violin and cello tremolos mimic the pounding of her
heart, as she calls the snake to her and dies from the fatal bite.
Theresa heard about this opera and immediately fell in love with these pieces.
Their simplicity and emotion contrasts with the more florid style of mature
Handel works earlier in the program. In the first three arias, the A section is
relatively short, while the second or B section carries much of the story of the
piece. However, in the final aria, Darum komm, Cleopatra instead sings a
recitative of her own tragic demise. Theresa is delighted to have Eric on
harpsichord with Shira on violin and Daniel on harp, exactly as Mattheson
scored these pieces. The interplay among their lines adds so much to the
beauty of this work.
The translation is by Theresa’s friend Nancy Weston, Ph.D.
Gute Nacht (Cleopatra)
Gute Nacht, Gute Nacht.
Wird mich dein’ Entfernung
drücken,
soll dir doch mein matter Geist,
der sich niemals von dir reisst,
tausend, tausend Seufzer schicken,
sei auf gleiche Gunst bedacht,
Gute Nacht!
Good night, good night,
Your distance presses upon me,
yet my faint spirit
which will never tear itself from you,
sends thousands of sighs
that with the same favor may be considered.
Good night.
Mein Leben ist hin (Cleopatra)
Mein leben ist hin.
Die Freiheit verspielet,
Die Krone verscherzet,
Dies schmerzer und fühlet
Ein edeler Sinn.
My life is lost.
Freedom squandered,
The crown gambled away,
This pains me and brings me to feel
A nobler sense.
Wer in seinem Busen nährt Basilisk (Cleopatra)
Wer in seinem Busen nährt Basilisk,
Basilisk und Skorpion,
Der ist wert, dass ihn trifft Natterngift
Und daß ihn zuletzt zum Lohn
Schlange, Wurm und Molch verzehrt.
Weil sein Busen hat ernährt Basilisk,
Basilisk und Skorpion.
Who nurtures in a bosom the Basilisk,
Basilisk and scorpion,
Who is worthy enough for the poisonous
snake to bite
And that at last it comes in recompense
Snake, worm and newt are consumed.
Because this breast has nourished Basilisk,
Basilisk and scorpion.
Le Nozze di Figaro, 1786, W.A. Mozart
Theresa, soprano; Shira, violin; Daniel, cello; Eric, harpsichord
Porgi amor (Countess)
The Countess’ first appearance onstage is this lyrical aria which opens Act II,
as she sings to Cupid, asking him to restore her unfaithful husband’s love, or
let her die. The gently pulsing accompaniment underscores her melancholy
and the sense of tender regret she expresses through the soaring lines of this
song. Throughout the opera, the Countess is portrayed as moral, selfsacrificing, and even heroic in her fidelity, and in this aria, the audience
comes quickly to feel great sympathy for her. The translation is by Jane
Bishop.
Porgi, amor, qualche ristoro,
Al mio duolo, a'miei sospir!
O mi rendi il mio tesoro,
O mi lascia almen morir.
O Love, give me some remedy
For my sorrow, for my sighs!
Either give me back my darling
Or at least let me die.
Darum komm (Cleopatra)
Darum Komm, komm,
giftiges Geschmeiß,
Mit dir will ich mich paaren,
Lass nur den Gift
durch alle Glieder fahren,
Beiß immer zu,
Beiß, beiß, es ist geschehn …
der Schweiß.
So come, come,
poisonous vermin,
With you I will entwine,
Let the poison go
through all my limbs
bite always
Bite, bite, it is done, …
the sweat.
INTERMISSION
Idomeneo, W. A. Mozart, 1781
Theresa, soprano; Shira, violin; Daniel, cello; Eric, harpsichord
Based on a classic Greek tale of the aftermath of the Trojan War, Idomeneo tells
of the Greek King Idomeneo, who returns to his county with the Trojan King
Priam’s daughter, Ilia, as a prisoner. Naturally, his son, Prince Idamante, falls
in love with her, enraging the Princess Elettra, who had fled Argos and was
herself expecting to marry Idamante.
Mozart write this opera seria at age 25, closely collaborating with librettist
Gian Battistia Varesco, in what many critics see as a breakthrough in his
work, his first true musical drama. In one of his new wife Constanza’s letters,
she writes of the read-through of the great third act quartet, with Mozart and
his father Leopold in the conflicted father-son roles (similar to their real-life
relationship), Costanza singing Ilia and his sister Nannerl as Elettra.
Apparently Mozart was so overcome with emotion at the end of the quartet
that he burst into tears and had to leave the room. The opera is filled with
powerful drama and emotional music expressing classic father-son conflict
and a love triangle.
Here Elettra’s rage is expressed in frenzied driving lines and large leaps,
underscored by the whistling wind in the top line and the claps of thunder in
the accompaniment. Mid-way through the aria, everything comes to a halt
and the entire piece modulates from A minor to C minor, eventually wending
its way to D minor. In operatic performance, this aria set up the segues
directly into an enormous sea tempest scene, as Idomeneo’s fleet of returning
ships is wrecked returning to Crete.
Tutte nel cor vi sento
Tutte nel cor vi sento,
Furie del crudo averno,
Lunge a si gran tormento
Amor, mercè, pietà.
Chi mi rubò quel core,
Quel che tradito ha il mio,
Provi ‘dal mio furore,
Vendetta e crudeltà.
All of you I feel in my heart
Furies of Hades
Far away from such great torment
Are love, compassion, pity.
Upon her who stole my heart from me,
That heart which betrayed mine
Let my fury bring
Vengeance and cruelty.
La Fraîcheur et le Feu (The Coolness and the Fire)
Francis Poulenc, 1950; poem by Paul Eluard
Dave, baritone; Eric, piano
The seven movements of La Fraîcheur et le Feu are based on a poem by Paul
Eluard (1895 - 1952), whose texts Poulenc used in many of his art songs. This
piece interprets the continuous text of a single poem, and as the music itself
suggests, there are wide changes in mood over the course of a relatively short
work.
The poem, and first movement, asks a basic existential question: what is man's
proper role in a world where he finds God, the light, unmindful of him? The
answer lies in uniting the coolness and the fire, reason and passion -- the
words the fourth movement rings in with a stirring fanfare from the piano
accompaniment. (Someday there should be an orchestration done of this piece.
That section in particular begs to be performed by a trumpet choir.)
Ultimately, man must study and love man, and woman - the sixth
movement's text has exquisite and sensual details of both genders - and
become a magician of sorts, recreating the light with his own words and
deeds, as the last movement suggests.
The complex harmonic structure and challenging piano score make this piece
a particular favorite of both Eric and Dave. Eric performed the work a while
ago, and while diving into it again, he's gotten the itch to sing it again himself
sometime. As you'll hear, he'll need an extraordinary accompanist to help
bring the piece to life. Dave is grateful he has already solved that problem, by
having Eric at the piano.
Translation by Winifred Radford, from The Interpretation of French Song, by
Pierre Bernac.
1. Rayons des yeux et des soleils
Des ramures et des fontaines
Lumière du sol et du ciel
De l'homme et de l'oubli de l'homme
Un nuage couvre le sol
Un nuage couvre le ciel
Soudain la lumière m'oublie
La mort seule demeure entière
Je suis une ombre je ne vois plus
Le soleil jaune le soleil rouge
Le soleil blanc le ciel changeant
Je ne sais plus
La place du bonheur vivant
Au bord de l'ombre sans ciel ni terre.
2. Le matin les branches attisent
Le bouillonnement des oiseaux
Le soir les arbres sont tranquilles
Le jour frémissant se repose.
3. Tout disparut même les toits
même le ciel
Même l'ombre tombée des branches
Sur les cimes des mousses tendres
Même les mots et les regards bien
accordés
Sœurs miroitières de mes larmes
Les étoiles brillaient autour de ma
fenêtre
Et mes yeux refermant leurs ailes
pour la nuit
Vivaient d'un univers sans bornes.
Beams of eyes and of suns
of branches and of fountains
light of earth and of sky
of man and man's oblivion
a cloud covers the earth
a cloud covers the sky
suddenly the light is unmindful of me
death alone remains complete
I am a shadow and I see no longer
the yellow sun the red sun
the white sun the changing sky
I know no longer
the place of living happiness
at the edge of the shadow with neither sky
nor earth.
In the morning the branches stir up
the effervescence of the birds
at evening the trees are peaceful
the rustling day is resting.
All disappeared even the roofs even the
sky
even the shade fallen from the branches
upon the tips of the soft mosses
even the words and the concordant looks
sisters mirroring my tears
the stars shone around my window
and my eyes closing their wings again for
the night
lived in a boundless universe.
4. Dans les ténèbres du jardin
Viennent des filles invisibles
Plus fines qu'à midi l'ondée
Mon sommeil les a pour amies
Elles m'enivrent en secret
De leurs complaisances aveugles.
5. Unis la fraîcheur et le feu
Unis tes lèvres et tes yeux
De ta folie attends sagesse
Fais image de femme et d'homme.
6. Homme au sourire tendre
Femme au tendres paupières
Homme aux joues rafraîchies
Femme aux bras doux et frais
Homme aux prunelles calmes
Femme aux lèvres ardentes
Homme aux paroles pleines
Femme aux yeux partagés
Homme aux deux mains utiles
Femme aux mains de raison
Homme aux astres constants
Femme aux seins de durée
Il n'est rien qui vous retient
Mes maitres, de m'éprouver.
7. La grande rivière qui va
Grand au soleil et petite à la lune
In the darkness of the garden
come some invisible girls
more delicate than the shower at midday
my sleep has them for friends
they elate me secretly
with their blind complaisance.
Unite the coolness and the fire
unite your lips and your eyes
await wisdom from your folly
make a likeness of woman and of man.
Man of the tender smile
woman of the tender eyelids
man of the freshened cheeks
woman of the sweet fresh arms
man of the calm eyes
woman of the ardent lips
man of the plenitude of speech
woman of the shared eyes
man of the useful hands
woman of the sensible hands
man of the steadfast stars
woman of the enduring breasts
there is nothing that prevents you,
my masters, from testing me.
The great river that flows
big under the sun and small under the
moon
Par tous chemins à l'aventure
Ne m'aura pas pour la montrer du
doigt
Je sais le sort de la lumière
J'en ai assez pour jouer son éclat
Pour me parfaire au dos de mes
paupières
Pour que rien ne vive sans moi.
in all directions at random
will not have me to point it out
I know the spell of the light
I have enough of it to feign its brilliance
so that I may perfect myself behind my
eyelids
so that nothing lives without me.
Fair Robin (from Tartuffe), Kirk Mecham, 1980
Theresa, soprano; Eric, piano
Kirke Mechem wrote both the music and libretto for this, his first opera,
based on the 17th century play of the same name by Molière. San Francisco
Opera premiered Tartuffe in 1980, and it has been performed more than 350
times since, one of the most popular operas ever by an American composer.
Theresa had the honor of singing a number of Kirke Mechem’s works,
including a world premiere, during her time as a founding of member of San
Francisco Choral Artists, and has always enjoyed his music.
In this aria, Dorine performs the popular 19th century operatic role of the
clever maid, in this case serving Mariane, daughter of the wealthy Orgon,
who has promised her in marriage, against her will, to the wily Tartuffe.
Dorine sings to Mariane of the inconstancy of love, making fun of the
marriage vows promising to take “for better or worse.”
Listen, Mariane, Here’s an old song about that kind of man,
And what to do when he’s away, It’s your lesson for today.
Fair Robin I love and hourly I die,
but not for a lip, nor a languishing eye;
He’s fickle and false, and there we agree,
for I am as false and as fickle as he.
Fa la la la, fa la la. I am as false and as fickle as he. Fa la la ….
We neither believe what either can say,
And neither believing we neither betray.
‘Tis civil to swear and say things of course;
We mean not the taking for better or worse. Fa la la …
When present we love, when absent agree:
I think not of Robin, nor Robin of me.
The legend of love no couple can find,
So easy to part or so easily joined.
Fa la la …. So easy to part or so easily joined, fa la la….
Don Quichotte à Dulcinée
Maurice Ravel, 1932; text by Paul Morand
Dave, baritone; Eric, piano
The three songs in this piece are written in the rhythms of three different
Spanish dances, the guajira, zorzica, and jota. The "I" of the texts is Don
Quixote, singing in French, in three characteristic and distinct moods. In the
first song, he boasts directly to Dulcinea of the outlandish ways he would
prove his love for her, claiming he can stop the earth moving, take the stars
from the sky, or restore them, at her whim. In the second song, Quixote prays
to Saint Michael and Saint George for their blessings upon his lady and his
sword. Lastly, Don Quixote sings of the glories of drinking, and the joy to be
found there, and curses all those who disagree. In fact, if you listen carefully,
you'll hear he's had a few too many himself -- there's a audible hiccup! in the
accompaniment during the chorus. But because he is Quixote, despite his
drunkenness, he remains elegant throughout.
Don Quichotte à Dulcineé is the last work of Maurice Ravel (1875 - 1937). It
was written for the 1933 movie "Don Quichotte", to be sung by the lead actor
in the film, the Russian opera singer Feodor Chaliapin Sr., whose IMDB
biography calls him "the undisputed best basso of the first half of the 20th
century." Alas, these songs were not performed in the film; others were used
instead.
This performance of these songs is influenced by the video on YouTube of a
performance by Gerard Souzay, in 1966. His superb reading is by turns
elegant, devout, enthusiastic, and seductive.
1. Chanson Romanesque
Si vous me disiez que la terre
A tant tourner vous offensa,
Je lui dépêcherais Pança:
Vous la verriez fixe et se taire.
Were you to tell me that the earth
offended you with so much turning,
speedily would I dispatch Panza:
you should see it motionless and silent.
Si vous me disiez que l'ennui
Vous vient du ciel trop fleuri d'astres
Déchirant les divins cadastres,
Je faucherais d'un coup la nuit.
Were you to tell me that you are weary
of the sky too much adorned with stars,
destroying the divine order,
with one blow I would sweep them from
the night.
Si vous mi disiez que l'espace
Ainsi vidé ne vous plait point,
Chevalier dieu, la lance au poing,
J'étoilerais le vent qui passe.
Were you to tell me that space
thus made empty does not please you,
god-like Knight, lance in hand,
I would stud the passing wind with
stars.
Mais si vous disiez que mon sang
Est plus à moi, qu'à vous, ma Dame,
Je blêmirais dessous le blâme
Et je mourrais, vous bénissant.
But were you to tell me that my blood
belongs more to myself than to you, my
Lady,
I would pale beneath the reproach
and I would die, blessing you.
O Dulcinée.
O Dulcinea.
2. Chanson épique
Bon Saint Michel qui me donnez
Good Saint Michael who gives me
loisir
De voir ma Dame et de l'entendre,
Bon Saint Michel qui me daignez
choisir
Pour lui complaire et la défendre,
Bon Saint Michel, veuillez descendre
Avec Saint Georges sur l'autel
De la Madone au bleu mantel.
liberty
to see my Lady and to hear her,
good Saint Michael who deigns to elect
me
to please her and to defend her,
good Saint Michael, I pray you descend
with Saint George on the altar
of the Madonna of the blue mantle.
D'un rayon du ciel bénissez ma lame
With a beam from heaven bless my
sword
and its equal in purity
and its equal in piety
as in modesty and chastity: my Lady.
Et son égale en pureté
Et son égale en piété
Comme en pudeur et chasteté: Ma
Dame.
(O grands Saint Georges et Saint
Michel)
L'ange qui veille sur ma veille,
Ma douce Dame si pareille
A vous, Madone au bleu mantel!
Amen.
3. Chanson à boire
Foin du bâtard, illustre Dame,
Qui pour me perdre à vos doux
yeux,
Dit que l'amour et le vin vieux
Mettent en deuil mon cœur, mon
âme!
Je bois à la joie!
La joie est le seul but
ou je vais droit...
lorsque j'ai bu!
(O great Saint George and Saint
Michael)
the angel who watches over my vigil,
my gentle Lady so much resembling
you, Madonna of the blue mantle!
Amen.
A fig for the bastard, illustrious Lady,
who to shame me in your sweet eyes,
says that love and old wine
will bring misery to my heart, my soul!
I drink to joy!
Joy is the one aim
to which I go straight...
when I am drunk!
Reichen an die Gottheit an.
Foin du jaloux, brune maîtresse,
Qui geind, qui pleure et fait serment
D'être toujours ce pâle amant
Qui met de l'eau dans son ivresse!
A fig for the jealous fool, dark-haired
mistress,
who whines, who weeps and vows
ever to be this pallid lover
who waters the wine of his intoxication!
Die Zauberflöte, W.A. Mozart, 1791
Theresa, soprano; Dave, baritone; Eric, piano
Bei Mannern (Papageno & Pamina)
Magic Flute is certainly one of Mozart’s most-performed operas, and in this
unusual love duet, both Pamino and Papageno sing an ode to love, not for
each other, but for others (Tamino and Papagena) not present. They are both
in love with love, together they muse on the rewards of love and marriage.
The translation is by Lea Frey.
Bei Männern, welche Liebe fühlen,
Fehlt auch ein gutes Herze nicht.
Die süßen Triebe mitzufühlen
Ist dann der Weiber erster Pflicht.
Wir wollen uns der Liebe freun,
Wir leben durch die Lieb allein.
Die Lieb versüßet jede Plage,
Ihr opfert jede Kreatur.
Sie würzet unsre Lebenstage
Sie winkt im Kreise der Natur.
Ihr hoher Zweck zeigt deutlich an,
Nichts edlers sei als Weib und Mann,
Mann und Weib und Weib und Mann,
In men, who feel love
A good heart is not lacking.
To sympathize with the sweet instincts
Is then the wives’ first duty.
We want to be happy with love
We live through love alone.
Love sweetens every torment
Every creature offers itself to her.
It seasons our daily lives,
It beckons us in the circle of nature.
Its higher purpose clearly indicates,
Nothing is more noble than wife & man,
Man and wife, and wife and man,
Reach to the height of Godliness.
La Nozze di Figaro, 1786, W.A. Mozart
Theresa, soprano; Dave, baritone; Eric, piano
One of the most famous of all Mozart duets in what some critics have called
the most perfect opera, this duet opens The Marriage of Figaro, as Susanna
and Figaro are contemplating their wedding to come later that day. Figaro is
busy measuring the space where the new bridal bed will be placed
(conveniently) near the chamber of the Count Almaviva, who has been busily
plotting to exercise the droit de seigneur upon his wife‘s lovely maid, Susanna.
This is the subject of the aria you heard earlier in the recital, the Countess’
melancholy aria about her husband’s infidelity, the central action of the
opera. Here Susanna is herself busy admiring her new wedding bonnet, and
realizes that Figaro is ignoring her. When at last he does notice, they sing of
the joys that await them on this, their wedding day. Little do they know of the
twists and turns to come. The translation is by Hannah Kilpatrick.
Cinque … dieci (Figaro & Susanna)
Cinque ... dieci ... venti ...
trenta ... trentasei ... quarantatre
Ora si chio son contenta,
sembra fatto inver per me.
Guarda un po', mio caro Figaro,
guarda adesso il mio cappello.
Sì mio core, or è più bello,
sembra fatto inver per te.
Five ... ten ... twenty ...
thirty ... thirty-six ... forty-three.
Yes, I'm happy with it now;
It seems as if it was made for me.
Just look a moment, my dearest Figaro,
look over here at my hat.
Yes, my dear, it's much prettier now,
It seems as if it was made for you.
Ah, il mattino alle nozze vicino
quanto è dolce al mio tenero sposo
questo bel cappellino vezzoso
che Susanna ella stessa si fe'.
Ah, on the morning of our wedding day
How sweet to my loving bridegroom
is this charming little hat,
which Susanna made herself.
Admeto, G. F. Handel, 1727
Theresa, soprano; Dave, baritone; Shira, violin; Daniel, cello; Eric, harpsichord
Alma Mia (Admeto & Antigona)
In this delightful duet near the end of Admeto, King Admeto and Antigona
sing of their joy at being (briefly) reunited. The repeat of the first section is a
perfect opportunity to demonstrate their joy by entwining the lines in
ornamented thirds. The final cadenza was inspired by the performance of Jill
Gomez and Rène Jacobs. The translation is by Hugh Graham.
Alma mìa, dolce ristoro,
io ti stringo/io t’abbraccio in questo sen
Dolce e caro è ogni martoro,
se ritrovo il caro ben.
My soul, o sweet consolation
I embrace you/I hold you to my breast.
Sweet and dear is every trial
if at least I find again my dear treasure.
In Appreciation
We are grateful to our wonderful teacher, Eric Howe, whose thoughtful
guidance and inspiration have helped us develop as singers and performers
in so many ways. His sensitive accompaniment and coaching gave us both
great confidence in presenting this recital.
Theresa is thankful for her wonderful husband, Barney Smits and her
daughter Madeleine Nelson, who endured endless hours of practice and gave
a full measure of love and support for this endeavor.
Theresa also thanks Shira for her inspired performance on vielle, violin and
harp, her partnership on this lovely Medieval and Baroque music, and Dan
for joining us and adding the perfect foundation of continuo on cello.
We thank Rebecca Smith for her assistance as stage manager, as well as
Barney and Madeleine, who are always there to help with Theresa’s various
adventures.
Dave thanks his delightful wife Rachel and new daughter Chloe, whose joy at
hearing this music warms his heart.
Dave would also like to thank his parents, his mother particularly. Dave
grew up exposed to singing and music-making, and some of his earliest
memories are singing in a small folk group with his mother at a Catholic
church. Seeing the joy that Chloe has listening to singing now, makes Dave
appreciate just what an amazing gift they gave, exposing and encouraging his
musical development from an early age.