music at emorY concert series - Arts at Emory

mus ic at emory
conce r t series
20 1 5 – 2 0 1 6 s e a s o n
Naomi Premia Newton, Soprano
senior honors lecture-recital
(in partial fulfillment for the degree of bachelor of arts in music with honors)
with patricia dinkins-matthews, piano
saturday, april 2, 2016, 3:30 p.m.
performing arts studio, 1804 n. decatur rd
h o n o r s t h e s is ab s tract
h o nor s r e c ita l p r ogram
“Douce enfant, ta plainte legere . . . Jules Massenet
Je veux que cette enfant charmante” from Cendrillon(1842–1912)
“Ach, ich fühl’s” from The Magic FluteWolfgang Amadeus Mozart
(1756–1791)
“Happily Ever After” from Once upon a MattressMary Rodgers
(1931–2014)
Marshall Barer
(1923–1998)
“Hello! Oh, Margaret, It’s You” from The Telephone
Giancarlo Menotti
(1911–2007)
“Just You Wait” from My Fair LadyAlan Jay Lerner
(1918–1986)
Frederick Loewe
(1901–1988)
—INTERMISSION —
“Una donna a quindici anni” from Cosi Fan TutteWolfgang Amadeus Mozart
(1756–1791)
“Prendi, per mi se libero” from L’Elisir d’Amore
Gaetano Donizetti
(1797–1848)
“My White Knight” from The Music ManMeredith Wilson
(1902–1984)
“Chacun le sait, Chacun le dit” from La Fille du Régiment Gaetano Donizetti
(1797–1848)
“Poor Wand’ring One” from Pirates of PenzanceWilliam Schwenck Gilbert
(1836–1911)
Arthur Sullivan
(1842–1900)
T e x ts and Tr ans lati ons
“Douce enfant, ta plainte legere . . . Je veux que cette enfant charmante”
Ah! Douce enfant, ta plainte legereAh! Sweet child,
Comme l’haileine d’une fleur,
Your plaint subdued, like the breath of a flower.
Vient de monter jusqu’a mon Coeur.Has just risen up to my heart.
Ta marrane te voit et te protégé.
Your godmother sees you and protects you.
Ah! espére!Ah! Have hope!
(Chorus: espére!)
(Chorus: Have hope!)
Sylphes, lutins, follets, accourez a ma voix.Sylphes, sprites, elves, come running at my voice
De tous les horizons, a travers les espaces.
From all horizons, across all space.
Suivez exactement mes lois,
Follow exactly my laws,
Apportez-moi tous vos talents, tous vos graces!
Bring to me all your tricks and your graces.
Je veux que cette enfant charmante, que voici,I wish that this charming child that is here
Soit aujourd’hui hors de souci je le veux !
Be today without cares, I wish it!
Et que par vous, splendidement parée,And that by you splendidly adorned,
Elle connaisse enfin le Bonheur a son tour…She [may] know at last happiness.
Je veux qu’aux fetes de la courI wish that at the festivities at the court
Elle soit la plus belle et la plus admirée.She be the loveliest and the most admired one.
O, ma petite Cendrillon, fleurd’innocence et d’amour,Oh my little Cendrillon, flower of innocence and love,
Sur toi je veille, o Cendrillon! Over you I watch, Oh Cendrillon!
Nico Castel, French Opera Libretti Vol. III (New York: Leyerle Publishing, 2005), 133–134.
“Ach, ich fühl’s”
Ach, ich fühl’s, es ist verschwunden,Ah, I feel it, it has disappeared,
ewig hin der ganzes Glück,
Forever gone [is] all happiness,
ewig hin der Liebe Glück!
Forever gone [is] love’s happiness!
Nimmer kommt ihr, Wonnestunde,Never come, you hours of bliss,
Meinemn Herzen mehr zurück!
back to my heart evermore!
Sieh’, Tamino, diese TränenSee, Tamino, these tears,
Flissen, Trauter, dir allein!
Flowing, beloved, for you alone!
Fühlst du nicht der Liebe Sehnen,
Feel you not love’s longing,
So wird Ruh’ im Tode sein!Then my peace will be only in death!
Literal translation by Bard Suverkrop—IPA Source, LCC
“Just You Wait (Henry Higgins)”
(Sung with a cockney accent)
Just you wait, ‘enry ‘iggins, just you wait!
You’ll be sorry, but your tears’ll be too late!
You’ll be broke and I’ll have money;
Will I help you? Don’t be funny!
Just you wait, ‘enry ‘iggins, just you wait!
Just you wait, ‘enry ‘iggins, till you’re sick,
And you scream to fetch a doctor double-quick!
I’ll be off a second later, and go straight to the theater!
Oh, ho ho, ‘enry ‘iggins, just you wait.
Ooooooooh, ‘enry ‘iggins!
Just you wait until we’re swimmin’ in the sea!
Ooooooooh, ‘enry ‘iggins
And you get a cramp a little ways from me!
When you yell you’re gonna drown,
I’ll get dressed and go to town!
Oh, ho ho, ‘enry ‘iggins!
Just you wait!
One day I’ll be famous! I’ll be proper and prim!
Go to Saint James so often I will call it Saint Jim.
One evening the King will say, “Oh Liza, old thing,
I want all of England your praises to sing.
Next week, on the twentieth of May,
I proclaim Liza Doolittle Day!
All the people will celebrate the glory of you,
And whatever you wish and want I gladly will do.”
“Thanks a lot, King,” says I, in a manner well-bred;
“But all I want is ‘enry ‘iggins ‘ead!”
“Done,” says the King, with a stroke.
“Guard, run and bring in the bloke!”
Then they’ll march you, ‘enry ‘iggins, to the wall;
And the King will tell me, “Liza, sound the call.”
As they raise their rifles higher,
I’ll shout: “Ready! Aim! Fire!”
Oh, ho ho, ‘enry ‘iggins!
Down you’ll go, ‘enry ‘iggins!
Just you wait!
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“Una donna a quindici anni”
Una donna a quindici anniA woman of fifteen years
Dee saper ogni gran moda:Must know the way everything is done:
Dove il diavolo ha la coda,Where the devil hides his tail,
Cosa é bene, e mak cos’é. What is good and what is bad.
Dee saper le malizietteShe must know little tricks
che innamorano gliamanti,
to entrap lovers,
Finger riso, finger pianti,
to feign laughter and fears,
Inventar i bei perché.
and to invent good excuses.
Dee in un momentoShe must know how to be attentive
dar retta a cento,
to a hundred men at once,
Con le pupille parlar con mille, and with her eyes to [flirt] with a thousand,
Dar speme a tutti sien belli o britti,To give hope to all, be they handsome or ugly,
Saper nascondersiTo know how to hide one’s feelings
senza confondersi,
without becoming flustered,
Senz’arrossire saper mentire,
to know how to lie without blushing.
E qual regina dall’alto soglioAnd like a queen from her high throne,
Col “posso e voglio” farsi ubbidir.With an “I can and I want,” make herself obeyed.
(Aside: Par ch’abbian gusto di tal dottrina;
viva Despina che sa servir.)
(Aside: It seems they have a taste for such doctrine;
long-live Despina who knows how to serve.
Literal translation by Bard Suverkrop—IPA Source
“Prendi; per me se libero”
Prendi; per me sei libero:Take it; through me you are free:
Resta nel suol natio,Stay in your native soil,
non v’ha destin sí rio,There is no destiny that is so bitter,
Che non si cangi un dí.That it cannot be changed in a day.
Resta!Stay!
Qui, dove tutti t’amano,Here, where everyone loves you,
Saggio, amoroso, onesto, ah! Wise, loving, honest, ah!
Sempre scotento e mesto, Always unhappy and sad,
no, non sarai cosí, ah no!
no, you will not always be this way. Ah, no!
Literal translation by Bard Suverkrop—IPA Source
“Chacun le sait, Chacun le dit”
Chacun le sait, chacun le dit,Everyone knows it, everyone says it,
Le regiment par excellenceThe regiment par excellence
Le seul a qui l’on fass’ creditThe only one to which everyone gives credit
Dans tous les cabaret de France…In all the taverns of France . . .
Le regiment, en tous pays,The regiment, in all countries,
L’effroi des amants des maris…Is the terror of all lovers and husbands . . .
Mais de la beauté bien supreme!
But with a beauty most superior!
Il est la morbleu! Le voila, corbleu!It is there, the devil! There it is, good Lord!
Il est la, le voila le bau Vingt-unieme!It is there, there it is, the grand Twenty-first!
Il a gagne tant de combats,It has won so many battles,
Que notre empereur, on le pense,That our emperor, one thinks,
Fera chacun de ses soldats,
will make every one of its soldiers,
A la paiz, marechal de France!
in peacetime, a marshal of France!
Car, c’est connu le regiment
For, it’s well-known this regiment,
Le plus vainqueur, le plus charmant,The most victorious, the most charming,
Qu’un sexe craint, et que l’autre aime.That one sex fears, and the other loves!
Translated by Bard Suverkrop—IPA Source
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p e rf or me r b io g r a phi es
Naomi Premia Newton, soprano, is a senior, double majoring in biology (BS)
and music (BA), with a concentration in vocal performance. She is originally
from New Jersey, but now lives Florida. Newton has performed as a chorister
and soloist for nineteen years and also participated in many plays and musicals.
In high school, she sang with the New Jersey Youth Chorus and served as
the president of the drama club, for which she wrote and directed several
plays. Performance highlights include choral performances at Carnegie Hall;
tours of Germany, Poland, the Czech Republic, and Ireland with the New
Jersey Youth Chorus; and performances at the Vatican and Assisi with her
high school choir. She sings with the Emory Concert Choir. Newton was the
2014 recipient of Emory’s Atlanta Symphony Orchestra Robert Shaw Memorial
Outstanding Singer Award and the 2015 and 2016 recipient of the Friends of
Music Excellence Award. She is a member of the Phi Beta Kappa honor society
and was the 2015 recipient of the Dr. Kevin C. Limp Memorial Scholarship.
She is also a member of the Music Student Advisory Board, which works with
students and faculty to enhance the music-making experience at Emory. She
feels blessed to have studied music at Emory and is grateful to the music
department for giving her this opportunity. Newton would like to thank Bradley
Howard, Kristin Wendland Stephen Crist, Arri Eisen, and Patricia DinkinsMatthews fior challenging, guiding, and encouraging her. She would also like
to thank her friends and family for their support. Newton will attend Emory
School of Medicine in the fall, and she plans to become a pediatric surgeon.
Newton will also continue singing and acting, and she hopes to share the gift
of music with others for the rest of her life.
Patricia Dinkins-Matthews joined the faculty of Emory in 1998, where she
is a lecturer in piano, vocal coaching, piano skills, and collaborative piano.
She has been a member of the piano faculties at the University of Florida,
Baylor University, the American Institute of Music Studies (Graz, Austria), and
McLennan College. A native of Knoxville, Tennessee, Dinkins-Matthews has
an undergraduate degree from the University of Tennessee and both a master
of music degree in piano performance and a doctor of musical arts degree in
piano pedagogy and performance from the University of Colorado. DinkinsMatthews is an active solo and chamber music recitalist and has performed
both in the United States and in Europe, including recitals in England, France,
Austria, Belgium, and Germany. Among others, she has performed with Larry
Combs, principal clarinetist with the Chicago Symphony Orchestra and John
Reed of the D’Oyly Carte Theatre, London, England. Dinkins-Matthews has also
been the pianist for the Florida Arts Trio and the American Chamber Winds,
and she has appeared as soloist with the Colorado Symphony, the University of
Tennessee Orchestra, and the Florida Symphony Orchestra. Dinkins-Matthews
is the pianist for the Aevia Trio and the associate pianist for the Atlanta
Symphony Orchestra Chorus. As a member of the Atlanta Symphony Chamber
Chorus, she has performed several times in Carnegie Hall and with the Berlin
Philharmonic Orchestra under the baton of Robert Spano, Donald Runnicles,
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and the late Robert Shaw. She is an approved adjudicator for the National
Federation of Music Clubs and the Music Teachers National Association.
With a career spanning classical and modern choral works, solo recitals, and
opera roles, tenor Bradley Howard, director of vocal studies at Emory, has
gained recognition as a multifaceted performer, performing under the batons
of renowned conductors Seiji Ozawa, William Fred Scott, Christian Badea,
Riccardo Muti, Joesph Flummerfelt, Yoel Levi, John Mauceri, and Robert Spano.
A passionate educator, he joined the faculty of Emory as director of vocal
studies in 2011. Howard began his career as a fellow at the Tanglewood Music
Center, when his performance of Bob Boles in the 50th Anniversary of Benjamin
Britten’s Peter Grimes brought him to the attention of famed conductor Seiji
Ozawa. Further operatic successes include Tamino in The Magic Flute, Ferrando
in Cosi fan tutte, Rodolfo in La Boheme, Beppe in I Pagliacci, Count Almaviva in
I Barbiere di Siviglia, and Peter Quint in Britten’s Turn of the Screw and Albert
in Albert Herring. He has performed at various festivals including Spoleto,
Chautauqua Opera, the Ohio Light Opera, Tanglewood Music Festival, and
Breckenridge Music Institute. Howard’s concert engagements have included a
long-time collaboration with the Atlanta Symphony Orchestra (ASO). As soloist
with the ASO, Weill’s Seven Deadly Sins, Beethoven’s Choral Fantasy, Christmas
with the ASO, and most recently, Saint Saens’s Samson and Dalila are among
these performances. Recording credits include the ACA Digital production
of the Atlanta Opera’s Mozart Requiem and Telarc’s La Boheme with the
Atlanta Symphony Orchestra. Among other recent works he has performed
are Mozart’s Requiem, Haydn’s Creation, Handel’s Messiah, and Bach’s St.
John’s Passion. Howard’s bachelor’s and master’s degrees in music and voice
from Baylor University and the University of Cincinnati opened the doors to
America’s musical stage. At the University of Cincinnati he earned an MM in
voice working with William McGraw, and a BM in voice at Baylor working with
Joyce Farwell. Howard is an active adjudicator and clinician and has presented
masterclasses and/or clinics at the University of Washington, Whitman College,
Sam Houston State University, Emory University, Georgia State University,
Valdosta State University, and Ohio State University.
Arts at Emory Box Office/Audience Information
404-727-5050 • arts.emory.edu
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PHOTOGRAPHS AND RECORDINGS Not permitted without advance permission.
COUGH DROPS In lobby, courtesy of Margery and Robert McKay.
USHERS Members of Music at Emory Volunteers and Alpha Phi Omega, a national service and social
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event and program information Available online at arts.emory.edu.
Back cover photographer credits: Top (left to right): Barenaked Voices, Emory Photo/Video;
Emory Concert Choir: courtesy of Emory Concert Choir; Vega String Quartet, Dorn Brothers.
Bottom (left to right): Gary Motley, Bill Head; Christopher O’Riley, Wendy Lynch; audience view from
stage, courtesy of Emory Concert Choir; Emory University Symphony Orchestra, Tony Benner.
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