- Digital Commons @ Ithaca College
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- Digital Commons @ Ithaca College
Ithaca College Digital Commons @ IC Concert & Recital Programs School of Music 12-3-2011 Senior Recital: Fanny Lora, soprano Fanny Lora Follow this and additional works at: http://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Lora, Fanny, "Senior Recital: Fanny Lora, soprano" (2011). Concert & Recital Programs. Paper 340. http://digitalcommons.ithaca.edu/music_programs/340 This Program is brought to you for free and open access by the School of Music at Digital Commons @ IC. It has been accepted for inclusion in Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Senior Recital: Fanny Lora, soprano "Love, Death & Storytelling" Blaise Bryski, piano Andrew Thomson, percussion Damien Scalise, guitar Ford Hall Saturday, December 3, 2011 3:00 p.m. Love, Death & Storytelling Oh Had I Jubal’s Lyre from Joshua G. Friedrich Handel (1685-1759) Sull'Onda Cheta e Bruna La Gondola Amiamo Gaetano Donizetti (1797-1848) Auf Flügeln des Gesanges Neue Liebe Lieblingsplätzchen Hexenlied Felix Mendelssohn (1809-1847) Fiancailles Pour Rire La Dame d'Andre Dans l'herbe Il Vole Mon Cadavre est Doux Come un Gant Violon Fleurs Alma Llanera El Día que Me Quieras Sabor a Mi Granada Francis Poulenc (1899-1963) Pedro Elías Gutiérrez (1870-1954) Carlos Gardel (1890-1935) Álvaro Carrillo (1921-1969) Agustín Lara (1897-1970) This Senior Recital is in partial fulfillment of the degree Music Performance and Music Education. Fanny Lora is from the studio of Jennifer Kay. Program Notes The title “Love, Death and Storytelling” occurred to me as I reviewed my repertoire order, only to find that the common themes that unite the program are themes that one encounters in our everyday lives. That discovery has sparked in me a desire to explore these pieces with an awareness of their themes of love, death, and storytelling throughout the program. Oh Had I Jubal’s Lyre is an oratorio from Handel’s Joshua, sung by Achsa the daughter of Caleb. Caleb had offered Achsah’s hand in marriage to a soldier who was willing to conquer the land of Quiriat-sefer. That soldier was Othoniel. Once Othoniel conquers, Achsah breaks in song for his victory thanking God for bringing her love (Othoniel) safely to her arms. Oh! Had I Jubal's Lyre Oh, had I Jubal's lyre, Or Miriam's tuneful voice! To sounds like his I would aspire, In songs like hers rejoice. My humble strains but faintly show, How much to Heav'n and thee I owe. Sull’ Onda Cheta e Bruna, La Gondola, and Amiamo are three of the twenty rediscovered songs by Donizetti. In these three songs I will explore love’s longing (the lover awaits to see Leonora in Sull’ Onda); daring (the lover invites his loved one to a boating adventure in La gondola); and finally love as an invitation (the lover invites everyone to love in Amiamo). Sull’ Onda Cheta e Bruna On the quiet and dark waters Sull'onda cheta e bruna, Pria che sorga la luna, Veloce, o gondolier, Deh, solca il tuo sentier, Ma veh che la tua prora, Carezzi lieve il mar. A solo sol Leonora, Che canta ansiosa ogn'ora, Oda del cor tra'l palpitar Del fido amante il remigar. On the quiet and dark waters Before the rising of the moon, Quickly oh gondolier, Ah, make your way, But take care that your prow, Caresses lightly the sea. That only Leonora, who is alone, And sings anxiously at this hour, May hear the heart of her faithful lover. La Gondola The Gondola Meco in barchetta celere Scendi, leggiadra Clori. Vieni, cerchiamo ai zeffiri Conforto degli ardori che riscaldano il di. Vieni, gia l’onda tremola e Specchio della luna, E come l'aure baciano La placida laguna Te bacieran così. Vieni, e il tuo crin nerissimo In preda all'aure ondeggi, E del mio core il palpito Coll'ondeggiar pareggi, Se pareggiar si può. Vedrai nel cielo limpido Brillar lucenti stelle, a cui due luci fulgide Iddio creò sorelle, e il tuo bel viso ornò. Scendi, vezzosa Cloride, E me vedrai beato, E in estasi soavissima Di te seduto a lato Mi pascerò d'amor. E la tua destra candida Al petto mollemente Fa che mi possa premere, E il palpito frequente Intenda del mio cor. With me in to the little boat quickly descend, graceful Cloris. Come, let us seek from the zyphyrs comfort from the heat That warms the day. Come, already the shimmering waters mirror the moon. And just as the breezes kiss The peaceful lagoon They will also kiss you. Come, and let your black hair Engulfed by the breezes, wave, And let the beating of my heart be equal to that waving if it can indeed be equaled. You will see in the clear sky Glowing stars shinning, As sisters to stars God made two sparkling lights, to adorn your beautiful face. Descend, charming Cloris, And me you will see blessed, And in an ecstasy very tender With you seated at my side I shall nourish myself with love. And your white right hand softly to my breast Allow me to press, So you may feel the rapid beating of my heart. Amiamo Let's Love Or che l'età ne invita, Cerchiamo di goder. L'istante del piacer passa, passa e non torna. Grave divien la vita Se non si coglie il fior; Di fresche rose amor solo l'adorna. Più bella sei, più devi Ad amor voti e fé; Now that our age invite us, Let us seek out pleasure. The moment of pleasure passes and does not return. Life becomes serious If one does not gather flowers; Love adorns life only with fresh roses. The more beautiful you are, the more you owe to love’s vows and fidelity; Altra beltà non è che un suo tributo. Amiam ché i dì son brevi; È un giorno senza amore Un giorno di dolor, giorno perduto. Another beauty is nothing but that which it is due. Let us love, because the days are brief. A day without love is a day of sadness,a lost day. Both Auf Flügeln des Gesanges and Lieblingsplächen fit within the love theme. The first piece is a poem by Heinrich Heine, in which he illustrates the lover’s necessity to dream and love’s ability to take us beyond our own desires. Lieblingsplächen depicts a story of love with a message that people have heard of and lived for centuries “it is better to have a broken heart from the kiss of a lover, than to die without knowing what love is.” Neue Liebe and Hexenlied provide a balance to the set by depicting fantastic stories. Neue Liebe is about an intriguing encounter with elves riding by in the forest, swiftly surrounding you with their white horses that look like swans. Hexenlied tells the diabolical story of witches celebrating the arrival of spring in the Brocken peak (Harts Mountains in Germany), where creatures gather to worship Beezelbup (Lord of the Flies or Prince of Demons). Auf Flügeln des Gesanges On wings of song Auf Flügeln des Gesanges, herzliebchen, trag ich dich fort, fort nach den Fluren des Ganges, dort weiß ich den schönsten Ort. Dort liegt ein rotblühender Garten im stillen Mondenschein, Die Lotosblumen erwarten Ihr trautes Schwesterlein. Die Veilchen kichern und kosen, und schaun nach den Sternen empor, Heimlich erzählen die Rosen sich duftende Märchen ins Ohr. Es hüpfen herbei und lauschen Die frommen, klugen Gazelln, Und in der Ferne rauschen Des heiligen Stromes Well'n. Dort wollen wir niedersinken Unter dem Palmenbaum, Und Liebe und Ruhe trinken, Und träumen seligen Traum. On wings of song, my darling, I'll carry you away, To beautiful fields of the Ganges, where softest grasses sway. Its red flower garden now blossoms in moonlight's silver glow; The lotus-flowers await you, sisters' loving to know. The violets murmur in laughter gazing at stars above; The roses' secrets are whispered in fragrant tales of love. With wistful glances are peering, the radiant, slender gazelles; the holy stream is flowing in distant waves and swells. And there we will sink in pleasure under the palm tree's shade; and dream in peace, Our joy will never fade. Neue Liebe New Love Im dem Mondenscheine Im walde sah ich jüngst die Elfen reiten; Ihre Hörner hört ich klingen, Ihre Glöckchen hört ich läuten. Ihre weissen Rösslein trugen Goldnes Hirschgeweih und flogen Rasch dahin, wie wilde Schwäne Kam es durch die Luft gezogen. Lächelnd nickte mir die Köngin, Lächelnd, im Vorüberreuten. Galt das meiner neuen Liebe, Oder soll es Tod bedeuten? In the moonlit forest I watched the elves a-riding, I heard their horns sound I heard their bells ring. Their white horses, with golden antlers, flew on swiftly, like white swans Travelling through the air. Smiling the queen nodded at me smiling as she rode overhead; was it because of my new love? Or does it mean death? Lieblingsplätzchen Favorite Little Place Wißt ihr, wo ich gerne weil' In der Abendkühle? In dem stillen Tale geht Eine kleine Mühle, Und ein kleiner Bach dabei, Ringsumher stehn Bäume. Oft sitz ich da stunderlang, Schau umher und träume. Auch die Blümlein in dem Grün An zu sprechen fangen, Und das blaue Blümlein sagt: Sieh mein Köpfchen hangen! Röslein mit dem Dornenkuß Hat mich so gestochen: Ach! das macht mich gar betrübt, Hat mein Herz gebrochen. Da naht sich ein Spinnlein weiß, Spricht: Sei doch zufrieden; Einmal mußt du doch vergehn, So ist es hienieden; Beßer, daß das Herz dir bricht Von dem Kuß der Rose, Als du kennst die Liebe nicht Und stirbst liebelose. Do you know where I happily spend my time in the cool of the evening? In the peaceful valley turns a small mill, And also a small brook flows by, all about stand trees. I often sit there for hours, Gazing about and dreaming. Also the little flowers in the green grass begin to speak. And the blue little-flowers says: Look at my little head hanging! The little rose with the thorny kiss has stabbed me so. Ah! That makes me very sad, it has my heart broken. A little white spider draws near and says: be contented; Someday you must surely die, That is the way of things it is better that your heart breaks from the kiss of the rose, Than to never know love And die without it. Hexenlied Witch Song Die Schwalbe fliegt, der Frühling siegt, und spendet uns Blumen zum Kranze! Bald huschen wir leis' aus der Tür, Und fliegen zum prächtigen Tanze! Ein schwarzer Bock, Ein Besenstock, die Ofengabel, der Wocken, reißt uns geschwind, wie Blitz und Wind, durch sausende Lüfte zum Brocken! Um Beelzebub tanzt unser Trupp Und küßt ihm die kralligen Hände! Ein Geisterschwarm faßt uns beim Arm und schwinget im Tanzen die Brände! Ein Feuerdrach' umflieget das Dach, Und bringet uns Butter und Eier. Die Nachbarn seh'n die Funken weh'n, Und schlagen ein Kreuz vor dem Feuer. Die Schwalbe fliegt, der Frühling siegt, die Blumen erblühen zum kranze. Bald huschen wir leis' aus der Tür, juchheisa zum prächtigen tanze. The swallow soars, the spring outpours Her flowers for garlands entrancing; Soon shall we glide away and ride, Hey-day, to the spirited dancing! A buck that's black, a broomstick o' back, the prangs of a poker will pitch us; we'll ride a steed with light'ning speed direct to the mountain of witches! The dancing bands all kiss the hands like claws that belong to the devil, while other swarms have grabbed our arms And brandish their torches in revel! A dragon flies now down from the skies With presents of food for the table. The neighbors sight the sparks in flight And cross themselves as fast as they're able. The swallow soars, the spring outpours Her flowers for garlands entrancing; Soon shall we glide away and ride, Hey-day, to the spirited dancing! Fiancailles Pour Rire (Engagement for Laughs)is Poulenc’s set of six poems, written by Louise de Vilmorin. Poulenc expressed that he found in Vilmorin’s writing “a sort of sensitive impertinence, libertinage, and an appetite which, carried onto song [is] what I tried to express in my extreme youth with Marie Laurencin in Les Biches.” (Ivry 1996) La Dame d’Andre illustrates the storytelling theme. The story is told as though the end is already understood at the beginning of the piece. Its chromaticism and frequent chord changes give a sense of instability, which makes this story more haunting, and leaves the listener with a sense of emptiness and wonder. La Dame d’André Andre’s Lady André ne connait pas la dame qu’il prend au jourd’hui par la main. A-t-elle un cœur à len de mains et pour le soir a-t-elle une âme? Au retour d’un bal campagnard S’en allait-elle en robe vague Chercher dans les meules la bague des fiançailles du hasard? A-t-elle eu peur, la nuit venue, guettée par les ombres d’hier, dans son jardin lorsque l’hiver entrait par la grande avenue? Il l’a aimée pour sa couleur Pour sa bonne humeur de Dimanche. Pâlira-t-elle aux feuilles blanches De son album des temps meilleurs? Andre does not know the lady who he takes by the hand today. She has a heart to take hold of hands and for the evening has she a soul? At the return of a rustic ball She went from there in vague dress seek in the grindstone for the ring the engagements of chance? She was afraid, that come night, watching through the shadows of yesterday, In his garden when the winter enters through the large avenue? He loved her for her color For her good mood on Sunday. Will it fade to paper white, From his album of better times? In Il Vole, Vilmorin’s poem and Poulenc’s music combine to capture the insanity of unrequited love. The words and the music give a sense of the character’s uneasiness and inability to do quotidian activities due to love’s spell. Il Vole He Flies En allant se coucher le soleil Se reflète au vernis de ma table: C’est le fromage rond de la fable Au bec de mes ciseaux de vermeil. – Mais où est le corbeau? – Il vole. Je voudrais coudre mais un aimant Attire à lui toutes mes aiguilles. Sur la place les joueurs de quilles De belle en belle passent le temps. – Mais où est mon amant? – Il vole. C’est un voleur que j’ai pour amant, Le corbeau vole et mon amant vole, Voleur de cœur manque à sa parole Et voleur de fromage est absent. – Mais où est le bonheur? – Il vole. The sun as it sets Is reflected in my polished table: It is the round cheese of the fable In the beak of my silver scissors. But where’s the crow? Stealing away. I’d like to sew but a magnet Attracts all my needles. In the square the skittle players Pass the time playing game after game. But where’s my lover? Stealing away. I’ve a stealer for lover, The crow steals away and my lover steals, the stealer of my heart breaks his word and the stealer of cheese is absent. But where is happiness? Stealing away. Mon Cadavre est Doux Comme un Gant illustrates the theme of death. The piece exhibits an old dying woman’s realization that death is approaching, and she feels closer to death than to life. She is resigned to accept this but understands it is time for other generations to live on. Mon Cadavre est Doux Comme... My Corpse is as Soft as a Glove Mon cadavre est doux comme un gant, doux comme un gant de peau glacée et mes prunelles effaces font de mes yeux des cailloux blancs. Deux cailloux blancs dans mon visage, dans le silence deux muets ombrés encore d’un secret et lourds du poids mort des images. Mes doigts tant de fois égarés Sont joints en attitude sainte Appuyés au creux de mes plaints au nœud de mon cœur arrêté. Et mes deux pieds sont les montagnes, les deux derniers monts que j’ai vus a la minute où j’ai perdu la course que les années gagnent. Mon souvenir est ressemblant enfants emportez-le bien vite, allez, allez, ma vie est dite. Mon cadavre est doux comme un gant. My corpse is as soft as a glove, soft as a glove of frozen skin and my hidden pupils make two white pebbles of my eyes. Two white pebbles in my face Two mutes in the silence still darkened by a secret laden with the dead weight of what they’ve seen. My fingers that roved so often are joined in a saintly pose Resting on the hollow of my sorrows at the centre of my arrested heart. And my two feet are mountains, the last two hills that I saw at the very moment I lost the race That the years always win. My memory is resembling Children, bear it swiftly away, go, go my life is over. My corpse is as soft as a glove. Le Violon also fits the theme of storytelling. The piece tells the story of a woman who is thoroughly seduced by a violinist and his playing. She gives into his music as people madly give into love. Violon Violin Couple amoureux aus accents méconnus Le violon et son joueur me plaisent. Ah! j’aime ces gémissements tendus Sur la corde des malaises. Aux accords sur les cordes des pendus À l’heure où les Lois se taisent Le cœur en forme de fraise S’offre à l’amour comme un fruit inconnu. Loving couple of misapprehended sounds Violin and its player please me. Ah! I love these long wailings stretched on the string of disquiet. To the sound of strung-up chords At the hour when justice is silent The heart shaped like a strawberry Gives itself to love like an unknown fruit. Fleurs embodies the theme of love, specifically, lost love. The character explores her memories of what the relationship once was, and what she is left with now that it has faded. Fleurs Flowers Fleurs promises, fleurs tenues dans tes bras, Fleurs sorties des parenthèses d’un pas, -Qui t’apportait ces fleurs l’hiver Saupoudrés du sable des mers? Sable de tes baisers, fleurs des amours fanées Les beaux yeux sont de cendre et dans la cheminée Un cœur enrubanné de plaintes Brûle avec ses images saintes. Promised flowers, flowers held in your arms, Flowers from a step’s parentheses, -Who brought you these flowers in winter Sprinkled with the sea’s sand? Sand of your kisses, flowers of faded loves Your lovely eyes are ashes and in the hearth A moan-beribboned heart Burns with its sacred images. This set of Spanish pieces was carefully selected to showcase songs that live in the heart and soul of the Hispanic people. These are songs of the New World, for they were conceived in Latin America. Alma Llanera was composed by Pedro Elias Gutierrez. The piece is considered to be the second national anthem of Venezuela. Alma Llanera fits within the theme of storytelling. In a special way, this song revives in me how I feel for the Dominican Republic and that is the story that I’m choosing to tell you as I sing it. Alma Llanera Soul of the River Bank Yo, yo nací en esta ribera del Arauca vibrador soy hermana de la espuma, de las garzas, de las rosas, soy hermano de la espuma, de las garzas, de las rosas, y del sol, y del sol. Me, arrulló la viva diana de la brisa del palmar, y por eso tengo el alma, como el alma primorosa, del cristal, del cristal. Amo, lloro, canto, sueño con claveles de pasión, con claveles de pasión, Amo, lloro, canto, sueño para ornar las rubias crines del potro de mi amador. Yo nací en esta ribera del Arauca vibrador Soy hermano de la espuma de las garzas, de las rosas, y del sol. I was born on the banks of the pulsing Arauca River I'm the sister of the foam of the herons and of the roses I am a brother of the foam, of the herons, of the roses and of the sun, and of the sun. The lively reveille of the breeze lulled me in the palm grove, and that is why my soul is like the exquisite soul of the crystal, of the crystal. I love, I cry, I sing, I dream, with carnations of passion, with carnations of passion, I love, I cry, I laugh, I dream, to adorn the blonde tail of my love’s horse. I was born on the banks of the pulsing Arauca River I am a brother of the foam, of the herons, of the roses and of the sun. El Dia Que Me Quieras was composed by Carlos Gardel, the acclaimed tango composer. Gardel won the hearts of the people around the world for his identification with the working class—this was obvious in the content of his music. This piece illustrates the theme of love not yet shared. The character imagines what would be like to be loved in return. El Dia que Me Quieras The Day You Love Me Acaricia mi ensueño el suave murmullo de tu suspirar. Como rie la vida si tus ojos negros me quieren mirar. Y si es mio el amparo de tu risa leve que es como un cantar, ella aquieta mi herida, todo todo se olvida. El día que me quieras la rosa que engalana, se vestirá de fiesta con su mejor color. Y al viento las campanas dirán que ya eres mía, y locas las fontanas se contaran su amor. La noche que me quieras desde el azul del cielo, las estrellas celosas nos mirarán pasar. Y un rayo misterioso hara nido en tu pelo, luciernaga curiosa que veras que eres mi consuelo. It caresses my dream the smooth murmur of your sighing. How life laughs if your black eyes want to look at me. And if it is mine the shelter of your slight laughter that is like singing, it calms my wound, everything is forgotten. The day that you love me The rose that adorns, will dress in celebration with its best color And to the wind the bells will say that already you are mine, and the crazy fountains will tell about their love. The night that you love me from the blue of the sky the jealous stars will watch us go by. And a mysterious ray will nest in your hair, inquisitive glow-worm that will see that you are my consolation. Sabor a Mi, composed by Alvaro Carrillo (Mexican composer), is a staple for Latin American people. It is safe to say that a lot of us Latinos grew up listening to and singing this song. Sabor a Mi fits within both the love and storytelling themes. Throughout the song the character tells the story of a passed love with who she shared all her “flavor.” And therefore, even after time has passed both lovers share each other’s “flavor.” Sabor a Mi A Taste of Me Tanto tiempo disfrutamos de este amor, nuestras almas se acercaron tanto así, que yo guardo tu sabor pero tú llevas también sabor a mí. Si negaras mi presencia en tu vivir bastaría con abrazarte y conversar tanta vida yo te di que por fuerza llevas ya sabor a mí. No pretendo ser tu dueño, no soy nada, yo no tengo vanidad de mi vida doy lo bueno soy tan pobre que otra cosa puedo dar? Pasarán más de mil años muchos más yo no sé si tenga amor la eternidad pero allá tal como aquí en la boca llevarás sabor a mí. We’ve enjoyed our love for all this time that our soul came together just like this that I’ll always have your taste, but you will also hold a taste of me. If you’d deny my presence in your life I would only need to hold you and converse so much life I’ve gave to you that by strength you’d carry on a taste of me. I don’t pretend to be your owner, I'm no one, I don’t have any vanity, of this life I give my best I’m so poor that nothing else I can give. A thousand years or more will have to pass, I don’t know if there is love in eternity but from then till now on in your mouth you’ll always have a taste of me. Granada was composed by Mexican singer and songwriter Agustin Lara, one of the great “boleristas” of his time. Granada fits within the themes of love and storytelling. The song illustrates Lara’s close connection to the land of Granada. Throughout the song he depicts Granada’s beauty, uniqueness and identity. Granada Granada Granada, tierra soñada por mí, mi cantar se vuelve gitano cuando es para ti. Mi cantar, hecho de fantasía, mi cantar, flor de melancolía, que yo te vengo a dar. Granada, tierra ensangretada en tardes de toros, mujer que conserva el embrujo de los ojos moros. De sueño, rebelde, gitana cubierta de flores, y beso tu boca de grana, jugosa manzana que me habla de amores. Granada, land of my dreams, my song becomes a gypsy song when I sing to you. My song, born of fancy; my song, melancholy flower, that I've come to offer you. Granada, land covered in blood from the bullfighting afternoons, woman who retains the spell of Moorish eyes. A dream-land, a rebel, a gypsy, covered with flowers, and I kiss your scarlet mouth, juicy apple that tells me about love affairs. Special thanks to Hector Velez (my uncle) for providing valuable background pertaining to the four popular Latin American songs. Upcoming Events December 4 - Ford - 4:00pm - Symphony Orchestra (Webstreamed) 4 - Hockett - 5:00pm - Intergenerational Choir 5 - Hockett - 7:00pm - Woodwind Chamber Ensemble 5 - Ford - 8:15pm - Monday Jazz Lab 6 - Ford - 8:15pm - Percussion Ensemble 7 - Hockett - 7:00pm - Piano Chamber Ensembles 7 - Ford - 8:15pm - Wind Ensemble (Webstreamed) 8 - Hockett - 6:30pm - String Quartet Marathon 8 - Ford - 8:15pm - Concert and Symphonic Bands 9 - Ford - 8:15pm - Jazz Ensemble 10 - Ford - 9:30am - Faculty Showcase Concert 10 - Ford - 8:15pm - Chamber Orchestra (Webstreamed) 11 - Ford - 3:00pm - Winter Choral Concert 11 - Ford - 8:15pm - Percussion Ensemble 12 - Ford - 8:15pm - Wednesday Jazz Lab 13 - Hockett - 7:00pm - Piano/Instrumental Duos 15 - Ford - 7:00pm - Campus Choral Ensemble