Tuesday Evening, May 13, 2014, at 7:30 George Washington University Lisner Auditorium Vocal Arts DC presents The Ann K. Perman Memorial Concert Lawrence Brownlee, Tenor and Kevin Murphy, Piano GIUSEPPE VERDI Ad una stella (1813–1901) Lo spazzacamino Il tramonto Brindisi FRANCIS POULENC Montparnasse (1899–1963) Voyage à Paris C Reine des mouettes Bleuet JOSEPH MARX Nocturne (1882–1964) Selige Nacht Die Elfe Christbaum Hat dich die Liebe berührt Intermission (PROGRAM CONTINUED)
Transcript
Tuesday Evening, May 13, 2014, at 7:30 George Washington University Lisner Auditorium
Vocal Arts DCpresents
The Ann K. Perman Memorial Concert
Lawrence Brownlee, Tenorand
Kevin Murphy, Piano
GiUsEppE VErdi Ad una stella (1813–1901) Lo spazzacamino il tramonto Brindisi
FrAncis poULEnc Montparnasse (1899–1963) Voyage à paris c reine des mouettes Bleuet
JosEph MArx nocturne (1882–1964) selige nacht die Elfe christbaum hat dich die Liebe berührt
Intermission
(Program continued)
ALBErTo GinAsTErA cinco canciones populares Argentinas (1916–1983) chacarera Triste Zamba Arrorró Gato
BEn MoorE The cloak, The Boat, and The shoes (b. 1960) This heart that flutters The Lake isle of innisfree i would in that sweet bosom be
ArrAnGEMEnTs oF spiriTUALs Every time i feel de spirit (Arr.: dAMiEn snEEd, There is a balm in Gilead b. 1978) All night, all day deep river come by here dear Lord
Through extraordinarily generous gifts while living and in her estate plan, the late Ann K. perman established the foundation of the Vocal Arts society’s financial reserves, thus significantly helping to ensure the organization’s long-term viability. in grateful memory, the Board of directors has decided that one concert in each season will be designated as the “Ann perman Memorial concert.”
Vocal Arts dc is funded, in part, by the dc commission on the Arts & humanities, an agency supported in part by the national Endowment for the Arts. Vocal Arts dc is also the grateful recipient of major grants from the national Endowment for the Arts and The Morris & Gwendolyn cafritz Foundation and appreciates generous support from The dallas Morse coors Foundation and the nancy peery Marriott Foundation, inc.
A complement of free tickets to this evening’s recital has been made available to students through a generous contribution to Vocal Arts dc by susan and daniel Joseph.
Built in 1943, GW Lisner Auditorium is an historic, 70-year-old d.c. cultural institution. A vibrant cultural asset to the university and to the city, Lisner has presented John Williams, B.B. King, Emmy Lou harris, sweet honey in the rock, indigo Girls, Alvin Ailey, Martha Graham, Washington Ballet, david sedaris and numerous other world-class artists.
Notes on the ProgramBy Kelley rourKe
Giuseppe Verdi, one of our greatest vocal composers, wrote only a handful of songs—in fact, the number of operas by the italian master exceeds the number of his stand-alone songs. Tonight’s selections come from his second collection of Sei Romanze (1845), written during the period Verdi referred to as his “years in the galleys.” Verdi’s first opera, Oberto, had appeared in 1839, and by 1845 he had seven more operas to his credit, including Nabucco and Ernani. The young master’s sure hand is already evident in these delightful songs, with vocal lines that soar and dance—from the reflective “il tramonto” to the rollicking “Brindisi.”
Francis poulenc was associated with “Les six,” an irreverent, reactionary group of composers working in Montparnasse in the 1920s. his catalog includes three operas, as well numerous instrumental and vocal works. The poetry poulenc chose for his songs tends toward the suggestive and surreal, and his settings are by turns playfully naïve and suffused with a sophisticated world-weariness. But there is nothing veiled or jaded about Voyage à Paris—a simple, exuberant affirmation of everything the guidebooks and hollywood have led us to believe about the city.
The Austrian composer, essayist and pedagogue Joseph Marx, a near-exact contemporary of poulenc’s, wrote more than 150 songs. Tonight’s selections give us an idea of his range—from a solitary nighttime rapture, to a seductive elfin invitation, to a soaring, hymn-like setting of “hat dich die liebe berührt.”
Alberto Ginastera wrote his Canciones Populares Argentinas in 1943, during a period when his works were characterized by what he called “objective
nationalism”—a direct use of folk themes and rhythms. The excitement of the chacarera, a fast dance in triple meter, makes an apt curtain-raiser, setting off the arid emptiness of the song of unrequited love that follows. The zamba, an eighteenth-century scarf dance of peruvian origin, sways gently as the singer makes his case to a reluctant beloved. of all the songs in the group, “Arrorró” is closest to its source, with text, rhythm and melody of a traditional lullaby exactly rendered over Ginastera’s somnolent accompaniment. The group concludes with an unrestrained “cat dance,” a descendent of the spanish romanza.
The songs of Ben Moore are remarkable for melodies that are at once original and inevitable, fitted to gracious piano textures. A simple tune for Yeats’ “The cloak, The Boat, and the shoes” is heard anew as the accompaniment shifts beneath each verse. A glimpse of something fragile and fleeting in “This heart that flutters” finds its contrast in the simple determination to live deliberately in innisfree.
in creating his new arrangements of spirituals, composer damien sneed writes, “our aim and goal was to pull from the incredible historical legacy created by composers such as harry T. Burleigh, hall Johnson, Margaret Bonds and even Moses hogan while including elements of American jazz music and gospel music from the African-American church experience. My hope is that these arrangements expand the listening audience of this art form while simultaneously bringing attention to its rich heritage.” From the jaunty, urgent “come by here, Good Lord,” to the spacious “deep river,” sneed has blessed these beloved tunes with striking settings.
Texts and Translations
Texts and translations of the songs were provided by the artist and have not been edited by Vocal Arts DC.
“Ad una stella”GiUsEppE VErdi (1813–1901)poem by Andrea Maffei (1798–1885)
Bell’astro della terra, Luce amorosa e bella,Come desia quest’animaOppressa e prigionieraLe sue catene infrangere,Libera a te volar!
Gl’ignoti abitatoriChe mi nascondi, o stella,Cogl’angeli s’abbraccianoPuri fraterni amori,Fan d’armonie cogl’angeliLa spera tua sonar.
Le colpe e i nostri affanniVi sono a lor segreti,Inavvertiti e placidi Scorrono i giorni e gli anni,Nè mai pensier li novera,Nè li richiama in duol.
Bell’astro della sera,Gemma che il cielo allieti,Come alzerà quest’animaOppressa e prigionieraDal suo terreno carcereAl tuo bel raggio il vol!
“To a star”
Beautiful star of the earth,Amorous and beautiful light,how desires this soul,oppressed and imprisoned,To break its chains,Free to fly to you!
The unknown inhabitantsThat you hide from me, oh star,Embrace with the angelsin pure brotherly love,Making in harmony with the angelsYour sphere to sound.
our faults and worriesAre secrets to them there;carefree and calm,The days and years run by,With no thought of counting them,nor recalling them in sadness.
Beautiful star of the night,Gem in which heaven delights,if only this soul could rise, this soul,oppressed and imprisoned,From its earthly jailTo your beautiful ray in flight. translation: roBert grady
Texts and Translations
“Lo spazzacamino”GiUsEppE VErdi (1813–1901)poem by s. Manfredo Maggioni (1792–1870)
Lo spazzacamin! Son d’aspetto brutto e nero,
Tingo ognun che mi vien presso;Sono d’abiti mal messo,Sempre scalzo intorno io vo.
Ah! di me chi sia più lietoSulla terra dir non so.Spazzacamin! Signori, signore, lo spazzacamin
Vi salva dal fuoco per pochi quattrin.Ah! Signori, signore, lo spazzacamin!
Io mi levo innanzi al sole E di tutta la cittade Col mio grido empio le stradeE nemico alcun non ho.
Ah, di me chi sia più lietoSulla terra dir non so.Spazzacamin! Signori, signore, lo spazzacamin
Vi salva dal fuoco per pochi quattrin.Ah! Signori, signore, lo spazzacamin!
Talor m’alzo sovra i tetti,Talor vado per le sale;Col mio nome i fanciulettiTimorosi e quieti io fo.
Ah, di me chi sia più lietoSulla terra dir non so.Spazzacamin! Signori, signore, lo spazzacamin
Vi salva dal fuoco per pochi quattrin.Ah! Signori, signore, lo spazzacamin!
“The Chimney Sweep”
The chimney-sweep! i seem ugly and black,
i stain everyone who presses against me;i am badly dressed,Ever barefoot around i go.
Ah! Who could be as happy as i—on earth i cannot say!chimney-sweep! Ladies and gentlemen,
the chimney-sweepWill save you from fire for a few pennies.Ah! ladies and gentlemen, the chimney-sweep!
i get up before the sunAnd through all the cityWith my cry i fill the streetsAnd i do not have one enemy.
Ah! Who could be as happy as i—on earth i cannot say!chimney-sweep! Ladies and gentlemen,
the chimney-sweepWill save you from fire for a few pennies.Ah! ladies and gentlemen, the chimney-sweep!
now i rise to the rooftopsnow i go through the roomsWith my name the little childrenTimid and quiet i make
Ah! Who could be as happy as i—on earth i cannot say!chimney-sweep! Ladies and gentlemen,
the chimney-sweepWill save you from fire for a few pennies.Ah! ladies and gentlemen, the chimney-sweep! translation: stuart Williams
Texts and Translations
“Il tramonto”GiUsEppE VErdi (1813–1901)poem by Andrea Maffei (1798–1885)
Amo l’or del giorno che muoreQuando il sole già stanco declina,E nell’onde di queta marinaVeggo il raggio supremo languir.In quell’ora mi torna nel coreUn’età più felice di questa;In quell’ora dolcissima e mestaVolgo a te, cara donna, il sospir.
L’occhio immoto ed immoto il pensiero,Io contemplo la striscia lucenteChe mi vien dal seren, dal sereno occidenteLa quiete solcando, solcando del marE desio di quell’aureo sentieroRavviarmi sull’orma infinita
Quasi debba la stanca mia vitaAd un porto di pace guidar.
“Twilight”
i love the time of the dying dayWhen the sun already weary declines,And in the wave of the still seai see the last ray languish.At this time there returns to my heartAn era happier than this one;in this hour so very sweet and sadMy sigh turns to you, dear lady.
The eye fixed and fixed the thought,i contemplate the radiant streamThat reaches me from the serene WestThe placid furrowing of the seaAnd i desire of this gilded pathTo set my foot once more on the
endless wayAs if it should my weary lifeGuide to a haven of peace.
translation: stuart Williams
“A Toast”
pour me some wine! only you, o glass,of all the earthly pleasures, are not a liar.You, life of the senses, joy of the heart.i have loved; two fatal glances inflamed me;i believed the friendship of the girl
without wings,foolishness of youth, illusory imaginings.
pour me some wine, joy of the heart. A friend, a lover will leave after a while,but you have no fear of that which destroys all:Age doesn’t offend you, it increases
your virtue.April has faded, the roses have fallen,You are the one that lightens troubling
worries,it is you that brings back the joy that once was.
“Brindisi”GiUsEppE VErdi (1813–1901)poem by Andrea Maffei (1798–1885)
Mescetemi il vino! Tu solo, o bicchiero,Fra gaudi terreni non sei menzognero,Tu, vita de’ sensi, letizia del cor.Amai; m’infiammaro due sguardi fatali;Credei l’amicizia fanciulla senz’ali,
Follia de’ prim’anni, fantasma illusor.
Mescetemi il vino, letizia del cor.
L’amico, l’amante col tempo ne fugge,Ma tu non paventi chi tutto distrugge:L’età non t’offende, t’accresce virtù.
Sfiorito l’aprile, cadute le rose,Tu sei che n’allegri le cure noiose:
Sei tu che ne torni la gioia che fu.
Texts and Translations
Mescetemi il vino, letizia del cor.
Chi meglio risana del cor le ferite?
Se te non ci desse la provvida vite,
Sarebbe immortale l’umano dolor.Mescetemi il vino! Tu sol, o bicchiero,Fra gaudi terreni non sei menzognero,Tu, vita de’ sensi, letizia del cor.
KHk
pour me some wine, joy of the heart.
Who better than you can heal the heart of its wounds?
if you had not given us your provident vine,
human pain would be immortal.pour me some wine! only you, o glass,of all the earthly pleasures, are not a liar.You, life of the senses, joy of the heart.
translation: loretta casalaina
“Montparnasse”FrAncis poULEnc (1899–1963)poem by Guillaume Apollinaire (1880–1918)
Ô porte de l’hôtel avec deux plantes vertesVertes qui jamaisNe porteront de fleursOù sont mes fruits? Où me planté-je?
Ô porte de l’hôtel un ange est devant toiDistribuant des prospectusOn n’a jamais si bien défendu la vertuDonnez-moi pour toujours une chambre
à la semaineAnge barbu vous êtes en réalitéUn poète lyrique d’AllemagneQui voulez connaître ParisVous connaissez de son pavéCes raies sur lesquelles il ne faut pas que l’on
marcheEt vous rêvezD’aller passer votre Dimanche à GarchesIl fait un peu lourd et vos cheveux sont longs
Ô bon petit poète un peu bête et trop blond
Vos yeux ressemblent tant à ces deux grands ballons
Qui s’en vont dans l’air purÀ l›aventure
“Montparnasse”
oh hotel door, with your two green plantswhich will neverbear any flowers,say: Where are my fruits? Where am i planting
myself ?hotel door, an angel stands outside youhanding out leaflets(virtue has never been so well defended!).Give me in perpetuity a room at the
weekly rate.oh bearded angel, you are reallya lyric poet from Germanywho wants to get acquainted with paris.You know that between its paving-stonesthere are lines which one must not step on.
And you dreamof spending sunday at a mansion out of town.The weather is a bit oppressive and your hair
is long;oh good little poet, you’re rather stupid and
too blond.Your eyes look so much like those two big
balloonsfloating off in the pure airwherever chance takes them...
translation: Peter loW
Texts and Translations
“Voyage à Paris”FrAncis poULEnc (1899–1963)poem by Guillaume Apollinaire (1880–1918)
Ah! la charmante choseQuitter un pays morosePour ParisParis joliQu’un jour dût créer l’Amour.
“Going to Paris”
Ah, how delightful it isto leave a dismal placeand head for Paris!Beautiful Paris,which one day Love had to create!
translation: Peter loW
“C”FrAncis poULEnc (1899–1963)poem by Louis Aragon (1897–1982)
J’ai traversé les ponts de Cé C’est là que tout a commencé Une chanson du temps passé Parle d’un chevalier blessé D’une rose sur la chaussée, Et d’un corsage délacé Du château d’un duc insensé, Et des cygnes dans ses fossés De la prairie où vient danser Une éternelle fiancée Et j’ai bu comme un lait glacé, Le long des laïcs de gloires faussées La Loire emporte mes pensées
Avec des voitures versées Et les armes désamorcées Et les larmes mal effacées Oh ma France, ô ma délaissée; J’ai traversé les ponts de Cé.
“C”
i have crossed the bridges of cé,it is there that it all beganA song of bygone daysTells the tale of a wounded knightof a rose on the carriagewayAnd an unlaced bodiceof the castle of a mad dukeAnd swans on the moatsof the meadow where comes dancingAn eternal betrothed love.And i drank like iced milkThe long lay of false gloriesThe Loire carries my thoughts away
with theoverturned carsAnd the unprimed weaponsAnd the ill-dried tearsoh my France oh my forsaken Francei have crossed the bridges of cé.
Texts and Translations
“Reine des mouettes” FrAncis poULEnc (1899–1963)poem by Louise Leveque de Vilmorin (1902–1969)
Reine des mouettes, mon orpheline,Je t’ai vue rose, je m’en souviens,Sous les brunes mousselinesDe ton deuil ancien.Rose d’aimer le baiser qui chagrineTu te laissais accorder à mes mainsSous les brunes mousselinesVoiles de nos liens.Rougis, rougis, ma baiser te devineMouette prise aux noeuds des grands chemins.
Reine des mouettes, mon orphelineTu étais rose accordée à mes mainsRose sous les mousselinesEt je m’en souviens.
“Queen of the seagulls”
Queen of the seagulls, my orphan,i have seen you pink, i remember it,Under the misty muslinsof your bygone mourning.pink that you liked the kiss which vexes you,You surrendered to my handsUnder the misty muslins,Veils of our bond.Blush, blush, my kiss divines you,seagull captured at the meeting of the great
highways.
Queen of the seagulls, my orphan,You were pink surrendered to my hands,pink under the muslins,And i remember it.
“Bleuet”FrAncis poULEnc (1899–1963)poem by Guillaume Apollinaire (1880–1918)
Jeune hommeDe vingt ansQui as vu des choses si affreusesQue penses-tu des hommes de ton enfance
Tu connais la bravoure et la ruse,Tu as vu la mort en face plus de cent fois
Tu ne sais pas ce que c’est que la vieTransmets ton intrépidité À ceux qui viendront Après toi Jeune hommeTu es joyeux, ta mémoire est ensanglantée
Ton âme est rouge aussiDe joieTu as absorbé la vie de ceux qui sont morts près
de toiTu as de la décision
“Cornflowers”
Young man,20 years old,You who have seen such frightful things,What do you think of the men of your
childhood?You know gallantry and deceit.You have seen death face to face more than
a hundred times.
You do not know what life is.Transmit your lack of fearto those who will come after you.
Young man,you are joyous, your memory is stained with
blood.Your soul is also red.With joy,you have absorbed the lives of those who died
near you.You have determination.
Il est 17 heures et tu saurais
MourirSinon mieux que tes aînésDu moins plus pieusementCar tu connais mieux la mort que la vieÔ douceur d›autrefois,Lenteur immémoriale.
“Nocturne”JosEph MArx (1882–1964)poem by otto Erich hartleben (1864–1905)
Süß duftende Lindenblütein quellender Juninacht.Eine Wonne aus meinem Gemüteist mir in Sinnen erwacht.
Als klänge vor meinen Ohrenleise das Lied vom Glück,als töne, die lange verlorendie Jugend leise zurück.
Süß duftende Lindenblütein quellender Juninacht.Eine Wonne aus meinem Gemüteist mir zu Schmerzen erwacht.
Texts and Translations
it is five in the afternoon, and you should know
how to die,if not better than your elders,at least more piously,for you know death better than life.oh, for the sweetness of other times,the slowness of time immemorial.
KHk
“Nocturne”
sweet scented linden blossomin swelling June night,a delight from my soulawakened to my mind.
As if the song of joysounded softly in my ears,as if long-lost youthresounded quietly back to me.
sweet scented linden blossomin swelling June night,a delight from my soulawakened as pain.
translation: Hélène lidqvist
“Selige Nacht”JosEph MArx (1882–1946)poem by otto Erich hartleben (1864–1905)
Im Arm der Liebe schliefen wir selig ein,Am offnen Fenster lauschte der Sommerwind,Und unsrer Atemzüge Frieden Trug er hinaus in die helle Mondnacht.—
Und aus dem Garten tastete zagend sich Ein Rosenduft an unserer Liebe BettUnd gab uns wundervolle Träume,Träume des Rausches —so reich an Sehnsucht!
“Blissful Night”
in the arms of love we fell blissfully asleep;at the open window the summer wind listenedand carried the peacefulness of our breath out into the bright, moonlit night.
And out of the garden, feeling its way randomly,the scent of roses came to our bed of loveand gave us wonderful dreams,dreams of intoxication, rich with yearning.
Texts and Translations“Die Elfe”JosEph MArx (1882–1964)poem by Josef Karl Benedikt von Eichendorff (1788–1857)
Bleib bei uns! Wir haben den Tanzplan im Tal
bedeckt mit Mondesglanze, Johanneswürmchen erleuchten den Saal, die Heimchen spielen zum Tanze.
Die Freude, das schöne leichtgläubige Kind, [es]2 wiegt sich in Abendwinden: Wo Silber auf Zweigen und Büschen rinnt,da wirst du die Schönste finden.
“The Elf ”
stay with us! We have covered a clearing in the dell
with moonlight for the dance; fireflies illuminate the hall and crickets are playing dance-music. Joy, the fair, overcredulous child, is lulled by the evening winds; where silver runs on branch and bush you will find the fairest girl.
“Christbaum”JosEph MArx (1882–1964)poem by christiane rosalia Friederik (1839–1901)
Hörst auch du die leisen Stimmen aus den bunten Kerzlein dringen?die vegessenen Gebete aus den Tannenzweiglein singen?
Hörst auch du das schüchternfrohe, helle Kinderlachen klingen?Schaust auch du den stillen Engel mit den reinen weissen Schwingen?
Schaust auch du dich selber wieder, fern und fremd dich wie im Traume?Grüsst auch dich mit Märchenaugen deine Kindheit aus dem Baume?Deine Kindheit!
“Christmas Tree”
do you also hear the soft voicescoming from the colorful little candles?The forgotten prayerssinging from the little branches of the fir tree?
do you also hear the timid but happybright laughter of children ringing?do you also see the silent angelwith the pure white wings?
do you also see yourself again?strangely, from a distance, like a dream?does your childhood greet youlike a fairytale from the tree?Your childhood!
Texts and Translations
“Hat dich die Liebe berührt”JosEph MArx (1882–1964)poem by paul heyse (1830–1914)
Hat dich die Liebe berührt,Still unterm lärmenden VolkeGehst du in goldner Wolke,Sicher von Gott geführt.
Nur wie verloren, umherLässest die Blicke du wandern,Gönnst ihre Freuden den Andern,Trägst nur nach einem Begehr.
Scheu in dich selber verzückt,Möchtest du leugnen vergebens,Daß nun die Krone des LebensStrahlend die Stirn dir schmückt.
“If Love Hath Entered Thy Heart”
if love hath entered thy heart,still midst the tumult of people,Walking in golden sunlight,safely by God thou’rt led.
As lost in dreams thou dost go,Gazing on all things around thee,Leaving to others their pleasures,Led by one only desire.
shy, in thyself thou dost draw,Yet wouldst deny it, how vainly,That now the crown of thy lifetime,shining thy brow adorns.
KHk
“Cinco canciones popolares argentias”ALBErTo GinAsTErA (1916-1983)Traditional Folk poems
“Chacarera”
A mí me gustan las ñatas Y una ñata me ha tocado Ñato será el casamiento Y más ñato el resultado. Cuando canto chacareras Me dan ganas de llorar Porque se me representa Catamarca y Tuoumán.
“Five Popular Argentinian Songs”
“Chacarera”
i love girls with little snub nosesand a snub-nose girl is what i’ve got. ours will be a snub-nose weddingand snub-nosed children will be our lot. Whenever i sing a chacarerait makes me want to cry,because it takes me back tocatamarca and Tuoumán.
translation: Jacqueline cocKBurn
Texts and Translations
“Triste”
Ah! Debajo de un limón verde Donde el agua no corría Entregué mi corazón A quien no lo merecía.
Ah! Triste es el día sin sol Triste es la noche sin luna Pero más triste es querer Sin esperanza ninguna.
“Sad”
Ah! Beneath a lime treewhere no water flowedi gave up my heartto one who did not deserve it. Ah! sad is the sunless day. sad is the moonless night. But sadder still is to lovewith no hope at all.
“Zamba”
Hasta las piedras del cerro Y las arenas del mar Me dicen que no te quieraY no te puedo olvidar.Si el corazón me has robadoEl tuyo me lo has de dar El que lleva cosa ajena Con lo suyo ha de pagar Ay!
“Zamba”
Even the stones on the hillsideand the sand in the seatell me not to love you. But i cannot forget you. if you have stolen my heartthen you must give me yours. he who takes what is not hismust return it in kind. Ay!
“Arrorró”
Arrorró mi nene, Arrorró mi sol,Arrorró pedazo De mi corazón. Este nene lindo Se quiere dormir Y el pícaro sueño No quiere venir.
“Lullaby”
Lullaby my baby;lullaby my sunshine;lullaby partof my heart. This pretty babywants to sleepand that fickle sleepwon’t come.
Texts and Translations
“Gato”
El gato de mi casaEs muy gauchito Pero cuando lo bailanZapateadito.Guitarrita de pinoCuerdas de alambre.Tanto quiero a las chicas, Digo, como a las grandes. Esa moza que bailaMucho la quiero Pero no para hermanaQue hermana tengo. Que hermana tengoSi, pónte al frente Aunque no sea tu dueño, Digo, me gusta verte.
“The Cat”
The cat of the houseis most mischievous,but when they dance,they stamp their feet. With pine guitarsand wire strings. i like the small girlsas much as the big ones. That girl dancingis the one for me. not as a sisteri have one already. i have a sister. Yes, come to the front. i may not be your masterbut i like to see you.
translation: Jacqueline cocKBurn
KHk
“The cloak, the boat, and the shoes”BEn MoorE (1960–)poem by William Butler Yeats (1865–1939)
‘What do you make so fair and bright?’
‘i make the cloak of sorrow:o lovely to see in all men’s sightshall be the cloak of sorrow,in all men’s sight.’
‘What do you build with sails for flight?’
‘i build a boat for sorrow:o swift on the seas all day and nightsaileth the rover sorrow,All day and night.’
‘What do you weave with wool so white?’
‘i weave the shoes of sorrow:soundless shall be the footfall lightin all men’s ears of sorrow,sudden and light.’
“This heart that flutters”BEn MoorE (1960–)poem by James Joyce (1882–1941)
This heart that flutters near my heart My hope and all my riches is, Unhappy when we draw apart And happy between kiss and kiss: My hope and all my riches—yes!— And all my happiness.
For there, as in some mossy nest The wrens will divers treasures keep, i laid those treasures i possessed Ere that mine eyes had learned to weep. shall we not be as wise as they Though love live but a day?
Texts and Translations
“The Lake Isle of Innisfree”BEn MoorE (1960–)poem by William Butler Yeats (1865–1939)
i will arise and go now, and go to innisfree,And a small cabin build there,
of clay and wattles made:nine bean-rows will i have there,
a hive for the honey-bee;And live alone in the bee-loud glade.
And i shall have some peace there, for peace comes dropping slow,
dropping from the veils of the morning to where the cricket sings;
There midnight’s all a glimmer, and noon a purple glow,
And evening full of the linnet’s wings.
i will arise and go now, for always night and day
i hear lake water lapping with low sounds by the shore;
While i stand on the roadway, or on the pavements grey,
i hear it in the deep heart’s core.
“I would in that sweet bosom be”BEn MoorE (1960–)poem by James Joyce (1882–1941)
i would in that sweet bosom be(o sweet it is and fair it is!)Where no rude wind might visit me.Because of sad austeritiesi would in that sweet bosom be. i would be ever in that heart(o soft i knock and soft entreat her!)Where only peace might be my part.Austerities were all the sweeterso i were ever in that heart.
KHk
About the Artists
The most in-demand American tenor in the world in the bel canto repertoire, Lawrence Brownlee continues to astonish audiences with the power
and agility of his instrument. From firmly American roots, Brownlee has become a star on the international scene, performing opposite the leading ladies of opera, and lauded continually for the seemingly effortless beauty of his voice.
Brownlee began his 2013-14 season with the seattle opera, a company with which he has deep roots, where he appeared as Tonio in La fille du régiment. he then traveled down the pacific coast to make his Los Angeles opera debut as Tamino in The Magic Flute. Brownlee was thrilled to appear this winter at the Wiener staatsoper and the Bayerische staatsoper in productions of L’elisir d’amore, in which he portrayed nemorino, Il turco in italia in the role of narciso, and as ramiro in La Cenetentola. his season ended with I puritani at the Metropolitan opera. one of the non-operatic highlights of the season was his appearance with his friend and collaborator damien sneed in “spiritual sketches” at Lincoln center’s American songbook series. The concert takes its name from the critically acclaimed recording of spirituals that Brownlee and sneed released last season. Brownlee is also pleased to be giving a recital this winter at the Grand Théâtre de Genève in switzerland.
The 2012/2013 season opened with a solo recital program at the Wigmore hall in London. he then debuted at the Grand Théâtre de Genève in a production of Il
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barbiere di Siviglia. his season also featured a U.s. recital tour, including recitals at carnegie hall, cincinnati’s conservatory of Music, and sUnY potsdam. Brownlee also made his stage debut at the santa Fe opera with long-time collaborator Joyce didonato in a new production of La donna del lago. Additionally, Brownlee performed at houston Grand opera in L’italiana in Algeri and Le comte Ory with cecilia Bartoli at the Theater an der Wien, and a performance of Carmina Burana in russia. The season ended with La fille du régiment and L’elisir d’amore at the hamburgische staatsoper. Brownlee also had the honor of opening the Mostly Mozart Festival in new York with Louis Langrée and the Mostly Mozart orchestra. in 2011/2012, Brownlee’s high cs were on display when he was Tonio in La fille du régiment at the Metropolitan opera, where he is rapidly becoming a house favorite. Brownlee also performed in south Africa for the first time, a recital as part of cape Town opera’s season.
Brownlee has been featured in nearly every major theater in the world and enjoys a relationship with many premiere conductors and symphony orchestras. Among his other memorable engagements are: La Cenerentola in Milan, houston, philadelphia, and the Metropolitan opera; L’italiana in Algeri in Milan, dresden, Boston and seattle; I puritani in Washington and seattle; Mosé in Egitto in rome; Il turco in Italia in Toulouse and Berlin; Tancredi with the detroit symphony and on an eight-city European tour with the orchestre des champs-Élysées; La donna del lago in Washington; Semiramide and L’elisir d’amore, both at the caramoor Festival; Armida at the Metropolitan opera; La fille du régiment in hamburg, cincinnati and at the Metropolitan opera; salieri’s Axur, re d’Ormus in Zurich; L’ape musicale in Vienna,
About the Artists
and the world premiere of Lorin Maazel’s 1984 at covent Garden.
in the orchestral arena, he has been heard in Bach’s Magnificat in cincinnati; Messiah in houston, san Francisco, detroit, Baltimore, and indianapolis; Israel in Egypt in cleveland; the Mozart Mass in C minor in chicago and Baltimore; Carmina Burana with the Boston symphony orchestra at Tanglewood, and highlights from Porgy and Bess with the new York philharmonic (including a “Live From Lincoln center” telecast). Brownlee has performed recitals at the Kennedy center, Lincoln center’s Avery Fisher hall, in Atlanta, Tokyo, on London’s rosenblatt series, and others around the United states under the auspices of the Marilyn horne Foundation.
Brownlee’s discography/videography continues to grow impressively. The 2012–13 season saw the release of the critically acclaimed “spiritual sketches.” The album features ten traditional spirituals arranged by damien sneed. Brownlee performed them around the country in a solo recital tour, including his carnegie hall recital debut. The disc is both a re-imagining of and a love letter to a musical tradition in which Brownlee was raised. in 2012, EMi released a recording of rossini’s Stabat Mater, featuring Brownlee, Anna netrebko, Joyce didonato and ildebrando d’Arcangelo, with Antonio pappano leading the Accademia nazionale di santa cecilia. That same year, Brownlee was also featured on a pair of dVds: the Met opera’s 2010 hd relay of Armida on decca and Carmina Burana with sir simon rattle leading the
Berliner philharmoniker on EuroArts/opus Arte (a cd version of this performance already exists on EMi classics). other releases include cd sets: on opera rara, an exploration of rossini songs, and on naxos, L’italiana in Algeri conducted by Alberto Zedda. A live recording of Mayr’s Medea in Corinto from st. Gallen was released by oehms classics. Additionally, deutsche Grammophon released a dVd of the Metropolitan opera’s 2009 production of La Cenerentola with Elena Garanca as Angelina. Among his earlier cd releases is his first solo disc (EMi classics) featuring italian songs by schubert, Verdi, donizetti, Bellini and rossini, accompanied by Martin Katz. sony has released a live Il barbiere di Siviglia featuring Brownlee alongside Elena Garanca, Giovanna donadini, and nathan Gunn. decca has released a dVd of a performance from the covent Garden world premiere run of Lorin Maazel’s 1984, in which Brownlee took on the role of syme.
Brownlee was named the seattle opera’s 2008 Artist of the Year, received the opera company of philadelphia’s 2007 Alter Award for Artistic Excellence, and was the winner of both the 2006 Marian Anderson and richard Tucker Awards, a feat never before achieved by any artist in the same year. he participated in young artist programs at both the seattle and Wolf Trap operas. The ohio-born Brownlee received a Bachelor of Arts degree from Anderson University and a Master of Music degree from indiana University. he is a Life Member of Kappa Alpha psi Fraternity inc.
About the Artists
pianist Kevin Murphy is director of coaching and Music Administration for iU opera Theater and professor of practice at indiana University’s Jacobs school of Music.
in 2011, he was appointed director of the program for singers at ravinia’s steans Music institute and 2013-2014 marks his first season as Artistic consultant for the Tucson desert song Festival. previously, Murphy was director of Music Administration and casting Advisor at the new York city opera and director of Musical studies at the opéra national de paris. Kevin Murphy was the first pianist and vocal coach invited by Maestro James Levine into the prestigious Lindemann Young Artist program at the Metropolitan opera and from 1993–2006, he was an assistant conductor at the Met. in his capacity as a member of the music staff, Mr. Murphy played continuo harpsichord for many productions and toured Japan with the company. Murphy also performed in carnegie hall with the Met chamber ensemble and Met orchestra and frequently played chamber music with members of the Metropolitan opera orchestra.
in addition to his on- and off- stage partnership with soprano heidi Grant Murphy, Mr. Murphy has collaborated in concert and recital with artists such as Michelle deYoung, Bejun Mehta, Gary Lakes, Kathleen Battle, nathan Gunn, Elina Garanca, Matthew polenzani, cecilia Bartoli, Frederica von stade, placido domingo, paul Groves, renée Fleming, Gerald Finley, Kiri Te Kanawa,
and pinchas Zuckerman. he is respected for his work as a private vocal coach and teacher and has taught at san Francisco opera’s Merola program, the international Vocal Arts institute, Glimmerglass opera, Tanglewood and The Juilliard school. he has also assisted seiji ozawa in Japan in his Mozart/da ponte series, and has been a guest opera coach at opera companies such as the netherlands opera, canadian opera company and the ravinia Festival. in addition to playing and teaching, Mr. Murphy recently conducted and produced a staged concert performance of Mozart’s, Der Schauspieldirektor at indiana University and conducted the schwabacher concerts at san Francisco opera’s Merola program. he will be on the podium for Emmanuel chabrier’s, L’Étoile at cincinnati’s college conservatory of Music with robin Guarino directing. other chamber music and concert appearances include La Jolla’s summerfest, Music@Menlo, Vin et Musique Festival, Wigmore hall, suntory hall, spivey hall, Edinburgh Festival, salzburg’s Mozarteum and carnegie hall. Mr. Murphy has appeared on The Tonight Show with Gary Lakes, Good Morning America with cecilia Bartoli and The Today Show with renée Fleming and has recorded for the EMi, centaur, Arabesque and Koch labels. he is a frequent adjudicator for competitions, including the Metropolitan opera national council Auditions, where he also has served as official accompanist on stage at the Met.
A native of syracuse, new York, Kevin Murphy received his Bachelor of Music in piano performance from indiana University and his Master of Music in piano Accompanying from the curtis institute of Music. Mr. Murphy resides in Bloomington, indiana with his wife and four children.
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VOLUNTEERSVocal Arts dc gratefully acknowledges the dedicated service and contributions
of all its volunteers, whose myriad skills are invaluable.
VOCAL ARTS DC (founded as Vocal Arts Society)Vocal Arts dc is one of America’s leading presenters of concert song and is a vital force in the cultural life of the Washington metropolitan area. Vocal Arts works to keep alive the intimacy and conviviality that is the heritage of concert song through an annual recital series and through social and educational events that foster personal contact between performers and audience. Vocal Arts dc is a non-profit corporation, qualified under section 501(c)(3) of the internal revenue code.
BOARD OF DIRECTORSdaniel B. silver, President
Gerald perman, President Emeritus & Artistic Director Emeritus
sheridan harveyLynne LambertLeslie Morginson-EitzenWillard oplingerJeanne shojaatArthur r. smithLynn Trundle
Vocal Arts DC (The Vocal Arts Society)2013–14 season
DonorsVocal Arts dc thanks our donors for their generous support.
FOUNDERThe Morris & Gwendolyn
cafritz Foundationdc commission on the Arts
& humanitiesMartha & richard EllisonEstate of Thomas Jerry Floyd‡
Ernest & Anita hamelstephen E. Kitchennational Endowment for
the ArtsGerald permanrichard price & Trent TuckerEleanor robertsLori Laitman & Bruce
rosenblumJoachim roski & Victor pereaJon & nora Lee sedmakdaniel & sybil silverAdelaide & duncan Whitaker IMPRESARIOMarion G. Arkin & Joseph A.
Thomasstanley Asraelraymond Bahor & Michael r.T.
MahoneyThomas c. BrennanMaija BudowThe dallas Morse coors
FoundationMr. & Mrs. Matthew danielsM. sharon Greenedr. Walter L. Kirchnerroberta V. McKayingrid B. MeyerAlan J. savada & Will stevensonKeith & Barbara severin‡Gerhard & Louise UrbanFernando & stephanie van
reigersberg GUARANTORAnonymousrachel Abrahamrichard Abram & paul chandlerchrister & Mireya Ahlstewart L. AledortTom BrumbachAlexander d. craryWendy Fuller-Mora
John hardistyJoan h. JacksonJames h. KriegerMary Lynne McElroyMark W. ohnmachtGary & Trudy petersonAnnemarie & Len ralstonJoel & cynthia rosenbergMary & Bert salterdavid L. scallyMaika siebeckEd and Andy smithAlkinoos & Betsy Vourlekisrobert & Ann Wieczorowski BENEFACTORJudith Andrews Agardheinz ArnheiterBeatrice Bobotekhays r. Browningdonnie L. BryantBetty Byrnepeggy & Bill carrVictoria cordovaWilliam deGraffenreidMariana durbinJanet Farbsteinruth Bader GinsburgAlan Goldhammercharlotte p. GollobinJohn J. GreerMr. & Mrs. Louis heringWilliam heron & sylvia Mazachong ok hong TsengMary huntingtonEdward Jiran & Frank FarrowMargaret c. Jonesdaniel & Maeva MarcusEdward & noel Millerstephen nashnancy petriskoMrs. samuel J. rosenfeldJohn & Maryann sewellJohn A. TerryMarjorie coombs Wellman &
david J. WellmanAnthony & diane Wynshaw-
BorisMargaret Tobey & Glenn Youngpaul G. & Louise Ziluca
PATRONAnonymoussixto AquinoJean W. ArnoldWallace K. Bailey Jr.Alfred & natalie Brennercarole ButlerMichael p. daniels
& nancy-Jean danielsJay FellowsJohn & Eleanor ForrerLinda E. Gramlichcarmen Brissette GraysonGregg GrisaWilliam heron & sylvia MazaVirginia hodgesrosemarie hunzikerrichard W. hutton
& John s. cogswellFleta A. hyltonMarjorie G. Jovanovic-Johnsonsally hart MccallumJanet L. Mcclellandpeggy Mcnultychar Mollisondr. & Mrs. Allen Mondzacnancy o’haraMartha randallrobin rothrockVirginia schultzFred sellers & rosemary
Beaversdavid sholtzdavid & helen smithdaniel & ingeborg soberrobert & penelope strandMr. dennis J. sullivan Jr.Lynn TrundleJoan Wilentz SUSTAINERAnonymous (2)stephen F. AckertJohn ArkinKatrina ArnholdTheda BagdyThomas Bell & ronald ThrunElizabeth p. BensonVirginia M. Blanddonn BlockJaroslava Bloomberg
Francis BoucherAlfred c. Boyd Jr.Eva BrandtJohn Wade carey Jr. & Edward
J. coltmanVickie carlsonsusan cashsungcha hong chaMargaret s. childsean d. cockerillFrancine cohnconsumer reportsGillian cooksonLinda J. deramushilda EdererTimothy L. EdwardsMarian Farrelldr. david Findleyrenee Fischmannancy and steve FuhrmanMary Ann GaleKathleen Gallagherroger GilkesonMarilyn Wong GleysteenMary GottliebJune hajjarsheridan harveyole & ingrid cowan hassross hoffBarbara hollinsheadMayme Wilkins holtMurray horwitzsusan & daniel Josephhenry KahnAndrea & Joseph KerrBunty KetchamKimberly Kingcharlotte Kowitchstephen & Maria LansAlice J. LauthersJ. Martin LebowitzAnn Myongsook Leedan LevineJ. reilly LewisMargaret W. LichtBeatrice Liebenbergdonald V. Lincolnrebecca Littigdavid W. LovingThomas LowderbaughJennifer Marill & Marc MagramKathryn M. Magruderrhoda K. MancherMary Lee Maplesdevra c. MarcusMary Lynne Martindr. & Mrs. steven F. MazerJoan McKeeLeslie Morginson-Eitzen
shirley MoyerElisabeth & douglas parkerWilliam pearsonnorman permanharold plotsky, M.d.robert powelldavid r. pozorskicharles W. pughharold & Martha QuayleAnn recknorrichard ricard Jr.Bill Wears & Ted richardspatricia n. rogersYvonne sabineBill & dottie schmidthon. robert W. schreiberAlice W. senturiaFrances sharonMr. & Mrs. Gordon M. shawMarylu silbergeldLee & Amy simowitzJack sulserdavid TannousMr. & Mrs. hans TuchGudrun E. WatsonMichael Welty & patricia sigleysinclair WintonBarbara delman Wolfsonrobert Woodsue d. WrightAlbert Yarashussarah Yerkes
THE GERALD PERMAN FUND FOR EMERGING ARTISTSAnonymous (4)rachel AbrahamJudith Andrews Agardchrister & Mireya AhlJohn ArkinMarion G. Arkin & Joseph A.
Thomasstanley Asraelraymond Bahor & Michael r.T.
MahoneyThomas Bell & ronald ThrunJaroslava BloombergBeatrice BobotekThomas c. BrennanAlfred & natalie Brennerdonnie L. BryantMaija Budowpeggy & Bill carrVictoria cordovaMr. & Mrs. Matthew danielsMichael p. daniels
& nancy-Jean danielsWilliam deGraffenreid
Jay Fellowsnancy and steve FuhrmanWendy Fuller-Mora Alan Goldhammercarmen Brissette GraysonM. sharon GreeneErnest & Anita hamelMr. & Mrs. Louis heringVirginia hodgesMayme Wilkins holtchong ok hong TsengMurray horwitzMary huntingtonJoan h. JacksonEdward Jiran & Frank FarrowMargaret c. JonesMarjorie G. Jovanovic-Johnsondr. Walter L. Kirchnerstephen E. KitchenLori Laitman & Bruce
rosenblumAnn Myongsook Leedan Levinedavid W. Lovingdaniel & Maeva Marcusdevra c. MarcusMary Lynne Martinsally hart MccallumJanet L. Mcclellandroberta V. McKaypeggy Mcnultyingrid B. Meyerdr. & Mrs. Allen MondzacElisabeth & douglas parkernorman permannancy petriskoAnnemarie & Len ralstonBill Wears & Ted richardsEleanor robertspatricia n. rogersJoel & cynthia rosenbergMrs. samuel J. rosenfeldJoachim roski & Victor perearobin rothrockMary & Bert salterAlan J. savada & Will stevensondavid L. scallyVirginia schultzKeith & Barbara severin‡John & Maryann sewellMaika siebeckdaniel & sybil silverJohn A. TerryLynn TrundleGerhard & Louise UrbanFernando & stephanie van
reigersbergAlkinoos & Betsy Vourlekis
Marjorie coombs Wellman & david J. Wellman
Adelaide & duncan Whitakersinclair Wintondiane & Anthony Wynshaw-
Boris
‡ deceased
IN MEMORY OF BARBARA SEVERINpeggy & Bill carrMary & Bert salterAdelaide & duncan Whitaker
IN MEMORY OF KEITH & BARBARA SEVERINErnest & Anita hameldaniel and sybil silverAdelaide & duncan Whitaker
IN MEMORY OF JAMES OERTELErnest & Anita hamelphyllis d. haney & Joseph h.
MakurathMargaret & coy harrisKraig s. Lerudpatricia Mellen
IN HONOR OF JANET FARBSTEINrosemarie hunziker
GIVING KEYFounder: $5,000 and aboveimpresario: $2,500-$4,999Guarantor: $1,000-$2,499Benefactor: $500-$999patron: $250-$499sustainer: up to $249
(Listings reflect donations to Vocal Arts DC received between January 1, 2012—April 15, 2014)
Vocal Arts DC (The Vocal Arts Society)Roster of Artists
