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Blinn College District
Choral/Vocal Program
Concert at Dietrich Amphitheater
LET MUSIC FILL THE AIR!
Welcome! We are thrilled that you are joining us for our first live public performance in more than a year.
The students’ hard work, resilience in singing with masks, and passion for music has allowed us to have the great joy of being with you, the Brenham community.
Blinn College District Choral/Vocal Department singers have worked hard to create this beautiful music, and we hope that you will be inspired by our heartfelt music-making. Enjoy!
Warmly,
Dr. Paulo Gomes and Dr. Daniel Johnson
PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES.
PROGRAM
From the studio of Dr. Daniel Johnson
“Das Veilchen” W. A. Mozart (1756-1791)
Estefania Rivera, solo
“Io ti lascia, o cara, addio” W. A. Mozart (1756-1791)
Rasheedah Stewart, solo
“O rest in the Lord” (from Elijah) Felix Mendelssohn (1809-1847)
Esther Jarrett, solo
Chamber Choir
Dr. Jayoung Hong, pianist
Dr. Paulo Gomes, conductor
Glow Eric Whitacre (b. 1976)
Chimes Oliver Tarney (b. 1984)
A Flower Remembered. John Rutter (b. 1945)
From the studio of Dr. Daniel Johnson
“The Last Rose of Summer” from The Groves of Blarney Traditional Irish
Ruth Jarret, solo
“The Sound of Music” (from The Sound of Music) Rodgers & Hammerstein
Claire Hermes, solo
Women’s Chorus
Dr. Jayoung Hong, pianist
Dr. Paulo Gomes, conductor
Affrican Alleluia Jay Althouse (b. 1951)
Elijah Rock Victor Johnson (b. 1978)
Dirait -on Morten Lauridsen (b. 1943)
My song Ēriks Ešenvalds (b. 1977)
From the studio of Dr. Daniel Johnson
“An die Musik” Franz Schubert (1797-1828)
Amanda Jade Hope, solo
“Deh vieni alla finestra” (from Don Giovanni) W. A. Mozart (1756-1791)
Jaycob Steels, solo
“A Quiet Girl” (from Wonderful Town) Leonard Bernstein (1918-1990)
Ethan Cloud, solo
Concert Choir
Dr. Patricia Burnham, pianist
Dr. Paulo Gomes, conductor
Sissi Ni Moja Jacob Narverud (b. 1986)
Ain’t Gonna Let Nobody Turn Me Around arr. Rollo Dilworth (b. 1970)
Heroes and Dreamers Pinkzebra (b. 1970)
Blinn Choirs
Soprano I Rosie Mendoza Estefania Rivera Francesca White
Soprano II
Claire Hermes Amanda Jade Hope
Alto I
Jacqueline Andrade Naomi Barfield Irma Delgadillo Ruth Jarret Sonia Puebla
Alto II
Esther Jarret Keziah Smith Rasheedah Stewart
Tenor
Jaycob Steels
Bass
Roberto Andrade Ethan Cloud Joseph Koehler-Houlinhan
Acknowledgements Blinn College District’s Choir would like to thank the City of Brenham Parks and Recreations for
providing a concert venue for us.
Special thanks from Blinn College Choirs Dr. Mary Hensley, Ed.D. – Chancellor of the Blinn College District
Dr. Marcelo Bussiki –Vice Chancellor for Academic Affairs
Dr. John Turner – Assistant Vice Chancellor - Student Services
Blinn College Office of Marketing and Communications
Todd Quinlan
Dr. Daniel Johnson
Blinn Music Faculty
Nicole Ortiz
Visual /Performing Arts and Kinesiology Debbi Vavra, Division Academic Dean
Dr. Shelly Peacock, Assistant Dean
Craig Jeffrey, Assistant Dean
Dr. Keith Sylvester, Department Head for Visual Arts
Todd Quinlan, Department Head for Performing Arts
Britney Hibbeler, Department Head for Communication Studies
Jill Stewart, Coordinator Instrumental Music
Tim Weaver, Coordinator Digital Art
Interested in auditioning for Blinn College Vocal Program?
Please contact Dr. Paulo Gomes at [email protected] or at (979) 830-4239
Interested in auditioning for Blinn College Instrumental Program?
Please contact Dr. Sarah Burke at [email protected] or at (979) 830-4015
WOODWIND ENSEMBLE PROGRAM – MONDAY, MAY 4, 2021 7:00 PM O’DONNELL THEATER Libertango Astor Piazzolla/arr. Bart Picqueur
Saxophone Ensemble Sonatina Dmitry Kabalevsky/arr. W. Schmidt
Clarinet Ensemble Variations on The Vicar of Bray Traditional, arr. David Warin Solomons
Flute Trio
Airheads Gary Schocker Rosie Mendoza, Flute Sarah Fairman, Clarinet
Andante et Scherzo Eugene Bozza
Saxophone Ensemble Dancing Devil Jeffrey Ouper
Clarinet Ensemble Birds Herman Beeftink I. Birdsong II. Flight III. The Journey
Flute Trio Czardas Vittorio Monti/arr. Armando Ghidoni
Saxophone Quartet Andante y Allegro Hilarion Eslava y Elizondo
Clarinet Ensemble Jill Stewart, soloist
Saxophone Ensemble Clarinet Ensemble Flute Trio Brian Klekar-Soprano Sax Kayla Cabrera Rosario Cardoso Denzel Blackmon- Alto Sax & Soprano Sax Kali Crist Rosie Mendoza Ohany Acosta- Alto Sax Sarah Fairman Francesca White Kyle Truss- Tenor Sax Ray Martinez Tyrese Bell- Tenor Sax Mark Olvera Robert Andrade- Bari Sax
Program Information
May 5, 2021 @7PM, O’Donnell Performing Arts Center
Blinn College Brass Ensemble Dr. Kendall Prinz, conductor
Jon Kratzer, co-director
Three Pieces Ludwig Maurer (1789-1878) Edited by Robert Nagel Maestoso alla Marcia Andante con moto Allegro grazioso, un poco agitato Morgenmusik Paul Hindemith (1895-1963) Massig bewegt Langsame Viertel Bewegt
Blinn College Symphonic Percussion Dr. Kendall Prinz, conductor
Taiko Scott Harding (b. 1968) The Sound of Japanese Drumming Ludwig Albert (b. 1969)
Blinn College Symphonic Winds & Percussion Dr. Kendall Prinz, conductor
Vanishing Point Randall D. Standridge (b. 1976) English Folk Song Suite Ralph Vaughan Williams (1872-1958) Arr. Ed Huckeby Seventeen Come Sunday My Bonny Boy Folk Songs from Somerset
Blinn College Brass Ensemble Personnel Listed in alphabetical order
Trumpet
Bryant Bordovsky Connor Brown
Melinda Dunagan Robert Haring
Hector Martinez Shayla Smith
Horn Rachel Draehn
Edward Gandara Hernandez Gian Godinez
Tuba
Izabelle Kulow Luis Portillo
Blinn College Symphonic Winds & Percussion Personnel Listed in alphabetical order
Flutes
Jasmine Gonzalez Eva Zamarripa-Martinez
Clarinets
Kayla Cabrera Nhi Chau Chung
Katelyn Dyer Jalon Goodloe
Raymondo Martinez (Bass)
Saxophones Clarissa Derby Derek Stolarski
Tyrese Bell (Tenor) Gabriel Domingo (Tenor)
Percussion
Taylor Droemer Samantha Gomez Maxwell Hamlin
Jett Karels Noah Lerma
Angelica Mancera-Lopez Clarissa Sheppard
Spring 2021 Music Honors Recital - Thursday, May 6th 5:30pm Dr. W.W. O’Donnell Performing Arts Center
John Dujka, Piano (unless otherwise indicated)
Concerto in G W.A. Mozart I. allegro maestoso
Francesca White, Flute
Sonata for Flute and Piano Francis Poulenc III. presto giocoso
Rosie Mendoza, Flute
Tableaux de Provence Paule Maurice II. Cansoun per ma Mio III. La Boumiano IV. Dis Alyscamps L’amo Souspire
Robert Andrade, Alto Saxophone
Sonata Robert Muczynski I. Andante maestoso
Denzel Blackmon, Alto Saxophone
Fantaisie Denis Bedard Tyrese Bell, Tenor Saxophone
Concerto pour Vibraphone Solo Emmanuel Sejourne
Reynaldo Miranda, Vibraphone Dr. Sarah Burke, Piano
Second Sonata, Op. 120 No. 2 Johannes Brahms II. Allegro appassionato Edited: Eric Simon
Kali Crist, Clarinet
Sonatina Malcom Arnold I. Allegro con brio II. Andantino III. Furioso
Sarah Fairman, Clarinet
My Regards Edward Llewellyn Ali Shiminege-Knowles, Euphonium
Concerto for Bass Tuba Ralph Vaughn Williams I. Prelude: Allegro moderato
Luis Portillo, Tuba
Rhythmic Caprice Leigh Howard Stevens Jonathan Englishbee, Marimba
Spring 2021 Wind Symphony Concert- Friday, May 7th 6:00pm Dr. W.W. O’Donnell Performing Arts Center Parking Lot Dr. Sarah Burke, Conductor Program To Be Selected From: Ride Samuel Hazo Elegy for a Young American Ronald Lo Presti Easter Monday on the White House Lawn John Philip Sousa, Ed. R. Mark Rogers Lux Aurumque Eric Whitacre Morning Star David Maslanka This Cruel Moon John Mackey Until the Scars John Mackey Combined Work with the Blinn College District Symphonic Band At Morning’s First Light David R. Gillingham 2020-2021 Blinn College District Wind Symphony Piccolo *Francesca White Flute *Rosie Mendoza Rosario Cardoso Clarinet *Sarah Fairman Yvonne Perez Kali Crist Deisy Lino Bass Clarinet *Mark Olvera Alto Saxophone *Denzel Blackmon Ohany Acosta
Tenor Saxophone *Kyle Truss Baritone Saxophone *Roberto Andrade Trumpet *Hector Martinez Robert Haring Melinda Dunagan Shayla Smith French Horn *Rachel Draehn Mason Taylor Gian Godinez Nate Gandara Hernandez
Euphonium *Ali Shiminege-Knowles Tuba *Luis Portillo Percussion (alphabetical) Cole Crofton Jonathan Englishbee Miguel Hernandez Reynaldo Miranda Christian Moore Chase Rucker Mario Sanchez Chandler Teegarden *denotes principal player
Spring 2021 Percussion Ensemble and Steel Band Concert: Monday, May 10 2021 7:00pm Dr. W.W. O’Donnell Performing Arts Center Percussion Ensemble (works to be selected from) Three Scenes from the Desert Alex Stopa 1. Desert Sunrise 2. Waltz for a Rainy Day 3. Red Rock Canyon 2300 Degrees Ivan Trevino Kyoto John Psathas Vous avez du feu Emmanuel Sejourne Boom Bap Nick Werth Xpu-Ha Experiment Philip Mikula Rock Paper Scissors Russell Wharton Steel Band (works to be selected from) Billie Jean Michael Jackson, arr. M. Dudack Under Pressure Queen, David Bowie, arr. Bradford Ralston Morning Dance Jay Beckenstein, arr. Robert LedBetter PANic Attack Daniel Montoya Jr. Dayride Daniel Montoya Jr. Flag Woman Aldwyn Roberts, arr. Lisa Rogers Personnel Micah Bennett Angelica Mancera-Lopez Cole Crofton Reynaldo Miranda Taylor Droemer Christian Moore Jonathan Englishbee Chase Rucker Samantha Gomez Mario Sanchez Miguel Hernandez Clarissa Sheppard Jett Karels Chandler Teegarden Noah Lerma
The Blinn College Department of Music presents:
A Night at the Opera House: A Chronological Examination of this
Historic Art Form from the Baroque to the 21st Century
Thursday, May 6, 2021, 7:00 p.m. Finke Recital Hall—C. F. Schmidt Vocal Arts Building
Zoom link: https://blinn-edu.zoom.us/j/83567638436?pwd=RjFrb0NZcnp5Sk1IME5Namw0QUlmdz09
Dr. Daniel Johnson, lyric baritone
Dr. Patricia Burnham, piano
- PROGRAM –
Baroque Opera
Tamerlano, HWV 18 (1724)…………………G. F. Handel (1685-1759)
“Amor dà guerra e pace”
King Arthur, Z. 628 (1691)………………….Henry Purcell (1659-1695) “What power art thou?”
Mozart—Master of the Classical Era (1756-1791) Don Giovanni, K. 527 (1787)
“Deh vieni all finestra”
Le nozze di Figaro, K. 492 (1786) “Se vuol ballare”
Bel Canto Opera Buffa Don Pasquale (1843)……………………Gaetano Donzetti (1797-1848)
“Bella siccome un angelo”
Il barbiere di Siviglia (1816)…………...Gioachino Rossini (1792-1868) “Largo al factotum”
10-Minute Intermission
Late Romantic
Евгений Онегин, Op. 24 (1879)...Pyotr Ilyich Tchaikovsky (1840-1893)
“Когда, ы жизнь домашним кругом”
Faust (1859)………………………………Charles Gounod (1818-1893) “Avant de quitter ces lieux”
Operetta The Pirates of Penzance (1879)…………...Arthur Sullivan (1842-1900)
“Modern Major General”
The Merry Widow (1905)……………………..Franz Lehár (1870-1948) “Oh, Fatherland”
American Opera The Ballad of Baby Doe (1956)…………...Douglas Moore (1893-1969)
“Warm as the Autumn Light”
Moby Dick (2010)………………………………...Jake Heggie (b. 1961) “Starbuck’s Soliloquy”
- PROGRAM NOTES -
I saw my first opera (Puccini’s Madam Butterfly) when I was a senior in
high school. A group of enthusiastic and loveable amateurs from my hometown
(Idaho Falls, ID) opera troupe, despite their best efforts, could not quite do justice
to this sprawling, epic storyline, and even the professional tenor they flew in
from Houston to sing Pinkerton could not provide the necessary gravitas. In the
singular pride of youth, I wrote off the whole genre as flawed and declared my
intention never to specialize in “that kind of music.”
Fortunately, my many life experiences in the interim have instilled within
me not only a greater understanding of, but also a thrilling passion for this art
form. The process began two years after my high school experince, while on my
mission for The Church of Jesus Christ of Latter-day Saints to Atlanta, Georgia.
There I met Dr. Adam Kirkpatrick, a professor of voice at Georgia State
University. I thrilled as his soaring tenor ranged high above the congregational
hymns and wondered how I could learn to sing like that. The irony? Upon
asking him, he explained that he was operatically trained, and he encouraged me
to seek classical training of my own to achieve the necessary technique.
After mulling over his suggestion for the final six months of my mission, I
returned to my studies at Brigham Young University-Idaho and declared myself
as a vocal music major. Still unsure of my feelings toward opera itself, I avoided
signing up for the Opera Workshop class my first semester, but I attended the
students’ performance, and I was immediately hooked. The blend of comedy,
wit, tragedy, and beauty overcame me, and I perceived therein a perfect vehicle
by which to entertain, touch, and inform my audiences. I now share with you
some of my favorite arie (airs) and scenes exploring the depth and breadth of
human experience as only this ancient art form can do.
Daniel Johnson
Brenham, TX; April 2021
Tamerlano (Handel) Baroque opera has long had an unfairly bad reputation because of
an unfortunate lack of understanding about it, even by many practitioners of
classical music. After languishing for hundreds of years, it has seen a surge
in popularity during the last half-century, especially the works of the great
master Handel.
Best known for his oratorio Messiah, Handel had an incredibly
successful career writing opera seria (serious, or tragic opera) in London for
many years before turning to sacred music. This aria, written in the
traditional da capo format, contains two contrasting sections (AB), with the
A section repetition (ABA’) allowing soloists the opportunity to improvise
and show off their vocal fireworks; see whether you can catch the
differences the second time!
King Arthur (Purcell) The tale of England’s mythic monarch takes a strange turn in this
episode, in which the god Cupid awakens the reluctant Spirit of Cold from
his frozen slumber. Although King Arthur is a highly appropriate subject
for any English composition, Purcell is best known for his opera Dido and
Aeneas about the founding of ancient Rome. In strange twist of fate,
Purcell’s untimely death led to a dearth of well-known British-born
composers for the next two hundred years, which time period was dominated
by Italian, French, and Germanic names until the arrival of Ralph Vaughan
Williams in the late 1800s.
Don Giovanni (Mozart) One of the aforementioned individuals, Mozart singlehandedly
changed the entire history of opera, with his strong characterization, blend
of tragic and comedic elements, and emphasis on ensemble unity. His dark
comedy Giovanni tells of the legendary womanizing nobleman Don Juan,
who meets his ultimate fate at the hands of a statue dragging his dissolute
soul to hell. Before that just ending, however, we see him sing this love
song in an attempt to seduce one of his many conquests.
Le nozze di Figaro (Mozart Arguably one of the greatest works ever written in this genre,
Figaro examines the dynamics of social classes in a time when doing so was
taboo (and got Mozart’s show either censored or banned entirely several
times). In this aria, Figaro (Count Alamviva’s servant) has just discovered
his master’s dastardly plan to cuckold Figaro on his wedding night. He
declares his intention to fight back with cunning and proceeds to make the
count look like a fool throughout the rest of the show (hence the
unpopularity of the show with the Austrian emperor’s censors).
Don Pasquale (Donizetti) The bel canto (“beautiful singing”) era and the singers and
composers it produced are famous for their virtuosity and the flowering of
comedic opera (buffa, or buffoon) that they engendered. Although sound
recording technology still had not been invented, written accounts attest to
the singers’ ability to thrill audiences. Don Pasquale, considered one of
Donizetti’s comedic masterpieces (he also wrote serious operas), pokes fun
at the practice of older gentlemen marrying young women merely to produce
an heir to avoid leaving their money to less “desirable” inheritors. In this
aria, Don Pasquale’s friend, Dr. Malatesta, describes the perfect woman he
has found for him, while actually plotting to defraud him of his fortune.
Le nozze di Figaro (Rossini) In an early version of Hollywood’s modern penchant for prequels,
Rossini’s opera, which premiered thirty years after Mozart’s, is actually
based on the first of the playwright Beaumarchais’ trilogy. Herein we see a
younger Figaro arranging a marriage between the ardent Count and his
youthful lover, Rosina, to save her from a forced marriage to her aging
caretaker, Bartolo. Seeing the passion with which the Count woos Rosina
and the trust he places in Figaro to bring them together makes his treachery
in Le nozze even more tragic. In this iconic aria, Figaro sings his delight at
being the factotum (a servant who does any and all kinds of work) of Seville
and specializing in his work as a barber, which allows him to traffic in all
kinds of rumors and gossip.
Евгений Онегин Alexander Pushkin is the greatest poet in the history of the Russian
language, analogous to Shakespeare in our own tradition. All poetry before
his time sounds antiquated, and everything that came after him sounds to
some degree or other like his work. Tchaikovsky’s setting of Pushkin’s
classic Eugene Onegin softens the rough edges of a dissolute character, but
ultimately this is a tragic storyline. In this aria, often referred to as
“Onegin’s Sermon,” the nobleman rudely rejects the romantic advances of
Tatyana, a pure young woman who has noticed his eligible bachelorhood
and developed deep feelings for him. He does so merely because her
pedigree does not match his “ideal” in a wife. Later in the show, however,
he realizes his mistake when he sees her success as a consort to a member
of the imperial family. He falls in love with her because of her rise in station
and tries to woo her away from her husband, but she reminds him bluntly of
her broken heart stemming from his words in this scene and rejects him in
turn for his hypocrisy.
Faust (Gounod) This ancient legend tells of a man (Faust) who sells his soul to the
devil for worldly power and pleasure. In this aria, the soldier Valentin
commits his sister’s protection to God as he prepares to leave for war.
Unfortunately, Marguerite falls for Faust’s lies and enters an illegitimate
tryst with him, after which he abandons her to single motherhood, and her
life crumbles around her. Valentin returns from war to find his sister broken
and dies in a duel with Faust after condemning Marguerite for her actions.
Pirates of Penzance (Sullivan) One of the most popular operettas (“light” or “lyric” opera, in that
it contains spoken, rather than sung, dialogue—a precursor to American
musical theater) written by the highly successful duo of Gilbert and Sullivan,
this show (like most of their works) pokes fun at almost every social more
of their time. For example, notice in this song that almost none of the major-
general’s qualifications have anything to do with military skill.
The Merry Widow (Lehár) Because of its immense popularity, this operetta is one of the few
operatic works to be sung commonly in the vernacular, rather than the
original language (in this case, German). It tells the story of the dissolute
young Count Danilo (singing in this song of his exploits at Parisian
nightclubs). He long avoids his patriotic duty to marry the beautiful widow
Hanna, whose inherited fortune would save their common fatherland
Pontevedro from financial ruin. Fortunately, despite his hard head and even
harder heart, the two eventually fall in love, saving both of them from their
troubled past and their nation from its impending fate.
The Ballad of Baby Doe (Moore) Although American opera is relatively new compared to the ancient
works already seen tonight, it has a rich history. This show, set in Colorado
in the 1890’s, traces the sad story of true characters Horace Tabor and Baby
Doe. Tabor, an incredibly wealthy but unhappily married man, hears Baby
Doe singing and falls in love with her. He sings tonight’s aria in reaction to
hearing her song and ultimately begins an affair with her, which leads to an
embittered divorce and the loss of his wealth. He dies a shattered man years
later, having been rejected by everyone he knew and loved. This story
contains significant parallels to the story of King David in the Bible, whose
momentary abandon to lust resulted in his ultimate ruin.
Moby Dick (Heggie) Herman Melville’s classic novel about the obsessed Captain Ahab
was set by living composer Jake Heggie and librettist Gene Scheer for a
premiere at Dallas Opera in 2010. I saw the work at its second production
at Utah Opera in 2017, and I was impressed by how faithfully Scheer and
Heggie adapted the story to the stage. I had a chance to meet and work with
Heggie at SongFest 2014 in Los Angeles and at a masterclass he presented
while in town for the Utah Opera production. This dramatic moment shows
the anguish in the heart of Starbuck (Ahab’s first mate), who has realized
that he can no longer stand by and let Ahab destroy the crew in his madness.
Ultimately, he cannot complete his intended assassination, sealing his fate
and that of the crew.
- LYRICS -
Tamerlano
(Nicola Francesco Haym)
Recitativo:
Veggio da questi amori nascer strane
vicende;
troppo Asteria è nemica,
molto il Tartaro è amante,
ed il cor d’Irene è ogn’ or costante.
Aria:
Amor dà guerra e pace,
Dà pena e dà tormenti,
E poi sordo a i lamenti
Gode di far penar.
Di lui l’ardente face
Accende un cor sprezzato,
E poi che l’ha piagato
Lo lascia abbandonar.
King Arthur
(John Dryden)
What power art thou, who from
below
Hast made me rise, unwillingly and
slow
From beds of everlasting snow!
Tamerlano
Recitative:
I see strange events arising from
these loves;
Asteria is too much of an enemy,
Tartaro is verily a lover,
and Irene’s heart is constant every
hour.
Air:
Love gives war and peace,
Gives pain and gives torment,
And then, deaf to lamentations,
It enjoys making others suffer.
Its ardent face
Ignites a scorned heart,
And then it abandons
The one it has wounded.
King Arthur (continued)
See’st thou not how stiff, how stiff
and wond’rous old,
Far, far unfit to bear the bitter cold.
I can scarcely move or draw my
breath.
Let me, let me freeze again to death.
Don Giovanni
(Lorenzo da Ponte)
Deh, vieni alla finestra, o mio tesoro,
Deh, vieni a consolar il pianto mio.
Se neghi a me di dar qualche ristoro,
Davanti agli occhi tuoi morir vogl'io!
Tu ch'hai la bocca dolce più che il
miele,
Tu che il zucchero porti in mezzo al
core!
Non esser, gioia mia, con me
crudele!
Lasciati almen veder, mio
bell'amore!
Le nozze di Figaro
(Lorenzo da Ponte)
Recitativo:
Bravo, signor padrone!
Ora incomincio a capir’ il mistero,
e a veder schietto tutto il vostro
progetto;
a Londra, è vero?
Voi ministro,
io corriero,
e la Susanna…
secreta ambasciatrice.
Non sarà, non sarà, Figaro il dice!
Count John
Pray, come to the window, o my
treausre.
Pray, come console my weeping.
If thou refusest to restore me,
I want to die before thine eyes.
Thou, who hast a mouth sweeter than
honey,
Thou, who hast sugar in the middle
of thy heart,
Do not be cruel with me, o my joy!
Let thyself be seen, my beautiful
love!
Figaro’s Marriage
Recitative:
Bravo, master!
Now I begin to understand this
mystery,
and to see plainly all your plan;
to London, in truth?
You as minister,
I as courier,
and Susanna…
secret amabassadress.
It will not be; Figaro says it!
Aria:
Se vuol ballare, signor contino,
il chitarrino le suonerò.
Se vuol venire
nella mia scuola,
la capriola
le insegnerò.
Saprò,
ma piano,
meglio ogni arcano dissimulando
scoprir potrò.
L'arte schermendo, l'arte adoprando,
di quà pungendo, di là scherzando,
tutte le macchine rovescierò!
Don Pasquale
(Giovanni Ruffini)
Bella siccome un angelo in terra
pellegrino,
fresca siccome il giglio che s’apre sul
mattino,
occhio che parla e ride,
sguardo che i cor conquide,
chioma che vince l’ebano,
sorriso incantaor…
Alma innocente, ingenua,
che sè medesma ignora,
Air:
If you want to dance, little count,
I will play the guitar for you.
If you want to come
to my school
the capriola (a Spanish dance)
I will teach you.
I will know,
but quietly,
so that I can better discover each
secret.
Parrying his cunning with my own,
Here pricking, there joking,
I will overrun all your machinations.
Count Pasquale
Beautiful as an angel, a pilgrim on
the earth,
fresh as the lily that opens itself unto
the morning,
eyes that speak and laugh,
a glance that conquers the heart,
hair blacker than ebony,
an enchanting smile…
A soul innocent and ingenuous,
that remains ignorant of itself,
modestia impareggiabile,
bontà che v’innamora.
Ai miseri pietosa,
gentil, dolce, amorosa…
Il ciel l’ha fatta nascere per far beato
un cor.
Il barbiere di Siviglia
(Cesare Sterbini)
Largo al factotum della città.
Presto a bottega che l’alba è già.
Ah, che bel vivere,
Che bel piacere,
Per un barbiere di qualità.
Ah, bravo, Figaro, bravissimo!
Fortunatissimo per verità, bravo.
Pronto a far tutto, la notte il giorno
Sempre d’intorno in giro stà.
Miglior cuccagna per un barbiere
Vita più nobile no, non si dà.
Rasori e pettini, lancette e forbici,
Al mio comando tutto qui stà.
incomparable majesty,
goodness that makes you fall in love.
Piteous to the miserable,
gentle, sweet, amorous…
Heaven hath made her to be born to
make a heart blissful.
The Barber of Seville
Make way for the facototum of the
city!
Quickly to my shop, for dawn is
here.
Ah, what a good life,
What beautiful pleasures
For a barber of quality.
Ah, bravo, Figaro!
Most fortunate, in all verity.
Ready to do anything night and day
He is always about, on the go.
A better abundance for a barber,
A better life more noble cannot be
found.
Razors, combs, lancets, and scissors,
All is here at my command.
V’è la risorsa,
Poi, del mestiere
Colla donnetta
Col cavaliere.
Tutti mi chiedono,
Tutti mi vogliono,
Donne, ragazzi,
Vecchi, e fanciulle.
Qua la parrucca
Presto la barba
Qua la sanguigna,
Presto il biglietto.
Ehi, Figaro!
Ohimè, ohimè!
Che furia, ohimè!
Che folla!
Uno alla volta per carità!
Psst, Figaro! Son qua!
Eh, Figaro! Son qua!
Figaro qua, Figaro là!
Figaro sù, Figaro giù!
Pronto prontissimo son come un
fulmine,
Sono il factotum della città!
There is the perk,
Then, of the trade :
With the ladies,
With the cavaliers.
All request me,
All want me,
Women, boys,
Oldsters, and girls.
Here is the wig
Quickly the shave
Here the leech,
Quickly the love note.
Hey, Figaro!
Alas, alas!
What fury, alas!
What folly!
One a time, for pity’s sake!
Psst, Figaro! I am here!
Hey, Figaro! I am here!
Figaro here, Figaro there!
Figaro up, Figaro down!
The quickest of all, I am like a bolt
of lightning,
I am the factotum of the city!
Евгений Онегин
(Alexander Pushkin)
Recitativo:
Вы мне писали, не отпирайтесь,
Я прочёл души доверчивой
признанья,
Любви невинной излиянья.
Мне Ваша искренность мила,
Она в волненье привела
Давно умолкнувшие чувства.
Но вас хвалить я не хочу,
Я за неё вам отплачу
Признаньем, так же без искусства.
Примите ж исповедь мою,
Себя на суд Вам отдаю.
Aria:
Когда бы жизнь домашним кругом
Я ограничить захотел,
Когда б мне быть отцом, супругом
Приятный жребий повелел,
То, верно, кроме Вас одной
Невесты не искал иной.
Но я не создан для блаженства,
Ему чужда душа моя,
Напрасны Ваши совершенства,
Их не достоин вовсе я.
Поверьте, совесть в том порукой,
Супружество нам будет мукой.
Eugene Onegin
Recitative:
You wrote to me. Don’t deny!
I have read your trustful soul’s
confessions,
Innocent love’s claims.
Your sincerity "touches" me.
It awoke in me
Long perished feelings.
But I don’t want to praise you,
I will repay you
With a confession equally artless.
Accept my admission,
I submit myself to your judgement.
Air:
If my life by the family circle
I wanted to limit,
If being a father, a spouse
Were my happy lot,
Then beyond you alone
I would not look for another bride.
But I am not created for bliss ;
It is alien to my soul.
In vain are your perfections,
For I don’t deserve them.
Believe me: my conscience as my
witness,
Our marriage would be a torture.
Я сколько ни любил бы Вас,
Привыкнув, разлюблю тотчас.
Судите ж вы какие розы
Нам заготовит Гименей
И может быть на много дней.
Мечтам и годам нет возврата.
Не обновлю души моей,
Я Вас люблю любовью брата,
Иль, может быть, ещё нежней.
Послушайте ж меня без гнева,
Сменит не раз младая дева
Мечтами, мечтами легкие мечты.
Faust
(Jules Barbier & Michel Carré)
Recitativo:
Ô sainte médaille,
Qui me viens de ma sœur—
Au jour de la bataille,
Pour écarter la mort,
Reste là sur mon cœur.
Aria:
Avant de quitter ces lieux,
Sol natal de mes aïeux,
À toi, Seigneur et Roi des cieux,
Ma sœur je confie.
No matter how much I love you,
Once used to it I would lose my love
immediately.
See for yourself what kind of roses
Hymen has prepared for us,
And possibly for many days.
My dreams and young years cannot
return.
I cannot renew my soul.
I love you as a brother,
And maybe more tenderly.
Listen to me with no anger:
Many times a young maid will
exchange
One dream for another light dream.
Faust
Recitative:
O holy medal
which I received from my sister—
in the day of battle,
to protect me from death,
rest here on my heart.
Air:
Before taking leave of this place,
Native soil of my ancestors,
To Thee, Lord and King of heaven,
I entrust my sister.
Daigne de tout danger
Toujours, toujours la protéger,
Cette sœur si chérie.
Délivré d'une triste pensée,
J'irai chercher la gloire au sein des
ennemis.
Le premier, le plus brave au fort de la
mêlée,
J'irai combattre pour mon pays.
Et si, vers lui, Dieu me rappelle
Je veillerai sur toi fidèle,
ô Marguerite!
The Pirates of Penzance
(William Schwenck Gilbert)
I am the very model of a modern
Major-General,
I've information vegetable, animal,
and mineral,
I know the kings of England, and I
quote the fights historical
From Marathon to Waterloo, in order
categorical.
I'm very well acquainted, too, with
matters mathematical,
I understand equations, both the
simple and quadratical:
Deign, from all danger,
Always to protect her,
This sister so cherished.
Delivered from a sad thought,
I shall seek glory in the midst of my
enemies.
The best, the bravest in the strength
of the mêlée,
I shall combat for my country.
And if God summons me to Himself,
I shall watch over thee faithfully,
Oh, Marguerite!
The Pirates of Penzance (continued)
About binomial theorem I'm teeming
with a lot of news,
With many cheerful facts about the
square of the hypotenuse.
I'm very good at integral and
differential calculus;
I know the scientific names of beings
animalculous:
But still, in matters vegetable,
animal, and mineral,
I am the very model of a modern
Major-General.
The Pirates of Penzance (continued)
I know our mythic history, King
Arthur's and Sir Caradoc's;
I answer hard acrostics, I've a pretty
taste for paradox;
I quote, in Elegiacs, all the crimes of
Heliogabalus!
In conics I can floor peculiarities
parabolous.
I can tell undoubted Raphaels from
Gerard Dows and Zoffanies.
I know the croaking chorus from The
Frogs of Aristophanes!
Then I can hum a fugue of which I've
heard the music's din afore,
And whistle all the airs from that
infernal nonsense Pinafore.
Then I can write a washing bill in
Babylonic cuneiform,
And tell you ev'ry detail of
Caractacus's uniform:
In short, in matters vegetable,
animal, and mineral,
I am the very model of a modern
Major-General.
The Pirates of Penzance (continued)
In fact, when I know what is meant
by "mamelon" and "ravelin,"
When I can tell at sight a chassepot-
rifle from a javelin,
When such affairs as sorties and
surprises I'm more wary at,
And when I know precisely what is
meant by "commissariat,"
When I have learnt what progress has
been made in modern gunnery,
When I know more of tactics than a
novice in a nunnery—
In short, when I've a smattering of
elemental strategy—
You'll say a better Major-General has
never sat a gee.
For my military knowledge, though
I'm plucky and adventury,
Has only been brought down to the
beginning of the century;
But still, in matters vegetable,
animal, and mineral,
I am the very model of a modern
Major-General.
The Merry Widow
(Viktor Léon & Leo Stein)
Verse #1:
O, Fatherland, it is for thee
I ought to work from one ‘til three:
Though as there isn’t much to do,
I only come at half past two.
But working so exhausts a man,
And I take all the rest I can;
I need a sleep to set me right,
And that’s why I stay up all night.
I’m very busy at my club:
We have a hundred on the rub;
I lose a thousand of the best,
Then get the girls to take the rest.
Chorus:
I go off to Maxime’s, where fun and
frolic beams,
With all the girls I chatter,
I laugh and kiss and flatter!
Lolo, Dodo, Joujou,
Cloclo, Margot, Froufrou,
For surnames do not matter;
I take the first to hand.
And then the corks go pop.
We dance and never stop.
The ladies smiles so sweetly,
I catch and kiss them neatly!
The Merry Widow (continued)
Lolo, Dodo, Joujou,
Cloclo, Margot, Froufrou,
‘Til I forget completely my dear old
Fatherland!
Verse #2:
Then I refresh my jaded brain
With little suppers and champagne.
And look into the ladies’ eyes
‘Til they and I are close allies!
So in a glass of golden wine
An entante cordiale I sign;
For I can do that sort of thing
As well as any other king!
Then I allow the lovely sex
To wear my arms around their necks,
And give the waiter at the door
An order for a dozen more!
Chorus:
The Ballad of Baby Doe
(John LaTouche)
Warm as the autumn light,
Soft as a pool at night,
The sound of your singing, Baby
Doe.
And while I was list’ning
I was recalling
Things that once I had wanted so
much
And forgotten as years slipped away.
A girl I knew back home in Vermont,
The sea in New Hampshire,
The first sight of the mountains.
They say I’ve been lucky; there’s
nothing my money won’t buy.
It couldn’t be I was unhappy or was
missing the good things of life.
But only tonight came again in your
singing
That feeling of wonder
Of longing and pain.
Deep in your lovely eyes
All of enchantment lies
And tenderly beckons,
Dearest Baby Doe.
Moby Dick (Gene Scheer)
Captain Ahab? I must speak with
you. Sir?
Ah. He is sleeping.
He would have shot me.
There’s the very musket he pointed
at me.
Loaded? Aye.
And powder in the pan.
He would have killed me with the
very thing in my hands.
Aye. Would he fain kill all the crew?
My soul swears this ship will come
to deadly harm.
What cares Ahab?
Is there no other way?
No lawful way?
Make him a prisoner to be taken
home?
Wrest the old man’s living power
from his own hands?
Only a fool would try it.
The men have vowed thy vows.
Aye. Now all of us are Ahabs.
Oh Lord, is it murder to strike a
would-be murderer in his bed?
Oh Lord, what shall I do?
One touch and Starbuck may survive
To see his wife and child again.
Return to them alive.
Oh, Mary! Oh, my boy!
Great God, where art Thou now?
