THEDEPARTMENTOFMUSIC VASSARCOLLEGE

Senior Recital Helen Johnson '21, mezzo-soprano

Susan Brown, piano

Sunday, 16 May 2021 3:30 PM Martel Recital Hall Skinner Hall of Music Program

Arianna a Naxos Joseph Haydn (1732-1809)

Rückert-Lieder Gustav Mahler (1860-1911) Ich atmet’ einen linden Duft Blicke mir nicht in die Lieder Liebst du um Schönheit... Ich bin der Welt abhanden gekommen

Trois Chansons de Bilitis Claude Debussy (1862-1918) La flûte de Pan La chevelure Le tombeau des Naïades Selections from Chess Benny Andersson (b. 1946) Bjorn Ulvaeus (b. 1954) and Tim Rice (b. 1944) Nobody’s Side Heaven Help My Heart Someone Else’s Story I Know Him So Well Acknowledgements

There are so many people to whom I owe my deepest gratitude for shaping me musically throughout my life. First, thank you to my voice teacher James Ruff, who has been a constant mentor and source of encouragement over the last four years. Thank you for guiding me with love and patience, for pushing me to sing much harder repertoire than I ever thought I could, and for supporting me in my musical and non-musical endeavors. Thank you also to my accompanists, Susan Brown and Amy Kawa. Susan, you have been so fantastic to work with this semester. Thank you for your willingness to step in halfway through this year and for your tireless dedication to helping me sing this music the best way I can. Amy, thank you for accompanying me for two and a half years and for always being so supportive of me. I absolutely loved working with you. Endless thanks to my Vassar choir directors, Drew Minter and Christine Howlett. My time in VCC and Chamber Singers has given me some of my most precious moments at Vassar, and I will cherish the memories of singing under your direction forever. You have both helped to mold me into the musician I am today, and I hope you know how much I love and respect each of you. I also want to thank, from the very bottom of my heart, my high school choir director, Jason Rausch. I don’t think you truly know the extent to which you shaped me, both musically and otherwise, but I would not be here today were it not for you. You instilled in me a deep love of choir and of sharing music with others, and your dedication to your students is truly astounding. Thank you for supporting, guiding, and mentoring me, and for providing the foundation for a lifetime of loving music. My deepest gratitude also goes to all of my pre-college music teachers. To Kathy Reed, my years of piano lessons with you gave me the foundation for success in all of my musical endeavors. You have also been an incredible mentor and role model to me throughout the years, and I am so truly grateful for your love and support. To my voice teachers Claire Thompson and Ed Andereck, thank you for your instruction and for helping me find my voice. Thank you to my wonderful housemates, Delaney, Sabrina, Zoë, and Emma Grace, for encouraging and supporting me throughout this year. Thank you to Abby and Rachel—Abby for singing with me today, and to both of you for being amazing friends and sharing all things choir and music with me. Thank you to Kim and Jane and the Music Department for helping this recital happen even during a pandemic. Finally, eternal love and thanks to my parents. Mama, you are the reason I have been singing since I could talk. Thank you for raising me with music. Thank you both for the years of music lessons, the instruments, and, most of all, for your unconditional love and never-ending support. You are my biggest fans, and I would not be here without you. I love you. Texts and Translations

Arianna a Naxos Teseo mio ben, dove sei tu? Theseus my beloved, where are you? Vicino d’averti mi parea ma un I seem to have you near me, but a lusinghiero sogno fallace m'ingannò flattering treacherous dream deceives me Già sorge in cel la rosea Aurora e Already rose colored Dawn is rising l’erbe e i fior colora Febo uscendo in the sky and Phoebus colors the dal mar col crine aurato. grass and flowers rising from the sea with his golden hair. Sposo adorato, dove guidasti il piè? Adored husband, where have your Forse le fere ad inseguir ti chiama il footsteps led you? tuo nobile ardor. Perhaps your noble ardour calls you to pursue wild beasts. Ah vieni, O caro ed offrirò più grata Ah come, my dearest, And I shall preda a tuoi lacci. offer a more pleasing prey to your snares. Il cor d’Arianna amante, che t’adora Arianna’s loving heart, which adores costante, stringi con nodo più tenace you faithfully, clasps the splendid e più bella la face splenda del nostro light of our love with a firmer knot. amor. Soffrir no posso d’esser da te diviso I cannot bear to be apart from you un sol momento. for a single moment. A di verteri, O caro, già mi strugge il Ah beloved, I am consumed with desio. longing to see you. My heart sighs Ti sospira il mio cor. Vieni, idol mio. for you. Come, my idol.

Dove sei, mio bel tesoro? Where are you, my treasure? Chi t’invola a questo cor? Who stole you from this heart? Se non vieni, io già mi moro, If you do not come, already I die, Né resisto al mio dolor. Nor can I resist my grief.

Se pietade avete, O Dei, If you have pity, O Gods, Secondate i voti miei; Fulfil my desires; A me torni il caro ben. Dove sei? Return my beloved to me. Teseo! Where are you? Theseus! Ma, a chi parlo? Gli accenti eco But to whom am I speaking? ripete sol. Only echo repeats my words. Teseo non m’ode, Teseo non mi Theseus does not hear me, risponde, e portano le voci e l’aure e Theseus does not answer me, l’onde. And my voice is carried by the wind and the waves. Poco da me lontano esser egli dovria. He must not be far from me. Salgasi quello che più d’ogni alto Let me climb the highest of these s’alza alpestre scoglio: ivi lo steep rocks: I shall discover him scoprirò. thus. Che miro? O stelle! Misera me! What do I see? O heavens! Misery! Quest’è l’argivo legno, Greci son That is the wooden argosy, those men quelli. Teseo! are Greeks. Theseus! Ei sulla prora! Ah, m’inganassi He is on the prow! almen… No no, non m’ingano. O may I at least be mistaken… No, no, I am not mistaken. Ei fugge, ei qui mi lascia in He flees, abbandono. Più speranza non v’è, He leaves me abandoned here. tradita io sono. There is no longer any hope for me, I am betrayed. Teseo, Teseo, m’ascolta Teseo! Ma Theseus, listen to me Theseus! oimè! Vaneggio. But alas! I am raving. I flutti e il vento lo involano per The waves and wind are stealing him sempre agli occhi miei. from my eyes forever. Ah, siete ingiusti, O Dei se l’empio Ah, you are unjust, O Gods non punite! If you do not punish the infidel! Ingrato! Ungrateful man! Why did I snatch Perchè ti trassi dalla morte? Dunque you away from death? tu dovevi tradirmi? So you had to betray me? E le promesse, e i giuramenti tuoi? And your promises and your oaths? Spergiuro! Infido! Perjurer! Infidel! Hai cor di lasciarmi! Have you the heart to leave me? A chi mi volgo? Da chi pietà sperar? To whom can I turn? Già più non reggo: From whom can I hope for pity? I piè vacilla, e in così amaro istante I can already bear no more: my step sento mancarmi in sen l’alma falters, and in so bitter a moment tremante. I feel my trembling soul weaken.

Ah! Che morir vorrei Ah, how I should like to die In si fatal momento, In so fatal a moment, Ma al mio crudel tormento But the heavens unjustly keep me Mi serba ingiusto il ciel In my cruel torment.

Misera abbandonata Wretched and abandoned Non ho chi mi consola. I have no one to console me. Chi tanto amai s’invola, He whom I loved so much has fled, Barbaro ed infidel.. Barbarous and unfaithful.

Rückert-Lieder Ich atmet’ einen linden Duft! I breathed a gentle fragrance! Im Zimmer stand In the room stood Ein Zweig der Linde, A spray of lime, Ein Angebinde A gift Von lieber Hand. From a dear hand. Wie lieblich war der Lindenduft! How lovely was the fragrance of Wie lieblich ist der Lindenduft! lime! How lovely is the fragrance of lime! Das Lindenreis The spray of lime Brachst du gelinde; Was gently plucked by you; Ich atme leis Softly I breathe Im Duft der Linde In the fragrance of lime Der Liebe linden Duft The gentle fragrance of love.

Blicke mir nicht in die Lieder! Do not look into my songs! Meine Augen schlag’ ich nieder, I lower my gaze, Wie ertappt auf böser Tat. As if caught in the act. Selber darf ich nicht getrauen, I dare not even trust myself Ihrem Wachsen zuzuschauen. To watch them growing. Deine Neugier ist Verrat! Your curiosity is treason.

Bienen, wenn sie Zellen bauen, Bees, when they build cells, Lassen auch nicht zu sich schauen, Let no one watch either, Schauen selbst auch nicht zu. And do not even watch themselves. Wenn die reichen Honigwaben When the rich honeycombs Sie zu Tag gefördert haben, Have been brought to daylight, Dann vor allen nasche du! You shall be the first to taste!

Liebst du um Schönheit If you love for beauty O nicht mich liebe! O love not me! Liebe die Sonne, Love the sun, Sie trägt ein goldnes Haar. She has golden hair. Liebst du um Jugend, If you love for youth, O nicht mich liebe! O love not me! Liebe den Frühling, Love the spring Der jung ist jedes Jahr. Which is young each year. Liebst du um Schätze, If you love for riches, O nicht mich liebe! O love not me! Liebe die Meerfrau, Love the mermaid Sie hat viel Perlen klar. Who has shining pearls. Liebst du um Liebe, If you love for love, O ja, mich liebe! Ah yes, love me! Liebe mich immer, Love me always, Dich lieb’ ich immerdar. I shall love you ever more.

Ich bin der Welt abhanden I am lost to the world gekommen Mit der ich sonst viele Zeit With which I used to waste much verdorben, time; Si hat so lange nichts von mir It has for so long known nothing of vernommen, me, Sie mag wohl glauben, ich sei It may well believe that I am dead! gestorben! Es ist mir auch gar nichts daran Nor am I at all concerned gelegen, Ob sie mich für gestorben der Welt. If it should think that I am dead. Ich bin gestorben dem Nor can I deny it, Weltgetümmel, For truly I am dead to the world. I am dead to the world’s tumult Und ruh’ in einem stillen Gebiet! And rest in a quiet realm! Ich leb’ allein in meinem Himmel, I live alone in my heaven, In meinem Lieben, in meinem Lied! In my love, in my song!

Trois Chansons de Bilitis La flûte de Pan The flute of Pan Pour le jour des Hyacinthies, il m’a For Hyacinthus day he gave me a donné une syrinx faite de roseaux syrinx made of carefully cut reeds, bien taillés, unis avec la blanche cire bonded with white wax which tastes qui est douce à mes lèvres comme le sweet to my lips like honey. miel. Il m’apprend à jouer, assise sur ses He teaches me to play, as I sit on his genoux; mais je suis un peu lap; but I am a little fearful. He plays tremblante. Il en joue après moi, si it after me, so gently that I scarcely doucement que je l’entends à peine. hear him.

Nous n'avons rien à nous dire, tant We have nothing to say, so close are nous sommes près l’un de l’autre; we one to another, but our songs try mais nos chansons veulent se to answer each other, and our répondre, et tour à tour nos bouches mouths join in turn on the flute. s’unissent sur la flûte.

Il est tard; voici le chant des It is late; here is the song of the grenouilles vertes qui commence green frogs that begins with the avec la nuit. Ma mère ne croira night. My mother will never believe I jamais que je suis restée si longtemps stayed out so long to look for my lost à chercher ma ceinture perdue. sash.

La chevelure The tresses of hair Il m’a dit: «Cette nuit, j’ai rêvé. He said to me: “Last night I J’avais ta chevelure autour de mon dreamed. I had your tresses around cou. J’avais tes cheveux comme un my neck. I had your hair like a black collier noir autour de ma nuque et sur necklace all round my nape and over ma poitrine. my breast.

«Je les caressais, et c’étaient les “I caressed it and it was mine; and miens; et nous étions liés pour we were united thus forever by the toujours ainsi, par la même chevelure same tresses, mouth on mouth, just as la bouche sur la bouche, ainsi que two laurels often share one root. deux lauriers n’ont souvent qu’une racine.

«Et peu à peu, il m’a semblé, tant nos “And gradually it seemed to me, so membres étaient confondus, que je intertwined were our limbs, that I devenais toi-même ou que tu entrais was becoming you, or you were en moi comme mon songe.» entering into me like a dream”

Quand il eut achevé, il mit When he had finished, he gently set doucement ses mains sur mes his hands on my shoulders and gazed épaules, et il me regarda d’un regard at me so tenderly that I lowered my si tendre, que je baissai les yeux avec eyes with a shiver. un frisson. Le tombeau des Naïades The tomb of the Naiads Le long du bois couvert de givre, je Along the frost-bound wood I marchais; mes cheveux devant ma walked; my hair across my mouth, bouche se fleurissaient de petits blossomed with tiny icicles, and my glaçons, et mes sandales étaient sandals were heavy with muddy, lourdes de neige fangeuse et tassée. packed snow.

Il me dit: «Que cherches-tu?»-«Je He said to me: “What do you seek?” suis la trace du satyre. Ses petits pas “I follow the satyr’s track. His little fourchus alternent comme des trous cloven hoof-marks alternate like dans un manteau blanc.» Il me dit: holes in a white cloak.” He said to «Les satyres sont morts. me: “The satyrs are dead.

«Les satyres et les nymphes aussi. “The satyrs and the nymphs too. For Depuis trente ans, il n’a pas fait un thirty years there has not been so hiver aussi terrible. La trace que tu harsh a winter. The tracks you see vois est celle d’un bouc. Mais restons are those of a goat. But let us stay ici, où est leur tombeau.» here, where their tomb is.

Et avec le fer de sa houe il cassa la And with the iron head of his hoe he glace de la source où jadis riaient les broke the ice of the spring, where the naïades. Il prenait de grands naiads used to laugh. He picked up morceaux froids, et les soulevant some huge cold fragments, and, vers le ciel pâle, il regardait au raising them to the pale sky, gazed travers. through them. Please note, Skinner Hall of Music and the VC Chapel currently remain closed to the general public. The only way to view these Senior Recitals is on the Vassar Music webcast page at: music.vassar.edu/concerts/webcast

Skinner Recital Hall is equipped with a LOOP Hearing System. The loop will offer improved clarity for persons with hearing loss who wear telecoil —or T-coil—equipped hearing aids.

Please silence all cell phones or other personal electronic devices and refrain from texting. Use of these instruments will disturb other audience members and cause interference with in-house recording and webcasting. Skinner Hall of Music Spring 2021 Virtual Webcast Series ~ Senior Recital Schedule ~

Please note, Skinner Hall of Music and the VC Chapel currently remain closed to the general public. Live webcasts* and digital program notes can be viewed at: music.vassar.edu/concerts/webcast

4/18 Sunday • 1:30 pm ~ Susannah Karron, soprano 4/18 Sunday • 3:30 pm ~ Nicholas Christenson, double bass 4/24 Saturday • 1pm ~ Emma Stovicek, soprano 4/24 Saturday • 3 pm ~ Rachel Salvador, soprano 5/02 Sunday • 2:30 pm ~ Sydney Amspacher, soprano 5/15 Saturday • 12 pm ~ Abigail Hart Goldman, soprano 5/15 Saturday • 2 pm ~ Charlotte Waldman, flute 5/15 Saturday • 4 pm ~ Emma Bauchner, piano 5/16 Sunday • 12 pm ~ Bryan Smith, baritone 5/16 Sunday • 2 pm ~ Claire Furtwangler, cello 5/16 Sunday • 3:30 pm ~ Helen Johnson, mezzo-soprano 5/22 Saturday • 10 am ~ Christopher Triggs, jazz saxophone & flute 5/22 Saturday • 12 pm ~ Rachel Walker, mezzo-soprano 5/22 Saturday • 2 pm ~ Susanna Monroe, violin 5/23 Sunday • 12 pm ~ Drew Canning, soprano 5/23 Sunday • 2 pm ~ Michelle Kang, organ, VC Chapel 5/23 Sunday • 3:30 pm ~ Prashit Parikh, percussion & jazz drums

*Start times are approximate - please be patient. If for any reason the webcast is disrupted a recording will be provided at a later time.

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