The D’Angelo Department of Music at Mercyhurst University

Presents

The Senior Recital of

RACHELE HEASLEY, Soprano

Katherine Soroka, Pianist and Mezzo-soprano

Walker Recital Hall Sunday, April 25, 2021 4:00pm

www.mercyhurst.edu/music

When Love Is Kind Thomas Moore (1779 -1852)

Have You Seen but a Whyte Lillie Grow Ben Jonson (1572-1637)

Danny Boy Frederic Weatherly (1848-1929) Arr. David Cullen (1959 - )

Ein Schwan Edvard Grieg (1843-1907)

Morgen! Opus 27 No. 4 Richard Strauss (1864-1949)

Clair de Lune Opus 46 No.2 Gabriel Faure (1845-1924)

Pur Dicesti, O Bocca Bella Antonio Lotti (1667-1740)

--- Intermission ---

American Lullaby Gladys Rich (1892-1972)

What Good Would the Moon Be? () (1900-1950)

Silver Aria (The Ballade of Baby Doe) Douglas Moore (1893-1969)

Black Swan (The Medium) Gian-Carlo Menotti (1911-2007) Katherine Soroka

Much More (The Fantasticks) Harvey Schmidt (1929-2018) Lyrics by Tom Jones (1928 - )

Goodnight My Someone (The Music Man) Meredith Willson (1902-1984)

The Lorelei (Pardon My English) George Gershwin (1898-1937) Lyrics by Ira Gershwin (1896-1983)

There’s a Fine, Fine Line () (1975 - ) Jeff Marx (1970 - )

I Won’t Mind (The Other Franklin) Jeff Blumenkrantz (1965 - )

The Simple Joys of Maidenhood (Camelot) Frederic Lowe (1901-1988) Lyrics by (1918-1986) When Love is Kind Thomas Moore

Moore was an Irish poet and songwriter born in Dublin in 1779. In life he was sometimes referred to as Anacreon, the Greek lyric poet known for his drinking songs. He worked with Lord Byron as his literary executor and was responsible for burning Byron’s memoirs after his death. He was a lifelong scholar and entertainer, running with the English literary crowd.

“When Love Is Kind” is a youthful tune with coy lyrics. The mood of the piece shifts with each change in verse. The first verse says that if love is kind, it will be welcomed, but if it is hurtful, it may go hang. The piece culminates that if love cannot be true, it may go to Jericho - exemplified by a soaring eighth note run and laugh. A copy of this piece resides in the Library of Congress.

Have You Seen But a Whyte Lillie Grow Ben Jonson

Ben Jonson was an English playwright and poet who enjoyed a great deal of work under a variety of patronages. He is well known for his early plays and for popularizing the comedy of humours. Jonson found himself in trouble on a few occasions by authorities who did not appreciate the political content of his plays and masques.

“Have You Seen But a Whyte Lillie Grow” is from a comedy play entitled “the Devil is an Ass.” This was the last of his plays for which is popular today, premiering in 1616. It is about a devil named Pug who wishes to prove himself, and so goes to earth to fool a man named Fabian.

Danny Boy Frederic Weatherly Arr. David Cullen

Danny Boy is a folk song written by Frederic Weatherly. It initially was written to an original tune by Weatherly, but he altered it to fit the old Irish tune “Londonderry Air” after hearing the song from his sister-in-law. He gifted it to Elsie Griffin, who popularized the song. In 1915, it was recorded for the first time. There are several interpretations of the meaning of the piece. Some say that it was written from the perspective of a parent sending their son off to war, and others say it is about a son leaving Ireland to go to America. This arrangement was done by David Cullen for the group The Irish Tenors.

Ein Schwan Edvard Greig

Edvard Grieg was a Norwegian pianist and composer, considered to be one of the leading composers of the Romantic era. One of his greatest accomplishments as a composer was using Norwegian folk music in his compositions to develop a national sound, like Sibelius did in Finland. Some of his best-known works are in the incidental music he wrote for Henrik Ibsen’s play Peer Gynt, including “In the Hall of the Mountain King”.

“Ein Schwan” is the condensed story of Swan Lake. It talks about the beautiful swan, the elf’s power, and the death of the swan as it sings. The lyrics were written by Ibsen as well.

My swan, my treasure, with snowy white feather! Of thy songs sang me never a single measure! Slowly gliding in shadowy bower, Sly avoiding the water elf’s power, And yet when death came, thy song didst thou sing thee: With joy and with rapture, thy song didst sing thee! With joy and rapture transcending thy bower, Thy spirit departed: thy song was ended!

Morgen! Richard Strauss

Richard Strauss was a German Romantic composer known for his tone poems and operas. The text of “Morgen!” was written by one of Strauss’ contemporaries, John Henry MacKay. Strauss wrote this lied, the last in this opus, as a wedding present to his wife. It was originally written for piano and violin, but has been set for different combinations of instruments, orchestra, and voice.

And tomorrow the sun will shine again. The path I will take will unite us again, we happy ones, upon this sun-breathing earth...

And to the shore, the wide shore with blue waves, we will descend quietly and slowly; we will look silently into each other's eyes and the silence of happiness will settle upon us.

Claire de Lune Gabriel Faure

Gabriel Faure was one of the foremost French composers of his time. He was a bit of a party animal, bouncing between employers for some time in his youth before settling down and composing more in his later years. “Claire de Lune” is a surviving piece from his earlier years, arranged for both piano and orchestra.

Paul-Marie Verlaine wrote the poem “Claire de Lune” that Faure set to music. Verlaine’s life was steeped in addiction, religious confusion, and scandalous affairs of the heart. His style was rich in decadence and symbolism, characterized here by lurid lyricism and fantastical content. Your soul is a chosen landscape Where charming masqueraders and bergamasquers go Playing the lute and dancing and almost Sad beneath their fantastic disguises. They all sing in a minor key About triumphant love and fortunate life, They do not seem to believe in their fortune And their song blends with the light of the moon, In the calm moonlight, sad and beautiful, Which has the birds dreaming in the trees And the fountains sobbing in ecstasy, The tall fountains, slender amid marble statues.

Pur Dicesti, O Bocca Bella Antonio Lotti

Antonio Lotti was an Italian Baroque composer. Born in Venice in 1667, he spent his entire career at St. Mark’s Basilica, where he climbed in rank until his death in 1740. Much of what is known of Lotti is his employment history, which is extensive. The bulk of his composition was vocal works, including masses, cantatas, madrigals, and around thirty operas.

“Pur Dicesti, O Bocca Bella” is a synecdoche piece, in which the speaker talks of a beautiful mouth, opening to say the words she wants to hear only after a kiss. It is a lighthearted, flirtatious piece with its triplet sections and opportunities for ornamentation.

Beautiful mouth, at last you have spoken That gentle, lovable “yes” That makes my joy complete.

In his own honor, Love has opened you with a kiss, O sweet fountain of pleasure.

American Lullaby Gladys Rich

Very little is known of Rich’s life, although she was a graduate of the University of Utah and New York University. Most noteworthy is that her career brought her to western Pennsylvania, where she served as music director of the State Teacher’s College in Clarion, PA. “American Lullaby” is narrated from the point of view of a nursemaid caring for a baby. There is a commentary on the realities of the American Dream, how there are unexpected consequences, such as a nurse rocking your child to sleep while you are gone.

What Good Would the Moon Be? Kurt Weill Street Scene

Kurt Weill was a German expatriate, displaced by Nazis in the 1930s as he was a prominent Jewish composer who aligned himself with the political left. Weill is well known for his operas and other staged compositions; several of the more such as “Threepenny Opera” were successful alongside Bertolt Brecht. Weill aspired to turn opera into a deeper political and social commentary, to make an evening at the theatre a spark for societal change.

After his move to America, Weill wanted to break ground in creating a modern American operatic style, which he achieved through Street Scene, working with librettist Langston Hughes and playwright Elmer Rice. The work contains operatic arias, jazz influence, and Broadway-style musical numbers.

“What Good Would the Moon Be?” occurs towards the end of the first act, when Rose is propositioned by her boss, Harry Easter, with a promise that he could get her on Broadway if she would run away with him. She sings that she could have gold and diamonds but none of it would mean anything without true love.

Silver Aria Douglas Moore The Ballade of Baby Doe

Douglas Moore was an American composer who wrote music for several mediums, but was most well known for his operas The Devil and Daniel Webster (1938) and The Ballade of Baby Doe (1956). Moore held a few prestigious positions, working as Director of Music and organist at the Cleveland Museum of Art before settling into faculty position at Columbia University which he would hold until retirement. Moore was influenced by American folk music, jazz, and .

The Ballade of Baby Doe follows the lives of real historical figures Horace Tabor, Elizabeth “Baby Doe” Tabor, and Augusta Tabor. Horace was an American prospector and politician in the mid-late 1800s who became wildly wealthy through the holdings of silver mines. He had a scandalous divorce from Augusta to marry Baby Doe. The opera begins with the moment Horace and Baby Doe meet and concludes with Horace’s death.

“The Silver Aria”, sung by Baby Doe at their wedding party, is a show of hubris as the attendees debate the possibilities of the gold versus silver standard. Before he dies, Horace withstands major financial disintegration because America ends up choosing the gold standard, leaving the Tabors in ruins.

Black Swan Gian-Carlo Menotti The Medium

Gian Carlo Menotti was an Italian-American composer of 20th century opera. He was born in Italy in 1911. When he was 17, his mother took him to America and enrolled him in the Curtis Institute of Music in Philadelphia. From there he moved to New York with his partner in life and work, composer Samuel Barber.

Menotti wrote The Medium for Columbia University where it premiered in 1946. The Medium recounts the tale of Baba, a phony medium who scams grieving parents with the help of her daughter Monica and their mute ward Toby. Baba is an abusive alcoholic and one night while holding a séance, she feels phantom hands grip her throat. Baba gets drunk and blames the phenomenon on Toby, who is innocent. Monica sings the lullaby “Black Swan” in an effort to soothe Baba to sleep. A veteran of the role, pianist and mezzo-soprano Katherine Soroka sings Baba’s part in the duet at the end of the piece.

Much More Tom Jones and Harvey Schmidt The Fantasticks

Lyricist Tom Jones and composer Harvey Schmidt met while attending the University of Texas. Although Schmidt originally went to UT to major in art, he soon began accompanying drama student Jones. Schmidt only ever worked professionally in the music world with Jones, but Jones had several other excursions and collaborations outside of the partnership. The Fantasticks tells an allegorical story of two neighbors pretending to feud to trick their children into falling in love. “Much More” occurs at the beginning of Act 1, as Luisa fantasizes about the kind of life she’d like to live.

Goodnight My Someone Meredith Willson The Music Man

Meredith Willson was an American composer, musician, and author best known for writing The Music Man. The Music Man is about con man Harold Hill and his relationship with small town librarian Marian Paroo. “Goodnight My Someone” happens in the first act, when we are introduced to Marian’s romantic side. Marian teaches piano to a young girl who asks her to whom she should say goodnight to on the evening star, since she doesn’t have a love. Marian responds - simply say goodnight to her someone.

The Lorelei Gershwin and Gershwin Pardon My English

George and Ira Gershwin were brothers who together wrote some of the most beloved tunes in American history, including “Someone to Watch Over Me,” “I Got Rhythm,” and “Embraceable You.” Born in Brooklyn, NY, both boys were very bright growing up, though Ira was a little more shy than George. “The Lorelei” is a jazzy song about a siren named Lorelei sung by a woman who wants to be like her.

There’s a Fine, Fine Line Jeff Marx and Robert Lopez Avenue Q

Marx and Lopez are contemporary American composers who met in a workshop about . Their first major project was a Muppet movie in which Kermit plays Hamlet, which they entered in a competition and won a prize. From there, they conceptualized Avenue Q. Avenue Q is a musical about Muppets who all live on the same street.

“There’s a Fine, Fine Line” is sung by Kate Monster, who is in love with newcomer Princeton. They’ve been out a few times and Kate has made life altering decisions because of their relationship, But when she catches the bouquet at a wedding, it scares Princeton and he breaks up with her. The song wraps up Act 1 on a cynical note in a musical about the realities of adulthood.

I Won’t Mind Jeff Blumenkrantz The Other Franklin

Bluemenkrantz composed “I Won’t Mind” for an unfinished musical entitled The Other Franklin, which intended to explore the relationship between William Franklin and his father, Benjamin Franklin. “I Won’t Mind” is sung by William’s wife Lizzie, who learns she is unable to bear children after a painful miscarriage and is subsequently appointed godmother of her best friend’s son. She sings it to him as a lullaby while the rest of his family is celebrating his christening, wishing he was her son. Although the project was abandoned in the early 1990s, the song was picked up and popularized by Audra McDonald for her 2000 album, How Glory Goes.

The Simple Joys of Maidenhood Lerner and Lowe Camelot

Composed by Alan Jay Lerner and Frederick Lowe, “The Simple Joys of Maidenhood” is part of the musical Camelot! (1960). It occurs near the beginning of the action, just after Guinevere learns that she is the intended bride of King Arthur. She laments the loss of her youth and urges Saint Genevieve, the patron saint of Paris who was known to watch over virgins, to rescue her from an early marriage. Arthur, who was in a tree above her the whole time, falls in love instantly and wins her over.

BIOGRAPHIES

Soprano Rachele Heasley is a graduating senior at Mercyhurst University, departing with a BM in Music Therapy and a minor in theatre. She plans to begin an internship at Harborcreek Youth Services upon graduation, counseling and rehabilitating young boys for their return home. She is interested in pursuing work with a variety of populations and diagnoses, from neurorehabilitation to counseling.

Rachele has been an avid singer, musician, and actress her whole life. Early experiences started in Oil City, PA in youth choirs and theatre programs under the direction of Martha Heise. She played clarinet in concert and marching bands in high school headed by Daniel Cartwright, attending Mercyhurst’s Tri- state Honors Band on two occasions. She also participated in several choirs under the direction of Steve Luxbacher, including The 4 Quarters Sweet Adeline quartet. She was involved in musicals at Oil City as well with Mr. Luxbacher, and created the middle school’s theatre program, directing and producing two shows. She has additionally been involved in several productions at the Barrow Civic Theatre in a variety of roles.

At Mercyhurst University, Rachele has been very active in the theatre program under the direction of Dr Brett Johnson, appearing in a variety of roles; her favorite shows include “Hello from Bertha,” “She Kills Monsters,” “Babes in Arms,” and “The Canterville Ghost.” She is a member of the Sigma Tau Delta Honor Society because of her achievements in the program and is the secretary of the Theatre Club.

Rachele could not have made it this far without an immense support system. She’d like to thank her parents for always being there when she calls in the middle of the day and for helping make her dreams a reality, and her brothers for helping her take breaks from that reality. She’d like to thank her roommates and friends for listening to her Zoom voice lessons without a single complaint and for giving her all the love in the world. She extends thanks to Dr. Johnson, for teaching her to love the art in herself and for creating a space that fosters true joy in learning. Lastly, she would like to thank her voice teacher, Kathy, for holding her hand through all the scary parts of becoming a better singer and for showing her how rewarding it can be to sing with your own voice.

Mezzo Soprano and collaborative pianist Katherine Soroka has been a vocal accompanist since her student fellowship days at Aspen Music Festival. As a vocalist she is known for her for conveying the song text and connecting with audiences, acclaimed as “masterful” with “heartfelt vocalism” (Post Gazette) and for “finding both lush lines and dramatic intensity… commanding the stage”. (TribLive)

A winner of the Pittsburgh Concert Society Auditions, Katherine has performed world premiers by composers Judith Shatin and David Stock, and sung works by Betty Oliviero, Chinery Ung and Noah Zahler. She is an avid recitalist, having performed a Frick Museum Music For Exhibitions concert with Pittsburgh’s Chatham Baroque, in numerous New York City and Pittsburgh venues and at regional universities including Allegheny College and Chatham and Mercyhurst Universities.

Katherine has performed as soloist with the Knoxville Symphony Orchestra, Edgewood Symphony and Pittsburgh Civic Orchestra. She has narrated and sung with the Pittsburgh Symphony Orchestra in Tiny Tots and Schooltime educational concerts Recent operatic roles include Ulrica in Un ballo in maschera, Klytaemnestra in Elektra, Dinah in Trouble in Tahiti and Baba in The Medium. She also has performed in New York City and musical theatre in summer stock, at the Pittsburgh Playhouse and at Barrow Civic Theatre.

Katherine has had the great pleasure of being Rachele Heasley's voice teacher as adjunct faculty voice instructor and vocal accompanist at Mercyhurst University. She maintains a private studio in Pittsburgh and Foxburg. Katherine also served in the senior management of the New York Philharmonic, as Executive Director of the Grand Teton Music Festival and on the faculty and administration of Manhattan School of Music.