Senior Recital Lauren Carroll, soprano with Amelia Hammond, piano Saturday, May 8, 2021 Sheslow Auditorium in Old Main 7:30 p.m.

Chi il bel sogno di Doretta Giacomo Puccini from La rondine (1858-1924)

Ein Traum Edvard Grieg Sechs Lieder, Op. 48 (1843-1907) Nachtgebet Joseph Marx (1882-1964) Cäcilie Richard Strauss (1864-1949)

Depuis le jour Gustave Charpentier from Louise (1860-1956)

Intermission

Si, mi chiamano Mimì Giacomo Puccini from La bohéme (1858-1924)

Lyric for Truelove Undine Smith-Moore (1904-1989) Monna Innominata Eric Barnum (b. 1979) Touch me Tom Cipullo Late Summer No. 4 (b. 1956)

How fair this spot! (Zdes' khorosho!) Sergei Rachmaninoff 12 Romances, Op. 21, No. 7 (1873-1941) A-oo! (Ay-u!) 6 Romances, Op. 38 Spring Waters (Vesennije vody) Op. 14, No. 11 About the Artist

Lauren Carroll, soprano is a senior Vocal Performance major and studies under the tutelage of Leanne Freeman- Miller. She is involved in the Drake Opera Theater, Drake Choir and Spēro. Lauren has been featured in operatic roles such as Pamina (Die Zauberflöte), Fiordiligi (Così fan tutte), and Alice Ford (Falstaff). Most recently, Lauren received First Prize in the National MTNA Competition and First Prize in the Schubert Club Competition. Following graduation, Lauren will take part in Houston Grand Opera’s Young Artist Vocal Academy program. In the fall, Lauren will begin her studies at The Shepherd School of Music at Rice University where she will begin pursuing her Master of Music in Vocal Performance.

Amelia Hammond is a graduate of Drake University with a Bachelor of Music degree in Piano Performance under the tutelage of Dr. Nicholas Roth. She is a full-time collaborative pianist at Drake, accompanying for multiple vocal studios, masterclasses, and has most recently worked with the Drake Opera and Musical Theater departments for the productions of Verdi’s Falstaff and PIPPIN. In addition, she works as an accompanist for Johnston High School’s award-winning varsity show choir, Innovation. As the accompanist at Waukee High School as their high school choir accompanist where she assisted with their four choirs, jazz choirs, and their production of The Hunchback of Notre Dame, Hammond also enjoys teaching piano lessons out of her studio and working as a free-lance accompanist, playing piano and bass at the Des Moines Playhouse. She currently attends University of Southern California pursuing her Masters in Music in Keyboard Collaborative Arts under Dr. Alan Smith.

Special thanks to friends of Drake Arts (FDA) for their generous support of Music Department events and projects. For more than 25 years, FDA has helped to provide the best possible fine arts education for Drake students and exceptional fine arts opportunities for the region. For more information or to join, please visit: http://www.drake.edu/friends

Giacomo Puccini (1858-1924) Giacomo Puccini’s timeless opera, La rondine, takes place in Paris in the 1920s while following Magda de Civry, a desirable mistress who longs for lasting love. “Chi il bel sogno di Doretta” is the opera’s most famous aria and takes place in Act 1, where Magda and Rambaldo are hosting a party at her home among friends. Prunier, a friend of Magda’s, improvises a story about a woman named Doretta who chooses to reject love from a king. Following his performance, Magda improvises a song herself and suggests that Doretta may find happiness in a student’s love for her. Her song begs the beautiful question: “What do riches matter if true happiness blooms from love?”

“Chi il bel sogno di Doretta” from La rondine Libretto by Alfred Maria Willner / Heinz Reichert Chi il bel sogno di Doretta Who could Doretta’s beautiful dream potè indovinar? ever guess? Il suo mister come mai, Her mystery how come it’s never- come mai fini? how come it’s never ending? Ahimè! Un giorno uno studente Alas! One day a student in bocca la bacio, kisses her on the lips, È fu quel bacio And it was such a kiss rivelazione: A revelation: Fu la passione! It was passion! Folle amore! Crazy love! Folle ebbrezza! Crazy intoxication! Chi la sottil carezza Who could this subtle caress d’un bacio così ardente of a flaming kiss mai ridi potrà? ever describe? Ah! mio sogno! Ah! My dream! Ah! mia vita! Ah! My life! Che importa la richezza Who cares about the riches se alfine è rifiorita, if it finally flourishes la felicità! into happiness? O sogno d’or— Oh, golden dream— poter amar così To be able to love such as this!

Edvard Grieg (1843-1907) Edvard Grieg is a Norwegian composer who wrote many lasting German lied, and founded the Norwegian Nationalist School of Music. His music is most known for its refined lyricism, and his late-Romantic style of harmonization. Grieg was skilled in his beautiful depictions of text and presenting the imagery musically from the eye of the poet. “Ein Traum” meaning, A dream, depicts a scene in which a person describes their dream of meeting their lover for the first time within the forest. The illusion of the forest is beautiful and alive within their mind’s eye, until the person recognizes that they truly have encountered the love of their life, and how this dream no longer lives solely in their mind, but in their reality.

“Ein Traum” Sechs Lieder, Op. 48 Mir träumte einst ein schooner Traum: I once dreamed a beautiful dream: Mich liebte eine blonde Maid: A blonde maiden loved me, Es war am grünen Waldesraum, it was in the green woodland glade, Es war zur warmen Frühlingszeit: it was in the warm springtime: Die knospe sprang, der Waldbach Schwoll, The buds bloomed, the forest stream swelled, Fern aus dem Dorfe scholl Geläut— from the distant village came the sound of bells— Wir waren ganzer Wonne voll, We were full of bliss, Versunken ganz in Seligkeit. so lost in the happiness. Und schooner noch also einst der Traum, And more beautiful yet than the dream, Begab es sich in Wirklichkeit— it came to pass in reality— Es war am grünen Waldesraum, It was in the green woodland glade, Es war zur warmen Frühlingszeit: it was in the warm springtime: Der Waldbach schwoll, die Knospe sprang, The forest stream swelled, the buds bloomed, Geläut erscholl vom Dorfe her— From the village came the sound of bells – Ich hielt dich fest, ich hielt dich lang, I held you fast, I held you long, Und lasse dich nun nimmermehr! and now shall never let you go! Oh frühlingsgrüner Waldesraum! O woodland glade so green with spring dreams! Du lebst in mir durch alle Zeit— You shall live in me for evermore— Dort ward die Wirklichkeit zum Traum, There reality became a dream, Dort ward der Traum zur Wirklichkeit There dream became reality!

Joseph Marx (1882-1964) Austrian composer, Joseph Marx, is known for his songs, symphonies, piano concerts of and chamber music. His works are notable for their dream-like quality, as well as their freedom, use of modern harmonies, and sweeping lines for both the voice and piano. His skill in creating a beautiful connection between the two instruments is most stunning. “Nachtgebet” meaning night prayer, depicts a lovers message illustrating her desire towards them in the most sensual imagery. Describing their love as worthy of “worship”, and her soul as “drowning innocently” in love. Listen for conversation between the piano and voice, as they move in and out of tempo and key centers effortlessly created by Marx.

“Nachtgebet” Libretto by Ernst Heinz Hess O sähst du mich jetzt beten Oh, if you could see me worship now zu deinen heiligtiefen Augen, your sacred deep eyes, die fragend zu mir flehten who beseechingly question me wie nach Liebe, as if for love; du schlössest deine tiefen Augen, You would close your deep eyes, daß ich nicht drein versinke so that I wouldn’t drown wie in Liebe. in your love. O sähst du, wie ich bete Oh, if you could me worship now zu deiner kinderfrohen Seele, your innocent soul, es schwiege deine Kinderseele, your innocent soul would remain silent, daß sie nicht untergehe so that it wouldn’t drown in meiner Liebe. in my love. Richard Strauss (1864-1949) Richard Strauss is a prolific German composer whose compositions fall within the late 19th and early 20th century Romantic period. He is most known for his opera and symphonic masterworks, which are an essential part of the standard repertoire. “Cäcilie” was written by Strauss the day before his wedding to the soprano, Pauline de Ahna. The songs a part of Op. 27 were given to her as a wedding gift. The text describes a relationship between two lovers, and their yearning for one another. Strauss’ compositional skills are at their grandest within this piece, while also showcasing stunning color changes throughout within the vocal and piano line.

“Cäcilie” Op. 24, No. 2 Wenn Du est wüßtest, If you knew Was träumen heißt What it is to dream Von brennenden küssen , Of burning kisses, Von Wandern und Ruhen Of walking and resting, Mit der Geliebten, With one’s love, Aug’ in Auge, Gazing at eachother, Und kosend und plaudernd— And caressing and talking— Wenn Du est wüßtest. If you knew, Du neigtest Dein Herz! Your heart would turn to me! Wenn Du est wüßtest, If you knew, Was bangen heißt What it is to worry In einsamen Nächten, On lonely nights Umschauert vom Sturm, In the frightening storm, Da Niemand tröstet With no soft voice Milden Mundes To comfort Die kampfmüde Seele— The struggling weary soul— Wenn Du est wüßtest, If you knew, Du kämest zu mir. You would come to me. Was leben heißt, What it is to live, Umhaucht von der Gotteheit, Enveloped in God’s, Welt schafendem Atem, World-creating breath, Zu schweben empor, To soar upwards, Lichtgetragen, Borne on light, Zu seligen Höh’en, To blessed heights— Wenn Du est wüßtest, If you knew, Du lebtest mit mir. You would live with me.

Gustave Charpentier (1860-1956) French composer, Gustave Charpentier, is best- known for his opera, Louise, which is highly regarded for its “sentimental realism” and its picturesque locational setting in Montmartre, France. Louise is centered around the lovers Louise and Julien who desperately want to be together but are continually separated because of Louise’s devotion to her parents. In “Depuis le jour”, Louise recounts the day she first met and was enraptured by Julien, and wonders if she could possibly be happier than she is in the present moment.

“Depuis le jour” from Louise Depuis le jour où je me suis donnée, Since the day I gave myself, toute fleurie semble ma destinée. My fate seems all in flowers. Je crois rêver sous un ciel de féerie, I seem to be dreaming beneath, l’âme encore grisée my soul still enraptured de ton premier baiser! by that very first kiss! Quelle belle vie! What a wonderful life! Mon rêve n’était pas un rêve! My dream was not a dream! Ah! je suis heureuse! Oh! I am so happy! L’amour étend sur moi ses ailes! Love spreads its wings over me! Au jardin de mon coeur In the garden of my heart chante une joie nouvelle! a new joy sings! Tout vibre, Everything resonates, tout se réjouit de mon triomphe! everything rejoices in my triumph! Autour de moi tout est sourire, About me is all smiles, lumiére et joie! light and happiness! et je tremble délicieusement and I tremble deliciously au souvenir charmant at the delightful memory du premier jour of the first day d’amour! of love! Quelle belle vie! What a glorious life! Ah, je suit heureuse! trop heureuse… Oh, how happy I am! too happy… et je tremble délicieusement, and I tremble deliciously au souvenir charmant at the delightful memory du premier jour of the first day d’amour! of love!

Puccini’s beloved opera, La bohème, follows four struggling bohemians living together in Paris, when one Christmas Eve, all of their lives are changed by love, and eventually loss. In this scene, Mimì, the seamstress, finds herself conversing with her neighbor Rodolfo. They share their hopes and dreams with one another, and Mimì talks about her simple, yet beautiful life.

“Si, mi chiamano Mimì” from La bohème Libretto by Luigi Illica & Giuseppe Giacosa Si. Mi chiamano Mimì, Yes, they call me Mimi, Ma il mio nome è Lucia. but my real name is Lucia. La storia mia è breve. My story is brief. A tela o a seta I embroider satin ricamo in casa e fuori. and silk at home and elsewhere. Son tranquilla e lieta I am peaceful and happy, ed è mio svago and my pastime is far gigli e rose. creating lilies and roses. Mi piaccion quelle cose I like the things che han si dolce malia, that are so sweetly charming, che parlano d’amor, di primavere, that talk about love, and about springtime, che parlano di sogni e di chimere, that talk about dreams and about quelle cose che han nome poesia… wonders, those things of poetry… Lei m’intende? Do you understand me? Mi chiamano Mimì, They call me Mimi, il perche non so. why? I don’t know. Sola, mi fo il pranzo da me stessa. Alone, I make lunch for myself. Non vado sempre a messa, I don’t always go to mass, ma prego assai il Signor. but I pray enough to the Lord. Vivo sola, soletta, I live alone, quietly alone, là in una bianca cameretta: There is a little white room where guardo sui tetti e in cielo; I look upon the roofs and heavens, ma quando vien lo sgelo but when the thaw comes, il primo sole è mio, the first sun is mine, il primo bacio dell’aprile è mio! the first kiss of April is mine! Germoglia in un vaso una rosa… Rosebuds in a vase… foglia a fogila la spio! leaf by life I watch them grow! Così genitl il profumo d’un fior! With gentle perfumes of flowers! Ma i fior ch’io faccio, ahimè… But the flowers that I make, ah, me… Ahimè non hanno odore. Ah, they have no scent. Altro di me non le saprei narrare. I wouldn’t know how to tell you about me. Sono la sua vicina che la vien fuori d’ora I am your neighbor who comes unexpectedly importunare. to bother you.

Undine Smith-Moore (1904-1989) Undine Smith-Moore is a 20th century composer and classical pianist, who is most known for her writings for solo voice. Her compositions are known for their freedom in the vocal line and are often inspired by African American spirituals and folk music. She is a prolific female composer and championed the teaching of African American music within the American educational system. She is known to some as the “Dean of Black Women Composers” and made it her life’s mission to showcase and teach the music of Black Americans in higher education and beyond. The text of “Lyric for Truelove” is by Florence Hynes Willette, and depicts a person calling for their lover, and how the beauty of them is reminiscent of the coming springtime. The vocal line is free and full of give and take, while the piano sweeps beneath creating a breezy feel.

“Lyric for Truelove” True love, true love arise for our trysting. A young scented wind hastens by to remind us, the season is on us the hour is right. Oh, do you remember an April behind us? When dogwood twined, gentle and white. Your voice was a singing bird caught in the branches— your hair a bright river that curved as it fell. And silky your eyelids were cool as the blossoms; your mouth for my thirst was a well. True love, true love arise for our trysting. Leave your throat bare and your long hair undone. We will lean to each other where wild boughs are misting, and shake out our dreams in the sun!

Eric William Barnum (b. 1979) Eric William Barnum is an American composer and choral director, who currently is the Director of Choral Activities at Drake University. Barnum is most known for his choral compositions but has also written several song cycles and individual songs for voice and piano. His works are known for their usage of leitmotif and he aims to provide “intensely meaningful experiences for singers and audiences.” His piece, Monna Innominata, stands alone, and the text is painted in a powerful depiction of love expressed between two.

“Monna Innominata” I loved you first, I loved you, I loved you, I loved you first, And afterwards your love outsoaring mine, Sung such a loftier song, Outsoaring mine… outsoaring mine. And drowned the friendly cooings of my dove. Ah, ah, ah. Which owes the other most? My love was long. And yours one moment seemed to wax more strong. I loved you. I loved and guessed at you, you construed me, I loved you! You construed me and loved me, and loved me, For what might or might not be, Nay weights and measures do us both a wrong, For verily knows not ‘mine’or ‘thine’; With separate ‘I’ and ‘thou’ free love has done, For one is both and both are we in love; Rich love, knows not of ‘thine’ that is not mine, Both have the strength and both the length thereof. Both of us, of the love which makes us one.

Tom Cipullo (b. 1956) Tom Cipullo is an American composer of opera and song. He is known for his “inexhaustible imagination, wit, expressive range and originality.” His operas, Mayo and Glory Denied are award winning, and have garnered performances at many of the U.S.’s most notable opera companies. His song cycle, Late Summer, features four pieces with texts from poets, William Heyen, Dickinson, and Kunitz. “Touch me” focuses on the reminiscence of youth, and what it means to look back on who we were in days gone by. This piece paints the text beautifully, and showcases the wide range of the voice, while utilizing articulation that simulates speech-like singing.

“Touch me” Summer is late, my heart. Words plucked out of the air some forty years ago

When I was wild with love and torn almost in two Scatter like leaves this night of whistling wind and rain.

It is my heart that’s late, it is my song that’s flown. Outdoors all afternoon under a gunmetal sky Staking my garden down. I kneeled to the crickets trilling underfoot, As if about to burst from their crusty shells; And like a child again marveled to hear so clear And brave a music pour from such a small machine. What makes the engine go? Desire, desire, desire.

The longing for the dance stirs in the buried life. One season, only, and it’s done. So let the battered old willow thrash against the windowpanes, and the house timbers creak. Darling, do you remember the man you married? Touch me, remind me who I am.

Sergei Rachmaninoff (1873-1943) Russian composer, Sergei Rachmaninoff, was known for his works for both piano and voice. He was a virtuosic pianist himself, which inspired many of his works challenging and complex accompaniment and line. Rachmaninoff’s style includes complex chromatic harmonies and rhythmic inciciveness. Within these three pieces will be exemplified both the soft, subtle, and dreamlike colors as well as the full, clear and strong qualities that he was capable of creating. His music stands at the helm of Russian repertoire and was known for the immense “heart” that shone brightly through all of his compositions.

“How fair this spot!” 12 Romances, Op. 21 No. 7 Zdes’ khorosho… All is well here… Vzglijani, vdali look, in the distance Ognjom gorit reka; the river glows like a fire; Cvetnym kovrom luga legli, The meadows are like a colorful carpet, Belejut oblaka. and there is the whiteness of clouds. Zdes’ net ljudej… There is nobody here. Zdes’ tishina… All is quiet... Zdes’ tol’ko Bog da ja. Here I am alone with God. Cvety, da staraja sosna, And the flowers, and the old pine, Da ty, mechta moja! and you, my dream!

“A-oo” 6 Romances, Op. 38 No. 6 Tvoj nezhny’j smekh by’l skazkoyu izmenchivoyu, Your tender laugh was a fickle fairytale, On znal kak v son zovyot svirel’ny’sj zvon. it calls me out of the dream on pipe chimes. I vot venkom, stixhom tebya uvenchivayu. Now my garland of poetry crowns you. Ujdjom, bezhim vdvoem na gorny’j sklon. Let’s go, let’s run, both of us, to the mountainside! No gde zhe ty? But where are you? Lish’ zvon vershin pozvanivaet Only the pipes from the top chime… Czvetku czvetok sred’ dnya zazheg svechu. One flower to another flower light the candle of midday. I chej- to smex vse v glub’ menya zamanivajet. And someone’s laughter calls to me from the depths. Poyu, ishhu, I sing, I search, Au! “A-oo!” Au! krichu. “A-oo!” I cry.

“Spring Waters” Op. 14, No. 11 Jeschjo v polyakh beleyet sneg, The fields are still white with snow, A vody uzh vesnoy shumyat. but already there is the sound of spring in the waters— Begut i budyat sonnyj breg, They run along and wake the sleepy banks, Begut, i bleshchut, i glasyat… they run, and glitter, and proclaim… Oni glasjat vo vse koncy: They proclaim in every direction: “Vesna idyot, vesna idyot!” ‘Spring is coming, spring is coming!’ My molodoy vesny goncy, We are the heralds of youthful spring, Ona nas vyslala vperyod. who sends us on ahead. Vesna idyot, vesna idyot, Spring is coming, spring is coming, I tikhikh, teplykh mayskikh dney, and the quiet, warm days of May, Rumyanyj, svetlyj khorovod like some rosy, radiant-round-dance, Tolpitsja veselo za ney!... hurry along in its wake.