Student Recital

Riley Wells, Countertenor (they/them or he/him) Andrew Lenhart, Piano (he/him) with Emma Taranko, Soprano (she/her)

April 22, 2021, 5:00 P.M.

Sciolta il crin, from Orontea Antonio Cesti (1623-1669) Io non diró, from L’Orfeo (1567-1643) Ahi, vista troppo dolce, from L’Orfeo

Venti, turbini, from (1685-1759) , from

In early Italian , most if not all roles onstage were performed by men regardless of the character’s gender. In each of the arias in this set, the role was originated by a castrato, or a man castrated before puberty. This practice was an effort to preserve a young boy’s beautiful high voice, but with the lung capacity of an adult man— and sometimes succeeded in doing so. In Orontea, the character of Philosophy is written for a soprano voice and intended to be played by a castrato. The character of Euridice in both L’Orfeo arias was also played by a mezzo- soprano castrato. However, castrati were not only cast as women. The title characters of Rinaldo and Xerxes from the Handel selections were originated by alto and soprano castrati, respectively. In both Orontea and L’Orfeo, the original casts were almost certainly made up entirely of men. By Handel’s time, women were allowed onstage and female roles in opera were now most often theirs, but castrati remained in common usage for their unique vocal quality. Now, these roles are most often played by women or by male countertenors.

Non so più cosa son, cosa faccio, from Le nozze di Figaro W.A. Mozart (1756-1791) Aprite, presto, aprite, from Le nozze di Figaro

Que fais-tu blanche tourtourelle, from Roméo et Juliette Charles-François Gounod (1818-1893) Toi, le coeur de la rose, from L'enfant et les sortilèges Maurice Ravel (1875-1937) Abends, will ich schlafen gehn, from Hänsel und Gretel Engelbert Humperdinck (1854-1921)

By Mozart’s time, castrati had mostly fallen out of fashion. However, roles calling for men with high voices were still being written—especially roles portraying prepubescent boys. In order to cast professional adult singers in these roles, the “pants role”—an adult woman playing a male character—became a common operatic trope. Cherubino in Le nozze di Figaro is a page boy just beginning to discover his love for women—which often gets him in trouble, to the distress of his friend . Stephano in Roméo et Juliette is likewise a young page, youthful and overconfident in support of his master, Romeo. Even in the later 1800s, pants roles remained common. The titular L’enfant of Ravel’s opera is a young boy whose toys and books come to life when he refuses to do his homework, including a princess from his storybook who leaves him alone and heartbroken after he tears out her pages. In Hänsel und Gretel, the roles of both siblings are commonly played by female singers.

Che farò senza Euridice, from Orfeo ed Euridice Christoph Willibald Gluck (1714-1787) Mura felici, from La donna del lago Gioachino Rossini (1792-1868) Chacun à son gout, from Die Fledermaus Johann Strauss II (1825-1899)

As pants roles were becoming common casting for the high-voiced roles of young boys, roles were being written that required a high voice for adult male characters as well. These roles were, and are, commonly cast as pants roles, but depending on the role and tradition, are sometimes played by male countertenors as well. In Gluck’s retelling of the famous Orfeo, the character of Euridice could be played by a woman. However, rather than write Orpheus’ part for a male tenor as Monteverdi did, it was now written for and originated by a female singer. Rossini often wrote male romantic leads as pants roles playing opposite women, including the character of Malcolm in La donna del lago, who sings about his wish to reunite with his love, Elena. The role of Prince Orlofsky in Die Fledermaus is a hotly debated topic in terms of casting. While the role was originated by a mezzo-soprano, it is often cast as a countertenor, or even on occasion as a tenor, singing an octave lower. Rather than acting as a romantic lead, Orlofsky is portrayed as eccentric and flamboyant, and is often cast differently depending on what traits a director wishes to emphasize.

Trial by Song, from Ulysses Dies at Dawn The Mechanisms (arr. Ezra Gimeno) (2010-2020) Underworld Blues, from Ulysses Dies at Dawn

Centuries after Monteverdi made the story of Orpheus and Euridice into the first true opera, the story is still being retold in song—and still finding unique ways to present gender through music. The Mechanisms are a folk- punk band who describe their work as a “storytelling musical cabaret.” The real-life musicians in the band include several transgender and nonbinary members, the “Mechanisms” they play onstage have their own genders and presentation, and the characters they then sing about in order to tell their stories are cast with a gender-blind eye. Trial by Song is sung by the fictional Mechanism known as The Toy Soldier, a robotic creature that uses ‘it/its’ pronouns. The Toy Soldier is played by Jessica Law, a soprano who uses ‘she’ and ‘her’, and the character in the story itself is Orpheus, referred to with ‘he’ and ‘him’. This gender-blind casting extends to other characters as well, as seen in Underworld Blues. Here, Ulysses, Heracles, and Orpheus all appeal to Hades to grant a wish of theirs. Hades is played by the fictional Mechanism Ashes O’Reilly and in turn the performer Frank Voss, both of whom use ‘they/them’ pronouns. With this third retelling of the myth of Orpheus, anyone with a voice in the mezzo to countertenor range can sing Euridice, Orpheus, and even Hades regardless of gender.

In the spirit of this gender-blind casting and the development and growth of how gender has been presented on the operatic stage throughout history, all four roles in Underworld Blues— and each other role in this recital, regardless of character gender and traditional casting practices—will be sung by a nonbinary mezzo-soprano countertenor who uses ‘they/them’ and ‘he/him’ pronouns.

This recital is given in partial fulfillment of the requirements for the Bachelor of Music degree. Special thanks to Rachael Gates, Andrew Lenhart, Gregory Crowell, and Nicholas Loren. Thanks as well as to Nate Bliton for making the recording of this recital possible, The Mechanisms for encouraging creative use and performance of their music, and to all the family and friends who have supported me this far and beyond. Translations

Sciolta il crin (My hair is loose) Never was the shade Giacinto Andrea Cicognini of any plant My hair is loose, my feet are bare, my vest is torn dearer and more lovely, I live merrily in solitary chambers. or more sweet. I was born poor, and yet I command the stars I walk naked, and yet I am rich in treasures. Non so più cosa son, cosa faccio (I no longer know) Lorenzo Da Ponte Regal pomp, high palaces, Arabian incense, I no longer know who I am or what I'm doing, Away, away from me! Only poverty suits me. First I'm burning, then I'm freezing I contemplate death and foresee my end Every woman makes me blush, With virtuous intent I deny my senses Every woman makes me tremble. So is my mind serene, and my heart content. At the very words ‘love’ or ‘delight’ My heart leaps and pounds, Known only by myself, I am oblivious to the world. Just speaking of this fills me The fields provide me food, the rivers water. With a longing I can't explain! I follow Astraea, I flee Mars, I despise Love. I speak of love when I'm awake, I speak of it in my dreams, Io non diro (I will not say) To the stream, the shade, the mountains, Striggio To the flowers, the grass, the fountains, I will not say how great To the echo, the air, the breezes, is my joy at your rejoicing, Orpheus, They carry away since my heart is no longer with me, The sound of my fond words but resides with you in the company of Love. And if no one hears me Ask of it, therefore, if you wish to know I speak of love to myself. how gladly it rejoices and how much it loves you. Aprite, presto, aprite (Open, quickly, open) Ahi, vista troppo dolce (Ah, sight too sweet) Lorenzo Da Ponte Alessandro Striggio SUSANNA Ah, sight too sweet and too bitter! Open up, quickly open up; Thus, then, through excess of love you lose me? Open, it's Susanna. And I, unhappy one, lose Come out of there the power to enjoy You must get away at once. either light or life anymore, and lose you too, O my husband, more precious than all else. CHERUBINO Oh dear, what a terrible scene! Venti, turbini (Winds, storms) What a dreadful thing to happen! Giacomo Rossi Winds, storms, lend your wings SUSANNA unto my feet! Leave without delay! Heavens, gods, equip this arm so it might This way, that way. confront her who has inflicted onto me such pain! SUSANNA and CHERUBINO Ombra mai fu (Never was a shade) The doors are locked. Silvio Stampiglia Whatever shall we do? Tender and beautiful fronds of my beloved plain tree, CHERUBINO let Fate smile upon you. We can't give up. May thunder, lightning, and storms never disturb your dear peace, SUSANNA nor may blowing winds defile you. He'll kill you if he finds you.

CHERUBINO Toi, le coeur de la rose (You, the heart of the rose) He'll kill me if he finds me. Colette Just let me look outside here. You, the heart of the rose, I could jump down to the garden. You, the perfume of white lilies, You, your hands and your crown, SUSANNA Your blue eyes and your jewels… Stop, Cherubino! You have left me nothing Don't even think of jumping! but, like a ray of moonlight, your golden hair upon my shoulder CHERUBINO and the remains of a dream… Let me go I'd rather leap into the fire than harm her. Abends, will ich schlafen gehen (In the evening) I embrace her through you. Adelheid Wette Farewell; so be it! HÄNSEL The sandman was here! SUSANNA He'll kill himself, for certain. GRETEL Stop, for pity's sake! Let us say our evening prayer!

Que fais-tu, blanche tourterelle (What are you In the evening, when I want to go to sleep, doing, white turtledove) fourteen angels stand around me: Jules Barbier and Michel Carré two at my head, Since yesterday I have sought my master in vain! two at my feet, Is he still in your home, two to my right, my Lords Capulet? two to my left, Let us see if your worthy servants two who cover me, will dare to reappear two who wake me, at the sound of my voice this morning! two who point me to heaven’s paradise!

What are you doing, white turtledove, Che farò senza Euridice? (What shall I do without in this nest of vultures? Euridice?) Someday you will unfold your wings Ranieri de' Calzabigi and follow love! Alas! What have I done? To the vultures, battle is necessary, Where has love's frenzy To hit, cut, and thrust driven me? Their beaks are sharpened! Beloved Eurydice! Leave these birds of prey, turtledove, Eurydice! My wife! and go to he who makes you happy Ah! She lives no longer, with lovers’ kisses! I call her in vain! Woe is me! Guard the fair one well! I have lost her again, and forever. Whoever lives will see! Cruel decree! Oh death! Your turtledove will escape from you! Oh bitter reminder! There is no help, A male dove, far from his green grove, no counsel for me! Drawn by love, I see only— ah, cruel sight! — All around this savage nest the mournful signs Has sighed, I believe! of my terrible plight. The vultures are crude, Be satisfied, malevolent fate! Their songs from which Aphrodite flees I am in despair! resonate loudly! Meanwhile, in their sweet intoxication What shall I do without Eurydice? the lovers tell of their tenderness Where shall I go without my love? to the stars of night! Eurydice! Eurydice! Guard the fair one well! O heavens! Answer! Whoever lives will see! I am still true to you! Your turtledove will escape from you! Eurydice! Eurydice! Ah, there is no help, no hope for me either on earth or in heaven! Mura felici (Happy walls) Chacun à son goût (Each to his own taste) Andrea Leone Tottola Carl Haffner and Richard Gené Happy walls, where my love resides! I like to have guests over After many moons I will see you again. Everyone enjoys themselves at my house. Ah! I no longer see you They do what they like as you were before, laughing and happy! until the light of day. Here within these walls was born and raised Although I’m bored most of the time, the innocent object of my passion whatever they do or say, How sweetly within you passed my life I allow myself as a host Alongside her who responded mercifully to my I will not tolerate in guests! devotion! If I see anyone looking bored Evil clouds now sadden and freeze my poor heart! here in my home, Cruel hands take you away from me, I will seize him shamelessly They abduct you from me, and throw him out the door. Oh, cruel torment! Here dwells my treasure. You ask why I do that? It’s simply my custom: Elena! Each to his own taste! Oh, I call you Fly to me soon! When I sit with others over wine Tell me again, “I love you!” Emptying bottle after bottle, Stay faithful to me! Everyone with me must be thirsty, And then, secure in your love, Otherwise I become crude. My soul, I swear I will take you away If I pour glass after glass, Or I will die for you! I tolerate no refusal I would be grateful for death I can’t stand it when they yell: If Elena is not mine. I don’t want more, I’ve had enough! Anyone who doesn’t keep drinking with me Oh, how many tears have I shed until now and refuses like a ninny, Languishing far from your beautiful eyes! I quite unashamedly throw Everything seems sad, the bottle at his head. All is imperfect, I detest it. The sun no longer shines, You ask why I do that? The stars no longer sparkle for me. It’s just my custom: Dear! You alone calm me, Each to his own taste! You grant mercy to my grateful soul!