CAL PERFORMANCES PRESENTS PROGRAM

Sunday, April 29, 2012, 3pm Hertz Hall

Sandrine Piau, soprano Susan Manoff, piano Vincent Bouchot (b. 1966) Galgenlieder (2009) Mondendinge PROGRAM Der Hecht Die Mitternachtsmaus Das Wasser Felix Mendelssohn (1809–1847) Nachtlied, Op. 71, No. 6 (1847) Galgenkindes Wiegenlied Neue Liebe, Op. 19a, No. 4 (1833) Schlafloser Augen Leuchte, trüber Stern (1835) Hexenlied, And’res Mailied, Op. 8, No. 8 (1827) Francis Poulenc (1899–1963) Montparnasse (1941–1945) Hyde Park (1945) C (1942) Gabriel Fauré (1845–1924) En sourdine, Op. 58, No. 2 (1891) Fêtes Galantes (1942) Prison, Op. 83, No. 1 (1894) Les berceaux, Op. 23, No. 1 (1879) Après un rêve, Op. 7, No. 1 (1878) Benjamin Britten (1913–1976) Folk Song Arrangements The Salley Gardens (Irish) (1941–1942) Ernest Chausson (1855–1899) Amour d’antan, Op. 8, No. 2 (1882) There’s None to Soothe (Scottish) (1945–1946) Dans la forêt du charme et de l’enchantement, I Wonder as I Wander (John Jacob Niles) (1941) Op. 36, No. 2 (1898) Les Heures, Op. 27, No. 1 (1896)

Richard Strauss (1864–1949) Morgen, Op. 27, No. 4 (1894) Das Geheimnis, Op. 17, No. 3 (1885–1887) Die Nacht, Op. 10, No. 3 (1885) Ständchen, Op. 17, No. 2 (1887) Funded by the Koret Foundation, this performance is part of Cal Performances’ 2011–2012 Koret Recital Series, which brings world-class artists to our community.

INTERMISSION Cal Performances’ 2011–2012 season is sponsored by Wells Fargo.

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Felix Mendelssohn (1809–1847) synagogal origin, just two of those ancient; at her day’s most munificent arts patrons with writing tender but melancholy music, perhaps Four Songs least four were German folksongs that had been commissions to Ravel, Satie, Stravinsky, Falla, reflecting his occasional bouts with depression. taken into the liturgy.) These Hebrew Melodies Weill, Poulenc and other leading composers. The four-dozen songs that he created before Mendelssohn wrote songs throughout his life, proved extremely popular throughout Europe, When Fauré returned to Paris later that sum- his untimely death at age 44 (in a bicycle acci- some 120 of them, that reflect the elegance, pol- and the collection was translated into German, mer, Mme. Polignac arranged a meeting be- dent) reflect not only his own sensitive nature, ish, craftsmanship and emotional reserve that Italian, Russian and Swedish and remained in tween poet and composer, but Verlaine had al- “but also the most characteristic French song characterized both his personality and his other print for the next half-century. In December ready descended too far into his world of drugs writing,” wrote Jean-Pierre Barricelli and Leo compositions. His songs were well suited to the 1834, Mendelssohn made his own translation of and absinthe by that time, and all Fauré got in Weinstein in their study of the composer, “a intimate parlor gatherings that played such an Byron’s Sun of the Sleepless, upon which he based return for his visit was a request for a loan of 100 kind of concentrated, and thereby intense, intel- important role in 19th-century musical life, his wistful song Schlafloser Augen Leuchte. francs. Fauré continued to admire Verlaine’s lectualism capable of expressing the most inti- though they were elevated above the custom- Mendelssohn’s sulphurous Hexenlied, contributions to French culture, however, and mate psychological demands of the text through ary Biedermeier salon fare by their finesse, har- And’res Mailied (“Witches’ Song, Another May he set nine of his poems in 1892–1894 as the varying rhythms and accents.” monic subtlety and graceful lyricism. So well do Song”), composed in Berlin when he was 18, masterful song cycle La Bonne Chanson and In the summer of 1882, Chausson began Mendelssohn’s songs embody essential elements takes as its text a poem by Ludwig Christoph played the organ at the poet’s funeral in 1896. setting three poems from a large collection ti- of his creative personality that Wilfred Blunt Hölty (1748–1776), a founder and leader of a The beatific En sourdine (“Muted”) is the second tled Les Poëmes de l’amour et de la mer by his chose one—On Wings of Song—as the title of group of young writers at Göttingen University, of Fauré’s “Venice Songs.” friend the poet and sculptor Maurice Bouchor his 1974 biography of the composer. the Göttinger Dichterbund, who dedicated their Prison, composed in December 1894, takes (1855–1929). Two long verses became the basis Mendelssohn sketched his introspective set- work to the emerging Romantic ideals of love, as its forlorn subject the poem that Verlaine for Chausson’s orchestral song cycle named for ting of Eichendorff’sNachtlied (“Night Song”) nature, lyricism and sentiment. wrote in 1873, when he was himself incarcerat- the collection’s title, and a shorter one taken in 1845 but did not complete it until October 1, ed after attempting to kill his friend and fellow from the section called La Mort de l’amour— 1847, during the months of stunned sadness fol- poet Arthur Rimbaud when Rimbaud threat- Amour d’antan (“Love of Former Days”)—was lowing the death of his beloved and musically Gabriel Fauré (1845–1924) ened to end their relationship. given a delicate setting as the earliest of his four gifted sister, Fanny, after she suffered a stroke Four Songs The gentle lapping motion of the piano ac- Bouchor Songs, Op. 8. while leading a rehearsal of her brother’s Die erste companiment in Les Berceaux (1879) evokes Dans la forêt du charme et de l’enchantement Walpurgisnacht (“The First Walpurgis Night”) in Among Fauré’s most characteristic and highly both the rocking cradles of the poem’s title and (1898, “In the Forest of Charms and May; she was 42. Felix, already ill and exhausted regarded creations are his songs, some one its images of great ships setting off upon the Enchantments”) is a magical, evanescent from punishing overwork, was prostrated by her hundred separate numbers that occupied him waves of the sea. The poem is by René-François musical embodiment of a poem by Jean death, and he died one month after finishing throughout his career, most of which he ulti- Sully-Prudhomme (1839–1907), a leader of the Moréas, the pen name of Athens-born Yanni Nachtlied, his last song. mately gathered into five cycles and three large French Parnassian movement and the recipient, Pappadiamantopoulos (1856–1910), who be- Mendelssohn suggested the spirit world published collections. The essence of Fauré’s art in 1901, of the first Nobel Prize for Literature. came involved with progressive French liter- of Heine’s Neue Liebe (“New Love,” Op. 19a, is codified in these exquisite miniatures—the Among Fauré’s most beloved songs is ary circles when he went to Paris to study No. 4; 1833) with gossamer, featherstitched mu- precision and delicacy of melody, the subtle Après un rêve (“After a Dream”), composed in law in 1875. Chausson took his text from the sic that recalls the incomparable overture he had nuances of vocal and instrumental sonorities, 1878 to an anonymous Tuscan poem adapt- Funérailles section of Moréas’s first published been inspired to write seven years before (when the limpid rhythmic sense, and, above all, the ed into French by the poet, singer and Paris collection, Les Cantilènes of 1886. he was 17) by Shakespeare’s A Midsummer remarkable harmonic vocabulary, which ven- Conservatoire faculty member Romain Bussine Camille Mauclair (1872–1945) began his lit- Night’s Dream. tured along a new path that departed from both (1830–1899), who helped to found the influen- erary career as a poet under the Symbolist sway In 1814, the English singer and composer Wagner’s voluptuousness and Gounod’s senti- tial Société Nationale de Musique in 1870 with of Mallarmé and a novelist whose 1898 Le Soleil Isaac Nathan, son of the cantor at a synagogue mentality to embrace the fluidity of Gregorian Camille Saint-Saëns and Henri Duparc. des morts (“The Sun of the Dead”) was an impor- in Canterbury and a graduate of Cambridge, ca- chant, the modalism of Renaissance polyph- tant document of artistic life in fin de siècle Paris. joled Lord Byron, then the country’s most popu- ony, and the lucidity of the French Baroque He later turned to travel writing and art criti- lar and glamorous poet, into writing 29 new texts clavecinists to create a musical language that Ernest Chausson (1855–1899) cism, and also authored several books on music, on appropriate Old Testament subjects fitted to flowered into the full blush of Impressionism Three Songs including a biography of Schumann and a his- arrangements of what Nathan told the poet were with Debussy. tory of European music from 1850 to 1914. The traditional Jewish melodies, “some of which are Fauré began his cycle of Cinq Mélodies Ernest Chausson was, by all reports, a gentle, poignant mood and insistent tolling-bell accom- proved to have been sung by the Hebrews be- “de Venise” on texts by Paul Verlaine during a considerate, kind and somewhat shy man, who paniment make Chausson’s Les Heures (“The fore the destruction of the Temple of Jerusalem.” visit in June 1891 to the Venetian palazzo of enjoyed health, wealth and a contented home Hours,” 1896) the perfect musical embodiment (In a 1952 article in Studies in Philology, Joseph the Princesse de Polignac, heiress to the Singer life. Despite the halcyon circumstances of his of Mauclair’s poem, taken from the collection Slater asserted that only seven melodies were of sewing machine fortune, who became one of personal situation, however, he was given to Sonatines d’automne published the previous year.

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Richard Strauss (1864–1949) avocations. Strauss’s first published collection of that might more reasonably pass for ‘contem- it to music, bearing in mind the different den- Four Songs songs—Op. 10 of 1885—was his Acht Gedichte porary music.’ These lieder are gifts offered to sities of the piano accompaniment.” Poulenc’s aus »Letzte Blätter« von Hermann Gilm (“Eight their singer, for such and such an occasion, mere songs encapsulate the full range of his musical The great tradition of the 19th-century German Songs from the ‘Last Leaves’ of Hermann tokens of affection. Not pastiches, for here there speech—from village naiveté to city ennui, from Lied came to its end with the songs of Richard Gilm”). The crepuscular third song of Op. 10, is neither irony nor erudite play, but, let us say, a music hall raucousness to religious vision, from Strauss. Though he wrote songs throughout Die Nacht (“The Night”), testifies to Strauss’s sentimental casualness. dadaist surrealism to amorous tenderness—and his long life—his first piece, penned at age six, ability as a master of both mood and melody “To introduce his Galgenlieder, Morgenstern place him among the greatest masters of genre. was a Christmas carol; his last was the mag- from his earliest years. relates that the eight kings of the world, seek- “I wonder why this particular form should be nificent Four Last Songs—he composed most ing to measure things, agree on the fact that the considered out of date,” he asked in 1945. “It of his Lieder before he turned from the orches- square of a gallows is the most accurate instru- seems to me that as long as there are poets, com- tral genres to opera at the beginning of the Vincent Bouchot (b. 1966) ment of measurement, and hang themselves posers will write songs. If they were to inscribe 20th century. Much of his inspiration for song Galgenlieder (“Gallows Songs”) forthwith. One may surmise that the enigmatic on my tomb: ‘Here lies Francis Poulenc, the mu- composition during his early years came from poems in the collection are the visions of the sician of Apollinaire and Éluard,’ I would take it his wife, Pauline de Ahna, an excellent singer Vincent Bouchot, born in Toulouse in 1966, hanged kings. The innocence of these nursery as my greatest claim to fame.” who had performed at Bayreuth and taken part studied literature in college but is largely self- rhymes is therefore suspect: the lunar creatures Poulenc first met Guillaume Apollinaire— shortly before they were married in the premiere taught as a composer, singer and musicologist. groan; the father pike suffers from dreadful diar- the pseudonym of Wilhelm Apollinaris de of Strauss’s first opera, Guntram. The best of As a performer, he has concentrated on early and rhea, the mouse from nightmares; the water ut- Kostrowitzki (1880–1918), the celebrated French Strauss’s songs are imbued with a soaring lyri- Baroque music, having sung with the Chapelle ters platitudes; the sun and the moon quarrel.... writer of Polish descent and Roman birth whose cism, a textural and harmonic richness, and a Royale, Groupe Vocal de France and Ensemble “Here is material enough to inspire a tor- works are marked by a distinctive lyricism of- sensitivity to the text that place them among Clément Jannequin, with whom he has recorded mented composer. But for my part, I have cho- ten tinged with surrealism—around 1915 when the most beautiful and enduring works of their and appeared around the world. In addition to sen rather to adopt Morgenstern’s dedication: his childhood friend Raymonde Linossier took type, the culmination of the most intimate mu- arranging for his ensembles, Bouchot has com- ‘To the child that is in the man.’” him to Adrienne Monnier’s influential book- sical genre of the legacy of Schubert, Schumann posed two operas (Ubu Roi [“King Ubu”], based shop in the Rue de l’Odéon, one of the first and Brahms. on Alfred Jarry’s absurdist 1896 play, and Brèves such establishments in France run by a woman John Henry Mackay (1864–1933) was de comptoir (“Bits from the Countertop”], in- Francis Poulenc (1899–1963) and then a center of Parisian literary culture. In born In Scotland but spent most of his life in spired by Jean-Marie Gourio’s published collec- Songs 1919, Poulenc set six poems by Apollinaire as Germany, where he gained notoriety for his an- tions of snippets of conversations overheard in the cycle Le Bestiaire and based some two dozen archistic writings and his support of what was bars and bistros), an operetta (La Belle Lurette), Though he occasionally found texts in classical more songs on his verses over the next 40 years. then known as “homosexual emancipation.” He incidental music, choral pieces and songs. French literature (Ronsard, Charles d’Orléans, Apollinaire wrote Hyde Park in 1903, three years also wrote passionate lyrical poetry, and in 1894 German poet Christian Morgenstern (1871– Racine, Malherbe), Poulenc favored modern po- after he settled in Paris, and Montparnasse a de- Strauss included two of his verses (Morgen and 1914) was inspired by the wordplay, fantasy, etry for most of his 152 songs, above all the writ- cade later; he published them together in a col- Aufforderung) in the set of four songs (Op. 27) literary nonsense and occasional surrealism of ings of Guillaume Apollinaire and Paul Éluard, lection of six poems in 1913. Poulenc set them as that he wrote as a wedding gift for his bride, the Lewis Carroll and other 19th-century English both friends. (“I do not really feel at ease except a pair between 1941 and 1945, Montparnasse as gifted soprano Pauline von Ahna. writers, and his Galgenlieder (“Gallows Songs,” with poets I have known personally,” Poulenc a nostalgic evocation of the poet’s early days in Adolf Friedrich von Schack (1815–1894) was 1905) enjoy continuing popularity in the origi- admitted.) Poulenc achieved in his songs not just the city, Hyde Park—which the composer called a German poet, diplomat, translator and his- nal as well as in translations and as the basis of an appropriate musical wrapping for each poem, “nothing more than a trampoline song”—to torian of art and literature. Strauss created his numerous songs. Of his settings of five of the but a synthesis in tones of its spirit, resonance suggest London’s rowdy “Preacher’s Corner,” the vernal Das Geheimnis (“The Secret”) as the third Galgenlieder, which critic Tim Ashley of The and images, a window onto the mind and world nannies and their charges, the lovers, and the in a set of six songs on texts by Schack that he Guardian wrote are “pitched somewhere be- of the poet. “When I have chosen a poem,” he glowing, one-eyed “Cyclops” of smokers’ pipes composed between 1885 and 1887, the crucial tween nightmare and nursery rhyme,” Bouchot said, “I examine it from all angles. When dealing as a pea-soup fog envelops the park. time when he was emerging into his creative ma- wrote, “No one should look for an aesthetic with Apollinaire and Éluard, I attach the great- French poet, novelist and editor Louis turity. In 1887, Strauss set Schack’s Ständchen manifesto in this brief cycle; the fact that its est importance to the physical appearance of the Aragon (1897–1982) was mobilized in 1939 to (“Serenade”) in a youthful, ardent manner that style is thoroughly old-fashioned, somewhere poem, to the blank spaces and the margins. I fight the Germans and joined the Resistance creates a fine expressive tension with the poem’s between Wolf and Poulenc (with a timid dode- recite the poem to myself many times. I listen after the French army was defeated the follow- nocturnal, pastoral images. caphonic [twelve-tone] gesture at the evocation to it, I look for traps, I sometimes underline the ing year. He wrote for the underground press Hermann von Gilm zu Rosenegg (1812– of the twelve strokes of midnight), does not im- difficult parts of the text. I note the pauses, I try during the war, and in 1942 surreptitiously 1864) was an Austrian civil servant who ply a standpoint against or a back to anything. I to discover the internal rhythm through a line published C and Fêtes Galantes; Poulenc set wrote religious polemics and lyrical poetry as wrote before this, and have written since, things which is not necessarily the first. Then I try setting them later that year. C takes as its subject the

8 CAL PERFORMANCES CAL PERFORMANCES 9 PROGRAM NOTES TEXTS & TRANSLATIONS town of Les Ponts-de-Cé (“The Bridges of Cé”), Irish poet William Butler Yeats wrote the Felix Mendelssohn (1809–1847) a strategic site on the River Loire in western text of The Salley Gardens in what he called “an Nachtlied, Op. 71, No. 6 (1847) Night Song France where the Romans defeated the Gauls in attempt to reconstruct an old song from three Text: Josef von Eichendorff (1788–1857) 51 B.C.E., a significant battle of the Hundred lines imperfectly remembered by an old peas- Vergangen ist der lichte Tag, Gone is the bright day, Years’ War was fought in 1432, a civil war ant woman in the village of Ballisodare, Sligo, Von ferne kommt der Glocken Schlag. from afar comes the sound of bells. ended in 1620, and the Germans overwhelmed who often sings them to herself”; he published So reist die Zeit die ganze Nacht, Thus passes the time through the whole night, the French in 1940. Aragon’s verses evoke both his verse in 1889 under the title An Old Song Nimmt manchen mit, der’s nicht gedacht. carrying so many along without their knowing. the history and the then-painful present of the Re-Sung in The Wanderings of Oison and Other town, and Poulenc made from them one of his Poems. In 1909, the Irish composer and folklor- Wo ist nun hin die bunte Lust, Where now is the colorful joy, most poignant creations. The breathless Fêtes ist Herbert Hughes set Yeats’s poem to the tradi- Des Freundes Trost und treue Brust, the friend’s comfort and faithful bosom, Galantes (“Celebrations”) is a bitter parody of a tional tune The Maids of the Mourne Shore, and it Der Liebsten süsser Augenschein? the dearest one’s sweet glances? cabaret song for a time when Aragon lamented is in this form that it has become one of Britain’s Will keiner mit mir munter sein? Does no one want to stay awake with me? “drowned folk floating under the bridges… most beloved songs. Yeats’s touching words tell Frisch auf denn, liebe Nachtigall, Begin again, dear nightingale, [and] true values in jeopardy.” of young love found and lost in a willow grove, Du Wasserfall mit hellem Schall! you waterfall of bright sound! the “salley gardens” of the title. Gott loben wollen wir vereint, Let us praise God together, There’s None to Soothe is a setting of a tra- Bis dass der lichte Morgen scheint! until the morning light appears. Benjamin Britten (1913–1976) ditional Scottish about the heartbreak of love Folk Song Arrangements claimed by death. John Jacob Niles (1892–1980) was classi- Mendelssohn Neue Liebe, Op. 19a, No. 4 (1833) Britten’s only compositions based directly on cally trained in Cincinnati, Paris and Lyons (he New Love Text: Heinrich Heine (1797–1856) folk music are Mont Juic of 1937 (a suite of made his debut as an opera singer in Massenet’s Catalan dances, written in collaboration with Manon with Cincinnati Opera in 1920), but he In dem Mondenschein im Wald In the moonlit forest Lennox Berkeley), the Suite on English Folk is remembered as one of America’s most influen- Sah ich jüngst die Elfen reuten; I watched the elves riding, Tunes (his last orchestral composition, which tial folk singers, folk music collectors and com- Ihre Hörner hört ich klingen, I heard their horns sound, he dedicated “lovingly and reverently” to Percy posers of songs in traditional vernacular style. Ihre Glöckchen hört ich läuten. I heard their bells ring. Grainger), choral arrangements of The Holly and Of the origin of his I Wonder as I Wander, he re- the Ivy and King Herod and the Cock, and set- called, “The place was Murphy, North Carolina, Ihre weissen Rösslein trugen Their white horses with tings of 51 folk songs for voice accompanied by and the time was July 1933. The Morgan family, Güldnes Hirschgeweih und flogen Golden antlers flew on Rasch dahin, wie wilde Schwäne Swiftly, like white swans piano, guitar or harp that he gathered into seven revivalists all, were about to be ejected by the Kam es durch die Luft gezogen. Traveling through the air. volumes. Britten’s first volume of Folk Songs of police after having camped in the town square the British Isles dates from 1941, when he used for some time, cooking, washing, hanging their Lächelnd nickte mir die Köngin, The queen nodded at me and smiled, them for his recitals with tenor Peter Pears in wash from the Confederate monument.... It was Lächelnd, im Vorüberreuten. Smiled, as she rode overhead. the United States. “They have been a ‘wow’ then that Annie Morgan came out—a tousled, Galt das meiner neuen Liebe, Was it because of my new love? wherever performed so far,” Britten boasted unwashed blond, and very lovely. She sang the Oder soll es Tod bedeuten? Or does it mean death? in a letter to a friend. He made another set of first three lines of the verse of I Wonder as I folk song arrangements in 1942 for the soprano Wander. At twenty-five cents a performance, I Mendelssohn Sophie Wyss, though those seven melodies were tried to get her to sing all the song. After eight Schlafloser Augen Leuchte, trüber Stern (1835) Sun of the Sleepless, Melancholy Star not from Britain but from France, an indication, tries, all of which are carefully recorded in my Translation: Mendelssohn Text: George Gordon, Lord Byron (1788–1824) perhaps, of Britten’s strong sympathies with the notes, I had only three lines of verse, a garbled Continent and its music. He added subsequent fragment of melodic material—and a magnifi- Schlafloser Augen Leuchte, Sun of the sleepless, volumes in 1947 (British Isles), 1960 (Moore’s cent idea. With the writing of additional verses trüber Stern, melancholy star, Irish Melodies), 1961 (two: British Isles and, and the development of the original melodic Dess’ tränengleicher Schein, Whose tearful beam glows with guitar accompaniment, England) and 1976 material, I Wonder as I Wander came into being.” unendlich fern, tremulously far, (British, with harp). The tunes are scrupulously Das Dunkel nicht erhellt, That show’st the darkness nur mehr es zeigt, thou canst not dispel, retained in these settings, but the accompani- O wie dir ganz des Glück’s How like art thou to joy ment is given free rein, though without ever © 2012 Dr. Richard E. Rodda Erinn’rung gleicht! remember’d well! cluttering or parodying the original melody. So leuchtet längst vergang’ner So gleams the past, Tage Licht: the light of other days,

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Es scheint, doch wärmt sein matter Which shines, but warms not Gabriel Fauré (1845–1924) Schimmer nicht, with its powerless rays; En sourdine, Op. 58, No. 2 (1891) Muted Dem wachen Gram erglänzt A nightbeam Sorrow watches Text: Paul Verlaine (1844–1896) die Luftgestallt, to behold, Hell, aber fern, klar, aber ach, Distinct, but distant—clear— Calmes dans le demi-jour Calm in the half-day wie kalt! but, oh how cold! Que les branches hautes font, That the high branches make, Pénétrons bien notre amour Let us soak well our love De ce silence profond. In this profound silence. Mendelssohn Hexenlied, And’res Mailied, Op. 8, No. 8 (1827) Witches’ Song, Another May Song Mêlons nos âmes, nos cœurs Let us mingle our souls, our hearts Text: Ludwig Christoph Hölty (1748–1776) Et nos sens extasiés, And our ecstatic senses Parmi les vagues langueurs Among the vague languors Die Schwalbe fliegt, The swallow soars, Des pins et des arbousiers. Of the pines and the bushes. Der Frühling siegt, The spring outpours Und spendet uns Blumen zum Kranze! Her flowers for garlands entrancing; Ferme tes yeux à demi, Close your eyes halfway, Bald huschen wir Soon shall we glide Croise tes bras sur ton sein, Cross your arms on your breast, Leis’ aus der Tür, Away and ride, Et de ton cœur endormi And from your sleeping heart Und fliegen zum prächtigen Tanze! Hey-ho, to the spirited dancing! Chasse à jamais tout dessein. Chase away forever all plans.

Ein schwarzer Bock, A buck that’s black, Laissons-nous persuader Let us abandon ourselves Ein Besenstock, A broomstick o’ back, Au souffle berceur et doux To the breeze, rocking and soft, Die Ofengabel, der Wocken, The prangs of a poker will pitch us; Qui vient, à tes pieds, rider Which comes to your feet to wrinkle Reisst uns geschwind, We’ll ride a steed Les ondes des gazons roux. The waves of auburn lawns. Wie Blitz und Wind, With light’ning speed Durch sausende Lüfte zum Brocken! Direct to the mountain of witches. Et quand, solennel, le soir And when, solemnly, the evening Des chênes noirs tombera From the black oaks falls, Um Beelzebub The dancing bands Voix de notre désespoir, The voice of our despair, Tanzt unser Trupp All kiss the hands Le rossignol chantera. The nightingale, will sing. Und küsst ihm die kralligen Hände! Like claws that belong to the devil, Ein Geisterschwarm While other swarms Fasst uns beim Arm Have grabbed our arms Fauré Und schwinget im Tanzen die Brände! And brandish their torches in revel! Prison, Op. 83, No. 1 (1894) Prison Text: Verlaine Und Beelzebub Old Satan swears Verheisst dem Trupp To make repairs Le ciel est, par-dessus le toit, The sky is, up above the roof, Der Tanzenden Gaben auf Gaben: With promise of marvelous pleasure; Si bleu, si calme! so blue, so calm! Sie sollen schön All spirits glad Un arbre, par-dessus le toit, A tree, up above the roof In Seide geh’n In silk are clad, Berce sa palme. rocks its branches. Und Töpfe voll Goldes sich graben! Unearthing great chestfuls of treasure. La cloche, dans le ciel qu’on voit, The bell that one can see in the sky Ein Feuerdrach’ A dragon flies Doucement tinte. rings softly. Umflieget das Dach, Now down from the skies Un oiseau sur l’arbre qu’on voit A bird that one can see in the tree Und bringet uns Butter und Eier. With presents of food for the table. Chante sa plainte. sings its plaint. Die Nachbarn dann seh’n The neighbors sight Die Funken weh’n, The sparks in flight Mon Dieu, mon Dieu! la vie est là My God, my God! Life is there, Und schlagen ein Kreuz vor dem Feuer. And cross themselves as fast as they’re able. Simple et tranquille. simple and tranquil. Cette paisible rumeur-là That peaceful sound there Die Schwalbe fliegt, The swallow soars, Vient de la ville. comes from the town. Der Frühling siegt, The spring outpours Die Blumen erblühn zum Kranze! Her flowers for garlands entrancing; Qu’as-tu fait, ô toi que viola What have you done, oh you who are there Bald huschen wir Soon shall we glide Pleurant sans cesse, weeping ceaselessly, Leis’ aus der Tür, Away and ride, Dis! qu’as-tu fait, toi que voilà, Say it! What have you done, you who are there, Juchheissa zum prächtigen Tanze! Hey-ho, to the spirited dancing! De ta jeunesse? with your youth?

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Fauré Au rayon pâli des avrils passes In the pale rays of Aprils past, Les berceaux, Op. 23, No. 1 (1879) Cradles Sentez-vous s’ouvrir la fleur de vos rêves, do you feel the flower of your dreams opening Text: René-François Armand Prudhomme (1839–1907) Bouquet d’odorants et de frais pensers? as a bouquet of fragrant fresh thoughts? Beaux avrils passés là-bas, sur les grêves! Beautiful Aprils spent there on the beaches! Le long du Quai, les grands vaisseaux Along the quay, the great ships Que la houle incline en silence that ride the swell in silence Ne prennent pas garde aux berceaux take no notice of the cradles Chausson Que la main des femmes balance. that the hands of the women rock. Dans la forêt du charme et de l’enchantement, In the Forest of Charms and Enchantments Op. 36, No. 2 (1898) Mais viendra le jour des adieux, But the day of farewells will come, Text: Jean Moréas (1856–1910) Car il faut que les femmes pleurent, when the women must weep Et que les hommes curieux and curious men are tempted Sous vos sombres chevelures, petites fées, Under your dark tresses, little fairies, Tentent les horizons qui leurrent! towards the horizons that lure them! Vous chantâtes sur mon chemin bien doucement. you sang very sweetly on my path Dans la forêt du charme et de l’enchantement. in the forest of charm and enchantment. Et ce jour-là les grands vaisseaux, And that day the great ships, Dans la forêt du charme et des merveilleux rites, In the forest of charm and magical rites, Fuyant le port qui diminue, sailing away from the diminishing port, Gnômes compatissants, pendant que je dormais, sympathetic gnomes, while I slept, Sentent leur masse retenue feel their bulk held back De votre main, honnêtes gnômes, vous m’offrites, from your hands, good gnomes, you offered me Par l’âme des lointains berceaux. by the spirits of the distant cradles. Un sceptre d’or, hélas! pendant que je dormais! a gold scepter, alas, while I slept! J’ai su depuis ce temps, que c’est mirage et leurre, I have known since that time that it is mirage and delusion, Les sceptres d’or et les chansons dans la forêt. gold scepters and songs in the forest; Fauré Pourtant comme un enfant crédule, je les pleure, nonetheless like a credulous child, I weep for them Après un rêve, Op. 7, No. 1 (1878) After a Dream Et je voudrais dormir encore dans la forêt. and I should like to sleep again in the forest, Text: Romain Bussine (1830–1899) Qu’importe si je sais que c’est mirage et leurre. what does it matter if I know that it is mirage and delusion?

Dans un sommeil que charmait ton image In a slumber which held your image spellbound Je rêvais le bonheur, ardent mirage, I dreamed of happiness, passionate mirage, Chausson Tes yeux étaient plus doux, ta voix pure et sonore, Your eyes were softer, your voice pure and sonorous, Les Heures, Op. 27, No. 1 (1896) The Hours Tu rayonnais comme un ciel éclairé par l’aurore; You shone like a sky lit up by the dawn; Text: Camille Mauclair (1872–1945)

Tu m’appelais et je quittais la terre You called me and I left the earth Les pâles heures, sous la lune, The pallid hours beneath the moon, Pour m’enfuir avec toi vers la lumière, To run away with you towards the light, En chantant jusqu’à mourir, Singing unto death, Les cieux pour nous entr’ouvraient leurs nues, The skies opened their clouds for us, Avec un triste sourire, With a sad smile Splendeurs inconnues, lueurs divines entrevues, Unknown splendors, divine flashes glimpsed, Vont une à une Move one by one Sur un lac baigné de lune, On a lake bathed in moonlight Hélas! Hélas! triste réveil des songes Alas! Alas! sad awakening from dreams Où, avec un sombre sourire, Where, with a somber smile, Je t’appelle, ô nuit, rends moi tes mensonges, I call you, O night, give me back your lies, Elles tendent, une à une, They hold out, one by one, Reviens, reviens radieuse, Return, return radiant, Les mains qui mènent à mourir; Their hands which lead to death; Reviens ô nuit mystérieuse! Return, O mysterious night. Et certains, blêmes sous la lune And some, deathly pale in the moonlight, Aux yeux d’iris sans sourire, With unsmiling eyes, Sachant que l’heure est de mourir, Knowing that the hour of death is nigh, Ernest Chausson (1855–1899) Donnent leurs mains une à une Give their hands one by one Amour d’antan, Op. 8, No. 2 (1882) Love of Former Days Et tous s’en vont dans l’ombre et dans la lune And all depart in the moonlit dark, Text: Maurice Bouchor (1855–1929) Pour s’alanguir et puis mourir To languish and then to die Avec les heures une à une, With the hours one by one, Mon amour d’antan, vous souvenez-vous? Do you, my former love, remember? Les heures au pâle sourire. The hours with the pallid smile. Nos cœurs ont fleuri tout comme deux roses Our hearts blossomed like two roses Au vent printanier des baisers si doux. in the springtime wind of kisses so sweet. Vous souvenez-vous de ces vieilles choses? Do you remember those bygone things? Richard Strauss (1864–1949) Morgen, Op. 27, No. 4 (1894) Tomorrow Voyez-vous toujours en vos songes d’or Do you still see in your golden dreams Text: John Henry Mackay (1864–1933) Les horizons bleus, la mer soleilleuse the blue horizons, and the sunlit sea Qui baisant vos pieds, lentement s’endort? slowly falling asleep as it kissed your feet? Und morgen wird die Sonne wieder scheinen, And tomorrow the sun will shine again, En vos songes d’or peut-être oublieuse? Perhaps forgetfully, in your golden dreams? und auf dem Wege, den ich gehen werde, and on the path I will take,

14 CAL PERFORMANCES CAL PERFORMANCES 15 TEXTS & TRANSLATIONS TEXTS & TRANSLATIONS wird uns, die Glücklichen, sie wieder einen it will unite us again, we happy ones, upon this sun- Strauss inmitten dieser sonnenatmenden Erde… breathing earth… Ständchen, Op. 17, No. 2 (1887) Serenade Text: Adolf Friedrich von Schack Und zu dem Strand, dem weiten, wogenblauen, And to the shore, the wide shore with blue waves, werden wir still und langsam niedersteigen, we will descend quietly and slowly; Mach’ auf, mach’ auf, doch leise, mein Kind, Open the door, but softly, my child, stumm werden wir uns in die Augen schauen, we will look mutely into each other’s eyes um keinen vom Schlummer zu wecken. and awaken no one from his sleep. und auf uns sinkt des Glückes stummes Schweigen. and the silence of happiness will settle upon us. Kaum murmelt der Bach, kaum zittert im Wind The brook hardly murmurs, the wind hardly rustles ein Blatt an den Büschen und Hecken. a leaf on the bushes and hedges. Drum leise, mein Mädchen, dass nichts sich regt, So softly, sweetheart, that no one is disturbed Strauss nur leise die Hand auf die Klinke gelegt! with your hand laid gently on the latch! Das Geheimnis, Op. 17, No. 3 (1885–1887) The Secret Text: Adolf Friedrich, Graf von Schack (1815–1894) Mit Tritten, wie Tritte der Elfen so sacht, With steps as light as elfin steps um über die Blumen zu hüpfen, as they hop over the flowers, Du fragst mich, Mädchen, was flüsternd der West You ask me, girl, what the West Wind fleig’ leicht hinaus in die Mondscheinnacht, hurry softly into the moonlit night, Vertraue den Blütenglocken? Whispered to the bluebells? zu mir in den Garten zu schlüpfen. slip out to me in the garden. Warum von Zweige zu Zweig im Geäst Why from bough to bough in the branches Rings schlummern die Blüten am rieselnden Bach The flowers slumber beside the brook, Die zwitschernden Vögel locken? The birds chirp their enticing song? und duften im Schlaf, nur die Liebe ist wach. fragrant as they sleep, and only love is awake.

Warum an Knospe die Knospe sich schmiegt, Why bud clings to bud, Sitz’ nieder, hier dämmert’s geheimnisvoll Sit down here where it is dark and secret Und Wellen mit Wellen zerfliessen, And wave ebbs with wave, unter den Lindenbäumen, underneath the linden trees; Und dem Mondstrahl, der auf den Kelchen sich wiegt, And the night violets open themselves die Nachtigall, uns zu Häupten, soll the nightingale above our heads Die Violen der Nacht sich erschliessen? To the moonbeam quivering on calyxes? von uns’ren Küssen träumen, will dream of our kisses, und die Rose, wenn sie am Morgen erwacht, and the rose, when it awakens at morning, O törichtes Fragen! O foolish questioning! hoch glühn von den Wonneschauern der Nacht. will glow with the night’s trembling ecstasy. Wem Wissen frommt, He who benefits from knowledge— Nicht kann ihm die Antwort fehlen; He shall not lack an answer; Drum warte, mein Kind, bis die Liebe kommt, So wait, my child, until love comes, Vincent Bouchot (b. 1966) Die wird dir alles erzählen. It shall tell you everything! Galgenlieder (2009) Gallows Songs Text: Christian Morgenstern (1871–1914)

Strauss Mondendinge Moonthings Die Nacht, Op. 10, No. 3 (1885) Night Text: Hermann von Gilm (1812–1864) Dinge gehen vor im Mond, Things happen on the moon Die das Kalb selbst nicht gewohnt. That the mooncalf itself isn’t used to. Aus dem Walde tritt die Nacht, Night moves out from the woods, aus den Bäumen schleicht sie leise, she creeps out from the trees Tulemond und Mondamin The Man and the Woman in the Moon schaut sich um in weitem Kreise, and looks around in a wide circle: Liegen heulend auf den Knien. Lie howling on their knees. nun gib Acht! now take care! Heulend fletschen sie die Zähne Howling they show their teeth Alle Lichter dieser Welt, All the lights of this world, Auf der schwefligen Hyäne. To the sulphurous hyena. alle Blumen, alle Farben all the flowers, the colors— löscht sie aus und stiehlt die Garben she snuffs them out, and steals sheaves Aus den Kratern aber steigt But out of the craters arises weg vom Feld. from the field. Schweigen, das sie überschweigt. Silence that outsilences them.

Alles nimmt sie, was nur hold, She takes away all that is dear— Dinge gehen vor im Mond, Things happen on the moon nimmt das Silber weg des Stroms, she takes the silver from the stream, Die das Kalb selbst nicht gewohnt. That the calf isn’t used to. nimmt vom Kupferdach des Doms and from the copper roof of the cathedral weg das Gold. she takes the gold. Tulemond und Mondamin The Man and Woman in the Moon Liegen heulend auf den Knien… Lie howling on their knees… Ausgeplündert steht der Strauch; The shrub is plundered of its blossoms; rücke näher, Seel’ an Seele. come nearer to me, soul to soul. O die Nacht, mir bangt, sie stehle Oh, I fear the night will also steal dich mir auch. you from me.

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Der Hecht The Pike Schlaf, Kindlein, schlaf, Sleep, little child, sleep, Die Sonne frisst das Schaf. The sun devours the sheep. Ein Hecht, vom heiligen Anton A pike, converted by Saint Anthony, Sie leckt es weg vom blauen Grund She licks it from the blue background Bekehrt, beschloss, samt Frau und Sohn, decided, with his wife and son, Mit langer Zunge wie ein Hund. With her long tongue, like a dog. Am vegetarischen Gedanken by means of vegetarian thought Schlaf, Kindlein, schlaf. Sleep, little child, sleep. Moralisch sich emporzuranken. to climb to higher moral ground. Schlaf, Kindlein, schlaf, Sleep, little child, sleep, Er ass seit jenem nur noch dies: From then on he ate only this: Nun ist es fort, das Schaf. Now it is gone, the sheep. Seegras, Seerose und Seegriess. seagrass, searose and seasemolina. Es kommt der Mond und schilt sein Weib; The moon appears and scolds his wife, the sun; Doch Griess, Gras, Rose floss, o Graus, But semolina, grass, roses flowed—oh horror! Die läuft ihm weg, das Schaf im Leib. She runs away from him, the sheep in her belly. Entsetzlich wieder hinten aus. horribly out of his behind again. Schlaf, Kindlein, schlaf. Sleep, little child, sleep.

Der ganze Teich ward angesteckt. The whole pond was infested. Fünfhundert Fische sind verreckt. Five hundred fish perished. Francis Poulenc (1899–1963) Doch Sankt Anton, gerufen eilig, But Saint Anthony, when urgently called, Montparnasse (1941–1945) Montparnasse Sprach nichts als »Heilig! heilig! heilig!« Said nothing but “Holy! Holy! Holy!” Text: Guillaume Apollinaire (1880–1918)

Die Mitternachtsmaus The Midnightmouse Ô porte de l’hôtel avec deux plantes vertes Oh hotel door, with your two green plants Vertes qui jamais which will never Wenns mittemächtigt und nicht Mond When it midnights and neither moon Ne porteront de fleurs bear any flowers, Noch Stern das Himmelshaus bewohnt, nor star dwells in the heavenhouse, Où sont mes fruits? say: Where are my fruits? Läuft zwölfmal durch das Himmelshaus then twelve times through the heavenhouse runs Où me planté-je? Where am I planting myself? Die Mitternachtsmaus. the midnightmouse. Ô porte de l’hôtel un ange est devant toi Hotel door, an angel stands outside Distribuant des prospectus handing out leaflets Sie pfeift auf ihrem kleinen Maul, It squeaks with its little mouth, On n’a jamais si bien défendu la vertu (virtue has never been so well defended!). Im Traume brüllt der Höllengaul... in its dreams the hell-horse bellows... Donnez-moi pour toujours une chamber à la semaine Give me in perpetuity a room at the weekly rate. Doch ruhig läuft ihr Pensum aus But it quietly carries out its task, Ange barbu vous êtes en réalité Oh bearded angel, you are really Die Mitternachtsmaus. the midnightmouse. Un poète lyrique d’Allemagne a lyric poet from Germany Qui voulez connaître Paris who wants to get acquainted with Paris. Ihr Herr, der grosse weisse Geist, Its master, the great white spirit, Vous connaissez de son pave You know that between its paving-stones Ist nämlich solche Nacht verreist. traveled away on such a night, you see. Ces raies sur lesquelles il ne faut pas que l’on marche there are lines which one must not step on. Wohl ihm! Es hütet ihm sein Haus Good for him! His house is guarded by Et vous rêvez And you dream Die Mitternachtsmaus. the midnightmouse. D’aller passer votre Dimanche à Garches of spending Sunday at a mansion out of town. Il fait un peu lourd et vos cheveux sont longs The weather is a bit oppressive and your hair is long; Das Wasser Water Ô bon petit poète un peu bête et trop blond oh, good little poet, you’re rather stupid and too blond. Vos yeux ressemblent tant à ces deux grands ballons Your eyes look so much like those two big balloons Ohne Wort, ohne Wort, Without a word, without a word, Qui s’en vont dans l’air pur floating off in the pure air Rinnt das Wasser immerfort; Water runs continually, À l’aventure. wherever chance takes them... Andernfalls, andernfalls, Otherwise, otherwise, Spräch es doch nichts andres als: It would say nothing other than: Poulenc Bier und Brot, Lieb und Treu— Beer and bread, love and constancy, Hyde Park (1945) Hyde Park Und das wäre auch nicht neu. Neither would there be anything new in that. Text: Apollinaire Dieses zeigt, dieses zeigt, This show, this shows, Dass das Wasser besser schweigt. That water is better keeping silence. Les faiseurs de religions The promoters of religions Prêchaient dans le brouillard were preaching in the fog Galgenkindes Wiegenlied Gallows Child’s Lullaby Les ombres près de qui nous passions the shadowy figures near us as we passed Jouaient à collin maillard played blind man’s buff Schlaf, Kindlein, schlaf, Sleep, little child, sleep, Am Himmel steht ein Schaf, In the sky stands a sheep; À soixante-dix ans At seventy years old Das Schaf, das ist aus Wasserdampf The sheep is made of water vapor Joues fraîches de petits enfants fresh cheeks of small children Und kämpft wie du den Lebenskampf. And fights to survive, just like you. Venez venez Eléonore come along come along Éléonore Schlaf, Kindlein, schlaf. Sleep, little child, sleep. Et que sais-je encore and what more besides

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Regardez venir les Cyclopes Look at the Cyclops coming On voit ici ce que l’on voit ailleurs You see what you see elsewhere Les pipes s’envolaient the pipes were flying past On voit des demoiselles dévoyées you see girls who are led astray Mais envolez-vous-en but be off On voit des voyous, on voit des voyeurs you see guttersnipes, you see perverts Regards impénitents obdurate staring On voit sous les ponts passer des noyés you see drowned folk floating under the bridges Et l’Europe l’Europe and Europe Europe On voit chômer les marchands de chaussures You see out-of-work shoemakers Regards sacrés Worshipping looks On voit mourir d’ennui les mireurs d’œufs you see egg candlers bored to death Mains enamourées hands in love On voit péricliter les valeurs sûres you see true values in jeopardy Et les amants s’aimèrent and the lovers made love Et fuir la vie à la six-quatre-deux. and life whirling by in a slapdash way. Tant que prêcheurs prêchèrent as long as the preachers preached

Traditional Irish, arr. Benjamin Britten (1913–1976) Poulenc The Salley Gardens (1941–1942) C (1942) C Text: William Butler Yeats (1865–1939) Text: Louis Aragon (1897–1982) Down by the Salley Gardens J’ai traversé Les Ponts-de-Cé I have crossed the bridges of Cé My love and I did meet, C’est là que tout a commence it is there that it all began She passed the Salley Gardens Une chanson des temps passes A song of bygone days With little snow white feet. Parle d’un chevalier blessé, tells the tale of a wounded knight She bid me take love easy D’une rose sur la chaussée Of a rose on the carriageway As the leaves grow on the tree Et d’un corsage délacé, and an unlaced bodice But I being young and foolish Du château d’un duc insensé Of the castle of a mad duke With her did not agree. Et des cygnes dans les fossés, and swans on the moats De la prairie où vient danser Of the meadow where comes dancing In a field by the river, Une éternelle fiancée, an eternal betrothed love My love and I did stand, Et j’ai bu comme un lait glace And I drank like iced milk And on my leaning shoulder Le long lai des gloires faussées the long lay of false glories She laid her snow white hand; La Loire emporte mes pensées The Loire carries my thoughts She bid me take life easy Avec les voitures verses away with the overturned cars As the grass grows on the wiers, Et les armes désamorcées And the unprimed weapons But I was young and foolish, Et les larmes mal effaces and the ill-dried tears And now am full of tears. Ô ma France, ô ma délaissée O my France, O my forsaken J’ai traversé Les Ponts-de-Cé. I have crossed the bridges of Cé. Traditional Scottish, arr. Britten There’s None to Soothe (1946–1946) Poulenc Text: Anonymous Fêtes Galantes (1942) Celebrations Text: Aragon There’s none to soothe my soul to rest, There’s none my load of grief to share, On voit des marquis sur des bicyclettes You see fops on bicycles Or wake to joy this lonely breast, On voit des marlous en cheval-jupon you see pimps in kilts Or light the gloom of dark despair. On voit des morveux avec des voilettes you see brats with veils On voit les pompiers brûler les pompons you see firemen burning their pompons The voice of joy no more can cheer, The look of love no more can warm On voit des mots jetés à la voirie You see words thrown on the rubbish heap Since mute for aye’s that voice so dear, On voit des mots élevés au pavois you see words praised to the skies And closed that eye alone could charm. On voit les pieds des enfants de Marie you see the feet of Mary’s children On voit le dos des diseuses à voix you see the backs of cabaret singers

On voit des voitures à gazogène You see motor cars run on gasogene On voit aussi des voitures à bras you see also handcarts On voit des lascars que les longs nez gênent you see wily fellows whose long noses hinder them On voit des coïons de dix-huit carats you see fools of the first water

20 CAL PERFORMANCES CAL PERFORMANCES 21 TEXTS & TRANSLATIONS ABOUT THE ARTISTS

John Jacob Niles, arr. Britten r enow ned figur e in the world of baroque I Wonder as I Wander (1941) A music, French soprano Sandrine Piau per- Text: John Jacob Niles (1892–1980) forms regularly with such celebrated conduc- tors as William Christie, Philippe Herreweghe, I wonder as I wander out under the sky, How Jesus our Saviour did come for to die. Christophe Rousset, Gustav Leonhardt, Ivor For poor or’n’ry people like you and like I, Bolton, Ton Koopman, René Jacobs, Marc I wonder as I wander out under the sky. Minkowski and Nikolaus Harnoncourt. Ms. Piau embraces both the lyric and ba- When Mary birthed Jesus ’twas in a cow stall, roque repertoire, and performs such roles as With wise men and shepherds and farmers and all. Pamina in Mozart’s Die Zauberflöte, Titania On high from God’s heaven the star’s light did fall, in Britten’s A Midsummer Night’s Dream and And the promise of the ages it did then recall. Servilia in Gluck’s La Clemenza di Tito. If Jesus had wanted for any wee thing, Previous engagements have taken her to the A star in the sky, or a bird on the wing; Grand Théâtre de Genève to perform the role of Or all of God’s angels in heav’n for to sing, Ismène in Mitridate, re di Ponto, to the Théâtre He surely could’ve had it for he was the King! des Champs-Élysées to sing Cleopatra in Handel’s Giulio Cesare, Servilia in La Clemenza di Tito and Aennchen in Weber’s Der Freischütz. Other recent opera projects include both Sandrine Expilly / Naïve Sandrina in La Finta Giardiniera and Mélisande production of La Finta Giardiniera at La at La Monnaie Brussels and Sophie in Massenet’s Monnaie in Brussels. She also gave concerts Werther at both the Capitole de Toulouse and at the Wigmore Hall, Carnegie Hall, Vienna the Théâtre du Châtelet. Musikverein and Salle Pleyel in Paris. Ms. Piau appears regularly in concert. In This season’s engagements include Pamina recent years, she has performed at the Salzburg at the Théâtre des Champs-Élysées; concerts Festival, Covent Garden Festival, Amsterdam at the Royal Opera Versailles and the Salzburg Concertgebouw, Teatro Comunale in Florence Festival and with the Boston Symphony; recit- and Teatro Comunale di Bologna, and with the als across the United States and at the Wigmore Munich Philharmonic, Berlin Philharmonic Hall; and her debut recital tour of Japan. and Orchestre de Paris. Sandrine Piau is represented in North Ms. Piau takes great pleasure in the art of America by IMG Artists, Carnegie Hall Tower, recital. As a singer of both French and German 152 West 57th Street, 5th Floor, New York, New repertoire, she has performed with many re- York 10019. nowned recital accompanists, such as Jos van Immerseel, Susan Manoff, Roger Vignoles and Pianist Susan Manoff Corine Durous, and regularly gives recitals in was born in New York Paris, Amsterdam, London and New York. to Latvian and German Ms. Piau has an exclusive recording contract parents. She studied at with the record company Naïve. Her latest recit- the Manhattan School al recording, Après un rêve, was released in April of Music and at the 2011 to critical acclaim and features an eclectic University of Oregon. program of German Lieder and French mélodies. Intensive studies with Her new album, Le Triomphe de l’amour, is Gwendoline Koldofsky scheduled for worldwide release in 2012. in the art-song reper- Last season, Ms. Piau sang her first Donna toire led her to become Anna in Don Giovanni at the Théâtre des one of the most sought- Champs-Élysées, the title role of L’Incoronazione after pianists of her generation by some of the di Poppea in Cologne, and Sandrina in a new finest singers in the world. 22 CAL PERFORMANCES CAL PERFORMANCES 23 ABOUT THE ARTISTS

In addition to her interest in the vocal rep- ertoire, Ms. Manoff is a passionate advocate of chamber music. She performs regularly at international festivals and is invited by major concert halls around the world such as Théâtre des Champs-Élysées, Théâtre du Châtelet, Salle Gaveau, Wigmore Hall, Amsterdam Concertgebouw, Carnegie Hall, Vienna Konzerthaus and Musikverein. She is a regular guest on France Musique radio. Musical curiosity and love for theatre have inspired Ms. Manoff’s involvement in the cre- ation of numerous programs blending music and text. Her partners have been Jean Rochefort, Fabrice Luchini and Marie-Christine Barrault, and she has been directed by Hans-Jürgen Syberberg and Joël Jouanneau. Ms. Manoff has recorded for the labels Naïve, Decca, Virgin (with cherished collabora- tor Patricia Petibon), Arion, Valois and Aparte. In 2007, she recorded her first CD with Sandrine Piau, entitled Evocation, and a second recording, Après un rêve, was released on Naïve in April 2011. Ms. Manoff’s most recent recording with long-term musical partner Nemanja Radulovic is dedicated to the violin and piano sonatas of Beethoven (Decca, 2010). Susan Manoff has served as assistant cho- rus director at the Bastille Opera and is cur- rently a professor at the Conservatoire National Supérieur de Musique et de Danse de Paris.

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