LOVE, LONGING, AND LAMENT
A GRADUATE RECITAL ON COVID-19 EMOTION
MARCH 13, 2021 JULIANNA SHAMEL, SOPRANO Program Notes Ball State University, MM Recital
“Ah, non credea mirarti…Ah, non giunge” Vincenzo Bellini From La Sonnambula (1801-1835)
La Sonnambula (The Sleepwalker) is an opera semiseria in two acts and premiered to the public in 1831. This aria appears at the end of Act II as Amina is sleep-walking high across an unstable mill bridge after her lover, Elvino, called off their engagement. The melody at the very beginning is a typical Bellini cantilena: elongated and with small intervals without doubling by the instruments. When Amina wakes, and Elvino puts the ring back on her finger after realizing his mistake, the cabaletta (fast second section) begins with a sparse accompaniment, fast leaps, trills, and coloratura. If we relate this piece to our time in quarantine, the slow section may remind you of the drab days inside longing for the life we had. The fast section could be the feelings of reuniting with close family, entering the grocery store, or perhaps just going to Target.
Ah,non credea mirarti Ah, I didn't believe I'd see you s ì presto estinto, o fiore; Wither so quickly, oh blossom! passasti al par d'amore, You have faded away just like love, che un giorno solo duro. Which only lasted a day.
Potria novel vigore Maybe my tears could il pianto mio recarti Lend you new life, ma ravvivar l'amore But to revive love il pianto mio, ah no, non puo. My tears oh no, they cannot do so...
Ah, non giunge uman pensiero Ah, human thought can't manage al contento ond'io son piena: (To grasp) the depth of my happiness: a miei sensi io credo appena; I can barely believe my own senses; tu m'affida o mio tesor. You do trust me, oh my darling!
Ah, mi abbraccia, e sempre insieme, Ah, hold me and, always together, sempre uniti in una speme, Always united in a single hope, della terra, in cui viviamo From this land in which we live ci formiamo un ciel d'amor. We shall build a Heaven of love..
Paper Wings Jake Heggie From The Faces of Love (1961-Present)
This song cycle is the fruit of a great friendship between Heggie and mezzo-soprano Frederica von Stade. She wrote the texts and commissioned Heggie to create the music. Each piece is autobiographical, recalling a specific time in von Stade’s childhood or her daughter’s. I had the incredible pleasure of briefly speaking to Heggie about these works. “Bedtime Stories”
begins with a quotation of a lullaby from the Chants d’Auvergne and explains the story of three- year-old Lisa getting out of bed on a frosty night to join her parents out by the fire. The lullaby was the only thing that would soothe Lisa to sleep at night. Heggie said he imagined her trying to get Lisa to sleep, but resorts to telling her bedtime stories without luck. “Paper Wings” brings us back to when von Stade lived in Greece during her childhood. Heggie said the musical influence is in the spirit of Signorina, the nanny. “The music for Mitten Smitten,” he said, “has a bit of mysticism woven in to reflect the magic of the mysterious mittens presented to Lisa by her Uncle Tim. The final song describes how von Stade had to be rescued by a fireman after climbing onto her roof as a child and how history repeated itself when Lisa made the same mistake. This song is inspired by Beethoven’s Für Elise – “in this case,” Heggie states, “For Lisa”. This set can draw parallels to mothers at home with their children during the quarantine.
Bedtime Stories
Soun, soun, beni At last we looked and there It was a cold, cold night There stood a girl no more than three So cold we had a fire A blanket on her head, her eyes A cold, cold night She though, we couldn’t see We sat and talked Ah, but who? All was safe and good Oh, who was that girl? Then, something happened Oh child, it was you Something soft went by Oh, magic, magic child A second’s wait You stayed “nothing there, it must have been a dream” We smiled Again a breeze, a tiny move Lisa What could it have been?
Paper Wings
When I was young, I lived in Greece with One day, signorina made me wings out of my mother paper That’s right, Greece That’s right, paper wings We lived in a house, a house with a great And for days and days I pretended to fly big balcony over the rooftops of Athens And Signorina, was my nanny
Mitten Smitten
My Uncle Tim But I was small and I’d never seen He once gave me some mittens anything like them They were from India Where were the fingers? and very special I put them on…strange
Route to the Sky When I saw how she’d done it, I nearly My mother taught me to fly fainted Not even knowing that she had done so So I went out after her I climbed on the rood Then, we were both stuck A complicated route to the sky Two trucks an ambulance But the fireman got me down, oh the Two station wagons of rescue teams fireman got me down came to the house Lisa was eight when she climbed through And the fireman got us down a window our onto the roof
Sil est un charmon gazon [Hugo] {1859} Franz Liszt Comment disaient-ils [Hugo] {1859} (1811-1886)
Franz Liszt composed over eighty songs in German, French, Italian, Hungarian, Russian, and English. Even though most of his songs are set to German poems, his French songs are some of his most significant works, especially the songs set to poems by Victor Hugo. In this setting of Victor Hugo’s poem “Sil est un charmon gazon,” the melodic line at the end of each verse gently descends to create a feeling of stepping on to the garden path and coming to rest in a botanical sanctuary. This song was one of the many pieces that Liszt revised to create better emphasis and French language flow. The second verse is much more exciting since the poem discusses love and the joining of two people. The sweeping melody builds to the final refrain to reveal the speaker asking to make their soul a nest to rest the heart. “Comment disaient-ils” is another playful tune with Hugo’s poetry. This piece is a conversation between a group of restless men and flirtatious women. If you listen closely, you will hear the piano underscoring each group with their motifs. A bouncing staccato line displays the image of little boats rocking back and forth on the waves to underscore the men rowing. This motif is interrupted quickly with a quiet flowing line that mocks a plucked classical guitar to underscore the women. The first piece can be related to dreaming of the outdoors, love, and touch from others. The second piece can draw parallels between a husband and wife being stuck inside together and the communication between them.
Sil est un charmon gazon
S'il est un charmant gazon If there's a lovely grassy plot
Que le ciel arrose, watered by the sky
Où brille en toute saison where in every season
Quelque fleur éclose, some flower blossoms,
Où l'on cueille à pleine main where one can freely gather
Lys, chèvrefeuille et jasmin, lilies, woodbines and jasmines...
J'en veux faire le chemin I wish to make it the path Où ton pied se pose ! on which you place your feet.
S'il est un rêve d'amour, If there is a dream of love Parfumé de rose, scented with roses, Où l'on trouve chaque jour where one finds every day Quel que douce chose, something gentle and sweet, Un rêve que Dieu bénit, a dream blessed by God Où l'âme à l'âme s'unit, where soul is joined to soul... Oh! j'en veux faire le nid oh, I wish to make it the nest Où ton cœur se pose ! in which you rest your heart.
Comment disaient-ils
Comment, disaient-ils, How, the men said, With our Avec nos nacelles, skiff, Fuir les alguazils? Ramez! To flee from the police? Row! Ramez! disaient-elles. Row! the women said.
Comment, disaient-ils, How, the men said,
Oublier querelles, Misère To forget quarrels, Misery, and et périls? Dormez! danger? Sleep! Sleep! the
Dormez! disaient-elles. women said.
Comment, disaient-ils, How, the men said,
Enchanter les belles Sans To charm the beautiful women philtres subtils? Aimez! Without artful potions? Love!
Aimez! disaient-elles. Love! the women said.
Ramez! Dormez! Aimez! Row! Sleep! Love! the women disaient-elles. said.
Mignon’s Lied [Goethe] {1842} Franz Liszt Freudvoll und Leidvoll [Goethe] {1848} (1811-1886)
“Mignon’s Lied” is an example of strophic writing by Liszt. The three stanzas in this song repeat the same sequence of musical materials that parallel the poet’s ternary decision in the original text. There is almost an intensified expression of longing throughout this entire piece related to the desired longing for normalcy during the 2020 pandemic. This was a piece that Liszt revised due to an issue with poor syllabic stress in the German language. Liszt uses varied timbres and colors to illustrate Mignon’s colorful vision and captures her nostalgia for her homeland. This is the first setting of this poem as the accented syllable of the word “du” is incorrect. He revised this piece twice, once in 1856 and again in 1860. “Freudvoll und Leidvoll” (Joyfull and Grief-laden) is a beautiful example of a work that changed drastically between versions. The memorable central theme is very melancholy and the piano is more intimate than the first version. The voice stands out much more in this version than in the first, and the word-painting throughout is exceptional. However, without the piano part, the vocal line would almost feel like it is missing something, as the lines do not
resolve without the accompaniment. The phrase “Himmelhoch jauchzend, Zum Tode betrübt” (heavenly joy, deadly sorrow) was originally a proverb in the play Egmont by Goethe. Many of us felt feeling of grief during the COVID-19 crisis. This piece tonally articulates how one can experience joy for a few moments and sorrow for the next or both together.
Mignon’s Lied
Kennst du das Land, wo die Zitronen blühn, Do you know the land where lemon trees blossom;
Im dunklen Laub die Gold-Orangen glühn, where golden oranges glow amid dark leaves?
Ein sanfter Wind vom blauen Himmel weht, A gentle wind blows from the blue sky,
Die Myrte still und hoch der Lorbeer steht, the myrtle stands silent, the laurel tall:
Kennst du es wohl? Do you know it?
Dahin! Dahin There, O there
Möcht’ ich mit dir, o mein Geliebter, ziehn. I desire to go with you, my beloved!
Kennst du das Haus? Do you know the house?
Auf Säulen ruht sein Dach, Its roof rests on pillars,
Es glänzt der Saal, es schimmert das Gemach, the hall gleams, the chamber shimmers,
Und Mamorbilder stehn und sehn mich an: and marble statues stand and gaze at me:
Was hat man dir, du armes Kind, getan? what have they done to you, poor child?
Kennst du es wohl? Do you know it?
Dahin! Dahin There, O there
Möcht’ ich mit dir, o mein Beschützer, ziehn. I desire to go with you, my protector!
Kennst du den Berg und seinen Wolkensteg? Do you know the mountain and its clouded path?
Das Maultier sucht im Nebel seinen Weg; The mule seeks its way through the mist,
In Höhlen wohnt der Drachen alte Brut; in caves the ancient brood of dragons dwells;
Es stürzt der Fels und über ihn die Flut, the rock falls steeply, and over it the torrent.
Kennst du ihn wohl? Do you know it?
Dahin! Dahin There, O there
Geht unser Weg! o Vater, lass uns ziehn! lies our way. O father, let us go!
Freudvoll und Leidvoll
Freudvoll und leidvoll, Gedankenvoll sein; In joy and in sorrow, be thoughtful; Ha ngen und bangen in schwebender Pein; Long and fearful in suspended pain;
Himmelhoch jauchzend, Rejoicing to heaven, Zum Tode betrübt— grieving to death
Glücklich allein Blessed alone Ist die Seele, die liebt. Is the soul that loves
“Měsíčku na nebi hlubokém” Antonín Dvořák From Rusalka (1841-1904)
Rusalka is a lyric fairy tale opera that echoes the story of The Little Mermaid. This opera was the ninth one Dvořák composed and is one of the most successful Czech operas. This famous and extremely popular aria comes at the very beginning of this story. Rusalka, a water nymph, sings to the moon, asking it to tell the Prince of her love for him. The lyrical movement of the melody line glides quietly over the wave-like motion of the accompaniment. Unlike The Little Mermaid, this opera does not have a happy ending. This song may bring you feelings of longing and hopefulness similar to the sensation experienced during quarantine. This song also brings a sense of love and comfort, like a warm hug.
Měsíčku na nebi hlubokém Moon high and deep in the sky Světlo tvé daleko vidí, Your light sees far Po světě bloudíš širokém, You travel around the wide world, Díváš se v příbytky lidí. And see into people’s homes
Měsíčku, postůj chvíli Moon, stand still a while Řekni mi, kde je můj milý And tell me where is my dear Řekni mu, stříbrný měsíčku, Tell him, silvery moon mé že jej objímá rámě, That I am embracing him aby si alespoň chviličku For at least momentarily vzpomenul ve snění na mě. Let him recall of dreaming of me Zasviť mu do daleka, Illuminate him far away řekni mu, řekni mu, kdo tu naň čeká! And tell him, tell him who is waiting for him! O mne-li duše lidská sní, If his human soul, is in fact, dreaming of me, ať se tou vzpomínkou vzbudí! May the memory awaken him!
Měsíčku, nezhasni, nezhasni! Moonlight don’t disappear!
Sei Romanze [1845] Giuseppe Verdi 1. Il Tramonto (1813-1901) 2. La Zingara
Born in 1813, Verdi produced many successful operas, including La Traviata, Falstaff, and Aida. He is well-known for his skill in creating melody and his profound use of theatrical effect. Many historians view his song cycles as both a synthesis of the different bel canto inspirations that preceded him (ie. Bellini and Rossini) and as a laboratory of his operatic creations to come. Sei Romanze was published twice: the first book in 1838 and the second book in 1845. These following two songs are from the second book and contain pieces that explore vocal trills, coloratura, and interval skips. “Il Tramonto” includes a straightforward bipartite melody and plays with contrasts between major and minor modes. Fast forward six years, Verdi uses this same melody in a duet at the end of Act I of Rigoletto. “La Zingara” is a very spirited, light piece that contains a famous gypsy figure that Verdi used in his opera Il Trovatore. Both of these pieces highlight the beauty of every day. My favorite line of these two pieces takes place in “La Zingara.” If our sky is blue, why be sad from doubts that may not come to pass? Each day is a new one.
Il tramonto
Amo l’or del giorno che muore I love the time of the dying day
Quando il sole già stanco declina, When the sun already weary declines,
E nell’onde di queta marina And in the wave of the still sea
Veggo il raggio supremo languir. I see the last ray languish.
In quell’ora mi torna nel core At this time there returns to my heart An era
Un’età più felice di questa; happier than this one;
In quell’ora dolcissima e mesta In this hour so very sweet and sad
Volgo a te, cara donna, il sospir. My sigh turns to you, dear lady.
L’occhio immoto ed immoto il pensiero, The eye fixed and fixed the thought,
Io contemplo la striscia lucente I contemplate the radiant stream
Che mi vien dal seren, dal sereno occidente That reaches me from the serene West
La quiete solcando, solcando del mar The placid furrowing of the sea
E desio di quell’aureo sentiero And I desire of this gilded path
Ravviarmi sull’orma infinita To set my foot once more on the endless way
Quasi debba la stanca mia vita As if it should my weary life Ad un porto di pace guidar. Guide to a haven of peace.
La zingara
Chi padre mi fosse, qual patria mi sia, Who was my father, what is my country? Invano la gente chiamando mi va; In vain people go on calling to me; Del primo mai seppi ed è patria mia What of the first thing I knew, and of my homeland? La terra che un fiore, che un frutto mi dà. It’s any land that gives me flowers and fruits.
Dovunque il destino m'addita un sentiero, Wherever fate leads me, I Io trovo un sorriso, io trovo un amor; find a smile, I find a lover;
Perchè del passato darommi pensiero, Why worry about the past Se l'ora presente è lieta al mio cor? When my heart is happy now? Può, è vero, il domani un torbido velo It may come to pass that tomorrow a dark veil Dell'aure serene l'aspetto turbar; Will obscure my serene appearance; Ma s'oggi risplende azzurro il mio cielo, But if today my sky is a resplendent blue,
Perchè rattristarmi d'un dubbio avvenir? Why be sad from doubts that may not come to pass? Io sono una pianta che ghiaccio non spoglia, I am a plant that isn’t damaged by frost, Che tutto disfida del verno il rigor; That defies all of winter's severity; Se fronda qui cade, là un'altra germoglia, If one leafy branch falls here, another germinates there, In ogni stagione son carca di fior. In every season I am laden with flowers.
“Laurie’s Song” Aaron Copland From The Tender Land (1900-1990)
Aaron Copland was desperate to write an opera but couldn’t find a promising librettist. Therefore, he only produced two operas, The Second Hurricane and The Tender Land, neither of which was a success. Even though The Tender Land has some fantastic music, it never caught on as a whole. However, singers frequently perform sections of this opera. Set in the 1930’s Midwest at Harvest time, Walker Evans’ photographs influenced the opera about Laurie’s rebellions and awakening sexuality as a young woman. Laurie – on the eve of her graduation – wonders how her childhood has passed so quickly. The piano accompaniment is almost nostalgic as it gently glides down each register of the instrument. The vocal line is stunning and captures each strong emotion throughout the aria. In relating this piece to COVID-19, many high school and college seniors felt “strange” about graduating at such an odd time. For me, this piece highlights the nervousness and excitement of starting a new chapter this year.
Once I thought I’d never grow tall as this fence I’ll be graduated soon Time dragged heavy and slow Why am I strange inside?
But April came and August went What makes me think I’d like to try Before I knew just what they meant To go down all those roads beyond that line And little by little I grew Above the earth and ‘neath the sky? And as I grew I came to know How fast the time could go Tomorrow when I sit upon The graduation platform stand Once I thought I’d never go outside this I know my hand will shake fence When I reach out to take that paper This space was plenty for me With the ribboned band
But I walked down the road one day Now that all the learning’s done And just happened I can’t say O who knows what will now begin? But little by little it came to be O it’s so strange That line between the earth and sky Came beckoning to me I’m strange inside
Now the time has grown short The time has grown so short The world has grown so wide The world so wide