5 – 7 April

YOUNG ARTIST PLATFORM AUDITION RECITALS

Sessions I, II, III 11am – 5.30pm

Adjudication 5.45pm – 6pm

Saturday 6 April 2019 Jacqueline du Pré Music Building

Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly

Welcome to the Oxford Lieder Spring Weekend of Song

We are delighted to welcome you to this special weekend of song. The focus of the weekend is the Oxford Lieder Young Artist Platform, where some truly exceptional emerging musicians vie to become our ‘ambassadors for song’. Around their audition recitals, there is an exciting trio of evening concerts, a fascinating study day and illuminating masterclass, and the conviviality of evening meals with other audience members.

SATURDAY 6 APRIL Jacqueline du Pré Music Building

11am – 5.45pm: Young Artist Platform 2019 Auditions; six 40-minute recitals given by exceptional young duos, adjudicated by Katarina Karnéus, Julius Drake and John Mark Ainsley.

YOUNG ARTIST PLATFORM AUDITION SCHEDULE 11am – 12.30pm: Session I Olivia Warburton & Keval Shah ; Fabian Langguth & Camille Lemonnier

1.45pm – 3.15pm: Session II Claire Ward & Guy Murgatroyd ; Lotte Betts-Dean & Joseph Havlat

4pm – 5.30pm: Session III Ted Black & Rachel Fright ; Ema Nikolovska & Gary Beecher

5.45pm – 6pm: Adjudication

From 5.45pm: Dinner at Cuttlefish, 36 St Clement’s Street

8pm: Franz Schubert’s Die schöne Müllerin

SUNDAY 7 APRIL Holywell Music Room

1.30pm: Young Artist Platform Masterclass given by John Mark Ainsley

From 6pm: Dinner at the Vaults and Garden Café

7.30pm: ‘Goethe: A Life in Songs’, Christopher Maltman baritone & Graham Johnson piano

Out of consideration to performers and other audience members, please turn the pages of this programme as quietly as possible, and only after the song is completely finished.

Please ensure mobile phones are silenced

OXFORD LIEDER YOUNG ARTIST PLATFORM

Oxford Lieder is committed to finding and nurturing outstanding new talent, and to this end the Young Artist Platform was introduced in 2011. This year, Oxford Lieder is looking for two outstanding singer- pianist duos to be exemplary ambassadors for song. Each winning duo will be offered the following:

• A recital at the 2019 Oxford Lieder Festival • Recitals at UK music clubs, venues & festivals • A residency at the Two Moors Festival • A masterclass with an eminent Oxford Lieder Festival artist • The opportunity for involvement in Oxford Lieder’s learning and participation work

YOUNG ARTIST PLATFORM WINNERS

2018 Harriet Burns soprano & Michael Pandya piano Jessica Dandy contralto & Dylan Perez piano

2017 Peter Harris tenor & Hamish Brown piano Michael Mofidian bass-baritone & Keval Shah piano

2016 Suzanne Fischer soprano & Panaretos Kyriatzidis piano Lorena Paz Nieto soprano & Johan Barnoin piano

2015 Nicholas Mogg baritone & Jâms Coleman piano Josep-Ramon Olivé baritone & Ben-San Lau piano

2013 Rosalind Coad soprano & Gregory Drott piano Kangmin Justin Kim counter-tenor & Sachika Taniyama piano Alessandro Fisher tenor & Ricardo Gosalbo piano

2012 Lucy Hall soprano & Gavin Roberts piano Alison Rose soprano & Matthew Fletcher piano Rozanna Madylus mezzo-soprano & Finnegan Downie Dear piano

2011 Sonia Grané soprano & Edwige Herchenroder piano Victor Sicard baritone & Anna Cardona piano

Oxford Lieder is extremely grateful to the following Trusts and Foundations for their invaluable support of the Young Artist Platform as part of Oxford Lieder’s Young Performers Programme. The Derrill Allatt Foundation, The Batchworth Trust, The John S Cohen Foundation, Mr & Mrs J.A. Pye’s Charitable Settlement, Jean Meikle Music Trust, The Adrian SwireNature's Charitable music Trust, is never Trufflehunter, over; her silences The are Kirby pauses, Laing not conclusions. Foundation (Mary Webb) Please turn the page quietly

11.00: Olivia Warburton & Keval Shah Mezzo-soprano OLIVIA WARBURTON studies on the opera course at the Royal Academy of Music with Caitlin Hulcup, Yvonne Howard and Jonathan Papp. She is grateful for the support of the Norman Ayrton Scholarship and the Charlotte Fraser Foundation. She was a recent prizewinner in the 1st International Haydn Singing Competition in Austria and has won prizes for outstanding achievement at the Academy.

Recent operatic roles include the title role in L'enfant et les sortilèges and Ino in Semele for Royal Academy Opera, the title role in Teseo for the London Handel Festival and Dido in Dido and Aeneas at both the RAM and The Grange Festival. This season’s highlights include the role of Ernando in Venceslao for the London and Hallé Handel Festivals, Fox in Janáček’s The Cunning Little Vixen as well as song recitals at Wigmore Hall and the Oxford Lieder Festival.

Olivia is a Britten-Pears Young Artist, a Samling Artist, a member of the RAM’s Song Circle, a soloist for the Royal Academy of Music/Kohn Foundation Bach Cantata Series and a graduate of both the Hochschule für Musik und Tanz, Köln (Erasmus), and the Internationale Sommerakademie at the Mozarteum, Salzburg.

Praised by The Observer for his ‘exceptional… deft and responsive’ playing, the young British-Indian pianist KEVAL SHAH performs extensively as a song accompanist and chamber musician, with a recital schedule taking him across the UK and Europe. He has given recitals at Wigmore Hall, the Queen Elizabeth Hall, and St John’s, Smith Square, as well as the Aldeburgh, Leeds Lieder, Oxford Lieder and Heidelberger Frühling Festivals. He has made several live broadcasts on BBC Radio 3, and his first commercial recording with bass-baritone Michael Mofidian, performing rare Tchaikovsky songs and fragments, is due for release in 2019 on the Decca Classics label. Recent competition successes include winning the Oxford Lieder Young Artist Platform in 2017, the pianist’s prize at the Bampton Classical Opera Young Singers’ Competition, and the 2018 Vivian Langrish Memorial Trust Prize. For the 2018/19 season, Keval is artist-in-residence at Burgh House, where he will curate a series of concerts celebrating the artistic legacy of the house and its occupants. This season also sees Keval enter the second year of a large-scale project to perform the complete songs of Hugo Wolf, with performances of the Italienisches Liederbuch and the Goethe Lieder. Other highlights include recitals at Wigmore Hall, Oxford Lieder Festival and Buxton International Festivals.

Keval studied at Trinity Hall, Cambridge and the Royal Academy of Music, graduating from both institutions with distinction, and from the Academy with the prestigious DipRAM in 2017. He is the 2018/19 Shinn Fellow at the Royal Academy.

Programme

Wolfgang Amadeus Mozart (1756 - 1791)

An Chloë, K524 Johann Georg Jacobi (1740 - 1814)

*****

Rebecca Clarke (1886 - 1979)

The Seal Man John Masefield (1878 - 1967)

*****

Claude Debussy (1862 - 1918)

Nuit d'Etoiles, L4 Théodore de Banville (1823 - 1819)

Fantoches, L80 Paul Verlaine (1844 - 1896)

*****

Hugo Wolf (1860 - 1903)

An eine Äolsharfe, no.11 Eduard Mörike (1804 - 1875)

Begegnung, no.8 Eduard Mörike

Nimmersatte Liebe, no.9 Eduard Mörike

Schlafendes Jesuskind, No.25 Eduard Mörike

*****

Aaron Copland (1900 - 1990)

The Little Horses Traditional

*****

Herbert Hughes (1882 - 1937)

Kitty My Love Anonymous

Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly

Text & Translations AN CHLOË TO CHLOË Mozart / Jacobi English Translation © Richard Stokes Wenn die Lieb’ aus deinen blauen, When love looks out of your blue, Hellen, offnen Augen sieht, Bright and open eyes, Und vor Lust, hineinzuschauen, And the joy of gazing into them Mir’s im Herzen klopft und glüht; Causes my heart to throb and glow;

Und ich halte dich und küsse And I hold you and kiss Deine Rosenwangen warm, Your rosy cheeks warm, Liebes Mädchen, und ich schließe Sweet girl and clasp Zitternd dich in meinem Arm, You trembling in my arms,

Mädchen, Mädchen, und ich drücke Sweet girl, sweet girl, and press Dich an meinen Busen fest, You firmly to my breast, Der im letzten Augenblicke Where until my dying moment Sterbend nur dich von sich läßt; I shall hold you tight –

Den berauschten Blick umschattet My ecstatic gaze is blurred Eine düst’re Wolke mir; By a sombre cloud; Und ich sitze dann ermattet, And I sit then exhausted, Aber selig neben dir. But blissful, by your side.

***** THE SEAL MAN Clarke / Masefield And he came by her cabin to the west of the road, calling. There was a strong love came up in her at that, and she put down her sewing on the table, and "Mother," she says, "There's no lock, and no key, and no bolt, and no door. There's no iron, nor no stone, nor anything at all will keep me this night from the man I love." And she went out into the moonlight to him, there by the bush where the flow'rs is pretty, beyond the river. And he says to her: "You are all of the beauty of the world, will you come where I go, over the waves of the sea?" And she says to him: "My treasure and my strength," she says, "I would follow you on the frozen hills, my feet bleeding." Then they went down into the sea together, and the moon made a track on the sea, and they walked down it; it was like a flame before them. There was no fear at all on her; only a great love like the love of the Old Ones, that was stronger than the touch of the fool. She had a little white throat, and little cheeks like flowers, and she went down into the sea with her man, who wasn't a man at all. She was drowned, of course. It's like he never thought that she wouldn't bear the sea like himself. She was drowned, drowned. *****

NUIT D'ETOILES NIGHT OF STARS Debussy / Banville English Translation © Richard Stokes

Nuit d’étoiles, Night of stars, Sous tes voiles, Beneath your veils, Sous ta brise et tes parfums, beneath yoru breeze and fragrance, Triste lyre Sad lyre Qui soupire, That sighs, Je rêve aux amours défunts. I dream of bygone loves.

La sereine mélancolie Serene melancholy Vient éclore au fond de mon cœur, Now blooms deep in my heart, Et j’entends l’âme de ma mie And I hear the soul of my love Tressaillir dans le bois rêveur. Quiver in the dreaming woods.

Nuit d’étoiles … Night of stars...

Je revois à notre fontaine Once more at our fountain I see Tes regards bleus comme les cieux; Your eyes as blue as the sky; Cette rose, c’est ton haleine, This rose is your breath Et ces étoiles sont tes yeux. And these stars are your eyes.

Nuit d’étoiles … Night of stars...

FANTOCHES FANTOCHES Debussy / Verlaine English Translation © Richard Stokes

Scaramouche et Pulcinella Scaramouche and Pulcinella Qu’un mauvais dessein rassembla Drawn together by some evil scheme, Gesticulent, noirs sous la lune. Gesticulate, black beneath the moon.

Cependant l’excellent docteur Meanwhile the excellent doctor Bolonais cueille avec lenteur From Bologna is leisurely picking Des simples parmi l’herbe brune. Medicinal herbs in the brown grass.

Lors sa fille, piquant minois, Then his daughter, pertly pretty, Sous la charmille, en tapinois, Beneath the arbour, stealthily, Se glisse, demi-nue, en quête Glides, half-naked, in quest

De son beau pirate espagnol, Of her handsome Spanish pirate, Dont un amoureux rossignol Whose grief a lovelorn nightingale Clame la détresse à tue-tête. Proclaims as loudly as he can.

*****

Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly

AN EINE ÄOLSHARFE TO AN AEOLEAN HARP Wolf / Mörike English Translation © Richard Stokes

Angelehnt an die Efeuwand Leaning against the ivy-clad wall Dieser alten Terrasse, Of this old terrace, Du, einer luftgebornen Muse O mysterious lyre Geheimnisvolles Saitenspiel, Of a zephyr-born Muse, Fang an, fange wieder an Begin, begin again Deine melodische Klage! Your melodious lament!

Ihr kommet, Winde, fern herüber, Winds, you come from far away, Ach! von des Knaben, Ah! From the fresh green mound Der mir so lieb war, Of the boy Frisch grünendem Hügel. Who was so dear to me, Und Frühlingsblüten unterweges streifend, And brushing spring flowers along the way, Übersättigt mit Wohlgerüchen, Saturated with fragrance, Wie süss bedrängt ihr dies Herz! How sweetly you afflict this heart! Und säuselt her in die Saiten, And you murmur into these strings, Angezogen von wohllautender Wehmut, Drawn by their sweet-sounding sorrow, Wachsend im Zug meiner Sehnsucht, Waxing with my heart’s desire, Und hinsterbend wieder. Then dying away once more.

Aber auf einmal, But all at once, Wie der Wind heftiger herstösst, As the wind gusts more strongly, Ein holder Schrei der Harfe The harp’s gentle cry Wiederholt, mir zu süssem Erschrecken Echoes, to my sweet alarm, Meiner Seele plötzliche Regung, The sudden commotion of my soul; Und hier – die volle Rose streut, geschüttelt, And here – the full-blown rose, shaken, All ihre Blätter vor meine Füsse! Strews all its petals at my feet!

BEGEGNUNG ENCOUNTER Wolf / Mörike English Translation © Richard Stokes

Was doch heut nacht ein Sturm gewesen, What a storm there was last night, Bis erst der Morgen sich geregt! It raged until this morning dawned! Wie hat der ungebetne Besen How that uninvited broom Kamin und Gassen ausgefegt! Swept the streets and chimneys clean!

Da kommt ein Mädchen schon die Strassen, Here comes a girl along the street, Das halb verschüchtert um sich sieht; Glancing half bashfully about her; Wie Rosen, die der Wind zerblasen, Like roses the wind has scattered, So unstet ihr Gesichtchen glüht. Her pretty face keeps changing colour.

Ein schöner Bursch tritt ihr entgegen, A handsome lad steps up to meet her, Er will ihr voll Entzücken nahn: Approaches her full of bliss, Wie sehn sich freudig und verlegen How joyfully and awkwardly Die ungewohnten Schelme an! Those novice rascals exchange looks! Er scheint zu fragen, ob das Liebchen He seems to ask if his sweetheart Die Zöpfe schon zurecht gemacht, Has tidied up her plaited locks, Die heute nacht im offnen Stübchen That last night a storm dishevelled Ein Sturm in Unordnung gebracht. In her gaping wide room.

Der Bursche träumt noch von den Küssen, The lad’s still dreaming of the kisses Die ihm das süsse Kind getauscht, The sweet child exchanged with him, Er steht, von Anmut hingerissen, He stands enraptured by her charm, Derweil sie um die Ecke rauscht. As she whisks round the corner.

NIMMERSATTE LIEBE INSATIABLE LOVE Wolf / Mörike English Translation © Richard Stokes

So ist die Lieb! So ist die Lieb! Such is love! Such is love! Mit Küssen nicht zu stillen: Not to be quieted with kisses: Wer ist der Tor und will ein Sieb What fool would wish to fill a sieve Mit eitel Wasser füllen? With nothing else but water? Und schöpfst du an die tausend Jahr, And were you to draw water for some thousand years, Und küssest ewig, ewig gar, And were you to kiss for ever and ever, Du tust ihr nie zu Willen. You’d never satisfy love.

Die Lieb, die Lieb hat alle Stund Love, love, has every hour Neu wunderlich Gelüsten; New and strange desires; Wir bissen uns die Lippen wund, We bit until our lips were sore, Da wir uns heute küssten. When we kissed today. Das Mädchen hielt in guter Ruh, The girl kept nicely quiet and still, Wie’s Lämmlein unterm Messer; Like a lamb beneath the knife; Ihr Auge bat: „Nur immer zu! Her eyes pleaded: “Go on, go on! Je weher, desto besser!“ The more it hurts the better!” So ist die Lieb! und war auch so, Such is love, and has been so Wie lang es Liebe gibt, As long as love’s existed, Und anders war Herr Salomo, And wise old Solomon himself Der Weise, nicht verliebt. Was no differently in love.

Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly

SCHLAFENDES JESUSKIND THE SLEEPING CHRIST-CHILD Wolf / Mörike English Translation © Richard Stokes

Sohn der Jungfrau, Himmelskind! am Boden, Son of the Virgin, Heavenly Child! Auf dem Holz der Schmerzen eingeschlafen, Asleep on the ground, on the wood of suffering, Das der fromme Meister, sinnvoll spielend, Which the pious painter, in meaningful play, Deinen leichten Träumen unterlegte; Has laid beneath Thy gentle dreams; Blume du, noch in der Knospe dämmernd O flower, still the Glory of God the Father! Eingehüllt die Herrlichkeit des Vaters! Though still hidden in the dark bud! O wer sehen könnte, welche Bilder Ah, if one could see what pictures, Hinter dieser Stirne, diesen schwarzen Behind this brow and these dark Wimpern sich in sanftem Wechsel malen! Lashes, are reflected in gentle succession!

*****

THE LITTLE HORSES Copland / Traditional

Hush you bye, Don’t you cry, Go to sleepy little baby. When you wake, You shall have, All the pretty little horses. Blacks and bays, Dappls and grays, Coach and six-a little horses. Blacks and bays, Dapples and grays, Coach and six-a little horses. Hush you bye, Don’t you cry, Go to sleepy little baby. When you wake, You’ll have sweet cake and All the pretty little horses. A brown and gray and a black and a bay and a Coach and six-a little horses. A black and a bay ad a brown and a gray and a Coach and six-a little horses. Hush you bye, Don’t you cry, Oh you pretty little baby. Go to sleepy little baby. Oh you pretty little baby. *****

KITTY MY LOVE Hughes / Anonymous

Kitty my love will you marry me? Kitty my love will you go? Oh Kitty my love will you marry me? Either say yes or say no.

I ha'e a wee brig o' praties, An' I ha'e a liggat o' meal, An' I ha'e a pig in the corner, An' he's tied to a tuppenny nail. O! Kitty, my love, will you marry me? Either say Yes or say No, O!

I ha'e a goose that is hatchin', Her goose eggs are under the bed, An' I ha'e a goat that is grazing High up on the tops o' the hedge, O! Kitty, my love, will you marry me? Either say Yes or say No, O!

I ha'e a ballad, a ballad, It's all about Kitty, my dear. An' I ha'e my granny's oul' cradle That she bid me rock in a year. O! Kitty, my love, will you marry me? Either say Yes or say No, O!

*****

Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly

11.50am: Fabian Langguth & Camille Lemonnier

Baritone FABIAN LANGGUTH was born in 1992 in Munich, Germany. He was introduced to music through piano lessons at the age of five. One year later he was admitted into the prestigious Tölzer Knabenchor.

After finishing his bachelor degree in Augsburg under the tutelage of Professor Dominik Wortig he started his postgraduate studies at the Guildhall School of Music and Drama with Rudolf Piernay as part of a scholarship programme.

In 2015, Fabian took part in the International Bach Academy and sang the baritone solo on the IBAS Italy Tour, he won the Mozart Competition in Prague and had his opera debut at the Augsburg Opera House. As part of a Pre-LSO concert Fabian performed a song recital at Barbican Hall and took part in the LSO production Le grand macabre, working with Sir Simon Rattle and Peter Sellars. Last year he was awarded First Prize in Lied, French Song and Oratorio at the 2018 David Clover singing competition and was a finalist at the International Hugo-Wolf-Competition in Stuttgart and the International Schubert-Competition in Dortmund. He performed in the Prince Consort Side-by-Side Project as well as Schubert songs with Graham Johnson at Wigmore Hall and debuted in Berlin as Dr. Falke in Die Fledermaus by Johann Strauss. In 2019, he will collaborate in song recitals with Gerold Huber and sing the lead role in Mozart’s Don Giovanni with Clonter Opera.

CAMILLE LEMONNIER was born 1993 in Munich and started her piano studies at the Nuremberg University of Music in 2011. Due to her increased interest in Art Song the Franco- German pianist attended the Art Song Class of Professor Marcelo Amaral. She started her subsequent Master of Music in Art Song with Professor Burkhard Kehring from October 2015 in the Hamburg University of Music and Drama and graduated with best scores.

Since September 2017 Camille Lemonnier has studied at Guildhall School of Music & Drama in London. In her Master’s programme “Piano Accompaniment” she has the opportunity to work with renowned pianists as Eugene Asti, Julius Drake, Iain Burnside, Graham Johnson, Malcolm Martineau, Sholto Kynoch, Michael McMahon and Martin Katz. In London she has performed at Barbican Concert Hall, Milton Court Concert Hall and Wigmore Hall and will be performing at Bridgewater Hall in Manchester.

Recent awards include the 3rd Pianist Prize at the International Helmut Deutsch Lied Competition in Vienna, the Dennis Horner Accompaniment Prize at the Kathleen Ferrier Society Bursary for Young Singers Competition, the Accompaniment Prize and the Schubert Prize at Guildhall School of Music and Drama. In addition to her song work Camille also frequently performs with the Brahms Trio Hamburg which had its debut in the Elbphilharmonie in Hamburg.

Programme

Gerald Finzi (1901 - 1956)

Channel Firing Thomas Hardy (1840 - 1928)

*****

Franz Schubert (1797 - 1828)

Kriegers Ahnung, D957b Ludwig Rellstab (1799 - 1860)

Totengräbers Heimweh, D842 Jacob Nicolaus Craigher de Jachelutta (1797 - 1855)

*****

Charles Ives (1874 - 1954)

General William Booth Enters Into Heaven Vachel Lindsay (1879 - 1931)

*****

Franz Schubert (1797 - 1828)

Der Geistertanz, D116 Friedrich von Matthison (1761 - 1831)

Erlkönig, D328 Johann Wolfgang von Goethe (1749 - 1832)

Litanei auf des Fest Allerseelen, D343 Johann Georg Jacobi (1740 - 1814)

Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly

Text & Translations

CHANNEL FIRING Finzi / Hardy That night your great guns, unawares, "Ha, ha. It will be warmer when Shook all our coffins as we lay, I blow the trumpet (if indeed And broke the chancel window-squares; I ever do; for you are men, We thought it was the Judgment-day And rest eternal sorely need)."

And sat upright. While drearisome So down we lay again. "I wonder, Arose the howl of wakened hounds: Will the world ever saner be," The mouse let fall the altar-crumb, Said one, "than when He sent us under The worms drew back into the mounds, In our indifferent century!"

The glebe cow drooled. Till God called, "No; And many a skeleton shook his head. It's gunnery practice out at sea "Instead of preaching forty year," Just as before you went below; My neighbour Parson Thirdly said, The world is as it used to be: "I wish I had stuck to pipes and beer."

"All nations striving strong to make Again the guns disturbed the hour, Red war yet redder. Mad as hatters Roaring their readiness to avenge, They do no more for Christés sake As far inland as Stourton Tower, Than you who are helpless in such matters. And Camelot, and starlit Stonehenge.

"That this is not the judgment-hour For some of them's a blessed thing; For if it were they'd have to scour Hell's floor for so much threatening ... ***** KRIEGERS AHNUNG WARRIOR'S FOREBODING Schubert / Rellstab English Translation © Richard Wigmore

In tiefer Ruh liegt um mich her In deep repose my comrades in arms Der Waffenbrüder Kreis; lie in a circle around me; Mir ist das Herz so bang und schwer, my heart is so anxious and heavy, Von Sehnsucht mir so heiss. so ardent with longing.

Wie hab’ ich oft so süss geträumt How often I have dreamt sweetly An ihrem Busen warm! upon her warm breast! Wie freundlich schien des Herdes Glut, How cheerful the fireside glow seemed Lag sie in meinem Arm! when she lay in my arms.

Hier, wo der Flammen düstrer Schein Here, where the sombre glimmer of the flames, Ach! nur auf Waffen spielt, alas, plays only on weapons, Hier fühlt die Brust sich ganz allein, here the heart feels utterly alone; Der Wehmut Träne quillt. a tear of sadness wells up.

Herz! Dass der Trost Dich nicht verlässt! Heart, may comfort not forsake you; Es ruft noch manche Schlacht – many a battle still calls. Bald ruh ich wohl und schlafe fest, Soon I shall rest well and sleep deeply. Herzliebste – Gute Nacht! Beloved, goodnight!

TOTENGRÄBERS HEIMWEH GRAVEDIGGER'S LONGING Schubert / Jachelutta English Translation © Richard Stokes

O Menschheit, o Leben! - O mankind – O life! – Was soll's? o was soll's?! To what end – oh what end?! Grabe aus - scharre zu! Digging out – filling in! Tag und Nacht keine Ruh! - Day and night no rest! – Das Treiben, das Drängen - The urgency, the haste – Wohin? - o wohin? - - Where does it lead! – ah where?! - - "Ins Grab - tief hinab!" ‘Deep down – into the grave!’ –

O Schicksal - o traurige Pflicht O fate – O sad duty – Ich trag's länger nicht! - - I can bear it no more! - - Wann wirst du mir schlagen, When will you toll for me, O Stunde der Ruh?! O hour of peace?! – O Tod! komm und drücke O death! Come Die Augen mir zu! - - And close my eyes! - - Im Leben, da ist's ach! so schwül! Life, alas, is so oppressive! – Im Grabe - so friedlich, so kühl! The grave so peaceful, so cool! Doch ach, wer legt mich hinein? - But ah! Who will lay me there? – Ich stehe allein! - so ganz allein!! - I stand alone! – so utterly alone!! –

Von allen verlassen Abandoned by all, Dem Tod nur verwandt, With death my only kin, Verweil' ich am Rande - I linger on the edge – Das Kreuz in der Hand, Cross in hand, Und starre mit sehnendem Blick, And stare longingly Hinab - ins tiefe Grab! - Down – into the deep grave! –

O Heimat des Friedens, O homeland of peace, Der Seligen Land! Land of the blessed! An dich knüpft die Seele A magic bond Ein magisches Band. - Binds my soul to you. – Du winkst mir von Ferne, Eternal light, Du ewiges Licht: You beckon me from afar: - Es schwinden die Sterne - The stars vanish – Das Auge schon bricht! - - My eyes close in death! - - Ich sinke - ich sinke! - Ihr Lieben, - I am sinking – I am sinking! – Loved ones – Ich komme, ich komm! - - - I come! - - -

***** Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly

GENERAL WILLIAM BOOTH ENTERS INTO HEAVEN Ives / Lindsay

Booth led boldly with his big bass drum (Are you washed in the blood of the Lamb?) Hallelujah! Saints smiled gravely and they said, “He’s come” (Washed in the blood of the Lamb?) Walking lepers followed rank on rank, Lurching bravoes from the ditches dank, Drabs from the alleyways and drug fiends pale Minds still passion ridden, soul powers frail: Vermin-eaten saints with mouldy breath, Unwashed legions with the ways of Death. (Are you washed in the blood of the Lamb?) Ev’ry slum had sent its half a score The round world over. (Booth had groaned for more.) Ev’ry banner that the wide world flies, Bloomed with glory and transcendent dyes. Big-voiced lassies made their banjos bang, Tranced, fanatical they shrieked and sang: “Are you washed in the blood of the Lamb?” Hallelujah! Hallelujah, Lord, Hallelujah! It was queer to see Bull-necked convicts with that land make free. Loons with trumpets blowed a blare On and upward thro’ the golden air! (Are you washed in the blood of the Lamb?) Jesus came from the courthouse door, Stretched his hands above the passing poor. Booth saw not, but led his queer ones, Round and round, Yet! In an instant all that blear review Marched on spotless, clad in raiment new. The lame were straightened (Hallelujah!), withered limbs uncurled And blind eyes opened on a new sweet world. Are you washed in the blood of the Lamb?

*****

DER GEISTERTANZ GHOST DANCE Schubert / Matthison English Translation © Richard Wigmore

Die bretterne Kammer The boarded chamber Der Toten erbebt, of the dead trembles Wenn zwölfmal den Hammer when midnight twelve times Die Mitternacht hebt. raises the hammer.

Rasch tanzen um Gräber Quickly we airy spirits Und morsches Gebein strike up a whirling dance Wir luftigen Schweber around graves Den sausenden Reih’n. and rotting bones.

Was winseln die Hunde Why do the dogs whine Beim schlafenden Herrn? as their masters sleep? Sie wittern die Runde They scent from afar Der Geister von fern. the spirits’ dance.

Die Raben entflattern Ravens flutter up Der wüsten Abtei, from the ruined abbey, Und flieh’n an den Gattern and fly past Des Kirchhofs vorbei. the graveyard gates.

Wir gaukeln und scherzen Jesting, we flit Hinab und empor up and down, Gleich irrenden Kerzen like will-o’-the-wisps Im dunstigen Moor. over the misty moor.

O Herz, dessen Zauber O heart, whose spell Zur Marter uns ward, was our torment, Du ruhst nun in tauber you rest now, Verdumpfung erstarrt; frozen in a numb stupor.

Tief bargst du im düstern You have buried our grief Gemach unser Weh; deep in the gloomy chamber; Wir Glücklichen flüstern happy we, who whisper you Dir fröhlich: Ade! a cheerful farewell!

Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly

ERLKÖNIG THE ERLKING Schubert / Goethe English Translation © Richard Wigmore

Wer reitet so spät durch Nacht und Wind? Who rides so late through the night and wind? Es ist der Vater mit seinem Kind: It is the father with his child. Er hat den Knaben wohl in dem Arm, He has the boy in his arms; Er fasst ihn sicher, er hält ihn warm. he holds him safely, he keeps him warm.

„Mein Sohn, was birgst du so bang dein Gesicht?“ ‘My son, why do you hide your face in fear?’ „Siehst, Vater, du den Erlkönig nicht? ‘Father, can you not see the Erlking? Den Erlenkönig mit Kron’ und Schweif?“ The Erlking with his crown and tail?’ „Mein Sohn, es ist ein Nebelstreif.“ ‘My son, it is a streak of mist.’

„Du liebes Kind, komm, geh mit mir! ‘Sweet child, come with me. Gar schöne Spiele spiel’ ich mit dir; I’ll play wonderful games with you. Manch’ bunte Blumen sind an dem Strand, Many a pretty flower grows on the shore; Meine Mutter hat manch gülden Gewand.“ my mother has many a golden robe.’

„Mein Vater, mein Vater, und hörest du nicht, ‘Father, father, do you not hear Was Erlenkönig mir leise verspricht?“ what the Erlking softly promises me?’ „Sei ruhig, bleibe ruhig, mein Kind: ‘Calm, be calm, my child: In dürren Blättern säuselt der Wind.“ the wind is rustling in the withered leaves.’

„Willst, feiner Knabe, du mit mir gehn? ‘Won’t you come with me, my fine lad? Meine Töchter sollen dich warten schön; My daughters shall wait upon you; Meine Töchter führen den nächtlichen Rein my daughters lead the nightly dance, Und wiegen und tanzen und singen dich ein.“ and will rock you, and dance, and sing you to sleep.’

„Mein Vater, mein Vater, und siehst du nicht dort ‘Father, father, can you not see Erlkönigs Töchter am düstern Ort?“ Erlking’s daughters there in the darkness?’ „Mein Sohn, mein Sohn, ich seh es genau: ‘My son, my son, I can see clearly: Es scheinen die alten Weiden so grau.“ it is the old grey willows gleaming.’

„Ich liebe dich, mich reizt deine schöne Gestalt; ‘I love you, your fair form allures me, Und bist du nicht willig, so brauch ich Gewalt.“ and if you don’t come willingly, I’ll use force.’ „Mein Vater, mein Vater, jetzt fasst er mich an! ‘Father, father, now he’s seizing me! Erlkönig hat mir ein Leids getan!“ The Erlking has hurt me!’

Dem Vater grausets, er reitet geschwind, The father shudders, he rides swiftly, Er hält in Armen das ächzende Kind, he holds the moaning child in his arms; Erreicht den Hof mit Mühe und Not: with one last effort he reaches home; In seinen Armen das Kind war tot. the child lay dead in his arms.

LITANEI AUF DES FEST ALLERSEELEN LITANY FOR THE FEAST OF ALL SOULS Schubert / Jacobi English Translation © Richard Wigmore

Ruhn in Frieden alle Seelen, May all souls rest in peace; Die vollbracht ein banges Quälen, those whose fearful torment is past; Die vollendet süssen Traum, those whose sweet dreams are over; Lebenssatt, geboren kaum, those sated with life, those barely born, Aus der Welt hinüber schieden: who have left this world: Alle Seelen ruhn in Frieden! may all souls rest in peace!

Und die nie der Sonne lachten, And those who never smiled at the sun, Unterm Mond auf Dornen wachten, who lay awake beneath the moon on beds of thorns, Gott, im reinen Himmelslicht, so that they might one day see God face to face Einst zu sehn von Angesicht: in the pure light of heaven: Alle, die von hinnen schieden, may all who have departed hence, Alle Seelen ruhn in Frieden! may all souls rest in peace!

*****

Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly

1.45pm: Claire Ward & Guy Murgatroyd CLAIRE WARD is a soprano from West Sussex, currently in her final year of postgraduate studies at the Royal Academy of Music. Claire previously trained at the Conservatoire de Toulouse. Performances with the Ensemble Baroque de Toulouse led to a joy for singing Bach. Claire performs regularly in the Kohn Foundation/RAM Bach Cantata series with solo highlights of Bach’s Wedding Cantata, Mass in F major and St. Matthew Passion under Trevor Pinnock. Claire is a 2019 Britten Pears Young Artist, invited to take part in the Bach Cantatas course in August. Further oratorio highlights include performances of Smyth Mass in D, Macdowall Magnificat, Haydn Nelson Mass and Mozart Exultate Jubilate.

A keen recitalist, Claire is a member of the Academy Song Circle, was a semi-finalist in the 2017 Somerset Song Prize and attended the 2018 Oxford Lieder Mastercourse. Opera roles to date include Night/Purcell, Micaela/Bizet, Mary Crawford/Dove, and Yum-Yum/Gilbert & Sullivan. In scenes Claire has performed as Susanna/Mozart, Musetta/Puccini, Gretel/Humperdinck, Despina/Mozart and Lucia/Britten. Claire is currently preparing the role of Venus, in John Blow’s Venus and Adonis for a production with the RAM’s Historical Performance Department directed by Liz Kenny and Michael Chance.

Claire studies with Giles Underwood and Joseph Middleton, is a Samling Academy graduate and holds a First-Class Honours degree from Durham University in Music and French. She is extremely grateful for the support from the Mario Lanza Educational Trust, the Kathleen Trust, the Josephine Baker Trust, the West Dene Fund, the John Clemence Charitable Trust, the Rachel Mackaness Trust and the Royal Academy of Music.

Highly sought after for his universal approach and versatile talent, British pianist GUY MURGATROYD is a London based freelance musician recently awarded a Masters (DipRAM) from the Royal Academy of Music. Guy was invited upon graduation to be musical director for several leading independent opera companies in the capital including Opera Rogue and Opera on the Move. National and international performances as both collaborative and solo pianist, répétiteur and musical director have clarified Guy’s reputation as a musician of strong artistic integrity allied to a vociferous technique.

Recent masterclasses include Thomas Allen, Eugene Asti, Helmut Deutsch, Bengt Forsberg, Veronique Gens, Wolfgang Holzmair, Susan Manoff and Roger Vignoles. Previous teachers have included Michael Dussek, Pascal Nemirowski, Victor Sangiorgio and Simon Nicholls.

Recent performances in London include St. Martin-in-the-fields, Italian Cultural Institute, Austrian Cultural Forum, St. Stephens Walbrook, St. James Sussex Gardens, St. Pancras Parish Church, St. George the Martyr, St. Boltoph-without-bishopsgate, and The Bunker Theatre. Other recent performances include The Holywell Music Room Oxford, The Venue Leeds College of Music, Pro Corda Suffolk, Cramphorn Theatre Chelmsford, Hotel Nolinski, Paris, Chapelle des Pénitents noirs, Villefranche-de-Rouergue, France.

Programme

Richard Strauss (1864 - 1949) Wie erkenn' ich mein Treulieb, Op.67 no.1 William Shakespeare (1564 - 1616) translated by Karl Joseph Simrock (1802 - 1876)

Wolfgang Rihm (b. 1952) Tomorrow is Saint Valentine’s Day William Shakespeare

Richard Strauss Sie trugen ihn auf der Bahre bloss William Shakespeare translated by Karl Joseph Simrock

Camille Saint-Saëns (1835 - 1921) La mort d'Ophélie Ernest Legouvé (1807 - 1903)

Olivier Messiaen (1908 - 1992) Vocalise étude

Manuel Rosenthal (1904 - 2003) Rêverie Marie Roustan (1817-1873)

Ernest Chausson (1855 - 1899) Chanson d'Ophélie William Shakespeare translated by Maurice Bouchor (1855 - 1929)

Robert Schumann (1810 - 1856) Herzeleid, Op.107 no.1 Titus Ullrich (1813 - 1891)

Gabriel Fauré (1845 - 1924) Après un rêve, Op.7 no.1 Romain Bussine

Wolfgang Rihm How should I your true love know? William Shakespeare

Richard Strauss Guten Morgen, 's ist Sankt Valentinstag, Op.67 William Shakespeare no.2 translated by Karl Joseph Simrock

Wolfgang Rihm They bore him bare-faced on the bier William Shakespeare Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly

Text & Translations

WIE ERKENN' ICH MEIN TREULIEB HOW SHALL I KNOW MY TRUE LOVE Strauss / Shakespeare trans. Simrock William Shakespeare Wie erkenn’ ich mein Treulieb How shall I know my true love Vor andern nun? From others now? An dem Muschelhut und Stab By his cockle hat and staff Und den Sandalschuh’n. And his sandal shoes.

Er ist tot und lange hin, He is dead and long gone, Tot und hin, Fräulein. Dead and gone, lady! Ihm zu Häupten grünes Gras, At his head green grass, Ihm zu Fuß ein Stein.—O, ho! At his feet a stone. O, ho!

Auf seinem Bahrtuch, weiß wie Schnee, On his shroud white as snow Viel liebe Blumen trauern: Many sweet flowers mourn. Sie gehn zu Grabe naß, o weh, They’ll go wet to the grave, alas, Vor Liebesschauern. Wet with love’s showers.

TOMORROW IS SAINT VALENTINE’S DAY Rihm / Shakespeare Tomorrow is Saint Valentine’s day, Indeed, I’ll make an end: All in the morning betime, By Gis and by Saint Charity, and I a maid at your window, Alack, and fie, for shame! To be your Valentine. Young men will do ’t, if they come to ’t. Then up he rose, and donned his clothes, By Cock, they are to blame. And dupped the chamber door. Quoth she, “Before you tumbled me, Let in the maid that out a maid You promised me to wed.” Never departed more. He answers, Pretty Ophelia - “So would I ha' done, by yonder sun, An thou hadst not come to my bed.”

SIE TRUGEN IHN AUF DER BAHRE BLOSS THEY CARRIED HIM NAKED ON THE BIER, Strauss / Shakespeare trans. Simrock William Shakespeare Sie trugen ihn auf der Bahre bloß, They carried him naked on the bier, Leider ach leider den Liebsten! Alas, alas, the dear one! Manche Träne fiel in des Grabes Schoß: Many a tear dropped in the grave— Fahr’ wohl, meine Taube! Farewell, farewell, my dove! Mein junger frischer Hansel ist’s der mir gefällt, My young fresh Johnnie it is Und kommt er nimmermehr? I love—and will he come never more? Er ist tot, o weh! He is dead, ah woe! In dein Todbett geh, To your deathbed go, Er kommt dir nimmermehr. He will come to you never more. Sein Bart war weiß wie Schnee, His beard was white as snow, Sein Haupt wie Flachs dazu: His head was like flax.

Er ist hin, er ist hin, He is gone, he is gone, Kein Trauern bringt Gewinn: Nothing comes of mourning: Mit seiner Seele Ruh! May his soul rest in peace

Und mit allen Christenseelen! darum bet’ ich!— With all Christian souls! That is my prayer! Gott sei mit euch. God be with you!

LA MORT D'OPHÉLIE THE DEATH OF OPHELIA Saint-Saëns / Legouvé English Translation © Richard Stokes

Au bord d'un torrent, Ophélie Beside a brook, Ophelia Cueillait tout en suivant le bord, Gathered along the water’s bank, Dans sa douce et tendre folie, In her sweet and gentle madness, Des pervenches, des boutons d'or, Periwinkles, crow-flowers, Des iris aux couleurs d'opale, Opal-tinted irises, Et de ces fleurs d'un rose pâle, And those pale purples Qu'on appelle des doigts de mort. Called dead men’s fingers.

Puis élevant sur ses mains blanches Then, raising up in her white hands Les riants trésors du matin, The morning’s laughing trophies, Elle les suspendait aux branches, She hung them on the branches, Aux branches d'un saule voisin; The branches of a nearby willow. Mais, trop faible, le rameau plie, But the bough, too fragile, bends, Se brise, et la pauvre Ophélie Breaks, and poor Ophelia Tombe, sa guirlande à la main. Falls, the garland in her hand.

Quelques instants, sa robe enflée Her dress, spread wide, La tint encor sur le courant, Bore her on the water awhile, Et comme une voile gonflée, And like an outstretched sail Elle flottait toujours, chantant, She floated, still singing, Chantant quelque vieille ballade, Singing some ancient lay, Chantant ainsi qu'une naïade Singing like a water-sprite Née au milieu de ce torrent. Born amidst the waves.

Mais cette étrange mélodie But this strange melody died, Passa rapide comme un son; Fleeting as a snatch of sound. Par les flots la robe alourdie Her garment, heavy with water, Bientôt dans l'abîme profond; Soon into the depths Entraïna la pauvre insensée, Dragged the poor distracted girl, Laissant à peine commencée Leaving her melodious lay Sa mélodieuse chanson. Hardly yet begun.

Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly

VOCALISE ÉTUDE Messiaen

RÊVERIE REVERIE Rosenthal / Roustan English Translation © Claire Ward

Pour calmer ma détresse To calm my distress, Sous les charmes divins Under the divine charms Du flot qui caresse, Of the caressing tide Sur la grève je vins. I went along the shore.

Je laissai ma pauvre âme I left my poor soul S’envoler au lointain, To fly off into the distance, Là-bas, où s’enflamme To there where burns L’astre d’or au déclin. The declining gold star.

La mer était sereine, The sea was serene, La vague miroitait, The wave shimmered, Ouatait Became like cotton wool, D’une écume sa traine ; Dragged into a foam.

Et venait languissante And came, languishing, A mes pieds se rouler, To roll towards my feet, Houler, To surge, Puis mourir palpitante. Then to die, palpitating.

CHANSON D'OPHÉLIE CHANSON D'OPHÉLIE Chausson / Bouchor William Shakespeare

II est mort ayant bien souffert. He is dead, having suffered much. Madame, il est parti, c'est une chose faite. He is gone, that is a fact. Une pierre a ses pieds et pour poser à sa tête At his feet a stone and at his head Un tertre vert. A grass-green turf. Sur le linceul de neige à pleines mains semées On the snow blanket are plentifully sewn Mille fleurs parfumées. A thousand scented flowers. Avant d'aller sous terre avec lui sans retour. Which, before going with him into the earth Dans leur jeunesse épanouie without return. Ont bu, comme une fraîche pluie. In their bright youth Les larmes du sincère amour. Drank, as if fresh rain drops. The tears of true love.

HERZELEID HEARTACHE Schumann / Ullrich English Translation © Eric Sams

Die Weiden lassen matt die Zweige hangen, The willows trail their weary branches, Und traurig ziehn die Wasser hin: And the waters drift sadly by. Sie schaute starr hinab mit bleichen Wangen, The poor white-faced wretch Die unglückselge Träumerin. Stared blindly down in a dream.

Und ihr entfiel ein Strauss von Immortellen, And she let fall a wreath of everlasting flowers, Er war so schwer von Tränen ja, Already heavy with tears, Und leise warnend lispelten die Wellen: While the waves whispered in soft warning— Ophelia, Ophelia! ‘Ophelia, Ophelia!’

APRÈS UN RÊVE AFTER A DREAM Fauré / Bussine English Translation © Richard Stokes

Dans un sommeil que charmait ton image In sleep made sweet by a vision of you Je rêvais le bonheur, ardent mirage, I dreamed of happiness, fervent illusion, Tes yeux étaient plus doux, ta voix pure et sonore, Your eyes were softer, your voice pure and ringing, Tu rayonnais comme un ciel éclairé par l’aurore; You shone like a sky that was lit by the dawn;

Tu m’appelais et je quittais la terre You called me and I departed the earth Pour m’enfuir avec toi vers la lumière, To flee with you toward the light, Les cieux pour nous entr’ouvraient leurs nues, The heavens parted their clouds for us, Splendeurs inconnues, lueurs divines entrevues. We glimpsed unknown splendours, celestial fires.

Hélas! hélas, triste réveil des songes, Alas, alas, sad awakening from dreams! Je t’appelle, ô nuit, rends-moi tes mensonges; I summon you, O night, give me back your Reviens, reviens, radieuse, delusions; Reviens, ô nuit mystérieuse! Return, return in radiance, Return, O mysterious night!

Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly

HOW SHOULD I YOUR TRUE LOVE KNOW? Rihm / Shakespeare

How should I your true love know From another one? By his cockle hat and staff And his sandal shoon

What imports this song?

He is dead and gone, Lady He is dead and gone At his head the grass-green turf At his heels a stone

White his shroud as the mountain snow—

Larded all with sweet flowers, Which bewept to the ground did not go With true-love showers.

How do you...?

GUTEN MORGEN, GOOD MORNING, IT'S ST VALENTINE'S DAY, 'S IST SANKT VALENTINSTAG Strauss / Shakespeare trans. Simrock William Shakespeare

Guten Morgen, ’s ist Sankt Valentinstag, Good morning, it’s St Valentine’s Day, So früh vor Sonnenschein So early before sunrise. Ich junge Maid am Fensterschlag I, young maid at the window, Will euer Valentin sein. Shall be your Valentine.

Der junge Mann tut Hosen an, The young man put trousers on, Tät auf die Kammertür Opened up the chamber door, Ließ ein die Maid, die als Maid Let in the maid who as a maid Ging nimmermehr herfür. Departed nevermore.

Bei Sankt Niklas und Charitas, By St Nicholas and Charity, Ein unverschämt Geschlecht! What a shameless breed! Ein junger Mann tut’s wenn er kann, A young man does it when he can, Fürwahr, das ist nicht recht. Which is, forsooth, not right.

Sie sprach: Eh’ ihr gescherzt mit mir, She said: before you trifled with me, Verspracht ihr mich zu frei’n. You promised to marry me. Ich bräch’s auch nicht, bei’m Sonnenlicht! I’d not, by sunlight! have broken my word, Wär’st du nicht kommen herein. If you had not come in.

THEY BORE HIM BARE-FACED ON THE BIER Rihm / Shakespeare

They bore him barefaced on the bier; Hey non nonny, nonny, hey nonny; And in his grave rain'd many a tear:-- Fare you well, my dove!

You must sing a-down a-down,

For Bonny Sweet Robin is all my joy.

And will he not come again? And will he not come again? No, no, he is dead: Go to thy death-bed: He never will come again.

His beard was as white as snow, All flaxen was his poll: He is gone, he is gone, And we cast away moan: God ha' mercy on his soul!

And of all Christian souls, I pray God. God be wi' ye.

Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly

2.35pm: Lotte Betts-Dean & Joseph Havlat

Australian mezzo-soprano LOTTE BETTS-DEAN’s performance experience encompasses opera, oratorio, contemporary music, art song, chamber music and early music. A versatile and sought-after concert artist performing predominantly in Australia and in the UK, current season highlights include her debuts with Melbourne Symphony Orchestra (Stravinksy’s Persephone with Sir Andrew Davis) and English Chamber Orchestra (Vivaldi’s Gloria), an acclaimed UK-wide tour of Schoenberg’s Pierrot Lunaire with Manchester Collective, and her Wigmore Hall recital debut alongside regular collaborator, guitarist Andrey Lebedev. Lotte is currently Associate Artist with Southbank Sinfonia and contemporary music group Ensemble x.y, alongside pianist Joseph Havlat, with whom she has performed several world premieres. Lotte is a Yeoman of the Musicians Company, a 2018 Imogen Cooper Music Trust Art Song bursar and a 2017- 2019 City Music Foundation Artist. Lotte graduated with a Master of Arts (Distinction) from the Royal Academy of Music in 2016.

Recent performance highlights include opening the Anghiari Festival in Italy, song recitals at UK festivals including Cheltenham, Buxton, and Lewes Festival of Song, and a recital at the German Consulate in New York. Recently in Australia, Lotte has performed at Adelaide Festival (Brett Dean’s Hamlet), Melbourne Recital Centre and the Sydney Opera House (Bach’s Christmas Oratorio) and has appeared as soloist with several major ensembles including the internationally renowned Australian Chamber Orchestra. Her performances have been broadcast on radio around the world including BBC Radio 3, ABC Classic FM and WQXR NY.

JOSEPH HAVLAT was born in Hobart, Australia, and studied at the Royal Academy of Music in London under Prof. Joanna MacGregor from 2012 - 18.

Joseph has performed in major concert venues around the UK and in Europe, America, Japan and Australia as a soloist and as part of chamber groups and orchestras. He is a keen sock enthusiast and chamber musician, performing frequently with multiple groups - Tritium (clarinet) trio, Trio Derazey, Duo Ex Libris as well as the LSO percussion ensemble, with whom he toured Japan in 2018 giving the premiere of a work by John Adams. Passionate about contemporary music, he is a founding member and artistic director of contemporary music collective Ensemble x.y and is also an avid composer, having written for the aforementioned ensembles, among others.

Having now graduated from the Academy with a BMus and MMus with distinction, a DipRAM, the Edwin Samuel Dove and HRH Princess Alice The Duchess of Gloucester prizes for exceptional merit, as well as the Postgraduate pianists prize for the best postgraduate recital, he is there serving as a Piano fellow for 2018-19 having also been a Chamber music fellow for the previous year.

Programme Franz Schubert (1797 - 1828) Der Jüngling an der Quelle, D300 Freiherr von Salis-Seewis (1762 - 1834)

Béla Bartók (1881 - 1945) Tavasz: Az én szerelmem (Öt Dal, BB. 71) Klára Gombossy (1901 - 1980)

Pyotr Ilyich Tchaikovsky (1840 - 1893) Nam zvjozdy krotkije sijali, Op. 60 no.12 Aleksey Nikolayevich Pleshcheyev (1825 - 1893)

Maurice Ravel (1875 - 1937) Le paon (Histoires Naturelles) Jules Renard (1864 - 1910) La pintade (Histoires Naturelles) Jules Renard

***** Percy Grainger (1882 – 1961) Died for Love Anonymous

Anton von Webern (1883 – 1945) Die geheimnisvolle Flöte, Op.12 no.2 Li Tai-Po (702 – 763) trans. Hans Bethge (1876 – 1946) Gleich und gleich, Op. 12 no.4 Johann Wolfgang von Goethe (1749 – 1832)

Brett Dean (b. 1961) Literature (Poems and Prayers) Michael Leunig (b.1945) A Child is a Grub (Poems and Prayers) Michael Leunig

***** Jean Sibelius (1865 - 1957) Var det en dröm?, Op.37 no.4 Anonymous trans. Josef Julius Wecksell (1838 - 1907) Flickan kom ifrån sin älsklings möte, Op. 35 Johan Ludvig Runeberg (1804 - 1877)

Sigurd von Koch (1879 - 1919) I månaden Tjaitra (Exotiska Sånger) Sigurd Agrell (1881 - 1937)

Franz Schubert Abendstern, D806 Johann Mayrhofer (1787 - 1836)

Olivier Messiaen (1908 - 1992) Prière exaucée (Poèmes pour Mi) Olivier Messiaen

Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly

Text & Translations

DER JÜNGLING AN DER QUELLE THE YOUTH BY THE SPRING Schubert / Salis-Seewis English Translation © Richard Wigmore

Leise, rieselnder Quell! Softly rippling brook, Ihr wallenden, flispernden Pappeln! swaying, whispering poplars, Euer Schlummergeräusch your slumbrous murmur Wecket die Liebe nur auf. awakens only love. Linderung sucht’ ich bei euch, I sought consolation in you, Und sie zu vergessen, die Spröde; wishing to forget her, she who is so aloof. Ach, und Blätter und Bach But alas, the leaves and the brook Seufzen, Luise, dir nach! sigh for you, Louise!

TAVASZ: AZ ÉN SZERELMEM SPRING: MY LOVE Bartók / Gombossy Anonymous Az én szerelmem nem sápadt éji hold, My love bears no resemblance to the moon mely elmerengve néz a vizbe le, That wanders, gazing, dreaming through the night; Az én szerelmem forró déli napfény, My love’s the flaring light of the midday sun, teremtõ erõvel, tüzzel tele. . . Sparking with flames and regenerating Az én ajkamon forró csók a rózsa, My lips’ roses all bloom to burning kisses az én szememben gyujtó tüzek égnek, My eyes’ sparks are all fanned to raging fires, Az én testemben örök ifjan lángol And my body is now alight with savage passion, pogány, szerelmes mámora a vérnek. Glowing with ecstasy of loving.

NAM ZVJOZDY KROTKIJE SIJALI GENTLE STARS SHONE FOR US Tchaikovsky / Pleshcheyev English Translation © Will Gowans

Nam zvjozdy krotkije sijali, Gentle stars shone for us, chut' vejal tikhij veterok, though a soft breeze blew; krugom cvety blagoukhali, flowers smelled sweetly all around, i volny laskovo zhurchali and waves murmured softly u nashikh nog. at our feet.

My byli juny, my ljubili, We were young, we were in love, i s veroj v dal' smotreli my; and we looked confidently to the future; v nas grjozy raduzhnye zhili, Happy dreams dwelt within us, i nam ne strashny v'jugi byli and we did not fear the blizzards sedoj zimy. of grey winter.

Gde zh `eti nochi s ikh sijan'em, Where are those nights of radiance, s blagoukhajushchej krasoj with their fragrant charms, i voln tainstvennym zhurchan'jem, and the mysterious murmuring of waves? nadezhd, vostorzhjonnykh mechtanij Of hopes, of rapturous dreams, gde svetlyj roj? where is the bright swarm, where is the bright swarm?

Pomerkli zvjozdy, i unylo The stars have grown dim, and mournfully ponikli bleklye cvety... the faded flowers have wilted… Kogda zh, o serdce, vse, chto bylo, When then, oh heart, will you forget chto nam vesna s toboj darila, all that used to be, what spring gave to us, zabudesh' ty? when will you forget?

FROM HISTOIRES NATURELLES Ravel / Renard English Translation © Richard Stokes

LE PAON THE PEACOCK

Il va sûrement se marier aujourd’hui. He will surely get married today. Ce devait être pour hier. En habit de gala, il était It was to have been yesterday. In full regalia he was prêt. Il n’attendait que sa fiancée. Elle n’est pas ready. It was only his bride he was waiting for. venue. Elle ne peut tarder. She has not come. She cannot be long. Glorieux, il se promène avec une allure de prince Proudly he processes the with air of an Indian indien et porte sur lui les riches présents d’usage. prince, bearing about his person the customary L’amour avive l’éclat de ses couleurs et son lavish gifts. aigrette tremble comme une lyre. Love burnishes the brilliance of his colours, La finacée n’arrive pas. and his crest quivers like a lyre. Il monte au haut du toit et regarde du côté du His bride does not appear. soleil.Il jette son cri diabolique: He ascends to the top of the roof and looks Léon! Léon! towards the sun. He utters his devilish cry: C’est ainsi qu’il appelle sa fiancée. Léon! Léon! Il ne voit rien venir et personne ne répond. It is thus that he summons his bride. He can see Les volailles habituées ne lèvent même point la nothing drawing near, and no one replies. tête. Elles sont lasses de l’admirer. The fowls are used to all this and do not even raise Il redescend dans la cour, si sûr d’être beau qu’il their heads. est incapable de rancune. They are tired of admiring him. He descends once Son mariage sera pour demain. more to the yard, so sure of his beauty that he is Et, ne sachant que faire du reste de la journée, incapable of resentment. il se dirige vers le perron. His marriage will take place tomorrow. Il gravit les marches, comme des marches de And, not knowing what to do for the rest of the temple, d’un pas officiel. day, he heads for the flight of steps. Il relève sa robe à queue toute lourde des yeux qui He ascends them, as though they were the steps of n’ont pu se détacher d’elle. a temple, with a formal tread. Il répète encore une fois la cérémonie. He lifts his train, heavy with eyes that have been unable to detach themselves. Once more he repeats the ceremony.

Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly

LA PINTADE THE GUINEA-FOWL

C’est la bossue de ma cour. Elle ne rêve que plaies She is the hunchback of my barnyard. She dreams à cause de sa bosse. only of wounding, because of her hump. Les poules ne lui disent rien: brusquement, The hens say nothing to her: suddenly, elle se précipite et les harcèle. she swoops and harries them. Puis elle baisse sa tête, penche le corps, et, de Then she lowers her head, leans forward, and, with toute la vitesse de ses pattes maigres, elle court all the speed of her skinny legs, runs and strikes frapper, de son bec dur, juste au centre de la roue with her hard beak at the very centre of a turkey’s d’une dinde. tail. Cette poseuse l’agaçait. This poseuse was provoking her. Ainsi, la tête bleuie, ses barbillons à vif, Thus, with her bluish head and raw wattles, cocardière, elle rage du matine au soir. pugnaciously she rages from morn to might. Elle se bat sans motif, peut-être parce qu’elle She fights for no reason, perhaps because she s’imagine toujours qu’on se moque de sa taille, always thinks they are making fun of her figure, de son crâne chauve et de sa queue basse. of her bald head and drooping tail. Et elle ne cesse de jeter un cri discordant And she never stops screaming her discordant cry, qui perce l’air comme une pointe. which pierces the air like a needle. Parfois elle quitte la cour et disparaît. Elle laisse Sometimes she leaves the yard and vanishes. aux volailles pacifiques un moment de répit. She gives the peace-loving poultry a moment’s Mais elle revient plus turbulente et plus criarde. respite. Et, frénétique, elle se vautre par terre. But she returns more rowdy and shrill. Qu’a-t-elle donc? And in a frenzy she wallows in the earth. La sournoise fait une farce. Whatever’s wrong with her? Elle est allée pondre son œuf à la campagne. The cunning creature is playing a trick. Je peux le chercher si ça m’amuse. She went to lay her egg in the open country. Elle se roule dans la poussière, comme une I can look for it if I like. bossue. And she rolls in the dust, like a hunchback.

*****

DIED FOR LOVE Grainger / Anon.

I wish my baby it e was born, Lyin’ smilin’ on its father’s knee, Addnd I was dead and in my grave, And green gress growin’ all over me.

Dig me my grave long, wide and deep, Put a marbil stone at my head and feet; But a turtle white dove put over above For to let the world know that I died for love.

DIE GEHEIMNISVOLLE FLÖTE THE MYSTERIOUS FLUTE Webern / Tai-Po, trans. by Bethge English Translation © Richard Stokes

An einem Abend, da die Blumen dufteten One evening, when the flowers shed their fragrance Und alle Blätter an den Bäumen, trug der Wind And all the leaves on the trees, the wind carried to me mir The song of a distant flute. I cut Das Lied einer entfernten Flöte zu. Da schnitt A willow branch from the bush, and Ich einen Weidenzweig vom Strauch, und My song flew, in answer, through the blossoming Mein Lied flog, Antwort gebend, durch die night. blühende Nacht.

Seit jenem Abend hören, wann die Erde schläft, Since that evening, when the earth sleeps, Die Vögel ein Gespräch in ihrer Sprache. The birds hear a conversation in their language.

GLEICH UND GLEICH LIKE TO LIKE Webern / Goethe English Translation © Richard Stokes

Ein Blumenglöckchen A little flower-bell Vom Boden hervor Had sprung up early War früh gesprosset From the ground In lieblichem Flor; In lovely blossom; Da kam ein Bienchen Along came a little bee Und naschte fein: -- And sipped most daintily: - Die müssen wohl beide They must have been Für einander sein. Made for each other.

FROM POEMS AND PRAYERS

LITERATURE A CHILD IS A GRUB Dean / Leunig Dean / Leunig

The pen is mightier than the sword A child is a grub, And mightier than the literary award. A man’s a cocoon. Without the pen we'd be unable Music’s a butterfly, To leave those notes on the kitchen table. Sing me a tune. Nothing lovelier ever penned With three small crosses at the end; Made for no one else to see; The literature of you and me. *****

Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly

VAR DET EN DRÖM? WAS IT A DREAM? Sibelius / Wecksell Anonymous

Var det en dröm, att ljuvt en gång Was it a dream, that once upon a blissful time jag var ditt hjärtas vän? I was your heart’s friend? Jag minns det som en tystnad sång, I remember it like a silent song då strängen darrar än. Whose melody still lingers on.

Jag minns en törnros av dig skänkt, I remember you gave me a rose en blick så blyg och öm; With a look so shy and tender, jag minns en avskedstår, som blänkt. I remember the glistening of a parting tear. Var allt, var allt en dröm? Was it all just a dream?

En dröm lik sippans liv så kort A dream like a wildflower's life, uti en vårgrön ängd, So brief in the verdant meadow, vars fägring hastigt vissnar bort Whose beauty quickly withers away för nya blommors mängd. Within an ocean of new flowers

Men mången natt jag hör en röst But on many a night I hear a voice vid bittra tårars ström: Through a stream of bitter tears. göm djupt dess minne i ditt bröst, Hide this memory deep in your heart det var din bästa dröm! For this was your best dream.

FLICKAN KOM IFRÅN SIN THE MAIDEN CAME FROM ÄLSKLINGS MÖTE HER LOVER’S TRYST Sibelius / Runeberg English Translation © Maria Forsström

Flickan kom ifrån sin älsklings möte, The maiden came from her lover's tryst, kom med röda händer. Modern sade: Came with red hands. The mother said: "Varav rodna dina händer, flicka?" "Whence redden your hands, maiden?" Flickan sade: "Jag har plockat rosor The maiden said: "I have picked roses och på törnen stungit mina händer." And stung my hands on the thorns."

Åter kom hon från sin älsklings möte, Again she came from her lover's tryst, kom med röda läppar. Modern sade: Came with red lips. The Mother said: "Varav rodna dina läppar, flicka?" "Whence redden your lips, maiden?" Flickan sade: "Jag har ätit hallon The maiden said: "I have eaten raspberries och med saften målat mina läppar." And with the juices painted my lips."

Åter kom hon från sin älsklings möte, Again she came from her lover's tryst, kom med bleka kinder. Modern sade: Came with pale cheeks. Her mother said: "Varav blekna dina kinder, flicka?" "Whence pale your cheeks, maiden?" Flickan sade: "Red en grav, o moder! The maiden said: "Make me a grave, o mother! Göm mig där och ställ ett kors däröver, Hide me there and put a cross on top, och på korset rista, som jag säger: And on the cross carve, what I say:

En gång kom hon hem med röda händer, Once she came home with red hands, ty de rodnat mellan älskarns händer. Since they had reddened between her lover's En gång kom hon hem med röda läppar, hands. ty de rodnat under älskarns läppar. Once she came home with red lips, Senast kom hon hem med bleka kinder, Since the reddened under her lover's lips. ty de bleknat genom älskarns otro." Lastly she came home with pale cheeks, Since they had paled with her lover's unfaithfulness.

Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly

I MÅNADEN TJAITRA IN THE MONTH OF TJAITRA Koch / Agrell English Translation © Lisa Carlioth & Lotte Betts-Dean

Minns du våren, kärlekstrånadens In the month of Tjaitra första tvekande drömmars tid, Do you remember the spring, kokilans sång i Tjaitramånadens The first hesitant dreams of love, klara leende nätters frid? The Kokila’s song in the clear peaceful nights Minns du, hur sakta du vaggade, of the month of Tjaitra? älskade, på mina knän, Do you remember how I slowly rocked you, medan den svala aftonen daggade My love, on my lap, mangons blomröda trän? While the evening air dewed the red-flowered mango trees.

Lotusögonen sakta slöto sig, Lotus-eyes closing slowly, doftande huvudet sjönk mot min arm, a fragrant head sinks against my arm, samman, långsamt läpparna göto sig slowly, lips draw closed stilla vi drömde, barm mot barm. in stillness we dreamed, chest to chest. Stjärnorna, stora och spörjande, The stars, large and inquisitive, move in cool blue, skredo i kyligt blå, Half in happiness- and half in mourning- hälften i glädje - och hälften i sörjande - Long- we stayed like this… länge - dröjde vi så...

ABENDSTERN THE EVENING STAR Schubert / Mayrhofer English Translation © Richard Wigmore

Was weilst du einsam an dem Himmel, Why do you linger all alone in the sky, O schöner Stern? und bist so mild; fair star? For you are so gentle; Warum entfernt das funkelnde Gewimmel why does the host of sparkling brothers Der Brüder sich von deinem Bild? shun your sight? „Ich bin der Liebe treuer Stern, ‘I am the faithful star of love; Sie halten sich von Liebe fern.“ they keep far away from love.’

So solltest du zu ihnen gehen, If you are love, Bist du der Liebe, zaud’re nicht! you should go to them without delay! Wer möchte denn dir widerstehen? For who could resist you, Du süsses eigensinnig Licht. sweet, wayward light? „Ich säe, schaue keinen Keim, ‘I sow no seed, I see no shoot, Und bleibe trauernd still daheim.“ and remain here, silent and mournful.’

PRIÈRE EXAUCÉE A PRAYER GRANTED Messiaen / Messiaen English Translation © Richard Stokes

Ebranlez la solitaire, la vieille montagne de Shake up the solitary, ancient mountain of pain, douleur, May the sun work over the bitter waters of my heart! Que le soleil travaille les eaux amères de mon O Jesus, living bread, giver of life, coeur ! Say but one word and my soul shall be healed. O Jésus, Pain vivant et qui donnez la vie, Ne dites qu'une seule parole, et mon âme sera guérie.

Ébranlez la solitaire, la vieille montagne de Shake up the solitary, ancient mountain of pain, douleur, May the sun work over the bitter waters of my heart! Que le soleil travaille les eaux amères de mon Give me your grace, coeur! Give me your grace! Donnez-moi votre grâce, Donnez-moi votre grâce!

Carillonne, mon coeur! Ring out, my heart! Que ta résonance soit dure, et longue, et May your ringing resound hard, long and deep! profonde! Strike, knock, smite for your king! Frappe, tape, choque pour ton roi! Strike, knock, smite for your God! Frappe, tape, choque pour ton Dieu! Behold the day of your glory and resurrection! Voici ton jour de gloire et de résurrection! Bliss has returned. La joie est revenue. *****

Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly

4pm: Ted Black & Rachel Fright Born and raised in London, tenor TED BLACK currently studies at the Royal College of Music, under the tutelage of Alison Wells and Caroline Dowdle as the Douglas and Hilda Simmonds Scholar, supported by the Mason Scholarship, having previously graduated with first class honours from the Royal Conservatoire of Scotland.

Ted’s operatic roles include Gérald (Lakmé (excerpts at RCM)), Belmonte (Die Entführung aus dem Serail (excerpts at RCS)), Scaramuccio (Ariadne auf Naxos), and L’aumônier (Dialogues des Carmélites), as well as chorus at Opera North, Scottish Opera, and at the RCM and RCS. His extensive concert work has included Bernstein’s Chichester Psalms at the Edinburgh International Festival, with Marin Alsop and the São Paulo Symphony Orchestra.

A keen advocate of song repertoire, Ted was recently highly commended in the 2018 London Song Festival Competition, and performed in a concert of staged Mahler songs with Roger Vignoles in February. While at RCS, Ted enjoyed successes in numerous competitions, winning first place in the Governors’ Recital Prizes for both singing and chamber music, the Jean Highgate Scholarship for Singing, and the Florence Veitch Ibler Prize for Oratorio.

Following her performance as a Leeds Lieder Young Artist 2018, RACHEL FRIGHT was awarded the Hester Dickson Duo Prize with duo partner Ted Black (tenor) to study at Oxenfoord International Summer School with Malcolm Martineau. In the same year, Rachel was a finalist in the Patricia Routledge National English Song Competition and the British Art-Song competition as part of the London Song Festival. Rachel performs regularly across the UK and has been featured on BBC Radio 3. She is also a musician for Live Music Now, deputy tutor at Yorkshire Young Musicians and accompanist to Sheffield Philharmonic Chorus and King Edward Music Society, Macclesfield.

Rachel studied with scholarships to Pembroke College, Oxford and the Royal Northern College of Music, where she was taught by Stephen Savage, David Jones and Julius Drake, with whom she continues private study. During her studies, she was supported by the Helen Mackaness Award and won several prizes for accompaniment; the Stella Bradshaw Memorial Award, the Frost/Brownson Award for Accompaniment, the Clifton Helliwell Memorial Award, the Brodsky Prize, the Alexander Young Prize and the James Martin Oncken Song prize. In 2015, she attended the Oxford Lieder Festival Mastercourse, where she received tuition from Roger Vignoles and Imogen Cooper. She is currently a Junior Fellow in Accompaniment at the RNCM.

Programme

Cheryl Frances-Hoad (b. 1980)

From Magic Lantern Tales

Marching Through Time Ian McMillan (b. 1956)

Alma Mahler (1879 - 1964)

Die stille Stadt Richard Dehmel (1863 - 1920)

In meines Vaters Garten Otto Erich Hartleben (1864 - 1905)

Laue Sommernacht Gustav Falke (1853 - 1916)

Bei dir ist es traut Rainer Maria Rilke (1875 - 1926)

Ich wandle unter Blumen Heinrich Heine (1797 - 1856)

*****

Rebecca Clarke (1886 - 1979)

The Seal Man John Masefield (1878 - 1967)

Muriel Herbert (1897 - 1984)

Renouncement Alice Meynell (1847 - 1922)

*****

Amy Beach (1867 - 1944)

Three Browning Songs Robert Browning (1812 - 1889)

1. The Year’s at the Spring

2. Ah, Love, But a Day

3. I Send My Heart Up To Thee

Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly

Text & Translations

MARCHING THROUGH TIME Frances-Hoad / McMillan

They marched through the streets Of these Northern towns And their winding-sheets And their hospital gowns Are not all we remember of these marching men Because their stories get told again and again.

From these Northern towns They marched through the streets And the terrible sounds Of advances, retreats Are not all we remember of these innocent boys: Stories rebuild just what wartime destroys.

And a photograph is a kind of map; A map of where we’ve been, where we heard That story lifting up the tentflap Of history, that story that hinged on a word From a 100 year old woman, a 95 year old man That turns and returns to where stories began.

They marched through the light In these Northern places To a bomb-blasted night And the fear on their faces We should remember as the years slowly pass; Stories as brittle as glass Stories as brittle as glass...

DIE STILLE STADT THE SILENT TOWN Mahler / Dehmel English Translation © Richard Stokes

Liegt eine Stadt im Tale, A town lies in the valley, ein blasser Tag vergeht. a pale day is fading; es wird nicht lange dauern mehr, it will not be long bis weder Mond noch Sterne before neither moon nor stars nur Nacht am Himmel steht. but night alone will deck the skies.

Von allen Bergen drücken From every mountain nebel auf die Stadt, mists weigh on the town; es dringt kein Dach, nicht Hof noch Haus, no roof, no courtyard, no house kein Laut aus ihrem Rauch heraus, no sound can penetrate the smoke, kaum Türme noch und Brücken. scarcely towers and bridges even.

Doch als dem Wandrer graute, But as fear seized the traveller, da ging ein Lichtlein auf im Grund a gleam appeared in the valley; und durch den Rauch und Nebel and through the smoke and mist begann ein leiser Lobgesang came a faint song of praise aus Kindermund. from a child's lips.

Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly

IN MEINES VATERS GARTEN IN MY FATHER'S GARDEN Mahler / Hartleben English Translation © Richard Stokes

In meines Vaters Garten - In my father’s garden – blühe mein Herz, blüh auf - blossom, O my heart, blossom – in meines Vaters Garten In my father’s garden stand ein schattender Apfelbaum - grew a shady apple tree – Süsser Traum - Sweet dream – stand ein schattender Apfelbaum. grew a shady apple tree.

Drei blonde Königstöchter - Three blond princesses – blühe mein Herz, blüh auf - blossom, O my heart, blossom – drei wunderschöne Mädchen three wonderfully beautiful girls schliefen unter dem Apfelbaum - slept beneath the apple tree – Süsser Traum - Sweet dream – schliefen unter dem Apfelbaum. slept beneath the apple tree.

Die allerjüngste Feine - The youngest of the three beauties – blühe mein Herz, blüh auf - blossom, O my heart, blossom – die allerjüngste Feine the youngest of the three beauties blinzelte und erwachte kaum - blinked and hardly awoke – Süsser Traum - Sweet dream – blinzelte und erwachte kaum. blinked and hardly awoke.

Die zweite fuhr sich übers Haar - The second ran her hand through her hair – blühe mein Herz, blüh auf - blossom, O my heart, blossom – sah den roten Morgentraum - Saw the red morning dream – Süsser Traum - Sweet dream –

Sie sprach: Hört ihr die Trommel nicht - She said: ‘Don’t you hear the drums? blühe mein Herz, blüh auf - blossom, O my heart, blossom – Süsser Traum - Sweet dream – hell durch den dämmernden Traum? Brightly through the dawn?

Mein Liebster zieht in den Kampf - My beloved is going to war blühe mein Herz, blüh auf - blossom, O my heart, blossom – mein Liebster zieht in den Kampf hinaus, My beloved is going to war, küsst mir als Sieger des Kleides Saum - Kisses as victor the hem of my dress Süsser Traum - Sweet dream – küsst mir des Kleides Saum! Kisses the hem of my dress.

Die dritte sprach und sprach so leis - The third spoke, and spoke so quietly – blühe mein Herz, blüh auf - blossom, O my heart, blossom – die dritte sprach und sprach so leis: The third spoke and spoke so quietly: Ich küsse dem Liebsten des Kleides Saum - I kiss the hem of my beloved’s coat – Süsser Traum - Sweet dream – ich küsse dem Liebsten des Kleides Saum. - I kiss the hem of my beloved’s coat.

In meines Vaters Garten - In my father’s garden – blühe mein Herz, blüh auf - blossom, O my heart, blossom – in meines Vaters Garten In my father’s garden steht ein sonniger Apfelbaum - grew a shady apple tree – Süsser Traum - Sweet dream – steht ein sonniger Apfelbaum! grew a shady apple tree.

LAUE SOMMERNACHT MILD SUMMER NIGHT Mahler / Falke English Translation © Richard Stokes

Laue Sommernacht: am Himmel Mild summer night: in the sky Stand kein Stern, im weiten Walde Not a star, in the deep forest Suchten wir uns tief im Dunkel, We sought each other in the dark Und wir fanden uns. And found one another.

Fanden uns im weiten Walde Found one another in the deep wood In der Nacht, der sternenlosen, In the night, the starless night, Hielten staunend uns im Arme And amazed, we embraced In der dunklen Nacht. In the dark night.

War nicht unser ganzes Leben Our entire life – was it not So ein Tappen, so ein Suchen? Such a tentative quest? Da: In seine Finsternisse There: into its darkness, Liebe, fiel Dein Licht. O Love, fell your light.

BEI DIR IST ES TRAUT I FEEL WARM AND CLOSE WITH YOU Mahler / Rilke English Translation © Richard Stokes

Bei dir ist es traut: I feel warm and close with you: Zage Uhren schlagen clocks strike hesitantly, wie aus weiten Tagen. like they did in distant days. Komm mir ein Liebes sagen - Say something loving to me - aber nur nicht laut. but not aloud.

Ein Tor geht irgendwo A gate opens somewhere draussen im Blütentreiben. out in the burgeoning. Der Abend horcht an den Scheiben. Evening listens at the window-panes. Lass uns leise bleiben: Let us stay quiet, Keiner weiss uns so. no one knows us thus.

Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly

ICH WANDLE UNTER BLUMEN I WANDER AMONG FLOWERS Mahler / Heine English Translation © Richard Stokes

Ich wandle unter Blumen I wander among flowers Und blühe selber mit; And blossom with them; Ich wandle wie im Traume I wander as in a dream Und schwanke bei jedem Schritt. And sway with every step.

O, halt mich fest, Geliebte! O, hold me fast, beloved! Vor Liebestrunkenheit Or drunk with love Fall' ich dir sonst zu Füßen, I’ll fall at your feet – Und der Garten ist voller Leut’. And the garden is full of folk.

*****

THE SEAL MAN Clarke / Masefield

And he came by her cabin to the west of the road, calling. There was a strong love came up in her at that, and she put down her sewing on the table, and "Mother," she says, "There's no lock, and no key, and no bolt, and no door. There's no iron, nor no stone, nor anything at all will keep me this night from the man I love." And she went out into the moonlight to him, there by the bush where the flow'rs is pretty, beyond the river. And he says to her: "You are all of the beauty of the world, will you come where I go, over the waves of the sea?" And she says to him: "My treasure and my strength," she says, "I would follow you on the frozen hills, my feet bleeding." Then they went down into the sea together, and the moon made a track on the sea, and they walked down it; it was like a flame before them. There was no fear at all on her; only a great love like the love of the Old Ones, that was stronger than the touch of the fool. She had a little white throat, and little cheeks like flowers, and she went down into the sea with her man, who wasn't a man at all. She was drowned, of course. It's like he never thought that she wouldn't bear the sea like himself. She was drowned, drowned.

RENOUNCEMENT Herbert / Meynell

I must not think of thee; and, tired yet strong, I shun the love that lurks in all delight -- The love of thee -- and in the blue heaven's height, And in the dearest passage of a song. Oh, just beyond the sweetest thoughts that throng This breast, the thought of thee waits hidden yet bright; But it must never, never come in sight; I must stop short of thee the whole day long. But when sleep comes to close each difficult day, When night gives pause to the long watch I keep, And all my bonds I needs must loose apart, Must doff my will as raiment laid away, -- With the first dream that comes with the first sleep I run, I run, I am gather'd to thy heart. ***** THREE BROWNING SONGS Beach / Browning

I. THE YEAR’S AT THE SPRING II. AH, LOVE, BUT A DAY III. I SEND MY HEART UP TO THEE The year’s at the spring, Ah, Love, but a day, I send my heart up to thee, all my And day’s at the morn; And the world has changed! heart Morning’s at seven; The sun’s away, In this my singing, The hill-side’s dew-pearl’d; And the bird estranged; For the stars help me, and the sea, and The lark’s on the wing; The wind has dropped, the sea bears part; The snail’s on the thorn; And the sky’s deranged; The very night is clinging God’s in His heaven– Summer has stopped. Closer to Venice’ streets to leave on All’s right with the world! space Wilt thou change too? Above me, whence thy face Should I fear surprise? May light my joyous heart to thee, to Shall I find aught new thee its dwelling place. In the old and dear, In the good and true, With the changing year?

Thou art a man, But I am thy love. For the lake, its swan; For the dell, its dove; And for thee — (oh, haste!) Me, to bend above, Me, to hold embraced.

*****

Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly

4.50pm: Ema Nikolovska & Gary Beecher EMA NIKOLOVSKA studies on the Opera Course at the Guildhall School of Music & Drama, and previously completed the Artist Masters programme. Her principal teachers have included Rudolf Piernay, Susan McCulloch, and Helga Tucker. Ema also completed an undergraduate degree in violin performance at The Glenn Gould School in Toronto. She won the Guildhall Wigmore Prize with pianist Dylan Perez (resulting in a debut Wigmore recital on 18 May, 2019); Singers’ Prize at the 2018 Gerald Moore Award; and Second Place at the International Helmut Deutsch Lied Competition with pianist Michael Sikich in September 2018. Ema also won the 2018 Susan Longfield Prize, and First and Audience Prizes at the 25th Maureen Lehane Vocal Awards.

Ema has performed in masterclasses at the Toronto Summer Music Academy and Festival, Britten- Pears Programme, Music Academy of Villecroze, Les Azuriales, Franz-Schubert-Institut, the Heidelberger Frühling Lied Akademie, and further recital work singing at the Oxford Lieder Festival, Graham Johnson’s Song Guild, Side-by-Side with the Prince Consort in Wigmore Hall, and a Schubert recital with Malcolm Martineau in Berlin’s Pierre Boulez Saal. Ema is grateful to the Shipley Rudge Scholarship and London Syndicate, and the Countess of Munster Musical Trust as a recipient of their ‘Star Award’.

GARY BEECHER enjoys a varied musical life performing as a vocal accompanist, chamber musician and solo pianist.

Gary was a winner of the Guildhall Piano Accompaniment Prize and Graham Johnson’s Song Guild Paul Hamburger Prize in March 2019. He was also selected to perform in Alisdair Hogarth’s Side-by-Side Prince Consort recital at Wigmore Hall. Last year, he won the Guildhall Franz Schubert Lieder Prize, which allowed him to study at the Franz Schubert Institute. Gary has recently been named as a ‘Britten-Pears Young Artist’.

As a solo pianist, Gary was the winner of the ‘Irish Freemason’s Young Musician of the Year’ and had his debut with the RTÉ Concert Orchestra and conductor John Wilson in the National Concert Hall. In February 2019, he returned as a concerto soloist to the NCH, to perform with the RTE National Symphony Orchestra and conductor José Serebrier.

Gary graduated with the ‘Best Overall Student’ award from the CIT Cork School of Music Bmus degree and studied with Jan Cáp and Dr. Gabriela Mayer. Gary also studied with Jacques Rouvier and Dr. John O’Conor. Gary is currently an Artist Masters scholarship student at the Guildhall School of Music and Drama where he studies with Julius Drake and Charles Owen. Gary is very grateful for the support of the Norman Gee Foundation.

Programme

Henry Purcell (1659-1695) / Benjamin Britten (1913-1976) Mad Bess, Z370 Anonymous ***** Franz Schubert (1797 - 1828) Der Musensohn, D764 Johann Wolfgang von Goethe (1749 - 1832) An die Entfernte, D765 Johann Wolfgang von Goethe

Hugo Wolf (1860 - 1903) Nimmersatte Liebe, no.9 Eduard Mörike (1804 - 1875) Verschwiegene Liebe, no.3 Joseph von Eichendorff (1788 - 1857) Lied vom Winde, no.38 Eduard Mörike ***** Francis Poulenc (1899 - 1963) Deux Poèmes de Louis Aragon Louis Aragon (1897 - 1982)

C, FP 122 no.1

Fêtes galantes, FP 122 no.2 ***** Joaquín Rodrigo (1901 - 1999) Cancion del Cucu Victoria Kamhi de Rodrigo (1905 - 1997) Un Home, San Antonio! Rosalia de Castro (1837 - 1885) ***** Ned Rorem (b. 1923) Jeanie with the Light Brown Hair Jeppe Aakjær (1866 - 1930) Visits to St. Elizabeth’s Elizabeth Bishop (1911 - 1979)

Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly

Text & Translations

MAD BESS Purcell / Anon.

From silent shades and the Elysian groves ‘Did you not see my love as he passed by you? Where sad departed spirits mourn their loves, His two flaming eyes, if he comes nigh you, From crystal streams and from that country where They will scorch up your hearts! Jove crowns the fields with flowers all the year, ‘Ladies, beware ye, Poor senseless Bess, clothed in her rags and folly, Lest he should dart a glance Is come to cure her lovesick melancholy. That may ensnare ye!

‘Bright Cynthia kept her revels late ‘Hark! Hark! I hear old Charon bawl, While Mab, the Fairy Queen did dance, His boat he will not longer stay, And Oberon did sit in state And Furies lash their whips and call, When Mars at Venus ran his lance. “Come, come away”.

‘In yonder cowslip lies my dear, ‘Poor Bess will return to the place whence she Entomb’d in liquid gems of dew; came, Each day I’ll water it with a tear, Since the world is so mad she can hope for no Its fading blossom to renew. cure. For love’s grown a bubble, a shadow, a name, ‘For since my love is dead Which fools do admire and wise men endure. And all my joys are gone, Poor Bess for his sake ‘Cold and hungry am I grown. A garland will make, Ambrosia will I feed upon, My music shall be a groan. Drink Nectar still and sing:’

‘I’ll lay me down and die ‘Who is content, Within some hollow tree, Does all sorrow prevent? The rav’n and cat, And Bess in her straw, The owl and bat Whilst free from the law, Shall warble forth my elegy. In her thoughts is as great as a King.’

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DER MUSENSOHN THE SON OF THE MUSES Schubert / Goethe English Translation © Richard Wigmore

Durch Feld und Wald zu schweifen, Roaming through field and wood, Mein Liedchen weg zu pfeifen, whistling my song, So geht’s von Ort zu Ort! thus I go from place to place! Und nach dem Takte reget, And all keep time with me, Und nach dem Mass beweget and all move Sich alles an mir fort. in measure with me.

Ich kann sie kaum erwarten, I can scarcely wait for them, Die erste Blum’ im Garten, the first flower in the garden, Die erste Blüt’ am Baum. the first blossom on the tree. Sie grüssen meine Lieder, They greet my songs, Und kommt der Winter wieder, and when winter returns Sing’ ich noch jenen Traum. I am still singing my dream of them.

Ich sing’ ihn in der Weite, I sing it far and wide, Auf Eises Läng’ und Breite, the length and breadth of the ice. Da blüht der Winter schön! Then winter blooms in beauty! Auch diese Blüte schwindet, This blossom, too, vanishes, Und neue Freude findet and new joys are found Sich auf bebauten Höhn. on the cultivated hillsides.

Denn wie ich bei der Linde For when, by the linden tree, Das junge Völkchen finde, I come upon young folk, Sogleich erreg’ ich sie. I at once stir them. Der stumpfe Bursche bläht sich, The dull lad puffs himself up, Das steife Mädchen dreht sich the demure girl whirls Nach meiner Melodie. in time to my tune.

Ihr gebt den Sohlen Flügel You give my feet wings, Und treibt, durch Tal und Hügel, and drive your favourite over hill and dale, Den Liebling weit von Haus. far from home. Ihr lieben, holden Musen, Dear, gracious Muses, Wann ruh’ ich ihr am Busen when shall I at last find rest again Auch endlich wieder aus? on her bosom?

Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly

AN DIE ENTFERNTE TO THE DISTANT BELOVED Schubert / Goethe English Translation © Richard Wigmore

So hab’ ich wirklich dich verloren? Have I really lost you? Bist du, o Schöne, mir entflohn? Have you fled from me, fairest love? Noch klingt in den gewohnten Ohren Every word, every tone Ein jedes Wort, ein jeder Ton. still sounds in my well-accustomed ears.

So wie des Wandrers Blick am Morgen As in the morning the traveller’s gaze Vergebens in die Lüfte dringt, searches the heavens in vain Wenn, in dem blauen Raum verborgen, when, concealed in the blue firmament, Hoch über ihm die Lerche singt: the lark sings high above him:

So dringet ängstlich hin und wieder So my gaze searches anxiously back and forth Durch Feld und Busch und Wald mein Blick; through field, thicket and woodland; Dich rufen alle meine Lieder: all my songs call out to you: „O komm, Geliebte, mir zurück!“ ‘Come back to me, beloved!’

NIMMERSATTE LIEBE INSATIABLE LOVE Wolf / Mörike English Translation © Richard Stokes

So ist die Lieb! So ist die Lieb! Such is love! Such is love! Mit Küssen nicht zu stillen: Not to be quieted with kisses: Wer ist der Tor und will ein Sieb What fool would wish to fill a sieve Mit eitel Wasser füllen? With nothing else but water? Und schöpfst du an die tausend Jahr, And were you to draw water for some thousand Und küssest ewig, ewig gar, years, Du tust ihr nie zu Willen. And were you to kiss for ever and ever, You’d never satisfy love.

Die Lieb, die Lieb hat alle Stund Love, love, has every hour Neu wunderlich Gelüsten; New and strange desires; Wir bissen uns die Lippen wund, We bit until our lips were sore, Da wir uns heute küssten. When we kissed today. Das Mädchen hielt in guter Ruh, The girl kept nicely quiet and still, Wie’s Lämmlein unterm Messer; Like a lamb beneath the knife; Ihr Auge bat: „Nur immer zu! Her eyes pleaded: “Go on, go on! Je weher, desto besser!“ The more it hurts the better!”

So ist die Lieb! und war auch so, Such is love, and has been so Wie lang es Liebe gibt, As long as love’s existed, Und anders war Herr Salomo, And wise old Solomon himself Der Weise, nicht verliebt. Was no differently in love.

VERSCHWIEGENE LIEBE SILENT LOVE Wolf / Eichendorff English Translation © Richard Stokes

Über Wipfel und Saaten Over treetops and cornfields In den Glanz hinein - Into the gleaming light – Wer mag sie erraten, Who may guess them, Wer holte sie ein? Who catch them up? Gedanken sich wiegen, Thoughts go floating, Die Nacht ist verschwiegen, The night is silent, Gedanken sind frei. Thoughts are free.

Errät es nur eine, If only she could guess Wer an sie gedacht Who has thought of her Beim Rauschen der Haine, In the rustling groves, Wenn niemand mehr wacht When no one else is awake Als die Wolken, die fliegen - But the scudding clouds – Mein Lieb ist verschwiegen My love is silent Und schön wie die Nacht. And lovely as night.

Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly

LIED VOM WINDE SONG OF THE WIND Wolf / Mörike English Translation © Richard Stokes

Sausewind, Brausewind, Storming wind, roaring wind, Dort und hier! Now here, now there! Deine Heimat sage mir! Tell me where your homeland is!

„Kindlein, wir fahren “Child, we’ve travelled Seit viel vielen Jahren For many many years Durch die weit weite Welt, Through the wide wide world, Und möchtens erfragen, We too want to know, Die Antwort erjagen Seek out the answer Bei den Bergen, den Meeren, From the mountains, the seas, Bei des Himmels klingenden Heeren: The resounding hosts of heaven: Die wissen es nie. They never know. Bist du klüger als sie, If you’re smarter than they, Magst du es sagen. You can tell us. – Fort, wohlauf! – Off, away! Halt uns nicht auf! Don’t delay us! Kommen andre nach, unsre Brüder, Others follow, our brothers, Da frag wieder!“ Ask them!”

Halt an! Gemach, Stop! Stay Eine kleine Frist! A little while! Sagt, wo der Liebe Heimat ist, Say where love’s home is, Ihr Anfang, ihr Ende? Where does it begin and end?

„Wers nennen könnte! “Who could say! Schelmisches Kind, Impish child, Lieb ist wie Wind, Love’s like the wind, Rasch und lebendig, Swift and brisk, Ruhet nie, Never resting, Ewig ist sie, Everlasting, Aber nicht immer beständig. But not always constant. – Fort, wohlauf! – Off, away! Halt uns nicht auf! Don’t delay us! Fort über Stoppel und Wälder und Wiesen! Away over stubble and woods and fields! Wenn ich dein Schätzchen seh, If I see your sweetheart, Will ich es grüssen. I’ll blow her a kiss. Kindlein, ade!“ Child, farewell!”

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DEUX POÈMES DE LOUIS ARAGON Poulenc / Aragon English Translation © Richard Stokes

C C

J’ai traversé les ponts de Cé I have crossed the bridges of Cé C’est là que tout a commencé It is there that everything began

Une chanson des temps passés A song of bygone days Parle d’un chevalier blessé Tells of a knight who injured lay

D’une rose sur la chaussée Of a rose upon the carriage-way Er d’un corsage délacé And a bodice with an unlaced stay

Du château d’un duc insensé And the castle of an insane duke Et des cignes dans les fossés And swans in castle moats

De la prairie où vient danser And of the meadow where Une éternelle fiancée An eternal fiancée comes to dance

Er j’ai bu comme un lait glacé And I have drunk the long lay Le long lai des gloires faussées Of false glories like icy milk

La Loire emporte mes pensées The Loire bears my thoughts away Avec les voitures versées With the overturned jeeps

Et les armes désamorcées And the unprimed arms Et les larmes mal effacées And the ill-dried tears

Ô ma France ô ma délaissée O my France O my forsaken one J’ai traversé les ponts de Cé I have crossed the bridges of Cé

Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly

FÊTES GALANTES FÊTES GALANTES

On voit des marquis sur des bicyclettes You see fops on cycles On voit des marlous en cheval-jupon You see pimps in kilts On voit des morveux avec des voilettes You see whipper-snappers with veils On voit les pompiers brûler les pompons You see firemen burning their pompoms

On voit des mots jetés à la voirie You see words hurled on the garbage heap On voit des mots élevés au pavois You see words praised to the skies On voit les pieds des enfants de Marie You see the feet of orphan children On voit le dos des diseuses à voix You see the backs of cabaret singers

On voit des voitures à gazogène You see cars run on gazogene On voit aussi des voutures à bras You see handcarts too On voit des lascars que les longs nez gênent You see sly fellows hindered by long noses On voit des coïons de dix-huit carats You see unmitigated idiots

On voit ici ce que l’on voit ailleurs You see here what you see everywhere On voit des demoiselles dévoyées You see girls who are led astray On voit des voyous On voit des voyeurs You see guttersnipes you see Peeping Toms On voit sous les ponts passer des noyés You see drowned corpses float beneath bridges

On voit chômer les marchands de chaussures You see out-of-work shoemakers On voit mourir d’ennui les mireurs d’œufs You see egg-candlers bored to death On voit péricliter les valeurs sûres You see securities tumble Et fuir la vie à la six-quatre-deux And life rushing pell-mell by.

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CANCION DEL CUCU SONG OF THE CUCKOO Rodrigo / Rodrigo English Translation © Richard Stokes

Cuclillo, cuclillo canta, Cuckoo, sing, my little cuckoo. Días son de cantar, 'Tis time to sing, Pronto el duro cierzo soon the harsh North Wind Corre por el pinar. will run through the pines.

Díme si otros bosques Tell me if one day Un día yo veré, I shall see other woods, Si la lejana tierra if very soon I shall find Muy pronto hallaré. the distant land.

Dí si por estos mundos Tell me if I'll always Vagando siempre iré, wander through the world, O si mi vida errante or it very soon I'll cease Muy pronto acabaré. my wandering life.

Pájaro, buen pajarillo, Bird, sweet little bird, Díme si es verdad: tell me if it's true: ¡Ella dice que siempre, she says that always Siempre me seguirá! akways she'll follow me!

UN HOME, SAN ANTONIO! A MAN, SAINT ANTONIO! Rodrigo / Castro English Translation © Richard Stokes

San Antonio bendito, Blessed Saint Antonio, Dádeme un home, Give me a man, Anque me mate, Even if he mistreats me, Anque m' esfole. Even if he dishonours me.

Meu Santo San Antonio, Please, Saint Antonio, Daime un homiño, Give me a little man, Anqu'ó tamaño teña Even if he be no bigger D'un gran de millo. Than a grain of millet.

Daimo, meu Santo, Give him to me, please, Saint, Anqu'os pés teña coxos, Even if his feet be crippled, Mancos os brazos. And maimed his arms.

Una muller sin home... A wife without a man . . . ¡Santo bendito! Blessed Saint! E corpiño sin alma, Is a body without a soul, Festa sin trigo. A fiesta without bread,

Pau viradoiro, A useless spinning post Qu' onda queira que vaya, That wherever it goes Troncho que troncho. Cuts here and there to no avail.

Mais enten'un homiño, But having a man, ¡Virxe do Carme! Virgin of Carmen, Non hay mundo que chegue If one has a man, Para un folgarse. There is no end to joy!

Que zamb' eu trenco, Even if he is knock-kneed, Sempr' é bó ter un home Always to have a man Para un remedio! Is the remedy!

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Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly

JEANIE WITH THE LIGHT BROWN HAIR VISITS TO ST. ELIZABETH’S Rorem / Aakjær Rorem / Bishop

I dream of Jeanie with the light brown hair, This is the house of Bedlam. Borne like a vapor, on the summer air: I see her tripping where the bright streams play, This is the man Happy as the daisies that dance on her way. that lies in the house of Bedlam. Many were the wild notes her merry voice would pour, Many were the blithe birds that warbled them o'er: This is the time Oh! I dream of Jeanie with the light brown hair, of the tragic man Floating, like a vapor on the soft summer air. that lies in the house of Bedlam.

I long for Jeanie with the day dawn smile, This is a wristwatch Radiant in gladness, warm winning guile; telling the time I hear her melodies, like joys gone by, of the talkative man Sighing round my heart o'er the fond hopes that die: that lies in the house of Bedlam. Sighing like the night wind and sobbing like the rain, Wailing for the lost one that comes not again: This is a sailor Oh! I long for Jeanie and my heart bows low, wearing the watch Nevermore to find here where the bright waters flow. that tells the time of the honored man that lies in the house of Bedlam.

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Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly

Our Adjudicators Born in Stockholm, KATARINA KARNÉUS studied at Trinity College of Music in London, and at the National Opera Studio. In 1995 she won the BBC Cardiff Singer of the World Competition. She has worked with Sir Simon Rattle, Sir Charles Mackerras, Sir Mark Elder, Sir Roger Norrington, Antonio Pappano, Michael Tilson Thomas, Franz Welser-Möst and Ivor Bolton.

Opera engagements include Metropolitan Opera New York, Royal Opera House Covent Garden and Glyndebourne Festival Opera. Her repertoire includes the great mezzo roles of Handel, Mozart, Rossini, Bizet, Wagner and Strauss. She has worked with many of the world’s leading orchestras including the Berlin Philharmonic, NDR Symphony, Vienna Symphony, San Francisco Symphony and at the BBC Proms, Edinburgh International Festival and the Salzburg Festival. As a recitalist she has been heard in many major venues internationally including Wigmore Hall, Concertgebouw Amsterdam, Lincoln Center New York, La Monnaie Brussels, Washington and San Francisco.

Recent and future concert engagements include performances with the Hallé, BBC NOW, BBC Symphony, Accademia Nazionale di Santa Cecilia, Orchestre Philharmonique de Radio-France, Uppsala Chamber Orchestra, Swedish Radio Symphony, Swedish Chamber Orchestra, Vienna Philharmonic, Czech Philharmonic, Orquesta Sinfonica Castilla y Leon, Dresden Philharmonie, Sydney, Melbourne and Adelaide Symphony Orchestras, Netherlands Philharmonic, tours in Europe and the US with the San Francisco Symphony, performances at Wiener Kozerthaus, Baltic Sea Festival, Edinburgh International Festival and the BBC Proms as well as recitals at the Concertgebouw, Stockholm Concert Hall and Wigmore Hall, London.

Recent and future operatic engagements include Ruggiero / Alcina in Gothenburg and Stuttgart, Orfeo / Orfeo ed Euridice, Erwartung / Schoenberg, Gertrude / Thomas’ Hamlet, Clytemnestra / Elektra, Gefors’ Notorius, Fricka / Das Rheingold and Norma in Gothenburg, Ariane et Barbe Bleu in Basel, Donna Elvira for Covent Garden, Ariane et Barbe Bleu in Frankfurt, Fricka at the Gran Teatre del Liceu in Barcelona and Opera North, Brangäne in Stuttgart and Gothenburg and Herodias / Salome in Stuttgart and for Opera North. Katarina Karnéus is a member of the Gothenburg Opera and acts as an international ambassador for the company. She was recently presented with the Litteris et Artibus medal by H.M. The King of Sweden.

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The pianist JULIUS DRAKE lives in London and enjoys an international reputation as one of the finest instrumentalists in his field, collaborating with many of the world’s leading artists, both in recital and on disc. He appears regularly at all the major music centres and festivals: the Aldeburgh, Edinburgh International, Munich, Schubertiade and Salzburg Music Festivals; Carnegie Hall and Lincoln Centre, New York; The Royal Concertgebouw, Amsterdam, Wigmore Hall and BBC Proms, London.

Julius Drake’s many recordings include a widely acclaimed series with Gerald Finley for Hyperion, from which the Barber Songs, Schumann Heine Lieder and Britten Songs and Proverbs won the 2007, 2009 and 2011 Gramophone Awards; award winning recordings with Ian Bostridge for EMI; several recitals for the Wigmore Live label, with among others Alice Coote, Joyce Didonato, Lorraine Hunt Lieberson, Christopher Maltman and Matthew Polenzani; recordings of Kodály and Schoeck sonatas with the cellists Natalie Clein and Christian Poltera for the Hyperion and Bis labels; of Tchaikovsky and Mahler with Christianne Stotijn for Onyx; English song with Bejun Mehta for Harmonia Mundi; and Schubert’s ‘Poetisches Tagebuch’ with Christoph Prégardien, which won the Jahrpreis der Deutschen Schallplattenkritik 2016.

Julius Drake is now embarked on a major project to record the complete songs of Franz Liszt for Hyperion - the second disc in the series, with Angelika Kirchschlager, won the BBC Music Magazine Award 2012 – and a series of four Schubert recitals recorded live at Wigmore Hall with Ian Bostridge.

Concerts in the coming seasons include recitals in his series, ‘Julius Drake and Friends’ at the historic Middle Temple Hall in London; concerts in Cologne, Brussels and Schwarzenberg with Ian Bostridge; in Amsterdam, Madrid, London and Philadelphia with Sarah Connolly; in Vienna, Zurich, and Leeds with Angelika Kirchschlager; in Vienna, Hamburg, and London with Gerald Finley; in Bilbao, London and Vilabertran with Christoph Pregardien; and in New York with Matthew Polenzani. Further engagements include a Beethoven song series for the 92nd Street Y in New York , a Mahler series for the Concertgebouw, Amsterdam and a Mendelssohn/Liszt series for the Wigmore Hall, London.

*****

Cheshire-born JOHN MARK AINSLEY, began his musical training in Oxford and continues to study with Diane Forlano.

His concert engagements include appearances with the London Symphony under Sir Colin Davis, Rostropovich and Previn, the Concert D’Astrée under Haim, the London Philharmonic under Norrington, Les Musiciens du Louvre under Minkowski, the Cleveland Orchestra under Welser-Moest, the Berlin Philharmonic under Haitink and Rattle, the Berlin Staatskapelle under Jordan, the Rotterdam Philharmonic under Pablo Heras Casada, the New York Philharmonic under Masur, the Boston Symphony under Ozawa and Dutoit, the Chicago Symphony under Dutoit, the San Francisco Symphony under Tate and Norrington, the Vienna Philharmonic under Norrington, Pinnock and Welser-Möst, the Academy of Ancient Music under Egarr, and both the Orchestra of the Maggio Musicale Fiorentino and the Orchestre de Paris under Giulini.

His extensive discography covers the baroque and classical repertoire, German Lied, English song and American musicals. His Britten recordings include the three tenor cycles: Serenade for tenor, horn and strings, Les Illuminations, and Nocturne.

He has sung Don Ottavio Don Giovanni (Glyndebourne Festival, Aix-en-Provence Festival, Royal Opera, Covent Garden); the title role in Samson (Netherlands Opera); Grimoaldo Rodelinda (English National Opera); Jupiter Semele (San Francisco Opera); Bajazet Tamerlano and the title role in Idomeneo (Munich Festival); and Captain Vere Billy Budd (Glyndebourne Festival). In the world premieres of Henze’s L’Upupa (Salzburg Festival) and Phaedra (Berlin Festival) he created the roles of the Demon and Hippolyt. He sang Skuratov in the acclaimed Chéreau production of Janacek’s From The House of the Dead conducted by Boulez at the Amsterdam, Vienna and Aix-en-Provence Festivals, and subsequently in his house debut at La Scala, Milan under Esa-Pekka Salonen, and at the Deutsche Staatsoper Berlin under Sir Simon Rattle.

John Mark won the 2007 Royal Philharmonic Society Singer Award and is a Visiting Professor at the Royal Academy of Music.

Nature's music is never over; her silences are pauses, not conclusions. (Mary Webb) Please turn the page quietly