Cal Performances Presents Program

Sunday, April 19, 2009, 3pm (1897–1957) Five Songs, Op. 38 (1948) Hertz Hall Glückwunsch Der Kranke Alt-Spanisch Angelika Kirchschlager, mezzo- Alt-English My Mistress’ Eyes , piano (1900–1950) Stay Well, from Lost in the Stars (1949) Complainte de la Seine (1934) Der Abschiedsbrief (1933) PROGRAM Je ne t’aime pas (1934)

Franz Schubert (1797–1828) Fischerweise, D. 881, Op. 96, No. 4 (1826) The concert is part of the Koret Recital Series and is made possible, in part, an den Mond, D. 870 (1826) by Patron Sponsors Nancy and Gordon Douglass, in honor of Robert Cole. Bertas in der Nacht, D. 653 (1819) Wehmut, D. 772, Op. 22, No. 2 (1823) Cal Performances’ 2008–2009 season is sponsored by Wells Fargo Bank. Frühlingsglaube, D. 686 (1820) Im Frühling, D. 882, Op. 101, No. 1 (1826)

Schubert Die Sterne, D. 939, Op. 96, No. 1 (1815) Lied der Anne Lyle, D. 830, Op. 85, No. 1 (1825) Abschied, D. 475 (1816) , D. 138 (1815) Klärchen’s Lied, D. 210 (1815) Geheimes, D. 719 (1821) Versunken, D. 715 (1821)

INTERMISSION CANCELED CANCELED

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Franz Schubert (1797–1828) suggests both the vigorous activity and the deep fashionable music lovers, and, in appreciation, his verses when Johann Schickh published some of Selected Songs contentment of the trade. he set five of Collin’s poems, including Wehmut them in his Zeitschrift für Kunst, Literatur, Theater Johann Gabriel Seidl (1804–1875), teacher, (“Sadness”) in 1823. und Mode (“Journal for Art, Literature, Theater and In June 1816, when he was 19, Schubert received curator, lawyer, censor and prolific lyrical poet, Johann Ludwig Uhland (1787–1862), poet, Fashion”) in 1822; Schubert set Leitner’s Drang his first fee for one of his compositions (a now-lost had been a friend of Schubert since his youth. In playwright, essayist and folklorist, was one of the in die Ferne (“Distant Urge”) early the following cantata for the name-day of his teacher, Heinrich 1824, he tried to persuade Franz to use an leading writers of Germany during Schubert’s day. year. On a stay in in September 1827 with his Watteroth), and decided that he had sufficient libretto of his titled Der Kurze Mantel, but was Uhland was trained for a law career, and prac- musical friends Karl and Marie Pachler, Schubert reason to leave his irksome teaching post at his refused. The first of Schubert’s settings of Seidl’s ticed that profession for a time before becoming became acquainted with Leitner’s recent work, and father’s school in order to live the life of an art- poems for solo voice was Der Wanderer an den Professor of German Literature at the University of during the following year he set ten more of his ist. Thus began the bohemian existence of his last Mond (“The Wanderer Addresses the Moon”) of Tübingen. Schubert set only one of Uhland’s po- poems, including the delightful astronomical en- dozen years—living by the gladly proffered aid of March 1826, which was followed by ten others. ems, in 1820—Frühlingsglaube (“Faith in Spring,” comium, Die Sterne (“The Stars”). friends, daily climbing up to Grinzing to haunt the Schubert presented Der Wanderer an den Mond D. 686)—but it is his most beautiful tribute to the Andrew MacDonald (1757–1790) was called cafés, avoiding the higher levels of society for dis- at the Schubertiad of April 23, 1827 at the home vernal season. as a young man to the ministry in the Scottish like of buying and wearing good clothes. And mu- of Joseph Witteczek, a devoted friend of his and Ernst Konrad Friedrich Schulze lived, and made Episcopal Church, but the heavy proscription on sic, always music. He composed incessantly. Out a frequent host of the Schubertiads who amassed poetry, at the far edge of German Romanticism. that sect following its support of the Jacobite up- of bed shortly after dawn (sometimes he slept with an important collection of Schubert’s first editions, Born in Celle in 1789 into a family of lawyers and risings to return the Catholic Stuart line to the his glasses on so as not to waste any time getting manuscripts and press clippings. Schubert dedicat- booksellers, he was a difficult and uncommunica- throne of Great Britain drove him into penury. started in the morning), pouring out music until ed these two songs to Witteczek upon their publi- tive child who retreated into literature and his own He took up writing poetry and dramas to make early afternoon, then off to who-knows-where for cation by Tobias Haslinger the following year. roiling feelings, which he began to shape into de- a living, but he had only just begun establishing a a bit too much Heuriger wine and a few pipes of By the time that Schubert met him, in early spairing, spectral, often cynical poems by the age reputation when he died at age 33 in London, leav- cheap tobacco. Compositions filled his head all 1819, Franz Grillparzer had become one of Austria’s of 15. His sexual awakening two years later, when ing his wife and young child destitute. Sometime the while, sometimes scratched out on napkins most acclaimed playwrights largely through the he went to Göttingen to begin his university stud- shortly before his death, MacDonald wrote an or envelopes if they could not wait until the next success two years earlier of Die Ahnfrau (“The ies, led to an obsessive attention—“stalking,” Susan opera libretto titled Love and Loyalty, apparently morning. Evenings were spent making music with Ancestress”) at the . Composer Youens called it in her study of Schubert’s Poets— with the hope that it would be set by the British his devoted band of friends, who were delighted to and dramatist became friends. Grillparzer attend- toward two sisters: first Cäcilie Tychsen, and, after composer William Shield. The opera never reached sing and play what he wrote. Franz von Hartmann ed Schubert’s musical evenings, Schubert set three she died of tuberculosis in 1812, her older sister, the stage, but the libretto was published in a post- recorded of one of these Schubertiads, “There was of his verses, and in 1828 Grillparzer devised the Adelheid. Schulze volunteered to fight against humous edition of The Miscellaneous Works of A. a huge gathering [including] Gahy, who played poignant motto for the composer’s tombstone: Napoleon in 1814, but his fragile health quickly M’Donald. The teenage Walter Scott had met four-hand piano music gloriously with Schubert, “Music has here entombed a rich treasure, but still forced him out of active duty. He died of tubercu- MacDonald in and he included some and Vogl, who sang almost thirty splendid songs.... fairer hopes.” The text for Bertas Lied in der Nacht losis in 1817; he was 28. Schulze recorded his in- lines from Love and Loyalty in his A Legend of When the music was over, there was a grand feast (“Berta’s Song in the Night”), which Schubert set tense feelings in enormous diaries and long poems Montrose (1819), where they were assigned to that and dancing. At 12:30 [we went] home. To bed at in February 1819, was taken from Die Ahnfrau, a throughout his brief life, a number of which were novel’s heroine, Anne Lyle. Schubert set the poem 1 o’clock.” These convivial meetings were often tragedy about the workings of fate through an an- published posthumously in 1822 as the Poetisches in a now-anonymous German adaptation in 1825 hosted by prominent members of society, includ- cestral family ghost. Tagebuch (“Poetic Diary”). Schubert came to know as Lied der Anne Lyle. ing lawyers and government officials, and were Matthäus von Collin (1779–1824), brother of this publication early in 1825—he had consid- In April 1825, Ludwig Rellstab, a prominent regularly attended by both professional musicians Heinrich Joseph von Collin (1771–1811), whose ered making an opera of Schulze’s Die Bezauberte music critic in and a writer of high ambi- and amateurs. play Coriolan inspired one of Beethoven’s finest Rose (“The Enchanted Rose”) the year before, but tions, descended upon to try to convince Schubert first met Franz Xaver von Schlechta overtures, was a lawyer, editor, poet, dramatist nothing came of the idea—and he set ten of the Beethoven to set some of his poems, perhaps when they were both students at the School of the and professor of aesthetics and philosophy at the poems during the following months. Schulze ex- even one of his opera librettos. Rellstab got along Court Chapel in Vienna. Schlechta, the son of University of Vienna who was so highly respect- pressed his unrequited love for the Tychsen sisters as well as anyone could with the stone-deaf cur- a military officer, went on to a distinguished ca- ed that he was entrusted with the education of in the German Romanticists’ traditional natural mudgeon, but Beethoven never set a syllable of his reer in public service that culminated in his being Napoleon’s son, the Duke of Reichstadt. Schubert metaphors in Im Frühling (“In Spring”), of which poetry. (Rellstab did a little better by Beethoven, named Austria’s Finance Minister.CANCELED He remained met Matthäus through , a fel- Schubert made a poignant settingCANCELED in 1826. however, since it was he who described the Sonata a friend and great admirer of the composer, took low student at the School of the Court Chapel Teacher, poet, editor, librarian, historian, lec- in C-sharp minor, Op. 27, No. 2, as “a vision of part in his Schubertiads, and offered him several in Vienna who became a lifelong friend and sup- turer and curator Karl Gottfried von Leitner (1800– a boat on Lake Lucerne by moonlight,” a sobri- of his own poems to be set to music. Fischerweise porter. It was through his association with Collin 1890) was one of the leading figures in the cultural quet that has since inextricably attached itself to (“Fisherman’s Song”), composed in March 1826, that Schubert became known to many of the city’s life of his native Styria. Schubert was introduced to the music.) Rellstab’s poems found their way into

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Schubert’s hands (perhaps through Beethoven’s Goethe’s verses, according to the renowned Stadt (“The Dead City”), which was premiered si- 1946 film about a murderous love triangle involv- amanuensis Anton Schindler, who may have ar- German interpreter of Schubert’s songs Dietrich multaneously in Hamburg (where he served as con- ing an aspiring pianist (Bette Davis), a jealous cel- ranged Schubert’s visit to the dying Beethoven in Fischer-Dieskau, were meant to “combine ideas ductor for three years after the War) and Cologne list (Paul Henreid) and a famous composer (Claude spring 1827), and were the catalyst for six of his last of universal love, wisdom and polarity of East and on December 4, 1920; was the first Rains); it was Korngold’s last score for Hollywood. songs, including Abschied (“Farewell”), which the West in one work,” and allowed the poet to explore German opera performed at the Met following The text is by the German poet Richard Dehmel Viennese publisher Tobias Haslinger (with the help a sensuality and lightheartedness that found little World War I. After Korngold returned to Vienna (1863–1920), whose verses bridged the sensuous of Schubert’s devoted brother, Ferdinand) bundled place in his more serious writings. in 1920, he was appointed professor of opera and Impressionism of the preceding generation and the together with six songs to Heine’s verses and one The ardent text for Versunken (“Absorbed”), composition at the Staatsakademie. intense spirituality of encroaching Expressionism. to Seidl’s under the conventional sentimental title of which Schubert made a breathless setting in In 1934, the Austrian director Max Reinhardt Der Kranke (“The Patient”) uses an advanced (“Swan Song”). February 1821, is also drawn from Goethe’s West- was conscripted by Warner Brothers in Hollywood chromatic idiom to set a poem by the German Schubert set some 30 poems by Johann östlicher Divan. to film a version of A Midsummer Night’s Dream. Romanticist Joseph von Eichendorff. Alt-Spanisch Wolfgang von Goethe (1749–1832), including the He chose to use Mendelssohn’s incidental music as (“Old Spanish Song”) was written for The Sea beloved Erlkönig. One of his most impassioned set- background, and took Korngold along to arrange Hawk (1940), Korngold’s sixth score for a film tings of Goethe’s words is Rastlose Liebe (“Restless Erich Wolfgang Korngold (1897–1957) the score. Korngold, who, as a Jew, felt increas- starring Errol Flynn and his last historical swash- Love”), which he composed in May 1815 and re- Five Songs, Op. 38 ingly uneasy in Austria, accepted other offers in buckler; both the picture and Korngold’s music vised six years later, when it was published with a Hollywood, and, when the Nazi Anschluss in 1938 received Oscar nominations. The words are by dedication to the renowned , Court Composed in 1948. Premiered on February 19, 1950, prevented him from returning home, he settled the screenwriter Howard Koch, who adapted The Kapellmeister and the young composer’s teacher at in Vienna by mezzo-soprano Rosette Anday and the permanently in California. (He became a United World of the Worlds for Orson Welles’s notorious the Choir School of the Imperial and Royal Court composer as pianist. States citizen in 1943.) For the next seven years, he 1938 radio broadcast and wrote the screenplays for Chapel in Vienna. Schubert was especially pleased devoted his talents to creating a body of film music Sergeant York, Casablanca and two-dozen other with his Rastlose Liebe, and he proudly recorded in Erich Wolfgang Korngold (his middle name unsurpassed by that of any other composer in the films and television shows. Alt-Englisch (“Old his diary that the song received “unanimous ap- honored Mozart) was the younger son of Julius genre, and won two Academy Awards (for Anthony English Song”), written for the Oscar-nominated plause” when it was performed at a private concert Korngold, one of Vienna’s most influential mu- Adverse and The Adventures of Robin Hood) for his score of the 1939 film The Private Lives of Elisabeth in June 1816. sic critics at the turn of the 20th century. By age efforts. His father’s death in 1945, however, caused and Essex (which starred Davis, Flynn and Olivia Goethe’s five-act tragedy Egmont (1787), based five, Erich was playing piano duets with his father; him to re-evaluate his career, and he returned to de Havilland), uses an anonymous text associated on an incident from 1567, depicts the subjugation two years later he began composing, and at nine, writing concert music with concertos for violin (for with the raid of Cádiz by the Earl of Essex in 1596. of the Netherlands to the tyrannical Spanish rul- he produced a cantata (Gold) that convinced his Heifetz) and cello, and a large symphony. Korngold My Mistress’ Eyes is a voluptuously lyrical setting of ers, the agony of the people, and their growing father to enroll him at the Vienna Conservatory. died on November 29, 1957, and his remains were Shakespeare’s Sonnet 130. defiance and dreams of liberty, and ends with When Mahler heard Erich play his cantata the fol- interred in the Hollywood Cemetery, within a Count Egmont’s call for revolution and his vision lowing year, he proclaimed the boy “a genius” and few feet of those of Douglas Fairbanks, Sr., D. W. in the moments before his execution of eventual arranged for him to take lessons with Alexander Griffith and Rudolf Valentino. Kurt Weill (1900–1950) victory. In June 1815, Schubert made a setting of Zemlinsky. Korngold made remarkable progress Given his inspired melodic gift, deftness of Five Songs Klärchen’s song from Act III, in which she tells of under Zemlinsky—his Piano Sonata No. 1 was setting text and attraction to the singing voice, her idealized love for Egmont in words that dis- published in 1908, when he had ripened to the age Korngold was inevitably drawn to composing Weill had become a fixture in the Broadway theater till the powerful conflicting emotions that are the of 11. The following year he wrote a ballet, Der songs. The Five Songs, Op. 38, of 1948 comprise by the time he undertook Lost in the Stars, his 1949 essence of German Romanticism: Joyful and sor- Schneemann (“The Snowman”), which was staged several diverse works he wrote after World War II musical adaptation of Cry, the Beloved Country, rowful, thoughtful; longing and anxious, in constant at the Vienna Royal Opera at the command of that all share his remarkable gifts for lyricism and Alan Paton’s powerful novel about racial relations anguish; sky-high rejoicing despairing to death; happy Emperor Franz Josef. In 1911, the budding com- evoking cogent emotion with a few deft gestures. in South Africa just before apartheid was formally alone is the soul that loves. poser gave a concert of his works in Berlin, in They are dedicated to the great Moravian sopra- instituted in 1948; the distinguished American au- The teasingly coquettish text for Geheimes which he also appeared as piano soloist. Korngold no , who created the role of Marie/ thor and playwright provided (“Secrets”), which Schubert set in March 1821, was an international celebrity at 13. Marietta in the world premiere of Korngold’s Die the book and lyrics. Lost in the Stars opened at the is drawn from Goethe’s collection of some 200 In 1915 and 1916, Korngold wrote the first two Tote Stadt in 1920 and made her Metropolitan Music Box Theatre on October 31, 1949, and ran drinking songs, amorous lyricsCANCELED and philosophical of his five :Der Ring des Polykrates, a comedy, Opera debut in the part atCANCELED the first American for 273 performances; it was Weill’s last Broadway musings titled West-östlicher Divan, which was in- and Violanta, a tragedy. Following a two-year stint performances the following year; Korngold later show. The plot tells of Absalom, the wayward son spired by a similarly named set by the 14th-cen- in the Austrian army playing piano for the troops wrote Violanta and for of a black Anglican priest, who is imprisoned for tury Persian poet Hafiz. (A “divan” is a collection during World War I, Korngold turned again to op- Jeritza. Glückwunsch (“Congratulations”) borrows his part in an accidental murder committed dur- of poems in Arabic or Persian by a single author.) era, producing his dramatic masterpiece, Die Tote its theme from Korngold’s music for Deception, the ing a robbery. Absalom’s girlfriend, Irina, sings of

10 CAL PERFORMANCES CAL PERFORMANCES 11 Program Notes Texts and Translations her affection for him during his absence in the poi- Coda, he wrote two songs to French texts by poet Franz Schubert gnant song Stay Well. and playwright Maurice Magre—Complainte de Fischerweise Fisherman’s Song When the Reichstag burned and the Nazis la Seine (“Lament of the Seine”) and Je ne t’aime Text: Franz Xaver Freiherr von Schlechta Translation: Maureen Oberli came to power in 1933, Kurt Weill’s Judaism pas (“I Don’t Love You”)—that the cabaret star Den Fischer fechten Sorgen The fisherman no sorrow, and his caustically radical stage works were de- Lys Gautry made into hits. Also at that time, Und Gram und Leid nicht an; no pain, no grief assails; clared undesirable, and he fled to , where he Weill composed Der Abschiedsbrief (“The Farewell Er löst am frühen Morgen at break of day he casts off composed The Seven Deadly Sins for Balanchine’s Letter”), the caustic complaint of the jilted lover, Mit leichten Sinn den Kahn. his boat with easy mind. troupe Les Ballets 1933. Weill’s local reputation for the sultry German film star Marlene Dietrich, was not helped by the lukewarm reception given to who had already settled in Hollywood. The text is Da lagert rings noch Friede Peace still lies all around this unusual “ballet with songs,” however, and his by the well-known German author, screenwriter Auf Wald und Flur und Bach, in wood and field and stream, Er ruft mit seinem Liede but he, with his singing, fortunes sank further when he learned in October and satirist Erich Kästner, an outspoken pacifist Die gold’ne Sonne wach. awakes the golden sun. that Universal Edition in Vienna was canceling his who was also given a hard time by the Nazis but lucrative publishing contract because of the “com- remained in Berlin throughout World War II. Er singt zu seinem Werke He sings, while he is working, pletely absent German market.” He quickly signed Aus voller frischer Brust, from full and lively breast, a new agreement with the renowned Parisian Die Arbeit gibt ihm Stärke, his labors give him vigor, publisher Huegel, and the following June, for the Die Stärke Lebenslust. his vigor—zest for life. company’s entertainment music division, Editions © 2009 Dr. Richard E. Rodda Bald wird ein bunt Gewimmel And soon in motley fashion, In allen Tiefen laut the depths will teem and sound, Und plätschert durch den Himmel, and, splashing, break the heavens Der sich im Wasser baut. that on the waters rest.

Doch wer ein Netz will stellen, But whoever wants to set nets, Braucht Augen klar und gut, needs eyes both good and clear, Muß heiter gleich den Wellen must be cheerful as the waves, Und frei sein wie die Flut. and as free as is the tide.

Dort angelt auf der Brücke There on the bridge is fishing Die Hirtin. Schlauer Wicht, the shepherdess. Sly thing, Entsage deiner Tücke, give up your trickery, Den Fisch betrügst du nicht. this fish you’ll not take in.

Schubert Der Wanderer an den Mond The Wanderer Speaks to the Moon Text: Johann Gabriel Seidl Translation: Emily Ezust

Auf Erden—ich, am Himmel—du I on the earth, you in the sky— Wir wandern beide rüstig zu: we both wander briskly on: Ich ernst und trüb, du hell und rein, I stern and troubled, you mild and pure; Was mag der Unterschied wohl sein? what might be the difference between us?

Ich wandre fremd von Land zu Land, A stranger, I wander from land to land, So heimatlos, so unbekannt; so rootless and unknown; Berg auf, Berg ab, Wald ein, Wald aus, up mountains and down, into forests and out, Doch bin ich nirgend, ach! zu Haus. but nowhere am I—alas!—at home.

CANCELED Du aber wanderst auf und ab CANCELEDBut you wander up and down, Aus Ostens Wieg’ in Westens Grab, from the eastern cradle to the western grave, Wallst Länder ein und Länder aus, on your pilgrimage from land to land; Und bist doch, wo du bist, zu Haus. and wherever you are, you are at home.

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Der Himmel, endlos ausgespannt, The sky, endlessly spreading, Schubert Ist dein geliebtes Heimatland; is your beloved homeland; Frühlingsglaube Springtime Credo O glücklich, wer, wohin er geht, O happy is he who, wherever he goes, Text: Johann Ludwig Uhland Doch auf der Heimat Boden steht! still stands on native ground! Die linden Lüfte sind erwacht, The gentle breezes are awake Sie säuseln und wehen Tag und Nacht, day and night they rustle and stir. Schubert Sie schaffen an allen Enden. They work everywhere. Bertas Lied in der Nacht Berta’s Song in the Night Text: Franz Grillparzer Translation: Emily Ezust O frischer Duftm o neuer Klang! O cool scent, O new sound! Nun, armes Herz, sei nicht bang! Now, poor heart, be not anxious! Nacht umhüllt Night envelops, Nun muß sich alles, alles wenden. Now all things must change, all things. Mit wehendem Flügel with fluttering wing, Täler und Hügel the valleys and hills, Die Welt wird schöner mit jedem Tag, The world grows lovelier each day. Ladend zur Ruh’. bidding them to rest. Man weiß nicht, was noch werden mag, Nobody knows what will next transpire, Das Blühen will nicht enden. the blossoming will not cease. Und dem Schlummer And to Sleep, Dem lieblichen Kinde, that lovely child, Es blüht das fernste, tiefste Tal: Even the farthest, deepest dale is in bloom: Leise und linde softly and mildly Nun, armes Herz, vergiß die Qual! now, poor heart, forget your pain! Flüstert sie zu: she whispers: Nun muß sich alles, alles wenden. Now all things, all things must change.

»Weißt du ein Auge, “If you know an eye Wachend im Kummer, that is awake from grief, Schubert Lieblicher Schlummer, O lovely Sleep, Im Frühling In Spring Drücke mir’s zu!« close it for me!” Text: Ernst Konrad Friedrich Schulze Translation: Emily Ezust

Fühlst du sein Nahen? Do you feel its closeness? Still sitz’ ich an des Hügels Hang, Quietly I sit on the hill’s slope. Ahnest du Ruh? Do you sense peace? Der Himmel ist so klar, The sky is so clear; Alles deckt der Schlummer, Sleep spreads over everything. Das Lüftchen spielt im grünen Tal. a breeze plays in the green valley. Schlumm’re du, schlumm’re auch du. Sleep, then sleep too. Wo ich beim ersten Frühlingsstrahl Where I was at Spring’s first sunbeam Einst, ach so glücklich war. once—alas, I was so happy!

Schubert Wo ich an ihrer Seite ging When I was walking at her side, Wehmut Melancholy So traulich und so nah, So intimate and so close, Text: Matthäus Casimir von Kollin Translation: Emily Ezust Und tief im dunklen Felsenquell and deep in the dark rocky spring Den schönen Himmel blau und hell was the beautiful sky, blue and bright; Wenn ich durch Wald und Fluren geh’, When I walk through wood and field, Und sie im Himmel sah. and I saw her in the sky. Es wird mir dann so wohl und weh I feel so good and then so melancholy In unruhvoller Brust. in my unquiet breast. Sieh, wie der bunte Frühling schon Look how colorful Spring already So wohl, so weh, wenn ich die Au So good, so melancholy, when I see the meadow Aus Knosp’ und Blüte blickt! looks out from bud and blossom! In ihrer Schönheit Fülle schau’, in the fullness of its beauty, Nicht alle Blüten sind mir gleich, Not every blossom is the same for me: Und all die Frühlingslust. and all the joy of Spring. Am liebsten pflückt ich von dem Zweig, I like best to pick from the branch Von welchem sie gepflückt! from which she picked hers! Denn was im Winde tönend weht, For whatever blows resounding in the wind, Was aufgetürmt gen Himmel steht, whatever stands towering up toward Heaven, Denn alles ist wie damals noch, For all is as it was: Und auch der Mensch, so hold vertraut and man too, so dearly familiar Die Blumen, das Gefild; the flowers, the field; Mit all der Schönheit, die er schaut, with all the beauty that he sees, Die Sonne scheint nicht minder hell, the sun does not shine less brightly, Entschwindet, und vergeht. will disappear and die. Nicht minder freundlich schwimmt im Quell nor does the spring reflect any less charmingly Das blaue Himmelsbild. the blue image of the sky.

CANCELED Es wandeln nur sich Will und Wahn,CANCELEDThe only things that change are will and delusion: Es wechseln Lust und Streit, Joys and quarrels alternate, Vorüber flieht der Liebe Glück, the happiness of love flies past, Und nur die Liebe bleibt zurück, and only the love remains— Die Lieb und ach, das Leid. The love and, alas, the sorrow. please turn page quietly 14 CAL PERFORMANCES CAL PERFORMANCES 15 Texts and Translations Texts and Translations

O wär ich doch ein Vöglein nur Oh, if only I were a little bird, Schubert Dort an dem Wiesenhang there, on the meadow’s slope, Abschied Farewell Dann blieb ich auf den Zweigen hier, then I would remain here on these branches, Text: Translation: Emily Ezust Und säng ein süßes Lied von ihr, and sing a sweet song about her Den ganzen Sommer lang. the whole summer long. Über die Berge zieht ihr fort, Go forth, over the mountains, Kommt an manchen grünen Ort; and you will come upon many green spots. Muss zurüganz alein, I must go back all alone, Schubert Lebet wohl! Es muss so sein. so be well! It must be so. Die Sterne The Stars Text: Karl Gottfried von Leitner Translation: David Gordon Scheiden, meiden, was man liebt, Parting, leaving what one loves, Ach wie wird das Herz betrübt! alas, how it troubles the heart! Wie blitzen die Sterne so hell durch die Nacht! How the stars glitter so brightly through the night! O Seenspieel, Wald und Hügel schwinden all; O mirrored lakes, woods and hills—you all disappear; Bin oft schon darüber vom Schlummer erwacht. I’ve often been awakened by them from slumber. Hör’verschwimmen eurer Stimmen Widerhal. I hear the echo of your voices fading away. Doch schelt’ ich die lichten Gebilde drum nicht, But I do not scold the shining ones for that, Sie üben im Stillen manch heilsame Pflicht. For secretly they perform many a benevolent task. Lebt whol! klingt klagevoll, Be well! resounds our lament. Ach wie wird das Herz betrübt. Alas, how it troubles the heart Sie wallen hoch oben in Engelgestalt, They wander high above in the form of angels, Scheiden, meiden was man liebt; to part and leave what one loves. Sie leuchten dem Pilger durch Heiden und Wald. They light the pilgrim’s way through meadow and forest. Lebt wohl! klingt klagevoll. Be well! resounds our lament. Sie schweben als Boten der Liebe umher, They hover like heralds of love, Und tragen oft Küsse weit über das Meer. And often bear kisses far away across the sea. Schubert Sie blicken dem Dulder recht mild ins Gesicht, They gaze tenderly into the face of the sufferer, Rastlose Liebe Restless Love Und säumen die Tränen mit silbernem Licht. And wipe his tears with silver light; Text: Johann Wolfgang von Goethe Und weisen von Gräbern gar tröstlich And direct us away from the grave, comfortingly und hold and gently, Dem Schnee, dem Regen, Into the snow, into the rain, Uns hinter das Blaue mit Fingern von Gold. Beyond the blue sky with golden fingers. Dem Wind entgegen, Against the wind, Im Dampf der Klüfte, Through spray from cliffs So sei denn gesegnet, du strahlige Schar! Now shall you be blessed, thou radiant throng! Durch Nebeldüfte, Through fog and mist, Und leuchte mir lange noch freundlich und klar! And long shine upon me with your clear, pleasing light! Immer zu! Immer zu! Keep on, keep on! Und wenn ich einst liebe, seid hold dem Verein, And should I one day fall in love, smile upon the bond, Ohne Rast und Ruh! No rest, no peace! Und euer Geflimmer laßt Segen uns sein! And let your twinkling bless us in return. Lieber durch Leiden Rather through suffering Wollt ich mich schlagen, Would I win through, Schubert Als so viel Freuden Than be forced to bear Lied der Anne Lyle Anne Lyle’s Song Des Lebens ertragen. The pleasures of life! Text: Sir Walter Scott Alle das Neigen All that longing Wärst du bei mir im Lebenstal, If you were with me in life’s valley, Von Herzen zu Herzen, From heart to heart, Gern wollt’ ich alles mit dir teilen; I would gladly share everything with you; Ach, wie so eigen Oh, how unique Mit dir zu flieh’n wär’ leichte Wahl, It would be an easy choice to fly with you Schaffet das Schmerzen! Is this agony! Bei mildem Wind, bei Sturmes Heulen. In gentle breezes, or in the howling storm. Doch trennt uns harte Schicksalsmacht, But the harsh power of fate separates us; Wie soll ich fliehen? How can I flee, Uns ist nicht gleiches Los geschrieben, We are not granted the same destiny. Wälderwärts ziehen? Shall I to the forests? Mein Glück ist, wenn dir Freude lacht, Happiness is mine when joy smiles upon you; Alles vergebens! All is in vain! Ich wein’ und bete für den Lieben. I weep and pray for my beloved. Krone des Lebens, Crown of life, Glück ohne Ruh, Bliss without peace, Es wird mein töricht’ Herz vergeh’n, My foolish heart will beat no more Liebe, bist du! Love this is you! Wenn’s alle Hoffnung sieht verschwinden, If it sees all hope vanish. Doch soll’s nie seinen Gram gesteh’n, But it shall never admit its grief, Nie mürrisch klagend ihn verkünden.CANCELEDNor proclaim it with sullen lament. CANCELED Und drückt des Lebens Last das Herz, And if life’s burden oppresses my heart, Soll nie den matten Blick sie trüben, It shall never cloud my weary eyes So lange mein geheimer Schmerz While my secret sorrow Ein Kummer wäre für den Lieben. May distress my beloved. please turn page quietly 16 CAL PERFORMANCES CAL PERFORMANCES 17 Texts and Translations Texts and Translations

Schubert Für ewig auf und nieder fahren move it to and fro forever, Klärchens Lied Joyful and Sorrowful Voll Locken kraus ein Haupt so rund. these curly locks covering a head so round! Text: Goethe Translation: Richard Morris

Freudvoll Joyful Und leidvoll, And sorrowful, 2 2 Gedankenvoll sein; Thoughtful; Langen Longing Und bangen And anxious In schwebender Pein; In constant anguish; Erich Wolfgang Korngold Himmelhoch jauchzend Sky-high rejoicing Glückwunsch Congratulations Zum Tode betrübt; despairing to death; Text: Richard Dehmel Glücklich allein Happy alone Ist die Seele, die liebt. Is the soul that loves. Ich wünsche dir Glück. I wish you happiness. Ich bring’ dir die Sonne in meinem Blick. I bring you the sun in my gaze. Ich fühle dein Herz in meiner Brust; I feel your heart within my breast; Schubert es wünscht dir mehr als eitel Lust. it wishes you more than mere pleasure. Geheimes Secret Es fühlt und wünscht: die Sonne scheint, Its feeling and wish is for the sun to shine, Text: Goethe Translation: David Gordon auch wenn dein Blick zu brechen meint. even when your gaze is about to drop. Es wünscht dir Blicke so sehnsuchtslos, Its wish is for you to be as free of yearning, Über meines Liebchens Äugeln Everyone is astonished als trügest du die Welt im Schoss. as if you carried the world in your lap. Stehn verwundert alle Leute At the eyes my sweetheart makes; Es wünscht dir Blicke so voll Begehren, Its wish is for you to be as full of desire, Ich, der Wissende, dagegen, But I, who understand, als sei die Erde neu zu gebären. as if the earth were new born. Weiß recht gut, was das bedeute. Know quite well what they mean. Es wünscht dir Blicke voll der Kraft, Its wish is for your gaze to be full of the strength die aus Winter sich Frühling schafft. that creates spring from winter. Denn es heißt: ich liebe diesen For they say: I love him, Und täglich leuchte durch dein Haus And may bouquets of total love Und nicht etwa den und jenen. Not this one or that one. aller Liebe Blumenstrauß! shine daily through your house! Lasset nur, ihr gutenLeute, So, good people cease Euer Wundern, euer Sehnen! Your wondering and your longing! Korngold Ja, mit ungeheuren Machten Indeed, she may well look about her Der Kranke Wings Blicket sie wohl in die Runde; With a mightily powerful eye, Text: Joseph von Eichendorff Doch sie sucht nur zu verkünden But she seeks only to give him a foretaste Ihm die nächste süße Stunde. Of the next sweet hour. Soll ich dich denn nun verlassen, Must I leave thee, joyful dwelling, Erde, heit’res Vaterhaus? Earth and sky and blushing dawn? Herzlich Lieben, mutig Hassen, Eerie voices are foretelling, Schubert Ist denn alles, alles aus? All is gone, forever gone. Versunken Absorbed Text: Goethe Translation: Emily Ezust Vor dem Fenster durch die Linden Past my window through the willows Spielt es wie ein linder Gruß, Tender breezes softly blow. Voll Locken kraus ein Haupt so rund! Full, curly locks cover a head so round! Lüfte, wollt ihr mir verkünden, Are you warning me, O billows, Und darf ich dann in solchen reichen Haaren If I could gather this abundant hair Daß ich bald hinunter muß? That I soon must go below? Mit vollen Händen hin und wider fahren, in my hands, and move it to and fro, Da fühl ich mich von Herzensgrund gesund. then I would feel good from the depths of my soul. Liebe, ferne, blaue Hügel, Dear familiar fields and mountains, Stiller Fluss im Talesgrün, Peaceful rivers in the dales, Und küß ich Stirne, Bogen, Augen, Mund, And if I kiss this forehead, eyebrows, eyes and mouth, Ach, wie oft wünscht ich mir Flügel, Oh, to wing over crystal fountains, Dann bin ich frisch und immer wieder wund. then I am freshly wounded, forever again. Über euch hinweg zu zieh’n! Soaring on celestial gales! Der fünfgezackte Kamm, wo sollt’ er stocken? The five-toothed comb—where shall it stop? Er kehrt schon wieder zu den Locken. It returns already to your curls. Da sich jetzt die Flügel dehnen, As my wings are growing stronger, Das Ohr versagt sich nicht dem Spiel,CANCELEDThe ear cannot stop from playing the game, Schaur’ ich in mich selbst zurück,CANCELED Shuddering I subdue my mirth Und ein unbeschreiblich Sehnen And I know that I no longer want So zart zum Scherz, so liebeviel, So tenderly it jests, so full of love; Zieht mich zu der Welt zurück. To leave my love: my earth. Doch wie man auf dem Köpfchen kraut, but as one fondles this little head, Man wird in solchen reichen Haaren he will, with such abundant hair, please turn page quietly 18 CAL PERFORMANCES CAL PERFORMANCES 19 Texts and Translations Texts and Translations

Korngold My mistress, when she walks, treads on the ground: Alt-Spanisch Old Spanish Song And yet, by heaven, I think my love as rare Text: Howard Koch As any she belied with false compare.

Steht ein Mädchen an dem Fenster, Stood a maiden at her window, in die Ferne schweift ihr Blick. Sadly gazing out to sea. Blaß die Wangen, schwer ihr Herze, Pale her cheek, her heart how heavy, 2 singt sie von entschwund’nem Glück: Sorrowful her melody: »Mein Lieb kehrt nicht zurück!« “My love is far from me.”

Der Abend dämmert sacht, The evening yields her light, Kurt Weill ein Stern ersehnt die Nacht. A star awaits the night. Stay Well Und im Winde klinget leise And the wind brings back an echo eine bange Traummusik. Faintly from across the sea, If I tell truth to you, Wie ein Echo tönt die Weise: Carries home her melody: My love, my own, »Mein Lieb kehrt nicht zurück!« “My love is far from me!” Grief is your gift to me, Grief alone, Wild passion at midnight, Korngold Wild anger at dawn, Alt-Englisch Old English Song Yet when you’re absent Text: Anonymous I weep you gone.

Nun hört mich, ihr Leute, Now hark, all you gallants! Stay well, O keeper of my love, ich sing’ euch ein Lied Your ears I would tease Go well, throughout all your days, von Lord Essex, dem Schlächter, with a song of Lord Essex Your star will be my luckiest star above, in der Schlacht bei Cadix! in the fight at Cadiz! Your ways, the luckiest ways. Wie schlug er die Spanier, How he scuppered them Spaniards Since unto you my one love is given, wie jagt’ er sie hin and hacked out their spleen, And since with you it will remain, zu Ehren von England und Englands Königin! for the glory of England and Elizabeth, our queen! Though you bring fear of hell, despair of heaven, Stay well, come well to my door again. Kanonen, die pfeffern We’ve rounded the port, boys, in den Hafen ihr Schrot. the cannons they roar, Das Meer ist voll Leichen the sea’s full of corpses Weill und Spanien ist tot! and Spain is no more! Complainte de la Seine The Lament of the Seine Drum singet und tanzet, They bobbed on the tide, boys, Text: Maurice Magre ob dick oder dünn, the fat and the lean, zu Ehren von England und Englands Königin! for the glory of England and Elizabeth, our queen! Au fond de la Seine, il y a de l’or, In the depth of the Seine there is gold, Des bateaux rouillés, des bijoux, des armes. Rusty boats and jewels and guns. Au fond de la Seine, il y a des morts. In the depths of the Seine there are dead ones. Korngold Au fond de la Seine, il y a des larmes. In the depths of the Seine there are tears. My Mistress’ Eyes Text: Au fond de la Seine, il y a des fleurs, In the depths of the Seine there are flowers De vase et de boue elles sont nourries. Living off sludge and mud. My mistress’ eyes are nothing like the sun; Au fond de la Seine, il y a des cœurs In the depths of the Seine there are hearts Coral is far more red than her lips red; Qui souffrirent trop pour vivre la vie. Who suffered too much to live their lives. If snow be white, why then her breasts are dun; If hairs be wires, black wires grow on her head. Et puis des cailloux et des bêtes grises, There are pebbles and grey creatures, too. I have seen roses damask’d, red and white, L’âme des égouts soufflant des poisons. The soul of the sewers with poisonous breath. But no such roses see I in her cheeks; Les anneàux jetés par des incomprises, Rings thrown away by the misunderstood, And in some perfumes is there moreCANCELED delight Des pieds qu’une hélice a coupés CANCELEDdu tronc. A body, its feet cut off by a ship. Than in the breath that from my mistress reeks. I love to hear her speak, yet well I know Et les fruits maudits des ventres stériles, And the damned fruits of sterile wombs, That music hath a far more pleasing sound; Les blancs avortés que nul n’aima, The pale aborted unloved by all. I grant I never saw a goddess go; Les vomissements de la grand’ ville, The vomit of the big city. please turn page quietly 20 CAL PERFORMANCES CAL PERFORMANCES 21 Texts and Translations Texts and Translations

Au fond de la Seine, il y a cela. In the depths of the Seine is all this. Na Schluss. Das Visawie von gegenüber Well, what do you know! The gentleman across the table O Seine clémente où vont des cadavres, O merciful Seine, where bodies end up, fragt ob ich wollte… just asked if I would like to… O lit dont les draps sont faits de limon. O bed with sheets made of mud, denn er möchte schon… because he’d very much like to… Fleuve des déchets, sans fanal, ni hâvre, River of garbage without beacon or harbor, Der hat Moneten, so ein alter Schieber. He has cash, the old crook. Chanteuse berçant, la morgue et les ponts. Singer of lullabies, the morgue and the bridges. Behalt Dein Geld und schlaf allein, mein Sohn. Keep your money! And sleep by yourself, my boy!

Accueille le pauvre, accueille la femme, Accept the poor, accept the woman, Auch Du bist einer von die feinen Herrn. You’re just like them all. Accueille l’ivrogne, accueille le fou, Accept the drunkard, accept the fool. Der Alte kommt, er nimmt mich zu sich mit. The old fogey is coming over. He’s going to take me with him. Mêle leurs sanglots au bruit de tes larmes, Mix their tears to the sound of your waves, Rutsch mir den Buckel lang und hab mich gern. So, bug off! Kiss my ass! Et porte leurs cœurs, et porte leurs cœurs And guard their hearts, and guard their hearts, Von ganzem Kerzen Deine Erna Schmidt. With all my heart, your friend, Erna Schmidt. Et porte leurs cœurs, parmi les cailloux. And guard their hearts along with the pebbles.

Au fond de la Seine, il y a de l’or, In the depth of the Seine there is gold, Weill Des bateaux rouillés, des bijoux, des armes. Rusty boats and jewels and guns. Je ne t’aime pas I Don’t Love You Au fond de la Seine, il y a des morts. In the depths of the Seine there are dead ones. Text: Maurice Magre Au fond de la Seine, il y a des larmes. In the depths of the Seine there are tears. Retire ta main, je ne t’aime pas Take your hand away, I don’t love you, Car tu l’as voulu, tu n’es qu’une amie. For it’s what you wanted, you’re just a friend. Weill Pour d’autres sont faits le creux de tes bras Your embracing arms, your dear kiss, Der Abschiedsbrief The Farewell Letter Et ton cher baiser, ta tête endormie. Your sleeping head are all for others. Ne me parle pas lorsque c’est le soir When it’s evening, don’t speak to me Zwei Stunden sitz ich schon im Caffee Bauer. For two full hours now I’ve been sitting in the Café Bauer. Trop intimement, à voix basse mêm’. Intimately with that low voice. Wenn Du nicht willst, dann sag mirs ins Gesicht. If you’re no longer interested, then tell me to my face! Ne me donne pas surtout ton mouchoir: And above all, don’t give me your handkerchief. Deswegen wird mir meine Milch nicht sauer. My cream won’t turn sour just because of that. Il renferme trop le parfum que j’aim’. It holds too much of the perfume I adore. Ich pfeif auf Dich, mein Schatz. To hell with you, my sweetheart. Na schön, denn nicht! So what? Let’s call it quits. Dis-moi tes amours, Tell me of your loves, Du brauchst nicht denken, dass ich Dich entbehre. You mustn’t think that I’ll miss you. Je ne t’aime pas I don’t love you, Quelle heure te fut la plus enivrant’ Of your most seductive hour, Mit dem Verkehr mit mir, das ist jetzt aus. We are all washed up. Je ne t’aime pas I don’t love you. Auch ich hab so etwas wie eine Ehre. Even I have what they call “honor.” Et s’il aimait bien And if the other one loved you Lass Dich nicht blicken, Schatz, sonst fliegst Du raus! Don’t show up again, my darling, or I’ll throw you out. Ou s’il fut ingrat. Or was ungrateful, Du bist der Erste nicht, der so verschwindet. You’re not the first one to disappear like that. En me le disant, ne sois pas charmant’ Don’t be charming, when you tell me; Das hab Ich nicht an Dir verdient, mein gutes Kind. I don’t deserve that kind of treatment, sonny. Je ne t’aime pas! I don’t love you. Du glaubst doch nicht, dass sich nicht noch ein Do you actually think that I couldn’t andrer findet? replace you? Je n’ai pas pleuré, je n’ai pas souffert I didn’t cry, I didn’t suffer, Es gibt noch welche, die bequemer für mich sind. There are plenty of better fish in the sea. Ce n’était qu’un rêve et qu’une folie. For it was a dream, a folly. Il me suffira que tes yeux soient clairs, It’s enough for me that your eyes are clear Ich hab das Grüne an aus Poppelien. I’m wearing the green poplin dress— Sans regret du soir ni mélancolie. Without regret of that evening of melancholy. Das Loch drinn hast du auch hineingerissen. the one that has a hole in it, thanks to you. Il me suffira de voir ton bonheur It’s enough to see your happiness, Du weisst es reicht mir nur bis zu den Knien. You know how revealing it is. Il me suffira de voir ton sourir’. It’s enough to see your smile. Ich hab auch noch ein angefangnes Kissen… Also, I still have a pillowcase that I started for you. Cont-moi comment il a pris ton mouchoir Tell me how your heart was captured, Et même dis-moi ce qu’on ne peut dir’. Tell me even the unspeakable. Das solltest Du am heilgen Abend kriegen. You were supposed to get it on Christmas Eve. Das ist nur aus und mir auch einerlei. That’s all over now, and all the same to me. Non tais-toi plutôt… No be quiet… Es werden öfters andre darauf liegen, Others will sleep on it—more than once. Je suis à genoux… I’m on my knees, Denn was vorbei ist, Schatz, das ist vorbei! Because what’s over, sweetheart, is gone for good. Le feu est éteint, la porte est fermée The fire has died, the door’s closed. Je ne t’aime pas. I don’t love you. Du bist der Erst nicht, usw. You’re not the first one, etc. Ne demande rien Don’t ask anything, Je pleure c’est tout… I’m crying, that’s all. Ich bin nicht stolz. CANCELEDI’m not proud. Je ne t’aime pas, ô ma bien-aimée!CANCELEDI don’t love you, my beloved. Auch wär das nicht am Platze. The situation doesn’t call for that. Retire ta main Take away your hand Wenn Du was übrig hast, dann schick es schnell! If you’ve got some money, send it fast. Je ne t’aime pas! I don’t love you. Mir gegenüber feixt ein Herr mit Glatze. A bald-headed man is sitting across from me and leering. Das ist der Chef von Engelhorns Hotell! That’s the boss from Engelhorn’s Hotel!

22 CAL PERFORMANCES CAL PERFORMANCES 23 About the Artists About the Artists

Highlights of her 2008–2009 season include He has presented his own series at St. John’s concerts and recitals at the BBC Proms, the Smith Square (the complete songs of Debussy Schubertiade, and Barbican Centre and Poulenc), the Wigmore Hall (a Britten and a in London, and in Paris, Brussels, and Poulenc series broadcast by the BBC) and at the . In addition, she sang Così fan tutte with Edinburgh Festival (the complete lieder of Hugo the under Riccardo Muti in Wolf). He has appeared throughout Europe (in- Japan; sang in a new production of Humperdinck’s cluding London’s Wigmore Hall, Barbican, Queen Hansel und Gretel (Hansel) at London’s Royal Elizabeth Hall and Royal Opera House; La Scala, Opera House, Covent Garden; made her role de- Milan; the Théâtre du Châtelet, Paris; the Liceu, but as at the Deutsche Oper Berlin; and Barcelona; Berlin’s Philharmonie and Konzerthaus; performed Weill’s Seven Deadly Sins with the Amsterdam’s Concertgebouw; and the Vienna Berlin Philharmonic under Sir Simon Rattle at Konzerthaus and Musikverein), North America the Salzburg Easter Festival. Following her recital (including both Alice Tully Hall and Carnegie tour in the United States, she will sing Handel’s Hall in New York), Australia (including the Arianna with the Academy of Ancient Music Sydney Opera House) and at the Aix‑en‑Provence, in selected European cities; give concerts with Vienna, Edinburgh, Schubertiade, and the Berlin Philharmonic conducted by Claudio Salzburg festivals. Abbado in Berlin; perform Weill’s Three Penny Recording projects have included Schubert, Opera in Hamburg, London, Paris and Vienna, Schumann and English song recitals with Bryn as well as Hansel und Gretel with Seiji Ozawa on Terfel (for ); Schubert and tour in Japan. As Hansel, she will return to the Strauss recitals with (for EMI); in December 2009. recital recordings with and Angelika Kirchschlager has released a vari- Barbara Bonney (for Decca), Magdalena Kožená

ety of albums for the Sony Masterworks label Ahlburg (for DG), (for Chandos), Susan Lukas Beck and won numerous awards, including a Grammy Bullock (for Crear Classics), Solveig Kringelborn Austrian mezzo-soprano Angelika Kirchschlager Award. In June 2007, she was awarded the title of Pianist Malcolm Martineau was born in (for NMA); (for Onyx); the enjoys an international career as one of the most re- Kammersängerin of the Vienna State Opera by the Edinburgh, read music at St. Catharine’s College, complete Fauré songs with Sarah Walker and quested vocal artists before the public today divid- Austrian government. Cambridge, and studied at the Royal College ; the complete Britten Folk Songs for ing her time between recitals and opera in Europe, Born in Salzburg, Angelika Kirchschlager of Music. Hyperion; and the complete Beethoven Folk Songs North America and the Far East. She is internation- studied piano at the Mozarteum. Upon graduation Recognized as one of the leading accompanists for Deutsche Grammophon. ally recognized as one of the foremost interpreters from the Musisches Gymnasium in Salzburg, she of his generation, he has worked with many of This season’s engagements include appearances of and Mozart. As a celebrated re- enrolled at the Vienna Music Academy, where, in the world’s greatest singers, including Sir Thomas with Sir , , Simon citalist and concert performer, Ms. Kirchschlager’s addition to studying voice with Professor Gerhard Allen, Dame , Olaf Bär, Barbara Keenlyside, Angelika Kirchschlager, Magdalena repertoire reaches from Bach, Berlioz, Brahms, Kahry and the late Viennese Walter Berry, Bonney, , Angela Gheorghiu, Susan Kožená, Dame , Christopher Maltman, Debussy, Dvořák, Korngold, Mahler, Mendelssohn she also studied percussion. Graham, Thomas Hampson, Della Jones, Simon , and . and Ravel to Rossini, Schubert, Schumann, Weill Ms. Kirchschlager resides in Vienna. Keenlyside, Angelika Kirchschlager, Magdalena Mr. Martineau was a given an honorary doc- and Wolf. Kožená, Solveig Kringelborn, Jonathan Lemalu, torate at the Royal Scottish Academy of Music and Dame Felicity Lott, Christopher Maltman, Karita Drama in 2004. Mattila, Lisa Milne, , Anna Netrebko, , Joan Rodgers, Amanda Roocroft, Michael Schade, , CANCELED Bryn Terfel and Sarah Walker.CANCELED

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