Orchestra Concert

Carmen Suite No. 1 Georges Bizet Aragonaise (1838-1875) Intermezzo

Carmen Suite No. 2 Habanera University Orchestra Chanson du Toreador Co Boi Nguyen, conductor La Garde Montante Danse Boheme featuring Concerto Competition Winner Justin Brunette, baritone Monday, February 9, 2015 - 8:00 p.m. Memorial Chapel

Si Puo Ruggero Leoncavallo from Pagliacci (1857-1919)

Ein Mädchen oder Weibchen Wolfgang Amadeus Mozart from The Magic Flute (1756-1791)

Di Provenza, il Mar Giuseppe Verdi from La Traviata (1813-1901)

Symphony No.7 “Unfinished”, D.759 Franz Schubert I. Allegro Moderato (1797-1828) II. Andante con moto

Tanzlied des Pierrot Erich Korngold from Die tote Stadt (1897-1957)

Largo al factotum Gioacchino Rossini from The Barber of Seville (1792-1868) Texts and Translations Ein Mädchen oder Weibchen Wolfgang Amadeus Mozart from The Magic Flute “Si Puo” Ruggero Leoncavallo Ein Mädchen oder Weibchen A girl or a little wife from Pagliacci Wünscht Papageno sich Wishes Papageno O so ein sanftes Täubchen O, such a soft little dove Si può? Si può May I? I may Wär Seligkeit für mich. Would be bliss for me. Signore! Signori! Ladies! Gentlemen! Dann schmeckte mir Trinken und Essen; Then drink and food would taste good to me; Seusatemi se da sol mi presento Excuse me if I alone introduce myself Dann könnte’ ich Then I could Io sono il Prologo : I am the Prologue: mit Fuersten mich messen, Measure myself with princes, Poichè in iscena ancor Since yet in the scene Des Lebens als Weiser mich freun, Enjoy life as a wiseman, Le antiche maschere mette l’autore; The author uses ancient masks; und wie im Elysium sein. And feel like I’m in Elysium. In parte ei vuol riprendere le vecchie usanze, In part he wants to bring back the old customs, Ach, kann ich denn keiner von allen Ah, can I not please any of all E a voi di nuovo inviami. And send me back to you. den reizenden Mädchen gefallen? Those charming girls? Ma non per dirvi come pria : But not to tell you as before: Helf’ eine mir nur aus If only someone would help me out >>Le lacrime che noi versiam son false! “The tears we cry are false! der Not, in this need, Degli spasimi e de’ nostri martir Of spasms and our martyrs Sonst gräm¹ ich mich wahrlich zu Tod. Otherwise I will worry myself to death. Non allarmatevi!<< Do not be alarmed!” Wird keiner mir Liebe gewähren, If no one will grant me love, No! No. L’autore ha cercato invece No! No. The author has sought instead So muss mich die Flamme verzehren; Then the flame must consume me; Pingeryi a non squarcio di vita. To depict a glimpse of life. Doch küsst mich ein weiblicher Mund, Still, if a womanly mouth kisses me, Egli ha per massima sol che l’artista è um uom He believes utmost that the artist is a man so bin ich schon wieder gesund. Then I will be immediatly healthy again. E che per gli uomini scrivere ei deve. And that he must write for men, Ed al vero ispiravasi. And be inspired by the truth. Di Provenza, il Mar Giuseppe Verdi Un nido di memorrie A nest of memories In fondo a l’anima cantava un giorno, Was singing at the bottom of his soul one day, from La Traviata Ed ei con vere lacrime scrisse, And he wrote with genuine tears, E I singhiozzi il tempo gli battevano! And his sobs beat the tempo! Di Provenza il mar, il suol The sea and soil of Provence -- Dunque, vedrete amar And so, you will see love chi dal cor ti cancello? who has erased them from your heart? Sì come s’amano gli esseri umani; As human beings love each other; Al natio fulgente sol From your native, fulsome sun -- Vedrete de l’odio i tristi frutti. You will see the sad fruits of hate. qual destino ti furo’? what destiny stole you away? Del dolor gli spasimi, The spasms of pain, Oh, rammenta pur nel duol Oh, remember in your sorrow Urli di rabbia, udrete, Shouts of rage, you will hear, ch’ivi gioia a te brillo’; that joy glowed on you, E risa einiche! And also laughter! E che pace cola’ sol and that only there peace E voi, piuttosto che And you, rather than su te splendere ancor puo’. can yet shine upon you. Le nostre povere gabbane d’istroni, Our poor actors’ changes, Dio mi guidò! Gox has guided me! Le nostr’anima considerate, Consider our soul, Ah! il tuo vecchio genitor Ah, your old father -- Poichè siam uomini di carne e d’ossa, Since we are men of flesh and bone, tu non sai quanto soffrì! You don’t know how much he has suffered! E che di quest’orfano mondo And from this orphan world Te lontano, di squallor With you far away, with misery Al pari di voi spiriamo l’aere! We breathe the same air as you! il suo tetto si coprì. has his house become full. Il concetto vi dissi... I’ve told you the concept... Ma se alfin ti trovo ancor, But if in the end I find you again, Or ascoltate com’egli è svolto. Now listen as it is carried out. se in me speme non fallì, if hope did not fail within me, Andiam. Incominciate! Let’s go. Begin! Se la voce dell’onor if the voice of honor in te appien non ammutì, didn’t become silenced in you, Dio m’esaudi’! God has heard me! Tanzlied des Pierrot Erich Korngold Largo al factotum Gioacchino Rossini from Die tote Stadt from The Barber of Seville

Mein Sehnen, mein Wähnen, My yearning, my obsession, Largo al factotum della citta. Make way for the topman of the city. es träumt sich zurück. they take my back in dreams. Presto a bottega che l’alba e gia. Rushing to his shop now that it’s dawn. Im Tanze gewann ich, In the dance I once obtained it, Ah, che bel vivere, che bel piacere Ah, isn’t life good, how pleasant it is verlor ich mein Glück. Now I’ve lost my happiness. per un barbiere di qualita! For a barber of class! Im Tanze am Rhein, While dancing on the Rhein Ah, bravo Figaro! Ah, nice one Figaro! bei Mondenschein, in the moonlight, Bravo, bravissimo! Nice one, really nice one! gestand mirs aus Blau-aug she confessed to me with a loving Fortunatissimo per verita! I am the luckiest it’s true to say! ein inniger Blick, look in her blue eyes, Pronto a far tutto, Ready for anything, Gestand mirs ihr bittend Wort: Confessed to me with her pleading words: la notte e il giorno night and day o bleib, o geh mir nicht fort, O stay, don’t go far away, sempre d’intorno in giro sta. Always busy and around. bewahre der Heimat preserve the memory of your homeland’s Miglior cuccagna per un barbiere, A better lot for a barber, still blühendes Glück. peaceful, flourishing happiness. vita piu nobile, no, non si da. A more noble life cannot be found. Rasori e pettini Razors and combs Mein Sehnen, mein Wähnen, My yearning, my obsession, lancette e forbici, Lancets and scissors, es träumt sich zurück. they take me back in dreams. al mio comando At my command Zauber der Ferne The magic of things far away tutto qui sta. Are all here. warf in die Seele den Brand, brings a burning ot my soul V’e la risorsa, And there are `extras’, Zauber des Tanzes lockte, The magic of the dance lured me, poi, de mestiere Then, for the business ward Komödiant. and I was then Pierrot. colla donnetta... col cavaliere... With women... and with gentlemen... Folgt ihr, der Wundersüssen, I followed her, my wonderful sweetheart, Tutti mi chiedono, tutti mi vogliono, With women... and with gentlemen... lernt unter Tränen küssen. and learned from tears to kiss. donne, ragazzi, Women, young people, Rausch und Not, Intoxication and misery, vecchi, fanciulle: old people, the golden haired; Wahn und Glück: Illusion and happiness: Qua la parruca... Presto la barba... What about the wig... A quick shave... Ach, das ist Gauklers Geschick. Ah, this is a clown’s destiny. Qua la sanguigna... Some leeches for bleeding... Presto il biglietto... Quick the note... Mein Sehnen, mein Wähnen, My yearning, my obsession, Qua la parruca, presto la barba, What about the wig, a quick shave, es träumt sich zurück. they take me back in dreams. Presto il biglietto, ehi! Hurry - the note, o me! Figaro! Figaro! Figaro!, ecc. Figaro! Figaro! Figaro! etc. Ahime, che furia! Heavens, what mayhem! Ahime, che folla! Heavens, what crowds! Uno alla volta, per carita! One at a time, For pities sake! Figaro! Son qua. Figaro! Here I am. Ehi, Figaro! Son qua. O me, Figaro! Here I am. Figaro qua, Figaro la, Figaro here, Figaro there, Figaro su, Figaro giu, Figaro up, Figaro down,

Pronto prontissimo son come il fumine: Quicker and quicker the sparks fly with me; sono il factotum della citta. I am the topman of the city. Ah, bravo Figaro! Bravo, bravissimo; Ah, nice one Figaro! Nice one, really nice one; a te fortuna non manchera. From you luckiness will not depart. Biography University Orchestra

Baritone Justin Brunette has sung many First Violin Oboe musical genres including opera, operetta, Ian Kaminski, concertmaster Ian Sharpe, principal Devon Fox Marilyn Schram choral and musical theater. During his Colin Barstad studies at Georgia State University, Justin Karen Palmer Clarinet received the Florence Koploff Vocal Kaylene Pecora Taylor Heap, principal Scholarship in Performance. In Georgia, Geoffrey Halgas Kira Golombek, principal Sahak Karapetyan Matthew Dearie he also participated in the Harrower Bruce Spalding Summer Opera Program where he had Bassoon the honor of singing in master classes Second Violin Kevin Enriquez, principal conducted by Carlyle Floyd, Copeland Kyle Denison, principal Larry Dang Woodruff and Reed Woodhouse. Justin Maia Gordon Matthew Dickinson has performed with the Atlanta Symphony Horn Art Svenson Kerrie Pitts, principal Orchestra starring as Bernardo in their Summer Concert Series production Jose Ontiveros Gregory Reust of West Side Story. He was one of five original members of the cabaret Zoe Kinsey Eduardo Conteras group On Cue. From Georgia to Texas, Justin has sung in several chamber Kathleen Mangusing Hanna Vagts and choral groups including the Atlanta Men’s Chorus, the Our Song Viola Trumpet Mixed Ensemble, the Austin Community Singers and the Capital City Ruben Pascual, principal Brandon Hanson, principal Men’s Chorus. His theater production credits include the Galaxy Music Rachel Rome Katrina Smith Theater’s productions of Putting It Together and Big Show/Small Box. Justin Ashley Wright Alfred Ferntheil Aaron Norton currently attends the University of Redlands majoring in Music Education. Emery Hebert Trombone Justin performed the role of General Novakovich in the University of Joel Rangel, principal Redlands’ production of The Merry Widow, and he will play the role of Cello Nathan Montes Figaro in Redlands’ Il barbiere di Siviglia coming in the spring of 2015. Xue Chen, principal Zachary Krug, bass trombone Ricki Worth Kyle Champion Tuba Madlen Sarkissan Ross Woodzell, principal

Bass Percussion Olivia Franzen, principal David Mantle, principal Paulina Silva Danielle Kammer Benjamin Purper Kevin Bellefeuille Alicia Fuller Flute Victoria Jones, principal Piano/Harpsichord/Celesta Nicole Hans Michael Malakouti

Harp Katelin Heimrick For a complete calendar of School of Music events visit www.redlands.edu/music