Jamie Bartonmezzo-Soprano

All Who Wander

Jamie Bartonmezzo-soprano

DE 3494 Brian Zeger piano

1 DELOS DE 3494 ALL WHO WANDER • JAMIE BARTON ORIGINAL DIGITAL

Blicke mir Blicke Joyce DiDonato Joyce Ich bin der – Struna naladěna ♦ naladěna Struna Um Mitternacht ♦ Um Mitternacht – Svarta rosor ♦ Säv, säv, susa ♦ Flickan – Five Rückert – Five Songs: Ich atmet’ einen

"The world has been waiting for this voice for a long time for a long time this voice waiting for has been "The world voice the human how capable of you – one that reminds pours Jamie beauty. absolute something of creating is of her heartall of every into this deeply personal of phrase transported." will be utterly You debut album.

All Who Wander Who All piano Brian Zeger, mezzo-soprano; Barton, Jamie

kom ♦ Kyssens Hopp ♦ Marssnön ♦ Var det en dröm? dröm? en det Var ♦ Marssnön ♦ Hopp Kyssens ♦ kom SIBELIUS zlata ryzého Dejte klec jestřábu ze klec jestřábu ze ♦ Dejte gatě rukávy a široké Široké matka zpívat, zpívat učívala ♦ učívala zpívat matka zpívat, Když mne stará Když ♦ kol ♦ A les je tichý kolem zvoní Aj! Kterak trojhranec můj přerozkošně můj přerozkošně trojhranec zní ♦ Aj! Kterak láskou – Gypsy Songs, Op. 55: Má píseň zas mi Songs, Op. 55: Má píseň – Gypsy DVOŘÁK und Meiden cycles) Ich ging mit Lust ♦ Erinnerung ♦ Scheiden Ich ging mit Lust cycles) Welt abhanden gekommen ♦ (from various song various (from ♦ gekommen abhanden Welt

Total Playing Time: 60:48 Playing Time: Total nicht in die Lieder! ♦

linden Duft ♦ ♦ Liebst du um Schönheit MAHLER

ORIGINAL DIGITAL

DELOS DE 3494 ALL WHO WANDER • JAMIE BARTON All Who Wander Gustav Mahler (1860-1911): 12. Když mne stará matka zpívat, Fünf Lieder nach Rückert (Five Rückert Songs) zpívat učívala (2:41) 1. Ich atmet’ einen linden Duft (2:43) 13. Struna naladěna (1:11) 2. Liebst du um Schönheit (2:44) 14. Široké rukávy a široké gatě (1:40) 3. Blicke mir nicht in die Lieder! (1:32) 15. Dejte klec jestřábu ze zlata ryzého (2:04) 4. Um Mitternacht (6:56) 5. Ich bin der Welt abhanden gekommen (6:49) Jean sibelius (1865-1957): (from various song cycles) 16. Svarta rosor – Op. 36, No. 1 (2:20) 6. Ich ging mit Lust (4:41) 17. Säv, säv, susa – Op. 36, No. 4 (2:55) 7. Erinnerung (2:46) 18. Flickan kom – Op. 37, No. 5 (3:28) 8. Scheiden und Meiden (2:43) 19. Kyssens Hopp – Op. 13, No.2 (2:18) 20. Marssnön – Op. 36, No. 5 (1:39) Antonin Dvořák (1841-1904): 21. Var det en dröm? – Op. 37, No. 4 (2:12) Cigánské melodie (Gypsy Songs) – Op. 55 9. Má píseň zas mi láskou zní (2:51) Total Playing Time: 60:48 10. Aj! Kterak trojhranec můj přerozkošně zvoní (1:13)

11. A les je tichý kolem kol (3:17) JAMIE BARTON, mezzo-soprano BRIAN ZEGER, piano 2 ll Who Wander is inspired by something My favorite song from Dvořák’s Cigánské that lives within all of us, the little voice in melodie is No. 3. It speaks of heartache with Aus that wants us to step out and experi- the tenderest voice. The fragile stillness of ence the world. The desire to be a gypsy or a the piano mirrors the text’s imagery of tears wanderer is the idea of breaking free from the drying on your face, running black down trappings of society and finding oneself. your cheeks due to the smoke from the campfire staining them. The vocal line care- I’ve always been drawn to the lush mu- fully balances pristine, shimmering beauty sic and storytelling in art songs of the late and heartfelt gravitas. To me, the text is true 1800s. Each one of the three composers to the gypsy: “Don’t get too upset by heart- I’ve chosen for this recording represents a ache. He who can sing amid sorrow does different culture and different language, not die; he lives!” but all of them are masters at bringing text alive through their distinctive compositional Romantic-era drama and lavishness weaves styles. They create equally rich musical land- throughout Sibelius’s songs, but the texts scapes and emotional journeys as they por- are still so real and heartbreaking. The com- tray characters deeply connected to nature poser’s settings brilliantly serve their tone. A and their surroundings, with poignant stories fantastic example of his musical storytelling to tell and insights to share. is his compact two-page song “Marssnön.” It sounds to me like a midwinter snowscape; Of these composers, Dvořák is to me the the music illustrates the exquisite silence you one who has most locked into an authen- would get if you were standing alone in the tic, naturalistic quality in his setting of Ad- snow in the middle of a quiet countryside. olf Heyduk’s Cigánské melodie (Gypsy However, even as you sense the snowflakes Songs). Yet each piece of this song cycle is gently falling to create waves of snow on unique. Over the course of seven songs, you the cold ground, Sibelius opens up both get seven different flavors, stories, aspects, the piano and the vocal lines, and you can and emotions. I love the lack of self-con- envision the impending springtime bloom- sciousness in this group of songs – they ing forth, the sun coming to melt away the manage to be absolutely grand while being cold. In only two pages, the song shows nonchalant about their grandeur. The gypsy an incredible range, from the simple to the doesn’t care about being grand; the gypsy magnificent. just wanders and sees and experiences and lives in the present.

3 Similarly multifaceted, Mahler has incredible one need wait for the end of one’s life to find folk roots in his music, yet he manages to that satisfaction, and so I connect with this be ethereal while absolutely grounded in na- song in my own life’s journey to finding the ture. “Ich ging mit lust” is a new favorite happy quiet space within myself. of mine. It is a gorgeous song with arching lines, and you can hear the wild birds singing Despite their diverse origins, this collection in the piano line. To me, it sounds like some- of songs represents thoughts and feelings thing you might spontaneously sing while that can be both universal and deeply per- you’re walking through the forest. But at the sonal. We experience shy moments of love same time, because it’s Mahler, the serenity like Mahler’s “Blicke mir”; we hear of hor- is elevated to otherworldly heights. rific stories similar to what is told in Sibelius’s “Säv, säv, susa”; we hear tunes that remind While “Ich ging mit lust” is one of the new- us of the music we heard in our homes est songs to me, the song on this album when we were growing up, just like the I’ve lived with the longest is “Ich bin der gypsy does in Dvořák’s “Když mne stará Welt abhanden gekommen.” Since the matka zpívat, zpívat učívala”; we look first time I heard it, it has entranced me. I up at the sky and wonder if anything is out think this is one of the most perfectly written there, just as the speaker does in Mahler’s songs I know. As a listener, I’ve always felt “Um Mitternacht.” These songs echo hu- that Mahler’s setting of Friedrich Rückert’s man experiences, showing the fullness of text sounds as if the singer is just at the edge our lives through moments that are often of the gossamer border that separates life simultaneously raw and alluring, and always from heaven, curiously reaching forward. fascinating. People seem to be torn about the meaning of the text, yet I felt a very strong pull toward – Jamie Barton my particular interpretation from the first time I sat down with the music. I’ve known a lot of people who consider this a sad song in which a person is singing of his or her own death, feeling ready to let go of all earthly tethers. However, I think it’s a transcendent song. To me, it speaks of releasing your wor- ries and, in that way, it’s a song of no regrets, of pure contentedness. I’ve never felt that

4 Gustav Mahler: Liebst du um Schönheit Fünf Lieder nach Rückert (Five Rückert Songs) Liebst du um Schönheit, (Texts: Friedrich Rückert) O nicht mich liebe! Liebe die Sonne, Ich atmet’ einen linden Duft Sie trägt ein goldnes Haar! Liebst du um Jugend, Ich atmet’ einen linden Duft. O nicht mich liebe! Im Zimmer stand Liebe den Frühling, Ein Zweig der Linde, Der jung ist jedes Jahr! Ein Angebinde von lieber Hand; Liebst du um Schätze, Wie lieblich war der Lindenduft! O nicht mich liebe! Wie lieblich ist der Lindenduft! Liebe die Meerfrau, Das Lindenreis Sie hat viel Perlen klar! Brachst du gelinde; Liebst du um Liebe, Ich atme leis O ja mich liebe! Im Duft der Linde Liebe mich immer, Der Liebe linden Duft. Dich lieb’ ich immerdar.

I breathed a gentle fragrance If you love for beauty

I breathed a gentle fragrance! If you love for beauty, In the room stood O love not me! A spray of lime, Love the sun, A gift from a dear hand; She has golden hair! How lovely the fragrance of lime was! If you love for youth, How lovely the fragrance of lime is! O love not me! The spray of lime Love the spring Was gently plucked by you! Which is young each year! Softly I breathe If you love for riches, In the fragrance of lime O love not me! The gentle fragrance of love. Love the mermaid Who has many shining pearls! If you love for love,

5 Ah yes, love me! Um Mitternacht Love me always, I shall love you ever more! Um Mitternacht hab’ ich gewacht Und aufgeblickt zum Himmel; Blicke mir nicht in die Lieder! Kein Stern vom Sterngewimmel Hat mir gelacht um Mitternacht. Blicke mir nicht in die Lieder! Um Mitternacht hab’ ich gedacht Meine Augen schlag’ ich nieder, Hinaus in dunkle Schranken; Wie ertappt auf böser Tat; Es hat kein Lichtgedanken Selber darf ich nicht getrauen, Mir Trost gebracht um Mitternacht. Ihrem Wachsen zuzuschauen: Um Mitternacht nahm ich in acht Deine Neugier ist Verrat! Die Schläge meines Herzens; Ein einz’ger Puls des Schmerzens Bienen, wenn sie Zellen bauen, War angefacht um Mitternacht. Lassen auch nicht zu sich schauen, Um Mitternacht kämpft’ ich die Schlacht, Schauen selbst auch nicht zu. O Menschheit, deiner Leiden; Wenn die reichen Honigwaben Nicht konnt’ ich sie entscheiden Sie zu Tag befördert haben, Mit meiner Macht um Mitternacht. Dann vor allen nasche du! Um Mitternacht hab’ ich die Macht In deine Hand gegeben: Do not look into my songs! Herr über Tod und Leben, Du hältst die Wacht um Mitternacht! Do not look into my songs! I lower my gaze, At midnight As if caught in the act; I cannot even trust myself At midnight I kept watch To watch them growing: And looked up to heaven; Your curiosity is treason! Not a star in the galaxy Bees, when they build cells, Smiled on me at midnight. Let no one watch either, At midnight my thoughts went out And do not even watch themselves. To the dark reaches of space; When the rich honeycombs No shining thought Have been brought to daylight, Brought me comfort at midnight. You shall be the first to taste! At midnight I paid heed

6 To the beating of my heart; Nor can I deny it, A single pulse of pain For truly I am dead to the world. Was set alight at midnight. I am dead to the world’s tumult At midnight I fought the fight, And rest in a quiet realm. O Mankind, of your afflictions; I live alone in my heaven, I could not gain victory In my loving, in my song. By my own strength at midnight. At midnight I gave my strength Ich ging mit Lust durch einen grünen Into Thy hands: Lord over life and death, Wald (Anonymous) Thou keepest watch at midnight. Ich ging mit Lust durch einen grünen Wald, Ich bin der Welt abhanden gekommen Ich hört die Vöglein singen. Sie sangen so jung, sie sangen so alt, Ich bin der Welt abhanden gekommen, Die kleinen Waldvögelein im grünen Wald! Mit der ich sonst viele Zeit verdorben. Wie gern hört ich sie singen, ja singen! Sie hat so lange nichts von mir vernommen, Sie mag wohl glauben, ich sei gestorben. Nun sing, nun sing, Frau Nachtigall! Es ist mir auch gar nichts daran gelegen, Sing du’s bei meinem Feinsliebchen: Ob sie mich für gestorben hält. ‘Komm schier, komm schier, wenns finster ist, Ich kann auch gar nichts sagen dagegen, Wenn niemand auf der Gasse ist, Denn wirklich bin ich gestorben der Welt. Dann komm zu mir, dann komm zu mir! Ich bin gestorben dem Weltgetümmel, Herein will ich dich lassen, ja lassen!’ Und ruh’ in einem stillen Gebiet. Ich leb’ allein in meinem Himmel, Der Tag verging, die Nacht brach an, In meinem Lieben, in meinem Lied Er kam zu Feinsliebchen gegangen; Er klopft so leis’ wohl an den Ring, I am lost to the world “Ei, schläfst du oder wachst, mein Kind? Ich hab so lang gestanden!” I am lost to the world With which I used to waste much time; Es schaut der Mond durchs Fensterlein It has for so long heard nothing of me, Zum holden, süßen Lieben, It may well believe I am dead. Die Nachtigall sang die ganze Nacht. Nor am I at all concerned Du schlafselig Mägdelein, nimm dich in Acht! If it should think me dead. Wo ist dein Herzliebster geblieben?

7 I walked joyfully though a green wood Die Liebe immer wieder! Die Lippen, die da träumen I walked joyfully through a green wood, Von deinen heißen Küssen, I heard the little birds sing. In Sang und Liedesweisen They sang so young, they sang so old, Von dir sie tönen müssen! Those little wood birds in the green wood! How gladly I heard them sing, yes sing! Und wollen die Gedanken Der Liebe sich entschlagen, Please sing, please sing, Mrs Nightingale, So kommen meine Lieder Sing this at my beloved’s house: Zu mir mit Liebesklagen! “Come quick, come quick, when darkness falls, When not a soul is in the street, So halten mich in Banden Then come to me, then come to me! Die Beiden immer wieder! And I will let you in, yes in.” Es weckt das Lied die Liebe! Die Liebe weckt die Lieder! The day departed, night fell, He went to his beloved; Recollection He taps so softly with the knocker, “Are you asleep or awake, my child? My love inspires songs I’ve been standing here so long!” Again and again! My songs inspire love The moon looked through the window, Again and again! Saw the charming, sweet caresses, The nightingale sang all night long. The lips that dream Sleepy little maid, take care! Of your ardent kisses Where is your sweetheart now? Must sing of you In melody and song! Erinnerung (Text: Richard Leander) And if my thoughts Seek to banish love, Es wecket meine Liebe My songs return, Die Lieder immer wieder! Lamenting love! Es wecken meine Lieder So both hold me captive

8 Again and again: Farewell! Farewell! Songs inspire love, Yes, parting and farewell bring pain! Love inspires songs! The child departs in the cradle even! Scheiden und Meiden (Anonymous) Farewell! When shall my loved one at last be mine? Es ritten drei Reiter zum Tore hinaus! Farewell! Ade! And if it be not tomorrow, ah, were it today, Fein’s Liebchen, das schaute zum Fenster hinaus, That would give us both such joy! Ade! Farewell! Farewell! Farewell! Und wenn es denn soll geschieden sein, Yes, parting and farewell bring pain! So reich mir dein goldenes Ringelein, Ade! Ade! Translations by Richard Stokes from The Ja, Scheiden und Meiden tut weh, tut weh! Book of Lieder (Faber and Faber, 2005)

Es scheidet das Kind schon in der Wieg! Ade! Antonín DvořAk: Cigánské melodie Wann werd ich mein Schätzel wohl kriegen? (Gypsy Songs) Ade! (Texts: Adolf Heyduk) Und ist es nicht morgen, ach, wär es doch heut, Má píseň zas mi láskou zní Es machte uns Beiden wohl grosse Freud, Ade! Ade! Ade! Má píseň zas mi láskou zní, Ja, Scheiden und Meiden tut weh. když starý den umirá; a chudý mech kdy na šat svůj Parting and farewell si tajně perle sbíra.

Three horsemen rode out through the gate! Má píseň v kraj tak toužně zní, Farewell! když svetem noha bloudí; The beloved looked out of the window, jen rodné pusty dálinou Farewell! zpěv volně z ňader proudí. And if it’s time for us to part, Then give me your little golden ring,

9 Má píseň hlučně láskou zní, Ah! How most delightfully my když bouře běží plání; triangle rings když těším se, že bídy prost dlí bratr v umírání. Ah! How most delightfully my triangle rings, Like the song of a Gypsy when he bends My song of love rings out again toward death! When he bends toward death, his triangle My song of love rings out again, rings for him. When the old day is dying; No more songs and dances, no more love And lowly moss for its garment or lamenting! Is secretly gathering dew-pearls. No more songs and dances, no more love or lamenting! My song rings out so wistfully, When through the world I’m roaming; A les je tichý kolem kol Only through the vastness of my native plains A les je tichý kolem kol, Does my song flow freely from my breast. jen srdce mír ten ruší, a černý kouř, jenž spěchá v dol, My song rings out so loud with love, mé slze v lících, mé slze suší. When storms race over the plains; Rejoicing when, from misery, Však nemusí jich usušit, A brother’s dying saves him! necht’ v jiné tváře bije. Kdo v smutku může zazpívat, Aj! Kterak trojhranec můj ten nezhynul, ten žije, ten žije! přerozkošně zvoní All around me the forest is quiet Aj! Kterak trojhranec můj přerozkošně zvoní, All around me the forest is quiet, jak cigána píseň, když se k smrti kloní! Only my heart disturbs the peace. Když se k smrti kloní, trojhran mu vyzvání. And the black smoke coming quickly down Konec písni, tanci, lásce, bědování. Dries the tears on my cheeks, Konec písni, tanci, lásce, bědování. The tears on my cheeks.

10 However, there is no need to dry my tears, The strings are tuned Let it blow on other cheeks. He who can sing amid sorrow The strings are tuned – Has not died; he lives, he lives! Young man, join the dance; Today perhaps we soar up high, Když mne stará matka zpívat, Tomorrow, tomorrow down again! zpívat učívala The day after tomorrow Když mne stará matka zpívat, zpívat učívala, At the sacred table by the Nile; podivno, že často, často slzívala. The strings are already tuned, A ted’ také pláčem snědé líce mučim, Young man, join the dance! když cigánské děti hrát a zpívat učim! Široké rukávy a široké gatě When my old mother taught me singing Široké rukávy a široké gatě volnější cigánu nežli dolman v zlatě. When my old mother taught me singing, Dolman a to zlato bujná prsa svírá; Strange, that she often, often cried. pod ním volná píseň násilně umírá. And now tears too torment my dark cheeks, A kdo raduješ se, tvá kdy píseň v květě, As I teach Gypsy children to play music přej si, aby zašlo zlato v celém světě! and sing! Wide sleeves and wide trousers Struna naladěna Wide sleeves and wide trousers Struna naladěna, Give the Gypsy more freedom than a hochu, toč se v kole, golden robe. dnes, snad dnes převysoko, A golden robe constricts the zejtra, zejtra, zejtra zase dole! powerful chest; Beneath it our free song dies a Pozejtří u Nilu violent death. za posvátným stolem; And you who rejoice, when your song struna již, struna naladěna, blooms free, hochu, toč, hochu, toč se kolem! Wish that all gold in the world cease to be.

11 Dejte klec jestřábu ze zlata ryzého I mitt hjärta där växer ett rosendeträd, som aldrig nånsin vill lämna mig fred, Dejte klec jestřábu ze zlata ryzého; och på stjälkarna sitter det tagg vid tagg, nezmění on za ni hnízda trněného. och det vållar mig ständigt sveda och agg; Komoni bujnému, jenž se pustou žene, ty sorgen har nattsvarta rosor. zřídka kdy připnete uzdy a třemene. A tak i cigánu příroda cos dala: Men av rosor blir det en hel klenod, k volnosti ho věčným poutem, än vita som döden, än röda som blod. k volnosti ho upoutala. Det växer och växer. Jag tror jag förgår, i hjärträdets rötter det rycker Give a hawk a golden cage och slår; ty sorgen har nattsvarta rosor.

Give a hawk a golden cage; Black Roses It will not choose it over a thorny nest. Just as a wild colt charging through the plains Tell me, why are you so sad today Can hardly be put into reins and stirrups. when you are always so cheerful and gay? And so also to the Gypsy did nature give But I am no more sad today something: than when you think me cheerful and gay To freedom with an eternal bond, for grief has night black roses. To freedom did it bind him. In my heart there grows a rose-tree Translations: Véronique Firkusny which will never allow me peace: on its stems grow thorn upon thorn and it causes unceasing rancor and pain Jean sibelius: Songs for grief has night black roses But of the roses it becomes quite a treasure, Svarta rosor white as death, red as blood. (Text: Ernst Josephson) It grows and grows. I think I will perish: in my heart-tree’s roots there is Säg, varför är du så ledsen i dag, a wrenching and throbbing du, som alltid är så lustig och glad? for grief has night black roses. Och inte är jag mera ledsen i dag än när jag tyckes dig lustig och glad; ty sorgen har nattsvarta rosor.

12 Säv, säv, susa She cried like a winged duck (Text: Gustaf Fröding) as she sank in the lake (last spring was then at its greenest). Säv, säv, susa våg, våg, slå, They were envious of her in Östanålid I sägen mig var Ingalill and she took it to heart. den unga månde gå? They begrudged her her riches Hon skrek som en vingskjuten and, and her young love. när hon sjönk i sjön, det var när sista var stod grön. They pierced a jewel with a thorn, they cast dirt in a lily’s dew. De voro henne gramse vid Östanålid, det tog hon sig så illa vid. So sing your dirge, sad wavelets, rushes, rushes, murmur, De voro henne gramse för gods och gull waves, waves crash! och för hennes unga kärleks skull. Flickan kom ifrån sin älsklings mote De stucko en ögonsten med tagg, (Text: Johan Ludvig Runeberg) de kastade smuts i en liljas dagg. Flickan kom ifrån sin älsklings möte, Så sjungen, sjungen sorgsång, Kom med röda händer -- Modern sade: I sorgsna vågor små, Varav rodna dina händer, flicka? säv, säv, susa, Flickan sade: jag har plockat rosor, våg, våg, slå! Och på törnen stungit mina händer. Åter kom hon från sin älsklings möte, Rushes, rushes, murmur Kom med röda läppar -- Modern sade: Varav rodna dina läppar, flicka? Rushes, rushes, murmur Flickan sade: jag har ätit hallon, wave, wave, crash Och med saften målat mina läppar. Are you trying to reveal the fate of Åter kom hon från sin älsklings möte, young Ingalil? Kom med bleka kinder -- Modern sade: Varav blekna dina kinder, flicka? Flickan sade: red en grav, o Moder!

13 Göm mig där, och ställ et kors däröver, Once she came home with red lips Och på korset rista, som jag säger: for they had turned red beneath her En gång kom hon hem med röda händer; lover’s lips. Ty de rodnat mellan älskarns händer. The last time she came home with En gång kom hon hem med röda läppar; pale cheeks Ty de rodnat under älskarns läppar. for they had turned pale at her Senast kom hon hem med bleka kinder; lover’s unfaithfulness. Ty de bleknat genom älskarns otro.

The Girl Returned from Meeting Kyssens hopp Her Lover (Text: Johan Ludvig Runeberg)

The girl returned from meeting her lover, Der jag satt i drömmar vid en källa, came back with red hands – Her Hörde jag en kyss på mina läppar mother asked: Sakta tala till en annan detta: Why are your hands so red, my child? Se, hon kommer, se, se, The girl replied: I have been plucking roses den blyga flickan kommer redan; and pricked my hands on the thorns. Inom några stunder sitter jag Again she returned from meeting her lover, På hennes rosen läppar, came back with red lips – Her Och hon bär mig troget hela dagen, mother asked: Näns ej smaku på ett enda smultron, Why are your lips so red, my child? Att ej blanda mig med smultron saften, The girl replied: I have been eating raspberries Näns ej dricka ur den klara källan, and stained my lips with the juice. Att ej krossa mig mot glasets bräddar, Again she returned from meeting her lover, Näns ej hviska ens ett ord om kärlek, came back with pale cheeks – Her Att ej fläkta mig från rosen läppen. mother asked: Why are your cheeks so pale, my child? The Kiss’s Hope The girl replied: Prepare a grave, mother! Hide me there and set up a cross There where I sat dreaming by a spring, and on the cross carve these words: I heard a kiss on my lips Once she came home with red hands slowly speaking to another thus: for they had turned red between her See, she comes, see, see, lover’s hands. the shy girl is coming already;

14 In a few moments I sit on her rosy lips, You will blossom all the more strongly, And she carries me faithfully the whole day, And die the richer. Not even tasting a single wild strawberry, to not mix me with the wild Var det en dröm? strawberry juice, (Text: Josef Julius Wecksell) Not even drinking from the clear spring, to not crush me against the Var det en dröm att ljuvt engång overflowing glass, jag var ditt hjärtas vän? Not whispering even a single word Jag minns det som en tystnad sång, about love, då strängen darrar än. to not blow me away from her rosy lips. Jag minns en törnros av dig skänkt, en blick så blyg och öm; Marssnön (Text: Josef Julius Wecksell) jag minns en avskedstår, som blänkt, var allt, var allt en dröm? Den svala snön därute faller och täcker marken mer och mer, En dröm lik sippans liv så kort de lägga sig de vita stjärnor uti en vårgrön ängd, i varv på varv längs jorden ner. vars fägring hastigt vissnar bort Håll slutet än, o vår! ditt öga, för nya blommors mängd. sov gott i blid och vänlig snö - dess mäktigare skall du blomma, Men mången natt jag hör en röst dess rikare skall sen du dö. vid bittra tårars ström:

March Snow göm djupt dess minne i ditt bröst, det var din bästa dröm! Cool snow falls outside, And covers the earth ever more thickly Did I Just Dream? With layer upon layer of white stars. Did I just dream that long ago Keep your eyes shut, O spring; I was your soulmate? Go on sleeping in the gentle, friendly snow.

15 I remember it like a song that is over though the string still vibrates.

I remember a rose you gave me, a glance so shy and tender, a tear that glistened at parting was all this just a dream?

A dream as brief as an anemone’s life in a green spring meadow, whose beauty quickly fades before the wealth of new flowers.

But many a night I hear a voice over a flood of bitter tears: hide this memory deep in your breast it was the best dream you ever had!

Translations: Jean-Paul Bjorlin

Hailed as “a fresh wonder of the opera world, possessing a voice of preternatural beauty and power” (Alex Ross, The Rest Is Noise), Jamie Barton has quickly risen to become one of the most in-demand mezzo-sopra- nos on the international stage. Since winning the Metropolitan Opera National Council Awards in 2007, she has garnered numerous honors and acclaimed appearances, includ-

16 ing a Grammy Award nomination in 2011, Bon Appetit! under the direction of Ned the BBC Cardiff Singer of the World Main Canty, and appearing in the documentary Prize and Song Prize in 2013, and the Rich- The Audition. ard Tucker Award in 2015. A graduate of the Houston Grand Opera Her opera roles have included Adalgisa in Studio, Barton attended Indiana University in Norma at the Metropolitan Opera, San Fran- Bloomington. She lives in Atlanta, Georgia, cisco Opera, and Los Angeles Opera; Fene- with her cat, River. na in Nabucco at the Royal Opera House, Covent Garden and Seattle Opera; Giovanna www.jamiebartonmezzo.com Seymour in Anna Bolena at the Metropolitan Opera and Lyric Opera of Chicago; and Fric- ka in Das Rheingold and Die Walküre with Widely recognized as one of today’s lead- Washington National Opera. ing collaborative pianists, Brian Zeger has performed with many of the world’s greatest Barton is equally at home in concert, where singers, including Marilyn Horne, Deborah she has been praised for her “exquisite com- Voigt, Anna Netrebko, Susan Graham, René municative gift” (Joshua Kosman, San Fran- Pape, Dame Kiri Te Kanawa, Frederica von cisco Chronicle). Recital engagements in- Stade, Piotr Beczala, Bryn Terfel, Joyce Di- clude a tour with Bradley Moore to Carnegie Donato, Denyce Graves, and Adrianne Piec- Hall, Oper Frankfurt, and Music Worcester zonka in an extensive concert career that and concerts with the Tucson Desert Song has taken him to the premiere concert halls Festival, Toronto Summer Music Festival, throughout the United States and abroad. Vocal Arts DC, and The Queen’s Hall. With orchestra, she has appeared as a soloist in Among his most recent recordings are Pre- Verdi’s Requiem, Brahms’ Alto Rhapsody, and ludios - Spanish songs with Isabel Leonard; a Mahler’s Symphony No. 3. recording of Strauss and Wagner lieder with Adrianne Pieczonka; and Dear Theo: 3 Song Additional career highlights have been per- Cycles by Ben Moore with Paul Appleby, Su- formances on the 80th birthday galas of sanna Phillips, and Brett Polegato, all for the Sherrill Milnes and Marilyn Horne, singing Delos label. Mère Marie in Dialogues of the Carmelites opposite Felicity Palmer at the Bayerische Also active as a chamber musician, he has Staatsoper, singing Julia Child in Lee Hoiby’s been a regular guest at many festivals in-

17 cluding the Bard Music Festival, the Cape Cod Chamber Music Festival, and the Frankly Music series in Milwaukee, and has enjoyed collaborations with the Jupiter String Quar- tet, Borromeo and Brentano Quartets, An die Musik, and the New York Philharmonic Chamber Ensembles. He also serves as both pianist and curator for the Juilliard Songfest series and an ongoing collaborative series with the Metropolitan Museum of Art . In addition to his distinguished concert career, he serves as Artistic Director of the Marcus Institute for Vocal Arts at The Juil- liard School. In addition, for eight years he served as the Executive Director of the Met- ropolitan Opera Lindemann Young Artists Development Program and also previously served as director of the program for singers at the Steans Music Institute at the Ravinia Festival.

He has made concerto appearances with the Boston Pops, multiple concert appearances at the White House and United States Supreme Court, and appeared with Debo- rah Voigt and Frederica von Stade on the telecast of the Metropolitan Opera’s Gala saluting Joseph Volpe. www.brianzeger.com

18 I want to thank the following people who have made this album happen: Brian Zeger and Adam Abeshouse, you two are extraordinary collaborators; to Team JBMS, Michael Benche- trit, Beth Stewart, John Primavera, and Jean Goffaux; to Becca Fay, Joe Beutel, Sarah Stark, Jessica Jahn, Rachel Townsend, Thomas Ourada, and Hyde Clarke, who made these photos happen; my beloved voice teachers, Dr. Brian Horne, Mary Ann Hart, and Stephen King... thank you for guiding and teaching me; and last but not least, to Mom, Phil, Dad, Jean, and everyone who has rooted me on from day one. This exists because you cared.

This album is dedicated to Tom, Carolyn, Agnes, Judge, and Francis. Thank you for passing the love of music on to me.

– Jamie Barton

Recording made at SUNY Purchase, August 2015

Producer: Adam Abeshouse Executive Producer: Carol Rosenberger Engineering: Adam Abeshouse Editing, mixing and mastering: Adam Abeshouse Assistant Engineer: David Slitzky Booklet Editors: Lindsay Koob, Anne Maley Graphic Design & Layout: Lonnie Kunkel

Photography: Fay Fox, Jamie Barton photos Jared Slater: photo of Brian Zeger

Piano: Purchase Steinway Concert Grand # 134

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