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Home , Call Me Back Again, Gene Scheer, Getz Au Go Go, Giuseppe Filianoti, Heidi Stober, Joyce DiDonato

Wednesday, February 20, 2019, 8pm Zellerbach Hall Joyce DiDonato, mezzo-soprano Songplay

featuring Craig Terry, keyboards Chuck Israels, double bass Jimmy Madison, drums Lautaro Greco, bandoneon Charlie Porter, trumpet

attrib. to Tommaso Giordani* Caro mio ben Giulio Caccini* Amarilli, mia bella Leon Russell is Masquerade Allesandro Parisotti/attrib. to Salvator Rosa* Se tu m’ami/Star vicino Charlie Porter Prelude Charlie Porter, trumpet Jerry Bock and Sheldon Harnick “Will He Like Me?,” from She Loves Me Giuseppe Torelli* Tu lo sai Duke Ellington (In my) Solitude Enrique Delfine Griesta Lautaro Greco, bandoneon attrib. to Benedetti Marcello Quella fiamma che m’accende Giovanni Paisiello* Nel cor più mio non sento George Shearing and George David Weiss Lullaby of Birdland Ziz Confrey Dizzy Fingers Craig Terry, piano Lean Away and Lorenz Hart “With a in My Heart,” from Spring is Here * arrangement by Craig Terry with Chuck Israels is evening’s concert will be performed without an intermission.

This performance is made possible, in part, by Patron Sponsors Michael A. Harrison and Harrison. Cal Performances’ 2018 –19 season is sponsored by Wells Fargo.

 PLAYBILL PROGRAM NOTES

the centuries patiently allowing many of us to sort out basic technique through them, have no real ownership—they are listed as anonymous, or wrongly attributed to this one or that one. Perhaps they are a match for our misfit vocals? So returning to them years later (okay, even decades later!), I’m overwhelmed by the charm and the sweetness and the innocence that ex - udes from their stained, yellowed pages! ey call me back again—but this time with a bold invitation to play, to invent, to celebrate a great song. eir overarching theme defiantly bridges the centuries and lines up with the eternal motif that we’ve all been singing of throughout the years: LOVE.

r Enter the ever-playful Craig Terry, who had e g n i long envisioned these being given a S s i r h slightly different “treatment.” Upon the first C chords of his “Caro mio ben,” I was sold, and Play with that Song we were off and running. Playing with the old Every beginning voice student knows the Italian gave birth to the desire to also routine: you walk through the austere door— play with some of our favorite American clas - trepidatiously, mind you, and oen questioning sics, letting love and heartfelt music making your very existence—and the skeptical teacher be our platform. hands you their copy of the yellowed and overly Our playground has joyously expanded to used “Singer’s Bible,” e 24 Italian Art Songs . include an extraordinary gathering of instru - e cover, usually torn and hanging by a thread, mentalists across all genres, each bringing his aims to end the suspense of whether your vocal particular sound and expertise, and yet we’ve fate will be forever sealed as belonging to the all fused into something unique to this singular “high” or “low” categories. Regardless, this feels project. And it has been some of the most joy - like “IT.” ous music making of my life. And then we dive in, ready to summon both When last I saw you here in Zellerbach Hall, Callas and Pavarotti, all in one, and we let ‘er I was singing on the theme of In War and Peace , rip… hoping to lead you to a peaceful state of mind Disaster. Week aer week we pay to return to by the end of the program. If you’ve managed to the torture chamber in the humiliating attempt stay there, I suppose love and joy are the next to NOT be flat this week. (Except that we went obvious steps: so I hope you’ll sit back and revel sharp last week, and can’t quite figure out how in the joy of meeting some old standards as we to split the difference!) Even if it says “Italian” frolic away. You know you want to sing along! on the cover, we may as well be attempting to But if you do sing along (come on, make sing in Swahili, and the questioning of your your old voice teacher proud!), just keep in existence has now been fully answered: you are mind what the great Louis Armstrong said: the epitome of utter dejection and have single- “You got to love to be able to play.” handedly failed the entire human species. —Joyce DiDonato How we grow to hate these songs for chal - lenging our musical souls! How could some - What Makes a Great Song? thing that looks so benign on the page be the Love is a red, red rose. Love is heaven, love is cause of such wretched anguish? Most of these hell. Still, all the world loves a lover, even if love poor pieces that have been battered around over is blind.

 PROGRAM NOTES

And so the list of clichés goes on. However Which brings us to the lyrics. Divorced from much we try to pin love down in metaphors, their melodies, lyrics can oen seem clichéd, poetry, and greeting cards, nobody has ever yet banal, or even downright ridiculous. Who could found a satisfactory definition. e same might possibly imagine the greatness of “She loves you, be said of what it is that makes a good song. yeah, yeah, yeah” just from reading the lyrics? Is it the ? e words? e performer? As Stephen Sondheim has written, “it’s usually A combination of all the above? the plainer and flatter lyric that soars poetically Perhaps it is because of their inherent elu - when infused with music. Poetry doesn’t need siveness that “love” and “great songs” make such music; lyrics do.” So, for a great song that can a good combination. Yes, there are songs about stand the test of time, the lyrics should ideally railway stations, stately homes, and double- be simple, and deal with universal situations (or, decker buses—but they are dwarfed by the to employ songwriting jargon, “be relatable”). number of songs about the pleasures and pains And, ideally, they should rhyme, too. “A perfect of love. Every one of the songs Joyce DiDonato rhyme snaps the word, and with it the thought, sings this evening tackles the subject, whether vigorously into place.” at’s Sondheim again. it be from the perspective of an 18th-century It’s a bugbear for English-language , swain, or a 20th-century dame. of course, that the only useable rhymes for love But if writing a great song were just a case of are dove, glove, shove, and above. flinging a few ideas about love onto a tune ere’s an ineffable mystery about the way then—as the saying goes—we would all be words link to turns of melody. Sometimes it’s doing it. ere also has to be a feeling of fresh - witty and imitative. Handel oen employs as - ness and spontaneity, something that keeps cending melodies on the word “rise,” for exam - the song alive no matter how many times it is ple, and in “With a Song in My Heart” you can heard. is aspect of a work’s greatness is rooted hear how the accompaniment broadens on the in an idea that Joyce explores here: that of im - phrase “as the music swells.” But sometimes provisation. In the Baroque era, improvisation there’s simply a feeling of melodic rightness to a was a highly prized skill for all musicians, but word that’s impossible to explain or analyze. especially for singers. Composers wrote a type ere are a few other common points that of aria (the “da capo” aria) that repeated an ini - great songs share. Length is one of these: most tial section of music, simply in order to give songs are about four minutes long, stretching to singers a chance to embellish it on the repeat. five. is brevity means that a good song has Performers were expected to display fresh in - to hook the listener in quickly, and establish the vention night aer night—and a face full of rot - mood immediately. Is this going to be a happy or ten fruit awaited the singer who dared to use sad song? Ironic, or heartfelt? Silly, or scabrous? the same tricks twice. Baroque songs and arias e has to let the audience know im - later became notated and fixed in aspic, so to mediately, and then either intensify the atmos - speak, so it’s exciting to hear them returned to phere or play with the expectations it sets up. their roots in the way that Joyce does here. And last, but by no means least, there’s the Improvisation is also at the very heart of the performer. It’s wonderful when you hear an hits of the . ese artist who has something to say, and who can works are all rooted in the idioms of jazz, and transform song with their energy. Piaf singing written in such a way as to encourage perform - “La Vie en rose,” Bobby McFerrin singing “Be ers to make them their own with new accom - Happy…”—they’re perfect examples of the sub - paniments and surprising melodic twists. Who lime mystery of singer-meets-song. And on that would want to sacrifice Lotte Lenya’s “Mackie note (pun intended) we come back to the very Messer” for Ella Fitzgerald’s “Mack the Knife,” great artist who is making these songs her own, for example, or vice versa? (Ella Fitzgerald ac - too. Great songs, with a great singer—what tually forgot the words in her famous live could be better? version—so she really was improvising.) —Warwick ompson

 PLAYBILL ABOUT THE ARTISTS

ulti Grammy Award winner and re - Hamburg with the Orchestre Révolutionnaire cipient of the 2018 Olivier Award for et Romantique under Sir , MOut standing Achieve ment in , and with the at Carnegie Kansas-born Joyce DiDonato entrances audi - Hall under Nézet-Séguin, Il pomo d’oro under ences across the globe and has been proclaimed Emelyanychev on tour to Moscow and Asia, the “perhaps the most potent female singer of her Chicago Symphony Orchestra under Muti, and generation” by e New Yorker . With a voice the Accademia Santa Cecilia Orches tra under “nothing less than 24-carat gold,” according to Pappano. e season also sees the release of the London Times , DiDonato has soared to the her latest major recording on Warner, SongPlay , top of the industry both as a performer and a which will tour the , and Winter - fierce advocate for the arts, gaining international reise in recital in Kansas City and Ann Arbor prominence in by Handel and Mozart, with Nézet-Séguin at the piano, and will culmi - as well as through her wide-ranging, acclaimed nate in a tour of the US and Europe with NYO discography. She is also widely acclaimed for USA under Pappano. the bel canto roles of Rossini and Donizetti. An exclusive recording artist with Erato/ Much in demand on the concert and recital , DiDonato’s recent release circuit she has recently held residencies at of won the recording (complete Car negie Hall and at London’s ; opera) category at the 2018 International Opera toured extensively in the United States, South Awards, the opera award at the 2018 BBC America, Europe, and Asia; and appeared as Music Magazine Awards, and is nominated in a guest soloist at the BBC’s Last Night of the the opera category at this year’s Gramophone Proms . Recent highlights include the Rotterdam Awards. A busy recording artist, her other re - Philharmonic under Yannick Nézet-Séguin, cent albums include In War & Peace, which the under Sir Simon won the 2017 Best Recital Gramophone Award; Rattle, the Chicago Symphony Orchestra under Stella di Napoli ; and her Grammy-Award- Ricar do Muti, and extensive touring with Il winning Diva Divo and Drama Queens . Other pomo d’oro under Maxim Emelyanychev, as honors include the Gramophone Artist of the well as recitals with the Brentano Quartet at Year and Recital of the Year awards, and an in - and with at duction into the . e Royal Opera. In opera, DiDonato’s recent roles include Lauded for his “sensitive Sister Helen in at the Teatro and stylish” ( e New Real Madrid and London’s Barbican Centre; her York Times ) and “superb” first Didon in Les Troyens under John Nelsons ( ) playing, in Strasbourg; her first in a new pianist Craig Terry enjoys production at the ; the title an international career role in on tour with the English Con- performing with the cert and ; the roles of Semiramide world’s leading singers and Charlotte under Pappano at e and instrumentalists. Currently Terry serves as Royal Opera; the title role in ; Adal - music director of the Patrick G. and Shirley gisa in ; Elena in at the W. Ryan Opera Center at the Lyric Opera of ; and the title role in Maria Chicago aer having served for 11 seasons at Stuarda for the Metropolitan Opera, e Royal the Lyric as assistant conductor. Previously, he Opera, and the . served as assistant conductor at the Metro - DiDonato’s 2018 –19 season sees her first politan Opera aer joining its Lindemann staged Didon/ Les Troyens at the Vienna State Young Artist Development Program. Along Opera, her Sesto at the Metropolitan Opera, with Joyce DiDonato, Terry has performed and in concert with Il pomo d’oro. with such esteemed vocalists as , She will also perform at the BBC Proms and in , Christine Brewer, Lawrence

 ABOUT THE ARTISTS

Brownlee, Nicole Cabell, Sasha Cooke, Eric Nina Simone, Jean-Pierre Cutler, Danielle de Niese, Giuseppe Filianoti, Rampal, Tony Willi ams, Renée Fleming, Susan Graham, , Eric Dolphy, Jim Hall, Bryan Hymel, Brian Jagde, Joseph Kaiser, , Patti Quinn Kelsey, Kate Lindsey, Ana María Martí - Austin, , nez, Eric Owens, Ailyn Perez, Nicholas Phan, George Russell, the Kro - , Luca Pisaroni, , nos String Quartet, and Hugh Russell, Bo Skovhus, Garrett Sorenson, countless others. Heidi Stober, Amber Wagner, Laura Wilde, and Among Israels’ many recordings as a bassist, Catherine Wyn-Rogers. He has collaborated as some outstanding efforts include Coltrane Time a chamber musician with members of the with John Coltrane; My Point of View with Metropolitan Opera Orchestra, the Lyric Opera Herbie Hancock; Getz au Go-Go with Stan of Chicago Orchestra, the Gewandhaus Or - Getz; and many recordings with the Bill Evans chester, and the Pro Arte String Quartet. Trio, including e Town Hall Concert, e Terry’s 2018 –19 season recital performance Second Trio, Trio ‘65, Live at the Trident, and schedule includes more than 30 concerts in Time Remembered . North America, Europe, and Australia with As a composer and arranger, Israels has writ - artists including Stephanie Blythe, Christine ten for Bill Evans, John Coltrane, Jazz at Lincoln Brewer, , Jennifer Johnson Center Orchestra with Wynton Marsalis, the Cano, Susan Graham, Ana María Martínez, Berkshire Music Center, Richard Stoltzman, Eric Owens, Nicholas Phan, Patricia Racette, Eastman Jazz Ensemble, Swedish Radio Jazz Hugh Russell, and Heidi Stober. He is the artis - Orchestra, West German Radio Jazz Orchestra, tic director of “Beyond the Aria,” a highly ac - North German Radio Jazz Orchestra, Radio claimed recital series now in it’s fih sold-out Denmark Jazz Orchestra, Hannover Symphony season, presented by the Harris eater in Orchestra, Metropole Orchestra, and others. collaboration with the Ryan Opera Center and . Terry’s discography If you were to list all the includes three recently released recordings: groups Jimmy Madison Diva on Detour with Patricia Racette, As Long has worked with since he As ere Are Songs with Stephanie Blythe, and arrived in New York, it Chanson d’Avril with Nicole Cabell. His latest would read like a Who’s recording project with Joyce DiDonato, Song - Who of modern music. A play, was released by Warner Classics earlier musician since the age of this month four, and a professional at Craig Terry hails from Tullahoma, Tennes - age 12, he has been playing jazz all his life. see, received a bachelor of music degree in Madison le Cincinnati to join Miami trum - music education from Tennessee Technological peter Don Goldie at age 19, and was quickly University, continued his studies at Florida State hired by bandleader aer a gig University, and earned a master’s of music de - at New York’s renowned Metropole. Since then, gree in collaborative piano from the Manhattan he has performed and recorded with such School of Music, where he was a student of pi - diverse musical stylists as Marion McPartland, anist Warren Jones. James Brown, , Nina Simone, Al Cohn, Joe Farrell, George Ben son, Richie Acclaimed as one of the preeminent bassists Havens, , Hubert Laws, Lee Konitz, in the world, Chuck Israels has performed and Anita O’Day, Art Farmer, John Lewis, Shirley recorded with Billie Holiday, Benny Goodman, MacLaine, Maceo Parker, Ron Carter, Jon Herbie Hancock, John Coltrane, Bud Powell, Hendricks, the Joffrey Ballet, Chet Baker, Coleman Hawkins, Stan Getz, Bill Evans, J.J. Quincy Jones, Toots eil emans, and the Duke Johnson, Rosemary Clooney, Barbra Streisand, Ellington Or chestra, to name only a few.

 PLAYBILL ABOUT THE ARTISTS

Honing the skills necessary to accompany ough a recent trans - the various types of music played or sung or plant to the West Coast, danced by the artists listed above has given Charlie Porter first cut Madison a rich appreciation for all forms of his teeth on the New York music. His work as a teacher/clinician has jazz scene, while simulta - broadened that appreciation even more. neously studying classical Although Madison has led groups on sev - trumpet performance at eral occasions, including an 18-piece big band the under with composer Angel Rangelov, he is mostly the tutelage of famed trumpeter and composer known as a sideman, having long been featured Wynton Marsalis, who described Porter’s play - at jazz venues internationally. Once, in a review ing as “fiery and intelligent.” of the Red Rodney Quintet’s appearance at Following in the footsteps of his mentor, New York City’s Blue Note, Gary Giddens of the gied trumpeter and composer has delved the Village Voice called Madison “the best kept into projects ranging from jazz and classical to secret in jazz.” Arabic, Indi an, African, Australian Aboriginal, and Korean music, seeking to find common Lautaro Greco (bando - ground among all “good music” and avoiding neon ) studied at the Astor the pigeonhole of being dubbed solely a “jazz” Piazzolla Music School in or “classical” artist. Highly influential in shap - . Together ing Porter’s inclusive view of music have been e m

m with his brother Emiliano his tours with his quartet throughout India, o c l e Greco, he leads the Grecos China, West Africa, and South east Asia as part W n a i Tango Septet, and he is of Jazz at ’s American Music t s i r

C also a member of Leo- Abroad program pol do Federico’s Orchestra and the Pablo Agri Porter has toured the world as a sideman and Quar tet. Greco has been a soloist at the Juan bandleader in jazz and also as a classical soloist de Dios Filberto National Orchestra of Argen - and chamber musician. He has performed and tine Music since 2007. recorded with many notable musicians and Both as an ensemble member and as a groups over the last 20 years, ranging from jazz soloist, Greco has taken part in many musical greats like Joe Zawinul, Paquito D’Rivera, Char - tours and events in the Americas, Europe, and lie Persip, and Chuck Israels, to classical artists Asia. In 2010 he performed the closing act at including Simone Dinnerstein and Sarah Chang, the Buenos Aires City Tango Festival with Leo - and world music greats Goran Bregovic, Basse - poldo Federico’s Orchestra and the prestigious kou Kouyate, Marcel Khalife, and Kim Duksoo. Panamanian singer Rubén Blades; in 2008 He is also founding member of the Grammy- he worked with Sexteto Mayor, with whom he nominated electro-acoustic Absolute Ensemble, recorded an album that won the Carlos Gardel directed by Kristjan Jarvi. Award for Best Tango Orchestra Album; also Porter holds degrees from the Juilliard in 2008 Greco took part in a solo tour of School and Manhattan School of Music in jazz France with the Pablo Agri Quartet. In 2013, at and classical performance. He was also a Ful - the Buenos Aires City Tango Festival, Greco bright Scholar at the Paris Conservatory. As a performed with the Arregladores de Troilo composer Porter has been commissioned by Or ches tra. He was a bandoneon soloist and Chamber Music America and the Doris Duke per formed Tangos y Postangos (Suite No. 1), Foundation. directed by Ernesto Jodos and Pedro Casis. Recently, Greco has been busy recording and performing with the Quinteto Astor Piazzolla, as well collaborating with many international orchestras.

 TEXTS AND TRANSLATIONS

Caro mio ben attrib. to Tommaso Giordani Caro mio ben, My dear beloved, credimi almen, believe me at least, senza di te without you languisce il cor. my heart languishes.

Il tuo fedel Your faithful one sospira ognor. always sighs; Cessa, crudel, cease, cruel one, tanto rigor! so much punishment!

Amarilli, mia bella Giulio Caccini Amarilli, mia bella, Amaryllis, my lovely one, Non credi, o del mio cor dolce desio, do you not believe, o my heart’s sweet desire, D’esser tu l’amor mio? at you are my love? Credilo pur: e se timor t’assale, Believe it thus: and if fear assails you, [Dubitar non ti vale.] Doubt not its truth. Aprimi il petto e vedrai scritto in core: Open my breast and see written on my heart: Amarilli, Amarilli, Amarailli Amaryllis, Amaryllis, Amaryllis, è il mio amore. Is my beloved.

is Masquerade Leon Russell (1972) I’m up on the tightrope, one side’s hate and I’m up in the spotlight, oh does it feel right one is hope e altitude seems to really get to me. It’s a circus game with you and me. I’m up on the tightwire linked by life I’m up on the tightwire, linked by life and the funeral pyre and the funeral pyre Putting on a show for you to see. But the tophat on my head is all you see.

And the wire seems to be the only place for me A comedy of errors and I’m falling Like a rubber-neck giraffe, you look into my past Well, baby you’re just too blind to see.

 PLAYBILL TEXTS AND TRANSLATIONS

Se tu m’ami/Star vicino Allesandro Parisotti/attrib. to Salvator Rosa Se tu m’ami, se sospiri If you love me, if you sigh Sol per me, gentil pastor, Only for me, dear shepherd, Ho dolor de’ tuoi martiri, I am sorrowful for your sufferings; Ho diletto del tuo amor, yet I delight in your love. Ma se pensi che soletto But if you think that Io ti debba riamar, I must in return love only you, Pastorello, sei soggetto Little shepherd, you are subject Facilmente a t’ingannar. To deceiving yourself easily.

Bella rosa porporina e beautiful purple rose Oggi Silvia sceglierà, Will Silvia choose today; Con la scusa della spina With the excuse of its thorns, Doman poi la sprezzerà. Tomorrow, then, will she despise it. Ma degli uomini il consiglio But the advice of the men Io per me non seguirò. I will not follow – Non perché mi piace il giglio Just because the lily pleases me, Gli altri fiori sprezzerò. I do not have to despise the other flowers.

Star vicino al bell’idol che s’ama, To stay near the beautiful idol that is loved, È il più dolce diletto d’amor, Is the sweetest delight of love. È un incanto, un’ebbrezza, una brama, It is an enchantment, an intoxication, a longing, Che due cori congiunge in un cor. at joins two hearts into one heart.

Fortunato chi intende gli accenti Fortunate is he who understands the accents Di un affetto sincero e fedel! Of a sincere and faithful affection! Egli prova vivendo i contenti He experiences while he lives the satisfactions Sol concessi ai beato nel ciel! Only granted to those blessed in heaven!

A che giova l’estate fiorita? What use is the flowering summer? Ogni bene che il cielo ne diè [Or] Every good that heaven bestows[?] Non si conti fra i giorni di vita Not among the days of one’s life Quel che scorso in amando non è. Should be counted that day not spent in loving.

 TEXTS AND TRANSLATIONS “Will He Like Me?,” from She Loves Me Jerry Bock and Sheldon Harnick Will he like me when we meet? Will he like me, who can say? Will the shy and quiet girl he’s going to see How I wish that we could meet another day Be the girl that he’s imagined me to be? It’s absurd for me to carry on this way Will he like me? I’ll try not to Will he like me? Will he like the girl he sees? He’s just got to If he doesn’t, will he know enough to know at there’s more to me than I may When I am in my room alone and I write always show? oughts come easily, words come Will he like me? fluently then at’s how it is when I’m alone Will he know that there’s a world of love But tonight, there’s no hiding behind my Waiting to warm him? paper and pen How I’m hoping that his eyes and ears Won’t misinform him

Tu lo sai Giuseppe Torelli Tu lo sai quanto t’amai, You now know how I loved you, Tu lo sai, lo sai crudel! You now know, my cruel love! Io non bramo altra mercè, Other loves I don’t desire, Ma ricordati di me, just remember your old lover E poi sprezza un infedel. bringing scorn to the unfaithful.

(In My) Solitude Duke Ellington In my solitude I sit in my chair You haunt me And filled with despair With dreadful ease ere’s no one could be so sad Of days gone by With gloom everywhere In my solitude I sit and I stare You taunt me I know that I’ll soon go mad With memories In my solitude at never die I’m afraid Dear Lord above Send back my love

 PLAYBILL TEXTS AND TRANSLATIONS Quella fiamma che m’accende attrib. to Benedetti Marcello Il mio bel foco, My fire of love, o lontano o vicino ch’esser poss’io, however far or near I might be, senza cangiar mai tempre per voi, never changing, will always be burning care pupille, arderà sempre. for you, dear eyes.

Quella fiamma che m’accende, at flame which kindled me piace tanto all’alma mia, is so pleased with my soul che giammai s’estinguerà. that it never dies. E se il fato a voi mi rende, And if fate entrusts me to you, vaghi rai del mio bel sole, lovely rays of my beloved sun, altra luce ella non vuole my soul will never be able nè voler giammai potrà. to long for any other light.

Nel cor piu mio non sento Giovanni Paisiello Nel cor più non mi sento I no longer feel within my heart Brillar la gioventù; the accustomed brightness of my youth, Cagion del mio tormento, O Love, it’s your fault Amor, sei colpa tu. that I feel so tormented. Mi pizzichi, mi stuzzichi, You pinch me, you poke me, Mi pungichi, mi mastichi; you prick me, you grind me. Che cosa è What is this, alas? Questo ahimè? Pietà, pietà, pietà! Have pity, I beg! Amore è un certo che, Love is a certain something Che disperar mi fa. which arouses in me despair.

Lullaby of Birdland And there’s a weepy old willow George Shearing and George David Weiss He really knows how to cry Lullaby of Birdland, that’s what I at’s how I’d cry in my pillow Always hear when you sigh If you should tell me farewell and goodbye Never in my wordland Could there be ways to reveal Lullaby of Birdland whisper low In a phrase how I feel Kiss me sweet and we’ll go Flyin’ high in Birdland Have you ever heard two turtle doves High in the sky up above Bill and coo when they love? All because we’re in love at’s the kind of magic Music we make with our lips when we kiss

 TEXTS AND TRANSLATIONS Lean Away Gene Scheer I let my sail out slowly, taking pains Lean away, lean away. to find the wind. Some things can’t be known, But until I turned my boat away, like the wonder of a melody, the sail could not be trimmed. how it makes you feel home. Tacking towards the wind, but never face to face. I remember when I saw you. I feel what I don’t see: an invisible embrace. It was a cold winter night. Lean away, lean away. e moon was hidden by the clouds. Some things can’t be known, I remember only light. like the wind that takes you home. I have searched to find a way love to understand. I remember hearing a melody, But I finally gave up trying. but when I started to describe It’s enough to hold your hand. all the things it made me feel, Lean away, lean away. its spirit slowly died. Some things can’t be known, Now I choose to hum the things like the love I feel for you, I cannot explain. how it makes me feel home. And feel my roots spread out like a tree that drinks the rain.

“With a Song in My Heart,” from Spring is Here Richard Rodgers and Lorenz Hart ough I know that we meet every night Oh, the moon’s not a moon for a night And we couldn’t have changed since the last time And these stars will not twinkle and fade out To my joy and delight And the words in my ears It’s a new kind of love at first sight Will resound for the rest of my years ough it’s you and it’s I all the time In the morning I find with delight Every meetings’ a marvellous pastime Not a note of our music is played out You’re increasingly sweet It will be just as sweet So wherever we happen to meet And an air that I’ll live to repeat I greet you… I greet you…

With a song in my heart With a song in my heart I behold your adorable face I behold your adorable face Just a song at the start Just a song at the start But it soon is a hymn to your grace But it soon is a hymn to your grace When the music swells When the music swells I’m touching your hand I’m touching your hand It tells me you’re standing near, and… It tells that you’re standing near, and…

At the sound of your voice At the sound of your voice Heaven opens its portals to me Heaven opens its portals to me Can I help but rejoice Can I help but rejoice at a song such as ours came to be at a song such as ours came to be But I always knew But I always knew I would live life through I would live life through With a song in my heart for you With a song in my heart for you

 PLAYBILL