Sunday, March 25, 2018, 3pm Hertz Hall Julia Bullock, soprano John Arida, piano

Franz SCHUBERT (1797 –1828) Suleika I Lachen und Weinen Wanderers Nachtlied II Seligkeit

Samuel BARBER (1910 –1981) Hermit Songs At St Patrick’s Purgatory Church Bell at Night St Ita’s Vision The Heavenly Banquet The Crucifixion Sea-Snatch Promiscuity The Monk and his Cat The Praises of God The Desire for Hermitage

INTERMISSION

 Gabriel FAURÉ (1845 –1924) From La chanson d’Ève Prima verba Roses ardentes Comme Dieu rayonne Veilles-tu, ma senteur de soleil Crépuscule O mort, poussière d’étoile

Spencer WILLIAMS (1889 –1969) Driftin’ Tide*

Maceo PINKARD (1897 –1962) You Can’t Tell the Difference After Dark*

Cora “Lovie” AUSTIN (1887 –1972) Downhearted Blues* Alberta HUNTER (1895 –1984)

Jeremy SISKIND (b. 1986) Frog Tongue Stomp: A Lovie Austin Tribute*

Billie HOLIDAY (1915 –1959) Our Love is Different* Sonny WHITE (1917 –1971)

Nina SIMONE (1933 –2003) Revolution Weldon Jonathan IRVINE, Jr. (1943–2002)

SIMONE Four Women*

* arrangements by Jeremy Siskind

Cal Performances’ 2017 –18 season is sponsored by Wells Fargo.

 PLAYBILL ABOUT THE ARTISTS

Equally at home with opera and concert Medical Center, and the Shropshire Music repertoire, soprano Julia Bullock has captivated Foun dation, a nonprofit that serves war- audiences with her versatile artistry and com - affected children and adolescents through manding stage presence. During the current music education and performances in Kosovo, season, s he launched the Boston Symphony Or - Northern Ireland, and Uganda. chestra’s season joining Andris Nelsons in its Bernstein Gala; made her San Francisco Opera debut in the world premiere of Girls of the Golden West, composed by John Adams to a li - bretto by Peter Sellars; sang Pamina in concert performances of Die Zauberflöte with Gustavo Dudamel and the Los Angeles Philharmonic; joined the Dutch National Opera in a company premiere of Simon McBurney’s The Rake’s Prog - ress ; sang Maria in a concert version of West Side Story with Tokyo’s NHK Orchestra, led by Paavo Järvi; and in July will makes her Santa Fe Opera debut in a new Peter Sellars production of Doctor Atomic by John Adams. Bullock has also performed as Clara in Porgy and Bess with the Sydney Symphony Orchestra; John Arida is a pianist and coach based in New with the Los Angeles Philharmonic in John York City who specializes in both opera and art Adams’ El Niño ; in West Side Story at the Holly- song. His performances in Central City Opera’s wood Bowl, conducted by Gustavo Dudamel; 2017 summer season of Amy Beach’s Cabildo and as a soloist with orchestras including and Douglas Moore’s Gallantry were critically the London Symphony Orchestra with Simon acclaimed. Arida’s 2017 –18 season includes a re - Rattle, the New York Philharmonic with Alan cital tour with mezzo-soprano Isabel Leonard. Gilbert, and the San Francisco Symphony with He holds staff positions at the Juilliard School Michael Tilson Thomas. and Central City Opera, and is on the panel Bullock participated in the Artists-in- for the Denver Lyric Opera Guild competition. Training program with the Opera Theater of Arida has served as staff pianist at the Juilliard St. Louis. Her accolades include a 2016 Sphinx School, Virginia Opera, Central City Opera, Foundation Medal of Excellence, Lincoln Cen - the Castleton Festival, and the Prototype Festi - ter’s 2015 Martin E. Segal Award, First Prize at val, where he prepared the New York premiere the 2014 Naumburg International Vocal Com - of anatomy theater by Pulitzer Prize winner petition, and First Prize at the 2012 Young David Lang. Concert Artists International Auditions. She Other notable engagements include a per - holds the Lindemann Vocal Chair of YCA, formance at Carnegie Hall, and recital debuts and her management is also supported by the with Isabel Leonard in Mexico and soprano Barbara Forester Austin Fund for Art Song. Simone Osborne in Toronto. He performed with She holds degrees from the Eastman School Sir James Galway in the live-streamed memo - of Music and the Bard Graduate Vocal Arts rial tribute to Maestro Lorin Maazel and has Pro gram, and an Artist’s Diploma from the worked with Peter Sellars on Kaija Saariaho’s La Juilliard School. Passion de Simone for the orchestral academy of Originally from St. Louis, Bullock integrates the Berliner Philharmoniker and the Ojai Festi- her musical life with community activism. She val (seen here in Zellerbach Playhouse in 2016). has organized and participated in benefit con - Arida holds a master’s degree in collaborative certs in support of the FSH Society, the Music piano from Juilliard as well as a bachelor’s degree and Medicine Initiative for New York’s Weill in vocal performance from SUN Y Purchase.

 TEXTS AND TRANSLATIONS

FRANZ SCHUBERT

Suleika I, D. 720 [Marianne von Willemer (1784 –1860)] (written 1821, pub. 1822) Was bedeutet die Bewegung? What does the motion mean? Bringt der Ost mir frohe Kunde? Does the East bring me glad tidings? Seiner Schwingen frische Regung The refreshing and stirring of its oscillation Kühlt des Herzens tiefe Wunde. Chills the deep wound of my heart.

Kosend spielt er mit dem Staube, It gently plays with the dust, Jagt ihn auf in leichten Wölkchen, Chasing it into light clouds, Treibt zur sichern Rebenlaube And drives the cheerful insect-folk Der Insekten frohes Völkchen. Into the security of the arbor vines.

Lindert sanft der Sonne Glühen, It softly relieves the sun’s glow, Kühlt auch mir die heißen Wangen, It also cools my hot cheeks, Küßt die Reben noch im Fliehen, It kisses the vines as it flees, Die auf Feld und Hügel prangen. Which are emblazoned on the fields and hills.

Und mir bringt sein leises Flüstern And its soft whispering brings me Von dem Freunde tausend Grüße; A thousand greetings from my beloved; Eh’ noch diese Hügel düstern, Before these hills dim, Grüßen mich wohl tausend Küsse. I am greeted by a thousand kisses.

Und so kannst du weiter ziehen! And so, you can go on your way! Diene Freunden und Betrübten. Attend to friends and those distressed. Dort wo hohe Mauern glühen, There, where high walls glow, Dort find’ ich bald den Vielgeliebten. There, I shall soon find my dearly beloved.

Ach, die wahre Herzenskunde, Oh, the true tidings of his heart, Liebeshauch, erfrischtes Leben Love’s breath, and refreshing life Wird mir nur aus seinem Munde, Come to me only from his mouth, Kann mir nur sein Athem geben. And can be given to me only by his breath.

Lachen und Weinen, D. 777 Laughing and Weeping [Friedrich Rückert (1788 –1866)] Lachen und Weinen zu jeglicher Stunde Laughing and weeping at any hour Ruht bei der Lieb auf so mancherlei Grunde. Rest on so many reasons when it comes to love. Morgens lacht’ ich vor Lust, In the morning I laugh for joy, Und warum ich nun weine And why I now weep Bei des Abendes Scheine, In the evening glow, Ist mir selb’ nicht bewußt. Is something unknown to me.

 PLAYBILL TEXTS AND TRANSLATIONS

Weinen und Lachen zu jeglicher Stunde Weeping and laughing at any hour Ruht bei der Lieb’ auf so mancherlei Grunde. Rest on so many reasons when it comes to Love. Abends weint’ ich vor Schmerz; In the evening I weep for sorrow; Und warum du erwachen And why can you awaken Kannst am Morgen mit Lachen, In the morning with laughter, Muß ich dich fragen, o Herz. Must I ask you, o heart.

Wandrers Nachtlied II, D. 768 Wanderer’s Nightsong II [Johann Wolfgang von Goethe (1749 –1832)] (written c. 1823, pub. 1827) Über allen Gipfeln Over all the summits Ist Ruh, Is peace, In allen Wipfeln In all the treetops Spürest du You feel Kaum einen Hauch; Hardly a breath; Die vöglein schweigen im Walde. The birds fall silent in the forest. Warte nur, balde Only wait, soon Ruhest du auch. You too shall rest.

Seligkeit, D. 433 Bliss [Ludwig Heinrich Christoph Hölty] Freuden sonder Zahl Joys without number Blühn im Himmelssaal Bloom in heaven’s hall Engeln und Verklärten, For angels and transfigured beings, Wie die Väter lehrten. As our fathers taught us. O da möcht ich sein, O, there I would like to be Und mich ewig freun! And forever rejoice!

Jedem lächelt traut Upon everyone dearly smiles Eine Himmelsbraut; A heavenly bride; Harf und Psalter klinget, Harp and psalter resound, Und man tanzt und singet. And one dances and sings. O da möcht’ ich sein, O, there I would like to be Und mich ewig freun! And rejoice forever!

Lieber bleib’ ich hier, I’d rather stay here, Lächelt Laura mir Smiling, Laura sends me Einen Blick, der saget, A look that says, Daß ich angeklaget. I was accused. Selig dann mit ihr, Blissfully then with her, Bleib’ ich ewig hier! I will stay here forever!

—Translations by Julia Bullock Edited by Christian Reif

 TEXTS AND TRANSLATIONS

SAMUEL BARBER Saint Ita’s Vision Hermit Songs Attributed to St. Ita, 8th century Translated by Chester Kallman (1921 –1975) At Saint Patrick’s Purgatory “I will take nothing from my Lord,” said she, 13th century anonymous Irish text “unless He gives me His Son from Heaven Translated by Seán Ó Faoláin (1900 –1991) In the form of a Baby that I may nurse Him.” Pity me on my pilgrimage to Loch Derg!* So that Christ came down to her O King of the churches and the bells in the form of a Baby and then she said: bewailing your sores and your wounds, “Infant Jesus, at my breast, But not a tear can I squeeze from my eyes! Nothing in this world is true Not moisten an eye after so much sin! Save, O tiny nursling, You. Pity me, O King! Infant Jesus at my breast, What shall I do with a heart that seeks only By my heart every night, its own ease? You I nurse are not a churl O only begotten Son by whom all men But were begot on Mary the Jewess were made, By Heaven’s light. who shunned not the death by three wounds, Infant Jesus at my breast, pity me on my pilgrimage to Loch Derg What King is there but You who could and I with a heart not softer than a stone! Give everlasting Good? wherefor I give my food. * Loch Derg (Red Lake) in County Donegal has been a Sing to Him, maidens, sing your best! place of pilgrimage from very early times There is none that has such right To your song as Heaven’s King Who every night Church Bell at Night Is Infant Jesus at my breast.” 12th century anonymous Irish text Translated by Howard Mumford Jones (1892 –1980) The Heavenly Banquet Sweet little bell, struck on a windy night, Attributed to St. Brigid, 10th century I would liefer keep tryst with thee Translated by Seán Ó Faoláin (1900 –1991) Than be I would like to have the men of Heaven in my With a light and foolish woman. own house; with vats of good cheer laid out for them. I would like to have the three Marys, their fame is so great. I would like people from every corner of Heaven. I would like them to be cheerful in their drinking. I would like to have Jesus sitting here among them. I would like a great lake of beer for the King of Kings. I would like to be watching Heaven’s family Drinking it through all eternity.

6 PLAYBILL TEXTS AND TRANSLATIONS

The Crucifixion For you it is hunting, for me study. from The Speckled Book , 12th century Your shining eye watches the wall; Translated by Howard Mumford Jones my feeble eye is fixed on a book. (1892 –1980) You rejoice when your claws, At the cry of the first bird Entrap a mouse; They began to crucify Thee, O Swan! I rejoice when my mind Never shall lament cease because of that. Fathoms a problem. It was like the parting of day from night. Pleased with his own art Ah, sore was the suffering borne Neither hinders the other; By the body of Mary’s Son, Thus we live ever But sorer still to Him was the grief Without tedium and envy. Which for His sake Pangur, white Pangur, Came upon His Mother. How happy we are Alone together, Scholar and cat. Sea-Snatch 8th-9th century anonymous Irish text Translated by Kenneth H. Jackson The Praises of God (1909 –1991) 11th century anonymous Irish text It has broken us, it has crushed us, it has Translated by W.H. Auden (1907 –1973) drowned us, How foolish the man O King of the starbright Kingdom of Heaven! Who does not raise the wind has consumed us, swallowed us, His voice and praise as timber is devoured by crimson fire from With joyful words, Heaven. As he alone can, It has broken us, it has crushed us, it has Heaven’s High King. drowned us, To whom the light birds O King of the starbright Kingdom of Heaven! With no soul but air, All day, everywhere Laudation sing. Promiscuity 9th century anonymous Irish text Translated by Kenneth H. Jackson The Desire of Hermitage (1909 –1991) 8th-9th century anonymous Irish text I do not know with whom Edan will sleep, Based on a translation by Seán Ó Faoláin but I do know that fair Edan will not sleep (1900 –1991) alone. Ah! To be all alone in a little cell with nobody near me; beloved that pilgrimage before the last pil - The Monk and His Cat grimage to death. 8th or 9th century anonymous Irish text Singing the passing hours to cloudy Heaven; Translated by W.H. Auden (1907 –1973) feeding upon dry bread and water from the Pangur, white Pangur, cold spring. How happy we are That will be an end to evil when I am alone Alone together, in a lovely little corner among tombs Scholar and cat. far from the houses of the great. Each has his own work to do daily; Ah! To be

7 TEXTS AND TRANSLATIONS

GABRIEL FAURÉ From La chanson d’Ève From The Song of Eve [Poèmes de Charles Van Lerberghe (1861 –1907)]

II. Prima Verba II. First Word Comme elle chante How it sings Dans ma voix In my voice, L’âme longtemps murmurante The long-murmuring soul Des fontaines et des bois! Of the fountains and the woods.

Air limpide du paradis, Limpid air of paradise, Avec tes grappes de rubis, With your clusters of rubies, Avec tes gerbes de lumière, With your bouquets of light, Avec tes roses et tes fruits, With your roses and your fruits,

Quelle merveille en nous à cette heure! What marvels within us at this hour! Des paroles depuis des âges endormies, Some words that have slumbered for ages, En des sons, en des fleursS In sounds, in flowers, ur mes lèvres enfin prennent vie. On my lips at last, take life.

Depuis que mon souffle a dit leur chanson, Since my breath has said their song, Depuis que ma voix les a créées, Since my voice created them, Quel silence heureux et profond What joyous and profound silence, Naît de leurs âmes allégées! Is born of their souls made light.

III. Roses ardentes III. Ardent Roses Roses ardentes Ardent roses Dans l’immobile nuit, In the motionless night, C’est en vous que je chante It is in you that I sing Et que je suis. And that I am.

En vous, étincelles, It is in you, sparkling, À la cime des bois, At the summit of the forests Que je suis éternelle, That I am eternal Et que je vois. And that I see.

Ô mer profonde, O profound sea, C’est en toi que mon sang It is in you that my blood, Renaît vague blonde, Is reborn in white wave, Et flot dansant. And dancing tide.

Et c’est en toi, force suprême, It is in you, supreme force, Soleil radieux, Radiant sun, Que mon âme elle-même That my soul itself, Atteint son dieu! Attains its god!

7B PLAYBILL TEXTS AND TRANSLATIONS

IV. Comme Dieu rayonne IV. How God radiates today Comme Dieu rayonne aujourd’hui, How God radiates today, Comme il exulte, comme il fleurit How he exults, how he flourishes Parmi ces roses et ces fruits! Amongst these roses and fruits!

Comme il murmure en cette fontaine! How he murmurs in this fountain! Ah! comme il chante en ces oiseaux… Ah! how he sings in these birds… Qu’elle est suave son haleine How sweet his breath is Dans l’odorant printemps nouveau! In the fragrant new spring!

Comme il se baigne dans la lumière How he bathes himself in the light Avec amour, mon jeune dieu! With love, my young god! Toutes les choses de la terre All things of the earth Sont ses vêtements radieux. Are his radiant garments.

VII. Veilles-tu, ma senteur de soleil VII. Are you watching, my scent of sun Veilles-tu, ma senteur de soleil, Are you watching, my scent of sun, Mon arôme d’abeilles blondes, My aroma of blonde bees, Flottes-tu sur le monde, Do you float above the world, Mon doux parfum de miel? My sweet perfume of honey?

La nuit, lorsque mes pas At night, while my steps Dans le silence rôdent, roam in silence, M’annonces-tu, senteur de mes lilas, Do you announce me, scent of my lilacs, Et de mes roses chaudes? And my warm roses?

Suis-je comme une grappe de fruits Am I like a cluster of fruit Cachés dans les feuilles, Hidden in the leaves, Et que rien ne décèle, That reveals nothing, Mais qu’on odore dans la nuit? But that one can smell in the night?

Sait-il à cette heure, It is known at this hour, Que j’entr’ouvre ma chevelure, That I let loose my hair, Et qu’elle respire? And that it breathes? Le sent-il sur la terre? Does one sense it above the earth?

Sent-il que j’étends les bras Is it sensed that I extend arms Et que des lys de mes vallées, And that from the lilies of my valleys Ma voix qu’il n’entend pas My voice, which cannot be heard, Est embaumée? Is perfumed with balm?

8 TEXTS AND TRANSLATIONS

IX. Crépuscule IX. Twilight Ce soir, à travers le bonheur, This evening, amidst the happiness, Qui donc soupire, qu’est-ce qui pleure? Who then sighs, what is this that cries? Qu’est-ce qui vient palpiter sur mon cœur, What is this which comes beating on my heart, Comme un oiseu blessé? Like a wounded bird?

Est-ce que une voix future? Is it a future voice, Une voix du passé? A voice from the past? J’écoute, jusqu’à la souffrance, I listen, until it hurts, Ce son dans le silence. To this sound in the silence

Île d’oubli, ô Paradis! .Isle of oblivion, O Paradise! Quel cri déchire, dans la nuit, What cry in the night tears apart Ta voix qui me berce? your voice which rocks me? Quel cri traverse What cry cuts Ta ceinture de fleurs, Your belt of flowers, Et ton beau voile d’allégresse? And your beautiful veil of joy?

X. O mort, poussière d’étoile X. O death, dust of stars Ô mort, poussière d’étoiles, O death, dust of stars Lève-toi sous mes pas! Rise up beneath my steps!

Viens, ô douce vague qui brilles Come, oh sweet wave which gleams Dans les ténèbres; In the darkness; Emporte-moi dans ton néant Carry me in your nothingness.

Viens, souffle sombre où je vacille, Come, somber breath where I flicker Comme une flamme ivre de vent! Like a flame intoxicated by the wind!

C’est en toi que je veux m’étendre, It is in you that I wish myself to expand M’éteindre et me dissoudre, To extinguish and to dissolve, Mort où mon âme aspire! Death, where my soul aspires!

Viens, brise-moi comme une fleur d’écume, Come, break me like a flower of foam Une fleur de soleil à la cime des eaux, A bloom of sun at the crest of the waters!

Et comme d’une amphore d’or And like a golden amphora Un vin de flamme et d’arome divin, A wine of flame and divine aroma, Épanche mon âme Pour out my soul En ton abîme, pour qu’elle embaume Into your abyss, so that it perfumes La terre sombre et le souffle des morts. The dark earth and the breath of the dead.

—Translations by Julia Bullock

8B PLAYBILL TEXTS AND TRANSLATIONS

SPENCER WILLIAMS MACEO PINKARD [PAT CASTLETON (AGNES BAGE)]

Driftin’ Tide You can’t tell the difference after dark (recorded 1935) (recorded 1935) (unreleased on Alberta Hunter’s 1935 album) (written for Alberta Hunter, unreleased All alone, I stand and watch the ocean roll even though it was the title song of her To bemoan, because the blues have got control 1935 album) All alone, I stand with misery in my soul Look what the sun has done to me, Driftin’ Tide, till my man comes back to me. It seems there’s no more fun for me, Why must all the boys act so shy? All the night, I want the shore to ease my mind I have guessed the reason why What a plight to be the one who’s left behind It’s not right, because no piece at all I’ll find, I may be as brown as a berry, Driftin’ tide, I’m as blue as I can be. But that’s only secondary, And you can’t tell the difference after dark. He went away without a warning And now my heart’s in pain, I may not be so appealin’, I wonder with each day that’s dawning But I’ve got that certain feelin’, Will I get him back again? That you can’t tell the difference after dark

I just cry whenever morning comes around They say that gentlemen prefer the blonde Heave a sigh whenever evenin’ sun goes down, haired ladies, That is why close by the ocean, I’ll be found Tell me am I out of style just because Driftin’ tide. I’m slightly shady.

I don’t know where he went to Wait until I’ve won you, That’s why I moaned and sighed, And my love drops down upon you, And still I know he meant to You can’t tell the difference after dark. Leave me dissatisfied.

The ocean drives me crazy Ever since we’ve been apart, What a splashin’, crashin’, dashin’ Cuttin’ me to my heart.

Driftin’ tide, hear my plea Send my sweet man, driftin’ back to me.

I just cry whenever morning comes around, Heave a sigh whenever evenin’ sun goes down, That is why, close by the ocean I’ll be found Driftin’ tide, till my man comes back to me.

 TEXTS AND TRANSLATIONS

CORA “LOVIE” AUSTIN BILLIE HOLIDAY PELEANORA FAGANQ ALBERTA HUNTER SONNY WHITE

Downhearted Blues (released 1922) Our love is different (recorded 1939) Gee, but it’s hard to love someone Our love is different, dear, When that someone don’t love you. It’s like a mighty symphony, I’m so disgusted, heartbroken, too I can feel its silver harmony, I’ve got those down-hearted blues. Oh so tenderly, day by day.

Once I was crazy about a man, Our love is different dear, He mistreated me all the time. To me it’s almost heavenly, The next man I get has got to promise me Let us guard it ever preciously, To be mine, all mine. Even jealously, while we may.

My man mistreated me, and he drove me A love like ours, dear heart, from his door, The angels send, But the good book says, you reap just what And so I know, dear heart, you sew. That it won’t ever end.

I ain’t never loved but three men in my life, For as the years roll by, My Father, my brother and the man who You’ll learn my love for you is true, wrecked my life. And I’m sure I’ll learn the same from you, For our love is different dear. I walked the floor, wrung my hands and cried, Had the downhearted blues, and I couldn’t be satisfied. NINA SIMONE WELDON JONATHAN IRVINE, JR. Trouble, trouble I’ve had it all my days, It seems that trouble’s gonna follow me to Revolution my grave. (released 1969) And now we got a revolution, It may be a week, it may be a month or two, Cause I see the face of things to come. But all the dirt you did to me, it’s sure coming Yeah, our Constitution home to you. Well, my friends, its gonna have to bend. I’m here to tell you about destruction I got the world in a jug, the stopper, here in Of all the evil that will have to end. my hand, And the next man that gets me, has got to Some folks are gonna get the notion, come under my command. I know they’ll say I’m preachin’ hate. But if I have to swim the ocean, Well, I would just communicate. It’s not as simple as talkin’ jive, The daily struggle just to stay alive.

Singin’ about a revolution, Because we’re talkin’ about a change. It’s more than just evolution Well, you know we’ve got to clean our brains. The only way that we can stand in fact Is when you get your foot off my back. B PLAYBILL TEXTS AND TRANSLATIONS

NINA SIMONE My skin is tan Four Women My hair is fine (released 1966) My hips invite you My skin is black My mouth like wine My arms are long Whose little girl am I My hair is wooly Anyone who has money to buy My back is strong What do they call me Strong enough to take the pain My name is SWEET THING Inflicted again and again My name is Sweet Thing. What do they call me My name is AUNT SARAH My skin is brown My name is Aunt Sarah. My manner is tough I’ll kill the first mother I see My skin is yellow my life has been too roughlop; My hair is long I’m awfully bitter these days Between two worlds Because my parents were slaves I do belong What do they call me My father was rich and white My name is… He forced my mother late one night What do they call me My name is SAFFRONIA My name is Saffronia.

Berkeley RADICAL BLURRING BOUNDARIES

is performance concludes the 2017/18 Berkeley RADICAL Blurring Boundaries programming strand, which has presented artists who are dissolving the very boundaries of their art forms and creating performances that cut across cultures and disciplines, accepted definitions of classical and contemporary, and even time and space. Along with soprano Julia Bullock and pianist John Arida, Blurring Boundaries artists this season included Ragamala Dance Company, Australia’s Circa, e Saint Paul Chamber Orchestra, and Company Wang Ramirez. For more information, please visit calperformances.org.

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