The Curtis Institute of Music 2008–09 Student Recital Series

Vocal Studies Department Recital Sunday, December 14 at 3 p.m. Field Concert Hall

Performers Joseph Barron, from Pittsburgh, is a student of W. Stephen Smith, adjunct faculty, and entered Curtis in 2008. Allen Boxer, from Cincinnati, is a student of Marlena Kleinman Malas and entered Curtis in 2005. Brandon Cedel, from Hershey, Pa., is a student of Marlena Kleinman Malas and entered Curtis in 2006. Jason Coffey, from Allendale, Mich., is a student of Joan Patenaude-Yarnell and entered Curtis in 2007. Tammy Coil, from Centennial, Colo., is a student of Marlena Kleinman Malas and entered Curtis in 2006. Adrian Kramer, from Guelph, Ontario, is a student of Marlena Kleinman Malas and entered Curtis in 2006. Kirsten MacKinnon, from Burnaby, British Columbia, is a student of Patricia McCaffrey, adjunct faculty, and entered Curtis in 2008. Marquita Raley, from Washington, D.C., is a student of Marlena Kleinman Malas and entered Curtis in 2007. Kevin Ray, from Cornwall, N.Y., is a student of Mark Oswald, adjunct faculty, and entered Curtis in 2007. Elizabeth Reiter, from Chicago, is a student of Marlena Kleinman Malas and entered Curtis in 2008. Shir Rozzen, from Karmey-Yosef, Israel, is a student of Lorraine Nubar, adjunct faculty, and entered Curtis in 2008. Sarah Shafer, from State College, Pa., is a student of Joan Patenaude-Yarnell and entered Curtis in 2006. Diego Silva, from Mexico City, is a student of Marlena Kleinman Malas and entered Curtis in 2008. Joshua Stewart, from New Orleans, is a student of Joan Patenaude-Yarnell and entered Curtis in 2005.

David Moody, opera and voice coach Susan Nowicki, opera and voice coach

“Lascia ch’io pianga” (“Let me weep”) from Rinaldo Music by George Frederic Handel ~ Text by Giacomo Rossi

Armida dispietata! Colla forza d’abisso Cruel Armida! With a hellish force Rapimmi al caro ciel di miei contenti You capture me from the dear heaven of my happiness E qui con duolo eterno viva mi tieni in tormentoso Inferno And hold me here in eternal sadness and infernal torment Signor ! Ah ! per pietà lasciami piangere. Lord! Ah! For mercy let me weep.

Lascia ch’io pianga Let me weep mia cruda sorte, my cruel fate, e che sospiri la libertà. and let me sigh for liberty. Il duolo infranga queste ritorte May sorrow break these chains de’ miei martiri sol per pietà. Of my sufferings, for pity’s sake.

Translation from http://en.wikipedia.org

“Sorge infausta una procella” (“An inauspicious tempest rises”) from Orlando Music by George Frederic Handel ~ Text by Carlo Sigismondo Capece

Sorge infausta una procella An inauspicious tempest rises che oscurar fa il cielo e il mare and darkens the sky and the sea sorge fausta poi la stella after this good star rises che ogni cor ne fà goder. and makes each heart happy. Può talor il forte errare Sometimes the hero can err ma risorto dall’errore but, after the mistake, quel che pria gli dié dolore he feels a great joy cusa immenso il suo piacer. for what was before his great sorrow.

Translation by Ugo Berardi from www.aria-database.com

Joan’s Aria from Maid of Orleans Music and text by Peter Ilich Tchaikovsky

Yes, the time has come. I must yield to a call from the heavens. But why do I feel fearful? My heart is throbbing painfully.

Farewell to the hills and the fields; farewell to the peaceful lot. You shall never see Joan again; forever she says farewell.

Dear woods and meadows, you must live on and bloom without me. Cool grotto and murmuring streams, I leave you forever and shall never return. I must leave all that is dear to me. My flocks, without a shepherdess you must go on.

By fate, I must be a shepherdess to another flock, tormented by a fierce war. So it is decided by a higher power. O God, to You I open my sad and tormented heart.

Farewell.

Translation by Ghenady Meirson

“Un gitano sin su honor” (“A gypsy without his honor”) from Luna Music and text by José María Cano

Dime que no es verdad Tell me that it is not true. Dime que lo que están viendo mis ojos Tell me that what my eyes are watching no es más que un mal sueño is no more than a bad dream, que de tanto quererte that because of loving you so much me he vuelto loco I became crazy. Y un gitano sin su honor And a gypsy without his honor es la cosa más peor is the worst thing. Fue mi mare quien me lo enseñó It was my mother who taught me this, cuando vio que ya iba a echar a andar when she saw that I was almost walking, pa’ que lo aprendiese antes que a hablar for me to learn it before speaking: Que un gitano deshonrao That a dishonored gypsy es un mosto repuntao is just a squashed grape. no lo quiere nadie Nobody wants it ni pa’ hacer vinagre even to make vinegar— vino dulce que ha amargao. sweet wine that got bitter. Y un gitano sin su honor And a gypsy without his honor es la cosa mas peor is the worst thing. que al que es probe y que no tié de na’ The poor one who doesn’t have anything, no quitarle de su dignidad. don’t take his dignity away. Si me dejas humillao If you leave me humbled poca cosa me has dejao you have left me with nothing, y es que al probe que no tié de na’ aay The poor one who doesn’t have anything, ahh! No le quites de su dignidad Don’t take his dignity away. Un gitano sin su honor A gypsy without his honor un geranio sin la flor a geranium without the flower es que ni mirarlo Don’t even look at him. sirve pa’ pisarlo He is just for stepping on, ni un mal bicho alrededor even a bug wouldn’t be around him. que un gitano sin su honor That a gypsy without his honor es la cosa más peor. is the worst thing.

Translation by Diego Silva

“Vi mnye pisali ... Kogda bi zhizn domashnim krugom” from Eugene Onegin Music by Peter Ilich Tchaikovsky ~ Text by Peter Ilich Tchaikovsky and Konstantin Schilowskij

You wrote to me. Do not deny it, I have read The confession of an honest soul, The claim of an innocent love. Your sincerity is dear to me. For it, I shall repay you By also telling the truth, Straight as it is. So accept this confession; I submit myself to your judgment.

Had I wished to limit my life with a burden of family, Had I been granted a good fortune to be a father or a husband, Then, having met you, I would look no further. But I was not created for such indulgences; My soul is not open to them. Your great qualities are wasted on me, For I am not worthy of them. Believe me, in all honesty The marital life would be a torture for you, No matter how much love I had for you. The moment it became a habit, I would love you no more Then judge for yourself, what kind of roses Hymen would have in store for us, And for how many long days.

The dreams and years have fled away, and shall not return, I love you like a brother, yes, a brother, And, perhaps, somewhat more tenderly than a brother would.

So listen to me and have no angst Many times would a young maiden trade one passing dream For another one.

Adapted from translation by Stephen Ettinger from www.aria-database.com

“Quando me’n vo’ ” (“When I walk”) from La Bohème Music by Giacomo Puccini ~ Text by Luigi Illica and Giuseppe Giacosa

Quando me’n vo’ soletta per la via, When I walk all alone in the street, La gente sosta e mira people stop and stare at me E la bellezza mia tutta ricerca in me and gaze on all my beauty Da capo a pie’ ... from head to toe ...

Ed assaporo allor la bramosia And then I taste the yearning Sottil, che da gli occhi traspira which shines from their eyes E dai palesi vezzi intender sa and which is able to perceive outward charms Alle occulte beltà. from hidden beauties. Così l’effluvio del desìo tutta m’aggira, So the scent of desire is all around me, Felice mi fa! it makes me happy!

E tu che sai, che memori e ti struggi, And you, while knowing, remembering, and yearning, Da me tanto rifuggi? you shrink from me? So ben: I know it very well: Le angoscie tue non le vuoi dir, You don’t want to express your anguish, Ma ti senti morir! but you feel as if you’re dying!

Adapted from translation by Giuseppe Cusmano from www.aria-database.com

“È la solita storia” (“It’s the old tale”) from L’Arlesiana Music by Francesco Cilèa ~ Text by Leopoldo Marenco

È la solita storia del pastore ... It’s the old tale of the shepherd ... Il povero ragazzo voleva raccontarla e s’addormi. The poor boy wanted to tell it and he fell asleep. C’e nel sonno l’oblio. There is oblivion in sleep. Come l’invidio! How I envy him! Anch’io vorrei dormir cosi, I too would like to sleep in such a way, nel sonno almen l’oblio trovar! in sleep, at least, to find oblivion! La pace sol cercando io vo’. I am seeking only peace. Vorrei poter tutto scordar! I would like to be able to forget everthing! Ma ogni sforzo è vano. But every effort is futile. Davanti ho sempre di lei il dolce sembiante. Before me I always have her sweet face. La pace tolta è solo a me. Peace is ever robbed from me. Perche degg’io tanto penar? Why must I suffer so much? Lei! sempre lei mi parla al cor! She! always she talks to my heart! Fatale vision, mi lascia! Fatal vision, leave me! Mi fai tanto male! You hurt me so much! Ahime! Alas!

Translation from Arias for Tenor (G. Schirmer)

“Hab’ mir’s gelobt” (“I made a vow”) from Der Rosenkavalier Music by Richard Strauss ~ Text by Hugo von Hofmannsthal

OCTAVIAN Marie Theres’! Marie Therese! MARSCHALLIN Hab’ mir’s gelobt, Ihn lieb zu haben in der richtigen I made a vow to love him rightly, as a good woman Weis’. Dass ich selbst Sein Lieb’ zu einer andern should. I promised even to love the love he bore noch lieb hab! Hab’ mir freilich nicht gedacht, another. But in truth, I did not think that this task dass es so bald mir aufgelegt sollt’ werden! Es sind would come so soon. Many things are ordained in die mehreren Dinge auf der Welt, so dass sie ein’s this world that we should scarce believe could be, nicht glauben tät’, wenn man sie möcht’ erzählen if we heard others tell of them; but the one whom hör’n. Alleinig wer’s erlebt, der glaubt daran und they will someday wound believes in them, and weiss nicht wie—da steht der Bub’ und da steh’ knows not how. There stands the boy, and here ich, und mit dem fremden Mädel dort wird er so stand I; and with his new-found love this day he glücklich sein, als wie halt Männer das will have happiness such as a man thinks is the Glücklichsein verstehen. In Gottes Namen. best the world can give. SOPHIE Mir ist wie in der Kirch’n, heilig ist mir und so bang; I feel as one at worship, holiest thoughts fill my soul; und doch ist mir unheilig auch! Ich weiss nicht, and yet I’m possessed by a thought most unholy wie mir ist. Ich möcht’ mich niederknien dort vor and sinful. I don’t understand what I feel. At this der Frau und möcht’ ihr was antun, denn ich spür’, lady’s feet I gladly would kneel, yet willingly would sie gibt mir ihn und nimmt mir was von ihm I harm her as well. For I feel that she gives him to zugleich. Weiss gar nicht, wie mir ist! Möcht’ alles me, and yet robs me of part of him. I’m strangely verstehen und möcht’ auch nichts verstehen. distraught. I wish to know everything, yet fear to Möcht’ fragen und nicht fragen, wird mir heiss und know the truth—now longing to ask, now fearing. kalt. Und spür’ nur dich und weiss nur eins: dich I am both hot and cold, and know only this one hab’ ich lieb. thing: that I love you. OCTAVIAN Es ist was kommen und ist was g’schehn, Ich möcht’ What wondrous thing has come to pass? I would Sie fragen: darf’s denn sein? und grad’ die Frag, die willingly ask her: Can it be? And it is just that spür’ ich, dass sie mir verboten ist. Ich möcht’ Sie question that I know I cannot ask her. I would fragen: warum zittert was in mir? - Ist denn ein willingly ask her: Why is my soul trembling so? grosses Unrecht geschehn? Und grad’ an die darf Has a great wrong, a foul deed be done? And I may ich die Frag’ nicht tun - und dann seh’ ich dich an, not ask the question of her. And then I gaze on Sophie, und seh’ nur dich und spür’ nur dich, your dear face, Sophie, and see only you, know Sophie, und weiss von nichts als nur: dich hab’ ich only you. And know only this one thing: that I lieb. love you.

Translation from Bärenreiter edition

“Heimliche Aufforderung,” Op. 27, No. 3 (“Secret Invitation”) Music by Richard Strauss ~ Text by John Henry Mackay

Auf, hebe die funkelnde Schale empor zum Mund, Up, raise the sparkling cup to your lips, Und trinke beim Freudenmahle dein Herz gesund. And drink your heart’s fill at the joyous feast. Und wenn du sie hebst, so winke mir heimlich zu, And when you raise it, so wink secretly at me, Dann lächle ich und dann trinke ich still wie du ... Then I’ll smile and drink quietly, as you ...

Und still gleich mir betrachte um uns das Heer And quietly as I, look around at the crowd Der trunknen Schwätzer—verachte sie nicht zu sehr. Of drunken revelers—don’t think too ill of them. Nein, hebe die blinkende Schale, gefüllt mit Wein, No, lift the twinkling cup, filled with wine, Und laß beim lärmenden Mahle sie glücklich sein. And let them be happy at the noisy meal.

Doch hast du das Mahl genossen, den Durst gestillt, But when you’ve savored the meal, your thirst quenched, Dann verlasse der lauten Genossen festfreudiges Bild, Then quit the loud gathering’s joyful fest, Und wandle hinaus in den Garten zum Rosenstrauch, And wander out into the garden, to the rosebush, Dort will ich dich dann erwarten nach altem Brauch, There shall I await you, as often of old.

Und will an die Brust dir sinken, eh du’s erhofft, And ere you know it shall I sink upon your breast, Und deine Küsse trinken, wie ehmals oft, And drink your kisses, as so often before, Und flechten in deine Haare der Rose Pracht. And twine the rose’s splendor into your hair. O komme, du wunderbare, ersehnte Nacht! Oh, come, you wondrous, longed-for night!

Translation © Lawrence Snyder and Rebecca Plack from recmusic.org

“Die Nacht,” Op. 10, No. 3 (“The night”) Music by Richard Strauss ~ Text by Hermann von Gilm zu Rosenegg

Aus dem Walde tritt die Nacht, Night steps out of the woods, Aus den Bäumen schleicht sie leise, And sneaks softly out of the trees, Schaut sich um im weitem Kreise, Looks about in a wide circle, Nun gib acht. Now beware.

Alle Lichter dieser Welt, All the lights of this earth, Alle Blumen, alle Farben All flowers, all colors Löscht sie aus und stiehlt die Garben It extinguishes, and steals the sheaves Weg vom Feld. From the field.

Alles nimmt sie, was nur hold, It takes everything that is dear, Nimmt das Silber weg des Stromes, Takes the silver from the stream, Nimmt vom Kupferdach des Domes Takes away, from the cathedral’s copper roof, Weg das Gold. The gold.

Ausgeplündert steht der Strauch, The shrubs stand plundered, Rücke näher, Seel an Seele; Draw nearer, soul to soul; O die Nacht, mir bangt, sie stehle Oh, I fear the night will also steal Dich mir auch. You from me.

Translation © Lawrence Snyder and Rebecca Plack from recmusic.org

“Schlagende Herzen,” Op. 29, No. 2 (“Beating hearts”) Music by Richard Strauss ~ Text by Otto Julius Bierbaum

Über Wiesen und Felder ein Knabe ging, Over meadows and fields went a boy, Kling klang, schlug ihm das Herz; Pit-a-pat beat his heart; Es glänzt ihm am Finger von Golde ein Ring. On his finger shone a ring of gold, Kling klang, schlug ihm das Herz; Pit-a-pat beat his heart! O Wiesen, o Felder, wie seid ihr schön! O meadows, o fields, how fair you are! O Berge, o Täler, wie schön! O hills, o valleys, how fair! Wie bist du gut, wie bist du schön, How good, how lovely you are, Du gold’ne Sonne in Himmelshöhn! You golden sun in heaven’s heights! Kling klang, kling klang, kling klang, schlug ihm das Herz. Pit-a-pat beat his heart. Schnell eilte der Knabe mit fröhlichem Schritt, Swiftly hurried the lad with joyous step, Kling klang, schlug ihm das Herz; Pit-a-pat beat his heart; Nahm manche lachende Blume mit – Taking with him many a smiling flower— Kling klang, schlug ihm das Herz. Pit-a-pat beat his heart. Über Wiesen und Felder weht Frühlingswind, Over meadows and fields the spring wind blows, Über Berge und Wälder weht Frühlingswind, Over hills and woods the spring wind blows, Im Herzen mir innen weht Frühlingswind, Deep within my heart the spring wind blows, Der treibt zu dir mich leise, lind, Driving me softly, gently to you, Kling klang, schlug ihm das Herz. Pit-a-pat, beat his heart. Zwischen Wiesen und Feldern ein Mädel stand, Between meadows and fields stood a girl, Kling klang, schlug ihr das Herz. Pit-a-pat beat her heart. Hielt über die Augen zum Schauen die Hand, Shading her eyes with her hand to gaze, Kling klang, schlug ihr das Herz. Pit-a-pat beat her heart. Über Wiesen und Felder, über Berge und Wälder, Over meadows and fields, over hills and woods, Zu mir, zu mir, schnell kommt er her, To me, he is hastening here to me. O wenn er bei mir nur, bei mir schon wär! O, if he were only with me, were already here! Kling klang, kling klang, kling klang, schlug ihr das Herz. Pit-a-pat beat her heart.

Translation ©Hyperion Records from recmusic.org

“Ich trage meine Minne,” Op. 32, No. 1 (“I carry my love”) Music by Richard Strauss

Ich trage meine Minne vor Wonne stumm I carry my love mute with delight, im Herzen und im Sinne mit mir herum. in my heart and in my mind with me wherever. Ja, daß ich dich gefunden, du liebes Kind, das freut mich Yes, that I have found you, you beloved child, that makes alle Tage, die mir beschieden sind. me joyful every day, and that is granted to me.

Und ob auch der Himmel trübe, kohlschwarz die Nacht, And no matter if the sky is gloomy, coal-black the night, hell leuchtet meiner Liebe goldsonnige Pracht. brightly shines my love’s gold-shining splendor. Und lügt auch die Welt in Sünden, so tut mir’s weh, die And even as the world lies through its sinfulness, and I am arge muß erblinden vor deiner Unschuld Schnee. heavy-hearted, the evil must become blind from your snowy innocence.

Translation by Rebecca Cauthen

“Sie lebt hier ganz allein ... Lieben, Hassen, Hoffen, Zagen ... Die Dame gibt mit trübem Sinn“ from Ariadne auf Naxos Music by Richard Strauss ~ Text by Hugh von Hofmannsthal

ARIADNE Sie lebt hier ganz allein. No, not again! She lives here quite alone. Sie atmet leicht, sie geht so leicht, Lightly she breathes, lightly she moves, Kein Halm bewegt sich, wo sie geht, not a blade stirs where she treads, Ihr Schlaf ist rein, ihr Sinn ist klar, her sleep is chaste, her mind serene, Ihr Herz ist lauter wie der Quell: her heart as pure as a spring: Sie halt sich gut, drum kommt auch bald der Tag, she keeps herself undefiled, for the day is soon to come Da darf sie sich in ihren Mantel wickeln, when she can wind herself in her mantle, Darf ihr Gesicht mit einem Tuch bedecken cover her face with a cloth Und darf da drinnen liegen and lie there, Und eine Tote sein! among the dead. HARLEKIN Ich fürchte, großier Schmerz hat ihren Sinn verwirrt. I am afraid that great sorrow has unhinged her mind. ZERBINETTA Versucht es mit Musik. Let us try some music! SCARAMUCCIO AND TRUFFALDIN Ganz sicher, sie ist toll. No doubt, she has gone mad. ARIADNE Toll, aber weise, ja! Ich weißs, was gut ist, Wenn man es Mad, but wise, yes! I know what is good, fernhalt von dem armen Herzen. when one can keep it far from one’s poor heart. ZERBINETTA Ach, so versucht doch ein kleines Lied. Oh then, try a little song! HARLEKIN Lieben, Hassen, Hoffen, Zagen, Love and hatred, hope and fear, Alle Lust und alle Qual, every joy and every pain, Alles kann ein Herz ertragen all this can the heart endure Einmal um das andre Mal. once and many times again.

Aber weder Lust noch Schmerzen But to feel not joy nor sadness, Abgestorben auch der Pein, even pain itself being dead, Das ist tödlich deinemn Herzen, that is fatal to your heart, Und so mußt du mir nicht sein! this you must not do to me!

Mußt dich aus dem Dunkel heben, You must lift yourself from darkness, Wär es auch um neue Qual! were it but to fresher pangs! Leben mußt du, leibes Leben, You must live, for life is lovely, Leben noch dies eine Mal. you must live again once more. ZERBINETTA Sie hebt auch nicht einmal den Kopf. She didn’t raise her head once! HARLEKIN Es ist alles vergebens. It’s all no use. Ich fühlte es während des Singens. I felt as much while I was singing. ZERBINETTA Du bist ja ganz aus der Fassung. You are quite upset. HARLEKIN Nie hat ein menschliches Wesen mich so gerührt. Never have I been so moved by any human being. ZERBINETTA So geht es dir mit jeder Frau. You’re the same about every woman. HARLEKIN Und dir vielleicht nicht mit jedem Mann? And aren’t you the same about every man? BRIGHELLA, SCARAMUCCIO, HARLEKIN, TRUFFALDIN Die Dame gibt mit trübem Sinn This lady is too much inclined Sich allzusehr der Trauer hin. to yield to misery of mind. Was immer Böses widerfuhr, Whatever evil may befall, Die Zeit geht hin und tilgt die Spur. as time goes on it blots out all.

Wir wissen zu achten We know how to respect Der Liebe Leiden, the pangs of love,

Doch trübes Schmachten, but doleful pining, Das wollen wir meiden. that we would flee from.

Sie aufzuheitern, To try to cheer you, Naht sich bescheiden she draws near discreetly Mit den Begleitern with her companions, Dies hübsche Kind. this pretty child.

Es gilt, ob Tanzen, ob Singen tauge, Singing and dancing are useful Von Tränen zu trocknen ein schönes Auge. to banish tears from a pretty eye. Es trocknet Tränen die schmeichelnde Sonne. The flattering sun dries out tears, Es trocknet Tränen der lose Wind. the free-blowing wind dries away tears.

ZERBINETTA Wie sie sich schwingen, As they go whirling, Tanzen und singen, dancing and singing, Gefiele der eine I rather fancy one Oder der andere or the other Gefiele mir schon. I’m beginning to like. HARLEKIN, ZERBINETTA, TRUFFALDIN, SCARAMUCCIO, BRIGHELLA Es gilt, ob Tanzen, etc. Singing and dancing, etc. ZERBINETTA Wie sie sich schwingen, etc. As they go whirling, etc. SCARAMUCCIO, HARLEKIN, TRUFFALDIN Die Dame gibt mit trübem Sinn This lady is too much inclined Sich allzusehr dem Kummer hin. to yield to gloominess of mind. BRIGHELLA, TRUFFALDIN, SCARAMUCCIO, HARLEKIN Es gilt, ob Tanzen, etc. Singing and dancing, etc. ZERBINETTA Wie sie sich schwingen, etc. As they go whirling, etc.

Doch die Prinzessin But the princess Verschließt ihre Augen, shuts her eyes, Sie mag nicht die Weise, she does not like the dancing, Sie liebt nicht den Ton. she does not like the tune. Geht doch, laßt’s doch! Ihr fallet zur Last! Go then, let it be! You’re getting tiresome! TRUFFALDIN, SCARAMUCCIO, HARLEKIN, BRIGHELLA Es gilt, ob Tanzen, Singing and dancing Ob Singen tauge. are useful. Sie aufzuheitern, To try to cheer you, Befahl den Begleitern, o unhappy lady, O traurige Dame, this pretty child Dies hübsche Kind. bid her companions. ZERBINETTA Geht doch, ihr fallet zur Last. Go then, you’re getting tiresome! BRIGHELLA Doch wie wir tanzen, Dance as we may, Doch wie wir singen, sing as we may, Was wir auch bringen, whatever we do, Wir haben kein Glück. we have no luck. TRUFFALDIN, SCARAMUCCIO, HARLEKIN Es gilt, ob Tanzen, etc. Singing and dancing, etc. ZERBINETTA Drum lafk das Tanzen, Cease then your dancing, Laßk das Singen stop your singing, Zieht euch zurück. and leave us alone. BRIGHELLA, SCARAMUCCIO, HARLEKIN Doch wie wir tanzen, etc. Dance as we may, etc. TRUFFALDIN Es gilt, ob Tanzen, etc. Singing and dancing, etc. Doch wie wir tanzen, etc. Dance as we may, etc.

“Ho un gran peso sulla testa” (“This turban weighs on my head”) from L’Italiana in Algeri Music by Gioacchino Rossini ~ Text by Angelo Anelli

Ho un gran peso sulla testa, This turban weighs on my head, in quest’abito m’imbroglio. and this costume is uncomfortable. Se vi par la scusa onesta, And if you’ll pardon my frankness, Kaimakan esser non voglio, I don’t want to be a Kaimakan, E ringrazio, il mio signore, dell’onore che mi fa. And I thank your lordship for the honor that he does me. (Egli sbuffa! ... Ohimè! ... Che occhiate!) (He’s fuming! ... Woe is me! ... What angry glances!) Compatitemi ... ascoltatemi ... Have mercy on me ... listen to me ... (Spiritare costui mi fa. Qua bisogna far un conto. (He makes me shudder. I must think matters over. Se ricuso ... il palo è pronto; e se accetto? ... If I refuse ... the stake will be ready; and if I accept? ... È mio dovere di portargli il candeliere. It will be my duty to be a chaperone. Ah! Taddeo, che bivio è questo! Ah! Taddeo, what a dilemma is this! Ma quel palo? ... Che ho da far? But that stake? ... What shall I do?) Kaimakan, signore, io resto. Kaimakan, my lord, I will remain. Non vi voglio disgustar. I’ve no wish to displease you.

La Cenerentola, selections Music by Gioacchino Rossini ~ Text by Jacopo Ferretti

“Sì, ritrovarla io giuro” (“Yes, I swear to find her again”)

Sì, ritrovarla io giuro. Yes, I swear to find her again. Amor, amor mi muove: Love impels me. Se fosse in grembo a Giove Even if she were in the arms of Jupiter Io la ritroverò. I would find her again. Pegno adorato e caro Dear and adored token Che mi lusinghi almeno That at least causes me to hope Ah! come al labbro e al seno Ah! How to my lips and my breast Come ti stringerò! Will I press you. Noi voleremo, domanderemo, We will fly, we will ask, Ricercheremo, ritroveremo. We will seek, we will find again. Dolce speranza, freddo timore, Sweet hope and cold fear Dentro al mio core stanno a pugnar; Are in competition within my heart. Amore, amore, Love, love M’ha da guidar. Has to guide me.

Translation by Bard Suverkrop, courtesy of IPA Source, LLC

“Come un’ape ne’ giorni d’aprile” (“Like a bee that in April days”)

Come un’ape ne’ giorni d’aprile Like a bee that in April days Va volando leggiera, e scherzosa; flies lightly and joyful Corre al giglio, poi salta alla rosa, runs to the lily, then jumps to the rose Dolce un fiore a cercare per se; looking for a sweet flower Tra la belle m’aggiro, e rimiro: I stay in the beauty and I look Ne ho veduto già tante, e poi tante, And I’ve seen so many Ma non trovo un giudizio, un sembiante but I can’t make a decision, nor find a person Un boccone squisito per me. who’s an exquisite prey for my taste. Dico bene? Son tutte papà Right? They look like their dad! Per pietà quelle ciglia abbassate. Please, those cast-down eyes Galloppando sen va la ragione make me lose my reason E fra I colpi d’un doppio cannone and trapped in the shots of a double cannon Spalancata la brecchia è di già. I feel that I’m giving in. Vezzosa! Graziosa! Son tutte papà Charming! Pretty! They’re just like their dad! Ma al finir della nostra commedia But at the end of our comedy, Che tragedia quì nascer dovrà! what a tragedy will be born!

Translation by Ferdinando Boccazzi Varotto from www.aria-database.com

Il barbiere di Siviglia, selections Music by Gioacchino Rossini ~ Text by Cesare Sterbini

“Largo al factotum” (“Make way for the factotum”)

La ran la lera, la ran la la ... Tra la la la la, tra la la la ... Largo al factotum della città, Make way for the factotum of the city! Presto a bottega, Quickly to your shops, chè 1’alba è già, because it’s already daybreak! Ah che bel vivere, Ah, what a beautiful life; che bel piacere what beautiful pleasure per un barbiere di qualità! for a barber of quality! Ah bravo, Figaro, bravissimo! Ah, well done, Figaro—very well done! Fortunatissimo per verità! Most lucky, in truth! Bravo! Well done! Pronto a far tutto, Ready to do everything, la notte, il giorno night and day sempre d’intorno in giro sta. he’s always out and about. Miglior cuccagna per un barbiere, A better feast for a barber— vita più nobile, a life more noble— no, non si dà. no, is not to be had. Rasori e pettini, Razors and combs, lancette e forbici lancets and scissors— al mio comando tutto qui sta. at my command everything is here. V’è la risorsa There are benefits poi del mestiere beyond the job itself colla donnetta ... with the little lady ... la la ran lera— tra la la la— col cavaliere ... with the cavalier ... la la ran la. tra la la la.

Tutti mi chiedono, Everyone calls me, tutti mi vogliono, everyone wants me— donne, ragazzi, ladies, lads, vecchi e fanciulle: old men and maidens: Qua la parrucca, The wig here ... presto la barba, quick, the shave ... qua la sanguigna, the bleeding here ... presto il biglietto! quick, the love note! Ehi, Figaro! Hey, Figaro! Ahimè! che furia! Mercy, what frenzy! Ahimè! che folla! Mercy, what a crowd! Uno alia volta One at a time, per carità! for heaven’s sake!

Figaro! Son qua. Figaro! I’m here. Ehi, Figaro! Son qua. Hey, Figaro! I’m here. Figaro qua, Figaro là, Figaro here, Figaro there; Figaro su, Figaro giù! Figaro up, Figaro down! Pronto prontissimo son I’m fast ... fast as can be— come il fulmine; quick as lightning; sono il factotum della città! I am the factotum of the city! Ah bravo, Figaro, bravissimo! Ah, well done, Figaro—very well done! A te fortuna non mancherà. Good fortune will not fail you.

Translation by Martha Gerhart from Opera Anthology for Baritone (G. Schirmer)

“Una voce poco fa” (“A voice a short time ago”)

Una voce poco fa A voice a short time ago qui nel cor mi risuonò; resounded here in my heart; il mio cor ferito è già, my heart is already wounded, e Lindor fu che il piagò. and it was Lindoro who plagued it. Sì, Lindoro mio sarà; Yes, Lindoro shall be mine; lo giurai, la vincerò. I swore it, I shall win! Il tutor ricuserà, The tutor will reject me, io l’ingegno aguzzerò. I shall sharpen my mind Alla fin s’accheterà At the end he will resign himself e contenta io resterò. And I’ll be happy. Sì, Lindoro mio sarà; Yes, Lindoro shall be mine; lo giurai, la vincerò. I swore it, I shall overcome. Io sono docile, son rispettosa, I am docile, I’m respectful, sono obbediente, dolce, amorosa; I’m obedient, sweet, loving; mi lascio reggere, mi fo guidar. I let people rule me, guide me. Ma se mi toccano dov’è il mio debole But if they touch me where my weak point is sarò una vipera e cento trappole I will be a viper and hundred traps prima di cedere farò giocar. I will set, before I surrender!

Translation by Giuseppe Cusmano from www.aria-database.com

“All’idea di quel metallo” (“At the thought of that metal”)

FIGARO Ah, non sapete Ah, you don’t know i simpatici effetti prodigiosi the prodigiously wonderful effects che, ad appagare il mio signor Lindoro, that, to satisfy my lord Lindoro, produce in me la dolce idea dell’oro. produces in me the sweet idea of gold. All’idea di quel metallo At the thought of that metal, portentoso, onnipossente, splendid, all-powerful, un vulcano la mia mente my mind already erupts incomincia a diventar. with ideas like a volcano. CONTE Su, vediam di quel metallo Come, let’s see some astounding effect qualche effetto sorprendente of that metal, del vulcan della tua mente show me some singular display qualche mostro singolar. from that volcanic mind of yours. FIGARO Voi dovreste travestirvi, You should disguise yourself, per esempio da soldato. for example ... as a soldier. CONTE Da soldato? As a soldier? FIGARO Sì, signore. Yes, my lord. CONTE Da soldato? e che si fa? As a soldier? And what do I do then? FIGARO Oggi arriva un reggimento. Today arrives a regiment. CONTE Sì, è mio amico il Colonnello. Yes, and the colonel is my friend. FIGARO Va benon. Splendid! CONTE Eppoi? And then? FIGARO Cospetto! Good heavens! Dell’alloggio col biglietto That door will open to you quella porta s’aprirà. with the billeting note. Che ne dite, mio signore? What do you say to it, my lord? Non vi par? Non l’ho trovata? How does it seem? Have I not found it?

FIGARO AND CONTE Che invenzione prelibata! What a delicious invention! Bravo, bravo, Bravo, in verità! truly, Bella, bella, lovely! FIGARO Piano, piano un’altra idea! Softly, softly, another idea! Veda l’oro cosa fa. See what gold can do! Ubbriaco sì, ubbriaco, Drunk, yes, drunk mio signor, si fingerà. you will pretend to be. CONTE Ubbriaco? Drunk? FIGARO Sì, signore. Yes, sir. CONTE Ubbriaco? Ma perchè? Drunk? But why? FIGARO Perchè d’un ch’è poco in sè Because the guardian, che dal vino casca già, believe me, will be more trusting il tutor, credete a me, of one who’s tipsy il tutor si fiderà. and reeling from win. FIGARO AND CONTE Che invenzione prelibata! What a delicious invention! Bravo, bravo, Bravo, in verità! truly, Bella, bella, lovely! CONTE Dunque Then? FIGARO All’opra. To work. CONTE Andiam. Let’s go! FIGARO Da bravo. Good for you! CONTE Vado … Oh, il meglio mi scordavo! I’m going ... Oh ... the most important I was Dimmi un pò, la tua bottega per trovarti, dove sta? forgetting! Tell me, your shop, to find it, where is it? FIGARO La bottega? Non si sbaglia; The shop? You can’t miss it, guardi bene; eccola là. look carefully, there it is. Numero quindici a mano manca Number fifteen, on the left side, quattro gradini, facciata bianca, four steps, front white, cinque parrucche nella vetrina five wigs in the display window, sopra un cartello ‘‘Pomata fina’’, above, a placard, “Fine Pomade,” mostra in azzurro alla moderna, display in blue, the modern way, v’è per insegna una lanterna there’s a lantern for a sign ... Là senza fallo mi troverà. there without fail you’ll find me. CONTE Ho ben capito I understand. FIGARO Or vada presto. Now go quickly. CONTE Tu guarda bene You keep a good look-out. FIGARO Io penso al resto. I’ll think of the rest. CONTE Di te mi fido I trust in you. FIGARO Colà l’attendo. I’ll wait there for you.

CONTE Mio caro Figaro My dear Figaro ... FIGARO Intendo, intendo. I understand. CONTE Porterò meco I will bring with me ... FIGARO La borsa piena. The full purse. CONTE Sì, quel che vuoi, ma il resto poi Yes, whatever you wish, but the rest then ... FIGARO Oh non si dubiti, che bene andrà Oh have no doubts, it will go splendidly ... CONTE Ah, che d’amore Ah, the flame of love la fiamma io sento, that I feel, nunzia di giubilo messenger of joy e di contento! and of contentment! Ecco propizia Here the flame che in sen mi scende; fills my heart. d’ardore insolito My soul is fired up quest’alma accende, by an unusual ardor, e di me stesso and makes maggior mi fa. a greater man of me. FIGARO Delle monete I can already hear il suon già sento! the sound of money! L’oro già viene, Gold is coming, viene l’argento; already silver, too; eccolo, eccolo here it is, che in tasca scende; that falls in my pocket, e di me stesso and makes maggior mi fa. a greater man of me.

Translation by Nico Castel from Italian Belcanto Opera Libretti, adapted by Kevin Ray

“Don Basilio ... buona sera” (“Don Basilio ... Good night”)

ROSINA Don Basilio! Don Basilio! CONTE Cosa veggo! What do I see?! FIGARO Quale intoppo! How unfortunate! BARTOLO Come qua? How come you’re here? BASILIO Servitor, di tutti quanti. At your service, one and all. BARTOLO Che vuol dir tal novità? What’s all of this about? ROSINA Di noi che mai sarà? What will happen to us? CONTE AND FIGARO Qui franchezza ci vorrà. We must act boldly. BARTOLO Don Basilio, come state? Don Basilio, how are you feeling? BASILIO Come sto?... How am I feeling? FIGARO Or che s’aspetta? What are you waiting for? Questa barba benedetta, That blessed beard of yours, la facciamo sì o no? shall I shave it or not? BARTOLO Ora vengo. E ... il curiale? In a minute. Eh ... the notary?

BASILIO Il curiale ... The notary ... CONTE Io gli ho narrato I have already told him che già tutto è combinato. Non è ver? that everything is arranged. Is it not true? BARTOLO Sì, sì, tutto io so. Yes, yes I know it all. BASILIO Ma, Don Bartolo, spiegatevi ... But, Don Bartolo, explain to me ... CONTE Ehi, dottore, una parola ... Doctor, one word ... Don Basilio, son da voi. Don Basilio, I’ll be with you. Ascoltate un poco qua. Listen to me for a moment. Fate un po’ ch’ei vada via, Try and get rid of him, ch’ei ci scopra ho gran timore. or I fear he will expose us. ROSINA Io mi sento il cor tremar. I feel my heart tremble. FIGARO Non vi state a disperar. Don’t be alarmed. CONTE Della lettera, signore, Of the letter, sir, ei l’affare ancor non sa. He as yet knows nothing. BASILIO Ah, qui certo v’è un pasticcio, There is something going on non s’arriva a indovinar. which I certainly cannot fathom. CONTE Ch’ei ci scopra ho gran timore; I fear he will expose us; ei l’affare ancor non sa. He as yet knows nothing. BARTOLO Dite bene, mio signore, You are right, sir. or lo mando via di qua. I will immediately send him away. CONTE Colla febbre, Don Basilio, With such a fever, Don Basilio, chi v’insegna colla febbre a passeggiare? who told you to go out? BASILIO Colla febbre? What fever? CONTE E che vi pare? What do you think? Siete giallo come un morto. You are yellow as a corpse. BASILIO Sono giallo come un morto? I am yellow as a corpse? FIGARO Bagatella! Cospetton! Good heavens, my man, Che tremarella! you are all a-tremble! Questa è febbre scarlattina! You must have scarlet fever! BASILIO Scarlattina! Scarlet fever! CONTE Via, prendete medicina. Go take some medicine. Non vi state a rovinar. Don’t stay here and kill yourself. FIGARO Presto, presto, andate a letto. Quickly, quickly, go to bed. CONTE Voi paura inver mi fate. I am really afraid for you. ROSINA Dice bene, andate a letto ... He is right, go home to bed ... BARTOLO, ROSINA, CONTE, FIGARO Presto, andate a riposar. Quickly, go and have some rest. BASILIO Una borsa! ... andate a letto! A purse! ... Go to bed! Ma che tutti sian d’accordo! As long as they all agree!

BARTOLO, ROSINA, CONTE, FIGARO Presto a letto, presto a letto ... Quickly to bed, quickly to bed ... BASILIO Eh, non son sordo, I am not deaf; non mi faccio più pregar. You don’t have to beg me. FIGARO Che color! ... What a color! CONTE Che brutta cera! ... You look terrible! BASILIO Brutta cera? Terrible? CONTE, FIGARO, BARTOLO Oh, brutta assai! ... Oh, really terrible! BASILIO Dunque vado! ... Well, I’ll go! ROSINA, CONTE, FIGARO, BARTOLO Vada. Vada. Go, go. CONTE, ROSINA, FIGARO Buona sera, mio signore, Good night to you, dear sir, presto andate via di qua. quickly go away from here. BASILIO Buona sera, ben di core ... Good night, with all my heart, Poi diman si parlerà. then tomorrow we shall talk. ROSINA AND FIGARO Maledetto seccatore, Cursed man, you are a nuisance! buona sera, mio signore, Good night to you, dear sir, pace, sonno e sanità, peace and slumber and good health. buona sera, via di qua, Good night, get out of here, presto, andate via di qua. quickly go away from here. CONTE Buona sera, via di qua, Good night, away from here. buona sera, mio signore, Well, good night to you, dear sir, pace, sonno e sanità, peace and slumber and good health. presto andate via di qua. Quickly go away from here. BARTOLO Buona sera, mio signore, Good night to you, dear sir, pace, sonno e sanità, quickly go away from here. presto, andate via di qua. BASILIO Buona sera, ben di core ... Good night to you, dear sir, Poi diman si parlerà. peace and slumber and good health. Quickly go away from here. BASILIO Buona sera, ben di core, Good night, with all my heart, poi diman si parlerà. then tomorrow we shall talk. Non gridate, per pietà. Do not shout, for pity’s sake!

Translation by EMI Classics