660193-94 bk Balada 3/7/09 16:22 Page 28

Also available: Leonardo BALADA 2 CDs La Muerte de Colón A Sequel to Cristobal Colón Garrison • Jenkins • Mueller • Okerlund Carnegie Mellon Philharmonic and Repertory Chorus Robert Page

8.660237-38

8.660193-94 28 660193-94 bk Balada 3/7/09 16:22 Page 2

Leonardo Colón: ¡Dios mío! Perdonadme todos a quienes he Columbus: My God! Forgive me, all of you whom I decepcionado. Dios, todo son tinieblas y los rayos del have disappointed. God, everything is in darkness and BALADA infinito ciegan mi orgullo, iluminan la miseria de mi the rays from the infinite are blinding my pride, and (b. 1933) espíritu y de mis pecados. illuminating the misery of my spirit of my sins. La Muerte de Colón (1992-93, rev. 1996) ¡Perdonadme! Beatriz amada. Perdonadme, la tierra y el Forgive me beloved Beatrice. Forgive me, earth and sun. sol. Perdonadme el mar y los ríos. Perdonadme el aire, Forgive me, sea and rivers. Forgive me, air and species. (The Death of Columbus) las especies. Perdonadme los Indios, los negros, los Forgive me Indians, blacks, birds, saints. All of you, all Opera in two acts pájaros los santos. Todos, todos y Dios a quien creí of you and God, to whom I believed I was listening and escuchar y obedecer. ¡Dios mío lo que he visto para el obeying. Oh my God, what I have seen of the future Libretto by Leonardo Balada mañana no puede ser diseño de vuestra voluntad sino cannot be your will, but is a punishment for my Premièred at Carnegie Music Hall, Pittsburgh, Pennsylvania, on 15th January, 2005 castigo por mi soberbia! ¡Perdonadme todos! arrogance. Forgive me, all of you. In manus tuas Domine commando spiritum meum. In manus tuas Domine commando spiritum meum. Christopher Columbus (Cristóbal Colón) ...... Jon Garrison Queen Isabella (Reina Isabel) ...... Judith Jenkins FINE THE END Beatriz Enríquez ...... Katherine Mueller Mysterious Character (Personaje Misterioso) ...... David Okerlund Margarit / Hernando / Vespucci / Apocalyptic Character 1 . . . . . Arturo Martín Aguado / Diego [brother] / Magellan /Apocalyptic Character 2 . . . Dimitrie Lazich Friar Boil / Diego [son] / Zapata / Apocalyptic Character 3 . . Raymond Blackwell Bobadilla / Bartholomew / Bolívar / Apocalyptic Character 4 . . . Milutin Lazich King Ferdinand (Rey Fernando) ...... Brent Stater Indian Voice (Voz India) ...... Katy Shackleton-Williams Choruses of Citizens, Courtiers, Indians, and Voices ...... Carnegie Mellon Repertory Chorus Chorus of Monks ...... Members of the Mendelssohn Choir Carnegie Mellon Philharmonic • Robert Page Assistant conductors: Jeff Turner, Katherine Mueller, Jeffrey Grossman, Jason Iannuzzi

Production Advisor: Gregory Lehane • Executive Producer: Alan Fletcher Assistant Producer: Carson Cooman • Assistant Musical Director: Jeffrey Turner Head Coach: Karen Roethlisberger • Technical Engineer: Riccardo Schulz Score Preparation: Keith Bajura

8.660193-94 227 8.660193-94 660193-94 bk Balada 3/7/09 16:22 Page 26

Personajes Apocalípticos (alternados): Tierra plana, Apocalyptic Characters (alternating): Flat earth, flat CD 1 50:10 CD 2 44:15 tierra plana... earth, etc. Voces: Nada queda. Voices: Nothing remains. Act I Act II Personajes Apocalípticos: ¡Ja, ja, ja! Apocalyptic Characters: Ha, ha, ha! Personajes Apocalípticos: Ya no quedan valles, ya no Apocalyptic Characters: No valley remains, no quedan flores, ya no quedan ríos. ¡Colón, Colón,! flowers remain, no rivers remain. Columbus, Columbus! 1 Scene 1: Barcelona: retorno de Columbus 13:04 1 Scene 1: En un poblado Indio: Danza 4:14 Beatriz and Isabel: ¡Almirante! Beatrice and Isabel: Admiral! (Columbus, Queen Isabella, King Fernando, (Indian dancers) Colón: ¡Amadísimas! Columbus: Beloved ones! a priest and helpers in baptism, Citizens, Personajes Apocalípticos: Los continentes y los mares. Apocalyptic Characters: The continents and the seas. Monks, Indians) 2 Scene 2: Lecho de Muerte n.3 2:45 Beatriz and Isabel: ¡Venid! Dadme la mano. Beatrice and Isabel: Come with me! Give me your hand! Colón: ¡No veo! Columbus: I cannot see! (Columbus, Mysterious Character, Beatriz: ¡Cristóbal! Beatrice: Christopher! 2 Scene 2: Lecho de Muerte n.1 4:45 Indians, Monks) Isabel: ¡Almirante! Isabella: Admiral. (Columbus, Mysterious Character, Monks) Personajes Apocalípticos: Las ciudades… Apocalyptic Characters: The cities… 3 Scene 3: Amadisimas 8:29 Colón: ¡No oigo! Columbus: I cannot hear! Personajes Apocalípticos: …¡Ya no son, ya no son! Apocalyptic Characters: …they don’t exist any more! 3 Scene 3a: En un poblado Indio-Cancion 4:02 (Queen Isabella, Beatrice, Columbus) Colón (acosado por los personajes apocalípticos): Columbus (harassed by apocalyptic characters): (Indian Voice, Group of Indians in a ritual) Dejadme, no me llevéis. Release me, don’t bring me with you! 4 Scene 4: Lecho de Muerte n.4 2:41 Voces: Ay, nada queda, nada queda. Voices: Ay, nothing remains, nothing remains. 4 Scene 3b: En un poblado Indio-Pillaje 1:27 (Columbus, Mysterious Character, Monks) Personajes Apocalípticos: (Arrastran a Colón y se Apocalyptic Characters (Dragging Columbus and ríen). (Isabel libera a Col.) laughing. Isabel frees Columbus): (Small Indian Chorus, Voices of Spaniards) Isabel: Almirante emprended el último viaje en esa Isabella: Admiral, make your last trip in this ship of 5 Scene 5: Los Heroes 8:28 nave de acero, volad al espacio, mas esta vez sin afán steel and fly through space, but this time without 5 Scene 4: Lecho de Muerte n.2 2:51 (Vespucci, Magellan, Bolívar, Zapata, de oro, y sin ánimo de gloria. Con abandono, amor y eagerness for gold or desire for glory. With abandon, (Columbus, Mysterious Character, Monks) Columbus, Mysterious Character, Monks) humildad emprended vuestra quinta travesía y love and humility, make this your fifth crossing and colonizad las estrellas celestes sin daño, dejando sus colonize the stars without harm, allowing the worlds to mundos ser. ¡Almirante, Almirante! Que sea firme be as they are. Admiral, admiral! Your undertaking 6 Scene 5: Bobadilla 7:12 6 Scene 6: Apocalipsis 9:15 vuestra empresa pero dúctil y de libertad. should be firm yet flexible, a proclamation of liberty! (Queen Isabella, King Fernando, Margarit, (Columbus, Mysterious Character, Beatriz: Cristóbal, aún en sueños subamos a esta Arca Beatrice: Christopher, even if it is a dream, let us board Aguado, Friar Boil, Bobadilla) Queen Isabella, Beatrice, Four Apocalyptic de Noé y volemos al infinito. this Noah’s Ark and fly to the infinite. Characters, Monks, Voices) Voces: Queda un monstruoso océano sin peces. Voices: Only an enormous sea without fish remains… Personajes Apocalípticos: Ja, ja, ja. Apocalyptic Characters: Ha, ha, ha. 7 Scene 6: Mirad! 4:46 (Columbus) 7 Scene 7: Perdonadme 8:24 7 Escena II-7 Scene II-7 (Columbus, Monks) “¡Perdonadme!” Forgive me! 8 Scene 7: Jerusalen 6:57 (en el lecho de muerte) (on the death-bed) (Queen Isabella, King Fernando, Courtiers) Monjes: Ave verum corpus, natum de Maria Virgine, Monks: Ave verum corpus, natum de Maria Virgine, vere passum immolatum in cruce pro homine. Cujus vere passum immolatum in cruce pro homine. Cujus 9 Scene 8: Los Columbuses 5:05 latus perforatum unda fluxit et sanguine, esto nobis latus perforatum unda fluxit et sanguine, esto nobis (Beatrice, Columbus, Hernando, Diego [son], praegustatum in mortis examine. praegustatum in mortis examine. Diego [brother], Bartholomew)

8.660193-94 26 3 8.660193-94 660193-94 bk Balada 3/7/09 16:22 Page 4

Leonardo Balada (b. 1933) Monjes (latín): Aveverum corpus natum de Maria Monks: Born of the Virgin Mary, who truly suffered, La Muerte de Colón (The Death of Columbus) Virgine, vere passum immolatum in cruce pro homine. sacrificed on the cross for man. Colón: Dios mío veo el mundo desolado. Columbus: My God, I see the world devastated Since the early 1980s opera has been a significant part The opera The Death of Columbus, in Spanish, was Personaje Misterioso: Es la trayectoria de ese Doce de Mysterious Character: It is the path of that twelfth of of Balada’s musical life. Beginning with the acclaimed composed from February 1992 to January 1993 (and Octubre lejos de la mano de Dios. October far from the hand of God. operas Hangman, Hangman (1982), Zapata (1984), and revised/expanded in 1995/96), and is a sequel to Personaje Misterioso y Colón (alternándose): ¡Mirad! Mysterious Character and Columbus (alternating): The Town of Greed (1997) and the new opera Faust-bal Christopher Columbus, which had its première in ¡Sí, veo! En mil años nada queda. See! Yes, I see! In one thousand years nothing remains. recently given its première at the Teatro Real in Madrid, Barcelona in 1989 with José Carreras and Montserrat Voces: Las libertades robadas a los pueblos. Voices: The freedoms stolen from the peoples. Balada has combined his musical and extra-musical Caballé in the leading rôles. The composition was Colón (gritando): ¡Ay! Columbus: (shouting) Ay! interests in his works for the stage. La Muerte de Colón supported in part by a grant from the National Personaje Apocalíptico 1: Yo soy el león, soy quien Apocalyptic Character 1: I am the lion; I am he who brings together his historical interest in heroic figures Endowment for the Arts. guarda el trono del Todopoderoso, soy sus tierras y guards the Almighty throne; I am his lands and species. from the age of Revolution and Discovery with his From my point of view as a composer, the important especies. Mis garras destrozan al violador del orden My claws will destroy the violator of the order characteristic musical style. Balada blends surrealism, elements in an opera are the identification by the establecido por el Creador. established by the Creator. ethnic and folk allusions, and a contemporary orchestral orchestra of each dramatic moment and the lyricism of Voces: Las libertades robadas a los pueblos, a los Voices: The freedoms taken from the peoples, from the language derived from avant-garde techniques of the the vocal soloists. Given the importance of the latter, it pueblos inocentes. innocent peoples. mid-wentieth-century. In short, a work emerges which would not have been appropriate for me to compose Personaje Misterioso: Como Satán. Mysterious Character: Like Satan! could not be written by any other composer. It is fitting operas during my avant-garde period, from the mid- Colón: ¡No! Columbus: No! that this première recording of the opera involves a large 1960s to the mid-1970s, when I did not consider melody Personaje Misterioso: La carne…. Mysterious Character: The flesh… spectrum of the faculty and student musicians of as part of my style. Instead my interest in musical drama Colón: ¡El bien! Columbus: The good deeds! Carnegie Mellon University, at which Balada has been a expressed itself in the form of cantatas, where instead of Personaje Misterioso: …sobre el espíritu. Mysterious Character: …over the spirit! driving force in the composition program and university singers there were narrators and the choruses would sing Colón: ¡No! Columbus: No! community for almost forty years. texturally rather than lyrically. In 1975, while feeling Personaje Misterioso: Sembrasteis torpes progresos. Mysterious Character: You generated dismal progress! Before the Barcelona première of Christopher the need for a new direction in my music, I incorporated Colón:¡Para bien de todos! Columbus: For the good of all. Columbus, Balada was asked if he felt it was important melody into my language, creating a symbiosis between Personaje Apocalíptico 2: Yo soy el becerro y Apocalyptic Character 2: I am the calf and I destroy to write an “avant-garde and futuristic” opera for the the far-out techniques of the avant-garde and traditional destrozo a los farsantes que seducen las mentes frágiles the fraud that charms the fragile minds of innocent subject matter of Columbus and the ideas of discovery lines and harmonies, causing disapproval from some de las gentes inocentes con promesas y propagandas. peoples with promises and propaganda. and looking forward. Balada commented, however, that quarters in carrying out what nowadays is a very Voces: ¡Nada! Voices: Nothing! he felt it was crucial for us to always have one foot in common practice. At that point with the addition of Personajes Apocalípticos: Nada queda, nada queda, Ja Apocalyptic: Nothing remains, nothing remains, ha ha the past and one foot in the future. Rather than looking lyrical melodies to my palette, composing operas made ja ja. ha. towards a future of total cultural homogeneity, we must sense to me. In all of my operatic work since then, Voces: Nada queda. Voices: Nothing remains. rather embrace and recognize the cultural differences of abrasive contemporary orchestral sonorities co-exist Colón: ¡Mi amada besa mis labios! ¡Mi Reina! Dadme Columbus: My beloved, kiss my lips! My queen! Give our collective pasts. This was a very important concept with highly melodic vocal lines. la mano y apartadme de esos monstruos. me your hand and take me away from those monsters. to the music of the original Christopher Columbus and Monjes: Et sanguine esto nobis esto nobis. Monks: And in blood let it be for us. also La Muerte de Colón, with their blending of ethnic Leonardo Balada Personaje Misterioso: ¡Triunfo de Satán! Mysterious Character: The triumph of Satan! ideas and avant-garde musical effects. In this way, Monjes: Praegustatum, praegustatum. Monks: A foretaste, a foretaste. Balada is making his own statement about what the Personaje Apocalíptico 3: Mi rostro es de castigo Apocalyptic Character 3: My face is one of human present needs to be: a mix of both past and future. humano para el usurero que se enriquece con sucios punishment for the usurer who enriches himself with negocios y para el político que estafa a los súbditos dirty business and for the politician who swindles Carson Cooman inocentes. innocent citizens. Persona Apocalíptico 4: Yo soy el águila y desde las Apocalyptic Character 4: I am the eagle and from the cumbres la explanada de la historia veo repitiéndose. La heights I can see history repeating itself. Once more the Tierra plana es y el Sol circunvala la Tierra. earth is flat and the sun goes around her.

8.660193-94 425 8.660193-94 660193-94 bk Balada 3/7/09 16:22 Page 24

rutas del oriente. Mi nombre, ¡Magallanes! My name is Magellan! Synopsis newly-arrived Indians. The monarchs tell Columbus to Colón: ¿Por qué recordarlo y angustiarme más? Columbus: Why do you remind me of all of that and undertake a new trip to conquer the Indies. “Aragon and cause me even greater anguish? The opera Christopher Columbus ends with the arrival Catalonia will provide him with the law and the science Personaje Misterioso: Sin embargo nada es si Mysterious Character: However, nothing is of Columbus in the Indies. La Muerte de Colón starts at while Castile will provide him with men, arms and juzgamos los maleficios que sembrasteis. comparable to all the evil that you created. the point of his arrival in Barcelona on his return. It is a clergy...” He must find gold, establish cities, and civilize Colón: Obré bajo el índice divino para extender la fe Columbus: I proceeded according to the divine order to magnificent and spectacular scene. Columbus is “those poor savages.” Now they sing that under the cristiana y los mares de Castilla. extend the Christian faith and the seas of Castile. welcomed by the King and Queen, and the entire city command of Castile and León, the world will belong to Personaje Misterioso: Violasteis los pueblos inocentes Mysterious Character: You violated the innocent pays homage to the new hero, who brings all kinds of Spain. But the citizens of Barcelona, with dismay, speak en Cortés y Pizarro… peoples in Cortés and Pizarro… exotic gifts and even some Indians. This scene is only a a symbolic phrase, “the liberties taken from innocent Colón: ¡No! Sólo bajo el índice real . Columbus: No! Only under the royal order. remembrance, however, since the actual reality of the peoples”. This phrase reappears throughout the opera. Personaje Misterioso:? negando sus dioses, negando Mysterious Character: … denying their gods, denying present is quite different. The present places Columbus su sangre. their blood. on his death-bed. From this situation the rest of the 2 Scene 2. Death-Bed No. 1 (Columbus, Mysterious Colón: ¡No! bajo el signo de la cruz, de la cruz. Columbus: No! Under the sign of the cross, the cross. opera emerges in the form of flash-backs or flash- Character, Monks) The Mysterious Character plants the Personaje Misterioso: Escuchad a los verdaderos Mysterious Character: Listen to the real heroes: forwards bringing about historical moments as well as seeds of guilt in Columbus for what he has done to the héroes. Bolívar. Zapata. Bolívar and Zapata. premonitions, foreseeing what the discovery really “innocent peoples” and portrays himself as the Monjes: Perforatum. Aveverum unda fluxit et sanguine Monks: Perforatum. Ave verum unda fluxit et meant for the world. The mood is surrealistic, reflecting personification of all of Columbus’s enemies. All aveverum sanguine. Ave verum. the delirium of death of a man of unreal imagination, throughout, the monks sing the Ave verum corpus. Bolívar: (gritando) Colón, más grande, más grande es Bolívar: (shouting) Columbus, greater is the hate that whose utopian visions often bordered on madness. The el odio que nos ha inspirado la Península que el mar the Peninsula has inspired than the sea that separates us last scene is his death in Valladolid. 3 Scene 3a. In an Indian village – Song (Indian Voice, que nos separa de ella. El mar nos separa, la orilla nos from it. The sea separates us, the shore unites us in In the scenes from his death-bed, which are all very Group of Indians in a ritual) This is a symbolic scene in une en patrias hermanas que sueñan y anhelan al son de sister nations that dream and wish for the prospect of short, Columbus struggles with the presence of a slow motion. While a voice is heard singing a song with la libertad y unidad federada. El pueblo que rija, que liberty and a federated union. The people should be self Mysterious Character, who is in fact his own no words, a ritualistic celebration is taking place. It is sea soberano, que haya igualdad de poderes. Libertades governing with equal powers. Civil liberties and the conscience. He sets the scene for the imaginary events mime-like and mystical in character. It is the paradise civiles. ¡Y proscripción de la esclavitud! abolition of slavery. that torment Columbus, the Admiral, with guilty that Columbus thought he had found. Zapata: Pero las libertades políticas no han engendrado Zapata: But the political liberties did not generate memories. A small chorus of monks is always present, justicias sociales. Los pueblos asfixiados padecen bajo social equality. The suffocated people suffer from the praying for him. 4 Scene 3b. In an Indian village – Pillage (Small el yugo de los poderosos. Los Indios gimen y los yoke of the powerful. The Indians groan and the Indian Chorus, Voices of Spaniards) Once the song campesinos sollozan echados de rodillas, baja la peasants cry on their knees, their heads down, Act I ends, a small chorus of Indians sings while the ritual cabeza, grande la humillación. Callados sufren los humiliated. The dispossessed sob silently… the proceeds. The Spaniards are heard (not seen) in a desposeídos… a los pueblos inocentes…a los indios innocent peoples… the honest Indians… and clean. The 1 Scene 1. Barcelona: Return of Columbus tumultuous manner, voicing abuses and the relentless honrados…y limpios. Los pueblos inocentes. innocent peoples. (Columbus, Queen Isabella, King Ferdinand, a priest search for gold. “In Castile we were convicts, in the Bolívar: las libertades robadas, las justicias Bolívar: The stolen liberties, the corrupted justice, and helpers in baptism, citizens, monks, Indians) A Indies we are kings!” Gradually the Indians fall to the corrompidas, pervertidas. Las maldades perpetradas a perverted. The evil done to the gods, to the rites, to the chorus of citizens is watching with excitement as ground, symbolically abused and defeated. los dioses, a los ritos, a las lenguas, tanto al norte como languages, both in the North and the South. The Columbus and his retinue are approaching, arriving in al sur. Los pueblos inocentes. innocent peoples. Barcelona in triumph. Columbus is given the keys of the 5 Scene 4. Death-Bed No. 2 (Columbus, Mysterious city, and is received by the King and Queen. Columbus Character, Monks) Columbus realizes that the Indies 6 Escena II-6 Scene II-6 shows them the Indians he has brought. He points out were like a paradise in which the people “were free, “Apocalipsis” “Apocalypse” how “strong and obedient they are... with no honour or unfettered by envy, and where the gold didn’t tarnish the (En el lecho de muerte) (On the death-bed) power or arms. They can be sold...there are thousands soul...” The Mysterious Character reminds Columbus of like them in the Indies...” Queen Isabella corrects his enemies and how they denounced him to the King, Personaje Misterioso: Ellos son los verdaderos héroes, Mysterious Character: They are the true heroes, free Columbus and tells him that “they must be baptized but the Queen, and the court. Throughout, the monks sing limpios, íntegros y con amor por los demás. of deceit, honest, truthful, with love for others. not enslaved”. A ceremony takes place to baptize the the Ave verum corpus.

8.660193-94 24 5 8.660193-94 660193-94 bk Balada 3/7/09 16:22 Page 6

6 Scene 5. Bobadilla (Queen Isabella, King Ferdinand, 9 Scene 8. The Columbuses (Beatrice, Columbus, Beatriz: Amadísimo, triste está mi corazón. Sin aliento Beatrice: My beloved one, sad is my heart. Without Margarit, Aguado, Friar Boil, Bobadilla) In the court of Hernando [son], Diego [son], Diego [brother], mis suspiros. Sólo penas, añoranzas. breath is my sigh. Only grief, only yearnings. Castile, a quartet of accusers led by Bobadilla lists a Bartholomew [brother]) In Granada. This is a happy Isabel: Desde mi morada eterna rezaré por vuestra Isabella: From my eternal dwelling I will pray for your number of complaints against Columbus to the King and and euphoric scene with the Columbus clan and alma. soul. Queen. His competence and loyalty in the Indies are in Columbus’s lover Beatrice singing their endless Colón: ¡Amadísimas! Columbus: My beloved ones! serious question. According to the accusers “... some ambitions. They express their unconditional devotion to Isabel: ¡Adiós Colón! Muero decepcionada. En vos Isabella: Goodbye, Columbus! I die disappointed. I say that the Columbus family made a pact with the Columbus. Beatrice sings “... this is the slave of your confiaba y al final me olvidasteis. Desde el cielo rezaré was counting on you and at the end you forgot me. Indians and Christians to rise against Spain... others say spell. My beloved I will illuminate your path by por vos. From heaven I will pray for you. that they have made a pact with the Genoese army to foreseeing your heroic deeds.” This solo turns into a Beatriz: Cristóbal, sola me quedo. Busqué tu mirada, Beatrice: Christopher, I am left alone. I looked for your rise against Spain... five hundred Spaniards are love duet with Columbus (“... I feel your kisses burning mirando el recuerdo. Pena y soledad vivida. gaze, searching through memories. In sorrow and receiving salaries paid by the public treasury with no like fire in the sun...”). The duet gradually becomes a loneliness I lived. returns...” Thus begins the downfall of Columbus. The sextet with the sons and brothers singing “... with Colón: Amadísimas, sólo hay borrascas cegando mi Columbus: My beloved ones, there are only clouds monarchs agree on the fate of Columbus. The Queen, devotion and brotherhood on the land and the sea.” With espíritu. Misericordia, misericordia. blinding my spirit. Have mercy, mercy. however, does so reluctantly. With pain she sings in an a tremendous upbeat, this scene ends the Act I. aria: “... my tears will wash the wounds inflicted on the 4 Escena II-4 Scene II-4 honour of the Admiral... Bobadilla, be prudent so that Act II “Lecho de Muerte 4” “Death-Bed 4” your stick does not reprimand our man with too much (En Valladolid, lecho de muerte) (In Valladolid, death-bed) severity.” Her sweet singing contrasts with the tense, 1 Scene 1. In an Indian village – Dance The scene dramatic lines of the accusers and the King. consists of an Indian dance that gradually builds to an Personaje Misterioso: Mal supisteis llevar de la mano Mysterious Character: You were unable to handle the outburst of power and drama. It is an expression of las delicias del corazón pero mil veces peor se ha delicacies of the heart, but a thousand times worse is 7 Scene 6. Look! (Columbus) Columbus is sent back to anger at the abuses of the explorers. There is no singing fraguado el mundo desde ese Doce de Octubre. Colón, the world since that October 12. Columbus, the glow of Spain in a ship, shackled with chains. Columbus or talking. Only at the very end, a dramatic scream el fulgor del mañana os entra por la ventana tétrico, tomorrows enters through the gloomy window. expresses the deepest pain in this tormented aria: “...I (“Ay!”) is heard, by an unseen chorus of voices. desolado, ni siquiera sois el héroe, sois peón de un Desolated, you are not even the hero but the pawn of an look down to the ocean whose expanse I opened to designio histórico inevitable. ¡Mas ved a los que les ha inevitable historic destiny. But see those to whom Spain. I see reflected the face of my Queen who has 2 Scene 2. Death-Bed No. 3 (Columbus, Mysterious sonreído la Gloria! Glory smiles! forsaken me... I surrendered to your feet those lands. Character, Monks, Indians) The parts of Columbus and Colón: la Reina, Beatriz, el estrecho, Jerusalén, Columbus: Queen Isabella, Jerusalem, the Strait, But as thanks, you humiliate me.” the Mysterious Character are spoken, while the monks Vespucio, Magallanes, Cortés, Pizarro. Desbordado el Vespucio, Magellan, Cortés, Pizarro. The empire sing the Ave verum corpus. The Mysterious Character imperio, desolado, mis herederos desposeídos. overtaken, destroyed, my inheritors dispossessed. 8 Scene 7. Jerusalem (Columbus, Queen Isabella, points out to Columbus that “...with hundreds of Indians Monjes: Verum cujus latus perforatus cujus latus. Monks: Verum cujus latus perforatus cujus latus. King Ferdinand, Courtiers) Back in Castile, Columbus slaughtered, it was a just thing for them to rebel and is confronted with hostility by the King, the Queen, and seek vengeance...” Columbus responds: “...I wasn’t 5 Escena II-5 Scene II-5 the court, all accusing him of misdeeds. With the help of worst than the best, nor an improvement over the worst “Los Héroes” “The Heroes” prophecies from the Bible, Columbus persuades the ones, but only a messenger, a mirror of a different (En un lugar de la imaginación de Colón) (Somewhere in Columbus’ imagination) Queen to forgive him and to support him in a new world.” The Mysterious Character continues tormenting adventure “to open the gates of the Holy Land.” The Columbus with a list of projects he did not accomplish, Vespucio: (gritando) ¡Colón! ¡Yo, Vespucio! ¡Yo, Vespucci: (shouting) Columbus! It is I, Vespucci! I, Queen expresses her faith in the Admiral: “You and I and he remarks “...what about the ladies of your heart? Américo! ¡Yo soy América! ¡Yo convertí la farsa en Americo! I am America! I converted the farce in are like the dawn, the full river, the fertile valley... two Beatrice and the Queen... see them...see them!” realidad! ¡Yo descubrí América! América! América! reality! I discovered America! America! Amerigo! rich streams whose waters are life and destiny for Américo! ¡América!\ America! Humanity... you must... find the Holy Sepulcher and 3 Scene 3. Beloved Ones (Queen Isabella, Beatrice, Magallanes: ¡Magallanes soy yo! ¡Encontré el Magellan: I am Magellan! I found the Strait! I opened free Jerusalem!” The scene ends brilliantly with the Columbus) A sad and almost mystical scene takes place estrecho! Yo abrí el camino, yo mostré la verdad al the way; I showed the truth to the world. I opened the chorus, in a tone of hope and expectation. in Columbus’s mind. The two women in Columbus’s mundo. Yo abrí el camino que lleva a Cipango, a las way that leads to Cipango, to the Indies and the Great life, Queen Isabella and Beatrice, express their Indias y al Gran Khan. ¡El estrecho de Magallanes! Las Khan. The Strait of Magellan! The routes of the Orient.

8.660193-94 623 8.660193-94 660193-94 bk Balada 3/7/09 16:22 Page 22

material valía…y la naturaleza…la naturaleza… sacred rather than the material was valued … disappointment. “Your beloved one has awaited you all says as the Mysterious Character agrees. Four and nature… nature… her life in Cordoba... Always alone... I saw the years go Apocalyptic Characters appear resembling a lion, a Colón: No fui peor que los mejores ni mejor que los Columbus: I was not worse than the best, nor an by without the warmth of your kisses...” says Beatrice. young bull, a deformed human, and an eagle. Each one peores…solo mensajero…¡Espejo de otro mundo! improvement over the worst ones, but only a The Queen continues “... I die disappointed. I was of them says their part in an accusatory, sardonic messenger… mirror of a different world. counting on you and in the end you forgot me...” manner. There is drama as well as grotesque laughter on Personaje Misterioso: (hablado) No encontrasteis el Mysterious Character: (spoken) You didn’t find the their part for the destructiveness of nature caused by the estrecho Strait 4 Scene 4. Death-Bed No. 4 (Columbus, Mysterious short vision of man. There is tragedy and humour in the Colón: ¡Soñé en ello! Columbus: I dreamt of it! Character, Monks) The Mysterious Character reminds music as well. “History repeats itself” says one of the Personaje Misterioso: No encontrasteis al Gran Khan Mysterious Character: You didn’t find the Great Columbus that he is not a hero but “just a pawn in an Apocalyptic Characters. “... once more the Earth is flat Khan historic destiny... look at those on whom glory has and the Sun goes around her.” The Apocalyptic Colón: ¡Imaginé verle! Columbus: I imagined seeing it! smiled!” Characters try to take Columbus away but, as in the Personaje Misterioso: No liberasteis Jerusalén. ¡No, Mysterious Character: You didn’t liberate Jerusalem. past, Queen Isabella is there to save him, while the no, no! Apenas convertisteis infieles… ¡Apenas! No, no, no! All you achieved was to convert some 5 Scene 5. The Heroes (Vespucci, Magellan, Bolívar, chorus of voices echoes the final devastation. In an aria, ¡Apenas! Las riquezas por vos prometidas a nada infidels … that is all! The wealth that you promised Zapata, Columbus, Mysterious Character, Monks) Four the Queen orders Columbus: “Make your last trip in this sumaron… ¡No!... ¡Nada!... ¡Apenas! …nada! Ja…ja… came to nothing… no! Nothing! Only! Nothing! ha, powerful characters appear, spelling out their ship of steel and fly through space, but this time without ¿y las damas de vuestro corazón? Beatriz y la ha… and the ladies of your heart? Beatrice and the achievements in history: “I found the strait... the way to eagerness for gold or desire for glory... make this your Reina…¡Vedlas…vedlas! Queen…look at them! Look at them! Cipango... to the Indies” claims Magellan. “I am fifth crossing and colonize the stars without harm, Monjes: Ave verum Monks: Ave verum America!” announces Amerigo Vespucci in a brilliant allowing their worlds to be as they are!” Beatrice and sarcastic duet. The Mysterious Character points out comments: “Christopher, even if it is a dream, let us 3 Escena II-3 Scene II-3 the real heroes to Columbus: Bolívar and Zapata. board this Noah’s Ark and fly to the infinite.” “Amadísimas” “Beloved ones!” “Columbus, greater is the hate that the Peninsula has (En un lugar de la imaginación de Colón) (Somewhere in Columbus’ imagination) inspired in us than the sea that separates us from it... the 7 Scene 7. Forgive me (Columbus, Monks) On his sister nations dream of federal unity... equality... death-bed Columbus is in his ultimate tormented Beatriz: Cristóbal… Beatrice: Christopher… liberties and the banishing of slavery...” to which Zapata delirium. While the monks continue their singing of the Reina Isabel: Almirante… Queen Isabella: Admiral… responds “... but the political liberties did not generate Ave verum corpus, he asks forgiveness from “...my Beatriz:… tu amada te ha aguardado en Córdoba toda Beatrice: … your beloved one has awaited you all her social justice. The peoples suffocate and suffer under beloved Beatrice... Earth and Sun... sea and rivers... air una vida… life in Cordoba… the powerful. The Indians moan and the peasants cry on and species... Indians, blacks, birds, saints. All of you Isabel: …por vuestras proezas honrado. Yo, vuestra Isabella: ... honoured for your great accomplishments. their knees, lowering their heads, with enormous and God to whom I believed I was listening and Reina, os encargué y mandé en bien de los indios… I, your Queen, did ask you and did order you for the humiliation. Silently sob the dispossessed!” This obeying...”. He dies singing: “In manus tuas Domine welfare of the Indians… powerfulPhoto: Antonio duet Bofill ends with the refrain “The innocent commendo spiritum meum” (“Into your hands, O Lord, I Beatriz: …¿Por qué hiciste que el mar se te llevara tan Beatrice: … why did you allow the seas to take you so peoples.” commend my spirit” — reported to be Columbus’s lejos cada día? far every day…? actual last words). It is a grand collage of sonorities in Isabel: …que los indios moradores de las Indias y Isabella: … of the Indians, inhabitants of the Indies, a 6 Scene 6. Apocalypse (Columbus, Mysterious which electronic sounds, as well as the recorded replay tierra firme no recibieran agravios y fueran bien mainland, that they shall not be offended or mistreated, Character, Queen Isabella, Beatrice, Four Apocalyptic of fragments from Balada’s opera Christopher tratados, no fueran esclavizados. and that they should not be enslaved. Characters, Monks, Voices) In a very unreal setting at Columbus (suggesting Columbus’s past), mix with Beatriz: Sola siempre. Amadísimo Cristóbal. Sola he Beatrice: Always lonely. My beloved Christopher. All the height of his delirium, Columbus has a flash-forward dramatic orchestral textures. visto correr los años sin el calor de tus besos. alone I saw the years go by without the warmth of your vision. “Look, in a thousand years, nothing remains!” he kisses. Isabel: Almirante, tengo constancia de injusticias y Isabella: Admiral, I have evidence of injustices and abusos perpetrados por vos. Almirante, triste está mi abuses done by you. Admiral, your disobedience has corazón por la desobediencia, pues yo siempre he sido made my heart sad, since I have always been your vuestra protectora y amiga. protector and friend.

8.660193-94 22 7 8.660193-94 660193-94 bk Balada 3/7/09 16:22 Page 8

Leonardo Balada Beatriz: Los Enríquez, los Haranas, veneramos siempre Beatrice: The Enríquez, the Haranas, we worship the al Virrey, mi hermano, mi primo. ¡Todos! Esta es la Viceroy, my brother, my cousin, everyone! This is the Leonardo Balada was born in Barcelona, Spain, on 22nd September, 1933. He esclava de tu hechizo. Mi amado, iluminaré tu camino slave of your spell. My beloved, I will illuminate your graduated from the Conservatorio del Liceu of that city and the Juilliard School in intuyendo tus hazañas mientras sueño en el retorno. Mi path by foreseeing your heroic deeds while I dream of 1960. He studied composition with Vincent Persichetti, Aaron Copland and conducting amado, al retorno veo en ti imágenes celestes que your return. My beloved, I see in your return heavenly with Igor Markevitch. Since 1970 he has been teaching at Carnegie Mellon University, brillan como brilla la imagen del Señor. Veo en ti a images that are as bright as the images of God. I see in where he is University Professor of Composition. Dios Santo que me ama. you the holy God who loves me. Some of Balada’s best known works were written in a dramatic avant-garde style in Colón: Mi amiga, mi amada, al retorno siento tus besos Columbus: My friend, my beloved, when returning I feel the sixties (Guernica, María Sabina, Steel Symphony). He is credited with pioneering a quemar mis entrañas como fuego ardiendo en el sol. your kisses burning my insides like fire in the sun. My blending of ethnic music with those avant-garde techniques later on, creating a very Amada veo en ti la aurora que ilumina mi fe. beloved, I see in you the dawn that gives light to my faith. personal style starting with Sinfonía en Negro-Homage to Martin Luther King (1968), Hernando: Vuestro hijo os adora, desde niño siempre Hernando: Your son adores you. Since I was a child, I and Homage to Casals and Sarasate (1975). Balada has received several international he sentido en mi pecho vuestro espíritu. always felt your spirit in my heart. awards. Balada’s works are being performed by the world’s leading orchestras, such as Diego (hijo), Diego (hermano), Bartolomé: Con Diego [son], Diego [brother], Bartholomew: With the Philharmonics of New York, Los Angeles and Israel; the Philadelphia Orchestra, the devoción y hermandad sea en tierra, sea en mar. devotion and brotherhood, whether on the land or in the Philharmonia Orchestra of London, the Symphonies of Pittsburgh, Cincinnati, Detroit, sea. Dallas, Washington D.C., Prague, Düsseldorf, Barcelona, Mexico; the radio orchestras Photo: CMU Public Relations of Leipzig, Berlin, Berne, Madrid, Hanover, Moscow, Helsinki, Luxembourg, BBC, Fin Acto I End of Act I Jerusalem; the National Orchestras of Spain, Lyon, Toulouse, Marseille, Ireland, and others, directed by L. Maazel, M. Rostropovitch, R. Frühbeck de Burgos, J. López-Cobos, L. Foss, M. Jansons, J. Mester, S. Comissiona, N. Marriner, and other distinguished conductors. He has been commissioned by many outstanding organizations in the CD 2 CD 2 United States and Europe, including the Aspen Festival, the San Diego Opera, the Pittsburgh, Cincinnati and Hartford Symphonies, National Endowment for the Arts, Benedum Center for the Performing Arts, the Lausanne Chamber Acto II Act II Orchestra, The Millennium of Catalonia, Sociedad Estatal para el V Centenario, the National Orchestra of Spain, the Radio TV Orchestra of Madrid. He has composed works for artists including Alicia de Larrocha, Lorin Maazel, 1 Escena II-1 Scene II-1 Mariss Jansons, the American Brass Quintet, Andrés Segovia, Narciso Yepes, Lucero Tena, Angel Romero and has “Danza” “Dance” collaborated with artists and writers such as Salvador Dalí and Nobel Prize winner Camilo José Cela. (En un poblado indio, danza ritual desafiante, por los (In an Indian village, a dramatic dance of defiance A large number of Balada’s compositions are recorded on Deutsche Grammophon, Naxos, Albany and New abusos de los exploradores). against the abuses of the explorers) World Records. His large catalogue of works includes, in addition to chamber and symphonic compositions, cantatas, two chamber operas and three full length ones: Zapata, Christopher Columbus and its sequel The Death of Voces (No visibles): ¡Ay! Voices: (Not visible): Ay! Columbus. Christopher Columbus had its première in Barcelona in 1989 with José Carreras and Montserrat Caballé singing the leading rôles and attracted international attention. The New York Times calls Balada’s contribution 2 Escena II-2 Scene II-2 “a gift to his native Catalonia” while the Washington Times calls the work “a masterpiece” and “a landmark score in “Lecho de muerte 3” “Death-Bed 3” the lyric theater of our time.” (En Valladolid) (In Valladolid) During the 2003-04 season several of Balada’s works had their premières, including Symphony No. 5, “American” commissioned by Mariss Jansons and the Pittsburgh Symphony Orchestra, Ebony Fantasies for chorus Indios (En el poblado indio, no visibles): Aaje, aaja, Indians (In an Indian village, not visible): Aaje, aaja, and orchestra in Madrid, and Prague Sinfonietta for the Czech Sinfonietta. During the 2004-05 season, Balada saw aajo… aajo… La Muerte de Colón and the world première of Caprichos No. 1 performed by guitarist Eliot Fisk and the Miró Personaje Misterioso (hablado): Cientos de Indios Mysterious Character (spoken): Hundreds of Indians String Quartet. His opera Faust-bal, commissioned by the Teatro Real of Madrid, was premièred in February 2009. degollados, justo es que hubiera rebeldía y venganza. slaughtered, it was a just thing for them to rebel and This is a twenty-first-century interpretation of the classical Faust, with libretto by surrealist Fernando Arrabal. Inocentes eran, indefensos, desnudos, sin leyes, sin seek vengeance. They were innocent, defenceless, World première performances during the 2007-08 season were undertaken by the Radio Berlin Symphony Orchestra reyes…permitiste con hábito de orgullo y violencia la naked, without laws, without kings… you allowed with (a concerto for three cellos and orchestra), the Hungarian Chamber Symphony Orchestra (a work for string destrucción del Paraíso de la salvación hallado, en haughtiness and violence the destruction of the found orchestra), a work for Jeff Turner (contrabass and the Pittsburgh Symphony Chamber Orchestra), and two chamber donde el bien regía…lo sagrado en las cosas y no lo Paradise of salvation where good prevailed… where the operas at Teatro de la Zarzuela-Madrid and Gran Teatre del Liceu-Barcelona. 8.660193-94 821 8.660193-94 660193-94 bk Balada 3/7/09 16:22 Page 20

Isabel: ¿Por qué vos? Isabella: Why you? Jon Garrison Colón: ¡Por designio! Columbus: I am God’s chosen. Isabel: ¿Quién os manda? Isabella: Who sends you? The tenor Jon Garrison has had a brilliant 35 year international career singing with Colón: Nuestro Dios Columbus: Our God! the most prestigious conductors, opera companies and symphony orchestras in Isabel: ¿Con qué pruebas? Isabella: Where is the proof? North America, Europe, Asia, and South America. His operatic début was as Colón: ¡Mirad la Biblia! Columbus: Look at the Bible! Rinuccio in Puccini’s Gianni Schicchi with the New York Metropolitan Opera. Isabel: ¡Sed preciso! Isabella: Be more precise! Since then, he has sung 21 rôles in over 200 performances with The Met including Colón: ¡Aquí están! Quien libere las islas del océano… Columbus: Here it is! “He who frees the islands of the Ferrando, Tamino, Don Ottavio, Belmonte, Romeo, Ernesto, and Nemorino. He has Isabel: Vuestra fe, vuestro empeño y lealtad os darán la Ocean…” also sung with the opera companies of New York City, Santa Fe, Washington, victoria. Isabella: Your faith, your persistence and loyalty will Pittsburgh, Cincinnati, Houston, Miami, Spoleto Festival of Two Worlds in both Colón: …abrirá las puertas de Ciudad Santa. give you the victory. Charleston, S.C. and Italy, English National, Scottish, Hamburg, Paris, Bologna, Isabel: Encontrasteis esas islas. Columbus: “…will open the gates of the Holy City.” Teatro Colón, La Fenice and more than fifty other companies around the world. Jon Colón: Con la ayuda de la Providencia, ¡Permitidme un Isabella: You found those islands. Garrison is a renowned interpreter of twentieth- and twenty-first-century music. He Nuevo viaje! Columbus: With help from Providence, allow me a has sung the leading tenor rôle in three operatic world premières: The Gardens of Isabel: Vos y yo somos el alba, el río lleno, el valle new trip! Adonis by Hugo Weisgall; Holy Blood, Crescent Moon by Stuart Copeland; and fértil. Vos y yo somos dos fuentes ricas cuyo caudal Isabella: You and I are like the dawn, the full river, the Rasputin by Jay Riese; the American première of Mary, Queen of Scots by Thea celeste se vierte en un mar cuyas aguas son vida y fertile valley. You and I are two rich streams whose Musgrave, and the first performance of The Song of Majnun by Bright Sheng. He destino de la humanidad. Almirante, ¡Por Dios debéis waters are life and destiny for humanity. Admiral, with also sang the leading rôle in Die Soldaten by Zimmermann for the English National Opera and Inez de Castro by repetir vuestra hazaña y encontrar el Santo Sepulcro y God’s help, you must repeat your feat and find the Holy James MacMillan for the Scottish Opera, both of which were broadcast live throughout Great Britain and Europe by liberar Jerusalén! Sepulcher and free Jerusalem! the BBC. He is also in great demand in the symphonic and concert repertoire, having sung with over ninety different Colón: ¡Encontraré el Santo Sepulcro, liberaré Columbus: I will find the Holy Sepulcher, I will free symphonies around the world. He has sung with all the major symphonies in the United States and Canada, and with Jerusalén! Jerusalem! major orchestras in England, France, Germany, Italy, Scandinavia, and the Far East. His symphonic début was with Cort: ¡Liberará Jerusalén! Courtiers: He will free Jerusalem! the New York Philharmonic and Pierre Boulez in Stravinsky’s Le Rossignol. Among his many appearances with that orchestra was the rôle of Klaus Narr in Schoenberg’s massive Gurrelieder, conducted by Zubin Mehta in his 9 Escena I-8 Scene I-8 farewell concert as music director, a performance that was recorded by Deutche Grammophon. He has sung “Los Colones” “The Columbuses” numerous times with Seiji Ozawa and the Boston Symphony, Christoph von Dohnányi and the Cleveland Orchestra, (en Granada) (in Granada) Robert Shaw and the Atlanta Symphony, Charles Dutoit and the Philadelphia Orchestra and Montreal Symphony, and Herbert Blomstedt, Lorin Maazel, Raymond Leppard, Gerald Schwarz, Christoph Eschenbach, and Franz Hernando, Diego (hijo), Diego (hermano), Hernando, Diego [son], Diego [brother], Welser-Möst, among many others. He sang the world première of Claude Baker’s Into the Sun on Leonard Slatkin’s Bartolomé: Los Colones, los hijos, los hermanos, los Bartholomew: The Colombuses, the sons, the brothers, the inaugural concert as music director of the National Symphony, the American première of Hans Werner Henze’s hijos y hermanos del Gran Almirante, la dinastía. Con sons and the brothers of the great Admiral, the dynasty. In a Kammermusik with the Los Angeles Philharmonic, a nationally televised Beethoven Ninth Symphony for Herbert prisa, sin tregua buscando el estrecho que lleva a hurry, without hesitating, looking for the Strait that leads to Blomstedt’s first concert as music director of the San Francisco Symphony, and a performance as the Evangelist in Cipango la India y España, con prisa sin tregua Cipango, India and Spain. In a hurry, without hesitating, Bach’s St Matthew Passion conducted by Raymond Leppard and televised live from Lincoln Cathedral to Great buscando el estrecho que abre el camino a fama y looking for the Strait that opens the way to fame and Britain and Europe. He also sang the European première of Michael Tippett’s The Mask of Time for the BBC Proms riqueza para Gloria de Dios. Conquistamos la Corte, richness for the Glory of God. We have conquered the with Andrew Davis conducting, recorded an award-winning Szymanowski Symphony No. 3 with Simon Rattle and persuadimos la Reina, convencimos al Rey. Cristobal Court, persuaded the Queen, and convinced the King. the City of Birmingham Symphony and recorded the title rôle in Harrison Birtwistle’s The Mask of Orpheus with Colón, Bartolomé Colón, y Diego Colón, y Diego, y Christopher Columbus, Bartholomew Columbus, and the BBC Symphony and Andrew Davis, a recording which won the Grammy Award for the best contemporary Hernando. Hernando mi hijo y Diego mi hermano y Diego Columbus, and Diego and Hernando. Hernando my recording of 1997. Diego mi tío, Bartolomé mi hermano, Hernando son and Diego my brother and Diego my uncle, sobrino, hermanos, sobrinos, sobrinos y tíos, un sobrino Bartholomew my brother, Hernando my nephew, brothers, bastardo. En vida y en muerte. Los Enríquez, los nephews, and uncles, a bastard nephew. In life and death. Haranas, los Colones, siempre unidos. Talaremos la The Enríquez, the Haranas, the Columbuses all united. We selva, fundaremos ciudades. will clear the forest; we will build cities. 8.660193-94 20 9 8.660193-94 660193-94 bk Balada 3/7/09 16:22 Page 10

Judith Jenkins el infinito os guiará. Bobadilla sed prudente que vuestra towards the infinite. Bobadilla, be prudent, so that your vara no reprima con severidad a nuestro hombre. stick does not reprimand our man with too much severity. The soprano Judith Jenkins is currently Instructor of Voice at the Conservatory of Performing Arts of Point Park University, and a member of the professional Rey Fernando, Margarit, Juan Aguado, Bobadilla: King Ferdinand, Margarit, Juan Aguado, Bobadilla: core of the Mendelssohn Choir of Pittsburgh. She has presented numerous solo Deponedle, sí, sí, sí, sí, castigadlo, sí, sí, sí, ¡qué lo Remove him, yes, yes, yes, punish him, yes, yes, yes, Lieder and operatic recitals in Europe and Asia under the auspices of the United traten como a un preso! Que lo traigan con cadenas, que treat him like a convict! Bring him back chained, so he States Embassy, including a series of benefit recitals for the major cultural arts le sirva de escarmiento. Reprimenda con castigo, learns a lesson. Admonish him with severe punishment. organizations and universities of the Philippines. Major rôles in opera and escarmiento, que lo traigan con cadenas. Que lo traten Bring him back chained. Treat him without mercy, musical theater have included the title rôle in the Pittsburgh première of Samuel sin clemencia, sin indulto, sin perdón. ¡Sí! (Grito) without amnesty, without pardon. Yes! (Shouted) Barber’s Vanessa. In 2004 she was soloist with the Renaissance City Winds in a series of subscription concerts, and was the soloist with the Mendelssohn Choir 7 Escena I-6 Scene I-6 and the Pittsburgh Symphony in Bach’s Magnificat and Kodály’s Missa Brevis. “¡Mirad!” “Look!” She was a district winner of the Metropolitan Opera Auditions, and holds (Colón es traído prisionero de las Indias) (Columbus is brought back as a prisoner from the Indies) Bachelor and Master’s degrees from Peabody Conservatory and Carnegie (En la nave) (In the ship) Mellon University. Colón: Doliente mi cuerpo, con sangre mi alma, como Columbus: My body in pain, my soul bleeding, like a un criminal amarrado a hierros y a grillos, humillado me criminal chained in irons and shackles, humiliated, you Photo: Michael Robinson arrastráis hacia España. Me miro en el océano cuyas are dragging me to Spain. I look down to the ocean lagunas he abierto a España. Veo en él reflejado el rostro whose expanse I opened to Spain. I see reflected the de mi Reina que me ha abandonado. ¡Recordad! Que face of my Queen who has forsaken me. Remember Katherine Mueller por gracia de Dios esas tierras a vuestros pies he posado. how, with the will of God, I surrendered those lands to Pero en pago me habéis humillado. ¡Mirad! ¡Mirad! your feet. But as thanks, you humiliate me. Look! The mezzo-soprano Katherine Mueller received her Bachelor of Music degree from Susquehanna University, and Esos hierros. Arrastrado con cadenas llego a España. Look! These irons. I arrive in Spain, dragged in chains. her Master of Music degree from the New England Conservatory of Music (both in Vocal Performance). While in Boston, she performed with the Boston Academy of Music, the Cambridge Chamber Opera, the Mondadnock Music 8 Escena I-7 Scene I-7 Festival, and was alto soloist for thirteen years at both Old South Church and Temple Israel. Her solo engagements “Jerusalén” “Jerualem” included J.S. Bach’s St Matthew Passion and Berlioz’s Romeo and Juliet, both performed in Jordan Hall. She (En la Corte) (At the Court) became Fine Arts Director and Choral Director for the Ipswich, MA public schools in 1997. Since moving to Pittsburgh in 2003, she has been alto soloist at the First Presbyterian Church of Pittsburgh, and is a member of the Cortesanos: Ja, ja, ja! El Gobernador destronado, el Courtiers: Ha, ha, ha! The Governor without a throne, professional core of the Mendelssohn Choir of Pittsburgh. Almirante sin mar. ¡Vedle, vedle, vedle! the Admiral without a sea. Look at him! Colón: Estoy apenado Mis Altezas. Columbus: I am repentant, your Highness. Cortesanos: ¡Robaste! Courtiers: You robbed! Colón: Mis errores han sido de buena fe. Columbus: Mine were unintended mistakes. Cort: ¡Mataste! ¡Deshonraste al Rey! Deshonraste a la Courtiers: You killed! You dishonored the King! You Reina! ¡Deshonraste a la Corte! ¡Deshonraste a Dios! dishonored the Queen! You dishonored the Court! You dishonored God! Colón: Con humildad franciscana os prometo mi Rey, Columbus: I promise, my King and my Queen, with mi Reina… Franciscan humility… Reina Isabel: ¿Que prometéis para descargo de vuestra Queen Isabella: What do you promise to do to redeem conciencia? your sins? Colón: ...abrir las puertas de Tierra Santa. Cumplir las Columbus: …to open the gates of the Holy Land. profecías de Isaías y Jeremías. Make true the prophecies of Isaiah and Jeremiah.

8.660193-94 10 19 8.660193-94 660193-94 bk Balada 3/7/09 16:22 Page 18

enemigos eternos, Bobadilla, Fray Boi, Margarit y Juan enemies, Bobadilla, Friar Boil, Margarit and Juan David Okerlund Aguado. Aguado. Personaje Misterioso: El Paraíso era, dejó de serlo tan Mysterious Character: It used to be Paradise; it The baritone David Okerland, assistant professor of voice at Bowling Green State pronto vuestros hombres desgarraron el cuerpo y el stopped being so as soon as your men tore the bodies University, has established himself as a major artist in such critically acclaimed honor de estos pueblos inocentes. En la Corte Bobadilla and pride of those innocent peoples. At the court performances as Stanley Kowalski in A Streetcar Named Desire with L’Opéra National y sus secuaces muy celosos os acusaron ante el Rey, y Bobadilla and his ardent followers very jealously du Rhin, the Pittsburgh Symphony and the San Diego Opera, Nick Shadow in The Rake’s ante la Reina. accused you in front of the King and Queen. Progress with Vancouver Opera, Yeletsky in Pique Dame with Opera Grand Rapids and Monjes: Ave verum corpus natum corpus natum de Monks: Ave verum corpus natum corpus natum de Germont in La traviata with the Connecticut Opera. Other major performances include Maria virgine vere passum immolatum (rezando, Maria virgine vere passum immolatum (praying Photo: Lisa Kohler the title rôle in Le nozze di Figaro, Sharpless in Madama Butterfly, Dandini in La gravemente) in cruce pro homine. Cujus latus gravely) in cruce pro homine. Cujus latus perforatum Cenerentola and Eisenstein in Die Fledermaus. During his multi-year tenure with the San perforatum unda fluxit et sanguine esto nobis… (repite) unda fluxit et sanguine esto nobis… (repeats) Francisco Opera, Okerlund essayed the rôle of Stanley Kowalski in the world première of Andre Previn’s A Streetcar Named Desire, as well as portrayals of Don Giovanni, 6 Escena I-5 Scene I-5 Marcello in La Bohème and Eugene Onegin. He was also featured in the company’s world “Bobadilla” “Bobadilla” première recordings of Harvey Milk and Dead Man Walking. Highly regarded for concert (En la corte) (At the Court) and oratorio appearances, Okerlund’s repertoire includes: Haydn’s Creation, Brahms’ Ein deutches Requiem, Handel’s Messiah, Fauré’s Requiem and Britten’s War Requiem. He has been a soloist with the San Margarit, Juan Aguado, Fray Boil y Bobadilla: Ese Margarit, Juan Aguado, Friar Boil and Bobadilla: Francisco Opera Orchestra, San Francisco Symphony, Pittsburgh Symphony, San José Symphony, Kansas City Colón, ese extranjero está llevado de la mano del That Columbus, that foreigner, is hand in hand with the Symphony, San Francisco Chorale Society, Napa Valley Symphony and the Masterworks Chorale. Other engagements Diablo. Es ambicioso (repítase), arrogante (repítase) Es Devil. He is ambitious (repeat), arrogant (repeat). He is have included Peter in Hänsel und Gretel, Sharpless in Madama Butterfly and Escamillo in Carmen with the San un farsante, incompetente. En las Indias falta el oro, a liar, incompetent. In the Indies there is no gold, it is Francisco Opera, Orestes in Elektra with Vancouver Opera and Jokanaan in Salome with Hawaii Opera Theater. todo es mentira (susurrando). Ese Colón pretende tener all a lie (murmuring). This Columbus pretends to have la misma autoridad que Vuesas Altezas, gobernar con the same authority as your Majesty; he wants to govern Arturo Martín sus hermanos sin el yugo real. Hay quien dice que han with his brothers without the royal yoke. Some say that pactado los Colones con los Indios para alzarse contra the Columbuses have made a pact with the Indians to Arturo Martín, a tenor, was born in Mérida, Mexico. He graduated with honors from Yucatán University, receiving España (repítase). Hay quien dice que han pactado con rise up against Spain (repeat). It is rumored that they a B.S. in Chemical Engineering. At the same time he began to study voice seriously with the renowed Cuban pianist las fuerzas genovesas contra España. Quinientos have made a pact with the Genoese army to rise against Alberto Alvarez. In December 2003, he won First Prize in the Nicolás Urcelay Singing Competition, a national españoles perciben salarios pagados por las arcas Spain. Five hundred Spaniards get salaries paid by the competition in Mexico for tenors only. Other awards include the Francesc Viñas International Singing Competition, públicas sin frutos ni retornos. Este Colón judío public treasury without results or profits. This visionary 38th Edition, in Barcelona, and a scholarship to study in Italy with the Ezio Pinza Council for American Singers of visionario no encuentra el continente, no encuentra Jewish Columbus cannot find the continent, cannot find Opera (EPCASO). Martín continues his studies with Claudia Pinza in Pittsburgh. He made his professional operatic yacimientos, no sabe gobernar, maltrata a los indios, los precious metals, does not know how to govern, and début to critical acclaim singing the rôle of Nemorino in L’elisir d’amore, in a series of performances sponsored by quiere esclavizar y así cobrar y enriquecerse. Vuesas mistreats the Indians. He wants to enslave them and get CONACULTA, the Council for National Culture and Arts, the most prestigious national arts foundation in Mexico. Altezas, mi humilde parecer es que quitemos a ese paid and enrich himself. Your Majesty, my modest Colón sus poderes y me nombréis a mí para poner opinion is that we should take away all of Columbus’s Dimitrie Lazich orden. powers and name me to restore order. Reina Isabel: Mis lágrimas lavarán las heridas Queen Isabella: My tears will wash the wounds inflicted The baritone Dimitrie Lazich graduated from Carnegie Mellon University and then completed his Masters Degree in infligidas en el honor de mi Almirante quien escucha on the honor of the Admiral, who is listening to all this Opera performance at The Curtis Institute of Music. He has performed major rôles in The Magic Flute, vuestras cargas desde la otra orilla del mar. Mis from the other side of the sea. My tears will wash the L’incoronazione di Poppea, Candide and Dido and Aeneas while living in Pittsburgh. While attending The Curtis lágrimas lavarán la afrenta de querer esclavizar a mis offence of wanting to enslave my poor Indians, who are Institute of Music he performed major rôles in La Bohème, Le nozze di Figaro, The Rake’s Progress, among other pobres indios pacíficos y vírgenes de avaricia. Aceptad peaceful and free of avarice. Accept with courage my operatic works. He performed once again with the Opera Theater of Pittsburgh as Louis in A View from the Bridge con valor mi virrey el mandato real para bien de Viceroy the royal duty for the good of Spain, close your as well as Wagner in the Opera Company of Philadelphia’s Faust. He has also performed overseas as part of Opera España, cerrad los ojos a la vanidad y en pago el mundo eyes to vanity and as payment, you should have the whole Studio Nederland where he performed the rôle of Junius in The Rape of Lucretia and Dr Falke in Die Fledermaus entero tendréis a vuestros pies y el dedo de Dios hacia world under your feet and God’s finger guiding you He reprised the rôle of Junius in a touring production of The Rape of Lucretia which was performed throughout Belgium. He has performed with the Stuttgart Oper in Dr Faustus. 8.660193-94 18 11 8.660193-94 660193-94 bk Balada 3/7/09 16:22 Page 12

Raymond Blackwell olvidará, lo que nadie olvidará, lo que nadie olvidará. what nobody will forget, what nobody will forget, what nobody will forget. The baritone Raymond Blackwell is originally from Wilmington, Delaware. He moved to Pittsburgh in 1996 and, Colón: Indios-Casas-Dios me ayude Columbus: Indians…La Casas … God help me. after six seasons as coach and accompanist for the Pittsburgh Opera, became an artist lecturer and coach for the voice Monjes: Ave verum corpus natum, corpus natum de Monks: Hail true body, born of the Virgin Mary, who department at Carnegie Mellon University. Pittsburgh audiences have seen him as Guard No. 2 in Pittsburgh Opera’s Maria Virgine vere passum immolatum… truly suffered, sacrificed... Dead Man Walking, and as Archie Kramer in Opera Theater of Pittsburgh’s Summer and Smoke. He holds a Bachelor of Music in vocal performance from the University of Delaware, a Master’s in Opera from Binghamton University 3 Escena I-3a Scene I-3a and was a resident artist at Tri Cities Opera in Binghamton, New York. He has also sung rôles with Opera Delaware, “Canción” “Song” Opera at Florham, The Singer’s Forum, NYC and Ithaca Opera. Known also as a pianist, he continues to work as a (En un poblado indio) (In an Indian Village) rehearsal accompanist for the Pittsburgh Symphony and Johnstown Symphony, where he played for such great singers as Jessye Norman, Thomas Quasthoff, Sherrill Milnes, and Susan Menzer. In January of 2004, Raymond Voz India (indios en un ritual): Uuuuaaa, uuuoaaa, Indian Voice: (Indians in a ritual): Uuuuaaa, uuuoaaa, Blackwell was appointed as the official accompanist for the Metropolitan Opera auditions in Pittsburgh. daaaee, uooaaa. daaaee, uooaaa.

Milutin Lazich 4 Escena I-3b Scene I-3b “En un poblado indio-pillaje” “In an Indian Village – Pillage” The bass Milutin Lazich is Professor Emeritus of Voice and the Director of Choirs at Clarion University of [Escena continuación de la anterior, de cámara lenta, [This scene follows the song to nature just concluded. Pennsylvania. He holds a Master’s Degree in Voice, Vocal Pedagogy, and Opera and Choral Conducting. He has simbólica, entre danza y tragedia] (El canto a la The Indians continue with their ritual. Slow motion- performed many concert works including Haydn’s Nelson Mass and The Creation, Mozart’s Requiem, and naturaleza ha concluido. Los indios siguen con su ritual) like, between dance and tragedy] Beethoven’s Ninth Symphony with various orchestras including the Mendelssohn Choir of Pittsburgh, Johnstown Symphony and Wheeling Symphony. Known internationally, he has performed major rôles in L’infedeltà delusa Indios (grupo pequeño): Yeeee, yaje yajo, eee Indians (small group): Yeee, yaje yajo, eee (the ritual and Gli sposi per accidenti in Barga, Italy. With the Belgrade National Opera Theatre he sang major rôles in Aida (prosigue el ritual), eee, (gradualmente los indios goes on), eee (gradually the Indians will fall, and Don Carlo. He has visited Malta as a guest lecturer and performer, appearing there in the Presidential Palace caerán al suelo, simbólicamente abatidos) symbolically defeated) and the Russian Embassy. In the United States he has performed major rôles in Don Giovanni, La battaglia di Legnano and The Magic Flute, among many others. He has also performed leading rôles in South Pacific, Fiddler Voces españolas (las voces no serán vistas): El oro, Voices of Spaniards (the voices are not seen): The on the Roof, The King and I and The Mikado, among other musical theatre works. oro, oro, perlas, las perlas, el oro, las perlas… (Repítase gold, gold, gold, the pearls, pearls, pearls, the gold, the tumultuoso sin coordinación) Jódelas, píllalas, jajaja, pearls… (repeat tumultuously, without coordination) Carnegie Mellon Philharmonic que mujeres para joder… ¡Éramos presidiarios en Screw them, get them, jajaja, what women to screw… Castilla, en las Indias somos reyes! ¡Si no obedecen We were convicts in Castile, here in the Indies we are The Carnegie Mellon Philharmonic is comprised of student musicians from across the United States and nineteen pasadlos por el cuchillo! (ríen) Oro, perlas, cuchillo, kings! If they don’t obey, slaughter them with knives! foreign countries. Philharmonic performances have been received enthusiastically by audiences and critics at such esclavos, tierras… (Repítase, sin orden, tumultuoso, (They laugh) Gold, pearls, knives, slaves, lands… prestigious institutions as the Kennedy Center in Washington, D.C., Boston’s Symphony Hall, Cleveland’s articulado) (Las voces no serán vistas) (Repeat without order, tumultuous, articulated) (The Severance Hall and Carnegie Hall in New York City. Its recordings appear on the Mode Records, New World voices won’t be seen) Records, New Albion and Carnegie Mellon labels. The orchestra claims alumni in the New York Philharmonic, Chicago and Pittsburgh symphony orchestras, among many others. 5 Escena I-4 Scene I-4 “Lecho de muerte 2” “Death-Bed 2” Carnegie Mellon Repertory Chorus Colón: ¡Bien sería aquello el Paraíso, libres las gentes, Columbus: That really was Paradise, the people were The Carnegie Mellon Repertory Chorus is one of the two major choral ensembles at Carnegie Mellon University. limpios de envidia, en donde el oro no entorpece el free, unfettered by envy, where gold does not tarnish Membership in the ensemble is open to students in all seven colleges of the university. Auditions are held each alma y el crepúsculo nos trae el día y las doncellas de the soul and the dusk brings the day, and the maidens semester and the complement of singers is usually around a hundred singers. The ensemble studies and performs a néctar embebidas están! Paraíso, alba, doncellas de are saturated in nectar! Paradise, dawn, maidens in wide spectrum of choral literature, from the major choral/orchestral works to the more informal folk and néctar, las carnes violadas, los pueblos inocentes, Corte, nectar, violated flesh, innocent peoples. Bobadilla, contemporary genres. Representative repertoire of the past few seasons includes Poulenc’s Gloria, Bruckner’s Mass Bobadilla, Fray Boil, Margarit y Juan Aguado Court, Friar Boil, Margarit and Juan Aguado eternal

8.660193-94 12 17 8.660193-94 660193-94 bk Balada 3/7/09 16:22 Page 16

Colón: Mil quinientos hombres. Columbus: One thousand and five hundred men. in E minor, Haydn’s The Creation and Ned Rorem’s An American Oratorio. Members of the ensemble are often Fernando: Seréis capitán general de la flota costeada Ferdinand: You will be captain general of the fleet, cast in the university opera and music theater productions, and many have sung with the Pittsburgh Symphony por el fisco y conversos catalanes y aragoneses. supported by the treasury and with converts from Orchestra Pops Concerts with Marvin Hamlisch. Catalonia and Aragon. Ciudadanos (catalán): Castella, homes, Catalunya i Citizens: Castile, men, Catalonia and Aragon. Robert Page Aragó (castellano: Castilla, hombres, Cataluña y Aragón). Robert Page (musical director) is Paul Mellon Professor of Music and Director of Choral Isabel: El Papa concede a Castilla y a León las tierras Isabella: The Pope grants to Castile and León the Studies at Carnegie Mellon University. The 2004-05 season marks the 24th anniversary of his colonizadas y evangelizadas. El Papa, Castilla, León. regions colonized and evangelized. The Pope, Castile appointment as Music Director and Conductor of the Mendelssohn Choir of Pittsburgh. Colón: Colonizaremos aquellos vestigios salvajes. and León. During his tenure at the helm, the Mendelssohn Choir has achieved national and international Columbus: We will colonize those savage places. fame as one of the nation’s leading choral ensembles. Named Pennsylvania’s Artist of the Fernando: Conquistaréis, encontraréis tesoros, Fernando: You will conquer, find treasures, build Year in 1998, he has been dubbed “a national treasure” by American Record Review. Serving

levanteréis pueblos, civilizaréis a esos salvajes sin Dios. towns, civilize those savages without a God. The world Photo: Robert Moyer as Assistant Conductor and Director of Choruses of the Cleveland Orchestra from 1971-1989, El mundo ya es de España. already belongs to Spain. Page conducted the world-renowned ensemble on many occasions, including national radio Colón: Buscaremos yacimientos, levantaré ciudades, Columbus: We will look for precious metals. I will build and television broadcasts. Since 1989, he has held the title of Director of Special Projects and nuestra la gloria. El poder y la gloria. cities. Ours will be the glory. The power and the glory. Choral Activities with the Pittsburgh Symphony Orchestra. In great demand as a conductor of Ciudadanos (catalá): Traició a Catalunya, traició a Citizens: Treason to Catalonia, treason to Catalonia symphony orchestras, opera and music theater productions, Page has conducted many of the Catalunya i Aragó. Ah, ah, ah… (castellano: Traición a and Aragon. Ah, ah, ah… major orchestras of the United States, including Philadelphia, Pittsburgh, Minnesota, Cataluña, traición a Cataluña y Aragón. Ah, ah, ah…) Houston, Dallas, Louisiana, Milwaukee, Virginia and San Antonio, as well as the opera Indios: Yeja, Yaje, Yajo, awa yaja, yajo yaja. Indians: Yeja, yaje, yajo, awa yaja, yajo, yaja. companies of Cleveland, Kansas City and Toledo. In Europe he has conducted the Royal Philharmonic Orchestra Ciudadanos: (catalán): Les llibertats robades als pobles Citizens: The liberties taken from innocent peoples. (London) and the Luxembourg RTL Orchestra at the Echternach Festival. In June, 1995, Page conducted the Czech innocents. (castellano:Las libertades robadas a los State Philharmonic of Brno and the Mendelssohn Choir of Pittsburgh in performances of the Beethoven Missa Solemnis pueblos inocentes.) in Brno, Prague and Krakow, and the Budapest Concert Orchestra (MAV) with the Mendelssohn Choir in a performance of the Verdi Requiem in Budapest. In 1997 Page was invited to conduct the Prague Radio Symphony Orchestra in 2 Escena I-2 Scene I-2 performances of Carmina Burana in the Czech Republic and Vienna. The orchestra invited him back to conduct the “Lecho de Muerte 1” “Death-Bed 1” opening concerts of the Dvor˘ák Festival in Dvor˘ák’s home town, in Prague and in the Schönbrunn Palace in Vienna. Page’s choirs can be heard on forty discs issued on major labels. Receiving eight Grammy nominations, Robert Page Colón: Mis ojos cansados, hinchadas mis junturas, el Columbus: My eyes are weary, my joints are swollen, won Grammy awards for his recordings of Orff’s Carmina Burana (Cleveland Orchestra) and Catulli Carmina dolor que invade mi cuerpo despierta con nostalgia el the pain invades all my body, while the memories of the (Philadelphia Orchestra), a Grand Prix du Disc for Gershwin’s Porgy and Bess (Cleveland Orchestra) and a Prix recuerdo del retorno a Barcelona. El recuerdo de la return to Barcelona awaken me with nostalgia. The Mondial de Montreux for his world-première commercial recording of the original version of Shostakovich’s Symphony aroma salpicando el océano.Veo entrar esa luz serena memory of the perfume spattering the ocean. I see a No. 13, ‘Babi Yar’ (Philadelphia Orchestra/Eugene Ormandy). Active in the national choral orchestra scene, Page has que arropa Santo Domingo y me baña el rostro. serene light that covers Santo Domingo bathing my face. served on the choral, festival and overview panels of the National Endowment for the Arts. He is a founding member of Personaje Misterioso: Mal estáis que esto no es Santo Mysterious Character: You are deluded since this is Chorus America, the service organization for independent choruses, and served as its president for three years. Domingo sino vuestro lecho de muerte en Valladolid. not Santo Domingo but your death-bed in Valladolid. Page has conducted or has been associated with the world premières and/or commissions of many major works. Colón: ¿Quién sois? Columbus: Who are you? These include the first performances in America of Penderecki’s Utrenja and Shostakovich’s Symphony No. 13 (original Personaje Misisterioso: Pinzón quien os dio la mano. Mysterious Character: Pinzón, who helped you. version). World premières include Penderecki’s Paradise Lost, an opera jointly commissioned by the Chicago Lyric Rodrigo de Triana a quien hiciste estafa. También soy Rodrigo de Triana, whom you swindled. I am also Opera and La Scala, for which Page (at the invitation of the composer) prepared the Chicago Lyric Chorus for Margarit y Fray Boil y Ovando y Aguado y Bobadilla, Margarit and Friar Boil and Ovando and Aguado and performances in Chicago and Milan. Page has presented Pittsburgh with the first performances of William Schuman’s que os pasaron cuentas informando a la corte. También Bobadilla, who have charged you and informed the Concerto on Old English Rounds for Viola and Orchestra, Shostakovich’s Symphony No. 13 and Leonardo Balada’s soy el indio Caonabo. También soy el Padre las Casas Court. I am also the Indian Caonabo. Also Father Las Torquemada, and as Music Director of the Mendelssohn Choir of Pittsburgh, commissioned An American Oratorio by que os pasarán cuentas ante Dios y los pueblos Casas who will accuse you in front of God and the Ned Rorem. He earned degrees from Abilene Christian University and Indiana University and is the recipient of inocentes. Recordad, recordad, no olvidéis lo que nadie innocent peoples. Remember, remember, do not forget honorary degrees from Beaver, Quincy, Drury and Seton Hill Colleges as well as his alma mater.

8.660193-94 16 13 8.660193-94 660193-94 bk Balada 3/7/09 16:22 Page 14

LA MUERTE DE COLON THE DEATH OF COLUMBUS gracia. Ved lo fuertes que están. Así son en las Indias receive his grace. See how forceful they are! That is the Libretto text in Spanish by Leonardo Balada English translation by Patricia Li, Daniel Mateos, prestos a obedecer. Sin honor, sin poder, y sin armas. way they are in the Indies, willing to obey, without and Carson Cooman Con su venta engrosarán las arcas reales. Hay miles en honor, power or arms. They can be sold. The royal las Indias prestos a servir a Dios y a Vuesas Altezas. tresure will increase. There are thousands like them in CD 1 CD 1 the Indies willing to serve God and Your Majesties. Ciudadanos (catalán): Servir a Deu. (español: Servir a Citizens: Serve God! Acto I Act I Dios). Isabel y Fernando: Colón, estos indios no son Isabella and Ferdinand: Colombus, these Indians are 1 Escena I-1 Scene I-1 enemigos de Dios sino desconocedores de su gracia. not enemies of God but ignorant of his grace. They will “Barcelona – Retorno de Colón” “Barcelona – Return of Columbus” Serán bautizados pero no esclavizados. be baptized but not enslaved. Ciudadanos (catalán): Gracies a Deu. (español: Citizens: Thank you God, thank you … Monjes: (En Valladolid, lecho de muerte) (Latín) Monks: (In Valladolid, at the death-bed): Hail true Gracias a Dios) Aveverum corpus natum de Maria Virgine. body, born of the Virgin Mary. Monjes: Te Deum. Laudamus te Dominum. Monks: We praise thee, O Lord. We acknowledge thee. Ciudadanos (En Barcelona, a lo lejos se oye una Citizens: (From afar the music of a march with Confitemur. marcha acercándose con Colón y algunos indios) Columbus and some Indians approaching can be heard): Cura: Concede, Domine, ut omnes, in mortem Jesu Priest: Grant, O Lord, that all baptized into the death of (Catalán): Ah, ah, ah. Visca Cristofor Colom! Ja arriba, Ah, hurrah Christopher Columbus! Here he arrives! Christi Filii tui baptizati, in virtute resurrectionis vivant, thy son Jesus Christ, through his resurrection may live ja arriba, ja ve, ja ve. Mira, mira, mira… Doneu-li les Here he comes! See, see, see… Hurrah! Give him the et adventum eius gloriosum expectent; qui vivit et and await his glorious coming, who lives and reigns claus de Barcelona. Visca! (castellano: Ah, Ah, Ah… keys of Barcelona. Hurrah! Give him the keys of regnat nunc et in saecula saeculorum. Amen. now and for ever. Amen. Juan, I baptize you in the ¡Viva Cristobal Colón! ¡Ya llega! ¡Ya viene!... Mira, Barcelona – (Columbus and the Indians arrive. NAME, ego te baptizo in Nomine Patris, et Filii, et name of the Father and of the Son and of the Holy mira, mira… ¡Viva! Dadle las llaves de Barcelona Clapping). Spiritus Sancti. Amen. (repeat last sentence with Juan, Spirit. Amen. (repeat last sentence with Miguel, ¡Viva! Dadle las llaves de Barcelona ) (Llega Colón Miguel, Fernando, etc.) Fernando, etc.) con los indios. Aplausos). Monjes y ciudadanos (alternándose): Te aeternum Monks and Citizens alternating: The whole earth Monjes: (Latín) (Los Monjes se han trasladado en Monks: (The Monks have moved to where the King Patrem omnis terra veneratur. Sanctus, sanctus, worships thee, the Father everlasting. Holy, holy… presencia de los reyes.) Pater noster qui is in caelis, and the Queen are): Our Father, who art in heaven, sanctus…(Los Monjes regresan al Lecho de Muerte.) (The Monks return to the Death Bedroom) sanctificetur nomen tuum. Adveniat regnum tuum. Fiat hallowed be thy name. Thy kingdom come. Thy will be Isabel y Fernando: Almirante Colón, con la cruz, con Isabella and Ferdinand: Admiral Columbus, with the voluntas tua, sicut in caelo et in terra. done on earth as in heaven. la espada despertaréis esas tierras, emprenderéis un cross, with the sword you will awake those lands and Reina Isabel y Fernando: (Castellano) Bendito seáis. Queen Isabella and King Ferdinand: God bless you. nuevo viaje start a new journy Isabel: Almirante ¿Qué nuevas nos traéis? Isabella: Admiral, what news do you bring? Colón: Para la conquista de las Indias. Columbus: For the conquest of the Indies. Colón: Para Vuesas Señorías el fin del mundo y el Columbus: For Your Majesty the end of the earth and Ciudadanos (catalán): Creu, terres, nou, viatge, Les Citizens: Cross, lands, new, journey, Indies. comienzo del Paraíso terrenal. ¡Mirad! the beginning of the earthly paradise. See! Indies (castellano: Cruz, tierras, nuevo, viaje, las Isabel y Fernando: ¡Dios Santo! Isabella and Ferdinand: Holy God! Indias). Colón: En vuestro honor tomamos tierras avanzadillas Columbus: On your behalf, we took over the land that Fernando: En esta empresa Aragón y Cataluña Ferdinand: At this undertaking Aragon and Catalonia de las Indias. is preceding the Indies. aportarán el derecho y la ciencia. will provide him with the law and the science. Isabel y Fernando: Las Indias. Isabella and Ferdinand: Indies. Colón: Dios, Nuestro Señor, acompáñame. Columbus: God, our Lord, be with me. Colón: Tierras moradas por gentes dóciles y Columbus: Lands where docile and obedient people Ciudadanos (catalán): Les Indies (castellano: Las Citizens: The Indies. obedientes. dwell. Indiea). Isabel y Fernando: Malvisten, dadles ropa. Isabella and Ferdinand: They are poorly clothed. Isabel: Y Castilla aportará los hombres, las armas y el Isabella: And Castile will provide him with men, arms Give them clothes. clero para la conversión de los pobres Indios. and clergy for the conversion of the poor Indians. Colón: Por ser de aquellas tierras serán llamados Columbus: Because they were from those lands, they Colón: Dios mío vela por mí, no me abandones. Columbus: My God, please take care of me, do not Indios. will be called Indians. Salgamos a la mar. abandon me. Let’s go to the sea. Ciudadanos: ¡Indios! Citizens: Indians! Fernando: Tendréis diecisiete barcos, catorce Ferdinand: You will lead seventeen ships and fourteen Colón: Desconocedores de Dios pero ansiosos de su Colombus: They are ignorant of God but willing to carabelas. caravels.

8.660193-94 14 15 8.660193-94 660193-94 bk Balada 3/7/09 16:22 Page 14

LA MUERTE DE COLON THE DEATH OF COLUMBUS gracia. Ved lo fuertes que están. Así son en las Indias receive his grace. See how forceful they are! That is the Libretto text in Spanish by Leonardo Balada English translation by Patricia Li, Daniel Mateos, prestos a obedecer. Sin honor, sin poder, y sin armas. way they are in the Indies, willing to obey, without and Carson Cooman Con su venta engrosarán las arcas reales. Hay miles en honor, power or arms. They can be sold. The royal las Indias prestos a servir a Dios y a Vuesas Altezas. tresure will increase. There are thousands like them in CD 1 CD 1 the Indies willing to serve God and Your Majesties. Ciudadanos (catalán): Servir a Deu. (español: Servir a Citizens: Serve God! Acto I Act I Dios). Isabel y Fernando: Colón, estos indios no son Isabella and Ferdinand: Colombus, these Indians are 1 Escena I-1 Scene I-1 enemigos de Dios sino desconocedores de su gracia. not enemies of God but ignorant of his grace. They will “Barcelona – Retorno de Colón” “Barcelona – Return of Columbus” Serán bautizados pero no esclavizados. be baptized but not enslaved. Ciudadanos (catalán): Gracies a Deu. (español: Citizens: Thank you God, thank you … Monjes: (En Valladolid, lecho de muerte) (Latín) Monks: (In Valladolid, at the death-bed): Hail true Gracias a Dios) Aveverum corpus natum de Maria Virgine. body, born of the Virgin Mary. Monjes: Te Deum. Laudamus te Dominum. Monks: We praise thee, O Lord. We acknowledge thee. Ciudadanos (En Barcelona, a lo lejos se oye una Citizens: (From afar the music of a march with Confitemur. marcha acercándose con Colón y algunos indios) Columbus and some Indians approaching can be heard): Cura: Concede, Domine, ut omnes, in mortem Jesu Priest: Grant, O Lord, that all baptized into the death of (Catalán): Ah, ah, ah. Visca Cristofor Colom! Ja arriba, Ah, hurrah Christopher Columbus! Here he arrives! Christi Filii tui baptizati, in virtute resurrectionis vivant, thy son Jesus Christ, through his resurrection may live ja arriba, ja ve, ja ve. Mira, mira, mira… Doneu-li les Here he comes! See, see, see… Hurrah! Give him the et adventum eius gloriosum expectent; qui vivit et and await his glorious coming, who lives and reigns claus de Barcelona. Visca! (castellano: Ah, Ah, Ah… keys of Barcelona. Hurrah! Give him the keys of regnat nunc et in saecula saeculorum. Amen. now and for ever. Amen. Juan, I baptize you in the ¡Viva Cristobal Colón! ¡Ya llega! ¡Ya viene!... Mira, Barcelona – (Columbus and the Indians arrive. NAME, ego te baptizo in Nomine Patris, et Filii, et name of the Father and of the Son and of the Holy mira, mira… ¡Viva! Dadle las llaves de Barcelona Clapping). Spiritus Sancti. Amen. (repeat last sentence with Juan, Spirit. Amen. (repeat last sentence with Miguel, ¡Viva! Dadle las llaves de Barcelona ) (Llega Colón Miguel, Fernando, etc.) Fernando, etc.) con los indios. Aplausos). Monjes y ciudadanos (alternándose): Te aeternum Monks and Citizens alternating: The whole earth Monjes: (Latín) (Los Monjes se han trasladado en Monks: (The Monks have moved to where the King Patrem omnis terra veneratur. Sanctus, sanctus, worships thee, the Father everlasting. Holy, holy… presencia de los reyes.) Pater noster qui is in caelis, and the Queen are): Our Father, who art in heaven, sanctus…(Los Monjes regresan al Lecho de Muerte.) (The Monks return to the Death Bedroom) sanctificetur nomen tuum. Adveniat regnum tuum. Fiat hallowed be thy name. Thy kingdom come. Thy will be Isabel y Fernando: Almirante Colón, con la cruz, con Isabella and Ferdinand: Admiral Columbus, with the voluntas tua, sicut in caelo et in terra. done on earth as in heaven. la espada despertaréis esas tierras, emprenderéis un cross, with the sword you will awake those lands and Reina Isabel y Fernando: (Castellano) Bendito seáis. Queen Isabella and King Ferdinand: God bless you. nuevo viaje start a new journy Isabel: Almirante ¿Qué nuevas nos traéis? Isabella: Admiral, what news do you bring? Colón: Para la conquista de las Indias. Columbus: For the conquest of the Indies. Colón: Para Vuesas Señorías el fin del mundo y el Columbus: For Your Majesty the end of the earth and Ciudadanos (catalán): Creu, terres, nou, viatge, Les Citizens: Cross, lands, new, journey, Indies. comienzo del Paraíso terrenal. ¡Mirad! the beginning of the earthly paradise. See! Indies (castellano: Cruz, tierras, nuevo, viaje, las Isabel y Fernando: ¡Dios Santo! Isabella and Ferdinand: Holy God! Indias). Colón: En vuestro honor tomamos tierras avanzadillas Columbus: On your behalf, we took over the land that Fernando: En esta empresa Aragón y Cataluña Ferdinand: At this undertaking Aragon and Catalonia de las Indias. is preceding the Indies. aportarán el derecho y la ciencia. will provide him with the law and the science. Isabel y Fernando: Las Indias. Isabella and Ferdinand: Indies. Colón: Dios, Nuestro Señor, acompáñame. Columbus: God, our Lord, be with me. Colón: Tierras moradas por gentes dóciles y Columbus: Lands where docile and obedient people Ciudadanos (catalán): Les Indies (castellano: Las Citizens: The Indies. obedientes. dwell. Indiea). Isabel y Fernando: Malvisten, dadles ropa. Isabella and Ferdinand: They are poorly clothed. Isabel: Y Castilla aportará los hombres, las armas y el Isabella: And Castile will provide him with men, arms Give them clothes. clero para la conversión de los pobres Indios. and clergy for the conversion of the poor Indians. Colón: Por ser de aquellas tierras serán llamados Columbus: Because they were from those lands, they Colón: Dios mío vela por mí, no me abandones. Columbus: My God, please take care of me, do not Indios. will be called Indians. Salgamos a la mar. abandon me. Let’s go to the sea. Ciudadanos: ¡Indios! Citizens: Indians! Fernando: Tendréis diecisiete barcos, catorce Ferdinand: You will lead seventeen ships and fourteen Colón: Desconocedores de Dios pero ansiosos de su Colombus: They are ignorant of God but willing to carabelas. caravels.

8.660193-94 14 15 8.660193-94 660193-94 bk Balada 3/7/09 16:22 Page 16

Colón: Mil quinientos hombres. Columbus: One thousand and five hundred men. in E minor, Haydn’s The Creation and Ned Rorem’s An American Oratorio. Members of the ensemble are often Fernando: Seréis capitán general de la flota costeada Ferdinand: You will be captain general of the fleet, cast in the university opera and music theater productions, and many have sung with the Pittsburgh Symphony por el fisco y conversos catalanes y aragoneses. supported by the treasury and with converts from Orchestra Pops Concerts with Marvin Hamlisch. Catalonia and Aragon. Ciudadanos (catalán): Castella, homes, Catalunya i Citizens: Castile, men, Catalonia and Aragon. Robert Page Aragó (castellano: Castilla, hombres, Cataluña y Aragón). Robert Page (musical director) is Paul Mellon Professor of Music and Director of Choral Isabel: El Papa concede a Castilla y a León las tierras Isabella: The Pope grants to Castile and León the Studies at Carnegie Mellon University. The 2004-05 season marks the 24th anniversary of his colonizadas y evangelizadas. El Papa, Castilla, León. regions colonized and evangelized. The Pope, Castile appointment as Music Director and Conductor of the Mendelssohn Choir of Pittsburgh. Colón: Colonizaremos aquellos vestigios salvajes. and León. During his tenure at the helm, the Mendelssohn Choir has achieved national and international Columbus: We will colonize those savage places. fame as one of the nation’s leading choral ensembles. Named Pennsylvania’s Artist of the Fernando: Conquistaréis, encontraréis tesoros, Fernando: You will conquer, find treasures, build Year in 1998, he has been dubbed “a national treasure” by American Record Review. Serving

levanteréis pueblos, civilizaréis a esos salvajes sin Dios. towns, civilize those savages without a God. The world Photo: Robert Moyer as Assistant Conductor and Director of Choruses of the Cleveland Orchestra from 1971-1989, El mundo ya es de España. already belongs to Spain. Page conducted the world-renowned ensemble on many occasions, including national radio Colón: Buscaremos yacimientos, levantaré ciudades, Columbus: We will look for precious metals. I will build and television broadcasts. Since 1989, he has held the title of Director of Special Projects and nuestra la gloria. El poder y la gloria. cities. Ours will be the glory. The power and the glory. Choral Activities with the Pittsburgh Symphony Orchestra. In great demand as a conductor of Ciudadanos (catalá): Traició a Catalunya, traició a Citizens: Treason to Catalonia, treason to Catalonia symphony orchestras, opera and music theater productions, Page has conducted many of the Catalunya i Aragó. Ah, ah, ah… (castellano: Traición a and Aragon. Ah, ah, ah… major orchestras of the United States, including Philadelphia, Pittsburgh, Minnesota, Cataluña, traición a Cataluña y Aragón. Ah, ah, ah…) Houston, Dallas, Louisiana, Milwaukee, Virginia and San Antonio, as well as the opera Indios: Yeja, Yaje, Yajo, awa yaja, yajo yaja. Indians: Yeja, yaje, yajo, awa yaja, yajo, yaja. companies of Cleveland, Kansas City and Toledo. In Europe he has conducted the Royal Philharmonic Orchestra Ciudadanos: (catalán): Les llibertats robades als pobles Citizens: The liberties taken from innocent peoples. (London) and the Luxembourg RTL Orchestra at the Echternach Festival. In June, 1995, Page conducted the Czech innocents. (castellano:Las libertades robadas a los State Philharmonic of Brno and the Mendelssohn Choir of Pittsburgh in performances of the Beethoven Missa Solemnis pueblos inocentes.) in Brno, Prague and Krakow, and the Budapest Concert Orchestra (MAV) with the Mendelssohn Choir in a performance of the Verdi Requiem in Budapest. In 1997 Page was invited to conduct the Prague Radio Symphony Orchestra in 2 Escena I-2 Scene I-2 performances of Carmina Burana in the Czech Republic and Vienna. The orchestra invited him back to conduct the “Lecho de Muerte 1” “Death-Bed 1” opening concerts of the Dvor˘ák Festival in Dvor˘ák’s home town, in Prague and in the Schönbrunn Palace in Vienna. Page’s choirs can be heard on forty discs issued on major labels. Receiving eight Grammy nominations, Robert Page Colón: Mis ojos cansados, hinchadas mis junturas, el Columbus: My eyes are weary, my joints are swollen, won Grammy awards for his recordings of Orff’s Carmina Burana (Cleveland Orchestra) and Catulli Carmina dolor que invade mi cuerpo despierta con nostalgia el the pain invades all my body, while the memories of the (Philadelphia Orchestra), a Grand Prix du Disc for Gershwin’s Porgy and Bess (Cleveland Orchestra) and a Prix recuerdo del retorno a Barcelona. El recuerdo de la return to Barcelona awaken me with nostalgia. The Mondial de Montreux for his world-première commercial recording of the original version of Shostakovich’s Symphony aroma salpicando el océano.Veo entrar esa luz serena memory of the perfume spattering the ocean. I see a No. 13, ‘Babi Yar’ (Philadelphia Orchestra/Eugene Ormandy). Active in the national choral orchestra scene, Page has que arropa Santo Domingo y me baña el rostro. serene light that covers Santo Domingo bathing my face. served on the choral, festival and overview panels of the National Endowment for the Arts. He is a founding member of Personaje Misterioso: Mal estáis que esto no es Santo Mysterious Character: You are deluded since this is Chorus America, the service organization for independent choruses, and served as its president for three years. Domingo sino vuestro lecho de muerte en Valladolid. not Santo Domingo but your death-bed in Valladolid. Page has conducted or has been associated with the world premières and/or commissions of many major works. Colón: ¿Quién sois? Columbus: Who are you? These include the first performances in America of Penderecki’s Utrenja and Shostakovich’s Symphony No. 13 (original Personaje Misisterioso: Pinzón quien os dio la mano. Mysterious Character: Pinzón, who helped you. version). World premières include Penderecki’s Paradise Lost, an opera jointly commissioned by the Chicago Lyric Rodrigo de Triana a quien hiciste estafa. También soy Rodrigo de Triana, whom you swindled. I am also Opera and La Scala, for which Page (at the invitation of the composer) prepared the Chicago Lyric Chorus for Margarit y Fray Boil y Ovando y Aguado y Bobadilla, Margarit and Friar Boil and Ovando and Aguado and performances in Chicago and Milan. Page has presented Pittsburgh with the first performances of William Schuman’s que os pasaron cuentas informando a la corte. También Bobadilla, who have charged you and informed the Concerto on Old English Rounds for Viola and Orchestra, Shostakovich’s Symphony No. 13 and Leonardo Balada’s soy el indio Caonabo. También soy el Padre las Casas Court. I am also the Indian Caonabo. Also Father Las Torquemada, and as Music Director of the Mendelssohn Choir of Pittsburgh, commissioned An American Oratorio by que os pasarán cuentas ante Dios y los pueblos Casas who will accuse you in front of God and the Ned Rorem. He earned degrees from Abilene Christian University and Indiana University and is the recipient of inocentes. Recordad, recordad, no olvidéis lo que nadie innocent peoples. Remember, remember, do not forget honorary degrees from Beaver, Quincy, Drury and Seton Hill Colleges as well as his alma mater.

8.660193-94 16 13 8.660193-94 660193-94 bk Balada 3/7/09 16:22 Page 12

Raymond Blackwell olvidará, lo que nadie olvidará, lo que nadie olvidará. what nobody will forget, what nobody will forget, what nobody will forget. The baritone Raymond Blackwell is originally from Wilmington, Delaware. He moved to Pittsburgh in 1996 and, Colón: Indios-Casas-Dios me ayude Columbus: Indians…La Casas … God help me. after six seasons as coach and accompanist for the Pittsburgh Opera, became an artist lecturer and coach for the voice Monjes: Ave verum corpus natum, corpus natum de Monks: Hail true body, born of the Virgin Mary, who department at Carnegie Mellon University. Pittsburgh audiences have seen him as Guard No. 2 in Pittsburgh Opera’s Maria Virgine vere passum immolatum… truly suffered, sacrificed... Dead Man Walking, and as Archie Kramer in Opera Theater of Pittsburgh’s Summer and Smoke. He holds a Bachelor of Music in vocal performance from the University of Delaware, a Master’s in Opera from Binghamton University 3 Escena I-3a Scene I-3a and was a resident artist at Tri Cities Opera in Binghamton, New York. He has also sung rôles with Opera Delaware, “Canción” “Song” Opera at Florham, The Singer’s Forum, NYC and Ithaca Opera. Known also as a pianist, he continues to work as a (En un poblado indio) (In an Indian Village) rehearsal accompanist for the Pittsburgh Symphony and Johnstown Symphony, where he played for such great singers as Jessye Norman, Thomas Quasthoff, Sherrill Milnes, and Susan Menzer. In January of 2004, Raymond Voz India (indios en un ritual): Uuuuaaa, uuuoaaa, Indian Voice: (Indians in a ritual): Uuuuaaa, uuuoaaa, Blackwell was appointed as the official accompanist for the Metropolitan Opera auditions in Pittsburgh. daaaee, uooaaa. daaaee, uooaaa.

Milutin Lazich 4 Escena I-3b Scene I-3b “En un poblado indio-pillaje” “In an Indian Village – Pillage” The bass Milutin Lazich is Professor Emeritus of Voice and the Director of Choirs at Clarion University of [Escena continuación de la anterior, de cámara lenta, [This scene follows the song to nature just concluded. Pennsylvania. He holds a Master’s Degree in Voice, Vocal Pedagogy, and Opera and Choral Conducting. He has simbólica, entre danza y tragedia] (El canto a la The Indians continue with their ritual. Slow motion- performed many concert works including Haydn’s Nelson Mass and The Creation, Mozart’s Requiem, and naturaleza ha concluido. Los indios siguen con su ritual) like, between dance and tragedy] Beethoven’s Ninth Symphony with various orchestras including the Mendelssohn Choir of Pittsburgh, Johnstown Symphony and Wheeling Symphony. Known internationally, he has performed major rôles in L’infedeltà delusa Indios (grupo pequeño): Yeeee, yaje yajo, eee Indians (small group): Yeee, yaje yajo, eee (the ritual and Gli sposi per accidenti in Barga, Italy. With the Belgrade National Opera Theatre he sang major rôles in Aida (prosigue el ritual), eee, (gradualmente los indios goes on), eee (gradually the Indians will fall, and Don Carlo. He has visited Malta as a guest lecturer and performer, appearing there in the Presidential Palace caerán al suelo, simbólicamente abatidos) symbolically defeated) and the Russian Embassy. In the United States he has performed major rôles in Don Giovanni, La battaglia di Legnano and The Magic Flute, among many others. He has also performed leading rôles in South Pacific, Fiddler Voces españolas (las voces no serán vistas): El oro, Voices of Spaniards (the voices are not seen): The on the Roof, The King and I and The Mikado, among other musical theatre works. oro, oro, perlas, las perlas, el oro, las perlas… (Repítase gold, gold, gold, the pearls, pearls, pearls, the gold, the tumultuoso sin coordinación) Jódelas, píllalas, jajaja, pearls… (repeat tumultuously, without coordination) Carnegie Mellon Philharmonic que mujeres para joder… ¡Éramos presidiarios en Screw them, get them, jajaja, what women to screw… Castilla, en las Indias somos reyes! ¡Si no obedecen We were convicts in Castile, here in the Indies we are The Carnegie Mellon Philharmonic is comprised of student musicians from across the United States and nineteen pasadlos por el cuchillo! (ríen) Oro, perlas, cuchillo, kings! If they don’t obey, slaughter them with knives! foreign countries. Philharmonic performances have been received enthusiastically by audiences and critics at such esclavos, tierras… (Repítase, sin orden, tumultuoso, (They laugh) Gold, pearls, knives, slaves, lands… prestigious institutions as the Kennedy Center in Washington, D.C., Boston’s Symphony Hall, Cleveland’s articulado) (Las voces no serán vistas) (Repeat without order, tumultuous, articulated) (The Severance Hall and Carnegie Hall in New York City. Its recordings appear on the Mode Records, New World voices won’t be seen) Records, New Albion and Carnegie Mellon labels. The orchestra claims alumni in the New York Philharmonic, Chicago and Pittsburgh symphony orchestras, among many others. 5 Escena I-4 Scene I-4 “Lecho de muerte 2” “Death-Bed 2” Carnegie Mellon Repertory Chorus Colón: ¡Bien sería aquello el Paraíso, libres las gentes, Columbus: That really was Paradise, the people were The Carnegie Mellon Repertory Chorus is one of the two major choral ensembles at Carnegie Mellon University. limpios de envidia, en donde el oro no entorpece el free, unfettered by envy, where gold does not tarnish Membership in the ensemble is open to students in all seven colleges of the university. Auditions are held each alma y el crepúsculo nos trae el día y las doncellas de the soul and the dusk brings the day, and the maidens semester and the complement of singers is usually around a hundred singers. The ensemble studies and performs a néctar embebidas están! Paraíso, alba, doncellas de are saturated in nectar! Paradise, dawn, maidens in wide spectrum of choral literature, from the major choral/orchestral works to the more informal folk and néctar, las carnes violadas, los pueblos inocentes, Corte, nectar, violated flesh, innocent peoples. Bobadilla, contemporary genres. Representative repertoire of the past few seasons includes Poulenc’s Gloria, Bruckner’s Mass Bobadilla, Fray Boil, Margarit y Juan Aguado Court, Friar Boil, Margarit and Juan Aguado eternal

8.660193-94 12 17 8.660193-94 660193-94 bk Balada 3/7/09 16:22 Page 18

enemigos eternos, Bobadilla, Fray Boi, Margarit y Juan enemies, Bobadilla, Friar Boil, Margarit and Juan David Okerlund Aguado. Aguado. Personaje Misterioso: El Paraíso era, dejó de serlo tan Mysterious Character: It used to be Paradise; it The baritone David Okerland, assistant professor of voice at Bowling Green State pronto vuestros hombres desgarraron el cuerpo y el stopped being so as soon as your men tore the bodies University, has established himself as a major artist in such critically acclaimed honor de estos pueblos inocentes. En la Corte Bobadilla and pride of those innocent peoples. At the court performances as Stanley Kowalski in A Streetcar Named Desire with L’Opéra National y sus secuaces muy celosos os acusaron ante el Rey, y Bobadilla and his ardent followers very jealously du Rhin, the Pittsburgh Symphony and the San Diego Opera, Nick Shadow in The Rake’s ante la Reina. accused you in front of the King and Queen. Progress with Vancouver Opera, Yeletsky in Pique Dame with Opera Grand Rapids and Monjes: Ave verum corpus natum corpus natum de Monks: Ave verum corpus natum corpus natum de Germont in La traviata with the Connecticut Opera. Other major performances include Maria virgine vere passum immolatum (rezando, Maria virgine vere passum immolatum (praying Photo: Lisa Kohler the title rôle in Le nozze di Figaro, Sharpless in Madama Butterfly, Dandini in La gravemente) in cruce pro homine. Cujus latus gravely) in cruce pro homine. Cujus latus perforatum Cenerentola and Eisenstein in Die Fledermaus. During his multi-year tenure with the San perforatum unda fluxit et sanguine esto nobis… (repite) unda fluxit et sanguine esto nobis… (repeats) Francisco Opera, Okerlund essayed the rôle of Stanley Kowalski in the world première of Andre Previn’s A Streetcar Named Desire, as well as portrayals of Don Giovanni, 6 Escena I-5 Scene I-5 Marcello in La Bohème and Eugene Onegin. He was also featured in the company’s world “Bobadilla” “Bobadilla” première recordings of Harvey Milk and Dead Man Walking. Highly regarded for concert (En la corte) (At the Court) and oratorio appearances, Okerlund’s repertoire includes: Haydn’s Creation, Brahms’ Ein deutches Requiem, Handel’s Messiah, Fauré’s Requiem and Britten’s War Requiem. He has been a soloist with the San Margarit, Juan Aguado, Fray Boil y Bobadilla: Ese Margarit, Juan Aguado, Friar Boil and Bobadilla: Francisco Opera Orchestra, San Francisco Symphony, Pittsburgh Symphony, San José Symphony, Kansas City Colón, ese extranjero está llevado de la mano del That Columbus, that foreigner, is hand in hand with the Symphony, San Francisco Chorale Society, Napa Valley Symphony and the Masterworks Chorale. Other engagements Diablo. Es ambicioso (repítase), arrogante (repítase) Es Devil. He is ambitious (repeat), arrogant (repeat). He is have included Peter in Hänsel und Gretel, Sharpless in Madama Butterfly and Escamillo in Carmen with the San un farsante, incompetente. En las Indias falta el oro, a liar, incompetent. In the Indies there is no gold, it is Francisco Opera, Orestes in Elektra with Vancouver Opera and Jokanaan in Salome with Hawaii Opera Theater. todo es mentira (susurrando). Ese Colón pretende tener all a lie (murmuring). This Columbus pretends to have la misma autoridad que Vuesas Altezas, gobernar con the same authority as your Majesty; he wants to govern Arturo Martín sus hermanos sin el yugo real. Hay quien dice que han with his brothers without the royal yoke. Some say that pactado los Colones con los Indios para alzarse contra the Columbuses have made a pact with the Indians to Arturo Martín, a tenor, was born in Mérida, Mexico. He graduated with honors from Yucatán University, receiving España (repítase). Hay quien dice que han pactado con rise up against Spain (repeat). It is rumored that they a B.S. in Chemical Engineering. At the same time he began to study voice seriously with the renowed Cuban pianist las fuerzas genovesas contra España. Quinientos have made a pact with the Genoese army to rise against Alberto Alvarez. In December 2003, he won First Prize in the Nicolás Urcelay Singing Competition, a national españoles perciben salarios pagados por las arcas Spain. Five hundred Spaniards get salaries paid by the competition in Mexico for tenors only. Other awards include the Francesc Viñas International Singing Competition, públicas sin frutos ni retornos. Este Colón judío public treasury without results or profits. This visionary 38th Edition, in Barcelona, and a scholarship to study in Italy with the Ezio Pinza Council for American Singers of visionario no encuentra el continente, no encuentra Jewish Columbus cannot find the continent, cannot find Opera (EPCASO). Martín continues his studies with Claudia Pinza in Pittsburgh. He made his professional operatic yacimientos, no sabe gobernar, maltrata a los indios, los precious metals, does not know how to govern, and début to critical acclaim singing the rôle of Nemorino in L’elisir d’amore, in a series of performances sponsored by quiere esclavizar y así cobrar y enriquecerse. Vuesas mistreats the Indians. He wants to enslave them and get CONACULTA, the Council for National Culture and Arts, the most prestigious national arts foundation in Mexico. Altezas, mi humilde parecer es que quitemos a ese paid and enrich himself. Your Majesty, my modest Colón sus poderes y me nombréis a mí para poner opinion is that we should take away all of Columbus’s Dimitrie Lazich orden. powers and name me to restore order. Reina Isabel: Mis lágrimas lavarán las heridas Queen Isabella: My tears will wash the wounds inflicted The baritone Dimitrie Lazich graduated from Carnegie Mellon University and then completed his Masters Degree in infligidas en el honor de mi Almirante quien escucha on the honor of the Admiral, who is listening to all this Opera performance at The Curtis Institute of Music. He has performed major rôles in The Magic Flute, vuestras cargas desde la otra orilla del mar. Mis from the other side of the sea. My tears will wash the L’incoronazione di Poppea, Candide and Dido and Aeneas while living in Pittsburgh. While attending The Curtis lágrimas lavarán la afrenta de querer esclavizar a mis offence of wanting to enslave my poor Indians, who are Institute of Music he performed major rôles in La Bohème, Le nozze di Figaro, The Rake’s Progress, among other pobres indios pacíficos y vírgenes de avaricia. Aceptad peaceful and free of avarice. Accept with courage my operatic works. He performed once again with the Opera Theater of Pittsburgh as Louis in A View from the Bridge con valor mi virrey el mandato real para bien de Viceroy the royal duty for the good of Spain, close your as well as Wagner in the Opera Company of Philadelphia’s Faust. He has also performed overseas as part of Opera España, cerrad los ojos a la vanidad y en pago el mundo eyes to vanity and as payment, you should have the whole Studio Nederland where he performed the rôle of Junius in The Rape of Lucretia and Dr Falke in Die Fledermaus entero tendréis a vuestros pies y el dedo de Dios hacia world under your feet and God’s finger guiding you He reprised the rôle of Junius in a touring production of The Rape of Lucretia which was performed throughout Belgium. He has performed with the Stuttgart Oper in Dr Faustus. 8.660193-94 18 11 8.660193-94 660193-94 bk Balada 3/7/09 16:22 Page 10

Judith Jenkins el infinito os guiará. Bobadilla sed prudente que vuestra towards the infinite. Bobadilla, be prudent, so that your vara no reprima con severidad a nuestro hombre. stick does not reprimand our man with too much severity. The soprano Judith Jenkins is currently Instructor of Voice at the Conservatory of Performing Arts of Point Park University, and a member of the professional Rey Fernando, Margarit, Juan Aguado, Bobadilla: King Ferdinand, Margarit, Juan Aguado, Bobadilla: core of the Mendelssohn Choir of Pittsburgh. She has presented numerous solo Deponedle, sí, sí, sí, sí, castigadlo, sí, sí, sí, ¡qué lo Remove him, yes, yes, yes, punish him, yes, yes, yes, Lieder and operatic recitals in Europe and Asia under the auspices of the United traten como a un preso! Que lo traigan con cadenas, que treat him like a convict! Bring him back chained, so he States Embassy, including a series of benefit recitals for the major cultural arts le sirva de escarmiento. Reprimenda con castigo, learns a lesson. Admonish him with severe punishment. organizations and universities of the Philippines. Major rôles in opera and escarmiento, que lo traigan con cadenas. Que lo traten Bring him back chained. Treat him without mercy, musical theater have included the title rôle in the Pittsburgh première of Samuel sin clemencia, sin indulto, sin perdón. ¡Sí! (Grito) without amnesty, without pardon. Yes! (Shouted) Barber’s Vanessa. In 2004 she was soloist with the Renaissance City Winds in a series of subscription concerts, and was the soloist with the Mendelssohn Choir 7 Escena I-6 Scene I-6 and the Pittsburgh Symphony in Bach’s Magnificat and Kodály’s Missa Brevis. “¡Mirad!” “Look!” She was a district winner of the Metropolitan Opera Auditions, and holds (Colón es traído prisionero de las Indias) (Columbus is brought back as a prisoner from the Indies) Bachelor and Master’s degrees from Peabody Conservatory and Carnegie (En la nave) (In the ship) Mellon University. Colón: Doliente mi cuerpo, con sangre mi alma, como Columbus: My body in pain, my soul bleeding, like a un criminal amarrado a hierros y a grillos, humillado me criminal chained in irons and shackles, humiliated, you Photo: Michael Robinson arrastráis hacia España. Me miro en el océano cuyas are dragging me to Spain. I look down to the ocean lagunas he abierto a España. Veo en él reflejado el rostro whose expanse I opened to Spain. I see reflected the de mi Reina que me ha abandonado. ¡Recordad! Que face of my Queen who has forsaken me. Remember Katherine Mueller por gracia de Dios esas tierras a vuestros pies he posado. how, with the will of God, I surrendered those lands to Pero en pago me habéis humillado. ¡Mirad! ¡Mirad! your feet. But as thanks, you humiliate me. Look! The mezzo-soprano Katherine Mueller received her Bachelor of Music degree from Susquehanna University, and Esos hierros. Arrastrado con cadenas llego a España. Look! These irons. I arrive in Spain, dragged in chains. her Master of Music degree from the New England Conservatory of Music (both in Vocal Performance). While in Boston, she performed with the Boston Academy of Music, the Cambridge Chamber Opera, the Mondadnock Music 8 Escena I-7 Scene I-7 Festival, and was alto soloist for thirteen years at both Old South Church and Temple Israel. Her solo engagements “Jerusalén” “Jerualem” included J.S. Bach’s St Matthew Passion and Berlioz’s Romeo and Juliet, both performed in Jordan Hall. She (En la Corte) (At the Court) became Fine Arts Director and Choral Director for the Ipswich, MA public schools in 1997. Since moving to Pittsburgh in 2003, she has been alto soloist at the First Presbyterian Church of Pittsburgh, and is a member of the Cortesanos: Ja, ja, ja! El Gobernador destronado, el Courtiers: Ha, ha, ha! The Governor without a throne, professional core of the Mendelssohn Choir of Pittsburgh. Almirante sin mar. ¡Vedle, vedle, vedle! the Admiral without a sea. Look at him! Colón: Estoy apenado Mis Altezas. Columbus: I am repentant, your Highness. Cortesanos: ¡Robaste! Courtiers: You robbed! Colón: Mis errores han sido de buena fe. Columbus: Mine were unintended mistakes. Cort: ¡Mataste! ¡Deshonraste al Rey! Deshonraste a la Courtiers: You killed! You dishonored the King! You Reina! ¡Deshonraste a la Corte! ¡Deshonraste a Dios! dishonored the Queen! You dishonored the Court! You dishonored God! Colón: Con humildad franciscana os prometo mi Rey, Columbus: I promise, my King and my Queen, with mi Reina… Franciscan humility… Reina Isabel: ¿Que prometéis para descargo de vuestra Queen Isabella: What do you promise to do to redeem conciencia? your sins? Colón: ...abrir las puertas de Tierra Santa. Cumplir las Columbus: …to open the gates of the Holy Land. profecías de Isaías y Jeremías. Make true the prophecies of Isaiah and Jeremiah.

8.660193-94 10 19 8.660193-94 660193-94 bk Balada 3/7/09 16:22 Page 20

Isabel: ¿Por qué vos? Isabella: Why you? Jon Garrison Colón: ¡Por designio! Columbus: I am God’s chosen. Isabel: ¿Quién os manda? Isabella: Who sends you? The tenor Jon Garrison has had a brilliant 35 year international career singing with Colón: Nuestro Dios Columbus: Our God! the most prestigious conductors, opera companies and symphony orchestras in Isabel: ¿Con qué pruebas? Isabella: Where is the proof? North America, Europe, Asia, and South America. His operatic début was as Colón: ¡Mirad la Biblia! Columbus: Look at the Bible! Rinuccio in Puccini’s Gianni Schicchi with the New York Metropolitan Opera. Isabel: ¡Sed preciso! Isabella: Be more precise! Since then, he has sung 21 rôles in over 200 performances with The Met including Colón: ¡Aquí están! Quien libere las islas del océano… Columbus: Here it is! “He who frees the islands of the Ferrando, Tamino, Don Ottavio, Belmonte, Romeo, Ernesto, and Nemorino. He has Isabel: Vuestra fe, vuestro empeño y lealtad os darán la Ocean…” also sung with the opera companies of New York City, Santa Fe, Washington, victoria. Isabella: Your faith, your persistence and loyalty will Pittsburgh, Cincinnati, Houston, Miami, Spoleto Festival of Two Worlds in both Colón: …abrirá las puertas de Ciudad Santa. give you the victory. Charleston, S.C. and Italy, English National, Scottish, Hamburg, Paris, Bologna, Isabel: Encontrasteis esas islas. Columbus: “…will open the gates of the Holy City.” Teatro Colón, La Fenice and more than fifty other companies around the world. Jon Colón: Con la ayuda de la Providencia, ¡Permitidme un Isabella: You found those islands. Garrison is a renowned interpreter of twentieth- and twenty-first-century music. He Nuevo viaje! Columbus: With help from Providence, allow me a has sung the leading tenor rôle in three operatic world premières: The Gardens of Isabel: Vos y yo somos el alba, el río lleno, el valle new trip! Adonis by Hugo Weisgall; Holy Blood, Crescent Moon by Stuart Copeland; and fértil. Vos y yo somos dos fuentes ricas cuyo caudal Isabella: You and I are like the dawn, the full river, the Rasputin by Jay Riese; the American première of Mary, Queen of Scots by Thea celeste se vierte en un mar cuyas aguas son vida y fertile valley. You and I are two rich streams whose Musgrave, and the first performance of The Song of Majnun by Bright Sheng. He destino de la humanidad. Almirante, ¡Por Dios debéis waters are life and destiny for humanity. Admiral, with also sang the leading rôle in Die Soldaten by Zimmermann for the English National Opera and Inez de Castro by repetir vuestra hazaña y encontrar el Santo Sepulcro y God’s help, you must repeat your feat and find the Holy James MacMillan for the Scottish Opera, both of which were broadcast live throughout Great Britain and Europe by liberar Jerusalén! Sepulcher and free Jerusalem! the BBC. He is also in great demand in the symphonic and concert repertoire, having sung with over ninety different Colón: ¡Encontraré el Santo Sepulcro, liberaré Columbus: I will find the Holy Sepulcher, I will free symphonies around the world. He has sung with all the major symphonies in the United States and Canada, and with Jerusalén! Jerusalem! major orchestras in England, France, Germany, Italy, Scandinavia, and the Far East. His symphonic début was with Cort: ¡Liberará Jerusalén! Courtiers: He will free Jerusalem! the New York Philharmonic and Pierre Boulez in Stravinsky’s Le Rossignol. Among his many appearances with that orchestra was the rôle of Klaus Narr in Schoenberg’s massive Gurrelieder, conducted by Zubin Mehta in his 9 Escena I-8 Scene I-8 farewell concert as music director, a performance that was recorded by Deutche Grammophon. He has sung “Los Colones” “The Columbuses” numerous times with Seiji Ozawa and the Boston Symphony, Christoph von Dohnányi and the Cleveland Orchestra, (en Granada) (in Granada) Robert Shaw and the Atlanta Symphony, Charles Dutoit and the Philadelphia Orchestra and Montreal Symphony, and Herbert Blomstedt, Lorin Maazel, Raymond Leppard, Gerald Schwarz, Christoph Eschenbach, and Franz Hernando, Diego (hijo), Diego (hermano), Hernando, Diego [son], Diego [brother], Welser-Möst, among many others. He sang the world première of Claude Baker’s Into the Sun on Leonard Slatkin’s Bartolomé: Los Colones, los hijos, los hermanos, los Bartholomew: The Colombuses, the sons, the brothers, the inaugural concert as music director of the National Symphony, the American première of Hans Werner Henze’s hijos y hermanos del Gran Almirante, la dinastía. Con sons and the brothers of the great Admiral, the dynasty. In a Kammermusik with the Los Angeles Philharmonic, a nationally televised Beethoven Ninth Symphony for Herbert prisa, sin tregua buscando el estrecho que lleva a hurry, without hesitating, looking for the Strait that leads to Blomstedt’s first concert as music director of the San Francisco Symphony, and a performance as the Evangelist in Cipango la India y España, con prisa sin tregua Cipango, India and Spain. In a hurry, without hesitating, Bach’s St Matthew Passion conducted by Raymond Leppard and televised live from Lincoln Cathedral to Great buscando el estrecho que abre el camino a fama y looking for the Strait that opens the way to fame and Britain and Europe. He also sang the European première of Michael Tippett’s The Mask of Time for the BBC Proms riqueza para Gloria de Dios. Conquistamos la Corte, richness for the Glory of God. We have conquered the with Andrew Davis conducting, recorded an award-winning Szymanowski Symphony No. 3 with Simon Rattle and persuadimos la Reina, convencimos al Rey. Cristobal Court, persuaded the Queen, and convinced the King. the City of Birmingham Symphony and recorded the title rôle in Harrison Birtwistle’s The Mask of Orpheus with Colón, Bartolomé Colón, y Diego Colón, y Diego, y Christopher Columbus, Bartholomew Columbus, and the BBC Symphony and Andrew Davis, a recording which won the Grammy Award for the best contemporary Hernando. Hernando mi hijo y Diego mi hermano y Diego Columbus, and Diego and Hernando. Hernando my recording of 1997. Diego mi tío, Bartolomé mi hermano, Hernando son and Diego my brother and Diego my uncle, sobrino, hermanos, sobrinos, sobrinos y tíos, un sobrino Bartholomew my brother, Hernando my nephew, brothers, bastardo. En vida y en muerte. Los Enríquez, los nephews, and uncles, a bastard nephew. In life and death. Haranas, los Colones, siempre unidos. Talaremos la The Enríquez, the Haranas, the Columbuses all united. We selva, fundaremos ciudades. will clear the forest; we will build cities. 8.660193-94 20 9 8.660193-94 660193-94 bk Balada 3/7/09 16:22 Page 8

Leonardo Balada Beatriz: Los Enríquez, los Haranas, veneramos siempre Beatrice: The Enríquez, the Haranas, we worship the al Virrey, mi hermano, mi primo. ¡Todos! Esta es la Viceroy, my brother, my cousin, everyone! This is the Leonardo Balada was born in Barcelona, Spain, on 22nd September, 1933. He esclava de tu hechizo. Mi amado, iluminaré tu camino slave of your spell. My beloved, I will illuminate your graduated from the Conservatorio del Liceu of that city and the Juilliard School in intuyendo tus hazañas mientras sueño en el retorno. Mi path by foreseeing your heroic deeds while I dream of 1960. He studied composition with Vincent Persichetti, Aaron Copland and conducting amado, al retorno veo en ti imágenes celestes que your return. My beloved, I see in your return heavenly with Igor Markevitch. Since 1970 he has been teaching at Carnegie Mellon University, brillan como brilla la imagen del Señor. Veo en ti a images that are as bright as the images of God. I see in where he is University Professor of Composition. Dios Santo que me ama. you the holy God who loves me. Some of Balada’s best known works were written in a dramatic avant-garde style in Colón: Mi amiga, mi amada, al retorno siento tus besos Columbus: My friend, my beloved, when returning I feel the sixties (Guernica, María Sabina, Steel Symphony). He is credited with pioneering a quemar mis entrañas como fuego ardiendo en el sol. your kisses burning my insides like fire in the sun. My blending of ethnic music with those avant-garde techniques later on, creating a very Amada veo en ti la aurora que ilumina mi fe. beloved, I see in you the dawn that gives light to my faith. personal style starting with Sinfonía en Negro-Homage to Martin Luther King (1968), Hernando: Vuestro hijo os adora, desde niño siempre Hernando: Your son adores you. Since I was a child, I and Homage to Casals and Sarasate (1975). Balada has received several international he sentido en mi pecho vuestro espíritu. always felt your spirit in my heart. awards. Balada’s works are being performed by the world’s leading orchestras, such as Diego (hijo), Diego (hermano), Bartolomé: Con Diego [son], Diego [brother], Bartholomew: With the Philharmonics of New York, Los Angeles and Israel; the Philadelphia Orchestra, the devoción y hermandad sea en tierra, sea en mar. devotion and brotherhood, whether on the land or in the Philharmonia Orchestra of London, the Symphonies of Pittsburgh, Cincinnati, Detroit, sea. Dallas, Washington D.C., Prague, Düsseldorf, Barcelona, Mexico; the radio orchestras Photo: CMU Public Relations of Leipzig, Berlin, Berne, Madrid, Hanover, Moscow, Helsinki, Luxembourg, BBC, Fin Acto I End of Act I Jerusalem; the National Orchestras of Spain, Lyon, Toulouse, Marseille, Ireland, and others, directed by L. Maazel, M. Rostropovitch, R. Frühbeck de Burgos, J. López-Cobos, L. Foss, M. Jansons, J. Mester, S. Comissiona, N. Marriner, and other distinguished conductors. He has been commissioned by many outstanding organizations in the CD 2 CD 2 United States and Europe, including the Aspen Festival, the San Diego Opera, the Pittsburgh, Cincinnati and Hartford Symphonies, National Endowment for the Arts, Benedum Center for the Performing Arts, the Lausanne Chamber Acto II Act II Orchestra, The Millennium of Catalonia, Sociedad Estatal para el V Centenario, the National Orchestra of Spain, the Radio TV Orchestra of Madrid. He has composed works for artists including Alicia de Larrocha, Lorin Maazel, 1 Escena II-1 Scene II-1 Mariss Jansons, the American Brass Quintet, Andrés Segovia, Narciso Yepes, Lucero Tena, Angel Romero and has “Danza” “Dance” collaborated with artists and writers such as Salvador Dalí and Nobel Prize winner Camilo José Cela. (En un poblado indio, danza ritual desafiante, por los (In an Indian village, a dramatic dance of defiance A large number of Balada’s compositions are recorded on Deutsche Grammophon, Naxos, Albany and New abusos de los exploradores). against the abuses of the explorers) World Records. His large catalogue of works includes, in addition to chamber and symphonic compositions, cantatas, two chamber operas and three full length ones: Zapata, Christopher Columbus and its sequel The Death of Voces (No visibles): ¡Ay! Voices: (Not visible): Ay! Columbus. Christopher Columbus had its première in Barcelona in 1989 with José Carreras and Montserrat Caballé singing the leading rôles and attracted international attention. The New York Times calls Balada’s contribution 2 Escena II-2 Scene II-2 “a gift to his native Catalonia” while the Washington Times calls the work “a masterpiece” and “a landmark score in “Lecho de muerte 3” “Death-Bed 3” the lyric theater of our time.” (En Valladolid) (In Valladolid) During the 2003-04 season several of Balada’s works had their premières, including Symphony No. 5, “American” commissioned by Mariss Jansons and the Pittsburgh Symphony Orchestra, Ebony Fantasies for chorus Indios (En el poblado indio, no visibles): Aaje, aaja, Indians (In an Indian village, not visible): Aaje, aaja, and orchestra in Madrid, and Prague Sinfonietta for the Czech Sinfonietta. During the 2004-05 season, Balada saw aajo… aajo… La Muerte de Colón and the world première of Caprichos No. 1 performed by guitarist Eliot Fisk and the Miró Personaje Misterioso (hablado): Cientos de Indios Mysterious Character (spoken): Hundreds of Indians String Quartet. His opera Faust-bal, commissioned by the Teatro Real of Madrid, was premièred in February 2009. degollados, justo es que hubiera rebeldía y venganza. slaughtered, it was a just thing for them to rebel and This is a twenty-first-century interpretation of the classical Faust, with libretto by surrealist Fernando Arrabal. Inocentes eran, indefensos, desnudos, sin leyes, sin seek vengeance. They were innocent, defenceless, World première performances during the 2007-08 season were undertaken by the Radio Berlin Symphony Orchestra reyes…permitiste con hábito de orgullo y violencia la naked, without laws, without kings… you allowed with (a concerto for three cellos and orchestra), the Hungarian Chamber Symphony Orchestra (a work for string destrucción del Paraíso de la salvación hallado, en haughtiness and violence the destruction of the found orchestra), a work for Jeff Turner (contrabass and the Pittsburgh Symphony Chamber Orchestra), and two chamber donde el bien regía…lo sagrado en las cosas y no lo Paradise of salvation where good prevailed… where the operas at Teatro de la Zarzuela-Madrid and Gran Teatre del Liceu-Barcelona. 8.660193-94 821 8.660193-94 660193-94 bk Balada 3/7/09 16:22 Page 22

material valía…y la naturaleza…la naturaleza… sacred rather than the material was valued … disappointment. “Your beloved one has awaited you all says as the Mysterious Character agrees. Four and nature… nature… her life in Cordoba... Always alone... I saw the years go Apocalyptic Characters appear resembling a lion, a Colón: No fui peor que los mejores ni mejor que los Columbus: I was not worse than the best, nor an by without the warmth of your kisses...” says Beatrice. young bull, a deformed human, and an eagle. Each one peores…solo mensajero…¡Espejo de otro mundo! improvement over the worst ones, but only a The Queen continues “... I die disappointed. I was of them says their part in an accusatory, sardonic messenger… mirror of a different world. counting on you and in the end you forgot me...” manner. There is drama as well as grotesque laughter on Personaje Misterioso: (hablado) No encontrasteis el Mysterious Character: (spoken) You didn’t find the their part for the destructiveness of nature caused by the estrecho Strait 4 Scene 4. Death-Bed No. 4 (Columbus, Mysterious short vision of man. There is tragedy and humour in the Colón: ¡Soñé en ello! Columbus: I dreamt of it! Character, Monks) The Mysterious Character reminds music as well. “History repeats itself” says one of the Personaje Misterioso: No encontrasteis al Gran Khan Mysterious Character: You didn’t find the Great Columbus that he is not a hero but “just a pawn in an Apocalyptic Characters. “... once more the Earth is flat Khan historic destiny... look at those on whom glory has and the Sun goes around her.” The Apocalyptic Colón: ¡Imaginé verle! Columbus: I imagined seeing it! smiled!” Characters try to take Columbus away but, as in the Personaje Misterioso: No liberasteis Jerusalén. ¡No, Mysterious Character: You didn’t liberate Jerusalem. past, Queen Isabella is there to save him, while the no, no! Apenas convertisteis infieles… ¡Apenas! No, no, no! All you achieved was to convert some 5 Scene 5. The Heroes (Vespucci, Magellan, Bolívar, chorus of voices echoes the final devastation. In an aria, ¡Apenas! Las riquezas por vos prometidas a nada infidels … that is all! The wealth that you promised Zapata, Columbus, Mysterious Character, Monks) Four the Queen orders Columbus: “Make your last trip in this sumaron… ¡No!... ¡Nada!... ¡Apenas! …nada! Ja…ja… came to nothing… no! Nothing! Only! Nothing! ha, powerful characters appear, spelling out their ship of steel and fly through space, but this time without ¿y las damas de vuestro corazón? Beatriz y la ha… and the ladies of your heart? Beatrice and the achievements in history: “I found the strait... the way to eagerness for gold or desire for glory... make this your Reina…¡Vedlas…vedlas! Queen…look at them! Look at them! Cipango... to the Indies” claims Magellan. “I am fifth crossing and colonize the stars without harm, Monjes: Ave verum Monks: Ave verum America!” announces Amerigo Vespucci in a brilliant allowing their worlds to be as they are!” Beatrice and sarcastic duet. The Mysterious Character points out comments: “Christopher, even if it is a dream, let us 3 Escena II-3 Scene II-3 the real heroes to Columbus: Bolívar and Zapata. board this Noah’s Ark and fly to the infinite.” “Amadísimas” “Beloved ones!” “Columbus, greater is the hate that the Peninsula has (En un lugar de la imaginación de Colón) (Somewhere in Columbus’ imagination) inspired in us than the sea that separates us from it... the 7 Scene 7. Forgive me (Columbus, Monks) On his sister nations dream of federal unity... equality... death-bed Columbus is in his ultimate tormented Beatriz: Cristóbal… Beatrice: Christopher… liberties and the banishing of slavery...” to which Zapata delirium. While the monks continue their singing of the Reina Isabel: Almirante… Queen Isabella: Admiral… responds “... but the political liberties did not generate Ave verum corpus, he asks forgiveness from “...my Beatriz:… tu amada te ha aguardado en Córdoba toda Beatrice: … your beloved one has awaited you all her social justice. The peoples suffocate and suffer under beloved Beatrice... Earth and Sun... sea and rivers... air una vida… life in Cordoba… the powerful. The Indians moan and the peasants cry on and species... Indians, blacks, birds, saints. All of you Isabel: …por vuestras proezas honrado. Yo, vuestra Isabella: ... honoured for your great accomplishments. their knees, lowering their heads, with enormous and God to whom I believed I was listening and Reina, os encargué y mandé en bien de los indios… I, your Queen, did ask you and did order you for the humiliation. Silently sob the dispossessed!” This obeying...”. He dies singing: “In manus tuas Domine welfare of the Indians… powerfulPhoto: Antonio duet Bofill ends with the refrain “The innocent commendo spiritum meum” (“Into your hands, O Lord, I Beatriz: …¿Por qué hiciste que el mar se te llevara tan Beatrice: … why did you allow the seas to take you so peoples.” commend my spirit” — reported to be Columbus’s lejos cada día? far every day…? actual last words). It is a grand collage of sonorities in Isabel: …que los indios moradores de las Indias y Isabella: … of the Indians, inhabitants of the Indies, a 6 Scene 6. Apocalypse (Columbus, Mysterious which electronic sounds, as well as the recorded replay tierra firme no recibieran agravios y fueran bien mainland, that they shall not be offended or mistreated, Character, Queen Isabella, Beatrice, Four Apocalyptic of fragments from Balada’s opera Christopher tratados, no fueran esclavizados. and that they should not be enslaved. Characters, Monks, Voices) In a very unreal setting at Columbus (suggesting Columbus’s past), mix with Beatriz: Sola siempre. Amadísimo Cristóbal. Sola he Beatrice: Always lonely. My beloved Christopher. All the height of his delirium, Columbus has a flash-forward dramatic orchestral textures. visto correr los años sin el calor de tus besos. alone I saw the years go by without the warmth of your vision. “Look, in a thousand years, nothing remains!” he kisses. Isabel: Almirante, tengo constancia de injusticias y Isabella: Admiral, I have evidence of injustices and abusos perpetrados por vos. Almirante, triste está mi abuses done by you. Admiral, your disobedience has corazón por la desobediencia, pues yo siempre he sido made my heart sad, since I have always been your vuestra protectora y amiga. protector and friend.

8.660193-94 22 7 8.660193-94 660193-94 bk Balada 3/7/09 16:22 Page 6

6 Scene 5. Bobadilla (Queen Isabella, King Ferdinand, 9 Scene 8. The Columbuses (Beatrice, Columbus, Beatriz: Amadísimo, triste está mi corazón. Sin aliento Beatrice: My beloved one, sad is my heart. Without Margarit, Aguado, Friar Boil, Bobadilla) In the court of Hernando [son], Diego [son], Diego [brother], mis suspiros. Sólo penas, añoranzas. breath is my sigh. Only grief, only yearnings. Castile, a quartet of accusers led by Bobadilla lists a Bartholomew [brother]) In Granada. This is a happy Isabel: Desde mi morada eterna rezaré por vuestra Isabella: From my eternal dwelling I will pray for your number of complaints against Columbus to the King and and euphoric scene with the Columbus clan and alma. soul. Queen. His competence and loyalty in the Indies are in Columbus’s lover Beatrice singing their endless Colón: ¡Amadísimas! Columbus: My beloved ones! serious question. According to the accusers “... some ambitions. They express their unconditional devotion to Isabel: ¡Adiós Colón! Muero decepcionada. En vos Isabella: Goodbye, Columbus! I die disappointed. I say that the Columbus family made a pact with the Columbus. Beatrice sings “... this is the slave of your confiaba y al final me olvidasteis. Desde el cielo rezaré was counting on you and at the end you forgot me. Indians and Christians to rise against Spain... others say spell. My beloved I will illuminate your path by por vos. From heaven I will pray for you. that they have made a pact with the Genoese army to foreseeing your heroic deeds.” This solo turns into a Beatriz: Cristóbal, sola me quedo. Busqué tu mirada, Beatrice: Christopher, I am left alone. I looked for your rise against Spain... five hundred Spaniards are love duet with Columbus (“... I feel your kisses burning mirando el recuerdo. Pena y soledad vivida. gaze, searching through memories. In sorrow and receiving salaries paid by the public treasury with no like fire in the sun...”). The duet gradually becomes a loneliness I lived. returns...” Thus begins the downfall of Columbus. The sextet with the sons and brothers singing “... with Colón: Amadísimas, sólo hay borrascas cegando mi Columbus: My beloved ones, there are only clouds monarchs agree on the fate of Columbus. The Queen, devotion and brotherhood on the land and the sea.” With espíritu. Misericordia, misericordia. blinding my spirit. Have mercy, mercy. however, does so reluctantly. With pain she sings in an a tremendous upbeat, this scene ends the Act I. aria: “... my tears will wash the wounds inflicted on the 4 Escena II-4 Scene II-4 honour of the Admiral... Bobadilla, be prudent so that Act II “Lecho de Muerte 4” “Death-Bed 4” your stick does not reprimand our man with too much (En Valladolid, lecho de muerte) (In Valladolid, death-bed) severity.” Her sweet singing contrasts with the tense, 1 Scene 1. In an Indian village – Dance The scene dramatic lines of the accusers and the King. consists of an Indian dance that gradually builds to an Personaje Misterioso: Mal supisteis llevar de la mano Mysterious Character: You were unable to handle the outburst of power and drama. It is an expression of las delicias del corazón pero mil veces peor se ha delicacies of the heart, but a thousand times worse is 7 Scene 6. Look! (Columbus) Columbus is sent back to anger at the abuses of the explorers. There is no singing fraguado el mundo desde ese Doce de Octubre. Colón, the world since that October 12. Columbus, the glow of Spain in a ship, shackled with chains. Columbus or talking. Only at the very end, a dramatic scream el fulgor del mañana os entra por la ventana tétrico, tomorrows enters through the gloomy window. expresses the deepest pain in this tormented aria: “...I (“Ay!”) is heard, by an unseen chorus of voices. desolado, ni siquiera sois el héroe, sois peón de un Desolated, you are not even the hero but the pawn of an look down to the ocean whose expanse I opened to designio histórico inevitable. ¡Mas ved a los que les ha inevitable historic destiny. But see those to whom Spain. I see reflected the face of my Queen who has 2 Scene 2. Death-Bed No. 3 (Columbus, Mysterious sonreído la Gloria! Glory smiles! forsaken me... I surrendered to your feet those lands. Character, Monks, Indians) The parts of Columbus and Colón: la Reina, Beatriz, el estrecho, Jerusalén, Columbus: Queen Isabella, Jerusalem, the Strait, But as thanks, you humiliate me.” the Mysterious Character are spoken, while the monks Vespucio, Magallanes, Cortés, Pizarro. Desbordado el Vespucio, Magellan, Cortés, Pizarro. The empire sing the Ave verum corpus. The Mysterious Character imperio, desolado, mis herederos desposeídos. overtaken, destroyed, my inheritors dispossessed. 8 Scene 7. Jerusalem (Columbus, Queen Isabella, points out to Columbus that “...with hundreds of Indians Monjes: Verum cujus latus perforatus cujus latus. Monks: Verum cujus latus perforatus cujus latus. King Ferdinand, Courtiers) Back in Castile, Columbus slaughtered, it was a just thing for them to rebel and is confronted with hostility by the King, the Queen, and seek vengeance...” Columbus responds: “...I wasn’t 5 Escena II-5 Scene II-5 the court, all accusing him of misdeeds. With the help of worst than the best, nor an improvement over the worst “Los Héroes” “The Heroes” prophecies from the Bible, Columbus persuades the ones, but only a messenger, a mirror of a different (En un lugar de la imaginación de Colón) (Somewhere in Columbus’ imagination) Queen to forgive him and to support him in a new world.” The Mysterious Character continues tormenting adventure “to open the gates of the Holy Land.” The Columbus with a list of projects he did not accomplish, Vespucio: (gritando) ¡Colón! ¡Yo, Vespucio! ¡Yo, Vespucci: (shouting) Columbus! It is I, Vespucci! I, Queen expresses her faith in the Admiral: “You and I and he remarks “...what about the ladies of your heart? Américo! ¡Yo soy América! ¡Yo convertí la farsa en Americo! I am America! I converted the farce in are like the dawn, the full river, the fertile valley... two Beatrice and the Queen... see them...see them!” realidad! ¡Yo descubrí América! América! América! reality! I discovered America! America! Amerigo! rich streams whose waters are life and destiny for Américo! ¡América!\ America! Humanity... you must... find the Holy Sepulcher and 3 Scene 3. Beloved Ones (Queen Isabella, Beatrice, Magallanes: ¡Magallanes soy yo! ¡Encontré el Magellan: I am Magellan! I found the Strait! I opened free Jerusalem!” The scene ends brilliantly with the Columbus) A sad and almost mystical scene takes place estrecho! Yo abrí el camino, yo mostré la verdad al the way; I showed the truth to the world. I opened the chorus, in a tone of hope and expectation. in Columbus’s mind. The two women in Columbus’s mundo. Yo abrí el camino que lleva a Cipango, a las way that leads to Cipango, to the Indies and the Great life, Queen Isabella and Beatrice, express their Indias y al Gran Khan. ¡El estrecho de Magallanes! Las Khan. The Strait of Magellan! The routes of the Orient.

8.660193-94 623 8.660193-94 660193-94 bk Balada 3/7/09 16:22 Page 24

rutas del oriente. Mi nombre, ¡Magallanes! My name is Magellan! Synopsis newly-arrived Indians. The monarchs tell Columbus to Colón: ¿Por qué recordarlo y angustiarme más? Columbus: Why do you remind me of all of that and undertake a new trip to conquer the Indies. “Aragon and cause me even greater anguish? The opera Christopher Columbus ends with the arrival Catalonia will provide him with the law and the science Personaje Misterioso: Sin embargo nada es si Mysterious Character: However, nothing is of Columbus in the Indies. La Muerte de Colón starts at while Castile will provide him with men, arms and juzgamos los maleficios que sembrasteis. comparable to all the evil that you created. the point of his arrival in Barcelona on his return. It is a clergy...” He must find gold, establish cities, and civilize Colón: Obré bajo el índice divino para extender la fe Columbus: I proceeded according to the divine order to magnificent and spectacular scene. Columbus is “those poor savages.” Now they sing that under the cristiana y los mares de Castilla. extend the Christian faith and the seas of Castile. welcomed by the King and Queen, and the entire city command of Castile and León, the world will belong to Personaje Misterioso: Violasteis los pueblos inocentes Mysterious Character: You violated the innocent pays homage to the new hero, who brings all kinds of Spain. But the citizens of Barcelona, with dismay, speak en Cortés y Pizarro… peoples in Cortés and Pizarro… exotic gifts and even some Indians. This scene is only a a symbolic phrase, “the liberties taken from innocent Colón: ¡No! Sólo bajo el índice real . Columbus: No! Only under the royal order. remembrance, however, since the actual reality of the peoples”. This phrase reappears throughout the opera. Personaje Misterioso:? negando sus dioses, negando Mysterious Character: … denying their gods, denying present is quite different. The present places Columbus su sangre. their blood. on his death-bed. From this situation the rest of the 2 Scene 2. Death-Bed No. 1 (Columbus, Mysterious Colón: ¡No! bajo el signo de la cruz, de la cruz. Columbus: No! Under the sign of the cross, the cross. opera emerges in the form of flash-backs or flash- Character, Monks) The Mysterious Character plants the Personaje Misterioso: Escuchad a los verdaderos Mysterious Character: Listen to the real heroes: forwards bringing about historical moments as well as seeds of guilt in Columbus for what he has done to the héroes. Bolívar. Zapata. Bolívar and Zapata. premonitions, foreseeing what the discovery really “innocent peoples” and portrays himself as the Monjes: Perforatum. Aveverum unda fluxit et sanguine Monks: Perforatum. Ave verum unda fluxit et meant for the world. The mood is surrealistic, reflecting personification of all of Columbus’s enemies. All aveverum sanguine. Ave verum. the delirium of death of a man of unreal imagination, throughout, the monks sing the Ave verum corpus. Bolívar: (gritando) Colón, más grande, más grande es Bolívar: (shouting) Columbus, greater is the hate that whose utopian visions often bordered on madness. The el odio que nos ha inspirado la Península que el mar the Peninsula has inspired than the sea that separates us last scene is his death in Valladolid. 3 Scene 3a. In an Indian village – Song (Indian Voice, que nos separa de ella. El mar nos separa, la orilla nos from it. The sea separates us, the shore unites us in In the scenes from his death-bed, which are all very Group of Indians in a ritual) This is a symbolic scene in une en patrias hermanas que sueñan y anhelan al son de sister nations that dream and wish for the prospect of short, Columbus struggles with the presence of a slow motion. While a voice is heard singing a song with la libertad y unidad federada. El pueblo que rija, que liberty and a federated union. The people should be self Mysterious Character, who is in fact his own no words, a ritualistic celebration is taking place. It is sea soberano, que haya igualdad de poderes. Libertades governing with equal powers. Civil liberties and the conscience. He sets the scene for the imaginary events mime-like and mystical in character. It is the paradise civiles. ¡Y proscripción de la esclavitud! abolition of slavery. that torment Columbus, the Admiral, with guilty that Columbus thought he had found. Zapata: Pero las libertades políticas no han engendrado Zapata: But the political liberties did not generate memories. A small chorus of monks is always present, justicias sociales. Los pueblos asfixiados padecen bajo social equality. The suffocated people suffer from the praying for him. 4 Scene 3b. In an Indian village – Pillage (Small el yugo de los poderosos. Los Indios gimen y los yoke of the powerful. The Indians groan and the Indian Chorus, Voices of Spaniards) Once the song campesinos sollozan echados de rodillas, baja la peasants cry on their knees, their heads down, Act I ends, a small chorus of Indians sings while the ritual cabeza, grande la humillación. Callados sufren los humiliated. The dispossessed sob silently… the proceeds. The Spaniards are heard (not seen) in a desposeídos… a los pueblos inocentes…a los indios innocent peoples… the honest Indians… and clean. The 1 Scene 1. Barcelona: Return of Columbus tumultuous manner, voicing abuses and the relentless honrados…y limpios. Los pueblos inocentes. innocent peoples. (Columbus, Queen Isabella, King Ferdinand, a priest search for gold. “In Castile we were convicts, in the Bolívar: las libertades robadas, las justicias Bolívar: The stolen liberties, the corrupted justice, and helpers in baptism, citizens, monks, Indians) A Indies we are kings!” Gradually the Indians fall to the corrompidas, pervertidas. Las maldades perpetradas a perverted. The evil done to the gods, to the rites, to the chorus of citizens is watching with excitement as ground, symbolically abused and defeated. los dioses, a los ritos, a las lenguas, tanto al norte como languages, both in the North and the South. The Columbus and his retinue are approaching, arriving in al sur. Los pueblos inocentes. innocent peoples. Barcelona in triumph. Columbus is given the keys of the 5 Scene 4. Death-Bed No. 2 (Columbus, Mysterious city, and is received by the King and Queen. Columbus Character, Monks) Columbus realizes that the Indies 6 Escena II-6 Scene II-6 shows them the Indians he has brought. He points out were like a paradise in which the people “were free, “Apocalipsis” “Apocalypse” how “strong and obedient they are... with no honour or unfettered by envy, and where the gold didn’t tarnish the (En el lecho de muerte) (On the death-bed) power or arms. They can be sold...there are thousands soul...” The Mysterious Character reminds Columbus of like them in the Indies...” Queen Isabella corrects his enemies and how they denounced him to the King, Personaje Misterioso: Ellos son los verdaderos héroes, Mysterious Character: They are the true heroes, free Columbus and tells him that “they must be baptized but the Queen, and the court. Throughout, the monks sing limpios, íntegros y con amor por los demás. of deceit, honest, truthful, with love for others. not enslaved”. A ceremony takes place to baptize the the Ave verum corpus.

8.660193-94 24 5 8.660193-94 660193-94 bk Balada 3/7/09 16:22 Page 4

Leonardo Balada (b. 1933) Monjes (latín): Aveverum corpus natum de Maria Monks: Born of the Virgin Mary, who truly suffered, La Muerte de Colón (The Death of Columbus) Virgine, vere passum immolatum in cruce pro homine. sacrificed on the cross for man. Colón: Dios mío veo el mundo desolado. Columbus: My God, I see the world devastated Since the early 1980s opera has been a significant part The opera The Death of Columbus, in Spanish, was Personaje Misterioso: Es la trayectoria de ese Doce de Mysterious Character: It is the path of that twelfth of of Balada’s musical life. Beginning with the acclaimed composed from February 1992 to January 1993 (and Octubre lejos de la mano de Dios. October far from the hand of God. operas Hangman, Hangman (1982), Zapata (1984), and revised/expanded in 1995/96), and is a sequel to Personaje Misterioso y Colón (alternándose): ¡Mirad! Mysterious Character and Columbus (alternating): The Town of Greed (1997) and the new opera Faust-bal Christopher Columbus, which had its première in ¡Sí, veo! En mil años nada queda. See! Yes, I see! In one thousand years nothing remains. recently given its première at the Teatro Real in Madrid, Barcelona in 1989 with José Carreras and Montserrat Voces: Las libertades robadas a los pueblos. Voices: The freedoms stolen from the peoples. Balada has combined his musical and extra-musical Caballé in the leading rôles. The composition was Colón (gritando): ¡Ay! Columbus: (shouting) Ay! interests in his works for the stage. La Muerte de Colón supported in part by a grant from the National Personaje Apocalíptico 1: Yo soy el león, soy quien Apocalyptic Character 1: I am the lion; I am he who brings together his historical interest in heroic figures Endowment for the Arts. guarda el trono del Todopoderoso, soy sus tierras y guards the Almighty throne; I am his lands and species. from the age of Revolution and Discovery with his From my point of view as a composer, the important especies. Mis garras destrozan al violador del orden My claws will destroy the violator of the order characteristic musical style. Balada blends surrealism, elements in an opera are the identification by the establecido por el Creador. established by the Creator. ethnic and folk allusions, and a contemporary orchestral orchestra of each dramatic moment and the lyricism of Voces: Las libertades robadas a los pueblos, a los Voices: The freedoms taken from the peoples, from the language derived from avant-garde techniques of the the vocal soloists. Given the importance of the latter, it pueblos inocentes. innocent peoples. mid-wentieth-century. In short, a work emerges which would not have been appropriate for me to compose Personaje Misterioso: Como Satán. Mysterious Character: Like Satan! could not be written by any other composer. It is fitting operas during my avant-garde period, from the mid- Colón: ¡No! Columbus: No! that this première recording of the opera involves a large 1960s to the mid-1970s, when I did not consider melody Personaje Misterioso: La carne…. Mysterious Character: The flesh… spectrum of the faculty and student musicians of as part of my style. Instead my interest in musical drama Colón: ¡El bien! Columbus: The good deeds! Carnegie Mellon University, at which Balada has been a expressed itself in the form of cantatas, where instead of Personaje Misterioso: …sobre el espíritu. Mysterious Character: …over the spirit! driving force in the composition program and university singers there were narrators and the choruses would sing Colón: ¡No! Columbus: No! community for almost forty years. texturally rather than lyrically. In 1975, while feeling Personaje Misterioso: Sembrasteis torpes progresos. Mysterious Character: You generated dismal progress! Before the Barcelona première of Christopher the need for a new direction in my music, I incorporated Colón:¡Para bien de todos! Columbus: For the good of all. Columbus, Balada was asked if he felt it was important melody into my language, creating a symbiosis between Personaje Apocalíptico 2: Yo soy el becerro y Apocalyptic Character 2: I am the calf and I destroy to write an “avant-garde and futuristic” opera for the the far-out techniques of the avant-garde and traditional destrozo a los farsantes que seducen las mentes frágiles the fraud that charms the fragile minds of innocent subject matter of Columbus and the ideas of discovery lines and harmonies, causing disapproval from some de las gentes inocentes con promesas y propagandas. peoples with promises and propaganda. and looking forward. Balada commented, however, that quarters in carrying out what nowadays is a very Voces: ¡Nada! Voices: Nothing! he felt it was crucial for us to always have one foot in common practice. At that point with the addition of Personajes Apocalípticos: Nada queda, nada queda, Ja Apocalyptic: Nothing remains, nothing remains, ha ha the past and one foot in the future. Rather than looking lyrical melodies to my palette, composing operas made ja ja. ha. towards a future of total cultural homogeneity, we must sense to me. In all of my operatic work since then, Voces: Nada queda. Voices: Nothing remains. rather embrace and recognize the cultural differences of abrasive contemporary orchestral sonorities co-exist Colón: ¡Mi amada besa mis labios! ¡Mi Reina! Dadme Columbus: My beloved, kiss my lips! My queen! Give our collective pasts. This was a very important concept with highly melodic vocal lines. la mano y apartadme de esos monstruos. me your hand and take me away from those monsters. to the music of the original Christopher Columbus and Monjes: Et sanguine esto nobis esto nobis. Monks: And in blood let it be for us. also La Muerte de Colón, with their blending of ethnic Leonardo Balada Personaje Misterioso: ¡Triunfo de Satán! Mysterious Character: The triumph of Satan! ideas and avant-garde musical effects. In this way, Monjes: Praegustatum, praegustatum. Monks: A foretaste, a foretaste. Balada is making his own statement about what the Personaje Apocalíptico 3: Mi rostro es de castigo Apocalyptic Character 3: My face is one of human present needs to be: a mix of both past and future. humano para el usurero que se enriquece con sucios punishment for the usurer who enriches himself with negocios y para el político que estafa a los súbditos dirty business and for the politician who swindles Carson Cooman inocentes. innocent citizens. Persona Apocalíptico 4: Yo soy el águila y desde las Apocalyptic Character 4: I am the eagle and from the cumbres la explanada de la historia veo repitiéndose. La heights I can see history repeating itself. Once more the Tierra plana es y el Sol circunvala la Tierra. earth is flat and the sun goes around her.

8.660193-94 425 8.660193-94 660193-94 bk Balada 3/7/09 16:22 Page 26

Personajes Apocalípticos (alternados): Tierra plana, Apocalyptic Characters (alternating): Flat earth, flat CD 1 50:10 CD 2 44:15 tierra plana... earth, etc. Voces: Nada queda. Voices: Nothing remains. Act I Act II Personajes Apocalípticos: ¡Ja, ja, ja! Apocalyptic Characters: Ha, ha, ha! Personajes Apocalípticos: Ya no quedan valles, ya no Apocalyptic Characters: No valley remains, no quedan flores, ya no quedan ríos. ¡Colón, Colón,! flowers remain, no rivers remain. Columbus, Columbus! 1 Scene 1: Barcelona: retorno de Columbus 13:04 1 Scene 1: En un poblado Indio: Danza 4:14 Beatriz and Isabel: ¡Almirante! Beatrice and Isabel: Admiral! (Columbus, Queen Isabella, King Fernando, (Indian dancers) Colón: ¡Amadísimas! Columbus: Beloved ones! a priest and helpers in baptism, Citizens, Personajes Apocalípticos: Los continentes y los mares. Apocalyptic Characters: The continents and the seas. Monks, Indians) 2 Scene 2: Lecho de Muerte n.3 2:45 Beatriz and Isabel: ¡Venid! Dadme la mano. Beatrice and Isabel: Come with me! Give me your hand! Colón: ¡No veo! Columbus: I cannot see! (Columbus, Mysterious Character, Beatriz: ¡Cristóbal! Beatrice: Christopher! 2 Scene 2: Lecho de Muerte n.1 4:45 Indians, Monks) Isabel: ¡Almirante! Isabella: Admiral. (Columbus, Mysterious Character, Monks) Personajes Apocalípticos: Las ciudades… Apocalyptic Characters: The cities… 3 Scene 3: Amadisimas 8:29 Colón: ¡No oigo! Columbus: I cannot hear! Personajes Apocalípticos: …¡Ya no son, ya no son! Apocalyptic Characters: …they don’t exist any more! 3 Scene 3a: En un poblado Indio-Cancion 4:02 (Queen Isabella, Beatrice, Columbus) Colón (acosado por los personajes apocalípticos): Columbus (harassed by apocalyptic characters): (Indian Voice, Group of Indians in a ritual) Dejadme, no me llevéis. Release me, don’t bring me with you! 4 Scene 4: Lecho de Muerte n.4 2:41 Voces: Ay, nada queda, nada queda. Voices: Ay, nothing remains, nothing remains. 4 Scene 3b: En un poblado Indio-Pillaje 1:27 (Columbus, Mysterious Character, Monks) Personajes Apocalípticos: (Arrastran a Colón y se Apocalyptic Characters (Dragging Columbus and ríen). (Isabel libera a Col.) laughing. Isabel frees Columbus): (Small Indian Chorus, Voices of Spaniards) Isabel: Almirante emprended el último viaje en esa Isabella: Admiral, make your last trip in this ship of 5 Scene 5: Los Heroes 8:28 nave de acero, volad al espacio, mas esta vez sin afán steel and fly through space, but this time without 5 Scene 4: Lecho de Muerte n.2 2:51 (Vespucci, Magellan, Bolívar, Zapata, de oro, y sin ánimo de gloria. Con abandono, amor y eagerness for gold or desire for glory. With abandon, (Columbus, Mysterious Character, Monks) Columbus, Mysterious Character, Monks) humildad emprended vuestra quinta travesía y love and humility, make this your fifth crossing and colonizad las estrellas celestes sin daño, dejando sus colonize the stars without harm, allowing the worlds to mundos ser. ¡Almirante, Almirante! Que sea firme be as they are. Admiral, admiral! Your undertaking 6 Scene 5: Bobadilla 7:12 6 Scene 6: Apocalipsis 9:15 vuestra empresa pero dúctil y de libertad. should be firm yet flexible, a proclamation of liberty! (Queen Isabella, King Fernando, Margarit, (Columbus, Mysterious Character, Beatriz: Cristóbal, aún en sueños subamos a esta Arca Beatrice: Christopher, even if it is a dream, let us board Aguado, Friar Boil, Bobadilla) Queen Isabella, Beatrice, Four Apocalyptic de Noé y volemos al infinito. this Noah’s Ark and fly to the infinite. Characters, Monks, Voices) Voces: Queda un monstruoso océano sin peces. Voices: Only an enormous sea without fish remains… Personajes Apocalípticos: Ja, ja, ja. Apocalyptic Characters: Ha, ha, ha. 7 Scene 6: Mirad! 4:46 (Columbus) 7 Scene 7: Perdonadme 8:24 7 Escena II-7 Scene II-7 (Columbus, Monks) “¡Perdonadme!” Forgive me! 8 Scene 7: Jerusalen 6:57 (en el lecho de muerte) (on the death-bed) (Queen Isabella, King Fernando, Courtiers) Monjes: Ave verum corpus, natum de Maria Virgine, Monks: Ave verum corpus, natum de Maria Virgine, vere passum immolatum in cruce pro homine. Cujus vere passum immolatum in cruce pro homine. Cujus 9 Scene 8: Los Columbuses 5:05 latus perforatum unda fluxit et sanguine, esto nobis latus perforatum unda fluxit et sanguine, esto nobis (Beatrice, Columbus, Hernando, Diego [son], praegustatum in mortis examine. praegustatum in mortis examine. Diego [brother], Bartholomew)

8.660193-94 26 3 8.660193-94 660193-94 bk Balada 3/7/09 16:22 Page 2

Leonardo Colón: ¡Dios mío! Perdonadme todos a quienes he Columbus: My God! Forgive me, all of you whom I decepcionado. Dios, todo son tinieblas y los rayos del have disappointed. God, everything is in darkness and BALADA infinito ciegan mi orgullo, iluminan la miseria de mi the rays from the infinite are blinding my pride, and (b. 1933) espíritu y de mis pecados. illuminating the misery of my spirit of my sins. La Muerte de Colón (1992-93, rev. 1996) ¡Perdonadme! Beatriz amada. Perdonadme, la tierra y el Forgive me beloved Beatrice. Forgive me, earth and sun. sol. Perdonadme el mar y los ríos. Perdonadme el aire, Forgive me, sea and rivers. Forgive me, air and species. (The Death of Columbus) las especies. Perdonadme los Indios, los negros, los Forgive me Indians, blacks, birds, saints. All of you, all Opera in two acts pájaros los santos. Todos, todos y Dios a quien creí of you and God, to whom I believed I was listening and escuchar y obedecer. ¡Dios mío lo que he visto para el obeying. Oh my God, what I have seen of the future Libretto by Leonardo Balada mañana no puede ser diseño de vuestra voluntad sino cannot be your will, but is a punishment for my Premièred at Carnegie Music Hall, Pittsburgh, Pennsylvania, on 15th January, 2005 castigo por mi soberbia! ¡Perdonadme todos! arrogance. Forgive me, all of you. In manus tuas Domine commando spiritum meum. In manus tuas Domine commando spiritum meum. Christopher Columbus (Cristóbal Colón) ...... Jon Garrison Queen Isabella (Reina Isabel) ...... Judith Jenkins FINE THE END Beatriz Enríquez ...... Katherine Mueller Mysterious Character (Personaje Misterioso) ...... David Okerlund Margarit / Hernando / Vespucci / Apocalyptic Character 1 . . . . . Arturo Martín Aguado / Diego [brother] / Magellan /Apocalyptic Character 2 . . . Dimitrie Lazich Friar Boil / Diego [son] / Zapata / Apocalyptic Character 3 . . Raymond Blackwell Bobadilla / Bartholomew / Bolívar / Apocalyptic Character 4 . . . Milutin Lazich King Ferdinand (Rey Fernando) ...... Brent Stater Indian Voice (Voz India) ...... Katy Shackleton-Williams Choruses of Citizens, Courtiers, Indians, and Voices ...... Carnegie Mellon Repertory Chorus Chorus of Monks ...... Members of the Mendelssohn Choir Carnegie Mellon Philharmonic • Robert Page Assistant conductors: Jeff Turner, Katherine Mueller, Jeffrey Grossman, Jason Iannuzzi

Production Advisor: Gregory Lehane • Executive Producer: Alan Fletcher Assistant Producer: Carson Cooman • Assistant Musical Director: Jeffrey Turner Head Coach: Karen Roethlisberger • Technical Engineer: Riccardo Schulz Score Preparation: Keith Bajura

8.660193-94 227 8.660193-94 660193-94 bk Balada 3/7/09 16:22 Page 28

Also available: Leonardo BALADA 2 CDs La Muerte de Colón A Sequel to Cristobal Colón Garrison • Jenkins • Mueller • Okerlund Carnegie Mellon Philharmonic and Repertory Chorus Robert Page

8.660237-38

8.660193-94 28 CMYK

O Also available P E R A C L 8.557342 8.557343 A S S I C 8.557749 8.570425 S CMYK NAXOS NAXOS Composed as a sequel to Christopher Columbus, available on Naxos 8.660237-38, Leonardo Balada’s The Death of Columbus has been critically acclaimed as ‘uncommonly impressive and winning’. From its spectacular opening scene depicting the triumphant return of Columbus to Barcelona from his discovery of the New World, to the tormented delirium of the great explorer’s death-bed scene,

BALADA: The Death of Columbus is an intensely moving opera, filled with lyrical melodies and imaginative DDD BALADA: orchestration. This is a landmark addition to Naxos’s highly-praised series of Balada’s music. 8.660193-94 Leonardo Playing Time BALADA 1:34:25 (b. 1933) La Muerte de Colón La Muerte de Colón (1992-93, rev. 1996) La Muerte de Colón (The Death of Columbus) Opera in two acts • Libretto by Leonardo Balada

Cristóbal Colón ...... Jon Garrison Queen Isabella ...... Judith Jenkins Beatriz Enríquez ...... Katherine Mueller Mysterious Character ...... David Okerlund Margarit / Hernando / Vespucci ...... Arturo Martín Aguado / Diego / Magellan ...... Dimitrie Lazich www.naxos.com Made in Germany Booklet notes in English Naxos Rights International Ltd. ൿ

Friar Boil / Diego / Zapata ...... Raymond Blackwell &

Bobadilla / Bartholomew / Bolívar ...... Milutin Lazich Ꭿ

King Ferdinand ...... Brent Stater 2009 Indian Voice ...... Katy Shackleton-Williams Members of the Mendelssohn Choir of Pittsburgh Carnegie Mellon Philharmonic and Repertory Chorus • Robert Page

CD 1 1-9 Act I 50:10 CD 2 1-7 Act II 44:15 A full track and cast list can be found on pages 2 and 3 of the booklet The Spanish libretto and an English translation are included in the booklet, and may also 8.660193-94 be accessed at www.naxos.com/libretti/660193.htm, in addition to a Spanish synopsis. 8.660193-94 Recorded at Carnegie Music Hall, Pittsburgh, Pennsylvania, USA, from 16th to 19th January, 2005 Producer: Eleanor Walton (K&A Productions Ltd.) • Technical Engineer: Riccardo Schultz Publisher: Beteca Music • Cover image: The Death of Columbus by Cristina Moreno