Saturday, March 5, 2016, 8pm Zellerbach Hall

The Jan Shrem and Maria Manetti Shrem Celebrity Recital

Renée Fleming, soprano Olga Kern,

Cal Performances extends its heartfelt thanks to Jan Shrem and Maria Manetti Shrem for their major support of tonight's performance. Additional support provided by Patron Sponsors Susan Graham Harrison and Michael A. Harrison. Funded, in part, by the Koret Foundation, this performance is part of Cal Performances' 2015-2016 Koret Recital Series, which brings world-class artists to our community. Cal Performances' 2015-2016 season is sponsored by Wells Fargo.

15 PROGRAM

Robert SCHUMANN Frauenliebe und -leben , Op. 42 (1810 –1856) Seit ich ihn gesehen Er, der Herrlichste von allen Ich kann’s nicht fassen, nicht glauben Du Ring an meinem Finger Helft mir, ihr Schwestern Süßer Freund, du blickest An meinem Herzen, an meiner Brust Nun hast du mir der ersten Schmerz getan

Sergei RACHMANINOFF O dolga budu ja, Op. 4, No. 3 (1873 –1943) Ne poy, krasavitsa, pri mne, Op. 4, No. 4 Rechnaya lileya, Op. 8, No. 1 Sumerki, Op. 21, No. 3 Vesenniye vodï, Op. 14, No. 11

INTERMISSION

Patricia BARBER Higher (b. 1955) Scream Hunger Morpheus You Gotta Go Home

Richard RODGERS (1902–1979) and Selections from The King and I Oscar HAMMERSTEIN II (1895–1960) I Whistle a Happy Tune Something Wonderful Shall We Dance

PLAYBILL PROGRAM NOTES

Frauenliebe und -leben, Op. 42 The first song in the cycle, “Seit ich ihn gese - hen” (“Since I Saw Him”), opens hesitantly, the Though not as renowned for his art songs truncated phrases in the piano suggesting the (Lieder , in German) as his predecessor Franz nervousness and blind stumbling of the narra - Schubert—who wrote over 600—Robert tor. Blind to all else besides her beloved, she has Schumann made significant contributions to lost all joy in things she once treasured, prefer - the genre over the course of his 40-year career. ring instead to weep. “Er, der Herrlichste von Songs were among Schumann’s first works: he allen” (“He, the Most Magnificent of All”) cele - started writing them at the age of 17, and over brates the beauty of her beloved in both the half his compositional output was written music and text, the woman’s “bright and glori - for voice. ous star in the deep blue heavens.” Yet in her de - In 1837, Schumann had proposed marriage votion she languishes, believing herself far to the young Clara Wieck, the daughter of a beneath his love. prominent in Leipzig. Schumann had The third song, “Ich kann’s nicht fassen, nicht first met Clara when he was a young man and glauben” (“I Can’t Grasp or Believe It”) marks a she was a child prodigy concertizing across turning point in the cycle, as we learn that the Germany. What began as a friendship and mu - woman’s love is reciprocated. Schumann’s set - tual artistic admiration blossomed into pas - ting reflects a literal sense of disbelief, as the sionate romance, though not all parties piano punctuates the fragmented recitative-like approved. Clara’s father thought Schumann, opening with crescendoing staccato chords. As nine years Clara’s senior and not well estab - Schumann has written it, even the woman’s lished as a composer, would only stand in the “eternally delighted tears” are tinged with doubt. way of his plan to make Clara the foremost In the hymn-like melody of “Du Ring an woman concert pianist of her generation. In an meinem Finger” (“Thou Ring on My Finger”), attempt to stop their union, Wieck forbade all the woman’s disbelief gives way to joy as she communication between Robert and Clara. The presses her engagement ring to her lips; at last, couple ultimately petitioned the courts, which physical proof of her betrothed’s love for her! granted them permission to marry in 1840, a She returns to the ring in every other stanza, as day shy of Clara’s 21st birthday. The year 1840 if only its presence can reassure her that her was a year of great artistic triumph for dream has come true. Schumann as well; in this one year, he composed In “Helft mir, ihr Schwestern” (“Help Me, Ye more than 130 art songs, including this cycle. Sisters”), both singer and pianist move nearly In multiple ways, Schumann’s work closely unceasingly, depicting the excited bustling of reflected the life of its author. Schumann was the bride and her sisters on her wedding day. noted for fixating on specific genres (e.g. works Upward leaps in the vocal line express the for solo piano, art songs, and orchestral works) bride’s irrepressible giddiness, as does her trill for long periods of time before sinking into a on the words “thy shine.” state of deep mental fatigue. The composer’s One of the most passionate songs in the set, journals and letters suggest that his general “Süßer Freund, du blickest” (“Sweet Friend, mood also vacillated wildly between bursts of Thou Gazest”) contrasts slow, tender intimacy manic energy and extreme lethargy. The cycle with anxious talk of tears over a pulsing osti - Frauenliebe und -leben (“A Woman’s Love and nato. Now married, the wife reveals to her hus - Life”), perhaps Schumann’s most famous and band her pregnancy, as blissful pillow talk gives most personal work for voice, came on the heels way to dreaming. “An meinem Herzen, an of his marriage to Clara. The deep adoration re - meiner Brust” (At My Heart, at My Breast) finds flected in Adelbert von Chamisso’s poetry and the new mother lovingly holding her baby in Schu mann’s music mirrors the couple’s devotion her arms, the piano painting a vivid picture of a to one another as newlyweds. mother rocking her child to sleep. PROGRAM NOTES

grave. Writing in her marriage diary, a newly married Clara Schumann confessed, “The thought that one day I might lose him causes my mind to be completely confused—may heaven protect me from such misfortune, I couldn’t take it.” Tragically, Clara would lose Robert to disease and mental illness after only 16 years of marriage; she never remarried.

Selected Songs For most of the 20th century, German com - posers and poetry dominated the art song genre, though other nations, including Russia, had their own traditions of song. Russian clas - sical art song (called romans , after the French romance ) sprang largely from music of the Eastern Orthodox Church and diverse folk music traditions. While Russian composers such as Glinka and Dargomyzhsky wrote many great songs in the first half of the 19th century, and the Mighty Handful—a group of five na - tionalistic composers including Rimsky- Korsakov and Mussorgsky—wrote more than 500 songs between them, modern audiences gravitate toward the songs of those great melodists Tchaikovsky and Rachman inoff. Sergei Rachmaninoff, a fiercely talented pianist and conservatory-trained composer, penned more than 80 songs of varying depth and complexity. His education and skills as a performer led to small-scale compositions that were markedly rich in harmony and texture. He The final song of the cycle, “Nun hast du mir composed his first songs at the age of 17 (like den ersten Schmerz getan” (“Now Thou Hast Schumann), and would return to song for the Given Me, For the First Time, Pain”) brings next 25 years. about sudden tragedy as we hear the narrator in “O dolga budu ja” (“In the Silence of the low, fragmented phrases, mourn for her dead Mysterious Night”), one of Rachmaninoff’s first husband. Harsh and dissonant, the piano writ - songs, captures the nervousness, excitement, ing in this song contrasts as sharply with the rest and intoxication of new love from the vantage of the cycle as the life of the child contrasts with point of youth. Both buoyant and introspective, the husband’s deathly sleep. This dissonance the song grows to a climax as chromatic, agi - remains through the end of the text, until tated chords clang around a bold and soaring Schumann repeats the opening bars of the first vocal line. “Ne poy, krasavitsa, pri mne” (“Do song. In this moment of agonizing loss, Not Sing, My Beauty”), also from Op. 4, con - Schumann evokes the woman’s first look at her cerns love and memory as well, though unlike beloved, even as his body is lowered into the “O dolga budu ja,” this song is etched in wistful

PLAYBILL PROGRAM NOTES melancholy. A piano introduction evokes the singing of the titular maiden, which comes to an end as the narrator pleads, “Do not sing my beauty to me.” Her “sad songs of Georgia” re - mind the singer of a time, place, and girl from “another life and distant shores,” memories too painful to remember or forget. Rachmaninoff set “Rechnaya lileya” (“The Water Lily”), a Russian translation of famed German poet Heinrich Heine, in late 1893, after returning to after a productive sum - mer in the country. Like the water lily, the music itself is dainty and whimsical, highlighting Rachmaninoff’s gift for writing simple compo - sitions despite his often lush use of the piano. While all artists need income to survive and hope to be paid for their work, Rachmaninoff very pointedly wrote his Op. 21 with a payday in mind. In a letter to a close friend dated April 1, 1902, the composer revealed a sudden and shocking engagement to his cousin, Natalya Satina: “… At the end of this month I am being incautious enough to get married. … For God’s sake don’t come, I implore you. The fewer peo - ple there the better. … I shall … perhaps go to the country to write at least 12 songs before the wedding, so that there is something with which to pay the priests and to go abroad.” To circum - vent the strict canon law of the Russian Orthodox Church (among other things, first cousins were not permitted to marry), Sergei and Natalya were wed in an army barracks where the clergy were decidedly more lax. The 12 songs mentioned in the above letter would become his Op. 21, which he completed in a Selected Songs hotel near Lucerne while on his honeymoon. Patricia Barber The final song on this set, “Vesenniye vodï” Jazz has always formed a core part of multi-tal - (“Spring Waters”), heralds the end of winter and ented musician Patricia Barber’s roots. Born the welcome arrival of spring. Fast swirls of into a musical family, the composer grew up lis - notes depict the flowing streams, much like tening to her mother, a blues singer, and her fa - Schubert’s whirling figures in Die Forelle . The ther, jazz saxophonist Floyd “Shim” Barber, ebullient piano accompaniment reaches or - perform in and around Chicago, a city with chestral proportions as the waters cry, “Spring is deep connections to jazz and the blues. At the coming! Spring is coming!” turn of the 20th century, thousands of African Americans fled the South in search of a better life; more than 75,000 settled in Chicago before the end of the 1920s. Despite these strong ties to jazz, Barber was reluctant to make it her ca - PROGRAM NOTES reer, once saying, “…becoming a jazz woman Selections from The King and I was a stupid thing for a smart woman to do.” Richard Rodgers and Oscar Hammerstein II With a career spanning decades, over a dozen Tonight’s program concludes with a selection of , and the first Guggenheim Fellowship songs from the musical The King and I , the awarded for non- composition, great Rodgers and Hammerstein’s fifth Patricia Barber continues to craft poignant orig - collaboration. Still basking in the inal works and push the boundaries of genre. success of their Tony Award and Pulitzer Prize- Renée Fleming met Patricia Barber at one of winning musical South Pacific , the duo was ini - the latter’s concerts at Chicago’s Green Mill Jazz tially reluctant to take on the subject matter of Club, Barber’s artistic home for over 20 years. The King and I , which also deals with impor - Their mutual admiration led the two to collab - tant themes of intercultural conflict. Conceived orate on a multi-city project, Higher , in 2015. as a star vehicle for Broadway veteran Gertrude Performing in Chicago, Washington, DC, and Lawrence, Hammerstein adapted the musical , Fleming and Barber blended from the 1944 novel Anna and the King of Siam . jazz and classical sensibilities in a performance Based on the memoirs of Anna Leonowens, a of Barber’s music described as a “profound syn - British widow who spent five years in Siam thesis” of the two musical languages. On (now Thailand) teaching the royal family the tonight’s program, Fleming performs songs English language and British customs, the from albums recorded over the course of more novel was quite successful in its own right. than a decade, songs whose topics range from Today, most of us know the 1956 film version anger and disaffection to the serenity of letting of The King and I , starring Deborah Kerr as a loved one go. Anna (and surreptitiously dubbed by famous Of Barber’s music, Fleming says, “When I playback singer Marni Nixon) and Yul Brynner was introduced to her work years ago, I was im - as the King, a role he played on stage over 4,600 mediately struck by her uniquely sophisticated times, and for which he would win an lyrics and her musical vocabulary, which, Academy Award. though idiomatically jazz, evoke art songs for As Anna and her young son, Louis, arrive in me, and the intimacy she conveys in perform - Bangkok, she reminds him to be brave with the ance.” Barber responded, “When Renée sings song “I Whistle a Happy Tune.” Of the three songs my music, I am thrilled to discover that a mu - in this set, “Something Wonderful” is the only sical ideal can be realized. She inspires me to song not performed by Anna. After Anna and the reach higher…. What she brings to the music is King argue over her lessons, the King’s head wife, her own beautiful, sterling voice and her own Lady Thiang, convinces Anna to continue to sup - artistic way of doing it…. Hearing that instru - port him. Many will remember Yul Brynner and ment of hers in my song was…the realization Deborah Kerr joyfully dancing through a vast of an ideal.” ballroom to the tune of “Shall We Dance?” as friendship and mutual respect blossom into something more, something wonderful. —Andrew McIntyre © 2016

PLAYBILL TEXTS & TRANSLATIONS

Robert Schumann Frauenliebe und -leben , Op. 42 Text by Adelbert von Chamisso (1781-1838)

Seit ich ihn gesehen Since I Saw Him Seit ich ihn gesehen, Ever since first seeing him, Glaub’ ich blind zu sein; I think I must have gone blind; Wo ich hin nur blicke, Wherever I happen to look Seh’ ich ihn allein; I can only see him alone; Wie im wachen Traume As if I’m daydreaming, Schwebt sein Bild mir vor, His image hovers in front of me, Taucht aus tiefstem Dunkel, Rising up even from the deepest darkness, Heller nur empor. Brighter and brighter still.

Sonst ist licht- und farblos Everything else around me Alles um mich her, Is missing light and color, Nach der Schwestern Spiele I no longer have any desire Nicht begehr’ ich mehr, To play games with my sisters, Möchte lieber weinen, I would rather be weeping Still im Kämmerlein; All alone in my little room; Seit ich ihn gesehen, Ever since first seeing him, Glaub’ ich blind zu sein. I think I must have gone blind.

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Er, der Herrlichste von allen He, the Most Magnificent of All Er, der Herrlichste von allen, He, the most magnificent of all, Wie so milde, wie so gut! How gentle and good he is! Holde Lippen, klares Auge, Enchanting lips, luminous eyes, Heller Sinn und fester Mut. An open mind, and strong courage!

So wie dort in blauer Tiefe, Just like that bright and glorious star Hell und herrlich, jener Stern, In the deep blue heavens, Also Er an meinem Himmel, He is bright and glorious in my heaven, Hell und herrlich, hehr und fern. Illustrious, and so far above me.

Wandle, wandle deine Bahnen, Follow, follow your own path, Nur betrachten deinen Schein, Just to gaze upon your radiance, Nur in Demut ihn betrachten, Just to humbly gaze upon it, Selig nur und traurig sein! Is to be both blissful and melancholy.

Höre nicht mein stilles Beten, Don’t bother to hear my quiet prayer, Deinem Glücke nur geweiht; Dedicated solely to your happiness; Darfst mich niedre Magd nicht kennen, You don’t need to know this irrelevant girl, Hoher Stern der Herrlichkeit! You sublime and glorious star!

Nur die Würdigste von allen Only the worthiest one of them all Darf beglücken deine Wahl, Should be made happy by your choice, Und ich will die Hohe segnen, And I will bless that elevated one Viele tausendmal. A thousand times over.

Will mich freuen dann und weinen, Then I shall rejoice and weep, Selig, selig bin ich dann; Blissful, I will be blissful then, Sollte mir das Herz auch brechen, And if then my heart breaks: Brich, o Herz, was liegt daran? Break, heart! Why does it matter?

Er, der Herrlichste von allen, He, the most magnificent of them all, Wie so milde, wie so gut! How gentle and good he is! Holde Lippen, klares Auge, Enchanting lips, luminous eyes, Heller Sinn und fester Mut. An open mind, and strong courage!

PLAYBILL TEXTS & TRANSLATIONS

Ich kann’s nicht fassen, nicht glauben I Can’t Grasp or Believe It Ich kann’s nicht fassen, nicht glauben, I can’t grasp or believe it, Es hat ein Traum mich berückt; I must’ve been dreaming; Wie hätt’er doch unter allen Why would he, of all people, Mich Arme erhöht und beglückt? Choose to honor and bless me?

Mir war’s, er habe gesprochen: I think he may have said: “Ich bin auf ewig dein,” “I am eternally yours.” Mir war’s, ich träume noch immer, I think—no, I’m still dreaming! Es kann ja nimmer so sein. This could never be true!

O laß im Traume mich sterben, Oh let me die in this dream, Gewieget an seiner Brust, Nestled against his breast, Den seligsten Tod mich schlürfen Let me drink a blissful death In Tränen unendlicher Lust. Of eternally delighted tears.

Du Ring an meinem Finger Thou Ring on My Finger Du Ring an meinem Finger, Thou ring on my finger, Mein goldenes Ringelein, My little golden ring, Ich drücke dich fromm an die Lippen, I press thee piously upon my lips Dich fromm an das Herze mein. Piously upon my heart.

Ich hatt ihn ausgeträumet, I had dreamt it, Der Kindheit friedlich schönen Traum, The tranquil, lovely dream of childhood, Ich fand allein mich, verloren I found myself alone and lost Im öden, unendlichen Raum. In barren, infinite space.

Du Ring an meinem Finger, Thou ring on my finger, Da hast du mich erst belehrt, Thou hast taught me for the first time, Hast meinem Blick erschlossen Hast opened my gaze unto Des Lebens unendlichen, tiefen Wert. The endless, deep value of life.

Ich will ihm dienen, ihm leben, I want to serve him, live for him, Ihm angehören ganz, Belong to him entire, Hin selber mich geben und finden Give myself and find myself Verklärt mich in seinem Glanz. Transfigured in his radiance.

Du Ring an meinem Finger, Thou ring on my finger, Mein goldenes Ringelein, My little golden ring, Ich drücke dich fromm an die Lippen I press thee piously upon lips, Dich fromm an das Herze mein. Piously upon my heart.

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Helft mir, ihr Schwestern Help Me, Ye Sisters Helft mir, ihr Schwestern, Help me, ye sisters, Freundlich mich schmücken, Friendly, adorn me, Dient der Glücklichen heute, mir. Serve me, today’s fortunate one, Windet geschäftig Busily wind Mir um die Stirne About my brow Noch der blühenden Myrte Zier. The adornment of blooming myrtle.

Als ich befriedigt, Otherwise, gratified, Freudigen Herzens, Of joyful heart, Sonst dem Geliebten im Arme lag, I would have lain in the arms of the beloved, Immer noch rief er, So he called ever out, Sehnsucht im Herzen, Yearning in his heart, Ungeduldig den heutigen Tag. Impatient for the present day.

Helft mir, ihr Schwestern, Help me, ye sisters, Helft mir verscheuchen Help me to banish Eine törichte Bangigkeit, A foolish anxiety, Daß ich mit klarem So that I may with clear Aug’ihn empfange, Eyes receive him, Ihn, die Quelle der Freudigkeit. Him, the source of joyfulness.

Bist, mein Geliebter, Dost, my beloved, Du mir erschienen, Thou appear to me, Giebst du mir, Sonne deinen Schein? Givest thou, sun, thy shine to me? Laß mich in Andacht, Let me with devotion, Laß mich in Demut, Let me in meekness, Laß mich verneigen dem Herren mein. Let me curtsy before my lord.

Streuet ihm, Schwestern, Strew him, sisters, Streuet ihm Blumen, Strew him with flowers, Bringet ihm knospende Rosen dar, Bring him budding roses, Aber euch, Schwestern, But ye, sisters, Grüß ich mit Wehmut I greet with melancholy, Freudig scheidend aus eurer Schar. Joyfully departing from your midst.

PLAYBILL TEXTS & TRANSLATIONS

Süßer Freund, du blickest Sweet Friend, Thou Gazest Süßer Freund, du blickest Sweet friend, thou gazest Mich verwundert an, Upon me in wonderment, Kannst es nicht begreifen, Thou canst not grasp it, Wie ich weinen kann; Why I can weep; Laß der feuchten Perlen Let the moist pearls’ Ungewohnte Zier Unaccustomed adornment Freudig hell erzittern Tremble, joyful-bright, In den Auge mir. In my eyes.

Wie so bang mein Busen, How anxious my bosom, Wie so wonnevoll! How rapturous! Wüßt ich nur mit Worten, If I only knew, with words, Wie ich’s sagen soll; How I should say it; Komm und birg dein Antlitz Come and bury thy visage Hier an meiner Brust, Here in my breast, Will in’s Ohr dir flüstern I want to whisper in thy ear Alle meine Lust. All my happiness.

Weißt du nun die Tränen, Knowest thou the tears, Die ich weinen kann? That I can weep? Sollst du nicht sie sehen, Shouldst thou not see them, Du geliebter Mann? Thou beloved man? Bleib an meinem Herzen, Stay by my heart, Fühle dessen Schlag, Feel its beat, Daß ich fest und fester That I may, fast and faster, Nur dich drücken mag. Hold thee.

Hier an meinem Bette Here, at my bed, Hat die Wiege Raum, The cradle shall have room, Wo sie still verberge Where it silently conceals Meinen holden Traum; My lovely dream; Kommen wird der Morgen, The morning will come Wo der Traum erwacht, Where the dream awakes, Und daraus dein Bildnis And from there thy image Mir entgegen lacht. Shall smile at me.

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An meinem Herzen, an meiner Brust At My Heart, at My Breast An meinem Herzen, an meiner Brust, At my heart, at my breast, Du meine Wonne, du meine Lust! Thou my rapture, my happiness!

Das Glück ist die Liebe, die Lieb’ ist das Glück, The joy is the love, the love is the joy, Ich hab’s gesagt und nehm’s nicht zurück. I have said it, and won’t take it back.

Hab’ überschwenglich mich geschätzt I’ve thought myself rapturous, Bin überglücklich aber jetzt. But now I’m happy beyond that.

Nur die da säugt, nur die da liebt Only she that suckles, only she that loves Das Kind, dem sie die Nahrung giebt; The child, to whom she gives nourishment;

Nur eine Mutter weiß allein Only a mother knows alone Was lieben heißt und glücklich sein. What it is to love and be happy.

O, wie bedaur’ ich doch den Mann, O how I pity then the man Der Mutterglück nicht fühlen kann! Who cannot feel a mother’s joy!

Du lieber, lieber Engel, du, Thou lookst at me and smiles, Du schauest mich an und lächelst dazu! Thou dear, dear angel thou!

An meinem Herzen, an meiner Brust, At my heart, at my breast, Du meine Wonne, du meine Lust! Thou my rapture, my happiness!

Nun hast du mir den ersten Schmerz getan Now Thou Hast Given Me, For the First Time, Pain Nun hast du mir den ersten Schmerz getan, Now thou hast given me, for the first time, pain, Der aber traf. How it struck me. Du schläfst, du harter, unbarmherz’ger Mann, Thou sleepest, thou hard, merciless man, Den Todesschlaf. The sleep of death.

Es blicket die Verlaßne vor sich hin, The abandoned one gazes straight ahead, Die Welt ist leer. The world is void. Geliebet hab’ ich und gelebt, ich bin I have loved and lived, I am Nicht lebend mehr. No longer living.

Ich zieh’ mich in mein Innres still zurück, I withdraw silently into myself, Der Schleier fällt, The veil falls, Da hab’ ich dich und mein verlornes Glück, There I have thee and my lost happiness, Du meine Welt! O thou my world!

PLAYBILL TEXTS & TRANSLATIONS

Sergei Rachmaninoff O, dolgo budu ya In the Silence of the Mysterious Night Text by Afanasy Afanas’yevich Fet O, dolgo budu ja, v molchan’i nochi tajnoj, In the silence of the mysterious night, Kovarnyj lepet tvoj, ulybku, vzor sluchajnyj, your alluring babble, smiles, and glances, Perstam poslushnuju volos, volos tvojikh gus - your fleeting glances, the locks of your rich tuju prjad’, hair, locks pliant under your fingertips— Iz myslej izgonjat’, i snova prizyvat’; I will long be trying to get rid of the images Dysha poryvisto, odin, nikem ne zrimyj, only to call them back again. Dosady i styda rumjanami palimyj, I will be repeating and correcting in a whisper Iskat’ khotja odnoj zagadochnoj cherty the words I’ve told you, the words full of awk - V slovakh, kotorye proiznosila ty; wardness, Sheptat’ i popravljat’ bylye vyrazhen’ja and, drunk with love, contrary to reason, Rechej moikh s toboj, ispolnennykh I will be awakening the night’s darkness with a smushchen’ja, cherished name. I v op’janenii, naperekor umu, Zavetnym imenem budit’ nochnuju t’mu.

Ne poy, krasavitsa, pri mne Do Not Sing, My Beauty Ne poy, krasavitsa, pri mne Do not sing, my beauty, to me Ty pesen Gruzii pechal’noj; your sad songs of Georgia; Napominajut mne they remind me Druguju zhizn’ i bereg dal’nij. of that other life and distant shore.

Uvy, napominajut mne Alas, they remind me, Tvoi zhestokije napevy your cruel melodies, I step’, i noch’, i pri lune of the steppe, the night and moonlit Cherty dalekoj, bednoj devy! features of a poor, distant maiden!

Ja prizrak milyj, rokovoj, That sweet and fateful apparition Tebja uvidev, zabyvaju; I forget when you appear; No ty pojosh’, i predo mnoj but you sing, and before me Jego ja vnov’ voobrazhaju. I picture that image anew.

Ne poj, krasavica, pri mne Do not sing, my beauty, to me Ty pesen Gruzii pechal’noj; your sad songs of Georgia; Napominajut mne they remind me Druguju zhizn’ i bereg dal’nij. of that other life and distant shore.

Rechnaya lileya The Water Lily Text by Heinrich Heine Trans. Aleksey Nikolayevich Pleshcheyev Rechnaya lileya, golovku podnyavshi na nebo The slender water lily glyadit; Gazed dreaming up out of the lake. A mesyacz vlyublenny’j luchami uny’lo eyo The moon greeted her from above serebrit... With bright love plaints. I vot ona snova ponikla sty’dlivo, k lazurny’m Shyly she lowers her little head vodam; Down to the waters again— No mesyacz vse bledny’j i tomny’j kak prizrak, There she sees at her feet siyaet i tam... That poor pale fellow.

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Sumerki Twilight Ona zadumalas. Odna, pered oknom sklonyas, Lost in dreams, she sits alone by the window; ona sidit i v sumrake nochnom her head leaning forward, mertsayet dolgiy vzor; she gazes into a v sineve bezbrezhnoy the twilight. temneyushchikh nebes, ronyaya luch svoy In the boundless azure of the darkening sky, nezhnïy, voskhodyat zvezdochki bezshumnoyu tolpoy; the silent celestial throng i kazhetsya, chto tam kakoy-to svetlïy roy begin to cast down their rays; tainstvenno parit i, slovno voskhishchennïy, mysteriously, a shining host seems to gather there, trepeshchet nad yeyo golovkoyu sklonennoy. as if enraptured, and hover above her inclined head.

Vesenniye vodï Spring Waters Text by F.I. Tyutchev

Yeshcho v polyakh bileyit sneg, The fields are still white with snow, A vodï uzh vesnoy shumyat, but the streams are already resounding with spring, Begut i budyat sonnï breg, they are flowing, awakening the sleepy banks, Begut i bleshchut, i glasyat. they are running and sparkling, Anye glasyat va fsye kantï: and crying out. They cry out everywhere:

«Vesna idyot, vesna idyot, “Spring is coming, spring is coming, Mï maladoy vesnï gantsï, We are harbingers sent forth Ana nas vïslala fpyerot. by the young spring!”

Vesna idyot, vesna idyot!» “Spring is coming, spring is coming!” I tikhikh, toplïkh maiskikh dnyey And a rosy, light flock Rumyanï, svyetlï kharavot of quiet, warm, May days Talpitsya vyesyela za nyey. throngs merrily behind it.

PLAYBILL TEXTS & TRANSLATIONS

Patricia Barber I’m gorgeous and grateful it’s “in” to be thin. Wan and pale, I court emaciation Higher in high style and endless mastication. Oh what shall we sing sitting on this fire wire With cheekbones and ribs that tighten my skin, With the rest of the flock I’ll lift my song wildly attractive and seductive as sin, higher. the closer you come, the more you want me, the more you want, the more you want to be free. Well above the din, north of the grayest day There’s no slaking of thirst, no quenching angels, of need, Birds and I leap up and away. and there’s never, ever enough to eat:

And you my true love have been stilled by When the Gods get even They think of me pain While you’re fast asleep to your bed I creep Grounded in silence As my breath you breathe as I give you a kiss On earth you’ll remain. As I take my leave I leave you with this As you wake so you dream of fish fowl and beef Until and air blows in like spring You’ll be young again And there’s never ever enough to eat Raise your voice, take wing. Where inherited wealth meets fine French cuisine Scream Scream—when Sunday, finally comes Where oodles of truffles and tarts and terrines and god, isn’t there Where gavage is an art and foie gras is fatty Scream—the farmers’ work is done Where quail duck lamb sugar butter and and the rain isn’t there spaghetti Scream—investment bankers won There desire is infectious and fulfillment is lean and the money isn’t there And there’s never ever enough to eat Scream—the soldier has his gun And the war isn’t where does an ocean deny a river? We thought it would be would a fire spurn the wood it craves Post enlightenment free for heat? Just as the sun will set like Narcissus and his lover We will pay our debt you can never have the other Scream—if thousands speak as one you can never turn away And God will be there. Scream. you can never lick the plate clean

Hunger When the coffers are empty in lieu of defeat Everything is food, everything is fair game. I deal my daughter for camembert cheese The second it’s gone is the second I crave Here the story leaves me to my own device more animal, vegetable, mineral feed, As lips teeth tongue savor self sacrifice more fodder, more fuel, more cake and ice And now the Hunter is prey and the Hungry cream. are meat In Scythia, where the pickings are slim, And there’s never ever enough to eat

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Morpheus Your mouth caught my attention Downright tired in the winter white French lips were made to kill Though my best sleep is dressed in black Baudelaire in my ear and a Ample hours to dream, still I lack City that broke my will Repose, and wander through the night You gotta go home You gotta go home, A drink or two, blackjack straight through A sexy month or two Till dawn, ever unrequited love Now I’m stuck with you Nothing brings peace, Heaven above You just gotta go Send Morpheus to me, for I am due A poet’s thing for drama Will you sing softly, Will you keep The charm of the insane Watch as the light begins to wane? You’ve taken all my money Steadfast and sweet, will you remain Now just get on the plane God of my dreams, and let me sleep? You gotta go home You gotta go home

You Just Gotta Go Home You’ve got a special flair Your vision isn’t splendid For broken love affairs Your vocabulary’s weak You just gotta go Your passport’s been extended, You just gotta go But I’ve got some plans next week, You gotta go home It’s not that I don’t care You gotta go home, But it’s better over there You’ve overstayed your welcome Just go And the thrill is really gone From the start this wasn’t wise You just gotta go. No long drawn-out goodbyes Just go The English have their pudding From heaven into hell The Haitians have their coup Good riddance and farewell The Parisians, they have style Just go So how did they get you You just gotta go You gotta go home You gotta go home, It started out a picnic But now it’s gonna rain You just gotta go

PLAYBILL TEXTS & TRANSLATIONS

Richard Rodgers & Oscar Hammerstein II Something Wonderful This is a man who thinks with his heart, I Whistle a Happy Tune His heart is not always wise. Whenever I feel afraid This is a man who stumbles and falls, I hold my head erect But this is a man who tries. And whistle a happy tune This is a man you’ll forgive and forgive So no one will suspect I’m afraid And help and protect, as long as you live. While shivering in my shoes He will not always say what you would have I strike a careless pose him say And whistle a happy tune But, now and then he’ll say something And no one ever knows I’m afraid wonderful. The result of this deception The thoughtless things he’ll do will hurt and Is very strange to tell worry you, For when I fool the people Then, all at once he’ll do something I fear I fool myself as well wonderful. I whistle a happy tune He has a thousand dreams that won’t And every single time come true The happiness in the tune You know that he believes in them and that’s Convinces me that I’m not afraid enough for you. Make believe you’re brave You’ll always go along, defend him when And the trick will take you far he’s wrong You may be as brave And tell him when he’s strong, he is As you make believe you are wonderful. You may be as brave He’ll always needs your love and so he’ll As you make believe you are get your love While shivering in my shoes A man who needs your love can be wonderful. I strike a careless pose And whistle a happy tune And no one ever knows I’m afraid The result of this deception Is very strange to tell For when I fool the people I fear I fool myself as well I whistle a happy tune And every single time The happiness in the tune Convinces me that I’m not afraid Make believe you’re brave And the trick will take you far You may be as brave As you make believe you are

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Shall We Dance? On the clear understanding We’ve just been introduced That this kind of thing can happen I do not know you well Shall we dance? But when the music started Shall we dance? Something drew me to your side Shall we dance?

So many men and girls Shall we dance? Are in each others arms On a bright cloud of music shall we fly? It made me think we might be Shall we dance? Similarly occupied Shall we then say, goodnight and mean goodbye? Shall we dance? On a bright cloud of music shall we fly? Oh perchance Shall we dance? When the last little star has left the sky Shall we then say, goodnight and mean Shall we still be together? goodbye With our arms around each other And shall you be my new romance? Oh perchance When the last little star has left the sky On the clear understanding Shall we still be together? That this kind of thing can happen With our arms around each other Shall we dance? And shall you be my new romance? Shall we dance? Shall we dance?

PLAYBILL ABOUT THE ARTISTS

enée Fleming is one of the most sical music and opera, Fleming has sung not only R acclaimed singers of our time. In 2013, with and Plácido Domingo President Obama awarded her America’s high - but also with , Sting, Lou Reed, Josh est honor for an individual artist, the National Groban, Joan Baez, and even the Muppets. Medal of Arts. Winner of the 2013 Grammy Her recent opera DVDs include Strauss’ Award for Best Classical Vocal Recording, she Arabella and Ariadne auf Naxos , and has sung at momentous occasions around the Donizetti’s Lucrezia Borgia . Other recent DVD world, from the Nobel Peace Prize ceremony to releases include Handel’s Rodelinda , Massenet’s performances in during the 2008 Thaïs , and Rossini’s Armida , all three in the Olympic Games. In 2014, she became the first Metropolitan Opera’s Live in HD series, and classical singer ever to perform “The Star- Verdi’s La Traviata , filmed at London’s Royal Spangled Banner” at the Super Bowl. In 2012, Opera House. in another historic first, she sang on the balcony With a multimedia profile rare among con - of Buckingham Palace in the Diamond Jubilee temporary opera singers, Fleming has hosted a Concert for HM Queen Elizabeth II. In 2009, wide variety of television and radio broadcasts, Fleming was featured in the televised We Are including the Metropolitan Opera’s Live in HD One: The Inaugural Celebration at the Lincoln series for movie theaters and television, and Memorial concert for President Obama. She Live from Lincoln Center on PBS. She was the has performed for the United States Supreme subject of an HBO Masterclass documentary, Court, and in 2014, she celebrated the 25th an - and has been a frequent guest on Prairie Home niversary of the fall of the Berlin Wall in a tele - Companion on National Public Radio. In 2013, vised concert at the Brandenburg Gate. she joined with the John F. Kennedy Center for Another distinction was bestowed in 2008 the Performing Arts to present American when, breaking a precedent, Fleming became Voices , a concert and three-day festival cele - the first woman in the 125-year history of the brating the best American singing in all genres. Metropolitan Opera to solo headline an open - The festival was the subject of a Great ing night gala. Performances documentary on PBS in January. On New Year’s Eve (2015), Fleming appeared Renée Fleming’s book The Inner Voice was in the title role in a new production of The published by Viking Penguin in 2004, and re - Merry Widow at the Metropolitan Opera. In leased in paperback by Penguin the following April, she made her Broadway theater debut in year. An intimate account of her career and Living on Love , for which she was nominated creative process, the book is now in its 12th for a Drama League Award. She has appeared in US printing; it is also published in France, the virtually all of the world’s greatest opera houses United Kingdom, Germany, Japan, and Russia. and concert halls, and her recital schedule in re - A Polish edition will be released this autumn. cent years has spanned the globe, including ap - Fleming is a champion of new music and has pearances in Rio de Janeiro, São Paulo, Buenos performed works by a wide range of contem - Aires, Quito, Bogota, , Geneva, London, porary composers, including recent composi - Vienna, Hong Kong, Beijing, Guangzhou, and tions by Anders Hillborg, Henri Dutilleux, Taipei. Brad Mehldau, André Previn, and Wayne Fleming won her fourth Grammy for her Shorter. Poèmes . Recipient of 14 Grammy nomi - In 2010, Fleming was named the first-ever nations to date, she has recorded everything creative consultant to Lyric Opera of Chicago, from complete operas and song recitals, to an and she curated the creation of a world-pre - album of indie rock covers, Dark Hope ; the jazz miere opera based on the best seller Bel Canto album Haunted Heart ; and the movie sound - for Lyric Opera’s current season. She is a mem - track of The Lord of the Rings: The Return of the ber of the board of trustees of the King . Known for bringing new audiences to clas - Corporation, the board of Sing for Hope, and ABOUT THE ARTISTS the artistic advisory board of the Polyphony long tour of South Africa visiting the Cape and Foundation. Among her awards include the KwaZulu Natal philharmonics; an Israeli tour Fulbright Lifetime Achievement Medal, the with the Israel Symphony; solo recitals at Van Chevalier de la Légion d’Honneur, Germany’s Wezel Hall and the 92nd Street Y; and a recital Cross of the Order of Merit, Honorary Mem - with Renée Fleming in Carnegie Hall. bership in the Royal Academy of Music, Last season, Kern appeared with the NHK Sweden’s Polar Music Prize, and honorary doc - Symphony, Orchestre National de Lyon, and torates from Duke University, Harvard the orchestras of Detroit, Nashville, Madison, University, Carnegie Mellon University, the New Mexico, and Austin, and gave a recital at Eastman School of Music, and The Juilliard Seattle’s Meany Hall. She has performed in such School. For more information, visit www.re - famed concert halls as Carnegie Hall, the Great neefleming.com. Hall of the , Symphony Hall in Osaka, the Salzburger Festspielhaus, La Olga Kern (piano ) is now recognized as one of Scala in , the Tonhalle in Zurich, and the her gen er ation’s great . She jumpstarted Ch aˆtelet in Paris. her US career with a historic gold medal at the Kern’s discography includes her Grammy- Van Cliburn Inter national Piano Compe tition nominated recording of Rachmaninoff’s in Fort Worth, , as the first woman to do Corelli Variations and other transcriptions so in more than 30 years. First prize winner of (2004), Brahms Variations (2007), and Chopin the Rachmaninoff International Piano Piano Sonatas No. 2 and 3 (2010). She was fea - Competition at age 17, Kern is a laureate of tured in the award-winning documentary many international competitions. In 2016, she about the 2001 Cliburn Competition, Playing serves as jury chairman of both the Seventh on the Edge. Cliburn International Amateur Piano Competition and the first Olga Kern Renée Fleming appears by arrangement with IMG International Piano Competition, where she Artists, 7 West , New York, NY 10019. also holds the title of artistic director. Olga Kern appears by arrangement with Columbia Kern opened the Baltimore Symphony’s cen - Artists Management, 5 , New tennial season with Marin Alsop earlier this York, NY 10019. Renée Fleming records exclu - season. Other season highlights include returns sively for Decca and Mercury Records (UK). Her to the Royal Philharmonic with Pinchas jewelry is by Ann Ziff for Tamsen Z. Olga Kern’s Zukerman, Orchestre Philharmonique de Nice dresses are designed by Alex Teih. Olga Kern is a with Giancarlo Guerrero, Rochester Philhar - Steinway Artist. monic, and San Antonio Symphony; a month-

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