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Home , Amanda Roocroft, Anne Sofie von Otter, Barbara Bonney, Cleo Laine, Ich will, Lied

Sunday, March 1, 2015, 3pm Hertz Hall , mezzo-soprano , Frauenliebe und -leben: Variations

PROGRAM I. ( 1810–1856 ) Seit ich ihn gesehen, from Frauenliebe und -leben , Op. 42, No. 1 (1840) ( 1843–1907 ) Møte, from Haugtussa , Op. 67, No. 4 (1895) (1864–1949) Seitdem dein Aug’ in meines schaute, from Sechs Lieder , Op. 17, No. 1 (1885–1887) II. Schumann Er, der herrlichste von Allen , from Frauenliebe und -leben , Op. 42, No. 2 (1840) (1927–2010) Shall I compare thee to a summer’s day? ( 1964) Gabriel Fauré (1845–1924) d’amour, Op. 27, No. 1 (1882) Ture Rangström (1884–1947) Melodi , from Fem dikter (1917 ) III. Schumann Ich kann’s nicht fassen , from Frauenliebe und -leben , Op. 42, No. 3 (1840) Grieg Jeg elsker dig, from Hjertets Melodier , Op. 5, No. 3 (1864) Fauré Au bord de l’eau, Op. 8, No. 1 (1875)

IV. Schumann Du Ring an meinem Finger , from Frauenliebe und -leben , Op. 42, No. 4 (1840) (1860–1911) Rheinlegendchen, from Das Knaben Wunderhorn (1893) Joaquín Turina (1882–1949) Los dos miedos, from Poema en forma de canciones , Op. 19, No. 4 (1917) V. Schumann Helft mir, ihr Schwestern , from Frauenliebe und -leben , Op. 42, No. 5 (1840)

CAL PERFORMANCES 15 PROGRAM

Schumann Mutter, Mutter! Glaube nicht, from Myrten , Op. 25, No. 11 (1840) Schumann Lass mich ihm am Busen hangen, from Myrten , Op. 25, No. 12 (1840) (1875–1937) Tout gai!, from Cinq mélodies populaires grecques (1904–1906)

INTERMISSION

VI.

Henri Duparc (1848–1933) Phidylé (1882)

Claude Debussy (1862–1918) La Chevelure, from de Bilitis (1897 ) Schumann Süsser Freund, du blickest mich verwundert an , from Frauenliebe und -leben , Op. 42, No. 6 (1840)

VII. Pyotr Il’yich Tchaikovsky ( 1821–1897 ) Cradle Song, from Six Romances , Op. 16, No. 1 (1875) ( 1899–1978 ) Le Carafon, from La courte paille (1960 ) Strauss Wiegenliedchen, from Fünf Lieder , Op. 41, No. 1 (1899)

Schumann An meinem Herzen, an meiner Brust , from Frauenliebe und -leben , Op. 42, No. 7 (1840)

VIII.

Hector Berlioz (1803–1869) Absence, from Les nuits d’été , O p. 7, No. 4 (1841)

Roger Quilter (1877–1953) How should I your true love know?, from Four Shakespeare Songs , Op. 30, No. 3 (1933)

Enrique Granados Campiña (1867–1916) ¡Oh, muerte cruel!, from Tonadillas en un estilo antiquo , H. 136 (1912)

Schumann Nun hast du mir den ersten Schmerz getan , from from Frauenliebe und -leben , Op. 42, No. 8 (1840)

Funded, in part, by the Koret Foundation, this performance is part of Cal Performances’ – Koret Recital Series, which brings world-class artists to our community. This performance is made possible, in part, by Patron Sponsors Annette Campbell-White and Ruediger Naumann-Etienne. Hamburg Steinway piano provided by Steinway & Sons, San Francisco. Cal Performances’ – season is sponsored by Wells Fargo.

PLAYBILL PROGRAM NOTES

Prelude I. Seit ich ihn gesehen : “Love comes in at the eye” ONGS are bite-sized commentaries on and Sreflections of human existence. Whatever “And love comes in at the eye,” wrote William their purely musical attributes (and their great - Butler Yeats: in this first group of three songs, ness, or not, is dependent upon the composer’s lovers look at the beloved and are helpless to re - compositional profundity), they participate in sist such beauty. In the “Amen”-chords at the the “big things” of life: birth, death, love, hate, start of Schumann’s Seit ich ihn gesehen , we hear isolation, friendship, Time, and more. the nameless woman’s reverence for the man Schumann knew this: in the year of his battle she loves but believes is beyond her reach, hence for Clara Wieck’s hand in marriage, he clearly the slight tinge of darkness and sadness in this thought long and hard about the vicissitudes music. Schumann had a passion for Bach, and of love and translated those thoughts into he channels Baroque tradition in this sara - songs written for her, among them Frauenliebe bande-song (the “sarabande” was a Baroque und -leben : a tale of married love at its loveli - dance in triple meter with the second and third est, from its beginnings in humble abnegation beats often tied, usually grave in nature). through fulfillment to the inevitable ending in Love not yet admitted, much less acknowl - one partner’s death. Other composers in other edged, in Schumann’s first song is taken sev - countries have also sung of love, courtship, eral steps farther in Møte from Edvard Grieg’s marriage, birth, and grief; what tonight’s artists famous Haugtussa cycle. In the first half of have done is to compile small anthologies of Arne Garborg’s poetic cycle, the clairvoyant diverse songs on the rites of passage given us at heroine Veslemøy—called “ Haugtussa ,” or “hill each stage of Schumann’s cycle. sprite” for her ability to commune with “Man’s love is of man’s life a thing apart,/’Tis Nature—falls in love with the “wild boy” Jon. woman’s whole existence,” said Byron in Don As she dreams of him on a hilltop, he appears, Juan . The poetic cycle Frauenliebe und -leben and she gazes at him entranced before they fall by the French aristocrat Louis Charles into one another’s arms. Her desire for him at Adeläide de Chamisso de Boncourt, or the start, the music saturated with chromatic Adelbert von Chamisso—when he was nine, motion in the inner voices (a traditional trope his family fled the French Revolution for for desire), is consummated at the end in their Prussia—might seem at first glance in accord first tryst; we hear climax and the “dying- with that peculiarly masculine view of women. away” aftermath of lovemaking at the end. According to some, the “female” poetic voice “Since your eyes gazed in mine…what in this cycle is actually male, and the work is more could I ask of life?” the lover in Richard meant to teach women how the paterfamilias Strauss’s Seitdem dein Aug’ in meines schaute of the day wished to be worshipped by his wife. asks. Strauss begins without a piano intro - According to others (present company in - duction, the directness very moving, and sin - cluded), the poems are actually in sympathy gles out the word at the heart of it all— liebe , or with the emerging women’s movement be - “love”—by a vault upwards for the singer, un - cause it is the woman, not the husband, who is derscored by the first tonic chord of the song. the narrator; Chamisso was hailed in his time The throbbing syncopated patterns, the as a champion of women. While listeners will crescendo of rising passion that builds make up their own minds, it is undeniable that throughout, and the rhythmic elongation of Schumann saw in these words the occasion for ganzes Leben (my whole life) are all transfor - great musical beauty. We hear a portrait in mations of passion into song. tones of a loving, tender, generous-hearted creature anyone would be proud to love and to be loved by.

CAL PERFORMANCES PROGRAM NOTES

II. Er, der herrlichste von Allen : man has declared his love for her, and she is In praise of the beloved overwhelmed. We hear her come to the real - ization that this wonder is true in the course of In the second song of Frauenliebe , the woman this song, with its shifting moods and chang - in love catalogues her beloved’s wonderful at - ing tempi; the astonishment at the start is suc - tributes—his lips, eyes, mind, and courage— ceeded by the somewhat slower, thoughtful and then resolves to rejoice in her beloved’s repetition of his words. “I can hardly grasp it, fantasized marriage to someone else as long as hardly believe it,” she repeats over and over; he is happy. Trying to do the right thing, she the final statement is preceded by a remark - nonetheless finds it incredibly painful and able little piano interlude, rocking back and weeps in private. Schumann was prone to in - forth between different levels as if to say, “He vent wordless extensions of poetic meaning in loves me, he loves me not” before at last ac - his piano postludes, and this one is exquisite: cepting that love is hers. in the contrapuntal strands that drift down - In Grieg’s Jeg elsker dig , to words by Hans wards from the high treble register, we hear Christian Andersen, a lover swears to love the wistful dissolution of her dream of love. only the beloved through all eternity; the song The persona of Shakespeare’s 18th sonnet, was composed for the composer’s cousin Nina “Shall I compare thee to a summer’s day?,” de - Hagerup in the year of their engagement. Each clares that as long as this poem shall exist, his of the two stanzas culminates in a threefold beloved will “live,” defying time and death. proclamation of love that rises ecstatically by Shakespeare and : one might not expect stages. Somehow it seems appropriate that the the combination, but the great British jazzman song is in C major (representing the ultimate John Dankworth composed a wonderfully clarity and purity of love) but is shot through evocative setting of this sonnet for his wife, the with chromatic color and feeling, as in the jazz and pop singer Cleo Laine. lovely introduction. Chanson d’amour is in “madrigal style,” with In Au bord de l’eau , another poet also de - its that suggests the strum - clares that his love will endure for eternity, but ming of a lute or guitar and its time-traveling Fauré’s music, like Time itself, flows ever on - aura of an older era. “I love, I love, I love each ward, in calm contemplation of all those individual thing about you,” this ardent lover things that will pass—including this love. “My proclaims, and Fauré aids and abets all this dear old au bord de l’eau,” wrote repetition for emphasis by repeating the first to Fauré in 1883 , so consummately expressive stanza twice more in the course of his setting. of Fauré’s art is this song. Ture Rangström is one of the foremost early - 20th-century Swedish c omposers of romans IV. Du Ring an meinem Finger : (“”)—some 250 of them. Melodi is a set - Lovers’ rings and wedding nights ting of a love poem by Bo Bergman; here, love brings Nature to more intense life and banishes “To love him, serve him, belong wholly to suffering. Nature’s sparkling voices ripple in the him,” Frauenliebe ’s nameless woman sings pas - piano throughout the song, accompanying a sionately in mid-song she contemplates her beautiful melody; the words tell us that love it - wedding ring. This was the accepted model for self is song and that it is all-powerful. matrimonial love at the time, and the strong- minded Clara Wieck—no pushover—says III. Ich kann’s nicht fassen, nicht glauben : such things in her letters to Robert. This fourth Avowals of lasting love song is the mirror of the second, the two shar - ing the same key, some of the same harmonies, Somewhere between the second and third and the “heartbeat” chords in the right hand songs in Schumann’s Frauenliebe , the beloved (in the interior of this song).

PLAYBILL PROGRAM NOTES

Another ring figures prominently in Gustav der Braut I (“Mutter, Mutter, glaube Mahler’s Rheinlegendchen , one of his songs on nicht”), a bride reassures her mother, “I shan’t folk poems from the famous early 19th-century love you any less for marrying the man I love,” anthology (The and thanks the woman who bore her for or an Youth’s Magic Horn): a lover separated from his existence that has now become something beloved fantasizes throwing his ring into the splendid. Schumann made a habit of extend - Rhine, where a fish will swallow it, and the ing the poem wordlessly in his postlude, and King, when served that very same fish, will ask this one ends with a beautiful Adagio variation whose ring it is. The sweetheart at court, recog - on “such splendor.” The daughter-bride con - nizing it, will immediately return to her faithful tinues to reassure her mother in Lied der Braut lover: the eternity symbol of the ring brings to - II (“Lass mich ihm am Busen hangen,”) set to gether true lovers who have been parted. In this chordal strains as if the wedding march were song, we hear the typically Mahlerian ironic dis - already beginning to sound in the background. junction between the naiveté of the folk text and At the start of the 20th century, a French the extreme sophistication of the musical set - Hellenist named Hubert Octave Pernot ting; Mahler himself pointed out the originality (1870–1946), in company with a Greek col - of its harmonization. league named Pericles Matsa, collected Greek Spain’s leading Romantic poet Ramón de popular songs. The musicologist Pierre Campoamor explored the oxymorons of love Aubry, who was giving a lecture on the songs in his Poem in the form of songs , set to music by of the oppressed Greeks and Armenians, the Seville-born Joaquín Turina, who merged asked another musicologist, Michel sevillanismo with French influences (he stud - Calvocoressi, to select some of Pernot’s Greek ied with Vincent d’Indy at the Con- songs as illustrations. Calvocoressi taught the servatory). The third song, Los dos miedos , singer Louise Thomasset to produce the texts expresses fear of the beloved before the night of phonetically; when she wanted piano accom - love and fear of being without him after they paniments, he turned to Ravel, who wrote have been together. five in 36 hours—his first of several forays into folklore. Tout gai! is an ir - V. Helft mir, ihr Schwestern : resistible invitation to the dance, the text not Weddings, families, and quite coherent because sung while in full communal rejoicing fling, the singer distracted by the sight of lovely legs in joyous activity. Whatever the Returning to Frauenliebe , the woman now inimitably French veil thrown over the pro - sings a song of rejoicing as her sisters help her ceedings by Ravel, we feel as if transported to with her bridal dress; in their company and on some sun-washed Greek village. this occasion, she can safely confess her desire for her beloved and his for her. Near the close, VI. Lovemaking and the creation of a child: there is a momentary touch of melancholy as Süsser Freund, du blickest mich she bids her siblings farewell, but happiness resumes its sway as she goes to her husband. From the Parnassian poet Leconte de Lisle’s The wedding march we hear at the end owes Études latines (“Latin Studies”), Henri Duparc a debt of gratitude to ’s plucked Phydilé for one of his last and loveli - music for A Midsummer Night’s Dream . est songs. (Duparc composed only 17 Schumann fashioned his melodies before falling victim to a mysterious Myrthen not after the model of its neurasthenic disease that prevented him from Beethovenian or Schubertian predecessors but composing at all in the final 48 years of his according to his own unique design, with 26 life. As if in compensation for such a hideous songs that constitute an alphabet of love. In the fate, his songs are among the greatest in the

CAL PERFORMANCES PROGRAM NOTES

French language, their subtlety and gravitas safe while it sleeps. The composer dedicated beyond the reach of most of his contempo - his song to Nikolai Rimsky-Korsakov’s wife raries.) At the start, refined sensuality is (she was expecting her first child), and it is de - evoked by limited motion to neighboring har - servedly a “chestnut,” in which the pianist monies; from there, ravishment proceeds rocks a cradle with both hands in alternation, apace. By the time the musical persona bids while the singer’s melody gently swings and his beloved “Repose” (“Rest”) three times in sways in cradling motion as well. succession, we are all seduced. La courte paille (“The Short Straw”) was In 1894 , the French poet Pierre Louÿs pub - Francis Poulenc’s last song cycle, composed lished Les Chansons de Bilitis , a collection of three years before his death for the soprano prose-poems supposedly the work of Bilitis, a Denise Duval and her young son. Like courtesan in ancient Greece at the time of Schumann’s Kinderszenen , these are songs Sappho; the poems were, he wrote, discovered about children rather than being children’s in her tomb by a German archeologist named music. In the sixth song, Le Carafon , every - G. Heim (“ geheim ,” or “secret”). Louÿs, of thing in the world wants a darling baby, so the course, was the actual author. The text of La wizard Merlin obligingly provides a water Chevelure comes from the first section, entitled carafe—it has, we are told, a lovely soprano “Bucolics,” about Bilitis’s childhood and her voice—with a pretty little infant carafe. Lively first sexual encounter with the youth Lykas: his whimsy and sweetness join hands in this song. narrative of seduction, quoted within the song, A similar, somewhat gentler whimsy is on makes Bilitis a figment of his imagination, but display in Strauss’s Wiegenliedchen (one would she ultimately contains his dream within her never guess from this song that his opera own recounting. In this intensely erotic sce - Salome would follow only four years later), in nario, it is no wonder that we encounter which a little bee and a spider are bidden to Wagner’s famous “Tristan” chord at the mo - hum and spin “my little prince” to sleep. ment of imagined—soon to be actual—climax. Again, we hear the cradle rocking in the piano In Schumann’s Süsser Freund, du blickest as Strauss, in his inimitable fashion, touches mich , the woman tells her bewildered hus - lightly upon many different tonalities, as if on band, who has found her both weeping and all the different shades of maternal love. smiling, that she is pregnant. This is the only Returning again to Frauenliebe , there is song where he is present, and Schumann dis - now even more love in the picture, that of a poses the piano part at times as a dialogue be - mother for the infant daughter she nurses in tween treble and bass registers, between man An meinem Herzen, an meiner Brust . The two and wife. It is in the piano that she whispers chords at the start, one loud, one soft, open her glad tidings into his ear, the music rising the doors of the bedchamber and allow us ac - in mini-waves of dawning realization, fol - cess to this intimate scene, unique in German lowed by a tender dialogue between her song. In another of Schumann’s expressive melody and his cello-like wordless phrases in postludes, we hear both waves of tender ma - the left hand. ternal feeling and the physical motion as the child is swung gently up and down. VII. Songs to the child: An meinem Herzen, an meiner Brust VIII. Songs of grief and mourning: Nun hast du mir den ersten Schmerz getan Russian poet Apollon Maikov paraphrased a Greek folk song, with echoes of Homeric ani - In 1840 , the same year as Frauenliebe und -leben , mism, in a Lullaby set to music by composed his song cycle Les nuits Tchaikovsky; here, a mother invokes mighty d’été , for what reason, we do not know: to make forces of Nature as guardians to keep her child some money? As a vehicle for one of Paris’s

PLAYBILL PROGRAM NOTES famous mezzos (Pauline Viardot, perhaps)? As a of love. The weightiest are the three songs in parting gift for its poet, en route to Spain? the mini-cycle La maja dolorosa , in which a Whatever the reasons, the fourth song, maja grieves for her dead majo . The first song, L’Absence, is a plangent lament by someone ¡Oh, muerte cruel! , begins by striking iron- parted from his beloved by great distance; in this hard, heavy tones in the piano—we will hear a context, we can imagine it as the distance of final similar harsh blow at the start of Schumann’s illness, separating the living from the dead. Over last song—followed by a cry of protest that be - and over, the singer implores, “Return, return, gins in the heights and descends into the my dear beloved,” and over and over, a brief si - depths of depression: she does not wish to live lence follows—no one answers—before the any longer. The same progression, from tragic singer resumes the grief-stricken plaint. outcry to deadened quietude, is then repeated, In Act IV, Scene 5, of Shakespeare’s Hamlet , and the piano postlude recapitulates in brief the mad Ophelia sings three songs, the first the same terrible, truthful contrast. containing echoes of the so-called The ferocious minor chord at the start of “Walsingham Ballad,” written some 50 years Nun hast du mir den ersten Schmerz getan after the destruction of Walsingham Shrine in could hardly be more of a shock. Schumann 1538, during the English Reformation. In knew that accusatory anger and a sense of be - Shakespeare’s variant, a woman asks piteously trayal are among the whirlwind of emotions about her pilgrim lover and discovers that he we feel when someone beloved dies, and that is is dead and buried. Roger Quilter’s setting is a what we hear first in this searing song. The ini - poignant thing, filled with echo-phrases; the tial bitterness gives way to more inward grief use of the Phrygian, or flatted, second degree and finally, to one of Schumann’s most heart- at the words “He is dead and gone, lady, he is stopping compositional decisions: the word - dead and gone” is quietly powerful. less return of the first song in the postlude. Enrique Granados was inspired by the Only the accompaniment, not the vocal line, Spanish tradition of theatre songs called returns—half a song for a life deprived of half tonadillas to create his own Tonadillas en estilo of its meaning. We are meant to hear the slight antiguo , in which majas and majos (near-un - musical “bump,” the transition from the pres - translatable terms for the arrogant, boisterous, ent to the past as she remembers the start of it charming, proud working-class young men all, eight songs and a lifetime ago. and women of Madrid, who engaged in com - plex games of courtship along a gamut from white-hot passion to white-hot contempt) sing Dr. Susan Youens

CAL PERFORMANCES TEXTS & TRANSLATIONS

Frauenliebe und -leben: Variations

I. I.

Robert Schumann Seit ich ihn gesehen Since I saw him Text by Adelbert von Chamisso ( PVWP–PWRW )

Seit ich ihn gesehen, Since I saw him, Glaub ich blind zu sein; I think I am blind; Wo ich hin nur blicke, Every place I look, She ich ihn allein; I see him alone;

Wie im wachen Traume As in a waking dream Schwebt sein Bild mir vor, His image appears before me, Taucht aus tiefstem Dunkel Rising out of darkest depths Heller nur empor. Only more brightly.

Sonst ist licht und farblos Everything else is dark and colorless Alles um mich her, All around me, Nach der Schwestern Spiele For my sisters’ games Nicht begehr ich mehr, I am no longer eager,

Möchte lieber weinen, I would like instead to weep Still im Kämmerlein; quietly in my little room; Seit ich ihn gesehen, Since I saw him, Glaub ich blind zu sein. I think I am blind.

Edvard Grieg ( GNJI–GOFM ) Møte The Encounter Text by Arne Garborg ( PWTP–PXQS )

Ho sìt ein Sundag lengtande Li; One Sunday she sits quietly on the hill, det strøymer på med desse søte Tankar; While pleasant thoughts rush over her, og Hjarta fullt og tungt i Barmen bankar, And her heart beats fully and heavily in her chest, og Draumen vaknar, bivrande og blid. And a shy dream awakens inside her. Då gjeng det som ei Hildring yver Nuten; Suddenly, enchantment arrives on the hilltop. ho raudnar heit—der kjem den vene Guten. She blushes red; here he comes, the boy she loves.

Burt vil ho gøyme seg i Ørska brå, She wants to hide in her embarrassment, men stoggar tryllt og Augo mot han vender; But shyly she raises her eyes to him; dei tek einannan i dei varme Hender Their warm hands reach out for each other, og stend so der og veit seg inkje Råd. And they stand there, neither one knowing what to say. Då bryt ho ut i dette Undringsord: Then she bursts out, exclaiming, «men snilde deg daa...at du er so stor!» “My, how tall you are!”

Og som det lid ti svale Kveldings Stund, And as the day changes softly into night, alt meir og meir i Lengt dei saman søkjer; They turn to each other full of longing, og brådt um Hals den unge Arm seg krøkjer, Their young arms wind around each other’s necks, og øre skjelv dei saman Munn mot Munn. And trembling mouth meets trembling mouth. Alt svimrar burt. Og der i Kvelden varm Everything falls away, and in the warm night i heite Sæle søv ho i hans Arm. She falls blissfully asleep enfolded in his arms.

PLAYBILL TEXTS & TRANSLATIONS

Richard Strauss Seitdem dein Aug’ in meines schaute Since your eyes first looked into mine Text by Adolf Friedrich von Schack ( PWPT–PWXS )

Seitdem dein Aug’ in meines schaute, Since your eyes looked into mine, Und Liebe, wie vom Himmel her, and love, as if here from Heaven, Aus ihm auf mich herniedertaute, fell from above onto me like dew, Was böte mir die Erde mehr? what more could the earth give me?

Ihr Bestes hat sie mir gegeben, It has given me its best, Und von des Herzens stillem Glück and from the heart’s quiet happiness, Ward übervoll mein ganzes Leben My whole life was overflowing Durch jenen einen Augenblick. through one glance.

II.

Schumann Er, der herrlichste von Allen He, the most wonderful of all Text by von Chamisso

Er, der herrlichste von Allen, He, the most wonderful of all, Wie so milde, wie so gut. So gentle, so good. Holde Lippen, klares Auge, Lovely lips, sparkling eyes, Heller Sinn und fester Mut. Clear mind and firm resolve.

So wie dort in blauer Tiefe, As in the blue depths, Hell und herrlich jener Stern, That star, bright and beautiful, Also er an meinem Himmel So is he in my heaven, Hell und herrlich, hehr und fern. Bright and beautiful, majestic, distant.

Wandle, wandle deine Bahnen; Wander, wander your ways; Nur betrachten deinen Schein, Just to watch your radiance, Nur in Demut ihn betrachten, Just to watch it in humility, Selig nur und traurig sein. Just to be blissful and sad!

Höre nicht mein stilles Beten, Hear not my silent prayer Deinem Glücke nur geweiht; Your happiness only blessed; Darfst mich niedre Magd nicht kennen, I, lowly maid, must not know, Hoher Stern der Herrlichkeit. Lofty, wonderful star.

Nur die Würdigste von allen Only the most worthy woman of all Darf beglücken deine Wahl May your choice favor Und ich will die Hohe segnen And that exalted one will I bless Viele tausend Mal. Many thousands of times.

Will mich freuen dann und weinen, Then shall I rejoice and cry, Selig, selig bin ich dann, Be blissful, blissful then; Sollte mir das Herz auch brechen, Even if my heart breaks, Brich, o Herz, was liegt daran? Then break, O heart, what does it matter?

CAL PERFORMANCES TEXTS & TRANSLATIONS

John Dankworth Shall I compare thee to a summer’s day? Text by ( PTUS–PUPU )

Shall I compare thee to a summer’s day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer’s lease hath all too short a date: Sometime too hot the eye of heaven shines, And often is his gold complexion dimm’d; And every fair from fair sometime declines, By chance or nature’s changing course untrimm’d; But thy eternal summer shall not fade Nor lose possession of that fair thou ow’st; Nor shall Death brag thou wander’st in his shade, When in eternal lines to time thou growest: So long as men can breathe or eyes can see, So long lives this, and this gives life to thee.

Gabriel Fauré Chanson d’amour Song of Love Text by Armand Silvestre ( PWRV–PXOP )

J’aime tes yeux, j’aime ton front, I love your eyes, I love your face, Ô ma rebelle, ô ma farouche, Oh my rebel, oh my wild one, J’aime tes yeux, j’aime ta bouche I love your eyes, I love your mouth, Où mes baisers s’épuiseront. Where my kisses exhaust themselves.

J’aime ta voix, jaime l’étrange I love your voice, I love the strange Grâce de tout ce que tu dis, Grace in everything that you say, Ô ma rebelle, ô mon cher ange, Oh my rebel, oh my dear angel, Mon enfer et mon paradis! My hell and my paradise!

J’aime tout ce qui te fait belle, I love everything that makes you beautiful, De tes pieds jusqu’à tes cheveux, from your feet to your hair, Ô toi vers qui montent mes vœux, Oh you towards whom my desires climb! Ô ma farouche, ô ma rebelle! Oh my wild one, oh my rebel!

PLAYBILL TEXTS & TRANSLATIONS

Ture Rangström Melodi Melody Text by Bo Bergman ( PWUX–PXUV )

Bara du går över markerna, You simply walk across the meadows, lever var källa, and every spring becomes alive, sjunger var tuva ditt namn. every blade of grass sings your name. Skyarna brinna och parkerna The clouds burn and the trees susa och fälla whistle and drop their lövet som guld i din famn. leaves like gold on your lap.

Och vid de skummiga stränderna By the foamy shores hör jag din stämmas I hear your soothing voice vaggande vågsorl till tröst rocking in a wave’s murmur. Räck mig de älskade händerna. Reach out your beloved hands. Mörkret skall skrämmas. Darkness will be scared away. Kvalet skall släppa mitt bröst. Torment will leave my breast.

Bara du går över ängarna, You simply walk across the meadows, bara jag ser dig I see you vandra i fjärran förbi, wandering in the distance, darra de eviga strängarna. those eternal strains tremble. Säg mig vem ger dig Tell me who bestows upon you makten som blir melodi? the power which becomes this melody?

III.

Schumann Ich kann’s nicht fassen I cannot grasp it Text by von Chamisso

Ich kann’s nicht fassen, nicht glauben, I cannot grasp it, cannot believe it, Es hat ein Traum mich berückt; I am swept away in a dream; Wie hätt’ er doch unter allen How, from everyone, has he Mich Arme erhöht und beglückt? Raised and chosen poor me?

Mir war’s, er habe gesprochen: I thought he said, «Ich bin auf ewig dein,» “I am yours forever,” Mir war’s, ich träume noch immer, I thought I was still dreaming, Es kann ja nimmer so sein. For it can never be so.

O lass im Traume mich sterben, O let me, dreaming, die, Gewieget an seiner Brust, Cradled on his breast; Den seligen Tod mich schlürfen Blissful death let me savor, In Tränen unendlicher Lust. In tears of endless happiness.

CAL PERFORMANCES TEXTS & TRANSLATIONS

Grieg Jeg elsker Dig I love you Text by Hans Christian Andersen ( PWOT–PWVT )

Min Tankes Tanke ene du er vorden, You are the one thought of my thoughts, Du er mit Hjertes første Kærlighed. You are the first love of my heart. Jeg elsker Dig, som Ingen her på Jorden, I love you as I love no one else here on Earth, Jeg elsker Dig i Tid og Evighed! I love you for all time and all eternity!

Fauré Au bord de l’eau At the Riverside Text by René-François Sully-Prudhomme (PWRX–PXOV )

S’asseoir tous deux au bord du flot qui passe, To sit together on the edge of the stream that passes Le voir passer, To see it passing; Tous deux s’il glisse un nuage en l’espace, Together, when a cloud float in space, Le voir glisser; To see it float; À l’horizon s’il fume un toit de chaume, When a cottage chimney is smoking on the horizon, Le voir fumer; To see it smoke; Aux alentours si quelque fleur embaume, If nearby a flower spreads its fragrances, S’en embaumer; To take in its scent; Entendre au pied du saule où To hear at the foot of the willow tree, where L’eau murmurer, The water murmurs, Ne pas sentir tant que ce rêve dure Not to sense, while this dream lasts, Le temps durer. The passage of time, Mais n’apportant de passion profonde But to feel deep passion Qu’à s’adorer, Only to adore each other; Sans nul souci des querelles du monde Not to care at all about the world’s quarrels Les ignorer; To ignore them, Et seuls tous deux devant tout ce qui lasse And alone, the two of us, facing all that grows weary, Sans se lasser, Not to grow weary, Sentir l’amour devant tout ce qui passe To experience love while everything passes away , Ne point passer! Never to change!

IV.

Schumann Du Ring an meinem Finger You, Ring on my finger Text by von Chamisso

Du Ring an meinem Finger, You, ring on my finger, Mein goldenes Ringelein, My little golden ring, Ich drücke dich fromm an die Lippen, I press you with reverence to my lips, An das Herze mein. To my heart.

Ich hatt’ ihn ausgeträumet, I had finished dreaming Der Kindheit friedlich schönen Traum, Childhood’s calm and beautiful dream, Ich fand allein mich, verloren I found myself alone, lost Im öden unendlichen Raum. In boundless desolation.

PLAYBILL TEXTS & TRANSLATIONS

Du Ring an meinem Finger, You, ring on my finger, Da hast du mich erst belehrt, You have first taught me, Hast meinem Blick erschlossen Unlocked my eyes Des Lebens unendlichen, tiefen Wert. To life’s deep, unending worth.

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

Gustav Mahler Rheinlegendchen Rhein legend Text by Clemens Brentano ( PVVW–PWSQ )

Bald gras ich am Neckar, Sometimes I mow by the Neckar, Bald gras ich am Rhein; Sometimes I mow by the Rhein. Bald hab ich ein Schätzel, Sometimes I have a sweetheart, Bald bin ich allein! Sometimes I am all alone!

Was hilft mir das Grasen, How does mowing help me Wenn d’Sichel nicht schneid’t! If the sickle will not cut? Was hilft mir ein Schätzel, How does a sweetheart help me Wenn’s bei mir nicht bleibt. If she will not stay with me? So soll ich denn grasen So if I am going to mow Am Neckar, am Rhein, By the Neckar, by the Rhein So werf ich mein goldenes Then I shall throw in Ringlein hinein. My little golden ring. Es fließt im Neckar It will float down the Neckar, Und fließt im Rhein, Float down the Rhein, Soll schwimmen hinunter And will swim under, down Ins Meer tief hinein. Into the depths of the ocean.

Und schwimmt es, das Ringlein, And if the ring swims, So frißt es ein Fisch! A fish shall eat it! Das Fischlein soll kommen The little fish will end up Auf’s Königs sein’ Tisch! On the table of a king! Der König tät fragen, The king will ask, Wem’s Ringlein sollt sein? Whose ring is this? Da tät mein Schatz sagen: And then my sweetheart will say, Das Ringlein g’hört mein. The ring belongs to me.

Mein Schätzel tät springen My sweetheart will run Bergauf und bergein, Up and down the hillside Tät mir wiedrum bringen And will bring back Das Goldringlein mein! My little golden ring! Kannst grasen am Neckar, You can mow by the Neckar Kannst grasen am Rhein, You can mow by the Rhein Wirf du mir nur immer Just be sure that you always Dein Ringlein hinein! Throw in your ring for me!

CAL PERFORMANCES TEXTS & TRANSLATIONS

Joaquín Turina Los dos miedos The Two Fears Text by de Campoamor y Campoosorio (PWPV–PXOP ) At dusk on that day, Al comenzar la noche de aquel día Far from me she said: Ella lejos de mí, “Why do you come so close to me? ¿Por qué te acercas tanto? Me decía, I am afraid of you.” Tengo miedo de ti. And after the night ended, Y después que la noche hubo pasado Close to me she said: Dijo, cerca de mí: “Why do you move so far from me? ¿Por qué te alejas tanto de mi lado? I am afraid without you.” ¡Tengo miedo sin ti!

V.

Schumann Helft mir, ihr Schwestern Help me, sisters Text by von Chamisso

Helft mir, ihr Schwestern, Help me, sisters, Freundlich mich schmücken, In kindness to dress myself, Dient der Glücklichen heute, mir. Serve me, the happy one, today, Windet geschäftig Eagerly weave mir um die Stirne About my brow Noch der blühenden Myrte Zier. The blooming myrtle. Als ich befriedigt, When I, content, Freudigen Herzens, With a happy heart, Sonst dem Geliebten im Arme lag, Lie in my beloved’s arms, Immer noch rief er, Still would he call im Herzen, With a yearning heart, Ungeduldig den heutigen Tag. Impatiently for today.

Helft mir, ihr Schwestern, Help me, sisters, Helft mir verscheuchen Help me disperse Eine törichte Bangigkeit; Unfounded fears; Dass ich mit klarem So that I, clear Aug ihn empfange, Eyed, may receive him, Ihn, die Quelle der Freudigkeit. The source of my joy.

Bist, mein Geliebter, You, my beloved, Du mir erschienen, Have appeared before me, Gibst du mir, Sonne, deinen Schein? Will you, sun, shine upon me? Lass mich in Andacht, Let me in reverence, Lass mich in Demut, Let me in humility, Lass mich verneigen dem Herren mein. Let me bow to my lord.

PLAYBILL TEXTS & TRANSLATIONS

Streuet ihm, Schwestern, Scatter flowers, Sisters, Streuet ihm Blumen, Scatter flowers for him, Bringt ihm knospende Rosen dar. Offer budding roses. Aber euch, Schwestern, But you, sisters, Grüss ich mit Wehmut, I greet sadly, Freudig scheidend aus eurer Schar. Departing, joyous, from your throng.

Schumann Mutter, Mutter! Glaube nicht (Lied der Braut I) Bride’s Song I Text by Friedrich Rückert ( PVWW–PWUU )

Mutter, Mutter! Glaube nicht, Mother, mother, do not believe Weil ich ihn lieb’ also sehr, That because I love him so much Daß nun Liebe mir gebricht, I cannot love you Dich zu lieben wie vorher. as I have in the past.

Mutter, Mutter! seit ich ihn Mother, mother, since I love him Liebe, lieb’ ich erst dich sehr. I now for the first time love you. Laß mich an mein Herz dich zieh’n Let me draw you to my heart Und dich küssen, wie mich er. And kiss you as he kisses me!

Mutter, Mutter! seit ich ihn Mother, mother! Since I love him Liebe, lieb’ ich erst dich ganz, I finally love you completely Daß du mir das Sein verlieh’n, For giving me this life Das mir ward zu solchem Glanz. That has become so joyous for me.

Schumann Laß mich ihm am Busen hangen (Lied der Bride’s Song II Braut II) Text by Rückert

Laß mich ihm am Busen hangen, Let me cling to his chest, Mutter, Mutter! laß das Bangen. Mother, Mother! Do not worry. Frage nicht: wie soll sich’s wenden? Don’t ask: how should it change? Frage nicht: wie soll das enden? Don’t ask: how should it end? Enden? Enden soll sich’s nie, End? It should never end, Wenden, noch nicht weiß ich, wie! Change, I still don’t know how!

Maurice Ravel Tout gai! Everyone is happy! Text by Michael Dimitri Calvocoressi ( PWVV–PXSS )

Tout gai! gai, Ha, tout gai! Everyone is happy, happy! Belle jambe, tireli, qui danse; Beautiful legs, which dance, Belle jambe, la vaisselle danse, Beautiful legs; even the dishes are dancing! Tra la la la la... Tra la la, la la la!

CAL PERFORMANCES TEXTS & TRANSLATIONS

VI.

Henri Duparc Phidylé Text by Charles-Marie-René Leconte de Lisle (PWPW–PWXS )

L’herbe est molle au sommeil sous les frais The grass is bending with sleep under the fresh peupliers, poplars, Aux pentes des sources moussues On the slopes of the mossy springs Qui dans les prés en fleurs germant par mille That in the blooming fields, sprouting issues, abundantly, Se perdent sous les noïrs halliers. Disappear through the black thickets,

Repose ô Phidylé. Rest, oh Phidylé.

Midi sur les feuillages Noon on the branches shines Rayonne, et t’invite au sommeil. And invites you to sleep. Par le trèfle et le thym, seules en plein soleil, By the clover and the thyme, alone in bright sunlight, Chantent les abeilles volages; The buzzing bees sing;

Un chaud parfum circule au détour des sentiers, A warm fragrance circles by the path’s bend, La rouge fleur des blés s’incline, The red flowers of the wheat bows, Et les oiseaux, rasant de l’aile la colline, And birds, skimming the hill, Cherchent l’ombre des églantiers. Seek the shade of the wild roses.

Repose ô Phidylé. Rest, oh Phidylé.

Mais quand l’Astre incliné sur sa courbe But, when the sun, bending in its dazzling éclatante, curve, Verra ses ardeurs s’apaiser, Will see its blaze calmed, Que ton plus beau sourire et ton meillure baiser Then your most beautiful smile and your best kisses Me récompensent, me récompensent de l’attente. Will reward me, reward me for having waited.

Claude Debussy La Chevelure The Hair Text by Pierre Louÿs ( PWVO–PXQT )

Il m’a dit: He told me: “Cette nuit, j’ai rêvé. “Last night I had a dream. J’avais ta chevelure autour de mon cou. Your hair was around my neck. J’avais tes cheveux comme un colier noir Your hair was like a black collar autour de ma nuque et sur ma poitrine. around my neck and upon my chest.

“Je les caressais, et c’étaient les miens; I caressed it and it was mine; et nous étions liés pour toujours ainsi, and we were bound together forever like this, par la même chevelure la bouche sur la bouche, By the same hair, mouth on mouth, ainsi que deux lauriers n’ont souvent qu’une racine . like two laurels that often have one root.

PLAYBILL TEXTS & TRANSLATIONS

“Et peu à peu, il m’a semblé, tant nos membres Little by little, so intertwined were our limbs, étaient confondus, que je devenais toi-même it seemed to me that I was becoming you, ou que tu entrais en moi comme mon songe.” or that you were entering into me like my dream.”

Quand il eu achevé, When he had finished, il mit doucement ses mains sur mes épaules, he gently placed his hands on my shoulders, et il me regarda d’un regard si tendre, and he looked at me with a look so tender que je baissai les yeux avec un frisson. that I lowered my eyes with a shiver.

Schumann Süsser Freund, du blickest mich verwundert an Sweet friend, you look at me in wonder Text by von Chamisso

Süsser Freund, du blickest mich verwundert an, Sweet friend, you look at me in wonder, Kannst es nicht begreifen, You cannot understand Wie ich weinen kann; How I can weep; Lass der feuchten Perlen These moist pearls let, Ungewohnte Zier As a strange decoration, Freudig hell erzittern Tremble joyous bright In dem Auge mir. In my eyes.

Wie so bang mein Busen, How anxious my heart, Wie so wonnevoll! How full of joy! Wüsst ich nur mit Worten, If I only knew the words Wie ich’s sagen soll; To say it as I should; Komm und birg dein Antlitz Come, hide your face, Hier an meiner Brust, Here, against my breast, Will ins Ohr dir flüstern For me to whisper you Alle meine Lust. My full joy.

Weisst du nun die Tränen, Now you know the tears Die ich weinen kann, That I can weep, Sollst du nicht sie sehen, Should you not see them, Du geliebter Mann? Beloved man? Bleib an meinem Herzen, Stay against my heart, Fühle dessen Schlag, Feel its beating, Dass ich fest und fester That I may press you Nur dich drücken mag. Ever closer.

Hier an meinem Bette Here by my bed Hat die Wiege Raum, Is the cradle’s place, Wo sie still verberge Where, it silently hides Meinen holden Traum; My sweet dream. Kommen wird der Morgen, The morning will come Wo der Traum erwacht; When that dream will awake, Und daraus dein Bildnis And your image mir entgegen lacht. Will laugh up at me.

CAL PERFORMANCES TEXTS & TRANSLATIONS

VII.

Pyotr Il’yich Tchaikovsky Cradle Song Text by Apollon Nikolayevich Maykov (PWQP–PWXV )

Spi, ditja mojo, usni! Sleep, my baby, sleep, go to sleep, sleep, go to sleep! Sladkij son k sebe mani: Bring sweet dreams to yourself: V njan’ki ja tebe vzjala I’ve hired as nannies for you Veter, solnce i orla. The Wind, the Sun and the Eagle.

Uletel orjol domoj; The Eagle has flown back home, Solnce skrylos’ pod vodoj: The Sun has hidden under the oceans, Veter, posle trekh nochej, And three nights later Mchitsja k materi svojej. The Wind is rushing back to her Mother.

Vetra sprashivajet mat’: The Wind’s mother has been asking: «Gde izvolil propadat’? “Where have you been all this time? Ali zvezdy vojeval? Have you been fighting with the stars? Ali volny vsjo gonjal.» Have you been chasing after the waves?” «Ne gonjal ja voln morskikh, “I haven’t been chasing the waves, Zvezd ne trogal zolotykh; I haven’t been fighting the golden stars, Ja ditja oberegal, I have been guarding a baby Kolybelochku kachal!» And rocking him gently his little cradle.”

Spi, ditja mojo, spi, usni! spi, usni! Sleep, my baby, sleep, go to sleep, sleep, go to sleep! Sladkij son k sebe mani: Bring sweet dreams to yourself: V njan’ki ja tebe vzjala I’ve hired as nannies for you Veter, solnce i orla. The Wind, the Sun, and the Eagle.

Francis Poulenc Le Carafon The Baby Carafe Text by Maurice Carême ( PWXX–PXVW )

“Pourquoi,” se plaignait la carafe, “Why,” complained the carafe, “N’aurais-je pas un carafon? “Can’t I have a baby carafe? Au zoo, madame la Girafe At the zoo, doesn’t Mrs. Giraffe N’a-t-elle pas un girafon?” Have a baby giraffe?” Un sorcier qui passait par là, A wizard who was passing by, À cheval sur un phonographe, Riding on a phonograph, Enregistra la belle voix Recorded the lovely voice De soprano de la carafe, Of the soprano carafe, Et la fit entendre à Merlin. And played it for Merlin to hear. “Fort bien,” dit celui-ci, “fort bien!” “Most fine,” said he, “most fine!” II frappa trois fois dans les mains, He clapped his hands three times, Et la dame de la maison And the lady of the house Se demande encore pourquoi Still wonders why Elle trouva, ce matin-là, She found, that very morning, Un joli petit carafon A pretty baby carafe

PLAYBILL TEXTS & TRANSLATIONS

Blotti tout contre la carafe, Snuggling close to the carafe, Ainsi qu’au zoo, le girafon Just as at the zoo the baby giraffe Pose son con fragile et long Lays his long and fragile neck Sur le flanc clair de la girafe. Against the pale flank of the giraffe.

Strauss Wiegenliedchen Cradle Song Text by Richard Dehmel ( PWUR–PXQO )

Bienchen, Bienchen, Little bee, little bee, Wiegt sich im Sonnenschein, Swaying in the sunshine, Spielt um mein Kindelein, Playing around my little child, Summt dich in Schlummer ein, Humming to sleep, Süßes Gesicht. Sweet face.

Spinnchen, Spinnchen, Little spider, little spider, Flimmert im Sonnenschein, Shimmering in the sunshine, Schlummre, mein Kindelein, Slumber, my little child, Spinnt dich in Träume ein, Spin yourself in dreams, Rühre dich nicht! Disturb not yourself.

Tief-Edelinchen Rich little fellow, Schlüpft aus dem Sonnenschein Slip out of the sunshine Träume, mein Kindelein, Dream, my little child, Haucht dir ein Seelchen ein: Breathe into yourself a little soul: Liebe zum Licht. Love of the light.

Schumann An meinem Herzen, an meiner Brust On my heart, on my breast Text by von Chamisso

An meinem Herzen, an meiner Brust, On my heart, on my breast, Du meine Wonne, du meine Lust. You my delight, you my joy! Das Glück ist die Liebe, Happiness is love, Die Lieb ist das Glück, Love is happiness, Ich hab’s gesagt und nehm’s nicht zurück. I have said and will not take back.

Hab überschwenglich mich geschätzt, I thought myself rapturous, Bin überglücklich aber jetzt. But now I am delirious with joy. Nur die da säugt, nur die da liebt Only she who suckles, only she who loves Das Kind, dem sie die Nahrung gibt; The child she nourishes;

Nur eine Mutter weiss allein, Only a mother knows Was lieben heisst und glücklich sein. What it means to love and be happy. O wie bedauer’ ich doch den Mann, Oh, how I pity the man Der Mutterglück nicht fühlen kann. Who cannot feel a mother’s happiness.

Du lieber, lieber Engel du, You dear, dear angel, Du schaust mich an und lächelst dazu. You look at me and smile. An meinem Herzen, an meiner Brust, On my heart, on my breast, Du meine Wonne, du meine Lust. You my delight, you my joy!

CAL PERFORMANCES TEXTS & TRANSLATIONS

VIII.

Hector Berlioz Absence Text by Théophile Gautier ( PWPP–PWVQ )

Reviens, reviens, ma bien-aimée; Come back, return, my well-beloved! Comme une fleur loin du soleil, Like a flower far from the sun, La fleur de ma vie est fermée The flower of my life is closed Loin de ton sourire vermeil! Far from your smiling ruby lips!

Entre nos cœurs qu’elle distance! Between our hearts, what distance! Tant d’espace entre nos baisers! What space between our kisses! O sort amer! ô dure absence! O bitter fate! o harsh absence! O grands désirs inapaisés. O great desires unappeased!

D’ici là-bas que de campagnes, From here to there, how much land there is! Que de villes et de hameaux, How very many villages and hamlets, Que de vallons et de montagnes, How very many valleys and mountains, A lasser le pied des chevaux! To tire the hoofs of the horses!

Roger Quilter How should I your true love know Text by Shakespere

How should I your true love know From another one? By his cockle hat and staff, And his sandal shoon.

He is dead and gone, lady, He is dead and gone; At his head a grass green turf, At his heels a stone.

White his shroud as the mountain snow, Larded with sweet flowers; Which bewept to the grave did go With true-love showers And will he not come again? And will he not come again? No, no, he is dead: Go to thy deathbed. He never, never will come again, He never will come again.

His beard was as white as snow, All flaxen was his poll; He is gone, And we cast away moan: God ha’ mercy on his soul.

PLAYBILL TEXTS & TRANSLATIONS

Enrique Granados ¡Oh, muerte cruel! Oh, cruel death Text by Fernando Periquet y Zuaznabar (PWVR–PXSO )

¡Oh, muerte cruel! Oh, cruel death! ¿Por qué tú, a traición, Why have you so traitorously mi majo arrebataste a mi pasión? stolen my beloved? ¡No quiero vivir sin él, I cannot bear to live without him, porque es morir, porque es morir for life as such is nothing more así vivir! than death.

No es posible ya It is not possible sentir más dolor: to feel a greater pain: en lágrimas desecha ya mi alma está. my soul is drowning in my tears. ¡O Dios, torna mi amor, Oh, God! Return my beloved to me, porque es morir, porque es morir for life as such is nothing more así vivir! than death.

Schumann Nun hast du mir den ersten Schmerz getan Now have you caused me my first pain Text by von Chamisso

Nun hast du mir den ersten Schmerz getan, Now have you caused me my first pain, Der aber traf, But it has struck me hard. Du schläfst, du harter, unbarmherz’ger Mann, You, harsh, pitiless man are sleeping Den Todesschlaf. The sleep of death.

Es blicket die Verlassne vor sich hin, The deserted one stares ahead, Die Welt ist leer. The world is void. Geliebet hab ich und gelebt, Loved have I and lived, Ich bin nicht lebend mehr. I am living no longer.

Ich zieh mich in mein Innres still zurück, Quietly I withdraw into myself, Der Schleier fällt; The veil falls; Da hab ich dich und mein verlornes Glück, There I have you and my lost happiness, Du meine Welt. My world.

CAL PERFORMANCES ABOUT THE ARTISTS

including the , , , Covent Garden, , , , State Opera, and the . In addition to creating the role of Sister in the world première produc - tion of at San Francisco Opera, Ms. Graham sang the leading ladies in the Met’s world premières of ’s The Great Gatsby and ’s An

a American Tragedy , and made her Dallas Opera g e

v début as Tina in a new production of The o l a

E Aspern Papers by . As

. B ’s Lynn Wyatt Great USAN GRAHAM —dubbed “America’s favorite Artist, she launched the past season as Prince Smezzo” by Gramophone —rose to the high - Orlofsky in the company’s first staging of Die est echelon of international artists within just a Fledermaus in 30 years, before heading an few years of her professional début, mastering all-star cast as Sycorax in the Met’s Baroque an astonishing range of repertoire and genres pastiche, The Enchanted Island , and making along the way. Her operatic roles span four cen - her rapturously received musical theater turies, from Monteverdi’s Poppea to Sister début in a new production of Rodgers & Helen Prejean in ’s Dead Man Hammerstein’s at the Théâtre Walking , which was written especially for her. du Châtelet in Paris. Ms. Graham won a Grammy Award for her It was in an early Lyon production of collection of Ives songs, and her recital reper - Berlioz’s Béatrice et Bénédict that Ms. Graham toire is so broad that 14 composers from scored particular raves from the international Purcell to Sondheim are represented on her press, and a triumph as Massenet’s Chérubin most recent album, Virgins, Vixens & Viragos . at Covent Garden sealed her operatic star - Throughout her career, however, this distinctly dom. Further invitations to collaborate on American artist has been recognized as one of French music were forthcoming from many the foremost exponents of French vocal music; of that repertoire’s preeminent conductors, in - a Texas native, she was awarded the French cluding Sir , Charles Dutoit, James government’s prestigious Chevalier de la Levine, and . New productions of Legion d’Honneur, both for her popularity as a Gluck’s Iphigénie en Tauride , Berlioz’s La performer in France and in honor of her com - damnation de Faust , and Massenet’s mitment to French music. were mounted for the mezzo in New York, The mezzo’s earliest operatic successes were London, Paris, Chicago, San Francisco, and in such “trouser” roles as Cherubino in Mozart’s elsewhere. She recently made title role débuts Le nozze di Figaro . Her technical expertise soon in Offenbach’s comic masterpieces La belle brought mastery of Mozart’s more virtuosic Hélène and The Grand Duchess of Gerolstein roles, like Sesto in , Idamante at , and proved herself the in , and Cecilio in , as well standout star of the Met’s star-studded revival as the title roles of Handel’s and of Berlioz’s , which was broadcast Xerxes . She went on to triumph in the iconic live to cinema audiences worldwide in the Richard Strauss mezzo roles, Octavian in Der company’s celebrated “Live in HD” series. Rosenkavalier and the Composer in Ariadne auf This season, she returns to the Met in the title Naxos . These brought Ms. Graham to promi - role of Susan Stroman’s new production of nence on all the world’s major opera stages, Lehar’s before closing the

PLAYBILL ABOUT THE ARTISTS season opposite Bryan Hymel in a new stag - Malcolm Martineau was ing of Les Troyens at San Francisco Opera. She born in , read also looks forward to headlining gala concerts Music at St. Catharine’s at and Lyric Opera of College, Cambridge, and n a

Chicago, where she joins Jane Lynch, Renée c studied at the Royal n u

Fleming, Ramsey Lewis, and others to cele - D College of Music.

l l e brate the latter company’s 60th anniversary. s Recognized as one of s u

Ms. Graham’s affinity for French repertoire R the leading accompanists has not been limited to the opera stage, and of his generation, he has worked with many of serves as the foundation for her extensive con - the world’s greatest singers including Sir cert and recital career. Such great , Dame , Olaf Bär, and symphonic song cycles as Berlioz’s La , , Angela mort de Cléopâtre and Les nuits d’été , Ravel’s Gheorghiu, Susan Graham, Thomas Shéhérazade , and Chausson’s Poème de l’amour Hampson, , , et de la mer take her to the world’s leading Angelika Kirchschlager, Magdalena Kožená, , with regular appearances at the Solveig Kringelborn, Jonathan Lemalu, Dame New York Philharmonic, Boston , , Christopher Maltman, Karita Orchestre de Paris, and London Symphony. Mattila, Lisa Milne, , Anna Last season, she joined and Netrebko, , Joan Rodgers, the Boston Symphony for Shéhérazade in , , Frederica Boston and at , and in 2014– von Stade, Sarah Walker, and . 2015 she sings Berlioz with the Royal Flemish He has presented his own series at the Philharmonic for La mort de Cléopâtre , and (a Britten and a Poulenc series, undertakes Les nuits d’été with both the Decade by Decade: POO Years of German Song London Symphony and ’s and a Songlines broadcast by the BBC) and at Orchestre Révolutionnaire et Romantique. the Edinburgh Festival (the complete lieder of Marking her first duo recital tour, the mezzo ). He has appeared throughout recently teamed up with soprano Renée Europe (including London’s Wigmore Hall, Fleming at venues including Disney and Barbican, Queen Elizabeth Hall, and Royal Carnegie Hall. This season, she reunites with Opera House; La Scala, ; the Châtelet, regular recital partner Malcolm Martineau for Paris; the , Barcelona; ’s a West Coast tour and a season-closing recital Philharmonie and Konzerthaus; ’s in Classical Action’s Michael Palm Series. ; and Vienna’s Konzerthaus Ms. Graham’s distinguished discography and Musikverein), North America (including features all the works described above, as well both Alice Tully Hall and Carnegie Hall in as solo albums including Un frisson français , a New York), Australia (including the Sydney program of French song recorded with pianist Opera House), and at the Aix -en -Provence, Malcolm Martineau for Onyx; C’est ça la vie, Vienna, Edinburgh, Schubertiade, , c’est ça l’amour! , an album of 20th-century op - and Salzburg festivals. eretta rarities on Erato; and La belle époque , an Recording projects have included Schubert, award-winning collection of songs by Schumann, and English song recitals with with pianist , Bryn Terfel (for ); from Sony. Among the mezzo’s additional Schubert and Strauss recitals with Simon honors are Musical America ’s Vocalist of the Keenlyside (for EMI); recital recordings with Year and an Award. and Barbara Bonney (for © QP C Media Group Decca), Magdalena Kožená (for DG), Della

CAL PERFORMANCES ABOUT THE ARTISTS

Jones (for Chandos), Susan Bullock (for Crear Mr. Martineau engagements this season in - Classics), Solveig Kringelborn (for NMA); clude appearances with Simon Keenlyside, Amanda Roocroft (for Onyx); the complete Bryn Terfel, Elīna Garanča, Susan Graham, Fauré songs with Sarah Walker and Tom Christia ne Karg, , Florian Boesch, Krause; the complete Britten folk songs for Markus Werba, and Anne Schwanewilms. Hyperion; the complete Beethoven folk songs He was a given an honorary doctorate for Deutsche Grammophon; the complete at the Royal Scottish Academy of Music Poulenc songs for Signum; and Britten song and Drama in 2004, and appointed Inter - cycles, as well as Schubert’s with national Fellow of Accompaniment in 2009. Florian Boesch for Onyx and Strauss lieder Mr. Martineau was the Artistic Director of the with Christiane Karg . 2011 Leeds Lieder+ Festi val.

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