Senior Recital Hailey Gutowski, soprano with Amanda Jones, piano Friday, April 17, 2021 Sheslow Auditorium in Old Main 7:30 p.m.
Klänge der Heimat Johann Strauss from Die Fledermaus (1825-1899)
Zueignung Richard Strauss Morgen (1864-1949) Allerseelen
Morning’s Innocent Gwyneth Walker Evening Song (b. 1947) The moon is distant from the sea Henry Mollicone (b. 1946)
After you hear me out Tom Cipullo from Glory Denied (b. 1956)
Intermission
Donde lieta Giacomo Puccini from La bohème (1858-1924) Porgi, amor, qualche ristoro Wolfgang Amadeus Mozart from Le nozze di Figaro (1756-1791
How fair this spot! Sergei Rachmaninoff (1873-1943) Song to the Moon Antonín Dvořák from Rusalka (1841-1904)
The Jewel Song Charles Gounod from Faust (1818-1893)
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About the Artists
Hailey Gutowski, a soprano from Green Bay, Wisconsin, is a senior at Drake University majoring in a BM in Vocal Performance, studying with Leanne Freeman-Miller, and minoring in biology. Hailey Gutowski has performed the roles of Frasquita (Carmen), Mrs, Meg Page (Falstaff), and Fiordiligi (Così fan tutte) through Drake Opera Theater and The Opera Project Des Moines. Through Plymouth Church in Des Moines, she has had the opportunity to perform the soprano solos in Requiem by John Rutter and Messiah by Handel. She has also been the recipient of various awards including Drake University Orchestra Concerto Competition winner and Drake University Honors Recital winner.
Amanda RM Jones, Teaching Artist of Piano, has been a professional pianist in the Des Moines area since 2007. In addition to teaching through both Drake University and the Community School of Music, she is also a collaborative pianist for the Drake University voice department. In that role, she has had the opportunity to engage in cultural exchanges with Minzu University in Beijing, China. She traveled to Beijing as collaborative pianist for Drake voice students in 2011, and accompanied Minzu University Professor Han Changmei (Soprano) on her recital during her 2014 visit to Drake. Amanda has been the pianist for Drake Opera Theatre for the past five opera seasons, and has also had the pleasure of collaborating with the Musical Theatre department. She has been the principle pianist for Drake’s productions of Sondheim’s A Little Night Music, Donizetti’s Elixir of Love, Gilbert and Sullivan's The Mikado, Rorem’s Our Town, Mozart’s Le Nozze di Figaro, as well as several opera scenes. Amanda received a Bachelor of Music in Piano Performance from the Wheaton College Conservatory of Music, under the instruction of Dr. Karin Redekopp Edwards.
Program Notes
Klänge der Heimat Johann Strauss from Die Fledermaus (1825-1899)
This aria takes place during Act II of Die Fledermaus when Rosalinda, the wife of Einstein, goes to a party being held by Austria’s Prince Orlofsky. Disguised as a Hungarian countess, this Austrian countess encounters her husband, who was supposed to be in jail, and her maid who said she would be visiting their sick Aunt. In order to convince the crowd, her husband, and her maid (who have not yet discovered her true identity) of her Hungarian authenticity, she sings this aria about the love of her Hungarian “homeland.”
Klänge der Heimat, Sounds of my homeland, Ihr weckt mir das Sehnen, You awaken my longing, Rufet die Tränen Call forth tears Ins Auge mir! To my eyes!
Wenn ich euch höre, When I hear you, Ihr heimischen Lieder, You songs of home, Zieht mich’s wieder, You draw me back, Mein Ungarland, zu dir! My Hungary, to you!
O Heimat so wunderbar, O homeland, so wonderful, Wie strahlt dort die Sonne so klar! How clearly shines the sun there! Wie grün deine Wälder, How green your forests, Wie lachend die Felder, How laughing the fields, O land, wo so glücklich ich war! Oh land, where I was so happy!
Ja, dein geliebtes Bild Yes, your beloved image Meine Seele so ganz erfüllt, Entirely fills my soul, Dein geliebtes Bild! Your beloved image!
Und bin ich auch von dir weit,ach weit And though I am far from you, ah so far, Dir bleibt in Ewigkeit Yours remains for all eternity Doch mein Sinn immerdar My soul, ever there, Ganz allein geweiht! Dedicated to you alone!
O Heimat so wunderbar, Oh homeland so wondrous, Wie strahlt dort die Sonne so klar! How clearly shines the sun there! Wie grün deine Wälder! How green your forests! Wie lachend die Felder, How laughing your fields! O Land, wo so glücklich ich war! Oh land, where I was so happy!
Feuer, Lebenslust, Fire, zest for living, Schwellt echte Ungarbrust, Swell the true Hungarian breast, Heil! Zum Tanze schnell, Hurrah! On to the dance, Csárdas tönt so hell! The Czardas sounds so brightly!
Braunes Mägdelein Brown-skinned girl, Musst meine Tänzrin sein; You must be my dancer; Reich den Arm geschwind, Give me your arm quickly,
Dunkeläugig Kind! Dark-eyed child!
Durstge Zecher, Thirsty tipplers, Greift zum Becher, Grasp the cup, Lasst ihn kreisen Pass it in a circle Schnell von Hand zu Hand! Quickly from hand to hand!
Schlürft das Feuer Slurp the fire Im Tokayer, In the Tokay, Bringt ein Hoch Give a toast Aus dem Vaterland! Ha! From the fatherland! Ha!
Feuer, Lebenslust Fire, Zest for life Schwellt echte Ungarbrust, Swell the true Hungarian breast, Heil! Zum Tanze schnell! Hurray! To the spirited dance! Csárdás tönt so hell! The czardas sounds loud and clear! La, la, la, la, la! La, la, la, la, la!
Zueignung (Op. 10, No. 1) Richard Strauss (1864-1949)
With all of Strauss’ German Lied, he tries to write music that will present a “beautiful voice” in the best way possible. “Zueignung” (Dedication) is one of his most performed Lieder and is sometimes called the “lied hymn” for its reflective, devoted love. This Lied presents a longing heart, aching for their distant lover but thankful to have their love in their life.
Ja, du weißt es, teure Seele, Yes, dear soul, you know Daß ich fern von dir mich quäle, That I’m in torment far from you, Liebe macht die Herzen krank, Love makes the heart sick, Habe Dank. Have thanks.
Einst hielt ich, der Freiheit Zecher, Once, reveling in freedom, Hoch den Amethysten-Becher, I held the amethyst cup aloft, Und du segnetest den Trank, And you blessed that draught, Habe Dank. Have thanks.
Und beschworst darin die Bösen, And you banished the evil spirits, Bis ich, was ich nie gewesen, Till I, as never before, Heilig, heilig an’s Herz dir sank, Holy, sank holy upon your heart, Habe Dank! Have thanks!
Morgen (Op. 27, No. 4) Richard Strauss (1864-1949)
Strauss wrote the Lied “Morgen” (Tomorrow) as a wedding gift to his lifelong companion and muse who was also a collaborative interpreter for his songs. With this piece, Strauss strives to create an elegant and otherworldly effect to demonstrate a deeply personal emotion extending beyond death.
Und morgen wird die Sonne wieder scheinen And tomorrow the sun will shine again. Und auf dem Wege, den ich gehen werde, And on the path that I shall take, Wird uns, die Glücklichen, sie wieder einen It will unite us, happy ones, again Inmitten dieser sonnenatmenden Erde ... Amid this same sun-breathing earth…
Und zu dem Strand, dem weiten, wogenblauen, And to the shore, broad, blue-waved, Werden wir still und langsam niedersteigen, We shall quietly and slowly descend. Stumm werden wir uns in die Augen schauen, Speechless we shall gaze into each other’s eyes Und auf uns sinkt And on us falls des Glückes stummes Schweigen. The sweet still silence.
Allerseelen (Op. 10, No. 8) Richard Strauss (1864-1949)
“Allerseelen,” translated to “All Souls’ Day” in English, is the last piece is Strauss’ Op. 10 set. This piece, although not sung on all souls’ day, is reminiscent of the occasion and displays longing as the singer mentions the flowers used and addresses the ache for a lost love they reach for in the afterlife.
Stell auf den Tisch die duftenden Reseden, Set on the table the fragrant mignonettes, Die letzten roten Astern trag herbei, Bring in the last red aster, Und laß uns wieder von der Liebe reden, And let us talk of love again Wie einst im Mai. As once in May.
Gib mir die Hand, daß ich sie heimlich drücke, Give me your hand to press in secret, Und wenn man’s sieht, mir ist es einerlei, And if people see, I do not care, Gib mir nur einen deiner süßen Blicke, Give me but one of your sweet glances Wie einst im Mai. As once in May.
Es blüht und duftet heut auf jedem Grabe, Each grave today has flowers and is fragrant, Ein Tag im Jahr ist ja den Toten frei, One day each year is devoted to the dead; Komm am mein Herz, daß ich dich wieder habe, Come to my heart and so be mine again, Wie einst im Mai. As once in May.
Morning’s Innocent Gwyneth Walker (b. 1947)
This art song comes from a set of four pieces, all using poems by May Swenson. In the set titled Morning’s Innocent, Gwyneth Walker strives to express a life-affirming philosophy through the varied themes ranging from feminism to romance to death. “Morning’s Innocent” (also the name of this movement in the set) is a romantic reflection of the morning atmosphere. The poem is presented in a way to expose the “beauty, humor, and passion” of the text. Below is the original poem Gwyneth Walker plays with.
I wear your smile upon my lips arising on mornings innocent Your laughter overflows my throat Your skin is a fleece about me With your princely walk I salute the sun People say I am handsome
Arising on mornings innocent birds make the sound of kisses Leaves flicker light and dark like eyes
I melt beneath the magnet of your gaze Your husky breath insinuates my ear Alert and fresh as grass I wake and rise on mornings innocent
The strands of the wrestler run golden through my limbs I cleave the air with insolent ease With your princely walk I salute the sun People say I am handsome
Evening Song Gwyneth Walker (b. 1947)
“Evening Song” comes from a set titled Love Shall Live Forever that was originally written as a wedding gift to young friends of the composer. With every piece in the set depicting love, “Evening Song” does this through the imagery the sun and sky as the lovers with their hearts and lips never separating even when they are not together. The triplet accompaniment in the introduction is intended to represent the stars reflecting on the glimmering waves. The following duple theme represents the “tearing apart” motive that will resurface throughout the piece. Here is the original poem written by Sidney Lanier:
Look off, dear Love, across the shallow sands, And mark yon meeting of the sun and the sea, How long they kiss in sight of all the lands. Ah! longer, longer we.
Now in the sea’s red vintage melts the sun, As Egypt’s red pearl dissolved in rosy wine, And Cleopatra night drinks all. ‘Tis done, Love, lay thine hand in mine.
Come forth, sweet stars, and comfort heaven’s heart; Glimmer, ye waves, round else unlighted sands. O night! divorce our sun and sky apart Never our lips, our hands.
The moon is distant from the sea Henry Mollicone (b. 1946)
“The moon is distant from the sea” is part of a larger set titled Flowers of the Soul commissioned to commemorate the renovation of the rose gardens at the artists’ colony, YADDO in Saratoga Springs, New York. Being a previous young artist in the colony and always being a fan of Emily Dickinson’s poems, Mollicone wrote this set to perfectly suit YADDO’s music room. Mollicone thought the vivid imagery in Dickenson’s poem would reflect the image of the rose garden. As I pondered this poem and the work, I began to realize the soft and beautiful love between the moon and the sea captured in Dickinson’s poem and in Mollicone’s gentle, legato accompaniment.
The Moon is distant from the Sea— And yet, with Amber Hands She leads Him— docile as a Boy— Along appointed Sands—
He never misses a Degree— Obedient to Her Eye He comes just so far toward the Town— Just so far— goes away— Oh, Signor, Thine, the Amber Hand— And mine— the distant Sea— Obedient to the least command Thine eye impose on me—
After you hear me out Tom Cipullo from Glory Denied (b. 1956)
Glory Denied is an opera that outlines the experience of the longest held prisoner of war during the Vietnam war. Jim Thomson dreams of coming home to his family, but when he is finally free, nothing is as he remembers. In this scene, his wife, Alice, meets him at the airport and explains her new life and how she has been living with another man for the past seven years, thinking he was dead. Through this aria, she gives him the option to never see her again, but only after he hears her out.
After you hear me out, if you do not want me around anymore, I’ll leave—I’ll take my coat and go. I’ll leave—And that will be the end of it. After you hear me out, You can decide what’s wrong or right, And you’ll never have to see this face again. After you hear, after you hear me out. But you’ll get to see the kids. I wouldn’t ever keep you from the kids. I wouldn’t do that. That’s your right and their right. I wouldn’t stop you. I’d never do that. After you hear me out, if you want me to leave, if you want me to go, I’ll go After you hear me out.
Intermission
Donde lieta Giacomo Puccini from La bohème (1858-1924)
In this fateful romance, Mimì and Rodolfo are quick to fall in love and are happy together in their passionate love. However, within the year, Mimì and Rodolfo are constantly arguing about Rodolfo’s incessant jealousy when Mimì talking to other men. In this aria, Mimì expresses her desire to separate, even though she still has great feelings for Rodolfo.
Donde lieta uscì Whence happy leaving al tuo grido d'amore, To your cry of love, torna sola Mimì Returns alone Mimi al solitario nido. To solitary nest. Ritorna un'altra volta Returns another time a intesser finti fior. To weave together false flowers. Addio, senza rancor. Goodbye, without resentment.
Ascolta, ascolta. Listen, listen. Le poche robe aduna The little things gather che lasciai sparse. That I have left scattered about Nel mio cassetto In my drawer stan chiusi quel cerchietto d'or Are enclosed that gold band e il libro di preghiere. And a book of prayers. Involgi tutto quanto in un grembiale Wrap everything much in a smock e manderò il portiere... And I will send the concierge...
Bada, sotto il guanciale Pay attention, on the pillow c'è la cuffietta rosa. There is a pink bonnet Se vuoi serbarla a ricordo d'amor! If you want, keep a memory of love! Addio, senza rancor. Goodbye, without resentment.
Porgi, amor, qualche ristoro W.A. Mozart from Le nozze di Figaro (1756-1791)
This aria is the first time the audience is introduced to Countess Almaviva. In this short aria, the Countess sits alone in her bedroom, lamenting over her unfaithful husband and how she wants all of his love and affection. Later in this comedic and romantic opera, the Countess and her maid, Susanna, plot a way to get revenge on her husband and to win back his affection and faithfulness!
Porgi, amor, qualche ristoro, O Love, give me some remedy Al mio duolo, a'miei sospir! For my sorrow, for my sighs! O mi rendi il mio tesoro, Either give me back my darling O mi lascia almen morir. Or at least let me die.
How fair this spot! Sergei Rachmaninoff (1873-1943)
Rachmaninoff wrote this art song during his honeymoon, and, of course, dedicated this work to his wife. This romantic and passionate piece describes a pastoral scene where the two lovers can be alone and together in nature. Although the piece is short, there is a lot of passionate desire reflected through Rachmaninoff’s beautiful, soaring melody.
Zdes' khorosho... All is well here… Vzgljani, vdali Look, in the distance Ognjom gorit reka; The river glows like a fire; Cvetnym kovrom luga legli, The meadows are like a colorful carpet, Belejut oblaka. And there is the whiteness of clouds. Zdes' net ljudej... There is nobody here. Zdes' tishina... All is quiet… Zdes' tol'ko Bog da ja. Here I am alone with God. Cvety, da staraja sosna, And the flowers, and the old pine, Da ty, mechta moja! And you, my dream!
Song to the Moon Antoní Dvořák from Rusalka (1841-1904)
A water nymph, Rusalka, has fallen in love with a prince, and she dreams of becoming a human to be with him. After being told that humans are full of sin and that she should remain in the water, Rusalka calls on the moon to tell her human prince of her love since she cannot yet do it herself.
Mesiku na nebi hlubokem O moon high up in the deep, deep sky, Svetlo tvé daleko vidi, Your light sees far away regions, Po svete bloudis sirokém, You travel round the wide, Divas se v pribytky lidi. Wide world peering into human dwellings
Mesicku, postuj chvili O, moon, stand still for a moment, reckni mi, kde je muj mily Tell me, ah, tell me where is my lover!
Rekni mu, stribmy mesicku, Tell him. please, silvery moon in the sky, me ze jej objima rame, That I am hugging him firmly, aby si alespon chvilicku That he should for at least a while vzpomenul ve sneni na mne. Remember his dreams!
Zasvet mu do daleka, Light up his far away place, rekni mu, rekni kdo tu nan ceka! Tell him, ah, tell him who is here waiting!
O mneli duse lidska sni, If he is dreaming about me, at'se tou vzpominkou vzbudi! May this remembrance waken him! Mesicku, nezhasni, nezhasni! O, moon, don't disappear, disappear!
The Jewel Song Charles Gounod from Faust (1818-1893)
Faust, having spent a disappointing life devoted to science, curses God and calls on the Devil. Méphistophélès appears and grants Faust a contract to return to youth and chase after love, acting as his servant on earth but guaranteeing the roles will be reversed in hell. Being young again, Faust vies for the love and attention of an innocent and charming girl, Marguerite. After Faust leaves an anonymous jewel box outside her house, Marguerite sings this aria as she discovers its enclosed charms.
ô Dieu! Que de bijoux! O God! What earrings! Est-ce un rêve charmant qui m’éblouit, Is it a charming dream that dazzles me, Ou si je veille? Or am I awake? Mes yeux n’ont jamais vu de richesse pareille! My eyes have never seen such riches!
Si j’osais seulement If I dared only me parer un moment de ces pendants d’oreolle! Wear these earrings for a moment! Ah! Voisi justement, Ah! Look here, Au fond de la cassette, un mirroir! At the bottom of the box, a mirror! Comment n’être pas coquette? Are these not flirty?
Ah! je ris de me voir Ah, I laugh to see myself si belle en ce miroir, so beautiful in this mirror, Ah! je ris de me voir Ah, I laugh to see myself si belle en ce miroir, so beautiful in this mirror, Est-ce toi, Marguerite, est-ce toi? Is it you, Marguerite, it is you? Réponds-moi, réponds-moi, Answer me, answer me, Réponds, réponds, réponds vite! Respond, respond, respond quickly!
Non! Non! ce n’est plus toi! No No! it’s no longer you! Non...non, ce n’est plus ton visage; No...no, it’s no longer your face; C’est la fille d’un roi; It’s the daughter of a king, Ce n’est plus toi, It’s no longer you, C’est la fille d’un roi It’s the daughter of a kind, Qu’on salut au passage! One must bow to her as she passes!
Ah s’il était ici! Ah if only he were here! S’il me voyait ainsi! If he should see me thus Comme une demoiselle Like a lady Il me trouverait belle, Ah! He would find me so beautiful, Ah! Comme une demoiselle, Like a lady, Il me trouverait belle! He would find me beautiful!
Achevons la métamorphose, Lets complete the metamorphosis, Il me tarde encor d’essayer I am late yet in trying on Le bracelet it le collier! The bracelet and the necklace! Dieu! C’est comme une main, God! It’s like a hand Qui sur mon bras se pose! ah! ah! Which is placed on my arm! Ah, ah! Ah! je ris Ah, I laugh de me voir si belle dans ce miroir! to see myself so beautiful in this mirror! Sources:
http://www.aria-database.com/search.php?individualAria=503 https://www.oxfordlieder.co.uk/ https://www.universaledition.com/richard-strauss-705/works/zueignung- 10390 https://www.lyricopera.org/shows/upcoming/2020-21/for-the-love-of-lyric- concert/program-notes/zueignung/ https://www.universaledition.com/richard-strauss-705/works/morgen-3716 https://www.esm.rochester.edu https://www.baltimoresun.com/entertainment/bs-xpm-2013-11-02-bal- vintage-performance-of-strauss-allerseelen-all-souls-day-20131102-story.html https://www.gwynethwalker.com https://www.atlantaopera.org/performance/glory-denied/ www.metopera.org/season/on-demand/opera https://www.allmusic.com/composition/how-fair-this-spot-song-for-voice- piano-op-21-7-mc0002438489