Hailey Gutowski Senior Recital
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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) Special thanks to friends of Drake Arts (FDA) for their generous support of Music Department events and projects. For more than 25 years, FDA has helped to provide the best possible fine arts education for Drake students and exceptional fine arts opportunities for the region. For more information or to join, please visit: http://www.drake.edu/friends 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.