Siempre: A Senior Recital Sarah Rosales, soprano with Amanda Jones, piano Thursday, April 29, 2021 Sheslow Auditorium in Old Main 7:30 p.m.

Sventurata mi credea Gioachino Rossini from La Cenerentola (1792-1868)

The Frozen Grail Eric Barnum 1. Why Sing the Legends of the Holy Grail (b. 1979) 5. To Conquer the World 7. He Shall Find

Emily's Aria Ned Rorem from Our Town (b. 1923)

Les trois Prières Émile Paladilhe Psyché (1844-1926)

Frühlingsstimmen Walzer Johann Strauss II (1825-1899)

Intermission

Comprendo Daniel Catán from Il Postino (1949-2011) Me llaman la primorosa Gerónimo Giménez from El Barbero de Sevilla (1854-1923)

Il Dolce Suono Gaetano Donizetti from Lucia di Lammermoor (1797-1848)

Emma Nixon, flute

About the Artist

Sarah Rosales, soprano is a Salvadoran-American musical artist pursuing a B.M in vocal performance degree at Drake University, under the tutelage of Leanne Freeman-Miller. Major shows include Die Zauberflöte (Queen of the Night), Così fan tutte (Despina), Rocky Horror Picture Show (Magenta) Songs for a New World (Woman 2). Tempest Tossed Tales (Wikela/Luna, world premiere, Cloris Award). She has received numerous 1st prize awards around the United States in vocal competitions such as NATS, Opera Mississippi’s John Alexander National Vocal Competition (2nd prize), the Schubert Club Bruce P. Carlson Student Scholarship Competition, and most recently Shirley Rabb Winston’s National Competition in Voice. She is known for being the first Salvadoran to sing on CNN Live International for her performance of the national anthem at the 7th Democratic presidential debate in January of 2020.

In addition to both opera and musical theater, she maintains active careers as a hired church musician and a professional traveling poet. She plays violin, piano, and guitar. In fall of 2021 Sarah will be attending the University of Missouri- Kansas City (UMKC) Conservatory to complete her masters degree in voice on full scholarship as a recipient of the Chancellor’s Historically Underrepresented Minority Award.

Amanda 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.

Emma Nixon, flautist, is a senior at Drake University graduating in May with degrees in Mathematics, Data Analytics, and Computer Science. She has played piccolo in wind symphony for the past 3 years and enjoyed being involved in the music department at Drake.

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 Siempre: A Senior Recital Translations and Program Notes

Sventurata mi credea The opera La Cenerentola is considered one of Rossini’s greatest masterpieces. Completed in 3 weeks when he was only 25 years old, it has become a standard in operatic repertoire. In this scene Cinderella’s step sister Clorinda has just found out through Alidoro, the prince’s former tutor, that Cinderella is the one destined for the throne. He then tells Clorinda that Magnifico stole his stepdaughter’s inheritance, warning that if the family does not change their ways, the debt will be repaid by putting all their belongings up to public auction. Clorinda wails away in this aria, providing a spoof on one of opera’s common tropes: a prima donna oozing with heartbreak. The suffering of Clorinda’s soul is followed by an animated conclusion. Clorinda has determined to find herself a husband.

Sventurata! mi credea Hapless! believe me comandar seduta in trono. commander sitting on the throne. Son lasciata in abbandono I'm left in neglect senza un'ombra di pietà. without a shadow of pity. Ma che serve! tanto fa: What's the point! so much ago: sono alfine giovinetta, I'm finally young, capitar potrà il merlotto. happen may the merlotto. Vo' pelarlo in fretta in fretta, I want to peel it quickly, e scappar non mi potrà. and running away can't get me. Un marito, crederei, A husband, I would believe, alla fin non mancherà. at the end of the day it will not be lacking. https://vaopera.org/wp-content/uploads/2019/08/Cinderella-2020-Mainstage-Guide-1.pdf

The Frozen Grail The Frozen Grail is a song cycle by American composer Eric Barnum. The poetry was penned by Elsa Barker in commemoration of Robert Peary's expedition to the North Pole. Peary was an American explorer who made several expeditions to the arctic in the late 19th/early 20th century. The Frozen Grail, which Commander Peary carried with him to the North Pole, was originally published in the New York Times, on the day when he started for the Arctic. This text, brimming with unique, harsh, biting language, combined with the music blend together to create an avant-garde sound throughout, twisting through different colors and sounds of both the voice and the piano.

1. Why sing the legends of the Holy Grail Why sing the legends of the Holy Grail, The dead crusaders of the Sepulchre, While these men live? Are the great bards all dumb? Here is a vision to shake the blood of Song, And make Fame’s watchman tremble at his post.

5. To conquer the world To conquer the world must a man renounce the world? These have renounced it. Had ye only faith Ye might move mountains, said the Nazarene. Why, these have faith to move the zones of man Out to the point where All and Nothing meet. They catch the bit of Death between their teeth, In one wild dash to trample the unknown And leap the gates of knowledge They have dared even to defy the sentinel that guards The doors of the forbidden — dared to hurl Their breathing bodies after the Ideal, That like the heavenly kingdom must be taken Only by violence.

7. He shall find He shall find the strange The white immaculate Virgin of the North Whose steady gaze no mortal ever dared Whose icy hand no human ever grasped In the dread silence and the solitude She waits and listens through the centuries For one indomitable, destined soul Born to endure the glory of her eyes And lift his warm lips to the frozen Grail. https://www.infoplease.com/primary-sources/poetry/modern-verse/elsa-barker-frozen-grail

Emily’s aria Our Town is an American opera composed by Ned Rorem based on the original play by Thornton Wilder. This aria which takes place toward the end of the show and in Act III after Emily has passed away giving birth to her and George’s second child. As she appears among the dead, she misses George and their life, and wonders if she can return, just for a day, just to be part of life one last time. The dead warn her not to, that it will only add to her unhappiness. But Emily persists, and the Stage Manager agrees to accompany her back to the day of her thirteenth birthday. Suddenly, she is back in Grover’s Corners. George enters, and gifts are given to the birthday girl, but no one seems to realize the importance of each moment, or how fleeting are joy and life. In tears, Emily begs the Stage Manager to take her back to the dead. As she leaves with him, she sings one last farewell to Grover’s Corners, singing “Oh, earth, you are too magical for anyone to know your miracle.” The dead then welcome her back.

Take me back, take me back up the hill Take me back to my grave Wait, one more look Goodbye, goodbye world Goodbye Grover’s Corners Mama, papa...goodbye

Goodbye to ticking clocks To mama’s hollyhocks To coffee and food To gratitude Goodbye, goodbye world

Goodbye to ironed dresses To George’s sweet caresses To my wedding ring Oh everything! Goodbye world

Does anybody ever realize life while they live it? Every minute of it Every moment of it Oh Earth, you are too magical for anyone to know your miracle

Take me back, take me back up the hill Take me back, up the hill https://www.boosey.com/pages/opera/moredetails?musicid=46251

Les trois Prières is a short, simplistic song by Paladilhe that creates a hushed atmosphere of serenity and spiritual joy. In Psycé, the Greek legend has it that Psyché was beautiful enough to make even Venus jealous. Venus eventually ordered her son, Cupid, to shoot Psyché with one of his arrows, in the hopes that she would fall in love with a strategically-placed ugly beast. But when the time comes, Cupid is so struck by her beauty that he shoots himself with his own arrow. Émile Paladilhe was a French composer of the late romantic period. He was a musical prodigy, and moved from his home in the south of France to Paris to study at the Conservatoire de Paris at age 10. He became an accomplished pianist, and was the youngest winner of the Prix de Rome, three years after Bizet, in 1860.

Les trois Prières

À l'heure où notre esprit moins fier At the hour when our least-proud spirit S'incline comme un Roi prophète, bows like a Prophet-King, Je mets mon coeur dans un Pater, I put my heart into a Pater Pour que ta volonté soit faite. that thy will be done.

Ô mon cher oiseau bleu rêvé, Dear bluebird of my dreams, Enfant gardienne et bon génie, guardian child and good genius, Je mets mon coeur dans un Ave, I put my heart into an Ave Pour que tu sois la plus bénie. that thou shouldst be the most blessed.

Et comme en une coupe d'eau And as in a goblet of water Se penche la fleur ranimée, the newly revived flower bends, Je mets mon coeur dans un Credo, I put my heart into a Credo Pour que tu sois la plus aimée. that thou shouldst be the most belovèd

Psyché

Je suis jaloux, Psyché, de toute la nature! I am jealous, Psyche, of all nature! Les rayons du soleil vous baisent trop souvent, The sun's rays kiss you too often, Vos cheveux souffrent trop les caresses du vent. your hair suffers too much from the wind's caresses. Quand il les flatte, j’en murmure! A s it strokes them, I grumble! L’air même que vous respirez. Even the air that you breathe Avec trop de plaisir passe sur votre bouche. passes over your mouth with too much pleasure. Votre habit de trop près vous touche! Your dress touches you too closely! Et sitôt que vous soupirez And as soon as you sigh Je ne sais quoi qui m’effarouche I know not what it is that startles me so Craint, parmi vos soupirs, des soupirs égarés! and fears, amidst your sighs, some sighs for another! https://www.lieder.net/lieder/get_text.html?TextId=4457 https://www.melodietreasury.com/translations/song257_Psyche.html https://en.m.wikipedia.org/wiki/Émile_Paladilhe

Frühlingsstimmen Johann Strauss II was an Austrian composer of light music, particularly dance music and operettas. He composed over 500 waltzes, polkas, and other types of dance music, as well as many operettas and a ballet. In his lifetime, he was known as "The Waltz King", and was largely responsible for the popularity of the waltz in Vienna during the 19th century. Aside from Frühlingsstimmen Walzer, some of Johann Strauss's famous works include “Kaiser-Walzer" (Emperor Waltz), "Tales from the Vienna Woods", and the "Tritsch-Tratsch- Polka". Among his operettas, Die Fledermaus is the best known.

Die Lerche in blaue Höh entschwebt, The lark into blue heights escapes, der Tauwind weht so lau; the thawing wind blows so gently; sein wonniger milder Hauch belebt its delightful mild breath revives und küßt das Feld, die Au. and kisses the field, the meadow. Der Frühling in holder Pracht erwacht, Spring awakes in beautiful splendor, ah alle Pein zu End mag sein, ah, all anguish may have come to an end, alles Leid, entflohn ist es weit! all suffering has fled far away! Schmerz wird milder, frohe Bilder, Pain becomes milder, happy pictures, Glaub an Glück kehrt zurück; Belief in luck returns; Sonnenschein, ah dringt nun ein, Sunshine, ah please come in, ah, alles lacht, ach, ach, erwacht! ah, everything laughs, ah, ah, awake!

Da strömt auch der Liederquell, There also flows the fountain of songs, der zu lang schon schien zu schweigen; That for too long already seemed to be silent; klingen hört dort wieder rein und hell tinkling sounds pure and bright again süße Stimmen aus den Zweigen! sweet voices from the branches! Ah leis' läßt die Nachtigall Ah quietly let the nightingale schon die ersten Töne hören, Soon sound the first notes, um die Kön'gin nicht zu stören, so as not to disturb the queen, schweigt, ihr Sänger all! be quiet, all you singers! Voller schon klingt bald ihr süßer Ton. Her sweet tone soon sounds fuller. Ach ja bald, ah, ah ja bald! Oh yes soon, ah, ah yes soon! Ah, ah, ah, ah! Ah, ah, ah, ah!

O Sang der Nachtigall, holder Klang, ah ja! O song of the nightingale, beautiful sound, ah yes! Liebe durchglüht, ah, ah , ah, Love glows, ah, ah, ah, tönet das Lied, ah und der Laut, resounds the song, ah and the sound, süß und traut, scheint auch Klagen zu tragen, sweet and familiar, also seems to carry complaints ah ah wiegt das Herz in süße Träumerein, ah ah, the heart is rocked in sweet musings, ah, ah, ah, ah, leise ein! ah, ah, ah, ah, quietly! Sehnsucht und Lust Longing and pleasure ah ah ah wohnt in der Brust, ah ah ah, live in the breast, ah, wenn ihr Sang lockt so bang, ah, when your song so fearfully entices, funkelnd ferne wie Sterne, sparkles distantly like stars, ah ah zauberschimmernd wie des Mondes Strahl, ah ah magically shimmering like the moon's beams, ah ah ah ah wallt durchs Tal! ah ah ah ah flows through the valley! Kaum will entschwinden die Nacht, The night will scarcely disappear, Lerchensang frisch erwacht, lark's song freshly awakes, ah, Licht kommt sie künden, ah, light comes to announce, Schatten entschwinden! ah! Shadows disappear! Ah!

Ah des Frühlings Stimmen klingen traut, Ah spring voices sound familiar, ah ja, ah ja ah o süßer Laut, ah yes, ah yes ah o sweet sound, ah ah ah ah ach ja! ah ah ah ah oh yes! https://en.m.wikipedia.org/wiki/Johann_Strauss_II https://www.lieder.net/lieder/get_text.html?TextId=23967

Comprendo Il Postino is an opera in three acts with music and the libretto by Mexican composer Daniel Catán. Based on the novel Ardiente paciencia by Antonio Skármeta and the film Il Postino by Michael Radford, the work contains elements of drama and comedy, integrating themes of love and friendship along with political and spiritual conflict. This aria takes place in act 3 and is sung by the character Matilde. Previously in Act 2 this song was sung by both Matilde and her husband Pablo as he learns and stresses about life back home in Chile. In Act 3, Pablo is traveling the world. Returning to Pablo's home, Mario, a postman, finds the recording of him and Pablo. On the recording Pablo sings "Comprendo'' which Matilde soon joins in and takes over.

Comprendo que tus besos, I understand that your kisses, Jamás han de ser míos, They must never be mine, Comprendo que en tus ojos, I understand that in your eyes, No me he de ver jamás, I must never see each other, Y te amo, y en mis locos And I love you, and in my madmen Y ardientes desvaríos, And fiery ravings Bendigo tus desdenes adoro I bless your dens Tus desvíos, Adore your detours, Y te amo y en mis locos And I love you and in my madmen Y ardientes desvaríos, And fiery ravings, Bendigo tus desdenes Bless your dens Adoro tus desvíos, I love your detours, Y en vez de amarte menos, And instead of loving you less, En vez de amarte menos Instead of loving you less En vez de amarte menos Instead of loving you less Te quiero mucho más, I love you so much more, https://en.m.wikipedia.org/wiki/Il_Postino_(opera)

Me llaman la Primorosa El Barbero de Sevilla is a zarzuela by Gerónimo Giménez. This fiery aria which takes place toward the beginning of Act One is sung by the character Elena, an aspiring singer. Elena wants to be a star opera singer and has the support of her mother and teacher. But her father is firmly against show business because he is having an affair with a famous soprano and presumably would be afraid of having his two lives collide. In this aria she boasts about her beauty and her power, particularly with men.

Me llaman la Primorosa, They call me exquisite, La niña de los amores, the child of lo ve, Por mis ojos tentadores because of my seductive eyes Y esta cara tan graciosa, and this charming face, Por mis labios encendidos because of my lips, Como los rojos claveles aflame like red carnations. De los hombres buscan mieles. All men seek honey, En abejas convertidos. seeking honey men are changed into bees.

Porque tengo tez morena Because I have a dark skin Que es color de la hermosura that is beauty’s shade, Y es gallarda mi figura and for my slender figure Como vara de azucena. like a stem of white lily Ah! Ah!

Porque en mi alma hay un tesoro Because in my soul I have a treasury Ya de risa ya de llanto, of laughter and of tears, Porque encantó cuando canto because I enchant them when I sing Y enamoró cuando lloro and make them love me when I cry, Y me llaman por hermosa and they call me, for my beauty, Los hombres engañadores those teasing men, La niña de los amores 'the child of love.' Me llaman la Primorosa. They call me exquisite, Ah! Ah! https://es.m.wikipedia.org/wiki/El_barbero_de_Sevilla_(zarzuela)

Il Dolce Suono Lucia di Lammermoor is an opera by Gaetano Donizetti, and is known as one of the most standardly performed operas in history. The opera was inspired by Sir Walter Scott’s novel, The Bride of Lammermoor. The story follows a young woman, Lucia who is quite emotionally fragile and caught in conflict with her family, specifically her brother who sells her to Lord Arturo Bucklaw, despite her refusal. She refuses as she has already committed herself to Sir Edgardo di Ravenswood, his family known to conflict with her family. Later, after Lucia has already been taken away, Raimondo, a chaplain, interrupts the marriage celebrations to tell the guests that Lucia has gone mad and killed her bridegroom Arturo. Lucia then enters and begins to sing the aria "Il dolce suono". She imagines herself being with Edgardo, soon to be happily married.

Il dolce suono The sweet sound Mi colpi di sua voce! Ah! quella voce of his voice struck me! Ah, that voice M' è qui nel cor discesa! has entered my heart! Edgardo; io ti son resa; Edgardo! I surrender to you, oh my Edgardo! Fuggita io son da' tuoi nemici ... Un gelo I have escaped from your enemies. Mi serpeggia nei sen!.. trema ogni fibra! A chill creeps into my breast...every fibre trembles! Vacilla il piè! Presso la fonte, meco My foot falters! Sit down by the fountain with me a while T'assidi alquanto ... Ahimè! ... sorge il tremedo Alas, the tremendous phantom arises Fantasma e ne sepára! ... and separates us! Qui ricoviamci, Edgardo a piè dell' ara Let us take refuge here, Edgardo, at the foot of the altar. Sparsa è di rose!.. Un' armonia celeste It is scattered with roses! Di', non ascolti?.. Ah l'inno A heavenly harmony, tell me, do you not hear it? Suona di nozze!.. Il rito Ah, the marriage hymn is playing! Per noi, per noi s'appressa! ... Oh me felice! They are preparing the rite for us! Oh, how happy I am! Oh gioja che si sente, o non si dice? Oh joy that is felt but not said! Ardon gl' incensi ... splendon The incense is burning! Le sacre faci intorno! The holy torches are shining, shining around! Ecco il ministro! Here is the minister! Porgimi la destra ... Ah lieto giorno! Give me your right hand! Oh joyful day! Alfin son tua: sei mio! At last I am yours, at last you are mine, A me ti dona un Dio ... A god gives you to me. Ogni piacer più grato Let me share Mi fia con te diviso ... The greatest pleasures with you, Del cìel clemente un riso A smile from merciful heaven, La vita a noi sarà! Life will be ours

https://en.m.wikipedia.org/wiki/Lucia_di_Lammermoor