California Polytechnic State University San Luis Obispo

Lauren Hartog • mezzo-soprano •

A Senior Recital in Partial Fulfillment of the Requirements for a Bachelor of Arts in Music

Paul Woodring, accompanist

January 27, 2018 Saturday at 7:30 p.m. United Methodist Church San Luis Obispo

Sponsored by Cal Poly’s Music Department and College of Liberal Arts Program Senior Recital Lauren Hartog, mezzo-soprano Paul Woodring, piano

Gloria, RV. 589 ...... Antonio Vivaldi (1678-1741) Qui sedes ad dexteram Patris

L’incoronazione di Poppea, SV. 308 . . . . . Claudio Monteverdi (1567-1643) Pur ti miro

Christopher Wall, tenor

Composizioni da camera ...... Vincenzo Bellini (1801-1835) Per pietà, bell’idol mio

La clemenza di Tito, K. 621 ...... Wolfgang Amadeus Mozart (1756-1791) Deh per questo istante solo

Frauenliebe und -leben, Op. 42 ...... Robert Schumann (1810-1856) Er, der Herrlichste von allen Du Ring an meinem Finger Nun hast du mir den ersten Schmerz getan

— Intermission —

Al banco solitario ...... Yvette Souviron (1914-2010)

Carnavalito ...... Souviron

Vanessa, Op. 32 ...... Samuel Barber (1910-1981) Must the Winter Come So Soon

Cabaret Songs ...... William Bolcom (b. 1938) Amor

Follies ...... Stephen Sondheim (b. 1930) Losing My Mind

South Pacific ...... Richard Rodgers (1902-1979) A Wonderful Guy Texts and Translations Qui sedes ad dexteram Patris You Who Sit at the Right Hand of the Father Qui sedes ad dexteram Patris You who sit at the right hand of the Father Miserere nobis . have mercy upon us.

Pur ti miro I Adore You Pur ti miro, pur ti stringo . I adore you, I embrace you. Pur ti godo, pur t’annodo . I desire you, I enchain you. Più non peno, più non moro, no more grieving, no more sorrow, O mia vita, o mio tesoro . Oh my dearest, oh my beloved. Io son tua, tuo son io I am yours, you are mine Speme mia dillo dì, My hope, say it, say, Tu sei pur, speme mia My hope, you are L’idol mio, dillo dì, the idol of mine, say it, say, Tu sei pur, sì mio ben you are, yes, my love Sì mio cor, mia vita, sì . yes my heart, my life, yes.

Per pietà, bell’idol mio Have Mercy, My Beloved Per pietà, bell’idol mio Have mercy, my beloved Non mi dir ch’io sono ingrato, and do not tell me that I am ungrateful, Infelice e sventurato unhappy and unfortunate Abbastanza il ciel mi fa . enough has Heaven made me. Se fedele a te son io, That I am faithful to you, Se mi struggo ai tuoi bei lumi, that I am consumed by your beautiful eyes, Sallo amor, lo sanno i Numi love knows it, the Gods know it, Il mio core, il tuo lo sa . my heart, and your heart knows.

Deh per questo istante solo Ah, For This Moment Only Deh per questo istante solo Ah, for this moment only Ti ricorda il primo amor, remember the love we once felt, Che morir mi fa di duolo for it causes me to die of sorrow Il tuo sdegno il tuo rigor . your disdain and firmness.

Di pietade indegno è vero, It is true I am unworthy of mercy, Sol spirar io deggio orror . and the sight of me must inspire horror. Pur saresti men severo, Yet you would be less severe, Se vedessi questo cor . if you could see this heart.

Disperato vado a morte, Desperate I go to death, Ma il morir non mi spaventa: but dying does not frighten me: Il pensiero mi tormenta the thought that torments me Che fui teco un traditor! is that I have betrayed you! Tanto affonno soffre un core, A heart suffers so much anguish, Ne si more di dolor! but does not itself die from the pain!

Du Ring an meinem Finger Your Ring on My Finger Du Ring an meinem Finger, Your ring on my finger, Mein goldenes Ringelein, my little golden ring, Ich drücke dich fromm an die Lippen, I press you devoutly to my lips, Dich fromm an das Herze mein . and you devoutly to my heart.

Ich hatt’ ihn ausgeträumet, I have finished with dreaming, Der Kindheit friedlich schönen Traum, childhood’s peaceful lovely dream, Ich fand allein mich, verloren I found myself alone, lost Im öden, unendlichen Raum . in a barren, infinite space.

Du Ring an meinem Finger Your ring on my finger, Da hast du mich erst belehrt, you have now taught me something, Hast meinem Blick erschlossen you have opened my eyes Des Lebens unendlichen, tiefen Wert . to life’s infinitely deep value. Ich will ihm dienen, ihm leben, I want to serve him, and for him to live, Ihm angehören ganz, and to belong to him completely, Hin selber mich geben und finden to give myself up to him and find Verklärt mich in seinem Glanz . myself transfigured in his radiance.

Du Ring an meinem Finger, Your ring on my finger, Mein goldenes Ringelein, my little golden ring, Ich drücke dich fromm an die Lippen I press you devoutly to my lips Dich fromm an die Lippen devoutly to my lips An das Herze mein . and to my heart.

Er, der Herrlichste von allen He, the Most Wonderful of All Er, der Herrlichste von allen, He, the most wonderful of all, Wie so milde, wie so gut! how so gentle, how so good! Holde Lippen, klares Auge, Lovely lips, clear eyes, Heller Sinn und fester Muth . bright mind and steadfast courage.

So wie dort in blauer Tiefe, Just as in the blue depths, Hell und herrlich, jener Stern, the sun shines bright and glorious Also er an meinem Himmel, likewise he is in my Heaven, Hell un herrlich, hehr und fern . bright and glorious, lofty and distant.

Wandle, wandle deine Bahnen, Go, go your way, Nur betrachten deinen Schein, only to observe your radiance, Nur in Demut ihn betrachten, only in humility to observe it, Selig nur und traurig sein! is to be blissful and yet sad!

Höre nicht mein stilles Beten, Hear not my silent prayer, Deinem Glücke nur geweiht; which to your happiness alone is dedicated; Darfst mich, niedre Magd, nicht kennen, must me, lowly maid, not know, Hoher Stern der Herrlichkeit! lofty star of glory!

Nur die Würdigste von allen Only the worthiest woman of all Darf beglücken deine Wahl, should be made happy by your choice, Und ich will die Hohe segnen, and I will bless that exalted one, Segnen viele tausend Mal . bless many thousand times.

Will mich freuen dann und weinen, I will myself rejoice and then weep, Selig, selig bin ich dann; blissful, blissful and I then; Sollte mir das Herz auch brechen, and should my heart also break, Brich, O Herz, was liegt daran? let it break, what does it matter?

Nun hast du mir den ersten Schmerz getan Now You Have Hurt Me For the First Time Nun hast du mir den ersten Schmerz getan, Now you have hurt me for the first time, Der aber traf . it has struck me. Du schläfst, du harter, You sleep, you hard, Unbarmherz’ger Mann, merciless man, Der Todesschlaf . the sleep of death.

Es blicket die Verlassne vor such hin, The abandoned one looks at her future, Die Welt ist leer, ist leer . and the world is empty, is empty. Geliebet hab’ ich und gelebt, ich bin Loved have I and lived, I am Nicht lebend mehr . not living longer.

Ich zieh mich in mein Inn’res still zurück, I quietly retreat into my inner self, Der Schleier fällt, the veil falls, Da hab’ ich dich und men verlornes Glück, there I have you and my lost happiness, Du meine Welt! you my world! Al banco solitario The Lonely Bench Al banco solitario del parque To the lonely bench in the park En que por vez primera, On which for the first time Yo to besé en la boca, I kissed you on the lips, A la luz del alba By the light of dawn Anoche regresé a sonar . I went back last night.

Soñe que te besaba . I dreamed that I was kissing you, Tus ojos y tu boca Your eyes and your lips Una vez, otra vez y otra once and once again Hasta que tú viniste a mi, until you came to me Diciéndome: Te quiero . telling me: I love you.

Carnavalito The Little Carnival Viene bajando por los cerros Coming down from the hills Mi Carnavalito, is my little carnival; So oye a lo lejos el sonido Far away you hear the sound De quenas y tambor . of flutes and drums.

Aymará, Aymará, no me hagas llorar más . Aymará, Aymará, don’t make me cry anymore. Ñuritay mi querer, ñuritay mi penar, My darling, my love, my darling, my pain, Por tu cariño, For your endless affection, Toda mi vida todita te i di dar . I should give all my life to you. La, la, la, la, la, la La, la, la, la, la, la

Se va alejando por los cerros mi Carnavalito My carnival goes further away into the hills, Se oye a lo lejos el sonido far away you hear the sound De quenas y tambor . of flutes and drums.

Must the Winter Come So Soon? Must the winter come so soon? Night after night I hear the hungry deer Wander weeping in the woods, And from his house of brittle bark Hoots the frozen owl.

Must the winter come so soon? Here in this forest neither dawn nor sunset Marks the passing of the days. It is a long winter here Must the winter come so soon?

Amor It wasn’t the policeman’s fault Instead of saying “no” and “yes” In all the traffic roar Both looking at me shouted “Amor!” Instead of shouting “Halt!” When he saw me, he shouted, My stay in town was cut short “Amor, Amor, Amor, Amor.” I was dragged to court The judge said I disturbed the peace Even the ice cream man And the jury gave him what for! (Free ice creams by the score!) The judge raised his hand Instead of shouting “Butter pecan!” And instead of desist and cease One look at me, he shouted, Judgie came to the stand “Amor, Amor, Amor!” Took my hand and whispered, “Amor, Amor, Amor Amor!” All over town it went that way Everybody took off the day Night was turning into day Even philosophers understood I walked alone away How good was the good (Never see that town again.) “Cause I looked so good! But as I passed the church house door Instead of singing “Amen” The poor stopped taking less The choir was singing, The rich stopped needing more “Amor, Amor, Amor Amor!” Program Notes

Antonio Vivaldi — “Qui sedes ad dexteram Patris” Vivaldi was one of the fortunate ones, having an esteemed violinist as a father who was able to take his son on his travels. As a child, Vivaldi met many famous musicians and composers, and he mastered the violin at a very young age. Vivaldi decided to follow in his father’s footsteps by becoming a music teacher for children, at an orphanage in Venice called the Ospedale della Pietà. The music he wrote during his time at the Ospedale would make him one of the most influential composers of the Baroque era: a musical era ranging between the year 1600 to approximately 1750. At the Ospedale della Pietà, Vivaldi worked as a violin teacher and music director for the young orphans. He wrote the Gloria during his years at the Pietà. TheGloria (ca. 1716) is a traditional text from the Ordinary of the Latin Mass, and is based on the hymn, Gloria in excelsis Deo. “Qui sedes ad dexteram Patris” is the tenth movement out of twelve in this piece. The text translates to “He who sits at the right hand of the Father, have mercy upon us.” The powerful piano opening in “Qui sedes ad dexteram Patris” conveys the sense of triumph and joy that is felt in this movement. Although it presents a dark and sad- sounding key, there are multiple points where the aria feels like rejoicing, as if God is something to be happy about, but also something to fear. An interesting feature of this piece is the presence of certain words that bring the music to life, such as the word “Patris,” meaning “The Father.” The notes are written high in the vocal register on this word, to depict God as the highest.

Claudio Monteverdi — “Pur ti miro” When one thinks of the origins of opera, composers such as Mozart or Wagner usually come to mind, but Monteverdi is considered to be the first true composer of opera. Monteverdi lived in Italy during the early Baroque era. Unlike most composers, Monteverdi wrote solely vocal music; in fact, many describe him as the “inventor” of opera. Monteverdi’s greatest opera was L’incoronazione di Poppea, or The Coronation of Poppea. The opera’s text, by Giovanni Francesco Busenello, told the story of the affair between Roman Emperor Nero and his mistress Poppea. Written in 1642 and premiering in Venice, this was Monteverdi’s last opera, and probably the last thing he wrote. Venice was very significant during this time, because it was only five years prior that the first public opera house opened in Venice. The music from L’incoronazione di Poppea influenced many later operatic composers. “Pur ti miro” is one of the most emotional pieces in the opera. It is a very romantic and intimate duet that closes the third and last act. Emperor Nero and Poppea express their feelings of love and adoration of each other. For Nero and Poppea, at least, the end of the opera was happy, and Monteverdi wanted to emphasize that idea with this delicate and gorgeous duet. Almost the entire piece is very consonant, meaning that the chords are pleasing to one’s ear and not harsh. The structure of the duet sounds like a call and response. One singer sings a phrase and the other answers, until the two voices begin to overlap, reflecting their interlaced emotions. Vincenzo Bellini — “Per pietà bell’idol mio” Some composers are known for specializing in a specific genre, such as the symphony or chamber music. Vincenzo Bellini’s area of specialty was vocal music. Like Vivaldi, Bellini was born into a musical family, and showed his talent from a young age. He began studying music theory at the age of two, took piano lessons at the age of three, and first composed music as a teenager. An opera he wrote in 1825, calledAdelson e Salvini, was very successful. The fame he received from this opera marked the beginning of an honorable but sadly short career as a distinguished composer. “Per pietà bell’idol mio” is a very theatrical and passionate piece. Yet, it did not originate as a stage work: it is actually from a collection of fifteen songs called Composizioni da Camera. The set was most likely composed in 1820 while Bellini was living in Naples. Composizioni da Camera has been a favorite source for recital pieces around the world. This particular song is written from the point of view of a man consoling his lover, who has accused him of not loving her. Reassuring her, he says, “Per pietà” or “For pity’s sake,” of course he loves her. Most songs typically convey a specific category of mood, such as happy, sad, angry, excited, romantic, etc. “Per pietà bell’idol mio,” on the other hand, changes emotion quite drastically halfway through the song, from disappointed to contented. Melodically, “Per pietà bell’idol mio” is rather simple. The initial melody conveys the singer’s confusion and frustration, while the second half’s melody reveals a light- hearted and loving mood, as the singing character comforts his lover.

Wolfgang Amadeus Mozart — “Deh per questo istante solo” In the words of composer Pyotr Tchaikovsky, “Mozart is the highest, the culminating point that beauty has attained in the sphere of music.” This generous description of Mozart is, quite frankly, an accurate one. If it was not for Mozart’s father Leopold, though, he may not have attained his fame. From a very young age, his father took Mozart and his sister along with him to tour Europe. During their travels, the two siblings performed for different royalty and established themselves as prodigies. Mozart was quite a prolific composer, but his favorite works fall into the genre of opera. Popular titles such as Le nozze di Figaro, Die Entführung aus dem Serail, and Die Zauberflöteare a few of the many operas composed by Mozart. Although La clemenza di Tito was Mozart’s last opera, it still showcased the same profound compositional capability found in his earlier works. He wrote the music in Prague during the last year of his life, 1791, and collaborated with the poet Pietro Metastasio, who wrote the libretto. Premiering in Prague at the Estates Theatre,La clemenza di Tito tells the story of the jealous Vitellia’s need to become empress even though the emperor Tito will not marry her. Out of resentment, Vitellia orders the emperor’s servant, Sesto, to kill Tito. Sesto is caught in the attempt and is sentenced to death. “Deh per questo istante solo” is the aria sung by Sesto as he expresses his feelings of remorse for betraying the emperor. Mozart is notorious for writing vocally challenging arias, and “Deh per questo istante solo” certainly falls under that category. The aria is quite scattered, containing three distinct sections with each having its own melody (ABC). The first section, (A), returns twice, creating an overall structure of ABACA. The aria begins at a very slow tempo with a graceful melody, including occasional large vocal leaps. In this section, Sesto remembers the affection he and the emperor once felt for each other, causing the melody to sound gentle and soothing. The B section includes less fluid rhythms with darker sounding harmonies. Here Sesto admits he is not worthy of mercy. Then the melody returns to the sweet sound from the first section, as he reassures himself that his heart is in fact kind. Later in the aria, in the C section, the mood and tempo completely change. Suddenly the intensity builds, and the music sounds angry. Here, Sesto claims he is not afraid of death, but he is afraid of knowing he has betrayed someone. The aria has a grand ending of strong chords in the accompaniment, emphasizing the strength and courage felt by Sesto before what he believes will be his death.

Robert Schumann — Frauenliebe und –leben: “Er, der Herrlichste von Allen,” “Du Ring an meinem Finger,” and “Nun hast du mir den ersten Schmerz gethan” Once described as a “hothead at the keyboard,” Robert Schumann was a gift to the early Romantic era who is still treasured today. Born in Zwickau, Saxony, Schumann began to demonstrate his love for music at age seven. In 1830, he moved to Leipzig and took piano lessons from music teacher Frederich Wieck. It was during this time that Schumann met and fell in love with Wieck’s daughter, Clara. The year of their marriage in 1840 was Schumann’s well-known “year of song,” when he wrote 168 songs, including the song cycle, Frauenliebe und -leben. A very popular recital set for vocalists and pianists, Frauenliebe und -leben is a cycle of eight songs about consecutive emotional events in a woman’s life. The set is written from the point of view of a young woman who is in love with a much older man. Critics speculate that the storyline reflects the relationship of Robert and Clara, but this is just a theory. Each song describes a different phase in a man and woman’s relationship: falling in love, engagement, marriage, pregnancy, motherhood, and death. The second song ofFrauenliebe und -leben, “Er, der Herrlichste von Allen,” describes the adoration the young woman feels for this much older man, and how she does not believe she is worthy of him. The song contains three distinct melodic sections: A, B, and C. Section A opens with a positive melody and simple chordal piano accompaniment, as the woman describes the handsome features of her love. The B section has a sudden change of feeling. The music is still light and sweet, but the singer explains that she knows he may choose someone else to be his lover. The melody conveys a “weeping” atmosphere as she tells the man to go his own way. In the last section, the singer decides that she will bless whomever the man chooses to love, even if it is not herself. The melody here is tender, but intensifies and builds to anger. The fourth song inFrauenliebe und –leben, “Du Ring an meinem Finger,” shifts the emotion of the cycle from disbelief and uncertainty to an absolute outpouring of love and affection. Possibly the most recognizable song from the cycle, now this man and woman are engaged to be married. The song is like a dream, as the woman cannot stop looking down at her finger to gaze at her beautiful ring. Another three-section piece, “Du Ring an meinem Finger” is arguably the most beautiful song in the cycle. Its main melody, (A), is intimate, dreamlike, and emotional. The piano mirrors the melody sung by the vocalist, accentuating the beauty of the song even more. Section B is also soothing, but here the woman begins to remember the dreams she once had as a child, and how they are no longer dreams. In section C, the tension in the music gradually increases, as the singer expresses the strong passion and devotion she feels for her husband. Soon, the A melody returns to conclude the song, creating the same delighted mood felt in the opening. For the last song of the cycle, “Nun hast du mir den ersten Schmerz gethan,” Schumann decided not to close with a happy ending—quite the opposite, in fact. In this very grim song, the singer has just lost her husband and is left a widowed mother. She believes she will never be happy without him in her life. The rhythm is very free, and the vocal range is low, contributing to the agonized mood of the piece. The text is sung slowly and painfully, as any grieving person would speak. After the woman sings her last note of the phrase “Du meine Welt,” or “you my world,” something surprising happens. Instead of ending the piece on that sad note, the piano plays the opening melody from the cycle’s first song. This postlude acts as the “happy ending” to the entire cycle by bringing her back to her memories of past joy. Instinctively, the piano’s concluding melody represents the woman remembering her feelings of love at first sight.

Yvette Souviron — “Al banco solitario” and “Carnavalito” It is not unusual for musicians to give themselves stage names, and Clara Margarita Souviron, otherwise known as “Yvette,” did just that. Souviron was born in Argentina in 1914. She played piano as a child, and began vocal studies at the age of twenty-two. Soon she began her career as a soprano soloist, and became very interested in studying the music and culture of other nearby countries. Souviron died in 2011, and now she is remembered for her compositions of Latin American art song, specifically in the Argentine style. Many composers’ greatest works deal with love, and Souviron’s “Al banco solitario” definitely pulls heart strings. In this solo art song, written in 1955, a woman remembers the deep, passionate kiss she shared with her lover the night before. “Al banco solitario” has an ethereal and romantic mood. The piano accompaniment’s arch-like notes convey soft waves, suggesting the setting might be a beach. The passion of the lyrics and beautiful melodies are likely to make any audience member feel like swooning. A later song by Souviron, written in 1990, reflects her home of Argentina. Translating to the “little carnival,” “Carnavalito” evokes the carnavalito dances that were popular in Argentina and Bolivia. The mood of the song is very bittersweet. The singer feels excitement every time she hears the distant sounds of the little carnival making its way towards her home. Suddenly, the mood becomes very sad as the singer discovers the carnival must leave and continue its travels to the next town. Finally, the singer says goodbye to the carnival, as she watches it roll through the hills and disappear.

Samuel Barber — “Must The Winter Come So Soon?” Samuel Barber wrote music with rich harmonies, strong emotion, and lyrical style. These are just a few aspects of his music that have made Barber so memorable as a composer. He was very lucky to have musicians in his family who encouraged him to pursue music, and he wrote his first operetta at the age of just ten. By his twenties, he was a successful American composer who wrote exceptionally beautiful music, such as the famous Adagio for Strings. Barber had been given commissions to write operas in 1942, but he declined the offers as he was not fond of any of the librettos. However, when he received the libretto forVanessa from Gian Carlo Menotti, he knew it was perfect for him. The plot of the opera is very dark. Vanessa, a middle-aged woman, has been waiting for years and years for her long-lost lover to return to her large mansion. It is the middle of winter, and the weather is bitter, cold, and snowy. All of the waiting has made her depressed, and she covers up all of the mirrors in the house so she cannot see how much she has aged into an older woman. After some dramatic events, Vanessa passes on her role to her niece, Erika, as she is left alone in the house, covers up the mirrors, and waits for nothing. “Must the Winter Come So Soon?” is sung by Erika at the opening of the opera. She does not want to see her aunt in such sorrow, and asks why the winter must arrive so early and delay the return of Vanessa’s lover. The emotion evoked by “Must the Winter Come So Soon?” perfectly portrays Erika’s sadness, hope, and fear. Although the piece is very beautiful, the mood is eerie. A softer volume throughout the majority of the aria contributes to the somber atmosphere. The melody is simple, with long expressive vocal lines describing the scenery around her. She depicts everything in her environment as bleak and dreary. The aria ends with a long and chilling note, sung on the word “soon.”

William Bolcom — “Amor” William Bolcom was very fortunate to receive music composition lessons as a child, a privilege that would eventually turn him into one of the most gifted American contemporary composers. In addition to receiving a doctoral degree in music from Stanford University, Bolcom was able to travel across the world to receive the best musical education from distinguished composers. Bolcom shows us his theatrical yet classical style of music in his collection of Cabaret Songs. A “cabaret” is a form of musical entertainment that is typically presented in a restaurant or nightclub while the audience sits at tables. Published in 1979, Cabaret Songs is written for a solo singer with piano accompaniment. “Amor” is number six of the first volume ofCabaret Songs. One of the most popular of the entire collection, “Amor” evokes a somewhat sexy and flirty mood with a humorous touch, and is intended to make audiences laugh. The lyrics tell the story of a young, beautiful girl, whose good looks capture the attention of everyone in the town. The style and rhythms of “Amor” are quite unconventional, which contribute to the whimsical atmosphere of the song. Bolcom does not indicate a tempo on the sheet music, but it does say “light and rhythmic, pachanga tempo.” A pachanga is a Cuban- style rhythm, which lends its name to a dance that was popular in the 1950s. The pachanga is similar to a salsa dance, but it is a somewhat jazzier version. To make the piece even more interesting, Bolcom writes in “scatted” notes. Scatting is typically used in vocal jazz, and is considered singing with wordless syllables, like “La, doo, dee, da, etc.” Scatting occurs twice in the song, adding humor and playfulness. Stephen Sondheim — “Losing My Mind” Stephen Sondheim’s contributions to musical theatre helped revolutionize Broadway shows of the 1950s, ’60s, and ’70s. After graduating college in the 1950s, he had the opportunity to work as a lyricist with Leonard Bernstein. Their work together created one of the finest Broadway shows ever written,West Side Story, in 1957. Sondheim is also known for composing Tony-Award-winning musicals such as Company, Follies, A Little Night Music, and Sweeney Todd. “All things beautiful must die” is a particularly mournful lyric from Sondheim’s heart-wrenching musical, Follies. Premiering in 1971, Follies won seven Tony awards and deserved them all. Several of the songs from the show have become popular concert pieces, among them, “Losing My Mind.” Sally is “losing her mind” because she realizes her old lover, Ben, never loved her back. When she sees Ben for the first time in decades, she remembers how much she used to love him, and begins to regret the choice she made to leave him all those years ago. The mood in “Losing My Mind” is quite melancholy and frustrated. Sally feels as though she is living in a fantasy world as she sings, which makes her go a bit crazy. Sondheim formulated two distinct sections of the song that differ in mood, and the second section not only changes the key of the song, but Sally’s emotion strongly intensifies.

Richard Rodgers — “A Wonderful Guy” One of Broadway’s best-loved Broadway composers, Richard Rodgers was a giant in the “golden age” of musical theatre. After studying composition at what is now the Juilliard School of Music, Rodgers collaborated with writer Lorenz Hart to produce several successful musicals. In 1943, Rodgers then partnered with Oscar Hammerstein II — and their linked names are perhaps Broadway’s most famous pair; together they created some of the most classic musicals in history. Written in 1948 and premiering in 1949,South Pacificwas a big hit on Broadway with 1,925 performances. The musical takes place on an island somewhere in the South Pacific during World War II. A young nurse from Arkansas, Nellie, falls in love with Émile, a French plantation owner. Nellie sings “A Wonderful Guy” after she has fallen head-over-heels in love with Émile. But, when Nellie finds out that Émile was once married to a Polynesian woman with whom he also had children, Nellie’s racial prejudices make it a struggle to accept his past. Later, she comes to the rescue of Émile’s children when it seems they have been orphaned, and she soon comes to love them as her own. Being with the children makes her forget about her preconceptions, and she joyfully reunites with Émile when we learn he was not killed. “A Wonderful Guy” has a teasing aspect, making the song entertaining for audiences. The joyful melody has a bouncy feeling, and Nellie enhances the mood by adding expressive words such as “corny,” “bright,” “trite,” and “happy.” Eventually, Nellie is at a loss for words, and ends the song repeating the phrase over and over again, “I’m in love, I’m in love.” Acknowledgments To my friends and family: To my family, thank you so much for all of your ongoing support. Ever since I was little, you have always encouraged me to keep singing, even if I didn’t feel it was the right career choice. I love you all more than you know! To my friends in the Music Department, thank you for keeping me sane throughout these years! You are all amazing people and musicians and I hope we can still see each other in the future.

To Jacalyn Kreitzer: Words can never describe how much you have come to mean to me in these past few years. You are my teacher, my mentor, my therapist, and my friend, and I could not have asked for more. Thank you for always being there for me, believing in me, and lifting me up whenever I was too overwhelmed with the struggles of being a college student. I will miss you so much!

To Paul Woodring: You have been such a blessing in my life! Your professionalism has inspired me so much as a musician, and I cannot thank you enough for the amount of hard work that you put in, not only to the Music Department, but also to helping me grow as a singer. I will never forget our practice sessions that made me look at music in new and different ways.

To Dr. McLamore: Thank you for always pushing me to be the best student I can be. I have always looked up to you as a music scholar, and taking your classes really has given me a new interest in music history. Because of you, my program notes could not be better written, and you have made me a stronger writer because of it. Thank you so much.

To the Music Department Faculty/Staff:You are what has made my experience at Cal Poly an unforgettable one. You have all taught me so much, and I will be forever grateful to have had such a professional and caring group of people who are there to help me whenever I need it.

To Dr. Tom: Even though you’re not with me for my last year, I will never forget how much I learned from you. Thank you for taking the time to work with all of the vocalists one on one. I always knew that whatever criticism you had for me was the best advice I could receive.

To Chris Wall: Thank you for agreeing to be a part of my senior recital. I have always admired your vocal technique, and knew I wanted you as my duet partner. You put a lot of hard work into this when you had other things on your plate, and I really appreciate it. Thank you!!