Program Notes Adam Mitchell (b. 1990) is a 5th year vocal music education major studying voice with Louise Toppin at the Uni- versity of North Carolina at Chapel Hill. He currently sings with the UNC Men’s Glee Club under director Dr. Dan Huff and is enrolled in the UNC-BEST program for music education. A native of Wilmington, NC, Adam entered UNC in fall of 2008 with intent to study pharmacy before switching to music the next year. He has studied guitar since age fourteen, and has been playing and singing professionally since age eighteen. Since then, Adam has performed in restaurants and venues in Wilmington, Chapel Hill, and Durham, most notably Jack Sprat Café and The Franklin Hotel, where he regularly performs one to two times a month. As a classical vocalist, Adam has performed recitals in both Wilmington and Chapel Hill for public schools, nursing homes, and university functions and has performed as a soloist for UNC Men’s Glee Club. Adam also spent a two week intensive study in Spanish art song repertoire at La Escuela Superior de Canto de Madrid where he performed on recitals and master classes focused on bettering the understanding and performance of Spanish song. In addition to performing, Adam cur- rently teaches private voice, guitar, and drum lessons. As a composer and songwriter, he has completed seven pop songs, one piece for classical guitar entitled La Corrida, and a musical setting of four poems by Shel Silverstein for classical voice and piano. In addition to composing, Adam has also arranged Every Time We Touch by Cas- cada for pep band and The Beatles’ Let it Be for men’s choir.

Tres Morillas: Tres Morillas is a Spanish strophic song popular in the 15th Century. This arrangement is a hybrid of two arrangements: Tres Morillas by Fernando Obradors (1897-1945) and Las Morillas de Jaén from Can- ciones Españolas Antiguas by Federico Garcia Lorca (1898-1936). It incorporates the thematic motives of Lor- ca’s arrangement while drawing from the harmonization of Obradors’. The verses in this arrangement are the ones set by Obradors. It is important to note that in the Lorca version, there is slightly different text and an extra verse at the end. Tres Morillas tells the story of three Moorish girls who go to pick olives in the mountain town of Jaén. While there, they meet the men who will become their husbands. At the end of the song, the women have lost their youthful luster, and return to the mountains this time to pick apples. In Spanish poetry, the olive grove is often an archetypal location for the meeting of young lovers-the girls are “picked” in Jaén. Old and worn, they return to pick apples, a much less risqué orchard to be visiting.

Tres Morillas The Three Moorish Girls

Tres morillas me enamoran en Jaén, Three Moorish girls fell in love with me in Jaen Axa, Fátima, y Marién. Axa, Fátima, y Marién. Tres morillas tan garridas, Three moors so poised, iban a coger olivas They went to pick olives y hallábanlas cogidas en Jaén, And found themselves picked in Jaén Axa, Fátima, y Marién. Axa, Fátima, y Marién. Y hallábanlas cogidas , And they were picked, y tornaban desvaidas. And became fades Y las colores perdidas en Jaén, And their colors were lost in Jaén Axa, Fátima, y Marién. Axa, Fátima, y Marién. Tres morillas tan lozanas, Three girls so lush Tres morillas tan lozanas Three girls so lush iban a coger manzanas a Jaén, They went to pick apples at Jaen Axa, Fátima, y Marién. Axa, Fátima, y Marién.

Joaquín Turina Pérez was born in Sevilla on the 9th of December 1882. Born into a comfortable middle class family, he was surrounded by an artistic environment that was a good influence on the future musician. At the age of four he was given as a gift an accordion and surprised everyone with the speed and facility he learned to play. In 1894 he began his formal studies of harmony theory and counterpoint. Almost immediately he began to com- pose small pieces. His debut was on March 14 1897 where he performed the Thalberg's Fantasy on a theme from Rossini's Moses that set him on the road to become a full fledged performer. In 1902 he moved to Madrid where he quickly became involved in the musical scene there and saw the premier of his Zarzuela La Sulamita. In 1905 he, as most other Spanish composers of the time, went to Paris. He studied piano with Moszkowsky and theory under Vicent d'Indy in the Schola Cantorum. He became good friends with Albeniz and Falla, and it was Albeniz who encouraged to find inspiration in the popular music of Spain and Andalucía. His quintet that was premiered in Paris was given the Op. 1 as the beginning of a new way of looking at music and he rarely looked back on the many works published before this time. In 1914 he returned to Madrid he life in Madrid was divided between composing, teaching and performing. Turina died in Madrid on the 14th of January 1949. Notable works: La Su- lamita, Poema en forma de canciones, Margot

Nunca olvida…: Poema en forma de canciones is a look into the mind of a man who is so enamored with a certain woman that he literally goes crazy for her. This woman returns his love, but not necessarily on the intense emo- tional level that he desires. He claims that even in the face of his own death, he cannot forgive her for making him love her because that is the one sin for which he refuses to repent. Nunca olvida... Never Forget...

Ya que este mundo abandono Since I am leaving this world, antes de dar cuenta a Dios, and before I give my account to the lord, aquí para entre los dos I will confess to you, mi confesión te diré. here, between the two of us. Con toda el alma perdono With all my soul I forgive those hasta a los que siempre he odiado. whom I have always hated. A ti que tanto te he amado You, whom I have deeply loved, nunca te perdonaré! I will never forgive!

Cantares: Our hopelessly smitten gentleman engages in a dance with his fair lady. She leads him on and drives him wild with desire in a dance of passion that he cannot forget even when they are apart. This canción is a direct representation of a flamenco dance.

Cantares Singings

Más cerca de mí te siento Much closer to me I feel you Cuando más huyo de tí When I have fled far from you Pues tu imagen es en mí Well your image is burned into me Sombra de mi pensamiento. Shadow of my thoughts Vuélvemelo a decir Return to me to say! Pues embelesado ayer While I was thinking of you yesterday Te escuchaba sin oir I heard you without hearing Y te miraba sin ver. I saw you without seeing.

Las locas por amor: Our smitten gentleman tells his fair “Goddess” that her will love her forever and always be there for her. She is not ready to commit to a future, but insists instead that he love her often and passionately, if only for an instant. In this canción the mind of the man has completely broken down as he staggers about, drunk on his own desire. Las locas por amor The madness for love

Te amaré diosa Venus I will love you goddess Venus si prefieres que te ame mucho tiempo y con cordura If you’d like I will love you forever and with moderation y respondió la diosa de Citeres: And the goddess of the nymphs responded Prefiero como todas las mujeres I prefer, as all women do, que me amen poco tiempo y con locura. That you love me for a short time and with passion. Te amaré diosa Venus, te amaré. I will love you goddess Venus, I will love you! Alberto Evaristo Ginastera was an Argentine composer of classical music. He is considered one of the most im- portant Latin American classical composers. Ginastera was born in Buenos Aires to a Catalan father and an Italian mother. Ginastera studied at the conservatory in Buenos Aires, graduating in 1938. As a young professor, he taught at the Liceo Militar General San Martín. After a visit to the United States in 1945–47, where he studied with Aaron Copland at Tanglewood, he returned to Buenos Aires and co-founded the League of Composers. He held a number of teaching posts. Ginastera moved back to the United States in 1968 and then in 1970 to Europe. He died in Geneva, Switzerland, at the age of 67 and was buried in the Cimetière des Rois there. Among his nota- ble students were Ástor Piazzolla (who studied with him in 1941), Alcides Lanza, Waldo de los Ríos, Jacqueline Nova and Rafael Aponte-Ledée. Ginastera grouped his music into three periods: "Objective Nationalism" (1934– 1948), "Subjective Nationalism" (1948–1958), and "Neo-Expressionism" (1958–1983). Among other distinguish- ing features, these periods vary in their use of traditional Argentine musical elements. His Objective Nationalistic works often integrate Argentine folk themes in a straightforward fashion, while works in the later periods incorpo- rate traditional elements in increasingly abstracted forms. Much of Ginastera's works were inspired by the Gauchesco tradition. This tradition holds that the Gaucho, or landless native horseman of the plains, is a symbol of Argentina. The progressive rock group Emerson, Lake & Palmer brought Ginastera attention outside of modern classical music circles when they adapted the fourth movement of his first piano concerto and recorded it on their popular album Brain Salad Surgery under the title "Toccata". Notable works: Cantata para América Mágica, Piano Sonata No. 1, Cinco Canciones Populares Argentinas

Triste: A young man, believes the woman who has captured his heart has run away never to return. He laments his loss in this setting of and Argentine folk song. Triste Sad

Ah! Ah! Debajo de un limón verde Beneath a lime tree Donde el agua no corría where no water flowed Entregué mi corazón I gave up my heart A quien no lo merecía. to one who did not deserve it. Ah! Ah! Triste es el día sin sol Sad is the day without the sun. Triste es la noche sin luna Sad is the night without the moon. Pero más triste es querer But sadder still is to love Sin esperanza ninguna. with no hope at all. Ah! Ah! Zamba: All odds seem to be against this romance, but sad though he may be that his love has forsaken him, he cannot shake her., for it is rude to take something from someone and not to return it in kind.

Zamba Zamba

Hasta las piedras del cerro Even the stones on the hillside Y las arenas del mar and the sand in the sea Me dicen que no te quiera tell me not to love you. Y no te puedo olvidar. But I cannot forget you. Si el corazón me has robado If you have stolen my heart El tuyo me lo has de dar then you must give me yours. El que lleva cosa ajena One who takes what is not theirs Con lo suyo ha de pagar. ¡Ay! must return it in kind. Ay! Gato: Our gentleman’s friends decide to take him out for a night of dancing. They go to a club where the patrons do a most provocative dance, and he becomes entranced by the rhythms of the Gato.

Gato Gato

El gato de mi casa The dance of my house Es muy gauchito is most mischievous, Pero cuando lo bailan but when they dance, Zapateadito. they stamp their feet. Guitarrita de pino With pine guitars Cuerdas de alambre. and wire strings. Tanto quiero a las chicas, I like the small girls Digo, como a las grandes. as much as the big ones. Esa moza que baila That girl dancing Mucho la quiero is the one for me. Pero no para hermana Not as a sister Que hermana tengo. I have one already. Que hermana tengo I have a sister. Si, pónte al frente Yes, come to the front. Aunque no sea tu dueño, I may not be your master Digo, me gusta verte. but I like to see you. Antón García Abril was born in Teruel on 19 May in 1933. Between 1952 and 1955, he studied at the Madrid Royal Conservatory of Music under Julio Gmez and Francisco Cales, and at the Accademia Chigiana in Siena un- der Vito Frazzi for composition, Paul van Kempen for orchestral conducting, and Angelo Francesco Lavagnino for film music. In 1964, he furthered his studies at the Santa Cecilia National Academy in Rome under Goffredo Pet- rassi, on a scholarship from the Juan March Foundation in Madrid. In the following year he won the Tormo de Plata Prize on the occasion of the IV Cuenca religious Music Week for Cantico delle creature. With Luis de Pablo and Cristbal Halffter, he also represented Spain at the 39th International Festival held by the International Contem- porary Music Society (SIMC) in Madrid. He became lecturer in Musical Composition and Form at the Madrid Royal Conservatory Music in 1974. Five years later his Hispavox recording of Concierto aguediano granted him the Ministry of Culture Prize and in 1981 the Ministry of Cultures Andrés Segovia Composition Prize for Evocaciones and Cross of San Jorge (St. George) awarded by the Teruel Provincial Authority. In 1982 he became an elected member of the San Fernando Royal Academy of Fine Arts in Madrid and in 1985 he took the Tomás Bretón medal from the Association of Spanish Authors and Artists. Following an international symposium held to discuss the figure of Valle-Inclán in 1986, Abril was commissioned by the National Institute of Dramatic Arts and Music (INAEM) to write an opera based on Divinas Palabras, to be premiered at the Teatro Real in Madrid after completion of its reconversion into an opera house. Between 1988 and 1989, he participated in the International Contemporary Music Festival, Festival of Peace, held in Leningrad, the Ministry of Culture Board of Cultural Af- fairs and in the Hispano-Soviet Festival held in Georgia. In 1993 he was awarded the Aragon Regional Authority Medal for Cultural Merit, the National Music Prize and the Guerrero Foundation Spanish Music Prize. In his art songs, Abril stresses the importance of the text over all else, and builds his music around the meaning of the poet- ry. Notable Works: Asturianas, The Holy Innocents, La Colmena

Ayer vite en la fonte: A young man passes by one of his dear friends, whom he has secretly loved for quite some time. She is crying, and he asks her why. Her tears are for lost love. He tells her that she should not be sad, for he loves her and will always love her. Ayer vite en la fonte Yesterday I saw a girl at a fountain

Ayer vite na fonte tabes cantando, Yesterday I saw a girl at a fountain and she was singing, Hoy que paso por ella tabes llorando. Today I passed by her and she was crying. Díme por qué tas triste y descolorida? Tell me, why you are so sad and upset? Díme por quién sospires prenda querida. Tell me for who you sigh, beautiful one.

Sospiro por amores que yo tenía, I sigh for loves I had, Sospiro por amores que yo quería. I sigh for loves I wanted. Amores que tuviste segues teniendo? Loves that you had and continue having? Ya sabes que te quise y estoy queriendo. You know I loved you then and I continue to love you. Tengo de subir al puerto: The love of my life is waiting for me. I must do whatever I can to get to her. What will I do if the snow covers my path and she slips and falls? I must hurry! Tengo de subir al puerto I must climb the port

Tengo de subir al puerto I must climb the port, Aunque me cubra la nieve Although the snow covers me Tengo de subir al puerto I must climb the port Que allí está la que más quiero For there is the one I love most

Si la nieve que cae cubra el sendero If the snow covers my path Ya no veré en el monte le que más quiero And I cannot see that which I love most ¡Ay! Amor, si en la nieve resbalo Oh! If my love slips in the snow, ¿Que hare yo? What will I do? Pablo Sorozábal’s artisan family moved from the Basque countryside to San Sebastián a few years before Pablo’s birth on September 18th 1897. He was something of a child prodigy on piano and violin, earning his living in cine- mas, cafés and fairgrounds, and playing with the San Sebastián Casino Orchestra under the influential Fernández Arbós. In 1919 he moved to Madrid, joining the Madrid Symphony Orchestra which performed his Capricho es- pañol in 1920. His distinctive musical personality was forged by study in Leipzig; and in Berlin, where he studied with Friedrick Koch. His first widely acclaimed stage debut cam with Katiuska in 1931 and twenty or so works were to follow. His operetta La isla de las perlas and the one-act ópera chica (opera-zarzuela) Adiós a la bohemia combine lyric fire and inimitable orchestration with an unfailing sense of theatre. Best-loved are his classic madrileño comedy La del manojo de rosas and the “nautical romance” set on the Atlantic Coast La tabernera del puerto of 1936. Sorozábal’s liberal sympathies left him somewhat isolated after the Civil War, and many of his later zarzuelas were first seen outside the capital or in less prestigious Madrid theatres. His tenure as director of the Madrid Symphony Orchestra ended abruptly in 1952 when he was refused permission to conduct Shostako- vich’s Leningrad Symphony; and though his musical comedy Las de Caín was premiered at the Teatro de la Zar- zuela in 1958, the opera Juan José still awaits performance after a production was suspended there during rehears- als in 1979. With his death in Madrid in 1988 the last chapter in the creative history of the romantic zarzuela came to an end. Sorozábal remains the most controversial of the great zarzuela composers, adored by many aficionados but leaving others cold. Although his style is eclectic, exhibiting a range of influences from Debussy and Puccini through to Kalman, Gershwin and the Hollywood musical, the fusion of these disparate musical elements is very much his own.

La tabernera del puerto: In a port town in the north of Spain, all of the men are enamored with the beautiful young tavern keeper Marola, including the young singing fisherman Leandro. Marola came to the town a few months back and opened her tavern with the financial backing of the known bandit and smuggler Juan. Unbe- knownst to the rest of the town, Juan is in fact Marola’s father. Leandro confesses his love to Marola, but she tells him he wants nothing to do with her, even though she secretly feels the same. When tongues start to wag that Marola is romantically involved with the criminal Juan, Leandro defends his love’s honor with the romanza ¡No Puede Ser!. Juan then decides to use Leandro’s feelings for Marola to con him into smuggling cocaine out at sea, and Leandro confesses to Marola that he will do anything to win her, even if it means doing something illegal. She confesses her love to him, and together they hatch a plan to throw the cocaine out at sea. When they go to do this, they disappear and everyone assumes they are dead at sea. In fact, they have been arrested by customs officers. When the town finds this out, they out Juan as the man behind the plot, and implore him to take responsibility for the drug smuggling. He does, and the curtain closes as Marola collapses weeping into Leandro’s arms as customs agents take her father away. ¡No Puede Ser! It Cannot Be!

No puede ser! Esa mujer es buena! It cannot be! This woman is good! No puede ser una mujer malvada! She cannot be a bad woman! En su mirar, como una luz singular, In her appearence, as a single light he visto que esa mujer es una desventurada. I have seen that this woman is unlucky No puede ser una vulgar sirena She cannot be a vulgar siren que envenenó las horas de mi vida. Who poinsons the hous of my life No puede ser! Porque la ví rezar, It cannot be! For I have seen her pray porque la ví querer, porque la ví llorar. I have seen her love, and I have seen her cry. Los ojos que lloran no saben mentir. The eyes that cry cannot lie Las malas mujeres no miran así. Bad woman are not as such Temblando en sus ojos dos lágrimas ví Trembling in her eyes I saw two tears y a mi me ilusiona que tiemblen por mí. And to me it seemes they trembled for me Viva luz de mi ilusión, sé piadosa con mi amor, Live the light of my illusion! Be faithful with my love porque no sé fingir, porque no sé callar, Because I cannot pretend, because I cannot be silent porque no sé vivir. Because I cannot live. Federico Moreno Torroba Born in Madrid, the multitalented Spanish musician Federico Moreno Torroba began his musical studies with his father, José Moreno Ballesteros, who was an organist and teacher at the National Con- servatory of Music in Madrid. Moreno Torroba eventually attended the Conservatory, studying composition with Conrado del Campo. His earliest compositions were for orchestra, such as the Cuadros Castellanos, but he soon moved to writing operas using Spanish styles and subject matter; in the mid-1920s he turned his attention to the zarzuela, the traditional form of Spanish comic opera. His first zarzuela was La Mesonera de Tordesillas; he went on to write almost 80 such works in his long career, perhaps the best known of which is Luisa Fernanda. He also became a champion of the form as a conductor and impresario. At one point he managed three different opera houses, and in the 1930s and 1940s he led a touring company which performed zarzuelas all over the world. An- other major focus of Torroba’s career as a composer was new music for guitar. He was the first to respond to the young Andrés Segovia's request for new guitar works by modern composers, producing his Nocturno and Suite Castellana for him in 1926. He went on to write many more works for Segovia over the next four-plus decades, and for other guitarists like the flamenco master Sabicas and the guitar quartet Los Romeros. By the end of his life he had composed over 100 works for the guitar, many of them strongly influenced by Spanish folk music. In 1975, at age 84, Moreno Torroba became the president of the Sociedad de Autores Españoles. He continued composing right to the end of his life, even producing an opera at age 90, El Poeta, for tenor Plácido Domingo, with whose parents Moreno Torroba had worked decades earlier

Notable Works: La Maravilla, Luisa Fernanda, Nocturno, Suite Castellana, and El Poeta

Luisa Fernanda: Luisa Fernanda is a romantic zarzuela in three acts by Federico Moreno Torroba. It has been performed more than 10,000 times. The libretto, in Spanish, is by Federico Romero and Guillermo Fernández Shaw. The first performance took place at Teatro Calderón in Madrid on March 26, 1932. It was Moreno Tor- roba’s fourth zarzuela, his first to receive great acclaim. Act I is set in 1868 Madrid during the reign of Isabel II as the royalists and republicans struggle. Innkeeper Mariana chats with her lodgers Rosita, a seamstress, republican Don Luís Nogales, and his young follower Aníbal. Luisa Fernanda, courted by rich landowner and monarchist Vidal Hernando, is actually in love with Javier, a colonel in the royal hussars, who is a skirt-chaser and rather non- chalant in his attitude toward Luisa. Javier is tired of the quiet city life. Aníbal attempts to interest Javier in the revolution. Astonishingly, Javier falls for the Queen's lady-in-waiting Duchess Carolina and becomes a royalist, at which point Vidal negotiates a political turnabout and becomes a revolutionary in order to fight his rival for Luisa's affections. In Act II, scene 1, a charity collection is being held outside the Oratory of San Antonio. We hear street vendors and musicians, and "sombrilleros" asking St. Anthony to send them lovers. Carolina offers Vi- dal a large bribe to switch allegiances again but he refuses. Luisa decides to accept Vidal 's true love and to reject Javier's arrogance and possessiveness. Scene 2 takes place at the Calle de Toledo at dawn, where Nogales makes a morale-boosting speech about liberty to his rebels. In scene 3, Javier is captured but Luisa defends him against a crowd calling for his execution. The hussars overtake the rebels again and free Javier. Nogales is taken in Vidal's place, and Luisa promises to marry the wounded Vidal. At Vidal's country estate "La Frondosa," at Piedras Albas in Extramadura, the marriage is about to take place, when news arrives that the Queen has been dethroned, Duch- ess Carolina exiled, and Javier is missing. A chorus of harvesters together with Vidal praises the impending mar- riage. Javier, wounded in Portugal, returns and pleads with Luisa to return to him. However, Luisa still declares she will marry Vidal even though she continues to love Javier in ¡Cállate Corazón! Vidal eventually understands that Luisa really loves Javier, and, in a final act of true love, releases Luisa from her marriage promise. At the opera's end, he has only his memories for comfort.

La Maravilla: La Maravilla is a Zarzuela in three acts by Federico Moreno Torroba premiered at the Teatro de Madrid on 12 April 1941, with libretto by Antonio Quintero and Jesus Maria Arozamena. The action takes place in Madrid in the early twentieth century. “La Maravilla is the stage name of a famous diva. Manuela, “La Maravi- lla”, has been living next to a convent where Emilio works as gardener. At the insistence of the nuns the two are married. Maravilla has many admirers because of her beautiful voice. Emilio dies and Maravilla goes to perform abroad. The plot thickens when Emilia, her daughter, falls in love and is torn between a wealthy industrialist and Rafael – a poor but promising singer at Madrid’s famous opera house, Teatro Real. This leads to a series of mi- sunderstandings between them that eventually resolved. With Amor, Vida de mi Vida, believing that Emilia has chosen his rival, Rafael pours out his heartfelt grief, blaming her for playing him false – though by the end of the zarzuela the truth will have been unraveled, and the lovers reunited. ¡Cállate corazón! Be Silent My Heart!

Luisa Fernanda: Luisa Fernanda: ¡Cállate corazón! ¡Duérmete y calla! Be silent my heart! Sleep and be silent! No debe retoñar la hierba mala You should not sprout weeds of desire ¡Ay, qué tendra el amor de venenoso, Oh! What I will have is a venomous love, Que cuanto más cruel es más sabroso! That is most cruel and delicious! Duérmete y calla; no te retoñe más la hierba mala. Sleep and be silent, do not sprout the weeds of desire. Javier: Javier: ¡Dichoso el que en su camino de dueles y de pesares Blessed are those who in their way of mourning and pain Escucha una voz amiga que alegra sus soledades! Hear a friendly voice brings happiness to their solitude ¡Felices los desterrados que encuentran en su destierro Happiness to the exiles who find in their exile Para el dolor de una ausencia el bálsamo de un recuerdo! For in the pain of absence is the balm of memory! L Fern.: L Fern.: Calla, por Dios, Javier, no me a tormentes- Be silent, Javier, do not toement me!- Vete, por caridad; déjame y vete. Go, by charity, leave me and go! Jav.: Jav.: Vengo a decirte ¡adiós! Ya es para siempre I have come to say goodbye forever! L. Fern. L. Fern. Nunca ya te veré. ¡Dios me consuele! I will never again see you, Console me God! Jav.: Jav.: Con la esperanza voy me que aún me quieres. With hope I go that you still love me L. Fern.: L. Fern.: Contra mi voluntad te quiese siempre: Against my will I love you always Cuando fuiste ilustre, cuando no eras nadie, When you were illustrious, when you were nobody Cuando me quisiste, ¡cuando me olvidaste! When you loved me, when you forgot me! Jav.: Jav.: ¡Subir, subir, y luego caer, To climb, to climb and later fall la fortuna alcanzar y volverla a perder! To reach fortune and then only to loose it! L. Fern. L. Fern. ¡Amar, amar, sin dejar de creer, To love, to love, without losing belief Y venir el amor cuando no puede ser! And for love to return when it cannot be! Jav.: Jav.: ¡Subir, subir, y luego caer…! To climb, to climb, and later to fall…! L. Fern.: L. Fern.: ¡Y venir el amor cuando no puede ser! For love to return when it cannot be! Amor, vida de mi vida Love, life of my life

Adiós dijiste; se va mi vida. Goodbye you said; there goes my life. Llorar quisiste por un amor You wanted to cry for a love que hay que olvidar. that one must forget. Te vas riendo ¡y yo me muero! You go laughing and it kills me! Mi dolor es saber que no puedes llorar. My pain is to know that you cannot cry Amor, vida de mi vida, My love, life of my life ¡qué triste es decirse adiós! How sad it is to tell you goodbye! Te llevas la juventud You take the youth de éste querer sin redención, of this love without redemption, amor que por el camino Love for the way no puedes volver atrás. you cannot go back. Te ríes cuando sientes deseos de llorar. You laugh when you feel the wish to cry Y pensar que te amé con alma y vida, And to think I loved you with soul and life y hoy te quieres burlar de mi dolor. And today you wantTo laugh at my pain Este amor que soñé no lo puedo callar. Of this love I dreamed I cannot be silent Fueron falsas palabras, They were false words mentiste mil veces tu amor, mujer. You lied a thousand times your love, woman! Amor, vida de mi vida, My love, life of my life ¡qué triste es decirse adiós! How sad it is to tell you goodbye Te llevas la juventud You take the youth de éste querer sin redención, of this love without redemption amor que por el camino Love for the way no puedes volver atrás. you cannot go back Te ríes cuando sientes deseos de llorar. You laugh when you feel the wish to cry ¡Adiós mi bien! ¡Ah, adiós! Goodbye my darling! Goodbye!