Paul Appleby - DeBartolo Performing Arts Center

Paul Appleby - DeBartolo Performing Arts Center

Paul Appleby
Renaldo Ferguson Family Endowment for the Performing Arts
Made possible by the Gayle A. and Steven C. Francis Endowment for Excellence.
DeBartolo Performing Arts Center
Presenting Series
SAT, MAR 19 AT 7:30 P.M.
LEIGHTON CONCERT HALL
University of Notre Dame
Notre Dame, Indiana
Visit Sorin’s or Rohr’s at Morris Inn for a front row seat to a culinary performance,
where dinner is always the star of the show.
Morris Inn is proud to partner with the DeBartolo Performing Arts Center.
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Program
Das Fischermädchen Franz Lachner (1803–1890)
Liederkreis Op. 24 Robert Schumann (1810–1856)
4 Eichendorff settings Hugo Wolf (1860–1903)
Das Ständchen
Heimweh
In der Fremde VI („Wolken wälderwärts gegangen”)
Seemanns Abschied INTERMISSION
“O wie ängstlich“ from Die Entführung aus dem Serail Wolfgang Amadeus Mozart (1756–1791)
Three songs from Les nuits d’été Hector Berlioz (1803–1869)
Villanelle
Au Cimetière
L’île inconnue
“Vainement, ma bien-aimée“ from Le Roi d’Ys Edouard Lalo (1756–1791)
“Kuda, kuda vy udalilis” from Eugene Onegin Pyotr Ilyich Tchaikovsky (1840–1893)
Three songs Heitor Villa-Lobos (1887–1959)
Canção do Poeta do Século XVIII
Evocação
Samba Clássico
Notes on the Program
by Elizabeth Lankford
FRANZ LACHNER
“Das Fischermädchen”
Though little known today, composer Franz Lachner (1803­–1890)
was a very prominent musician in Munich during his lifetime.
Presently, he is most well known for his organ and wind chamber
compositions, but his lieder are gaining more attention. With a
pedagogical lineage stemming from Beethoven, Lachner’s style
is Romantic but rooted in the Classical tradition. Franz Schubert
(a Contemporary and friend) heavily influenced Lachner’s style,
although Lachner’s music should be appreciated in its own right.
In an 1833 review of his songs, a critic wrote that Lachner had a
“pronounced tendency for the pictorial depiction of … emotional
situations [in his Lieder].” Lachner boldly set several Heine texts
from Schubert’s Schwanengesang including “Das Fischermädchen,”
perhaps in homage to the composer after his death.
“Das Fischermädchen” is part of Sängerfahrt, Op. 33 a song cycle
comprised of sixteen songs (all Heine texts) composed in 1831. In
“Das Fischermädchen” the narrator tries to charm a local fisher
maiden. He tells her his heart is like the sea, stormy but in its
depths lies an immense treasure. Lachner’s piano accompaniment
represents both voices in the poetry with great finesse.
ROBERT SCHUMANN
Liederkreis, Op. 24
Robert Schuman (1810–1856) is regarded as one of the greatest
composers of the Romantic era. After a hand injury ended his
career as a pianist, Schumann turned to composition, writing
almost exclusively for the piano during the early part of his career.
In his first major departure from solo piano composition, his
1840 Liederjahre (Year of Song), Schumann wrote more than 138
songs for voice and piano; Op. 24, composed during this year, was
Schumann’s premiere published vocal work.
Liederkreis, Op. 24 is a cycle of nine songs. All the texts are taken
from a section of Heinrich Heine’s Buch der Lieder entitled ‘Junge
Leiden’ (Youthful Sorrows) and feature songs of separation,
lamentation, bitterness and the resignation of unrequited love.
To be called a song cycle requires only a collection of three or
more songs bound together by music and poetry; the degree of
coherence between the individual songs is determined entirely by
the composer. Early cycles focused upon the individual songs as
the unifying element of the entire work. Later cycles concentrated
upon the work in its entirety, emphasizing harmonic and poetic
thematic material as the means of creating coherence and
continuity. Schumann employs the latter, strengthening the poetic
unity of Op.24 through thematic and melodic repetitions taken
from the first song and echoed throughout the cycle. Schumann
crafts dramatic scenes by shifting tonalities between major and
minor to represent the agony of lost love. He also employs the
“Clara Theme” throughout the Liederkreis: a motivic element with
five notes (C-B-A-G-A= CLARA) he often used as a dedication to his
wife.
The Op. 24 Liederkreis begins with “Morgens steh’ ich auf und
frage,” introducing the narrator who waits for his beloved to come
to him, but each night, he laments her absence.
In “Es treibt mich hin,” the narrator impatiently awaits his beloved.
Intensity and agitation grow as time passes all too slowly.
Grieving as he wanders through the forest, beautiful birdsong
constantly reminds the narrator of his beloved and his sorrow in
third song: “Ich wandelte unter den Bäumen.”
The narrator is unable to sleep in “Lieb’ Liebchen.” Meditating upon
his own death, his heartbeat reminds him of a carpenter driving
nails into his coffin.
In “Schöne Wiege meiner Leiden,” the narrator is consumed by
agony as he leaves his home and family. His homeland holds too
many reminders of his beloved, and the grieving narrator wishes he
had never met her.
In the sixth song, “Warte, warte wilder Schiffmann,” the narrator
sails away from his beloved, angry and bitter. He compares her to
Eve, the source of mankind’s misery as well as his own.
The calm of “Berg und Burgen schaun herunter” is falsely
reassuring. Reminiscent of Heine’s Lorelei, the Rhine holds two
realities for our narrator: the splendor of nature and the threat of
death lurking just beneath the surface.
In the penultimate song, “Angangs wollt’ ich fast verzagen,” the
narrator recounts how hard it was to bear his sorrow, but somehow
has survived his sufferings. The song is poignant and brief.
Concluding with “Mit Myrten und Rosen,” the narrator
reminiscences that his songs were once full of life, but now they are
only cold and dead. Deep within, he wishes the spirit of love might
one day revitalize his story, and if his beloved hears his songs, she
may be moved by his love.
HUGO WOLF
“Das Ständchen”; “Heimweh”; “In der Fremde”;
“Seemanns Abschied”
Hugo Wolf’s (1860–1903) career was marked by periods of extreme
productivity and bouts of depression. In one prolific year, 18881889, Wolf composed dozens of lieder, including “Das Ständchen”,
“Heimweh”, “In der Fremde” and “Seemanns Abschied,” all
featured in this program. Best known for his Lieder, Wolf’s musical
style often uses dual tonalities to depict conflict in the text.
Chromaticism and harmonic manipulations help realize complex
musical ideas in the poetry. Wolf had a great understanding of the
breadth of human emotion, which is reflected in his writing style
and strengthens his Lieder. He attended to the particulars, not
just the generalities, of human nature and composed vivid musical
pictures encapsulating the external scene as well as the internal.
“Das Ständchen” is part of Gedichte von Eichendorff (Eichendorff
Poems). The song opens with a young man tuning his mandolin
before serenading his lover. An old man overhears him and
remembers serenading his own beloved before she died. Wolf
represents the fleeting nature of the old man’s memory through
a fragmented line of the melody, implying the past cannot be
recaptured. The old man is resigned to the present– life and love
are no longer his own but now belong to the younger man.
One of Wolf’s most popular Eichendorff settings is “Heimweh”
(also from Gedichte von Eichendorff), a lovely and tuneful song
about a wanderer, a common character in Wolf’s Lieder. Wolf
begins the song with a wistful and reminiscent melody to portray
the wanderer’s sentimental homesickness and pining for his
beloved. Although this is the proclaimed sentiment, the song
retains a sense of optimism about “the day after tomorrow.” Wolf
repeats the music of the first stanza in the last, but this time,
instead of homesickness, the wanderer’s prevailing patriotism
for his homeland bursts through with passion and bravado. The
extended piano postlude further conveys this patriotic spirit. The
poetry evokes an image representative of German Romanticism, in
particular, Caspar David Friedrich’s painting, Wanderer above the
Sea Fog.
Wolf sets another Eichendorff poem in “In der Fremde VI,” though
it is not part of the Gedichte von Eichendorff. “In der Fremde VI” is
the final song in a collection of six In der Fremde songs. The poetry
suggests past, present and future blend together and is reflected in
the music with loneliness and elegiac longing. Wolf uses dissonant
chords to depict the struggle of the narrator on words such as
“anxiety” and “pain”, but each instance is resolved and replaced
with a more pleasant memory. The narrator ends on one final,
painful lament–
he is without his beloved, as she no longer awaits him.
A third selection from the Gedichte von Eichendorff set, “Seemanns
Abschied” is a buoyant song about a sailor and his adventures at
sea. The sailor is more resilient and pragmatic than some of the
other narrators in the Eichendorff Lieder, namely the wanderer.
Not one to pine over unrequited love, the sailor simply shrugs
off his spurned overtures and returns to what he knows best: the
sea. The song dramatically rolls and rocks, as if over waves, and
a dissonant opening references the untamed sea from Wagner’s
Die fliegende Holländer. Wolf depicts the external scene (Merfolk,
lightning strikes, seagulls and sharks) by using chromatic coloring
to represent the mythical or magical, while the music exudes the
internal confidence and resilience of the sailor.
WOLFGANG AMADEUS MOZART
“O wie ängstlich” from Die Entführung aus dem Serail
Wolfgang Amadeus Mozart (1756-1791) is an exceptionally
important and popular classical composer. His early death at
age 36 was a tragedy for the musical world. In his short life, he
composed over 600 works, an immense amount of music in such
a brief period. He mastered most forms of music by age twelve,
including sonata, symphony, concerto, oratorio, and opera.
Mozart prospered as a composer during his residency in Vienna.
In 1782, he penned Die Entführung aus dem Serail, completing it
in two months. The work is a Singspiel, a German music drama,
where the plot is forwarded through dialogue instead of recitatives.
Contemporarily, the genre is classified as opera.
Die Entführung aus dem Serail is a lighthearted and comedic work
that contains many spectacularly beautiful arias, including “O
wie ängstlich,” Mozart’s particular favorite from the opera. In this
aria, the character Belmonte’s beloved Constanze is held captive
by pirates, and he anxiously awaits her rescue. Mozart conveys
the intensity of Belmonte’s feelings through musical gestures– a
crescendo to represent Belmonte’s heaving and swelling breast; the
sudden change in texture and dynamics in the accompaniment to
depict the “whispering and sighing” of Belmonte as he anticipates
his reunion with Constanze. The aria ends with the repetition
of the final line, “Was it a dream?”– a phrase pregnant with the
expectation of reunion.
HECTOR BERLIOZ
Three Songs from Les nuits d’été, Op. 7
Though he is better known for his orchestral compositions, Hector
Berlioz (1803–1869) composed more than fifty songs. Les nuits
d’été, his only song cycle is about longing, love and desire. It was
written between 1840-1841 and consists of six poems by Théophile
Gautier. After being neglected for many years, Les nuits d’été has
recently experienced a resurgence in popularity.
Berlioz was the first major composer to write his memoirs, leaving
us with unprecedented insight into his life and compositions.
Interestingly though, Berlioz gives no indication of why he wrote
this song cycle, giving way to speculation that it was a deeply
personal composition. Berlioz did not regard the set of songs as a
traditional song cycle, but rather a collection of poems, linked by
the poet and common thematic material—the journey of love.
Beginning Les nuits d’été, “Villanelle” celebrates young lovers. The
form is strophic, following traditional villanelles (form of poetry). It
is a lovely, melodic song– portraying a young couple, the pleasures
of spring and the aesthetic experience of nature.
“Au cimetière,” the fifth in the cycle, laments the loss of the
beloved, who is now a distant memory. A ghostly vision of the
beloved appears, veiled in white, distressing the lover.
In the final song, “L’île inconnue,” the lover is renewed with a sense
of hope, and melodious optimism reappears in the music. Even
though the narrator suggests that true, everlasting love is rare, the
lover sets forth with his beloved in search of the unknown isle of
love unchanging.
EDUARDO LALO
“Vainement, ma bien-aimée” from Le Roi d’Ys
French composer Eduardo Lalo (1823–1892) was a late Romantic
composer most well known for his string compositions. Lalo’s wife,
a contralto, awakened his interest in opera. His operatic works
did not gain popularity, and Lalo returned to chamber music
composition for the bulk of his career.
The opera Le Roi d’Ys premiered in 1888 and was criticized for
being too “Wagnerian.” Even though some of Lalo’s orchestration
has decidedly Wagnerian undertones, the more traditional French
style cuts through the drama, with light melodies and delicate
harmonies. The story of Le Roi d’Ys was adapted from an ancient
Breton legend of the island city of Ys (pronounced Ees) by Edouard
Blau. Ys was swallowed up by the ocean after dams protecting the
city were opened during high tide. Legend claims on a calm day,
bells from the cathedrals can be heard from beneath the ocean.
Debussy’s La cathédrale engloutie is also based on this story.
“Vainement, ma bien-aimée” is the most frequently recorded aria
from the opera. The knight
Mylio tries to persuade Princess Rozenn to leave her chaperones
and join him early for their wedding. Mylio anxiously awaits his
bride and proclaims the depths of his love.
PYOTR ILYICH TCHAIKOVSKY
“Kuda, kuda vy udalilis” from Eugene Onegin
Tchaikovsky (1840–1893), a late Romantic Russian composer,
studied at the Saint Petersburg Conservatory and received a
cosmopolitan western music education. Tchaikovsky’s style was
decidedly traditional, leaning towards Classicism, which set him
apart from the nationalistic Russian style of his contemporaries
known as The Five (Balakirev, Cui, Mussorgsky, Rimsky-Korsakov
and Borodin). As his compositional style was not distinctly
European or Russian, but rather a mix of the two, his music often
received mixed reviews.
Tchaikovsky began composing the opera Eugene Onegin after
his failed ballet, Swan Lake, which incidentally became one of his
most popular works. The libretto is based on Alexander Pushkin’s
novel by the same title, adapted by Tchaikovsky himself. It was
an immensely popular novel in verse (as popular as Pride and
Prejudice in England), which captivated the people of Russia. After
Tchaikovsky finished his adaptation, the story of Eugene Onegin
was almost unrecognizable– to the dismay of the Russian people.
Despite the changes to the story, the opera was a success; Eugene
Onegin premiered in 1897.
In “Kuda, kuda vy udalilis,” Lenksy, who is affianced to Olga, awaits
a duel at dawn with Onegin after he offends her. Knowing he
will mostly likely die, Lensky’s only regret would be never seeing
Olga again. Tchaikovsky’s ability to understand the plight of his
characters draws parallels and brings an emotional depth to the
aria with dignified sentiment.
HEITOR VILLA-LOBOS
“Canção do poeta do século XVIII”; “Evocação”;
“Samba Classico”
Heitor Villa-Lobos (1887–1891) was a prolific Brazilian composer
(having written over 2000 works) and is regarded as the most
significant South American composer in history. After years of
studying folk songs and the culture of Brazil, Villa-Lobos was
responsible for the development of the modern Brazilian style of
music. Greatly influenced by the German Romantic composers,
Villa-Lobos sought to combine Old World traditions with his
Brazilian culture, often joining Brazilian folklore with post-Romantic
tonality. In a radio interview in Paris, Villa-Lobos said, “I have
always searched for a synthesis between Western culture and that
of my own country.” Tonight’s three songs exhibit Villa-Lobos’
sentiment.
In “Canção do poeta do século XVIII,” Villa-Lobos sets a text by
Portuguese Poet Alfredo Ferreira. Villa-Lobos often blends art
song with the popular ballad when setting South American poetry
to music. In this dreamlike song, the poet imagines a walk in the
moonlight with his love, but like the moon, she is just out of reach.
“Evocação,” with a text by Villalba Filho (Villa-Lobos’ pseudonym),
is from Modinhas e canções, a set of songs characterizing the
Brazilian nationalistic style. An Evocação is the idea of realizing
the invisible in a visible reality, and in this song, the narrator
believes true Romantic love can only be realized in the imagination.
“Evocação” begins as a waltz, an important genre of Brazilian
popular music. The dotted dance rhythm of the first section is
springy and energetic, and the second section gives way to a more
melancholy texture.
“Samba Clássico” celebrates a vision for Brazilian nationalism that
transcends race and religion in the wake of political turmoil and the
abolition of slavery in Brazil. The samba is a lively and rhythmic
native Brazilian dance. The piano’s introduction leaves no doubt
as to the vivacious nature of this song. The tempo slows to a more
moderate pace with the entrance of the lyrical vocal line, which
is reverent and reflective, praising the samba and its communion
with Brazil’s culture. The lively piano theme reenters and ushers
the music into the finale, this time with the vocal line joining the
piano—singing praise of the Brazilian people and country. The vocal
line ascends to the climax of the song with “We’ll rise up!” and
concludes dramatically—“Samba!”
Texts and Translations
Franz Paul Lachner (1803-1890)
Das Fischermädchen, op. 33, nr. 10
The Fisher Maiden
Text: Heinrich Heine (1797-1856)
Translation: Celia Sgroi
Du schönes Fischermädchen,
Treibe den Kahn ans Land;
Komm zu mir und setze dich nieder,
Wir kosen Hand in Hand.
You lovely fisher girl,
Row your boat to shore;
Come to me and sit down,
We’ll cuddle hand in hand.
Leg an mein Herz dein Köpfchen
Und fürchte dich nicht zu sehr;
Vertraust du dich doch sorglos
Täglich dem wilden Meer.
Lay your head on my breast
And don’t be so afraid;
You trust yourself without care
Daily to the untamed sea
Mein Herz gleicht ganz dem Meere,
Hat Sturm und Ebb’ und Flut,
Und manche schöne Perle
In seiner Tiefe ruht.
My heart is like the ocean,
Has storm and ebb and flood,
And many a lovely pearl
Rest in its depth.
Robert Schumann (1810-1856)
Liederkreis Op. 24
Text: Heinrich Heine (1797-1856)
Translation: Richard Wigmore
I.
Morgens steh’ ich auf und frage:
Kommt feins Liebchen heut?
Abends sink’ ich hin und klage:
blieb sie auch heut.
Each morning I get up and ask:
will my sweetheart come today?
At evening I sink down and lament:
today, too, she stayed away.
In der Nacht mit meinem Kummer
Lieg’ ich schlaflos, wach;
Träumend, wie im halben Schlummer,
Träumend wandle ich bei Tag.
At night, with my grief,
I lie sleepless, awake;
in the daytime I wander
Dreaming, as if half-asleep.
II.
Es treibt mich hin, es treibt mich her!
Noch wenige Stunden, dann soll ich sie schauen,
Sie selber, die schönste der schönen Jungfrauen;
Du armes Herz, was pochst du so schwer!
Die Stunden sind aber ein faules Volk!
Schleppen sich behaglich träge,
Schleichen gähnend ihre Wege; –
Tummle dich, du faules Volk!
I am driven to and fro!
A few more hours and I shall see her,
the fairest of the maidens.
Poor heart, how hard you beat!
But the hours are a lazy lot!
They shuffle lethargically, as they please,
and, yawning, crawl on their way.
Look sharp, you lazy lot!
Tobende Eile mich treibend erfaßt!
Aber wohl niemals liebten die Horen; –
Heimlich im grausamen Bunde verschworen,
Spotten sie tückisch der Liebenden Hast.
Raging impatience grips me, urging me on.
But the hours can never have loved.
Secretly sworn to a cruel alliance
they spitefully mock lovers’ haste.
III.
Ich wandelte unter den Bäumen
Mit meinem Gram allein;
Da kam das alte Träumen
Und schlich mir ins Herz hinein.
I wandered beneath the trees
alone with my grief.
Then dreams of old came
and stole into my heart.
Wer hat euch dies Wörtlein gelehret,
Ihr Vöglein in luftiger Höh’?
Schweigt still! wenn mein Herz es höret,
Dann tut es noch einmal so weh.
Who taught you that word,
birds in the airy heights?
Hush! When my heart hears it
once more it aches.
“Es kam ein Jungfräulein gegangen,
Die sang es immerfort,
Da haben wir Vöglein gefangen
Das hübsche, goldne Wort.”
“A maiden came walking,
who sang it all the time.
Then we birds took up
that lovely, golden word.”
Das sollt ihr mir nicht mehr erzählen,
Vöglein wunderschlau;
Ihr wollt meinem Kummer mir stehlen,
Ich aber niemandem trau’.
You should not tell me this, Ihr
birds of wondrous cunning.
You should steal my grief from me,
but I trust no one with it.
IV.
Lieb’ Liebchen,
leg’s Händchen aufs Herze mein;
Ach, hörst du, wie’s pochet im Kämmerlein?
Da hauset ein Zimmermann schlimm und arg,
Der zimmert mir einen Totensarg.
Dearest sweetheart,
lay your hand on my heart.
can you hear how it pounds in its room?
A carpenter lodges there, vile and wicked,
building me a coffin.
Es hämmert und klopfet bei Tag und bei Nacht;
Es hat mich schon längst um den Schlaf gebracht.
Ach! sputet euch, Meister Zimmermann,
Damit ich balde schlafen kann.
The hammering and banging, day and night,
has long robbed me of sleep.
Hurry, master carpenter,
that I soon may sleep.
V.
Schöne Wiege meiner Leiden,
Schönes Grabmal meiner Ruh’,
Schöne Stadt, wir müssen scheiden, –
Lebe wohl! ruf’ ich dir zu.
Fair cradle of my sorrows,
fair tombstone of my peace,
fair town, we must part.
Farewell, I cry to you.
Lebe wohl, du heil’ge Schwelle,
Wo da wandelt Liebchen traut;
Lebe wohl! du heil’ge Stelle,
Wo ich sie zuerst geschaut.
Farewell, sacred threshold
where my dearest love walks.
Farewell, sacred spot
where I first saw her.
Hätt’ ich dich doch nie geseh’n,
Schöne Herzenskönigin!
Nimmer wär’ es dann geschehen,
Daß ich jetzt so elend bin.
Would that I had never seen you,
fair queen of my heart.
Then it would never have happened
that I am now so wretched.
Nie wollt’ ich dein Herze rühren,
Liebe hab’ ich nie erfleht;
Nur ein stilles Leben führen
Wollt’ ich, wo dein Odem weht.
I never wished to touch your heart,
I have never begged for love.
All I wished was to lead a tranquil life
where you breathed.
Doch du drängst mich selbst von hinnen,
Bittre Worte spricht dein Mund;
Wahnsinn wühlt in meinen Sinnen,
Und mein Herz ist krank und wund.
But you yourself are driving me away.
Your lips speak bitter words.
Madness gnaws at my senses,
and my heart is sick and wounded.
Und die Glieder matt und träge
Schlepp’ ich fort am Wanderstab,
Bis mein müdes Haupt ich lege
Ferne in ein kühles Grab.
And with weary, listless limbs
I will trudge away on my stick,
till I lay down my tired head
in a cool, distant grave.
VI.
Warte, warte, wilder Schiffsmann,
Gleich folg’ ich zum Hafen dir;
Von zwei Jungfraun nehm’ ich Abschied,
Von Europa und von Ihr.
Wait, wait, rough sailor,
I’ll follow you now to the port.
I am taking my leave of two maidens,
of Europe and of Her.
Blutquell, rinn’ aus meinen Augen,
Blutquell, brich aus meinem Leib,
Daß ich mit dem heißen Blute
Meine Schmerzen niederschreib’.
Stream of blood, flow from my eyes,
stream of blood, gush from my body
That with the hot blood
I may write down my sorrows.
Ei, mein Lieb, warum just heute
Schauderst du, mein Blut zu sehn?
Sahst mich bleich und herzeblutend
Lange Jahre vor dir steh’n!
My love, why just today
do you recoil at the sight of my blood?
For long years you have seen me before you,
pale and with bleeding heart.
Kennst du noch das alte Liedchen
Von der Schlang’ im Paradies,
Die durch schlimme Apfelgabe
Unsern Ahn ins Elend stieß.
Alles Unheil brachten Äpfel!
Do you remember the old tale
Of the serpent in Paradise,
which through the wicked gift of an apple
cast our forebears into misery?
Apples have brought all our misfortunes.
Eva bracht’ damit den Tod,
Eris brachte Trojas Flammen,
Du brachst’st beides, Flamm’ und Tod.
With them Eve brought death,
and Eris the flames of Troy.
You have brought both—flames and death.
VII.
Berg’ und Burgen schaun herunter
In den spiegelhellen Rhein,
Und mein Schiffchen segelt munter,
Rings umglänzt von Sonnenschein.
Mountains and castles gaze down
into the clear, mirroring Rhine.
And my little boat sails blithely along,
surrounded by glistening sunlight.
Ruhig seh’ ich zu dem Spiele
Goldner Wellen, kraus bewegt;
Still erwachen die Gefühle,
Die ich tief im Busen hegt’.
Calmly I watch the play
of the golden, rippling waves.
Softly those feelings awaken
which I cherished deep in my heart.
Freundlich grüssend und verheißend
Lockt hinab des Stromes Pracht;
Doch ich kenn’ ihn, oben gleißend,
Birgt sein Innres Tod und Nacht.
Sweetly greeting, promising,
the river’s splendour lures me down;
But I know it—sparkling on the surface,
it hides night and death in its depths.
Oben Lust, im Busen Tücken,
Strom, du bist der Liebsten Bild!
Die kann auch so freundlich nicken,
Lächelt auch so fromm und mild.
Joy above, malice in its heart:
river, you are the image of my love.
She can nod just as sweetly,
smile just as gently and innocently.
VIII.
Anfangs wollt’ ich fast verzagen,
Und ich glaubt’, ich trüg’ es nie;
Und ich hab’ es doch getragen –
Aber fragt mich nur nicht, wie?
At first I almost despaired,
thinking I could never bear it.
Yet borne it I have,
but do not ask me how.
IX.
Mit Myrten und Rosen, lieblich und hold,
Mit duft’gen Zypressen und Flittergold,
Möcht’ ich zieren dieß Buch wie ‘nen Totenschrein,
Und sargen meine Lieder hinein.
With myrtles and roses, charming and dear,
with fragrant cypresses and gold tinsel
I would decorate this book like a coffin.
And bury my songs within it
O könnt’ ich die Liebe sargen hinzu!
Auf dem Grabe der Liebe
wächst Blümlein der Ruh’,
Da blüht es hervor, da pflückt man es ab, –
Doch mir blüht’s nur,
wenn ich selber im Grab.
Oh, could I but bury my love there too!
On love’s grave
grows the flower of peace;
there it blossoms, there it is picked.
For me it will bloom only
when I am in my grave.
Hier sind nun die Lieder, die einst so wild,
Wie ein Lavastrom, der dem Ätna entquillt,
Here, then, are songs which once, wild
as a stream of lava gushing from Etna,
Hervorgestürtzt aus dem tiefsten Gemüt,
Und rings viel blitzende Funken versprüht!
burst from the depths of my soul,
showering many flashing sparks around.
Nun liegen sie stumm und totengleich,
Nun starren sie kalt und nebelbleich,
Doch aufs neu die alte Glut sie belebt,
Wenn der Liebe Geist einst über sie schwebt.
Now they lie mute, as if dead,
rigid, cold, pale as mist;
but the old fire will revive them afresh
if ever love’s spirit should hover over them.
Und es wird mir im Herzen viel Ahnung laut:
Der Liebe Geist
einst über sie taut;
Einst kommt dies Buch
in deine Hand,
Du süßes Lieb im fernen Land.
Many an intimation stirs within my heart:
the spirit of love
will one day dawn above them,
and one day this book
will come into your hands,
my sweet love, in a far-off land.
Dann löst sich des Liedes Zauberbann,
Die blaßen Buchstaben schaun dich an,
Sie schauen dir flehend ins schöne Aug’,
Und flüstern mit Wehmut und Liebeshauch.
The magic spell on my songs shall be broken;
the pale letters shall gaze at you,
gaze beseechingly into your lovely eyes,
and whisper with the melancholy breath of love.
Hugo Wolf (1860-1903)
Text: Joseph von Eichendorff (1788-1857)
Translation: Paul Appleby
Das Ständchen
The Serenade
Auf die Dächer zwischen blassen
Wolken schaut der Mond herfür,
Ein Student dort auf den Gassen
Singt vor seiner Liebsten Tür.
Above the roofs between pale
Clouds, the moon gazes across,
A student there in the street
Sings before his beloved’s door.
Und die Brunnen rauschen wieder
Durch die stille Einsamkeit,
Und der Wald vom Berge nieder,
Wie in alter, schöner Zeit.
And the fountains murmur again
Through the quiet solitude,
As do the woods from the mountain down,
As they did in older, better times.
So in meinen jungen Tagen
Hab ich manche Sommernacht
Auch die Laute hier geschlagen
Und manch lust’ges Lied erdacht.
Like him, in my younger days
Did I on many a summer night
Also play the lute here
And invent many lively songs.
Aber von der stillen Schwelle
Trugen sie mein Lieb zur Ruh,
Und du, fröhlicher Geselle,
Singe, sing nur immer zu!
But away from her silent threshold
Have they carried my love away to rest.
And you, cheerful young man,
Sing, sing ever on!
Heimweh
Homesickness
Wer in die Fremde will wandern,
Der muß mit der Liebsten gehn,
Es jubeln und lassen die andern
Den Fremden alleine stehn.
He who in foreign lands wishes to wander
Must take his beloved with him,
Others, in their celebrations, leave
The stranger standing alone.
Was wisset ihr, dunkele Wipfel,
Von der alten, schönen Zeit?
Ach, die Heimat hinter den Gipfeln,
Wie liegt sie von hier so weit?
What do you know, dark treetops,
Of better, bygone times?
Ah, the homeland beyond the mountains,
Why does it lie so far from here?
Am liebsten betracht’ ich die Sterne,
Die schienen, wie ich ging zu ihr,
Die Nachtigall hör’ ich so gerne,
Sie sang vor der Liebsten Tür.
I loved best to look at the stars
That shone as I went to her;
I loved to hear the nightingale
That sang before my beloved’s door.
Der Morgen, das ist meine Freude!
Da steig’ ich in stiller Stund’
Auf den höchsten Berg in die Weite,
Grüß dich, Deutschland, aus Herzensgrund!
But dawn, that is my delight!
I climb in that peaceful hour
Up the highest mountain in the distance
I greet you, Germany, from my heart!
In der Fremde (VI)
In Foreign Land
Wolken, wälderwärts gegangen,
Wolken, fliegend übers Haus,
Könnt ich an euch fest mich hangen,
Mit euch fliegen weit hinaus!
Clouds, heading towards the woods,
Clouds, flying over the houses,
Would that I could cling to you,
And with you fly far away!
Tag’lang durch die Wälder schweif ich,
Voll Gedanken sitz ich still,
In die Saiten flüchtig greif ich,
Wieder dann auf einmal still.
All the long day I roam the woods
Full of reflections, I sit in silence.
I lightly strum my strings,
Then return once more to silence.
Schöne, rührende Geschichten
Fallen ein mir, wo ich steh,
Lustig muß ich schreiben, dichten,
Ist mir selber gleich so weh.
Beautiful, moving stories
Come to me where I stand,
Joyfully must I write, compose poems,
In equal measure to my own sadness.
Manches Lied, das ich geschrieben
Wohl vor manchem langen Jahr,
Da die Welt vom treuen Lieben
Schön mir überglänzet war;
Many a song that I have written
Many long years ago,
When the world with true love
Sparkled beautifully for me;
Find ich’s wieder jetzt voll Bangen:
Werd ich wunderbar gerührt,
Denn so lang ist das vergangen,
Was mich zu dem Lied verführt.
I find that it fills me with anxiety
To be so completely moved,
For so long ago has passed away
That which drew me to song.
Diese Wolken ziehen weiter,
Alle Vögel sind erweckt,
Und die Gegend glänzet heiter,
Weit und fröhlich aufgedeckt.
These clouds pass-by anew,
All the birds take flight.
And the land before me shines brightly
Revealed from afar as happy.
Regen flüchtig abwärts gehen,
Scheint die Sonne zwischendrein,
Und dein Haus, dein Garten stehen
Überm Wald im stillen Schein.
The rain flies quickly away,
The sun shines in its stead,
And your house, your garden stand
Above the forest in a quiet glow.
Doch du harrst nicht mehr mit Schmerzen,
Wo so lang dein Liebster sei—
Und mich tötet noch im Herzen
Dieser Schmerzen Zauberei.
But you no longer wait in suffering,
Wondering where your love is—
And my heart is broken yet again
By the magical pain of this sadness.
Seemans Abschied
Seaman’s Farewell
Ade, mein Schatz, du mocht’st mich nicht,
Farewell, my love, you didn’t like me,
ich war dir zu geringe. I was too lowly for you.
Einst wandelst du bei Mondenlicht
One night you will wander by moonlight
und hörst ein süßes Klingen: and hear sweet sounds:
Ein Meerweib singt, die Nacht ist lau,
A mermaid is singing, the night is mild,
die stillen Wolken wandern, the quiet clouds drift by,
da denk’ an mich, ‘s ist meine Frau, there think of me, it’s my wife,
nun such’ dir einen Andern! now go find yourself another!
Ade, ihr Landsknecht’, Musketier’!
Farewell, infantrymen and musketeers!
wir zieh’n auf wildem Roße, we ride on wild horses
das bäumt und überschlägt sich schier that rear up and nearly tumble over
vor manchem Felsenschloße. before many a rocky castle.
Der Wassermann bei Blitzesschein
The merman lit by a lightning flash
taucht auf in dunklen Nächten, dives up in the dark night,
der Haifisch schnappt, die Möven schrei’n, the shark snaps, the seagulls cry,
das ist ein lustig Fechten! this is a lively bout!
Streckt nur auf eurer Bärenhaut
Just stretch out your lazy limbs
daheim die faulen Glieder, On your bearskin at home,
Gott Vater aus dem Fenster schaut,
God the Father looks out of his window
schickt seine Sündflut wieder! and sends his deluge again!
Feldwebel, Reiter, Musketier,
Field marshals, cavalry, and musketeers,
sie müssen all’ ersaufen, all must drown,
derweil mit frischem Winde wir while we with a fresh wind at our backs
im Paradies einlaufen. will sail into paradise.
INTERMISSION
Wolfgang Amadeus Mozart (1756-1791)
Libretto: Gottlob Stephanie (1741-1800)
Translation: Camila Argolo Freitas Batista
“O wie ängstlich”
From Die Entführung aus dem Serail
“O how eagerly”
Konstanze, dich wiederzusehen, dich!
O wie ängstlich, o wie feurig
Klopft mein liebevolles Herz!
Und des Wiedersehens Zähre
Lohnt der Trennung bangen Schmerz.
Constanze, to see you once more!
O how eagerly, o how ardently
my lovesick heart is beating!
But the glad tears of our reunion
will erase the anxious pain of separation.
Schon zittr’ ich und wanke,
Schon zag’ ich und schwanke;
Es hebt sich die schwellende Brust!
I already tremble and waver,
quake and falter;
my breast swells to bursting!
Ist das ihr Lispeln?
Es wird mir so bange!
War das ihr Seufzen?
Es glüht mir die Wange!
Täuscht mich die Liebe?
War es ein Traum?
Is that her whisper?
I’m all on fire.
Was that her sigh?
My cheeks are aglow.
Does love deceive me?
Was it a dream?
Hector Berlioz (1803-1869)
Text: Théophile Gautier (1811-1872)
From Les nuits d’été
Translation: Paul Appleby
1. Villanelle
Villanelle
Quand viendra la saison nouvelle,
Quand auront disparu les froids,
Tous les deux, nous irons, ma belle,
Pour cueillir le muguet aux bois;
Sous nos pieds égrénant les perles
Que l’on voit, au matin trembler,
Nous irons écouter les merles siffler.
When the new season comes,
When the frosts have disappeared,
The two of us shall go, my beauty,
To gather the lily-of-the-valley in the woods;
Beneath our feet, scattering the pearls of dew
That one sees trembling in the morning,
We will go listen to the blackbirds whistle.
Le printemps est venu, ma belle;
C’est le mois des amants béni;
Et l’oiseau, satinant son aile,
Dit des vers au rebord du nid.
Oh! viens donc sur le banc de mousse
Pour parler de nos beaux amours,
Et dis-moi de ta voix si douce:
Toujours!
Spring has come, my beauty,
It is the blessed month of lovers,
And the bird, preening its wing
Recites its verses on the edge of the nest.
Oh! come then to this mossy bank
To talk about our beautiful love,
And say to me in your soft voice:
Forever!
Loin, bien loin égarant nos courses,
Faisons fuir le lapin caché,
Et le daim au miroir des sources
Admirant son grand bois penché;
Puis chez nous tout joyeux, tout aises,
En paniers, enlaçant nos doigts,
Revenons rapportant des fraises
Des bois.
Far, very far, straying from our path,
Let’s scare away the hiding rabbit,
And the buck at the mirror of the springs
Admiring his great, suspended antlers;
Then, back home, full of joy and ease,
Entwining our fingers into baskets,
Let us return carrying back wild strawberries
From the woods.
5. Au Cimetière
At the Cemetery
Connaissez-vous la blanche tombe,
Où flotte avec un son plaintif
L’ombre d’un if?
Sur l’if une pâle colombe,
Triste et seule au soleil couchant,
Chante son chant :
Do you know the white tomb
Where floats with a plaintive sound
The shadow of the yew-tree?
On the yew-tree a pale dove,
Sad and alone in the setting sun,
Sings its song.
Un air maladivement tendre,
À la fois charmant et fatal,
Qui vous fait mal,
Et qu’on voudrait toujours entendre;
Un air, comme en soupire aux cieux
L’ange amoureux.
A morbidly tender melody,
At once charming and deadly,
Which causes you harm,
And which one always wishes to hear;
A melody, like celestial sighs
Of an angel in love.
On dirait que l’âme éveillée
Pleure sous terre, à l’unisson
De la chanson,
Et, du malheur d’être oubliée
Se plaint dans un roucoulement
Bien doucement.
It seems the awakened soul
Was weeping beneath the earth in unison
With the song,
And, of the misfortune of being forgotten,
Laments by cooing
Ever so gently.
Sur les ailes de la musique
On sent lentement revenir
Un souvenir;
Une ombre, une forme angélique,
dans un rayon tremblant,
En voile blanc.
On the wings of music
You slowly sense the return of
A memory;
A shadow, an angelic form Passe
Passes in a flickering beam,
In a white veil.
Les belles-de-nuit, demi-closes,
Jettent leur parfum faible et doux
Autour de vous,
Et le fantôme aux molles poses
Murmure en vous tendant les bras:
Tu reviendras?
The belles-de-nuit, half closed,
Cast their faint and sweet perfume
Around you,
And the ghost in formless postures,
Whispers as it stretches out its arms to you:
Will you come back?
Oh! jamais plus, près de la tombe
Je n’irai, quand descend le soir
Au manteau noir,
Écouter la pâle colombe
Chanter, sur la pointe de l’if,
Son chant plaintif!
Oh! Never again near the tomb
Will I go, when evening descends
In its dark mantle
To listen to the pale dove
Singing, atop the yew tree,
Its plaintive song!
6. L’île inconnue
The Unknown Island
Dites, la jeune belle,
Où voulez-vous aller?
La voile enfle son aile,
La brise va souffler!
Tell me, my young beauty,
Where would you like to go?
The wind fills the sails,
And the breeze will blow!
L’aviron est d’ivoire,
Le pavillon de moire,
Le gouvernail d’or fin;
J’ai pour lest une orange,
Pour voile, une aile d’ange;
Pour mousse, un séraphin.
The oar is made of ivory,
The flag of silk,
The rudder of fine gold;
I have for ballast an orange,
For a sail, an angel’s wing;
For cabin boy, a seraph.
Dites, la jeune belle!
Où voulez-vous aller?
La voile enfle son aile,
La brise va souffler!
Tell me, my young beauty!
Where would you like to go?
The wind fills the sails
And the breeze will blow!
Est-ce dans la Baltique?
Dans la mer Pacifique?
Dans l’île de Java?
Ou bien est-ce en Norvége,
Cueillir la fleur de neige,
Ou la fleur d’Angsoka ?
Is it to the Baltics?
To the Pacific Ocean?
To the island of Java?
Or rather to Norway
To pick the snow flower,
Or the flower of Angsoka?
Dites, la jeune belle,
Où voulez-vous aller?
Tell me, my young beauty,
Where would you like to go?
Menez-moi, dit la belle,
À la rive fidèle
Où l’on aime toujours.
—Cette rive, ma chère,
On ne la connaît guère
Au pays des amours.
Take me, said the beauty,
To the faithful shore
Where one is in love forever.
—This shore, my dear,
Is practically unknown
In the land of love.
Où voulez-vous aller?
La brise va souffler!
Where would you like to go?
The breeze will blow!
Édouard Lalo (1823-1892)
Libretto: Édouard Blau (1836-1906)
Translation: Bob Kingston
“Vainement, ma bien-aimée“
“In vain, my beloved” From Le Roi d’Ys
Puisqu’on ne peut fléchir
ces jalouses gardiennes,
Ah! laissez-moi conter mes peines
Et mon émoi!
Since these jealous guardians will not be
moved to mercy,
ah, let me tell you of my anguish
and my torment!
Vainement, ma bien-aimée,
On croit me désespérer :
Près de ta porte fermée.
Je veux encor demeurer!
In vain, my beloved,
do I seem to despair:
next to your closed door
I am determined to stay!
Les soleils pourront s’éteindre,
Les nuits remplacer les jours,
Sans t’accuser at sans me plaindre,
Là je resterai toujours!
Suns may be extinguished,
nights replace days,
but without blaming you and without complaining,
I shall stay here for ever!
Je le sais, ton âme est douce,
Et l’heure bientôt viendra,
Où la main qui me repousse.
Vers la mienne se tendra!
I know that you have a kind heart,
and the hour will soon come
when the hand which now pushes me away
will reach out towards mine!
Ne sois pas trop tardive
À te laisser attendrir!
Si Rozenn bientot n’arrive,
Je vais, hélas! mourir!
Do not delay too long
in allowing yourself to be won over by your tender feelings;
If Rozenn does not appear soon,
I, alas, shall die!
Pyotr Ilyich Tchaikovsky (1840-1893)
Libretto: Konstantine Shilovsky (1849-1893)
Translation: Decca Record Company
“Kuda, kuda vy udalilis”
from Eugene Onegin
“Where, oh where have you gone?”
Kuda, kuda, kuda vi udalilis,
Vesni moyei zlatiye dni?
Shto dyen gryadushchi mnye gotovit?
Yevo moi vzor naprasno lovit:
V glubokoi mglye tayitsa on!
Nyet nuzhdi; prav sudbi zakon!
Padu li ya, streloi pronyonni,
Il mimo proletit ona,
Vsyo blago; bdyeniya i sna
Prikhodit chas opredelyonni!
Blagoslovyen i dyen zabot,
Blagoslovyen i tmi prikhod!
Where, oh where have you gone,
golden days of my youth?
What does the coming day hold for me?
My gaze searches in vain;
all is shrouded in darkness!
No matter: Fate’s law is just.
Should I fall, pierced by the arrow,
or should it fly wide,
’tis all one; both sleeping and waking
have their appointed hour.
Blessed is the day of care,
blessed, too, the coming of darkness!
Blesnyot zautra luch dennitsi
I zayigrayet yarki dyen,
A ya, bit mozhet, ya grobnitsi
Soidu v tayinstvennuyu syen!
I pamyat yunovo poeta,
Poglotit myedlennaya Lyeta.
Zabudet mir menya; no ti!
Ti!... Olga...
Early in the morning the dawn-light gleams
and the day begins to brighten,
while I, perhaps, will enter
the mysterious shadow of the grave
And the memory of a young poet
will be engulfed by Lethe’s sluggish stream.
The world will forget me; but you,
you!… Olga…
Skhazi,
Pridyosh li, dyeva krasoti,
Slezu prolit nad rannei urnoi
I dumat: on menya lyubil!
On mnye yedinoi posvyatil
Rassvyet pechalni zhizni burnoi,
Olga, ya tebya lyubil!
Tebye yedinoi posvyatil
Rassvyet pechalni zhizni burnoi,
Olga, ya tebya lyubil!
Say,
will you come, maid of beauty,
to shed a tear on the untimely urn
and think: he loved me!
To me alone he devoted
the sad dawn of his storm-tossed life! Akh,
Oh, Olga, I loved you,
to you alone I devoted
the sad dawn of my storm-tossed life! Akh,
Oh, Olga, I loved you!
Serdyechni drug, zhelanni drug,
Pridi, pridi! Zhelanni drug,
pridi, ya tvoi suprug, pridi, pridi!
Ya zhdu tebya, zhelanni drug,
Pridi, pridi; ya tvoi suprug!
My heart’s beloved, my desired one,
come, oh come! My desired one,
come, I am your betrothed, come, come!
I wait for you, my desired one,
come, come; I am your betrothed!
Kuda, kuda, kuda vi udalilis,
Zlatiye dni, zlatiye dni moyei vesni?
Where, where, where have you gone,
golden days, golden days of my youth?
Heitor Villa-Lobos (1887-1959)
Canção do poeta do século XVIII
Song of a Poet from the 18th Century
Text: Alfredo Ferreira
Translation: Paul Appleby
Sonhei que a noite era festiva e triste a lua
E nós dois na estrada enluarada fria e nua.
Nuvens a correr embusca de quimeras
E com as nossas illusões de fantasias
De viver como no céu a cantar
uma doce canção que enche de luz
o amor e a vida nas linhas das primaveras.
I dreamt the night was festive and the moon sad
And we two along the cold, bare, moonlit path,
Like clouds, drifted along, searching for chimeras
And our fantastical dream
To live in heaven singing
A sweet song that fills with light
The rows of spring with love and life.
Evocaçao
Evocation
Text: Silvio Salema
Translation: Paul Appleby
Numa noite estrelada de Maio
Sua boca beijei a sonhar
E o perfume do seu quente seio
Pouco a pouco me fez delirar.
Eu senti neste doce momento!
Que a vida p’ra mim era o amor de você.
On a starry night in May,
I kissed your lips as in a dream,
And the perfume of your warm breasts
Little by little made me delirious.
I felt in that sweet moment
That life for me would be love for you.
Nos seus belos cabelos de ouro
Onde o sol se reflete a brilhar
Eu quizera poder meu tesouro,
Entre eles viver ou morrer,
Mas o sonho tão lindo findou-se!
E eu vivo a chorar meu amor por você.
In your beautiful golden hair
Where the sun brightly shines
I would like, my treasure,
To live or die.
But this beautiful dream ended,
And I live to weep for my love of you.
No horizonte azul deste céo
Vivo a recordar meu amor.
Sempre tão distante
Do meu triste olhar
Como a ilusão deste amor,
Ah! Da recordação viverei.
E serei feliz em sonha
Dentro do amor da ilusão...
Assim viver, por você. Ah!
In this way will I live for you.
On the sky’s blue horizon
I live to remember our love—
Always so far from my sad gaze
I live to remember our love—
Always so far from my sad gaze
Like the illusion of this love.
Ah, in these memories will I live,
And will be happy in dreaming
In this love, this illusion,
Samba Clássico
Classic Samba
Text: E. Villaba Filho
Translation: Paul Appleby
Nossa vida vive,
nossa alma vibra,
Nosso amor palpita
na canção do samba.
Our life is lived
Our soul vibrates
Our love throbs
To the song of the samba.
E’a saudade intensa
denma vidainteira,
e’a lembrançaimensa
que jamais se esquece.
It is the intense melancholy
that has followed me my whole life long;
it is the great memory
that is never forgotten.
O! quanta beleza que faz pensar
na doçura de sua melodia!
O! faz viver um sofrimento esquisito,
melancolico e triste!
Tambem temo sabor de alegria
de viver na comunhão dos seres
da terra e docéu do Brasil.
Oh! How all beauty makes us think
of the softness of its melody!
Oh! It gives life to a strange suffering,
melancholy and sad!
Its taste of joy comes from the communion
of all the beings
of the land and the heavens Brazil.
Tudo é bom e justo,
tudo é belo en fim
cheio deesplendor
na grandeza infinda.
E’ feliz quem vive
nesta terra santa
que não elégeraça nem prefere crença.
Everything is good and fair,
everything is beautiful at last,
full of splendor
in the infinite greatness.
Happy is the one who lives
in this sacred land,
which neither judges races
nor gives partiality to any single faith.
O, Minha gente! Minha terra!
Meu pai! Minha patria!
Para frente! A subir! A subir! Sambar!
Oh, my people! My land!
My country! My home!
Let us go forth and dance the samba!
Paul Appleby
Admired for his interpretive depth, vocal strength, and range of expressivity, rising star tenor Paul Appleby is one of the sought-after
voices of his generation. A versatile artist, Appleby is equally in demand on the world’s leading concert, recital, and opera stages.
Following a summer season that introduced Paul Appleby to Glyndebourne in a new production by Barrie Kosky of Händel’s Saul, the
tenor’s 2015­–16 season includes a return to the Metropolitan Opera stage as Belmonte in Die Entführung aus dem Serail conducted
by James Levine and a San Francisco Opera debut as Tamino in The Magic Flute. Concert performances feature collaborations with
Manfred Honeck and the Pittsburgh Symphony in Händel’s Messiah and Mozart’s Coronation Mass, Gustavo Dudamel and the Los
Angeles Philharmonic with performances of the Mozart Requiem, and with Jane Glover and the New York Philharmonic in Händel’s
Messiah. Profoundly committed to the art of song, the tenor makes his Wigmore Hall recital debut accompanied by Malcolm Martineau
and tours North America with pianist Ken Noda presented in performances by Carnegie Hall, Boston’s Celebrity Series, Friends of
Chamber Music of Miami, and the University of Notre Dame. With Steven Blier in December, Paul Appleby served a unique program at
the New York Festival of Song offering the exquisite lyricism of Franz Schubert and The Beatles.
Paul Appleby is a graduate of Metropolitan Opera’s Lindemann Young Artist Development Program and received the 2012 Leonore
Annenberg Fellowship in the Performing and Visual Arts. Other awards include the 2012 Top Prize by the Gerda Lissner Foundation,
2012 Martin E. Segal Award from Lincoln Center, 2011 Richard Tucker Career Grant and George London Foundation Award, and
National Winner of the 2009 Metropolitan Opera National Council Auditions. A recipient of an Artist Diploma in Opera Studies at The
Juilliard School, he has also received a Master’s Degree from Juilliard and a Bachelor’s Degree in English Literature and in Music from
the University of Notre Dame.
NATHAN GUNN,
JULIE GUNN
AND GESUALDO
STRING QUARTET
SUNDAY, APRIL 10
AT 2 P.M.
DeBartolo Performing Arts Center
Leighton Concert Hall
A showcase for the baritone’s lustrous voice is all wintry emotion
and magnetic works in English. Composers include Samuel Barber.
Presented in partnership with the Department of Music.
DEBARTOLO PERFORMING ARTS CENTER
PRESENTING SERIES
The Tallis Scholars
O’Malley Sacred Music Series
Sunday, April 3 at 2 P.M.
Leighton Concert Hall
The Tallis Scholars make a cappella music
with full heart and full voice in recitals
of Renaissance and contemporary sacred
music masterpieces.
PROGRAM
Laetentur caeli
Missa Western Wind
Salve regina
Salve regina
Lamentations I
Lamentations
Vigilate
William Byrd (1540–1623)
John Taverner (1944–2013)
Richard Davy (1465–1507)
William Byrd (1540–1623)
Thomas Tallis (1505–1585)
Alfonso Ferrabosco (1543–1588)
William Byrd (1540–1623)
Reserve tickets now at performingarts.nd.edu
Co-sponsors Sacred Music at Notre Dame and Nanovic Institute for European Studies.
Ticket Office: MON–FRI, NOON–6 P.M. | 574.631.2800