Program - Renee Fleming with the Colorado Symphony by Colorado Symphony

Colorado Symphony 2017/18 Season Presenting Sponsor:

SPECIAL • 2017/18 RENÉE FLEMING WITH THE COLORADO SYMPHONY COLORADO SYMPHONY BRETT MITCHELL, conductor RENÉE FLEMING, soprano Saturday, September 9, 2017, at 7:30 p.m. Boettcher Concert Hall

PETER BOYER

New Beginnings

R. STRAUSS Four Last Songs Frühling September Beim Schlafengehn Im Abendrot — INTERMISSION — BERNSTEIN/Peress Overture to West Side Story BERNSTEIN “Somewhere” from West Side Story “I Feel Pretty” from West Side Story BERNSTEIN

“Take Care of This House” from 1600 Pennsylvania Avenue

DVOŘÁK

Carnival Overture, Op. 92

DVOŘÁK “Za štíhlou gazelou” (“In pursuit of the slender gazelle”) from Armida, Op. 115 “Songs My Mother Taught Me” from Gypsy Songs, Op. 55 “Song to the Moon” from Rusalka, Op. 114 Renée Fleming appears by arrangement with IMG Artists, www.imgartists.com Ms. Fleming is an exclusive recording artist with Decca and Mercury Records (UK) Ms. Fleming’s gowns are by Vivienne Westwood. Ms. Fleming’s jewelry is by Ann Ziff for Tamsen Z. For more information, please visit www.reneefleming.com

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SPECIAL BIOGRAPHIES BRETT MITCHELL, conductor Hailed for delivering compelling performances of innovative, eclectic programs, Brett Mitchell begins his tenure as Music Director of the Colorado Symphony with the 2017-18 season. Prior to this four-year appointment, he served as Music Director Designate during the 2016-17 season. Mr. Mitchell’s recently announced inaugural season as Music Director of the Colorado Symphony features such guest artists as Renée Fleming and Yo-Yo Ma, as well as a significant commitment to a broad range of American music, from Copland, Bernstein, and Gershwin to Kevin Puts, Mason Bates, and Missy Mazzoli. Other highlights include Mahler’s First Symphony, Stravinsky’s The Rite of Spring, Ravel’s complete Daphnis et Chloé, and Lutosławski’s Concerto for Orchestra. Mr. Mitchell will also lead Handel’s Messiah, Wagner/Maazel’s The Ring without Words, and a two-part celebration of the music of John Williams, featuring a program of Mr. Williams’s concert works and a live-to-film performance of his score for Jurassic Park. Mr. Mitchell is also currently in his fourth and final season as a member of The Cleveland Orchestra’s conducting staff. He joined the orchestra as Assistant Conductor in 2013, and was promoted to Associate Conductor in 2015, becoming the first person to hold that title in over three decades and only the fifth in the orchestra’s hundred-year history. In this role, he leads the orchestra in several dozen concerts each season at Severance Hall, Blossom Music Center, and on tour. From 2013 to 2017, Mr. Mitchell also served as the Music Director of the Cleveland Orchestra Youth Orchestra, performing full subscription seasons at Severance Hall, and leading the orchestra on a four-city tour of China in 2015, marking the ensemble’s second international tour and its first to Asia. In addition to these titled positions, Mr. Mitchell is in consistent demand as a guest conductor. Recent and upcoming guest engagements include the orchestras of Columbus, Dallas, Detroit, Houston, Indianapolis, Milwaukee, Oregon, Rochester, Saint Paul, San Antonio, and Washington (National Symphony Orchestra), among others. His Summer 2017 festival appearances include the Blossom Music Festival with The Cleveland Orchestra, the Grant Park Orchestra in Chicago, the National Repertory Orchestra in Breckenridge, the Sarasota Music Festival, and the Texas Music Festival in Houston. He has collaborated with such soloists as Rudolf Buchbinder, James Ehnes, Augustin Hadelich, Leila Josefowicz, and Alisa Weilerstein. From 2007 to 2011, Mr. Mitchell led over one hundred performances as Assistant Conductor of the Houston Symphony, to which he frequently returns as a guest conductor. He also held Assistant Conductor posts with the Orchestre National de France, where he worked under Kurt Masur from 2006 to 2009, and the Castleton Festival, where he worked under Lorin Maazel in 2009 and 2010. In 2015, Mr. Mitchell completed a highly successful five-year appointment as Music Director of the Saginaw Bay Symphony Orchestra, where an increased focus on locally relevant programming and community collaborations resulted in record attendance throughout his tenure. As an opera conductor, Mr. Mitchell has served as music director of nearly a dozen productions, principally at his former post as Music Director of the Moores Opera Center in Houston, where

SPECIAL BIOGRAPHIES he led eight productions from 2010 to 2013. His repertoire spans the core works of Mozart (The Marriage of Figaro and The Magic Flute), Verdi (Rigoletto and Falstaff), and Stravinsky (The Rake’s Progress) to contemporary works by Adamo (Little Women), Aldridge (Elmer Gantry), Catán (Il Postino and Salsipuedes), and Hagen (Amelia). As a ballet conductor, Mr. Mitchell most recently led a production of The Nutcracker with the Pennsylvania Ballet in collaboration with The Cleveland Orchestra during the 2016-17 season. Born in Seattle in 1979, Mr. Mitchell holds degrees in conducting from the University of Texas at Austin and composition from Western Washington University, which selected him in as its Young Alumnus of the Year in 2014. He also studied at the National Conducting Institute, and was selected by Kurt Masur as a recipient of the inaugural American Friends of the Mendelssohn Foundation Scholarship. Mr. Mitchell was also one of five recipients of the League of American Orchestras’ American Conducting Fellowship from 2007 to 2010. brettmitchellconductor.com

 RENÉE FLEMING, soprano Renée Fleming is one of the most acclaimed singers of our time. In 2013, President Obama awarded her America’s highest honor for an artist, the National Medal of Arts. Winner of the 2013 Grammy Award (her fourth) for Best Classical Vocal Solo, Renée has sung for momentous occasions from the Nobel Peace Prize ceremony to the Diamond Jubilee Concert for Queen Elizabeth II at Buckingham Palace. She brought her voice to a vast new audience in 2014, as the first classical artist to sing the U.S. National Anthem at the Super Bowl. Renée’s 2017 tour schedule includes concerts in New York, London, Vienna, Paris, Madrid, Tokyo, and Beijing. She appeared last season at the Metropolitan Opera and the Royal Opera, Covent Garden, as the Marschallin in a new production of Strauss’s Der Rosenkavalier. In June, she joined with the John F. Kennedy Center for the Performing Arts and the U.S. National Institutes of Health to launch a major initiative devoted to the positive effects of music and music therapy on health and the brain. Decca released Renée’s most recent album Distant Light in January. Recipient of 14 Grammy nominations to date, she has recorded everything from complete operas and song recitals to indie rock, jazz, and the movie soundtrack of The Lord of the Rings: The Return of the King. Among her awards are the Fulbright Lifetime Achievement Medal, Germany’s Cross of the Order of Merit, and France’s Chevalier de la Légion d’Honneur. www.reneefleming.com.

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SPECIAL PROGRAM NOTES PETER BOYER (B. 1970): New Beginnings Peter Boyer was born February 10, 1970, in Providence, Rhode Island. New Beginnings was composed in 2000 and premiered on September 22, 2000, by the Kalamazoo Symphony Orchestra, conducted by Raymond Harvey. The score calls for three flutes (2nd and 3rd doubling piccolo), three oboes (3rd doubling English horn), three clarinets (3rd doubling bass clarinet), three bassoons (3rd doubling contrabassoon), four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, celesta, piano, and strings. Duration is about 12 minutes. This is the first performance by the Colorado Symphony. American composer, conductor, and teacher Peter Boyer received his undergraduate training at Rhode Island College and his master’s and doctoral degrees from the Hartt School of the University of Hartford (at age 25, in 1995, he became the youngest recipient of a doctoral degree recipient in the history of that institution). He also studied privately with John Corigliano in New York, and completed the Film Scoring Program at the USC School of Music, working with the late Oscar-winning composer Elmer Bernstein. Since 1996, Boyer has been on the faculty of Claremont Graduate University in Claremont, California, where he holds the Helen H. Smith Chair in Music. Among his many distinctions are the First Music Carnegie Hall Commission, Lancaster Symphony Composer’s Award, Heckscher Prize from Ithaca College, and a Grammy Award nomination for Best Classical Contemporary Composition for the 2005 Naxos recording of Ellis Island. In addition to his work for the concert hall, Peter Boyer is also active in film and television as a composer and orchestrator, with credits including the Oscar-winning Up. Boyer wrote that New Beginnings, commissioned in 2000 by the Kalamazoo Symphony Orchestra, “is in one movement in four sections. The first section, in fast tempo, is dominated by a fanfare that begins immediately in the trumpets and horns. The energy of the first section subsides to usher in the second section, which is dominated by a melody played by the oboe. The flute introduces a rhythmic idea that accelerates into the third section. The horns introduce a new melody here, while the rest of the orchestra provides a busy accompaniment. The energy of this third section gradually dissipates, and flute and a few violins lead to the fourth section of the piece, which is characterized by mixed meters.”

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RICHARD STRAUSS (1864-1949): Four Last Songs for Soprano and Orchestra Richard Strauss was born June 11, 1864, in Munich and died September 8, 1949, in GarmischPartenkirchen. He composed the Four Last Songs in 1948. They were premiered on May 22, 1950, in London, conducted by Wilhelm Furtwängler with Kirsten Flagstad as soloist. The score calls for piccolo, three flutes (all 3 doubling piccolo), two oboes, English horn, two clarinets, bass clarinet, three bassoons (3rd doubling contrabassoon), four horns, three trumpets, three trombones, tuba, timpani, harp, celesta, and strings. Duration is about 24 minutes. The last performance was on November 20 & 21, 2009, with soprano Christine Brewer and Jeffrey Kahane conducting the orchestra.

SPECIAL PROGRAM NOTES Strauss largely withdrew from public life after 1935 to his villa at Garmisch-Partenkirchen in the lovely Bavarian Alps. He lived there throughout World War II, spared the physical ravages of the conflict, but deeply wounded by the loss of many friends and by the bombing of Dresden, Munich, and Vienna. In October 1945, under the threat of being called before the Denazification Board, he moved to Switzerland, where he lived for the next four years. He was cleared by the Board in June 1948, but chose to stay in Switzerland for medical treatment that winter, returning to Garmisch in May 1949. At the end of 1946, Strauss read Eichendorff’s poem “Im Abendrot”, in which an aged couple, having moved together through the world for a lifetime, look at the setting sun and ask, “Is that perhaps death?” The words matched precisely Strauss’ feelings of those years, and he determined to set the poem for soprano and orchestra. The first sketches for the song appeared early in 1947, and the piece was completed by May 1948. During that time, a friend sent Strauss a volume of poems by Hermann Hesse, and from that collection he chose four verses to form a five-song cycle with the Eichendorff setting. The Hesse pieces were composed between July and September 1948, making them the final works that Strauss completed. (He never finished the last of the Hesse songs.) He died quietly at his Garmisch home exactly one year later. Each of the magnificent Four Last Songs treats metaphorically the approach of death — through images of rebirth in spring, autumn, rest, and sunset — by returning one final time to the soprano voice, for which Strauss had written so much glorious music throughout his career. In these moving compositions, Strauss left what British musicologist Neville Cardus described as “the most consciously and most beautifully delivered ‘Abschied’ [‘farewell’] in all music.”

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LEONARD BERNSTEIN (1918-1990): Selections from West Side Story Leonard Bernstein was born August 25, 1918, in Lawrence, Massachusetts and died October 14, 1990, in New York City. West Side Story was composed in 1957 and opened on Broadway on September 26, 1957. Duration of these selections is about 10 minutes. West Side Story was one of the first musicals to explore a serious subject with wide social implications. In the story, Riff, leader of the Jets, an American street gang, determines to challenge Bernardo, head of the rival Sharks, a group of young Puerto Ricans, to a rumble. Riff asks Tony, his best friend and a co-founder of the Jets, to help. Tony has been growing away from the gang, and senses better things in his future, but agrees. The Jets and the Sharks meet that night at a dance in the gym, where Tony falls in love at first sight with Maria, Bernardo’s sister. Tony promises Maria he will try to stop the rumble, but he is unsuccessful, and becomes involved in the fighting. He kills Bernardo. Maria learns that Tony has slain her brother. He nevertheless comes to her apartment, but she cannot send him away. Tony leaves and hides in Doc’s drugstore. Maria convinces Anita, Bernardo’s girl, of her love for Tony, and Anita agrees to tell Tony that the Sharks intend to hunt him down. She is so fiercely taunted by the Jets at the drugstore, however, that she spitefully tells Tony that Maria has been killed. Tony numbly wanders the streets and meets Maria. At the moment they embrace, he is shot dead. The Jets and the Sharks appear from the shadows,

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SPECIAL PROGRAM NOTES drawn together by the tragedy. They carry off the body of Tony, followed by Maria. As the plot unfolds, Tony and Maria sing of their longing for a place free from prejudice in a dance performed while a woman’s voice is off-stage heard singing “Somewhere”. When Maria is still unaware of the unfolding tragedy, she excitedly sings “I Feel Pretty”.

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LEONARD BERNSTEIN: “Take Care of This House” from 1600 Pennsylvania Avenue 1600 Pennsylvania Avenue, with book and lyrics by Broadway veteran Alan Jay Lerner (Paint Your Wagon, Brigadoon, My Fair Lady, Camelot, On a Clear Day, Gigi), was Bernstein’s contribution to the United States Bicentennial Celebration in 1976. The musical opened on May 4, 1976, at Broadway’s Mark Hellinger Theater after try-outs in Philadelphia and Washington but ran for just seven performances (“Well, you remember the Titanic …” was Lerner’s wry summation), and it has remained among the least accessible of Bernstein’s works. 1600 Pennsylvania Avenue, subtitled “A Musical About the Problems of Housekeeping,” traces a series of presidencies in the White House as seen through the eyes of the domestic staff. Take Care of This House is sung by Abigail Adams, the wife of President John Adams. Bernstein performed the song (with Frederica von Stade) on the Inaugural Concert at Kennedy Center in January 1977 in honor of President and Mrs. Jimmy Carter.

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ANTONÍN DVOŘÁK (1841-1904): Carnival Overture, Op. 92 Antonín Dvořák was born September 8, 1841, in Nelahozeves, Bohemia (now Czech Republic), and died May 1, 1904, in Prague. He composed the Carnival Overture in 1891, and conducted its premiere on April 28, 1892, in Prague. The score calls for woodwinds in pairs plus piccolo and English horn, four horns, two trumpets, three trombones, tuba, timpani, percussion, harp, and strings. Duration is about 9 minutes. The Overture was last performed on October 3 & 3, 2015, with James Feddeck on the podium. Like almost every musician of the late 19th century, Dvořák had to come to grips with the astounding phenomenon of Richard Wagner and his music dramas. Around 1890, he undertook a study of this grandiloquent music, as well as that of Wagner’s stylistic ally (and father-in-law) Franz Liszt, and he was rewarded with a heightened awareness of the expressive possibilities of orchestral program music. Several important scores from Dvořák’s last years seem to bear the influence of his study of this so-called “Music of the Future”: the five tone poems of 1896-1897 (The Water Goblin, The Noon Witch, The Golden Spinning Wheel, The Wild Dove, and Heroic Song); Silent Woods for Cello and Orchestra; Poetic Tone Pictures for Solo Piano; and the 1892 cycle of three concert overtures: In Nature’s Realm, Carnival, and Othello.

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SPECIAL PROGRAM NOTES In his study of the composer, John Clapham indicated that Dvořák intended the triptych of overtures to represent “three aspects of the life-force’s manifestations, a force which the composer designated ‘Nature,’ and which not only served to create and sustain life, but also, in its negative phase, could destroy it.” More specifically, Otakar Šourek noted that they depicted “the solemn silence of a summer night, a gay whirl of life and living, and the passion of great love.” Dvořák himself said that the Carnival Overture was meant to depict “a lonely, contemplative wanderer reaching at twilight a city where a festival is in full swing. On every side is heard the clangor of instruments, mingled with shouts of joy and the unrestrained hilarity of the people giving vent to their feelings in songs and dances.” Dvořák evoked this scene with brilliant music given in the most rousing sonorities of the orchestra. Into the basic sonata plan of the piece, he inserted, at the beginning of the development section, a haunting and wistful paragraph led by the English horn and flute to portray, he said, “a pair of straying lovers,” the wanderer apparently having found a companion. Following this tender, contrasting episode, the festive music returns and mounts to a spirited coda to conclude this joyous, evergreen Overture.

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ANTONÍN DVOŘÁK: Za štíhlou gazelou (“In pursuit of the slender gazelle”) from Armida, Op. 115 Armida (1903), Dvořák’s last opera, is based on Gerusalemme liberata (1581), Torquato Tasso’s epic tale of the First Crusade to liberate Jerusalem (1096-1099), which also served as the basis for works by Monteverdi, Handel, Haydn, Lully, Salieri, Rossini, Gluck, Brahms, and dozens of others. Dvořák’s version of the story, set to a libretto by the Czech lyric poet and eight-time Nobel Prize-nominee Jaroslav Vrchlický, opens at the royal palace in Damascus, where King Hydraot is convinced by the magician Ismen that the Christian forces are using the campaign to free Jerusalem only as an excuse to dominate the East. Hydraot sends his daughter, the enchantress Armida, to distract the advancing army by bewitching their leader and sowing dissent among the troops. She refuses until Ismen conjures a magic vision in which she sees the Christian knight Rinaldo, with whom she fell in love when he appeared in her earlier dreams, in pursuit of a gazelle. Armida’s ardor is stirred when she imagines herself pursued, like the gazelle, by Rinaldo and agrees to undertake her difficult task to the enemy encampment to find him.

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ANTONÍN DVOŘÁK: “Songs My Mother Taught Me” from Gypsy Songs, Op. 55 Dvořák wrote the set of Gypsy Songs in January 1880 for Prague-born Gustav Walter, the leading tenor of the Vienna Opera for the three decades after 1856 and a renowned specialist in lieder recitals and the operas of Mozart and Wagner; Walter premiered the Gypsy Songs, in German, at his recital in Vienna on February 4, 1881. The words and spirit of these pieces came from the collection of original poems titled Gypsy Melodies that Adolf Heyduk (1835-

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SPECIAL PROGRAM NOTES 1923), a professor at Písek, fifty miles south of Prague, had published in 1859. Heyduk’s poems were inspired by the traditional verses of the Gypsies of Slovakia, a mountainous land then considered by the more westernized Bohemians to be wilder and more exotic than their own, and they drew from Dvořák settings in which, wrote Alec Robertson in his study of the composer, “He reached his highest pinnacle as a song-writer. Everything is in place here.” The fourth number of the set, widely known as Songs My Mother Taught Me, became one of Dvořák’s most famous and best-loved melodies.

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ANTONÍN DVOŘÁK: “Song to the Moon” from Rusalka Rusalka (1900) tells the story of the water sprite Rusalka who falls in love with a Prince and enlists the aid of a witch to transform herself into a beautiful woman. The Prince returns Rusalka’s affection but he soon finds her cold, and instead marries a young Princess. Rusalka changes back into a sprite. When the Princess betrays her husband, however, the Prince returns to Rusalka in her lake, kisses her, and dies in her arms. In her lovely “Song to the Moon” from Act I, Rusalka appeals to the moon to carry her love to the Prince on its silvery beams.

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SPECIAL TEXT AND TRANSLATIONS Strauss: Four Last Songs Frühling Text by Hermann Hesse (1877-1962)

Spring

In dämmrigen Grüften Träumte ich lang Von deinen Bäumen und blauen Lüften, Von deinem Duft und Vogelgesang.

In dusky graveyards I dreamed long of your trees and blue skies, of your scent and your birdsong.

Nun liegst du erschlossen In Gleiss und Zier Von Licht übergossen Wie ein Wunder vor mir.

Now you lie uncovered glittering and ornamented bathed in light like a jewel before me.

Du kennst mich wieder, Du lockest mich zart, Es zittert durch all meine Glieder Deine selige Gegenwart.

You recognize me, you entice me gently. a shudder runs thought my body your blissful presence.

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SPECIAL TEXT AND TRANSLATIONS September September Text byHermann Hesse (1877-1962) Der Garten trauert, Kühl sinkt in die Blumen der Regen. Der Sommer schauert Still seinem Ende entgegen.

The garden grieves, cool sinks the rain into the flowers, The summer shivers quietly at the prospect of its end.

Golden tropft Blatt um Blatt Nieder vom hohen Akazienbaum. Sommer lächelt erstaunt und matt In den sterbenden Gartentraum.

Golden drop the leaves slowly from the tall acacia tree, Summer smiles faintly and in surprise, in the dying dream of the garden.

Lange noch bei den Rosen Bleibt er stehen, sehnt sich nach Ruh. Langsam tut er die (grossen), Müdegewordenen Augen zu.

For a long time it lingers, upon the roses, longing for the rest. Slowly it closes its great now weary eyes.

Beim Schlafengehn Text byHermann Hesse (1877-1962)

Upon Going to Sleep

Nun der Tag mich müd gemacht, Soll mein sehnliches Verlangen Freundlich die gestirnte Nacht Wie ein müdes Kind empfangen.

Made tired by the day now, my passionate longing shall welcome the starry night like a tired child.

Hände lasst von allem Tun, Stirn vergiss du alles Denken, Alle meine Sinne nun Wollen sich in Schlummer senken.

Hands, leave all your activity, brow, forget all thought, for all my senses are about to go to sleep.

Und die Seele unbewacht Will in freien Flügen schweben, Um im Zauberkreis der Nacht Tief und tausendfach zu leben.

And my soul, unguarded, will float freely, in order to live in the magic circle of the night deep and a thousand-fold.

Im Abendrot Text by Joseph Freiherr von Eichendorff (1788-1857)

At Sunset

Wir sind durch Not und Freude gegangen Hand in Hand, vom Wandern ruhn wir (beide) nun überm stillen Land.

In times of trial and joy we have gone hand in hand, now we can rest from our travels over the still land.

Rings sich die Täler neigen, es dunkelt schon die Luft, zwei Lerchen nur noch steigen nachträumend in den Duft.

All around the valleys descend, the sky is already growing dark, only two larks ascend night-dreaming into the fragrant air.

Tritt her und lass sie schwirren, bald ist es Schlafenszeit, dass wir uns nicht verirren in dieser Einsamkeit.

Come closer and leave them to their fluttering, soon it will be time for sleep. lest we go astray in this lonely hour.

O weiter, stille Friede! So tief im Abendrot. Wie sind wir wandermüde — ist dies etwa der Tod?

Oh, boundless, silent quietude, so profound in the sunset! How tired we are of our travelling — can this perhaps be death? SOUNDINGS 2017/18 | COLORADOSYMPHONY.ORG PROGRAM 9

SPECIAL TEXT AND TRANSLATIONS Leonard Bernstein (1918-1990): Somewhere from West Side Story, Text by Stephen Sondheim (1930- ) There’s a place for us, somewhere a place for us. Peace and quiet and open air wait for us somewhere. There’s a time for us, some day a time for us, Time together with time to spare, time to learn, time to care some day!

Somewhere we’ll find a new way of living, we’ll find a way of forgiving somewhere. There’s a place for us, a time and place for us. Hold my hand and we’re halfway there. Hold my hand and I’ll take you there somehow, some day, somewhere!

Leonard Bernstein (1918-1990): I Feel Pretty from West Side Story Text by Stephen Sondheim (1930- ) I feel pretty, Oh, so pretty, I feel pretty and witty and bright, And I pity Any girl who isn’t me tonight.

I feel pretty, Oh, so pretty That the city should give me its key. A committee Should be organized to honor me.

I feel charming, Oh, so charming, It’s alarming how charming I feel, And so pretty That I hardly can believe I’m real.

I feel dizzy, I feel sunny, I feel fizzy and funny and fine, And so pretty, Miss America can just resign!

See the pretty girl in that mirror there: Who can that attractive girl be? Such a pretty face, Such a pretty dress, Such a pretty smile, Such a pretty me!

I feel stunning And entrancing, Feel like running and dancing for joy, For I’m loved By a pretty wonderful boy!

Leonard Bernstein (1918-1990): Take Care of This House from 1600 Pennsylvania Avenue Text by Alan Jay Lerner (1918-1986) Here in this shell of a house, this house that is struggling to be. falling through the hall, coming straight through the wall, is hope staring down at me, but there’s nothing you can see sadness will flow down a cheek courage stand out like a tree Joy, joy is as bright as a comet in flight. but hope isn’t easy to see.

Take care of this house keep it from harm if bandits break in sound the alarm Care for this house shine it by hand and keep it so clean the glow can be seen all over the land.

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SPECIAL TEXT AND TRANSLATIONS be careful at night, check all the doors, if someone makes off with a dream the dream will be yours. Take care of this house be always on call for this house is the home of us all.

Be careful at night check all the doors if someone makes off with a dream the dream will be yours. Take care of this house be always on call, for this house its the home of us all.

Dvořák: “Za štíhlou gazelou” from Armida Text by Jaroslav Vrchlicky (1853-1912)

As I merrily pursued a gazelle

Za štíhlou gazelou v houštinu setmĕlou ráno jsem s veselou [chvátala] myslí; náhle ve háje tmách divný mne schvátil strach, napjatý luk můj v prach sklonil se svislý!

In pursuit of the slender gazelle into the darkened thicket I hastened at dawn in cheerful spirits; Suddenly in the darkness of the grove a strange fear seized me, and my taut bow drooped to the ground!

Jak zářný archandĕl v zlaté se zbroji skvĕl, v duši mou tisíc střel sypaje zrakem, jak jsem ho ve snĕní vídala v tušení, k nĕmu jsem v mlčení zřela jak mrakem.

Like a radiant archangel he stood there in splendid golden armor, in my soul a thousand arrows dazzled my vision just as I used to see him in my dreams of anticipation, and in silence I gazed at him as if through clouds.

Nežli jsem vztáhla dlaň, šípem sbod’ moji laň, schvátil ji a s ní v pláň pustil se dále, na mĕ se neohlíd’, a přece z duše klid vyrval mi, že cit můj ztápí se v žale.

Before I could move, his arrow struck my doe, he seized her and carried her off into the plain, he did not look back at me, and yet he robbed my heart of all its peace, so that my feelings have turned to grief.

Odešel, jen se mih’, jak paprsk ve vĕtvích, gazelou chtĕla bych ranĕnou býti! S hrdostí jeho šíp nesla bych jistĕ líp, sotva by krok můj shýb’ u cesty kvítí!

He vanished in a flash, like a sunbeam through branches, and I longed to be that wounded gazelle! With pride by his arrow I would gladly be pierced, as easily as my foot tramples the flowers by the roadside!

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SPECIAL TEXT AND TRANSLATIONS Dvořák (1841-1904): Když mne stará matka zpívat, zpívat učívala from Cigánské melodie Text by Adolf Heyduk (1835-1923)

“Songs My Mother Taught Me”

Když mne stará matka zpívat, zpívat učívala, podivno, že často, často slzívala. A teď také pláčem snědé líce mučím, když cigánské děti hrát a zpívat, hrát a zpívat učím!

Songs my mother taught me, In the days long vanished; Seldom from her eyelids were the teardrops banished. Now I teach my children, each melodious measure. Oft the tears are flowing, oft they flow from my memory’s treasure.

Dvořák (1841-1904): Měsíčku na nebi hlubokém from Rusalka Text by Jaroslav Kvapil (1868-1950)

Song to the Moon

Měsíčku na nebi hlubokém, světlo tvé daleko vidí, po světě bloudíš širokém, díváš se v příbytky lidí.

O moon in the velvet heavens, your light shines far, you roam throughout the whole world, gazing into human dwellings.

Měsíčku, postůj chvíli, řekni mi, řekni, kde je můj mily!

O moon, stay a while, tell me where my beloved is!

Řekni mu, střibrný měsíčku, mé že jej objímá rámě, aby se alespoň chviličku vzpomenul ve snění na mně.

O tell him, silver moon, that my arms enfold him, in the hope that for at least a moment he will dream of me.

Zasvěť mu do daleka, řekni mu, řekni, kdo tu naň čeká!

Shine on him, wherever he may be, and tell him of the one who awaits him here!

O mně-li, duše lidská sní, ať se tou vzpomínkou vzbudí; měsíčku, nezhasni, nezhasni!

If a human soul should dream of me, may he still remember me upon awakening; O moon, do not fade away!

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