THE FLORIDA STATE UNIVERSITY College of Music presents
Artist in Residence
Ryan Speedo Green, Bass-Baritone Douglas Fisher, Piano
Tuesday, November 15, 2022 7:30 p.m. | Opperman Music Hall
To Ensure An Enjoyable Concert Experience For All…
Please refrain from talking, entering, or exiting during performances. Food and drink are prohibited in all concert halls. Recording or broadcasting of the concert by any means, including the use of digital cameras, cell phones, or other devices is expressly forbidden. Please deactivate all portable electronic devices including watches, cell phones, pagers, hand-held gaming devices or other electronic equipment that may distract the audience or performers.
Recording Notice: This performance may be recorded. Please note that members of the audience may at times be included in this process. By attending this performance you consent to have your image or likeness appear in any live or recorded video or other transmission or reproduction made in conjunction to the performance.
Health Reminder: The Florida Board of Governors and Florida State University expect masks to be worn by all individuals in all FSU facilities.
Florida State University provides accommodations for persons with disabilities. Please notify the College of Music at (850) 644-3424 at least five working days prior to a musical event to request accommodation for disability or alternative program format.
Deep River Traditional
Michelangelo Lieder Hugo Wolf
1. Wohl denk’ ich oft (1860–1903) 2. Alles endet, was entstehet 3. Fühlt meine Seele
Des Knaben Wunderhorn Gustav Mahler 14. Urlicht (1860–1911)
Votre Toast Georges Bizet from Carmen (1838–1875)
INTERMISSION
Come dal ciel precipita Giuseppe Verdi from Macbeth (1813–1901)
Lord God of Abraham Felix Mendelssohn from Elijah (1809–1847)
Three Dream Portraits (1959) Margaret Bonds 3. I, Too, Sing America (1913–1972) text by Langston Hughes
Song to the Dark Virgin (1941) Florence B. Price (1887–1953) text by Langston Hughes
Five Millay Songs Leslie Adams 3. For You There is No Song (b. 1932) text by Edna St. Vincent Millay
The Negro Speaks of Rivers Howard Swanson (1907–1978) text by Langston Hughes
Encore:
This nearly was mine Richard Rodgers/Oscar Hammerstein II from South Pacific (1902–1979)/(1895–1960)
ABOUT THE RESIDENCY
It is our great pleasure to welcome you to the College of Music’s first annual “Artist in Residence” performance featuring Ryan Speedo Green. As many of you may know, Speedo is an alum of the College (MM 2010), and we are so happy to welcome him back into our classrooms and onto our stage. Following his graduation from the College, Speedo went on to become the National Grand Finals winner of the 2011 Metropolitan Opera National Council Auditions and to perform with the Metropolitan Opera, Washington National Opera, Bayerische Staatsoper, Wiener Staatsoper, the LA Philharmonic, Chicago Symphony Orchestra, Boston Symphony Orchestra, and many, many more. During the course of his 3-day residency (November 14-16), Speedo will help students build their musical careers through masterclasses and coachings, along with and this concert, a beautiful program of works by classical and contemporary composers that is open to all. We hope that this will be the first of many such residencies, and look forward to seeing you all here again in the future.
ABOUT THE ARTISTS
Grammy Award winning bass-baritone Ryan Speedo Green has quickly established himself as an artist of international demand at the world’s leading opera houses. The 2022 – 2023 season sees Green’s first leading role at the Metropolitan Opera starring as Emile Griffith in Terrence Blanchard’s Champion, conducted by Yannick Nézet-Séguin and directed by James Robinson. Green also makes his house debut at Opéra national de Paris singing Kurwenal in Tristan und Isolde, conducted by Gustavo Dudamel, and his house debut at Bayerische Staatsoper as Varlaam in Boris Godunov. He also returns to Washington National Opera to sing Ferrando in a new production of Il Trovatore and Orest in a new production of Elektra. Orchestral engagements include Kurwenal in Tristan und Isolde with the LA Philharmonic, his debut with the New York Philharmonic in the world premiere of a piece by Courtney Bryan written for him, Mussorgsky’s Songs and Dances of Death at Carnegie Hall with Daniele Rustioni conducting the Metropolitan Opera Orchestra, and excerpts from Blanchard’s Champion with the Metropolitan Opera Orchestra Chamber Ensemble at Carnegie Hall, conducted by Yannick Nézet-Séguin. Green also appears as a featured artist on the Richard Tucker Gala, and with the Peoria Symphony for Beethoven’s Symphony Number 9. This academic season sees Green as an artist in residence with Florida State University, which will include master classes with vocal students and a solo recital.
Green opened the Metropolitan Opera’s 2021 – 2022 season as Uncle Paul in Terrence Blanchard’s Fire Shut up in my Bones, sang Varlaam in Stephen Wadsworth’s new production of Boris Godunov, reprised his Grammy Award winning role of Jake in Porgy and Bess, Colline in La bohème, and also Truffaldino in Ariadne auf Naxos which was broadcast as part of the Met’s Live in HD series. He also appeared on a special concert to benefit Ukrainian refugees, singing Beethoven’s Symphony Number 9. Additional operatic appearances included Colline in La bohème with the Wiener Staatsoper and in concert performances at the Grand Teton Festival conducted by Donald Runnicles. Green also made his house debut with Washington National Opera as Escamillo in Carmen, directed by Francesca Zambello and conducted by music director Evan Rogister, his house debut at Santa Fe Opera as Basilio in Il Barbiere di Siviglia, and returned to the Tanglewood Festival to sing Commendatore in a concert performance of Don Giovanni.
Orchestral appearances in the 2021 – 2022 season included his role debut as Rocco in Fidelio with the LA Philharmonic conducted by Gustavo Dudamel, Beethoven’s Symphony Number 9 with Philadelphia Orchestra at Carnegie with Yannick Nezet Seguin, Toronto Symphony Orchestra, Dallas Symphony at Vail, and Orchestre Symphonique de Montréal. He also appears in a special concert honoring Dr. Martin Luther King with the Virginia Symphony, and Copland’s Old American Songs with Elgin Symphony. Green also returned to University of Hartford’s Hartt School of Music for a special week-long residency and recital, and appeared in recital with the Tryon Concert Association and Matinee Musicale Cincinnati.
In the fall of 2016, Little, Brown published Sing for Your Life, by New York Times journalist Daniel Bergner. The book tells the story of Green’s personal and artistic journey: from a trailer park in southeastern Virginia and from time spent in Virginia’s juvenile facility of last resort to the Met stage. The New York Times Book Review called the book “one of the most inspiring stories I’ve come across in a long time,” and the Washington Post called it a “vital, compelling, and highly recommended book.” Sing for your Life has been honored with a number of recognitions including the New York Times bestseller and editor’s choice, a Washington Post Notable Book, and a Publishers Weekly Book of the Year.
Highlights of Green’s performances at the Metropolitan Opera include his role debut as Jake in James Robinson’s new production of Gershwin’s Porgy and Bess which won a Grammy Award, Colline in the iconic Zeffirelli production of La bohème, which the New York Times labeled Green “the real showstopper,” and the New York Observer marked this performance as his “breakthrough as a star.” Additional highlights include the King in Aida, Oroe in Semiramide, Rambo in the premier of The Death of Klinghoffer conducted by David Robertson, the Second Knight in a new production of Parsifal which was broadcast as part of the Met’s Live in HD program, the Bonze in Madama Butterfly, and the Jailer in Tosca.
Additional operatic highlights include Jake in Porgy and Bess with Theatre an der Wien, Ferrando in Il trovatore with Opera de Lille’s traveling production, Third King in Die Liebe der Danae with the Salzburg Festival, his house and role debut as Osmin in the James Robinson production of Die Entführung aus dem Serail at Houston Grand Opera, his house debut with Palm Beach Opera singing both Colline in La bohème and Sprecher in Die Zauberflöte, and his house and role debut as Escamillo in Carmen with Opera San Antonio.
At the Wiener Staatsoper, Green has been seen as Fasolt in Das Rheingold, Don Basilio in Il Barbiere di Siviglia, Varlaam in Boris Godunov, Ferrando in Trovatore, Raimondo in Lucia di Lammermoor, and Banquo in Macbeth, Sarastro in Die Zauberflöte, Der Einarmige in Die Frau ohne Schatten, Sparafucile in a new production of Rigoletto, Lodovico in Otello, Angelotti in Tosca, Timur in a new production of Turandot, Peneios in Daphne, Fouquier-Tinville in Andrea Chénier, the Monk in Don Carlo, the Pope in Lady Macbeth of Mtsensk, and the King in Aida.
Orchestral appearances include Beethoven’s Symphony Number 9 with Los Angeles Philharmonic, conducted by Gustavo Dudamel at the Hollywood Bowl, the Philadelphia Orchestra, the Chicago Symphony Orchestra at the Ravinia Festival, the Florida Symphony and Norwalk Symphony Orchestras.
Additional orchestral appearances include his debut with the Mostly Mozart Festival singing Mozart’s Requiem with Louis Langrée, appearances with Tanglewood Festival for Verdi’s Requiem with the Tanglewood Music Festival conducted by Andris Nelsons, and Walton’s Belshazzar’s Feast with Bramwell Tovey conducting the Boston Symphony Orchestra, appearing as featured soloist with San Diego Symphony for the opening of their new outdoor venue, The Shell, an All Star Concert with Isabel Leonard at Austin Opera, which will be broadcast on Austin PBS, his debut with the Brevard Music Festival singing Verdi’s Requiem, Strauss’s Daphne with the Cleveland Orchestra conducted by music director Franz Welser-Möst, his debut with the Boston Symphony Orchestra as the Second Soldier in Salome under the baton of Andris Nelsons, Mahler’s Symphony No. 8 with the Ravinia Festival conducted by Marin Alsop, an appearance with the Chamber Music Society of Lincoln Center for Bach’s Ich habe genug with the Orion String Quartet, and Mozart’s Coronation Mass with the Virginia Symphony.
Recital engagements include his debut at the Ravinia Festival with pianist Adam Nielsen, at the Terrace Theatre at the Kennedy Center as winner of the Marian Anderson Vocal Award from Washington National Opera, with the George London Foundation at the Morgan Library in New York, accompanied by Ken Noda, with Dayton Opera at the Schuster Performing Arts Center, and a recital and residency at the Torggler Summer Vocal Institute at Christopher Newport University in his native Virginia.
Honors and awards include National Grand Finals winner of the 2011 Metropolitan Opera National Council Auditions, a 2014 George London Foundation Award, a 2014 Annenberg grant recipient, a 2014 Gerda Lissner Foundation First Prize winner, both
the Richard and Sara Tucker Grants from the Richard Tucker Foundation, and a finalist in the Palm Beach Opera Competition. Green was also the first Artist in Residence for the Texas Opera Alliance, where he held masterclasses and community events for Houston Grand Opera, Dallas Opera, Austin Opera, Fort Worth Opera, and Opera San Antonio.
A native of Suffolk, Virginia, Green received the Master of Music degree from Florida State University, the Bachelor of Music degree from the Hartt School of Music, and was a member of the Metropolitan Opera Lindemann Young Artist Development Program. Green currently sits on the Board of Regents at University of Hartford.
Douglas Fisher has enjoyed a long and varied career as conductor, collaborative pianist, vocal coach, educator, and administrator. After completing Bachelor’s and Master’s degrees in Piano Performance at Florida State University, he moved to New York City and embarked on a freelance career as a recital accompanist, vocal coach, opera chorus master, and assistant conductor and was active in regional opera companies and recital venues across the United States. During this period of his career, he worked closely with Martin Katz, one of the premier collaborative pianists and teachers in the field. He developed close relationships with several famous singers and played recitals for Marilyn Horne, Frederica von Stade, Anna Moffo, Judith Blegen, and Dame Kiri Te Kanawa, among others. A career highlight came when he stepped in on a single day’s notice to play a recital for Dame Kiri at the Metropolitan Opera House, replacing James Levine after the music director of the Met sustained an injury to his hand. During this period, Fisher also worked at several summer opera festivals and regional opera houses, including Santa Fe Opera, Chautauqua Opera, Opera Columbus, and Augusta Opera.
He began his career as an educator at Queens College, City University of New York, where he taught collaborative piano, foreign language diction, and opera workshop. He subsequently served as an interim professor of accompanying at the University of Southern California for one semester before accepting a position at his alma mater, FSU. He maintained his professional work through summer residencies at Wolf Trap Opera, Central City Opera, and the Music Academy of the West in Santa Barbara, CA and became the principal conductor and Director of Opera Activities at the University, taking on the responsibilities of administrating the opera program in addition to conducting and teaching. Concluding a thirty-two year career at FSU, he retired from the faculty earlier this year after having conducted over seventy opera productions for Florida State Opera. Many of his students have established significant careers as conductors, opera administrators, vocal coaches and singers in the United States and throughout the world.
Rheingold
Sanft schloß Schlaf dein Aug’; wir Beide bauten Schlummers baar die Burg. Mächt’ger Müh’ müde nie, stauten starke Stein’ wir auf; steiler Thurm, Thür’ und Thor, deckt und schließt im schlanken Schloß den Saal. Dort steht’s was wir stemmten, schimmernd hell, bescheint’s der Tag; zieh’ nun ein, uns zahl’ den Lohn!
Bedungen ist, was tauglich uns dünkt: gemahnt es dich so matt? Freia, die Holde, Holda, die Freie, vertragen ist’s, sie tragen wir heim.
Was sagst du? ha! Sinn’st du Verrath? Verrath am Vertrag? Die dein Speer birgt, sind sie dir Spiel, des berathnen Bundes Runen?
Lichtsohn du, leicht gefügter! hör’ und hüte dich; Verträgen halte Treu’! Was du bist, bist du nur durch Verträge; bedungen ist, wohl bedacht deine Macht: bist weiser du als witzig wir sind, bandest uns Freie zum Frieden du: all’ deinem Wissen fluch’ ich, fliehe weit deinen Frieden, weißt du nicht offen, ehrlich und frei Verträgen zu wahren die Treu’! Ein dummer Riese räth dir das: Du Weiser, wiss’ es von ihm!
Höhn’st du uns? ha, wie unrecht! Die ihr durch Schönheit herrscht, schimmernd hehres Geschlecht, wir thörig strebt ihr nach Thürmen von Stein, setzt um Burg und Saal Weibes Wonne zum Pfand! Wir Plumpen plagen uns schwitzend mit schwieliger Hand, ein Weib zu gewinnen, das wonnig und mild bei uns Armen wohne: und verkehrt nenn’st du den Kauf?
Soft sleep closed thine eyes; while we twain unslumb’ring built the walls. Mighty toil tired us not, heavy stones we heaped on high; lofty tower, gate and door guard and keep thy castle halls secure. There stands what we built, shining bright in daylight’s beams: move in now and pay us our wage!
The price was fixed, as fit it was deemed; is all so soon forgot? Freia, the fair one, Holda, the free one, the bargain holds, we bear her with us.
What say’st thou? ha! Traitor art thou? Thy treaty a trick? What thy spear wards serves but for sport, all the runes of weighty bargains?
Son of light, light of spirit! Hear and heed thyself; in treaties aye keep troth! What thou art, art thou only by treaties; by bargains bound, bounded too is thy might: art wiser thou than wary are we, pledged are we freemen in peace to thee: cursed be all thy wisdom, peace be no more between us, if, no more open, honest and free, in bargains thou breakest thy faith! A foolish giant gives this rede: thou wise one, learn it from him!
Mock’st thou us? ha, how unjust! Ye who by beauty reign, hallowed radiant race, how vainly strive ye for towers of stone, place for court and hall woman’s beauty in pledge! We dullards plague ourselves, sweating with toil-hardened hands to win us a woman, who, winsome and sweet, should dwell aye among us: and the pact call’st thou a jest?
Wohl denk ich oft an mein vergangnes Leben, Wie es vor meiner Liebe für dich war; Kein Mensch hat damals Acht auf mich gegeben, Ein jeder Tag verloren für mich war; Ich dachte wohl, ganz dem Gesang zu leben, Auch mich zu flüchten aus der Menschen Schar. Genannt in Lob und Tadel bin ich heute, Und, daß ich da bin, wissen alle Leute!
It is quite often that I think of my past life, The way it was before my love for you; Then no one had paid any attention to me,
Each and ever day was lost to me; I thought that I would dedicate my life to song, As well as flee from human throng. Today my name is raised in praise and criticism, And that I exist, - that is known by all.
Alles endet, was entstehet. Alles, alles rings vergehet, Denn die Zeit flieht, und die Sonne Sieht, daß alles rings vergehet, Denken, Reden, Schmerz, und Wonne; Und die wir zu Enkeln hatten Schwanden wie bei Tag die Schatten, Wie ein Dunst im Windeshauch. Menschen waren wir ja auch, Froh und traurig, so wie ihr, Und nun sind wir leblos hier, Sind nur Erde, wie ihr sehet. Alles ended, was entstehet. Alles, alles rings vergehet.
Fühlt meine Seele das ersehnte Licht Von Gott, der sie erschuf? Ist es der Strahl Von andrer Schönheit aus dem Jammertal, Der in mein Herz Erinnrung weckend bricht?
Ist es ein Klang, ein Traumgesicht, Das Aug und Herz mir füllt mit einem Mal In unbegreiflich glüh’nder Qual, Die mich zu Tränen bringt? Ich weiß es nicht.
Was ich ersehne, fühle, was mich lenkt, Ist nicht in mir: sag mir, wie ich’s erwerbe? Mir zeigt es wohl nur eines Andren Huld; Darein bin ich, seit ich dich sah, versenkt. Mich treibt ein Ja und Nein, ein Süß und Herbe -
Daran sind, Herrin, deine Augen Schuld.
Everything ends which comes to be. Everything everywhere passes away, for time moves on, and the Sun sees that everything around passes away, Thinking, speaking, pain, and joy; And those who had been our grand children Have vanished as shadows flee the day, As a breath of wind dispels the mist. Yes, we once were people too, Glad and sad, just like you, And now we are here lifeless, Are but earth, as you can see. Everything ends which comes to be. Everything everywhere passes away. Is my soul feeling the longed for light Of God who created it? Is it the gleam Of a different beauty from the valley of misery, reflecting in my heart and evoking memory?
Is it a sound, a dream vision, That suddenly fills my eye and heart In incomprehensibly burning pain, That brings me to tears? I do not know.
What I long for, the sense of what directs me, Is not within me: Tell me how do I acquire it? To me it reveals only another’s grace and love; I have been their captive since I first saw you. I am driven by a yes and a no, a sweet and a bitter -
That, mistress, is the doing of your eyes.
O Röschen rot!
Der Mensch liegt in größter Not!
Der Mensch liegt in größter Pein! Je lieber möcht’ ich im Himmel sein. Da kam ich auf einen breiten Weg: Da kam ein Engelein und wollt’ mich abweisen.
Ach nein! Ich ließ mich nicht abweisen! Ich bin von Gott und will wieder zu Gott! Der liebe Gott wird mir ein Lichtchen geben, Wird leuchten mir bis in das ewig selig Leben!
O little red rose! Man lies in greatest need! Man lies in greatest pain! How I would rather be in heaven. There came I upon a broad path when came a little angel and wanted to turn me away.
Ah no! I would not let myself be turned away! I am from God and shall return to God! The loving God will grant me a little light, Which will light me into that eternal blissful life!
Die Vätergruft
Es schritt wohl über die Heide Zur alten Kapell’ empor Ein Greis in Waffengeschmeide Und trat in den dunkeln Chor.
Die Särge seiner Ahnen Standen der Hall’ entlang, Aus der Tiefe tät ihn mahnen Ein wunderbarer Gesang.
„Wohl hab ich euer Grüßen, Ihr Heldengeister, gehört, Eure Reihe soll ich schließen. Heil mir! Ich bin es wert!”
Es stand an kühler Stätte Ein Sarg noch ungefüllt; Den nahm er zum Ruhebette, Zum Pfühle nahm er den Schild.
Die Hände tät er falten Auf’s Schwert und schlummerte ein; Die Geisterlaute verhallten, Da mocht es gar stille sein.
Striding across the meadow onward toward the old chapel a greybeard in armor enters the darkened choir.
The sepulchres of his ancestors stand all throughout the hall; from the depths a wondrous song astonishes him.
“Well have I heard your greeting, you ghostly heroes of yore, your ranks should I now join. Heaven grant I may be worthy!”
In this icy place stood a yet empty tomb; he took it for his bed, and for a pillow used his shield. He clasped his hands upon his sword and fell asleep; the ghostly voices ceased, and utter silence reigned.
Trovatore
All’erta! All’erta! Il Conte n’è d’uopo attendere vigilando, ed egli talor presso i veroni della sua casa, intere passa le notti.
Nel Trovator, che dai giardini muove notturno il canto, d’un rivale a dritto ei teme.
La dirò, venite intorno a me. Di due figli vivea padre beato, il buon Conte di Luna. Fida nutrice del secondo nato dormia presso la cuna. Sul romper dell’aurora un bel mattino, ella dischiude i rai e chi trova d’accanto a quel bambino?
Abbietta zingara, fosca vegliarda! Cingeva i simboli di maliarda! E sul fanciullo, con viso arcigno, l’occhio affiggeva torvo, sanguigno! D’orror compresa è la nutrice; acuto un grido all’aura scioglie; ed ecco, in meno che labbro il dice i servi accorrono in quelle soglie; e fra minacce, urli, percosse la rea discacciano ch’entrarvi osò.
Asserì che tirar del fanciullino l’oroscopo volea. Bugiarda! Lenta febbre del meschino la salute struggea!
Coverto di pallor, languido, affranto, ei tremava la sera, e il dì traeva in lamentevol pianto: ammaliato egl’era!
La fattucchiera perseguitata, fu presa e al rogo fu condannata: ma rimanea la maledetta figlia, ministra di ria vendetta! Compi quest’empia nefando eccesso! Sparve il fanciullo, e si rinvenne mal spenta brace nel sito istesso ov’arsa un giorno la strega venne! E d’un bambino, ahimè l’ossame bruciato a mezzo, fumante ancor!
Look sharp there! The Count must be served with vigilance; sometimes, near the house of his beloved, he spends whole nights.
In the Troubadour, whose song rises at night from the gardens, he rightly fears a rival.
I’ll tell you; gather around me. There lived a happy father of two sons, the good Count of Luna. The second boy’s faithful nurse slept next to his cradle. As dawn was breaking one fine morning, she opened her eyes and whom did she find next to that baby?
A dark, despicable gypsy crone! Wearing the symbols of a sorceress! And with a sullen face, over the boy she cast her bloody, baleful eye! The nurse is seized with horror; she utters a sharp cry in the still air; and, in less time than it takes to tell, the servants hasten into the room; and with shouts, blows, threats, they expel the wretch who dared enter.
She claimed that she wanted to cast the boy’s horoscope. The liar! A slow fever began to destroy the poor child’s health! Weak, covered with a strange pallor, broken, he trembled at night, and moaned piteously all day long; he was bewitched!
The witch was pursued, seized and condemned to the stake; but her cursed daughter was left, to administer a horrible revenge! This criminal committed an unspeakable act! The child disappeared, and they found still glowing embers, on the very same spot where the witch had once been burned! And, alas, a child’s skeleton, half-burnt, still smoking!
COLLEGE OF MUSIC
Florida State University Tallahassee, FL | music.fsu.edu
