Sasha Cooke, mezzo-soprano and Jason Vieaux, guitar Program

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ANNIVERSARY

Sasha Cooke, mezzo-soprano and Jason Vieaux, guitar

FRIDAY, MAY 4, 2018 • 8PM Jackson Hall Stage

Individual support provided by

Barbara K. Jackson

RO B ERT A N D M A RG RI T

MONDAVI CENTER

FO R T H E PERFO R M I N G A RTS PRES EN TS

PROGRAM

Sasha Cooke, mezzo-soprano and Jason Vieaux, guitar FRIDAY, MAY 4, 2018 • 8PM

Siete canciones populares españolas

"El paño moruno"

"Seguidilla murciana" "Asturiana" "Jota" "Nana" "Canción" "Polo"

Manuel de Falla (1876–1946)

Rumores De la Caleta

Isaac Albéniz (1860–1909)

Capricho Arabe

Francisco Tárrega (1852–1909)

Torre Bermeja

Albéniz

Selections from 12 Tonadillas al estilo antiguo, H.136

"El tra-la-là y el punteado"

"El mirar de la maja

"El majo discreto"

Enrique Granados (1867–1916)

INTERMISSION

PROGRAM

Selections from Old American Songs

“Simple Gifts”

“The Little Horses”

“At the River”

“Ching-A-Ring Chaw”

Aaron Copland (1900–1990)

Always and Forever

Pat Metheny (b. 1954)

“Who am I” from Peter Pan

Leonard Bernstein (1918–1990)

“Somewhere” from West Side Story Bernstein

“My New Friends” from The Madwoman of Central Park West Bernstein

The artists and fellow audience members appreciate silence during the performance. Please be sure that you have switched off cellular phones, watch alarms and pager signals. Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.

T E X T S A N D T R A N S L AT I O N S

“El paño moruno”

“The Moorish Cloth”

Al paño fino, en la tienda, una mancha le cayó; Por menos precio se vende, Porque perdió su valor. ¡Ay!

On the fine cloth, in the shop, a stain has fallen; For a lesser price it sells, for it has lost its value.

Alas!

“Seguidilla murciana” (Traditional)

“Seguidilla murciana”

Cualquiera que el tejado Tenga de vidrio, No debe tirar piedras Al del vecino.

Arrieros semos; ¡Puede que en el camino Nos encontremos!

Por tu mucha inconstancia Yo te comparo Con peseta que corre De mano en mano; Que al fin se borra, Y creyéndola falsa ¡Nadie la toma!

Whosoever has a roof of glass, should not throw stones upon that of his neighbor.

We shall be carriers; It may be that on the road we shall meet!

For your great inconstancy I compare you to a peseta [coin] that passes from hand to hand; which finally fades, and, believing it false, no one will take!

“Asturiana” (Traditional)

“Asturian”

Por ver si me consolaba, Arrime a un pino verde, Por ver si me consolaba.

Por verme llorar, lloraba.

Y el pino como era verde, Por verme llorar, lloraba.

To see if it would console me, I drew near a green pine, To see if it would console me.

Seeing me weep, it wept; And the pine, being green, seeing me weep, wept.

(Gregorio Martínez Sierra 1881–1947)

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T E X T S A N D T R A N S L AT I O N S

“Jota” (Traditional)

“Jota”

Dicen que no nos queremos Porque no nos ven hablar; A tu corazón y al mío Se lo pueden preguntar.

Ya me despido de tí, De tu casa y tu ventana, Y aunque no quiera tu madre, Adiós, niña, hasta mañana.

Aunque no quiera tu madre...

They say we don’t love each other Because they never see us talking; Your heart and mine Can they ask.

Now I bid you farewell, From your house and your window, and although it displeases your mother, Farewell, darling, until tomorrow.

Although it displeases your mother...

“Nana” (Traditional)

“Nana”

Duérmete, niño, duerme, Duerme, mi alma, Duérmete, lucerito De la mañana.

Naninta, nana, Naninta, nana.

Duérmete, lucerito De la mañana.

Go to sleep, child, sleep, Sleep, my soul, Go to sleep, little star Of the morning.

Lulla-lullaby, Lulla-lullaby, Go to sleep, little star Of the morning.

“Canción” (Traditional)

“Song”

Por traidores, tus ojos, voy a enterrarlos; No sabes lo que cuesta, “Del aire” Niña, el mirarlos.

“Madre a la orilla Madre” Dicen que no me quieres, Y a me has querido...

Váyase lo ganado, “Del aire” Por lo perdido, “Madre a la orilla Madre”

Because they are traitors, your eyes, I shall bury them; You know not how painful, “In the air” Darling, it is to look at them.

“Mother all is lost It is lost Mother” They say you do not love me and yet once you did love me...

Love has been lost “In the air” “Mother all is lost It is lost Mother”

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T E X T S A N D T R A N S L AT I O N S

“Polo” (Traditional)

“Polo”

¡Ay! Guardo una, ¡Ay! Guardo una, ¡Ay! ¡Guardo una pena en mi pecho, ¡Guardo una pena en mi pecho, ¡Ay! Que a nadie se la diré!

Malhaya el amor, malhaya, Malhaya el amor, malhaya, ¡Ay! ¡Y quien

Ay! I keep a...Ay! I keep a...Ay! I keep a sorrow in my breast, I keep a sorrow in my breast, Ay! that I will tell no one about.

Wretched be love, wretched, Wretched be love, wretched, Ay! And he who made me understand it!

Ay!

“El tra la la y punteado”

“The tra la la and the picking”

Es en balde, majo mío, que sigas hablando porque hay cosas que contesto yo siempre cantando: Tra la la...

Por más que preguntes tanto: tra la la...

En mí no causas quebranto ni yo he de salir de mi canto: tra la la...

It is in vain, my boy, that you go on talking, For there are things which I’ll only answer in song.

Tra la la...

No matter how many times you ask: Tra la la...

You cause me no pain And I will never cease to sing. tra la la...

“El mirar de la maja”

“The gaze of the beloved”

Por qué es en mis ojos tan hondo el mirar que a fin de cortar desdenes y enojos los suelo entornar.

Qué fuego dentro llevarán que si acaso con calor los clavo en mi amor sonrojo me dan?

Because in my eyes there is such an intense gaze in order to avoid disdain and fighting I tend to look away What fire they carry inside, that with only a little passion, when I look at my lover, cause my cheeks to redden?

Por eso el chispero a quien mi alma dí al verse ante mí me tira el sombrero y díceme así: “Mi Maja, no me mires más que tus ojos rayos son y ardiendo en pasión la muerte me dan.”

That’s why this fiery man to whom I gave my soul while standing in front of me he tosses a hat my way and says to me: “my love, don’t look at me anymore for your eyes are rays and burning in passion they give me death.”

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T E X T S A N D T R A N S L AT I O N S

Selections from Tonadillas Text by Fernando Periquet

“El majo discreto”

“The discreet lover”

Dicen que mi majo es feo.

Es posible que sí que lo sea, que amor es deseo que ciega y marea.

Ha tiempo que sé que quien ama no ve.

Some say that my beloved is plain.

That may be possible, For love is longing Which blinds and confuses.

And long have I known That loving is not seeing.

Mas si no es mi majo un hombre que por lindo descuelle y asombre, en cambio es discreto y guarda un secreto que yo posé en él sabiendo que es fiel.

But if my beloved is not a man Whose beauty astonishes, Then he is discreet And the keeper of a secret That I gave to him Knowing that he is true.

Cuál es el secreto que el majo guardó?

Sería indiscreto contarlo yo.

No poco trabajo costara saber secretos de un majo con una mujer.

Nació en Lavapiés. ¡Eh, ¡eh! ¡Es un majo, un majo es!

What could this secret be That my beloved is protecting?

It would be indiscreet For me to reveal it.

It is no small tast to learn The secrets between a man and a woman.

He was born in Lavapiés.

Yes! Yes! He is handsome, yes he is!

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ABOUT THE ARTISTS

ABOUT SASHA COOKE Grammy Award-winning mezzo-soprano Sasha Cooke has been called a “luminous standout” (The New York Times) and “equal parts poise, radiance and elegant directness” (Opera News). Cooke is sought after by the world’s leading orchestras, opera companies and chamber music ensembles for her versatile repertoire and commitment to new music.

Cooke has worked with symphony orchestras around the world including Boston, Chicago, Cincinnati, Cleveland, Colorado, Dallas, Detroit, Edmonton, Hong Kong, Houston, Indianapolis, Kansas City, Leipzig, Los Angeles, Louisiana, Lyon, Melbourne, Milwaukee, New York, New Zealand, Philadelphia, Pittsburgh, San Francisco, Seattle, Shanghai and Tokyo as well as the Deutsches Symphonie Orchester Berlin and Orpheus, St. Paul and Los Angeles Chamber Orchestras. She’s performed at numerous festivals, including the Aspen, Caramoor, Chautauqua, Luzerne,

ABOUT JASON VIEAUX Grammy-winner Jason Vieaux, “among the elite of today's classical guitarists” (Gramophone), is the guitarist that goes beyond the classical. NPR describes Vieaux as “perhaps the most precise and soulful classical guitarist of his generation.” His most recent solo album, Play, won the 2015 Grammy Award for Best Classical Instrumental Solo.

Vieaux has earned a reputation for putting his expressiveness and virtuosity at the service of a remarkably wide range of music, and his schedule of performing, teaching and recording commitments is distinguished throughout the U.S. and abroad.

SASHA COOKE, MEZZO-SOPRANO AND JASON VIEAUX, GUITAR

Mecklenburg-Vorpommern, Mostly Mozart, Music@Menlo, New York Festival of Song, Spoleto and the Chamber Music Festivals of Portland, Santa Fe and Seattle. On the opera stage, she’s appeared at the Metropolitan Opera, English National Opera, Houston Grand Opera, San Francisco Opera, Seattle Opera, Opéra National de Bordeaux, Israeli Opera, Dallas Opera and Chicago Opera Theater. A graduate of Rice University and The Juilliard School, Cooke also attended the Music Academy of the West, the Aspen Music Festival, the Ravinia Festival’s Steans Music Institute, the Wolf Trap Foundation, the Marlboro Music Festival, the Metropolitan Opera’s Lindemann Young Artist Development Program, Young Concert Artists, and Seattle Opera and Central City Opera’s Young Artist Training Programs. sashacooke.com

Vieaux returned to the Caramoor Festival as the 2017 artist-in-residence, a distinguished position which has been held by pianist Jonathan Biss, cellist Alisa Weilerstein and many other world-class musicians in recent years. Other recent and future highlights include returns to the Philadelphia Chamber Music Society, New York’s 92Y, Ravinia Festival and performances at Buenos Aires’ Teatro Colon, Amsterdam’s Concertgebouw, Seoul Arts Center and Shanghai Concert Hall. Vieaux’s appearances for Chamber Music Society of Lincoln Center, Bard Music Festival, Music@Menlo, Strings Music Festival, Grand Teton and many others have forged his reputation as a first-rate chamber musician and programmer. jasonvieaux.com

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