13 minute read
SATURDAY, JULY 24
SATURDAY, JULY 24, 11 AM | CIA AT COPIA
FESTIVAL LIVE! chamber series
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Meghan Todt Williams, Violin Sienna Peck, Viola Sophia Bacelar, Cello
JEAN CRAS (1879-1932)
String Trio (1927) Movement 1
WOLFGANG AMADEUS MOZART (1756-1791) Divertimento in E-flat major, K. 563 (1788)
Allegro
Menuetto––Trio
ZOLTÁN KODÁLY (1882-1967) Intermezzo (1905) ERNŐ DOHNÁNYI (1877-1960)
Serenade in C major, Op. 10 (1904) Marcia: Allegro
Romanza: Adagio non troppo
Rondo (Finale): Allegro vivace
SATURDAY, JULY 24, 6:30 PM | CHARLES KRUG
OPERA UNDER THE STARS
James Conlon, Conductor Michael Fabiano, Tenor Simone McIntosh, Mezzo-Soprano and Mario Rojas, Tenor
WOLFGANG AMADEUS MOZART (1756-1791)
Overture to Le nozze di Figaro (1786) GIUSEPPE VERDI (1813-1901)
“Forse la soglia attinse” from Un ballo in maschera (1833) GEORGE FRIDERIC HÄNDEL (1685-1759)
“Svegliatevi nel core” from Giulio Cesare (1724) JULES MASSENET (1842-1912)
“Pourquoi me réveiller” from Werther (1892) GAETANO DONIZETTI (1797-1848)
“Tomba degli’avi miei…Fra poco a me ricoveroi” from Lucia di Lammermoor (1835) WOLFGANG AMADEUS MOZART (1756-1791)
“Non ho colpa” from Idomeneo (1781) FRANCESCO CILEA (1866-1950)
“È la solita storia” from L’arlesiana (1897)
RUGGERO LEONCAVALLO (1857-1919)
“Recitar!…Vesti la giubba” from Pagliacci (1892) AGUSTÍN LARA (1897-1970)
“Granada” (1932)
Michael Fabiano, Mario Rojas, and Simone McIntosh appear as part of the Jan Shrem and Maria Manetti Shrem Vocal Arts Series.
Festival Orchestra Napa's appearance is made possible through a generous gift from Tatiana and Gerret Copeland, proprietors of Bouchaine Vineyards.
Simone McIntosh and Mario Rojas appear as recipients of the 2021 Manetti Shrem Prize.
Concert is part of Frost at Festival Napa Valley.
While we have included texts and translations of the arias in this program, we stand reminded of Ann Patchett’s statement in her novel, Bel Canto: “In opera, the truth is in the music.”
OVERTURE TO LE NOZZE DI FIGARO
Wolfgang Amadeus Mozart (1756-1791)
Both thrilling—and familiar—is Mozart’s Overture to Le Nozze di Figaro. To the thrilling and familiar, however, we must add the spirit of fun since this Overture introduces one of the great comic operas of musical history. And no one knew better how to make fun than the ingenious Mozart. That said, there is always in Mozart the undercurrent of seriousness and compositional genius that governs all. Despite the objections of Italian musicians such as Antonio Salieri, The Marriage of Figaro was premiered in Vienna in 1786 but received greater acceptance in Prague before it spread throughout the world, including its first New York performance in 1824.
Giuseppe Verdi (1813-1901)
Giuseppe Verdi was the most prolific opera composer of his time with no less than twenty-six operas. Un ballo in maschera (A Masked Ball) is in three acts with text by Antonio Somma. The story is based on Eugène Scribe’s libretto for Daniel Auber’s 1833 five act opera, Gustave III. The plot concerns the assassination in 1792 of King Gustav III of Sweden who was shot as the result of a political conspiracy while attending a masked ball, and died of his wounds thirteen days later. From Act III we hear Riccardo’s aria “Forse la soglia attinse” (Perhaps the threshold drew).
Forse la soglia attinse, E posa alfin. - L'onore Ed il dover fra i nostri petti han rotto L'abisso. - Ah! sì, Renato Rivedrà l'Inghilterra... e la sua sposa Lo seguirà. Senza un addio, l'immenso Oceàn ne sepàri... e taccia il core. Esito ancor? ma, oh ciel, non lo degg'io? Ah, l'ho segnato il sacrifizio mio! Ma se m'è forza perderti Per sempre, o luce mia, A te verrà il mio palpito Sotto qual ciel tu sia, Chiusa la tua memoria Nell'intimo del cor. Ed or qual reo presagio Lo spirito m'assale, Che il rivederti annunzia Quasi un desio fatale...Come se fosse l'ultima Ora del nostro amor? Perhaps the threshold drew, And he poses at the end. - Honor And the need between our breasts broke The abyss. - Ah! yes, Renato He will see England again ... and his bride He will follow him. Without a goodbye, the immense Ocean separates ... and touches the core. Do I still hesitate? but, oh heaven, do not you? Ah, I marked my sacrifice! But if I have the strength to lose you Forever, or my light, My heartbeat will come to you Under what sky you are, Closed your memory In the intimacy of the heart. And now I presage The spirit attacks me, May the see you announce again Almost a fatal wish... As if it were the last one Now of our love?
George Frideric Handel (1685-1759)
The action of the opera is based on Julius Caesar's Egyptian visit of 48-47 BC. Caesar had defeated Pompey, a rival Roman general, at Pharsalia in Greece and has pursued him to Egypt, where Cleopatra and her younger brother Ptolemy are joint sovereigns.
“Svegliatevi nel core” (Awaken in my heart) is an aria from Act I, scene 4 when Sesto assures his mother he will avenge the death of his father, Pompey, who was assassinated by the Egyptians in order to demonstrate the Egyptians’ loyalty to Julius Caesar. The role can bes sung by either a soprano in a trouser role or a countertenor.
Svegliatevi nel core furie d'un'alma offesa a far d'un traditor aspra vendetta! L'ombra del genitore accorre a mia difesa e dice: a te il rigor Figlio si aspetta. Awaken in my heart The wrath of an offended soul So I may wreak upon a traitor My bitter vengeance! The ghost of my father Hastens to my defense Saying: From you, my son Ferocity is expected.
Jules Massenet (1842-1912)
Massenet’s opera Werther is in four acts with a French libretto by Ėdouard Blau, Paul Millet, and George Hartman who used the pseudonym Henri Grémont. It is loosely based on the German epistolary novel The Sorrows of Young Werther by Johann Wolfgang von Goethe and also reflects Goethe’s early life. Werther had its Metropolitan Opera premiere in New York and London in 1894. It is still regularly performed.
“Pourquoi me réveiller?” (Why do you awaken me?) occurs in Act 3 as Charlotte is at home alone on Christmas Eve rereading the letters she received from Werther before her marriage to Albert. He suddenly appears and reads to her some poetry by Ossain in the form of the aria “Pourquoi me réveiller” and realizes that Charlotte returns his forbidden love. Learning that, he considers suicide which he commits in Act 4 as Charlotte consoles him by declaring her love.
Pourquoi me réveiller, ô souffle du printemps? Pourquoi me réveiller? Sur mon front je sens tes caresses, et pourtant bien proche est le temps des orages et des tristesses! Pourquoi me réveiller, ô souffle du printemps? Demain dans le vallon viendra le voyageur se souvenant de ma gloire première. Et ses yeux vainement chercheront ma splendeur. Ils ne trouveront plus que deuil et que misère! Hélas! Pourquoi me réveiller, ô souffle du printemps! Why do you awaken me? o breath of spring? Why do you awaken me? On my forehead I feel your caresses, and yet very near is the time of storms and sorrows! Why do you awaken me, o breath of spring? Tomorrow, into the valley will come the traveller remembering my early glory And his eyes in vain will look for my splendor. They will find no more than grief and misery. Alas! Why do you awaken me, o breath of spring!
“TOMBE DEGLI AVI MIEI” FROM LUCIA DI LAMMERMOOR
Gaetano Donizetti (1797-1848)
Donizetti’s tragic opera, Lucia di Lammermoor, with libretto by Saladore Cammarano, is based on Walter Scott’s 1819 historical novel The Bride of Lammermoor. It was written at the peak of Donzetti’s career and intrigued European audiences with its reference to the history and culture of Scotland and the so-called “romance” of its violent wars. The plot concerns Lucy Ashton (Luci) who is caught in a feud between her own family and the Ravenswoods. The setting is the Lammmuir Hills of Scotland in the 17thcentury.
“Tombe degli avi miei” occurs in Act 3 as Edgardo sings of his wish to die in the upcoming duel with Enrico, since he cannot stand to live while Lucia delights in the pleasures of another husband.
Tombe degli avi miei, l' ultimo avanzo' una stirpe infelice Deh'! raccogliete voi. - Cessò dell' ira Il breve foco ... sul nemico acciaro Abbandonar mi vo'. Per me la vita E' orrendo peso! ... l'universo intero E' un deserto per me senza Lucia! ... Di liete faci ancora Splende il castello! Ah! scarsa Fu la notte al tripudio! Ingrata donna! Mentr' io mi struggo in disperato pianto Tu ridi, esulti accanto Al felice consorte! Tu delle gioje in seno, io ... della morte! Frà poco a me ricovero Darà negletto avello ... Una pietosa lagrima Non scorrerà sù quello! Fin degli estinti, ahi misero! Manca il conforto a me! Tù pur, tù pur dimentica Quel marmo dispregiato. Mai non passarvi, o barbara, Del tuo consorte a lato ... Rispetta almen le ceneri Di chi morià per tè. Tombs of my fathers, last son of an unhappy race, receive me, I implore you. My anger's brief fire is quenched...I will fall on my foe's sword. For me, life is a horrible burden! The whole universe is a desert for me without Lucia! Yet the castle gleams with torches... Ah, the night was too short for the revels! Heartless jade! While I pine away in hopeless tears, you laugh and gloat by your happy consort's side! You amid joys, I near to death! Soon this neglected tomb will give me refuge. A compassionate tear will not fall upon it...ah! Alas, for wretched me not even the solace of the dead. You too, forget that despised marble tombstone! Never visit it, o cruel one, by your husband's side. Ah, respect at least the ashes of him who dies for you, Never visit it, forget it exists, respect at least the one who died for you, Oh, cruel one! Respect.
Wolfgang Amadeus Mozart (1756-1791)
Mozart’s Idomeneo is part of what was known in his time as “opera seria,” usually meaning that the work takes on a mythological theme. Such is the case with Idomeneo. With an Italian libretto by Giambattista Varesco, the plot concerns Idomeneo, the King of Crete, as he is returning from the Trojan wars and is ravaged by a storm. As he emerges from this crisis, he vows to sacrifice the first person he meets when returning home. That person happens to be his son, Idomeneo, whose lover, Idamante, offers herself in his place. Her significant aria on the subject occurs in Act I Scene I.
Non ho colpa, e mi condanni Idol mio, perché t'adoro. Colpa è vostra, oh Dei tiranni, E di pena afflitto io moro D'un error, che mio non è. Se tu il brami, al tuo impero Aprirommi questo seno. Ne' tuoi lumi il leggo, è vero, Ma me 'l dica il labbro almeno, E non chiedo altra mercé. The fault is not mine, and you condemn me, my love, because I adore you. The fault is yours, tyrannical gods, and I die of distress and pain for a crime which is not mine. If you so desire it, at your command I will pierce this breast of mine; I read it in your eyes, it's true, but at least tell me with your lips, and I will ask no other mercy.
Francesco Cilea (1866-1950)
Francesco Cilea’s L’Arlesiana is an opera in three acts with an Italian libretto by Leopoldo Marenco. The plot is based on the play of the same name by Alphonse Daudet, which in turn was inspired by a short story from his collection Letteres de mon Moulin (Letters from My Windmill). The opera contains three famous arias, one of which is “Ė la solita storia” (It’s the usual story) for the tenor role of Frederico. This occurs in Act 2 as Fedrico laments the treachery of the woman he loves.
E' la solita storia del pastore... It's the usual story of the shepherd
Il povero ragazzo volvea raccontarla, The poor boy wanted to tell it, e s'addormi. but fell asleep.
C'è nel sonno l'oblio, There is oblivion in sleep,
Come l'invidio! How I envy him!
Anch'io vorrei dormir così I too would like to sleep like this nel sonno almeno l'oblio trovar! within sleep to find oblivion!
La pace sol cercando io vò: I only want to find peace: vorrei poter tutto scordar. If only I could forget everything.
Ma ogni sforzo è vanno. But all struggles are in vain.
Davanti ho sempre di lei I still see before me il dolce sembiante! her sweet visage!
La pace tolta è sempre a me... But all struggles are in vain.
Perché degg'io tanto penar? Why must I suffer so much pain?
Lei! sempre mi parla al cor! She! How she always spoke to my heart!
Fatale vision, mi lascia! Fatal vision, leave me! mi fai tanto male! Ahimè! You hurt me so much! Oh poor me!
Ruggero Leoncavallo (1857-1919)
Leoncavallo’s two-act Pagliacci is his only opera but widely performed. It was premiered in Milan in 1892 conducted by Arturo Toscanini and was premiered in New York the following year. Leoncavallo is both the composer and lyricist of the opera. “Ridi, Pagliaccio” (Laugh Clown) is the famous tenor aria sung at the conclusion of the first act when Canio discovers his wife’s infidelity but nevertheless prepares for his performance as Pagliaccio the clown because “the show must go on.”
Recitar! Mentre preso dal delirio, To recite! While taken with delirium, non so più quel che dico, I no longer know what it is that I say, e quel che faccio! or what it is that I am doing! Eppur è d'uopo, sforzati! And yet it is necessary, force yourself! Bah! sei tu forse un uom? Bah! Can't you be a man? Tu se' Pagliaccio! You are "Pagliaccio" Vesti la giubba, Put on the costume, e la faccia in farina. and the face in white powder. La gente paga, e rider vuole qua. The people pay, and laugh when they please. E se Arlecchin t'invola Colombina, and if Harlequin invites away Colombina ridi, Pagliaccio, e ognun applaudirà! laugh, Pagliaccio, and everyone will applaud! Tramuta in lazzi lo spasmo ed il pianto; Change into laughs the spasms of pain; in una smorfia il singhiozzo into a grimace the tears of pain, Ah! il dolor, Ah! Ridi, Pagliaccio, Laugh, Pagliaccio, sul tuo amore infranto! for your love is broken! Ridi del duol, che t'avvelena il cor! Laugh of the pain, that poisons your heart!
Agustin Lara (1897-1970)
The song “Granada” was written in 1932 by Mexican composer Agustin Lara, who wrote both the music and the lyrics. The song concerns the Spanish city of Granada, both its attractions and threats. The song has been treated widely by notable singers as far back as Bing Crosby and Frank Sinatra.
Granada, tierra soñada por mí, mi cantar se vuelve gitano cuando es para ti; mi cantar, hecho de fantasía, mi cantar, flor de melancolía, que yo te vengo a dar. Granada, tierra ensangrentada en tardes de toros; mujer que conserva el embrujo de los ojos moros. Te sueño rebelde y gitana cubierta de flores, y beso tu boca de grana, jugosa manzana, que me habla de amores. Granada, manola cantada en coplas preciosas; no tengo otra cosa que darte que un ramo de rosas, de rosas, de suave fragancia, que le dieran marco a la Virgen Morena. Granada, tu tierra está llena de lindas mujeres, de sangre y de sol. Granada, land I’ve been dreaming about, When my song’s for you it turns into A Gypsy-like shout. It’s my song, made of a dreamer’s folly, Yes, my song, flower of melancholy, That I now bring to you. Granada, your soil is made bloody By men and bulls fighting; A woman whose Moorish eyes give her A charm that’s exciting. Rebellious Gypsy in my dreaming, All covered with flowers, I kiss your red mouth that’s so gleaming, A ripe apple, seeming To speak love for hours. Granada, with beautiful rhymes, like A girl, poets sing you; Except for a plain bunch of roses I’ve nothing to bring you; Of roses with fragrance so mild that They could be a frame for the dark Holy Virgin. Granada, your soil is submerged in A sea of great beauties, Of blood and of sun.
