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Photo: Ashwini Ramaswamy’s Let the Crows Come by Jake Armour
for a full listing of this season’s events.
Department of Music and Theatre University at Albany presents:
Showcase Concert Arias and Duets
Friday, April 22, 2022 at 7:30pm
Recital Hall UAlbany Performing Arts Center
Program Arias and Duets Dido’s Lament ……..………………………….Henry Purcell (from Dido and Aeneas)
Rose Honold, Dido Angelica Gättgens, Belinda
(1659-1695)
Ombra mai fù ………………………Georg Frederic Handel (from Serses)
Samantha Streeter, Serses
(1685-1759)
Nel cor più non mi sento………………...Giovanni Paisiello (from La Molinara)
Angelica Gättgens, Rachelina
(1740-1816)
Sull’Aria………………………...Wolfgang Amadeus Mozart (from Le Nozze di Figaro)
Jessica Mollé, Susanna Mariah Goodridge, Countess
(1756-1791)
Giunse alfin il momento Deh vieni, non tardar…..W.A.Mozart (from Le Nozze di Figaro)
Jessica Mollé, Susanna
La Pastorella dell’Alpi…………………..Gioacchino Rossini Mariah Goodridge, the shepherdess
(1792-1868)
Barcarolle………………………………..Jacques Offenbach (from Les Contes d’Hoffmann)
Samantha Streeter, Nicklausse Camille McCalla, Giulietta
(1819-1880)
Per pietà, bell’idol mio……………………...Vincenzo Bellini Jessica Mollé
(1801-1835)
Stay Well …………….……………………………..Kurt Weill (from Lost in the Stars)
Camille McCalla, Irina
(1900-1950)
Laurie’s Song ………………...…...…...…… Aaron Copland (The Tender Land)
Ensemble
(1900-1990)
Text and Synopses Dido’s Lament: When I am laid in earth Dido and Aeneas is well studied in music history because of its place in opera history as being the first real opera written in the English language. (It is also Purcell’s only opera.) The plot is based on Book IV of Virgil’s Aeneid which tells the story of the Trojan warrior Aeneas and Dido, the Queen of Carthage. Dido’s Lament is sung in the final moments of the opera when Dido, upon learning of Aeneas’ dutiful departure, knows that she must die at her own hands due to her lover’s betrayal. Thy hand Belinda Darkness shades me
On thy bosom, let me rest. More I would, but death invades me. Death is now a welcome guest. When I am laid, am laid in Earth May my wrongs create no trouble, no trouble In thy breast. Remember me Remember me But ah, forget my fate. Ombra mai fù “Ombra mai fù” takes place at the beginning of Handel’s opera Serses. In it, the titular protagonist wishes good fortune upon a tree, and thanks it for the shade and beauty it provides. Frondi tenere e belle Del mio platano amato, Per voi resplenda il fato. Tuoni, lampi e procelle Non v’oltraggino mai la cara pace. Nè giunga profanarvi austro rapace!
Tender and beautiful fronds of my beloved plane tree, let Fate smile upon you. May thunder, lightning, and storms never disturb your dear peace. Blowing winds do not reach out to defile you.
Ombra mai fù di vegetabile cara ed amabile soave più.
Never was the gift of shade, from a tree of green Precious or lovelier, More sweet or more dear.
Nel cor più non mi sento “Nel cor più non mi sento” is an arietta from the comedic three act opera L’amor contrastato ossia la molinara (La Molinara) by Giovanni Paisiello. It is a trilogy where Rachelina, an attractive mill owner deals with an uncommon and uncomfortable situation between three
men. Don Calloandro who is supposed to marry his cousin and Rachelina’s neighbor, Eugenia; Don Rospolone the Governor, who is trying to sneak into the everyone’s business and Pistofolo the notary, who works with Rospolone. At the very end, Pistofolo conquers the love of Rachelina, la Molinara. Nel cor più non mi sento Brillar la gioventu. Cagion del mio tormento. Amor, ci hai colpa tu. Mi stuzzichi, mi mastichi, Mi pungichi, mi pizzichi; Che cosa è questa oime? Pietà, pietà, pietà! Amor è un certo che, Che delirar mi fa!
No longer do I feel sparkle in my heart. The cause of my torment? Love, you are the guilty one. You excite me, you bite me, You prick me, you pinch me; what is this, alas? Pity, pity, pity! Love is a certain something that is driving me crazy!
Sull’aria This well-known duet is from Act III of Le Nozze di Figaro when the Countess Almaviva is dictating to her chamber maid Susanna, an invitation which is part of the plot to expose the Countess’ husband who has been unfaithful. Sull'aria... Che soave zeffiretto, Questa sera spirerà, Sotto i pini del boschetto – Ei già il resto capirà. Certo, certo il capirà.
On the breeze a gentle little zephir this evening will sigh under the pines in the little grove. And the rest he’ll understand. Certainly, certainly he’ll understand.
Giunse alfin il momento…Deh vieni, non tardar In Act IV of Le Nozze di Figaro, the servants Figaro and Susanna have recently married. Figaro has learned that his new wife is meeting with the count. He is outraged and decides to secretly follow her. The whole thing is a ruse. In order to
outsmart the Count, Susanna is disguising herself as her mistress, the Countess. Susanna knows that Figaro is hiding behind the bushes and the aria is actually a sweet declaration of love to him. Giunse alfin il momento che godrò senz'affanno in braccio all'idol mio. Timide cure! uscite dal mio petto; a turbar non venite il mio diletto! O come par che all'amoroso foco l'amenità del loco, la terra e il ciel risponda, come la notte i furti miei seconda!
The moment finally arrives which I'll enjoy without anxiety in the arms of my beloved. Timid feelings, get out of my heart! Do not come to disturb my delight! Oh, it seems that earth, heaven and the pleasantness of this place answer my heart's amorous fire as the night responds to my ruses.
Deh vieni, non tardar, o gioja bella. Vieni ove amore per goder t'appella Finchè non splende in ciel notturna face finchè l'aria è ancor bruna, e il mondo tace. Qui mormora il ruscel, qui scherza l'aura, che col dolce susurro il cor ristaura, Qui ridono i fioretti e l'erba è fresca. Ai piaceri d'amor qui tutto adesca. Vieni, ben mio, tra queste piante ascose! Vieni, vieni! Ti vo' la fronte incoronar di rose.
Oh, come, don't be late, my beautiful joy. Come to where love calls you to enjoy yourself until night's torches no longer shine in the skyas long as the air is still dark, and the world quiet. Here the stream murmurs; here the breeze. which revives the heart with its gentle rustling, plays. Here, little flowers laugh and the grass is fresh. Here, everything entices one to love's pleasures. Come, my dear, among these sheltering trees. Come, come! I want to crown your head with roses.
La Pastorella dell’Alpi “La pastorella” is a lively song that speaks about a shepherdess's happy life in the Alps. She speaks about how lost travelers will find their way back to their paths with her guidance; however there’s only one she will treat better than the rest. Son bella pastorella, che scende ogni mattino, ed offre un cestellino di fresche frutta e fior. Chi viene al primo albore avrà vezzose rose e poma rugiadose- venite al mio giardin. Chi nel notturno orrore smarrì la buona via, alla capanna mia ritroverà il camin. Venite, o passaggiero, la pastorella è qua, ma il fior del suo pensiero ad uno sol darà!
I am the pretty shepherdess, who comes down every morning, offering a little basket of fresh fruit and flowers for sale. Those who come at first light will find delightful roses and apples damp with dew. Come all to my garden. Those who lost their way in the horror of the night will find their path once more at my little cabin. Come, oh passing traveler, the shepherdess is hereyet the flower of her thoughts she will give to one and one alone!
Barcarolle “Barcarolle” starts off Act II of the opera The Tales of Hoffman, and is sung by the characters Nicklausse and Giulietta in a lovely, opulent, salon scene. Nicklausse, Hoffmann’s muse, has warned Hoffmann not to fall in love with Giulietta. Hoffmann responds that the devil can take his soul if he ends up falling in love with her. Dapertotto, an evil magician, hears this and bribes Giulietta to rob Hoffmann’s reflection by seduction, and she obliges. He falls in love with her and his reflection is gone, but stays in love with her and ends up killing Giulietta’s former lover, Schlemil. After that, he goes off to look for Giuletta, only to find her sailing away with hernewlover, Pillichinaccio.
Belle nuit, ô nuit d’amour, Souris à nos ivresses. Nuit plus douce que le jour, Ô, belle nuit d’amour! Le temps fuit sans retour Emporte nos tendresses! Loin de cet heureux séjour, Le temps fuit sans retour. Zéphirs embrasés, Versez,nous vos caresses, Zéphirs embrasés Donnez nous vos baisers, vos baisers, vos baisers. Ah!
Lovely night, oh night of love, smile upon our joys. Night much sweeter than our days, Oh, beautiful night of love! Time flies by and carries away The passions that posses us! Far from this enchanted shore, Returning never more. Enjoy while you may your beloved caresses. Before the dawn of day speeds the moment away. Far away, far away, ah!
Per Pietà, bell’idol mio Per pietà, bell’idol mio, Non mi dir ch’io sono ingrato; Infelice e sventurato Abbastanza il Ciel mi fa.
For pity’s sake, my beautiful idol, do not tell me that I am ungrateful; heaven is making me unhappy and unfortunate enough.
Se Fedele a te son io, Se mi struggo ai tuoi bei lumi, Sallo amore, lo sanno I Nui, Il mio core, il tuo lo sa, Sì, lo sa.
If I am faithful to you, if I am consumed by your beatufiul eyes, love knows it, the gods know it, my heart and yours know ityes, they know it.
Stay Well This aria is from the opera, Lost in the Stars which was based on the novel, Cry, the Beloved Country (1948) by Alan Paton. Set in South Africa during apartheid, a Black preacher Stephen Kumalo, goes to Johannesburg to find his estranged son,
Absalom. Stephen finds out that his son has been arrested and condemned for murdering a white man, and that he has a pregnant girlfriend, Irina. Before Absalom is executed, Stephen goes to Irina and asks her if she will marry Absalom in jail, to which she obliges, proving her loyalty to him. She then sings “Stay Well”, both mourning him and wishing him well. She marries him, then Stephen promises Irina that he will help take care of her child once it’s born. Absalom is then executed. Synopsis derived from Musical Cyberspace https://musicalcyberspace.com/musicals-l-o/lost-in-the-stars
If I tell truth to you, my love, my own, Grief is your gift to me, grief alone. Wild passion at midnight, Wild anger at dawn, Yet when you’re absent, I weep you gone. Stay well, o keeper of my love, Go well throughout all your days. Your star, the luckiest star above, Your ways, the luckiest ways. Since unto to you my one love is given, And since to you it will remain. Though you bring fear of hell despair of heaven, Stay well, come well to my door again. When you have fled from me, my love, my own I’ve waited quietly, here alone. So come back at midnight Or comeback at dawn. Now that you’re absent I weep you gone. Go well though wild the road and far, Stay well through darkening days, Your star be still my luckiest star, Your ways the luckiest waysThough into storm your lone bark be driven, Though my eyes ache for you in vain – Though you bring fear at dawn, despair at even, Stay well, come well to my door again.
Laurie’s Song From Act 1 of The Tender Land, this aria gently expresses the young girl’s mixed feelings of anticipation and anxiety as she prepares for high school graduation. She reflects on her past fear of leaving the family farm and her new desire to explore the world beyond the farm’s fences. (Susanne Sheston) The Tender Land was originally conceived for a TV performance following the success of Menotti’s Amahl and the Night Visitors on NBC. It eventually was discovered by New York City Opera and premiered as a double bill with Menotti’s opera. Copland intended the piece for collegiate use creating arrangements with chamber orchestration as well as with simply piano accompaniment to make it accessible to college music programs. Once I thought I’d never grow tall as this fence. Time dragged heavy and slow. But April came and August went before I knew just what they meant, And little by little I grew, and as I grew, I came to know how fast the time could go. Once I thought I’d never go outside this fence. This space was plenty for me. But I walked down the road one day, and just what happened I can’t say. But little by little it came to be that line between the earth and sky cam beckoning to me. Now the time has grown so short; the world has grown so wide. I’ll be graduated soon. Why am I strange inside? What makes me think I’d like to try to go down all those roads beyond that line above the earth and ‘neath the sky? Tomorrow when I sit upon the graduation platform stand. I know my hand will shake when I reach out to take that paper with the ribboned band. Now that all the learning’s done, oh who knows what will now begin? Oh it’s so strange, I’m strange inside. The time has grown so short; the world so wide.
PERFORMING ARTS CENTER HOUSE POLICIES Latecomers will be seated at the discretion of the management and its staff. . The use of photographic or recording devices of any kind during this performance is strictly prohibited. . There is no food or drink allowed in the theatres, nor is smoking allowed in UAlbany buildings. . To avoid disrupting the performance, kindly disable any noise making electronic devices you may have with you. . Please take time to note the location of the fire exits nearest to you. In the event of an emergency, please proceed to the nearest exit in an orderly fashion and follow the directions of our staff.
Created and produced by the University Art Museum, NYS Writers Institute and UAlbany Performing Arts Center in collaboration with WAMC Public Radio, this popular series features leading figures from a variety of artistic disciplines in conversation about their creative inspirations, their craft and their careers. “Roundtable” host Joe Donahue conducts live on-stage interviews followed by a Q&A with the audience.
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