The Opera Project
choruses, scenes, duets and arias from the oratorio & operatic repertoire
Sunday, April 2, 2023 at 3pm
Recital Hall
Department of Music and Theatre University at Albany
UAlbany Performing Arts Center
Gloria…………………………...……..…………..Antonio Vivaldi
Gloria in Excelsis (1678-1741)
Chorus
Laudamus Te
Alyssa Rouchon , soprano
Briana Start - Schwartz , mezzo soprano
Gratias Agimus Tibi
Chorus
Propter Magnam Gloriam
Chorus
Domine Deus
Amanda Rogers, soprano
Qui sedes
Briana Start-Schwartz, mezzo soprano
Laudate Dominum………………...Wolfgang Amadeus Mozart (1756-1791)
Jessica Mollé, soprano
Chorus
Pie Jesu (from Requiem)………..……….….John Rutter (b.1945)
Camille McCalla, soprano
Chorus
The Heavens are Telling………..……….Franz Joseph Haydn (from The Creation) (1732-1809)
Briana Start-Schwartz, mezzo soprano
Jean-Paul Klem, tenor
Bruce Konopa, baritone
Chorus
Program
INTERMISSION
Orfeo: Samantha Streeter
Euridice: Camille McCalla
Amore: Alyssa Rouchon
Act I
Recitativo: Ascolta, ascolta allor
Orfeo e Amore
Aria: Gli sguardi trattieni
Amore
Act III
Recitativo: Qual vita è questa mai
Euridice
Aria: Che fiero momento!
Euridice
Recitativo: Ecco novel tormento!
Euridice e Orfeo
Aria: Che faro senza Euridice
Orfeo
Recitativo: Ah! finisca e per sempre
Euridice, Amore, Orfeo
Gran scena: Trionfi Amore
Euridice, Amore, Orfeo e Coro
Frederic: Bruce Konopa
Mabel: Jessica Mollé
Major-General Stanley: Andrew Calvacca
Alas there’s not one maiden here
Poor Wandering One Girls chorus, Frederic, Mabel
I am the very model of a modern Major-General
Major-General Stanley
Orfeo ed Euridice……………………………....Christoph Gluck
(1714-1787)
Pirates of Penzance………………..….W.S. Gilbert (1836-1911) Arthur Sullivan (1842-1900)
Entr’acte and Barcarolle…………………..Jacques Offenbach (from Les Contes d’Hoffmann) (1819-1880)
Nicklausse: Samantha Streeter, Giulette: Camille McCalla
Chorus
Che il bel sogno (from La Rondine)…..……..Giacomo Puccini (1858-1924)
Magda: Jessica Mollé
Make Our Garden Grow (from Candide)….Leonard Bernstein (1918-1990)
Candide: Andrew Calvacca
Cunegonde: Jessica Mollé
Ensemble:
Camille McCalla
Alyssa Rouchon
Briana Start-Schwartz
Samantha Streeter
Chorus
UAlbany Chamber Singers
Michaela Adam
Nico Baez
Chris Carmack
Helena Danzinger
Claire Efa
Kierra Foster
Jared Harmon
Caroline Joseph
Stephen Kapalczynski
Jean-Paul Klem
Bria Knox
Bruce Konopa
Mattea Kallner
Jara Manatan
Kathleen Miller
Chizi Okieche
Ben Pasternack
Joey Schiano
Jillian Sharp
Alexandria Sisti
Lucy Skidmore
Alan Stupar
Gloria (Vivaldi)
Gloria in Excelsis
Glory in the highest to God
Laudamus te
We praise you, we bless you, we adore you, we glorify you.
Gratias Agimus Tibi
We give you thanks
Propter Magnam Gloriam
For your great glory
Domine Deus
Lord God, heavenly King, God the father almighty.
Qui sedes
Who sits at the right hand of the Father, have mercy on us.
Laudate Dominum (Mozart)
Praise the Lord, all nations; Praise Him, all people.
For He has bestowed
His mercy upon us,
And the truth of the Lord endures forever.
Glory to the Father and to the Son and to the Holy Spirit, as it was in the beginning, is now, and forever, and for generations of generations. Amen.
Pie Jesu (from Requiem by Rutter)
Blessed Jesus, Lord, grant them rest, rest eternal.
Blessed Jesus, Lord, grant them rest, everlasting rest.
Translations, Notes and Synopses
The Heavens are Telling (from The Creation by Haydn)
The Creation was Franz Josef Haydn’s most beloved composition during his lifetime, regardless of the location and religion of its audiences. He spent nearly two years on the oratorio, working and reworking his materials with great care. “Never was I so devout as when composing The Creation,” he stated. “It continues to hold that status. It is a masterpiece by any standards. It embraces a great diversity of episodes, all of which Haydn sets with confidence and imagination. His love of nature is everywhere apparent. Most importantly, his deep religious faith illuminates every bar. The Heavens are Telling effectively and fittingly provides a summary of the glory of the creation of the earth and sky, which is lovingly presented in the texts sung by the chorus and the three soloists representing the observing angels.
Orfeo ed Euridice (Gluck)
Orfeo ed Euridice was written by Christoph Gluck and first performed in Italian in Vienna in 1762 and revised twelve years later for a performance in Paris which was in French. A variety of versions exist which include an amalgamation of these two versions. It follows Orpheus' journey to the underworld to rescue Euridice and the challenges of the journey that follows.
Act I:
Orfeo is mourning Euridice. Amor, the God of Love appears and informs Orfeo that his present suffering will be short lived and provides him the opportunity to visit the Underworld to bring Euridice back to Earth with two provisions: he must refrain from looking at her during the journey and he must not tell her the reason for this.
RECITATIVE AMORE
Listen then, Orpheus! Until you are out of those caves, You are forbidden to look at your bride, If you don't want to lose her again forever! Thus does the supreme will sound up there! You must make yourself worthy of heavenly favor!
ARIA AMORE
Restrain your glances, refrain from words: recall, if you suffer, that you have to suffer but a few moments more!
Do you not know that sometimes lovers, confused and trembling, are blind to those they love, and cannot speak?
Act III:
Though she has not seen his face, Euridice has become aware that it is Orfeo who is rescuing her. She becomes increasingly upset that he won’t look at her and begins to doubt his love. This makes Orfeo weaken and unable to meet the challenge given to him by the gods. He loses Euridice again which drives him to try to kill himself. He is stopped by Amore, the God of Love who tells him that he is being rewarded for his loyalty and devotion. She revives Euridice and everyone joins in the celebration of loves triumph.
RECITATIVE: EURIDICE
What life is this now which I am about to lead?
And what is Orfeo hiding?
Will he take me from the wild recesses and wickedly abandon me?
the light fades before my eyes; my breath, locked in my bosom, becomes laboured.
I tremble, I sway and feel my heart wildly beating with anguish and terror.
ARIA: EURIDICE
Oh bitter moment!
Oh cruel fate!
To pass from death to such sorrow!
I was used to the peace of a tranquil oblivion; but in these tempests my heart is shattered.
I sway, I tremble ...
RECITATIVE (Euridice and Orfeo) ORFEO
Here is a new torment!
EURIDICE
Beloved husband, will you abandon me?
I melt in tears, grief oppresses my senses, and you, cruel one, don't help me!
O gods! O stars!
So I must die again, without your embrace, without a goodbye!
ORFEO
I can't hold back anymore.
Little by little reason abandons me
I forget the law, Euridice, and myself... Ah!
EURIDICE
Orfeo, husband, I feel faint!
ORFEO
My darling, if you knew, (alas, what am I doing ?)
How long must I suffer in this hell?
EURIDICE
Oh my beloved... at least, remember me, Euridice!
ORFEO
What pain! Oh, how my heart is torn!
Ah! I can't resist anymore! Oh! Celestial delirium!
Ah! My treasure! Beloved wife!
EURIDICE
Oh Gods! What happened? I die!
ORFEO
What have I done? Where has a delirium of love driven me?
Oh, my wife!
Euridice! Euridice! My beloved!
Ah! She no longer hears me, she died for me!
And I brought death to her!
Oh ruthless law!
And what martyrdom resembles mine!
In this fatal hour only to die with you, is what remains for me!
ARIA ORFEO
What will I do without Euridice?
Where will I go without my beloved?
What will I do… where will I go… What will I do without my beloved?
Where will I go without my beloved?
Euridice! Euridice!
Oh God!
Respond! Respond!
I am entirely loyal to you.
What will I do without Euridice?
Where will I go without my beloved?
What will I do, where will I go, what will I do without my beloved?
Where will I go without my beloved?
Euridice! Euridice!
Ah! It doesn’t give me any help, any hope
Neither this world nor heaven!
What will I do without Euridice? Where will I go without my beloved?
RECITATIVO ORFEO
Ah! Finish and forever end this painful life!
I am still on the other shore of black Avernus: it’s not that long a way that divides my beloved from me!
Wait for me, adored shadow!
Ah! This time without your husband you will not cross,
beloved, the slow waves of Styx!
Now it will no longer be that you are taken from me. I challenge, oh Gods, even your power!
AMORE
Orfeo! What are you doing?
ORFEO
And who are you who dare to hold me back from my fury!
AMORE
Calm the insane fury and recognize Amor! Amor who watches over your destiny!
ORFEO
Now say, what do you impose on me?
AMORE
You gave me proof of your noble faith. By my glory, you will no longer be unhappy; Euridice! I give you! Rise again and be joined!
ORFEO
Ah! My beloved!
EURIDICE
Orfeo!
ORFEO
Heavenly grace! Ah, what gratitude!
AMORE
Don’t doubt me! Adventurous lovers, return to the world again! True love compensates a thousand pains!
GRAN SCENA (Orfeo, Amore, Euridice and Chorus)
ORFEO
Love triumphs, and the whole world serves the empire of beauty.
Never was sweeter the liberty of her sometimes bitter chains!
CORO
Love triumphs, and the whole world serves the empire of beauty, and the whole world serves the empire, serves the empire of beauty.
o
AMORE
The cruelty of a tyrant causes now despair, now distress, But the lover forgets his pains in the sweet moment of mercy, the sweet moment of mercy.
CORO
Love triumphs, and the whole world serve the empire of beauty, and the whole world serves the empire of beauty, serves the empire of beauty, serves the empire of beauty.
EURIDICE
Jealousy destroys and devours, but faith restores. Jealousy destroys and devours, but faith restores. And that suspicion that torments the heart, at last turns to delight, at last turns to delight.
CORO
Love triumphs, and the whole world serves the empire of beauty, the whole world serves the empire, serves the empire of beauty, serves the empire of beauty! Love triumphs, and the whole world serves the empire of beauty, the empire of beauty, the empire of beauty!
Pirates Of Penzance (Gilbert and Sullivan)
Alas, There’s Not One Maiden Here/Poor Wandering One Mabel, the daughter of the Major, is singing in this aria about her new love Frederick, a young pirate who seeks approval of the pirate king. Frederick and the pirates plan on marrying women as soon as they return to shore. However upon his arrival, Frederick is rejected by a group of women who happen to also be Mabel’s sisters. More pitiful than her sisters, he then is accepted by Mabel and captures his interest in this semisarcastic aria.
I Am The Very Model Of A Modern Major-General
When a group of pirates ambush a group of women in an effort to marry them, the maidens proudly proclaim that their father is a Major General, and the pirates are soon going to be in a lot of trouble. While the pirates cower in fear and the maidens cheer him on, the Major-General appears and lists his various achievements and skills in battle.
Barcarolle (from Les Contes d’Hoffmann)
The Tales of Hoffmann follows the stories of E.T.A. Hoffmann. The story consists of Hoffmann waiting for a woman, Stella, at a pub. He tells his friend, Nicklausse, the stories of his past lovers. Each act tells the story of a different lover. Barcarolle takes place in Act III, the story of Giulietta, a Venitian courtesan. The Barcarolle is sung by Nicklausse, Hoffmann’s poetic muse disguised as his friend, and Giulietta. Hoffmann is in love with Giulietta and thinks she returns his affections, however, she is seducing him under orders from Captain Dapertutto, who promises her a diamond if she can steal his reflection from a mirror. The Barcarolle opens this act, setting the seductive and sinister tone for the act as a whole and for Giulietta’s character.
NICKLAUSSE
Lovely night, oh, night of love
Smile upon our joys!
Night much sweeter than the day
Oh beautiful night of love!
GIULIETTA, NICKLAUSSE
Time flies by, and carries away
Our tender caresses for ever!
Time flies far from this happy oasis
And does not return
Burning zephyrs
Embrace us with your caresses!
Burning zephyrs
Give us your kisses!
Your kisses! Your kisses! Ah!
Lovely night, oh, night of love
Smile upon our joys!
Night much sweeter than the day
Oh, beautiful night of love!
Ah! Smile upon our joys!
Night of love, oh, night of love!
Ah! ah! ah! ah! ah! ah! ah! ah! ah! ah!
Che Il Bel Sogno (From La Rondine)
This aria is featured in the opera La Rondine and is sung by Magda, a young courtesan in Paris. At a party accompanied by her friends, they debate the recent discussions about romance and sentimental love in Paris. One among them is a poet, Prunier, who claims that none is immune to sentimental love, and tells of a story of a king who was rejected by a woman because of the value she placed on true love. Unable to finish the story, Madga tells the rest in this aria Chi Il Bel Sogno Di Doretta in which she reminisces about her own encounters and flirtations.
MAGDA:
Who could ever guess Doretta's beautiful dream?
How is it that her mystery never ends?
Ah, me! One day, a student kissed her on the lips
And in this kiss
Revelation
It was passion!
Crazy love!
Crazy drunkenness!
Who could ever describe
The subtle caress
In such a flaming kiss
Ah, my dream!
Ah, my life!
What do riches matter
If happiness flourishes at the end!
O golden dream
To be able to love like this!
Make Our Garden Grow (from Candide)
Make Our Garden Grow is featured in the operetta Candide by Leonard Bernstein which tells of the love story of Candide and Cunegonde. Due to his low social class, Cunegonde’s father, the Baron, exiles Candide, catapulting Cunegonde and Candide in a year’s long battle to be with one another. After facing banishment, the ravishes of war, and even a shipwreck, they are finally reunited. The couple determines that the best way to go about their life together is to live as simple farmers and to enjoy one another’s company.
The UAlbany Performing Arts Center’s six theatres, three lounges and other spaces are available for rental.
The UAlbany Performing Arts Center’s six theatres, three lounges and other spaces are available for rental.
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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.
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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, an announcement will be made from the stage. Please proceed to the nearest exit in an orderly fashion.
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