Isabel Alvarado - Senior Recital

Isabel Alvarado A Senior Recital

30 April 2022 at 7:30pm UTSA Recital Hall

Program Quia respexit

J. S. Bach (1685-1750)

from Magnificat in D Major with Dr. Erin Webber, Oboe

Les Nuits d'Été

Hector Berlioz (1803-1869)

I. Villanelle VI. L'Île inconnue Vier letzte Lieder

Richard Strauss (1864-1949)

I. Frühling II. September Je dis que rien ne m'épouvante

Georges Bizet (1838-1875)

from the opera "Carmen" Ten minute intermission

Tatiana and Olga's Duet

Pyotr Ilyich Tchaikovsky (1840- 1893)

from the opera "Eugene Onegin" with Katrina Cantu, Mezzo-Soprano A Teasdale Trio

Louis M. deShantz (1929- )

I. Nightfall II. Change III. Faces The Audience Song

Ben Moore (1960- )

Notes Quia respexit J.S. Bach was a German composer of the Baroque period. He had a mastery of counterpoint and harmony which he incorporated into his orchestral, instrumental, and keyboard works. Throughout his life, Bach was known as an organist, but he is most well known for his keyboard works. He composed music for many Lutheran churches also worked as a court composer for the King of Poland, Augustus III. Quia respexit is a part of Bach’s larger work, Magnificat. The Magnificat is a music setting for the biblical canticle, Magnificat. It was regularly sung on Sunday services in church. The Quia respexit movement is the third movement of twelve. The work features a lot of text painting and moves from a thoughtful, serene nature to a more impassioned statement.

Translation Because He has looked upon the lowliness of his servant.

Behold, for from now on [they'll deem me] blessed

Quia respexit humilitatem ancillae suae.

Ecce enim ex hoc beatam

Les Nuits d'Été Hector Berlioz was a French romantic composer and conductor. The son of a doctor, Berlioz was expected to go into the medical field, but ultimately ended up defying his family to pursue music.

Throughout his life he composed many orchestral, choral, and symphonic works, while also dabbling in musical journalism to supplement his income. Although Berlioz lived in Paris, his music was better received outside France, especially in Germany and Russia. After his death, critics were quick to judge his controversial music, because it was different than what was being composed at the time, but after many years his musical importance was recognized and he is now regarded as a great composer.

The complete song cycle is set to six poems by Théophile Gautier. The cycle was completed in 1841 and was originally for soloist and piano accompaniment. Each song in the cycle focuses on nature and love.

Villanelle focuses on spring and love. The simple piano underneath the singer brings attention to the story telling and helps create the light, bright feeling of spring. L'île inconnue focuses on the sea. The piano underneath the singer recreates the feeling of waves, while the singer figures out where they want to go.

Notes I. Villanelle

Quand viendra la saison nouvelle, quand auront disparu les froids, tous les deux nous irons, ma belle, pour cueillir le muguet aux bois; sous nos pieds égrenant les perles que l'on voit au matin trembler, nous irons écouter les merles siffler.

Le printemps est venu, ma belle, c'est le mois des amants béni, et l'oiseau, satinant son aile, dit des vers au rebord du nid. Oh! viens donc, sur ce banc de mousse pour parler de nos beaux amours, et dis-moi de ta voix si douce: Toujours!

Loin, bien loin, égarant nos courses, faisons fuir le lapin caché, et le daim au miroir des sources admirant son grand bois penché; puis chez nous, tout heureux, tout aisés, en paniers enlaçant nos doigts, revenons, rapportant des fraises des bois.

When the new season comes, when the cold has vanished, we will both go, my lovely, to gather lily of the valley.

Gathering the pearls underfoot, that one sees shimmering in the morning, we will hear the blackbirds whistle.

Spring has come, my lovely, it is the month blessed by lovers; and the bird, preening his wing, speaks verse from the edge of his nest. Oh! come now to this mossy bank To talk of our beautiful love, and say to me in your sweet voice: "Always!"

Far, far away, straying from our path, causing the hidden rabbit to flee and the deer, in the mirror of the spring bending to admire his great antlers, then home, completely happy and at ease, our hands entwined round the basket, returning carrying strawberries from the wood.

VI. L'Île inconnue Dites, la jeune belle,où voulez-vous aller? La voile enfle son aile, la brise va souffler. L'aviron est d'ivoire, le pavillon de moire, le gouvernail d'or fin; j'ai pour lest une orange, pour voile une aile d'ange, pour mousse un séraphin. Dites, la jeune belle, Où voulez-vous aller? La voile enfle son aile, la brise va souffler. Est-ce dans la Baltique? Dans la mer Pacifique? Dans l'île de Java? Ou bien est-ce en Norvège, cueillir la fleur de neige, ou la fleur d'Angsoka? Dites, dites, la jeune belle,dites, où voulez-vous aller? Menez-moi, dit la belle, À la rive fidèle où l'on aime toujours! Cette rive, ma chère, on ne la connaît guère au pays des amours.

Où voulez-vous aller? La brise va souffler.

Tell me, young beauty, where do you want to go? The sail swells its wing, the breeze begins to blow. The oar is of ivory, the flag is of moire, the rudder of fine gold; I have for ballast an orange, for sail an angel's wing for cabin boy a seraph. Tell me, young beauty, where do you want to go? The sail swells its wing, the breeze begins to blow. Is it to the Baltic? To the Pacific Ocean? The isle of Java? Or perhaps to Norway, to pick the snow flower or the flower of Angsoka? Tell me, tell me, young beauty, tell me, where do you want to go?

Take me, says the beautiful one, "To the faithful shore where one loves forever!" That shore, my dear, is almost unknown in the land of love.

Where do you want to go? The breeze begins to blow.

Notes Vier letzte Lieder Richard Strauss was a German composer of the late Romantic to early Modern era. Strauss’ use of tonality and lush orchestration with advanced harmonies helped him achieve his greatest successs in his operas and German art song, or Lieder. Strauss was born into a musical family. His father was a revered horn player and emphasised music making at home. This lead Strauss to compose his first song at the age of six. Throughout his long life he had many musical successes, writing many famous operas and orchestral works. The last years of Strauss’ life were somewhat controversial, working as the head of the Reich Chamber of Music. Although he recieved much critism, Strauss took the role to save the lives of his Jewish daughter in law and grandchildren during the Second World War. His work with the Reich Chmaber of music also helped to perserve performances of works by banned composers and advance the copyright protections of the time. He was later cleared of any wrong doing before his death. Strauss lived a long and musical life and influenced the next generation of composers like Béla Bartók.

Vier letzte Lieder, or Four Last Songs, were composed one year before the composers death. Many consider this set his swan song, as they reflect more of the lush romantic style of his youth. All songs but one in the set deal with death with a calm acceptance. “Frühling”, literally meaning spring, is the opening song in the set, and the only song in the set not dealing with death but instead rebirth. September, sings of a man passing after achieving his dream of seeing his garden. There are many beautiful moments in this piece and are even more beautiful with the lushness of an orchestra.

I. Frühling In dämmrigen Grüften Träumte ich lang von deinen Bäumen und blauen Lüften, von deinem Duft und Vogelgesang. Nun liegst du erschlossen in Gleiß und Zier Von Licht übergossen wie ein Wunder vor mir.

Du kennest mich wieder, du lockest mich zart, es zittert durch all meine Glieder deine selige Gegenwart.

In shadowy crypts I dreamt long of your trees and blue skies, of your fragrance and birdsong. Now you appear in all your finery, drenched in light like a miracle before me. You recognize me,you entice me tenderly. All my limbs tremble at your blessed presence.

II. September Der Garten trauert, kühl sinkt in die Blumen der Regen. der Sommer schauert still seinem Ende entgegen.

Golden tropft Blatt um Blatt nieder vom hohen Akazienbaum. Sommer lächelt erstaunt und matt in den sterbenden Gartentraum. Lange noch bei den Rosen bleibt er stehen, sehnt sich nach Ruh. Langsam tut er die großen Müdgewordnen Augen zu.

The garden is in mourning. Cool rain seeps into the flowers. Summertime shudders, quietly awaiting his end. Golden leaf after leaf falls from the tall acacia tree. Summer smiles, astonished and feeble, at his dying dream of a garden. For just a while he tarries beside the roses, yearning for repose.

Slowly he closes his weary eyes.

Notes Je dis que rien ne m'épouvante George’s Bizet was a French romantic composer mostly known for his operas. He was born into a musical family, his father a vocal coach and his mother an accomplished pianist. Bizet studied at the Paris Conversatoire and was a highly accomplished pianist, following in his mothers footsteps. There he met Charles Gound, a composer whose style influenced the future of Bizet’s music. In his short life span, Bizet had very few successful works. His music, apart from the opera Carmen, only achieved frequent performance and praise in the 20th century.

The aria, “Je dis que ne rien me epouvante”, is a part of Bizet’s most famous work, the opera Carmen.

The opera is about love, betrayal, and murder, which was quite improper at the time. During the premier the orchestra and chorus had many difficulties with the work, saying the work was unplayable. It has since become one of the most famous operas, with “Habanera”, sung by Carmen being the most well known song from the work. “Je dis que ne rien me epouvante” is sung by Micaëla in the third act as she tries to rescue José, her lover, from Carmen, the fiery gypsy.

Translation: Recitative: C'est des contrebandiers le refuge ordinaire. Il est ici; je le verrai! Et le devoir que m'imposa sa mère sans trembler je l'accomplirai.

Aria: Je dis que rien ne m'épouvante, je dis, hélas! Que je réponds de moi; mais j'ai beau faire la vaillante...

Au fond du coeur je meurs d'effroi! Seule en ce lieu sauvage toute seule j'ai peur, mais j'ai tort d'avoir peur. Vous me donnerez du courage; vous me protégerez, Seigneur!

Je vais voir de près cette femme, dont les artifices maudits ont fini par faire un infâme de celui que j'aimais jadis! Elle est dangereuse...elle est belle! Mais je ne veux pas avoir peur! Non, non, je ne veux pas avoir peur! Je parlerai haut devant elle...ah! Seigneur, vous me protégerez.

Protégez-moi! Ô Seigneur! Donnez-moi du courage!

Recitative: It is the smugglers ordinary refuge. He is here, I will see him! And the task that his mother imposed, without trembling, I will accomplish it.

Aria: I say that nothing can frighten me. I say, alas, that I respond to myself; but I play the courageous one in vain... from the bottom of my heart, I die of fear! Alone in this savage place All alone I am afraid, but I am wrong to have fear. You will give me courage; you will protect me, Lord!

I am going to see face to face this woman, whose cursed guile has ended up to make a vile person of him that I love once! She is dangerous, she is beautiful! But I do not want to be afraid! No, no, I do not want to be afraid! I will speak up before her...ah! Lord, you will protect me.Protect me! O Lord! Give me courage!

Notes Tatiana and Olga's Duet Pyotr Ilyich Tchaikovsky was a Russian composer of the Romatic period. He was the first Russian composer who had an international impact. He wrote a lot of popular repertoire, including Swan Lake, The Nutcracker, and more. He attended the Saint Petersburg Conservatory, which helped form his musical style, being Western-oriented, yet distinctly Russian. Many attribute his music to leading Russia into 20th century. Tchaikovsky is one of the few composers on this program that experienced success during his life, but even still he was plagued with depression and expirenced many personal crisis during his life.

Unfortunatly, Tchaikovsky passed away at 53 years old due to the cholera epidemic that was happening in Russia at the time, leaving many to wonder how much more he could have accomplished.

The duet “Slikhali l vi za roschei glas nochnoi”, is the opening song in Tchaikovsky’s opera Eugene Onegin.

The opera is about a young country girl, who is rejected by a selfish hero who then lives to regret his rejection as well as a fatal duel with his best friend. The duet is the two sister, Tatiana and her younger sister Olga, singing about unrequited love. In the opera setting their mother, Madame Latina, and their nurse, Filipyevna, recall their young love and happiness replaced by duty and habit. The duet sets up the opera and its overlying theme.

Translation: Slikhali l vi za roshchyei glas nochnoi pyevtsa lyubvi, pyevtsa svoyei pyechali? Kogda polya v chas ootreni molchali, Sviryeli zvookl-oonili i prostoi, Slikhali l vi?

Vzdokhnooli l vi, vnimaya tikhi glas pyevtsa lyubvi, pyevtsa svoyei pyccali? Kogda v lyesakh vi yunoshoo vidali, Vstryechaya vzor yevo potolhshikh glaz, Vzdokhnooli l vi?

Have you heard at night time behind the grove the voice of the singer of love, the singer of his sorrow? When fields were quiet in the morning hour, have you heard the sad simple sound of a pipe? Have you heard it?

Have you spared a sigh listening to the soft voice of the singer of love, the singer of his sorrow? When you saw a young man wondering in the forest, catching the glance of his fireless eyes, have you spared a sigh?

Notes A Teasdale Trio Louis M DeShantz is a modern day composer, who has written a variety of choral works. His works range across all choirs and all genres including religious, patriotic, art song, and many more.

A Teasdale Trio is a beautiful set of three songs set to poems by Sara Teasdale. The work was premiered on April 13, 1975 by Riva Capellari at the Univeristy of Michigan. The first song, “Nightfall”, transports you into the set, with the singer and their former lover having a conversation. I interpret the piano being the other person trying to convince the singer to reconsider. This piece sets up the mood and story for the next two songs. “Change”, the second song, is haunting beautiful, with the piano taking us back to the happier memories of the singer and their former lover. The final song in the set, “Changes”, recaps all the singers feelings with the faceless lover, with the ending having a memory of the beginning in the piano. This text can be interpreted in many ways, and I think that is what really makes music beautiful.

I. Nightfall

We will never walk again as we used to walk at night, watching our shadows lengthen under the gold streetlight when the snow was new and white.

We will never walk again slowly, we two, in spring when the park is sweet with midnight and with dew, and the passers-by are few.

I sit and think of it all, and the blue June twilight dies,— Down in the clanging square a street-piano cries and stars come out in the skies.

II. Change

Remember me as I was then; turn from me now, but always see the laughing shadowy girl who stood at midnight by the flowering tree, with eyes that love had made as bright as the trembling stars of the summer night.

Turn from me now, but always hear the muted laughter in the dew of that one year of youth we had, the only youth we ever knew— Turn from me now, or you will see what other years have done to me.

III. Faces

People that I meet and pass in the city's broken roar, faces that I lose so soon and have never found before, do you know how much you tell in the meeting of our eyes, how ashamed I am, and sad to have pierced your poor disguise?

Secrets rushing without sound crying from your hiding places— Let me go, I cannot bear the sorrow of the passing faces.

—People in the restless street, Can it be, oh can it bein the meeting of our eyes that you know as much about me?

Notes The Audience Song Ben Moore is an American composer who composes a wide variety of music, including art song, opera, musical theater and comedy material. Moore grew up in New York and attended Hamilton College. His music has been performed at opera houses across the country, including the famous Metropolitan Opera.

Ben Moore is also a painter and teaches at Guggenheim Museum and Morgan Library in New York.

The Audience Song is a comedy song that pokes fun at the “people of the opera world”. It has many references to other musicians, including Mozart, Strauss, and Wagner. In the Audience Song, Siegmund and Sieglinde from Wagner’s Die Walküre are referenced. They are siblings that were separated in their youth, who fall in love and continue on with the incest even after they realize they are each other’s long lost sibling. This is a fun song for opera lovers, and non-opera lovers, to come together and view classical music in a different, less sophisticated light.

Acknowledgements

To Dr. Olson You have been my rock through all of this. You’ve been there for all of my break downs, with a full bowl of Mini M&M’s at the ready, and for all my break throughs. I would not be where I am today without your teaching and guidance, in not only music, but also life. I feel like there is so much more I could say but the last thing I’ll say is thank you, for everything.

To Anna Hakobyan Thank you for playing for me through the years. You push me to become a better musician and I hope we will have the pleasure of making music together again after this. I’m so glad to have had you by my side. Thank you for your beautiful playing.

To My Family I love you all so much and I appreciate for everything you’ve done for me. You’ve supported me since day one. Music might have seemed crazy, and also scary but you’ve been there cheering me a long the whole way. I know I sometimes make you want to yank your hair out, and I can not put into word how grateful I am to have each and every one of you in my life. You all make me feel loved every day and I am so happy that you all can be here to support me.

To My friends I cannot say thank you enough to all of you, for supporting me through all of this. You’ve all calmed me down in the midst of all the anxiety this has caused me, and I feel so loved. I’m so lucky to have had this journey with all of you by my side. I love you all so much, from the bottom of my heart.

To Everybody Thank you all so much for coming out tonight to support me. I have been looking forward to this day for many years and I can finally say I have made it. I’m so lucky to be able to share the thing that makes me the happiest in the world with all of you, and I hope you can feel that through my music.

Thank you for your support.

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