This performance is dedicated to my late grandmother Lucinda Eleta Hines, my beautiful mother Yecenia Aribel Hines-O’Neal, and my amazing girlfriend Caroline Jennifer Steinfeld. I am the Man I am today because of these Women
De’Von O’Neal, Tenor
Anna Hakobyan, Piano Senior Recital April 7, 2025
*** Please hold applause for after the end of each set***
Danza Danza Fanciulla Gentile
Sogno
Luna D’Estate
Aprile
Dichterliebe I. II. III. IV. Im Wunderschönen Monat Mai Aus meinen Tranen spriessen Die Rose Wenn ich in deinen Augen seh
Francesco Durante (1684-1755)
Paolo Tosti (1846-1916)
Robert Schumann (1810-1856)
Ici Bas
Lamento Borincano
Sometimes I Feel Like A Motherless Child
Three Dream Portraits I. II. III. Minstrel Man Dream Variations I, Too
Anthem from Chess
Gabriel Faure (1845-1924)
Rafael Hernandez (1892-1965)
Harry T. Burleigh (1866-1949)
Margaret Bonds (1913-1972)
Bjorn Ulvaeus b.1945
You’ll Be Back From Hamilton
Dear Life
Mark McKeighan, guitar
Rita Vasquez, guitar
Fast Car
Mark McKeighan, guitar
Rita Vasquez, guitar
I’ll Cover You (Reprise) From Rent
Ryan Noelle, drums
Lin-Manuel Miranda b. 1980
Anthony Hamilton b. 1971
Tracy Chapman b. 1964
Johnathan Larson (1960-1996)
SET I
Francesco Durante (1684-1755)
was an Italian composer and teacher of the late Baroque period, known for his contributions to sacred music and his influence on the Neapolitan school of composition. Born in Naples, Durante studied under prominent teachers such as Alessandro Scarlatti, and became renowned for his oratorios, masses, and motets. His works exhibit a clear, expressive style, blending the Italian Baroque's ornate beauty with an emphasis on vocal clarity and emotional depth. Durante also played a pivotal role as a teacher, mentoring future composers such as Giovanni Paisiello and Domenico Cimarosa, who would go on to shape the Classical period of music. Though his music was highly respected during his lifetime, it was overshadowed by that of his students in later years. Despite this, his compositions remain a testament to the rich cultural and musical environment of 18th-century Naples.
Danza Danza Fanciulla Gentile (1700)
is a lively and vibrant example of his work in the Neapolitan Baroque style. Composed during the early 18th century, the piece is a joyful and rhythmic dance that reflects the spirited character of the time. Written for voice and continuo, Danza Danza Fanciulla is an exuberant celebration of youthful energy and grace. Durante’s mastery of melody and texture is evident in the way the piece unfolds, with its catchy rhythms and elegant ornamentation, creating a delightful contrast between the dance-like movement and the more expressive moments within the music. Though Durante was known for his sacred works, this secular piece highlights his versatility and his ability to capture the lively spirit of 18th-century Italian music. Text via Lieder.Net
Danza, danza, fanciulla, al mio cantar; danza, danza fanciulla gentile, al mio cantar.
Gira leggera, sottile al suono, al suono dell'onde del mar.
Senti il vago rumore dell'aura scherzosa che parla al core con languido suon,
e che invita a danzar senza posa, senza posa, che invita a danzar
Danza, danza, fanciulla gentile, al mio cantar.
Paolo Tosti (1846-1916)
Dance, dance, maiden
To my song;
Dance, dance, gentle maiden, To my song.
Whirl lightly, quietly to the sound, To the sound of the waves of the sea
Feel the delicate mood
Of the playful breezes
That speak to the heart, With languid sound,
And invite you to dance
Without pause, without pause, That invite you to dance.
Dance, dance, gentle maiden, To my song.
was an Italian composer and vocal teacher renowned for his beautiful and expressive mélodies, particularly in the realm of Italian art song. Born in Ortona, Italy, Tosti initially pursued a career in law before turning to music, studying at the Conservatory of Naples. He achieved fame in the late 19th century, especially for his evocative and lyrical songs, many of which became staples of the Italian vocal repertoire. Tosti's works often explore themes of love, longing, and nostalgia, with a distinct melodic charm and a refined harmonic language. Though he spent much of his career in London as a teacher and vocal coach, Tosti’s influence remained deeply connected to Italy’s musical traditions. His most famous songs, including Non t’amo
più, A vucchella, and La serenata, continue to be beloved by singers and audiences alike for their emotional depth and melodic elegance.
Sogno (1887)
is one of the composer’s most cherished songs, exemplifying his talent for creating deeply emotional and lyrical works. Written in 1887, Sogno is a beautiful example of Tosti's ability to blend simplicity with sophistication. The piece reflects the themes of longing, desire, and the fleeting nature of dreams, with a delicate piano accompaniment that enhances the intimate and wistful mood. The melody, gentle and flowing, mirrors the tender emotions expressed in the lyrics, capturing the essence of romantic yearning. Sogno is often considered a quintessential example of Tosti’s mastery in Italian art song, and its enduring popularity among singers and audiences highlights its timeless appeal.Text via Lieder.Net
Ho sognato che stavi a' ginocchi,
Come un santo che prega il Signor ...
Mi guardavi nel fondo degli occhi, Sfavillava il tuo sguardo d'amor.
Tu parlavi e la voce sommessa...
Mi chiedea dolcemente mercè...
Solo un guardo che fosse promessa, Imploravi, curvata al mio piè.
Io tacevo e coll'anima forte
Il desio tentatore lottò.
Ho provato il martirio e la morte pur mi vinsi e ti dissi di no.
Ma il tuo labbro sfiorò la mia faccia...
E la forza del cor mi tradì.
Chiusi gli occhi,ti stesi le braccia...
Ma, sognavo...E il bel sogno svanì.
I dreamt that you were on your knees
Like a saint praying to the Lord. You were looking deep into my eyes, With a glowing look of love.
You were speaking quietly, Asking me sweetly for forgiveness. That she be allowed just one glance, You begged, curled at my feet.
I stayed silent and, with a strong will, Fought the irresistible desire. I had faced martyrdom and death; Still, I forced myself to say no.
But then your lips touched my face, And my heart betrayed me. I closed my eyes, reached out to you; But I had been dreaming, and that beautiful dream vanished.
Luna D’Estate
(Summer Moon) (1880) exemplifies Tosti’s gift for crafting evocative melodies that capture delicate emotions with simplicity and grace. The song's flowing vocal line, supported by a gently undulating accompaniment, mirrors the tranquility of a moonlit summer night. Tosti’s hallmark use of rubato allows for expressive phrasing, while his harmonic language remains rich yet accessible, emphasizing the natural beauty of the vocal line. Text via Lieder.Net
Luna d'estate, ho un sogno nel mio cuore
E vo' cantando tutta notte al mare:
Mi son fermato a una finestra in fiore
Perchè l'anima mia febbre ha d'amore.
Mi son fermato a una finestra in fiore
Ove son due pupille affatturate.
E chi le guarda soffre per amore
E sogna per desìo, luna d'estate!
Luna d'estate, amore è come il mare
Ed il mio cuore è un'onda seza posa:
Ma solamente lo potran fermare
Le pupille e il labbro suo di rosa.
E vo' cantando tutta notte al mare
Per quelle due pupille addormentate.
Ho il pianto agli occhi e la speranza in cuore
E splendo come te, luna d'estate!
Summer moon, I have a dream in my heart and I go on singing all night by the sea:
I stopped at a flower-decked window because my soul has caught the fever of love.
I stopped at a flower-decked window
Where there are two spellbinding eyes. And whoever sees them suffers from love And dreams with desire, summer moon!
Summer moon, love is like the sea and my heart is a constantly moving wave:
But it can only be stopped by Her eyes and her rosy lips.
And I go on singing all night by the sea Because of two sleeping eyes.
I have tears in my eyes and hope in my heart
And I shine like you, summer moon!
Aprile (1882) is one of Tosti’s most vibrant and uplifting songs, capturing the essence of spring’s renewal. The vocal line soars with a sense of joy and freedom, while the piano accompaniment provides a shimmering, flowing texture that enhances the song’s warmth. Tosti’s hallmark use of rubato and dynamic phrasing allows for natural expressiveness, giving performers the flexibility to shape the music with emotional depth. With its radiant melody and evocative text setting, Aprile exemplifies Tosti’s ability to transform simple yet refined musical gestures into profoundly moving pieces, securing his place as a master of Italian art song. Text via Lieder.Net
Non senti tu ne l'aria il profumo che spande Primavera?
Non senti tu ne l'anima il suon de nova voce lusinghiera?
È l'April! È la stagion d'amore!
Deh! vieni, o mia gentil su' prati'n fiore!
Il piè trarrai fra mammole, avrai su'l petto rose e cilestrine,
E le farfalle candide t'aleggeranno intorno al nero crine.
È l'April! È la stagion d'amore!
Deh! vieni, o mia gentil su' prati'n fiore!
Do you not smell in the air the perfume that Spring breathes?
Do you not hear in your soul the sound of a new, enticing voice?
It's April! It's the season of love! Come, lovely one, to the flowery meadow!
Your foot will tread among violets, you will wear roses and bluebells,
and the white butterflies will flutter around your black hair.
It's April! It's the season of love! Please come, my lovely one, to the flowery meadow!
SET II
Robert Schumann (1810-1856) a central figure of the Romantic era, celebrated for his deeply expressive and imaginative music. Initially aspiring to be a concert pianist, a hand injury led him to focus on composition, where he developed a unique voice that blended lyrical beauty, harmonic richness, and structural innovation. Schumann’s music often reflects his literary passions, with many of his works inspired by poetry and storytelling. His compositions range from intimate Lieder (art songs) and characterful piano miniatures to ambitious symphonies and chamber music. He was
particularly skilled at creating musical narratives, using thematic transformation and vivid contrasts to evoke emotion and psychological depth. His song cycles, such as Dichterliebe showcase his ability to merge text and melody seamlessly. Despite struggles with mental illness, Schumann’s music remains a cornerstone of the Romantic repertoire, admired for its lyricism, emotional sincerity, and profound artistic vision.
Dichterliebe (1848) the cycle reflects themes of love, longing, and heartbreak, with a musical narrative that mirrors the poet’s emotional journey. Schumann’s setting is highly expressive, using harmonic shifts, subtle piano interludes, and lyrical vocal writing to convey the nuances of Heine’s text. "Im wunderschönen Monat Mai" – The cycle begins with an atmosphere of wistful anticipation. The vocal line floats above unresolved harmonies, reflecting both the joy of love’s awakening and its underlying uncertainty. The song ends unresolved, symbolizing longing and unfulfilled desire. "Aus meinen Tränen sprießen" – This brief yet poignant song shifts to a warmer, more lyrical tone. The melody is tender and hopeful, with delicate piano writing that suggests blooming love, yet a touch of melancholy lingers in the harmony. "Die Rose, die Lilie, die Taube, die Sonne" – A sudden burst of energy contrasts with the previous songs. The lively, almost playful setting emphasizes the poet’s excitement, yet Schumann subtly suggests an undertone of exaggeration, hinting at love’s fleeting nature. "Wenn ich in deine Augen seh’" – The mood turns intimate and introspective. The slower tempo and expressive vocal line capture the depth of devotion, but harmonic tension in the piano foreshadows future sorrow. The final phrase lingers on a poignant suspension, emphasizing the fragility of happiness. Throughout these opening songs, Schumann masterfully sets the stage for the emotional arc of Dichterliebe, using harmonic ambiguity, expressive phrasing, and poetic nuance to immerse the listener in a deeply personal and universal experience of love and loss. Text via Lieder.Net
Im wunderschönen Monat Mai
Im wunderschönen Monat Mai, Als alle Knospen sprangen,
Da ist in meinem Herzen
Die Liebe aufgegangen.
Im wunderschönen Monat Mai,
Als alle Vögel sangen,
Da hab’ ich ihr gestanden
Mein Sehnen und Verlangen.
Aus meinen Tränen sprießen
Aus meinen Tränen spriessen Viel blühende Blumen hervor,
Und meine Seufzer werden
Ein Nachtigallenchor.
Und wenn du mich lieb hast, Kindchen, Schenk’ ich dir die Blumen all’,
Und vor deinem Fenster soll klingen Das Lied der Nachtigall.
In the wondrous month of May
In the wondrous month of May, When all the buds burst into bloom,
Then it was that in my heart Love began to burgeon.
In the wondrous month of May, When all the birds were singing,
Then it was I confessed to her My longing and desire.
From my tears there will spring
From my tears there will spring
Many blossoming flowers,
And my sighs shall become A chorus of nightingales.
And if you love me, child, I’ll give you all the flowers,
And at your window shall sound The nightingale’s song.
Die Rose, die Lilie, die Taube, die Sonne Rose, Lily, Dove, Sun
Die Rose, die Lilie, die Taube, die Sonne, Die liebt’ ich einst alle in Liebeswonne. Ich lieb’ sie nicht mehr, ich liebe alleine Die Kleine, die Feine, die Reine, die Eine; Sie selber, aller Liebe Wonne, Ist Rose und Lilie und Taube und Sonne.
Wenn ich in deine Augen seh’, Wenn ich in deine Augen seh
Rose, lily, dove, sun,
I loved them all once in the bliss of love. I love them no more, I only love She who is small, fine, pure, rare;
She, most blissful of all loves, Is rose and lily and dove and sun.
Love
When
I look into your eyes,
So schwindet all’ mein Leid und Weh’; Doch wenn ich küsse deinen Mund, So werd’ ich ganz und gar gesund.
Wenn ich mich lehn’ an deine Brust, Kommt’s über mich wie Himmelslust; Doch wenn du sprichst: ich liebe dich! So muss ich weinen bitterlich.
All my pain and sorrow vanish;
But when I kiss your lips, Then I am wholly healed.
When I lay my head against your breast, Heavenly bliss steals over me; But when you say: I love you!
I must weep bitter tears.
SET III
Gabriel Faure (1845-1924) was a pivotal figure in French music, bridging the Romantic and early modern eras with his refined, lyrical style. Trained at the École Niedermeyer in Paris, he developed a deep appreciation for sacred and choral music, which later influenced his compositions. As an organist, composer, and teacher— eventually directing the Paris Conservatoire—Fauré shaped the course of French music, inspiring later composers such as Ravel and Debussy. Fauré’s music is characterized by elegance, harmonic sophistication, and a sense of restrained emotion. His harmonic language evolved over time, shifting from the fluid, song-like phrases of his early works to the more chromatic and subtle harmonic progressions of his later years. His mélodies (French art songs), such as Après un rêve and Clair de lune, showcase his gift for melody and sensitivity to text. His piano works, chamber music, and Requiem display his distinctive use of modal harmonies, rich inner textures, and seamless voice leading.Unlike some of his Romantic predecessors, Fauré avoided overt drama, instead favoring an introspective, nuanced expressivity. His legacy remains one
of elegance and innovation, with his music embodying both serenity and emotional depth.
Ici-bas (1873) composed in 1873 to a poem by Sully Prudhomme, is an early example of Fauré’s gift for expressing melancholy with delicate beauty. The poem reflects on the fleeting nature of earthly joys, and Fauré’s setting enhances this sentiment through a gently flowing vocal line and a wistful, descending melody. The piano accompaniment, with its arpeggiated texture and modal inflections, creates a sense of quiet resignation. Harmonically, Fauré employs subtle shifts that mirror the poem ’ s bittersweet longing, avoiding strong cadences to maintain a sense of unresolved yearning. The song ’ s final measures fade into quiet stillness, reinforcing its theme of impermanence. Ici-bas exemplifies Fauré’s ability to transform simple musical gestures into profound expressions of human emotion, making it one of his most poignant early mélodies. Text via Lieder.Net
Ici-bas tous les lilas meurent, Tous les chants des oiseaux sont courts
Je rêve aux étés qui demeurent
Toujours...
Ici-bas les lèvres effleurent Sans rien laisser de leur velours, Je rêve aux baisers qui demeurent
Toujours...
Ici-bas, tous les hommes pleurent
Leurs amitiés ou leurs amours; Je rêve aux couples qui demeurent
Toujours...
In this world all the lilies die, All the songs of birds are short;
I dream of the summers that abide Forever...
In this world lips brush but lightly, And nothing of their velvet remains; I dream of the kisses that abide Forever...
In this world every man is mourning His friendships or his loves; I dream of the couples who abide Forever...
Rafael Hernandez (1891-1965) one of Puerto Rico’s most celebrated composers, left an enduring legacy in Latin American music through his rich and diverse body of work. Born in Aguadilla, Puerto Rico, Hernández studied music from a young age, mastering multiple instruments and later serving as a military musician during World War I. After the war, he built a prolific career as a composer, writing boleros, guarachas, danzas, and other genres that became staples of Puerto Rican and Latin American music. Hernández’s compositions are marked by lyrical melodies, heartfelt emotions, and an elegant fusion of AfroCaribbean rhythms with European harmonies. His music often reflects themes of love, nostalgia, and national pride, resonating deeply with audiences across generations. Iconic songs like Preciosa, Lamento Borincano, and El Cumbanchero showcase his ability to blend poetic lyricism with rhythmic vitality, making his works both emotionally compelling and rhythmically engaging. A pioneer of Latin American music, Hernández’s artistry transcended borders, influencing countless musicians and shaping the cultural identity of Puerto Rico. His legacy continues to thrive, celebrated for its profound emotional depth and masterful craftsmanship.
Lamento Borincano (1920) is one of Hernández’s most poignant and enduring songs. It tells the story of a humble jíbaro (rural farmer) struggling to sell his goods, only to find his town in economic despair. The song ’ s melancholic yet beautiful melody captures the hardships faced by Puerto Rico during economic turmoil, reflecting a deep sense of sorrow and longing. Musically, Lamento Borincano blends the structure of a bolero with the lyrical expressiveness of Puerto Rican folk music. The harmonic progressions add a bittersweet quality, while the waltz-like rhythm gives the song a gentle, flowing motion. Hernández’s masterful text setting ensures that every phrase enhances the song ’ s narrative, making it an anthem of both sorrow and resilience. A powerful symbol of Puerto Rican identity, Lamento Borincano remains a timeless classic, celebrated for its emotional depth and lyrical beauty. Text via AZ Lyrics.com
Sale loco de contento con su cargamento para la ciudad, ay, para la ciudad. Lleva en su pensamiento todo un mundo lleno de felicidad, ay, de felicidad
Piensa remediar la situación del hogar que es toda su illusion, sí!
Y alegre el jibarito va
He sets off happily with his cargo
To the city, to the city
Carries in his thoughts
A whole world filled with happiness
Oh, of happiness
He plans to remedy the household situation
pensando así, diciendo así cantando así por el camino:
Which is all that he loves, yeah! And happy, the peasant goes Thinking, saying, singing like on the way:
Si yo vendo la carga mi Dios querido un traje a mi viejita voy a comprar. "If I sell my load, my dear God I'll buy a suit for my little old lady" Y alegre también su yegua va al presentir que aquel cantar es Todo un himno de alegría,
And his mare is happy also When he knows that the song is All a joyful hymn en esto les sorprende la luz del día y llegan al mercado de la ciudad. And then the daylight comes unexpectedlyAnd they arrive to the city market
Pasa la mañana entera sin que nadie quiera
The entire morning goes by su carga comprar, ay, su carga comprar. Without anyone wanting Todo, todo est desierto y el pueblo está lleno de necesidad, ay, de necesidad.
To buy his load, oh, to buy his load Everything, everything is deserted And the town is full of need Oh, of need
Se oye este lamento por doquier, en mi desdichada Borinquen, si!
Y triste el jibarito va pensando así, diciendo así, llorando así por el camino:
¿Qué será de Borinquen mi Dios querido. Qué será de mis hijos y de mi hogar? Oh!
Borinquen la tierra del edén, la que al cantar, el gran Gauthier llamó la perla de los mares.
Ahora que tú te mueres con tus pesares, déjame que te cante yo también.
The mourning is heard everywhere In my unhappy Bonrinquen
And sad, the peasant goes Thinking, saying Crying like this on the way:
"What will happen to Bonriquen, my dear God What will happen to my children and my home?" Oh!
Bonriquen, the land of the Eden The one that when sung by the great Gautier He called out the pearl of the Seas
"Now that you lay dying from your sorrows Let me sing to you also
SET IV
Harry T Burleigh (1866-1949) was a pioneering African American composer, arranger, and baritone whose work helped bridge African American spirituals with the Western classical tradition. Born in Erie, Pennsylvania, Burleigh studied at the National Conservatory of Music in New York, where he became a student and later an assistant to Antonín Dvořák. His exposure to Dvořák influenced his efforts to elevate spirituals as a legitimate form of art music. Burleigh’s compositions and arrangements are characterized by their deep expressiveness, rich harmonies, and sophisticated melding of folk elements with classical techniques. His arrangements of spirituals, such as Deep River and Swing Low, Sweet Chariot, brought these melodies into concert repertoire, transforming them into art songs while preserving their emotional and cultural depth. His harmonic language often employs lush chromaticism and expressive modulations, adding nuance to the original melodies. As a performer and composer, Burleigh’s work was instrumental in popularizing spirituals in concert settings, influencing composers like Samuel ColeridgeTaylor and William Grant Still. His legacy endures as a vital figure in American music, celebrated for his contributions to both African American cultural heritage and classical music.
Sometimes I feel like a Motherless Child (1870) is one of the most poignant spirituals in Burleigh’s repertoire, reflecting themes of sorrow, longing, and spiritual yearning. The melody, with its haunting, sustained phrases, conveys a profound sense of isolation and grief. In Burleigh’s arrangement, the harmonic setting enhances the song’s emotional weight, using chromatic inflections and rich, expressive modulations to deepen its impact. The accompaniment often provides a subtle but supportive framework, allowing the vocal line to shine with its raw, lamenting quality. Burleigh’s version of this spiritual transformed it from a folk tradition into an art song suitable for concert performance, while still preserving its deep emotional and historical resonance. His work not only honored the legacy of spirituals but also ensured their place in classical music, influencing generations of composers and performers. Text via Lieder.Net
Sometimes I feel like a motherless child
Sometimes I feel like a motherless child
Sometimes I feel like a motherless child A long way from home, a long way from home
Sometimes I feel like I'm almost done Sometimes I feel like I'm almost done
Sometimes I feel like I'm almost done And a long, long way from home, a long way from home
Margaret Bonds (1913-1972) was a pioneering African American composer, pianist, and educator whose music blended classical traditions with African American spirituals, jazz, and blues influences. Born in Chicago, she studied at Northwestern University, where she faced racial discrimination but found inspiration in the works of composers like Florence Price. Bonds later became a key figure in the Harlem Renaissance, forging a close artistic partnership with poet Langston Hughes. Bonds’ compositions are characterized by lush harmonies, expressive melodies, and rhythmic vitality. She skillfully integrated African American musical idioms into classical forms, creating works that were both innovative and culturally significant. Her art songs, such as Three Dream Portraits, set Hughes’ poetry with deep emotional nuance, while her choral and orchestral works often carried themes of racial pride and social justice. As one of the first Black composers to gain national recognition, Bonds used her music to celebrate African American identity and challenge societal barriers. Her legacy endures through her powerful, genre-blending compositions that continue to inspire performers and audiences alike.
Three Dream Portraits (1959) is a song cycle that sets three poems by Langston Hughes, each exploring themes of racial identity, struggle, and resilience. Bonds’ settings capture the emotional depth of Hughes’ words through vivid harmonic color and dramatic vocal writing. "Minstrel Man" – This song contrasts an upbeat, lyrical melody with the sorrowful truth of the poem, which describes the pain hidden behind a minstrel’s forced smile. Bonds’ use of bittersweet harmonies highlights the irony and underlying grief in Hughes’ text. “Dream Variation" – A more hopeful and flowing piece, this song captures the longing for freedom and joy. The music shifts between bright, dance-like rhythms and more contemplative moments, reflecting the dream of racial equality and liberation. "I, Too" – A powerful and defiant setting of Hughes’ famous poem, this song builds in intensity, mirroring the speaker’s assertion of strength and belonging in America. Bonds uses bold harmonies and dramatic phrasing to underscore the poem ’ s message of perseverance and hope. With Three Dream Portraits, Bonds masterfully unites poetry and music, creating a cycle that is both deeply personal and universally resonant. Through her expressive settings, she amplifies Hughes’ vision, making this work a profound statement on racial injustice and the enduring hope for a better future. Text via Lieder.Net
Man
Because my mouth Is wide with laughter And my throat
Is deep with song, You do not think I suffer after I have held my pain So long?
Because my mouth Is wide with laughter, You do not hear My inner cry?
Because my feet Are gay with dancing, You do not know I die?
Dream Variations
To fling my arms wide
In some place of the sun, To whirl and to dance
Till the white day is done. Then rest at cool evening Beneath a tall tree While night comes on gently, Dark like me– That is my dream! To fling my arms wide
In the face of the sun, Dance! Whirl! Whirl!
Till the quick day is done. Rest at pale evening . . .
A tall, slim tree . . . Night coming tenderly Black like me.
I, Too
I, too, sing America. I am the darker brother. They send me to eat in the kitchen
When company comes, But I laugh, And eat well, And grow strong.
Tomorrow, I’ll be at the table When company comes. Nobody’ll dare Say to me, “Eat in the kitchen,” Then. Besides, They’ll see how beautiful I am And be ashamed—
SET V
Benny Andersson (b.1946) & Björn Ulvaeus (b.1945) are the legendary Swedish songwriting duo best known as the creative force behind ABBA. Their partnership began in the 1960s, evolving into one of the most successful collaborations in pop music history. Beyond ABBA, Andersson and Ulvaeus expanded their musical scope into musical theater, composing Chess (1984), Kristina från Duvemåla (1995), and contributing to the global success of Mamma Mia! The Musical (1999). Their compositions blend pop sensibilities with classical influences, sophisticated harmonies, and emotionally resonant storytelling. They are known for their meticulous attention to detail, layering vocals and instrumentation to create lush, dynamic soundscapes. Whether in pop, theater, or orchestral settings, Andersson and Ulvaeus’ music is distinguished by its melodic inventiveness, structural clarity, and deep emotional impact, solidifying their legacy as two of the most influential songwriters of their era.
Anthem from Chess (1984) One of the most powerful songs from Chess is Anthem, sung by the Russian chess champion Anatoly as he expresses his love for his homeland, despite his political and personal struggles. The song is structured like a grand, almost operatic ballad, with soaring melodic lines and rich orchestration that evoke a deep sense of patriotism and longing. Musically, Anthem features a steady,
hymn-like progression, with harmonies reminiscent of classical and nationalistic compositions. The dynamic build—from a reflective, restrained beginning to a climactic, full-voiced declaration—mirrors the internal conflict of the character. The sweeping orchestration, combined with Andersson and Ulvaeus' signature melodic writing, creates a piece that is both deeply personal and universally resonant. As one of the most enduring songs from Chess, Anthem showcases Andersson and Ulvaeus’ ability to craft music that is both theatrically compelling and emotionally profound, solidifying their status as master songwriters beyond the realm of pop music. Text via AZ Lyrics.com
No man, no madness
Though their sad power may prevail
Can possess, conquer, my country's heart
They rise to fail
She is eternal
Long before nations' lines were drawn
When no flags flew, when no armies stood My land was born
And you ask me why I love her
Through wars, death and despair
She is the constant
We who don't care
And you wonder will I leave her -- but how? I cross over borders but I'm still there now
How can I leave her?
Where would I start?
Let man ' s petty nations tear themselves apart My land's only borders lie around my heart
Lin Manuel Miranda (1980) is a Tony, Grammy, Emmy, and Pulitzer Prize-winning composer, lyricist, and performer known for revolutionizing modern musical theater. Born and raised in New York City, Miranda grew up immersed in musical influences ranging from Broadway classics to hip-hop and Latin music. He gained widespread acclaim with In the Heights (2008), a musical celebrating Latinx culture and community, before achieving global recognition with Hamilton (2015), his groundbreaking hip-hop-infused retelling of American history.Miranda’s composition style is defined by its genre-blending approach, combining rap, Latin rhythms, R&B, and traditional Broadway orchestrations. His lyrics are dense, intricate, and rhythmically dynamic, often featuring internal rhymes, wordplay, and historical or literary references. His music thrives on emotional storytelling, using melody and rhythm to enhance character development and narrative momentum.
You'll Be Back from Hamilton (2015) is one of the most striking departures from Hamilton’s predominantly hip-hop-influenced score. Sung by King George III, the song is a satirical take on Britain’s response to the American Revolution. In contrast to the high-energy rap battles and contemporary rhythms found elsewhere in the musical, You’ll Be Back embraces a British Invasion-style pop sound, reminiscent of The Beatles. Its bouncy, harpsichord-accompanied melody and lilting, sing-song phrasing create a deceptively cheerful atmosphere, masking the king’s underlying menace. Lyrically, Miranda employs dry wit and irony, using affectionate yet threatening language to frame Britain’s control over its colonies as a toxic relationship. The repetitive, almost nursery rhyme-like chorus ("You’ll be back, soon you’ll see") reinforces the king’s delusional confidence, making the song both humorous and subtly ominous. Through You’ll Be Back, Miranda masterfully integrates humor, historical commentary, and musical homage, showcasing his ability to merge diverse influences into a compelling theatrical moment that stands out within Hamilton’s dynamic and genre-blending score. Text via AZ Lyrics.com
[King George:]
You say
The price of my love's not a price that you're willing to pay
You cry I
n your tea which you hurl in the sea when you see me go by Why so sad?
Remember we made an arrangement when you went away Now you're making me mad Remember, despite our estrangement, I'm your man
You'll be back, soon you'll see You'll remember you belong to me
You'll be back, time will tell You'll remember that I served you well Oceans rise, empires fall We have seen each other through it all And when push comes to shove I will send a fully armed battalion to remind you of my love!
Da da da dat da dat da da da da ya da Da da dat dat da ya da! Da da da dat da dat da da da da ya da Da da dat dat da…
You say our love is draining and you can't go on You'll be the one complaining when I am gone... And no, don't change the subject 'Cause you're my favorite subject My sweet, submissive subject
My loyal, royal subject Forever and ever and ever and ever and ever…
You'll be back like before I will fight the fight and win the war
For your love, for your praise
And I'll love you till my dying days
When you're gone, I'll go mad
So don't throw away this thing we had 'Cause when push comes to shove
I will kill your friends and family to remind you of my love
Da da da dat da dat da da da da ya da Da da dat dat da ya da! Da da da dat da dat da da da da ya da Da da dat—
Everybody!
[Full Ensemble:]
Da da da dat da dat da da da da ya da Da da dat dat da ya da! Da da da dat da dat da da da da ya da da da da Dat dat da ya da!
SET VI
Anthony Hamilton (1971) is a Grammy-winning R&B and soul singersongwriter known for his rich, expressive voice and deeply emotional storytelling. Born in Charlotte, North Carolina, Hamilton began singing in church choirs before pursuing a music career in the 1990s. His breakthrough came with the critically acclaimed album Comin’ from Where I’m From (2003), which featured the hit single of the same name and the Grammy-nominated “Charlene”. Hamilton’s music is rooted in traditional soul, gospel, and Southern R&B, often infused with modern hip-hop and neo-soul influences. His distinct vocal tone, characterized by raw sincerity and warmth, has earned him comparisons to legends like Al Green and Bill Withers. Throughout his career, he has collaborated with artists such as Jill Scott, Tupac Shakur, and Nas, further showcasing his versatility. Among his many accolades, Hamilton won a Grammy Award in 2009 for Best Traditional R&B Vocal Performance for “You’ve Got the Love I Need” with Al Green. He has also received multiple BET and Soul Train Music Awards, solidifying his status as one of the most respected voices in contemporary R&B. With a career spanning decades, Hamilton continues to captivate audiences with his heartfelt lyrics and timeless sound.
Dear Life (2005) from his 2005 album Ain’t Nobody Worryin’, is a deeply introspective song that reflects on the fragility of success, relationships, and personal stability. With a gospel-tinged melody and Hamilton’s signature soulful vocals, the song carries a sense of urgency and vulnerability. Lyrically, “Dear Life” speaks to the fear of losing what one holds dear, whether love, peace, or personal fulfillment. The emotional depth is amplified by the song’s expressive instrumentation, featuring warm organ tones, bluesy guitar riffs, and a steady rhythm section that reinforces its pleading, almost prayerlike quality. Hamilton’s ability to convey raw emotion through both lyrics and vocal phrasing makes “Dear Life” a standout in his catalog. The song exemplifies his storytelling strength, seamlessly blending classic soul influences with contemporary production to create a timeless, moving piece. Text via AZ Lyrics.com
Early was the morn Flowers filled with dew I became somebody through lovin' you
Softly as a child Born in natural rain I predict the seasons to go unchanged
Sometimes in life
You run across a love unknown Without a reason It seems like you belong Hold on dear life
Don't go off running from what's new I became somebody through loving you
Warm was the sun That covered my body so Reminding me of you
As I first known Those were the days The days that changed my life And made me new I became somebody through loving you
Sometimes in life You run across a love unknown Without a reason
It seems like you belong Hold on dear life
Don't go off running from what's new I became somebody through loving you
As the sun shines Down on me
I know with you in love is Where I wanna be Oh sometimes I go on through life
Thinking love is something that is not meant for me
Whoa Somebody Somebody
Hold on dear life Don't go off runnin' from what's new
I became somebody through loving you I became somebody through loving you Oh! I became somebody through loving you
Tracy Chapman (b. 1964) is a Grammy-winning singer-songwriter known for her introspective lyrics, powerful storytelling, and distinctive, soulful voice. Born in Cleveland, Ohio, she developed a passion for music at a young age and later attended Tufts University, where she honed her songwriting skills. She gained international fame with her self-titled debut album in 1988, featuring the iconic hit “Fast Car”, which earned her critical and commercial success. Chapman’s music blends folk, rock, and blues influences, often addressing themes of social justice, love, and personal resilience. Her lyrics are deeply poetic, tackling issues such as poverty, racism, and political unrest with poignant simplicity. Her debut album won three Grammy Awards, including Best New Artist and Best Female Pop Vocal Performance, while “Fast Car” became one of the most enduring folk-rock songs of its time. Over her career, Chapman has released several acclaimed albums, including Crossroads (1989), New Beginning (1995)—which featured the hit “Give Me One Reason”—and Our Bright Future (2008). She has continued to influence generations of artists with her honest songwriting and timeless sound. In 2023, “Fast Car” saw a resurgence in popularity when covered by country
artist Luke Combs, further cementing Chapman’s legacy as one of the most influential singer-songwriters of her era.
Fast Car (1988) is one of Chapman’s most enduring and celebrated songs. A folk-rock ballad with a hypnotic, finger-picked guitar riff, the song tells the story of a young woman seeking to escape poverty and hardship in search of a better life. Chapman’s lyrics paint a vivid narrative of dreams and disappointments, as the protagonist longs for freedom but ultimately finds herself trapped in the same cycle of struggle. The song’s emotional impact is heightened by its minimalist arrangement, allowing Chapman’s raw, expressive vocals to take center stage. With its universal themes of hope and hardship, “Fast Car” has remained a powerful anthem since its release. The song has been covered and reinterpreted across genres, most notably in a 2023 country rendition by Luke Combs, which introduced it to a new generation of listeners. “Fast Car” remains a testament to Chapman’s songwriting genius, blending personal storytelling with broader social themes in a way that continues to resonate decades later. Text via AZ Lyrics.com
You got a fast car I want a ticket to anywhere
Maybe we make a deal
Maybe together we can get somewhere
Any place is better
Starting from zero got nothing to lose Maybe we'll make something Me myself I got nothing to prove
You got a fast car I got a plan to get us out of here I been working at the convenience store Managed to save just a little bit of money Won't have to drive too far Just 'cross the border and into the city You and I can both get jobs And finally see what it means to be living
See my old man's got a problem He live with the bottle that's the way it is He says his body's too old for working His body's too young to look like his My mama went off and left him
She wanted more from life than he could giv e I said somebody's got to take care of him
So I quit school and that's what I did
You got a fast car
Is it fast enough so we can fly away? We gotta make a decision Leave tonight or live and die this way
So remember when we were driving driving in your car
Speed so fast I felt like I was drunk City lights lay out before us
And your arm felt nice wrapped 'round my shoulder
And I had a feeling that I belonged I had a feeling I could be someone, be someone, be someone
You got a fast car
We go cruising, entertain ourselves You still ain't got a job
And I work in a market as a checkout girl I know things will get better You'll find work and I'll get promoted
We'll move out of the shelter Buy a bigger house and live in the suburbs
So remember when we were driving driving in your car
Speed so fast I felt like I was drunk City lights lay out before us
And your arm felt nice wrapped 'round my shoulder
And I had a feeling that I belonged I had a feeling I could be someone, be someone, be someone
You got a fast car I got a job that pays all our bills
You stay out drinking late at the bar See more of your friends than you do of your kids I'd always hoped for better Thought maybe together you and me would find it I got no plans I ain't going nowhere So take your fast car and keep on driving
So remember when we were driving driving in your car
Speed so fast I felt like I was drunk City lights lay out before us
And your arm felt nice wrapped 'round my shoulder
And I had a feeling that I belonged I had a feeling I could be someone, be someone, be someone
You got a fast car Is it fast enough so you can fly away? You gotta make a decision Leave tonight or live and die this way
SET VII
Johnathan Larson (1960-1996) was a groundbreaking American composer, lyricist, and playwright known for revolutionizing musical theater with his rock-infused, socially conscious compositions. Born in White Plains, New York, Larson was deeply influenced by Stephen Sondheim and sought to modernize Broadway by integrating contemporary music styles, including rock, pop, and R&B, with traditional musical theater storytelling. His most famous work, Rent (1996), a rock opera inspired by Puccini’s La Bohème, captured the struggles of young artists in New York City dealing with poverty, love, and the HIV/AIDS crisis. The musical’s raw emotional intensity, anthemic melodies, and socially relevant themes resonated deeply with audiences, earning Rent a Pulitzer Prize for Drama and multiple Tony Awards. Tragically, Larson passed away from an aortic aneurysm the night before the show’s first Off-Broadway preview, never witnessing its immense success. Larson’s composition style is characterized by energetic rock rhythms, conversational lyrics, and emotionally charged storytelling. His music often features driving, syncopated beats, soaring melodies, and a blend of intimate ballads and high-energy ensemble numbers. He had a gift for capturing the voices of his generation, infusing his works with themes of resilience, love, and the pursuit of dreams. His legacy continues to inspire new generations of theater composers, cementing his place as a transformative figure in modern musical theater.
I’ll Cover You (Reprise) from Rent (1996) is one of the most tender and uplifting songs in Rent, performed as a love duet between Collins and Angel. Unlike much of the show’s rock-driven score, this song embraces a warm, gospel-tinged melody, reflecting the pure and unconditional love between the two characters. The lyrics use financial metaphors (“live in my house, I’ll be your shelter”) to express devotion and protection, reinforcing the musical’s themes of love and chosen family. Later in the show, I’ll Cover You (Reprise) transforms the song into a heartbreaking elegy, sung by Collins at Angel’s funeral. The shift from joyous proclamation to sorrowful remembrance highlights Larson’s mastery of musical storytelling—using melody and lyrical motifs to deepen emotional impact. I’ll Cover You stands as one of Rent’s most poignant moments, showcasing Larson’s ability to capture love and loss with sincerity and emotional depth. Text via AZ Lyrics.com
[COLLINS:]
Live in my house
I'll be your shelter
Just pay me back
With one thousand kisses
Be my lover
And I'll cover you
Yeah
Open your door
I'll be your tenant
Don't got much baggage
To lay at your feet
But sweet kisses I've got to spare I'll be there And I'll cover you
Oh
I think they meant it
When they said you can't buy love
Now I know you can rent it
A new lease you are my love
On life
All my life
I've longed to discover
Something as true as this is Yeah
[Joanne (COMPANY 1) {COMPANY 2}:]
So with a thousand sweet kisses (I'll cover you) {525,600 minutes}
[COLLINS:]
If you're cold and you're lonely
[JOANNE (COMPANY 1) {COMPANY 2}:]
With a thousand sweet kisses (I'll cover you) {525,600 moments so dear}
[COLLINS:]
You've got one nickel only
[JOANNE (COMPANY 1):]
With a thousand sweet kisses (525,600 minutes)
[COLLINS:]
When you worn out and you're tired
[JOANNE (COMPANY 1) {COMPANY 2}:]
With a thousand sweet kisses (I'll cover you) {525,000}
[COLLINS:]
When your heart has expired
[ALL:] Ooh Lover I'll cover you
Yeah yeah yeah yeah yeah yeah Ooh lover I'll cover you (525,600 minutes) (525,000 seasons of love)
[COLLINS:] I'll cover you