A senior recital by Sophie Andersen, mezzo-soprano
Featuring works by Handel, Mozart, Debussy, and more
In collaboration with:
Anna Hakobyan, piano
Alania Cordero, soprano
March 28, 2024
5:30 PM UTSA
The University of Texas at San Antonio School of Music presents
Proficiency Recital
March 28, 2024 5:30 PM | UTSA Recital Hall
Sophie Andersen, mezzo-soprano
Anna Hakobyan, piano
Das Veilchen
Sapphische Ode
Beau soir
Barcarolle from Les contes d’Hoffman
Music for a While
Loveliest of Trees
“Over the Rainbow” from The Wizard of Oz
Sophie Andersen is a student of Prof Crystal Jarrell Johnson
This recital is given in partial fulfillment of the requirements for the Bachelor of Music Degree in Music Education
Svegliatevi nel core appears in Act 1, Scene 4 of Handel’s Giulio Cesare. The aria was written in 1724 for the role of Sesto, who is the son of Cesare’s enemy in the opera. It is a pants role, meaning a woman plays the role of a man. Sesto’s father, Pompey, was killed by Cesare’s army, so he sings this aria to vow to his stepmother that he will avenge the death of his father. The A section is fierce, angry, and hurt, while the contrasting B section is reminiscent, sad, and longing. The A section repeats at the end, which is a typical stylistic choice of the Baroque era in which the opera was written.
Das Veilchen was composed by W. A. Mozart in 1785. The lyrics of the poem, originally by J. W. Goethe, tell the story of a violet hoping to be picked by a young girl but ultimately gets overlooked and crushed instead. The violet is meant to symbolize the heart of a young boy whose romance didn’t turn out the way he had hoped. The 3-stanza-structure of the poem suggests that the song should be strophic, but Mozart opted to write each verse with different melodies, characters, keys, and moods. By making this song a through-composed work, the music tells just as much of a story as the lyrics do.
Johannes Brahms is a German composer who wrote Sapphische Ode as a part of a set called 5 Lieder in 1884. The song’s title translates to Sapphic Ode. Sappho was a poet in ancient Greece who originated the Sapphic form, which consists of a four line stanza where the first three lines have 11 syllables and the last has five. The text that this is set to is by Hans Schmidt, a German poet. He wrote this poem with two stanzas, both in Sapphic form. It describes the beauty of roses and compares them to the speaker’s love interest.
Debussy was a French 19th century composer. He wrote many impressionist-style pieces. Beau soir is one of his earlier songs, set to a poem by Paul Borget. The piano accompaniment plays triplets, while the singer is singing eighth notes. This helps the lyrics paint the picture of a sunset over a river and gives the song a very calming and peaceful feeling. The key of the song modulates between E Major and f# minor, but the chords being used don’t always fit in the key. The harmonies feel mystical and you’re never quite sure where the chords will move to next. Debussy uses this post-romantic style in many of his pieces and sets him apart from others with his unique sound.
The Barcarolle from Les contes d’Hoffman is the opening number of one of the acts, sung by mezzosoprano Nicklausse and soprano Giulietta. The opera consists of three acts, but are not always performed in the same order. The opera premiered in 1881, shortly after Offenbach passed. The duet sets the mood for the act with the lilting 6/8 meter and lyrics about a beautiful night of love. The scene sets up what happens next- the main character, Hoffman, meets Giulietta for the first time and falls in love with her. With feelings of love and beauty in the air, Hoffman hopes that Giulietta will reciprocate his feelings, but is ultimately rejected and left heartbroken.
Henry Purcell composed Music for a while in 1692 for the play Oedipus, a Tragedy. As a product of the Baroque period, it was originally written to be accompanied by harpsichord and basso continuo but has been adapted for piano accompaniment. Oedipus, a Tragedy, written by John Dryden and Nathaniel Lee, tells the story of a well-known Greek drama. Oedipus was abandoned as an infant because his father, King Laius, was told that his son would kill him and marry his wife. Since Oedipus was not raised by his parents, he did not know who they were and unknowingly fulfilled the prophecy. After finding out the woman he married was his mother and the man he killed was his father, he gouged his eyes out. The aria “Music for a while” is sung by the priests who are summoning Alecto, one of the Furies, to find out who killed King Laius.
Loveliest of Trees by John Duke was written in 1911. Duke was best known for writing English art songs. The poem, originally by A. E. Housman, has been set by many other composers as both art songs and choral arrangements. It was orignally published in a volume called A Shropshire Lad in 1896. Duke’s composition tells the story of someone who takes the beauty of springtime for granted and vows to properly enjoy spring for the rest of their life.
Over The Rainbow was written in 19 Harold Arlen for the film The Wizard Arlen wrote for many film scores, but Over Rainbow became his most well-known awarded piece. Lyricist E. Y. Harburg worked closely with Arlen in the composition entire movie score and would give him a inspiration, then once the piece was composed Harburg would set words to it. Over Rainbow was written for Judy Garland the character of Dorothy Gale and Garland’s most well-known song. introductory verse included in this performance was omitted in the film but is included in the score and is a part of other notable performances.
Sophie’s first vocal performance in 2011, singing Over the Rainbow at age 7 in her elementary school talent show.
Vani sono i lamenti... Svelgliatevi nel core Vani sono i lamenti; È tempo, o Sesto, omai di vendicar il padre; Si svegli alla vendetta l’anima neghittosa, Che offesa da un tiranno invan reposa.
Svegliatevi nel core, furie d'un alma offesa, a far d'un traditor aspra vendetta!
L'ombra del genitore accorre a mia difesa, e dice: a te il rigor, Figlio si aspetta.
Das Veilchen
Ein Veilchen auf der Wiese stand, gebückt in sich und unbekannt; es war ein herzigs Veilchen. Da kam ein' junge Schäferin mit leichtem Schritt und munterm Sinn daher, daher, die Wiese her und sang.
Ach! denkt das Veilchen, wär' ich nur die schönste Blume der Natur, ach, nur ein kleines Weilchen, bis mich das Liebchen abgepflückt und an dem Busen matt gedrückt, ach, nur, ach nur ein Viertelstündchen lang!
Ach, aber ach! Das Mädchen kam und nicht in acht das Veilchen nahm, ertrat das arme Veilchen. Es sank und starb, und freut' sich noch: und sterb' ich denn, so sterb' ich doch durch sie, durch sie, zu ihren Füßen doch!
Das arme Veilchen! es war ein herzigs Veilchen.
In vain are the laments... Awaken in my Heart In vain are the laments;
It is time, oh Sesto, now to avenge your father; Let the vengeance of your idle soul be awakened, A soul that takes no notice of being wronged by a tyrant.
Awaken in my heart
The wrath of an offended soul
So I may wreak upon a traitor my bitter vengeance!
The ghost of my father
Hastens to my defense
Saying: From you, my son
Ferocity is expected.
A violet in the meadow stood, with humble brow, demure and good, it was the sweetest violet. There came along a shepherdess with youthful step and happiness, who sang, who sang along the way this song.
Oh! thought the violet, how I pine for nature's beauty to be mine, if only for a moment. for then my love might notice me and on her bosom fasten me, I wish, I wish if but a moment long.
But, cruel fate! The maiden came, without a glance or care for him, she trampled down the violet. He sank and died, but happily: and so I die then let me die for her, for her, beneath her darling feet.
Poor little violet! It was the sweetest violet.
Rosen brach ich nachts mir am dunklen Hage, Süsser hauchten Duft sie, als je am Tage; Doch verstreuten reich die bewegten Äste
Tau, der mich näßte.
Auch der Küsse Duft mich wie nie berückte, Die ich nachts vom Strauch deiner Lippen pflückte; Doch auch dir, bewegt im Gemüt gleich jenen, Tauten die Tränen.
Lorsque au soleil couchant les rivières sont roses, Et qu’un tiède frisson court sur les champs de blé, Un conseil d’être heureux semble sortir des choses Et monter vers le coer troublé.
Un conseil de goûter le charme d’être au monde
Cependant qu’on est jeune et que le soir est beau, Car nous nous en allons, comme s’en va cette onde:
Elle à la mer, nous au tombeau.
I gathered roses from the dark hedge by night, The fragrance they breathed was sweeter than by day; But when I moved the branches, they showered Me with dew.
And the fragrant kisses thrilled me as never before, When I gathered them from your rose-bush lips by night; But you too, moved in your heart like those roses, Shed the dew of tears.
When at the sun setting the rivers are rosy,
And when a mild shiver runs over the fields of corn
An advice (of) to be happy seems to come out from things
And to rise toward the heart troubled.
An advice to relish the charm of being in the world
While that one is young and that the evening is beautiful
For we we go away as goes away this water
It to the sea, we to the tomb.
Barcarolle
Belle nuit, ô nuit d’amour
Souris à nos ivresses
Nuit plus douce que le jour Ô,belle nuit d’amour!
Le temps fuit et sans retour
Emporte nos tendresses
Loin de cet heureux séjour
Le temps fuit sans retour
Zéphyrs embrasés
Versez-nous vos caresses
Barcarolle
Lovely night, oh, night of love
Smile upon our joys!
Night much sweeter than the day
Oh beautiful night of love!
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!
Zéphyrs embrasés
Donnez-nous vos baisers!
Vos baisers! Vos baisers! Ah!
Belle nuit, ô, nuit d’amour
Souris à nos ivresses
Nuit plus douce que le jour, Ô, belle nuit d’amour!
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!
A special thank you is deserved for the people who supported me and helped make this recital possible! A thank you goes out to everyone who has supported me on my journey, but especially to:
Crystal Jarrell Johnson, private instructor
Anna Hakobyan, collaborative pianist
Alania Cordero, duet partner
Samantha Andersen, mother, supporter, and logistics
Andrew Andersen, father and supporter
Ivan Ventura, partner and supporter
Members of Professor Johnson’s Studio, providers of critique and support
UTSA School of Music Faculty, supporters and logistics
and everyone else who has supported me along the way
