SoNA
Symphony of Northwest Arkansas
Masterworks II: Carmina Burana February 1, 2020 Walton Arts Center Paul Haas, conductor
finesse, using the orchestra’s different instrumental groups—strings, woodwinds, brass, and percussion—in broad brush strokes that propel the musical narrative. The Thunder Bay Symphony premiered Angelique last winter under Maestro Haas’ direction. This is the second performance. Haas’ score takes advantage of the larger orchestral forces available this evening; tonight’s performance is the premiere of his revised version.
Carmina Burana Carl Orff b 10 July 1895, Munich, Germany d 29 March 1982, Munich, Germany
Angelique
Carl Orff once said: “Music has little or no raison d’être apart from the words to which it is fashioned.” What a tribute to his gift as a composer
Paul Haas
that Carmina Burana, his 1937 choral masterpiece, has such visceral
b 18 January 1971, San Francisco, California
impact and immediate appeal apart from its hedonistic texts! But words are crucial to a maximum appreciation of this remarkable work, which
A biography of Paul Haas appears on page 4 of tonight’s program.
Orff thought of as a theatrical cantata. While Carmina Burana is usually presented in concert today, the original texts are highly dramatic, a
The impetus for Angelique is a book by James Stevens published in
quality that is essential to an understanding of Orff’s unique settings—
2010. It is the story of Angelique Mott, a 17-year-old woman from the
and that lends itself very well to the dance.
Métis (a Canadian of mixed indigenous and French ancestry) who was abandoned on a Lake Superior island from summer 1845 until spring
An ancient manuscript: the sacred and the profane
1846. Thunder Bay filmmaker Michelle Desrosier—an indigenous woman
The manuscript from which Orff took his texts for Carmina Burana
herself—subsequently made Stevens’ book into an award-winning
was discovered at the Benediktbeuern monastery in the Bavarian Alps
screenplay; her film, Angelique’s Isle, was released in 2018.
by Johann Andreas Schmeller, who published it in 1847. Dating from the 11th through 13th centuries, the poetic texts are a wide-ranging
James Stevens’ book made a powerful impression on Paul Haas. His
compendium of languages and subjects. Topics range from love poetry,
composer’s note explains.
satirical verse and drinking songs to liturgical dramas, moral lessons, and praise of Alexander the Great. A few are in medieval German, others
In early 2018 I read a fascinating book called Angelique, which
in Latin, still more in old French. They deal with religion and moral issues,
tells the true and riveting tale of a Métis woman stranded with
the worldly and the metaphysical. Simple language in some of the poems
her husband on Isle Royale over the long and brutal winter. (The
ranges in content from naïve to vulgar. Other, more sophisticated texts
men who hired them to find and guard a huge boulder of copper
include both cynical and philosophical points of view. Authors of wide
promise to return shortly, but they never return.) She survives, but
educational and cultural backgrounds contributed to the compilation.
her husband does not. Stevens’ story inspired me to pay musical homage to this incredible woman. I wanted to portray glimpses of
Orff was a late bloomer as a composer. Born in Munich in 1895, he
time and emotion—this was not to be a retelling of the plot. The
studied at that city’s Akademie für Tonkunst. For many years he earned
first movement is a backdrop of how greed and grasping shape our
his living as a theatrical rehearsal pianist, an experience that gave him
history. The second and third movements are musical miniatures,
a keen understanding of the mechanics of drama. In the 1920s he
showing us Angelique’s wise and magical mother and then the
adapted several works by Monteverdi for the stage. He later directed the
whimsical Angelique herself. The fourth is the fateful lake voyage,
Munich Bach Society for several years. These experiences developed his
with all of its ominous forebodings, and the fifth is the moment
strong interest in early music.
when all water has turned to ice. The sixth and final movement is the heart of the piece. It represents for me the most extreme
Reconciling old and new
moment for Angelique, when she finds her dead husband and
Orff became acquainted with the Benediktbeuern manuscript in the
somehow transforms that pain into an unimaginable resilience.
early 1930s. He was fascinated by the sounds of its medieval languages.
The cover of the beautifully illuminated manuscript, depicting a wheel of
Haas’ music is richly evocative of the heroine’s shifting states of mind
fortune, also made a big impression on him. Its musical manifestation
over the course of her journey. He manages tension and anxiety with
was the massive hymn Fortune that frames Carmina Burana.
Carmina Burana was Orff’s first major composition, and the first one that
Part II, In Taberna [In the Tavern] belongs to the men: the tortured
satisfied him; he repudiated his earlier works. He selected his texts with
hypocrite with craven heart (baritone solo); the swan roasting on the spit,
discrimination, seeking to set them in a manner that would be consistent
lamenting his former domain as he contemplates being devoured by the
not only with the medieval poems but also with the vocabulary of 20th
hungry men who fill the tavern (tenor solo and men’s chorus); the corrupt
century music. He bypassed the old French texts in favor of those in old
abbot who drinks, among other vices (baritone and men’s chorus), and
German and Latin. In his music, he sought to echo the simple and naïve
finally In taberna, one of the greatest drinking songs ever composed.
style of the poems; thus Carmina Burana contains primarily strophic songs with little or no variation in verses. Orff’s melodies are diatonic and
Part III is called The Court of Love. Orff manipulates the texts and his
frequently scalar; a couple of them are strongly flavored by
musical resources in a mini-drama of contemplated love, indecision (In
Gregorian chant.
trutina, soprano solo), seduction, and the joy of ultimate surrender to passion (Dulcissime, soprano solo). Following the exultant Blanziflor et
His rhythm, by contrast, is enormously complex. Vibrant, driven and
Helena hymn, his repetition of the Fortune chorus reminds us that all
atavistic, the primitive pulsation of Carmina Burana unites medieval
human happiness is transitory.
peasantry with sophisticated effects available from a bevy of modern instruments. In particular, an expanded percussion section provides much
Throughout Carmina Burana, Orff’s vocal tessitura is abnormally high.
of the vivid color so essential to Carmina’s impact. The score also calls
We notice this characteristic more in the melismatic solo numbers,
for two pianos, which supersede the more conventional role that might
particularly those for soprano and tenor. But the soloists never obscure
be taken by harp in another composer’s work. Their combined role flavors
the prominent role of the chorus, which is central to the work’s narrative,
some choruses (Ecce gratum) and dominates the musical fabric in others
sensual and musical power.
(Veni, veni, venias). The score calls for a large orchestra: triple woodwind, four horns, three The big picture: a journey from springtime, to the tavern, to
trumpets, three trombones, tuba, timpani, a huge percussion battery
consummated love
requiring five players (xylophone, castanets, ratchet, sleigh bells, triangle,
The work divides into three principal segments. They are preceded by
crotales, cymbals, tam tam, chimes, tambourine, bass drum, three
Fortune, Empress of the World, which serves as an introduction and
glockenspiels, two suspended cymbals, two side drums, and a second set
returns to conclude the work. The first section, Spring, is a celebration of
of timpani), two pianos, celesta and strings.
youth and the promise of the season. It introduces the theme of love and
the eternal games played by young people of both sexes seeking to attract
Program Notes by Laurie Shulman © 2020
one another.
First North American Serial Rights Only
CARL ORFF: CARMINA BURANA – TEXTS AND TRANSLATIONS FORTUNA IMPERATRIX MUNDI
FORTUNE EMPRESS OF
1. O FORTUNA
THE WORLD
2. FORTUNE PLANGO VULNERA
2. I BEMOAN THE WOUNDS OF FORTUNE
1.O FORTUNE Fortune plango vulnera
I bemoan the wounds of Fortune
O Fortuna,
O Fortune,
stillantibus ocellis,
with weeping eyes,
velut Luna
Like the moon
quod sua michi munera
for the gifts she made me
statu variabilis,
You are changeable,
subtrahit rebellis.
she perversely takes away.
semper crescis
ever waxing
Verum est, quod legitur
It is written in truth,
aut decrescis;
and waning.
fronte capillata,
that she has a fine head of hair,
vita detestabilis
Hateful life,
sed plerumque sequitur
but, when it comes to seizing an
nunc obdurat
first oppresses,
et tunc curat
and then soothes
ludo mentis aciem,
as fancy takes it;
egestatem, potestatem dissolvit ut glaciem.
opportunity, Occasio calvata.
she is bald.
poverty,
In Fortune solio
On Fortune’s throne
and power
sederam elatus,
I used to sit raised up,
it melts them like ice.
prosperitatis vario
crowned with
flore coronatus;
the many-colored flowers of
Sors immanis
Fate - monstrous
et inanis,
and empty,
quicquid enim florui
though I may have flourished
rota tu volubilis,
you whirling wheel,
felix et beatus,
happy and blessed,
status malus,
you are malevolent,
nunc a summo corrui
now I fall from the peak
vana salus
well-being is in vain
gloria privatus.
deprived of glory.
semper dissolubilis,
and always fades to nothing,
obumbrata
shadowed
Fortune rota volvitur:
The wheel of Fortune turns:
et velata
and veiled
descendo minoratus;
I go down, demeaned;
michi quoque niteris;
you plague me too;
alter in altum tollitur;
another is raised up;
nunc per ludum
now through the game
nimis exaltatus
far too high up
dorsum nudum
I bring my bare back
rex sedet in vertice
sits the king at the summit –
fero tui sceleris.
To your villainy.
caveat ruinam!
let him fear ruin!
nam sub axe legimus
for under the axis is written
Hecubam reginam.
Queen Hecuba.
prosperity;
Sors salutis
Fate is against me
et virtutis
in health
michi nunc contraria
and virtue,
I. PRIMO VERE
I. SPRING
est affectus
driven on
3. VERIS LETA FACIES
3. THE MERRY FACE OF SPRING
et defectus
and weighted down,
semper in angaria.
always enslaved.
Veris leta facies
The merry face of spring
Hac in hora
So at this hour
mundo propinatur,
turns to the world,
sine mora
without delay
hiemalis acies
sharp winter
corde pulsum tangite;
pluck the vibrating strings;
victa iam fugatur,
now flees, vanquished;
quod per sortem
since Fate
in vestitu vario
bedecked in various colors
sternit fortem,
strikes down the strong man,
Flora principatur,
Flora reigns,
mecum omnes plangite!
everyone weep with me!
nemorum dulcisono
the harmony of the woods
que cantu celebratur.
praises her in song. Ah!
5. ECCE GRATUM
5. BEHOLD, THE PLEASANT
Flore fusus gremio
Lying in Flora’s lap
Phoebus novo more
Phoebus once more
risum dat, hoc vario
smiles, now covered
iam stipate flore
in many-colored flowers,
Ecce gratum
Behold the pleasant
Zephyrus nectareo
Zephyr breathes nectarscented
et optatum
and longed-for
spirans in odore;
breezes.
Ver reducit gaudia,
spring brings back joyfulness,
certatim pro bravio
Let us rush to compete
purpuratum
violet flowers
curramus in amore.
for love’s prize. Ah!
floret pratum,
fill the meadows,
Sol serenat omnia,
the sun brightens everything,
SPRING
Cytharizat cantico
In harp-like tones sings
iamiam cedant tristia!
sadness is now at an end!
dulcis Philomena,
the sweet nightingale,
Estas redit,
Summer returns,
flore rident vario
with many flowers
nunc recedit
now withdraw
prata iam serena,
the joyous meadows are laughing,
Hyemis sevitia.
the rigors of winter. Ah!
salit cetus avium
a flock of birds rises up
silve per amena,
through the pleasant forests,
Iam liquescit
Now melts
chorus promit virginum
the chorus of maidens
et decrescit
and disappears
iam gaudia millena.
already promises a thousand
grando, nix et cetera,
ice, snow, and the rest,
joys. Ah.
bruma fugit,
winter flees,
et iam sugit,
and now
4. THE SUN WARMS
Ver Estatis ubera;
spring sucks at summer’s breast:
EVERYTHING
illi mens est misera,
A wretched soul is he
qui nec vivit,
who does not live
4. OMNIA SOL TEMPERAT
Omnia Sol temperat
The sun warms everything,
nec lascivit
or lust
purus et subtilis,
pure and gentle,
sub Estatis dextera.
under summer’s rule. Ah!
novo mundo reserat
once again it reveals to the world
facies Aprilis,
April’s face,
Gloriantur
They glory
ad Amorem properat
the soul of man
et letantur
and rejoice
animus herilis,
is urged towards love
in melle dulcedinis
in honeyed sweetness
et iocundis imperat
and joys are governed
qui conantur,
who strive
deus puerilis.
by the boy-god.
ut utantur
to make use of
premio Cupidinis;
Cupid’s prize;
Rerum tanta novitas
All this rebirth
simus jussu Cypridis
At Venus’ command
in solemni vere
in spring’s festivity
gloriantes
let us glory
et veris auctoritas
and spring’s power
et letantes
and rejoice
iubet nos gaudere;
bids us to rejoice;
pares esse Paridis.
in being Paris’ equals. Ah!
vias prebet solitas,
it shows us paths we know well,
et in tuo vere
and in your springtime
UF DEM ANGER
ON THE GREEN
fides est et probitas
it is true and right
6. TANZ
6. DANCE
tuum retinere.
to keep what is yours. 7. FLORET SILVA
7. THE NOBLE WOODS ARE
Ama me fideliter!
Love me faithfully!
fidem meam nota:
See how I am faithful:
de corde totaliter
With all my heart
Floret silva nobilis
The noble woods are burgeoning
et ex mente tota
and with all my soul,
floribus et foliis.
with flowers and leaves,
sum presentialiter
I am with you
Ubi est antiquus
Where is the lover
absens in remota.
Even when I am far away.
meus amicus? Ah!
I knew? Ah!
quisquis amat taliter,
Whoever loves this much
volvitur in rota.
turns on the wheel.
BURGEONING
10. WERE DIU WERLT ALLE MIN
10. IF ALL THE WORLD WERE
hinc equitavit,
He has ridden off!
eia, quis me amabit?
Oh! Who will love me? Ah!
Floret silva undique,
The woods are burgeoning all over,
Were diu werlt alle min
If all the world were mine
nah mime gesellen ist mir wê.
I am pining for my lover,
von dem mere unze an den Rin,
from the sea to the Rhine,
Gruonet der walt allenthalben,
The woods are turning green all
des wolt ih mih darben,
I would do without it
over,
daz diu chünegin von Engellant
if the Queen of England
wâ ist min geselle alse lange?
why is my lover away so long? Ah!
lege an minen armen. Hei!
would lie in my arms. Hey!
der ist geriten hinnen,
He has ridden off,
owî, wer soll mich minnen?
Oh woe, who will love me? Ah!
II. IN TABERNA
II. IN THE TAVERN
11. ESTUANS INTERIUS
11. BURNING INSIDE
Estuans interius
Burning inside
ira vehementi
with violent anger,
8. CHRAMER, GIP DIE
8. SHOPKEEPER, GIVE
VARWE MIR
ME COLOR
MINE
Chramer, gip die varwe mir,
Shopkeeper, give me color
in amaritudine
bitterly
die min wengel roete,
to make my cheeks red,
loquor mee menti:
I speak my heart:
damit ich die jungen man
so that I can make the young men
factus de materia,
Created from matter,
an ir dank der minnenliebe noete.
love me, against their will
cinis elementi
of the ashes of the elements,
similis sum folio,
I am like a leaf
de quo ludunt venti.
played with by the winds.
Cum sit enim proprium
If it is the way
viro sapienti
of the wise man
Seht mich an,
Look at me,
jungen man!
young men!
lat mich iu gevallen!
Let me please you!
Minnet, tugentliche man,
Good men, love
supra petram ponere
to build
minnecliche frouwen!
women worthy of love!
sedem fundamenti,
foundations on stone,
minne tuot iu hoch gemuot
Love ennobles your spirit
stultus ego comparor
then I am a fool, like
unde lat iuch in hohen eren
and gives you honor.
fluvio labenti,
a flowing stream,
sub eodem tramite
which in its course
nunquam permanenti.
never changes.
schouwen. Seht mich an…
Look at me, etc. Feror ego veluti
I am carried along
Wol dir werlt, das du bist
Hail, world,
sine nauta navis,
like a ship without a steersman,
also freudenriche!
so rich in joys!
ut per vias aeris
and in the paths of the air
ich will dir sin undertan
I will be obedient to you
vaga fertur avis;
like a light, hovering bird;
durch din liebe immer sicherliche.
because of the pleasures you
non me tenent vincula,
chains cannot hold me,
afford.
non me tenet clavis,
keys cannot imprison me,
quero mihi similes
I look for people like me
Seht mich an…
Look at me, etc.
et adiungor pravis.
and join the wretches.
9. REIE
9. ROUND DANCE
Mihi cordis gravitas
The heaviness of my heart
res videtur gravis;
seems a burden to me;
Swaz hie gat umbe,
Those who go round and round
iocus est amabilis
it is pleasant to joke
daz sint allez megede,
are all maidens,
dulciorque favis;
and sweeter than honeycomb;
die wellent an man
they want to do without a man
quicquid Venus imperat,
whatever Venus commands
alle disen sumer gan.
all summer long. Ah! Sla!
labor est suavis,
is a sweet duty,
Chume, chum, geselle min,
Come, come, my love,
ih enbite harte din.
I long for you.
Suzer rosenvarwer munt,
Sweet rose-red lips,
chum unde mache mich gesunt.
come and make me better.
Swaz hie gat umbe,
Those who go round, etc.
que nunquam in cordibus
she never dwells
Wafna, wafna!
Woe! Woe!
habitat ignavis.
in a lazy heart.
quid fecisti sors turpissima?
what have you done, vilest Fate?
Nostre vite gaudia
The joys of my life
Via lata gradior
I travel the broad path
abstulisti omnia!
you have taken all away!
more iuventutis,
as is the way of youth,
Haha!
Haha!
inplicor et vitiis
I give myself to vice,
immemor virtutis,
unmindful of virtue,
14. IN TABERNA QUANDO
14. WHEN WE ARE IN THE
voluptatis avidus
I am eager for the pleasures of
SUMUS
TAVERN
the flesh magis quam salutis,
more than for salvation,
In taberna quando sumus,
When we are in the tavern,
mortuus in anima
my soul is dead,
non curamus quid sit humus,
we do not think how we will go
curam gero cutis.
so I shall look after the flesh.
12. OLIM LACUS COLUERAM Cignus ustus cantat:
12. ONCE I LIVED ON LAKES The roasted swan sings:
Olim lacus colueram,
Once I lived on lakes,
olim pulcher extiteram,
once I looked beautiful
dum cignus ego fueram.
when I was a swan.
to dust, sed ad ludum properamus,
but we hurry to gamble,
cui semper insudamus.
which always makes us sweat,
Quid agatur in taberna,
What happens in the tavern,
ubi nummus est pincerna,
where money is host,
hoc est opus ut queratur,
you may well ask,
sic quid loquar, audiatur.
and hear what I say.
Quidam ludunt, quidam bibunt,
Some gamble, some drink,
quidam indiscrete vivunt.
some behave loosely.
Miser, miser!
Misery me!
Sed in ludo qui morantur,
But of those who gamble,
modo niger
Now black
ex his quidam denudantur,
some are stripped bare,
et ustus fortiter!
and roasting fiercely!
quidam ibi vestiuntur,
some win their clothes here,
quidam saccis induuntur.
some are dressed in sacks.
The servant is turning me on
Ibi nullus timet mortem,
Here no-one fears death,
the spit;
sed pro Baccho mittunt sortem:
but they throw the dice in the
Girat, regirat garcifer;
name of Bacchus.
me rogus urit fortiter:
I am burning fiercely on the pyre;
propinat me nunc dapifer,
the steward now serves me up.
Miser, miser! etc.
Misery me! etc.
Primo pro nummata vini
Nunc in scutella iaceo,
Now I lie on a plate,
ex hac bibunt libertini:
that the libertines drink,
et volitare nequeo,
and cannot fly anymore,
semel bibunt pro captivis,
one for the prisoners,
dentes frendentes video:
I see bared teeth:
post hec bibunt ter pro vivis,
three for the living,
quater pro Christianis cunctis,
four for all Christians,
quinquies pro fidelibus defunctis
five for the faithful dead.
sexies pro sororibus vanis,
six for the loose sisters,
First of all it is to the wine-merchant
Miser, miser! etc.
Misery me! etc.
13. EGO SUM ABBAS
13. I AM THE ABBOT
septies pro militibus silvanis.
seven for the footpads in the wood.
Ego sum abbas Cucaniensis
I am the abbot of Cockaigne
Octies pro fratribus perversis,
Eight for the errant brethren,
et consilium meum est cum
and my assembly is one of
nonies pro monachis dispersis,
nine for the dispersed monks,
bibulis,
drinkers,
decies pro navigantibus,
ten for the seamen,
et in secta Decii voluntas mea est,
and I wish to be in the order of
undecies pro discordantibus,
eleven for the squabblers,
Decius,1
duodecies pro penitentibus,
twelve for the penitent,
tredecies pro iter angentibus.
thirteen for the wayfarers. To the Pope as to the king they all drink without restraint.
et qui mane me quesierit in
and whoever searches me out at
Tam pro papa quam pro rege
taberna,
the tavern in the morning,
bibunt omnes sine lege.
post vesperam nudus egredietur,
after Vespers he will leave naked,
et sic denudatus veste clamabit:
and thus stripped of his clothes he will call out:
1
Decius: the invented Saint of dice-throwers
Bibit hera, bibit herus, bibit miles, bibit clerus,
The mistress drinks, the master
cordis in custodia:
in the depth of her heart;
drinks,
fit res amarissima.
it is a most bitter fate.
16. DIES, NOX ET OMNIA
16. DAY, NIGHT, AND
the soldier drinks, the priest drinks,
EVERYTHING
bibit ille, bibit illa,
the man drinks, the woman drinks,
bibit servus cum ancilla,
the servant drinks with the maid,
bibit velox, bibit piger,
the swift man drinks, the lazy man
Dies, nox et omnia
Day, night, and everything
drinks,
michi sunt contraria,
is against me,
the white man drinks, the black
virginum colloquia
the chattering of maidens
man drinks,
me fay planszer,
makes me weep,
the settled man drinks, the
oy suvenz suspirer,
and often sigh,
wanderer drinks,
plu me fay temer.
and, most of all, scares me.
man drinks,
O sodales, ludite,
O friends, you are making fun
The poor man drinks, the sick man
vos qui scitis dicite,
bibit albus, bibit niger, bibit constans, bibit vagus, bibit rudis, bibit magus.
the stupid man drinks, the wise of me,
Bibit pauper et egrotus,
you do not know what you are saying,
drinks, bibit exul et ignotus,
the exile drinks, and the stranger,
michi mesto parcite,
spare me, sorrowful as I am,
bibit puer, bibit canus,
the boy drinks, the old man drinks,
grand ey dolur,
great is my grief,
bibit presul et decanus,
the bishop drinks, and the deacon,
attamen consulite
advise me at least,
bibit soror, bibit frater,
the sister drinks, the brother
per voster honur.
by your honor.
the old lady drinks, the mother
Tua pulchra facies,
Your beautiful face,
drinks,
me fey planszer milies,
makes me weep a thousand times,
bibit iste, bibit ille,
this man drinks, that man drinks,
pectus habens glacies,
your heart is of ice.
bibunt centum, bibunt mille.
a hundred drink, a thousand drink.
a remender
As a cure,
statim vivus fierem
I would be revived
per un baser.
by a kiss.
17. STETIT PUELLA
17. A GIRL STOOD
drinks, bibit anus, bibit mater,
Parum sexcente nummate
Six hundred pennies would hardly
durant cum immoderate
suffice, if everyone
bibunt omnes sine meta,
drinks immoderately and immeasurably.
quamvis bibant men te leta,
However much the cheerfully drink
Stetit puella
A girl stood
sic nos rodunt omnes gentes
we are the ones whom everyone
rufa tunica;
in a red tunic;
scolds,
si quis eam tetigit,
if anyone touched it,
et sic erimus egentes.
and thus we are destitute.
tunica crepuit.
the tunic restled.
Qui nos rodunt confundantur
May those who slander us be
Eia.
Eia!
and may their names not be
Stetit puella,
A girl stood
written in the book of the
tamquam rosula;
like a little rose:
righteous.
facie splenduit,
her face was radiant
os eius floruit.
and her mouth in bloom.
cursed et cum iustis non scribantur.
Io, io, io! ‌
Io, io, io!
Eia.
Eia!
III. COUR D’AMOURS
III. THE COURT OF LOVE
18. CIRCA MEA PECTORA
18. IN MY HEART
15. AMOR VOLAT UNDIQUE
15. CUPID FLIES EVERYWHERE Circa mea pectora
In my heart
Amor volat undique,
Cupid flies everywhere
multa sunt suspiria
there are many sighs
captus est libidine.
seized by desire.
de tua pulchritudine,
for your beauty,
Iuvenes, iuvencule
Young men and women
que me ledunt misere. Ah!
which wound me sorely. Ah!
coniunguntur merito.
are rightly coupled.
Siqua sine socio,
The girl without a lover
caret omni gaudio,
misses out on all pleasures,
tenet noctis infima
she keeps the dark night
sub intimo
hidden
Manda liet,
Mandaliet,
manda liet,
mandaliet,
min geselle
my lover
chumet niet.
does not come.
21. IN TRUTINA
21. IN THE BALANCE
In trutina mentis dubia
In the wavering balance of my feelings
fluctuant contraria
set against each other
Tui lucent oculi
Your eyes shine
lascivus amor et pudicitia.
lascivious love and modesty.
sicut solis radii,
like the rays of the sun,
Sed eligo quod video,
But I choose what I see,
sicut splendor fulguris
like the flashing of lightening
collum iugo prebeo;
and submit my neck to the yoke;
lucem donat tenebris. Ah!
which brightens the darkness. Ah!
ad iugum tamen suave transeo.
I yield to the sweet yoke.
Mandaliet, etc.
Mandaliet, etc.
22. TEMPUS EST IOCUNDUM
22. THIS IS THE JOYFUL TIME
Vellet deus, vellent dii,
May God grant, may the gods grant
Tempus est iocundum,
This is the joyful time,
quod mente proposui:
what I have in my mind
o virgines,
O maidens,
ut eius virginea
that I may loose
modo congaudete
rejoice with them,
reserassem vincula. Ah!
the chains of her virginity, Ah!
vos iuvenes.
young men!
Oh, oh, oh!
Oh, oh, oh!
totus floreo,
I am bursting out all over!
iam amore virginali totus ardeo!
I am burning all over with first love!
novus, novus novus amor est,
New, new love is what I am
quo pereo!
dying of!
Mandaliet, etc. 19. SIE PUER CUM PUELLULA
Mandaliet, etc. 19. IF A BOY WITH A GIRL
Sie puer cum puellula
If a boy with a girl
moraretur in cellula,
tarries in a little room,
Mea me confortat
I am heartened
felix coniunctio.
happy is their coupling.
promissio,
by my promise,
Amore sucrescente,
Love rises up,
mea me deportant
I am downcast
pariter e medio
and between them
negatio.
by my refusal.
propulso procul tedio,
prudery is driven away,
Oh, oh, oh! etc.
Oh! oh! oh! etc.
fit ludus ineffabilis
an ineffable game begins
membris, lacertis, labiis.
in their limbs, arms and lips.
Tempore brumali
In the winter
vir patiens,
man is patient,
animo vernali
the breath of spring
lasciviens.
makes him lust.
Oh, oh, oh! etc.
Oh! oh! oh! etc.
20. VENI, VENI, VENIAS
20. COME, COME, O COME
Veni, veni, venias,
Come, come, O come,
ne me mori facias,
do not let me die,
hyrca, hyrca, nazaza,
hyrca, hyrce, nazaza,
Mea mecum ludit
My virginity
trillirivos!
trillirivos!
virginitas,
makes me frisky,
mea me detrudit
my simplicity
Pulchra tibi facies,
Beautiful is your face,
simplicitas.
holds me back.
oculorum acies,
the gleam of your eye,
Oh, oh, oh! etc.
Oh! oh! oh! etc.
capillorum series,
your braided hair,
o quam clara species!
what a glorious creature!
Veni domicella,
Come, my mistress,
cum gaudio,
with joy,
Rosa rubicundior,
Redder than the rose,
veni, veni, pulchra,
come, come, my pretty,
lilio candidior,
whiter than the lily,
iam pereo.
I am dying!
omnibus formosior,
lovelier than all others,
Oh, oh, oh! etc.
Oh! oh! oh! etc.
semper in te glorior!
I shall always glory in you!
23. DULCISSIME
23. SWEETEST ONE
Dulcissime, Ah!
Sweetest one! Ah!
totam tibi subdo me!
I give myself to you totally!
BLANZIFLOR ET HELENA
BLANCHEFLEUR2 AND HELEL
24. AVE FORMOSISSIMA
24. HAIL, MOST BEAUTIFUL ONE
Ave formosissima,
Hail, most beautiful one,
gemma pretiosa,
precious jewel,
ave decus virginum,
Hail, Pride among virgins,
virgo gloriosa,
glorious virgin,
ave mundi luminar
Hail, light of the world,
ave mundi rosa,
Hail, rose of the world,
Blanziflor et Helena,
Blanchefleur and Helen,
Venus generosa!
noble Venus!
FORTUNA IMPERATRIX
FORTUNE, EMPRESS OF THE
MUNDI
WORLD
25. O FORTUNA
25. O FORTUNE
No. 1 repeated
No. 1 repeated
2
Heroine of a popular medieval saga
Heather Buck, soprano
Prestini’s Gilgamesh with Beth Morrison Projects and Persephone in Wachner’s Rev. 23 at the PROTOTYPE Festival. Other recent engagements
Praised by Opera News as “the kind of
include Philip Glass’ Symphony No. 5, with both the Washington Chorus
performer who makes it all look easy,” Heather
at the Kennedy Center and Trinity Church Wall Street; Crumb’s Ancient
Buck is best described by opera critic David
Voices of Children and the American premiere of Lachenmann’s The
Shengold as “a lithe and impactful actress
Little Match Girl at Spoleto Festival USA; and a reprise of the Maid in
with an uncommonly beautiful soprano for
Adès’ Powder Her Face with Teatro Arriaga Antzokia, Bilbao, a role she
the high-lying and testing repertory she
originally sang in the work’s U.S. premiere and filmed for the BBC.
serves.” In the 2019-20 season, she sings Leïla in Les pêcheurs de perles with Opera in
Opera highlights include the world premiere of Haroun and the Sea of
Williamsburg, Herodiade in Stradella’s San
Stories with New York City Opera; Isabella Linton in the world premiere
Giovanni Battista with Opera Omaha, Louis
recording of Carlisle Floyd’s Wuthering Heights and Lulu Baines in the
Karchin’s Four Songs on Poems by Seamus Heaney at the Bowling Green
Grammy Award-winning Elmer Gantry with Florentine Opera; the U.S.
New Music Festival, and Carmina Burana with the Symphony of Northwest
premiere of Wolfgang Rihm’s monodrama Proserpina with Spoleto Festival
Arkansas (SoNA) and West Virginia Symphony.
USA; La Princesse in Glass’ Orphée with Pittsburgh Opera and Virginia Opera; Stella in A Streetcar Named Desire with Washington National
In the 2018-19 season, Buck sang Susanna in Laura Elise
Opera; Medea in Dusapin’s Medeamaterial with Teatr Wielki; and the
Schwendinger’s Artemisia at the Time’s Arrow Festival of Trinity Church
Angel in the U.S. premiere of Dusapin’s Faustus: The Last Night at Spoleto
Wall Street, a reprise of the title role of Charles Wuorinen’s Haroun
Festival USA and Amsterdam’s Concertgebouw. She has sung the Queen
and the Sea of Stories with Boston Modern Orchestra Project, and Four
of the Night in Die Zauberflöte with companies such as English National
Songs on Poems by Seamus Heaney with Orchestra of the League of
Opera, Santa Fe Opera, and Opera Theatre of Saint Louis.
Composers. Her 2017-18 season included returns to New York City Opera to reprise the title role in Argento’s monodrama Miss Havisham’s
Concert highlights include singing as soloist at the Beijing Summer
Wedding Night, and Alma Beers in Wuorinen’s Brokeback Mountain,
Olympics; the U.S. premiere of Saariaho’s Leino Songs with American
a role she first created with Teatro Real Madrid; to Odyssey Opera as
Composers Orchestra; Mahler’s Symphony No. 2 with American Symphony
Joan of Arc in Dello Joio’s The Trial at Rouen; and to Virginia Opera as
Orchestra; Tan Dun’s Water Passion at the White Nights Festival in
Tytania in A Midsummer’s Night Dream. She sang as Merteuil in Luca
Russia; Barber’s Knoxville: Summer of 1915 and Mozart’s Requiem
Francesconi’s Quartett with West Edge Opera in the summer of 2018.
with Westchester Philharmonic; Esa-Pekka Salonen’s Five Images after Sappho with Utah Symphony; Druckman’s Counterpoise with Los Angeles
She recently made her LoftOpera debut in a staged production
Philharmonic New Music Group; and Messiah with Handel and Haydn
of Pergolesi’s Stabat Mater, and created the roles of Ku in Paola
Society and Pacific Symphony.
Jonathan Blalock, tenor
An American Soldier with Washington National Opera; The Secret Agent with the Center for Contemporary Opera in NYC and the Armel Festival
American tenor Jonathan Blalock recently
in Hungary; Jorge Martin’s Before Night Falls with Fort Worth Opera;
triumphed as Prince Claus in the world
and Paul’s Case with Urban Arias, which Alex Ross in The New Yorker
premiere of Mark Adamo’s Becoming Santa
declared as one of the top ten musical events of 2014, saying, “The tenor
Claus at The Dallas Opera. His critically
Jonathan Blalock was transfixing in the title role; Spears’s score glistened
acclaimed performance was broadcast live to
beautifully and eerily around him.” In addition, Blalock sang the Electrician
Lincoln Center and has since been released
in Adès’ Powder Her Face with West Edge Opera, made his Virginia Opera
on DVD.
debut as Cégeste in Philip Glass’ Orphée, and has sung in the same
composer’s Hydrogen Jukebox with both West Edge Opera and Fort
Recent engagements include Don Ramiro
Worth Opera.
(La Cenerentola) with Syracuse Opera, Beppe (I Pagliacci) with Arizona MusicFest, Nanki-Poo (The Mikado) with
As a specialist in Rossini and Mozart, he has performed Pedrillo in
Performance Santa Fe, a debut with Michigan Opera Theatre as Harry in
Mozart’s Die Entführung aus dem Serail with Des Moines Metro Opera;
La Fanciulla del West, and Podesta in Mozart’s La finta giardiniera with
Don Ottavio (Don Giovanni) with Cedar Rapids Opera and Nevada Opera;
both OnSite Opera and Atlanta Opera.
Ferrando (Così fan tutte) with Capitol Opera Raleigh; Count Almaviva (Il Barbiere di Siviglia) with Tri-Cities Opera, LOFT Opera, and Opera Company
Highly acclaimed for his work in 20th- and 21st-century opera, Blalock
of Middlebury; Ramiro (La Cenerentola) with Opera Roanoke, Opera in
has appeared in a number of world premieres, including Huang Ruo’s
Williamsburg, and as a guest with Bob Jones University; and he covered
two Rossini roles at Santa Fe Opera: Rodrigo (La Donna del Lago) and
Worth Opera; and Fenton (Falstaff) with Mercury Opera Rochester. In
Condulmiero (Maometto II).
concert Blalock has performed Carmina Burana with the Southern New Jersey Philharmonic and Las Cruces Symphony; Handel’s Messiah with
Career highlights also include Pang (Turandot) with Nashville Opera and
Winston-Salem Symphony and Lexington Philharmonic; and as soloist
Pacific Symphony; the title role in Candide with Emerald City Opera; The
with the Portland Symphony, Opera America’s New Opera Showcase,
Burrowing Mole (The Fantastic Mr. Fox) with both Opera San Antonio and
the PROTOTYPE Festival, The Washington Chorus, the Rackham Choir
Odyssey Opera; Remendado (Carmen) with Pacific Symphony and Fort
(Detroit), and Opera Hong Kong.
Timothy LeFebvre, baritone
West Virginia Symphony Orchestra, Vermont Symphony, Minnesota Orchestra, Syracuse Symphony, American Symphony Orchestra,
Nationally acclaimed baritone Timothy
Pittsburgh Symphony, Spokane Symphony, Binghamton Philharmonic,
LeFebvre has wide-ranging experience
Rochester Bach Festival, Berkshire Choral Festival, New Dominion
from the operatic stage to the concert hall.
Chorale, Williamsport Symphony, Orchestra of the Southern Finger Lakes,
Recent performances include Vaughan-
Syracuse Chamber Music Society, the Skaneateles Festival, and the
Williams’ Five Mystical Songs and Dona
Marlboro Music Festival. He has also appeared in concert at New York’s
nobis pacem with Berkshire Choral Festival,
Carnegie Hall and Alice Tully Hall.
solo recitals at Carnegie Mellon University and the Townsend School of Music at
LeFebvre’s frequently performed opera roles include Rigoletto, Sharpless
Mercer University, Mahler’s Lieder eines
(Madama Butterfly), Germont (La Traviata), Count (Le nozze di Figaro),
fahrenden Gesellen with Pensacola Symphony
Falke (Die Fledermaus), Marcello and Shaunard (La Bohème), and Father
and Oberlin Conservatory, Britten’s War Requiem with Jacksonville
(Hansel and Gretel). His operatic experience includes performances
Symphony, Mendelssohn’s Elijah with Westminster Choir College,
with Central City Opera, Tri-Cities Opera, Sarasota Opera, Chattanooga
and Mozart’s Requiem with West Virginia Symphony Orchestra. He has
Symphony and Opera, Syracuse Opera, Indianapolis Opera, Opera
also recently given solo recitals at Oberlin Conservatory and the University
Delaware, and Opera Theater of Pittsburgh.
of Michigan (Ann Arbor), and performed Elijah with New Dominion Chorale, Brahms’ Requiem with Hamilton College, Beethoven’s Mass in
LeFebvre is Associate Professor of Voice at Oberlin, where he teaches
C with Wichita Symphony, Mozart’s Requiem with Susquehanna Valley
private voice and oratorio repertoire for singers and coordinates
Chorale, Brahms’ Requiem with the Orchestra of the Southern Finger
the Freshman Voice Seminar. Prior to Oberlin, he was Assistant
Lakes, and Messiah with the Handel Choir of Baltimore.
Professor of Voice at Binghamton University and also taught at Cornell University, Syracuse University, Hamilton College and Colgate University.
LeFebvre has appeared in concert with the Jacksonville Symphony, Cleveland Pops Orchestra, Wichita Symphony, Pensacola Symphony,
Bentonville High School Chamber Singers Terry Hicks, director Soprano Harley Crabb Jayna Glynn Elizabeth Grimm Maddy Hughes Grace Marsiglio Sam Morris Jenna Pluimer Tara Shaffer
Alto Gretchen Bush Maddie Graves Emma Grimm Kiara Gutierrez Grace Hesterberg Abby Larsen Emma Mosher Jayden Putman Olivia Sperry
Tenor Trenton Chandler Justice Du Four Jacob Ellgass Chance Goad Ben Jarvis Noah Kubal
Bass Christian Amezcua Noah Blake Tanner Brown JD Clements Zachary Curtis Zachary Hiatt Abbott Patterson Eldon Vincent
University of Arkansas Children’s Choir Rachel Cornett, director Lily Adler Attiya Ahmadzai Ceci Allen Oliver Anderson Simon Anderson Gianna Arens Stella Atkinson Wanda Baker Clay Battles Lily Bennett Emsley Blackman Sofia Bonilla Lilly Braunns Zoe Bryson Samuel Burrow Alli Butler Aydence Chaisson Addyson Chaisson Forrest Clampitt Audrie Cornett Kilian Cox Cece Craig Lilly Crawford Amelia Curry Kaitlin Deans
Tally Drennan Eleanor Eichmann Parker Forrester Samantha Gardner Julianna Gomory Zoe Gomory Nathan Gosman Elise Gosman Jack Gray Ella Grissom Ella Kate Groves Josiah Hagers Jenna Hall Zoe Hestekin Elle Hiryak Brooklyn Hoback Kaitlyn Hutchinson Patrick Jiang Sam Johnson Amy Johnston Ramey Jones Toby Kim Ella Knotts Madelyn Konkle JJ Kramer
Kale Lawrence Sally Kate Lind Jordan Long Audrey Longing Brianna Lopez Jon Thomas Loveless Kara Lowery Peyton Lyons Rebekah Martin McKenzie Maxwell Logan Maxwell Emmie McClyminds Kate McCord Lainey McCraine Mateo McKendry Madylin McLemore Abigail Metzner Andy Metzner Jeffrey Murdock Mary Neyland Parker Paschal Isaac Pennington Holly Pennington Caroline Pennington Isabella Pinto
Fariza Rahman Masheyat Rahman Audrey Redwine Uma Rekhi Isabelle Sanchez Annaliese Schader Julianne Senter Will Shepherd Nola Siegler Lyndsey Smith Maya Starnes Kenzie Stoner Grace Taylor Shae Threlfall Yasmin Toosi Sophie Uselton Edith VanLynn Cora Villar Harper Wagstaff Cassidy Waide Rebecca Walden Rae Warren Kayla Wicker Elaina Wright