Program Notes and Translations
Die Jahreszeiten (The Seasons) is an oratorio composed by Joseph Haydn between 1799 and 1801. The work is divided into four parts, each corresponding to a different season, and features a rich tapestry of solos, duets, and choruses, set to a libretto by Gottfried van Swieten. It is considered one of Haydn's most remarkable compositions for voice, blending lush orchestral textures with expressive vocal lines. This duet comes from the Autumn section and is centered around a poem that celebrates the purity and beauty of sincere, uncomplicated love, untouched by wealth or superficial appearances. Lukas admires Hanne's natural beauty and unwavering integrity, while Hanne responds with the belief that true love is always genuine and unpretentious. Together, they sing of the joy and fulfillment that faithful love brings, a love so deep and enduring that even death cannot break its bond.
Ihr Schönen aus der Stadt, kommt her
Lukas
Ihr Schönen aus der Stadt, kommt her!
Blickt an die Töchter der Natur,
You beauties from the city, come here!
Lukas
You beauties from the city, come here!
Look at the daughters of Nature, die weder Putz, noch Schminke ziert!
Da seht mein Hannchen, seht!
who are adorned neither with makeup nor finery!
See here my Hannchen, look!
Ihr blüht Gesundheit auf den Wangen; She blooms with health on her cheeks; im Auge lacht Zufriedenheit, in her eyes laughter shines with contentment, und aus dem Munde spricht das Herz, and from her mouth speaks the heart, wenn sie mir Liebe schwört. when she swears me love.
Hanne
Ihr Herrchen süß und fein,
Hanne
Your sweet and fine master, bleibt weg! Hier schwinden eure Künste ganz, stay away! Here your arts all vanish, und glatte Worte wirken nicht; and smooth words have no effect; man gibt euch kein Gehör. no one listens to you.
Nicht Gold, nicht Pracht kann uns verblenden. Not gold, nor splendor can deceive us. Ein redlich Herz ist, was uns rührt; A sincere heart is what moves us; und meine Wünsche sind erfüllt, and my wishes are fulfilled, wenn treu mir Lukas ist. when Lukas is true to me.
Lukas Lukas
Blätter fallen ab, Früchte welken hin,
Leaves fall, fruits wither away, Tag und Jahr vergeh'n, nur meine Liebe nicht. Days and years pass, but my love does not.
Hanne
Hanne
Schöner grünt das Blatt, The leaf greens more beautifully, süßer schmeckt die Frucht, the fruit tastes sweeter, heller glänzt der Tag, the day shines brighter, wenn deine Liebe spricht. when your love speaks.
Beide Both
Welch ein Glück ist treue Liebe!
What a joy is faithful love! Uns're Herzen sind vereinet; Our hearts are united; trennen kann sie Tod allein. only death can part them.
Lukas Lukas
Liebstes Hannchen!
Dearest Hannchen!
Hanne
Bester Lukas!
Beide
Lieben, und geliebet werden
Hanne
Best Lukas!
Both
To love, and to be loved ist der Freuden höchster Gipfel, is the highest peak of joy, ist des Lebens Wonn' und Glück. it is the bliss and happiness of life.
Schumann’s Op. 78 songs encompass a broad spectrum of emotional tones, requiring singers to be able to adjust their vocal color, dynamics, and phrasing to match the oft-changing moods. The ability to interpret the subtleties of Schumann’s intricate vocal lines is essential in conveying the emotional depth of these works. Composed in 1849, during a time of personal crisis marked by a deteriorating mental state and a volatile political climate in Germany, these songs demonstrate Schumann's enduring ability to express profound emotion and beauty. Drawing on the introspective poetry of Rückert, Kerner, Goethe, and Hebbel, Schumann’s settings illuminate the intimate and delicate nature of the verses. The songs reflect his fascination with the dualities of human emotion joy and sorrow, love and longing often expressed through dialogues between the two voices. These duets have become a cornerstone of the German Lieder repertoire, valued for their intricate interplay between voices and the rich emotional depth of Schumann's music. In “Tanzlied”, the woman invites her partner to dance, celebrating the carefree joy of the moment. The man, overwhelmed by passion and confusion, experiences a whirlwind of emotions as they dance. While the music conveys a sense of freedom and elation, there is also an undercurrent of tender sorrow in the man’s voice, as he feels "overcome" by the emotional and physical movement of the dance. The second song, “Er und Sie,” portrays a mutual admiration between the two lovers, expressed through nature imagery. The man, seeing only one flower in a field of blooms, and the woman, gazing at one star among many, each focus their attention solely on the other. This shared vision reflects a deep, almost spiritual connection, with both characters viewing the other as the singular object of their affection. In “Ich denke dein”, the speaker conveys a deep emotional bond and yearning, where thoughts of the beloved are ever-present. Whether through the shimmering sun, the rising waves, or the quiet of the night, the speaker is continually reminded of their loved one. Even distance cannot separate them in spirit, as the connection remains unwavering. The final song, “Wiegenlied am Lager eines kranken Kindes”, is a comforting lullaby in which the mother or caregiver reassures the sick child. The promises of sweet things to come upon waking and the imagery of cherries and the sun create a soothing and gentle atmosphere. The repetition of sleep as a sign of goodness enhances the calming tone, offering the child both comfort and hope for recovery.
Tanzlied
Dance Song
Sie She
Eia, wie flattert der Kranz,
Oh, how the wreath flutters, Trauter, komm mit mir zum Tanz! Dearest, come with me to the dance!
Wollen uns schwingen, We want to sway, Rasch uns erspringen, Quickly spring to each other, Mitten im wonnigen Glanz,
In the midst of delightful radiance, Trauter, komm mit mir zum Tanz! Dearest, come with me to the dance! Er He
Wehe! wie pocht mir das Herz, Alas! How my heart beats, Sage, was soll mir der Scherz!
Tell me, what should this jest mean? Lass dich umschliessen, Let yourself be embraced, Lass mich zerfliessen, Let me melt away, Ruhend in seligem Schmerz; Resting in blissful pain; Sage, was soll mir der Scherz!
Tell me, what should this jest mean?
Sie
Eia, der Walzer erklingt,
She
Oh, the waltz sounds, Pärchen an Pärchen sich schwingt,
Couples sway in pairs, Mädchen und Bübchen, Girls and boys, Schelmchen und Liebchen; Mischief-makers and sweethearts; Frisch, wo’s am dichtesten springt,
Fresh, where it springs the most densely, Pärchen an Pärchen sich schwingt!
Er
Wehe, mir sinket der Arm,
Couples sway together!
He
Alas, my arm is sinking, Mitten im jauchzenden Schwarm, In the midst of the joyful swarm, Wie sie dich fassen,
How they hold you, Muss ich erblassen, I must turn pale, Möchte vergehen in Harm I wish to fade away in sorrow, Mitten im jauchzenden Schwarm. In the midst of the joyful swarm.
Sie She
Eia, wie flattert der Kranz,
Oh, how the wreath flutters, Heute für alle im Tanz, Today for everyone in the dance, Flatterig heute, Fluttering today, Morgen gescheute, Tomorrow shy, Morgen, o Trauter, dein ganz,
Tomorrow, oh dearest, your all, Heute für alle im Tanz. Today for all in the dance.
Er und Sie
Er
Seh’ ich in das stille Tal,
He and she
He
When I look into the quiet valley, Wo im Sonnenscheine
Where, in the sunshine, Blumen prangen ohne Zahl, Flowers bloom in countless numbers, Blick’ ich nur auf Eine.
I look only at one.
Ach! Es blickt ihr Auge blau
Ah! Her blue eye looks now Jetzt auch auf die Auen; Upon the meadows as well; Im Vergissmeinnicht voll Tau
In the forget-me-not full of dew, Kann ich es erschauen.
I can behold it.
Sie She
Tret’ ich an mein Fensterlein,
When I step to my little window, Wann die Sterne scheinen, When the stars are shining, Mögen alle schöner sein, Let them all be more beautiful, Blick’ ich nur auf Einen; I look only at one; Dort gen Abend blickt Er mild
There, in the evening, He gazes gently Wohl nach Himmelshöhen, Toward the heights of heaven, Denn dort ist ein liebes Bild
For there is a dear image there In dem Stern zu sehen.
To be seen in the star.
Ich denke dein
Vom Meere strahlt;
I think of you
Radiates from the sea; Ich denke dein, wenn sich des Mondes Flimmer
I think of you when the moon’s gleam In Quellen malt.
Ich sehe dich
Ich sehe dich, wenn auf dem fernen Wege
Der Staub sich hebt;
Paints itself in the spring’s waters.
I see you
I see you when on the distant road
The dust rises; In tiefer Nacht, wenn auf dem schmalen Stege
Der Wandrer bebt.
Ich höre dich
Ich höre dich, wenn dort mit dumpfem Rauschen
In the deep night, when on the narrow path
The wanderer trembles.
I hear you
I hear you when there, with muffled crashing, Die Welle steigt.
Im stillen Haine geh ich oft zu lauschen,
The wave rises.
In the quiet grove, I often go to listen, Wenn alles schweigt.
Ich bin bei dir
Ich bin bei dir, du seist auch noch so ferne,
When all is silent.
I am with you
I am with you, though you may be far away, Du bist mir nah!
Die Sonne sinkt, bald leuchten mir die Sterne.
O wärst du da!
Wiegenlied
Schlaf, Kindlein, schlaf,
You are close to me!
The sun sinks, soon the stars will shine for me
Oh, if you were here!
Lullaby
Sleep, little child, sleep, Wie du schläfst, so bist du brav!
How you sleep, so are you good!
Draussen rot im Mittagsscheine,
Outside, in the midday sunshine, Glüht der schönsten Kirschen eine,
One of the most beautiful cherries glows, Wenn du aufwachst, gehen wir,
When you wake, we will go, Und mein Finger pflückt sie dir.
And my finger will pick them for you.
Schlaf, Kindlein, schlaf,
Sleep, little child, sleep, Wie du schläfst, so bist du brav!
How you sleep, so are you good!
Immer süsser kocht die Sonne,
The sun always cooks sweeter, Deine Kirsche, dir zu Wonne,
Your cherry, to your delight, Schlaf denn, Kindlein, leicht bedeckt, Sleep, little child, lightly covered, Bis der Durst nach ihr dich weckt.
Until thirst for it wakes you up.
Schlaf, Kindlein, schlaf,
Sleep, little child, sleep, Wie du schläfst, so bist du brav!
How you sleep, so are you good!
"Licht und Liebe" (D. 352) is a song composed by Franz Schubert in 1816, set to a poem by Mathilde von Collin, a contemporary German poet. Schubert's musical setting of the text captures both the bright, optimistic nature of the poem and the emotional depth that characterizes much of his lieder. The text of "Licht und Liebe" is a joyful celebration of love and light, evoking feelings of warmth, hope, and longing. The speaker reflects on the guiding power of love and light in life, comparing love to the way the Earth strives toward the Sun and the stars. The song conveys a sense of uplifting beauty, enhanced by Schubert’s bright and radiant melodies that mirror the positive imagery of the poem. However, within the optimism of the poem lies an undercurrent of sorrow. Despite celebrating
love's power, the speaker also expresses feelings of loneliness and melancholy, highlighting the emotional complexity of love. This duality of joy and sorrow of love as both a source of light and an experience that can bring pain imbues the piece with a rich emotional depth. Schubert masterfully captures both the uplifting and the melancholic aspects of love in this song, reflecting the paradoxical nature of the emotion itself.
Licht und Liebe
Liebe ist ein süsses Licht.
Wie die Erde strebt zur Sonne,
Light and Love
Love is a sweet light.
As the Earth strives towards the Sun, Und zu jenen hellen Sternen
And to those bright stars
In den weiten blauen Fernen,
In the wide blue distances, Strebt das Herz nach Liebeswonne:
Denn sie ist ein süsses Licht.
Sieh! wie hoch in stiller Feier
Droben helle Sterne funkeln:
Von der Erde fliehn die dunkeln
So the heart strives for the bliss of love:
For it is a sweet light.
See! how high in silent celebration
Bright stars sparkle above:
From the Earth, the dark, Schwermutsvollen trüben Schleier.
Melancholy, cloudy veils fly away.
Wehe mir, wie so trübe
Woe is me, how gloomy Fühl ich tief mich im Gemüte, I feel deeply in my soul, Das in Freuden sonst erblühte, That once bloomed in joy, Nun vereinsamt, ohne Liebe.
Now it is lonely, without love.
"Suleika und Hatem," composed by Fanny Hensel in 1841, is set to a poem by Johann Wolfgang von Goethe from his Persian-inspired poetry collection West-östlicher Divan. The song presents a dialogue between two lovers, Suleika and Hatem, exploring themes of love, longing, and devotion. Hensel's musical setting vividly brings out the emotional depth of Goethe's text, using lyrical vocal lines and rich harmonies to enhance the intimate and passionate exchange between the characters. In this dialogue between Suleika and Hatem, the two characters express a poetic exchange of longing and affection, with references to natural imagery such as water, trees, and the act of writing, which symbolizes connection and commitment. It is an elegant and romantic piece. The flowing melodies and expressive harmonies in Hensel’s composition highlight both the intensity and tenderness of the emotions conveyed in the poem. This song is a beautiful example of Hensel’s ability to blend Goethe's poetic imagery with music that deeply complements the emotional nuances of the text.
Sulika und Hatem
Suleika
Suleika and Hatem
Suleika
An des lustgen Brunnens Rand, By the cheerful fountain's edge, Der in Wasserfäden spielt,
Where water streams are playing, Wußt ich nicht, was fest mich hielt; I did not know what held me firm; Doch da war von deiner Hand
But there, from your hand, Meine Chiffer leis gezogen,
My cipher was gently drawn, Niederblickt ich, dir gewogen. I looked down, kindly disposed to you.
Hier, am Ende des Kanals
Der gereihten Hauptallee,
Here, at the end of the canal
Of the aligned main avenue, Blick ich wieder in die Höh, I look again into the heights, Und da seh ich abermals
And there I see once more
Meine Lettern fein gezogen:
My letters finely drawn: Bleibe! bleibe mir gewogen!
Hatem
Möge Wasser springend, wallend
Stay! Stay true to me!
Hatem
May water, jumping and surging, Die Zypressen dir gestehn:
Confess to you the cypress trees' sway: Von Suleika zu Suleika
From Suleika to Suleika Ist mein Kommen und mein Gehn.
Is my coming and going.
"So lass uns wandern," Op. 96, No. 1, by Johannes Brahms, is a charming and lighthearted duet for soprano and tenor with piano accompaniment. Composed in 1884, it is one of the four Lieder und Gesänge, Op. 96, which showcases Brahms' gift for writing for voices in an intimate, conversational style. The text, written by Joseph Wenzig, expresses a sense of carefree joy and an invitation to wander through life with a companion. The song is filled with optimism, as the two characters, a man and a woman, sing of their desire to wander together, embracing the beauty of nature and the simple pleasures of life. The lyrics emphasize the joy of companionship, while also offering the image of an idyllic, pastoral setting where the couple can wander freely through the countryside. Musically, Brahms captures the spirit of the text through lively, rhythmic patterns that evoke a sense of movement and playfulness. The melody alternates between the two voices, with Brahms subtly using the harmonic progressions to underscore the growing affection between the two characters. The piano accompaniment, with its gentle, flowing arpeggios, adds to the overall sense of lightness and the motion of the wanderers.
So lass uns wander!
Ach Mädchen, liebes Mädchen,
So let us wander!
Oh girl, dear girl, Wie schwarz dein Auge ist!
How black your eye is!
Fast fürcht' ich, es verzaubert
I almost fear it will enchant me Mich einst voll arger List.
"Und wär' mein Auge schwärzer,
And trick me with wicked guile.
"And if my eye were blacker, Um vieles schwärzer noch,
Much blacker still, Dich, Liebster mein, verzaubern,
I would never enchant you, my love, Ich tät' es niemals doch."
I would never do that, though."
Die Kräh' auf jener Eiche,
The crow on that oak tree, Sieh, wie sie Eicheln pickt!
See how she picks acorns! Wer weiß, wen einst der Himmel
Who knows who the heavens will send Zum Bräutigam dir schickt!
"Und sprich, wen soll er schicken?
Ich gab ja dir mein Wort,
As your groom one day!
"And tell me, whom will he send?
I have already given you my word, Weißt, unterm grünen Baume, You know, under the green tree, Bei unsrer Hütte dort."
By our little hut over there."
Wohlan, so laß uns wandern,
Well then, let us wander, Du wanderst frisch mit mir; You will wander cheerfully with me; Ein Kleid von grüner Farbe,
A dress of green color, Mein Mädchen, kauf' ich dir.
My girl, I will buy it for you.
Ein Kleid von grüner Farbe,
A dress of green color, Das auch nicht gar zu lang:
Which is not too long: So kannst du mit mir wandern,
Then you can wander with me,
Nichts hindert dich im Gang.
Wir wollen lustig wandern,
Nothing will hinder you in your walk.
We want to wander happily, Bergüber und talein;
Over the mountain and through the valley; Die großen, freien Wälder
The great, free forests Sind unser Kämmerlein.
Are our little room.
"E lucevan le stelle" is one of the most famous arias from Giacomo Puccini's opera Tosca, composed in 1900. In Act II, the character Cavaradossi reflects on the fleeting moments of love and beauty he shared with Tosca before his tragic fate. As he faces his imminent execution, he recalls their intimate, passionate moments together, filled with longing and tenderness. The aria expresses his sorrow and despair, lamenting the brevity of life and love as he faces the inevitable.
E lucevan le stelle
E lucevan le stelle
Ed olezzava la terra
Stridea l'uscio dell'orto
E un passo sfiorava la rena
Entrava ella, fragrante
And the stars shone
And the stars shone
And the earth smelled sweet
The door of the garden creaked
And a step brushed the sand
She entered, fragrant Mi cadea fra le braccia
O dolci baci, o languide carezze
Mentr'io fremente, le belle forme disciogliea dai veli
Svanì per sempre il sogno mio d'amore
L'ora è fuggita e muoio disperato, e muoio disperato
E non ho amato 'sì tanto la mia vita, tanto la vita
She fell into my arms
Oh, sweet kisses, oh, languid caresses
While I, trembling, unraveled her beautiful form from the veils
Forever vanished my dream of love
The hour has fled, and I die in despair, I die in despair
And I have not loved my life so much, so much the life
“Valse Tyrolienne” is a charming waltz from the operetta Un mari à la porte (A Husband at the Door), composed by Jacques Offenbach. The operetta premiered in 1859 in Paris. Un mari à la porte is a comedic operetta filled with Offenbach's signature wit and satire. The plot is lighthearted and filled with humorous misunderstandings, typical of the genre and the period. In the operetta, the newlywed Suzanne and her friend Rosita enter a room after Suzanne has had an argument with her husband. Rosita, attempting to lift Suzanne's spirits and convince her to return to the dance, sings the lively Valse Tyrolienne. The waltz serves as a playful and persuasive moment in the story, reflecting the joyful and carefree nature of the character Rosita, while also adding a sense of lightheartedness to the comedic situation.
Valse Tyrolienne
J’entends ma belle la ritournelle
Tyrolean Waltz
I hear, my beautiful, the refrain Au sons si doux, la la
With sounds so sweet, la la Le valsa et reine, son rythme entraîne
The waltz and queen, its rhythm leads Sages et fous, la la
The wise and the fools, la la Ah, cache bien la trace de tes larmes
Ah, hide well the trace of your tears
Que ton bonheur brille dans tes beaux yeux
De ton époux, en voyant tant de charmes,
May your happiness shine in your beautiful eyes
From your husband, seeing so many charms, Que n’envierait les droits si précieux?
Ah!
J’entends ma belle la ritournelle
Who wouldn't envy such precious rights?
Ah!
I hear, my beautiful, the refrain Au sons si doux, la la.
Le valsa et reine, son rythme entraîne
With sounds so sweet, la la.
The waltz and queen, its rhythm leads Sages et fous, la la
Valse, chérie, ô mes amours!
Que ne puis-je valser toujours!
Vertu sévère, faite pour plaire
Dix-huit printemps, regards vifs et piquants
Grâce divine et taille fine
Sont un trésor qui vaut mieux que de l’or!
Allons, voyons sois raisonnable et sage,
The wise and the fools, la la.
Waltz, darling, oh my loves!
Why can't I waltz forever!
Severe virtue, made to please
Eighteen springs, sharp and piercing glances
Divine grace and slender figure
Are a treasure worth more than gold!
Come, let us be reasonable and wise, Tout et promet un amour éternel
Il ne faut pas chére enfant qu'un nuage
De ce beau jour vienne obscurcir le ciel!
Everything promises an eternal love
Dear child, we must not let even a cloud
Obscure the sky of this beautiful day!
L'elisir d'amore (The Elixir of Love) is a comedic opera in two acts by Gaetano Donizetti, with an Italian libretto by Felice Romani. It was first performed on May 12, 1832, at the Teatro della Canobbiana in Milan, Italy. The opera tells the story of a young, poor peasant named Nemorino, who is in love with the beautiful and somewhat aloof Adina Nemorino, desperate to win Adina's affection, purchases a potion, which he believes is a magic love elixir, from a traveling quack doctor named Dulcamara. The potion is nothing more than a simple bottle of wine, but Nemorino is convinced of its powers. He drinks it and immediately begins acting with more confidence. Meanwhile, Adina, noticing his newfound confidence and charm, starts to realize her own feelings for him.
Caro elisir! sei mio!
NEMORINO
Caro elisir! sei mio!
E tutto mio ... – Com'esser dee possente
Dear elixir! you are mine!
NEMORINO
Dear elixir! you are mine!
And all mine ... – How powerful must you be, La tua virtù, se, non bevuto ancora,
Your virtue, if, not yet drunk, Di tanta gioia già mi colmi il petto!
You already fill my chest with so much joy!
Ma perché mai l'effetto
But why can’t I see the effect Non ne poss'io vedere
Prima che un giorno intier non sia trascorso?
Before a whole day has passed?
Before an entire day has passed?
Bevasi. Let me drink.
Oh! buono! – Oh! caro! – un altro sorso.
Beve ancora
Oh! qual di vena in vena
Dolce calor mi scorre! ... Ah! forse anch'essa ...
Forse la fiamma istessa
Oh! good! – Oh! dear! – another sip.
He drinks again
Oh! what sweet warmth flows from vein to vein!
Sweet warmth flows through me! ... Ah! perhaps even she ...
Perhaps the very flame
Incomincia a sentir ... Certo la sente ...
Me l'annunzia la gioia e l'appetito
Begins to feel it... Surely she feels it...
Joy and desire tell me so, Che in me si risvegliò tutto in un tratto ...
Which suddenly awakened in me ... La rà, la rà, la rà.
ADINA
Chi è mai quel matto?
La ra, la ra, la ra.
ADINA
Who is that fool? Traveggo? O è Nemorino?
Così allegro! E perché?
NEMORINO
Diamine! è dessa ...
Am I mistaken? Or is it Nemorino?
So happy! And why?
NEMORINO
Damn! It’s her ... Ma no ... Non ci appressiam ... De' miei sospiri
But no ... Let’s not get closer ... My sighs Non si stanchi per or. Tant'è ... domani
Shouldn’t tire her for now. It’s enough ... tomorrow Adorar mi dovrà quel cor spietato.
ADINA
Non mi guarda neppur! com'è cambiato!
NEMORINO
La rà, la rà, la lera
La rà, la rà, la rà ...
She will adore me, that heartless one.
ADINA
She doesn’t even look at me! How she’s changed!
NEMORINO
La ra, la ra, la lera
La ra, la ra, la ra ...
ADINA ADINA
Non so se è finta o vera
I don’t know if it’s fake or real La sua giocondità.
Her joy.
NEMORINO NEMORINO
Finora amor non sente.
Until now, love has not been felt.
ADINA ADINA
Vuol far l'indifferente.
She wants to act indifferent.
NEMORINO NEMORINO
Esulti pur la barbara
Let the barbarian rejoice Per poco alle mie pene! For a little while at my pains! Domani avranno termine,
Tomorrow it will end, Domani mi amerà.
Tomorrow she will love me.
ADINA ADINA
Spezzar vorria lo stolido,
She would like to break it, the fool, Gettar le sue catene;
To throw away her chains; Ma gravi più del solito
Pesar le sentirà.
But heavier than usual
She will feel their weight.
NEMORINO NEMORINO
La rà, la rà ...
La ra, la ra ...
ADINA ADINA
Bravissimo!
La lezïon ti giova.
Very good!
The lesson is working for you.
NEMORINO NEMORINO
È ver; la metto in opera
Così per una prova.
ADINA
It’s true; I’m putting it into practice
Just as a test.
ADINA
Dunque il soffrir primiero?
NEMORINO
Dimenticarlo io spero.
ADINA
Dunque l'antico foco?
NEMORINO
Si estinguerà fra poco.
Ancora un giorno solo,
So, the earlier suffering?
NEMORINO
I hope to forget it.
ADINA
So, the old flame?
NEMORINO
It will burn out soon.
Just one more day, E il core guarirà.
ADINA
Davver me ne consolo ...
Ma pure ... si vedrà.
And my heart will heal.
ADINA
Truly, I’m relieved ...
But still ... we shall see.
"El Día Que Me Quieras" is a romantic Spanish song composed by Carlos Gardel with lyrics by Alfredo Le Pera. It has become a timeless classic in the Latin American tango repertoire, known for its heartfelt and poignant expression of love and longing. The song is imbued with a deeply romantic ideal, portraying a vision of perfect love. In the singer’s dreamlike vision, the world itself will transform the moment the beloved returns their love. The natural world roses, bells, stars, and fireflies serves as a vivid metaphor for the overwhelming beauty and joy of being in love. This enchanting imagery evokes a sense of magic, with every element of nature reflecting the purity and fulfillment of mutual affection.
El Día Que Me Quieras
Acaricia mi ensueño
El suave murmullo
De tu suspirar
Como ríe la vida
Si tus ojos negros
Me quieren mirar
Y si es mío el amparo
De tu risa leve
Que es como un cantar
Ella aquieta mi herida
Todo, todo se olvida
El día que me quieras
La rosa que engalana
Se vestirá de fiesta
Con su mejor color
Y al viento las campanas
Dirán que ya eres mía
Y locas las fontanas
Se contarán su amor
La noche que me quieras
Desde el azul del cielo
The Day You Love Me
Caress my dream
The soft murmur
Of your sighing
How life laughs
If your black eyes
Want to look at me
And if the comfort is mine
From your light laughter
Which is like a song
It soothes my wound
Everything, everything is forgotten
The day you love me
The rose that adorns
Will dress in celebration
With its best color
And the bells in the wind
Will say that you are mine
And mad fountains
Will tell their love
The night you love me
From the blue sky
Las estrellas celosas
Nos mirarán pasar
Y un rayo misterioso
Hará nido en tu pelo
Luciérnagas curiosas que verán
Que eres mi consuelo
The jealous stars
Will watch us pass
And a mysterious ray
Will make a nest in your hair
Curious fireflies that will see
That you are my solace
"The Prayer" is a heartfelt duet composed by David Foster with English lyrics by Carole Bayer Sager and Italian lyrics by Tony Renis and Alberto Testa. Originally written for the 1998 animated film Quest for Camelot, it gained worldwide fame when Celine Dion and Andrea Bocelli recorded it in 1999. The song blends classical and pop elements, delivering a powerful message of hope, faith, and unity. It was nominated for an Academy Award and won a Golden Globe for Best Original Song. The song continues to be a global anthem, widely performed and cherished for its spiritual themes and emotional depth.
The Prayer
La luce che tu hai
The light that you have Nel cuore resterà
Will stay in our hearts
A ricordarci che
To remind us that L'eterna stella sei
Nella mia preghiera
Let this be our prayer
Quanta fede c'è
You are the eternal star
In my prayer
Let this be our prayer
How much faith there is Quando l'ombra riempie il giorno
Sogniamo un mondo senza più violenza
Un mondo di giustizia e di speranza
When shadows fill our day
We dream of a world with no more violence
A world of justice and hope Ognuno dia la mano al suo vicino
Let everyone lend a hand to their neighbor Simbolo di pace, di fraternità
A symbol of peace, of brotherhood
Professor Hyogeun Kim, renowned as the "Composer Business Scholar," is a professor of Business Administration at Ewha Woman’s University (1992–present) and a celebrated Korean Art Pop music composer (1981–present). He has consistently pioneered the fusion of research, teaching, industry-academia collaboration, business, administration, composition, lyric writing, album production, and performance, embodying the role of a "business artist" and a creator who transforms ideas into reality. As a composer of Korean art songs, Professor Kim has produced numerous well-known works, including the award-winning piece "Snow" from the first MBC University Song Contest, the Sewol Ferry Memorial song "My Soul Becomes the Wind," the contemporary wedding anthem "First Love," and the COVID-19 healing song "Though Life Deceives You." His music seamlessly blends artistic sophistication with popular appeal, helping to establish the "Art Pop" genre and ushering in a new era of contemporary Korean song. In recent years, he has ventured into musical theater, composing the original opera Andromeda and the musical First Love, and co-writing their libretti, further pushing the boundaries of his artistic exploration.
가장 아름다운 노래
가장 아름다운 노래
아직 부르지 않았지
오늘 나 초라하고 슬퍼도
지금 멈추지 않을 테요
가장 아름다운 노래
언제나 소중한 나의 꿈이여
내일 찬란하게 빛나리니
지금 끝내지 않을 테요
부딪히고 넘어져도
한걸음 또 한걸음
이리로 갈까 저리로 갈까
힘겹게 눈물겹게
오늘 이여 다시 시작하겠소
내일 이여 그대는 듣게 되리니
세상 이여 영원히 기억하리라
아름다운 가장 아름다운 나의 노래여
The most beautiful song
The most beautiful song
I have not sung it yet
Though today I am humble and sad
I will not stop now
The most beautiful song
Always, my precious dream
Tomorrow, it will shine brightly
I will not end it now
Even if I stumble and fall
Step by step
Should I go this way or that way?
With difficulty, tearfully
Today, I will begin again
Tomorrow, you will hear it
The world will remember forever
Beautiful, the most beautiful song of mine