VEDRAI, CARINO
Vedrai, carino, se sei buonino, Che bel rimedio ti voglio dar!
È naturale, non dà disgusto, E lo speziale non lo sa far.
È un certo balsamo
Ch'io porto addosso, Dare tel posso, Se il vuoi provar. Saper vorresti dove mi sta?
Sentilo battere, toccami qua!
LA DIVA DE L‘EMPIRE
Sous le grand chapeau Greenaway, Mettant l'éclat d'un sourire, D'un rire charmant et frais De baby étonné qui soupire, Little girl aux yeux veloutés, C'est la Diva de l'Empire. C'est la rein' dont s'éprennent Les gentlemen
Et tous les dandys De Piccadilly.
Dans un seul "yes" elle mettant de douceur Que tous les snobs en gilet à coeur, L'accueillant des hourras frénétiques, Sur la scène lancent des gerbes de fleurs, Sans remarquer le rire narquois De son joli minois.
Elle danse presque automatiquement
Et soulève, oh très pudiquement, Ses jolis dessous de fanfreluches, De ses jambes montrant le frétillement.
C'est à la fois très très innocent
Et très très excitant.
You will see, my dear
If you'll be good
The cure
I have for you!
It's natural
It won't give you disgust
Though no apothecary Can prescribe it. It's a certain balm
I carry within me
Which I can give you, If you'll try it. You want to know Where I keep it? Then feel it beating, put your hand here.
Translated by: Camila Argolo Freitas Batista
Beneath her large Greenaway hat, Putting on her dazzling smile, The fresh and charming laugh Of a wide-eyed sighing babe, A little girl with velvet eyesShe's the Diva of the Empire, She's the queen they're smitten with, The gentlemen And all the dandies Of Piccadilly.
She invests a single 'Yes' with such sweetness, That all the fancy-waistcoated snobs Welcoming her with frenzied cheers, Hurl bouquets on the stage, Without observing the wily smile On her pretty face.
She dances almost mechanically And lifts - Oh! so modestlyHer pretty petticoat edged with flounces, To reveal her wriggling legs. It is very, very innocent And very, very exciting too.
Translation by: Richard StokesÔ fraîche nuit, nuit transparente, Mystère sans obscurite, La vie est noire et dévorante; Ô fraîche nuit, nuit transparente, Donne-moi ta placidité.
Ô belle nuit, nuitétoilée, Vers moi tes regards sont baissés, Éclaire mon âme troublée; Ô belle nuit, nuit étoilée, Mets ton sourire en mespensers.
Ô sainte nuit, nuit taciturne, Pleine de paix et de douceur, Mon cœur bouillonne comme une urne; Osainte nuit, nuit taciturne, Fais le silence dans mon cœur.
Ö grande nuit, nuit solennelle. En qui tout est délicieux, Prends mon être entier souston aile; O grande nuit, nuit solennelle, Verse le sommeil en mes yeux.
AUTOMNE
Automne au ciel brumeux, aux horizons navrants, Aux rapides couchants, aux aurores pâlies, Je regarde couler, comme l’eau du torrent, Tes jours faits de mélancolie.
Sur l’aile des regrets mes esprits emportés, – Comme s’il se pouvait que notre âge renaisse! –Parcourent, en rêvant, les coteaux enchantés Où jadis sourit ma jeunesse.
Je sens, au clair soleil du souvenir vainqueur Refleurir en bouquet les roses déliées Et monter à mes yeux des larmes, qu’en mon cœur, Mes vingt ans avaient oubliées!
O cool night, transparent night, Mystery without obscurity, Life is black and devouring; O cool night, transparent night Grant me your tranquility.
O lovely night, starry night As you look down on me, Bring light to my troubled soul, O lovely night, starry night, Let your smile enter my thoughts.
O holy night, silent night, Full of peace and gentleness, My heart seethes like a cauldron; O holy night, silent night, Bring silence to my heart.
O boundless night, solemn night, In which all things give delight, Take my whole being under your wing; O boundless night, solemn night, Pour sleep into my eyes
Translated By: Thomas AngAutumn of misty skies and heartbreaking horizons, Of swift sunsets and pale dawns, I watch flow by, like torrential water, Your days imbued with melancholy.
My thoughts, borne away on the wings of regret, – As though our time could come round again! –Roam in reverie the enchanted hills, Where long ago my youth once smiled.
In the bright sun of triumphant memory
I feel untied roses reflower in bouquets, And tears rise to my eyes, which in my heart At twenty had been forgotten!
Translated By: Richard Stokes
ALLERSEELEN
Stell auf den Tisch die duftenden Reseden, Die letzten roten Astern trag' herbei,
Place on the table the fragrant mignonettes, Bring bere the last of red asters,
Und lass uns wieder von der Liebe reden, Wie einst im Mai.
Gib mir die Hand, dass ich sie heimlich drücke, Und wenn man's sieht, mir ist es einerlei; Gib mir nur einen deiner süssen Blicke, Wie einst in Mai.
Es blüht und duftet heut' auf jedem Grabe, Ein Tag im Jahr ist jaden Toten frei, Komm an mein Herz dass ich dich wieder habe, Wie einst in Mai.
RÖSELEIN, RÖSELEIN!
Röselein, Röselein, Müssen denn Dornen sein?
Schlief am schatt’gen Bächelein Einst zu süssem Träumen ein, Sah in goldner Sonne-Schein Dornenlos ein Röselein, Pflückt’ es auch und küsst’ es fein, „Dornloses Röselein!“
Ich erwacht’ und schaute drein: „Hatt’ ich’s doch! wo mag es sein?“
Rings im weiten Sonnenschein Standen nur Dornröselein!
Und das Bächlein lachte mein:
„Lass du nur dein Träumen sein!
Merk’ dir’s fein, merk’ dir’s fein, Dornröslein müssen sein!“
IN DEM SCHATTEN MEINER LOCKEN
In dem Schatten meiner Locken
Schlief mir mein Geliebter ein. Weck’ ich ihn nun auf?
Ach nein!
And let us speak again of love, As long ago in May.
Give me the hand that I may secretly clasp it, And if it is observed by others, I will not mind; Give me one of your sweet glances, As long ago in May.
Today each grave is flowering and fragrant, Once a year is All Souls' Day, Come to my heart that I again may have you, As long ago in May.
Translated By: Richard Stokes
Rose, little rose, Why must you bear thorns?
Thus musing, I once fell asleep
By a shady brook, and in my dreams
I saw, standing in golden sunshine, A thornless rose. And I plucked and kissed it; A thornless rose!
Then I awoke and looked around. I knew I had seen one; where was it? All around, near and far in the sunshine
Stood roses, all with thorns!
And the brook laughed at me: ‘Leave your dreaming; You may be sure That all roses have thorns.’
Translated by: Eric Sams
Sorglich strählt’ ich meine krausen
Locken täglich in der Frühe, Doch umsonst ist meine Mühe, Weil die Winde sie zerzausen. Lockenschatten, Windessausen
Schläferten den Liebsten ein. Weck’ ich ihn nun auf? – Ach nein!
Hören muß ich, wie ihn gräme, Daß er schmachtet schon so lange,
In the shadow of my tresses
My lover has fallen asleep. Shall I wake him now? – Ah no!
Carefully, I combed my curly Tresses early each morning, But my efforts are in vain, For the winds tousle them.
Shade-giving tresses, sighing breezes Have lulled my lover to sleep. Shall I wake him now? – Ah no!
I shall have to hear how he grieves, How he has languished so long,
Daß ihm Leben geb’ und nehme
Diese meine braune Wange, Und er nennt mich seine Schlange, Und doch schlief er bei mir ein.
Weck’ ich ihn nun auf? – Ach nein!
UNA DONNA A QUINDICI ANNI
Una donna a quindici anni
Dèe saper ogni gran moda, Dove il diavolo ha la coda, Cosa è bene e mal cos'è.
Dèe saper le maliziette
Che innamorano gli amanti, Finger riso, finger pianti, Inventar i bei perché.
Dèe in un momento
Dar retta a cento; Colle pupille
Parlar con mille;
Dar speme a tutti, Sien belli o brutti;
Saper nascondersi
Senza confondersi;
Senza arrossire
Saper mentire;
E, qual regina
Dall'alto soglio, Col «posso e voglio»
Farsi ubbidir.
Par ch'abbian gusto
Di tal dottrina.
Viva Despina, Che sa servir!
UN OMBRA DI PACE
Un‘ ombra di pace si mostra al mio cor. Affano che piace mi viene a bear, mi viene a bear.
Mi parche si cangi in gioia il dolor, in gioia il dolor, e dica tu piangi ma devi sperar, e dica: tu piangi ma devi sperar, ma devi sperar.
How his whole life depends On these my dusky cheeks. And he calls me his serpent, And yet he fell asleep at my side, Shall I wake him now? – Ah no!
Translatedby:
Richard StokesA woman of fifteen years must know all the good methods, Where the devil keeps his tail, What's right and what is wrong. She should know the little malices That enamour lovers, How to feign laughter or tears
And to make up good excuses. At one and the same moment
She must listen to a hundred But speak with her eyes
To a thousand, Hold out hope to all, Be they handsome or plain, Know how to hide things Without getting flustered, Know how to tell lies Without ever blushing. And, like a queen
On her lofty throne, Get her own way With “I can” and “I will” It seems they're taking To this doctrine; Hooray for Despina, She knows how to do it.
Translated by: Naomi Gurt LindA shadow of peace itself shows in my heart. Anxiety which pleases to me comes to make happy, To me comes to make happy.
To me it seems that it changes into joy me sorrow, Into joy my sorrow, and it says you weep but you should hope, and it says you weep but you should hope.
Translated By: Nicola HaymVedraicarinoandUnadonnaaquindicianni,WolfgangAmadeusMozart(1756-1791)
Wolfgang Amadeus Mozart is one of the most famous and influential composers of all time. He was quickly recognized as a child prodigy at just four years old and began traveling the world with his father and sister. The 1780s were known to be some of the busiest years of his career. He hosted multiple subscription concerts, traveling all throughout Europe to perform and compose with other musicians. Don Giovanni was composed in 1787 and is known as an opera buffa–an opera consisting of two acts with both tragedy and comedy. The character Don Giovanni is an incorrigible young playboy who blazes a path to his own destruction in a single day. In “Vedrai carino,” Zerlina sings to her mortally wounded fiance, Masetto. Despite having no medical expertise, Zerlina says she can heal him with her love. Così fan tutte is also an opera buffa that premiered in 1790. It is a tale involving the misadventures of two sisters and their soldier boyfriends. For these starry-eyed young couples, romantic illusions are given a nasty wakeup call when they decide to test the boundaries of love, loyalty, and friendship in a complicated game of “boys vs. girls.” The servant of the sisters, Despina, is much more experienced and advises them to take control of situations with men in the aria “Una Donna
A Quindici Anni.”Ladivadel’empire,ErikSatie(1866-1925)
Erik Satie was an important French composer from the generation of Debussy. Best remembered for several groups of piano pieces, including Trois Gymnopédies (1888), Trois Sarabandes (1887) and Trois Gnossiennes (1890), he was championed by Jean Cocteau and helped create the famous group of French composers, Les Six, which was fashioned after his artistic ideal of simplicity in the extreme. Some have viewed certain of his stylistic traits as components of Impressionism, but his harmonies and melodies have relatively little in common with the characteristics of that school. Much of his music has a subdued character, and its charm comes through in its directness and lack of allegiance to any one aesthetic. Often, his melodies are melancholy and hesitant, his moods exotic or humorous, and his compositions as a whole, or their several constituent episodes, short. He was a musical maverick who probably influenced Debussy and did influence Ravel, who freely acknowledged as much. After Satie's second period of study, he began turning more serious in his compositions, eventually producing his inspiring cantata, Socrate, considered by many his greatest work and clearly demonstrating a previously unexhibited agility. In his last decade, he turned out several ballets, including Parade and Relâche, indicating his growing predilection for program and theater music. Satie was also a pianist of some ability. La diva de l’empire tells the tale of the unnamed star of the Empire Theatre in London and her grand lifestyle.
Nocturne,CésarFranck(1822-1890)
César Franck was a French Romantic composer and music teacher of piano and organ. He gave his first concerts in Liege at the age of 13 years old. He studied in Paris in 1835 under Anton Reicha’s guidance. He moved to Paris and began his career as a teacher and organist. By 1858, he became organist at the Basilica of St. Clotilde, and he held this position for his remaining years. After becoming a professor at the Paris Conservatoire in 1872, he composed symphonic, chamber, and keyboard works that have entered the standard classical repertoire. In Nocturne, Franck sets a poem by Louis de Fourcaud to a broad melody. The theme is reminiscent and longing for a peaceful night, by calling upon the night sky to lay peace upon the narrator.
Automne,GabrielFauré(1845-1924)
Gabriel Fauré was one of the most influential French composers at the end of the Romantic era. He wrote gentle and refined compositions that influenced modern French music. At the age of nine Fauré went to the École
Niedermeyer music college in Paris, where he trained to become a choirmaster and a chapel organist. After graduating in 1865, Fauré became an organist and a director for the Paris Conservatoire. He worked on his composition during his holidays in the countryside. During his later years, he suffered from hearing loss and ultimately went completely deaf. France recognized him as the leading French composer of his day, and in 1922 a national tribute was held for him. In Automne, the lyrics are a poem written by Armand Silvestre and the melody paints a scenic image of the changing seasons with the billowing accompaniment. The lyrics tell of the longing for one's youth to return, and the frustration for not being able to gain those years back. The piece climaxes with a powerful vocal phrase that captures the narrator's regret and solemnity.
Allerseelen,RichardStrauss(1864-1949)
Richard Strauss was a German composer and conductor who was known for his operas and tone poems. He was a leading composer of the late Romantic era. Strauss began composing at the age of six, and he continued to compose until his death. He was a prominent conductor in Western Europe, and at the age of 21 he became the primary conductor for the Meiningen Court Orchestra. Following his years at the Meiningen Court Orchestra, Strauss took up positions as conductor at the Bavarian State Opera, Berlin State Opera, and Vienna State Opera. Richard Strauss is highly criticized for his appointment to Reichsmusikkammer and principal conductor of the Bayreuth festival, because these were positions in the musical life of Nazi Germany. He claimed to be apolitical and took the Reichsmusikkammer to advance copyright protections for composers. He showed his support for the Jewish Religion by appointing a Jewish librettist for his opera Die Schweigsame Faru, which resulted in him being fired by the Nazi party. Allerseelen is an art song with lyrics from a poem by Hermann von Gilm. The piece tells of All Souls Day which occurs on November 2nd. This day is used for commemoration and remembrance of people who have died. The lyrics tell a tale of a person grieving the loss of their loved one. By the climax of the piece, the person arrives at the graveyard and the celebration of life begins.
Röselein,Röselein , RobertSchumann(1810-1856)
Robert Schumann was a German composer and pianist of the Romantic era. He began studying piano at six yearsold. At seventeen years-old he came under the influence of Franz Schubert and began composing songs. While studying law at the University of Leipzig, he devoted the majority of his time to composition, piano improvisation, and writing novels. Schumann also studied piano with Friedrich Wieck–the father of his future wife, Clara. Eventually, Schumann abandoned law and began his pursuit of becoming a virtuoso pianist. Due to a severe hand injury, he was confined to composition. For Schumann, this was a period of prolific composition in piano pieces, which were published either at once or, in revised forms, later. Among them were the piano cycles Papillons and Carnaval (composed 1833–35) and the Études symphoniques (1834–37; Symphonic Studies), another work consisting of a set of variations. Due to severe mental illness, his career ended early and he passed soon after. His wife Clara, also a renowned pianist and composer, carried on his legacy. Röselein, Röselein! is an art song based on a poem by Wilfried von der Neun of the same name. The lyrics depict a dream in which roses have no thorns–symbolizing that beautiful things in life will never bring pain. However when the narrator awakens, they are confused when they are faced with reality.
Indemschattenmeinerlocken,HugoWolf (1860-1903)
Hugo Wolf was a composer of the Romantic era from Slovenia. He was taught the piano and violin by his father at an early age and continued to study piano at the local primary school. When, in 1875, his lack of interest in all subjects other than music led to him leaving school. It was decided that he should live with his aunt in Vienna and study at the conservatory. He began to write music again in 1886, finally confident in his talents. Wolf now began a sudden, spontaneous burst of songwriting. By March, after 43 Mörike settings, he took a break with friends and then began another spate of songwriting in September resulting in thirteen Eichendorff and more Mörike songs. He returned to Vienna and in February 1889 had finished all but one of the 51 songs of his Goethe songbook. After another summer break, he returned to writing and April 1890 saw him complete his 44 Spanish songs. By June 1890, this creative period of two and a half years had produced a total of 174 songs. Wolf’s fame
had now spread beyond Austria, with articles being written in German publications. His exhaustion and bouts of depression and insomnia meant that he wrote very little for most of 1891, but at the end of December wrote another 15 Italian songs. For the next three years, he barely wrote a note. In Dem Schatten Meiner Locken is narrated by a woman frustrated by her sleeping partner and she debates waking him up.
UnOmbradiPace,GiovanniBononcini(1670-1747)
Giovanni Bononcini was an Italian composer, cellist, singer, and teacher during the Baroque era. He was born into a family of string players and conductors. At the age of 15, he published three collections of instrumental works. A year later he began working at San Petronio as a string player and a singer, while he continued publishing collections of instrumental works and two oratorios. Between 1692 and 1696 he moved to Rome and produced six serenatas, an oratorio and three operas with the help of Silvio Stampiglia. He moved to London from 1720 to 1732 where he began to rival George Frideric Handel in popularity. In his later years, he was accused of plagiarism and began to become poor from all the concerts he gave. He died impoverished and forgotten by many. Un Ombra di Pace is a baroque piece with considerable melismas within the vocal line. The story tells of hopefulness regarding peace and love within one's heart.
TheRedDress,RickyIanGordon
(1956-)
Ricky Ian Gordon was born in Oceanside, New York and raised on Long Island. After studying piano, composition, and acting at Carnegie Mellon University, he settled in New York City. He quickly emerged as a leading writer of vocal music that spans art song, opera, and musical theater. Gordon’s songs have been performed and recorded by internationally renowned singers such as Renee Fleming, Dawn Upshaw, Nathan Gunn, Judy Collins, Kelli O’Hara, Audra MacDonald, Kristin Chenoweth, among many others. In The Red Dress, a poem by Dorothy Parker, a woman recalls her romantic childhood dreams surrounding a dress and her adult disappointment.
ALittleBitLessThan,BarbaraAnselmi(1965-)
Barbara Anselmi is an American musical theater composer who is known for composing the musical It Shoulda Been You. “A Little Bit Less Than” is sung by the character Rebecca at a pivotal moment in the show as she decides it is time to be true to herself and tell her family members who she really loves–even though they may not approve. The strong themes of individualism and unconditional love with contemporary musical theater orchestration makes for a light-hearted and heartwarming piece.
Peter,PeterandDreamwithMe,LeonardBernstein(1918-1990)
Leonard Bernstein was an American composer, author, pianist, conductor, and music educator. He wrote many different genres of compositions, but he is most well known for his work in musical theater . At an early age, he taught himself piano and music theory on his sister's forgotten upright piano. By his teenage years, his father supported his dreams of studying music and began taking him to orchestra concerts. Bernstein studied at Harvard University where he met and befriended Dimitri Mitropoulus and Aaron Copland. After graduating Harvard, he became a student at Curtis Institute of Music. Bernstein made his New York Philharmonic conducting debut in 1943 conducting corks by Robert Schumman, Miklos Rosza, Richard Wagner, and Richard Strauss. In the 1950s, he began his scoring journey by writing the incidental music for J.M. Barrie’s play Peter Pan. He continued his composing until his death in 1990. Some of his most influential works include West Side Story, Candide, Peter Pan, and Wonderful Town. “Peter, Peter” depicts a scene between Wendy Darling and Peter Pan. Wendy is youthful and in love with Peter, but she is trying to conceal her love by making up excuses to touch his shoulder or fix his hair. Dream with Me was originally written for voice, piano, and cello. This piece was to be included in Peter Pan, but it was cut from the show before it premiered. Dream with Me is a beautiful melody with soaring vocal lines. The lyrics are sweet and hopeful for two lovers to be reunited together in their dreams.
GreenFinchandLinnetBird,StephenSondheim(1930-2021)Stephen Sondheim was an American composer and lyricist. He is regarded as one of the most influential figures in 20th-century musical theater. His most important works include writing the lyrics for West Side Story, Gypsy, and writing the music and lyrics for Into the Woods, Sweeney Todd: The Demon Barber of Fleet Street, and Sunday in the Park with George He was highly awarded with eight Tony Awards, an Academy Award, eight Grammy Awards, a Pulitzer Prize, etc. When Sondheim was 10 years old, he became close with James Hammerstein. He developed his love for theater and composing under Hammerstein's wing. He attended Williams College for liberal arts where he finished for shows the late James Hammerstein requested he finish. In his early twenties, he began his legendary Broadway career with West Side Story running on Broadway for 732 performances. He continued writing lyrics and music for numerous shows, and in 1979 Sweeney Todd opened on Broadway and was later revived in 1989, 2005, and 2023. “Green Finch and Linnet Bird” is sung by the young Johanna in the musical. She is locked in her room gazing at a man selling birds below her window, and connecting with the bird's feeling of being caged. The tempo increases and slows throughout to show Johanna’s frustration with being locked away, and then finally her deciding to try and use her voice if she cannot escape her “cage”.
InHisEyes,FrankWildhorn(1958-)
Frank Wildhorn is an American musical theater and pop music composer. He was born in Harlem, spent his childhood in Queens, and then moved to Hollywood at the age of 14. He studied history and philosophy at the University of Southern California. He also worked in the Los Angeles area in clubs as a musician. Upon hearing his work, Chrysalis Records offered Wildhorn a song publishing deal. Over the next few years, he wrote over 250 songs which were published and recorded by artists such as Kenny Rogers and Natalie Cole. He even co-wrote the song “Where Do Broken Hearts Go" which was a hit for Whitney Houston. Despite his success as a songwriter, Frank still had a strong fascination with musical theater. In 1990, the first production of his musical inspired by the famous novel Strange Case of Dr.Jekyll & Mr. Hyde by Robert Louis Stevenson debuted. After many rewrites, Jekyll & Hyde: The Musical opened on Broadway in 1997 and ran until its closing in 2001. “In His Eyes'' is sung by the two leading ladies, Emma and Lucy. Emma is in love with Jekyll, Lucy has fallen for Hyde. The two women contemplate their love for their mysterious partner, believing their love will reveal who he truly is.