Home 2009 / 2010 Concert Season
Saugerties Pro Musica
Deborah Raymond April 26th 3PM
by the performer
and not rescheduled
Catskill Glee Club
F¸nf Gedichte von Mathilde Wesendonck Richard Wagner(1813-1883)
Awake on a Spring Night Judith Cloud
(Poetry by Betty Andrews) (b. 1955)
When I was Young
The Time Comes
Awake on a Spring Night
The Shape of Laughter
Vissi d’arte from “Tosca” Giacomo Puccini(1858-1924)
O mio babbino caro from “Gianni Schicchi” Giacomo Puccini
Donde lieta from “La Boheme” Giacomo Puccini
Tu! Tu! Tu! from “Madama Butterfly” Giacomo Puccini
RICHARD WAGNER(1813-1883) was one of the most significant and influential composers in the history of opera – or Musik Drama, as he chose to call it, since he considered drama just as important as music. His operas progressed from the early Rienzi and Der Fliegende Holl‰nder, with actual arias and duets; to Tannh‰user and Lohengrin, which began his through-composed style, leading to Die Meistersinger, Tristan und Isolde, Der Ring des Nibelungen, and Parsifal. It was Tristan for which two of the Wesendonck Lieder, (Im Treibhaus and Tr‰ume), were studies. Mathilde Wesendonck had an enormous influence upon Wagner. Not only was he impressed with her poetry, but he also fell in love with her. When Mathilde’s husband learned of Wagner’s affection for his wife, he cut off all relationship with the composer. Indeed these five songs are among the most powerful in all song literature, due to the unique connection of music and poetry.
F‹NF GEDICHTE VON FIVE POEMS BY
MATHILDE WESENDONCK MATHILDE WESENDONCK
Der EngelThe Angel
In der Kindheit fr¸hen Tagen In my early childhood days
Hˆrt ich oft von Engeln sagen, I often heard tales of angels
Die des Himmels hehre Wonne who exchange the heavenly bliss
Tauschen mit der Erdensonne, for the sunshine of earth,
Dass wo bang ein Herz in Sorgen that, when a heart in sorrow
Schmachtet vor der Welt verborgen, hides its grief from the world,
Dass, wo still es will verbluten, bleeds in silence,
Und vergehn in Tr‰nen fluten, and dissolves in tears,
Dass, wo br¸nstig sein Gebet offers fervent prayers
Einsig um Erlˆsung fleht, for deliverance,
Da der Engel niederschwebt, then the angel flies down
Und es sanft gen Himmel hebt. and bears it gently to heaven.
Ja, es stieg auch mir ein Engel nieder, Yes, an angel came down to me,
Und auf leuchtenden Gefieder and on shining pinions
F¸hrt er ferne jedem Schmerz, bears my spirit away from all torment
Meinen Geist nun himmelw‰rts. heavenward.
Stehe still! Be still!
Sausendes, brausendes Rat der Zeit, Rushing, roaring wheel of time,
Messer du der Ewigkeit; you measure of eternity;
Leuchtende Sph‰ren im weiten All, shining spheres in the vast firmament,
Die ihr umringt den Weltenball; you that encircle our earthly globe;
Urewige Schˆpfung, halte doch ein, eternal creation, stop!
Genug des Werdens, lass mich sein! Enough of becoming, let me be!
Halte an dich, zeugende Kraft, Ye powers of generation, cease,
Urgedanke, der ewigschafft! primal thought, that endlessly creates,
Hemmet den Atem, stillet den Drang, stop every breath, still every urge,
Schweiget nur eine Sekunde lang! give but one moment of silence!
Schwellende Pulse, fesselt den Schlag; Swelling pulses, restrain your beating;
Ende, des Wollens ewger Tag! end, eternal day of the will!
Dass,in selig s¸ssem Vergessen So that, in sweet forgetfulness,
Ich mˆg alle Wonnen ermessen! I may take full measure of all my joy!
Wenn Aug in Auge wonnig trinken, When eye blissfully gazes into eye,
Seele ganz in Seele versinken; when soul drowns in soul;
Wesen in Wesen sich wiederfindet, when being finds itself in being,
Und alles Hoffens Ende sich k¸ndet, and the goal of all hopes is near,
Die Lippe verstummt in staunendem Schweigen, then lips are mute in silent amazement,
Keinen Wunsch mehr will das Innre zeugen: the heart can have no further wish;
Erkennt der Mensch des Ewgen Spur, man knows the imprint of eternity,
Und lˆst dein R‰tsel, heilge Natur! and solves your riddle, blessed Nature!
Im Treibhaus In the Hothouse
Hoch gewˆlbte Bl‰tterkronen, High-arching leafy crowns,
Baldachine von Smaragd, canopies of emerald,
Kinder ihr aus fernen Zonen, you children of distant lands,
saget mir, warum ihr klagt? tell me, why do you lament?
Schweigend neiget ihr die Zweige, Silently you incline your branches,
Malet Zeichen in die Luft, tracing signs in the air,
Und der Leiden stummer Zeuge, and, mute witness to your sorrows,
Steiget aufw‰rts, s¸sser Duft. A sweet perfume rises.
Weit in sehnendem Verlangen Wide, in longing and desire,
Breitet ihr die Arme aus, you spread your arms
und umschlinget wahnbefangen and embrace, in self-deception,
÷der Leere nichtgen Graus. Barren emptiness, a fearful void.
Wohl, ich weiss es, arme Pflanze, Well, I know it, poor plant:
Ein Geshicke teilen wir, We share the same fate,
Ob umstrahlt von Licht und Glanze, Although the light shines brightly round us,
Unsre Heimat ist nicht hier! Our home is not here!
Und wie froh die Sonne scheidet And, as the sun gladly quits
Von des Tages leerem Schein, the empty brightness of day,
H¸llet der, der wahrhaft leidet, so he, who truly suffers,
Sich in Schweigens Dunkel ein. wraps round him the dark mantle of silence.
Stille wird’s, ein s‰uselnd Weben It grows quiet, an anxious rustling
F¸llet bang den dunklen Raum: fills the dark room;
Schwere Tropfen seh ich schweben I see heavy drops hanging
An der Bl‰tter gr¸nem Saum. from the green edges of leaves
Sonne, weinest jeden Abend Sun, you weep every evening
Dir die schˆnen Augen rot, until your lovely eyes are red,
Wenn im Meeresspeigel badend when, bathing in the sea,
Dich erreicht der fr¸he Tod; you are o’ertaken by your early death;
Doch errstehst in alter Pracht, But you rise again in your old splendor,
Glorie der d¸stren Welt, glory of the dark world;
Du am Morgen neu erwacht fresh awakened in the morning
Wie ein stolzer Siegesheld! Like a proud and conquering hero!
Ach, wie sollte ich da klagen, Ah, then why should I complain,
Wie, mein Herz so schwer dich sehn, why should my heart be so heavy
Muss die Sone selbst verzagen, if the sun itself must despair,
Muss die Sonne untergehn? If the sun itself must go down?
Und gebieret Tod nur Leben, And, if only death gives birth to life,
Geben Schmerzen Wonne nur: if only torment brings bliss;
O wie dank ich, dass gegeben then how thankful I am that Nature
Solche Schmerzen mir Natur! has given me such torment!
Sag, welch wunderbare Tr‰ume Say, what wondrous dreams
Halten meinen Sinn umfangen, hold my soul captive,
Dass sie nicht wie leere Sch‰ume and have not disappeared like bubbles
Sind in ˆdes Nichts vergangen? Into barren nothingness?
Tr‰ume, die in jeder Stunde, Dreams, that in every hour
jedem Tage schˆner bl¸hn, of every day bloom most fair,
und mit ihrer Himmelskunde and with their intimations of heaven
selig durchs Gem¸te ziehn! Float blissfully through my mind!
Tr‰ume, die wie hehre Strahlen Dreams, that like rays of glory
In die Seele sich versenken, penetrate the soul,
Dort ein ewig Bild zu malen: there to leave an everlasting imprint:
Allvergessen, Eingedenken! Forgetfulness of all, remembrance of one!
Tr‰ume, wie wenn Fr¸hlingssonne Dreams, like the kiss of the spring sun
Aus dem Schnee die Bl¸ten k¸sst, drawing blossoms from the snow,
Dass zu nie geahnter Wonne sie so that to undreamed-of bliss
Der neue Tage begr¸sst, the new day may welcome them,
Dass sie wachsen, dass sie bl¸hen, So that they grow and flower,
Tr‰umend spenden ihren Duft, spread their scent as in a dream,
Sanft an deiner Brust vergl¸hen, softly fade upon your breast,
And dann sinken in die Gruft. then sink into their grave.
JUDITH CLOUD (b.1955), has a many-sided career as singer, composer, teacher, and conductor. As composer, many of her songs have won awards and have received performances all over the world, such as the cantata “Feet of Jesus” and “Mesa Songs”, (which was recently performed at Carnegie Hall).
She wrote the set of five songs for soprano and piano, “Awake on a Spring Night” to poetry of Betty Andrews, who lived in Hollywood and was a screenwriter for such popular westerns as “Gunsmoke” and Bonanza”.. In 1993 Dr. Cloud heard Ms. Andrews read some of the poetry at a memorial service. Composed in 1994, the songs were completed one week before Ms. Andrews passed away. Though I did not meet Dr. Cloud until 2000, I have from the first time I sang them, had the feeling she composed them for me..
AWAKE ON A SPRING NIGHT
When I was Young
When I was young as grass in spring,
I loved you then -------
Brashly as a bursting seed.
Sweetly and greenly,
I loved you then.
When I was climbing summer’s noon,
I loved you then ---
Hotly as the living sun.
I loved you then.
Now in the flame of autumn’s leaf,
I love you still ---
Wondering at color’s song.
I love you still.
And in the hush of winter’s white,
I’ll love you then ---
Honest as a naked branch.
Simply and surely,
I’ll love you then.
The Time Comes
And then the time comes
When you can care again
If the sun is in the sky,
If the wind still bows,
If the birds still fly.
And then the time comes
When you can bear again
The beauty of a leaf,
The tenderness of grass,
The infidelity of grief.
The hill is turning green.
There, beneath last winter’s grasses,
Brown and withered,
That little pointed tongue ---
Unless a low wind as it passes
Flicks it into sight.
Green so new, so very young,
It must stay hidden at least another night,
At least until the morning.
When, with wind grown still,
A thousand greening tongues
Halloo the hill!
Awake on a Spring Night
Old moon drooping, mockingbird awake,
Singing scales – cosseting his voice.
Small breeze stirring, blowing from the lake.
Expectant is the night.
Mockingbird deciding, coming to a choice.
Old moon fading, mockingbird aflame!
Notes of fire exploding from his throat.
Small breeze naming hopes I cannot name.
Exultant is the night.
Mockingbird defying that he sings by rote.
Old moon dead now, mockingbird asleep.
Silence banks the burning. Flames are gone.
Small breeze dying. I begin to weep.
Exhausted is the night.
Why must moons and music die at dawn?
The Shape of Laughter
The shape of laughter in a house ---
Better than pictures on the wall.
The shape of night-talk in a room ---
Softer than hanging folds of silk.
The shape of paired breaths in the dark
Making a gallery wall for loving.
Giacomo Puccini, (1858-1924), is possibly the most popular Italian opera composer to have lived. His sense of theater was remarkable, as he always knew exactly how to bring an audience to tears – and just how far to go. Puccini operas nearly play themselves, without the help of extravagant staging, and his characters are very real. His heroines are roles every soprano longs to portray. Three of his most famous operas are Tosca, La BohËme, and Madama Butterfly.
American Soprano Deborah Raymond has sung extensively in Europe and the United States. She made her critically acclaimed debut as Salome in 1988 at the Semper Opera in Dresden/Germany in Joachim Herz's production which was televised throughout Europe. Of her performance OpernWelt wrote: "Deborah Raymond's voice culminates in a rapturous top. One has seldom experienced such a sensitive princess since Cebotari". This performance is available on DVD. Subsequently Ms. Raymond has performed the role of Salome in other German theaters, with Utah Opera, Opera Carolina, Arizona Opera, Des Moines Metro Opera and covered in the Luc Bondy production at the Lyric Opera of Chicago, and in the Peter Hall production at San Francisco Opera.
Other roles performed include Marie in Wozzeck, Tatiana in Eugene Onegin, and Gerhilde in Die Walküre, singing at Deutsche Oper Berlin, Stadttheater Aachen, Opera Forum Enschede/NL, the Netherlands Opera, Bolshoi Opera of Belorus, Minsk, Theatre Royal de la Monnaie in Brussels.
She recorded die Frau in Erwartung with the Netherlands Radio Symphony Orchestra, and performed it in Indianapolis, IN and Flagstaff, AZ. She was featured as Zoe in Stephen Climax by Hans Zender and as Eine Dirne, (composed for her), in the world premiere of Reigen by Philippe Boesmans at the Theatre Royal de la Monnaie in Brussels, Strasbourg and the Théatre du Chatelet in Paris, directed by Luc Bondy. Reigen is available on Compact Disc and the filmed version was seen on television throughout Europe.
Added to her repertoire in the USA are Mimi in La Bohème, Nedda in I Pagliacci, Cio-Cio San in Madama Butterfly and Tosca with Indianapolis Opera, Virginia Opera, Florentine Opera, Opera Carolina, Mobile Opera, Pamiro Opera, Nevada Opera, and Sacramento Opera. Her debut at the Spoleto Festival USA in 1997 as Marie in Wozzeck was a personal triumph, where she was also featured in Schoenberg’s second String Quartet,(again performed in 2001 with the Chicago String Quartet for the Sedona Chamber Music Festival), Berg’s Sieben frühe Lieder and Ravel’s Chansons Madécasses. Of her Tosca one critic wrote,"Although Raymond's voice is more rounded, less reedy, she often reminded me of the legendary Magda Olivero".
Ms. Raymond is Assistant Professor of Voice at Northern Arizona University and performs regularly on Faculty Chamber Concerts as well as in recital. While teaching full-time at the university, she has also performed Cio-Cio San in Madama Butterfly and Tosca with Nevada Opera, Tosca and Mimi in La Boheme in Michigan, and has appeared as soprano soloist in the Verdi Requiem, Mendelssohn’s Elijah, Samuel Barber’s Knoxville:Summer of 1915, Mozart’s C Minor Mass, and Britten’s War Requiem with the Flagstaff Symphony. She has premiered new works with the NAU Orchestra, and recently performed the Liebestod from Wagner’s Tristan und Isolde with this orchestra as well as the Missoula Symphony, where she also sang the Poulenc Gloria. Last season she performed Tosca, semi-staged, with the NAU Orchestra. She just performed her first Mozart role, Donna Elvira in Don Giovanni with Arizona Opera last month.
In addition to teaching at NAU, Ms. Raymond has established a reputation with summer opera programs, having taught at the renowned Seagle Colony in New York for four years, and two summers in Italy as Program Coordinator and Voice Professor with Flagstaff in Fidenza, an opera program founded by her husband Nando Schellen, Director of Opera at NAU.
All concerts are on Sunday at 3 PM
at the Saugerties United Methodist Church
on the corner of Washington Avenue & Post Street
Admission $12 - Seniors $10 - Students Free
Saugerties Pro Musica is a section 501 (c) (3) organization
Saugerties Pro Musica
PO Box 276
Saugerties NY 12477
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