MuSiC AT EMory ConCErT SEriES - Arts at Emory

m usic at emory
concer t se ries
201 4 – 2 0 1 5 seas o n
Fall into song
faculty recital at emory
Stephanie Adrian, soprano
Abigail Santos Villalobos, soprano
Bradley Howard, tenor
Wade Thomas, baritone
Elena Cholakova, piano
Patricia Dinkins-Matthews, piano
Deborah Thoreson Slover, piano
sunday, october 5, 2014, 4:00 p.m.
Emerson Concert Hall
Schwartz Center for Performing Arts
P r ogr am
Chanson triste
Henri Duparc
L’invitation au voyage
(1848–1933)
Le Manoir de Rosamonde
Phidylé
Bradley Howard, tenor; Deborah Thoreson Slover, piano
The Daisies
Sergei Rachmaninoff
Before My Window
(1873–1943)
Floods of Spring
Stephanie Adrian, soprano; Elena Cholakova, piano
Rain Has Fallen
Samuel Barber
Sleep Now
(1910–1981)
I Hear an Army
Wade Thomas, baritone; Patricia Dinkins-Matthews, piano
Canciones Clásicas Amatorias Enrique Granados
1. Descubrase el pensamiento (1867–1916)
2. Mananica era
3. Mira que soy niña
4. No lloreis ojuelos
5. Iban al pinar
6. Gracia mia
Abigail Santos Villalobos, soprano; Elena Cholakova, piano
Duet: “Sull’aria . . .” Wolfgang Amadeus Mozart
from Le Nozze di Figaro
(1756–1791)
Susanna: Stephanie Adrian; Countess: Abigail Santos Villalobos
Patricia Dinkins-Matthews, piano
Duet: “In un coupé . . . O Mimi . . . “
Giacomo Puccini
from La Bohème
(1858–1924)
Rodolfo: Bradley Howard; Marcello: Wade Thomas
Patricia Dinkins-Matthews, piano
Quartet: “Dunque è proprio finita . . .” from La Bohème
Puccini
Mimi: Stephanie Adrian; Musetta: Abigail Santos Villalobos;
Rodolfo: Bradley Howard; Marcello: Wade Thomas
Patricia Dinkins-Matthews, piano
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t e x ts and t r ans lati ons
Chanson tristeSad Song
Dans ton cœur dort un clair de lune, In your heart sleeps moonlight,
Un doux clair de lune d’été, A gentle moonlight of summer,
Et pour fuir la vie importune, And to escape the hardship of life
Je me noierai dans ta clarté. I will drown myself in your light.
J’oublierai les douleurs passées, I will forget the sorrows of the past,
Mon amour, quand tu berceras My love, when you cradle
Mon triste cœur et mes pensées My sad heart and thoughts
Dans le calme aimant de tes bras. In the loving calm of your arms.
Tu prendras ma tête malade, You will take my sick head,
Oh ! Quelquefois, sur tes genoux, Oh! Sometimes on your lap,
Et lui diras une ballade And tell it a ballad,
Une ballade, qui semblera parler de nous ; A ballad that will seem to speak of us;
Et dans tes yeux pleins de tristesse, And from your eyes full of sadness,
Dans tes yeux alors je boirai From your eyes then I shall drink
Tant de baisers et de tendresses So many kisses and caresses
Que peut-être je guérirai. That perhaps then I shall heal.
—Jean Lahor
L’invitation au voyageInvitation to the Voyage
Mon enfant, ma sœur, My child, my sister,
Songe à la douceur Dream of the sweetness
D’aller là-bas vivre ensemble, Of going down there to live together!
Aimer à loisir, To love at leisure,
Aimer et mourir Love and die
Au pays qui te ressemble. In a country that resembles you!
Les soleils mouillés The watery suns
De ces ciels brouillés In those blurry skies
Pour mon esprit ont les charmes For my spirit have
Si mystérieux The mysterious charm
De tes traîtres yeux, Like your traitorous eyes
Brillant à travers leurs larmes. Shining through their tears.
Là, tout n’est qu’ordre et beauté, There, all is only order and beauty,
Luxe, calme et volupté. Luxury, calm, and voluptuousness.
Vois sur ces canaux See, on the canals,
Dormir ces vaisseaux Sleep these vessels
Dont l’humeur est vagabonde; Who long to wander.,k
C’est pour assouvir ton moindre désirIt is to satisfy your slightest desire
Qu’ils viennent du bout du monde.
They come from the ends of the world.
Les soleils couchants revêtent les champs, The setting suns clothe the fields,
Les canaux, la ville entière, The canals, the whole city
D’hyacinthe et d’or; In hyacinth and gold.
Le monde s’endort The world falls asleep
Dans une chaude lumière! In a warm light.
Là, tout n’est qu’ordre et beauté, There, all is order and beauty,
Luxe, calme et volupté. luxury, calm, and voluptuousness.
—Charles Baudelaire
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Le Manoir de Rosamonde
Rosamonde’s Manor
De sa dent soudaine et vorace, With its teeth, sudden and voracious,
Comme un chien l’amour m’a mordu . . . Like a dog, love has bitten me!
En suivant mon sang répandu, In following the trail of my spattered blood,
Va, tu pourras suivre ma trace . . . Go! You will be able to follow my tracks!
Prends un cheval de bonne race, Take a horse of good breed
Pars, et suis mon chemin ardu, Leave, and follow my arduous path,
Fondrière ou sentier perdu, Bogs or lost paths,
Si la course ne te harasse! If the way is not too exhausting for you!
En passant par où j’ai passé, In passing by where I have passed,
Tu verras que seul et blessé You will see that, alone and injured,
J’ai parcouru ce triste monde. I have passed through this sad world.
Et qu’ainsi je m’en fus mourir And so thus, I went to my death
Bien loin, bien loin, sans découvrir Far away, far away, without ever finding
Le bleu manoir de Rosamonde. The blue manor of Rosamonde.
—Raymond de Bonnières
PhidyléPhidylé
L’herbe est molle au sommeil The grass is soft for sleeping
sous les frais peupliers, Under the fresh poplars,
Aux pentes des sources moussues, On the banks of the mossy springs,
Qui dans les prés en fleur germant Which, in the meadows flower
par mille issues, a thousand plants,
Se perdent sous les noirs halliers. Losing themselves under dark bushes.
Repose, ô Phidylé! Midi sur les feuillages Rest, o Phidylé! Midday on the foliage shines
Rayonne et t’invite au sommeil. And invites you to sleep!
Par le trèfle et le thym, seules, en plein soleil, Among clover and thyme, alone, in full sunlight
Chantent les abeilles volages. Hum the flighty honeybees.
Un chaud parfum circule a
A warm perfume circulates
u détour des sentiers, about the winding paths,
La rouge fleur des blés s’incline, The red cornflower inclines itself,
Et les oiseaux, rasant de l’aile la colline, And the birds, grazing the hill with their wings,
Cherchent l’ombre des églantiers. Search for shade among the wild rose bushes.
Mais, quand l’Astre, But when the sun,
incliné sur sa courbe éclatante, turning in its brilliant curve,
Verra ses ardeurs s’apaiser, Finds its ardor calming,
Que ton plus beau sourire Let your most beautiful smile
et ton meilleur baiser and most passionate kiss
Me récompensent de l’attente! Reward me for waiting!
—Charles Marie René Leconte de Lisle
Daisies, op. 38, No. 3
O look how many daisies both here and there.
They blossom, they blossom in abundance.
Their three-edged petals are like wings,
Like whitened silk. The summer’s essence fills them!
In their radiant multitude.
Earth, prepare a draught of dews
For these flowers, give life to their stalk.
O, maidens, O, stars of daisies,
I love you!
—Igor Severyanin
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t e x ts and t r ans lati ons
Before My Window, op. 26, No. 10
At my window a bird cherry blossoms,
Blossoms pensively in its silvery raiment . . .
And with its fresh and fragrant branch
It inclines and beckons . . .
Of its quivering, ethereal petals
I joyfully take in the cheerful breath,
Their sweet fragrance obscures my consciousness,
And they sing love songs without words.
—Glafira Galina
Floods of Spring, op. 14, No. 11
In the fields snow still lies,
But torrents resound with the joy of spring,
They surge and awaken the sleeping shore,
Flowing, sparkling, proclaiming,
Proclaiming to all ends of the earth:
“Spring comes, spring comes,
We are heralds of spring,
We are sent forth to say:
Spring comes, spring comes!”
And the quiet warm days of May
In a rosy, bright round dance,
Crowd joyfully in spring’s step.
—Feodor Tyutchev; translations by Natalia Challis
Rain Has Fallen
Rain has fallen all the day.
O come among the laden trees:
The leaves lie thick upon the way
Of mem’ries.
Staying a little by the way
Of mem’ries shall we depart.
Come, my beloved, where I may
Speak to your heart.
Sleep Now
Sleep now, O sleep now,
O you unquiet heart!
A voice crying “Sleep now”
Is heard in my heart.
The voice of the winter
Is heard at the door.
O sleep, for the winter
Is crying “Sleep no more.”
My kiss will give peace now
And quiet to your heart—
Sleep on in peace now,
O you unquiet heart!
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I Hear an Army
I hear an army charging upon the land,
And the thunder of horses plunging, foam about their knees:
Arrogant, in black armour, behind them stand,
Disdaining the reins, with flutt’ring whips, the charioteers.
They cry unto the night their battlename:
I moan in sleep when I hear afar their whirling laughter.
They cleave the gloom of dreams, a blinding flame,
Clanging, clanging upon the heart as upon an anvil.
They come shaking in triumph their long, green hair:
They come out of the sea and run shouting by the shore.
My heart, have you no wisdom thus to despair?
My love, my love, why have you left me alone?
—James Joyce
Canciones Clásicas Amatorias
Descúbrase el pensamiento
Unveil the Thought
Descúbrase el pensamiento Unveil the thought
de mi secreto cuidado,
of my hidden secret,
pues descubrir mis dolores, then reveal my anguish,
mi vivir apasionado;
my passionate life.
no es de agora mi pasión,
My passion is not of the here and now;
días ha que soy penado.I’ve suffered for days.
Una señora a quien sirvo
The lady I serve
mi servir tiene olvidado. has forgotten my servitude.
Su beldad me hizo suyo,
Her beauty made me hers,
el su gesto tan pulido
and her shining face
en mi alma está esmaltado.
is enameled in my soul.
¡Ay! ¡Ay de mí!
Ah! Woe is me
Que la miré, que la miré
who looked at her
para vivir lastimado, only to live wounded,
para llorar y plañir to weep and lament
glorias del tiempo pasado.
glories of times gone by.
¡Ay! Mi servir tiene olvidado.
Ah! She has forgotten my servitude.
—Poet: Comendador de Avila
Mañanica era
Daybreak
Mañanica era, mañana It was daybreak—the morning
de San Juan1 se decía al fin, of Saint John dawned at last,
cuando aquella diosa Venus
when that goddess Venus
dentro de un fresco jardín in a cool garden
tomando estaba la fresca was taking in the air
a la sombra de un jazmín,
beneath the shade of jasmine;
cabellos en su cabeza, with her hair
parecía un serafín. she resembled a seraph.
Sus mejillas y sus labios Her cheeks and lips
como color de rubí the color of ruby,
y el objeto de su cara and the expression on her face
figuraba un querubín; seemed that of a cherub.
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t e x ts and t r ans lati ons
Mañanica era (continued)
allí de flores floridas hacía un rico cojín, de rosas una guirnalda para el que venía a morir, ¡ah!, [lealmente]1 por amores sin a nadie descubrir.
Daybreak (continued)
From blossoming flowers
she fashioned a rich cushion,
a garland of roses
for one who came to die
loyally for a love
without revealing it to anyone.
Mira que soy niña Look, I Am but a Child
Mira que soy niña, ¡Amor, déjame! Look, I am but a child. Love, let me be!
¡Ay, ay, ay, que me moriré! Ah, for I shall die!
Paso, amor, no seas a mi gusto extraño,
no quieras mi daño pues mi bien deseas; basta que me veas sin llegárteme. ¡Ay, ay, ay, que me moriré! Gently, love, thwart not my desire,
do not wish me harm.
Since you wish me well,
suffice it to see me
without drawing near.
Ah, for I shall die!
No seas agora, por ser atrevido;
sé agradecido Ah! con la que te adora, que así se desdora mi amor y tu fe. ¡Ay, ay, ay, que me moriré! Mira que soy niña . . . Do not now be forward for the sake of it.
Be grateful
to the one who adores you,
lest you tarnish
my love and your faith.
Ah, for I shall die!
Look, I am but a child
No lloréis, ojuelos No lloréis, ojuelos, porque no es razón que llore de celos quien mata de amor. Don’t Cry, Little Eyes
Don’t cry, little eyes,
for it is not right
to cry with jealousy
if you kill with love.
Quien puede matar no intente morir, si hace con reír más que con llorar. She who can kill
should not seek to die,
if she can do more with laughter
than with tears.
No lloréis ojuelos, porque no es razón que llore de celos quien mata de amor.
Don’t cry, little eyes,
for it is not right
to cry with jealousy
if you kill with love.
—Poet: Lope de Vega
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Iban al pinar
Serranas de Cuenca iban al pinar, unas por piñones, otras por bailar. Bailando y partiendo las serranas bellas,
un piñón con otro, si ya no es con perlas
de amor las saetas huelgan de trocar: unas por piñones, otras por bailar, Pine Grove
Mountain girls of Cuenca
were going to the pine grove,
some for pine nuts,
others to dance.
The fair highland girls
dance, dividing
one nut with another,
if not with pearls
merrily deflecting
the arrows of Cupid,
some for pine nuts,
others to dance.
Entre rama y rama cuando el ciego dios pide al Sol los ojos por verlas mejor, los ojos del Sol las veréis pisar, unas por piñones, otras por bailar.
Between the branches,
when the blind god
begs the sun for eyes
to see them better,
you will see them treading
on the eyes of the sun,
some for pine nuts,
others to dance.
—Poet: Luis de Gongora
Gracia mía
Gracia mía, juro a Dios que sois tan bella criatura que a perderse la hermosura se tiene de hallar su voz. My Graceful One
My graceful one, I swear to God
you are so fair a creature
that were beauty to be lost
it would be found in you.
Fuera bien aventurada en perderse en vos mi vida porque viniera perdida para salir más ganada. My life would be blessed
to be lost in you,
for it would be lost
to emerge enriched.
¡Ah! Seréis hermosuras dos en una sola figura, que a perderse la hermosura se tiene de haller en vos. Ah, you would be two beauties
within one form,
for were beauty to be lost
it would be found in you.
En vuestros verdes ojuelos In your little green eyes
nos mostráis vuestro valor you show us your worth,
que son causa del amor for they inspire love;
y las pestañas son cielos; and your eyelashes are heavens,
nacieron por bien de nos. created for our delight.
Gracia mía . . . My graceful one . . .
—anonymous
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Sull’aria On the Air
(Susanna siede e scrive una lettera.)
(Susanna sits down to write a letter.)
SusannaSusanna
Sull’aria . . . Song to the breeze . . .
CountessCountess
Che soave zeffiretto . . . What a gentle, little breeze . . .
SusannaSusanna
. . . zeffiretto
. . . little breeze
CountessCountess
. . . questa sera spirerà . . . . . . this evening will blow . . .
SusannaSusanna
. . . questa sera spirerà.
. . . this evening will blow.
CountessCountess
Sotto i pini del boschetto.
Beneath the pine trees of the little grove.
SusannaSusanna
. . . sotto i pini. . . . beneath the pine trees.
CountessCountess
Ei già il resto capirà.
He will understand the rest.
SusannaSusanna
Certo, certo il capirà.
Certainly, he will understand.
(Susanna piega la lettera.)
(Susanna folds the letter.)
—translation from IPA Source
Duet: “In un coupé . . . O Mimi . . . “ from La Bohème
In soffitta. La stessa scena del accto primo.
At the Garret. The same scene as act one.
(Marcello sta ancora dinanzi al suo cavalletto, (Marcello is still in front of his trestle,
come Rodolfo sta seduto al suo tavolo:Rodolfo is seated at the table: they would like
vorrebbero persuadersi l’un l’altro che
to convince each other that they are tirelessly
lavorano indefessamente, mentre invece non working; while all they are really doing
fanno che chiacchierare)
is gossiping)
Marcello (continuando il discorso)Marcello (continuing his narration)
*In un coupe;?In a coupé?
RodolfoRodolfo
Con pariglia e livree.
With a pair and livery.
Mi salutò ridendo.
Musetta greeted me with laughter.
“To’, Musetta!”I asked her, “How’s your heart?”
Le dissi:–e il cuor?–“Non batte o non
she answered, “It’s not beating or I
lo sento grazie al velluto che il copre.”
don’t feel it, thanks to its cover of velvet.”
Marcello (sforzandosi di ridere)Marcello (forcing himself to laugh)
Ci ho gusto. Davver . . . Delighted to hear it. Really . . .
Rodolfo (fra sé)Rodolfo (to himself)
Loiola, va!You can’t fool me! You’re
Ti rodi e ridi.
tormented and yet you laugh.
(Ripiglia il lavoro)
(back to work)
MarcelloMarcello
(Dipinge a gran colpi di pennello)
(He paints with large brush strokes)
. . . Non batte? Bene! Io pur vidi . . . . . . Not beating? That’s good! Well! I also saw . . .
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t e x ts and t r ans lati ons
RodolfoRodolfo
Musetta?Musetta?
MarcelloMarcello
Mimì.Mimì.
Rodolfo (Trasalendo, smette di scrivere)Rodolfo (Startled, he stops writing)
L’hai vista?You have seen her?
(Si ricompone) Oh, guarda?
(now composed) Oh, really, you’ve seen her?
Marcello (Smette il lavoro)Marcello (stopping work)
Era in carrozza vestita come una regina.In a carriage dressed like a Queen.
Rodolfo (allegramente)Rodolfo (cheerfully)
Evviva! Ne son contento.
Hurrah! I’m glad about that.
Marcello (fra sé)Marcello (to himself)
(Bugiardo, si strugge d’amor)
(Liar, he’s consumed with love)
RodolfoRodolfo
Lavoriam.
Back to work.
MarcelloMarcello
Lavoriam. (Riprendono il lavoro)
Back to work. (they resume their work)
Rodolfo (Getta la penna)Rodolfo (tossing his pen down)
Che penna infame!
What a dreadful pen!
(sempre seduto e molto pensieroso)
(remaining seated and pensive)
Marcello (Getta il pennello)Marcello (tossing his paint brush down)
Che infame pennello!
What a dreadful brush!
(Guarda fissamente il suo quadro, poi di
(He looks at his painting fixedly, then secretly,
nascosto da Rodolfo estraedalla
so Rodolfo won’t see him, he takes from his
tasca un nastro di seta e lo bacia)
pocket a silk ribbon and kisses it)
RodolfoRodolfo
O Mimi tu piu non torni, o giorni belli,Oh Mimi, will you never return, oh, beautiful days,
piccole mani, odorosi capelli . . . tiny hands, the fragrance of your tresses . . .
MarcelloMarcello
(riponendo il nastro ed osservando
(putting the ribbon away
di nuovo il suo quadro)
and examining his painting again)
Io non so come sia che il mio pennel lavoriI don’t know why it is, but my brush keeps
ed impasti colori contro la voglia mia . . . working and paints colors against my will . . .
RodolfoRodolfo
. . . collo di neve!
. . . Your snow white neck!
Ah! Mimì, mia breve gioventù!Oh! Mimì, how brief my youth was!
MarcelloMarcello
. . . Se pingere mi piace
. . . Though I wish to paint
o cieli o terre o inverni o primavere,
skies or landscapes or winter or spring,
egli mi traccia due pupille nere
it seems to trace two dark pupils and
e una bocca procace, e n’esce
a provocative mouth, which
di Musetta e il viso ancor . . . becomes Musetta’s face again . . .
RodolfoRodolfo
(Dal cassetto del tavolo
(He pulls Mimi’s bonnet out
leva la cuffietta di Mimì)
of the table drawer)
(fra sé)
(to himself)
E tu, cuffietta lieve,
And you, soft bonnet,
che sotto il guancial partendo ascose,
that she left concealed under the pillow,
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t e x ts and t r ans lati ons
tutta sai la nostra felicità,
vien sul mio cuor!
Sul mio cuor morto,
poich’è morto amor.
you know all our happiness.
Come to my heart!
My poor heart is dead,
since our love is dead.
MarcelloMarcello
. . . E n’esce di Musetta
. . . And there’s Musetta’s face
il viso tutto vezzi e tutto frode.
with all its charms and betrayals.
Musetta intanto gode
Musetta in the meantime is enjoying life
e il mio cuor vil la chiama
and my cowardly heart calls for her
e aspetta il vil mio cuor . . . and waits, my cowardly heart . . .
—translation by Dennis Albert
Quartet: “Dunque è proprio finita . . . “ from La Bohème
RodolfoRodolfo
Dunque è proprio finita! Te ne vai, te ne vai, So is it really all over! Must you go, must you go,
la mia piccina?! Addio, sogni d’amor! My little one?! Farewell, to our dreams of love!
MimìMimì
Addio, dolce svegliare alla mattina!
Goodbye, sweet awakening I knew each morning!
RodolfoRodolfo
Addio, sognante vita . . . Goodbye, to our dreams of love!
Mimì (sorridendo)Mimì (smiling)
Addio, rabbuffi e gelosie!
Goodbye, rebukes and jealousies . . .
RodolfoRodolfo
. . . che un tuo sorriso acqueta!
. . . that your smile would wash away!
MimìMimì
Addio, sospetti! . . . Goodbye, suspicions . . .
RodolfoRodolfo
. . . baci . . . . . . kisses . . .
MimìMimì
Pungenti amarezze!
. . . and bitter sadness!
RodolfoRodolfo
Ch’io da vero poeta rimavo con carezze!
That I, being a true poet, would rhyme with caresses!
MimìMimì
Soli d’inverno è cosa da morire!
To be alone in the winter is a deathly thing!
RodolfoRodolfo
Soli! è cosa da morire!
To be alone is a deathly thing!
MimìMimì
Soli!Alone!
Mimì e RodolfoMimì and Rodolfo
Mentre a primavera c’è compagno il sol!
While in spring . . . the sun is a companion!
MimìMimì
C’è compagno il sol! (nel tavernafracasso di The sun is a companion! (from the tavern comes
piatti e bicchieri rotti)
sounds of plates and glasses being broken)
Marcello (di dentro)Marcello (from inside)
Che facevi, che dicevi . . . What were you doing and saying . . .
Musetta (di dentro)Musetta (from inside)
Che vuoi dir?
What are you saying?
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t e x ts and t r ans lati ons
MarcelloMarcello
presso al fuoco a quel signore?
. . . to that gentleman, so close to the fire?
Musetta (Esce correndo)Musetta (running out)
Che vuoi dir?
What are you saying?
MimìMimì
Niuno è solo l’april.No one is alone in April.
Marcello (fermandosi sulla portaMarcello (Stopping her at the door of the
del Taverna, rivolto a Musetta)
Tavern, he turns towards Musetta)
Al mio venire hai mutato colore!
When I arrived you changed color!
Musetta (con attitudine di provocazione)Musetta (with an attitude of provocation)
Quel signore mi diceva:
That gentleman asked me:
“Ama il ballo, signorina?” . . . “Mademoiselle, do you love to dance?” . . .
RodolfoRodolfo
Si parla coi gigli e le rose.One can speak with lilies and roses.
MarcelloMarcello
Vana, frivola, civetta!
Vain, frivolous, minx!
MusettaMusetta
. . . Arrossendo rispondeva:
. . . blushing, I responded:
Ballerei sera e mattina.
“I would dance from sunset to sunrise.”
MarcelloMarcello
Quel discorso asconde mire disoneste.Your words conceal dishonest thoughts.
MimìMimì
Esce dai nidi un cinguettio gentile.
Gentle twittering can be heard from birds’ nests.
MusettaMusetta
Voglio piena libertà!I want full freedom!
Marcello (quasi avventandosi contro Musetta)Marcello (brushing up against Musetta)
Io t’acconcio per le feste . . . I’ll teach you a lesson . . .
Mimì e RodolfoMimì and Rodolfo
Al fiorir di primavera
When the flowers bloom in spring,
c’è compagno il sol!
we’ll have the sun as our companion!
MusettaMusetta
Ché mi canti?
What are you whining about?
MarcelloMarcello
. . . se ti colgo a incivettire!
. . . if I catch you to flirting!
MusettaMusetta
Ché mi gridi?
What you shouting about?
Ché me canti? All’altar non
What are you whining about? We’re not married,
siamo uniti.
we’ve not been joined at the alter!
MarcelloMarcello
Bada, sotto il mio cappello
Watch out, you can’t be certain that
non ci stan certi ornamenti . . . under my hat there’s not a pair of horns!
MusettaMusetta
Io detesto quegli amantiI dislike those lovers
che la fanno da mariti . . . that that carry on like husbands . . .
Mimì and RodolfoMimì and Rodolfo
Chiacchieran le fontane
The chattering of the fountains
la brezza della sera.
in the gentle evening breezes . . .
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t e x ts and t r ans lati ons
MarcelloMarcello
Io non faccio da zimbelloI do not intend to be a laughing stock
ai novizi intraprendenti.
for your enterprising novices.
Mimì e RodolfoMimì and Rodolfo
Balsami stende sulle doglie umane.
. . . spreads a healing balm on human suffering.
MusettaMusetta
Fo all’amor con chi mi piace!I shall make love to whom I please!
MarcelloMarcello
Vana, frivola, civetta!
Vain, frivolous, flirt!
MusettaMusetta
Non ti garba? Ebbene, pace.
Don’t you like it? Well you’ll just have to accept it!
ma Musetta se ne va.
But Musetta is still going as she wishes!
MarcelloMarcello
Ve n’andate? Vi ringrazio! (ironico)You’re going! I’m very thankful! (ironically)
or son ricco divenuto. Vi saluto.I’ll become rich now! Goodbye!
Mimì e RodolfoMimì and Rodolfo
Vuoi che spettiam la primavera ancor?
Would you like to wait until spring comes again?
MusettaMusetta
Musetta se ne va! (ironica)
Musetta’s going! Yes, she’s off! (ironically)
sì, se ne va! Vi saluto.Yes, she’s off! Goodbye!
Signor: addio!
Sir: it is with the greatest of
vi dico con piacer.
pleasure I bid you goodbye!
MarcelloMarcello
Son servo e me ne vo!
At your service, but now I’m leaving!
Musetta (S’allontana correndoMusetta (she runs off furiously
furibonda, a un tratto si sofferma e gli grida) then stops and shouts)
Pittore da bottega!
Shop painter!
Marcello (dal mezzo della scena, gridando)Marcello (shouting at her across the scene)
Vipera!Viper!
MusettaMusetta
Rospo! (Esce)
Toad! (flounces off)
MarcelloMarcello
Strega! (Entra nel Taverna)
Witch! (He goes inside the Tavern)
Mimì (avviandosi con Rodolfo)Mimì (leaves with Rodolfo)
Sempre tua per la vita . . . I’m yours for life.
RodolfoRodolfo
Ci lasceremo . . . We’ll part . . .
MimìMimì
Ci lasceremo alla stagion dei fior . . . We’ll part when it’s the season for flowers again . . .
RodolfoRodolfo
. . . alla stagion dei fior . . . . . . when it’s the season for flowers again . . .
MimìMimì
Vorrei che eterno durasse il verno!I wish winter would be everlasting!
Mimì e Rodolfo (dall’esterno)Mimì and Rodolfo (from outside)
Ci lascerem alla stagion dei fior!
We’ll part when it’s the season for flowers again!
—translation by Dennis Albert
13
p e rf or me r b io g r a phi es
STEPHANIE ADRIAN, soprano
Stephanie Adrian, DMA, joined the voice faculty at Emory
University in Atlanta in fall 2011. Adrian teaches private
voice lessons for undergraduate and graduate music majors
at Emory, diction courses for singers, and masterclasses.
As a guest clinician and speaker, Adrian also teaches
masterclasses for the Atlanta Opera High School Opera
Institute and she enjoys giving pre-opera lectures for Atlanta
Opera main stage productions. Adrian has taught at the
Ohio State University as a graduate teaching assistant, Otterbein University,
and Kenyon College.
Adrian has a DMA from the Ohio State University, where she studied with
Robin Rice. She also has degrees from the Meadows School of the Arts at
Southern Methodist University and the University of Tulsa. In 2003 Adrian was
selected by the National Association of Teachers of Singing to participate in its
prestigious summer internship program and worked with master teacher Judith
Nicosia (Rutgers University).
She is a correspondent for Opera News as well asartsatl.com and has written
articles and reviews about music and the art of singing for Opera News, Classical
Singer, Journal of Singing, and Atlanta magazine. In January 2013 Adrian’s
research was featured in the Washington Post within Katherine Boyle’s article,
“Pregnant artists continue to perform with precision.”
As a light lyric soprano, Adrian’s operatic repertoire spans contemporary
heroines including Susannah (Floyd), Abigail (Ward), and Rosina (Corigliano), as
well as those in light opera such as Hannah (Léhar), Mabel, and Aline (Gilbert
and Sullivan). Adrian was a Young Artist at Opera North and has performed
with regional opera companies and orchestras throughout the United States.
ABIGAIL SANTOS VILLALOBOS, soprano
Abigail Santos Villalobos has been celebrated for her warm
stage presence and satiny voice. Her recent performances
include singing with the Cincinnati Symphony, the Kentucky
Bach Choir, Lynn Philharmonia, Voices of Ascension of New
York City, the Santa Fe Opera apprentice program, and
Cincinnati Chamber Orchestra, and in Carnegie Hall. Future
performances include her debut with the Atlanta Opera
as Barbarina in Le Nozze di Figaro and collaborating with
world famous conductor John Nelson in Costa Rica, New Jersey, and Chicago.
A College Conservatory of Cincinnati graduate, Villalobos has performed as
Morgana in Handel’s Alcina, Sofia in Rossini’s Il Signor Bruschino, Cleopatra
in Handel’s Giulio Cesare, and Zerlina in Mozart’s Don Giovanni. She has
performed with renowned opera programs such as Cincinnati Opera, San
Francisco Merola Opera program, International Vocal Arts Institute, and CCM
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Spoleto. Villalobos was named a finalist of the 2014 MONC Southeast region
and the 2013 Santa Fe Opera Anna Case MacKay Award recipient. Other
honors include particpating in the 2012 Kentucky Bach Choir Competition,
winning the 2011 Sam Adams Award and the 2010 Italo Tajo Memorial Award,
and being named a 2010 Metropolitan Opera National semifinalist.
BRADLEY HOWARD, tenor
Bradley Howard, director of vocal studies at Emory, enjoys
a career spanning the classical and modern choral works,
solo recitals, and operatic roles. Howard has developed a
repertoire of some of opera’s most classic roles, including
Mozart’s Tamino in The Magic Flute and Ferrando in Cosi
fan tutte, Puccini’s Rodolfo in La Boheme, Leoncavallo’s
Beppe in I Pagliacci, Rossini’s Count Almaviva in The Barber
of Seville, Britten’s Peter Quint in The Turn of the Screw, and
the title roles of Albert Herring and Candide. Howard’s concert engagements
include Beethoven’s Ninth Symphony, Andrew Lloyd Webber’s Requiem,
Weill’s Seven Deadly Sins, Mozart’s Requiem, Haydn’s Creation, Mendelssohn’s
Lobgesang, Handel’s Messiah and Saul, and Bach’s St. John Passion and B
Minor Mass. Howard’s solo recitals have been heard across the United States
and most recently here at Emory University.
WADE THOMAS, baritone
Wade Thomas, a native of Calhoun, Georgia, has performed
with numerous opera companies, most recently with
Atlanta Opera and St. Petersburg Opera in St. Petersburg,
Florida. Thomas’s vibrant, yet smooth baritone vocal quality
and compelling stage presence have garnered acclaim in
performances including Guglielmo in Così fan tutte, Falstaff
in Merry Wives of Windsor, Count Almaviva in Le Nozze di
Figaro, Germont in La Traviata, Enrico in Lucia di Lammermoor,
Tonio and Silvio in I Pagliacci, and Belcore in L’elisir d’amore. Earlier in his training,
Thomas participated in renowned opera apprentice programs such as Central
City Opera in Colorado and the Santa Fe Opera, where he performed the role of
the School Teacher in Osvaldo Golijov’s new and Grammy Award–winning opera,
Ainadamar. Thomas went on to perform this opera in Carnegie Hall and Lincoln
Center in New York City. He has also appeared with Opera Omaha, Natchez
Opera, Opera Theatre of Northern Virginia, Brevard Music Festival, Opera
Columbus, Opera Birmingham, Ohio State Opera, and Samford Operaworks. His
concert and oratorio work include Carmina Burana, Mozart’s Requiem, Bach’s
Magnificat, and Five Mystical Songs by Vaughn-Williams. Awards include the
Richard F. Gold Career Grant, the Campbell Watcher Memorial Award, the Anna
Case MacKay Vocal Grant from Santa Fe Opera, the Carmen D’Esopo Award
from the Connecticut Opera Guild, and Opera Columbus Voice Competition.
Thomas is a graduate of Samford and Ohio State Universities.
15
ELENA CHOLAKOVA, piano
Bulgarian pianist Elena Cholakova has appeared as a soloist
and chamber musician in Eastern and Western Europe,
South America, and the United States. She has given solo
recitals at the Liszt Academy and the United States Embassy
in Budapest, Hungary; Bulgaria Hall and Sofia Conservatory
in Sofia, Bulgaria; Aosta Concert Hall in Aosta, Italy;
Fellbach Musicschulle in Fellbach, Germany; Fazioli Salon in
Chicago; and more. She has collaborated with members of
the New York Philharmonic and the Atlanta Symphony. Her performances have
been broadcast live on NPR, Atlanta’s WABE, Chicago’s classical music radio
station WFMT, and Bulgarian TV and radio stations. As a member of the Atlanta
Chamber Players, Cholakova has appeared in the International Chamber Music
Festival in San Miguel de Allende, Mexico, has regularly performed in Atlanta’s
Spivey Hall, and has premiered commissioned works by leading American
composers. Cholakova has been featured in the Highlands-Cashiers Chamber
Music Festival in North Carolina as well as the International Days of Music
Festival in Plovdiv, Bulgaria.
Cholakova has an MMus and a DMus from Northwestern University and
joined the faculty of Emory University in 2010.
PATRICIA DINKINS-MATTHEWS, piano
Patricia Dinkins-Matthews joined the faculty of Emory
University Department of Music in 1998. She has been a
member of the piano faculties at the University of Florida,
Baylor University, the American Institute of Music Studies
(Graz, Austria), and McLennan College. A native of Knoxville,
Tennessee, Dinkins-Matthews has an undergraduate degree
from the University of Tennessee and both a master of music
degree in piano performance and a doctor of musical arts
degree in piano pedagogy and performance from the University of Colorado.
Dinkins-Matthews is an active solo and chamber music recitalist and has
performed both in the United States and in Europe, including recitals in England,
France, Austria, Belgium, and Germany. Among others, she has performed with
Larry Combs, principal clarinetist with the Chicago Symphony Orchestra and
John Reed of the D’Oyly Carte Theatre, London, England. Dinkins-Matthews
has also been the pianist for the Florida Arts Trio and the American Chamber
Winds and has appeared as soloist with the Colorado Symphony, the University
of Tennessee Orchestra, and the Florida Symphony Orchestra.
Dinkins-Matthews is currently the pianist for the Aevia Trio and the associate
pianist for the Atlanta Symphony Orchestra Chorus. As a member of the Atlanta
Symphony Chamber Chorus, she has performed several times in Carnegie Hall
and with the Berlin Philharmonic Orchestra under the baton of Robert Spano,
Donald Runnicles, and the late Robert Shaw. She is an adjudicator for the
National Federation of Music Clubs and the Music Teachers National Association.
16
DEBORAH THORESON SLOVER, piano
Pianist Deborah Thoreson Slover is known to concert
audiences as an active and outstanding performer. The
Atlanta Journal-Constitution noted after one collaborative
performance that, “throughout these selections . . . Slover
proved a skilled and sensitive partner.”
An active performer, Slover has appeared as a
collaborative pianist in major concert halls in the United
States and Europe, including concerts in England, Wales,
Russia, and Hungary. She has worked with principal players of the Atlanta
Symphony Orchestra and the Los Angeles Philharmonic and performs regularly
with faculty artists at Emory.
Slover’s performances have been heard on NPR’s Performance Today, and
she has recorded on the ACA Digital label. An active choral accompanist, she
performs and records regularly with the Atlanta Master Chorale under the
direction of Eric Nelson. She has worked with the Atlanta Symphony Orchestra
Chorus, performed with the Atlanta Boy Choir on several European tours, and
appeared in concert with many of Atlanta’s well-known choruses. She has
accompanied the Emory Concert Choir and the University Chorus in numerous
performances at Emory and throughout the United States, including concerts
under the direction of the late Robert Shaw. In 2008, Slover appeared as piano
soloist in Beethoven’s Choral Fantasy for Piano, Orchestra, and Chorus under
the baton of conductor Richard Prior.
A native of Atlanta, Slover has degrees in piano performance and literature
from the University of Georgia and the Eastman School of Music. She joined
the music faculty of Emory in 1978, where she teaches collaborative piano and
serves as director of undergraduate and performance studies.
Arts at Emory Box Office/Audience Information
404.727.5050 • arts.emory.edu
IN CONSIDERATION Please turn off all pagers and phones.
PHOTOGRAPHS AND RECORDINGS Not permitted without advance permission.
COUGH DROPS In lobby, courtesy of Margery and Robert McKay.
USHERS Members of Music at Emory Volunteers and Alphi Phi Omega, a national service and social
fraternity. Call 404.727.6640 for ushering opportunities.
event and program information Available online at arts.emory.edu.
cover photographer credits Front: Piano in Emerson Concert Hall, Mark Teague
Back (top to bottom): Emory Big Band, Bill Head; Atlanta Master Chorale: Eric Richards;
Timothy Albrecht as Dracula: Carl Christie; Vega String Quartet, Dorn Brothers; Emerson Concert Hall,
James Crissman; Roy Harran, Dan Smigrod; Emory University Symphony Orchestra, Mark Teague
17

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