Program Notes
Adam Mitchell (b. 1990) is a 5th year vocal music education major studying voice with Louise Toppin at the Uni-­
versity of North Carolina at Chapel Hill. He currently sings with the UNC Men’s Glee Club under director Dr. Dan Huff and is enrolled in the UNC-BEST program for music education. A native of Wilmington, NC, Adam entered UNC in fall of 2008 with intent to study pharmacy before switching to music the next year. He has studied guitar since age fourteen, and has been playing and singing professionally since age eighteen. Since then, Adam has performed in restaurants and venues in Wilmington, Chapel Hill, and Durham, most notably Jack Sprat Café and The Franklin Hotel, where he regularly performs one to two times a month. As a classical vocalist, Adam has performed recitals in both Wilmington and Chapel Hill for public schools, nursing homes, and university functions and has performed as a soloist for UNC Men’s Glee Club. Adam also spent a two week intensive study in Spanish art song repertoire at La Escuela Superior de Canto de Madrid where he performed on recitals and master classes focused on bettering the understanding and performance of Spanish song. In addition to performing, Adam cur-­
rently teaches private voice, guitar, and drum lessons. As a composer and songwriter, he has completed seven pop songs, one piece for classical guitar entitled La Corrida, and a musical setting of four poems by Shel Silverstein for classical voice and piano. In addition to composing, Adam has also arranged Every Time We Touch by Cas-­
cada for pep band and The Beatles’ Let it Be for men’s choir. Tres Morillas: Tres Morillas is a Spanish strophic song popular in the 15th Century. This arrangement is a hybrid of two arrangements: Tres Morillas by Fernando Obradors (1897-1945) and Las Morillas de Jaén from Can-­
ciones Españolas Antiguas by Federico Garcia Lorca (1898-1936). It incorporates the thematic motives of Lor-­
ca’s arrangement while drawing from the harmonization of Obradors’. The verses in this arrangement are the ones set by Obradors. It is important to note that in the Lorca version, there is slightly different text and an extra verse at the end. Tres Morillas tells the story of three Moorish girls who go to pick olives in the mountain town of Jaén. While there, they meet the men who will become their husbands. At the end of the song, the women have lost their youthful luster, and return to the mountains this time to pick apples. In Spanish poetry, the olive grove is often an archetypal location for the meeting of young lovers-the girls are “picked” in Jaén. Old and worn, they return to pick apples, a much less risqué orchard to be visiting.
Tres Morillas
The Three Moorish Girls
Tres morillas me enamoran en Jaén,
Axa, Fátima, y Marién.
Tres morillas tan garridas,
iban a coger olivas
y hallábanlas cogidas en Jaén,
Axa, Fátima, y Marién.
Y hallábanlas cogidas ,
y tornaban desvaidas.
Y las colores perdidas en Jaén,
Axa, Fátima, y Marién.
Tres morillas tan lozanas,
Tres morillas tan lozanas
iban a coger manzanas a Jaén,
Axa, Fátima, y Marién.
Three Moorish girls fell in love with me in Jaen
Axa, Fátima, y Marién.
Three moors so poised,
They went to pick olives
And found themselves picked in Jaén
Axa, Fátima, y Marién.
And they were picked,
And became fades
And their colors were lost in Jaén
Axa, Fátima, y Marién.
Three girls so lush
Three girls so lush
They went to pick apples at Jaen
Axa, Fátima, y Marién.
Joaquín Turina Pérez was born in Sevilla on the 9th of December 1882. Born into a comfortable middle class family, he was surrounded by an artistic environment that was a good influence on the future musician. At the age of four he was given as a gift an accordion and surprised everyone with the speed and facility he learned to play.
In 1894 he began his formal studies of harmony theory and counterpoint. Almost immediately he began to com-­
pose small pieces. His debut was on March 14 1897 where he performed the Thalberg's Fantasy on a theme from Rossini's Moses that set him on the road to become a full fledged performer. In 1902 he moved to Madrid where he quickly became involved in the musical scene there and saw the premier of his Zarzuela La Sulamita. In 1905 he, as most other Spanish composers of the time, went to Paris. He studied piano with Moszkowsky and theory under Vicent d'Indy in the Schola Cantorum. He became good friends with Albeniz and Falla, and it was Albeniz who encouraged to find inspiration in the popular music of Spain and Andalucía. His quintet that was premiered in Paris was given the Op. 1 as the beginning of a new way of looking at music and he rarely looked back on the many works published before this time. In 1914 he returned to Madrid he life in Madrid was divided between composing, teaching and performing. Turina died in Madrid on the 14th of January 1949. Notable works: La Su-­
lamita, Poema en forma de canciones, Margot
Nunca olvida…: Poema en forma de canciones is a look into the mind of a man who is so enamored with a certain woman that he literally goes crazy for her. This woman returns his love, but not necessarily on the intense emo-­
tional level that he desires. He claims that even in the face of his own death, he cannot forgive her for making him love her because that is the one sin for which he refuses to repent.
Nunca olvida...
Never Forget...
Ya que este mundo abandono
antes de dar cuenta a Dios,
aquí para entre los dos
mi confesión te diré.
Con toda el alma perdono
hasta a los que siempre he odiado.
A ti que tanto te he amado
nunca te perdonaré!
Since I am leaving this world, and before I give my account to the lord,
I will confess to you, here, between the two of us. With all my soul I forgive those
whom I have always hated. You, whom I have deeply loved,
I will never forgive!
Cantares: Our hopelessly smitten gentleman engages in a dance with his fair lady. She leads him on and drives him wild with desire in a dance of passion that he cannot forget even when they are apart. This canción is a direct representation of a flamenco dance.
Cantares
Singings
Más cerca de mí te siento
Cuando más huyo de tí
Pues tu imagen es en mí
Sombra de mi pensamiento.
Vuélvemelo a decir
Pues embelesado ayer
Te escuchaba sin oir
Y te miraba sin ver.
Much closer to me I feel you
When I have fled far from you
Well your image is burned into me
Shadow of my thoughts
Return to me to say!
While I was thinking of you yesterday
I heard you without hearing
I saw you without seeing.
Las locas por amor: Our smitten gentleman tells his fair “Goddess” that her will love her forever and always be there for her. She is not ready to commit to a future, but insists instead that he love her often and passionately, if only for an instant. In this canción the mind of the man has completely broken down as he staggers about, drunk on his own desire. Las locas por amor
The madness for love
Te amaré diosa Venus si prefieres que te ame mucho tiempo y con cordura
y respondió la diosa de Citeres:
Prefiero como todas las mujeres
que me amen poco tiempo y con locura.
Te amaré diosa Venus, te amaré.
I will love you goddess Venus
If you’d like I will love you forever and with moderation
And the goddess of the nymphs responded
I prefer, as all women do,
That you love me for a short time and with passion.
I will love you goddess Venus, I will love you!
Alberto Evaristo Ginastera was an Argentine composer of classical music. He is considered one of the most im-­
portant Latin American classical composers. Ginastera was born in Buenos Aires to a Catalan father and an Italian mother. Ginastera studied at the conservatory in Buenos Aires, graduating in 1938. As a young professor, he taught at the Liceo Militar General San Martín. After a visit to the United States in 1945–47, where he studied with Aaron Copland at Tanglewood, he returned to Buenos Aires and co-founded the League of Composers. He held a number of teaching posts. Ginastera moved back to the United States in 1968 and then in 1970 to Europe. He died in Geneva, Switzerland, at the age of 67 and was buried in the Cimetière des Rois there. Among his nota-­
ble students were Ástor Piazzolla (who studied with him in 1941), Alcides Lanza, Waldo de los Ríos, Jacqueline Nova and Rafael Aponte-Ledée. Ginastera grouped his music into three periods: "Objective Nationalism" (1934–
1948), "Subjective Nationalism" (1948–1958), and "Neo-Expressionism" (1958–1983). Among other distinguish-­
ing features, these periods vary in their use of traditional Argentine musical elements. His Objective Nationalistic works often integrate Argentine folk themes in a straightforward fashion, while works in the later periods incorpo-­
rate traditional elements in increasingly abstracted forms. Much of Ginastera's works were inspired by the Gauchesco tradition. This tradition holds that the Gaucho, or landless native horseman of the plains, is a symbol of Argentina. The progressive rock group Emerson, Lake & Palmer brought Ginastera attention outside of modern classical music circles when they adapted the fourth movement of his first piano concerto and recorded it on their popular album Brain Salad Surgery under the title "Toccata". Notable works: Cantata para América Mágica, Piano Sonata No. 1, Cinco Canciones Populares Argentinas Triste: A young man, believes the woman who has captured his heart has run away never to return. He laments his loss in this setting of and Argentine folk song.
Triste
Sad
Ah! Debajo de un limón verde Donde el agua no corría Entregué mi corazón A quien no lo merecía. Ah! Triste es el día sin sol Triste es la noche sin luna Pero más triste es querer Sin esperanza ninguna.
Ah!
Ah! Beneath a lime tree
where no water flowed
I gave up my heart
to one who did not deserve it. Ah! Sad is the day without the sun. Sad is the night without the moon. But sadder still is to love
with no hope at all.
Ah!
Zamba: All odds seem to be against this romance, but sad though he may be that his love has forsaken him, he cannot shake her., for it is rude to take something from someone and not to return it in kind.
Zamba
Zamba
Hasta las piedras del cerro Y las arenas del mar Me dicen que no te quiera
Y no te puedo olvidar.
Si el corazón me has robado
El tuyo me lo has de dar El que lleva cosa ajena Con lo suyo ha de pagar. ¡Ay!
Even the stones on the hillside
and the sand in the sea
tell me not to love you. But I cannot forget you. If you have stolen my heart
then you must give me yours. One who takes what is not theirs
must return it in kind. Ay!
Gato: Our gentleman’s friends decide to take him out for a night of dancing. They go to a club where the patrons do a most provocative dance, and he becomes entranced by the rhythms of the Gato.
Gato
Gato
El gato de mi casa
Es muy gauchito Pero cuando lo bailan
Zapateadito.
Guitarrita de pino
Cuerdas de alambre.
Tanto quiero a las chicas, Digo, como a las grandes. Esa moza que baila
Mucho la quiero Pero no para hermana
Que hermana tengo. Que hermana tengo
Si, pónte al frente Aunque no sea tu dueño, Digo, me gusta verte.
The dance of my house
is most mischievous,
but when they dance,
they stamp their feet. With pine guitars
and wire strings. I like the small girls
as much as the big ones. That girl dancing
is the one for me. Not as a sister
I have one already. I have a sister. Yes, come to the front. I may not be your master
but I like to see you.
Antón García Abril was born in Teruel on 19 May in 1933. Between 1952 and 1955, he studied at the Madrid Royal Conservatory of Music under Julio Gmez and Francisco Cales, and at the Accademia Chigiana in Siena un-­
der Vito Frazzi for composition, Paul van Kempen for orchestral conducting, and Angelo Francesco Lavagnino for film music. In 1964, he furthered his studies at the Santa Cecilia National Academy in Rome under Goffredo Pet-­
rassi, on a scholarship from the Juan March Foundation in Madrid. In the following year he won the Tormo de Plata Prize on the occasion of the IV Cuenca religious Music Week for Cantico delle creature. With Luis de Pablo and Cristbal Halffter, he also represented Spain at the 39th International Festival held by the International Contem-­
porary Music Society (SIMC) in Madrid. He became lecturer in Musical Composition and Form at the Madrid Royal Conservatory Music in 1974. Five years later his Hispavox recording of Concierto aguediano granted him the Ministry of Culture Prize and in 1981 the Ministry of Cultures Andrés Segovia Composition Prize for Evocaciones and Cross of San Jorge (St. George) awarded by the Teruel Provincial Authority. In 1982 he became an elected member of the San Fernando Royal Academy of Fine Arts in Madrid and in 1985 he took the Tomás Bretón medal from the Association of Spanish Authors and Artists. Following an international symposium held to discuss the figure of Valle-Inclán in 1986, Abril was commissioned by the National Institute of Dramatic Arts and Music (INAEM) to write an opera based on Divinas Palabras, to be premiered at the Teatro Real in Madrid after completion of its reconversion into an opera house. Between 1988 and 1989, he participated in the International Contemporary Music Festival, Festival of Peace, held in Leningrad, the Ministry of Culture Board of Cultural Af-­
fairs and in the Hispano-Soviet Festival held in Georgia. In 1993 he was awarded the Aragon Regional Authority Medal for Cultural Merit, the National Music Prize and the Guerrero Foundation Spanish Music Prize. In his art songs, Abril stresses the importance of the text over all else, and builds his music around the meaning of the poet-­
ry. Notable Works: Asturianas, The Holy Innocents, La Colmena
Ayer vite en la fonte: A young man passes by one of his dear friends, whom he has secretly loved for quite some time. She is crying, and he asks her why. Her tears are for lost love. He tells her that she should not be sad, for he loves her and will always love her.
Ayer vite en la fonte
Yesterday I saw a girl at a fountain
Ayer vite na fonte tabes cantando,
Hoy que paso por ella tabes llorando.
Díme por qué tas triste y descolorida?
Díme por quién sospires prenda querida. Yesterday I saw a girl at a fountain and she was singing,
Today I passed by her and she was crying.
Tell me, why you are so sad and upset?
Tell me for who you sigh, beautiful one.
Sospiro por amores que yo tenía, Sospiro por amores que yo quería.
Amores que tuviste segues teniendo?
Ya sabes que te quise y estoy queriendo.
I sigh for loves I had,
I sigh for loves I wanted.
Loves that you had and continue having?
You know I loved you then and I continue to love you.
Tengo de subir al puerto: The love of my life is waiting for me. I must do whatever I can to get to her. What will I do if the snow covers my path and she slips and falls? I must hurry!
Tengo de subir al puerto
I must climb the port
Tengo de subir al puerto
Aunque me cubra la nieve
Tengo de subir al puerto
Que allí está la que más quiero
I must climb the port,
Although the snow covers me
I must climb the port
For there is the one I love most
Si la nieve que cae cubra el sendero
Ya no veré en el monte le que más quiero
¡Ay! Amor, si en la nieve resbalo
¿Que hare yo?
If the snow covers my path
And I cannot see that which I love most
Oh! If my love slips in the snow,
What will I do?
Pablo Sorozábal’s artisan family moved from the Basque countryside to San Sebastián a few years before Pablo’s birth on September 18th 1897. He was something of a child prodigy on piano and violin, earning his living in cine-­
mas, cafés and fairgrounds, and playing with the San Sebastián Casino Orchestra under the influential Fernández Arbós. In 1919 he moved to Madrid, joining the Madrid Symphony Orchestra which performed his Capricho es-­
pañol in 1920. His distinctive musical personality was forged by study in Leipzig;; and in Berlin, where he studied with Friedrick Koch. His first widely acclaimed stage debut cam with Katiuska in 1931 and twenty or so works were to follow. His operetta La isla de las perlas and the one-act ópera chica (opera-zarzuela) Adiós a la bohemia combine lyric fire and inimitable orchestration with an unfailing sense of theatre. Best-loved are his classic madrileño comedy La del manojo de rosas and the “nautical romance” set on the Atlantic Coast La tabernera del puerto of 1936. Sorozábal’s liberal sympathies left him somewhat isolated after the Civil War, and many of his later zarzuelas were first seen outside the capital or in less prestigious Madrid theatres. His tenure as director of the Madrid Symphony Orchestra ended abruptly in 1952 when he was refused permission to conduct Shostako-­
vich’s Leningrad Symphony;; and though his musical comedy Las de Caín was premiered at the Teatro de la Zar-­
zuela in 1958, the opera Juan José still awaits performance after a production was suspended there during rehears-­
als in 1979. With his death in Madrid in 1988 the last chapter in the creative history of the romantic zarzuela came to an end. Sorozábal remains the most controversial of the great zarzuela composers, adored by many aficionados but leaving others cold. Although his style is eclectic, exhibiting a range of influences from Debussy and Puccini through to Kalman, Gershwin and the Hollywood musical, the fusion of these disparate musical elements is very much his own. La tabernera del puerto: In a port town in the north of Spain, all of the men are enamored with the beautiful young tavern keeper Marola, including the young singing fisherman Leandro. Marola came to the town a few months back and opened her tavern with the financial backing of the known bandit and smuggler Juan. Unbe-­
knownst to the rest of the town, Juan is in fact Marola’s father. Leandro confesses his love to Marola, but she tells him he wants nothing to do with her, even though she secretly feels the same. When tongues start to wag that Marola is romantically involved with the criminal Juan, Leandro defends his love’s honor with the romanza ¡No Puede Ser!. Juan then decides to use Leandro’s feelings for Marola to con him into smuggling cocaine out at sea, and Leandro confesses to Marola that he will do anything to win her, even if it means doing something illegal. She confesses her love to him, and together they hatch a plan to throw the cocaine out at sea. When they go to do this, they disappear and everyone assumes they are dead at sea. In fact, they have been arrested by customs officers. When the town finds this out, they out Juan as the man behind the plot, and implore him to take responsibility for the drug smuggling. He does, and the curtain closes as Marola collapses weeping into Leandro’s arms as customs agents take her father away.
¡No Puede Ser!
It Cannot Be!
No puede ser! Esa mujer es buena!
No puede ser una mujer malvada!
En su mirar, como una luz singular,
he visto que esa mujer es una desventurada.
No puede ser una vulgar sirena
que envenenó las horas de mi vida.
No puede ser! Porque la ví rezar,
porque la ví querer, porque la ví llorar.
Los ojos que lloran no saben mentir.
Las malas mujeres no miran así.
Temblando en sus ojos dos lágrimas ví
y a mi me ilusiona que tiemblen por mí. Viva luz de mi ilusión, sé piadosa con mi amor,
porque no sé fingir, porque no sé callar,
porque no sé vivir.
It cannot be! This woman is good!
She cannot be a bad woman!
In her appearence, as a single light
I have seen that this woman is unlucky
She cannot be a vulgar siren
Who poinsons the hous of my life
It cannot be! For I have seen her pray
I have seen her love, and I have seen her cry.
The eyes that cry cannot lie
Bad woman are not as such
Trembling in her eyes I saw two tears
And to me it seemes they trembled for me
Live the light of my illusion! Be faithful with my love
Because I cannot pretend, because I cannot be silent
Because I cannot live.
Federico Moreno Torroba Born in Madrid, the multitalented Spanish musician Federico Moreno Torroba began his musical studies with his father, José Moreno Ballesteros, who was an organist and teacher at the National Con-­
servatory of Music in Madrid. Moreno Torroba eventually attended the Conservatory, studying composition with Conrado del Campo. His earliest compositions were for orchestra, such as the Cuadros Castellanos, but he soon moved to writing operas using Spanish styles and subject matter;; in the mid-1920s he turned his attention to the zarzuela, the traditional form of Spanish comic opera. His first zarzuela was La Mesonera de Tordesillas;; he went on to write almost 80 such works in his long career, perhaps the best known of which is Luisa Fernanda. He also became a champion of the form as a conductor and impresario. At one point he managed three different opera houses, and in the 1930s and 1940s he led a touring company which performed zarzuelas all over the world. An-­
other major focus of Torroba’s career as a composer was new music for guitar. He was the first to respond to the young Andrés Segovia's request for new guitar works by modern composers, producing his Nocturno and Suite Castellana for him in 1926. He went on to write many more works for Segovia over the next four-plus decades, and for other guitarists like the flamenco master Sabicas and the guitar quartet Los Romeros. By the end of his life he had composed over 100 works for the guitar, many of them strongly influenced by Spanish folk music. In 1975, at age 84, Moreno Torroba became the president of the Sociedad de Autores Españoles. He continued composing right to the end of his life, even producing an opera at age 90, El Poeta, for tenor Plácido Domingo, with whose parents Moreno Torroba had worked decades earlier
Notable Works: La Maravilla, Luisa Fernanda, Nocturno, Suite Castellana, and El Poeta
Luisa Fernanda: Luisa Fernanda is a romantic zarzuela in three acts by Federico Moreno Torroba. It has been performed more than 10,000 times. The libretto, in Spanish, is by Federico Romero and Guillermo Fernández Shaw. The first performance took place at Teatro Calderón in Madrid on March 26, 1932. It was Moreno Tor-­
roba’s fourth zarzuela, his first to receive great acclaim. Act I is set in 1868 Madrid during the reign of Isabel II as the royalists and republicans struggle. Innkeeper Mariana chats with her lodgers Rosita, a seamstress, republican Don Luís Nogales, and his young follower Aníbal. Luisa Fernanda, courted by rich landowner and monarchist Vidal Hernando, is actually in love with Javier, a colonel in the royal hussars, who is a skirt-chaser and rather non-­
chalant in his attitude toward Luisa. Javier is tired of the quiet city life. Aníbal attempts to interest Javier in the revolution. Astonishingly, Javier falls for the Queen's lady-in-waiting Duchess Carolina and becomes a royalist, at which point Vidal negotiates a political turnabout and becomes a revolutionary in order to fight his rival for Luisa's affections. In Act II, scene 1, a charity collection is being held outside the Oratory of San Antonio. We hear street vendors and musicians, and "sombrilleros" asking St. Anthony to send them lovers. Carolina offers Vi-­
dal a large bribe to switch allegiances again but he refuses. Luisa decides to accept Vidal 's true love and to reject Javier's arrogance and possessiveness. Scene 2 takes place at the Calle de Toledo at dawn, where Nogales makes a morale-boosting speech about liberty to his rebels. In scene 3, Javier is captured but Luisa defends him against a crowd calling for his execution. The hussars overtake the rebels again and free Javier. Nogales is taken in Vidal's place, and Luisa promises to marry the wounded Vidal. At Vidal's country estate "La Frondosa," at Piedras Albas in Extramadura, the marriage is about to take place, when news arrives that the Queen has been dethroned, Duch-­
ess Carolina exiled, and Javier is missing. A chorus of harvesters together with Vidal praises the impending mar-­
riage. Javier, wounded in Portugal, returns and pleads with Luisa to return to him. However, Luisa still declares she will marry Vidal even though she continues to love Javier in ¡Cállate Corazón! Vidal eventually understands that Luisa really loves Javier, and, in a final act of true love, releases Luisa from her marriage promise. At the opera's end, he has only his memories for comfort. La Maravilla: La Maravilla is a Zarzuela in three acts by Federico Moreno Torroba premiered at the Teatro de Madrid on 12 April 1941, with libretto by Antonio Quintero and Jesus Maria Arozamena. The action takes place in Madrid in the early twentieth century. “La Maravilla is the stage name of a famous diva. Manuela, “La Maravi-­
lla”, has been living next to a convent where Emilio works as gardener. At the insistence of the nuns the two are married. Maravilla has many admirers because of her beautiful voice. Emilio dies and Maravilla goes to perform abroad. The plot thickens when Emilia, her daughter, falls in love and is torn between a wealthy industrialist and Rafael – a poor but promising singer at Madrid’s famous opera house, Teatro Real. This leads to a series of mi-­
sunderstandings between them that eventually resolved. With Amor, Vida de mi Vida, believing that Emilia has chosen his rival, Rafael pours out his heartfelt grief, blaming her for playing him false – though by the end of the zarzuela the truth will have been unraveled, and the lovers reunited.
¡Cállate corazón!
Be Silent My Heart!
Luisa Fernanda: ¡Cállate corazón! ¡Duérmete y calla!
No debe retoñar la hierba mala
¡Ay, qué tendra el amor de venenoso,
Que cuanto más cruel es más sabroso!
Duérmete y calla;; no te retoñe más la hierba mala.
Javier:
¡Dichoso el que en su camino de dueles y de pesares
Escucha una voz amiga que alegra sus soledades!
¡Felices los desterrados que encuentran en su destierro
Para el dolor de una ausencia el bálsamo de un recuerdo!
L Fern.:
Calla, por Dios, Javier, no me a tormentesVete, por caridad;; déjame y vete.
Jav.:
Vengo a decirte ¡adiós! Ya es para siempre
L. Fern.
Nunca ya te veré. ¡Dios me consuele!
Jav.:
Con la esperanza voy me que aún me quieres.
L. Fern.:
Contra mi voluntad te quiese siempre: Cuando fuiste ilustre, cuando no eras nadie,
Cuando me quisiste, ¡cuando me olvidaste!
Jav.:
¡Subir, subir, y luego caer, la fortuna alcanzar y volverla a perder!
L. Fern.
¡Amar, amar, sin dejar de creer,
Y venir el amor cuando no puede ser!
Jav.:
¡Subir, subir, y luego caer…!
L. Fern.:
¡Y venir el amor cuando no puede ser!
Luisa Fernanda: Be silent my heart! Sleep and be silent!
You should not sprout weeds of desire
Oh! What I will have is a venomous love,
That is most cruel and delicious!
Sleep and be silent, do not sprout the weeds of desire.
Javier:
Blessed are those who in their way of mourning and pain
Hear a friendly voice brings happiness to their solitude
Happiness to the exiles who find in their exile For in the pain of absence is the balm of memory!
L Fern.:
Be silent, Javier, do not toement me!Go, by charity, leave me and go!
Jav.:
I have come to say goodbye forever!
L. Fern.
I will never again see you, Console me God!
Jav.:
With hope I go that you still love me
L. Fern.:
Against my will I love you always
When you were illustrious, when you were nobody
When you loved me, when you forgot me!
Jav.:
To climb, to climb and later fall
To reach fortune and then only to loose it!
L. Fern.
To love, to love, without losing belief
And for love to return when it cannot be!
Jav.:
To climb, to climb, and later to fall…!
L. Fern.:
For love to return when it cannot be!
Amor, vida de mi vida
Love, life of my life
Adiós dijiste;; se va mi vida.
Llorar quisiste por un amor
que hay que olvidar.
Te vas riendo ¡y yo me muero!
Mi dolor es saber que no puedes llorar.
Amor, vida de mi vida,
¡qué triste es decirse adiós!
Te llevas la juventud de éste querer sin redención,
amor que por el camino
no puedes volver atrás.
Te ríes cuando sientes deseos de llorar.
Y pensar que te amé con alma y vida,
y hoy te quieres burlar de mi dolor.
Este amor que soñé no lo puedo callar.
Fueron falsas palabras, mentiste mil veces tu amor, mujer.
Amor, vida de mi vida,
¡qué triste es decirse adiós!
Te llevas la juventud
de éste querer sin redención,
amor que por el camino
no puedes volver atrás.
Te ríes cuando sientes deseos de llorar.
¡Adiós mi bien! ¡Ah, adiós!
Goodbye you said;; there goes my life.
You wanted to cry for a love
that one must forget.
You go laughing and it kills me!
My pain is to know that you cannot cry
My love, life of my life
How sad it is to tell you goodbye!
You take the youth
of this love without redemption,
Love for the way
you cannot go back.
You laugh when you feel the wish to cry
And to think I loved you with soul and life
And today you wantTo laugh at my pain
Of this love I dreamed I cannot be silent
They were false words
You lied a thousand times your love, woman!
My love, life of my life
How sad it is to tell you goodbye
You take the youth
of this love without redemption
Love for the way
you cannot go back
You laugh when you feel the wish to cry
Goodbye my darling! Goodbye!