<%BANNER%>

UFIR UFAFA



Graduate voice recital
ALL VOLUMES CITATION THUMBNAILS PAGE IMAGE ZOOMABLE
Full Citation
STANDARD VIEW MARC VIEW
Permanent Link: http://ufdc.ufl.edu/AA00013406/00002
 Material Information
Title: Graduate voice recital
Physical Description: Project in lieu of thesis
Creator: Woods, Shanelle
Publisher: College of Fine Arts, University of Florida
Place of Publication: Gainesville, Fla
 Notes
Abstract: On April 20, 2012, I gave a graduate recital in the School of Music Building, Room 101. This graduate recital was in fulfilment of requirements for the Master of Music in Music.
General Note: Music Performance terminal project
 Record Information
Source Institution: University of Florida Institutional Repository
Holding Location: University of Florida
Rights Management: All rights reserved by the submitter.
System ID: AA00013406:00002

Full Text



College


of


Fine


Arts


School


of Music


SPresents

Graduate Recital
Shanelle Woods, mezzo soprano

Assisted by:
Katherine Plympton, piano


Friday, April 20, 2012:
SM 5:30iPMding om
Music Building. Room 101










PROGRAM


"Thy hand, Belinda... When I Am Laid in Earth" from Dido and Aeneas


Henry Purcell
(1659-1695)


Robert Schumann
(1810-1856)


Frauenliebe und leben
Seit ich ihn gesehen
Er,; der Herrlichste von Allen
Ich Kann's nichtfassen, nicht glauben
Der Ring
Helft mir, ihr Schwestern
Siisser Freund, du blickest
An meinem Herzen, an meiner Brust
Nun hast du mir den ersten Schmerz gethan


INTERMISSION


"Vois sous l'archet fr6missant" from Les Contes d'Ho'ttii,,


Jacques Offenbach
(1819-1880)

Dominick Argento
(b. 1927)


from Six E lzabethan Songs
Spring
Sleep
Dirge
Diaphenia
Hymn


"Pres des remparts de S6ville (Seguidilla)" from Carmen


Georges Bizet
(183s-1 75)


T/hs recital is presented in partial filfilhnent-of the requirements for the Master of Music
degree in Voice Performance. Ms. Woods is from the studio of Dr. Elizabeth Graham.







PROGRAM NOTES AND TRANSLATIONS


Henry Purcell was perhaps one of the best-known proponents of the English school of Baroque music.
His greatest contribution to the era lies with his only work to be fully set to music, Dido and Aeneas.
Written for a girls' school in London, the opera's plot is based on Book IV of Virgil's Aeneid. Its most
famous aria, "When I am Laid in Earth," a lament sung over a ground bass, is intended to be performed
with continue and follows models established by Monteverdi for such compositions even eighty years
before. In this aria, Dido has summoned her attendants and others about her as she prepares to mount
her funeral pyre, distraught that her lover, the Trojan Aeneas, has deserted her in favor of pursuing his
destiny as the future founder of Rome.

Even in his early years, Robert Schumann showed great promise in music and literature. After a brief
time at university studying law, he refocused his attention to music, with the intent of becoming a virtu-
oso pianist and at the encouragement of his piano teacher, who was also his future father-in-law. A
hand injury prevented the realization of this dream, and Schumann again refocused this time on com-
position. His works throughout the 1830s were mostly for piano, but the year of his marriage, 1840, is
often highlighted in his career as the "Liederjahr" or year of song. It was during this year that Schu-
mann presented a setting of Aldebert von Chamisso's Frauenliebe und leben (A Woman's Love and
Lify). These eight poems describe a woman's romantic relationship with her lover from their first
meeting, marriage, childbirth and her ensuing widowhood. The cycle is cyclical in nature, as the last
lied repeats the opening theme of the first.


I. Seit ich ihn gesehen
Since I saw him
I believe myself to be blind,
where I but cast my gaze,
I see him alone.
as in waking dreams
his image floats before me,
dipped from deepest darkness,
brighter in ascent.

All else dark and colorless
everywhere around me,
for the games of my sisters
I no longer yearn,
I would rather weep,
silently in my little chamber,
since I saw him,
I believe myself to be blind.

II. Er, der Herrlichste von Allen
He, the most glorious of all,
0 how mild, so good!
lovely lips, clear eyes,
bright mind and steadfast courage.


Just as yonder in the blue depths,
bright and glorious, that star,
so he is in my heavens,
bright and glorious, lofty and distant.

Meander, meander thy paths,
but to observe thy gleam,
but to observe in meekness,
but to be blissful and sad!

Hear not my silent prayer,
consecrated only to thy happiness,
thou mays't not know me, lowly maid,
lofty star of glory!

Only the worthiest of all
may make happy thy choice,
and I will bless her, the lofty one,
many thousand times.

I will rejoice then and weep,
blissful, blissful I'll be then;
if my heart should also break,
break, 0 heart, what of it?






III. Ich Kann's nicht fassen, nicht glauben
I can't grasp it, nor believe it,
a dream has bewitched me,
how should he, among all the others,
lift up and make happy poor me?

It seemed to me, as if he spoke,
"I am thine eternally",
It seemed I dream on and on,
It could never be so.

0 let me die in this dream,
cradled on his breast,
let the most blessed death drink me up
in tears of infinite bliss.

IV. Der Ring
Thou ring on my finger,
my little golden ring,
I press thee piously upon my lips
piously upon my heart.

I had dreamt it,
the tranquil, lovely dream of childhood,
I found myself alone and lost
in barren, infinite space.

Thou ring on my finger,
thou hast taught me for the first time,
hast opened my gaze unto
the endless, deep value of life.

I want to serve him, live for him,
belong to him entirely,
Give myself and find myself
transfigured in his radiance.

Thou ring on my finger,
my little golden ring,
I press thee piously upon lips,
piously upon my heart.

V. Helft mir, ihr Schwestern
Help me, ye sisters,
friendly, adorn me,
serve me, today's fortunate one,


busily wind
about my brow
the adornment of blooming myrtle.

Otherwise, gratified,
ofjoyful heart,
I would have lain in the arms of the beloved,
so he called ever out,
yearning in his heart,
impatient for the present day.

Help me, ye sisters,
help me to banish
a foolish anxiety,
so that I may with clear
eyes receive him,
him, the source ofjoyfulness.

Dost, my beloved,
thou appear to me,
givest thou, sun, thy shine to me?
Let me with devotion,
let me in meekness,
let me curtsy before my lord.

Strew him, sisters,
strew him with flowers,
bring him budding roses,
but ye, sisters,
I greet with melancholy,
joyfully departing from your midst.

VI. Siisser Freund, du blickest
Sweet friend, thou gazest
upon me in wonderment,
thou cannst not grasp it,
why I can weep;
Let the moist pearls'
unaccustomed adornment
tremble, joyful-bright,
in my eyes.
How anxious my bosom,
how rapturous!
If I only knew, with words,







how I should say it;
come and bury thy visage
here in my breast,
I want to whisper in thy ear
all my happiness.

Knowest thou the tears,
that I can weep?
Shouldst thou not see them,
thou beloved man?
Stay by my heart,
feel its beat,
that I may, fast and faster,
hold thee.

Here, at my bed,
the cradle shall have room,
where it silently conceals
my lovely dream;
the morning will come
where the dream awakes,
and from there thy image
shall smile at me.

VII. An meinem Herzen, an meiner Brust
At my heart, at my breast,
thou my rapture, my happiness!


Only a mother knows alone
what it is to love and be happy.

O how I pit then the man
who cannot feel a mother's joy!
[Thou lookst at me and smiles,
Thou dear, dear angel thou]

VIII. Nun hast du mir den ersten Schmerz
gethan
Now thou hast given me, for the first time, pain,
how it struck me.
SThou sleepst, thou hard, merciless man,
the sleep of death.

The abandoned one gazes straight ahead,
the world is void.
I have loved and lived, I am
no longer living.

I withdraw silently into myself,
the veil falls,
there I have thee and my lost happiness,
O thou my world!


The joy is the love, the love is the joy,
I have said it, and won't take it back.
I've thought myself rapturous,
but now I'm happy beyond that.
Only she that suckles, only she that loves
the child, to whom she gives nourishment;


The establishment of the genre known as operetta owes much of its credibility to the work of Jacques
Offenbach. However, what audiences know as his most familiar operetta, Les contest d'Hoffmann, was
actually unfinished at the time of his death. Ernest Guirard completed the orchestration, and just as he
had done for Bizet's Carmen, added recitative in accordance with the standards of the Op6ra-Comique.
The work is based on the tales of poet E.T.A. Hoffmann, and each act portrays a different love interest
of the protagonist. Hol inann is accompanied throughout by confidant Nicklause, who is later revealed
to be Hoffmann's muse. The following "Violin aria" is sung b\ Nicklause and is often omitted from
earlier editions of the score. Based on the discovery of Offenbach's manuscripts in 1970, musicologist
Frank Oesser published a critical edition of the score, including this aria and several other notable
changes.






Vois sous 1'archet fr6missant
See, beneath the quivering bow
the sound box vibrates,
Hear the heavenly accent
of this unconscious heart.
Listen: passing through the air,
the sound, penetrating and clear,
of this tearful chord
It consoles your tears,
it mingles its sorrows
with your elated sorrow.
It is love, love the conqueror,
Poet, give your heart!

The 1975 winner of the Pulitzer Prize for music, Dominick Argento is known for a compositional style
that mixes elements of tonality, atonality and lyrical twelve-tone passages. Although he also frequently
chooses to set texts of unusual dramatic context, such as the Pulitzer wining cycle From the Diary of
I Vrginia Wolfe, Six Elizabethan Songs is one of his few song cycles that uses a more traditional ap-
proach. It focuses on works by Thomas Nash, Ben Johnson, Henry Constable, and William Shake-
speare.

Georges Bizet was a gifted pianist and composer whose career seems most defined by his greatest stage
work, Carmen. Men are often enamored with the rebellious gypsy Carmen, but she returns no one's
love, employing a philosophy that love follows no laws in the famous aria, L'amour est un oiseau re-
belle (Habanera). Yet one man in particular, the soldier Don Jos6, catches Carmen's eye. Don Jos6 is
later ordered to take Carmen to prison after she quarrels and subsequently injures another woman at the
cigar factory. While there, Carmen flirts with Don Jos6 relentlessly, singing her famous Seguidilla.
Eventually, after promises of them running away to the tavern of Lilas Pastia, Don Jos6 unties Carmen
and lets her escape.


Pres des remparts de Seville
Near the ramparts of Seville
At the place of my friend, Lillas Pastia
I will go to dance the Seguidilla
And to drink Manzanilla.
I will go to the place of my friend, Lillas Pastia.
Yes, but all alone, one gets bored,
And the real pleasures are for two;
So, to keep me company,
I will take away my lover.
My lover, he has gone to the devil,
I put him out yesterday!
My poor heart, very consolable,


My heart is free, like the air!
I have suitors by the dozen,
But, they are not to my taste.
Here it is the weekend;

Who wants to love me? I will love him!
Who wants my soul? It's for the taking.
You're arriving at the right time!
I have hardly the time to wait,
For with my new lover,
Near the ramparts of Seville
At the place of my friend, Lillas Pastia!










UF College of Fine Arts
SS.chool of Music ,

UNIVERSITY of FLORIDA





To ensure an o nqio.ic'abl conerl tei'Lpeie 'it Lfor all. plea.ic re';ffrai from talking,
S. entering, or e\itiig while musicians ale peiforming.
Food and drink are prohibited in all concert halls.
Please turn off cell phones and other e'l'cti onic dL'ices
Thank you,/r or lcoopero : ;



.Program miniber 183 in lthe
SSchool of Music Evetus Sei ws of the 2011-2012 academic year.

The College ofFine .4rts Sc hool of/Music at the Unlivesitsi of Florida is an inierna.ionally recognized
(omiinnri' of perforinmers. scholrs andproducers of the a7t lhati offers baccalaureate; master's and
docioral degrees For ino. in/horiiaiomi albo i specific programs. degrees and ntiance r'qutiremInCtiS,
please vils ii irin arit nedfl cim iiuIc/