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1 A GRADUATE VOICE RECITAL By MICHELLE FEGEAS SUPERVISORY COMMITTEE: ELIZABETH GRAHAM, CHAIR MARGARET BUTLER, MEMBER BRENDA SMITH, MEMBER A P ERFORMANCE IN LIEU OF THESIS PRESENTED TO THE COLLEGE OF FINE ARTS OF THE UNIVERSITY OF FLOR IDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 2013
2 Abstract of Performance in Lieu of Thesis Presented to the Graduate School of the University of Florida in Partial Fulfillment of the Requi rements for the Degree of Master of Music A GRADUATE VOICE REICTAL By Michelle Fegeas May 2013 Chair: Elizabeth Graham Major: Vocal Performance with Secondary Concentration in Historical Musicology On December 1, 2012, I presented a vocal recital as a requirement for the degree of Master of Music in Vocal Performance. The works performed covered several languages and The Creation It continu ed with three Italian Baroque pieces by Giovanni piano, soprano, and clarinet, Der Hirt auf dem Felsen (The Shepherd on the Rock). The first half ended with the be l canto The Barber of Seville Banalits and Samuel Despite and Still Both were written in the twentieth century. The variety of repertoire on the recital allowed me to demonstrate several aspects of vocal technique, including breathing technique, vowel formation, diction, phrasing, and agility. For example, while Der Hirt Auf dem Felsen contains long, flowing phrases and fewer wor ds, Studying both pieces allows me to develop a well rounded technique.
3 Summary of Performance in Lieu of Thesis Presented to the College of Fine Arts of the Uni versity of Florida in Partial Fulfillment of the Requirements for the Degree of Master of Music Recital Program December 1, 2012 at 5:30 PM Assisted by Katherine Plympton, piano and Brendon Lucas, clarinet Joseph Haydn from T he Creation (1798) ( 1732 1809) Amor dormiglione (1651) Barbara Strozzi (1619 1677) Giovanni Bononcini from Eraclea (1692) (1670 1747) Ergiti, amor Alessandro Scarlatti from Scipione nelle Spagne (1714) (1660 1725) Der Hirt auf dem Felsen (1828) Franz Schubert (The Shepherd on the Rock) (1797 1828) Brendon Lucas, clarinet Gioachino Rossini from Il Barbiere di Siviglia (1816) (1792 1 868) I ntermission Banalits (1940) Francis Poulenc (1899 1963) I. II. Htel III. Fagnes de Wallonie IV. Voyage Paris V. Sanglots
4 Despite and Still (1969) Samuel Barber (1910 1981) I. A Last Song II. My Lizard III. In the Wildernes s IV. Solitary Hotel V. Despite and Still Texts and Translations from The Creation by Joseph Haydn And God said, Let the earth bring forth grass, the herb yielding seed, and the fruit tree, giving fruit after his kind, whose seed is in it self upon the earth: and it was so. With verdure clad the fields appear. Delightful to the ravished sense: By flowers sweet and gay Enhanced is the charming sight. Here fragrant herbs their odors shed: Here shoots the healing plant. With copious fruit th e panded boughs are hung: In leafy arches twine the shady groves: by Barabra Strozzi Amor, non dormir pi! Su, svegiati omai! Che mentre dormi tu, Dormon le gioie mie Vegliano I guai. Non esser, amor dappoco! Strali, Foco! Strali, su! Foco, su, su! Non dormir pi, svegliati, su, Amor! O pigro, o tardo, tu non hai senso! Amor melenso, Amor codardo, ah, quale io resto Ch nel mio ardore tu dorma, Amore! Mancava questo! Sleeping Love Love (Cupid), do not sleep anymore? Come on get up now B ecause while you are sleeping my joys sleep, My troubles are awake. Do not be worthless, Love! Arrows, fire arrows, come on! Fire, come on, come on! Do not sleep anymore; get up, come on, Love! Oh lazy one, oh sluggish one, you have no common sense! Doltis h Love, cowardly Love, ah, what a state I am in Because you sleep during my passion, Love! I
5 by Giovanni Bononcini ; text by Silvio Stampaglia, based on text by Nicol Minato Luci vaghe del mio sol. Con svelarvi, se voi siete, by Alessandro Scarl atti Text by Apostolo Zeno and Nicola Serino Ergiti, Amor, sui vanni e prendi ardito il volo Perch con nuovi inganni tu non ricada al suolo, lo sosterr virt. Ah, do not hide from me any longer Ah, do not hide from me any longer, Lovely eyes of my sun. By revealing yourselves, You ca n take this soul away from sorrow. Translations by Martha Gerhart. Reprinted with kind permission. Rise up, love! Raise up your wings, love, And take flight boldly Without falling anymore, Because even with new deceit You will not return to the ground Virtue will sustain you. Der Hirt auf dem Felsen by Franz Schubert Text by Wilhelm Mller and Helmina von Chzy Wenn auf dem hchsten Fels ich steh', In's tiefe Tal hernieder seh', Und singe. Fern aus dem tiefen dunkeln Tal Schwingt sich empor der Wi derhall Der Klfte. Je weiter meine Stimme dringt, Je heller sie mir wieder klingt Von unten. Mein Liebchen wohnt so weit von mir, Drum sehn' ich mich so hei nach ihr Hinber. In tiefem Gram verzehr ich mich, Mir ist die Freude hin, Auf Erden mir die H offnung wich, The Shepherd on the Rock When on the highest rock I stand I look down into the deep valley And sing. Far from the deep dark valley The echo rings out, up from The chasm. The farther my voice reaches, The clearer it sounds back to me From belo w. My sweetheart lives so far away from me, I ardently long to be with her Over there. In deep sorrow I consume myself, For me there is no joy, On the earth hope has left me.
6 Ich hier so einsam bin. So sehnend klang im Wald das Lied, So sehnend klang es durch die Nacht, Die Herzen es zum Himmel zieht Mit wunderbarer Macht. Der Frhling will kommen, Der Frhling, meine Freud', Nun mach' ich mich fertig Zum Wandern bereit. I am so lonely here. So longingly the song rings in the wood, So longingly is rings through the night, It draws hearts towards heaven With wonderful might. Spring will come, Spring, my joy, Now I make myself ready, Prepared to wander. Il Barbiere di Siviglia T ext by Cesare Sterbini Una voce poco f Qui nel cor mi risuon Il mio cor ferito gi, E Lindoro fu che il pieg. S, Lindoro mio sar, Lo guirai, la vincer. Io sono docile, son rispettosa, Sono obbediente, dolce, amorosa, Mi lascio reggere, mi f guidar. Sar una vipera, sar, E cento trappole, prima di cedere, Faro giocar. A little while ago, A voice resounded here i n my heart. My heart is already wounded, And it was Lindoro who weakened it. Yes, Lindoro will be mine, I have sworn it, I will win this fight. The teacher will refuse, I will sharpen my wits, At the end he will accept him, and I shall remain content. I am calm, I am considerate, I am obedient, sweet, loving, I let myself be ruled, I allow myself to be guided. But if they touch me where I am weak, I will be a viper, I will, And a hundred snares I will set up Before I yield. Banalit s by Francis Poulenc Text by Guillaume Apollinaire Veut entrer un charretier; Veut sortir un va nu pieds. S ong of Orkenise Through the gates of Orkenise A carter wants to enter. Through the gates of Orkenise A tramp wants to leave.
7 Et les gardes de la ville Courant sus au va nu pieds: tu de la Et les gardes de la ville Courant sus au charretier: Que de coeurs dans Orkenise! Les gardes riaient, riaient. Va nu pieds, la route et grise, se, charretier. Les beaux gardes de la ville Tricotaient suberbement; Puis les portes de la ville Se fermrent lentement. Htel Le soleil pass son bras par la fentre Mais moi qui veut fumer Pour faire des mirages allume au feu du jour ma cigarette Je ne veux pas travailler Je veux fumer. Fagnes de Wallonie Tant de tristesses plenires Prirent mon Coeur aux fagnes dsoles Le poids des kilomtres pendant que rlait Le v Les cureuils y sont rests Ma pipe essayait de faire des nuages Au ciel Qui restait pur obstinment And the sentries of the town Rush up to the tramp and ask: "What are you taking out of the town?" "I'm leaving my whole heart b ehind." And the sentries of the town Rush up to the carter and ask: "What are you bringing into the town?" "My heart: I'm getting married." What a lot of hearts in Orkenise! The sentries laughed and laughed. Oh tramp, the road is dreary; Oh carter, lov e is heady. The handsome sentries of the town Knitted superbly; Then the gates of the town Slowly swung shut. Hotel My room has the form of a cage. The sun reaches its arm in through the window. But I want to smoke and make shapes in the air, and so I light my cigarette on the sun's fire. I don't want to work, I want to smoke. Walloon Moorlands So much deep sadness seized my heart on the desolate moors when I sat down weary among the firs, unloading the weight of the kilometres while the west w ind growled. I had left the pretty woods. The squirrels stayed there. My pipe tried to make clouds of smoke in the sky which stubbornly stayed blue.
8 une chanson nigmatique Aux toubires humides Les bruyres fleurant le miel Attiraient les abeilles Et mes pieds endoloris Foulaient les myrtilles et les airelles Tendrement marie Nord Nord En arbres forts Et tors La vie y mord La mort A belles dents Quand bruit le vent Voyage Paris A h! la charmante chose Quitter un pays morose Pour Paris Paris joli Sanglts Notre amour est rgl par les calmes toiles Qui vinrent de trs loin et sont un sous nos fronts Et le portaient dans la main droite Souviens tous ces souvenirs Des marins qui chantaient comme de s conqurants I murmured no secret except an enigmatic song which I confided to the peat bog. Smelling of hon ey, the heather was attracting the bees, and my aching feet trod bilberries and whortleberries. Tenderly she is married North! North! There life twists in trees that are strong and gnarled. There life bites bitter death with greedy teeth, when the wind howls. Going to Paris Ah, how delightful it is to leave a dismal place and head for Paris! Beautiful Paris, which one day Love had to create! Sobs Human love is ruled by the calm stars. We know that within us many people breathe Who came from afar and are united behind our brows. This is the song of that dreamer who had torn out his heart and was carrying it in his right hand... Remember, oh dear pride, all those memories: the sailors who sang like conquerors,
9 Des gouffres de Thul des Des maladies maudits de ceux qui fuient leur ombre Et du retour joyeux des heureux migrants De ce coeur il coulait du sang Et le rveur allait pe nsant A sa blessure delicate Tu ne briseras pas la chaine de ces causes Et douloureuse et nous disait Mon pauvre coeur mon coeur bris Pareil au coeur de tous les hommes Voici voice nos mains que la vie fit esclaves Ainsi vont toutes choses Arrachez donc le vtre aussi Laissons tout aux morts Et cachons nos sanglots the chasms of Thule, the tender skies of Ophir, the accursed sick, the ones who flee their own shadows, and the joyful return of the happy emigrants. Blo od was flowing from that heart; and the dreamer went on thinking of his wound which was delicate ... You will not break the chain of those causes... ...and painful; and he kept saying to us: ...which are the effects of other causes. "My po or heart, my heart which is broken like the hearts of all men... Look, here are our hands which life enslaved. "...has died of love or so it seems, has died of love and here it is. That is the way of all things. "So tear your hearts out too !" And nothing will be free until the end of time. Let us leave everything to the dead, and let us hide our sobbing. Translated by Peter Low. Reprinted with kind permission. Despite and Still by Samuel Barber A Last Song (Robert Graves) 1 A la st song, and a very last, and yet another O, when can I give over? Must I drive the pen until blood bursts from my nails And my breath fails and I shake with fever, Or sit well wrapped in a many colored cloak Where the moon shines new through Cast le Crystal? Shall I never hear her whisper softly: And for me only; Therefor, love, have done? 1 The New Yorker June 6, 1964. Copyright The Robert Graves Copyright Trust.
10 My Lizard (Theodore Roethke) 2 My lizard, my lively writher, May your limbs never wither, May the eyes in your face Surv ive the green ice May you live out your life Without hate, without grief, And your hair ever blaze, In the sun, in the sun, When I am undone, When I am no one. In the Wilderness (Robert Graves) He, of his gentleness, Thirsting an d hungering Walked in the wilderness; Soft words of grace he spoke Unto lost desert folk That listened, wondering. He heard the bittern call From ruined palace wall, Answered him brotherly; He held communion With the she pelican Of lonely piety. Basilis k, cockatrice, Flocked to his homilies, With mail of dread device, With monstrous barbed stings; With eager dragon eyes, Great bats of leathern wings And old, blind broken things Mean in their miseries. Then ever with him went, Of all his wanderings 2 Collect ed Poems of Theodore Roethke Copyright 1963 by Beatrice Roethke as Administratrix of the Estate of Theodore Roethke. Published by Doubleday&Company, Inc.
11 Comra de, with ragged coat, Gaunt ribs, poor innocent Bleeding foot, burning throat, The guileless young scapegoat. For forty nights and days Sure guard behind him kept, Tears like a lover wept. Solitary Hotel (James Joyce) Solitary ho tel in a mountain pass. Autumn. Twilight. Fire lit. In dark corner young man seated. Young woman enters. Restless. Solitary. She sits. She goes to window. She stands. She sits. Twilight. She thinks. On solitary hotel paper she writes. She thinks. She write s. She sighs. Wheels and hoofs. She hurries out. He comes from his dark corner. He seizes solitary paper. He holds it towards fire. Twilight. He reads. Solitary. What? In sloping, upright and backhands: Despite a nd Still (Robert Graves) 3 Have you not read the words in my head, And I made part of your own heart? We have been such as draw the losing straw You of your gentleness, I of my rashness, Both in despair Yet still might share this happy will: To love despit e and still. But, o, refuse to choose When chance may seem to give Loves in alternative. To love despite and still. 3 Graves, Robert. "Despite and Still." The Poems of Robert Graves. Garden City, NY: Doubleday Ancho r, (c) 1958, p. 181 Copyright The Robert Graves Copyright Trust.
12 First performed in 1798, The Creation by Joseph Haydn (1732 1809) is one of his best known works. second day; here God creates plants of all kinds. The soprano soloist represents the archangel Gabriel. The early Italian song set includes pieces by three different composers: Barbara Strozzi (1619 1677), Giovanni Bononcini (1670 1747), and Alessandro Scarlatti (1660 1725). Preparation of these songs has been of particular interest to me, because I am currently taking a class on figured bass. Before the class, I already knew that it was a common practice to play an accompaniment from a figured bass and improvise given these guidelines. I learned through this class, however, that ma ny of the editions of early songs used in schools today are realizations created in the nineteenth and early twentieth centuries. These realizations give the songs a Romantic feel to them, and would have never sounded as they do back in the seventeenth and worst offender, not only adding extended chromaticism and flowing arpeggios but repeating the words more than originally intended. For this piece, pianist Kath y Plympton will pare down the accompaniment slightly, and I will add ornaments and omit extraneous repetitions of the text; my hope is to restore to some extent its Baroque flavor. Franz Schubert (1797 1828) composed his chamber work Die Hirt auf dem Felse n been proven, this work might have been the last piece he ever composed. Unlike most of his lieder the poetry comes from several sources by two different poets Schubert used Wilhelm
13 music theorist Frank Samarotto asserts that the echo words by Helmina von Chzy, which express a deep loneliness that is nevertheless consoled by looking heavenwa experiences of space, one that opens gladly into a world of intimate immensity, the other that death death just weeks before it happened. Gioachino Rossini (1792 Il Barbiere di Siviglia ( The Ba rber of Seville ), which premiered in 1816. Much of the musical material derives from his ( Elizabeth, Queen of England, 1815). This sort of self t changed the music somewhat for its new purpose, as music historian William Ashbrook points out The character singing this aria, Rosina, is a young ward in the car e of Doctor Bartolo. The old man has designs on marrying her, but as Rosina herself proclaims in the aria, another man has stolen her heart. The Count Almaviva, disguised as a poor student named Lindoro, has serenaded her from outside her window just befo for Rosina to show her strong and wily character to the audience; she will go along with Doctor
14 Francis Poulenc (1899 1963) composed his song cycle Banalits in 1940. The texts of the five songs in the cycle were written by Guillaume Apollinaire, whose works continued the Symbolist tradition of Paul Verlaine and others. Each of the five poems suggests its own distinct sound and brings even more example, uses the cabaret style, often placing the last syllable of a word on the first beat of the e mphasized beats in the left hand of the piano accompaniment, and includes frequent trills in the right hand throughout the piece. This variety exists most likely because Poulenc was insistent upon keeping the text intricately connected with the music. The song cycle as a whole paints an eclectic variety of scenes, from a guard post to a desolate moorland to a quiet, smoke filled hotel on the inevitability of suf fering. Samuel Barber (1910 1981), probably best known today for his Adagio for Strings wrote his song cycle Despite and Still for his friend Leontyne Price, the celebrated soprano; they premiered the work in 1969 as a duo. Robert Graves, the author of three of the poems, began his career as a member of the Georgian school of poetry. Followers of this school believed in making their text more accessible to an audience by avoiding any archaic language that would hinder its understanding of the text; they also avoided both religious and political topics. That Graves deviated slightly from the latter follow Jesus. Graves is also fixated on the idea of a Muse th at must inspire his poetry; although his Muse is above all hypothetical, she often incarnated herself in the various women with which
15 he was romantically involved, (Canary 20 21). The Muse appears in both the first song of the through the metaphor of a lizard. Barber depicts the lizard in the piano accompaniment with constant arpeggios that imitate slithering. The t Ulysses The characters s one such story. Barber enhances through a slow tango the story of a man and a woman at a hotel. The woman writes a letter and leaves quickly; the man gets up to read the letter that she has read, and is utterly shocked. Joyce gives the reader no furthe r details.
16 BIOGRAPHICAL SKETCH Lyric coloratura soprano Michelle Fegeas has gained substantial experience performing vocal works spanning several different genres and time periods. Her operatic roles include Belinda in Dido and Aenea s First Spirit in The Magic Flute Barbarina in The Marriage of Figaro Madame Herz in The Impresario The Beautiful Bridegroom In the realm of concert work, s he appeared in a concert series in Manassa s, Virginia in 2010, Siete Canciones Populares Espaolas She has also performed the soprano solos in several choral works by Baroque and Classical period composers from South America; these works have been studied by musicolog ists and were performed as part of the presentation of their research. Miss Fegeas has participated in several well known training programs for classical singers including Operafestival di Roma, the Richard Crittenden Summer Opera Workshop, the Bel Cant anti Summer Opera Workshop and SongFest She has performed in masterclasses conducted by Maria Russo, Kathryn Cathcart Margo Garrett, and Amy Burton A native of Warrenton, Virginia, Miss Fegeas holds a Bachelor of Music in Vocal Performance from the U niversity of South Carolina, where she studied with Dr. Helen Tintes Schuermann and Dr. Tina Milhorn Stallard. She is currently completing graduate studies at the University of Florida, pursu ing a Master of Music in Vocal P erformance with a Secondary Conc entration in Historical Musicology. She currently studies voice with Dr. Elizabeth Graham.