GRADUATE VOICE RECITAL LINDSAY NUESCA, MEZZO SOPRANO By LINDSAY NUESCA SUPERVISORY COMMETTEE: ELIZABETH GRAHAM, CHAIR ANTHONY OFFERLE, MEMBER JENNIFER THOMAS, MEMBER ALEXANDER BURAK, SPECIAL MEMBER A PROJECT IN LIEU OF THESIS PRESENTED TO THE COLLEGE OF FINE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 2012
Summary of Performance Option in Lieu of Thesis Presented to the College of Fine Arts of the University of Florida In Partial Fulfillment of the Requirements for the Degree of Master of Music GRADUATE VOICE RECITAL LINDSAY NUESCA, MEZZO SOPRANO By Lindsay Nuesca August 2012 Chair: Dr. Elizabeth Graham Member : Dr. Anthony Offerle Member: Dr. Jennifer Thomas Member: Dr. Alexander Burak Major: Music The music chosen for this recital comes from the Baroque era, the Romantic period, and the Twentieth Century. It was chosen to demonstrate a mastery of national st yles as well as to showcase a unique, high mezzo Zigeunerlieder Cinq pomes de Baudelaire are the central works in the halves of the recital. The Zigeunerlieder require energy and finesse in a robu st and lively set. The seventh stands out in tempo and subject; a love song in the midst of dance tunes. The Baudelaire cycle is an erotic rambling laced with partially formed moral anxieties and allusions to death. Debussy lends ethereal sensuousness and languor in his settings which gives an other worldly sensation to the The The Queen of Spades libretto based on t he story by Alexander
up for a midnight tryst. My Genius, My Angel, My Friend written when still a boy in school. It is a beautiful musing that has survived and gained prominence not because of its excellence, though its popularity is well deserved on merit alone, but largely because of a controversy surrounding the dedication, a mysterious set of dots at the top of the autog raph copy. There is evidence that he dedicated it to another young boy for whom he carried socially unacceptable romantic feelings. The Cloisters is a beautiful twentieth century American song cycle. The first is spartan, the second robu st, and in spite of their differences both carry a sense of a keening mourner; both transmit an underlying sense of melancholy. The recitative and aria from Giulio Cesare performan ce practice. Mattinata is a popular and lovely bel canto tune that rounds out a challenging and difficult program with simple, sing able beauty.
BIOGRAPHY Lindsay Johnson Nuesca was born and raised in Idaho Falls, ID. She began voice lessons in high school and attended Ricks College for an AA in Voice, completing her BA in Vocal Performance at the University of Florida in 2005. She then taught choir and drama before moving to Siberia as a missionary in 2006. Upon returning to Gainesville in 2008 Lindsay spent three semesters in post baccalaureate Russian studies before starting her MM in Vocal Performance with a Secondary Concentration in Music History and Literature. She specializes in the romansi or art songs, of the major Russian composers, and is dedicated to increasing the popularity and accessibility of Russian art song in both her performance and academic futures. Lindsay is a mezzo soprano currently preparing to sing the role of Third Lady in the of Mozart's The Magic Flute She was most recently Savitri and as the Mother in Amahl and the Night Visitors. Other roles include Second Lady in The Magic Flute, Elijah, La Maestra del le Novizie in Suor Angelica by Giacomo Puccini, Dinah in Trouble in Tahiti by Leonard Bernstein, and Just Jeanette in Too Many Sopranos by Edwin Penhorwood. high school. Since then, she has had the opportunity to sing with the Choral Arts Society of Washington under Norman Scribner, performing in conjunction with the National Symphony Orchestra under Leonard Slatkin. She participated in the 2002 Opening Ceremonies of the Paralympics with the Utah State University Choir, and was a soloist for the USU choir and symphonic band at the College Band Directors National Association convention in Reno. As part of the University of Florida Chamber Singers, she has sung with t he Louisiana Philharmonic, the San Diego Symphony, and the Kronos Quartet Choir. Lindsay and her husband Jonathan live in Gainesville, Florida.
College of Fine Arts School of Music Presents Graduate Voice Recital Lindsay Nuesca, Mezzo Soprano Assisted by: Michelle Ross, Piano Thursday, 17 November, 2011 5:30 PM Music Building, Room 101 PROGRAM I Mattinata Sir Francesco Paolo Tosti (1846 1916) E pur cos in un giorno Pianger la sorte mia from Giulio Cesare George Frideric Handel (1685 1759) II Zigeunerlieder Johannes Brahms (1833 1897) i. He, Zigeuner ii. Hockget rmte Rimaflut iii. Wisst ihr, wann mein Kindchen iv. Lieber Gott, du weisst v. Brauner Bursche f hrt zum Tanze vi. R slein dreie in der Reihe vii. Kommt dir manchmal viii. Rote Abendwolken zieh'n
II I The Cloisters John Corigliano (b. 1938) i. Fort Tryon Park: September ii. Song to the Witch of the Cloisters INTERMISSION IV Cinq pomes de Baudelaire Claude Debussy (1862 1918) i. Le Balcon ii. Harmonie du Soir iii. Le Jet D'Eau iv. Recueillement v. La Mort des Aman ts V Liza's Aria from The Maid of Orleans (1840 1893) My Genius, My Angel, My Friend +++++ This Recital is given in partial fulfillment of the requirements for the e. Mrs. Nuesca is in the studio of Dr. Elizabeth Graham.
PROGRAM NOTES An Italian song composer and singing teacher, Sir Francesco Paolo Tosti (1846 1916) counted the Princess Margherita of Savoy who was to become the Queen of Italy and memb ers of the British Royal Family among his students. He started his formal music education at the Naples Conservatory at the age of 12, studying the violin and composition. His career as a composer and teacher took him from Italy to England where he settled in 1880, gained citizenship in 1906, and was knighted in 1908. His songs, composed to Italian, French, and English texts, have a graceful, fluent style Mattinata was composed late in his career. The illustrious composer of the Messiah George Frideric Handel (1685 1759), created a name for himself through prolific composition of opera in his early career. His operas are considered the finest, if not the most typical, opera serie. Handel contributed significantly to every contemporary musical genre and w as well received and successful through the flourishing of Italian opera seria in England. When the genre declined, however, he found himself in poor financial condition and turned to large scale vocal works, a venture that led to his invention of the orat orio. His opera seria Giulio Cesare received its first performance in 1724 at the Royal Academy of Music. Typical of Handel's operas, it is richly dramatic, and the characters of Caesar and Cleopatra are especially rich, dynamic characters. Added to the em otional power and masterful orchestration, the opera holds a rightly afforded high reputation in the Italian opera repertory. German composer Johannes Brahms (1833 1897), one of the greatest composers in the genre of German Lieder followed Schubert and S chumann in the tradition. He composed Lieder over a period of 43 years, formulating his Lieder around a classic tonal plan, emphasizing melody and bass lines. The large repertory of songs published constitutes only a portion of the songs that he wrote. Oft en criticized for using sub par poetry, Brahms first determined whether the poetry would be enhanced by musical setting, and so along with his settings of poetry by Goethe and Heine are settings of verses by Daumer and Carl Candidus. The music of the Hunga rian Gypsies also fascinated him, from which the Zigeunerlieder are taken. The cycle originally consisted of a set of eleven songs for vocal quartet, composed in 1887, but was rearranged for solo voice and piano, removing three of the songs for a total of eight. John Corigliano (b. 1938) is a highly acclaimed American composer and professor currently teaching at the Juilliard School. He composed the first opera commissioned by the Metropolitan opera since 1967, The Ghosts of Versailles (1987), for which he received the Composition of the Year award from the International Music Awards (1992). He has also received an Academy Award for his score to the film The Red Violin (1999). His works are known for their dramatic elements, and the theatrics create the pos sibility of his works being upstaged by spectacle. He has emphatically committed to "intelligibility" which has been criticized as an obstacle to his technical range. The Cloisters was composed in 1965 to a set of poems by his friend William M. Hoffman. Or iginally just one poem, The Unicorn at Corigliano's suggestion, Hoffman composed a full set of songs around the theme of the Cloisters. Mignon Dunn sang the premiere in 1975 with the Arkansas Symphony Orchestra at the Kennedy Center in Washington, D.C.
C laude Debussy (1862 1918) holds court as one of the most important musicians of his time. His innovations in harmony reflected the French impressionistic movement in other arts at the time. Despite his reputation as a predominantly impressionistic composer he left no dynamic or also held very specific conceptions of who should and should not set poetry to music: "Musicians who don't understand anything about poetry ought not to set it to music. They can only ruin it." He chose to set poetry by his contemporaries, especially Verlaine and Mallarm. He composed Cinq pomes de Baudelaire (1887 9) during his 'bohemian' and symbolist years and they show some Wagnerian influence. They are "exceptional among even more marked in Recueillement than in ." The illustrious Russian composer P yotr Il'yich Tchaikovsky (1840 1893) worked to bridge the gap between his Russian and European musical heritages. He is best known for his large scale orchestral works, but wrote several operas and 106 songs, or romances. His romances are characterized by the same sweeping melodic lines and dramatic harmonies that are found in all his works, a characteristic for which he often weathered criticism from his contemporaries of the Mighty Five. He also departed from the methods of the Five in his treatment of th e poetry he used, changing words, adding repetitions, and using melisma instead of following a simple declamatory style that strictly followed the structure and flow of the language in the poem. The final selection on the program, My Genius, My Angel, My F riend the first romance composed by Tchaikovsky while still a young man in school, is nevertheless masterfully crafted and hints at the mature style that he would develop. Liza's aria kin's text.
TRANSLATIONS Mattinata Morning Mary, tremando l'ultima stella Mary, the trembling last star Nel vasto azzurro tra poco vanira; In the immense blue soon vanishes; presso a sorgere l'alba novella, The new dawn is near risi ng, Con un susurro l'aura l'annunzia gi, With a rustle the breeze announces the day, Con un susurro l'aura l'annunzia gi, With a rustle the breeze announces the day, Io non ti dico, vieni al verone; I do not say to you, I come to the terrace; Mar y, in quest ore pi dolce riposar; Mary, in these hours it is sweeter to rest; Mormoro basso la mia canzone, I murmur my song low, Che il tuo sopore non giunga ad abbreviar. That your rest is not reached by sound. Che il tuo sopore non giunga ad abb reviar. That your rest is not reached by sound. Solo domando, solo desio I only ask, only desire Che il canto mio lambendo il tuo guancial, That my song echo in your ear, Versi o fanciulla, nella tua mente May pour o maiden, in your mind L'onda lucent e d'un sogno celestial! In lucent wave a dream celestial! Mary, l'ultima stella Mary, the last star Nel vasto azzurro tra poco vanira. In the immense blue soon vanishes. E pur cos in un giorno Pianger la sorte mia E pur cos in un giorno, perdo fasti e grandezze? Why then, in one day, I am deprived of magnificence and glory? Ahi fato rio! Cesare, il mio bel nume, forse estinto Oh, cruel fate! Cesar, my beloved idol, is probably dead, Cornelia e Sesto inermi son, Cornelia and Sesto are defenseless N sanno darmi soccorso. And cannot give me assistance. Oh Dio! non resta alcuna speme al vivir mio? O God! Is there no hope left in my life?
Pianger la sorte mia, I will bemoan my fate Si crudele e tanto ria, So cruel and brutal, Fi nch vita in petto avr. As long as there is breath left in my body. Ma poi morta! d'ogn'intorno, And when I am dead and Il tiranno e notte e giorno, Become a ghost, I will haunt Fatta spettro agiter. Tyranny both night and day. Zigeunerlieder I. H e, Zigeuner, greife in die Saiten ein! Hey, Gypsy, strike upon your strings! Spiel das Lied vom ungetreuen Mgdelein! Play the song of the faithless young girl! La die Saiten weinen, klagen, traurig bange, Let the strings weep complain, sadly quiver, Bis die heie Trne netzet diese Wange! Until the hot tears flow down this cheek! II. Hochgetrmte Rimaflut, wie bist du so trb, High towered raging waters of the Rima, how murky you are, Lieb! On the bank I loudly cry for you, my love! Wellen, fliehen, Wellen Strmen, The waves fly, storm Rauschen an den Strand heran zu mir Speed towards me on the shore, An dem Rimaufer lat mich ewig weinen nach ihr! III. Wit ihr, wann mein Kindchen am allerschnsten ist? Do you know when my darling is most beautiful? Wenn ihr ses Mndchen scherzt und lacht und kt When her sweet mouth teases and laughs and kisses. Mgdelein, du bist mein, inniglich k ich dich, M aiden, you are mine, I kiss you with all my heart, Dich erschuf der liebe Himmel einzig nur fr mich! Heaven created you only for me.
Wit ihr, wann mein Liebster am besten mir gefllt? Do you know when I most love my darling? Wenn in seinen Armen er m ich umschlungen hlt. When he holds me embraced in his arms. dich, Darling, you are mine, I kiss you with all my heart, Dich erschuf der liebe Himmel einzig nur fr mich! Heaven created you only for me! IV. Lieber Gott, du weit, wie oft bereut ich hab, Dear God, you know how often I have regretted Da ich meinem Liebsten einst ein Kchen gab That I once gave my darling a little kiss Herz gebot, da ich ihn kssen mu, My heart commanded that I kiss him As long as I live I will think about this first kiss Lieber Gott, du weit, wie oft in stiller Nacht Dear God, you know how oft in the still of night Ich in Lust und Leid an meinen Schatz gedacht. In desire and pain I have thought of my darling. Love is sweet, but bitter is regret Armes Herze bleibt ihm ewig treu. But my poor heart will remain forever true V. Brauner Bursche fhrt zum Tanze The tanned lad leads to the dance Sein blauugig schnes Kind His blue eyed, beautiful young girl Schlgt die Sporren keck zusammen Kicks his spurs together Czrds Melodie beginnt. A Czrds Melodie begins Kt und hertzt sein ses Tubchen Kisses and snug gles his sweet turtle dove Dreht sie, fhrt sie, jauchzt und springt Spins her, leads her, shouts and jumps Wirft drei blanken Silbergulden Throws three shining silver gulden Auf das Cimbal da es klingt At the cymbal so it rings
VI. Rslein dreie in der Reihe blhn so rot, Rosebuds three, all on one tree, ye bloom so red, Da der Bursch zum Mdel gehe, ist kein Verbot! That a lad a lassie woo, is not forbade! Lieber Gott, wenn das verboten wr, O dear God, if that had been denied, Stnd die sch ne weite Welt schon lngst nicht mehr; Then the whole wide lovely world long since had died. Ledig bleiben Snde wr! Single life's a sin, beside! Schnstes Stdtchen in Alfld ist Ketschkemet, Fairest village in Alfeld is Ketschemete, Dort gibt es gar viele Mdchen schmuck und nett! There live many pretty lasses trim and neat! Freunde, sucht euch dort ein Brutchen aus, Friends, go find ye there a little bride, Freit um ihre Hand und grndet euer Haus, Sue then for her hand and build your house with pride. Freudenbecher leeret aus. Drain the glass with friendship plied! VII. Kommt dir manchmal in den Sinn, mein ses Lieb, Art thou thinking often now, sweetheart, my love, Was du einst mit heil'gem Eide mir gelobt? What thou once with holy vow to me hast sworn? Tusch mich nicht, verla mich nicht, Leave me not, deceive me not, Du weit nicht, wie lieb ich dich hab, Thou know'st not how dear thou art to me; Lieb du mich, wie ich dich, Love'st thou me as I thee, Dann strmt Gottes Huld auf dich herab! Then God's smile shall crown thee graciously. VIII. Rote Abendwolken ziehn am Firmament, Rosy evening clouds hang in the firmament, Sehnsuchtsvoll nach dir, Longing filled for thee, Mein Lieb, das Herze brennt, my love, my heart is rent; Himm el strahlt in glhnder Pracht, Heaven glows with splendrous light Und ich trum bei Tag und Nacht And I dream by day and night Nur allein von dem sen Liebchen mein. But of thee, of the sweetheart dear to me.
Cinq pomes de Baudelaire i. Le Balcon The Balcony Mre des souvenirs, matresse des matresses, Mother of remembrances, mistress of mistresses, 0 toi, tous mes plaisirs, toi, tous mes devoirs O you, my every pleasure! O you, my every obligation! Tu te rappelleras la beaut des caresses, You will recall the beauty of caresses, La douceur du foyer et le charme des soirs, The peacefulness of home, and the charm of evenings; Mre des souvenirs, matresse des matresses! Mother of remembrances, mistress of mistresses, Les soirs illumins pa r l'ardeur du charbon, Evenings lighted by the glow of the coals, Et les soirs au balcon, voils de vapeurs roses; And evenings on the balcony, veiled by rosy mist, m'tait bon! How sweet your breast seemed to me! Nous avons dit souvent d'imprissables choses We often spoke of imperishable things Les soirs illumins par l'ardeur du charbon. On those evenings, lighted by the glow of the coals. Que les soleils sont beaux dans les chaudes soires! How beautiful was the sun on torrid evenings! puissant! How vast is space! How powerful is the heart! En me penchant vers toi, reine des adores, Leaning toward you, Queen of all adored ones, Je croyais respirer le parfum de ton sang. I imagined that I breathed the fragrance of your blood. Que les soleils sont beaux dans les chaudes soires! How beautiful is the sun on torrid evenings! La nuit s'paississait ainsi qu'une cloison, The night became close, as if surrounded by walls, Et mes yeux dans le noir devinaient tes prunelles, And my eyes in the darkness sought out your eyes, Et je buvais ton souffle douceur, poison! And I imbibed your breath, O sweetness, O venom!
Et tes pieds s'endormaient dans mes mains fratern elles; And your feet became numb in my brotherly hands; La nuit s'paississait ainsi qu'une cloison. The night became close, as if surrounded by walls. Je sais l'art d'voquer les minutes heureuses, I know the art of evoking happy moments, Et revis mon pass blotti dans tes genoux. And I saw again my past, playing about your knees... Car quoi bon chercher tes beauts langoureuses For why should one search for your languorous beauty Ailleurs qu'en ton cher corps et qu'en ton Anyplace ex cept in your dear body and in your gentle heart? Je sais l'art d'voquer les minutes heureuses! I know the art of evoking happy moments! Ces serments, ces parfums, ces baisers infinis, Those vows, those perfumes, those endless kisses, Renattront ils d' un gouffre interdit nos sondes, Were they reborn out of a depth beyond our reach, Comme montent au ciel les soleils rajeunis As the rejuvenated sun rises again into the sky, Aprs s'tre lavs au fond des mers profondes After it has bathed at the bottom of deep oceans? O serments! parfums! baisers infinis! O vows! O fragrance! O endless kisses! ii. Harmonie du Soir Evening Harmony Voici venir les temps o vibrant sur sa tige, Now comes that time when, trembling on its stem, Chaque fleur s' vapore ainsi qu'un encensoir; Each flower exhales fragrance like a censor; Les sons et les parfums tournent dans l'air du soir, The sounds and perfumes whirl in the evening air, Valse mlancolique et langoureux vertige. A melancholy waltz and a languorou s intoxication. Chaque fleur s'vapore ainsi qu'un encensoir, Each flower exhales fragrance like a censor, afflige, The violin vibrates like a heart in distress, Valse mlancolique et langoureux vertige, A melancholy waltz and a languorous intoxication,
Le ciel est triste et beau comme un grand reposoir; The sky is sad and beautiful, like a great altar; afflige, The violin vibrates like a heart in distress, hait le nant vaste et noir! A tender heart, which abhors the vast and somber void! Le ciel est triste et beau comme un grand reposoir, The sky is sad and beautiful, like a great altar; Le soleil s'est noy dans son sang qui se fige... The sun has drow ned in its own blood, which is congealing. noir, A tender heart, which abhors the vast and somber void Du pass lumineux recueille tout vestige. Recalls all memories of the luminous past. Le soleil s'est noy d ans son sang qui se fige, The sun has drowned in its own blood, which is congealing, Ton souvenir en moi luit comme un ostensoir. My memory of you shines like a monstrance. iii. Le Jet D'Eau The Fountain Tes beaux yeux sont las, pauvre amante! Your beau tiful eyes are weary, my poor beloved! Reste longtemps sans les rouvrir, Rest awhile without opening them, Dans cette pose nonchalante In this carefree pose O t'a surprise le plaisir. In which pleasure has come upon you. Dans la cour le jet d'eau qui jase In the courtyard, the fountain which chatters Et ne se tait ni nuit ni jour, And never ceases, day or night, Entretient doucement l'extase Sustains sweetly the ecstasy O ce soir m'a plong l'amour. In which love has engulfed me tonight. La gerb e d'eau qui berce The column of water which rocks Ses mille fleurs, Its thousand flowers Que la lune traverse Which the moon penetrates De ses pleurs, With its pale light, Tombe comme une averse Falls like a shower
De larges pleurs. Of large tears. Ainsi ton me qu'incendie And so your soul, setting aflame L'clair brlant des volupts, The fiery lightening of desire, S'lance, rapide et hardie Leaps quickly and fearlessly Vers les vastes cieux enchants. Toward the vast, enchanted skies. Puis, e lle s'panche, mourante Then it diffuses, dying En un flot de triste langueur, In a wave of sad languor Qui par une invisible pente Which, by way of an invisible incline, Descend jusqu'au fond de mon coeur. Descends to the depths of my heart. toi, qu e la nuit rend si belle, O, you, whom the night makes so beautiful, Qu'il m'est doux, pench vers tes seins, I find it sweet, leaning against your bosom, D'couter la plainte ternelle To listen to the eternal lament Qui sanglote dans les bassins! That sobs in the fountain. Lune, eau sonore, nuit bnie, Moon, sonorous water, blessed night, Arbres qui frissonnez autour, Trees trembling all about, Votre pure mlancolie Your pure melancholy Est le miroir de mon amour. Is the reflection of my love. iv. Re cueillement Introspection Sois sage, ma douleur, et tiens toi plus tranquille; Be wise, o my sorrow, and behave more calmly; Tu rclamais le Soir: il descend, le voici! You wished for the evening: it descends, it is here! Une atmosphre obscure env eloppe la ville, A dark haze envelops the city, Aux uns portant la paix, aux autres le souci. Bringing to some peace, to others anxiety. Pendant que des mortels la multitude vile, While the base multitude of mortals, Sous le fouet du Plaisir, ce bourrea u sans merci, Under the whip of Pleasure, that merciless executioner, Va cueillir des remords dans la fte servile, Will suffer the pangs of remorse at the lowly feast, Ma Douleur, donne moi la main, Sorrow of mine, give me your hand,
Viens par ici, lo in d'eux. Come hither, far away from them. Vois se pencher les dfuntes Annes See the dead years leaning Sur les balcons du ciel, en robes surannes. Over the balconies of heaven, in faded garments. Surgir du fond des eaux le Regret souriant, See scor nfully smiling Regret emerge from the depths of the waters, Le soleil moribond s'endormir sous une arche; The dying sun going to sleep beneath an arch; Et, comme un long linceul tranant l'Orient, And, like a long shroud trailing towards the East, Ent ends, ma chre, entends la douce Nuit qui marche. Hear, my beloved, hear the gentle night approaching. v. La Mort des Amants The Death of Lovers Nous aurons des lits pleins d'odeurs lgres, We shall have beds scented with faint perfumes, Des divans p rofonds comme des tombeaux; Divans sunken like tombs, Et d'tranges fleurs sur des tagres, And strange flowers on the shelves, Ecloses pour nous sous des deux plus beaux, Unfolding for us beneath skies more lovely, Usant l'envi leurs chaleurs derni res; Vying with each other, in their expiring fires; flambeaux, Our two hearts will be two great torches, Qui rflchiront leurs doubles lumires Reflecting their double light Dans nos deux esprits, ces miroirs jumeau x. In our two spirits, these twin mirrors. Un soir plein de rose et de bleu mystique On an evening spun of rose and mystic blue Nous changerons un clair unique, We shall exchange a single lightning flash, Comme un long sanglot tout charg d'adieux, L ike a long sob charged with parting, Et plus tard un Ange, entrouvrant les portes, And later, an angel, opening the gates, Viendra ranimer, fidle et joyeux, Will restore to life, faithful and joyful, Les miroirs ternis et les flammes mortes. The tarnis hed mirrors and the extinct flames.
From where are these tears? Why are they? My girlish daydreams, you betrayed me, My girlish daydreams you betrayed me! See how you turned out in reality! My life I have entrusted to the Grand Duke, Who is the choice of my heart and being, who by virtu e of his mind, His beauty, his nobility, his wealth Is worthy of a fiance better than I. Who is as noble, as handsome, as stately, as he? No one! And so now what? I am full of deep melancholy and fear, I tremble and cry! From where are these tears? Why are they? My girlish daydreams, you betrayed me, My girlish daydreams, you betrayed me! You betrayed me! My heart is heavy and I am frightened! But to what end should I deceive myself? I am here alone, around everything quietly sleeps... O listen, Night! To you alone can I entrust the secret of my soul. My secret is murky, like you, My secret, like the gaze of sorrowful eyes, Eyes that have deprived me of my peace and happiness...
Que en Night! Like you, beautiful one, Like a fallen angel, He is wonderful, In his eyes a fire of scorching passion, Like a miraculous dream, allures me, And all my soul is in his power! O Night! O Night! My Genius, My Angel, My Friend Are you not here as a gossamer shadow, My genius, my angel, my friend, Do you not converse quietly with me And quietly hover all around? And give timid inspiration, And doctor the sweet ailment, And give quiet dreams, My genius, my angel, my friend... My genius! My angel! My friend!
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