A GRADUATE VOICE RECITAL By CAMMIE JO SMALLWOOD SUPERVISORY COMMITTEE: ELIZABETH GRAHAM, CHAIR ANTHONY OFFERLE, MEMBER A P ERFORMANCE IN LIEW 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 2013
Summary of Performance 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 A GRADUATE VOICE REICTAL By Cammie Jo Smallwood May 2013 Chair: Elizabeth Graham Major: Music Vocal Performance On March 16, 2013 I presented a vocal recital as a requirement for the degree of Master of Music in Vocal Performance. The works performed in the recital covered several languages the climactic mezzo Dido and Aeneas , and continued with a set of three German Romantic lied: Der Tod, das ist die kÃ¼hle Nacht , Auf dem Kirchhofe , and Von ewiger Liebe , all composed by Johannes Brahms. Before the con clusion of the the first half, there was a set of two Henri Duparc art songs: Chanson Triste and Lamento , followed by the aria Samson et Dalila . The second half consisted of two sections with se lections taken from the song sets Seven Elizabethan Lyrics by Roger Quilter and Tre Liriche Il trovatore . The variety of repertoire on the recital allowed me to demons trate several aspects of vocal technique that I have mastered, including proper breath support, vowel placement, Tre Liriche the Italian language, they have considerable
horrific story as the c haracter longs for vengeance for mother and sinks into insanity; all these emotions are reflected in the triple meter and dotted rhythms. Studying both pieces allowed me to further my technique and understanding of performance as a craft.
PROGRAM A Graduate Recital Cammie Jo Smallwood, Mezzo Soprano Assisted by TanÃ© DeKrey, Piano March 16, 2013 at 3:00 p.m. Music Building Room 101 Henry Purcell from Dido and Aeneas (1688) (1659 1695) Der Tod, das ist die kÃ¼hle Nacht Johannes Brahms Auf dem Kirchhofe (1833 1897) Von ewiger Liebe Chanson Triste Henri Duparc Lamento (1848 1933) Camille Saint SaÃ«ns from Samson et Dalila (1877) (1835 1921) Intermission From Seven Elizabethan Lyrics (1908) Roger Quilter Weep You No More (1877 1953) Damask Roses The Faithless Shepherdess By A Fountainside Fair House Of Joy From Tre Liriche (1913) Ottorino Respighi Nebbie (1879 1936) Notte Giuseppe Verdi From Il trovatore (1853) (1813 1901)
PROGRAM NOTES Dido and Aen eas , composed by Henry Purcell (1659 1695), is considered to be the Aeneid, iv . The aria hen I , famous for its descending ground bass accompaniment, takes place in the and prepared his armada to leave Carthage. She forcefully sends him away as he protests, her will finally superseding his. With her beloved attendant Belinda at her side, Dido prepares to meet death by her own hand. In an understated setting, (1833 captures the resigned melancholy and resignation within peaceful dream. The syncopated rhythm in the accompaniment produces a lulling eff ect, giving begins its scene in a churchyard dur ing a rainstorm. The long years have taken their toll on the gravestones within the yard, showing no legible script. Many harmonic and rhythmic changes are found in the brief piece: a stormy opening and interlude, harmonies that suggest crumbling stones, a nd a moment of peaceful reflection in a major key. The piece consists of two sections, each consisting with natural elements and emotional states. The result between the dramatic opening and peaceful conclusion is striking. is among Brah evening scene portrays a boy escorting his sweetheart home. He suggests that their relationship
will bring her nothing but shame and offers to end it abruptly. She protests, stating that their love is eternal a nd more enduring than even iron or steel. The opening statement in the bass of the the first two stanzas, followed by the boy in the third stanza, and the g The opening three stanzas function mostly in B minor, with phrases in D minor and F sharp minor. In the fourth stanza Brahms also switches from a 3/4 to 6/8 meter and changes from B minor to B major. The B major tonality is a lon g term resolution to the opening sections of B minor that surrounded the uncertainty of lasting love. (1848 1933) first mÃ©lodie , is filled with consolation and hope despite its sad title. The sentimental musical qualities that fill the piece sometimes look back and reflect on the salon romances of Gounod. This song was dedicated to in law who was an amateur singer features permeate the music: the vocal line revolves around the dominant, phrase lengths are spacious and flowing, arpeggiated accompaniment figures build harmonic intensity, and the melodic line contours to the t ext. is short, consisting of only 3 stanzas taken from surrounded by dark trees. A dove sits aloft one of the branches, making plain tive sounds. The first section of the mÃ©lodie consists of two stanzas set to the same music. The only variation is within the rhythm of the vocal line so that the change in text can be accommodated. Intense grief is expressed in the vocal melody by its cal m legato and stepwise motion. Running figures in the
emphasized. The hopeless mood from the beginning returns briefly to finish off the vocal melody. is quite possibly the most recognizable and famous aria from Camille Saint (1835 1921) opera, Samson et Dalila . The opera is based on the biblical story of Samson, who is seduced and tricked by Dalila into cutting his hair and losing his God house. He tries to resist her tempting embrace as a storm breaks outside, reflecting the turbulence within his heart. He finally gives in, consenting that destin y has declared their fatal attraction. Dalila responds with this seductive, passionate aria that concludes with both of their declarations Roger Quilter (1877 1953) was famous for his love of English poetry, setting so me of the most famous poets in history such as Shakespeare, the Elizabethans, Blake, and Tennyson. His song set of Seven Elizabethan Lyrics continued his usual practice of combining early English poetry with simple, lovely melodies. Poets include Campion a nd Jonson among five anonymous authors. The first song, "Weep You No More," at times displays a passion unusual for the often reserved Quilter . The melody often lies in a high tessitura, making demands on the singer, as when the word "softly" is repeated o n a high note. But reaching such extremes provides for satisfying dynamic contrast later in the song, a contrast also evident between songs. The second song in the cycle, "My Life's Delight," is a setting of a Thomas Campion poem. As the text becomes more impassioned, so does the vocal line, which reaches some of the highest notes of the cycle. The second strophe, in a departure for the composer, is highly modified from the first. The ending, formulaic for the composer, is reminiscent of "Now Sleeps the Cri mson arguably his most famous single work. "Damask Roses" is through composed, a rarity
in Quilter 's output. The shortest of the cycle, at just 19 measures, it is reminiscent of Vaughan Williams . The next song, "The Faithless Shepherdess," is the l ongest and most difficult of the set, appropriate to its central place in the cycle. More chromatic and rhythmically difficult than its companions, it is an interesting blend of pastoral text with a musical language that has certain 20 th century features. sets a Ben Jonson poem. Modulating from minor to the relative major and back, the song is the most like a madrigal with its evocative setting of the "drop" of tears. The final song in the cycle, "Fair House of Joy," is a majestic celebr ation of love. Reminiscent of Elgar and Vaughan Williams, it is highly typical of the early 20th century English art song, and brings the cycle to a resounding close. Tre Liriche include s Notte which he had originally set as separate works for mezzo and piano between 1906 and 1912. He then decided to orchestrate the three songs and form them into a song cycle in 1913 . Poetry for both pieces is taken from Ada Negri. begins with a stagnant piano introduction, followed by an inexorably rising vocal line that sustains dramatic intensity throughout the piece. The music illustrated the melancholy of the text, which pictures black ravens over the misty moors and a wanderin g, desperate soul. Vocal phrases are submerged into the overall texture and give the impression of the great length and effect of a lingering, floating voice. is a fine projecting poetic images in a fantastic garden with scented roses, mournful darkness, supreme quiet, and the night weeping tears. The sustained legato lines sit in a fairly high tessitura following Impressionistic influences. The coda of the song is given over the piano, the voice singing one long phrase on a single, sustained pitch before resolving.
Giuseppe Verdi (1813 1901) is well known for his dramatic Italian operas. Il trovatore is a story of love and vengeance. Azucena, a gypsy, lives her life wi th a single goal: to avenge her mother who was burned at the stake years before. In this scene, the gypsies have been singing a work song as they labor at their anvils by the fire. Their mood of contentment is broken as Azucena dramatically recreates the s tory of how her mother was killed with the aria vampa! , often showing signs of mania and using vivid imagery to project the killing as an entity onto the stage.
TEXTS AND TRANSLATIONS When I am laid, am laid in earth, May my wrongs create no trouble, no trouble in thy breast. Remember me, remember me, but ah! Forget my fate. Der Tod, das ist die kÃ¼hle Nacht Der Tod, das ist die kÃ¼hle Nacht, Das Leben ist der schwÃ¼le Tag. Es dunkelt schon, mich schlÃ¤fert, Der Tag hat mich mÃ¼d gemacht. Ãœber mein Bett erhebt sich ein Baum, Drin singt die junge Nachtigall; Sie singt von lauter Liebe Ich hÃ¶r es sogar im Traum. Auf dem Kirchhofe Der Tag ging regenschwer und sturmbewegt, Ich war an manch vergessenem Grab gewesen, Verwittert Stein und Kreuz, die KrÃ¤nze alt, Die Namen Ã¼berwachsen, kaum zu lesen. Der Tag ging sturmbewegt und regenschwer, Auf allen GrÃ¤bern fror das Wort: Gewesen. Wie sturmestot die SÃ¤rge schlummerten, Auf allen GrÃ¤bern taute still: Genesen. Von ewiger Liebe Dunkel, wie dunkel in Wald und in Feld! Abend schon ist es, nun schweiget die Welt. Nirgend noch Licht und nirgend noch Rauch, Death is the cool night Death is the cool night. Life is the sultry day. It now grows dark; I'm drowsy, The day has wearied me. Above my bed rises a tree, The young nightingale sings there, it seems; She sings of naught but love I hear it even in my dreams. In the churchyard The day was heavy with rain and storm disturbed; I was walking among many forgotten graves, with weathered stones and crosses wreaths, the names washed away, hardly to be read. The day was disturbed by storms and heavy with rain; on every grave froze the words "we were." The coffins slumbered calmly like the eye of a storm, and on every grave melted quietly the words: "we were healed." Of eternal love Dark, how dark it is in the forest and field! Night has fallen; the world now is silent. Nowhere a light and nowhere smoke.
Ja, und die Lerche sie schweiget nun auch. Kommt aus dem Dorfe der Bursche heraus, Gibt das Geleit der Geliebten nach Haus, FÃ¼hrt sie am WeidengebÃ¼sche vorbei, Redet so viel und so mancherlei: "Leidest du Schmach und betrÃ¼best du dich, Leidest du Schmach von andern um mich, Werde die Liebe getrennt so geschwind, Schnell, wie wir frÃ¼her vereiniget sind. Scheide mit Regen und scheide mit Wind, Schnell wie wir frÃ¼her vereiniget sind." Spricht das MÃ¤gdelein, MÃ¤gdelein spricht: "Unsere Liebe sie trennet sich nicht! Fest ist der Stahl und das Eisen gar sehr, Unsere Liebe ist fester noch mehr. Eisen und Stahl, man schmiedet sie um, Unsere Liebe, wer wandelt sie um? Eisen und Stahl, sie kÃ¶nnen zergehn, Unsere Liebe muÃŸ ewig bestehn!" Chanson triste Un doux clair de lune d'Ã©tÃ©, Et pour fuir la vie importune, Je me noierai dans ta clartÃ©. J'oublierai les douleurs passÃ©es, Mon amour, quand tu berceras Dans le calme aimant de tes bras. Tu prendras ma tÃªte malade, Oh! quelquefois, sur tes genoux, Et lui diras une ballade Qui semblera parler de nous; Et dans tes yeux pleins de tristesse, Dans tes yeux alors je boirai Tant de baisers et de tendresse[s] Que peut Ãªtre je guÃ©rirai. Lamento Yes, now even the lark is silent. From yonder village comes the young lad, Taking his beloved home. He leads her past the willow bushes, Talking so much, and of so many things: "If you suffer shame and if you grieve, If you suffer disgrace before others for me, Then our love shall be ended ever so fast As fa st as we once came together; It shall go with the rain and go with the wind, As fast as we once came together." Then says the maiden, the maiden says: "Our love shall never end! Steel is firm and iron is firm, Yet our love is firmer still. Iron and steel c an be recast by the smith But who would transform our love? Iron and steel can melt; Our love, our love will have to last forever!" A sad song Moonlight slumbers in your heart, A gentle summer moonlight, And to escape the cares of life I shall drown mys elf in your light. I shall forget past sorrows, My sweet, when you cradle My sad heart and my thoughts In the loving calm of your arms. You will rest my poor head, Ah! sometimes on your lap, And recite to it a ballad That will seem to speak of us; And from your eyes full of sorrow, From your eyes I shall then drink So many kisses and so much love That perhaps I shall be healed. Lament
Connaissez vous la blanche tombe, OÃ¹ flotte avec un son plaintif L'ombre d'un if ? Sur l 'if une pÃ¢le colombe, Triste et seule au soleil couchant, Chante son chant : On dirait que l'Ã¢me Ã©veillÃ©e Pleure sous terre Ã l'unisson De la chanson, Et du malheur d'Ãªtre oubliÃ©e Se plaint dans un roucoulement Bien doucement. Oh! jamais plus, prÃ¨s de la tombe, Je n'irai, quand descend le soir Au manteau noir, Ã‰couter la pÃ¢le colombe Chanter sur la [branche] 2 de l'if Son chant plaintif ! Do you know the white tomb Where floats with plaintive sound, The shadow of a yew? On the yew a pale dove, Sad and a lone under the setting sun, Sings its song: One would say that an awakened soul Is weeping under the earth in unison With this song, And from the misfortune of being forgotten, Moans its sorrow in a cooing Quite soft. Oh! never again near the tomb Shall I go, when night lets fall Its black mantle, To hear the pale dove Sing on the limb of the yew Its plaintive song! Mon coeur s'ouvre Ã la voix My heart opens to your voice Mon coeur s'ouvre Ã la voix, My heart opens to your voice, comme s' ouvrent les fleurs like the flowers open Aux baiser de l'aurore! To the kisses of the dawn! Mais, Ã´ mon bienaimÃ©, But, o my beloved, pour mieux sÃ©cher mes pleurs, To dry my tears the best, Que ta voix parle encore! Let your voice speak again! Dis moi qu'Ã Dalila Tell me that to Dalila tu reviens pour jamais, You will return forever, Redis Ã ma tendresse Repeat to my tenderness Les serments d'autrefois, The oaths of other times, ces serme nts que j'aimais! the oaths that I loved! Ah! rÃ©ponds Ã ma tendresse! Ah! respond to my tenderness! Verse moi, verse moi l'ivresse! Pour out to me the drunkeness! Ainsi qu'on voit des blÃ©s Like one sees the wheat les Ã©pis onduler the blades undulate Sous la brise lÃ©gÃ¨re, Under the light breeze, Ainsi frÃ©mit mon coeur, So trembles my hear, prÃªt Ã se consoler, ready to be consoled, A ta voix qui m'est chÃ¨re! by your voice which is dear to me! La flÃ¨che e st moins rapide The arrow is less quick
Ã porter le trÃ©pas, to carry death, Que ne l'est ton amante Than is your love Ã voler dans tes bras! to fly into my arms! Ah! rÃ©ponds Ã ma tendresse! Ah! resond to my tenderness! Vers e moi, verse moi l'ivresse! Pour out to me the drunkeness! Weep You No More Weep you no more, sad fountains; What need you flow so fast? Look how the snowy mountains Heaven's sun doth gently waste! But my sun's heavenly eyes View not your weeping, That now lies sleeping, Softly now, softly lies Sleeping. Sleep is a reconciling, A rest that peace begets; Doth not the sun rise smiling When fair at e'en he sets? Rest you, then, rest, sad eyes! Melt not in weeping, While she lies sleeping, Softly now, softly lies Sleeping. Come, O come, my life's delight! Let me not in languor pine: Love loves no delay, thy sight The more enjoyed, the more divine. O come, and take from me The pain of being deprived of thee. Thou all sweetness dost enclose, Like a little world of bliss: Beauty guards thy looks: the rose In them pure and eternal is. Come then! and make thy flight As swift to me as heavenly light! Damask Roses
Lady, when I behold the roses sprouting, Which clad in damask mantles deck the arbours, And then behold your lips where sweet love harbours, My eyes present me with a double doubting; For, viewing both alike, hardly my mind supposes Whether the roses be your lips or your lips the roses. The Faithless Shepherdess While that th e sun with his beams hot ScorchÃ¨d the fruits in vale and mountain, Philon, the shepherd, late forgot, Sitting beside a crystal fountain, In shadow of a green oak tree, Upon his pipe this song play'd he: Adieu, Love, adieu, Love, untrue Love, Untrue Love, untrue Love, adieu, Love! Your mind is light, soon lost for new love. So long as I was in your sight I was your heart, your soul, [and] 1 treasure; And evermore you sobb'd and sigh'd Burning in flames beyond all measure: Three days endured your love to me And it was lost in other three! Adieu, Love, adieu, Love, untrue Love, Untrue Love, untrue Love, adieu, Love! Your mind is light, soon lost for new love. By A Fountainside Slow, slow, fresh fount, keep time with my salt tears: Yet slower, yet; O faintly , gentle springs: List to the heavy part the music bears, Woe weeps out her [division] 2 when she sings. Droop herbs and flowers, Fall grief in showers, Our beauties are not ours; O, I could still, Like melting snow upon some craggy hill, Drop, drop, drop, drop, Since nature's pride is, now, a withered daffodil. Fair House of Joy
Fain would I change that note To which fond Love hath charm'd me Long, long to sing by rote, Fancying that that harm'd me: Yet when this thought doth come 'Love is the perfect sum Of all delight!' I have no other choice Either for pen or voice To sing or write. O Love! they wrong thee much That say thy fruit is bitter, When thy rich fruit is such As nothing can be sweeter. Fair house of joy and bliss, Where truest pleasure is, I do adore thee: I know thee what thou art, I serve thee with my heart, And fall before thee. Nebbie Soffro, lontan lontano Le nebbie sonnolente Salgono dal tacente Piano. Alto gracchiando, i corvi, Fidati all'ali nere, Traversan le brughiere Torvi. Dell'aere ai morsi crudi Gli addolorati tronchi Offron, pregando, i brochi nudi. Come ho freddo! Son sola; Pel grigio ciel sospinto Un gemito destinto Vola; E mi ripete: Vieni; Ãˆ buia la vallata. O triste, o disamata Vieni! Vieni! Fog I suffer. Far, far away The sleeping fog Rises from the quiet plain. Shrilly, cawing, the crows, Trusting their black wings, Traverse the moors, grimly. To the raw bites of air The sorrowful tree trunks Offer, praying, their bare branches. How cold I am! I am alone; Driven through the gray sky A groan of the dead soars. And repeats to me: come; The valley is dark. O sad one, o unloved one, come! Come!
Notte Sul giardino fantastico Profumato di rosa La carezza de l'ombra Posa. Pure ha un pensiero e un palpito La quiete suprema, L'aria come per brivido Trema. La luttuosa tenebra Una storia di morte Racconta alle cardenie Smorte? Forse perchÃ© una pioggia Di soavi rugiade [Entro socchiusi] 1 petali Cade, Su l'ascose miserie E su l'ebbrezze perdute, Sui muti sogni e l'ansie Mute. Su le fugaci gioie Che il disinganno infrange La notte le sue lacrime Piange. Night In the fantastic garden Perfumed with roses The caress of shadows descends. With both thought and pulse The supreme stillness Shakes the air like a shiver. Does the mournful darkness Tell a story of death To the pale gardenias? Perhaps, because a shower Of gentle dew falls Into the half closed petals. For rising miseries And for lost passions, For mute dreams and mute anxieties, For fleeting joys Shatter ed by disillusion, The night weeps her tears. Stride la vampa! The crackling flame fizzles! Stride la vampa! The crackling flame fizzles! la folla indomita the unyielding crowd corre a quel fuoco runs to that fire lieta in sembianza; happy in countenance; urli di gioia Merry shouts intorno echeggiano: echo all around; cinta di sgherri escorted by guards donna s' avanza! a woman makes forth! Sinistra splende Sombre shi nes sui volti orribili on that terrible faces la tetra fiamma the gloomy flame che s'alza al ciel! that reaches up to the sky! Stride la vampa! The crackling flame fizzles! giunge la vittima The victim arrives, nerovestita, clad in black, discinta e scalza! half dressed, barefoot!
Grido feroce A ferocious cry di mortr levasi; of death rises. l' eco il ripete the echo repeats di balza in balza! it all along the clif fs! Sinistra splende Sombre shines sui volti orribili on that terrible faces la tetra fiamma the gloomy flame che s'alza al ciel! that reaches up to the sky!
BIOGRAPHICAL SKETCH Cammie Jo Smallwood, Mezzo Soprano, is a versatile young artist, active on opera and concert stages across the South. She possesses years of experience singing in musical theatre, opera, and concert productions. Notable past roles in musical theatre incl ude Connie Lane in Good News , Miss Hannigan and Grace Farrell in Annie , and Anita in West Side Story . Cammie Cos Ã¬ fan tutte Il trovatore, and Dalila in Saint Samson et Da lila . Her solo concert appearances have also Requiem Requiem and Regina Coeli, K. 276 , and the alto solo in the world premiere of the recently discovered and transcribed Boliv ian Baroque mass Missa EncarnaciÃ³n . In the summer of 2012, Ms. Smallwood was given the distinct honor of working with Academy Award winning composer Michael Giacchino in collaboration with the Dallas Symphony Orchestra; she was the only featured vocal solo ist of the weekend concert series, which consisted of Michael winning film, television and video game scores. Ms. Smallwood has recently accrued new credits to her name, singing as the alto soloist A New Creation with th e Hilton Head Choral Society in Hilton Head, South Dido and Aeneas . For the summer of 2013, Cammie Jo plans to travel to Vienna, Austria to participate in a two week Mus ic Academy with Varna International and the prestigious Mahler Institute of Music. Ms. Smallwood has been given the distinct honor of performing as a soloist for the anguage Ein Deutsches Requiem with other Academy singers.
A native of the Dallas Fort Worth area of Texas, Ms. Smallwood graduated Cum Laude from the University of Texas at Arlington with a Bachelor o f Music in 2011. She majored in Music Education, also gaining teaching certification. In her undergraduate career she was a and President/ Vice chapter of the music fraternity for women, Sigma Alpha Iota. Her voice teachers in Texas included Dr. Kecia Ashford, Charles Nelson, and Dr. Soo Hong Kim. Ms. Smallwood is currently studying music at the Univ ersity of Florida where she aspires to attain a Master of Music degree with a concentration in Vocal Performance. She studies voice with Dr. Elizabeth Graham.