Allison Byrom '22 soprano - David Utterback, piano Junior Recital
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Junior Recital
Allison Byrom ’22
soprano
David Utterback, piano
Department of Music
145th Concert Season
Concert No. 19
Sunday, Apri 25, 2021
5:00 pm | Virtual RecitalPROGRAM
Malinconia, ninfa gentile Vincenzo Bellini
Bella Nice, che d’amore (1801-1835)
Quando incise su quel marmo
Twelve Poems of Emily Dickinson (1960) Aaron Copland
Heart, we will forget him (1900-1990)
Sleep is supposed to be
When they come back
V’adoro, pupille from Giulio Cesare George Frideric Handel
(1685-1759)
Après un rêve Gabriel Fauré
Nell (1845-1924)
Ici-bas!
Allerseelen Richard Strauss
Breit über mein Haupt dein schwarzes Haar (1864-1949)
Zueignung
Chi vive amante from Alessandro nell’Indie Franz Joseph Haydn
(1732-1809)Allison Byrom is a student of
Jameson James, Part-Time Instructor of Applied Music.
This recital is in partial fulfillment of requirements for the
Bachelor of Music in Performance.
ACKNOWLEDGEMENTS
Production Managers: Audrey Colgrove ‘21, Christian Erben ‘21, Madalyn Lamb ‘22
Head Technical Assistants: Andrew Snyder ‘21, Jaime Hotaling ‘23, Ale Reyes Salinas ‘21
Ben Munoz ‘21, Jo Garza ‘21, Hannah Rutt ‘22
Technical Assistants: Abby Prilliman ‘21, Micah Stanley ‘22, Max Schein ‘22,
Logan Holmes ‘22, Hailey Cagle ‘23
Laura Sewell, ‘95, Director of the Sarofim School of Fine Arts Administration
Katheryn Garza, Administrative Assistant
Olivia Wise ‘18, Sarofim School of Fine Arts Coordinator
Kiyoshi Tamagawa, Professor of Music & Program EditorDepartment of Music
145th Concert Season
Concert No. 19
Junior Recital
Allison Byrom ’22, soprano
David Utterback, piano
Sunday, April 25, 2021 | 1:00 p.m. | Virtual Recital
PROGRAM TEXTS AND TRANSLATIONS
Vincenzo Bellini was one of the great Bel Canto opera composers of the 19th century. He was
known for writing expressive melodies with intense focus on the sensitivity of text. I chose these
pieces for their beautiful legato line and emotion.
Malinconia, ninfa gentile Melancholy, gentle nymph
Malinconia, ninfa gentile, Melancholy, gentle nymph,
la vita mia consacro a te; I devote my life to you.
i tuoi piaceri chi tiene a vile, One who despises your pleasures
ai piacer veri nato non è. Is not born to true pleasures.
Fonti e colline chiesi agli Dei; I asked the gods for fountains and hills;
m’udiro alfine, pago io vivrò, They heard me at last; I live satisfied
né mai quel fonte co’ desir miei, Even though, with my desires, I never
né mai quel monte trapasserò. Go beyond that fountain and that mountain.
Bella Nice, che d’amore Beautiful Nice, who arouses
Bella Nice, che d’amore Beautiful Nice, who arouses
desti il fremito e il desir, ah! The trembling and desire of love- ah!
Bella Nice, del mio core Beautiful Nice, sweet hope
dolce speme e sol sospir, And sole yearning of my heart,
Ahi! verrà, né sì lontano, Alas, it will come- and perhaps
forse a me quel giorno è già, That day is already not so far away from me-
che di morte l’empia mano When the pitiless hand of death
il mio stame troncherà. Will cut short my life’s thread.
Continued on next pageBella Nice, che d’amore - cont. Quando in grembo al feral nido When in the bosom of the ungodly final abode peso, ahi! misero, io sarò, Lifeless- alas, wretched- I will be, deh, rammenta quanto fido Please, please remember how faithfully questo cor ognor t’amò. This heart always loved you. Sul mio cenere tacente Upon my silent ashes se tu spargi allora un fior, Should you then cast a flower, Bella Nice, men dolente Beautiful Nice, less sorrowful dell’avel mi fia l’orror. Will the horror of the tomb be for me. Non ti chiedo che di pianto I do not ask that, with tears, venga l’urna mia a bagnar, ah! You may come to bathe my grave - ah! se sperar potess’io tanto, If I could hope for so much vorrei subito spirar. I should wish to die at once. Quando incise su quel marmo When she carved on this marble Questa è la valle, il sasso è questo This is the valley, the stone on which in cui di Gilda al nome unito Gilda’s name together il mio nome è scolpito, with my name is carved e in queste guise, but [why] in this manner, se tradirmi volea, perché l’incise? if she would [eventually] betray me, why engrave it? Quando incise su quel marmo When she carved on this marble l’infedele il nome mio, faithless, my name, invocando il cieco Dio, calling on the blind God, fede eterna a me giurò. she swore eternal faith to me. Spergiura! e questa pietra Perjurer! and this stone il mio nome addita ancora, still bears my name, ma l’idea di chi t’adora, but the idea of [the] one who adores you, nel tuo sen si cancellò. [has been] erased from your bosom. Aaron Copland was one of the most well known contemporary American composers. The three pieces I have chosen come from his Twelve Poems of Emily Dickinson. Now considered one of his greatest accomplishments, when they premiered Copland remarked in a letter to Leonard Bernstein,”The reviews were so bad that I decided I must have written a better cycle than I had realized.” Copland perfectly captures Emily Dickinson’s writing style in these pieces through large leaps and syncopated rhythms that give a speech-like quality.
Heart, we will forget him
Heart, we will forget him
You and I, tonight.
You may forget the warmth he gave,
I will forget the light.
When you have done, pray tell me,
That I my thoughts may dim;
Haste! lest while you’re lagging,
I may remember him!
Sleep is supposed to be
Sleep is supposed to be,
By souls of sanity,
The shutting of the eye.
Sleep is the station grand
Down which on either hand
The hosts of witness stand!
Morn is supposed to be,
By people of degree,
The breaking of the day.
Morning has not occurred!
That shall aurora be
East of Eternity;
One with the banner gay,
One in the red array, –
That is the break of day.
When they come back
When they come back if Blossoms do
I always feel a doubt
If Blossoms can be born again
When once the Art is out
When they begin, if Robins do,
I always had a fear
I did not tell, it was their last Experiment
Last Year,
When it is May, if May return,
Has nobody a pang
That on a Face so beautiful
He might not look again?
Continued on next pageWhen they come back - cont. If I am there, One does not know What Party one may be Tomorrow, but if I am there I take back all I say George Frederick Handel is one of the most prolific late Baroque (Rationalist) composers. This da capo aria is sung by Cleopatra in Act Two of his opera Giulio Cesare. During this aria, she is captivating Caesar into falling in love with her, ultimately trying to trick him into overthrowing her brother, the king of Egypt. I chose this piece for its emotion (though feigned) and dramaticism. V’adoro, pupille from Giulio Cesare I adore you, eyes V’adoro, pupille, I adore you, eyes, saette d’amore, lightning bolts of love, le vostre faville your sparks son grate nel sen. are welcome in my breast. Pietose vi brama My sad heart il mesto mio core, desires you (to be) compassionate, ch’ogn’ora vi chiama (my heart) which at every hour calls you l’amato suo ben. its dearest beloved. Gabriel Fauré was one of the most important French composers of his generation. His dreamy and expressive melodic lines, as well as the focus on connection to people and the world, which we are missing right now, connect the three mélodies I have chosen to perform. Après un rêve After a dream Dans un sommeil que charmait ton image In sleep made sweet by a vision of you Je rêvais le bonheur, ardent mirage, I dreamed of happiness, fervent illusion, Tes yeux étaient plus doux, ta voix pure et sonore, Your eyes were softer, your voice pure and ringing, Tu rayonnais comme un ciel éclairé par l’aurore; You shone like a sky that was lit by the dawn; Tu m’appelais et je quittais la terre You called me and I departed the earth Pour m’enfuir avec toi vers la lumière, To flee with you toward the light, Les cieux pour nous entr’ouvraient leurs nues, The heavens parted their clouds for us, Splendeurs inconnues, lueurs divines entrevues. We glimpsed unknown splendours, celestial fires. Hélas! hélas, triste réveil des songes, Alas, alas, sad awakening from dreams! Je t’appelle, ô nuit, rends-moi tes mensonges; I summon you, O night, give me back your delusions; Reviens, reviens, radieuse, Return, return in radiance, Reviens, ô nuit mystérieuse! Return, O mysterious night!
Nell Nell Ta rose de pourpre à ton clair soleil, Your crimson rose, o June, Ô Juin, étincelle enivrée, sparkles intoxicated to your bright sun; Penche aussi vers moi ta coupe dorée: tilt your gilded cup towards me too: Mon coeur à ta rose est pareil. my heart and your rose are alike. Sous le mol abri de la feuille ombreuse From beneath the soft shelter of the shady leaf Monte un soupir de volupté: rises a sigh of delight; Plus d’un ramier chante au bois écarté. more than one dove sings its amorous lament , Ô mon coeur, sa plainte amoureuse. o my heart, in the lonely wood. Que ta perle est douce au ciel enflammé. How sweet your pearl is in this flaming sky, Étoile de la nuit pensive! star of the pensive night! Mais combien plus douce est la clarté vive But how much sweeter is the vivid brightness Qui rayonne en mon coeur, en mon coeur charmé! which shines in my enchanted heart! La chantante mer. le long du rivage, The singing sea, along the shore, Taira son murmure éternel, will silence its eternal murmuring, Avant qu’en mon coeur, chère amour. before your image stops flowering Ô Nell, ne fleurisse plus ton image! in my heart, dear beloved, o Nell! Ici-bas! Down here! Ici-bas tous les lilas meurent, Down here all lilacs are dying, Tous les chants des oiseaux sont courts; all the songs of the birds are short; Je rêve aux étés qui demeurent I dream of the summers which last Toujours... Forever... Ici-bas les lèvres effleurent Down here lips touch Sans rien laisser de leurs velours; without parting with any of their velvet; Je rêve aux baisers qui demeurent I dream of the kisses which last Toujours... Forever... Ici-bas tous les hommes pleurent Down here all men weep for Leurs amitiés ou leurs amours; their friendships or their loves; Je rêve aux couples qui demeurent toujours I dream of the couples who last Toujours... Forever... Richard Strauss was a German composer and conductor well known for his lieder, operas, and orchestral works. He was the most published composer of the early 20th century. Strauss emphasized text and emotion throughout his work and would often stress the importance of the text being communicated. The pieces I am performing focus on emotion through the text and long legato line.
Allerseelen All Souls’ Day Stell auf den Tisch die duftenden Reseden, Set on the table the fragrant mignonettes, Die letzten roten Astern trag herbei, Bring in the last red asters, Und laß uns wieder von der Liebe reden, And let us talk of love again Wie einst im Mai. As once in May. Gib mir die Hand, daß ich sie heimlich drücke, Give me your hand to press in secret, Und wenn man’s sieht, mir ist es einerlei, And if people see, I do not care, Gib mir nur einen deiner süßen Blicke, Give me but one of your sweet glances Wie einst im Mai. As once in May. Es blüht und duftet heut auf jedem Grabe, Each grave today has flowers and is fragrant, Ein Tag im Jahr ist ja den Toten frei, One day each year is devoted to the dead; Komm am mein Herz, daß ich dich wieder habe, Come to my heart and so be mine again, Wie einst im Mai. As once in May. Breit über mein Haupt dein schwarzes Haar Spread over my head your black hair Breit’ über mein Haupt dein schwarzes Haar, Spread over my head your black hair, Neig’ zu mir dein Angesicht, and incline to me your face, Da strömt in die Seele so hell und klar so that into my soul, so brightly and clearly, Mir deiner Augen Licht. will stream your eye’s light. Ich will nicht droben der Sonne Pracht, I do not want the splendor of the sun above, Noch der Sterne leuchtenden Kranz, nor the glittering crown of stars; Ich will nur deiner Locken Nacht I want only the night of your locks Und deiner Blicke Glanz. and the radiance of your gaze. Zueignung Dedication Ja, du weißt es, teure Seele, Yes, dear soul, you know Daß ich fern von dir mich quäle, Liebe macht die That I’m in torment far from you, Herzen krank, Love makes hearts sick – Habe Dank. Be thanked. Einst hielt ich, der Freiheit Zecher, Once, revelling in freedom, Hoch den Amethysten-Becher, I held the amethyst cup aloft Und du segnetest den Trank, And you blessed that draught – Habe Dank. Be thanked. Und beschworst darin die Bösen, And you banished the evil spirits, Bis ich, was ich nie gewesen, Till I, as never before, Heilig, heilig an’s Herz dir sank, Holy, sank holy upon your heart – Habe Dank! Be thanked.
Franz Joseph Haydn was one of the most influential composers in developing the style of the Classical Era. He spent a large part of his career under the patronage of the Esterházy court. This is where Haydn composed many of his operas. I chose this piece for its playful melodic line and melismas. Chi vive amante from Alessandro nell’Indie Who lives lovingly Chi vive amante, Who lives lovingly, So che delira, They are delirious, Spesso si lagna, sempre sospira, Often complain, always sigh, Ne d’altro parla che di penar Speak of nothing but suffering. Io non m’affano, I don’t care, Non mi querelo, Do not sue me, Dunque il mio core d’amor non passa Therefore my heart of love does not pass, Ne crudo amore fa sospirar Raw love makes you sigh.
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