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CALIFORNIA STATE UNIVERSITY, NORTHRIDGE
Nature Of The Human Heart: A Recital Inspired By Themes Of Nature From Isao Takahata’s
Film The Tale of Princess Kaguya
A graduate project submitted in partial fulfillment of the requirements for the degree of Master
of Music in Music, Performance
By
Niko Murakami
December 2021The graduate project of Niko Murakami is approved:
_________________________________ ______________________
Shigemi Matsumoto Date
_________________________________ _______________________
Mercedes Juan Musotto Date
_________________________________ _______________________
Dr. Hugo Vera, Chair Date
California State University, Northridge
ii
Table of Contents Signature Page……………………………………………………………………………... ii Abstract…………………………………………………………………………………….. iv Bibliography………………………………………………………………………………...1 Appendix A: Program……………………………………………………………………… 3 Appendix B: Text and Translations………………………………………………………... 6 Acknowledgement…………………………………………………………………………. 22 iii
Abstract
Nature Of The Human Heart: A Recital Inspired By Themes Of Nature From Isao
Takahata’s Film The Tale of Princess Kaguya
By
Niko Murakami
Master of Music in Music, Performance
The program selection is inspired by nature found within plants and humans. One of the
biggest influences is Isao Takahata’s film The Tale of Princess Kaguya (2013).1 The Tale of
Princess Kaguya was the last film Takahata directed, whose film credits also include Grave of
the Fireflies (1988) and Only Yesterday (1991).2 The film is a retelling of the Japanese folklore
about a young girl found within a bamboo shoot by a bamboo cutter.3 However, Takahata takes
the story farther into depth by exploring the development of Kaguya’s character as she learns
what it means to be human.
Nature and the seasons play an important role in The Tale of Princess Kaguya. The
genuine theme consisting of the connection humans have with nature is emphasized. Artists,
whether they are filmmakers or composers have tried helping people see the bond between
human and nature for centuries. Isao Takahata exemplifies this bond in The Tale of Princess
Kaguya. The depiction of Kaguya’s connection with nature made this film mesmerizing. It is
what healed her in her moments of sadness and despair. Nature also moved the story along to
1
The Tale of Princess Kaguya, directed by Isao Takahata (2013; Tokyo Japan: Toho Co., Ltd), HBOMax.
https://www.hbomax.com/feature/urn:hbo:feature:GXrS6Pgh76I5awgEAAAM5.
2
Shiro Yoshioka, “Road to Fame: Social Trajectory of Takahata Isao,” Arts (Basel) 9, no. 3 (July 7 2020): 81, accessed
November 10, 2021, https://doi.org/10.3390/arts9030081.
3
Traditional, “The Tale of the Bamboo Cutter,” Mānoa 29, no. 2 (2017): 2-4. accessed November`9, 2021.
https://www.jstor.org/stable/26591438.
iv
represent the coming and going of time. Along with the heroine’s notable relationship with
nature, the film also shows the perspective of being human. It follows Kaguya’s experiences of
growing up. A film like The Tale of Princess Kaguya brings back the idea of how the Japanese
value life. As humans experience moments of great joy and suffering, one can learn that pain felt
in life does not mean there is no goodness in the world. A tale about the relationship humans
have with nature and each other, Tale of Princess Kaguya is a film depicting the beauty of life
seen within the eyes of the Japanese. The program’s selections were chosen primarily by each
piece depicting the nature of plants and humans.
The opening set of this program is to focus on the celebration of life. A piece that
resonates gratitude toward living is Wolfgang Amadeus Mozart’s “Laudamus Te” from his Mass
in C Minor. The choice of beginning the recital with this piece is due to the uplifting, spirited
tone heard through Mozart’s score and text in Latin. Mozart composed this piece as a personal
dedication to his wife, Constanze Weber.4 Both were married without the blessing of Mozart’s
father and suffered losing their son two months after his birth5. Despite the trials and tribulations
of their marriage, Mozart loved Weber. A declaration to love and life itself, this piece sets a
theme by Mozart to celebrate all there is to being alive. Based on the translation of the Latin text
and background behind the composition of “Laudamus Te”, the image of two parents celebrating
life with the arrival of a child came to mind. The most influential aspect of the piece brings to
mind the scene when Kaguya becomes the daughter of the bamboo cutter and his wife.
The German set consists of pieces demonstrating symbolic connection between humans
and nature. The themes admiring nature are frequently used within a German lied to express the
beauty of being human. This set consists of five songs composed by Schumann, Schubert, Wolf,
4
Wolfgang Amadeus Mozart, preface to Missa in C minor, ed. Ulrich Leisinger (Salzburg: Bärenreiter, 2019), vii.
5
Wolfgang Amadeus Mozart, preface to Missa in C minor, ed. Ulrich Leisinger (Salzburg: Bärenreiter, 2019), vii.
v
and Mendelssohn. Five of the songs’ text and music fabricate images depicting movement and
emotion within each piece. Each lied’s design of nature is as beautiful as the visual art of nature
seen within The Tale of Princess Kaguya.
The real beauty of any living thing is by how it perseveres through the hardship of life.
Beginning the German set is a lied by Robert Schumann (1810-1856) titled “Meine Rose.” The
lied tells the story of one caring for a rose plant that was damaged by the rays of the sun. Hoping
to revive the rose, the narrator gives the rose water that was retrieved from a well. Through
deeper context, this lied speaks about one’s love and admiration for someone who has lived
through the pain and struggles of life. The rose is symbolic of the narrator’s loved one and the
well from which it receives water is the narrator. Accompanying the story, Schuman composed a
piano part which depicts the gentle nature of the narrator.
The next piece is “Nachtviolen” by Franz Schubert (1797-1828). “Nachtviolen” is about
a flower known as a Dame’s violet. The text of Schubert’s “Nachtviolen” personifies the
flower’s beautiful attributes, However, its personality is melancholic towards spring. The piano
illustrates the timid and sad nature of the flower whom only meets her lover in the night. The
lied’s description of the violet is detailed very well from which one can simply understand the
characteristics of the flower as though the flower were a human. In its context, the piece could
also be interpreting the tale of a woman who is only allowed to see her lover at dusk. To
elaborate, she would be ridiculed if she were to be seen with her lover which is why she is in a
saddened state in the day.
The next piece titled “Der Gärtner,” is by Hugo Wolf (1860-1903). The text of this piece
translates a story of a gardener who one day sees a beautiful princess coming down the road on a
white horse. In attempt to catch her attention, the gardener gives the princess one of the flowers
vi
from the garden. Hoping the princess will accept the romantic gesture, the piece ends with the
gardener offering her to take all the flowers in the garden. Wolf created the lied’s introduction
with a pattern within the structure to resemble the horse’s hooves hitting the pavement while
coming down the avenue. Other fundamentals within the music that play an important narrative
is the dynamic, ritardando. The indication of ritardando plays an important role in phrases such
as “eine Blüthe von mir” in English meaning, “A flower from me.” It highlights a special
moment between the gardener giving a flower to the princess. Another place ritardando is found
is in the phrase, “nimm tausend für Eine, nimm alle dafür!” which translates to, “take thousand
for one, take all for it!” Out of the two Wolf pieces within this program, “Der Gärtner” has the
most contrast in dynamics.
The other lied by Wolf in this program is “Blumengruß,” which is about the narrator’s
pure love for the one person of his affection. It tells the story of a person who picked a bouquet
for the one he loves a thousand times in hopes the gesture of love will be returned. The color
within the piano part and the text sung by the vocalist together creates a timid, sweet, and
melancholy tone. The vocal line and the piano part perform two different melodies from each
other. To elaborate, the piano plays chords while the vocalist sings the text which is either in
between or outside the chord. Together, the melodies manage to weave together. The piano
chord progressions in the right hand are in the higher register and moves downward. The left
hand plays something similar, only the beginning chord is low and then progresses to a higher
chord. This contrary motion of the hands perhaps symbolizes the narrator’s desire to be closer to
the one he or she loves. However, the final chord played in the last measure signifies hopeful
thoughts. This piece could be interpreted with an expression of hope and strength. By the end,
the narrator is still left with nothing.
vii
The final lied within the German set is “Frühlingsglaube” by Felix Mendelssohn (1809 -
1847). The structure of the introduction played by the piano resembles a motion of leaps or
sprinting. With the tempi of allegro e vivace, Mendelssohn perhaps composed it in a way to
mimick the energetic forces of spring. In the line, “Nun muss sich Alles, Alles wenden,” which
translates to “Now it must all, all change,” refers to both humans and nature.
“Les chemins de l’amour,” by Francis Poulenc (1899-1963) premiered in Jean Anouilh’s
1940 play, Leocadia.6 A play revolving around a story of a depressed prince and an actress who
is hired to portray the prince’s deceased lover, Léocadia.7 The song is one of the few pieces
amongst Poulenc’s credited incidental music works.8 The piece, “Les chemins de l’amour”
(translates as “The Paths of Love” in English) resembles the scene from The Tale of Princess
Kaguya in which Kaguya and Sutemaru, a peasant boy she befriended as a child, reunite. After
many years apart, Kaguya and Sutemaru reminisce how they used to spend time together before
she departed for the city. Their reunion includes the two professing their love for one another
even after Sutemaru decides to move on with his life. The text from “Le chemins de l’amour” is
bittersweet as the moment Kaguya and Sutemaru share their thoughts of how life might have
been if both chose to be together.
The next piece of the French set is a mélodie titled “Les Roses d’Ispahan” by Gabriel
Fauré (1845-1924). Before Poulenc, Fauré was credited as the last great composer of French
melodie.9 A pioneer of composing pieces displaying French Romanticism, Fauré created this
6
Jean Anouilh, Léocadia, ed. Bettina L. Knapp and Alba della Fazia (New York: Appleton-Century-Crofts, 1965).
7
Jean Anouilh, introduction to Léocadia, ed. Bettina L. Knapp and Alba della Fazia (New York: Appleton- Century-
Crofts, 1965), x-xi.
8
Myrian Chimènes and Roger Nichols, “Poulenc, Francis,” Grove Music Online. 2001; accessed 17 Nov. 2021.
https://doi-org.libproxy.csun.edu/10.1093/gmo/9781561592630.article.22202
9
Myrian Chimènes and Roger Nichols, “Poulenc, Francis,” Grove Music Online. 2001; accessed 17 Nov. 2021.
https://doi-org.libproxy.csun.edu/10.1093/gmo/9781561592630.article.22202
viii
mélodie inspired by themes of the Orient.10 Inspired by the text of a poem written by Charles
Marie René Leconte de Lisle (1818-1894), Fauré interpreted the text to create what is considered
a “contemporary” piece amongst his works which were inspired by Lisle’s poems.11 The cities of
Isafan and Mosul are depicted within the pieces as places where roses bloom and jasmine
flowers perfume the air. Fauré frequently mentions the flowers as he does with the name, Leilah.
An assumption can be made that “Leilah” may be referring to a type of flower with another
exotic scent or it is a common French name in Fauré used to make reference to a woman. The
imagery along with textual painting of nature is heard within both the voice and the piano. Both
parts create an image of a warm, vast, and exotic land.
The final pieces of the French set include “Fantoches” and “Aquarelles (Green)” by
Claude Debussy (1862-1918). “Fantoches,” which translates to the word “puppets,” follows
various scenes involving fictional characters behaving mischeviously and audaciously late at
night. The puppets in the plot of “Fantoches” are possibly displaying a version of human nature
that is not seen out in the open. To elaborate, the puppets are used to depict humans engaging in
activities one may find threatening or indecent in reality. However, it is comical for the puppets
in “Fantoches” to do so because they are not real people. Another important part found within
“Fantoches” is the usage of the text, “la la la.” It could possibly be interpreted as laughter
coming from an audience watching the puppets performing on stage. Overall, this piece might be
a form of joke. In regards to the story being told in “Fantoches” and the time of Debussy, the
show being put on by the puppets is making the audience burst into a fit of laughter at all the
jokes. However, what they probably do not know is that they, the audience, is being represented
10
Carol Kimball, “Gabriel Fauré (1845-1924),” in Song: A Guide to Art Song Style and Literature (Milwaukee: Hal
Leonard Corporation, 2005), 184.
11
Graham Johnson, Gabriel Fauré: The Songs and their Poets (Farnham, UK: Ashgate Publishing, 2009), 150- 152.
ix
by the puppets themselves.
Closing the set is Debussy’s “Aquarelles (Green).” The melodié depicts someone who
would do anything for the person with whom they are in love. It is also a mélodie about one
seeking shelter and comfort in another’s arms and falling asleep in their embrace. In general,
there is a display of desire of someone wanting to find human connection through physical touch.
This piece reveals of human nature so beautifully that I had to include it in my program.
My recital is also dedicated to the importance of identity. As a child being brought up by
a Japanese-American father and native Japanese mother, it mattered so much to include a set of
songs by Japanese composers. Performing songs in Japanese was a personal choice as identity
also plays a major role in Tale of Princess Kaguya. It is important, not only as a person, but also
as a performer to know one’s roots.
“Kimigayo,” is Japan’s national anthem. Growing up in America, the United States
national anthem continues to be played avidly at schools, sports games, and during the nation’s
most difficult times. An anthem’s sole purpose is to lift a nation’s spirit and remind the people
what the country is striving for. Whereas for Japan’s anthem, the text basically states that the
country hopes that its people will come together to one day bring peace to the land of Japan. The
anthem’s origins date back to late nineteenth century.12 It was a way to pay respect to the
Emperor whom the people believed was chsen by God to rule the country.13 Today, “Kimigayo”
represents more than just a lineage of rulers, it has become an anthem that represents the
country’s strength and determination to bring peace.
The next two songs are by Japanese composer, Rentaro Taki. “Kojo no Tsuki,” is a song
12
Yuichi Moroi, “The Flag and Anthem in Japan,” Peace Review: A Journal of Social Justice 32, no. 2 (April 20
2020): 213.
13
Yuichi Moroi, “The Flag and Anthem in Japan,” Peace Review: A Journal of Social Justice 32, no. 2 (April 20
2020): 213.
x
in which the speaker reminisces about the moon casting its shadow upon a beautiful castle.
“Hana” (translates to “flower”), is a song about the blooming of the cherry blossoms in the
spring. Both create an illusion of the beauty of Japan.
“Tell Me Oh Blue Blue Sky” by Vittorio Giannini (1903-1966), begins the set of
American art songs. This expresses the remorse one feels after losing a loved one. The speaker
seeks nature for comfort while seeking an answer from the sky as to why the speaker’s loved one
had to leave. The conclusion of the song is left with the speaker addressing the sky once more.
The end can be interpreted either as sad or hopeful. However, without love there is only
suffering.
The American art song “Goodby, Goodby World” by Lee Hoiby (1926-2011) is another
musical variation inspired by Emily’s final monologue from Thornton Wilder’s Our Town. In the
key of A-flat Major, Hoiby composed his piece with directions for the piano to play lento
espressivo.14 This introduction gives a tone that is rich, warm, and solemn. By listening to this
introduction, this may indicate the emotions building within Emily before she prepares to say
farewell to the life she once knew. Another emotion one can possibly analyze from the
introduction is a feeling of being at peace. This may have been composed to paint an image of
Emily peacefully accepting the fact she is no longer alive. Inspired by the play Our Town by
Thornton Wilder, American composers Ned Rorem (1923-present) and Lee Hoiby created
operatic versions of one of the play’s notable monologues. The two pieces are sung by the
character Emily, a young woman born and raised in the small town of Grover’s Corners. She
remains there all her life until it is cut short after giving birth to her second child. This aria is
sung after she witnesses how her life used to be and how much it changed as the years went on.
14
Lee Hoiby, “Goodby, Goodby World,” ed. The Estate of Lee Hoiby (Fayetteville, AR: Classical Vocal Reprints,
2016), 1.
xi
Tearfully, she begs to go back to her grave on the hill overlooking the once populated town of
Grover’s Corners. This resembles the moment Princess Kaguya leaves her life on Earth. Both
Emily and Kaguya tearfully say goodbye to the life they once lived and how one never realizes
the wonders of life while living.
The musical theatre set within this program involves pieces exploring one’s searching
with loss, faith, and direction. “How Could I Ever Know?” from the musical, The Secret Garden,
was composed by Lucy Simon (?-present) and Marsha Norman (1947-present). It is a
composition that resonates one’s personal dealing with grief. Prior to “How Could I Ever
Know,” the character of Archibald Craven suffers from an emotional breakdown from
questioning how he could face the world without the love of his wife, Lily.15 Before he decides
to forget his memories of her, Lily’s spirit visits to comfort him.16 As Lily goes on to tell him
that though her passing was accidental and sudden, she asks Archibald to find a way to live again
even if she is not with him.17 Loss is another resonating theme in The Tale of Princess Kaguya,
as it is foretold that Kaguya would be taken away from her parents when the next full moon
arrives. Both works, The Tale of Princess Kaguya and The Secret Garden have scenes which are
related in themes of grief and loss.
Fictional tales can be important as the air we breathe. Stories like The Tale of Princess
Kaguya have been told in Japan for generations. Though it may be a folklore, it touched me
deeply. Whether it teaches children and grown ups important morals, fictional stories have a
great effect on those who are exposed to them. The mythological tales from Ancient Greece,
15
BwayDreamer1128, “The Secret Garden – Where in the World,” YouTube, November 3, 2011, video, 1:35,
https://youtu.be/s320wYhUCHI.
16
BwayDreamer1128, “The Secret Garden – Where in the World,” YouTube, November 3, 2011, video, 1:35,
https://youtu.be/s320wYhUCHI.
17
BwayDreamer1128, “The Secret Garden – How Could I Ever Know,” YouTube, November 3, 2011, video, 4:07,
https://youtu.be/JryHMQCLB3Y.
xii
while they are only fables, have elements which are deeply meaningful to me. Perhaps the reason
these stories have lived for so long is because they are a reflection of people. All the gods, the
kings, the warriors, and the damsels in distress all symbolize humans and their flaws. One
musical work in particular is the oratorio by Adam Guettel (1964-present) called Myths and
Hymns. Originally premiered under the title Saturn Returns, Guettel was influenced to write the
music and lyrics inspired by themes of human desire.18 The song “Migratory V” from the
oratorio is perhaps an elaborate composition about humans searching and hoping for a life where
all one’s questions about the quest for peace can be answered.
The song “On the Steps of the Palace” from the musical, Into The Woods, is an
explanatory piece Stephen Sondheim (1930-2021) composed to reveal that not all princesses
believe they will be happy in the arms of a wealthy prince. Sung by the character Cinderella, this
piece picks up right when she attempts to escape from sight before her true identity is revealed.
However, the prince pours sticky substance on the stairs on which Cinderella steps. As she
figures out how to get out, she also wonders how life would be like if she chose to let prince
charming catch her.While reviewing the text of this piece, the story seemed similar to the scene
of Princess Kaguya questioning how her life would be if she decided to marry one of her suitors.
Though their circumstances regarding marriage were different, neither Cinderella or Kaguya
decide to go on with the idea of marriage. The idea of a heroine wanting to remain true to herself
attracted me to include “On the Steps of the Palace” into my program.
Concluding the recital is “La Danza,” by Gioachino Rossini (1792-1868). This song
depicts a nocturnal festival taking place by the sea. The narrator encourages everyone to dance
with one another. The mood is quite different from the other selections in my recital. To me, it
18
Stephen Holden, “Myths Made Potent Through Stylistic Somersaults.” New York Times, April 10, 1998, ProQuest
Historical Newspapers.
xiii
displays the sincere joy and energetic side of life. It shows that life is not all bad and that there are times to be happy and joyful. In conclusion, experiencing every kind of emotion is part of being human. This recital is dedicated to every human being experiencing all the emotions of life. xiv
Bibliography
Anouilh, Jean. Léocadia. Edited by Bettina L. Knapp and Alba della Fazia. New York:
Appleton- Century-Crofts, 1965.
Anouilh, Jean. Introduction to Léocadia, vii-1. Edited by Bettina L. Knapp and Alba della Fazia.
New York: Appleton- Century-Crofts, 1965.
BwayDreamer1128. “The Secret Garden – How Could I Ever Know.” YouTube. November 3,
2011, Video, 4:07, https://youtu.be/JryHMQCLB3Y.
BwayDreamer1128. “The Secret Garden – Where in the World.” YouTube. November 3, 2011,
Video, 1:35, https://youtu.be/s320wYhUCHI.
Chimènes, Myriam, and Roger Nichols. “Poulenc, Francis.” Grove Music Online. 2001;
Accessed 17 Nov. 2021.
https://doi-org.libproxy.csun.edu/10.1093/gmo/9781561592630.article.22202.
Hoiby, Lee. “Goodby, Goodby World,” Edited by The Estate of Lee Hoiby. Fayetteville, AR:
Classical Vocal Reprints, 2016.
Holden, Stephen. “Music Review: Myths Made Potent Through Stylistic Somersaults.”
New York Times (1923-) (April 10 1998): E3. ProQuest Historical Newspapers.
https://libproxy.csun.edu/login?url=https://www.proquest.com/historical-
newspapers/myths-made-potent-through-stylistic-somersaults/docview/109949564/se-
2?accountid=7285.
Johnson, Graham. Gabriel Fauré: The Songs and their Poets. Farnham, UK: Ashgate Publishing,
2009.
Kimball, Carol. “Gabriel Fauré (1845-1924).” In Song: A Guide to Art Song Style and Literature
Revised Edition, 184. Milwaukee, WI: Hal Leonard Corporation, 2005.
Moroi, Yuichi. “The Flag and Anthem in Japan.” Peace Review: A Journal of Social Justice 32,
no. 2 (April 20 2020): 212-218. EBSCO
Host.
https://libproxy.csun.edu/login?url=https://search.ebscohost.com/login.aspx?direct=true&
db=aph&AN=148210406&site=ehost-live.
1
Mozart, Wolfgang Amadeus. Preface to Missa in C minor, vii-xxii. Edited by Ulrich Leisinger.
Salzburg: Bärenreiter, 2019.
Takahata, Isao, dir. The Tale of Princess Kaguya. 2013; Tokyo, Japan: Toho Co., Ltd. HBOMax.
https://www.hbomax.com/feature/urn:hbo:feature:GXrS6Pgh76I5awgEAAAM5.
Traditional. “The Tale of the Bamboo Cutter.” Mānoa 29, no. 2 (2017): 2-4. Accessed
November`9, 2021. https://www.jstor.org/stable/26591438.
Yoshioka, Shiro. “Road to Fame: Social Trajectory of Takahata Isao.” Arts (Basel) 9, no. 3 (July
17 2020): 81. Accessed November 10, 2021.
https://doi.org/10.3390/arts9030081.
2
Appendix A: Program
California State University, Northridge
Mike Curb College of Arts, Media, and Communication Department of Music
Presents
Niko Murakami
Soprano
In her Master of Music Recital
A student of Shigemi Matsumoto
Helen Wu, piano
Sunday, November 28, 2021, 12:30 PM
Cypress Recital Hall
In partial fulfillment of the Master of Music degree in Music, Performance
3
I.
“Laudamus Te” from Mass in C minor……………………...…….....Wolfgang Amadeus Mozart (1756 - 1791)
***
II.
“Meine Rose”………………………………………..……………….................Robert Schumann (1810 - 1856)
“Nachtviolen”……………………………..……………………………………….Franz Schubert (1797 - 1828)
“Der Gärtner”……………………………...…………………………………………...Hugo Wolf (1860 - 1903)
“Blumengruß”…………………………………...……………………………………..Hugo Wolf (1860 - 1903)
“Fruhlingsglaube”……………………………………………………………...Felix Mendelssohn (1809 - 1847)
***
III.
Les chemins de l’amour……………………………………………...……………Francis Poulenc (1899 - 1963)
Les Roses d’Ispahan………………………………….…………………..………….Gabriel Fauré (1845 - 1924)
Fantoches……………………………………………………………..………......Claude Debussy (1862 - 1918)
Aquarelles (Green)…………………………………………..……………………Claude Debussy (1862 - 1918)
***
Intermission
IV.
Kimigayo……………………………….……Hiromori Hayashi (1831 - 1896) and Yoshiisa Oku (1857 - 1933)
Kōjō no Tsuki…………………………………………...……………………………Rentarō Taki (1879 - 1903)
Hana…………………………………………………………..……………………...Rentarō Taki (1879 - 1903)
***
V.
“Tell Me, Oh Blue, Blue Sky”………………………………...…………………Vittorio Giannini (1903 - 1966)
“Goodby, Goodby World”………………………………………………..…………….Lee Hoiby (1926 - 2011)
4
“Take Me Back” from Our Town………………….………………..……………... Ned Rorem (1923 - Present)
***
VI.
“How Could I Ever Know?” from The Secret Garden…L. Simon (? - Present) and M. Norman (1947 - Present)
“Migratory V” from Myths and Hymns……………………………..…………....Adam Guettel (1964 - Present)
“On the Steps of the Palace” from Into The Woods……………………..……..Stephen Sondheim (1930 - 2021)
***
VII.
“La danza”……………………………………………………………..……….Gioachino Rossini (1792 - 1868)
***
End
*Please hold your applause at the end of each set marked by the asterisks*
THANK YOU
5
Appendix B:
Text and Translations
Laudamus Te We Praise You
Laudamus te. We praise you.
Benedicimus te. We bless you.
Adoramus te. We adore you.
Glorificamus te. We glorify you.
*****
Meine Rose My Rose
Dem holden Lentzgeschmeide, To the lovely jewel of Spring
Der Rose, meine Freude The Rose, my joy
die schon gebeugt und blasser you are now wilted and pale
vom heissen Strahl der Sonnen from the hot rays of sunlight
reich ich den Becher Wasser I give you this cup of water
aus dunklem, tiefen Bronnen from the dark, deep well
Du Rose meines Herzens! You Rose of my heart!
Vom stillen Strahl des Schmerzens From silent rays of Pain
Bist du gebeugt und blasser; You are wilted and pale
Ich möchte dir zu Füssen At your feet I would be
Wie dieser Blume Wasser Like water to a flower
still meine Seele giesen! I quietly give you my soul!
Könnt ich dann auch Could I never then
nicht sehen dich freudig auferstehen! ever see you happily return!
Nachtviolen Dame’s Violets
Nachtviolen, Dame’s violets,
dunkle Augen, seelenvolle dark, soulful eyes
selig ist es, sich versenken blissful it is, for one to sink
6
in dem sammten Blau. into your soft blue. Grüne Blätter streben freudig Green leaves worn with joy euch zu hellen, for you to look bright, euch zu schmücken; for you to look lovely; doch ihr blicket ernst und schweigend yet you look stern and quiet in die laue Frühlingsluft. into the mild air of Spring. Mit erhabnen Wehmuthsstrahlen With grand, sad beams trafet ihr mein treues Herz, Stricking my faithful heart, und nun blüht in stümmen Nächten blooms in the silent dark fort die heilige Verbindung. for our holy union. Der Gärtner The Gardener Auf ihrem Leibrösslein, On her favorite pony, so weiss wie der Schnee, so white as the snow, die schönste Princessin the beautiful Princess reit’t durch die Allee. rides down the avenue. Der Weg, den das Rösslein The path, which the pony hintanzet so hold, prances down smartly, der Sand, den ich streute, the Sand, which I left, er blinket wie Gold. shines like gold. Du rosenfarbs Hütlein, Your rose colored bonnet, wohl auf und worn very well up and wohl ab, well down, o wirf eine Feder verstohlen oh toss a feather gently her ab. down. Und willst du dagegen And I will give you eine Blüthe von mir, a flower from me, nimm tausend für Eine, only for you, 7
nimm alle däfür! do they all bloom!
Frühlingsglaube Spring Faith
Die linden Lüfte sind erwacht, Gentle breezes are awake
Sie säuseln und wehen Tag und Nacht, Whispers and stirs they make,
Sie schaffen an allen Enden. all around both day and night.
O frischer Duft, Oh fresh scent,
o neuer Klang! oh new sound!
Nun, armes Herze, sei nicht bang! Now, poor heart, fear not!
Nun muss sich alles, All things must now,
alles wenden. all change.
Die Welt wird schöner mit jedem Tag, The world grows fair each day,
Man weiß nicht, was noch werden mag, No one knows what is to come,
Das Blühen will night enden; Flowering will not end;
Es blüht das fernste, tiefste Tal: The far, distant valley blooms:
Nun armes Herz, vergiß der Qual! Now poor heart, rid your pain!
Nun muß sich alles, alles wenden. All things must now change.
*****
Les chemins de l’amour Paths of Love
Les chemins qui vont à la mer The paths that leads to the sea
Ont gardé de notre passage Have kept from our passage
Des fleurs effeuillées The petals of flowers stripped
Et l’écho sous leurs arbres And the echo under their trees
des nos deux rires clairs of our clear laughter.
Hélas des jours de bonheur Alas our days of happiness
Radieuses joies envolées Radiant joys have taken flight
Je vais sans retrouver traces Can I once again trace
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dans mon coeur within my heart Chemins de mon amour Paths of my love Je vous cherche toujours I always look for you Chemins perdus, vous n’êtes plus Lost paths, you have ceased Et vos échos sont sourds And your echos are silent Chemins du désespoir, Paths of despair, Chemins du souvenir, Paths of memory, Chemins du premier jour. Paths of the first day, Divins chemins d’amour Divine paths of love. Si je dois l’oublier un jour, If I must forget one day, La vie effaçant toute chose, All memories that life erases, Je veux dans mon coeur qu’un souvenir, I want my heart to keep one, Repose plus fort que More stronger than l’autre amour. love before. Le souvenir du chemin, The memory of the path, Où tremblante et Where trembling and toute éperdue all addled, Un jour j’ai senti sur Your fervent hands moi brûler tes mains. touched me. Les Roses d’Ispahan The Roses of Isfahan Les roses d’Ispahan Roses of Isafan dans leur gaine de mousse, sheathed in moss, Les jasmins de Mossoul The jasmines of Mosul, Fleurs de l’oranger, Flowers of the orange tree, Ont un parfum moins frais, With little fresh frangrance, ont une odeur moins douce, With little sweet scent, 9
Ô blanche Leïlah! Oh pale Leilah! que ton souffle léger. light than your air. Ta lèvre est de corail, Your lips that of coral et ton rire léger and your light laughter Sonne mieux que Sounds lovelier than l’eau vive water running et d’une voix plus douce, and with a voice more sweet, Mieux que le vent joyeux Lovely as the joyful breeze qui berce l’oranger, that rocks the orange tree, Mieux que l’oiseau Lovelier than the bird qui chante au bord that sings at the edge Ô Leïlah! Oh Leilah! depuis que de leur vol léger Since when in their light flight Tous les baisers ont fui All kisses have fled de ta lèvre si douce, from your sweet lips, Il n’est plus de parfum There is no more of perfume dans le pâle oranger, in the pale orange trees, Ni de céleste arome Nor heavenly aroma aux roses from the roses dans leur mousse. in their moss. Oh! que ton jeune amour, Oh! may your youthful love, ce papillon léger, this light butterfly, Revienne vers mon cœur Return to my heart d’une aile prompte et douce. on quick and gentle wings. Et qu’il parfume encor And may it again perfume les fleurs de l’oranger, the flowers of the orange tree, Les roses d’Ispahan The roses of Isafan dans leur gaine de mousse! in their sheaths of moss! 10
Fantoches Puppets Scaramouche et Pulcinella Scaramouche and Pulcinella Qu’un mauvais dessein Whom a wicked scheme rassembla brought together. Gesticulent, noirs sous. Make rude gestures under la lune, the moon, La la la La la la Cependant l’excellent docteur Meanwhile the excellent doctor Bolonais cueille avec lenteur of Bologna gathers slowly Des simples parmi l’herbe. Some herbs amongst the brown brune grass. Lors sa fille, piquant minois, Then his daughter, a saucy one, Sous la charmille, en tapinois, Under the bower, very secretive Se glisse, demi-nue, en quête she glides half-naked. De son beau pirate espagnol, Of her handsome Spanish pirate, Dont un amoureux rossignol Of an amorous nightingale Clame la détresse à Proclaiming distress at the top of tue-tête. his voice. Aquarelles (Green) Watercolor (Green) Voici des fruits, des fleurs, Here are some fruits, flowers des feuilles et des branches Some leaves and branches Et puis voici mon cœur And then here is my heart qui ne bat que pour vous. Which only beats for you. Ne le déchirez pas avec Do not tear it ever vos deux mains blanches with your two pale hands Et qu’à vos yeux si beaux And to your lovely eyes l’humble présent soit doux. may the humble gift be sweet. 11
J’arrive tout couvert encore de rosée I arrive still covered with dew
Que le vent du matin Which the morning wind
vient glacer à mon front. made to freeze on my brow.
Souffrez que ma fatigue Let my weariness
à vos pieds repose rest at your feet
Rêve des chers instants Dream of cheery moments
qui la délasseront. which lulls it.
Sur votre jeune sein On your young breast
laissez rouler ma tête allow me to rest my head
Toute sonore encore All ringing more
de vos derniers baisers; with your last kisses;
Laissez-la s’apaiser de Let it calm down from
la bonne tempête, the good tempest,
Et que je dorme un peu And let me sleep a little
puisque vous reposez. since you are asleep.
***INTERMISSION***
Kimigayo Kimigayo
Kimigayo ha May you reign
Chiyo ni yachi yo ni A thousand, no, eight thousand years
Sazareishi no Like how long the small pebbles
Iwaoto narite take time to create the great rock
Koke no musu made sheathed with moss
Kōjō no Tsuki Moon Over the Ruined Castle
Haru koro no hana no en By the flowers during springtime
Meguru sakazuki kagesashite Cups of wine were passed around
Chiyo no matsu ga e Moonbeams lit between old pine
12
wakeideshi branches
Mukashi no hikari ima izuko Where did the light from before go?
Aki jinei no shimo no iro The autumn camp whitened by frost
Nakiyuku kari no kazu misete The cry of geese that flew in the sky
Uuru tsurugi ni terisoishi And the moon gleaming on the blades
Mukashi no hikari ima izuko Where did the light from before go?
Tenjokage wa kawaranedo Heaven’s shadow never changes
Eiko wa utsuru yo no sugata The world eternally transforms
Utsusan toteka ima mo nao Even now do images reflect
Aa Kojo no yowa no tsuki Ah! The moon over the ruined castle.
Hana Flowers
haru no urara no sumidagawa Spring by the Sumida
nobori kudari no Up and down the stream
funabito ga do the boatmen ride by
kai no shizuku mo Waterdrops on the paddles
hana to chiru scatter like flowers
nagame o nani ni tatoubeki What view could be more lovely?
Mizuya akebo no tsuyu abite See the trees stand in the mist
Wareni mono iu sakuragi wo They seem to want to speak to me
Mizuya yuugure te wo nobete Branches reaching for me at dusk
Ware sashi maneku aoyagi wo. In the way of the green willows.
Nishiki orinasu choutei ni The flowers rest along the bank,
Kurureba noboru oborozuki As the moon rises high in the sky
Geni ikkoku mo senkin no This spring night remains evermore
Nagame wo nani ni tatoubeki. What view could be more lovely?
*****
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Tell Me, Oh Blue, Blue Sky Summer has flown, the leaves are falling, I hear a voice, Your voice, calling, I see a face, Your face, pleading, I feel a heart, Your heart, bleeding. Tell me, Oh blue, blue sky, Why did we part? Tell me, Oh whispering wind, breathe on my heart. Breathe on my lonely heart, that too has bled. Tell what is left in life, since love has fled, since love has fled? Tell me, Tell me, Tell me, Oh blue, blue sky. Goodby, Goodby World Goodby, Goodby world. Goodby, Grover’s Corners Mama and Papa Goodby to clocks ticking and Mama’s sunflow’rs And food and coffee, And new-ironed dresses and hot baths… and sleeping and waking up. Oh, earth, your’re too wonderful for anyone to realize you. Do any human beings ever realize life while they live it?... ev’ry, ev’ry minute? Take Me Back Up The Hill Take me back up the hill. 14
Take me back to my grave.
Wait! One more look.
Goodbye. Goodbye, world.
Goodbye, Grover’s Corners.
Mama, Papa, goodbye.
Goodbye to ticking clocks,
to mama’s hollyhocks,
to coffee and food,
to gratitude.
Goodbye, goodbye, world.
Goodbye to ironed dresses,
to George’s sweet caresses,
to my wedding ring,
oh! ev’rything.
Goodbye.
Goodbye, world.
Does anybody ever realize life while they live it,
every minute of it, every moment of it?
Oh, earth, you are too magical for anyone to know your miracle!
Oh, take me back.
Take me back up the hill.
*****
How Could I Ever Know
How could I know I would have to leave you?
How could I know I would hurt you so?
You were the one I was born to love!
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Oh, how could I ever know? How could I ever know? How can I say to go on without me? How, when I know you still need me so? How can I say not to dream about me? How could I ever know? Forgive me. Can you forgive me And hold me in your heart, And find some new way to love me Now that we're apart? How could I know I would never hold you? Never again in this world, but oh, Sure as you breathe, I am there inside you, How could I ever know? Migratory V We sail above the weather We search the ocean floor. We rival our creation, Still yearning for more. But can we fly together- A migratory V? How wonderful if that's what God could see. A single voice in whispered prayer Can only pray to travel there. But all as one, 16
We sound the everlasting sound And sing our salvation. Aloft and in formation, A migratory V. How wonderful if that's what God could see. On the Steps of the Palace He's a very smart Prince, He's a Prince who prepares. Knowing this time I'd run from him, He spread pitch on the stairs. I was caught unawares. And I thought: well, he cares- This is more than just malice. Better stop and take stock While you're standing here stuck On the steps of the palace. You think, what do you want? You think, make a decision. Why not stay and be caught? You think, well, it's a thought, What would be his response? But then what if he knew Who you were when you know That you're not what he thinks That he wants? And then what if you are? 17
What a Prince would envision? Although how can you know Who you are till you know What you want, which you don't? So then which do you pick: Where you're safe, out of sight, And yourself, but where everything's wrong? Or where everything's right And you know that you'll never belong? And whichever you pick, Do it quick, 'Cause you're starting to stick To the steps of the palace. It's your first big decision, The choice isn't easy to make. To arrive at a ball Is exciting and all- Once you're there, though, it's scary. And it's fun to deceive When you know you can leave, But you have to be wary. There's a lot that's at stake, But you've stalled long enough, 'Cause you're still standing stuck In the stuff on the steps... Better run along home 18
And avoid the collision.
Even though they don't care,
You'll be better of there
Where there's nothing to choose,
So there's nothing to lose.
So you pry up your shoes.
Then from out of the blue,
And without any guide,
You know what your decision is,
Which is not to decide.
You'll leave him a clue:
For example, a shoe.
And then see what he'll do.
Now it's he and not you
Who is stuck with a shoe,
In a stew, in the goo,
And you've learned something, too,
Something you never knew,
On the steps of the palace.
*****
La danza The Dance
Già la luna è in mezzo al mare, Already the moon is over the sea,
mamma mia si salterà, mamma mia how all will leap,
l'ora è bella per danzare The hour is beautiful for dancing,
chi è in amor non mancherà. Those in love will not ignore it.
Presto in danza a tondo, a tondo, Quickly dance around, and around,
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donne mie venite quà, my ladies come here, un garzon bello e giocondo a handsome and jolly boy a ciascuna toccherà, will have a turn with all, finchè in ciel brilla una stella as long as stars gleam high above e la luna splenderà. and the moon glows. Il più bel con la più bella The prettiest boy and the cutest girl tutta notte danzerà. will dance together all night. Mamma mia, mamma mia, Mamma mia, mamma mia, già la luna è in mezzo al mare, Already the moon is over the sea, mamma mia, mamma mia, Mamma mia, mamma mia, mamma mia si salterà. mamma mia how all will leap. Frinche frinche frinche frinche Strum, strum, strum, strum, mamma mia, si salterà, mamma mia how all will leap. La la ra la ra La la ra la ra Salta, salta, gira, gira, Leap, leap, turn, turn, ogni coppia a cerchio va, All couples go in a circle, già s'avvanza si ritira Moving along and falling back e all' assalto tornerà. and to charge back in. Serra, serra colla bionda Hold the blonde girl closely, collabruna va quà e là, go everywhere with the brunette, colla rossa và a seconda then to the redehead second colla smorta fermo sta! Let the dull one be! Viva il ballo a tondo a tondo Hurrah for dancing around 20
sono un Rè, sono un Bascià, I am a King, I am a Pasha,
è il più bel piacer del mondo it is the best joy in the world
la più cara voluttà. The most sweetest pleasure.
Mamma mia, mamma mia, Mamma mia, mamma mia,
già la luna è in mezzo al mare, Already the moon is over the sea,
mamma mia, mamma mia, Mamma mia, mamma mia
mamma mia si salterà. mamma mia how all will leap.
Frinche frinche frinche frinche Strum, strum, strum, strum,
mamma mia, si salterà, mamma mia how all will leap.
La la ra la ra La la ra la ra
*****FIN*****
21
Acknowledgement Shigemi: Your endless guidance and support continues to help me find the courage to find my place in the world. Thank you for never letting anything stop you from teaching your students these last two years at CSUN. You made it every way possible to keep the artist within us growing during this pandemic. For that, I am humbled to be amongst the students of your studio. There is nothing better than the support you receive from people who want you to succeed in everything you do. Thank you for being one of those people. Mercedes: Thank you for the endless opportunities you have given me these last two years at CSUN Opera. Every opera I have been in which you directed at CSUN was a privilege to be part of. You gave me more opportunities to sing than I ever thought I would be given in school. Thank you from the bottom of my heart. Maurice: Being a part of an opera under your stage direction is one experience I am most grateful to have been a part of. Through your guidance, it was an honor to bring an opera to life. Many thanks! Helen Wu: I cannot thank you enough for collaborating with me for this recital. I could not have gone through this recital without you. Whenever I was beginning to feel doubtful, your guidance during our coachings together helped me feel more secure with the music. Thank you for looking out for me during our preparation for this recital. I could not ask for anything more. Amanda Mello: Thank you so much for being my MC for my graduate recital. Most importantly, thank you for being a loving and supportive friend. The best part about this recital is sharing it with people who want you to grow. In case you did not know, you have helped me grow into somebody I did not think I could be today. All my love to you girl! 22
Shigeminators: To be a part of Shigemi Matsumoto’s studio with all of you is a blessing. The endless support each of you give to one another never fails to remind me how exceedingly fortunate I am to call you my colleagues and vice versa. Keep blooming where you are planted. All of you are amazing human beings! Everyone: Thank you for giving up a part of your day to come see this recital. I am so happy I got to sing for all of you live! For all of you to be here is so special. I cannot thank you enough. 23
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