Junior Recital Halle Fish, soprano Amanda Jones, piano
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Junior Recital
Halle Fish, soprano
Amanda Jones, piano
with
Katelyn Mardis, mezzo-soprano
Wednesday, March 10 2021
Sheslow Auditorium in Old Main
7:30 p.m.
Spiel ich die Unschuld vom Lande Johann Strauss II
(1825-1899)
Rastlose Liebe Franz Schubert
Nacht und Träume (1797-1828)
Aux Bord de L'eau Jeff Smallman
Les Cloches (b. 1965)
L'Hiver a Cesse
Ah, je ris de me voir Charles Gounod
(1818-1893)
Intermission
Addio, del Passato Giuseppe Verdi
(1813-1901)
Animal Passion Jake Heggie
Indian Summer: Blue (b. 1961)
I Shall Not Live in Vain
My True Love Hath My Heart
Adelaide's Aria Jonathan Dove
(b. 1959)About the Artists Halle Fish is currently a junior Vocal Performance and Women and Gender Studies student at Drake University. Halle studies under the tutelage of Leanne Freeman-Miller and plans to pursue a graduate degree in voice or opera directing after her studies at Drake. Halle has participated in a variety of singing events, most recently in the Central Region NATS competition for upper college women's classical singing where she placed second, and in the Iowa MTNA competition for young vocal artists where she received an honorable mention. She has worked with a variety of vocal coaches including Michael Heaston, Rebecca Folsom, Johnathan Pape, Gordon Ostrowski, Eric Ferring, and Tim Bostwick. Halle has most recently appeared in Drake Opera Theatre's production of Mozart's Cosi fan Tutte as Dorabella and is currently participating in the upcoming opera scenes concert through the same program. She participates in the Drake Choir and Chamber Choir as well as serves as Drake Opera Theatre's student assistant and as one of Drake Music Department's music tutors. Halle also loves to spend her time studying, practicing, and teaching young piano students in the Des Moines area. Amanda RM Jones, Teaching Artist of Piano, has been a professional pianist in the Des Moines area since 2007. In addition to teaching through both Drake University and the Community School of Music, she is also a collaborative pianist for the Drake University voice department. In that role, she has had the opportunity to engage in cultural exchanges with Minzu University in Beijing, China. She traveled to Beijing as collaborative pianist for Drake voice students in 2011, and accompanied Minzu University Professor Han Changmei (Soprano) on her recital during her 2014 visit to Drake. Amanda has been the pianist for Drake Opera Theatre for the past five opera seasons, and has also had the pleasure of collaborating with the Musical Theatre department. She has been the principle pianist for Drake’s productions of Sondheim’s A Little Night Music, Donizetti’s Elixir of Love, Gilbert and Sullivan's The Mikado, Rorem’s Our Town, Mozart’s Le Nozze di Figaro, as well as several opera scenes. Amanda received a Bachelor of Music in Piano Performance from the Wheaton College Conservatory of Music, under the instruction of Dr. Karin Redekopp Edwards. Katelyn Mardis is a junior at Drake University studying Music and Accounting. She studies as a mezzo-soprano under the tutelage of Christine Blanner. She has most recently competed in Central Region NATS where she placed third in her division. She spends her time participating in both the Drake and Chamber Choir and is currently the President of her business fraternity, Delta Sigma Pi. After graduation, she plans to begin working as an Audit Associate at a CPA firm in West Des Moines while continuing to grow as a musician on the side.
In Act III of Johann Strauss II’s Die Fledermaus, chambermaid Adele and her sister Ida are introduced to Frank, upon whom Adele is convinced is a Here, Adele is a reputable impresario searching for performers. Throughout this aria, Adele attempts to convince Frank of her talent as a potential performer through three characters, a country-maiden, a queen, and a French dame. Spiel ich die Unschuld vom Lande When I Play the Innocent From the Countryside Spiel ich die Unschuld vom Lande, When I play the innocent from the countryside, Natürlich im kurzen Gewande, Of course, in a short dress, So hüpf’ ich ganz neckisch umher, I hop around quite coyly, Als ob ich ein Eichkatzerl wär; As if I were a squirrel; Und kommt ein saub’rer junger Mann, And when a dapper young man passes by, So blinzle ich lächelnd ihn an, I blink at him smiling, Durch die Finger zwar nur Though only through my open fingers Als ein Kind der Natur, As a child of nature, Und zupf’ an meinem Schürzenband - I pull at my apron strings - So fängt man Spatzen auf dem Land. That is how to catch sparrows in the countryside. Und folgt er mir, wohin ich geh’, And if he follows me wherever I go, Sag ich naiv: Sie Schlimmer, Sie, I say naively, “You wicked man, you” Setz’ mich zu ihm ins Gras sodann Then I sit next to him on the grass Und fang’ auf d’Letzt zu singen an; And start at last to sing; Lalalalalala… Lalalalalala… Wenn Sie das gesehn, If you saw that, Müssen Sie gestehn, You must confess, Es wär der Schaden nicht gering, It would be quite a shame, Wenn mit dem Talent, mit dem Talent If with my talent, with my talent Ich nicht zum Theater ging’! I would not start a career in the theater! Spiel’ ich eine Königin, If I were to play the role of a queen, Schreit' ich majestätisch hin, I'd walk about majestically, Nicke hier und nicke da, Nodding here nodding there, Ja ganz, ja in meiner Gloria! Yes, quite, yes in all my glory! Alles macht voll Ehrfurcht mir Spalier; Everyone makes paths before me; Lauscht den Tönen meines Sangs, Listen to the sounds of my songs, Lächelnd ich das Reich und Volk regier’ I smile as I rule the kingdom and its people Königin par excellence! I am the queen par excellence! Lalalalalala… Lalalalalala… Wenn Sie das gesehn, If you saw that, Müssen Sie gestehn, You must confess, Es wär der Schaden nicht gering, It would be quite a shame, Wenn mit dem Talent, mit dem Talent If with my talent, with my talent Ich nicht zum Theater ging’! I would not start a career in the theater! Spiel ich ‘ne Dame von Paris, jah, If I were to play the role of a Parisian lady, yes! Die Gattin eines Herrn Marquis, jah, The wife of a marquis, yes! Da kommt ein junger Graf ins Haus, jah, There comes a young count into the house, yes! Der geht auf meine Tugend aus, jah! He fancies my virtue, yes! Zwei Akt hindurch geb’ich nicht nach, For two acts, I resist him,
Doch ach, im dritten werd’ ich schwach; But alas, I become weak in the third, Da öffnet plötzlich sich die Tür, Suddenly the door opens, O weh, mein Mann, Alas, my husband, Was wird aus mir, ach! What will become of me, ah! Verzeihung! “Sorry!" Flöt ich, er verzeiht , ah, I squeak, he forgives me, ah, Zum Schluss-Tableau, da weinen d’Leut; The audience cries at the final scene; Ja, ach ja! Yes, oh Yes! https://lyricstranslate.com/en/spiel-ich-die-unschuld-vom-lande-when-i-play-innocent-countryside.html Rastlose Liebe Restless Love Johann Wolfgang von Goethe English Translation © Richard Wigmore Dem Schnee, dem Regen, Into the snow, the rain, Dem Wind entgegen, and the wind, Im Dampf der Klüfte, through steamy ravines, Durch Nebeldüfte, through mists, Immer zu! Immer zu! onwards, ever onwards! Ohne Rast und Ruh! Without respite! Lieber durch Leiden I would sooner fight my way Wollt’ ich mich schlagen, through suffering Als so viel Freuden than endure so much Des Lebens ertragen. of life’s joy. Alle das Neigen This affection Von Herzen zu Herzen, of one heart for another, Ach, wie so eigen ah, how strangely Schaffet es Schmerzen! it creates pain! Wie soll ich flieh’n? How shall I flee? Wälderwärts zieh’n? Into the forest? Alles vergebens! It is all in vain! Krone des Lebens, Crown of life, Glück ohne Ruh, happiness without peace – Liebe, bist du this, O love, is you! Translations by Richard Wigmore first published by Gollancz and reprinted in the Hyperion Schubert Song Edition Nacht und Träume Night and Dreams Matthäus von Collin English Translation © Richard Wigmore Heil’ge Nacht, du sinkest nieder; Holy night, you sink down; Nieder wallen auch die Träume, dreams, too, float down, Wie dein Mondlicht durch die Räume, like your moonlight through space, Durch der Menschen stille Brust. through the silent hearts of men. Die belauschen sie mit Lust; They listen with delight, Rufen, wenn der Tag erwacht: crying out when day awakes: Kehre wieder, heil’ge Nacht! come back, holy night! Holde Träume, kehret wieder! Fair dreams, return!
Au bord de l'eau Au bord de l'eau
Sully Prudhomme English Translation © Richard Stokes
S’asseoir tous deux au bord d’un flot qui passe, To sit together on the bank of a flowing stream,
Le voir passer; To watch it flow;
Tous deux, s’il glisse un nuage en l’espace, Together, if a cloud glides by,
Le voir glisser; To watch it glide;
À l’horizon, s’il fume un toit de chaume, On the horizon, if smoke rises from thatch,
Le voir fumer; To watch it rise;
Aux alentours si quelque fleur embaume, If nearby a flower smells sweet,
S’en embaumer; To savour its sweetness;
Entendre au pied du saule où l’eau murmure To listen at the foot of the willow, where water
L’eau murmurer; murmurs,
Ne pas sentir, tant que ce rêve dure, To the murmuring water;
Le temps durer; Not to feel, while this dream passes,
Mais n’apportant de passion profonde The passing of time;
Qu’à s’adorer, But feeling no deep passion,
Sans nul souci des querelles du monde, Except to adore each other,
Les ignorer; With no cares for the quarrels of the world,
Et seuls, tous deux devant tout ce qui lasse, To know nothing of them;
Sans se lasser, And alone together, seeing all that tires,
Sentir l’amour, devant tout ce qui passe, Not to tire of each other,
Ne point passer! To feel that love, in the face of all that passes,
Shall never pass!
Les cloches The Bells
Paul Bourget English Translation © Richard Stokes
Les feuilles s’ouvraient sur le bord des The leaves opened upon the edge of the branches,
branches, Delicately.
Délicatement. The bells rang, light and free,
Les cloches tintaient, légères et franches, In the clear sky.
Dans le ciel clément. Rhythmically and fervently, like an antiphon,
Rythmique et fervent comme une antienne, This distant call
Ce lointain appel Reminded me of the Christian whiteness
Me remémorait la blancheur chrétienne Of altar flowers.
Des fleurs de l’autel. These bells told of happy years,
Ces cloches parlaient d’heureuses années, And, in the great forest,
Et, dans le grand bois, Seemed to revive the withered leaves
Semblaient reverdir les feuilles fanées Of days gone by.
Des jours d’autrefois.
Translation © Richard Stokes, author of A French Song Companion (Oxford, 2000)L'hiver a cessé Winter is over
Paul Verlaine Stadler, Albert
L'hiver a cessé : la lumière est tiède Winter is over, the light is soft
Et danse, du sol au firmament clair. And dances up from the earth to the clear sky.
Il faut que le coeur le plus triste cède The saddest heart must surrender
À l'immense joie éparse dans l'air. To the great joy that fills the air.
J'ai depuis un an le printemps dans l'âme For a year I have had spring in my soul,
Et le vert retour du doux floréal, And the green return of sweet May,
Ainsi qu'une flamme entoure une flamme, Like flame encircling flame,
Met de l'idéal sur mon idéal. Adds an ideal to my ideal.
Le ciel bleu prolonge, exhausse et couronne The blue sky prolongs, heightens, and crowns
L'immuable azur où rit mon amour the steadfast azure where my love smiles.
La saison est belle et ma part est bonne The season is fair and my lot is happy
Et tous mes espoirs ont enfin leur tour. And all my hopes are at last fulfilled.
Que vienne l'été! que viennent encore Let summer come! Let autumn
L'automne et l'hiver! Et chaque saison And winter come too! Each season
Me sera charmante, ô Toi que décore Will delight me, O you graced with
Cette fantaisie et cette raison! Imagination and good sense!
Translation © Richard Stokes, from A French Song Companion (Oxford, 2000)
In Act III of Charles Gounod’s Faust, Marguerite enters her garden to find a bouquet
and a casket of jewels. In this aria, Marguerite hesitates to open the casket of jewels,
but soon gives in and admires the gift with excitement, swooning over a stranger she’d
met prior that day (Faust). Little does Marguerite know that it was indeed Faust himself
who had arranged to place such a pristine gift in her garden.
Ah! je ris de me voir
Marguerite's aria from Faust
Ah! je ris de me voir Ah, I laugh to see myself
si belle en ce miroir, so beautiful in this mirror,
Ah! je ris de me voir Ah, I laugh to see myself
si belle en ce miroir, so beautiful in this mirror,
Est-ce toi, Marguerite, est-ce toi? Is it you, Marguerite, it is you?
Réponds-moi, réponds-moi, Answer me, answer me,
Réponds, réponds, réponds vite! Respond, respond, respond quickly!
Non! Non! ce n’est plus toi! No No! it’s no longer you!
Non...non, ce n’est plus ton visage; No...no, it’s no longer your face;
C’est la fille d’un roi; It’s the daughter of a king,
Ce n’est plus toi, It’s no longer you, etc.
Qu’on salut au passage! One must bow to her as she passes!
Ah s’il était ici! Ah if only he were here!
S’il me voyait ainsi! If he should see me thus
Comme une demoiselle Like a lady
Il me trouverait belle, Ah! He would find me so beautiful, Ah!
Comme une demoiselle, Like a lady,
Il me trouverait belle! He would find me beautiful!
Achevons la métamorphose, Lets complete the metamorphosis,
Il me tarde encor d’essayer I am late yet in trying on
Le bracelet it le collier! The bracelet and the necklace!
Dieu! c’est comme une main, God! it’s like a handQui sur mon bras se pose! ah! ah! Which is placed on my arm! Ah, ah!
Ah! je ris Ah, I laugh
de me voir si belle dans ce miroir! to see myself so beautiful in this mirror!
In Act III of Giuseppe Verdi’s La Traviata, Violetta is stricken with pain. She is
suffering from consumption. Just prior to this aria, Violetta has been told by a
doctor that her condition has left her only a few hours to live. It is here that she
reflects on her life and past lover, Alfredo.
Addio, del passato,
Violetta's aria from La Traviata
Addio, del passato bei sogni ridenti, Farewell past, happy dreams of days gone bye;
Le rose del volto già son pallenti; The roses in my cheeks already are faded.
L'amore d'Alfredo pur esso mi manca, Even Alfredo's love is lacking,
Conforto, sostegno dell'anima stanca To comfort and uphold my weary spirit.
Ah, della traviata sorridi al desio; Oh, comfort, sustain a tired soul,
A lei, deh, perdona; tu accoglila, o Dio, And may God pardon and make her his own!
Or tutto finì. Ah, all is finished
Le gioie, i dolori tra poco avran fine, The joys, the sorrows will be soon over,
La tomba ai mortali di tutto è confine! The tomb confines all mortals!
Non lagrima o fiore avrà la mia fossa, Neither tears or flowers will my grave have,
Non croce col nome che copra quest'ossa! No cross with a name that covers my bones!
Ah, della traviata sorridi al desio; Oh, comfort, sustain a tired soul,
A lei, deh, perdona; tu accoglila, o Dio, A Ah, all is finished.nd may God pardon and
Or tutto finì. make her his own!
Translation by Jon Loy (jslst33+@pitt.edu)
Adelaide’s Aria
In Jonathan Dove’s The Enchanted Pig, one of King Hildebrand’s daughters Flora
is set to be wed to a pig. The pig is under a spell in which he may turn into a
human at night. Longing to help her fiancée, Flora is deceived by a witch who
promises to uplift the spell, but instead kidnaps the pig to marry him to her own
daughter, Adelaide. In this aria, Adelaide expresses her dissatisfaction with the
wedding plans.You can also read
