carthage music department presents
The Performing Arts Series Presents:
Trio Celeste
Patrick Terry, countertenor
Charlie Rasmussen, viola da gamba
Fumi Nishikiori-Nakayama, harpsichord
Thursday, October 23, 2025 | 7:30 p.m.
H. F. Johnson Recital Hall
program
Bess of Bedlam, Z. 370 (1682)
A Souldiers Resolution, No. 12
madness & ecstacy
Henry Purcell (1659 – 1695)
Tobias Hume from the First Part of Ayres (1605) (1579? – 1645)
Sweeter than roses, Z. 585/1
Henry Purcell from Pausanias (1695)
Sonata for Viola da Gamba and Harpsichord in D Major, BWV 1029
Johann Sebastian Bach
Adagio (1685 – 1750)
Allegro
Andante
Allegro
Mein treues Bluth
Jakob Kremberg from Musicalische Gemüths-Ergötzung (1689) (c. 1650 – 1715)
Est ist Vollbracht
Johann Sebastian Bach from the St. John Passion, BWV 245 (1724)
intermission
Chromatic Fantasia and Fugue, BWV 903
Amarilli, mia bella
Johann Sebastian Bach
Giulio Caccini from Le nuove musiche (1602) (1551 – 1618)
Lasciatemi morire! SV 22 (1623)
Claudio Monteverdi (1567 – 1643)
Lasciatemi qui solo Francesca Caccini from Primo Libro delle Musiche (1618) (1587 – 1640)
Zefiro torna e di soavi accenti, SV 251 (1632)
Claudio Monteverdi from Scherzi musicali
Care selve, amici prati, RV 671
Antonio Vivaldi Allegro non molto (1678 – 1741)
Recitativo
Allegro ma poco
Patrick Terry - Countertenor
Patrick was born and raised in Janesville, Wisconsin, but he has been heard on operatic stages across the world. Career highlights include singing Eustazio at the Glyndebourne Festival, Rinaldo with the Minnesota Opera, Rosencrantz with the Bayerische Staatsoper, and premiering Brett Dean’s “In this brief moment” with the Elbphilharmonie. He earned degrees from the University of Minnesota - Twin Cities, The Royal Academy of Music in London, and was the first countertenor to join the Jette Parker Young Artist program at The Royal Opera House Covent Garden
Charlie Rasmussen - Viola da gamba
Charlie Rasmussen, cello and viola da gamba, is the Instrumental Director at Just Bach Concerts in Madison and performs frequently around the region. Recent ensemble appearances include the Madison Bach Musicians, Wisconsin Baroque Ensemble, and the New Milwaukee Consort. Charlie also serves on the board of directors of Early Music Now and performs frequently on their Milwaukee Early Music series. Charlie coaches the viol consort at the University of Wisconsin-Whitewater and has been on faculty at the Madison and Whitewater Early Music Festivals. He has released two albums on the Centaur Records label. Charlie is a cello faculty member and the Suzuki Coordinator at the Wisconsin Conservatory of Music in Milwaukee.
Fumi Nishikiori-Nakayama - Harpsichord
Fumi Nishikiori-Nakayama earned her Bachelor of Music in Piano and Harpsichord from the Chicago Musical College of Roosevelt University, and Master of Music in Piano and Early Music/Harpsichord from Indiana University, where she was the recipient of numerous awards including the prestigious Rudolph Ganz Memorial Award, and Willi Apel Scholarship. She has studied piano with Ludmila Lazar and Shigeo Neriki; harpsichord with David Schrader and Elisabeth Wright; fortepiano with Elizabeth Wright and Kenneth Drake; chamber music with Rostislav Dubinsky; early chamber music with Stanley Ritchie; and conducting with Thomas Baldner and Imre Pallo. As a conductor, she has conducted Indiana University’s Symphony Orchestra, Indiana University Ad-hoc Orchestra, and Indiana University Opera Workshops. Her love for vocal music and theater led her to serve as the recitative coach for Martina Arroyo’s voice studio as well as one of the opera coaches for Indiana University Opera Theater for 6 years. Currently Ms. Nakayama teaches as an adjunct faculty member of the Carthage Music Department and University of Wisconsin-Parkside. She is a Juilliard School Dalcroze Institute certified instructor of Dalcroze Eurhythmics and received her Dalcroze License from the Dalcroze School of Music and Movement in Dallas, Texas. She often gives demonstrations and lectures to music teachers and students in the Midwest. She frequently collaborates with Early Music specialists in the Greater Milwaukee and Chicago area. In 2024, she formed the Trio Celeste with violist da gamba Charlie Rasmussen and countertenor Patrick Terri, generously sponsored by Early Music Now.
text and translations
From Silent Shades "Bess of Bedlam"
English source: Traditional
From silent shades, and the Elysian groves, Where sad departed spirits mourn their loves; From crystal streams, and from that country where Jove crowns the fields with flowers all the year, Poor senseless Bess, cloth’d in her rags and folly, Is come to cure her lovesick melancholy.
Bright Cynthia kept her revels late, While Mab, the Fairy Queen, did dance, And Oberon did sit in state
When Mars at Venus ran his lance. In yonder cowslip lies my dear, Entomb’d in liquid gems of dew; Each day I’ll water it with a tear, Its fading blossom to renew.
For since my love is dead and all my joys are gone, Poor Bess for his sake, A garland will make, My music shall be a groan. I’ll lay me down and die
Within some hollow tree, The rav’n and cat,
The owl and bat, Shall warble forth my elegy.
Did you not see my love as he pass’d by you? His two flaming eyes, if he come nigh you, They will scorch up your hearts?
Ladies, beware ye, Lest he should dart a glance that may ensnare ye. Hark! I hear old Charon bawl, His boat he will no longer stay; The Furies lash their whips and call, ‘Come, come away.’
Poor Bess will return to the place whence she came, Since the world is so mad she can hope for no cure; For love’s grown a bubble, a shadow, a name, Which fools do admire and wise men endure. Cold and hungry am I grown, Ambrosia will I feed upon, Drink nectar still and sing. Who is content
Does all sorrow prevent, And Bess in her straw, Whilst free from the law, In her thoughts is as great as a King.
Sweeter than roses
English source: Richard Norton
text and translations
Sweeter than roses, or cool evening breeze
On a warm flowery shore, was the dear kiss, First trembling made me freeze, Then shot like fire all o’er. What magic has victorious love!
For all I touch or see since that dear kiss, I hourly prove, all is love to me.
German text:
Es ist vollbracht!
O Trost vor die gekränkten Seelen!
Die Trauernacht
Lässt nun die letzte Stunde zählen.
Der Held aus Juda siegt mit Macht
Und schliesst den Kampf. Es ist vollbracht!
Amarylli Mia Bella
Amarilli, mia bella,
Non credi, o del mio cor dolce desio, D'esser tu l'amor mio?
Credilo pur: e se timor t'assale, Dubitar non ti vale.
Aprimi il petto e vedrai scritto in core: Amarilli, Amarilli, Amarilli è il mio amore.
Lasciatemi morire source: Ottavio Rinuccini
Lasciatemi morire, Lasciatemi morire; E che volete voi che mi conforte
In così dura sorte, In così gran martire? Lasciatemi morire.
English translation:
It is accomplished!
O comfort for the debilitated souls!
The night of mourning
Now lets its final hour be counted. The hero out of [the lineage of] Judah triumphs with power
And brings the battle to a close. It is accomplished!
transl. Michael Marissen and Daniel R. Melamed
My lovely Amaryllis
My lovely Amaryllis, Don’t you know, O my heart's sweet desire, That it is you whom I love?
Believe in my love; and if fear besets you, Don’t doubt that it’s true.
Open my breast and see written on my heart: Amaryllis, Amaryllis, Amaryllis, is my love. English translation by Paul Archer
Let me die!
Let me die!
And whom do you want to comfort me in such cruel fate, in such ordeal?
Let me die!
Translation from Italian (Italiano) to English copyright © 2007 by Bertram Kottmann
text and translations
Stanza 1
Lasciatemi qui solo – Leave me here alone,
Torante augelli al nido – Return, birds, to your nests,
Mentre l’anim’e ‘l duolo – While my soul, and my pain
Spiro su questo lido – I give up on these shores.
Altri meco non voglio – I want no one else with me
Ch’un freddo scoglio – Other than a cold rock,
E ‘l moi fatal martire – And my fated death.
Lasciatemi moirire – Leave me to die
Stanza 2
Dolcissime sirene – Sweetest sirens
Che’n si pietoso canto – Who with such merciful song
Raddolcite mie pene – Sweeten my sufferings and
Fate soave il pianto – Soften my weeping
Movet’ il nuoto altronde – Go elsewhere to swim
Togliete all’onde – Dampen the waves’
I crudi sdegni, e l’ire – Cruel scorn, and their ire
Lasciatemi morire – Leave me to die.
Stanza 3
Placidissimi venti – Calmest winds
Torante al vostro speco – Return to your cave
Sol miei duri lamenti – I ask that only my harsh laments
Chieggo che restin meco – Remain with me
Vostri sospir non chiamo – I do not call upon your sighs
Solingo bramo – Alone I wish
I miei dolor finire – To end my sufferings
Lasciatemi morire – Leave me alone to die.
Stanza 4
Felicissimi amanti – Happiest lovers
Torante al bel diletto – Return to your beautiful pleasures
Fere eccels’o notanti – Wild beasts, whether birds or fish
Fuggite il mesto aspetto – Flee from this sad countenance
Sol dolcezza di morte – Only the sweetness of death
Apra le porte – Should open its doors
All’ ultimo Languire – To this final languishing
Lasciatemi morire – Leave me to die.
Stanza 5
Avarissimi lumi – Most avaricious eyes
Che su ‘l morir versate – That on point of death spill
Amarissimi fiumi – The bitterest rivers
Tard’e vostra pietate – Your pity comes too late
Gia mi sento mancare – Already I feel myself fail
O luci avar’e – Oh eyes, stingy
Tarde al mio conforto – And slow to comfort me
Gia sono esangu’e smorto – I am already bloodless and lifeless.
Zefiro torna e di soavi accenti l’aer fa grato e’il piè discioglie a l’onde e, mormorando tra le verdi fronde, fa danzar al bel suon su’l prato i fiori. Inghirlandato il crin Fillide e Clori note temprando amor care e gioconde; e da monti e da valli ime e profonde raddoppian l’armonia gli antri canori. Sorge più vaga in ciel l’aurora, e’l sole, sparge più luci d’or; più puro argento fregia di Teti il bel ceruleo manto. Sol io, per selve abbandonate e sole, l’ardor di due begli occhi e’l mio tormento, come vuol mia ventura, hor piango hor canto.
Zephyr returns, and with sweet accents enchants the air and ruffles the waves, and murmuring among the green leaves, makes the flowers dance to his sweet sound. With garlanded hair, Phyllis and Chloris sing love-songs, dear and joyful to them, and through the mountains and valleys, high and low, the echoing caves redouble their music.
Dawn rises more glorious in the sky, and the sun pours down the brightest gold, embellishing with purer silver the sky-blue mantle of Thetis.
Alone I wander through lonely and deserted woods; of the ardour of two lovely eyes, and of my torment, as my fortune decrees, I by turns weep and sing.
Care selve, amici prati RV671 Anonymous
Aria Aria Care selve, amici prati – Dear woods, friendly meadows, A cercar ritorno in voi – I come back to seek in you La perduta, amabil pace. – the sweetest peace I have lost Quella pace che spietati – that peace which treacherous Mi rapir coi pensier suoi – hope and false love pitilessly Speme infida, amor fallace. – snatched from me with thoughts of her.
text and translations
Ben mal accorto e folle all'or io fui Che vaghezza mi prese Di migliorar mia sorte e per tal fine Lunge dal natio bosco il piè portai. Infelice mi rese Una speme sì ardita; ove sperai Grandezze ritrovar, trovai rovine. Tu, insano d'arricchir cieco desio Tu ingannasti il cor mio E pace e libertà per te perdei. Or scoperto l'inganno Riedo a viver in quiete i giorni miei E a reparar dal tempo corso il danno. Aria Placido in letto ombroso Là dove scorre il rio Steso sul margo ombroso De l'onda al mormorio, Il canto accorderò. Condur il gregge amato Sola mia cura fia, Dalla capanna al prato E in onta a sorte ria Contento viverò, Contento goderò.
Quite foolishly and stupidly I was taken with the idea of improving my lot, and to this end I travelled far from my native woods. I have been made unhappy by such a rash hope. Where I hoped to find greatness, I found ruin. You, crazy to fulfil blind passion, you betrayed my heart, and through you I lost my peace and liberty. Now that the betrayal is revealed I return to live my days in peace, and to make good the damage done by times past. Aria Serene in a shady bower where the brook runs by, lying on the shady bank to the murmur of the waves, I shall tune my song. To lead my beloved flock from the moors into the meadow shall be my only care, and despite my dire fate contented I shall live, and contented I shall enjoy life.
Mein treues bluth bleibt allzeit guth so wohl im gluckals wider wartigfeiten es trauet gott in aller noth wenn schon dar gegen Freund un Feinde freiten die weil nich der himmel am besten kan schuzen so dass es an Leib un an Seele mussnussen.
Mein treues Bluth bleibt allzeit guth un mag von Falschheit gank und garnichts wissen ich sages frey ich belibe treu denn darrauf hab ich stetig mich bestiffen ein treues Gemuthe wird mit mir ersten ben so kan ich den Himmel alles ererben
My faithful blood always remains good, both in happiness and in times of need. It trusts God in all need, even when it is against friends and enemies, because heaven cannot protect us best, so that it must be in body and soul.
My faithful blood always remains good and knows nothing at all about falsehood. I say it openly. I remain faithful, for I have always strived for this. A faithful spirit will prevail with me, so I can inherit everything in heaven.
upcoming events
New Play Initiative presents: Blue Bird
October 24, 25, 30, 31, November 1• 7:30 p.m.
Sunday, October 26 • 3:00 p.m.
Wartburg Theatre
Tickets Required. Visit www.carthage.edu/tickets for ticket information
Performing Arts Series: Austin Pancner
Friday, October 24 • 7:30 p.m.
H. F. Johnson Recital Hall
Tickets Required. Visit www.carthage.edu/tickets for ticket information
John Cargille: With a Whimper or a Bang?, Student Recital
Sunday, October 26 • 1:00 p.m.
H. F. Johnson Recital Hall
Annaliese Ruhs, Student Recital
Saturday, November 1 • 1:00 p.m.
H. F. Johnson Recital Hall
Madison Edge, Student Recital
Saturday, November 1 • 4:00 p.m.
H. F. Johnson Recital Hall
Andre'a Santoyo, Student Recital
Saturday, November 1 • 7:30 p.m.
H. F. Johnson Recital Hall
Fine Arts at Carthage acknowledges that the land on which our building stands is part of the traditional Potawatomi, Sioux, Peoria, Kickapoo, and Miami peoples past, present, and future. These homelands reside along the southwest shores of Michigami, North America’s largest system of freshwater lakes. We honor with gratitude the land itself, and the people who have stewarded it throughout the generations. Many Indigenous peoples thrive in this place—alive and strong, andthis calls us to commit to continuing to learn how to be better stewards of the land we inhabit as well.