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Tuesday, April 5, 2022, 7:30 pm University of Connecticut School of Fine Arts Anne D'Alleva, Dean Jorgensen Center for the Performing Arts Rodney Rock, Director presents
The Lenard Chamber Series
Isabel Leonard mezzo-soprano
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BIOGRAPHY Multiple Grammy Award-winning Isabel Leonard continues to thrill audiences both in the opera house and on the concert stage. In repertoire that spans from Vivaldi to Mozart to Nico Muhly, she has graced the stages of the Vienna State Opera, Paris Opera, Salzburg Festival, Bavarian State Opera, Carnegie Hall, Glyndebourne Festival, Teatro Comunale di Bologna, Aix-enProvence Festival, The Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, LA Opera, and The Santa Fe Opera in Il barbiere di Siviglia (Rosina), La Cenerentola (Angelina), Le nozze di Figaro (Cherubino), Così fan tutte (Dorabella), Don Giovanni (Zerlina/Donna Elvira), La clemenza di Tito (Sesto), Werther (Charlotte), Dialogues des Carmélites (Blanche de la Force), Griselda (Costanza), La bohème (Musetta), Giulio Cesare (Sesto), and the title roles in Carmen, La Périchole, Cendrillon, Marnie, and Der Rosenkavalier. She has appeared with some of the foremost conductors of her time: Valery Gergiev, Seiji Ozawa, Antonio Pappano, Charles Dutoit, Gustavo Dudamel, Esa-Pekka Salonen, Yannick Nézét-Seguin, Franz Welser-Möst, Plácido Domingo, Edward Gardner, James Levine, Edo de Waart, James Conlon, Marin Alsop, Sir Andrew Davis, Michele Mariotti, Harry Bicket, Andris Nelsons, and Michael Tilson Thomas with the Cleveland Orchestra, Chicago Symphony Orchestra, New York Philharmonic, Los Angeles Philharmonic, Boston Symphony Orchestra, and Vienna Philharmonic, San Francisco Symphony, among others. In 21/22, she returns to The Metropolitan Opera for Cendrillon, Le nozze di Figaro (Cherubino), and Ariadne auf Naxos (Komponist), Washington National Opera for Come Home: A Celebration of Return and Carmen, and The Santa Fe Opera for Carmen. On the concert stage, she will return to the National Symphony Orchestra for a 9/11 commemoration concert conducted by Giancarlo Noseda and University of Connecticut for a solo recital. Ms. Leonard is in constant demand as a recitalist and is on the Board of Trustees at Carnegie Hall and the Artistic Advisory Board of ArtSmart. She is a multiple Grammy Award winner, most recently for Michael Tilson Thomas’ From the Diary of Anne Frank on SFS Media (2021) for Best Classical Compendium, Ravel’s L’enfant et les sortilèges on Decca (2016) and The Tempest from The Metropolitan Opera on Deutsche Grammophon (2014), both Best Opera Recording. Television and film appearances include Sesame Street and host for The Metropolitan Opera’s Live in HD movie theater transmissions. Ms. Leonard is the recipient of the Richard Tucker Award and has lent her voice, in honor of her father who died from the disease, to the Prostate Cancer Foundation by filming a public service announcement (PSA).
Tuesday, April 5, 2022, 7:30 pm Jorgensen Center for the Performing Arts
The Lenard Chamber Music Series
Isabel Leonard UPDATES TO PROGRAM: The following has changed or added since the printing of the program
NEW PERFORMANCE ORDER AFTER INTERMISSION: “Habanera" from Carmen Shéhérazade
Georges Bizet Maurice Ravel
“Seguidilla” from Carmen Georges Bizet
JOHN ARIDA Pianist and coach John Arida has been praised as “an ardent accompanist ... catching fire in the accompaniments and in the solo piece” by The Washington Post. His relationships with some of classical music’s most esteemed performers, including Julia Bullock, Anthony Roth Costanzo, Isabel Leonard, Megan Marino, Nicholas Phan, Ailyn Perez, and Sir James Galway, have led to international recital engagements across the United States, Canada, and Mexico. Notable venues include Carnegie Hall, The Metropolitan Museum of Art, and The Kennedy Center. John began his 2021 summer season with in-person concert engagements alongside Isabel Leonard, Julia Bullock, and Miles Mykannen. Beyond the concert hall, John joins the music staff at Lakes Area Music Festival and is as a member of the inaugural artistic team at Emberlight Festival in Ironwood, MI. Arida begins his fall as one of the newest faculty members of the Marcus Institute for Vocal Arts at Juilliard. Arida has assisted notable conductors John DeMain, Evan Rogister, Speranza Scappucci, Emmanuel Villaume amongst others. He has been a member of the music staff of several U.S. companies and festivals including the Juilliard School, Washington National Opera, Central City Opera, the Prototype Festival, and others. Arida has held fellowships at the Aspen Music Festival and the Music Academy of the West. He holds a master’s degree in collaborative piano from The Juilliard School, and a bachelor’s degree in vocal performance from SUNY Purchase.
Tuesday, April 5, 2022, 7:30 pm Jorgensen Center for the Performing Arts
The Lenard Chamber Music Series
Isabel Leonard PROGRAM Isabel Leonard, Mezzo-soprano John Arida, Piano
Clavelitos
Joaquín “Quinito” Valverde Sanjuán
Canciones populares Espagnolas
Manuel de Falla
“Ah! Quel diner” from La Perichole
Jacques [Jacob] Offenbach
3 Canciones from Espanolas Antiguas “La Tarara” “Nana de Sevilla" “Sevillanas del S. XVIII” “Granada”
Frederico Garci-Lorca
Agustin Lara
- Intermission “Aranjuez, ma
Shéhérazade
pensée”
“Seguidilla” from Carmen
Andrew York/Joaquin Rodrigo
Maurice Ravel
Georges Bizet
– Please hold applause between movements –
PROGRAM NOTES “Clavelitos” Joaquín “Quinito” Valverde Sanjuán (Born January 2, 1875 in Madrid; died November 4, 1918 in Mexico City) Valverde was best known as a Spanish composer of zarzuelas. Valverde, whose music became known internationally, was usually called Quinito Valverde to distinguish him from his father, Joaquín "Quinito” Valverde Duran, who also wrote zarzuelas. Zarzuela, sometimes called Spanish opera, is actually a form of Spanish theatre that contains music. With characters usually drawn from the working classes, the dramatic action moves in an alternating combination of song and speech. During his short lifetime, Valverde was known as the "Tango King", the Franz Lehar of Spanish music, and the "Spanish Offenbach.” Now he is perhaps best known for this brief song called "Clavelitos" (“Little Carnations”). Valverde was a student of his father and studied at the Conservatory; he showed early promise, writing his first zarzuela Con las de Caín at the age of 15. As an adult, unusually, much of his best work was created in collaboration with other composers. After his father died, Valverde moved to Paris, where he had great success. His work was also successful on Broadway in the United States, where two of his works, A Night in Spain and The Land of Joy, were presented in the 1917-1918 season. The high spirited and energetic song "Clavelitos” with words by José Juan Cadenas, makes reference to traditional flamenco. Distinguished by its recurring sixteenth-note triplets, the song became a part of the repertory of many Spanish opera stars in the early part of the 20th century, when several versions of the piece were recorded. A light song, it is known as a patter song because of its very fast lyrics; its subjects are selling carnations and love. It was first performed by Fornarina on September 25, 1907.
Canciones populares Espagnolas Manuel de Falla (Born November 23, 1876, in Cadiz, Spain; died November 14, 1946, in Alta Gracia, Argentina) Manuel de Falla, the greatest Spanish composer of the 20th century, was educated in Madrid and studied with Pedrell, the founder of the Spanish nationalist school. He then went off to live and work in Paris, where he became a well known figure as a friend of Debussy, Ravel, Stravinsky, Dukas, Turina, and Garcia Lorca. With Garcia Lorca, he organized the famous Cante Jondo competition in Granada. Even during his time in France, the folksongs, dances, and art music of Spain were his constant inspiration; he combined them with features of the two great esthetic movements of his time, impressionism and neo-classicism, to create many fascinating works of great originality. De Falla began to write the Siete canciones populares espanolas (“Seven Spanish Folk Songs”), in Paris in 1914 and completed them in 1915 in Madrid, where he had returned after the outbreak of World War I. One of the composer’s Spanish pupils, Ernesto Halffter, later prepared a small orchestral version of the set. His friend, the Polish-American violinist Paul Kochanski (1887-1934), arranged six of the seven songs into a Suite in a collaborative effort with de Falla, omitting the Seguidilla Seguidilla murciana. Although Spanish folksong inspired de Falla, and he went to listen to the dances and songs of the peasants with Lorca, he made use of folksongs in their traditional form only once, and that was in these songs, which were all, however, based on works already in print. The seven songs are “El paño moruno” (“The Moorish Cloth”), a wellknown song of the province of Murcia. The Moorish rhythm in the accompaniment is most haunting. Its tale of stained fabric that must be sold at discount has sexual overtones. De Falla actually used the theme of the first measures of the accompaniment to this song again in The Three Cornered Hat for the miller. “Seguidilla murciana,” a rough and tough muleteer’s dance song, is a Spanish folk poem in
rather quick triple meter. “Asturiana,” a sweet lament from northern Spain, follows; its presence is unusual because, in de Falla’s music, the south is more often present. De Falla knew the lament because his mother had sung it to him in his infancy. Jota, an Aragonese dance-song of love, is written entirely in the style of folk music. Nana, a lovely Andalusian lullaby that the composer’s mother had sung to him, follows, and then,“Canción,” simply “song,” but with a complex structure in both words and music. “Polo,” a flamenco song of unhappy love, expresses the tragic sense of life. The Romani people brought a new musical style from the East, and it evolved into this form, which includes Romani elements such as the repetition of the same note over and over again and the cry “Ay!” a ritualistic cry of woe, which generally comes just before improvisation. (“Ay! I have a pain in my heart and can speak of it to no one. Curses on love and on him who made me know it! Ay!”) “Ah! Quel diner” from La Perichole Jacques [Jacob] Offenbach (Born June 1819 in Cologne, Germany; died October 5, 1880 in Paris) Offenbach is generally known as a composer of light and amusing opéra bouffes (a general term for operettas or light opera) for which Rossini nicknamed him the “Mozart of the Champs-Elysées.” Although Offenbach wrote the majority of his works in French, he was the son of a cantor in Germany and retained his German accent, which was often caricatured, all his life. His most significant success in popular music in the 19th century occurred in great measure because he composed remarkably happy and tuneful music that a large public adored. La Périchole is an opéra bouffe in three acts; it premiered October 6, 1868. Henri Meilhac and Ludovic Halévy wrote its French libretto based on the 1829 one-act play, Le carrosse du Saint-Sacrement by Prosper Mérimée. La Périchole, the title character, is based on Micaela Villegas, a well-known 18th century Peruvian entertainer
Micaela Villegas, a well-known 18th century Peruvian entertainer and the famous mistress of Manuel de Amat y Juniet, Viceroy of Peru from 1761 to 1776. The story tells of two poor Peruvian street-singers, too poor to from 1761 to 1776. The story tells of two poor Peruvian street-singers too poor to afford a marriage license, as well as a lecherous viceroy, Don Andrès de Ribeira, who wishes to make La Périchole his mistress. The Viceroy, who found La Périchole beautiful, offers her the opportunity to be the lady-in-waiting for his wife, although he does not have a wife. Knowing well what she might have to give him in exchange for position, she accepts anyway because she has nearly reached an unsustainable position of starvation; consequently, she has to write a farewell letter to Piquillo, with whom she is in love. He becomes so overcome with sadness when he reads the letter that he decides to hang himself. The viceroy is warned that no lady can live in the palace if she is unmarried, and although he then is willing for her to be wed to any unsuspecting gentlemen, she is actually given to Piquillo, who, at the time, is trying to hang himself as he is so devastated at Péricole’s earlier disappearance. After drinking to excess and sated from her large dinner, she becomes very tipsy, and sings what is known as her tipsy aria, “Ah! quel diner je viens de faire" (“What a meal I have just had”). When she sings, she is so inebriated from many glasses of wine that she does not even recognize her beloved Piquillo. 3 Canciones from Espanolas Antiguas (“La Tarara,” “Nana de Sevilla,” and “Sevillanas del S. XVIII”) Frederico Garci-Lorca (Born June 5, 1898, in Fuente Vaqueros, near Granada, Spain; died August 18 or 19, 1936, between Víznar and Alfacar, Spain) Son of a prosperous farm owner and a pianist, prominent 20th century Spanish poet and dramatist Federico García Lorca, a Spanish literary figure of international acclaim, studied law at the University of Granada before moving to Madrid in 1919 to focus on his writing. In Madrid, he became part of a group of avant-garde
artists that included Salvador Dali and Luis Buñuel. Over the course of his career, Lorca published numerous volumes of poetry. In 1920, he settled in Granada, which became his permanent residence. He traveled to New York City, where he found a connection between Spanish songs and the African American spirituals he heard in Harlem. Despite the threat of a growing fascist movement in his country, Lorca refused to hide his leftist political views, or his homosexuality, while continuing his ascent professionally. In August 1936, at the onset of the Spanish Civil War, Lorca was arrested at his country home in Granada by Francisco Franco’s soldiers. He was executed by a firing squad a few days later. Garcia Lorca was a longtime friend of the composer Manuel de Falla, whom he met when he was just out of his teens. Garcia-Lorca’s own musical activity was various: he was a composer, folklorist, and concert performer. Ian Gibson, in his biography of Lorca, points out that he not only was said to have hummed melodies before he could talk, but he also had musical training at an early age. By the time he was eleven, he was studying piano in Granada with Antonio Segura and Francisco Benítez. Gibson understood Lorca’s professional writing career and musical achievements were all of a piece: “Lorca’s life and works cannot be understood if one does not take into account the fact that Federico was a born musician.” Many of Lorca’s musical compositions were left unfinished, but all his work in music displays the fact that he had a thorough knowledge of traditional music. His Canciones have simple but effective accompaniments which emphasize rhythm and harmony. Especially at the point when they were written, they carried great significance in Spanish culture. Lorca often performed his Canciones in public, gathering large audiences and helping to popularize the continued presence of Spanish music. Tres Canciones Españolas Antiguas come from a collection of Spanish folk songs and ancient melodies that Lorca harmonically realized and arranged. Lorca collected and arranged many Spanish folk
songs, particularly from his native Andalusian region in the south. Unusually, in 1931, ten pieces from Canciones Españolas Antiguas were originally published solely on 78 rpm records with García Lorca himself at the piano, accompanying the then-celebrated singer/ dancer La Argentinita. The many transcriptions and arrangements of the Canciones Populares antiguas were only created posthumously because García Lorca refused to write down his arrangements of his songs. Not wanting to transcribe his arrangements was a way to endorse the history of the oral tradition. He felt that musical notation could not indicate the characteristic microtonal and rhythmic complexities inherent in oral music. Lorca wrote a lecture/essay, El cante jondo, for the cante jondo festival in Granada in 1922. It dealt with the history and techniques of flamenco singing and made the point that the guitarist is as important as the singer. In a lecture at Vassar College on Ancient Spanish Lullabies, in 1930, Lorca explained that Spanish lullabies, unlike lullabies sung in other European countries, are not soft and sweet, but alert the child to dangers he/she may experience when the mother is no longer protecting him/her. “Nana de Sevilla” is an unsettling lullaby of the kind that Lorca mentioned in his lecture. It tells of a baby whose Gypsy mother abandoned it. Lorca tells of his inspiration for this song: “Some years ago, walking close to Granada, I heard a woman of the village singing as she rocked her child to sleep. I had always noticed the keen sadness of the cradle songs of our country, but I had never felt this truth as clearly as I did then. As I drew closer to the singer in order to write down the song, I noticed that she was a beautiful Andalusian lady, cheerful, without any air of melancholy, but she was imbued with a living tradition and followed its commands faithfully, as though listening to ancient voices flowing in her blood.” The lively “Sevillanas del Siglo XVIII” (“Sevillanas of the 18th century”) takes its name and spirit from the fast, triple rhythms of the distinctive cople dance from Seville, an Andalusian variant of the Castilian seguidilla. The dance is performed to a traditional type of verse of
four or seven lines. The Triana neighborhood in Seville, a place where flamenco is popular, is mentioned in the poem. The jaunty style of Lorca’s very popular song “La Tarara” has often been traced back to its Castilian roots. It is a very old children’s song that has many regional variants. Lorca may have heard a specific one in Andalusia. “La Tarara” is a free-spirited, dancing girl, who likes to wear untraditional or somewhat outrageous clothing. “Granada” Agustin Lara (Born in Mexico City in 1897; died Nov. 5, 1970 in Mexico City) One of Mexico's most famous songwriters, Agustin Lara wrote many songs in a variety of Mexican song styles that are still favorites, including the 1932 song "Granada," about the fascinating city in the south of Spain, home of the famed Alhambra. He composed not only the music but also the lyrics to the popular “Granada.” Lara composed most of what are now legendary songs between 1930 and 1939, while he toured South America, performing often on national radio. He also composed for films from the mid-1930s to the late 1940s, before his fame became international. “Aranjuez, ma pensée” Andrew York/Joaquin Rodrigo (Born November 22, 1901, in Sagunto, Valencia, Spain; died July 6, 1999, in Madrid) Joaquín Rodrigo was the most widely performed Spanish composer of his generation. Though blind since early childhood, he studied abroad, traveled widely, and became an influential figure in Spain’s musical life. He began his musical career in Valencia and then, like many earlier Spanish composers, went to France for advanced study. From 1927 to 1933, and from 1935 to 1939, Rodrigo lived in Paris. He studied composition with Paul Dukas and music history with the distinguished faculties of both the Conservatory and the
Sorbonne. He was a member of Maurice Ravel’s circle of friends and was assisted, as a young composer, by the advice of his great compatriot, Manuel de Falla. From 1939 on, Rodrigo made his home in Madrid. He had a fruitful career as a composer and for many years was Professor of Music History at the University of Madrid. He toured extensively in Europe, Asia, and the Americas as a lecturer and pianist. He received numerous awards and was active in broadcasting and in the work of the International Society for Contemporary Music. Rodrigo, who described his music as “faithful to a tradition” wrote conservative music, successfully joining Classical influences with nationalist style. In 1939, he wrote his most famous work, the guitar concerto, Concierto de Aranjuez. Regino Sainz de la Maza premiered the concerto in November 1940. In 1988, Rodrigo arranged the melody from the slow movement of his Concierto, to create “Aranjuez, ma pensée,” a pensive song, with French lyrics written by his wife Victoria Kamhi. She had written poetry for his songs before and had translated or adapted texts for them. Guitarist Sharon Isbin, who had been friends with Rodrigo and his wife, explains that Rodrigo composed this melody “during the sleepless nights spent grieving over the stillborn birth of his first child and his wife’s ensuing illness. He wrote it as they reminisced about their honeymoon in the majestic gardens of Aranjuez, the magnificent eighteenth-century sight of kings and courtiers. It is both a love song and a song of painful yearning.” After many unauthorized arrangements of this ultra-popular theme appeared, the Rodrigos tried to reclaim the rights in court in 1967, but lost. In the year before Rodrigo wrote this song, his daughter won the rights to the contested theme that had been pirated both in instrumental and vocal arrangements and persuaded her father to create this song from the concerto theme.
Shéhérazade Maurice Ravel (Born March 7, 1875, in Ciboure, France; died December 28, 1937, in Paris) Ravel was born in France, only a short distance from the Spanish border, to a French father and a Basque mother. Although his family moved to Paris when he was just an infant, he was always attached to the region of his birth and composed several works of Spanish inspiration. His exotic Shéhérazade, a cycle of three songs composed in 1903, is the work of a young composer whose most remarkable music at this period was written for the piano. He was still studying composition at the Paris Conservatoire when, in 1897, he had the idea of writing a festival overture, a work which, he admitted, was “rather strongly influenced by Russian music.” Six years later, his continuing fascination with Russian music resulted in this dazzling tribute to Russia, replete with shimmering and incessantly modulating harmonies. The short cycle Shéhérazade, settings of three poems from a collection of that name by the composer’s friend Tristan Klingsor, was completed the year that Klingsor, a.k.a. Justin Léon Leclère, published his collection of 100 poems with its literary source, The Arabian Nights. Ravel, drawn to the exoticism and rhythmic freedom he found in Klingsor’s poetry, immediately set this group of three poems. Klingsor was surprised by Ravel’s choice of poems: “He did not linger over those poems which by dint of their melodic phrasing could easily mutate into songs. Instead, he took the ones that had a more descriptive air to them and even those, which like “Asie,” with its long sentences, seemed not to lend themselves easily to the execution of such a plan. For him, setting a poem to music was to transform it into an expressive recitative and to raise the inflections of the spoken word to the level of song, to raise up all the possibilities of the word, not to subjugate them.”
These three bright, brilliant, and finely harmonized songs, which make up the grouping of Shéhérazade, premiered in May 17, 1904. They conjure an imaginary, voluptuous Orient, filled with sensuous pseudo-oriental imagery. Ravel creates an intoxicating feverish, sensual universe in which beauty, desire, and brutal violence forge an alarming mélange. Fascinated by the Orient, Ravel also toyed early in his career with the idea of an opera based on the tales of The Thousand and One Nights. In these songs, operatic influence and the lyricism of RimskyKorsakov are evident, particularly in the first and most protracted of the three songs, “Asie,” which is conceived much like a lyric scene. “Asie” was dedicated to the mezzo-soprano Jeanne Hatto (Marguerite Jeanne Frere), for whose benefit Ravel had Klingsor change the word 'pipe' to 'tasse' towards the end of the poem at the line, “En élevant comme Sindbad ma vieille tasse arabe.” The poem is full of magnificently illustrated images, which the music fully expresses, some from Damascus as well as from cities in Persia with minarets and many various kinds of people including merchants and executioners. Yet somehow there is a sense that the French qualities of Debussy are present in Ravel’s languorous harmonies, even though aria and recitative merge to present the feeling of foreign lands. The vocal line aims for a natural style of recitation, sometimes quite close to the delivery and accents of speech, but it still contains the fullness of the evocations of the sumptuous yet cruel Orient that it evokes. The second song, “La Flûte enchantée” brings to life the reverie of a young woman listening to her lover’s flute while her master sleeps. Ravel dedicated it to the society hostess Marguerite de SaintMarceaux, at whose salon Colette had first met Ravel. She hears her lover's flute with music of sadness and of joy, each note like a mysterious kiss on her cheek, as she stands by the casement. A very sensual dialogue is created between the two voices of the singer and the flute. In lascivious, powerfully melancholy music, “L’Indifférent” evokes an androgynous young man whom the female narrator fails to entice into
her house. He refuses with a graceful gesture. The song is dedicated to Emma Bardac, who was then married to the banker Sigismond Bardac. She, after having been Fauré’s mistress, and before marrying Debussy, was interested in Ravel. The dedication seems somewhat heartless, however, if the composer was truly confirming that she left him . . . “indifferent.” In the song, the singer sees a handsome young man at her doorstep, singing in a strange and charming language. His departure is reflected in the fading away of the short postlude. “Seguidilla” from the Opera, Carmen Georges Bizet (Born October 25, 1838, in Paris; died June 3, 1875, in Bougival, France) One of the most popular operas in today’s repertoire is Bizet’s Carmen, which was not a success when it debuted. Carmen was labeled “obscene,” and the music was declared to be obscure and devoid of color; detractors also felt it was an unoriginal and undistinguished in melody. The opera was judged “altogether undramatic,” but today it is deemed one of the most colorful operas. It is a simply and directly told story of a Spanish Gypsy girl, Carmen, who did not care what fate befell the men she chose to satisfy her great appetite for love. Carmen was first performed on March 3, 1875, at the Paris OperaComique three months before Bizet died. One of the very popular pieces from it is the Seguidilla, the dance that Carmen sings as a seductive aria in Act I. After she is arrested for fighting with another girl in the cigarette factory where she works, Don Jose is assigned to watch her. She sings that she wants to go to her friend Lillias Pastia's inn and insinuates that she would like him to go with her. It borrows both harmonic and rhythmical features from flamenco. Program notes copyright Susan Halpern, 2022.
TEXTS & TRANSLATIONS “Clavelitos”
Joaquín “Quinito” Valverde Sanjuán (1875-1918)
Mocita dame el clavel, Dame el clavel de tu boca, Que pa' eso no hay que tener Mucha vergüenza ni poca. Yo te daré el cascabel, Te lo prometo mocita, Si tú me das esa miel Que llevas en la boquita. Clavelitos, clavelitos, Clavelitos de mi corazón Yo te traigo clavelitos Colorados igual que un fresón. Si algún día clavelitos No lograra poderte traer, No te creas que ya no te quiero, Es que no te los pude coger. La tarde que a media luz Vi tu boquita de guinda, Yo no he visto en Santa Cruz Otra boquita más linda. Y luego al ver el clavel Que llevabas en el pelo, Mirándolo creí ver Un pedacito de cielo. Clavelitos, clavelitos, Clavelitos de mi corazón Yo te traigo clavelitos Colorados igual que un fresón. Si algún día clavelitos No lograra poderte traer, No te creas que ya no te quiero, Es que no te los pude coger.
Maiden give me the carnation, Give me the carnation of your mouth, For that you don't have to have A lot of shame or little. I'll give you the bell, I promise you maiden, If you give me that honey You carry in your mouth. Carnations, carnations, Carnations of my heart. Today I bring you carnations As red as a strawberry. If someday carnations I can't bring you, Don't believe that I don't love you, Is that I couldn't bring them. The barely lit evening When I saw your cherry mouth, I haven't seen in Santa Cruz A prettier mouth. And then when I saw the carnation That you wore in your hair, Looking at it I thought I've seen A piece of heaven
Canciones populares Espagnolas
Manuel de Falla (1875-1918)
“El Paño Moruno” Al paño fino, en la tienda, Una mancha le cayó, Por menos precio se vende, Porque perdió su valor. Ay!
That cloth so fine on the counte If blemished once by a stain, Will sell for little or nothing, And value never regain. Ay!
“Seguidilla murciana” Cualquiera que el tejado tenga de vidrio, no debe tirar piedras al del vecino. Arrieros semos; ¡puede que en el camino, nos encontremos! Por tu mucha inconstancia, yo te comparo con peseta que corre de mano en mano; Que al fin se borra, y créyendola falsa nadie la toma!
“Seguidilla from Murcia” He who has a roof of glass should not throw stones at their neighbor's (roof). If we were mule drivers It could be that on the road we might meet! For your great inconstancy, I compare you to a [coin] that passes from hand to hand; whose ownership finally blurs, and, believing it false, no one accepts!
“Asturiana” Por ver si me consolaba Arriméme a un pino verde. Por verme llorar, llorabar, lloraba, Y el pino como era verde.
As I sought to relieve my pain, I drew near to a verdant pine. To see me cry, it wept again. For so green was that pine.
“Jota” Dicen que no nos queremos, Porque no nos ven hablar; A tu corazón y al mío Se lo pueden preguntar. Ya me despido de tí, De tu casa y tu ventana, Y auque no quiera tu madre, Adiós niña, hasta mañana.
They say we don’t love each other, For we keep our secret sealed. If they search thy heart and mine too, They will find true love revealed. Now I must part from you, From your house I go in sorrow, Although it may not please your mother, Goodbye, little one, until tomorrow
“Nana” Duérmete, niño, duerme, Duerme, mi alma, Duérmete, lucerito, De la mañana Nanita, nana. “Canción” Por traidores, tus ojos, Voy a enterrarios; No sabes lo que cuesta, “Del aire!” Niñá, el mirarlos, “Madre a la orilla!” “Polo” “Ay!” Guardo una, “Ay”! Guardo una pena en mi pecho, “Ay”! Que a nadie se la diré! Malhaya el amor, malhaya, “Ay”! Y quien me lo dió a entender! “Ay”
Sleep, softly, little one, softly, Sleep, sleep, my angel, Sleep softly, little star light, Of the morning. Nanita, nana. Shame on your eyes, those traitors, Let me despatch them! You cannot tell what anguish, “Have mercy!” Little one, to watch them, Mother of sorrows Ay! In my heart, Ay! In my heart I keep my sorrows, Ay! Which none shall ever surprise! Accursed by love, accursed, Ay! And the one who made me wise! Ay!
“Ah! Quel diner” from La Perichole Jacques [Jacob] Offenbach (1819 - 1880) “Ah! Quel diner” Ah! quel diner je viens de faire! Et quel vin extraordinaire! J’en ai tant mangé ... mais tant et tant, Que je crois bien que maintenant Je suis un peu grise ... Mais chut! Faut pas qu’on le dise! Chut! Si ma parole est un peu vague, Si tout en marchant je zigzague, Et si mon oeil est égrillard, Il ne faut s’en étonner, car ... Je suis un peu grise ... Faut pas qu’on le dise! Chut!
“Ah! What a lunch” Ah! What a lunch I have just had, And what extraordinary wine! I drank so much of it, so much, so much, That I am fairly certain that now I am a little tipsy. But shh! We must not let anyone know– Shh! If my speech is somewhat vague, If while walking I zigzag, If my eye wanders, Do not be astonished, because I am a little tipsy We must not let anyone know– Shh!
3 Canciones from Espanolas Antiguas Frederico Garci-Lorca (1889 - 1936) “Nana de Sevilla” Este galapaguito no tierce mare . . . sí, no . . . lo parió una gitana, lo echó a la calle . . . sí no . . . Este niño chiquito no tiene cuna . . . sí no . . .
Lullaby of Seville This little baby has no mother . . . yes, he has, no he hasn’t . . . A Gypsy girl gave birth to him and threw him into the street . . . yes she did, no she didn’t . . . This little boy has no cradle . . . yes he has, no he hasn’t . . . su padre es carpintero y le hará una . . . sí, no . . . “Sevillanas del siglo XVIII” ¡Viva Sevilla! Llevan las sevillanas en la mantilla un letrero que dice: ¡Viva Sevilla! ¡Viva Triana! ¡Vivan los trianeros los de Triana! ¡Vivan los sevillanos y sevillanas! Lo traigo andado, la Macarena y todo, cara como la ruya no la he encontrado. ¡Qué bien pareces! Ay, río de Sevilla “Sevillanas of the 18th Century” Viva Seville! The ladies of Seville wear in their mantillas a motto which reads: Viva Seville! Viva Triana! Long live the people of Triana! Long live the men and women of Seville! I carry the Macarena every step of the way; but never have I seen a face lovelier than yours. O river of Seville, how beautiful you look, Lleno de velas blancas y ramas verdes. ¡Viva Sevilla!
“La Tarara” Estribillo: La Tarara, sí; la Tarara, no; la Tarara, niña, que la he visto yo. Lleva la Tarara un vestido verde lleno de volantes y de cascabeles. Estribillo Luce mi Tarara su cola de seda sobre las retamas y la hierbabuena. Estribillo Ay, Tarara loca. mueve la cintura para los muchachos de las aceitunas. Viva Seville! “Tarara” Refrain: Tarara, yes; Tarara, no; Tarara, a girl, I’ve seen that. Tarara wears a green dress full of ruffles and little bells. Refrain: Flaunt to me Tarara your tail of silk above the broom and above the mint. Refrain Ah, crazy Tarara, moves her waist for the boys (collecting) olives.
Granda
Agustin Lara (1897-1970)
Granada, tierra soñada por mí, mi cantar se vuelve gitano cuando es para ti; mi cantar, hecho de fantasía, mi cantar, flor de melancolía, que yo te vengo a dar.
Granada, land of my dreams, When I sing for you, it becomes A gypsy song. It’s my song, made of fantasy, Yes, my song, flower of melancholy, That I bring to you.
Granada, tierra ensangrentada en tardes de toros; mujer que conserva el embrujo de los ojos moros. Te sueño rebelde y gitana cubierta de flores, y beso tu boca de grana, jugosa manzana, que me habla de amores.
Granada, your land is bloodied By afternoon bullfights; A woman whose Moorish eyes give her An exciting charm. I dream of you rebel and gypsy, covered with flowers, I kiss your scarlet red mouth, A ripe apple, That speaks to me of love.
Granada, manola cantada en coplas preciosas; no tengo otra cosa que darte que un ramo de rosas,
Granada, beautiful, like copla rhymes sung to you; I’ve nothing to bring you except a bunch of roses;
de rosas, de suave fragancia, que le dieran marco a la Virgen Morena.
Of roses with mild fragrance that they could adorn the dark-skinned Holy Virgin.
Granada, tu tierra está llena de lindas mujeres, de sangre y de sol.
Granada, your land is full with A sea of beautiful women, Of blood and of sun.
Aranjuez, ma pensée
Andrew York/Joaquin Rodrigo (1901 - 1999)
“Aranjuez, ma pensée” “Aranjuez, mai est la saison des roses, sous le soleil elles sont déjà écloses, les magnolias en fleurs se penchent sur les eaux claires du Tage et la nuit, ce parc deux fois centenaire s’anime soudain chuchotements, et bruissements, subtils arômes, qu’amène le vent avec d’illustres fantômes. Un peintre fameux avec sa palette magique, a su capter d’immortelles images, l’ombre d’un roi et d’une reine. Or et argent, perles et diamants fêtes somptueuses, femmes belles et voluptueuses, fiers courtisans. Guitares au loin, guitares et mandolines entre les buissons, joueurs de flûte, chanteurs à l’unisson. Mon amour je te cherche en vain parmi les frondes où tant de souvenirs vivaces abondent des temps passés, des jours heureux. Nous avions vingt ans tous les deux.” “Aranjuez, My Thought” Aranjuez, May is the season of roses, under the sun they already bloom, magnolias in bloom bend toward the clear waters of the Tagus. And at night, the two-hundred-year-old park suddenly comes alive with whispers, and rustlings, subtle aromas that the wind brings with illustrious ghosts. A famous painter with his magical palette knew how to capture immortal images, the shadow of a king and a queen. Gold and silver, pearls and diamonds magnificent festivals beautiful and voluptuous women, proud courtiers. Guitars in the distance, guitars and mandolins among
the thickets flute players, singers in unison. My love, I look for you in vain among the fronds where so many strong memories abound of time passed, of happy days. We had twenty years together.
Shéhérazade
Maurice Ravel (1875 - 1937)
“Asie” Asie, Asie, Asie. Vieux pays merveilleux des contes de nourrice Où dort la fantaisie comme une impératrice En sa forêt tout emplie de mystère. Asie, Je voudrais m’en aller avec la goélette Qui se berce ce soir dans le port Mystérieuse et solitaire Et qui déploie enfin ses voiles violettes Comme un immense oiseau de nuit dans le ciel d’or. Je voudrais m’en aller vers des îles de fleurs En écoutant chanter la mer perverse Sur un vieux rythme ensorceleur. Je voudrais voir Damas et les villes de Perse Avec les minarets légers dans l’air. Je voudrais voir de beaux turbans de soie Sur des visages noirs aux dents claires; Je voudrais voir des yeux sombres d’amour Et des prunelles brillantes de joie En des peaux jaunes comme des oranges; Je voudrais voir des vêtements de velours Et des habits à longues franges. Je voudrais voir des calumets entre des bouches Tout entourées de barbe blanche; Je voudrais voir d’âpres marchands aux regards louches, Et des cadis, et des vizirs Qui du seul mouvement de leur doigt qui se penche. Accordent vie ou mort au gré de leur désir. Je voudrais voir la Perse, et l’Inde, et puis la Chine, Les mandarins ventrus sous les ombrelles, Et les princesses aux mains fines, Et les lettrés qui se querellent Sur la poésie et sur la beauté;
Je voudrais m’attarder au palais enchanté Et comme un voyageur étranger Contempler à loisir des paysages peints Sur des étoffes en des cadres de sapin Avec un personnage au milieu d’un verger; Je voudrais voir des assassins souriant Dur bourreau qui coupe un cou d’innocent Avec son grand sabre courbé d’Orient. Je voudrais voir des pauvres et des reines; Je voudrais voir des roses et du sang; Je voudrais voir mourir d’amour ou bien de haine. Et puis m’en revenir plus tard Narrer mon aventure aux curieux de rêves Et élevant comme Sindbad ma vielle tasse arabe De temps en temps jusqu’à mes lèvres Pour interrompre le conte avec art. . . “Asia” Asia, Asia, Asia, Old marvelous land from childhood tales Where fantasy sleeps like an empress In her forest filled with mystery. Asia, I wish to go away with the boat Cradled this evening in the port Mysterious and solitary And that finally deploys her violet sails Like an enormous night-bird in the golden sky. I wish to go away, toward the isles of flowers, Listening to the perverse sea sing Over an old, bewitching rhythm. I wish to see Damascus and the cities of Persia, With their light minarets in the air; I wish to see beautiful silk turbans On dark faces with bright teeth; I wish to see eyes dark with love And pupils shining with joy In skin yellowed like oranges; I wish to see velvet robes And clothes with long fringes. I wish to see pipes in mouths Surrounded by white beards; I wish to see harsh merchants with cross-eyed gazes,
And judges, and viziers Who with a single movement of their crooked finger Grant life, or death, according to their desire. I wish to see Persia, and India, and then China. The pot-bellied mandarins under their umbrellas, And the princesses with dainty hands, And the literary men who quarrel Over poetry and over beauty; I wish to linger in the enchanted palace, And like a foreign traveller Contemplate at leisure painted countrysides, On fabrics in fir frames, With a person standing in the middle of an orchard; I wish to see smiling assassins, The executioner who cuts an innocent neck With his great curved Oriental blade. I wish to see paupers and queens; I wish to see roses and blood; I wish to see death caused by love or even by hate. And then returning, later Tell my story to the dreaming and curious Raising, like Sinbad, my old Arab cup From time to time to my lips To interrupt my tale with art. . . “La flute enchantée” L’ombre est douce et mon maître dort, Coiffé d’un bonnet conique de soie, Et son long nez jaune en sa barbe blanche. Mais moi, je suis éveillée encore Et j’écoute au dehors Une chanson de flûte où s’épanche Tour à tour la tristesse ou la joie. Un air tour à tour langoureux ou frivole Que mon amoureux chéri joue, Et quand je m’approche de la croisée Il me semble que chaque note s’envole De la flûte vers ma joue Comme un mystérieux baiser.
“The Enchanted Flute” The shade is sweet and my master sleeps, Wearing a conical silk bonnet, With his long yellow nose in his white beard. But I, I waken again And hear outside The song of a flute pours forth By turns sadness and joy. A song by turns languorous and frivolous Which my dear lover plays, And when I approach by the window, It seems to me that each note steals away From the flute toward my cheek Like a mysterious kiss. “L’Indifférent” Tes yeux sont doux comme ceux d’une fille, Jeune étranger, Et la courbe fine De ton beau visage de duvet ombragé Est plus séduisante encore de ligne. Ta lèvre chante sur le pas de ma porte Une langue inconnue et charmante Comme une musique fausse. Entre! Et que mon vin te réconforte. Mais non, tu passes Et de mon seuil je te vois t’éloigner Me faisant un dernier geste avec grâce, Et la hanche légèrement ployée Par ta démarche féminine et lasse. . . “The Indifferent One” Your eyes are soft, like those of a girl, Young stranger, And the fine curve Of your handsome face with shadowed down Is more seductive still. Your lip sings, on the step of my door, A tongue unknown and charming Like dissonant music. Enter! And let my wine comfort you. But no, pass by
And from my door I will watch you depart, Making a last graceful gesture to me, Your hip lightly bent In your feminine and weary gait.
“Seguidilla” from Carmen
Maurice Ravel (1875 - 1937)
“Seguidilla” Près des remparts de Séville, Chez mon ami, Lillias Pastia J'irai danser la Séguedille Et boire du Manzanilla. J'irai chez mon ami Lillias Pastia. Oui, mais toute seule on s'ennuie, Et les vrais plaisirs sont à deux; Donc, pour me tenir compagnie, J'emmènerai mon amoureux! Mon amoureux, il est au diable, Je l'ai mis à la porte hier! Mon pauvre coeur très consolable, Mon coeur est libre comme l'air! J'ai les galants à la douzaine, Mais ils ne sont pas à mon gré. Voici la fin de la semaine; Qui veut m'aimer? Je l'aimerai! Qui veut mon âme? Elle est à prendre. Vous arrivez au bon moment! J'ai guère le temps d'attendre, Car avec mon nouvel amant, Près des remparts de Séville, Chez mon ami, Lillias Pastia!
Near the ramparts of Seville At the place of my friend, Lillias Pastia I will go to dance the Seguedilla And to drink Manzanilla. I will go to the place of my friend, Lillas Pastia. Yes, but all alone, one gets bored, And the real pleasures are for two; So, to keep me company, I will take away my lover. My lover, he has gone to the devil, I put him out yesterday! My poor heart, very consolable, My heart is free, like the air! I have suiters by the dozen, But, they are not to my taste. Here it is the weekend; Who wants to love me? I will love him! Who wants my soul? It's for the taking. You're arriving at the right time! I have hardly the time to wait, For with my new lover, Near the ramparts of Seville At the place of my friend, Lillias Pastia!
Program notes copyright Susan Halpern, 2022.
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Circle of Friends 2021-2022 Become a Friend of Jorgensen!
We invite you to join Jorgensen’s Circle of Friends, a group of generous arts supporters who over the years have made vital contributions to Jorgensen’s special projects, commissioned works, and interior restorations. Your membership in the Circle of Friends entitles you to early ticket ordering privileges for one full year from the date of your enrollment; you will be recognized in the Jorgensen Playbill; and if you contribute at the Directors or Producers Circle levels, you will enjoy reserved parking in the North Campus Parking Garage for each Jorgensen performance you attend. Please consider making your tax-deductible donation and become a Circle of Friends member today. Simply call 860-486-4226 for more information.
Jorgensen Center for the Performing Arts gratefully acknowledges the support of its Friends.
Producers Circle
$500/person $1,000 & above/couple
Elena Sevilla & Paul Aho* Mona & Greg Anderson* Deborah Walsh Bellingham* In Memory of Dr. Bruce A. jjjjjjjjjjjjjjjjjBellingham* Honey & Harry jjjjjjjjjjjjjjjBirkenruth* Ruth Buczynski* Carol Colombo* In Memory of Paul Colombo* Dr. Michael Cucka Anne D’Alleva* Madison & Bob Day* Susan & John DeWolf* Pamela Diggle* Kenneth A. Doeg Ms. Joan N. Gionfriddo Judy & Peter Halvorson* Patricia Hempel* Shareen Hertel & Donald Swinton* Marsha Hilsenrad* Jan Huber* Blair T. Johnson & jjBlanche Serban* Lynn & Harry Johnson* Janet & George Jones* Catherine & Davey Kalonia* Lin & Waldo Klein* James Knox* Becky & Scott Lehmann*
Jean & John Lenard* Gene E. Likens & Leola G. Spilbor* Sue & Lester Lipsky* Margarethe & Matthew Mashikian* Joan McGuigan* Antonia Moran* Jane & Robert jjjjjjjjjjjjjjjMoskowitz* Craig & Karen Nass Rita Pollack* Barbara Rhein & Stan Shaw Constance & Rodney Rock* Nancy & John Silander* Beverly Sims & William Okeson* Anne & Win Smith* Maurice Thompson* Maureen & John Zavodjancik Two Friends * Members of the Jorgensen CoStars
Directors Circle $250/person, $500/couple Anonymous
Phil Brencher Irene & Richard Brown Lynn & Marjorie Brown Barbara Depray & Steven Rogers Rob & Mary Hoskin Mr. David Johnson David & Carol Jordan
Ann Kouatly Tom Martin & Susan Spiggle Carl Nawrocki Cheryl & Mark Roy Bonnie Ryan Paul & Susan Schur Nancy Swiacki Ms. Gretchen Wiedie Keith Wilson & Majorie Hayes
Artists Circle
$125/person, $250/couple Cynthia & Roger Adams
Neil Aldin & Mary Lou Lacek Ms. Pat Anderson Dorothy Blocker Linda & Bennett Brockman Carol & Carl Brolin Dr. & Mrs. Steven & Elaine Cohen Maryellen Donnelly & jjJames Krall M. Kevin & Jeanne Fahey Mrs. Betty Hale Betty & Kenneth Hanson Jan Huber Ms. Hillary Huttenhower Ms. Linda Keenan Arthur Kirschenbaum & jjCheryl Pomerantz Gerald & Zoe Leibowitz Julia J. & Carl W. Lindquist, MD Margaret Malmborg Len Oberg Daryl & Paul Ramsey
Mrs. Kristin D. Santini Eric Schultz & Stella Ross Harriet Walker
Patrons Circle $50/person, $100/couple
Roger & Tina Abell Sheila Amdur & Marcia Neff Rosemary Andle Robert Bittner Susan & John Boland Paul M. D’Italia Mr. & Mrs. Michael Donnelly Ms. Joyce Donohoo Mr. & Mrs. Rudy J. Favretti Andrew & Kristie Foley Lorraine B. Gallup Jeanne Haas Richard & Karin James Mrs. Joseph E. Kenyon Shoshanna Levinson & jjChris Crossgrove John H. Mayer & Irwin Krieger Rev. & Mrs. Donald & jjMarilyn Miller Dr. & Mrs. Clark Moseley Sean Mulcahey Susan Phillips Ms. Janet Scussel Jacqueline Seide Paul & Annette Shapiro John & Marilyn Shirley Dr. Jay Shivers In Memory of Rhoda Shivers
Joanne Sousa Susan & Julian jjStoppelman Adeline Theis Ms. Susanna Thomas Dr. & Mrs. Joel jjZuckerbraun
Critics Circle $25/person, $50/couple
Rabbi Jeremy Schwartz & jjMs. Merle Potchinsky Nancy & John Silander NICABM: Donation from j jDr. Ruth Buczynski The Verizon Foundation
In Memory of Joan McGuigan
Altrusa International of jjNortheastern CT Anonymous Deborah Walsh Bellingham Mr. & Mrs. Philip & Jan Blackburn jjDorothy Bognar Ramona M. Chaffin Joan Buck Carol Colombo Mrs. Kathleen Donahue Mr. & Mrs. Allen & Risha Deary Howard & Jean Esselink Carol Drescher Barbara Gibson Dr. & Mrs. Ed & Mrs. Helen Hill Susan Grace Janet & George Jones John & Lynn Haney Christine Lamb Mr. Henry Krisch Mrs. Lucinda Lukens Mr. & Mrs. Joseph Linonis Harry & Janice Mazadoorian Mr. & Mrs. Wesley Lord Charlene & Sean McLaughlin Joe & Nancy Madar Mr. Jeffrey Moore Ms. Donna Matulis Theresa Muxie Katherine & Alan Miller Charles & Carole Norrish Sari & James Rosokoff Todd Patrick Piro Patricia Tanaka Lois Procopion Lisa & Thomas Rollins Director’s Fund Jacqueline Seide Anonymous Dr. Sheryl Speilman Mona & Greg Anderson In honor of Piano Maintenance Giovanni Favretti & in Fund jjsupport for the Arts John Mayer & Diane & Joseph Briody Irwin Krieger Maidie Cohen Carol Colombo Mr. Thomas French Jennifer & Eric Person
Endowed Sponsorship Program The Endowed Sponsorship Program provides individuals and families with the opportunity to support Jorgensen by sponsoring any concert or other program. Benefits to Endowed Sponsors will include name recognition in the Jorgensen playbill, additional recognition in the community through press releases provided by the University, and an opportunity to visit with the guest artist. Sponsorship could be a means of celebrating a special holiday or anniversary, or of dedicating an event to a loved one. Most importantly, by contributing to the cost of current programs, sponsors would help ensure that the Jorgensen Center for the Performing Arts will continue to present wonderful music and other programs in the future. Your gift would benefit not only Jorgensen, but also the community at large. Patrons interested in sponsoring an event should contact Rodney Rock at 860-486-1983 or rodney.rock@uconn.edu for further information.
Jorgensen Outreach for Youth Funded through private contributions as well as corporate support, JOY! provides school-age children, many from economically disadvantaged backgrounds, with access to live performances and special enrichment programs. Now in its 15th season, the JOY! Conservatory program offers instrumental and vocal students in grades 9-12 the opportunity for a rigorous course of study including private lessons, ensemble rehearsals and coaching, and basic musicianship courses. For more information, contact Jorgensen director Rodney Rock at 860-486-1983.
Corporate / Foundation Sponsors SBM Charitable Foundation
Diamond / $1000+ Carol Colombo Jean & John Lenard Nancy & John Silander Nora Stevens
Emerald / 600 +
Honey & Harry Birkenruth
Ruby / $300+
James Knox Becky & Scott Lehmann The University of Connecticut League, Inc.
Sapphire / $100+
Anne D’Alleva Carol & David Jordan Lin & Waldo Klein Jane & Robert Moskowitz
Pearl / up to $99
Gail & Lawrence Ash-Morgan Gail & Neil Christopher Gracie Martin
Lenard Chamber Music Endowment Fund The Lenard Chamber Series is made possible through the generosity of longtime patrons Jean and John Lenard and the Lenard Chamber Music Endowment. Thanks to the generous philanthropy of patrons Jean and John Lenard, chamber music, one of the hallmarks and most dearly loved elements of the programming at Jorgensen, is secure well into the future. Also thanks to the Lenard Endowment, UConn students, nonUConn students, and area youth are invited to attend all chamber music events for free. Please join this giving community and make your contribution today. To make a gift, contact Jorgensen Director Rodney Rock at rodney.rock@uconn.edu or 860-486-1983, or visit jorgensen.uconn.edu/online/article/lenard-endowment.
Jean & John Lenard Elena Sevilla & Paul Aho Greg & Mona Anderson Deborah Walsh Bellingham Ruth Buczynski Carol Colombo Anne D’Alleva Kenneth Doeg Judy & Peter Halvorson
Patricia Hempel George & Janet Jones Carol & David Jordan Lin & Waldo Klein James Knox June & Henry Krisch Becky & Scott Lehmann Shoshana Levinson & Chris Crossgrove
Julia J. & Carl W. Lindquist, MD Joan and Austin McGuigan Jane & Robert Moskowitz Lauren & Eric Prause Donald Shankweiler & Ruth Garrett Millikan John & Nancy Silander Beverly Sims & William Okeson Marilyn & Arthur Wright
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F O R YO U R I N F O R M AT I O N JORGENSEN BOX OFFICE (860) 486-4226 jorgensen.uconn.edu Phone Hours Mon-Fri, 10-5 pm, and 90 minutes before curtain through intermission. No in-person hours.
CHILDREN AND INFANTS Tickets are required for everyone, no matter how young. Children must be 4 years old to attend CRT productions. Minimum 4 years old recommended for Jorgensen Center events.
CRT BOX OFFICE (860) 486-2113 crt.uconn.edu PHONE HOURS Weds-Fri, 2-5 pm, and 60 minutes before curtain. No in-person hours.
REST ROOMS Located in the upper and lower Jorgensen lobbies and the CRT lobby. SPECIAL SERVICE Accessible rest rooms located in the lower Jorgensen & CRT lobbies. Elevator service goes from the main Jorgensen lobby down to the lower lobby only.
COVID-19 POLICIES: Please check our website for the latest policies and procedures: jorgensen.uconn.edu LATE ARRIVALS Latecomers will be seated at the discretion of the artists’ management. CAMERAS AND RECORDING DEVICES Strictly prohibited. SMOKING Not permitted within 25 feet of the building
ASSISTIVE LISTENING SYSTEM Free from the front office. TOO LOUD? Free hearing protection is available upon request from the front office. LOST AND FOUND ARTICLES Can be reported or picked up at each box office.
Community School of the Arts at Lenard Hall Visual Arts Programs & Private Music Instruction for All Ages! .
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GROUP TICKETS CRT: Call the group sales office for more information (860) 486-2113 BAG POLICY For the safety of all, bags and backpacks larger than 10” x 10” are prohibited in the theater. Small bags and purses are permitted. An exception will be made for medically necessary items and diaper bags after proper inspection. All bags are subject to search. PARKING & TRAVEL Paid parking available across from Jorgensen in the North Garage. For a detailed parking map, visit park.uconn.edu
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REFRESHMENT BARS Enjoy refreshments at your seat. Bars located In the upper Jorgensen and main lobbies of each theater. Food and beverage restrictions may apply due to Covid-19.
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