Welcome Back to the Performing Arts! | Lamplighters Music Theatre

Lamplighters Music Theatre Presents

WELCOME BACK to the PERFORMING ARTS! Outdoors, LIVE Sunday, August 22, 1–3pm Yerba Buena Gardens Esplanade Master of Ceremonies: Omari Tau A Free Celebration of San Francisco’s Musical Diversity with 42nd Street Moon Ars Minerva Lamplighters Music Theatre Opera Parallèle Pocket Opera Theatre Flamenco Urban Jazz Dance Company Volti

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Help support the cost of this FREE production sponsored by Lamplighters Music Theatre.

Your gift directly offsets the expenses of this production. give.lamplighters.org/welcome-back

WANT TO SEE MORE GREAT PERFORMANCES? Our performing arts organizations would love to “welcome you back” to a home performance.

Checkout upcoming schedules at: 42nd Street Moon 42ndstmoon.org Ars Minerva www.arsminerva.org Lamplighters Music Theatre lamplighters.org Opera Parellele operaparallele.org Pocket Opera pocketopera.org Theatre Flamenco www.theatreflamenco.org Urban Jazz Dance Company www.realurbanjazzdance.com Volti San Francisco www.VoltiSF.org Page 2

PROGRAM LAMPLIGHTERS

The Bell Trio from PINAFORE by Gilbert and Sullivan Performers: Jennifer Mitchell, F. Lawrence Ewing, Michael Grammer Who are you, Sir? from COX & BOX by Bertrand & Sullivan Performed by: Darron Flagg, Marcus J. Paige, Jonathan Spencer Major General’s Song from PIRATES by Gilbert and Sullivan Performers: F. Lawrence Ewing, plus chorus of 8 Accompanied by Lamplighters Salon Orchestra

POCKET OPERA

Libiamo from TRAVIATA by Verdi Performers: Robert Vann, Lamplighters chorus Sempre Libera from TRAVIATA by Verdi Performer: Aléxa Anderson

URBAN JAZZ SF DANCE COMPANY Original Dance Performers: Antoine Hunter & Company

OPERA PARALLÈLE

Four selections from HARRIET’S SPIRIT by Shelby and Olvera 1. I am Modesty 2. Brave Strong Child Don’t Fear 3. My Father’s Name was Ben 4. I Will Not Stand Still Performers: Christabel Nunoo, Modesty; Tiffany Austin, Harriet Tubman; Jaymes Kirksey, piano

ARS MINERVA

INTERMISSION

Overture, Scenes 1 & 2 from MESSALINA by Pallavicino & Piccioli Performers: Aura Veruni: Messalina; Patrick Hagen: Senator Caio; Kindra Scharich: Alindo; Marcus Paige: Lismeno

THEATRE FLAMENCO SF

Traditional Flamenco Solo, with singer and guitar Performer: Carola Zertuche, dancer

VOLTI

Into Being music by Ingrid Stözel, text Sanskrit The Water Wheel music by Winges, text by Rumi (Barks translation) A Wished-For Song music by Winges, text by Rumi (Barks translation) Performers: Ben Barr, Will Betts, Joel Chapman, Sidney Chen, Shauna Fallihee, Amy Foote, Monica Frame, Tina Harrington, Emily Ryan Kusnadi, John Mansfield, Andrea Mich, Eric Newell, Rachel Rush, Philip Saunders, Tim Silva, Jessica House Steward.

Conducted by Robert Geary

42ND STREET MOON

Opening Medley from A GRAND NIGHT FOR SINGING by Rodgers & Hammerstein Performers: Teressa Foss, Ashley Garlick, Lauren Jiang Mark Robinson, B Noel Thomas I Am What I Am from LA CAGE AUX FOLLIES by Jerry Herman & Harvey Fierstein Performer: B Noel Thomas It’s Today from MAME by Lawrence & Lee Performers: Teressa Foss, Ashley Garlick, Lauren Jiang, Mark Robinson, B Noel Thomas Accompanied by Benjamin Liupaogo, piano; Travis Kindred, bass

ALL COMPANIES

San Francisco by by Kaper, Jurmann & Kahn, Led by Omari Tau Page 3

Lamplighters Music Theatre presents excerpts from recent performances of PINAFORE, COX & BOX, and THE PIRATES OF PENZANCE featuring F. Lawrence Ewing, Darron Flagg, Michael Grammer, Jennifer Mitchell, Marcus J. Paige, and Jonathan Spencer.

THE ‘BELL’ TRIO (“NEVER MIND THE WHY AND WHEREFORE”) from HMS Pinafore. Lyrics by W.S. Gilbert [CAPTAIN] Never mind the why and wherefore Love can level ranks, and therefore Though his lordship’s station’s mighty Though stupendous be his brain Though her tastes are mean and flighty And her fortune poor and plain [CAPTAIN, SIR JOSEPH, BOTH, JOSEPHINE] Ring the merry bells on board-ship Rend the air with warbling wild For the union of his/my lordship With a humble captain’s child!

For a humble captain’s daughter For a gallant captain’s daughter And a lord who rules the water And a tar who ploughs the water!

[CAPTAIN & SIR JOSEPH & JOSEPHINE] Let the air with joy be laden Rend with songs the air above For the union of a maiden With the man who owns her love!

[SIR JOSEPH] Never mind the why and wherefore Love can level ranks, and therefore Though your nautical relation In my set could scarcely pass Though you occupy a station In the lower middle class [CAPTAIN, SIR JOSEPH, BOTH, JOSEPHINE] Ring the merry bells on board-ship Rend the air with warbling wild For the union of his/my lordship With a humble captain’s child!

For a humble captain’s daughter For a gallant captain’s daughter And a lord who rules the water And a tar who ploughs the water!

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[CAPTAIN& SIR JOSEPH & JOSEPHINE] Let the air with joy be laden Rend with songs the air above For the union of a maiden With the man who owns her love!

[JOSEPHINE] Never mind the why and wherefore Love can level ranks, and therefore I admit the jurisdiction; Ably have you played your part; You have carried firm conviction To my hesitating heart [CAPTAIN, SIR JOSEPH, BOTH, JOSEPHINE] Ring the merry bells on board-ship Rend the air with warbling wild For the union of his/my lordship With a humble captain’s child!

For a humble captain’s daughter For a gallant captain’s daughter And a lord who rules the water And a tar who ploughs the water!

[JOSEPHINE, CAPTAIN & SIR JOSEPH, ALL] Let the air with joy be laden Ring the merry bells on board-ship For the union of a maiden For her union with his lordship Rend with songs the air above For the man who owns her love!

Rend with songs the air above For the man who owns her love!

WHO ARE YOU, SIR? Excerpts from COX & BOX by Bertrand & Sullivan BOUNCER

RAT-A-PLAN, RAT-A-PLAN, I’M A MILITARY MAN RAT-A-PLAN, RAT-A-PLAN, I’M A MILITARY MAN

(Enters, with mop, singing a capella)

(Looking off to one side, then the other)

Mister Box! … Mister Cox! ….

Gone at last! I declare I was all in a tremble for fear my lodger, Mr. Box, should come in before my other lodger, Mr. Cox, went out. Luckily they’ve never met yet—and what’s more, they’re not very likely to do so: Page 5

for Mr. Box is hard at work at a newspaper office all night, and doesn’t come home till the morning, and Mr. Cox is busy making hats all day long, and doesn’t come home till night; so that I’m getting double rent for my room, and neither of my lodgers are any the wiser for it. But I haven’t an instant to lose. First of all, let me put Mr. Cox’s things out of Mr. Box’s way. Now, is this Mr. Cox’s box, or Mr. Box’s costume, or…?

(Fumbling with the props, he drops his mop, which makes a noise.)

BOX (without) Come in!

COX (without) Come in!

BOUNCER Oh! I thought they’d gone!

(Quickly gathers the mop and other props.)

Right about face, quick march!

(Exit with props)

(BOX and COX enter from opposite sides, each with his tea things on a tray.)

COX

BOX

COX BOX COX BOX COX BOX COX BOX COX

WHO ARE YOU, SIR? TELL ME WHO? IF IT COMES TO THAT, SIR, WHO ARE YOU? WHO ARE YOU, SIR? WHAT’S THAT TO YOU, SIR? WHAT’S THAT TO WHO, SIR? WHO, SIR? YOU, SIR! WHO ARE YOU, SIR? WHO ARE YOU, SIR? TELL ME WHO, SIR? TELL ME WHO, SIR? WHO ARE YOU, SIR? TELL ME WHO, SIR? WHO ARE YOU, SIR? TELL ME WHO, SIR? WHO ARE YOU, SIR?

COX

COX BOX BOTH COX

WHO ARE YOU, SIR? TELL ME WHO, SIR? WHO ARE YOU, SIR? TELL ME WHO, SIR? WHO ARE YOU, SIR? YES, ‘TIL THE PRINTER! YES, ‘TIS THE HATTER! YES, ‘TIS THE PRINTER/HATTER! PRINTER, PRINTER, TAKE A HINTER LEAVE THE ROOM OR ELSE SHALL I VAINLY STRUGGLE WITH THE FIRE WITH THE RAGING FIERCE DESIRE TO DO YOU AN INJURY, AN INJURY! (rhyme with “I”)

BOX

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WHO ARE YOU, SIR? TELL ME WHO, SIR? WHO ARE YOU, SIR? TELL ME WHO, SIR? YOU, SIR?

COX PRINTER, PRINTER, TAKE A HINTER,

PRINTER, PRINTER, TAKE A HINTER, GO.

PRINTER, PRINTER, TAKE A HINTER,

PRINTER, PRINTER, TAKE A HINTER,

PRINTER, PRINTER, PRINTER,

PRINTER, PRINTER, TAKE A HINTER, GO.

PRINTER, PRINTER, TAKE A HINTER,

PRINTER, PRINTER, TAKE A HINTER,

PRINTER, PRINTER, PRINTER,

PRINTER, PRINTER, TAKE A HINTER. GO.

PRINTER, PRINTER, TAKE A HINTER,

HINTER, TAKE A HINTER, GO.

BOX

HATTER, HATTER, CEASE YOUR CLATTER, HATTER, HATTER, CEASE YOUR CLATTER, GO. HATTER, HATTER, CEASE YOUR CLATTER, HATTER, HATTER, CEASE YOUR CLATTER, HATTER, HATTER, HATTER, HATTER, HATTER, CEASE YOUR CLATTER, GO. HATTER, HATTER, CEASE YOUR CLATTER, HATTER, HATTER, CEASE YOUR CLATTER, HATTER, HATTER, HATTER, HATTER, HATTER, CEASE YOUR CLATTER, GO. HATTER, HATTER, CEASE YOUR CLATTER, CLATTER, CEASE YOUR CLATTER, GO.

BOX (spoken, music under) What are you doing in my room?

COX YOUR ROOM!

IF ON THAT YOU’RE BENT,

HERE IS MY RECEIPT FOR RENT. BOX YOUR RECEIPT IS VERY FINE.

IF YOU COME TO THAT, SIR—

IF YOU COME TO THAT, SIR—

HERE IS MINE! COX THIEVES! BOX MURDER! COX BOUNCER! BOTH HE CAN SETTLE THE HATTER/PRINTER

TURN OUT THE MAN! BOX BOUNCER! COX BOUNCER! BOX BOUNCER! COX BOUNCER!

(Enter BOUNCER) BOUNCER RATAPLAN! RATAPLAN!

RATAPLAN, RATAPLAN, RATAPLAN, RATAPLAN! All THREE RATAPLAN, RATAPLAN,

RATAPLAN, RATAPLAN, RATAPLAN, PLAN, PLAN BOUNCER RATAPLAN, BOX & COX RATAPLAN BOUNCER RATAPLAN, BOX & COX RATAPLAN ALL THREE RATAPLAN, PLAN, PLAN

(etc.)

BOX Instantly remove that hatter!

COX Immediately turn out that printer!

BOUNCER Well—but, gentlemen— COX Explain!

BOX Explain! Whose room is this?

COX Yes—whose room is this?

BOX Doesn’t it belong to me?

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BOUNCER No! COX There! You here, sir—it belongs to me!

BOUNCER No—it belongs to both of you!

BOX & COX Both of us!

BOUNCER Oh, yes! gents, don’t be angry—but you see, this gentleman—(pointing to BOX)—only being at home in the day time, and that gentleman— (pointing to COX)—at night, I thought I might venture, until my little back second floor room was ready— BOX & COX (eagerly) When will your little back second floor room be ready?

BOUNCER Why, tomorrow— COX I’ll take it!

BOX So will I! BOUNCER Excuse me—but if you both take it, you may just as well stop where you are.

BOX & COX True.

BOUNCER Now, don’t quarrel, gentlemen. I’ll see if I can’t get the other room ready this very day. Now, gents and officers, don’t fight, but keep your tempers.

Exit BOUNCER COX What a disgusting position! [walking rapidly round the stage.]

BOX Hark ye, sir, can you fight?

COX No, sir.

BOX No? Then come on—[sparring at COX]

[Exeunt, “fighting”] I AM THE VERY MODEL OF A MODERN MAJOR-GENERAL From The Pirates of Penzance. Lyrics by W.S. Gilbert General: I am the very model of a modern Major-General, I’ve information vegetable, animal, and mineral, I know the kings of England, and I quote the fights historical From Marathon to Waterloo, in order categorical; I’m very well acquainted, too, with matters mathematical, I understand equations, both the simple and quadratical, About binomial theorem I’m teeming with a lot o’ news, With many cheerful facts about the square of the hypotenuse.

All: With many cheerful facts about the square of the hypotenuse. (3x) General: I’m very good at integral and differential calculus; I know the scientific names of beings animalculous: In short, in matters vegetable, animal, and mineral, I am the very model of a modern Major-General.

All: In short, in matters vegetable, animal, and mineral, He is the very model of a modern Major-General.

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General: I know our mythic history, King Arthur’s and Sir Caradoc’s; I answer hard acrostics, I’ve a pretty taste for paradox, I quote in elegiacs all the crimes of Heliogabalus, In conics I can floor peculiarities parabolous; I can tell undoubted Raphaels from Gerard Dows and Zoffanies, I know the croaking chorus from the Frogs of Aristophanes!

Then I can hum a fugue of which I’ve heard the music’s din afore, And whistle all the airs from that infernal nonsense, Pinafore.

All: And whistle all the airs from that infernal nonsense, Pinafore. (3x) General: Then I can write a washing bill in Babylonic cuneiform, And tell you ev’ry detail of Caractacus’s uniform: In short, in matters vegetable, animal, and mineral, I am the very model of a modern Major-General.

All: In short, in matters vegetable, animal, and mineral, He is the very model of a modern Major-General.

General: In fact, when I know what is meant by “mamelon” and “ravelin”, When I can tell at sight a Mauser rifle from a javelin, When such affairs as sorties and surprises I’m more wary at, And when I know precisely what is meant by “commissariat”, When I have learnt what progress has been made in modern gunnery, When I know more of tactics than a novice in a nunnery-In short, when I’ve a smattering of elemental strategy, You’ll say a better Major-General has never sat a gee.

All: You’ll say a better Major-General has never sat a gee. (3x) General: For my military knowledge, though I’m plucky and adventury, Has only been brought down to the beginning of the century; But still, in matters vegetable, animal, and mineral, I am the very model of a modern Major-General.

All: But still, in matters vegetable, animal, and mineral, He is the very model of a modern Major-General.

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Pocket Opera performs excerpts from La Traviata featuring Robert Vann and Aléxa Anderson.

LIBIAMO from La Traviata Music by Giuseppe Verdi English lyrics by Donald Pippin A song to the season of glory that flowers In laughter, abandon and revelry, At ease in a garden of beauty still ours, Embellished with sweet buds of May. Love on! Explore sheer ecstasy Found only with shy lovers, When one rare moment uncovers What eyes alone convey.

Sing on! To the passionate rapture inspired By the wine turning night into day.

OTHERS To love and to rapture inspired By the wine turning night into day.

VIOLETTA I long to share among friends in full measure A talent for carefree gaiety Even to squander one moment of pleasure May dare fickle fortune to frown.

Enjoy, for time travels rapidly, And love that comes to flower Endures for less than an hour Before the bloom is gone.

Enjoy, for the goddess that looks upon lovers Stays briefly and then moves on.

OTHERS Ah! Sing on, to the goddess of beauty who passes And pauses a moment, but then moves on.

To love and to laughter, come lift your glasses And revel from dark till dawn.

VIOLETTA I live, I love for pleasure …

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ALFREDO A pledge of love is forever.

VIOLETTA How charmingly romantic!

ALFREDO A dream and yet so true.

VIOLETTA & ALFREDO We birds of a feather Here gather together To revel, to revel From dark till dawn.

You preachers of prudence Can go to the devil For here we shall revel till dawn.

OTHERS Birds of a feather We gather together To revel, to revel, And preachers of prudence Can go to the devil.

Drink on and on, To revel, to revel, From dark till dawn.

Drink on and on, From dark till dawn.

Sing on and on, Love on and on, As we revel, we revel From dark till dawn.

SEMPRE LIBERA from La Traviata Music by Giuseppe Verdi English lyrics by Donald Pippin I wonder, I wonder …

I still can’t believe it really happened!

Would love on such a level Be so unwelcome?

Fearing, hoping, I hardly know the answer.

No man before has stirred the fire.

Oh, joy I dared not reach for!

To love the man who loves me …

Can I spurn such a blessing For the vast and empty desert Where long I’ve wandered?

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Ah, just suppose my dream’s come true After a life so hollow …

Only in sleep would he appear While I remained in shadow …

Simple and kind, he cares for me; Ever alert, he’s waited.

Speaking at last, he’s lighted Smoldering coals of fire!

Love, total love, born of fire and ecstasy, Awesome and vast as the universe around us, Love that takes over, Love spanning earth and heaven, Torment, torture and rapture, Torture and rapture, bliss and despair!

Sheer folly! Sheer folly!

A fit of wild delusion!

No more pretending …

Lonely, amid the tangle Of this corrupt, unkind, brutal jungle That people know as Paris, What can I hope?

Where find a future?

The present! To perish in the vertigo, The giddy swirl of life.

Faster! Faster!

Free and easy, lightly travel, Burn the candle, shaming the devil.

Fond of laughter, prone to revel, Stir the fire that glows today.

Never ponder the grim hereafter, Nor the bill come due tomorrow.

Live for pleasure, spend and borrow; Here you are, so on with the play!

Free as air, I go my way, My chosen way!

ALFREDO. from outside Love, total love, born of fire and ecstasy, Awesome and vast as the universe around us, Love that takes over, Love spanning earth and heaven, Torment, torture and rapture, Torture and rapture, bliss and despair!

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VIOLETTA Ah! He loves me …

Forget him! Forget him! Ignore it!

Free and easy, lightly travel, Burn the candle, shaming the devil.

Fond of laughter, prone to revel, Stir the fire that glows today.

Never ponder the grim hereafter, Nor the bill come due tomorrow.

Live for pleasure, spend and borrow; Here you are, so on with the play!

Free as air, I go on my way, My chosen way!

Founded in 2007 by pioneering Deaf dancer/choreographer Antoine Hunter, Urban Jazz Dance Company consists of a mix of professional Deaf and Hearing dancers. UJDC's mission is to provide opportunities for Deaf and other-abled artists to contribute to the arts and larger society, increasing awareness around Deaf issues via the performing arts.

Opera Parallèle presents excerpts from HARRIET’S SPIRIT, featuring Christabel Nunoo and Tiffany Austin.

With an original score by Bay Area jazz great Marcus Shelby and a libretto by Roma Olvera, the opera is based on the story of a middle school girl who triumphs over the challenges of adolescence with Civil War-era legend Harriet Tubman as her role model and spirit guide.

BRAVE STRONG CHILD DON’T FEAR from Harriet’s Spirit Music by Marcus Shelby Lyrics by Roma Olvera Brave strong child. Don’t fear.

Know that love is always near.

Just like the North Star in Heaven.

Use all your strength in your limbs You’re meant to always be free.

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MY GRANDMOTHER’S NAME WAS MODESTY from Harriet’s Spirit Music by Marcus Shelby, Lyrics by Roma Olvera Modesty: I am Modesty Harriet: My grandmother’s name was Modesty Strong woman, strong woman.

You’re strong too honey.

Modesty: Oh Harriet, they pushed me down so hard.

Harriet: Sure did child but you know it can make you stronger.

See, I was hurt badly once. I never let it stop me.

You do what you have to do. You don’t hold back.

Modesty: Miss Harriet, is it true? Does it make you stronger?

Harriet: Yeah it’s true that I led all my people to freedom.

Know the land, child and listen Keep your head up. Look around!

I made fifty pies a day to make enough money Before I had to nurse the soldiers.

Child, those pies helped me survive.

Do what you have to do.

Brave, strong child, you’re free, you’re free.

Remember what I just told you.

Modesty and Harriet: Use all my (your) strength in all my (your) limbs.

I’m (you’re) meant to be always free.

MY FATHER’S NAME WAS BEN from Harriet’s Spirit Music by Marcus Shelby Lyrics by Roma Olvera Harriet: My father’s name was Ben. Go on girl, help him.

Take care of your friends.

They are part of your family.

Child, you know what to do. Find your strength.

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Modesty: Yes, Harriet, I know what to do.

Harriet: Protect the ones you love.

I WILL NOT STAND STILL from Harriet’s Spirit Music by Marcus Shelby Lyrics by Roma Olvera In a hole of a ship In shackle and chain.

Through an unhumane trip.

We came, we came And the blues from my lip.

Cries out in shame.

Yet, I will not stand still.

I will not stand still Though I’m bound by the hip.

And pierced by the pain Of a slave master’s whip and cane.

And my blood it may drip.

Like gentle rain.

Rain, rain, rain I will not stand still.

I will not stand still.

Ars Minerva presents excerpts from MESSALINA featuring Aura Veruni. The opera, which was created by composer Carlo Pallavicino and librettist Francesco Maria Piccioli, tells the story of the wife of Emperor Claudius who was young enough to be his granddaughter.

OVERTURE, SCENES 1 & 2 from MESSALINA by Pallavicino & Piccioli ACT I, Scene 1 A party in a grand room with gaming equipment, refreshments, music.

Messalina is with Caio; Alindo, dressed as a Syrian gentleman, carries a musical instrument.

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Messalina (to Caio) Non ho maggior contento Che di fissarmi in te: E all’hor morir me sento, Se per un sol momento, T’involi ò caro a me.

(Repeats last phrase) Idolo mio, per qual caggion tu solo Sospeso nel contento, Minori a miei diletti il godimento?

Nothing delights me more Than to gaze into your eyes: And I feel like I’m dying Sweet man, If you are away for only a moment.

Why do you stay distant, beloved, Afloat in contentment, And so dilute my enjoyment?

Caio L’anima inamorata Dolcemente così viene rapita, Che resta dal Piacere instupidita.

Aria Non partite dal sen Gioie mie care: Con balsamo d’Amor Voi sanate del Cor Le pene amare.

(Repeats, variously) Augusta, se non sdegni, Erudito stranier, che in Siria nacque, Desia sol per momenti Snodar la lingua in musicali acenti.

A soul in love Is so sweetly transported That it becomes dazed with pleasure.

Aria Do not leave me, Dear delight: With love’s balm, You heal my heart’s Bitter pains.

Empress, with your consent, A learned foreigner, a native of Syria, Asks for but a few moments To give voice to musical tones.

Messalina Ammutisca ogni labro, e in questo luoco S’oda il suo canto, e si sospenda il gioco.

Alindo (takes the instrument) Aria Tornami ò cara in sen, Dolce speranza, Dai colpi del dolor, Fa scudo a questo cor Con la costanza.

(Repeats, variously)

Let all be silent, Let us hear his song, and leave off your gaming.

Aria Come back to my breast, Sweet hope; Let your constancy Shield my heart From the blows of pain.

Messalina Con sì soavi accenti Mi comove à pietà: come t’apelli?

His sweet sounds Move me to pity: what is your name?

Alindo Alindo.

Alindo.

Messalina E dove porti Così ramingo il piede?

And where Do your wanderings take you?

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Alindo Lunge al Ciel che mi diede Non ignobil la Cuna, Desio mutar Destin cangiar Fortuna.

Far from where I had A noble birth, I seek to change my fortune.

Messalina Qui sé t’agrada amico, Il tuo camin sospendi, Servendo a’ cenni miei tu in questa Corte, Forse retroverai propitia sorte.

Here, friend, if you like, Pause from your travels; If you serve me here You may find a more favorable fate.

Scene 2 Enter Lismeno, anxious, to join the above Lismeno Augusta! Augusta! Il tuo regal Consorte In tracia di te stessa Qui porta il piede.

Empress! Empress! Your royal husband Is pursuing you And is on his way.

Caio (to Messalina) E che farai?

What will you do?

Messalina Qui giunge Importuno a turbarmi: Negl’alberghi m’ascondo.

That intrusive man Only wants to disturb me: All right, I’ll hide within.

Caio Io vò a celarmi

I’ll hide.

(They withdraw to other rooms and Alindo steps forward, saying:) Alindo Par che ruoti cortese Per me nemica Stella, Odo la speme, che al mio cor favella.

Aria Costanza cor mio, Soffrir, e penar, O’ più non amar: Che solo soffrendo, Penando, e tacendo, Ti giova sperar.

(Repeats, variously)

It seems my adverse star Is turning friendly.

I will listen to the hope that whispers to my heart.

Aria Be constant, my heart, Suffer, and bear hurt, Or else love no more: For only through suffering, Hurting, and silence, Will hope be any help.

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Founded in 1966, Theatre Flamenco of San Francisco is one of the longest, continually running flamenco performance groups outside of Spain. The company is the second oldest dance company in San Francisco and one of the longest continually running flamenco performance groups outside of Spain.

Volti, one of the leading professional vocal ensembles in the United States, has a primary purpose of performing contemporary American music. Having commissioned more than 100 new works, by emerging as well as established composers, Volti is the only seven-time winner of the prestigious ASCAP Award for Adventurous Programming of Contemporary Music. Volti has been guided by founding Artistic Director Robert Geary since 1979.

INTO BEING Music by Ingrid Stölzel Text: Sanskrit Mantra, “the universal breath mantra” Its vibration resembles the sound of the breath during inhalation (so ham) and exhalation (ham sa).

THE WATERWHEEL from Canticles of Rumi Music by Mark Winges, Volti’s composer in residence Text by Rumi, trans. Coleman Barks.

Translation used by permission of Coleman Barks Stay together, friends.

Don’t scatter and sleep.

Our friendship is made of being awake.

The waterwheel accepts water and turns and gives it away, weeping.

That way it stays in the garden, whereas another roundness rolls through a dry riverbed looking for what it thinks it wants.

Stay here, quivering with each moment like a drop of mercury.

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A WISHED-FOR SONG from Canticles of Rumi Music by Mark Winges, Volti’s composer in residence Text by Rumi, trans. Coleman Barks.

Translation used by permission of Coleman Barks You’re song, a wished-for song.

Go through the ear to the center where sky is, where wind, where silent knowing.

Put seeds and cover them.

Blades will sprout where you do your work.

42nd Street Moon performs excerpts from A GRAND NIGHT FOR SINGING, THE WIZ, and MAME featuring B Noel Thomas with Teressa Foss, Ashley Garlick, Lauren Jiang, and Mark Robinson.

OPENING MEDLEY From A Grand Night for Singing by Rodgers & Hammerstein All the sounds of the earth are like music (music, music) All the sounds of the earth are like music, music, music!

La, la, la (etc) We have nothing to remember so far, so far.

So far we haven’t walked by night and shared the light of a star.

So far your heart has never fluttered so near, so near That my own heart alone could heart it.

We haven’t gone beyond the very beginning.

We’ve just begun to know how lucky we are.

So, we have nothing to remember so far, so far But now I’m face to face with you, and now at last we’ve met, And now we can look forward to the things we’ll never forget.

Some enchanted evening Bali H’ai may call you A hundred million miracles People will say we’re in love Page 19

(overlapping and in counterpoint) I simply remember my favorite things Some enchanted evening People will say we’re in love Bali Ha’I may call you (unison) It’s a grand night for singing, The moon is flying high.

And somewhere a bird who is bound he’ll be heard Is throwing his heart at the sky.

It’s a grand night for singing, The stars are bright above.

The earth is aglow and to add to the show, I think I am falling in love, Falling, falling in love.

Maybe it’s more than the moon, Maybe it’s more than the birds.

Maybe it’s more than the sight of a night In a light too lovely for words.

Maybe it’s more than the earth Shiny and silvery blue.

Maybe the reason I’m feeling this way Has something to do with you!

It’s a grand night for singing, The stars are bright above.

The earth is aglow and to add to the show, I think I am falling in love, Falling, falling, Falling, falling La la la la (etc) Falling in love!

I AM WHAT I AM From LA CAGE AUX FOLLIES by Jerry Herman & Harvey Fierstein I am what I am I am my own special creation So come take a look Give me the hook or the ovation It’s my world that I want to have a little pride in, My world, and it’s not a place I have to hide in Life’s not worth a damn ’til you can say, “Hey World, I am what I am.”

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I don’t want praise, I don’t want pity I bang my own drum Some think it’s noise, I think it’s pretty And so what if I love each sparkle and each bangle?

Why not try to see things from a different angle?

Your life is a sham till you can shout out “I am what I am” I am what I am And what I am needs no excuses I deal my own deck Sometimes the ace, sometimes the deuces There’s one life and there’s no return and no deposit One life so it’s time to open up your closet Life’s not worth a damn till you can say, “Hey World, I am what I am.”

IT’S TODAY from Mame Music and Lyrics by Jerry Herman Light the candles, Get the ice out, Roll the rug up, It’s today!

Though it may not be anyone’s birthday, And though it’s far from the first of the year, I know that this very minute has history in it, We’re here!

It’s a time for making merry, And so I’m for making hay!

Tune the grand up, Dance your shoes off, Strike the band up, It’s today!

And we’re livin’ And we’re well, gang, So raise hell, gang, While we may.

Call the cops out, Raise the racket, Pull the stops out, (pull out the stops), It’s today!

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Light the candles, Fill the punch bowl, Throw confetti, It’s today!

Life can also be lived on a weekday, So don’t depend on a holiday date, If you need New Year’s to bubble, Then order a double and wait.

It’s a time for making merry, And so I’m for making hay!

Tune the grand up, Call the cops out, Strike the band up, Pull the stops out, Hallelujah!

It’s today!

“SAN FRANCISCO” SONG Music by Bronislaw Kaper and Walter Jurmann Lyrics by Gus Kahn It only takes a tiny corner of This great big world to make a place you love.

My home upon a hill – I find I love you still I’ve been away, but no I’m back to tell you: San Francisco, open your golden gate; You let no stranger wait Outside your door.

San Francisco, here is your wandering one, Saying “I’ll wander no more.”

Other places only make me love you best, Tell me you’re the heart of all the golden west.

San Francisco, welcome me home again: I’m coming home to go roaming no more.

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Omari Tau, baritone, and Sacramento native, is a versatile performing artist, educator, and director, at home in the operatic and musical theatre worlds, as well as in jazz and pop genres.

As a performing artist, Mr. Tau’s credits include touring with Disney’s The Lion King for nearly nine years, performing the role of Banzai with both the Cheetah and Gazelle companies, which traveled internationally.

As an educator, he is Co-Founding Artistic Director and Professor of Vocal Music at Cosumnes River College, served as the Director of Opera Theatre at Sacramento State University for six years, and directed the Houston Grand Opera’s Education and Outreach Department touring opera program for youth.

As a composer, Tau’s works include the operas A Night at the Algonquin, Hans in Luck and The Pre-Show Opera Lecture, commissioned and premiered by Lone Star Lyric where they enjoyed successful runs. He has composed for Houston Grand Opera’s Education and Outreach programming, plus vocal and instrumental arrangements, including his own initiative Lions in the Library, which features chamber music arrangements to accompany the readings of children’s books.

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We are grateful for the sponsors of this FREE public performance

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