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2021–22 SEASON

CHANTICLEER CHANTICLEER APRIL 28, 2022 APRIL 28, 2022

Preprint Wasatch Peaks

WELCOME Thanks for joining us this evening as the curtain closes on a great 2021/2022 season. I can’t help but think it’s appropriate that these final three performances visit three of the great venues in Ogden: Austad Auditorium, Peery’s Egyptian Theater, and The Monarch. It is almost like a victory lap for the performing arts in Ogden as we emerge from the challenges of the last two years. As many of you have already seen through your inbox or social media channels (don’t worry, the brochure is coming too), we have an incredible 2022/2023 season of 27 performances in store for you. Your Utah Symphony will be back with no less than 11 performances next year. This includes Masterworks performances of Carl Orff’s larger-than-life Carmina Burana and the renowned Stephen Hough performing Rachmaninoff’s stirring and dramatic Piano Concerto No. 3. For the first time Ogden, we’re presenting a feature film with your Utah Symphony performing the soundtrack live. We hope The Goonies in Concert will be the first many. Of course Patriotic Pops, our annual summer celebration at Snowbasin, is right around the corner on June 30. We have a number of new opportunities for Ogden audiences next season in the Austad Auditorium as well as downtown. The Peking Acrobats will deliver some high-flying, family fun. The Queens Cartoonists will be at Peery’s, playing alongside classic and current cartoons. Contemporary ensembles like Merz Trio, Brooklyn Rider, and Empire Wild will be reimaging classical music for audiences at The Monarch. Previous series subscribers can expect to renew the same seats they had during the 2019/2020 season. Longtime ticket buyers and new-attendees alike can expect a wide variety of engaging, uplifting, and entertaining experiences to choose from. Subscribing is easy: just choose 4 or more shows, and you’ll save up to 15% on single-show prices and get the best available seats before they go on sale to the general public later in the summer. Thanks again for joining us this evening and for your ongoing support of Onstage Ogden. We hope to see you again soon. James Fredrick Executive Director, Onstage Ogden OnstageOgden.org

BOARD & STAFF BOARD OF DIRECTORS Jennifer Webb President Susan Shreeve Vice President

Cirilo Franco John Fromer Dr. Val Johnson Chris Karczewski Russ King Chair of Foundation Board

Jean Vaniman President-Elect

Dr. Rosemary Lesser Zach Nelson Wendy Roberts Joyce Stillwell Dr. Deborah Uman Jon Wilson

Roger Christensen Treasurer Dr. Robert Fudge Secretary Dr. Ann Ellis At Large Christina Myers At Large

FOUNDATION Russel King Chair

Paul C. Kunz Andrea Lane Michael S. Malmborg Dr. Judith Mitchell Meg Naisbitt Carolyn N. Rasmussen Sherm Smith Dr. Paul Sonntag Dotty Steimke

Marti M. Clayson Secretary

STAFF James Fredrick Executive Director

Camille Washington Marketing & Box Office Manager

Andrew Barrett Watson Outreach & Events Manager Sarah Lorna Bailey Development Coordinator

Avery Franklin Audience Engagement & Administrative Coordinator

Cover illustration: Nate Williams for Onstage Ogden

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DANCE & VOCAL SERIES CO N C E RT S P O N SO R E D BY TH E PI NTO FA M I LY F O U N DATI O N S E A SO N S P O N SO R E D BY W E B E R CO U NT Y R A M P

CHANTICLEER April 28, 2022 / 7:30 PM PEERY’S EGYPTIAN

AWAKENINGS Cortez Mitchell, Gerrod Pagenkopf*, Kory Reid, Bradley Sharpe, Logan Shields, Adam Ward – countertenor Brian Hinman*, Matthew Mazzola, Andrew Van Allsburg – tenor Andy Berry*, Zachary Burgess, Matthew Knickman – baritone and bass Tim Keeler – Music Director close[r], now Ayanna Woods (b. 1992) Commissioned by Chanticleer in 2021 with generous support from Alan Benaroya Lauda Jerusalem, Claudio Monteverdi (1567-1643) from Vespro della Beata Vergine O Radiant Dawn, from The Strathclyde Motets The Rewaking Regina coeli† Music, from Triumvirate Elmúlt a tél Négy Regi Magyar Népdal Dana-dana

James MacMillan (b. 1959) Augusta Read Thomas (b. 1964) Alexander Agricola (1445-1506) Ulysses Kay (1917-1995) Lajos Bárdos (1899-1986) Béla Bartók (1881-1945) Bárdos

PAUSE On a Clear Day Puerling SUNRISE Matthew Mazzola, solo Laudibus in sanctis

Burton Lane (1912-1997), arr. Gene MICHELLE, arr. Tim Keeler William Byrd (c. 1540-1623)

Continued on next page OnstageOgden.org

DANCE & VOCAL SERIES close[r], now Ayanna Woods (b. 1992) Commissioned by Chanticleer in 2021 with generous support from Alan Benaroya Lauda Jerusalem, Claudio Monteverdi (1567-1643) from Vespro della Beata Vergine O Radiant Dawn, from The Strathclyde Motets The Rewaking Regina coeli†

James MacMillan (b. 1959) Augusta Read Thomas (b. 1964) Alexander Agricola (1445-1506)

Music, from Triumvirate Elmúlt a tél Négy Regi Magyar Népdal Dana-dana

Ulysses Kay (1917-1995) Lajos Bárdos (1899-1986) Béla Bartók (1881-1945) Bárdos PAUSE

On a Clear Day Puerling SUNRISE Matthew Mazzola, solo Laudibus in sanctis

Burton Lane (1912-1997), arr. Gene MICHELLE, arr. Tim Keeler William Byrd (c. 1540-1623)

The Bird her punctual music brings, from Purple Syllables Commissioned by Music Accord in 2004 for Chanticleer Le Chant des Oiseaux Birds of Paradise Commissioned by Chanticleer in 2020 Journey to Recife† Jennings

Augusta Read Thomas

Clément Janequin (c. 1485-1558) Steven Sametz (b. 1954) Richard Evans (1932-2014), arr. Joseph H.

†These pieces have been recorded by Chanticleer. PROGRAM SUBJECT TO CHANGE *Andy Berry occupies The Eric Alatorre Chair given by Peggy Skornia. Brian Hinman occupies the Tenor Chair, given by an Anonymous Donor. Gerrod Pagenkopf occupies The Ning G. Mercer Chair for the Preservation of the Chanticleer Legacy, given by Ning and Stephen Mercer.

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PROGRAM NOTES The sun peeks through, painting soft lines on the wall. The smell of coffee seeps under the door. It’s time to wake up. After the longest performance break in Chanticleer’s history, we are thrilled to sing together again. Finally disentangled from our isolation, we return with a renewed sense of community and purpose. It’s time to come together. It’s time to celebrate. It’s time to sing! At the height of the pandemic, we commissioned composer Ayanna Woods to write us a piece that touches on some of the shared experiences of the past year. The text for close[r], now is an erasure poem created by Woods. The source material is an LA Times editorial from March 2020 detailing the reasons why theaters and the performing arts should “close, now.” Woods restructured and resampled the article to create a new text full of questioning and yearning. She highlights the changes we’ve had to make to connect. Through isolation and distance, we’ve been forced to “hone the dexterity of love” and to be creative with how we care for each other. Woods closes the piece with an imperative for the world: “come back to life.” In Chanticleer, it’s our hope that the life we return to is more compassionate, more caring, and more creative than the one we left in 2020. To celebrate that return, we move immediately to Claudio Monteverdi’s Lauda Jerusalem from his Vespers of 1610. The psalm chant, sung throughout by tenor Andrew Van Allsburg, is flanked by dueling choirs that bring the text to life. Monteverdi treats the delicate snow, the blowing wind, and the flowing water with hallmarks of his famous secular madrigals. Here, however, the sacred chant adds heft and majesty to these vivid musical depictions. In the Christian religious calendar, a new day and new beginnings have long been associated with Jesus Christ’s birth. O Radiant Dawn is James MacMillan’s tribute to the O Antiphon for December 21st, “O Oriens” – often translated as “O Morning Star.” It’s a prayer to beckon the new day; it’s a prayer for light to shine in darkness. Augusta Read Thomas’s The Rewaking creates a meditative space that compares the idea of “rewaking” to the recreation of a new day. “And so by / your love,” the poem reads, “the very sun / itself is revived.” A text associated with Easter, Regina coeli is a Marian antiphon calling for joy and celebration at Christ’s rebirth. Showcasing the contrapuntal ingenuity of early Franco-Flemish polyphony, Alexander Agricola’s motet captures the feelings of elation, excitement, and joy. Ulysses Kay’s Music serves as a fitting tribute to the difficulties of the past year. The text, by Ralph Waldo Emerson, reminds us that beauty exists even where we least expect it. For, as the last line states, even “in the mud and scum of things / There alway, alway something sings!” That joyful singing finds release in Elmúlt a tél (“Winter is gone”) by Lajos Bárdos. Along with Zoltán Kodály, Bárdos brought music pedagogy to new heights in Hungary in the 20th century. His many choral compositions display his complete mastery of the human voice, his fluency with formal compositional techniques, and his appreciation of Hungarian folk music. Béla Bartók was at the forefront of that reemergence – that reawakening – of folk music in Hungary. Through his ethnomusicological work, his field recordings, and his many compositions, he helped to create a Hungarian musical identity both rooted in tradition and forward thinking in purpose and construction. Négy régi magyar népdal (“Four old Hungarian Folksongs”), written in 1910, is one of Bartók’s first forays into this genre. Bárdos’s Dana-dana is a setting of a celebratory folk tune from the Bačka region between Serbia and Hungary. Continued on next page OnstageOgden.org

PROGRAM NOTES PAUSE

Gene Puerling’s arrangement of On a clear day, commissioned by Chanticleer in 2000, perfectly captures the clarity of a bright, sunny morning. His classic jazz harmonies and rock-solid voice leading lend the piece a feeling of certainty and assurance. The clear day represents a clear path forward – and a new understanding of what was left behind. That same bright confidence overflows in Sunrise, arranged by our music director, Tim Keeler. Originally written and performed by the New York City-based music collective MICHELLE, and here sung by tenor soloist Matthew Mazzola, the piece possesses an aura of cool selfconfidence. With a quick leap back 400 years, we end this set with William Byrd’s raucous and celebratory motet Laudibus in sanctis. Placing contemporary charts back to back with Renaissance polyphony is something we love to do. The same twelve notes have guided musicians for centuries, and the proximity of the old and the new lets the similarities of texture, tonality, and emotion shine through. Laudibus in sanctis closes this set with the perfect culmination of clarity and confidence. Fans of Chanticleer know that our name comes from Geoffrey Chaucer’s clear singing rooster in The Canterbury Tales. And while a rooster’s crow is a splendid way to ring in a new day, we thought some subtler interpretations of birdsong would be more appropriate for our collective musical awakening. Augusta Read Thomas composed The bird her punctual music brings for Chanticleer in 2004 as part of a larger work, Purple Syllables, which contains various settings of Emily Dickinson poems about birds. This movement in particular captures the ingenuity and playfulness of birdsong. Birds of Paradise, by Steven Sametz, takes inspiration from a much older choral work about birds, Clément Janequin’s Le Chant des Oiseaux. Bird sounds from this Renaissance chanson find their way directly into Sametz’s composition. Even the opening text, “Réveillez vous, coeurs endormis” (“Awake, sleepy hearts”) appears amongst the dream-like flutter of the modern composition. Commissioned by Chanticleer in 2019, Birds of Paradise explores Christina Rossetti’s poem, “Paradise: In a Symbol.” The singers of Chanticleer become the birds, or the symbols, themselves. Repetitive, wing-like motives flit from tree to tree as the birds call to one another on their ascent to “the paradise of God.” Finally, we end our program with a journey to “a place where you can find joy and release.” Our music director emeritus, Joseph H. Jennings, created this masterful and classic arrangement of the bossa nova standard, Journey to Recife. Our place of joy and release is on stage. It’s singing. It’s interacting with our audiences and sharing our music. We’re so thankful to be back, and we’re so thankful you’re here to share in our return. It’s a new day for us all. It’s time to stretch; it’s time to open the blinds; it’s time to wake up! Mills Publishing, Inc. Dan Miller, President; Cynthia Bell Snow, Office Administrator; Jackie Medina, Art Director; Ken Magleby, Graphic Design; Patrick Witmer, Graphic Design/Web Developer; Paula Bell, Dan Miller, Paul Nicholas Advertising Representatives Onstage Ogden is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106 Phone: 801.467.8833 Email: advertising@millspub.com Website: millspub.com Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities. Copyright 2022. PRINTED ON “RECYCLABLE” PAPER. PLEASE RECYCLE.

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TEXT AND TRANSLATIONS close[r], now – Ayanna Woods

the point of ease is a window. dream—fathom— hone the dexterity of love. the mask/ a [path] through come back/ come back to life.

Lauda Jerusalem, from Vespro della Beata Vergine – Claudio Monteverdi Lauda, Jerusalem, Dominum; Praise the Lord, O Jerusalem: lauda Deum tuum, Sion. praise thy God, O Zion. Quoniam confortavit seras portarum tuarum; For he hath made fast the bars of thy gates: benedixit filiis tuis in te. and hath blessed thy children within thee. Qui posuit fines tuos pacem, He maketh peace in thy borders: et adipe frumenti satiat te. and filleth thee with the flour of wheat. Qui emittit eloquium suum terræ: He sendeth forth his commandment upon earth: velociter currit sermo ejus. and his word runneth very swiftly. Qui dat nivem sicut lanam; He giveth snow like wool: nebulam sicut cinerem spargit. and scattereth the hoar-frost like ashes. Mittit crystallum suam sicut buccellas: He casteth forth his ice like morsels: ante faciem frigoris ejus quis sustinebit? who is able to abide his frost? Emittet verbum suum, et liquefaciet ea; He sendeth out his word, and melteth them: flabit spiritus ejus, et fluent aquæ. he bloweth with his wind, and the waters flow. Qui annuntiat verbum suum Jacob, He sheweth his word unto Jacob: justitias et judicia sua Israel. his statutes and ordinances unto Israel. Non fecit taliter omni nationi, He hath not dealt so with any nation: et judicia sua non manifestavit eis. neither have the heathen knowledge of his laws. Gloria Patri et Filio et Spiritui Sancto. Glory be to the Father, to the Son, and to the Holy Spirit. Sicut erat in principio et nunc et semper As it was in the beginning is now and forever, et in sæcula sæculorum, Amen. world without end, Amen. Psalm 147 O Radiant Dawn, from The Strathclyde Motets – James MacMillan O Radiant Dawn! Splendour of eternal Light, Sun of Justice: Come, shine on those who dwell in darkness and the shadow of death Isaiah had prophesied: “The people who walked in darkness have seen a great light; Upon those who dwelt in the land of gloom a light has shone.” Amen. Antiphon for December 21

Continued on next page

OnstageOgden.org

TEXT AND TRANSLATIONS The Rewaking – Augusta Read Thomas

Sooner or later we must come to the end of striving to re-establish the image the image of the rose but not yet you say extending the time indefinitely by your love until a whole spring rekindle the violet to the very lady’s-slipper and so by your love the very sun itself is revived

Text by William Carlos Williams Regina coeli – Alexander Agricola Regina coeli laetare, alleluia! Quia quem meruisti portare, alleluia! Resurrexit sicut dixit, alleluia! Ora pro nobis Deum, alleluia!

Queen of heaven, rejoice, alleluia! The Son you merited to bear, alleluia! Has risen as he said, alleluia! Pray to God for us, alleluia!

Music, from Triumvirate – Ulysses Kay Let me go where’er I will, I hear a sky-born music still: It sounds from all things old, It sounds from all things young; From all that’s fair, from all that’s foul, Peals out a cheerful song. It is not only in the rose, It is not only in the bird, Not only where the rainbow glows, Nor in the song of woman heard, But in the darkest, meanest things There alway, alway something sings. ‘Tis not in the high stars alone, Nor in the cup of budding flowers, Nor in the redbreast’s mellow tone, Nor in the bow that smiles in showers, But in the mud and scum of things There alway, alway something sings! Text by Ralph Waldo Emerson

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TEXT AND TRANSLATIONS Elmúlt a tél – Lajos Bárdos

Elmúlt már a vad tél, hahó, tilalaj, kivirul a táj, párát hajtó szellő, könnyen szállj!

Szívós gally a zöldjét teregeti már, Nyíló bimbó kelyhét feszegeti már, felhőn pergő napfény, szállj! Harmat rengő gyöngye, a fű idevár; bomló tánc a szívben, dalol a madár, felhőn pergő napfény, gyere már áldott napfényünk, szállj!

The wild winter is over, hey, from frozen earth the landscape is blossoming the wind drives away the mist, come away! A tough twig already spreads its green, already opens its flowering bud, sunlight swirls in a cloud, come away! The dew quivers like a pearl, the grass waits, a dance loosens in the heart, the bird sings, the sun shines through the clouds, come, return, o blessed sunlight, Come away!

Text by Weöres Sándor Négy Regi Magyar Népdal (Four Old Hungarian Folksongs) – Béla Bartók I. Rég megmondtam, bús gerlice I’ve long told you, sad turtledove, Ne rakj fészket útszéjire! Do not make a nest by the side of the road! Mer az úton sokan járnak, For many pass along that road, A fészkedből kihajdásznak. And will drive you from your nest. Rakjál fészket a sürübe, Bánatfának tetejibe; Aki kérdi: ezt ki rakta? Mondjátok: egy árva rakta, Kinek sem apja, sem anyja, Sem egy igaz atyjafia. II. Jaj istenem, kire várok: Megyek Budapestre, Ott sétálok a lányokkal Minden szombat este. Kipirosítom az arcom, Magam nagyra tartom; Úgy szeretnek meg engem a lányok Ott a Dunaparton.

Make your nest in the depths of the wood, Atop the tree of sorrow; When asked, who made this? Reply, ‘twas an orphan, Who has neither a father nor a mother, Nor even a true friend. Oh my Lord, who am I waiting for: I’m off to Budapest, To take a stroll with the girls Every Saturday night. I’ll rouge my cheeks And think highly of myself That’s how the girls will fall for me On the banks of the Danube.

III. Ángyomaszszony kertje, bertje, Nem tuom mi van belévetve: Szederje, bederje, Kapcsom donom donom deszka, kántormenta fodormenta, Jaj de furcsa nóta, ugyan cifra nóta!

My sister-in-law’s garden, I’ve no idea what it’s growing Blackberries, very-berries, Lollyberries, -erries, -erries, plankies, Singing-mint and spearmint, Hey what a weird ditty, a well-twisted ditty!

Csűröm alatt öt rozsasztag, A kertembe hat rozsasztag, Szederje, bederje, Kapcsom donom donom deszka, kántormenta fodormenta, Jaj de furcsa nóta, ugyan cifra nóta!

In my barn I’ve five sheaves of oat, In my garden six sheaves of oat, Blackberries, very-berries, Lollyberries, -erries, -erries, plankies, Singing-mint and spearmint, Hey what a weird ditty, a well-twisted ditty! OnstageOgden.org

TEXT AND TRANSLATIONS IV. Béreslegény, jól megrakd a szekeret, Sarjútüske böködje a tenyered! Mennél jobban böködi a tenyered, Annál jobban rakd meg a szekeredet!

Farm laborer lad, load the cart well, The stubbles prickle your palm! The more they prickle your palm, The better you load the cart!

Translation by Nicholas Bodoczky and Anna Süto Dana-dana – Bárdos

Hej, igazítsad jól alábod, Tiz farsangja, hogy már járod, Haj dana-dana-dana, dana-dana danajdom!

Hey, pay attention to your feet, You’ve been dancing at the carnival since ten, Hey, sing-song, let’s dance!

Hej, ez a kislány atyám fíjja, Szeretijaz apám fíjja, Haj dana-dana-dana, dana-dana danajdom!

Hey, this young girl is my wife, She loves my father’s son – that’s me! Hey, sing-song, let’s dance!

Hej, a szivemnek nagy a búja, Telégy rózsám orvoslója, Haj dana-dana-dana, dana-dana danajdom!

Hey, my heart is very sad, Come, sweetheart, nurse it back to health, Hey, sing-song, let’s dance!

Hej, nem aludtam csak egy szikrát, Eltáncoltam az éjszakát, Haj dana-dana-dana, dana-dana danajdom!

Hey, I didn’t sleep even a little bit, I’ve been dancing all night, Hey, sing-song, let’s dance!

Hej, ne tekintsd, hogy rongyos vagyok, Kilenc gyermek apja vagyok, Hej dana-dana-dana, dana-dana danajdom!

Hey, don’t think I’m worn out, I’m the father of nine children! Hey, sing-song, let’s dance!

Hej, ne okoskodj, ne halogass, Házasodjál, ne válogass, Hej dana-dana-dana, dana-dana danajdom!

Hey, don’t be a smart-aleck, don’t procrastinate, Just get married, don’t be picky! Hey, sing-song, let’s dance!

On a Clear Day – Burton Lane, arr. Gene Puerling On a clear day, Rise and look around you, and you’ll see who you are – On a clear day, how it will astound you, that the glow of your being outshines every star – You feel part of ev’ry mountain, sea and shore, You can hear from far and near, a world you’ve never heard before, And on a clear day, On that clear day, You can see forever and ever more. Text by Alan Jay Lerner SUNRISE – MICHELLE, arr. Tim Keeler Couldn’t ever be my sunrise, sunrise, You’re just a setting sun, I’d pray and you would pass me by, You’re only looking for a good time, a body you could kiss on, Turn to you and you’ve moved on. Well there’s something about the way you passed me by I couldn’t keep up and now I’m stuck. And I never forget how carefully you counted it: 16

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TEXT AND TRANSLATIONS Seven twenty-five licks to the center of a tootsie pop, All the times you laughed it made my heart stop Get the key, unlocked, no pace, no clock, Who’s there? Knock, knock. The earth still turns and I believe one day I’ll fall into your gravity. I just took too long to see beyond this predetermined read. Empty hallways, calendars months behind, Beds too warm to leave But I know like the sun I’ve gotta rise eventually. Couldn’t ever be my sunrise... It’s sour this time Many times I rode, many times I’d spin and went so far for you, It’s familiar and mild, You stretch me out, I still can’t reach Don’t wanna need your company. Don’t you know that the earth still turns and I believe one day I’ll fall into your gravity. I just took too long to see beyond this predetermined read. Empty hallways, calendars months behind, Beds too warm to leave But I know like the sun I’ve gotta rise eventually. Couldn’t ever be my sunrise... Laudibus in sanctis – William Byrd Laudibus in sanctis Dominum celebrate supremum: firmamenta sonent inclita facta Dei. Inclita facta Dei cantate, sacraque potentis voce potestatem sæpe sonate manus.

Praise the Lord most high with holy praise: let the firmament echo God’s glorious deeds. Sing his glorious deeds, and with loud voice proclaim the power of his mighty hand.

Magnificum Domini cantet tuba martia nomen: pieria Domino concelebrate lira, Laude Dei resonent resonantia tympana summi: alta sacri resonent organa laude Dei.

Let the martial trumpet sound the Lord’s great name: celebrate the Lord with the Pierian lyre. Let timbrels resound to the praise of the highest God, let lofty organs sound the praise of the holy God.

Hunc arguta canant tenui psalteria corda, hunc agili laudet læta chorea pede. Concava divinas effundant cymbala laudes, cimbala dulcisona laude repleta Dei.

Let clear harps sing of him with subtle strings, let agile feet praise him in joyful dance. Let hollow cymbals pour forth divine praises, sweet-sounding cymbals full of the praise of God.

Omne quod æthereis in mundo vescitur auris Halleluya canat tempus in omne Deo.

Let everything on earth fed by the air of heaven sing Alleluia to God, now and forever more.

Based on Psalm 150 The Bird her punctual music brings, from Purple Syllables – Augusta Read Thomas The Bird her punctual music brings And lays it in its place – Its place is in the Human Heart And in the Heavenly Grace – What respite from her thrilling toil Did Beauty ever take – But Work might be electric Rest To those that Magic make – Text by Emily Dickinson

OnstageOgden.org

TEXT AND TRANSLATIONS Le Chant des Oiseaux – Clément Janequin Réveillez vous, coeurs endormis, Le dieu d’amour vous sonne.

A ce premier jour de mai Oiseaux feront merveilles Pour vous mettre hors d’esmay. Détoupez vos oreilles. Et farirariron frereli joli. Vous serez tous en joie mis Car la saison est bonne. Vous orrez à mon avis Une douce musique, Que fera le roy mauvis Le merle aussi L’estournel sera parmi, D’une voix authentique: Ti ti pyti pyti Chou Chou Chouti Que dis-tu? Le petit sansonnet de Paris, Le petit mignon, Sainte tête Dieu! Guillemette, Colinette, il est temps d’aller boire! Qu’est là-bas, passe villain Sage, courtois, et bien appris. Au sermon, ma maîtress, Sus, madame, à la messe Sainte Coquette qui caquette. à Saint Trotin voir Saint Robin, montrer le tétin, le doux musequin! Rire et gaudir c’est mon devis, Chacun s’y abandonne.

Awake, sleepy hearts the God of Love calls you. On this first day of May, the birds will make you marvel, To lift yourself from dismay Unclog your ears, And farirariron ferely prettily. You will be moved to joy For the season is fair. You will hear, at my behest, A sweet music, That the royal thrush And also the blackbird will sing Together with the starling In a genuine voice: Ti ti pyti pyti Chou chou chouti What are you saying? The little starling of Paris, The little darling, holy head of God! Guillemette and Colinette, it’s time to go drinking! Who is there, knave? Wise, courteous, and well-formed. To the sermon, my lady, Get up, madam, To the Mass for St. Clucky, who gossips. To St. Trotin to see St. Robin Show off your chest, sweet musician! To laugh and rejoice is my device, Let everyone give themselves up to them.

Rossignol du bois joli, A qui la voix résonne, Pour vous mettre hors d’ennui Votre gorge jargonne. Frian frian tr tar tar tu Velecy ticun tu tu Qui lara ferely fy fy Coqui teo siti oyty tr Turri huit huit teo tar Quio quio fouquet Quibi quibi fi frr Fuyez regrets, pleurs et souci, Car la saison l’ordonne,

Nightingale of the pretty woods, Whose voice resounds, To free yourself from boredom Your throat jabbers away. Frian frian tr tar tar tu Velecy ticun tu tu Qui lara ferely fy fy Coqui teo siti oyty tr Turri huit huit teo tar Quio quio fouquet Quibi quibi fi frr Flee, regrets, tears and worries, For the season commands it.

Arrière maître cocu, Sortez de nos chapitre, Chacun vous est mal tenu Car vous n’êtes qu’un traître Coucou coucou Par trahison en chacun nid Pondez sans qu’on vous sonne. Réveillez vous coeurs endormis, Le dieu d’amour vous sonne.

Turn around, master cuckoo, Get out of our company, Each of us gives you to the owl, For you are nothing but a traitor. Cuckoo, cuckoo Treacherously in others’ nests, You lay without being called. Awake, sleepy hearts, The god of love is calling you.

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Continued on page 23

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THE ENGELSTAD SHAKESPEARE THEATRE

THE RANDALL L. JONES THEATRE

ALL’S WELL THAT ENDS WELL

THE SOUND OF MUSIC

By William Shakespeare

Music by Richard Rodgers Lyrics by Oscar Hammerstein II Book by Howard Lindsay and Russel Crouse

By George Stevens Jr.

KING LEAR

THE EILEEN AND ALLEN ANES STUDIO THEATRE THE TEMPEST THURGOOD

By William Shakespeare

SWEENEY TODD

TROUBLE IN MIND

By Stephen Sondheim and Hugh Wheeler

By Alice Childress

CLUE Based on the Screenplay by Jonathan Lynn Written by Sandy Rustin Additional Material by Hunter Foster and Eric Price Left to right: Emelie O’Hara as Richard in The Conclusion of Henry VI: Parts Two and Three, 2019; Quinn Mattfeld as Nathan Detroit in Guys and Dolls, 2017; Betsy Mugavero as Nerissa in The Merchant of Venice, 2018; Wayne T. Carr as Macbeth in Macbeth, 2019; Michael Elich as Long John Silver in Treasure Island, 2017; and Sarah Hollis as a Witch in Macbeth, 2019.

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TEXT AND TRANSLATIONS Continued from page 18 Birds of Paradise – Steven Sametz Golden-winged, silver-winged, Winged with flashing flame, Such a flight of birds I saw, Birds without a name: Singing songs in their own tongue (Song of songs) they came. One to another calling, Each answering each, One to another calling In their proper speech: High above my head they wheeled, Far out of reach. On wings of flame they went and came With a cadenced clang, Their silver wings tinkled, Their golden wings rang, The wind it whistled through their wings Where in Heaven they sang. Réveillez vous coeur endormis, [Awake, sleepy hearts,] Le dieu d’amour vous sonne. [The god of love calls you.] They flashed and they darted Awhile before mine eyes, Mounting, mounting, mounting still In haste to scale the skies – Birds without a nest on earth, Birds of Paradise. Where the moon riseth not, Nor sun seeks the west, There to sing their glory Which they sing at rest, There to sing their love-song When they sing their best: Not in any garden That mortal foot hath trod, Not in any flow’ring tree That springs from earthly sod, But in the garden where they dwell, The Paradise of God. Text by Christina Georgina Rossetti (1830–1894), “Paradise: In a Symbol” Journey to Recife – Richard Evans, arr. Joseph H. Jennings Take a train, take a plane And journey to a place Where you can find joy and release. Take a holiday, come and stay, You could be here today, And I know you would never want to go back to where you came from. On the day you arrive You’ll feel the magic fill your soul And you’ll have no regrets. You will have all you need, It will be something wonderful, You better wake up and start that journey back to me. OnstageOgden.org

ABOUT CHANTICLEER The GRAMMY® Award-winning vocal ensemble Chanticleer has been hailed as “the world’s reigning male chorus” by The New Yorker, and is known around the world as “an orchestra of voices” for its wide-ranging repertoire and dazzling virtuosity. Founded in San Francisco in 1978 by singer and musicologist Louis Botto, Chanticleer quickly took its place as one of the most prolific recording and touring ensembles in the world, selling over one million recordings and performing thousands of live concerts to audiences around the world. Chanticleer’s repertoire is rooted in the renaissance, and has continued to expand to include a wide range of classical, gospel, jazz, popular music, and a deep commitment to the commissioning of new compositions and arrangements. The ensemble has committed much of its vast recording catalogue to these commissions, garnering GRAMMY® Awards for its recording of Sir John Tavener’s “Lamentations & Praises”, and the ambitious collection of commissioned works entitled “Colors of Love”. Chanticleer is the recipient of the Dale Warland/Chorus America Commissioning Award and the ASCAP/Chorus America Award for Adventurous Programming, and its Music Director Emeritus Joseph H. Jennings received the Brazeal Wayne Dennard Award for his contribution to the African-American choral tradition during his tenure with Chanticleer. Named for the “clear-singing” rooster in Geoffrey Chaucer’s Canterbury Tales, Chanticleer continues to maintain ambitious programming in its hometown of San Francisco, including a large education and outreach program that recently reached over 8,000 people, and an annual concert series that includes its legendary holiday tradition “A Chanticleer Christmas”. Chanticleer is a non-profit organization, governed by a volunteer Board of Trustees, administered by a professional staff with a full-time professional ensemble. In addition to the many individual contributors to Chanticleer, the Board of Trustees thanks the following Foundations, Corporations and Government Agencies for their exceptional support: Cal Arts (California Small Business COVID-19 Relief Grant Program) The George Family Foundation The Ann and Gordon Getty Foundation San Francisco Grants for the Arts The William and Flora Hewlett Foundation National Endowment for the Arts The Bernard Osher Foundation The Bob Ross Foundation Small Business Association - Shuttered Venue Operators Grant CHANTICLEER STAFF Philip Wilder, President & General Director Murrey Nelson, Director of Development Curt Hancock, Director of Operations and Touring Brian Bauman, Senior Accountant/Budget Manager Barbara Bock, Development and Marketing Associate Zachary Burgess, Development Assistant Brian Hinman, Road Manager Matthew Knickman, Merchandise Manager Kory Reid, Education Coordinator Tim Keeler, Music Director Gerrod Pagenkopf, Assistant Music Director Artist Management: Opus 3 Artists, Ltd. Founder: Louis Botto (1951 – 1997) Music Director Emeritus: Joseph H. Jennings www.chanticleer.org

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FRIENDS OF ONSTAGE OGDEN Onstage Ogden thanks the following individuals, corporations, foundations, and government funding agencies for their generous donations! The following list of acknowledgments are contributors from January 2021 - February 2022. Please contact us if you would like to make a donation, if your name has inadvertently been left off the following list or is misspelled. Thank you again for your generous support!

Season Sponsor ($90,000+) Stewart Education Foundation

Series Sponsor ($20,000+) Pinto Family Foundation Alan and Jeanne Hall

Concert Sponsor ($10,000+) Weber State University Robert & Marcia Harris Lawrence T. Dee and Janet T. Dee Foundation Ogden City Arts

Diamond ($5,000–$9,999)

Marriner S. Eccles Foundation Beaver Creek Foundation Dr. Robert Fudge and Sylvia Newman*

Platinum ($2,500–$4,999)

Christina & Shaun Myers* Suzanne Patterson in Memory of & Dedicated to Nancy Pinto-Orton

Weber County RAMP

Utah Division Of Arts and Museums

Richard K. & Shirley S. Hemingway Foundation Norman C. and Barbara L Tanner Charitable Support Trust Val A Browning Charitable Foundation

George S. & Dolores Dore Eccles Foundation

Nancy Pinto-Orton*

* Members of the Onstage Ogden Board of Directors

OnstageOgden.org

FRIENDS OF ONSTAGE OGDEN Gold ($1,000–$2,499)

Anonymous Bank of Utah Geraldine and Evan Christensen Marti M. Clayson Dr. Rosemary Conover and Luckey Heath Rick and Karen Fairbanks Doug and Shelly Felt

Donna and Ralph Friz Bill & Barbara Hughes Paul and Cindy Kunz Drs. Rosemary & David Lesser* Julius Lloyd Robert Montgomery, MD MSL Family Foundtion Suzy Patterson

Silver ($500-$999)

Lee Badger Marlin Jensen Kay A. Ballif Dr. Val Johnson* Steven and Lynne Carter Lindquist Memorial Parks Mary and Lee Forrest Carter Jan and Jerome Luger Dr. Allen and Janis Christensen Robert and Sally Neil Tim and Candace Dee Suzy Patterson John Fromer and Willis McCree* Harry and Becky Senekjian

Bronze ($100-$499)

Anonymous William and Vickie Anderson Zana Anderson Marlene Barnett Georgia and Paul Bennion Gail and Nick Breeze in Memory of Duane Manful Jane Brewer Arthur & Marian Budge Rick Burnett in Memory of Nancy Pinto-Orton Jeffry and Linda Burton Brad and Lynn Carroll Teresa Castaldi in Memory of Nancy Pinto-Orton Roger Christensen* Raymond and Betty Chrsitian Cathay Christiansen Elaine Cobos Phillip & Gail Coleman Julie and Stephen Coley Phyllis Combe Dean & Karen Cooper in Memory of Nancy Pinto-Orton Lynn and Natalie Dearden Gaye and Robert Delange Carolyn B. Deru Allan & Kellie Diersman Royce E. Dye & Delores K. Taylor Dr. Ann Ellis* Jill Flamm William and Anita Ford Cirlio Franco* Livleen Gill in Memory of Nancy Pinto-Orton Dennis & Katherine Gladwell Greg and Caitlin Gochnour Josh Grimaud

Katherine Grunert in Memory of Nancy Pinto-Orton Nicola Haffenden in Memory of Nancy Pinto-Orton Mardee Hagen Mary Hargis Bob and Marcia Harris in Memory of Nancy Pinto-Orton Terry Hartman-Smith Kimberly Hearn Tina and Robert Herman Jeanne Hinchman Kristen Hurst Hyde Eric & Becky Jacobson Christopher & Margaret Karczewski* Melba and Denis Kirby Melissa Klein in Memory of Nancy Pinto-Orton William and Sarah Lindsay James & Deborah Lindstrom Estella Malayika in Memory of Nancy Pinto-Orton Duane E. Manful Erika Martin Sandy and Phillip Maxwell Meg and Mark Naisbitt Zachary Nelson Inga Newton Ruth Nielsen Claude & Barbara Nix Ogden Chapter of MacDowell Ensemble Michael Palumbo Donald Pantone Jeff Paulson Paul and Sandra Perkin

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Ralph Nye Charitable Foundation Marty and Carolyn Rasmussen Carolyn Rich-Denson Jonathan and Beverly Sounder Suzanne Lindquist Charitable Gift Fund Glenn and Connie Wimer

Greg and Susan Shreeve* Joyce and Robert Stillwell* Dr. Deborah and Mr. Michael Uman* Jennifer & Dr. Michael Webb* Jon & Dawnene Wilson*

Janet A. Petersen Matt & Camille Pollard Dessa Dal Porto & Victor Dumas in Memory of Nancy Pinto-Orton Wendy and Cary Roberts* Roosters Brewing Co. Carlyn Sarino in Memory of Nancy Pinto-Orton Juergen Sass Harlan Schmitt Mary and Howard Schuyler Susan and Greg Shreeve* Sempre Musical Society Carol and Paul Sonntag Keith and Marlys Sorbo John and Colleen Starley Edward and Mari Lou Steffen David Suehsdorf Talisman Brewing Company Jeane Taylor UTOG Brewing Company Dixie Vandyke Jean Vaniman* Bonnie Wahlen Jack and Bonnie Wahlen Andrew and Suzanne Wall Bruce and Kay Wallace Janice and Sheldon Ward Dr. Michael & Jennifer Webb in Honor of Nancy Pinto-Orton and Richard White Kent and Trudy Whiteman Aloha Whitney Larry Zaugg Jan Zehner

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