Barbara K. Jackson Rising Stars of Opera 2017

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ANNIVERSARY

BARBARA K. JACKSON RISING STARS OF OPERA MARK MORASH, Conductor and Piano

SUNDAY, OCTOBER 8, 2017 San Francisco Opera Adler Fellows SARAH CAMBIDGE, Soprano KYLE VAN SCHOONHOVEN, Tenor BRAD WALKER, Bass-Baritone

UC Davis Symphony Orchestra BARBARA K. JACKSON RISING STARS OF OPERA

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RO B ERT A N D M A RG RI T

MONDAVI CENTER

FO R T H E PERFO R M I N G A RTS PRES EN TS

BARBARA K. JACKSON RISING STARS OF OPERA MARK MORASH, Conductor and Piano

San Francisco Opera Adler Fellows SARAH CAMBIDGE, Soprano KYLE VAN SCHOONHOVEN, Tenor BRAD WALKER, Bass-Baritone

UC Davis Symphony Orchestra

SUNDAY, OCTOBER 8, 2017 • 4PM Jackson Hall, UC Davis

This event is provided free to the community through the generous support of BARBARA K. JACKSON Presented in partnership with the UC Davis Department of Music and the San Francisco Opera Center

The artists and fellow audience members appreciate silence during the performance. Please be sure that you have switched off cellular devices.

Videotaping, photographing and audio recording are strictly forbidden.

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PROGRAM

San Francisco Opera Adler Fellows Mark Morash, piano Selections from Schwanengesang, D. 957 Franz Schubert

Der Atlas (1797–1828)

Das Fischermädchen

Die Stadt Brad Walker, bass-baritone Selections from Sept Mélodies, Op. 2

Le charme (No. 2)

Les papillons (No. 3)

La dernière feuille (No. 4)

Sérénade italienne (No. 5)

Le colibri (No. 7)

Ernest Chausson (1855–1899)

Sarah Cambidge, soprano Four British Songs The Salley Gardens

arr. Benjamin Britten (1913–­1976)

Silent Noon

Ralph Vaughan Williams (1872–1958)

O Waly, Waly

arr. Britten

Love Went A-Riding

Frank Bridge (1879–1941) Kyle van Schoonhoven, tenor

“If Ever I Would Leave You” from Camelot

Alan Jay Lerner (1918–1986) Frederick Loewe (1901–1988) Brad Walker, bass-baritone INTERMISSION

BARBARA K. JACKSON RISING STARS OF OPERA

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PROGRAM

UC Davis Symphony Orchestra Mark Morash, conductor

Prelude, Scene and Aria “Ecco l’orrido campo” from Un ballo in maschera

Giuseppe Verdi (1813–1901)

Sarah Cambidge, soprano

“Hai già vinta la causa ... Vedrò mentr’io sospiro” Wolfgang Amadeus Mozart from Le nozze di Figaro (1756–1791) Brad Walker, bass-baritone

Intermezzo from Cavalleria rusticana

Pietro Mascagni (1863–1945)

“Allmächt’ger Vater, blick herab!” from Rienzi Richard Wagner (1813–1883) Kyle van Schoonhoven, tenor

“Studia il passo, o mio figlio! … Come dal ciel precipita” from Macbeth

Verdi

Brad Walker, bass-baritone

“Somewhere” from West Side Story Leonard Bernstein (1918–1990) Sarah Cambidge, soprano, and Kyle van Schoonhoven, tenor

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T E X T S , T R A N S L AT I O N S , A N D N O T E S Selections from Schwanengesang, D. 957 (1828) Franz Schubert Born January 31, 1797 in Vienna.

Died November 19, 1828 in Vienna.

Though its title was not original with Schubert and its songs comprise a loose collection rather than an integrated cycle, the Schwanengesang is a fitting capstone to its creator’s career as a writer of some 600 songs.

Indeed, the settings of poems by Heinrich Heine (1797– 1856), the first that Schubert did of verses by that author whose writings perfectly embodied the irony, longing and caustic wit so dear to the Romantics, are among the most intense, dramatic, profound and forward-looking of his works. Schubert took the poems from the opening section (Heimkehr—“Homecoming”) of Heine’s Reisebilder (“Travel Pictures”), published in October 1827, which was read by the composer and a circle of his friends at a soirée the following January. Schubert composed his songs on Heine’s verses sometime during the next six months.

Selections from Sept Melodies, op. 2 (1882) Ernest Chausson Born January 20, 1855 in Paris.

Died June 10, 1899 in Limay (near Mantes-la-Jolie), France.

The verses of the prolific Parisian poet, novelist, essayist, playwright and librettist Armand Silvestre (1837–1901) proved irresistible to Massenet, Bizet, Chaminade, Fauré, Lalo, Duparc and literally dozens of other French composers. Graham Johnson, the English accompanist who has recorded and annotated a vast swath of the standard song literature for Hyperion, wrote that the French composers “found themselves in sympathy with his irrepressible enthusiasm for women and his ability to cloak erotic thoughts in an acceptably high-flown way.” Chausson included his setting of Silvestre’s Quand ton sourire me surprit (“When your smile caught me unawares”) under the title Le charme in his Sept Mélodies, op. 2, of 1882, a time that, Graham continued, “seems to coincide with the composer’s own loneliness and his frustration at being unable to find a suitable mate (the situation was resolved with Chausson’s marriage in 1883).”

The delicately fluttering Les papillons (“Butterflies”) is set to a poem by the French Romanticist Théophile Gautier (1811–1872). An expressive foil to the evanescent Les papillons in the op. 2 set is Chausson’s evocation of the bleak, autumn landscape of La dernière feuille (“The Last Leaf”) by Gautier.

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French writer Paul Bourget (1852–1935), who was noted for his critical essays and psychologically penetrating novels, enjoyed considerable acclaim during his lifetime for his writings—which included a journal of his visit to the United States in 1893—and he was admitted to the Academie Française in 1894 and made an Officier de la Légion d’honneur the following year. Chausson’s setting of Bourget’s Sérénade italienne suggests the sea breezes and “calm, dark waters” that lull a couple on their excursion under the stars.

Charles-Marie-René Leconte de Lisle (1818–1894), the leader of the Parnassian school of French poets, evoked a sultry sensuality in Le colibri (“The Hummingbird”) that Chausson reflected in his 1882 setting of the poem.

Graham Johnson wrote, “Harmonic reminiscences of [Wagner’s] Tristan und Isolde are here transferred to the south seas, including a final ornithological Liebestod. And yet the sexual impulse behind the poem is clothed in music of chasteté and innocence—as innocent as a bird in fact, with all the unselfconsciousness of the animal kingdom.”

Four British Songs The first volume of arrangements of Folk Songs of the British Isles by Benjamin Britten (1913–1976) dates from 1941, when he used them for his recitals in the United States with tenor Peter Pears. Britten made another set of folk song arrangements in 1942 for the soprano Sophie Wyss, though those seven melodies were not from Britain but from France, and added subsequent volumes in 1947 (British Isles), 1960 (Moore’s Irish Melodies), 1961 (two: British Isles and, with guitar accompaniment, England), and 1976 (British, with harp). The tunes are scrupulously retained in these settings, but the accompaniment is given free rein, though without ever cluttering or parodying the original melody.

Irish poet William Butler Yeats wrote the text of “Down by the Salley Gardens” in what he called “an attempt to reconstruct an old song from three lines imperfectly remembered by an old peasant woman in the village of Ballisodare, Sligo, who often sings them to herself”; he published his verse in 1889 under the title “An Old Song Re-Sung” in The Wanderings of Oison and Other Poems. In 1909, the Irish composer and folklorist Herbert Hughes set Yeats’ poem to the traditional tune “The Maids of the Mourne Shore”, and it is in that form that it became one of Britain’s most beloved songs. Yeats’ touching words tell of young love found and lost in a willow grove, the “salley gardens” of the title. Britten identified “O Waly, Waly” simply as a folksong from Somerset.

T E X T S , T R A N S L AT I O N S , A N D N O T E S Though Ralph Vaughan Williams (1872–1958) is best known for his instrumental works, the bulk of his catalog is occupied by compositions for voice. In 1903, he made a beautiful, indeed openly sensual, setting of “Silent Noon” by the influential pre-Raphaelite poet and painter Dante Gabriel Rossetti (1828–1882) and included it the following year in The House of Life, his “Cycle of Six Sonnets” to Rossetti’s texts.

Frank Bridge (1879–1941) was one of the leading English musicians during the years between the two World Wars.

“Love Went A’Riding” is Bridge’s impetuous setting of a poem by the British novelist, poet and teacher Mary Elizabeth Coleridge (1861–1907), great-grandniece of Samuel Coleridge Taylor and daughter of a cultured London household whose regular visitors included Robert Browning, Alfred Lord Tennyson, John Millais, Fanny Kemble and Jenny Lind.

“If Ever I Would Leave You” from Camelot (1960) Music by Frederick Loewe Born June 10, 1901 in Vienna.

Died February 14, 1988 in Palm Springs, California.

Lyrics by Alan Jay Lerner Born August 31, 1918 in New York City.

Died there June 14, 1986.

Camelot, Lerner and Loewe’s last Broadway collaboration, took as its source T.H. White’s The Once and Future King, a well-known retelling of the ancient Arthurian legends.

In the story, Guinevere comes to Camelot to wed King Arthur. Their marriage is happy until Lancelot, a young knight from France seeking to join Arthur’s Round Table, falls in love with Guinevere. Lancelot and Guinevere are torn between their own love and their devotion to Arthur, but they flee to France when the King’s son, Mordred, who wants to usurp his father’s throne, intrigues against them. War with France ensues, but when Arthur meets the lovers on the field of battle, he forgives them both. “If Ever I Would Leave You”, Lancelot’s romantic ballad to Guinevere, became the signature song for Robert Goulet, who originated the role of Lancelot on Broadway.

Prelude, Scene and Aria “Ecco l’orrido campo” from Un ballo in maschera (1859) Giuseppe Verdi Born October 10, 1813 in Le Roncole, Italy.

Died January 27, 1901 in Milan.

In the story of “A Masked Ball”, Riccardo, governor of 17th-century Boston, secretly loves Amelia, wife of his friend and secretary, Renato. Amelia tries to resist

returning Riccardo’s affection by consulting the fortuneteller Ulrica, whose remedy includes picking herbs at the foot of the gallows at midnight. When Amelia arrives at the terrible place, she sings of the torment caused by the conflict of love and duty in the dramatic aria “Ecco l’orrido campo.”

The brief Prelude to Act II pits the dramatic music evoking the dreadful place of execution against the imploring melody that Amelia sang in her Act I trio with Riccardo and Ulrica: Grant me, O Lord, strength to purify my heart.

“Hai già vinta la causa ... Vedrò mentr’io sospiro” from Le nozze di Figaro, K. 492 (1786) Wolfgang Amadeus Mozart Born January 27, 1756 in Salzburg.

Died December 5, 1791 in Vienna.

In Mozart’s masterful opera, Count Almaviva is determined to force his amorous advances upon Susanna, maid to the Countess. Susanna agrees to a nocturnal assignation with him, but as she leaves their interview, she meets Figaro, her fiance and the Count’s valet, and tells him that she is arranging a joke on the Count.

The Count vows to frustrate his servant’s planned marriage by insisting that Figaro marry the housekeeper Marcellina in lieu of repayment of a debt to her, or by encouraging Antonio, the gardener and Susanna’s uncle, not to give his consent to the union, or through his own ingenuity. In “Vedrò mentr’io sospiro”, the Count expresses his rage that his servant should gain his heart’s desire while he, a nobleman, should be stymied.

Intermezzo from Cavalleria rusticana (1890) Pietro Mascagni Born December 7, 1863 in Livorno.

Died August 2, 1945 in Rome.

Mascagni’s one-act Cavalleria rusticana is set in the square of a Sicilian village on Easter morning. Turiddu returns from the army to find that his former sweetheart, Lola, has married Alfio. With Lola unavailable, Turiddu consoles himself with the charms of the peasant girl Santuzza. She falls in love with Turiddu, and is infuriated when he returns to Lola for an adulterous affair. Santuzza confronts Turiddu on the steps of the church when he arrives to attend Mass, but he refuses to submit to her jealousy. Lola enters, singing a lighthearted ditty, grasps the situation at a glance, and exchanges bitter words with Santuzza. Turiddu, furious at the scene, hurls Santuzza to the ground and escorts Lola into church. At this tense

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moment, Alfio enters and Santuzza reveals to him his wife’s illicit love for Turiddu. Alfio swears vengeance and leaves. A crowd fills the square after the Easter service ends. Turiddu proposes a toast to the villagers, but Alfio spurns the glass of wine offered to him. Insulted, Turiddu challenges him to a duel, and the two leave. The villagers rush back into the square with the news that Turiddu has been killed. The Intermezzo occurs at the crucial moment in the drama when Alfio has just learned of his wife’s infidelity and determines to confront her lover. The serenity of the music, played while the stage is empty for the Easter service, evokes the solemn worship in the church and also acts as a foil for the intensity and tragedy of the scenes surrounding it.

“Allmächt’ger Vater, blick herab!” from Rienzi (1842) Richard Wagner Born May 22, 1813 in Leipzig.

Died February 13, 1883 in Venice.

Rienzi is the story of the heroic Cola di Rienzi, who tried to lead a popular revolt against the despotic nobles of 14th-century Rome only to be thwarted through the intrigues of his enemies. At the beginning of Act V, Rienzi prays for divine support for his mission in the aria Allmächt’ger Vater, blick herab! (“Almighty Father, Look Down!”), but his entreaty remains unanswered and he perishes in the conflagration that consumes the city as the conflict resumes.

“Come dal ciel precipita” from Macbeth (1847) Giuseppe Verdi The opera opens with the witches’ prophecy that Macbeth will become King of Scotland and Banquo, a general in the army, the father of kings. Macbeth, driven by his ambitious wife, fulfills their prediction by killing King Duncan. Banquo, now seen by Macbeth as a rival for power, sings of the menace that surrounds him in the aria “Come dal ciel precipita” just before he is assassinated by Macbeth’s henchmen, who allow his son to escape.

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“Somewhere” from West Side Story (1957) Leonard Bernstein Born August 25, 1918 in Lawrence, Massachusetts.

Died October 14, 1990 in New York City.

In the plot of West Side Story, Riff, leader of the Jets, an “American” street gang, determines to challenge Bernardo, head of the rival Sharks, a group of young Puerto Ricans, to a rumble. Riff asks Tony, his best friend and a co-founder of the Jets, to help. Tony has been growing away from the gang, and senses better things in his future, but agrees. The Jets and the Sharks meet that night at a dance in the gym, where Tony falls in love at first sight with Maria, Bernardo’s sister. Tony promises Maria he will try to stop the rumble, but he is unsuccessful, and becomes involved in the fighting.

He kills Bernardo. Maria learns that Tony has slain her brother. Tony comes to her apartment, but she cannot send him away, and they express their longing for a place free from prejudice in a dance performed while “Somewhere” is heard. ©2017 Dr. Richard E. Rodda

T E X T S , T R A N S L AT I O N S , A N D N O T E S Schubert: Selections from Schwanengesang Der Atlas (“Atlas”) Text: Heinrich Heine Ich unglücksel’ger Atlas! Eine Welt, Die ganze Welt der Schmerzen muss ich tragen, Ich trage Unerträgliches, und brechen Will mir das Herz im Leibe.

I, unhappy Atlas, must bear a world, The whole world of sorrows.

I bear the unbearable, and my heart Would break within my body.

Du stolzes Herz! du hast es ja gewollt!

Du wolltest glücklich sein, unendlich glücklich, Oder unendlich elend, stolzes Herz, Und jetzo bist du elend.

Proud heart, you wished it so!

You wished to be happy, endlessly happy, Or endlessly wretched, proud heart!

And now you are wretched!

Das Fischermädchen (“The Fisher Maiden”) Text: Heinrich Heine Du schönes Fischermädchen, Treibe den Kahn ans Land; Komm zu mir und setze dich nieder, Wir kosen Hand in Hand.

Lovely fisher maiden, Guide your boat to the shore; Come and sit beside me, And hand in hand we shall talk of love.

Leg an mein Herz dein Köpfchen Und fürchte dich nicht zu sehr; Vertraust du dich doch sorglos Täglich dem wilden Meer.

Lay your little head on my heart And do not be too afraid; For each day you trust yourself Without fear to the turbulent sea.

Mein Herz gleicht ganz dem Meere, Hat Sturm und Ebb’ und Flut, Und manche schöne Perle In seiner Tiefe ruht.

My heart is just like the sea.

It has its storms, its ebbs and its flows; And many a lovely pearl Rests in its depths.

Die Stadt (“The City”) Text: Heinrich Heine Am fernen Horizonte Erscheint, wie ein Nebelbild, Die Stadt mit ihren Türmen, In Abenddämmrung gehüllt.

On the distant horizon Appears, like a misty vision, The town with its turrets, Shrouded in dusk.

Ein feuchter Windzug kräuselt Die graue Wasserbahn; Mit traurigem Takte rudert Der Schiffer in meinem Kahn.

A damp wind ruffles The grey stretch of water.

With mournful strokes The boatman rows my boat.

Die Sonne hebt sich noch einmal Leuchtend vom Boden empor Und zeigt mir jene Stelle, Wo ich das Liebste verlor.

Radiant, the sun rises once more From the earth, And shows me that place Where I lost my beloved.

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T E X T S , T R A N S L AT I O N S , A N D N O T E S Chausson: Selections from Sept Mélodies, op. 2 Le charme, op. 2, no. 2 Text: Armand Silvestre Quand ton sourire me surprit, Je sentis frémir tout mon être; Mais ce qui domptait mon esprit, Je ne pus d’abord le connaître.

Quand ton regard tomba sur moi, Je sentis mon âme se fondre; Mais ce que serait cet émoi, Je ne pus d’abord en répondre.

Ce qui me vainquit à jamais, Ce fut un plus douloureux charme Et je n’ai su que je t’aimais Qu’en voyant ta première larme!

When your smile caught me unawares I felt my whole being quiver, But what subdued my spirit I could at first not tell.

When your gaze fell upon me I felt my soul dissolve, But what this emotion might be I could at first not know.

What vanquished me forever Was a more sorrowful charm, And I only knew I loved you When I saw your first tear.

Les papillons (“Butterflies”), op. 2, no. 3 Text: Théophile Gautier Les papillons couleur de neige Volent par essaims sur la mer; Beaux papillons blancs, quand pourrai-je Prendre le bleu chemin de l’air?

The snow-colored butterflies Fly in swarms over the sea; Beautiful white butterflies, when can I take the blue path of the air?

Savez-vous, ô belle des belles, Ma bayadère aux yeux de jais, S’ils me voulaient prêter leurs ailes, Dites, savez-vous où j’irais?

Do you know, O beauty of beauties, My jet-eyed bayadere — Were they to lend me their wings, Do you know where I would go?

Sans prendre un seul baiser aux roses, À travers vallons et forêts, J’irais à vos lèvres mi-closes, Fleur de mon âme, et j’y mourrais.

Without kissing a single rose, Across valleys and forests I’d fly to your half-closed lips, Flower of my soul, and there would die.

La dernière feuille (“The Last Leaf”), op. 2, no. 4 Text: Théophile Gautier Dans la forêt chauve et rouillée II ne reste plus au rameau Qu’une pauvre feuille oubliée, Rien qu’une feuille et qu’un oiseau.

II ne reste plus en mon âme Qu’un seul amour pour y chanter; Mais le vent d’automne, qui brame, Ne permet pas de l’écouter.

L’oiseau s’en va, la feuille tombe, L’amour s’éteint, car c’est l’hiver.

Petit oiseau, viens sur ma tombe Chanter quand l’arbre sera vert.

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In the bare and blighted forest Nothing remains on the branches Except a poor forgotten leaf— Nothing but a leaf and bird.

Nothing remains in my soul Except a lone love singing there; But the howling autumn wind Will not allow it to be heard.

The bird flies away, the leaf falls, Love dies, for winter is come.

Little bird, alight on my tomb And sing when the tree is green again.

T E X T S , T R A N S L AT I O N S , A N D N O T E S Chausson (con’t.)

Sérénade italienne, op. 2, no. 5 Text: Paul Bourget Partons en barque sur la mer Pour passer la nuit aux étoiles; Vois, il souffle juste assez d’air Pour enfler la toile des voiles.

Le vieux pêcheur italien Et ses deux fils, qui nous conduisent, Ecoutent mais n’entendent rien Aux mots que nos bouches se disent.

Sur la mer calme et sombre, vois, Nous pouvons échanger nos âmes, Et nul ne comprendra nos voix, Que la nuit, le ciel et les lames.

Let us put to sea in a boat And spend the night beneath the stars.

See, there is just breeze enough To swell the canvas of the sails.

The old Italian fisherman And his two sons who steer us Listen, but understand No words that we exchange.

On the calm, dark waters — see, Our souls may both commune.

And none will grasp what our voices say, Save the night, the sky and the waves.

Le colibri (“The Humming-Bird”), op. 2, no. 7 Text: Leconte de Lisle Le vert colibri, le roi des collines, Voyant la rosée et le soleil clair, Luire dans son nid tissé d’herbes fines, Comme un frais rayon s’échappe dans l’air.

The green humming-bird, king of the hills, On seeing the dew and the gleaming sun Shine in his nest of fine-woven grass, Darts like a shaft of light into the air.

Il se hâte et vole aux sources voisines, Où les bambous font le bruit de la mer, Où l’açoka rouge aux odeurs divines S’ouvre et porte au coeur un humide éclair.

He hurries and flies to the nearby springs, Where the bamboos sound like the sea, Where the red hibiscus with its heavenly scent Unveils the hint of dew at its heart.

Vers la fleur dorée, il descend, se pose, Et boit tant d’amour dans la coupe rose, Qu’il meurt, ne sachant s’il l’a pu tarir!

He descends and settles on the golden flower, Drinks so much love from the rosy cup That he dies, not knowing if he’d drunk it dry.

Sur ta lèvre pure, ô ma bien-aimée, Telle aussi mon âme eut voulu mourir, Du premier baiser qui l’a parfumée.

On your pure lips, O my beloved, My own soul too would fain have died From that first kiss which scented it.

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T E X T S , T R A N S L AT I O N S , A N D N O T E S Four British Songs arr. Britten: “The Salley Gardens” Music: Traditional Irish Text: William Butler Yeats Down by the Salley Gardens My love and I did meet, She passed the Salley Gardens With little snow white feet.

She bid me take love easy As the leaves grow on the tree But I being young and foolish With her did not agree.

In a field by the river, My love and I did stand, And on my leaning shoulder She laid her snow white hand; She bid me take life easy As the grass grows on the wiers, But I was young and foolish, And now am full of tears.

Your hands lie open in the long fresh grass, — The finger-points look through like rosy blooms: Your eyes smile peace. The pasture gleams and glooms ’Neath billowing clouds that scatter and amass.

All round our nest, far as the eye can pass, Are golden kingcup fields with silver edge Where the cow-parsley skirts the hawthorn hedge. ’Tis visible silence, still as the hour glass.

Deep in the sun-searched growths the dragon-fly Hangs like a blue thread loosened from the sky: — So this winged hour is dropt to us from above.

Oh! clasp we to our hearts, for deathless dower, This close-companioned inarticulate hour When twofold silence was the song of love.

arr. Britten: “O Waly, Waly” Somerset folk song

Bridge: “Love Went A-Riding” Text: Mary Elizabeth Coleridge

The water is wide I cannot get o’er, And neither have I wings to fly.

Give me a boat that will carry two, And both shall row, my love and I.

Love went a-riding, Love went a-riding over the earth, On Pegasus he rode ...

O, down in the meadows the other day, A-gathering flowers both fine and gay, A-gathering flowers both red and blue, I little thought what love can do.

I leaned my back up against some oak Thinking that he was a trusty tree; But first he bended, and then he broke; And so did my false love to me.

A ship there is, and she sails the sea, She’s loaded deep as deep can be, But not so deep as the love I’m in: I know not if I sink or swim.

O! love is handsome and love is fine, And love’s a jewel while it is new; But when it is old, it groweth cold, And fades away like morning dew.

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Vaughan Williams: “Silent Noon” Text: Dante Gabriel Rossetti

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The flowers before him sprang to birth, And the frozen rivers flowed.

Than all the youths and the maidens cried, “Stay here with us.” “King of Kings.”

But Love said, “No! for the horse I ride, For the horse I ride has wings.”

Love went a-riding ...

T E X T S , T R A N S L AT I O N S , A N D N O T E S Lerner & Loewe: “If Ever I Would Leave You” from Camelot If ever I would leave you It wouldn’t be in summer.

Seeing you in summer I never would go.

Your hair streaked with sunlight, Your lips red as flame, Your face with a luster That puts gold to shame!

But if I’d ever leave you, It couldn’t be in autumn.

How I’d leave in autumn I never will know.

I’ve seen how you sparkle

When fall nips the air.

I know you in autumn And I must be there.

And could I leave you Running merrily through the snow?

Or on a wintry evening When you catch the fire’s glow?

If ever I would leave you, How could it be in springtime?

Knowing how in spring I’m bewitched by you so?

Oh, no! not in springtime!

Summer, winter or fall!

No, never could I leave you at all!

Verdi: “Ecco l’orrido” from Un ballo in maschera Ecco l’orrido campo ove s’accoppia Al delitto la morte!

Ecco là le colonne ...

La pianta è là, verdeggia al pié. S’inoltri.

Ah, mi si aggela il core!

Sino il rumor de’ passi miei, qui tutto M’empie di raccapriccio e di terrore!

E se perir dovessi?

Perire! ebben, quando la sorte mia, Il mio dover tal è, s’adempia, e sia.

Here is the horrible field where death Is the atonement for crime!

There are the pillars …

The plants at their feet, all green. Forward!

Ah, but my heart freezes within me!

Even the noise of my own steps Fills me with dread and fear!

And if I must perish?

Perish! Well, if it is my destiny, If such is my duty, I will fulfil it.

Ma dall’arido stelo divulsa Come avrò di mia mano quell’erba, E che dentro la mente convulsa Quell’eterea sembianza morrà, Che ti resta, perduto l’amor …

Che ti resta, mio povero cor!

Oh! chi piange, qual forza m’arretra?

M’attraversa la squallida via?

Su, coraggio … e tu fatti di pietra, Non tradirmi, dal pianto ristà; O finisci di battere e muor, T’annienta, mio povero cor!

If through the arid stalks, When I have this herb in my hand, My spirit becomes transformed, When this heavenly apparition dies, What is left for you, once love is lost …

What is left for you, my poor heart!

Oh, who is weeping, what force holds me back, Barring my way on the loathsome path?

But courage … and you must be adamant, Do not betray me, resist all weakness Or stop beating and die!

Destroy yourself, my poor heart.

(a bell strikes the hour)

Mezzanotte! — Ah, che veggio? una testa Di sotterra si leva … e sospira!

Ha negli occhi il baleno dell’ira E m’affisa e terribile sta!

Midnight! Oh, what do I see? A head Rising from the ground … and sighing!

The light of wrath in its eyes And it fixes me with a horrible stare!

(falls on her knees)

Deh! mi reggi, m’aita, o Signor, Miserere d’un povero cor!

God! support me, help me, O Lord!

Have pity on my miserable heart!

BARBARA K. JACKSON RISING STARS OF OPERA

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T E X T S , T R A N S L AT I O N S , A N D N O T E S

Mozart: “Hai già vinta la causa ... Vedrò mentr’io sospiro” from Le nozze di Figaro

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Hai già vinta la causa! cosa sento!

In qual laccio cadea? Perfidi, io voglio di tal modo punirvi, a piacer mio la sentenza sarà. Ma se pagasse la vecchia pretendente? Pagarla! in qual maniera? E poi v’è Antonio che all’incognito Figaro ricusa di dare una nipote in matrimonio. Coltivando l’orgoglio di questo mentecatto ... tutto giova a un raggiro ... il colpo è fatto.

You’ve won your case already! What’s that? Here’s a trap! Treacherous pair, I’ll punish you and exact such a penalty!

But supposing he should pay off old Marcellina? Pay her? How could he?

Besides Antonio will not give Susanna in marriage to Figaro, who doesn’t even know who his parents are. It will help my plan to foster the old zany’s pride.

The die is cast!

Vedrò mentr’io sospiro, Felice un servo mio!

E un ben che invan desio Ei posseder dovrà?

Vedrò per man d’amore Unita a un vile oggetto Che in me destò un affetto Che per me poi non ha?

Am I to see a lackey of mine happy whilst I sigh in vain?

Is he to possess the object of my frustrated desire?

Must I see the one who stirred my affection, alas, unrequited, by love’s agency to a clodhopper united?

Vedrò mentr’io sospiro, etc.

Vedrò, vedrò, vedrò, vedrò?

Ah, no! Lasciarti in pace Non vo’ questo contento, Tu non nascesti, audace, Per dare a me tormento, E forse ancor per ridere Di mia infelicità!

Già la speranza sola Delle vendette mie Quest’anima consola, E giubilar mi fa.

Ah, no! Lasciarti in pace, etc.

Am I to see a lackey of mine, etc.

Am I, am l?

Oh no! I shall not give you that satisfaction.

You were not born, you upstart, to torment me so nor to mock me neither in my misery!

Only the hope of vengeance consoles me and fills me with exultation.

Oh, no! I shall not give you, etc.

S U N DAY, O C T O B E R 8 , 2017

T E X T S , T R A N S L AT I O N S , A N D N O T E S

Wagner: “Allmächt’ger Vater” (“Almighty Father, Look Down!”) from Rienzi Allmächt’ger Vater, blick herab!

Hör mich im Staube zu dir flehn!

Die Macht, die mir dein Wunder gab, lass jetzt noch nicht zugrunde gehn!

Du stärktest mich, du gabst mir hohe Kraft, du liehest mir erhabne Eigenschaft: zu hellen den, der niedrig denkt, zu heben, was im Staub versenkt.

Du wandeltest des Volkes Schmach zu Hoheit, Glanz und Majestät!

O Gott, vernichte nicht das Werk, das dir zum Preis errichtet steht!

Ach, löse, Herr, die tiefe Nacht, die noch der Menschen Seelen deckt!

Schenk uns den Abglanz deiner Macht, die sich in Ewigkeit erstreckt!

Mein Herr und Vater, o blicke herab!

Senke dein Auge aus deinen Höhn!

Die Kraft, die mir dein Wunder gab, lass jetzt noch nicht zugrunde gehn!

Allmächt’ger Vater, blick herab!

Hör mich im Staube zu dir flehn!

Mein Gott, der hohe Kraft mir gab, erhöre mein tiefinbrünstig Flehn!

Almighty Father, look down!

Hear me in the dust praying to you!

The power that you gave to me, Do not yet let it perish!

You gave me strength, you gave me a higher power, you lent me a sublime character: to lighten that which was low, to lift that which was sunken into the dust.

Thou hast transformed the people whom nobles reproach into sovereignty, glory and majesty!

O God, do not destroy the work, which is built at the price for you!

Oh Lord, release the dead of night that still reveals itself within the souls of men!

Give us the reflection of thy power, which extends into eternity!

My Lord and Father, oh look down!

Bend your mind from your heights!

The force that gave me your miracle, Let it not yet perish!

Almighty Father, look down!

Hear me in the dust praying to you!

My God, you gave me great power, hear my supplication!

Verdi: “Studia il passo, o mio figlio! … Come dal ciel precipita” from Macbeth Studia il passo, o mio figlio! … usciam da queste tenebre … un senso ignoto nascer mi sento in petto pien di tristo presagio e di sospetto.

Walk warily, my son! …

Let us hurry out of the shadows …

I feel a strange premonition stir within me, full of ill-omen and suspicion.

Come dal ciel precipita l’ombra più sempre oscura!

In notte ugual trafissero Duncano, il mio signor.

Mille affannose immagini m’annunciano sventura, e il mio pensiero ingombrano di larve e di terror, e il mio pensiero, ecc.

How the gloom falls from the sky thicker than ever!

On such a night, they stabbed to death Duncan, my lord.

A thousand baleful visions foretell disaster, and burden my mind with specters and terror, and burden my mind, etc.

BARBARA K. JACKSON RISING STARS OF OPERA

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T E X T S , T R A N S L AT I O N S , A N D N O T E S Bernstein: “Somewhere” from West Side Story

RISING STARS OF OPERA & MARK MORASH

There’s a place for us, Somewhere a place for us.

Peace and quiet and open air Wait for us Somewhere. There’s a time for us, Some day a time for us, Time together with time to spare, Time to look, time to care Some day!

Somewhere We’ll find a new way of living, We’ll find a way of forgiving Somewhere.

There’s a place for us, A time and place for us.

Hold my hand and we’re halfway there.

Hold my hand and I’ll take you there Somehow, Some day, Somewhere!

This afternoon will be the first time that Mark Morash has conducted the orchestra during the second half of the annual Rising Stars of Opera concert. But Morash has been deeply involved in both the planning and performance of Rising Stars of Opera concerts, ever since the first concert in 2010.

Until now, Morash—Director of Musical Studies for the San Francisco Opera Center—has been seen as a pianist and accompanist during Rising Stars of Opera performances.

But the role Morash plays is much bigger than that.

“The Opera Center is kind of the umbrella for artist training programs at the San Francisco Opera,” Morash explained in a summer conversation.

“We run the artistic side of the Merola Opera Program, a training program that was organized in the 1950s. And out of the Merola Program, the singers who become Adler Fellows—a two-year residency with the San Francisco Opera, organized in 1977­—are chosen. The Adler Fellows cover roles and sing smaller roles in San Francisco Opera productions.” Many go on to significant operatic careers, singing in this country and abroad.

“Rising Stars of Opera is a great opportunity for the Adler Fellows,” Morash added. “It’s a chance for these singers to sing with an orchestra, and for the orchestra to hear singers on the brink of a professional career. It is exciting on that level, and it is a thrill for the Davis community to hear all of this. And Barbara Jackson (who donated the gift name for this event as well as Jackson Hall) makes it free.”

Morash, who has been with the San Francisco Opera Center since 1998, was impressed by the Mondavi Center the first time he visited, nearly a decade ago, as a participant in a 2007 collaboration between the Adler Fellows Program and UC Davis—a semi-staged performance of the Bizet opera Carmen, featuring singers from the Adler Fellows and the UC Davis Symphony Orchestra, under the baton of D. Kern Holoman, now a professor emeritus.

“Jackson Hall is a beautiful hall to play in, with wonderful acoustics,” Morash said.

“Acoustics are always a crapshoot when you are building a new hall, and Davis came out on top. I look forward to the Rising Stars of Opera performance every year, because it is such a pleasure to perform here.”

—Jeff Hudson

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S U N DAY, O C T O B E R 8 , 2017

ABOUT THE ARTISTS Soprano Sarah Cambidge, a first year San Francisco Opera Adler Fellow, made her company debut in Elektra as Fourth Maidservant. She was a winner of the 2016 Denver Lyric Opera Guild competition and a 2015 semifinalist for the Metropolitan Opera National Council Auditions after being named the winner of the Rocky Mountain Regional finals.

As a participant of the 2016 Merola Opera Program, she performed Elsa from Wagner’s Lohengrin in the Schwabacher Concert Series. She has worked with the Boulder Symphony Orchestra and the Boulder Music Institute, Vancouver Recital Society, Vancouver Symphony Orchestra, Spoleto Vocal Arts Symposium (Spoleto, Italy), Evergreen Chamber Orchestra, Colorado Youth Symphony Orchestra, and Yakima Symphony Orchestra. Cambidge is on faculty as a Guest Artist in Residence for the Vocal Department at the Denver School of the Arts and studies voice with Kenneth Cox from the University of Denver. She received her Masters in Vocal Performance at the University of Denver’s Lamont School of Music in 2013.

American bass-baritone Brad Walker, who made his company debut as Zuniga in Carmen has also appeared as Dumas (Andrea Chénier), Strojnik (The Makropoulos Case), Schunard (La bohème) and A Mandarin (Turandot).

As a participant of the 2015 Merola Opera Program, he appeared as Betto in Puccini’s Gianni Schicchi.

He has appeared in the title role Le Nozze di Figaro, Don Magnifico (La Cenerentola), and Colline (La Bohème) with Yale Opera where he received an Artist Diploma from the Yale School of Music. While earning a Master’s of Music from the University of Kansas, he appeared as Mr. Peachum (The Beggar’s Opera), Guglielmo (Cosi fan tutte) and Orgon (Tartuffe). He also performed as Pangloss (Candide) and Olin Blitch (Susannah) during his time receiving a bachelor’s degree from Michigan State University. He has been an apprentice with Des Moines Metro Opera, Chautauqua Opera Company and Lyric Opera of Kansas City, and received an award in the Metropolitan Opera National Council Auditions.

Tenor Kyle van Schoonhoven is a firstyear Adler Fellow at the San Francisco Opera. He made his San Francisco Opera debut as Young Servant in Strauss’ Elektra, and will cover other leading roles, including Don Ottavio in Don Giovanni, Aegisth in Elektra, Froh in Das Rheingold, and Siegmund in Die Walküre. Mr. Van Schoonhoven was recently awarded the Nicolai Gedda Memorial Award from the prestigious George London Foundation, was a finalist in the 2016 Jensen Foundation Vocal Competition and was recently named a winner of the Metropolitan Opera National Council auditions. Mr. Van Schoonhoven’s other repertory includes the title role in Chandler Carter’s Bobby, Don José in Carmen, Alfredo in La Traviata, Bacchus in Ariadne auf Naxos, Hoffmann in Les contes d’Hoffmann, Lysander in A Midsummer Night’s Dream, Oronte in Alcina, Tamino in Die Zauberflöte, Peter Fallow in Stefania de Kenessey’s Bonfire of the Vanities, and Genaro in the US Russian language premiere cast of Prokofiev’s Maddalena. In the summer of 2016, he participated in the Merola Opera Program. His performance of Wagner’s Rienzi’s Prayer was praised as “gleaming” and “potent” by the San Francisco Chronicle. In addition to participating in numerous young artist programs, Mr. van Schoonhoven holds a Masters of Music from Westminster Choir College as well as a Bachelors of Music from Fredonia School of Music.

Mark Morash is a conductor and pianist originally from Halifax, Canada. Currently, he serves as the Director of Musical Studies for San Francisco Opera Center. There, he has conducted for the Merola program, the Adler Fellow Showcase and Western Opera Theater.

He has also led performances of Rigoletto for Opera Colorado, Don Giovanni and The Turn of the Screw for the Lincoln Theater in Yountville, CA, La Serva Padrona and Trouble in Tahiti for Opera Santa Barbara. San Francisco Opera Center performances have included Argento’s Postcard from Morocco, The Barber of Seville, The Rape of Lucretia, Così fan tutte, Die Fledermaus, The Merry Wives of Windsor, and Pasatieri’s The Seagull.

As a collaborative pianist, Morash’s performances have taken him throughout Canada, the U.S. as well as to Japan and Russia. Artists with whom Morash has appeared include Michael Schade, Tracy Dahl, Leah Crocetto, Melody Moore and Elza van den Heever. He has accompanied numerous emerging singers in San Francisco Opera’s esteemed Schwabacher Debut recitals. He performed in the West Coast premiere of Ned Rorem’s song cycle Evidence of Things Not Seen for the “Other Minds Music Festival.” In addition to his work with young artists in San Francisco, Morash has been involved with the Opera Center of Pittsburgh Opera, Wolf Trap Opera, the Banff Centre, and Hawaii Opera Theater as well as having taught at the University of Toronto. He has given masterclasses throughout the U.S. and Canada and most recently in New Zealand. Morash is a graduate of the University of Michigan where he studied collaborative piano with Martin Katz.

BARBARA K. JACKSON RISING STARS OF OPERA

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UC DAVIS SYMPHONY ORCHE STR A

Christian Baldini, music director Mark Morash, guest conductor

The Wilson & Kathryn Smith Podium was given in honor of D. Kern Holoman.

Jonathan Spatola-Knoll, assistant conductor Mia Cylinder, Clement Yuen, and Kevin Vuong, orchestra librarians — Names appear in seated order. — VIOLIN I

VIOLA

FLUTE, PICCOLO

TRUMPET

Devon Bradshaw, concertmaster

Sogol Aliabadi, principal

Sarah Wald, principal

Benjamin Cohen Stillman, principal

Nan An Kevin Vuong

Allie Knitter, principal Valley Stewart Elliot Wang

Cynthia Bates Concertmaster

Jane Park, concertmaster Damian Ting

Ton Bui

Clairelee & Ralph Bulkley

Benjamin Porter Francis Dubois

Hannah Cho

Ralph and Judy Riggs

Preeti Prabhu Raphael Moore

Raphael S. Moore, in memory of Dr. Irena Anna Henner

Kayana Leung Aidan Fitzpatrick Lydia Lee Yuxin Bai VIOLIN II

Cynthia Bates, principal Barbara Jackson, in honor of Fawzi Haimor

Edaan Byle

Shari Benard-Gueffroy

Calvin Proctor Victor Karadi Anna Guillermo Charissa Tseng Jerry Cao Michael Cox Quynh Nguyen-Sanh Li Wang Sherry (Ting-Jung) Sheu Orchid Li

James & Jocelyn Morris

Jonathan Spatola-Knoll, principal John T. Bakos, in memory of Dr. John & Grace Bakos

Matthew Curtis, assistant principal Jiangru Wu Kaela Fischer Mira Evans Abigail Meehan Tina Yeh CELLO

Lauren Ho, principal

Herman and Diane Phaff

Don Gyun Kim, assistant principal Brian & Louanne Horsfield, in honor of Tracy McCarthy

Babs Sandeen \and Marty Swingle

OBOE, ENGLISH HORN

Rose Baunach, principal Wilson & Kathryn Smith

Ana Menchaca Grant Cottier Shelby Salyer CLARINET, BASS CLARINET

Robert Brosnan, principal W. Jeffery Alfriend, DVM

Sydney Bonnell Katie Desmond Micheala Garza

Lisa Johnson

Eldridge & Judith Moores

Matessa Martin

Don and Louise McNary

Alana Joldersma Ruoxi Chi Austin Kyan Laura Houshmand Megan Ng Joohee Lee

Andrew Mollner

TROMBONE

Burkhard Schipper, principal Rebecca A. Brover

Michael Gunnarson

Brian McCurdy & Carol Anne Muncaster, in honor of Michael J. Malone

BASS TROMBONE

Jonathan Minnick TUBA

Matt Richter BASSOON

Matthew Rasmussen, acting principal

Vicki Glumm & Kling Family

William Storz Oscar Santamaria Paige Talle

Robert & Margaret Rucker

ORGAN

Simona Han PIANO

Claire Zheng HORN

DOUBLE BASS

Kaity Ronning, principal Barbara K. Jackson

Tom Derthick HARP

Maxime Lacour ELECTRIC GUITAR

Kat Gallardo

Evan Barnell, principal Richard & Gayle Simpson, in honor of Kristin & David

Benjamin Kimelman, assistant principal Parker O. Hampson Jimmy Nian Sam Cohen-Suelter Shivani Maisuria Ross Kelly

TIMPANI, PERCUSSION

Veronica Blanco, acting principal Friedman Family

Joseph Sexson Xingyue Zhang

Endowed seats are named with a gift to the UC Davis Symphony Orchestra Endowment of $10,000.

BARBARA K. JACKSON RISING STARS OF OPERA

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A SHINKOSKEY NOON CONCERT

EDMOND DÉDÉ NOVEMBER 16, 2017 @ 12:05 PM Liisa Davíla

RECITAL HALL , ANN E . PITZER CENTER

Liisa Daví la, soprano | Kevin Doher t y, baritone | Jeremiah Trujillo, piano Berlioz: Two songs from Les nuits d’été Liszt: Oh! quand je dors Ravel: Don Quichot te à Dulcinée

Kevin Doherty

Dédé: Selec tions from Morgiane Born free in New Orleans, Edmond Dédé (1827–1901) spent over four decades conduc ting orchestras in Bordeaux, France. His recently-found but never- per formed opera, Morgiane (1888), is the earliest full - length opera by an African American composer. UC Davis Professor of Histor y Sally McKee, author of The Exile’s Song: Edmond Dédé and the Unf inished Revolutions of the Atlantic World ( Yale Universit y Press, 2017 ) will of fer some remarks on the work ’s signif icance.

FREE

BARBARA K. JACKSON RISING STARS OF OPERA

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