Harmonías Latinas: Celebrating Cultural Diversity in Song Featuring the Vocalis Consort & Friends: Eugenia Forteza, mezzo-soprano Kelly Guerra, mezzo-soprano José Luis Maldonado, baritone César Andrés Parreño, tenor Wagner Mauricio Pástor, tenor Andrea Salazar, soprano Christopher Sierra, tenor Martin Néron, piano
Saturday, October 21 at 7:00 p.m. Gill Memorial Chapel Rider University 2083 Lawrenceville Road Lawrenceville, NJ
Introductory Program Note/Artist Note Experience the enchanting world of Latin American art songs at Rider University. Our program spans the rhythmic landscapes of Argentina, Brazil, Cuba, Ecuador, Mexico, and Peru, featuring compositions from the 19th to the 21st century. Sung in Spanish, Portuguese, and Quechua, the repertoire showcases a delightful diversity of styles, from classical elegance to the vibrant rhythms of folk. Join us for a musical journey celebrating the diverse and timeless sounds of Latin America.
Program La voz de Alfonsina (Alfonsina Storni) Este grave daño Ven
Claudia Montero
Eugenia Forteza and Martin Néron Anhelo (Domingo Zerpa) Hermano (Hamlet Lima Quintana)
Carlos Guastavino César Andrés Parreño and Martin Néron
Estrellita Te quiero, dijiste
Manuel Ponce María Grever José Luis Maldonado and Martin Néron
Veleiros (Dora Alencar Vasconcellos) Canción de la ñusta (José Luna) Wa’y! (traditional)
Heitor Villa Lobos Alfredo Luis Schiuma Theodoro Valcárcel Andrea Salazar and Martin Néron
Cuatro Canciones Andinas (Jose Maria Arguedas) Despedida Yo crío una mosca Carnaval de Tambobamba Yunca Kelly Guerra and Martin Néron Sanjuanito de mi Pueblo Me recordarás en el agua (Piedad Costales) La toronja y el limón Wagner Mauricio Pástor and Martin Néron Cecilia Valdes (Cirilo Villaverde) Yo Soy Cecilia Valdes – Salida de Cecilia Andrea Salazar and Martin Néron Se va con algo mio (Medardo Angel Silva) César Andrés Parreño and Martin Néron Griseta (José González Castillo) Los pajaros perdidos
Gabriela Lena Frank
Gerardo Guevara
Gonzalo Roig
Gerardo Guevara Enrique Delfino Ástor Piazzolla
Eugenia Forteza and Martin Néron El Rey
Vicente Fernández José Luis Maldonado & Martin Néron
Cinco canciones populares argentinas Chacarera Triste Zamba Arrorró Gato Christopher Sierra and Martin Néron
Alberto Ginastera
Besos robados
Jorge de Moral Wagner Mauricio Pástor and Martin Néron
Malagueña Salerosa
Traditional Arr. Aris Antoniades José Luis Maldonado & Martin Néron
Program Notes, Text and Translations Claudia Montero Four-time Grammys Award Winner Argentinian composer Claudia Montero (1960-2021) stands as a preeminent figure in Latin American music, and her works are deeply grounded in South American traditional music. As the founder of the "Women in Art" Association in Valencia, she fervently championed the promotion of women's works. In 2012, the Consulate General of Argentina in New York witnessed the premiere of "La Voz de Alfonsina," a captivating six-song cycle inspired by the poems of Alfonsina Storni. This lyrical journey beautifully commemorates the life and literary contributions of Alfonsina Storni, an influential Swiss-born Argentine poet celebrated as a key figure in the Latin-American poetic landscape during the modernist period. Este Grave Daño
This serious damage
Este grave daño, que me da la vida, Es un dulce daño, porque la partida Que debe alejarse de la misma vida Más cerca tendré.
This serious damage, which the life gives me, It is a sweet damage, because of the departing That must move away from life itself Closer I will have.
Yo llevo las manos brotadas de rosas, Pero están libando tantas mariposas Que cuando por secas se acaben mis rosas Ay, me secaré.
I take my hands sprouted of roses, But there are sipping so many butterflies That when by dry my roses are finished Ay, I will dry off.
Ven
Come
Ven esta noche, amado; tengo el mundo en mi corazón... La vida estalla... Ven esta noche, amado; tengo miedo de mi alma.
Come tonight, my love; I have the world in my heart… Life explodes… Come tonight, my love; I am scared of my soul.
¡ Oh, no puedo llorar! Dame tus manos, y verás como el alma se resbala tranquilamente, como el alma cae en una lágrima.
Oh, I cannot cry! Give me your hands, and you will see as the soul slips calmly, as the soul falls in a tear
Carlos Guastavino Anhelo, among Guastavino's earliest songs, embodies simplicity in melody and harmony, featuring a smooth, flowing quality and a gentle, rocking inner voice in the piano's left hand. These elements precisely mirror the expressed desire in the poem—a longing to impact the life of a village through a simple life. The poem "Hermano" conveys a vision of universal brotherhood achieved through singing. The singer serves as a unifying force, articulating the collective needs, sorrows, and stories. The poem aligns with "political" songs, introducing social values into popular music and evidencing Guastavino's alignment with the principles of the Argentinean New Song. Anhelo
Longing
Quisiera hacer de mi vida un farolcito de aldea, ser en ella labrado o ser maestro de escuela:
I would like to make my life a village candle, To be a plowman or be a school teacher:
Si labrador que me alumbren las estrellas de mi huerto, si maestro los sonrisas de unas caritas morenas
If a plowman, that the candle shed light To the stars of my garden, If a teacher, to see the smiles on some dark faces
Que mi huerta este en el valle que esté en el valle mi escuela, aunque mi casa en la cumbre no tenga techo ni tenga puertas.
May my garden be in the valley and that in the valley be my school, and if my house is at the mountain top That It has no roof or doors.
Quisiera hacer de mi vida un farolcito de aldea, de dia no alumbrar nada, de noche ser una estrella
I would like to make my life a village candle, in the daytime light nothing at the night be a star
Hermano
Brother
Fijate hermano cómo vas cantando, toda la tierra te escucha conmigo.
Look brother how you are singing, the whole earth listens to you with me.
Del surco hasta el cañadón, del viento hasta la madera, del tiempo hasta la ternura de la vida verdadera.
From the furrow to the canyon, from the wind to the wood, from time to tenderness of true life.
Porque es preciso tener un corazón derramado, jirones de sueños viejos que van quedando olvidados.
Because it is necessary to have a spilled heart, shreds of old dreams that are being forgotten.
Fíjate hermano cómo vas cantando, toda la tierra te escucha conmigo.
Look brother how you are singing the whole earth listens to you with me.
Del grito hasta la oración, del fuego hasta la memoria, que el hombre en dolor viviente cante sangre de su historia.
From screaming to prayer from fire to memory, that a man in living pain sing the blood of his story.
Y cuando quede al final tu corazón silencioso, serás un pueblo sintiendo por un cantor milagroso.
And when, at the end your silent heart is left, you will be in touch with your community, thanks to a miraculous singer.
Fíjate hermano cómo vas cantando, toda la tierra te escucha conmigo.
Look brother how you are singing the whole earth listens to you with me.
Manuel Ponce Mexican composer Manuel M. Ponce played a pivotal role in bridging the concert world with the rich traditions of Mexican popular songs and folklore. Recognized as the father of Mexican musical nationalism, Ponce's compositions often reflect the harmonies and forms found in traditional songs. Written in 1912, "Estrellita" stands out as Ponce's most renowned composition. Unfortunately, due to an oversight in registering the song in his name, Ponce never derived any financial benefits from its copyrights. Estrellita
Little Star
Estrellita del lejano cielo Que miras mi dolor Que sabes mi sufrir Baja y dime Si me quiere un poco Porque yo no puedo sin su amor vivir ¡Tu eres estrella mi faro de amor! Tu sabes que pronto he de morir Baja y dime Si me quiere un poco Porque yo no puedo sin su amor vivir
Little star from the distant sky That watches my pain That knows my suffering Come down and tell me if you like me a little Because I can't live without your love You are, Little star, my beacon of love You know that I will soon die Come down and tell me if you like me a little Because I can't live without your love
Maria Grever A trailblazing Mexican composer, María Grever excelled in crafting concert and film music, along with over 800 popular songs, predominantly boleros. Defying gender norms, she made her mark in traditionally male-dominated spheres and became the first Mexican composer to achieve international recognition. Te Quiero, Dijiste was featured in 1944 in the film "Bathing Beauty," starring Red Skelton and Esther Williams. Renamed "Magic is the Moonlight," the tune served as the movie's central theme, contributing significantly to its commercial success rather than being merely a part of the soundtrack. Te quiero, dijiste
I love you, you said
Te quiero, dijiste tomando mis manos entre tus manitas de blanco marfil. Y sentí en mi pecho un fuerte latido después un suspiro y luego el chasquido de un beso febril.
"I love you" you said taking my hands Into your little hands of white ivory And I felt in my chest a heavy pang, then a sigh And next the spark of a feverish kiss
Muñequita linda de cabellos de oro de dientes de perla, labios de rubí. Dime si me quieres cómo yo te quiero, si de mí te acuerdas como yo de ti.
Pretty little doll of golden hair Your teeth of pearls ruby lips Tell me if you love me as I love you If you remember me as I do you
Y a veces escucho un eco divino que envuelto en la brisa parece decir: Sí te quiero mucho, mucho, mucho, mucho tanto como entonces siempre hasta morir.
Sometimes I hear a divine echo Enveloped in the wind, it seems to say: Yes, I really love you So very much As much as then until I die
Heitor Villa Lobos Heitor Villa-Lobos's final work, "Floresta do Amazonas" (1958), was commissioned by MGM as a soundtrack for the film Green Mansions. It's a symphonic poem for soprano, male chorus, and orchestra. Villa-Lobos collaborated with poet Dora Vasconcellos for the soprano songs, including "Veleiros," which delves into the emotions of a lost love affair during an afternoon at the beach. The poem captures the speaker's confessions to the sea, seeking solace from the pain until nightfall. Veleiros
Sailing Ships
Velas no mar Vão deixando passar A tarde anil E outras ondas vêm me levar. Sempre existe na mágoa Doce murmúrio De um triste amor. Ah! Quanta tristeza, Ondas do mar, Neste vai e vem Sem me levar, Pois sempre eu fiz Muita atenção Em não pisar Teu coração. Ah! Longe no céu Vai a onda afogar Tudo que é meu Dentro do mar Sem me esperar! Ah! Lua, lua branquinha, Lua crescente vem devagar. Ah!
Sails on the sea Allow to slip by The blue violet afternoon And other waves come to take me. Always existing in sorrow The sweet murmuring Of a sad love. Ah! So much sadness, Waves on the sea, In this coming and going Without taking me along, I who always took care With a lot of attention Not to crush Your heart. Ah! Far away in the sky Goes the wave to drown All that is mine Into the sea Without waiting for me! Ah! Moon, white moon Waxing moon comes slowly. Ah!
Alfredo Schiuma Alfredo Luis Schiuma was an Italian-born Argentinian composer, and a notable violinist, conductor, and teacher. His works, such as "Canción de la ñusta" and the opera "Las virgen del sol" reflected his nationalist tendency and his genuine connection to Argentinian heritage.
Canción de la ñusta
Song of the High Princess
Los amautas te anunciaron, Viracocha, dijeron que llegarías desde las sombras. Dicen que matas de amor, ay Viracocha, a las ñustas que te miran bajo las sombras.
The wise masters announced you, Viracocha, they said you would arrive from the shadows. They say that you kill with love, oh Viracocha, the princesses who look at you from under the shadows.
Que los montes se despeñan, que se desborden los ríos, para que jàmas consigas pisar este suelo mío.
May the mountains fall, may the rivers overflow, so that you will never be able to set foot on this soil of mine.
Que los cielos me maldigan que el sol por siempre se apague hasta las piedras me insulten si yo llegara a mirarte.
May the heavens curse me, may the sun always go out, even the stones would insult me if I were to look at you.
Y dicen que eres hermoso, Ay Viracocha, y qué hay misterio en tus ojos como en las sombras. Cuál será la mejor suerte... morir por haberte visto, o morir sin conocerte?
And they say that you are beautiful, Ay Viracocha, and that there is mystery in your eyes as in the shadows. What would be the best fate... to die for having seen you, or to die without knowing you?
Theodoro Valcarcel Valcárcel was a pioneer in integrating indigenous melodies and languages into his compositions, Himself descending from the Aymara people, Valcárcel's work uniquely fuses his native heritage with foreign training, as exemplified in Wa’y! The song showcases a skillful blend of indigenous and modernist musical elements, characterized by pentatonic melodies enveloped in lush and occasionally dissonant harmonies. W’ay!
Lament
W’ay! Manan pujllac tinkaiman hamuy Hina niwan sonq’oi Hina pas wacka cuiman Q’oillormanta pukuspa
Ah! The deceit of destiny that gives so many sorrows is cruel. without remedy not even mitigate.
Ñawyiwan mas kasq’aiqui Chayñanta ripukuspa. W’ay! Ya, yai! Zonq’ollai.
My temples can't take it anymore. my chest wants to explode. Oh! Oh! Oh! My heart.
Chai yh’ananta ñachinkachispa Wakaskallampi pitej urpilla Munai nimpi mith kacuspa p’awan W’ay ankankasac qui llantin Yma inan manan sullasac Llaquita aipuspa. H’inata cui t’uta, Hinatacui p’unchaucunapi
That’s how a poor dove cried. Flying through the mountains always stumbling with anxiety ah! cruel suffering, suffering in vain. Without relieving my sights this sad orphanage My nights will be like this. My days without rest
La,ra,la,rai,la Uphiala! La,ra,la,ali,ra,la Hinantin wakaspa Q’oillormantapuspa Ay!
la, ra, la, rai, my poor love! la,ra,la,rai,ra,la That's how I cry during the nights. Forgetting everything Ah!
Gabriela Lena Frank These songs reflect the inspiration of José María Arguedas, a Peruvian folklorist, poet, and Quechua advocate who reminds one in many ways of Bartók. In an attempt to validate the native culture of the Andes, Arguedas collected the tunes, poetry, and folklore of the Quechua Indians, the descendants of the ancient Incas. Of the proindigenista writers, he was one of the first to write poetry in Quechua as well as Spanish, and was also a proponent of “mestizaje,” a vision of a world that encompasses many cultures without oppression. Like Bartók, he spoke of a brotherhood of people, and he proclaimed himself a modern Quechua man in spite of his fair skin and Western education. The text for Cuatro canciones andinas draws on Indian poetry collected and translated by Arguedas from Quechua into Spanish. The English translation was done by Ruth Walgreen Stephan and can be found in The Singing Mountaineers: Songs and Tales of the Quechua People (University of Texas Press, Austin, Texas) (program notes by Gabriela Lena Frank) Despedida
Taking Leave
Hoy es el día de mi partida hoy no me iré, me iré mañana. Me veréis salir tocando una flauta de hueso de mosca, llevando por bandera una tela de araña; será mi tambor un huevo de hormiga, ¡y mi montera! mi montera será un nido de picaflor.
Today is the day of my departure, today I will not go, I will go tomorrow. You may see me leave playing a flute of the bone of a fly, carrying for a banner a spider web, my drum will be an egg of an ant, and my cap! my cap will be a hummingbird’s nest.
Yo crío una mosca
I am nursing a fly
Yo crío una mosca de alas de oro, yo crío una mosca de ojos encendidos. Trae la muerte en sus ojos de fuego trae la muerte en sus cabellitos de oro en sus alas hermosas. En una botella de ginger ale yo la crío nadie sabe si bebe nadie sabe Si come. Vaga en las noches como una Estrella hieremortalmente con su resplandor rojo con sus ojos de fuego. En sus ojos de fuego
I am nursing a fly of wings of gold, I am nursing a fly of inflamed eyes. It carries death in its eyes of fire, it carries death on its little hairs of gold, on its beautiful wings. In a bottle of ginger ale I nurse it, nobody knows if it drinks, nobody knows if it eats. It roams at night like a star, it wounds mortally with its red splendor, with its eyes of fire. In its eyes of fire
lleva el amor, fulgura en la noche su sangre el amor que trae en el corazón. Nocturno insect, mosca portadora de la muerte en una botella verde, yo la crío, amándola tanto. Pero ¡eso si! ¡eso sí! nadie sabe si le doy de beber nadie sabe si le doy de comer!
it carries love, its blood flashes in the night the love that it carries in its heart. Nocturnal insect, fly bearer of death in a green bottle, I nurse it, loving it very much. But there! there! nobody knows if I give it drink nobody knows if I give it food.
Carnaval de Tambobamba
Carnaval de Tambobamba
Un río de sangre Ha arrastrado al joven tambobambino. Él ha muerto. Sólo su quena está flotando sólo su poncho está flotando sólo su charango está flotando sobre la corriente. Y la jovena que él amaba está llorando en las orillas. Su idolatrada amante llora en las orillas. Su adorada está llorando. ¡Huífalitay, huífala! ¡Huífalalálay, huífala! ¡Huífala! Él ya no existe. Un cóndor mira desde los cielos, dando vueltas. Busca al joven tambobambino. No lo encontrará jamás. Un río de sangre, el río sangriente lo arrastró, lo envolvió. Su adorada está llorando. ¡Huífalitay, huífala! ¡Huífalalálay, huífala! ¡Huífala! Sólo su quena está flotando solo su poncho está flotando solo su charango está flotando sobre la corriente. ¡Huífalitay, huífala! ¡Huífalalálay, huífala! ¡Huífala!
A river of blood has dragged down the young man of Tambobamba. He has died. Only his flute is floating only his poncho is floating only his small guitar is floating along the current. And the girl whom he loved is weeping along the banks. His idolized sweetheart weeps along the banks. His adored one is weeping. ¡Huífalitay, huífala! ¡Huífalalálay, huífala! ¡Huífala! Now he does not exist A condor watches from the skies, wheeling around, he looks for the young man of Tambobamba. He will never find him. A river of blood, a bloody river has dragged him down, enveloped him. His adored one is weeping. ¡Huífalitay, huífala! ¡Huífalalálay, huífala! ¡Huífala! Only his flute is floating only his poncho is floating only his small guitar is floating along the current. ¡Huífalitay, huífala! ¡Huífalalálay, huífala! ¡Huífala!
Yunca
Yunca
¿Adónde vas, padre mío? Voy a la gran selva, voy caminando. ¿A qué vas, quién te lleva? Cosecharé la dulce coca, voy solo. ¡Vuelve pronto, vuelve pronto! En la montaña por donde pasas una bandera negra flamea. ¡Qué corazón, que corazón amargo! Campanita de Paucartambo tócame, Yo voy a la gran selva, no volveré jamás.
Where are you going, my father? I am going to the great forest, I am going walking. To what place do you go, who calls you? I will reap the sweet coca, I am going alone. Come back soon! In the mountain by the way you pass a black flag is fluttering. What a bitter heart, what a bitter heart! Little bell of Paucartambo, toll for me, I am going to the great forest, I will never return.
Gerardo Guevara Guevara stands as a seminal figure in Ecuadorian music, skillfully fusing indigenous musical traditions with contemporary techniques. His extensive oeuvre extended beyond musical compositions to include essays and articles, exemplifying a multifaceted artistic and intellectual dedication. Additionally, Guevara's role as an influential educator underscored his lasting impact on students, cementing his legacy in the annals of Ecuadorian music history. The Sanjuanito, a nuanced musical genre molded by a myriad of cultural influences, plays a pivotal role in the native heritage celebrations of Inti Raymi, during the summer solstice, and serves as a musical expression to commemorate the commencement of the earth's new cycle. Sanjuanito de mi Pueblo
Sanjuanito from my Town
Bailando el sanjuanito, cantando el sanjuanito. Yo me siento tan feliz que ya no podré vivir sin mi sanjuanito. Las campanas de mi pueblo repicando están a fiesta. Vengan todos a bailar, vengan todos a cantar con mi sanjuanito.
Dancing the sanjuanito singing the sanjuanito. I feel such joy that I couldn't live without my sanjuanito. The bells from my town are ringing in celebration. Come all to dance, come all to sing with my sanjuanito
Originating in the 19th century amid South America's independence wars guided by Simón Bolívar, the Pasillo has emerged as a cornerstone of Ecuador's cultural heritage. Drawing influence from indigenous yaraví, Viennese waltz, Spanish bolero, and the French menuet, the Pasillo has undergone a transformative evolution. Recognizing its cultural significance and lasting impact, UNESCO designated the Pasillo as an Intangible Cultural Heritage of Ecuador in 2021, solidifying its position as a vital and enduring cultural expression. Me recordarás en el agua
You will remember me in the water
Como a todo lo efímero a lo que simplemente pasa guárdame en la memoria del agua. Al asomarte a ella mi palabra será nube humedeciendo el verano de los astros. Cuando el agua refresque tu soledad de arena
As to all the ephemeral to what simply happens store me in the memory of the water When you appear to her my word will be a cloud that water the summer of the stars. When the water refreshes your solitude of sand
recordarás mis cuadernos en los que el corazón del tiempo sintió la ausencia de vidas que amanecieron en las nuestras. Si ya todo es un viento de frío aleteo guárdame en la memoria del agua. Para que de los recuerdos se desprendan racimos de estrellas.
you will remember my notebooks in the heart of time felt the absence of lives that woke up in ours if it is already a wind of cold fliter save me in the memory of the water for that from those memories it unfastens vines of stars
The Albazo, characterized by its dynamic nature, is intrinsically linked to the sunrise, as the term "alba" signifies dawn in English. Originating in the Ecuadorian mountain range and closely tied to the mestizo culture, this musical genre is distinguished by its brisk tempo. The essence of the Albazo lies in the seamless amalgamation of European and Ecuadorian musical traditions, underscoring its role as a cultural manifestation deeply ingrained in the Andes. La toronja y el limón
The Grapefruit and the Lemon
En un caminito estrecho se encontraron de repente el limón y la toronja. La toronja iba por agua, el limón por un poquito de almíbar para su sangre, el limón por un poquito de almíbar para su sangre. ¿Cuánto tiempo te he buscado? Y hoy por fin te tengo cerca, Hablaba el limón tan serio con una cara tan agria, Que la pobre toronjita cerró sus diez mil ojillos, Y se desmayó en los brazos Del bandolero limón. Te quiero sabes te quiero y nos casaremos pronto, Que después nació una niña vergüenza de toronjales Y orgullo de limoneros. Los más viejos de la casa bautizaron a la niña Con el nombre de naranja.
On a little road suddenly met the lemon and the grapefruit. The grapefruit looked for water, The lemon for a little bit of syrup for his blood. The lemon for a little bit of syrup for his blood. How long I have looked for you, And finally, I have you by me. Told the lemon very seriously With a very sour face That the poor little grapefruit She closed her two little eyes And passed away on the arms Of the sharp lemon. I love you, you know, I love you and we will get marry That later a girl was born shame of the grapefruit family the pride of the lemon family the oldest of the house Baptized the girl With the name of orange.
Gonzalo Roig Cecilia Valdés, a Cuban zarzuela by Gonzalo Roig based on Cirilo Villaverde's novel, delves into class and racial dynamics in colonial Havana circa 1830. Cecilia, the illegitimate daughter of land magnate Cándido de Gamboa, faces a complicated tale of love and betrayal. Leonardo, Cándido's legitimate son, unknowingly falls for Cecilia, his half-sister, resulting in a forbidden romance. Concurrently, the poor black musician José Dolores Pimienta harbors unrequited love for Cecilia. After a turbulent affair with Leonardo, Cecilia, spurned and seeking revenge, turns to Pimienta. The story reaches its climax with Leonardo's assassination on his wedding day, executed by Pimienta at Cecilia's behest. The aftermath sees Pimienta's execution and Cecilia's imprisonment, unfolding a tragic narrative of love, betrayal, and societal complexities. Salida de Cecilia
Cecilia grapples with her biracial identity. Unable to neatly fit into mestiza, African, or white categories, she defines herself through dynamic objects like a rattle and a bell, reflecting her constant state of flux and desire for social mobility. Although uncertain about her identity, Cecilia aspires to be within Leonardo's social circle, linking happiness to marriage with a white Cuban man.
CECILIA ¡Yo soy Cecilia, Cecilia Valdés! Hierve la sangre en mis venas, soy mestiza y no lo soy. Yo no conozco las penas, yo siempre cantando voy. Siento en mi alma cubana la alegría de vivir. Soy cascabel, soy campana...
I am Cecilia Valdes! The blood boils in my veins I am mestiza and I am not I don’t know what suffering is I’m always singing as I go I feel in my Cuban soul The joy of living I am a rattle, I am a bell . . .
Mis amores, son las flores que perfuman mi jardín, mi jardín. Y mi risa cristalina es un eterno tin-tin, tin, tin, tin. Cecilia Valdés me llaman. Me enamora un bachiller. Mis amigas me reclaman... y algo debo de tener. Yo soy bailadora fina; soy bailando la mejor. La danza a mí me fascina; ¡soy bailando la mejor!
My loves, they are the flowers that perfume my garden, my garden. And my crystalline laugh It is an eternal tin-tin, tin, tin, tin. Cecilia Valdés, they call me. She makes me fall in love with a bachelor. My friends complain to me... and I must have something. I am a fine dancer; I am the best at dancing. Dance fascinates me; I'm the best at dancing!
¡Y algo debo de tener! ¡Cecilia Valdés! Mi nombre es precursor de la alegría. Yo canto y bailo a porfía... ¡Yo soy Cecilia Valdés! Yo canto y bailo a porfía.
And I must have something! Cecilia Valdes! My name is precursor to happiness. I sing and dance like hell... I am Cecilia Valdés! I sing and dance stubbornly.
Se va con algo mio Gerardo Guevara's pasillo is an adaptation of a poem by Medardo Angel Silva, an Ecuadorian poet from Guayaquil. Silva, who came from a marginalized background, provided financial support to his family through journalism following his father's death during his teenage years. Despite not pursuing university education and dropping out of high school, Silva independently learned French to engage with the works of Verlaine, Rimbaud, and Baudelaire. He became associated with the Decapitated Generation, a term coined after his suicide on June 10, 1919, just two days before his twenty-first birthday. Se va con algo mio
You Leave with Something of Mine
Se va con algo mío la tarde que se aleja… mi dolor de vivir es un dolor de amar y al son de la garúa, en la antigua calleja, me invade un infinito deseo de llorar.
You leave with something of mine in the afternoons you go away… The pain of loving is the pain of living and the drizzle in an ancient passageway invades me with the infinite desire to sob.
Que son cosas de niño me dices… ¡Quién me diera tener una perenne inconsciencia infantil, ser del reino del día y de la primavera, del ruiseñor que canta y del alba de abril!
What childlike things you say to me… “Who would give me forever a juvenile carelessness, To be from the day’s kingdom, of the spring and The nightingale that sings at daybreak in April.
¡Ah, ser pueril, ser puro, ser canoro, ser suave trino, perfume o canto, crepúsculo o auroracomo la flor que aroma la vida… y no lo sabe, como el astro que alumbra las noches… y lo ignora!
Ah, to be youthful, to be pure, melodious, to be a soft trilling, perfume or song, twilight or the first light of dawn Like the flower scent of life… I’m not familiar with it, Like heavenly bodies lighting up the night…and I ignore it!
Griseta Enrique Delfino's tangos, notably "Griseta," reflect the Argentinian' fascination with Paris. "Griseta" marks the inception of the tango-romanza genre. Penned by José González Castillo, the lyrics depict a sentimental French girl, showcasing a departure from traditional tough-guy themes. Influenced by French novels, the tango resonates with characters such as Mimi, Musetta, Schaunard, manon, and Des Grieux. Premiered in 1924, "Griseta" introduces a romantic and literary dimension to the tango genre. The title refers to grisettes, working women with a hint of promiscuity in the 19th century. Mezcla rara de Museta, de Mimi Con caricias de Rofolfo y de Schaunard eras la flor de Paris, que un sueño de novela trajo al arrabal Y en el loco divagar del cabaret y al arrullo de algún tango compadrón, Alentaba tu illusion; soñabas con Des Grieux, querías ser Manon.
Rare mixture of Musette and Mimi. With caresses from Rodolphe and Schaunard, You were the flower of Paris, Brought by the dream of a novel in the suburb And in the crazy ramblings of the night-club, To the soothing lull of some insinuating tango, Your illusion was encouraged; You dreamt of Des Grieux and longed to be Manon
Francesita... Que trajiste pizpireta sentimental y coqueta la poesia del Quartier... Quien dia, que tu poema de griseta, solo una estrofa tendría: la silenciosa agonia de Margarita Cauthier.
Francesita... Always lively, Sentimental and flirtatious Bringing poetry to the Quartier... Who would have said That your grisette poem Would only have one verse The silent agony Of Marguerite Gauthier.
Más la fría sordidez del arrabal, agostando la pureza de su fe, sin hallar a su Duval. secó su corazón lo mismo que un Muguet. Y una noche de champán y de coco al arrullo funeral de un bandoneón, pobrecita se durmió; lo mismo que Mimi, lo mismo que Manon.
But the cold seediness of the suburb, Parching the purity of her faith, Without finding her Duval, Dried up her heart like a Muguet. And one night of champagne and cocottes To the funeral lull of an accordion, The poor creature fell asleep; Just like Mimi, just like Manon
Los Pájaros Perdidos One of the most famous tangos by Astor Piazzolla with poetry by Mario Trejo, Los Pájaros Perdidos has etched its place in history due to the brilliance of its music and the eloquence of its lyrics. The song evokes a poignant moment of departure towards eternity, where ethereal birds from the beyond accompany individuals on a path of no return. Amo los pájaros perdidos que vuelan desde el más allá a confundirse con un cielo que nunca más podré recuperar. Vuelven de nuevo los recuerdos, las horas jóvenes que di y desde el mar llega un fantasma hecho de cosas que amé y perdí.
I love the lost birds that fly from the beyond to be confused with a heaven that I can never get back. The memories come back again, the young hours I gave and from the sea comes a ghost made of things I loved and lost.
Todo fue un sueño, un sueño que perdimos, como perdimos los pájaros y el mar, un sueño breve y antiguo como el tiempo que los espejos no pueden reflejar. Después busqué perderte en tantas otras y aquella otra y todas eran vos; por fin logré reconocer cuándo un adiós es un adiós, la soledad me devoró y fuimos dos.
It was all a dream, a dream that we lost, how we lost the birds and the sea, a brief dream as old as time that mirrors cannot reflect. Then I sought to lose you in so many other and that one and all were you; I finally got to recognize when goodbye is a goodbye, loneliness devoured me and there were two of us.
Vuelven los pájaros nocturnos que vuelan ciegos sobre el mar, la noche entera es un espejo que me devuelve tu soledad. Soy sólo un pájaro perdido que vuelve desde el más allá a confundirse con un cielo que nunca más podré recuperar
The night birds return that fly blindly over the sea, the whole night is a mirror that gives me back your loneliness. I'm just a lost bird returning from the beyond to be confused with a heaven that I can never get back.
Vicente Fernández Vicente Fernández Gómez was a revered Mexican ranchera singer, actor, and film producer. Dubbed "El Rey de la Música Ranchera" (The King of Ranchera Music), Fernández began as a busker and rose to iconic status, leaving an indelible mark with over 100 albums and contributions to 30 films, predominantly featuring rancheras and Mexican classics. His remarkable career garnered numerous accolades, including four Grammy Awards, nine Latin Grammy Awards, and fourteen Lo Nuestro Awards. Boasting over 50 million worldwide sales, Fernández stands as one of the best-selling regional Mexican artists. In 2023, Rolling Stone honored Fernández as the greatest Mexican singer and the 95th greatest overall in their "200 Best Singers of All Time" list. El Rey
The King
Yo sé bien que estoy afuera Pero el día que yo me muera Sé que tendrás que llorar (Llorar y llorar, llorar y llorar) Dirás que no me quisiste Pero vas a estar muy triste Y así te me vas a quedar
I know well that I am outside But the day I die I know you'll have to cry (Cry and cry, cry and cry) You'll say you didn't love me But you're going to be very sad And that way you're going to stay
Con dinero y sin dinero Yo hago siempre lo que quiero Y mi palabra es la ley No tengo trono ni reina Ni nadie que me comprenda Pero sigo siendo el rey
With money and without money I always do what I want And my word is the law I have no throne or queen Nor anyone who understands me But I'm still the king
Una piedra en el camino Me enseñó que mi destino Era rodar y rodar (rodar y rodar, rodar y rodar) También me dijo un arriero Que no hay que llegar primero Pero hay que saber llegar
A stone in the road Taught me that my destiny Was roll and roll (Roll and roll, roll and roll) I was also told by a muleteer That you don't have to arrive the first But you have to know how to arrive
Alberto Ginastera Alberto Ginastera's "Cinco canciones populares argentinas" (Five Popular Argentine Songs) emerged in a pivotal historical context marked by revolutionary activity in 1940s Argentina. Amid political unrest, Ginastera allied himself with critics of Juan Perón's regime, resulting in his dismissal from teaching positions. In this turbulent environment, he composed the opus 10, a collection of songs drawn from traditional folk melodies. The songs showcase melodic simplicity, Latin folk rhythms, and 20th-century harmonic practices. Each title indicates a different traditional dance or song type. The opus reflects a departure from the prevailing conservative musical policies, offering a rich exploration of Argentina's musical heritage amidst a tumultuous political backdrop. Chacarera
Chacarera
A mí me gustan las ñatas Y una ñata me ha tocado Ñato será el casamiento Y más ñato el resultado.
I love girls with little snub noses and a snub-nose girl is what I've got. Ours will be a snub-nose wedding and snub-nosed children will be our lot.
Cuando canto chacareras Me dan ganas de llorar Porque se me representa Catamarca y Tuoumán.
Whenever I sing a chacarera it makes me want to cry, because it takes me back to Catamarca and Tuoumán.
Triste
Triste
Ah! Debajo de un limón verde Donde el agua no corría Entregué mi corazón A quien no lo merecía.
Ah! Beneath a lime tree where no water flowed I gave up my heart to one who did not deserve it.
Ah! Triste es el día sin sol Triste es la noche sin luna Pero más triste es querer Sin esperanza ninguna. Ah!
Ah! Sad is the sunless day. Sad is the moonless night. But sadder still is to love with no hope at all. Ah!
Zamba
Zamba
Hasta las piedras del cerro Y las arenas del mar Me dicen que no te quiera Y no te puedo olvidar.
Even the stones on the hillside and the sand in the sea tell me not to love you. But I cannot forget you.
Si el corazón me has robado El tuyo me lo has de dar El que lleva cosa ajena Con lo suyo ha de pagar Ay!
If you have stolen my heart then you must give me yours. He who takes what is not his must return it in kind. Ay!
Arrorró
Arrorró
Arrorró mi nene, Arrorró mi sol, Arrorró pedazo De mi corazón.
Lullaby my baby; lullaby my sunshine; lullaby part of my heart.
Este nene lindo Se quiere dormir Y el pícaro sueño No quiere venir.
This pretty baby wants to sleep and that fickle sleep won’t come.
Gato
Gato
El gato de mi casa Es muy gauchito Pero cuando lo bailan Zapateadito.
The cat of the house is most mischievous, but when they dance, they stamp their feet.
Guitarrita de pino Cuerdas de alambre. Tanto quiero a las chicas, Digo, como a las grandes. Esa moza que baila Mucho la quiero Pero no para hermana Que hermana tengo. Que hermana tengo Si, pónte al frente Aunque no sea tu dueño, Digo, me gusta verte.
With pine guitars and wire strings. I like the small girls as much as the big ones. That girl dancing is the one for me. Not as a sister I have one already. I have a sister. Yes, come to the front. I may not be your master but I like to see you.
Jorge de Moral A prominent composer born in Mexico City in 1900, Jorge de Moral left an indelible mark on the musical landscape of the early 20th century. Educated in European musical institutions, he developed close ties with distinguished musicians, including Claudio Arrau. De Moral's virtuosity as a concert pianist garnered international acclaim through numerous tours worldwide.
Besos Robados
Stolen Kisses
Un suspiro Una mirada Dos manos que enlazadas están
A sigh, a look, two hands that are linked;
Una pregunta Enamorada Los labios solamente amor dirán
a question in love, the lips will only say love.
Y en una fiebre de loca pasión Un beso ardiente mi boca sintió Beso robado,beso de amor
And in a fever of crazy passion, a burning kiss my mouth felt. Stolen kiss, kiss of love!
Bésame, con un beso robado Porque son los que saben mejor Bésame, que al besarme has dejado Un perfume de nardos Y un romance de amor
Kiss me with a stolen kiss because they are the ones who know best. Kiss me, that by kissing me you have left a perfume of wild flowers and a romance of love.
Bésame, cuando muera la tarde Bésame, si me juras amor Bésame, que tus besos me han hecho Que se agite en mi pecho Con locura el amor
Kiss me when the afternoon dies kiss me if you swear love to me Kiss me, that your kisses have made me let love shake madly in my chest
Malagueña Salerosa, alternatively known as "La Malagueña," is a distinctive son huasteco or huapango, originating from Mexico. Attributed to Elpidio Ramírez and Pedro Galindo Galarza, this song emerged in 1947, and has been covered by more than 200 artists internationally. Characterized by a ternary rhythm in 3/4 and 6/8, the son huasteco is a captivating musical genre originating from Mexico. Typically presented by a Huasteco ensemble, often a trio featuring the Huapanguera guitar, Huasteca jarana (small guitar), and violin. It is typical for the singers to employ a combination of falsetto and modal voice. Accompanied by the rhythmic zapateado dance, improvisation is a key element in this style, allowing musicians to craft their own lyrics and arrangements. Rooted in the ternary music of the colonial Caribbean, the son huasteco shares direct connections with the joropo of Colombia and Venezuela, the son jarocho of Mexico, the cueca of Chile, and the marjoram of Panama, among others. Evolving during the colonial era, these musical expressions bear influences from baroque music and the interoceanic trade routes. This arrangement for voice and piano was written specifically for José Luis Maldonado by Greek composer Aris Antoniades. It premiered at the Aspen Summer Festival. Malagueña Salerosa Qué bonitos ojos tienes Debajo de esas dos cejas Debajo de esas dos cejas Qué bonitos ojos tienes
What beautiful eyes you have Under those two eyebrows Under those two eyebrows What beautiful eyes you have
Ellos me quieren mirar Pero si tú no los dejas Pero si tú no los dejas, Ni siquiera parpadear
they want to look at me But if you don't let them But if you don't let them Not even blink
Malagueña salerosa Besar tus labios quisiera Besar tus labios quisiera Malagueña salerosa Y decirte niña hermosa Eres linda y hechicera Eres linda y hechicera Como el candor de una rosa Con tus ojos me anunciabas Que me amabas tiernamente Que me amabas tiernamente Con tus ojos me anunciabas Ingrata, me traicionabas Cuando de ti estaba ausente Cuando de ti estaba ausente De mi pasión te burlabas
salty malagueña I would like to kiss your lips I would like to kiss your lips salty malagueña And tell you beautiful girl you are cute and charming you are cute and charming Like the candor of a rose With your eyes you announced me that you loved me tenderly that you loved me tenderly With your eyes you announced me ungrateful, you betrayed me when I was absent from you when I was absent from you You made fun of my passion
About the Artists EUGENIA FORTEZA Eugenia Forteza has been praised for her “compelling vocal and physical expression” (Operawire), "powerful voice" (Atuvu.ca) and “exquisite phrasing, great diction and musicality” (Voce di Meche). Eugenia is fluent in French, Spanish, English and Italian and speaks intermediate German. Eugenia has recently made a major international debut in the title role of the Singapore premiere of Britten’s “The Rape of Lucretia”, directed by Stefanos Rassios for The Opera People and featuring Wayfarer Sinfonietta, conducted by Boon Hua Lien. She also recently wrapped filming for her feature film debut in “Cabrini”, directed by Alejandro Monteverde and produced by Academy Award Winner, Jonathan Sanger. The film is set to premiere in the Fall of 2023. Eugenia is also set to star as Martina in the upcoming Colombian-American feature film “Colibrí” by David & Francisco Salazar. Eugenia was awarded 2nd place / Honorable Mention for Best Video at the Canto Latino 2021 International Competition organized by Vocalis Consort and Fundación Cultural Armonía. She was also a Finalist for Best Singer, Best Performance and Audience Favorite in this competition. She was in the cast of the 2020 Award-Winning Fedora opera film produced by Teatro Grattacielo. Eugenia was a Winner at the 2017 Concorso Internazionale di Canto Lirico Katia Ricciarelli, where she was awarded an Opera Role Prize. Eugenia was also a Finalist in the 2018 Vienna Summer Music Festival Vocal Competition, a Semi-Finalist in the 2018 Mary Trueman Vocal Art Song Competition and a Semi-Finalist in the 2018 & 2022 Premiere Opera Foundation International Vocal Competition. Eugenia has performed internationally in opera, concert and theatre with organizations such as National Sawdust, Chelsea Factory, Bare Opera, The Opera People, Teatro Grattacielo, BALAM Dance Theatre, Midtown Concerts, Gotham Early Music Scene, New Amsterdam Opera, Hudson Opera Theatre, New Camerata Opera, Eurasia
Festival, Fairfield County Chorale, Magna Lírica, Museo Nacional de Colombia, Gramercy Opera, Concert Operetta Theatre, Barcelona Festival of Song, Una Voz Un Mundo, The International Vocal Arts Institute, Bel Canto in Tuscany, Opera on Tap, Arch Ballet, The Evening Crane Theatre, St. John’s Concert Series, Cabrini Shrine Concert Series and many more. Eugenia holds a Master of Music from the Opera Institute at Mason Gross School of the Arts at Rutgers University and a Bachelor of Music in Voice Performance, Summa Cum Laude, from the Boyer College of Music and Dance at Temple University in Philadelphia, PA. She has also trained at T.Schreiber Studio, UCB, IVAI, ICAV, Fundación Julio Bocca, Conservatorio Beethoven and at the National Conservatory of Buenos Aires. She is the Founder, Host and Lead Editor of 360° of Opera, a staff writer for Classical Singer Magazine and serves as an Ambassador for the Barcelona Festival of Song, The Musical Athlete, as a Board Member for Urban Playground Chamber Orchestra and as Vice-President of the Board for Frisson Films. Eugenia was a speaker at the inaugural Operatic Feminisms Symposium at Columbia University in March 2023. She has also taught masterclasses and workshops for Florida State University, Eastern Illinois University, Classical Singer Magazine, Vincerò Academy, Premiere Vocal Arts Institute, Teatro Grattacielo, Camerata Bardi Vocal Academy, Atelier d’Excellence, New York Dramatic Voices, The Artist’s Table and Tundi Productions. When she is not performing, Eugenia enjoys practicing yoga, going to the movies and exploring sushi restaurants around the world with her husband, award-winning writer-director, Juanpedro David Salazar. KELLY GUERRA Lauded as “exquisite” in the SF Chronicle for her summer 2023 performance as Renata in Cruzar la Cara de la Luna, Kelly Guerra continues to light up stages as a versatile and passionate performer. Recent work includes Rosina in Il Barbiere di Siviglia with the Princeton Festival, the title role in Astor Piazzolla’s María de Buenos Aires with Kentucky Opera, Ruth Bader Ginsburg in Scalia/Ginsburg with Chautauqua Opera Company and the title role in Luisa Fernanda with Opera Williamsburg. Other notable past engagements include work with Opera Omaha, Los Angeles Philharmonic, California Symphony, Lucerne Festival, and a national tour with Esperanza Spalding for Wayne Shorter’s …(Iphigenia). Upcoming engagements include Carlotta in Zorro with Opera Santa Barbara and the alto soloist in Handel’s Messiah with the National Chorale at Lincoln Center. JOSÉ LUIS MALDONADO Hailed by Opera News as a “seemingly unlimited baritone,” International vocalist José Luis Maldonado, from Los Angeles, California attended Cal State Fullerton (BM), and Manhattan School of Music (MM); he is currently attending Michigan State University as a candidate for a doctorate in music, vocal performance. He is a career grant recipient from the Opera Buffs Inc. and Richard F. Gold Career Grant recipient from the Shoshana Foundation. Maldonado’s roles include Don Alfonso (Così fan tutte), Don Magnifico (La Cenerentola), Escamillo (Carmen) , and the title role of Falstaff (Falstaff). He recently performed with The Palm Springs Opera Guild in their Opera in the Park Concert under the baton of Maestro Brent McMunn and made his Long Beach Opera debut in Anthony Davis’ Central Park Five. This summer he covered Sir Bryn Terfel as Sir John Falstaff in Falstaff at the Aspen Music Festival. He just reprised Falstaff in March 2023 at Michigan State University, and won the Michigan State Honors Concert Competition where he’ll perform at the Wharton Center. Maldonado will return to Aspen to sing Father Arguedas in the opera Bel Canto, by Jimmy López this summer 2023. For more information, visit www.BaritoneJoe.com CÉSAR ANDRÉS PARREÑO Tenor César Andrés Parreño is a native from Manabí, Ecuador. In early 2020, Parreño made his Peter Jay Sharp Theater soloist debut in NYFOS@Juilliard, and has performed in two other NYFOS concerts since. In 2021,
Parreño made his Juilliard Orchestra soloist debut on Stravinsky’s Pulcinella conducted by Barbara Hannigan. Last season at Juilliard, Parreño starred as “Tom Rakewell” in The Rake’s Progress and sung “Momo” in Luigi Rossi’s L’Orfeo with Juilliard 415. In 2022, Parreño became an alumni of the Schwab Vocal Rising Stars program, a weeklong residency at Caramoor focused on song repertoire, concluding with a concert at Merkin Hall, in New York City. In the summer, as a Gerdine Young Artist, Parreño made his debut with Opera Theater of Saint Louis as “Le Remendado” in Bizet’s Carmen and later that portraying “Dr. Caius” in Verdi’s Falstaff with Aspen Music Festival with Bryn Tefel as the title role. While at Opera Theater of Saint Louis, Parreño stepped into the role of “Dan White” in the world premiere of Stewart Wallace’s Harvey Milk: Reimagined for 5 out of 6 performances. In February 2023, César became an inaugural winner of the Duncan Williams Voice Competition in the Emerging Artist division. This spring at Juilliard, Parreño will debut as “Rinuccio” in Gianni Schicchi, under the baton of Daniela Candillari. This coming summer season, Parreño will return to Opera theater of Saint Louis with the role of “Elder Hayes” in Susannah and then to Aspen as a Renée Fleming fellow. In Aspen, Parreño will perform as “Gen Watanabe” in Jimmy Lopez’ Bel Canto and also as “Gran Sacerdote di Nettuno” in Idomeneo, with Matthew Polenzani as the title role. César Andrés Parreño is a proud Kovner Fellow in Darrell Babidge’s studio at Juilliard. WAGNER MAURICIO PÁSTOR Dr. Wagner Mauricio Pástor has participated in professional engagements including performances with Fort Wayne Philharmonic Players, The American Spiritual Ensemble, Kentucky Opera/Santa Fe Opera, North Carolina Summer Opera, South Bend Lyric Opera, the Bay View Music Association, the A. J. Fletcher Opera Institute, Piedmont Opera, the Ecuador National Symphony Orchestra, the Sucre National Theater, and Cincinnati Opera. In 2020 Wagner received the Metropolitan Opera National Council Auditions encouragement award, Lexington, KY and was a semifinalist in the Saengerbund Awards in Huston, TX as well as in the Opera Premier Foundation vocal competition, NYC. Recently, obtained the second place in the professional voice category at the London International Music Competition and finalist in the Music International Grand Prix, 2023. Mr. Pástor has performed leading romantic tenor roles such as Alfredo in Verdi's La Traviata, Werther by Massenet, Don José in Bizet's Carmen, Nemorino in Donizetti's L'elisir d'amor, Rodolfo in Puccini's La Bohème, and Tamino from Mozart's Die Zauberflöte with the University of Kentucky Opera Theater. Wagner has received a diploma in arts from the Conservatorio Superior Nacional de Música del Ecuador and an engineering degree in geography-regional planning from the Pontificia Universidad Católica del Ecuador. Additionally, a Master of Music from the University of Idaho along with a professional artist certificate from the University of North CarolinaSchool of the Arts. Finally, Wagner received his Doctorate in Musical Arts -voice performance under the mentorship of Dr. Everett McCorvey and vocal coach Professor Cliff Jackson at the University of Kentucky, and is a Principal Vocal Artist at Hearland Sings, Inc. ANDREA SALAZAR Ecuadorian Soprano, Andrea Salazar completed her undergraduate degree in Vocal Performance at Westminster Choir College of Rider University, where she performed the roles of " The White Cat" in Ravel's L'enfant et les sortileges with the Westminster Opera Theater. She began her musical studies at the age of 4 in the Franz Liszt Conservatory. In 2012, the conservatory awarded her the Franz Liszt first prize for her development and talent. . In 2016, she was the alto soloist in the production of Haydn's Requiem in C Minor at the Princeton United Methodist Church in Princeton, New Jersey. She also sang in the Mahler Symphony N.8, Mozart’s C Minor Mass and Ravel’s Daphnis et Chloé with the Philadelphia Orchestra conducted by Yannick Nézet-Séguin. She participated also as part of the ensemble in Rachmaninoff’s Vespers, conducted by Joe Miller,at the New York Philharmonic’s Tchaikovsky and His World Festival. In October of 2017, she sang in the production of Mozart’s Mass in C Minor with the
Orchestra of St. Luke’s, conducted by Pablo Heras-Casado, at Carnegie Hall. In November of 2017, she participated as a member of the women of the Symphonic Choir performing Gustav Holst’s The Planets with The Philadelphia Orchestra, conducted by Christian Macelaru. In January of 2017, she sang at the New York City Bar Association as part of the Chamber Evening Chamber Music at the Association. In October of 2018, Miss Salzar was a guest artist for the renowned Dryden Ensemble, performing works by J.S.Bach at Solebury, PA and Princeton, NJ. In May of 2019, Mrs. Salazar sang at the Ecuadorian Independence Day Ceremony at the Ecuadorian Consulate in Washington D. C. She also participated as a guest artist in the First International Hispanic Song Festival Premios Capitolio and sang at the opening ceremony of this event at the Bolivian Embassy in Washington D.C. During the 2019-2020 season, Miss Salazar performed “La Contradanza,” a series of concerts that demonstrate the mestizaje and cultural exchange between latin american rhythms with European composers such as Bizet. “La Contradanza'' was performed in multiple scenarios in New York, Philadelphia, New Jersey and ended in La Casa de la Música en QuitoEcuador. Miss Salazar is one of the coordinators of Arte Lirico at Fundacion Cultural Armonia, a virtual space with more that 1k views through facebook live was created to motivate the Ecuadorian classical singers through the pandemic.In September 2020, Miss Salazar performed at Art Song on the Move, the first outside performance during the pandemic. Miss Salazar also performed in two virtual concerts at La Casa de la Musica, presenting Latin American and Ecuadorian Art Song with Arte Lirico. Mis Salazar was invited as an international guest to the virtual Instagram concert Pena Lirica by the Argentinian Opera Company called Contemporanea Lirica. In October 2020, Miss Salazar performed at Contigo Latinx, a virtual concert in honor of Hispanic Heritage Month organized by Fundacion Cultural Armonia and Vocalis Consort. In November 2020, Miss Salazar performed at Latina Women in Opera Virtual Concert Series, presenting the first solo Latin American Art Song Recital. In December 2020, Ms. Salazar performed at two virtual concerts called Velada Navideña with Fundación Cultural Armonía and Vocalis Consort. Recently, Miss Salazar is organizing with Vocalis Consort, Fundacion Cultural Armonia and Casa de la Música the First International Virtual Competition Canto Latino, which showcases art songs from Latin American Composers. Ms. Salazar is a Doctoral Candidate at the University of Kentucky under the guidance of Dr. Everett McCorvey. CHRISTOPHER SIERRA Peruvian-American tenor Christopher Sierra is a versatile artist with a wide-ranging repertoire, spanning classical, musical theatre, and contemporary commercial music. They've performed with prestigious opera companies and orchestras throughout the US, including Opera Philadelphia, Santa Fe Opera, Spoleto Festival USA, etc. Dr. Sierra's notable performances include playing the title role in the world premiere of scenes from William Grant Still's Opera, Mota, as well as Catone in Vinci’s Catone in Utica, Macheath in Die DreigroschenOper, Jupiter in Semele, Don Ottavio in Don Giovanni, Beppe in Pagliacci, and Steuermann in Der Fliegende Holländer. Upcoming engagements for the 2023-2024 season include performing in Der Fliegende Holländer with the Lyric Opera of Chicago. On the concert stage, Dr. Sierra has showcased their talent in works like Handel’s Messiah, Bernstein’s Songfest, Schumann’s Spanisches Liederspiel, Haydn’s Lord Nelson Mass, etc. In 2020 they were invited to sing the tenor solo in Beethoven’s Symphony No.9 with the Mendelssohn Club of Philadelphia and in 2019 they were a featured soloist in Peter Bjerring’s Song of the Salish Chief at Alice Tully Hall in Lincoln Center. Internationally, Dr. Sierra was a featured soloist in a concert performance of Fiddler on the Roof, which toured through Germany, France, Italy, Austria, and Luxembourg. As a recording artist, Dr. Sierra has been featured in several albums with the Westminster Choir and the Grammy Award-nominated Westminster Williamson Voices, and they have sung under the baton of acclaimed conductors including Pierre Boulez, Leon Botstein, Christoph Eschenbach, Ton Koopman, Lorin Maazel, Kurt Masur, David
Robertson, John Rutter, Emmanuel Villaume, Franz Welser-Möst, and John Adams. An avid recitalist, Dr. Sierra co-founded the Vocalis Consort, exploring song recitals beyond traditional Western European works. They have also excelled in presentations that center songs of the Spanish-speaking diaspora and were invited to perform mélodies by Henri Duparc at the 2018 College Music Society Pacific Northwest Regional Conference. In addition to their classical endeavors, Dr. Sierra performs and records contemporary commercial music. Recently, they led a Crossing Genres concert at The Shanti Bhavan Children’s Project in Rural South India. Other notable engagements include performances with acclaimed groups like three-time Grammy Award–nominated troupe Sweet Honey in the Rock. Dr. Sierra has also delivered lectures and concerts, exploring the intersection of contemporary commercial music performance practice and classical singing technique at several prestigious institutions throughout the United States. MARTIN NÉRON Martin Néron is on the faculty at WCC. He is the artistic director of the Vocalis Consort, an ensemble which strives to showcase overlooked vocal works. He designed and managed Canto Latino CyberChallenge in 2021, an international competition which features and promotes vocal repertoire from Latin America. Martin has held residencies at WSU Pullman, SUNY Potsdam, UK Lexington,Tennessee TU, and Fundación Armonía (Ecuador), and gave masterclasses and lectures at Princeton University, Butler University, OSU Columbus, TCNJ, Rowan University, Hunter College, NATS, Arte Lirico, and Universidad Central del Ecuador. He was on the faculty at the Taos Opera Institute (2019-2021), and Vice-President of the Joy in Singing Foundation (2017-2019). He is cofounder, co-artistic director, and Vice-President of the newly incorporated Federation of the Art Song. Praised as “an attentive partner” (Opera News), Martin has collaborated on several recordings of art songs. His scholarly work is featured in the Journal of Singing and Leyerle Publications. He holds degrees from the MSM (DMA), WCC (MM), and U de M (BM).
About Rider University & Westminster Choir College Located in Lawrenceville, New Jersey, Rider University is a private co-educational, student-centered university that emphasizes purposeful connections between academic study and real-world learning experience. Rider prepares graduates to thrive professionally, to be lifelong independent learners, and to be responsible citizens who embrace diversity, support the common good, and contribute meaningfully to the changing world in which they live and work. The College of Arts and Sciences is dedicated to educating students for engaged citizenship, career success, and personal growth in a diverse and complex world. The college cultivates intellectual reflection, artistic creativity, and academic maturity by promoting both broad academic inquiry and in-depth disciplinary study, while nurturing effective and ethical applications of transferable critical skills. The College consists of four schools: the School of Humanities and Social Sciences, the School of Communication, Media, and Performing Arts, the School of Science, Technology, and Mathematics, and Westminster Choir College. Culturally vibrant and historically rich, Westminster Choir College has a legacy of preparing students for thriving careers as well-rounded performers and musical leaders on concert stages, in schools, universities, and churches, and in professional and community organizations worldwide. Renowned for its tradition of choral excellence, the college is home to internationally recognized ensembles, including the Westminster Symphonic Choir, which has performed and recorded with virtually all of the major orchestras and conductors of our time. In addition to its choral legacy, Westminster is known as a center for excellence in musical pedagogy and performance.
Upcoming Performances WESTMINSTER CHAPEL CHOIR AND JUBILEE SINGERS: I BELIEVE Saturday, October 28, 7:30 p.m. Rider University – Gill Chapel
FALL STUDENT DANCE CONCERT Friday, November 10, 7:30 p.m. Saturday, November 11, 7:30 p.m. Rider University – Bart Luedeke Center Theater
ENTRE’ACTE: COME TOGETHER Saturday, October 28, 7:30 p.m. Sunday, October 29, 2 p.m. Rider University – Bart Luedeke Center Theater
MOZART REQUIEM: WESTMINSTER SYMPHONIC CHOIR AND PRINCETON SYMPHONY ORCHESTRA Saturday, November 11, 8 p.m. Sunday, November 12, 4 p.m. Princeton University – Richardson Auditorium
WESTMINSTER CHOIR: MUSIC OF AWE & WONDER Sunday, November 5, 7:30 p.m. Gill Chapel