2122WCC-1260 Westminster Faculty Recital - Song Out of the Box - Booklets

RIDER UNIVERSITY

Westminster Choir College presents…

We s t m i n s t e r

Faculty

R E C I TA L S E R I E S

Song Out of the Box

I. AFRICAN DIASPORA Haïti Werner Jaegerhuber

Invocation à Dambala Onimba Jean Bernard Cerin, baritone

Brazil Ernani Costa Braga

O’ Kinimbá Jean Bernard Cerin, baritone

Villa Lobos

Estrella e lua nov Xango Jean Bernard Cerin, baritone

Jamaica Banyan Tree

Peter Ashbourne

Liza (Water come a me eye) Long Time Gal Sonya Headlam, soprano

South Africa Lunga Nkosinathi Dlamini

Ngakwenzani?

Langelihle Mngxati, baritone

Nqobile S. Nkonzo

Bendingubani Na Mna Nkosi Langelihle Mngxati, baritone

England The Complaint (Shakespeare)

Friendship, Source of Joy (words by a young lady) Sonya Headlam, soprano

Ignatius Sancho

II. MEDITERRANEA Greece The Lament of the Rain (Livaditis)

Mikis Theodorakis

Here they are gone on a distant road (Livaditis) Rosewater (Gatsos) Lina Orfanos

Catalonia traditional Catalan melody arr. Martin Néron

Els pobres traginers Elise Brancheau

Auvergne Joseph Canteloube

Chants d’Auvergne 1st Series

La pastoura als camps

Baïlèro Obal, din lou Limouzi Lori McCann

– INTERMISSION –

III. SOUTH AMERICA Argentina Carlos Guastavino

Bonita rama de sauce (Arturo Vásquez) Hermano (Hamlet Lima Quintana) Pampamapa (Hamlet Lima Quintana) Eugenia Forteza

Perù traditional Quechua melody arr. Martin Néron

Huk urpičatam Elise Brancheau

Theodoro Valcárcel (Traditional Quechua poetry)

W’ay Andrea Salazar

Ecuador Diego Luzuriaga

Aria de Manuela: Yo no lo sé

Gerardo Arias Arias

El pilahuín Andrea Salazar

Brazil Pedro Amorim

Encantamento Jean Bernard Cerin

Haiti Ludovic Lamothe

Lisette (de la Mahotière) Jean Bernard Cerin

Ecuador Francisco Paredès Herrera

El alma en los labios (Silva) Andrea Salazar

Argentina Ástor Piazzolla

Yo soy María (Horacio Ferrer) from María de Buenos Aires Eugenia Forteza Presented in collaboration with the Federation of the Art Song

Text Translations

Invocation à Dambala Dambala O!

Dambala oh!

Dambala nom sacre oh!

Dambala sacred name Oh!

Dambala Ouedo

Dambala Ouedo

O Nimba!

O Nimba! O Nimba a ye

Oh Nimba!

Jean Paul Nago ou mem ki rele’m ici a

Jean Paul Nago, you who called me here

Ou pa di’m anyen

You’ve told me nothing.

Vie ou pa di’m anyen

Elder, you’ve told me nothing.

Negue nago ou pa di’m anyen

Negue Nago, you’ve told me nothing.

Ogoun Badagri Papa ou pa di’m anyen

Ogoun Badagri Papa, you’ve told me nothing.

O Kinimba O Kinimba, Kinimba

We praise the King with spiritual strength.

Dada oke Kinimba

We praise the King Oba Aganju with spiritual strength.

Salo, ajo, nuaie

May the King be with us

Estrella e lua nov Estrella do céu é lua nova cravejada de ouro ma kumbêbê, Óia ma kumbêbê, Óia ma kumbaribá.

The stars in the sky are a new moon engraved in gold, Makumbebe

Xango Xangô! Ôlê gondilê ôlálá...

Song to Xango, god of fire and war

Gon gon gon gondilá!

Xangô! Ôlé gondilé ôlêlê Gon gon gon gondilê!

Banyan Tree Moon shine tonight come mek we dance and sing Moon shine tonight come mek we dance and sing.

Me da rock so Me da rock so Under banyan tree Me da rock so Me da rock so Under banyan tree Den we join hands and mek we dance around and sing Den we join hands and mek we dance around and sing.

Liza Ev’ry time me’member Liza, Water come a me eye, Ev’ry time me’member Liza, Water come a me eye.

Come back Liza, Come back, gal, Water come a me eye.

Come back Liza, Come back, gal, Water come a me eye.

Long time Gal This long time gal me never see yuh Come mek me hol yuh hand This long time gal me never see yuh Come mek me hold yuh han Peel head John Crow sit upon the tree top Pick out the blossom Mek mi hol yuh han Gal Mek mi hol yuh han Peel head John Crow sit upon the tree top Pick out the blossom Mek mi hol wheel and Jig Gal Mek mi hol wheel and tun Mek mi hol yuh han Mek mi hol wheel and Jig Gal Mek mi walk and talk Gal

Ngakwenzani?

Imihla yonke yokuphila kwam ngohlala ngizibuzumbuzo ongena mpendulo

Every day of my life I have always had an unanswered question

ongenampendulo.

that has no answer.

ngakwenzani

What did I do

ngangingenaphutha mina

I was innocent

ngangingenacala

I was innocent

ubuhlungu buhluph’umoya wam’ buhlukumez’inhliziyo yam’

Pain afflicts my soul ‘afflicts my heart’

buhlukumez’umphefum’lo wam.

it hurts my soul.

Nanom’ezothando zazinehlula

Even if you failed romantically

Baba, kwakufanele ungithande.

Dad, you should have loved me.

Kodwa, ngiyabonga.

But, thank you.

ngoba ngifundile ukugxuma njengexoxo!

because I learned to jump like a frog!

Wangixhas’uGogo;

My grandmother supported me;

wangikho mb’indlela.

Showed me the way.

Ngaqhubeka ngagxumagxuma njengexoxo!

I kept jumping like a frog!

lala ngoxolo, Babawam’. Ngikuxolele

Rest in peace, my Father. I forgive you

ngakwenzani?

What did I do

ngakwenzani o kwenz’ukuthi kungenzek’ungikhulise?

What did I do to make it impossible for you to raise me?

ngakwenzani baba?

What did I do dad

Waze wangilahla ngingenacala, ngingenzanga lutho!

You condemned me, I did nothing!

ngakwenzani! ngakwenzeni okwenz’ukuthi What did I do! What did I do to make it kungenzek’ungikhulise? impossible for you to raise me? ngakwenzani na?

What did I do?

Akekh’owaziyo.

No one knows.

Bendingubani Na Mna Nkosi

The Complaint Take, oh take those lips away, That so sweetly were forsworn, And those eyes: the breake of day, Lights that do mislead the Morn; But my kisses bring again, bring again, Seals of love, but sealed in vain, sealed in vain.

Friendship Source of Joy When Love, that source of pleasing pains Triumphant in the bosom reigns Our cares increase then farewell peace Yet still we hug our chain.

Let friendship then our thoughts employ For charming friendship ne’er can cloy Cupid no more We’ll thee adore Friendship the source of joy

The Lament of the Rain Μοιρολόι της βροχής

the rain sings plaintively

βράδυ Κυριακής,

late on Sunday

πού πηγαίνεις μοναχός

Boy where are you going alone

ούτε πόρτα να μπεις,

No door that invites you

πέτρα να σταθείς

and no stone for rest

κι όπου πας, χλωμό παιδί,

Wherever you go tonight

ο καημός σου στη γωνιά

around every corner your pain stands and watches

σε καρτερεί. Παλικάρι χλωμό μες στο καπηλειό

Pale Boy, oh, only the two of us are still sitting at the table

απομείναμε οι δυο μας,

which was once full of friends

ο καημός σου βραχνάς

Yes life goes out

πάψε να πονάς

and even the grief

η ζωή γοργά περνά

Longing will also pass

δυο κρασιά, δυο στεναγμοί

Drink up your glass boy,

κι έχε γεια.

and goodbye

Παλικάρι χλωμό

the rain sings plaintively

σ’ ηύρανε νεκρό στο παλιό σταυροδρόμι, μοιρολόι η βροχή μαύρα π’ αντηχεί στο καλό, χλωμό παιδί, σαν τη μάγισσα σε πήρε η Κυριακή.

late on Sunday You were found dead on the corner You lay there like a stone pale in the street mud Like an old witch This black Sunday came and got you

Here They Are Gone on a Distant Road Εκίνησαν και πάνε

Here they are gone

σε δρόμο μακρινό

on a distant road

στο αίμα τους κρατάνε

they hold in their blood

της γης το στεναγμό.

the sigh of the earth.

Ο θάνατος τους προσμένει

Death is waiting for them

στου δρόμου τη στροφή

at the turn of the road

μα πλάι τους πηγαίνει

but walk beside them

σαν ίσκιος μια προσευχή.

like a shadow, a prayer.

Παιδιά του καημού και της νύχτας

Children of the night and of pain

ψωμί και πικρό νερό

bitter bread and water

στρατί χωρίς γυρισμό

road with no return

καημός χωρίς στεναγμό

pain without sigh

που πάτε, παιδιά δε ρωτώ

where are you going, I don’t ask

μα κι εγώ κοντα στον σταυρό και στα πουλιά

But one evening

ένα βράδυ θά ‘ρθω

I will arrive next to the cross and birds

τον χαμένο καιρό

To sing and to complain

να τραγουδήσω.

The lost time

Rosewater Στον άλλο κόσμο που θα πας

I watered you with rose water When you go to the other world,

κοίτα μη γίνεις σύννεφο

be careful not to become a cloud,

κοίτα μη γίνεις σύννεφο

be careful not to become a cloud,

κι άστρο πικρό της χαραυγής

and as a bitter star of the dawn

και σε γνωρίσει η μάνα σου

not to be met by your mother

που καρτερεί στην πόρτα

who waits patiently upon the door.

Σε πότισα ροδόσταμο

I watered you with rose water,

με πότισες φαρμάκι

you watered me with venom,

της παγωνιάς αητόπουλο

you eagle bird of the frost

της ερημιάς γεράκι

and hawk of the desert.

Πάρε μια βέργα λυγαριά

Take a branch of osier,

μια ρίζα δεντρολίβανο

a rosemary root,

μια ρίζα δεντρολίβανο

a rosemary root

και γίνε φεγγαροδροσιά

and turn yourself into moonlight chill

να πέσεις τα μεσάνυχτα

to end up at midnight

στη διψασμένη αυλή σου

by your thirsty yard.

Pobres traginers Ara ve l’hivern –

Now comes the winter –

sempre plou i neva

it always rains and snows

pobres traginers - que pel mòn naveguen.

poor porters - they navigate around the world.

Tot passant el riu

Men and merchandise crossed the river

el riu de Tordera

River Tordera

el del plomall blanc

About the white plume

l’aigua se l’emmena

the water carried it

Traginers, correu

Carriers, run

que el guiatge es nega.

for the lead mule refuses to go.

Clamen Sant Anton,

They pray St. Anton

que per patrò tenen.

Whom they have as patron.

La pastoura als camps Quon lo pastouro s’en bo os cams, Quon lo pastouro s’en bo os cams, Gardo sèï mountounadoï, tidera la la la la la loï!

Gardo sèï mountounadoï!

Guèlo rèscoutr’ un moussurèt, Guèlo rèscoutr’ un moussurèt; Lou moussou l’ogatsavo, Tidera la la la la la loï!

Lou moussou l’ogatsavo!

“Ah! Daïssa mè bous ogasta!

Ah! Daïssa mè bous ogasta!

Sès ton poulido filho!

Tidera la la la la la loï!

Sès ton poulido filho!”

“Estaco boustré cabalèt, Estaco boustré cabalèt, O lo cambo d’un’ ‘aôbré, tidera la la la la la loï!

O lo cambo d’un’ ‘aôbré!” È lo perdri, quan lo tènio, È lo perdri, quan lo tènio, Guèlo s’èn ès onado, tidera la la la la la loï!

Guèlo s’en ès onado!

As the shepherd girl is going out to the pastures to tend her young sheep, she meets a little gentleman looking her over.

“Ah, let me gaze upon you! What a pretty girl you are,” says he. “Well, why don’t you tie up your little horse to the branch of this tree?” she replies.

Ah! But just as he was catching hold of his prize, she got away!

Translation Lori McCann

Baïlèro Pastré, dè dèlaï l’aïo, a gaïré dé boun tèn, dio lou baïlèro lèrô, lèrô, lèrô, lèrô, baïlèrô, lô! È n’aï pa gaïré, è dio, tu, baïlèro lèrô.

Lèrô, lèrô, lèrô, lèrô, baïlèrô, lô!

Pastré, lou prat faï flour, li cal gorda toun troupèl, dio lou baïlèro lèrô, lèrô, lèrô, lèrô, baïlèrô, lô!

L’erb’ es pu fin’ ol prat d’oïçi, baïlèro lèrô.

Lèrô, lèrô, lèrô, lèrô, baïlèrô, lô!

Pastré, couçi foraï, èn obal io lou bèl rîou, dio lou baïlèro lèrô, lèrô, lèrô, lèrô, baïlèrô, lô!

Espèromè, té baô çirca, baïlèro lèrô.

Lèrô, lèrô, lèrô, lèrô, baïlèrô, lô!

Shepherd across the water, are you having a good time? Calling “Baïlèro lèrô!” Hey, it’ s not so great. Over to you: “Baïlèro lèrô!”

Shepherd, the meadow is in flower; this is where you should be tending your flock.

Calling “Baïlèro lèrô!”

The grass is better in the pasture over here: Over to you: “Baïlèro lèrô!” Shepherd, how can I get over? There’ s a little riverdown there. Calling “Baïlèro lèrô!”

Wait for me; I am coming to get you: Over to you: “Baïlèro lèrô!”

Translation Lori McCann

Obal din lou Limouzi Obal din lou Limouzi, pitchoun’ obal din lou Limouzi, Sé l’io dè dzèntoï drolloï, o bé, o bé, Sé l’io dè dzèntoï drolloï, oïçi, o bé!

Golon, ton bèlo què siascou lèï drolloï dè toun pois, Lous nostrès fringaïrès èn Limouzi, Saboun miliour counta flourèt’ o bé!

Obal, din lou Limouzi, pitchouno, sé soun golon, Oïçi en Aoubèrgno, dïn moun poïs, Lous omès bous aïmoun è soun fidèls!

Over there in Limousin, little lady, if there are pretty girls, there are pretty girls here as well, yes indeedy.

My fine fellow, as gorgeous as the girls may be on your side of the world, our lovers in Limousin are way better; they really know how to sweet-talk a girl.

Over there in Limousin, missy, for sure you have some charming fellows. But around here in Auvergne, where I come from, we men know how to love you—and are faithful into the bargain!

Translation Lori McCann

Bonita rama de sauce Bonita rama de sauce,

Beautiful willow branch,

bonita rama de amor,

Beautiful branch of love,

nunca floreció, que siempre

That never flourished, that was always

se quedó diciendo adiós.

Left saying goodbye.

El río pasa y la peina,

The river goes by and it brushes her hair,

el río la jura amar.

The river swears its love.

La rama le da sus trenzas.

The branch gives him her tresses.

El río miente y se va.

The river tells lies and is gone.

El viento pasa y la besa,

The wind passes by and kisses her,

el tallo le hace cimbrar,

And makes her stem tremble,

toda la ramita canta,

The whole of the branch sings,

el viento miente y se va.

The wind tells lies and is gone.

Se va, se va,

It’s gone, it’s gone,

y la ramita se inclina,

And the little branch bends,

no la vean suspirar.

They won’t see her cry.

y la ramita se inclina,

And the little branch bends down,

no la vean suspirar.

They won’t see her cry.

Bonita rama de sauce,

Beautiful willow branch,

bonita rama de amor,

Beautiful branch of love,

florecida de alegría

Blooming with happiness

con el alba amaneció.

It awakened with the sunrise.

Debajo de su caricia

Beneath its caress

dormido estaba el cantor,

The singer was sleeping,

de la guitarra y la boca

From his guitar and from his lips

le nacía una canción.

A song was born.

Más dulce que viento y río,

Sweeter than the wind and than the river,

la noche entera cantó,

All through the night he sang,

coronado por la rama,

Crowned by the branch,

abrazadito quedó.

He was embraced.

Cantar, cantar,

To sing, to sing

las verdes coplas del sauce,

The green coplas of the willow,

altas por el cielo van.

High up in the sky they go.

Cantar, cantar,

To sing, to sing

las verdes coplas del sauce,

The green coplas of the willow.

altas por el cielo van.

Text and translation provided courtesy of Oxford Lieder

Hermano Fijate hermano cómo vas cantando,

Look brother how you are singing,

toda la tierra te escucha conmigo.

the whole earth listens to you with me.

Del surco hasta el cañadón,

From the furrow to the canyon,

del viento hasta la madera,

from the wind to the wood,

del tiempo hasta la ternura

from time to tenderness

de la vida verdadera.

of true life.

Porque es preciso tener

Because it is necessary to have

un corazón derramado,

a spilled heart,

jirones de sueños viejos

shreds of old dreams

que van quedando olvidados.

that are being forgotten.

Fíjate hermano cómo vas cantando,

Look brother how you are singing

toda la tierra te escucha conmigo.

the whole earth listens to you with me.

Del grito hasta la oración,

From screaming to prayer

del fuego hasta la memoria,

from fire to memory,

que el hombre en dolor viviente

that a man in living pain

cante sangre de su historia.

sing the blood of his story.

Y cuando quede al final

And when, at the end

tu corazón silencioso,

your silent heart is left,

serás un pueblo sintiendo

you will be in touch with your community,

por un cantor milagroso.

thanks to a miraculous singer.

Fíjate hermano cómo vas cantando,

Look brother how you are singing

toda la tierra te escucha conmigo.

the whole earth listens to you with me.

Pampamapa Yo no soy de estos pagos pero es lo mismo I am not from here but it doesn’t matter He robado la magia de los caminos.

I have stolen the magic of the paths.

Esta cruz que me mata, me da la vida

This cross that kills me, gives me life

Una copla me sangra que canta herida.

A copla bleeds from me and sings in pain.

No me pidas que deje mis pensamientos

Do not ask me to leave my thoughts behind

No encontrarás la forma de atar al viento. You won’t find a way to tie down the wind.

Si mi nombre te duele, échalo al agua

If my name hurts you, throw it in the water

No quiero que tu boca se ponga amarga,

I don’t want your mouth to become bitter,

Se ponga amarga.

To become bitter.

A la huella, mi tierra, tan trasnochada.

On the trail, my land, so sleepless.

Yo te daré mis sueños, dame tu calma.

I will give you my dreams, give me your calmness.

Como el pájaro antiguo conozco el rastro, Like the old bird I know the trail, Sé cuando el trigo es verde, cuando hay que amarlo.

I know when the corn is green, when it must be loved.

Por eso es que, mi vida, no te confundas,

That is why, my life, do not be mistaken,

El agua que yo busco es más profunda.

The water I am looking for is deeper.

Para que fueras cierto te alcé en un canto, For you to be real I lifted you up in song, Ahora te dejo solo, me voy llorando.

Now I leave you alone, I go away crying.

Pero nunca, mi cielo, de pena muero

But never, my heaven, will I die of sadness

Junto a la luz del día nazco de nuevo,

By the light of day I am born again,

Nazco de nuevo.

I am born again.

A la huella, mi tierra, tan trasnochada.

On the trail, my land, so sleepless.

Yo te daré mis sueños, dame tu calma.

I will give you my dreams, give me your calmness.

Text and translation provided courtesy of Oxford Lieder

Huk urpičatam Huk urpičatam uywakarkani

I had a dove on my side

L’apa sonkkowan kuyakuyaspa

I loved her with all my heart

Čaymi kananxa sakkeril’awan,

To save my love, she left me

Mana imapi pin͂a čiapti

I had never hurt her before

Tuta ppunčaumi maskamu l’ani

To save my love, she left me

L’aki sonkkoyti sin či lakisxa

I looked everywhere for her

Tuta ppunčaumi maskamu

all through the night

l’ani Ičas yanayča rikuni nispa?

Sadness filled my heart

L’apa rumita tapurikustin

I asked the pebbles on the road

Ičas yanayča rikuni nisI

“Is there where my love escape?”

Yo no lo sé Yo no lo sé

I do not know

tal vez sea un error este amor atribulado.

Maybe this troubled love is a mistake

me hiere me mata, y lo amo.

It hurts me, it kills me, and I love it.

es ciego, es necio y malo

Blind, foolish and bad

corazón tan débil y extraño

heart so weak and strange

no entiendo

I do not understand

corazón de agua y fuego,

heart of water and fire,

no entiendo, corazón ciego, necio y malo.

I do not understand, blind, foolish and evil heart.

Pobre Pilahuín Pobre Pilahuín cargando costal

Poor pilahuín carrying sack

Sumido en dolor llorando

mired in pain crying

Tu mal

your evil

Tendrá que vivir.

You will have to live.

Es que mi patrón a pobre mujer,

Because the boss to a poor woman

Anaquito dio y se la llevó

Anaquito gave and took her away,

Con el a vivir.

with him to live.

Que será de tí pobre Pilahuín en tu soledad,

What will become of you poor Pilahuín with your loneliness

Cargando maíz también de peón

Sowing corn like a servant

Tendrás que vivir

You will live

Y la he de dejar.

and will have revenge

No le he de rogar, me he de divorciar

I will not beg, I will divorce

Donde el señor juez.

Where the judge

Encantamento Boto signorando no meio dorio

The Boto swims down the river

Boia segredo de amor

Where also floats the secret of love

Nabarraca de sape quando em noite de luar

In a rustic shack on a moonlight night

Surge um moco derepente

A young man appears

Pra encantar o nosso amor

To bewitch our love

Nao ha quem o resista nao

No one can resist him

As ribanceiras se enfestam

The river is beckoning

A mata chiera e balance o fundo puro da la goa

The passion penetrates

A paixao vai se pregando bem dentro do coracao da mocarada

No one can resist him

Nao ha quem o resista nao Nao ha quem o resista nao

deep into the hearts of the young No one can resist him

Lisette Lisette quitté la plaine,

Lisette left the plain

Mon perdi bonher à moué

I lost my joy

Gié à moin semblé fontaine

My eyes look like fountains

Dipi mon pas miré toué.

Since I last saw you.

Le jour quand mon coupé canne,

By day, when I cut sugar cane,

Mon songé zamour à moué ;

I miss my beloved;

La nuit quand mon dans cabane

By night when I lay in bed,

Dans dromi mon quimbé toué

In sleep I hold you

Liset’ mon tandé nouvelle

Lisette I heard news

To compté bintôt tourné :

You intend to return soon

Vini donc toujours fidelle.

Come then still faithful.

Miré bon passé tandé.

Seeing is better than hearing.

N’a pas tardé davantage

Delay no more

To fair moin assez chagrin,

You’ve made me sad enough

Mon tant com’ zozo dans cage,

I am like a bird stuck in a cage

Quand yo fair li mouri faim.

When they starve it to death.

El alma en los labios Cuando de nuestro amor, la llama apasionada

When of our love, the passionate flame

Dentro tu pecho amante, contemples extinguida

Inside your loving chest, you see extinguished

Ya que solo por ti la vida me es amada

Since only because of you, life is important

El día en que me faltes, me arrancaré la vida

The day that you are gone, I rip my life away

Porque mi pensamiento, lleno de este cariño

Why my thoughts, full of this love

Que en una hora feliz, me hiciera esclavo tuyo

That in happier times made me your slave

Lejos de tus pupilas, es triste como un niño

Away from your eyes, it is sad like a child

Que se duerme soñando, con tu acento de arrullo

That falls asleep dreaming of your lulling accent

Para envolverte en besos, quisiera ser el viento

To wrap you in kisses I would want to be the wind

Y quisiera ser todo, lo que tu mano toca

And I wanted to be anything that your hand touches

Ser tu sonrisa, ser hasta tu mismo aliento

Be your smile be, even your breath

Para poder estar más cerca de tu boca

To be closer to your mouth

Perdona si no tengo, palabras con que pueda

Forgive me if I am speechless to

Decirte la inefable, pasión que me devora

Tell you the indescribable passion that engulfs me

Para expresar mi amor, solamente me queda

To express my love, I am only left with

Rasgarme el pecho, amada, y en tus manos de seda

Tearing my chest open and in your silk hands

Dejar mi palpitante, corazón que te adora

Leave my beating heart that adores you

Yo soy María Yo soy María de Buenos Aires!

I am María of Buenos Aires

De Buenos Aires María ¿no ven quién soy yo?

María of Buenos Aires, don’t you see who I am?

María tango, María del arrabal!

María tango, Maria from the slums

María noche, María pasión fatal!

María night, María fatal passion

María del amor! De Buenos Aires soy yo!

María of love, of Buenos Aires, that’s me

Yo soy María de Buenos Aires

I am María of Buenos Aires

si en este barrio la gente pregunta quién soy

if someone in the neighborhood should ask who I am,

pronto muy bien lo sabrán

Soon they will know it very well

las hembras que me envidiarán

the women will envy me

y cada macho a mis pies

And every man will fall at my feet

como un ratón en mi trampa ha de caer!

Like a mice in a trap

Yo soy María de Buenos Aires!

I am María of Buenos Aires

Soy la más bruja cantando y amando también!

I’m the most enchanting in singing and loving

Si el bandoneón me provoca...

Tiará, tatá!

the bandoneon tempst me … tia-ra, ta-ta!

Le muerdo fuerte la boca...

Tiará, tatá!

I bite it hard in its mouth… tia-ra, ta-ta!

Con diez espasmos en flor que yo tengo en mi ser!

With ten flowering spasms that I hold within my being!

Siempre me digo “Dale María!”

I always say to myself, “Go for it, María!”

cuando un misterio me viene trepando en la voz

When a mystery comes climbing up my voice

Y canto un tango que nadie jamás cantó

And I sing a tango nobody ever sang

y sueño un sueño que nadie jamás soñó,

And I dream a dream nobody ever dreamt:

porque el mañana es hoy con el ayer después, che!

Because tomorrow is today and then comes yesterday, che!

Yo soy María de Buenos Aires!

I am María of Buenos Aires!

De Buenos Aires María ¡yo soy mi ciudad!

Of Buenos Aires María, I am my own city!

María tango, María del arrabal!

María tango, Maria of the slums

María noche, María pasión fatal!

María night, María fatal passion

María del amor! De Buenos Aires soy yo!

María of love! Of Buenos Aires, that’s me!

About the Artists ELISE BRANCHEAU Elise Brancheau is a vocalist with an eclectic performance career singing operatic, art song, oratorio, choral repertoire, and more. A firm believer that classical music is a living, breathing art form, she is committed to collaborating and supporting living composers and has premiered works by Melissa Dunphy, Jasper Sussman, Lauren Spavelko, Hannah Gruendemann, Martha Sullivan, Dennis Tobenski, Adam Cuthbért, Jan Albert, and more. She has also lent her voice to the soundtracks of multiple short films, participated in devised musical theater and performed in a new musical that was conceived, written, and rehearsed in just 48 hours. She is currently working on a series of improvised opera arias with texts from famous horror movie monologues.

Some of her favorite opera roles include Micaëla (Carmen), Pamina (The Magic Flute), Mimì (La bohème), and Blanche (Dialogues des Carmélites). Equally at home in the realm of concert work and early music, she has enjoyed singing repertoire such as Barber’s Knoxville: Summer of 1915, Mozart’s Coronation Mass and Vesperae solennes de confessore, Buxtehude’s Cantata 49, the music of Hildegard von Bingen, and more. She has premiered two new “ExplOratorios” secular oratorios featuring works by multiple composers - with the N.E.O. Voice Festival. She performs regularly as a chorister in the Philadelphia Symphonic Choir with the Philadelphia Orchestra under the baton of Yannick NézetSéguin, and she is a section leader for the choir of St. Joseph’s Church, Yorkville in New York City. She has won awards from multiple competitions, including the Metropolitan Opera Guild, the Giulio Gari Foundation Competition, the Fritz & Lavinia Jensen Competition, and more.

A lover of art song, she has programmed, produced, and performed in multiple recitals, both independently and with organizations such as the Patchwork Project, the Hugo Kauder Society, Vertical Player Repertory, and The Secret Opera, the boutique opera/art song company she cofounded in 2014. Her favorite art song repertoire includes Britten’s Les Illuminations, Lori Laitman’s I Never Saw Another Butterfly, Gilda Lyons’s a cappella A Small Handful, Berg’s Sieben frühe Lieder, Libby Larsen’s Try Me, Good King, and Melissa Dunphy’s arrangement of Bob Dylan’s “Farewell, Angelina” for voice and viola, which she commissioned and premiered in 2019.

She is a graduate of Mannes College The New School for Music (MM) and Westminster Choir College of Rider University (BM).

EUGENIA FORTEZA French-Argentinean mezzo-soprano 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). Born in Paris, she grew up in Buenos Aires and moved to the United States to continue her musical education at age 19. Her heritage is a mix of Spanish, Italian, French and Moroccan. She is fluent in French, Spanish, English and Italian and speaks intermediate German.

She was recently awarded second 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 a winner at the 2017 Concorso Internazionale di Canto Lirico Katia Ricciarelli, where she was awarded an Opera Role Prize, 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 Premiere Opera Foundation International Vocal Competition. 2020 marked Forteza’s mainstage debut with Teatro Grattacielo as Dimitri in the company’s filmed version of Fedora, available for streaming worldwide. The film was a winner at the 4th Dimension Independent Film Festival and in the Official Selection for the International Music Video Awards and the Munich Music Video Awards.

Other recent career highlights include the roles of Eufemia in Leoncavallo’s La Bohème and Noémie in Cendrillon for L’Institut Canadien d’ Art Vocal, covering the title roles in María de Buenos Aires and L’incoronazione di Poppea with Bare Opera, originating the role of Ugly Duckling in Felix Jarrar’s new opera Mother Goose at Dixon Place in New York, the role La Pastorcita in the US Premiere of El Rey Nació with Puntaclassic Productions, a company and role debut in Carmen with Hudson Opera Theater and covering the role of Babylonienne in Hérodiade with New Amsterdam Opera. She has a special affinity with contemporary operatic projects and is a frequent collaborator of composer Felix Jarrar and librettist Bea Goodwin, having originated the roles of Therese/Dada Queen in Tabula Rasa for the NY Opera Fest and the role of the Ghost of Christmas Past in A Christmas Carol with Gramercy Opera. In concert, she recently made her debut with A Modern Reveal “Leading Ladies Liberated” concert series (in collaboration with New Camerata Opera) at The Flea Theater as part of the 2019 NY Opera Fest. Other recent concert highlights include a debut with Magna Lírica, in its 2019 Season Opening Concert in Buenos Aires, Argentina and her Colombian debut at Museo Nacional de Colombia in Bogotá with mezzo-soprano, Monica Danilov.

SONYA HEADLAM Sonya Headlam enjoys a varied career as a soloist, chamber musician, and ensemble singer of a diverse range of repertoire from the Baroque period to the 21st century.

She is a member of the Grammy-nominated Choir of Trinity Wall Street, and she performs regularly with the Vocalis Consort and the Raritan Players. She joined the Raritan Players on the recently released recording, In the Salon of Madame Brillon (Acis, 2021). Recent opera roles include Le feu in Ravel’s L’enfant et les sortilèges, Fiordiligi in Mozart’s Così fan tutte, and the title role in Delibes’ Lakmé. Other recent soloist performances include Beethoven’s Mass in C with Downtown Voices, Ellen Reid’s dreams of the new world at the 2018 Prototype Festival, Carl Orff’s Carmina Burana with the West Village Chorale, and a premiere of a short opera film, How They Broke Away. Her 2021-22 season includes appearances with TENET Vocal Artists, Apollo’s Fire, and a Carnegie Hall appearance as a member of the vocal trio described by Harvey Steiman (Seen and Heard International) as making a “stunning impression” in Julia Wolfe’s Steel Hammer with Bang on a Can All-Stars.

LORI MCCANN As head of the Vocal Performance Program of the John J. Cali School of Music at Montclair State University, Dr. Lori McCann teaches performance courses and applied voice to BM, MM and AD students and BFA Musical Theater students.

She is a lyric soprano and has performed widely in Europe and the United States.

Dr. McCann gives master classes and presentations internationally in her areas of scholarship: Lyric Diction, Developmental Pedagogy, Zarzuela and the19th Century Spanish Lyric Theater, and Joseph Canteloube’s Chants d’Auvergne, in addition to recital and chamber music performances. Dr. McCann is very active in the leadership of the National Association of Teachers of Singing (NATS) on the local, regional, and national levels. She currently serves on the International Advisory Committee and is a mentor teacher for both the NATS National, and New York City Mentoring Programs.

As a lyric soprano, she has performed opera, oratorio, and recitals in Europe and the United States, winning many competitions and awards including National FinalistMetropolitan Opera National Council Auditions. Her roles include the Governess (Turn of the Screw), Fulvia (Ezio), Pamina (Die Zauberflöte), Countess (Le nozze di Figaro), Fiordiligi (Cosí fan tutte), Mimi (La Bohème), The Fox (The Cunning Little Vixen), Giulia (La scala di seta), Iphigénie (Iphigénie en Tauride), Mary Warren (The Crucible), Jessie (Mahagonny-Songspiel), Second Lady (The Magic Flute), and Amor (Orfeo ed Eurydice).

Concert performances include Brahms’ Ein Deutsches Requiem; Mozart’s Requiem, Vesprae solemnes de confessore, and Regina Coeli; Händel’s Messiah and L’allegro ed il pensieroso; Bach’s Magnificat, Mass in B Minor, and St. Matthew Passion; and Debussy’s La Demoiselle élue. Additionally, she has performed many commissions and premieres of 20th and 21st century composers and is currently working on a commissioned concert and recording with a theme of “Environmental stewardship.”

LINA ORFANOS Lina Orfanos is an international vocalist and recording artist. She sings in classical, contemporary, and jazz styles. And she sings in English, French, German, Greek, Hebrew, Italian, Korean, Spanish, Turkish and Yiddish. She has recorded eight albums, two of which are of the works of Mikis Theodorakis: Enchanted Night (in Greek) and Mauthausen (in Hebrew). Currently, she is working on a third Theodorakis album – an art song cycle titled Ta Lyrika. The recording will be out at the end of the year and is dedicated to the late Mikis Theodorakis who passed away on September 2 of this year.

Ms. Orfanos has performed in Europe, the Middle East, and throughout the United States. The legendary Greek vocalist Maria Farantouri says that she is not only an accomplished artist, but she has the “tragic element in both the high ranges and the low ranges.” Theodorakis, who coached Orfanos, described her performance at the ancient Herodian Theater at the Acropolis in before an audience of 5,000 as “thrilling!” He said her interpretations of his songs were “perfect.”

She graduated from Westminster Choir College in 2002.

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 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. As a member of the Westminster Symphonic Choir, she sang in Mahler’s Symphony No. 8, Mozart’s C Minor Mass and Ravel’s Daphnis et Chloé with the Philadelphia Orchestra conducted by Yannick Nézet-Séguin. She also participated 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 Westminster 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 Quito-Ecuador. Miss Salazar is one of the coordinators of Arte Lirico at Fundacion Cultural Armonia, a virtual space that was created to motivate the Ecuadorian classical singers through the pandemic. Last year Ms. Salazar performed at Art Song on the Move, the first outside performance during the pandemic. She 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, presented by the Argentinian Opera Company called Contemporanea Lirica. She also performed at Contigo Latinx, a virtual concert in honor of Hispanic Heritage Month organized by Fundacion Cultural Armonia and Vocalis Consort.

Additionally, Miss Salazar performed at Latina Women in Opera Virtual Concert Series, presenting the first solo Latin American Art Song Recital. She also 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.

JEAN BERNARD CERIN Praised for his ‘burnished tone and focused phrasing” (Chestnut Hill Local) baritone Jean Bernard has charmed audiences throughout the United States, France, Austria and his native Haiti. A gifted recitalist, he won Best Performance of a Folk Song at the 2021 Canto Latino International Song Competition. In 2018, he won the Gerard Souzay Prize for best performance of a French Mélodie at the Joy in Singing International Song Competition. With pianist partner Veena Kulkarni-Rankin, he founded Duo 1717 in 2014. Together, they give recitals throughout the country and fuse classical, folk, and religious idioms to celebrate individual communities while also creating spaces for intercultural dialogue. On the concert stage, he has appeared with American Bach Soloists in San Francisco, Philadelphia Chamber Music Society’s Gamut Bach Ensemble, Piffaro Renaissance Wind Ensemble, Louisville’s Bourbon Baroque, Philadelphia Choral Arts and the Mendelssohn Club of Philadelphia. ​L ANGELIHLE MNGXATI Mngxati is a native of South Africa, born and raised in Ixopo region of Pietermaritzburg, KwaZulu-Natal near the Indian Ocean. He received his BA Music from the University of KwaZulu-Natal, Performance Diploma and master’s degree in Voice from Southern Methodist University. He has sung roles of Belcore (L’elisir d’amore), Colas (Bastien und Bastienne) and Vertigo (Pepito) with The Dallas Opera Educational Outreach Program. He received training from Seagle Festival, Opera in The Ozarks

and Amalfi Coast Music Festival. He was in Fort Worth Opera’s 2017 production of Amahl and The Night Visitors as Balthazar. Mngxati was a finalist in the McCammon Voice Competition 2018, received an Encouragement Award from the Metropolitan Opera National Council Auditions in the Houston District 2015. He won the Nathan Ward Memorial Award from Opera NEO’s inaugural Voical Competition in 2019.

He was a Resident Artist with Tri-Cities Opera in 2019/20 season and performed roles of Sciarrone in Tosca and Dulcamara/Wolf in Pinnochio. He returned to TCO and performed Crocodile, Monkey King and Lady Tiger in Monkey and Francine in 2020. He was an Apprentice Artist with Opera NEO in 2019 where he sang Giove in Cavalli’s La Calisto. He recently sang the title role of Figaro in Mozart’s Le Nozze di Figaro for an apprenticeship with Opera NEO in the summer of 2021. Mngxati toured with the Kwa Zulu-Natal Philharmonic Orchestra on its community outreach program in Durban, South Africa. He has sung bass solos in Händel’s Messiah in Pietermaritzburg with PMB City Orchestra, Haydn’s Missa Caecilliae Sanctae with the Kwa Zulu-Natal Philharmonic Orchestra, Rossini’s Petite Messe Solennelle and Mozart’s Mass in C minor with the Dallas Chamber Choir.

MARTIN NÉRON Canadian pianist Martin Néron is on the faculty at Westminster Choir College and Taos Opera Institute. He is a virtual music instructor at Shanti Bhavan, a boarding school for children from India’s lowest socioeconomic class located in Tamil Nadu.

He has held residencies at Tennessee Tech University and Fundación Armonía (Ecuador), and he presented masterclasses at Butler University, Washington and Ohio State University, The College of New Jersey, Hunter College, NATS, Arte Lirico, and Universidad Central del Ecuador. He is founder and artistic director of the Vocalis Consort, an ensemble that strives to feature vocal works that have been traditionally overlooked in addition to performing the core of the mélodie and Lied repertoire. This year he successfully designed and managed the first Canto Latino Online International Competition, a competition that specifically features and promotes vocal repertoire from Latin America. Néron is a past member of the board of directors of the Joy in Singing Foundation, serving as vice president between 2017 and 2019. He is co-founder, co-artistic director, and vice-president of the newly incorporated Federation of the Art Song. Praised as “an attentive partner” (Opera News), he has recorded albums of French, Greek, British and American songs.

His scholarly work is frequently featured in the Journal of Singing. His book, Francis Poulenc: Selected Song Texts, was published by Leyerle in 2010. He holds degrees from the Manhattan School of Music (DMA), Westminster Choir College (MM), and Université de Montréal (BM).

THE FEDERATION OF THE ART SONG The Federation of the Art Song (FAS) provides opportunities for singers, collaborative pianists, and composers to develop and perform their work for local and broader audiences. FAS believes strongly in the value of song – including art songs, traditional folk music, music of various cultures and nations, music from the theater and jazz tradition, as well as other popular or experimental genres of vocal music. We seek to give young artists greater exposure, as well as the chance to grow and develop their artistic identities.

Programs include: »

Song on the Move, which generates performances for singers and pianists who are passionate about the art of song.

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Songs from Outside the Box, which focuses on identifying and sharing a body of songs from under-represented cultures and individuals worldwide, sung in classical style.

»

If Music be the Food of Love, which offers financial assistance to young musicians for help with food and other basic needs in times of emergency or crisis.

FAS is committed to bringing the art of song to the public in traditional and nontraditional venues, to create a broader appreciation of the genre, and the Fellowship program is the backbone of those efforts. Through the annual competition and other events, we identify worthy young artists who will perform on programs developed through Song on the Move and Songs from Outside the Box, as well as on other occasions.

Westminster College of the Arts

Mission Westminster College of the Arts inspires, prepares and empowers emerging artists through a supportive, immersive and unique arts community. Our students achieve a high level of artistry and acquire the professional skills to become contemporary leaders who transform local and global communities through humanity, inclusion and access for all.

Vision Westminster College of the Arts aspires to be a flourishing arts destination for creative students, artists, community members and industry professionals; a center for publicfacing artistic projects supported by faculty and student research; and a catalyst for innovation through the arts.

Westminster College of the Arts is composed of four divisions: Westminster Choir College, the School of Fine and Performing Arts, Westminster Continuing Education and Westminster Conservatory, our community music school.

For more information: R I D E R . E D U/ WC A

Westminster College of the Arts

2083 Lawrenceville Road Lawrenceville, NJ 08648

R I D E R.E D U/A RT S