International Concert Series 2023-2024
RAVEN OPERA COMPANY 5TH ANNIVERSARY SHOWCASE EVENT PROGRAMME
NOVEMBER 16, 2023 ROYALHOLLOWAY.AC.UK/MUSIC
Department of Music
School of Performing & Digital Arts
International Concert Series 2023-24
OUR 2023-24 SEASON We are pleased to welcome you to our 2023-24 International Concert Series at Royal Holloway. We, at the Department of Music, cannot wait to showcase the varied talent of our students and staff, but also bringing internationally renowned musicians to the College. For 2023-24, we are back and better than ever with more student and staff opportunities through the creation of 'The Platform', an open opportunity for the community at the Department of Music to share with you what makes us so special. Alongside our popular Midweek Music and Pocket Concert Series, we are excited to continue our special partnerships with the Young Classical Artists Trust and BBC New Generation Artists and continue our alumni recital series by bringing back the epoch ensemble. We are pleased to also bring a wealth of international artists to our series, including pianists Pina Napolitano, Mary Dullea, Sholto Kynoch, Alexander Soares, and Joseph Havlat, violinist Darragh Morgan, guitarist Laura Snowden, clarinettist Jonathan Leibovitz, 1|P a g e
sitarist James Pusey, mezzosoprano Helen Charlston, jazz group Solstice, and the London Mozart Players. 2023 also marks the final season for our quartet-in-residence, the Tippett Quartet, as we say farewell to this stellar group with their final concert at Royal Holloway. All in all, this season is representative of the world-class talent our community at the Department of Music has fostered as we showcase our students and the range of music performance we programme and encourage; from jazz to world music, orchestral performance to solo piano, as well as presenting performers from the international stage. We look forward to welcoming you to our series this year. Nathan James Dearden Music Performance Manager & Curator of the International Concert Series
International Concert Series 2023-24
The Raven Opera Company 5th Anniversary Concert International Concert Series 2023-24 Thursday, 16 November 2023 Picture Gallery, Founder’s Building
Estimated finish time: 10.00pm There will be a 15-minute interval during this evening’s event. Please no flash photography or visual/audio recording throughout the event. For news about our future events, please visit royalholloway.ac.uk/music/events
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EVENT OVERVIEW Welcome everyone, to the Raven Opera Company’s five-year anniversary showcase concert. Over the last 5 years the society has worked to deliver performance opportunities for those wanting to engage with opera and classical singing, providing a platform for individuals to explore their talents in their own way. Wanting to bring tonight full circle, we have invited back four alumni of the society, all of whom have gone on to work or pursue further study in the industry. Performing alongside our alumni tonight are several current company members in what is their first performance of the academic year. The society continues to grow from strength to strength, with more new members each year and ever more exciting concerts so thank you for joining us this evening for a celebration of past and present Ravens. Marcus Coleridge
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PROGRAMME NOTES Benjamin Britten (1913-1976) Prologue from The Turn of the Screw To be performed by Zachary Smith
Benjamin Britten’s chamber opera The Turn of the Screw was written in 1954 and was first performed at the Teatro La Fenice, Venice, despite being postponed due to the writing of the opera Gloriana for the late Queen’s coronation. It is based on the 1898 novella of the same title by Henry James. A quintessential English ghost story, Britten was warned against completing the opera due to the story’s disturbing narrative surrounding children and loss of innocence. The opera is divided into two acts, sixteen scenes and a prologue (added later). The prologue begins the work with a male figure telling the audience of a “curious story… written in faded ink”. Programme note by Zachary Smith
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TEXT It is a curious story. I have it written in faded ink - a woman's hand, governess to two children - long ago. Untried, innocent, she had gone first to see their guardian in London; a young man, bold, offhand and gay, the children's only relative. The children were in the country with an old housekeeper. There had been a governess, but she had gone. The boy, of course, was at school, but there was the girl, and the holidays, now begun. This then would be her task. But there was one condition: he was so much engaged; affairs, travel, friends, visits, always something, no time at all for the poor little things. She was to do everything, be responsible for everything, not to worry him at all, no, not to write, but to be silent, and do her best. She was full of doubts. But she was carried away: that he, so gallant and handsome, so deep in the busy world, should need her help. At last "I will", she said.
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George Frideric Handel (16851759)
‘Pastorello d’un povero armento’ from Rodelinda To be performed by Zachary Smith
Handel composed Rodelinda for the Royal Academy of Music in 1725. Comprising of three acts, the opera was written shortly after Tamerlano and the same singers performed in its’ premiere. The story talks of Bertarido, whose throne has been usurped by Grimoaldo, following which Bertarido fled abroad, leaving behind his wife, Rodelinda, their son Flavio, and his sister Eduige. He has now returned in disguise, having circulated a false report of his own death. Meanwhile Grimoaldo, despite being betrothed to Eduige, seeks Rodelinda’s love. In this aria, near the end of the opera, Grimoaldo seeks comfort in sleep. Conflicted with remorse, the mighty tyrant finds himself envying the simple shepherd and his flock. Afterwards, Garibaldo (the king’s counsellor) attempts to murder Grimoaldo in his vulnerable state and all hell breaks loose. Programme note by Zachary Smith
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TEXT Pastorello d'un povero armento Pur dorme contento, sotto l'ombra d'un faggio o d'alloro. Io, d'un regno monarca fastoso, non trovo riposo, sotto l'ombra di porpora e d'oro.
TRANSLATION The little shepherd of some scanty flock, sleeps with content, enjoys his ease, beneath the spreading beech, or spacious oak, while I, a king, can find no peace. In vain by gold and purple made, I can command the stately shade, since, when I strive for sleep, still fly peace from my breast, and slumber from my eye.
International Concert Series 2023-24
Felix Mendelssohn (1809-1847) ‘O God, have mercy from St. Paul (1833) To be performed by Marcus Coleridge
At the time in 1831, Mendelssohn was commissioned by Johann Schelble, who was the conductor of the Cecilia Choir and Orchestra of Frankfurt, to compose an oratorio. Having a deep understanding of the Bible, Mendelssohn crafted the oratorio around the Apostle, St Paul. Briefly, the Bible story tells of the Apostle St Paul, who desired to persecute Christians. However, on his journey to Damascus, he was blinded by a shaft of light from Jesus whose voice called out to him, asking him why Paul was persecuting him and his followers. After, the shaken and blinded St Paul reached Damascus where a man called Ananias fixed his vision. This encounter from the divine was a calling to him, and he became a prominent follower of Jesus. It is commonly thought amongst Christian communities that St Paul is the most significant Christian figure after Jesus. Broadly, the text comes from a firstperson perspective of St Paul, where he preaches, he will ‘teach transgressors, and all the sinners shall be converted unto Thee’ - in other words, the process of Christian conversion. Mendelssohn’s captivating interpretation plays with the text in such a convincing way. For example, he repeats elements of the text, particularly ‘and take not Thy Spirit from me, O Lord,’ which makes it seem heartfelt. Similarly, he quickens 6|P a ge
the pace at ‘I will speak of Thy salvation, I will teach transgressors,’ which signifies his determination to spread the word of Christianity.
TEXT O God, have mercy upon me, and blot out my transgressions, according to Thy loving kindness; yea, even for Thy mercy’s sake, deny me not. Cast me not away from Thy presence, and take not Thy Spirit from me, O Lord. Lord, a broken and a contrite heart is offered before Thee. I will speak of Thy salvation, I will teach transgressors, and all the sinners shall be converted unto Thee. Then open Thou my lips, Lord, and my mouth shall show forth Thy glorious praise.
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Richard Strauss (1864-1949) Gedichte aus Letzte Blätter, Op. 10: No. 1, Zueignung (1885) To be performed by Phoebe Wakefield
The vastly performed Zueignung or ‘Dedication’ is the first of eight songs, each of which set poems from the volume Letzte Blätter or Last Leaves by the poet, Hermann von Glim. It is one of Strauss’ most famous works, which is impressive since these were his first published songs. This poem was written in the year of his death in 1864, which is perhaps fitting as it was the year that the composer was born. This poem is deeply saturated in romanticism, exploring the depths of being desperately in love. At the time, the piece was composed for a tenor, which is perhaps more fitting for its characterisation. However, Stauss’ father Franz, wanted him to write for his Aunt Johanna, as a staple to thank her for developing Strauss as a musician. But he didn’t even dedicate the work to her, instead to the principal tenor of the Munich Court Opera, Heinrich Vogl. Later in 1940, it was orchestrated for Viorica Ursuleac. History aside, this piece is short which reinforces the urgent undertones held in the text. It builds, particularly in the last stanza which climaxes and sits in the high register for the vocalist.
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TEXT Ja, du weißt es, teure Seele, Daß ich fern von dir mich quäle, Liebe macht die Herzen krank, Habe Dank. Einst hielt ich, der Freiheit Zecher, Hoch den Amethysten-Becher, Und du segnetest den Trank, Habe Dank. Und beschworst darin die Bösen, Bis ich, was ich nie gewesen, Heilig, heilig an’s Herz dir sank, Habe Dank!
TRANSLATION Yes, dear soul, you know That I’m in torment far from you, Love makes hearts sick – Be thanked. Once, revelling in freedom, I held the amethyst cup aloft And you blessed that draught – Be thanked. And you banished the evil spirits, Till I, as never before, Holy, sank holy upon your heart – Be thanked.
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Edward Elgar (1857-1934) ‘A Sabbath Morning at Sea’ from Sea Pictures, Op. 37 (1899) To be performed by Esme Ellis
As a part of his Sea Pictures, this song cycle is one of Elgar’s most highly regarded works, similar in popularity to his Enigma Variations. Whilst this was one of his many triumphs, he also faced many failures and struggles. To start, he was a self-made musician, thereby lacking professional university or conservatoire composition training. In his career, some of his works were poorly received, such as his disastrous premiere of his oratorio The Dream of Gerontius. However, he is considered one of the Classical Greats and redefined British music, freeing it from its own insularity. He is the first British composer since Henry Purcell (1959-95) to achieve international prestige and left a new sound world for young composers to use. In Sabbath Morning at Sea, he is able to adhere to the text in such a subtle way. He includes an extreme variety of harmonies, textures and pace changes to depict the narrative. These are also staples of his Romantic voice as a composer, allowing for moments (certainly here) of solemness, delight and hope. The first stanza is gentle, both in the text and music, depicting a very ‘solemn’ and ‘weary’ atmosphere. The accompaniment is quite ethereal and sparse. This contrasts with the subsequent stanza, which opens up with quicker rhythms and a richer accompaniment. Similarly, the final stanza is even more dramatic, almost calling out to the divine. This is 8|P a g e
particularly emphasized through the repetition of text.
TEXT The ship went on with solemn face: To meet the darkness on the deep. The solemn ship went onward. I bowed down weary in the place; For parting tears and present sleep Had weighed mine eyelids downward. The new sight, the new wondrous sight! The waters round me, turbulent, The skies, impassive o'er me, Calm in a moonless, sunless light, [As] glorified by [even the] intent Of holding the day-glory! Love me, sweet friends, this Sabbath day, The sea sings round me while ye roll Afar the hymn unaltered, And kneel, where once I knelt to pray, And bless me deeper in your soul, Because your voice has faltered. And though this Sabbath comes to me Without the stolèd minister, Or chanting congregation, God's Spirit [shall give comfort], He Who brooded soft on waters drear, Creator on creation. [He shall assist me to look] higher, Where keep the saints with harp and song An endless Sabbath morning, And on that sea commixed with fire Oft drop their eyelids raised too long To the full Godhead's burning.
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Roger Quilter (1877-1953) Feat no more the heat o’ the Sun (1921) To be performed by Brooke Storey
Over the course of his career, Roger Quilter composed over one hundred songs, many of which continue to be popular amongst singers’ repertoires. Having had a quiet upbringing in Sussex, Quilter studied at Eton before starting his compositional work at around 1900. He mostly composed songs from poetry, with some of his favourite poets being Herrick, Shakespeare, Blake and Shelley. The most popular works of his are undoubtedly his Shakespeare Songs, from which Fear no more the heat o’ the Sun originates, alongside many others. With a light quality and accompaniments which are often integrated closely with the vocal line, there is an undeniably wistful quality to Quilter’s works. Absent are any awkward jumps or large ranges within his vocals, yet despite the apparent lack of technical demand for the singer in the piece, the easy flow of the vocal line allows for the poetry to shine throughout. The accompaniment is also fully realised and complex within its own right, providing rhythmic interest and moments of countermelody, without detracting from the freedom of the singer. This feature set Quilter apart from other composers of the time, who would sacrifice the material of the accompaniment in order to focus all attention on the singer. 9|P a ge
Fear no more the heat o’ the sun h0lds a fairly straight-forward message – once one is dead, you need not fear harsh winters or summer suns, for you will have done your duty on this earth and returned to the earth from which you once came. The journey begins with this message in the first verse before going on to list more things which will not be of concern once one is dead, including that of a tyrant’s rule in verse two and thunder, lightning and rumours spread by others in verse three. Then, in the last verse the tone changes to the singer asking that the dead not be disturbed, and that nothing bad will happen to them in their rest.
TEXT Fear no more the heat o' the sun Nor the furious winter's rages; Thou thy worldly task hast done Home art gone, and ta'en thy wages: Golden lads and girls all must As chimney-sweepers, come to dust Fear no more the frown o' the great; Thou art past the tyrant's stroke; Care no more to clothe and eat; To thee the reed is as the oak: The sceptre, learning, physic, must All follow this, and come to dust Fear no more the lightning flash Nor the all-dreaded thunder-stone;
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Fear not slander, censure rash; Thou hast finish'd joy and moan: All lovers young, all lovers must Consign to thee, and come to dust No exorciser harm thee! Nor no witchcraft charm thee! Ghost unlaid forbear thee! Nothing ill come near thee! Quiet consummation have; And renowned be thy grave!
Francis Poulenc (1899-1963) No.2: Hôtel & No.4: Voyage à Paris from Banalités To be performed by India Lord
The title Banalités , given by Poulenc to his 1940 cycle of five Apollinaire poems was taken from a collection of that name Apollinaire published in 1914 containing Hotel and Voyage a Paris. The collection of five songs takes a journey through gaining and finally leaving the comfort of the capital.
TEXT Hôtel Ma chambre a la forme d’une cage Le soleil passe son bras par la fenêtre Mais moi qui veux fumer pour faire des mirages J’allume au feu du jour ma cigarette Je ne veux pas travailler je veux fumer
Voyage à Paris Ah! la charmante chose Quitter un pays morose Pour Paris Paris joli Qu’un jour Dut créer l’Amour
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TRANSLATION Hotel My room is shaped like a cage The sun slips its arm through the window But I who want to smoke to make mirages I light my cigarette on daylight's fire I do not want to work I want to smoke Trip to Paris Oh! how delightful To leave a dismal Place for Paris Charming Paris That one day Love must have made Oh! how delightful To leave a dismal Place for Paris
Richard Wagner (1813-1883) ‘No. 4: Schmerzen’ from Wesendonck Lieder (1857-1858) To be performed by India Lord
Wesendonck Lieder, is the common name of a set of five songs for female voice and piano by Richard Wagner, Fünf Gedichte für eine Frauenstimme (Five Poems for a Female Voice). He set five poems by Mathilde Wesendonck while he was working on his opera Tristan and Isolde. The songs, together with the Seigfried Idyll are the two nonoperatic works by Wagner most regularly performed. The musical metaphor he uses for the protagonist dighting to discover hope whilst in the midst of great struggle and turmoil, is nature.
TEXT Sonne, weinest jeden Abend Dir die Schönen Augen rot, Wenn im Meeresspiegel badend Dich erreicht der frühe Tod; Doch erstehst in alter Pracht, Glorie der düstren Welt, Du am Morgen, neu erwacht, Wie ein stolzer Siegesheld! Ach, wie sollte ich da klagen, Wie, mein Herz, so schwer dich sehn, Muß die Sonne selbst verzagen, Muß die Sonne untergehn?
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Und gebieret Tod nur Leben, Geben Schmerzen Wonnen nur: O wie dank'ich daß gegeben Solche Schmerzen mir Natur.
Giuseppe Verdi (1813-1901)
TRANSLATION
Macbeth and Banquo, leaders of the Scottish army, meet a group of witches who prophesy the future. They address Macbeth as Thane of Cawdor and King of Scotland, and tell Banquo that he will be the father of kings. The two men try to learn more, but the witches vanish. Messengers arrive with news that Duncan, the current king of Scotland, has made Macbeth Thane of Cawdor. The first part of the witches’ prediction has come true.
Every evening, sun, you redden Your lovely eyes with weeping, When, bathing in the sea, You die an early death; Yet you rise in your old splendour, The glory of the dark world, When you wake in the morning As a proud and conquering hero! Ah, why should I complain, Why should I see you, my heart, so depressed, If the sun itself must despair, If the sun itself must set? If only death gives birth to life, If only agony brings bliss: O how I give thanks to Nature For giving me such agony!
‘La luce Langue’ from Macbeth (1847) To be performed by India Lord
In Macbeth’s castle, Lady Macbeth reads a letter from her husband telling her of the events that have just transpired. She resolves to follow her ambitions. A servant announces that Duncan will soon arrive at the castle, and when Macbeth enters, she tells him that they must kill the king. Duncan arrives. Macbeth has a vision of a dagger, then leaves to commit the murder. On his return, he tells his wife how the act has frightened him, and she tells him that he needs more courage. They both leave as Banquo enters with Macduff, a nobleman, who discovers the murder. Macbeth and Lady Macbeth pretend to be horrified and join the others in condemning the murder. This aria comes at the beginning of act two and Macbeth and his wife are planning to kill Banquo and his son. Lady Macbeth sings about the tragedy
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of the crime but how it is a necessity in order to secure the throne. Programme note by India Lord
TEXT La luce langue, il faro spegnesi Ch’eterno corre per gli ampi cieli ! Notte desiata, provvida veli La man colpevole che ferirà. Nuovo delitto!!... E necessario !! Compiersi debbe l’opra fatale. Ai trapassati regnar non cale ; A loro un requiem, l’eternità !.. O voluttà del soglio ! O scettro, alfin sei mio ! Ogni mortal desio Tace e s’acqueta in te. Cadrà fra poco esanime Chi fu predetto re.
TRANSLATION Light diminishes, the beacon dies away Moves in the vast heavens eternally ! Desired night, providentially veil The guilty hand which is going to strike the blow. New crime!!... Its necessary !! The fatal deed must be done. The dead do not care to reign ; For them, a requiem, eternity! Oh voluptuousness of the throne ! Oh sceptre, finally you are mine ! Every mortal desire Is silenced and and stilled by you. He who was predicted king Will soon fall lifeless.
INTERVAL
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Giacomo Puccini (1858-1924) ‘Donde lieta uscì’ from La Bohème To be performed by Dorothy Whyte-Venables
From the third act of Giacomo Puccini’s beloved La Bohème, often known as Mimi’s farewell, “Donde lieta uscì” is the dying Mimi’s tearful goodbye to her beloved Rodolfo, having overheard him telling Marcello he can no longer stay with her as he knows her Tuberculosis can only worsen if she remains in their shared poverty.
TEXT
TRANSLATION
Donde lieta uscì al tuo grido d'amore, torna sola Mimì al solitario nido. Ritorna un'altra volta a intesser finti fior. Addio, senza rancor.
Once happily leaving to your cry of love, Mimi returns only to the solitary nest. I return again to make flowers and bouquets. Goodbye, no hard feelings.
Ascolta, ascolta. Le poche robe aduna che lasciai sparse. Nel mio cassetto stan chiusi quel cerchietto d'or e il libro di preghiere. Involgi tutto quanto in un grembiale e manderò il portiere...
Listen, listen. The few things I’ve accumulated I’ve left behind. In my drawer is a small band of gold and the prayer book. Wrap them in an apron and I will send the concierge… Look, under the pillow there is a pink bonnet.
Bada, sotto il guanciale c'è la cuffietta rosa. Se vuoi serbarla a ricordo d'amor! Addio, senza rancor.
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If you want to keep it in memory of our love, you may. Goodbye, no hard feelings.
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Ivor Gurney (1890-1937) ‘IV. Sleep’ from Five Elizabethan Songs To be performed by Dorothy Whyte-Venables
The fourth movement of poet and composer Ivor Gurney’s Five Elizabethan Songs, ‘Sleep’ is a setting of John Fletcher’s passionate and emotive text describing the blissful escapism of slumber from terminal melancholy. Having studied under Charles Villiers Stanford the incredibly talented wartime composer unfortunately spent the last fifteen years of his life in mental hospitals, having been incredibly damaged by his experiences of war, longing for release from the strains of his life. Unfortunately, our collections of Gurney’s works are rather limited due to his ever-present perfectionism which caused him to destroy the vast majority of his life’s works.
TEXT Come, sleep, and with thy sweet deceiving Lock me in delight awhile; Let some pleasing dream beguile All my fancies, that from thence I may feel an influence, All my powers of care bereaving. Tho’ but a shadow, but a sliding, Let me know some little joy. We, that suffer long annoy, Are contented with a thought Thro’ an idle fancy wrought: O let my joys have some abiding.
Gustave Charpentier (1860-1956) ‘Depuis le jour’ from Louise To be performed by Dorothy Whyte-Venables
Louise, Charpentier’s most famous work tells the story of the young Parisian Seamstress who is in love with her neighbour, an artist called Julien. Her parents, who greatly disapprove, find a secret love letter to her from Julien, forcing the couple to run away together to Paris. This aria, the most famous from the opera, is Louise singing of her happiness and love since moving in with her beloved. She expresses how everything is so perfect 15 | P a g e
and that she still gets overwhelmed at the thought of their very first kiss. Louise is an accurate representation of the working-class within Paris and is often considered to be an example of verismo opera, a post-romantic operatic movement that seeks to portray the world with greater realism. On the 30th of April 1900, the director of the company, Opéra-Comique, Albert Carré gave away 400 seats to Paris dressmakers to watch the production.
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TEXT
TRANSLATION
Depuis le jour Où je me suis donnée Toute fleurie semble ma destinée Je crois rêver sous Un ciel de féerie L'âme encore grisée De ton premier baiser! Quelle belle vie!
Since the day I gave myself my destiny seems all flower-strewn I think I'm dreaming under a fairy sky my soul still intoxicated by your first kiss! What a beautiful life! My dream wasn't a dream! Oh! I'm so happy! Love is spreading its wings over me! In the garden of my heart sings a new joy!
Mon rêve n'était pas un rêve! Ah! je suis heureuse! L'amour étend sur moi ses ailes! Au jardin de mon coeur Chante une joie nouvelle! Tout vibre Tout se réjouit de mon triomphe! Autour de moi tout est sourire Lumiére et joie! Et je tremble délicieusement Au souvenir charmant Du premier jour D'amour! Quelle belle vie! Ah! je suis heureuse! trop heureuse... Et je tremble délicieusement Au souvenir charmant Du premier jour D'amour!
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Everything is vibrant everything rejoices at my triumph! All around me everything is smiling light and joy! And I'm trembling delightfully from the charming memory of the first day of love! What a beautiful life! Oh! I'm so happy! ...utterly happy! And I'm trembling delightfully from the charming memory of the first day of love!
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George Frideric Handel (16851759)
‘Tornami a vagheggiar’ from Alcina To be performed by Lingling Bao-Smith
During the time in which Alcina – the opera from which this aria originates – was composed, George Handel was working in London, working alongside John Rich to compose works for the Covent Garden Theatre. Alcina represents a change in pace within Handel’s work, as it was not only his last opera to contain the theme of magic, but it also came shortly before Handel suffered a mild stroke and proceeded to focus more on English oratorios as opposed to operas. Tornami a vagheggiar is the most popular aria from Alcina. Contextually, it comes after the sorceress Alcina confesses to Morgana that they wish to transform Ricciardo into an animal to prove her love for him. Despite Morgana begging for Ricciardo to escape Alcina’s plans, he refuses, as he is in love with someone. Morgana ends act one by singing Tornami a vagheggiar as a plea for Ricciardo’s affections, although in some versions of the opera Alcina has performed the aria. The piece makes use of the structural form da capo, which was a popular method in compositions at the time. Put simply, the piece is in ternary form, with a contrasting middle section being followed by a return to the melody used at the beginning of the piece accompanied by embellishments and 17 | P a g e
flourishes either notated or included by the singer. Alcina’s music can be split into groups of recitative and arias, with the latter of which being utilised to pause the action of the opera and give a window into the more specific and detailed feelings of certain characters at the time.
TEXT Tornami a vagheggiar, Te solo vuol amar Quest'anima fedel, Caro mio bene Già ti donai il mio cor; Fido sarà il mio amor; Mai ti sarò crudel, Cara mia speme.
TRANSLATION Turn me to fond desire, You alone, doth wish to love This faithful soul, My good dear one. I’ve already given you my heart; Faithful will be my love. Never will I be cruel to you, My dear hoped for one.
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Henry Purcell (1659-1695) Sweeter Than Roses (1695) To be performed by Holly Fry
With a life lasting barely longer than that of Mozart, Henry Purcell has still managed to gain the title of one of the most important English composers pre-Handel. Whilst not much is known about is his on a personal level, his music was composed for several mediums, including private entertainment, the Church and for theatre and stage. Present within his work is an admiration for techniques used in the past combined with newfound qualities which would influence other composers of the time. With a text that only runs for seven lines, Sweeter Than Roses is a piece in which Purcell’s subtle tone changes are imperative in energising the meaning behind the words, given that there are so few of them. With dynamic building in lines such as ‘then shot like fire all o’er’, Purcell indicates the action which is introduced within this line, and the repetition of words and phrases within the piece help to bring a new feeling to them once they are repeated. This piece is the perfect example of Purcell’s characteristic word-painting. Noticeable within the accompaniment are jagged, harsh chords on the word ‘freeze’, followed immediately by those of a rapid, staccato sound on the word ‘shot’. Then, towards the end of the piece, Purcell write the word ‘love’ to last for several bars longer than other lyrics, leaving no doubt that love 18 | P a g e
was indeed ‘victorious’ at the end of the song.
TEXT Sweeter than roses, or cool evening breeze On a warm flowery shore, was the dear kiss, First trembling made me freeze, Then shot like fire all o'er. What magic has victorious love! For all I touch or see since that dear kiss, I hourly prove, all is love to me.
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Wolfgang Amadeus Mozart (1756-1791)
‘Porgi, amor’ from Le Nozze di Figaro To be performed by Lucy Mitten
In this aria, Mozart introduces us to the countess, who has been cheated on by her husband frequently. She is in a state of depression due to her husband’s betrayal, creating an emotive and intimate atmosphere. The slow tempo of this aria also aids the poignant, reflective feel here. Mozart conveys a cry for help with the ascending vocal line up to an A flat, amplified by the pause, exemplifying the pained narrative that surrounds this aria.
TEXT Porgi, amor, qualche ristoro al mio duolo, a' miei sospir. O mi rendi il mio tesoro, o mi lascia almen morir.
TRANSLATION O love, bring some remedy For my sorrow, for my sighs! O give me back my loved one Or in mercy let me die.
Wolfgang Amadeus Mozart (1756-1791)
‘Come scoglio’ from Così fan tutte To be performed by Robin Huber
Two mysterious Albanians that are really Guglielmo and Ferrando in disguise have shown up at the sisters' door accompanied by Don Alfonso. The two men attempt to woo the sisters. Fiordiligi will have nothing to do with it, though, and, in this difficult aria, declares her loyalty to Guglielmo and asks the strangers to stop attempting to win them.
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TEXT Come scoglio, immota resta Contra i venti e la tempesta! Cosi ognor quest’alma e forte nella fede, e nell’amor. Con noi nacque quella face che ci piace, e ci consola, e potra la morte sola, far che cangi affetto il cor. Rispettate, anime ingrate, questo esempio di costanza, e una barbera speranza non vi renda audaci ancor.
International Concert Series 2023-24
TRANSLATION Like a rock, I stand immobile against the winds and the storm! My soul is strong In faith and in love. A light is born inside me that gives pleasure and comfort, and only death alone can change the way I feel. Respect, ungrateful creature! I am an example of loyalty, and not even your barbaric hope can make you bold.
Charles Gounod (1818-1893) ‘O légère hirondelle’ from Mireille To be performed by Robin Huber
In ‘O légère hirondelle,’ the lead character, Mireille, sings to a swallow, wishing she too could follow her beloved Vincent. The aria is lyrical, filled with longing, and captures the essence of youthful, passionate love.
TEXT
TRANSLATION
Le ciel rayonne, l'oiseau chante! Aujourd'hui, rien ne peut m'attrister!
The sky shines, the bird sings! Today, nothing can sadden me!
O légère hirondelle, Messagère fidèle, Vers mon ami vole gaiment Et conte lui mon doux tourment. Parle-lui de moi-même, Et dis-lui que je l'aime! Vincent peut croire à mon serment! Vole, vole gaiment! Ah!
O light swallow, Faithful messenger, Towards my friend flies cheerfully And tell him my sweet torment. Tell him about myself, And tell him I love him! Vincent can believe my oath! Fly, fly happily! Ah!
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International Concert Series 2023-24
OUR PROGRAMME NOTES The notes created for this event programme have been written by a team of students at the Department of Music, as part of the Concert Management & Artist Personnel Programme (where listed). This is a professional development initiative run by the Concert Office where students are able to experience first-hand what goes on behind-thescenes, who organises the publicity for an event, to even how to coordinate and manage a rehearsal schedule. All members of the programme are mentored by the College's Performance Manager, Nathan James Dearden, and receive training from industry specialists.
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