State University of New York university at albany erforming rts enterC A Performing rts enter at State University of New York
2023-24
www.albany.edu/pac
www.albany.edu/music
www.albany.edu/theatre
The University atAlbany sits at the confluence of the Hudson andMohawkriversonthetraditionallandsoftheKanien’keháka and Muh-he-con-neok people, who stewarded this land for generations before the arrival of European colonists.The Kanien’keháka (People of the Flint) and Muh-he-con-neok (PeopleoftheWatersthatareNeverStill)aremorecommonly knowntodayastheMohawkHaudenosauneeandStockbridgeMunsee Band of Mohicans. Despite the similarity of their westernized names, the Mohawk and Mohican were culturally and linguistically distinct.
The UAlbany community recognizes that we live and work on the homelands of sovereign Indigenous nations with rich histories and cultures that continue today – both within NewYork and beyond.
As an institution devoted to teaching, scholarship, and service, we strive to understand and learn from our history and to affirm Indigenous rights and issues.To this end, we are committed to cultivating reciprocal relationships with Indigenous communities focused on equity, social justice, and sustainability – and dismantling legacies of colonization.
Visit the UAlbany Performing Arts Center website at www.albany.edu/pac for a full listing of this season’s events.
Photo: Dayton Contemporary Dance CompanyDepartment of Music and Theatre
University at Albany presents:
Showcase Concert
Friday, April 12, 2024 at 7:30pm
Recital Hall
UAlbany Performing Arts Center
Program
An Evening at the Opera
Memories: A………………………...Charles Ives (1874-1954) (We’re sitting in the opera house)
Ensemble
Serse…………………………………G.F. Handel (1685-1759)
Va Godendo
Romilda: Kezia Ranger
Rinaldo………………….….……..…G.F. Handel (1685-1759)
Lascia ch’io pianga
Almirena: Amanda Rogers
Così fan tutte …………………….… W.A. Mozart (1756-1791)
Una bella serenata
Ferrando: Luke Korff
Guglielmo: Andrew Calvacca
Don Alfonso: Ricky Ye
In Uomini
Despina: Katherine Long
Dorabella: Camille McCalla
Fiordiligi: Kezia Ranger
L’Eco………………………………….… V. Righini (1756- 1812)
Amanda Rogers and Noel Bond
Don Giovanni………………………..W.A. Mozart (1756-1791)
La ci darem la mano
Batti, batti, o bel Masetto
Don Giovanni: Andrew Calvacca
Zerlina: Camille McCalla
Massetto: Ricky Ye
Carmen……………………………………G. Bizet (1838-1875)
Habañera
Carmen: Noel Bond
Les Contes d’Hoffmann…… ………J. Offenbach (1819-1880)
Elle a fui, la touterelle!
Antonia: Camille McCalla
Gianni Schicchi……………...………...G. Puccini (1858-1924)
O mio babbino caro
Lauretta: Kezia Ranger
Schicchi: Andrew Calvacca
O del mio amato ben…………..……S. Donaudy (1879-1925)
Ricky Ye
Tartuffe……………………………….......K. Mechem (b.1925)
Fair Robin I love
Dorine: Amanda Rogers
Marianne: Katherine Long
Die Fledermaus……………………..J. Strauss II (1825-1899)
What a joy to be here Ensemble
Va Godendo from “Serse” is about King Serse, King of Prussia who is engaged to Amastre but is in love with Romilda, his brother Arsamene’s fiancee. The opera shows Serse’s attempt at getting Romilda to fall in love with him instead of his brother. Ultimately, Serse is reconciled with his fiancée Amastre.
Va Godendo is a joyful aria in which the character Serse expresses the pleasures of love and life. This piece is energetic and spirited and captures the jubilant spirit of the character Romilda. Và godendo vezzoso e bello quel ruscello la libertà.
E tra l'erbe con onde chiare lieto al mare correndo và.
Joyous, graceful and lovely goes that free-flowing little brook, And through the grass with clear waves it goes gladly running to the sea.
Lascia ch’io pianga from “Rinaldo” by Handel is an opera set during the First Crusade, focusing on the Christian knight Rinaldo's quest to rescue his beloved, Almirena, who has been captured by the Saracen sorceress Armida. The opera explores themes of love, war, magic, and heroism against the backdrop of the conflict between Christians and Saracens.
In the aria Lascia ch'io pianga the character Almirena expresses her sorrow and longing for freedom while being held captive by the Saracen sorceress Armida.
Recitativo:
Armida, dispietata! Colla forza d’abisso rapimmi al caro Ciel di miei contenti, e qui con duolo eterno viva mi tiene, in tormento Inferno. Signor! Ah! Per pietà lasciami piangere.
Aria:
Lascia ch'io pianga mia cruda sorte e che sospiri la libert à. Il duolo infranga queste ritorte de' miei martiri, sol per pietà.
Recitative:
Pitiless Armida! With fiendish force you have abducted me from the blessed Heaven, from my happiness. And here, in eternal pain, you hold me alive, tormented in Hell. Oh Lord, have pity, let me weep.
Aria:
Let me weep my cruel fate, And let me breathe freedom!
Let sorrow break these chains of my sufferings, for pity’s sake.
“Così fan tutte” is set in 18th-century Naples when two friends, Ferrando and Guglielmo, are challenged by Don Alfonso to prove the loyalty of their fiancées, Fiordiligi and Dorabella. Wearing disguises, they test the faithfulness of each other's fiancées with attempts at seduction, ultimately learning a lesson about the fickleness of love and trust.
Una bella serenata - In this scene, Ferrando and Guglielmo are confident that they will win their bet with Don Alfonso. They plan to use their winnings to throw a grand party in celebration of love, and they extend an invitation to Don Alfonso.
Recitativo:
DON ALFONSO: E tutto quel farete Ch'io vi dirò di far?
FERRANDO: Tutto!
GUGLIELMO: Tuttissimo!
DON ALFONSO: Bravissimi!
FERRANDO & GUGLIELMO: Bravissimo! Signor Don Alfonsetto!
FERRANDO: A spese vostre or ci divertiremo.
GUGLIELMO (a Ferrando): E de' cento zecchini, che faremo?
Recitative:
DON ALFONSO: And you will do everything that I tell you to?
FERRANDO: Everything!
GUGLIELMO: Everything and more!
DON ALFONSO: Excellent!
FERRANDO & GUGLIELMO: Excellent! Mr. Don Alfonso!
FERRANDO: At your expense now we’ll have fun.
GUGLIELMO (a Ferrando): And what will we do with the hundred sequins?
Trio:
FERRANDO: Una bella serenata far io voglio alla mia dea.
GUGLIELMO: In onor di Citerea un convito io voglio far.
DON ALFONSO: Sarò anch'io de' convitati?
FERRANDO & GUGLIELMO: Ci sarete, sì Signor.
FERRANDO, GUGLIELMO & DON
ALFONSO: E che brindisi replicati far vogliamo al Dio d'amor!
Trio:
FERRANDO: A beautiful serenade for my goddess.
GUGLIELMO: In honor of Cythera I want to have a banquet.
DON ALFONSO: Will I also be one of the guests?
FERRANDO & GUGLIELMO: You will be there, yes sir.
FERRANDO, GUGLIELMO & DON
ALFONSO: What many toasts will be had to the goddess of love!
In Uomini - In this scene, the maid Despina is seeing the sisters have a meltdown over the fact their partners are going away and they are not enjoying the advances of other men. She takes time to explain to them that stereotypically soldiers would not have any loyalty to them so their partners should not expect the same of them. They should enjoy the advances from other men because men will come and go. They will only be young once should enjoy their youth.
Aria:
In uomini, in soldati sperare fedeltà?
Non vi fate sentir, per carità!
Di pasta simile son tutti quanti, le fronde mobili l'aure incostanti han più degli uomini stabilità. Mentite lagrime, fallaci sguardi, voci ingannevoli, vezzi bugiardi son le primarie lor qualità.
In noi non amano che il lor diletto;
poi ci dispregiano, neganci affetto,
nè val da' barbari chieder pietà. Paghiam, o femmine, d'ugual moneta
questa malefica razza indiscreta; amiam per comodo, per vanità.
L’Eco
Dove sei, bell’Idol mio?
Chi t’invola a’miei desir?
Vieni a me, non chiedo, oh Dio! che vederti e poi morir; ma pietosa dallo Speco ascoltando I miei sospir, mi risponde flebil Eco: non mi rest ache “morir.”
Aria:
In men, in soldiers, to hope for fidelity? Don't let anybody hear you, for pity's sake!
All of them are made of the same paste; the rustling leaves and inconstant breezes have more stability than men. Lying tears, false glances, deceitful voices, charms are their primary qualities. They love us only for their own delight; afterwards they despise us, deny us love; there is no use asking a barbarian for mercy. Let us repay, o women, with the same money this evil kind of indiscreet men; let us love at our leisure, for our vanity.
Where are you, my beautiful idol? Who takes you away from my desires? Come to me! I only ask, oh God, to see you and then to die; but in pity from the cave, listening to my sighs, weak Echo answers me: only “to die” remains for me.
“Don Giovanni” -
"Based on the story of Don Juan, Don Giovanni follows an irresistible (yet irresponsible and amoral) youth who is loved by women almost as universally as he loves them." (Opera Atelier) Giovanni conquests from woman to woman and leaves destruction behind him, consistently escaping his enemies.
La ci darem la mano - As Don Giovanni attends Zerlina and Masetto's wedding, he gets Zerlina alone and almost convinces her to leave Masetto for him, adding more trouble to the mix.
Recitativo:
DON GIOVANNI: Eh un imposture della gente plebea! La nobilta ha di pinta negliochi lonesta. Orsu, non per diam tempo; in questo intsante io vi voglio sposar.
ZERLINA: Voi?
DON GIOVANNI: Certo, io. Quel casineto e mio soli saremo. E la, giojello mio, ci sposeremo.
Duet:
DON GIOVANNI:La ci darem la mano la mi dirai di si; Vedi, non e lontano, partiam, ben mio da qui.
ZERLINA: Vorrei e non vorrei, mi trema un poco il cor, Felice e ver, sarei, ma puo burlar mi ancor, ma puo burlar mi ancor.
DON GIOVANNI: Io cangiero tua sorte
ZERLINA: Presto non son piu forte, no son piu forte, non son piu forte!
DON GIOVANNI: Vieni! Vieni! La ci darem la mano
ZERLINA: Vorrei, e non vorrei,
DON GIOVANNI: La me dirai di si,
Recitative:
DON GIOVANNI: It is a sham of the plebian people! The nobility has painted the eyes of the honest one. Come on, not for a long time; Right now I want to marry you.
ZERLINA: You?
DON GIOVANNI: Yes, me. That little house is mine we will be alone. And there, my jewel, we will get married
Duet:
DON GIOVANNI: You will give me your hand you will tell me yes; You see it’s not far away, let’s leave, my darling, from here
ZERLINA: I would like to, but I wouldn’t my heart trembles a little, Happy and true, I would be, but he can still mock me, but he can still mock me
DON GIOVANNI: I will change your fate
ZERLINA: Soon I will no longer be strong, I’m not stronger, I’m not stronger!
DON GIOVANNI: You come! You Come! You will give me your hand
ZERLINA: I would like to, but I wouldn’t
DON GIOVANNI: You will tell me yes
ZERLINA: Mi trema un poco il
DON GIOVANNI: Partiam, ben mio, da qui
ZERLINA: Ma puo burlar mi ancor
DON GIOVANNI: Vieni, mio bel di letto
ZERLINA: Mi fa pieta Masetto
DON GIOVANNI: Io cangiero tua sorte
ZERLINA: Presto non son piu forte, non son piu forte, non son piu forte!
DON GIOVANNI: Andiam! Andiam!
ZERLINA: Andiam!
BOTH: Andiam, andiam, mio bene, A ristorar le pene, D’un’ innocente amor!
DON GIOVANNI: Andiam!
ZERLINA: Andiam! Andiam!
DON GIOVANNI: Andiam!
BOTH: Andiam, andiam mio bene, andiam
Le pene a ristorar d’un’ innocente amor!
ZERLINA: I’m shaking a little
DON GIOVANNI: Let’s leave, my dear, from here
ZERLINA: I feel sorry for Masetto
DON GIOVANNI: I will change your fate
ZERLINA: Soon, I will no longer be strong, I’m not stronger, I’m not stronger!
DON GIOVANNI: Let us go! Let us go!
ZERLINA: Let us go
BOTH: Let us go, let us go, my love To relieve the pains, Of an innocent love!
DON GIOVANNI: Let us go!
ZERLINA: Let us go! Let us go!
DON GIOVANNI: Let us go!
BOTH: Let us go, Let us go, my love, let us go
To relieve the pains of an innocent love.
Batti, batti, o bel Masetto - In this aria, a contrite Zerlina teases and kisses her offended fiancé into good humor again.
Recitativo:
Ma se colpa io non ho, ma se da lui ingannata rimasi, e poi che temi?
Tranquillati, mia vita: non mi tocco la punta delle dita: non me lo credi? Ingrato!
Vien qui: sfogati, amazzami, fa tutto di me quelche ti piace; ma poi, Masetto mio, ma poi fa pace.
Recitative:
But if I'm not to blame, but if I was deceived by him, then what are you afraid of?
Calm down, my life:
He never touched me not even a finger: you don't believe me? Ungrateful! come here then: let off steam, kill me, do everything with me as you like; but then, my Masetto, peace be between us.
Aria:
Batti, batti, o bel Masetto, la tua povera Zerlina:
starò qui come agnellina le tue bòtte ad aspettar.
Lascerò straziarmi il crine, lascerò cavarmi gli occhi; e le tue care manine lieta poi saprò baciar.
Batti, batti, o bel Masetto, la tua povera Zerlina:
starò qui come agnellina le tue bòtte ad aspettar.
O bel Masetto!
Batti, batti, starò qui, starò qui le tue bòtte ad aspettar.
Ah, lo vedo, non hai core, ah, lo vedo, non hai core. Pace, pace, o vita mia! Pace, pace, o vita mia!
In contento ed allegria notte e dì vogliam passar.
Si, notte e dì vogliam passar, Si, notte e dì vogliam passer.
Aria:
Masetto, hit your poor Zerlina, and I shall stay here like a lamb to await your blows. Pull out my hair, and pluck out my eyes!
I shall let you do these things and happily kiss your hands afterwards I'll kiss you, kiss, I will, I will kiss you. Masetto, hit your poor Zerlina, and I shall stay here like a lamb to await your blows.
Oh dear Masetto
Hit me, hit me. I'll wait here, I'll be here waiting for you blows.
Ah, I see it now! You haven't the heart! Ah, I see it now! You haven't the heart!
Peace, my dearest! Peace, my dearest!
Let us rather pass night and day in happiness.
Yes, night and day in happiness, yes, night and day in happiness, I want to pass.
Habañera from “Carmen” takes place in Spain, and follows the story of a woman, Carmen, and a soldier named Don José. Carmen is an extremely flirtatious woman who believes that love is free, while Don Jose is extremely jealous and possessive, which ultimately leads Don Jose to kill Carmen in a passionate rage.
The Habañera is sung by Carmen in the first act in response to a group of soldiers who are flirting with her outside of the cigarette factory where she works. Carmen expresses her free,
non-comital views on love, establishing herself as a beautiful woman who cannot be contained or possessed.
Recitative:
Quand je vous aimerai?
ma foi, je ne sais pas, peut -être jamais!
Peut-être demain.
Mais pas aujourd’hui c’est certain.
Aria:
L’amour est un oiseau rebelle que nul ne peut apprivoiser, et c’est bien in vain qu’on l’appelle s’il lui convient de refuser!
Rien n’y fait, menace ou prièrel’un parle bien, l’autre se tait; et c’est l’autre que je préfèreil n’a rien dit mais il me plaît!
L’amour!
L’amour est enfant de Bohême, il n’a jamais jamais connu de loi. Si tu ne m’aimes pas, je t’aime; Si je t’aime, prends garde à toi!
L’oiseau que tu croyais surprendre battit d’aile et s’envola.
L’amour est loin- tu peux l’attendre; tu ne l’attends plus, il est là!
Tout autour de toi, vite, vite, il vient, s’en va, puis il revient, tu crois le tenir, il t’évite; Tu crois l’éviter, il te tient!
L’amour!
Recitative:
When will I give you my love?
I don’t know. Maybe never!
Maybe tomorrow.
But not today - that is certain.
Aria:
Love is a rebellious bird that nobody can tame; and you call him quite in vain if it suits him to refuse!
Nothing helps, neither threat nor prayer.
One man talks well, the other's mum;
it's the other one that I preferhe's silent but I like his looks.
Love!
Love is a gypsy's child, it has never, ever, known a law. Love me not, then I love you; if I love you, watch out for yourself! The bird you thought you had caught beat its wings and flew away.
Love stays away, you wait and wait; when least expected, there it is!
All around you, swift, so swift, it comes, it goes and then returns ... you think you hold it fast, it flees; you think you're free, it holds you fast!
Love!
Elle a fui, la tourterelle! from “Les Contes d’Hoffmann” follows the mischievous Hoffmann who looks for his lovers and learns the hard way after each of them.
Here we have Antonia who is one of Hoffmann’s past lovers. She was separated from Hoffmann by her father, Crespel, who did so in order to protect her from a mysterious illness in which she dies as result of singing. (This is unbeknownst to Antonia)
Antonia wishes for her love Hoffmann to come back to her, because Hoffmann encourages her to sing, unlike her father. Hoffmann finally does see Antonia, but after learning the truth about her illness, he makes her promise to give up singing forever. "Elle a fui, la tourterelle" is in the second act of "Les Contes d'Hoffmann."
Aria:
Elle a fui, la tourterelle!
Ah! souvenir trop doux!
Image trop cruelle!
Hélas! à mes genoux
je l’entends, je le vois!
Hélas! à mes genoux
je le vois, je l'entends, je le vois.
Elle a fui, la tourterelle.
Elle a fui loin de toi; mais elle est toujours fidèle et te garde sa foi.
Mon bien-aimè, ma voix t’appelle. Oui, tout mon coeur est à toi.
Elle a fui, la tourterelle.
Elle a fui, elle a fui loin de toi.
Chère fleur qui viens d’éclore, par pitié, réponds-moi!
Toi qui sais s’il m’aime encore, s’il me garde sa foi!
Mon bien-aimé, ma voix t’implore, Ah! que ton coeur vienne à moi. que ton coeur vienne à moi.
Elle a fui, la tourterelle, elle a fui, elle a fui loin de toi!
Aria:
She has fled, the turtle dove!
Ah, memory too sweet!
Image too bitter! Alas, at my knees
I hear him, I see him!
She has fled, the turtle dove. She has fled far from you; but she is forever faithful and keeps her promise to you. My beloved, my voice calls to you. Yes, all of my heart is yours.
My heart is all yours!
She has fled, the turtle dove. She has fled, she has fled far from you.
Dear flower that has just bloomed, for pity’s sake, answer me!
You who knows if he still loves me, if he keeps his promise to me!
My beloved, my voice implores you. Ah! may your heart come to me.
May your heart come to me!
She has fled, the turtle dove, she has fled, she has fled far from you.
“Gianni Schicchi” is a dramatic comedy with a witty and fastpaced plot, filled with deception, humor, and love. “The relatives of Buoso Donati have been left out of the old man’s will.
Rinuccio, his nephew, has a girlfriend, Lauretta, whose father, Gianni Schicchi, is a very clever rogue. Rinuccio begs Schicchi to help the family, but he refuses because of their condescendsion toward him and his daughter.” (Martha Gerhart)
In the aria O Mio Babbino Caro, Lauretta is begging her father Gianni Schicchi on Rinuccio’s behalf, to allow her to marry him.
Aria:
O mio babbino caro, mi piace, è bello bello; vo’andare in Porta Rossa a comperar l’anello!
Si, ci voglio andare!
E se l’amassi indarno, andrei sul Ponte Vecchio, ma per buttarmi in Arno!
Mi struggo e mi tormento! O Dio, vorrei morir!
Babbo, pietà!
O del mio amato ben
O del mio amato ben perduto incanto!
Lungi e dagli occhi miei, chi m'era gloria e vanto! Or per le mute stanze sempre la cerco e chiamo con pieno il cor di speranze… Ma cerco invan chiamo invan!
E il pianger m'è sì caro, che di pianto sol nutro il cor.
Aria:
Oh my dear father, I like him, he is very handsome. I want to go to Porta Rossa to buy the ring!
Yes, yes, I want to go there!
And if my love were in vain, I would go to Ponte Vecchio
but in order to throw myself in the Arno! I am pining and I am tormented, Oh God! I would want to die!
Daddy, have pity!
Oh, lost enchantment of my dearly beloved
Oh lost enchantment of my dearly beloved!
Far from my sight is the one who was for me glory and pride! Now through the empty rooms always I seek her and call out with my heart full of hopes… But I seek in vain, I call in vain!
And the weeping is so dear to me that with weeping alone I nourish my heart.
Mi sembra, senza lei triste ogni loco.
Notte mi sembra il giorno; mi sembra gelo il foco. Se pur talvolta spero, di darmi ad altra cura, sol mi tormenta un pensiero: ma senza lei che farò?
Mi par così la vita vana cosa senza il mio ben.
Without her, everywhere seems sad to me. The day seems like night to me; fire seems cold to me.
Even though I sometimes hope to give devote myself to another concern,
one thought alone torments me: but without her, what shall I do? Life thus seems to me a futile thing without my beloved.
Fair Robin I Love from “Tartuffe”
Kirke Mechem's opera “Tartuffe” based on a comedic play by Molière revolves around a wealthy man named Orgon who befriends Tartuffe, a fraud who leads the audience on a journey of comedic misunderstandings and social critique.
Fair Robin I Love is sung by Dorine, Marianne's maid. Marianne, troubled with not wanting to marry Tartuffe is comforted by Dorine's lesson on how to deal with "that" type of man.
Upcoming Music Program Concerts
Youth Movements Festival
Saturday, April 13 at 6pm & Sunday, April 14 at 3pm
The XVI annual festival includes two distinct programs. Saturday’s concert will feature musicians of all ages from around the Capital Region. On Sunday, pianist Duncan Cumming and violinist Hilary Cumming team with the School of the Albany Berkshire Ballet for their fourth collaboration.
The Choral Hour - Saturday, April 20 at 3pm
The UAlbany Chamber Singers and Community Chorale perform separately and combined in a program of music from a wide array of styles and culture with the theme Something Beyond: Songs of Hope and Justice.
erforming rts enterC A P
HOUSE POLICIES
Latecomers will be seated at the discretion of the management and its staff.
The use of photographic or recording devices of any kind during most performances is strictly prohibited.
There is no food or drink allowed in the theatres, nor is smoking allowed in UAlbany buildings.
. To avoid disrupting the performance, kindly disable any noise making electronic devices you may have with you.
Please take time to note the location of the fire exits nearest to you. In the event of an emergency, an announcement will be made from the stage. Please proceed to the nearest exit in an orderly fashion.
