so near, so dear milena sousa a senior
voice recital
The University of Texas at San Antonio School of Music presents Distinction Recital Friday, May 2 , 2025 nd 7:30 PM UTSA Recital Hall
So Near, So
Milena Sousa, Anna Hakobya
“Batti, batti o bel Masetto” from Don Giovanni
Se tu m’ami
Au bord de l’eau
Villanelle des petits canards
The Lass from the Low Countree
recital
iv so ed il M
Andres G n Rodrigu Worman, iel Rocha Lepovitz, ia Schnei eri Ayma, dan Boyd,
ef Interm
v (1797-1828)
Gustav Mahler (1860-1911) iv
Waldemar Henrique (1905-1995) vii
Glad Robinson Youse (1898-1985)
ma Alpha Iota, Theta Gamma
viii
Milena Sousa is a student of Prof John Nix
Maria Keen (b. 1953)
Batti, batti, o bel Masetto
This aria comes from Mozart’s Don Giovanni, one of his most famous operas In this piece, Zerlina, a peasant girl, sings to her fiancé, Masetto, who is angry and jealous after Don Giovanni flirts with her. Zerlina tries to calm him down, assuring him of her loyalty by saying that she’ll endure anything to prove her love for him. The playful, yet tender character of the aria reflects her clever attempt to soothe Masetto. The music itself is light and joyful and has become one of my favorite arias to sing. The contrasting sections is what really brings this piece to life and makes it so enjoyable
Batti, batt
Batti, batt la tua pove starò qui c le tue bòtt
Lascerò st lascerò ca e le tue ca lieta poi sa
Ah, lo ved Pace, pace In content notte e dì
Lorenzo D
some Masetto
ome Masetto, a, like a lamb es! se things r hands afterwards
ven't the heart! piness
rew Schneider
Se tu m’ami
Parisotti’s Se tu m ’ami is a lyrical Italian art song that has become a staple in vocal repertoire and is one of my favorites from the 24 Italian collection This song is about a woman who has a young man in love with her and while she likes the attention, she doesn’t want to only be with him. If he believes she also loves others, she makes no effort to deny it. Her message is clear that love is not something to be owned or limited, and she will who she wants. The flowing melody and romantic accompaniment help to create the sense of passion and drama that is found in this piece
Se tu m’ami
Se tu m'ami, se tu sospiri
Sol per me, gentil pastor, Ho dolor de' tuoi martiri, Ho diletto del tuo amor,
Ma se pensi che soletto
Io ti debba riamar, Pastorello, sei soggetto Facilmente a t'ingannar.
Bella rosa porporina
Oggi Silvio sceglierà, Con la scusa della spina Doman poi la sprezzerà.
Ma degli uomini il consiglio
Io per me non seguirò
Non perché mi piace il giglio
Gli altri fiori sprezzerò.
Paolo Antonio Rolli
If you love me
If you love me, if you sigh only for me, dear shepherd, I do pity your suffering, I delight in your love
But if you think that I should return love only to you, little shepherd, you're easily duped by deceiving yourself
A beautiful purple rose Sylvio will choose today, yet on pretext of the thorn he will spurn it tomorrow. But the counsel of the men I will not follow myself
Not because the lily pleases me, will I disdain other flowers.
Translation by Bertram Kottmann
Au bord de l’eau
This French art song showcases Fauré's unique harmonic style and is representative of many French compositions during the late Romantic era. The poem, written by Paul Verlaine, paints a serene scene by the water where two lovers are caught in a trance, removed from the rush of the world as they focus solely on each other. The piano accompaniment mirrors the sweet and reflective nature of the lyrics, leaving us feeling like we are in dream. Fauré’s romantic harmonies and the song’s flowing, tender lines are a perfect representation of the composer’s ability to convey deep emotion with elegance and subtlety. I fell in love with this piece fast, and I hope you do as well
Au bord de l’eau
S’asseoir tous deux au bord d’un flot qui passe,
Le voir passer;
Tous deux, s’il glisse un nuage en l’espace, Le voir glisser;
À l’horizon, s’il fume un toit de chaume, Le voir fumer;
Aux alentours si quelque fleur embaume, S’en embaumer;
Entendre au pied du saule où l’eau murmure, L’eau murmurer;
Ne pas sentir, tant que ce rêve dure, Le temps durer;
Mais n ’apportant de passion profonde
Qu’à s ’adorer, Sans nul souci des querelles du monde, Les ignorer; Et seuls, tous deux devant tout ce qui lasse, Sans se lasser, Sentir l’amour, devant tout ce qui passe, Ne point passer!
Paul Verlaine
At
the water’s edge
To sit together on the bank of a flowing stream,
To watch it flow; Together, if a cloud glides by, To watch it glide; On the horizon, if smoke rises from thatch, To watch it rise; If nearby a flower smells sweet, To savour its sweetness;
To listen at the foot of the willow, where water murmurs, to the murmuring water; Not to feel, while this dream passes, The passing of time; But feeling no deep passion, Except to adore each other, With no cares for the quarrels of the world, To know nothing of them; And alone together, seeing all that tires, Not to tire of each other, To feel that love, in the face of all that passes, Shall never pass!
Translation by Richard Stokes
Villanelle des petits canards
Chabrier’s Villanelle des petits canards is a charming and playful piece, showcasing the composer’s wit and sense of humor The text, also written by Paul Verlaine, describes the antics of little ducks by the water, and Chabrier’s music mirrors the lighthearted nature of the poem with exciting rhythms and articulations. The song’s lively character and melodies evoke a sense of wonder, making it a striking contrast to my previous French song. This song will easily become an earworm, rightfully so as it is just so delightful. It is such a joy to sing about little ducks and what on Earth they could be up to! This piece also serves as a lovely reminder to not take myself too seriously, and to have fun
Villanelle des petits canards
Ils vont, les petits canards, Tout au bord de la rivière, Comme de bons campagnards
Barboteurs et frétillards, Heureux de troubler l'eau claire, Ils vont, les petits canards.
Ils semblent un peu jobards,
Mais ils sont à leur affaire, Comme de bons campagnards.
Dans l'eau pleine de têtards,
Où tremble une herbe légère,
Ils vont, les petits canards,
Marchant, par groupes épars,
D'une allure régulière Comme de bons campagnards.
Dans le beau vert d'épignards
De l'humide cressonnière
Ils vont, les petits canards,
Et quoiqu'un peu goguenards, Ils sont d'humeur débonnaire
Comme de bons campagnards!
Villanelle of the little ducks
They go, the little ducks, All at the side of the river, Like good country folk!
Paddlers and wrigglers, Happy to trouble the clear water, They go, the little ducks,
They seem a little silly, But they are at their business, Like good country folk!
In the water full of tadpoles, Where light grass trembles, They go, the little ducks,
Marching in separate groups,
In a regular pace Like good country folk!
In the pretty spinach green
Of the humid cress-plot, They go, the little ducks,
And what, than a little mocking, They are of a good-natured mood, Like good country folk!
The Lass from the Low Countree
This American folk song by John Jacob Niles is b
Making, in talkative circles, A true bedlam of noise, They go, the little ducks,
Plump, glossy and lively, They are merry with their manner, Like good country folk!
Amorous and nasal, Each one with its hearsay, They go, the little ducks, Like good country folk!
The song tells the story of a young woman from a p longing and serves as a cautionary tale to not fal instrumental in preserving and arranging Americ honest, straightforward quality, giving it a haunt of American folk music, especially the history an across this piece, I fell in love with the piano acco recital and share it with others.
Oh, he was a lord of high degree
And she was a lass from the Low Countree
But she loved his lordship so tenderly
Oh, sorrow, sing sorrow!
Now she sleeps in the valley
Where the wildflowers nod
And no one knows she loved him
But herself And God
One morn, when the sun was on the mead
He passed by her door
On a milk-white steed
She smiled and she spoke
But he paid no heed
But herself And God John Jacob Niles
As Steals the Morn
This aria is from Handel’s oratorio L’Al Milton’s poetry The piece specially is ligh Tempest, and describes the gentle rising o Handel’s music here is uplifting, with lon a beautiful example of Handel’s mastery o the expressive power of the orchestra.
I am so happy to be joined by one of my piece. I wanted to honor our shared inte years with this piece. Thank you for bein
I am also joined by Jordan Rodriguez (fl LJ Lepovitz (violin), Victoria Schneider ( (conductor) for this piece I have had the these talented musicians and friends, old passion, joy, hard work, and talents with you all to fully bring this piece to life as w forever be grateful.
AAs steals p g And melts the shades away:
So Truth does Fancy's charm dissolve, And rising Reason puts to flight:
The fumes that did the mind involve, Restoring intellectual day
Charles Jennens
Wer hat dies Liedlein erdacht?
This delightful songis a whimsical piece that is just as playful as it is bizarre The text, although from the Des Knaben Wunderhorn ("The Boy's Magic Horn") collection, doesn’t have one sole author making it anonymous. This text and story were likely passed down by oral tradition before Mahler set it to music. The lyrics reflect the thoughts of a wandering soul noticing the world around them and who contemplates the joy of composing a simple, yet meaningful song. However, as the piece continues, the text seems to turn from a romantic longing to singing about geese! The music is light, with a dance-like rhythm that underscores the humorous nature of the lyrics, creating a rustic feeling as if one should be singing this in a bar scene The melismas in this piece are challenging but are the most fun, making this piece an exciting performance for both me and the audience.
Wer hat dies Liedlein erdacht?
Dort oben in dem hohen Haus, Da gucket ein fein's, lieb's Mädel heraus, Es ist nicht dort daheime, Es ist des Wirts sein Töchterlein, Es wohnt auf grüner Heide
Mein Herze ist wund, Komm, Schätzel, mach's gesund. Dein schwarzbraune Äuglein, Die haben mich verwundt
Dein rosiger Mund
Macht Herzen gesund.
Macht Jugend verständig, Macht Tote lebendig, Macht Kranke gesund
Wer hat denn das schöne Liedlein erdacht? Es haben's drei Gäns übers Wasser gebracht, Zwei graue und eine weiße; Und wer das Liedlein nicht singen kann, Dem wollen sie es pfeifen Ja!
Anonymous
Who made up this little song?
High in the mountain stands a house, From it a sweet pretty maid looks out, But that is not her home, She’s the innkeeper’s young daughter She lives on the green moor
My heart is sick, Come, my love, and cure it. Your dark brown eyes Have wounded me Your rosy lips Can cure sick hearts, Make young men wise, Make dead men live, Can cure the sick
Who made up this pretty little song?
Three geese brought it across the water. Two grey ones and a white one; And for those who can’t sing this song, They will pipe it to them They will!
Translation by Richard Stokes
Romanze
This piece is lyrical and characteristic of Schu melodies into deeply expressive moments The to an accompaniment that is constantly switc one of my most beloved songs. This piece con is beauty is the simplicity of the lyrics and har dramatic flourishes.
Romanze aus “Rosamunde”
Der Vollmond strahlt auf Bergeshöhn
Wie hab ich dich vermisst!
Du süsses Herz! es ist so schön, Wenn treu die Treue küsst
She entered in the light of the full moon, and gazed heavenwards. ‘In life far away, yet in death yours!’ And gently heart broke upon heart.
Translation by Richard Wigmore
Valsinha do Marajó
This Brazilian song is part of Waldemar Henrique’s rich body of work that combines traditional Brazilian rhythms with classical forms Valsinha do Marajó is a delicate waltz that embodies the vibrant atmosphere of the Marajó Island in the Amazon. The piece captures the spirit and storytelling of Brazilian folk music while showcasing Henrique’s lyrical, chromatic melodies. Its gentle rhythm and flowing lines reflect the island’s peaceful beauty, the crashing of the waves, and the fate of whoever finds themselves alone and lost at sea.
Valsinha do Marajó
Quando a lua, tão formosa, tão serena, Banha de esplendor a praia, com seus raios sobre o mar!
Uma esteira de luz guia a canoa, Que na noite constelada, vai singrando o mar!
Eu me lembro de um bravo canoeiro, Que no mar, seu cativeiro, passa horas a cantar!
O murmúrio vem de tão distante, Canoeiro errante, teu amor é o mar!
Lembro da jornada alegre matutina,
A canoa parte pequenina,
Num adeus que a própria vrisa doce carregou. Mas triste é quando se aproxima um temporal, E o canoeiro bravo que partiu ainda não voltou
Onde, porque choras lágrimas cantantes?
Tuas vagas rolam soluçantes, Sobre alvura dessas praias cheias de luar, Escuta aquela voz que vem lá do infinito,
Canto tão bonito, que parece
Ser do próprio mar!
Waldemar Henrique
Little Waltz of Marajó Island
When the moon, so beautiful, so serene
Bathes the beach in splendor,
With its rays over the sea!
A trail of light guides the canoe
That in the starry night, sails across the sea!
I remember a brave canoeist, Who in the sea, his captivity, sings the hours away!
The murmur comes from so far away, Wandering canoeist, your love is the sea!
I remember the joyful morning journey, The canoe sets off small, In a farewell that the sweet life itself carried. But sad, when a storm approaches, And the brave canoeist who left has not yet returned
Where, why do you cry, singing tears?
Your waves roll sobbing, Over the whiteness of these moonlit beaches, Listen to that voice that comes from beyond,
A song so beautiful that it seems
To be from the sea itself!
Translation by my dad, Eckel
Tamba-Tajà
Tamba-tajà is another beautiful example of Waldemar Henrique’s mastery in blending Brazilian folk traditions with classical music The lyrics are based on indigenous legends and create a beautiful image of the Amazon. “Tamba-Tajà” comes from a story of heartbreak and love. There were two lovers from the same village, and when one of them fell gravely ill and died, the other took their body deep into the forest to the edge of a stream to bury them. From that spot sprouted the Tamba-Tajà, a plant with dark green leaves that was unknown to the villagers. They harvested the plant to study its purpose, and found that it was created from the remnants of everlasting love It is said that if the plant to taken back to one’s home and grows beautifully, then there is much love in that house. But if there are no leaves on the Tamba-Tajà, then the opposite is unfortunately true.
Tamba-Tajà
Tamba-tajá, me faz feliz
Que meu amor me queira bem
Que seu amor seja só meu de mais ninguém, Que seja meu, todinho meu, de mais ninguém
Tamba tajá, me faz feliz,
Assim o índio carregou sua macuxy
Para o roçado, para a guerra, para a morte, Assim carregue o nosso amor a boa sorte
Tamba-tajá
Tamba-tajá
Tamba-tajá, me faz feliz,
Que mais ninguém possa beijar o que beijei, Que mais ninguém escute aquilo que escutei, Nem possa olhar dentro dos olhos que olhei.
Waldemar Henrique
Tamba-Tajà
Tamba-Tajà, make me happy,
That my love wants me as well, That my love is only mine, no one else’s, only mine, completely mine, and no one else’s
Tamba-Tajà, make me happy, So the Indian carried his love
To the country, to war, and to death, So carry our love with good luck
Tamba-tajá
Tamba-tajá
Tamba-tajá, make me happy, That no one else can kiss who I have kissed, That no one else can hear what I have heard, Or look into the eyes in which I have looked.
Translation by Milena Sousa
Boi-Bumbà
Boi-Bumbá is a dynamic, lively piece based on the traditional Brazilian folk celebration of the same name The song tells the story of a mythical ox and its cultural significance in Brazilian festivals, particularly in the northeastern state of Maranhão. It is a theatrical tradition featuring music, dance, and costumes. This festival, along with the many others that are native to Brazilian culture, still take place and are celebrated annually. These festivals continue to evolve and welcome people from all backgrounds to share in its joy and music, so please join me in celebrating the rich culture and music of Brazil!
Boi-Bumbà
Ele não sabe que seu di
O céu forrado de veludo
Venho ver devagarinho
Onde o Boi ia dançar
Ele pediu pra não fazer
Que o Santinho distraíd
Foi dormir sem celebrar
E vem de longe o eco su sambando, a noite intei batucando
Bumbà meu Pai do Cam
Bumbà meu boi bumbá
Estrela-d’alva la no ceu
Acordou quem sta dorm
Por ouvi galo cantar
Na minha rua resta a ci
Que levou a noite interi
Fagulhando para o ar
oday is his day y blue velvet ng to dance much noise nt celebrating he muffled echo of the a, all night, cornered, he field ring in the sky eeping row m the bonfire g ong
Sparkling in the air
Waldemar Henrique
Translation by my mom, Janaina
So Near, So Dear is S.A.I.
I wanted a way to feature an organization that had such a profound impact on me as a musician and a person It wouldn’t feel right to exclude such a vital part of my experience at UTSA Every lyric of this song is true and encapsulates perfectly how amazing it is to be a sister of Sigma Alpha Iota. SAI is so near and dear to me and only meant more as the days and months went by.
This is my favorite SA y senior recital Singing this is a remin ad the privilege to experience through S fraternity, but in music, love, and life. ll circle moment for me and so many of u g pp y It calls to us and we proudly sigh.
So near, so dear is S.A.I. Nearer and dearer as years go by Friendship lasting, loving and true Is the priceless gift S.A.I brings you.
Glad Robinson Youse
Homeward Bound
Homeward Bound is a touching, reflective song that expresses the deep desire to return to a place of comfort and belonging after a long journey of following one’s dream The piece’s lyrical lines and gentle accompaniment evoke a sense of nostalgia, capturing the universal feeling of homesickness and oes an amazing job of als The lyrics prove that wanting ust as true and important as w you
This was my very nior recital. To me, this piece i rtunity, and every moment tha my time at UTSA. I have gro a person. This song is for ev port I needed to be successful Y u enough
Please join me in s ourney and the beginning of a g our own lives, let this piece
Homeward
In the quiet When the m When the sp And the sky
When the su When the co When adven I’ll be home
Refrain: Bind me not to the pasture
Chain me not to the plow
Set me free to find my calling
And I’ll return to you somehow ning
Refrain: Bind me not to the pasture
Chain me not to the plow
Set me free to find my calling
And I’ll return to you somehow
Marta Keen
Acknowledgements
Professor John Nix
Thank you for being a mentor I didn’t know I needed. It has been a pleasure getting to know you and learn from you. Thank you for welcoming me into your studio and giving me a second family that has been so incredibly supportive and inspiring. I’m grateful for the opportunity to experience not just one but two studios during my time at UTSA I got the chance to get closer with more of m y has been a joy. Thank yo year. I will admit that I w indness made it a wonderful
Thank you for ime, care, and talent you’ve p a performer, but as a more orking with you, and I’ll c y collaboration I’m part of It rything you’ve brough
Dr. Olson, tha t you. I remember how the confident young woman l carry that with me alway ship, grace, and humility. made you proud. Thank dio, and the music we shar as a friend. I hope I am hal
Dr. Yoojin Muhn & Dr. Jordan Boyd
Thank you both for believing in me and constantly supporting my dreams. I’ve had the privilege of singing in each of your choirs, and I’m so grateful for the opportunity to learn from you both Your leadership, passion, and dedication have shown me what it truly means to be both an educator and an artist You each created spaces where I felt safe, inspired, and at home Being part of your choirs has been one of the greatest honors of my undergraduate experience. You gave me opportunities I will never forget and helped me grow in ways I didn’t know were possible. I can’t wait to see how far you both take UTSA Choirs. It can be hard to follow your dreams with confidence, but because of you both, it doesn’t feel so scary anymore. Thank you for everything
Mom & Dad
Obrigada, mãe e pai, por tudo Obrigada pela paciência, pelo amor, pelos conselhos e pela confiança Senti muita falta de vocês dois enquanto estava na faculdade, e uma das partes mais difíceis desta graduação não foram as aulas ou as longas horas, mas sim não ter vocês dois por perto. Obrigada por sempre sempre sempre me apoiarem em tudo o que faço. Sei que não seria capaz de fazer o que amo e assem os seus. Amo vocês dois demais e não tenho pal o Google Tradutor para isso Achei que seria engraç espero que eu os orgulhe para sempre Te amo! Beijo
Ah, eu também amo vocês, elhores irmãos. Tenho muita sorte de ser sua irmã artilhando nossas vidas. Espero que em breve, quan sar mais tempo juntos. Sinto falta de vocês dois Ch vocês gostem I cannot express how gratef o my life. This degree is hard, and the only way to g and. I am so incredibly lucky to have so many people I ca me unconditionally. It is so inspiring to see people I car passion about I love getting to watch everyone in to know that it’s only up from here. I am grateful for s, the memories, and the music we’ve shared through dship or moment spent together for granted. From verything. I hope we continue to be in each other would love to be in yours
Milena