HaYoung Nam, Soprano
A passionate lirico leggero soprano with a deep love for composers such as Strauss, Brahms, and Fauré, HaYoung Nam has been refining her craft through years of dedicated training and performance.
Currently, in her fourth year at West Chester University of Pennsylvania, she is studying under Dr. InYoung Lee. Beyond her studies, HaYoung has been actively involved in volunteer and charity music activities, as well as performing at various community events.
This recital marks a significant milestone in her musical journey, culminating in her four years at West Chester University. The program features a diverse repertoire spanning classical masters to contemporary composers. It also reflects her passion for sharing the beauty of music, including songs from her homeland, Korea.
ACH ICH FÜHL'S
In sleep made sweet by a vision of you I dreamed of happiness, fervent illusion, Your eyes were softer, your voice pure and ringing, You shone like a sky that was lit by the dawn; You called me and I departed the earth
To flee with you toward the light, The heavens parted their clouds for us, We glimpsed unknown splendours, celestial fires.
Alas, alas, sad awakening from dreams!
I summon you, O night, give me back your delusions; Return, return in radiance, Return, O mysterious night!
APRÈS UN RÊVE (ATER A DREAM)
A sleep that charmed your image I was dreaming of love and passion, Your eyes were softer, Your voice pure and sonorous, You shone like a sky lit by dawn. You called me and I left the earth To flee with you to the light, The heavens have opened their secrets to us, Splendors unknown, divine glimpses of glory, Alas! Alas! Sad awakening of dreams I call you, O night, Give me back your delusions, Come back, come back, radiant, Come back, O mysterious night!
Here are flowers, branches, fruit, and fronds, And here too is my heart that beats just for you. Do not tear it with your two white hands And may the humble gift please your lovely eyes.
I come all covered still with the dew Frozen to my brow by the morning breeze. Let my fatigue, finding rest at your feet, Dream of dear moments that will soothe it.
On your young breast let me cradle my head
Still ringing with your recent kisses; After love's sweet tumult grant it peace, And let me sleep a while, since you rest.
OUVRE TON COEUR (OPEN YOUR HEART)
The daisy has closed its petals, darkness has closed the eyes of day, will you, fair one, be true to your word?
Open your heart to my love.
Open your heart to my ardour, young angel, that a dream may charm your sleep –I wish to recover my soul, as a flower unfolds to the sun!
ICH SCHWEBE (I FLOAT)
I float as if on angels' wings, My foot hardly touches the earth, In my ears I hear a sound Like my love's farewell greeting.
It sounds so sweetly, gently, softly, It speaks such tender, timid, pure words, The tune still sounds and lulls me gently Into bliss-laden dreams.
My glistening eyes while I'm filled By the sweetest of melodies
See my love, without clothes or veil, Pass smiling by.
ICH TRAGE MEINE MINNE (I BEAR MY LOVE)
I bear my love
In silent bliss
About with me
In heart and mind.
Yes, that I have found you, Sweet child, Will cheer me all
My allotted days.
Though the sky be dim,
Translated by Richard Stokes
Translated by Richard Stokes
Translated by Richard Stokes
And the night pitch-black, My love shines brightly In golden splendour. And though the world lies and sins, And it hurts to see it so The bad world must be blinded By your snowy innocence. Translated by Richard Stokes
CÄCILIE
If you knew What it is to dream Of burning kisses, Of walking and resting
With one's love, Gazing at each other And caressing and talking –If you knew, Your heart would turn to me.
If you knew What it is to worry On lonely nights
In the frightening storm, With no soft voice To comfort
The struggle-weary soul –If you knew, You would come to me.
If you knew What it is to live
Enveloped in God's World-creating breath, To soar upwards, Borne on light To blessed heights –If you knew, You would live with me. Translated by Richard
AIR DES BIJOUX (THE JEWEL SONG)
Oh God! What jewels! Is this a charming dream
That dazzles me, or am I awake?
My eyes have never seen such wealth! If only I dared to adorn myself for a moment With those earrings!
Ah! Here it is just right at the bottom of the box, A mirror!
How Can I not be vain?
Ah! I laugh to see myself
So beautiful in this mirror! Is that you, Marguerite?
Answer me, answer quickly! No! No! - it's not you anymore! No! No! - it's not your face anymore! It's the daughter of a king Who is greeted as she passes! Ah, if he were here
If he saw me like this!
Like a young lady He would find me beautiful. Let's finish the transformation I can't wait to try on The bracelet and the necklace! God! It's like a hand resting on my arm! .
I SHALL NOT LIVE IN VAIN
If I can stop one heart from breaking, I shall not live in vain.
If I can ease one life the aching, Or cool one pain, Or help one fainting robin
Unto his nest again, I shall not live in vain.
IF I…
If I can stop one heart from breaking, I shall not live in vain.
If I can ease one life the aching, Or cool one pain, Or help one fainting robin
Unto his nest again, I shall not live in vain.
엄마야 누나야
(MOTHER, SISTER)
Oh, mother and older sister, Let's go and live together beside the riverside. Our yard, where the sparkling glow of golden sand shines. Outside our back door, the song of the reed leaves. Mother, older sister, Let's go and live by the riverside.
Translated by Liriel Domiciano
Text by Emily Dickinson. (1830-1886)
Text by Emily Dickinson. (1830-1886)
Translated by HaYoung Nam
잔향 (LINGERING SCENTS)
Where does this faint breeze blow from?
In the field of my tender green heart, your fragrance lingers
Your crimson breath, exhaled after a long and distant journey
Standing there once again, your breath still fills the air
Your lingering scents, absorbed into the pale moonlight
Gently permeate and stay within my heart
Where I circled and circled, and finally came to a stop
Only the song of flowing water remains.
청산리 벽계수야 (THOU, CLEAR RILL)
Thou, clear rill, flowing through the verdant mountains, Dost thou not boast of swift speed of thine flow. For coul'st thou return with ease once gone to boundless ocean.
Now that the bright moo light fills the hollow hill, Why dost thou not rest for a while?
Translated by HaYoung Nam
Translated by HaYoung Nam
ACH, ICH FÜHL'S (1791)
W.A. Mozart's Die Zauberflöte (The Magic Flute), composed in 1791, is one of the most cherished operas of all time, combining elements of fantasy, Masonic symbolism, and deep human emotion. Among its many memorable arias, "Ach, ich fühl’s" is a particularly poignant moment for Pamina. In Act II, believing that Tamino no longer loves her, Pamina sings this aria in despair. Once full of joy and hope, she is now heartbroken, her sorrow unfolding in delicate, aching phrases. The slow, mournful melody and chromatic harmonies intensify the depth of her pain as she laments, "Ach, ich fühl's, es ist verschwunden, ewig hin der Liebe Glück (Ah, I feel it, it has vanished, forever gone is love's happiness)".
APRÈS UN RÊVE (1878)
"Après un rêve" is part of Gabriel Fauré's Trois mélodies, Op. 7. In this piece, the narrator dreams of encountering an enchanting figure, only to awaken and yearn desperately to return to that dream. Fauré's setting evokes a dreamlike reverie, blending delicate harmonies and expressive melodies to convey the bittersweet longing for a love that exists only in the realm of dreams.
GREEN (1887)
Claude Debussy's "Green" is the fifth song in his song cycle Ariettes oubliées, set to a poem by Paul Verlaine. Originally titled "Àquarelles," the cycle reflects Verlaine's evocative and impressionistic imagery. In "Green," the poet expresses an offering of nature's beauty flowers, leaves, and his own heart to a beloved. Debussy's setting captures this tender devotion with fluid melodies and delicate harmonies, creating an atmosphere of warmth. From the very beginning of the piece, the flowing arpeggios represent the swaying branches and leaves, embodying the richness of nature.
OUVRE TON CŒUR (1860)
"Ouvre ton cœur" is a lyrical gem composed by Georges Bizet, showcasing the influence of some of the same Latin flare and rhythm heard in his more famous opera, Carmen. In the piece, the singer initially turns away from love, hesitant or perhaps wounded, but then calls to his or her lover to "open your heart (ouvre ton cœur)." The imagery of a daisy with closed petals symbolizes the singer's emotional state closed off, yet still hoping for warmth and openness.
ICH SCHWEBE (1899)
Richard Strauss's "Ich schwebe" is the fourth song from his Fünf Lieder, Op. 48, set to a poem by Karl Henckell. The song captures the sensation of floating in a dreamlike state, reflecting the ethereal quality of the text. Strauss employs flowing, wave-like arpeggios in the piano accompaniment to depict the feeling of weightlessness and transcendence. The vocal line soars with lush phrasing and expansive dynamics, mirroring the sense of floating and dreamlike ecstasy
ICH TRAGE MEINE MINNE (1894)
"Ich trage meine Minne" by Strauss is a heartfelt outpouring of emotion and yet there is an incredible simplicity in its melody. The accompaniment doubles the vocal line in many instances and is not distracting at all. Strauss sets Henckell's poem in an ABA structure, bringing the text full circle by returning to the opening stanza. This repetition, combined with the song's flowing phrasing, gives it a sense of quiet resolution. Though unassuming in its construction, "Ich trage meine Minne" is rich in expression, capturing a moment of love and longing with understated elegance.
CÄCILIE (1894)
"Cäcilie" from Vier Lieder, Op. 27 is one of Strauss's most passionate love songs. The song is set to a poem by Heinrich Hart and was dedicated to Strauss's wife, soprano Pauline de Ahna, as a wedding gift. This deeply personal context adds to the song's fervent and ecstatic nature, making it one of the most beloved pieces in the art song repertoire. The sweeping vocal line and highly energetic piano accompaniment convey overwhelming devotion and joy, culminating in a triumphant climax.
THE JEWEL SONG (1878)
This song appears in Act III of Charles Gounod's Opera, Faust. In this scene, Marguerite opens a casket left to her by Faust. Inside, she finds precious, intricately crafted jewels luxuries that a common woman like herself could never dream of owning. Overwhelmed with emotion, she gazes at her reflection in the mirror and falls into a state of self-absorption. The aria is a coloratura piece, characterized by its scales, trills, and bright, playful melody.
I SHALL NOT LIVE IN VAIN (1996)
"I Shall Not Live in Vain" is an art song composed by Jake Heggie, set to the text of a poem by Emily Dickinson. It is part of his song cycle The Faces of Love, which was composed for the renowned American mezzo-soprano Frederica von Stade. The song reflects Dickinson's philosophy of finding purpose in small acts of kindness. Heggie's lyrical vocal lines and expressive harmonies enhance the poem's sincerity, creating an intimate yet profound musical moment.
IF I… (1996)
Lori Laitman (b. 1955) is an American composer of multiple operas, choral works, and hundreds of art songs set to texts by classical and contemporary poets. "If I…" was written as a gift for her father's 80th birthday. The piece features a simple, accessible melody that passes between the voice and piano before ending with the singer humming. Similarly, Four Dickinson Songs, which sets four of Emily Dickinson's poems to music for soprano and piano, showcases Laitman's distinctive use of chromaticism and polytonality. Her sensitive approach to text setting and melody highlights her ability to convey deep emotion with elegant simplicity.
MOTHER, SISTER (1962)
This piece is a Korean art song composed by YoungJo Lee, set to a poem by the modern Korean poet SoWol Kim. In the poem, the narrator suggests living with his mother and sister by the riverside, where the reeds sing and the sand sparkles golden. The riverbank is portrayed as an untouched, pristine place, an ideal space where humans and nature coexist harmoniously. SoWol Kim, living under Japan's forced occupation, imbues this poem with a longing to escape the harsh realities and live in an idealized world.
LINGERING SCENTS (2007)
This piece is a Korean art song composed by HakJun Yoon, set to a poem by the modern Korean poet EonJu Lee. The narrator expresses a deep longing for someone no longer by my side. The absence of this person resonates within the narrator's heart and mind, described as a 'lingering scents.' Despite efforts to forget, the narrator inevitably returns to thoughts of the departed, ultimately shedding only tears.
THOU, CLEAR RILL (1999)
This aria is from the Korean opera Hwang JiNie, composed by YoungJo Lee. Hwang JiNie was a poet, courtesan, calligrapher, and musician during the mid-Joseon period. According to records, the nobleman Byeok GyeSu often boasted that he would never be swayed by Hwang Jini, even if he met her. Upon hearing this, Hwang Jini sent someone to bring Byeok GyeSu (meaning clear rill) to the scenic area of old palace site in Capital. She recited this poem while waiting for Byeok GyeSu. Historical records say that when he heard her silvery voice and the profound meaning of her song, he accidentally fell off his donkey and became the laughingstock.
ACKNOWLEDGEMENTS
HaYoung Nam would like to express her heartfelt gratitude to her family and her voice teacher, Dr. Lee. She is especially thankful to her parents in Korea, whose unwavering trust and support have given her the strength to stay grounded and fully focus on her studies in an unfamiliar land. She is also deeply grateful to Dr. Lee for her guidance. She is truly an exceptional teacher, and thanks to her, HaYoung Nam has made significant progress.