SENIOR
VOICE RECITAL
Jordan Reece Guitang
baritone
Monica Adams, collaborative piano
Friday, April 17, 2026
7:30 pm
Recital Hall
Ha, welch ein Augenblick, from Fidelio (1805) Ludwig van Beethoven (1770–1827)
Lieben, Hassen, Hoffen, Zagen, from Ariadne auf Naxos (1912)
O du mein holder Abendstern, from Tannhäuser (1845)
Kundiman (Anak-Dalita) (1917)
Pakiusap (1921)
C’est l'extase langoureuse, from Ariettes oubliées (1885)
Si tout ceci n’est qu’un pauvre rêve, rom Clairières dans la ciel (1914)
Pause
I Said to Love, op. 19b (1928–1956) I Need Not Go At Middle-Field Gate in February Two Lips In Five-score Summers For Life I Had Never Cared Greatly I Said to Love
Richard Strauss (1864–1949)
Richard Wagner (1813–1883)
Francisco Santiago (1889–1947)
Claude Debussy (1862–1918)
Lili Boulanger (1893–1918)
Gerald Finzi (1901–1956)
Beethoven: Ha, welch ein Augenblick
Ha, welch ein Augenblick! Die Rache werd' ich kühlen, Dich rufet dein Geschick!
In seinem Herzen wühlen, O Wonne, großes Glück!
Schon war ich nah, im Staube, Dem lauten Spott zum Raube, Dahin gestreckt zu sein.
Nun ist es mir geworden, Den Mörder selbst zu morden; In seiner letzten Stunde, Den Stahl in seiner Wunde, Ihm noch ins Ohr zu schrein: Triumph! Der Sieg ist mein!
—Joseph Sonnleithner
Strauss: Lieben, Hassen, Hoffen, Zagen
Lieben, Hassen, Hoffen, Zagen, alle Lust und alle Qual, alles kann ein Herz ertragen einmal um das andere Mal.
Aber weder Lust noch Schmerzen, abgestorben auch der Pein, das ist tötlich deinem Herzen, und so mußt du mir nicht sein!
Mußt dich aus dem Dunkel heben, wär' es auch um neue Qual! Leben mußt du, liebes Leben, leben noch dies eine Mal!
—Hugo von Hofmannsthal
Ah, Time Has Come Now
Ah, time has come now! Revenge I'll take on him, Your fate is calling you!
I shall probe his heart, Oh joy, oh great delight!
I almost was in the dust, At the sneering scoffer's mercy, Knocked miserably down.
But now come has my chance, To be the murderer's slayer; In his final hour, The steel deep in his wound, To shout into his ears: Triumph! Victory is mine!
—trans. unknown
Loving, Hating, Hoping, Doubting
Loving, hating, hoping, doubting, All of joy and all of pain, These are things a heart can bear Over and over again.
But numbness to joy and sorrow, Pain deadened or hidden away, These are fatal to the heart, And I shall not have you that way!
From the darkness you shall rise, Even if to endure more pain! But live your life you must, dear life, Live your life this once again!
—trans. Johannes Beiharz
Wagner: O du mein holder Abendstern
Wie Todesahnung Dämmrung deckt die Lande, umhüllt das Tal mit schwärzlichem Gewande; der Seele, die nach jenen Höhn verlangt, vor ihrem Flug durch Nacht und Grausen bangt.
Da scheinest du, o lieblichster der Sterne, dein sanftes Licht entsendest du der Ferne; die nächt’ge Dämmrung theilt dein lieber Strahl, und freundlich zeigst du den Weg aus dem Tal.
O du, mein holder Abendstern, wohl grüsst’ich immer dich so gern: vom Herzen, das sie nie verriet, grüsse sie, wenn sie vorbei dir zieht, wenn sie entschwebt dem Tal der Erden, ein sel’ger Engel dort zu werden!
—Richard Wagner
O you, my fair evening star,
Dusk covers the land like a premonition of death, Wraps the valley in her dark mantle; The soul that longs for those heights Dreads to take its dark and awful flight.
Then you appear, O loveliest of stars, And shed your gentle light from afar; Your sweet glow cleaves the twilight gloom,
And as a friend you show the way out of the valley.
O you, my fair evening star, Gladly have I always greeted you: Greet her, from the depths of this heart, Which has never betrayed her, Greet her, when she passes, When she soars above this mortal vale
To become a holy angel there!
—trans. Richard Stokes
Santiago: Kundiman (Anak-Dalita)
Ako’y anak ng dalita
At tigib ng luha
Ang naritong humihibik
Na bigyan ng awa;
Buksan mo ang langit
At kusa mong pakinggan
Ang aking ligalig
Saka pagdaramdam.
Ay kung hindi ka mahahabag
Sa lungkot kong dinaranas
Puso’t diwang nabibihag
Sa libing masasadlak.
Ma tanong ka kung di tunay
Sa kislap ng mga tala
Mag tanong ka rin sa ulap
Ng taglay kong dalita.
Sa dilim ng gabing aking nilalamay
Tanging larawan mo ang nagiging ilaw.
Kung ikaw ay mahimbing sa gitna
ng dilim
Ay iyong i hulog puso mo sa akin.
Tanging larawan mo ang nagiging ilaw.
Ang iyong ihulog puso mo sa akin.
Ang yong ihulog, ang iyong ihulog
Buhay pag-asa, pag-asa.
—Deogracias A. Rosario
Kundiman (Anak-Dalita)
I am a child of poverty
And overflowing with tears
I am here crying out for your mercy.
Open the heavens and listen with purpose
My obsession and what I am feeling.
If you will not have pity
On my sadness that is unrealized
Heart and spirit are captivated
To fall into the grave
Ask if it’s not real
To the twinkling stars
Also ask the sky
Of this poverty I carry
In the dark of night
I stay up thinking
Only your image will be my light
If you are sleepy in the middle of the night
What you will bring to me is your heart.
I stay up thinking
Only your image will be my light.
What you will bring to me is your heart.
What you will bring to me is a life of hope.
—trans. unknown
Santiago: Pakiusap
Natutulog ka man, irog kong matimtiman
Tunghayan mo man lamang ang nagpapaalam
Dahan dahan mutya, buksan mo ang bintana
Tanawin mo't kahabagan
Ang sa iyo'y nagmamahal
Kung sakali ma't salat sa yama't pangarap
May isang sumpang wagas
Ang aking paglingap
Pakiusap ko sa iyo kaawaan mo ako
Kahit mamatay, pag-ibig ko'y minsan lamang
Iniibig kita, magpakailan pa man
—Jose Corazon de Jesus
Pakiusap
Even if you are sleeping, my virtuous beloved, Just look upon one who is saying goodbye.
Slowly, my jewel, open the window,
Look and have mercy On one who loves you.
Even if I am lacking in wealth and dreams,
There is pure vow Of my affection. My pleas to you, have mercy on me. Even if I die, I love you only once. I love you, forevermore.
—trans. Kristian Lin, Faith Jazmine Mora
Debussy: C’est l'extase langoureuse
C’est l’extase langoureuse, C’est la fatigue amoureuse, C’est tous les frissons des bois
Parmi l’étreinte des brises, C’est, vers les ramures grises, Le chœur des petites voix.
Ô le frêle et frais murmure!
Cela gazouille et susurre, Cela ressemble au cri doux
Que l’herbe agitée expire …
Tu dirais, sous l’eau qui vire, Le roulis sourd des cailloux.
Cette âme qui se lamente
En cette plainte dormante
C’est la nôtre, n’est-ce pas?
La mienne, dis, et la tienne, Dont s’exhale l’humble antienne
Par ce tiède soir, tout bas?
—Paul Verlaine
Boulanger: Si tout ceci n’est qu’un pauvre rêve
Si tout ceci n’est qu’un pauvre rêve, et s’il faut
que j’ajoute dans ma vie, une fois encore, la désillusion aux désillusions; et, si je dois encore, par ma sombre folie, chercher dans la douceur du vent et de la pluie les seules vaines voix qui m’aient en passion; je ne sais si je guérirai, ô mon amie…
It is Languorous Rapture
It is languorous rapture, It is amorous fatigue, It is all the tremors of the forest
In the breezes’ embrace, It is, around the grey branches, The choir of tiny voices.
O the delicate, fresh murmuring!
The warbling and whispering, It is like the soft cry
The ruffled grass gives out…
You might take it for the muffled sound Of pebbles in the swirling stream.
This soul which grieves
In this subdued lament, It is ours, is it not?
Mine, and yours too, Breathing out our humble hymn
On this warm evening, soft and low?
—trans. Richard Stokes
If all this is but a poor dream
If all this is but a poor dream, and if I must, Once more in my life, add Disillusion to disillusion; And if I must once more, in my dark folly,
Seek in the sweetness of the wind and rain
The only voices—unreal ones— that adore me; I do not know, my friend, if I shall heal…
—Francis James
—trans. Richard Stokes
Finzi: I Said to Love
I Need Not Go
I need not go through sleet and snow to where I know she waits for me; She will tarry me there till I find it fair, and have time to spare from company.
When I’ve overgot the world somewhat, when things cost not such stress and strain, Is soon enough by cypress sough to tell my Love I am come again. And if some day, when none cries nay, I still delay to seek her side, (Though ample measure of fitting leisure await my pleasure)
She will not chide.
What not upbraid me that I delayed me, nor ask what stayed me so long? Ah no! New cares may claim me, new loves inflame me, she will not blame me, but suffer it so.
At Middle-field Gate in February
The bars are thick with drops that show as they gather themselves from the fog Like silver buttons ranged in a row, and as evenly spaced as if measured, although they fall at the feeblest jog.
They load the leafless hedge hard by, and the blades of last year’s grass, While the fallow ploughland turned up nigh in raw rolls, clammy and clogging lie, Too clogging for feet to pass.
How dry it was on a far-back day when straws hung the hedge and around, When amid the sheaves in amorous play in curtained bonnets and light array Bloomed a bevy now underground!
Two Lips
I kissed them in fancy as I came away in the morning glow; I kissed them through the glass of her picture frame: she did not know. I kissed them in love, in troth, in laughter, when she knew all; long so! That I should kiss them in a shroud thereafter she did not know.
In Five-score Summers
In five-score summers! All new eyes new minds, new modes, new fools, new wise; New woes to weep, new joys to prize;
With nothing left of me and you in that live century’s vivid view beyond a pinch of dust or two.
A century which if not sublime, will show, I doubt not, at its prime, a scope above this blinkered time.
Yet what to me how far above?
For I would only ask thereof that thy worm should be my worm, Love!
For Life I Had Never Cared Greatly
For Life I had never cared greatly as worth a man’s while; Peradventures unsought, peradventures that finished in nought Had kept me from youth and from manhood till lately unwon by its style. In earliest years, why I know not, I viewed it askance; Conditions of doubt, conditions that leaked slowly out, May haply have bent me to stand and to show not much zest for its dance.
With symphonies soft and sweet color it courted me then, ‘Til evasions seemed wrong, ‘til evasions gave in to its song, And I warmed, until living aloofly loomed duller than life among men.
Anew I found nought to set eyes on, when, lifting its hand, it uncloaked a star, Uncloaked it from fog damps afar, And showed its beams burning from pole to horizon as bright as a brand.
And so the rough highway forgetting, I pace hill and dale regarding the sky, Regarding the vision on high, And thus re-illumed have no humor for letting my pilgrimage fail.
I Said to Love
I said to Love,
“It is not now as in old days when men adored thee and thy ways all else above; Named thee the Boy, the Bright, the One who spread a heaven beneath the sun,” I said to Love.
I said to him,
“We now know more of thee than then; We were but weak in judgment when, with hearts abrim, we clamored thee that thou would’st please inflict on us thine agonies,” I said to him.
I said to Love,
“Thou art not young, thou art not fair, no elfin darts, no cherub air, Nor swan, nor dove are thine; but features pitiless, and iron daggers of distress.” I said to Love.
“Depart then, Love!
Man’s race shell perish, threatenest thou, without thy kindling coupling-vow? The age to come the man of now know nothing of? We fear not such a treat from thee; We are too old in apathy! Mankind shall cease, so let it be,” I said to Love.
—Thomas Hardy
STUDENT BIOGRAPHY
This recital is presented as a degree requirement for a Bachelor of Music in music performance.
Jordan Reece Guitang is in his final year of study towards a Bachelor of Music degree in music performance with an emphasis in vocal performance, studying with two-time Grammy Award winner Dr. Eric Dudley.
Guitang made his stage debut in Pacific Opera Theatre’s 2024 spring production of Alcina by Handel as an ensemble soloist. Since then, he has played the leading roles of Billy Bigelow in Pacific’s 2025 spring production of Carousel by Rodgers and Hammerstein and King Arthur in the fall 2025 production of Camelot by Lerner and Loewe. Most recently, Guitang sang the role of Mr. Gobineau in the spring 2026 production of The Medium by Gian Carlo Menotti.
Guitang hopes to pursue acting for film and television, along with singing in musicals and opera productions.
Acknowledgments
I would like to express my deepest gratitude to the following individuals who have supported and guided me throughout my journey in preparing for this recital:
Professor Daniel Ebbers and Dr. Moss Erickson of the vocal department, thank you for your invaluable mentorship and expertise.
Professor James Haffner, thank you for your exceptional acting coaching and for helping me bring my performances to life.
Dr. Eric Dudley, I am so grateful for your dedication and guidance as my vocal teacher and providing me invaluable teaching that has allowed me to blossom so far since the start of our journey together.
Professor Monica Adams, thank you for your artistry and collaboration as my pianist, your musicality has been a true inspiration. This recital would not have been possible without each of your contributions. Thank you for your support, encouragement, and belief in me.
—
Jordan Reece Guitang
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