Revenge, Timotheus Cries is the dramatic climax to George Frideric Handelâs Alexander's Feast with libretto by John Dryden. Composed in 1736, it is considered a secular ode that reached immediate success right at its premiere, hosting over 1,300 people in the audience. This baroque aria follows a standard Da Capo or A-B-A1 format with the âAâ section establishing the main theme with a fiery, aggressive call for revenge. The âBâ section provides a complete change in the tempo and mood of the piece to describe the grecian ghosts. Finally the âA1â section repeats the same musical material as the A section, but it is up to the performer to add their own improvisatory ornamentations.
Dichterliebe, Op.48 (A Poetâs Love) is one of Robert Schumann's most famous and performed song cycles. Composed in 1840 the same year he and Clara got married, Schumann went on to compose well over 100+ German Lieder making the year 1840 considered Schumannâs âYear of Songâ being so inspired by his marriage and his love for Clara. The full song cycle has sixteen pieces set to poetry by Heinrich Heine, this recital will feature the first seven within the cycle representing the âDreamâ phase, the blooming hope of a new lover. Ending this feeling with âIch Grolle Nichtâ (I bear no grudge).
Im wunderschönen Monat Mai,
Als alle Knospen sprangen,
Da ist in meinem Herzen
Die Liebe aufgegangen.
Im wunderschönen Monat Mai,
Als alle Vögel sangen,
Da habâ ich ihr gestanden
Mein Sehnen und Verlangen.
Aus meinen TrÀnen spriessen
Viel blĂŒhende Blumen hervor,
Und meine Seufzer werden
Ein Nachtigallenchor.
Und wenn du mich lieb hast, Kindchen, Schenkâ ich dir die Blumen allâ, Und vor deinem Fenster soll klingen
Das Lied der Nachtigall.
Die Rose, die Lilie, die Taube, die Sonne, Die liebtâ ich einst alle in Liebeswonne.
Ich liebâ sie nicht mehr, ich liebe alleine
Die Kleine, die Feine, die Reine, die Eine; Sie selber, aller Liebe Wonne,
In the wondrous month of May, When all the buds burst into bloom, Then it was that in my heart
Love began to burgeon. In the wondrous month of May, When all the birds were singing, Then it was I confessed to her My longing and desire.
From my tears there will spring
Many blossoming flowers, And my sighs shall become A chorus of nightingales. And if you love me, child, Iâll give you all the flowers, And at your window shall sound The nightingaleâs song.
Rose, lily, dove, sun, I loved them all once in the bliss of love.
I love them no more, I only love She who is small, fine, pure, rare; She, most blissful of all loves,
Ist Rose und Lilie und Taube und Sonne.
Wenn ich in deine Augen sehâ,
So schwindet allâ mein Leid und Wehâ;
Doch wenn ich kĂŒsse deinen Mund, So werdâ ich ganz und gar gesund.
Wenn ich mich lehnâ an deine Brust, Kommtâs ĂŒber mich wie Himmelslust;
Doch wenn du sprichst: ich liebe dich!
So muss ich weinen bitterlich.
Ich will meine Seele tauchen
In den Kelch der Lilie hinein;
Die Lilie soll klingend hauchen
Ein Lied von der Liebsten mein.
Das Lied soll schauern und beben,
Wie der Kuss von ihrem Mund,
Den sie mir einst gegeben
In wunderbar sĂŒsser Stundâ.
Im Rhein, im heiligen Strome,
Da spiegelt sich in den Wellân
Mit seinem grossen Dome, Das grosse, heilige Köln.
Im Dom da steht ein Bildnis,
Auf goldânem Leder gemalt;
In meines Lebens Wildnis
Hatâs freundlich hineingestrahlt.
Es schweben Blumen und Engâlein
Um unsre liebe Frau;
Die Augen, die Lippen, die WĂ€ngâlein, Die gleichen der Liebsten genau.
Is rose and lily and dove and sun.
When I look into your eyes, All my pain and sorrow vanish; But when I kiss your lips, Then I am wholly healed. When I lay my head against your breast, Heavenly bliss steals over me; But when you say: I love you! I must weep bitter tears.
Let me bathe my soul
In the lilyâs chalice; The lily shall resound With a song of my beloved. The songs shall tremble and quiver Like the kiss that her lips Once gave me In a wondrously sweet hour.
In the Rhine, in the holy river, Mirrored in its waves, With its great cathedral, Stands great and holy Cologne. In the cathedral hangs a picture, Painted on gilded leather; Into my lifeâs wilderness It has cast its friendly rays. Flowers and cherubs hover Around Our beloved Lady; Her eyes, her lips, her cheeks Are the image of my loveâs.
Ich grolle nicht, und wenn das Herz auch bricht,
Ewig verlorânes Lieb! ich grolle nicht.
Wie du auch strahlst in Diamantenpracht, Es fÀllt kein Strahl in deines Herzens Nacht. Das weiss ich lÀngst. Ich sah dich ja im
I bear no grudge, though my heart is breaking, O love forever lost! I bear no grudge. However you gleam in diamond splendour, No ray falls in the night of your heart.
Iâve known that long. For I saw you in my
Traume,
Und sah die Nacht in deines Herzens Raume,
Und sah die Schlangâ, die dir am Herzen frisst,
Ich sah, mein Lieb, wie sehr du elend bist.
Ich grolle nicht.
dreams,
And saw the night within your heart, And saw the serpent gnawing at your heart; I saw, my love, how pitiful you are. I bear no grudge.
Sérénade is a French mélodie written in 1857 by Charles Gounod featuring many agile runs and melismas. This charming lullaby-like mélodie describes watching over a loved one. With poetry written by Victor Hugo, the text talks about how the loved one makes the speaker feel when they sing, laugh, and sleep.
Ah! le rire fidĂšle
Prouve un cĆur sans dĂ©tours âŠ
Ah! riez, riez, ma belle, Riez toujours!
Quand tu dors, calme et pure, Dans lâombre, sous mes yeux,
Ton haleine murmure
Des mots harmonieux.
Ton beau corps se revĂšle
Sans voile et sans atours âŠ
Ah! dormez, dormez, ma belle, Dormez toujours!
When you laugh, your lips Blossom with love, And instantly, wild Suspicion vanishes.
Ah! that faithful laughter Shows a sincere heart ⊠Ah! laugh, my fair one, Laugh on!
When you sleep, calm and pure, In the shade beneath my gaze, Your breath murmurs
Melodious words.
Your body is revealed in its beauty Without veil or finery ⊠Ah! sleep, my fair one, Sleep on!
Ă sainte mĂ©daille⊠Avant de quitter ces lieux is Valentin's aria from the opera Faust. As the Soldier Valentin prepares to leave for war, he overcomes his fear for his sister Margueriteâs safety by entrusting her to gods protection, it begins as a tender, lyrical prayer before shifting into a heroic center section that showcases the baritoneâs vocal strength and command.
O sainte mĂ©daille, Qui me viens de ma sĆur, Au jour de la bataille, Pour Ă©carter la mort, Reste lĂ sur mon cĆur!
Avant de quitter ces lieux,
O holy medal, Which my sister gave me, On the day of battle
Remain on my heart
To ward off Death!
Before I leave this town,
Sol natal de mes aĂŻeux
A toi, seigneur et Roi des cieux
Ma sĆur je confie, Daigne de tout danger
Toujours, toujours la protéger
Cette sĆur si cherie!
Délivré d'une triste pensée
J'irai chercher la gloire, la gloire au seins des ennemis,
Le premier, le plus brave au fort de la mĂȘlĂ©e, J'irai combattre pour mon pays. Et si vers lui, Dieu me rappelle,
Je veillerai sur toi fidĂšle,
O Marguerite!
Avant de quitter ces lieux,
Sol natal de mes aĂŻeux,
A toi, seigneur et Roi des cieux,
Ma sĆur je confie!
O Roi des cieux, jette les yeux,
ProtĂšge Marguerite, Roi des cieux!
My forefathers' native place, To you, Lord and King of Heaven, Do I entrust my sister. I beg you to defend her From every peril, My beloved sister.
Freed from this harrowing thought, I shall seek glory in the enemy's ranks, The first, the bravest, in the thick of the fray, I shall go and fight for my country.
And if God should call me to his side, I shall faithfully watch over you, O Marguerite.
Before I leave, etc.
O King of Heaven, hear my prayer And defend Marguerite, O King of Heaven.
Don Quichotte Ă DulcinĂ©e is a song cycle written by Maurice Ravel during the later point of his life and musical career. This song cycle is inspired by Cervantesâ legendary novel âThe Ingenious Gentleman Don Quixote of La Manchaâ. The cycle explores the character's devotion to his idealized lady, Dulcinea, through three distinct musical styles: Chanson romanesque: A romantic and chivalrous expression of Don Quixote's undying loyalty. Chanson Ă©pique: A prayerful and heroic song where he calls upon Saint George and Saint Michael to protect his lady. Chanson Ă boire: A spirited drinking song that captures the character's more joyful and relatable side.
Chanson romanesque
Si vous me disiez que la terre
Ă tant tourner vous offensa, Je lui dĂ©pĂȘcherais Pança:
Vous la verriez fixe et se taire.
Si vous me disiez que l'ennui
Vous vient du ciel trop fleuri d'astres,
DĂ©chirant les divins cadastres, Je faucherais d'un coup la nuit.
Romantic Song
Were you to tell that the earth
Offended you with so much turning, I'd dispatch Panza to deal with it: You'd see it still and silenced. Were you to tell me that you are wearied
By a sky too studded with starsTearing the divine order asunder, I'd scythe the night with a single blow.
Si vous me disiez que l'espace
Ainsi vidé ne vous plaßt point,
Chevalier dieu, la lance au poing.
J'Ă©toilerais le vent qui passe.
Mais si vous disiez que mon sang
Est plus Ă moi qu'Ă vous, ma Dame,
Je blĂȘmirais dessous le blĂąme
Et je mourrais, vous bénissant.
à Dulcinée.
Chanson Ă©pique
Bon Saint Michel qui me donnez loisir
De voir ma Dame et de l'entendre,
Bon Saint Michel qui me daignez choisir
Pour lui complaire et la défendre,
Bon Saint Michel veuillez descendre
Avec Saint Georges sur l'autel
De la Madone au bleu mantel.
D'un rayon du ciel bénissez ma lame
Et son égale en pureté
Et son égale en piété
Comme en pudeur et chasteté:
Ma Dame.
(Ă grands Saint Georges et Saint Michel)
L'ange qui veille sur ma veille,
Ma douce Dame si pareille
Ă Vous, Madone au bleu mantel!
Amen.
Chanson Ă boire
Foin du bĂątard, illustre Dame,
Qui pour me perdre Ă vos doux yeux
Dit que l'amour et le vin vieux
Mettent en deuil mon cĆur, mon Ăąme !
Je bois
Ă la joie !
La joie est le seul but
OĂč je vais droit ... lorsque j'ai bu !
Foin du jaloux, brune maĂźtresse,
Were you to tell me that space itself, Thus denuded was not to your taste -
As a god-like knight, with lance in hand, I'd sow the fleeting wind with stars.
But were you to tell me that my blood
Is more mine, my Lady, than your own, I'd pale at the admonishment
And, blessing you, would die.
O Dulcinea.
Epic Song
Good Saint Michael who gives me leave
To behold and hear my Lady, Good Saint Michael who deigns to elect me
To please her and defend her,
Good Saint Michael, descend, I pray,
With Saint George onto the altar
Of the Madonna robed in blue.
With a heavenly beam bless my blade
And its equal in purity
And its equal in piety
As in modesty and chastity: My Lady.
(O great Saint George and great Saint Michael) Bless the angel watching over my vigil, My sweet Lady, so like unto Thee,
O Madonna robed in blue!
Amen.
Drinking Song
A pox on the bastard, illustrious Lady, Who to discredit me in your sweet eyes, Says that love and old wine Are saddening my heart and soul!
I drink
To joy!
Joy is the only goal
To which I go straight... when I'm... drunk!
A pox on the jealous wretch, O dusky
Qui geint, qui pleure et fait serment
D'ĂȘtre toujours ce pĂąle amant
Qui met de l'eau dans son ivresse !
Je bois
Ă la joie !
La joie est le seul but
OĂč je vais droit ...
Lorsque j'ai bu !
mistress,
Who whines and weeps and vows
Always to be this lily-livered lover
Who dilutes his drunkenness!
I drink
To joy!
Joy is the only goal
To which I go straight... when I'm... drunk!
Man of La Mancha is one of the most enduring works of musical theater, originally winning five Tony Awards, including Best Musical. Rather than a direct adaptation of Miguel de Cervantesâ 17th-century novel, the musical is adapted from Dale Wassermanâs 1959 teleplay, I, Don Quixote. The story is famously told as a play-within-a-play: Cervantes, imprisoned by the Spanish Inquisition, performs the story of the "mad" knight for his fellow prisoners to protect his prized manuscript.
"I, Don Quixote": This opening number serves as the transformation of the nobleman Alonso Quixano. It is a bold, driving call to arms that establishes the knight-errantâs mission to right the unrightable wrongs of the world.
"Dulcinea": In this moment of lyrical stillness, Quixote bestows a title of nobility and grace upon the kitchen maid Aldonza. It highlights his core gift: the ability to see people not as they are, but as they might become.
"The Impossible Dream": Perhaps the most famous "quest" song in the Broadway canon, this anthem defines the "Quixotic" philosophy. It suggests that the nobility of the human spirit lies not in the victory, but in the willingness to march into hell for a heavenly cause.
"Cheti, cheti, immantinente⊠Aspetta Aspetta" from Don Pasquale This fast-paced duet is a classic example of Italian comic opera. Don Pasquale, a grumpy old bachelor, thinks he is finally catching his young wife in a lie. He plots with Dr. Malatesta to sneak into the woods and surprise her. The highlight of the piece is the "patter" section, where the two men sing at lightning speed as they plan their "trap."
DON PASQUALE
dĂ segni d'inquietudine Cheti, cheti, immantinente nel giardino discendiamo; prendo meco la mia gente, il boschetto circondiamo; e la coppia sciagurata a un mio cenno imprigionata, senza perdere un momento conduciani dal podestĂ .
MALATESTA
lo direi.., sentite un poco. Noi due soli andiam sul loco; nel boschetto ci appostiamo, ed a tempo ci mostriamo. E tra preghi, tra minacce d'avvertir l'autoritĂ , ci facciam dai due prometter
DON PASQUALE gives signs of disquiet Cheti, ketis, immantinent in the garden we descend; I take my people with me, the grove surrounds; and the miserable couple at a gesture of mine imprisoned, without losing a moment conduciani from the mayor. I would say
MALATESTA
.., feel a little. We only two go on the spot; in the grove we are lurking, and in time we show ourselves. And between prayers, amid threats of warning authority, let
che la cosa resti lĂ .
DON PASQUALE
Ă sĂŹ fatto scioglimento poco pena al tradimento.
MALATESTA Riflettete, Ăš mia sorella.
DON PASQUALE
Vada fuor di casa mia, altri patti non vo' far.
MALATESTA
Ă un affare delicato, vuoi ben esser ponderato.
DON PASQUALE
Ponderate, esaminate, ma in mia casa non la vo'.
MALATESTA
Uno scandalo farete, e vergogna poi ne avrete.
DON PASQUALE
Non importa.
MALATESTA
Non conviene, non sta bene: altro modo cercherĂČ. riflette intanto
DON PASQUALE imitandolo
Non sta bene, non conviene... Ma lo schiaffo qui restĂČ. (pensano tutti e due) lo direi...
MALATESTA come inspirato L'ho trovata!
DON PASQUALE
Benedetto! Dite presto.
MALATESTA
Nel boschetto quatti quatti ci appostiamo, di lĂ tutto udir possiamo. S'Ăš costante il tradimento la cacciate su due pie'!
DON PASQUALE
Bravo, bravo, va benone, son contento, bravo, bravo. (Aspetta, aspetta, cara sposina: la mia vendetta giĂ s'avvicina, giĂ , giĂ ti preme, giĂ t'ha raggiunto, tutte in un punto l'hai da scontar. Vedrai se giovino raggiri e cabale, sorrisi teneri,sospiri e lagrime: or voglio prendere la mia rivincita; sei nella trappola v'hai da restar.)
MALATESTA
(Il poverino sogna vendetta, non sa il meschino quel che l'aspetta: invano freme, invan s'arrabbia, Ăš chiuso in gabbia, non puĂČ scappar. Invano accumula progetti e calcoli, non sa che fabbrica castelli in aria; non vede, il semplice, che nella trappola da sĂš medesimo si va a gettar.)
us promise the two of us to stay there.
DON PASQUALE
Yes, it's done melting little pain to betrayal.
MALATESTA
Reflect, it is my sister.
DON PASQUALE
Go out of my house, other pacts I will not do.
MALATESTA
It's a delicate affair, you want to be well thought out.
DON PASQUALE
Ponder, examine, but I do not want you in my house.
MALATESTA
A scandal you will do, and shame then you will have it.
DON PASQUALE
It does not matter.
MALATESTA
It's not convenient, it's not good: I'll try another way. In the meantime, he thinks
DON PASQUALE imitating him. He is not well, it is not convenient ... But the slap here remained. (think both) I would say ...
MALATESTA as inspired I found it!
DON PASQUALE
Benedict! Say soon.
MALATESTA
In the grove, four stitches are placed there, from there we can all hear. Betrayal is constant , you hunt it on two paces!
DON PASQUALE
Bravo, good, it's fine, I'm happy, good, good. (Wait, wait, dear bride: my vengeance is already approaching, already, already I press you, already has reached you, all in one point you have to clash.You see if you are good trick and cabal, tender smiles, sighs and tears: now I want to take my revenge, you're in the trap you have to stay.)
MALATESTA
(The poor man dreams of revenge, he does not know the petty what awaits him: in vain he quivers, invan s'arrabbia, is closed in a cage, not it can scappar.
In vain he accumulates projects and calculations, he does not know that he builds castles in the air; he does not see, the simple, who goes into the trap himself.)