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Jonas Kaufmann, tenor Helmut Deutsch, piano
BOARD OF TRUSTEES
2021–2022
OFFICERS
Jeffrey MacKie-Mason, co-chair
Lance Nagel, co-chair
Joe Laymon, vice chair
Sara Wilson, vice chair
Shariq Yosufzai, treasurer and secretary
Susan Graham Harrison, trustee-at-large
Cary Koh, trustee-at-large
Helen Meyer, trustee-at-large
TRUSTEES
Nancy Aldritt Jeremy N. Geffen † Linda Schieber
Janice Brathwaite Bernice Greene Françoise Stone
Carol T. Christ † Lynne Heinrich Leigh Teece
Naniette Coleman Mackenzie Hsiao‡ Augustus K. Tobes
Rupali Das Kit Leland Deborah Van Nest
Grace Davert ‡ Sylvia R. Lindsey* Caroline Winnett
Beth DeAtley Jen Lyons
* Founding Trustee
Leland Dobbs Leslie Maheras † Ex Officio Trustee
Hilary Fox Panos Papadopoulos ‡ Student Representatives
Rosemarie Rae
FOUNDING TRUSTEES
Carole B. Berg Lynn Glaser Anthony A. Newcomb
Merrill T. Boyce G. Reeve Gould David Redo
Earl F. Cheit, Founding Chair Margaret Stuart Graupner Jim Reynolds
Robert W. Cole Jean Gray Hargrove Madelyn Schwyn
Hon. Marie Collins Kathleen G. Henschel Alta Tingle
John Cummins Carol Nusinow Kurland Carol Jackson Upshaw
Ed Cutter Kimun Lee Julia Voorhies
John C. Danielsen Donald A. McQuade Margaret Wilkerson
Donald M. Friedman Ralph N. Mendelson Wendy W. Willrich
Frederick Gans Marilyn Morrish Olly Wilson Jr.
Shelby Gans Alvin Zeigler
EARL F. CHEIT SUSTAINING TRUSTEES
Eric Allman Hon. Marie Collins Eddie Orton
Annette Campbell-White Lynn Glaser Jim Reynolds
Margot Clements Kathleen G. Henschel Will Schieber
Diana Cohen Liz Lutz Carol Jackson Upshaw
2
FROM THE EXECUTIVE AND ARTISTIC DIRECTOR
ords cannot express my pleasure in welcoming you
W to Zellerbach Hall this afternoon for today’s highly
anticipated recital with the peerless German tenor Jonas
Kaufmann and his gifted accompanist Helmut Deutsch—easily one
of the most accomplished and celebrated artistic partnerships before
the public today. This rare US recital—Kaufmann’s first UC Berkeley
appearance since his triumphant four-encore Bay Area debut here
10 years ago—begins with a wide-ranging Liszt set and concludes
with a marvelously varied selection of music by composers including
Mozart, Schubert, Schumann, Brahms, Mahler, and Richard Strauss.
It promises to be a great afternoon of song, an event made even more
Jeremy Geffen special by the fact that we can once again gather together to listen to
great music under the same roof! How wonderful to see you here today!
When the pandemic forced Cal Performances to close its doors in March 2020, no one could
have imagined what lay ahead. Since then, we’ve witnessed a worldwide health crisis unlike any
experienced during our lifetimes, an extended period of political turmoil, recurring incidents of
civil unrest and racially motivated violence, and a consciousness-raising human rights movement
that has forever—and significantly—changed how each of us views social justice in our time.
Of course, the pandemic remains with us to this date and future challenges—including many
adjustments to “normal’ procedures and policies—can certainly be expected. I encourage you
to check Cal Performances’ website regularly for the most current information regarding our
COVID-19 response. First and foremost, I assure you that there is nothing more important to
us than the health and safety of our audience, artists, and staff. (And I remind one and all that
proof of vaccination is mandatory today, as is protective masking throughout the event.)
Our season continues this month with the first campus visit this year by Angélique Kidjo
(Oct 29), Cal Performances’ marvelous artist-in-residence for the 2021–22 season, and our full
calendar offers more of the same, packed with the kind of adventurous and ambitious program-
ming you’ve come to expect from Cal Performances. In particular, I want to direct your attention
to this year’s Illuminations: “Place and Displacement” programming, through which we’ll explore
both loss and renewal, disempowerment and hope, while seeking paths forward for reclaiming
and celebrating vital cultural connections that can fall victim to political and social upheaval.
Please take the opportunity to explore the complete schedule through our website and season
brochure and begin planning your performance calendar; now is the perfect time to guarantee
that you have the best seats for all the events you plan to attend.
Throughout history, the performing arts have survived incredible challenges: periods of war,
economic collapse, and, yes, terrible disease. And if it will take time for us—collectively and
individually—to process the events of the past 18 months, I’m certain that the arts have the power
to play a critical role as we come to terms with what we have experienced and move together
toward recovery.
I know you join us in looking forward to what lies ahead, to coming together once again to
encounter the life-changing experiences that only the live performing arts deliver. We can’t wait to
share it all with you during the coming year.
Cal Performances is back. Welcome home!
Jeremy Geffen
Executive and Artistic Director, Cal Performances
3
Sunday, October 24, 2021, 3pm
Zellerbach Hall
Jonas Kaufmann, tenor
Helmut Deutsch, piano
PROGRAM
Franz LISZT (1811–1886) “Vergiftet sind meine Lieder”
“Im Rhein, im schönen Strome”
“Freudvoll und leidvoll II”
“Freudvoll und leidvoll I”
“O lieb, so lang du lieben kannst”
“Es war ein König in Thule”
“Ihr Glocken von Marling”
“Die drei Zigeuner”
“Die Loreley”
PAUSE
Franz SCHUBERT (1797–1828) “Der Musensohn”
Wolfgang Amadeus MOZART (1756–1791) “Das Veilchen”
Robert SCHUMANN (1810–1856) “Widmung”
SCHUBERT “Wanderers Nachtlied II”
Antonín DVOŘÁK (1841–1904) “Als die alte Mutter”
Johannes BRAHMS (1833–1897) “Wiegenlied”
Carl BOHM (1844–1920) “Still wie die Nacht”
Frédéric CHOPIN (1810–1849) “In mir klingt ein Lied”
Pyotr Ilyich TCHAIKOVSKY (1840–1893) “Nur wer die Sehnsucht kennt”
Richard STRAUSS (1864–1949) “Zueignung”
Alexander ZEMLINKSY (1871–1942) “Selige Stunde”
Hugo WOLF (1860–1903) “Verborgenheit”
Gustav MAHLER (1860–1911) “Ich bin der Welt abhanden gekommen”
Opposite: Jonas Kaufmann
5
ABOUT THE ARTISTS
ailed as “the world’s greatest tenor” by Carlo, Otello, Andrea Chenier, Maurizio,
H The Telegraph, Jonas Kaufmann has
performed over 70 roles in the world’s
leading opera houses. The New York Times has
Lohengrin, Parsifal, and Florestan, which he has
performed at houses such as Teatro alla Scala,
Covent Garden, the Bayerische Staatsoper, the
described him as having “clarion top notes, the Metropolitan Opera, Opernhaus Zürich, Opéra
blend of virility and tenderness in his singing,” national de Paris, and the Wiener Staatsoper.
and praised his “refined musicianship.” Per- He has released multiple recordings, also
formances by this superb vocal technician are encompassing diverse repertoire, including
also renowned for their dramatic impact: “He operatic repertoire, lieder, operetta, and more.
embodies each role with such an investment A native of Munich, Germany, Kaufmann
that he makes the viewer think that this is the completed his vocal studies there at the
last time he will perform this work” (Telerama). Hochschule für Musik und Theater München,
One of today’s greatest interpreters of lieder in addition to which he attended master classes
repertoire, Kaufmann is also in very high with Hans Hotter, James King, and Josef Met-
demand in concert. His performances and ternich. During his first years on stage at the
recordings have earned him eight Opus Klassik State Theatre in Saarbrücken, he continued his
awards and recognition as “Singer of the Year” training with Michael Rhodes in Trier.
from classical music magazines including For more information, please visit the artist’s
Opernwelt, Diapason, and Musical America. website at www.jonaskaufmann.com.
Kaufmann has been knighted as a Chevalier de
l’Ordre de l’Art et des Lettres and has been Helmut Deutsch ranks among the finest and
named a member of the Bayerischer Maxi- most successful and in-demand song recital ac-
miliansorden. companists of the world. He was born in Vienna,
His 2021–22 season includes the title role in where he studied at the conservatory, the music
Otello at Teatro di San Carlo, the title role in academy, and the university. He was awarded the
Peter Grimes at the Wiener Staatsoper, his role Composition Prize of Vienna in 1965 and ap-
debut as Calaf in Turandot at the Accademia di pointed professor at the age of 24. Although he
Santa Cecilia, and Turiddu and Canio in Caval- has performed with leading instrumentalists as a
leria Rusticana and Pagliacci at the Royal Opera chamber musician, Deutsch has concentrated
House Covent Garden. On the concert stage, he primarily on accompanying in song recitals. At
embarks on several tours, including his current the beginning of his career, he worked with the
North American tour with pianist Helmut soprano Irmgard Seefried, but the most impor-
Deutsch, a European Christmas tour featuring tant singer of his early years was Hermann Prey,
songs from his recent It’s Christmas recording, whom he accompanied as a permanent partner
and a spring recital tour with Diana Damrau for 12 years. Subsequently, he has worked with
and Helmut Deutsch, featuring lieder from their many of the most important recital singers and
recording of Wolf ’s Italienisches Liederbuch. His played in the world’s major music centers. His
latest recording, a collection of Liszt lieder with collaborations with Jonas Kaufmann, Diana
Helmut Deutsch titled Freudvoll und Leidvoll, Damrau, and Michael Volle are currently among
was released last month on Sony Classics. his most important. Deutsch was a professor of
Possessing a voice that excels in a large art song interpretation in Vienna, Salzburg,
variety of repertoire, Kaufmann has received Frankfurt, and Munich; holds master classes
recognition for his performances of French, worldwide; and is a juror in numerous interna-
German, and Italian roles, as well as in recital. tional competitions.
Standout roles include Don José, Werther, Don
Opposite: Helmut Deutsch
7
TEXTS AND TRANSLATIONS FRANZ LISZT Vergiftet sind meine Lieder, S. 289, No. 3 My songs are filled with poison (Heinrich Heine) (Translation: Hal Draper) Vergiftet sind meine Lieder— My songs are filled with poison— Wie könnte es anders sein? Why shouldn’t that be true? Du hast mir ja Gift gegossen Into my budding manhood Ins blühende Leben hinein. You poured your poison through. Vergiftet sind meine Lieder— My songs are filled with poison— Wie könnte es anders sein? Why shouldn’t that be true? Ich trage im Herzen viel Schlangen, My heart bears a nest of serpents Und dich, Geliebte mein. And also, darling, you. Im Rhein, im schönen Strome, S. 272 In the Rhine, the beautiful river (Heine) (Translation: Richard Stokes) Im Rhein, im schönen Strome, In the Rhine, the beautiful river, Da spiegelt sich in den Wellen, There is reflected in the waves, Mit seinem großen Dome, With its great cathedral, Das große, das heil’ge Köln. Great and holy Cologne. Im Dom da steht ein Bildnis, In the cathedral hangs a picture, Auf goldenem Leder gemalt; Painted on gilded leather; Ach, in meines Lebens Wildnis Ah! into my life’s wilderness Hat’s freundlich hineingestrahlt. It has cast its friendly rays. Es schweben Blumen und Englein Flowers and cherubs hover Um unsre liebe Frau; Around our beloved Lady; Die Augen, die Lippen, die Wänglein, Her eyes, her lips, her cheeks Die gleichen der Liebsten genau. Are the image of my love’s. Freudvoll und leidvoll II, S. 280bis Full of Joy Freudvoll und leidvoll I, S. 280 (Johann Wolfgang von Goethe) (Translation: Richard Stokes) Freudvoll Full of joy, Und leidvoll, And full of sorrow, Gedankenvoll sein; Full of thoughts; Hangen Yearning Und bangen And trembling In schwebender Pein; In uncertain anguish; Himmelhoch jauchzend, Exulting to heaven, Zum Tode betrübt— Cast down unto death— Glücklich allein Happy alone Ist die Seele, die liebt. Is the soul that loves. 8
TEXTS AND TRANSLATIONS
O lieb, so lang du lieben kannst, S. 298 O love, love as long as you can!
(Ferdinand Freiligrath)
O lieb, so lang du lieben kannst! O love, love as long as you can!
O lieb, so lang du lieben magst! O love, love as long as you may!
Die Stunde kommt, die Stunde kommt, The time will come, the time will come
Wo du an Gräbern stehst und klagst. When you will stand at the grave and mourn!
Und sorge, daß dein Herz glüht Be sure that your heart burns,
Und Liebe hegt und Liebe trägt, And holds and keeps love
So lang ihm noch ein ander Herz As long as another heart beats warmly
In Liebe warm entgegenschlägt. With its love for you.
Es war ein König in Thule, S. 287 There was a king in Thule
(Goethe) (Translation: Richard Stokes)
Es war ein König in Thule There was a king in Thule,
Gar true bis an das Grab, Faithful to the grave,
Dem sterbend seine Buhle To whom his mistress, as she died,
Einen goldnen Becher gab. Gave a golden beaker.
Es ging ihm nichts darüber, He valued nothing higher,
Er leert’ ihn jeden Schmaus; He drained it at every feast,
Die Augen gingen ihm über, And each time he drank from it,
So oft er trank daraus. His eyes would fill with tears.
Und als er kam zu sterben, And when he came to die,
Zählt’ er seine Städt’ im Reich, He counted the cities of his realm,
Gönnt’ alles seinen Erben, Gave all he had to his heirs,
Den Becher nicht zugleich. The beaker though excepted.
Er saß beim Königsmahle, He sat at the royal banquet,
Die Ritter um ihn her, Surrounded by his knights,
Auf hohem Vätersaale, There in the lofty ancestral hall,
Dort auf dem Schloß am Meer. In the castle by the sea.
Dort stand der alte Zecher, There he stood, that old toper,
Trank letzte Lebensglut, Drank his life’s last glow,
Und warf den heil’gen Becher And hurled the sacred beaker
Hinunter in die Flut. Into the waves below.
Er sah ihn stürzen, trinken He saw it fall and fill
Und sinken tief ins Meer. And sink deep into the sea.
Die Augen täten ihm sinken; His eyes closed;
Trank nie einen Tropfen mehr. He never drank another drop.
9TEXTS AND TRANSLATIONS Ihr Glocken von Marling, S. 328 Bells of Marling (Emil Kuh) (Translation: Richard Stokes) Ihr Glocken von Marling, Bells of Marling, Wie brauset ihr so hell; How brightly you chime; Ein wohliges Läuten, A pleasing sound Als sänge der Quell. Like a babbling spring. Ihr Glocken von Marling, Bells of Marling, Ein heil’ger Gesang A sacred song Umwallet wie schützend Embraces and protects Den weltlichen Klang. The sounds of the earth. Nehmt mich in die Mitte Take me to your heart Der tönenden Flut, Of your resounding flood, Ihr Glocken von Marling, Bells of Marling, Behütet mich gut! Watch over me well! Die drei Zigeuner, S. 320 The Three Gypsies (Nikolaus Lenau) (Translation: Richard Stokes) Drei Zigeuner fand ich einmal I once saw three gypsies Liegen an einer Weide, Lying against the willow, Als mein Fuhrwerk mit müder Qual As my carriage with weary groans Schlich durch sandige Heide. Crept across a sandy heath. Hielt der eine für sich allein One of them, sitting apart, In den Händen die Fiedel, Held a fiddle in his hands, Spielt, umglüht vom Abendschein, And, glowing in the evening sun, Sich ein lustiges Liedel. Played himself a merry song. Hielt der zweite die Pfeif ’ im Mund, The second, with a pipe in his mouth, Blickte nach seinem Rauche, Gazed contentedly after the smoke, Froh, als ob er vom Erdenrund As if he needed nothing more Nichts zum Glücke mehr brauche. For happiness on earth. Und der dritte behaglich schlief, And the third slept peacefully, Und sein Zimbal am Baum hing, His cimbalom hanging from a tree, Über die Saiten der Windhauch lief, A breeze swept over its strings, Über sein Herz ein Traum ging. A dream passed over his heart. An den Kleidern trugen die drei All three of them had clothes Löcher und bunte Flicken, Of holes and motley patches, Aber sie boten trotzig frei But defiant and free they scoffed Spott den Erdengeschicken. At what fate on earth might have in store. Dreifach haben sie mir gezeigt, In three ways they showed me how, Wenn das Leben uns nachtet, When life for us turns dark, Wie man’s verraucht, verschläft, vergeigt To sleep it, smoke it, fiddle it away, Und es dreimal verachtet. And three ways of disdaining it. 10
TEXTS AND TRANSLATIONS
Die Loreley, S. 273, No. 2 Loreley
(Heine) (Translation: Richard Stokes)
Ich weiß nicht, was soll es bedeuten, I do not know what it means
Daß ich so traurig bin; That I should feel so sad;
Ein Märchen aus alten Zeiten, There is a tale from olden times
Das kommt mir nicht aus dem Sinn. I cannot get out of my mind.
Die Luft ist kühl und es dunkelt, The air is cool, and twilight falls,
Und ruhig fließt der Rhein; And the Rhine flows quietly by;
Der Gipfel des Berges funkelt The summit of the mountains glitters
Im Abendsonnenschein. In the evening sun.
Die schönste Jungfrau sitzet The fairest maiden is sitting
Dort oben wunderbar, In wondrous beauty up there;
Ihr goldnes Geschmeide blitzet, Her golden jewels are sparkling,
Sie kämmt ihr goldenes Haar. She combs her golden hair.
Sie kämmt es mit goldenem Kamme She combs it with a golden comb
Und singt ein Lied dabei, And sings a song the while;
Das hat eine wundersame, It has an awe-inspiring,
Gewalt’ge Melodei. Powerful melody.
Den Schiffer im kleinen Schiffe It seizes the boatman in his skiff
Ergreift es mit wildem Weh; With wildly aching pain;
Er schaut nicht die Felsenreiffe, He does not see the rocky reefs,
Er schaut nur hinauf in die Höh’. He only looks up to the heights.
Ich glaube, die Wellen verschlingen I think at last the waves swallow
Am Ende Schiffer und Kahn; The boatman and his boat;
Und das hat mit ihrem Singen And that, with her singing,
Die Loreley getan. The Loreley has done.
PAUSE
11TEXTS AND TRANSLATIONS Franz Schubert Der Musensohn, Op. 92, No. 1, D. 764 The Son of the Muses (Goethe) (Translation: Richard Wigmore) Durch Feld und Wald zu schweifen, Roaming through field and wood, Mein Liedchen weg zu pfeifen, Whistling my song, So geht’s von Ort zu Ort! Thus I go from place to place! Und nach dem Takte reget, And all keep time with me, Und nach dem Mass beweget And all move Sich alles an mir fort. In measure with me. Ich kann sie kaum erwaten, I can scarcely wait for them, Die erste Blum’ im Garten, The first flower in the garden, Die erste Blüt’ am Baum. The first blossom on the tree. Sie grüßen meine Lieder, They greet my songs, Und kommt der Winter wieder, And when winter returns, Sing’ ich noch jenen Traum. I am still singing my dream of them. Ich sing’ ihn in der Weite, I sing it far and wide, Auf Eises Läng’ und Breite, The length and breadth of the ice. Da blüht der Winter schön! Then winter blooms in beauty! Auch diese Blüte schwindet, This blossom, too, vanishes, Und neue Freude findet And new joys are found Sich auf bebauten Höhn. On the cultivated hillsides. Denn wie ich bei der Linde, For when, by the linden tree, Das junge Völkchen finde, I come upon young folk, Sogleich erreg’ ich sie. I at once stir them. Der stumpfe Bursche bläht sich, The dull lad puffs himself up, Das steife Mädchen dreht sich The demure girl whirls Nach meiner Melodie. In time to my tune. Ihr gebt den Sohlen Flügel You give my feet wings, Und treibt, durch Tal und Hügel, And drive your favorite over hill and dale, Den Liebling weit von Haus. Far from home. Ihr lieben, holden Musen, Dear, gracious Muses, Wann ruh’ ich ihr am Busen When shall I at last find rest again Auch endlich wieder aus? On her bosom? 12
TEXTS AND TRANSLATIONS
Wolfgang Amadeus Mozart
Das Veilchen, K. 476 The Violet
(Goethe) (Translation: Richard Stokes)
Ein Veilchen auf der Wiese stand, A violet was growing in the meadow,
Gebückt in sich und unbekannt; Unnoticed and with bowed head;
Es war ein herzigs Veilchen. It was a dear sweet violet.
Da kam ein’ junge Schäferin Along came a young shepherdess,
Mit leichtem Schritt und muntrem Light of step and happy of heart,
Sinn, Daher, daher, Along, along
Die Wiese her, und sang. Through the meadow, and sang.
Ach! denkt das Veilchen, wär ich nur Ah! thinks the violet, if I were only
Die schönste Blume der Natur, The loveliest flower in all Nature,
Ach, nur ein kleines Weilchen, Ah! for only a little while,
Bis mich das Liebchen abgepflückt Till my darling had picked me
Und an dem Busen matt gedrückt! And crushed me against her bosom!
Ach nur, ach nur Ah only, ah only
Ein Viertelstündchen lang! For a single quarter hour!
Ach! aber ach! das Mädchen kam But alas, alas, the girl drew near
Und nicht in Acht das Veilchen nahm, And took no heed of the violet,
Ertrat das arme Veilchen. Trampled the poor violet.
Es sank und starb und freut’ sich noch: It sank and died, yet still rejoiced:
Und sterb’ ich denn, so sterb’ ich doch And if I die, at least I die
Durch sie, durch sie, Through her, through her
Zu ihren Füßen doch. And at her feet.
Robert Schumann
Widmung, Op. 25, No. 1 Dedication
(Friedrich Rückert (1788) (Translation: Richard Stokes)
Du meine Seele, du mein Herz, You my soul, you my heart,
Du meine Wonn’ o do mein Schmerz, You my rapture, O you my pain,
Du meine Welt, in der ich lebe, You my world in which I live,
Mein Himmel du, darein ich schwebe, My heaven you, to which I aspire,
O du mein Grab, in das hinab O you my grave, into which
Ich ewig meinen Kummer gab! My grief forever I’ve consigned!
Du bist die Ruh, du bist der Frieden, You are repose, you are peace,
Du bist vom Himmel mir beschieden. You are bestowed on me from heaven.
Dass du mich liebst, macht mich mir wert, Your love for me gives me my worth,
Dein Blick hat mich vor mir verklärt, Your eyes transfigure me in mine,
Du hebst mich liebend über mich, You raise me lovingly above myself,
Mein guter Geist, mein bess’res Ich! My guardian angel, my better self!
13TEXTS AND TRANSLATIONS
Franz Schubert
Wanderers Nachtlied II, D. 768 Wanderer’s Night Song
(Goethe) (Translation: Richard Stokes)
Über allen Gipfeln Over every mountaintop
Ist Ruh’, Lies peace,
In allen Wipfeln In every treetop
Spürest du You scarcely feel
Kaum einen Hauch; A breath of wind;
Die Vögelein schweigen im Walde. The little birds are hushed in the wood.
Warte nur, balde Wait, soon you too
Ruhest du auch. Will be at peace.
Antonín Dvořák
Als die alte Mutter, Op. 55, No. 4 When my old mother
(Adolf Heyduk)
Als die alte Mutter mich noch lehrte singen, When my old mother taught me to sing,
Tränen in den Wimpern gar so oft ihr hingen. Tears often hung from her eyelashes.
Jetzt, wo ich die Kleinen selber üb im Sange, Now that I myself am teaching my little ones
to sing,
Rieselt’s in den Bart oft mir von der Braunen Tears often trickle down my tanned cheek and
Wange! into my beard!
Johannes Brahms
Wiegenlied, Op. 49, No. 4 Lullaby
(Georg Scherer) (Translation: Richard Stokes)
Guten Abend, gut’ Nacht, Good evening, good night,
Mit Rosen bedacht, Canopied with roses,
Mit Näglein besteckt Bedecked with carnations,
Schlupf ’ unter die Deck’. Slip beneath the coverlet.
Morgen früh, wenn Gott will, Tomorrow morning, if God wills,
Wirst du wieder geweckt. You shall be woken again.
Guten Abend, gut’ Nacht, Good evening, good night,
von Englein bewacht! watched over by angels!
Die zeigen im Traum In your dreams
dir Christkindleins Baum. they will show you the Christmas tree.
Schlaf nun selig und süß, Sleep blissfully now and sweetly,
schau im Traum ’s Paradies. see Paradise in your dreams.
14TEXTS AND TRANSLATIONS
Carl Bohm
Still wie die Nacht, Op. 326, No. 27 Calm as the night
(Anonymous)
Still wie die Nacht Calm as the night
Und tief wie das Meer, And deep as the sea,
Soll deine Liebe sein! Your love should be!
Wenn du mich liebst, If you love me
So wie ich dich, As I love you,
Will ich dein eigen sein. I want to be yours.
Heiß wie der Stahl Hot as steel
Und fest wie der Stein And firm as stone
Soll deine Liebe sein! Your love should be!
Frédéric Chopin
Im mir klingt ein Lied, Op. 10, No. 3s A song sings in me
(Alois Melichar)
In mir klingt ein Lied, ein kleines Lied, A song sings in me, a little song,
In dem ein Traum von stiller Liebe blüht für In which a dream of tranquil love blooms for
dich allein. you alone.
Eine heiße, ungestillte Sehnsucht schrieb die A warm, unfulfilled desire wrote the melody.
Melodie.
In mir klingt ein Lied, ein kleines Lied, A song sings in me, a little song,
In dem ein Wunsch von tausend Stunden In which a wish of a thousand hours glows: to
glüht, bei dir zu sein. be with you.
Sollst mit mir im Himmel leben, Träumend You shall live with me in Heaven, Float,
über Sterne schweben, dreaming, over the stars,
Ewig scheint die Sonne für uns zwei, The sun shining forever over the two of us,
Sehn’ dich herbei I’ll see you there,
Und mit dir mein Glück. And my happiness with you.
Hörst du die Musik, zärtliche Musik? Do you hear the music, the tender music?
Pyotr Ilyich Tchaikovsky
Nur wer die Sehnsucht kennt, Op. 6, No. 6 Only he who knows longing
(Goethe) (Translation: Richard Wigmore)
Nur wer die Sehnsucht kennt Only he who knows longing
Weiß, was ich leide! Knows what I suffer!
Allein und abgetrennt Alone, cut off
Von aller Freude, From all joy,
Seh’ ich ans Firmament I gaze at the firmament
Nach jener Seite. In that direction.
Ach! der mich liebt und kennt Ah, he who loves and knows me
Ist in der Weite. Is far away.
Es schwindelt mir, es brennt I feel giddy,
Mein Eingeweide. My vitals are aflame.
Nur wer die Sehnsucht kennt Only he who knows longing
Weiß, was ich leide! Knows what I suffer!
15TEXTS AND TRANSLATIONS Richard Strauss Zueignung, Op. 10, No. 1 Dedication (Hermann von Gilm) (Translation: Richard Stokes) Ja, du weißt es, teure Seele, Yes, dear soul, you know Daß ich fern von dir mich quäle, That I’m in torment far from you, Liebe macht die Herzen krank, Love makes hearts sick— Habe Dank. Be thanked. Einst hielt ich, der Freiheit Zecher, Once, reveling in freedom, Hoch den Amethysten-Becher, I held the amethyst cup aloft Und du segnetest den Trank, And you blessed that draught— Habe Dank. Be thanked. Und beschworst darin die Bösen, And you banished the evil spirits, Bis ich, was ich nie gewesen, Till I, as never before, Heilig, heilig an’s Herz dir sank, Holy, sank holy upon your heart— Habe Dank! Be thanked! Alexander Zemlinsky Selige Stunde, Op. 10, No. 2 Blessed Hour (Paul Wertheimer) In deiner Näh’ When I’m close to you Ist mir so gut, I feel so good, Mein Wille, mein Weh My will, my woes Nun bei dir ruht. Then rest with you. Siehst du mich an, When you look at me So weicht der Bann, You break the spell Der mich dunkel umfangen; That holds me in its dark grip; Ich schmieg in dein Gewand I nestle in your clothes Den Flittertand And forget the tawrdiness Eitler Gedanken. Of futile thoughts. Meine Wünsche, die weit My wishes, which play Über Raum und Zeit And vacillate far above Spielen und schwanken, Space and time, Sie ziehn die Segel ein Furl their sails In deinem Hafen, In your haven; Sie liegen stumm und klein They lie there mute and small Und schlafen. And fall asleep. 16
TEXTS AND TRANSLATIONS
Hugo Wolf
Verborgenheit Seclusion
(Eduard Mörike) (Translation: Richard Stokes)
Lass, o Welt, o lass mich sein! Let, O world, O let me be!
Locket nicht mit Liebesgaben, Do not tempt with gifts of love,
Lasst dies Herz alleine haben Let this heart keep to itself
Seine Wonne, seine Pein! Its rapture, its pain!
Was ich traure, weiß ich nicht, I do not know why I grieve,
Es ist unbekanntes Wehe; It is unknown sorrow;
Immerdar durch Tränen sehe Always through a veil of tears
Ich der Sonne liebes Licht. I see the sun’s beloved light.
Oft bin ich mir kaum bewusst, Often, I am lost in thought,
Und die helle Freude zücket And bright joy flashes
Durch die Schwere, so mich drücket Through the oppressive gloom,
Wonniglich in meiner Brust. Bringing rapture to my breast.
Lass, o Welt, o lass mich sein! Let, O world, O let me be!
Locket nicht mit Liebesgaben, Do not tempt with gifts of love,
Lasst dies Herz alleine haben Let this heart keep to itself
Seine Wonne, seine Pein! Its rapture, its pain!
Gustav Mahler
Ich bin der Welt abhanden gekommen, I am lost to the world
from Rückert-Lieder
(Text: Friedrich Rückert) (Translation: Richard Stokes)
Ich bin der Welt abhanden gekommen, I am lost to the world
Mit der ich sonst viele Zeit verdorben, With which I used to waste much time;
Sie hat so lange nichts von mir vernommen, It has for so long known nothing of me,
Sie mag wohl glauben, ich sei gestorben! It may well believe that I am dead.
Es ist mir auch gar nichts daran gelegen, Nor am I at all concerned
Ob sie mich für gestorben hält, If it should think that I am dead.
Ich kann auch gar nichts sagen dagegen, Nor can I deny it,
Denn wirklich bin ich gestorben der Welt. For truly I am dead to the world.
Ich bin gestorben dem Weltgetümmel, I am dead to the world’s tumult
Und ruh’ in einem stillen Gebiet! And rest in a quiet realm!
Ich leb’ allein in meinem Himmel, I live alone in my heaven,
In meinem Lieben, in meinem Lied! In my love, in my song!
17music dance theater
21/22
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Angéliqu
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Remain in Light
“Reemain in Light feels like
an album that Kiddjo
waas born to sing;; never
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—So
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Thee four-time Gramm my
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ZELLERBACH HALL
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