Julia Bullock, classical singer - Streaming Premiere - Thursday, January 14, 2021, 7pm - Cal ...
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Allison Michael Orenstein
Streaming Premiere – Thursday, January 14, 2021, 7pm
Julia Bullock, classical singer
Laura Poe, piano
Filmed exclusively for Cal Performances
at the Konzerthaus Blaibach, Blaibach, Germany,
on December 10, 2020.
Major support provided by The Bernard Osher Foundation.
Note: following its premiere, the video recording of this concert
will be available on demand through April 14, 2021.
1
PROGRAM
Hugo Wolf (1860–1903) from Italienisches Liederbuch
Auch kleine Dinge
from Spanisches Liederbuch
In dem Schatten meiner Locken
Bedeckt mich mit Blumen
Robert Schumann (1810–1856) from Dichterliebe, Op. 48
Die Rose, die Lilie, die Taube, die Sonne
Wenn ich in deine Augen seh’
Ich grolle nicht
Und wüßten’s die Blumen, die kleinen
Hör’ ich das Liedchen klingen
Kurt Weill (1900–1950) “Speak Low” from One Touch of Venus
“Denn wie man sich bettet, so liegt man”
from Aufstieg und Fall der Stadt Mahagonny
Wie lange noch?
“Lost in the Stars” from Lost in the Stars
William Grant Still (1995–1978) The Breath of a Rose
Margaret Bonds (1913–1972) The Negro Speaks of Rivers
Winter Moon
(music prepared by Louise Toppin)
John Adams (b. 1947) Three Women:
(arr. by Laura Poe and Julia Bullock) Josefa, Ah Sing, and Dame Shirley
from Girls of the Golden West
Ven esta noche, amado (Josefa)
The Ship Has Reached America (Ah Sing)
Sometimes, I Lounge Forlornly (Dame Shirley)
Richard Rodgers (1902–1979) from The Sound of Music
The Sound of Music
The Lonely Goatherd
Something Good
Climb Every Mountain
Edelweiss
2
ABOUT THE ARTISTS
JULIA BULLOCK, classical singer Carnegie Hall, the Philadelphia Chamber Music
American classical singer Julia Bullock, “a mu- Society, Boston’s Celebrity Series, Washington’s
sician who delights in making her own rules” Kennedy Center, and the Mostly Mozart and
(The New Yorker), combines versatile artistry Ojai Music festivals, where she joined Roomful
with a probing intellect and commanding stage of Teeth and the International Contemporary
presence. Only in her early 30s, she has already Ensemble for the world premiere of Josephine
headlined productions and concerts at some of Baker: A Portrait (the original prototype for
the world’s preeminent arts institutions. An in- Perle Noire: Meditations for Joséphine, a work
novative programmer whose artistic curation is conceived by Bullock in collaboration with
in high demand, Bullock’s curatorial positions Peter Sellars, and written for her by Tyshawn
include collaborative partner of Esa-Pekka Sorey and Claudia Rankine).
Salonen in 2020–21, the conductor’s inaugural Bullock’s growing discography includes
season as music director of the San Francisco Doctor Atomic, recorded with the composer
Symphony; 2019–20 artist-in-residence of the conducting the BBC Symphony Orchestra, and
same orchestra; artist-in-residence of London’s West Side Story, captured live with Tilson
Guildhall School for the 2020–22 seasons; Thomas and the San Francisco Symphony, both
opera-programming host of the new broadcast of which were nominated for Grammy Awards.
channel All Arts; founding core member of the Bullock was born in St. Louis, Missouri, and
American Modern Opera Company (AMOC); holds degrees from the Eastman School of
and 2018–19 artist-in-residence of New York’s Music, Bard College’s Graduate Vocal Arts
Metropolitan Museum of Art. Chosen as a 2021 Program, and New York’s Juilliard School. She
“Artist of the Year” by Musical America, which lives with her husband, conductor Christian
hailed her as an “agent of change,” Bullock is Reif, in Munich.
also a prominent voice of social consciousness.
As Vanity Fair notes, she is “young, highly suc- LAURA POE, piano
cessful, [and] politically engaged,” with the Korean American pianist Laura Poe is a highly
“ability to inject each note she sings with a sense sought-after artist and collaborator who enjoys
of grace and urgency, lending her performances a career as a pianist, opera coach, and educator.
the feel of being both of the moment and in- Based in Düsseldorf, Germany, Poe is a mem-
credibly timeless.” ber of the music staff at the Deutsche Oper am
Bullock has made key operatic debuts at San Rhein. Since the 2015–16 season, she has also
Francisco Opera in the world premiere of John been a member of the music staff at San Fran-
Adams’ Girls of the Golden West; Santa Fe Opera cisco Opera.
in Adams’ Doctor Atomic; Festival d’Aix-en- Poe has also worked as a répétiteur and vocal
Provence and Dutch National Opera in Stra- coach at De Nationale Opera in Amsterdam, the
vinksy’s The Rake’s Progress; and the English Metropolitan Opera, and the Semperoper Dres-
National Opera, Spain’s Teatro Real, and Rus- den, where she made her professional conduct-
sia’s Bolshoi Theatre in the title role in Purcell’s ing debut with 19 performances of Purcell’s Dido
The Indian Queen. In concert, she has collabo- and Aeneas. The production was later invited to
rated with the Los Angeles Philharmonic and the Lucerne Music Festival for an additional two
Gustavo Dudamel, the San Francisco Sym- performances. Poe was also an associate vocal
phony and both Salonen and Michael Tilson coach at the Juilliard School, the San Francisco
Thomas, the New York Philharmonic and Alan Conservatory of Music, Aspen Music Festival
Gilbert, the Boston Symphony Orchestra and and School, AIMS in Graz, CoOperative, and
Andris Nelsons, Japan’s NHK Symphony and Si parla, si canta in Urbania, Italy.
Paavo Järvi, and both the Berlin Philharmonic A graduate of the Metropolitan Opera Lin-
and London Symphony Orchestra with Sir demann Young Artist Development Program,
Simon Rattle. Her recital highlights include Poe has trained under the tutelage of world-
appearances at Cal Performances, New York’s class musicians, conductors, and directors in-
3Allison Michael Orenstein
ABOUT THE ARTISTS
cluding Sir Thomas Allen, Marco Armiliato, competitions, and is also an experienced soloist
Reri Grist, Thomas Hampson, James Levine, and chamber musician.
Malcolm Martineau, Ken Noda, Felicity Palmer, Poe has been heard in concert at numerous
Renata Scotto, Diane Soviero, Dame Kiri Te festivals throughout the United States, includ-
Kanawa, Benita Valente, José van Dam, and ing the Music Academy of the West, Ravinia’s
Stephen Wadsworth. Steans Institute, Bard Summerscape, Glimmer-
Poe has collaborated with some of today’s glass Opera, in New York’s Alice Tully Hall and
greatest singers, including sopranos Lisette the Museum of Modern Art, as well as in
Oropesa and Deborah Voigt, the latter with Europe and Trinidad and Tobago.
whom Poe performed a live broadcast on New Poe’s academic accomplishments include a
York’s classical radio station WQXR. Poe was graduate diploma in collaborative piano from
also featured in the BBC2 documentary What the Juilliard School in New York City and a
Makes a Great Soprano with Dame Kiri Te master’s degree in accompanying and chamber
Kanawa. In 2009, she was a third prize winner music from the University of North Carolina at
at the Wigmore Hall International Song Com- Greensboro, where in 2015 she received the
petition in London. first-ever Distinguished Alumni Award in Per-
As an experienced violinist, flutist, and horn formance. A dedicated teacher, Poe holds a
player, Poe is a frequent performer with instru- bachelor’s degree in instrumental music educa-
mentalists and singers. She is an official accom- tion from the University of North Carolina at
panist to several instrumental and vocal Greensboro.
TEXTS & TRANSLATIONS
Niccolò Tommaseo, Venezia, G. Tasso
Canti popolari toscani, corsi, illirici,
greci, raccolti ed illustrati (pub. 1841)
Paul Heyse (1830–1914)
Italienisches Liederbuch (pub. 1860)
Hugo Wolf (1860–1903)
Italienisches Liederbuch (pub. 1892)
Auch kleine Dinge
Auch kleine Dinge können uns entzücken, Small things, too, can please us,
Auch kleine Dinge können teuer sein. Small things, too, can be valuable,
Bedenkt, wie gern wir uns mit Perlen Think, how gladly we adorn ourselves
schmücken; with pearls,
Sie werden schwer bezahlt und sind nur klein. They are heavily paid for, and are only small.
Bedenkt, wie klein ist die Olivenfrucht, Think how small the olive fruit is,
Und wird um ihre Güte doch gesucht. And yet its goodness is sought after.
Denkt an die Rose nur, wie klein sie ist, Think only of the rose, how small it is,
Und duftet doch so lieblich, wie ihr wißt. And yet it smells so lovely, as you all know.
—Translation by Julia Bullock
5TEXTS & TRANSLATIONS
Pedro Arias Pérez
Original Spanish Text
Paul Heyse (1830–1914)
Spanisches Liederbuch, Weltliche Lieder
(pub. 1852)
Hugo Wolf (1860–1903)
Spanisches Liederbuch (pub. 1891)
In dem Schatten meiner Locken
In dem Schatten meiner Locken In the shadow of my curly hair,
Schlief mir mein Geliebter ein. My beloved has fallen asleep.
Weck ich ihn nun auf? —Ach nein! Should I wake him now? —Ah, no!
Sorglich strählt’ ich meine krausen Carefully, I comb my frizzy
Locken täglich in der Frühe, curls, early each day;
Doch umsonst ist meine Mühe, But my efforts are in vain,
weil die Winde sie zerzausen. because the winds dishevel them.
Lockenschatten, Windessausen Shadow-casting curls, rustling wind,
Schläferten den Liebsten ein. Have lulled my darling to sleep.
Weck ich ihn nun auf? —Ach nein! Should I wake him now? —Ah, no!
Hören muß ich, wie ihn gräme, I must listen to him complain
Daß er schmachtet schon so lange, That he has pined for me so long,
Daß ihm Leben geb’ und nehme That life is given and taken away from him
Diese meine braune Wange, By my brown cheeks,
Und er nennt mich seine Schlange, And he calls me his snake,
Und doch schlief er bei mir ein. And yet he fell asleep by me.
Weck ich ihn nun auf? —Ach nein! Should I awaken him now? —Ah, no!
—Translation by Julia Bullock
6TEXTS & TRANSLATIONS
María Doceo
Original Spanish Text
Emanuel von Geibel (1815–1884)
Spanisches Liederbuch, Weltliche Lieder
(pub. 1852)
Hugo Wolf (1860–1903)
Spanisches Liederbuch (pub. 1891)
Bedeckt mich mit Blumen
Bedeckt mich mit Blumen, ich sterbe vor Liebe. Cover me with flowers, I die of love.
Daß die Luft mit leisem Wehen So that the air with gentle wafting
nicht den süßen Duft mir entführe, Doesn’t take from me the sweet smell,
bedeckt mich! cover me!
Ist ja alles doch dasselbe, Yet, all is the same,
Liebesodem oder Düfte von Blumen. Breath of love or scent of flowers.
Von Jasmin und weißen Lilien With jasmine and white lilies
sollt ihr hier mein Grab bereiten, ich sterbe. Here you shall my grave prepare, I die.
Und befragt ihr mich: Woran? And if you all ask me: Why?
sag’ ich: Unter süßen Qualen vor Liebe. I say: Under the sweet torments of love.
—Translation by Julia Bullock
Heinrich Heine (1797–1856)
von Buch der Lieder (1822–23)
Robert Schumann (1810–1856)
from Dichterliebe, Op. 48 (1840)
Die Rose, die Lilie, die Taube, die Sonne
Die Rose, die Lilie, die Taube, die Sonne, The rose, the lily, the dove, the sun.
die liebt’ ich einst alle in Liebeswonne. I once blissfully loved them all,
ich lieb’ sie nicht mehr, ich liebe alleine But I don’t anymore, I only love
die Kleine, die Feine, die Reine, die Eine, the small, the fine, the pure, the one;
sie selber, aller Liebe Wonne, she herself—all of love’s delight—
ist Rose und Lilie und Taube und Sonne. is the rose and lily and dove and sun.
—Translation by Julia Bullock
7TEXTS & TRANSLATIONS
Wenn ich in deine Augen seh’
Wenn ich in deine Augen seh’ When I look into your eyes,
so schwindet all’ mein Leid und Weh; all my suffering and sorrows vanish,
doch wenn ich küße deinen Mund, yet when I kiss your lips,
so werd’ ich ganz und gar gesund. I become wholly and entirely healed.
Wenn ich mich lehn’ an deine Brust, When I lean against your breast
kommt’s über mich wie Himmelslust; heavenly pleasure comes over me,
doch wenn du sprichst: ich liebe dich, yet when you say: I love you,
so muß ich weinen bitterlich. I have to weep bitterly.
—Translation by Julia Bullock
Ich grolle nicht
I’m not angry, und wenn das Herz auch bricht, I’m not angry, and even if my heart breaks,
ewig verlor’nes Lieb, ich grolle nicht. my eternal lost love, I’m not angry.
Wie du auch strahlst in Diamantenpracht, Even though you shine like diamonds,
es fällt kein Strahl in deines Herzens Nacht, no ray falls into the darkness of your heart,
das weiß ich längst. I’ve known that for a long time.
Ich grolle nicht, und wenn das Herz auch bricht, I’m not angry, and if my heart also breaks,
Ich sah dich ja im Traume, I saw you in my dreams,
und sah die Nacht in deines Herzens Raume, and saw the darkness in your heart,
und sah die Schlang’, die dir am Herzen frißt, and saw the snake that feeds on it;
Ich sah, mein Lieb, wie sehr du elend bist. I saw, my Love, how truly miserable you are.
—Translation by Julia Bullock
Und wüßten’s die Blumen, die kleinen
Und wüßten’s die Blumen, die kleinen, And if the flowers—the small ones—
would know
wie tief verwundet mein Herz, how deeply wounded my heart is,
sie würden mit mir weinen, they’d weep with me
zu heilen meinen Schmerz. to heal my pain.
Und wüßten’s die Nachtigallen, And if the nightingales would know
wie ich so traurig und krank, how sad and sick I am,
sie ließen fröhlich erschallen they’d joyfully resound
erquickenden Gesang. a rejuvenating song.
Und wüßten sie mein Wehe, And if they would know my pain—
die goldenen Sternelein, the little golden stars—
sie kämen aus ihrer Höhe, they would come down from their heights
und sprächen Trost mir ein. and console me.
Sie alle können’s nicht wissen, All of them could not know,
nur Eine kennt meinen Schmerz; only the One knows my sorrow;
sie hat ja selbst zerrissen, she herself is the one who ripped—
zerrissen mir das Herz. ripped up my heart.
—Translation by Julia Bullock
8TEXTS & TRANSLATIONS
Hör’ ich das Liedchen klingen
Hör’ ich das Liedchen klingen, When I hear the little song
das einst die Liebste sang, that my beloved once sang,
so will mir die Brust zerspringen my chest wants to explode
von wildem Schmerzendrang. from wild impulses of pain.
Es treibt mich ein dunkles Sehnen A dark longing drives me
hinauf zur Waldeshöh’, up into the heights of the woods
dort löst sich auf in Tränen where my extreme grief
mein übergroßes Weh’. dissolves in tears.
—Translation by Julia Bullock
Frederic Ogden Nash (1902–1971)
Kurt Weill (1900–1950)
from One Touch of Venus (1943)
Speak Low
Speak low when you speak, love,
Our summer day withers away
Too soon, too soon.
Speak low when you speak, love,
Our moment is swift, like ships adrift,
We’re swept apart too soon.
Speak low, darling speak low,
Our love is a spark lost in the dark,
Too soon, too soon,
I feel wherever I go
That tomorrow is near, tomorrow is here
And always too soon.
Time is so old and love so brief,
Love is pure gold and time a thief.
We’re late, darling, we’re late,
The curtain descends, ev’rything ends
Too soon, too soon.
I wait darling, I wait
Will you speak low to me,
Speak love to me and soon.
9TEXTS & TRANSLATIONS
Bertolt Brecht (1898–1956)
Kurt Weill (1900–1950)
from The Rise and Fall of the City of
Mahagonny
Denn wie man sich bettet, so liegt man How you put yourself to bed, is how you lie
Meine Herren, meine Mutter prägte Gentlemen, my mother once marked
auf mich einst ein schlimmes Wort: me with a nasty word:
ich würde enden im Schauhaus, I would end up in a ‘house of display’
oder an einem noch schlimmern Ort. or in an even worse place.
Ja so ein Wort, das ist leicht gesagt, Yes, such a word is easily said,
aber ich sage euch, daraus wird nichts! but I tell you, that won’t happen!
Das könnt ihr nicht machen mit mir! You cannot do this to me!
Was aus mir noch wird, das werdet ihr What becomes of me, that you will see!
schon sehen!
Ein Mensch ist kein Tier! A human being is no animal!
Denn wie man sich bettet, so liegt man, How you put yourself to bed, is how you lie,
es deckt einen doch keiner zu. no one is there to cover you up.
Und wenn einer tritt, dann bin ich es, And if someone kicks, then that’s me,
Und wird einer getreten, dann bist’s du. and when someone gets kicked, then that’s you.
Meine Herren, mein Freund der sagte Gentlemen, my friend said
mir damals ins Gesicht: at one time to my face:
“das Höchste auf Erden ist Liebe” “the highest thing on earth is love”
Und “an morgen denkt man da nicht.” and “you won’t think of tomorrow.”
Ja Liebe, das ist leicht gesagt, Yes, love, that is easily said,
doch so lang man täglich älter wird, but as long as you grow older daily,
da wird nicht nach liebe gefragt, no one asks about love,
Da muß man seine kurze Zeit benützen. one must utilize his short time.
Ein Mensch ist kein Tier! A human being is no animal!
—Translation by
Julia Bullock & Christian Reif
10TEXTS & TRANSLATIONS
Walter Mehring (1896–1981)
Kurt Weill (1900–1950)
Wie lange noch? (1944) How Much Longer?
Ich wills dir gestehen es war eine Nacht I want to confess to you, it was a night
da hab ich mich willig dir hingegeben, when I willingly gave myself to you,
du hast mich gehabt, mich von Sinnen you’ve had me, you took my senses,
gebracht,
Ich glaubte ich könnte nicht ohne dich leben. I believed that I could not live without you.
Du hast mir das Blaue vom Himmel You’ve promised me the blue of the heavens
versprochen
und ich habe dich wie ’nen Vater gepflegt. and I’ve cared for you as I would for a father.
Du hast mich gemartert, hast mich zerbrochen. You’ve tortured me, you’ve torn me apart.
Ich hätt dir die Erde zu Füßen gelegt. I would have placed the earth at your feet.
Sieh mich doch an! Sieh mich doch an! Look at me! Look at me!
Wann kommt der Tag an dem ich dir sage: When comes the day when I tell you: it is over!
es ist vorbei!
Wann kommt der Tag, ach der tag nach dem When comes the day, ah, the day that I fear.
ich bange.
Wie lange noch? Wie lange noch? How much longer? How much longer?
Wie lange? How long?
Ich hab’ dir geglaubt, ich war wie im Wahn I believed you, I was in a delusion
von all deinen Reden, von deinen Schwüren. from all your talk, from all your vows.
Was immer du wolltest, das hab ich getan. Whatever you wanted, I did.
Wohin du auch wolltest, da ließ ich mich Wherever you wanted to go, I let myself
führen. be led.
Du hast mir das Blaue vom Himmel You’ve promised me the blue of the heavens,
versprochen,
und ich! Ach ich hab nicht zu weinen gewagt. and I! Ah, I have not dared to cry.
Doch du hast dein Wort, deine Schwüre But you have broken your word, your vows.
gebrochen.
Ich habe geschwiegen, und hab mich geplagt. I’ve been silent, and tormented myself.
Sieh mich doch an! Sieh mich doch an! Look at me! Look at me!
Wann kommt der Tag an dem ich dir sage: When comes the day when I tell you: it is over!
es ist vorbei!
Wann kommt der Tag, ach der tag nach When comes the day, ah the day that I fear.
dem ich bange.
Wie lange noch? Wie lange noch? How much longer? How much longer?
Wie lange? How long?
—Translation by
Julia Bullock & Christian Reif
11TEXTS & TRANSLATIONS
Maxwell Anderson (1888–1959) Langston Hughes (1901–1967)
(first published in Hughes’ autobiography,
Kurt Weill (1900–1950) The Big Sea, 1940, but written after his
from Lost in the Stars (1949) relationship with Anne Marie Coussey
ended in 1927)
Lost in the Stars
Before Lord God made the sea and the land, William Grant Still (1995–1978)
He held all the stars in the palm of his hand,
And they ran through his fingers like grains of The Breath of a Rose
sand, Love is like dew
And one little star fell alone. On lilacs at dawn:
Comes the swift sun
Then the Lord God hunted through And the dew is gone.
the wide night air, Love is like star-light
For the little dark star on the wind down there, In the sky at morn:
And he stated and promised, he’d take Star-light that dies
special care, When day is born.
So it wouldn’t get lost again. Love is like perfume
In the heart of a rose:
Now, a man don’t mind if the stars grow dim, The flower withers,
And the clouds blow over and darken him, The perfume goes—
So long as the Lord God’s watching over them, Love is no more
Keeping track how it all goes on. Than the breath of a rose,
No more
But I’ve been walking through the night Than the breath of a rose.
and the day
Till my eyes get weary and my head turns gray,
And sometimes it seems maybe God’s
gone away,
Forgetting the promise and that we heard
him say.
And we’re lost out here in the stars,
Little stars, big stars, blowing through the night,
And we’re lost out here in the stars,
Little stars, big stars, blowing through the night,
And we’re lost out here in the stars.
12TEXTS & TRANSLATIONS
Langston Hughes (1901–1967) Langston Hughes (1901–1967)
(first published in The Crisis, 1921) (first published in The Crisis, 1923)
Margaret Bonds (1913–1972) Margaret Bonds (1913–1972)
Negro Speaks of Rivers Winter Moon
I’ve known rivers: How thin and sharp is the moon tonight!
I’ve known rivers ancient as the world and How thin and sharp and ghostly white
older than the flow of human blood in Is the slim curved crook of the moon tonight!
human veins.
My soul has grown deep like the rivers.
I bathed in the Euphrates when dawns were
young.
I built my hut near the Congo and it lulled me
to sleep.
I looked upon the Nile and raised the pyra-
mids above it.
I heard the singing of the Mississippi when
Abe Lincoln went down to New Orleans,
and I’ve seen its muddy bosom turn all
golden in the sunset.
I’ve known rivers:
Ancient, dusky rivers.
My soul has grown deep like the rivers.
13TEXTS & TRANSLATIONS
John Adams (b. 1947)
Texts selected by Peter Sellars
Three Women: Josefa, Ah Sing, and
Dame Shirley from Girls of the Golden West
Josefa:
Ven… (1957) Come …
Ven esta noche, amado [querido]; Come tonight, beloved,
tengo el mundo sobre mi corazón… I have the world over my heart…
la vida estalla… life explodes…
… tengo miedo de mi alma … I am afraid of my soul
[¡O] No puedo llorar! [Oh,] I cannot cry!
Dame tus manos Give me your hands
y verás cómo el alma se resbala tranquilamente, and you will see how the soul slips tranquilly,
y verás cómo el alma se resbala en una and you will see how the soul slips in a
lágrima… teardrop…
—Translation by Julia Bullock
14TEXTS & TRANSLATIONS
Ah Sing: Dame Shirley:
Translated by Marlon K. Hom (b. 1947) Louise Amelia Knapp Smith Clappe
Songs of Gold Mountain: Cantonese Rhymes (1819–1906)
from San Francisco’s Chinatown *
excerpt from Letter Twenty-Third
[For this performance, the aria and the
accompanying chorus from Girls of the From our Log Cabin, Indian Bar –
Golden West have been arranged for piano November 21, 1852
by Laura Poe. However, printed below Sometimes I lounge forlornly to the window
is the sung text and original source material.] and try to take a bird’s-eye view of outdoors.
First, a large pile of gravel prevents my seeing
John “Old Put” Stone (d. 1864) anything else; but by dint of standing on
from the miner’s song “You Who Don’t tiptoe, I catch sight of a hundred other heaps
Believe It” of gigantic stones, excavations of fearful deep-
To one and all, both young and old, ness, calico hovels, innumerable tents, shingle
You’re welcome to the land of gold. palaces, ramadas (pretty arbor-like places,
composed of green boughs, and baptized with
As soon as it’s announced that sweet name), half a dozen miners in
the ship has reached America: garments of the airiest description, reclining
I burst out cheering. gracefully at the entrance of the Humboldt in
I have found precious pearls that transcendental state of intoxication when
since I came to San Francisco. a man is compelled to hold on to the earth for
fear of falling off. The whole Bar is thickly
A trav’ler on this shore peppered with empty bottles, oyster-cans,
since coming to this frontier land, sardine-boxes, broken jars, all manner of
I bear all kinds of abuse. debris, the harsher outlines of which are
But I’ve found precious pearls; softened off by the thinnest possible coating
wealth will come so very naturally. of radiant snow. The river, freed from its
wooden-flume prison, rolls gradually by.
To one and all, both young and old, The green and purple beauty of these majestic
You’re welcome to the land of gold. old mountains looks lovelier than ever, while,
like an immense concave of pure sapphire
The air of wealth will soar, without spot or speck, the wonderful and
arrive without the slightest toil. never-enough-to-be-talked-about sky of
My mother said so. California drops down upon the whole its
All we need is profit and money. fathomless splendor.
All is wide open road…
* Hom selected and translated 220 rhymes
from two collections of Chinatown songs
published in 1911 and 1915.
15TEXTS & TRANSLATIONS
Oscar Hammerstein II (1895–1960) The Lonely Goatherd
High on a hill was a lonely goatherd
Richard Charles Rodgers (1902–1979) Lay ee odl lay ee odl lay hee hoo
Loud was the voice of the lonely goatherd
from The Sound of Music Lay ee odl lay ee odl-oo
The Sound of Music Folks in a town that was quite remote heard
The hills are alive with the sound of music, Lay ee odl lay ee odl lay hee hoo
With songs they have sung for a thousand years. Lusty and clear from the goatherd’s throat
The hills fill my heart with the sound of music. heard
My heart wants to sing every song it hears. Lay ee odl lay ee odl-oo
My heart wants to be beat like the wings of the O ho lay dee odl lee o, o ho lay dee odl ay
birds that rise from the lake to the trees. O ho lay dee odl lee o, lay dee odl lee o lay.
My heart wants to sigh like a chime that flies
from a church on a breeze. One little girl in a pale pink coat heard
To laugh like a brook when it trips and falls Lay ee odl lay ee odl lay hee hoo
over stones, on its way. She yodeled back to the lonely goatherd
To sing through the night like a lark who is Lay ee odl lay ee odl-oo.
learning to pray…
Soon her Mama with a gleaming gloat heard
I go to the hills when my heart is lonely. Lay ee odl lay ee odl lay hee hoo
I know I will hear what I’ve heard before. What a duet for a girl and goatherd
My heart will be blessed with the sound Lay ee odl lay ee odl-oo
of music,
And I’ll since once more. Odl lay ee, odl lay ee…
O ho lay dee odl lee o, lay dee odl dee odl
lay ee odl lay.
Happy are they—lay ee o lay lee o Soon the
duet will become a trio… Odl lay ee,
old lay ee. HOO!
16TEXTS & TRANSLATIONS
Something Good Edelweiss
(written by Richard Rodgers for the 1965 film Edelweiss, Edelweiss
version) Every morning you greet me,
Perhaps I had a wicked childhood, Small and white, clean and bright,
Perhaps I had a miserable youth, You look happy to meet me.
But somewhere in my wicked, miserable past
There must have been a moment of truth. Blossom of snow may you bloom and grow,
Bloom and grow forever,
For here you are, standing there, loving me, Edelweiss, Edelweiss
Whether or not you should, Bless my homeland forever.
So somewhere in my youth or childhood
I must have done something good.
Nothing comes from nothing,
Nothing ever could,
So somewhere in my youth or childhood
I must have done something good.
Climb Every Mountain
Climb every mountain,
Search high and low,
Follow every byway,
Every path you know.
Climb every mountain,
Ford every stream,
Follow every rainbow,
‘Till you find your dream.
A dream that will need
All the love you can give,
Every day of your life
For as long as you live
Climb every mountain,
Ford every stream,
Follow every rainbow,
‘Till you find your dream.
17CREDITS
IN GERMANY ARTISTIC PLANNING
Bernhard Fleischer, producer and director Katy Tucker, Director of Artistic Planning
Oliver Becker, line producer for OTB Medien Robin Pomerance, Artistic Administrator
Thomas Frischhut, camera
Marcus Jäger, camera DEVELOPMENT
Nao A. Loo, camera Taun Miller Wright, Chief Development Officer
Jupp Wegner, sound Elizabeth Meyer, Director of Institutional Giving
Bruno Hartl, lighting Jennifer Sime, Associate Director of
Wolfgang Herein, lighting Development, Individual Giving
Andreas Plötz, lighting Jamie McClave, Individual Giving
Aloisia Aschenbrenner, location and Special Events Officer
Michael Hartl, editing Alex Higgins, Director of Annual Fund
Michaela Noa and Michaela Knopf, Jocelyn Aptowitz, Major Gifts Associate
production office EDUCATION AND COMMUNITY PROGRAMS
Rica Anderson, Interim Director, Artistic Literacy
A BFMI Production for Cal Performances
HUMAN RESOURCES
••• Judy Hatch, Human Resources Director
Shan Whitney, Human Resources Generalist
For Cal Performances at Home
Tiffani Snow, Producer MARKETING AND COMMUNICATIONS
Jeremy Little, Technical Director Jenny Reik, Director of Marketing and
Communications
For Ibis Productions, Inc. Ron Foster-Smith, Associate Director of
Jeremy Robins, Video Director Marketing
Zach Herchen, Audio Engineer Mark Van Oss, Communications Editor
Louisa Spier, Public Relations Manager
For Future Tense Media Cheryl Games, Web and Digital Marketing
Jesse Yang, Creative Director Manager
Jeanette Peach, Public Relations Senior Associate
For Cal Performances Elise Chen, Email Production Associate
EXECUTIVE OFFICE Lynn Zummo, New Technology Coordinator
Jeremy Geffen, Executive and Artistic Director Terri Washington, Social Media and Digital
Kelly Brown, Executive Assistant to the Director Content Specialist
ADMINISTRATION
OPERATIONS
Andy Kraus, Director of Strategy and Jeremy Little, Production Manager
Administration Alan Herro, Production Admin Manager
Calvin Eng, Chief Financial Officer Kevin Riggall, Head Carpenter
Rafael Soto, Finance Specialist Matt Norman, Head Electrician
Marilyn Stanley, Finance Specialist Tom Craft, Audio/Video Department Head
Gawain Lavers, Applications Programmer Jo Parks, Video Engineer
Ingrid Williams, IT Support Analyst Tiffani Snow, Event Manager
Sean Nittner, Systems Administrator Ginarose Perino, Rental Business Manager
Rob Bean, Event Operations Manager
18CREDITS
STAGE CREW
Charles Clear, Senior Scene Technician
David Ambrose, Senior Scene Technician
Jacob Heule, Senior Scene Technician
Jorg Peter “Winter” Sichelschmidt,
Senior Scene Technician
Joseph Swails, Senior Scene Technician
Mark Mensch, Senior Scene Technician
Mathison Ott, Senior Scene Technician
Mike Bragg , Senior Scene Technician
Ricky Artis, Senior Scene Technician
Robert Haycock, Senior Scene Technician
STUDENT MUSICAL ACTIVITIES
Mark Sumner, Director, UC Choral Ensembles
Bill Ganz, Associate Director,
UC Choral Ensembles
Matthew Sadowski, Director, Cal Marching Band
Ted Moore, Director, UC Jazz Ensembles
Brittney Nguyen, SMA Coordinator
TICKET OFFICE
Liz Baqir, Ticket Services Manager
Gordon Young, Assistant Ticket Office Manager
Sherice Jones, Assistant Ticket Office Manager
Jeffrey Mason, Patron Services Associate
Opening fanfare used by permission from Jordi
Savall from his 2015 recording of Monteverdi's
L'Orfeo on Alia Vox.
Major support for the Cal Performances
Digital Classroom is provided by Wells Fargo.
Major support for Beyond the Stage is provided
by Bank of America.
calperformances.org
© 2021 Regents of the University of California
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