Rodin Opera Scenes 1 - U Penn
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1 Rodin Opera Scenes
present
Rodin Opera Scenes
2015
Tuesday, April 14, 2015
7pm & 9pm
Rodin College House Rooftop Lounge
3901 Locust Walk
Philadelphia, PA2
Candide
Music by Leonard Bernstein
Libretto by John La Touche
Pangloss: David Glanzman (SEAS ‘17)
Maximilian: Michael Nissan (College ‘16)
Paquette: Matré Grant (College ‘17)
Candide: Charles Shrader (GSAS ‘18)
Cunegonde: Lily Kass (GSAS ‘16)
Accompanist: Eric Lifland (College ‘16)
Le Nozze di Figaro (The Marriage of Figaro)
Music by Wolfgang Amadeus Mozart
Libretto by Lorenzo da Ponte
Cherubino: Melody Cooke (Wharton ‘16)
Susanna: Damilore Rosanwo (Wharton ‘16)
Count: Jonathan Allsop (College ‘16)
Countess: Maria Murphy (GSAS ‘17)
Accompanist: Vanessa Williams (GSAS ‘17)
Threepenny Opera
Music by Kurt Weill
Original Libretto by Bertolt Brecht
In a variety of roles:
Caroline Sambuco (College ‘18)
Eric Lifland (College ‘16)
Jordyn Tumas (College ‘15)
Choreographer: Emily Eck (College ‘17)
Accompanist: Tristan Paré-Morin (GSAS ‘18)
Accordionist: Vanessa Williams (GSAS ‘17)
La Cenerentola (Cinderella)
Music by Gioachino Rossini
Libretto by Jacopo Ferretti
Don Magnifico: Joseph Rim (GSE ‘16)
Dandini: Charles Shrader (GSAS ‘18)
Accompanist: Carlo Lanfossi (GSAS ‘17)3
Carmen
Music by Georges Bizet
Libretto by Henri Meilhac and Ludovic Halévy
Frasquita: Emily Eck (College ‘17)
Mercédès: Matré Grant (College ‘17)
Carmen: Cristina Peruyera (Wharton ‘15)
Accompanist: Rachel Mardjuki (College ‘17)
Little Women
Music by Mark Adamo
Libretto by Mark Adamo
Jo: Elizabeth Higbee (BGS ‘17)
Amy: Lauren Nagy (College ‘15)
Beth: Melody Cooke (Wharton ‘16)
Meg: Monica McGeary (LPS ‘16)
Accompanist: Vanessa Williams (GSAS ‘17)
Der Schauspieldirektor (The Impresario)
Music by Wolfgang Amadeus Mozart
Libretto by Gottlieb Stephanie
Madame Herz: Emily Derecktor (College ‘16)
Mademoiselle Silberklang: Caroline Sambuco (College ‘18)
Monsieur Vogelsang: Juan José López Delgado (SEAS ‘15)
Accompanist: Erica Ball (GSAS ‘15)
Coached by Lily Kass, Carlo Lanfossi, Maria Murphy, and Vanessa Williams.
Stage coordinator: Alyssa Johncola
The concert will run approximately 60 minutes without an intermission.4
BIOGRAPHIES
Jonathan Allsop
Jonathan Allsop is a junior in the College majoring in Music. Jonathan participates in sever-
al different music ensembles on campus ranging from Penn Singers Light Opera Company, to
University Choir, to Penn’s jazz combos, and more. Jonathan is also a song writer and has recently
been working hard writing music for an EP he plans on releasing his senior year. He is so thrilled
to be singing with Rodin Opera Scenes again especially playing the role of the Count in his favorite
opera The Marriage of Figaro.
Erica Ball
Erica Ball is a Philadelphia based musician, active as a composer, pianist, violinist, and conductor,
with a special interest in bringing contemporary music to new audiences. Erica’s compositions
have been performed across the United States by numerous ensembles including the American
Symphony Orchestra, Da Capo Chamber Players, and International Contemporary Ensemble. Er-
ica holds a BA from Bard College, where she studied with Joan Tower, Kyle Gann, Blair McMillen,
and members of the Colorado Quartet. She is currently the 2014-2015 Mellon Graduate Education
Fellow at the University of Pennsylvania where she is completing a PhD in music composition.
Melody Cooke
Melody, also known as Cherubino and Beth, is proud to be a returning member of Rodin Opera
Scenes for their second year of production. In the past she played Mallika in the “Flower Duet”
from Lakmé and Hansel in the “Evening Prayer” from Hansel und Gretel with fellow opera singer
Nikki McGeary. Although she just started opera lessons 2 years ago with instructor Courtney
Ames, she previously was a classically and jazz trained pianist and performed as a soloist and ac-
companist in jazz bands. When she is not singing or playing the piano, she is a junior in Wharton
studying marketing.
Emily Derecktor
Emily Derecktor is a soprano from Portsmouth, Rhode Island. She has been studying voice for 9
years and is currently studying under Malinda Haslett. In addition to Rodin Opera Scenes, she has
participated in the choirs at Brown University and Penn and was a member of Brown’s all female a
cappella group, the Chattertocks. At Penn, Emily studies Health and Societies and is on a pre-med
track. Outside of class, she enjoys volunteering for MERT, Penn’s student EMS service, working
on research projects for the Psychology Department, teaching voice lessons for middle school
students for Penn’s After School Arts Program, and spending time with her friends.
Emily Eck
Emily is a sophomore in the College of Arts and Sciences majoring in Cognitive Science and
minoring in English. She is thrilled to be making her opera debut this semester with Rodin Opera
Scenes. She is music director and choreographer of Penn Sirens female vocal ensemble and plays
guitar and ukulele.
David Glanzman
David is a sophomore in SEAS, studying Computer Engineering. He likes singing, playing the
guitar, and working with electronics in his spare time. He also plays in Penn’s jazz band and runs
Penn’s student branch of the Institute for Electronics and Electrical Engineers. David was born
and raised in the Philly area with his younger brother, now a freshman at University of Rochester.
During the summer, David works in an engineering research lab, and hopes to pursue an advanced
degree in Engineering after graduation. He’s excited and honored to perform with his talented
classmates!
Matré Grant
Matré Grant, mezzo-soprano, is a sophomore (Class of 2017) majoring in music and minoring in5 creative writing in the College of Arts & Sciences at Penn. She sings with the University Choir, Chamber Singers, and Choral Society under the direction of William Parberry. She also performs with Penn Singers Light Opera Co., African American Arts Alliance (4A), and the St. Mary’s Epis- copal Church Choir. She is an alumna of the Vocal Music Department at the Governor’s School for the Arts (Class of 2013) in Norfolk, Virginia. Her voice teacher is Courtney Ames, soprano. Elizabeth Higbee Beth Higbee joins Rodin Opera Scenes for the first time this semester, and is so happy to have found them! She is a third year PhD student in the School of Medicine studying Biochemistry and Molecular Biophysics. In addition to a B.S. in Biochemistry, she has a B.A. in Music Performance from Syracuse University, where she specialized in musical theater and trouser roles. Here at Penn, she is a member of the Penn Singers Light Opera Company, and performed in their last three productions: Iolanthe (Iolanthe), Sweeney Todd (Pirelli), and Pirates of Penzance (Ruth). Juan Jose Lopez Delgado Juanjo is back by popular demand, and is once again flanked by two amazing divas in his second Opera Scenes performance. He hails from the faraway fantasy-land of Asunción, Paraguay (some- where in Polynesia, right next to Belgium I believe). This is his 16th year at Penn; he’s a second year GSEAS’15 Robotics student and an econ SAS’14 and compsci SEAS’14 alum. He’s also a proud member of Penn Singers Light Opera Co., where he has spent most of his time memorizing 18th century G&S speech for use in casual conversation. He’s nocturnal, never sleeps and enjoys snap- chatting to his heart’s content. Rachel Mardjuki Rachel is a sophomore in the College studying biochemistry. After taking a brief break from piano and joining the Choral Society last year, she is now enjoying the opportunity to play again in a very different setting. Music is her favorite way to de-stress and use a different part of her brain, and she has enjoyed observing all the nuances that go into staging an opera! Nikki McGeary Nikki McGeary is a rising senior, majoring in English/Creative Writing. She has been a singer since she was four, and loves early music and opera. This is her second performance with Rodin, and she has enjoyed meeting other singers and learning new music. She lives with her husband, brother, and three cats in their historic house in a close suburb of Philadelphia. Lauren Nagy Lauren Nagy is so excited to make her second performance in the Rodin Opera! She is the outgo- ing business manager of Penn Singers Light Opera Company on campus, and has had a wonderful time in the last four years performing Gilbert and Sullivan with the group. Lauren is a BBB major and a pre-med student, so when she’s not singing you can probably find her in the library. The Ro- din Opera Scenes project has been a great way to wrap up senior year performances—a big thanks to Maria, her former GA, for keeping her involved. Michael Nissan Michael is a junior studying Chemical & Biomolecular Engineering, and he is very excited to be a part of Rodin Opera Scenes for the first time this semester. This is the third musical production he is involved in this year, after performing in Penn Singers’ Sweeney Todd and Iolanthe. Tristan Paré-Morin Tristan Paré-Morin is a 2nd year graduate student in musicology. Trained as a classical pianist, he now frequently ventures into jazz and pop. Last year, he accompanied the Penn Players in Sond- heim’s musical Assassins. In the past, he has been arranger and saxophonist in his own jazz quar- tet. As a classical pianist, he has performed in various music competitions, including the Canadian Music Competition, where he was finalist for his province, Québec. As a chorister, Tristan sang with both amateur and professional choirs, as well as with the Metropolitan Orchestra of Montreal under Yannick Nézet-Séguin.
6 Cristina Peruyera Cristina Peruyera is a senior in Wharton studying Strategic Management & Marketing. Originally from Miami, Cristina’s love for opera began in high school where she formally studied the art and where she had the opportunity to work closely with the Florida Grand Opera. Although Cristina is pursuing a career in consulting, opera has and will always be an important part of her life. Joseph Rim Joe is a high school science teacher in Philly and a Master’s student at Penn’s Graduate School of Education studying for his principal certification. At Brown University, he sang some chill roles like Gianni Schicchi and directed a really weird retelling of The Tales of Hoffman. Other credits include music directing The Turn of the Screw and being the worst accompanist you’ve ever had. Damilore Rosanwo Although she spent much of her youth singing and touring with her city’s professional children’s choir, Dami Rosanwo’s first true experience with opera was performing as the Spirit in form of Mercury for the Fort Wayne Youth Chorale’s 2010 production of Dido and Aeneas. Since then, she has focused primarily on early music, her favorite pieces being Mozart’s arias. A returning Rodin Opera Scenes member, Dami has also practiced under the private instruction of Bonnie Hoke-Sce- drov for the past three years. She is currently a junior pursuing Marketing and Multinational Management in Wharton and International Studies in the College. Caroline Sambuco Soprano Caroline Sambuco began her musical pursuits in third grade with the New York City Opera Children’s chorus. She has been studying voice since 2009. She has attended the Bel Canto Institute and the Boston University Tanglewood Institute where she participated in masterclasses with Sandra Piques Eddy, Sara Jobin and Jane Klaviter. Her favorite musical experiences thus far include portraying the role of Dido in Purcell’s Dido and Aeneas and performing with the orches- tra as a concerto winner at Phillips Academy, in Andover, MA. This summer she will attend the Oberlin in Italy Opera Program. Charles Shrader Charlie Shrader is a second-year PhD student in Musicology at Penn. An avid singer and per- former, he has in a previous collegiate existence played such roles in scenes concerts and stage productions as Rocco in Fidelio, Dr. Miracle in Les contes d’Hoffman, Richard Dauntless in Rud- digore, Samuel in The Pirates of Penzance, and the Lord Chancellor in Iolanthe. He is thrilled to be working with such talented performers and producers! Jordyn Tumas Jordyn Tumas is excited to be making her opera debut with Rodin Opera Scenes. This soon-to-be med student senior in the College is no stranger to the stage; you can find Jordyn playing guitar at open mics, leading large-scale Zumba at philanthropy events, or even singing with her band in the Quad at Spring Fling. Off the stage and out of the library, Jordyn is an RA in Rodin College House, a brother of Alpha Iota Gamma professional pre-health fraternity, a sister of ZTA sorority, and a member of the Club Tennis Team, Osiris Senior Society, and Penn Women’s Biomedical Society. A huge thanks to Maria for being an amazing director, friend, and spiritual guide throughout this entire process. Vanessa Williams Vanessa started learning the piano at the age of five, violin aged seven, accordion aged ten, and vi- ola and church organ aged twelve. She studied Music at the University of Southampton, achieving a first class undergraduate degree in 2005 and a Master’s degree in Musicology with distinction in 2006. She is currently studying for a PhD in Musicology at the University of Pennsylvania, and also performs as an accompanist in the Philadelphia area. She was Music Director for Penn Singers’ production of Thoroughly Modern Millie in 2013; has played for shows in New Jersey, Pennsylvania, and New York; and is an accompanist at the Walnut Street Theater.
7 Lily Kass Lily Kass is proud to be one of the co-founders of the Rodin Opera Scenes Program. She would like to congratulate all of the wonderful participants in this year’s production and thank them for their hard work. Lily is a fourth year PhD candidate in Music History whose dissertation explores the performance of Italian opera in London in the 1790s. She is a core member of the choir of St. Mark’s Church and studies voice with the incredible Courtney Ames. Favorite operatic roles include Anne Trulove (cover) in The Rake’s Progress, and Ino in Eccles’ Semele. Carlo Lanfossi Carlo Lanfossi is a third-year PhD student in Musicology at Penn and one of the co-founders of the Rodin Opera Scenes program. His area of expertise is early opera and historical performance prac- tice. Unlike his amazing colleagues Maria Murphy and Lily Kass, he has absolutely no experience in singing and yet he pretends to do it anyway. Carlo would like to apologize to every composer he attempted to perform on stage. Maria Murphy Maria Murphy is a third-year PhD student in Musicology at Penn and one of the co-founders of the Rodin Opera Scenes program. She is thrilled to be sneaking on stage for one of the scenes, though she knows she will never live up to the soon-to-be legendary Lanfossi cameos. Maria would like to thank all of the wonderful singers and brilliant accompanists for generously lending their talents to this production.
8
TEXTS
Candide
Music by Leonard Bernstein
Libretto by John La Touche
Pangloss Pangloss
Let us review Lesson Eleven. If snake had not seduced our lot,
and primed us for salvation,
Pupils Jehovah could not pardon all
Paragraph two, axiom seven. the sins that we call cardinal,
involving bed and bottle.
Pangloss
Once one dismisses Pupils
the rest of all possible worlds, Now on to Aristotle.
one finds that this is
the best of all possible worlds. Maximilian
Mankind is one.
Pupils All men are brothers.
Once one dismisses
the rest of all possible worlds, Pupils
one finds that this is As you’d have done,
the best of all possible worlds. do unto others.
Pangloss Maximilian
Pray, classify pigeons and camels. It’s understood in
this best of all possible worlds.
Pupils
Pigeons can fly. Pupils
Camels are mammals. All is for the good in
this best of all possible worlds.
Pangloss
There is a reason Candide
for ev’rything under the sun. Objection! What about war?
Pupils Maximilian
There is a reason War...
for ev’rything under the sun. Though war may seem a bloody curse,
it is a blessing in reverse.
Maximilian When cannon roar,
Objection! both rich and poor
What about snakes? by danger are united.
Pangloss Pupils
Snakes... ‘Til ev’ry wrong is righted.
‘Twas snake that tempted mother eve.
Because of snake we now believe Maximilian
that ‘tho’ depraved, Philosophers made evident
we can be saved the point that I have cited.
from hell-fire and damnation. ‘Tis war makes equal,
as it were,
Pupils the noble and the commoner,
Because of snake’s temptation. thus war improves relations.9
Pupils Maximilian
Now on to conjugations. Quod erat demonstrandum!
Q. E. D.
Maximilian Amo, amas.
Amo, amas, amat, amamus. amat, amamus.
Q. E. D.
Pupils Quod erat demonstrandum!
Amo, amas, amat, amamus.
Cunegonde, Candide, Maximilian, Pangloss
Maximilian Quod erat demonstrandum
Proving that this is in this best of all possible, possible, possible
the best of al possible worlds. worlds!
With love and kisses, Quod erat demonstrandum!
the best of all possible worlds. Q. E. D.
Pupils
Proving that this is
the best of all possible worlds.
With love and kisses
the best of all possible worlds.
Le Nozze di Figaro (The Marriage of Figaro)
Music by Wolfgang Amadeus Mozart
Libretto by Lorenzo da Ponte
Susanna Susanna
Aprite, presto, aprite; Open up, quickly, open up;
Aprite, è la Susanna. Open up, it’s Susanna.
Sortite, via sortite, Come out of there, quick, come out,
Andate via di qua. Get out of there.
Cherubino Cherubino
Ohimé, che scena orribile! Oh, what a horrible scene!
Che gran fatalità! What a catastrophe!
Susanna Susanna
Di qua, di là. Here, there!
Susanna & Cherubino Susanna & Cherubino
Le porte son serrate, The doors are locked,
che mai, che mai sarà! Whatever will happen next!
Cherubino Cherubino
Qui perdersi non giova. It’s useless to despair.
Susanna Susanna
V’uccide se vi trova. He’ll kill you if he finds you.
Cherubino Cherubino
Veggiamo un po’ qui fuori. I’ll just look out here.
Dà proprio nel giardino. It looks onto the garden.10 Susanna Susanna Fermate, Cherubino! Don’t do that, Cherubino! Fermate per pietà! Stop for pity’s sake! Cherubino Cherubino Qui perdersi non giova. It’s useless to despair! Susanna Susanna Fermate, Cherubino! Stop, Cherubino! Cherubino Cherubino M’uccide se mi trova. He’ll kill me if he finds me. Susanna Susanna Tropp’alto per un salto., It’s too high to jump, fermate per pietà! Stop for pity’s sake! Cherubino Cherubino Lasciami, pria di nuocerle Let me go, before hurting her nel fuoco volerei. I’d fly into a fire. Abbraccio te per lei— I embrace you for her— Addio, così si fa. Farewell, so it goes. Susanna Susanna Ei va a perire, oh Dei! He’s going to die, oh God! Fermate per pietà; fermate! Stop, for pity’s sake; stop! [...] [...] Conte Conte Esci omai, garzon malnato. Leave this instant, ill-born boy. Sciagurato non tardar. wretched lad, be quick about it. Contessa Contessa Ah signore, quel furore Ah sir, your fury Per lui fammi il cor tremar. makes my heart tremble for him! Conte Conte Ed opporvi ancor osate? And you still dare to oppose me? Contessa Contessa No, sentite... No, listen... Conte Conte Via, parlate. Go on, speak! Contessa Contessa Giuro al ciel ch’ogni sospetto... I swear to God that your every suspicion… e lo stato in che il trovate... and the state in which you find him… sciolto il collo... nudo il petto... with his collar unraveled…and his chest bare… Conte Conte sciolto il collo... nudo il petto...seguitate His collar unraveled, and his chest bare? Go on! Contessa Contessa Per vestir femminee spoglie... He was dressing as a woman…
11 Conte Conte Ah, comprendo indegna moglie. Ah, I understand, unworthy wife. Mi fa torto vendicar. I want revenge soon. Contessa Contessa Mi fa torto, quel trasporto; Your transport wrongs me. m’oltraggiate, a dubitar. You offend me by doubting me. Conte Conte Qua la chiave. Give the key here! Contessa Contessa Egli è innocente, voi sapete... He’s innocent! You know... Conte Conte Non so niente. I don’t know anything! Va’ lontan dagli occhi miei. Leave my sight. Un’infida, un’empia sei... You are a faithless and impious woman, e mi cerchi d’infamar. and you’re trying to malign me. Contessa Contessa Vado... sì... ma... I’m going...yes...but... Conte Conte Non ascolto. I’m not listening. Contessa Contessa Non son rea... I’m not guilty! Conte Conte Ve ‘l veggo in volto. I can read it in your face! Mora….Mora Let him die. Contessa Contessa Ah, la cieca gelosia Ah, blind jealousy qualche eccesso gli fa far!... leads him to such excesses Conte Conte Mora, mora, e più non sia Let him die so that he will no longer ria cagion del mio penar! be the guilty cause of my suffering. Susanna? Susanna? Contessa Contessa Susanna? Susanna? Susanna Susanna Signore! Sir! Cos’è quel stupore? Why this amazement? Il brando prendete, Take your sword il paggio uccidete; and kill the page! quel paggio malnato See that ill-born page vedetelo qua. right here! Conte Conte Che scuola! La testa girando mi va What a lesson! My head is sent spinning!
12 Contessa Contessa (Che storia è mai questa! (What’s going on! Susanna v’è là?) Susanna, you’re there?) Susanna Susanna (Confusa han la testa: (Their heads are confused. non san come va.) They don’t know what to do.) Conte Conte Sei sola? Are you alone? Susanna Susanna Guardate, Look! qui ascoso sarà. He will be hidden in here! Conte Conte Guardiamo, guardiamo, Let’s look, let’s look. qui ascoso sarà. He will be hidden in here. Contessa Contessa Susanna, son morta. Susanna, I’m dead. Il fiato mi manca. I can’t catch my breath. Susanna Susanna Più lieta, più franca! Be more happy and restored! In salvo è di già. He’s already safe from here. Conte Conte Che sbaglio mai presi! How have I made this error? Appena lo credo. I can hardly believe it. Se a torto v’offesi, If I offended you by wronging you, perdono vi chiedo; I ask your pardon…. ma far burla simile but to play a trick on me like that è poi crudeltà! is cruelty! Contessa & Susanna Contessa & Susanna Le vostre follie non mertan pietà Your follies don’t merit pity. Conte Conte Io v’amo! I love you! Contessa Contessa No’l dite. Don’t say that. Conte Conte Lo giuro. I swear it. Contessa Contessa Mentite! You lie! I am the impious, Son l’empia, l’infida ch’ognora v’inganna. faithless woman, who always tricks you. Conte Conte Quell’ira, Susanna, Susanna, help me m’aita a calmar. calm her anger.
13 Susanna Susanna Così si condanna He who suspects chi può sospettar. condemns himself to this. Contessa Contessa Adunque la fede Then the faith d’un anima amante of a loving soul sì fiera mercede can only hope doveva sperar? for such cruel mercy as this? Conte Conte Quell’ira, Susanna, Susanna, help me m’aita a calmar. calm her anger. Susanna Susanna Così si condanna He who suspects chi può sospettar. condemns himself to this. Signora... Mistress... Conte Conte Rosina... Rosina... Contessa Contessa Crudele! Più quella non sono, Cruel one! I am no longer she, ma il misero oggetto but rather the miserable object del vostro abbandono, of your neglect, che avete diletto whose despair di far disperar. you delight in. Conte Conte Confuso, pentito, Confused, repentant, son troppo punito: I have been punished too much. abbiate pietà. Have pity. Contessa Contessa Crudele! Soffrir sì gran torto Cruel one! My soul doesn’t know quest’alma non sa. how to suffer such a great wrong. Susanna Susanna Confuso, pentito, Confused, repentant, è troppo punito: he has been punished too much. abbiate pietà. Have pity. Conte Conte Ma il paggio rinchiuso… But the hidden page... Contessa Contessa …fu sol per provarvi …was only to test you. Conte Conte Ma i tremiti, i palpiti? But your shivering, your trembling? Contessa Contessa …fu sol per burlarvi …was only to fool you.
14
Conte Conte
Ma un foglio sì barbaro? But such a cruel letter?
Contessa & Susanna Contessa & Susanna
Di Figaro è il foglio, The letter is from Figaro,
e a voi, per Basilio... sent you through Basilio...
Conte Conte
Ah, perfidi! Io voglio... Ah! Wreches! I want…I want…!
Contessa & Susanna Contessa & Susanna
Perdona non merta che agli altri non dà. He who does not pardon others doesn’t merit
pardon himself.
Conte Conte
Ebben, se vi piace, Well then, if you’d like,
comune è la pace: let us all be at peace.
Rosina inflessibile Rosina will not be inflexible
con me non sarà. with me.
Contessa Contessa
Ah, quanto, Susanna, Ah, Susanna!
son dolce di core! My heart is so soft!
Di donna al furore Who will ever again
chi più crederà? believe in a woman’s fury!
Susanna Susanna
Cogli uomini, signora, With men, mistress,
girate, volgete, you twist and turn.
vedrete che ognora You’ll see that in doing that,
si cade poi là. one always falls down.
Conte Conte
Guardatemi. Look at me.
Contessa Contessa
Ingrato! Ingrate!
Conte Conte
Guardatemi. Look at me.
Contessa Contessa
Ingrato! Ingrate!
Conte Conte
Guardatemi! Ho torto, e mi pento. Look at me! I’m wrong, and I repent.
Contessa Contessa
Da questo momento From this moment on,
quest’alma a conoscermi his soul will learn
apprender potrà. to understand me.
Conte Conte
Da questo momento From this moment on,
quest’alma a conoscervi my soul will learn
apprender potrà. to understand you.15
Susanna Susanna
Da questo momento From this moment on,
quest’alma a conoscerla his soul will learn
apprender potrà. to understand her.
Threepenny Opera
Music by Kurt Weill
Original Libretto by Bertolt Brecht
Ballad of Mack the Knife: Polly: [Spoken]: Dungheap yourself!
He: Lucy: They say that you’ve got my Mack com-
Though the shark’s teeth may be lethal, pletely crazy for you.
Still you see them white and red;
But you won’t see Mackie’s jack-knife Polly: Do they now? Do they now?
‘Cause he slashed you and you’re dead!
Lucy: It’s a joke to think that he’d adore you
Jenny Dipper was a stripper;
Someone ripped her from ear to ear; Polly: Is it now? Is it now?
Though the knife-work was artistic,
Seems that Mackie was nowhere near! Lucy: Ha, I’ll laugh until I’m blue.
Someone’s lying near the telly, Polly: Oh, you’ll laugh till you turn blue!
With his children and his wife;
It’s a painting done in crimson. Lucy: Think of Mack adoring you!
You could sign it “Mack the Knife”!
Polly: Think again because it’s true!
Oh, the shark has pretty teeth, dear,
And he shows them pearly white; Lucy: Ha ha ha ha ha a slut like you? No man
Just a jack-knife has Macheath, dear, could love a mutt like you.
And he keeps it out of sight!
Polly: Well I wouldn’t say you’re right.
Just a jack-knife has Macheath, dear,
And he keeps it out of sight! Lucy: Oh, you wouldn’t say I’m right?
She: Polly: Wait and see who wins the fight.
On a blue and balmy Sunday
Someone drops dead in the Strand. Lucy: I can see who wins the fight! Ha ha ha ha
And a man slips round the corner.
People say: Macheath’s on hand. Both: Mackie’s my life, like lovebirds
we’ve been cooing.
I am his wife, no matter who comes wooing.
I don’t mean to be crass dear, but I can’t let
[...] it pass, dear, when cows like you start mooing.
Polly: Yes I am a SoHo beauty queen. And my
Jealousy Duet: legs they all men admire because they all like a
pretty picture. So they beg me “lift your skirt up
Lucy: Come out here, you Soho beauty queen. higher.”
Let me see the legs all men admire.
I’m always fond of a pretty picture. Lucy: [Spoken]: You dungheap!
Lift your skirt--come on, a little higher!
Polly: [Spoken]: Dungheap yourself!
Lucy: [Spoken]: You Dungheap16
Polly: I know that I’ve got my Mack completely So many years. It seems so far away.
crazy for me I cared for her, and she paid all my bills.
Just like a marriage - but that doesn’t pay.
Lucy: Do you now? Do you now? A sailor would appear. I got out of bed,
Went out and had a beer. He crawled in instead.
Polly: And it’s natural that he’d adore me. And when he paid his bill, back in bed I’d climb,
And say, “Goodnight, my friend, thank you.
Lucy: Is it now? Is it now? Anytime!”
For six full months, no time to get depressed.
Polly: Ha, I’ll laugh until I’m blue In that old whore house where we built our nest.
Lucy: Oh, you’ll laugh till you turn blue? Jenny:
There was a time, and now it’s all gone by
Polly: Think of Mack adoring you! When we were poor but happy, he and I.
And when the night no customer would bring
Lucy: Think again because it’s true! And we would fight, he’d yell “Give back my ring!”
Just like a marriage, but minus the ring
Polly: Ha ha ha ha ha a cow like you? No man But when he drank too much, I’d get kind of
could love a sow like you grim
And shout house down how I stood a clod like him
Lucy: Well I wouldn’t say you’re right And then he’d turn around in bed and bite my arm
And I would kick him in the teeth meaning no harm
Polly: Oh, you wouldn’t say I’m right?
Both:
Lucy: Wait and see who wins the fight Six months of love no time to get depressed
In that old whore house where we built our nest
Polly: I can see who wins the fight! Ha ha ha ha
Mack:
Both: Mackie’s my life, our hearts in love we’re Oh happy time, and now it’s all gone by,
linking Until we quit each other, you and I.
I’ll stay his wife, no matter what We had our love by day and don’t you smirk
you’re thinking I don’t mean to be The nights I say were strictly meant for work
crass dear, but I can’t let it pass, dear,
When shits like you start stinking. Jenny:
It’s better at night they say
Both: [Spoken]: What a joke!
Mack:
It ain’t bad by day
Jenny:
And then one time I felt inside a little stir
Mack:
Ballad of Mack the Knife: It looked like soon I might be taking care of her
She: Jenny:
All along the Thames embankment Do you suppose that it was all my private plan?
People Fall down with a smack. You left me flat!
But it is not plague or cholera,
word’s around that Mach is back. Mack:
Well I just ain’t a family man!
Pimp Tango:
Both:
Mack: And that was that, to call it quits was best
So many years have vanished since the day And leave that whore house where we built our
When she and I were partners. Oh, what thrills! nest.17 La Cenerentola (Cinderella) Music by Gioachino Rossini Libretto by Jacopo Ferretti Dandini Dandini Ma dunque io sono un ex? dal tutto al niente So I’m an ex. From all to nothing Precipito in un tratto? do I tumble in a trice? Veramente ci ho fatto Really, I did make Una bella figura! a good impression...! Don Magnifico Don Magnifico Scusi la mia premura... Pardon my haste. Ma quelle due ragazze But those two girls Stan con la febbre a freddo. Si potrebbe are in a cold sweat. May I urge you Sollecitar la scelta. to make your choice? Dandini Dandini È fatta, amico. My choice is made, my friend. Don Magnifico Don Magnifico È fatta! ah! per pietà! dite, parlate: It’s made! Oh, for pity’s sake! Tell me! Speak! È fatta! e i miei germogli... It’s made! And my offspring… will they In queste stanze a vegetar verranno? be coming to flourish in these apartments? Dandini Dandini Tutti poi lo sapranno. Everyone will know soon. Per ora è un gran segreto. For the moment it’s a big secret. Don Magnifico Don Magnifico E quale, e quale? But which is it? Which? Clorindina o Tisbetta? Little Clorinda, or precious Tisbe? Dandini Dandini Non giudicate in fretta. Don’t be so impatient. Don Magnifico Don Magnifico Lo dica ad un papà. Come now, tell papa! Dandini Dandini Ma silenzio. But…silence! Don Magnifico Don Magnifico Si sa; via, dica presto. I know. Go on, tell me quickly. Dandini Dandini Non ci ode alcuno? No one can hear us? Don Magnifico Don Magnifico In aria There’s not even a fly Non si vede una mosca. buzzing around. Dandini Dandini È un certo arcano It’s a certain mistery Che farà sbalordir. that will astound everyone.
18 Don Magnifico Don Magnifico Sto sulle spine. I’m on tenderhooks. Dandini Dandini Poniamoci a sedere. Let’s sit down. Don Magnifico Don Magnifico Presto, per carità. Be quick, for heaven’s sake. Dandini Dandini Voi sentirete You are about to hear Un caso assai bizzarro. a most fantastic case. Don Magnifico Don Magnifico (Che volesse (Is he thinking of Maritarsi con me!) proposing to me?) Dandini Dandini Mi raccomando. Be advised. Don Magnifico Don Magnifico Ma si lasci servir. I’m at your service. Dandini Dandini Sia sigillato Let what you hear from my lips Quanto ora udrete dalla bocca mia. remain secret. Don Magnifico Don Magnifico Io tengo in corpo una segreteria. I have a secretary inside me. Dandini Dandini Un segreto d’importanza, A secret of importance, Un arcano interessante an interesting mistery, Io vi devo palesar. I must reveal to you. È una cosa stravagante, It’s something quite extraordinary, Vi farà strasecolar. you’ll be amazed. Don Magnifico Don Magnifico Senza battere le ciglia, Without battling an eyelid, Senza manco trarre il fiato without even drawing breath, Io mi pongo ad ascoltar. I prepare to listen. Starò qui petrificato I’ll stay here petrified, Ogni sillaba a contar. counting every sillable. Dandini Dandini Uomo saggio e stagionato A wise and mature man Sempre meglio ci consiglia. can always offer the best advice. Se sposassi una sua figlia, If I married one of your daughters, Come mai l’ho da trattar? how should I have to treat her? Don Magnifico Don Magnifico (Consiglier son già stampato.) (I’m appointed counselor now!) Ma che eccesso di clemenza! But what an excess of graciousness! Mi stia dunque Sua Eccellenza... Then listen to me, Your Excellency… Anzi!.. Altezza, ad ascoltar. …pardon! Your Highness! Abbia sempre pronti in sala Always have ready in the hall
19 Trenta servi in piena gala, thirty servants in full livery, Cento sedici cavalli, one hundred and sixteen horses, Duchi, conti e marescialli dukes, counts, and marshals, A dozzine convitati, guests by the dozen, Pranzi sempre coi gelati always dinners with ices on the menu, Poi carrozze, poi bombè. then carriages and travelling trunks. Dandini Dandini Vi rispondo senza arcani In reply I’ll make no secret of it Che noi siamo assai lontani. that we’re very far from that. Io non uso far de’ pranzi; I’m not in the habit of giving dinner-parties, Mangio sempre degli avanzi. I always eat leftovers, Non m’accosto a’ gran signori, I don’t hang out with fine gentlemen, Tratto sempre servitori. always mix with servants, Me ne vado sempre a piè, always travel on foot. Don Magnifico Don Magnifico Mi corbella? Are you joking? Dandini Dandini Gliel prometto. I promise you I’m not. Don Magnifico Don Magnifico Questo dunque? So, this…? Dandini Dandini È un romanzetto. …is a hoax. È una burla il principato, My princely power is a joke, Sono un uomo mascherato. I’m a man in disguise. Ma venuto è il vero Principe But the real Prince has returned M’ha strappata alfin la maschera. and has at last removed my mask. Io ritorno al mio mestiere: I’m going back to my job: Son Dandini il cameriere. I’m Dandini, the valet. Rifar letti, spazzar abiti I make the beds, brush the clothes, Far la barba e pettinar. do the shaving and dress the hair. Don Magnifico Don Magnifico Far la barba e pettinar? Do the shaving and dress the hair? Di quest’ingiuria, For this insult, Di quest’affronto for this affront Il vero Principe the real Prince Mi renda conto. will account to me. Dandini Dandini Oh non s’incomodi Oh, don’t trouble! Non farà niente. He won’t do a thing. Ma parta subito But leave now, Immantinente. immediately. Don Magnifico Don Magnifico Non partirò. I’m not going. Dandini Dandini Lei partirà. Yes, you are.
20 Don Magnifico Don Magnifico Sono un Barone. I am a Baron. Dandini Dandini Pronto è il bastone. I’ve got a baton. Don Magnifico Don Magnifico Ci rivedremo We’ll see about this! Ci parleremo. We’ll talk about this! Dandini Dandini Ci rivedremo We certainly will see again! Ci parleremo. We certainly will talk again! Don Magnifico Don Magnifico (Tengo nel cerebro (I have a double-bass Un contrabbasso rumbling in my brain Che basso basso that deep down Frullando va. goes whirling around Da cima a fondo, from top to bottom. Poter del mondo! Almighty God! Che scivolata, What a landslide, Che gran cascata! what a slump! Eccolo eccolo “Look, there he is!” Tutti diranno they will say, Mi burleranno they will poke at me Per la città.) all over town.) Dandini Dandini (Povero diavolo! (Poor devil! È un gran sconquasso! It’s a mighty smash Che d’alto in basso that makes him plunge Piombar lo fa. from top to bottom. Vostr’Eccellenza Your Excellency, Abbia prudenza. be sensible: Se vuol rasoio, if you need razor, Sapone e pettine soap and comb, Saprò arricciarla, I can curl you, Sbarbificarla. shave you. Ah ah! guardatelo, Ha, ha! Just look at him, L’allocco è là.) there’s that great fool!)
21 Carmen Music by Georges Bizet Libretto by Henri Meilhac and Ludovic Halévy Frasquita and Mercédès Frasquita and Mercédès Mêlons! Coupons! Bien, c’est cela! Shuffle! Cut! Good, that’s it! Trois cartes ici, quatre là! Three cards here, four there! Et maintenant, parlez, mes belles, And now, speak, my beauties, de l’avenir, donnez-nous des nouvelles, of the future, give us the news, dites-nous qui nous trahira! tell us who will betray us! Dites-nous qui nous aimera! Tell us who will love us! Parlez, parlez! Parlez! Parlez! Speak, speak! Speak! Speak! Frasquita Frasquita Moi, je vois un jeune amoureux Me, I see a young lover qui m’aime on ne peut davantage. who loves me more than anyone could. Mercédès Mercédès Le mien est très riche et très vieux Mine is very rich and very old mais il parle de mariage! but he speaks of marriage! Frasquita Frasquita Je me campe sur son cheval, I settle myself on his horse et dans la montagne, il m’entraine. and into the mountains he carries me. Mercédès Mercédès Dans un château presque royal In an almost royal castle le mien m’installe en souveraine. mine makes me a queen. Frasquita Frasquita De l’amour à n’en plus finir, Never-ending love, tous les jours, nouvelles folies! every day, new raptures! Mercédès Mercédès De l’or tant que j’en puis tenir, So much gold I couldn’t carry it, des diamants, des pierreries! diamonds, precious stones! Frasquita Frasquita Le mien devient un chef fameux Mine becomes a famous chief, cent hommes marchent à sa suite. a hundred men march behind him. Mercédès Mercédès Le mien, le mien, en croirai-je mes yeux? Mine, mine? Can I believe my eyes? Oui, il meurt! Ah, je suis veuve et j’hérite! Yes, he dies! Ah, I am a widow and I inherit! Frasquita and Mercédès Frasquita and Mercédès Parlez encore, parlez, mes belles, Speak again, speak, my beauties, de l’avenir, donnez-nous des nouvelles. of the future, give us the news. Mercédès Mercédès Fortune! Fortune! Frasquita Frasquita Amour! Love!
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Carmen Carmen
Voyons, que j’essaie à mon tour. Let’s see, let me try and take my turn.
Carreau! Pique! Diamonds! Spades!
La mort! J’ai bien lu. Death! I read it correctly.
Moi d’abord - ensuite lui - Me first - then him -
pour tous les deux, la mort! For both of us, death!
En vain pour éviter les réponses amères, In vain to avoid bitter responses,
en vain tu mêleras, in vain you shuffle,
cela ne sert à rien, les cartes sont sincères but it’s of no use, the cards are truthful
et ne mentiront pas! and will not lie!
Dans le livre d’en haut si ta page est heureuse, If your page in the book up above is happy,
mêle et coupe sans peur, shuffle and cut without fear,
la carte sous tes doigts se tournera joyeuse, the card under your fingers will turn up joyfully,
t’annonçant le bonheur! announcing your good luck!
Mais si tu dois mourir, si le mot redoutable But, if you must die, if the dreadful word
est écrit par le sort, is written by destiny,
recommence vingt fois, la carte impitoyable restart twenty times, the pitiless card
Répétera: la mort! Will repeat: death!
Encore! Encore! Toujours la mort! Again! Again! Always death!
Frasquita and Mercédès Frasquita and Mercédès
Parlez encore, parlez, mes belles, Speak some more, speak, my beauties
de l’avenir donnez-nous des nouvelles. of the future, give us the news.
Fortune! Amour! Encore! Encore! Fortune! Love! Again! Again!
Carmen, Frasquita, and Mercédès Carmen, Frasquita, and Mercédès
Encore! encore! le désespoir! Again! Again! Despair!
La mort! La mort! Encore la mort! Death! Death! Again death!
Toujours la mort! Encore! Encore! Always death! Again! Again!
Little Women
Music by Mark Adamo
Libretto by Mark Adamo
Jo Amy, Beth, and Meg
Let me look at you… golden… Our perfect summer came to pass;
The angels I recall. It didn’t come to stay.
A sisterhood of summer,
what did we know of fall? All
What could we know of fall? Where’er we are tomorrow,
Who will we be tomorrow? How near, how far apart,
It’s not in my control. Still, for a moment,
I know, though, for a moment, We were four sisters…
we were four sisters, one soul.
Amy, Beth, and Meg
Meg …one heart.
I, too, remember us.
Jo
Beth Who was that frightened child
Golden. Trying to postpone what had to be,
Amy Clinging, clinging to what was?
Happy and at play. Unenlightened child!23
Shouldn’t she have known All
What had to be? Still, how happy we were then!
Well, now she does… now she does. A half-enchanted family
Meg… you’ve found your knight. We’ll never be again.
I wish the world to him, We will never be that way again.
And to his wife. Enough! On to tomorrow,
Bethy… you were right. Each to her sep’rate goal.
You will stand by me Still, for a moment…
Ev’ry moment of my life. Remember the moment,
Amy… we cease our fighting. We were four sisters, one soul.
At last you have your Laurie
For you own! Jo
And me, well, I’m still writing, How grateful I am…
And still alone. Still alone. Laurie?
Still, I’ll remember us… Friedrich!
Beth Bhaer
Chatting,… I had a little bus’ness in town.
Is now the good moment?
Meg
Pouting,… Jo
Now is all there is.
Amy Come in.
Spatting,…
Jo
Shouting…
Der Schauspieldirektor (The Impresario)
Music by Wolfgang Amadeus Mozart
Libretto by Gottlieb Stephanie
Mademoiselle Silberklang Mademoiselle Silberklang
Ich bin die erste Sängerin. I am the prima donna.
Madame Herz Madame Herz
Das glaub ich ja, I think yes,
nach Ihrem Sinn. in your mind.
Mademoiselle Silberklang Mademoiselle Silberklang
Das sollen Sie mir nicht bestreiten! This you will not deny me!
Madame Herz Madame Herz
Ich will es Ihnen nicht bestreiten. I will not deny you.
Monsieur Vogelsang Monsieur Vogelsang
Ei, lassen sie sich doch bedeuten! Go ahead and think that of yourself.
Mademoiselle Silberklang Mademoiselle Silberklang
Ich bin von keiner zu erreichen, No one can reach my heights,
das wird mir jeder zugestehn. no one can deny that.24 Madame Herz Madame Herz Gewiss, ich habe Ihresgleichen Of course, I’ve never heard noch nie gehört, und nie gesehn. nor seen anyone quite like you. Monsieur Vogelsang Monsieur Vogelsang Was wollen Sie sich erst entrüsten, What do you want to do? mit einem leeren Vorzug brüsten? To bother one another with empty boasting? Ein jedes hat besondern Wert. Everyone has her own worth. Madame Herz Madame Herz Ich bin die erste Sängerin. I am the prima donna. Mademoiselle Silberklang Mademoiselle Silberklang Ich bin die erste Sängerin. I am the prima donna. Monsieur Vogelsang Monsieur Vogelsang Ei, ein, was wollen Sie sich erst entrüsten, Hey, hey, what do you want to do? mit einem leeren Vorzug brüsten? To bother one another with empty boasting? Mlle Silberklang, Mme Herz Mlle Silberklang, Mme Herz Mich lobt ein jeder, der mich hört. Everyone who hears me praises me. Monsieur Vogelsang Monsieur Vogelsang Ei, ei, ein jedes hat besondern Wert. Yes, everyone has her own worth. Madame Herz Madame Herz Adagio, adagio! Adagio, adagio! Mademoiselle Silberklang Mademoiselle Silberklang Allegro, allegrissimo! Allegro, allegrissimo! Monsieur Vogelsang Monsieur Vogelsang Pian, piano, pianissimo! Pianississimo! Pian, piano, pianissimo! Pianississimo! Kein Künstler muss den andern tadeln, No artist should rebuke his colleagues, er setzt die Kunst zu sehr herab. or he will degrade art itself. Madame Herz Madame Herz Wohlan, nichts kann die Kunst mehr adeln. Well then, nothing can ennoble art more. Mademoiselle Silberklang Mademoiselle Silberklang Ganz recht, nichts kann die Kunst mehr adeln. That’s right, nothing can ennoble art more. Madame Herz Madame Herz Ich steh’ von meiner Ford’rung ab. I renounce my request. Mademoiselle Silberklang Mademoiselle Silberklang Ich stehe ebenfalls nun ab, I also renounce my request. von meiner Ford’rung ab. Madame Herz Madame Herz Ich bin die erste! I am the first! Monsieur Vogelsang Monsieur Vogelsang Pian Piano, diminuendo. Pianissimo. Pian Piano, diminuendo. Pianissimo.
25
ACKNOWLEDGEMENTS
The Rodin Opera Scenes Program would like to say a special thanks to those
who helped us with our second season:
Mauro Calcagno
Philip Dames
Antonia Diener
Megan Edelman
Laura Harris
Ryan Keytack
Elizabeth Kim
Eugene Lew
Magnus
Michelle Majeski
Maryellen Malek
Tommy Murphy
Jay Reise
Jamuna Samuel
Kirara Sato
Margie Smith
Underground Shakespeare Company
Kiara Vaughn
our voice teachers
and
Lily Kass’s portable umbrella and glass: you will not be forgotten.
No composers were harmed during the rehearsals for this production, with the
exception of Ludwig van Beethoven.
For more information about the Rodin Opera Scenes Program and more
opera-related events at Penn, please visit our website:
http://sites.sas.upenn.edu/opera/You can also read
