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Program - Opera for a Cause

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Program - Opera for a Cause
From planning
your annual Christmas party
to trade shows,
business meetings
& product launches,
Jacaranda Events is there to
lend a hand.
Contact us today
for your FREE event consultation.
Be sure to tell us that you saw us at
the Opera Gala!
[email protected]
www.jacaranda-events.ca
705 626 5779
20
705.671.71.71
Our mission is simple:
To make all media accessible to all Canadians.
Volunteer today!
Contact: 705-673-1285
[email protected]
2
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Program
1. “Hab'mir's gelobt” from R. Strauss’ Der Rosenkavlier –
Heather Charsley, Irmgard Hechler, and Tracy Sanmiya
2. “La Ci Darem La Mano” from W.A. Mozart’s Don Giovanni –
Irmgard Hechler and Ralph McIntosh
3. “Batti Batti, O Bel Massetto” from W.A. Mozart's Don Giovanni –
Heather Charsley
4. “Senza mamma” from G. Puccini’s Suor Angelica –
Susan Urquhart-Pandolfo
5. “Voce di donna” from La Gioconda by A. Ponchielli – Marion Harvey
6. “L’amour est un oiseau rebelle” from G. Bizet’s Carmen – Tracy Sanmiya
7. “Tu che di gel sei cinta” from G. Puccini’s Turandot – Pamela Teed
8. “Flower Duet with recit” from L. Delibes’ Lakmé –
Tracy Sanmiya and Pamela Teed
~ 15 Minute Intermission ~
9. “Soave il vento” from W.A. Mozart’s Cosi fan Tutte –
Irmgard Hechler, Tracy Sanmiya, and Ralph McIntosh
10. “Come scoglio” from W.A. Mozart’s Cosi fan Tutte – Pamela Teed
11. “Les Oiseaux dans la Charmille” (the doll song) from J. Offenbach's
Tales of Hoffman – Heather Charsley
12. “E Susanna non vien” & “Dove sono i bei momenti” from W.A. Mozart’s
Marriage of Figaro – Susan Urquhart-Pandolfo
13. “Via resti servita” from W.A. Mozart’s Marriage of Figaro –
Marion Harvey and Irmgard Hechler
14. “Marietta’s Lied” from E.W. Korngold’s Die Tote Stadt – Irmgard Hechler
15. Act 1 Scene 1 from PDQ Bach’s (P. Schickele) The Abduction of Figaro – All
Audience members are reminded to silence electronic devices before the performance.
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3
Biographies
Heather Charsley
Heather began her singing career as a young child singing at church
Capreol. Heather found her way to the Performing Arts Program at
Sudbury Secondary School as a vocal major. Heather performed in
Sudbury Secondary’s Vocal Jazz Ensemble, Vocal Jazz Combo, and
Concert Choir as well as many other specialized vocal groupings. Heather
continued her vocal and music studies at the University of Western
Ontario, studying with world class Bass-Baritone, Brian McIntosh. While
at Western, Heather sang with the UWO Chorale (1991-1993) as well as
the award winning Les Choristes (1993-1995). She was featured as a
soloist with each of these groups. After graduating with a Bachelor of
Musical Arts, Heather attended Althouse College (UWO) to earn her
Bachelor of Education. Heather performed on the stage in the1995
“Purple Patches” presentation of “My Fair Lady” and in Althouse
College’s 1996 presentation of “Finian’s Rainbow”. After completing her
studies at Western, Heather went on to teach elementary vocal music with
the Toronto District School Board. While in Toronto, Heather
participated in the Choral Music Experience program, and studied vocal
conducting techniques with world famous conductor Doreen Rao. In
2000, Heather returned to Sudbury and currently teaches music, dance,
drama and visual arts to students in grades 1-8 at C.R. Judd Public School.
Heather has been a chorister and soloist with the Capreol Community
Choir and is currently singing with the Bel Canto Chorus and is the music
director at her church in Capreol. Heather is currently serving as one of
the conductors of the Young Sudbury Singers. Heather would like to
thank her family for all their support and patience. We hope you enjoy
what we have to share with you today as much as we have enjoyed
preparing it!
Translations
14) “Marietta’s Lied” from E.W. Korngold’s Die Tote Stadt
Glück, das mir verblieb,
rück zu mir, mein treues Lieb.
Abend sinkt im Hag
bist mir Licht und Tag.
Bange pochet Herz an Herz
Hoffnung schwingt sich himmelwärts.
Wie wahr, ein traurig Lied.
Das Lied vom treuen Lieb,
das sterben muss.
Ich kenne das Lied.
Ich hört es oft in jungen,
in schöneren Tagen.
Es hat noch eine Strophe-weiß ich sie noch?
Naht auch Sorge trüb,
rück zu mir, mein treues Lieb.
Neig dein blaß Gesicht
Sterben trennt uns nicht.
Mußt du einmal von mir gehn,
glaub, es gibt ein Auferstehn.
Joy, that near to me remains,
Come to me, my true love.
Night sinks into the grove
You are my light and day.
Anxiously beats heart on heart
Hope itself soars heavenward.
How true, a sad song.
The song of true love,
that must die.
I know the song.
I heard it often in younger,
in better days.
It has yet another verse-Do I know it still?
Though sorrow becomes dark,
Come to me, my true love.
Lean (to me) your pale face
Death will not separate us.
If you must leave me one day,
Believe, there is an afterlife.
Special Thanks
A special thank you to all who helped make today’s performance possible:
Marion Harvey
Marion Harvey Hannah recently retired from Cambrian College where she
enjoyed teaching singing and directing the Cambrian College Choir for
thirty-four years. During this time she was also on the faculty of
Huntington University. She is a graduate of Ecole Vincent d’Indy in
Montreal and The Opera School, University of Toronto.
In the early part of her teaching career, she performed extensively, was the
winner of CBC Talent Festival, was heard in numerous CBC recital
broadcasts with her husband, pianist, John Hannah, and appeared as
soloist with leading Canadian choirs.
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Church of the Epiphany staff and congregation
Jacaranda Events (for décor and organizational help)
Create-A-Cake (for catering for the reception treats)
Michael Alloy (for program and ticket design)
Jessica Guenard- Valiquette (for ticket sales/front-of-house)
Black Cat (for ticket sales)
Moores Clothing For Men (for Ralph McIntosh’s tuxedo)
Cambrian College Music Department (for providing ushers)
All the performers whose teamwork made this event a success
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Translations
13) “Via resti servita” from W.A. Mozart’s Marriage of Figaro
(Marcellina)
Via resti servita,
Madama brillante.
(Susanna)
Non sono sì ardita,
madama piccante.
(Marcellina)
No, prima a lei tocca.
(Susanna)
No, no, tocca a lei.
(Duet)
Io so i dover miei,
non fo inciviltà.
(Marcellina)
La sposa novella!
(Susanna)
La dama d'onore!
(Marcellina)
Del Conte la bella!
(Susanna)
Di Spagna l'amore!
(Marcellina)
I meriti!
(Susanna)
L'abito!
(Marcellina)
Il posto!
(Susanna)
L'età!
(Marcellina)
Per Bacco, precipito,
se ancor resto qua.
(Susanna)
Sibilla decrepita,
da rider mi fa.
Do go on,
My dazzling lady.
I'd not be so bold,
My witty lady.
Do go first, my lady.
Oh, no, I insist.
Biographies
Sudbury offered a rich experience of artistic associations. She is a
founding member of The Sudbury Opera Guild, and for many years, she
had the pleasure of directing Bel Canto Chorus, one of Sudbury’s leading
choirs. She has adjudicated at music festivals throughout eastern Canada.
Helping students discover their potential as singers has been most
rewarding. They have represented Sudbury at the provincial and national
levels of music festivals. Some of her former students have become
teachers of singing, won prestigious competitions and performed
internationally.
I know my duty,
I'd not be so rude.
The dear young bride!
The honourable lady!
The Count's little flower!
The darling of all Spain!
Your qualities!
Your fashion!
Your position!
Your age!
By God, I'll fly at her,
if I stay here any longer.
Decrepit old Sibyl,
you make me laugh.
Upcoming Concerts
Thursday, December 6 & Friday December 7: A Bel Canto Chorus Christmas
St. Andrew’s United Church, 111 Larch St, 7:30 PM
Featuring works by Rutter, Vaughan Williams, and many more! One of Sudbury’s
premiere choirs performs under the direction of Pamela Teed, with special guests the
Young Sudbury Singers. Tickets available at Black Cat.
Irmgard Hechler
Irmgard made her debut as a soloist with the Bel Canto Chorus in
Vivaldi's Gloria. She was then asked to perform with them in Gounod’s
Messe Solennelle (St. Cecillia) in 2005. She performed with the Sudbury
Symphony Orchestra for the first time in 2002 after winning their
Concerto Competition and performed again, Alto and Soprano selections
from Handel’s Messiah in 2006. In November of 2002, Irmgard received
great reviews for her concert performances with the Brandenburg Concert
Orchestra in Berlin, Germany as well as her concert at the St. Nickolaus
Cathedral for their 500th anniversary in Gundelsheim, Germany. Having
won many awards and scholarships throughout college and university, she
has represented Sudbury twice at the provincial level through the Sudbury
Kiwanis Music Festival. In Ottawa, she entered the NATS festival and
won first place for her category. Irmgard has given several concert recitals,
including performing at the National Art Gallery of Canada for their
opening of the prestigious Monet exhibit in August of 2007. Irmgard is
no stranger to the stage. She was initiated to opera with her performance
in Menotti's Amahl and the Night Visitors while she was at Cambrian
College. At Ottawa University, she has performed roles in Mozart's The
Marriage of Figaro and Cosi fan tutte, and Poulenc’s Les Dialogues des
Carmelites. She has been performing at the National Arts Centre after
being invited to sing in their production of Mozart's The Marriage of
Figaro with Opera Lyra Ottawa, and again in Verdi's Macbeth as well as
Puccini's Turandot. She has recently moved back home to Sudbury and is
currently head of vocal studies at Theatre Cambrian along with being a
vocal instructor at Cambrian College.
Friday, December 7: PIANO GRANDE XI Room 1176, 7:30 PM
Sudbury’s premiere piano event is back in a program featuring works for duos, trios and
a composition for five pianos! Tickets available at Cambrian College Music
Department.
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5
Biographies
Translations
Ralph McIntosh
Ralph McIntosh assumed his current role as the Arts Education
Coordinator for the Rainbow District School Board in 2005, after 23 years
of teaching Grade 7-12 music and conducting numerous performing
ensembles in the Sudbury Board of Education and Rainbow District
School Board. Ralph served as Arts Program Leader at Sudbury
Secondary School from 1986 to 2005, teaching choral music, musical
theatre and keyboard, and acting as Musical Director for the school’s
annual Variety Shows and mainstage musical productions. Traditional
choirs and jazz/pop vocal groups under his direction released six
professionally-produced CD recordings and performed in venues across
the province. A graduate of the Faculties of Music and Education at the
University of Toronto, Ralph is currently serving as one of the conductors
of the Young Sudbury Singers. He is a member of several choral
ensembles and is active in the Sudbury community as an accompanist,
church musician, and arts advocate.
Tracy Sanmiya
A graduate of Sudbury Secondary School’s original Performing Arts
Program majoring in vocal music, Tracy went on to the University of
Western Ontario (UWO) and performed with the UWO Chorale, a choir
with over 60 singers that performed throughout London, Ontario and
often with the university symphony. She also studied music privately,
placing in the Conservatory Canada (London, Ontario) scholarship
competition and performed in operas such as Purcell’s “Dido and
Aeneas”. Tracy graduated from UWO with a Master’s in Communications
and Journalism and recently with a Diploma for Vocal Performance from
the Cambrian College Music program, where she studied voice with
Pamela Teed. As producer of Opera Gala… Opera for a Cause, Tracy would
like to thank all of today’s talented performers for their hard work and
dedication; the sponsors for their time and generosity; and most
importantly, you, the audience, for your support of culture in our
community and of these two very worthy causes.
12) “E Susanna non vien” (recit) & “Dove sono i bei momenti” from
W.A. Mozart’s Marriage of Figaro
E Susanna non vien! Sono ansiosa
di saper come il Conte
accolse la proposta. Alquanto ardito
il progetto mi par, e ad uno sposo
sì vivace, e geloso!
Ma che mal c'è?
Cangiando i miei vestiti
con quelli di Susanna,
e i suoi co' miei ...
al favor della notte ...
oh cielo, a quale
umil stato fatale io son ridotta
da un consorte crudel,
che dopo avermi
con un misto inaudito
d'infedeltà, di gelosia, di sdegni,
prima amata, indi offesa,
e alfin tradita,
fammi or cercar
da una mia serva aita!
And Susanna doesn't come! I'm anxious
to know how the Count
took her proposition. The scheme seems
too bold to me, and to a husband
so wild and jealous!
But what harm is there?
Changing my clothes
with those of Susanna,
and hers with mine ...
shielded by the night's face ...
oh heavens, to what
a humiliating state I am reduced
by a cruel husband,
who, after marrying me,
with an unheard of mixture
of infidelity, jealousy and scorn,
first loved, then offended,
and at last betrayed me,
now makes me turn
to one of my servants for help!
Dove sono i bei momenti
di dolcezza e di piacer,
dove andaro i giuramenti
di quel labbro menzogner?
Perché mai se in pianti e in pene
per me tutto si cangiò,
la memoria di quel bene
dal mio sen non trapassò?
Ah! Se almen la mia costanza
nel languire amando ognor,
mi portasse una speranza
di cangiar l'ingrato cor.
Where are the beautiful moments
of sweetness and of pleasure,
what happened to the promises
of that lying tongue?
Whyever, if everything for me
was to change to tears and pain,
do those happy memories
not also pass from my breast?
Ah! If at least my loyalty
still loves in this pain,
it may bring me some hope
of changing that ungrateful heart.
A fine shop for the woman that
takes pride in her clothing and
wants to wear that special
outfit out on the town or just to
feel good about herself.
Pamela Teed
Pamela Teed was born and raised in Sudbury, Ontario. She studied voice
at Laurentian University and moved on to the University of Ottawa to
attain a Master of Music Degree in voice performance. In 2006, she was
awarded a rare admission scholarship to study with renowned pianist and
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774 Lasalle Blvd, Montrose Mall
(705) 560-0540
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Translations
9) “Soave il vento” from W.A. Mozart’s Cosi fan Tutte
Soave sia il vento
Tranquilla sia l'onda
Ed ogni elemento
Benigno risponda
Ai nostri [vostri] desir
Gentle is the wind
Calm is the wave
And every one of the elements
Answer warmly
To our [your] desire.
10) “Come scoglio with recit” from W.A. Mozart’s Cosi fan Tutte
Temerari,sortite fuori di questo loco!
E non profani
L'alito infausto de gli infamy detti
Nostro cor, nostro orecchio, e nostri affetti!
Invan per voi, per gli altri invan
Si cerca le nostre alme sedur;
L'intata fede che per noi già
Si diede ai cari amanti
Saprem loro serbar infino a morte,
A dispetto del mondo e della sorte.
You audacious person, leave this place!
You cannot profane,
With these infamous words,
Our hearts, our ears and our affections.
It is useless for you
To seek to seduce our souls;
Our faithfulness intact
Is pledged to our lovers
Until death,
In spite of the world and misfortune.
Come scoglio immoto resta
Contra i venti, e la tempesta,
Così ognor quest'alma è forte
Nella fede, e nell'amor.
Con noi nacque quella face
Che ci piace, e ci consola,
E potrà la morte sola
Far che cangi affetto il cor.
Like a rock, we stand immobile
Against the wind and storm,
And are always strong
In trust and love.
From us is born the light
That gives us pleasure and comfort,
And the power of death alone
Can change the affections of our hearts.
Rispettate, anime ingrate,
Questo esempio di constanza,
E una barbara speranza
Non vi renda audaci ancor.
Respect, ungrateful spirit.
We are examples of loyalty
Against your primitive hopes,
And do not make you bold.
11) “Les Oiseaux dans la Charmille” (the doll song) from J. Offenbach's
Tales of Hoffman
Les oiseaux dans la charmille
Dans les cieux l'astre du jour,
Tout parle à la jeune fille d'amour!
Ah! Voilà la chanson gentille
La chanson d'Olympia! Ah!
Tout ce qui chante et résonne
Et soupire, tour tour,
Emeut son coeur qui frissonne d'amour!
Ah! Voil la chanson mignonne
La chanson d'Olympia! Ah!
The birds in the arbor,
The sky's daytime star,
Everything speaks to a young girl of love!
Ah! This is the gentile song,
The song of Olympia! Ah!
Everything that sings and resonates
And sighs, in turn,
Moves his heart, which shudders of love!
Ah! This is the lovely song,
The song of Olympia! Ah!
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Biographies
of voice studies. In January of 2012, she was chosen to participate in The
Song Continues…, a workshop and recital series hosted by the Weil Music
Institute at Carnegie Hall (NYC). Outside of her position at Cambrian,
she also teaches voice through Laurentian University, conducts the Bel
Canto Chorus, one of Sudbury’s oldest and largest community choirs and
co-directs The Young Sudbury Singers.
Susan Urquhart-Pandolfo
Susan currently teaches at Cambrian College as both a voice and violin
instructor. While living in Toronto, Susan performed with many opera
companies, choirs, orchestras and attended master classes with the
Canadian Opera Company and Opera Hamilton. During her studies at
Queen's University, Susan performed extensively in eastern Ontario as a
violinist and vocal soloist. Susan has been a member of numerous
orchestras, many choirs, musical theatre productions, solo groups,
featured soloist and musical director for operattas. Susan has had the
luxury to study under masterful teachers and attend many master classes,
both as a violonist and vocalist. Susan gratefully thanks her family and
friends for their constant support and encouragement.
Dr. Charlene Biggs
Charlene Biggs received a Doctorate in Piano Performance from the
Eastman School of Music, and a Masters in Performance and Piano
Literature from Goldsmiths College, University of London, England. She
has performed extensively in Great Britain as a soloist and collaborative
artist, appearing at such prestigious venues as the Royal Festival Hall, the
Purcell Room, Greenwich Festival, Glasgow University, The National
Theatre and the Barbican Arts Centre. She was also the founding Music
Director of Opera Brava, a highly successful British touring company.
Dr. Biggs has also performed in France, Holland, Austria, Italy, Canada
and the USA and has held faculty positions at the Glenn Gould School,
Royal Conservatory of Music, Toronto, and in the Community Division
of the Eastman School of Music, where she was Assistant Chair of Piano
for two years. Dr. Biggs is currently the Director of Piano Studies and Co
-coordinator of the Music Program at Cambrian College. She continues as
a Senior Examiner for the Royal Conservatory, and is much sought-after
as a performer, adjudicator and pedagogy clinician across Canada. She
also continues a hectic schedule as a solo and collaborative artist.
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Translations
1070 Kingsway Blvd.
Sudbury, Ontario
(705) 560-6888
DINE and DISCOVER.
7) “Tu che di gel sei cinta” from G. Puccini’s Turandot
Tu che di gel sei cinta
Da tanta fiamma vinta
L' amerai anche tu!
You who are covered with frost
Vanquished by so many flames
You too will love him!
Prima di quest' aurora
Io chiudo stanca gli occhi
Perche egli vinca ancora...
Before this dawn
I close my eyes, tired
So he wins once more…
Prima di quest' aurora
Io chiudo stanca gli occhi
Per non vederlo piu!
Before this dawn
I close my eyes, tired
So I don't see him anymore!
8) “Flower Duet with recit” from L. Délibes’ Lakmé
8
Sous le dôme épais
Où le blanc jasmin
À la rose s’assemble
Sur la rive en fleurs,
Riant au matin
Viens, descendons ensemble.
Under the thick dome
where the white jasmine
With the roses entwined together
On the river bank covered with flowers
laughing in the morning
Let us descend together!
Doucement glissons de son flot charmant
Suivons le courant fuyant
Dans l’onde frémissante
D’une main nonchalante
Viens, gagnons le bord,
Où la source dort et
L’oiseau, l’oiseau chante.
Gently floating on its charming risings,
On the river’s current
On the shining waves,
One hand reaches,
Reaches for the bank,
Where the spring sleeps,
And the bird, the bird sings.
Sous le dôme épais
Où le blanc jasmin,
Ah! descendons
Ensemble!
Under the thick dome
where the white jasmine
Ah! calling us
Together!
Sous le dôme épais
Où le blanc jasmin
À la rose s’assemble
Sur la rive en fleurs,
Riant au matin
Viens, descendons ensemble.
Under the thick dome
where white jasmine
With the roses entwined together
On the river bank covered with flowers
laughing in the morning
Let us descend together!
13
Translations
5) “Voce di donna” from La Gioconda by A. Ponchielli
Voce di donna o d'angelo
le mie catene ha sciolto;
mi vientan le mie tenebre
di quella santa il volto,
pure da me non partasi
senza un pietoso don, no!
A te questo rosario
che le preghiere aduna
Io te lo porgo - accettalo;
ti porterà fortuna.
Sulla tua testa vigili la mia benedizion.
The voice of a woman or an angel
has loosened my fetters;
My blindness keeps me from
the sight of that saintly one;
yet may she not part from me
without a pious gift - no!
To you this rosary
which assembles the prayers
I offer it to you - accept it;
it will bring you good fortune.
May my blessings watch over you.
6) “L’amour est un oiseau rebelle” from G. Bizet’s Carmen
L'amour est un oiseau rebelle
que nul ne peut apprivoiser,
et c'est bien en vain qu'on l'appelle,
s'il lui convient de refuser.
Love is a rebellious bird
that nobody can tame,
and you can call him (although it is) quite in vain,
because it suits him not to come.
Rien n'y fait, menace ou prière,
l'un parle bien, l'autre se tait:
Et c'est l'autre que je préfère,
Il n'a rien dit mais il me plaît.
Nothing helps, neither threat nor prayer.
One man talks well, the other, silent;
but it's the other that I prefer.
He says nothing, but he pleases me.
L'amour! L'amour! L'amour! L'amour!
Oh, love! Love! Love! Love!
L'amour est enfant de Bohême,
il n'a jamais, jamais connu de loi;
si tu ne m'aimes pas, je t'aime
si je t'aime, prends garde à toi!
Love is a gypsy's child,
it has never known the law;
if you love me not, then I love you;
if I love you, you'd best beware!
Si tu ne m’aimes pas,
Si tu ne m’aimes pas, je t’aime!
Mais, si je t’aime,
Si je t’aime, prends garde à toi!
If you love me not,
if you love me not, then I love you
But if I love you,
if I love you, you'd best beware!
L'oiseau que tu croyais surprendre
battit de l'aile et s'envola ...
l'amour est loin, tu peux l'attendre;
tu ne l'attends plus, il est là!
The bird you hoped to catch
beat its wings and flew away ...
love stays away, you wait and wait;
when least expected, there it is!
Tout autour de toi, vite, vite,
il vient, s'en va, puis il revient ...
tu crois le tenir, il t'évite,
tu crois l'éviter, il te tient.
All around you, swift, swift,
it comes, goes, then it returns ...
you think you hold it fast, it flees
you think you're free, it holds you fast.
12
Translations
1) “Hab'mir's gelobt” from R. Strauss’ Der Rosenkavlier
(Octavian)
Marie Theres’!
Marie Therese!
(Marschallin)
Hab’ mir’s gelobt, Ihn lieb zu haben in der richtigen
Weis’. Dass ich selbst Sein Lieb’ zu einer andern
noch lieb hab! Hab’ mir freilich nicht gedacht
dass es so bald mir aufgelegt sollt’ werden! Es sind
die mehreren Dinge auf der Welt, so dass sie ein’s
nicht glauben tät’, wenn man sie möcht’ erzählen
hör’n. Alleinig wer’s erlebt, der glaubt daran und
weiss nicht wie—da steht der Bub’ und da steh’
ich, und mit dem fremden Mädel dort wird er so
glücklich sein, als wie halt Männer das
Glücklichsein verstehen. In Gottes Namen.
I made a vow to love him rightly, as a good woman
should. I promised even to love the love he bore
another. But in truth, I did not think that this task
would come so soon. Many things are ordained in
this world that we should scarce believe could be,
if we heard others tell of them; but the one whom
they will someday wound believes in them, and
knows not how. There stands the boy, and here
stand I; and with his new-found love this day he
will have happiness such as a man thinks is the
best the world can give. In God's Name.
(Sophie)
Mir ist wie in der Kirch’n, heilig ist mir und so bang;
und doch ist mir unheilig auch! Ich weiss nicht,
wie mir ist. Ich möcht’ mich niederknien dort vor
der Frau und möcht’ ihr was antun, denn ich spür’,
sie gibt mir ihn und nimmt mir was von ihm
zugleich. Weiss gar nicht, wie mir ist! Möcht’ alles
verstehen und möcht’ auch nichts verstehen.
Möcht’ fragen und nicht fragen, wird mir heiss und
kalt. Und spür’ nur dich und weiss nur eins: dich
hab’ ich lieb.
I feel as one at worship, holiest thoughts fill my soul;
and yet I’m possessed by a thought most unholy
and sinful. I don’t understand what I feel. At this
lady’s feet I gladly would kneel, yet willingly would
I harm her as well. For I feel that she gives him to
me, and yet robs me of part of him. I’m strangely
distraught. I wish to know everything, yet fear to
know the truth—now longing to ask, now fearing.
I am both hot and cold, and know only this one
thing: that I love you.
(Octavian)
Es ist was kommen und ist was g’schehn, Ich möcht’
Sie fragen: darf’s denn sein? und grad’ die Frag, die
spür’ ich, dass sie mir verboten ist. Ich möcht’ Sie
fragen: warum zittert was in mir? - Ist denn ein
grosses Unrecht geschehn? Und grad’ an die darf
ich die Frag’ nicht tun - und dann seh’ ich dich an,
Sophie, und seh’ nur dich und spür’ nur dich,
Sophie, und weiss von nichts als nur: dich hab’ ich
lieb.
What wondrous thing has come to pass? I would
willingly ask her: Can it be? And it is just that
question that I know I cannot ask her. I would
willingly ask her: Why is my soul trembling so?
Has a great wrong, a foul deed be done? And I may
not ask the question of her. And then I gaze on
your dear face, Sophie, and see only you, know
only you. And know only this one thing: that I
love you.
9
Translations
2) “La Ci Darem La Mano” from W.A. Mozart’s Don Giovanni
(Don Giovanni)
Là ci darem la mano,
Là mi dirai di sì:
Vedi, non è lontano,
Partiam, ben mio, da qui.
There I'll give you my hand
There you'll say yes
See, it is not far
My love, let's leave from here
(Zerlina)
Vorrei e non vorrei,
Mi trema un poco il cor,
Felice, è ver, sarei,
Ma può burlarmi ancor!
Should I, or shouldn't I
My heart trembles at the thought
It's true, I would be happy
I can still have fun!
(Don Giovanni)
Vieni, mio bel diletto!
Come, my beloved beautiful!
(Zerlina)
Mi fa pietà Masetto.
It makes me pity Masetto
(Don Giovanni)
Io cangierò tua sorte.
I will change your fate
(Zerlina)
Presto... non son più forte.
Soon... I am no longer strong enough to resist
(Don Giovanni)
Andiam!
Let us go!
(Zerlina)
Andiam!
Let us go!
(Duet)
Andiam, andiam, mio bene,
a ristorar le pene
D’un innocente amor.
Come, come, my darling
to restore our pleasure
of an innocent love.
10
Translations
3) “Batti Batti, O Bel Massetto” from W.A. Mozart's Don Giovanni
Batti, batti, o bel Masetto,
La tua povera Zerlina;
Starò qui come agnellina
Le tue botte ad aspettar.
Lascierò straziarmi il crine,
Lascierò cavarmi gli occhi,
E le care tue manine
Lieta poi saprò baciar.
Ah, lo vedo, non hai core!
Pace, pace, o vita mia,
In contento ed allegria
Notte e dì vogliam passer.
Beat me, dear Masetto,
beat your poor Zerlina.
I'll stand here as meek as a lamb
and bear the blows you lay on me.
You can tear my hair out,
put out my eyes,
yet your dear hands
gladly I'll kiss.
Ah! I see you've no mind to:
let's make peace, dearest love!
In happiness and joy
let's pass our days and nights.
4) “Senza mamma” from G. Puccini’s Suor Angelica (Sister Angelica)
Senza mamma, o bimbo,
tu sei morto!
Le tue labbra, senza i baci miei,
scoloriron fredde! fredde
E chiudesti, o bimbo,
gli occhi belli!
Non potendo carezzarmi,
le manine componesti in croce!
E tu sei morto
senza sapere quanto t'amava
questa tua mamma!
Ora che sei un angelo del cielo,
ora tu puoi vederla la tua mamma,
tu puoi scendere giù pel firmamento
ed aleggiare intorno a me ti sento.
Sei qui, sei qui, mi baci e m'accarezzi.
Ah! Dimmi, quando in ciel potrò vederti?
Quando potrò baciarti?
Oh! Dolce fine d'ogni mio dolore,
quando in ciel potrò salire?
Quando potrò morire?
Dillo alla mamma, creatura bella,
con un leggero scintillar di stella.
Parlami, parlami, amore, amore ....amore!
Without your mother, o my baby,
you die!
Your lips, without my kisses,
grow pale and cold!
And close, o baby,
your pretty eyes.
I cannot caress you,
your little hands composed in a cross!
And you are dead
without knowing how loved you were
by your mother!
Now you are an angel in heaven,
now you can see your mother,
you can descend from heaven
and let your essence linger around me.
Are you here, feel my kisses and caresses.
Ah! tell me, when will I see you in heaven?
When will I be able to kiss you?
Oh! Oh sweet end to all my sorrows,
when I greet you in heaven.
When will I greet death?
Tell you mother, beautiful creature,
with a sparkle of the stars.
Speak to me, my loved one!
11
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