The Longwood University Department of Music

 

Opera Workshop

 

 

 

presents

 

 

 

Opera for Two: Operatic Duets

 

 

Friday, April 23, 2004

 

7:30 p.m.

 

Wygal Recital Hall

 

with

 

Alexandria Brent, soprano

Lisa Jackson, soprano

Adrienne Hampton, soprano

Jessica Mohr, soprano

Melissa Morgan, soprano

John Gilbert, tenor

Aaron Sletten, baritone

Mark Rutherford, baritone

 

and

 

Celia Malfatti, coach/accompanist

 

 

* * * * *

 

 

Act I, recitative and duet, “La, ci darem la mano”                               Wolfgang Mozart

from Don Giovanni                                                                                   (1756-1791)

Adrienne Hampton as Zerlina

Aaron Sletten as Don Giovanni

 

 

“Oh, Happy We”                                                                                  Leonard Bernstein

from Candide                                                                                                                                       (1918-1990)

Jessica Mohr as Cunégunde

John Gilbert as Candide

 

 

“Song of the Sandman and Prayer”                                              Engelbert Humperdink

from Hansel and Gretel                                                                                   (1854-1921)

Alexandria Brent as Gretel

Adrienne Hampton as Hansel

 

Act 2, Scene 7, recitative and duet, “Caro elisir, sei mio!”                Gaetano Donizetti

from Elixir of Love                                                                                                                           (1797-1848)

Lisa Jackson as Adina

John Gilbert as Nemorino

 

with Alexandria Brent, Adrienne Hampton, Jessica Mohr, Melissa Morgan, Mark Rutherford,

and Aaron Sletton.

 

 

 

pause

 

 

 

Act 1, no. 7 duet, “Bei Männern”                                                         Wolfgang Mozart

from Magic Flute

Melissa Morgan as Pamina

Mark Rutherford as Papageno

 

with John Gilbert, Adrienne Hampton, Lisa Jackson, Jessica Mohr, and Aaron Sletten.

 

 

“Willow, tit-willow”                                                                                     Arthur Sullivan

from The Mikado                                                                                                                             (1842-1900)

Aaron Sletten as KoKo

 

with Alexandria Brent, John Gilbert, Lisa Jackson, Adrienne Hampton, Lisa Jackson, Jessica Mohr,

and Melissa Morgan.

 

 

Act I Finale, duet, “Vanne a regnar, ben mio.”                                   Wolfgang Mozart

            from Il re pastore

Jessica Mohr as Elisa

Melissa Morgan as Amintas

 

 

Final scene                                                                                           Gian Carlo Menotti

from The Telephone                                                                                                                                  (b.1911)

Adrienne Hampton as Lucy

Mark Rutherford as Ben

 

 

“Some Other Time”                                                                              Leonard Bernstein

from On the Town

Soloists: Alexandria Brent, Lisa Jackson, and Aaron Sletten

 

with John Gilbert, Adrienne Hampton, Jessica Mohr, Melissa Morgan, and Mark Rutherford.

 

 


Notes and Translations:

 

Act I, recitative and duet. “La, ci darem la mano,” Don Giovanni, Mozart.

In the country-side near Don Giovanni’s castle, two young lovers, Masetto and Zerlina, are celebrating their coming marriage. The Don, after distracting the fiancé, attempts to seduce the beautiful and seemingly innocent Zerlina.

 

Don Giovanni:

At last we are free, my little Zerlinetta from that idiot. What do you think, my dear, did I handle that neatly?

 

Zerlina:

Sir, he is my husband.

 

Don Giovanni:

Who? Him? Do you think that an honest man, a noble cavalier, as I consider myself, could allow that this face of gold, this face which is sweet as sugar, should be worked to death by a vile peasant?

 

Zerlina:

But, sir, I have given him my word that I will marry him.

 

Don Giovanni:

Such a word is worth very little. You were not made to be a peasant; another fate will come to you by those roguish eyes, those pretty lips, and those fingers so sweet and scented, I seem to be touching cream and smelling roses.

 

Zerlina:

Ah, I don’ want to…

 

Don Giovanni:

Don’t want to what?

 

Zerlina:

I don’t want to be left alone and betrayed. I know that you gentlemaen are rarely honest and sincere with women.

 

Don Giovanni:

That is slander told by the common people! The Nobility are a completely honest class. Come, lest we lose time; I want to marry you this very moment!

 

Zerlina:

You?

 

Don Giovanni:

Certainly I do. That small castle is mine. We will be alone, and there, my joy, we will be married.

There we will join hands, there you will say, “yes.” See, it is not far from here, let’s leave at once, my dear.

 

Zerlina:

I would not, I should not, my heart trembles a bit. It is true, I would be happy, but he could still make a fool of me.

 

Don Giovanni:

Come, my beautiful delight.

 

Zerlina:

I pity Masetto!

 

Don Giovanni:

I will change your fate.

 

Zerlina:

I don’t have any more strength.

 

Don Giovanni:

Let’s go!

 

 

Zerlina:

Let’s go!

 

Both:

Let’s go! Let’s go my dearest to assuage the pangs of an innocent love.

 

* * * * *

 

“Oh, Happy We,” Candide, Bernstein

In the country of Westphalia, in the castle of the most noble Baron of Thunder-ten-tronckh, lived a youth whom Nature had endowed with a most sweet disposition. His face was the true index of his mind. He had a solid judgment joined to the most unaffected simplicity; and hence, I presume, he had his name of Candide….

“The daughter of the Baroness was about seventeen years of age, fresh-colored, comely, plump, and desirable….

“Candide… thought Miss Cunégunde excessively handsome, though he never had the courage to tell her so. He concluded that next to the happiness of being Baron of Thunder-ten-tronckh, the next was that of being Miss Cunégunde, the next that of seeing her every day, and the last that of hearing the doctrine of Master Pangloss, the greatest philosopher of the whole province, and consequently of the whole world….

“One day when Miss Cunégunde went to take a walk in a little neighboring wood which was called a park, she saw, through the bushes, the sage Doctor Pangloss giving a lecture in experimental philosophy to her mother's chambermaid, a little brown wench, very pretty, and very tractable. As Miss Cunégunde had a great disposition for the sciences, she observed with the utmost attention the experiments which were repeated before her eyes; she perfectly well understood the force of the doctor's reasoning upon causes and effects. She retired greatly flurried, quite pensive and filled with the desire of knowledge, imagining that she might be a sufficing reason for young Candide, and he for her.

“On her way back she happened to meet the young man; she blushed, he blushed also; she wished him a good morning in a flattering tone, he returned the salute, without knowing what he said. The next day, as they were rising from dinner, Cunégunde and Candide slipped behind the screen. The miss dropped her handkerchief, the young man picked it up. She innocently took hold of his hand, and he as innocently kissed hers with a warmth, a sensibility, a grace-all very particular; their lips met; their eyes sparkled; their knees trembled; their hands strayed….”

           

Excerpt from Chapter I of Candide (1759), by Voltaire

 

* * * * *

 

“Song of the Sandman and Prayer,” Hansel and Gretel, Humperdink

A brother and a sister are lost deep in the woods at night time. Gretel comforts her brother Hansel by reminding him of their usual bedtime prayer. They sing the prayer together and find a soft place to sleep for the night.

 

* * * * *

 

Act 2, Scene 7, recitative and duet: “Caro elisir, sei mio!” L’elisir d’amore, Donizetti

            Nemorino, the village idiot, just purchased an “Elixir of Love,” believing that a day after he

takes a sip, all women will fall in love with him. The bottle, of course, is nothing more than a cheap Bordeaux. Nemorino ducks into a café to test out the product and is surprised to find Adina, his true love. It is for her that he bought the elixir, as she is in a class far above him and gives him no notice. Nemorino, confident with his new weapon in love, gloats of his coming victory. This new arrogance both intrigues and irritates Adina, who is accustomed to having Nemorino follow her about incessantly.

 

 

 

 

 

NEMORINO:

Dear elixir, you are mine, yes, all mine! How powerful your strength must be if before drinking you, my heart is already full of joy! But why can I not feel the elixir’s effect until a whole day has passed? Let’s try some! (He drinks) Oh good! Oh dear! Another sip! Oh! What sweet warmth courses through my veins! Ah! Perhaps even she can feel the same warmth. Certainly she feels it! I can tell by the joy and appetite that has been awakened in me (He sits and merrily begins to eat and sing in full voice). La la la la la….

 

ADINA:

Who is that idiot? What am I seeing? Is it Nemorino? He is so happy! But why?

 

NEMORINO: 

La la la….  Heavens! It’s her. But no, there’s no rush. For now I’ll not bore her with my sighs. Besides, by tomorrow that heartless girl will be in love with me.

 

ADINA:

He won’t even look at me! What a change! I don’t know if he’s pretending or if he’s really happy.

 

NEMORINO:

So far, she does not feel the love.

 

ADINA:

He wants to be the indifferent one.

 

NEMORINO:

The cruel one exults for now in my pain! Tomorrow it will end, tomorrow she will love me.

 

ADINA:

The simpleton would like to break and throw away his chains, but he will see they are heavier than usual (approaching him) Bravissimo! My lesson has helped you.

 

NEMORINO:

That’s right, I’ll put it to work, just as a test.

 

ADINA:

What about your former suffering?

 

NEMORINO:

I hope to forget it.

 

ADINA:

What about your former ardor?

 

NEMORINO:

It will be extinguished soon. Yet in just one more day, my heart will be healed.

 

ADINA:

Really? I am happy to hear it, but we shall see.

 

NEMORINO:

The cruel one exults for now in my pain! Tomorrow it will end, tomorrow she will love me.

 

ADINA:

The simpleton would like to break and throw away his chains, but he will see they are heavier than usual.

 

* * * * *

 

 

 

 

 

 

 

Act 1, no. 7 duet: “Bei Männern,” Die Zauberflöte, Mozart

Encouraged that they will find true love, two strangers, sing about sanctity of Holy matrimony.

 

Pamina: 

The man who feels love's sweet emotion

 will always have a kindly heart.

 

Papageno: 

Each maid must share his deep devotion

and from this duty never part.

 

Pamina and Papageno: 

The joys of love shall be our own;

we live by love, by love alone.

 

Pamina: 

To love's sweet might yields every creature.

 It offers everlasting joy.

 

Papageno:

Its blessings are the gift of nature,

 which no one ever can destroy.

 

Pamina and Papageno:

 Its noble aim shows clear in life:

 No greater good than man and wife. 

Wife and man, and man and wife,

 reach the height of a godly life.

 

 

* * * * *

 

 

“Willow, tit-willow,”     The Mikado, Sullivan

            A solo among duets; a song of a broken heart.

 

* * * * *

 

Act I Finale, duet: “Vanne a regnar, ben mio.” Il re pastore, Mozart

            Two lovers must part. Against his heart’s desire, Aminta must leave Elisa, his fiancée in order

to fulfill his duty as the rightful king. Elisa, who is equally upset, encourages Aminta to go, knowing that they will be together again soon. They offer up a prayer together to protect their love while they are apart.

 

Elisa:

Go reign, my beloved, but keep your heart faithful to she who adores you, if you can.

 

Aminta:

If I must reign, my beloved, I shall sit on the throne, still your faithful shepherd.

 

Elisa:

You are my king.

 

Aminta:

What cruel fear.

 

Both:

O gods, protect this innocent love.

 

* * * * *

Final scene, The Telephone, Menotti

Lucy, who is constantly talking on her cell phone, is distraught in her apartment because Ben left to catch his train while she was on the phone. Realizing, ‘if you can’t beat’em, join ‘em,’ Ben calls Lucy from a train station on his cell phone to ask a very important question.

 

 

* * * * *

 

 

“Some Other Time,” On the Town, Bernstein

Bernstein’s On the Town, written in 1944, was his first work for musical theater, and one of his earliest compositions. It tells the story, as did his ballet Fancy Free, of three sailors on leave in New York City for twenty-four hours. At the end of their day they find, as we all do, there is never enough time to do all of the things we want to do.

 

 

* * * * *

 

 

Directed by:

 

Alexandria Brent

John Gilbert

Adrienne Hampton

Lisa Jackson

Jessica Mohr

Melissa Morgan

Mark Rutherford

Aaron Sletten and

Christopher Swanson

 

Musical Preparation by:

 

Celia Malfatti and

Christopher Swanson

 

Special thanks to:

 

Brenda Clarke

Lisa Kinzer

Pat Lust

Landon Swanson

Lois Swanson and

Thomas Williams

 

* * * * *

 

“Where has the time all gone to?

Haven’t done half the things we want to.

Oh well,

we’ll catch up some other time.”