presents May 1, 2021 Macel Falwell Recital Hall MUSIC 305

presents

May 1, 2021Macel Falwell Recital Hall

MUSIC 305 3:00 PM

I Have Confidence from The Sound of Music (©1965)

Richard Rodger (1901-1979) Oscar Hammerstein (1895-1960)

Amarilli Mia Bella Giulio Caccini (1551-1618)

Deh Vieni non Tardar from Le Nozze di Figaro

Wolfgang Mozart (1756-1791)

O Mio Babbino Caro Giacomo Puccini (1858-1924)

Leibst du um Schönheit Clara Schumman (1819-1896)

Die Lotosblume Robert Schumann (1810-1856)

Auf dem Wasser zu Singen Franz Schubert (1797-1828)

La Vie en Rose Édith Piaf (1915-1963)

Nuit d’Étoiles Claude Debussy (1862-1918)

Belle Nuit, Ô Nuit d’Amour from Les Contes d’Hoffmann

Jacques Offenbach (1819-1880)

Mrs. Adelaide Trombetta, soprano

When I Look at You from The Scarlet Pimpernel (©1982)

Frank Wildhorn (b. 1958)

Simply Joys of Maidenhood from Camelot (©1960)

Frederick Loewe (1901-1988)

La Pastorella delle Apli Gioachino Rossini (1792-1868)

I Have Confidence “I Have Confidence” is taken from the well-known and greatly loved Rogers and Hammerstein musical “The Sound of Music”. The musical retells the story of the Von Trapp family and their musical journey through the growing threat of the Nazi regime in Europe during the beginning of WWII. In this scene, Maria is sent from the convent to be a governess at the Von Trapp household for widowed Captain’s seven children. First heard in the movie sung by Julie Andrews, this song recounts Maria’s process of experiencing fear but overcoming it despite all of her anxieties’. Amarilli Mia Bella Written by Giulio Caccini who was a renowned Italian musician and composer in the late sixteen hundreds and early seventeen hundreds. Amarilli Mia Bella was written as a soloist piece to be accompanied by a lute, in typical madrigal style. Written in the Renaissance style, this piece recalls the cries of a heart gripped in a fierce love for Amarilli. A love that is sadly not reciprocated, which makes the desire and yearning even deeper for beloved Amarilli.

Amarilli, mia bella Non credi, o del mio cor dolce desio, D’esser tu l’amor mio? Credilo pur: e se timor t’assale, Dubitar non ti vale. Aprimi il petto e vedrai scritto in core: Amarilli, Amarilli, Amarilil È il mio amore.

Amaryllis, my beloved Do you not believe, o my heart’s sweet desire, That you are my love? Believe it thus: and if fear assails you, Doubt not its truth. Open my breath and see written on my heart: Amaryllis, Amaryllis, Amaryllis, Is my beloved.

Deh Vieni non Tardar “Deh Vieni non Tardar” is an aria taken from Le Noze di Figaro composed by Wolfgang Mozart in 1786. One of Mozart’s more famous opera’s, greatly known and loved for its comedic and musical brilliancy. This aria takes place in the third act, where Susanna, Figaro’s newlywed wife, for her own fun and amusement dresses up as her mistress the Countess. While in full view of Figaro, she poses as the Countess and claims to be in passionate love with the Countess's husband, the Count. The Count has up to this point in the opera been trying to claim Susanna as his own before she weds Figaro. Susanna, knowing full well that her husband Figaro, knows she is in disguise and is in the garden watching her. She decides to play into the moment as much as she can to rouse the jealousy of her beloved Figaro.

Giunse alfin il momento Che godro senz’affanno In braccio all’idol mio Timide cure uscite dal mio petto! A turbar non venite il mio diletto. O come par che all’amoroso foco L’amenita del loco, La terra e il ciel risponda. Come la note I furti miei risponda Deh vieni, non tardar, o gioja bella Vieni ove amore per goder t’appella Finche non splende in ciel notturna face Finche l’aria e ancor bruna, E il mondo tace. Qui mormora il ruscel, qui scherzo l’aura Che col dolce susurro il cor ristaura Qui ridono I fioretti e l’erba e fresca Ai piaceri d’amor qui tutto adesca. Vieni, ben mio, tra queste piante ascose. Vieni, vieni! Ti vo’la fronte incoronar di rose

The moment finally arrives When I’ll enjoy [experience joy] without haste In the arms of my beloved… Fearful anxieties, get out of my heart! Do not come to disturb my delight. Oh, how it seems that to amorous fires The comfort of the place, Earth and Heaven respond, As the night responds to my ruses. Oh, come, don’t be late, my beautiful joy Come where love calls you to enjoyment Until night’s torches no longer shine in the sky As long as the air is still dark And the world is quiet. Here the river murmurs and the light plays That restores the heart with sweet ripples Here, little flower laugh and the grass is fresh Here, everything entices one to love’s pleasure Come, my dear, among these hidden plants. Come, come! I want to crown you with roses.

O Mio Babbino Caro O Mio Babbino Caro is an aria from the opera Gianni Schicchi, written by Giacomo Puccini in 1918. This opera is known for its extraordinary comedy and ridiculously changing ever changing plot line. In the midst of this ridiculous opera, one of the main characters, Lauretta is prevented by her father from marrying the man she loves. In an attempt to change her father’s mind, she sings this surprisingly beautiful and touching aria that eventually causes him to change his mind. This aria has continued to touch many even after over a century of passing time.

O mio babbino caro, mi piace, è bello bello, vo’andare in Porta Rossa a comperar l’anello! Si, si, ci voglio andare! E se l’amassi indarno, andrei sul Ponte Vecchio ma per buttarmi in Arno! Mi struggo e mi tormento, O Dio! Vorrei morir! Babbo, pietà, pietà! Babbo, pietà, pietà!

Oh my dear father, I like him, he is very handsome. I want to go to Porta Rossa to buy the ring! Yes, yes, I want to go there! And if my love were in vain, I would go to Ponte Vecchio and throw myself in the Arno! I am pining and I am tormented. Oh God! I would want to die! Daddy, have mercy, have mercy! Daddy, have mercy, have mercy!

Liebst du um Schönheit Liebst du um Schönheit is a German Lieder written by Clara Schumman in 1841. Clara and her husband, Robert Schumann spent many years with the deepest desire to get married but were prevented to be wed by Clara’s father until they were able by way of court to go around his wishes. They married in 1940, and later that year she wrote this song inspired by her love, Robert Schumann. This Lieder is taken from the poem written by Friedrich Rückert, and put to music of her own composition.

Liebst du um Schönheit, O nicht mich liebe Liebe die sonne, Sie trägt ein gold’nes Haar! Liebst du um Jugend, O nicht mich liebe! Liebe den Frühling, Der jung ist jedes Jahr! Liebst du um Schätze, O nicht mich liebe Liebe die Meerfrau, Die hat viel Perlen kla Liebst du um Liebe, O ja, mich liebe Liebe mich immer, Dich lieb’ ich immerdar.

If you Love for beauty Oh do not love me! Love, the sun, It has gold hair If you love for youth, Oh do not love me! Love is the spring-time That is young each year If you love for wealth, Oh do not love me! Love the mermaid, Who has many limpid pearls! If you love for love, Oh yes, love me! Love me forever: I will love you forevermore.

Die Lotosblume Die Lotosblume is a poem written by Heinrich Heinewhich that Robert Schumann set to music in 1940 which is known as his “year of song”. In preparation of his long-awaited marriage to Clara, he wrote 120 love songs. This poetic piece hints to a deeper meaning with Clara, Robert, and her father all represented. The Sun is inferred to be Clara’s father and his oppressive hand over her which in the first stanza smothers the beauty of the Lotus flower, which is inferred to be Clara. In the next two stanzas, the moon then comes and allows for the radiant beauty of the flower to blossom and be freed by its light. The Moon has been inferred as Robert, and his love for Clara, which will allow her to be free and radiant, instead of held back and pushed down.

Die lotosblume ängstigt Sich vor der Sonne Pracht, Und mit gesenktem Haupte Erwartet sie träumend die Nacht. Der Mond, der ist ihr Buhle Er weckt sie mit seinem Licht, Und ihm entschleiert sie freundlich Ihr frommes Blumengesicht. Sie blüht und glüht und leuchtet Und starret stumm in die Höh’; Sie duftet und weinet und zittert

The lotus-flower fears The sun’s splendor And with bowed head, Dreaming, awaits the night. The moon is her lover, And wakes her with his light, And to him she tenderly unveils Her innocent flower-like face. She blooms and glows and gleams, And gazes silently aloft – Fragrant and weeping and trembling With love and the pain of love, The Lotus-Flower

Auf Dem Wasser zu Singen Auf Dem Wasser zu Singen is a poem written by Leopold zu Stolberg-Stolberg in 1781 which Franz Schuburt later set to music in 1823. Written in traditional German lieder form, this piece describes the beauty of the nature in which the poet is gazing upon whilst using the fleeting beauty to remark on the brevity of life. The composition of the piano cascades in a rippling effect, creating a beautiful picture of water in the listeners ears partnered perfectly with the powerful words that remark on the brevity of life.

Mitten im Schimmer der spiegelnden Wellen Gleitet, wie Schwäne, der wankende Kahn; Ach, auf der Freude sanft schimmernden Wellen Gleitet die Seele dahin wie der Kahn; Denn von dem Himmel herab auf die Wellen Tanzet das Abendrot rund um den Kahn Über den Wipfeln des westlichen Haines Winket uns freundlich der rötliche Schein; Unter den Zweigen des östlichen Haines Säuselt der Kalmus im rötlichen Schein; Freude des Himmels und Ruhe des Haines Atmet die Seel’ im errötenden Schein. Ach, es entschwindet mit tauigem Flügel Mir auf den wiegenden Wellen die Zeit. Morgen entschwinde mit schimmerndem Flügel Wieder wie gestern und heute die Zeit, Bis ich auf höherem strahlendem Flügel Selber entschwinde der wechselnden Zeit.

Amid the shimmer of the mirroring waves the rocking boat glides, swan-like, on gently shimmering waves of joy. The soul, too, glides like a boat. For from the sky the setting sun dances upon the waves around the boat. Above the tree-tops of the western grove the red glow beckons kindly to us; beneath the branches of the eastern grove the reeds whisper in the red glow. The soul breaths the joy of heaven, the peace of the grove, in the reddening Alas, with dewy wings time vanishes from me on the rocking waves. Tomorrow let time again vanish with shimmering wings, as it did yesterday and today, until, on higher, more radiant wings, I myself vanish from the flux of time.

La Vie en Rose La Vie en Rose is a song that was written by Édith Piaf in 1945, written about the joys of finding true and steadfast love. A song that quickly struck the hearts of many all around the globe. After the release and great success of this song, many versions were recreated in later years to come which solidified this song in our colloquial musical repertoire. A timeless piece that sings of the joy of falling and being in love.

Des yeux qui font baisser les miens Un rire qui se perd sur sa bouche Voilà le portrait sans retouche De l’homme auquel j’appartiens Quand il me prend dans ses bras Il me parle tout bas Je vois la vie en rose. Il me dit des mots d’amour Des def tous les jours Et ça me fait quelque chose Il et entré dans mon cœur, Une part de bonheur Dont je connais la cause. C’est lui pour moi, Moi pour lui dans la vie, Il me l’a dit, l’a juré pour la vie Et dès que je l’aperçois, Alors je sens en moi Mon cœur qui bat

Eyes that gaze into mine, A smile that is lost on his lips That is the unretouched portrait of the man to whom I belong When he takes me in his arms and speaks softly to me, I see life in rosy hues. He tells me words of love, words of every day, and in them I become something He has entered my heart, a part of happiness Whereof I understand the reason It’s he for me, and I for him, throughout life, He has told me, he has sworn to me, for life. And from the things that I sense, Now I can feel within me My heart that beats.

Nuit d’Étoiles Written in 1880 by Claude Debussy at the age of 18, Nuit d’Étoile is based on the poem written by Théodor de Banville. This is one of Debussy’s first songs he wrote for voice and piano. The piano is composed in a way that recalls the sounds of a lyre, which the text remarks on in each chorus. While over the top of the lyre like accompaniment, the vocal line depicts the pain and joy of lost love.

Nuit d’étoiles, sous tes voiles, sous ta brise et tes parfums. Triste lyre qui sourire, Je rêve aux amours défunts La sereine mélancolie Vient éclore au fond de mon cœur, Et j’etends l’âme de ma mie Tressaillir dans le bois rêveur. Je revois à notre fontaine tes regards bleus comme les cieux ; cette rose, c’est ton haleine, et ces étoiles sont tes yeux.

Night of stars, beneath your veils, beneath your breeze and fragrance. Sad lyre that sighs, I dream of bygone loves. Serene melancholy Now blooms deep in my heart And I hear the soul of my love Quiver in the dreaming woods. Once more at our fountain I see your eyes as blue as the sky; this rose is your breath And these stars are your eyes.

Bello nuit, Ô nuit d’amour Written in a traditional barcarolle form, which were traditionally Italian folk songs sung by Venetian gondoliers. This piece occurs in the third act of the opera Les Contes d’Hoffmann where Giulietta, Hoffmann’s love interest and Nicklausse, Hoffmann’s poetic muse, sing a most beautiful duet about the love of the night between Guilietta and Hoffmann.

Belle nuit, Ô nuit d’amour Souris a` nos ivresses! Nuit plus douce que le jour Ô, belle nuit d’amour! Le temps fuit et sans retour Emporte nos tenresses! Loin de cet heureux séjour Le temps fuit sans retour Zéphyrs emrasés Versez-nous vos caresses! Zéphyrs embrasés Donnez-nous vos baisers! Vos baisers! Vos baisers! Ah! Belle nuit, ô, nuit d’amour Souris à nos ivresses! Nuit plus douce que le jour, Ô, belle nuit d’amour! Nuit plus douce que le jour Ô, belle nuit d’amour! Ah! Souris à nos ivresses Nuit d’amour, ô, nuit d’amour!

Lovely night, oh, night of love Smile upon our joys! Night much sweeter than the day Oh beautiful night of love! Time flies by, and carries away Our tender caresses forever Time flies far from this happy oasis and does not return Burning zephyrs Embrace us with your caresses ! Burning zephyrs Give us your kisses ! Your kisses ! Your kisses ! Ah! Lovely night, oh, night of love Smile upon our joys ! Oh, beautiful night of love ! Ah ! Smile upon our joys! Night much sweeter than the day Oh, beautiful night of love! Ah ! Smile upon our joys! Night of love, oh, night of love!

When I Look at You When I Look at You is taken from the Broadway musical the Scarlet Pimpernel which was based off of the Novel written in 1905. Written by Frank Wilfhorn and Nan Knighton in 1997, this musical take place during the Reign of Terror in France. The premise of the storyline revolves around an Englishman who, whilst in a multitude of disguises, rescues aristocrats from the clutches of the guillotine. The Scarlet Pimpernel’s real identity is revealed to be an English aristocrat Percy Blakeney, but for his and the entire underground organizations sake he must keep his role as the Scarlet Pimpernel a secret. Percy falls in love with a French woman, Marguerite St. Juste, who he shortly after their wedding begins to suspect as an enemy of the Scarlet Pimpernel. Broken hearted, Percy pushes her away and closes himself off to her for the safety of their next mission in rescuing the Prince of France. Torn up by a deep love for one another, Percy and Marguerite continue to miss one another and not tell one another the entire truth. By this moment in the musical, Percy has changed his entire countenance and persona to her in order to keep her from knowing the truth. She, broken hearted looks into the eyes of her beloved husband singing of the man she once saw and loved.

Simple Joys of Maidenhood The Simple Joys of Maidenhood is a song taken from the 1960 Broadway musical production of Camelot. Written by Alan Lerner and Frederick Lowe, this song exemplifies the musical comedy of this brilliant retelling of the King Arthur Legend. In this scene of the musical, Guenevere is seen running onto stage in utter distress and in desperation kneels down at the foot of a tree to pray to the saint of her Catholic faith, Saint Genevieve. In her prayer, with melodic and textual comedy, she complains of the sacrifice she is being forced to make by the arranged marriage she has with King Arthur. She was in the process of being escorted to her wedding the following day and runs away in order to fulfill all of her youthful fantasies before she is tied down and bound to marriage. The irony of her disappointment in marrying the king of England due to her own foolishness marks this piece as a timeless piece of masterful comedy.

La Pastorella delle Apli La Pastorella delle Apli is a solo aria piece taken from the Soirée Musicale collection. Gioachino Rossini was well known in his time for his groundbreaking and remarkable operas in which he composed 40 between 1810 – 1829. After this Rossini ceased composing operas for reasons that remain unknown. After his days in fame and success with his operas, he and his wife took to hosting musical salons in Paris with famous musicians and the people of importance of that time. The Soirée Musicales were Rossini’s first collection of songs performed at the Parisian salons. La Pastorella, translates in English to “The Shepherdess of the Alps”. Since the aria is unattached to an Opera and is a stand-alone solo piece, the words and meaning of the song offer joy and contemplation rather than completion or explanation of a storyline. This fun and energetic little piece tells of the daily activities of a young shepherdess in the Italian Alps.

Son bella pastorella, Che scende ogni mattino Ed offer un cestellino Di fresche frutta e fior Chi viene al primo albore Avrà vezzose rose E poma rugiadose, Venite al mio giardin Chi nel notturno orrore Smarrì la buona via, Alla capanna mia Ritroverà il cammin. Venite, o passaggiero, La pastorella è qua, La pastorella è qua, Ad uno sol darà!

I am the pretty shepherdess, Who comes down every morning, Offering a little basket Of fresh fruit and flowers. Those who come at first light Will find delightful roses And apples damp with dew, Come all to my garden. Those who lost their way In the horror of the night, Will find their path once more At my little cabin. Come, oh passing traveler, The shepherdess is here, Yet flower of her thoughts She will give to one and one alone!

I firstly need to thank my grandmother Sandra Strandtmann who first taught me how to sing classicaly and has taught me how to love and appreciate it! I want to thank my wonderful and amazing professor, Mrs. Trombetta who never gave up on me and it’s because of her faith I am standing here before you now. Also I want to thank my friends and family who have supported me all this time and have given me the strength to not give up. I esspecially want/need to thank my incredible roomates who have so patiently put up with me practicing in the basement! I could not be where I am today without all of you amazing people in my life, very grateful for each and every one of you!

Bethany Bibb is a student of Mrs. Adelaide Trombetta.

This recital is presented in partial fulfillment of the requirements for the Bachelor of Science in Interdisciplinary Studies degree.

We would like to thank the Liberty University Administration for

their faithful support of the School of Music.

Dr. Jerry Prevo, President Dr. Scott Hicks, Provost and Chief Academic Officer

Dr. Stephen Müller, Dean, School of Music The School of Music Administration, Faculty, and Staff