‘Pleurez mes yeux’                                                  Jules Massenet (1842 - 1912)

     Le Cid  

Mimi Park, piano    

    

 

Die Nacht - Op. 10, No. 3                                       Richard Strauss (1864 - 1949)

Allerseelen - Op. 10, No. 8

Morgen - Op. 27, No. 4

Eva Toncheva, violin

Zueignung - Op. 10, No. 1

Bente Hansen, piano

 

 

Vissi d’arte                                                            Giacomo Puccini (1858 - 1924)

     Tosca

Mimi Park, piano

 

 

Gretchen am Spinnrade - D. 118                            Franz Schubert (1797 - 1828)

Bente Hansen, piano

 

 

Mira, o Norma                                                         Vincenzo Bellini (1801 - 1835)
     Norma                           

Barbara King, mezzo-soprano

Mimi Park, piano
 

 

Klänge der Heimat (Csàrdàs)                                 Johann Strauss (1825 - 1899)
     Die Fledermaus

Mimi Park, piano

'Pleurez mes yeux' (Weep, my eyes)
     Le Cid - Massenet

Chimène is in love with Rodrigue. However, Rodrigue killed her father in a duel because her father insulted Rodrigue's father. Torn between the loves she has for both of them, she realizes that there is no outcome which will not be touched by sorrow and heartache. ~ Aria Database

De cet affreux combat je sors l'âme brisée!

Mais enfin je suis libre et je pourrai du moins

Soupirer sans contrainte et souffrir sans témoins. 

 

Pleurez! pleurez mes yeux! 

tombez triste rosée

Qu'un rayon de soleil ne doit jamais tarir!

S'il me reste un espoir, c'est de bientôt mourir!

Pleurez mes yeux, pleurez toutes vox larmes! pleurez mes yeux! 

 

Mais qui donc a voulu l'éternité des pleurs?

O chers ensevelis, trouvez-vous tant de charmes à léguer aux vivants d'implacables douleurs?

Hélas! je me souviens, il me disait:

Avec ton doux sourire...

Tu ne saurais jamais conduire

Qu'aux chemins glorieux ou qu'aux sentiers bénis! 

 

Ah! mon père! Hélas!

 

Pleurez! pleurez mes yeux!

Tombez triste rosée

Qu'un rayon de soleil ne doit jamais tarir!

Pleurez mes yeux!

Ah! pleurez toutes vos larmes!
pleurez mes yeux!

Ended at las the strife, I turn, broken in spirit!

Still I hold to my freedom, and my grief is mine,

I may sigh as I will, and may suffer alone.

 

Weep! Weep my eyes! 

Then flow, sad shining tears

No ray of sun shall ever dry your tears!

If a hope yet remains, it is that death is near!

Weep my eyes, let your tears flow!
Weep!

 

Who wishes that tears fall everywhere?
Parted ones so dear, are you blessed by our sorrow that you leave us with such heavy despair?
Alas! I remember what he told me:
With your sweet smile…
You would never know to go on

Whether on glorious or blessed paths!

 

Ah! My father! Alas!


Weep! Weep my eyes! 

Then flow, sad shining tears

No ray of sun shall ever dry your tears!

Weep my eyes!

Ah! let your tears flow!
Weep!

~ translation from Aria Database
'Die Nacht' (The Night)
     Op. 10, No. 3 - Franz Schubert

Aus dem Walde tritt die Nacht,

Aus den Bäumen schleicht sie leise,

Schaut sich um in weitem Kreise,

Nun gib Acht!

 

Alle Lichter dieser Welt,

Alle Blumen, alle Farben

Löscht sie aus und stiehlt die Garben

Weg vom Feld.

 

Alles nimmt sie, was nur hold,

Nimmt das Silber weg des Stroms

Nimmt vom Kupferdach des Doms

Weg das Gold.

 

Ausgeplündert steht der Strauch:

Rücke näher, Seel’ an Seele,

O die Nacht, mir bangt, sie stehle

Dich mir auch.

Night steps from the woods,

Slips softly from the trees,

Gazes about her in a wide arc,

Now beware!

 

All the lights of this world,

All the flowers, all the colours

She extinguishes and steals the sheaves

From the field.

 

She takes all that is fair,

Takes the silver from the stream,

Takes from the cathedral’s copper roof

the gold.

 

The bush stands plundered:

Draw closer, soul to soul,

Ah the night, I fear, will steal

You too from me.

~ translation from Oxford Lieder
'Allerseelen' (All Soul's Day)
     Op. 10, No. 8 - Franz Schubert

Stell auf den Tisch die duftenden Reseden,

Die letzten roten Astern trag herbei,

Und laß uns wieder von der Liebe reden,

Wie einst im Mai.

Gib mir die Hand, daß ich sie heimlich drücke,

Und wenn man’s sieht,
mir ist es einerlei,

Gib mir nur einen deiner süßen Blicke,

Wie einst im Mai.

Es blüht und duftet heut auf jedem Grabe,

Ein Tag im Jahr ist ja den Toten frei,

Komm am mein Herz, daß ich dich wieder habe,

Wie einst im Mai.

Set on the table the fragrant mignonettes,

Bring in the last red asters,

And let us talk of love again,

As once in May.


Give me your hand to press in secret,

And if people see,
I do not care,

Give me but one of your sweet glances

As once in May.

Each grave today has flowers and is fragrant,

One day each year the dead are free;

Come to my heart and so be mine again,

As once in May.

~ translation from Oxford Lieder
'Morgen' (Morning)
     Op. 27, No. 4 - Franz Schubert

Und morgen wird die Sonne wieder scheinen 

Und auf dem Wege, den ich gehen werde, 

Wird uns, die Glücklichen, sie wieder einen

Inmitten dieser sonnenatmenden Erde ...
 

Und zu dem Strand, dem weiten, wogenblauen, 

Werden wir still und langsam niedersteigen,

Stumm werden wir uns in die Augen schauen,

Und auf uns sinkt des Glückes stummes Schweigen...

And tomorrow the sun will shine again 

And on the path that I shall take,

It will unite us, happy ones, again, 

Amid this same sun-breathing earth ...

And to the shore, broad, blue-waved,

We shall quietly and slowly descend,

Speechless we shall gaze into each other’s eyes,

And the speechless silence of bliss

shall fall on us ...

~ translation from Oxford Lieder
'Zueignung' (Dedication)
     Op. 10, No. 1 - Franz Schubert

Ja, du weißt es, teure Seele,

Daß ich fern von dir mich quäle,

Liebe macht die Herzen krank,

Habe Dank.
 

Einst hielt ich, der Freiheit Zecher, 

Hoch den Amethysten-Becher, 

Und du segnetest den Trank,

Habe Dank.
 

Und beschworst darin die Bösen,

Bis ich, was ich nie gewesen, 

Heilig, heilig an’s Herz dir sank,

Habe Dank!

Yes, dear soul, you know

That I’m in torment far from you, 

Love makes hearts sick –

Be thanked.
 

Once, revelling in freedom, 

I held The amethyst cup aloft

And you blessed that draught –

Be thanked.
 

And you banished the evil spirits, 

Till I, as never before,

Holy, sank holy upon your heart –

Be thanked.

~ translation from Oxford Lieder
'Vissi d'arte' (I lived for art)
     Tosca - Puccini

In the midst of an uncomfortable and dangerous conversation with Scarpia about the fate of Tosca's lover Cavaradossi, Floria Tosca sings of the two great driving forces in her life: love and music.

Vissi d’arte, 

vissi d’amore,         

non feci mai male ad anima viva!

Con man furtiva                

quante miserie conobbi aiutai.

Sempre con fè sincera            

la mia preghiera             

ai santi tabernacoli salì.        

Sempre con fè sincera            

diedi fiori a gli altar.

            

Nell’ora del dolore            

perchè, perchè, Signore,        

perchè me ne rimuneri così?

        

Diedi gioielli della Madonna al manto,

e diedi il canto a gli astri, al ciel,    

che ne ridean più belli.    

 

Nell’ora del dolore            

perchè, perchè, Signore,            

ah, perchè me ne rimuneri così?

I lived for my art, 

I lived for love,

I never did harm to a living soul!

With a secret hand 

I relieved as many misfortunes as I knew of.

 

Always with true faith

my prayer

rose to the holy shrines.

Always with true faith

I gave flowers to the altar.

 

In the hour of grief

why, why, o Lord,

why do you reward me thus?

 

I gave jewels for the Madonnas mantle,

and I gave my song to the stars, to heaven,

which smiled with more beauty.

 

In the hour of grief

why, why, o Lord,

ah, why do you reward me thus?

~ translation from Aria Database
'Gretchen am Spinnrade' (Gretchen at the Spinning Wheel)
     Tosca - Puccini

In the midst of an uncomfortable and dangerous conversation with Scarpia about the fate of Tosca's lover, Floria Tosca sings of the two great driving forces in her life: love and music.

Vissi d’arte, 

vissi d’amore,         

non feci mai male ad anima viva!

Con man furtiva                

quante miserie conobbi aiutai.

Sempre con fè sincera            

la mia preghiera             

ai santi tabernacoli salì.        

Sempre con fè sincera            

diedi fiori a gli altar.

            

Nell’ora del dolore            

perchè, perchè, Signore,        

perchè me ne rimuneri così?

        

Diedi gioielli della Madonna al manto,

e diedi il canto a gli astri, al ciel,    

che ne ridean più belli.    

 

Nell’ora del dolore            

perchè, perchè, Signore,            

ah, perchè me ne rimuneri così?

I lived for my art, 

I lived for love,

I never did harm to a living soul!

With a secret hand 

I relieved as many misfortunes as I knew of.

 

Always with true faith

my prayer

rose to the holy shrines.

Always with true faith

I gave flowers to the altar.

 

In the hour of grief

why, why, o Lord,

why do you reward me thus?

 

I gave jewels for the Madonnas mantle,

and I gave my song to the stars, to heaven,

which smiled with more beauty.

 

In the hour of grief

why, why, o Lord,

ah, why do you reward me thus?

~ translation from Aria Database
'Mira, o Norma' (Listen, o Norma)
     Act 2 Duet - Norma - Bellini

Aldalgisa, the young priestess, pledges her loyalty to Norma, the high priestess, and the two women reaffirm their friendship.

[Adalgisa:]

Mira, o Norma: ai tuoi ginocchi

Questi cari tuoi pargoletti!

Ah! Pietade di lor ti tocchi,

Se non hai di te pietà!

 

[Norma:]

Ah! Perché, perché la mia costanza

Vuoi scemar con molli affetti?

Più lusinghe, ah, più speranza

Presso a morte un cor non ha!

 

[Adalgisa:]

Mira questi cari pargoletti,

Questi cari, ah... Li vedi, ah!

 

[Norma:]

Ah! Perchè, ah! Perchè la vuoi scemar?

 

[Adalgisa e Norma:]

Mira, o Norma, a' tuoi ginocchi,

(Ah! Perché, perché la mia costanza)

questi cari tuoi pargoletti,

(Vuoi scemar con molli affetti?)

Ah! Pietade di lor ti tocchi,

(Più lusinghe, ah, più speranza)

Se non hai di te pieta!

(Presso a morte un cor non ha!)

 

[Adalgisa:]

Cedi! Deh, cedi!

 

[Norma:]

Ah! Lasciami! Ei t'ama.

 

[Adalgisa:]

Ei già sen pente.

 

[Norma:]

E tu?

 

[Adalgisa:]

L'amai. Quest'anima

Sol l'amistade or sente.

 

[Norma:]

O giovinetta! E vuoi?

 

[Adalgisa:]

Renderti i dritti tuoi,

O teco al cielo agli uomini

Giuro celarmi ognor.

 

[Norma:]

Sì. Hai vinto. Abbracciami!

Trovo un'amica, amor...

 

[Norma ed Adalgisa:]

Sì, fino all'ore estreme

Compagna tua m'avrai.

Per ricovrarci insieme

Ampia è la terra assai.

 

Teco, del fato all'onte

(Teco, del fato all'onte)

Ferma opporrò la fronte,

(Ferma opporrò la fronte)

Finchè il tuo core (Finchè il tuo core)

a battere (a battere)

Io senta sul mio cor (Io senta sul mio cor)

 

Battere lo senta sul mio cuor, sì!

[Adalgisa:]

Look, oh Norma: at your knees

There are these, your beloved children!

Ah! May pity for them touch your heart,

If you don't have pity for yourself!

 

[Norma:]

Ah! Why, why do you want to weaken

My resolve, with tender affection?

Kind illusions, ah, any hope

Can't be had by a heart that is almost dead!

 

[Adalgisa:]

Look at these beloved children,

These darling ones, ah... See them, ah!

 

[Norma:]

Ah! Why, ah! Why do you want to weaken it?

 

[Adalgisa and Norma:]

Look, oh Norma: at your knees

(Ah! Why, why do you want to weaken)

There are these, your beloved children!

(My resolve, with tender affection?)

Ah! May pity for them touch your heart,

(Kind illusions, ah, any hope)

If you don't have pity for yourself!

(Can't be had by a heart that is almost dead!)

 

[Adalgisa]

Give up! Oh, give up!

 

[Norma:]

Ah! Let me be! He loves you...

 

[Adalgisa:]

He's regretting it already...

 

[Norma:]

And you?

 

[Adalgisa:]

I loved him. This soul

Only feels friendship, now.

 

[Norma:]

Oh, young girl! And what do you want...?

 

[Adalgisa:]

To give you back your rights,

Or with you, from both Heaven and men,

I swear that I'll hide forever more.

 

[Norma:]

Yes. You've won. Hold me!

I find a friend, love...

 

[Norma and Adalgisa;]

Yes, until the final hours

You'll have me as your companion!

To shelter the both of us

The earth is wide enough...

 

With you, before the trials of fate,

(With you, before the trials of fate)

Steadfast, I will hold my head high,

(Steadfast, I will hold my head high)

As long as I feel (As long as I feel)

Your heart beating (Your heart beating)

Over my own heart (Over my own heart)

 

Beating over my own heart, yes!

~ translation from Lyrics Translate
'Klänge Der Heimat' (Sounds of my Homeland)
     Act 2 - Die Fledermaus - J. Strauss

 At Prince Orlofsky's house, Rosalinda has come into the party disguised as a Hungarian countess. To convince everyone of her authenticity, she sings a Hungarian czardas of her love for her land.

Klänge der Heimat,

ihr weckt mir das Sehnen,

rufet die Tränen ins Auge mir!

Wenn ich euch höre, ihr heimischen Lieder,

zieht mich's wieder, mein Ungarland, zu dir!

 

O Heimat so wunderbar,

wie strahlt dort die Sonne so klar,

wie grün deine Wälder, wie lachend die Felder,

o Land wo so glücklich ich war!

 

Ja, dein geliebtes Bild! Meine Seele so ganz erfüllt, dein geliebtes Bild!

 

Und bin ich auch von dir weit, ach weit,

dir bleibt in Ewigkeit doch mein Sinn immerdar ganz allein geweiht!

 

O Heimat so wunderbar, wie strahlt dort die Sonne so klar, wie grün deine Wälder, wie lachend die Felder, o Land,

wo so glücklich ich war!

 

Feuer, Lebenslust, schwellt echte Ungarbrust, hei! Zum Tanze schnell! Czárdás tönt so hell!

Braunes Mägdelein, musst meine Tänz'rin sein; Reich den Arm geschwind, dunkeläugig Kind!

Durst'ge Zecher greift zum Becher, lasst ihn kreisen, lasst ihn kreisen schnell von Hand zu Hand!

 

Schlürft das Feuer im Tokayer! Bringt ein Hoch aus dem Vaterland! Ha!

 

Feuer, Lebenslust schwellt echte Ungarbrust, hei! Zum Tanze schnell! Czárdás tönt so hell!

Sounds of my home country,

you revive the yearning,

Let the tears brim in my eyes!

Hearing the old-time songs, Draws me back,

my Hungary, to you!

 

Oh homeland so beautiful,

With the sun gleaming so bright,

How green are your forests, how lush your fields, Oh countryside, where I once was happily at home!

 

Yes, those cherished memories Fill my heart to bursting, Those cherished memories!

 

But though I am far from you now, so far, ah, eternally consecrated to you is the yearning of my heart!

 

Oh homeland so beautiful, With the sun gleaming so bright, How green are your forests, how lush your fields, Oh my country,

where once I was happily at home!

 

Fire, zest for life, fills the real Hungarians chest, Hurry to the dancefloor! Czárdàs can be heard! Suntaned maiden, come and dance with me;

Take my arm, you dark eyed child!

 

Thirsty customers reach for tankards, Let them go round faster and faster From hand to

hand!

 

Relish the fire in the Tokay wine! A toast to our nation! Hay!

 

Fire, zest for life, fills the real Hungarians chest, Hurry to the dancefloor! Czárdàs can be heard!

~ translation from Lieder Net Archive
Mimi Park, piano

Mimi Park graduated from the prestigious Seoul Arts High School and obtained a Bachelor in Piano Performance from HanYang University in South Korea. She has also received a certificate from AIDM Academy in Rome, Italy. With a deep understanding and a love for the voice, Mimi has worked as opera repetiteur at Seoul National Opera, Maria Pellegrini in Ottawa, and often in Calgary, Alberta. She is very active as a vocal collaborator in Canada, USA, and South Korea. 

Bente Hansen, piano

M.Mus., Michigan State University

B.Mus. piano performance, University of Lethbridge Bente Hansen has been teaching music theory at the University of Lethbridge since 1997 - this is also the year she joined the Music Conservatory, teaching both piano and music theory. Bente is currently serving as the pianist for New West Theatre's musical reviews. Bente is sought after as a performer, accompanist, teacher and clinician. She regularly accompanies a number of university students and enjoys visiting senior housing to play for the residents. In  summer 2015, she spent time in Pasto, Colombia where she offered piano masterclasses at the Universidad de Nariño and gave a piano concerto at the Teatro de Javiariano. Bente returned to Pasto in 2019 for another series of Masterclasses and two chamber recitals.

Barbara King, mezzo-soprano

From winning the Québec Provincial Gymnastics Championship on Floor to thrilling audiences with her “exquisite vocal command of a three octave range” and the possession of a “warm, agile mezzo-soprano voice”, Canadian mezzo soprano Barbara King is no stranger to the stage. In light of the pandemic, Barbara went virtual, performing online with Rocky Mountain Symphony Orchestra, Divas Opera, Calgary Concert Opera, Pixel Opera Media and Alberta Symphony Orchestra. In 2019/2020, Barbara sang the role of Dalila (Samson et Dalila) with Opera by Request and made her debut as a principle soloist with Calgary Civic Symphony (Sunday Afternoon at the Opera). In 2018, Ms. King sang the title role of Carmen with Opera Kelowna, was an Alumni Mentor with Opera NUOVA and sang as Flora in Manitoba Opera’s new production of La Traviata. Barbara’s upcoming virtual performance includes the role of Orfeo in Gluck's Orfeo: A virtual escape into the underworld and back with Opera by Request and the Calgary Concert Opera Company.

 

www.mezzoking.com
@barbkingmezzo

Eva Toncheva, violin

Eva obtained her Bachelor of Music degree in Violin Performance jointly from the University of Lethbridge and the University of British Columbia in 2018. Eva enjoys being immersed in Calgary’s rich musical community, offering her services both as a performer and as a teacher. She is currently serving as concertmaster of the Rocky Mountain Symphony Orchestra and regularly performs with the Symphony of the Kootenays, Kamloops Symphony Orchestra and other organisations throughout Southern Alberta and BC.

  • Facebook Basic Black
  • Black Instagram Icon
  • Twitter Basic Black
  • Black YouTube Icon

© 2017 by Kathleen Morrison