Western Wind



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BargeMusic

Presents

T he Western Wind

in

Bar La Barca

2 Madrigal Comedies 400 Years Apart!

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Barca di Venetia per Padova (1605)

by Adriano Banchieri (1568-1634)

&

Jukebox in the Tavern of Love (2008)

Music by Eric Salzman

Libretto by Valeria Vasilevski

Barge Music

Fulton Ferry Landing near the Brooklyn Bridge

July 8 & 10, 2009, 8 PM

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Barge Music

presents

Bar LaBarca

2 Madrigal Comedies 400 Years Apart

The Western Wind

Laura Christian, Michele Kennedy, sopranos

William Zukof, countertenor

Todd Frizzell, Richard Slade, tenors

Elliot Z. Levine, baritone, guitar

Stage Direction: Valeria Vasilevski

Costume Styling and Design, Props: Hollie Nadel

Stage Presence and Stage Manager:: Pedro J. Rosado, Jr.

((((((((((((((

The Western Wind Vocal Ensemble

(212) 873-2848 or (800) 788-2187 ( ( (e-mail: info@



Publicity: Cohn Dutcher Associates

Special thanks to: the New York State Music Fund, the Argosy Foundation Contemporary Music Fund and the National Endowment for the Arts for their support for the commissioning and presentation of

Jukebox in the Tavern of Love. Bar La Barca presentation made possible with public funds from the New York City Department of Cultural Affairs, the National Endowment for the Arts American Masters: Chamber Music program and the New York State Council on the Arts.

Valeria Vasilevski wishes to thank Coleman Barks whose extraordinary

translations of Jelaluddin Rumi inspired her life and this work

| The Western Wind Discography |

|Recital |

|O Western Wind, an (almost ) A Cappella Songbook (Western Wind Records, WW2002) |

| |

|Contemporary |

|The Man in the Moon -The Western Wind sing music of Robert Dennis (Western Wind Records, WW2003) |

|Blessings and Batéy (Western Wind Records, WW2001) |

|Birth of the WarGod (Laurel, CD LR-840) |

|Koyaanisqatsi (Nonesuch Records) |

|Satires, Ballads and Bop (Newport Classic, NPD 85507 – Out of Print) |

| |

|Jazz and Popular |

|My Funny Valentine (Western Wind Records, WW4004) |

| |

|Judaica |

|Chanukkah in Story and Song (NPR 016) |

|The Chanukkah Story (Western Wind Records, WW1818) |

|The Passover Story (Western Wind Records, WW1800) |

|Mazal Bueno: A Portrait in Song of the Spanish Jews (Western Wind Records, WW1836) |

|The Birthday of The World: Music and Traditions of The High Holy Days |

|Part I: Rosh Hashanah, (Western Wind Records, WW1854) |

|Part II: Yom Kippur (Western Wind Records , WW 1872) |

|Taste of Eternity: A Musical Shabbat |

|Part I, Friday Evening Service and Table Songs (Western Wind Records, WW1890) |

|Taste of Eternity: A Musical Shabbat |

|Part II, Saturday Morning Service |

|(Western Wind Records, WW1899) |

|Release date: 7/14/2008 |

|We Are Still Here: music of the Holocaust (a four song sampler) |

| |

|Early American |

|I Am The Rose of Sharon: Early American Vocal Music (Western Wind Records, WW 1776) |

|The Happy Journey (Western Wind Records, WW1790) |

| |

|Christmas |

|Christmas in the New World (Musical Heritage Society MHS-4077) |

|An Old Fashioned Christmas (Nonesuch Records) |

|A Christmas Celebration (Musical Heritage) |

|Holiday Light, Singing Angels, Silver Bells (WW 1225) |

| |

|Sampler |

|Western Wind Encores – i thank you God by Elliot Z. Levine/ Spiderman arr. By Steve Friedman |

|SECONDA OTTAVA ALL’IMPROVIVISO NEL LIUTO |SECOND OTTAVA TO BE IMPROVISED ON THE LUTE |

|ORAZIO |ORAZIO |

|La vostra mammaquand’eri bambina |When you were a child your Mama |

|Faceva il molto ben farvi carezze. |Did very well to caress you. |

|Voi sete così bella, Rizzolina, |You are so lovely, Rizzolina |

|Che somigliate, il Sol con l’autre trezze. |That you resemble the sun with your golden |

| |tresses. |

|Io sempre pens’in voi sera e mattina |I think of you all the time, night and day; |

|Così vostre maniere m’hanno avezze. |I have become so accustomed to your manners |

|Ond’hò imparato far si ben l’amore |And I have learned to make love so well |

|Che v’hò donato l’alma, il spirto e ‘l core. |That I have given you my soul, my mind and my |

| |heart. |

|ALTRI |OTHERS (Imitating the Lute) |

|Trinc tinc tin ti ri trinc ecc. |Trinc tinc tin ti ri trinc ecc. |

|Trenc trenc ten ten ten trenc ecc. |Trenc trenc ten ten ten trenc ecc. |

|Tron tronc tronc tronc tronc tronc ecc. |Tron tronc tronc tronc tronc tronc ecc. |

|ARIA A IMITAZIONE DEL RADESCA ALL PIEMONTESE NEL|AIR TO THE LUTE IN IMATATION OF RADESCA IN THE |

|LIUTO |PIEMONTESE STYLE |

|RIZZOLINA E ORAZIO |RIZZOLINA AND ORAZIO |

|Voi dite esser di foco |You say that you are on fire, |

|E tutta ghiaccio sete |But you are all ice. |

|Onde mai si trovò gelido ardore? |Wherever has there been frozen fire? |

|Ah che mai non potete |Ah, you cannot possibly be |

|Foco esser voi che tutta ghiaccio sete. |On fire, you who are all ice. |

|ALTRI |OTHERS (Imitating the Lute) |

|Trinc tinc tin ti ri trinc ecc. |Trinc tinc tin ti ri trinc ecc. |

|Trenc trenc ten ten ten trenc ecc. |Trenc trenc ten ten ten trenc ecc. |

|Tron tronc tronc tronc tronc tronc ecc. |Tron tronc tronc tronc tronc tronc ecc. |

| | |

|BARACAROULI PROCACCIO E TUTTI AL FINE |THE BOATMASTER AND EVERYONE |

|BARCARUOLI PROCACCIO |THE BOATMASTER |

|Daspuò che semo zonti in tel portello |“Now that we have arrived at this port |

|Man à bezzi |Get out your money!” |

|Va stagando! No pì fandonie. |“Starboard, ahoy! No more nonsense!” |

|TUTTI |TUTTI |

|--O questa èun altra musica! |“O this is another kind of music! |

|Quanto vi vien per testa? |What is the charge per head?” |

|BARCARUOLI PROCACCIO |THE BOATMASTER |

|--Una da vinti e daspuòel beveraggio |“Twenty a piece, and then the drinks. |

|Con sanitae, bon zorno e bon viaggio. |Your health, good day and bon voyage! |

|Si paghi e poi cantiamo, passagieri: |You pay, and then let’s sing, passengers: |

|TUTTI |TUTTI |

|Vivan le capricciate del Banchieri.-- |Long live the Cappriciate of Banchieri. |

|La trai nai nai nai nai nai nai nai nai na! |La trai nai nai nai nai nai nai nai nai na! |

|SOLDATO SVALIGIATO |SWINDLER SOLDIER |

|SOLDATO SVALIGIATO |SWINDELR SOLDIER |

|Un povero Soldato |“A poor soldier |

|Tornato dalle guerra |Returned from the war |

|Và cercando pietà per ogni terra |Seeking charity throughout the land. |

|S’alle contrade mie farò ritorno |If I can manage to get home |

|Fortunato quel giorno |A happy day that will be. |

|E gl’amici e parenti |My friends and my family |

|Pur che vivo torn’io saran contenti |Will be happy that I have come back alive. |

|TUTTI |TUTTI |

|Và lavora guidon! Và lavora guidon! |“Go and work you phony!” |

Thanks to Gabriella Bellorio for her assistance in preparing this translation.

|Barca di Venetia per Padova |

|Adriano Banchieri (1568-1634) |

| |

|Prologue: Blythe Spirit |

|Clamor of Fishmongers |

|The Captain of the Boat Bids Farewell to Ninetta |

|The Boatman to the Passengers |

|Florentine Bookmonger |

|Music Master from Lucca |

|Ensemble of Five Singers |

|Venetian and German |

|Madrigal of Sentiment |

|Madrigal of Caprice |

|Mattinata in Dialogue |

|Dialogue |

|Merchant of Brescia and the Jews |

|Madrigal in Roman Style (Style of Marenzio) |

|Madrigal in Neopolitan Style (Style of Spano) |

|First Improvised Ottava Rima to the Lute |

|Second Improvised Ottava Rima to the Lute |

|Aria in the Piedmontese Style (Style of Radesca), to the Lute |

|Boatmen, Fare Collector and the Entire Group\ |

|Swindler Soldier |

|Intermission |

| |

|Jukebox in the Tavern of Love |

|Music: Eric Salzman libretto: Valeria Vasilevski |

| |

|Storm |

| |

|Brush Chug Shuffle |

|The Jewish Jesuit |

|Not Porcelain Dolls |

|Toast Love |

|Quodlibet |

|All That is Left of Me |

.

About Bar la barca

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Since the early 1970’s, The Western Wind has been dedicated to the creation and performance of new music for voices. This has been a parallel track to our exploration of historical music including Medieval, Renaissance and Early American genres as well as Judaica, folk, pop and jazz arrangements.

Bar La Barca reflects all these interests. Our madrigal theater evening pairs the newly commissioned modern madrigal comedy Jukebox in the Tavern of Love by Eric Salzman and Valeria Vasilevski with the Renaissance work that inspired it: Barca di Venetia per Padova from 1605 by Adriano Banchieri..

A remarkably versatile musician, Banchieri (1568-1634) pursued his musical activities as a composer, theorist, and organist throughout a long career as a monk in the Olivetan order. After taking holy orders in 1590, he served in churches and monasteries in cities such as Lucca, Siena, Bologna, Venice and Verona, frequently combining his religious duties with those of an organist. Banchieri’s writings about musical instruments provide us with some of the most detailed descriptions of Italian Baroque organs.

In 1605 Banchieri accepted a post as organist at the convent of St. Elena in Venice and undoubtedly traveled there by boat from Padua, the most common route at that time. Contemporary histories and diaries reveal that the ride from Venice to Padua was frequently raucous, flavored by a lively mixture of languages including north-Italian dialects. Thus, Banchieri’s own journey inspired him to compose the witty and imaginative madrigal comedy Barca di Venetia, which he published in an a cappella version in 1605. His vast knowledge of dialects—he actually published books about the Bolognese dialects—enabled him to capture the full liveliness and humor of his experience. Not surprisingly, he probably wrote not only the music, but also the text of La Barca. Our version is based on the 1623 edition which includes a basso continuo part played in this performance on guitar.

(Notes on Banchieri by Lawrence Bennett.)

“Jukebox in the Tavern of Love, is a modern madrigal comedy commissioned by the Western Wind to go with a 1605 madrigal comedy by Adriano Banchieri. It portrays six characters, strangers all, who seek refuge in a tavern in the midst of a blackout created by a huge storm and subsequent power failure. To pass the time, each of them tells a significant story about their lives and loves and reflects with compassion and humor on the nature and broad spectrum of love.” Eric Salzman.

Eric Salzman, one of the founders of the new music-theater, has been working in the field since the 1960s and is the creator or co-creator of more than two-dozen works for stage, recording and media. His work is innovative, involving new vocal techniques and pluralistic styles and forms. The True Last Words of Dutch Schultz, his previous collaboration with Valeria Vasilevski, was premiered and toured in The Netherlands and had its U.S. premiere as a staged reading at Symphony Space's Wall-to-Wall Opera last spring. Salzman has worked in recent years in France,

|Rizzolina |Rizzolina |

|Pellizone mi dirai |Pellizone, say, |

|Il bel occhio che tu hai |What a beautiful eye you have; |

|Il più bella non viddi mai |I’ve never seen one more beautiful, |

|Nè così fatt’à rason |Nor one so well-shaped. . |

|TUTTI |TUTTI |

|Pellizon zon zon |Pellizon zon zon |

|APPLAUSO, MERCANTE BRESCIANO ET HEBREI |

|APPLAUSE. THE BRESCIAN MERCHANT AND THE JEWS |

| |

|La trai nai nai nai nai nai nai nai nai na |

|La trai nai nai nai nai nai nai nai nai na |

| |

|Sté sù a sentì ol noster Samuel |

|Stand up and listen to our Samuel |

| |

|Che vol far sinagoga con Bethel |

|Who wants to hold a service with Bethel |

| |

|La trai nai nai nai nai nai nai nai nai na |

|La trai nai nai nai nai nai nai nai nai na |

| |

|Oth zorocot Ballacott Assach mustac |

|Oth zorocot Ballacott Assach mustac |

| |

|Oga magoga hò hò hò hò |

|Oga magoga hò hò hò hò |

| |

|Calla mallacott la baruccabà |

|Calla mallacott la baruccabà |

| |

|La sinagoga la sinagoga |

|La sinagoga la sinagoga |

| |

|La trai nai nai nai nai nai nai nai nai na |

|La trai nai nai nai nai nai nai nai nai na |

| |

|MADRIGALE STILE DEL MARENZIO ROMANO |MADRIGAL IN THE STYLE OF MARENZIO THE ROMAN |

|Oggi nacqui, ben mio, per viver nostro. |Today, I was born, my beloved, to live as yours|

|Ecco la bella aurora |Behold the fair dawn |

|Che produsse colui |That produced him |

|Che il vostro Sol adora |Who worships your Sun. |

|O fortunate il mio natal se voi |O happy day of my birth, |

|Direte con la bocca e col desio: |With your lips filled with longing, tell me: |

|Oggi nacqui ben mio. |“Today I was born, my beloved.” |

|MADRIGALE A IMITAZIONE DEL SPANO NAPOLITANO |MADRIGAL IN IMITATION OF SPANO THE NEAPOLITAN |

|Con sue splendide luci |With her radiant eyes, |

|La mia cara Brunetta |My beloved Brunetta |

|Tutte serene e belle |Most serenely and beautifully |

|Per guiderdon de miei strani dolori |Looks at me with joy |

|Mirami lieta. Ah, cara vezzosetta, |As a reward for my strange sorrow. |

|Ecc’io le miro e ella |See, I look at her, and she, |

|Che sott’asconde gl’amorosi dardi |With concealed darts of love, |

|Mi cangia i sensi con suoi cari sguardi. |Confuses my senses with her adored looks. |

|pRIMA OTTAVA ALL’IMPROVVISO NEL LIUTO |FIRST OTTAVA TO BE IMPROVISED ON THE LUTE |

|Rizzolina |Rizzolina |

|Io mi ricordo quando fui bambina |I remember when I was a child |

|Che la mia mamma mi facea carezze |My mama caressed me |

|E mi dicea: bella Rizzolina, |And said to me, “Pretty Rizzolina”, |

|Se non par d’or quelle tue bionde trezze! |Don’t your blond tresses look like pure gold? |

|Con le compagne poi sera e mattina |Then with my companions from dusk to dawn |

|Facea l’amor con lor ch’erano avezze |I made love. Because they were experienced |

|Et imparai si bene a far l’amore |I learned so well how to make love |

|Ch’à mill’amanti il dì rubavo il core. |That I stole the hearts of a thousand lovers. |

|ALTRI |OTHERS (Imitating the Lute) |

|Trinc tinc tin ti ri trinc ecc. |Trinc tinc tin ti ri trinc ecc. |

|Trenc trenc ten ten ten trenc ecc. |Trenc trenc ten ten ten trenc ecc. |

|Tron tronc tronc tronc tronc tronc ecc. |Tron tronc tronc tronc tronc tronc ecc. |

|MATTINATA IN DIALOGO |DAWN SERENADE IN DIALOGUE |

|Rizzolina |Rizzolina |

|Non più, di grazia, simil Madrigali! |If you please, no more such madrigals! |

|Tutti |ALL |

|Fa la la la la la la la la la la. |Fa la la la la la la la la la la. |

|Rizzolina |Rizzolina |

|Rizzolina, son cortese. |I am Rizzolina, ever obliging |

|Gli Altri |THE OTHERS |

|La più bella del paese. |The prettiest in the land. |

|Rizzolina |Rizzolina |

|Tutto il giorno fò l’amore |I make love all day long. |

|Gli Altri |THE OTHERS |

|Poi la sera alle quatr’hore |And again at 4 p.m. |

|Rizzolina |Rizzolina |

|Il mio caro pelizzone |My dear Pellizone |

|Sa sonar e cantar. |Knows how to play and sing |

|DIALOGO |DIALOGUE |

|Pellizone |Pellizone |

|Cuor mi bello mi dirai |My fair heart say, |

|Bella vita che tu hai |What a pretty waist you have; |

|La più bella non viddi mai |I’ve never seen a prettier one, |

|Nè così fatt’à penel |Nor one so perfectly made to measure. |

|Rizzolina |Rizzolina |

|Cuor mio bel bel bel |My pretty, pretty heart. |

|Pellizone |Pellizone |

|Cuor mio bel bel bel |My pretty, pretty heart. |

|Rizzolina |Rizzolina |

|Pellizone mi dirai |Pellizone, say, |

|Il bel fianco che tu hai |What handsome flanks you have; |

|Il più bella non viddi mai |I’ve never seen more handsome ones, |

|Nè così fatt’à rason |Nor ones so well built |

|Pellizone |Pellizone |

|Pellizon zon zon |Pellizon zon zon |

|Rizzolina |Rizzolina |

|Pellizon zon zon |Pellizon zon zon |

|Pellizone |Pellizone |

|Cuor mi bello mi dirai |My fair heart, say, |

|Bella gola che tu hai |What a lovely neck you have: |

|La più bella non viddi mai |I’ve never seen a lovelier one, |

|Nè così fatt’à penel |Nor one so perfectly made to measure. |

|Rizzolina |Rizzolina |

|Pellizone mi dirai |Pellizone, say, |

|Il bel petto che tu hai |What a fine chest you have; |

|Il più bella non viddi mai |I’ve never seen a finer one, |

|Nè così fatt’à rason |Nor one so strongly built. |

|Pellizone |Pellizone |

|Cuor mi bello mi dirai |My fair heart, say, |

|Bella bocca che tu hai |What a lovely mouth you have: |

|La più bella non viddi mai |I’ve never seen a lovelier one, |

|Nè così fatt’à penel |Nor one so perfectly made to measure. |

The Netherlands, Germany, Austria and Norway. He is currently Artistic Director of the Center for Contemporary Opera in New York and is completing a book on The New Music Theater (with Thomas Desi) for Oxford University Press. has worked in recent years in France, Quebec, The Netherlands, Germany, Austria and Norway. He is currently Artistic Director of the Center for Contemporary Opera in New York and is completing a book on The New Music Theater (with Thomas Desi) for Oxford University Press.

Valeria Vasilevski’s theatrical roots date back to original work with Jerzy Grotowski (1974). She is well-known for her performance art, dance-theater, music theater and "concert theater" work. Her article on Concert Theater, “Pioneering a New Form or Putting a Dress on a Tree?” appears in the Yale Theater Review.

For twenty years she has collaborated with numerous new music composers, creating new and unusual texts and extending the relationship between text and music. With composer Eric Salzman she wrote and directed The True Last Words of Dutch Schultz for vocalist Theo Bleckmann. Dutch toured the Netherlands and was featured in Wall To Wall Opera at Symphony Space.

As lyricist she is a seven time ASCAP Awards Recipient. Other awards include the American Academy of Arts and Letters; The Cary Trust for Composers and Librettists and Meet The Composer, as well as grants from the Ford, Rockefeller and Fulbright Foundations and the Asian Cultural Council.

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The Western Wind Vocal Ensemble

Since 1969, the internationally acclaimed vocal sextet, The Western Wind, has devoted itself to the special beauty and variety of a cappella music. The ensemble’s repertoire reveals the diverse background of its members: from Renaissance motets to Fifties rock’n’roll, from medieval carols to jazz standards, from complex works by avant-garde composers to the simplest folk melodies.

In Europe, the sextet appeared at the Geneva Opera in January 1999, performing two works it commissioned: Batéy by Tania León and Michel Camilo, and De Orishas by Tania León. From 1980-1985, The Western Wind recorded early and contemporary American vocal music for the West German National Radio (WDR) at Cologne, and made several triumphant tours of northern Italy, performing Italian Renaissance as well as American music. The group has appeared with the RAI Orchestra and Chorus of Rome at the Rome Opera and at Venice’s legendary opera house, La Fenice. In 1985, The Western Wind premiered Cesar Franck’s opera, Stradella, for La Fenice in an outdoor Venetian setting. At the request of the State Department (USIA), The Western Wind has also performed American and Latin American music throughout East Asia.

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Western Wind Performances and Recordings

In the United States, Western Wind has appeared in many distinguished venues, including Lincoln Center, Carnegie Hall, Kennedy Center, ArtPark, Ordway Theater, the Metropolitan Museum, the Frick Museum, the Jewish Museum, Folger Shakespeare Library, Library of Congress, and Cleveland Museum of Art.

The ensemble has been a favorite of the American Choral Directors Association. During 2000, the group was featured in two ACDA regional division conventions (Eastern Division in Maryland and Midwestern Division in Nebraska), and through the years has performed for four ACDA state conventions (Iowa, Illinois, Wisconsin, and Indiana) as well as at the national convention. The Western Wind also sang for the 1996 New York State School Music Association convention.

5.

During its 1987-88 season, The Western Wind won the ASCAP-Chamber Music America Award for Adventurous Programming of Contemporary Music. In addition to their many live performances, the unique sound of Western Wind may be heard on radio, television, film, and CD. A series of public radio holiday specials by The Western Wind has been broadcast nationwide since 1989, and the group has been televised on The Today Show (NBC). On film, the ensemble sings music by Philip Glass in the movies Koyaanisqatsi (Nonesuch Records) and Candyman.

The Western Wind has created holiday programming for public radio including the Chanukkah Story; The Birthday of The World, Music and traditions of the High Holy Days which have become public radio perennials. Award-winning recordings include I Am the Rose of Sharon and The Happy Journey (Early American Vocal Music), Christmas in the New World and Holiday Light (Christmas); Mazal Bueno, A Portrait in Song of the Spanish Jews; Taste of Eternity, A Musical Shabbat; The Passover Story (Judaica); Blessings and Batéy. featuring music by David Darling, Tania León, and Michel Camilo; My Funny Valentine (Pop and Jazz); and Man in The Moon, music of Robert Dennis.

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The Voices of The Western Wind

Laura Christian (soprano) indulges her two loves of a cappella ensemble singing and theater whenever possible. In her home state of Michigan, she has sung principal roles in The Marriage of Figaro, The Magic Flute, and virtually all of the Gilbert and Sullivan operettas. She has performed with the small a cappella groups Cantori Amarylli and Vocal Arts Ensemble, with the University Musical Society Choral Union, and St. John's Episcopal Church (Detroit). Since coming to New York in 2005, she has appeared with St. Bartholomew’s Choir, Jubal's Lyre, the Blue Hill Troupe, the Christopher Caines Dance Company, the Sound Shore Chorale, the Pharos Music Project, Manhattan Voices, and the New York Gilbert & Sullivan Society.  She holds a B.A. from the University of Michigan.

|VENETIANO E TEDESCO |THE VENETIAN AND THE GERMAN |

|TEDESCHO |GERMAN |

|Brindes iò iò iò iò iò iò |Cheers! Yo,yo,yo,yo,yo,yo! |

|Sgott mi trinc con el flascon |Grüss Gott me drink from bottle |

|Sgott mi piaser el vin bon |Grüss Gott I enjoying the good wine |

|Gli Altri |the others |

|Or suso el fiasco in ronda |Come now, send the bottle around! |

|Con patto alla segonda |With the agreement that after the second round |

|Daspuò che bevù havremmo |When we have had a drink |

|Voio che nù cantemmo |We’will sing |

|Per cosa capricciosa |For our entertainment |

|Un per de Marregali alla Venosa |A madrigal in the style of Venosa. (Composer |

| |Carlo Gesualdo.) |

|MADRIGALE AFFETTUOSO |MADRIGAL “AFFETTUOSO” |

|Empia man, penna iniqua, |Cruel hand, wicked pen, |

|Mentr’il partir scrivete |Write of my parting |

|Il termin di mia vita prescrivete. |Write down the day of my death |

|Sì, sì, scrivete ei muore; |Yes, yes, write “he dies”, |

|Nuova parka d’amore |Ye new Fates of love, |

|Che così men fallaci |That, being less deceiving |

|Fien vostre note insieme più veraci. |Your words may be more true. |

|MADRIGALE CAPPRICCIOSO |MADRIGAL “CAPPRICCIOSO” |

|Baci soavi e cari, |Sweet beloved kisses, |

|Cibo della mia vita, |Food of my life, |

|Ch’hor m’involate hor me rendete il core, |Who now rob me of my life, now return it to me,|

|Per voi convien ch’impari |Through you I may learn |

|Com’un alma rapita |How one can lose a heart |

|Non sente il duol di morte e pur si muore |Without feeling the pangs of death, and yet die|

|Quant’ha di dolce amore |With so much sweet love. |

|O dolcissime rose |O sweetest roses (lips) |

|Amor in voi ripose |Love reposes in you. |

|Deh, se io potessi à vostri dolci baci |Ah, could I but in your sweet kisses |

|La mia vita finire |End my life |

|O che dolce morire. |O, how sweet a death! |

|MATTINATA IN DIALOGO |DAWN SERENADE IN DIALOGUE |

|Rizzolina |Rizzolina |

|Non più, di grazia, simil Madrigali! |If you please, no more such madrigals! |

|Tutti |ALL |

|Fa la la la la la la la la la la. |Fa la la la la la la la la la la. |

|Rizzolina |Rizzolina |

|Rizzolina, son cortese. |I am Rizzolina, ever obliging |

|Gli Altri |THE OTHERS |

|La più bella del paese. |The prettiest in the land. |

|Rizzolina |Rizzolina |

|Tutto il giorno fò l’amore |I make love all day long. |

|Gli Altri |THE OTHERS |

|Poi la sera alle quatr’hore |And again at 4 p.m. |

|Rizzolina |Rizzolina |

|Il mio caro pelizzone |My dear Pellizone |

|Sa sonar e cantar. |Knows how to play and sing |

|Tutti |ALL |

|Fa sonar e cantar nel chittarone. |Plays and sings to the chitarrone |

|Fa la la la la la la la la la la. |Fa la la la la la la la la la la.. |

|El val un buzzintoro. |Is worth a bucintoro. |

|Quell’ochio marioletto |Those naughty eyes |

|Me fà andar in bruetto. |Take me to seventh heaven. |

|Quel labro inzucherao |Your sugar sweet lips |

|Che me brusa el figao! |Bruise my liver! |

|Duro me sà partir, |It is hard for me to leave; |

|Me sent’oimè morir. |Ah, woe is me, I think I’m dying. |

|Su, vogaori col vostro rèmo! |Up boatmen, man your oars! |

|Chi dise andemo? An? |--Who tells you we’re leaving? Go! |

|Tutti |ALL |

|Tutti andiamo allegramente |Let us go merrily |

|Senza temer de niente. |Fearing nothing. |

|BARCAROULO A PASSAGIERI |THE BOATMAN TO THE PASSENGERS |

|Daspuò che la mia barca |Now that my boat |

|De tanti humor xè carca |Has taken on such a merry cargo |

|Un spasso proponemmo |Let’s propose a pastime |

|Mentre ch’à Paua andemmo. |While we go to Padua. |

|LIBRAIO FIORENTINO |A FLORENTINE BOOKSELLER |

|Vorrei cinque Cantori nella Barca. |I’d like five singers on the boat |

|Il spasso sarà questo |The pastime shall be this |

|Artifitioso e onesto |Something artistic and appropriate |

|Udrete ò Passaggieri |Listen, O passengers |

|Alcune capricciate des Banchieri. |To some caprices by Banchieri. |

|MASTRO DI MUSICA LUCHESE |A MUSIC MASTER FROM LUCCA |

|Ut re mi fa sol la |Do, re , mi, fa, sol ,la |

|Venite tutti quanti |Come along everyone |

|Chi sà cantare avanti |Whoever can sing, come forward |

|Che un spasso circa un’hora |So that for about an hour |

|In barca havrem’hor hora. |We may now have some fun on the boat. |

|CINQUE CANTORI IN DIVERSI LENGUAGGI |CONCERT OF FIVE SINGERS IN DIFFERENT DIALECTS |

|Canto I |CANTO I |

|Colla Fracisco, son Napoletano; |Colla (Nicolo) Franciso, I’m Neapolitan |

|Mò mò te fò pazziar col mio Soprano. |Soon, soon I’ll drive you mad with my soprano. |

|Canto II |Canto II |

|Ceccho Bimbi. Io son Fiorentino; |Ceccho (Francesco) Bimbi (lad), I’m Florentine |

|Dirò il falsetto perchè son pizzino |I sing falsetto because I’m so small |

|Alto |Alto |

|E mi son Sier Zorzetto accattarao |And I am sire Zorzetto, (Georgetto) beggar |

|Canterò in alto con petto sforzao. |I will sing alto with a pushed chest voice |

|Tenore |Tenor |

|Mò, mi mò son Petroni da Bologna; |But I, I am Petronio from Bologna; |

|Canterò un Tenorazz salve bisogna. |I’ll sing tenor if needs must be. |

|Basso |Bass |

|Mi star Tutesch, mi canter un bassott; |I be German, me sing bass; |

|Mò prima foller far un trinc e sgott. |But first want have drink, and Grüss Gott. |

|Tutti |tutti |

|O buono, o buono, hor cinque siamo; |O good, o good, now we are five; |

|Prima si bevi, doppo cantiamo. |First we’ll drink, then we’ll sing |

Michele Kennedy, soprano, makes her N work City debut with The Western Wind at the Music Barge. She is a versatile specialist in early classical and contemporary repertoire. A native of the San Francisco Bay Area, Michele now makes her home in New York City where she has made recent solo appearances with the Bach Vespers Series at Holy Trinity Lutheran Church, the Trinity Choir and REBEL Baroque Orchestra, the Tiffany Consort, and with the Phoenix Vocal Ensemble in a new music concert series at the Washington National Cathedral. Michele also has been a principal cast member in recent chamber opera productions with Harlem Stage / Aaron Davis Hall and Music-Theatre Group. As an ensemble singer, Michele performs with the early music group Pomerium and has also sung with the Vox Vocal Ensemble, Equal Voices, and the New York Baroque Soloists. Her recent concert highlights include performances at Carnegie Hall, the Lincoln Center Summer Music Festival, the Brooklyn Academy of Music, and the Caramoor Summer Music Festival. She is also cofounder of the SSA ensemble Trio Eos, which specializes in Medieval, Renaissance, and contemporary music. Michele graduated with a degree in music from Yale University in 2001.

Todd Frizzell (tenor) was featured on ABC-TV’s Nightline, singing music from a Mass written in the first millennium, which he performed in Limoges, France in May 2001. Todd has performed widely with New York’s Ensemble for Early Music, with whom he has been a resident artist for the past 5 years. Performances have included Sponsus: The Tale of the Wise and Foolish Virgins and featured solos on three of the group’s CDs. Todd serenaded Dame Judi Dench in June 2000 at Broadway’s Ethyl Barrymore Theater during a special performance of Her Majesty the Queen honoring Ms. Dench’s receipt of the Golden Quill award. He was the tenor soloist in Handel’s Israel in Egypt at Avery Fisher Hall with the National Chorale, and is a featured soloist the CD Responsoria. Todd has appeared at the Bard College Festival and performed with the New York Virtuoso Singers, Musica Antica at St. Bart’s, and the New York Concert Singers.

Elliot Z. Levine (baritone), Elliot Z. Levine (baritone), a native New Yorker, has sung with The Western Wind since its inception in 1969. A Master's graduate of the Manhattan School of Music, he has taught at City College, Upsala College, the Lighthouse Music School, and the Hebrew Arts School. He has been a featured soloist with the RAI Orchestra at Rome, the Rome Opera, La Fenice, Musica Sacra, The Folger Consort, the Kalamazoo Bach Festival and the Ensemble for Early Music. Mr. Levine is the cantorial soloist at Temple Emanuel in Great Neck, N.Y., and has been a composer-in-residence at St. Thomas More Church in New York City. Many of his works have been performed and commissioned by choruses and solo artists around the country. Harold Flammer, E. Henry David, Willis, Plymouth Music, Colla Voce, and Shadow Press publish his works.

Richard Slade (tenor) Richard Slade (tenor) has toured the USA and Europe, singing with New York City Opera, New York Gilbert & Sullivan Players, Western Wind, and the Yale Whiffenpoofs. He has sung Tamino in The Magic Flute across New York State; has been a regularly featured singer at the Caramoor Festival; and has performed in rare revivals of important operatic works such as Donizetti's Gianni di Parigi and Martin y Soler's Una Cosa Rara, with Vineyard Opera. In concert, he has sung the title role in Händel's Judas Maccabeus, Messiah, and many of Bach's cantatas. With his wife, soprano Cynthia Reynolds, he performs a Gilbert & Sullivan cabaret: “Oh Love, True Love! or The Lass That Lov'd a Tenor.” In recital, Mr. Slade specializes in the parlor repertory of the Victorian era. He maintains a private voice studio, teaches at Concordia and Manhattanville Colleges, directs both church and synagogue choirs, and was recently named Music Director of the Sound Shore Chorale, in New Rochelle.

William Zukof (countertenor) is a founding member of The Western Wind. A New York City native, he was born in Manhattan and received his BA degree from The City University of New York. In his early twenties, he became a student of the noted American countertenor Russell Oberlin. He has appeared as a soloist with the St. Thomas Choir of Men and Boys, the Roger Wagner Chorale, the Gregg Smith Singers, the Handel and Haydn Society of Boston, Musica Sacra of New York, and the Zamir Chorale. Mr. Zukof performed the Bach Magnificat under the direction of Leonard Bernstein at the Vatican in Rome. His operatic appearances include roles with the Washington Opera, the Center for Contemporary Opera, the Eastman School, and the University of California at Berkeley. He is executive producer for The Western Wind’s recordings, including the latest release, Man in the Moon, The Western Wind sings Music of Robert Dennis.

Theatre Artists and Tech Staff

Hollie Nadel (Costume Designer/ Stylist). Some of Hollie's Costume Design credits include Broadway Bares:Myth Behavior- Icarus Number (Broadway Cares/Equity Fights Aids), Much Ado About Nothing, St. Bettes, Loose Knit and Romeo and Juliet (Stella Adler Studio of Acting), Suburban Peepshow (Nosedive Productions), The Blue Room (Williamstown Theatre Festival) Grease and Les Liaisons Dangereuses (Ithaca College). In addition, she has been an assistant designer on various productions at Williamstown Theatre Festival, The Irish Repertory Theatre, and for several films currently in post production. She received her BFA in Theatre Production Design at Ithaca College (2006). She would like to thank her family and friends for their continuous love and support.

Pedro J. Rosado Jr. (Stage Presence). Pedro was seen @ P.S. 122's Avante Garde- a- Rama and appears in "The Miss Moossy Mysteries" Joan Moossy & Jacob Burckhardt. Hasta luego!"

(((((((((((((((((((((((((((((

Barca di Venetia per Padova libretto

(The spoken introductions are freely adapted from Banchieri’s original

“argumenti” by Valeria Vasilevski)

|L’Humor Svegliato |BLYTHE SPIRIT |

|Sonacchiosi che fate? |Sleepy heads, what are you doing? |

|A che tedio cercate? |Why are you bored? |

|Svegliatevi dal’otio, entrate in barca |Shake off your sleepiness, enter the boat |

|E pigliate buon luogo mentr’è scarsca. |And grab a good seat while they are empty., |

|Eccomi a voi mandato, |See, I’ve been sent to you |

|Che son l’Humor Svegliato |Bright fellow, that I am |

|Sol per dirvi ch’udrete belle botte |Only to tell you that you will hear many |

| |wisecracks |

|Solcando le palludi questa notte. |While crossing the marshes tonight |

|strepito di pescatori |Clamor of Fishmongers |

|pescatori |fishermen |

|Ostreghe da bruazzo! |Oysters for roasting! |

|Bezzi, bezzi, cappe sante, |For just a few farthings, bay scallops! |

|Cappe longhe, cappe de deo! |Mussels, sandcrabs! |

|Le Altre Parti: |The Other Voices: |

|Pescaori nù semo |Fishermen, are we |

|El viver nostro xe la barca e’l remo |We live between the boat and the oar |

|Tra galder e stentar |Amidst the enjoyment and the hardship |

|Tra le laghune ne besogna star. |Amidst the lagoons must we be. |

|Se nu chiappemmo pesce |If we catch fish |

|El viver non rincresce |We don’t mind this life |

|Ma spesso semmo avezzi |But often enough we are used to being |

|A restar senza bezzi. |Stuck without a farthing |

|Pescaori nù semo |Fishermen, are we |

|El viver nostro xe la barca e’l remo. |We live between the boat and the oar |

|Parone di barca e ninetta |Owner of the Boat and Ninetta |

|Parone di Barca |Boat Owner |

|Oe |Ahoy! |

|Barche, premi! Laro! Can! |Larboard steer clear! Thief! Dog! |

|Va stagando, fio d’un zaffo! |Pull away you son of zaffo! (custom’s agent) |

|Ninetta, colonna, |Ninetta, my dove |

|Canto I e II (Ninetta e un Ecco) |Cantus I and II (Ninetta and her echo) |

|Chi chiama la Ninetta? |“Who calls Ninetta?” |

|Parone di Barca |Boat Owner |

|Me parto, cara fia, |I’m leaving dear girl |

|Ti xè la pi compia |You are the very best |

|Che mai sia stà in Vieniesia. |Who has ever been in Venice |

|Canto I e II (Ninetta e un Ecco) |Cantus I and II |

| |(Ninetta and her echo) |

|Torna presto caro ti |Come back quickly my dear. |

|(Gondolieri) |(rowers) |

|Distù a mi? Moia moia ti me soji |“Are you talking to me? Drop dead!” |

|(Ninetta e un Ecco) |(Ninetta and her echo) |

|Car moroso mi te lasso |“Dear love, I love you. |

|Son chiamada zò da basso |They are calling me from down below.” |

|Parone di Barca |Boat Owner |

|Quel tò visetto d’oro |Your golden face |

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