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m usic at emory
concer t se ries
201 4 – 2 0 1 5 s e a s o n
stageworks 2015
scenes from opera and musical theater
Bradley Howard, Stage Director
Abigail Santos Villalobos, stage director
Patti Dinkins-Matthews, Vocal Coach and Piano
Marianne Martin, Costumes
natalie eggert, choreographer
saturday, april 25, 2015, 8:00 p.m.
StageWorks 2015 is made possible in part by
a generous donation from the Friends of Music.
performing arts studio
1804 n. decatur road
p r ogr am
Following this evening’s performance, the Friends of Music invite you to join
them for a reception in the Green Room Lounge on the second floor of the
Burlington Road Building, or, weather permitting, in the outdoor courtyard.
“There Stands a Little Man in the Woods Alone” Engelbert Humperdinck
from Act 2, Hänsel and Gretel(1854–1921)
Gretel: Morgan Rubin, soprano; Hänsel: Laurie Ann Taylor, mezzo-soprano;
Sandman: Cloe Gentile, soprano
“Bei Männern”Wolfgang Amadeus Mozart
from Act 1, Die Zauberflöte(1756–1791)
Pamina: Naomi Newton, soprano; Papageno: Alex Rogers, baritone
“Seht hin! Sie naht, die hart Beklagte!”Richard Wagner
“Einsam in trüben Tagen”
(1813–1883)
from Act 1, Lohengrin
Elsa: Samantha Frischling, soprano; The King: James Kennedy, baritone
Chorus Men
“Three Little Maids from School Are We”
Sir Arthur Sullivan
from The Mikado(1842–1900)
Yum-Yum: Naomi Newton, soprano; Peep-Bo: Morgan Rubin, soprano;
Pitti-Sing: Wangcaixuan Zhang, mezzo-soprano
“Una voce poco fa”Gioacchino Rossini
from Act 1, Il barbiere di Siviglia(1792–1868)
Rosina: Laurie Ann Taylor, mezzo-soprano
“Lida Rose”
Meredith Wilson
from The Music Man(1902–1984)
Marian: Victoria Hood, mezzo-soprano;
Andy Ross, tenor; Tom Zhang, tenor;
James Kennedy, baritone; Jerry Ho, baritone
“Salve Regina”
Francis Poulenc
from Act 3, Dialogues of the Carmelites(1899–1963)
All Women
—In te r mis s io n —
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p r ogr am
“Pst, pst, Nannetta”Giuseppe Verdi
from Act 1, Falstaff(1813–1901)
Nannetta: Zoë Pollock, soprano; Fenton: James Kang, tenor;
Alice Ford: Julia Hudgins, soprano; Meg: Samantha Frischling, soprano;
Mistress Quickly: Laurie Ann Taylor, mezzo-soprano; Dr. Caius: Andy Ross, tenor;
Bardolfo: Tom Zhang, tenor; Ford: Bean Woo, baritone; Pistola: Alex Rogers, baritone
“Who Will Love Me as I Am?”
from Side Show
Henry Krieger
(b. 1945)
Daisy: Cloe Gentile, soprano; Violet: Victoria Hood, mezzo-soprano
“Anything You Can Do”Irving Berlin
from Annie Get Your Gun(1888–1989)
Annie: Naomi Newton, soprano; Frank: Alex Rogers, baritone
“Standing on the Corner”
Frank Loesser
from The Most Happy Fella(1910–1969)
Andy Ross, tenor; Tom Zhang, tenor; James Kennedy, baritone; Jerry Ho, baritone
“Sì, mi chiamano Mimì”Giacomo Puccini
from La Bohème(1858–1924)
Mimì: Julia Hudgins, soprano; Rodolfo: James Kennedy
“Dancing Queen”/”Take a Chance on Me”Anderson and Ulvaeus
from Mamma Mia!
(b. 1946, b. 1945)
Naomi Newton, soprano; Morgan Rubin, soprano; Kate Howard, mezzo-soprano;
Wangcaixuan Zhang, mezzo-soprano; Victoria Hood, mezzo-soprano; Tom Zhang, tenor;
Andy Ross, tenor; Jerry Ho, baritone; Chorus Women and Men
Final Trio, “Hab’ mir’s gelobt, ihn lieb zu haben”Richard Strauss
from Der Rosenkavalier(1864–1949)
Sophie: Zoë Pollock, soprano; Octavian: Laurie Ann Taylor, mezzo-soprano;
Empress Maria Theresa, the Marschallin, Princess von Werdenberg:
Julia Hudgins, soprano
“One Day More”Claude-Michel Schönberg
from Les Misérables
(b. 1944)
Valjean: James Kennedy, baritone; Cosette: Naomi Newton, soprano;
Marius: Tom Zhang, tenor; Enjolras: James Kang, tenor;
Eponine: Victoria Hood, mezzo-soprano; Thenardier: Alex Rogers, baritone;
Mme. Thenardier: Cloe Gentile, soprano; Javert: Andy Ross, tenor
Ensemble: Julia Hudgins, Zoë Pollock, Laurie Ann Taylor, Samantha Frischling,
Morgan Rubin, Kate Howard, Wangcaixuan Zhang, Jerry Ho, Bean Woo
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PROGRAM NOTE
Our young performers today will deliver a wide range of styles and characters.
Today’s program contains a variety of scenes from opera, operetta, and musicals
from the eighteenth through the twentieth centuries.
t e x ts and t r ans lations
“There Stands a Little Man in the Woods Alone”
Gretel
There stands a little man looking like a clown,
He wears a little cape made of velvet brown,
Tell me who the man can be, standing there beneath the tree,
With the little cape made of velvet brown?
His hair is all of gold, and his cheeks are red,
He wears a little black cap upon his head,
Tell me who the man can be, standing there so silently,
With the little black cap upon his head?
Hansel
Hurrah! My basket’s practic’lly filled already!
This ought to make mother very happy.
Gretel
And how do you like my flowers?
Look, you never saw such a lovely wreath.
Hansel
You won’t catch a boy wearing that!
Only a girl would wear such a thing.
Ha, Gretel, those flowers . . . You are grand!
Now you shall be queen of the wood!
Gretel
If I’m to be queen of the wood,
Then I must have my arms full of flow’rs.
Hansel
Queen of the wood, with sceptre and crown,
I give you strawberries, but don’t eat them all!
Cuckoo, cuckoo, how are you?
Gretel
Cuckoo, cuckoo, where are you?
Hansel
O-ho! I can do that just like you!
Let us do like the cuckoo too,
Who takes more than he ought to do.
In your neighbor’s nest you go,
Cuckoo, why do you do so?
Gretel
And you’re very greedy too,
Tell me, cuckoo, why are you?
Hansel, what have you done? You’re awful!
All the strawberries eaten, you glutton!
Listen, you know what Mother said!
She’ll whip us. I’ll tell what you’ve done.
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t e x ts and t r ans lations
Hansel
You can’t put the blame all on me.
You, Gretel, ate just as many as me!
Gretel
Now we’ll have to pick twice as many.
Hansel
We’ll have quite a job in these hedges and bushes.
I can’t see a thing, just trees and forest!
The sun’s gone down, it’s getting dark.
Gretel
O Hansel, Hansel, O what shall we do? What bad, disobedient children we’ve been!
We ought to have thought and gone home sooner!
Hansel
Listen, it’s a noise in the bushes! I heard what the forest said:
“Children, children,” it says, “are you not afraid?” Gretel, I don’t know where we are.
Gretel
O dear, but Hansel—you mean we’re lost?
Hansel
Why how ridiculous you are! I am a boy, I’m never lost.
Gretel
O Hansel, some dreadful thing may come!
Hansel
Now Gretel, please don’t be afraid!
Sandman
I shut the children’s peepers, sh!
And guard the little sleepers, sh!
For dearly do I love them, sh!
And gladly watch above them, sh!
And with my little bag of sand
Beside the children’s bed I stand;
Then little, sleepy eyelids close,
And little limbs have sweet repose.
And if they’re good and quickly go to sleep,
Then from the starry sky above,
The angels come with peace and love,
And bring the children happy dreams, while watch they keep!
Then slumber, slumber, children, slumber,
for happy dreams will come to you the hours you sleep!
Hansel
Sandman was there!
Gretel
Let us first say our evening prayer.
Hansel and Gretel
When at night I go to sleep, fourteen angels watch do keep,
Two my head are guarding, two my feet are guiding,
Two are on my right hand, two are on my left hand,
Two who warmly cover, two who o’er me hover,
Two to whom ‘tis given to guide my steps to Heaven.
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t e x ts and t r ans lations
“Bei Männern”
PaminaPamina
Bei Männern welche Liebe fühlen,
Men who feel love,
Fehlt auch ein gutes Herze nicht.Will not lack a good heart.
PapagenoPapageno
Die süssen Triebe mitzufühlen,To feel the sweet desires with him,
Ist dann der Weiber erste Pflicht.Is then the woman’s first duty.
BothBoth
Wir wollen uns der Liebe freu’n,We wish to enjoy life in love,
Wir leben durch die Lieb’ allein.We live through love alone.
PaminaPamina
Die Lieb’ versüsset jede Plage,Love eases life’s troubles,
Ihr opfert jede Kreatur.Every creature makes sacrifices to it.
PapagenoPapageno
Sie würzet unsre Lebenstage,It gives spice to our daily life,
Sie wirkt im Kreise der Natur.It works in the cycle [of] nature.
BothBoth
Ihr hoher Zweck zeigt deutlich an,Its high purpose shows clearly,
Nichts Edler’s sei, There is nothing more noble than
als Weib und Mann.
a wife and a husband.
Mann und Weib, und Weib und Mann,
Husband and wife, and wife and husband,
Reichen an die Gottheit an.
[They] aspire to divinity.
—Translation by Bard Suverkrop–IPA Source LLC
Lohengrin (Act I, Scene II)
DIE MÄNNERMEN
Seht hin! Sie naht, die hart Beklagte!
Behold! The accused approaches!
Ha! wie erscheint sie so licht und rein!Ah! How resplendent, how pure she looks!
Der sie so schwer zu zeihen wagte,
He who dared make such an accusation against her
wie sicher muss der Schuld er sein!
must be quite sure of her guilt!
KÖNIGTHE KING
Bist du es, Elsa von Brabant?Are you Elsa of Brabant?
Erkennst du mich als deinen Richter an?Do you recognize me as your judge?
So frage ich weiter: Then I further ask you:
Ist die Klage dir bekannt,
are you aware of the serious charge
die schwer hier wider dich erhoben?
that has been brought against you here?
Was entgegnest du der Klage?What have you to say against the charge?
So bekennst du deine Schuld?
So you admit that you are guilty?
ElsaELSA
Mein armer Bruder!
My poor brother!
ALLE MÄNNERALL THE MEN
Wie wunderbar! Welch seltsames Gebaren! How strange! What peculiar behaviour!
KÖNIGTHE KING
Sag, Elsa! Was hast du mir zu vertraun?
Speak Elsa! What have you to confide to me?
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t e x ts and t r ans lations
ELSAELSA
Einsam in trüben TagenLonely, in troubled days
hab ich zu Gott gefleht,I prayed to the Lord,
des Herzens tiefstes Klagen
my most heartfelt grief
ergoss ich im Gebet.I poured out in prayer.
Da drang aus meinem StöhnenAnd from my groans
ein Laut so klagevoll,
there issued a plaintive sound
der zu gewalt’gem Tönen
that grew into a mighteous roar
weit in die Lüfte schwoll:
as it echoed through the skies:
Ich hört ihn fernhin hallen,I listened as it receded into the distance
bis kaum mein Ohr er traf;
until my ear could scarce hear it;
mein Aug ist zugefallen,
my eyes closed
ich sank in süssen Schlaf.
and I fell into a deep sleep.
ALLE MÄNNERALL THE MEN
Wie sonderbar! How extraordinary!
Träumt sie? Ist sie entrückt?Is she dreaming? Is she enraptured?
KÖNIGTHE KING
Elsa, verteid’ge dich vor dem Gericht!Elsa, defend yourself before the court!
ELSAELSA
In Lichter Waffen ScheineIn splendid, shining armour
ein Ritter nahte da,
a knight approached,
so tugendlicher Reine
a man of such pure virtue
ich keinen noch ersah
as I had never seen before:
Ein golden Horn zur Hüften,
a golden horn at his side,
gelehnet auf sein Schwert,
leaning on a sword
so trat er aus den Lüften
thus he appeared to me
zu mir, der Recke wert;
from nowhere, this warrior true;
mit züchtigem Gebaren
with kindly gestures
gab Tröstung er mir ein;
he gave me comfort;
des Ritters will ich wahren,I will wait for the knight,
er soll mein Streiter sein!
he shall be my champion!
ALLE MÄNNERALL THE MEN
Bewahre uns des Himmels Huld,
May the grace of Heaven preserve us,
dass klar wir sehen, wer hier
that we may clearly see who is guilty here!
—Translation from rwagner.net (Libretto)
7
t e x ts and t r ans lations
“Three Little Maids from School Are We”
All
Three little maids from school are we,
Pert as a schoolgirl well can be,
Filled to the brim with girlish glee,
Three little maids from school!
Yum-Yum
Ev’ry thing is a source of fun.
Peep-Bo
Nobody’s safe, for we care for none!
Pitti-Sing
Life is a joke that’s just begun!
All
Three little maids from school!
Three little maids who, all unwary,
Come from a ladies’ seminary,
Free from its genius tutelary—
Three little maids from school!
Yum-Yum
One little maid is a bride, Yum-Yum.
Peep-Bo
Two little maids in attendance come.
Pitti-Sing
Three little maids is the total sum.
All
Three little maids from school!
Yum-Yum
From three little maids take one away.
Peep-Bo
Two little maids remain, and they—
Pitti-Sing
Won’t have to wait very long, they say.
All
Three little maids from school!
Three little maids who, all unwary,
Come from a ladies’ seminary,
Free from its genius tutelary—
Three little maids from school!
8
t e x ts and t r ans lations
“Una voce poco fa”
Una voce poco faA voice has just
qui nel cor mi risuonò;
echoed here into my heart
il mio cor ferito è già,
my heart is already wounded
e Lindor fu che il piagò.
and it was Lindoro who shot.
Sì, Lindoro mio sarà;Yes, Lindoro will be mine
lo giurai, la vincerò.I’ve swore it, I’ll win.
Il tutor ricuserà,The tutor will refuse,
io l’ingegno aguzzerò.I’ll sharpen my mind
Alla fin s’accheterà
finally he’ll accept,
e contenta io resterò.
and happy I’ll rest.
Sì, Lindoro mio sarà;Yes, Lindoro will be mine
lo giurai, la vincerò.I’ve swore it, I’ll win.
Io sono docile, son rispettosa,I’m gentle, respectful,
sono obbediente, dolce, amorosa;I’m obedient, sweet, loving;
mi lascio reggere, mi fo guidar.I let [myself] be ruled, I let [myself] be guided.
Ma se mi toccano dov’è il mio debole
But if they touch where my weak spot is
sarò una vipera e cento trappoleI’ll be a viper and a hundred traps
prima di cedere farò giocar.
before giving up I’ll make them fall.
—Translation by Gabriel Huaroc, Ariadatabase.com
“Salve Regina”
Allall
Salve Regina mater misere cordiae,
Hail O queen. Mother of mercy,
Vita dulcedo et spes nostra, salve.Our life, tenderness and hope; hail.
Ad te clamamus exsules filii Hevae,To you we call, the exiled sons of Eve.
Ad te suspiramus gementes et flentes,To you we sigh, groaning and weeping
In hac lacrimarum vale.In this valley of tears.
Eia ergo advocata O our advocate,
nostra illos tuos misere cordis turn therefore
Oculos ad nos con verte. Those pitying eyes of yours to us.
Sr. Constance, Sr. Mathilde, Sr. Constance, Sr. Mathilde,
one Carmelite, and Mere Jeanne
one Carmelite, and Mere Jeanne
Et Jesusm benedictum fructum ventris tui,And show us after this exile
Nobis post hoc exsilium ostende.
Jesus, the blessed fruit of your womb.
Sr. Constance and Sr. MathildeSr. Constance and Sr. Mathilde
O clemens, o pia, O dulcis Virgo Maria.O merciful, o holy, o tender virgin Mary.
BlancheBlanche
Deo Patri sit gloriaNow to the Father and the Son,
Et Filio qui a mortuisWho rose from death,
Surrexit ac Paraclito. be glory given,
In saeculorum saecula. henceforth by all in earth and heaven.
—Translation from recmusic.org and preces-latinae.org
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t e x ts and t r ans lations
Falstaff (Act I, Final Scene)
Fentonfenton
Nanetta, Vien qua.I’m here, Nan. Come here.
NannettaNannetta
Taci. Che voi?
Shhh. Quiet. What now?
FentonFenton
Due baci.Two kisses.
NannettaNannetta
In fretta.
But hurry.
FentonFenton
In fretta!I’ll hurry!
NannettaNannetta
Labra di focco!Lips that are flaming!
FentonFenton
Labra di fiore!Lips that are flowers!
NannettaNannetta
Che il vago giocco Sanno d’amore. They know the game, where love gives you power.
FentonFenton
Che spargon ciarle,Though they are teasing,
Che mostran perle,
they are still pleasing.
Belle a vederle,Lovely to listen, rapture to kiss them!
Dolci a baciarle!
Sweet lips that charm me!
NannettaNannetta
Man malandrine!Now you would harm me!
FentonFenton
Ciglia assasine!Eyes that alarm me!
Pupile ladre! T’amo!Your eyes are robbers! Love me!
NannettaNannetta
Imprudente. No.Imprudent, no.
FentonFenton
Si, due baci.Yes, two kisses.
NannettaNannetta
Basta.Enough.
FentonFenton
Mi piaci tanto.I love you ever.
NannettaNannetta
Vien gente.They’re coming.
FentonFenton
Bocca baciata non perde ventura.Giving a kiss but enriches the spender.
NannettaNannetta
Anzi rinova come fa la luna. Kisses for true love well repay the lender.
AliceALice
Falstaff m’ha canzo nata.
Falstaff must learn repentance.
Megmeg
Merita un gran castigo.
He’s earned a cruel sentence.
Alicealice
Se gli scrivessi un rigo?
Should he receive a letter?
10
t e x ts and t r ans lations
NannettaNannetta
Val meglio un’am basciata.A messenger is better.
Alice, Nannetta, Alice, nannetta,
and Mistress Quickly
and mistress quickly
Si.Yes.
Alice, Nannetta, and Meg
alice, nannetta, and meg
(to mistress quickly)
(to Mistress Quickly)
Da quel brigante tu andrai . . .To see the rascal you’ll go . . .
Alicealice
Lo adeschi all’ offa d’un Your bait shall be a
ritrovo galante con me.
rendezvous invitation from me.
Mistress Quickly
mistress quickly
Quest’e gagliofa.
Perfectly fiendish.
Nannettanannetta
Che bella burla!
Fiendishly funny!
Alicealice
Prima, per attirarlo a noi lo lusinghiamo.Listen; with flow’ry words we’ll get him in our power
Nannettanannetta
e poi . . .And then . . .
Alicealice
E poi gliele cantiamo in rima.And then the sweet rhymes shall turn to sour.
Mistress Quickly
mistress quickly
Non meritar riguardo.Then let us give no quarter.
Alicealice
E un bove.That Lunkhead.
MegMeg
E un uomo senza fede. He’s not a man for trusting.
AliceAlice
E un monte di lardo.A pig made of butter.
Megmeg
Non merita clemenza.No mercy for his lusting.
Alicealice
E un ghiotton che scialaqua tutto He’s a glutton who’ll squander
il suo aver nel cuoco.
all of his wealth on feasting.
Nannettanannetta
Lo tuffe rem nell’aqua.Let’s dunk him in the water.
Alicealice
Lo arrostiremo al fuoco. Let’s give him a good roasting.
Nannettanannetta
Che gioia!
How joyous!
Alicealice
Che allegria!
How delightful!
Meg (to Quickly)
meg (to quickly)
Procaccia di far bene la tua parte.
Be sure you play your part like a great artist.
Mistress Quickly
mistress quickly
Chi viene?Who’s coming?
Megmeg
La che qualcun che spia.There’s someone who’s spying.
11
t e x ts and t r ans lations
FentonFenton
Torno all’asalto.I take the offense.
Nannettanannetta
Torno alla gara. Ferrischi!I take the defense. Attack me!
Fentonfenton
Para!Parry!
Nannettanannetta
La mira e in alto.The target’s higher.
L’amor e un agile torneo You’ll see, in dueling love is agile;
sua corte vuol che il piu
Her whim decress that strong weapons be
fragile vinca il piu forte.
vanquished by fragile.
FentonFenton
M’armo...ti guardo. Ta spetto al varco.I’m armed . . . I watch you. I’ll find an opening.
Nannettanannetta
Il ‘abbro e l’arco. The lips are weapons.
FentonFenton
E il bacio e il dardo. The kiss an arrow.
Bada! La freccia fatal gia soccaCareful! The fatal boly flies, caresses,
dal la mia bocca sulla tua treccia.Laden with kisses, bombard your tresses.
Nannettanannetta
Eccoti avvinto.Now you are captured.
FentonFenton
Chiedo la vita!
My life is forfeit!
Nannettanannetta
Io son ferita ma tu sei vinto!I have been injured, but you are conquered!
FentonFenton
Pieta! Faciamo la pace!I must give in! Accept my surrender,
E poi . . . se vuoi ricominciamo.And then . . . begin at the beginning.
Nannettanannetta
Bello e quel giocco che dura pocco! Basta.A joke prolonged is a joke no longer. Enough!
FentonFenton
Amor mio!
How I love you!
Nannettanannetta
Vien gente . . . Adio!They’re coming . . . Farewell now.
Bardolfo (To Ford)bardolfo (to ford)
Udrai quanta egli sfoggia You’ll know him by his manners,
magni loquenza altera.
his ostentatious ardour.
Fordford
Dicheste ch’egli aloggia . . . Dove?You know where he is staying? . . . Where?
Pistolpistol
A la “Giarretiera.”At the “Garter.”
Fordford
A lui m’annuncierete To him you’ll announce me,
Ma con un falso nome.
But with a false name.
Poscia vedrete come lo piglio nella rete.When you’ll see how I catch him in the net,
Ma non una parola.
But . . . not one word.
Bardolfobardolfo
In ciarle non m’in golfo.In chatter I don’t involve myself.
Io mi chiamo Bardolfo.
My name is Bardolfo.
12
t e x ts and t r ans lations
Pistolpistol
Io mi chiamo Pistola.
My name is Pistol.
Fordford
Siam d’accordo.We are agreed.
Bardolfobardolfo
L’arcano custodirem.The secret we will keep.
Pistolpistol
Son sordo e muto.I’m deaf and dumb.
Fordford
Siam d’accordo tutti. Quala mano.We’re agreed, all of us. Here’s my hand[shake].
(The following lines are sung simultaneously by the characters)
Dr. Caius
dr. caius
Del tuo barbaro diagnostico
Maybe the sickness is far less
For se il male e assai men barbaro.
barbarous than your diagnosis.
Ti conviententar la prova You had better try to
Molestisima del ver,
swallow down the bitter pill of truth.
Cosi avvien col sapor ostico
Proper cures are all nasty,
Del ginepro o del rabarbaro;It’s the quinine calms the querulous.
Il benesere rinova Face the worst and good will follow,
L’amarisimo bichier.As yanking cures a tooth.
Ma que due che avete accanto Those two near you,
Genti son di sua tribuLike trusty yeomen, would trick you in a trice.
Non son due stinchi di santo,They are not saintly statues
Ne son fiori di virtu.
or flow’rs of virtue.
Bardolfobardolfo
Messer Ford, un infortunio
Master Ford, in matrimony you are
Marital in voi s’incorpora.
approaching a calamity.
Se non siete astuto e cautoIf you are not astute and cautious,
Quel Sir John vi tradira.
By Sir John, you’ll be betrayed.
Quel paffuto plenilunioThat inflated macaroni,
Che il color del vino imporporaWith his wine-empurpled vanity,
Troverebbe un pasto lauto Innocence makes him ambitious,
Nella vostra ingenuita.And for you his plans are laid.
Messer Ford, l’uom avvisato
Master Ford, let this forewarning
Non e salvo che a meta.Teach you to be well-armed.
Tocca a voi d’ordir l’aguato You must man a plot by morning,
Che l’agua stornera. That will leave his charms disarmed.
Pistolpistol
Tre lingue piu alescaThree tongues quickly leading,
Di trovar del nodo il bandolo
His bad habits are reliable.
Per tentar se vi riesca.
He will follow at your leading.
Come all’aqua inclina il saliceAs the willow is unsinkable,
Cosi al vin quel Cavalier.
So unquenchable’s his thirst.
Scoverete la sua tresca Drunken thoughts make easy reading,
Scoprirete il suo pensir.
So you shall quickly learn the worst.
La minacchia or v’e scoperta.News of menace we are breaking,
Or v’e noto il ciurmador.Now you know him for a rake.
State aller ta!Awake, sir!
Qui si tratta dell’o nor.
‘Tis your honor that’s at stake.
13
t e x ts and t r ans lations
Fordford
Tu vedrai se bene adoperaI shall countermand his lunacy,
L’arte mia con quell’infame;
Be an artist at deceiving.
E sara prezzo dell’opera I shall counter his conspiracy,
S’io discopro le sua trame.
‘Tis a web well worth the weaving.
FentonFenton
Qua barbota un crocchio u’omini.In the air is sorc’ry simmering.
C’e nell’aria una malia.Where the angry men are thronging.
La cinguetta un stuol di femine,Glowing witchcraft there is glimmering,
spira un vento agitator.Where the women gossips are.
Ma colei che in cor mi nomini She whose sweet name my heart is murmuring,
Dolce amor vuol esser mia. Brightest love to me belonging,
Noi sarem come due gemine stelleLike a constellation shimmering,
unite in un ardor. Our two hearts united in one.
Alice alice
Quell’otre! Quel tino!That windbag! That barrel!
Quel re dele pancieThat beau of the belly,
Ci ha ancora le ciance That bowl full of jelly
Del bel vaghegino!In Don Juan apparel!
Vedrai che se abbindolo quel grosso comprarThis fool multifarious shall soon feel our jibes!
piu lesto d’un giundolo lo faccio girar.A spin so precarious, he’ll never survive.
Nannettanannetta
Se ordisci una burlaI’ll help you to twit him,
Vo’ anch’io la mia parte You’ll need an accomplice;
Conviene condurla With four to outwit him
Con senno e con arte.Your Jack shall be jumpless
Quell’otre! Quel tino!That windbag! That barrel!
E sei scilinguagnoli This tub multifarious
Sapremo adoprar.
we’ll teach to connive.
Vedremo a rigagnoli He’ll see how nefarious
Quell’orco sudar.
a scheme we’ll contrive.
Megmeg
Vedrai che a un tuo cennoWe’ll pierce his pretences,
Quel mostro si sappolaWith all of his sputtering,
E perde il suo senno
He’ll soon lose his senses,
E corre alla trapola.Like butterflies fluttering.
Quell’otre! Quel monstro!That windbag! That monster!
Se il vischio lo impegola With jests and contrariness
Lo udremo strillar.
His hide we shall skive!
E allor la sua fregolaWe’ll stick him with merriment,
Vedremo svampar.We’ll skin him alive.
Quell’otre! Quel tino!That windbag! That barrel!
Mistress Quickly
mistress quickly
Tre lingue piu allegreThree tongues quickly clacking,
D’un trillo di nacchereLike castanets crackling,
Che spargon piu chiacchiere That scatter more cackling,
Di sei cingalere.Than six chickens clucking.
Quell’otre! Quel tino!That windbag! That barrell!
Tal sempre s’esilari
So always gregarious,
Quel bel cinguetar,
their merriment thrives.
Cosi soglion l’ilari comari ciarlar.
So ever hilarious are Windsor’s gay wives.
14
t e x ts and t r ans lations
(now, The regular dialogue resumes)
Alicealice
Qui piu non si vagoli...Let’s waste no time chattering.
Nannetta (to Quickly)
nannetta (to quickly)
Tu corri al’lufficio tuo.Now hurry to do your part.
Alicealice
V’o ch’egli miagoli d’amor come un micio!I’ll have him caterwauling love like a tomcat!
E intesa.
So be it.
Nannettanannetta
E detta.It’s final.
Alicealice
Domani.Tomorrow.
Buon di, Meg.Good day, Meg.
Mistress Quickly
mistress quickly
Nanetta, buon di.Good day then, Sweet Nan.
Alicealice
Vedrai che quell’epa terribile e tronfiaThe paunch shall be gloating,
Si gonfia, e poi crepa.On vanity floating,
All women
all women
Si gonfia, e poi crepa.We’ll goad him, Explode him.
Alicealice
Ma il viso mio su lui risplendera.And he shall bask in my countenance so bright.
All women
all women
Come una stella sull’imensita, ah!As in the starlight, through the blackest night, ah!
15
t e x ts and t r ans lations
“Der Rosenkavalier”
Octavian Octavian
Marie Theres’!
Maria Theres’!
Es ist was kommen und ist was g’schehen,What has come o’er me?
Ich möcht’ Sie fragen: darfs denn sein?What has come to pass?
Und grand’ die Frag’,I fain would ask her. Can it be?
Die spür ich das sie mir verboten ist.And just that question,
Ich möcht’ Sie fragen: I know I cannot ask of her.
Warum zittert was in mir?In fain would ask her: Why does
Ist denn ein grosses Unrecht geshehen?
all my soul tremble within me?
Und grand an Sie Has a bitter wrong, a sinful deed been done?
Darf ich die Frag’ nicht tun un dannAnd of her I dare not ask the question
seh ich dich an,
and then on your dear face I gaze,
Sophie, und she’ nur dich und spür’ nur
and see but you, and know only you,
dich, Sophie, und weiss von nichts als
Sophie, and I know only this:
nur: dich hab’ ich lieb.You, you I love.
MarschallinMarschallin
Hab’ mir’s gelobt,I made a vow to love him rightly,
Ihn liebt zu haben in der richtigen Weiss,As a good woman should,
Das ich selbst sein Even to love the love he bore another,
Lieb’ zu einer andern noch lieb’ hab!I promised!
Hab’ mir freilich nicht gedacht,
But in truth I did not think that my vow
Das es so bald mir aufgelegt sollt werden.Would be fulfilled so soon.
Es sind die mehreren Dinge auf der Welt,
Many a thing is ordained in this world,
So das sie ein’s nicht glauben tät’, Which we scarcely believe could be,
Wenn man sie möcht’ erzälen hör’n.If we heard others tell of it . . .
Aleinig wer’s erlebt, der glaubt daran
But soon the one they wound believes in them,
Und weiss nicht vieAnd knows not how.
Da steht der Bub’ und da stehn ich, undThere stands the boy, and here I stand,
Mit dem fremden Mädel dortAnd with his love, newfound this day,
Wird er so glücklich sein, als wie halt
He will find happiness,
Männer das Glücklichsein versteh’nAfter the manner of men who think they know it all.
In Gottes namen. ‘Tis done, so be it.
SophieSophie
Mir ist wie in der Kirch’n,As one at worship,
Heilig ist mir und soThoughts most holy fill my soul,
Bang und doch ist mir un heilig auch!And yet thoughts most unholy, too,
Ich weiss nicht, wie mir ist,
Posess me: I’m distraught.
Ich möcht mich niederknein dortI want to kneel before the Princess
vor der FrauAnd yet I want to displease her,
und möcht› ihr was antun;I see that she gives him to me,
denn ich spür’, sie gibt mir ihnAnd takes something from him as well.
und nimmt mir was von ihm zugleich.I don’t know what to feel.
Weiss garnicht, wie mir ist.I want to understand it all
Und möcht alles versteh’n.And I don’t want to understand.
Möcht fragen und nicht fragen,I want to ask, and yet I don’t.
Wird mir heiss und kalt.I am running hot and cold.
Und spür nur dich und Weiss nur einsAnd then I gaze, and see but you,
Dich hab’ lich lieb. And know only this: You, you I love.
—Translations from the Music Department of the University of Texas.
16
C a s t B io g r a p h ie s
Samantha Frischling, soprano, is a sophomore at Emory
University double majoring in music and psychology. She is
originally from Santa Monica, California, where she grew up
singing in choirs and participating in musical theater
productions. She was a finalist in the 2013 Southern
California Vocal Association Vocal Solo Competition.
Frischling is a member of the Emory Concert Choir and
Mastersingers, as well as a Glenn Choral Scholar. This past
fall, she was a finalist in her category of the National Association for Teachers
of Singing (NATS) Georgia competition. This is her first year participating in
StageWorks, and she is incredibly excited to be a part of it. She would like to
thank all those involved in making StageWorks possible, and in particular her
voice teacher, Bradley Howard.
Cloe Gentile, soprano, is a second-year student at Emory
University. She is a music major with a concentration in vocal
performance, and she intends to double major with sociology.
Gentile is a member of Mastersingers and Emory Concert
Choir. She is also a member of Dooley Noted, Emory’s coed,
service-oriented a cappella group. She has also been active
with Emory’s student-run musical theater group, AdHoc,
where she played the role of Mimi in the fall 2013 production
of Rent and she was the music director for the fall 2014 production of Dogfight
The Musical. Fascinated by the voice and in love with the power of music and
theater, she is extremely excited to be performing both opera and musical
theater scenes. She is grateful for all of the guidance and support she has
received from her professors and peers throughout the creation of the 2015
production of StageWorks.
Jerry Ho, baritone, is a second-year student at Emory
University from New York, New York, studying both music
and computer science. Ho’s music concentration is vocal
performance, and he studies voice under Bradley Howard.
He is a vocal percussionist and bass in Emory’s only
multicultural soul and R & B group, AHANA A Cappella. He is
also a baritone in the Emory Concert Choir. Ho aspires to
become an acoustical engineer in the future. His hobbies
include music, gymnastics, and photography.
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Victoria Hood, mezzo-soprano, is a freshman majoring in
music with a focus on vocal performance and theater. She is
from Southern Michigan, and she participated in two years
of All State Honors Choir. Hood has been performing in
theater productions since she was a child, and she is so
excited to be at a college where she can further pursue her
love of music and drama. She is in the Emory Concert Choir,
and last semester she performed the role of Rose in Dogfight
The Musical with AdHoc Productions. This semester she was involved with the
musical production of What’s Eating Katie, and Theater Emory’s Staged
Readings, as well as Marisol. She would like to thank Bradley Howard, Abigail
Santos Villalobos, Stephanie Adrian, Patricia Dinkins-Matthews, and the rest of
the music department staff and students for making her feel so welcome and
accepted in Emory’s musical community.
Bradley Howard, stage director, is director of vocal studies
at Emory University and enjoys a career spanning the classical
and modern choral works, solo recitals, and operatic roles.
Howard has developed a repertoire of some of opera’s most
classic roles, including Mozart’s Tamino in The Magic Flute
and Ferrando in Cosi fan tutte, Puccini’s Rodolfo in La
Boheme, Leoncavallo’s Beppe in I Pagliacci, Rossini’s Count
Almaviva in The Barber of Seville, Britten’s Peter Quint in The
Turn of the Screw, and the title roles of Albert Herring and Candide. Howard’s
concert engagements include Beethoven’s Ninth Symphony, Andrew Lloyd
Webber’s Requiem, Weill’s Seven Deadly Sins, Mozart’s Requiem, Haydn’s
Creation, Mendelssohn’s Lobgesang, Handel’s Messiah and Saul, Bach’s St.
John Passion and B Minor Mass. Howard’s solo recitals have been heard across
the United States and most recently here at Emory University.
Kate Howard, mezzo-soprano, is a freshman at Emory
University, and she is a nursing major and a theater minor.
Howard is thrilled to be in her first music class here at Emory,
surrounded by talented professors and singers. Howard’s
interests include acting, telling bad jokes, traveling, and
playing pick-up soccer or volleyball games. In the future, she
would like to earn a doctorate in nursing and possibly work
as a nurse in a cardiac unit or at a nursing home. Howard
would like to thank Jan Akers for suggesting this class and Bradley Howard,
Abigail Santos Villalobos, and Patricia Dinkins-Matthews for making the class
such a fantastic experience.
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Julia Hudgins, soprano, is a senior with a major in music
concentrated in vocal performance and a minor in religion.
She grew up in Lewisville, North Carolina, where she
participated in state and national honor choirs. She has sung
in the Emory Concert Choir, Mastersingers, University
Chorus, and Emory Music Ministry. She has also had the
opportunity to serve as a choral scholar for Glenn UMC’s
Chancel Choir for the past three years. In 2014, Hudgins was
awarded the William Lemonds Scholarship for Music Study Abroad, which
enabled her to sing the role of Bastienne in the Franco-American Vocal
Academy’s production of Bastien und Bastienne in Salzburg, Austria. This
academic year, she serves as the music fellow for the STIPE society. After
graduation, she plans to pursue graduate school for performing arts
administration and a career in that field. She would like to take this opportunity
to thank Bradley Howard, Abigail Santos Villalobos, and Patricia DinkinsMatthews for their fierce leadership and commitment to the StageWorks cast.
James Moonsuk Kang, tenor, is a second-year graduate
student pursuing a master’s degree in music in choral
conducting at Emory University. He graduated from Georgia
State University with a bachelor’s degree in music in voice
performance. He placed third in the NATS competition in his
category in 2009 and 2010, and he was the winner of the
adult division in 2013. Kang has performed operatic roles
such as Goro in Madama Butterfly, Don Basilio in Le nozze di
Figaro, il Tinca in Il Tabarro, King Kaspar in Amahl and the Night Visitors, and
Mr. Erlanson in A Little Night Music, along with many other roles from opera
scenes. At Georgia State, he had the privilege of singing in the University
Singers, who won the second prize in the Florilege Vocal de Tours international
choral competition in France in 2013 under the direction of Deanna Joseph. He
was the tenor soloist for Bach Cantata 80, Mozart’s Missa Brevis in F, Mozart’s
Requiem, and Haydn’s Lord Nelson Mass. He was a staff singer at the Cathedral
of St. Philip and is currently a staff singer at All Saints Episcopal Church. He is a
director of music at Georgia United Seventh-Day Adventist Church.
James Kennedy, baritone, is a freshman at Emory University.
He is incredibly excited to perform in his first Emory
production. Most recently, he has played the roles of
Papageno in the Magic Flute, Benoit and Alcindoro in La
Boheme, and the Man in Chair in The Drowsy Chaperone.
He’s so excited to get back into performing theatrical works
and so thankful for everyone who has made this performance
possible.
19
Patricia Dinkins-Matthews joined the faculty of Emory
University Department of Music in 1998. She has been a
member of the piano faculties at the University of Florida,
Baylor University, the American Institute of Music Studies
(Graz, Austria), and McLennan College. A native of Knoxville,
Tennessee, Dinkins-Matthews has an undergraduate degree
from the University of Tennessee and both master of music
degree in piano performance and a doctor of musical arts
degree in piano pedagogy and performance from the University of Colorado.
Dinkins-Matthews is an active solo and chamber music recitalist and has
performed both in the United States and in Europe, including recitals in England,
France, Austria, Belgium, and Germany. Among others, she has performed with
Larry Combs, principal clarinetist with the Chicago Symphony Orchestra, and
John Reed of the D’Oyly Carte Theatre, London, England. Dinkins-Matthews
has also been the pianist for the Florida Arts Trio and the American Chamber
Winds and has appeared as soloist with the Colorado Symphony, the University
of Tennessee Orchestra, and the Florida Symphony Orchestra.
Dinkins-Matthews is currently the pianist for the Aevia Trio and the associate
pianist for the Atlanta Symphony Orchestra Chorus. As a member of the Atlanta
Symphony Chamber Chorus, she has performed several times in Carnegie Hall
and with the Berlin Philharmonic Orchestra under the baton of Robert Spano,
Donald Runnicles, and the late Robert Shaw. She is an approved adjudicator
for the National Federation of Music Clubs and the Music Teachers National
Association.
Naomi Newton, soprano, is a junior from New Jersey. A
biology and vocal performance double major, she plans to
attend medical school and specialize in pediatrics. She has
been a member of school and church choirs for eighteen
years, and she has participated in many plays and musicals.
In high school, she sang with the New Jersey Youth Chorus
and served as the president of the drama club, for which she
wrote and directed several plays. Performance highlights
include choral performances at Carnegie Hall; tours of Germany, Poland, the
Czech Republic, and Ireland with the New Jersey Youth Chorus; and
performances in Rome and Assisi with her high school choir. She sings with the
Emory Concert Choir. Newton was the 2014 recipient of Emory’s Atlanta
Symphony Orchestra Robert Shaw Memorial Outstanding Singer Award. She
also serves as a member of the Music Student Advisory Board, which works to
enhance the music-making experience at Emory by serving as a liaison between
students and faculty. Newton is blessed to be working with talented peers and
to be learning from truly amazing faculty. She would like to thank Bradley
Howard for helping her grow as a performer. She looks forward to more great
performances in the future.
20
Zoë Pollock, soprano, is a senior at Emory University double
majoring in music, with a concentration in vocal performance,
and in Spanish. She is from Atlanta, where she participated
in five years of All-State Honor Choir as well as her high
school choirs. She is a member of the Emory Concert Choir
and Mastersingers ensembles, as well as a choral scholar at
Glenn United Methodist Church. In addition to singing,
Pollock enjoys tap dancing (which she participated in for ten
years), running, and traveling.She rejoins the StageWorks ensemble after
spending a semester abroad studying at King’s College London.
B. Alex Rogers, baritone, is third-year student originally
from Minneapolis, Minnesota. He studies finance and music
performance. Rogers’s first interest in music developed at
age ten when he joined the choir in fifth grade. He was
inspired throughout middle school and into high school and
college. Rogers has performed in High School Madrigals,
Armstrong High School Concert Choir, Minnesota All-State
Mixed Choir, and he was a chamber singer for a year.
Currently he is involved in the Emory Concert Choir, and he serves as musical
director of AHANA A Cappella.
Andy Ross, tenor, is a sophomore at Emory University
working towards a music (composition) degree and a joint
math and computer science degree. He spent his life in
Colorado before coming to Emory. Ross is employed as a
staff singer at Peachtree Corners Presbyterian Church. He
also sings in the Emory Concert Choir and Mastersingers
ensembles. Ross would like to thank the StageWorks faculty
for the opportunity to participate in this year’s program.
Morgan Rubin, soprano, is a sophomore from Connecticut
studying music and psychology. She is a member of Emory’s
Concert Choir, Mastersingers, and The Gathering A Cappella,
Emory’s all-female a cappella group. In addition to singing,
Rubin has been playing the piano since she was young, and
she loves to play in her free time. She feels incredibly lucky to
be a part of the talented group of singers performing in
StageWorks and would like to thank her voice teacher,
Abigail Santos Villalobos, for helping her to improve vocally and musically this
year.
21
Abigail Santos Villalobos has been celebrated for her
warm stage presence and satiny voice. Her recent
performances include singing with the Cincinnati Symphony,
the Kentucky Bach Choir, Lynn Philharmonia, Voices of
Ascension of New York City, the Santa Fe Opera apprentice
program, and Cincinnati Chamber Orchestra, and in Carnegie
Hall. Future performances include her debut with the Atlanta
Opera as Barbarina in Le Nozze di Figaro and collaborating
with world-famous conductor John Nelson in Costa Rica, New Jersey, and
Chicago. A College Conservatory of Cincinnati graduate, Villalobos has
performed as Morgana in Handel’s Alcina, Sofia in Rossini’s Il Signor Bruschino,
Cleopatra in Handel’s Giulio Cesare, and Zerlina in Mozart’s Don Giovanni. She
has performed with renowned opera programs such as Cincinnati Opera, San
Francisco Merola Opera program, International Vocal Arts Institute, and CCM
Spoleto. Villalobos was named a finalist of the 2014 MONC Southeast region
and the 2013 Santa Fe Opera Anna Case MacKay Award recipient. Other
honors include particpating in the 2012 Kentucky Bach Choir Competition,
winning the 2011 Sam Adams Award and the 2010 Italo Tajo Memorial Award,
and being named a 2010 Metropolitan Opera National semifinalist.
Laurie Ann Taylor, mezzo-soprano, is a fourth-year music
major at Emory University studying with Bradley Howard. In
addition to music, she has completed minors in religion and
Italian studies. Taylor served as the 2013–2014 Emory Stipe
Society music fellow and is the president of the Emory
Concert Choir. She recently won her division in the 2014
Georgia National Association of Teachers of Singing state
competition, her second-consecutive state win. Taylor was
also the 2013 winner of Emory’s Concerto and Aria Competition. In November,
she performed with the Atlanta Opera as a chorus member in Puccini’s Madama
Butterfly. Her summer work has included the CCM Summer Opera Studio,
Georgia State University’s Harrower Opera Workshop, where she performed
Hermia in Britten’s A Midsummer Night’s Dream, and in 2013 she received the
William Lemonds Scholarship to study music abroad at the Amalfi Coast Music
Festival in Maiori, Italy, where she performed Cherubino in Mozart’s Le Nozze
di Figaro. This summer she will cover the role of Stéphano in Gounod’s Roméo
et Juliette at the Castleton Festival and participate in the Houston Grand Opera’s
Young Artist Vocal Academy. Taylor would like to thank Bradley Howard, Abigail
Santos Villalobos, and Patricia Dinkins-Matthews for their expert direction and
teaching.
22
Bean Woo, baritone, is a fourth-year music composition
pre-med student. He was a biology major student for his first
two years of college at Cornell University. He then transferred
to Emory University and switched his major because of his
love for music. He loves taking voice lessons and having
music in his life. He was a member of many choirs in high
school, including the New Jersey All-State Mixed Choir. Now
he performs in the Emory Concert Choir, Mastersingers, and
StageWorks at Emory. He serves as a substitute conductor at his church and as
a composer in JBCH Young Adult Christian Music Production. He plans to study
medicine in the future, but hopes that music does not die in him.
Tom Zhang, tenor, is a sophomore from Lakeland, Florida,
studying computer science and vocal performance. He is also
involved in many theater productions. Most recently he
performed in Dogfight The Musical through Emory’s Adhoc
Productions, I Am a Moon through Theater Emory, and
What’s Eating Katie through a partnership with Emory
University. Zhang’s music experience includes years of classical
training on various instruments and performing rock and
pop music through the Emory Society of Musicians (Emory’s musician
networking and performance club), and at venues such as Bread Coffeehouse.
He also sings in the Emory Concert Choir. He would like to thank the voice
department for providing the chance for him to perform in StageWorks.
Wangcaixuan (Rosa) Zhang, soprano, is a junior at Emory
University. She is an international student from Nanjing,
China. Back in China, she sang with her high school choir
and in some popular music ensembles. Because of her
interests in music, she decided to major in vocal performance
at Emory. Her music experience at Emory includes four years
of classical training, four years as a member of Emory
University Chorus, and three years serving as lead vocal for
the band Momentum, a Chinese student band. Recently, she joined the Emory
Gamelan Ensemble, and she will be singing the sinden part in future
performances. Having sung at multiple concerts, showcases, and masterclasses,
she has decided to continue her music training and education in the future. Her
goal is to pursue a PhD in ethnomusicology with a focus on Chinese modern
music and become a music professor. This is her third time performing in
StageWorks, and she is really excited to work with so many talented singers
and professors again.
23
Mu s ic at Emo ry
The Department of Music at Emory University provides an exciting and
innovative environment for developing knowledge and skills as a performer,
composer, and scholar. Led by a faculty of more than sixty nationally and
internationally recognized artists and researchers, our undergraduate and
graduate students experience a rich diversity of performance and academic
opportunities. Undergraduate students in our department earn a BA in music
with a specialization in performance, composition, or research, many of whom
simultaneously earn a second degree in another department. True to the spirit
of Emory, a liberal arts college in the heart of a research university, our faculty
and ensembles also welcome the participation of non-major students from
across the Emory campus.
Become a part of Music at Emory by giving to the Friends of Music. Your
gift provides crucial support to all of our activities. To learn more, visit our
website at music.emory.edu or call 404.727.6280.
24
U p c omin g Mu s ic Ev ents
Go to music.emory.edu to view the complete list of upcoming music events.
For more information contact the Arts at Emory Box Office at 404.727.5050,
or visit arts.emory.edu.
Ticket prices are listed in the following order: Full price/Discount category
member price/Emory student price (unless otherwise noted as the price for all
students). Visit arts.emory.edu to see if you qualify for a discount.
Sunday, April 26, Noon, Rohin Aggarwal, euphonium, and Daun Kwag, violin,
undergraduate recitals, Performing Arts Studio, free
Sunday, April 26, 2:00 p.m., Soonsung Park, clarinet, and William Vander Pols,
tuba, undergraduate recitals, Emerson Concert Hall, Schwartz Center, free
Sunday, April 26, 7:00 p.m., Emory Concert Choir, Emerson Concert Hall,
Schwartz Center, free
Monday, April 27, 8:00 p.m., Emory Percussion Ensembles, Emerson Concert
Hall, Schwartz Center, free
Saturday, May 2, 8:00 p.m., Vega String Quartet, Emory Chamber Music
Society of Atlanta (ECMSA) Emerson Series, Emerson Concert Hall, Schwartz
Center, free
Wednesday, May 6, 8:00 p.m., Emory Youth Symphony Orchestra, Emerson
Concert Hall, Schwartz Center, free
Friday, May 8, Musical Jokes, Emory Chamber Music Society of Atlanta
(ECMSA) Cooke Noontime Series, Carlos Museum, free
Sunday, May 10, 1:30 p.m., Cherry Emerson Memorial Alumni Concert,
Miller-Ward Alumni House, free
Saturday, May 16, 8:00 p.m., Atlanta Master Chorale, Emerson Concert Hall,
Schwartz Center, $20/$15/$10
Arts at Emory Box Office/Audience Information
404.727.5050 • arts.emory.edu
IN CONSIDERATION Please turn off all pagers and phones.
PHOTOGRAPHS AND RECORDINGS Not permitted without advance permission.
COUGH DROPS In lobby, courtesy of Margery and Robert McKay.
USHERS Members of Music at Emory Volunteers and Alphi Phi Omega, a national service and social
fraternity. Call 404.727.6640 for ushering opportunities.
event and program information Available online at arts.emory.edu.
cover photographer credits Front: Piano in Emerson Concert Hall, Mark Teague
Back (top to bottom): Emory Big Band, Bill Head; Atlanta Master Chorale: Eric Richards;
Timothy Albrecht as Dracula: Carl Christie; Vega String Quartet, Dorn Brothers; Emerson Concert Hall,
James Crissman; Roy Harran, Dan Smigrod; Emory University Symphony Orchestra, Mark Teague
25