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1. “Hab'mir's gelobt” from R. Strauss’ Der Rosenkavlier – Heather Charsley, Irmgard Hechler, and Tracy Sanmiya

2. “La Ci Darem La Mano” from W.A. Mozart’s Don Giovanni – Irmgard Hechler and Ralph McIntosh

3. “Batti Batti, O Bel Massetto” from W.A. Mozart's Don Giovanni – Heather Charsley

4. “Senza mamma” from G. Puccini’s Suor Angelica – Susan Urquhart-Pandolfo

5. “Voce di donna” from La Gioconda by A. Ponchielli – Marion Harvey

6. “L’amour est un oiseau rebelle” from G. Bizet’s Carmen – Tracy Sanmiya

7. “Tu che di gel sei cinta” from G. Puccini’s Turandot – Pamela Teed

8. “Flower Duet with recit” from L. Delibes’ Lakmé – Tracy Sanmiya and Pamela Teed

~ 15 Minute Intermission ~

9. “Soave il vento” from W.A. Mozart’s Cosi fan Tutte –

Irmgard Hechler, Tracy Sanmiya, and Ralph McIntosh

10. “Come scoglio” from W.A. Mozart’s Cosi fan Tutte – Pamela Teed

11. “Les Oiseaux dans la Charmille” (the doll song) from J. Offenbach's Tales of Hoffman – Heather Charsley

12. “E Susanna non vien” & “Dove sono i bei momenti” from W.A. Mozart’s Marriage of Figaro – Susan Urquhart-Pandolfo

13. “Via resti servita” from W.A. Mozart’s Marriage of Figaro – Marion Harvey and Irmgard Hechler

14. “Marietta’s Lied” from E.W. Korngold’s Die Tote Stadt – Irmgard Hechler

15. Act 1 Scene 1 from PDQ Bach’s (P. Schickele) The Abduction of Figaro – All

Program

Audience members are reminded to silence electronic devices before the performance.

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Biographies Heather Charsley

Heather began her singing career as a young child singing at church Capreol. Heather found her way to the Performing Arts Program at Sudbury Secondary School as a vocal major. Heather performed in Sudbury Secondary’s Vocal Jazz Ensemble, Vocal Jazz Combo, and Concert Choir as well as many other specialized vocal groupings. Heather continued her vocal and music studies at the University of Western Ontario, studying with world class Bass-Baritone, Brian McIntosh. While at Western, Heather sang with the UWO Chorale (1991-1993) as well as the award winning Les Choristes (1993-1995). She was featured as a soloist with each of these groups. After graduating with a Bachelor of Musical Arts, Heather attended Althouse College (UWO) to earn her Bachelor of Education. Heather performed on the stage in the1995 “Purple Patches” presentation of “My Fair Lady” and in Althouse College’s 1996 presentation of “Finian’s Rainbow”. After completing her studies at Western, Heather went on to teach elementary vocal music with the Toronto District School Board. While in Toronto, Heather participated in the Choral Music Experience program, and studied vocal conducting techniques with world famous conductor Doreen Rao. In 2000, Heather returned to Sudbury and currently teaches music, dance, drama and visual arts to students in grades 1-8 at C.R. Judd Public School. Heather has been a chorister and soloist with the Capreol Community Choir and is currently singing with the Bel Canto Chorus and is the music director at her church in Capreol. Heather is currently serving as one of the conductors of the Young Sudbury Singers. Heather would like to thank her family for all their support and patience. We hope you enjoy what we have to share with you today as much as we have enjoyed preparing it!

Marion Harvey

Marion Harvey Hannah recently retired from Cambrian College where she enjoyed teaching singing and directing the Cambrian College Choir for thirty-four years. During this time she was also on the faculty of Huntington University. She is a graduate of Ecole Vincent d’Indy in Montreal and The Opera School, University of Toronto.

In the early part of her teaching career, she performed extensively, was the winner of CBC Talent Festival, was heard in numerous CBC recital broadcasts with her husband, pianist, John Hannah, and appeared as soloist with leading Canadian choirs.

17

Translations

14) “Marietta’s Lied” from E.W. Korngold’s Die Tote Stadt

Glück, das mir verblieb, rück zu mir, mein treues Lieb. Abend sinkt im Hag bist mir Licht und Tag. Bange pochet Herz an Herz Hoffnung schwingt sich himmelwärts. Wie wahr, ein traurig Lied. Das Lied vom treuen Lieb, das sterben muss. Ich kenne das Lied. Ich hört es oft in jungen, in schöneren Tagen. Es hat noch eine Strophe-- weiß ich sie noch? Naht auch Sorge trüb, rück zu mir, mein treues Lieb. Neig dein blaß Gesicht Sterben trennt uns nicht. Mußt du einmal von mir gehn, glaub, es gibt ein Auferstehn.

Joy, that near to me remains, Come to me, my true love. Night sinks into the grove You are my light and day. Anxiously beats heart on heart Hope itself soars heavenward. How true, a sad song. The song of true love, that must die. I know the song. I heard it often in younger, in better days. It has yet another verse-- Do I know it still? Though sorrow becomes dark, Come to me, my true love. Lean (to me) your pale face Death will not separate us. If you must leave me one day, Believe, there is an afterlife.

Special Thanks

A special thank you to all who helped make today’s performance possible:

Church of the Epiphany staff and congregation

Jacaranda Events (for décor and organizational help)

Create-A-Cake (for catering for the reception treats)

Michael Alloy (for program and ticket design)

Jessica Guenard- Valiquette (for ticket sales/front-of-house)

Black Cat (for ticket sales)

Moores Clothing For Men (for Ralph McIntosh’s tuxedo)

Cambrian College Music Department (for providing ushers)

All the performers whose teamwork made this event a success

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Translations

13) “Via resti servita” from W.A. Mozart’s Marriage of Figaro

(Marcellina) Via resti servita, Madama brillante. (Susanna) Non sono sì ardita, madama piccante. (Marcellina) No, prima a lei tocca. (Susanna) No, no, tocca a lei. (Duet) Io so i dover miei, non fo inciviltà. (Marcellina) La sposa novella! (Susanna) La dama d'onore! (Marcellina) Del Conte la bella! (Susanna) Di Spagna l'amore! (Marcellina) I meriti! (Susanna) L'abito! (Marcellina) Il posto! (Susanna) L'età! (Marcellina) Per Bacco, precipito, se ancor resto qua. (Susanna) Sibilla decrepita, da rider mi fa.

Do go on, My dazzling lady. I'd not be so bold, My witty lady. Do go first, my lady. Oh, no, I insist. I know my duty, I'd not be so rude. The dear young bride! The honourable lady! The Count's little flower! The darling of all Spain! Your qualities! Your fashion! Your position! Your age! By God, I'll fly at her, if I stay here any longer. Decrepit old Sibyl, you make me laugh.

Upcoming Concerts

Thursday, December 6 & Friday December 7: A Bel Canto Chorus Christmas St. Andrew’s United Church, 111 Larch St, 7:30 PM Featuring works by Rutter, Vaughan Williams, and many more! One of Sudbury’s premiere choirs performs under the direction of Pamela Teed, with special guests the Young Sudbury Singers. Tickets available at Black Cat. Friday, December 7: PIANO GRANDE XI Room 1176, 7:30 PM Sudbury’s premiere piano event is back in a program featuring works for duos, trios and a composition for five pianos! Tickets available at Cambrian College Music Department.

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Biographies

Sudbury offered a rich experience of artistic associations. She is a founding member of The Sudbury Opera Guild, and for many years, she had the pleasure of directing Bel Canto Chorus, one of Sudbury’s leading choirs. She has adjudicated at music festivals throughout eastern Canada.

Helping students discover their potential as singers has been most rewarding. They have represented Sudbury at the provincial and national levels of music festivals. Some of her former students have become teachers of singing, won prestigious competitions and performed internationally.

Irmgard Hechler

Irmgard made her debut as a soloist with the Bel Canto Chorus in Vivaldi's Gloria. She was then asked to perform with them in Gounod’s Messe Solennelle (St. Cecillia) in 2005. She performed with the Sudbury Symphony Orchestra for the first time in 2002 after winning their Concerto Competition and performed again, Alto and Soprano selections from Handel’s Messiah in 2006. In November of 2002, Irmgard received great reviews for her concert performances with the Brandenburg Concert Orchestra in Berlin, Germany as well as her concert at the St. Nickolaus Cathedral for their 500th anniversary in Gundelsheim, Germany. Having won many awards and scholarships throughout college and university, she has represented Sudbury twice at the provincial level through the Sudbury Kiwanis Music Festival. In Ottawa, she entered the NATS festival and won first place for her category. Irmgard has given several concert recitals, including performing at the National Art Gallery of Canada for their opening of the prestigious Monet exhibit in August of 2007. Irmgard is no stranger to the stage. She was initiated to opera with her performance in Menotti's Amahl and the Night Visitors while she was at Cambrian College. At Ottawa University, she has performed roles in Mozart's The Marriage of Figaro and Cosi fan tutte, and Poulenc’s Les Dialogues des Carmelites. She has been performing at the National Arts Centre after being invited to sing in their production of Mozart's The Marriage of Figaro with Opera Lyra Ottawa, and again in Verdi's Macbeth as well as Puccini's Turandot. She has recently moved back home to Sudbury and is currently head of vocal studies at Theatre Cambrian along with being a vocal instructor at Cambrian College.

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Biographies Ralph McIntosh

Ralph McIntosh assumed his current role as the Arts Education Coordinator for the Rainbow District School Board in 2005, after 23 years of teaching Grade 7-12 music and conducting numerous performing ensembles in the Sudbury Board of Education and Rainbow District School Board. Ralph served as Arts Program Leader at Sudbury Secondary School from 1986 to 2005, teaching choral music, musical theatre and keyboard, and acting as Musical Director for the school’s annual Variety Shows and mainstage musical productions. Traditional choirs and jazz/pop vocal groups under his direction released six professionally-produced CD recordings and performed in venues across the province. A graduate of the Faculties of Music and Education at the University of Toronto, Ralph is currently serving as one of the conductors of the Young Sudbury Singers. He is a member of several choral ensembles and is active in the Sudbury community as an accompanist, church musician, and arts advocate.

Tracy Sanmiya

A graduate of Sudbury Secondary School’s original Performing Arts Program majoring in vocal music, Tracy went on to the University of Western Ontario (UWO) and performed with the UWO Chorale, a choir with over 60 singers that performed throughout London, Ontario and often with the university symphony. She also studied music privately, placing in the Conservatory Canada (London, Ontario) scholarship competition and performed in operas such as Purcell’s “Dido and Aeneas”. Tracy graduated from UWO with a Master’s in Communications and Journalism and recently with a Diploma for Vocal Performance from the Cambrian College Music program, where she studied voice with Pamela Teed. As producer of Opera Gala… Opera for a Cause, Tracy would like to thank all of today’s talented performers for their hard work and dedication; the sponsors for their time and generosity; and most importantly, you, the audience, for your support of culture in our community and of these two very worthy causes.

Pamela Teed

Pamela Teed was born and raised in Sudbury, Ontario. She studied voice at Laurentian University and moved on to the University of Ottawa to attain a Master of Music Degree in voice performance. In 2006, she was awarded a rare admission scholarship to study with renowned pianist and

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Translations

12) “E Susanna non vien” (recit) & “Dove sono i bei momenti” from W.A. Mozart’s Marriage of Figaro

E Susanna non vien! Sono ansiosa di saper come il Conte accolse la proposta. Alquanto ardito il progetto mi par, e ad uno sposo sì vivace, e geloso! Ma che mal c'è? Cangiando i miei vestiti con quelli di Susanna, e i suoi co' miei ... al favor della notte ... oh cielo, a quale umil stato fatale io son ridotta da un consorte crudel, che dopo avermi con un misto inaudito d'infedeltà, di gelosia, di sdegni, prima amata, indi offesa, e alfin tradita, fammi or cercar da una mia serva aita! Dove sono i bei momenti di dolcezza e di piacer, dove andaro i giuramenti di quel labbro menzogner? Perché mai se in pianti e in pene per me tutto si cangiò, la memoria di quel bene dal mio sen non trapassò? Ah! Se almen la mia costanza nel languire amando ognor, mi portasse una speranza di cangiar l'ingrato cor.

And Susanna doesn't come! I'm anxious to know how the Count took her proposition. The scheme seems too bold to me, and to a husband so wild and jealous! But what harm is there? Changing my clothes with those of Susanna, and hers with mine ... shielded by the night's face ... oh heavens, to what a humiliating state I am reduced by a cruel husband, who, after marrying me, with an unheard of mixture of infidelity, jealousy and scorn, first loved, then offended, and at last betrayed me, now makes me turn to one of my servants for help! Where are the beautiful moments of sweetness and of pleasure, what happened to the promises of that lying tongue? Whyever, if everything for me was to change to tears and pain, do those happy memories not also pass from my breast? Ah! If at least my loyalty still loves in this pain, it may bring me some hope of changing that ungrateful heart.

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Translations

9) “Soave il vento” from W.A. Mozart’s Cosi fan Tutte

10) “Come scoglio with recit” from W.A. Mozart’s Cosi fan Tutte

11) “Les Oiseaux dans la Charmille” (the doll song) from J. Offenbach's Tales of Hoffman

Soave sia il vento Tranquilla sia l'onda Ed ogni elemento Benigno risponda Ai nostri [vostri] desir

Gentle is the wind Calm is the wave And every one of the elements Answer warmly To our [your] desire.

Temerari,sortite fuori di questo loco! E non profani L'alito infausto de gli infamy detti Nostro cor, nostro orecchio, e nostri affetti! Invan per voi, per gli altri invan Si cerca le nostre alme sedur; L'intata fede che per noi già Si diede ai cari amanti Saprem loro serbar infino a morte, A dispetto del mondo e della sorte. Come scoglio immoto resta Contra i venti, e la tempesta, Così ognor quest'alma è forte Nella fede, e nell'amor. Con noi nacque quella face Che ci piace, e ci consola, E potrà la morte sola Far che cangi affetto il cor. Rispettate, anime ingrate, Questo esempio di constanza, E una barbara speranza Non vi renda audaci ancor.

You audacious person, leave this place! You cannot profane, With these infamous words, Our hearts, our ears and our affections. It is useless for you To seek to seduce our souls; Our faithfulness intact Is pledged to our lovers Until death, In spite of the world and misfortune. Like a rock, we stand immobile Against the wind and storm, And are always strong In trust and love. From us is born the light That gives us pleasure and comfort, And the power of death alone Can change the affections of our hearts. Respect, ungrateful spirit. We are examples of loyalty Against your primitive hopes, And do not make you bold.

Les oiseaux dans la charmille Dans les cieux l'astre du jour, Tout parle à la jeune fille d'amour! Ah! Voilà la chanson gentille La chanson d'Olympia! Ah! Tout ce qui chante et résonne Et soupire, tour tour, Emeut son coeur qui frissonne d'amour! Ah! Voil la chanson mignonne La chanson d'Olympia! Ah!

The birds in the arbor, The sky's daytime star, Everything speaks to a young girl of love! Ah! This is the gentile song, The song of Olympia! Ah! Everything that sings and resonates And sighs, in turn, Moves his heart, which shudders of love! Ah! This is the lovely song, The song of Olympia! Ah!

7

Biographies

of voice studies. In January of 2012, she was chosen to participate in The Song Continues…, a workshop and recital series hosted by the Weil Music Institute at Carnegie Hall (NYC). Outside of her position at Cambrian, she also teaches voice through Laurentian University, conducts the Bel Canto Chorus, one of Sudbury’s oldest and largest community choirs and co-directs The Young Sudbury Singers.

Susan Urquhart-Pandolfo

Susan currently teaches at Cambrian College as both a voice and violin instructor. While living in Toronto, Susan performed with many opera companies, choirs, orchestras and attended master classes with the Canadian Opera Company and Opera Hamilton. During her studies at Queen's University, Susan performed extensively in eastern Ontario as a violinist and vocal soloist. Susan has been a member of numerous orchestras, many choirs, musical theatre productions, solo groups, featured soloist and musical director for operattas. Susan has had the luxury to study under masterful teachers and attend many master classes, both as a violonist and vocalist. Susan gratefully thanks her family and friends for their constant support and encouragement.

Dr. Charlene Biggs

Charlene Biggs received a Doctorate in Piano Performance from the Eastman School of Music, and a Masters in Performance and Piano Literature from Goldsmiths College, University of London, England. She has performed extensively in Great Britain as a soloist and collaborative artist, appearing at such prestigious venues as the Royal Festival Hall, the Purcell Room, Greenwich Festival, Glasgow University, The National Theatre and the Barbican Arts Centre. She was also the founding Music Director of Opera Brava, a highly successful British touring company. Dr. Biggs has also performed in France, Holland, Austria, Italy, Canada and the USA and has held faculty positions at the Glenn Gould School, Royal Conservatory of Music, Toronto, and in the Community Division of the Eastman School of Music, where she was Assistant Chair of Piano for two years. Dr. Biggs is currently the Director of Piano Studies and Co-coordinator of the Music Program at Cambrian College. She continues as a Senior Examiner for the Royal Conservatory, and is much sought-after as a performer, adjudicator and pedagogy clinician across Canada. She also continues a hectic schedule as a solo and collaborative artist.

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Translations

7) “Tu che di gel sei cinta” from G. Puccini’s Turandot

8) “Flower Duet with recit” from L. Délibes’ Lakmé

Tu che di gel sei cinta Da tanta fiamma vinta L' amerai anche tu! Prima di quest' aurora Io chiudo stanca gli occhi Perche egli vinca ancora... Prima di quest' aurora Io chiudo stanca gli occhi Per non vederlo piu!

You who are covered with frost Vanquished by so many flames You too will love him! Before this dawn I close my eyes, tired So he wins once more… Before this dawn I close my eyes, tired So I don't see him anymore!

Sous le dôme épais Où le blanc jasmin À la rose s’assemble Sur la rive en fleurs, Riant au matin Viens, descendons ensemble. Doucement glissons de son flot charmant Suivons le courant fuyant Dans l’onde frémissante D’une main nonchalante Viens, gagnons le bord, Où la source dort et L’oiseau, l’oiseau chante. Sous le dôme épais Où le blanc jasmin, Ah! descendons Ensemble! Sous le dôme épais Où le blanc jasmin À la rose s’assemble Sur la rive en fleurs, Riant au matin Viens, descendons ensemble.

Under the thick dome where the white jasmine With the roses entwined together On the river bank covered with flowers laughing in the morning Let us descend together! Gently floating on its charming risings, On the river’s current On the shining waves, One hand reaches, Reaches for the bank, Where the spring sleeps, And the bird, the bird sings. Under the thick dome where the white jasmine Ah! calling us Together! Under the thick dome where white jasmine With the roses entwined together On the river bank covered with flowers laughing in the morning Let us descend together!

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Translations

5) “Voce di donna” from La Gioconda by A. Ponchielli

6) “L’amour est un oiseau rebelle” from G. Bizet’s Carmen

Voce di donna o d'angelo le mie catene ha sciolto; mi vientan le mie tenebre di quella santa il volto, pure da me non partasi senza un pietoso don, no! A te questo rosario che le preghiere aduna Io te lo porgo - accettalo; ti porterà fortuna. Sulla tua testa vigili la mia benedizion.

The voice of a woman or an angel has loosened my fetters; My blindness keeps me from the sight of that saintly one; yet may she not part from me without a pious gift - no! To you this rosary which assembles the prayers I offer it to you - accept it; it will bring you good fortune. May my blessings watch over you.

L'amour est un oiseau rebelle que nul ne peut apprivoiser, et c'est bien en vain qu'on l'appelle, s'il lui convient de refuser. Rien n'y fait, menace ou prière, l'un parle bien, l'autre se tait: Et c'est l'autre que je préfère, Il n'a rien dit mais il me plaît. L'amour! L'amour! L'amour! L'amour! L'amour est enfant de Bohême, il n'a jamais, jamais connu de loi; si tu ne m'aimes pas, je t'aime si je t'aime, prends garde à toi! Si tu ne m’aimes pas, Si tu ne m’aimes pas, je t’aime! Mais, si je t’aime, Si je t’aime, prends garde à toi! L'oiseau que tu croyais surprendre battit de l'aile et s'envola ... l'amour est loin, tu peux l'attendre; tu ne l'attends plus, il est là! Tout autour de toi, vite, vite, il vient, s'en va, puis il revient ... tu crois le tenir, il t'évite, tu crois l'éviter, il te tient.

Love is a rebellious bird that nobody can tame, and you can call him (although it is) quite in vain, because it suits him not to come. Nothing helps, neither threat nor prayer. One man talks well, the other, silent; but it's the other that I prefer. He says nothing, but he pleases me. Oh, love! Love! Love! Love! Love is a gypsy's child, it has never known the law; if you love me not, then I love you; if I love you, you'd best beware! If you love me not, if you love me not, then I love you But if I love you, if I love you, you'd best beware! The bird you hoped to catch beat its wings and flew away ... love stays away, you wait and wait; when least expected, there it is! All around you, swift, swift, it comes, goes, then it returns ... you think you hold it fast, it flees you think you're free, it holds you fast.

9

Translations

1) “Hab'mir's gelobt” from R. Strauss’ Der Rosenkavlier

(Octavian) Marie Theres’! (Marschallin) Hab’ mir’s gelobt, Ihn lieb zu haben in der richtigen Weis’. Dass ich selbst Sein Lieb’ zu einer andern noch lieb hab! Hab’ mir freilich nicht gedacht dass es so bald mir aufgelegt sollt’ werden! Es sind die mehreren Dinge auf der Welt, so dass sie ein’s nicht glauben tät’, wenn man sie möcht’ erzählen hör’n. Alleinig wer’s erlebt, der glaubt daran und weiss nicht wie—da steht der Bub’ und da steh’ ich, und mit dem fremden Mädel dort wird er so glücklich sein, als wie halt Männer das Glücklichsein verstehen. In Gottes Namen.

(Sophie) Mir ist wie in der Kirch’n, heilig ist mir und so bang; und doch ist mir unheilig auch! Ich weiss nicht, wie mir ist. Ich möcht’ mich niederknien dort vor der Frau und möcht’ ihr was antun, denn ich spür’, sie gibt mir ihn und nimmt mir was von ihm zugleich. Weiss gar nicht, wie mir ist! Möcht’ alles verstehen und möcht’ auch nichts verstehen. Möcht’ fragen und nicht fragen, wird mir heiss und kalt. Und spür’ nur dich und weiss nur eins: dich hab’ ich lieb.

(Octavian) Es ist was kommen und ist was g’schehn, Ich möcht’ Sie fragen: darf’s denn sein? und grad’ die Frag, die spür’ ich, dass sie mir verboten ist. Ich möcht’ Sie fragen: warum zittert was in mir? - Ist denn ein grosses Unrecht geschehn? Und grad’ an die darf ich die Frag’ nicht tun - und dann seh’ ich dich an, Sophie, und seh’ nur dich und spür’ nur dich, Sophie, und weiss von nichts als nur: dich hab’ ich lieb.

Marie Therese! I made a vow to love him rightly, as a good woman should. I promised even to love the love he bore another. But in truth, I did not think that this task would come so soon. Many things are ordained in this world that we should scarce believe could be, if we heard others tell of them; but the one whom they will someday wound believes in them, and knows not how. There stands the boy, and here stand I; and with his new-found love this day he will have happiness such as a man thinks is the best the world can give. In God's Name.

I feel as one at worship, holiest thoughts fill my soul; and yet I’m possessed by a thought most unholy and sinful. I don’t understand what I feel. At this lady’s feet I gladly would kneel, yet willingly would I harm her as well. For I feel that she gives him to me, and yet robs me of part of him. I’m strangely distraught. I wish to know everything, yet fear to know the truth—now longing to ask, now fearing. I am both hot and cold, and know only this one thing: that I love you.

What wondrous thing has come to pass? I would willingly ask her: Can it be? And it is just that question that I know I cannot ask her. I would willingly ask her: Why is my soul trembling so? Has a great wrong, a foul deed be done? And I may not ask the question of her. And then I gaze on your dear face, Sophie, and see only you, know only you. And know only this one thing: that I love you.

10

Translations

2) “La Ci Darem La Mano” from W.A. Mozart’s Don Giovanni

(Don Giovanni) Là ci darem la mano, Là mi dirai di sì: Vedi, non è lontano, Partiam, ben mio, da qui. (Zerlina) Vorrei e non vorrei, Mi trema un poco il cor, Felice, è ver, sarei, Ma può burlarmi ancor! (Don Giovanni) Vieni, mio bel diletto! (Zerlina) Mi fa pietà Masetto. (Don Giovanni) Io cangierò tua sorte. (Zerlina) Presto... non son più forte. (Don Giovanni) Andiam! (Zerlina) Andiam! (Duet) Andiam, andiam, mio bene, a ristorar le pene D’un innocente amor.

There I'll give you my hand There you'll say yes See, it is not far My love, let's leave from here Should I, or shouldn't I My heart trembles at the thought It's true, I would be happy I can still have fun! Come, my beloved beautiful! It makes me pity Masetto I will change your fate Soon... I am no longer strong enough to resist Let us go! Let us go! Come, come, my darling to restore our pleasure of an innocent love.

11

Translations

3) “Batti Batti, O Bel Massetto” from W.A. Mozart's Don Giovanni

4) “Senza mamma” from G. Puccini’s Suor Angelica (Sister Angelica)

Batti, batti, o bel Masetto, La tua povera Zerlina; Starò qui come agnellina Le tue botte ad aspettar. Lascierò straziarmi il crine, Lascierò cavarmi gli occhi, E le care tue manine Lieta poi saprò baciar. Ah, lo vedo, non hai core! Pace, pace, o vita mia, In contento ed allegria Notte e dì vogliam passer.

Beat me, dear Masetto, beat your poor Zerlina. I'll stand here as meek as a lamb and bear the blows you lay on me. You can tear my hair out, put out my eyes, yet your dear hands gladly I'll kiss. Ah! I see you've no mind to: let's make peace, dearest love! In happiness and joy let's pass our days and nights.

Senza mamma, o bimbo, tu sei morto! Le tue labbra, senza i baci miei, scoloriron fredde! fredde E chiudesti, o bimbo, gli occhi belli! Non potendo carezzarmi, le manine componesti in croce! E tu sei morto senza sapere quanto t'amava questa tua mamma! Ora che sei un angelo del cielo, ora tu puoi vederla la tua mamma, tu puoi scendere giù pel firmamento ed aleggiare intorno a me ti sento. Sei qui, sei qui, mi baci e m'accarezzi. Ah! Dimmi, quando in ciel potrò vederti? Quando potrò baciarti? Oh! Dolce fine d'ogni mio dolore, quando in ciel potrò salire? Quando potrò morire? Dillo alla mamma, creatura bella, con un leggero scintillar di stella. Parlami, parlami, amore, amore ....amore!

Without your mother, o my baby, you die! Your lips, without my kisses, grow pale and cold! And close, o baby, your pretty eyes. I cannot caress you, your little hands composed in a cross! And you are dead without knowing how loved you were by your mother! Now you are an angel in heaven, now you can see your mother, you can descend from heaven and let your essence linger around me. Are you here, feel my kisses and caresses. Ah! tell me, when will I see you in heaven? When will I be able to kiss you? Oh! Oh sweet end to all my sorrows, when I greet you in heaven. When will I greet death? Tell you mother, beautiful creature, with a sparkle of the stars. Speak to me, my loved one!