Bach to Broadway - Program Notes and Translations
Baroque (1600-1750)
Johann Sebastian Bach (1685-1750) composed this cantata in honor of a duke’s birthday in 1713. It is affectionately called the “Hunting Cantata” while the full title is “Was mir behagt, ist nur die muntre Jagd.” Yep, it’s a mouth full. The title translates to “What pleases me the most is the lively hunt!” We’ll stay with “Hunting Cantata” for this concert. While it is one of Bach’s many secular compositions, this particular excerpt is often used at weddings or other religious events. Taken out of context, instead of praising royalty, we can see it as a reference to the Biblical passages from John 10 where Jesus states, “I am the good Shepherd.” Although not Bach’s original intention, it can be meaningful for many listeners. And isn’t this the beauty of art? We are allowed to bring our own personal interpretation to the art presented while still honoring the artist who created it.
Schafe können sicher weiden
Schafe können sicher weiden,
Sheep can safely graze
Wo ein guter Hirte wacht.
where a good shepherd watches over them.
Wo Regenten wohl regieren,
Where rulers are ruling well,
Kann man Ruh und Friede spüren
we may feel peace and rest
Und was Länder glücklich macht.
and what makes countries happy.
Classical (1751-1820)
While there are many classical era composers, Wolfgang Amadeus Mozart (1756-1791) remains an obvious front runner. His music can be charming or dark, silly or poignant, sweet or offensive. The characters in his operas are sometimes humorous but usually complicated, bringing humanity at all levels into the spotlight.
The character of Fiordiligi in Così fan tutte contains all of this dichotomy and conflict. The basic plot synopsis could stated as such: sisters + boyfriends + betrayal = comedy?? While considered a comedy, Così fan tutte hits home with some serious issues and the ending of the opera is not completely clear from the score. Fiordiligi is the older, more intense sister. She sings Come scoglio (which translates “like a rock”) after she and her sister are presented with the opportunity to flirt with two handsome suitors while their finances are away in battle. Mozart takes the ABA form from the Baroque era and adds his own spin to the idea.
Come scoglio (from Cosi fan tutte)
Come scoglio immoto resta
Like a rock, we stand immobile
Contra i venti, e la tempesta,
against the wind and storm,
Così ognor quest'alma è forte
and are always strong
Nella fede, e nell'amor.
in trust and love.
Con noi nacque quella face
From us is born the light
Che ci piace, e ci consola,
that gives us pleasure and comfort,
E potrà la morte sola
and the power of death alone
Far che cangi affetto il cor.
can change the affections of our hearts.
Rispettate, anime ingrate,
Respect, ungrateful spirit.
Questo esempio di constanza,
We are examples of loyalty
E una barbara speranza
against your primitive hopes,
Non vi renda audaci ancor.
and do not make you bold.
Translated by Natalie Miller (gnacoli@mindspring.com)
Romantic (1820-1910)
Una voce poco fa (from Il barbiere di Siviglia)
Una voce poco fa
A voice a little while back
qui nel cor mi risuonò;
echoes here in my heart;
il mio cor ferito è già,
already my heart has been pierced,
e Lindor fu che il piagò.
and Lindoro inflicted the wound.
Sì, Lindoro mio sarà;
Yes, Lindoro will be mine;
Lo giurai, la vincerò.
I swore it; I will win.
Il tutor ricuserà,
My guardian will refuse me;
io l'ingegno aguzzerò.
I will sharpen all my wits.
Alla fin s'accheterà
In the end he will be calmed
e contenta io resterò.
and I shall rest content...
Io sono docile, son rispettosa,
I am gentle, I am respectful,
sono obbediente, dolce, amorosa;
I am obedient, sweet, loving;
mi lascio reggere, mi lascio reggere,
I let myself be ruled, I let myself be ruled,
mi fo guidar.
I let myself be guided.
Ma,
But,
ma se mi toccano
but if they touch me
dov'è il mio debole
where I am weak
sarò una vipera, sarò
I will become a viper, I will become
e cento trappole
and a hundred tricks
prima di cedere
before I’ll yeild
farò giocar!
I will play!
O mio babbino caro (from Gianni Schicchi)
O mio babbino caro,
Oh my dear father,
mi piace, è bello bello,
I like him, he is very handsome.
vo’andare in Porta Rossa
I want to go to Porta Rossa
a comperar l’anello!
to buy the ring!
Si, si, ci voglio andare!
Yes, yes, I want to go there!
E se l’amassi indarno,
And if my love were in vain,
andrei sul Ponte Vecchio
I would go to Ponte Vecchio
ma per buttarmi in Arno!
and throw myself in the Arno!
Mi struggo e mi tormento,
I am pining and I am tormented,
O Dio! Vorrei morir!
Oh God! I would want to die!
Babbo, pietà, pietà!
Daddy, have mercy, have mercy!
Operetta/Crossover (1800s-present)
Usually, my basic definition to differentiate opera vs. musical theater is as follows:
Opera = No Microphone
Musical theater = Microphones
Crossover and operetta are important genres that don’t fit neatly into this definition or a timeline. They provide opportunities for singers to enjoy musical variety within an otherwise defined career of either opera or musical theater. Companies from both sides produce these shows and the production may or may not use microphones.
As the grandson of Richard Rodgers (Rodgers and Hammerstein, anyone??) and son of Mary Rodgers, Adam Guettel (b.1964) continues the legacy of his exceptional heritage. His award winning The Light in the Piazza appeared on Broadway in 2005. The score impresses with its rich orchestration and strong neoclassical style. The title song, The Light in the Piazza, is Clara’s moment to explain her view of life and love.
Pre-Golden, Golden, and Post-Golden Broadway (1920-1969)
She Loves Me by Jerry Bock (1928-2010) contains all the right ingredients for a perfect romantic comedy. Since it’s Broadway premier in 1963, the musical has continued to entertain audiences with revivals in the 1990s and 2000s. In Vanilla Ice Cream, Amalia tries to write a letter to her mysterious pen pal whom she was supposed to meet in person yesterday evening. She is continuously distracted by the fact that her co-worker Georg (who has always been disagreeable) just stopped by with a surprise gesture of friendship – delicious vanilla ice cream. Georg has figured out that he is Amalia’s pen pal and true love, but keeps the secret and tells her a fat, bald man was supposed to be her mysterious date last night. Suddenly, Amalia has mixed emotions!
Pre-Contemporary and Contemporary Broadway (1970-present)
The beloved composer, Stephen Sondheim (1930-2021), produced Follies in 1971 to much acclaim with awards and revivals for years to come. Losing my mind became a standard torch song with performances by divas from Bernadette Peters to Liza Minelli and more.
Finale
Mary Rodgers (1931-2014) took a hilarious twist on the princess and the pea fable with her 1959 production of Once Upon a Mattress. We meet a dysfunctional royal family on a search for a princess