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Rodin Opera Scenes

present

Rodin Opera Scenes2015

Tuesday, April 14, 2015 7pm & 9pm

Rodin College House Rooftop Lounge 3901 Locust WalkPhiladelphia, PA

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CandideMusic by Leonard BernsteinLibretto by John La Touche

Pangloss: David Glanzman (SEAS ‘17)Maximilian: Michael Nissan (College ‘16)

Paquette: Matré Grant (College ‘17)Candide: Charles Shrader (GSAS ‘18)

Cunegonde: Lily Kass (GSAS ‘16)Accompanist: Eric Lifland (College ‘16)

Le Nozze di Figaro (The Marriage of Figaro)Music by Wolfgang Amadeus Mozart

Libretto by Lorenzo da Ponte

Cherubino: Melody Cooke (Wharton ‘16)Susanna: Damilore Rosanwo (Wharton ‘16)

Count: Jonathan Allsop (College ‘16)Countess: Maria Murphy (GSAS ‘17)

Accompanist: Vanessa Williams (GSAS ‘17)

Threepenny OperaMusic by Kurt Weill

Original Libretto by Bertolt Brecht

In a variety of roles:Caroline Sambuco (College ‘18)

Eric Lifland (College ‘16)Jordyn Tumas (College ‘15)

Choreographer: Emily Eck (College ‘17)Accompanist: Tristan Paré-Morin (GSAS ‘18)Accordionist: Vanessa Williams (GSAS ‘17)

La Cenerentola (Cinderella)Music by Gioachino RossiniLibretto by Jacopo Ferretti

Don Magnifico: Joseph Rim (GSE ‘16)Dandini: Charles Shrader (GSAS ‘18)

Accompanist: Carlo Lanfossi (GSAS ‘17)

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CarmenMusic by Georges Bizet

Libretto by Henri Meilhac and Ludovic Halévy

Frasquita: Emily Eck (College ‘17)Mercédès: Matré Grant (College ‘17)

Carmen: Cristina Peruyera (Wharton ‘15)Accompanist: Rachel Mardjuki (College ‘17)

Little WomenMusic by Mark Adamo

Libretto by Mark Adamo

Jo: Elizabeth Higbee (BGS ‘17)Amy: Lauren Nagy (College ‘15)

Beth: Melody Cooke (Wharton ‘16)Meg: Monica McGeary (LPS ‘16)

Accompanist: Vanessa Williams (GSAS ‘17)

Der Schauspieldirektor (The Impresario)Music by Wolfgang Amadeus Mozart

Libretto by Gottlieb Stephanie

Madame Herz: Emily Derecktor (College ‘16)Mademoiselle Silberklang: Caroline Sambuco (College ‘18)Monsieur Vogelsang: Juan José López Delgado (SEAS ‘15)

Accompanist: Erica Ball (GSAS ‘15)

Coached by Lily Kass, Carlo Lanfossi, Maria Murphy, and Vanessa Williams. Stage coordinator: Alyssa Johncola

The concert will run approximately 60 minutes without an intermission.

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BIOGRAPHIES

Jonathan Allsop Jonathan Allsop is a junior in the College majoring in Music. Jonathan participates in sever-al different music ensembles on campus ranging from Penn Singers Light Opera Company, to University Choir, to Penn’s jazz combos, and more. Jonathan is also a song writer and has recently been working hard writing music for an EP he plans on releasing his senior year. He is so thrilled to be singing with Rodin Opera Scenes again especially playing the role of the Count in his favorite opera The Marriage of Figaro.

Erica Ball Erica Ball is a Philadelphia based musician, active as a composer, pianist, violinist, and conductor, with a special interest in bringing contemporary music to new audiences. Erica’s compositions have been performed across the United States by numerous ensembles including the American Symphony Orchestra, Da Capo Chamber Players, and International Contemporary Ensemble. Er-ica holds a BA from Bard College, where she studied with Joan Tower, Kyle Gann, Blair McMillen, and members of the Colorado Quartet. She is currently the 2014-2015 Mellon Graduate Education Fellow at the University of Pennsylvania where she is completing a PhD in music composition.

Melody CookeMelody, also known as Cherubino and Beth, is proud to be a returning member of Rodin Opera Scenes for their second year of production. In the past she played Mallika in the “Flower Duet” from Lakmé and Hansel in the “Evening Prayer” from Hansel und Gretel with fellow opera singer Nikki McGeary. Although she just started opera lessons 2 years ago with instructor Courtney Ames, she previously was a classically and jazz trained pianist and performed as a soloist and ac-companist in jazz bands. When she is not singing or playing the piano, she is a junior in Wharton studying marketing.

Emily Derecktor Emily Derecktor is a soprano from Portsmouth, Rhode Island. She has been studying voice for 9 years and is currently studying under Malinda Haslett. In addition to Rodin Opera Scenes, she has participated in the choirs at Brown University and Penn and was a member of Brown’s all female a cappella group, the Chattertocks. At Penn, Emily studies Health and Societies and is on a pre-med track. Outside of class, she enjoys volunteering for MERT, Penn’s student EMS service, working on research projects for the Psychology Department, teaching voice lessons for middle school students for Penn’s After School Arts Program, and spending time with her friends.

Emily EckEmily is a sophomore in the College of Arts and Sciences majoring in Cognitive Science and minoring in English. She is thrilled to be making her opera debut this semester with Rodin Opera Scenes. She is music director and choreographer of Penn Sirens female vocal ensemble and plays guitar and ukulele.

David Glanzman David is a sophomore in SEAS, studying Computer Engineering. He likes singing, playing the guitar, and working with electronics in his spare time. He also plays in Penn’s jazz band and runs Penn’s student branch of the Institute for Electronics and Electrical Engineers. David was born and raised in the Philly area with his younger brother, now a freshman at University of Rochester. During the summer, David works in an engineering research lab, and hopes to pursue an advanced degree in Engineering after graduation. He’s excited and honored to perform with his talented classmates!

Matré Grant Matré Grant, mezzo-soprano, is a sophomore (Class of 2017) majoring in music and minoring in

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creative writing in the College of Arts & Sciences at Penn. She sings with the University Choir, Chamber Singers, and Choral Society under the direction of William Parberry. She also performs with Penn Singers Light Opera Co., African American Arts Alliance (4A), and the St. Mary’s Epis-copal Church Choir. She is an alumna of the Vocal Music Department at the Governor’s School for the Arts (Class of 2013) in Norfolk, Virginia. Her voice teacher is Courtney Ames, soprano.

Elizabeth Higbee Beth Higbee joins Rodin Opera Scenes for the first time this semester, and is so happy to have found them! She is a third year PhD student in the School of Medicine studying Biochemistry and Molecular Biophysics. In addition to a B.S. in Biochemistry, she has a B.A. in Music Performance from Syracuse University, where she specialized in musical theater and trouser roles. Here at Penn, she is a member of the Penn Singers Light Opera Company, and performed in their last three productions: Iolanthe (Iolanthe), Sweeney Todd (Pirelli), and Pirates of Penzance (Ruth).

Juan Jose Lopez Delgado Juanjo is back by popular demand, and is once again flanked by two amazing divas in his second Opera Scenes performance. He hails from the faraway fantasy-land of Asunción, Paraguay (some-where in Polynesia, right next to Belgium I believe). This is his 16th year at Penn; he’s a second year GSEAS’15 Robotics student and an econ SAS’14 and compsci SEAS’14 alum. He’s also a proud member of Penn Singers Light Opera Co., where he has spent most of his time memorizing 18th century G&S speech for use in casual conversation. He’s nocturnal, never sleeps and enjoys snap-chatting to his heart’s content.

Rachel MardjukiRachel is a sophomore in the College studying biochemistry. After taking a brief break from piano and joining the Choral Society last year, she is now enjoying the opportunity to play again in a very different setting. Music is her favorite way to de-stress and use a different part of her brain, and she has enjoyed observing all the nuances that go into staging an opera!

Nikki McGeary Nikki McGeary is a rising senior, majoring in English/Creative Writing. She has been a singer since she was four, and loves early music and opera. This is her second performance with Rodin, and she has enjoyed meeting other singers and learning new music. She lives with her husband, brother, and three cats in their historic house in a close suburb of Philadelphia.

Lauren Nagy Lauren Nagy is so excited to make her second performance in the Rodin Opera! She is the outgo-ing business manager of Penn Singers Light Opera Company on campus, and has had a wonderful time in the last four years performing Gilbert and Sullivan with the group. Lauren is a BBB major and a pre-med student, so when she’s not singing you can probably find her in the library. The Ro-din Opera Scenes project has been a great way to wrap up senior year performances—a big thanks to Maria, her former GA, for keeping her involved.

Michael Nissan Michael is a junior studying Chemical & Biomolecular Engineering, and he is very excited to be a part of Rodin Opera Scenes for the first time this semester. This is the third musical production he is involved in this year, after performing in Penn Singers’ Sweeney Todd and Iolanthe.

Tristan Paré-MorinTristan Paré-Morin is a 2nd year graduate student in musicology. Trained as a classical pianist, he now frequently ventures into jazz and pop. Last year, he accompanied the Penn Players in Sond-heim’s musical Assassins. In the past, he has been arranger and saxophonist in his own jazz quar-tet. As a classical pianist, he has performed in various music competitions, including the Canadian Music Competition, where he was finalist for his province, Québec. As a chorister, Tristan sang with both amateur and professional choirs, as well as with the Metropolitan Orchestra of Montreal under Yannick Nézet-Séguin.

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Cristina PeruyeraCristina Peruyera is a senior in Wharton studying Strategic Management & Marketing. Originally from Miami, Cristina’s love for opera began in high school where she formally studied the art and where she had the opportunity to work closely with the Florida Grand Opera. Although Cristina is pursuing a career in consulting, opera has and will always be an important part of her life.

Joseph RimJoe is a high school science teacher in Philly and a Master’s student at Penn’s Graduate School of Education studying for his principal certification. At Brown University, he sang some chill roles like Gianni Schicchi and directed a really weird retelling of The Tales of Hoffman. Other credits include music directing The Turn of the Screw and being the worst accompanist you’ve ever had.

Damilore Rosanwo Although she spent much of her youth singing and touring with her city’s professional children’s choir, Dami Rosanwo’s first true experience with opera was performing as the Spirit in form of Mercury for the Fort Wayne Youth Chorale’s 2010 production of Dido and Aeneas. Since then, she has focused primarily on early music, her favorite pieces being Mozart’s arias. A returning Rodin Opera Scenes member, Dami has also practiced under the private instruction of Bonnie Hoke-Sce-drov for the past three years. She is currently a junior pursuing Marketing and Multinational Management in Wharton and International Studies in the College.

Caroline Sambuco Soprano Caroline Sambuco began her musical pursuits in third grade with the New York City Opera Children’s chorus. She has been studying voice since 2009. She has attended the Bel Canto Institute and the Boston University Tanglewood Institute where she participated in masterclasses with Sandra Piques Eddy, Sara Jobin and Jane Klaviter. Her favorite musical experiences thus far include portraying the role of Dido in Purcell’s Dido and Aeneas and performing with the orches-tra as a concerto winner at Phillips Academy, in Andover, MA. This summer she will attend the Oberlin in Italy Opera Program.

Charles Shrader Charlie Shrader is a second-year PhD student in Musicology at Penn. An avid singer and per-former, he has in a previous collegiate existence played such roles in scenes concerts and stage productions as Rocco in Fidelio, Dr. Miracle in Les contes d’Hoffman, Richard Dauntless in Rud-digore, Samuel in The Pirates of Penzance, and the Lord Chancellor in Iolanthe. He is thrilled to be working with such talented performers and producers!

Jordyn Tumas Jordyn Tumas is excited to be making her opera debut with Rodin Opera Scenes. This soon-to-be med student senior in the College is no stranger to the stage; you can find Jordyn playing guitar at open mics, leading large-scale Zumba at philanthropy events, or even singing with her band in the Quad at Spring Fling. Off the stage and out of the library, Jordyn is an RA in Rodin College House, a brother of Alpha Iota Gamma professional pre-health fraternity, a sister of ZTA sorority, and a member of the Club Tennis Team, Osiris Senior Society, and Penn Women’s Biomedical Society. A huge thanks to Maria for being an amazing director, friend, and spiritual guide throughout this entire process.

Vanessa WilliamsVanessa started learning the piano at the age of five, violin aged seven, accordion aged ten, and vi-ola and church organ aged twelve. She studied Music at the University of Southampton, achieving a first class undergraduate degree in 2005 and a Master’s degree in Musicology with distinction in 2006. She is currently studying for a PhD in Musicology at the University of Pennsylvania, and also performs as an accompanist in the Philadelphia area. She was Music Director for Penn Singers’ production of Thoroughly Modern Millie in 2013; has played for shows in New Jersey, Pennsylvania, and New York; and is an accompanist at the Walnut Street Theater.

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Lily Kass Lily Kass is proud to be one of the co-founders of the Rodin Opera Scenes Program. She would like to congratulate all of the wonderful participants in this year’s production and thank them for their hard work. Lily is a fourth year PhD candidate in Music History whose dissertation explores the performance of Italian opera in London in the 1790s. She is a core member of the choir of St. Mark’s Church and studies voice with the incredible Courtney Ames. Favorite operatic roles include Anne Trulove (cover) in The Rake’s Progress, and Ino in Eccles’ Semele.

Carlo LanfossiCarlo Lanfossi is a third-year PhD student in Musicology at Penn and one of the co-founders of the Rodin Opera Scenes program. His area of expertise is early opera and historical performance prac-tice. Unlike his amazing colleagues Maria Murphy and Lily Kass, he has absolutely no experience in singing and yet he pretends to do it anyway. Carlo would like to apologize to every composer he attempted to perform on stage.

Maria Murphy Maria Murphy is a third-year PhD student in Musicology at Penn and one of the co-founders of the Rodin Opera Scenes program. She is thrilled to be sneaking on stage for one of the scenes, though she knows she will never live up to the soon-to-be legendary Lanfossi cameos. Maria would like to thank all of the wonderful singers and brilliant accompanists for generously lending their talents to this production.

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TEXTS

CandideMusic by Leonard BernsteinLibretto by John La Touche

PanglossLet us review Lesson Eleven.

PupilsParagraph two, axiom seven.

PanglossOnce one dismissesthe rest of all possible worlds,one finds that this isthe best of all possible worlds.

PupilsOnce one dismissesthe rest of all possible worlds,one finds that this isthe best of all possible worlds.

PanglossPray, classify pigeons and camels.

PupilsPigeons can fly. Camels are mammals.

PanglossThere is a reasonfor ev’rything under the sun.

PupilsThere is a reasonfor ev’rything under the sun.

MaximilianObjection!What about snakes?

PanglossSnakes...‘Twas snake that tempted mother eve. Because of snake we now believethat ‘tho’ depraved,we can be savedfrom hell-fire and damnation.

PupilsBecause of snake’s temptation.

PanglossIf snake had not seduced our lot,and primed us for salvation,Jehovah could not pardon allthe sins that we call cardinal,involving bed and bottle.

PupilsNow on to Aristotle.

MaximilianMankind is one.All men are brothers.

PupilsAs you’d have done,do unto others.

MaximilianIt’s understood inthis best of all possible worlds.

PupilsAll is for the good inthis best of all possible worlds.

CandideObjection! What about war?

MaximilianWar...Though war may seem a bloody curse,it is a blessing in reverse.When cannon roar,both rich and poorby danger are united.

Pupils‘Til ev’ry wrong is righted.

MaximilianPhilosophers made evidentthe point that I have cited.‘Tis war makes equal,as it were,the noble and the commoner,thus war improves relations.

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PupilsNow on to conjugations.

MaximilianAmo, amas, amat, amamus.

PupilsAmo, amas, amat, amamus.

MaximilianProving that this isthe best of al possible worlds. With love and kisses,the best of all possible worlds.

PupilsProving that this isthe best of all possible worlds.With love and kissesthe best of all possible worlds.

MaximilianQuod erat demonstrandum!Q. E. D.Amo, amas.amat, amamus.Q. E. D.Quod erat demonstrandum!

Cunegonde, Candide, Maximilian, PanglossQuod erat demonstrandumin this best of all possible, possible, possible worlds!Quod erat demonstrandum!Q. E. D.

Le Nozze di Figaro (The Marriage of Figaro)Music by Wolfgang Amadeus MozartLibretto by Lorenzo da Ponte

SusannaAprite, presto, aprite; Aprite, è la Susanna. Sortite, via sortite, Andate via di qua. Cherubino Ohimé, che scena orribile! Che gran fatalità! SusannaDi qua, di là. Susanna & Cherubino Le porte son serrate, che mai, che mai sarà! Cherubino Qui perdersi non giova. SusannaV’uccide se vi trova. Cherubino Veggiamo un po’ qui fuori. Dà proprio nel giardino.

SusannaOpen up, quickly, open up;Open up, it’s Susanna.Come out of there, quick, come out, Get out of there. Cherubino Oh, what a horrible scene! What a catastrophe! SusannaHere, there! Susanna & Cherubino The doors are locked, Whatever will happen next! Cherubino It’s useless to despair. SusannaHe’ll kill you if he finds you. Cherubino I’ll just look out here. It looks onto the garden.

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SusannaFermate, Cherubino! Fermate per pietà! Cherubino Qui perdersi non giova. SusannaFermate, Cherubino! Cherubino M’uccide se mi trova. SusannaTropp’alto per un salto., fermate per pietà! Cherubino Lasciami, pria di nuocerle nel fuoco volerei. Abbraccio te per lei— Addio, così si fa. SusannaEi va a perire, oh Dei! Fermate per pietà; fermate!

[...]

ConteEsci omai, garzon malnato.Sciagurato non tardar.

ContessaAh signore, quel furorePer lui fammi il cor tremar.

ConteEd opporvi ancor osate?

ContessaNo, sentite...

ConteVia, parlate.

ContessaGiuro al ciel ch’ogni sospetto...e lo stato in che il trovate...sciolto il collo... nudo il petto...

Contesciolto il collo... nudo il petto...seguitate

ContessaPer vestir femminee spoglie...

SusannaDon’t do that, Cherubino! Stop for pity’s sake! Cherubino It’s useless to despair! SusannaStop, Cherubino! Cherubino He’ll kill me if he finds me. SusannaIt’s too high to jump, Stop for pity’s sake! Cherubino Let me go, before hurting her I’d fly into a fire. I embrace you for her— Farewell, so it goes. SusannaHe’s going to die, oh God! Stop, for pity’s sake; stop!

[...]

ConteLeave this instant, ill-born boy.wretched lad, be quick about it.

ContessaAh sir, your fury makes my heart tremble for him!

ConteAnd you still dare to oppose me?

ContessaNo, listen...

ConteGo on, speak!

ContessaI swear to God that your every suspicion…and the state in which you find him…with his collar unraveled…and his chest bare…

ConteHis collar unraveled, and his chest bare? Go on!

ContessaHe was dressing as a woman…

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ConteAh, I understand, unworthy wife. I want revenge soon. ContessaYour transport wrongs me. You offend me by doubting me.

ConteGive the key here!

ContessaHe’s innocent! You know...

ConteI don’t know anything! Leave my sight. You are a faithless and impious woman, and you’re trying to malign me.

ContessaI’m going...yes...but...

ConteI’m not listening.

ContessaI’m not guilty!

ConteI can read it in your face!Let him die.

ContessaAh, blind jealousy leads him to such excesses

ConteLet him die so that he will no longer be the guilty cause of my suffering. Susanna?

ContessaSusanna?

SusannaSir! Why this amazement? Take your sword and kill the page! See that ill-born page right here!

ConteWhat a lesson! My head is sent spinning!

ConteAh, comprendo indegna moglie. Mi fa torto vendicar.

ContessaMi fa torto, quel trasporto;m’oltraggiate, a dubitar.

ConteQua la chiave.

ContessaEgli è innocente, voi sapete...

ConteNon so niente.Va’ lontan dagli occhi miei.Un’infida, un’empia sei...e mi cerchi d’infamar.

ContessaVado... sì... ma...

ConteNon ascolto.

ContessaNon son rea...

ConteVe ‘l veggo in volto.Mora….Mora

ContessaAh, la cieca gelosiaqualche eccesso gli fa far!...

ConteMora, mora, e più non siaria cagion del mio penar!Susanna?

ContessaSusanna?

SusannaSignore!Cos’è quel stupore?Il brando prendete,il paggio uccidete;quel paggio malnatovedetelo qua.

ConteChe scuola! La testa girando mi va

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Contessa(Che storia è mai questa!Susanna v’è là?)

Susanna(Confusa han la testa:non san come va.)

ConteSei sola?

SusannaGuardate,qui ascoso sarà.

ConteGuardiamo, guardiamo,qui ascoso sarà.

ContessaSusanna, son morta. Il fiato mi manca.

SusannaPiù lieta, più franca!In salvo è di già.

ConteChe sbaglio mai presi!Appena lo credo.Se a torto v’offesi,perdono vi chiedo;ma far burla simileè poi crudeltà!

Contessa & SusannaLe vostre follie non mertan pietà

ConteIo v’amo!

ContessaNo’l dite.

ConteLo giuro.

ContessaMentite!Son l’empia, l’infida ch’ognora v’inganna.

ConteQuell’ira, Susanna,m’aita a calmar.

Contessa(What’s going on! Susanna, you’re there?)

Susanna(Their heads are confused. They don’t know what to do.)

ConteAre you alone?

SusannaLook! He will be hidden in here!

ConteLet’s look, let’s look. He will be hidden in here.

ContessaSusanna, I’m dead. I can’t catch my breath.

SusannaBe more happy and restored! He’s already safe from here.

ConteHow have I made this error? I can hardly believe it. If I offended you by wronging you, I ask your pardon…. but to play a trick on me like that is cruelty!

Contessa & SusannaYour follies don’t merit pity.

ConteI love you!

ContessaDon’t say that.

ConteI swear it.

ContessaYou lie! I am the impious, faithless woman, who always tricks you.

ConteSusanna, help me calm her anger.

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SusannaCosì si condannachi può sospettar.

ContessaAdunque la feded’un anima amantesì fiera mercededoveva sperar?

ConteQuell’ira, Susanna,m’aita a calmar.

SusannaCosì si condannachi può sospettar.Signora...

ConteRosina...

ContessaCrudele! Più quella non sono,ma il misero oggettodel vostro abbandono,che avete dilettodi far disperar.

ConteConfuso, pentito,son troppo punito:abbiate pietà.

ContessaCrudele! Soffrir sì gran tortoquest’alma non sa.

SusannaConfuso, pentito,è troppo punito:abbiate pietà.

ConteMa il paggio rinchiuso…

Contessa…fu sol per provarvi

ConteMa i tremiti, i palpiti?

Contessa…fu sol per burlarvi

SusannaHe who suspects condemns himself to this.

ContessaThen the faith of a loving soul can only hope for such cruel mercy as this?

Conte Susanna, help me calm her anger. SusannaHe who suspects condemns himself to this.Mistress...

ConteRosina...

ContessaCruel one! I am no longer she, but rather the miserable object of your neglect, whose despair you delight in.

ConteConfused, repentant, I have been punished too much. Have pity.

ContessaCruel one! My soul doesn’t know how to suffer such a great wrong.

SusannaConfused, repentant, he has been punished too much. Have pity.

ConteBut the hidden page...

Contessa…was only to test you.

ConteBut your shivering, your trembling?

Contessa…was only to fool you.

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ConteMa un foglio sì barbaro?

Contessa & SusannaDi Figaro è il foglio,e a voi, per Basilio...

ConteAh, perfidi! Io voglio...

Contessa & SusannaPerdona non merta che agli altri non dà.

ConteEbben, se vi piace,comune è la pace:Rosina inflessibilecon me non sarà.

ContessaAh, quanto, Susanna,son dolce di core!Di donna al furorechi più crederà?

SusannaCogli uomini, signora,girate, volgete,vedrete che ognorasi cade poi là.

ConteGuardatemi.

ContessaIngrato!

ConteGuardatemi.

ContessaIngrato!

ConteGuardatemi! Ho torto, e mi pento.

ContessaDa questo momentoquest’alma a conoscermiapprender potrà.

ConteDa questo momentoquest’alma a conoscerviapprender potrà.

ConteBut such a cruel letter?

Contessa & SusannaThe letter is from Figaro, sent you through Basilio...

ConteAh! Wreches! I want…I want…!

Contessa & SusannaHe who does not pardon others doesn’t merit pardon himself.

ConteWell then, if you’d like, let us all be at peace. Rosina will not be inflexible with me.

ContessaAh, Susanna! My heart is so soft! Who will ever again believe in a woman’s fury!

SusannaWith men, mistress, you twist and turn. You’ll see that in doing that, one always falls down.

ConteLook at me.

ContessaIngrate!

ConteLook at me.

ContessaIngrate!

ConteLook at me! I’m wrong, and I repent.

ContessaFrom this moment on, his soul will learn to understand me.

ConteFrom this moment on, my soul will learn to understand you.

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SusannaDa questo momentoquest’alma a conoscerlaapprender potrà.

Threepenny OperaMusic by Kurt WeillOriginal Libretto by Bertolt Brecht

Ballad of Mack the Knife:

He:Though the shark’s teeth may be lethal,Still you see them white and red;But you won’t see Mackie’s jack-knife‘Cause he slashed you and you’re dead!

Jenny Dipper was a stripper;Someone ripped her from ear to ear;Though the knife-work was artistic,Seems that Mackie was nowhere near!

Someone’s lying near the telly,With his children and his wife;It’s a painting done in crimson.You could sign it “Mack the Knife”!

Oh, the shark has pretty teeth, dear,And he shows them pearly white;Just a jack-knife has Macheath, dear,And he keeps it out of sight!

Just a jack-knife has Macheath, dear,And he keeps it out of sight!

She:On a blue and balmy SundaySomeone drops dead in the Strand.And a man slips round the corner.People say: Macheath’s on hand.

[...]

Jealousy Duet:

Lucy: Come out here, you Soho beauty queen. Let me see the legs all men admire. I’m always fond of a pretty picture. Lift your skirt--come on, a little higher!

Lucy: [Spoken]: You Dungheap

SusannaFrom this moment on, his soul will learn to understand her.

Polly: [Spoken]: Dungheap yourself!

Lucy: They say that you’ve got my Mack com-pletely crazy for you.

Polly: Do they now? Do they now?

Lucy: It’s a joke to think that he’d adore you

Polly: Is it now? Is it now?

Lucy: Ha, I’ll laugh until I’m blue.

Polly: Oh, you’ll laugh till you turn blue!

Lucy: Think of Mack adoring you!

Polly: Think again because it’s true!

Lucy: Ha ha ha ha ha a slut like you? No man could love a mutt like you.

Polly: Well I wouldn’t say you’re right.

Lucy: Oh, you wouldn’t say I’m right?

Polly: Wait and see who wins the fight.

Lucy: I can see who wins the fight! Ha ha ha ha

Both: Mackie’s my life, like lovebirds we’ve been cooing. I am his wife, no matter who comes wooing.I don’t mean to be crass dear, but I can’t let it pass, dear, when cows like you start mooing.

Polly: Yes I am a SoHo beauty queen. And my legs they all men admire because they all like a pretty picture. So they beg me “lift your skirt up higher.”

Lucy: [Spoken]: You dungheap!

Polly: [Spoken]: Dungheap yourself!

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Polly: I know that I’ve got my Mack completely crazy for me

Lucy: Do you now? Do you now?

Polly: And it’s natural that he’d adore me.

Lucy: Is it now? Is it now?

Polly: Ha, I’ll laugh until I’m blue

Lucy: Oh, you’ll laugh till you turn blue?

Polly: Think of Mack adoring you!

Lucy: Think again because it’s true!

Polly: Ha ha ha ha ha a cow like you? No man could love a sow like you

Lucy: Well I wouldn’t say you’re right

Polly: Oh, you wouldn’t say I’m right?

Lucy: Wait and see who wins the fight

Polly: I can see who wins the fight! Ha ha ha ha

Both: Mackie’s my life, our hearts in love we’re linkingI’ll stay his wife, no matter what you’re thinking I don’t mean to be crass dear, but I can’t let it pass, dear, When shits like you start stinking.

Both: [Spoken]: What a joke!

Ballad of Mack the Knife:

She:All along the Thames embankmentPeople Fall down with a smack.But it is not plague or cholera,word’s around that Mach is back.

Pimp Tango:

Mack:So many years have vanished since the dayWhen she and I were partners. Oh, what thrills!

So many years. It seems so far away.I cared for her, and she paid all my bills.Just like a marriage - but that doesn’t pay.A sailor would appear. I got out of bed,Went out and had a beer. He crawled in instead.And when he paid his bill, back in bed I’d climb,And say, “Goodnight, my friend, thank you. Anytime!”For six full months, no time to get depressed.In that old whore house where we built our nest.

Jenny: There was a time, and now it’s all gone byWhen we were poor but happy, he and I.And when the night no customer would bringAnd we would fight, he’d yell “Give back my ring!” Just like a marriage, but minus the ringBut when he drank too much, I’d get kind of grim And shout house down how I stood a clod like himAnd then he’d turn around in bed and bite my armAnd I would kick him in the teeth meaning no harm

Both:Six months of love no time to get depressedIn that old whore house where we built our nest

Mack:Oh happy time, and now it’s all gone by,Until we quit each other, you and I.We had our love by day and don’t you smirkThe nights I say were strictly meant for work

Jenny:It’s better at night they say

Mack:It ain’t bad by day

Jenny:And then one time I felt inside a little stir

Mack:It looked like soon I might be taking care of her

Jenny:Do you suppose that it was all my private plan?You left me flat!

Mack:Well I just ain’t a family man!

Both:And that was that, to call it quits was best And leave that whore house where we built our nest.

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La Cenerentola (Cinderella)Music by Gioachino RossiniLibretto by Jacopo Ferretti

DandiniMa dunque io sono un ex? dal tutto al nientePrecipito in un tratto?Veramente ci ho fattoUna bella figura!

Don MagnificoScusi la mia premura...Ma quelle due ragazzeStan con la febbre a freddo. Si potrebbeSollecitar la scelta.

DandiniÈ fatta, amico.

Don MagnificoÈ fatta! ah! per pietà! dite, parlate:È fatta! e i miei germogli...In queste stanze a vegetar verranno?

DandiniTutti poi lo sapranno.Per ora è un gran segreto.

Don MagnificoE quale, e quale?Clorindina o Tisbetta?

DandiniNon giudicate in fretta.

Don MagnificoLo dica ad un papà.

DandiniMa silenzio.

Don MagnificoSi sa; via, dica presto.

DandiniNon ci ode alcuno?

Don MagnificoIn ariaNon si vede una mosca.

DandiniÈ un certo arcanoChe farà sbalordir.

DandiniSo I’m an ex. From all to nothingdo I tumble in a trice?Really, I did makea good impression...!

Don MagnificoPardon my haste.But those two girlsare in a cold sweat. May I urge youto make your choice?

DandiniMy choice is made, my friend.

Don MagnificoIt’s made! Oh, for pity’s sake! Tell me! Speak!It’s made! And my offspring… will theybe coming to flourish in these apartments?

DandiniEveryone will know soon.For the moment it’s a big secret.

Don MagnificoBut which is it? Which?Little Clorinda, or precious Tisbe?

DandiniDon’t be so impatient.

Don MagnificoCome now, tell papa!

DandiniBut…silence!

Don MagnificoI know. Go on, tell me quickly.

DandiniNo one can hear us?

Don MagnificoThere’s not even a flybuzzing around.

DandiniIt’s a certain misterythat will astound everyone.

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Don MagnificoSto sulle spine.

DandiniPoniamoci a sedere.

Don MagnificoPresto, per carità.

DandiniVoi sentireteUn caso assai bizzarro.

Don Magnifico(Che volesseMaritarsi con me!)

DandiniMi raccomando.

Don MagnificoMa si lasci servir.

DandiniSia sigillatoQuanto ora udrete dalla bocca mia.

Don MagnificoIo tengo in corpo una segreteria. DandiniUn segreto d’importanza,Un arcano interessanteIo vi devo palesar.È una cosa stravagante,Vi farà strasecolar.

Don MagnificoSenza battere le ciglia,Senza manco trarre il fiatoIo mi pongo ad ascoltar.Starò qui petrificatoOgni sillaba a contar.

DandiniUomo saggio e stagionatoSempre meglio ci consiglia.Se sposassi una sua figlia,Come mai l’ho da trattar?

Don Magnifico(Consiglier son già stampato.)Ma che eccesso di clemenza!Mi stia dunque Sua Eccellenza...Anzi!.. Altezza, ad ascoltar.Abbia sempre pronti in sala

Don MagnificoI’m on tenderhooks.

DandiniLet’s sit down.

Don MagnificoBe quick, for heaven’s sake.

DandiniYou are about to heara most fantastic case.

Don Magnifico(Is he thinking ofproposing to me?)

DandiniBe advised.

Don MagnificoI’m at your service.

DandiniLet what you hear from my lipsremain secret.

Don MagnificoI have a secretary inside me. DandiniA secret of importance,an interesting mistery,I must reveal to you.It’s something quite extraordinary,you’ll be amazed.

Don MagnificoWithout battling an eyelid,without even drawing breath,I prepare to listen.I’ll stay here petrified,counting every sillable.

DandiniA wise and mature mancan always offer the best advice.If I married one of your daughters,how should I have to treat her?

Don Magnifico(I’m appointed counselor now!)But what an excess of graciousness!Then listen to me, Your Excellency……pardon! Your Highness!Always have ready in the hall

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Trenta servi in piena gala,Cento sedici cavalli,Duchi, conti e marescialliA dozzine convitati,Pranzi sempre coi gelatiPoi carrozze, poi bombè.

DandiniVi rispondo senza arcaniChe noi siamo assai lontani.Io non uso far de’ pranzi;Mangio sempre degli avanzi.Non m’accosto a’ gran signori,Tratto sempre servitori.Me ne vado sempre a piè,

Don MagnificoMi corbella?

DandiniGliel prometto.

Don MagnificoQuesto dunque?

DandiniÈ un romanzetto.È una burla il principato,Sono un uomo mascherato.Ma venuto è il vero PrincipeM’ha strappata alfin la maschera.Io ritorno al mio mestiere:Son Dandini il cameriere.Rifar letti, spazzar abitiFar la barba e pettinar.

Don MagnificoFar la barba e pettinar?Di quest’ingiuria,Di quest’affrontoIl vero PrincipeMi renda conto.

DandiniOh non s’incomodiNon farà niente.Ma parta subitoImmantinente.

Don MagnificoNon partirò.

DandiniLei partirà.

thirty servants in full livery,one hundred and sixteen horses,dukes, counts, and marshals,guests by the dozen,always dinners with ices on the menu,then carriages and travelling trunks.

DandiniIn reply I’ll make no secret of itthat we’re very far from that.I’m not in the habit of giving dinner-parties,I always eat leftovers,I don’t hang out with fine gentlemen,always mix with servants,always travel on foot.

Don MagnificoAre you joking?

DandiniI promise you I’m not.

Don MagnificoSo, this…?

Dandini…is a hoax.My princely power is a joke,I’m a man in disguise.But the real Prince has returnedand has at last removed my mask.I’m going back to my job:I’m Dandini, the valet.I make the beds, brush the clothes,do the shaving and dress the hair.

Don MagnificoDo the shaving and dress the hair?For this insult,for this affrontthe real Princewill account to me.

DandiniOh, don’t trouble!He won’t do a thing.But leave now,immediately.

Don MagnificoI’m not going.

DandiniYes, you are.

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Don MagnificoSono un Barone.

DandiniPronto è il bastone.

Don MagnificoCi rivedremoCi parleremo.

DandiniCi rivedremoCi parleremo.

Don Magnifico(Tengo nel cerebroUn contrabbassoChe basso bassoFrullando va.Da cima a fondo,Poter del mondo!Che scivolata,Che gran cascata!Eccolo eccoloTutti dirannoMi burlerannoPer la città.)

Dandini(Povero diavolo!È un gran sconquasso!Che d’alto in bassoPiombar lo fa.Vostr’EccellenzaAbbia prudenza.Se vuol rasoio,Sapone e pettineSaprò arricciarla,Sbarbificarla.Ah ah! guardatelo,L’allocco è là.)

Don MagnificoI am a Baron.

DandiniI’ve got a baton.

Don MagnificoWe’ll see about this!We’ll talk about this!

DandiniWe certainly will see again!We certainly will talk again!

Don Magnifico(I have a double-bassrumbling in my brainthat deep downgoes whirling aroundfrom top to bottom.Almighty God!What a landslide,what a slump!“Look, there he is!”they will say,they will poke at meall over town.)

Dandini(Poor devil!It’s a mighty smashthat makes him plungefrom top to bottom.Your Excellency,be sensible:if you need razor,soap and comb,I can curl you,shave you.Ha, ha! Just look at him,there’s that great fool!)

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CarmenMusic by Georges BizetLibretto by Henri Meilhac and Ludovic Halévy

Frasquita and Mercédès Frasquita and MercédèsMêlons! Coupons! Bien, c’est cela! Shuffle! Cut! Good, that’s it!Trois cartes ici, quatre là! Three cards here, four there!Et maintenant, parlez, mes belles, And now, speak, my beauties,de l’avenir, donnez-nous des nouvelles, of the future, give us the news,dites-nous qui nous trahira! tell us who will betray us!Dites-nous qui nous aimera! Tell us who will love us!Parlez, parlez! Parlez! Parlez! Speak, speak! Speak! Speak!

Frasquita FrasquitaMoi, je vois un jeune amoureux Me, I see a young loverqui m’aime on ne peut davantage. who loves me more than anyone could.

Mercédès Mercédès Le mien est très riche et très vieux Mine is very rich and very oldmais il parle de mariage! but he speaks of marriage!

Frasquita FrasquitaJe me campe sur son cheval, I settle myself on his horseet dans la montagne, il m’entraine. and into the mountains he carries me.

Mercédès Mercédès Dans un château presque royal In an almost royal castlele mien m’installe en souveraine. mine makes me a queen.

Frasquita FrasquitaDe l’amour à n’en plus finir, Never-ending love,tous les jours, nouvelles folies! every day, new raptures!

Mercédès Mercédès De l’or tant que j’en puis tenir, So much gold I couldn’t carry it, des diamants, des pierreries! diamonds, precious stones!

Frasquita FrasquitaLe mien devient un chef fameux Mine becomes a famous chief,cent hommes marchent à sa suite. a hundred men march behind him.

Mercédès Mercédès Le mien, le mien, en croirai-je mes yeux? Mine, mine? Can I believe my eyes? Oui, il meurt! Ah, je suis veuve et j’hérite! Yes, he dies! Ah, I am a widow and I inherit!

Frasquita and Mercédès Frasquita and MercédèsParlez encore, parlez, mes belles, Speak again, speak, my beauties,de l’avenir, donnez-nous des nouvelles. of the future, give us the news.

Mercédès Mercédès Fortune! Fortune!

Frasquita FrasquitaAmour! Love!

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Little WomenMusic by Mark AdamoLibretto by Mark Adamo

JoLet me look at you… golden…The angels I recall.A sisterhood of summer,what did we know of fall?What could we know of fall?Who will we be tomorrow?It’s not in my control.I know, though, for a moment,we were four sisters, one soul. MegI, too, remember us. Beth Golden.AmyHappy and at play.

Amy, Beth, and MegOur perfect summer came to pass;It didn’t come to stay. AllWhere’er we are tomorrow,How near, how far apart,Still, for a moment,We were four sisters… Amy, Beth, and Meg …one heart. JoWho was that frightened childTrying to postpone what had to be,Clinging, clinging to what was?Unenlightened child!

Carmen CarmenVoyons, que j’essaie à mon tour. Let’s see, let me try and take my turn.Carreau! Pique! Diamonds! Spades!La mort! J’ai bien lu. Death! I read it correctly. Moi d’abord - ensuite lui - Me first - then him -pour tous les deux, la mort! For both of us, death!En vain pour éviter les réponses amères, In vain to avoid bitter responses,en vain tu mêleras, in vain you shuffle,cela ne sert à rien, les cartes sont sincères but it’s of no use, the cards are truthfulet ne mentiront pas! and will not lie!Dans le livre d’en haut si ta page est heureuse, If your page in the book up above is happy,mêle et coupe sans peur, shuffle and cut without fear,la carte sous tes doigts se tournera joyeuse, the card under your fingers will turn up joyfully,t’annonçant le bonheur! announcing your good luck!Mais si tu dois mourir, si le mot redoutable But, if you must die, if the dreadful wordest écrit par le sort, is written by destiny,recommence vingt fois, la carte impitoyable restart twenty times, the pitiless cardRépétera: la mort! Will repeat: death!Encore! Encore! Toujours la mort! Again! Again! Always death!

Frasquita and Mercédès Frasquita and MercédèsParlez encore, parlez, mes belles, Speak some more, speak, my beautiesde l’avenir donnez-nous des nouvelles. of the future, give us the news.Fortune! Amour! Encore! Encore! Fortune! Love! Again! Again!

Carmen, Frasquita, and Mercédès Carmen, Frasquita, and MercédèsEncore! encore! le désespoir! Again! Again! Despair!La mort! La mort! Encore la mort! Death! Death! Again death!Toujours la mort! Encore! Encore! Always death! Again! Again!

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Shouldn’t she have knownWhat had to be?Well, now she does… now she does.Meg… you’ve found your knight.I wish the world to him,And to his wife.Bethy… you were right.You will stand by meEv’ry moment of my life.Amy… we cease our fighting.At last you have your LaurieFor you own!And me, well, I’m still writing,And still alone. Still alone.Still, I’ll remember us… BethChatting,… Meg Pouting,… Amy Spatting,…Jo Shouting…

AllStill, how happy we were then!A half-enchanted familyWe’ll never be again.We will never be that way again.Enough! On to tomorrow,Each to her sep’rate goal.Still, for a moment…Remember the moment,We were four sisters, one soul. JoHow grateful I am…Laurie?Friedrich! BhaerI had a little bus’ness in town.Is now the good moment? JoNow is all there is.Come in.

Der Schauspieldirektor (The Impresario)Music by Wolfgang Amadeus MozartLibretto by Gottlieb Stephanie

Mademoiselle SilberklangIch bin die erste Sängerin.

Madame HerzDas glaub ich ja,nach Ihrem Sinn.

Mademoiselle SilberklangDas sollen Sie mir nicht bestreiten!

Madame HerzIch will es Ihnen nicht bestreiten.

Monsieur VogelsangEi, lassen sie sich doch bedeuten!

Mademoiselle SilberklangIch bin von keiner zu erreichen,das wird mir jeder zugestehn.

Mademoiselle SilberklangI am the prima donna.

Madame HerzI think yes, in your mind.

Mademoiselle SilberklangThis you will not deny me!

Madame HerzI will not deny you.

Monsieur VogelsangGo ahead and think that of yourself.

Mademoiselle SilberklangNo one can reach my heights, no one can deny that.

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Madame HerzGewiss, ich habe Ihresgleichennoch nie gehört, und nie gesehn.

Monsieur VogelsangWas wollen Sie sich erst entrüsten,mit einem leeren Vorzug brüsten?Ein jedes hat besondern Wert.

Madame HerzIch bin die erste Sängerin.

Mademoiselle SilberklangIch bin die erste Sängerin.

Monsieur VogelsangEi, ein, was wollen Sie sich erst entrüsten,mit einem leeren Vorzug brüsten?

Mlle Silberklang, Mme HerzMich lobt ein jeder, der mich hört.

Monsieur VogelsangEi, ei, ein jedes hat besondern Wert.

Madame HerzAdagio, adagio!

Mademoiselle SilberklangAllegro, allegrissimo!

Monsieur VogelsangPian, piano, pianissimo! Pianississimo!Kein Künstler muss den andern tadeln,er setzt die Kunst zu sehr herab.

Madame HerzWohlan, nichts kann die Kunst mehr adeln.

Mademoiselle SilberklangGanz recht, nichts kann die Kunst mehr adeln.

Madame HerzIch steh’ von meiner Ford’rung ab.

Mademoiselle SilberklangIch stehe ebenfalls nun ab,von meiner Ford’rung ab.

Madame HerzIch bin die erste!

Monsieur VogelsangPian Piano, diminuendo. Pianissimo.

Madame HerzOf course, I’ve never heard nor seen anyone quite like you.

Monsieur VogelsangWhat do you want to do? To bother one another with empty boasting? Everyone has her own worth.

Madame HerzI am the prima donna.

Mademoiselle SilberklangI am the prima donna.

Monsieur VogelsangHey, hey, what do you want to do? To bother one another with empty boasting?

Mlle Silberklang, Mme HerzEveryone who hears me praises me.

Monsieur VogelsangYes, everyone has her own worth.

Madame HerzAdagio, adagio!

Mademoiselle SilberklangAllegro, allegrissimo!

Monsieur VogelsangPian, piano, pianissimo! Pianississimo!No artist should rebuke his colleagues, or he will degrade art itself.

Madame HerzWell then, nothing can ennoble art more.

Mademoiselle SilberklangThat’s right, nothing can ennoble art more.

Madame HerzI renounce my request.

Mademoiselle SilberklangI also renounce my request.

Madame HerzI am the first!

Monsieur VogelsangPian Piano, diminuendo. Pianissimo.

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ACKNOWLEDGEMENTS

The Rodin Opera Scenes Program would like to say a special thanks to those who helped us with our second season:

Mauro Calcagno Philip Dames

Antonia DienerMegan Edelman

Laura HarrisRyan KeytackElizabeth Kim

Eugene LewMagnus

Michelle MajeskiMaryellen MalekTommy Murphy

Jay ReiseJamuna Samuel

Kirara SatoMargie Smith

Underground Shakespeare CompanyKiara Vaughn

our voice teachers

and

Lily Kass’s portable umbrella and glass: you will not be forgotten.

No composers were harmed during the rehearsals for this production, with the exception of Ludwig van Beethoven.

For more information about the Rodin Opera Scenes Program and more opera-related events at Penn, please visit our website:

http://sites.sas.upenn.edu/opera/