Summer 2021 Concert Notes
Extended Programme Notes kindly compiled by : Artistic Director Burhan Güner, Cellist Ian Abbott, Violist Martin O’Grady & the MetSO Forté Team.
Hello and welcome to MetSO’s Summer Gala concert. I am delighted that you can join us and our three wonderful MetSO Young Artists – Tina Algeri, Lachlan Higgins & Jesse Chester Browne – for a concert that has a little bit of everything! The first half is an all-Russian affair, while the second half takes us to the world of opera. We hope you enjoy this concert as much as we have preparing it for you.
Burhan.
PROGRAM OF CONCERT
Glinka: Ruslan Overture
Tchaikovsky: Selections from Swan Lake
Rachmaninoff: Piano Concerto No. 2 (Mvt 1)
—Interval—
Offenbach: Intermede
Selected Arias from Mozart (incl. Hai gia vinta la causa, Ach ich fuhls, La ci darem la mano)
Offenbach (Elle a fui);
Gounod (Avant de Quitter)
Gounod: Funeral March of a Marionette
Gilbert and Sullivan (Poor Wandering One, I am the very model)
You will find the Song Lyrics for the Arias - below the information on the composers and their works.
Make sure you don’t miss the very funny, and famous lyrics of Sir Arthur Sullivans’s - Major General’s Song - right at the bottom.
Mikhail Glinka (1804-1857)
Mikhail Glinka is considered the first truly Russian classical composer. His music served as models for future generations of Russian composers, particularly for the group known as the ‘Mighty Handful’ comprising Balakirev, Cui, Mussorgsky, Borodin and Rimsky Korsakov.
Glinka’s music used distinctively Russian tunes, harmonies, rhythms and themes, and were often based on Russian history, folk tales, and literature. The energetic overture to his opera, Ruslan and Lyudmila (1842) is a wonderful example of this.
Tchaikovsky and Rachmaninoff, two of Russia’s most popular composers, incorporated some of the ideals of Russian Nationalism, although their music aligns more with mainstream conventions of Western Classical traditions.
Pyotr Tchaikovsky (1840-1893)
The ever popular music to Tchaikovsky’s ballet Swan Lake (1877) opens with gentle harp arpeggios which accompanies a sinuous oboe melody and is easily one of the most recognisable passages in all of Classical music.
One of the cornerstones of Tchaikovsky’s style is the frequency in which he used common dance forms and rhythms. Dances such as the waltz, mazurka, czardas and polonaise turn up everywhere in Tchaikovsky’s works including his symphonies and operas. Unsurprisingly, his ballets contain some of his best examples of these forms.
Sergei Rachmaninoff (1873-1943)
‘Rach’, as he is known familiarly to orchestral players, wrote his second piano concerto (opus 18) in 1900-01. It was premiered in 1901, with the composer playing the piano part. This work represents the composer’s recovery from depression following the failure of his first symphony in 1897. Today the soloist and MetSO play only the first movement, which is a magical combination of wonderful melody in both piano and orchestra and the dramatic build-up of a sense of agitation and foreboding.
This work has always been a favourite with audiences. In 1929 Rach recorded this concerto with Leopold Stokowski, leaving us with the gift of hearing the composer play his own work with his preferred contrasting tempi and dynamics.
Wolfgang Mozart (1756-1791)
Mozart wrote in nearly every genre known in the Classical era, but arguably his operas represent the pinnacle of his entire oeuvre. Many of the set pieces in a Mozart opera, whether they are solo arias, ensembles or instrumental movements are often performed on their own on the concert platform without any loss of dramatic impact. A short solo aria for example is often such a perfect musical miniature that it can easily survive outside the opera from which it came.
Hai già vinta la causa from Marriage of Figaro (1786) is a type of ‘rage aria’ filled with quick tempos, short violent outbursts and fast runs all intended to show the character’s violence. Here Count Almaviva has just discovered that his servants are conspiring against him to usurp his nefarious plans and he is furious!
Ach, ich fühls sung by the character Pamina in The Magic Flute (1791) is the epitome of operatic sadness. Pamina is having a bad day, her mother, The Queen of the Night, has sent her on a hitjob to kill the ‘evil’ Sarasto, and her newfound lover Tamino has suddenly repudiated their newfound love. This sadness is conveyed by the minor key, slow tempo, austere repetitive rhythm and flowing coloratura runs in the vocal line.
Là ci darem la mano is a duet from Don Giovanni (1787) where local Lothario Don Giovanni is busy at work seducing Zerlina (who is just about to be married to someone else). Here the rising tension is created initially by halting uneven phrases, use of chromatic intervals and finally by long interwoven melodies where the singers unite vocally.
Charles Gounod (1818-1893)
Charles Gounod was one of the leading French composers in the second half of the 19th century, famous for his operas Faust (1859) and Romeo and Juliet (1867) and for the whimsical piece Funeral Marche of a Marionette (1879). The aria Avant De Quitter from Faust was inserted several years after the premiere of the opera at the behest of a star baritone who wanted a solo to showcase his voice. In this aria the character Valentin is singing a simple prayer imploring the gods to protect his sister should he die in an impending battle.
The world of operetta, with leading exponents including Offenbach and Sullivan, has given us some of our favourite pieces of music
Jacques Offenbach (1819-1880)
Frenchman Jacques Offenbach is of course most famous for composing the Can-can in his operetta Orpheus in the Underworld (1858). However, it is in his only serious opera The Tales of Hoffmann (1880) that we find many examples of his best work. The short but arresting interludes that open each act – the most famous being the Barcarolle in Act 3 – presage the drama which is about to unfold. The Act 4 interlude starts with ominous chords in the orchestra before harp arpeggios transition the music to the aria Elle a fui. Here we find the character Antonia singing about her lost lover whom she hopes will one day return.
Willian Gilbert (1842-1911) & Arthur Sullivan (1842-1900)
The dazzling music in The Pirates of Penzance (1880) owes its origin, somewhat paradoxically, to Sir Arthur Sullivan’s brilliance in parodying 19th century opera. The lilting waltz tune of Poor Wandering One sung by the character Mabel for instance bears a striking resemblance to a mezzo soprano aria Faites lui mes aveux from Gounod’s Faust. But it is the rapid patter song for which Sullivan is best known with I am the very model of a modern major general as one of the finest examples in all of the operatic repertoire.
Song Lyrics and Context
Mozart - “Hai gia vinta la causa” from Marriage of Figaro.
Sung by Count Almaviva, Figaro’s employer (who has been described as a scheming, bullying, skirt chasing baritone). During a very complicated plot he realises that he has been outsmarted by Figaro, flies into a rage and sings about taking his revenge.
You’ve already won the case! What’s this I hear!
What snare have I fallen into? Miscreants! I want to…
To punish you all...to please myself
the sentence will be...But if he should pay
the old pretender?
Pay her! In what manner! And then there’s Antonio,
Who refuses to give that unknown Figaro
his niece in marriage.
Cultivating the pride
of this idiot...
It’s all profitable for a scam... the deed is done.
Will I see, while I sigh,
one of my servants happy!
And the good that I desire in vain,
shall he have it?
Will the hand of love
Be united to a vile object
The same woman who awakened love in me
But did not have love for me?
Ah no, leave it alone,
I don’t want this happiness,
You were not born, audacious man,
to torment me,
or perhaps yet to laugh
At my unhappiness.
My only hope now
is my vendetta.
It consoles my spirit,
and makes me rejoice.
Mozart - “Ach Ich fuhls” from “The Magic Flute”
In Act 2 Tamino and Pamina the lovers are reunited after some ordeals. Tamino however is under a vow of silence and Pamina concludes that his lack of communication does not bode well for the future of the relationship.
Ah, I can feel it, love’s happiness
Is fled forever!
Nevermore, O hours of bliss,
Will you return to my heart!
See, Tamino, these tears
Flow for you alone, beloved.
If you do not feel love’s yearning,
I shall find peace in death!
Mozart - "La ci darem la mano" from “Don Giovanni”.
A song of seduction.
Don Giovanni:
There I'll give you my hand,
There you'll say yes:
See, it is not far,
my love, let's leave from here.
Zerlina:
Should I or shouldn't I,
my heart trembles at the thought,
it's true, I would be happy,
I can still have fun!
Don Giovanni:
Come, my beloved beautiful!
Zerlina:
It makes me pity Masetto.
Don Giovanni:
I will change your fate.
Zerlina:
Soon ... I am no longer strong enough to resist.
Don Giovanni:
Let us go!
Zerlina:
Let us go!
Duet:
Come, come, my darling,
to restore our pleasure
of an innocent love
Offenbach - Barcarolle (orchestral) from “Tales of Hoffman”
From the opera “Tales of Hoffmann” which describes the three great loves of the poet Hoffmann. His third love is Giulietta, a courtesan. Act 3 opens with a barcarolle “Beautiful night, O night of love.” Unfortunately, Giulietta’s affection is not genuine, she has been ordered to seduce him by one of the other characters.
Offenbach - “Elle a fui” from “Tales of Hoffman”
The first of Hoffman’s loves Olympia, turns out to be a mechanical doll! The second, Antonia has been separated from Hoffman by her father. She sings of her lost love:
She fled, the turtledove,
She fled away from you!
Ah! remember too sweet! image too cruel! ...
Alas! at my knees, I hear it, I see it! ...
She fled, the turtledove,
She fled away from you! ...
But she is always faithful
And keep your faith.
Beloved, my voice calls you,
All my heart is yours
Gounod – “Avant de quitter ces lieux” Valentin's aria from “Faust”
Valentin has been called off to war and in this song worries (with some justification) that no one will be around to protect his beautiful sister, Marguerite. Meanwhile Faust enters a bargain with the devil in order to gain the affections of Marguerite. This works out very badly for everyone
O, holy medal
Which comes to me from my sister,
On the day of battle,
To guard against death,
Stay on my heart.
Before leaving this place,
Native soil of my ancestors,
To you, Lord and King of Heaven
My sister I entrust.
Deign from all danger
Always, always to protect her,
This sister, so dear,
Deign from all danger to protect her,
Deign to protect her from all danger!
Delivered from a sad thought,
I will go in search of glory,
Glory in the midst of enemies,
The first, the bravest,
In the heat of the fray,
I will go to do combat for my country,
And if, to him, God calls me back,
I will watch over you loyally,
Oh, Marguerite!
Before leaving this place,
soil of my ancestors,
To you, Lord and King of Heaven,
I entrust my sister!
Oh King of Heaven, look down (on her),
Protect Marguerite, King of Heaven!
Gilbert & Sullivan – “Poor Wandering One” from “Pirates of Penzance”
Frederick, the hero who had accidentally been apprenticed to a pirate not a pilot as intended, had reached the age of 21 without encountering any young women. He is quite shocked and pleasantly surprised when he comes across such a group. Fortunately, one of them, Mabel, feels obliged to offer her affection despite his criminal past.
Poor wand'ring one!
Though thou hast surely strayed,
Take heart of grace,
Thy steps retrace,
Poor wand'ring one!
If such poor love as mine
Can help thee find
True peace of mind-
Why, take it, it is thine!
Chorus. Take heart, no danger low'rs;
Take any heart but ours!
Mabel. Take heart, fair days will shine;
Take any heart - take mine!
Chorus. Take heart; no danger low'rs;
Take any heart-but ours!
Mabel. Take heart, fair days will shine;
Gilbert & Sullivan – “I am the very Model” from “Pirates of Penzance”
And a very famous song by the Major General listing his very many attributes which unfortunately do not include any knowledge of modern warfare.
I am the very model of a modern Major-General,
I've information vegetable, animal, and mineral,
I know the kings of England, and I quote the fights historical
From Marathon to Waterloo, in order categorical;
I'm very well acquainted, too, with matters mathematical,
I understand equations, both the simple and quadratical,
About binomial theorem I'm teeming with a lot o' news,
With many cheerful facts about the square of the hypotenuse.
I'm very good at integral and differential calculus;
I know the scientific names of beings animalculous:
In short, in matters vegetable, animal, and mineral,
I am the very model of a modern Major-General.
I know our mythic history, King Arthur's and Sir Caradoc's;
I answer hard acrostics, I've a pretty taste for paradox,
I quote in elegiacs all the crimes of Heliogabalus,
In conics I can floor peculiarities parabolous;
I can tell undoubted Raphaels from Gerard Dows and Zoffanies,
I know the croaking chorus from the Frogs of Aristophanes!
Then I can hum a fugue of which I've heard the music's din afore,
And whistle all the airs from that infernal nonsense Pinafore.
Then I can write a washing bill in Babylonic cuneiform,
And tell you ev'ry detail of Caractacus's uniform:
In short, in matters vegetable, animal, and mineral,
I am the very model of a modern Major-General.
In fact, when I know what is meant by "mamelon" and "ravelin",
When I can tell at sight a Mauser 26 rifle from a javelin,
When such affairs as sorties and surprises I'm more wary at,
And when I know precisely what is meant by "commissariat",
When I have learnt what progress has been made in modern gunnery,
When I know more of tactics than a novice in a nunnery -
In short, when I've a smattering of elemental strategy,
You'll say a better Major-General has never sat a gee.
For my military knowledge, though I'm plucky and adventury,
Has only been brought down to the beginning of the century;
But still, in matters vegetable, animal, and mineral,
I am the very model of a modern Major-General.
References:
Wikipedia www.songlyrics.com/
www.murashev.com/opera/
https://www.opera-arias.com/mozart/
https://www.lyrics.com