Please note that this reduced
programme does not include
descriptive notes for the pieces
being performed. To buy a full
programme for £2, please visit
the Barbican foyers before the
concert.
Joyce DiDonato
Artist Spotlight
Camille Claudel: Into the Fire
Tue 14 Apr 2015 7.30pm, Milton Court Concert Hall
Debussy String Quartet
Hahn Venezia
interval 20 minutes
Jake Heggie Camille Claudel: Into the Fire
(European premiere)
Joyce DiDonato mezzo-soprano
Brentano String Quartet
Jake Heggie piano
Post-concert conversation
Edward Seckerson will host a post-concert conversation
with Joyce DiDonato and Jake Heggie on stage
following the performance, including the opportunity
for audience Q&A.
Part of Barbican Presents 2014–15
Camille Claudel: Into the Fire received its premiere at the
Herbst Theater in San Francisco on February 4, 2012. It is
lovingly dedicated ‘To Joyce DiDonato and in Celebration of
the Alexander String Quartet’s 30th Anniversary.’ The work was
commissioned by San Francisco Performances and generously
underwritten by a gift from Linda and Stuart Nelson.
The Barbican gratefully acknowledges the support of John
Murray towards the Joyce DiDonato Artist Spotlight
Programme produced by Harriet Smith;
printed by Mandatum Ink; advertising
by Cabbell (tel. 020 3603 7930)
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including organic ice cream, quality
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from the sales points in our foyers.
1
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Reynaldo Hahn (1875–1947)
Venezia (1901)
No 1, Sopra l’acqua indormenzada
Coi pensieri malinconici
No te star a tormentar:
Vien con mi, montemo in gondola,
Andaremo fora in mar.
Passaremo i porti e l’isole
Che circonda la cità:
El sol more senza nuvole
E la luna spuntarà.
Over the tranquil waters
Let not melancholy thoughts
distress you:
come with me, let us climb into our gondola
and make for the open sea.
We will go past harbours and islands
which surround the city,
and the sun will sink in a cloudless sky
and the moon will rise.
Oh! che festa, oh! che spetacolo,
Che presenta sta laguna,
Quando tuto xe silenzio,
Quando sluse in ciel la luna;
E spandendo i cavei morbidi
Sopra l’acqua indormenzada,
La se specie, la se cocola,
Come dona inamorada!
Oh what fun, oh what a sight
is the lagoon
when all is silent
and the moon climbs in the sky;
and spreading its soft hair
over the tranquil waters,
it admires its own reflection
like a woman in love.
Tira zo quel velo e scòndite,
Che la vedo comparir!
Se l’arriva a descoverzarte,
La se pol ingelosir!
Sta baveta, che te zogola
Fra i caveli imbovolai,
No xe turbia de la polvere
De le rode a dei cavai. Vien!
Draw your veil about you and hide,
for I see the moon appearing
and if it catches a glimpse of you
it will grow jealous!
This light breeze, playing
gently with your ruffled tresses,
bears no trace of the dust raised
by cartwheels and horses. Come!
Se in conchigli ai Greci Venere
Se sognava un altro di,
Forse visto i aveva in gondola
Una zogia come ti,
Ti xe bela, ti xe zovene,
Ti xe fresca come un fior;
Vien per tuti la so lagrime;
Ridiadesso e fa l’amor!
If in other days Venus
seemed to the Greeks to have risen from a shell,
perhaps it was because they had seen
a beauty like you in a gondola.
You are lovely, young
and fresh as a flower.
Tears will come soon enough,
so now is the time for laughter and for love.
2
Pietro Pagello (1807–98)
No 2, La barcheta
La note è bela,
Fa presto, o Nineta,
Andemo in barcheta
I freschi a ciapar!
A Toni g’ho dito
Ch’el felze el ne cave
Per goder sta bava
Che supia dal mar.
Ah!
The little boat
The night is beautiful.
Make haste, Nineta,
let us take to our boat
and enjoy the evening breeze.
I have asked Toni
to remove the canopy
so that we can feel the zephyr
blowing in from the sea;
Ah!
Che gusto contarsela
Soleti in laguna,
E al chiaro de luna
What bliss it is to exchange sweet nothings
alone on the lagoon,
and by moonlight
to be borne along in our boat!
You can lay aside
your fan, my dear,
for the breezes will vie with each other
to refresh you.
Ah!
Se gh’è tra de lori
Chi tropo indiscreto
Volesse dal pèto
EI velo strapar,
No bada a ste frotole,
Soleti za semo
E Toni el so’ remo,
Lè a tento a menar.
Ah!
If among them
there should be one so indiscreet
as to try to lift the veil
shielding your breast,
pay no heed to its nonsense,
for we are all alone
and Toni is much too intent
on plying his oar,
Ah!
Texts
Sentirse a vogar!
Ti pol de la ventola
Far senza, o mia cara,
Chè zefiri a gara
Te vol sventolar.
Ah!
Pietro Buratti (1772–1832)
No 3, L’avertimento
No corè, puti, smaniosi tanto
Drio quel incanto
Che Nana g’ha
Xe tuto amabile
Ve acordo, in ela,
La xe una stela
Cascade qua
Ma … ma … la Nana cocola
G’ha el cuor tigrà.
The warning
Do not rush so eagerly, lads,
after the charms
of the lovely Nana.
All is enchantment
in her, I grant you;
she is like a star
fallen to earth,
but … but … that lovely Nana
has the heart of a tiger!
L’ocio xe vivo
Color del cielo,
Oro el cavelo
Balsamo el fià;
Ghe sponta in viso
Do’ rose intate.
Invidia al late
Quel sen ghe fa
Ma …
Her eye is lively
and heavenly blue;
her hair is spun gold
and her breath a balm;
roses glow
in her cheeks,
her breasts are whiter
than milk,
but …
Ogni ochiadina
Che la ve daga,
Da qualche piaga
Voda no va!
Col so’ granelo
De furbaria
La cortesia
Missiar la sa …
Ma …
Every glance
she darts at you
carries its own
sweet poison!
Nor is guile
ever absent
from her
gentle manner
but …
3
Pietro Buratti
No 4, La biondina in gondoleta
La biondina in gondoleta
L’altra sera g’ho menà:
Dal piacer la povereta,
La s’ha in bota indormenzà.
La dormiva su sto brazzo,
Mi ogni tanto la svegiava,
Ma la barca che ninava
La tornava a indormenzar.
The blonde girl in the gondola
The other night I took
my blonde out in the gondola:
her pleasure was such
that she instantly fell asleep.
She slept in my arms
and I woke her from time to time,
but the rocking of the boat
soon lulled her to sleep again.
Gera in cielo mezza sconta
Fra le nuvole la luna,
Gera in calma la laguna,
Gera il vento bonazzà.
Una sola bavesela
Sventola va i so’ caveli,
E faceva che dai veli
Sconto el sento fusse più.
The moon peeped out
from behind the clouds;
the lagoon lay becalmed.
the wind was drowsy.
Just the suspicion of a breeze
gently played with her hair
and lifted the veils
which shrouded her breast.
Contemplando fisso fisso
Le fatezze del mio ben,
Quel viseto cussi slisso.
Quela boca a quel bel sen;
Me sentiva drento in peto
Una smania, un missiamento,
Una spezie de contento
Che no so come spiegar!
As I gazed intently
at my love’s features,
her little face so smooth,
that mouth, and that lovely breast;
I felt in my heart
a longing, a desire,
a kind of bliss
which I cannot describe!
M’ho stufà po’, finalmente,
De sto tanto so’ dormir,
E g’ho fato da insolente,
No m’ho avuto da pentir;
Perchè, oh Dio, che bele cosse
Che g’ho dito, a che g’ho fato!
No, mai più tanto beato
Ai mii zorni no son stà.
But at last I had enough
of her long slumbers
and so I acted cheekily,
nor did I have to repent it;
for, God what wonderful things
I said, what lovely things I did!
Never again was I to be so happy
in all my life!
4
Antonio Lamberti (1845–1926)
No 5, Che pecà!
Te recordistu, Nina, quei ani
Che ti geri el mio solo pensier?
Che tormento, che rabie, che afani!
Mai un’ora de vero piacer!
Per fortuna quel tempo xe andà.
Che pecà!
What a shame!
Do you remember those years, Nina,
when you were my one and only thought?
What torment, what rage, what anguish!
Never an hour of untroubled joy!
Luckily that time is gone.
But what a shame!
Ne vedeva che per i to’ oci,
No g’aveva altro ben che el to’ ben …
Che schempiezzi! che gusti batoci,
Oh, ma adesso so tor quel che vien;
No me scaldo po’ tanto el figà.
Che pecà!
I saw only through your eyes;
I knew no happiness but in you …
What foolishness, what silly behaviour;
oh, but now I take all as it comes
and no longer get agitated.
But what a shame!
Ti xe bela, me pur fi xe dona,
Qualche neo lo conosso anca in ti;
You are lovely, and yet you are woman,
no longer perfection incarnate;
when your smile is bestowed on another,
I too can find solace elsewhere.
Blessed be one’s own freedom!
But what a shame!
Te voi ben, ma no filo caligo,
Me ne indormo de tanta virtù.
Magno a bevo, so star co’ l’amigo
E me ingrasse ogni zorno de più.
Son un omo che sa quel che ’l fa …
Che pecà!
I still love you, but without all that torment,
and am weary of all that virtue.
I eat, drink, and enjoy my friends,
and grow fatter with every day.
I am a man who knows what he’s about …
But what a shame!
Care gondole de la laguna
Voghè pur, che ve lasso vogar!
Quando in cielo vien fora la luna,
Vago in leto a me meto a ronfar,
Senza gnanca pensarghe al passà!
Che pecà!
Lovely gondolas on the lagoon
row past, I’ll hold you back!
When the moon appears in the sky
I’ll take to my bed and snore
without a thought for the past!
But what a shame!
Texts
Co ti ridi co un’altra persona,
Me diverto co un’altra anca mi.
Benedeta la so’ libertà.
Che pecà!
Francesco dall’Ongaro (1808–73)
No 6, La primavera
Giacinti e violete
Fa in tera Baosète.
Che gusto! che giubilo!
L’inverno è scampà!
La Neve è svania,
La brina è finia,
Xe tepida I’aria,
El sol chiapa fià.
Spring
Hyacinths and violets
deck the earth.
What pleasure, what bliss;
winter has fled.
The snow has melted,
the frost is over,
the air is warm
and the sun is gaining strength.
Amici, fa ciera!
Xe qua primavera!
Me ’l dise quel nuvolo …
Senti! senti el ton!
Ohimé! che sta idea
EI cuor me ricrea,
E tuto desmentego
Quel fredo baron!
Friends, be of good cheer,
Spring is here!
I know it by that cloud …
Hark, hark to the thunder!
Oh, how the thought
delights my heart,
the dreary cold
is now forgotten!
Ancora un meseto,
E el rusignoleto,
Col canto, ne sgiozzolo,
Sul’anima el miel.
Stagion deliziosa!
Ti vien cola rosa,
Ti parti col giglio,
Fior degno del ciel!
Just one more month
and the nightingale’s song
will pour its honey
on my soul.
Oh delightful season,
you arrive bearing roses
and depart with the lilies,
flowers worthy of heaven!
Alvise Cicogna (1791–1863)
Translations by Laura Sarti; reproduced with
kind permission from Hyperion Records
5
interval 20 minutes
Jake Heggie (born 1961)
Camille Claudel: Into the Fire
No 1, Rodin
Last night, I went to sleep completely naked.
I pretended you were holding me
But I woke alone again
Everything burned away
In the cruel morning light.
Was I dreaming that you loved me
Though you left me far behind?
Someone’s there
Hidden in the shadows
You don’t want me to see
You don’t want me to find
In the clay
I search with my fingers
To uncover something true
Rodin! Rodin!
Was there ever a time
You wanted me to find you?
There’s a secret I have traced
In your eyes, your brow, your hair.
Others think they see you
But, we both know, you’re not there.
In the clay
I search with my fingers
To uncover something true
Rodin! Rodin!
Was there ever a time
You wanted me to find you?
6
Rodin?
Rodin?
No 2, La valse
The light of day will fade
And shadows will descend
No breath can last forever
No heartbreak truly mend
Again, again …
Console my eyes with beauty
Allow me to forget
That every dance of love
Is mingled with regret
Take me
One step closer
One step back
One step spins
One step hovers
Take me!
Take me to the place for
unrepentant lovers!
Is it in the spirit?
Is it in the flesh?
Where do I abide?
Console
Oh, console my eyes with beauty
Allow me to forget
That every dance of love
Is mingled with regret …
Texts
No 3, Shakuntala
No 4, La petite châtelaine
‘Shakuntala! Shakuntala!’
Hello, my little one,
La petite châtelaine
He called my name in a whisper
He called my name in a cry
Before I was a mother
Before I met the king
Before he made his promise
Before I wore his ring
Before I was forgotten
Abandoned and ignored
Before I was denied
All that I adored
I did not know who I was.
‘Shakuntala! Shakuntala!’
After he had learned the truth
After all his tears
Begging my forgiveness
After wasting many years
Wishing to reclaim me
Kneeling at my feet
He reaches to embrace me
Will the circle again be complete?
I lean and let him hold me
His lips familiar yet estranged
I forgive him utterly
But in doing so have I changed?
Do you know who I am?
Do you know who I am?
They say I leave at night
By the window of my tower
Hanging from a red umbrella
With which I set fire to the forest
Hello, my little one,
La petite châtelaine
Do you know who I am?
Or the land you come from?
Where the earth is stained …
I did as he said and returned you to clay.
Oh, how could I bleed such a blessing away?
Now I’m forever alone
With my children of stone.
La petite châtelaine
Can you hear my voice?
The voice of your mother?
‘Shakuntala! Shakuntala!’
7
I hear your whispers
Your cries
Oh, I want to take you back, my love,
But who I was has died!
No 5, The Gossips
What is in my hands?
What is in my head?
So many ideas, my mind aches.
So many ideas, the earth quakes!
No 7, Epilogue: Jessie Lipscomb visits
Camille Claudel, Montdevergues Asylum, 1929
Thank you for coming. I thought
everyone had forgotten.
Thank you for remembering me.
People at a table listen to a prayer.
Three men on a high cart laugh and go to mass.
A woman crouches on a bench
and cries all alone.
What does she know?
Does she know three people sit
behind a screen and whisper?
What is the secret suspended in the air?
I know.
I know.
Four children? Beautiful … beautiful …
Off to Italy? Beautiful … beautiful …
You will have wonderful things to eat there.
Here they are trying to poison me. (I see
that they don’t. I cook for myself.)
Thank you for remembering me.
The halo rusts.
The light is dim.
Into the fire!
Is it him?
Is it him?
Is it him?
Do you remember our studio in
Paris? Everything moving.
Two young women, so many
ideas. Look at me now!
Oh, Jessie … Every dream I ever
had was of movement.
Touching. Breathing. Reaching. Hovering.
Something always about to change …
A photograph? Just me and you. Yes.
I understand. I must be very still.
Thank you for remembering me.
Gene Scheer (born 1958)
8
No 6, L’âge mûr (instrumental)
Jake Heggie
Jake Heggie is the American composer of the
operas Moby-Dick (libretto by Gene Scheer),
Dead Man Walking (libretto by Terrence
McNally), Three Decembers (Scheer), The
End of the Affair (Heather McDonald), Out
of Darkness – A Holocaust Triptych (Scheer),
To Hell and Back (Scheer), At the Statue of
Venus (McNally) and The Radio Hour: A Choral
Opera (Scheer). He is currently at work on
two new operas: Great Scott (McNally) for the
Dallas Opera in 2015, and one based on It’s
A Wonderful Life (Scheer) for Houston Grand
Opera next year. He has also composed
more than 250 art songs, as well as concertos,
chamber music and choral and orchestral
works, including his recent Ahab Symphony.
His operas have been produced on five
continents. Dead Man Walking has received
more than 40 productions worldwide since
its San Francisco Opera premiere in 2000
and has been recorded live twice (on Erato
and Virgin Classics). Moby-Dick has received
six international productions since its 2010
premiere at the Dallas Opera and was televised
nationally in 2013. It received its US east coast
premiere at the Kennedy Center in February
last year, given by Washington National Opera;
a production from the San Francisco Opera
has been released on DVD (EuroArts). It is
A Guggenheim Fellow, Jake Heggie served
for three years as a mentor for Washington
National Opera’s American Opera Initiative.
He is also a frequent guest artist and lecturer
at universities and conservatories, including
Boston University, Bucknell, Cornell, the Royal
Conservatory in Toronto, University of North
Texas, University of Colorado, USC’s Thornton
School and Vanderbilt University, as well as
at festivals such as SongFest at the Colburn
School, Ravinia Festival, and VISI in Vancouver.
Jake Heggie frequently collaborates as
composer and pianist with some of the world’s
leading singers, including sopranos Kiri Te
Kanawa and Renée Fleming; mezzo-sopranos
Joyce DiDonato, Susan Graham and Frederica
von Stade; Broadway stars Patti LuPone and
Audra McDonald; tenors William Burden,
Stephen Costello and Jay Hunter Morris; and
baritones Nathan Gunn, Morgan Smith and
Bryn Terfel. Directors who have championed his
work include Leonard Foglia, Joe Mantello and
Jack O’Brien. All of his major opera premieres
have been led by Patrick Summers; he has also
worked closely with conductors John DeMain,
Joseph Mechavich and Nicole Paiement.
In addition to two new operas, other forthcoming
pieces include The Work At Hand: Symphonic
Songs for mezzo Jamie Barton and cellist
Anne Martindale Williams (Carnegie Hall
and the Pittsburgh Symphony); new songs
for Susan Graham (Vocal Arts DC); a new
orchestration of the song-cycle Camille Claudel:
Into the Fire for mezzo-soprano Sasha Cooke
and the Berkeley Symphony conducted by
Joana Carneiro; and Stop This Day And
Night With Me for The King’s Singers.
9
Art & Clarity
also the subject of a book by Robert Wallace
titled Heggie & Scheer’s Moby-Dick – A Grand
Opera for the 21st Century (UNT Press).
About the composer
About the composer
About the performers
Pari Dukovic
Aspen, in addition to appearing at the 2013
Last Night of the Proms at the Royal Albert
Hall.
Joyce DiDonato
Joyce DiDonato mezzo-soprano
Winner of the 2012 Grammy Award for Best
Classical Vocal Solo, Kansas-born Joyce
DiDonato captivates audiences and critics alike
across the globe, and has been described by
The New Yorker as ‘perhaps the most potent
female singer of her generation’. She has
garnered considerable acclaim as both a
performer and a fierce advocate for the arts,
gaining international prominence in operas by
Rossini, Handel and Mozart, as well as through
her wide-ranging, award-winning discography.
Her signature parts include the bel canto roles
of Rossini.
10
Much in demand in the concert hall and as
a recitalist, she holds residencies this season
at New York’s Carnegie Hall and here at the
Barbican Centre. Recently she completed an
acclaimed recital tour of South America, and
has appeared in concert and recital in Berlin,
Vienna, Milan, Toulouse, Mexico City and
In the opera house she appeared last season
as Cendrillon at the Liceu, Barcelona; Sesto
(La clemenza di Tito) at the Lyric Opera,
Chicago; Angelina (La Cenerentola) at the
Metropolitan Opera; and took the title-role in
Donizetti’s Maria Stuarda at the Royal Opera
House, Covent Garden. Highlights this season
include Romeo (I Capuleti e i Montecchi) in her
native Kansas City; Elena (La donna del lago)
at the Metropolitan Opera; Maria Stuarda
in Barcelona; the title-role in Alcina with The
English Concert here at the Barbican; and
Marguerite (La damnation de Faust) with the
Berlin Philharmonic under Sir Simon Rattle.
She is an exclusive recording artist with Erato/
Warner Classics and her most recent recording
is Stella di Napoli. Her Grammy-Awardwinning recording Diva Divo comprises arias
by male and female characters, celebrating
the rich dramatic world of the mezzo-soprano.
The following recording, Drama Queens, was
equally well received, both on disc and on
several international tours. A retrospective of
her first 10 years of recordings entitled ReJoyce!
was released last year.
Other honours include Gramophone‘s Artist
of the Year and Recital of the Year awards,
a German ECHO Klassik Award as Female
Singer of the Year, and an induction into the
Gramophone Hall of Fame.
Brentano String Quartet
Brentano String Quartet
Mark Steinberg, Serena Canin violin
Misha Amory viola
Nina Maria Lee violoncello
Since its inception in 1992, the Brentano
Quartet has been singled out for its technical
polish, musical insight and stylistic elegance.
It rapidly made its mark, winning the first
Cleveland Quartet Award, the 1995 Naumburg
Chamber Music Award, the 10th Annual Martin
E Segal Award and the Royal Philharmonic
Society’s Award for the most outstanding debut
in 1997.
It became the first quartet-in-residence at
Princeton University in 1999, and served as
quartet-in-residence at New York University
from 1995. In the same year it was chosen by
the Chamber Music Society of Lincoln Center
to participate in the inaugural season of
About the performers
The quartet performs extensively, both in
North America, where it is based, and in
Europe, Japan and Australia. It also appears
at international festivals including Edinburgh,
Bath, Divonne-les-Bains, Kuhmo, Salzburg
Mozartwoche and many others. Enjoying an
especially close relationship with Mitsuko
Uchida, the quartet regularly appears with
her in the USA, Europe and Japan. Other
prestigious artists with whom it has worked
include Jessye Norman and Richard Goode.
Past seasons have included appearances
at Carnegie Hall, Wigmore Hall, Barbican
Centre, Amsterdam Concertgebouw, Vienna
Konzerthaus, Stuttgart Liederhalle, Suntory Hall
in Tokyo and Sydney Opera House, as well as
in Cologne, Hamburg, Basle, Geneva, Madrid
and Copenhagen. It has also performed
at festivals such as the Kissinger Sommer,
Ludwigsburger Schlossfestspiele, Festival de
Fayence, Aspen Festival, Salt Bay Chamber
Festival, Festival Mecklenburg-Vorpommern
and Brandenburgische Sommerkonzerte. This
year the quartet appears frequently in Europe
as well as in New York (Carnegie Hall), Detroit,
San Francisco and Pittsburgh with artists
including Joyce DiDonato, Vijay Iyer, Ignat
Solzhenitsyn and Jonathan Biss.
The quartet’s eclectic repertoire ranges from
the Renaissance to 20th- and 21st-century
composers including Elliott Carter, György
11
Peter Schaaf
‘Chamber Music Society Two’ – a programme
designed for outstanding emerging artists and
chamber musicians.
Kurtág, Milton Babbitt, Chou Wen-Chung,
Charles Wuorinen, Bruce Adolphe, Steven
Mackey, Jake Heggie and Jonathan Dawe. To
commemorate its 10th anniversary, the quartet
commissioned 10 composers to write a piece
inspired by and to be interwoven with excerpts
from Bach’s The Art of Fugue.
The quartet has also worked with the
Pulitzer Prize-winning poet Mark Strand,
commissioning poetry from him to accompany
pieces by Haydn and Webern. For a project
entitled Fragments the musicians combined
incomplete works by composers such as
Mozart, Schubert, Bach and Shostakovich
with contemporary compositions by Sofia
Gubaidulina and Bruce Adolphe.
The Brentano Quartet’s recordings include
works by Mozart, Beethoven, Haydn and
Steven Mackey. The quartet also performed
in the film A Late Quartet (featuring Philip
Seymour Hoffman and Christopher Walken).
Last year the Brentano became Quartetin-Residence at the Yale School of Music,
succeeding the Tokyo Quartet.
The quartet is named after Antonie Brentano,
whom many scholars consider to be
Beethoven’s ‘Immortal Beloved’.
Barbican Classical Music Podcasts
12
Stream or download our Barbican Classical Music Podcasts
for an exclusive interview with Joyce, in which the mezzo
talks about the entire Artist Spotlight and the musical
influences that have shaped her passion for performing.
Available on iTunes, Soundcloud and the Barbican website
Renée
Fleming
Artist
Spotlight
A season-long celebration
of ‘America’s reigning diva’
(Washington Post)
barbican.org.uk
Renee Fleming © Decca Andrew Eccles
5 Feb–6 Apr 2016
Classical Music 2015–16
Academy of Ancient Music
Bach Collegium Japan
BBC Symphony Orchestra
Britten Sinfonia
Cecilia Bartoli & Rolando Villazón
Gewandhausorchester Leipzig
Gustavo Dudamel
London Symphony Orchestra
Los Angeles Philharmonic
Maxim Vengerov
Murray Perahia
Renée Fleming
Riccardo Chailly
Sir Simon Rattle
barbican.org.uk