ICO Sundays 2022

Sunday 4th December 1.00pm @ Sherwood State School, cnr Oxley and Sherwood Rds, Sherwood

Conductor – Greta Hunter

Lyric Soprano – Jacalyn Adcock

Mezzo Soprano – Morgan Yvonne Rosati

Welcome to our 2022 December concert, featuring two wonderful sopranos whose sublime voices in duet will lift your spirit and fill your imagination as the festive season begins. They will join the ICO in an exhilarating repertoire of famous arias, choral works and short orchestral pieces by composers, Mozart, Delibes, Dvorak, Mahler, Massenet, Offenbach, Puccini, Rossini, Paisiello and Elgar. This is a varied and truely inspirational program for you to enjoy!

Program

Paisiello – Overture to The Barber of Seville

Mozart – Batti Batti from Don Giovanni

Mahler – Das Knaben Wunderhorn ‘Rheinlegendchen’

Elgar – Beau Brummel Minuet

Mozart – Ach, Ich Fuhls … from Die Zauberflöte

Rossini – Una Voce Poco Fa from The Barber of Seville

INTERVAL

Delibes – The Flower Duet from Lakmé

Dvorak – Song to the Moon from Rusalka

Massanet – Va! Laisse couler mes larmes from Werther

Elgar – Sevillana

Elgar – Where Corals Lie (Sea Pictures)

Puccini – O Mio Babino Caro from Gianni Schicchi

Elgar – Carissma

Offenbach – Barcarolle from Les Contes d’Hoffman

Greta Hunter – Conductor

Greta Hunter is a flutist, music educator, conductor, and musical director of three community ensembles in Brisbane. Greta holds a Bachelor of Music with first class honours majoring in Classical Flute Performance from the University of Queensland.  She held the 2018 position of principal flute with the Queensland Youth Symphony (QYS) after previously performing as the orchestra’s principal piccolo.  Greta has toured regularly with the QYO Chamber Orchestra and in 2017 performed with the QYS on its major international tour to China and Germany.  She is the flute specialist tutor at the Westside Christian College, Brisbane. Greta is an experienced conductor with a passion for community music.  In 2019 she attended the Melbourne Youth Orchestra’s conductor development program, and the advanced conducting program at the Australian Choral Conductors Education and Training (ACCET) Summer School.  Greta has also attended the Australian Conducting Academy in Tasmania and the Zlin International Conducting Masterclass in the Czech Republic, and was invited to guest conduct the QYS in its 2018 Strings Sensations concert. Greta is the musical director and conductor of the Indooroopilly Chamber Orchestra, Songshine Choir and Queensland Korean Junior Strings.

Jacalyn Adcock – lyric soprano

Lyric soprano, Jacalyn Adcock is in her final year of the Bachelor of Music (Honours) at the University of Queensland (UQ) under the tutelage of Dr Shaun Brown.  Jacalyn has performed prominent roles in opera scenes, debuting her first full opera lead as Lauretta in UQ’s 2021 production of Puccini’s Gianni Schicchi.  She has since performed the roles of Rosalinde in Strauss’s Die Fledermaus and Pamina in UQ’s production of Die Zauberflöte, Mozart. Jacalyn has also enjoyed performing as the soprano soloist in the UQ Chamber Singers performance of Mozart’s Missa Brevis (KV275), Queensland University Musical Society’s performance of Faure’s requiem and Vaughan Williams Dona nobis pacem, and joining the chorus for Beethoven’s 9th Symphony, and Verdi’s Requiem. This year Jacalyn was awarded the Margaret Nickson Prize for Piano and Voice at UQ.  She was also placed second and received the audience choice award for the Open Vocal Section of the Australian Concerto and Vocal Competition.

Morgan Yvonne Rosati – mezzo soprano

Mezzo soprano, Morgan Yvonne Rosati is a fourth year Bachelor of Music (Honours) student at the University of Queensland (UQ) under the tutelage of Gregory Massingham. In 2021 Morgan worked alongside conductor Dane Lam in the UQ’s production of Gianni Schicchi in which she performed as Zita.  At UQ her roles in excerpt performances have included Prince Orlofsky in Die Fledermaus, Giulietta in Les Contes Hoffmann, Jo March in Little Women, and Natura in Cavalli’s Calisto. Other partial roles included Rosa in Offenbach’s Christopher Columbus and the Third Wood Sprite in Dvorák’s Rusalka. Morgan enjoys singing in choirs and ensembles and has performed in Deborah Cheetham’s Eumerella – A War Requiem for Peace, Opera Queensland’s Songs of Love and War and UQ’s Beethoven’s Ninth Symphony and the Verdi Requiem.  Morgan won the Ethel Osborn Prize in 2022. She has performed professionally as a backing vocalist for artists such as Mirusia in the vocal ensemble Vocal Manoeuvres, and sings with the vocal ensemble Lucem Vitae, a group that focuses primarily on sacred music. After graduation Morgan intends to continue her studies to reach the highest standards of professional performance.

Program Notes

Giovanni Paisiello (1740 – 1816)

Barber of Seville Overture

Italian composer Giovanni Paisiello was one of the most successful and influential opera composers of his day. Most of his 80-plus operas are comic, simple, and direct, getting to the plot more quickly and keeping it moving – a style different from previous composers. He is today primarily known for writing in 1782, the “other” Barber of Seville opera. The more famous version, composed by Gioacchino Rossini, premiered a few months before Paisiello’s death. Paisiello was trained in Naples and established himself there as a leading comic opera composer. He was invited by Empress Catherine II of Russia to St. Petersburg in 1776. It was there he wrote his “Barber” – Il barbiere di Siviglia – which became known throughout Europe. Paisiello’s colourful scoring and warm melodies influenced Mozart, who composed his “Marriage of Figaro” as a sequel to Paisiello’s “Barber.” Paisiello later returned to Naples where he produced many of his best operas, including one called Nina. From that point, around 1790, he began composing serious operas. Even though the popularity of Paisiello’s “Barber” initially hindered the success of Rossini’s version, soon Rossini’s “Barber” swept Paisiello’s from the stage. A long period ensued when Paisiello was nearly forgotten, but a 1960’s recording of his “Barber” enabled the public to recognise its merits. It has regained a limited place in the operatic repertory. Paisiello wrote a good deal of church music, including eight masses, and also composed motets, cantatas, oratorios, keyboard concertos, and string quartets. Program Notes by: The Kennedy Centre https://www.kennedy-center.org/artists/p/pa-pn/giovanni-paisiello/

Edward Elgar (1857 – 1934)

Beau Brummel – Incidental music to a play by Bertram P Matthews

Edward Elgar was an English composer whose best-known compositions are orchestral works including the Enigma Variations, the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies. In his later years Elgar showed his adeptness at producing significant scores as incidental music to dramatic works. He would often attend the memorial theatre for productions of the great Shakespearian plays and this appeared to revive his interest in composing further incidental music. What emerged, however, was not music of Shakespearian grandeur but a score to accompany a play by the far lesser known playwright Bertram P Matthews. His play, Beau Brummel, was staged at the Theatre Royal, Birmingham in 1928, with Elgar conducting the orchestra on the first night. The score has remained unpublished with the exception of the minuet which alone has outlived the play. Program Notes by: Classic FM – https://www.classicfm.com/composers/elgar/ and The Elgar Society – https://www.elgarsociety.org/wp-content/uploads/2021/11/Beau-Brummel.pdf

Sevillana

Sevillana, or, as the composer titled it Sevillaña (Scène Espagnole), is a short piece for orchestra, written in 1884 and published as his Op 7. The piece was composed when he was a young man of 26, shortly after the break-up of his engagement to Miss Helen Weaver. Elgar’s violin teacher, Adolf Pollitzer showed the score to the conductor August Manns who included it in a Crystal Palace concert in 1884. This was shortly after its first performance at a Worcester Philharmonic Society concert conducted by the organist of Worcester Cathedral, William Done.  It was dedicated to W. C. Stockley, conductor of the Birmingham Festival. Program Notes: https://en.wikipedia.org/wiki/Sevillana_(Elgar)

Carissima

Composed in 1913, Carissima was the first piece by Edward Elgar that was recorded. This work was the start of Elgar’s collection of small-scale light orchestral pieces. The first public performance of the work happened in 1914. A flourishing harp opens Carissima as the strings take hold of the main theme. Although hailed for some of his more ‘serious’ works, the lighter, more pastoral side to Elgar is just as pleasing. The rich textures and warm harmonies showcase the classic English sound of the early 20th century, with Elgar utilising woodwind soloists along the way. The main melody is sweet and simple, but paired with Elgar’s inviting timbres and textures, creates a lovely atmosphere. After a small developmental section where we see new rhythms creeping in, Elgar reverts back to the opening theme. The comfort of this return is welcome, and the theme, now bolstered by soft brass closes this light piece of orchestral music. Program Notes by: Alex Burns – https://classicalexburns.com/2022/04/13/edward-elgar-carissima-orchestral-miniature/

Vocal Works

Mozart: Don Giovanni “Batti Batti …”

Beat, beat, oh handsome Masetto,
Your poor Zerlina,
I’ll stay here, as a little sheep,
To wait of your blows.
I’ll let (you) lacerate my (horse) hair,
I’ll let (you) take out my eyes,
And your dear little hands
I’ll be then be happily able to kiss.
Ah, I see that, you have no heart!
Peace, peace, oh my life,
In happiness and in gaiety
Night and day – we want to spend,
Yes, night and day – we want to spend

Translation – Wolfgang Amadeus Mozart – Batti batti o bel Masetto lyrics + English translation (lyricstranslate.com)

Mahler: Das Knaben Wunderhorn “Rheinlegendchen”

I mow by the Neckar,
I mow by the Rhine;
At times I’ve a sweetheart,
At times I’m alone.
What use is mowing,
If the sickle won’t cut,
What use is a sweetheart,
If she’ll not stay.
So if I’m to mow By the Neckar, and Rhine,
I’ll throw in their waters
My little gold ring.
It’ll flow in the Neckar
And flow in the Rhine,
And float right away
To the depths of the sea.

And floating, the ring
Will be gulped by a fish,
The fish will be served
At the King’s own table.
The King will enquire
Whose ring it might be;
My sweetheart will say
The ring belongs to me.
My sweetheart will bound
Over hill, over dale,
And bring back to me
My little gold ring.
You can mow by the Neckar
And mow by the Rhine,
If you’ll always keep throwing
Your ring in for me.

Translation – Rheinlegendchen | Song Texts, Lyrics & Translations | Oxford Lieder

Mozart: Die Zauberflöte “Ach, Ich Fuhls …”

Ah, I feel it, it has disappeared
Forever gone love’s happiness!
Never will the hours of bliss come
Back to my heart!
See, Tamino, these tears,
Flowing, beloved, for you alone!
If you don’t feel the longing of love
Then there will be peace in death!

Translation – “Ach, ich fühl’s” (‘Die Zauberflöte’, W. A. Mozart) – A Guide to Pronunciation and Interpretation – thepronunciationcoach.com

Rossini: The Barber of Seville “Una Voce Poco Fa”

His sweet voice so touched my heart.
Now it’s so full that it may break.
It hurts me so that we’re apart.
How will I ever bear this ache?

He’s the answer to my prayer.
I’ll make him mine,
by Heaven, I swear!
The old Doctor will object.
He keeps me under lock and key.
I’ll need a ploy he won’t suspect
if I’m ever to get free.

I’m always well-behaved, most respectful and polite,
humble and obedient, gentle and contrite.
I’m never wilful. I’m never wilful,
and let my guardian be my guide.

But, now there’s something that I want,
and if he dares to block my path,
then he had best be ready to feel my wrath!
I’ve got some tricks to play.
I aim to get my way.
Know that I will not be denied!

Translation by Ken Jakobs – The Barber of Seville – English Opera Translations : English Opera Translations

Delibes: Lakmé “Flower Duet” 

Under a dome of white jasmine
With the roses entwined together
On a riverbank covered with flowers laughing in the morning
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 birds, the birds sing.

Under a dome of white jasmine
Ah! calling us
Together!

Under a dome of white jasmine
With the roses entwined together
On a river bank covered with flowers laughing in the morning
Let us descend together
Gently floating on it’s charming risings,
On the river’s current
On the shining waves,
One hand reaches,
Reaches for the bank,
Where the spring sleeps,
And the birds, the birds sing.

Under a dome of white jasmine
Ah! calling us
Together!

Translation – Story and Lyrics Translation for the Flower Duet (liveabout.com)

Dvorak: Rusalka “Song to the Moon”

Your light shines far in the heavens
Over the world, wandering
Gazing in human dwellings
Silvery moon in the velvet sky
Oh, once in awhile, stay with me
Tell me where is my love?
Oh, once in awhile, stay with me
Tell me where is my love… where?
Tell him, oh, tell him, silver moon
That in my arms, I enfold him
Tell him he dreams to tangle me
Even if only for a moment
Tell him in dreams to think of me
Even if just for a moment
Shine on in reverie
Shine on him
Tell him, oh, tell…

Translation – Lucia Popp – Rusalka: Song to the Moon lyrics + English translation (lyricstranslate.com)

Massenet: Werther “Va! Laisse couler mes larmes…”

Go! Let flow my tears!
They do (me) good, my darling!
The tears which one does not cry
Inside our soul fall again, all of them,
And with their patient drops
Hammer the heart sad and weary.
Its resistance finally exhausts itself;
The heart collapses and weakens;
It is too big; no thing fills it
And too fragile, everything breaks it!

Translation by Lea Frey (blfrey@earthlink.net)  http://www.aria-database.com

Elgar: Sea Pictures “Where Corals Lie”

The deeps have music soft and low
When winds awake the airy spry,
It lures me, lures me on to go
And see the land where corals lie.

By mount and mead, by lawn and rill,
When night is deep, when noon is high,
That music seeks and finds me still,
And tells me where the corals lie.

Yes, press my eyelids close, ’tis well,
But far the rapid fancies fly
The rolling worlds of wave and shell,
And all the lands where corals lie.

Thy lips are like a sunset’s glow,
Thy smile is like a morning sky,
Yet leave me, leave me, let me go
And see the land where corals lie.

Lyrics – Edward Elgar – Where corals lie lyrics (lyricstranslate.com)

Puccini: Gianni Schicchi “O Mio Babino Cao”

Oh my dear papa
I like him, he is so handsome.
I want to go to Porta Rossa
To buy the ring!
Yes, yes, I want to go there!
And if my love were in vain,
I would go to the Ponte Vecchio
And throw myself in the Arno!
I am pining, I am tormented!
Oh God, I would want to die!
Father, have pity, have pity
Father, have pity, have pity

Translation – Giacomo Puccini – O mio babbino caro lyrics + English translation (lyricstranslate.com)

Offenbach: Les Contes d’Hoffman “Barcarolle”

Lovely night, oh, night of love
Smile upon our joys!
Night much sweeter than the day
Oh beautiful night of love!
Time flies by, and carries away
Our tender caresses for ever!
Time flies far from this happy oasis
And does not return
Burning zephyrs
Embrace us with your caresses!
Burning zephyrs
Give us your kisses!
Your kisses! Your kisses! Ah!

Lovely night, oh, night of love
Smile upon our joys!
Night much sweeter than the day
Oh, beautiful night of love!
Ah! Smile upon our joys!
Night of love, oh, night of love!
Ah! ah! ah! ah! ah! ah! ah! ah! ah! ah!

Translation – Jacques Offenbach – Barcarolle lyrics + English translation (lyricstranslate.com)

Indooroopilly Chamber Orchestra

Conductor	Greta Hunter
Lyric Soprano	Jacalyn Adcock
Mezzo Soprano	Morgan Yvonne Rosati
Master of Ceremonies	Kymberley Jones (ICO Secretary)

Flute

Zoe Ingram

Kymberley Jones

Midori Matsumura

Clarinet

Ryan Evans

Colleen Rowe

Bassoon

Jarrah Newman

Kirsten Wilson

Horn

John MacGinley

Bob Townsend

Piano

Gary Hunt

Timpani and Percussion

Janine Kesting