Program Notes
Julia Bullock, classical singer
Laura Poe, piano

Streaming Premiere
Thursday, January 14, 2021, 7pm

Filmed exclusively for Cal Performances at the Konzerthaus Blaibach, Blaibach, Germany, on December 10, 2020.

PROGRAM

Hugo Wolf (1860–1903)
from Italienisches Liederbuch
Auch kleine Dinge

from Spanisches Liederbuch
In dem Schatten meiner Locken
Bedeckt mich mit Blumen

Robert Schumann (1810–1856)
from Dichterliebe, Op. 48
Die Rose, die Lilie, die Taube, die Sonne
Wenn ich in deine Augen seh’
Ich grolle nicht
Und wüßten’s die Blumen, die kleinen
Hör’ ich das Liedchen klingen

Kurt Weill (1900–1950)
Speak Low” from One Touch of Venus
“Denn wie man sich bettet, so liegt man” from Aufstieg und Fall der Stadt Mahagonny
Wie lange noch?
“Lost in the Stars” from Lost in the Stars

William Grant Still (1995–1978)
The Breath of a Rose

Margaret Bonds (1913–1972)
The Negro Speaks of Rivers
Winter Moon
(music prepared by Louise Toppin)

John Adams (b. 1947)
(arr. by Laura Poe and Julia Bullock)
Three Women: Josefa, Ah Sing, and Dame Shirley from Girls of the Golden West
Ven esta noche, amado (Josefa)
The Ship Has Reached America (Ah Sing)
Sometimes, I Lounge Forlornly (Dame Shirley)

Richard Rodgers (1902–1979)
from The Sound of Music
The Sound of Music
The Lonely Goatherd
Something Good
Climb Every Mountain
Edelweiss

Major support provided by The Bernard Osher Foundation.

Note: following its premiere, the video recording of this concert will be available on demand through April 14, 2021.

JULIA BULLOCK, classical singer

American classical singer Julia Bullock, “a musician who delights in making her own rules” (The New Yorker), combines versatile artistry with a probing intellect and commanding stage presence. Only in her early 30s, she has already headlined productions and concerts at some of the world’s preeminent arts institutions. An innovative programmer whose artistic curation is in high demand, Bullock’s curatorial positions include collaborative partner of Esa-Pekka Salo­nen in 2020–21, the conductor’s inaugural season as music director of the San Francisco Symphony; 2019–20 artist-in-residence of the same orchestra; artist-in-residence of London’s Guildhall School for the 2020–22 seasons; opera-programming host of the new broadcast channel All Arts; founding core member of the American Modern Opera Company (AMOC); and 2018–19 artist-in-residence of New York’s Metropolitan Museum of Art. Chosen as a 2021 “Artist of the Year” by Musical America, which hailed her as an “agent of change,” Bullock is also a prominent voice of social consciousness. As Vanity Fair notes, she is “young, highly successful, [and] politically engaged,” with the “ability to inject each note she sings with a sense of grace and urgency, lending her performances the feel of being both of the moment and incredibly timeless.”

Bullock has made key operatic debuts at San Francisco Opera in the world premiere of John Adams’ Girls of the Golden West; Santa Fe Opera in Adams’ Doctor Atomic; Festival d’Aix-en-Provence and Dutch National Opera in Stra­vinksy’s The Rake’s Progress; and the English National Opera, Spain’s Teatro Real, and Rus­sia’s Bolshoi Theatre in the title role in Purcell’s The Indian Queen. In concert, she has collaborated with the Los Angeles Philharmonic and Gustavo Dudamel, the San Francisco Sym­phony and both Salonen and Michael Tilson Thomas, the New York Philharmonic and Alan Gilbert, the Boston Symphony Orchestra and Andris Nelsons, Japan’s NHK Symphony and Paavo Järvi, and both the Berlin Philharmonic and London Symphony Orchestra with Sir Simon Rattle. Her recital highlights include appearances at Cal Per­formances, New York’s Carnegie Hall, the Phila­­delphia Chamber Music Society, Boston’s Celebrity Series, Wash­ington’s Kennedy Center, and the Mostly Mozart and Ojai Music festivals, where she joined Roomful of Teeth and the International Contemporary Ensemble for the world premiere of Josephine Baker: A Portrait (the original prototype for Perle Noire: Meditations for Joséphine, a work conceived by Bullock in collaboration with Peter Sellars, and written for her by Tyshawn Sorey and Claudia Rankine).

Bullock’s growing discography includes Doc­tor Atomic, recorded with the composer conducting the BBC Symphony Orches­tra, and West Side Story, captured live with Tilson Thomas and the San Francisco Sym­phony, both of which were nominated for Grammy Awards.

Bullock was born in St. Louis, Missouri, and holds degrees from the Eastman School of Music, Bard College’s Graduate Vocal Arts Program, and New York’s Juilliard School. She lives with her husband, conductor Christian Reif, in Munich.

LAURA POE, piano

Korean American pianist Laura Poe is a highly sought-after artist and collaborator who enjoys a career as a pianist, opera coach, and educator. Based in Düsseldorf, Germany, Poe is a member of the music staff at the Deutsche Oper am Rhein. Since the 2015–16 season, she has also been a member of the music staff at San Fran­cisco Opera.

Poe has also worked as a répétiteur and vocal coach at De Nationale Opera in Amsterdam, the Metropolitan Opera, and the Semperoper Dres­den, where she made her professional conducting debut with 19 performances of Purcell’s Dido and Aeneas. The production was later invited to the Lucerne Music Festival for an additional two performances. Poe was also an associate vocal coach at the Juilliard School, the San Francisco Conservatory of Music, Aspen Music Festival and School, AIMS in Graz, CoOperative, and Si parla, si canta in Urbania, Italy.

A graduate of the Metropolitan Opera Lin­de­mann Young Artist Development Pro­gram, Poe has trained under the tutelage of world-class musicians, conductors, and directors including Sir Thomas Allen, Marco Armiliato, Reri Grist, Thomas Hampson, James Levine, Malcolm Martineau, Ken Noda, Felicity Palmer, Renata Scotto, Diane Soviero, Dame Kiri Te Kanawa, Benita Valente, José van Dam, and Stephen Wadsworth.

Poe has collaborated with some of today’s greatest singers, including sopranos Lisette Oropesa and Deborah Voigt, the latter with whom Poe performed a live broadcast on New York’s classical radio station WQXR. Poe was also featured in the BBC2 documentary What Makes a Great Soprano with Dame Kiri Te Kanawa. In 2009, she was a third prize winner at the Wigmore Hall International Song Com­pe­tition in London.

As an experienced violinist, flutist, and horn player, Poe is a frequent performer with instrumentalists and singers. She is an official accompanist to several instrumental and vocal com­pe­titions, and is also an experienced soloist and chamber musician.

Poe has been heard in concert at numerous festivals throughout the United States, including the Music Academy of the West, Ravinia’s Steans Institute, Bard Summerscape, Glimmer­glass Opera, in New York’s Alice Tully Hall and the Museum of Modern Art, as well as in Europe and Trinidad and Tobago.

Poe’s academic accomplishments include a graduate diploma in collaborative piano from the Juilliard School in New York City and a master’s degree in accompanying and chamber music from the University of North Carolina at Greensboro, where in 2015 she received the first-ever Distinguished Alumni Award in Per­formance. A dedicated teacher, Poe holds a bachelor’s degree in instrumental music education from the University of North Carolina at Greensboro.

Niccolò Tommaseo, Venezia, G. Tasso
Canti popolari toscani, corsi, illirici, greci, raccolti ed illustrati (pub. 1841)

Paul Heyse (1830–1914)
Italienisches Liederbuch (pub. 1860)

Hugo Wolf (1860–1903)
Italienisches Liederbuch (pub. 1892)

Auch kleine Dinge
Auch kleine Dinge können uns entzücken,
Auch kleine Dinge können teuer sein.
Bedenkt, wie gern wir uns mit Perlen schmücken;
Sie werden schwer bezahlt und sind nur klein.

Bedenkt, wie klein ist die Olivenfrucht,
Und wird um ihre Güte doch gesucht.
Denkt an die Rose nur, wie klein sie ist,
Und duftet doch so lieblich, wie ihr wißt.

Small things, too, can please us,
Small things, too, can be valuable,
Think, how gladly we adorn ourselves with pearls,
They are heavily paid for, and are only small.

Think how small the olive fruit is,
And yet its goodness is sought after.
Think only of the rose, how small it is,
And yet it smells so lovely, as you all know.

—Translation by Julia Bullock

Pedro Arias Pérez
Original Spanish Text

Paul Heyse (1830–1914)
Spanisches Liederbuch, Weltliche Lieder (pub. 1852)

Hugo Wolf (1860–1903)
Spanisches Liederbuch (pub. 1891)

In dem Schatten meiner Locken
In dem Schatten meiner Locken
Schlief mir mein Geliebter ein.
Weck ich ihn nun auf? —Ach nein!

Sorglich strählt’ ich meine krausen
Locken täglich in der Frühe,
Doch umsonst ist meine Mühe,
weil die Winde sie zerzausen.

Lockenschatten, Windessausen
Schläferten den Liebsten ein.
Weck ich ihn nun auf? —Ach nein!

Hören muß ich, wie ihn gräme,
Daß er schmachtet schon so lange,
Daß ihm Leben geb’ und nehme
Diese meine braune Wange,
Und er nennt mich seine Schlange,
Und doch schlief er bei mir ein.
Weck ich ihn nun auf? —Ach nein!

In the shadow of my curly hair,
My beloved has fallen asleep.
Should I wake him now? —Ah, no!

Carefully, I comb my frizzy
curls, early each day;
But my efforts are in vain,
because the winds dishevel them.

Shadow-casting curls, rustling wind,
Have lulled my darling to sleep.
Should I wake him now? —Ah, no!

I must listen to him complain
That he has pined for me so long,
That life is given and taken away from him
By my brown cheeks,
And he calls me his snake,
And yet he fell asleep by me.
Should I awaken him now? —Ah, no!

—Translation by Julia Bullock

María Doceo
Original Spanish Text

Emanuel von Geibel (1815–1884)
Spanisches Liederbuch, Weltliche Lieder (pub. 1852)

Hugo Wolf (1860–1903)
Spanisches Liederbuch (pub. 1891)

Bedeckt mich mit Blumen
Bedeckt mich mit Blumen, ich sterbe vor Liebe.
Daß die Luft mit leisem Wehen
nicht den süßen Duft mir entführe, bedeckt mich!
Ist ja alles doch dasselbe,
Liebesodem oder Düfte von Blumen.
Von Jasmin und weißen Lilien
sollt ihr hier mein Grab bereiten, ich sterbe.
Und befragt ihr mich: Woran?
sag’ ich: Unter süßen Qualen vor Liebe

Cover me with flowers, I die of love.
So that the air with gentle wafting
Doesn’t take from me the sweet smell, cover me!
Yet, all is the same,
Breath of love or scent of flowers.
With jasmine and white lilies
Here you shall my grave prepare, I die.
And if you all ask me: Why?
I say: Under the sweet torments of love.

—Translation by Julia Bullock

Heinrich Heine (1797–1856)
von Buch der Lieder (1822–23)

Robert Schumann (1810–1856)
from Dichterliebe, Op. 48 (1840)

Die Rose, die Lilie, die Taube, die Sonne
Die Rose, die Lilie, die Taube, die Sonne,
die liebt’ ich einst alle in Liebeswonne.
ich lieb’ sie nicht mehr, ich liebe alleine
die Kleine, die Feine, die Reine, die Eine,
sie selber, aller Liebe Wonne,
ist Rose und Lilie und Taube und Sonne.

The rose, the lily, the dove, the sun.
I once blissfully loved them all,
But I don’t anymore, I only love
the small, the fine, the pure, the one;
she herself—all of love’s delight—
is the rose and lily and dove and sun.

—Translation by Julia Bullock

Wenn ich in deine Augen seh’
Wenn ich in deine Augen seh’
so schwindet all’ mein Leid und Weh;
doch wenn ich küße deinen Mund,
so werd’ ich ganz und gar gesund.

Wenn ich mich lehn’ an deine Brust,
kommt’s über mich wie Himmelslust;
doch wenn du sprichst: ich liebe dich,
so muß ich weinen bitterlich.

When I look into your eyes,
all my suffering and sorrows vanish,
yet when I kiss your lips,
I become wholly and entirely healed.

When I lean against your breast
heavenly pleasure comes over me,
yet when you say: I love you,
I have to weep bitterly.

—Translation by Julia Bullock

Ich grolle nicht
I’m not angry, und wenn das Herz auch bricht,
ewig verlor’nes Lieb, ich grolle nicht.
Wie du auch strahlst in Diamantenpracht,
es fällt kein Strahl in deines Herzens Nacht,
das weiß ich längst.

Ich grolle nicht, und wenn das Herz auch bricht,
Ich sah dich ja im Traume,
und sah die Nacht in deines Herzens Raume,
und sah die Schlang’, die dir am Herzen frißt,
Ich sah, mein Lieb, wie sehr du elend bist.

I’m not angry, and even if my heart breaks,
my eternal lost love, I’m not angry.
Even though you shine like diamonds,
no ray falls into the darkness of your heart,
I’ve known that for a long time.

I’m not angry, and if my heart also breaks,
I saw you in my dreams,
and saw the darkness in your heart,
and saw the snake that feeds on it;
I saw, my Love, how truly miserable you are.

—Translation by Julia Bullock

Und wüßten’s die Blumen, die kleinen
Und wüßten’s die Blumen, die kleinen,
wie tief verwundet mein Herz,
sie würden mit mir weinen,
zu heilen meinen Schmerz.

Und wüßten’s die Nachtigallen,
wie ich so traurig und krank,
sie ließen fröhlich erschallen
erquickenden Gesang.

Und wüßten sie mein Wehe,
die goldenen Sternelein,
sie kämen aus ihrer Höhe,
und sprächen Trost mir ein.

Sie alle können’s nicht wissen,
nur Eine kennt meinen Schmerz;
sie hat ja selbst zerrissen,
zerrissen mir das Herz.

And if the flowers—the small ones—would know
how deeply wounded my heart is,
they’d weep with me
to heal my pain.

And if the nightingales would know
how sad and sick I am,
they’d joyfully resound
a rejuvenating song.

And if they would know my pain—
the little golden stars—
they would come down from their heights
and console me.

All of them could not know,
only the One knows my sorrow;
she herself is the one who ripped—
ripped up my heart.

—Translation by Julia Bullock

Hör’ ich das Liedchen klingen
Hör’ ich das Liedchen klingen,
das einst die Liebste sang,
so will mir die Brust zerspringen
von wildem Schmerzendrang.

Es treibt mich ein dunkles Sehnen
hinauf zur Waldeshöh’,
dort löst sich auf in Tränen
mein übergroßes Weh’

When I hear the little song
that my beloved once sang,
my chest wants to explode
from wild impulses of pain.

A dark longing drives me
up into the heights of the woods
where my extreme grief
dissolves in tears.

—Translation by Julia Bullock

Frederic Ogden Nash (1902–1971)

Kurt Weill (1900–1950)
from One Touch of Venus (1943)

Speak Low
Speak low when you speak, love,
Our summer day withers away
Too soon, too soon.
Speak low when you speak, love,
Our moment is swift, like ships adrift,
We’re swept apart too soon.

Speak low, darling speak low,
Our love is a spark lost in the dark,
Too soon, too soon,
I feel wherever I go
That tomorrow is near, tomorrow is here
And always too soon.

Time is so old and love so brief,
Love is pure gold and time a thief.

We’re late, darling, we’re late,
The curtain descends, ev’rything ends
Too soon, too soon.
I wait darling, I wait
Will you speak low to me,
Speak love to me and soon.

Bertolt Brecht (1898–1956)

Kurt Weill (1900–1950)
from The Rise and Fall of the City of Mahagonny

Denn wie man sich bettet, so liegt man
Meine Herren, meine Mutter prägte
auf mich einst ein schlimmes Wort:
ich würde enden im Schauhaus,
oder an einem noch schlimmern Ort.
Ja so ein Wort, das ist leicht gesagt,
aber ich sage euch, daraus wird nichts!
Das könnt ihr nicht machen mit mir!
Was aus mir noch wird, das werdet ihr schon sehen!
Ein Mensch ist kein Tier!

Denn wie man sich bettet, so liegt man,
es deckt einen doch keiner zu.
Und wenn einer tritt, dann bin ich es,
Und wird einer getreten, dann bist’s du.

Meine Herren, mein Freund der sagte
mir damals ins Gesicht:
“das Höchste auf Erden ist Liebe”
Und “an morgen denkt man da nicht.”
Ja Liebe, das ist leicht gesagt,
doch so lang man täglich älter wird,
da wird nicht nach liebe gefragt,
Da muß man seine kurze Zeit benützen.
Ein Mensch ist kein Tier!

How you put yourself to bed, is how you lie
Gentlemen, my mother once marked
me with a nasty word:
I would end up in a ‘house of display’
or in an even worse place.
Yes, such a word is easily said,
but I tell you, that won’t happen!
You cannot do this to me!
What becomes of me, that you will see!

A human being is no animal!

How you put yourself to bed, is how you lie,
no one is there to cover you up.
And if someone kicks, then that’s me,
and when someone gets kicked, then that’s you.

Gentlemen, my friend said
at one time to my face:
“the highest thing on earth is love”
and “you won’t think of tomorrow.”
Yes, love, that is easily said,
but as long as you grow older daily,
no one asks about love,
one must utilize his short time.
A human being is no animal!

—Translation by Julia Bullock & Christian Reif

Walter Mehring (1896–1981)

Kurt Weill (1900–1950)

Wie lange noch? (1944)
Ich wills dir gestehen es war eine Nacht
da hab ich mich willig dir hingegeben,
du hast mich gehabt, mich von Sinnen gebracht,
Ich glaubte ich könnte nicht ohne dich leben.

Du hast mir das Blaue vom Himmel versprochen
und ich habe dich wie ’nen Vater gepflegt.
Du hast mich gemartert, hast mich zerbrochen.
Ich hätt dir die Erde zu Füßen gelegt.

Sieh mich doch an! Sieh mich doch an!
Wann kommt der Tag an dem ich dir sage: es ist vorbei!
Wann kommt der Tag, ach der tag nach dem ich bange.
Wie lange noch? Wie lange noch?
Wie lange?

Ich hab’ dir geglaubt, ich war wie im Wahn
von all deinen Reden, von deinen Schwüren.
Was immer du wolltest, das hab ich getan.
Wohin du auch wolltest, da ließ ich mich führen.

Du hast mir das Blaue vom Himmel versprochen,
und ich! Ach ich hab nicht zu weinen gewagt.
Doch du hast dein Wort, deine Schwüre gebrochen.
Ich habe geschwiegen, und hab mich geplagt.

Sieh mich doch an! Sieh mich doch an!
Wann kommt der Tag an dem ich dir sage: es ist vorbei!
Wann kommt der Tag, ach der tag nach dem ich bange.
Wie lange noch? Wie lange noch?
Wie lange?

How Much Longer?
I want to confess to you, it was a night
when I willingly gave myself to you,
you’ve had me, you took my senses,

I believed that I could not live without you.

You’ve promised me the blue of the heavens

and I’ve cared for you as I would for a father.
You’ve tortured me, you’ve torn me apart.
I would have placed the earth at your feet.

Look at me! Look at me!
When comes the day when I tell you: it is over!

When comes the day, ah, the day that I fear.

How much longer? How much longer?
How long?

I believed you, I was in a delusion
from all your talk, from all your vows.
Whatever you wanted, I did.
Wherever you wanted to go, I let myself be led.

You’ve promised me the blue of the heavens,

and I! Ah, I have not dared to cry.
But you have broken your word, your vows.

I’ve been silent, and tormented myself.

Look at me! Look at me!
When comes the day when I tell you: it is over!

When comes the day, ah the day that I fear.
How much longer? How much longer?
How long?

—Translation by Julia Bullock & Christian Reif

Maxwell Anderson (1888–1959)

Kurt Weill (1900–1950)
from Lost in the Stars (1949)

Lost in the Stars
Before Lord God made the sea and the land,
He held all the stars in the palm of his hand,
And they ran through his fingers like grains of sand,
And one little star fell alone.

Then the Lord God hunted through the wide night air,
For the little dark star on the wind down there,
And he stated and promised, he’d take special care,
So it wouldn’t get lost again.

Now, a man don’t mind if the stars grow dim,
And the clouds blow over and darken him,
So long as the Lord God’s watching over them,
Keeping track how it all goes on.

But I’ve been walking through the night and the day
Till my eyes get weary and my head turns gray,
And sometimes it seems maybe God’s gone away,
Forgetting the promise and that we heard him say.

And we’re lost out here in the stars,
Little stars, big stars, blowing through the night,
And we’re lost out here in the stars,
Little stars, big stars, blowing through the night,
And we’re lost out here in the stars.

Langston Hughes (1901–1967)
(first published in Hughes’ autobiography, The Big Sea, 1940, but written after his relationship with Anne Marie Coussey ended in 1927)

William Grant Still (1995–1978)

The Breath of a Rose
Love is like dew
On lilacs at dawn:
Comes the swift sun
And the dew is gone.
Love is like star-light
In the sky at morn:
Star-light that dies
When day is born.
Love is like perfume
In the heart of a rose:
The flower withers,
The perfume goes—
Love is no more
Than the breath of a rose,
No more
Than the breath of a rose.

Langston Hughes (1901–1967)
(first published in The Crisis, 1921)

Margaret Bonds (1913–1972)

Negro Speaks of Rivers
I’ve known rivers:
I’ve known rivers ancient as the world and older than the flow of human blood in human veins.

My soul has grown deep like the rivers.

I bathed in the Euphrates when dawns were young.
I built my hut near the Congo and it lulled me to sleep.
I looked upon the Nile and raised the pyramids above it.
I heard the singing of the Mississippi when Abe Lincoln went down to New Orleans, and I’ve seen its muddy bosom turn all golden in the sunset.

I’ve known rivers:
Ancient, dusky rivers.

My soul has grown deep like the rivers.

Langston Hughes (1901–1967)
(first published in The Crisis, 1923)

Margaret Bonds (1913–1972)

Winter Moon
How thin and sharp is the moon tonight!
How thin and sharp and ghostly white
Is the slim curved crook of the moon tonight!

John Adams (b. 1947)

Texts selected by Peter Sellars

Three Women: Josefa, Ah Sing, and Dame Shirley from Girls of the Golden West

Josefa:

Ven… (1957)
Ven esta noche, amado [querido];
tengo el mundo sobre mi corazón…
la vida estalla…

… tengo miedo de mi alma

[¡O] No puedo llorar!
Dame tus manos
y verás cómo el alma se resbala tranquilamente,
y verás cómo el alma se resbala en una lágrima…

Come …
Come tonight, beloved,
I have the world over my heart…
life explodes…

… I am afraid of my soul

[Oh,] I cannot cry!
Give me your hands
and you will see how the soul slips tranquilly,
and you will see how the soul slips in a teardrop…

—Translation by Julia Bullock

Ah Sing:

Translated by Marlon K. Hom (b. 1947)
Songs of Gold Mountain: Cantonese Rhymes from San Francisco’s Chinatown *

[For this performance, the aria and the accompanying chorus from Girls of the Golden West have been arranged for piano by Laura Poe. However, printed below is the sung text and original source material.]

John “Old Put” Stone (d. 1864)
from the miner’s song “You Who Don’t Believe It”
To one and all, both young and old,
You’re welcome to the land of gold.

As soon as it’s announced
the ship has reached America:
I burst out cheering.
I have found precious pearls
since I came to San Francisco.

A trav’ler on this shore
since coming to this frontier land,
I bear all kinds of abuse.
But I’ve found precious pearls;
wealth will come so very naturally.

To one and all, both young and old,
You’re welcome to the land of gold.

The air of wealth will soar,
arrive without the slightest toil.
My mother said so.
All we need is profit and money.
All is wide open road…

* Hom selected and translated 220 rhymes from two collections of Chinatown songs published in 1911 and 1915.

Dame Shirley:

Louise Amelia Knapp Smith Clappe
(1819–1906)

excerpt from Letter Twenty-Third

From our Log Cabin, Indian Bar – November 21, 1852
Sometimes I lounge forlornly to the window and try to take a bird’s-eye view of outdoors. First, a large pile of gravel prevents my seeing anything else; but by dint of standing on tiptoe, I catch sight of a hundred other heaps of gigantic stones, excavations of fearful deepness, calico hovels, innumerable tents, shingle palaces, ramadas (pretty arbor-like places, composed of green boughs, and baptized with that sweet name), half a dozen miners in garments of the airiest description, reclining gracefully at the entrance of the Humboldt in that transcendental state of intoxication when a man is compelled to hold on to the earth for fear of falling off. The whole Bar is thickly peppered with empty bottles, oyster-cans, sardine-boxes, broken jars, all manner of debris, the harsher outlines of which are softened off by the thinnest possible coating of radiant snow. The river, freed from its wooden-flume prison, rolls gradually by. The green and purple beauty of these majestic old mountains looks lovelier than ever, while, like an immense concave of pure sapphire without spot or speck, the wonderful and never- enough-to-be-talked-about sky of California drops down upon the whole its fathomless splendor.

Oscar Hammerstein II (1895–1960)

Richard Charles Rodgers (1902–1979)

from The Sound of Music

The Sound of Music
The hills are alive with the sound of music,
With songs they have sung for a thousand years.
The hills fill my heart with the sound of music.
My heart wants to sing every song it hears.

My heart wants to be beat like the wings of the birds that rise from the lake to the trees.
My heart wants to sigh like a chime that flies from a church on a breeze.
To laugh like a brook when it trips and falls over stones, on its way.
To sing through the night like a lark who is learning to pray…

I go to the hills when my heart is lonely.
I know I will hear what I’ve heard before.
My heart will be blessed with the sound of music,
And I’ll since once more.

The Lonely Goatherd
High on a hill was a lonely goatherd
Lay ee odl lay ee odl lay hee hoo
Loud was the voice of the lonely goatherd
Lay ee odl lay ee odl-oo

Folks in a town that was quite remote heard
Lay ee odl lay ee odl lay hee hoo
Lusty and clear from the goatherd’s throat heard
Lay ee odl lay ee odl-oo

O ho lay dee odl lee o, o ho lay dee odl ay
O ho lay dee odl lee o, lay dee odl lee o lay.

One little girl in a pale pink coat heard
Lay ee odl lay ee odl lay hee hoo
She yodeled back to the lonely goatherd
Lay ee odl lay ee odl-oo.

Soon her Mama with a gleaming gloat heard
Lay ee odl lay ee odl lay hee hoo
What a duet for a girl and goatherd
Lay ee odl lay ee odl-oo

Odl lay ee, odl lay ee…
O ho lay dee odl lee o, lay dee odl dee odl lay ee odl lay.

Happy are they—lay ee o lay lee o Soon the duet will become a trio… Odl lay ee, old lay ee. HOO!

Something Good
(written by Richard Rodgers for the 1965 film version)
Perhaps I had a wicked childhood,
Perhaps I had a miserable youth,
But somewhere in my wicked, miserable past
There must have been a moment of truth.

For here you are, standing there, loving me,
Whether or not you should,
So somewhere in my youth or childhood
I must have done something good.

Nothing comes from nothing,
Nothing ever could,
So somewhere in my youth or childhood
I must have done something good.

Climb Every Mountain
Climb every mountain,
Search high and low,
Follow every byway,
Every path you know.

Climb every mountain,
Ford every stream,
Follow every rainbow,
‘Till you find your dream.

A dream that will need
All the love you can give,
Every day of your life
For as long as you live

Climb every mountain,
Ford every stream,
Follow every rainbow,
‘Till you find your dream.

Edelweiss
Edelweiss, Edelweiss
Every morning you greet me,
Small and white, clean and bright,
You look happy to meet me.

Blossom of snow may you bloom and grow,
Bloom and grow forever,
Edelweiss, Edelweiss
Bless my homeland forever.

CREDITS

IN GERMANY
Bernhard Fleischer, producer and director
Oliver Becker, line producer for OTB Medien
Thomas Frischhut, camera
Marcus Jäger, camera
Nao A. Loo, camera
Jupp Wegner, sound
Bruno Hartl, lighting
Wolfgang Herein, lighting
Andreas Plötz, lighting
Aloisia Aschenbrenner, location
Michael Hartl, editing
Michaela Noa and Michaela Knopf, production office

A BFMI Production for Cal Performances

• • •

For Cal Performances at Home
Tiffani Snow, Producer
Jeremy Little, Technical Director

For Ibis Productions, Inc.
Jeremy Robins, Video Director
Zach Herchen, Audio Engineer

For Future Tense Media
Jesse Yang, Creative Director

For Cal Performances
EXECUTIVE OFFICE
Jeremy Geffen, Executive and Artistic Director
Kelly Brown, Executive Assistant to the Director

ADMINISTRATION
Andy Kraus, Director of Strategy and Administration
Calvin Eng, Chief Financial Officer
Rafael Soto, Finance Specialist
Marilyn Stanley, Finance Specialist
Gawain Lavers, Applications Programmer
Ingrid Williams, IT Support Analyst
Sean Nittner, Systems Administrator

ARTISTIC PLANNING
Katy Tucker, Director of Artistic Planning
Robin Pomerance, Artistic Administrator

DEVELOPMENT
Taun Miller Wright, Chief Development Officer
Elizabeth Meyer, Director of Institutional Giving
Jennifer Sime, Associate Director of Development, Individual Giving
Jamie McClave, Individual Giving and Special Events Officer
Alex Higgins, Director of Annual Fund
Jocelyn Aptowitz, Major Gifts Associate

EDUCATION AND COMMUNITY PROGRAMS
Rica Anderson, Interim Director, Artistic Literacy

HUMAN RESOURCES
Judy Hatch, Human Resources Director
Shan Whitney, Human Resources Generalist

MARKETING AND COMMUNICATIONS
Jenny Reik, Director of Marketing and Communications
Ron Foster-Smith, Associate Director of Marketing
Mark Van Oss, Communications Editor
Louisa Spier, Public Relations Manager
Cheryl Games, Digital Platform Program Manager
Jeanette Peach, Public Relations Senior Associate
Elise Chen, Email Production Associate
Lynn Zummo, New Technology Coordinator
Terri Washington, Social Media and Digital Content Specialist

OPERATIONS
Jeremy Little, Production Manager
Alan Herro, Production Admin Manager
Kevin Riggall, Head Carpenter
Matt Norman, Head Electrician
Tom Craft, Audio/Video Department Head
Jo Parks, Video Engineer
Tiffani Snow, Event Manager
Ginarose Perino, Rental Business Manager
Rob Bean, Event Operations Manager

STAGE CREW
Charles Clear, Senior Scene Technician
David Ambrose, Senior Scene Technician
Jacob Heule, Senior Scene Technician
Jorg Peter “Winter” Sichelschmidt, Senior Scene Technician
Joseph Swails, Senior Scene Technician
Mark Mensch, Senior Scene Technician
Mathison Ott, Senior Scene Technician
Mike Bragg , Senior Scene Technician
Ricky Artis, Senior Scene Technician
Robert Haycock, Senior Scene Technician

STUDENT MUSICAL ACTIVITIES
Mark Sumner, Director, UC Choral Ensembles
Bill Ganz, Associate Director, UC Choral Ensembles
Matthew Sadowski, Director, Cal Marching Band
Ted Moore, Director, UC Jazz Ensembles
Brittney Nguyen, SMA Coordinator

TICKET OFFICE
Liz Baqir, Ticket Services Manager
Gordon Young, Assistant Ticket Office Manager
Sherice Jones, Assistant Ticket Office Manager
Jeffrey Mason, Patron Services Associate

Opening fanfare used by permission from Jordi Savall from his 2015 recording of Monteverdi’s L’Orfeo on Alia Vox.

Major support for the Cal Performances Digital Classroom is provided by Wells Fargo.
Major support for Beyond the Stage is provided by Bank of America.

calperformances.org

© 2020 Regents of the University of California