Thursday Evening, March 21, 2019, at 7:30

The Juilliard School

presents

Vocal Arts Honors Recital

Dominik Belavy, Baritone
Richard Fu, Piano

Shakèd Bar, Mezzo-soprano

Bronwyn Schuman, Piano

FRANZ SCHUBERT I: Ich schaue mit Sehnen

(1797–1828) An den Mond, D.259
Lied eines Schiffers an die Dioskuren, D.360
Des Fischers Liebesglück, D.933
An die Laute, D.905

II: Seufze still’, und sinne

Alinde, D.904
Nachtstück, D.672
Der Winterabend, D.938
An den Mond, D.296

III: Sie heisst die Sehnsucht! Kennt ihr sie?

From Schwanengesang
Die Taubenpost, D.957

DOMINIK BELAVY, Baritone

RICHARD FU, Piano

Intermission

Juilliard’s Ellen and James S. Marcus Institute for Vocal Arts was established in 2010 by the
generous support of Ellen and James S. Marcus.

Alice Tully Hall Please make certain that all electronic devices
are turned off during the performance.
100 Years of Israeli Music—Between Folk Song and Art Song

MOSHE RAPAPORT Khalamti et Shirat Hazamir

(1903–68)

DAVID ZEHAVI From Twelve Songs of the Land

(1910–77) Orkha bamidbar

LEVI SHA’AR Shai

(1933–2014)

TZVI AVNI From Three Songs From Song of Songs

(b. 1927) Echezu Lanu Shualim

ALEXANDER “SASHA” Vidui

ARGOV (1914–95)

NIRA CHEN Dodi Li

(1924–2006)
arr. Menachem Wiesenberg
(b. 1942)

PAUL BEN-HAIM Gan Na’ul

(1897–1984) Hakhnissini Tachat Knafech

NOA HARAN Be’ad Ha’eshnav

(b. 1989) I. Edat Re'iya
II. Yevava
World premiere, commissioned by The Juilliard School

AHARON HARLAP From Out of the depths have I cried unto Thee, O Lord
(b. 1941) Hallelujah
Shiru l’Adonai Shir Chadash

SHAKÈD BAR, Mezzo-soprano

BRONWYN SCHUMAN, Piano

Performance Time: approximately 1 hour and 30 minutes, including an intermission

The taking of photographs and the use of recording equipment are not permitted in this auditorium.

Information regarding gifts to the school may be obtained from the Juilliard School Development Office,
60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving).
About the Juilliard Vocal Arts Honors Recital
The singers on tonight’s program were nominated to audition by their voice teachers and
selected through a competitive audition process. The auditions were judged by a distin-
guished panel that included Metropolitan Opera assistant conductor Howard Watkins,
soprano Susanna Phillips (B.M. ’03, M.M., ’04, voice), and artistic consultant to the
Lindemann Young Artist Development Program and bass Matthew Rose. Their task was
to select the singers you will hear this evening, each of whom, along with their pianists,
chose the repertoire in tonight’s program. Song at Juilliard takes many forms: from inti-
mate forums featuring some of our youngest students (the Juilliard Songbook series) to
the Liederabend series, recitals in which the pianists take the lead in programming.
Tonight’s Honors Recital gives talented song recitalists at Juilliard the opportunity to per-
form before the general public, presenting a program of great variety. This evening’s
pianists are current students of Juilliard’s collaborative piano department. We hope you
enjoy this group of highly talented artists.

—Brian Zeger, Artistic Director, Ellen and James S. Marcus Institute for Vocal Arts

Notes on the Program created this relatively new genre were

born, raised, and trained in Europe. When
Franz Schubert they arrived in what was then Palestine,
A passage “through the labyrinth of the they were exposed to various musical tra-
heart,” our program begins with its ending— ditions that existed there. These included
Goethe’s elegiac, enigmatic “An den both Arabic tunes and musical traditions of
Mond.” Schubert’s initial setting, D.259, is the Jewish diaspora: Sephardic, Ashkenazi,
a modest, strophic song. The remaining and Yemenite, among others.
songs of Part I follow in this naïve mode,
with youthful sentiments of hope and pos- The local influence was conveyed by the
sibility. Part II mirrors the first, with four use of modality and drumlike rhythmic ele-
mature songs that confront themes of ments, noticeable in the songs on this
urgency, isolation, and despair. Schubert’s evening’s program “Gan Na’ul,” “Dodi Li,”
later treatment of “An den Mond,” D.296, and “Orkha bamidbar.” The texts chosen
renders a more complete musical depic- for composition reflect another local
tion of the poem’s complex psychology— value—the connection to the earth and its
caught between happiness and pain, produce, as well as to the local versatile
exalting a retreat from this world. We offer landscapes. “Shai,” which the beloved
the last song Schubert composed, “Die poet Rachel Bluwstein Sela wrote toward
Taubenpost,” as an epilogue. the end of her short life, is a text that
—Dominik Belavy, Vocal Arts Honors embodies this value. For her, the ultimate
Recital Winner parting gift from the world was sharing her
memories of the place she loved most—
100 Years of Israeli Music the Sea of Galilee.
Jewish music dates back for centuries.
The history of what is called “Israeli In addition to Israeli poetry, this program
music,” however, is only a little more includes the biblical texts that remain to
than 100 years old. The composers who this day a source of inspiration for Israeli
composers. Two books are represented in melodies and the stories they tell. A
this program: Psalms, a collection of texts good example of that is “Vidui,” a song
dedicated to the adoration of God, and the of alarming text yet irresistibly heartbreak-
Song of Songs, a text attributed to King ing melody.
Solomon that is often perceived in the
Jewish tradition as an allegory of the rela- This program aims to reflect some of the
tionship between God and the people of many different genres and fusions created
Israel. This book makes use of codes that, in the Israeli melting pot. Our hope is to
when deciphered, reveal the true erotic present the audience with this unique cul-
meaning of the text. The phrases “my sis- ture; that while still drawing inspiration
ter, my bride” or “my uncle,” for example, from its roots, it is ever changing and
stand for “lover,” and a “locked garden” evolving to the present day. This program
refers to the bride before her marriage. will feature songs by the prominent Israeli
composer Noa Haran, commissioned by
Another genre presented in this program is Juilliard for this occasion and performed
Israeli popular folk music. Some songs in tonight as a world premiere.
this category have a social function and are —Zvi Semel, Jerusalem Academy of
sung in community gatherings. Others are Music and Dance
of an intimate nature and have become —Shakèd Bar, Vocal Arts Honors Recital
very popular due to their enchanting Winner

Texts & Translations

I: Ich schaue mit Sehnen I: I gaze longingly
Des Fischers Liebesglück The Fisherman’s Luck in Love

An den Mond (D.259) To the Moon

FRANZ SCHUBERT Translation © Richard Wigmore
Text: Johann Wolfgang von Goethe

Füllest wieder Busch und Tal Once more you silently fill wood and vale
Still mit Nebelglanz, with your hazy gleam
Lösest endlich auch einmal and at last
Meine Seele ganz. set my soul quite free.

Breitest über mein Gefild You cast your soothing gaze

Lindernd deinen Blick, over my fields;
Wie des Freundes Auge, mild with a friend’s gentle eye
Über mein Geschick. you watch over my fate.

Jeden Nachklang fühlt mein Herz My heart feels every echo

Froh- und trüber Zeit, of times both glad and gloomy.
Wandle zwischen Freud and Schmerz I hover between joy and sorrow
In der Einsamkeit. in my solitude.
Fliesse, fliesse, lieber Fluss! Flow on, beloved river!
Nimmer werd ich froh; I shall never be happy:
So verrauschte Scherz und Kuss, thus have laughter and kisses rippled away,
Und die Treue so. and with them constancy.

Rausche, Fluss, das Tal entlang, Murmur on, river, through the valley,
Ohne Rast und Ruh, without ceasing,
Rausche, flüstre meinem Sang murmur on, whispering melodies
Melodien zu, to my song,

Wenn du in der Winternacht When on winter nights

Wütend überschwillst, you angrily overflow,
Oder um die Frühlingspracht or when you bathe the springtime splendor
Junger Knospen quillst. of the young buds.

Selig, wer sich vor der Welt Happy he who, without hatred,
Ohne Hass verschliesst, shuts himself off from the world,
Einen Freund am Busen hält holds one friend to his heart,
Und mit dem geniesst, and with him enjoys

Was, von Menschen nicht gewusst That which, unknown to

Oder nicht bedacht, and undreamt of by men,
Durch das Labyrinth der Brust wanders by night
Wandelt in der Nacht. through the labyrinth of the heart.

Lied eines Schiffers an die Dioskuren Seafarer’s Song to the Dioscuri

FRANZ SCHUBERT Translation by Richard Stokes, author of
Text: Johann Baptist Mayrhofer The Book of Lieder (Faber, 2005)

Dioskuren, Zwillingsterne, Dioscuri, twin stars,

Die ihr leuchtet meinem Nachen, you who light my vessel’s way,
Mich beruhigt auf dem Meere your gentle vigilance
Eure Milde, euer Wachen. consoles me on the seas.

Wer auch, fest in sich begründet, Though a man, full of confidence

Unverzagt dem Sturm begegnet; stands intrepid against the storm,
Fühlt sich doch in euren Strahlen he feels doubly valiant and blessed
Doppelt muthig und gesegnet. when you shine on him.

Dieses Ruder, das ich schwinge, This oar that I ply

Meeresfluthen zu zertheilen; to part the ocean’s waves,
Hänge ich, so ich geborgen, shall hang on your temple’s pillar,
Auf an eures Tempels Säulen. once I am safely ashore.
Des Fischers Liebesglück The Fisherman’s Luck in Love
FRANZ SCHUBERT Translation © Richard Wigmore
Text: Karl Gottfried von Leitner

Dort blinket Yonder light gleams

Durch Weiden, through the willows,
Und winket and a pale
Ein Schimmer glimmer
Blassstrahlig beckons to me
Vom Zimmer from the bedroom
Der Holden mir zu. of my sweetheart.

Es gaukelt It flickers
Wie Irrlicht, like a will o’ the wisp,
Und schaukelt and its reflection
Sich leise sways
Sein Abglanz gently
Im Kreise in the circle
Des schwankenden Sees. of the undulating lake.

Ich schaue I gaze

Mit Sehnen longingly
In’s Blaue into the blue
Der Wellen, of the waves,
Und grüsse and greet
Den hellen, the bright
Gespiegelten Strahl. reflected beam.

Und springe And spring

Zum Ruder, to the oar,
Und schwinge and swing
Den Nachen the boat
Dahin auf away on
Den flachen, its smooth,
Krystallenen Weg. crystal course.

Fein-Liebchen My sweetheart
Schleicht traulich slips lovingly
Vom Stübchen down
Herunter, from her little room,
Und sputet and joyfully
Sich munter hastens to me
Zu mir in das Boot. in the boat.

Gelinde Then the breezes

Dann treiben gently
Die Winde blow us
Uns wieder again
See-einwärts out into the lake
Vom Flieder from the elder tree
Des Ufers hindann. on the shore.

So schweben So we drift on
Wir selig, blissfully,
Umgeben in the midst
Vom Dunkel, of darkness,
Hoch überm high above
Gefunkel the twinkling
Der Sterne einher. stars.

Und weinen Weeping,

Und lächeln, smiling,
Und meinen, we think
Enthoben we have soared free
Der Erde, of the earth,
Schon oben, and are already up above,
Schon drüben zu sein. on another shore.

An die Laute To the Lute

FRANZ SCHUBERT Translation © Richard Wigmore
Text: Johann Friedrich Rochlitz

Leiser, leiser, kleine Laute, Play more softly, little lute,

Flüstre, was ich dir vertraute, whisper what I secretly told you
Dort zu jenem Fenster hin! to that window there!

Wie die Wellen sanfter Lüfte Like the ripple of gentle breezes,
Mondenglanz und Blumen düfte, like moonlight and the scent of flowers,
Send es der Gebieterin! convey your secret to my mistress.

Neidisch sind der Nachbars Söhne, The neighbor’s sons are envious,
Und im Fenster jener Schöne and at the fair lady’s window
Flimmert noch ein einsam Licht. a solitary lamp flickers.

Drum noch leiser, kleine Laute: So play still more softly, little lute:
Dich vernehme die Vertraute, that my beloved may hear you,
Nachbarn aber, Nachbarn nicht! but the neighbors – no, not the neighbors!

II: Seufze still’, und sinne II: Sigh in silence and muse
Der Winterabend The Winter Evening

Alinde Alinde
FRANZ SCHUBERT Translation by Richard Stokes
Text: Johann Friedrich Rochlitz

Die Sonne sinkt ins tiefe Meer, The sun sinks into the deep ocean,
Da wollte sie kommen. she was due to come.
Geruhig trabt der Schnitter einher, Calmly the reaper walks by,
Mir ist’s beklommen. My heart is heavy.

„Hast, Schnitter, mein Liebchen nicht “Reaper, have you not seen my love?
gesehn?
Alinde! Alinde!” Alinde! Alinde!"
„Zu Weib und Kindern muß ich gehn, “I must go to my wife and children,
Kann nicht nach andern Dirnen sehn; I cannot look for other girls.
Sie warten mein unter der Linde.” They are waiting for me beneath the
linden tree.”

Der Mond betritt die Himmelsbahn, The moon entered its heavenly course
Noch will sie nicht kommen. she still does not come.
Dort legt der Fischer das Fahrzeug an, There a fisherman lands his boat.
Mir ist's beklommen. My heart is heavy.

„Hast, Fischer, mein Liebchen nicht gesehn? “Fisherman, have you not seen my love?
Alinde! Alinde!” Alinde! Alinde!”
„Muß suchen, wie mir die Reusen stehn, “I must see how my oyster baskets are,
Hab' nimmer Zeit nach Jungfern zu gehn. I never have time to chase after girls;
Schau, welch einen Fang ich finde!” look what a catch I have!”

Die lichten Sterne ziehn herauf, The bright stars appear

Noch will sie nicht kommen. she still does not come.
Dort eilt der Jäger in rüstigem Lauf. The huntsman rides swiftly along.
Mir ist's beklommen. My heart is heavy.

„Hast, Jäger, mein Liebchen nicht gesehn? “Huntsman, have you not seen my love?
Alinde! Alinde!” Alinde! Alinde!”
„Muß nach dem bräunlichen Rehbock gehn, “I must go after the brown roebuck
Hab nimmer Lust nach Mädeln zu sehn: I never care to look for girls;
Dort schleicht er im Abendwinde!” there he goes in the evening breeze!”

In schwarzer Nacht steht hier der Hain; The grove lies here in blackest night,
Noch will sie nicht kommen. she still does not come.
Von allem Lebend’gen irr' ich allein I wander alone, away from all mankind
Bang und beklommen. anxious and troubled.

„Dir, Echo, darf ich mein Leid gestehn: “To you, Echo, I can confess my sorrow:
Alinde, Alinde!” Alinde, Alinde!”
Ließ Echo leise herüberwehn; “Alinde!” came the soft echo;
Da sah' ich sie mir zur Seite stehn: then I saw her at my side.
„Du suchtest so treu: nun finde!” “You searched so faithfully. Now you find
me.”
Nachtstück Nocturne
FRANZ SCHUBERT Translation © Richard Wigmore
Text: Johann Baptist Mayrhofer

Wenn über Berge sich der Nebel breitet When the mists spread over the mountains,
Und Luna mit Gewölken kämpft, and the moon battles with the clouds,
So nimmt der Alte seine Harfe, und schreitet the old man takes his harp, and walks
Und singt waldeinwärts und gedämpft: towards the wood, quietly singing:
„Du heilge Nacht: ‘Holy night,
Bald ist’s vollbracht, soon it will be done.
Bald schlaf ich ihn, den langen Schlummer, Soon I shall sleep the long sleep
Der mich erlöst von allem Kummer.” which will free me from all grief.’

Die grünen Bäume rauschen dann: Then the green trees rustle:
„Schlaf süss, du guter, alter Mann”: ‘Sleep sweetly, good old man’;
Die Gräser lispeln wankend fort: and the swaying grasses whisper:
„Wir decken seinen Ruheort”; ‘We shall cover his resting place.’
Und mancher liebe Vogel ruft: And many a sweet bird calls:
„O lass ihn ruhn in Rasengruft!” ‘Let him rest in his grassy grave!’
Der Alte horcht, der Alte schweigt, The old man listens, the old man is silent.
Der Tod hat sich zu ihm geneigt. Death has inclined towards him.

Der Winterabend The Winter Evening

FRANZ SCHUBERT Translation by Richard Stokes
Text: Karl Gottfried von Leitner

Es ist so still, so heimlich um mich, It is so still and homely around me,

Die Sonn' ist untern, der Tag entwich. the sun has set, the day is done,
Wie schnell nun heran der Abend graut! how swiftly the evening now grows grey!
Mir ist es recht, sonst ist mir's zu laut. That suits me well, day is too loud.
Jetzt aber ist's ruhig, es hämmert kein But now all is quiet, blacksmith and plumber
Schmied,
Kein Klempner, das Volk verlief, und ist müd; hammer no more, people are tired, have
gone back
Und selbst, daß nicht raßle der Wagen Lauf, home; and the snow has even draped the
streets,
Zog Decken der Schnee durch die Gassen lest carts should rattle as they pass.
auf.

Wie tut mir so wohl der selige Frieden! This blissful peace is so good for me!
Da sitz' ich im Dunkel, ganz abgeschieden, I sit in the darkness, quite secluded,
So ganz für mich; nur der Mondenschein quite self-contained; only the moonlight
Kommt leise zu mir in's Gemach softly enters my room.
Er kennt mich schon, und läßt mich It knows me and leaves me to my silence,
schweigen,
Nimmt nur seine Arbeit, die Spindel, das just gets down to work with spindle and gold,
Gold,
Und spinnet stille, webt und lächelt hold, spins silently, weaves and smiles a sweet
smile,
Und hängt dann sein schimmerndes and then drapes its shimmering
Schleiertuch
Ringsum an Geräth und Wänden aus. veil over the chattels and walls around me.
Ist gar ein stiller, ein lieber Besuch, The moon’s a silent and much-loved guest,
Macht mir gar keine Unruh' im Haus'. who does not disturb the house at all.
Will er bleiben, so hat er Ort, If it wishes to stay, there’s room enough,
Freut's ihn nimmer, so geht er fort. if the pleasure palls, it can move on.

Ich sitze dann stumm im Fenster gern', Then I like to sit quietly by the window,
Und schaue hinauf in Gewölk' und Stern. and gaze up at the clouds and stars,
Denke zurück, ach! weit, gar weit, thinking back, so far, ah! so far
In eine schöne, verschwund'ne Zeit. to the lovely vanished past.
Denk' an Sie, an das Glück der Minne, Think of her and love’s happiness,
Seufze still', und sinne und sinne. sigh in silence and muse and muse.

An den Mond (D.296) To the Moon

FRANZ SCHUBERT Translation © Richard Wigmore
Text: Johann Wolfgang von Goethe

Füllest wieder Busch und Tal Once more you silently fill wood and vale
Still mit Nebelglanz, with your hazy gleam
Lösest endlich auch einmal and at last
Meine Seele ganz. set my soul quite free.

Breitest über mein Gefild You cast your soothing gaze

Lindernd deinen Blick, over my fields;
Wie des Freundes Auge, mild with a friend’s gentle eye
Über mein Geschick. you watch over my fate.

Ich besass es doch einmal, I possessed once

Was so köstlich ist! something so precious
Dass man doch zu seiner that, to my torment,
Qual Nimmer es vergisst. it can never now be forgotten.

Rausche, Fluss, das Tal entlang, Murmur on, river, through the valley,
Ohne Rast und Ruh, without ceasing,
Rausche, flüstre meinem Sang murmur on, whispering melodies
Melodien zu, to my song,

Wenn du in der Winternacht When on winter nights

Wütend überschwillst, you angrily overflow,
Oder um die Frühlingspracht or when you bathe the springtime splendor
Junger Knospen quillst. of the young buds.

Selig, wer sich vor der Welt Happy he who, without hatred,
Ohne Hass verschliesst, shuts himself off from the world,
Einen Freund am Busen hält holds one friend to his heart,
Und mit dem geniesst, and with him enjoys

Was, von Menschen nicht gewusst That which, unknown to

Oder nicht bedacht, and undreamt of by men,
Durch das Labyrinth der Brust wanders by night
Wandelt in der Nacht. through the labyrinth of the heart.

III: Sie heisst—die Sehnsucht! Kennt ihr III: Her name is—Longing! Do you
sie? know her?
From Schwanengesang From Swan Song
Die Taubenpost Pigeon Post
FRANZ SCHUBERT Translation © Richard Wigmore
Text: Johann Gabriel Seidl

Ich hab’ eine Brieftaub in meinem Sold, I have a carrier pigeon in my pay,
Die ist gar ergeben und treu, devoted and true;
Sie nimmt mir nie das Ziel zu kurz, she never stops short of her goal
Und fliegt auch nie vorbei. and never flies too far.

Ich sende sie vieltausendmal Each day I send her out

Auf Kundschaft täglich hinaus, a thousand times on reconnaissance,
Vorbei an manchem lieben Ort, past many a beloved spot,
Bis zu der Liebsten Haus. to my sweetheart’s house.

Dort schaut sie zum Fenster heimlich hinein, There she peeps furtively in at the window,
Belauscht ihren Blick und Schritt, observing her every look and step,
Gibt meine Grüsse scherzend ab conveys my greeting breezily,
Und nimmt die ihren mit. and brings hers back to me.

Kein Briefchen brauch’ ich zu schreiben mehr, I no longer need to write a note,
Die Träne selbst geb’ ich ihr: I can give her my very tears;
O sie verträgt sie sicher nicht, she will certainly not deliver them wrongly,
Gar eifrig dient sie mir. so eagerly does she serve me.

Bei Tag, bei Nacht, im Wachen, im Traum, Day or night, awake or dreaming,
Ihr gilt das alles gleich: it is all the same to her;
Wenn sie nur wandern, wandern kann, as long as she can roam
Dann ist sie überreich! she is richly contented.

Sie wird nicht müd’, sie wird nicht matt, She never grows tired or faint,
Der Weg ist stets ihr neu; the route is always fresh to her;
Sie braucht nicht Lockung, braucht nicht she needs no enticement or reward,
Lohn,
Die Taub’ ist so mir treu! so true is this pigeon to me.

Drum heg’ ich sie auch so treu an der Brust, I cherish her as truly in my heart,
Versichert des schönsten Gewinns; certain of the fairest prize;
Sie heisst—die Sehnsucht! Kennt ihr sie? her name is—Longing! Do you know her?
Die Botin treuen Sinns. The messenger of constancy.

100 Years of Israeli Music—Between

Folk Song and Art Song

Khalamti et Shirat Hazamir I Dreamt the Nightingale’s Song

MOSHE RAPAPORT Translation: Shakèd Bar
Text: Shaul Tchernichovsky

Khalamti et shirat hazamir, I dreamt the nightingale’s song,

Uskhok or utslalim basderot, The laughter of light, and shadows in the
trees.
Utlunat hama’ayan bekol tamir The loud complaint of the fountain,
unshikot sfataim bo’erot. And kisses of burning lips.
Khalamti einayim shamaim, I dreamt of eyes like the skies,
ma-gadlu, me-amku, ma-yafu! How wide they were, how deep and
beautiful!
Bahen nashku or vatsel arbaim, In their depths, light and dusk mingled in
a kiss,
Li tevel umlo’ah nishkafu. And there, the whole universe was
reflected.

Khalamti et shirat hazamir. I dreamt the nightingale’s song.

From Twelve Songs of the Land

Orkha bamidbar Desert Caravan
DAVID ZEHAVI Translation: Shakèd Bar
Text: Jacob Fichman

Yamin usmol rak khol vakhol Left and right, plains of sand
yatshiv midbar lelo mish’ol. the desert is yellow and pathless.

Orkha ovra, dumam na’ah A procession goes by, traveling silently

kidmut khalom sham mufla’ah. As if in a wondrous dream.

Utslil ole yored katsuv, The sound is travelling up and down,

Gmalim pos’im benof ‘atsuv. Camels are walking in a sparse landscape.

Lin-lan, lin-lan, ze shir handod, Lin-lan, lin-lan, this is the song of wanderers,
Shatok vaset—shatok uts’od. Be silent and bear it, be silent and march.

Shai A Gift
LEVI SHA’AR Translation: Shakèd Bar
Text: Rachel Bluwstein Sela

A’olel kagefen I will sprout the remains of a whisper

She’erit harakhash as a vine
Ve’eshlakh minkha lakh And will send you a gift
mizimrat libi— Of the songs of my heart—
Kol sheyad ha’etsev lo akra mishoresh, All that the hand of sorrow has not uprooted,
Shekedim haza’am lo shadaf od bi. That the wind-whirling rage has not dried
out of me.

Araped hatene I will line the basket

Zikhronot kineret, With memories of the sea of Galilee,
Vered shmei haboker The rose-pink morning sky
Ben atse hagan, Between the garden trees,
Zhav hatsohoraim The golden high noon
Bemerkhav roge’a In the calm distance
Velilakh ha’erev And the lilac of the evening
Al hare golan; On the Golan mountains;

Zekher lel hasahar The memory of the moonlit night

Al khelkat hamayim. On these waters.
Zo tru’at ha’osher This is the cry of joy
Ba’alot yamai, As my days come to an end,
Zo tru’at ha’osher This is the cry of joy
Ba ekshor hatene With which will seal the basket
Ve’eshlakh elekha— And send it to you—
Hatismakh lashai? Would you like this gift?

from Three Songs From Song of Songs

Echezu Lanu Shualim Take Us the Foxes
TZVI AVNI Translation: Verses taken from New
Text: Song of Songs (excerpts from chapter 2) International Version (NIV) Bible

Ekhezu lanu shualim, shualim ketanim, Catch for us the foxes, the little foxes,
mekhablin kramim, ukhramenu semadar. that ruin the vineyards, our vineyards
that are in bloom.

Hate’ena khanta pageha, vehagefanim The fig tree forms its early fruit; the
semadar natenu reakh. blossoming vines spread their fragrance.

Ekhezu lanu shualim… Catch for us the foxes…

Vidui Confession
ALEXANDER “SASHA” ARGOV Translation: Shakèd Bar
Text: Alexander Penn

Me’ili hapashut ufanas al vgesher, In my simple coat, under the streetlight

on the bridge,
Lel hastav usfatai halakhot mini geshem The autumn night and my lips, moist with
rain
Kakh ra’ita oti rishona, hatizkor? That is how you first saw me, do you
remember?
Vehaya li barur kemo shtayim ushtayim, And it was clear to me, as clear as daylight,
Ki eheye bishvilkha kemo lekhem umayim, That I would be your water and your bread
Ukh’el mayim velekhem elai takhazor. And as to water and bread, you shall
return to me.
Be’onyenu hamar ba’avor otkha za’am, In our bitter poverty, when you were angry,
Gam lamavet ata kilaltani lo pa’am, You wished me dead more than once,
Ukhtefai hakarot ra’adu misimkha, And my cold shoulders shivered with
happiness,
Ki haya li barur kemo shtaim ushtaim Since it was clear to me, as clear as daylight,
sheyovilu otkha biglali binkhushtaim That because of me, they will lead you
away in chains
Vegam az levavi lo yasur me’imkha. And even then, my heart will be yours.

Ken, haya ze lo tov, haya ra letif’eret, Indeed, it was not good in the slightest, it
was gloriously bad,
Aval zkhor ekh nifgashnu belel milelot. But remember how we met one night.
Im yihyeh ze shenit—al yihyeh ze akheret, If it were to happen again, may it repeat
itself,
Rak ota ahava aniyah vesoreret, Just that same love, poor and rebellious,
Im oto me’ilon ve’oto tsits havered With the same little coat with same rosebud
Be’ota hasimlah hapshuta mismalot. In the same dress, as plain as anything.
Im yihyeh ze shenit—al yihyeh ze akheret, If it were to happen again, may it repeat
itself,
yihyeh kakh, kakh yihyeh ot be’ot. It shall be, exactly the same.

Vekineti lekha uvakhoshekh aravti I protected you zealously, and lurked in

the darkness
Vesaneti lekha ve’ad dema ahavti, And hated you and loved you to tears,
Uveytenu shamam mekhiyukh umitskhok. And our home was deprived of smiles and
of laughter.
Uvshuvkha el habayit marud kemo kelev When you returned home, wretched as a
stray dog,
Elbonot shel zarim bi nakamta pi elef You avenged strangers’ insults on me
Va’eda ki khashavta alai merakhok. And I knew you thought of me from afar.
Uvalaila hahu et hitakhta badelet That night, when you were pounding on
the door
vehalakhta la’ad ve’ani noset yeled— And walked away forever, and I’m with
child—
Rak khashakh or einai, akh libi lo nishbar. The light merely extinguished in my eyes
but my heart did not break.
Ki haya li barur kemo shtaim ushtaim Because it was clear to me, as clear as
daylight,
Shetashuv od elai vetipol al birkayim That you will return and fall on your knees
va’ani befanekha abit ve’omar: And I will look into you face and say:
Ken, haya ze lo tov, haya ra letif’eret, Indeed, it was not good in the slightest, it
was gloriously bad,
Aval zkhor ekh nifgashnu belel milelot. But remember how we met one night.
Im yihyeh ze shenit—al yihyeh ze akheret, If it were to happen again, may it repeat itself,
Rak ota ahava aniyah vesoreret, Just that same love, poor and rebellious,
Im oto me’ilon ve’oto tsits havered With the same little coat with same rosebud
Be’ota hasimlah hapshuta mismalot. In the same dress, as plain as anything.
Im yihyeh ze shenit—al yihyeh ze akheret, If it were to happen again, may it repeat itself,
yihyeh kakh, kakh yihyeh ot be’ot. It shall be, exactly the same.

Dodi Li My Beloved Is Mine

NIRA CHEN Translation: NIV Bible
Arrangement: Menachem Wiesenberg
Text: Song of Songs (excerpts from
chapters 2, 3, and 4)

Dodi li va’ani lo haro’eh bashoshanim. My beloved is mine and I am his;

he browses among the lilies.
Mi zot ola min hamidbar? Who is this coming up from the wilderness?

Dodi li va’ani lo haro’eh bashoshanim. My beloved is mine and I am his;

he browses among the lilies.
You have stolen my heart, my sister, my bride;
Libavtini akhoti kala. you have stolen my heart.
My beloved is mine and I am his;
Dodi li va’ani lo haro’eh bashoshanim. he browses among the lilies.
Awake, north wind,
Uri tsafon uvo’i teman. and come, south wind!
My beloved is mine and I am his;
Dodi li va’ani lo haro’eh bashoshanim. he browses among the lilies.

Gan Na’ul You Are a Garden Locked Up

PAUL BEN-HAIM Translation: Adapted by Shakèd Bar;
Text: Song of Songs (excerpts from chapter 4) verses taken from NIV and King James
Bibles

Gan na'ul akhoti kala; gal na’ul, ma’ayan You are a garden locked up, my sister, my
khatum. bride; you are a spring enclosed, a
fountain sealed.

Ma’ayan ganim be’er mayim khaim You are a garden fountain, a well of flowing
venozlim milevanon. water streaming down from Lebanon.

Uri tsafon uvo’i teman, hafikhi gani yizlu Awake, north wind; and come, thou
bsamav; yavo dodi legano veyokhalpri south; blow upon my garden, that the
megadav. spices thereof may flow out. Let my
beloved come into his garden, and eat
his pleasant fruits.
Gan na’ul, gal na’ul, ma’ayan khatum, You are a garden locked up, you are a
akhoti kala. spring enclosed; my sister, my bride.

Hakhnissini Tachat Knafech Take Me Under Your Wing

PAUL BEN-HAIM Translation: Shakèd Bar
Text: Hayim Nahman Bialik

Hakhnissini takhat knafekh, Take me under your wing,

Vahayi li em ve’akhot, Be my mother, be my sister.
Viyhi khekekh miklat roshi, May your embrace shelter my head,
Kan-tefilotai hanidakhot. A nest for my prayers most remote.

Uve’et rakhamim, bein hashmashot, And at dusk, the hour of mercy,

Shekhi va’agal lakh sod yisurai: Stoop and I will tell you the secret of my
torments:
Omrim, yesh ba’olam ne’urim— They say there is youth in the world—
Heikhan ne’urai? Where is my youth?

Ve’od raz ekhad lakh etvade: I have one more secret to confess:
Nafshi nisrefa beahava; My soul was consumed in flames;
Omrim ahava yesh ba’olam— They say there is love in the world—
Ma zot ahava? What is love?

Hakokhavim rimo oti, The stars have tricked me,

Haya khalom—akh gam hu avar; There was a dream—but that, too, has
passed;
Ata ein li khlum ba’olam— Now, the world holds nothing for me—
Ein li davar. Nothing at all.

Hakhnissini takhat knafekh… Take me under your wing…

Be’ad Ha’eshnav Through the Lattice

NOA HARAN Translation: Shakèd Bar and Noa Haran
Text: Hadas Gilad

I. Edat Re’iya I. Witness

“Now Joseph was well-built and handsome,

and after a while his master’s wife took
notice of Joseph and said, ‘Come to bed
with me!’” (Genesis 39:6–7)

Ani eshet Potifar I am the wife of Potiphar

Kakhol larov kmoti rabot Women like me are as numerous as sand
Neshot ishim Wives of men
Nasa’iyot temanun teshuka. Carriers of an encompassing lust.
Re’u, efshar likhyot im ze behadkhaka. You see, you can push it away, keep it
Babayit pnima balevav. Indoors. In your heart.
Ela sheel tokh beti hushlakh hagets But this spark was thrown right into my
admon bo’er house, a burning kindling
Velo yakholti la’asot klum. And there was nothing I could do about it.

Kishuf akhaz bi, shmo Yosef— I was possessed by a spell, his name,
Joseph—
Nilkhash nistar bamisdronot Whispered hidden in the corridors
Yom yom—Yosef— Each day—Joseph—
Ksheme’alav efshot et or haktonet When I will take the robe off him
Pasim makbilim Parallel stripes
Eikh yipageshu How could they meet—

Bakhalomot leyli In my nocturnal dreams

Shalhavot shibolim Flames as stalks of grains
Navtu ba’akhat Have sprouted at once

Uvboker ekhad And one morning

Lo haya li ikhpat I didn’t care
Pasim, hisusim, Stripes, hesitations,
I efshar, Potifar, Not possible, Potiphar,

Ve-Yosef az khalaf, And Joseph then passed by

Meod karov elay, Very near to me

Simer et simlati And my dress bristled

Ume’atsman And by themselves
Shtey yadai— Both my hands—

Pititi oto o pita hu oti? Zot omar: hu kara li Did I seduce him or was it he who seduced
me? This I will say: he called me
Bishmi haprati. By my first name.

II. Yevava II. A Sob

“Through the window peered Sisera’s
mother; behind the lattice she cried out,
‘Why is his chariot so long in coming?
Why is the clatter of his chariots
delayed?’” (Judges 5:28)

Ata yode’a ma efshar mekhalonot You know how one can, out of windows,
Eikh efshar et hanefesh lishpokh How one can pour the soul out
Venafshi kvar shkhukha vedolefet And mine is already low and leaking
vedavka le’afar And sticking to the ground
Ve’im lo terimeha bekol pe’amav And if you shall not lift it; with the sound
of his steps
Tipol nafshi be’ad My soul will fall through

Kaasher yovad li ovad If he perishes I perish

Harim nozlim harim nozlim Dripping mountains, dripping mountains
Shma elohim— Hear oh God—
A’ale la’ola et kol koli I will burn my voice as an offering.
Shma lilkhishat em amatkha Listen to the whisper of your
maid-servant’s mother,
Shma nehamat khaya khava shma Listen to the growl of a beast, Eve, hear
Nu kvar shma Come on now, hear it

Ani mutkefet be’ahava aza velo yekhola I am seized by a consuming love and can’t
lazuz move
Or rek at be’ad ha’eshnav Empty light flies through the hatch
Lo hu od lo shav hu lo No, he has not returned yet, he didn’t
lo hu No he

Kama hezharti oto: How often I have warned him:

Sofenu ba min hazahav Gold will be the end of us
Re’eh et Avshalom akhuz bemakhelfotav See Absalom, caught by his hair
Re’eh et Shimshon ben shivre shrirav See Samson, among the wrecks of his
muscles
Kama hizharti oto How often I have warned him
Merdifat Khavlav Of chasing milk

Sofenu ba min hazahav Gold will be the end of us

Re’eh oti Look at me,
Re’eh oti Look at me
Bni Bni My son, my son
Mi yiten Muti If only I had died.

From Out of the depths have I cried

unto Thee, O Lord
Hallelujah
AHARON HARLAP
Text: Psalm 112 Translation: NIV Bible

Hallelujah. Praise the Lord.

Ashrei ish yarei et Adonai bemitzvotav Blessed are those who fear the Lord, who
khafeitz me’od. find great delight in his commands.

Gibor ba’arets yihye zar’o dor yesharim Their children will be mighty in the land;
yevorach. the generation of the upright will be
blessed.

Hon va’osher beveito vetsidkato omedet Wealth and riches are in their houses, and
la’ad. their righteousness endures forever.
Zarakh bakhoshekh or lyesharim khanun Even in darkness light dawns for the
verakhum vetsadik. upright, for those who are gracious and
compassionate and righteous.

Tov ish khonen umalveh yekhalkel dvarav Good will come to those who are generous
bemishpat. and lend freely, who conduct their affairs
with justice.

Ki le’olam lo yimot kzekher olam yihye Surely the righteous will never be shaken;
tsadik. they will be remembered forever.

Mishmu’a ra’ah lo yira nakhon libo They will have no fear of bad news; their
batuakh ba’Adonai hearts are steadfast, trusting in the Lord.

Pizer natan la’evionim tsidkato omedet They have freely scattered their gifts to the
la’ad karno tarum bekhavod. poor, their righteousness endures forever;
their horn will be lifted high in honor.

Rasha yir’eh vekha’as shinav yakhrok The wicked will see and be vexed, they
venamas ta’avat resha’im tovad. will gnash their teeth and waste away;
the longings of the wicked will come to
nothing.

Hallelujah. Praise the Lord.

Shiru l’Adonai Shir Chadash Sing Unto the Lord a New Song
Text: Psalm 98 Translation: King James Bible

Shiru l’Adonai shir khadash ki nifle’ot asa Sing unto the LORD a new song; for he
hoshi’a lo yemino uzro’a kodesho. hath done marvelous things: his right
hand, and his holy arm, hath gotten him
the victory.

Hodi’a Adonai yeshu’ato le’eynei hagoyim The LORD hath made known his salvation:
gila tsidkato. his righteousness hath he openly
shewed in the sight of the heathen.

Zakhar khasdo ve’emunato leveit Yisra’el He hath remembered his mercy and his
hari’u l’Adonai kol ha’arets. truth toward the house of Israel: all the
ends of the earth have seen the salvation
of our God.

Pitskhu veranenu vezameru. Make a joyful noise unto the LORD, all
the earth: make a loud noise, and
rejoice, and sing praise.

Hallelujah. Hallelujah.
Meet the Artists Bach’s B-minor Mass under the baton of
Ton Koopman. He recently made his pro-
fessional debut as Jim Larkens in Michigan
Opera Theatre’s production of La fanciulla
del West under the baton of Stephen Lord.
As a fellow at the Tanglewood Music
Center, he has sung Ravel’s Chansons
madécasses, Schoenberg’s arrangement
Shakèd Bar of Mahler’s Lieder eines fahrenden Gesellen,
and Junior in Bernstein’s A Quiet Place,
Jerusalem-born mezzo-soprano Shakèd and premiered works by Alan Smith and
Bar is a master of music student at Nathan Davis.
Juilliard, where she studies with Edith Toulmin Foundation Scholarship
Bers. She has sung Fiordiligi in Festival
della Valle d’Itria’s Così fan tutte with Fabio
Luisi, Poppea and Nerone in Monteverdi’s
L’incoronazione di Poppea, Dido in Purcell’s
Dido and Aeneas, Zerlina in Mozart’s Don
Giovanni, and La Grande Prêtresse and
Une Chasseresse in Rameau’s Hippolyte et
Richard Fu
Aricie. This season she sang the role of
Fillide in Handel’s Aminta e Fillide with Shanghai-born Richard Fu is studying col-
William Christie and Juilliard415 and was laborative piano at Juilliard, having previ-
the soprano soloist in Handel’s Messiah at ously attended Oxford University, Royal
Carnegie Hall with the Cecilia Chorus of College of Music (London), and Dartmouth
New York. She earned her bachelor’s College. Though he had wanted to become
degree from the Jerusalem Academy of a lawyer growing up and began as a politi-
Music and Dance. cal science major, Fu fell in love with clas-
sical music while studying abroad in Vienna
Alice Tully Scholarship, Paola Novikova and changed his focus to music. His major
Memorial Scholarship in Voice, Dr. and performances include concertos with Oxford
Mrs. Gottfried Karl Duschak Scholarship University Philharmonia and Dartmouth
Symphony Orchestra; recitals at Carnegie
Hall’s Weill Recital Hall, Alice Tully Hall,
WQXR, Sheldonian Theatre, Holywell Music
Room, St. John’s Smith Square, and Oxford
Lieder Festival; and participating in Renée
Fleming’s inaugural SongStudio workshop.
During the summer Fu enjoys attending
Dominik Belavy
festivals and has received fellowships from
Baritone Dominik Belavy is a master of Fall Island Vocal Arts Seminar, Music
music student at Juilliard, where he stud- Academy of the West, Songfest, Britten-
ied with Sanford Sylvan. At Juilliard he has Pears Young Artist Programme, and Tangle-
been in productions of Ravel’s L’enfant et wood Music Center. In 2019–20 Fu will be
les sortilèges and Haydn’s La fedeltà pre- performing with violinist Timothy Chooi on
miata and covered roles in Kát’a Kabanová, a 45-concert tour across the U.S.
Les mamelles de Tirésias, and La finta David Garvey Scholarship, Pauline and
giardiniera. With Juilliard415, he has sung Arthur Shaffer Memorial Scholarship
 programs including the Franz Schubert
Institut (Austria) and Mountain View
International Festival of Song and Chamber
Music (Calgary). At these programs she
has worked with renowned teachers and
Brownyn performers including Elly Ameling, Rudolf
Schuman Jansen, Roger Vignoles, Wolfram Rieger,
Bronwyn Schuman started her M.M. in Helmut Deutsch, and Julius Drake. In 2017
collaborative piano at Juilliard in September Schuman held a fellowship position as
2018. In April 2018 she graduated with her operatic coach and accompanist in Maine
B.M. as well as a B.A. in English literature at the Atlantic Music Festival and, in 2018,
from Ambrose University in her hometown she held a fellowship position as répétiteur
of Calgary, Alberta. In addition to her uni- in Oregon at Aquilon Music Festival.
versity education, Schuman has enjoyed Arthur Gold and Robert Fizdale Scholarship,
participating in music festivals and summer Bernard P. and Leigh M. Seder Scholarship

The Ellen and James S. Marcus Institute for Vocal Arts

One of America’s most prestigious pro- of new operas as well as works from the
grams for educating singers, The Juilliard standard repertoire.
School’s Ellen and James S. Marcus
Institute for Vocal Arts offers young artists Juilliard graduates may be heard in opera
programs tailored to their talents and houses and concert halls throughout the
needs. From bachelor and master of music world; diverse alumni artists include well-
degrees to an advanced artist diploma in known performers such as Simon Estes,
opera studies, Juilliard provides frequent Renée Fleming, Leontyne Price, Risë
performance opportunities featuring singers Stevens, Tatiana Troyanos, and Shirley
in its own recital halls, on Lincoln Center’s Verrett. Recent alumni include Paul Appleby,
stages, and around New York City. Juilliard Sasha Cooke, Isabel Leonard, Erin Morley,
Opera has presented numerous premieres Susanna Phillips, and Julia Bullock.

Ellen and James S. Marcus Institute for Vocal Arts

Brian Zeger, Artistic Director
Monica Thakkar, Director, Performance Activities
Kirstin Ek, Director, Curriculum and Schedules
Emily Wells, Associate Director
Andrew Gaines, Production Administrator
Po Chan, Projects Administrator, Curriculum
Kiara Walker, Schedule and Program Coordinator
Ari Bell, Vocal Arts Administrative Apprentice

Voice Faculty
Edith Bers Marlena K. Malas Edith Wiens
William Burden Robert White
Cynthia Hoffmann Robert C. White Jr. Sanford Sylvan, In Memoriam
Ellen and James S. Marcus Institute for Vocal Arts Faculty
Stefano Baldasseroni Kenneth Merrill Eve Shapiro, Dramatic Advisor
Marianne Barrett David Moody, Chorus Master for Artist Diploma in Opera
Edward Berkeley Glenn Morton Studies
Mary Birnbaum, Associate Nils Neubert Jeanne Slater
Director of Artist Diploma in Adam Nielsen Avi Stein
Opera Studies Donald Palumbo Cameron Stowe
Steven Blier David Paul, Dramatic Advisor for Stephen Wadsworth, James S.
Corradina Caporello Master of Music and Graduate Marcus Faculty Fellow,
Robert Cowart Diploma Director of Artist Diploma in
Alexandra Day J.J. Penna Opera Studies
Cori Ellison Diane Richardson, Principal Gary Thor Wedow
John Giampietro Coach and Music Advisor for Reed Woodhouse, Music
Bénédicte Jourdois Artist Diploma in Opera Advisor for Master of Music
Natalia Katyukova Studies and Graduate Diploma
Kathryn LaBouff Lauren Schiff Brian Zeger, Artistic Director
Gina Levinson

2018–19 Ellen and James S. Marcus Institute for Vocal Arts Fellows
Nikolay Verevkin, Piano
Michał Biel, Piano
Jeffrey Lamont Page, Opera Directing
BOARD OF TRUSTEES Jazz
Wynton Marsalis, Director of Juilliard Jazz
Bruce Kovner, Chair Aaron Flagg, Chair and Associate Director
J. Christopher Kojima, Vice Chair
Katheryn C. Patterson, Vice Chair Ellen and James S. Marcus Institute for Vocal Arts
Julie Anne Choi Ellen Marcus Brian Zeger, Artistic Director
Kent A. Clark Greg Margolies Kirstin Ek, Director of Curriculum and Schedules
Kenneth S. Davidson Nancy A. Marks Monica Thakkar, Director of Performance Activities
Barbara G. Fleischman Stephanie Palmer McClelland
Keith R. Gollust Christina McInerney Lila Acheson Wallace Library and Doctoral Fellows Program
Mary Graham Lester S. Morse Jr. Jane Gottlieb, Vice President for Library and Information Resources;
Joan W. Harris Stephen A. Novick Director of the C.V. Starr Doctoral Fellows Program
Matt Jacobson Susan W. Rose Jeni Dahmus Farah, Director, Archives
Edward E. Johnson Jr. Jeffrey Seller Alan Klein, Director of Library Technical Services
Karen M. Levy Deborah Simon
Teresa E. Lindsay Sarah Billinghurst Solomon Pre-College Division
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Michael Loeb Yael Taqqu Ekaterina Lawson, Director of Admissions and Academic Affairs
Vincent A. Mai Damian Woetzel Anna Royzman, Director of Performance Activities

Evening Division
Danielle La Senna, Director
TRUSTEES EMERITI
Enrollment Management and Student Development
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Initiatives
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JUILLIARD COUNCIL Tina Gonzalez, Director of Financial Aid
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EXECUTIVE OFFICERS Rebecca Vaccarelli, Director of Alumni Relations
AND SENIOR ADMINISTRATION
Public Affairs
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Office of the Provost and Dean Office of the Chief Operating Officer and Corporate Secretary
Ara Guzelimian, Provost and Dean Lesley Rosenthal, Chief Operating Officer and Corporate Secretary
José García-León, Dean of Academic Affairs and Assessment Christine Todd, Vice President and CFO
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Administration and Law
Music Division Maurice F. Edelson, Vice President for Administration and General
Adam Meyer, Director, Music Division, and Deputy Dean of the Counsel
College Myung Kang-Huneke, Deputy General Counsel
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Operations Caryn G. Doktor, Director of Human Resources
Adam Gagan, Director of Security
Historical Performance Helen Taynton, Director of Apprentice Program
Robert Mealy, Director
Benjamin D. Sosland, Administrative Director; Assistant Dean for
the Kovner Fellowships