National Association of Teachers of
Singing
Founded and incorporated in 1944
The North Carolina Chapter
Dr. Priscilla Porterfield, Governor
Dr. John Blizzard, President Barbara Ann Peters, Vice-President
Elizabeth LaBelle, Secretary Sharon Szymanski, Treasurer
and the
University of North Carolina at Greensboro
School of Music
present
Tally Time Recital
Saturday, February 18, 2006
3:15 pm
Recital Hall, School of Music
Program
Herbstlied, Op. 63, No. 4 Felix Mendelssohn
(1809-1947)
Sull’aria from Le nozze di Figaro Wolfgang Amadeus Mozart
(1756-1791)
Ellen Linton, soprano
Nancy Walker, soprano
James Douglass, piano
À Chloris Reynaldo Hahn
(1875-1947)
Phidylé Henri Duparc
(1848-1933)
Robert Bracey, tenor
James Douglass, piano
Don Quichotte à Dulcinée Maurice Ravel
Chanson Romanesque (1875-1937)
Chanson épique
Chanson à boire
Robert Wells, baritone
James Douglass, piano
from The Tender Land Aaron Copland
Once I thought I’d never grow… (1900-1990)
The world seems still tonight…
Julie Celona-Van Gorden, soprano
Daniel Hinson, tenor
James Douglass, piano
Will there really be a morning? Richard Hundley
(b. 1931)
Good-bye, World Lee Hoiby
The Serpent (b. 1926)
Carla LeFevre, soprano
Andrew Willis, piano
from Liebeslieder Walzer, Op. 52 Johannes Brahms
Rede, Mädchen, allzu liebes (1833-1897)
Am Gesteine rauscht die Flut
O die Frauen
Wie des Abends schöne Röte
Wenn so lind dein Auge mir
Am Donaustrande
O wie sanft die Quelle
Nein, es ist nicht auszukommen
Nancy Walker, soprano
Levone Tobin Scott, mezzo-soprano
Robert Bracey, tenor
Robert Wells, baritone
Andrew Willis and James Douglass, piano
Felix Mendelssohn
Herbstlied
Text by Karl Klingemann (1798-1862)
Ach, wie so bald verhallet der Reigen,
Wandelt sich Frühling in Winterzeit!
Ach, wie so bald in trauerndes Schweigen
Wandelt sich alle der Fröhlichkeit!
Bald sind die letzten Klänge verflogen!
Bald sind die letzten Sänger gezogen!
Bald ist das letzte Grün dahin!
Alle sie wollen heimwärts ziehn!
Ach, wie so bald verhallet der Reigen,
Wandelt sich Lust in sehnendes Leid.
Wart ihr ein Traum, ihr Liebesgedanken?
Süß wie der Lenz und schnell verweht?
Eines, nur eines will nimmer wanken:
Es ist das Sehnen, das nimmer vergeht.
Ach, wie so bald verhallet der Reigen!
Ach, wie so bald in trauerndes Schweigen
Wandelt sich alle die Fröhlichkeit!
Wolfgang Amadeus Mozart
Sull’aria (from Le nozze di Figaro)
Canzonetta sull’aria
Che soave zefiretto,
Questa sera spirerà,
Sotto i pini del boschetto,
Ei già il resto capirà,
Certo, certo il capirà.
Reynaldo Hahn
À Chloris
Text by Théophile de Viau (1590-1626)
S’il est vrai, Chloris, que tu m’aimes,
Mais j’entends que tu m’aimes bien,
Je ne crois pas que les rois mêmes
Aient un bonheur pareil au mien.
Que la mort serait importune
À venir changer ma fortune
Pour la félicité des cieux!
Tout ce qu’on dit de l’ambroisie
Ne touche point ma fantaisie
Au prix des grâces de tes yeux.
Autumn Song
Oh, how soon the cycle ends,
Spring turns into wintertime!
Oh how soon all happiness
Turns to sad silence!
The last sounds soon fade!
The last songbirds are soon flown!
The last green is soon gone!
They all want to return home!
Oh, how soon the cycle ends,
Merriness turns to longing sorrow.
Were you a dream, you thoughts of love?
Sweet as spring and fast disappearing?
Only one thing will never wane:
The longing that never goes.
Ah, how soon the cycle ends!
Oh how soon all happiness
Turns to sad silence!
A little song on the breeze,
What a gentle little zephyr
Will whisper this evening,
Beneath the pines in the grove,
And he’ll understand the rest,
Certainly, he will understand the rest.
To Chloris
If it be true, Chloris, that you love me,
And I’m told you love me dearly,
I do not believe that even kings
Can match the happiness I know.
Even death would be powerless
To alter my fortune
With the promise of heavenly bliss!
All that they say of ambrosia
Does not stir my imagination
Like the favour of your eyes!
Henri Duparc
Phidylé
Text by Charles-Marie-René Leconte de Lisle
(1818-1894)
L’herbe est molle au sommeil sous les frais
peupliers, aux pentes des sources moussues
Qui, dans les prés en fleur germant
par mille issues,
Se perdent sous les noirs halliers.
Repose, ô Phidylé! Midi sur les feuillages
Rayonne, et t’invite au sommeil.
Par le trèfle et le thym, seules, en plein soleil,
Chantent les abeilles volages.
Un chaud parfum circule au détour des
sentiers; la rouge fleur des blés s’incline;
Et les oiseaux, rasant de l’aile la colline,
Cherchent l’ombre des églantiers.
Mais quand l’Astre, incliné sur sa courbe
éclatante, verra ses ardeurs s’apaiser
Que ton plus beau sourire
et ton meilleur baiser
Me récompensent de l’attente!
Maurice Ravel
Don Quichotte à Dulcinée
Text by Paul Morand (1888-1976)
Chanson Romanesque
Si vous me disiez que la terre
À tant tourner vous offensa,
Je lui dépêcherais Pança:
Vous la verriez fixe et se taire.
Si vous me disiez que l’ennui
Vous vient du ciel trop fleuri d’astres,
Déchirant les divins cadastres,
Je faucherais d’un coup la nuit.
Si vous me disiez que l’espace
Ainsi vidé ne vous plaît point,
Chevalier dieu, la lance au poing,
J’étoilerais le vent qui passe.
Mais si vous disiez que mon sang
Est plus à moi qu’à vous ma Dame,
Je blêmirais dessous le blâme
Et je mourrais, vous bénissant.
Ô Dulcinée
Phidylé
The grass is soft for sleep beneath the cool
poplars on the banks of the mossy springs
That flow in flowering meadows from a
thousand sources,
And vanish beneath the dark thickets.
Rest, O Phidylé! Noon on the leaves
Is gleaming, inviting you to sleep.
By the clover and thyme, alone, in the bright
sunlight, the fickle bees are humming.
A warm fragrance floats about the winding
paths, the red flowers of the cornfield droop;
And the birds, skimming the hillside
with their wings,
Seek the shade of the eglantine.
But when the sun, low on its dazzling curve,
Sees its brilliance wane,
Let your loveliest smile and finest kiss
Reward me for my waiting!
Don Quichotte to Dulcinea
Romantic song
Were you to tell me that the earth
Offended you with so much turning,
I would dispatch Panza to deal with it:
You would see it still and silenced.
Were you to tell me that you are wearied
By a sky too studded with stars –
Tearing the divine order asunder,
I’d scythe the night with a single blow.
Were you to tell me that space itself,
Thus made empty was not to your taste –
As a god-like knight, with lance in hand,
I’d sow the fleeting wind with stars.
But were you to tell me that my blood
Is more mine, my Lady, than your own,
I’d pale at the admonishment
And, blessing you, would die.
O Dulcinea.
Chanson épique
Bon Saint Michel qui me donnez loisir
De voir ma Dame et de l’entendre,
Bon Saint Michel qui me daignez choisir
Pour lui complaire et la défendre,
Bon Saint Michel, veuillez descendre
Avec Saint Georges sur l’autel
De la Madone au bleu mantel.
D’un rayon du ciel bénissez ma lame
Et son égale en pureté
Et son égale en piété
Comme en pudeur et chasteté: Ma Dame.
Ô grands Saint Georges et Saint Michel
L’ange qui vielle sur ma veille,
Ma douce Dame si pareille
À vous, Madone au bleu mantel!
Amen.
Chanson à boire
Foin du bâtard, illustre Dame,
Qui pour me perdre à vos doux yeux
Dit que l’amour et le vin vieux
Mettent en deuil mon coeur, mon âme!
Je bois à la joie!
La joie est le seul but où je vais drois…
Lorsque j’ai…bu!
Foin du jaloux, brune maîtresse,
Qui geind, qui pleure et fait serment
D’être toujours ce pâle amant
Qui met de l’eau dans son ivresse!
Je bois à la joie!
La joie est le seul but où je vais drois…
Lorsque j’ai…bu!
Johannes Brahms
Liebeslieder Walzer, Op. 52
Text by Georg Friedrich Daumer (1800-1875)
1. Rede, Mädchen, allzu liebes
Rede, Mädchen, allzu liebes
Das mir in die Brust, die kühle
Hat geschleudert mit dem Blicke
Diese wilden Glutgefühle!
Willst du nicht dein Herz erweichen,
Willst du, eine Überfromme,
Rasten ohne traute Wonne,
Oder willst du, daß ich komme?
Rasten ohne traute Wonne
Nicht so bitter will ich büßen
Epic song
Good Saint Michael who gives me leave
To behold and hear my Lady,
Good Saint Michael who deigns to elect me
To please her and defend her,
Good Saint Michael, descend, I pray
With Saint George onto the altar
Of the Madonna robed in blue.
With a heavenly beam bless my blade
And its equal in purity
And its equal in piety
As in modesty and chastity: My Lady.
O great Saint George and great Saint Michael
Bless the angel watching over my vigil,
My sweet Lady, so like unto Thee,
O Madonna robed in blue!
Amen.
Drinking song
A pox on the bastard, illustrious Lady,
Who to discredit me in your sweet eyes,
Says that love and old wine
Are saddening my heart and soul!
I drink to joy!
Joy is the only goal to which I go straight…
When I am…drunk!
A pox on the jealous wretch, O dusky mistress,
Who whines and weeps and vows
Always to be this lily-livered lover
Who dilutes his drunkenness!
I drink to joy!
Joy is the only goal to which I go straight…
When I am…drunk!
Love Song Walzes
Speak, maiden, whom I love all too much,
Who hurled into my once aloof heart,
With only a glance,
These wild, ardent feelings!
Will you not soften your heart?
Do you wish to be chaste,
Remain without sweet bliss,
Or do you want me to come to you?
To remain without sweet bliss –
I would never make such bitter penance.
Komme nur, du schwartzes Auge,
Komme wenn die Sterne grüßen.
2. Am Gesteine rauscht die Flut
Am Gesteine rauscht die Flut
Heftig angetrieben;
Wer da nicht zu seufzen weiß,
Lernt es unterm Lieben.
3. O die Frauen
O die Frauen, o die Frauen,
Wie sie Wonne, Wonne tauen!
Wäre lang ein Mönch geworden,
Wären nicht die Frauen!
4. Wie des Abends schöne Röte
Wie des Abends schöne Röte
Möcht ich arme Dirne glühn,
Einem zu Gefallen
Sonder Ende Wonne sprühn.
8. Wenn so lind dein Auge mir
Wenn so lind dein Auge mir
Und so lieblich schauet,
Jede letzte Trübe flieht,
Welche mich umgrauet.
Dieser Liebe schöne Glut,
Laß sie nicht verstieben!
Nimmer wird, wie ich
So treu Dich ein andrer lieben.
9. Am Donaustrande
Am Donaustrande,
Da steht ein Haus,
Da schaut ein rosiges Mädchen aus.
Das Mädchen ist wohl gut gehegt,
Zehn eiserne Riegel sind vor die Türe gelegt.
Zehn eiserne Riegel das ist en Spaß;
Die spreng ich als wären sie nur von Glas.
10. O wie sanft die Quelle
O wie sanft die Quelle sich
Durch die Wiese windet!
O wie schön, wenn Liebe sich
Zu der Liebe findet!
11. Nein, es ist nicht auszukommen
Nein, es ist nicht auszukommen mit den
Leuten;
Alles wissen sie so giftig auszudeuten!
Bin ich heiter, hegen soll ich lose Triebe;
Bin ich still, so heißt’s, ich ware irr aus Liebe.
So come, dark-eyed one,
Come when the stars greet you.
Against the stones, the stream rushes,
Powerfully driven;
Those who do not know to sigh there,
Will learn it when they fall in love.
Oh women, oh women!
How they melt one with bliss!
I would have become a monk long ago
Were it not for women!
Like the evening’s lovely red,
Would I, a poor maiden, like to glow,
To please one, one boy –
And then to radiate bliss forever.
When your eyes look at me so gently
And so lovingly,
You chase away every last anxiety
That troubles my life.
The lovely glow of this love –
Do not let it disappear!
No one else will ever love you
As faithfully as I.
On the banks of the Danube,
There stands a house,
And looking out of it is a pink-cheeked maiden.
The maiden is well-protected
Ten iron bolts have been placed on the door.
Ten iron bolts are but a joke;
I will snap them as if they were only glass.
Oh, how gently the stream
Winds through the meadow!
Oh how lovely it is
When Love finds Love!
No, there is just no getting along with people!
They always interpret things so maliciously!
If I am merry, they say I cherish loose urges;
If I am quiet, they say I am crazed with love.
Robert Bracey, tenor, Associate Professor, holds a BM in Music Education from Michigan State
University, a MM and a DMA in Voice Performance from the University of Michigan. He previously
taught on the faculties at Bowling Green State University and Michigan State University, where he
served as the Chair of the Voice Area. He also taught on the voice faculty of the Michigan All-
State program at the Interlochen Arts Camp for twelve summers. His former students are active
public school music teachers, university professors, and professional concert and opera singers.
They have been successful in numerous competitive arenas across the US. Dr. Bracey was
awarded first place in the 2002 Oratorio Society of New York’s International Solo Competition at
Carnegie Hall. He returned to Carnegie Hall for performances of Handel: Messiah later that year.
In 1999, he made his Detroit Symphony debut at Orchestra Hall and in 1994, his Kennedy Center
debut in Washington, DC with the Choral Arts Society of Washington. A Regional Finalist in the
New York Metropolitan Opera Auditions, he also won first place in the NATS Regional
Competition where he received the Jessye Norman Award for the most outstanding soloist at the
competition. Most recent highlights include performances with the Telemann Chamber Orchestra
in Tokyo and Osaka, Japan, Oratorio Society of New York, Wisconsin Chamber Orchestra,
Independence (MO) Messiah Festival, Grand Rapids Symphony, Boise Philharmonic, Pacific
Symphony (CA), Orlando Philharmonic, Choral Arts Society of Washington, ProMusica Chamber
Orchestra, Wichita Symphony, Southwest Florida Symphony, North Carolina Symphony, Duluth-
Superior Symphony, Duke University Chapel Choir, Ann Arbor Symphony, Greater Lansing
Symphony, and the Kalamazoo Bach Festival. Engagements for the 2005-2006 season include
return appearances in Osaka and Tokyo, Japan to perform Bach: Christmas Oratorio and Handel:
Messiah, Mendelssohn: Elijah with the Bach Festival Society of Winter Park, Handel: Messiah
with the Wisconsin Chamber Orchestra, Verdi: Requiem with the Wichita Symphony, Mozart:
Mass in C minor and Mozart: Coronation Mass with the Dayton Philharmonic, Beethoven:
Symphony No. 9 with the Elgin Symphony, Mozart: Requiem with the Walla Walla Symphony and
Liszt: Faust Symphony with the North Carolina Symphony. Centaur Records will release Dr.
Bracey’s first solo compact disc in 2005. The recording of English art songs also features UNCG
faculty Andrew Harley, piano and Scott Rawls, viola.
Julie Celona-VanGorden is an award-winning lyric coloratura soprano and is currently pursuing
her DMA in Vocal Performance at UNCG. Last spring she sang the title role in UNCG Opera
Theatre's production of Lakmé. Originally from upstate New York, Ms. Celona-VanGorden has
sung other roles including Anna Gomez in The Consul, Venus in Orpheus in the Underworld,
Una Cantante in La Rondine, as well as Anne Bronte in the world premiere of How Clear She
Shines by Linda Lister. Along with singing in the ensemble in several local opera productions, her
oratorio experience includes Handel's Messiah, both the Mozart and Rutter Requiem and, most
recently, the Mozart Great Mass in C Minor with the Choral Society of Greensboro. In 2005 Ms.
Celona-VanGorden placed second in the Charlotte Opera Guild Vocal Competition and third in
the first annual Charles Lynam Competition. Ms Celona-VanGorden is a voice instructor at Elon
University and at the Music Academy of North Carolina where she is also the chair of the voice
department.
James Douglass received his first degrees in piano performance from the University of Alabama
and subsequently earned a DMA in Keyboard Collaborative Arts from the University of Southern
California. He has served on the faculties of Mississippi College, Occidental College (Los
Angeles), the University of Southern California, and Middle Tennessee State University and in
2004 began teaching in the AIMS program in Graz, Austria as a coach in the Lieder Studio and
the instructor of collaborative piano. As a collaborative pianist he has performed across the
United States and in Europe and has been heard on public radio and television broadcasts in Los
Angeles, New Orleans, Nashville, Mississippi, and Alabama, as well as the Welsh National
Television in Great Britain. Dr. Douglass joins the faculty of UNCG this year as assistant
professor of collaborative piano and vocal coach.
Daniel Ross Hinson is a Doctoral student in the at UNCG and studies voice with Dr. Carla
LeFevre. At UNCG he has appeared as Ralph Rackstraw in H.M.S. Pinafore, and will sing the
roles of Rinuccio in Gianni Schicchi, and Martin in The Tender Land later this spring. While an
undergraduate at UNC - Chapel Hill, where he studied voice with Stafford Wing, Daniel performed
the title role in Albert Herring, and the Grand Consul in the North Carolina premiere of Robert
Moran’s From the Towers of the Moon. At the Eastman School of Music, where he received his
MMus, Daniel sang the roles of Little Bat in Susannah, The Beadle in Sweeney Todd, and Ronald
Dupre in the world premiere of Charles Strouse’s West. Other roles include Hubert in Student
Prince (Central City Opera), and Gastone in La Traviata (Brevard Music Center). Daniel is a
recipient of the Jack Kent Cooke Foundation graduate scholarship and has also been featured on
the WQXR (NYC) Young Artist Showcase.
Carla LeFevre holds the BMEd in voice and horn from Central Missouri State University and MA
and DMA degrees in performance and pedagogy from the University of Iowa. She has performed
extensively in oratorios and operas, including leading roles in The Magic Flute, La Boheme, The
Turn of the Screw, and Handel's Agrippina, which she performed at the Festival di Musica Antica
in Urbino, Italy, and the Classical Music Seminar in Eisenstadt, Austria. An active recitalist,
LeFevre was selected as the 1991 National Winner of the Gertrude Fogelson Cultural and
Creative Arts Vocal Competition and has also been a national finalist in both the National
Federation of Music Clubs Young Artist Competition and the National Opera Association Vocal
Competition. In addition to her teaching and performing experience, she has served as a
consultant for the Peoria Ear, Nose, and Throat Clinic, assisting in the diagnosis and treatment of
voice disorders.
Ellen Linton holds the BM degree from Oberlin College, the MM from the New England
Conservatory, and studied at the Akademie fur Musik und darstellende Kunst (Mozarteum) in
Salzburg, Austria. She received a grant from the National Endowment for the Humanities for
advanced graduate study at the University of Minnesota and has done interdisciplinary study at
Reynolda House. Linton has worked with such coaches and teachers as Gladys Miller, Re Koster,
Gerard Souzay, Dalton Baldwin, and Boris Goldovsky. At UNCG, she teaches history of art song
and French and German Diction for singers, as well as studio voice. She has performed
extensively in opera, oratorio, and recital, and is a former state governor for the National
Association of Teachers of Singing.
Levone Tobin Scott, mezzo soprano, has been a member of the faculty since 1992. She holds
degrees from Benedict College and the University of South Carolina and has done further study
for the DM degree at Florida State University in Tallahassee. Tobin-Scott has been recognized for
her excellence in performance of American Art Songs by Pi Kappa Lambda, the South Carolina
Musical Arts Guild, the Nassau, Bahamas, Cultural Arts Series and the Nederland Amerika
Institut Limburg. Her extensive performances in recital and oratorio have included appearances
with the Greensboro Symphony, the Winston-Salem Piedmont Triad Symphony, the Pensacola
Symphony, the Columbia Philharmonic and the Florence Symphony. Her performances have
taken her to Paris, Bruges, Brussels, Maastricht, Luxembourg, and Frankfurt.
Dr. Nancy Walker is heard frequently in recitals and oratorios and has performed in Carnegie
Hall Recital Hall in New York City and at the Lincoln Center in Washington D.C. She and
husband Timothy Lindeman recently gave recitals in Munich, Germany and Florence, Italy.
Nancy was a national finalist in the National Association of Teachers of Singing (NATS) Artists
Awards and has served as the Regional Governor of the Mid-Atlantic Chapter of NATS. Her
B.M.E. degree is from Hastings College in Nebraska and she taught in the public schools there
before earning the M.M. from the University of Colorado in Boulder and the D.M. from Indiana
University. At UNCG, Dr. Walker teaches voice performance studies and was the chair of the
Vocal Studies Division from 1993 to 2001. She spent the fall semester of 1998 in Munich,
Germany having received a Fulbright grant to study the songs of German composer Josephine
Lang. Most recently, she spent a year in Munich researching German voice teaching methods.
Robert Wells is currently Assistant Professor of Voice and teaches studio voice and vocal
pedagogy. He also serves on the faculty of the Schlern International Music Festival in Voels am
Schlern, Italy. He holds the BM in Voice from the State University of New York College at
Fredonia, received the MM in Voice, and is currently completing the DMA degree program at the
University of Cincinnati College-Conservatory of Music. A frequent recitalist and collaborative
artist, Wells has also enjoyed an active performance career in both oratorio and opera in New
York State and the Midwest, and his performances have taken him to Great Britain and Europe.
He has sung leading roles in Le Nozze di Figaro, Così fan tutte, and Albert Herring and has
appeared as baritone soloist in such works as Benjamin Britten's War Requiem, Mendelssohn's
Elijah, and the St. John Passion of J. S. Bach. An active choral conductor, Wells served as
Director of the Fredonia College Choir and was recognized for his work with numerous
professional and community choral organizations in Western New York. Wells formerly served on
the faculty at the State University of New York College at Fredonia, where he was Co-Chair of the
Voice Faculty and was a sought-after clinician and adjudicator.
Andrew Willis is recognized for his performances on historical and modern pianos in the United
States and abroad. He has recorded a wide variety of solo and chamber repertoire for Claves,
Albany, Centaur, Newport Classics, and CRI records. The New York Times called his recording
of Beethoven’s Op. 106 “a ‘Hammerklavier’ of rare stature.” At UNCG, where he joined the piano
faculty in 1994, Willis serves as Artistic Director of the biennial Focus on Piano Literature, at
which he premiered Martin Amlin’s Sonata No. 7 in 2000. Willis holds the BM in Piano from The
Curtis Institute of Music, where he studied with Mieczyslaw Horszowski, the MM in Accompanying
from Temple University, where he studied with George Sementovsky and Lambert Orkis, and the
DMA in Historical Performance from Cornell University, where he studied with Malcolm Bilson.
For a number of years, his multifaceted musical career was based in Philadelphia, where he
served as keyboardist of The Philadelphia Orchestra for several seasons. He has also taught at
several colleges and universities and at Tanglewood.
UNCG University Archives
