The Sixty-third Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery of Art

2,504th Concert

Music Department

National Gallery of Art

Sixth Street and Constitution Avenue nw

Washington, dc

Mailing address

2000B South Club Drive

Landover, md 20785

Alessandra Marc, soprano

David Chapman, pianist

October 10, 2004

Sunday Evening, 6:30 pm 

West Building, West Garden Court

Admission free

www.nga.gov
For the convenience of concertgoers

the Garden Cafe remains open until 6:oo pm.

The use of cameras or recording equipment during the

performance is not allowed. Please be sure that cell phones,

pagers, and other electronic devices are turned off.

Please note that concerts now begin at 6:30 pm.

Late entry or reentry after 6:30 pm is not permitted.

2,504th Concert

October 10, 2004, 6:30 pm

Ludwig van Beethoven (1770-1827)

Scene: “Ah! Perfido”

Opus 65 (1796)

Alban Berg (1885-1935)

Seven Early Songs (1905-1908)

Nacht

Schilflied

Die Nachtigall

Traumgekront

Im Zimmer

Liebesode

Sommertage

Giacomo Puccini (1858-1924)

“Vissi d’arte” from “Tosca” (1900)

Intermission

George Gershwin (1898-1937)

Can’t help lovin’ dat man

Someone to Watch over Me

Richard Rodgers (1902-1979)

“Climb Every Mountain” from “The Sound of Music” (1959)

Carlisle Floyd (b. 1926)

“Trees on the Mountain” from “Susannah” (1954)

Spirituals

Swing Low, Sweet Chariot

Guide My Feet

Ride on, King Jesus

Gershwin

“My Man’s Gone Now” from “Porgy and Bess” (1935)
The Musicians

ALESSANDRA MARC

“Une etoile est nee (A Star Is Bom),” headlined Le Figaro (Paris). The

New Yorker proclaimed: “an instrument of unsurpassed beauty and

impact and perhaps the richest, fullest, most beautiful big soprano voice

around.” Such accolades have been and continue to be a staple in the

career ofthe outstanding American soprano Alessandra Marc. A frequent guest ofthe world’s leading opera houses and orchestras, she collaborates with the most eminent conductors of our time, including

Daniel Barenboim, Sir Georg Solti, Zubin Mehta, Christian Thielemann,

Michael Tilson Thomas, Riccardo Chailly, Seiji Ozawa, Christoph von

Dohnanyi, Christoph Eschenbach, Sir Colin Davis, Charles Dutoit, Edo

de Waart, Lorin Maazel, Marek Janowski, Kent Nagano, Heinz Fricke,

Leif Segerstam, Andreas Delfs, Franz Welser-Most, Daniele Gatti,

Sebastian Weigle, Mariss Jansons, Esa Pekka Salonen, James Conlon, 

and Gerard Schwarz. Marc collaborated most frequently with the late 

Giuseppe Sinopoli, and she was called upon to sing at his funeral mass

in Rome in April 2001. Her Metropolitan Opera debut saw her in the

title role of Aida, which she has also sung at the Lyric Opera of Chicago, 

the San Francisco Opera, and the Vienna State Opera.

The 2000-2001 season began with Alessandra Marc’s triumphant

return to the Metropolitan Opera. Of her opening night performance as

Turandot, the New York Times reported: “She displayed burnished tone

and enormous volume, especially in climactic phrases that soar above the

orchestra and chorus.” She repeated the role at the Kennedy Center in

Washington, D.C., in her debut at the Teatro alia Scala, and with the

Danish Radio Orchestra. In 2004 she performed it at the Festival Casals

in televised concert performances, and she will sing in staged productions of Turandot in 2005 and 2006 in Lisbon, Barcelona, Florence, and

Tokyo. Other highlights ofthe upcoming seasons will include solo

appearances with the Seattle Symphony, the Milwaukee Symphony, at 

George Mason University, and in recital at Tokyo’s Suntory Hall.

Alessandra Marc’s discography is equally impressive. Delos Records

issued her first aria recital recording, American Diva, and her many

releases include four on the Teldec label: Schoenberg’s Erwartung, Berg’s

Altenberg Lieder and Lulu Suite, with Sinopoli and the Dresden Staatskapelle, and the final scene of Richard Strauss’ Salome with the North

German Radio Orchestra. Her most recent recordings are Albeniz’ Henry

Clifford on the Decca label (2003); a complete Turandot, recorded by the

Regional Opera Company of Bilbao, Spain; and an Opera Gala with

Andrew Litton and the Dallas Symphony Orchestra on the Delos label.

This concert marks Alessandra Marc’s fourth appearance at the National

Gallery. Her debut recital at the Gallery occurred in January 1991, and

her second appearance came just two months later, when she stepped in

at the last minute for the ailing Arleen Auger to sing Richard Strauss’

Four Last Songs with the National Gallery Orchestra under George Manos. 

The concert was a critically acclaimed triumph and a fitting observation

of both the 50th anniversary ofthe founding ofthe Gallery and its 

2,000th Sunday concert on March 17, 1991.

3
DAVID CHAPMAN

David Chapman, a native Californian, holds degrees and performance

diplomas in piano from the Peabody Conservatory and the Eastman

School of Music in Rochester, New York, where he was concerto soloist

and served as opera coach in both conservatories. He was awarded a

Fulbright grant in solo piano performance and spent two years in

Germany. He remained in Europe for a total of eleven years, during

which time he performed recitals in Austria, Italy, Switzerland,

Denmark, Hungary, and Germany under contract to Steiner, Weylach,

and Schulte concert managements. Chapman has recorded for the

Siiddeutscher Rundfunk in Stuttgart and the Westdeutscher Rundfunk

in Cologne and has appeared on German television with the worldrenowned soprano Felicia Weathers. He has played in master classes

for Martina Arroyo, Evelyn Lear, Felicia Weathers, Hans Hotter, and

Elisabeth Schwarzkopf.

Chapman studied orchestral conducting with George Cleve and choral

conducting with Charlene Archibeque. For six years he conducted and

arranged music for ensembles that toured throughout Germany with

soloist Felicia Weathers. He coached for three years at the International

Bach Academy in Stuttgart under Helmut Rilling, performed in several

Stuttgart Ballet premieres, and worked as pianist in collaboration with 

Fernando Bujones ofthe American Ballet Theater. Chapman began teaching vocalists in 1990. Since then he has given voice master classes at the

University of Oklahoma, the University of Nebraska, the Sichuan

4

Conservatory in Cheng-du, China, the Pedagogical University of Beijing,

and the Moscow Conservatory. David Chapman is a founding member of

Vocal Arts International (vai), a group dedicated to establishing a network

of cultural exchanges with singers of other countries in which American

and foreign artists perform, teach master classes, and exchange information, both at home and abroad. He is a member ofthe Friday Morning

Music Club and the National Association ofTeachers of Singing (nats).
Liebesode

Otto Erich Hartleben (1864-1905)

Im Arm der Liebe schliefen wir

selig ein,

Am offnen Fenster lauschte der

Sommerwind,

Und unsrer Atemziige Frieden

trug er hinaus in die helle

Mondnacht.

Und aus dem Garen tastete

zagend sich ein Rosenduft an

unserer Liebe Bett

Und gab uns wundervolle 

Traume,

Traume des Rausches, so reich an

Selmsucht.

Sommertage

Paul Hohenberg

Nun ziehen Tage liber die Welt,

Gesandt aus blauer Ewigkeit,

Im Sommerwind verweht die 

Zeit,

Nun windet nachstens der Herr

Stemenkranze mit seliger Hand 

Uber Wander- und Wunderland. O Herz, was kann in diesen Tagen 

Dein hellstes Wanderlied dann 

sagen

Von deiner tiefen, tiefen Lust;

Im Wiesensang verstummt de

Brust,

Nun schweigt das Wort, wo Bild 

umBild

Zu dir zieht und dich ganz erfullt.

Love Ode

Blissful in love’s arms we fell 

asleep;

The summer wind watched at the 

open window

and carried out to the moon-bright 

nightthe peace of our every

breath.

And from the garden, feeling its

timid way,a scent ofroses came

to our love bed and gave us

wondrous dreams,

ecstatic dreams, so rich in longing.

Summer Days

Days that have been sent from blue 

eternity now travel through the 

world; time drifts away in the 

summer wind;

Now at nightthe Lord twines 

garlands ofstars with his blessed 

hand above wander- and

wonderland. O heart, what, in these days, can your

clearest wanderer’s song then say of

your deep, deep delight;

In the meadow’s song the heart is

dumb;

The word is silent where image 

upon image comes to you and 

fulfills you completely.

Texts

Ah! Perfido, spergiuro

Pietro Metastasio (1698-1782)

Ah! perfido, spergiuro,

barbaro traditor, tu parti? E son questi gl’ultimi tuoi 

congendi?

Ove

s’intese tirannia piu

crudel?

Va, scellerato!

Va, pur fuggi da me, Lira de

Numi non fuggirai!

Sev’e giustizia in Ciel,

sev’e pieta, congiurerannoa

garatutti apunirti!

Ombra seguace! presente, 

ovunque vai, vedro le mie 

vendete;

io gia le godo immaginando; i fulmini ti veggo gia balenar, 

dintomo.

Ah no! fermate vindici Dei!

risparmiate quel cor, fermite il

mio! S’ei non

e piu qual era, son’ io

qual fui; per lui vivea, voglio 

morir per lui!.

Per pieta, non dirmi addio; di te

priva che faro?

Tu lo sai, bell’ Idol mio! io d’affanno moriro.

Ah, crudel! tuvuoi ch’io mora!

tu non hai pieta di me?

Perche rendia chit’adora cosi

barbara merce?

Dite voi, si in tanto affanno non 

son degna di pieta?

Translations

Ah! Faithless One

Ah! Faithless one, deceiver,

barbarous traitor, you depart?

And are these the last words you 

have to say to me?

Did anyone ever suffer such

cruel tyranny?

Away, villain! Go, you may 

escape me, but you will never

escape the wrath of the gods!

Ifthere isjustice in heaven, 

ifthere is mercy, may they 

punish you in unison!

My shadow follows you;

Wherever you go, my vengeance

will follow you.

I am already enjoying the 

thought oflightning flashing

around you.

But no! Stay, vengeful gods!

Spare his heart, and stop mine!

If he is not faithful as he once

was,I shall remain so.I lived

for him;I wish to die for him!

For pity’s sake, do not say adieu;

what willI do without you?

You know, my beautiful idol, thatI

would die of grief.

Oh, cruel one! You want me to

die! Have you no pity on me?

Why do you treat the one who

adores you so savagely?

Tell me, does not such anguish 

deserve your pity?
Berg: Sieben friihe Lieder

Nacht

Carl Hauptmann (1858-1921)

Dammem Wolken tiber Nacht 

und Tal,

Nebel schweben, Wasser

rauschen sacht.

Nun entschleiert sich’s mit 

einemmal;

O gib acht!

Weites Wunderland ist aufgetan;

Silbem ragen Berge, traumhaft 

grop,

Stille Pfade silberlichttalan aus

verborg’nem Schoff 

Und die hehre Welt so traumhaft 

rein.

Stummer Buchenbaum am Wege

Steht schattenschwarz,

Ein Hauch vom femen Hain

einsam leise weht.

Und aus tiefen Grundes Diisterheit

Blinken Lichter aufin stummer 

Nacht.

Trinke, Seele! Trinke Einsamkeit!O

gib acht!

Schilflied

Nikolas Lenau (1802-1850)

Auf geheimen Waldespfade 

Schleich’ ich gem im Abendschein 

An das ode Schilfgestade,

Madchen, und gedenke dein!

Wenn sich dann der Busch

Verdtistert,

Rauscht das Rohr geheimnisvoll,

Und es klaget und es fliistert,

Dap ich weinen, weinen soil.

Und ich mein’, ich hore wehen 

Leise deiner Stimme Klang,

Und im Weiher untergehen 

Deinen lieblichen Gesang.

Berg: Seven Early Songs

Night

Clouds grow dark over night and

valley, mists hover, and waters 

softly murmur.

All ofa sudden, an unveiling:

O pay heed! A vast wonderland opens.

Mountains soar, silver-tinged 

and dream-large; still, silvery

paths work their way into the 

valleys from

a hidden source;

and the lofty world is pure as in a dream. A mute beech tree stands by the 

way, shadow-black; A lonely breath blows quietly 

from the distant forest,

and, from the deep valley’s

gloom, lights flash in the silent

night.

Drink, soul, drink solitude! O pay heed!

Reed Song

Bya secret forest path,

I love to steal in evening light 

To the desolate reedy shore 

and think, maiden, of you.

Then, when the wood grows

dark,

the reeds mstle mysteriously,

whispering and lamenting 

thatI should weep.

AndI think I hear the sound of

your voice wafting softly

and your lovely song 

disappearing into the pond.

Die Nachtigall

Theodor Storm (1817-1888)

Das macht, es hat die Nachtigall 

Die ganze Nacht gesungen;

Da sind von ihrem stiffen Schall,

Da sind im Hall und Widerhall 

Die Rosen aufgesprungen.

Sie war doch sonst ein wildes

Blut,

Nun geht sie tiefin Sinnen,

Tragt in der hand den Sommerhut 

Und dultdet still der Sonne Glut,

Und weip nicht, was beginnen.

Das macht,....

Traumgekront

Rainer Maria Rilke (1875-1926)

Das war der Tag der weiffen

Chrysanthemen,

Mir bangte fast vor seiner Pracht 

Und dann, dann kamst du mir 

die Seele nehmen tiefin der nacht.

Mir war es so bang, und du 

kamst lieb und leise,

Ich hatte grad im Traum an dich

Gedacht;

Du kamst, und leis’ wie eine

Marchenweise erklang die Nacht.

Im Zimmer

Johannes Schlaf (1862-1941)

Herbstsonnenschein.

Der liebe Abend blickt still

herein,

Ein Feuerlein rot

Knistert im Ofenloch und loht.

So, mein Kopf auf deinen

Knie’n,

So ist mir gut,

Wenn mein Auge so in deinem 

ruht,

Wie leise die Minuten zieh’n.

The Nightingale

It is because the nightingale has 

been singing all night that 

roses have sprung up in the 

echo and re-echo of her sweet

voice.

Sucha wild thing she once was;

Now she wanders, deeply pensive,

carrying her summer hat in her

hand, silently enduring the hot 

sun, and knowing not what to do.

It is because....

Crowned ina Dream

It was the day of white 

chrysanthemums;

Its splendor almost made me feel

afraid; and then you came to take

my soul from me in the dead of

night.

I was so afraid, yet you came

sweetly and softly;

I had been thinking of you ina

dream;

You came, and the night resonated 

softly, likea fairy tune.

In the Room

Autumn sunshine.

Fair evening looks silently in. A little fire blazes red, flares up,

and crackles in the stove window.

So, with my head on your knees, I am content;

How quietly the minutes pass when 

my eyes rest in yours.