Let the Bright Seraphim — Sara Schabas
From: Samson (George Frideric Handel)
Summary: An exultant aria from the oratorio Samson, with libretto by Newburgh Hamilton adapting John Milton’s Samson Agonistes.
| Let the bright seraphim in burning row, Their loud, uplifted angel trumpets blow. Let the cherubic host, in tuneful choirs, Touch their immortal harps with golden wires. |
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Chacun a son goût — Joanna Loepp Thiessen (Set 1)
From: Die Fledermaus (Johann Strauss II)
Summary: Prince Orlofsky’s sardonic aria, with German libretto by Carl Haffner and Richard Genée, adapted from the French farce Le Réveillon.
| Ich lade gern mir Gäste ein, Man lebt bei mir recht fein, Man unterhält sich, wie man mag Oft bis zum hellen Tag. Zwar langweil’ ich mich stets dabei, Was man auch treibt und spricht; Indes, was mir als Wirt steht frei, Duld’ ich bei Gästen nicht! Und sehe ich, es ennuyiert Sich jemand hier bei mir, So pack’ ich ihn ganz ungeniert, Werf’ ihn hinaus zur Tür. Und fragen Sie, ich bitte Warum ich das denn tu’? ‘S ist mal bei mir so Sitte, Chacun à son goût! Wenn ich mit andern sitz’ beim Wein Und Flasch’ um Flasche leer’, Muss jeder mit mir durstig sein, Sonst werde grob ich sehr. Und schenke Glas um Glas ich ein, Duld’ ich nicht Widerspruch; Nicht leiden kann ich’s wenn sie schrein: Ich will nicht, hab’ genug! Wer mir beim Trinken nicht pariert, Sich zieret wie ein Tropf, Dem werfe ich ganz ungeniert, Die Flasche an den Kopf. Und fragen Sie, ich bitte, Warum ich das denn tu’? ‘S ist mal bei mir so Sitte Chacun à son goût! | I like to invite my guests, One lives with me quite fine, We enjoy talking, as one might Often until daylight. Although I am always bored here, What drives you and also speaks; However, what I as host allow myself liberty I give no patience with that in guests! And should I see any of my guests looking bored Someone here with me in my home, So I pack their things quite openly, and throw him out the door. And you wonder, and ask me, Why do I do this? Because for me, this is simply my custom To each his own taste! When I sit with others and drink wine, And empty one bottle after another, Everybody with me needs to be thirsty Otherwise I will become very offensive. And give glass after glass to me, Patience I have not for contradiction; I can not stand when they scream: I did not want to, I've had enough! Who can not keep up with my drinking Adorns himself like an ineffectual person, I throw, quite unabashedly, The bottle at his head. And you wonder, and ask me, Why do I do this? Because for me, this is simply my custom To each his own taste! |
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Mon cœur s’ouvre à ta voix — Joanna Loepp Thiessen (Set 2)
From: Samson et Dalila (Camille Saint-Saëns)
Summary: Dalila’s famous seduction aria, with libretto by Ferdinand Lemaire. Mon cœur s’ouvre à ta voix, comme s’ouvrent les fleurs aux baisers de l’aurore.
| Mon cœur s'ouvre à ta voix, comme s'ouvrent les fleurs aux baisers de l’aurore ! Mais, ô mon bienaimé, pour mieux sécher mes pleurs, que ta voix parle encore ! Dis-moi qu'à Dalila tu reviens pour jamais. Redis à ma tendresse les serments d'autrefois, ces serments que j’aimais ! Ah ! réponds à ma tendresse ! Verse-moi, verse-moi l’ivresse ! Ainsi qu'on voit des blés les épis onduler sous la brise légère, ainsi frémit mon cœur, prêt à se consoler, à ta voix qui m'est chère ! La flèche est moins rapide à porter le trépas, que ne l'est ton amante à voler dans tes bras ! Ah ! réponds à ma tendresse ! Verse-moi, verse-moi l’ivresse ! | My heart opens to your voice Like the flowers open To the kisses of the dawn! But, oh my beloved, To better dry my tears, Let your voice speak again! Tell me that you are returning To Delilah forever! Repeat to my tenderness The promises of old times, Those promises that I loved! Ah! respond to my tenderness! Fill me with ecstasy! Like one sees the blades Of wheat that wave In the light wind, So trembles my heart, Ready to be consoled, By your voice that is so dear to me! The arrow is less rapid In bringing death, Than is your lover To fly into your arms! Ah! respond to my tenderness! Fill me with ecstasy! |
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Vanilla Ice Cream — Sarah Sommer
From: She Loves Me (Jerry Bock / Sheldon Harnick)
Summary: Amalia’s letter‑song, a comic and heartfelt number from the musical She Loves Me.
| (spoken) Dear Friend (sung) I am so sorry about last night It was a nightmare in every way But together you and I Will laugh at last night some day Ice Cream He brought me Ice Cream Vanilla Ice Cream Imagine that Ice Cream And for the first time We were together Without a spat Friendly He was so friendly That isn't like him I'm simply stunned Will wonders never cease Will wonders never cease It's been a most peculiar day Will wonders never cease Will wonders never cease (spoken) Oh yes, where was I… (sung) I am so sorry about last night It was a nightmare in everyway But together you and I Will laugh at last night some day I sat there waiting at that cafe And never guessing that you were fat ...that you were near You were outside looking bald (spoken) Oh dear… (sung) I am so sorry about last night Last Night I was so nasty Well, he deserved it But even so That Georg Is not like this Georg This is a new Georg I just don't know Somehow It all reminds me Of Dr. Jekyll And Mr. Hyde Well right before my eyes A man that I despise Has turned into a man I like It's almost like a dream And strange at it may seem He came to offer me Vanilla Ice Cream |
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La danza (Tarantella Napoletana) — Nolan Kehler
From: Les soirées musicales (Gioachino Rossini)
Summary: A virtuosic Neapolitan tarantella from the 1835 collection Les soirées musicales, with text by Count Carlo Pepoli.
| Già la luna è in mezzo al mare, mamma mia, si salterà! L’ora è bella per danzare, chi è in amor non mancherà. (bis) Già la luna è in mezzo al mare, mamma mia, si salterà! Presto in danza a tondo, a tondo, donne mie venite qua, un garzon bello e giocondo a ciascuna toccherà, finché in ciel brilla una stella e la luna splenderà. Il più bel con la più bella tutta notte danzerà. Mamma mia, mamma mia, mamma mia, in mezzo al mare, mamma mia, mamma mia, mamma mia, si salterà. Frinche, frinche, frinche, frinche, frinche, frinche, mamma mia, si salterà. (bis) La la ra la ra ... Salta, salta, gira, gira, ogni coppia a cerchio va, già s’avanza, si ritira e all’assalto tornerà. (bis) Già s’avanza, si ritira e all’assalto tornerà! Serra, serra, colla bionda, colla bruna va qua e là colla rossa va a seconda, colla smorta fermo sta. Viva il ballo a tondo, a tondo, sono un Re, sono un Pascià, è il più bel piacer del mondo la più cara voluttà. Mamma mia, mamma mia, mamma mia, in mezzo al mare, mamma mia, mamma mia, mamma mia, si salterà. Frinche, frinche, frinche, frinche, frinche, frinche, mamma mia, si salterà. (bis) La la ra la ra ... | Now the moon is over the ocean; Mamma mia, we're going to leap! The hour is beautiful for dancing, Anyone in love will not miss it. (bis) Now the moon is over the ocean; Mamma mia, we're going to leap! Soon we’ll be dancing, round and round, my ladies, come here, A beautiful and playful lad will have a turn with everyone. As long as in heaven sparkles a star, And the moonbeams will shine The most beautiful boy and girl Will dance all night. Mamma mia, mamma mia, Now the moon is over the ocean; Mamma mia, mamma mia, Mamma mia, we're going to leap! Faster, faster, faster, faster, faster, faster, Mamma mia, we're going to leap! (bis) La la ra la ra ... Hopping, jumping, turning, spinning, every couple have a turn, now advancing, now receding, and returns to the excitement. (bis) Now advancing, now receding, and returns to the excitement. Dance, dance with the blonde, with the brunette of here and there, with the redhead follow along. with the pale one, keep still. Long live dancing, round and round! I am a king, I am a lord, It is the world’s greatest pleasure The most beautiful delight. Mamma mia, mamma mia, now the moon is over the ocean; Mamma mia, Mamma mia, Mamma mia, we're going to leap! Faster, faster, faster, faster, faster, faster, Mamma mia, we're going to leap! (bis) La la ra la ra ... |
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On My Own — Joanna Loepp Thiessen
From: Les Misérables (Claude‑Michel Schönberg)
Summary: Éponine’s iconic solo, with original French lyrics by Alain Boublil and Jean‑Marc Natel, and English adaptation by Herbert Kretzmer (with additional text by Trevor Nunn and John Caird).
| On my own Pretending he's beside me All alone I walk with him 'til morning Without him I feel his arms around me And when I lose my way I close my eyes And he has found me In the rain, the pavement shines like silver All the lights are misty in the river In the darkness, the trees are full of starlight And all I see is him and me forever and forever And I know it's only in my mind That I'm talking to myself and not to him And although I know that he is blind Still I say, there's a way for us I love him But when the night is over He is gone The river's just a river Without him The world around me changes The trees are bare and everywhere The streets are full of strangers I love him But every day I'm learning All my life I've only been pretending Without me His world will go on turning A world that's full of happiness That I have never known I love him I love him I love him But only on my own |
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Quando m’en vo (Musetta’s Waltz) — Sara Schabas
From: La Bohème (Giacomo Puccini)
Summary: Musetta’s flirtatious waltz aria, with libretto by Luigi Illica and Giuseppe Giacosa.
| MUSETTA Quando m’en vo soletta per la via, la gente sosta e mira e la bellezza mia tutta ricerca in me da capo a pie'… MARCELLO Legatemi alla seggiola! ALCINDORO Quella gente che dirà? MUSETTA Ed assaporo allor la bramosia sottil, che da gli occhi traspira e dai palesi vezzi intender sa alle occulte beltà. Così l'effluvio del desìo tutta m'aggira, felice mi fa! E tu che sai, che memori e ti struggi da me tanto rifuggi? So ben le angoscie tue non le vuoi dir, ma ti senti morir! | MUSETTA When I go all by myself through the street, people stop and look, and everyone looks at my beauty from head to foot. MARCELLO Tie me back to this chair! ALCINDORO What will all these people say? MUSETTA And I savour the subtle desire which transpires from their eyes, and from the obvious charms is intended in the hidden beauty. Like the scent of desire is all around me, it makes me happy! And you know that memory is tearing you up and yet you refuse me? I know well the agony you don’t wish to speak, but you feel yourself dying! |
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Alto’s Lament — Isabelle Buisson
From: Cabaret song by Zina Goldrich (composer) and Marcy Heisler (lyricist)
Summary: A comic song about an alto forever assigned harmony lines instead of melody.
| I’ve had much good luck as a performer I’ve been cast in almost every show From “Carousel” to “Hair,” on Broadway I was there But you'd never, never know. Perhaps you picked me out last year in “Phantom,” Or underneath my dirt in “Misera-ble,” But if you tried to pick me out from all the voices in the crowd, I'm certain that you must have had a pro-ble. My plight is quite familiar for those who tread the boards At the Nederlander, Schubert, and Rialto, Although I’ve got a great high “C,” the reaction seems to be “Wow. That’s great dear, But we need you singing alto.” Please give me a chance to sing melody Give me a crack at the tune I'm filled with chagrin every time I begin “By the light of the silvery moon” Just one little shot at the melody Give me a moment to shine I'm sick of “can’t help lovin’ that man of mine” Just look at “Oklahoma” for example That rousing titled number of the show While everyone is singing “Oklahoma,” I get “sky-y-y-y-y-y-y-y. Yo-ho!” And now for a medley of some of my finer roles! The hills are alive with the sound of music Three little maids from school are we Pert as a schoolgirl well can be Filled to the brim with girlish glee Three little maids from school Touch me, it’s so easy to leave me! What mirror, where? Which? What? Where? Who? Who? Who? Who? Such a pretty me! Such a pretty me! Please! Pull a few strings for the melody! Don’t care if the solo is teeny It would be nirvana, from heaven such manna, To sing something other than “Sweeney!” I’m down on my knees for a melody I’m begging with all of my might! Just half a bar And let this chorus girl be a star! Tonight |
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Silent Noon — James Magnus‑Johnston
From: The House of Life (Ralph Vaughan Williams)
Summary: A lyrical English art song from the cycle The House of Life, setting poetry by Dante Gabriel Rossetti.
| Your hands lie open in the long fresh grass, - The finger-points look through like rosy blooms: Your eyes smile peace. The pasture gleams and glooms 'Neath billowing skies that scatter and amass. All round our nest, far as the eye can pass, Are golden kingcup fields with silver edge Where the cow-parsley skirts the hawthorn hedge. 'Tis visible silence, still as the hourglass. Deep in the sun searched growths the dragonfly Hangs like a blue thread loosened from the sky: - So this winged hour is dropt to us from above. Oh! clasp we to our hearts, for deathless dower, This close-companioned inarticulate hour When twofold silence was the song of love. |
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Popular — Sara Schabas
From: Wicked (Stephen Schwartz)
Summary: Galinda’s bubbly makeover song, teaching Elphaba how to be “popular.”
| Whenever I see someone Less fortunate than I (And let's face it - who isn't Less fortunate than I?) My tender heart Tends to start to bleed And when someone needs a makeover I simply have to take over I know I know exactly what they need And even in your case Tho' it's the toughest case I've yet to face Don't worry - I'm determined to succeed Follow my lead And yes, indeed You will be: Popular! You're gonna be popular! I'll teach you the proper ploys When you talk to boys Little ways to flirt and flounce I'll show you what shoes to wear How to fix your hair Everything that really counts to be Popular! I'll help you be popular! You'll hang with the right cohorts You'll be good at sports Know the slang you've got to know So let's start 'Cause you've got an awfully long way to go: Don't be offended by my frank analysis Think of it as personality dialysis Now that I've chosen to be come a pal, a Sister and adviser There's nobody wiser Not when it comes to popular - I know about popular And with an assist from me To be who you'll bee Instead of dreary who-you-were: are: There's nothing that can stop you From becoming popu-ler… lar La la la la We're gonna make you pop-u-lar! When I see depressing creatures With unprepossessing features I remind them on their own behalf To think of Celebrated heads of state or Specially great communicators Did they have brains or knowledge? Don't make me laugh! They were popular! Please - It's all about popular! It's not about aptitude It's the way you're viewed So it's very shrewd to be Very, very popular Like me! (spoken) Why, Miss Elphaba, look at you. You're beautiful. (spoken) You're welcome! (sung) And though you protest Your disinterest I know clandestinely You're gonna grin and bear it Your newfound popularity La la la la You'll be popular - Just not as quite as popular as me! |
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Les oiseaux dans la charmille — Sarah Sommer
From: Les Contes d’Hoffmann (Jacques Offenbach)
Summary: Olympia’s mechanical doll aria, sparkling and virtuosic, from The Tales of Hoffmann.
| [Original French] Les oiseaux dans la charmille Dans les cieux l'astre du jour, Tout parle à la jeune fille d’amour ! Ah ! Voilà la chanson gentille La chanson d’Olympia ! Ah ! Tout ce qui chante et résonne Et soupire, tour à tour, Emeut son cœur qui frissonne d’amour ! Ah ! Voilà la chanson mignonne La chanson d’Olympia ! Ah ! | [English Translation] The birds in the arbor, The sky's daytime star, Everything speaks to a young girl of love! Ah! This is the gentile song, The song of Olympia! Ah! Everything that sings and resonates And sighs, in turn, Moves his heart, which shudders of love! Ah! This is the lovely song, The song of Olympia! Ah! |
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Stay in My Arms — Nolan Kehler
From: Song by Marc Blitzstein
Summary: A tender plea for peace and intimacy amid a hectic, modern world.
| In this great city where will I find one peaceful, pretty spot where noise is not? A bit of quiet, untouched by all the hectic riot would help things a lot. Our temples automatic- science reveals. Our pace is acrobatic- life moves on wheels Here’s my admission- I haven’t very much ambition for the mad existence of our time. Let’s just be old fashioned. Let’s just be lazy. The world’s gone crazy so stay in my arms. My most dear; come close dear. Don’t be afraid to. My hands were made to shield you from alarm. What’s all the shooting for? Where are they rushing? Whom are they rooting for? Whom are they crushing? Forget them or let them grow dim and hazy. The world’s gone crazy so stay in my arms. Let’s lie here year by year midfield and daisy. The world’s gone crazy so stay in my arms. While millions of millions go wildly prancing, I’ll be romancing a song of your charms. They dance a dance that kills- mad and defenseless. Such jumping Jacks and Jills. It’s all so senseless. I love you. You love me. That much is plain, dear. The world’s insane, dear: so stay in my arms. All that I feel I will explain; Since it is new to me, I don't understand it. I have a feeling Full of desire, Which now is pleasure, now is torment. I freeze, then I feel my spirit all ablaze, And the next moment turns again to ice. I seek for a treasure outside of myself; I know not who holds it nor what it is. I sigh and I groan without wishing to, I flutter and tremble without knowing why. I find no peace by night or day, But yet to languish thus is sheer delight. You ladies who know what love is, See if it is what I have in my heart. |
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Voi che sapete — Isabelle Buisson
From: Le nozze di Figaro (Wolfgang Amadeus Mozart)
Summary: Cherubino’s confession of youthful love, with Italian libretto by Lorenzo Da Ponte.
| [Original Italian] Voi che sapete che cosa è amor, donne, vedete s'io l'ho nel cor. Quello ch'io provo vi ridirò, è per me nuovo, capir nol so. Sento un affetto pien di desir, ch'ora è diletto, ch'ora è martir. Gelo e poi sento l'alma avvampar, e in un momento torno a gelar. Ricerco un bene fuori di me, non so chi'l tiene, non so cos'è. Sospiro e gemo senza voler, palpito e tremo senza saper. Non trovo pace notte né dì, ma pur mi piace languir così. Voi che sapete che cosa è amor, donne, vedete s'io l'ho nel cor. | [English Translation] You ladies who know what love is, See if it is what I have in my heart. All that I feel I will explain; Since it is new to me, I don't understand it. I have a feeling Full of desire, Which now is pleasure, now is torment. I freeze, then I feel my spirit all ablaze, And the next moment turns again to ice. I seek for a treasure outside of myself; I know not who holds it nor what it is. I sigh and I groan without wishing to, I flutter and tremble without knowing why. I find no peace by night or day, But yet to languish thus is sheer delight. You ladies who know what love is, See if it is what I have in my heart. |
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From Now On — James Magnus‑Johnston
From: The Greatest Showman (Benj Pasek & Justin Paul)
Summary: P.T. Barnum’s climactic song of resolve and returning to what truly matters.
| P.T. BARNUM I saw the sun begin to dim And felt that winter wind Blow cold A man learns who is there for him When the glitter fades and the walls won't hold 'Cause from that rubble what remains Can only be what's true If all was lost There's more I gained 'Cause it led me back to you From now on These eyes will not be blinded by the lights From now on What's waited 'til tomorrow starts tonight Tonight Let this promise in me start Like an anthem in my heart From now on From now on I drank champagne with kings and queens The politicians praised my name But those were someone else's dreams The pitfalls of the man I became For years and years I chased their cheers A crazy speed of always needing more But when I stop And see you here I remember who all this was for And from now on These eyes will not be blinded by the lights From now on What's waited 'til tomorrow starts tonight It starts tonight And let this promise in me start Like an anthem in my heart From now on From now on From now on ODDITIES And we will come back home And we will come back home Home again! And we will come back home And we will come back home Home again! And we will come back home And we will come back home Home again! P.T. BARNUM From now on! ODDITIES (Refrain) P.T. BARNUM Yes! ODDITIES (Refrain) P.T. BARNUM These eyes will not be blinded by the lights ODDITIES From now on P.T. BARNUM What's waited 'til tomorrow starts tonight It starts tonight Let this promise in me start Like an anthem in my heart ODDITIES From now on etc. |
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You'll Never Walk Alone / Climb Ev'ry Mountain — All
A medley from: Carousel and The Sound of Music (Rogers and Hammerstein)
| When you walk through a storm Hold your head up high And don't be afraid of the dark At the end of a storm is a golden sky And the sweet silver song of a lark Walk on through the wind Walk on through the rain Tho’ your dreams Be tossed and blown Walk on Walk on With hope in your heart And you'll never walk alone You'll never walk alone 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 Walk on Walk on With hope in your heart And you'll never walk alone You'll never walk alone |
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Magic Flute Finale — Don Larsen & All
From: Die Zauberflöte (W. A. Mozart) / Adapted by John Greer
Summary: A concert finale adaptation celebrating the triumph of light over darkness. The sun’s golden glory has vanquished the night; the false word of darkness now yields to the light.
| SARASTRO The sun’s golden glory has vanquished the night. The false word of darkness now yields to the light. ALL The brave are victorious he crown they have won. Their beauty and wisdom will shine like the sun. |
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Let the Bright Seraphim — Sara Schabas
From: Samson (George Frideric Handel)
Summary: An exultant aria from the oratorio Samson, with libretto by Newburgh Hamilton adapting John Milton’s Samson Agonistes.
| Let the bright seraphim in burning row, Their loud, uplifted angel trumpets blow. Let the cherubic host, in tuneful choirs, Touch their immortal harps with golden wires. |
Chacun a son goût — Joanna Loepp Thiessen (Set 1)
From: Die Fledermaus (Johann Strauss II)
Summary: Prince Orlofsky’s sardonic aria, with German libretto by Carl Haffner and Richard Genée, adapted from the French farce Le Réveillon.
| Ich lade gern mir Gäste ein, Man lebt bei mir recht fein, Man unterhält sich, wie man mag Oft bis zum hellen Tag. Zwar langweil’ ich mich stets dabei, Was man auch treibt und spricht; Indes, was mir als Wirt steht frei, Duld’ ich bei Gästen nicht! Und sehe ich, es ennuyiert Sich jemand hier bei mir, So pack’ ich ihn ganz ungeniert, Werf’ ihn hinaus zur Tür. Und fragen Sie, ich bitte Warum ich das denn tu’? ‘S ist mal bei mir so Sitte, Chacun à son goût! Wenn ich mit andern sitz’ beim Wein Und Flasch’ um Flasche leer’, Muss jeder mit mir durstig sein, Sonst werde grob ich sehr. Und schenke Glas um Glas ich ein, Duld’ ich nicht Widerspruch; Nicht leiden kann ich’s wenn sie schrein: Ich will nicht, hab’ genug! Wer mir beim Trinken nicht pariert, Sich zieret wie ein Tropf, Dem werfe ich ganz ungeniert, Die Flasche an den Kopf. Und fragen Sie, ich bitte, Warum ich das denn tu’? ‘S ist mal bei mir so Sitte Chacun à son goût! |
[English Translation] I like to invite my guests, One lives with me quite fine, We enjoy talking, as one might Often until daylight. Although I am always bored here, What drives you and also speaks; However, what I as host allow myself liberty I give no patience with that in guests! And should I see any of my guests looking bored Someone here with me in my home, So I pack their things quite openly, and throw him out the door. And you wonder, and ask me, Why do I do this? Because for me, this is simply my custom To each his own taste! When I sit with others and drink wine, And empty one bottle after another, Everybody with me needs to be thirsty Otherwise I will become very offensive. And give glass after glass to me, Patience I have not for contradiction; I can not stand when they scream: I did not want to, I've had enough! Who can not keep up with my drinking Adorns himself like an ineffectual person, I throw, quite unabashedly, The bottle at his head. And you wonder, and ask me, Why do I do this? Because for me, this is simply my custom To each his own taste! |
Mon cœur s’ouvre à ta voix — Joanna Loepp Thiessen (Set 2)
From: Samson et Dalila (Camille Saint-Saëns)
Summary: Dalila’s famous seduction aria, with libretto by Ferdinand Lemaire.
| Mon cœur s'ouvre à ta voix, comme s'ouvrent les fleurs aux baisers de l’aurore ! Mais, ô mon bienaimé, pour mieux sécher mes pleurs, que ta voix parle encore ! Dis-moi qu'à Dalila tu reviens pour jamais. Redis à ma tendresse les serments d'autrefois, ces serments que j’aimais ! Ah ! réponds à ma tendresse ! Verse-moi, verse-moi l’ivresse ! Ainsi qu'on voit des blés les épis onduler sous la brise légère, ainsi frémit mon cœur, prêt à se consoler, à ta voix qui m'est chère ! La flèche est moins rapide à porter le trépas, que ne l'est ton amante à voler dans tes bras ! Ah ! réponds à ma tendresse ! Verse-moi, verse-moi l’ivresse ! |
| [English Translation] My heart opens to your voice Like the flowers open To the kisses of the dawn! But, oh my beloved, To better dry my tears, Let your voice speak again! Tell me that you are returning To Delilah forever! Repeat to my tenderness The promises of old times, Those promises that I loved! Ah! respond to my tenderness! Fill me with ecstasy! Like one sees the blades Of wheat that wave In the light wind, So trembles my heart, Ready to be consoled, By your voice that is so dear to me! The arrow is less rapid In bringing death, Than is your lover To fly into your arms! Ah! respond to my tenderness! Fill me with ecstasy! |
Vanilla Ice Cream — Sarah Sommer
From: She Loves Me (Jerry Bock / Sheldon Harnick)
Summary: Amalia’s letter‑song, a comic and heartfelt number from the musical She Loves Me.
| (spoken) Dear Friend (sung) I am so sorry about last night It was a nightmare in every way But together you and I Will laugh at last night some day Ice Cream He brought me Ice Cream Vanilla Ice Cream Imagine that Ice Cream And for the first time We were together Without a spat Friendly He was so friendly That isn't like him I'm simply stunned Will wonders never cease Will wonders never cease It's been a most peculiar day Will wonders never cease Will wonders never cease (spoken) Oh yes, where was I… (sung) I am so sorry about last night It was a nightmare in everyway But together you and I Will laugh at last night some day I sat there waiting at that cafe And never guessing that you were fat ...that you were near You were outside looking bald (spoken) Oh dear… (sung) I am so sorry about last night Last Night I was so nasty Well, he deserved it But even so That Georg Is not like this Georg This is a new Georg I just don't know Somehow It all reminds me Of Dr. Jekyll And Mr. Hyde Well right before my eyes A man that I despise Has turned into a man I like It's almost like a dream And strange at it may seem He came to offer me Vanilla Ice Cream |
La danza (Tarantella Napoletana) — Nolan Kehler
From: Les soirées musicales (Gioachino Rossini)
Summary: A virtuosic Neapolitan tarantella from the 1835 collection Les soirées musicales, with text by Count Carlo Pepoli.
| Già la luna è in mezzo al mare, mamma mia, si salterà! L’ora è bella per danzare, chi è in amor non mancherà. (bis) Già la luna è in mezzo al mare, mamma mia, si salterà! Presto in danza a tondo, a tondo, donne mie venite qua, un garzon bello e giocondo a ciascuna toccherà, finché in ciel brilla una stella e la luna splenderà. Il più bel con la più bella tutta notte danzerà. Mamma mia, mamma mia, mamma mia, in mezzo al mare, mamma mia, mamma mia, mamma mia, si salterà. Frinche, frinche, frinche, frinche, frinche, frinche, mamma mia, si salterà. (bis) La la ra la ra ... Salta, salta, gira, gira, ogni coppia a cerchio va, già s’avanza, si ritira e all’assalto tornerà. (bis) Già s’avanza, si ritira e all’assalto tornerà! Serra, serra, colla bionda, colla bruna va qua e là colla rossa va a seconda, colla smorta fermo sta. Viva il ballo a tondo, a tondo, sono un Re, sono un Pascià, è il più bel piacer del mondo la più cara voluttà. Mamma mia, mamma mia, mamma mia, in mezzo al mare, mamma mia, mamma mia, mamma mia, si salterà. Frinche, frinche, frinche, frinche, frinche, frinche, mamma mia, si salterà. (bis) La la ra la ra ... |
| [English Translation] Now the moon is over the ocean; Mamma mia, we're going to leap! The hour is beautiful for dancing, Anyone in love will not miss it. (bis) Now the moon is over the ocean; Mamma mia, we're going to leap! Soon we’ll be dancing, round and round, my ladies, come here, A beautiful and playful lad will have a turn with everyone. As long as in heaven sparkles a star, And the moonbeams will shine The most beautiful boy and girl Will dance all night. Mamma mia, mamma mia, Now the moon is over the ocean; Mamma mia, mamma mia, Mamma mia, we're going to leap! Faster, faster, faster, faster, faster, faster, Mamma mia, we're going to leap! (bis) La la ra la ra ... Hopping, jumping, turning, spinning, every couple have a turn, now advancing, now receding, and returns to the excitement. (bis) Now advancing, now receding, and returns to the excitement. Dance, dance with the blonde, with the brunette of here and there, with the redhead follow along. with the pale one, keep still. Long live dancing, round and round! I am a king, I am a lord, It is the world’s greatest pleasure The most beautiful delight. Mamma mia, mamma mia, now the moon is over the ocean; Mamma mia, Mamma mia, Mamma mia, we're going to leap! Faster, faster, faster, faster, faster, faster, Mamma mia, we're going to leap! (bis) La la ra la ra ... |
On My Own — Joanna Loepp Thiessen
From: Les Misérables (Claude‑Michel Schönberg)
Summary: Éponine’s iconic solo, with original French lyrics by Alain Boublil and Jean‑Marc Natel, and English adaptation by Herbert Kretzmer (with additional text by Trevor Nunn and John Caird).
| On my own Pretending he's beside me All alone I walk with him 'til morning Without him I feel his arms around me And when I lose my way I close my eyes And he has found me In the rain, the pavement shines like silver All the lights are misty in the river In the darkness, the trees are full of starlight And all I see is him and me forever and forever And I know it's only in my mind That I'm talking to myself and not to him And although I know that he is blind Still I say, there's a way for us I love him But when the night is over He is gone The river's just a river Without him The world around me changes The trees are bare and everywhere The streets are full of strangers I love him But every day I'm learning All my life I've only been pretending Without me His world will go on turning A world that's full of happiness That I have never known I love him I love him I love him But only on my own |
Quando m’en vo (Musetta’s Waltz) — Sara Schabas
From: La Bohème (Giacomo Puccini)
Summary: Musetta’s flirtatious waltz aria, with libretto by Luigi Illica and Giuseppe Giacosa.
| MUSETTA Quando m’en vo soletta per la via, la gente sosta e mira e la bellezza mia tutta ricerca in me da capo a pie'… MARCELLO Legatemi alla seggiola! ALCINDORO Quella gente che dirà? MUSETTA Ed assaporo allor la bramosia sottil, che da gli occhi traspira e dai palesi vezzi intender sa alle occulte beltà. Così l'effluvio del desìo tutta m'aggira, felice mi fa! E tu che sai, che memori e ti struggi da me tanto rifuggi? So ben le angoscie tue non le vuoi dir, ma ti senti morir! |
| [English Translation] MUSETTA When I go all by myself through the street, people stop and look, and everyone looks at my beauty from head to foot. MARCELLO Tie me back to this chair! ALCINDORO What will all these people say? MUSETTA And I savour the subtle desire which transpires from their eyes, and from the obvious charms is intended in the hidden beauty. Like the scent of desire is all around me, it makes me happy! And you know that memory is tearing you up and yet you refuse me? I know well the agony you don’t wish to speak, but you feel yourself dying! |
Alto’s Lament — Isabelle Buisson
From: Cabaret song by Zina Goldrich (composer) and Marcy Heisler (lyricist)
Summary: A comic song about an alto forever assigned harmony lines instead of melody.
| I’ve had much good luck as a performer I’ve been cast in almost every show From “Carousel” to “Hair,” on Broadway I was there But you'd never, never know. Perhaps you picked me out last year in “Phantom,” Or underneath my dirt in “Misera-ble,” But if you tried to pick me out from all the voices in the crowd, I'm certain that you must have had a pro-ble. My plight is quite familiar for those who tread the boards At the Nederlander, Schubert, and Rialto, Although I’ve got a great high “C,” the reaction seems to be “Wow. That’s great dear, But we need you singing alto.” Please give me a chance to sing melody Give me a crack at the tune I'm filled with chagrin every time I begin “By the light of the silvery moon” Just one little shot at the melody Give me a moment to shine I'm sick of “can’t help lovin’ that man of mine” Just look at “Oklahoma” for example That rousing titled number of the show While everyone is singing “Oklahoma,” I get “sky-y-y-y-y-y-y-y. Yo-ho!” And now for a medley of some of my finer roles! The hills are alive with the sound of music Three little maids from school are we Pert as a schoolgirl well can be Filled to the brim with girlish glee Three little maids from school Touch me, it’s so easy to leave me! What mirror, where? Which? What? Where? Who? Who? Who? Who? Such a pretty me! Such a pretty me! Please! Pull a few strings for the melody! Don’t care if the solo is teeny It would be nirvana, from heaven such manna, To sing something other than “Sweeney!” I’m down on my knees for a melody I’m begging with all of my might! Just half a bar And let this chorus girl be a star! Tonight |
Silent Noon — James Magnus‑Johnston
From: The House of Life (Ralph Vaughan Williams)
Summary: A lyrical English art song from the cycle The House of Life, setting poetry by Dante Gabriel Rossetti.
| Your hands lie open in the long fresh grass, - The finger-points look through like rosy blooms: Your eyes smile peace. The pasture gleams and glooms 'Neath billowing skies that scatter and amass. All round our nest, far as the eye can pass, Are golden kingcup fields with silver edge Where the cow-parsley skirts the hawthorn hedge. 'Tis visible silence, still as the hourglass. Deep in the sun searched growths the dragonfly Hangs like a blue thread loosened from the sky: - So this winged hour is dropt to us from above. Oh! clasp we to our hearts, for deathless dower, This close-companioned inarticulate hour When twofold silence was the song of love. |
Popular — Sara Schabas
From: Wicked (Stephen Schwartz)
Summary: Galinda’s bubbly makeover song, teaching Elphaba how to be “popular.”
| Whenever I see someone Less fortunate than I (And let's face it - who isn't Less fortunate than I?) My tender heart Tends to start to bleed And when someone needs a makeover I simply have to take over I know I know exactly what they need And even in your case Tho' it's the toughest case I've yet to face Don't worry - I'm determined to succeed Follow my lead And yes, indeed You will be: Popular! You're gonna be popular! I'll teach you the proper ploys When you talk to boys Little ways to flirt and flounce I'll show you what shoes to wear How to fix your hair Everything that really counts to be Popular! I'll help you be popular! You'll hang with the right cohorts You'll be good at sports Know the slang you've got to know So let's start 'Cause you've got an awfully long way to go: Don't be offended by my frank analysis Think of it as personality dialysis Now that I've chosen to be come a pal, a Sister and adviser There's nobody wiser Not when it comes to popular - I know about popular And with an assist from me To be who you'll bee Instead of dreary who-you-were: are: There's nothing that can stop you From becoming popu-ler… lar La la la la We're gonna make you pop-u-lar! When I see depressing creatures With unprepossessing features I remind them on their own behalf To think of Celebrated heads of state or Specially great communicators Did they have brains or knowledge? Don't make me laugh! They were popular! Please - It's all about popular! It's not about aptitude It's the way you're viewed So it's very shrewd to be Very, very popular Like me! (spoken) Why, Miss Elphaba, look at you. You're beautiful. (spoken) You're welcome! (sung) And though you protest Your disinterest I know clandestinely You're gonna grin and bear it Your newfound popularity La la la la You'll be popular - Just not as quite as popular as me! |
Les oiseaux dans la charmille — Sarah Sommer
From: Les Contes d’Hoffmann (Jacques Offenbach)
Summary: Olympia’s mechanical doll aria, sparkling and virtuosic, from The Tales of Hoffmann.
| [Original French] Les oiseaux dans la charmille Dans les cieux l'astre du jour, Tout parle à la jeune fille d’amour ! Ah ! Voilà la chanson gentille La chanson d’Olympia ! Ah ! Tout ce qui chante et résonne Et soupire, tour à tour, Emeut son cœur qui frissonne d’amour ! Ah ! Voilà la chanson mignonne La chanson d’Olympia ! Ah ! |
| [English Translation] The birds in the arbor, The sky's daytime star, Everything speaks to a young girl of love! Ah! This is the gentile song, The song of Olympia! Ah! Everything that sings and resonates And sighs, in turn, Moves his heart, which shudders of love! Ah! This is the lovely song, The song of Olympia! Ah! |
Stay in My Arms — Nolan Kehler
From: Song by Marc Blitzstein
Summary: A tender plea for peace and intimacy amid a hectic, modern world.
| In this great city where will I find one peaceful, pretty spot where noise is not? A bit of quiet, untouched by all the hectic riot would help things a lot. Our temples automatic- science reveals. Our pace is acrobatic- life moves on wheels Here’s my admission- I haven’t very much ambition for the mad existence of our time. Let’s just be old fashioned. Let’s just be lazy. The world’s gone crazy so stay in my arms. My most dear; come close dear. Don’t be afraid to. My hands were made to shield you from alarm. What’s all the shooting for? Where are they rushing? Whom are they rooting for? Whom are they crushing? Forget them or let them grow dim and hazy. The world’s gone crazy so stay in my arms. Let’s lie here year by year midfield and daisy. The world’s gone crazy so stay in my arms. While millions of millions go wildly prancing, I’ll be romancing a song of your charms. They dance a dance that kills- mad and defenseless. Such jumping Jacks and Jills. It’s all so senseless. I love you. You love me. That much is plain, dear. The world’s insane, dear: so stay in my arms. All that I feel I will explain; Since it is new to me, I don't understand it. I have a feeling Full of desire, Which now is pleasure, now is torment. I freeze, then I feel my spirit all ablaze, And the next moment turns again to ice. I seek for a treasure outside of myself; I know not who holds it nor what it is. I sigh and I groan without wishing to, I flutter and tremble without knowing why. I find no peace by night or day, But yet to languish thus is sheer delight. You ladies who know what love is, See if it is what I have in my heart. |
Voi che sapete — Isabelle Buisson
From: Le nozze di Figaro (Wolfgang Amadeus Mozart)
Summary: Cherubino’s confession of youthful love, with Italian libretto by Lorenzo Da Ponte.
| [Original Italian] Voi che sapete che cosa è amor, donne, vedete s'io l'ho nel cor. Quello ch'io provo vi ridirò, è per me nuovo, capir nol so. Sento un affetto pien di desir, ch'ora è diletto, ch'ora è martir. Gelo e poi sento l'alma avvampar, e in un momento torno a gelar. Ricerco un bene fuori di me, non so chi'l tiene, non so cos'è. Sospiro e gemo senza voler, palpito e tremo senza saper. Non trovo pace notte né dì, ma pur mi piace languir così. Voi che sapete che cosa è amor, donne, vedete s'io l'ho nel cor. |
| [English Translation] You ladies who know what love is, See if it is what I have in my heart. All that I feel I will explain; Since it is new to me, I don't understand it. I have a feeling Full of desire, Which now is pleasure, now is torment. I freeze, then I feel my spirit all ablaze, And the next moment turns again to ice. I seek for a treasure outside of myself; I know not who holds it nor what it is. I sigh and I groan without wishing to, I flutter and tremble without knowing why. I find no peace by night or day, But yet to languish thus is sheer delight. You ladies who know what love is, See if it is what I have in my heart. |
From Now On — James Magnus‑Johnston
From: The Greatest Showman (Benj Pasek & Justin Paul)
Summary: P.T. Barnum’s climactic song of resolve and returning to what truly matters.
| P.T. BARNUM I saw the sun begin to dim And felt that winter wind Blow cold A man learns who is there for him When the glitter fades and the walls won't hold 'Cause from that rubble what remains Can only be what's true If all was lost There's more I gained 'Cause it led me back to you From now on These eyes will not be blinded by the lights From now on What's waited 'til tomorrow starts tonight Tonight Let this promise in me start Like an anthem in my heart From now on From now on I drank champagne with kings and queens The politicians praised my name But those were someone else's dreams The pitfalls of the man I became For years and years I chased their cheers A crazy speed of always needing more But when I stop And see you here I remember who all this was for And from now on These eyes will not be blinded by the lights From now on What's waited 'til tomorrow starts tonight It starts tonight And let this promise in me start Like an anthem in my heart From now on From now on From now on ODDITIES And we will come back home And we will come back home Home again! And we will come back home And we will come back home Home again! And we will come back home And we will come back home Home again! P.T. BARNUM From now on! ODDITIES (Refrain) P.T. BARNUM Yes! ODDITIES (Refrain) P.T. BARNUM These eyes will not be blinded by the lights ODDITIES From now on P.T. BARNUM What's waited 'til tomorrow starts tonight It starts tonight Let this promise in me start Like an anthem in my heart ODDITIES From now on etc. |
You'll Never Walk Alone / Climb Ev'ry Mountain — All
A medley from: Carousel and The Sound of Music (Rogers and Hammerstein)
| When you walk through a storm Hold your head up high And don't be afraid of the dark At the end of a storm is a golden sky And the sweet silver song of a lark Walk on through the wind Walk on through the rain Tho’ your dreams Be tossed and blown Walk on Walk on With hope in your heart And you'll never walk alone You'll never walk alone 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 Walk on Walk on With hope in your heart And you'll never walk alone You'll never walk alone |
Magic Flute Finale — Don Larsen & All
From: Die Zauberflöte (W. A. Mozart) / Adapted by John Greer
Summary: A concert finale adaptation celebrating the triumph of light over darkness. The sun’s golden glory has vanquished the night; the false word of darkness now yields to the light.
| SARASTRO The sun’s golden glory has vanquished the night. The false word of darkness now yields to the light. ALL The brave are victorious he crown they have won. Their beauty and wisdom will shine like the sun. |
