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Deborah Voigt

  • Deborah Voigt
  • Deborah Voigt
  • Deborah Voigt

  • “Tristan Und Isolde: Mild Und Leise” Performed by Deborah Voigt

    Released 2004; ℗Angel records Ldt. From Voigt’s album “Obsession”. Presents scenes and arias from operas by Wagner and Strauss. Gramophone’s review of the Billboard top-five bestseller states, “The arias highlight Voigt’s extraordinary ability to soar effortlessly and luminously above the orchestra with her trademark rich, lustrous, never hard or brittle voice.” (Length - 7:18)
  • Die Frau Ohne Schatten: 1st Mein Liebster Dahin (Kaiserin’s Opening scene, Act 2)

    Released 2004; ℗Angel records Ldt. From Voigt’s album “Obsession”. Presents scenes and arias from operas by Wagner and Strauss. Gramophone’s review of the Billboard top-five bestseller states, “The arias highlight Voigt’s extraordinary ability to soar effortlessly and luminously above the orchestra with her trademark rich, lustrous, never hard or brittle voice.” (Length - 3:36)
  • “I Am in Need of Music” By Ben Moore. Performed by Deborah Voigt (Soprano) and Brian Zeger (Piano)

    Released 2005; ℗ Compilation 2005 Angel Records From the album “Deborah Voight Sings American Songs”. An Opera News "BEST OF THE YEAR" (Length - 3:33)
“For Deborah Voigt, a time of giving back and looking ahead”
– Palm Beach ArtsPaper 
“Awesome!”
– The New York Times 
“A stage presence that radiates an endearing charm!”
- Associated Press “ 
Voigt’s sublime, creamy voice precisely delivers Strauss’ highly charged, soaring music!”
– Washington Examiner 
“A truly great star!”
– The Washington Times
Click here to read the full article
Voigt “comes to pop-singing naturally!”
– Opera News

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Free pre-show lecture in the Peacock Education Center starts at 7pm. Please be on time.

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Download PDF version of Concert Program

DEBORAH VOIGT

SOPRANO

BRIAN ZEGER

PIANO

Amy Beach (Mrs. H. H. A. Beach)

The Year’s at the Spring, Op.44, No. 1
Ah, Love, But a Day, Op.44, No. 2
I Send My Heart Up to Thee, Op.44, No. 3 

 Pyotr Ilyich Tchaikovsky Ya li v pole da ne travushka byla, Op.47, No. 7

Den’ li tsarit?  Op.47, No.6

 Richard Strauss Ich trage meine Minne, Op.32, No.1

Schlechtes Wetter
Lob des Leidens, Op.15, No.3
Ach, Lieb, ich muss nun scheiden, Op.21, No.3
Zueignung

   INTERMISSION
 Ben Moore I Am in Need of Music

This Heart that Flutters
To the Virgins, To Make Much of Time
Bright Cap and Streamers

 Leonard Bernstein Piccola serenata
So pretty

Greeting
Another love
It’s gotta be bad to be good
Somewhere

 William Bolcom

Toothbrush Time
At the Last Lousy Moments of Love
George

 

*Program Subject to Change*

COLUMBIA ARTISTS MANAGEMENT, LLC
Personal Direction: Tim Fox
1790 Broadway, New York, NY 10019
www.cami.com

AMY BEACH (Mrs. H. H. A.)
(1867–1944)

The Year’s at the Spring, Op. 44, No. 1
           [Text: Robert Browning] 

The year’s at the spring,
And day’s at the morn;
Morning’s at seven;
The hill-side’s dew-pearl’d;
The lark’s on the wing;
The snail’s on the thorn;
God’s in His heaven--
All’s right with the world!

 

Ah, Love, But a Day, Op. 44, No. 2 
          [Text: Robert Browning]

Ah, Love, but a day,
And the world has changed!
The sun's away,
And the bird estranged;
The wind has dropped,
And the sky's deranged;
Summer has stopped.

Look in my eyes!
Wilt thou change too?
Should I fear surprise?
Shall I find aught new
In the old and dear,
In the good and true,
With the changing year?

Thou art a man,
But I am thy love.
For the lake, its swan;
For the dell, its dove;
And for thee — (oh, haste!)
Me, to bend above,
Me, to hold embraced.

I Send My Heart Up to Thee, Op. 44, No. 3
           [Text: Robert Browning]

I send my heart up to thee, all my heart
In this my singing,
For the stars help me, and the sea,
and the sea bears part;
The very night is clinging
Closer to Venice’s streets to leave one space
Above me, whence thy face
May light my joyous heart to thee,
to thee its dwelling place.

PYOTR ILYICH TCHAIKOVSKY     
(1840-1893) 

Ya li v pole da ne travushka byla, Op. 47, No. 7
           [Text by Ivan Surikov]

Ja li v pole da ne travushka byla, 
Ja li v pole ne zelenaja rosla; 
Vzjali menja, travushku, skosili, 
Na solnyshke v pole issushili.
Okh, ty, gore moje, gorjushko!
Znat' takaja moja doljushka!

Ja li v pole ne kalinushka byla,
Ja li v pole da ne krasnaja rosla;
Vzjali kalinushku, slomali,
Da v zhgutiki menja posvjazali!
Okh, ty, gore moje, gorjushko!
Znat' takaja moja doljushka!

Ja l' u batjushki ne dochen'ka byla,
U rodimoj ne cvetochek ja rosla;
Nevolej menja, bednuju, vzjali,
Da s nemilym, sedym povenchali!
Okh, ty, gore moje, gorjushko!
Znat' takaja moja doljushka!

Was I not a little blade of grass in the field

Was I not a little blade of grass in the field;
growing green in the field?
They mowed me down, a little blade of grass;
in the field they dried me in the sunshine.
Oh, my sorrow, my woe!
So this, this, then, is my destiny!

Was I not a little wild rosebush in the field,
growing red in the field?
They took the bush, uprooted it,
tied it in a bundle!
Oh, my sorrow, my woe!
So this, this, then, is my destiny!

Was I not my father's daughter;
was I not his little flower?
Yet they took me, all unwilling,
and married me to an old man I do not love!
Oh, my sorrow, my woe!
So this, this, then, is my destiny!

Den’ li tsarit? Op. 47, No. 6 
               [Text by Aleksey Nikolayevich Apukhtin] 

Den li tsarit, tishina li nochnaya,
F snakh li bessvyaznykh, v zhiteyskoy bor’be,
Fsyudu so mnoy, moyu zhizn’ napolnyaya,
Duma vse ta zhe, odna rokovaya,
Fsyo a tebe!
S neyu ne strashin mne prizrak bylova,
Sertse vaspranula snova lyubya . . .
Vera, mechty, vdokhnavennaya slova,
Fsyo, shto v dushe daragova, svyatova,
Fsyo at tebya!
Budut li dni mayi yasny, unyly,
Skora li zginu ya, zhizn’ zagubya!
Znayu adno, shto da samoy magily
Pomysly, chuvstva i pesni, i sily,
Fsyo dlya tebya!

Whether Day Dawns

Whether day dawns or in the stillness of the night,
Whether in a dream or awake,
Everywhere I go, I am filled entirely
With one thought alone,
Only of you!
No longer do shadows of the past frighten me,
My heart is renewed in love . . .
Faith, dreams, and inspiring words,
Everything that I hold dear to my soul, that is sacred,
It is all because of you!
Whether my days will be bright or dismal,
Whether my life ends soon or late!
One thing I know, that to the end
My thoughts, feelings and songs, and strengths,
All is for you! 

 

RICHARD STRAUSS
(1864-1949)

Ich trage meine Minne, Op. 32, No. 1
            [Text: Karl Friedrich Henckell]

Ich trage meine Minne vor Wonne stumm
Im Herzen und im Sinne mit mir herum.
Ja, daß ich dich gefunden, du liebes Kind,
Das freut mich alle Tage, die mir beschieden sind.

Und ob auch der Himmel trübe, kohlschwarz die Nacht,
Hell leuchtet meiner Liebe goldsonnige Pracht.
Und lügt auch die Welt in Sünden, so tut mir’s weh,
Die arge muß erblinden vor deiner Unschuld Schnee.

I bear my love

I bear my love, with rapture mute,
about with me in heart and thought.
Yes, that I have found you, sweet child,
will cheer me all my allotted days.

And though skies be dim, the night coal-black,
bright shines the gold sun’s splendour of my love.
And though the world may sinfully lie, I am sorry—
the bad world must be blinded by your purity’s snow.

Schlechtes Wetter
            [Text: Heinrich Heine]

Das ist ein schlechtes Wetter,
Es regnet und stürmt und schneit;
Ich sitze am Fenster und schaue
Hinaus in die Dunkelheit.

Da schimmert ein einsames Lichtchen,
Das wandelt langsam fort:
Ein Mütterchen mit dem Laternchen
Wankt über die Strasse dort.

Ich glaube, Mehl und Eier
Und Butter kaufte sie ein;
Sie will einen Kuchen backen
Fürs grosse Töchterlein.

Die liegt zu Haus im Lehnstuhl,
Und blinzelt schläfrig ins Licht;
Die goldnen Locken wallen
Über das süsse Gesicht.

Bad weather 

The weather is bad,
it is raining and storming and snowing;
I sit by the window and look out
into the darkness.

A lonely little light is glowing out there,
it is moving slowly away;
A young mother with her little lantern
stumbles along the street.

I believe she’s buying
flour and eggs and butter;
she wants to bake a cake
for her fat little daughter.

Her daughter is at home, lying in an armchair
blinking sleepily at the light;
her golden locks fall
over her sweet face.

Lob des Leidens, Op.15, No. 3
          [Text: Adolf Friedrich von Schack]

O, schmäht des Lebens Leiden nicht!
Seht ihr die Blätter, wenn sie sterben,
sich in des Herbstes goldenem Licht
nicht reicher, als im Frühling färben?

Was gleicht der Blüte des Vergehens
im Hauche des Oktoberwehens?
Krystallner als die klarste Flut
erglänzt des Auges Tränenquelle,

Tief dunkler flammt die Abendglut,
als hoch am Tag die Sonnenhelle,
und keiner kußt so heissen Kuß,
als wer für ewig scheiden muß. 

In praise of sorrow

O do not revile the sorrows of life!
Look at the leaves: when they die,
is not the golden light of autumn
richer than when tinged by Spring?

What can compare to the blossom of forgiveness
in the October breeze?
More crystalline than the clearest waters
are eyes with glistening, streaming tears;

Twilight glows with a profounder, darker gleam
than the sun does when it is high and bright in the sky;
and no one kisses with such ardent kisses
as when one must depart forever.

Ach, Lieb, ich muss nun scheiden, Op. 21, No. 3
          [Text: Felix Ludwig Julius Dahn]

Ach Lieb, ich muss nun scheiden,
Gehn über Berg und Tal,
Die Erlen und die Weiden,
Die weinen allzumal.

Sie sahn so oft uns wandern
Zusammen an Baches Rand,
Das eine ohn’ den andern
Geht über ihren Verstand.

Die Erlen und die Weiden
Vor Schmerz in Tränen stehn,
Nun denket, wie’s uns beiden
Erst muss zu Herzen gehn.

Ah love, I must now depart 

Ah love, I must now depart,
going over mountain and valley,
the alders and the willows,
they all weep together.

They saw us walk together so often
along the brook,
when they see one of us without the other,
they just cannot understand.

The alders and the willows
stand weeping in pain and tears,
now think how it is for both of us
in our hearts.

Zueignung    
            [Text: Hermann von Gilm]           

Ja, du weißt es, teure Seele,
daß ich fern von dir mich quäle,
liebe macht die Herzen krank,
habe Dank.

Einst hielt ich, der Freiheit Zecher,
hoch den Amethysten-Becher
und du segnetest den Trank,
habe Dank.

Und beschworst darin die Bösen,
bis ich, was ich nie gewesen,
heilig, heilig an’s Herz dir sank,
habe Dank!

Dedication

Yes, you know, dear soul,
That I’m in torment when I’m far away from you,
Love makes the heart sick,
Have thanks.

Once I, freedom’s reveler,
Held high the amethyst chalice
And you blessed that drink,
Have thanks.

And you drove out the demons therein,
Until I, as never before,
Holy, holy sank upon your heart,
Have thanks!

1999 Janet Gillespie

 

BEN MOORE

(1960-)

 

I Am in Need of Music

[Text: Elizabeth Bishop]

 

I am in need of music that would flow

Over my fretful, feeling fingertips,

Over my bitter-tainted, trembling lips,

With melody, deep, clear, and liquid-slow.

Oh, for the healing swaying, old and low,

Of some song sung to rest the tired dead.

A song to fall like water on my head,

And over quivering limbs, dream flushed to

glow!

There is a magic made by melody:

A spell of rest, and quiet breath, and cool

Heart, that sinks through fading colors deep

To the subaqueous stillness of the sea,

And floats forever in a moon-green pool,

Held in the arms of rhythm and of sleep.

 

This Heart that Flutters

            [Text: James Joyce]

 

This heart that flutters near my heart

My hope and all my riches is,

Unhappy when we draw apart

And happy between kiss and kiss;

My hope and all my riches—yes!—

  And all my happiness.

 

For there, as in some mossy nest

  The wrens will divers treasures keep,

I laid those treasures I possessed

Ere that mine eyes had learned to weep.

Shall we not be as wise as they

Though love live but a day?

 

To the Virgins, To Make Much of Time

            [Text: Robert Herrick]

 

Gather ye rosebuds while ye may, 

    Old time is still a-flying :

And this same flower that smiles to-day
    To-morrow will be dying.

The glorious lamp of heaven, the sun,
    The higher he's a-getting,
The sooner will his race be run,
    And nearer he's to setting.
That age is best which is the first,
    When youth and blood are warmer ;
But being spent, the worse, and worst
    Times still succeed the former.

Then be not coy, but use your time,
    And while ye may go marry :
For having lost but once your prime
    You may forever tarry.

 
Bright Cap And Streamers

            [Text: James Joyce]

 

Bright cap and streamers,

He sings in the hollow:

Come follow, come follow,

All you that love.

Leave dreams to the dreamers

That will not after,

That song and laughter

Do nothing move.

 

With ribbons streaming

He sings the bolder;

In troop at his shoulder

The wild bees hum.

And the time of dreaming

Dreams is over--

As lover to lover,

Sweetheart, I come.

 

Leonard Bernstein

(1918-1990)

 

Piccola serenata

 

patter lyric

Da-ga-da-ga-dum-da-lai-la-lo, etc.

 

So pretty

          [Text: Betty Comden & Adolph Green]

 

We were learning in our school today

All about a country far away,

Full of lovely temples painted gold,

Modern cities, jungles ages old.

 

And the people are so pretty there,

Shining smiles, and shiny eyes and hair …

 

Then I had to ask my teacher why

War was making all those people die.

They’re so pretty, so pretty.

 

Then my teacher said, and took my hand,

‘They must die for peace, you understand.’

But they’re so pretty, so pretty.

 

I don’t understand.

 

Greeting

 

When a boy is born,

the world is born again,

And takes its first breath with him.

 

When a girl is born,

the world stops turning ‘round,

And keeps a moment’s hushed wonder.

 

Every time a child is born,

for the space of that brief instant,

The world is pure.

 

Another love

            [Text: Betty Comden & Adolph Green]

 

Another love

And so I’ve had another love,

Another spring, another spell.

I thought that this time it was love,

The diamond ring, the wedding bell.

So we spent a few days in a magical haze;

You said, at the time,

It was wonderful, sweet, terrific, sublime!

And then you found it all a bore,

And here am I just like before.

And so I’ve had another love.

© Amberson Holdings LLC

 

It’s gotta be bad to be good

          [From On the Town]

 

You don’t talk to me tender,

Or treat me easy,

The way that a good lover should.

It’s not very gay,

But love is that way.

It’s gotta be bad to be good.

 

Since the first day we started

You played me evil;

Don’t know how I’ve stood what I’ve stood,

But I’ll stay around

’Cause, baby, I’ve found

It’s gotta be bad to be good.

 

You say that I’ll leave you,

Bad penny, bye-bye,

That I’ll go and deceive you

With some sweeter guy.

The spell that you weave,

You know I’ll never fly.

Is it fair? I don’t care.

 

It’s a strange kind of love

If it keeps you cryin’,

But I wouldn’t change it if I could.

I’m in for a ride,

But I’m satisfied,

’Cause it’s gotta be bad to be good.

’Cause it’s gotta be bad,

’Cause if love isn’t bad it ain’t good.

© 1981 Amberson Holdings LLC

 

Somewhere

          [Text: Stephen Sondheim From West Side Story]

 

There’s a place for us,

Somewhere a place for us,

Peace and quiet and open air

Wait for us somewhere.

 

There’s a time for us,

Some day a time for us,

Time together with time to spare,

Time to look, time to care.

 

Someday! Somewhere!

We’ll find a new way of living,

We’ll find a way of forgiving

Somewhere –

 

There’s a place for us,

A time and place for us.

Hold my hand and we’re halfway there,

Hold my hand and I’ll take you there,

Somehow,

Some day,

Somewhere.

 

William Bolcom

(1938-)

 

Toothbrush Time

            [Text: Arnold Weinstein]

 

It’s toothbrush time,

Ten a.m. again and toothbrush time

Last night at half past nine it seemed O.K.

But in the light of day not so fine at toothbrush time

Now he’s crashing round my bathroom

Now he’s reading my degree,

Perusing all my pills

Reviewing all my ills

And he comes out smelling like me

Now he advances on my kitchen

Now he raids every shelf

Till from the pots and pans and puddles and debris

Emerges three eggs all for himself

Oh, how I’d be ahead if I’d stood out of bed;

I wouldn’t sit here grieving

Waiting for the wonderful moment of his leaving

At toothbrush time, toothbrush time,

Ten a.m. again and toothbrush time

I know it’s sad to be alone

It’s so bad to be alone,

Still I should’ve known

That I’d be glad to be alone.

I should’ve known, I should’ve known!

Never should have picked up the phone and called him.

“Hey, uh, listen, uhm

Uh, I’ve got to, uh…

Oh, you gotta go too?

So glad you understand.

And…”

By the way, did you say

Nine tonight again?

See you then.

Toothbrush time!

 

At the Last Lousy Moments of Love

            [Text: Arnold Weinstein]

 

At the last lousy moments of love,

He wanted to tell me the truth.

At the last writhing rotten moments of love,

He wanted to tell me the truth about me, of course.

Thanks, I’ll need this.

 

At the last lousy moments of love,

He wanted to tell me that I wasn’t doing too well.

I was eating and drinking and talking too much.

He wanted to tell me as a friend,

At the end of those last lousy moments of love.

 

He wanted to tell me he was leaving,

He’d waited too long to tell me

That I was self-righteous even when I wasn’t wrong,

And I spoke about friendship,

‘Till our friends gave me up as a friend for the season,

For which reason he wanted to tell me this truth.

 

He wanted to tell me these things, as a friend.

He wanted to tell me, but he didn’t in the end,

At those last lousy moments of love.

 

He said it all, with his body to my best friend.

 

George, from Cabaret Songs                                                                                                       

            [Text: Arnold Weinstein]

 

My friend George used to say

"Oh call me Georgia, hon,

Get yourself a drink,"

and sang the best soprano in our part of town.

In beads, brocade and pins,

he sang if you happened in

through the door he never locked

and said, "Get yourself a drink,"

and sang out loud till tears fell in the cognac

and the choc'late milk and gin

and on the beads, brocade and pins.

When strangers happened through his open door,

George said, "Stay, but you gotta keep quiet

while I sing and then a minute after,

And call me Georgia."

 

One fine day a stranger

in a suit of Navy blue

took George's life with a knife

George had placed beside an apple pie he'd baked

and stabbed him in the middle

of Un bel di vedremo

as he sang for this particular stranger

who was in the United States Navy.

 

The funeral was at the cocktail hour.

We knew George would like it like that.

Tears fell on the beads, brocade and pins

in the coffin which was white

because George was a virgin.

Oh call him Georgia, hon,

get yourself a drink.

 

"You can call me Georgia, hon

get yourself a drink!"

  • Run Time: Approx. 90 min.
  • Intermissions: 1
  • Parental Guide: Ages 8+
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The Adrienne Arsht Center provides this information to help you make informed decisions when bringing young people to performances. These are recommendations – you are the expert in deciding what your children should see and know best how to help them enjoy their theatergoing experience. Every guest, regardless of age, must have a ticket; babies-in-arms are not admitted to any performance.

Monday, January 1

KNIGHT CONCERT HALL

DEBORAH VOIGT, soprano
Brian Zeger,
piano

NEW PREVIEW ARTICLES!
Deborah Voigt faces life challenges and career transition
with spirit and grace

South Florida Classical Review | By Dorothy Hindman

El regreso de Deborah Voigt
El Nuevo Herald | by Sebastian Spreng 

Soprano Deborah Voigt has been hailed as quite simply “awesome” by The New York Times, and her recent portrayal of Wagner’s Bruenhilde has been seen around the world live in HD “Live from the Met” and now in Blu-Ray. Her searing  performance in the Metropolitan Opera’s new production of The Ring of the Nibelungs was praised by The Huffington Post for “the emotional intensity of her portrayal…so moving and convincing that tears streamed down the critic’s face.” 

A popular hostess as well as star of multiple PBS broadcasts, the irrepressible, immensely likable diva has been hailed not only as today’s reigning Wagnerian soprano, but also in a wide range of challenging roles from Puccini’s gun-toting Minnie in La fanciulla del West, Strauss’ Salome and Ariadne and Berlioz’ tragic Cassandre in the epic Les Troyens to Annie Oakley in Irving Berlin’s great American musical Annie Get Your Gun.

Equally at home in popular song and Broadway, Deborah Voigt “comes to pop singing naturally,” according to Opera News. She has headlined in benefits for Broadway Cares/Equity Fights AIDS as well as in sold-out runs at New York’s Café Carlyle. Known to Twitter fans as “Dramatic soprano and down-to-earth diva,” Deborah Voigt was named by the Los Angeles Times as one of the top 25 cultural tweeters to follow. 

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