THE SONG COMPANY : CLOSE-UP

ESPERAR,SENTIR,MORIR

SONGS FROM THE IBERIAN PENINSULA ROBERTA DIAMOND, sopranoHANNAH LANE, baroque triple harp

CANBERRAFRI 23 OCT, 7PM WESLEY MUSIC CENTRE

WOLLONGONG SAT 24 OCT, 3PMCHURCH ON THE MALL

PRIVATE RECITALWED 28 OCT, 7PM WATSONS BAY

SYDNEY SAT 14 NOV, 2PMCELL BLOCK THEATRE

ESPERAR, SENTIR, MORIRVOYAGES IN MUSICA program that explores the music of the Iberian peninsula and its influence throughout Europe. Traditional melodies from the Sephardic diaspora are intertwined with theatre music from the Spanish Golden Age and popular compositions that travelled around the world.

PROGRAM Quantas sabedes amar, amigo Martim Codax (?Mid 13th-century) Pergaminho Vindel MS M979

Yo me enamoré de un aire Traditional Sephardic

Esperar, Sentir, Morir Juan Hidalgo (1614 - 1685)

Pabanas Lucas Ruiz de Ribayaz (1626 - after 1677)

Peinándose estaba un olmo Juan Hidalgo (1614 - 1685)

Triste estaba el rey David Alonso Mudarra (c. 1510 - 1580)

Triste está el rey David Traditional Sephardic

Partite sopra Ciaccona Girolamo Frescobaldi (1583 - 1643) Manuscript Chigi, Rome, 17th Century

Vuestros ojos Anonymous Robert Dowland’s A Musicall Banquet, 1610

Sé que me muero de amor Jean-Baptiste Lully (1632 - 1687) Le Bourgeois Gentilhomme, 1670

Canario Giovanni Girolamo Kapsberger (1580 - 1651)

No piense Menguilla José Marín (1618 - 1699)

Una matica de ruda Traditional Sephardic

Marizápolos Anonymous Codex Zuola, Cuzco, 17th Century

¡Ay de mi ganadito! Juan Serquiera de Lima (1655 - 1726) Cuadernos de Daroca, III Tonos humanos a solo con acompañamiento de arpa

Aura tierna, amorosa Juan Francisco Gòmez (1647 - 1719) Cuadernos de Daroca, III Tonos humanos a solo con acompañamiento de arpa

Ancor che col partire Antonio de Cabezón (1510 - 1566)

Nani Nani Traditional Sephardic

Nana Manuel de Falla (1876 - 1946) Siete canciones populares españolas, 1914-15

Special thanks to Frances Muecke for generously providing accommodation to Hannah Lane in Sydney

PERFORMERS

ROBERTA DIAMOND, currently studying at the Schola Cantorum Basiliensis in Switzerland with Gerd Türk, specialises in the interpretation of medieval, renaissance and baroque music. She has appeared at festivals such as Trigonale Festival der Alten Musik, Laus Polyphoniae Antwerpen, the Utrecht Oude Muziek Festival, the Goan Festival of Sacred Music in India and the International Festival of Baroque Music in Bolivia, and performed with ensembles including Pinchgut Opera, La Cetra Barockorchester, Voces8, i Profeti della Quinta and the Academy of Ancient Music Roberta also sings regularly with Emma Kirkby’s ensemble for lutes and voices, Dowland Works, and is a founding member of the renaissance mixed consort, Lux Musicae London. She enjoys collaborating with folk musicians from all over the world in cross-cultural projects and especially enjoys singing in Arabic and Spanish, which she studied at university.

Roberta is a Principal Artist of The Song Company and made her company debut in 2018 with True Love Story.

A ‘rising young star of early harps’, HANNAH LANE is a leading exponent of the next generation of Antipodean musicians dedicated to early music. Hannah studied modern harp with Alice Giles and historically informed performance practice with Geoffrey Lancaster, graduating with high distinction. She completed her studies in baroque harp in Milan, Italy, under the guidance of the historical harp pioneer and world-renowned performer/teacher, Mara Galassi.

As a soloist and continuo player Hannah has appeared at international festivals including the Spoleto Festival (Italy) and the Adelaide Festival. She is a recording artist for Obsidian Records (UK), ABC Classics, and Pinchgut Live.

Hannah performs regularly with many leading ensembles throughout Australia and Europe including the Australian Brandenburg Orchestra, Pinchgut Opera, Orchestra of the Antipodes, Latitude 37, and Van Diemen’s Band.

Hannah is an active researcher and has presented research and published on historical harp performance practice.

TEXTS & TRANSLATIONSQuantas sabedes amar amigoQuantas sabedes amar amigo treides comig’ a lo mar de Vigo: E banhar nos emos nas ondas

Quantas sabedes d’amor amado, treides comig’ a lo mar levado. E banhar nos emos nas ondas

Treides comig’a lo mar de Vigo e veeremo lo meu amigo.E banhar nos emos nas ondas

Treides comig’a lo mar levado e veeremo lo meu amado.E banhar nos emos nas ondas

Yo m’enamori d’un aireun aire d’una cabayero; D’un aire tan hermoso, lindo de mi coraçon.

Yo m’enamori de nocheYo m’enamori de noche, el lunar ya m’engano,Si esto era de día, yo no atava amor.

Si otra vez yo m’enamoro, sea de dia con sol.

Esperar, sentir, morirPorqué más iras buscas que mi tormento, Si en su siempre callado dolor atento,Yo propio me castigo lo que me quejo?

Esperar, sentir, morir, adorarPorque en el pesar de mi eterno amor Caber puede en su dolor!Adorar, morir, sentir, esperar

Vive tu muera solo quien tanto siente que sus eternos males la vida crecen y solamente vive porque padece

Those who know how to love a friend come with me to the sea of Vigoand we will bathe in the waves

Those who know of loving love come with me to the agitated sea and we will bathe in the waves

Come with me to the sea of Vigo and we will see my friendand we will bathe in the waves

Come with me to the agitated sea and we will see my loved one and we will bathe in the waves

I fell in love with a breeze, a breeze of a woman;a woman so pretty,dearer to me than my own heart.

I fell in love by night, the moon deceived me If it were day,I would not have found love.

If I fall in love ever again, let it be by day.

Why do you wish that my torment is greater if in its ever quietly vigilant griefmy complaints punish me already?

To hope, to feel, to die, to adore... For there is a place in the eternity Of my loving for all this sorrow! To adore, to die, to feel, to hope

May you live, for only he dies who feels his troubles are ever increasingand he only lives to suffer

Peinándose estaba un olmoPeinándose estaba un olmo Sus nuevas guedejas verdes y se la rizaba el aireal espejo una fuente

Y viéndole alegreSe iva cayendo de risa una fuente de cristal Murmurando entre dientes

Por verle, galán del prado las flores se desvanecen que vanidades infunde aún la hermosura silvestre

Y viéndole alegreSe iva cayendo de risa una fuente de cristal Murmurando entre dientes

Triste estaba el rey DavidTriste estaba el rey David, triste y con gran pasión, cuando le vinieron nuevas de la muerte de Absalón.

Cuando le vinieron nuevas de la muerte de Absalón palabras tristes dezia salidas del corazón

No te quisiera ver muerto sino vivo en mi prisión Fili mi, Absalón.Yo te otorgara perdón.

Triste está el Rey DavidTriste está el Rey David triste esta del corasonpor desechar las sus ansias subiose al mirador.

Echo los ojos a lejos onde espantava el sol vido a vinir un pasharikodemandando el emperador.

An elm was combing itself his new green branchesand the air was curling them at the mirror of a fountain

And seeing him so happy a crystal fountainwas falling over with laughter and murmuring under its breath

In seeing him, beau of the fields the flowers faintas vanities infuse the beautiful wood

And seeing him so happy a crystal fountainwas falling over with laughter and murmuring under its breath

King David was sadsad and with great passion when the news came to him of Absalon’s death

When the news came to him of Absalon’s deathsad wordspoured out from his heart

“I did not want to see you dead rather alive in my prisonmy son, AbsalonI would have pardoned you”

King David is sad,sad is his heart because To put aside his sadness, he went outside.

He looked uptoward where the sun rises, he saw a birdasking for the emperor.

Vini aqui los mis nietos huerfanicos nuevos sois Vini aqui la mi mujer madre negra de Abshalom

Y trokad vuestros vestidos y asentavos en cantónque vos mataron al hijo vuestro hijo Abshalom

Vuestros ojosVuestros ojos tienen d’Amor no se que, que me yelan, me roban, me hieren, que me matan a fè.

Porque me mirais con tanta aflicción, y a mi corazón, me aprisionais?Que si vos me mirais yo os acusaré

Sé que me mueroSé que me muero me muero de amor y solicito el dolor.

Aún muriendo de querer de tan buen aire adolezco,que es más de lo que padezco lo que quiero padecer.Y no pudiendo exceder a mi deseo el rigor.

Sé que me muero…

Lisonjéame la suertecon piedad tan advertida,que me asegura la vida en el riesgo de la muerte. Vivir de su golpe fuerte es de mi salud primor.

Sé que me muero…

Come here my grandchildren you are new orphanscome here my wife black mother of Absalon.

Change your clothes and sit in the cantonthey have killed your son your son Absalon.

Your eyes have a je ne sais quoi -they freeze me, rob me, wound me and kill me, by God!

Why do you look at me with such affliction,and why do you imprison my heart? If you look at meI blame you.

I know I’m dying I die of loveand I request the pain.

Even while dying of loveI suffer of such great appearance that is more than I suffer - what I want to suffer And its rigour is unable to exceed my desire.

I know I am dying..

Praise my luckwith such advised piety, that assures me lifein the risk of death.To live off its powerful blow is my health’s artfulness.

I know I am dying..

No piense Menguilla yaNo piense Menguilla ya, que me muero por sus ojos, que e sido vovo asta aquíy no quiero ser más vovo.

¡O qué lindo modopara que la dejen unos por otros!

El mal gusto de Menguilla es una cassa de locos,El tema manda al deseo vaya la razón al volto

¡O qué lindo modo…

Yo no he de querer en bulla que es una fiesta de toros donde a silbos se condenaquien piensa que es más dichoso.

¡O qué lindo modo… Una matika de rudaUna matika de ruda y una matika de flor hija mia mi queridadime a mi quien te la dio

Una matika de ruda y una matika de florme la dio un manseviko ke de mi s’enamoro

Hija mia mi kerida no t’eches a perdisionmas vale un mal marido ke un manseviko de amor

MarizápalosMarizápalos era muchacha, enamoradita de Pedro Martín, por sobrina del cura estimada,la gala del pueblo, la flor del abril.

Do not think any more, Menguilla that I die for your glances,I have been foolish until now and no longer want to be.

Oh what a nice way to be… to go from one to another!

Menguilla’s bad taste smacks of the madhouse; wilfulness commands desireand reason is turned upside down

Oh, what a nice way to be…

I must not love passionately because it is like a bullfight, where he is scornfully hissedhe who thought himself the luckiest.

Oh, what a nice way to be…

A sprig of rue a flowering sprigmy beloved daughtertell me who gave them to you

A sprig of rue a flooring sprigwas given to me by a young man who has fallen in love with me

My beloved daughterdon’t throw yourself to ruin even a bad husband is better than a young coup de foudre.

Marizápalos was a lassin love with Pedro Martín,esteemed because she was the priest’s niece, the toast of the town, the flower of Spring.

Merendaron los dos a la mesa que puso Marieta de su faldellín y Perico, mirando a lo verde, comió con la salsa de su perejil.

Pretendiendo de su garabato quitarle la carne con garfio sutil, Marizápalos le dijo: ¡zape!quedando en su aliento cariño de miz.

Cuando oyeron allá entre las ramaslas herradurillas de un fuerte rocín, el Adonis se puso en huida temiendo los dientes de algún jabalí.

Y era el cura, que al soto venía, que si un poco antes acierta a venir, como sabe gramática el cura,podía cogerlos en un mal latín.

¡Ay de mi ganadito!¡Ay de mi ganadito que en tanta pena como pena en el alma carga en la recua!

¡Ay, que ruede y más rude, pues así se lo quiere!Vamos andando, que de mi morenita me cogió el carro.Y por ver si me alivia repitiendo voy:¡ay!, que soy arrierito de amor.

De Madrid a Sevilla anda mi rueda midiendo mi esperanza Sierra Morena

Camino carretero van mis cuidados,mas tu enojo echa siempre por el atajo.

The couple picnicked on a tablemade by our young girl from her petticoat,and young Pedro, seeing how fresh her fare was, devoured it with his own parsley sauce.

As his twitching handssought out her breasts, with a sly little start Marizápalos cried ‘Shoo!’’which sounded sweet in her voice.

Hearing the sound of horse-hoofs rustling the fallen leaves,the Adonis took to his heels, fearing the tusks of some boar or other.

‘Twas the priest on his way to the groveand if he had come onto the scene a little earlier, knowing grammar as he did,would have caught them out using bad Latin!

Oh my little cow that in such pain pain in the soulis such a heavy load!

Ay, let it roll and roll if he wants it that way!We will go my foot as my brunette took my carriage.And to see if it relieves me repeating I go:Ay, that I am herded by love

From Madrid to Sevilla goes my wheel measuring my hope Sierra Morena

On the highroad go my caresbut your anger always takes the shortcut.

Aura tierna, amorosaAura tierna, amorosa si en una y otra flor¡ay! descansa el amor¡ay!, reposa, ven deliciosaaura pacible, ven¡ay!, mientras canto mi mal mientras lloro mi bien.

Amor de flores se viste disimulando rigores desde que tristesabe llorar cuando ríen las flores y, pues entre primores…

Florece la primaveracon la inquietud enemiga de quien esperala brevedad con que el ansia mitiga y pues cuando castiga…

Nani, naniNani, nani, nani quere el hijo, el hijo de la madre,de chico se haga grande. Ay, durmite mi alma, que tu padre viene,con muncha alegria. Ay, avrimex la puerta, que vengo cansadode arar las huertas. Avrir no vos avro, que no venix cansado,sino que venix de onde nuevo amor.

NanaDuérmete, niño, duerme, Duerme, mi alma, Duérmete, luceritoDe la mañana. Nanita, nana, Nanita, nana. Duérmete, lucerito De la mañana.

Tender, loving breezeIf in one and another flower Ay, love liesay, rests come, delectable peaceful breeze, come,ay, while I sing my bad luck while I weep for my good luck.

Love dresses in flowers hiding its rigourssince he has been sadhe knows to cry when the flowers laugh and so, in miracles...

Spring bloomswith an inimical restlessness of one who expectsthe brevity that anxiety causes and, then, when it punishes...

The son wants a lullaby, the mother’s son,he will grow up tall. Ay, go to sleep my love, father will come soon, with such happiness.Ay, open the door for me, for I come home weary from ploughing the fields. I will not open up for you,for you do not come home weary, rather you come from where there is new love.

Go to sleep, Child, sleep, Sleep, my soul,Go to sleep, little star f the morning.Lulla-lullaby, Lulla-lullaby,Sleep, bright little star Of the morning.

The Song Company is assisted by the Australian Government through the Australia Council, its arts funding and advisory body, and the NSW Government through Create NSW

The Song Company acknowledges the Traditional Owners of Country throughout Australia and we pay our respect to the Elders both past and present.

The Song Company Pty Ltd trading as The Song Company is a non-profit organisation registered as a company of limited guarantee ABN 27 001 577 377

THE SONG COMPANYThe Song Company belongs to a land whose first peoples have always used songlines and vocal music to pass knowledge and culture from one generation to another. We acknowledge and respect those traditions and are honoured to work together with Indigenous creative artists as part of our artistic mission. As Australia's national professional vocal ensemble, The Song Company is unique in its stylistic diversity with repertoire spanning the 9th century to today, and is led by Artistic Director, international composer and conductor, Antony Pitts.

The Song Company is at the forefront of both early music performance and contemporary vocal music through an extensive commissioning program and cross-artform collaborations with artists of the highest calibre from around the world.

The Song Company comprises eight Principal Artists, as well as Guest Artists from across the country who are established soloists and musical leaders in their own right, with a wider collective of Associate Artists made up of familiar and emerging voices. At its heart is a consort of four Ensemble Artists mentored by Associate Artistic Director, Francis Greep.

Together we are reshaping the professional vocal landscape in Australia for today and the next generation.

PRINCIPAL ARTISTSAmy Moore SopranoChloe Lankshear SopranoRoberta Diamond SopranoJessica O’Donoghue Mezzo SopranoMax Riebl CountertenorDan Walker TenorKoen van Stade TenorThomas Flint Bass

ENSEMBLE ARTISTSBonnie de la Hunty SopranoJanine Harris Mezzo SopranoEthan Taylor TenorHayden Barrington Baritone

BOARDMichael Tidball ChairAntony Pitts Elizabeth Grey Louise GuyMatthew HindsonRobert Bryden

THE SONG COMPANY TEAMAntony Pitts Artistic DirectorFrancis Greep General Manager & Associate Artistic DirectorSarah Elise Thompson Production ManagerEva Frey Marketing & Development ManagerJane Diamond Bookkeeper

Join The Song Company in creating music that will live on in your imagination forever by making a tax-deductible donation today online (the.song.company/donate) or calling Francis Greep on 02 9156 2781.

Thank you to our donors who have given so generously in 2020 during such uncertain times. Your support has enabled us to keep singing and return to the stage:$75K+ Tom & Elisabeth Karplus

$10K+ Martin Dickson AM & Susie DicksonNick & Caroline Minogue FoundationAnonymous (1)

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See our website for a full listing of donors, including 153 patrons who gave up to $250

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