UNIVERSITY OF THE PHILIPPINES

College of Music
Diliman, Quezon City

Shane Karylle Lutero

Soprano

Professor Bechie Valena

Voice Teacher

January, 2024
UP College of Music
 PROGRAM

From “Magnificat in D Major," BWV 243 Johann Sebastian Bach

Qia Respexit ()

Vidit suum dulcem natum Giovanni Battista Pergolesi

Come raggio di sol Antonio Caldara

From the opera, "Il Giustino" Giovanni Legrenzi

Che fiero costume

Spesso vibra per suo gioco Alessandro Scarlatti

Ganymed Franz Schubert

From Schumann’s song cycle, "Myrthen," Op. 25 Robert Schumann

Die Lotosblume

Après un rêve Gabriel Fauré

Chant Hindou Hermann Bemberg

How Do I Love You Penny Rodriguez

From Purcell’s semi-opera, "The Indian Queen" Henry Purcell

I Attempt From Love's Sickness to Fly

From Obradors’ song cycle, "Canciones Clásicas Españolas" Fernando Obradors

El Molondrón

La mi sola, Laureola

Nasaan Ang Aking Puso Nicanor Abelardo

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 Leron Leron Sinta Lucrecia Kasilag

From Mozart's opera, "Cosi fan tutte" Wolfgang Amadeus Mozart

In uomini! In soldati!

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"Quia Respexit" is a captivating aria from Johann Sebastian Bach's "Magnificat in D Major," BWV
243. The aria's name, "Quia Respexit," translates to "For He hath regarded" in Latin, and the lyrics
reflect the text of the Magnificat, specifically the passage where Mary praises God for looking favorably
upon her humble state. As the aria unfolds, the music swells with emotion, conveying a profound sense
of gratitude and humility. Bach's use of ornate melodic lines and rich harmonies creates a sublime
musical expression of Mary's awe and wonder at the divine blessing she has received. "Quia Respexit" is
a masterpiece that encapsulates the essence of Bach's genius and spiritual depth.

Quia respexit humilitatem, Because He has looked upon the lowliness

Humilitatem ancillae suae. The lowliness of His servant.
Quia respexit humilitatem, Because He has looked upon the lowliness
Humilitatem ancillae suae. The lowliness of His servant.

Ecce, ecce Behold, behold

Ecce, ecce Behold, behold

Ecce enim ex hoc beatam Behold, for from now on [they'll deem me]
Ecce enim ex hoc beatam blessed
Beatam me dicent Behold, for from now on [they'll deem me]
Beatam, beatam blessed
Me dicent They'll deem me blessed
Blessed, blessed
They'll deem me

"Vidit suum dulcem natum" is a pivotal section within Giovanni Battista Pergolesi's renowned
"Stabat Mater," a masterful composition from the Baroque period. This Latin text translates to "She
saw her sweet son" and is an integral part of the overall narrative conveyed through the work.

Pergolesi's "Stabat Mater" is a sacred composition that vividly depicts the grief of the Virgin Mary as she
witnesses her son's crucifixion. The emotional depth and intensity of this piece are encapsulated in the
evocative "Vidit suum dulcem natum" section. The composer skillfully utilizes vocal and instrumental
elements to convey the profound sorrow and maternal anguish described in the medieval hymn.
Pergolesi's ability to infuse rich harmonies with expressive lyricism contributes to the enduring impact
of this composition.

Vidit suum dulcem natum She saw her tender Child,

moriéntem desolátum, hang in desolation,

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dum emísit spíritum. Till His spirit forth sent.

"Come raggio di sol" by Antonio Caldara is a captivating Italian Baroque art song that poetically
conveys the depth of romantic feelings using the metaphor of sunlight. The piece features a graceful
melody adorned with intricate embellishments, creating a delicate yet emotionally rich composition.
Whether accompanied by a keyboard instrument or a small ensemble, the interplay of vocal and
instrumental elements enhances the overall beauty of the piece. Caldara's ability to blend simplicity
with profound emotional expression makes "Come raggio di sol" a timeless gem in the art song
repertoire, resonating across genres and captivating audiences with its enduring musical and emotional
impact.

Come raggio di sol mite e sereno, As a ray of peaceful sunshine

Sovre placidi flutti si riposa, gleams on the tranquil wave,

Mentre del mare nel profondo seno while deep in the sea’s bossom

Sta la tempesta ascola: the tempest lies hidden:

Così riso talor gaio e pacato so it may happen that a smile

Di contento, di gioia un [labbro]1 infiora, of contentment blooms upon the lips,

Mentre nel suo segreto il cor piagato while the heart is writhing

S’angoscia e si martora. in secret anguis

"Che fiero costume" is a captivating and well-known aria from the opera "Il Giustino" composed by
Giovanni Legrenzi, an Italian composer of the Baroque era. This aria is a splendid example of the
Baroque style, characterized by its ornate melodies, expressive harmonies, and virtuosic vocal lines. The
title, which translates to "What a fierce custom," hints at the dramatic and emotional content of the
piece. In this aria, the singer portrays a range of intense emotions, from anger and indignation to
despair and sorrow, as they lament the injustices of the world. The music is marked by its beautiful
ornamentation, intricate vocal runs, and poignant harmonic shifts, making it a showcase for the
singer's vocal agility and expressive prowess. "Che fiero costume" is a captivating piece that exemplifies
the richness and complexity of Baroque opera.

Che fiero costume What bestial force

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D’aligero nume, This winged divinity possesses,
Che a forza di pene si faccia adorar! Punishing you until you adore him!
E pur nell’ ardore And still, in my burning passion
Il dio traditore This deceitful God
Un vago sembiante mi fe’ idolatrar. Has made me idolise an enchanting face.

Che crudo destino How cruel fate is

Che un cieco bambino That a blind child
Con bocca di latte si faccia stimar! With a mouth full of milk can fill himself with
Ma questo tiranno pride!
Con barbaro inganno, But this tyrant
Entrando per gli occhi, mi fe’ sospirar! With barbaric trickery,
Has passed through my eyes and made me sigh!

"Spesso vibra per suo gioco" is an evocative vocal piece attributed to the Baroque composer
Alessandro Scarlatti. The title, translating to "Often trembles for his sport," unfolds with a solo vocalist
navigating through intricate ornamentation and expressive melodies, showcasing Scarlatti's mastery in
conveying complex emotions through music. In essence, "Spesso vibra per suo gioco" invites listeners
into a world of emotional resonance, where the solo voice becomes a vessel for the dynamic and vibrant
storytelling inherent in Baroque musical expression.

Spesso vibra per suo gioco Often for his amusement

Il bendato pargoletto the blindfolded boy shoots
Strali d'oro in umil petto, golden arrows into a humble breast,
Stral di ferro in nobil core. iron arrows into a proud heart.

Poi languendo in mezzo alfoco Then, languishing in the fire

Del diverso acceso strale per oggetto of the burning arrow,
Non eguale questo manca, as unequal targets, this one perishes,
E quel vien meno. and the other faints.

Spesso vibra per suo gioco Often for his amusement

Il bendato pargoletto the blindfolded boy shoots
Strali d'oro in umil petto, golden arrows into a humble breast,
Stral di ferro in nobil seno. iron arrows into a proud heart.

"Ganymed" is a celebrated lieder composed by Franz Schubert in 1817, setting to music a poem by
Johann Wolfgang von Goethe. This art song is a lyrical masterpiece, characterized by its passionate and

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ecstatic expression of love. The song's narrative revolves around the Greek mythological figure
Ganymede, who is carried away by Zeus in the form of an eagle. Schubert's composition evokes a sense
of divine rapture and desire, making "Ganymed" a quintessential example of Romantic-era art song,
where music and poetry intertwine to create a profoundly emotional and evocative experience for both
performers and listeners.

Wie im Morgenglanze How your glow envelops me

Du rings mich anglühst, in the morning radiance,
Frühling, Geliebter! spring, my beloved!
Mit tausendfacher Liebeswonne With love’s thousandfold joy
Sich an mein Herz drängt the hallowed sensation
Deiner ewigen Wärme of your eternal warmth
Heilig Gefühl, floods my heart,
Unendliche Schöne! infinite beauty!

Daß ich dich fassen möcht' O that I might clasp you

In diesen Arm! in my arms!
Ach, an deinem Busen Ah, on your breast
Lieg' ich, schmachte, I lie languishing,
Und deine Blumen, dein Gras and your flowers, your grass
Drängen sich an mein Herz. press close to my heart.
Du kühlst den brennenden You cool the burning
Durst meines Busens, thirst within my breast,
Lieblicher Morgenwind! sweet morning breeze,
Ruft drein die Nachtigall as the nightingale calls
Liebend nach mir aus dem Nebeltal. tenderly to me from the misty valley.
Ich komm', ich komme! I come, I come!
Wohin? Ach, wohin? But whither? Ah, whither?
Hinauf! Hinauf strebt's. Upwards! Strive upwards!
Es schweben die Wolken The clouds drift
Abwärts, die Wolken down, yielding
Neigen sich der sehnenden Liebe. to yearning love,
Mir! Mir! to me, to me!
In eurem Schosse In your lap,
Aufwärts! upwards,
Umfangend umfangen! embracing and embraced!
Aufwärts an deinen Busen, Upwards to your bosom,
Alliebender Vater! all-loving Father!

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"Die Lotosblume" is a beautiful and tender art song composed by Robert Schumann as part of his
song cycle "Myrthen," Op. 25. The song sets to music a poem by Heinrich Heine, and it captures the
essence of romanticism with its lyrical and expressive qualities. The lotus flower serves as a symbol of
love and longing, and Schumann's music delicately mirrors the text's sentiments. The melody flows
gracefully, evoking a sense of serenity and deep emotion, while the piano accompaniment adds subtle
harmonic nuances that enhance the song's emotional depth. "Die Lotosblume" is a gem of German
Lieder, showcasing Schumann's ability to imbue music with profound sensitivity and poetry.

Die Lotosblume ängstigt The lotus-flower fears

Sich vor der Sonne Pracht, The sun’s splendour,
Und mit gesenktem Haupte And with bowed head,
Erwartet sie träumend die Nacht. Dreaming, awaits the night.

Der Mond, der ist ihr Buhle The moon is her lover,
Er weckt sie mit seinem Licht, And wakes her with his light,
Und ihm entschleiert sie freundlich And to him she tenderly unveils
Ihr frommes Blumengesicht. Her innocent flower-like face.
Sie blüht und glüht und leuchtet She blooms and glows and gleams,
Und starret stumm in die Höh’; And gazes silently aloft—
Sie duftet und weinet und zittert Fragrant and weeping and trembling
Vor Liebe und Liebesweh. With love and the pain of love.

"Après un rêve" is a poignant and evocative art song composed by Gabriel Fauré, one of the leading
figures of French late Romantic music. Written in 1877, this piece is a shining example of Fauré's
mastery in crafting delicate, introspective melodies. The song's text, penned by Romain Bussine, speaks
of the fleeting nature of dreams and the longing to return to a state of blissful reverie. Fauré's music
beautifully captures these sentiments, with its gentle and lyrical vocal lines set against a lush and
expressive piano accompaniment. The piece exudes a sense of yearning and nostalgia, making it a
beloved gem in the art song repertoire, admired for its emotional depth and exquisite simplicity.

Dans un sommeil que charmait ton image In sleep made sweet by a vision of you
Je rêvais le bonheur, ardent mirage, I dreamed of happiness, fervent illusion,
Tes yeux étaient plus doux, ta voix pure et sonore, Your eyes were softer, your voice pure and ringing,
Tu rayonnais comme un ciel éclairé par l’aurore; You shone like a sky that was lit by the dawn;

Tu m’appelais et je quittais la terre

You called me and I departed the earth

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Pour m’enfuir avec toi vers la lumière, To flee with you toward the light,
Les cieux pour nous entr’ouvraient leurs nues, The heavens parted their clouds for us,
Splendeurs inconnues, lueurs divines entrevues. We glimpsed unknown splendours, celestial fires.

Hélas! hélas, triste réveil des songes,

Alas, alas, sad awakening from dreams!
Je t’appelle, ô nuit, rends-moi tes mensonges;
I summon you, O night, give me back your
Reviens, reviens, radieuse,
delusions;
Reviens, ô nuit mystérieuse!
Return, return in radiance,
Return, O mysterious night!

"Chant Hindou" by Hermann Bemberg is a mesmerizing and evocative composition that transports
listeners to the mystical world of Hindu culture through its rich and enchanting melodies. This
musical piece, originally written for voice and piano, exudes a sense of spiritual transcendence, drawing
inspiration from the sacred traditions and vibrant spirituality of Hinduism. Bemberg's masterful
composition skillfully blends Western classical elements with the exotic allure of Indian musical motifs,
creating a harmonious fusion that captures the essence of the East. With its hauntingly beautiful
melodies and lush harmonies, "Chant Hindou" serves as a musical journey that resonates with both the
intellect and the soul, inviting the listener to explore the profound depths of Hindu spirituality
through the universal language of music.

Brahma, Dieu des croyants, Brahma, God of believers,

maître des cités saintes, maestro of the city of health,
N'entends-tu pas mes longs sanglots? Don't you hear my long sobs?
A ton fleuve sacré A sacred river tone
je répète mes plaintes I repeat my complaints
Qu’il va te porter dans ses flots! That he will carry you in his waves!

Il a quitté ce monde, He left this world,

M’aimant quand je l’aimais Loving me when I loved him
Et ma peine est profonde, And my peccato is deep,
Je souffre à jamais! I suffer forever!
Il a quitté ce monde, He left this world,
il a quitté la vie, ho lasciato la vita,
Et moi, je ne vois plus ses yeux, And I no longer see his eyes,
Je n’entends plus sa voix, I no longer hear his voice,
ma lèvre refroidie my lip cooled

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N’a plus ses baisers amoureux; No longer has his loving kisses;
Il ne me reste rien de ses folles é treintes, I have nothing left of his crazy embraces,
Rien, rien, Brahma… que mes sanglots! Nothing, nothing, Brahma... only my sobs!

A ton fleuve sacré A sacred river tone

je répète mes plaintes I repeat my complaints
Qu’il va te porter dans ses flots! That he will carry you in his waves!
Il a quitté ce monde, He left this world,
M’aimant quand je l’aimais Loving me when I loved him
Et ma peine est profonde, And my peccato is deep,
Je souffre à jamais! I suffer forever!

In "How Do I Love You?" by Penny Rodriguez, the composer skillfully transforms the poetic
brilliance of Elizabeth Barrett Browning's "How Do I Love Thee?" into a formal and evocative musical
expression. This composition, part of the collection "Nine Love Poetry," intricately weaves the rich
tapestry of Browning's words into a melodic landscape. Rodriguez's work employs a formal structure
to capture the essence of each line, allowing the music to reflect the emotional depth and timeless
nature of love portrayed in the original poem. Through meticulous craftsmanship, Rodriguez creates a
musical dialogue that resonates with the profound themes of love and devotion, providing a nuanced
and expressive interpretation of Browning's classic verse.

How do I love you?

Let me count the ways.
How do I love you?
Let me count the ways.
I love you to the depth and breadth and height
my soul can reach when feeling out of sight of grace.
I love you to the level of everyday's most quiet need,
by sun and candle light,
by sun and candle light.

I love you freely as men strive for right;

I love you purely, as they turn from praise.
How do I love you?
Let me count the ways.
How do I love you?
Let me count the ways.

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I love you with a passion put to use
in my old griefs, and with my childhood faith.
I love you with a love I seemed to lose
with my lost saints

I love you with the breath, smiles, tears, for all my life
and, if God choose, I shall but love you better after death
I shall but love you better after death

"I Attempt From Love's Sickness to Fly" is a captivating aria composed by Henry Purcell, a
renowned English Baroque composer. This piece is a shining gem from his semi-opera "The Indian
Queen," composed in the late 17th century. The aria beautifully encapsulates the essence of Baroque
music with its lush melodic lines, rich harmonies, and expressive vocal ornamentation. The lyrics
poignantly convey the theme of longing and desire, as the protagonist seeks to escape the torment of
love. Purcell's composition masterfully combines elements of both English and French musical styles,
creating a piece that is both emotionally charged and musically exquisite, making it a timeless classic in
the world of Baroque music.

I attempt from love’s sickness to fly in vain,

Since I am myself my own fever and pain.

No more now, fond heart, with pride no more swell,

Thou canst not raise forces enough to rebel.

For love has more pow’r, and less mercy than fate,
To make us seek ruin, and love those that hate.

"El Molondrón" is a charming and evocative art song composed by Spanish composer Fernando
Obradors. This piece is part of his famous song cycle "Canciones Clásicas Españolas," which captures
the essence of Spanish folk music and poetry. "El Molondrón" is characterized by its lively and
rhythmic melody, transporting listeners to the heart of Spain. The song tells the story of a little
swallow, or "molondrón" in Spanish, as it embarks on its journey from afar, depicting the bird's flight
and its yearning for love. Obradors' composition skillfully blends traditional Spanish musical elements

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with the expressive power of the human voice, making "El Molondrón" a beloved and enduring gem in
the world of Spanish art songs.

Desde que vino la moda, Since fashion came,

que sí, que no, que ¡ay! Yes, no, oh!
de los pañuelitos blancos of the white handkerchiefs
me parecen los mocitos, they seem like the kids to me,
que sí, que no, que ¡ay! Yes, no, oh!
palomitas en el campo. popcorn in the field.

Molinero, molinero, Miller, miller,

a la hora de maquilar, when it comes to makeup,
ten cuidado que la rueda be careful that the wheel
no se te vaya a escapar, don't let it escape you,
y te vaya a ti a coger and I'm going to catch you
molinero, molinero, al moler. miller, miller, when grinding.

Fui a pedir las marzas I went to ask for the marzas

en cá el molinero here the miller
y perdí las sayas and I lost my skirts
y perdí el pañuelo and I lost the handkerchief
y perdí otra cosa and I lost something else
que ara no recuerdo. I just don't remember.

Cool…
Molondrón…

"La mi sola, Laureola" by Fernando Obradors paints a lyrical canvas of love and longing in the
landscape of Spanish art songs. In this enchanting composition, the protagonist serenades Laureola
with a heartfelt melody that captures the essence of romance. Part of Obradors' "Canciones Clásicas
Españolas," this piece stands as a testament to the composer's ability to infuse emotion into his music.
"La mi sola, Laureola" invites listeners to embark on a journey where love is expressed through the
expressive language of voice and piano, reflecting the cultural vibrancy of 20th-century Spain.

La mi sola, Laureola My alone, Laureola

La mi sola, sola, sola, My alone, alone, alone,

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Yo el cautivo Leriano I the captive Leriano
Aunque mucho estoy ufano Although I am very proud
Herido de aquella mano Wounded by that hand
Que en el mundo es una sola. That in the world there is only one.

La mi sola Laureola My only Laureola

La mi sola, sola, sola Mine alone, alone, alone

"Nasaan Ang Aking Puso" is a beautiful and melancholic art song composed by Nicanor Abelardo,
one of the Philippines' most celebrated composers of the early 20th century. The song's title translates
to "Where is My Heart" in English, and it evokes a deep emotional connection, exploring themes of
love and loss. Abelardo's composition, often performed with a piano accompaniment, allows the singer
to express the profound emotions of searching for one's heart, creating a poignant and stirring musical
experience that resonates with listeners and remains a cherished piece in the Filipino classical music
repertoire.

Ako’y may isang pusong pinakamamahal,

Dugo niyang dumadaloy ang nagbibigay buhay;
Ngunit sa isang sandaling ako ay walang malay,
Ang puso’y ‘di makita’t tibok ay naparam. Ay!

Maanong maawa, maanong mahabag

Na isauli ang puso na kinuha’t sukat
Kung alam ko lamang na iyong pag-iingatan

Ay kunin mo pati na ang buhay ko,

mahalin mo sana lamang.

Kung dahil sa iyo’y walang kailangan ang mamatay.

"Leron Leron Sinta", composed by Lucrecia Kasilag, is a cherished Filipino folk song that evokes the
rustic charm and romantic nostalgia of rural life. The composition features a delightful melody
characterized by its lilting and playful rhythm, which aptly captures the essence of a traditional Filipino
courtship dance known as the "Pandanggo sa Ilaw." The song's lyrics tell the story of a flirtatious suitor
courting a fair maiden while dancing gracefully with lights in hand. Kasilag's composition seamlessly

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blends traditional Filipino musical elements with her unique artistic touch, resulting in a timeless piece
that continues to resonate with Filipinos and enthusiasts of folk music around the world.

Leron, leron sinta, Lalamba lambayog,

Buko ng papaya, Kumapit ka Neneng, Oy!
Dala dala’y buslo Baka ka mahulog.
Sisidlan ng sinta; Ako’y ibigin mo’t
Pagdating sa dulo’y Lalaking matapang,
Nabali ang sanga, Ay! Ang baril ko’y pito,
Kapus kapalaran, Humanap ng iba Ang sundang ko’y siyam;
Ang lalakarin ko’y
Gumising ka Neneng, Parte ng dinulang,
Tayo’y manampalok, Isang pinggang hauot,
Dalhin mo ang buslo, Ang aking kalaban.
Sisidlan ng hinog;
Pagdating sa dulo’y Leron, leron sinta,
la, la, la, la, la, lah!

"In uomini! In soldati!" is an aria from Wolfgang Amadeus Mozart's opera "Cosi fan tutte," which
was composed in 1790. In this aria, the character who is a clever and witty maid, takes on the role of a
military recruiter, urging two young women to embrace the excitement and adventure of falling in love
with soldiers. The music is lively and flirtatious, reflecting Despina's mischievous nature as she
encourages the ladies to enjoy the romantic thrill of the moment. Mozart's composition skillfully
combines humor and charm, making "In uomini! In soldati!" a delightful and memorable piece within
the opera, showcasing the composer's mastery of character and emotion through music.

In uomini, in soldati, sperare fedelta? In men, in soldiers, you hope for loyalty?
Non vi fate sentir, per carita! Do not be heard, even for charity!
Di pasta simile son tutti quanti, Cut from the same cloth, every one of them,
Le fronde mobili, l'aure incostanti The leaves, furniture, and fickle breezes
Han piu degli uomini stabilita! are more stable than men!

Mentite lagrime, fallaci sguardi False tears, deceptive looks,

Voci ingannevoli, vezzi bugiardi Misleading voices, charming lies
Son le primarie lor qualita! Are their primary qualities!

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In noi non amano che il lor diletto, In that we dislike their pleasure,
Poi ci dispregiano, neganci affetto, Then they despise us, and deny us affection,
Ne val da barbari chieder pieta! It is futile to ask the barbarians for pity!

Paghiamo femmine, d'ugual moneta Let us females, pay them back with equal money
Questa malefica razza indiscreta. This evil indiscreet race.
Amiam per comodo, per vanita! Let's love for convenience, for vanity!

- The end -

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