Young Artists Showcase
The Denyce Graves Foundation’s Shared Voices Program
[music]
Alexa Smith: Hello. I'm Alexa Smith. On tonight's show, we have singers from The Denyce Graves Foundation’s Shared Voices Program. You'll hear music from Handel, William Grant Still, Adolphus Hailstork, and Bizet on this edition of the McGraw Family's Young Artists Showcase.
[music]
Alexa Smith: Now in its 47th year, the Young Artists Showcase is generously underwritten by The Harold W. McGraw, Jr. Family Foundation. For opera lovers, Denyce Graves has been a household name for many decades as one of America's top mezzo-sopranos. She's originally from Washington, DC, and she made her Met debut in 1995 in the title role of Bizet's Carmen, which became a signature role of hers all over the world. She's a teacher and mentor to many students, and has faculty positions at the Juilliard School and Peabody Institute, and she's recently created the Denyce Graves Foundation.
The foundation includes programs like Shared Voices, which features singers from historically Black colleges and universities and conservatory students around the country. Denyce will join us later in the studio to tell us more about the program and the foundation, but first, let's get to the music. The singers you hear today will be joined in the studio by pianist, Brian Zeger, Artistic Director of Vocal Arts at the Juilliard School. We'll hear first from Tenor Kevin Webb with Handel's Total Eclipse from Samson, and then Amor ti vieta from Umberto Giordano's Fedora.
[MUSIC - Handel: Total Eclipse - Kevin Webb, Tenor]
Total eclipse! No sun, no moon!
All dark, all dark, amidst the blaze of noon!
Oh, glorious light! No cheering ray
To glad my eyes with welcome day!
Total eclipse! No sun, no moon!
All dark, amidst the blaze of noon!
Why thus deprived Thy prime decree?
Sun, moon, and stars are dark to me!
Sun, moon, and stars,
Sun, moon, and stars are dark to me!
Sun, moon, and stars,
Sun, moon, and stars are dark to me!
[MUSIC - Umberto Giordano: Amor ti vieta - Kevin Webb, Tenor]
Amor ti vieta di non amar.
La man tua lieve, che mi respinge,
cercava la stretta della mia man:
la tua pupilla esprime: "T’amo"
se il labbro dice: "Non t’amerò!"
Alexa Smith: That was Tenor Kevin Webb with Handel's Total Eclipse from Samson, and Umberto Giordano's Amor ti vieta from Fedora. We have Kevin here in the studio with us. And, Kevin, I'd love to ask you a couple questions. Which college did you attend?
Kevin Webb: Sure. Um, so, I actually just graduated from Morgan State University in Baltimore, Maryland, where I studied with Marquita Lister.
Alexa Smith: [gasps] Well, congratulations-
Kevin Webb: [chuckles] Thank you.
Alexa Smith: -on graduating. And tell us, how did you find out about the Shared Voices program?
Kevin Webb: Um, it was actually through my undergrad teacher. Um, we were actually in a voice lesson one day, and, um, I had heard about Shared Voices through some of my other colleagues who were part of the program. And, um, she had talked to me about it, and for me, the moment I heard Mrs. Graves' name, I was like, "Of course. Why- [chuckles] why would I not want to?" Um, so, it was- it was, uh, kind of like an in-the-spur-of-the-moment thing, but I definitely am so thankful for it.
Alexa Smith: So, tell us, what's been the most valuable part about being in the program?
Kevin Webb: I would say probably meeting, um, [chuckles] the amount of young artists that I have within the program. Um, I-I came into the program a little bit later than everyone else, um, but when we had our first, like, group meetup, um, which was in DC, I believe, this past summer, um, it was almost like going to, like, a family reunion. [laughs]
Um, so many different, um, people from so many different walks of life. Um, it was a lot of fun. Um, I-- For me, I think that's very important. Um, I-I've said it. I always say it, I think camaraderie in this business is very important. Having a community, um, of people who are like-minded, who will push you when you need to be pushed, who will nurture you when you need to be nurtured. So, I've-- so-- made some really, really good friends, really good friends in the program.
Alexa Smith: It's important. Terrific. While opera is on the minds of every voice student, Shared Voices participants are equally encouraged to study art song repertoire, and especially music from their own cultural backgrounds. Here's Tenor Kevin Webb again with two songs from Leslie Adams, For You There Is No Song, and Prayer, and a song from William Grant Still, Grief.
[MUSIC - Leslie Adams: For You There Is No Song - Kevin Webb, Tenor]
For you there is no song,
Only the shaking of the voice that meant to sing,
The sound of the strong voice breaking. Strange in my hand appears the pen,
And yours broken
There are ink and tears on the page.
Only the tears,
Only the tears,
Only the tears have spoken.
[MUSIC - Leslie Adams: Prayer - Kevin Webb, Tenor]
I ask you this:
Which way to go?
I ask you this:
Which sin to bear?
Which crown to put
Upon my hair?
I do not know,
Lord God,
I do not know.
I ask you this:
Which way to go?
I ask you this:
Which sin to bear?
Which crown to put
Upon my hair?
I do not know,
Lord God,
I do not know.
[MUSIC - William Grant Still: Grief - Kevin Webb, Tenor]
Weeping angel with pinions trailing
And head bowed low in your hands.
Mourning angel with heart-strings wailing,
For one who in death’s hall stands.
Mourning angel silence your wailing,
And raise your head from your hands.
Weeping angel on your pinions trailing
The white dove, promise, stands!
Weeping angel with pinions trailing
And head bowed low in your hands.
Mourning angel with heart-strings wailing,
For one who in death’s hall stands.
Mourning angel silence your wailing,
And raise your head from your hands.
Weeping angel on your pinions trailing
The white dove, promise, stands!
Alexa Smith: That was Tenor Kevin Webb, a recent graduate of Morgan State University, with three songs, Leslie Adams For You There is No Song and Prayer, and William Grant Still's Grief. I'm Alexa Smith and you are listening to The Young Artist Showcase. Tonight, we're featuring talented singers from the Denyce Graves Foundation's Shared Voices Program. Denyce Graves created the foundation in 2021 and it's continued to grow and flourish in the years since. I'm delighted to welcome Denyce here in the studio with us today to hear more about her important work. Denyce, welcome to the studio.
Denyce Graves: Thank you, Alexa. Thank you for having us.
Alexa Smith: Of course. So tell us a little bit about the trajectory of the foundation. Um, what it started with, because it's certainly grown tremendously since then.
Denyce Graves: It has grown tremendously. Thank God. We've had a tr-- there's been a lot of support and people have met us open-armed and willing to-to h-- to help us advance the mission of the foundation and also the mission of the Shared Voices Program. Um, it came about during the pandemic. It was really out of my concern for my students and the world had shut down and we're trying to figure out what to do specifically the singers because we were considered to be the super spreaders.
And I was just so worried about what was going to happen in the lives of all of my, uh, my young developing artists. And I reached out to them with different projects that I had in mind to sort of lift their spirits also. Um, and out of that listening to them and listening to what is needed and sort of the gaps of vulnerability in the lives of a young developing artist and looking for a way to bridge the gap from leaving undergraduate or graduate school before embarking upon a career before young artist programs before getting management and that really vulnerable period in the middle. And just listening to how the profession has changed so much and so quickly over the last few years, um, and wanting to find a way to help them be successful and to help them reach their-their goals and-and their dreams.
Alexa Smith: Mm-hmm.
Denyce Graves: And also looking at what was happening in the world looking at the unfolding of many other pandemics as we watch the murders of George Floyd and Breonna Taylor and Ahmaud Arbery and thinking what is it that we can do? What can we do to address from a social justice standpoint what's going on in the world? The Shared Voices Program was born really out of listening, um, to what was needed and also wanting to answer the fact that there was this incredible imbalance in the telling of our stories.
And so I'm really proud of what we've created with this program, this exchange program that has the conservatory students going to the HBCUs, the HBCU students going to the conservatories, the faculty learning from each other, the administrations learning, um, and engaging and connecting with each other with the purpose of creating a more diverse and equitable classical vocal arts landscape. But on this level, where we share information, where we learn from each other, and where we create together.
Alexa Smith: Yeah. It's fantastic work. And in such a short amount of time, it's incredible, um, and a beautiful community that you've built too, for all of us. So what about shared voices do you wish you had as a student, especially in terms of the community that is-
Denyce Graves: Oh, yes.
Alexa Smith: -built in the cohort?
Denyce Graves: I-I often say now, I wanna go back and do it again as a shared voices student myself.
Alexa Smith: [chuckles] Me too.
[laughter]
Denyce Graves: Uh, oh my goodness. First of all, the educational piece. One of the things that we wanna see happen, I-- um, Kevin, you know, sang some music of William Grant Still and Leslie Adams, is to see into the canon, these-- the gr-- wonderful pieces by African American composers, by women composers, by whether it's faith-based, whether it's gender-based, whether it's race-based, to see this material inclusive, you know. I say that-that the lack of education and this information has hurt us all because we've heard a very lopsided story presented to us-
Alexa Smith: That's right.
Denyce Graves: -right? You know, we have been taught the-the great workings of Mozart and Bach and Beethoven and all those great geniuses, but there were also other geniuses who were right alongside them-
Alexa Smith: Mm-hmm.
Denyce Graves: right?
Alexa Smith: Yeah.
Denyce Graves: That it's important to tell those stories because if you just get the information that it's only one group of people that's been making a contribution to our cultural fabric, that's not the case-
Alexa Smith: that's right.
Denyce Graves: -at all. You know, I just thought, my gosh, this is an opportunity to correct-
Alexa Smith: Yeah.
Denyce Graves: -some things that have happened in history. And that's what we're doing with the Shared Voices Program.
Alexa Smith: Yeah.
Denyce Graves: It's correcting that program.
Alexa Smith: -it means a lot to all of us, I promise you.
[laughter]
Alexa Smith: It means a great deal. Thank you for being here in the studio with us. And thank you for bringing these amazing singers.
Denyce Graves: And thank you for doing this-
Alexa Smith: Of course.
Denyce Graves: -and getting this word out there, getting the work out there.
Alexa Smith: That's right. That's right. We'll hear more from Denyce Graves later in the program. Next up, another tenor, Manhattan School of Music student Justin Bell. He'll start with Edouard Lalo's Vainement ma bien-aimee from Le Roi d'Ys, followed by an art song by fellow Manhattan School of Music alum Adolphus Hailstork with My Heart to Thy Heart.
[MUSIC - Edouard Lalo: Vainement ma bien-aimee from Le Roi d'Ys - Justin E. Bell, Tenor]
Puisqu’on ne peut fléchir
Ces jalouses gardiennes,
Ah, laissez‐moi conter
Mes peines et mon émoi!
Vainement, ma bien‐aimée,
On croit me désepérer;
Près de ta porte fermée
Je veux encor demeurer!
Les soleils pourront s’éteindre,
Les nuits remplacer les jours,
Sans t’accuser et sans me plaindre.
Là je resterai, toujours! Toujours!
Je le sais, ton âme est douce,
Et l’heure bientôt viendra
Où la main qui me repousse
Vers la mienne se tendra!
Ne sois pas trop tardive à te laisser attendrir! Si
Rozenn bientôt n’arrive,
je vais, hélas, mourir! Hélas, mourir!
[MUSIC - Adolphus Hailstork: My heart to thy heart - Justin E. Bell, Tenor]
My heart to thy heart,
My hand to thine;
My lip to thy lips,
Kisses are wine
Brewed for the lover in sunshine and shade;
Let me drink deep, then, my African maid.
Lily to lily,
Rose unto rose;
My love to thy love
Tenderly grows.
Rend not the oak and the ivy in twain,
Nor the swart maid from her swarthier swain.
My heart to thy heart,
My hand to thine;
My lip to thy lips,
Kisses are wine
Brewed for the lover in sunshine and shade;
Let me, let me, let me drink deep, then, my African maid.
Alexa Smith: That was Justin Bell with Lalo's Vainement ma bien-aimee from Le Roi d'Ys and My Heart to Thy Heart by Adolphus Hailstork. Justin, thank you so much for being with us today.
Justin Bell: Thank you. Thank you for having me.
Alexa Smith: So tell us a little bit about which school you're from and how you found out about the Denyce Graves Foundation and the Shared Voices Program.
Justin Bell: Yeah, so I am a master's student at Manhattan School of Music. I'll be graduating in May.
Alexa Smith: Wow.
Justin Bell: Uh, very excited about that. And, um, you know, my journey to finding out about DGF was a little different, I think, than the other cohort members, uh, because I had the honor of meeting Ms. Graves virtually in 2020. Um, and it's wild to think that it's been like four years since then, but, um, she approached me for producing her cooking show, Cooking with Denyce. And, uh, it was kind of a hidden talent that I have. And from the cooking show that reached so many people across the world during the pandemic, and was such a light, I think, uh, and people getting to see her in her home, this megastar, came the idea of the foundation.
And, you know, anyone that knows Ms. Graves know how-- knows how big her heart is and her-her philanthropic spirit. And so the foundation was just kind of a natural evolution from that. Um, but when I was asked to join the cohort for Shared Voices, I was just honored, because this program has been so meaningful to all of us in it. You know, this industry, the opera industry, classical music in general, is one that is hundreds of years old, and it's often very competitive sometimes, kind of. But, you know, it's these pockets of communities like we have in Shared Voices that make it all very special.
And, you know, I was just talking to Sophia, one of the other cohort members, and I realized I met her when she was a sophomore a couple of years ago, and seeing all the amazing things she's done and all my other colleagues in the foundation since then, it's-it's a really inspiring feeling for us all to be on this journey together.
Alexa Smith: Fantastic. Um, tell us a little bit about the repertoire that you got to sing. Um, this Adolphus Hailstork song is new to me. Um, are you making discoveries like that with the repertoire?
Justin Bell: Oh, absolutely. Well, I-I was so like a little, um, I have to admit, a little intimidated to know that Adolphus Hailstork is an MSM alum, [laughs] uh, and also is, uh, a living composer and his music is so beautiful and this repertoire is relatively new to me in the past year or so. And on my recital I'll be performing all four of his romantic love songs.
Um, but it is so meaningful because the text is by Paul Lawrence Dunbar and is from the 1800s. So you hear words like, um, my African mate. And you might think that there's a negative connotation there, but I think it-- the roots really dig back to how we as Black people see Black love and Black beauty as something that is beautiful. So this song is on fire love, your lips, kisses are wine. Uh, but the song cycle itself lastly, uh, ends with, uh, a song goodnight, which could possibly mean death, the end of love, dealing with loss. Um, and so it's a really powerful set of music.
Alexa Smith: Beautiful. Well, best of luck in your last semester.
Justin Bell: Thank you.
Alexa Smith: And your recital sounds amazing. And thank you for being with us.
Justin Bell: Thank you.
Alexa Smith: Here's Tenor Justin Bell again with Wie bist du, meine königin by Brahms and La Promessa by Rossini.
[MUSIC- Brahms: Wie bist du, meine königin - Justin E. Bell, Tenor]
Wie bist du, meine Königin,
Durch sanfte Güte wonnevoll!
Du lächle nur – Lenzdüfte wehn
Durch mein Gemüte wonnevoll! Wonnevoll!
Frisch aufgeblühter Rosen Glanz
Vergleich ich ihn dem deinigen?
Ach, über alles was da blüht,
Ist deine Blüte, wonnevoll! Wonnevoll!
Durch tote Wüsten wandle hin,
Und grüne Schatten breiten sich,
Ob fürchterliche Schwüle dort
Ohn Ende brüte, wonnevoll. Wonnevoll.
Laß mich vergehn in deinem Arm!
Es ist in ihm ja selbst der Tod,
Ob auch die herbste Todesqual
Die Brust durchwüte, wonnevoll. Wonnevoll.
[MUSIC- Rossini: La Promessa - Justin E. Bell, Tenor]
Ch'io mai vi possa
Lasciar d'amare
No, nol credete
Pupille care;
Nè men per gioco
Nè men per gioco
Nè men per gioco
V'ingannerò
No, nol
No, nol
Nè men per gioco
V'ingannerò
Voi foste e siete
Le mie faville
E voi sarete
Care pupille
Il mio bel foco
Sin ch'io vivrò
Il mio bel foco
Sin ch'io vivrò
Sin ch'io vivrò
Sin ch'io vivrò
Sin ch'io vivrò
Ch'io mai vi possa
Lasciar d'amare
No, nol credete
Pupille care;
Nè men per gioco
Nè men per gioco
Nè men per gioco
V'ingannerò
No, nol
No, nol
Nè men per gioco
V'ingannerò
Nè men per gioco
V'ingannerò
No, no, no
No, no, no
V'ingannerò
Nè men per gioco
V'ingannerò
No, no, no
No, no, no
V'ingannerò
Nè men per gioco
V'ingannerò
Nè men per gioco
V'ingannerò
Alexa Smith: That was Justin Bell with songs by Brahms and Rossini. It's time for us to take a quick break now, then I'll be back with more performances from the young artists in the Shared Voices Program From the Denyce Graves Foundation here on the McGraw Family's Young Artist Showcase.
Welcome back. We are here with young artists from the Denyce Graves Foundation's Shared Voices Program. The program creates an annual cohort of HBCU and conservatory students to engage and benefit from both institutions. Joining us next is Mezzo-Soprano, Sophia Baete. She'll start with two songs from Florence Price, Songs to the Dark Virgin and Forever.
[MUSIC- Price: Songs to The Dark Virgin - Sophia Baete, Mezzo-Soprano]
Would
That I were a jewel,
A shattered jewel,
That all my shining brilliants
Might fall at thy feet,
Thou dark one.
Would
That I were a garment A shimmering, silken garment,
That all my folds
Might wrap about thy body,
Absorb thy body,
Hold and hide thy body,
Thou dark one.
Would
That I were a flame,
But one sharp, leaping flame
To annihilate thy body,
Thou dark one.
[MUSIC - Price: Forever - Sophia Baete, Mezzo-Soprano]
I had not known before
"Forever" was so long a word.
The slow stroke of the clock of time
I had not heard.
‘Tis hard to learn so late.
It seems no sad heart really learns
But hopes and trusts and doubts
And fears and bleeds and burns.
The night is not all dark
Nor is the day all it seems
But each may bring me this relief:
My dreams. My dreams.
I had not known before
That "never" was so sad a word.
So wrap me in forgetfulness
I have not heard.
I have not heard.
Alexa Smith: That was Sophia Baete with two songs by Florence Price, Songs to the Dark Virgin and Forever joined by Pianist, rian Zeger, artistic director of Vocal Arts at the Juilliard School. We are delighted to have Sophia here to talk with us, and we've also have, uh, Denyce is back with us. Um, and I have the same question for both of you. You're both Mezzos. Um, what is it like to work together, especially on some of this iconic repertoire we're gonna hear later, um, from Sophia with Carmen? Um, obviously one of your signature roles, Denyce, what's that like to do together?
Denyce Graves: Before we came in here, during the rehearsal, Sophia was singing through the, uh, the Abanera. And I said, Sophia, and I-I only know this because I've had such a long experience with watch out for this place, look out for that place-- with-- And I remember having artists tell me that I-I studied, when I was at Houston Grand Opera, I studied with Elena Nikolaidi.
It was a great, great mental soprano. And it was really, really different having the opportunity to work with her because she knew intimately the repertoire. And no-not just that she knew the repertoire, but she'd sung it and she knew exactly, you know, here, you've gotta watch out for this, here, pay attention here, prepare in this way. And, um, and-and I found that of great benefit.
Alexa Smith: Yeah.
Denyce Graves: So, but also I will say this, you know, Sophia's voice, I'm-I'm such a fan of Sophia. She knows that, that whenever we work together, I just sit there in my seat and I say, "Oh, I love your voice and I love the sound of your voice." And even just now when she was singing, you know, I was so close to tears, not just because it's just-- it's a voice type and a color that I-I know and understand, but also because just their youth and the beauty of their young faces and the experience and what lies ahead. And I just know what's in front of them. Right. And so, um, I feel incredibly, um, maternal towards all of them. It feels like my-my children.
Alexa Smith: Yes-
Denyce Graves: Yeah.
Alexa Smith: -absolutely. So, Sophia fir-first tell us, um, where you're from. Um, we know you're a student at the Juilliard School, but where are you from?
Sophia Baete: Yeah, so I'm originally from Louisville, Kentucky,
Alexa Smith: Which I had to get in there 'cause I am also from Louisville, Kentucky.
Sophia Baete: Yes. Yes, you are. Yes, you are.
Alexa Smith: Great. And-and tell us what it's like to work with Denyce on-on not only things like Carmen, but um, the repertoire we just heard was incredible. Um, probably new to a lot of listeners. Um, what are those discoveries like?
Sophia Baete: Yeah, it's been pretty surreal to be able to sing Carmen for one of the Carmens. [laughter] Um, I-- just to put it into perspective, how big my fandom goes back. I-I used to listen in high school to your French Arias CD on-- in the car.
Alexa Smith: Great album.
Sophia Baete: So I was-- I've-- yeah, exactly. And I've been a fan. And Carmen actually, the-the role, the character, the story is what really made me fall in love with opera. I started lessons when I was 10, um, but I saw the production on DVD for the first time. It was-- and Sophie Von Otter from Glyndebourne that DVD. I saw that for the first time when I was 12 and I knew that I wanted to be just that Carmen, that-that whole thing. I knew that that's what I wanted to do, and it's what I had to do.
There was this like compulsion enchantment thing that I just-- I knew I had to do it. So fast forward to finding out that Denyce was a distinguished faculty member at Juilliard, um, and then getting into Juilliard and going I-I remember my mom distinctly saying, and I didn't know why she said it, it was so out of the blue, she said, Denyce Graves is going to change your life.
Alexa Smith: Wow.
Sophia Baete: She said that to me before I even went to Juilliard. Um, and I was like, okay, I'll-I'll agree with that. [laughs] I'll believe that. I'll believe that. I don't know how, and I don't know why, but I'll believe it. And my-- the summer before my third year, my junior year, I got an email about shared voices and I-I immediately said yes. I was like, I-I-I don't know all the details and I don't care to know all the details because Denyce is leading it. I said, yes. Um, because when someone I respect so greatly as a human is running an arts organization, I'll get behind that.
I will absolutely get behind that. And then I came to know what Shared Voices was about. And I think it's arguably one of the most important things going on right now in the classical arts landscape. And specifically with Denyce, a unique thing as to why she inspires me so much. She is an incredible mezzo-soprano and artist. And I'm sure that's at everyone's top of their list as to why they love Denyce. But she partners and marries two things that I also adore greatly.
That's social activism and art, and the-the parallels in between the two. And I can only hope with my future career one day that I can do just the same. And that there will be less doors to break down along the way, thanks to people like Denyce and artists like Denyce who are fighting the fight right now and so many artists before us who did as well. Um, so all of it's pretty surreal in every- in every way.
Alexa Smith: I can imagine. Well, thank you for sharing your talent, um, but also sharing your voice. It's really important for young artists to speak up about this type of work. And now without further ado, we have to hear these two Carmen Arias.
Sophia Baete: Okay.
Alexa Smith: Let's do it.
Sophia Baete: Let's go.
[laughter]
[MUSIC- Bizet: Seguidilla from Carmen - Sophia Baete, Mezzo-Soprano]
Près des remparts de Séville
Chez mon ami Lillas Pastia
J'irai danser la séguedille
Et boire du Manzanilla!
J'irai chez mon ami Lillas Pastia Oui, mais toute seule on s'ennuie
Et les vrais plaisirs sont à deux
Donc pour me tenir compagnie
J'emmènerai mon Lamoureux!
Mon Lamoureux!
Il est au diable
Je l'ai mis à la porte hier
Mon pauvre coeur très consolable
Mon coeur est libre comme l'air
J'ai des galants à la douzaine
Mais ils ne sont pas à mon gré;
Voici la fin de la semaine
Qui vеut m'aimer? Je l'aimerai
Qui vеut mon âme elle est à prendre
Vous arrivez au bon moment
Je n'ai guère le temps d'attendre
Car avec mon nouvel amant
Près des remparts de Séville
Chez mon ami Lillas Pastia
J'irai danser la séguedille
Et boire du Manzanilla
la, la, la, la, la, la, la, la, la, la, la,
la, la, la, la, la, la, la, la, la, la, la!
[MUSIC: Bizet - Habanera from Carmen - Sophia Baete, Mezzo-Soprano]
L’amour est un oiseau rebelle
Que nul ne peut apprivoiser
Et c’est bien en vain qu’on l’appelle
S’il lui convient de refuser
Rien n’y fait, menace ou prière
L’un parle bien, l’autre se tait
Et c’est l’autre que je préfère
Il n’a rien dit, mais il me plait
L’amour! L’amour! L’amour! L’amour!
L’amour est enfant de Bohême
Il n’a jamais jamais connu de loi
Si tu ne m’aimes pas, je t’aime
Si je t’aime, prends garde à toi!
Si tu ne m’aimes pas, si tu ne m’aimes pas, je t’aime
Mais si je t’aime, si je t’aime, prends garde à toi!
L’oiseau que tu croyais surprendre
Battit de l’aile et s’envola
L’amour est loin, tu peux l’attendre
Tu ne l’attends plus, il est là
Tout autour de toi, vite, vite
Il vient, s’en va, puis il revient
Tu crois le tenir, il t’évite
Tu crois l’éviter, il te tient
L’amour! L’amour! L’amour! L’amour!
L’amour est enfant de Bohême
Il n’a jamais jamais connu de loi
Si tu ne m’aimes pas, je t’aime
Si je t’aime, prends garde à toi!
Si tu ne m’aimes pas, si tu ne m’aimes pas, je t’aime
Mais si je t’aime, si je t’aime, prends garde à toi!
Alexa Smith: You just heard Sophia Baete with two arias from Bizet's Carmen, Seguidilla and Habanera. And that's a wrap. Thank you to all of our talented young singers, Tenors Kevin Webb and Justin Bell, and Mezzo-soprano Sophia Baete, the legendary Denyce Graves, and our pianist for today, Brian Zeger, Artistic Director of Vocal Arts at the Juilliard School. Thanks also to the Shared Voices Program Coordinator, Dr. Liana Valente, the Executive Director of the Denyce Graves Foundation, Terry Eberhardt, and Ronald Smith.
And thanks to you for joining us for this week's edition of the McGraw Family's Young Artist Showcase, which is generously underwritten on WQXR by the Harold W. McGraw, Jr. Family Foundation. Here's Terry McGraw with more.
Terry McGraw: Good evening, everyone. It's great to be with you, and it's always great being with the Young Artist Showcase and to hear these really wonderful and inspiring musicians as they continue to share their incredible gifts with us every week. I can't wait to hear the fabulous talent coming up on the Showcase, and I am so pleased to be able to support the series all through its well over four decades on WQXR. And there's so much more to come.
Alexa Smith: Thanks, Terry. Many thanks to WQXR program producers, Laura Boyman, Max Fine, and Amy Buchanan, with assistance from Yueqing Guo and Maria Shaughnessy. Our session engineer is Irene Trudel, and our generous program underwriter is the Harold W. McGraw, Jr. Family Foundation. I'm Alexa Smith. Good night.
[music]
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