Moi genie, moi angel, moi drug (Tchaikovsky)

There is a great treasure trove of ravishingly beautiful Russian music written for the voice by composers such as Glinka, Musorgsky, Rachmanivov, Tchaikovsky, Shostakovich, Stravinsky and others. American singers don't program Russian music nearly as much as we should. Naturally, the language itself poses a bit of a stumbling block. I highly recommend taking a course in Russian diction or finding a Russian friend to help because the rewards are immense.

If you've never sung in Russian, I guarantee you that you can learn this piece and sing it on your next recital. This is one of Tchaikovky's earliest Romances and it is a gem.

Two performances by Dmitri Hvorostovsky and Olga Borodina.

Moi genie, moi angel, moi drug/ My genius, my angel, my friend
Composer:Tchaikovsky 1840-1893
Poet: Afanasii Afanas'evich Fet (1820–1892),

Russian Transliteration

Ne zdes' li ty ljogkoju ten'ju,
Moj genij, moj angel, moj drug,
Besedujesh' tikho so mnoju
I tikho letajesh' vokrug?

I robkim darish' vdokhnoven'jem,
I sladkij krachujesh' nedug,
I tikhim darish' snoviden'em,
Moj genij, moj angel, moj drug!


English translation

Isn't it here,
My my genius, my angel, my friend,
That you are talking to me softly,
And flying quietly around like a light shadow?

You are giving me a timid inspiration,
And healing my sweet ailments,
And giving me a quiet dream,
My angel, my genius, my friend!

Havanaise (Viardot) Cecilia Bartoli

Pauline Viardot,1821-1910, daughter of Manuel Garcia, the famous tenor and vocal pedagogue, was a major figure in her time. She was fluent in four languages by the age four, and she was an extremely gifted piano prodigy. She became a celebrated mezzo soprano and was well known for her extensive range, excellent technique and her expressive stage presence. She taught at the Paris Conservatory from 1871-1875.

Bartoli features some of her songs on her album, Chant D'Amour. This is one of the pieces on that album. It may not stand up to Schubert, Debussy or Brahms, but the melodic writing is beautiful and the piece offers the singer an opportunity for great expression,sensuality and agility. The style is a mixture of Spanish and French idioms, which are drawn from Viardot's Spanish/French background.

I'm not including a translation here because listening to the performance is all one needs to do. Bartoli is absolutely enthralling.

Du liebst mich nicht ( Schubert)

I discovered this piece in my twenties. I was fascinated by Schubert's treatment of the text. The phrase "Du liebst mich nicht/ You don't love me" is heard ten times. The modulations that emphasize the emotional text, the chromaticism and the unrelenting rhythmic figures all made the piece unique and compelling. The piece is sung here by Eileen Farrell (1920-2002) who sings it not only with her superb voice but with passion, subtlety and excellent German diction.

You'll find it as the third song of a wonderful group of Schubert Lieder. It appears at 10:05-13:50 to be precise. It's a piece that I've heard rarely in concerts. I'm not sure why. It does require a voice capable of producing both a strong dramatic quality as well as lyricism and excellent control over dynamics.

In her book, Can't Help Singing, she summed up the requirements for singing: "phrasing,rhythmic flexibility (and) the ability to tell a story in song." She does it all here.

Du liebst mich nicht

Composer: Franz Schubert(1797-1828)
Text: August von Platen-Hallermünde (1796-1835)

This poem represents the interest of poets of the time in oriental verse. Platen's poem come a volume called Ghazelen. The form originated in Arabic verse and one of the characteristics is that it contains five or more couplets and the second couplet usually ends with a repetition or refrain of of one or a few words. Here it is: Du liebst mich nicht!

My heart has been torn apart: you do not love me! You've made it very clear that you do not love me!
Although I come before you, begging and entreating,overflowing with love, you do not love me!
You've told me with your words, quite explicitly: you do not love me!

I must forgo the stars, the moon, the sun, for you do not love me!
What does it matter to me that roses bloom, or jasmine;
What does it matter that the narcissus blooms when you do not love me!

Translation: Milagro Vargas

Bachiana Brasileira No. 5 ( Villa-Lobos)

In keeping with music from Latin America, listen to what is certainly considered a definitive performance of a beloved piece by Heitor Villa-Lobos (1887-1959). Victoria de los Ángeles is incomparable! Also, listen to Bidu Sayão!

This is the fifth Bachiana from the series of nine suites, which constitutes the complete series Bachianas Brasileiras. This one is scored for soprano and orchestra of violoncelli (1938/45).

The two movements are:
Aria (Cantilena) (lyrics by Ruth V. Corrêa)
Dansa (Martelo) (lyrics by Manuel Bandeira)

Descúbrase El Pensamiento (Granados)

This is the first of Granados' Canciones Amatorias, Descúbrase el pensamiento, beautifully sung by Lorraine Hunt Lieberson.

There is an excellent recording by Bernarda Fink available that includes all the songs. The songs are suitable for a soprano with good low notes or mezzos with a strong upper range.

These pieces are not done as often as the Tonadillas but include some of his finest writing. The folklike melodies are combined with challenging piano and vocal writing and rich harmonies with frequent modulations to distant keys, especially in this first song. The pieces should be done more often. The end is especially daring harmonically!


Descúbrase el pensamiento
Poet: Anoymous
Music by Enrique Granados 1867- 1916

Discover the thought
of my well guarded secret,
and reveal my anguish,
my passionate life.
My passion is not new;
I've already suffered endlessly.
I am servant to a lady
who has forgotten my servitude.
Her beauty made me hers,
Her polished gesture,
is engraved in my soul.
Ah! Woe is me
who gazed on her
only to live in injury,
to weep and lament
glories of times gone by.
Ah! She has forgotten my servitude.

Translated by Milagro Vargas