Cilea: Adriana Lecouvreur, “Io son l’ulmile ancella”

The Prince de Boullion and the Abbe de Chazeuil meet the company at the Comédie-Française before the show. Although the Prince is the patron of Adriana's main competition as an actress, Duclos, he compliments Adriana. She replies to the compliments by saying that she is only the vessel through which the muses work.

I am the humble handmaid of the creator Genius:
he offers me the word I spread to the hearts...
I am the accent of the verse,
the echo of the human drama,
the fragile vassal instrument of the hand
Mild, cheerful, atrocious, I call myself Loyalty:
a breath is my voice,
who will die again.

Puccini: Tosca, “Vissi d’arte”

During a heated confrontation with Scarpia about the fate of her lover, Tosca sings of the two great driving forces in her life, love and music.

I lived for art, I lived for love:
never did I harm a living creature!
Whatever misfortunes I encountered
I sought with a secret hand to succor.
Ever in pure faith,
my prayers rose
in the holy chapels.
Ever in pure faith,
In this hour of pain, why,
why, oh Lord, why
dost Thou repay me thus?
Jewels I brought
for the Madonna's mantle,
and songs for the stars in heaven
that they shone forth with greater radiance.
In this hour of distress, why,
Why, oh Lord,
why dost Thou repay me thus?

Verdi: Aida, “Celeste Aida”

Rumors of an impending war with Ethiopia have been circulating. Radamès has just been told by Ramfis that Isis has named a new, young man to command the Egyptian Army. Radamès wishes it were him so he could free Aida.

If only that warrior were I!
If my dream might come true!
An army of brave men, led by me –
victory, and the applause of all Memphis!
To return to you, my sweet Aida,
decked with the victor’s laurels,
to say. “I fought, I won for you!”
Heavenly Aida, divine form,
mystic garland of light and flowers,
you are the queen of my thoughts,
you are the splendor of my life.
That I might bring you once more
the blue skies, the soft breezes of your native land,
a royal crown to deck your brow,
a royal throne for you, in the sun!
Oh, heavenly Aida, divine form,
mystic halo of light and flowers,
you are the queen.

Puccini: Tosca, “Recondita armonia”

Cavaradossi is painting a Madonna for the church, and he has based the painting on a woman who prays often at the church. He sings of the differences between his picture of a fair Madonna and the darker beauty of his love, Tosca.

A hidden harmony of contrasting beauties!
Floria is dark, my love and passion...
And you, mysterious beauty...
crowned with blond locks.
Your eyes are blue
and Tosca's black!
Dissimilar beauties are
together blended
by the mystery of art:
yet as I paint her portrait, Tosca,
My sole thought is of you.

Puccini: Tosca, “E lucevan le stelle”

After trading his last possession, a ring, to get a guard to take a letter to Tosca. As he writes the letter, he sings of his love for Tosca and for life.

And the stars shone, and the earth was perfumed.
The gate to the garden creaked and a footstep
rustled the sand to the path...
Fragrant, she entered
and fell into my arms...
Oh, soft kisses, oh, sweet abandon,
as I trembling
unloosed her veils and disclosed her beauty.
Oh, vanished forever is that dream of love,
fled is that hour...
and desperately I die.
And never before have I loved life so much!

Puccini: Tosca, “Ah, quegli occhi!”

Escaped political prisoner Cesare Angelotti, finds refuge in a chapel in the church. His friend, the painter Mario Cavaradossi, discovers him and offers to help. Cavaradossi’s lover, the famous opera singer Floria Tosca, interrupts their planning. Prone to jealousy, Tosca suspects Cavaradossi of being unfaithful but he manages to calm her, and they arrange to meet that night.

TOSCA 
Ah, those eyes... 
 
CAVARADOSSI 
What eyes in the world can compare 
with your black and glowing eyes? 
It is in them that my whole being fastens, 
eyes soft with love and rich with anger... 
Where in the whole world are eyes 
to compare with your black eyes? 
 
TOSCA 
Oh, how well you know the art 
of capturing women's hearts! 
But let her eyes be black ones! 
 
CAVARADOSSI 
My jealous Tosca! 
 
TOSCA 
Yes, I feel it, I torment you 
unceasingly. 
 
CAVARADOSSI 
My jealous Tosca! 
 
TOSCA 
I know you would forgive me 
if you knew my grief. 
 
CAVARADOSSI 
You are my idol, Tosca. 
All things in you delight me: 
your storming anger 
and your pulsing love! 

TOSCA 
I know you will forgive me 
if you knew my grief. 
Say again 
those consoling words... 
Say them again! 
 
CAVARADOSSI 
My life, my troubled one, beloved. 
I shall always say: "I love you, Floria". 
Set your uneasy heart at rest, 
I shall always say: "I love you". 
 
TOSCA 
Good heavens! What a sin! 
You have undone my hair. 
 
CAVARADOSSI 
Now you must leave me! 
 
TOSCA 
You stay at your work until this evening. 
And will you promise that, blond locks 
or black, by chance or otherwise, 
no woman shall come here to pray? 
 
CAVARADOSSI 
I swear it, beloved. Go now! 
 
TOSCA 
How you hurry me along! 
 
CAVARADOSSI 
 Come, again? 
 

TOSCA 
No, forgive me! 
 
CAVARADOSSI (smiling) 
Before the Madonna? 
 
TOSCA 
She is so good! 
But let her eyes be black ones! 

Wagner: Die Walküre, “Winterstürme”

After Sieglinde offers him escape from her husband Hunding as well as a sword that is plunged deep within a tree outside, Siegmund compares his love for Sieglinde to the beauty of springtime.

Winter storms have waned in the moon of May,
with tender radiance sparkles the spring;
on balmy breezes, light and lovely,
weaving wonders, on it floats;
o'er wood and meadow wafts his breathing,
widely open laughs his eye:
in blithesome song of birds resounds his voice,
the sweetest fragrance breathes he forth:
from his ardent blood bloom out all joy-giving blossoms,
buds and shoots spring up by his might.
With gentle weapons' charm, he forces the world;
winter and storm yield to his strong attack:
assailed by his hardy strokes now
the doors are shattered that, fast and
defiant, once held us apart from him.
To clasp his sister hither he flew;
'twas love that lured the spring:
within our bosoms deeply she hid;
now gladly she laughs to the light.
The bride and sister are freed by the brother;
in ruin lies what held them apart;
joyfully greet now the loving pair:
made one are love and spring!

Wagner: Rienzi, “Almächt’ger Vater”

Rienzi has been excommunicated for leading a force of Roman citizens against the treacherous Roman nobles, prompting everyone to abandon their support of him. On the brink of disaster, Rienzi prays to God that he might be given strength to weather the crisis. He feels he is doing God's work by empowering the common citizen.

Almighty Father, look down!
Hear me, in the dust, pray to you!
The strength that your authority gave to me,
let it not yet perish!
You strengthened me, you gave me great power
You lent me noble character:
to make bright that which was thought inferior,
to elevate what sank into the dust.
You changed the humiliation of the people
into nobility, splendor, and majesty!
O God, do not destroy the work
that stands to you at the price established!
Ah, dissolve, Lord, the dark night,
that still covers the souls of men!
Grant us the reflection of your authority,
that extends itself into eternity!
My Lord and Father, look down!
Lower your eyes from your height!
The power that your authority gave to me,
let it not yet perish!
Almighty Father, look down!
Hear me, in the dust, pray to you!
My God, who gave me great power,
Grant my profoundly ardent prayer!

Wagner: Die Walküre, “Du bist der Lenz”

Sieglinde expresses her great love for Siegmund, even though he is her twin brother.

Thou art the spring
that I have so longed for
in frosty winter's spell.
My heart greeted thee with bliss fullest dread,
as thy look at first on me lightened.
Strange has seemed all I e'er saw,
friendless all that was round me;
like far-off things and unknown,
all that ever came near.
When thou camest all was made clear:
as my eyes on thee fell, mine wert thou only:
all I hid in my heart, all I am;
bright as the day dawned on my sight,
like echoing tones struck on my ear,
as in winter's frosty desert
my eyes first beheld the friend.

Wagner: Lohengrin, “Einsam in trueben Tagen”

Elsa recounts a dream she had where a Knight in shining armor was sent to her by God to defend her.

Lonely, in troubled days
I prayed to the Lord,
my most heartfelt grief
I poured out in prayer.
And from my groans
there issued a plaintive sound
that grew into a righteous roar
as it echoed through the skies:
I listened as it receded into the distance
until my ear could scarcely hear it;
my eyes closed
and I fell into a deep sleep.

I will wait for the knight,
he shall be my champion!
Hear what reward I offer
the one sent by God:
in my father's lands
he shall wear the crown.
I shall consider myself happy
if he takes my possessions -
if he wishes to call me spouse,
I shall give him all that I am

A knight approached,
a man of such pure virtue
as I had never seen before:
a golden horn at his side,
leaning on a sword -
thus he appeared to me
from nowhere, this warrior true;
with kindly gestures
he gave me comfort;
I will wait for the knight,
he shall be my champion!

Wagner: Lohengrin, “In fernem Land”

At this point, the Knight has not been allowed to tell his name or his origin. However, he now must leave because he has killed Frederick, the Count of Brabant, and now tells his past. He is a Knight of the Grail from the island of Montsalvat and his father is Parsifal, the leader of all the Knights of Grail who strive to do good in the world as long as no one knows their secret. He finally reveals that his true name is Lohengrin.

In a far-off land, inaccessible to your steps,
there is a castle by the name of Montsalvat;
a light-filled temple stands within it,
more beautiful than anything on earth;
therein is a vessel of wondrous blessing
that is watched over as a sacred relic:
that the purest of men might guard it,
it was brought down by a host of angels;
every year a dove descends from Heaven
to fortify its wondrous power:
it is called the Grail, and the purest, most blessed faith
is imparted through it to the Brotherhood of Knights.
Whosoever is chosen to serve the Grail
is armed by it with heavenly power;
the darts of evil prove powerless against him,
once he has seen it, the shadow of death flees him.
Even he who is sent by it to a distant land,
appointed as a champion of virtue,
will not be robbed of its holy power,
provided that he, as its knight, remains unrecognized there.
For so wondrous is the blessing of the Grail
that when it is revealed it shuns the eye of the uninitiated;
thus no man should doubt the knight,
for if he is recognized, he must leave you.
Hear how I reward the forbidden question!
I was sent to you by the Grail:
my father Parzival wears its crown,
I its knight - am called Lohengrin.

Wagner: Tannhäuser, “Gepriesen sei die Stunde”

Elisabeth, at first shy and confused, tells Tannhäuser how she has suffered in his absence, but then joins him in praise of love.

ELISABETH
Praised be the hour,
praised be the power
that has brought me such sweet tidings
of your presence!
Encompassed with radiant bliss,
sunshine smiles upon me;
awakened to a new life,
I call happiness mine!

TANNHÄUSER
Praised be the hour,
praised be the power
that has brought me such sweet tidings
from your lips.
To the newly perceived life
I may bravely turn;
aquiver with joy, I call.
It's the fairest wonder of mine!

The Artists

Charlotte Kelso, Soprano

Charlotte Kelso, an Australian soprano, graduated from the Royal College of Music, where she completed a Master of Performance as an RCM Scholar studying under Peter Savidge and Joseph Ramadan. Her studies were kindly supported by the Friends of State Opera South Australia. At the RCM, Charlotte created the role of Ingrid in Richie Johnsen’s opera, Three Penelopes RCM/Tete-a-Tete), and performed scenes from Les Pecheurs des Perles (Leila), and L’amico Fritz (Suzel.)

Charlotte was a 2018 Emerging Artist with State Opera South Australia (SOSA.) She made her debut with SOSA as a soloist in their Keep the Home Fires Burning WWI gala concert, and performed Peep-Bo in The Mikado, and also the title role in Edwards’ Christina’s World. The latter performance earned her a 2019 Adelaide Critics Circle nomination for Emerging Artists of the Year. In the 2020 Adelaide Festival, Charlottte covered Dodo in Scottish Opera’s Breaking the Waves (Mazzoli.)

She was a finalist in the 2021 Lies Askonas Competition, and also a finalist in the 2023 Llangollen International Eisteddfod’s Pendine Internaitonal Voice of the Future. Charlotte was also a finalist in The Opera Foundation for Young Australians’ Deutsche Oper Berlin Award and the Michael Byrne Vienna State Opera Award.

In 2022 and 2023, Charlotte participated in the Institute for Young Dramatic Voices in Nevada, studying in the American Wagner Project under Luana DeVol and John Parr. Her position in both years was generously sponsored by the Wagner Society of Washington, D.C. Charlotte recently performed Musetta in La Boheme for North Wales Opera. In 2024, Charlotte will perform Donna Anna in Don Giovanni for both North Wales Opera and the international Belcanto Academy.

The Society

The Wagner Society of Washington DC

The Wagner Society of Washington, DC is one of the city's most vibrant cultural institutions. We are proud to serve the Washington community in many ways - through monthly lectures, semi-annual concerts, and special events through a network of collaborating institutions such as the German Embassy, the Kennedy Center for the Performing Arts, and the Smithsonian Institution. Now in our 20th year, the Wagner Society is dedicated to two principal goals:

1. To enrich the cultural life of the Washington metropolitan area by regularly providing the general public with lectures, concerts, opera performances, trips, and special events;

2. To assist the development of American singers who have demonstrated the potential for successful careers in opera.

In May of 1998 a small group of Wagner enthusiasts met to create a Wagner Society for Washington, DC. Aurelius Fernandez, who became our first president, and Barbara Karn, Janice Rosen and R.G. Head asked Jim Holman to join the steering committee as Chairman; in short order they recruited John Edward Niles, Phil Raines, Tom Arthur, and then Betty Byrne and John Pohanka, among others. The first meeting was held in the back room of Middle C music store. Professor Don Crosby, a Wagner Award recipient, presented "The Literary Sources of Tristan und Isolde." Fewer than 20 were in attendance.

It was our good fortune that Wolfgang Wagner, Artistic Director of the Bayreuth Festival and Richard Wagner's grandson, and his wife Gudrun were in Washington in February 1999 to attend the Washington National Opera's Tristan und Isolde. Wolfgang gave an address to WNO, and afterwards Jim invited the Wagners to lunch with Aury, Barb, and RG. The conversation turned to Bayreuth and in a stunning act of bravado our group asked the Wagners for an allotment of tickets; without blinking an eye, Gudrun said yes. In a few months, sets of tickets for the Rings plus other Bayreuth productions arrived in the mail. In our twenty-plus over 400 members and friends have made the Bayreuth pilgrimage in a relationship now carried forward through the Richard Wagner Verband International Association.

The Emerging Singers Program was founded a year later when John Edward Niles proposed a partnership between the Society and the famous Wagnerian baritone Thomas Stewart and his wife, soprano Evelyn Lear, who had recently moved to Washington. With Jim Holman they created a program to nurture Americans with the potential to sing the Wagner canon.

Alumni of the ESP, and its successor the American Wagner Project, include Jay Hunter Morris (2001), Siegfried in the recent San Francisco Opera and Metropolitan Opera Rings; Jennifer Wilson (2001, 2004) Brunnhilde in the Valencia and Florence Rings; Daniel Brenna (2005), Siegfried in the 2016 WNO Ring and Alea in the recent Metropolitan Opera Lulu; Rebecca Teem (2005, 2007) Brunnhilde in the Lubeck, Germany Ring and Berlin's Deutsch Oper; Issachah Savage (2012, 2013), who won first prize at the 2014 Seattle International Wagner Fesitval; and Solomon Howard (2015), Fafner in the 2016 WNO Ring.

Wagner in der Wildnis formed in 2001 when members Barb Karn suggested a scholarly retreat to explore a single Wagner opera. Her idea was championed by Aurelius Fernandez and Betty Byrne. Barb and Betty secured the Cacapon, WV site. Today, coordinated by Lynne Lambert and Sabrina Cassagnol, Wildnis draws 70 enthusiasts to Cacapon Resort State Park in Berkeley Springs, WV, to hear presentations by Simon Williams, Professor of Dramatic Arts at UC-Santa Barbara, and Jeffrey Swann, concert pianist and esteemed Wagnerian. Wildnis is in its 21st year.

We have presented The Wagner Award to 15 scholars and artists who have made extraordinary contributions to the enjoyment and understanding of Wagner's art. The honorees include Prof. Donald Crosby, John Pohanka, Jay Hunter Morris, Jennifer Wilson, Francesca Zambello, Jeffrey Swann, Saul Lilienstein, baritone James Morris, Thomas Stewart and Evelyn Lear, and Maestro Philippe Auguin.

Learn more at www.Wagner-DC.org