UNIVERSITY OF SANTO TOMAS

CONSERVATORY OF MUSIC

presents

Bryan Jo B. Santos
Tenor

In partial fulfillment of the requirements for the degree of

Bachelor of Music in Voice under
Asst. Prof. Elisanta G. Cortes

with
Raki Gendrano, piano
As Collaborating Artist

December 20, 2023

3:00 PM
Venue: Recital Hall 1, 5th Floor
Albertus Magnus Building
University of Santo Tomas
España, Manila
__________________________________________________

This serves as an invitation

 PROGRAMME
Addio! ............................................................................................. Paolo Tosti

Ideale .............................................................................................. Paolo Tosti

Core ‘Ngrato ...................................................................... Salvatore Cardillo

Lydia ........................................................................................... Gabriel Faure

Apres un Reve ............................................................................ Gabriel Faure

L’âme evaporée est souffrante ............................................Claude Debussy

– INTERMISSION –

Dies Bildnis ist Bezaubernd Schon ............................................ W.A Mozart

From Die Zauberflöte

Un Aura Amorossa ...................................................................... W.A Mozart

From Cosi Fantutte

O Mio Rimorso ....................................................................... Giuseppe Verdi

From La Traviata

Total Eclipse .............................................................. George Frideric Handel

From Samson

Torna Assuriento ................................................................ Ernesto De Curtis

La Spagnola .................................................................... Vincenzo Di Chiara

Iyo Kailan Pa man ........................................................................ Angel Pena

with Raki Gendrano, piano

 PAGE 1

Addio
By Paolo Tosti (1846-1916)
"Addio" is a renowned art song composed by Paolo Tosti, an Italian composer
(1846-1916) known for his contributions to the genre of salon music during the
late 19th and early 20th centuries. Tosti gained acclaim for his compositions,
particularly his art songs, which were often characterized by their lyrical
beauty and emotive melodies. Composed in 1880, "Addio" is a quintessential
example of Tosti's style within the genre of Italian art song or "romanza." These
romanzas were a staple of Italian vocal music, often performed in salon
settings or intimate gatherings, emphasizing emotional expression and lyrical
storytelling. The text of “Addio” explores the themes of separation, nostalgia
and the emotional weight of saying farewell to a loved one.

Addio Goodbye
Cadon stanche le foglie al suol, Falling leaf and fading tree,
Bianche strisce serpon sull'onda, Lines of white in a sullen sea,
Lieve nebbia nell-aria fonda, Shadows rising on you and me;
Sembran freddi i rai del sol. Shadows rising on you and me;
Le rondinelle lasciano il nido, The swallows are making them ready to fly,
Verso altro lido, le trae desio: Wheeling out on a windy sky.
Estate, addio! Goodbye Summer! Goodbye! Goodbye!

Una voce lontan, Hush! a voice from the far away!

"Odi e impara" sembra gridare, "Listen and learn," it seems to say,
"Non diverso dall'oggi è il doman. "All the tomorrows shall be as today."
Gioia e duolo, polve ed altare." "All the tomorrows shall be as today."
Ogni legame mortal si spezza, The cord is frayed, the [cruse]1 is dry,
Copre l'oblio fiele e dolcezza. The link must break, and the lamp must die
O speme, addio! Goodbye to Hope! Goodbye! Goodbye!

Perchè aspettar tutor, oh! dolce amor? What are we waiting for? Oh, my heart!
Un sol bacio mi dà, Kiss me straight on the brows! and part again!
posci ten va. Un altro ancor. Again! my heart! my heart!
Pegno d'eterno fè da te voglio, What are we waiting for, you and I?
Perchè il tuo cor A pleading look, a stifled cry.
è fatalmente mio: Goodbye, forever! Goodbye, forever!
Per sempre addio! Goodbye! Goodbye! Goodbye!
 PAGE 2
Ideale
By Paolo Tosti (1846-1916)
"Ideale" is an art song composed by Paolo Tosti, Composed in 1882, "Ideale" is a
romantic composition with two verses, featuring a vocal part reminiscent of
19th-century opera arias. The piece, set in A major and structured in an ABAC
pattern, opens with a captivating piano prelude. The piano introduces triplet
arpeggiations of the A chord in the right hand and a rising melody in the left hand
signifying a dreamy atmosphere. The singer sings of how he would follow his
love like a rainbow in the sky. Tosti employs a speech-like delivery in the text,
carefully utilizing dynamic markings, accents, and tenutos to enhance the line's
tenderness. The strategic use of tenutos contributes to a flexible, free-flowing
atmosphere, deviating from the rigid four beats per measure dictated by the time
signature. "Ideale" is a significant milestone in Tosti's stylistic evolution,
introducing an innovative accompaniment technique not commonly used by his
contemporaries, who favored the 'a chitarrone' style.

Ideale Ideal
Io ti seguii come iride di pace I followed you like a rainbow of peace
Lungo le vie del cielo: along the paths of heaven;
Io ti seguii come un'amica face I followed you like a friendly torch
De la notte nel velo. in the veil of darkness,
E ti sentii ne la luce, ne l'aria, and I sensed you in the light, in the air,
Nel profumo dei fiori; in the perfume of flowers,
E fu piena la stanza solitaria and the solitary room was full
Di te, dei tuoi splendori. of you and of your radiance.

In te rapito, al suon de la tua voce, Absorbed by you, I dreamed a long time

Lungamente sognai; of the sound of your voice,
E de la terra ogni affanno, ogni croce, and earth's every anxiety, every torment
In quel giorno scordai. I forgot in that dream.
Torna, caro ideal, torna un istante Come back, dear ideal, for an instant
A sorridermi ancora, to smile at me again,
E a me risplenderà, nel tuo sembiante, and in your face will shine for me
Una novella aurora. a new dawn.
Torna caro ideale Torna Come back, dear ideal, Come back
 PAGE 3

Core Ngrato
By Salvatore Cardillo (1874-1947)
"Core 'ngrato" by Salvatore Cardillo is a poignant Neapolitan song that embodies
the emotional essence of unrequited love. Composed in the early 20th century,
its expressive melody and heartfelt lyrics capture the bittersweet longing and
yearning of a love that remains unfulfilled. The music evokes deep emotions,
painting a vivid portrayal of love's enduring pain and the melancholy of a love
unreturned, resonating with audiences through its timeless and haunting beauty.
Core ‘ngrato Ungrateful Heart
Catarì, Catarì, Catarina, Catariana
Pecchè me dice sti parole amare, Why do you say these bitter words to me?
Pecchè me parle e 'o core Why do you speak and my heart
Me turmiente Catari? torments me, Catarì?
Nun te scurdà ca t'aggio date 'o core, Don't forget that I've given you my heart,
Catarì Catarìna
Nun te scurdà! Don't forget it!

Catarì, Catarì, che vene a dicere Catarìna, Catarìna, what do you mean by
Stu parlà, che me dà spaseme? these words, that upset me?
Tu nun 'nce pienze a stu dulore mio You don't think about my pain
Tu nun 'nce pienze tu nun te ne cure You don't think! You don't care!

Core, core 'ngrato Heart, ungrateful heart

T'aie pigliato 'a vita mia You've stolen my life
Tutt' è passato Everything's over
E nun 'nce pienze cchiù! And you don't think about it anymore!
Tutt' è passato Everything's over
E nun 'nce pienze cchiù! And you don't think about it anymore!
 PAGE 4

Lydia
By Gabriel Faure (1845-1924)
Gabriel Fauré (1845-1924), created over a hundred songs called Mélodies over
a span of sixty years. “Lydia” was composed in 1870 and was Faure’s first
setting of one of Leconte de Lisle’s poems. Faure interpreted the poem using a
flowing, curved vocal line and setting the song in Lydian mode. The poet
Leconte de Lisle wrote tranquil love songs with exotic settings. In this poem, a
lover calmly praises his beloved's hair as "fluid gold," refers to her as a
goddess, and expresses overwhelming loving emotion. In its last stanza, the
singer expresses fulfillment of being loved by another and that he could die
peacefully as the piano accompaniment fades away.
Lydia Lydia
Lydia sur tes roses joues, Lydia, over your rosy cheeks,
Et sur ton col frais et si blanc, and over your neck, so fresh and white,
Roule étincelant sparkling, rolls
L'or fluide que tu dénoues. the fluid gold that you untie.

Le jour qui luit est le meilleur: The day which is gleaming is the best:
Oublions l'éternelle tombe. let us forget the eternal tomb.
Laisse tes baisers de colombe Let your dove's kisses
Chanter sur ta lèvre en fleur. sing on your blossoming lips.

Un lys caché répand sans cesse A hidden lily ceaselessly diffuses

Une odeur divine en ton sein: a divine scent in your breast:
Les délices, comme un essaim, like a swarm, delights
Sortent de toi, jeune Déesse! escape from you, young Goddess!

Je t'aime et meurs, ô mes amours! I love you and am dying, o my loves!

Mon âme en baisers m'est ravie. My soul is ravished by kisses.
O Lydia, rends-moi la vie, O Lydia, give me back my life,
Que je puisse mourir toujours! that I might die eternally!
 PAGE 5

Apres Un Reve
By Gabriel Faure
"Après un Rêve" is a French art song composed by Gabriel Fauré. It is one of his
most well-known and beloved works. The title translates to "After a Dream" in
English. The song was composed in 1877 as part of Fauré's early vocal works.
The lyrics for "Après un Rêve" were written by Romain Bussine, who was a
prominent baritone and close associate of Fauré. The poem depicts a dream
where the narrator encounters a vision of a loved one. The dream is described
with a sense of tranquility and beauty. Fauré's musical setting of the poem is in
modified strophic form, matching the contents of the poem. Verses 1 and 2
describes the dream and in verse 3 the singer has awoken but cries to dream
again.
Apres un Reve After a dream
Dans un sommeil que charmait ton In sleep made sweet by a vision of you
image I dreamed of happiness, fervent illusion,
Je rêvais le bonheur, ardent mirage, Your eyes were softer, your voice pure and
Tes yeux étaient plus doux, ta voix pure ringing,
et sonore, You shone like a sky that was lit by the
Tu rayonnais comme un ciel éclairé par dawn;
l’aurore;
You called me and I departed the earth
Tu m’appelais et je quittais la terre To flee with you toward the light,
Pour m’enfuir avec toi vers la lumière, The heavens parted their clouds for us,
Les cieux pour nous entr’ouvraient leurs
nues, We glimpsed unknown splendours,
Splendeurs inconnues, lueurs divines celestial fires.
entrevues.
Alas, alas, sad awakening from dreams!
Hélas! hélas, triste réveil des songes, I summon you, O night, give me back your
Je t’appelle, ô nuit, rends-moi tes delusions;
mensonges; Return, return in radiance,
Reviens, reviens, radieuse, Return, O mysterious night!
Reviens, ô nuit mystérieuse!
 PAGE 6

Romance “L’âme evaporée est souffrante”

By Claude Debussy
"Romance" or "L'âme évaporée est souffrante" is a composition by Claude
Debussy (1962-1918). Composed in 1891, this art song features a text by French
poet Paul Bourget titled “Les aveux” (confession). The title translates to "The
spent and suffering soul." In this piece, this piece follows a heartbroken man
as he questions why his lover left. The piece opens with the brief piano
introduction followed by an unaccompanied vocal introduction and the motif
can be heard throughout the piece..

L’âme evaporée est souffrante The Spent and Suffering Soul

L’âme évaporée et souffrante, The spent and suffering soul,
L’âme douce, l’âme odorante The sweet soul, the soul steeped
Des lis divins que j’ai cueillis In the divine lilies I gathered
Dans le jardin de ta pensée, In the garden of your thoughts,
Où donc les vents l’ont-ils chassée, Where have the winds dispersed it,
Cette âme adorable des lis? This adorable lilies’ soul?

N’est-il plus un parfum qui reste Does not a single scent remain
De la suavité céleste Of the heavenly softness
Des jours où tu m’enveloppais Of the days when you enclosed me
D’une vapeur surnaturelle, In a supernatural mist,
Faite d’espoir, d’amour fidèle, Made of hope, of faithful love,
De béatitude et de paix? Of bliss and of peace?
 PAGE 7

Dies Bildnis ist Bezaubernd schon

From Die Zauberflote

By Wolfgang Amadeus Mozart

"Dies Bildnis ist bezaubernd schön" is a captivating aria from Wolfgang
Amadeus Mozart's opera "Die Zauberflöte" (The Magic Flute). Composed in
1791, the aria is sung by the character Tamino in Act I of the opera. The title
translates to "This portrait of magical beauty." In this aria, Tamino expresses his
admiration for a portrait of Pamina, whom he has never met but has fallen in
love with based on the image. Mozart's music beautifully captures the
emotions of infatuation and wonder. The aria is characterized by its graceful
melody, expressive phrasing, and orchestral accompaniment that
complements the lyrical beauty of the vocal line.

dies bildnis ist bezaubernd schön This portrait of magical beauty

Dies Bildnis ist bezaubernd schön, This portrait of magical beauty,
wie noch kein Auge je gesehn. Like never an eye seen before
Ich fühl' es, wie dies Götterbild I can feel, how this godlike effigy
mein Herz mit neuer Regung füllt. Fills my heart with new motion

Dies Etwas kann ich zwar nicht nennen, This certain something I can't really name
doch fühl' ich's hier wie Feuer brennen; Yet I can feel it burn like a fire
soll die Empfindung Liebe sein? Should this sensation be love ?
Ja, ja, die Liebe ist's allein. Yes, none but love it must be..

O wenn ich sie nur finden könnte! Oh if I could but find her
O wenn sie doch schon vor mir stünde! Oh wish that she already stood in front of
ich würde warm und rein – me
I'd be so pure and warm
was würde ich?
Ich würde sie voll Entzücken What would I do ?
an diesen heißen Busen drücken, I would with great delight
und ewig wäre sie dann mein. Press her against my bosom
And she'd be mine forevermore
 PAGE 8

O mio Rimorso
From La Traviata

By Giuseppe Verdi
"O mio rimorso" or "Oh, my remorse." is a poignant aria from Giuseppe Verdi's
opera "La Traviata." This opera, composed in 1853, is one of Verdi's most beloved
works and is based on Alexandre Dumas fils's play "La Dame aux Camélias."
In this aria, the character Alfredo expresses deep regret and remorse for his past
actions, particularly in relation to Violetta, the opera's protagonist. The music is
emotionally charged, with Verdi skillfully capturing the intensity of Alfredo's
feelings through the expressive vocal line and orchestration.
"O mio rimorso" is situated towards the end of the opera and serves as a
powerful moment of self-reflection and redemption for Alfredo.

O Mio Rimorso Oh my Remorse

Oh mio rimorso! Oh infamia! Oh, my remorse! Oh, disgrace!
lo vissi in tale errore! And I lived so mistaken!
Ma il turpe sogno a frangere But the truth, like a flash,
il ver mi baleno! Has broken my base sleep!
Per poco inseno acquetati, For a little while be calm in my breast,
O grido dell' onore; Oh, cry of honour;
m'avarai securo vindice; In me you shall have a sure avenger;
quest' onta lavero. I shall wash away this infamy.
Oh mio rossor! Oh infamia! Oh, shame! Oh, disgrace!
Ah, si, quest' onta lavero Ah, yes, I shall wash away this infamy!
 PAGE 9

Un Aura Amorrosa
From Die Zauberflote

By Wolfgang Amadeus Mozart

"Un aura amorosa" is an aria from Wolfgang Amadeus Mozart's opera "Così fan
tutte." Sung by the character Ferrando, Ferrando and Guglielmo, two young
officers, in love with two sisters, are discussing the faithfulness of their fiancées,
when Guglielmo remarks that it’s time to dine. Ferrando, the more romantic of the
two, suggests that the promise of love is enough to satisfy their hunger.
Un aura amorossa A Loving Aura
Un aura amorosa A loving aura
Del nostro tesoro From our dearest treasure
Un dolce ristoro Will bring sweetest pleasure
Al cor porgera And nourish our hearts

Al cor che nudrito To the heart that nourished,

Da speme d’amore By hope and love
Da speme d’amore By hope and love
D’un esca migliore Of the best sustenance
Bisogno non ha Has no need
D’un esca migliore Of the best sustenance
Bisogno non ha Has no need!

Un aura amorosa A loving aura

Del nostro tesoro From our dearest treasure
Un dolce ristoro Will bring sweetest pleasure
Al cor porgera And nourish our hearts
Un dolce ristoro Will bring sweetest pleasure
Al cor porgera And nourish our hearts
 PAGE 10

Total Eclipse
From Samson

By George Frideric Handel

"Total Eclipse" is an aria from George Frideric Handel's oratorio "Samson,"
composed in 1741. The oratorio tells the biblical story of Samson, and "Total
Eclipse" is sung by the character Samson himself. The title refers to the moment
when Samson is blinded and experiences a profound sense of loss and despair.
In this aria, Handel masterfully captures the emotional turmoil and darkness that
envelops Samson after losing his sight. The music reflects the character's inner
struggles through poignant vocal lines and expressive orchestration. Handel's
dramatic use of harmony and melody adds depth to the portrayal of Samson's
despair and the metaphorical eclipse of his once-mighty strength.

Total eclipse! No sun, no moon!

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 are dark to me!
 PAGE 11

La Spagnola
By Vincenzo Di Chiara
"La Spagnola" is a renowned Neapolitan song composed by Vincenzo Di Chiara in
the late 19th century. This spirited and lively piece captures the essence of
Spanish musical influences, reflected in its rhythmic melodies and vibrant
character. The title, translating to "The Spanish Girl," suggests a theme of romance
and exotic allure. The lyrics, expresses admiration for a Spanish girl's beauty and
charm, contribute to the piece's romantic and exotic allure.
La Spagnola The Spanish woman

In Spagna sono la bella, I am the beautiful one from Spain,

regina son dell'amor. I am the queen of love
Tutti mi dicono stella, Everybody tells me: a star
stella di vivo splendor. a star of living magnificence

Stretti, stretti, Intimate, intimate

nell'estasi d'amor, in the ecstasy of love
la Spagnola sa amar cosi, Is how the Spanish woman can love,
bocca a bocca la notte e il di. mouth to mouth, day and night

Amo con tutto l'ardore I love those that are sincere

a chi e sincero con me to me with a passion
degli anni miei il vigore I will show you the vigour
vi fo ben presto veder. of my experience soon

Stretti, stretti, Intimate, intimate

nell'estasi d'amor, in the ecstasy of love
la Spagnola sa amar cosi, Is how the Spanish woman can love,
bocca a bocca la notte e il di. mouth to mouth, day and night
 PAGE 12

Torna Assuriento
By Ernesto De Curtis
"Torna a Surriento" or “Come Back to Sorrento” is a classic Neapolitan song
composed by Ernesto De Curtis with lyrics by his brother, Giambattista De Curtis.
Created in 1902, this song has become an enduring emblem of Italian music and
culture.
The song captures the picturesque beauty and romantic allure of Sorrento, a
charming coastal town in southern Italy. "Torna a Surriento" is characterized by its
lush melodies and expressive lyrics that speak of love, longing, and the desire for
a return to a place of sentimental significance. The music reflects the warmth and
nostalgia associated with the Mediterranean region.
Torna a Surriento Come Back to Sorrento
Vide 'o mare quant'è bello! See the sea how beautiful it is,
spira tanta sentimento... it inspires all kinds of emotions,
Comme tu, a chi tiene mente, like you with people who care
ca, scetato, 'o faje sunná! you make them daydream.

Guarda guá' chistu ciardino, Behold, look at this garden;

siente sié' sti sciure 'arancio... sense, smell these orange buds,
nu prufumo accussí fino, there isn’t a perfume so fine,
dint''o core se ne va... going straight in your heart

E tu dice: "Io parto, addio!" And you say: "I’m leaving, goodbye!"
T'alluntane da stu core... you’re walking away from this heart,
Da la terra de ll'ammore, from this land of love:
tiene 'o core 'e nun turná?! do you have the heart not to return?

Ma nun mme lassá, But don’t leave me,

nun darme stu turmiento... don’t give me this torment,
Torna a Surriento: come back to Sorrento,
famme campá!... make me live!
 PAGE 13

Iyo Kailon pa man

By Angel Pena
“Iyo kailan pa man” is Angel Pena’s (1921-2014) most popular kundiman with
words by Levi Celerio. Angel Pena si a Filipino composer-arranger-double bass
player and a licentiate from the royal schools of music, London.
“Iyo Kailan Pa man” delve into the theme of enduring love, rekindling an old
romantic relationship that had once ended unrequited. Evoking a reminder that
love, though marked by challenges and separations, has the power to endure and
be rekindled, creating a sense of hope and nostalgia that resonates with
audiences.
Ang alaala ko’y nagbabalik, Ang buhay kong namamanglaw
Ang araw ng ating pagibig Ay nais nang pumanaw
Buhay nati’y panaginip Kung hindi ka kaulayaw
Sa gilid ng munting batis Langit walang tanglaw

Ang manga labi mong sakdal tamis Kung babalik ka hirang

Ay may pangakong hanggang langit At ako’y lalapitan
“Mamahalin kong lagi ikaw Pusong iyo nang minsan
Sa ginhawa’t hapis! Ay iyo kailan paman

Ngunit nagdaan ang araw, Kung hindi ka kaulayaw

Sumpa mo’y nalimot, Langit ko’y walang tanglaw
Naghihintay sa kalungkutan,
Ang puso ko, irog! Kung babalik ka hirang
At ako’y lalapitan
Nahan ang ating pagmamahal Pusong iyo nang minsan
Bakit dagling natapos? Ay iyo kailan pa man
Kailan ko muling makakamtan Ang pagsintang dalisay
Tunay mong pagirog? Ay di mamamtay
 ACKNOWLEDGMENTS

Rev. Fr. Jose Ma. B. Tinoko, O.P., JCD.

REGENT

Assoc. Prof. Antonio P. Africa, Ph.D.

DEAN

Assoc. Prof. Peter John Marie L. Porticos, Ph.D.

FACULTY SECRETARY