Date of Submission
Fall 2024
Academic Program
Music
Project Advisor 1
Rufus Müller
Abstract/Artist's Statement
As a double major in Music and Literature, I have always been drawn to the ways we can tell stories with music. After transitioning from my original majors–Keyboard and Film Studies–I realized that I could fully explore this interest. My senior concerts reflect this fascination with storytelling, though each approaches this in different ways.
My first concert focused solely on Baroque music, highlighting my passion for historically-informed performance. After further exploring the period through the Bard Baroque Ensemble, I decided to work with various instrumentalists rather than a pianist to ensure a more authentic program. This resulted in my performing with two violinists, a violist, and a continuo section that included portative organ, harpsichord, and cello. I embraced the opportunity to work with a larger chamber ensemble and grew more confident when expressing my ideas about each piece. The experience further developed my leadership skills and allowed me to work closely with fellow singers as well as instrumentalists on matters of interpretation and style. The result was a successful performance that reflected the collaborative efforts of passionate young musicians.
Among the repertoire, I decided to semi-stage the trio “Non è amor né gelosia” from Handel’s Alcina, the aria “Scherza infida” from Handel’s Ariodante, and Telemann’s cantata for a vocal soloist, Trauer-Music eines kunsterfahrenen Canarienvogels. I decided to link the first two pieces into an extended scene, building on my experience from similar practices in Bard’s Opera Workshop. Taking some creative liberties, I changed the ending of the Alcina trio so that Alcina steals Bradamante away from Ruggiero. Feeling betrayed by Bradamante’s faithlessness, Ruggiero then sings the aria originally sung by Ariodante’s title character. For Telemann’s cantata, I stayed more faithful to the original text and tried to communicate the humor through storytelling with props. This helped an audience, who was largely unfamiliar with the German language, understand the piece’s themes of love and loss while also effectively portraying the comedic moments. Staging these pieces was admittedly daunting since I have limited theater experience. However, with the help of classmates and my personal study of productions, I developed my own sense of direction. The process proved that I am capable of presenting a variety of narratives onstage, even those I created myself.
For my second concert, I curated a program with a wider range of repertoire and composers. While it does not have a title or proposed theme, I gradually found many of my pieces dealt with escapism or inability to escape in some form. In “There is a Garden” from Bernstein’s Trouble in Tahiti, Dinah describes a dream where she escapes a lifeless garden for a more beautiful, peaceful one. In “Deh per questo istante solo” from Mozart’s La Clemenza di Tito, Sesto’s greatest fear is that he will never escape the Emperor Tito’s perception of him as a traitor, a judgment that haunts him more than his impending death. In Sechs Lieder by Clara Schumann, the images of lost love linger in the singer’s mind, unable to fully be rid of them. And in “Kennst du das Land?” from Wolf’s Goethe-Lieder, Mignon begs her newfound protector, Wilhelm, to help her return to Italy after a traumatic separation. These are only some examples, but they exhibit the throughline which informed my storytelling in performance.
Given this concert consisted entirely of solo repertoire, I faced the challenge of communicating through vocal choices alone. As such, I focused on intentional phrasing, vocal colors, and emotional or textual emphasis to connect with the audience. This also taught me more about storytelling through various languages and how that differs. I learned how to take more control as a soloist and command attention in a way that does not rely on physical gestures. One obstacle I still struggle with is relying on these gestures to potentially hide any flaws in technique or remaining tensions. This concert helped break me from this habit more than I expected, but I still have much work to do in this area.
While there is always room to grow technically, my concerts taught me valuable lessons about collaboration, performance practices, and the intense process that goes into developing genuine artistry. Looking forward, I feel more confident to embrace the challenges that await me, both during my remaining time at Bard and beyond.
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Recommended Citation
Zaki, Mara Louise, "“Next Year’s Words Await Another Voice” - Two Senior Concerts" (2024). Senior Projects Fall 2024. 3.
https://digitalcommons.bard.edu/senproj_f2024/3
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