Mannes School of Music at The New School

David E. Van Zandt, President, The New School

Richard Kessler, Dean, Mannes and Executive Dean, College of Performing Arts

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Present

“Finding Home”

GRADUATION RECITAL

Fashion designer: Yong Guo (Parsons MFA fashion design)

Bass-baritone: Ziliang Hao (Mannes MM voice and opera)

Mezzo-soprano: Huiyin Tan (Mannes MM voice and opera)

Drama actor: Michael Alampi and Maurice Lugassy (Drama, MFA)

With

Eun Kyung Lee, Piano

Friday, December 13, 2019 at 7:30 p.m.

Glass Box Performance Space, Arnhold Hall, 1st floor

55 West 13th Street, New York, NY 10001

 Michael Alampi and Maurice Lugassy

Ziliang Hao

“Finding Home”. Ricky Ian Gordon

(b. 1956)

Gordon, Ricky Ian. Finding home: the songs of Ricky Ian Gordon. N.p.: Williamson Music,
c2003.
http://bobcat.library.nyu.edu/primo-
explore/fulldisplay?docid=nyu_aleph001941933&context=L&vid=NS2-
NUI&search_scope=default_scope&tab=default_tab&lang=en_US Commented [CH2]: Remove hyperlinks. Also, don't
include citations in the main program – list the
pieces first, and then include your citations in
a bibliography at the end. Formatting all of the
elements together this way makes for a confusing
experience for your reader.
Huiyin Tan
“Paper Wings” (1997, 2000) Jake Heggie

(1961-)

1. Bedtime Story

2. Paper Wings

3. Mitten Smitten

4. A route to the Sky

Jake, Heggie. “THE FACES OF LOVE-THE SONGS OF JAKE HEGGIE.” Associated

Music publishers, Inc. (June, 2015): 77-86.

INTERMISSION

Michael Alampi and Maurice Lugassy

Ziliang Hao

Sea Pictures Edward Elgar

(1857-1934)

1. “Sea Slumber-Song”

3. “Sabbath Morning at Sea”

4. “Where Corals Lie”

Elgar, Edward. Sea-pictures: a cycle of five songs for contralto, op. 37: for voice and piano.
N.p.: Boca Raton, Fla.: Masters Music, 1990.
http://bobcat.library.nyu.edu/primo-
explore/fulldisplay?docid=nyu_aleph000971409&context=L&vid=NS2-
NUI&search_scope=default_scope&tab=default_tab&lang=en_US

Huiyin Tan

The Little Horses :(Lullaby) (1950-1954) Aaron Copland (1900-1990)

No.1 The Little Horses (Lullaby)

No.3 Long Time Ago (Ballad)

No.4 At the River (HymnTune)

Aaron, Copland. “Old American Songs, Set 2.” New York: Boosey&Hawkes pubblishers.
(1965).

Huiyin Tan, Ziliang Hao

Au coin d’une rue (2017) François BOUSCH (1946-)

Cdmc-Centre de documentation de la musique contemporaine. Au coin d'une rue : pour
mezzo-soprano et saxophone alto, 2017.

http://catalogue.cdmc.asso.fr/scripts/opsys.asp?MODULE=3W9501&NOTICE=0138110

Performance Statement

We are enthusiastic about creating new type of opera performance via combining

classic vocal music with drama performance and fashion design. The monotonous

stage costumes and restricted performance gestures keep classic vocal music distant

and not approachable enough to the audience, which I find problematic and therefore

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inspired to improve the audience experience by making opera performance more

engaged with contemporary costume design and methodology of drama performance.

Through applying the technics of drama performance, opera performers will need to

take advantage of body language to convey and reinforce emotions regarding the

content of opera. In terms of fashion design, the idea is to make sure that the costumes

complied with specific genre and context of the story, considering times, style and

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aesthetics. By introducing the high aesthetic value and methodology of fashion

design and performance art, the new type of opera performance is expected to bring

the relationship between musicians and audience into a more interactive and intimate

stage.

Ziliang Hao
Performer costume designer statement

This collection comes from my identity and life experience. I am the kind of person

who has difficulty facing my own imperfections. The reason for this comes from my

mother’s education and the way she raised me. She was very strict with herself and

strict with me and my studies. Five years ago, she was diagnosed with breast cancer.

After surgery she lost her left breast. From that moment on she wore comfortable,

oversized clothes instead of her previous skinny, tailored style of clothing. At the

same time, she began to focus on being healthy and having a more joyful lifestyle.

Her story inspired me to believe that imperfection can transform into a kind of

perfection. In my thesis collection I explore this idea by combining my mother’s

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current clothes and her previous wardrobe.
Layering is a vital part of my mother’s wardrobe choices post-surgery. Illusion is at

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play through the layering of textiles. Unsual surfaces and textures create volume.

Patterns are inspired by personal memories of my mother’s favorite colors and

designs. Unexpected moments occur. Where does one garment end and another

begin? Just as a body can change shape, so can a garment. An imperfect body, a

perfect illusion.

Yong Guo

Vocal Texts and Translations

Finding Home Ricky Ian Gordon (b.1956)

Finding home in an unexpected way.

Making a home day by day.

Being home in an unencumbered sleep.

Staying at home sweet and deep.

Leaving home unexpectedly and then,

Searching for home once again.

If you keep it in your heart when you are forced to roam,

I know you too will start finding home.

Finding home in an unfamiliar face;

Feeling your home, finding grace.

Keeping home in the gestures that you know;

Holding home if you go.

Trusting home if you travel far and wide.

Carrying home deep inside.

Deep inside.

Au coin d’une rue

J’étais debout au coin d’une rue.

Tout à coup, de la musique –
elle me révéla que j’étais heureuse,
elle me fit aussi comprendre que j’étais fatiguée.

Des inconnus
affluaient vers moi comme de l’eau, et me dépassaient avec indifférence. Je me sentis
attirée par les gens.

Je fis semblant de regarder un mannequin dans une vitrine. Les notes de piano me
faisaient penser à un fleuve.
Un homme qui distribuait des prospectus
essayait d’en rattraper un que le vent emportait.
Le mannequin était vêtu d’une robe d’été à manches courtes. Je savais que la chanson
ne s’arrêterait pas tout de suite. Debout au coin de la vitrine,
je regardais l’homme distribuer ses prospectus.

Au milieu des buildings

j’étais toute petite,
au milieu des gens,
je passais inaperçue,
seule la musique pouvait m’atteindre.

At the corner of a street

I was standing at the corner of a street. Suddenly, music – It revealed to me that I was
happy, It also made me understand that I was tired.

Strangers flocked to me like water and passed me with indifference. I felt attracted to
people.

I pretended to look at a mannequin in a window. The piano notes reminded me of a

river. A man distributing leaflets was trying to catch one that the wind was carrying
off.

The model was wearing a short-sleeved summer dress. I knew that the song would not
stop right away. Standing at the corner of the window, I watched the man distribute
his leaflets.

In the middle of the buildings I was very small, in the middle of people, I went
unnoticed, only music could reach me.

I. Sea Slumber Song

Edward Elgar (1834-1894)

Sea-birds are asleep,

The world forgets to weep,

Sea murmurs her soft slumber-song

On the shadowy sand

Of this elfin land;

I, the Mother mild,

Hush thee, oh my child,

Forget the voices wild!

Hush thee, oh my child,

Hush thee.

Isles in elfin light

Dream, the rocks and caves,

Lulled by whispering waves,

Veil their marbles

Veil their marbles bright.

Foam glimmers faintly faintly white

Upon the shelly sand Of this elfin land;

Sea-sound, like violins,

To slumber woos and wins,

I murmur my soft slumber-song,

My slumber song Leave woes, and wails, and sins.

Ocean's shadowy might Breathes good night,

Good night...

Leave woes, and wails, and sins.

Good night...Good night...

Good night...

III. Sabbath Morning at Sea

The ship went on with solemn face;

To meet the darkness on the deep,

The solemn ship went onward.

I bowed down weary in the place;

for parting tears and present sleep

Had weighed mine eyelids downward.

The new sight, the new wondrous sight!

The waters around me, turbulent,

The skies, impassive o'er me,

Calm in a moonless, sunless light,

As glorified by even the intent

Of holding the day glory!

Love me, sweet friends, this sabbath day.

The sea sings round me while ye roll afar

The hymn, unaltered,

And kneel, where once I knelt to pray,

And bless me deeper in your soul

Because your voice has faltered.

And though this sabbath comes to me

Without the stolèd minister,

And chanting congregation,

God's Spirit shall give comfort.

He who brooded soft on waters drear,

Creator on creation.

He shall assist me to look higher,

He shall assist me to look higher,

Where keep the saints, with harp and song,

An endless endless sabbath morning,

An endless sabbath morning,

And on that sea commixed with fire,

On that sea commixed with fire,

Oft drop their eyelids raised too long

To the full Godhead's burning.

IV. Where Corals Lie

The deeps have music soft and low

When winds awake the airy spry,

It lures me, lures me on to go

And see the land where corals lie.

The land, the land where corals lie.

By mount and mead, by lawn and rill,

When night is deep, and moon is high,

That music seeks and finds me still,

And tells me where the corals lie.

And tells me where the corals lie.

Yes, press my eyelids close, 'tis well,

Yes, press my eyelids close, 'tis well,

But far the rapid fancies fly

The rolling worlds of wave and shell,

And all the lands where corals lie.

Thy lips are like a sunset glow,

Thy smile is like a morning sky,

Yet leave me, leave me, let me go

And see the land where corals lie.

The land, the land where corals lie.