Lawrence Harris & Renée Guerrero | Romanze

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by Lawrence Harris & Renée Guerrero

Romanze, is a collection of songs of great beauty and simplicity, in both poetry and melody. Known as la Canzone Neopolitana, they are a hybrid of folk and art music that expresses the depth of the human experience.
Genre: Classical: Art songs
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  Song Share Time Download
1. Malia
2:57 $0.99
2. Aprile
3:36 $0.99
3. Pour Un Baiser
2:13 $0.99
4. Chanson De L'adieu
2:41 $0.99
5. L'ultima Canzone
4:21 $0.99
6. Tormento
3:34 $0.99
7. In Van Preghi
3:02 $0.99
8. Ridonami La Calma
5:15 $0.99
9. Ideale
3:23 $0.99
10. Sogno
3:12 $0.99
11. Tristezza
3:56 $0.99
12. Non T'amo Più
4:56 $0.99
13. A Vucchella
2:32 $0.99
14. L'alba Separa Dalla Luce L'ombra
2:23 $0.99
Downloads are available as MP3-320 files.


Album Notes
On Mr. Harris’s album, Romanze, he sings songs of Paolo Tosti. These songs have great beauty and simplicity in both poetry and melody. Yet, they passionately express so much of the profoundness of the human experience. Known as la Canzone Neopolitana, they are a hybrid of folk and art music and thus have appealed to the common man and artistic aristocrat alike. These songs truly resonate with Mr. Harris, an NFL lineman turned opera singer, for this very reason. It is his hope that this collection will capture the imagination of his broad fan base as well. The album was produced by Mr. Harris in collaboration with Stefano Acunto of The Italian Academy Foundation.

In a way, this album began to be created in the 1960’s in Pescara, Italy when, as a young man spending summers there with my grandfather, grandmother and aunt, I first heard the music of Francesco Paolo Tosti (1846-1916). Tosti, of course, was born just to the south, in the seaside town of Ortona al Mare – a point of pride among the Abruzzese.

From the first, his music combined lyrical poetry, classical order and form, and the beautiful expressions of some of the 19th- and early 20th-century’s best writers. His songs were – and are, we trust – irresistible.
As a kind of “transatlantic”, an American in Italy and an Italian in New York, I followed my studies, the new music I discovered, and, naturally, sports, including boxing, soccer, riding and, of course, American football. It was a beautiful period in my life.

When I met baritone Lawrence Harris, a former star professional football player, my fascination was inevitable. As a sportsman who turned to classical music, and turned further to the traditions of the Italian and French opera stage and still further to the proper salons of the turn of the last century, Lawrence Harris seemed the ideal voice and sensibility for this project: an athlete, disciplined, fearless of new material and new vocal challenges, and willing to take risks, and a vocalist of profound depth and rich color. The combination of elements that worked in synch in this effort creates a brilliant formula that is not easily divisible. We hope it will please you.

The Italian Academy Foundation, Inc., founded in 1947, has as its mission the presentation and preservation of classical works. We use as one measure for our sponsored projects the modicum Ezra Pound famously wrote about great literature, i.e. that it is ”news that stays news”. Stefano Acunto, Honorable Vice Consul, Italian Academy Foundation, Inc.

The leading roles from the operas of Puccini and Verdi have been the perfect fit for Mr. Harris throughout his career. He has been widely praised as both “a baritone with incredible dramatic intensity and enormous versatility”, from his impassioned operatic performances to his sensitive treatment of the song repertoire. Mr. Harris's greatest passion is communication, evident both in his dedication to conveying the profound meaning of each piece he approaches, giving them the historical relevance they deserve, and in his efforts to help young artists and even individuals with autism find their voice.

“Established overnight as an important new Verdi baritone”, Mr. Harris's career spans over 30 years. His signature roles are Scarpia in Tosca and the title role in Rigoletto. Other roles include: Count di Luna (Il Trovatore), Germont (La Traviata), Tonio (I Pagliacci), Amonasro (Aida), Escamillo (Carmen), Marcello (La Boheme), the High Priest (Samson & Dalila), the title role in Macbeth, George (Of Mice and Men), Iago (Otello), Sacco (Sacco e Vanzetti), Renato (Un Ballo in Maschera), as well as world and US premieres of several new operas by contemporary composers. His oratorio repertoire includes: Beethoven’s Ninth Symphony, Handel’s Messiah, Mendelssohn’s Elijah, and Bernstein’s Mass, Songfest, and Candide.

Mr. Harris’s performances in opera houses around the world have earned him accolades for his rich baritone voice. He captured both First Prize and the coveted Audience Favorite Award in the 2008 Altamura/Caruso International Voice Competition. The New York Times critic Bernard Holland hailed Mr. Harris as a “major voice”. His portrayal of Rigoletto earned him critical acclaim in the form of an OperaOnline nomination for Best Leading Male Performance (Connecticut Grand Opera).

Mr. Harris’s audiences include diplomats and heads of state from every continent including Secretary-General of the United Nations, Ban Ki-moon, Ambassador Fernando M. Valenzuela, Head of the Delegation of the European Commission to the United Nations, and the United Nations Women for Peace.

Mr. Harris’s performance venues include: Carnegie Hall, Lincoln Center's Merkin Recital Hall, Avery Fisher Hall, The Straz Center for the Performing Arts (Tampa), The Paramount Theater (Abilene), Detroit Opera House, Kimmel Center (Philadelphia), Lila Cockrell Theater (San Antonio), Blaisdell Concert Hall (Honolulu), Teatro Pablo de Villa Vincencio (Culiacan, Mexico), Teatro Angela Peralta (Mazatlan, Mexico), Teatrino Campana (Osimo, Italy), and Teatro Cocumella (Sorrento, Italy),

Mr. Harris has been featured on radio, television, film, and internet (CNN, ESPN, CBC/Radio-Canada, OperaOnline, Of Choctaw ancestry, he performed in concert in the PBS production, "Common Ground", where he shared the stage with other Native Americans in a celebration of music and art of America's Indigenous People. A former NFL lineman for the Houston Oilers, Mr. Harris stepped back on the NFL field in the 2012 season with his highly acclaimed rendition of the "Star Spangled Banner" for the World Champion Green Bay Packers.

Renée Guerrero began her performing career with a debut in the Yamaha Young Artist Showcase in New York City. She has also concertized as solo and collaborative pianist throughout the US, including Carnegie’s Weill Hall, Lincoln Center’s Merkin Hall, as well as venues in northern and southern Italy. She received a Masters Degree in Piano Performance from the Manhattan School of Music.


1. Malìa (Rocco E. Pagliara/1887)
Cosa c’era ne’l fior che m’hai dato?
Forse un filtro, un arcano poter!
Ne’l toccarlo, ‘l mio core ha tremato, m’ha l’olezzo turbato ‘l pensier!
Ne le vaghe movenze che ci hai?
Un incanto vien forse con te?
Freme l’aria per dove tu vai, spunta un fiore ove passa ‘l tuo piè!
Io non chiedo qual plaga beata fino adesso soggiorno ti fu:
non ti chiedo se ninfa, se fata, se una bionda parvenza sei tu!
Ma che c’è ne’l tuo sguardo fatale?
Cosa ci hai ne’l tuo magico dir?
Se mi guardi, un’ebbrezza m’assale, se mi parli, mi sento morir!

What was in the flower you gave me?
Was it a philter, a magical power?
When I touched it, my heart trembled: its perfume clouded my senses!
What is it you have in the lovely way you move?
Do you bring some enchantment with you?
The air trembles where you pass, flowers spring forth at your feet!
I do not ask what blessed place was once your home:
I do not ask if you are a nymph, a fairy, a blonde apparition!
But what is it in your fateful glance?
What is it you have in your magical words?
If you look at me, rapture takes hold of me;
if you speak to me, I feel I may die!

2. Aprile (Rocco E. Pagliara/1882)
Non senti tu ne l’ariail profumo che spande Primavera?
Non senti tu ne l’anima il suon de nova voce lusinghiera?
È l’Apri! È la stagion d’amore!
Deh! vieni, o mia gentil, su prati’n fiore!
Il piè trarrai fra mammole, avrai su’l petto rose e cilestrine,
e le farfalle candied t’aleggeranno intorno a’l nero crine.
È l’April! È la stagion d’amore!
Deh! vieni, o mia gentil su’ prati’n fiore!

Do you not feel in the air the scent that Spring sends forth?
Do you not feel in your very being the sound of a promising new voice?
It is April! It is the season of love!
Oh! come, my fair one, to the flowering meadow!
Your feet will walk among the violets, about your breast will be roses and bluebells,
and the white butterflies will flutter around your dark tresses.
It is April! It is the season of love!
Oh! come, my fair one, to the flowering meadow!

3. Pour un baiser (Georges Doncieux/1905)
Pour un baiser sur ta peau parfumée,
Pour un baiser dans l’or de tes cheveux,
Reçois monâme toute, ô bien’aimée!
Tu comblerais l’infini de mes vœux
Par un baiser.

Pour en baiser distillé dans tes lèvres,
Profond, tenace et lent comme un adieu,
Souffrir le mal d’amour et de ses fièvres brûler,
languir et mourir peu à peu
Dans un baiser!

For one kiss
For one kiss on your scented skin,
for one kiss in the gold of your hair,
take all my soul, o my beloved!
You will grant all my wishes
in one kiss.

For one kiss distilled on your lips,
deep, lingering, and slow as a farewell,
to allow the pain and fever of love
to burn, languish, and gradually die
in one kiss!

4. Chanson de l’adieu (Edmond Haraucourt/1898)
Partir, c’est mourir un peu,
C’est mourir à ce qu’on aime:
On laisse un peu de soi-même
En toute heure et dans tout lieu.
C’est toujours le deuil d’un vœu,
Le dernier vers d’un poème;
Partir, c’est mourir un peu,
C’est mourir à ce qu’on aime.
Et l’on part, et c’est un jeu,
Et jusqu’à l’adieu suprême
C’est son âme que l’on sème,
Que l’on sème en chaque adieu:
Partir, c’est mourir un peu.

Song of farewell
To leave is to die a little,
it is death to those who love:
you leave a little of yourself behind
at all times and everywhere.
It is always mourning for a vow,
the last line of a poem:
to leave is to die a little,
it is death to those who love.
And you leave, it is only a game,
and until the final farewell
it is your heart you shake off,
you shake off with each farewell:
to leave it to die a little.

5. L’ultima canzone (Francesco Cimmino/1905)
M’han detto che domani,
Nina, vi fate sposa,
Ed io vi canto ancor la serenata!
Là, nei deserti piani
Là, ne la valle ombrosa,
Oh quante volte a voi l’ho ricantata!
“Foglia di rosa,
O fiore d’amaranto
Se ti fai sposa,
Io ti sto sempre accanto,
Foglio di rosa.”

Domani avrete intorno
Feste, sorrisi e fiori,
Nè penserete ai nostri vecchi amori.
Ma sempre, notte e giorno,
Piena di passїone
Verrà, gemendo a voi la mia canzone:
“Foglia di menta,
O fiore di granato,
Nina, rammenta
I baci che t’ho dato!
Foglia di menta.”

The final song
They’ve told me that tomorrow,
Nina, you’re to be wed,
and yet I still sing my serenade to you!
There, on the empty plains,
there, in the shady valley,
how often I’ve sung it to you!
o amaranth flower,
even though you marry,
I’ll be with you still,

Tomorrow you’ll be surrounded
by celebration, smiles, and flowers:
you won’t give a thought to our old love.
But night and day, forever filled with passion,
lamenting, my song will come to you:
“Leaf of mint,
flower of pomegranate,
Nina, remember the kisses I gave you!
Leaf of mint!”

6. Tormento (Riccardo Mazzola/1912)
Quando ricorderò le tue carezze ove mai sarai tu?
Di quei giorni di sogni e di dolcezze che mai resterà più?
Quandotichiamerònelmiotormento chi mai risponderà?
Amore è come un alito di vento: passa, carezza, va!
E se t’incontrerò su la mia via che mai dir ti potro?
Una stella filò come una scia e il mare la smorzò.
Ma s’io ti chiamerò come in quell’ore non fuggirmi così.
Non volgere la faccia al mio dolore se il tuo sogno morì!

When I come to remember your caresses, where will you be?
Of those days of dreams and sweetness, what will remain?
When I come to call you in my torment, who will reply?
Love is like a breath of wind: it passes, caresses, and goes!
And if I meet you on my way, what will I be able to say to you?
A star fell like a trail and the sea extinguished it.
But if I call you as once, don’t fly from me like that.
Don’t turn your face from my pain if your dream has died!

7. In van preghi (Gabriele D’Annunzio/1907)
In van preghi, in vano aneli, in van mostri il cuore infranto.
Sono forse umidi i cieli perchè noi abbiamo pianto?
Il dolor nostro è senz’ala.
Non ha volo il grido imbelle.
Piangi e prega!
Qual dio cala pel cammino delle stelle?
Abbandónati alla polve e su lei prono ti giaci.
La supina madre assolve d’ogni colpa chi la baci.
In un Ade senza dio dormi quanto puoi profondo.
Tutto è sogno, tutto è oblìo: l’asfodèlo è il fior del Mondo.

You beg in vain
You beg in vain, you yearn in vain,
in vain you show your broken heart. Are the heavens soaked
with our tears?
Our grief is without wings.
The cowardly cry does not fly.
Weep and beg!
Which is the god who comes down on the path of the stars?
Give yourself up to the dust and lie there prostrate.
The mother earth absolves from their sins all those who kiss her.
In a godless Hades, sleep as deeply as you can.
All is dream, all is oblivion: the asphodel is the flower of the world.

8. Ridonami la calma
(Corrado Ricci/1888)
Ave Maria, per l’aria va il suon d’una campana.
Sorge Venere pura e solitaria da la selva lontana.
Oh! Come si diffonde del vespero la pace!
La rondine ritorna a le sue gronde e là s’addorme e tace.
Resta un murmure lento di mille voci strane.
Forse tra i fiori e tra le siepi il vento racconta storie arcane.
Chi sa quanti pensieri in quel susurro grato!
Il vento canta e sopra i cimiteri e i giardini è passato.
Ave Maria, nel core com’è dolce la sera!
Tu sai che ne’ tormenti dell’amore è schietta la preghiera;
ond’io, nel cielo fiso lo sguardo umido e l’alma:
“Ridonami, ti prego, il mio sorriso; Ridonami la calma!”

Give me back peace
Ave Maria, through the air sounds the peal of the bell.
Venus rises, pure and solitary, from the distant forest.
Oh, now is spread the peace of evening!
The swallow returns to its eaves and there falls silent and sleeps.
There remains a slow murmuring of a thousand strange voices.
Perhaps amid the flowers and bushes the wind is telling mysterious stories.
Who knows how many thoughts are in those happy whispers!
The wind sings as it passes over graveyards and gardens.
Ave Maria, how gentle is the evening to my heart!
You know how sincere a prayer can be in the torments of love;
thus I, with my eyes damp and with my soul fixed on heaven:
“Return to me, I beg you, my smile; Give me back peace.”

9. Ideale (Carmelo Errico/1882)
Io ti seguii com’iride di pace
Lungo le vie del cielo:
Io ti seguii come un’amica face de la notte nel velo.
E ti sentii ne la luce, ne l’aria, Nel profumo dei fiori:
E fu piena la stanza solitaria Di te, dei tuoi splendori.
En te rapito, al suon de la tua voce, Lungamente sognai;
E de la terra ogni affanno, ogni croce, In quel sogno scordai.
Torna, caro ideal, torna un istante
A sorridermi ancora,
E a me resplenderà, nel tuo sembiante,
Una novella aurora.

The Ideal One
I followed you like a rainbow of peace
across the paths of the sky:
I followed you like a friendly torch in the veil of the night.
I felt you in the light, in the air, in the scent of the flowers;
the lonely room was full of you and your beauty.
Entranced by you, by the sound of your voice,
I dreamed at length;
and all the trouble and anguish of the world
were forgotten in that dream.
Come back, dear perfection, come back for a moment
and smile on me again,
and from your face will shine on me
a new dawn.

10. Sogno
(Lorenzo Stecchetti/1886)
Ho sognato che stavi a ginocchi
come un santo che prega il Signor
Mi guardavi nel fondo degl’occhi,
Sfavillava il tuo sguardo d’amor.
Tu parlavi e la voce sommessa
Mi chiedea dolcemente mercè,
Solo un guardo che fosse promessa
Imploravi curvato al mio piè.
Io taceva, e coll’anima forte
Il desio tentatore lottò.
Ho provato il martirio e la morte,
Pur mi vinsi e ti dissi di no.
Ma il tuo labbro sfiorò la mia faccia
E la forza del cor mi tradì.
Chiusi gli occhi, ti stesi le braccia,
Ma sognavo, e il bel sogno svanì!

I dreamed you were kneeling
like a saint praying to the Lord.
You looked deep into my eyes;
your glance shone with love.
You spoke, and your quiet voice
softly asked me for mercy.
Only a look, which might be a promise
you begged for, as you knelt at the my feet.
I kept silent, and keeping my spirit strong
I battled with the tempting desire.
I felt martyrdom and death,
but I conquered myself and said no.
But your lips touched my face
and the strength of my heart failed me.
I closed my eyes, stretched out my arms to you,
but I was dreaming, and the lovely dream vanished!

11.Tristezza (Riccardo Mazzola/1908)
Guarda; lontan lontano muore ne l’onde il sol;
stormi d’uccelli a vol tornano al piano.
Una malinconia io sento in cuore e pur non so perchè;
guardandoti negli occhi, o bella mia, muto mi stringo a te.
Copre l’ombrìa d’un manto le cose, il cielo, il mar;
io sento tremolar ne gli occhi il pianto.
Suona l’avemaria ed è sì triste e pur non so perchè:
devotamente preghi, o bella mia, io prego insiem con te.
Tenera ne la sera che s’empie di fulgor,
dai nostri amanti cuor va la preghiera.
E la malinconia mi fa pensare e pur non so perchè,
che un giorno, ahimè, dovrà la vita mia perdere il sogno e te!

Look; far in the distance the sun is dying on the waves;
flocks of birds on the wing are returning to the plain.
I feel a melancholy in my heart, and yet I do not know why;
as I look into your eyes, my love, I cling to you in silence.
A mantle of darkness covers nature, the sky, the sea;
I feel the tears brimming in my eyes.
The Angelus rings so sadly, and yet I do not know why:
you pray devoutly, my love, and I pray with you.
Out into the evening, filling it with a radiance,
from our loving hearts goes the tender prayer.
And the melancholy makes me think, and yet I do not know why,
that one day, alas, my life will lose both the dream and you!

12. Non t’amo più (Carmelo Errico/1884)
Ricordi ancora il dì che c’incontrammo;
Le tue promesse le ricordi ancor?
Folle d’amor io ti seguii, ci amammo,
E accanto a te sognai, folle d’amor.
Sognai, felice, di carezze e baci
Una catena dileguante in ciel:
Ma le parole tue furon mendaci,
Perchè l’anima tua fatta è di gel.
Or la mia fede, il desiderio immenso,
il mio sogno d’amor non sei più tu:
I tuoi baci non cerco,
a te non penso;
Sogno un altro ideal;
non t’amo più.

Nei cari giorni che passammo insieme,
Io cosparsi di fiori il tuo sentier:
Tu fosti del mio cor l’unica speme;
Tu della mente l’unico pensier.
Tu m’hai visto pregare, impallidire,
Piangere tu m’hai visto innanzi a te:
Io sol per appagare un tuo desire,
Avrei dato il mio sangue e la mia fè.
Or la mia fede, il desiderio immenso,
il mio sogno d’amor non sei più tu:
I tuoi baci non cerco, a te non penso;
Sogno un altro ideal;
non t’amo più.

No longer do I love you
Do you remember the day we met;
do you still remember the promises you made?
Madly in love, I followed you, we fell in love,
and by your side I dreamed, madly in love.
Happily I dreamed of endless caresses and kisses
dissolving into heaven;
but your words were false, for your heart is made of ice.
I no longer place my faith in you,
no longer are you my great desire, or my dream of love:
I do not seek your kisses, nor think of you:
I dream of another perfection:
I love you no longer.

In those dear days we spent together,
I strewed your path with flowers:
you were the single hope of my heart:
the only thought in my mind.
You saw me beg, grow pale,
you saw me weeping before you:
to fulfill a wish of yours I would have given my blood and my faith.
I no longer place my faith in you,
no longer are you my great desire or my dream of love:
I do not seek your kisses, or think of you:
I dream of another perfection:
I love you no longer.

13. ‘A vucchella (Gabriele D’Annunzio/1907)
Sì, comm’a nu sciorillo tu tiene na vucchella
nu poco pocorillo appassuliatella.
Meh, dammillo, dammillo,
--è comm’a na rusella--
dammillo nu vasillo,
dammillo, Cannetella!
Dammillo e pigliatillo,
nu vaso piccerillo comm’a chesta vucchella,
che pare na rusella
nu poco pocorillo appassuliatella.

’A vucchella
Yes, like a tiny flower is your little mouth
only slightly faded.
Oh, come give me, come give me,
--like a small rose—
give me a tiny kiss,
give me one, Cannetella!
Give one and take one,
a tiny little kiss like this tiny mouth
which seems like a little rose
only slightly faded.

14. L’alba sepàra dalla luce l’ombra (Gabriele D’Annunzio/1907)
L’alba sepàra dalla luce l’ombra
e la mia voluttà dal mio desire.
O dolci stelle, è l’ora di morire.
Un più divino amor dal ciel vi sgombra.
Pupille ardenti,
o voi senza ritorno stelle tristi,
spegnetevi incorrotte!
Morir debbo.
Veder non voglio il giorno,
per amore del mio sogno e della notte.
Chiudimi, o Notte, nel tuo sen materno,
mentre la terra pallida s’irrora.
Ma che dal sangue mio nasca l’aurora e dal sogno mio breve il sole eterno!

Dawn divides the light from the shadows
Dawn divides the light from the shadows,
my pleasure from my desire.
O gentle stars, it is time to die.
A more divine love comes from the heavens.
Glowing eyes, you sad stars which will not come again,
be extinguished uncorrupted.
I must die.
I do not want to see the day,
for love of my dream and of the night.
Enfold me, o night, on your mothering breast,
while the pale land grows light.
But let the dawn rise from my blood and the eternal sun from my brief dream.



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