Jean-Bernard Cerin and Melissa Joseph: Lisette

November 11, 2022

7 to 8 pm ET

Americas Society

680 Park Avenue

New York

Overview

On November 11, we will host this concert in person, and tickets are free.
Registration for this event has closed, but seats may still be available at the door.
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Baritone Jean Bernard Cerin and soprano Melissa Joseph, joined by Stephen Gamboa-Diaz on harpsichord and piano, present a program based on Cerin's research which explores the tale—across centuries and continents—of “Lisette quitté la plaine,” an enduringly popular song from Haiti that provides an uncanny pathway to highlight classical music by and about people of African descent.

Program

Two songs by Ignatius Sancho (1758-1780): "The Complaint," "Sweetest Bard"
"Lisette quitté la plaine" (c. 1757) Text attributed to Duvivier de la Mahautiѐre, music attributed to Antoine Albanese (1729-1800)
"Chanson nѐgre" from Les Consolations des misères de ma vie (1781). Text attributed to Duvivier de la Mahautiѐre, music by Jean-Jacques Rousseau (1712–1778)
"Dialogue Creole," from Voyages d'un naturaliste, et ses observation …(1809). Music and Text by Michel Étienne Descourtilz (1775–1835 or 1836)
"Dans le Coeur de Marie," from the opera L'Entrée du Roi, en sa capitale (1818). Text by Juste Chanlatte (1766–1828), music by W.A. Mozart
"Hymne Haytiene" (1804) Text by Juste Chanlatte Music by Claude Joseph Rouget de Lisle
"Oh, Say Do You Hear" (1844) Text by E.A. Atlee (Star Spangled Banner Parody) Music by John Stafford
"Le Bananier, chanson nègre, op. 5p. 5" By Louis Moreau Gottschalk (1829–1869)
"Zélim to quitté la plaine," from Creole Songs from New Orleans in Negro Dialect (1902). Text adapted from Duvivier de la Mahautiѐre, collected and arranged by Clara Gottschalk Peterson (1837–1910)
"Dialogue d’amour," from Six Creole Folk Songs (1921). Collected and arranged by Maude Cuney Hare (1874–1936)
"Lizette, ma chêre amie," from Five Creole Songs (1942). Collected and arranged by Camille Nickerson (1888–1982)
"Ave Maria" Text: Traditional Christian Prayer, music by Louis Borno (1865–1942)
"Sobo" **(Piano Solo), by Ludovic Lamothe (1882–1953)
"Lisette" Text attributed to Duvivier de la Mahautiѐre, music by Ludovic Lamothe

This concert is part of GEMAS, a project of Americas Society and Gotham Early Music Scene devoted to early music of the Americas.

GEMAS

Program Notes

About the Artists

Jean Bernard Cerin is a multifaceted artist and scholar who produces and performs in projects ranging from film, recital, oratorio, traditional storytelling, opera, and folk music. Praised for his “burnished tone and focused phrasing,” (Chestnut Hill Local) Jean Bernard performs extensively with leading early music ensembles across the United States including Philadelphia based Choral Arts, Piffaro Renaissance Wind Ensemble, Tempesta di Mare Baroque Orchestra, Night Music, Philadelphia Chamber Music Society’s Gamut Bach Ensemble, Louisville’s Bourbon Baroque, Classical Uncorked in Seattle, and American Bach Soloists in San Francisco. This season, he returns to Philadelphia to perform Bach’s Peasant Cantata with Choral Arts Philadelphia and soprano Julianne Baird. He also makes his Cleveland debut in a Bach inspired Advent program with Les Delices. Jean Bernard was awarded the 2022 Musical Fund Society Career Advancement Award in Philadelphia including a solo debut recital with the Philadelphia Chamber Music society in 2023. In 2021, he won “Best Performance of a Folk Song” in the Canto Latino Cyber challenge. In 2018, he was awarded the Gerard Souzay Prize for best performance of a French Mélodie at the Joy in Singing International Song Competition. Since last season, Jean Bernard has been presenting a program that centers the oldest song in Haitian Creole, “Lisette quitté la plaine” often in conjunction with his documentary Lisette (2022). This season, he will present this program at Cornell University, Bucknell University, Princeton University, the Elm City Consort in New Haven, and the Sigal Music Museum in North Carolina. Jean Bernard lives in central New York where he serves as assistant professor in the School of Music Theater & Dance at Ithaca College. He holds a doctorate in vocal performance from the University of Michigan, a Master of Music in voice from the New England Conservatory and a BA in economics from Saint Joseph's University.

Haitian-American soprano Melissa Joseph is a previous Encouragement Award Winner in the 2021 Eastern Region Metropolitan Opera National Council Auditions. Ms. Joseph graduated from Georgia State University with both a Bachelor and Master of Music in Vocal Performance. Roles include Donna Anna (Don Giovanni), Micaëla (Carmen), and Pamina (Die Zauberflöte). Her most recent onstage work includes singing the role of Musetta (La Bohème) with Peach State Opera. Her collegiate work also includes Peep-Bo (The Mikado) and Sandman (Hansel and Gretel). In 2018, Melissa moved her talents to Boston, MA to study with Sharon Daniels, and has since debuted with White Snakes Projects, Mass Opera (formerly MetroWest opera), New England Conservatory Summer Opera Workshop, and New England Opera Intensive. With the virtual transition of various programs and competition, Melissa has remained an active performer and competitor. Ms. Joseph was featured in several international virtual recitals, the most notable being one curated by Angel Blue highlighting young artists around the world. She was also selected to perform in the Fort Worth Opera masterclass series and sang for Jennifer Rowley and Martina Arroyo. Ms. Joseph has also won many awards including a District Metropolitan Award in North Carolina (2022), third place winner in SAS Performing Arts Competition, Soprano and Contemporary Art Song Prize in the George Shirley Vocal Competition, and semi-finalist in the 2021 Annapolis Opera competition. Additionally, Ms. Joseph competed in the Tri-Cities Opera virtual competition and was awarded a Resident Artist position for the 2021-2022 season where she sang Sally in Stone Soup by John Illick.

From Oxnard, California, harpsichordist and organist Stephen Gamboa-Diaz studied harpsichord at UC Berkeley with Charlene Brendler and Davitt Moroney, and at Yale and Stony Brook with Arthur Haas. He is the recipient of the Eisner Prize in the Creative Arts and Menn Memorial Prize from Berkeley and was a laureate of the 2012 Westfield Center International Harpsichord Competition. In addition to performing, Gamboa-Diaz is the web producer for Yale’s Office of Public Affairs and Communications, teaches applied organ and conducting at Southern Connecticut State University, and directs the music program at Bethesda Lutheran Church in New Haven, Connecticut.

Texts and Translations

"Lisette quitté la plaine," Duvivier de la Mahautière

Lisette quitté la plaine, Mon perdi bonher à moué Gié à moin semblé fontaine Dipi mon pas miré toué. Le jour quand mon coupé canne, Mon songé zamour à moué ; La nuit quand mon dans cabane Dans dromi mon quimbé toué	Lisette has left the plain I have lost my joy. My eyes look like fountains Since I last saw you. By day, when I cut sugar cane, I miss my beloved; By night when I lay in bed, In sleep I hold you.
Si to allé à la ville, Ta trouvé geine Candio Qui gagné pour tromper fille Bouche doux passé sirop. To va crer yo bin sincère Pendant quior yo coquin tro ; C'est Serpent qui contrefaire Crié Rat, pour tromper yo.	If you go to the city, You’ll find young dandies Who deceive women With their mouths sweeter than syrup You’ll think they are sincere While they are very cunning They are deceptive serpents Who cry “Rat” to deceive them.
Dipi mon perdi Lisette, Mon pas touchié Calinda Mon quitté Bram-bram sonnette. Mon pas batte Bamboula Quand mon contré laut' négresse, Mon pas gagné gié pou li ; Mon pas souchié travail pièce Tout qui chose a moin mouri.	Since I lost Lisette, I haven’t touched the calinda I have left the Bram-bram sonnette I haven’t beat the bamboula. When I meet other women They do not catch my eye. I do not care about work All that mattered to me has died.
Mon maigre tant com' gnon souche Jambe à moin tant comme roseau ; Mangé na pas doux dans bouche, Tafia même c'est comme dyo Quand mon songé, toué Lisette Dyo toujour dans jié moin. Magner mion vini trop bête A force chagrin magné moin	I am skinny as a stem My leg is like a reed Food is not sweet to my mouth Booze is like water. When I think of you Lisette Tears fill my eyes. My manners have become stupid From the force of my despair
Liset' mon tandé nouvelle To compté bintôt tourné : Vini donc toujours fidelle. Miré bon passé tandé. N'a pas tardé davantage To fair moin assez chagrin, Mon tant com' zozo dans cage, Quand yo fair li mouri faim.	Lisette I heard news You intend to return soon Come then still faithful. Seeing is better than hearing. Delay no more You’ve made me sad enough I am like a bird stuck in a cage When they starve it to death.

"Chanson Nêgre," Jean-Jacques Rousseau

Lisetto quitté la plaine Moi perdi bonheur à moi Yeux a moi semblent fontaine Dipis moi pas miré toi	Lisette has left the plain I have lost my joy. My eyes look like fountains Since I last saw you.
Le jour quand moi couper canne Moi penser a z’amour moi La nuit quand moi dans cabanne Dans dormir moi quimbe toi	By day, when I cut sugar cane, I miss my beloved; By night when I lay in bed, In sleep I hold you.
Quand toi zaller à la ville Toi trouver jeune cangnion Qui gagné pour tromper fille, Parler doux comme sirop, Toi sembler bouche sincère ; Tandis cœur yo coquin trop : C’est serpent qui contrefaire Crier rat pour tromper yo.	If you go to the city, You’ll find young dandies Who deceive women With their speech sweeter than syrup, You’ll think they are sincere While they are very cunning They are deceptive serpents Who cry “Rat” to deceive them.
Maigrir moi tant comme souche, Jambe à moi comme roseau; Sirop n’a pas doux dans bouche, Taffiat même est comme d’iau; Plus danser dimanche et fête, Plus chanter siffler oiseau, Manier moi venir tout bête Tant chagrin manié moi.	I am skinny as a stem My leg is like a reed Syrup is not sweet to my mouth Even booze is like water. No more dancing on Sundays and at parties No more singing or whistling like birds My manners have become stupid From the force of my despair
Lisette, a moi toi nouvelle, Toi qu’aller bientôt venir, Venir donc toujours fidelle, Va bon passé tems ici ; N’a pas tardé davantage, Toi moi faire assez chagrin Si cœur à toi pas volage, Toi doit souvenir Colin	Lisette I heard news You intend to return soon Come then still faithful. Seeing is better than hearing. Delay no more You’ve made me sad enough I am like a bird stuck in a cage When they starve it to death.

"Dialogue Kreyol," Michel Étienne Descourtilz

Évahim: Aza, gete m kòm zanmi twe Vizaj mwen fondi sanble cire Tan la twe tan lwanye de mwe Jodi la gete mwen sourire. Zoranj astò li dous au cœur Evahim pi genyen tristesse Twe fè goute mwen gran bonè A zanmi twe gro de tendresse	Évahim: Aza! Look at your friend See my face undone like wax! I was so far away from you. Today, see me smiling Orange still has its sweetness Evahim has no more sadness. You fill me with bliss You, my loving friend.
Aza: Kè a mwen si lala kraze Mwen pa genyen kè a z’ouvrage A twe nuit, jou, mwen te sonje, Sa fè li kraze davantage Mwen pa kapab soufri ankò Mwen te mouri lwen de zanmi mwen Vla k Aza nan plas lan mò Nan kè a twe m trouve la vie	Aza: Aza groaned like you. I did not have the heart to work. Day and night thinking of you I was suffering even more. Overwhelmed by the blows of life, I was going to die away from my friend. But instead of dying In your heart I found life.
Évahim: Bouch a twe dous dous pase siro!	Évahim: Aza! Your kisses are sweeter than honey!
Aza : Beze twe dou pase bannann o.	Aza: Yours are sweeter than plantains!
Évahim & Aza Lan men zanmi jouska de lo Li soukre pase sik a canne	Both: From the hands of a friend Even water is sweeter than sugar cane.
Évahim: Ay zanmi m toujou tout pou ou Bay men sou kè mwen Li sa kèk chose	Évahim: My friend, I am yours forever. Put your hand on my heart. Feel this.
Aza: Li boule semble kè a mwen Kreben pi k se même cause	Aza: Mine burns just the same And for the same reason.

"Dans le cœur de Marie," Juste Chanlatte

Dans le cœur de Marie Les aimables vertus Ont fixé leur patrie, Leurs nobles attributs. Idoles de ces beaux climats Les bienfaits naissent sur ses pas; Par sa présence La bienfaisance Sait acquérir un nouveau prix:	In the heart of Marie All desirable virtues Have affixed their allegiance, Their noble attributes. Symbols of her temperate nature Good deeds are born where she treads; In her presence, Goodwill Acquires yet a new prize:
Célébrer cet objet chéri, N’est-ce pas célébrer Henry? (bis.)	To celebrate this beloved object, Is it not to celebrate [King] Henry?
Auguste et tendre mère De son sexe ornement, Du trône ange prospère D’Henry soutien charmant ; Elle ajoute à ses verts lauriers L’éclat des tendres oliviers ; Illustre vigne! Son jet insigne Pousse des rejetons fleuris:	August and tender mother Precious jewel among women. To the throne, a generous angel To Henry, a charming support. She adds to her green laurels The brilliance of tender olive trees Illustrious vine! Her distinctive dark jewel Shoots flowering offspring.
Célébrer cet objet chéri, N’est-ce pas célébrer Henry?	To celebrate this beloved object, Is it not to celebrate [King] Henry?

“Quoi? tu te tais Peuple Indigène,” or “Hymne haytiène,” words by Juste Chanlatte (1804), sung to “La Marseillaise” by Claude Joseph Rouget de Lisle

De nos droits ennemis perfides,
Du Nouveau-Monde les tyrans,
Déjà les Français homicides,
Du Soleil frappaient les Enfans ; (bis.)
Ô ! du Ciel éclatans prodiges !
Pour lever nos fronts abattus,
Jacque paraît, ils ne sont plus,
Et l’on en cherche les vestiges.
Sous ce bon Père, unis,
À jamais réunis,
Vivons, mourons ses vrais
Enfants, (bis.) Libres, indépendants.

Treacherous enemies of our rights,
Tyrants of the New World,
Already the homicidal French
Of the Sun struck down the children;
O! From Heaven with prodigious brilliance
To raise our bent brows,
Jacques (Dessalines) appeared.
They (the French) are no more
And we search for the remains.
With this good father,
united, forever reunited,
Let us live and die his true children:
Free & independent!

"Zélim to quitté la plaine," Clara Gottschalk Peterson

Zélim to quitté la plaine Dipi qu’mo pli miré toué Gié à mouin semblé fontaine Dipi qu’mo pli gardé toué	Zelim. you have left the plain Ever since, I haven’t seen you My eyes look like fountains Since I last saw you.
La nuit dan’ mo cabane Dan dromi mo chongé toue Le jou’ quan’ mo coupé canne C’est enco toué qu’mo chongé.	By night in my bed In sleep I dream of you. By day when I am cutting cane I still long for you.

"Dialogue d’amour"

Si lamou a vou si grand, Michie la, Si l'amou a vou si grand, Michie la, Si l'amou a vou si grand, Faut donne plein I'argent.	If your love can be so great, my dear Sir, If your love can be so great, my dear Sir, If your love can be so great, Then give me loads of silver.
Toutes mes cann' sont brulées, Mariann', Sont brulées, Mariann', Toutes mes cann' sont brulées, Et je suis ruiné.	All my cane has burned, Mariann’ Has burned, Mariann’, All my cane has burned And I am ruined.
Si cann' a vous brulé, Michié la, Si cann' a vous brulé, Michié la, Si cann' a vous brulé, L'amou a nous flambé !	If all your cane has burned, my dear sir, If all your cane has burned, my dear sir, If all your cane has burned, Then our love has also gone up in flames.

"Lisette, ma chère amie," Camille Nickerson

Lisette, to quitte la plaine Mo perdu bonheur a mouin; Yeux a mouin ‘semblé’ fontaine Dipuis mo pas miré tou.	Lisette, you have left the plain. I have lost my joy. My eyes look like fountains Since last I saw you.
Le jour quand mo coupé canne Mo ponce l’amour a mouin ; La nuit quand mo dans cabanne Dans dormi mo voir tou.	By day, when I cut sugar cane I think of my love. By night, when I am in bed In sleep, I see you still.
Si to allé dans la ville To trouvé bon candio Qui gaignin pour trompé fille Bouche doux passé sirop.	If you go to the city You’ll find there are dandies Who are quick to dupe ladies With mouths sweeter than honey.
To va croi’ li bien sincère Pendant que li ein cocaïne ; Ce un serpent qui connain fait Comme un rat pou trompé’ bien !	You’ll think them sincere While their hearts are deceitful. This is a snake who cunningly Like a rat, knows well how to deceive.
Lisette, ma chère amie ! Lisette, to quitté la plaine Mo perdu bonheur a mouin.	Lisette, my dear friend. Lisette, you have left the plain I have lost my joy.

"Ave Maria," Louis Borno

Ave Maria, gratia plena Dominus tecum Benedicta tu in mulieribus Et benedictus fructus ventris tuae, Jesus.	Hail Mary, full of grace, The Lord is with thee. Blessed art thou among women, And blessed is the fruit of thy womb, Jesus
Sancta Maria, Mater Dei Ora pro nobis peccatoribus Nunc, et in hora mortis nostrae Ave Maria	Holy Mary, Mother of God, Pray for us sinners, Now and at the hour of our death, Hail Mary.

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