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 Chutikarn suksompratana,
Mezzo soprano
She born in 8 December 1995. When she was 7 years old.
She started to learn singing with Ms.Uma and Mr.Kuakol
when she was a child. She switch to classical singing before
she studied in Mahiaol University.
In 2007, Chutikarn entered Thailand Yamaha
music festival 2007. She won silver price place in solo Yamaha
singing contest and also Bronze price place in duet contest.
After that she becomes female actress in Peter Pan, Tutti Fruitti,
Magic Flute in Mahodol University
Now she studies Bachelor degree at Mahidol University
Classical Voice music.
She’s a teacher in Aum Aree Music School. She has a private classical sing-
ing class with Mr. Dag Schantz at music Mahidol University

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 Bhannavichaya Vadhanasiriphongs

He was born in 1985 in Bangkok, Thailand. He started learning electone when he was in
primary school at Siam Music Yamaha, Ladphrao campus. Since primary 4, he has started learning
piano lesson with Aj. Somboon Viriyasophon until he finished his bachelor degree in Marketing from
Chulalongkorn University in 2009.
At present, he is a DM student in music composition at Mahidol University under the su-
pervision of Aj.Thomas Cha, Aj. Julia Lake Bozone, Aj. Valeriy Rizayev, Aj. Max Raymond Keller
and Aj. Tyler Avis Capp.

Sukatat Sae-Ung

Sukatat Sae-Ung , Flute Sukatat date of brith 11 Dec. 1997 start study flute at age 14
years old with Mr.Songsak Churikanon and 16 - 17 years old study with Mr. Narongwit Pruk-
sasilp During the year 2010-2014 join the watsaket school marching band In the years 2013 he
attended Watsaket school and graduated year 2015 Now Prepare for entrance exam in Bansom-
dejchopraya Rajabhat University in years 2018

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 Program note
O pallida, che un giorno Pietro Mascagni
(1863 - 1954)
Vedrai, carino Wolfgang Amadeus Mozart
(1756 - 1791)
Deh, per questo istante solo Wolfgang Amadeus Mozart
(1756 - 1791)
Blow ye the trumpet Kirke Mechem
(1925)
Stride la vampa Giuseppe Verdi
(1813 - 1901)
Mein schöner Stern Robert Schumann, Op.101, No.4
(1849)

Intermission
Il padre adorato Wolfgang Amadeus Mozart
(1756 - 1791)
Lydia Gabriel Fauré
(1845 - 1924)
Deh vieni, non tardar Wolfgang Amadeus Mozart
(1756 - 1791)
Torna di Tito a lato Wolfgang Amadeus Mozart
(1756- 1791)
When I am laid in earth Henry Purcell
(1659 - 1695)
In uomini, in soldati Wolfgang Amadeus Mozart
(1756 - 1791)

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 Pietro Mascagni
(1863 - 1954)
O pallida, che un giorno
from Act III of the Italian opera L’Amico Fritz
O pallida che un giorno is a part of third act from Italian opera- L’ Amico Fritz, compose by
Pietro Mascagni, sig by Beppe, a gypsy. The scene is in Fritz house’s dining room, Alsace, in late 19th
century. Fritz is upset in love with Suzel, Beppe tell Frtiz his problem to comfort him.

O pal lida , cheun gior no mi guarda sti, in sogno tornami

U na dolcezza tal mi procurasti, cheancor neho l’e stasi
Oh che chiedevi tu con gliocchi tuo i
Eb brez ze, o la grime?
Pallida, tornaa me, dimmi che vuo I, cho’io nulla ne go ti
Nulla ti so negar, pallida mi a, t’ho dato l’a nima.
E, seun tuo bacio da la morte, sia
Oh vieni, vieni, ba ciami
Wolfgang Amadeus Mozart
(1756 - 1791)
Vedrai, carino
from Act II, Scene I of the Italian opera Don Giovanni
Vedrai, carino is in second act of Mozart’s Italian opera- Don Giovanni, sing by Zerlina, a
peasant girl and Masetto’s fiancee. The scene is the front of inn, Zerlina finds Masetto and asked about
his beaten up by Don Giovanni and promised to soothe Masetto wounds with her love.
Vedrai, carino, You will see, my dear
se sei buonino, if you’ll be good
Che bel rimedio the cure
ti voglio dar! I have for you!
È naturale, It’s natural
non dà disgusto, It won’t give you disgust
e lo speziale though no apothecary
non lo sa far, no, can prescribe it.
È un certo balsamo It’s a certain balm
Che porto addosso I carry within me
Dare tel posso, which I can give you,
Se il vuoi provar. if you’ll try it.
Saper vorresti You want to know
dove mi sta? where I keep it?
Sentilo battere, Then feel it beating,
toccami qua! put your hand here.

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 Wolfgang Amadeus Mozart
(1756 - 1791)
Deh , per questo istante solo
from Act II of the Italian opera La Clemenza di Tito
Deh, per questo istante is a Rondo from Mozart’s Italian opera-La Clemenza di Tito.
It’s in second act, sing by Sextus (Sesto) in the Imperail garden. Sextus reminds Titus how Sextus used
to loved him and she feels tortured that he betrayed Titus.
Deh, per questo istante solo Ah, for just this moment
ti ricordail pri moamor Remember the first affections,
ché morir mi fa di duolo that make me die of grief
il tuo sdegno, il tuo rigor. your anger, your severity.
Di pietade indegnoè vero. Unworthy of pity, it is true.
Sol spirar io deggiorror. I should only inspire horror.
Pur saresti men severo Yet you would be less severe
se vedessi questo cor. if you could see this heart.
Disperato va doa morte, Desperate I go to death
mail morir non mi spaventa. but death does not frighten me.
IL pensiero mi tormenta The thought torments me
che fui tecoun traditor! is that I betrayed you!
Tantoaf fanno soffreun core, So much a heart can suffer,
né si more di dolor! yet does not die of grief!
Kirke Mechem
(1925)
Blow ye the trumpet
from opera John Brown
Blow ye the trumpet from Kirke Mechem’s opera John brown, mentions about his life and
death. Brown knew Martyr’s death would hasten the destruction of slavery. This sings a new melody in
the style of early American folk music.

Blow ye the trumpet, blow.

Sweet is Thy work, my God, my King.
I’ll praise my Maker with all my breath.
O happy the man who hears.
Why should we start, and fear to die,
With songs and honors sounding loud.
lovely appearance of death.

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 Giuseppe Verdi
(1813 - 1901)
Stride la vampa
from Act II - The Gypsy, Scene 1 of the Italian opera Il Trovatore
Stride la vampa is a Canzone from an Italian opera “Il Trovatore” by Verdi. It’s in second act,
setting at a broken down shack in Biscay Mountains, 1409. Sings by Azucena, describing her mother’s
death by burning at the stake as witch to Manrice and the crowd of gypsies.
Stride la vampa The crackling flame fizzles la folla indomita the unyielding crowd
Correa quel foco runs to that fire lie tain sembianza happy in countenance
urli di gioia Merry shouts intorno echeggiano echo all around
cinta di sgherri escorted by guards donna s' avanza a woman makes forth
Sinistra splende Sombre shines Sui voltior ribili on that terrible faces
la tetra fiamma the gloomy flame che s'alza al ciel that reaches up to the sky
Stride la vampa The crackling flame fizzles Giunge la vittima The victim arrives
nerovestita clad in black discintae scalza half-dressed, barefoot
Gri do feroce A ferocious cry di morte le vasi of death rises.
l'e coilri pete the echo repeats di balza in balza it all along the cliffs
Sinistra splende Sombre shines sui voltiorri bili on that terrible faces
la tetra fiamma the gloomy flame che s'alza al ciel that reaches up to the sky

Robert Schumann, Op.101, No.4

(1849)

Mein schöner Stern

Schumann affectionately used the poem’s flowery subject to represent his wife, Clara as
this song -Mein schoner Stern. He meaningfully enhanced Ruckert’s writing with elusive music that
opens in E-flat major and carefully slips through many other key. He used the text to plead his wife to
cautiously protect herself and her light as she lifted him of of darkness.
Mein schöner Stern ich bitte dich, My radiant star, I beg you,
O lasse du dein heitres Licht Oh do not let your bright light
Nicht trüben durch den Dampf in mir, Be dimmed by the mists in me.
Vielmehr den Dampf in mir zu Licht, Rather help transfigure the mists in me
Mein schöner Stern, verklären hilf! Into light, my radiant star!

Mein schöner Stern! ich bitte dich,
Nicht sinkt herab zur Erde dich,
Weil du mich noch hier unten siehst,
Heb’ auf vielmehr zum Himmel mich,
Mein schöner Stern, wo du schon bist
My radiant star, I beg you,
Do not descend to earth
Because you see me down here still.
Rather lift me up to heaven,
My radiant star, where you already are!

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Il padre adorato
from Act I of the Italian opera Idomeneo
Il padre adorato is a part of Mozart’s Italian opera- Idomeneo. It’s in first act. This sings by
Idamantes meet for the first time in 20 years. Idamantes is overjoyed to see his father- Idomeneo but is
devastated when he runs away from her, saying that it would be better if they had never met.
Il padre adorato
Ritrovo, e lo perdo.
Mi fugge sdegnato
Fremendo d’orror.
Morire credei
Di gioiae d’amore;
Or, barbari Dei!
M’uccideil dolor.
Lydia
Lydia, by Gabriel Faure is composed
The lost of Lydia has hurt him that he might died.
Lydia sur tes roses joues
Et sur ton col frais et si blanc,
[Que le lait] roule étincelant
L’or fluide que tu dénoues
Le jour qui luit est le meilleur
Oublions l’éternelle tombe.
Laisse tes baisers de colombe
Chanter sur ta lèvre
Un lys caché répand sans cesse
Une odeur divine en ton sein
Les délices comme un essaim
Sortent de toi, jeune déesse.
Je t’aime et meurs, ô mes amours.
Mon âme en baisers m’est ravie
O Lydia, rends-moi la vie
Que je puisse mourir toujours
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Wolfgang Amadeus Mozart
(1756 - 1791)
My beloved father
I find again, only to lose him.
He scorns and flies me,
trembling with horror.
I thought I would die
of joy and love,
but, cruel gods,
grief is killing me.
He goes out sadly.
Gabriel Fauré
(1845 - 1924)
in 1870, mentions about his beloved girl- Lydia.
Lydia, on your rosy cheeks,
And on your neck, so fresh and white,
Flow sparklingly
The fluid golden tresses which you loosen.
This shining day is the best of all
Let us forget the eternal grave
Let your kisses, your kisses of a dove
Sing on your blossoming lips.
A hidden lily spreads unceasingly
A divine fragrance on your breast
Numberless delights
Emanate from you, young goddess
I love you and die, oh my love
Kisses have carried away my soul!
Oh Lydia, give me back life
That I may die, forever die
 Wolfgang Amadeus Mozart
(1756 - 1791)
Deh vieni, non tardar
from Act IV of the Italian opera Le Nozze di Figaro
Deh vieni, non tardar, this is Susanna’s aria from “Le Nozze di Figaro” by Mozart.
The scene is set in the palace of Count Alamaviva near Seville. Susanna is engaged to Figaro. The story
is complicated by Susanna’s knowledge that Figaro, her husband of just a few hours, is listening to
her serenade.
Deh vieni, non tardar, O gioia bella Oh, come, don’t be late, my beautiful joy
Vieni ove amore per goder t’appella Come where love calls you to enjoyment
Finchè non splende in ciel notturna face Until night’s torches no longer shine in the sky
Finchè l’aria e ancor bruna, As long as the air is still dark
E il mondo tace. And the world quiet.
Qui mormora il ruscel, qui scherza l’aura Here the river murmurs and the light plays
Che col dolce susurro il cor ristaura That restores the heart with sweet ripples
Qui ridono i fioretti e l’erba è fresca Here, little flowers laugh and the grass is fresh
Ai piaceri d’amor qui tutto adesca. Here, everything entices one to love’s pleasures
Vieni, ben mio, tra queste piante ascose. Come, my dear, among these hidden plants.
Vieni, vieni! Come, come!
Ti vo’ la fronte incoronar di rose. I want to crown you with roses.

Wolfgang Amadeus Mozart

(1756- 1791)
Torna di Tito a lato
from Act II of the Italian opera La Clemenza di Tito
Torna di Tito a lato is a part of Mozart’s Itlaian opera- La Clemenza di Tito. It’s in first
act, roles by Vitellia in her room. She is in love with the emperor Titus but is angry that he has chosen
someone else to be his wife. She is trying to persuade Sextus to kill Titus so she can gain the throne.
Torna di Tito a lato; Return to Titus’s side;
Torna, e l’error passato return, and make amends
Con replicate emenda for past error
Prove di fedeltà. with repeated proofs of loyalty.
L’acerbo tuo dolore Your bitter grief
è segno manifesto, is an obvious sign
Che di vir tù nel core that the image of virtue
I’immagine ti sta. remains in your heart.

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 Henry Purcell
(1659 - 1695)
When I am laid in earth
from the opera Dido and Aeneas
Dido’s Lament is the aria “When I am laid in earth” from the opera Dido and Aenes by
Henry Purcell, explaining about darkness and death, presented by chromaticism, symbolic of death.
When I am laid, am laid in earth, may my wrongs create
No trouble, no trouble in, in thy breast.
When I am laid, am laid in earth, may my wrongs create
No trouble, no trouble in, in thy breast.
Remember me, remember me, but ah!
Forget my fate.
Remember me, but ah!
Forget my fate.

Wolfgang Amadeus Mozart

(1756 - 1791)
In uomini, in soldati
from Act I, Scene III of the Italian opera Così fan tutte
In uomini, in soldati is a part of Italian opera- Cosi fan tutte by Mozart. It’s in first act, the
third scene, roled by Despina in the living room of Dorabella and Fiordiligi’s house. Dorabella declares
she can’t live while Ferrando is gone because of her grief, Despina tells her mistresses that one can’t
expect men, especially soldiers, to be faithful. She goes to describe men as creatures that use women for
pleasure.Despina states that, women should be faithful to themselves.
In uomini, in soldati, sperare fedelta In men In soldiers you hope for fidelity
Non vi fate sentir, per carita For pete’s sake, don’t let anyone hear you
Di pasta simile son tutti quanti They’re all made of the same dough.
Le fronde mobili, l’aure incostanti Windblown branches, changeable breezes
Han più degli uomini stabilità Have more stability than men
Mentite lagrime, fallaci sguardi False tears, suspicious glances,
Voci ingannevoli, vezzi bugiardi Deceiving voices, lying vices
Son le primarie lor qualità Are the foremost of their qualities
In noi non amano cheil cor di letto, They only love us when it suits their delight,
Poi ci dispregiano, neganci affetto, Then they disparage us and deny us affection,
Nè val da barbari chieder pie tà It’s useless to ask their pity
Paghiam o femmine, d’ugual moneta Let’s pay them back in their own coin,
Questa malefica razza indiscreta. This accursed, indiscreet race.
Amiam per comodo, per vanità Let’s love for our convenience and vanity

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• Dear papa mama and consins for supporting my music education.
Love you Dad and Mom.
• Thank you Aj.Dag for help developing my singing skill and teach me
many things. Thank you so much , Love Aj. Dag na ka.
• Thank you Aj Boeing for being accompaniment in my Voice Senior
Recital, and give me lets of advice.
• Thank you Earth for playing flute , very good time in rahersal.
• Thank you P’sun for being Master of ceremony in this Recital.
• Thank you James for arranging piece , and other helps, Thank you.
• Thank you all the performors in the special thanks piece Ungrit ,
Som , Auii. All of you have done very good job.
• Finally , I’d like to Thank you everyone for being here in
my Voice Senior Recital.

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