Summer Serenade
Programme
Engelbert HUMPERDINCK Little Brother Dance With Me (Hansel and Gretel)
Gustav MAHLER Ich atmet’ einen linden Duft! (Rückert-Lieder)
Johannes BRAHMS Von ewiger Liebe
Johannes BRAHMS Die Mainacht
Johannes BRAHMS Wiegenlied
Charles GOUNOD Que fais-tu blanche tourterelle (Roméo et Juliette)
Charles GOUNOD Faites-lui mes aveux (Faust)
Carl BOHM Sarabande
Wolfgang Amadeus MOZART Sull’aria (Le Nozze di Figaro)
Wolfgang Amadeus MOZART Voi Che Sapete (Le Nozze di Figaro)
Christoph Willibald GLUCK O del mio Dolce ardor
Alessandro SCARLATTI O cessate di piagarmi
Alessandro PARISOTTI Se tu M'Ami
Carl Maria von WEBER Arabiens einsam Kind (Oberon)
Edward ELGAR Sabbath Morning at Sea (Sea Pictures)
Engelbert HUMPERDINCK Evening Prayer (Hansel and Gretel)
Artists
Caitlin Forrest | mezzo-soprano
Mezzo-soprano Caitlin Forrest was born in Bunbury, Western Australia and began her musical journey studying violin in primary school before discovering her love of classical singing at the 2019 Perth Choral Institute Summer School. Since then, she has graduated with a Bachelor of Music Performance (Classical Voice) from the Western Australian Academy of Performing Arts (WAAPA), as a student of Emma Matthews.
-
While studying at WAAPA, her performance highlights included the role of Hansel in Hansel and Gretel, and the roles of Book of Fate, Old Woman and Mrs Northwind in Jonathan Dove’s Enchanted Pig. Caitlin also performed in The Pirates of Penzance and sang in masterclasses with Lynne Dawson, Jennifer Condon, Elisa Wilson.
Tiani Glasgow | soprano & viola
Tiani is a Resident Music Scholar at St George’s College and is in her second year of a Bachelor of Music at WAAPA.
Tiani earned eight gold medals in the Bunbury WA Performing Arts Eisteddfod, achieving the ‘Senior Vocal Scholarship’ in 2023 and the ‘Senior Aggregate Award Winner’ in 2024.
-
A recipient of the ‘St Mary’s Instrumental/Vocal Scholarship’ for three consecutive years, she performed in the Anglican School Commissions Select Choir conducted by Perry Joyce. Tiani was also honoured to perform as a soloist alongside the Philharmonic South West Orchestra in 2024.
Lydia Lai | piano
Lydia Lai is a graduate of the Western Australian Academy of Performing Arts (WAAPA) with a Bachelor of Music (Classical Performance) degree in piano studies.
She is an emerging repetiteur and accompanist, working with artists and groups of various skill levels (students to professional level) and also teaches the piano and violin in her own private studio and in local schools.
-
She is an emerging répétiteur and accompanist, working with artists and ensembles ranging from students to professional performers. She also teaches piano and violin through her private studio and at local schools.
About the Music
Engelbert HUMPERDINCK Little Brother Dance With Me (Hansel and Gretel)
First performed in Weimar in 1893, Hansel and Gretel quickly became one of the most beloved operas in the German repertoire. Engelbert Humperdinck had studied with Richard Wagner and inherited many of his teacher's rich orchestral techniques, yet his own musical language is warmer, lighter and infused with the spirit of German folk song. Based on the Brothers Grimm fairy tale, the opera balances moments of innocence, humour and fantasy with genuine emotional depth, making it a favourite with audiences of all ages.
-
"Little Brother, Dance With Me" appears early in the first act after Hansel and Gretel have finished their household chores. Rather than dwelling on the hardships of their family's poverty, the children invent a simple dance, delighting in one another's company. The duet captures the carefree spontaneity of childhood through lively rhythms, playful exchanges between the voices and melodies that feel almost as though they have existed for generations. Humperdinck's remarkable ability to imitate the natural character of folk music gives the scene an immediate warmth and familiarity.
Although the duet is light-hearted, it performs an important dramatic role. It establishes the close bond between the two siblings before they become lost in the forest, allowing audiences to invest emotionally in their journey. Even today, "Little Brother, Dance With Me" remains one of the opera's most recognisable moments, admired for its infectious energy, effortless lyricism and enduring celebration of childhood innocence. It demonstrates Humperdinck's gift for combining sophisticated craftsmanship with music of disarming simplicity.
Gustav MAHLER Ich atmet’ einen linden Duft! (Rückert-Lieder)
Mahler composed the Rückert-Lieder between 1901 and 1902, setting five poems by the German writer Friedrich Rückert. Unlike the expansive emotional landscapes of his symphonies or the folk-inspired songs of Des Knaben Wunderhorn, these works are intimate reflections on love, memory, solitude and inner peace. Written during a particularly happy period in Mahler's life, they reveal a composer exploring the subtleties of private emotion through music of extraordinary refinement and restraint.
-
"Ich atmet' einen linden Duft!" ("I Breathed a Gentle Fragrance") is inspired by the delicate perfume of a single linden branch sent by a loved one. Rückert's poem finds profound joy in this small gesture, and Mahler responds with music of remarkable transparency. Gentle orchestral colours or a delicately woven piano accompaniment support a vocal line that seems to float effortlessly, allowing the words to unfold with natural speech-like grace. Every phrase conveys quiet gratitude rather than dramatic passion, creating an atmosphere of calm contemplation.
Although one of Mahler's shortest songs, it encapsulates his ability to find immense emotional significance in life's smallest moments. Rather than building towards a grand climax, the music remains intimate throughout, inviting listeners to savour its subtle shifts of colour and expression. The result is a miniature masterpiece of lyrical economy, demonstrating how tenderness and simplicity can communicate emotions every bit as profound as the monumental canvases for which Mahler is more widely known.
Johannes BRAHMS Von ewiger Liebe
Published in 1864, Von ewiger Liebe ("Of Eternal Love") is one of Brahms's most dramatic and emotionally compelling songs. The text, adapted by Josef Wenzig from Serbian folk poetry, tells of two young lovers walking together through the forest at night. The young woman fears that differences in wealth and social standing will eventually separate them, while her companion responds with a declaration that genuine love cannot be diminished by circumstance. Brahms transforms this simple narrative into a work of remarkable psychological depth.
-
The song unfolds in two distinct sections that mirror the emotional journey of the text. It begins in a dark, restrained atmosphere, with the piano suggesting the stillness of the night and the uncertainty weighing upon the young woman. As the man's confident response emerges, the music gradually brightens, building towards an expansive and radiant conclusion. Brahms's masterful handling of harmony and rhythm allows the emotional transformation to feel entirely natural, giving the song an almost symphonic sense of structure within its compact form.
Von ewiger Liebe remains one of the defining works of the German Lied repertoire because it combines narrative drama with profound emotional sincerity. Rather than relying on theatrical excess, Brahms allows the music itself to reveal the growing confidence and warmth of the lovers' exchange. The result is a song that celebrates devotion, resilience and the enduring strength of human affection, qualities that continue to resonate with performers and audiences alike.
Johannes BRAHMS Die Mainacht
Composed in 1868, Die Mainacht ("The May Night") sets a poem by Ludwig Christoph Heinrich Hölty that reflects upon the arrival of spring through the eyes of a lonely observer. While nature celebrates renewal, birds pair together and lovers walk beneath blossoming trees, the poet remains painfully aware of his own solitude. Brahms was particularly drawn to poetry that balanced outward beauty with quiet emotional complexity, and this song stands among his most eloquent responses to that ideal.
-
Rather than depicting the brightness of spring directly, Brahms creates an atmosphere of gentle introspection. The flowing piano accompaniment suggests the calm movement of the evening landscape, while the vocal line unfolds in long, expressive phrases that mirror the speaker's thoughtful reflections. Subtle harmonic changes gently colour the emotional landscape without disturbing its overall serenity, allowing feelings of longing to emerge gradually rather than through overt displays of drama.
One of the hallmarks of Brahms's song writing is his ability to communicate profound emotion through restraint, and Die Mainacht exemplifies this quality beautifully. The music never seeks easy sentimentality, instead allowing listeners to discover its emotional richness through careful attention to its melodic lines and harmonic shading. It remains one of Brahms's finest lyrical songs, offering a timeless meditation on loneliness, beauty and the bittersweet awareness that joy and sorrow often coexist within the same moment.
Johannes BRAHMS Wiegenlied
Composed in 1868, Brahms's Wiegenlied, Op. 49 No. 4, has become one of the most recognisable songs ever written. Known simply as "Brahms's Lullaby", it was composed as a gift for Bertha Faber, a close friend of the composer, on the birth of her second son. Brahms is said to have woven into the melody references to a song she had sung in her youth, giving the work a deeply personal significance alongside its universal appeal. Although originally written for voice and piano, it has since appeared in countless arrangements and has become familiar to audiences around the world.
-
The song sets a simple text by Georg Scherer, in which a child is gently lulled to sleep beneath the watchful care of angels. Brahms perfectly captures the gentle rocking motion of a cradle through the flowing accompaniment, while the vocal line unfolds with remarkable naturalness and warmth. Beneath the apparent simplicity lies music of considerable sophistication. Delicate harmonic shifts enrich the familiar melody without disturbing its sense of calm, revealing the composer's extraordinary ability to express profound feeling through the most economical musical means.
Despite its worldwide popularity, Wiegenlied loses none of its sincerity through familiarity. It speaks to universal experiences of love, protection and reassurance, qualities that transcend language and culture. The song exemplifies Brahms's gift for combining technical mastery with emotional restraint, creating music that feels both intimate and timeless. More than a century and a half after its composition, it continues to offer performers and audiences alike a moment of quiet tenderness and peaceful reflection.
Charles GOUNOD Que fais-tu blanche tourterelle (Roméo et Juliette)
Charles Gounod's Roméo et Juliette, first performed in Paris in 1867, remains one of the finest operatic adaptations of Shakespeare's tragedy. While preserving the emotional intensity of the original play, Gounod places particular emphasis on lyrical expression, allowing his characters' emotions to unfold through a succession of memorable arias and duets. The opera balances moments of youthful exuberance with increasing dramatic tension, ultimately leading to its tragic conclusion.
-
"Que fais-tu, blanche tourterelle" is sung by the page Stéphano in the second act. Addressing a white dove as a playful symbol, he taunts the Capulet household by suggesting that love cannot be imprisoned behind guarded walls. Although light-hearted in tone, the aria serves an important dramatic purpose, provoking the confrontation that escalates the long-standing feud between the Montagues and Capulets. Gounod's bright orchestration and sparkling vocal writing perfectly capture Stéphano's youthful confidence and mischievous charm.
The aria has become a favourite recital piece because it combines elegance with theatrical vitality. Its graceful melodies and effortless lyricism exemplify the refinement of French Romantic opera, while its dramatic context reminds listeners that even seemingly carefree moments can carry significant consequences. Gounod demonstrates remarkable economy in characterisation, creating a vivid musical portrait that is both entertaining in its own right and integral to the unfolding drama of the opera.
Charles GOUNOD Faites-lui mes aveux (Faust)
Premiered in Paris in 1859, Gounod's Faust rapidly established itself as one of the defining operas of the French repertoire. Based on Goethe's celebrated drama, it explores themes of ambition, temptation, innocence and redemption through music of exceptional lyric beauty. While the central conflict revolves around Faust and Marguerite, Gounod also gives emotional depth to the supporting characters, whose music often reveals quieter perspectives on the unfolding tragedy.
-
"Faites-lui mes aveux" is sung by the young student Siébel, who harbours an innocent and unselfish love for Marguerite. Unable to express his feelings directly, he asks a flower to carry his confession of affection on his behalf. The aria is remarkable for its sincerity and restraint. Rather than displaying dramatic passion, Gounod allows Siébel's gentle nature to emerge through flowing melodic lines, graceful phrasing and transparent accompaniment. The music reflects a love defined not by possession but by quiet admiration and genuine kindness.
This touching aria provides an important emotional contrast within the opera. Amid the supernatural intrigue and moral conflict surrounding Faust and Méphistophélès, Siébel represents honesty, compassion and youthful innocence. His music reminds audiences of the humanity at the heart of the story, and its lyrical simplicity has ensured its enduring popularity in both recital and operatic performance. It remains one of Gounod's most charming examples of expressive vocal writing.
Carl BOHM Sarabande
German violinist, pianist and composer Carl Bohm was one of the most prolific musical figures of the late nineteenth century. Although much of his output was intended for talented amateur musicians and students, Bohm possessed a remarkable gift for writing works that combined technical accessibility with genuine musical elegance. His compositions continue to appear in recital programmes, valued for their expressive melodies and finely crafted character pieces that reward both performers and audiences.
-
The Sarabande takes its inspiration from the stately dance that flourished during the Baroque period. Traditionally characterised by its slow triple metre and emphasis on expressive phrasing, the sarabande became one of the great vehicles for musical reflection in the works of composers such as Bach and Handel. Rather than attempting a historical reconstruction, Bohm reimagines the dance through the richer harmonies and broader melodic style of the Romantic era, creating music that honours the past while speaking in a distinctly nineteenth century voice.
Throughout the work, dignity and lyricism remain closely intertwined. The measured pace allows each phrase to unfold naturally, while subtle expressive nuances give the music warmth and nobility without excessive sentimentality. Bohm's writing demonstrates that technical brilliance need not come at the expense of musical substance. The Sarabande continues to appeal through its graceful balance of historical inspiration and Romantic expressiveness, offering a moment of poised tranquillity within the concert programme.
Wolfgang Amadeus MOZART Sull’aria (Le Nozze di Figaro)
First performed in Vienna in 1786, Le Nozze di Figaro stands among Mozart's greatest achievements and remains one of the most beloved operas in the repertoire. Based on the controversial play by Pierre Beaumarchais, the opera explores themes of love, forgiveness, social hierarchy and human frailty with remarkable wit and psychological insight. Working with librettist Lorenzo Da Ponte, Mozart created characters of extraordinary depth, allowing even the most comic moments to reveal genuine emotional truth.
-
Sull'aria appears late in the third act, when the Countess and her maid Susanna devise a plan to expose the Count's infidelity. Together they compose a letter inviting him to a secret meeting, intending to catch him in his own deception. Although the situation is rooted in comic intrigue, the music is strikingly serene. As the Countess dictates and Susanna repeats each phrase, their voices intertwine with effortless grace, creating one of the most exquisite duets in all of opera. The elegance of the music gently disguises the cleverness of the scheme unfolding beneath it.
Mozart's genius lies in his ability to transform a simple dramatic moment into music of extraordinary beauty. The two voices move with remarkable equality, symbolising the trust and understanding between the Countess and Susanna despite the differences in their social standing. The duet has become one of the opera's most celebrated passages, admired for its perfect balance, lyrical refinement and emotional warmth. It remains a testament to Mozart's unmatched ability to express humanity through music of the utmost simplicity and grace.
Wolfgang Amadeus MOZART Voi che sapete (Le Nozze di Figaro)
Among the many unforgettable characters in Le Nozze di Figaro, the adolescent page Cherubino provides some of the opera's greatest warmth and humour. Constantly falling in and out of love, he embodies the confusion, excitement and impulsiveness of youth. Mozart portrays him not as a figure of ridicule but with enormous affection, capturing the awkward sincerity of a young person experiencing powerful emotions for the first time.
-
In Voi che sapete ("You Ladies Who Know What Love Is"), Cherubino turns to the Countess and Susanna for guidance, confessing that he cannot understand the feelings that have suddenly overtaken him. The aria unfolds with effortless lyricism, its graceful melody expressing both innocence and longing. Rather than presenting love as dramatic or overwhelming, Mozart portrays it as something mysterious and deeply personal, allowing the music to communicate emotions that the character himself struggles to describe. The simplicity of the accompaniment further emphasises the honesty of Cherubino's confession.
Although sung by a mezzo-soprano in the traditional operatic "trouser role", the aria captures the universal experience of first love with remarkable authenticity. Its gentle humour, emotional openness and melodic perfection have made it one of Mozart's most frequently performed vocal works. More than two centuries after its premiere, Voi che sapete continues to resonate with audiences through its timeless portrayal of youthful vulnerability, reminding listeners that the uncertainties of growing up are among the most enduring aspects of the human experience.
Christoph Willibald GLUCK O del mio Dolce ardor
Christoph Willibald Gluck occupies a pivotal place in the history of opera, remembered above all for his efforts to reform eighteenth century musical theatre. Dissatisfied with the elaborate vocal display that often dominated Italian opera seria, Gluck sought to restore dramatic truth by ensuring that music served the story rather than overshadowing it. His reforms profoundly influenced later composers, including Mozart, and helped shape the future development of opera throughout Europe.
-
O del mio dolce ardor comes from Paride ed Elena, first performed in Vienna in 1770. In this aria, Paris joyfully anticipates his reunion with Helen, expressing longing, hope and quiet happiness rather than heroic triumph. The melody unfolds with remarkable naturalness, supported by an accompaniment that never distracts from the expressive simplicity of the vocal line. Every phrase is carefully shaped to reflect the emotional meaning of the text, illustrating Gluck's conviction that sincerity should always take precedence over virtuosity.
Today the aria remains a cornerstone of the classical vocal repertoire, valued both as a recital piece and as an important work for developing singers. Its apparent simplicity demands exceptional control, sensitivity and expressive nuance from the performer. By stripping away unnecessary ornamentation, Gluck created music of enduring emotional power, demonstrating that honesty of expression can often communicate more deeply than technical brilliance alone. O del mio dolce ardor continues to exemplify the elegance and clarity that define Gluck's revolutionary artistic vision.
Alessandro SCARLATTI O cessate di piagarmi
Alessandro Scarlatti was one of the most influential composers of the Italian Baroque, producing an extraordinary body of operas, cantatas, sacred works and chamber music during the late seventeenth and early eighteenth centuries. His innovations in vocal writing and dramatic structure helped establish many of the conventions that would later shape Italian opera. Through music of elegance, balance and expressive clarity, Scarlatti laid important foundations for composers including Handel, Hasse and his own son, Domenico Scarlatti.
-
In O cessate di piagarmi ("Oh, cease tormenting me"), the singer pleads for relief from the pain of unrequited love. Like many Baroque arias, the emotional focus is deliberately concentrated on a single affection, allowing the composer to explore it with remarkable depth and refinement. The vocal line combines graceful melodic contours with expressive declamation, while the accompaniment provides a steady harmonic foundation that allows the emotional intensity of the text to emerge naturally. Every phrase reflects the measured dignity that characterises the finest Italian vocal music of the period.
Although written more than three centuries ago, the aria continues to speak directly to modern audiences through its honesty and emotional immediacy. Its combination of technical elegance and expressive restraint makes it a favourite in both recital programmes and vocal training. Rather than relying on dramatic excess, Scarlatti allows beauty of line and purity of expression to convey the universal experience of longing, creating a work whose quiet sincerity has ensured its lasting place in the classical vocal repertoire.
Alessandro PARISOTTI Se tu M'Ami
Few songs have enjoyed such enduring popularity while carrying such an intriguing history as Se tu m'ami. Published by the Italian composer, editor and musicologist Alessandro Parisotti in his influential nineteenth century collection Arie Antiche, the song was long attributed to the eighteenth century composer Giovanni Battista Pergolesi. Modern scholarship, however, suggests that it was most likely composed or substantially reworked by Parisotti himself, who sought to capture the elegance and simplicity of earlier Italian vocal music. Regardless of its true origins, the song has become one of the best-loved works in the classical vocal repertoire.
-
The text presents a graceful reflection on the nature of love, gently suggesting that true affection cannot be demanded or manipulated. If love is genuine, it will flourish naturally; if not, no amount of persuasion can create it. Parisotti's setting perfectly complements these sentiments through a poised and flowing melody supported by an unobtrusive accompaniment. The music avoids unnecessary display, instead allowing the clarity of the text and the expressive beauty of the vocal line to take centre stage. Its balanced phrases and elegant proportions evoke the spirit of the eighteenth century, even if the work itself belongs to a later era.
Se tu m'ami has remained a favourite for generations of singers because it rewards musical sensitivity above sheer virtuosity. Every phrase requires careful attention to line, diction and expressive nuance, making the song an ideal introduction to the art of Italian singing. Its timeless charm lies in its ability to communicate wisdom, warmth and emotional sincerity through music of remarkable grace and apparent simplicity.
Carl Maria von WEBER Arabiens einsam Kind (Oberon)
Carl Maria von Weber's final opera, Oberon, was premiered in London in 1826, only weeks before the composer's death. Although based on a fantastical tale of fairies, knights and distant lands, the work reflects Weber's gift for combining supernatural elements with deeply human emotion. Best known for establishing the foundations of German Romantic opera, Weber influenced generations of composers through his imaginative orchestration, vivid dramatic writing and distinctive lyrical style, paving the way for figures such as Wagner and Marschner.
-
Arabiens einsam Kind is sung by Reiza, the heroine of the opera, who finds herself isolated and separated from those she loves. Despite danger and uncertainty, she remains steadfast in her courage and devotion. Weber mirrors these emotions through sweeping melodic lines, brilliant vocal writing and orchestral colours that evoke both the vastness and mystery of the opera's exotic setting. The aria demands considerable technical assurance while also requiring the performer to sustain a deeply expressive dramatic narrative.
The work remains one of Weber's finest soprano arias, admired for its combination of Romantic passion and classical elegance. Beneath its moments of vocal brilliance lies a portrait of resilience, hope and unwavering faith in the face of adversity. It demonstrates Weber's remarkable ability to blend spectacle with genuine emotional depth, creating music that is both dramatically compelling and richly rewarding in the concert hall as well as the opera house.
Edward ELGAR Sabbath Morning at Sea (Sea Pictures)
Edward Elgar composed Sea Pictures, Op. 37, in 1899 for the celebrated English contralto Clara Butt, who gave the first performance at the Norwich Festival later that year. The cycle consists of five songs setting poems by several English writers, each exploring different aspects of humanity's relationship with the sea. Rather than serving merely as a picturesque backdrop, the ocean becomes a symbol of spiritual reflection, emotional resilience and the mysteries of the natural world. The work occupies a unique place in Elgar's output as his only major orchestral song cycle.
-
Sabbath Morning at Sea sets a poem by Elizabeth Barrett Browning, portraying a peaceful Sunday morning aboard a ship far from land. Looking across the endless horizon, the poet reflects upon the presence of God in the natural world and the sense of spiritual comfort that transcends physical surroundings. Elgar responds with music of noble lyricism, allowing broad melodic phrases to unfold over luminous harmonies that suggest both the calm majesty of the sea and the quiet confidence of faith. The orchestral writing enriches the atmosphere without ever overwhelming the intimacy of the text.
Often regarded as one of the emotional centres of Sea Pictures, the song exemplifies Elgar's ability to combine expansive musical landscapes with deeply personal expression. Its restrained grandeur and quiet dignity invite listeners into a world of contemplation rather than drama, encouraging reflection on humanity's place within creation. The result is music of enduring serenity, revealing Elgar's distinctive gift for expressing profound emotion through lyrical beauty and carefully crafted orchestral colour.
Engelbert HUMPERDINCK Evening Prayer (Hansel and Gretel)
The "Evening Prayer" forms one of the most memorable scenes in Humperdinck's Hansel and Gretel, bringing the second act to its gentle and deeply moving conclusion. Having become lost in the forest as darkness falls, the two children overcome their fear by joining together in a simple prayer before settling down to sleep. The scene reflects Humperdinck's remarkable ability to combine childlike innocence with profound emotional sincerity, creating music that has become cherished by audiences since the opera's premiere in 1893.
-
The duet itself unfolds with quiet simplicity, as Hansel and Gretel ask for the protection of fourteen angels to watch over them through the night. Humperdinck sets the prayer with graceful, hymn-like melodies that convey trust, comfort and unwavering faith. As the children drift into sleep, the music expands seamlessly into the celebrated "Dream Pantomime", during which the orchestra depicts the silent appearance of guardian angels surrounding the sleeping siblings. This orchestral interlude, with its luminous harmonies and radiant colours, ranks among the most magical passages in nineteenth century opera.
The enduring appeal of the "Evening Prayer" lies in its universal message of hope, reassurance and the comfort found in companionship. Although written within the context of a fairy tale, its themes extend far beyond the stage, speaking to audiences of every generation. Humperdinck's masterful blend of simplicity, warmth and rich orchestral imagination transforms a modest bedtime prayer into one of opera's most touching expressions of innocence, faith and the enduring power of love and protection.
Upcoming Concerts
Our Patrons
We gratefully acknowledge the generous patrons whose support helps sustain Music at St George’s College and the opportunities it creates for residents, artists and the wider community. Their ongoing encouragement and generosity play an important role in bringing performances, collaborations and musical experiences to life throughout the year.