Recital

"Anduni" is believed to have originated as a folk song from Moks, an ancient Armenian province. "Anduni" translates to "homeless." Émigré songs, also known as "andunis," were typically created by emigrants from Western Armenia that were exiled and hoped to return to their homeland. I intentionally chose one piece that is not inherently tied to the Armenian Genocide ("Chinar es") and one that is frequently and consistently connected to it ("Antuni"), as I believe that it is vital to not reduce a culture that has faced genocide to the genocide itself. Armenian culture is rich and vast, and full of love, hope, and beauty. It is vital to revel in that, but it is also vital to acknowledge that the Armenian Genocide is a part of Armenian history. Countless people have denied that the Armenian Genocide took place, including the United States government. It was not until April 24th, 2021, the 106th anniversary of the Armenian Genocide, that a United States president acknowledged the events as a genocide. Genocide denial continues in the world today, and it is vital that people continue to recognize genocides as genocides. As such, I want to take this moment to direct you to this link, which houses a collection of information on the genocide currently occurring in Gaza. As California Congressman Brad Sherman stated in a press release the day President Joe Biden publicly recognized the Armenian Genocide as a genocide, "genocide denial is the last act of genocide, and the first step in the next genocide."

"Una macchia è qui tuttora!"

"Una macchia è qui tuttora!" is an aria from Giuseppe Verdi's opera Macbeth, based on the Shakespearean play by the same name. Macbeth tells the story of Scottish general Macbeth, who is told three prophecies by a trio of witches: that he will be Thane of Cawdor, that he will be king, and that the sons of his friend, Banquo, will be kings. After the witches' first prophecy comes true, Macbeth's wife, Lady Macbeth, persuades him to murder King Duncan to bring the second prophecy to fruition. After killing Duncan and becoming king, Macbeth becomes concerned about the witches' third prophecy, and sends people to kill Banquo and his son. As Macbeth brings about the death of more and more people, he becomes plagued with guilt. Though Lady Macbeth appears unwavering, she begins to sleepwalk in a state of paranoia. In this aria, Lady Macbeth is sleepwalking through the castle and attempting to wash the blood of those whose deaths she has caused off of her hands.

In elementary school, I developed a special interest in Shakespeare, reading through an anthology of his works before I could truly comprehend a great deal of what he had written. In middle school, I became fascinated by the character Lady Macbeth when I was cast to play her in a parody of Shakespeare's Macbeth titled MmmBeth. In a world in which so many female characters are disempowered and only allowed to be as strong as their male creators decree, it blew my mind to read about a character who would shout out to the world "unsex me here," aware of the limitations the world set on her because of her sex and still brimming with passion, strength, and determination. I spent several years exploring the role of Lady Macbeth, performing the monologue that this aria is based on in numerous intensives, acting classes, and theatre competitions. I am so excited to bring this character to life again today, and to explore her story in a new context.

"Nothing Short of Wonderful," "See I'm Smiling," and "Not a Day Goes By"

Musical theatre has been a significant part of my life for as long as I can remember, and I am thrilled to be spending the second half of my recital exploring works from that genre. This set contains "Nothing Short of Wonderful," a song from Benj Pasek and Justin Paul's Dogfight, "See I'm Smiling," a song from Jason Robert Brown's The Last Five Years, and "Not a Day Goes By," a song from Stephen Sondheim's Merrily We Roll Along. Together, these songs explore three major moments in the characters' romantic relationships. "Nothing Short of Wonderful" captures the giddy excitement of a woman named Rose who is asked on a first date. "See I'm Smiling" explores the complicated feelings of a character named Cathy, who is attempting to make a tumultuous relationship work. "Not a Day Goes By" takes place after a romantic relationship has ended, delving into the experience of a woman named Beth fighting for custody of her child after her husband cheated on her.

As a child, I remember passionately defending Taylor Swift when a peer criticized her for primarily writing about love. I argued that love was the most powerful feeling in the world, so it made complete sense that love would be the subject of her music. When crafting this set, I did not originally intend for its connecting thread to be love. It was only after assembling the trio of songs that I realized that these songs that I felt so passionately about were all connected by that same emotion. Though I am certainly no longer the child I was that day that I defended Taylor Swift by the playground, I think that they would be delighted to know that I still think that stories about love are worth telling.

Alison Bechdel

Content Warning: Mentions of suicide

Fun Home, a musical based on Alison Bechdel's graphic memoir of the same name, tells the story of Alison attempting to come to terms with the death of her father. At the beginning of the show, Alison states "my dad and I both grew up in the same small Pennsylvania town and he was gay. And I was gay. And he killed himself. And I...became a lesbian cartoonist." Throughout the show, Alison explores the dichotomy of the experiences of her and her father, and the ways in which that dichotomy influenced their ability, or perhaps inability, to connect with one another. The musical functions as a memory play, with Alison peering into moments from her past to understand her present.

The first song that I have selected is "Changing My Major," which is a piece that I have held dear to my heart for many years. This song captures the morning after Alison had sex with a woman for the first time, and composer Jeanine Tesori and lyricist Lisa Kron expertly craft a portrayal of this experience that revels in the giddiness, the fear, the awkwardness, and the revelations that Alison experienced. As a queer person, I am passionate about emphasizing queer joy, as the vast majority of portrayals of queer experiences place the entirety of their attention on trauma. The experiences of queer people are complex and multifaceted, and to focus only on their trauma is to deny the vastness of their personhood. When I have felt myself become bogged down by the more difficult elements of my experience as a queer person, I have turned to this song to remind myself of the joy.

In the next song I have selected, "Maps," an older Alison sits down at her desk and attempts to draw a map of Beech Creek, Pennsylvania, the town in which she and her father grew up. Despite the fact that Bruce, her father, traveled the world, his life began and ended in this very small town. Alison grapples with this notion as she tries to map out the course of his life.

The last song of this set, "Telephone Wire," is the first moment of the show in which Alison is able to not only peer into a memory, but to relive it. This song tells the story of when her father invited her to come on a drive, which was one of the last times Alison saw her father before his death. At this point, Alison had already come out to her parents as a lesbian. After receiving a dismissive responsive from her father, Alison exclaimed "I'm gay! Which means I'm not like him and I've never been like him and he can't deal with that [...] he can't deal with me! And you know what, he never could." When her mother, Helen, informed Alison that her father had had sexual relationships with boys and men, Alison's perspective on the situation was radically altered. As Bruce and Alison sit in this car together, they attempt to explore the ways in which their queerness connects them.

Fun Home is one of my favorite musicals of all time. I selected this set last year, and was delighted when several months later I was asked to music direct a production of the show in the final semester of my undergraduate degree. Between my own recital and this production of Fun Home, I have had the incredible opportunity to delve more deeply into the score than I ever had before, in collaboration with a great deal of amazing artists. In a time when queer people are under what feels like relentless attack by the United States government, it has been unbelievably impactful to continue telling stories that amplify queer voices. No matter how hard people may fight to disempower queer people, we have always been here, and we will continue to love, to revel in our joy, and to fight for visibility, safety, and freedom.

Amélie Poulin

Amélie, a musical composed by Daniel Messé with lyrics by Messé and Nathan Tysen, tells the story of a woman named Amélie Poulin. When Amélie was a child, her father misdiagnosed her with a heart defect, leading her parents to homeschool her and shelter her from the world. Amélie grows into an adult and moves out, and lives a life driven by routine. When she discovers a small metal box in her apartment, she decides that she must find the owner of the box and return it. While on her journey to return the box, Amélie meets Nino Quincampoix, and the two quickly develop a mutual attraction. They repeatedly run into each other, and one day Nino accidentally leaves behind a photo album. When Amélie's neighbor, Julien Dufayel, realizes that she has feelings for Nino, he tells her that she should return the album and befriend him, or else she would be better off joining a convent. Amélie gets an idea.

"Sister's Pickle," the first song in this set, takes place in the sex shop in which Nino works. Amélie walks in, disguised as a nun, and attempts to decipher how she feels and what she should do. At the end of the brief song, she flees without speaking to him, maintaining custody of the album.

Dufayel asks Amélie why she did not speak to Nino, and she recalls a lesson that her mother taught her. In the song "Halfway," Amélie reflects upon learning from her mother that true connection with others is impossible. Determined to find a way to break through the tomb of her isolation and anxiety, Amélie sends Nino a letter.

Amélie continues to fight her own anxiety to connect with Nino, and he fights to connect with her. When Nino shows up at her door, the song "Stay" begins, in which Amélie expresses that she does not want him to leave, but she does not know how to let him in.

Amélie is a musical that one of my dearest friends, Kam Kampton, introduced me to. At its core, it is a story of love, which is why I knew I wanted to involve some of my beloved friends in telling it. I adapted the orchestral score from the Broadway and United Kingdom productions of Amélie to create an arrangement of "Stay" that could incorporate the bassoon, the violin, and the guitar—instruments played by friends who are very important to me. Ray Heller is featured on this piece as a reed doubler, playing clarinet and bassoon. Ray was one of the first friends I made at New York University, and I am so grateful to know them and to have them in my life. Clare Martin is featured on this piece as a violinist. They are one of the sweetest and silliest people I have ever met, and I am so grateful to have gotten to know them and to work with them. Kam Kampton is featured on this piece as Nino and a guitarist. When Kam and I were resident assistants in the same residence hall, I spent countless nights sitting on Kam's couch, singing with him as he played guitar. At a time in which I felt immense anxiety around my voice and struggled to find the joy in singing that had once come so naturally to me, I found profound comfort in making music with a friend for no other reason than a sheer love for it. Every rehearsal the four of us have had has been filled with profound joy, and I am so grateful to have the opportunity to make music with such wonderful musicians and friends.

Acknowledgements

To Professor Chris Citera: Thank you for welcoming me into your studio this past year, and for your constant support. You have helped me find such joy in exploring singing, and helped me discover my passion for vocal pedagogy. I truly cannot put into words the impact that you have made on my life in the short time I have known you, but I hope you know that I am deeply grateful to have had the chance to learn from you.

To Ray Heller: I am so lucky to have you in my life. I'm so happy to have had you by my side since our freshman year, and to now be graduating from this program with you. Making music with you over the past several months has been such a joyful and fulfilling experience, and I am so grateful to be performing alongside you today. Thank you for everything, it has been a true privilege to grow alongside you.

To Kam Kampton: Thank you for helping me rediscover my love for music. The joy that I have felt making music with you is truly indescribable, as is the joy that I have felt getting to know you and to call you one of my closest friends. I love you so deeply, and am so grateful to have you in my life.

To Max Kymer: I am so grateful to call you my best friend. Thank you for your constant support, even when I moved across the country. It means so much to know that you're always in my corner, even when you're thousands of miles away.

To Clare Martin: Thank you for your constant kindness and whimsy. I am so grateful to have met you and to have gotten to collaborate with you, and cannot wait to see what shenanigans we get up to next!

To My Dear Friends and Family: Thank you for your love and support. Whether you are here in person today or are streaming from one of the other places in the world I have called home, know that I hold you in my heart and am so grateful to have you in my life.

Musician Biographies

August Farajian (he/they) is a music director, teaching artist, and performing artist based in New York. He is currently pursuing his Bachelor of Music in Music Education with a minor in Educational Theatre at New York University. Recent credits include Fun Home (Off-Broadway, Music Director), The Body (Music Director), a 29-hour reading of this old haunt (Music Director), and Alice by Heart (Off-Broadway, Assistant Music Director). As the powerful play goes on, August is grateful for the chance to contribute a verse. Perhaps even more so, he is grateful that when he is done with this recital, he will be able to take as long of a nap as his heart desires.

Ray Heller is a senior in music education and a first semester friend of August. While Ray is a bassoon primary, they enjoy commiserating with August about learning clarinet. While they love hearing August sing and talking about vocal pedagogy, Ray cannot wait for this recital to be over so they can finally make August finish Ace Attorney.

Kam Kampton (he/him) is a playwright, performer, and composer-lyricist and just earned his BFA in Dramatic Writing from NYU Tisch School of the Arts. Last summer he played Gordie in a musical adaptation of Stephen King’s The Body with Foul Fiend Theatre Troupe, and last spring he directed a production of Love’s Labour’s Lost with Shakespeare in the Square. Previous credits include Sir Andrew Aguecheek in Foul Fiend Theatre Troupe’s Genderf*ck Twelfth Night; assistant directing Shakespeare in the Square’s King Lear; writing Serious Horse Play for Broke People Play Festival; and Hipolito/Lucien in Tisch New Theatre’s Amélie. Kam is very passionate about being transgender. He is from Queens, New York. His Instagram is @kamptonkam but you and he both have better things to do. 

Clare Martin is a recent graduate of NYU Steinhardt’s Vocal Performance program, where they concentrated in Music Theatre. Current adventures include being a graduate student, teaching artist, and gigging court jester (singer/actor). Congrats to August on a gorgeous recital and four years of extremely hard and dedicated work, the results of which speak for themselves!!  

Aidan S. Wells is a New York based music director and conductor. Beyond an expansive history as a pianist on and off-Broadway, Aidan served as Associate Conductor for the South Kansas Symphony until 2020, and has conducted productions ranging from Queen’s We Will Rock You to Gershwin’s Crazy For You. As a pianist, he specializes in original and devised contemporary works, such as stage adaptations of Over The Garden Wall and recently Fantom. Aidan has held instructor positions at Southwestern College and New York University, and is a fixture in the NYC cabaret scene, having music directed dozens of performances in 2024 alone. Additionally, Aidan is the Founder and Artistic Director of AfterThought Production, a media and performing arts company in NYC. More at www.aidanwells.com 

Sources

https://sherman.house.gov/media-center/press-releases/sherman-applauds-biden-s-historic-action-to-recognize-the-armenian#:~:text=Today%2C%20on%20the%20106th,to%201923%2C%20as%20a%20genocide.

https://genocideeducation.org/background/denial/

https://virtual-genocide-memorial.de/region/the-six-provinces/vilayet-van/sancak-van/kaza-bah%CF%82esaray-moks/ 

https://www.camphaiastan.org/ayf-camp-haiastan-establishes-new-tradition-with-armenia-tree-project/#:~:text=Ancient%20kings%20of%20Armenia%2C%20notably,covered%20in%20strips%20of%20cloth.

https://nancykricorian.net/2012/10/armenians-and-sacred-trees/

https://www.theguardian.com/music/2011/apr/21/komitas-vardapet-folk-music-armenia

https://auroraprize.com/en/komitas-soghomon-soghomonian-pioneer-of-ethnomusicology-creator-of-armenian-national-school-of-music

Vocal art of Armenian composers by Hasmig Injejikian

https://www.opera-arias.com/verdi/macbeth/una-macchia-e-qui-tuttora/

https://www.folkstreams.net/contexts/a-note-on-the-folksong-chinar-es