Henley Heyn Vol. 1 - album cover

Henley Heyn Vol. 1

Henley Heyn voice

Slovak National Opera Orchestra
Peter Valentovič conductor

Release Date: March 15, 2024
Catalog #: NV6606
Format: Digital
20th Century
Romantic
Opera
Orchestra
Voice

Henley Heyn’s self-titled HENLEY HEYN VOL. 1 was born from two important aspirations of her early career: to be seen and to be heard. Raw authenticity and artistic freedom drive this operatic multimedia release, performed by Heyn herself and the Slovak National Opera Orchestra.

Heyn has roared onto the operatic stage in recent seasons, making her Straussian and Wagnerian debuts as Salome & Brünnhilde, followed closely by a harrowing portrayal of Magda Sorel in Gian Carlo Menotti’s Pulitzer Prize-winning drama, The Consul. Now, she has collaborated with an 85-member orchestra to bring the impassioned vision of HENLEY HEYN VOL. 1 to life.

Listen

Hear the full album on YouTube

Track Listing & Credits

# Title Composer Performer
01 Leonore: Abscheulicher! Wo eilst du hin? Komm, Hoffnung... Ludwig van Beethoven Henley Heyn, voice; Slovak National Opera Orchestra | Peter Valentovič, conductor 7:03
02 Amelia: Morrò, ma prima in grazia Giuseppe Verdi Henley Heyn, voice; Katarína Černá - Zajaková, solo cello; Slovak National Opera Orchestra | Peter Valentovič, conductor 4:57
03 Didon: Ah! Ah! Je vais mourir... Adieu, fière cité... Hector Berlioz Henley Heyn, voice; Slovak National Opera Orchestra | Peter Valentovič, conductor 6:10
04 Sieglinde: Schläfst du, Gast? Der Männer Sippe Richard Wagner Henley Heyn, voice; Slovak National Opera Orchestra | Peter Valentovič, conductor 6:09
05 Susannah: The Trees on the Mountain Carlisle Floyd Henley Heyn, voice; Katarína Zajacová, cello; Slovak National Opera Orchestra | Peter Valentovič, conductor 5:36
06 Liza: Utzh polnoch blizitsya... Ach, istomilas ja gorem Pyotr Ilyich Tchaikovsky Henley Heyn, voice; Slovak National Opera Orchestra | Peter Valentovič, conductor 5:41
07 Angelica: Senza mamma Giacomo Puccini Henley Heyn, voice; Slovak National Opera Orchestra | Peter Valentovič, conductor 4:50
08 Elisabeth: Allmächt'ge Jungfrau Richard Wagner Henley Heyn, voice; Slovak National Opera Orchestra | Peter Valentovič, conductor 6:49
09 Magda Sorel: To this we've come Gian Carlo Menotti Henley Heyn, voice; Slovak National Opera Orchestra | Peter Valentovič, conductor 7:40

Special thanks to: Anne Wieben (production), Elias Förg (videographer) & Andrej Grilc (photographer) for their generosity, expertise and friendship.

Recorded August 22-25, 2016 at the Slovak Radio in Bratislava, Slovakia
Recording Session Producer Jesse Lewis
Recording Session Engineer Pavel Hanzel
Editing Brett Leonard, Shauna Barravecchio, Christopher Moretti
Mixing Christopher Moretti
Mastering Jesse Lewis, Kyle Pyke

Photography by Andrej Grilc
Character photos by Ross Brinkerhoff
Production photos by Andrej Grilc
Album design by John Kramer

Executive Producer Bob Lord

VP of A&R Brandon MacNeil
A&R Ivana Hauser

VP of Production Jan Košulič
Audio Director Lucas Paquette

VP, Design & Marketing Brett Picknell
Art Director Ryan Harrison
Design Edward A. Fleming
Publicity Chelsea Kornago

Artist Information

Melanie Henley Heyn

Vocalist

Roaring onto the operatic stage in recent seasons, Melanie Henley Heyn made her Straussian and Wagnerian debuts as Salome & Brünnhilde, followed closely by a harrowing portrayal of Magda Sorel in Gian Carlo Menotti’s Pulitzer Prize-winning drama, The Consul. Singing a vast repertoire of music spanning the opera, concert, and folk worlds, her 33 divas recording project combining classic Wagner, Verdi, and Puccini roles with modern American opera heroines remains the No. 1 Most Funded Kickstarter for a Solo Classical Artist.

Slovak National Opera Orchestra Members

FIRST VIOLINS
Vladimír Harvan, Concertmaster
Daniela Csábi-Načeva
Štefan Filas
Mária Harvanová
Zuzana Hrašková
Lucia Kopčáková
Katarína Mintálová
Jozef Ostrolucký
Rudolf Patrnčiak
Karol Rigo
Vladimír Rozsypal
Július Szászi
Jaroslava Vol’anská

SECOND VIOLINS
Līga Olosová, Principal
Ján Džavík
Emilia Flimelová
Ján Lukáč
Oleg Latták
Ján Petráš
Gabriela Rybárová
Júlia Sojka

VIOLA
L’ubomír Ďuriš, Principal
Jozef Ábel
Júlia Bolebruchová
Pieter Das
Peter Dvorský
Emil Hasala
Barbora Kubiaková
Alexander Kušč
Igor Medzay
Dezider Szulcsanyi

CELLO
Katarína Zajacová, Principal
Mária Kovácsová
Katarina Kozelková
Pavol Kulifaj
Peter Michoněk
Ján Šiška
Martin Zeman

BASS
Marián Vavro, Principal
Juraj Černý
Erik Hasala
Peter Kán
Lumír Machek
Oto Šereš

FLUTE
Jaroslav Harvan, principal
Daniela Mareková
Karin Hübnerová, piccolo

OBOES/ENGLISH HORN
Vladislava Fabianová, Principal
Michal Šintál
Petr Kadera, cornoinglese

CLARINETS
Vladimír Halmeš, Principal
Peter Cvečka
Juraj Pivoluska
Kristián Tóth
Pavol Púchovský, bass clarinet

BASSOONS
Josef Rotter
Rastislav Šteffek

HORNS
Miklós Pál Horváth, Principal
Roland Lukovický
Tomáš Horkavý
Vladimír Lichvár
Marcel Majoroš
Ján Smutný

TRUMPETS
Peter Bubnič, Principal
Stanislav Masaryk

TROMBONES
L’uboš Šantavý, Principal
Juraj Mitošinka
Miloslav Pongrác, bass trombone

TUBAS
Pavol Poliak
Ivan Kováčik, cimbasso

PERCUSSION
Eduard Mikuláško, Principal
František Tkáč
Štefan Vagovics
Igor Repka

HARP
Katarína Turnerová

PIANO/CELESTE
Alena Hučková

Notes

This album was born from the dual desperations of my early career: to be HEARD and to be SEEN. To be seen, I needed to be heard; to be heard, I needed to be seen. So, I made this recording with orchestra, filming it, to be seen doing what I do. I believed this would help me be heard, which turned out to be true.

The artistic goal of this project is to be seen and heard as myself. So, zero photoshop, zero punch-ins. The photos you see are unedited: the fire is real, the water was cold, the sword was borrowed from a friend. The sound you hear comes from 85 people in a room for four days. While various takes have been stitched together to make the most of our abilities, the album, at its core, is a record of what we made, all together.

To those who helped bring this vision to life: Look! We made a thing! To my young, determined self, scared and brave beyond measure: the day I accepted you was the day I completed this project. Let’s listen together.

— Henley Heyn

Texts

DE

Abscheulicher! Wo eilst du hin?
Was hast du vor in wildem Grimme?
Des Mitleids Ruf,
der Menschheit Stimme,
Rührt nichts mehr deinen Tigersinn?
Doch toben auch wie Meereswogen
Dir in der Seele Zorn und Wut,
So leuchtet mir ein Farbenbogen,
Der hell auf dunkeln Wolken ruht:
Der blickt so still,
so friedlich nieder,
Der spiegelt alte Zeiten wieder,
Und neu besänftigt wallt mein Blut.

Komm, Hoffnung, lass den letzten Stern
Der Müden nicht erbleichen!
Erhell mein Ziel, sei’s noch so fern,
Die Liebe wird’s erreichen.

Ich folg’ dem innern Triebe,
Ich wanke nicht,
Mich stärkt die Pflicht
Der treuen Gattenliebe!
O du, für den ich alles trug,
Könnt’ ich zur Stelle dringen,
Wo Bosheit dich in Fesseln schlug,
Und süßen Trost dir bringen!
Ich folg’ dem innern Triebe,
Ich wanke nicht,
Mich stärkt die Pflicht
Der treuen Gattenliebe!

EN

Disgraceful coward! Where are you running?
What are you planning in your cruel fury?
Does the call of pity,
Or the voice of humanity
Not move your tiger’s wrath at all?
Nay, just as anger and hate
Rage like the turbulent sea in your soul,
So does a rainbow appear to me,
Sitting bright on the dark clouds:
It looks down so quietly,
And peacefully,
It reflects back the beauty of earlier days,
And the pressure in my veins softens again.

Come, dear hope, do not let the last star
of this tired soul fade to nothing!
Shine on my destination, even if it’s far away,
Love will reach it.

I follow an inner compulsion,
I shall not waver,
Duty strengthens me,
The duty of marital love!
O you, for whom I have borne everything,
If only I could get to your side,
Where evil has you bound in chains,
And bring you sweet comfort!
I follow an inner compulsion,
I shall not waver,
Duty strengthens me,
The duty of marital love.

IT

Morrò, ma prima in grazia,
deh! mi consenti almeno
l’unico figlio mio avvincere al mio seno.
E se alla moglie nieghi quest’ultimo favor,
non rifiutarlo ai prieghi del mio materno cor.
Morrò, ma queste viscere consolino i suoi baci,
or che l’estrema è giunta dell’ore mie fugaci.
Spenta per man del padre,
la man ei stenderà sugl’occhi d’una madre
che mai più non vedrà!

EN

I will die, but first, in mercy,
Oh! at least allow me
to clasp my only son to my breast.
And if you deny your wife this last favor,
do not refuse it to the prayers of a mother’s heart.
I will die, but let his kisses console this flesh,
now that the last of my fleeting hours has come.
When she is dead by his father’s hand,
he will reach out his hand to close the eyes
of a mother who will never see him again!

FR

Ah! Ah!
Je vais mourir…
Dans ma douleur immense submergée
Et mourir non vengée!…
Mourons pourtant! oui, puisse-t-il frémir
A la lueur lointaine de la flamme de mon bûcher!
S’il reste dans son âme quelque chose d’humain,
Peut-être il pleurera sur mon affreux destin.
Lui, me pleurer!…
Énée!… Énée!…
Oh! mon âme te suit,
A son amour enchaînée,
Esclave, elle l’emporte en l’éternelle nuit…
Vénus! rends-moi ton fils!… Inutile prière
D’un cœur qui se déchire!… A la mort tout entière
Didon n’attend plus rien que de la mort.

Adieu, fière cité, qu’un généreux effort
Si promptement éleva florissante;
Ma tendre sœur qui me suivis errante,
Adieu, mon peuple, adieu; adieu, rivage vénéré,
Toi qui jadis m’accueillis suppliante;
Adieu, beau ciel d’Afrique, astres que j’admirai
Aux nuits d’ivresse et d’extase infinie;
Je ne vous verrai plus, ma carrière est finie!…

EN

Ah! Ah!
I am going to die,
drowned in my great grief –
and to die unavenged!
Yet, we shall die, nevertheless! Yes, may he tremble
at the far-off flicker of flames on my funeral pyre!
If there remains anything human in his soul,
perhaps he will cry over my dreadful fate.
He, crying out to me!…
Aeneas!… Aeneas!…
Oh, my soul follows after you;
chained to its love,
Enslaved, it is borne down into everlasting night.
Venus, render to me your son! Futile prayer
of a heart tearing itself apart. Offering all,
Dido awaits nothing more but death.

Farewell, proud city, only through generous effort
So quickly raised, flourishing;
Tender sister, who followed my wandering,
Adieu, my public, adieu; farewell, revered shore,
You who once welcomed me as a suppliant;
Farewell, beautiful African sky, stars that I admired
On nights of intoxication and infinite ecstasy;
I won’t see you again, my reign is over!

DE

Schläfst du, Gast? Ich bin’s: höre mich an!
In tiefem Schlaf liegt Hunding;
ich würzt’ ihm betäubenden Trank:
nütze die Nacht dir zum Heil!
Eine Waffe lass mich dir weisen:
o wenn du sie gewännst!
Den hehrsten Helden dürft’ ich dich heißen:
dem Stärksten allein ward sie bestimmt.
O merke wohl, was ich dir melde!
Der Männer Sippe saß hier im Saal,
von Hunding zur Hochzeit geladen:
er freite ein Weib, das ungefragt
Schächer ihm schenkten zur Frau.
Traurig saß ich, während sie tranken;
ein Fremder trat da herein:
ein Greis in blauem Gewand;
tief hing ihm der Hut,
der deckt’ ihm der Augen eines;
doch des andren Strahl, Angst schuf es allen,
traf die Männer sein mächtiges Dräu’n:
mir allein weckte das Auge
süß sehnenden Harm, Tränen und Trost
zugleich. Auf mich blickt’ er und blitzte auf jene,
als ein Schwert in Händen er schwang;
das stieß er nun in der Esche Stamm,
bis zum Heft haftet’ es drin:
dem sollte der Stahl geziemen,
der aus dem Stamm’ es zög’.
Der Männer alle, so kühn sie sich mühten,
die Wehr sich keiner gewann;
Gäste kamen und Gäste gingen,
die stärksten zogen am Stahl –
keinen Zoll entwich er dem Stamm:
dort haftet schweigend das Schwert. –
Da wusst’ ich, wer der war,
der mich Gramvolle gegrüßt;
ich weiß auch, wem allein
im Stamm das Schwert er bestimmt.
O fänd’ ich ihn heut’ und hier, den Freund;
käm’ er aus Fremden zur ärmsten Frau.
Was je ich gelitten in grimmigem Leid,
was je mich geschmerzt
in Schande und Schmach, –
süßeste Rache sühnte dann alles!
Erjagt hätt’ ich, was je ich verlor,
was je ich beweint, wär’ mir gewonnen,
fänd’ ich den heiligen Freund,
umfing’ den Helden mein Arm!

EN

Are you asleep, dear guest? I’m here: listen to me!
Hunding is sound asleep;
I made him a drugged drink:
use this night to save yourself!
Let me show you a sword:
O if only you could take it down!
I could acclaim you as the noblest of heroes:
it was intended for only the strongest of all.
O listen carefully to what I must tell you!
The men of his tribe sat in this room,
invited guests at Hunding’s wedding.
He was marrying a girl, whom,
without asking, thieves had gifted him as a wife.
Sadly I sat while they drank.
A stranger came in,
an old man in a grey cloak;
his hat was pulled down
so as to cover one eye.
But the glint of the other made them all afraid,
as its authority and sternness met each glance.
To me alone his eye suggested sweet,
yearning sorrow, tears and comfort together.
He looked at me and glowered at them
as a sword flashed in his hand.
This he thrust in the tree trunk,
it lodged there right up to the hilt:
the blade would belong to anyone
who could pull it out of the tree.
All the men, bravely as they tried,
failed to win the weapon.
Visitors came and went,
the strongest tugged at the hilt,
but it moved not an inch from the tree:
there the sword hangs, silently.
But then I knew who it was
that had greeted me in my grief:
and I know, too, for whom alone
he had fixed the sword in the tree.
Oh! would that I could find him here and now,
if he came from far away to the most miserable
of women: all that I suffered in bitter sorrow,
all that yet has caused me pain
in my shame and dishonour –
this sweetest revenge would pay for it all!
I would retrieve what I have lost;
what I wept for would be won back to me;
if I found this blesséd friend
I would embrace him in my arms as a hero.

The trees on the mountains are cold and bare.
The summer just vanished an’ left them there
Like a false-hearted lover jes’ like my own
Who made me love him, then left me alone.

The coals of the hearth have turned gray and sere
The blue flame jes’ vanished an’ left them there,
Like a false-hearted lover jes’ like my own
Who made me love him, then left me alone.

Come back, O summer, come back, blue flame.
My heart wants warmin’, my baby a name.
Come back, O lover, if jes’ fer a day.
Turn bleak December once more into May.

The road up ahead lies lonely an’ far.
There’s darkness around me an not even a star
To show me the way or lighten my heart.
Come back, my lover, I fain would start.

The pore baby fox lies all cold in his lair.
His mama jes’ vanished an’ left him there,
Like a false-hearted lover, jes’ like my own,
Who made me love him, then left me alone;

Come back, O summer, come back, blue flame!
My heart wants warmin’, my baby a name.
Come back, O lover, if jes’ fer a day.
Turn bleak December once more into May.

Come back, O summer! Come back, blue flame!
My heart wants warmin’, my baby a name.
Come back, O lover, if jes’ fer a day.
Turn bleak December once more into May.
Come back! Come back! Come back!

RU
ЛИЗА

Уж полночь близится,
А Германа все нет, все нет.
Я знаю, он придет, рассеет подозренье.
Он жертва случая
И преступленья не может,
не может совершить!
Ах, истомилась, исстрадалась я!..

Ах, истомилась я горем…
Ночью ли, днем, только о нем
Думой себя истерзала я…
Где же ты, радость бывалая?
Ах, истомилась, устала я!
Жизнь мне лишь радость сулила,
Туча нашла, гром принесла,
Все, что я в мире любила,
Счастье, надежды разбила!
Ах, истомилась, устала я!
Ночью ли, днем, только о нем,
Ах, думой себя истерзала я…
Где же ты, радость бывалая?
Туча пришла и грозу принесла,
Счастье, надежды разбила!
Я истомилась! Я исстрадалась!
Тоска грызет меня и гложет…

EN

Midnight is coming on
But Hermann is still not here, he’s still not here.
I know he is coming to take away my doubt;
To say that he’s a victim of circumstance
And incapable of committing
These crimes!
Ah, I am so worn out, I am suffering..

Ah, I am worn out with grief…
Day and night, thinking only of him
I have tormented myself with thoughts…
Where did you go, joy that I once had?
Ah, I am worn out, I am so tired!
Life promised me nothing but happiness,
But the storm cloud found me, bringing thunder,
And all I loved in the world, my happiness
and my hopes were dashed to pieces!
Ah, I am worn out, I am so tired!
Day and night, thinking only of him,
Ah, I have tormented myself with thoughts…
Where did you go, joy that I once had?
The cloud came, and brought the storm,
All happiness, all hope was dashed to pieces!
I am so worn out! I am suffering!
Anguish is gnawing, and will consume me…

IT

Senza mamma, o bimbo, tu sei morto!
Le tue labbra, senza i baci miei,
scoloriron fredde!
E chiudesti, o bimbo, gli occhi belli!
Non potendo carezzarmi,
le manine componesti in croce!
E tu sei morto
senza sapere quanto t’amava
questa tua mamma!

Ora che sei un angelo del cielo,
ora tu puoi vederla la tua mamma,
tu puoi scendere giù pel firmamento
ed aleggiare intorno a me ti sento.
Sei qui, mi baci e m’accarezzi.
Ah! Dimmi, quando in ciel potrò vederti?
Quando potrò baciarti?
Oh! Dolce fine d’ogni mio dolore,
quando in ciel potrò salire?
Quando potrò morire?

Dillo alla mamma, creatura bella,
con un leggero scintillar di stella.
Parlami, amore!

EN

You died without your mother, oh my baby!
Without my kisses, your lips
grew pale and cold!
And your beautiful eyes closed, oh my baby.
I could not caress you,
your little hands composed in a cross!
And you are dead
without knowing how loved you were
by your mother!

Now that you are an angel in heaven,
You are able to see your mama,
you are able to descend from the firmament
and let your essence linger around me.
You are here, and can kiss and console me.
Ah! tell me, when will I see you in heaven?
When will I be able to kiss you?
Oh sweet end to all my sorrow,
when shall I ascend to heaven?
When shall I be able to die?

Tell your mama, beautiful spirit,
with the delicate sparkle of the stars.
Speak to me, my love!

DE

Allmächt’ge Jungfrau, hör mein Flehen!
Zu dir, Gepriesne, rufe ich!
Lass mich in Staub vor dir vergehen,
o, nimm von dieser Erde mich!
Mach, dass ich rein und engelgleich
eingehe in dein selig Reich!
Wenn je, in tör’gem Wahn befangen,
mein Herz sich abgewandt von dir,
wenn je ein sündiges Verlangen,
ein weltlich Sehnen keimt’ in mir,
so rang ich unter tausend Schmerzen,
dass ich es töt’ in meinem Herzen!
Doch, konnt’ ich jeden Fehl nicht büßen,
so nimm dich gnädig meiner an!
Dass ich mit demutvollem Grüßen
als würd’ge Magd dir nahen kann:
um deiner Gnaden reichste Huld
nur anzuflehn für seine Schuld!

EN

Almighty Virgin, hear my prayer!
Blessed art thou, to thee I cry!
Let me perish in dust before you,
O, take me from this earth!
Make that I may, clean, and as an angel,
Enter into thy blessèd kingdom.
If ever, while caught in foolish delusion,
My heart turned away from thee,
If ever a sinful desire,
A worldly longing, sprung up in me,
I wrestled under a thousand sorrows,
That I might kill it there in my heart!
Yet, if I was unable to atone for every fault,
Then mercifully receive me,
That I, with the humblest of greetings,
As a worthy maiden, might approach thee:
To beg the most gracious favor
Of thy mercy for his sin.

To this we’ve come: that men withhold the world from men.
No ship nor shore for him who drowns at sea. No home nor grave for him who dies on land.
To this we’ve come: that man be born a stranger upon God’s earth,
that he be chosen without a chance for choice, that he be hunted without the hope of refuge,
To this we’ve come; to this we’ve come; and you, you, too, shall weep.

If to them, not to God, we now must pray, tell me, Secretary, tell me, who are these men?
If to them, not to God, we now must pray, tell me, Secretary, tell me,
Who are these dark archangels? Will they be conquered? Will they be doomed?
Is there one—anyone behind those doors, to whom the heart can still be explained?
Is there one—anyone who still may care? Tell me, Secretary, tell me!
Have you ever seen the Consul? Does he speak, does he breathe?
Have you ever spoken to him?

Papers! Papers! Papers!
But don’t you understand? What shall I tell you to make you understand?
My child is dead… John’s mother is dying… My own life is in danger,
I ask you for help. And all you give me is …papers!

What is your name? Magda Sorel. Age? Thirty-three.
Color of eyes? Color of hair? Single or married? Religion and race?
Place of birth? Father’s name? Mother’s name?

Papers! Papers! Papers! Papers! Papers! Papers!
Look at my eyes, they are afraid to sleep.
Look at my hands, at these old woman’s hands.
Why don’t you say something? Aren’t you secretaries human beings like us?…

What is your name? Magda Sorel. Age? Thirty-three.
What will your papers do? They cannot stop the clock.
They are too thin an armor against a bullet.
What is your name? Magda Sorel. Age? Thirty-three.
What does that matter?
All that matters is that the time is late, that I’m afraid and I need your help.
What is your name? What is your name? What is your name?

This is my answer: “My name is woman.
Age: still young. Color of hair: gray.
Color of eyes: the color of tears. Occupation: waiting.
Waiting, waiting, waiting!
Waiting, waiting, waiting!

Oh, the day will come, I know,
when our hearts aflame will burn your paper chains.
Warn the Consul, Secretary, warn him.
That day neither ink nor seal shall cage our souls,
That day will come, that day will come!”

Videos

Amelia: Morrò, ma prima in grazia

Sieglinde: Schläfst du, Gast? Der Männer Sippe

Anne Wieben interviews Melanie, Peter & Jesse backstage at the Radio in Bratislava, Slovakia