My journey through song......

Farah Ghadiali, Soprano

Yuko Yagishita, Piano
Paolo Rinaldi , Piano

PGAD Final Recital

Monday, June 05, 2017. The Old Royal Naval College Chapel, Greenwich.
 My journey through song encapsulates my three years in
London and at the Trinity Laban Conservatoire of Music & Dance. To put this
experience in a sentence, I could say that ‘this has been a the difficult,
uncomfortable, trying and yet the most fulfilling period of my life’. There have
been times when I felt like I was living in a parallel world filled with agony and
ecstasy; many a times both emotions at the same time. Every piece in this
recital has a special connection in this adventurous journey and I almost feel
like I relive these three years in these songs.
I have been fortunate enough to have this experience where I was able
to ‘observe’ – myself and the world instead of just going through the motions of
life. More than anything, this has been a voyage of self-discovery and
acceptance of my strengths and limitations and what I want from life, a
confirmation of my never ceasing bond with singing. This is a perfect ode to
express my feelings for music and everything that comes with it!
 Programme
On Mighty Pens (The Creation) F. J. Haydn (1732-1809)

Laudate Dominum (Vesperae Solennes De Confessore W. A. Mozart (1756–1791)

- K. 339)
Vado, ma dove? (Il burbero di boun cuore- K. 583) W. A. Mozart (1756–1791)

Non disperar (Guilio Cesare) G. F. Handel (1685–1759)

When I have sung my songs E. Charles (1895-1984)

O, Zitre Nicht (Die Zauberflöte – K. 620) W. A. Mozart (1756–1791)

Interval
An Chloe (K. 524) W. A. Mozart (1756–1791)

Verschwiegene Liebe (Op. 26. No.3) H. Wolf (1860-1903)

Andres Maienlied (Op. 8. No.8) F. Mendelssohn (1809-1847)

Morgen (Op. 27. No. 4) R. Strauss (1864-1949)

Lascia ch’io pianga (Rinaldo) G. F. Handel (1685–1759)

The tree of many names (Mintern) J. Dove (1959- )

Se son vendicata (Il matrimonio segreto) D. Chimarosa (1749-1801)

F. J. Haydn (1732-1809) The Creation
On Mighty Pens
For much of his life Haydn’s energies were devoted primarily to composing orchestral and instrumental music. The
supreme choral masterpieces of his old age – The Creation. In common with opera, and like most oratorios – though
not Messiah - The Creation has named characters and is divided into acts and scenes. These consist of sequences of
choruses, recitatives and arias. The work begins with an extended orchestral introduction, ‘Representation of Chaos.’
Parts One and Two then describe the six days of Creation, each of which follows a threefold pattern comprising biblical
narrative, descriptive central section and hymn of praise. Part Three is devoted entirely to the appearance of Adam
and Eve who sing of the wonder and perfection of God’s newly created world and of their happiness together. The air,
On mighty pens is sung by an archangel Gabriel and describes how the birds were created with effective instances of
musical word-painting.
This piece represents the beginning of my journey in music; when I got the news in March 2014 that I was accepted at
Trinity Laban and that I could learn music in a conservatoire. I felt like I was on the lofty wings of a bird, soaring high!

W. A. Mozart (1756–1791) Vesperae Solennes De Confessore ( K. 339)

Laudate Dominum
Mozart was arguably the most gifted musician in the history of classical music. His inspiration is often described as
'divine', but he worked assiduously, not only to become the great composer he was, but also a conductor, virtuoso
pianist, organist and violinist. Mozart's music embraces opera, symphony, concerto, chamber, choral, instrumental and
vocal music, revealing an astonishing number of imperishable masterpieces. Vesperae solennes de Confessore, or
“Solemn Vespers”, was Mozart’s final composition for the Salzburg Cathedral in 1780, before departing his hometown in
search of greater artistic opportunities in Vienna. The text consists of five Psalms and the Magnificat canticle. Mozart's
conservative employer, Archbishop Colloredo, liked his services short, and demanded that musical settings be
straightforward with no repetition of the text. Despite these restrictions, Mozart's music abounds in exuberant
imagination. Each movement seems an attempt by the composer to overcome Colloredo’s restrictions in a different
way. The third movement, Laudate Dominum (Psalm 117) it is often performed as a standalone work.

This piece represents my prayer to the almighty just before I left for a distant land (all alone and rather petrified!), far
away from the home I love.

Laudate Dominum, omnes gentes, Praise the Lord, all ye nations (people),
laudate eum omnes populi. praise him, all ye people .
Quoniam confirmata est For his loving kindness (mercy)
super nos misericordia ejus, has been bestowed upon us,
et veritas Domini manet and the truth of the Lord endures
in aeternum. Amen for eternity. Amen

W. A. Mozart (1756–1791) Il burbero di boun cuore- K. 583

Vado, ma dove?
This aria is from the opera “Il burbero di buon cuore”(the good hearted curmudgeon) which is an opera drama giocoso
in two acts. The opera was written by the Spanish composer Vincent Martin Y Soler but he left it incomplete since he
was called to work in the court of Catherine the Great. Hence, Mozart finished the operas with two arias including this
one. This is sung in the second act by Madame Lucilla who receives a letter from her husband’s attorney stating that all
their fortunes have been lost. She realizes that she has spent it all on a lavish lifestyle and now they can’t even afford
her sister-in-law’s dowry and she may have to live in a nunnery. This aria is now performed largely as one of Mozart’s
famous concert arias.
This piece represents how lost I felt when I first arrived in London. It is also the first piece my vocal coach at that time,
the Late Robert Aldwinckle recommended and hence has a very special place in my heart.
Vado, ma dove? Oh Dei! I go, but where? Oh Gods!
Se de' tormenti suoi, For your torments
se de' sospiri miei For my sighs
non sente il ciel pietà! Does heaven feel no pity?

Tu che mi parli al core, You, who speaks to my heart

Guida i miei passi, amore; guide my steps, love:
Tu quel ritegno or togli You are not the same
Che dubitar mi fa. It makes me doubt you.

G. F. Handel (1685–1759) Guilio Cesare

Non disperar
The best known of all Handel’s operas, Giulio Cesare in Egitto (1724) has been performed more times, in more
countries, than any other. A great success in it’s own time, it was one of the most important works in the twentieth-
century revival of interest in Handel’s operas.
Cleopatra has heard that her brother Tolomeo has killed Caesar’s rival, Pompey, in order to influence Caesar.
Cleopatra also wants to influence Caesar, but she decides to use her beauty to seduce him instead. In a constant power
struggle with her brother, she tells him who is in control and asks him to forget ruling over the kingdom and instead
pay more attention to finding love.
To me, the aria represents the constant power struggle in the world of music. It also refers to the idea of “Que sara
sara” or who knows what will happen (so why despair)?
Anzi, tu pur, effeminate amante And you also, effeminate lover
Va dell’eta su I primi nati albori Go of your age on its first born dawns
Di regno invece a coltiva gli amori Instead of the kingdom, cultivate your love.
Non disperar, chi sa? Do not despair. Who knows? 

se al regno non l’avrai,
avrai sorte in amor.
 If cannot be lucky in reigning, you shall have good
Mirando una beltà,
 fortune in love.Look at a beautiful women,
in essa troverai a consolar un cor in her you will find enough to console your heart. 


E. Charles (1895-1984)
When I have sung my songs
Ernest Charles, born Ernest Grosskopf, was an American singer and composer of the 20th century. After attending
college, he moved to New York City from his hometown of Minneapolis, changed his surname to Charles, and began his
professional career in music. He performed in vaudeville shows and Broadway reviews, but gained more fame from his
compositions. Between 1930 and 1950, he wrote some 45 songs His songs are known for their expressive, rubato
quality and charming melodies.
Though this is a romantic song about true love and dedication to one person only; in my eyes it is an ode to music itself!
Something I could never give up for the world.

W. A. Mozart (1756–1791) Die Zauberflöte – K. 620

O, Zitre Nicht
Mozart's opera, Die Zauberflöte (the Magic Flute) another opera in the in the form of a Singspiel premiered on September 30, 1791,
in the Freihaus-Theater auf der Wieden in Vienna just two months before the composer's premature death. The theatre was
occupied by Mozart's friend Emanuel Schikaneder's acting troupe. Schikaneder wrote the libretto for the opera and also starred
in the opera as Papageno. When composing the opera, Mozart expertly considered his cast and wrote their vocal parts according
to their own vocal expertise including casting his sister- in- law as the Queen of the night and also included Masonic symbolism.
In the opera the Queen of the Night appears in front of Prince Tamino who is lost in a strange land. She gives him a portrait of her
daughter (Pamina) who has been stolen from her and asks him to rescue Pamina and once he has done so, as a reward, she will
be his.
This opera and in particular the role of the Queen of Night has been very intriguing and interesting to study for me. It is my dream
role with so many subtleties and layers to it.
O zittre nicht, mein lieber Sohn, Oh, tremble not, my dear son!
du bist unschuldig, weise, fromm – You are innocent, wise, pious;
Ein Jüngling so wie du, vermag am besten, A youth like you is best able
das tiefbetrübte Mutterherz zu trösten.– to console this deeply troubled mother's heart.
Zum Leiden bin ich auserkoren, I am chosen for suffering
denn meine Tochter fehlet mir. For my daughter is gone from me;
Durch sie ging all mein Glück verloren, Through her all my happiness has been lost,
ein Bösewicht, ein Bösewicht entfloh mit ihr. A villain, a villain fled with her.
Noch seh' ich ihr Zittern I can still see her trembling
mit bangem Erschüttern, with fearful shaking,
ihr ängstliches Beben, her frightened quaking,
ihr schüchternes Streben. her timid effort.
Ich mußte sie mir rauben sehen. I had to see her stolen from me.
"Ach helft! Ach helft!" – war alles was sie sprach "Oh help! Oh help!" – was all that she said –
allein vergebens war ihr Flehen, But in vain was her pleading,
denn meine Hilfe war zu schwach. For my powers of help were too weak.
Du, du, du wirst sie zu befreien gehen, You, you, you will go to free her,
du wirst der Tochter Retter sein! – You will be my daughter's savior.
ja! du wirst der Tochter Retter sein. Yes, you will be the rescuer of my daughter.
Und werd' ich dich als Sieger sehen, And if I see you return in triumph,
so sei sie dann auf ewig dein. Let her then be yours forever

W. A. Mozart (1756–1791)
An Chloe (K. 524)
It is a chiche of musical criticism that Mozart’s best songs are to be found in his operas. Many of Mozart’s best songs
were written during periods when he was working on his best operas and An Chloe during the composition of Don
Giovanni. It is a poem about an eager lover and his passion for a girl. Mozart’s own feelings of desire are mirrored in
this song. Mozart’s letters to his wife Constanze while he was away from her on his often frustrating concert tours
refer continually to the pleasures of the flesh and his unashamed longing for his marital rights
Mozart had written to his father a few years ago that the peom was to be Just a dutiful daughter of the music.
But this lied shows Mozart’s increasing awareness of the significance of the words of a poem and in this lied, we have
a near perfect fusion of Wort & Ton (word and music)
This lied represents the passion and youthful exuberance with which all my vocal coaches at Trinity Laban namely,
Robert Aldwinckle, Helen Yorke and Kelvin Lim have shared their knowledge and experience with me.
Wenn die Lieb' aus deinen blauen, When love shines from your blue,
Hellen, offnen Augen sieht, bright, open eyes,
Und vor Lust hinein zu schauen and with the pleasure of gazing into them
Mir's im Herzen klopft und glüht; my heart pounds and glows;
Und ich halte dich und küße and I hold you and kiss
Deine Rosenwangen warm, your rosy, warm cheeks,
Liebes Mädchen, und ich schließe lovely maiden, and I clasp
Zitternd dich in meinem Arm, you trembling in my arms,
Mädchen, Mädchen, und ich drücke maiden, maiden, and I press
Dich an meinen Busen fest, you firmly to my breast,
Der im letzten Augenblicke which at the last moment,
Sterbend nur dich von sich läßt; only at death, will let you go;
Den berauschten Blick umschattet then my intoxicated gaze is shadowed
Eine düstre Wolke mir, by a gloomy cloud,
Und ich sitze dann ermattet, and I sit then, exhausted,
Aber selig neben dir. but blissful, next to you.

H. Wolf (1860-1903)
Verschwiegene Liebe (Op. 26. No.3)
The poet Eichendorff had in his book Robert und Guiscard written the poem, Verschwiegene Liebe when Guiscard
stands at his open window, breathes in the sent of the lilac, senses his sweetheart Marie nearby and sings the song
from the dept of his heart. But Wolf was probably thinking of Melanie Kochert with whome he was clandestinely
involved. According to Wolf’s first biographer, Ernst Decsay, this song was composed in one single flash of inspiration.
Wolf, with a book of Eichendorff’s poems in hand was walking in his friend’s garden immersing himself in the mood of
the poem. Unable to bear the noise of the nearby factory, and disturbed by the noise from the carpet beating from
the neighbour’s house, he turned about, entered the house, went to the piano and wrote out the complete song with
hardly a pause for breath.
The lied also known as Silent love imbibes the idea of sehnsucht and experiencing emotions internally thus drawing
the listener into the song rather than overtly expressing the piece, a vital lesson all of us students have been
constantly advised by our teachers and coaches.
Über Wipfel und Saaten Over treetops and corn
In den Glanz hinein - and into the splendor -
Wer mag sie erraten, who may guess them,
Wer holte sie ein? who may catch up with them?
Gedanken sich wiegen, Thoughts sway,
Die Nacht ist verschwiegen, the night is mute;
Gedanken sind frei. thoughts run free.
Errät es nur eine, Only one guesses,
Wer an sie gedacht one who has thought of her
Beim Rauschen der Haine, by the rustling of the grove,
Wenn niemand mehr wacht when no one was watching any longer
Als die Wolken, die fliegen - except the clouds that flew by -
Mein Lieb ist verschwiegen my love is silent
Und schön wie die Nacht. and as fair as the night.

F. Mendelssohn (1809-1847)
Andres Maienlied (Op. 8. No.8)
Mendelssohn’s Opus 34 (published in 1837) has his most famous song, Auf Flugen des Gesanges (or on wings of songs
my pleasure) quite well known even now. But the most vivid and original of Mendelssohn’s earlier songs evoke the
supernatural world in which he so delighted Andres Maienlied known as Hexenlied, meaning the Witches’ Song.
Hexenlied with its graphic, virtuoso piano writing (almost like the witches flying past on their broomsticks) portrays
the frenzied goings-on of the witches’’ Sabbath on the Broken mountain in music of furous energy, half mocking, half
menacing, drawing from its power from the insistent repetition of short, hammering phrases. There is a moment of
calm and then a gradual buildup of tension and sudden explosive sforzandi.
This lied represents all things menacing that I have faced in the last three years.
Die Schwalbe fliegt, The swallow soars,
Der Frühling siegt, The spring outpours
Und spendet uns Blumen zum Kranze! Her flowers for garlands entrancing;
Bald huschen wir Soon shall we glide
Leis' aus der Tür, Away and ride,
Und fliegen zum prächtigen Tanze! Hey-day, to the spirited dancing!
Ein schwarzer Bock, A black billy goat,
Ein Besenstock, A broomstick o' back,
Die Ofengabel, der Wocken, The prangs of a poker will pitch us;
Reißt uns geschwind, We'll ride a steed
Wie Blitz und Wind, With light'ning speed
Durch sausende Lüfte zum Brocken! Direct to the mountain of witches.

Um Beelzebub The dancing bands

Tanzt unser Trupp All kiss the hands
Und küßt ihm die kralligen Hände! Like claws that belong to the devil,
Ein Geisterschwarm While other swarms
Faßt uns beim Arm Have grabbed our arms
Und schwinget im Tanzen die Brände! And brandish their torches in revel!
Und Beelzebub Old Satan swears
Verheißt dem Trupp To make repairs
Der Tanzenden Gaben auf Gaben: With promise of marvellous pleasure;
Sie sollen schön All spirits glad
In Seide geh'n In silk are clad,
Und Töpfe voll Goldes sich graben! Unearthing great chestfuls of treasure.
Ein Feuerdrach' A dragon flies
Umflieget das Dach, Now down from the skies
Und bringet uns Butter und Eier. With presents of food for the table.
Die Nachbarn [seh'n]1 The neighbours sight
Die Funken weh'n, The sparks in flight
Und schlagen ein Kreuz vor dem Feuer. And cross themselves as fast as they're able.
Die Schwalbe fliegt, The swallow soars,
Der Frühling siegt, The spring outpours
Und Blumen entblühn zum Kranze Her flowers for garlands entrancing;
Bald huschen wir Soon shall we glide
Leis' aus der Tür, Away and ride,
Juheisse, zum prächtigen Tanze! Hey-day, to the spirited dancing!

R. Strauss (1864-1949)
Morgen (Op. 27. No. 4)
A writer once summed up the typical Straussian melody as being “Motionless ecstasy” and his setting of this lied is a
fine example of the definition. It was the fourth piece in a collection of 4 pieces of Opus 27 composed as a wedding gift
to his wife who was a singer Pauline. Initially, he set the accompaniment for piano alone, and for piano with violin. It
was not until three years later, in 1897, that he arranged the accompaniment for orchestra, still with the violin solo,
which is its feature. It remains one of Strauss's best-known and most widely recorded works.  The German love poem
Morgen was written by Strauss's contemporary, John Henry Mackay who was a radical socialist but the poem does not
represent this side of his character. Morgen tells of the hopes of two lovers that the morrow will see them united, lost
to the world in each other’s eyes.

This piece is dedicated to my two lovely and very talented pianists and Duo partners, Yuko and Paolo. Unfortunately, we
do have to go in different directions at the moment but we will definitely see our Morgen very soon!

Und morgen wird die Sonne wieder scheinen,
und auf dem Wege, den ich gehen werde,
wird uns, die [Seligen]1, sie wieder einen
inmitten dieser sonnenatmenden Erde
Und zu dem Strand, dem weiten, wogenblauen,
werden wir still und langsam niedersteigen,
stumm werden wir uns in die Augen schauen,
und auf uns sinkt des Glückes Schweigen ........
And tomorrow the sun will shine again,
and on the path I will take,
it will unite us again, we happy ones,
upon this sun-breathing earth
And to the shore, the wide shore with blue waves,
we will descend quietly and slowly;
we will look mutely into each other's eyes
and the silence of happiness will settle upon us ......

G. F. Handel (1685–1759) Rinaldo

Lascia ch’io pianga
As a young man, Handel's father insisted that he study law, and forbade him access to an instrument, but he managed
to hide a small clavichord (a relatively quiet keyboard instrument) in the attic and became one of the best known
composers in the world. Rinaldo was the first opera Handel wrote for London, and the first "Italian" opera to be
written specifically for the city. The story is based on a work by Tasso, and was originally put into English. But, since
audiences expected Italian opera, it was translated to Italian for its debut. The story takes place during the Crusades.
The military officer, Rinaldo, was promised the hand of Almirena if he succeeds in taking Jerusalem from the Saracen
chief, Argante. The sorceress, Armida, the consort of Argante, spirits Almirena away. This aria is sung by Almmirena
while she is captive in Jerusalem.

This aria represents the helplessness I felt and continue to feel knowing that my music studies cannot continue due to
a ‘technicality’.
Lascia ch'io pianga mia cruda sorte, Let me weep for my cruel fate
E che sospiri la libertà！ And sigh after freedom!
Il duolo infranga queste ritorte de miei martiri sol per May sorrow, out of pity, break the ropes of my sufferings,
pieta. of my sufferings.
J. Dove (1959- ) Mintern
The tree of many names
Jonathan Dove is a prolific contemporary English composer who has composed over twenty diverse operatic works, a
number of song cycles, orchestral and instrumental works, choral music for concerts and liturgical use, large
ensembles, stage works and music for theatre, film and TV. Mintern is a song cycle composed in 2007 for voice, violin
and cello and was based on the poems written by Vikram Seth in honour of Lady Digby and the 45 th anniversary
summer music school of Dorset. It compares the tree of many names (also known as the wedding cake tree,
handkerchief tree and ghost tree) to the various stages of a day from sunrise to sunset and from youth to the
inevitable death with the tree standing through it all as a witness.

Dove was one of many composers who has written specifically for the golden voice of my teacher, Patricia Rozario.
This song cycle too was written for her and to be able to sing it in my recital is a privilege in itself.

D. Chimarosa (1749-1801) Il matrimonio segreto

Se son vendicata
Il matrimonio segreto - The secret marriage is an 18 th -century Italian comic opera by Domenico
Cimarosa. The plot revolves around a rich Italian businessman and his two daughters. He attempts to marry off
his elder daughter (Elisetta) to a Count with disastrous results- the Count has declared his love for the younger
daughter (Carolina who is secretely married). One of the most successful comic operas of the late eighteenth century,
Cimarosa’s Il Matrimonio Segreto has a lot of influence of Mozart in the music, and the characters are in
the commedia dell’arte style so typical of this genre. Filled with comic in trigues and confusions, the
libretto by Giovanni Bertati is about following your heart. In this aria, almost, Elisetta (the elder
daughter) has had her revenge and sings triumphantly.
This piece is dedicated to all the singers who have worked so hard and have achieved success inspite
of all the hurdles that life throws at them.
Sarete or persuasa ch'è il Conte, e non Paolino, Now that you are convinced that it’s the count and not
quello di cui è invaghita? Paolino who she’s in love?
Ma non vi penso or più: sarà finita. But I’m not thinking of it anymore, it’s over.

Se son vendicata contenta già sono. Al Conte perdono If I am revenged, I will be happy. I pardon the Count his
la sua infedeltà. infidelity.
Se tolto è l'oggetto che il cor gl'incatena, If the one who has ensnared his heart is removed,
con faccia serena la man mi darà. With a tranquil countenance, he will give me his hand.
Pianist Yuko Yagishita was born in Yokohama City, Kanagawa, Japan. She
graduated from the Piano Department of Instrumental Music, Faculty of Music
of Tokyo University of Arts (Tokyo Geijutu Daigaku) and received the Doseikai
Award and Yomiuri Award for New Musicians and Artists. Subsequently, she
got her Master's Degree from the Piano Department of Graduate School of
Tokyo University of Arts and then from April 2011 to March 2013 she worked as
assistant for Solfège department at Faculty of Music of Tokyo University of
Arts. She received several prizes in competitions in Japan and has performed
in various concerts in Europe including Vienna, Austria, Paris, France, Milan,
Italy and London, UK. Yuko was appointed as a pianist in Salvia concert hall
from 2011 to 2013 in Japan.
In September 2013 Yuko began studying with eminent piano pedagogues, Deniz
Gelenbe and Gabriele Baldocci at Trinity Laban Conservatoire and has been in
London ever since. She has performed at the Jaques Samuel Competition
Prizewinners' series in St James's Church, Piccadilly in 2015. She was awarded
the Trinity College London Diploma LTCL Piano Recital with distinction in 2015.
In summer 2016, Yuko participated in Opera Socrates (Eric Satie), a joint
project with Tel Aviv University and Waseda University, supervised by
Professor Michal Grover-Friedlander. She plays as an accompanist for the UK-
Japan Choir and has recently she won the 1st prize at Rosenblatt Recitals
Competition for accompaniment. Yuko enjoys performing solo as well as a
chamber musician and an accompanist with singers all over the UK.

Pianist Paolo Rinaldi was born in 1991 into a family of

musicians; his parents being accomplished pianists and
pedagogues. He completed his undergraduate and postgraduate
degrees in Music (with honors) from the Conservatoire of Music
of Mantova, Italy. As a recipient of a part-scholarship, he moved
to London in 2013 to study with Sulamita Aronovsky at the Royal
Academy of Music, where He completed the Master of Arts in
Piano Performance with Merit in 2015. In September 2016 he
began a Post Graduate Advanced (Artist) Programme at Trinity
Laban Conservatoire of Music & Dance, studying with Deniz
Gelenbe and Peter Tuite, supported by the "Trinity Laban Award".
Paolo has just won the Elizabeth Schumann Lieder Duo
Competition in May 2017.
Over the past few years Paolo has been selected to take part in
masterclasses with Niklas Pokki, Pascal Rogé, Ian Fountain, Rolf
Hind, maestro Bruno Canino, Boris Petrushansky and Andrej
Jasinski at "Mozarteum" in Salzburg. He has given a number of
solo recitals in Italy, France and Switzerland. In London he made
his debut at the Regent Hall for the Beethoven Society of Europe
in 2015 and since then has performed extensively in venues
across the UK.. Paolo is the vice-president of the “Artis Magistri”
cultural association bequeathed by Maestro Arturo Benedetti
Michelangeli”. He is in the process of becoming Steinway Artist.
Coloratura Soprano Farah Ghadiali graduated with a high
distinction in the Master's Degree in Management from the
University of Mumbai and went on to work in marketing. In
September 2014 she changed the direction of her life and came
to London to study classical music and studies with Patricia
Rozario at the Trinity Laban Conservatoire of Music, where she is
a Trinity College London Scholar. She completed her Masters in
Music in 2016 and is currently pursuing the Post Graduate
Advanced (Artist) Programme with the aid of a part-scholarship
from Trinity Laban.
Farah is selected on the student scheme of the Philharmonia
Chorus and has performed with them in venues such as the
Royal Albert Hall and the Royal Festival Hall.
She performs regularly in solo and shared recitals at venues in
London, Oxford, Kent, Eastbourne and Surrey. Since January
2017, she has formed a duo with pianist Paolo Rinaldi and as Duo
Farinaldi, they have performed in over ten concerts this spring
in venues across London including St. James Piccadilly. Farah
also performs regularly with pianist Yuko Yagishita in venues
such as St. John Smith’s Square, St. Mathews, Westminister and
Crown Court Church of Scotland, Covent Garden.
www.farahghadiali.com
One morning in May,
As we strolled hand in hand beneath the tree, The sun rose.
We could see. The fluttering doves emerge from out the mist.
There was no more to say, we kissed.
One evening in May.
As I strolled by myself beneath the tree. The moon rose.
I could see. The handkerchiefs that shivered as they slept.
There was no more to say, I wept.
One midnight in May.
As, old at last, I strolled beneath the tree.
The starlight let me see.
The trembling ghosts that wooed me as they cried.
There was no more to say, I died.

When I have sung my songs to you I’ll sing no more

T’would be a sacrilege to sing at another door
We’ve worked so hard to hold our dreams just you and I
I could not share them all again I’d rather die
With just the thought that I had loved so well so true
That I could never sing again
That I could never never sing again except to you!

And God said:

Let the waters bring forth abundantly the moving creature
that hath life, and fowl, that may fly above the earth
in the open firmament of heaven.
(Genesis 1:20)
On mighty pens uplifted soars the eagle aloft,
and cleaves the sky in swiftest flight to the blazing sun.
His welcome bids to morn the merry lark,
and cooing calls the tender dove his mate.
From ev’ry bush and grove resound the nightingale’s delightful notes.
No grief affected yet her breast, nor to a mournful tale were tun’d
her soft, enchanting lays.