Soprano Dr. Sarah Luebke has appeared in opera, musical theater, and concert stages throughout the United States and Europe. She made her Carnegie Hall debut singing Vivaldi’s Magnificat and Martini's Domine, Ad Adjuvandum Me Festina with Mid-America Productions in 2023. Upcoming engagements include performances with the Sorel Foundation Residency of composer Jennifer Higdon, soprano soloist in Handel’s Messiah with Buffalo Philharmonic Orchestra and Chorus, and soprano soloist in Poulenc’s Gloria with the BGSU Philharmonia.

A trail-blazing interpreter of 21st century vocal repertoire, she has collaborated with and performed works of Chen Yi, Missy Mazzoli, Benjamin Moore, and James Whitbourn. Stage roles include Juno (The Tempest), Masha (Enemies: A Love Story), Isabelle Eberhardt (Songs from the Uproar), Yum-Yum (Mikado), Rose Maybud (Ruddigore), La Fée (Cendrillon), Fiordiligi (Così fan tutte), Lauretta (Gianni Schicchi), Najade (Ariadne auf Naxos), Monica (The Medium), Serpina (La Serva Padrona), Nora (Riders to the Sea), Nella (Gianni Schicchi), Lucinda (Into the Woods), and Jane McDowell (The Stephen Foster Story). Concert work includes Messiah (Handel), Annelies (Whitbourn), St. Matthew Passion (Bach), Requiem (Fauré), Ein deutches Requiem (Brahms). She was as a young artist with Twin Cities’ Opera Guild and Janiec Opera Company of the Brevard Music Festival.

Recognized for her studio teaching, she was selected for the distinguished 2022 NATS Intern Program. She received the 2022 NATS Mario Martinez Intern Prize and 2020 ESM Teaching Assistant Prize. Her students have been winners and finalists in the National Classical Singer Competition, Schubert Club Competition, Schmidt Vocal Competition, state, regional and national NATS auditions, and The Voice (NBC). They have been accepted into top music schools and performance programs, including The Juilliard School, Eastman School of Music, Boston Conservatory, Interlochen Summer Music Festival, and the Brevard Music Festival.

Prior to her appointment at BGSU, Dr. Luebke taught applied voice and pedagogy at the State University of New York at Fredonia and French lyric diction at the Eastman School of Music.

Dr. Luebke received the DMA in vocal performance with concentration in vocal pedagogy from the Eastman School of Music, the MM in vocal performance from the University of Kentucky, and the BM in vocal performance with minor in French from St. Olaf College. Her principal teachers include Kathryn Cowdrick, Robert McIver, and Everett McCorvey.

With more than two decades experience as a vocal coach, collaborative pianist, choral conductor, and organist, Kevin J. Bylsma is a musician of impressive depth and ability, well known for his work in opera, art song, and oratorio. A longtime member of the Toledo Opera staff, Mr. Bylsma is currently the Head of Music Preparation and Chorus Master, and was recently names Co-Artistic Director with the company. He was formerly Music Director of the Department of Community Programs for the Michigan Opera Theatre and vocal coach, accompanist, and chorus master for OPERA! Lenawee. In recitals and master classes he has collaborated with the great American singers Samuel Ramey, Diane Soviero, Marilyn Horne, Dawn Upshaw, Michelle De Young, Irina Mishura, Katherine Lewek, and Jennifer Rowley. He is the Co-founder and Artistic Director of the Ann Arbor Festival of Song, and, for the past twenty-eight years, he has served the historic Mariners’ Church of Detroit as Associate Organist and Choirmaster.

Dedicated to the education and training of the next generation of operatic talent, Mr. Bylsma is Coordinator of Opera and Repetiteur at Bowling Green State University’s College of Musical Arts, responsible for vocal coaching and serving as a collaborative pianist for the school’s large body of young singers. Mr. Bylsma also served on the artistic staff of OperaWorks, an intensive opera training program, based in Los Angeles, CA.

A native of Grand Rapids, MI, Mr. Bylsma received his musical training at Calvin College, Bowling Green State University, and the University of Michigan—where he received the Robert Glasgow Organ Scholarship.

Flutist Keren Schweitzer has performed with Yo Yo Ma’s Silk Road Ensemble, and has toured throughout China, Japan, South America, Canada and the United States. She has appeared on numerous occasions with the Los Angeles Philharmonic and has performed chamber music concerts with its members. Additionally, she has routinely performed as Guest Principal Flute of the Reno Chamber Orchestra. Dr. Schweitzer is currently the Assistant Teaching Professor of Flute at Bowling Green State University. She has also served on faculty at Claremont Graduate University, Mount Saint Mary’s University, Cerritos College, and the Colburn School. Also a published writer, her articles on music have appeared in Symphony Magazine, The Paris New Music Review, and Salon Arts Magazine.

Keren has been the recipient of many awards including the winner of the 2011 Byron Hester Flute Competition, the winner of the 2010 National Flute Association Convention Performer’s Competition, First Prize at the 1997 Flute Talk Competition, and a finalist in the 2000 Concert Artists Guild Competition. While a student, she won the concerto competitions at Cincinnati College- Conservatory of Music and the Manhattan School of Music. She has performed at the Tanglewood, Pacific, Spoleto, Caramoor, and Bowdoin Music Festivals and with the Verbier Festival Orchestra. Most recently, she has appeared in recital at the University of Idaho, Pasadena City College, the University of Houston, the 2017 MACCC convention in San Francisco, and at numerous National Flute Association Conventions.

As a flute teacher, her students have recently been accepted to prestigious institutions including the Juilliard School, Eastman School of Music, Manhattan School of Music, Peabody Conservatory, University of Michigan, University of Texas, UCLA, and Cal Arts. She has conducted masterclasses at the University of Idaho, The University of Southern Mississippi, Mexico City/YOLA- LA Philharmonic, and the Instituto Baccarelli. Included among her former flute students are the Principal Flute of the Milwaukee Symphony and a prizewinner in the Munich Competition.

Dr. Schweitzer is a graduate of the University of Michigan with honors, the Cincinnati College-Conservatory of Music, and the Manhattan School of Music where she received her DMA in flute performance. Her principal teachers include Jeanne Baxtresser, Linda Chesis, and Byron Hester.

“Blute nur, du liebes Herz!” from Saint Matthew Passion

Blute nur, du liebes Herz                    Bleed now, loving heart!

Ach! ein Kind, das du erzogen,            Ah! A child, whom you reared,
Das an deiner Brust gesogen,             That sucked at your breast,
Droht den Pfleger zu ermorden,           Is threatening to murder its guardian
Denn es ist zur Schlange worden.        For that child has become a serpent.


“Rejoice greatly, O daughter of Zion” from Messiah

Rejoice greatly, O daughter of Zion, shout,
O daughter of Jerusalem:
behold, thy King cometh unto thee.

He is the righteous Saviour,
and He shall speak peace unto the heathen.


“Solitudini amiche…. Zeffiretti lusinghieri” from Idomeneo

Solitudini amiche, aure amorose,                    Solitudes friendly, breezes amorous
piante fiorite, e fiori vaghi, udite                     lovely flowers and blossoming plants listen
d’una infelice amante I lamenti,                      the unhappy laments of her lover
che a voi lassa confido.                                  Who forsaken confides in you.
Quanto il tacer presso al mio vincitore,           How much it costs my afflicted heart
quanto il finger ti costa afflitto core!               to hide my love afflicts my heart!

Zeffiretti lusinghieri,                                       Zephyrs gently caressing
Deh volate al mio tesoro:                               Oh, fly to my beloved
E gli dite, ch'io l'adoro                                    And tell him that I adore him
Che mi serbi il cor fedel.                                and keep his heart faithful.

E voi piante, e fior sinceri                              and you plants, and flowers tender
Che ora innaffia il pianto amaro,                    which my bitter tears water
Dite a lui, che amor più raro                           tell him that a love more rare
Mai vedeste sotto al ciel.                               never saw beneath the sky.

Haï luli

Je suis triste, je mʹinquiète,                            I am sad, I am anxious,
je ne sais plus que devenir.                             I no longer know what’s to become of me.
Mon bon ami devait venir,                              My lover was to have come,
et je lʹattends ici seulette.                              And I wait for him here alone.
Haï luli! Haï luli!                                              Hai luli, hai luli,
Où donc peut être mon ami?                          How sad it is without my lover!

Je mʹassieds pour filer ma laine,                     I sit down to spin my wool,
le fil se casse dans ma main.                          The thread snaps in my hand:
Allons, je filerai demain;                                 Well then! I shall spin tomorrow,
aujourd'hui je suis trop en peine                    Today I am too upset.
Haï luli! Haï luli!                                              Hai luli, hai luli,
Quʹil fait triste sans son ami!                         Where can my lover be?

Ah! s'il est vrai qu'il soit volage,                      Ah! If it’s true that he’s unfaithful,
sʹil doit un jour mʹabandonner,                        And will one day abandon me,
le village nʹa quʹà brûler,                                 Then let the village burn
et moi-même avec le village!                          And me too along with the village!
Haï luli! Haï luli!                                              Hai luli, hai luli,
A quoi bon vivre sans ami?                            What point is there in living without a lover?

Fleur desséchée

Dans ce vieux livre l'on t'oublie,                        A flower, dried up and withered,
Fleur sans parfum et sans couleur,                    I find, forgotten within a book,
Mais une étrange rêverie,                                 And suddenly with curious thoughts
Quand je te vois, emplit mon coeur.                  My mind begins to fill.

Quel jour, quel lieu te virent naître?                   Where did it blossom? When? In which spring?
Quel fut ton sort? qui t'arracha?                        Did it flower for a long time, and who plucked it?
Qui sait? Je les connus peut-être,                      A strange or a familiar hand?
Ceux dont l'amour te conserva!                          And why was it put here?

Rappelais-tu, rose flétrie,                                   Was it a souvenir of a tender meeting,
La première heure ou les adieux?                       Or of a cruel parting,
Les entretiens dans la prairi                               Or of solitary wandering
Ou dans le boix silencieux?                                In the quiet fields, or the shadow of the forest?

Vit-il encor? existe-t-elle?                                  And lives yet "he", or "she"?
À quels rameaux flottent leurs nids!                   And where is their abode now?
Ou comme toi, qui fus si belle,                           Or have they withered already
Leurs fronts charmants sont-ils flétris?               Like this mysterious flower?

Aime‑moi

Tu commandes qu'on t'oublie,                              You order me to forget you,
J'ai grand peine à t'obéir;                                     I have great trouble in obeying you;
Mais ainsi le veut ma mie,                                    But that is what my darling desires,
Son désir est mon désir.                                       Her wish is my wish.
Vraiment, mon désir,                                            Truly my wish,
Lorsque joyeux je m'élance,                                  When joyously I throw myself on you,
Tu rougis et veux me fuir;                                     And you redden and wish to flee me;
Mon amour est une offense,                                 My love offends you,
Pourquoi donc t'en souvenir?                                Why, then, remind yourself of it?

Mais quoi! des pleurs, ma belle;                            But what is this? Tears, my love?
Écoute, apaise-toi;                                                Listen, calm yourself;
Plus de folle querelle,                                            No more insane quarrelling,
Je t'adore, aime-moi.                                             I adore you, love me.
 

Wie erkenn' ich mein Treulieb

Wie erkenn’ ich mein Treulieb                                 How shall I know my true love 
Vor andern nun?                                                     From others now?
An dem Muschelhut und Stab                                 By his cockle hat and staff 
Und den Sandalschuh’n.                                          And his sandal shoes.

Er ist tot und lange hin,                                           He is dead and long gone, 
Tot und hin, Fräulein.                                               Dead and gone, lady!
Ihm zu Häupten grünes Gras,                                  At his head green grass, 
Ihm zu Fuß ein Stein.—O, ho!                                  At his feet a stone. O, ho!

Auf seinem Bahrtuch, weiß wie Schnee,                    On his shroud white as snow 
Viel liebe Blumen trauern:                                         Many sweet flowers mourn. 
Sie gehn zu Grabe naß, o weh,                                 They’ll go wet to the grave, alas, 
Vor Liebesschauern.                                                  Wet with love’s showers.

Guten Morgen, 's ist Sankt Valentinstag

Guten Morgen, ’s ist Sankt Valentinstag,                    Good morning, it’s St Valentine’s Day, 
So früh vor Sonnenschein                                            So early before sunrise.
Ich junge Maid am Fensterschlag                                I, young maid at the window, 
Will euer Valentin sein.                                                Shall be your Valentine.

Der junge Mann tut Hosen an,                                     The young man put trousers on, 
Tät auf die Kammertür                                                 Opened up the chamber door,
Ließ ein die Maid, die als Maid                                     Let in the maid who as a maid 
Ging nimmermehr herfür.                                              Departed nevermore.

Bei Sankt Niklas und Charitas,                                       By St Nicholas and Charity, 
Ein unverschämt Geschlecht!                                        What a shameless breed!
Ein junger Mann tut’s wenn er kann,                              A young man does it when he can,
Fürwahr, das ist nicht recht.                                          Which is, forsooth, not right.

Sie sprach: Eh’ ihr gescherzt mit mir,                              She said: before you trifled with me, 
Verspracht ihr mich zu frei’n.                                          You promised to marry me.
Ich bräch’s auch nicht, bei’m Sonnenlicht!                       I’d not, by sunlight! have broken my word, 
Wär’st du nicht kommen herein.                                      If you had not come in.

Sie trugen ihn auf der Bahre bloss

Sie trugen ihn auf der Bahre bloß,                                   They carried him naked on the bier, 
Leider ach leider den Liebsten!                                        Alas, alas, the dear one!
Manche Träne fiel in des Grabes Schoß:                           Many a tear dropped in the grave— 
Fahr’ wohl, meine Taube!                                                  Farewell, farewell, my dove!

Mein junger frischer Hansel ist’s der mir gefällt,               My young fresh Johnnie it is
Und kommt er nimmermehr?                                            I love—and will he come never more?
Er ist tot, o weh!                                                              He is dead, ah woe!
In dein Todbett geh,                                                        To your deathbed go,
Er kommt dir nimmermehr.                                               He will come to you never more.

Sein Bart war weiß wie Schnee,                                      His beard was white as snow, 
Sein Haupt wie Flachs dazu:                                           His head was like flax.
Er ist hin, er ist hin,                                                         He is gone, he is gone,
Kein Trauern bringt Gewinn:                                            Nothing comes of mourning:
Mit seiner Seele Ruh!                                                      May his soul rest in peace

Und mit allen Christenseelen! darum bet’ ich!—             With all Christian souls! That is my prayer! 
Gott sei mit euch.                                                           God be with you!

The Giraffes Go to Hamburg (text by from Isak Dinesen’s Out of Africa)           

In the harbour Mombasa lay a rusty German cargo-steamer, homeward bound.
Upon the deck there stood a tall wooden case,
and above the edge of the case rose the heads of two Giraffes.
They were going to Hamburg, to a travelling Menagerie.

The Giraffes turned their delicate heads from the one side to the other,
as if they were surprised, which they might well be.
They had not seen the Sea before.
They could only just have room to stand in the narrow case.
The world had suddenly shrunk,
changed and closed round them.

They could not know or imagine the degradation to which they were sailing.
For they were proud and innocent creatures,
gentle amblers of the great plains;
they had not the least knowledge of captivity,
cold, stench, smoke, and mange,
nor of the terrible boredom in a world in which nothing is ever happening.

Crowds will be coming in from the wind and sleet of the streets to gaze on the Giraffes.
They will point and laugh at the long slim necks

when the graceful, patient, smoky-eyed heads are raised over the railing of the menagerie;
they look much too long in there.
The children will be frightened at the sight and cry,
or they will fall in love with the Giraffes, and hand them bread.
Then the fathers and mothers will think the Giraffes nice beasts,
and believe that they are giving them a good time.

In the long years before them,
will the Giraffes sometimes dream of their lost country?
Where are they now, where have they gone to,
the grass and the thorn-trees, the rivers, water-holes and the blue mountains?
The high sweet air over the plains has lifted and withdrawn.
Where have the other Giraffes gone to,
that were side by side with them when they set going,
and cantered over the undulating land?
They have left them, they have all gone,
and it seems that they are never coming back.

In the night where is the full moon?

Good-bye, good-bye,
I wish for you that you may die on the journey,
both of you,
so that not one of the little noble heads,
that are now raised, surprised,
over the edge of the case,
against the blue sky of Mombasa,
shall be left to turn from one side to the other,
all alone,
in Hamburg, where no one knows Africa.

Spring Dreams

春  眠  不  觉  晓，                                                       Spring dreams, unconscious of dawning,
处  处  闻  啼  鸟。                                                       Not woke up till I hear birds singing,
夜  来  风  雨  声，                                                       Oh, night long, wind and showers,
花  落  知  多  少。                                                       Know you how many petals falling?

Monologue

前  不  见  古  人,                                                          Where are the sages of the past,
后  不  见  来  者。                                                       And those of future years?
念  天  地  之   悠  悠,                                                   Sky and earth forever last,
独  怆  然  而  涕  下。                                                 Lonely, I felt sad with running tears.