Act 2
Nothing Changes
2019
from Hadestown
Anaïs Mitchell
Regina Dagenhardt, Rachel Gonsenhauser, and Lyndsey Gore, chamber ensemble
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Anaïs Mitchell’s “Hadestown” intertwines the Greek myths of Orpheus and Eurydice and Hades and Persephone in a 1920s-era setting. In this story, the Fates serve as a trio of omniscient figures, acting as narrators and embodying the internal voices of doubt for mortal and immortal characters alike. Left with no food or shelter, Eurydice is persuaded by Hades to travel to the underworld, bidding her lover Orpheus goodbye. Orpheus arrives in Hadestown to take Eurydice home, but she has already “signed her life away” to Hades. In this song, the Fates mock Orpheus’s foolish mortal attempts to save Eurydice. The Fates say, “Nothing Changes,” while Orpheus—and all of us—still hope that maybe it will turn out well this time.
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Why the struggle, why the strain?
Why make trouble? Why make scenes?
Why go against the grain?
Why swim upstream?It ain’t, it ain’t, it ain’t no use
You’re bound, you’re bound, you’re bound to lose
What’s done, what’s done, what’s done is done
That’s the way the river runsSo why get wet? Why break a sweat?
Why waste your precious breath?
Why beat your handsome brow?Nothing changes
Nothing changes
Nothing changes anyhow
Rumour Has It
2011
Adele
arr. Katherine Bodor
Rachel Gonsenhauser, soloist
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What is a rumor but a story that has experienced one too many rounds of real-life telephone? Adele’s classic “Rumour Has It” is a cheeky take on breakups and the inevitable gossip that ensues.
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She, she ain’t real
She ain’t gonna be able to love you like I will
She is a stranger
You and I have history
Or don’t you remember?
Sure, she’s got it all
But, baby, is that really what you want?Bless your soul, you’ve got your head in the clouds
You made a fool out of you
And, boy, she’s bringing you down
She made your heart melt
But you’re cold to the core
Now rumour has it she ain’t got your love anymoreRumour has it (rumour)
She is half your age
But I’m guessing that’s the reason that you stayed
I heard you’ve been missing me
You’ve been telling people things you shouldn’t be
Like when we creep out and she ain’t around
Haven’t you heard the rumours?Bless your soul, you’ve got your head in the clouds
You made a fool out of me
And, boy, you’re bringing me down
You made my heart melt, yet I’m cold to the core
But rumour has it I’m the one you’re leaving her forRumour has it (rumour)
All of these words whispered in my ear
Tell a story that I cannot bear to hear
Just ‘cause I said it, it don’t mean that I meant it
People say crazy things
Just ‘cause I said it, don’t mean that I meant it
Just ‘cause you heard itRumour has it (rumour)
But rumour has it he’s the one I’m leaving you for
Annabel Lee
World Premiere
Meadow Bridgham
Winner of our 2026 Young Composers Competition
Heather MacDonald, soloist
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Edgar Allan Poe’s “Annabel Lee” is a classic American ballad about love enduring beyond the sudden death of a beloved. Published in 1849, the year Poe himself died under mysterious circumstances, the poem is often understood as a reflection of his grief following the death of his wife, Virginia, two years earlier. Poe described the loss as an almost unbearable oscillation between hope and despair, and “Annabel Lee” gives that grief a story—transforming personal loss into a tale of love that death cannot overcome. Meadow’s setting preserves a romantic-era style that brings Poe’s tale of enduring love and loss vividly to life.
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It was many and many a year ago,
In a kingdom by the sea,
That a maiden there lived whom you may know
By the name of Annabel Lee;
And this maiden she lived with her every* thought
Than to love and be loved by me.I was a child and she was a child,
In this kingdom by the sea,
But we loved with a love that was more than love—
I and my Annabel Lee—
With a love that the wingèd seraphs of Heaven
Coveted her and me.And this was the reason that, long ago,
In this kingdom by the sea,
A wind blew out of a cloud, chilling
My beautiful Annabel Lee;
So that her highborn kinsmen came
And bore her away from me,
To shut her up in a sepulchre
In this kingdom by the sea.The angels, not half so happy in Heaven,
Went envying her and me—
Yes!—that was the reason (all women know,
In this kingdom by the sea)
That the wind came out of the cloud by night,
Chilling and killing my Annabel Lee.But our love it was stronger by far than the love
Of those who were older than we—
Of many far wiser than we—
And neither the angels in Heaven above
Nor the demons down under the sea
Can ever dissever my soul from the soul
Of the beautiful Annabel Lee;For the moon never beams, without bringing me dreams
Of the beautiful Annabel Lee;
And the stars never rise, but I feel the bright eyes
Of the beautiful Annabel Lee;
And so, all the night-tide, I lie down by the side
Of my darling—my darling—my life and my bride,
In her sepulchre there by the sea—
In her tomb by the sounding sea.*Italicized text changed by the composer
The Cloud Capp’d Towers
1951
Ralph Vaughan Williams
Text from William Shakespeare’s “The Tempest”
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In “Cloud-Capp’d Towers,” Ralph Vaughan Williams sets Prospero’s famous meditation from Shakespeare’s The Tempest, in which the magician reflects on the fleeting nature of life: “We are such stuff / As dreams are made on.” The speech itself is a story within a story, as Prospero pauses the action of The Tempest to reflect on the power—and impermanence—of the worlds we create through imagination. Vaughan Williams’s setting captures that dreamlike quality, reminding us that storytelling can transport us into imagined worlds even as it reveals something deeply true about our own.
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The cloud-capp’d towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve,
And, like this insubstantial pageant faded,
Leave not a rack behind: We are such stuff
As dreams are made on, and our little life
Is rounded with a sleep.
Soldier, Poet, King
2015
The Oh Hellos
arr. Andrew Ross
Charlie Ibsen, Heather MacDonald, and Emma Throm, soloists
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“Soldier, Poet, King” is a modern indie folk song whose story’s genre lies somewhere between religious parable, fairy tale, and prophecy. The Oh Hellos were inspired by the C.S. Lewis novel The Screwtape Letters, and intended the three title figures to denote different aspects of Jesus Christ and the Second Coming. For some reason though, I didn’t look any of that up before arranging the song, so it took on a different (or maybe not so different) meaning for me: a conscious decision to face a perilous future with whirling joy and steadfast hope.
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There will come a soldier, who carries a mighty sword
He will tear your city down, Oh-lei, oh-lai, oh, Lord
Oh-lei, oh-lai, oh-lei, oh, Lord, he will tear your city down, Oh-lei, oh-lai, oh, LordThere will come a poet, whose weapon is his word
He will slay you with his tongue, oh-lei, oh-lai, oh, Lord
Oh-lei, oh-lai, oh-lei, oh, Lord, he will slay you with his tongue, oh-lei, oh-lai, oh, LordThere will come a ruler, whose brow is laid in thorn
Smeared with oil like David’s boy, oh-lei, oh-lai, oh, Lord
Oh-lei, oh-lai, oh-lei, oh, Lord, smeared with oil like David’s boy, Oh-lei, oh-lai, oh, Lord
Oh-lei, oh-lai, oh-lei, oh, Lord, he will tear your city down, oh-lei, oh-lai, oh-oh
Children Will Listen
1987
from Into the Woods
Stephen Sondheim
arr. Ryan McCarty
Ryan McCarty, soloist
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Nearly two years ago, I had the joyous privilege of becoming a first-time parent. One of my favorite parts of watching my daughter grow has been reading stories to her and watching her discover the sounds, words, characters, and images that are beginning to shape her view of the world. These experiences inspired me to arrange Sondheim’s “Children Will Listen,” a song about the lasting impact of the stories we tell.
Near the end of Into the Woods, a show that brings together characters from familiar fairy tales and children’s stories, the song “Children Will Listen” reflects on the ways our words and actions shape the children who come after us. The song is a reminder that stories are more than entertainment: they carry memories, values, warnings, and lessons from one generation to the next. As we tell and retell them, those stories become part of what children carry with them throughout their lives—a connection between the past, the present, and the stories still waiting to be told.
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Careful the things you say
Children will listen
Careful the things you do
Children will see and learn
Children may not obey
But children will listen
Children will look to you
For which way to turn
To learn what to be
Careful before you say
"Listen to me"
Children will listenCareful the wish you make
Wishes are children
Careful the path they take
Wishes come true not free
Careful the spell you cast
Not just on children
Sometimes the spell may last
Past what you can see
And turn against you
Careful the tale you tell
That is the spell
Children will listenHow can you say to a child who's in flight
Don't slip away and I won't hold so tight?
What can you say that no matter how slight
Won't be misunderstood?
What do you leave to your child when you're dead?
Only whatever you put in their head
Things that your mother and father had said
Which were left to them tooCareful the things you say
Children will listen
Careful you do it too
Children will see and learn
Guide them but step away
Children will listen
Tamper with what is true
And children will turn
If just to be free
Careful before you say
"Listen to me"
Children will listen
Children will listen
Children will listen
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Bringing together repertoire from many diverse traditions, The Capital Hearings illuminate commonalities between songs of all styles, from all eras – and the communities that birthed them. Our genre-busting mission unites complex jazz, transcendent global and classical music, and dynamic modern hits into a thought-provoking message. The Capital Hearings break down barriers and prompt our audiences to build new bridges of understanding.
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Regina Dagenhardt, soprano
Heather MacDonald, soprano
Emma Throm, mezzo
Rachel Gonsenhauser, alto
Lyndsey Gore, alto
Charlie Ibsen, tenor & vocal percussion
Dileep Srihari, tenor
MG Camarillo, baritone
Ryan McCarty, baritone
Yannick Morgan, bass
Andrew Ross, bass
Han Wagner, bass -
ADMINISTRATION
Trent Perrin, General ManagerBoard of Directors 2026:
Rachel Gonsenhauser, President
Ryan McCarty, Treasurer
Charlie Ibsen, Secretary
Dileep Srihari, At-Large
MG Camarillo, At-LargeRegina Dagenhardt, Performance Director
Miranda Bogen, Program DesignENSEMBLE:
Music Team: Heather MacDonald (lead), Lyndsey Gore, Ryan McCarty, Emma ThromCulture Team: Rachel Gonsenhauser, Regina Dagenhardt, Leila Schochet
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The Capital Hearings are proud to be an Ensemble-In-Residence at All Souls Episcopal Church in the Woodley Park neighborhood of Washington, DC. We are grateful to their parish, vestry, and staff for their support in providing our weekly rehearsal home.
Additionally, the performers offer profound thanks to these incredible partners in bringing our music to the stage:
Our Families and Friends
Contemporary A Cappella League (CAL)
Chorus America
DC Commission on the Arts and Humanities
First Congregational United Church of Christ
National Cherry Blossom FestivalByron Adams
Miranda Bogen
Meadow Bridgham
Nicole Cummings
Shari Feldman
David Gradin
David Markey
Andrea Meier
Emily Pan
Trent Perrin
Linda Sparks
Mother Sara Palmer
Jim & Mary Shaffran -
As a 501(c)(3) organization, The Capital Hearings offer sincere gratitude to Perry Beider, Paul DiVito, Heather MacDonald, Dileep Srihari, and Alex Swartsel for their generous support.
Please join us for a post-concert reception at Urban Roast
This project was supported by the
DC Commission on the Arts and Humanities.