Duets for Sopranos
Linda Cool
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Date: Fri, 9 Jul 93 23:09:19 EDT
From: Linda Cool <co...@dpw.com>
To: co...@panix.com
Subject: Duets
Status: RO
Later in the summer, a friend and I would like to rent
a rehearsal room and a piano and sing some duets -- just
for the fun of it. We are, respectively, a dramatic
soprano and a dramatic coloratura and the following arias
are examples of what is currently is our repertoires.
Dramatic Soprano: Du bist der Lenz/Wagner
Morro, ma prima in grazia/Verdi
Senza mamma/Puccini
Song to the Moon/Dvorak
Dramatic Coloratura: Regnava nel silenzio/Donizetti
Bel raggio lusinghier/Rossini
Ah, fors'e lui...Sempre libera/Verdi
Glitter and Be Gay/Bernstein
Can anyone suggest music for us to work on together? It
doesn't have to be only in the operatic realm. Broadway
show tunes (maybe some Arlen? :-) ), operetta, art songs,
anything really.
Thanks a lot.
Linda Cool
co...@panix.com
j...@trentu.ca
>
>Later in the summer, a friend and I would like to rent
>a rehearsal room and a piano and sing some duets -- just
>for the fun of it. We are, respectively, a dramatic
>soprano and a dramatic coloratura and the following arias
>are examples of what is currently is our repertoires.
>
>Dramatic Soprano: Du bist der Lenz/Wagner
> Morro, ma prima in grazia/Verdi
> Senza mamma/Puccini
> Song to the Moon/Dvorak
>
>Dramatic Coloratura: Regnava nel silenzio/Donizetti
> Bel raggio lusinghier/Rossini
> Ah, fors'e lui...Sempre libera/Verdi
> Glitter and Be Gay/Bernstein
>
>Can anyone suggest music for us to work on together? It
>doesn't have to be only in the operatic realm. Broadway
>show tunes (maybe some Arlen? :-) ), operetta, art songs,
>anything really.
>
Bellini's Norma. Often it is sung as a soprano/mezzo duet, but as far as I
know, Bellini did not specify it to be so, and there have been instances
where Adalgisa is sung by a lighter soprano voice than Norma, suggesting a
more youthful maiden compared to Norma. Or, how about the Presentation of
the Rose scene from Act 2 Rosenkavalier? Octavian, though often sung by
mezzos, can be very effectively tackled by a dramatic soprano. Another
very nice Strauss soprano duet is the Arabella/Zdenka duet, with a truly
glorious melody, from Act 1 Arabella.
Another thought just occured to me --- the selections from a CD of
soprano duets by Schwartzkopf and Irmgard Seefried would be interesting for
you, particularly the Monteverdi and Carissimi. It is on EMI 7-69793-2,
under "Great Recordings of the Century" series.
Cheers,
Joseph So
Toronto, Canada
R. Wilmer
>In article <21lguh$2...@panix.com>, co...@panix.com (Linda Cool) writes:
>>
>...Mira o Norma from
>Bellini's Norma. Often it is sung as a soprano/mezzo duet, but as far as I
>know, Bellini did not specify it to be so, and there have been instances
>where Adalgisa is sung by a lighter soprano voice than Norma, suggesting a
>more youthful maiden compared to Norma. Or, how about the Presentation of
>the Rose scene from Act 2 Rosenkavalier? Octavian, though often sung by
>mezzos, can be very effectively tackled by a dramatic soprano. Another
>very nice Strauss soprano duet is the Arabella/Zdenka duet, with a truly
>glorious melody, from Act 1 Arabella.
>
> Another thought just occured to me --- the selections from a CD of
>soprano duets by Schwartzkopf and Irmgard Seefried would be interesting for
>you, particularly the Monteverdi and Carissimi. It is on EMI 7-69793-2,
>under "Great Recordings of the Century" series.
>
Let me comment on those suggestions. Although they might all be ideal,
my impression from the original posted request was that there was an emphasis
on the difference of the two voices. Only you, Linda, your friend, and
people who have actually heard your voices can judge. (That goes, too
for the suggestions I made earlier.)
Mira, o Norma, requires an ability to blend---that is why Adalgisa,
which was indeed written for another soprano (Giulia Grisi) is
usually sung by a mezzo with an ability to lighten her tone. I
think if the character of the voices is too different, that duet
will not work.
Yes, Octavian and Arabella can be sung by dramatic sopranos. However,
the roles of Sofie and Zdenka require high voices with a great
deal of sustaining power, which some light coloraturas do not have.
For example I would not want to hear a sweet young voice of the Roberta
Peters, Beverly Sills, Lily Pons, Anna Moffo weight try Sofie
or Zdenka: it could be damaging for such a voice.
Finally I would point out that Schwarzkoph and Seefried sang a similar
repertory unlike Linda and her friend. Of course there may nevertheless
be suitable repertory on the suggested CD.
Richard
Braden Mechley
>Later in the summer, a friend and I would like to rent
>a rehearsal room and a piano and sing some duets -- just
>for the fun of it. We are, respectively, a dramatic
>soprano and a dramatic coloratura
>Can anyone suggest music for us to work on together? It
>doesn't have to be only in the operatic realm. Broadway
>show tunes (maybe some Arlen? :-) ), operetta, art songs,
>anything really.
In the proper keys, the two long Norma-Adalgisa scenes from Bellini's NORMA
are definite soprano duets, requiring top Cs from both singers and even giving
each of them the opportunity to sing the higher part at different points. The
first is "Adalgisa!" -- "Alma, costanza!" ... "Oh, rimembranza!" ... "Ah, si,
fa core e abbracciami", while the second is "Me chiami, oh Norma?" ... "Deh,
con te li prendi" ... "Mira, oh Norma." Both are quite gorgeous and will give
you plenty of "blending" practice.
It's been a while since I auditioned this lesser heard score, but it seems to
me that Halevy's LA JUIVE contains at least one good duet for the two soprano
leads, one of whom is "dramatic" (the classic "Falcon" role) and the other of
whom is more lyric-coloratura. (The roles are Rachel and Eudoxie,
respectively.)
Braden Mechley
Department of Classics
University of Washington
Braden Mechley
>Yes, Octavian and Arabella can be sung by dramatic sopranos. However,
>the roles of Sofie and Zdenka require high voices with a great
>deal of sustaining power, which some light coloraturas do not have.
>For example I would not want to hear a sweet young voice of the Roberta
>Peters, Beverly Sills, Lily Pons, Anna Moffo weight try Sofie
>or Zdenka: it could be damaging for such a voice.
Both Peters and Sills sang this part relatively early in their respective
careers, and I don't think it hurt either a bit. Most Sophies are sweet young
things, not dramatic sopranos in vitro. Successful Sophies of the past several
years have included Kathleen Battle, Judith Blegen and Barbara Bonney (three
B's, or four if you count *B*arbara (: !), all singers with good access to the
top in a sweet, floating manner. On the other hand, Barbara Hendricks had some
trouble in her recording of the part precisely because her voice lacked the
lightness and ease on top that a young lyric-coloratura can have. Zdenka is
much the same story, though she hasn't the same trouble of *exposed* high notes
that Sophie has.
All of which reminds me: anyone know who's slated to sing Zdenka on the new DG
recording of ARABELLA with Studer and Sinopoli?
Bob Kosovsky
5 duets for two sopranos - not to mention many other combinations that
two sopranos could probably do anyway (who could not do "So wahr die
Sonne"?). In addition I have another collection of duets by Handel that
contain several for two sopranos (and no doubt your coloratura friend
would get a kick out of some of those Baroque runs).
If you get a chance, why don't you post your program to r.m.c. so we
can see what you've selected?
All the best
Bob Kosovsky
Graduate Center -- Ph.D. Program in Music(student)/ City University of New York
New York Public Library -- Music Division
bitnet: k...@cunyvms1.bitnet internet: k...@cunyvms1.gc.cuny.edu
Disclaimer: My opinions do not necessarily represent those of my institutions.
Linda Cool
In article <21lguh$2...@panix.com> co...@panix.com (Linda Cool) writes:
>
>Later in the summer, a friend and I would like to rent
>a rehearsal room and a piano and sing some duets -- just
>for the fun of it. We are, respectively, a dramatic
>
Which is to say, it is my friend who is the dramatic soprano.
I guess my "respectively" was misleading
but I meant it to refer to "...a friend and I".
As Richard Wilmer noted, I was trying to point out the differences
in our voices. One of the main ones being that my friend
doesn't like to sing anything with "too much black" in a measure!
Whereas I get rather uneasy if I see too much white looming.
I'm being a little facetious, of course ... but not entirely.
Many thanks for all of the suggestions posted so far. There's
something about a "recommendation" that is always a little
exciting, especially if it's for something unfamiliar (to me).
You never know where it might lead and sometimes entire new
vistas appear.
Linda Cool
co...@panix.com
R. Wilmer
>In article <1993Jul12.2...@linus.mitre.org> rwilmer@zinka (R. Wilmer) writes:
>>Yes, Octavian and Arabella can be sung by dramatic sopranos. However,
>>the roles of Sofie and Zdenka require high voices with a great
>>deal of sustaining power, which some light coloraturas do not have.
>>For example I would not want to hear a sweet young voice of the Roberta
>>Peters, Beverly Sills, Lily Pons, Anna Moffo weight try Sofie
>>or Zdenka: it could be damaging for such a voice.
>
>Both Peters and Sills sang this part relatively early in their respective
>careers, and I don't think it hurt either a bit. Most Sophies are sweet young
>things, not dramatic sopranos in vitro.
I am thinking of two duets: the presentation of the rose in Act II
and the closing duet in Act III. The closing duet in Act III
is no problem for Sophie, although the writing for Octavian is
low and may not appeal to the dramatic soprano in question.
Despite what you say about Peters and Sills, I think the Act II
duet is demanding for Sophie and should be attempted only
by singers with experience and a lot of technique under their
belts, particularly in high sustaining power.
I really insist on this point, because it sounds to me like the
question originally came from two young singers, who perhaps do not yet have
much repertory and performing experience.
Richard
Robert Altizer
baritone to sing a duet at the wedding. No particular restriction on
period, composer, or even language, but it should be something enjoyable
to the wedding party -- even if in translation it's somewhat risque.
The only bass/baritone duet that comes immediately to mind is between
Don Giovanni and Leporello, and that has too much recitative to be enjoyed.
(The context, though some would find it inappropriate, would go over well
with the groom.)
Any suggestions?
Regards,
Bob
---
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Braden Mechley
>In article <21v8o4$d...@news.u.washington.edu> ele...@carson.u.washington.edu (Braden Mechley) writes:
>>Both Peters and Sills sang this part relatively early in their respective
>>careers, and I don't think it hurt either a bit. Most Sophies are sweet young
>>things, not dramatic sopranos in vitro.
>
>I am thinking of two duets: the presentation of the rose in Act II
>and the closing duet in Act III. The closing duet in Act III
>is no problem for Sophie, although the writing for Octavian is
>low and may not appeal to the dramatic soprano in question.
It's only low for a lyric soprano, as Lisa della Casa unfortunately demon-
strated in her recording of "Ist ein Traum/Spur nur dich" with Anneliese
Rothenberger (in which della Casa sang Octavian's part). Octavian has to have
an easy G and A here, which is not always the case with some mezzos in the
part. (By the way, does anyone on r.m.c know who sings Faninal and the
Marschallin's little interchange in this scene as recorded by della Casa and
Rothenberger?)
>Despite what you say about Peters and Sills, I think the Act II
>duet is demanding for Sophie and should be attempted only
>by singers with experience and a lot of technique under their
>belts, particularly in high sustaining power.
It's demanding, no question -- many Sophies have had their less than
flawless techniques exposed by those leaps above the staff. That said, the
actual tone quality and vocal size the music requires definitely suit young,
lyrical voices. Such voices not only suit the part individually but also
help to contrast Sophie's sound with those of Octavian and the Marschallin,
who may both be sopranos of some variety themselves. I hope never to hear a
vocally hefty Sophie -- it would be completely wrong.
>I really insist on this point, because it sounds to me like the
>question originally came from two young singers, who perhaps do not yet have
>much repertory and performing experience.
Of course -- no one would want a young singer to try repertoire for which she
is less than ready technically. However, a coloratura who sings the big arias
of Cunegonde, Lucia and Violetta (as Linda's original post stated) either has
the ease of production above the staff that these parts require or has
discovered some amazing way of cranking her instrument up to E-flat (and
beyond??) that I would love to know!
I myself insist that many of the best Sophies were not veterans by any means.
In fact, most sopranos abandon Sophie in favor of Octavian or the Marschallin
eventually (if they continue to sing ROSENKAVALIER at all, as, to cite one
example, Sills did not). Light voices with that much ease on high rarely if
ever stay that way indefinitely. It's only a matter of time before the
girlish sound and dizzying aplomb up there are to some extent modified. How
many Sophies can you name who stuck to the part into their veteran days?
Also, I'd be very interested in hearing who you think has proven a Sophie of
the type you specified, i.e., one with a lot of heft and power. Surveying the
ones on recordings I know -- Hilde Guden, Teresa Stich-Randall, Lucia Popp,
Helen Donath, Janet Perry, Barbara Hendricks, Erika Koth and (soon) Kathleen
Battle -- I would say not one of these sopranos has been anything like what
you seem to have in mind.
Romain Kang
composed for two altos, but is sometimes performed by baritones or
basses. The text seems apt for a wedding. From memory:
Sound the trumpet, till around
You make the list'ning shores rebound.
On the sprightly hautboy play
To celebrate the glories of this day.
I am told there is a bawdy parody, "Pound the strumpet", but
no one was willing to tell me the exact text...
Romain
Mats Bengtsson TX/DK
It is a series of songs for bass, baritone and piano. The texts describe
situations in the student life at the end of the previous century.
The music is varied and very enjoyable to listen to.
I have no idea if they are available in english.
/Mats Bengtsson
R. Wilmer
>In article <1993Jul14.1...@linus.mitre.org> rwilmer@zinka (R. Wilmer) writes:
>>In article <21v8o4$d...@news.u.washington.edu> ele...@carson.u.washington.edu (Braden Mechley) writes:
>>>Both Peters and Sills sang this part relatively early in their respective
>>>careers, and I don't think it hurt either a bit. Most Sophies are sweet young
>>>things, not dramatic sopranos in vitro.
Since I first replied to your posting, I looked up Roberta Peters in
``What they sang at the Met''. Peters sang Sophie in 1953, twice in
the house and 4 times on tour. Now during her career Peters sang
nearly 500 performances at the Met and during that time Rosenkavalier
was given about 100 times. Those numbers lead me to conclude
that Peters did not find Sophie a comfortable role to sing and she
quickly dropped it from her repertory. Beverly Sills, of course,
is notorious for having tried roles that were unsuitable to her
voice---undertakings which, in my opinion, led to a vocal decline
and retirement that were earlier than necessary.
>>I am thinking of two duets: the presentation of the rose in Act II
>>and the closing duet in Act III. The closing duet in Act III
>>is no problem for Sophie, although the writing for Octavian is
>>low and may not appeal to the dramatic soprano in question.
>
>It's only low for a lyric soprano, as Lisa della Casa unfortunately demon-
>strated in her recording of "Ist ein Traum/Spur nur dich" with Anneliese
>Rothenberger (in which della Casa sang Octavian's part). Octavian has to have
>an easy G and A here, which is not always the case with some mezzos in the
>part.
You make a false correlation between range and weight of voice. Whether a
voice is lyric, dramatic, spinto, or coloratura has nothing to do with
its range. Contraltos and basses can have those same differing
degrees of weight and agility. What I was saying is that the final
duet of Rosenkavalier might throw a soprano into a less flattering
tessitura than a mezzo. A mezzo Octavian better have an easy G or
A, because they abound in the role (rather like the Composer in
Ariadne, which is sometimes soprano, sometimes mezzo). By the
way I heard della Casa sing Octavian at the Met (with Rothenberger
and Schwarzkopf) and thought she was the best of those three. I
would not call her a lyric soprano--more of a Straussian, Mozartian
spinto.
>>Despite what you say about Peters and Sills, I think the Act II
>>duet is demanding for Sophie and should be attempted only
>>by singers with experience and a lot of technique under their
>>belts, particularly in high sustaining power.
>
>It's demanding, no question -- many Sophies have had their less than
>flawless techniques exposed by those leaps above the staff. That said, the
>actual tone quality and vocal size the music requires definitely suit young,
>lyrical voices. Such voices not only suit the part individually but also
>help to contrast Sophie's sound with those of Octavian and the Marschallin,
>who may both be sopranos of some variety themselves. I hope never to hear a
>vocally hefty Sophie -- it would be completely wrong.
Of course, it would. ``Heft'' was your word. ``Power'' was mine.
>>I really insist on this point, because it sounds to me like the
>>question originally came from two young singers, who perhaps do not yet have
>>much repertory and performing experience.
>
>Of course -- no one would want a young singer to try repertoire for which she
>is less than ready technically. However, a coloratura who sings the big arias
>of Cunegonde, Lucia and Violetta (as Linda's original post stated) either has
>the ease of production above the staff that these parts require or has
>discovered some amazing way of cranking her instrument up to E-flat (and
>beyond??) that I would love to know!
>
>I myself insist that many of the best Sophies were not veterans by any means.
>In fact, most sopranos abandon Sophie in favor of Octavian or the Marschallin
>eventually (if they continue to sing ROSENKAVALIER at all, as, to cite one
>example, Sills did not). Light voices with that much ease on high rarely if
>ever stay that way indefinitely. It's only a matter of time before the
>girlish sound and dizzying aplomb up there are to some extent modified. How
>many Sophies can you name who stuck to the part into their veteran days?
Well, exactly. But many singers who sing Lucia di Lammermoor *do* stick to
it all their lives (Tetrazzini, Melba, Sutherland, Sills). My point
is that to sing the light coloratura repertory does not mean that
it is wise or safe (which is my real concern) to try Sofie.
>Also, I'd be very interested in hearing who you think has proven a Sophie of
>the type you specified, i.e., one with a lot of heft and power. Surveying the
>ones on recordings I know -- Hilde Guden, Teresa Stich-Randall, Lucia Popp,
>Helen Donath, Janet Perry, Barbara Hendricks, Erika Koth and (soon) Kathleen
>Battle -- I would say not one of these sopranos has been anything like what
>you seem to have in mind.
You mistake what I mean by high sustaining power. That
does not mean a heavy or hefty voice by any means. But it does
take a different technical power to sing those long melodic lines over
a Strauss orchestra that demand more vocal strength (not weight, thickness,
or heft) than the high sustained notes and phrases of Lucia, Violetta,
and Norina.
Richard
j...@trentu.ca
> (By the way, does anyone on r.m.c know who sings Faninal and the
>Marschallin's little interchange in this scene as recorded by della Casa and
>Rothenberger?)
The Faninal in the recording (on EMI S-36436 on LP) is Gunther Leib. His
name is unfamiliar to me.
>>Despite what you say about Peters and Sills, I think the Act II
>>duet is demanding for Sophie and should be attempted only
>>by singers with experience and a lot of technique under their
>>belts, particularly in high sustaining power.
>
>It's demanding, no question -- many Sophies have had their less than
>flawless techniques exposed by those leaps above the staff. That said, the
>actual tone quality and vocal size the music requires definitely suit young,
>lyrical voices. Such voices not only suit the part individually but also
>help to contrast Sophie's sound with those of Octavian and the Marschallin,
>who may both be sopranos of some variety themselves. I hope never to hear a
>vocally hefty Sophie -- it would be completely wrong.
I agree completely. Sophie has to sound youthful as well as look youthful.
I have unfortunately witnessed a few Sophies too mature sounding/looking to
be believable.
>>I really insist on this point, because it sounds to me like the
>>question originally came from two young singers, who perhaps do not yet have
>>much repertory and performing experience.
>
>Of course -- no one would want a young singer to try repertoire for which she
>is less than ready technically. However, a coloratura who sings the big arias
>of Cunegonde, Lucia and Violetta (as Linda's original post stated) either has
>the ease of production above the staff that these parts require or has
>discovered some amazing way of cranking her instrument up to E-flat (and
>beyond??) that I would love to know!
>
>I myself insist that many of the best Sophies were not veterans by any means.
>In fact, most sopranos abandon Sophie in favor of Octavian or the Marschallin
>eventually (if they continue to sing ROSENKAVALIER at all, as, to cite one
>example, Sills did not). Light voices with that much ease on high rarely if
>ever stay that way indefinitely. It's only a matter of time before the
>girlish sound and dizzying aplomb up there are to some extent modified. How
>many Sophies can you name who stuck to the part into their veteran days?
I believe Elizabeth Schuman continued to sing Sophie until she retired
completely from opera in favour of recitals.
>Also, I'd be very interested in hearing who you think has proven a Sophie of
>the type you specified, i.e., one with a lot of heft and power. Surveying the
>ones on recordings I know -- Hilde Guden, Teresa Stich-Randall, Lucia Popp,
>Helen Donath, Janet Perry, Barbara Hendricks, Erika Koth and (soon) Kathleen
>Battle -- I would say not one of these sopranos has been anything like what
>you seem to have in mind.
I heard a tape of Eleanor Steber singing Sophie very early in her career.
It was just a few snippets, and heard it years ago, so don't remember much
except that it seemed obvious the voice was not ideal for Sophie. Needless
to say, she became a noted Marschallin and (even) Wagnerian, singing Elsa
at Bayreuth!!
>Braden Mechley
>Department of Classics
>University of Washington
>
Cheers,
Joseph So
Trent University
Peterborough, Ontario, Canada
Robert Altizer
OK, the fellow who's getting married would love to hear this -- we can do
the "normal" version at the ceremony and the "alternate" version at the
bachelor party. Anybody have the words? (I'll accept email if they're
too lewd for posting.)
Regards,
Bob
---
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# Robert Altizer - Motorola ASIC SQA alt...@chdasic.sps.mot.com #
# 1300 North Alma School Road, M/S CH240 R10908@email #
# Chandler AZ 85224-8517 USA (602) 814-4249(v)/814-4167(f) #
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Jon Conrad
>Braden Mechley writes:
>> (By the way, does anyone on r.m.c know who sings Faninal and the
>>Marschallin's little interchange in this scene as recorded by della Casa and
>>Rothenberger?)
>The Faninal in the recording (on EMI S-36436 on LP) is Gunther Leib. His
>name is unfamiliar to me.
An East German baritone, as he would have been classified then. He
appears on a number of recordings made in Dresden and Leipzig. He's a
fine (if un-Viennese) Papageno on the Eurodisc MAGIC FLUTE in which
Helen Donath is the best Pamina ever, and he sounds lovely on the DG
recording of the Hindemith REQUIEM (in German).
>>I myself insist that many of the best Sophies were not veterans by any means.
>>In fact, most sopranos abandon Sophie in favor of Octavian or the Marschallin
>>eventually (if they continue to sing ROSENKAVALIER at all, as, to cite one
>>example, Sills did not). Light voices with that much ease on high rarely if
>>ever stay that way indefinitely. It's only a matter of time before the
>>girlish sound and dizzying aplomb up there are to some extent modified. How
>>many Sophies can you name who stuck to the part into their veteran days?
>I believe Elizabeth Schuman continued to sing Sophie until she retired
>completely from opera in favour of recitals.
I think Erna Berger, who continued to sing light repertoire (and very
well) until her retirement, kept doing Sophie. For that matter, Helen
Donath did it at the Met just this season, and she's in her 50s.
[By the way, Schumann, in her early years, sang Octavian almost as often
as Sophie! They don't seem to have worried about Fach much then. Often
she'd be Octavian and the young Lotte Lehmann would be her Sophie.]
>>Also, I'd be very interested in hearing who you think has proven a Sophie of
>>the type you specified, i.e., one with a lot of heft and power. Surveying the
>>ones on recordings I know -- Hilde Guden, Teresa Stich-Randall, Lucia Popp,
>>Helen Donath, Janet Perry, Barbara Hendricks, Erika Koth and (soon) Kathleen
>>Battle -- I would say not one of these sopranos has been anything like what
>>you seem to have in mind.
I too was confused by what Richard seemed to be saying. After his last
response, I think I understand better. I would call what he's referring
to the "color" or "timbre" of the voice rather than its weight or heft.
It needs to be a kind of voice with enough "stuff" in its sound to make
a suitable match for the rich instrumental combinations that accompany
it. Just as a Wagnerian tenor need not be a "huge" voice as much as a
"rich" or "deep" voice.
Jon Alan Conrad
Bob Devereaux
Bow, Bow, ye lower middle classes,
Bow, Bow, ye tradesmen, bow ye masses,
Blow the trumpets, bang the brasses,
Tan-tan-tara...
In the dressing room, the third line became, as you might expect, "Blow
the strumpets, bang the lasses." (Disclaimer: This is from distant memory,
so the second half of the line may be not quite right. Rest assured it was
easily converted to bawdry.)
G&S in general was & is this way. In _The Sorcerer_,
False one, begone, I spurn thee,
To thy new lover turn thee.
became
False one, begone, I sperm thee,
To thy nude lover turn thee.
And so forth. It was all very clever, in an adolescent sort of way, at
the time.