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30 Hearts

30 Hearts is a nonprofit providing family-based care for orphaned and vulnerable children in Ethiopia.

Millions of children in Ethiopia have been orphaned or abandoned due to poverty and disease. These children often struggle to survive without food, clean water, or shelter. Many children end up on the streets and become vulnerable to human trafficking, abuse, trauma or child labor. 30 Hearts partners with local nonprofits in Ethiopia to provide holistic, residential care for orphaned and vulnerable children. We build and operate Family Development Centers where children are raised by Ethiopian women in multiple homes. We empower children to rise out of poverty while demonstrating the love of Jesus through the love of a family.


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Olivia is a soprano from Richmond, VA. Currently a senior at Baldwin Wallace University, she cherishes every opportunity to tell stories as a singing-actress, whether through opera, oratorio, or musical theater. She is equally passionate about vocal science, and her long-term goal is to pursue vocology as well as performance. Performance credits include Tolomeo in Baldwin Wallace’s production of Giulio Cesare, Damigella in L’incoronazione di Poppea, Kate McGowan in Titanic the Musical, and chorus in Le Nozze di Figaro and the Pirates of Penzance. She is especially grateful to her beloved classmates, professors, family, and friends for their endless support and to Jesus from whom all blessings flow.


Cuatro Madrigales Amatorios           Joaquin Rodrigo (no poet)

  1. De los Álamos vengo, Madre

  2. Con que la lavare?

  3. Vos me matasteis

  4. De donde venis, amore?


Joaquin Rodrigo was born in Valencia, Spain in 1901. He became blind at the age three due to diphtheria in his hometown. Rodrigo studied in Paris in the 1920s, learning his unique Spanish-style of composition. He emulated the music of the 16th-18th centuries in his own works, while also adding his own modern flare. In his set, Cuatro Madrigales Amatorios (Four Madrigals of Love), Rodrigo captures the essence of what life is like to live, whether it be in 1560 when the poems were written, in 1947 when the songs were first set for soprano and piano, or in the present. Each song represents love, loss, flirtations, or death. In “De los Álamos vengo, Madre,” the singer is excited to tell her mother about the wonderful time she had in Seville with the poplars and her new lady-friend. In “Con que la lavare?” the singer is lamenting the trials and tribulations she must face, along with all of the other women around her. This song emulates the struggles of the peoples of Honduras and El Salvador and the state of their lives. In “Vos me matasteis,” the singer states plainly that the privileged girl, or the United States of America in my interpretation, has killed her in their cruelty and disregard. She sees the river but never makes it over and dies on her way to a better future. In “De donde venis, amore?” the singer knows where her lover has been (cheating on her) and wants to make him beg. Each of these songs are gems on their own and put together create a beautiful tapestry of the lives of the people on Central America.

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