Originally aired March 13, 2021.
Springfield newcomer Logan Campbell joins Community Voices to discuss his love of music and share his bass and baritone recital -- An Evening of Song: From Schubert to Verdi.
From the program:
An Evening of Song: From Schubert to Verdi
- Logan Campbell, bass-baritone
- Deb Watts Elliott, piano
UIS Faculty SeriesIllinois Symphony Orchestra Guild Event Program Order
- “La Vendetta” from Le Nozze di Figaro - Mozart (1756-1791)
- “Bois épais” from Amadis - Lully (1632-1687)
- “Quia fecit mihi magna” from Magnificat - Bach (1785-1750)
- “Der Doppelgänger” from Schwanengesang - Schubert (1797-1828)
- “Romans” from 3 Songs for Bass Voice - Sjögren (1853-1918)
- “Some Enchanted Evening” from South Pacific - Rodgers and Hammerstein (1902-1979) (1895-1960)
- “Il lacerato spirito” from Simon Boccanegra - Verdi (1813-1901)
- Old American Song Set #1 - Copland (1900-1990)
- The Dodger
- Long Time Ago
- Simple Gifts
- I Bought Me A Cat
Deb Watts Elliott, piano, is pianist, organist, and music coordinator at Laurel United Methodist Church and leads the Westminster Presbyterian Church Jazz Trio for the Saturday evening service there. She has participated as a vocal director and pit musician for many area musical theatre productions, and also works as a legal assistant at Sorling, Northrup, Hanna, Cullen & Cochran, Ltd. Deb enjoys spending time with her husband, John, and her children and grandchildren, as well as travel.
Program Notes & Translations
“La Vendetta” from Le Nozze di Figaro - Mozart (1756-1791)Composed in 1786, Le Nozze di Figaro has remained a classic in the operatic repertoire. The libretto by Lorenzo da Ponte, librettist for 28 operas including Don Giovanni and Così fan tutte , tells the story of two servants, Susanna and Figaro, who through love wish to marry. This is a problem for Count Almaviva who aims to foil these plans through seduction despite his marriage with the Countess. Nevertheless, through scheming and careful planning, the Count is exposed and taught the lesson of fidelity. This day of madness serves as the setting for numerous dramatic circumstances to unfold. One of the firstis the entrance scene of Dr. Bartolo and Marcellina, Bartolo’s old housekeeper. Through this unique introduction, we are revealed to Bartolo’s vengeance for Figaro, hence the title “La Vendetta.” Figaro had previously borrowed money from Marcellina and agreed to marry her should he be unable to repay her at the appointed time. Having failed to fulfill his side of the bargain, she plans on enforcing the promise by suing him. This conveniently aligns with Bartolo’s frustration with Figaro for thwarting his attempt at marrying Countess Rosina who is now married to Count Almaviva. Bartolo agrees to represent Marcellina in her legal action for free so he can also get his revenge, too.
Some enchanted evening, you may see a stranger, you may see a stranger across a crowded room,And somehow you know, you know even then, that somehow you'll see here again and again.Some enchanted evening, someone may be laughing, you may hear her laughing across a crowded room,And night after night, as strange as it seems, the sound of her laughter will sing in your dreams.Who can explain it, who can tell you why? Fools give you reasons, wise men never try.Some enchanted evening, when you find your true love, when you hear her call you across a crowded room,Then fly to her side and make her your own, or all through your life you may dream all alone.Once you have found her, never let her go, Once you have found her, never let her go.
“Il lacerato spirito” from Simon Boccanegra - Verdi (1813-1901)Simon Boccanegra was not originally well-received by opera lovers in the mid-19th century. Complications of the original plot led to this lack of approval, but with revisions made by Verdi 23 years later, the opera began to be recognized more as a standard in the operatic repertory. This particular aria appears in the prologue, although it was part of Act 1 in the original 1857 version. At any rate, the opening of this production establishes the relationship between Boccanegra and Fiesco, the father of Boccanegra’s lover, Maria. Through a series of events, Maria dies early on and Fiesco is heartbroken and sings thisaria as a sad father.