guests will fave! Set-oven to 450 degrees. Ingredients: 2 80z cans of mixed fruit cocktail (drained, ° ~ v? oo a Libertino) Libretto by WH Auden and Chester Kallman Suggested by a series of engravings by C18 artist William Hogharth Ee, ’ ge by John Werlschek BY IGOR STRAVINSKY (Der Wustling-Carriera d’un First performed at the Teatro La Fenice, Venice, September 11, 1951 Sung in English Oh, the tragic Opera! The grandeur, the passion, the agony. The music, the voices, the stories. A dying art, so full of the ironies of indecisions peculiar to romance. So much pathos, so cathartic; so dated, so timeless. So classic. . Listen, in 1968 when | was 18, | went to.see my first opera, ll Travatore. | had dressed in the appropriate suit and tie for my date (a young woman two years older than | was) who thought that Opera was an “exquisitely passionate art form.” For whatever reasons one could give, | fell asleep, while she sat beside me, entranced by the drama. | was wakened by the resounding and familiar sound of the Anvil Chorus. On stage, withthe curtains pulled to, were over a.dozen, half- dressed members of the cast poised around and rhythmically pound- ing an over-sized golden anvil, their oiled bodies glistening in the theatrical lighting. | had recognised one of the “tunes”. | tried getting involved with the rest of the story and | did stay awake for the rest of the performance. | never saw her again. And | didn’t see another opera for 16 years. Perhaps and proba- bly, it was a factor of cost, fear (of falling asleep) and an iconoclastic attitude. | did, however, have a routine of working in my dark- room every Saturday afternoon and every Saturday afternoon, the CBC broadcast the Opera.| started listening. Four years ago, | relented. Or perhaps, | had built up some courage. | bought season tickets. | was determined.It had taken so long to realise that | had been unprepared. And, being unprepared, | had be- come intimidated. | had ex- pected to go to the Opera and be entertained. | thought | would see performed what | ex- pected. | began to worry that | had forgotten to bring that passion | thought my date had had that first night. _ The Vancouver Opera Society tried so hard to make the opera accessible. It tried novel staging, updating the setting to contemporise the story, altering the setting to contexturalise the story, and singing in English. None of this worked for me. | went to see every production. | wrote reviews and promos: some are good, some bad, go anyway, but get the cheap ticket deals. INFO re: cheap tickets. . Traviata was the last - production of the 88/9season and AIDA was in town, too. Sphinx and all, | had lunch with an acquaintance and we discussed, coquettishly, the merits of both events. | found myself declaring that the only OPERA wort attending must be in Italy. So there! How arrogant. Sometimes we get so caught up in our lives that we forget the gifts that we are given. | was given a gift. | saw an opera in Italy this Spring. And | realised how right | had been at that lunch and how agi | had been about almost everything else. It took a trip to Florence to find that out. LISTEN, it took me almost twenty years. | hope it doesn’t take you that long. Here’s the story: (Listen) THE RAKE’S PROGRESS (Der Wustling-Carriera d’un Libertino) will be performed at the Queen Elizabeth Theatre, October 21,24, 26, 28. The Music is by Igor (Rights of Spring) Stravinsky, the words (libretto) by WH Auden and Chester Kallman. The sets are designed by David Hockney. Tom Rakewell is a young man flirting with his thoughts and flitting between fidelity to Anne and his own aspirations and ambitions. Anne, is the daughier of Trulove, and is totally devoted to Tom. Tom thinks he can do better and flippantly wishes for money, which he believes will satisfy his life. Nick Shadow appears from nowhere to tell all that Tom has received an inheri- tance that will make him rich beyond his dreams. Tom only has to come to the city with him to sign the appropriate forms. What a set-up! It’s the classic tale of temptation. Of course , Tom leaves. Of course, Anne wonders about him. Of course Tom falls further into the Shadows plan. Of course, Tom feels worse and worse. Of course, Anne, sweet Anne, would try to find him. Of course, his marriage to Baba, the bearded lady would bother Anne. 0.. Of course, Anne would still love him. Of course, Tom would sink deeper into hig shame. Of course, Tom , full of guilt and remorse finds himself at the edge of his grave about to part with his soul. Nick Shadow has won. BUT . Go see the opera It’s cheap if you time it right. ‘Mmh yes/ then I'd take the kiss of seed-cake back from his mouth...” It's been 12 years since Kate Bush burst on the British music scene with her ghostly “Wuthering Heights”, a homage to Emily Bronte’s book of the same name, her voice leaping over the Yorkshire moors. Her newest album boasts a new literary inspiration. “Sensual World”, which is currently gracing the UK air waves and will no doubt be doing the same in Canada, by the time this goes to press, is sung from the point of view of Molly Bloom, James Joyce’s heroine of his master work “Ulysses”. “Sensual World” is a lush celebration of all that there is to enjoy in the physical world, Molly rolling euphorically in the arms of her lover as her proposes marriage. (Mmh Yes...”) Catherine Bush was born in 1958, the only daughter to an English country doctor and his Irish wife. She has two much older brothers, John Carder (Jay), a professional photographer, and Paddy, a multi-instrumentalist musician with the Irish folk band Planxty. Kate if entirely self-taught; she started writing songs when she was 11, after her father showed her Middle C on the piano. “The Man With The Child In His Eyes”, which appeared on her debut album, “The Kick Inside”, she wrote when she was 14 on her bedroom wall. David Gilmour, an old Cambridge ac- quaintance through a friend of her brother's, recorded it when she was 15, for the demo that got her signed on EMI. As she was so young, EMI gave her 3000 pounds for two years and told her to “grow up”. During this time, Kate Studied dance and mime, and gigged around South London with her brothers and some of their friends as the “KT Bush Bana” Finally, in 1977, EMI brought her into the studio to record her first album, although the original demos of “The Man With The Child In His Eyes” and “The Saxophone Song” were used as is. Kate is blessed with a four octave vocal range and an uncanny voice, that when mixed with her often startling subject matter and her evocative piano/Fairlight playing, produces some of the most original music being composed today. lanet of the Arts Vol. 5 no. 1 Fall 198¢ Although she has been enormously successful in England and Europe, for many years she maintained only a cult following in Canada, and anonymity in the States. Her 2nd, 3rd and 4th albums were never released in the States until her 1985 tour de force, “Hounds of Love” bumped Madonna from the top of the UK charts. Then America started taking notice. Kate has her own 48 track recording Studio hidden somewhere in Kent, where she lives with her long time lover/bassist/engineer Del Palmer. She composes on the piano and a state-of- the-art 8 octave sampler keyboard, the “Fairlight”. In addition to Del and Paddy who play on “Sensual World”, David Gilmour contributes some guitar, and 3 Bulgarian grandmothers provide some unusual backing vocals. The album also includes the exquisite “This Woman's Work”, a cut originally re- leased on the sound track for John Hughes’ dreadful film “She’s Having A Baby’. As well, “Rocket's Tail” (Rocket is her cat), and “Deeper Understand- ng”, a song that will no doubt have her audience wondering what she does late at night with her Fairlight: “As the people grow coider/| turn to my com- puter... | press Execute.” A little more trivia: the UK 12 inch of “Sensual World” is a double groove pressing, which means that there are two paraliel bands scratched into the wax, SO depending on which “scratch” your needle goes down on, you'll hear different versions.| fey ra Guests will fave! Set-oven to 450 degrees. Ingredients: 2 Gaz cans of mixed frutt cocktail (4rainedpianet of the Arts Vol. 5 no. 1. Fall 1986 The adhe & Libertino) Libretto by WH Auden and Chester Kallman ‘Suggested by a series of engravings by C18 artist William Hogharth Rake's oe by John WerlscheR BY IGOR STRAVINSKY. (Der Wustling-Carriera d'un First performed at the Teatro La Fenice, Venice, September 11, 1951 ‘Sung in English Oh, the tragic Opera! ‘The grandeur, the passion, the agony. ‘The music, the voices, the stories. Addying art, so full of the ‘So much pathos, so cathartic; so dated, so timeless. So classic. Listen, in 1968 when | was 418, | went to.see my first opera, Travatore. I had dressed in the appropriate sult and tie for ‘my date (a young woman two years older than I was) who thought that Opera was an “exquisitely passionate art form.” For whatever reasons ‘one could give, ell asleep, while she sat beside me, entranced by the ‘drama. Iwas wakened by the resounding and familiar sound of the Anvil Chorus. On stage, with the curtains pulled to, were ‘over a dozen, halt- dressed members of the cast poised around and rhythmically pound- ing an over-sized golden anvil their oiled bodies glistening the theatrical lighting, had recognised one of the “tunes”. ried getting involved with the rest of the story and | did stay awake for the rest of the performance. never saw her again. And \ didn’t see another opera for 16 years. Perhaps and proba- bly, itwas a factor of cost, fear (of faling asleep) and an iconoclastic attitude. did, however, have a routine of working in my dark- room every Saturday aftemoon, and every Saturday afternoon, the CBC broadcast the Opera! started listening. Four years ago, | relented. Or perhaps, | had built up some ‘courage. | bought season tickets. | was determined.It had taken so long to realise that | had been unprepared. And, being unprepared, | had be- ‘come intimidated. | had ex- pected to go to the Opera and be entertained. | thought | would see performed what | ex- pected. | began to worry that | had forgotten to bring that ppassion | thought my date had had that first night. ‘The Vancouver Opera ‘Sooiety tried so hard to make the opera accessible. It tried novel staging, updating the setting to contemporise the story, aterng the seting to ccontexturalise the story, and singing in English. None of this worked for me. Iwent to see every production. I wrote reviews and promos: some are ‘good, some bad, go anyway, but get the cheap ticket deals. INFO re: cheap tickets. Traviata was the last production of the 88/9season and AIDA was in town, too. ‘Sphinx and all, had lunch with an acquaintance and we discussed, coquettishy, the merits of both events. | found ‘myself declaring that the only OPERA worth attending must be in Italy. So there! How arrogant. ‘Sometimes we get 50 ‘caught up in our lives that we forget the gifts that we-are given. Iwas given a gift. | saw an opera in Italy this Spring. ‘And | realised how right had been at that lunch and how valu I had been about almost everything else._It took a trip to Florence to find that out, LISTEN, it took me almost twenty years. | hope it doesnt take you that long. Here's the story: (Listen) THE RAKE'S PROGRESS (Der Wustling-Carriera d'un Libertino) will be performed at the Queen Elizabeth Theatre, October 21,24, 26, 28. The Music is by Igor (Rights of Spring) Stravinsky, the words (libretto) by WH Auden and Chester Kallman. The sets are designed by David Hockney. ‘Tom Rakewell is a young ‘man fling with his thoughts and fitting between fidelity to ‘Anne and his own aspirations and ambitions. Anne, is the daughter of Trulove, and is totally devoted to Tom. Tom thinks he can do better and flippantly wishes for money, which he believes will satisty his life. Nick Shadow appears from nowhere to tel all that ‘Tom has received an inheri- tance that will make him rich beyond his dreams. Tom only has to come to the city with him to sign the appropriate forms. What a setup! it's the classic tale of temptation. ‘Of course , Tom leaves. Of course, Anne wonders about him. ‘Of course Tom falls further into the Shadows plan. Of course, Tom feels worse and worse. ‘Of course, Anne, sweet ‘Anne, would ty to find him. ‘Of course, his marriage to Baba, the bearded lady would other Anne. 0.. Of course, Anne would stil love him. tf course, Tom would sink deeper into his shame. ‘Of course, Tom , full of ‘uit and remorse finds himself at the edge of his grave about to part with his soul. Nick ‘Shadow has won, BUT . Go see the opera It’s cheap if you time it right. Bushs Her nsva\ Wort Se ‘mh yes/ then I'd take the kiss of ‘seed-cake back from his mouth...” It's been 12 years since Kate Bush burst on the British music scene with her ghostly “Wuthering Heights’, a ‘homage to Emily Bronte’s book of the ‘same name, her voice leaping over the Yorkshire moors. Her newest album boasts a new literary inspiration. *Sensual World”, which is currently gracing the UK air waves and wil no doubt be doing the same in Canada, by the time this goes to press, is sung {rom the point of view of Molly Bloom, James Joyce's heroine of his master work “Ulysses”. "Sensual World” is a lush celebration of al that there is to ‘enjoy in the physical world, Molly rolling ‘euphorically in the arms of her lover as her proposes marriage. (Mmh Yes...’) Catherine Bush was born in 1958, the only daughter to an English country doctor and his Irish wife. She has two ‘much older brothers, John Carder (Way), a professional photographer, and Paddy, a mult- instrumentalist musician with the Irish folk band Planxty. Kate if entirely self-taught; she started writing songs when she was 11, after her father showed her Middle C on the piano. “The Man With The Child In His Eyes’, which appeared on her debut album, “The Kick Inside’, she wrote when she was 14 on her bedroom wall. ‘David Gilmour, an old Cambridge ac- quaintance through a friend of her brother’, recorded it when she was 15, for the demo that got her signed on EMI. As she was so young, EMI gave ‘her 3000 pounds for two years and told her to “grow up". During this time, Kate studied dance and mime, and gigged ‘around South London with her brothers ‘and some of their friends as the "KT Bush Band” Finally, in 1977, EMI brought her into the studio to record her first album, although the original demos of “The Man With The Child In His Eyes" and “The Saxophone Song” were used as is. Kate is blessed with a four octave vocal range and an uncanny voice, that when mixed with her often startling subject ‘matter and her evocative piano/Fairight laying, produces some of the most original music being composed today. Although she has been enormously ‘successful in England and Europe, for ‘many years she maintained only a cult following in Canada, and anonymity in the States. Her 2nd, rd and 4th albums were never released in the States until her 1985 tour de force, “Hounds of Love" bumped Madonna from the top of the UK charts. Then ‘America started taking notice. Kate has her own 48 track recording studio hidden somewhere in Kent, where she lives with her long time lover/bassistengineer Del Palmer. She ‘composes on the piano and a state-of- the-art 8 octave sampler keyboard, the “Fairlight”. In addition to Del and Paddy who play on "Sensual World”, David Gilmour contributes some guitar, and 3 Bulgarian grandmothers provide some unusual backing vocals. The album also includes the exquisite “This Woman's Work’, a cut originally re- leased on the sound track for John Hughes" dreadful film "She's Having A Baby’. As well, “Rocket's Tail” (Rocket is her cat), and “Deeper Understand- ‘ng’, a song that will no doubt have her audience wondering what she does late at night with her Fairlight: “As the ‘people grow colder/I turn to my com- puter... press Execute.” A litle more trivia: the UK 12 inch of "Sensual World” is a double groove pressing, which means that there are ‘two paraliel bands scratched into the wax, so depending on which “scratch” ‘your needle goes down on, you'll hear different versions. el Hp.