24. When I began this review Robert Ashley was alive. In light of his death, I feel a compulsion to redraft and make these twenty-five points address something more. I want to talk about seeing Foreign Experiences and Lectures to Be Sung performed, about composition and improvisation, contemporary opera, and the intersection of music and language. Ashley’s work is full of good discussions. I’m attracted to the just-some-dude delivery style and storytelling aspects in the operas. One of my composer pals can’t follow the stories at all, and seems obsessed with the involuntary speech in Ashley’s work. Ashley’s work is so dense, and there are so many lessons that I take away from his work as a performer and writer. It’s hard to limit the discussion, especially given this kind of retrospective appreciation and the span of his work.
April 22nd, 2014 / 12:00 pm
I first learned about Robert Ashley through Peter Greenaway, thanks to his Four American Composers series. I rented all four videos because I was interested in John Cage and Philip Glass. I didn’t know who Meredith Monk was, or Robert Ashley.
As it turns out, the episode on Ashley interested me the most. I didn’t understand the opera being discussed, Perfect Lives, but I knew I had to hear and watch the whole thing. I took to the internet and discovered that I could order it directly from Lovely Music, on VHS. I did so. It cost me $100—but I had to hear it.
Few people I knew at the time had ever heard of Robert Ashley. When I moved to Illinois and met Mark Tardi and Jeremy M. Davies, we bonded in part over our shared love for Perfect Lives, “an opera for television” made in the late 1970s and early 1980s. It’s still not widely known. It’s still never been broadcast in its entirety in the US. But I’m not alone alone in regarding it one of the greatest operas and long poems in the English language. (John Cage wrote of it: “What about the Bible? And the Koran? It doesn’t matter. We have Perfect Lives.”)