PERFECT LIVES — an opera for television by Robert Ashley
I. The Park (Privacy Rules)
II. The Supermarket (Famous People)
III. The Bank (Victimless Crime)
IV. The Bar (Differences)
V. The Living Room (The Solutions)
VI. The Church (After the Fact)
VII.The Backyard (T'Be Continued)
Raoul de Noget (No-zhay), a singer, and his friend, Buddy, “The World’s Greatest Piano Player,” have come to a small town in the Midwest to entertain at The Perfect Lives Lounge. For some reason, unexplained, they have fallen in with two people from the town, Isolde (“nearing 30 and not yet spoken for”) and her brother, “D,” just out of high school and known as “The Captain of the Football Team” (his parents call him Donnie), to commit the perfect crime, a metaphor for something philosophical: in this case, to remove a sizable amount of money from The Bank for one day (one day only) and “let the whole world know that it was missing.”
Robert Ashley (March 28, 1930 – March 3, 2014) was an American composer, who was best known for his operas and other theatrical works, many of which incorporate electronics and extended techniques.
Ashley was born in Ann Arbor, Michigan. He studied at the University of Michigan with Ross Lee Finney, at the Manhattan School of Music, and was later a musician in the US Army. After moving back to Michigan, Ashley worked at the University of Michigan’s Speech Research Laboratories. Although he was not officially a student in the acoustic research program there, he was offered the chance to obtain a doctorate, but turned it down to pursue his music. From 1961 to 1969, he organised the ONCE Festival in Ann Arbor with Roger Reynolds, Gordon Mumma, and other local composers and artists. He was a co-founder of the ONCE Group, as well as a member of the Sonic Arts Union, which also included David Behrman, Alvin Lucier, and Gordon Mumma. In 1969 he became director of the San Francisco Tape Music Center. In the 1970s he directed the Mills College Center for Contemporary Music. His notable students include Maggi Payne.