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The Michigan-Daily-Tuesday, December 5, 1978-Page 9
TO OFFSET DECREASING STATE SUPPOR T:
Faculty seeks alumni dollars-
South African vote
free of violence
V
.
By JOHN SINKEVICS
Emphasizing the need for private
donations from alumni, faculty mem-.
bers from the Literary College (LSA)
discussed yesterday the progress of a
fund-raising campaign within the
college and made suggestions for future
solicitation efforts.
Dean Billy Frye introduced the sub-
ject at the meeting by stressing the
need for outside funding of the colelge
and the desire to involve LSA faculty in
the project.
"THE DECREASING level of state
support shows no sign of reversal and
b this loss of funds must be made up in
other ways," said Frye. "There is a
growing recognition of need for private
' philanthropy and we should garner
TParadise
(Continued from Page 7)
The creation of Eve begins with a
,long silence. Few new sounds are ex-
..plored; the use of sonars, a bass flute
&and some strange reed (a
hecklephone?) are the most exotic
solos.
Even excepting a tonal, or modal, a
,capella chorus sung to Messias, the
score evidences some sort of tonal pull
in several places. Penderecki has
previously used major chords to break
through graphic sludge and startle the
listener (Polymorphia ends on a C
chord), but rarely progressions of two
or three, as he does here on occasion.
Sometimes this borders on the
melodramatic: when Satan enters
,Paradise, shielding himself against the
light, the brass agony is reminiscent of
a Jules Verne movie.
STILL, WHEN it works, Penderecki's
strongest suit is his dramatic sense. It
succeeds at the end of the first act, as
Eve and Adam dr 't apart while fruit-
gathering and Satan, behind a trun-
cated dome above and upstage of the
pair, waits for Eve. Piquant winds bur-
ble underneath the lovers' farewells
(aleatorically notated), and harp and
light percussion are added to create a
shivering, doomed effect.
Less successful is his use of the "Dies
Irae," quoted several times during
Michael's ending prophecies -of war,
first chorally, then orchestrally. It just
sounds hackneyed.
But generally, the music is ap-
propriate. The only time it isn't is the
show's very end: to close with an ob-
noxiously loud, grossly scored D major
chord seems not illuminating, but
something of a cheap shot. Of what
quality the music is, and whether or not
this is a turning point for Penderecki or
just an assumed style to meet this par-
ticular opera's, needs, only more time
can show.
Penderecki's handling of musical
characterizations proves interesting;
fashioning Death as a counter-tenor is
bizarre, especially as he sings the
higher line in duets with Sina mezzo.
God is represented by an offstage
voice (spoken by the same actor who
does Milton, which is confusing) and at
times by a group of baritones in the or-
chestra pit singing in Hebrew.
MESSIAS IS the least convincing,
because there is nothing "special" in
his music; it is of the same cloth as
everyone else's. Penderecki's objective
may have been to show Messias as no
god, but rather very human. But this is
quite contrary to Milton, and certainly
to the effect of the blazing light and
white robe in which Messias appears on
stage.
The production itself was impressive,
and though no single voice was truly
outstanding - excepting Arnold Moss,
a Shakespearean actor marvelous in
the speaking role of Milton - the total
impact was powerful. Clearly, the
money went into physical properties
and rehearsal time. Bruno Bartoletti
conducted with great emotion and, to
my surprise, often without a baton. The
choir, like the soloists, was not superb,
but quite serviceable, and the
children's choir was among the best
I've heard.
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these resources. Also, it has become
evident that this college must be direc-
tly involved in this effort."
Roy Muir, head of the College
Development Office, and John Glass,
head of the LSA Enrichment Fund,
gave reports outlining the current
campaign and methods which might be
used to gather donations in the future.
The fund-raising efforts in LSA are
divided into two categories: the
Enrichment Fund, based on annual
contributions from alumni; and two,
engaging prospects for a major Univer-
sity or LSA Capital Campaign.
"WE HAVE FOUND that those
schools and colleges who are
aggressive in trying to get services and
funds are the ones that get those ser-
vices," said Muir.
Muir explained LSA's first fund-
raising project began last year with the
start of the East Asian Capital Cam-
paign, which has received $3.7 million
in gifts and pledges towards a goal of $6
million. He said he expects to reach
that goal within two years.
Glass from the Enrichment Fund ex-
plained that the other side of the fund-
raising effort in the college is occupied
with establishing a sense of loyalty
among alumni not only to the Univer-
sity but to the college, as well.
"WE HAVE TO instill in the alumni
an identity with this college," said
Glass. "Our purpose is to broaden the
base of support by contacting alumni
around the country."
The project involves telethon, direct
mail, and personal solicitations. The
telethon portion involves student
callers who solicit college alumni over
the telephone from 6:30 p.m. to 9:30
p.m. Glass said this program has been
very successful, with a current total of
1,272 alumni pledging over $20,000 to the
college.
History Prof. Stephen Tonsor objec-
ted to the solicitation of funds by phone,
saying that he found this method to be
personally "abhorrent, ill-mannered
and boorish."
Glass responded that the phone calls
were made in a courteous manner and
that most of the alumni who received
calls enjoyed talking with the student
workers.
WINDHOEK; South-West Africa
(AP)-In the shadow of South African
rifles, blacks in-this territory voted for
the first time ever yesterday in
multiracial elections that the United
Nations says are worthless and that
guerrillas vow to disrupt.
Maj. Gen. Vic Vorster, the police
commissioner, warned that South
African-governed territory's 100,000
white and 900,000 blacks to be braced
for attacks by guerrillas opposed to the
elections, but no disgruptions were
reported yesterday, the first of five
days of voting. South African troops
guarded the 1,100 polling places.
The guerrillas and the Unite
Nations, as well as the United States
say they will recognize only U.N.
supervised elections, now set for July
South Africa said it will cooperate bu
insisted on holding jts own vote as well
and has not agreed outright to the U.N
plan.
Two bombs ripped buildings in tht
heart of the capital over the weekend
injuring 14 persons and leading t
arrests of six officials of the guerrilk
South-West Africa Peoples
Organization, which has threatened p
sabotage the elections and kill politica
leaders who participate in them.
Lost' premieres in Chicago
MY GREATEST disappointment and
quite possibly a major drawback to the
work is that so many of the words are
uninteligible. And much of this seems
Penderecki's fault; when lines like
"Sight so deformed/What heart of rock
could long/Dry-eyed behold?" are scat-
tered throughout eight or nine parts in
opposing rhythms, or a single baritone
is pitted against a swarming orchestra
(this is especially problematic with
Satan), the results are often muddled.
The staging was simple but effective,
barring several cliche devices such as
smoke in Hell and incessant banner-
waving by the demons (why is waving
something around expected to look
scary?). The costumes-were also effec-
tive, if one ignored the baffling use of
feathers in Satan's headgear. The
various angels, wearing armor and
helmets, had a heavy appearance, at
first rather surprising. But in Milton,
after all, the angels are warriors. Nor is
Satan nimble. Scratch, but rather a
ponderous blue and green monster.
Given the number of now-famous
operas which garnered poor (Madame
Butterfly) or so-so (Porgy and Bess)
initial responses, those involved with
Paradise Lost may feel happy that the
audience received both acts with a
warm and enthusiastic show of ap-
plause. Penderecki raised no special
applause at his appearance, although
he was given an apple by Eve.
8
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