Page 10 -The Michigan Daily-Friday, November 6, 1987 I Vocalist Leslie Guinn is surely irresistible By David Hoegberg For those who know Leslie Guinn's singing from his recordings and local appearances, tomorrow night's recital of American songs at the Kerrytown Concert House will be a special treat. For those who don't know this nationally acclaimed baritone's work, consider this a "must see" event. Guinn is a local vocal treasure whose Ann Arbor appearances are all too few. You may have heard him in the Ann Arbor Symphony's September performance of Shostakovich's 13th Symphony, a new work in Guinn's repertoire. Or you may remember his contribution to a stunning Britten War Requiem in Hill Auditorium last Spring. Or perhaps you have heard Handel's Messiah in Detroit, where Guinn has performed it for three successive seasons with the Detroit Symphony. Leslie Guinn is Director of the Division of Vocal Arts at the University's School of Music, but his responsibilities here don't prevent him from appearing all over the country. This season alone his singing engagements have taken him to New York, Pasadena, Washington, and Milwaukee for opera and orchestral performances. Past credits include appearances with the major orchestras of Chicago, Philadelphia, Los Angeles, Houston, Boston, and Baltimore. Although his repertoire is wide, Guinn always returns to American music with a sense of familiarity and respect. He says that his Texas upbringing on country/western and other popular music gave him an instinctive feel for the American art song, which differs from its European counterparts not i n difficulty nor the amount of vocal training required, but in something less tangible called "style." Guinn has the style and the vocal technique to make an American song into a thing of exquisite beauty, as he has demonstrated on several of his recordings. Volume I of his Songs of Stephen Foster, recorded with mezzo-soprano Jan DeGaetani, won Stereo Review's Record of the Year award. His recording of music by American composers Samuel Barber and George Rochberg with the Concord String Quartet won a Grammy nomination for Best Chamber Music Record of 1983 and was included in High Fidelity's list of Best American Music on Record. Tomorrow night's recital, then, will be a rare opportunity to hear a major artist in the most intimate of settings, singing music to which he is ideally suited. In choosing music of Foster, Ives, Copland, and Rochberg for this recital, Guinn admits he is selecting personal favorites. "I'm enjoying myself," he says. "The program ranges from the stalwart patriotic songs of Foster, to the parodies of Ives, to the challenge of Rochberg, to 'Charlie Rutledge,' which is comic and sad and a little bit of everything." Guinn claims that it is a very accessible program, designed for maximum enjoyment for all types of listeners. The songs will also be punctuated by Guinn's illuminating comments. "Who can resist, say, the beautiful simplicity of 'Beautiful Dreamer' done exactly as Foster wrote it, for performance in somebody's parlor?" Don't try to resist. Enjoy. Leslie Guinn will be accompanied by pianist Deanna Relyea. The recital is at 8 p.m. at Kerrytown Concert House, 415 N. Fourth Avenue. Tickets are $8 and $12, and reservations are suggested. 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Shepard describes the war as "the ---- -mmmmm mm m -mm mm mm r COOKIES I I BUY 2 COOKIES, GET 1 FREE! d i n "Voted the best cookies in Ann Arbor" Campus Locations: Open Daily ' 715 N. University 9:30 a.m. - 11 p.m. , S1220 S. Universi Sunday 1 - 10 p.m. 761-CH IP i i I L cokme shipped anywhere in the U..S. . o o o e mmo mm mm mmo mm oo vast sputtering signal of the Age of Impotence, the evil counterpart of topless tennis matches and fast food solutions to the nutritional problem." But this is only the start of its brilliant madness. The story begins as D a v i d Mingolla, an ordinary American, has his mind set solely on surviving and returning home as soon as possible from the horrors of the Central American war. His plans are changed when he meets and falls obsessively in love with a Guatemalan woman named Deborah. It is this love which acts as David's last anchor to sanity: "In the blackness behind his lids he began to see explosive flashes of light, and within those flashes were images of the assault... He blotted them out with the image of Deborah, for as long as he could." Reality and the drug-induced dream world David is placed in begin to intermingle as he is recruited into the top secret Psi-Corps and receives as his first assignment the orders to kill Deborah. David realizes that his life and mind has been manipulated by a power which may be using the war as a cover for its ultimate aims. At first the book appears to be a simple warning against the United States' current policies in the area. Regardless of his intent, Shepard's ability to illuminate those horrors of war that exist less obviously in our own lives makes it a success. The battles become less between two armies or nations than between the two opposing forces of good and evil that exist within everyone. Shepard's lyrical descriptions, which cover and dissect every aspect of a scene, create another world: "Glaring overhead lights shined up the grease spots on the plastic tablecloths and made the uneven thickness of the yellow paint appear to be dripping. The concrete floor was freckled with dark stains that Mingolla discovered to be the remains of insects." Shepard mixes this microscopic observation and a surrealistic quality to produce a book which all-too closely resembles an actual nightmare in the reader's mind. Life During Wartime could be compared with the film Apocalypse Now or to what the Heart of Darkness would have been like if Conrad had written it while on hallucinogens. 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