In Mortality

By its four corners, something like a large sheet was gently lowered,
and a voice was heard by one, some, or perhaps many,
“It is good, all is good;
no worries.”

There, on a blooming field of goodness, a fading into night,
the beginning of an end setting forth a next start;
if darkness before dawn is an eye
to a different sort of tomorrow,
surely there is a fluttering of beating wings.

And in the melting of granulation into a murmur of revelation,
wondering about all that came before this gaping emptiness,
great thirst, and heaviness of light,
was all possible done?
Is the stove off or on?

Something echoes as through a corridor,
can it be music?
So unlike any remembered sonic partaking
or moment of music-making,
it seems unlikely.

This may be a dream that is not
(though so many have thought)
or perhaps a movement in the planetary cycle,
pitting every ounce of strength
against every pound of relaxation
to power the stars of night
and set the moon toward reflection.

“We love you, we love you!”
is heard, perhaps not by word,
or perhaps it is a bird,
chirping on the ledge,
in song or pledge.

Here, on this blooming field of goodness,
is the healing place and time;
as She said, “All will be well.”

What a thing it is,
oh, what a thing,
this on, honored one,
on, onward on,
onward on,
on.

© 2016 by Elisabeth T. Eliassen

A Flower in the Garden of Delight

My Master hath a garden

Full-filled with diverse flowers,

Where thou may'st gather posies gay

All times and hours.

Where nought is heard but paradise bird,

Harp, dulcimer and lute,

With cymbal and timbrel,

And the gentle sounding flute.

O Jesus, Lord, my heal and weal,

My bliss complete,

Make thou my heart thy garden plot,

True, fair and neat,

That I may hear this music clear,

Harp, dulcimer and lute,

With cymbal and timbrel,

And the gentle sounding flute.

~ Anonymous

While I have been trying to process the passing of my friend, Raymond Martinez, the words of this anonymous Elizabethan poem sang themselves through my head, and suddenly the enormity this sorrow became clear to me, even dear to me –

But, of course, I must explain. (You knew that was coming.)

I don’t quite remember what year it was that I first met Raymond, but it was at a concert of French Baroque music in West Marin; other singer friends had invited me to come hear the program. I remember that when Raymond sang his solos, it was spine-tinglingly beautiful. And the inevitable duet, trio and choruses. I was introduced to Raymond after the concert, and we chatted for a while and then I was swept along to the reception. Before long, Raymond said, “You know, you should come sing with us.” And that was that.

That was that. For years and years and years, I would show up and it was “Oh, goodie!! I get to sing with Raymond, again!” And it was always a delightful time, whether it was sublime or ridiculous. We shared so many musical experiences that were sublime [Purcell: I was Queen Dido and Raymond was Aeneas, and it was exquisite!] or ridiculous [if you weren't there to see Raymond, dressed in a toga-esque costume with breastplates, head topped with a ten-gallon hat, make his grand entrance for "Oedipus Tex" roaring in on a forklift at Toby's Feed Barn in Point Reyes Station, you missed a singularly triumphant moment of ridiculousness in the annals of chamber opera], or even a somewhat disconcerting mixture of both, I can’t begin to catalogue them. But Raymond remembered all of them, and as the catalogue of your history with him expanded through time, so did a small, highly personal language develop between you and he. Heaven help you if you sat or stood near him during rehearsals, because he was a merciless sotto voce jester to whatever comedies evolved in the rehearsal process. He had the most deliciously wicked sense of humor, and he was always pushing the envelope of what he could successfully pitch into the room. Many were the times when I could feel my face burning red, as I struggled to keep myself from exploding with inappropriate laughter. Raymond would toss a cue word, a code phrase or a little sound from the personal language over his shoulder toward you; each of these was a golden thread woven, by means of the shared history, into the ever-unrolling carpet of fun and music.

One might think, reading this, that Raymond was frivolous, but no. Raymond took everything seriously, though he might not always be willing for people to see his serious side. There were glimpses of it, and it was revealed through intimate conversations.

Seasons came and went. Flowers of all kinds came in and out of season. But singing was always in season. We sang church services, memorial services, sunrise services for Easter, and midnight services at Christmas. Summer festivals; winter concerts; Sunday afternoon salons; the odd pick-up gig, here and there; and weddings. Raymond sang at my wedding, along with three other beloved colleagues. Someone else has written about how welcoming Raymond was to everyone he made music with in ensembles; music was never about competition, always about collaboration. Singing and musicking, the moveable musical feast, always and ever in season. And where there was music, there was Raymond, your colleague, confidant, collaborator, even co-conspirator in and of beauty—and fun! And when he wasn’t singing, he was taking in the opera, the symphony, friends giving recitals or concerts, edifying trips to museums of every kind [one day, as I was heading into the Legion of Honor, I heard my name called—there was Raymond! He'd already seen the exhibit and was waiting for a friend to come meet him for lunch. "Come this way— I know a terrific spot for getting pictures with the bridge in the background" So, I followed him. Indeed, it was a breathtaking spot, and he pulled out a film camera and snapped me with the bridge. Then his friend arrived, and after introductions, they went on their way, and I went on in to see the exhibit].

He loved nature; hiking; places of both cultivated and uncultivated beauty. God only knows how many miles he walked during his lifetime. He loved architecture. Life was all about being immersed in the ever transforming and informing experience of beauty. The back garden at Crescent Avenue was his hortus conclusus, a personal cloister of shade and green. He tended that garden, for as long as he was able, like it was a shrine, and shared it with friends as often as he could. As much as he loved this private sanctuary, he loved to happen upon beauty everywhere, and I truly mean everywhere.

Raymond may not have been all that handy with a computer, but his favorite piece of technology was the digital camera a singer friend gave to him. The right size to shove in a pocket, he was always prepared to experience and record his random encounters with beauty. Many of the subjects of the resulting photos were transformed into his superlative artwork, known to most of us through his business, Watercolors of the World. The last time I saw him, he told me about the condition of his health, asked me to pray for him, and then sought to soften this horrible blow by pulling out his camera and showing me the snap of an unbelievably gorgeous spray of flowers on a tree and a photograph of his latest painting, a giant succulent or cactus he saw in Golden Gate Park. “Do you know what species this is?” He asked me. I didn’t know. He knew far more formal names of plants than I did; he had to tell me that white flowers I’d photographed were freesias, not crocuses. But knowing the proper name doesn’t make the aroma of blooms sweet; they manage that on their own, whether we name them or not.

So, this brings me back to the Elizabethan poem. Those words were positively singing themselves through my head this morning, and I realized that Raymond, colleague and confidant, collaborator and co-conspirator, had also been the master cultivator, and of a garden much larger than the one at Crescent Avenue. Raymond spent his life cultivating a very great garden of friends. You and I, dear friends, each of us is a unique flower in Raymond’s garden; family, singers, poets and instrumentalists, all of us are in that great garden!

I think we can honor our friend Raymond’s memory best by being continually in season, blooming to bursting, and spreading, far and wide, our joyful noise of sweet and ever sweeter music.

© 2016 by Elisabeth T. Eliassen

Lento

Slowing to a halt,
though not a screeching one;
a quiet release
from the burdens and ties
of a driven life
into the arms of silence,
only for the sake of contemplation.

From within an apprehended softness and serenity,
the elements wait to cherish
and to be cherished by
this bit of earth,

embellished, molded and emboldened
into such glory of motion,
as can carry a beating heart that sings
— all nights and mornings meted —

during this most singular unfolding.

Chosen into silence,
more than choosing,
this respite from heedless racing
toward no-end-in-sight
is a mindful pause,
a backward glance,
a look 'round —
in light and dark,
at twilight and dawn
— to see that what there is
truly is there to be and be seen,
changing the yet unchanged,
unbidden and unrestrained.

This time is liminal,
a bathing in the spa of
all possibility,
a training and preparation for
that peace that will visit
when yet a greater silence invades,
enveloping comprehension
like a shroud.

© 2016 by Elisabeth T. Eliassen

“The Computer Kid’s Magic Night”; Finally, An Opera About Kids and Technology

The Computer Kid's Magic Night 

by Joann E. Feldman

Friday-March 4, 2016  - 7:30pm

Saturday-March 5, 2016  - 2:00pm

LESHER CENTER FOR THE ARTS

1601 Civic Drive, Walnut Creek, CA

(925) 943-7469

Tickets on sale now at

http://lesherartscenter.showare.com/TheComputerKidsMagicNight

There has been a great deal of discussion, among those in the opera community (Note: I am not addressing developers of the Opera search engine), about how to interest young people in the art form. The question is rhetorical, and we all know the answer: “Make opera relevant to today’s youth.” Easier said than done.

The smallest kids still enjoy “Hansel und Gretel” (Humperdinck), “Noyes Fludde” (Britten) and “Amahl and the Night Visitors” (Menotti). There are newer entries to the repertoire: “The Little Prince” (Portman), “Brundibar” (Krasa) and “Where the Wild Things Are” (Knussen). What all these pieces have in common is the propensity to limit thematic material to traditional or classic children’s stories and simple moral themes. That’s all good, but does modern treatment of an old story make it modern or relevant? From my perspective, as a parent, writer and singer, relevance must reside in the subject matter, not in its treatment.

There can be no more relevant topic for millennial families than our engagement with technology. Studies have been done, books have been written, online forums exist about this topic that is so challenging to the modern family. The term “screen time” sums up our conundrum with regard to the influence of technology on our kids.

So, I ask you: Has this relevant, modern topic ever been the subject of an opera?

If your answer is “No,” I am very happy to be able to reply, “You are wrong!”

As it happens, the subject features prominently in Joann E. Feldman’s “The Computer Kid’s Magic Night.” If you are surprised to learn this, you will be equally astonished to learn that this 50 minute opera is listed in OPERA America’s Opera For Youth Directory and that it had its premier in 1986. That’s no typo, folks.

Full disclosure: I saw the premier of this opera. My future husband had been cast in the production, offered at Sonoma State University, so I attended. A show about computers and kids! Wow! I found the music to be charming and engaging, the story clever and full of fun. At that time, I was a recent university graduate. I would not own a personal computer for another 5 years (a second-hand Macintosh Plus); I had typed all my school papers on an Underwood typewriter. The very thought of computers becoming ubiquitous, much less more seductive than television, was something I just couldn’t fathom (mainly because I didn’t play videogames and had had very little exposure to computers during my university days). But, I remember thinking, as I watched this show, “How prescient of the author/composer to have seen that the computer can be promoted as an educational tool for kids.”

Looking at the story now, with 30 years of computing life behind me and two teens in high school, I see the even deeper message: Technology is indeed a valuable educational tool, as long as it isn’t so intrusive that it replaces all other ways of learning, all other types of interactions, all other activities.

Parents, educators and kids, this is a wonderful show to spark thought and discussion on this very important topic!

Kudos to Solo Opera for being courageous and cutting-edge in bringing this very timely and relevant opera to millennial audiences, with updated technological references and a fine cast of singers!

~ Elisabeth T. Eliassen is a Bay Area singer (mezzo-soprano), writer (ASCAP), and parent. 

A Preface To Joining

True enough, a blending,
to some extent, a mending
of some breach, a sending
of renewed hope, extending
from now to beyond pretending
that unity is only an appending,
together a mere attending.

No, this is a mystical kenning
to the purpose life is commending,
never a spectrum of solitary rending,
but a transforming and transcending,
willing to work through good and ill, wending
each way, a striving to build, unbending
the furrows of Eden to flower, suspending
any doubt that union is love ascending.

© 2016 by Elisabeth T. Eliassen

To Each and To All

When cloud dappled sky speaks
to light dappled earth,
We are a unity.

Bodies dash about,
thronging like the tides,
some huddling in pools,
while the greater array
eddies and ebbs, then flows.

All that might be planned
harbors no certainty,
but we forge ahead with intent.

Every measure, every moment,
is a work, a furthering, a passage
to any next, any new, any now.

Ships that sail do not all land,
but those that find harbor
disembark with gratitude,
blessing the firmness of land,
sending praises to Providence.

Settling in foreign places,
sometimes leaving all traces
of “home” behind,

Natives might eye with suspicion
these arrivals for signs of danger,
or threat of infection;

But, when the quake comes,
the fire, the flood or storm,
Everyone joins together.

When people-dappled life sings
to assuage a disaster-torn world,
We truly are a Unity.

And thanks be
to each and to all
for that gift, that blessing.

© 2015 by Elisabeth T. Eliassen

\\

As a descendant of families who arrived on the Cape Cod shores of North America in 1620, I see today’s refugee crisis as somewhat parallel to that bit of our history. Refugees from foreign shores are fleeing tyrannies and oppression, in order to find a better life, or at least a place where they can be free to practice what they believe. To feel “at home” and to “be safe”, these are rare and precious gifts. Our history continually reminds us that we are most human when we share. So, on this day, tomorrow, and all the days that we are privileged to live, let us share what we have and what we love with one another. 

Sutra of No More Sutras

Thus I have heard, once and forever.

In the wake of Shariputra’s death and parinirvana, Ananda spoke,
voicing the thoughts of those assembled.

“Honored teacher, we know your time with us nears its completion.
Pray, tell us how to continue beyond your extinction?”

The Buddha opened his eyes and offered his smile to all,
and then he spoke:

“For many years, we have thus assembled,
and I have given voice to the music of one vehicle,
three treasures,
four noble truths,
six perfections,
ten powers and ten precepts,
twelve causes and thirty-two signs.
I have spoken and chanted into the ten directions:
and these sayings and singings continue to vibrate through the chiliocosm. “

“To you, a good doctrine has been given,
acknowledged by buddhas and arhats,
past, present and future,
and expertly remembered by you, honored Ananda.
Many sermons have been set down,
by scribe after scribe,
in scroll after scroll after scroll.

“Good cousin, Ananda,
these teachings of the way
have been the making of a raft,
one strong enough to float above
the ever-flowing stream of happening
and even of dharma practice.

“But this raft must now be untethered and released,
and each adept must engage
the singular stream of unfolding—
the teaching, and also the teacher,
must be released into the wild unknown.

“Wherefore?
Because, any other course would come to ruin
in grasping and corruption.”

All present, on hearing these things, quietly bowed their heads.

“Do not sorrow, Dear Ones,
do not sorrow; the great void is not to be feared,
for truly it is indicative of endless potential,
which is Presence,
gleaming and differently perceived in each moment.

“How the good doctrine will flourish
on the ever-flowing river
cannot be foretold by the Tathagata,
nor by all the ranks of adepts in every dimension,
neither can time tell.

“To reside on the scroll
is to miss the point,
it is a surrender to inaction
that borders on forgetting;
one can rapidly become lost
in the thicket of serifs and diacriticals,
grammars and dialecticals.

“This leads to doubt.
Doubt leads to discussion.
Discussion leads to arguments and grousing,
parsing and chasing
after forms and meanings.

“In the end, this activity is
so tarry illogical
to the reality of eternal moment.”

The birds in the trees stopped singing,
cocking their heads to listen.

The butterflies found a place to light,
so they could hear.

The trees bowed their limbs lower.

“The chasing after merit
is also like the chasing after forms and meanings.

“There is only the Way,
and the truth of the Way
is where the heaping of merit occurs
never for the individual,
but only for all of existence,
as served by the Three Jewels.

“These Jewels are Buddha, Dharma and Sangha;

compassion, frugality and humility;

right view, right knowledge and right conduct;
thought, word and deed;
essence, vitality and spirit.

“Any heaping of merit is
unknown and unknowable,
but indeed present in eternal moment.

“Every being who does right in the moment
heaps merit onto the wheel of time and change,
for all and for all time.

“There is no such thing as competition;
all conscious right actions are integral
to the completion of perfection.
This is the essence of the Middle Way.”

A single ray of light burst forth
from between the Buddha’s brows,
touching all with understanding.
The birds, the butterflies and the trees
arose jubilantly.

“Take to the raft of the Way and journey.
Be the gift of goodness in the World.
Do not write it or discuss or plan it.
Be it, in the best way you can, in the moment;
this is how the teaching grows and spreads
to all generations.”

When the Buddha finished this Discourse,
all present were filled with the joy of this teaching,
and, taking it sincerely to heart, they went their ways.

© 2015 by Elisabeth T. Eliassen