Transcript: Ofra Harnoy | Oct 19, 1997

(Rhythmic string and wind music plays)

In animation, a word in pink slides by against a gray background as hands paint strokes using paintbrushes, play a piano, and touch as in a ballet performance.

The title of the show reads “Dialogue.”

The title of the episode pops up against an image of Richard Ouzounian and a guest chatting in a room as production assistants fix their makeup: “Ofra Harnoy. Musician.”

Then, Richard appears facing the screen. He's in his late forties, clean-shaven, with short side-parted blond hair. He's wearing rounded glasses, a dark purple suit, striped shirt, and blue tie.

He says I'M RICHARD OUZOUNIAN.
WELCOME TO
DIALOGUE.
THERE ARE SOME CANADIAN
ARTISTS WHO BRING SUCH HONOUR
TO OUR COUNTRY WHEN THEY
TRAVEL AROUND THE WORLD, THAT
THEY REALLY OUGHT TO HAVE
DIPLOMATIC PASSPORTS.
I'M THINKING OF PEOPLE LIKE
MARGARET ATWOOD, MICHAEL
ONDAATJE, KATE NELLIGAN,
AND MY NEXT GUEST.
FOR A LONG TIME, SHE HAD
TO SUFFER WITH THE TITLE
CHILD PRODIGY.
MERCIFULLY, SHE'S PAST THAT
NOW, AND WE CAN CONCENTRATE
ON THE PERSON AND THE
MUSICAL ARTISTRY.
THIS
DIALOGUE
IS
WITH OFRA HARNOY.

Ofra is in her early forties, with long curly auburn hair. She’s wearing a dark gray blazer over a black cotton shirt, and dark gray trousers.

Richard continues SO OFRA, IT'S THE FIRST
THING I WANT TO BEGIN WITH.
WHEN DID THEY FINALLY STOP
CALLING YOU THE GREAT CHILD
PRODIGY, OR THE YOUNG GENIUS?

Ofra says I THINK I SAW THAT WRITTEN IN
THE PAPER UNTIL I WAS ABOUT 18.
AND THEN SUDDENLY, IT
STARTED TO FADE AWAY.

Richard says SO OLD ENOUGH TO DRINK, YOU
DON'T HAVE TO BE A CHILD
PRODIGY ANYMORE.

Ofra says THEN IT STARTED TO FOCUS ON,
AHA, NOW SHE'S SELLING HER
MUSIC WITH HER
LOOKS, AND ALL THIS.
IT TRANSFERRED FROM
ONE TO THE OTHER.
I DON'T THINK THERE
WAS A BIG BREAK.

Richard says YOU DID START VERY YOUNG.
WAS IT TEN YOU FIRST BROKE
INTO THE PUBLIC EYE?

Ofra says I STARTED PLAYING JUST
BEFORE THE AGE OF SIX.
BUT THE FIRST PERFORMANCE
AS A GUEST SOLOIST WITH AN
ORCHESTRA WAS AT AGE TEN.

Richard says AND AGAIN, WERE YOU KIND OF
NUDGED TOWARD THAT POINT?
OR WAS IT SOMETHING
YOU HAD WANTED TO DO.

Ofra says I WAS PERFORMING BEFORE THAT,
AND IT WAS A VERY NATURAL
THING FOR ME.
IT WAS AT THAT POINT, I
MEAN, I DIDN'T HAVE ANY
NERVES OR ANYTHING.
IT WAS JUST SO NATURAL
FOR ME TO PLAY.
I GREW UP PLAYING, LISTENING
TO MUSIC, AND IT WAS JUST,
YOU KNOW, AN EXTENSION OF THAT.
AND I LOVE TO PLAY FOR
PEOPLE, BECAUSE THEN I COULD
COMMUNICATE WHAT
I WAS FEELING.

Richard says RIGHT.
HAS IT ALWAYS BEEN THE CELLO?

Ofra says I DID STUDY PIANO AS PART OF
MY TRAINING, BUT IT WAS NEVER
REALLY PART OF ME
AS THE CELLO WAS.

Richard says YOU KNOW, I'VE HEARD YOU SAY
YOU THOUGHT THE CELLO WAS
YOUR VOICE.
THAT IT COULD SAY ALL THE
THINGS YOU WANTED TO SAY
IN THE WORLD.
BUT SO MUCH OF THE CELLO, TO AN
OUTSIDER, SOUNDS MELANCHOLY.
NOW, WHY WOULD A YOUNG GIRL
WANT TO MAKE MELANCHOLY SOUNDS?

A caption appears on screen. It reads "Ofra Harnoy. Musician."

Ofra says I THINK THE CELLO
HAS NO LIMITATIONS.
I CAN MAKE IT LAUGH.
I CAN MAKE IT HAVE
ENERGY AND EXCITEMENT.
BUT IT IS CAPABLE OF
HAVING A VERY SAD SOUND.
I THINK WHEN I WAS VERY
YOUNG, I HAD A CAPACITY FOR
UNDERSTANDING SUFFERING AND
SADNESS IN BOOKS AND MOVIES,
AND MY FAMILY HISTORY WHICH,
OF COURSE, THE HOLOCAUST.
AND I GREW UP KNOWING THAT,
AND UNDERSTANDING, AS MUCH AS
A CHILD COULD UNDERSTAND.
BUT I COULD COMMUNICATE
ALL OF THAT IN THE MUSIC.

Richard says IN FACT, YOU ACTUALLY WERE
BORN IN ISRAEL, RIGHT?
AND YOU DIDN'T COME TO
CANADA UNTIL YOU WERE SIX.
WHAT ARE YOUR MEMORIES OF
BEING A CHILD IN ISRAEL
AT THAT PERIOD?

Ofra says THE EARLIEST MEMORIES ARE
ACTUALLY GOING DOWN TO A
BOMB SHELTER WITH MY MOTHER.
I THINK MY FATHER
WAS IN THE ARMY.
VERY VAGUE MEMORIES, I THINK,
WHEN I WAS TWO OR THREE.
AND STILL TO TODAY, I'M AFRAID
OF THUNDER AND LIGHTNING AND
LOUD NOISES BECAUSE OF THAT.
AFTER THAT, VERY, VERY
HAPPY MEMORIES BECAUSE MY
GRANDPARENTS, MY GRANDFATHER
CAME TO ISRAEL AS A ZIONIST,
AND HE HAD A BIG ORCHARD.
AND IT WAS LIKE
THE GARDEN OF EDEN.
EVERYTHING GREW THERE.
AND I JUST HAVE MEMORIES OF
CLIMBING TREES, AND EATING
FRUIT, AND BEING A
VERY HAPPY CHILD.
VERY STRONG MUSICAL MEMORIES
BECAUSE MY FAMILY ALWAYS PLAYED.

Richard says RIGHT.

Ofra says MY MOTHER WAS PLAYING PIANO,
MY FATHER THE VIOLIN AND
ALWAYS HAD PEOPLE OVER
PLAYING CHAMBER MUSIC.
I USED TO SNEAK BEHIND THE DOOR
IN MY PAJAMAS AND SIT AND
LISTEN FOR HOURS.

Richard says THAT'S WHY YOU GOT THE CELLO
BECAUSE THEY HAD THE VIOLIN,
AND THEY HAD THE PIANO, AND
THEY NEEDED YOU TO MAKE THE
PICTURE COMPLETE.

Ofra says THEY ACTUALLY SAY THEY NEVER
HAD ANY IDEA OF MY BECOMING A
SOLOIST OR PROFESSIONAL, OR
ANYTHING, THEY JUST WANTED
A FAMILY TRIO.
THEY JUST WANTED ME TO LOVE
MUSIC AS MUCH AS THEY DID
AND BE PART OF THE FAMILY
AND MAKE MUSIC TOGETHER.
AND I THINK I SURPRISED THEM.
I LEARNED VERY QUICKLY,
MEMORIZED VERY QUICKLY,
AND THEY DIDN'T REALLY
KNOW WHAT TO DO WITH ME.

Richard says SO THEY NEVER HAD PLANNED OR
THOUGHT YOU WOULD TURN INTO
BE A GREAT ARTIST AND
TRAVEL ALL OVER THE WORLD.

Ofra says NO.
I THINK I FRIGHTENED THEM A
LITTLE BIT, AND THEY WERE VERY
CAREFUL HOW TO DEAL WITH IT.

Richard says I WAS WONDERING, WHEN YOU DID
MOVE TO CANADA FROM ISRAEL,
AT THE AGE OF SIX, I WAS
CURIOUS IF THE MOVE WAS
POLITICAL, PERSONAL, OR WAS
IT MOTIVATED BY A CHANCE TO
GIVE YOU, PERHAPS, A
WIDER ARENA TO PLAY IN.

Ofra says I DON'T THINK IT REALLY
HAD ANYTHING TO DO WITH ME.
I THINK, IN ISRAEL AT THE
TIME, AMERICA, I MEAN, CANADA
WAS PART OF THAT, WAS
CONSIDERED SOMETHING WONDERFUL
AND EXCITING, AND THEY
ACTUALLY JUST WANTED TO COME
OVER FOR A COUPLE OF YEARS
TO SEE WHAT IT WAS LIKE.
AND MY FATHER WANTED TO DO
HIS MASTER'S DEGREE HERE, AND
THEN MAYBE GO BACK TO ISRAEL.
AND WE ENDED UP STAYING.
AND ALSO MY MUSICAL EDUCATION
WAS GETTING MORE INTRICATE,
COMPLICATED WITH DIFFERENT
TEACHERS, AND GOING ABROAD,
SO WE ENDED UP STAYING.

Richard says FROM A COUNTRY WHERE YOU'VE
TOLD US THERE ARE ALTERNATING
STORIES OF RUNNING FOR BOMB
SHELTERS AND BEING IN GARDENS
SO BEAUTIFUL THEY WERE LIKE
THE GARDEN OF EDEN, WHAT WAS
IT LIKE TO COME TO SOMETIMES
SENSORY-DEPRIVED CANADA?

Ofra says WELL, THE FIRST THING
THAT HIT ME WAS SNOW.
I'D NEVER SEEN SNOW BEFORE.
I WANTED TO TOUCH
IT AND PLAY WITH IT.
I THOUGHT IT WAS INCREDIBLE.
THAT'S BEFORE IT TURNED BLACK.
I THINK WE ARRIVED HERE
IN NOVEMBER OR SOMETHING,
BEAUTIFUL FIRST SNOWFALL.
AND THEN I ACTUALLY MISSED
SOME THINGS ABOUT ISRAEL.
THE COMMUNITY.
YOU DIDN'T HAVE TO PHONE
PEOPLE TO COME OVER.
WE'D JUST DROP BY.
AND LOTS OF FRIENDS.
AND IT WAS DIFFICULT FOR ME
TO LEARN A NEW LANGUAGE AND
ADJUST, BUT I THINK AFTER A
COUPLE OF YEARS, IT WAS REALLY
HOME TO ME.

Richard says ALL THOSE YEARS WHEN YOU
WERE MAKING THE ATTEMPT TO
COMMUNICATE AND START IN, YOU
HAD YOUR MUSIC GOING ON THIS
VERY RAPID LEARNING CURVE.
YOU WERE TAKING OFF.
COULD IT BE THAT SOME OF YOUR
FRUSTRATION AND COMMUNICATION
IN THAT WENT INTO THE MUSIC?

Ofra says WELL, THAT SOUNDS
VERY ROMANTIC.
I DON'T KNOW IF
I WOULD SAY THAT.
I ACTUALLY ADJUSTED
VERY QUICKLY.
AND MUSIC WAS ALWAYS
SOMETHING THAT MADE ME
A LITTLE BIT DIFFERENT.
AND I DID HAVE THAT LONELINESS
INSIDE THAT WAS COMMUNICATED
THROUGH THE PLAYING.
BECAUSE NO MATTER HOW I FIT
IN WITH THE CHILDREN, I WAS
STUDYING WITH ADULTS, AND I
WAS DOING THINGS THAT WEREN'T
'NORMAL' FOR CHILDREN MY AGE.
TRAVELLING ALL OVER THE WORLD,
AND STUDYING, AND SEEING THINGS.
AND I WAS ALWAYS A
LITTLE BIT DIFFERENT.
AND I THINK THAT GAVE
ME A LITTLE SADNESS.

Richard says DID YOU WANT TO BE LIKE
ALL THE OTHER GIRLS?

Ofra says I TRIED TO BE.
I TRIED TO LET THEM THINK I WAS
LIKE THEM, BUT I WASN'T REALLY.
I MEAN, I LEARNED TO
BE A LITTLE ACTRESS.
I HAD TO BE, KNOW ALL THE NEW
ROCK FADS AND, I DON'T KNOW,
ALL THE LITTLE THINGS THAT
WERE IMPORTANT, AND AT THE
SAME TIME, GO AND STUDY WITH
PEOPLE WHO ARE TEN OR 15 YEARS
OLDER THAN I WAS, AND BE
VERY ADULT AND PROVE MYSELF.
AND THAT WAS A
LITTLE BIT DIFFICULT.

Richard says AND IN THE MEANTIME, YOU WERE
PLAYING AROUND THE WORLD,
AND YOU ARE STARTING TO
GET A REPUTATION, A NAME.
I HAD HEARD, CORRECT ME IF
I'M WRONG, THAT AT ONE POINT,
I GUESS THE FAME AND THE
POPULARITY WERE GETTING SO
INTENSE THAT YOU WENT BACK
TO YOUR SCHOOL, I THINK ZION
HEIGHTS COLLEGIATE, AND YOU
TRIED TO PASS YOURSELF OFF
AS EILEEN FOR A WHILE.
IS THAT TRUE?

Ofra says YEAH, I DID CHANGE MY NAME.

Richard says HOW COME?

Ofra says ARTICLES STARTED TO COME
OUT ABOUT ME IN THE PAPER.
AND PEOPLE WERE TALKING ABOUT.
IT STARTED TO GET REALLY
DIFFICULT FOR ME IN SCHOOL.
AND I CHANGED SCHOOLS, AND I
CHANGED NAMES, AND I THOUGHT
I'LL JUST BE
SOMEONE DIFFERENT.

Richard says AND HOW LONG DID
THAT LAST FOR?

Ofra says I THINK PEOPLE STARTED TO
FIGURE IT OUT AFTER THREE OR
FOUR MONTHS.
IT'S NOT A BIG LUNCHBOX,
IT'S A CELLO, RIGHT?

Richard says YEAH, YEAH.
EVEN AT THAT POINT, HOW
OFTEN WERE YOU ON THE ROAD?
HOW OFTEN WERE YOU GOING TO
EUROPE OR AROUND NORTH AMERICA?

Ofra says WELL, I HAD A SPECIAL
SCHOLARSHIP TO STUDY WITH
WILLIAM PLEETH IN
LONDON, ENGLAND.
AND I HAD TO GO TO ENGLAND
FOR PERIODS OF TWO OR THREE
MONTHS AT A TIME, SOMETIMES
THREE OR FOUR TIMES A YEAR
AND HAVE KIND OF SATURATED
LEARNING SESSIONS.
I WOULD HAVE THREE OR FOUR
LESSONS A WEEK WITH HIM,
LASTING TWO OR THREE HOURS.
AND I CONSIDER THAT TIME A
GENERAL CULTURAL SATURATION
'COS I WAS STUDYING WITH
HIM, PRACTISING INTENSELY.
AND I WOULD SPEND THE EVENINGS
GOING TO SHAKESPEARE, BERNARD
SHAW, ALL THE GREAT PLAYS THAT
ARE ALWAYS AROUND IN LONDON,
AND I WAS JUST READING BOOKS,
AND IT WAS A VERY INTENSE
CULTURAL SATURATION.

Richard says THAT MUST HAVE MADE YOU
MATURE BEYOND YOUR YEARS,
THOUGH, IN SOME WAYS.

Ofra says IN SOME WAYS IT WAS VERY
DIFFICULT TO COME BACK AND
KNOW WHO WAS THE LATEST TEEN
IDOL, AND WEAR THE RIGHT
JEANS, AND DO ALL
THE RIGHT THINGS.

Richard says BUT ON THE OTHER HAND, YOU
DIDN'T KNOW, NECESSARILY, HOW
TO RESPOND IF SOMEBODY WANTED
YOU TO GO OUT FOR PIZZA ON
FRIDAY NIGHT ON A DATE, RIGHT?

Ofra says I DIDN'T DATE UNTIL I WAS
MUCH OLDER, AS A TEENAGER.
I HAD FRIENDS, BUT I DIDN'T
REALLY DATE BECAUSE I WAS TOO
INVOLVED IN THE MUSIC, IN
THE TRAVEL, AND THE STUDY.
THERE WERE TIMES WHEN I WAS
STUDYING AT THE UNIVERSITY
OF TORONTO, WHILE I WAS
GOING TO SCHOOL AND DOING
THE MUSICAL STUDIES.
AND I STILL DON'T KNOW HOW I
MANAGED TO DO THE EAR TRAINING
AND THE HARMONY, AND ANALYSIS,
AND MUSIC HISTORY, AND ALL
THESE THINGS, ON TOP
OF THE SCHOOL WORK.
BECAUSE IT IS REALLY QUITE
A LOAD FOR A YOUNG PERSON.

Richard says WE'VE BEEN TALKING ABOUT YOUR
EDUCATION AND TEACHERS AND
THAT, AND THERE'S ONE I WANTED
TO TOUCH ON IN PARTICULAR,
THAT'S JACQUELINE DU PRE.
ONE OF THE GREAT
CELLISTS OF ALL TIMES.
YOU HAD LISTENED TO HER MUSIC
FOR YEARS, AND YOU SAID SHE'D
BEEN A VERY STRONG
INFLUENCE ON YOU.

Ofra says OH, ABSOLUTELY.
WHEN I WAS A LITTLE GIRL, I
REMEMBER COMING TO HER CONCERT
HERE IN TORONTO, AND
SHE WAS A GOD FOR ME.
I REMEMBER I DREW A PICTURE
OF HER AND GAVE IT TO HER.
I TRIED TO REMIND HER OF THAT.
I DON'T THINK SHE REMEMBERED.

Richard says BUT THEN BY THE TIME YOU WERE
ACTUALLY GOING TO STUDY WITH
HER, SHE HAD TRAGICALLY
CONTRACTED MULTIPLE SCLEROSIS,
AND THERE'S A WONDERFUL STORY
ABOUT YOUR PARENTS DIDN'T
WANT YOU TO JUST SUDDENLY
WALK IN AND HAVE TO BE TAUGHT
BY A WOMAN WHO YOU HAD SEEN
LAST ON STAGE AND REVERED,
SO THEY ARRANGED FOR YOU TO
GO SEE HER IN CONCERT,
I BELIEVE?

Ofra says THEY KNEW I WAS A VERY, VERY
SENSITIVE CHILD, AND I CRIED
EASILY, AND EVERYTHING
AFFECTED ME VERY DEEPLY.
AND THEY KNEW IT
WOULD BE A SHOCK.
I WAS SUPPOSED TO STUDY WITH
HER AT THE ALBROSE SCHOOL,
SPECIAL SCHOOL FOR MUSICAL
STUDIES, AND THE EVENING
BEFORE, IN LONDON, WE
WENT TO SEE HER NARRATING
“PETER AND THE WOLF.
AND IT WAS SUCH A SHOCK TO
ME LOOKING, YOU KNOW, IN A
WHEELCHAIR, AND BLOATED
FROM ALL THE MEDICATION.
I CRIED ALL NIGHT.
AND I SOMEHOW GET IT OUT OF MY
SYSTEM AND ACCEPTED IT, SO BY
THE TIME I HAD THE LESSON
WITH HER THE FOLLOWING DAY,
IT WASN'T JUST I'D GOTTEN OVER
IT, BUT HER PERSONALITY WAS SO
VIBRANT, SHE WAS SO VITAL AND
SINGING AND ENERGETIC, THAT
SHE MADE ME FORGET, YOU
KNOW, FOR A LITTLE WHILE.

Richard says HAD YOU ACTUALLY LEARNED HER
SO WELL THAT YOU WERE ALMOST
IMITATING HER WHEN YOU WENT
TO SEE HER FOR A WHILE?

Ofra says IT WAS FUNNY BECAUSE I WANTED
TO IMPRESS HER SO BADLY.
I MEAN, I WANTED
HER TO LOVE ME.
AND I WAS LISTENING
TO HER RECORDING.
I PLAYED THE DVORAK
CELLO CONCERTO FOR HER.
AND I LISTENED TO HER
RECORDING OVER AND OVER AGAIN,
AND I ALMOST WANTED TO
IMITATE, JUST TO DO EXACTLY
WHAT SHE WANTED.
AND THERE'S A PART WHERE SHE
TOOK A LOT OF TIME, ONE OF THE
PASSAGES WHERE SHE REALLY
SLOWED DOWN AND TOOK A LOT OF
TIME.
AND I TRIED TO IMITATE HER
EXACTLY, AND IT WAS ACTUALLY
FUNNY BECAUSE SHE STOPPED ME,
AND SHE SAID, 'I KNOW IT'S
TEMPTING TO TAKE
THESE LIBERTIES,
BUT YOU REALLY SHOULDN'T.'
I DIDN'T REMIND HER THAT
WAS ACTUALLY HER IDEA.

Richard says AT THE END OF HER
LIFE, JACQUELINE DU PRE,
UNFORTUNATELY, HER LIFE TOOK
YET EVEN MORE TURNS, AND SHE
WITHDREW, AND SHE
FINALLY DIED ALONE.
AND SOMEONE SAID SHE DIED
ALONE IN HER ROOM WITH JUST
HER MUSIC AND HER MEMORIES.
WHAT DO YOU SEE WHEN YOU SEE A
ROAD FOR A GREAT ARTIST WHO,
AT ONE POINT, YOU REVERED SO
HEAVILY, AND THEN IS SITTING
THERE IN DESOLATION AT
THE END OF HER LIFE?
WHAT DO YOU THINK OF THAT?

Ofra says OH, IT'S ABSOLUTELY TRAGIC.
I KNEW ABOUT WHAT WAS
HAPPENING TO HER LATER ON
BECAUSE HER MAIN TEACHER,
WILLIAM PLEETH, WAS THE ONE
WHO WAS TEACHING
ME IN ENGLAND.
AND THEY WERE VERY CLOSE.
AND I WOULD HEAR THAT SHE
WAS BEING SPOON FED, AND SHE
COULDN'T EVEN HOLD HER HANDS,
AND JUST LISTENING TO HER OLD
RECORDINGS OVER
AND OVER AGAIN.
IT'S A REAL TRAGEDY.
WHAT AN INCREDIBLE TALENT.
JUST SO SAD.

Richard says MUSICAL INTERPRETATION.
WHEN YOU HEAR A PIECE, OR
YOU DECIDE YOU ARE GOING TO
APPROACH A PIECE FOR THE FIRST
TIME BECAUSE YOU MENTIONED AT
THIS POINT, YOU'D LISTENED
TO THE LIBERTIES THAT
JACQUELINE DU PRE HAD TAKEN.
WHAT MAKES YOU DECIDE HOW YOU
WANT TO APPROACH A PIECE?

Ofra says I REALLY DON'T KNOW.
I'M ASKED THAT SO MANY TIMES,
AND I HAVE TO SAY A LOT OF IT
IS WHAT I THINK THE
COMPOSER'S INTENTIONS ARE.
AND THAT'S BECAUSE I TRY TO
READ ABOUT THE COMPOSER, AND
TO, FOR INSTANCE, IN VIVALDI
PROJECT I EMBARKED ON, WHERE
I'M DOING EVERYTHING VIVALDI
EVER WROTE FOR THE CELLO, I
WENT TO VENICE AND I SAW WHERE
HE LIVED AND WHERE HE TAUGHT,
AND I TRIED TO READ AS MUCH AS
I COULD, AND TRIED TO HAVE A
FEELING ABOUT HIS LIFE.
BUT THE REST OF IT IS REALLY
JUST INTUITIVE AND INSTINCTIVE.
AND I TRY TO ANALYZE WHERE DO
I COME UP WITH IDEAS, AND I
REALLY DON'T IMITATE ANYONE
BECAUSE I TRY TO LISTEN --
ONCE I HAVE MY OWN IDEAS, I
TRY TO LISTEN TO AS MANY OTHER
PEOPLE AS POSSIBLE TO
SEE WHAT THEY THINK.
BUT IT'S JUST SOMETHING
FROM WITHIN THAT I HAVE MY
PERCEPTION OF WHAT
IT SHOULD BE LIKE.

Richard says WHAT ABOUT THE DYNAMIC
BETWEEN YOU AND A CONDUCTOR?
IS IT A GIVE AND TAKE?
OR SOMETIMES ARE
YOU ARMED CAMPS?

Ofra says DEPENDS ON THE PERSONALITY.
I MEAN, I'VE WORKED WITH SOME
CONDUCTORS THAT THEY ARE SO
FIXED ON THEIR IDEAS,
ESPECIALLY WHEN I WAS YOUNGER,
AND HERE COMES THIS YOUNG
PERSON WHO HAS HER FIXED
IDEAS, AND SOMETIMES THERE'S
A LITTLE BIT OF A COLLISION.
I'VE LEARNED TO
STAND UP FOR MYSELF.
AND IT'S REALLY IMPORTANT
YOU ASSERT YOURSELF.
BECAUSE I MEAN, IT
SHOULD BE A COMBINATION.
THERE SHOULD BE A DIALOGUE.
AND YOU SHOULD DISCUSS THINGS,
AND MUSICAL IDEAS, BUT IT'S
BASICALLY THE SOLOIST'S
INTERPRETATION THAT PEOPLE ARE
COMING TO HEAR WHEN
THEY COME TO A CONCERT.
SO YOU KNOW, THAT'S SOMETHING
I'VE HAD TO FIGHT FOR A
LITTLE BIT.

Richard says CONDUCTORS BEING, PERHAPS,
HARD ON YOU BECAUSE
YOU WERE YOUNG.
WHAT ABOUT OTHER MUSICIANS?
DO YOU FEEL A LOT OF YOUR
PEERS HAVEN'T GIVEN YOU A
BREAK BECAUSE YOU
GOT SO FAR SO FAST?
AND THERE WAS SO MUCH MADE OF
THE FACT YOU WERE ATTRACTIVE,
AND YOU WERE THE PIN-UP
CELLIST, AND ALL OF THIS?

Ofra says I'VE ALWAYS KIND OF KEPT TO
MYSELF IN THE MUSIC BUSINESS.
I'VE WORKED WITH OTHER
WONDERFUL MUSICIANS, BUT I'VE
NEVER KIND OF BEEN IN THE
LITTLE CLIQUES THAT ARE AROUND.
THERE'S A LOT OF POLITICS AND
ALL KINDS OF THINGS THAT GO ON.
I'VE ALWAYS KEPT TO MYSELF.
MY FAMILY IS IMPORTANT TO ME.
MY PERSONAL LIFE
IS IMPORTANT TO ME.
I LOVE WORKING WITH
OTHER MUSICIANS WHO LOVE
TO MAKE MUSIC.
THERE'S SO MUCH MORE THAT'S IN
THE MUSIC INDUSTRY THAN JUST
MAKING MUSIC, WHICH IS SAD.
YOU FEEL THAT WITH THE
ORCHESTRAS, WHERE THEY ARE
COUNTING THE TIME AND THE
UNIONS AND THIS AND THAT.
THERE SHOULD BE MORE FOCUS ON
ACTUAL MUSIC-MAKING, AND THE
LOVE OF MUSIC-MAKING.

Richard says DO YOU THINK THE FACT THERE
IS SUDDENLY NOW A BUNCH OF,
WELL, I'VE HEARD THE TERM
USED, THE CLASSICAL MUSIC
'BRAT PACK'.
PEOPLE LIKE YOU
AND SOPHIE MUDER,
AND CECILA BARTOLI, AND
NIGEL KENNEDY, WHO ARE
YOUNGER PERFORMERS WHO ARE
VERY TALENTED, BUT HAVE
AN IMAGE, AND HAVE THE
SIZZLE THAT THEY CAN SELL.
SOMEONE SAID IT'S THE MTV
CLASSICAL GENERATION.
HAS THAT HELPED OR HINDERED
APPRECIATION FOR THE MUSIC?

Ofra says I THINK IT'S NECESSARY NOW TO
REACH THE PUBLIC BECAUSE IT'S
A MEDIA-ORIENTED SOCIETY, AND
THEY WANT PEOPLE THEY CAN
RELATE TO.
I MEAN, CLASSICAL MUSIC USED
TO BE SOMETHING VERY SNOBBY
AND ELITE AND OLD-FASHIONED
THAT WAS CLOSED.
YOU KNOW, THE
GRANDPARENTS' MUSIC.
AND I THINK THE BRAT PACK, OR
THE GROUP OF PEOPLE WHICH
I'M HAPPY TO BE INCLUDED
AMONG, ARE CHANGING THAT.
AND THEY ARE NOT ONLY
BREAKING DOWN BARRIERS OF THE
SNOBBISHNESS AND OLD-FASHIONED
IDEAS ABOUT CLASSICAL MUSIC,
BUT THEY'RE ALSO BREAKING DOWN
BARRIERS WITH ACTUAL MUSIC.
THEY'LL DO ANYTHING, AND I'LL
DO ANYTHING FROM, YOU KNOW,
BAROQUE THROUGH CLASSICAL
ROMANTIC, CONTEMPORARY,
AND EVEN CROSSOVER.
I LOVE DOING THINGS LIKE,
THERE WAS A TELEVISION SHOW
THAT I DID IN HOLLAND WHERE I
CAME OUT IN MY CONCERT DRESS,
AND I PLAYED A HAYDN
CELLO CONCERTO.
THEN I CAME OUT IN BLACK JEANS
AND DID A DUO WITH STING.
AND THAT BREAKS DOWN
ALL THE BARRIERS.
IT MAKES PEOPLE KNOW THAT
GOOD MUSIC IS GOOD MUSIC,
AND THERE SHOULDN'T
BE A LABEL ON IT.

Richard says WHEN YOU ARE APPROACHING IT
BECAUSE I KNOW YOU ARE GOING
HEAVILY INTO DOING CROSSOVER
WORK AT THE MOMENT, WHAT DO
YOU LOOK FOR IN THE
MODERN MATERIAL?

Ofra says THE ARRANGEMENTS HAVE TO
BE REALLY, REALLY FINE
ARRANGEMENTS, AND IT
HAS TO BE GOOD MUSIC.
AND THE PEOPLE THAT I WORK
WITH HAVE TO BE, YOU KNOW,
IT CAN'T JUST BE SOMETHING TO
SELL, IT HAS TO BE SOMETHING
THAT'S REALLY QUALITY MUSIC.
I GUESS, PEOPLE KNOW OF MY
BEATLES' PROJECTS THAT I'VE
DONE IN THE PAST.
AND THE ARRANGEMENTS, IN
MY OPINION, SOUND LIKE
SHUBERT QUINTETS.
I MEAN, THEY ARE SO BEAUTIFUL,
AND THE TEXTURE SO RICH.
DOUG RILEY DID AMAZING
ARRANGEMENTS FOR THAT.
AND I'M GETTING HIM TO DO
SOME ARRANGEMENTS FOR THIS
UPCOMING CONCERT AT THE FORD
CENTRE, WHERE I'LL DO AN
ENTIRE EVENING OF CROSSOVER,
WHICH I'VE NEVER DONE BEFORE.
IT'S QUITE A CHALLENGE.
AND I'LL HAVE A STRING QUARTET
ACCOMPANYING ME, WHICH I
THINK IS A VERY RICH AND
BEAUTIFUL ACCOMPANIMENT TO
THESE SONGS.

Richard says HOW FAR ARE YOU GOING TO
GO INTO CROSSOVER COUNTRY?
I KNOW YOU MENTIONED DOING THE
BEATLES, BUT WHAT'S THE MOST
OUT THERE THING YOU THINK
YOU ARE GOING TO ATTEMPT?

Ofra says WELL, AS I'VE SAID, I'VE
WORKED WITH STING, AND I DO
SOME WORK, ONCE IN A WHILE
WITH LORENA MCKINNETT, AND
MICHAEL BURGESS, AND ALL
THESE PEOPLE, AND I LOVE IT.
GUIDO BASSO.
I'VE DONE SOME THINGS
THAT ARE HALF JAZZ.
AND IT'S A LOT OF FUN.
BUT I'M STILL DOING, I'M
CONTINUING WITH MY VIVALDI
PROJECT, VOLUME
FOUR JUST CAME OUT.
THAT'S VERY IMPORTANT TO ME.
THERE'S A VOLUME FIVE OF THAT.
VIVALDI, LESS THAN HALF OF
WHAT WE WROTE FOR THE CELLO
WAS EVER PLAYED OR RECORDED,
AND I THINK THAT'S INCREDIBLE
MUSIC, AND THAT'S
BEEN VERY SUCCESSFUL.
AND I JUST ALSO RECORDED
THE LALO IN OFFENBACH
CONCERTOS, AND I'M HALFWAY
THROUGH DOING THE ELGAR
CONCERTO WITH THE
LONDON PHILHARMONIC.
ACTUALLY, I DID THAT, AND
THE SCHUMANN, I'M DOING THIS
SPRING.
SO I MEAN, HALF
AN ALBUM IS MADE.

Richard says IT'S AMAZING.
WE'RE HAVING THIS CONVERSATION
ABOUT ALL OF THIS WE ARE DOING,
AND IN THE MIDDLE OF IT, YOU'VE
RECENTLY HAD YOUR FIRST CHILD.

Ofra says YES.

Richard says HOW DID YOU FIND TIME TO REALLY
JUGGLE ALL OF THESE THINGS?

Ofra says I HAVE NO IDEA.
[laughing]
I WAS ACTUALLY RECORDING
ELGAR WHILE I WAS PREGNANT.
AND I DID HAVE TO TAKE SOME
TIME OFF AT THE END OF THE
PREGNANCY BECAUSE MY
STOMACH GOT IN THE WAY.

Richard says WHAT MONTH CAN YOU
STOP PLAYING THE CELLO?

Ofra says OH, BOY, I WAS REALLY
TRYING TO PUSH IT.
THE CELLO WAS GETTING
FURTHER AND FURTHER AWAY.
IT'S ONE OF THE MOST
INCREDIBLE THINGS.
I MEAN, I WOULDN'T GIVE
IT UP FOR THE WORLD.
IT'S SOMETHING I'VE WANTED
TO DO FOR A LONG TIME,
AND I THINK IT'LL
ONLY ENRICH MY MUSIC.

Richard says HAD YOU STOPPED TO THINK
ABOUT IF IT WOULD PUT A
NEGATIVE SPIN ON ALL OF THAT
IMAGE, OR IS THAT WHAT YOU ARE
TRYING TO GET RID OF, YOU
KNOW, THE JET SET GIRL,
EVERYBODY'S FAVOURITE
POSTER GIRL?

Ofra says WELL, I'M NEITHER TRYING
TO GET RID OF IT OR FOR IT
BECAUSE IT'S JUST
SOMETHING THAT'S HAPPENED.
I DON'T QUITE UNDERSTAND WHY
IT TOOK THE TURN THAT IT DID.
BECAUSE I MEAN, THERE WAS A
COMMENT, I DON'T REMEMBER IF
SOMEONE MADE IT ON TELEVISION,
OR IN THE PRESS, BUT THEY
SAID PEOPLE BUY MY ALBUMS
BECAUSE OF THE COVER.
AND I WAS THINKING ABOUT IT,
WHY WOULD THEY BUY, 30 OR 40
CDs I'VE MADE BECAUSE OF THE
COVER WHEN THEY CAN GO AND BUY
A COSMOPOLITAN OR SOMETHING,
AND GET 30 -- THERE HAS TO BE
SOMETHING TO THE MUSIC.
AND IF MAYBE THAT INITIALLY
SELLS THE ALBUM, AND LATER
ON THE MUSIC REACHES THE
PEOPLE, THAT'S FINE.
WHATEVER IT TAKES
TO REACH THE PEOPLE.

Richard says BUT THERE HAVE BEEN
SOME EXTREMES WITH THIS.
ON ONE SIDE, I REMEMBER
HEARING ABOUT HOW YOU PLAYED
WITH THE JAPANESE ROYAL
FAMILY, AND PRINCE CHARLES
USED TO SEND YOU FAN LETTERS
AND STUFF, AND LOVED YOUR WORK.
ON THE OTHER SIDE, THERE IS
ONE PARTICULAR INCIDENT WHICH
TO ME KIND OF SUMS UP THE DARK
SIDE OF FAME, I WANTED TO ASK
YOU ABOUT, WAS THERE WAS A
TIME, NOT THAT LONG AGO, WHEN
THERE WAS ACTUALLY A VERY
SPECIFIC DATE AND TIME DEATH
THREAT MADE ON YOU, WHICH WAS
TO COINCIDE WITH A CONCERT.
AND YOU ACTUALLY WENT OUT
AND PLAYED THE CONCERT.

Ofra says I'VE ACTUALLY HAD
A FEW OF THOSE.
AND I DON'T LET THEM GET
TO ME BECAUSE, YOU KNOW,
IT'S PART OF IT.
IF A MILLION PEOPLE ARE OUT
THERE LISTENING TO YOUR
CONCERT OR SEEING YOU ON
TELEVISION, A SMALL PERCENTAGE
OF THAT MILLION PEOPLE
IS A LITTLE BIT STRANGE.
YOU HAVE TO ACCEPT THAT.

Richard says I'M THINKING OF OCCASIONS
WHERE THERE HAVE BEEN SECURITY
GUARDS AROUND YOU.
YOU WERE ACTUALLY THERE
WONDERING IF, I MEAN,
YOU WERE GIVEN INSTRUCTIONS
IF SOMEBODY STOOD UP,
YOU WERE TO HIT THE GROUND.
DROP THE CELLO,
HIT THE GROUND.

Ofra says IT WAS ACTUALLY FUNNY BECAUSE
I WAS LOOKING AT THIS POOR
PERSON, AND THEY SAID, EVERY
TIME THEY WIGGLED IN THEIR
SEAT, THEY THOUGHT I WAS
GOING TO DIVE OFF THE STAGE.
I MEAN, THINGS LIKE
THAT HAVE HAPPENED.
BUT I REALLY LIVE LIFE TO THE
FULLEST, AND I DON'T LET IT
GET TO ME.
BECAUSE IN MY OPINION,
IF I LET IT GET TO ME,
THEY WIN IN A SENSE.

Richard says SO YOU HAVE TO TAKE SOME
PRECAUTIONS, YOU WANT TO BE
CAREFUL, BUT YOU WON'T
GIVE IN TO ALL OF THAT
OBSESSION ANGLE.

Ofra says THERE'S NOTHING THAT I
LIMIT MYSELF FROM IN LIFE.
I GO EVERYWHERE, I
DO WHATEVER I WANT.

Richard says WITH YOUR MUSIC NOW, I RECALL
ONCE THAT YOU SAID WHEN YOU
STARTED TO PLAY ON STAGE, WHEN
YOU HIT THAT FIRST NOTE, YOU
FELT INCREDIBLY VULNERABLE,
AND INCREDIBLY EXPOSED BECAUSE
IT WAS YOU CONNECTING, FOR
THE FIRST TIME, AND SORT OF
OPENING UP WHAT WAS GOING
TO HAPPEN ON THAT EVENING.
IS THAT FRESHNESS STILL THERE?

Ofra says ABSOLUTELY.
EVERY TIME I GO ON STAGE
I'M ALMOST PARALYSED BY
NERVOUSNESS, INITIALLY.
AND THEN ONCE THAT NOTE COMES
OUT, AND THE SOUND IS ALWAYS
SO DIFFERENT.
DOESN'T MATTER HOW MANY TIMES
YOU REHEARSE IN A HALL,
WHEN IT'S FULL WITH AN
AUDIENCE, IT'S A COMPLETELY
DIFFERENT SOUND.
AND YOU ALMOST HAVE TO GET
USED TO IT, AND THE CONNECTION
WITH THE AUDIENCE, AND
FEELING THEIR VIBRATIONS
AND EVERYTHING.
IT'S A REALLY TENSE MOMENT.
THEN I GET LOST IN THE MUSIC.
BUT WHEN I START, THERE
IS A LOT OF NERVES THERE.

Richard says NOW, WE TALK ABOUT THE GOOD
TIMES, YOU OBVIOUSLY HIT THE
NOTE, AND IT RINGS, AND IT
FEELS GOOD, AND YOU SAIL ON.
ARE THERE NIGHTS YOU
DON'T FEEL LIKE DOING IT?

Ofra says IT'S FUNNY BECAUSE THE NIGHT...
I REMEMBER I WAS DOING ONE
OF THOSE FAR EAST TOURS, AND
THE FAR EAST TOURS ARE THE
HARDEST BECAUSE I SOMETIMES DO
TWO MONTHS OF SOLID, ALMOST
EVERY NIGHT PERFORMING,
AND RIDICULOUS TRAVELLING.
THERE WAS ONE NIGHT ON A FAR
EAST TOUR WHERE I THOUGHT,
I DO NOT FEEL LIKE
PLAYING TONIGHT.
AND I WAS REALLY UPSET.
EVERYONE WAS LOOKING AT ME,
WHY AREN'T I WARMING UP?
USUALLY I HAVE MY ROUTINE.
I SAID, I'M TIRED, I'M
EXHAUSTED, I HAVEN'T SLEPT
IN NIGHTS, I DON'T
FEEL LIKE PLAYING.
I DON'T REMEMBER, I
MEAN, IT WAS SO INTENSE.
AND I WENT ON STAGE, AND THAT
WAS THE BEST CONCERT I DID ON
THE WHOLE TOUR BECAUSE
ALL THAT FRUSTRATION AND
EXHAUSTION, AND EVERYTHING, IT
JUST CHANNELED IT ALL THROUGH
THE MUSIC, AND I MEAN, THERE
WAS ACTUALLY A PAUSE AFTER
I FINISHED PLAYING BECAUSE
PEOPLE WERE JUST KIND OF
SITTING THERE, ALL THAT ENERGY
WAS TRANSMITTED THROUGH
THE MUSIC.

Richard says YOU SAID AN ARTIST MUST HAVE
LIFE EXPERIENCES TO POUR
INTO WORK.
IT'S NOT LIKE AN ATHLETE,
WHERE AN ATHLETE HAS TO BE
MONASTIC AND TRAINED.
IN FACT, YOU HAVE OFTEN SPOKEN
OUT AGAINST ENDLESS HOURS OF
PRACTISING, AND TOO MUCH
TRAINING BECAUSE IT SEALS ONE
OFF FROM LIFE.

Ofra says WELL, I HEAR MUSICIANS, AND
I'M NOT GOING TO NAME ANY
NAMES, BUT A LOT OF WELL KNOWN
MUSICIANS THESE DAYS, THEY
PRACTICE EIGHT TO 16 HOURS A
DAY, AND THEY SOUND LIKE VERY
WELL LUBRICATED MACHINES.
I CAN SIT THROUGH A CONCERT
AND RESPECT THEIR TECHNIQUE,
BUT I FEEL NOTHING.
AND I THINK IF YOU DON'T HAVE
THE EXPERIENCES IN LIFE, IF
YOU DON'T TRAVEL AND SEE
THINGS -- I MEAN, YOU CAN
TRAVEL AS A MUSICIAN,
BUT YOU DON'T SEE THINGS.
I MEAN, I DID YEARS OF THAT.
I TRAVELLED, AND I SAW THE
HOTEL ROOM AND THE CONCERT
HALL AND THE REHEARSAL,
AND PEOPLE ASK ME,
HOW WAS LIECHTENSTEIN,
OR HOW WAS VIENNA?
I DON'T KNOW.
SO I DID THAT FOR A WHILE, AND
I'VE MADE A POINT OF REALLY
TRYING TO EXPERIENCE THINGS
AND TAKE TIME TO SEE THE
PLACES I'M IN, AND LEARN ABOUT
THE HISTORY, AND THE HISTORY
OF THE COMPOSERS, AND OF
COURSE, MY FAMILY LIFE,
AND MY PERSONAL LIFE,
AND MY FRIENDS.
IT DOESN'T ALL REVOLVE
AROUND MY PLAYING.
AND I THINK THAT'S SO IMPORTANT
BECAUSE I HAVE THINGS
TO PUT INTO THE MUSIC.

Richard says THAT'S WHAT I WAS
GOING TO ASK YOU.
IN THE OLD DAYS, YOU USED TO
TOUR, BE ON THE ROAD, UP TO
EIGHT MONTHS OF YEAR.

Ofra says SOMETIMES TEN.

Richard says YEAH.
NOW YOU ARE HAPPILY MARRIED,
YOU HAVE A NEW BABY.
IS THAT GOING TO HAVE TO CHANGE
YOUR CAREER TRACK AT ALL?

Ofra says I THINK IT'S NOT CUTTING
DOWN SO MUCH, AS PLANNING
MORE EFFICIENTLY.
AND I USED TO DO A LOT OF
RIDICULOUS YO-YO TRAVELLING.
I MEAN, I'D GO TO THE FAR
EAST, FLY BACK FOR ONE CONCERT
IN ENGLAND, FLY THERE, I MEAN,
IT WAS ABSOLUTELY RIDICULOUS
WHAT I WAS DOING.
AND I HAD A HARD TIME SAYING
NO BECAUSE I WANTED TO PLEASE
EVERYONE, AND TO DO ALL THE
PERFORMANCES, AND IT WAS
CHALLENGING, AND I DIDN'T
WANT TO GIVE UP ANYTHING.
BUT I'VE LEARNED THAT I DON'T
REALLY GIVE UP BY TRYING TO
STRUCTURE THINGS A
LITTLE MORE EFFICIENTLY.
SO, FOR INSTANCE, MY FAR EAST
TOUR THIS YEAR WILL ONLY BE
THREE WEEKS AND, YOU KNOW,
I'M DOING SOME OF THE MAJOR
CITIES, AND A FEW OF MY
FAVOURITE SMALLER PLACES.
BUT IT DOESN'T HAVE TO BE
ALL AT ONCE, ALL TOGETHER.
YOU KNOW, PEOPLE WILL
WAIT FOR MY NEXT TOUR.

Richard says WILL THERE BE MORE EMPHASIS
ON RECORDING NOW, RATHER THAN
LIVE PERFORMANCE?

Ofra says I DON'T THINK IT'S POSSIBLE
TO HAVE MORE EMPHASIS ON --
I DO THREE RECORDINGS OR FOUR
RECORDINGS A YEAR, I THINK.

Richard says I MEAN, WOULD YOU PHASE OUT
THE LIVE PERFORMANCE TO A
CERTAIN DEGREE, AND LET THE
RECORDINGS CARRY THE BURDEN
OF THE MESSAGE?

Ofra says A LITTLE BIT.
I HAVE A GOOD FULL SCHEDULE
FOR NEXT SEASON, AND I
WOULDN'T WANT TO
DO MORE THAN THAT.
AND THAT INCLUDES SOME
CONCERTS IN THE STATES,
AND AUSTRIA, BUDAPEST,
ENGLAND, AND THE FAR EAST.
AND, YOU KNOW, THAT'S
FINE FOR NEXT SEASON.
I'M ACTUALLY NOT ACCEPTING
ANYTHING, UNLESS IT WOULD
REALLY BE STRUCTURED
WITH THESE TOURS.
FOR INSTANCE, IF SOMETHING
CAME UP IN VIENNA WHILE I WAS
THERE, I MIGHT CONSIDER DOING
IT, BUT I'M TRYING TO DO IT
SO IT IS SANE.
AND I WANT TO KEEP DOING THIS
FOR MANY, MANY YEARS, AND I
WANT TO STAY HEALTHY AND HAVE
A LOT OF ENJOYMENT, AND NOT
BURN OUT AS SOME MUSICIANS DO.

Richard says AT ONE POINT, YOU SAID, 'WHEN
I'M ON STAGE, I OFTEN THINK
THAT THERE'S TWO PEOPLE.
AND THE ONE WHO'S PLAYING IS
THE ONE WHO IS IN CONTROL'.
NOW, IS THAT STILL THE CASE,
OR IS THE OTHER OFRA, THE ONE
NOT PLAYING, WHO HAS THE
HUSBAND AND KID IN CONTROL NOW?

Ofra says IT'S DIFFICULT TO ANSWER
BECAUSE THERE IS SOME KIND
OF TRANSFORMATION
WHEN I GO ON STAGE.
SOMETHING DOES TAKE OVER.
MY HUSBAND SAYS I SOMETIMES
SCARE HIM BECAUSE I BECOME A
DIFFERENT PERSON ABOUT AN
HOUR BEFORE I GO ON STAGE.
AND AT FIRST, HE WAS
A LITTLE SHOCKED.
THE TYPE OF FOCUS.
I SEE MYSELF ON VIDEO OR
TELEVISION, AND I BECOME SO
TRANSFORMED, AND THE MUSIC
TAKES OVER SO COMPLETELY.

Richard says THE YOU I'M TALKING TO NOW IS
A TOTALLY DIFFERENT LOOK THAN
I'VE SEEN WHEN YOU PERFORM.

Ofra says YES, YES.
IF YOU CAME BACKSTAGE ABOUT
AN HOUR BEFORE, YOU'D IS THE
OTHER OFRA STARTING TO BREW.

Richard says SO THEY ARE BOTH STILL THERE.
ARE THEY GOING TO FIGHT
IT OUT 'TIL THE END?

Ofra says THIS OFRA IS THE ONE WHO
IS IN CONTROL OF MY LIFE.

Richard says THIS ONE'S IN CONTROL.
AND YOU KNOW WHAT --

Ofra says I SOUND LIKE SOMETHING FROM
STEPPENWOLF OR SOMETHING.

Richard says BUT I THINK YOU'RE DOING
A PRETTY GOOD JOB
WITH IT AT THE MOMENT, SO.
ALL OUR BEST WISHES TO YOU.
OFRA HARNOY, THANK YOU
FOR JOINING ME TODAY.

Ofra says THANK YOU VERY MUCH.

He faces the screen and says
FOR
DIALOGUE, I'M
RICHARD OUZOUNIAN.
GOOD-BYE FOR NOW.

Music plays as the end slate reads “Dialogue.”

A production of TVOntario. Copyright 1997, The Ontario Educational Communications Authority.

Watch: Ofra Harnoy