September 2014
Curtain Call Acadiana’s Publication for the Arts
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features
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COLLECTING ART WITH SPIRIT The Haynie Family has accumulated an impressive art collection over the years. Read about how this local family has made supporting art and artists a family tradition.
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MUSICAL JOURNEY TO FREEDOM
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Maestro Mariusz Smolij’s exile from communist Poland was made possible through music. Learn how he relates to the indigenous people of South Louisiana and how his experience has inspired him to compose a symphonic homage to the Acadians’ journey of deportation to settlement here in Acadiana.
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ART, IRIS, & MUSIC A matchmaker of all things artistic, Richard Goula is a man of many talents and many passions. He is a gracious host who loves to orchestrate events full of music, art, and nature, all of which satisfies his desire to create beautiful things.
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PAT SOPER: JUST DRAW WHAT YOU SEE Born to draw, Pat uses his gift to create realistic portraits and tell stories. He further extends his talent to help arts organizations and teach others how to make art.
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ONE ON ONE: MELANA LLOYD
Overture magazine catches up with a Lafayette local who’s making a name for herself in dance, theater, and television. She shares her experience, lessons learned, and what it takes to be successful in the performing arts.
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FINE JEWELRY & DISTINCTIVE GIFTS
ACADIANA MALL 337-981-8071 • LMFJ.COM Acadiana’s Publication for the Arts
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contents
8 OPENING NOTES Jenny Krueger, Executive Director 10 FANFARE Mariusz Smolij, Music Director & Conductor 12 ACADIANA SYMPHONY SEASON Musical Fireworks to Celebrate 30th Anniversary 14 GUEST COLUMN Dave “Lefty” Lefkowith, Assistant Supervisor, Louisiana Department of Education 30 LAFAYETTE BALLET ‘14-‘15 Season Dates 32 FOOD The Delicious Creole Tomato 38 THE ARTICLE Parents helping kids discover their creativity 42 CHORALE ACADIENNE An Invitation to Indulge 44 MEET THE ASO Acadiana Symphony Orchestra Board of Directors & Staff 46 ACADIANA SYMPHONY YOUTH ORCHESTRA Disney Trip 2014 48 WHAT TO READ Reading Suggestions From a Pro 49 WHAT TO LISTEN TO Maestro Suggested Listening Options 50 SYMPHONY SHOP Support the Symphony 52 INTERNS ON THE STREET What are you listening to at the gym? 53 INTO THE UNKNOWN Two members of The705 venture into the mysterious world of “The Arts” 54 STANDING OVATION Acadiana Suzuki Institute 56 SYMPHONY SEAUXCIAL HIGHLIGHTS Up, Up and Away 58 COMMUNITY SEAUXCIAL HIGHLIGHTS Lafayette Leadership Class XXVII
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September 2014 Vol. 2, No. 1
PUBLISHED BY
EDITOR Jenny Krueger jenny@acadianasymphony.org
PROJECT MANAGER Rebecca Doucet rebecca@acadianasymphony.org
WRITERS Emily Brupbacher Catherine Comeaux Johanna B. Divine, Ann Dobie ACCOUNT EXECUTIVE Carolyn Brupbacher carolyncb@me.com • 337.277.2823
CONTRIBUTING WRITERS Hillary Bonhomme, Blake Lagneaux Cory LaGrange, Dave “Lefty”Leflowith Lori Maraist, Miquel Ochoa Mariusz Smolij, Jude Tauzin MAILING ADDRESS 412 Travis Street Lafayette, LA 70503 EMAIL overture@acadianasymphony.org ON THE WEB acadianasymphony.org
Overture Magazine is published nine times a year and distributed free of charge by Acadiana Symphony Orchestra & Conservatory of Music. No parts of this periodical may be reproduced in any form without the prior written consent of Overture Magazine. The owners, publishers, and editors shall not be responsible for loss or injury of any submitted manuscripts, promotional material and/or art. Unsolicited material may not be returned. Advertising in Overture Magazine does not imply endorsement by Overture Magazine or Acadiana Symphony Orchestra & Conservatory of Music. Overture Magazine reserves the right, without giving specific reason, to refuse advertising if copy does not conform with the editorial policies. Overture Magazine does not necessarily agree with nor condone the opinions, beliefs or expressions of our writers and advertisers. Neither the publishers nor the advertisers will be held responsible for any errors found in the magazine. The publishers accept no liability for the accuracy of statements made by the advertisers. © 2014 Overture Magazine. All Rights Reserved.
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Opening Notes
Back to the Arts
Jenny Krueger, Executive Director
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Welcome to another season of Overture Magazine, Acadiana’s Publication for the Arts. The vision of Overture Magazine is to serve as a launching pad for engaging and open conversation about the arts in Acadiana. Thank you for your feedback; we have been so inspired by what we have received from all of you thus far. We are working hard to provide you with another year full of all the artistic stories you love.
September is one of my favorite months. The excitement of fall festivities is in the air. Even though the temperatures are still warm in South Louisiana, the fun of the fall season begins. School is in full swing and we get back into our routines.
Football season starts. Red, white, purple, gold, and Who-Dat flags proudly fly. I love the energy that surrounds football in Louisiana. It’s infectious, and fun! This fall, your Acadiana Symphony opens its 30th season. We are very excited to have the opportunity to celebrate our anniversary in Acadiana. We have an amazing season planned for you. Locally, and across the country, excitement builds as many arts organizations open the curtain to their next season. Unfortunately, many arts organizations will not be opening their season this year.
“Start where you are. Use what you have. Do what you can.” Arthur Ashe
Arts organizations continue to struggle and are left with no other choice but to close their doors. This year, Boston and Arlington will lose their theater companies. Green Bay and Pasadena are losing their symphony orchestras and San Diego is losing its opera company.
With the latest news nationally in the arts world, leaders of arts organizations in Acadiana feel blessed to be opening our seasons this year. We realize how much of our future depends on you. As we strive to address the needs of the community while maintaining true to our art forms, we need you more than ever. Please continue to provide feedback, serve as ambassadors of our work, and, of course, purchase your tickets. Together we can continue to enjoy an Acadiana season that offers the best food, football, and artistic experiences around! Thank you for your continued support! We are so grateful for you!
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Fanfare
Symphony 101: Suite
Mariusz Smolij, Music Director and Conductor
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There are many ways to achieve an education of the mind and soul, the never-ending journey that contributes to the appreciation and enjoyment of our passage through life. The process involves engaging our eyes, ears and other senses to become attuned to the wonders and genius in this world. It is an enjoyable voyage of discovery whether one is wandering through an art museum, attending a theater production, reading a variety of important literature, tasting a fine wine, watching quality television or listening to great music in a concert hall. Part of my life’s work as a music conductor and pedagogue is to bring the experience of listening to great music to an audience that becomes engaged in this process of discovery. In the new monthly series “Symphony 101,” I will introduce various aspects of symphonic music that will help increase your knowledge and appreciation of great music and the pleasure it brings to your world. Orchestral compositions usually follow a structure of certain established forms such as overture, concerto, symphony or suite. Since our season-opening concert this September features a number of suites, let’s begin by looking at the suite, one of the oldest musical forms used by many composers. A suite is simply an ordered set of musical pieces. The different movements are connected by the basic theme, a concept such as dance or by the fact that all were extracted from a larger form such as a ballet, opera, musical or movie score. Baroque composers, such as J.S. Bach and G. F. Handel, were among the first to write orchestral or instrumental suites. Those suites typically consisted of dances. One might say that the Baroque suites were the very first examples of orchestral “pop music” since they included the most popular dances of that time and were often used to accompany actual dancing. To hear an example of a Baroque suite of dances, listen to J.S. Bach’s Orchestral Suite No. 2 in B-minor for
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strings and flute. Among other dances, you will enjoy the elegant French Rondeaux, the noble Polish Polonaise, the sensuous Spanish Sarabande and will most likely recognize the popular, lively and virtuosic Badinerie. For composers of later periods the suite was an ideal form to assemble “the best of ” from their larger works. For example: Bizet composed two suites from his opera Carmen; Tchaikovsky based his orchestral suites on his ballets, The Nutcracker, Swan Lake and Sleeping Beauty; Duke Ellington compiled his most famous tunes in orchestral suites such as “Black, Brown and Beige” and “New Orleans Suite”. ASO’s September 20 concert will feature parts of Gustav Holst’s opera “The Perfect Fool”. Its suite consists of dances of three spirits: earth, water and fire. Following this season’s theme of Fire, we will present a performance of the Dance of Spirits of Fire. Another suite comes from Maurice Ravel’s ballet “Daphnis and Chloe.” It consists of some of the most spectacular dances ever written for a symphony orchestra. The composer’s supreme orchestrating skills combined with his extraordinary sensuality, rhythmic vigor, lush melodies and the timbre of the supporting chorus provide one of the most outstanding compositions in the entire symphonic literature. Before or after attending our concert, enjoy listening to a few suggested recordings of various orchestral suites, recommended in the “What to Read and What to Listen To” article on 49. My personal favorite recordings are listed in the parentheses. Overture Magazine
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Concert Feature
Musical Fireworks To Celebrate ASO’s 30th Anniversary Ann Dobie
Through the ages water, fire, air, and earth, the basic elements, have been studied and celebrated by poets and philosophers as well as scientists and artists. In its previous season the Acadiana Symphony Orchestra musically explored the first: water. In its upcoming 30th anniversary season, it turns its attention to the second: fire. And rightly so. As Maestro Mariusz Smolij points out, “Fire is associated with warmth, love, celebration, and illumination. For thousands of years the magnetic power of fire has been a subject of enchantment and allure.”
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Another chorus, the Chamber Chorus of the University of Louisiana at Lafayette, will be featured in the program entitled “Royal Fireworks.” Performing at St. John’s Cathedral, the orchestra and singers will present George Frederick Handel’s Music for Royal Fireworks, Wolfgang Amadeus Mozart’s Missa Brevis K 220, known as the “Sparrow Mass,” and Joseph Haydn’s Symphony No. 59, his “Fire Symphony.”
Celebrating the Christmas season, the orchestra will perform traditional holiday favorites, including such diverse works as “How the Grinch Stole Christmas” and excerpts from Handel’s Messiah. Second in the Guest artists will series is “Firebird: include baritone Music Tells a Kevin Deas, the ASO Story,” a classic Youth Orchestra, and tale in modern local middle school dance featuring the and high school Clare Cook Dance choruses. Theater from “Symphonic New York City. Embers” will The program will surprise and delight include waltzes by incorporating from Richard Westwater Arts
Photo by Photo by Molly Torian
Photo by Lisa-Marie Mazzucco
The season opens with “Fired Up,” featuring works by Gustav Holst, Richard Wagner, Wojciech Kilar, Maurice Ravel, and Ludwig van Beethoven. It promises to be a stirring program highlighted by performances from the ASO Chorus, the Baton Rouge Symphony Chorus, Nicholls State University Chorus, and ASO Conservatory Students.
Strauss’s Der Rosenkavalier, dance scenes from Aram Khatchaturian’s Ballet Spartacus, and, of course, Igor Stravinsky’s Firebird Suite.
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Symphonic Photochoreography in its performance of Samuel Barber’s Adagio and Aaron Copland’s Rodeo. In addition, cellist Allison Eldredge will join the orchestra in presenting Antonin Dvořák’s Cello Concerto in B-minor. The following concert, in contrast, will be a fully staged performance of the long running musical Les Misérables, presented in cooperation with the UL Lafayette Opera Theater. It will be staged on the University’s campus in Angelle Hall.
Photo by Jamie Beck
In addition to the six concerts presented in the Masterworks series, the Hubbell Chamber Series will include four performances at the Acadiana Center for the Arts. They will open with “Virtuosic Sparklers,” featuring a performance by Mariusz Patyra, Gold Medal winner of the Paganini International Violin Competition. “Heartstrings” will give you the opportunity to enjoy a Valentine’s Day high tea. “Fire of Love” will include Grammy-Award winning mezzo soprano Virginia Warnken performing arias, songs, and dances by Purcell, Vivaldi, and Britten. Finally, “Feux D’Artifice” will conclude the Hubbell Chamber Series with “piano visionary” and winner of the Juilliard Concerto Competition Michael Brown. As Maestro Smolisz points out, “The thematic approach to programming helps to introduce a new and exciting repertoire to our concerts, brings cohesion to the entire season, and creates an interesting musical journey for the audience.” It also offers a wide variety of presentations ranging from small chamber events, such as the violin recital in November, to chamber orchestra concerts, symphony orchestra performances with soloists and choruses, and fully staged musical theater. It allows the ASO to feature local musical talent, incorporate visual elements into the program, and present guest artists of the highest caliber. All in all, the 30th anniversary season will be one to remember. It will be a season filled with musical fireworks! Acadiana’s Publication for the Arts
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Guest Appearance
The Lifetime Memories of Music
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Dave “Lefty” Lefkowith, Assistant Superintendent, Louisiana Department of Education
I invariably feel an overwhelming sense of joy and pride when I see young people involved with music. High school students in their marching band, middle school students in their orchestra, or first graders singing together with their customary abandon – in every case, music transports our students. Music is a collective endeavor that promotes teamwork, interdependence, and responsibility. Music amazes, amuses, and astounds while helping young participants develop important cognitive skills.
back, one of my earliest memories is the pride I felt when I finally mastered My Country ‘Tis of Thee in first grade. Mrs. Cooper, our town’s eternal first grade teacher, taught 50 years of students their first patriotic song. I suspect this was one of the best parts of her job – that and teaching children how to read.
None of us remember every great book we’ve read, every science experiment we conducted, Music also teaches our students invaluable lessons or every math concept we mastered in school. that transcend the melodies involved. But we all remember our favorite songs and the performances we participated in as students. Sometimes there’s a lot of pressure involved: Upon reflection, these memories are invariably “My rest ends in eight beats. I need to enter on accompanied by the realization of how much we the upbeat and I need to be on key. And I have learned from our musical experiences. to remember my dynamics, because we’ll go into a slow crescendo within four measures.” Complex My work at the Department of Education focuses maneuvers like these force students to focus, on innovation in career and technical education, but concentrate, and perform. my heart is always in music. I’ve enjoyed musical performances by a variety of Louisiana students When done well, musical collaborations form in a variety of settings. And I can say without joyous memories that literally last a lifetime. I’m hesitation that my two favorite things may well old now and even my daughter is an adult. But I remember with perfect clarity marching during half be listening to student musical performances and watching kids of any age play baseball or softball. time playing Waiting for the Robert E. Lee without running into the tuba players. I remember singing These are All-American pastimes that bring timeless enjoyment to all involved. Oklahoma! in my seventh grade chorus. (“Gonna bring you barley, carrots, and potatoes!”) Farther
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Collecting Art with Spirit
By Emily Brupbacher, Photos by Lucius A. Fontenot 16 September 2014
Overture Magazine
Randy and Daynese Haynie have been long time supporters of the arts in the Acadiana area. They generously donate to local artistic endeavors and are avid collectors of any kind of art. For their children, Ryan and Dayna, growing up with an appreciation for the arts was not taken for granted. Daughter Dayna graduated from LSU with degrees in Psychology and Fine Art and just earned her Master’s in Art Therapy from NYU.
The family’s art collection is evidence of their love and devotion to the Acadiana area. Randy’s first art purchase was a George Rodrigue painting of Huey Long with the state capitol in the background. “My dad spent months paying George Rodrigue layaway-style for that painting,” Dayna recalls.
“I grew up literally surrounded by our art collection.”
However, the Haynies do not limit themselves to simply collecting local art. “A large portion of our collection is from the southern states, especially Louisiana, but we also invest in national and international artists,” explains Dayna.
“I’ve always loved art,” she says. “My dad was always collecting different pieces … I remember that Because the Haynies have a wide range as our family’s art collection grew, of interests within the art world, their art the pieces slowly crept up the walls, and now they reach the purchases vary broadly. “The mediums and time periods ceilings salon-style. I grew up literally surrounded by our art of items range as much as you can imagine,” Dayna says. collection.”
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“We seek paintings, sculptures, photography, and pottery, as well as functional items such as furniture and long-ago functional currency — mainly colorful bills with prints of animals, landscapes, and leaders.” Being raised with this exposure to the arts certainly allowed the Haynie children to see the world. “We have been fortunate as a family to have been able to travel and visit wonderful museums all the way from Paris to Rome to St. Petersburg, and many others,” recalls Dayna. While they admire and collect art from all over the world the Haynie family’s knowledge and love of local art is especially evident in their collection “We love the movement in Francis Pavy’s work, the vibrant strokes of Elmore Morgan, the detail to history in Robert Dafford’s work, the capture of life and moods in George Rodrigue’s work, and the simplicity of Clementine Hunter’s work.”
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With their many local art acquisitions, the Haynies seem to truly cherish the opportunity they have to own a piece of the spirit of Acadiana. “My dad became interested in John Geldersma recently and we purchased several of his wooden carvings that evoke natural elements and spiritual wondering. We first were enraptured with his vibrant ‘spirit sticks.’ Recently if we like a piece we’ll say, ‘Yep, I think this one’s got spirit alright.’” And it is not just their art purchases that support local artists; in 1996, the family established a foundation that helps to sustain the creative community here in Acadiana. The Haynie Family Foundation focuses on charitable, religious, artistic, and cultural endeavors. “Our simple goal with the Haynie Family Foundation is to make Acadiana a better place to live and raise our family,” says Dayna.
For more information on the Haynie family and the Haynie Family Foundation, please visit www.haynieandassociates.com
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Musical Journey to Freedom By Catherine Comeaux 20 September 2014
Overture Magazine
Imagine a dark-haired boy in a coal miner’s hat singing a traditional Polish song for a small audience. Just a child, he already hears more than the notes, searching for meaning woven into the lyrics and melody of this simple miner’s ballad. Music will become the center of his life, delivering him from Communist Poland, taking him around the world, and leading him to Louisiana, where he shares his passion for bringing music to life as the conductor of the Acadiana Symphony Orchestra (ASO). “One of the very few positives of growing up in a communist country,” according to Maestro Mariusz Smolij, “was being part of great educational programs. I realized quite early that being a top notch musician might help me escape the system and find a better life abroad.” He began learning violin at age seven, playing with a small string group in his elementary school and by age 19 was performing with the Polish National Radio and TV Orchestra. In his first semester at the Academy of Music in Poland he started a string quartet that became the main focus of his college years. “One of our first performances took place during the initial Solidarity movement and the massive waves of strikes that shook Poland in the autumn of 1981.” Smolij recalls his involvement in the anti-Communist movement which played the major role in the fall of Communism in Eastern Europe, “During the day we engaged in politics and entertained the striking workers during the night.” By graduation in 1986, the quartet had established itself as one of the leading young chamber music ensembles in Poland. International travel was very difficult in Communist Poland, however, a governmental arts agency granted the quartet permission to travel to the United States for further studies and a concert tour. Embarking on their first journey to the US, they embraced their musical heritage by taking the name of Poland’s greatest living composer – launching their international career as The Penderecki String Quartet. Reflecting on the tour, Smolij says, “I am now able to give this interview because we took both musical and nonmusical advantage of this unique opportunity and all of us decided to defect.” Conscientiously disobeying orders from home and with risk to themselves and their families, they never returned to life behind the Iron Curtain. After studies in Europe, Smolij’s passion for music paired with his proclivity to lead drew him to the Eastman School of Music in New York where he studied conducting, earning his doctorate degree. As a conductor he has worked with orchestras in over 27 countries, including a trip back home to a now democratic Poland where he led one of Eastern Europe’s oldest and most renowned orchestras, the Wroclaw (Breslau) Philharmonic. Today, Smolij is known the world over not only as an excellent musician and exciting conductor but as a passionate promoter of lesser known composers, especially those of Eastern Europe. At the time of this writing, he is putting the finishing touches on a recording project with music by the Polish composer and violinist Grażyna Bacewicz, who Smolij describes as “one of the Acadiana’s Publication for the Arts
most brilliant female composers not only of the 20th century, but in the history of music.” Naxos International, the world’s leading classical recording label, is scheduled to release the recording in November 2014. This September, the maestro will be in the studio
with the Budapest Symphony Orchestra working on a recording project that includes the music of Hungarian-American composer Eugene Zador. “He is another excellent and forgotten composer, and it is a great privilege to bring him back to life and make premier recordings of his impressive output,” Smolij explains. Upon returning from this session, Maestro Smolij will lead the ASO in the first concert of the new season consisting of the work of Polish composer Wojciech Kilar. While Kilar is popularly noted for his film scores, including Roman Polanski’s The Pianist and Francis Ford Coppola’s Bram Stoker’s Dracula, Smolij chooses his piece “Dance of Sparks” as an example of how this Polish master has taken inspiration from the rich folk traditions of his native country. In addition to inviting audiences to listen to the music of his home country, Smolij asks us to listen anew to the symphonic potential of our own. When Michael Doucet took to the ASO stage, the audience listened in wonderment of just when the violin becomes a fiddle and the fiddle becomes something entirely different – backed by an orchestra. Smolij’s orchestral arrangements of Doucet’s music have since been used several times by a number of orchestras across the United States, confirming the maestro’s passion and belief in the local musical talent of Acadiana.
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One of the reasons Smolij has remained in Lafayette is his appreciation of our cultural heritage. He has a dream to bring to musical life the historical struggles of the Acadians. Collaborating with musician Zachary Richard and Louisiana poet laureate Darrel Bourque, they have sketched a plan for a musical centering on the life of Joseph dit “Beausoleil” Broussard. Smolij recognizes the story of the man who led the resistance to the deportation of the Cajuns as being ultimately an American story with universal human appeal. “It addresses resistance to tyranny, emergent individualism, and active participation in national and cultural destinies,” he states. This American pop opera would incorporate the unique Acadian cultural traditions in its history, poetry, fine arts, music, song, and dance. A production of the type Smolij, Richard, and Bourque have dreamt would require major artistic and financial support. “This could be our new ‘Porgy and Bess,’” Smolij claims with confidence. It would be a lasting and significant contribution to American music as well as a unique promotion of Acadiana. Maestro Smolij has led over 110 orchestras – he is a conductor in high-demand. He not only currently leads the ASO but also the Riverside Symphonia in New Jersey. “The ASO is very fortunate to have him,” recognizes Lauren Baker who has served as the ASO’s concertmaster since 1988. “I am grateful to have the opportunity to learn from him. Mariusz is nothing short of brilliant but remains focused on the music, the organization, and not himself. This is a rare quality in a conductor.” Smolij notes that there is a substantial difference between a short-term engagement with a world-renowned orchestra and a long-time 22 September 2014
relationship with a musical organization such as the ASO and its community. “Working in Lafayette has been very meaningful and rewarding. I am very proud to have become a Polish Acadian.” As a young boy, Mariusz Smolij realized that music had special power, meaning, and purpose beyond the notes. Leading the ASO in Mahler’s “Resurrection” Symphony generated a power that was experienced by all. Smolij recalls the concert from earlier this year, “I could feel it during the performance through the skin on my back, a conductor’s sensation that’s difficult to describe.” The maestro goes on, “I was humbled and gratified by the overwhelmingly positive audience response that followed.” Concertmaster Baker remembers, “It was the most amazing musical performance I have ever experienced in my 40 years as a professional musician. Not only was I moved to tears while playing, but I heard sobs from the audience. I even noticed a few tears from our maestro. He was able to connect the meaning of the music to us and the audience in a most powerful, inspiring way. He conducted without a score – an achievement accomplished by only a handful of conductors around the world. That performance made me a believer that there is life after death.” The audience heard more than just the notes that night, we felt their meaning move through our maestro to the orchestra, given back to us in full musical enjoyment – forever changed, forever changing us. For a complete professional biography and listing of recordings made by Maestro Mariusz Smolij, visit his website at www.mariuszsmolij.com.
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Art, Iris, & Music
By Ann Dobie 24 September 2014
Overture Magazine
Richard Goula is a man of many interests. Although the oil and gas business is his profession, he is passionate about art, gardening, architecture, and certainly music. His connection with music has been a long and varied one. It began with piano lessons when he was six, then continued with singing in church choirs and playing the organ. Later he studied piano with Geraldine Hubbell and organ with George Brown. As an adult he appeared in G.S. Beaman Griffin’s musical productions at the University of Louisiana at Lafayette (then USL), and for a while he participated in gatherings of some of Madeline Trible’s former students who came together once or twice a year to play for each other. Their repertoire was eclectic and varied, sometimes built around a theme, such as “Time” or “Water,” and it was always challenging. Perhaps Goula’s most significant musical involvement, however, is that for years he has shared his musical ardor with performers and fellow music lovers by providing performance spaces and opportunities in his Lafayette homes. Much of his inspiration for creating a personal recital hall came from the New Orleans Piano Competition, which, despite its name and location, had its roots in Lafayette. It began with talk among Madeline Trible and some of her former students, notably Raymond Gitz and Daniel Weilbaecher, both highly successful musicians, about organizing a regional piano competition. Some interested parties from New Orleans joined in the conversation, but most of the support came from music lovers in Lafayette. However, since
l to r; Dr. Robin Benton Crutcher, Richard Goula, Cara McCool, pianist.
the larger city was deemed to be a more international venue, it was ultimately located there. Why sponsor another competition? The founders wanted to offer one that did not have some of the restrictions of other contests – such as an age requirement. They also wanted to offer an attractive prize package. And attractive it is, as the winner is invited to give a recital at the prestigious Wigmore Hall in London. Now 25 years old, the New Orleans Piano Competition is internationally renowned. Through his involvement with the piano competition, Goula met musically gifted young people from all over the world. He quickly realized that they have much to give, but few places to give it. To provide more performance possibilities for budding artists, he
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competition are frequent recitalists as well. They have included Spencer Myer, Dustin Gledhill, and James Giles. Evan Drachman, a cellist, performed with pianist Richard Dowling. Even Alicia de Larrocha visited and played at Goula’s home, though not for an invited audience.
The first performance space Goula built was modeled on the one in the home of Madeline and Bruce Trible and was designed to seat around 50 people. It is a five-sided parabolic space that reflects sound. Built with sheet rock and a wood floor, it provides rich acoustics when filled with an audience. A central feature is a 1905 Mason and Hamlin concert grand piano that Goula had restrung and refinished by Geers Piano Company in Cincinnati. Priscilla Rappaport, a well known piano technician from Texas, worked on the action. In this chamber setting Goula began his practice of featuring winners of the New Orleans Piano Competition, to the delight of his friends – and himself. The second space was intended to be a painting studio for Goula. He had owned 18 acres of land with three ponds near Grand Coteau for 20 years, using it for cultivating gardens, storing tools, and even housing a car that he rarely drove. Finally he decided to construct a studio on the property where he could paint. Working with architect, Knobbie Langlinais, what began as a simple plan quickly grew. Having no deadline for finishing gives one ample opportunities to modify, add, and change, turning a building project into a work in progress. With his love of old woods, Goula found materials in rustic barns. He decorated with stained glass, stone finials, and other ornamental pieces that he had collected for years. Although he says the house may never be completely finished, he now has a two-story structure that is four stories high, an estate reminiscent of a chateau that has been sitting in the European countryside for 200 years. It has one bedroom. When Lance LaFargue, a piano dealer and highly respected technician, found a 1972 Steinway in a small Baptist church in North Louisiana that was for sale, Goula bought it and moved it in. At that point the painting studio became a performance space that could seat around 100 people. Many artists have performed in Goula’s homes, some of them world-renowned, some of them unknown newcomers. They have included artists such as Stephen Hough, Anton Mordasov, and British pianist Martin Jones. Winners of the New Orleans 26 September 2014
His love of gardening he claims to have come by naturally as his mother was “the flower lady of the family.” As a child Goula was expected to help in the garden, despite his objections. Later in life, however, he discovered that he found delight not only in growing plants, but also in creating new ones. He specializes in hybridizing Louisiana irises, and to some degree camellias and oriental magnolias. Goula recognizes that his gardening pleasures are similar to his joy in making music as both come from a creative urge to put together things that are beautiful.
Photo by Musical Arts Society of New Orleans
decided to create a recital venue in his home. By hosting concerts he could also share his musical pleasures with friends.
Goula’s passion for art is connected to music. He began drawing as a child, then went on to major in art at ULL. After college he joined Phillips Petroleum, Co. as head of its drafting department, and his involvement with formal art declined. After many years of not painting, Goula met with George Rodrigue, who was preparing a poster publicizing the New Orleans Piano Competition. When Rodrigue mentioned that he produced around 180 paintings a year, Goula was propelled to take up his art again. Using a small watercolor as his model, he decided to render it in oil. Listening to a recording of Spencer Myers’ competition performance of impressionist music, Goula started painting. The process was so successful that he has continued to paint, almost always listening to classical music.
l to r; Richard Goula, Petronel Malan, former competition winner from South Africa, and Daniel Weilbaecher.
Richard Goula’s passion for art, gardening, architecture, and music will come together next spring when he hosts a benefit for the Acadiana Symphony Orchestra. The iris will be in full bloom on the grounds of the “chateau.” His paintings will hang on the walls of the recital hall. And he hopes to have Victor Valkov, the latest winner of the New Orleans Piano Competition, seated at the Steinway. Overture Magazine
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Pat Soper: Just Draw What You See
By Emily Brupbacher 28 September 2014
Overture Magazine
Since 1977, artist Pat Soper has made Lafayette his home. As a boy growing up in the Ozarks, Soper spent a great deal of time outdoors hunting, fishing, and admiring the gorgeous landscapes around him. Soper recalls, “As a child, I drew and painted a lot...I was always going up to my parents and saying, ‘Tell me something to draw.’” His love of nature led him to originally pursue a degree in Zoology, though he later switched his major to Visual Art and transferred to USL. “When I started at USL back in the 1970s, Elmore Morgan was one of my drawing teachers; he used to say, ‘Just draw what you’re looking at.’ That focus on realism helped me become a better artist.” Soper has enjoyed long-term success as an illustrator. He has worked with a variety of publishers, including Louisiana’s own Pelican Publishers. “I illustrated a series of Cajun folktales – Cendrillon: A Cajun Cinderella, Jolie Blonde and the Three Heberts: A Cajun Twist to an Old Tale, and Blanchette et les Sept Petit Cajuns: A Cajun Snow White are a few of the titles,” he says. “What I love about illustrating is that, as an artist, your creativity
clients is our own Acadiana Symphony Orchestra. “It was an honor to work with the ASO; I’ve always felt that having our own symphony in Lafayette is a symbol that the arts are truly alive in our community,” says Soper.
“As a child, I was always going up to my parents and saying, ‘Tell me something to draw.’”
As a commissioned artist, Soper must find balance between his artistic vision and what the client desires. While working with the ASO, Soper had to translate the season theme, Voyage of Discovery onto a canvas. “When I work with a business and they have a theme in mind, I ponder the words and let my mind run free. I create some concept sketches and work to see that it translates.” For the ASO’s Voyage of Discovery, Soper’s illustration features an old-fashioned ship whose body is made of a violin and whose sails are sheets of music. Soper also has a distinguished reputation as a portrait artist in Lafayette. “When I’m doing a portrait, it’s a bit more straightforward than an illustration,” Soper explains. “I’ll take pictures and try to get to know the person so that I can really convey them on canvas.”
can run wild. You play a very big part of telling the story.”
When Soper not illustrating or working on portraits, he teaches private art lessons and is actively involved in the local arts community. He is a member of the Lafayette Art Association and the Acadiana Arts Council.
For more info on Pat Soper, please visit www.soperstudio.com.
In addition to illustrating books, Soper also lends his hand to illustrating for businesses. One of his favorite Acadiana’s Publication for the Arts
September 2014 29
Lafayette
Photo by Angela Sterling
Ballet Theatre ‘14-‘15 Season
The Nutcracker
The Lafayette Ballet Theatre will present The Nutcracker on Saturday, December 6 at 7:00 PM and Sunday, December 7 at 2:00 PM. Both performances will be held at the Heymann Performing Arts Center. Ticket prices are $49 for front orchestra seats, $42 for back orchestra, $35 for first balcony seats, and $22 for seats in the second balcony. Group rates and student discounts are available through the Heymann box office. The Nutcracker will feature guest artists from the prestigious Pacific Northwest Ballet, who will be joined by more than 150 local dancers from the Acadiana area. These dancers will bring Peter Tchaikovsky’s timeless musical score and E.T.A. Hoffman’s engaging tale to life for audiences. Principal artists from Pacific Northwest Ballet include Lindsi Dec, who studied at Washington School of Ballet and then on scholarship at Pacific Northwest Ballet School and Karel Cruz, who received his training at Cuba’s Escuela Nacional de Artes and then joined Ballet Clasico de Camara in Venezuela before becoming a principal artist with PNB. Guest soloist artists from Pacific Northwest Ballet include Elizabeth Murphy, who apprenticed with North Carolina Dance Theater and also danced with Pennsylvania Ballet before joining PNB as a corps de ballet artist and William Lin-Yee, who has danced with Contra Costa Ballet Centre, San Francisco Ballet School, and the School of American Ballet in addition to serving as an apprentice with New York City Ballet. Tickets for The Nutrcracker may be purchased through the Heymann Center Box Office or any Ticketmaster outlet as of October 6, 2014. For more information on The Nutcracker, please call 337-291-5555 or visit www.lafayetteballettheatre.com.
Land of the Sweets Fundraiser
For fans of The Nutcracker, the fun continues after the show—viewers are invited to attend the annual fundraiser, Land of the Sweets. This exciting event will begin around 4:00 PM, immediately following the performance on Sunday, December 7. Attendees will enjoy food, drinks, and sweets from local restaurants. Performers from The Nutcracker will also be on hand for autographs and photos. Tickets for Land of the Sweets are $22 and are only sold through Ticket Master local outlets, beginning on Oct. 6. For more information or for tickets to Land of the Sweets, call 337-291-5555 or visit www.lafayetteballettheatre.com.
A Midsummer Night’s Dream
Photo by Angela Sterling
Fans of William Shakespeare are sure to be spellbound by the Lafayette Ballet Theatre’s performance of A Midsummer Night’s Dream. The show will take place on Saturday, March 28, 2015 at 7:00 PM in the Heymann Performing Arts Center. The performance will feature principal dancers from Pacific Northwest Ballet. 30 September 2014
Overture Magazine
Photo by Glade Bilby II
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P a r c L a f ay e t t e 3 3 7. 5 3 4 . 8 7 5 3 • w w w . m i g n o n f a g e t. c o m
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The Delicious Creole Tomato By Jude Tauzin
One of my favorite things about summer is a summer garden, especially the tomatoes.
referred to as creole. It is our specific climate and soil that makes them what they are – delicious!
Gardens and their tomatoes bring back so many great childhood memories.
Creole tomatoes are Louisiana’s official vegetable plant, not vegetable (that is the sweet potato), but vegetable plant.
I was fortunate enough to grow up in the country next door to my grandparents. My grandfather always had a garden. I spent a lot of time during the summers helping him keep it clean, organized, and watered. It was worth the work just to have homegrown tomatoes. Many times they did not even make it into the house. We would eat them right off the vine. It is a taste that I will never forget and look forward to every summer.
Is the tomato a vegetable or a fruit? After doing some research I found a bunch of technical mumbo jumbo, but the short answer to the question is that the tomato is technically the fruit of the tomato plant, but it is used as a vegetable in cooking. This leads me to my favorite part – cooking and eating!
What is a tomato? And more specifically, what is a Creole tomato?
Tomatoes are so versatile they can be eaten by themselves, added to a salad, or cooked into a dish. It is no surprise that tomatoes are used in the majority of dishes in Creole cuisine.
There are a few different varieties of tomatoes that we refer to as a Creole tomatoes. Celebrity, Better Boy, and Monte Carlo are just a few of the more well-known varieties. The LSU Ag Center developed a type of tomato named “Creole,” but it is no longer maintained by the university. So there is not actually a specific “Creole “tomato, but a variety of tomatoes grown in south Louisiana that are 32 September 2014
Overture Magazine
Here is one of my favorite ways to enjoy tomatoes besides right off the vine.
Pork Creole serves 6-8 5 Lbs Pork Butt cut into1 ½” cubes 1/2 cup all purpose flour, for dredging 1 cup olive oil 1 large yellow onion, diced 3 ribs celery, cleaned and diced 4 garlic cloves , diced 2 carrots, diced 6 each peeled creole tomaotes 1/2 cup dry red wine 1/2 cup green onion, plus additional for garnish 2 cups chicken broth Tony Chachere’s Creole Seasoning to taste Preheat oven to 450 degrees. Lightly season with Tony Chachere’s and dust veal shanks with flour, shaking off excess. Heat oil in a large saute pan over medium-high flame. Add Pork and brown well, 2 to 3 minutes on each side and on edges. Remove Pork and place in a heavy, ovenproof pan or roasting pan. Drain part of oil from saute pan, leaving about 1/3 cup. Reduce flame to medium and add onions, garlic, celery, Creole Tomatoes and carrots. Cook and stir vegetables until softened, 6 to 7 minutes. Add wine and green onion, increase flame to high, bring to a boil, then pour over Pork. Add chicken broth and, if needed, water to roasting pan to reach about halfway up the shanks. Cover the pan and place in preheated oven and roast Pork for 30 minutes, then reduce heat to 325 and cook for 2 more hours. If there is too much liquid, uncover for final 30 minutes. Once cooked, transfer Pork to a serving dish and cover to keep warm. Place roasting pan on the stove over a high flame and bring juices to a boil until slightly thickened. Season with Tony Chachere’s to taste. Spoon sauce over Pork and serve with rice, corn grits, pasta or risotto and more of the sauce.
If you have ever thought about having a garden, let me be the first to tell you that it is worth it and that you will be happy you did. It does not have to be huge and take up a ton of space in your yard – you can start small with a planter box and just a few plants. If you have young kids, it can be a great learning experience for them. Showing your children where their food comes from is so important. It just takes a little time and some TLC, but I promise that the end result will be worth it. You will create memories and tomatoes that you will never forget.
Jude Tauzin is the Corporate Chef of Tony Chachere’s Creole Foods. For more information on Chef Jude Tauzin and Tony Chachere’s Creole Foods, please visit Tony Chachere’s Website www.tonychachere.com or like us on Facebook for new product information and recipes. Acadiana’s Publication for the Arts
September 2014 33
On e On One:
Photo by Laura Rose
Melana Lloyd
34 September 2014
By Johanna B. Divine
Overture Magazine
A professional dancer and rising star from Lafayette, Melana Lloyd’s enthusiasm for her craft is undeniable. Since graduating from Carencro High School and attending the Lafayette Parish High School Arts Academy, she received her bachelor’s degree in Elementary Education from Louisiana State University and her MFA in Dance from New York University’s Tisch School of the Arts. In New York, she trained with the Alvin Ailey School, Pilobolus Dance Theater, and Urban Bush Women. Most recently, she toured internationally with Broadway productions of The Color Purple and Hairspray. On a short break between auditions, Melana spoke with Overture about her transition from modern dance to musical theater. Overture Magazine (OM): Tell us about your early career. What are your first memories of dance and performance? How did those early experiences impact your decision to become a dancer? Melana Lloyd (ML): “My earliest memory of dance was in the Holy Family Catholic School Cafeteria with Ms. Pam (Pamelor Joseph) of P.J.’s Dance Art School, where I trained in my early years. I guess the turning point in my dance life was trying out for the dance team at Carencro High School. My older sister coached me in our backyard and I made the squad! From that point on, dancing everyday, training, and being a better dancer became a big part of my life. I spent two years at the Lafayette Parish High School Arts Academy with Marie Broussard (now a professor at the University of Louisiana at Lafayette), was voted ‘Most Talented’ in my senior class, and performed as a featured soloist in
ULL’s ‘State of LA Danse’ in 1996.” OM: Describe your career path – where have you studied, performed, and lived? ML: “After high school I went to LSU. They offered a dance minor, but no major, so I got my degree in Elementary Education, taught for two years after college and performed with Of Moving Colors, directed by Garland Goodwin Wilson. I applied and was accepted to NYU, and it was there that I studied dance proper. I danced everyday — took ballet everyday — which is
very important for an aspiring dancer. After earning my MFA, I actually went back into the classroom to teach, earning a living as a kindergarten teacher and dancing part-time. I was lucky enough to meet two choreographers, Christal Brown with INSPIRIT dance company and Adia Whitaker, Artistic
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a mentor or a resource. I just figured it out step by step. Now, even with representation [an agent], it’s really not that different. My agent doesn’t know all of my strengths or my weaknesses. I’m still working as hard for myself as if I didn’t have one. With or without representation, you have to know yourself well enough to pick and choose your auditions. You have to learn to say no at times, especially if it’s a role that just isn’t right for you. A big part of success, to me, is building a community of creative people around you, a support network of artists who work together in the spirit of creativity. That keeps me fresh and inspired.” OM: What’s next? Looking forward, what are you most excited about? ML: “I just shot an episode of Boardwalk Empire, and am excited to see it air in September. This was my first television experience, and I really enjoyed it, so we’ll see where that goes. For the most part, though, I am taking the summer off, which is very important to my livelihood as an artist in NYC. I will read a few plays and learn some new dialects that will be useful in my acting career. I’m also traveling to Cuba to study Afro-Cuban dance. Other than that, it’s auditions, which are a constant. In this field, you really have to cultivate relationships and keep working on whatever the skills are — the skills that you want. There are many roles that want an accent or dialect, so if I want to continue working, I need to diversify and pull those things into my repertoire as an actor. I’m constantly evolving. I know lots of other artists that just do their own thing. At this point, I’m not on the creative end as much, although I am planning to do some writing, and I do know some directors and writers who can advise me. I’m going to experiment a little bit with that this summer.” Photo by Monica Lloyd
Director of a Brooklyn based neo-folklore dance company. In my training, I hadn’t learned any African dance, no Afro-Cuban, no Haitian. I simply hadn’t studied those traditions. So when these choreographers asked me to dance with them, it was a breakthrough. I remember feeling like, ‘Ah-ha! This is why my body moves this way! This feels right!’ Adia’s work is rich with original and traditional songs. So she demanded that I sing on stage. I am forever grateful to Garland, Christal, and Adia for those opportunities.
“In terms of musical theater, I really kind of fell into it. After auditioning for Hairspray, I received a final callback [the last in a series of auditions] and didn’t understand why, as I wasn’t a singer at the time. So, when I got the part I knew I had to learn how to sing! I trained every day. The pool of talent on that stage was just phenomenal, and it was an incredible feeling to work on that show. My first fly-in date was in Baton Rouge of all places. So I had literally come full-circle. To me, that’s God – that’s doing exactly what you’re supposed to be doing. On that run, we also toured in Nova Scotia, where so many Cajuns come from, and finished the tour in Tokyo, where my sister was living at the time. Needless to say, it was a life-changing experience.” OM: How have you transitioned from dance to musical theater? Have there been unanticipated joys and challenges? ML: “I’ve transitioned by training. To succeed in musical theater, I’ve had to train my voice just as much as I’ve trained by body. I had to make the decision to sing as well as I dance. Now that acting has come into the picture, I’ve been focused on that. I guess the greatest unanticipated joy for me has been finding these new art forms – I’m not only a dancer, I’m also a singer, an actor. Musical theater is the best of all worlds. When I’m not dancing, I get to do something else I really like. One of the greatest challenges I’ve discovered as I’ve been more successful is keeping active, always looking for the next thing, asking myself, ‘What do I do when this show ends? What do I do in between shows?’ I’ve always worked without representation. I didn’t know anybody who was trying to do what I was doing, so I didn’t have 36 September 2014
OM: What advice would you offer to a young person who wants to become a professional dancer/performer? ML: “Who you are as a person really matters on and off stage. Cultivate yourself as a person first and inside of that will be your artistry. Do it now! The lifespan of the professional dancer has been lengthened with technology, self-care, etc., but there are things I wish I would’ve had the courage to do earlier in my career. I would advise young artists leaving home to find those hometown connections in your new place. As a Lafayette native living in NYC, I’m more than happy to do anything I can to help out a young person from my hometown who wants to dance. When it comes to the ups and downs of being an artist, one of my mottos is, ‘Don’t get mad, get better!’ In this case, ‘mad’ can be replaced with just about any word you can think of: sad, disappointed, frustrated. This helps you do what it takes to get where you want to be. My advice for dancers: Use your body in motion every day. For singers: Practice thirty minutes a day, five days a week. For actors: Play, play, play, study, and play! And for all artists: Good things come to those who work. So do the work.” For more information about Melana Lloyd, including her past work and upcoming projects, visit www.melanalloyd.wix.com.
Overture Magazine
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September 2014 37
the ARTicle Parents helping kids discover their creativity Lori Maraist
Pépère Eleazar opened his eyes and began singing in French along with the Cajun band. Growing up in South Louisiana, this isn’t typically a momentous occasion. However, this was different. You see, Pépère, my great-grandfather, was 94 years old and he was in the nursing home unresponsive. He had not spoken in days and that morning we were told to be prepared for the worse. The family watched for small signs that he was still with us, yet nothing was there except the movement of his chest to let us know he was still breathing. Later that day three Cajun musicians went door to door to play for the residents. As they began playing and singing in French, Pépère opened his eyes and began softly singing along for three songs. Pépère had played the accordion most of his life, and the music seemed to reach deep inside of him and touched that one spot that was still alive. Within ten minutes of the band leaving, Pépère took his last breath and was at peace. I was in fifth grade and that was when I first learned about power of music. Today I know there is research about the benefits of music, but I do not 38 September 2014
need any scientific study to prove that music has a profound impact on the brain. I had my Pépère. I became the perfect blend of my great-grandfather – part scientist, part artist. I knew from an early age that I wanted to be a pharmacist like him and his father before him. Over the years I transitioned into Human Resources and my current role is helping develop the future leaders of the company I work for. Often I come across the buzz word “innovation”, yet so many leaders do not demonstrate innovative behaviors. And people wonder why. Have you considered how often we tell children that they are doing something wrong, that they are not following the “rules”, or “that’s just not the way we do it?” We pressure them to conform, yet we can’t understand why they freeze when asked to think creatively later in life. Because of this rich history of the arts in my family and my experience of seeing the benefits of the arts in the “real world”, I knew when my daughter Amélie was born in 2010 we would expose her to the arts early and often. I was familiar with the research that showed the benefits of the arts. I also had a passion for math and science, so I could recognize the Overture Magazine
mathematical concepts in quarter and half notes of music, and I could envision the geometric shapes hidden beneath the master’s drawings and paintings. More importantly, I knew that the arts had a way of connecting a person to the past. Amélie was born in a culturally rich community and our family’s past had an incredible story to tell. I often joke that her first Cajun/zydeco lessons began while I was pregnant dancing at The Blue Moon. When we brought Amélie home from the hospital, her first playlist was already created. It included regional greats such as Roddie Romero, Bobby Charles, Lil’ Band of Gold, and Clifton Chenier. We also had children’s albums by Lead Belly, Woody Guthrie, and Buckwheat Zydeco playing non-stop. She even named her first baby doll “Tee Nah Nah”.
Encore! Jones Walker LLP congratulates the
Over the last four years, the music in our house rarely stopped. Her current favorites include the typical four year repertoire like Frozen, but she is just as interested in The 50 Greatest Classical Pieces of All Time, Webop at Lincoln Jazz Center, and her French Jazz playlist including the greats of Josephine Baker, Joe Dassin, and Jacques Brel. Also, at the top of her playlist is geographical music, so They Might Be Giants songs such as “Istanbul” and “Alphabet of Nations” have been on constant replay for two years! We brought Amelie to formal performances and
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Acadiana’s Publication for the Arts Overture March 2014.indd 1
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festivals, and enrolled her in Madame Christine Balfa’s Petite Voices class at the Conservatory to expose her to the basics of both music and French. They all provided places to dance and truly see our culture come to life.
One of our favorite stories is Camille and the Sunflowers. Van Gogh’s paintings alone will likely not impress a typical 2-year-old. However, talking about Camille, whom befriended Van Gogh while the artist was staying in his family’s little yellow room, had Amélie’s attention. During their friendship Van Gogh painted sunflowers for his little friend and painted Camille’s father, the Postman, and the rest of his family. Amélie 40 September 2014
Amélie gets just as excited about the stories of Picasso, Degas, and Matisse. She is intrigued by “The Thinker” and loves imitating “The Scream”. Once she was drawn into their worlds, we talked about the differences in their artwork, like the points in a Seurat and the splatter of Pollock, but never to an extreme. I introduced her to protractors when we created her renditions of Miro and Kandinsky, she learned about water colors making 3D water lilies like those in Monet’s garden, and she discovered pastels and practiced using scissors when we worked to recreate a Matisse. Every story told, regardless of medium, helps connect Amélie to the past. Artists are real people who lived (or are living) real experiences, and they are able to leave their story behind through the arts. We talk about the connections between the French in our local music and the great painters of the last two centuries in France. We sometimes talk about how sad it was for some artists because people did not always like their work since it was out of the ordinary. Still they were able to create something that stuck with so many people. Matisse once said “Creativity takes Courage.” It reminds me of my hope for Amélie – that she always be guided by the stories of the past, yet find her own perspective and create her own version of life. Photo by Lucius A. Fontenot
Amélie’s exposure to the arts goes beyond music. It was important for me to show her the different media forms of the arts and learn about perspective-taking from an early age. While the music is typically on in the background, one will always find an art project in progress somewhere in our house. In between the episodes of “Sofia the First” Amélie can be found watching, once again, “Linnea in Monet’s Garden” or a documentary about the Ballet Russes. This leads us to the great painters. The key is to lure her in to the unfolding of their stories and let her get to know them on a personal level. Over the years we have found incredible children’s books about the artists to help tell their stories. We especially enjoy the entire collection of Laurence Anholt’s books.
loved this story and began to connect with Camille’s family, but it still surprised us when she squealed with excitement upon spotting “Dan Dogh” across the room at the National Gallery of Art in D.C.. The look on a 2-year-old’s face is priceless when she sees an idol in person.
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Chorale Acadienne: An I nvita t ion t o In d ulge T h e ‘1 4 - ‘1 5 S ea s on
B y E m i l y B r u p bac her, P hot os by L u kas G u il beau
Chorale Acadienne is inviting Lafayette music lovers to treat themselves to its upcoming (and very aptly-titled) season, Indulge. Since its inception in 1979, Chorale Acadienne has been Lafayette’s most renowned vocal ensemble, entertaining and enthralling audiences with stunning vocal performances. The Fall concert, Refresh, will kick off the Indulge season on October 10. Refresh will feature the Mozart Coronation Mass. The Fall concert will be held at St. Mary’s Catholic Church on Doucet Road. Next, December will be a time to Rejoice as Chorale Acadienne presents their popular Christmas by Candlelight concerts. These concerts will feature traditional carols as well as some new seasonal favorites. Christmas by Candlelight will be held at St. John the Evangelist Cathedral on Tuesday, December 2 and Thursday, December 4. This year’s December concert will also feature The Many Moods of Christmas, something fans of Chorale Acadienne are sure to enjoy. Spring in Acadiana means that is time to Revel with some of Acadiana’s best choral singers. Join Chorale Acadienne at Lafayette’s Petroleum Club for Moonlight and Music, Chorale’s annual dinner, silent auction, and concert. This event will take place on March 14, 2015 and will feature the music of Mamma Mia! Attendees will enjoy a night of great food and wonderful music, all while helping Chorale continue its mission of providing premier choral music to Acadiana. The Indulge season culminates on Friday, May 1 at First Baptist Church in downtown Lafayette. The gorgeous Sanctuary of FBC Lafayette provides a wonderful backdrop for the music of Bernstein’s Chichester Psalms. Innovative lighting and staging effects, combined with a full orchestra, the Chorale singers, and soloists, is sure to Rejuvenate your soul. The Indulge season also brings with it some big changes for Chorale. Rusty Roden and John Frank Reeve are serving as Artistic Co-Directors for Chorale Acadienne. Roden and Reeve collaborated together to create a season that would add inspiration and imagery to the sweeping music that will be performed. Chorale President, Stuart Burgess promises, “The singers and patrons will be energized and excited about ‘indulging’ themselves in the music that has been selected. Rusty and John Frank did a fantastic job, stepping in this year as interim directors, and this season is their creation. We know that they will give it their all to make sure that each concert is a success. Season ticket information is available at www.choraleacadienne.com or (337) 3495342. To be included on the Chorale Acadienne mailing list, please call or email ca@ choraleacadienne.com. 42 September 2014
Overture Magazine
PRESENTED BY
DEATH by
CHOCOLATE
The Petroleum Club | 111 Heymann Blvd | Lafayette
MON. NOV 10, 2014 6-9PM
This event will feature chocolate inspired dishes from local restaurants, a chocolate martini contest, live and silent auction and music.
FINE CHOCOLATE TABLE SPONSOR: $1,000
Reserved table of 10 Recognition the night of the event Signage on table
RESERVED TABLE OF 10: $600 GENERAL ADMISSION TICKETS: $40 Tickets available for purchase beginning September 1: www.acadianasymphony.org/death-by-chocolate For more information, call (337) 232-4277, ext. 1.
Tickets sold at the door based on availability.
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September 2014 43
Meet the Board
From left to right: Richard Goula, Dr. Andrea Loewy, Kyle Bacon, Emma Guidry, Robert Dunn, Dr. Sangeeta Shah, Sandra Mills Secretary, Brandon Hyde-President, David Welch, Pat Olson, Jady Regard, Eric Movassaghi, Luke Sonnier-Treasurer, Dr. James Burke. Not included in photo: Chuck Boudreaux, Dr. Ruth Ettinger, Frank Gerami, Cindy Gunawan, David Reid
Industries: - Legal
- Musician/Educator - Retired Educator
Why we serve on the board of the Acadiana Symphony & Conservatory of Music?
- It is a way to give back to the community.
-It’s an opportunity to do what I can to help sustain the vibrant
- Oil & Gas
arts culture in our City, which is a huge attribute to the
- Private Business Owners
future generations.
- Retired Physicians - Financial Services - Banking
- Real Estate Age Range:
- From 27 years old to over 40, in fact way, way, way over!
Artistic Talent:
- None, zilch, nada to professional musician
Guilty Pleasure:
- From guilt free to wine, song and people, and straight razor shaves
44 September 2014
quality of life that we enjoy here but must be nurtured for - Love the education work of DoReMe!
- I love music and all the arts. Having a symphony orchestra in
Lafayette serving the Acadiana area enhances quality of life.
- Anytime a person is able to give meaningful board service
in their community, time permitting, they should do it. I chose to serve on the board as a way to give back to my
community and become a small part of the arts movement in Acadiana. I admire the Acadiana Symphony for their
regional outreach and for their ability to awaken a deep level of art appreciation in our community. We are so incredibly
fortunate, in a community our size, to have such a talented and committed organization.
- I feel we are so blessed to have this fabulous Symphony in
Lafayette, and I want to do everything I can to support it. Overture Magazine
Meet the Staff
From Left to Right: Top: Emil Ivanov, Alyce Ray, Jenny Krueger, Rebecca Doucet Middle: Hillary Bonhomme, Jennifer Tassin, Corliss Smith Botton: Lucius Fontenot, Miguel Ochoa, Jim Archer, Tonio Cutrera
Meet the Team: - Jenny Krueger, Executive Director/Overture Editor - Rebecca Doucet, Deputy Director/Overture Project Manager - Jennifer Tassin, Education Director/Conservatory Accompanist - Emil Ivanov, Personnel Manager/Librarian/Conservatory Logistics Coordinator - Lucius Fontenot, Ticketing Manager/Volunteer Coordinator/ Overture photographer - Jim Archer, Accounting Manager - Tonio Cutrera, Operations Manager -Corliss Smith, Conservatory Coordinator -Miguel Ochoa, Conservatory Registrar -Alyce Ray, Marketing Coordinator -Hillary Bonhomme, Marketing Assistant Age Range: - 20 years old to old enough to start receiving mail from AARP. Acadiana’s Publication for the Arts
Artist Talent: - Zero to professional musician. Guilty Pleasure: - Cracklins, sleeping in, Facebook, skincare, chocolate, Sci Fi movies, and chips. What do you enjoy most about being a staff member of the ASO & C? - Getting to work with smart, hardworking, passionate and funny people - I love working with the very talented musicians of the orchestra, our gifted music director and with my dedicated fellow staff members who labor tirelessly to provide Acadiana with wonderful music and educational opportunities. -My favorite moments happen at the end of performances, hearing the applause and knowing that I have helped to bring enjoyment to our audience. September 2014 45
ASYO Disney Trip 2014
By Emily Brupbacher, Photos by Tanya Thibodeaux The Acadiana Symphony Orchestra offers a prestigious outlet for musically gifted children in the Acadiana area. The Acadiana Symphony Youth Orchestras are made up of two ensembles — the Acadiana Symphony Prep Orchestra (ASPO) and the Acadiana Symphony Youth Orchestra (ASYO). The ASPO is made up of elementary and middle school students who focus on practicing music reading and performance skills. The ASYO consists of middle and high school students and offers a more challenging creative outlet to its participants. ASYO members work closely with ASO professional musicians by both rehearsing and performing with them at various times throughout the year. Director Tim Walker leads both ensembles. Aside from the thrill of working one-on-one with ASO professionals, one of the biggest (and most enjoyable) rewards of being an ASYO member is the annual trip to Disney World. This past summer, from May 28-June 1, thirty members of the Acadiana Symphony Youth Orchestra traveled to Disney World to take part in the Disney Performing Arts Instrumental Workshop. The workshop allowed for ASYO participants to work with a Disney conductor on a studio performance. “They were given a chart to read and then were expected to read it 46 September 2014
at performance level with little time to practice,” says ASYO Director Tim Walker. “The idea of the afternoon was to give students a real life experience in the skills needed to be a professional musician working in the recording studio.” While ASYO musicians already knew that being successful in the music industry requires discipline and professionalism, they got to experience these principles firsthand at Disney. “Students had to be ready to cut a portion of the soundtrack to Aladdin within thirty minutes,” says Walker. “Needless to say, the reality that this is serious business really set in at that moment for many of them. One of the highlights of the trip was seeing and hearing a video clip with our students providing the soundtrack.” The group stayed at the Disney’s AllStar Music Resort, enjoying luxuries such as a guitar-shaped pool and the Note’able Game Arcade. Students had a 4-day hopper pass, which allowed them to experience all four parks of Disney during their leisure time. All in all, the ASYO experienced a harmonious blend of work and play as they gained professional music experience and lived it up during their free time! For more information on the Acadiana Symphony Youth Orchestras, please visit www.acadianasymphony.org/conservatory.
Overture Magazine
30TH ANNIVERSARY SEASON CONCERT Saturday, September 20, 2014 /// 6:30 pm Heymann Performing Arts Center
FIRED UP GUEST ARTISTS:
PROGRAM:
ASO Chorus, Baton Rouge Symphony Chorus, Nicholls State University Chorus, ASO Conservatory Students and Friends
Gustav Holst – Dance of the Spirits of Fire, Op. 39
Richard Wagner – Magic Fire Music and Ride of the Valkyries
Wojciech Kilar – Symphonic Poem “Krzesany” (Dance of Sparks) Maurice Ravel – Daphnis & Chloe: Second Suite
Ludwig van Beethoven – Symphony No. 9: Finale
TICKETS: www.acadianasymphony.org
MASTERWORK NO.1 Acadiana’s Publication for the Arts
September 2014 47
Young Adult Readers
By Emily Brupbacher, School Library Media Specialist
If I Stay by Gayle Foreman (2009) Seventeen-year-old Mia Hall has a seemingly perfect
life—a family she actually likes, a boyfriend whose band is
on the rise, and a bright future as a talented cellist. But one February morning Mia’s life is altered forever when a car
ride with her family ends in tragedy. Mia finds herself in a
coma and trapped between worlds, left with a heartbreaking choice. Does she return to the world she knows, even
though it means confronting the pain of a future more
difficult than she’d ever imagined? Or does she decide to let go of the life and people she’s loved the most? Endearing
and poignant, If I Stay is sure to keep you hooked through the very last page.
Elementary/Middle School Readers Flora and Ulysses: The Illuminated Adventures by Kate DiCamillo (2014)
Ten-year-old Flora Belle Buckman’s parents have just
divorced, and she doesn’t have much hope that things
will get any better. That all changes on the day that Flora
rescues a squirrel from her neighbor’s vacuum cleaner. After reviving her new friend and naming his Ulysses, Flora
discovers that the squirrel has come back to life with all 48 September 2014
sorts of superpowers—he can fly and even write poetry. Flora and Ulysses help one another discover their own
hidden strength in this whimsical and adventurous tale. Full of eccentric characters and hilarious plot turns, Flora and Ulysses is sure to captivate young readers.
Adult Readers The Dovekeepers by Alice Hoffman In The Dovekeepers, Alice Hoffman combines research
and imagination to take readers back in time almost two
thousand years. In 70 CE, nine hundred Jews sought shelter and safety from Roman warriors in the mountain refuge
of Masada. Ancient historians have written that only two
women and five children survived. The Dovekeepers tells the
story of four Jewish women whose lives intersect during this turbulent time in history. Yael was raised by her resentful
father after her mother died in childbirth; Revka comes to
Masada haunted by the brutal death of her daughter. Aziza is a woman who finds her calling by disguising herself as
a male warrior; Shirah has knowledge of ancient medicine and magic. As the Roman army draws near to the last
Jewish stronghold, the four women’s faith in their God and themselves is tested. The Dovekeepers is an epic story that is easy to escape into and hard to forget.
Overture Magazine
What To LISTEN To By Mariusz Smolij, Music Director/Conductor Acadiana Symphony
Before or after attending our September 20th concert, enjoy listening to a few suggested recordings of various orchestral suites. My personal favorite recordings are listed in the parentheses.
the suite from “Swan Lake” spotlights the composer of
J. S. Bach – Orchestral Suite No. 2 (Academy of St. Martin in the Fields/Neville Mariner). Following a noble overture, the most famous Baroque composer treats us to a series of most popular dances of his time. Even though the work is written in so called “French style”, in addition to French influenced dances such as Minuet or Rondeau, Bach includes here Spanish Sarabande and Polish Polonaise. The suite, in addition to strings and harpsichord, features flute as the solo instrument, becoming in a way, one of the earliest examples of a “flute concerto”.
musical invention and brilliant evocations of theatrical
G. Bizet – Suite from Carmen (London Symphony Orchestra/Raphael de Burgos). If you do not have time to listen to the entire opera or would like to hear the instrumental version of the most popular arias from Carmen, this suite is the answer. In the recommended recording the perfection of the London Symphony and the flair and understanding of the Spanish style by conductor Raphael de Burgos will take you on a wonderful journey to a Spanish country side and charming melodies and rhythms of one of the most popular operas of all time.
his very best. After decades of constant productions and
presence on stages all around the world, “Swan Lake” still
thrills audiences with sweeping romanticism, lush melodies, atmosphere. Both this selection as well as above mentioned
Suite from Carmen are perfect introduction to the world of orchestral music for the youngest listeners.
M. Ravel – Suites from “Daphnis and Chloe” (Orchestre Symphonique de Montreal/Charles Dutoit).
Before experiencing the live performance of this
masterpiece by the ASO on September 20, I would like to encourage everyone to listening to a recording of it. Like
the most savory and exquisite culinary dish, Ravel’s music presents many layers of enjoyment. Some of them are
obvious with the “first bites” but another allow themselves to be uncovered only after repeated listening. Every time, however, Ravel charms his listeners with beautiful gamut of timbers and symphonic colors. His plush harmonies
that give background to enchanting melodies and exciting rhythms reveal more and more depth and beauty with
each repeated encounter. Experiencing the difference P. Tchaikovsky – Suite from “Swan Lake” (Moscow between a recorded and live performance of the same Philharmonic/Yuri Simonov). work exemplified with this composition can be truly a Tchaikovsky was a master of storytelling through music and dance. Next to “Nutcracker” and “The Sleeping Beauty”, remarkable experience. Acadiana’s Publication for the Arts
September 2014 49
S S
ymphony hop In honor of our 30th Anniversary!
Located in the lobby of our performances and online at acadianasymphony.org this season, the Symphony Shop offers patrons the chance to remember their experience long after their visit. Proceeds from the store support the Acadiana Symphony & Conservatory of Music.
Photos by Lucius A. Fontenot
This photo gallery below represents a sampling of items for sale at the Symphony Shop this season. Symphony Shop items make great gifts in any and all price ranges. Stop by, pick up a momento for yourself and a friend.
50 September 2014
Overture Magazine
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Acadiana’s Publication for the Arts
GP11-01361P-N09/11 7177564 MAR001 07/12
September 2014 51
Interns on the Streets
ASO Summer Interns and UL students, Hillary Bonhomme and Miguel Ochoa, hit the streets to find out what people are listening to. Last month, they visited Red Lerille’s and Planet Fitness to see what people listen to while working out in order to stay motivated! Question: “What are you listening to right now?”
Matt S., Reds “Numb” by Linkin Park
Kyla A., Reds MIA’s Pandora Station
Chase B., Reds “Top Laid Back” remix by TI
Arconia B., Planet Fitness “Wrong Side of Love” by Melanie Fiona
Tyler K., Planet Fitness “Forever” by Drake and Lil Wayne 52 September 2014
Overture Magazine
Into the Unknown By Blake Lagneaux & Cory LaGrange, Photos by Cory LaGrange In an effort to share a broader view of the elevated and often imposing world The Arts - an arena perhaps not known for having a strong connection to younger audiences - Overture Magazine asked us to engage in and document a series of cultural endeavors, from the point of view of a “newbie.” We know that, for many people, the concept of “The Arts” can be a rather nebulous one… akin to quantum physics or how exactly soufflé rises. So with that understanding, we trudge bravely forth, into the artistic realms of the unknown — eager to navigate these unfamiliar seas with the security of a proverbial safety net. No question too dumb. No fancy art critiques. No tuxedos or opera glasses required. (“Wait, do we need a tux?”) Just two selfproclaimed pop culture geeks of similar ilk, ready to get into this art thing. And we are all-in. To be honest, at least one of us is excited just to be considered for any project that includes a “younger” perspective. Whew!
can stand there — just don’t touch. We learned that she is a great example of an all-important ingredient for places like the University Art Museum looking to broaden its reach. Its home is a beautiful showpiece of historical-meets-modern architecture, to be sure. A lofty, elegant giant tucked into our own college-town campus. But, where that level of sophisticated design can be intimidating (“Is this a door? No, it’s a huge, looming panel of beautiful glass. Maybe this is a door? Nope. Glass. Well, how do I…? Ah, a door!”), when you find a staff of eager, helpful folks inside those large doors, it makes all the difference. Those people — loving what they do, ready to engage — are the most critical element.
While this quest may carry us around the state, our first venture found us exploring the realm of Fine Art right here at home. What better place to begin than our very own, beloved university? So, we set out to explore the Paul and Lulu Hilliard University Art Museum. Between the two of us, the prior experience at this particular museum was varied. We knew that we would be meeting the museum’s new Executive Director. Beyond that, we had more questions than certainties. Was there a focus on student work? Louisiana artists only? Folk art? We approached with wide eyes and open minds. I think we would both agree that we were especially lucky, not only to meet LouAnne Greenwald, but to enjoy a guided tour of the facility from its warm, approachable, and enthusiastic new Executive Director. Our visit came at what felt like the perfect time. Sure, Greenwald was into our project for this publication. But we felt a genuine sense of excitement around her vision and ideas for what’s possible at the museum, especially when it comes to engaging students and young visitors. If you want to make young people (or any people) feel comfortable and involved, create an atmosphere where questions are not only welcomed, but celebrated, explored, and animatedly discussed. “Where do all of these pieces come from?”, “Who decides what goes up, and when?”, “Who pays for this?”, “Do students turn up here?”, “Can I stand here?”
In what I’m sure will become a running theme during this project, we both walked away agreeing that it’s best to check our preconceived notions of The Art World at the door. At first glance, we were relieved to recognize some pieces hanging in the main exhibit hall. (“Hey, a Warhol!”, “That’s a Chihuly, right?”, “Melty clocks…Dali!”) But the real fun often comes in discovering a new artist or piece, considering the process, pondering the details — discovering a real sense of wonder. Of course, we look forward to finding more of those moments of wonder. It’s a welcome surprise when you’re able to uncover a new facet of culture — especially right at home. The Paul and Lulu Hilliard University Art Museum offered that for us. Next time you’re driving down St. Mary Boulevard, take note. It’s more than that cool heart sculpture, or a blurry, blue glow at night. The museum deserves a place on your radar as a cultural gem for Lafayette.
Nothing was off-limits for our new friend, LouAnne. She graciously answered every inquiry: Yes, the museum sometimes houses student shows. You can find pieces from artists all over the globe. Yes, folk art can be found, but not exclusively. Some pieces are from private collections, others have been donated and are housed in the permanent archive, others exhibits travel So, if you spot two dudes checking in on Facebook at the ballet or from city to city and are only at the Hilliard for a short time. LouAnne told symphony, you may have found us at our next outing. If you do, go easy on us that students do visit the galleries, but that she would love to see more. us - we’re new at this. (And she’s got some fun ideas in the works to do just that.) And, yes, you Acadiana’s Publication for the Arts
September 2014 53
Standing Ovation
More than 30 students participated in ASO’s
second annual Acadiana Suzuki Institute held at the tranquil Episcopal School of Acadiana Cade campus among live oak trees and
beautifully landscaped quads. In addition to learning Suzuki violin, viola, and cello from masters from around the country, students also learned traditional Cajun fiddle from
local legends. We are happy to offer a truly
unique learning experience for students of all
ages. Thank you to the following contributors who make this incredible summer experience possible for students throughout Louisiana and the Southeast region: Danette Bares Mr. and Mrs. C. Walter Dobie Downtown T-Shirts
Suzuki Institute 2014
Mickey and Lindsay Finley Mr. and Mrs. Albert Gutierrez La Maison De Belle Montgomery House Mahtook and Lafleur Mr. and Mrs. William P. Mills Nouriche Wellness & Aesthetic Center Mr. & Mrs. Roland Pautz Mr. & Mrs. David Reid Shelf Oil & Gas Dr. and Mrs. John M. Storment Van Eaton and Romero Garris & Kimberly Wilcox
54 September 2014
Overture Magazine
“Why do I subscribe? Times of Acadiana and Business sections keep me inspired and informed in an easy-to-read, accessible way. When my local paper reflects the community I live in, I’m reminded of how lucky I am to live here. It’s a great way to start your day—inspired and informed from your friend in the community, The Daily Advertiser.” — Jenny Krueger, Executive Director, Acadiana Symphony & Conservatory of Music No one covers local issues and entertainment better than The Daily Advertiser, the heartbeat of Acadiana since 1865.
Visit theadvertiser.com/P-D6
Call 1-800-259-8852
Certain restrictions apply. Call or visit website for details.
Promo Code: P-D6
Acadiana’s Publication for the Arts
September 2014 55
Symphony Seauxcial
Up, Up and Away July 9, 2014
56 September 2014
Photo by Allen Breaux Studios
Photo by Allen Breaux Studios
Sharon Moss, winning bidder of a fabulous trip to Houston auctioned off at the Acadina Symphony Women’s League Mad Hatter’s luncheon, celebrated her birthday by taking her best gal pals on a shopping excursion to the Galleria. Transported by private jet from the Lafayette airport, the troupe was greeted at the Houston airport with a limo that brought them to their destination. They wined, dined, and shopped till they dropped—all for a good cause! Thank you, Sharon Moss, for supporting the arts!
Overture Magazine
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September 2014 57
Community Seauxcial
Leadership Lafayette Class XXVII Art & Culture Day: Culture as a Commodity August 13, 2014
Photos by Lucius A. Fontenot
Leadership Lafayette is a leadership development program, sponsored by the Greater Lafayette Chamber of Commerce, designed to empower participants through community leadership. The Leadership Lafayette Class XXVII was immersed in all things art and culture last month. Day Chair hosts Stafford Barnett and Jenny Krueger organized an outstanding day filled with guest speakers, a hands on activity, and an arts-integration class. Participants learned about everything from Acadiana’s thriving food scene, how arts impact economic development, arts education, our indigenous culture, and creating a culture district. Fun and learning was had by all!
58 September 2014
Overture Magazine
Two SchoolS
•
one campuS
Girls, PreK3 - 12
Boys, PreK3 - 12
Wednesday Walkabouts Open House Every Wednesday in October and February Take a casual look into the daily life of Sacred Heart where you can see students and teachers in action. Call us today to learn more about the tradition of excellence at Schools of the Sacred Heart.
Catholic
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337.662.5275
Independent
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SSH accepts qualified students of all races, religions, national and ethnic origins. Acadiana’s Publication for the Arts
September 2014 59
60 September 2014
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