The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
EddiE
JaZZ FEs E F a t n a s PalmiEri
tival
July 26, 2013
Sunset on the patio... Serving Dinner Nightly from 5:30
the bar @ Happy Hour 5-7, Mon. - Fri.
20% OFF LUNCH SPECIAL with minimum purchase $12 per person (must present this ad)
Lunch Tues. - Sat., 11:30 - 2:30 through July 548 Agua Fria, Santa Fe • 982-8608 • www.ristrarestaurant.com
Welcome Spanish Market! lunch from 8.50 / dinner from 19.00
we are open every day!
Home Sweet
Re claimed wood and iron furniture. Large slab dining tables. Sectionals. Great beds. Coffee tables. Organic mattress. Nature art.
Pre – Performance Dinner Special 3 courses – $35 / 5:30 seating HAPPY HOUR 4 – 6 p.m., Mon. thru Fri.
231 washington ave • reservations 505•984•1788 menus & special events online at: www.santacafe.com
www.
s e q uoiasantafe
.com
201 Galisteo St, Santa Fe, NM 87501 Tel 505 982 7000
Fashion Show Fri. July 26 & Sat. July 27th 12:15pm Burro Alley Café
&
b o t w i n
e y e s
e y e
g r o u p
o p t i c s s a n t a
f e
OptOmetric physicians
Dr. Mark Botwin Dr. Jonathan Botwin Dr. Jeremy Botwin
101 W. SAN FRANCISCO ST • 988-1866 • 800-874-9297 • OPEN SEVEN DAYS A WEEK
Providing comprehensive eye care services to the residents of Santa Fe and northern New Mexico for two generations. 444 St Michaels Drive 5 0 5 . 9 5 4 . 4 4 4 2 BotwinEyeGroup.com PASATIEMPOMAGAZINE.COM
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Michelle Tapia
ALL YOU CAN EAT
CHURRASCO
THE HEAT IS ON!
“Doggess”
www.kittyhope.com
Thursday nights at 6 pm, Las Fuentes Restaurant & Bar will be transformed into a Churrascaria - A Brazilian Bistro serving All You Can Eat prime, select grilled & exotic meats complete with an extensive salad bar, complementary ethnic selections and a taste of live Latin rhythms. Join us for this festive, weekly event!
Booth#7
505-670-9803
27th Contemporary Hispanic Market Lincoln Ave., off the Plaza
MARKET FRESH COOKING
1297 Bishop’s Lodge Rd.
bishopslodge.com
$34 per person plus tax and gratuity
Reservations 819.4035
$5 OFF WHEN YOU MENTION THIS AD TesTa Dura ProDucTion comPany in
conjuncTion wiTh Lensic PresenTs
at the Santa Fe Farmers Market
TUESDAY, JULY 30th 10:00am Rocky Durham Executive Chef
& SFCA Co-Founder
Gather in the Market Pavilion to go shopping with Rocky at the Market
10:30am
Watch, learn, and enjoy Rocky’s cooking demonstration
The Menu: Farmers Market Summer Tacos
Please join us for more SFCA demonstrations on Aug. 12th & Sept. 10th !
Lighting and Sound Design
Matt Berman
pt We acce BT WIC & E
Music Director
David Geist
August 8, 2013, 7:30 pm
Tuesday & Saturday Farmers Markets in the Railyard: 7am-12pm Southside Market at Santa Fe Place Mall, Zafarano Dr. Entrance: 3pm-6pm http://www.santafefarmersmarket.com PASATIEMPO I July 26 - August 1, 2013
Orchestrations
Larry Blank Patrick O’Neil Ed Smith
AN A LL- N E W B R OAD WAY R E V U E TO B E NE FIT THE LE NS IC
A Local Affair
4
Stage Manager
Rocky Noel
$20–$50 / VIP tickets $125 S T U D E N T D I S C O U N T S AVA I L A B L E
Tickets: 505-988-1234 www.TicketsSantaFe.org S E R V I C E C H A R G E S A P P LY AT A L L P O I N T S O F P U R C H A S E
ASK ABOUT FREE PICKUP — EVEN IN SANTA FE
Experience our premier club facilities with our 30-day trial membership program. Quail Run has so much to offer from fitness to golf and tennis! Join today and enjoy Santa Fe’s Best Kept Secret. The 30-Day trial membership* offer expires August 30, 2013. Call today to sign up and schedule a tour.
DREAM OF THE PERFECT PET?
Our Manners Institute can help you turn that dream into reality. From basic commands to overcoming problem behaviors, our professional staff of trainers can help teach your dog a few new tricks. The Manners Institute offers intensive 5 to 15-day training programs customized for you and your dog to help you get the dog of your dreams.
3101 Old Pecos Trail 505.986.2200 quailrunsantafe.com *This is a limited time offer with certain restrictions.
om etResort.c P t n e m t n Encha 100 505.891.4
Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room • Bedroom • Entertainment • Lighting • Accessories
DONATE. Featuring Attractive Handcrafted Furniture CLOTHING
HOUSEWARES
TOYS
FURNITURE
Southwestern Style • Great one-of-a-kind Pieces
DONATE 7 DAYS A WEEK
3060 CERRILLOS RD. (AT CALLE DEL CIELO)
505.424.9726
SANTA FE COUNTRY FURNITURE Goodwillit. TM
Goodwillit.org
525 Airport Road • 660-4003 • Corner of Airport Rd. & Center Dr.
Monday - Saturday
•
9-5
•
Closed Sundays
TO FIND US ON GOOGLE MAPS USE: 273 AIRPORT RD. • IPHONE SEARCH USE: “LOC: +35.638542, -106.024098”
PASATIEMPOMAGAZINE.COM
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THE SANTA FE NEW MEXICAN
July 26 - August 1, 2013
www.pasatiempomagazine.com
On the cOver 56 master of latin classics Eddie Palmieri doesn’t have his signature trombone-heavy front line, but the leader, known for his muscular piano playing, gets plenty of melodic and percussive oomph from his current band: trumpet, sax, bass, timbales, congas, and bongo. Palmieri, a 50-year veteran of music in the Afro-Cuban vein, leads his Latin Jazz Septet in the final Santa Fe performance of the 2013 New Mexico Jazz Festival at the Lensic Performing Arts Center on Saturday, July 27. On the cover is a portrait of the musician, © Eddie Palmieri Music.
BOOKs 16 in Other Words Endless Empire 18 drawing truth to power The Art of Controversy
mUsic and PerFOrmance 20 22 24 26 28 31 32 52
sounds of goya SF Chamber Music Festival FlUX Quartet SF Chamber Music Festival terrell’s tune-Up Los Nuggetz listen Up Soyeon Kate Lee Pasa tempos CD Reviews Onstage Barbara Bentree sings Pasa reviews Fusion Theatre Company loueke & Blanchard New Mexico Jazz Festival
mOving images 72 Byzantium 74 The Look of Love 76 Pasa Pics
calendar 82 Pasa Week
and 13 mixed media 15 star codes 80 restaurant review: la taqueria del Pueblo & Pollo asado
santa Fe OPera 34 37 38 40 41
singin’ them prison blues Oscar in character Daniels & Luplau across the pond Wilde in America clothes maketh the men David C. Woolard Wilde style From Oscar Wilde on Dress
sPanish marKet 58 rediscovered traditions Prudencio & Martinez 60 dreamland Darlene Olivia McElroy 62 charged visions Miller Lopez
art and architectUre 64 art of space An Archaeology of Architecture 68 Pop goes the West Bill Schenck
advertising: 505-995-3819 santafenewmexican.com ad deadline 5 p.m. monday
Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 e. marcy st. santa Fe, nm 87501. editorial: 505-986-3019. Fax: 505-820-0803. e-mail: pasa@sfnewmexican.com PasatiemPO editOr — Kristina melcher 986-3044, kmelcher@sfnewmexican.com
detail of darlene Olivia mcelroy’s Temptation #2
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art director — marcella sandoval 986-3025, msandoval@sfnewmexican.com
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assistant editor — madeleine nicklin 986-3096, mnicklin@sfnewmexican.com
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chief copy editor/Website editor — Jeff acker 986-3014, jcacker@sfnewmexican.com
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associate art director — lori Johnson 986-3046, ljohnson@sfnewmexican.com
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calendar editor — Pamela Beach 986-3019, pambeach@sfnewmexican.com
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staFF Writers michael abatemarco 986-3048, mabatemarco@sfnewmexican.com James m. Keller 986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 986-3039, billk@sfnewmexican.com Paul Weideman 986-3043, pweideman@sfnewmexican.com
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cOntriBUtOrs loren Bienvenu, laurel gladden, Peg goldstein, robert Ker, Jennifer levin, robert nott, adele Oliveira, Jonathan richards, heather roan-robbins, david J. salazar, casey sanchez, michael Wade simpson, roger snodgrass, steve terrell, hollis Walker, Khristaan d. villela
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PrOdUctiOn dan gomez Pre-Press Manager
The Santa Fe New Mexican
© 2013 The Santa Fe New Mexican
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Robin Martin Owner
www.pasatiempomagazine.com
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advertising directOr Tamara Hand 986-3007
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marKeting directOr Monica Taylor 995-3824
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art dePartment directOr Scott Fowler 995-3836
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graPhic designers Rick Artiaga, Dale Deforest, Elspeth Hilbert
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advertising sales mike Flores 995-3840 stephanie green 995-3820 cristina iverson 995-3830 rob newlin 995-3841 Wendy Ortega 995-3892 art trujillo 995-3852
Ginny Sohn Publisher
Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet
auguSt
www.sfcc.edu
1 7 8 911 13 14 15 20 26 28 Sunday, July 28 · 1:00 – 4:00 pm Hands-on Japanese Kite Making One kite per family, limited number Free with museum admission. New Mexico residents with I.D. free on Sundays. Youth 16 and under and MNMF members always free. Funded by the Japan Foundation and the International Folk Art Foundation.
calendar Of eventS Thursday
Backyard Astronomy
8 to 9 p.m., Planetarium A live presentation of the current skies.
Wednesday
Respiratory Therapy “Meet the Department” Event
Aug. 7 & Aug. 20, 3-6 p.m., Room 443 Tour the classrooms and simulation lab. Thursday
505-428-1744
505-428-1723
Danger: Solar Storm
8 to 9 p.m., Planetarium 505-428-1744 Is Earth’s new technology safe from the Sun’s fiery flare-ups?
FrIday
Hydroponic Aquaponic Intensive Training Seminar
Trades & Advanced Technology Center 505-428-1388 Learn about the industry, current technology. Register at www.bioponicsinstitute.com. Tuesday
Nurses Pinning Ceremony 1 p.m., Jemez Rooms
Wednesday
505-428-1323
YouthBuild Information Session
3 to 4:30 p.m., Room 515 505-428-1356 A program for 16- to 24-year-olds who want to earn a GED and a certificate in Green Building simultaneously.
Thursday
I-BEST Information Session
5:30-7 p.m., Room 515 505-428-1356 Earn a certificate in Early Childhood, Culinary Arts or Home Health Aide and complete your GED simultaneously.
Tuesday
SFCC Governing Board Meeting 5 p.m., Boardroom
Monday
505-428-1744
Grand Opening: Bioponics Training Greenhouse
4-8 p.m., Trades & Advanced Technology Center 760-391-0216 Explore the new 3,400 sq. ft., state-of-the-art hydroponic/ aquaponic greenhouse.
Wednesday
Fiesta Court at SFCC
10:30 a.m.-noon, Campus Center 505-428-1266 The Fiesta Court will be on campus to kick off Fiesta de Santa Fe — dress for Fiestas and get rid of GLOOM.
specIal and ongoIng evenTs Fall classes sTarT augusT 26. regIsTer aT WWW.sFcc.edu. Pardon our improvements. The pools at the Witter Fitness Education Center will be closed for renovation through August 25. Red Dot Gallery Exhibit 505-820-7338 Presenting work from SFCC and IAIA students through August 11. Individuals who need special accommodations should call the phone number listed for each event.
Learn more. On Museum Hill in Santa Fe · (505) 476-1200 · InternationalFolkArt.org
505-428-1000 www.sfcc.edu
Helping StudentS Succeed. Serving Our cOmmunity. PASATIEMPOMAGAZINE.COM
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PRESENTS THE FABULOUS 50’S MUSICAL
Contemporary Masters PREVIEW:
Frank Buffalo Hyde Anita Fields Armond Lara
•
•
Friday, July 26, 5–7 pm
T.C. Cannon
Edgar Heap of Birds •
George Longfish
Robert Rauschenberg
•
JULY 26 – AUGUST 23, 2013
•
•
Bunky Echo-Hawk •
David Johns
•
•
John Feodorov
Steven Paul Judd
N. Scott Momaday
Ramona Sakiestewa
•
•
George Morrison
Roxanne Swentzell
435 S. Guadalupe Street Santa Fe 505 982-8111 www.zanebennettgallery.com Mon-Sat 10-5
& Gift Show Museum of International Folk Art 706 Camino Lejo Santa Fe
Saturday • August 10 10 am - 4 pm Festival Open Sunday • August 11 10 am - 4 pm Festival Open Handcrafted rag rugs and other home furnishings, fashions and personal adorments, and gifts of every description. An Economic Development program helping to create a more abundant life for New Mexico’s women and girls.
Admission and Parking Free
Funded and hosted by New Mexico Women’s Foundation 1000 Cordova Place #411, Santa Fe, NM 87505 www.nmwf.org info@nmwf.org 505.983.6155
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PASATIEMPO I July 26 - August 1, 2013
July 19th, 20th, 26th, 27th @ 7:00 PM July 21st, and 28th @ 2:00 PM
(505) 989-3435
Eighth AnnuAl
New Mexico Jazz Festival
At O u t p O S t i n AlbuquErquE
1 1 0 D O N G A S PA R , S A N TA F E
More Choice.
Comfortable and smart, not massive. Omnia® Furniture... personalizing comfort: 100 styles. 120 leather colors and fabrics. Sectionals to sleepers, all made in America.
ShopBabette.com
EUROPEAN CONTEMPORARY STYLING
NEW SHIPMENT OF SPANISH COLONIAL FURNITURE, MIRRORS & ACCESSORIES FROM PERU!
Tom McDermott Sun D ay, J u ly 2 8 , 8 pM
A l b u q u E r q u E | S A n tA F E
J uly 1 2 – 28 At t h E l E n S i c
Terence Blanchard Quintet with lionel loueke (lionel loueke Trio opens) F R ID ay, J uly 2 6 , 7 :3 0 pM
Eddie palmieri latin Jazz Band SaT uR D ay, J uly 2 7 , 7 :3 0 pM i n F O : n E w M E x i c O J A z z F E S t i vA l . O r g t i c k E t S : t i c k E t S S A n tA F E . O r g 505-988-1234 OutpOSt 505-268-0044
mediterrania 401 W. San Francisco Street (corner of Guadalupe) Customer parking across the street on W. San Francisco
989-7948 • www.MediterraniaAntiques.com PASATIEMPOMAGAZINE.COM
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Homeowner at 50. Foreclosure at 65. Hungry Now.
Hunger is Closer Than You Think
Self-powered micro gas lights
Engineer Hydrocarbon Spacemaster X Lume
Northern New Mexico’s Food Bank (505) 471-1633
Automatic - 41.5mm
www.thefooddepot.org
YOU’RE INVITED to a FREE LUNCH! Attend a luncheon hosted by Sandia Hearing and presented by Rich Bedgood, where he will address your questions about hearing health, new hearing technology and the solutions that may be right for you.
When: Where:
Tuesday, August 6 • 11:30am - 1:30pm
How:
Please call Sandia Hearing at 505-988-1984 today to reserve your space. We will be accepting reservations through July 31st. You are welcome to bring a family member to this event.
La Loma Room at The Courtyard Marriott 3347 Cerrillos Rd. • Santa Fe, NM (Plenty of free parking)
San Isidro Plaza 3454 Zafarano Dr., Unit B • Santa Fe, NM 87507 www.SandiaHearingCenter.com
505-988-1984
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PASATIEMPO I July 26 - August 1, 2013
tonight. .april july 26, tonight 26, 2013 2013. .5-7pm 5-7pm
l as t Fr i day a r t wal k In Santa Fe’s Vibrant Railyard Arts District lAST FRidAy EvERy MONTH
charlotte jackson Fine art Heiner Thiel & Michael Post, Colours of Space
william siegal gallery Paula Castillo & Paula Roland
david richard gallery Paul Reed, Steven Alexander, Michael Cook & Trygve Faste
P S pA Eo
mARkET STATIon
pE RA
site santa Fe
SAnTA FE DEpoT
RAIlyARD plAzA
T TA n
lTA
P
REI
m
An
tai
r a i l ya r d pa r k g
D uA
Al
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P RAIlyARD pARkIng gARAgE
HA
DE
FARmER’S mARkET
E
william james david kelly richard siegal charlotte jackson
READ ST.
WAREHouSE 21
tai gallery Fujinuma Noboru: Fushi
james kelly contemPorary Enrique Martínez Celaya
cAmIno DE lA FAmIlIA
El muSEo culTuRAl
P
zane bennett contemPorary art Native Vanguard: Contemporary Masters
zane bennett
Photo: Peter Kirby
lewallen
mAnHATTAn
cAmIno DE lA FAmIlIA
lewallen galleries Nathan Oliveira, Paintings & Sculpture John Fincher, Woody Gwyn & Forrest Moses, The Holy Trinity of Landscape Painting
SITE invites you to experience Enrique Martinez Celaya’s total immersive environment The Pearl, which combines painting, sculpture, water, sound, video, and installation to transform the whole museum into a thoughtful yet haunting meditation on childhood, memory, and home.
The Railyard Arts District (RAD) is comprised of seven prominent Railyard area galleries and SITE Santa Fe, a leading contemporary arts venue. RAD seeks to add to the excitement of the new Railyard area through coordinated events like this monthly Art Walk and Free Fridays at SITE, made possible by the Brown Foundation, Inc., of Houston. We invite you to come and experience all we have to offer. PASATIEMPOMAGAZINE.COM
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Santa Fe Institute Community Lecture New Problems, New Partnerships: What Tomorrow’s University Must Be Wednesday, July 31, 7:30 p.m. James A. Little Theater 1060 Cerrillos Rd. Santa Fe Lectures are free and open to the public. Seating is limited.
La Traviata
In a relatively brief 150 years, human demands on natural systems have, perhaps irrevocably, brought us to an inflection point – the implications of which we do not yet fully understand. Meeting these new and increasingly complex challenges will require massive, coordinated efforts linking academia, industry, and governments. Michael Crow explains why conventional interdisciplinary approaches might not be sufficient, then suggests a new kind of academic enterprise that enhances our ability to cope with tomorrow’s challenges.
www.santafe.edu Michael Crow is President of Arizona State University. Since 2002 he has guided the transformation of ASU into one of the nation’s leading public metropolitan research universities – a model he terms the “New American University.”
VERDI
Support for SFI’s 2013 lecture series is provided by Los Alamos National Bank.
Love’s Last Hope Verdi’s imaginative and tender depiction of love in its many forms is brilliantly illuminated by director and designer Laurent Pelly. The realities behind the gorgeous facade of 19th-Century Parisian culture are vividly portrayed in this touching production. Enjoy some of the most famous music in all of opera as Brenda Rae and Michael Fabiano deliver youthful glamour and excitement through Verdi’s exquisite melodies. British maestro Leo Hussain conducts.
PERFORMANCES
8:00 PM: July 29; August 2, 5, 10, 16, 22
Photo by Ken Howard
For BEST availability choose: July 29 or August 10
SAVE 40%
if you are a New Mexico resident and first-time Opera buyer.* Call 505-986-5900 for details or to purchase. *Restrictions apply
12
PASATIEMPO I July 26 - August 1, 2013
www.SantaFeOpera.org
505.983.8977 604 N. GUADALUPE ST. DE VARGAS CENTER 5STARBURGERS.COM
Enjoy summer faves: Joe’s juicy bison, lamb & beef burgers, all grass-finished, all mesquite grilled, all local.
MIXED MEDIA
Photos Cathy Maier
471-3800 joesdining.com Rodeo Rd at Zia Open 7 days a week 7:30am - 9:00pm
“I can’t eat anywhere else now. You’ve spoiled me.” - recent customer, B.Torres
First Annual Antiques & Collectibles Sale
Breaking bread and breaking barriers The organization Creativity for Peace approaches the weighty political and cultural divisions facing Israel and Palestine in a humanizing way. Believing that peacemaking is itself an art, the group brings 14 to 20 high school girls from that region to Glorieta every year for a three-week summer camp, where they participate in joint art projects as well as conversation. Executive Director Dottie Indyke said that art is more than just a useful means for self-expression and group collaboration: “It is also an excellent complement to the intensive dialogue required of our girls.” To publicly celebrate the transformative bonds that participants form and to further the discussion within the local community, Creativity for Peace hosts Feast for Peace, a dinner complete with Middle Eastern food, dance, and music. This year’s feast (the third, although the summer program is marking its 10th year) presents four speakers. All are 21-year-old women: two Jewish Israelis, one Palestinian from the West Bank, and one Palestinian from Israel. The speakers are part of the program’s year-round leadership training initiative, but summer campers are also on hand to talk about their experiences, both here and at home. In terms of festivities, local dancer Joan Kafri leads folk dances from Israel and Palestine, with music provided by Albuquerque band Sadaqah. Pyramid Café, Nile Café, Adobo Catering, Zia Diner, chef John Connell, and others serve regional foods. The event takes place on Thursday, Aug. 1, at the Scottish Rite Center (463 Paseo de Peralta), beginning at 5:30 p.m. Tickets ($25 in advance); can be purchased at www.creativityforpeace.com or by calling 982-3765; it’s $30 at the door. — Loren Bienvenu
Vintage Trestle Table, Corner Cupboard, Carved WPA Chest, Bench, Chairs & Side Table, Hand-carved Trastero, Antique Sideboard, Mexican Leather and Wood Chair, 19th C. Mexican Ranch Tables, Mesquite Window, Mexican Iron Queen Bed, New Mexican Repiso, Antique Indonesian Carved Teak Bench & Textile Rack, Extensive Collection of Framed Antique, Vintage & Contemporary Art including Salvador Dali, Armado Pena, Paul Dyck and Paul Shapiro, Native American, Mexican & American Art Pottery, Ethnographic, African and Pacific Art, New Mexican & Mexican Tin & Copper, Church Bells, Middle Eastern, Oriental, Navajo & Chimayo Rugs, Textiles & Quilts, Fabulous Collection of Native American and Mexican Silver Jewelry, Vintage Tabletop Radios, Books and much more… Saturday and Sunday, July 27 & 28, 9-3 Santa Fe Women’s Club • 1616 Old Pecos Trail • Follow WWW Estate Signs Cash or Check only please
“Holding your hand through the entire process” • Over 20 Years Experience
Expert Personalized | Service & Instruction
• No “Geek Speak”
Home or Office | Onsite Repairs
• Same Day Service
PC or Mac | iPhones & iPads
PASATIEMPOMAGAZINE.COM
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NAMBÉ’S BIG SALE
3 DAYS ONLY
924 Paseo De Peralta, Santa Fe, NM 87501 | P:505-988-5528 104 W. San Francisco St., Santa Fe, NM 87501 | P:505-988-3574 Pojoaque 90 Cities of Gold Rd., Santa Fe, NM 87506 | P: 505-455-2731
santafe realestateguide .com open«houses Sunday, April 28, 2013 THE NEW MEXICAN
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PASATIEMPO I July 26 - August 1, 2013
Herrada
Moya Loop
Frasco Rd
Cam Acote
CIELO COLORADO
O-15
P-19
Q-29
1:00PM-4:00PM - 19 Camino De Colores/Las M e l o d i a s - Style and value are now available in Las Campanas. Each of the 22 developed lots are sited to maximize panoramic views. Each home is quality constructed; choose from 5 floor plans. $434,000. MLS 201201818. (From 599, exit off on Camino La Tierra (Las Campanas), follow signage to Las Melodias, make a right at Paseo Aragon (at gate contact Realtor), make a right onto Camino de Colores. Model home on left.) Gary Bobolsky 505-470-0927 Sotheby’s International Realty.
1:00PM-4:00PM - 14 Rising Moon, Las Campanas Magnificent Sangre de Cristo views! Beautiful, well constructed "adobe" home! 3BR/4BA/3767’ with multiple patios/portals. Versatile floor plan with a few interior steps. 2.42 AC www.14risingmoon.com $975,000. MLS 201301196. (Las Campanas Drive, left on Koshari, 2nd left on Rising Moon, #14 on left.) Tom Shaw, Host 512-7555270 Bell Tower Properties, LLC.
12:00PM-5:00PM - 709 Luna Vista - Open Fri-Mon. Stop by and we’ll show you the details of our quality construction at Piñon Ridge. Address is model home not for sale. Poplar floor plan available. 254,900 $254,900. (Take 599 Bypass, exit onto Ridge Top Road and head north. Turn right on Avenida Rincon, follow around to Camino Francisca, turn right on Luna Vista. Follow signs to open house.) Carmen Flores 505-699-4252 Homewise, Inc.
Download The New Mexican’s open house locator map.
You turn to us. 14
Moya Rd
Ave
CALL 986-3000
De Ami
stad
Jornada Loop
Estam breR d
id
So can you with a classified ad
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1:00PM-3:00PM - 17 Plaza Del Corazon - An adobe jewel box, flagstone floors, plastered interior walls, four kiva fireplaces, beautiful ceiling treatments in every room & the magical location overlooking the lake and the two finishing holes $650,000. MLS 201300262. (2 br, 3 ba, Las Campanas Drive to Plaza del Corazon turn left. The home is on the left. This is the Nambe Casita.) Suzy Eskridge 505-310-4116 Santa Fe Properties. 1:00PM-4:00PM - 7 Sendero Centro, Club Casitas, Las Campanas - Sweeping golf course/lake views! Main residence + private guest casita - Club Casitas area. Newly finished/never occupied. Large kitchen. High end finishes throughout. No steps. www.7senderocentro.com $1,295,000. MLS 201300298. ((Main entrance to Las Campanas Clubhouse). Clubhouse Drive, left at Casitas to Plaza Del Corazon, left on Sendero Centro. First house on left.) Nancy Lehrer 505490-9565 Bell Tower Properties, LLC.
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2:30PM-5:00PM - 6 Vista de la Vida - Luxury 4549 sqft home ideal for guests and entertaining includes 3 BR/4 BA, office, family/media room, fitness center & workshop. Wide plank Nortic pine & travertine stone floors, vigas, 4 fireplaces. $1,150,000. MLS 201301256. (Camino La Tierra, right on Fin del Sendero. Right on Lluvia de Oro, right on Bella Loma. Right on Vista de Esperanza, left on Vista de La Vida. House is on the left.) Matt Desmond 505-670-1289 Santa Fe Properties.
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1:30PM-4:30PM - 3 Campo Rancheros - Stunning 5536 sq ft Western Mountain-style home in the Estancias, built by Roger Hunter with Spectacular Jemez and Sangre de Cristo mountain views. Pitched roof, stone/ wood finishes, entry rotunda. $1,495,000. MLS 201300813. (599 - rt @ Camino La Tierra, 2 miles rt @ first Y, rt @ second Y after Parkside Drive (do NOT go under the Bridge). Stay on Camino La Tierra, past Trailhead, rt @ Campo Rancheros.) Tim Galvin 505-795-5990 Sotheby’s International Realty.
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JAPANESE TAPAS & SUSHI
Heather Roan Robbins
Kind, romantic, and inspiring energy surrounds some truly willful
and contentious aspects this week. Conflict or tension comes to a head as warrior Mars opposes Pluto, flanked by Mercury and Jupiter. Mars, Mercury, and Jupiter in Cancer bring out creative fertility, mothering, safety, protectiveness, and defensiveness, while the Leo sun brings out our expressive, extroverted side. This lineup inspires us to reengage our lives wholeheartedly and with creativity. But if we feel our boundaries are not respected or if we feel unsafe or, worse, our children are unsafe, we’ll channel our inner grizzly bear. Watch this unfold in the news. Because this protective energy is so close to the surface, we might overreact when we perceive a slight and growl when a simple clear answer would do. Rather than exploding with Leo-like melodrama, we can be our own best audience and hear our truth. We can take the Mars-Jupiter courage to lead rather than be reactive and can negotiate an honest solution. The weekend begins under an expressive, impatient Aries moon. Fires, both real and symbolic, spread quickly; instead of suppressing the sparks, it may be best to contain them, respond honestly, and let them burn out. Let great discussions and great love catch fire instead. Early next week slows down but grows stubborn, fertile, and creative as the Taurus moon forms a grand trine with Venus and Pluto. A powerful vision arises out of a loss or problem. Midweek, our minds meander, conversations wanders, and interesting things are found on obscure country roads. Take on a quest but watch a revolutionary and accident-prone strain as Mars squares Uranus.
Sunday, July 28: We can remember what we love as Venus sextiles Jupiter. Let go of outside expectations and listen to the voice within. Encourage comfort and conversation and sidestep stubbornness tonight as the moon enters Taurus. Monday, July 29: We’re slow off the mark and may feel cranky and unimaginative as the moon opposes Saturn, but if we can just get organized and follow through on last week’s loose ends, our imaginations return this afternoon as the moon trines Venus and Pluto. We may feel deeply moved and inspired. Tuesday, July 30: We’re reminded that our health and happiness are inextricably linked with others as Venus trines Pluto. Helping people will fill our hearts. Wednesday, July 31: The irreverent and adaptable Gemini moon energy helps us deal with a truly difficult and willful Mars squaring Uranus; notice fast tempers, martial action, and mechanical difficulties. Think twice about a sudden, ill-considered decision, though it could be the beginning of a great adventure.
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Friday, July 26: Sensitive feelings turn reactive as the moon switches from Pisces to Aries. We can envision aesthetics as Venus opposes Neptune, but we can also misunderstand the situation entirely. Enjoy the haze but scrutinize assumptions before responding intensely. The evening is willful and energized. Saturday, July 27: This is a tricky, decisive, and rebellious day with quickmoving aspects and possible long-term consequences. The energy is great for accomplishment and for engaging life passionately, but move consciously and be safe around motors, sharp objects, and sharp personalities as Mars opposes Pluto. If people need to get something off their chests, listen and consider rather than react. Social hopefulness increases tonight.
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15
In Other wOrds book reviews Endless Empire: Spain’s Retreat, Europe’s Eclipse, America’s Decline edited by Alfred W. McCoy, Josep M. Fradera, and Stephen Jacobson, University of Wisconsin Press, 478 pages The first decade of the 21st century undercut American self-confidence at its zenith. After reaching a high point of military strength and economic influence with the fall of the rival Soviet Union, the United States soon faced a future not of tribute but of doubt and decline. Increasingly, the question Americans were asking each other was: Are we, too, now going down the tubes? Over the course of five years, beginning in 2006, 140 international historians collaborated on two books of essays on the subject of the American empire. The first book, Colonial Crucible: Empire in the Making of the Modern American State (2009), examines the complex worldwide outcomes that began at the end of the 19th century, when the United States purchased, incorporated, and otherwise subordinated several pieces of a decrepit Spanish empire, including the Philippines, Cuba, and Puerto Rico. Six of the 50 essays in the first book wrestle with a much-debated issue in contemporary American history: whether and in what sense the United States should be referred to as an empire. While the implications continue to simmer in the second volume, Endless Empire: Spain’s Retreat, Europe’s Eclipse, America’s Decline, the weight of opinion of the two books confirms America to be an empire, starting with the threshold prerequisite of controlling one or more outside sociopolitical entities. Only one essay invokes the claim of “American exceptionalism,” frequently used to dismiss or excuse American imperial behavior. The second book is concerned with the next stage of the American empire, post-World War II, when more than 100 countries became independent and eventually participated in the internationalization of trade and commerce known as globalization. Across Asia, Africa, and Latin America, new and nominally independent countries went through different variations of decolonization while becoming more or less entangled in the expansive tendrils of American influence. Through both history and heritage, the American empire was significantly influenced by the British model, described by Australian scholar Gregory A. Barton in an essay titled “Informal Empire” as a kind of virtual control of the relations between nations in such matters as “trade, investment, immigration, government and private aid, and cultural exchanges.” Under this system, a powerful country “intentionally or unintentionally exercises a dominant influence over the elite formation, identity, and conditions of exchange of the subjected elite in another nation or region with none of the formal structures of empire.” The alienation or disaffection of these subordinated elites is among the factors leading to decline. As the Cold War between the Soviet Union and the United States intensified, the imperial motivation became more competitive, writes Brett Reilly, a doctoral student at the University of Wisconsin, in his essay, “Cold War Transition.” “Because we are a principal source of free-world strength, we face the intense hostility of the Soviet-dominated world,” said Secretary of State John Foster Dulles in 1953. “An essential aspect of United States foreign policy” was making allies and finding ways “to bind them to us and us to them in dependable ways.” In his introductory essay, Alfred W. McCoy, a University of Wisconsin history professor and a guiding intellect for the series, establishes the investigative burden of the book, implied somewhat ambiguously in the title. Endless Empire on one hand refers to four millennia of human history going back to the Sumerians in Mesopotamia and the unbroken series of empires that followed. Looking backward at the most recent decline of European empires and the profound changes that occurred, McCoy asks what that had to do with America’s rise to power and what it portends for the future. In an insightful book-ending essay drawn from the full spectrum of recent lessons of declining empire, McCoy focuses on the contradictory signs of slippage now threatening America’s global supremacy. “By 2011, it appeared that U.S. military power, unchallenged for decades, was slowly being eroded by the country’s fiscal crisis and waning economic influence,” he writes. He says that the key to military success is now tied to the acceleration of America’s information regime and its projection of force into the “ultimate strategic high ground” — in the atmosphere and near-Earth orbit. Such new kinds of informational weapons, providing persistent situational surveillance and attuned to biometric identification, anticipate a coming age of robotic warfare. With ever-more-advanced military technology, McCoy concludes, America may still have a shot at a second century of domination, if not the unattainable “endless empire.” But recent history is not encouraging. Germany’s “wonder weapons” of jets and rockets toward the end of World War II seemed at first to represent an overwhelming advantage. “In the end, however, the waves of Allied aircraft, tanks and troops — marshaled by superior U.S. economic strength — simply overwhelmed Hitler’s ‘secret weapons,’ ” McCoy writes. Technological advances are ephemeral and quickly adopted by a determined adversary. With education and the economy in decline, as McCoy documents, America will lose its most essential competitive advantages within another generation and will not, despite its claims of exceptionalism, be exempt from the usual pattern of imperial decline. The bottom line from this team of scholars: “The American century of global dominion, proclaimed at the start of World War II, will end after just eighty years — dawning in 1945, declining by 2020, and eclipsed by 2030.” — Roger Snodgrass 16
PASATIEMPO I July 26 - August 1, 2013
SubtextS Masters for the masters The Institute of American Indian Arts celebrates the inaugural semester of its master of fine arts creative writing program with the IAIA Writers Festival, which runs from Sunday, July 28, through Aug. 3. Visiting faculty members give free readings of their work during the festival. Students from all cultural backgrounds can earn M.F.A. degrees in the program, in which they engage in semester-long mentorships with faculty. More than 75 percent of the faculty are Native American, and the program’s emphasis is on Native American and First Nation authors. Author, filmmaker, screenwriter, and performer Sherman Alexie (Spokane/ Coeur d’Alene) hosts a scholarship fundraiser on Aug. 2. He has written 20 books and has received numerous awards for his writing, including a fellowship in poetry from the National Endowment for the Arts, the PEN/Faulkner Award, and the American Book Award. At the fundraiser he will read from his most recent book, Blasphemy: New and Selected Stories (published by Grove Press in 2012). Other highlights of the festival include a performance by the indigenous satire sketch troupe The 1491s, featuring faculty member Sterlin Harjo, on July 31 and student readings on Aug 2. N. Scott Momaday, Eden Robinson, Arthur Sze, and Luci Tapahonso also give readings; most begin at 6 p.m. and take place at IAIA (83 Avan Nu Po Road), except the Joseph Boyden Aug. 1 program, which is at Zane Bennett Contemporary Art. Admission to the fundraiser is $50. Tickets are available from Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org). Visit www.iaia.edu/iaia-news /events/iaia-writers-festival/schedule. — Jennifer Levin
now featuring
The Master of Us All: Balenciaga, His Workrooms, His World by Mary Blume; Farrar, Straus and Giroux; 224 pages Even if you don’t know Chanel from Shinola, you’ve probably heard the name Balenciaga. Established in the 1930s, it was one of the oldest and most revered haute couture houses in the world; its founder, Cristóbal Balenciaga (1895-1972), gave the world such iconic style elements as the sack dress, the bracelet-length sleeve, and the pillbox hat, but the readyto-wear line that bears his name is better known today for selling sneakers and handbags. Balenciaga was born in the Basque fishing village of Getaria, Spain. While legend claims that he made his first suit for a local marquesa at age 6, the boy worked as an assistant to his widowed seamstress mother, whose clients included the marquesa. He eventually moved to Paris, where in 1936 he opened his couture house on the Avenue George V. The rest is history. Very vague history. Basic biographical data and design contributions aside, not much is known about Balenciaga, who remained elusive throughout his 50-year career (the only interview he ever granted was just before his death and years after his house had shut its doors). Author Mary Blume, former columnist for the International Herald Tribune, admits all this from the outset: “Some said he was tall, others short; he was either portly or gaunt, charming or aloof,” she writes. “Two of the things about him that one can state with absolute certainty are that he had sinus trouble and that he loved to ski.” This slim volume may disappoint fashionistas hoping for a breakthrough tell-all. It comes across more like a broad history of 20th-century couture and society than a biography of one designer. Blume devotes an entire chapter to World War II. We learn that the Nazis attempted to move couture “headquarters” to Germany (Balenciaga reportedly told them they “might as well take all the bullfighters to Berlin and try and train bullfighters there”) and that the Duchesse d’Ayen, who worked at French Vogue and was a member of the Resistance, spent several months in solitary confinement wearing a beige jersey Balenciaga dress. Many of the recollections come from one of the designer’s original vendeuses, Florette Chelot, and at times the book seems more like her biography than Balenciaga’s. We hear a good bit about the author’s own blue wool Balenciaga suit and the confidence a well-designed and well-made piece of clothing can provide. It “enabled me,” she writes, “to take out a notepad and quiz Eleanor Roosevelt at the Hôtel de Crillon as if I were (almost) entitled to.” Meanwhile, the meeting of Balenciaga and his longtime lover and companion, Wladzio Jaworowski d’Attainville, receives a single paragraph, and d’Attainville’s death, the impact of which Blume describes as “almost seismic,” is wrapped up in four. Black-and-white photographs and a precious few color plates illustrate some of the designer’s most notable works and the distinctive individuals who circled around him. Blume also gathers quotes and anecdotes from and about the socialites who were his clients, including Bunny Mellon, Gloria Guinness, Cécile de Rothschild, and Barbara Hutton. It’s all very amusing and engaging, but it doesn’t help us learn much about the man. — Laurel Gladden
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17
Jonathan Richards I For The New Mexican
DRAWING TRUTH TO POWER The work of political cartoonists
he trouble with most analytical books about cartoons is that they’re not very funny. Intelligent, perceptive — very possibly. But one of the first ambitions of cartoons is to make us laugh, and the audience drawn to a book about them is reasonably in the market for a massage of the funnybone. Victor S. Navasky, the former editor and publisher of The Nation and founder of the fondly remembered quarterly of political satire Monocle, knows this as well as anyone, and he approaches the subject with a disarming breeziness in The Art of Controversy: Political Cartoons and Their Enduring Power. “I am not an art scholar or historian,” he protests, and he adds “as far as I can see, those who are can’t seem to agree with each other on much of anything.” But he admires the talent and the courage of the great political cartoonists, not to mention their impact. So he’s undertaken a job with a low probability of success in tickling the reader, but he gets high points for focusing honor upon the prophets of an often underrated art. 18
PASATIEMPO I July 26 - August 1, 2013
Not that the political cartoonist’s art is always meant to be funny. One thinks of the haunting cartoon that won the Pulitzer Prize for Bill Mauldin after the assassination of John F. Kennedy. Mauldin’s wordless drawing showed the statue of Abraham Lincoln at the Lincoln Memorial with Lincoln’s face buried in his hands. Some things — assassinations, genocide, 9/11 — utterly defeat humor but cry out for graphic commentary, and the cartoonist must remove the barb of satire from his pen. America’s tradition of press freedom has generally protected its political cartoonists from official retaliation, although there are plenty of instances of self-censorship from the newspapers and syndicates for which these cartoonists work. Pat Oliphant, this country’s leading practitioner of the art (unaccountably ignored in Navasky’s book) drew a hilariously scathing attack in 2002 on the sex scandal rocking the Catholic Church, “Celebration of Spring at St. Paedophilia’s — The Annual Running of the Altar Boys.” Many newspapers declined to carry it, and some of those that did apologized in print the next day. “I don’t want to be apologized for,” Oliphant grumbled. Navasky deals at some length with internal censorship at The Nation, where a savagely funny David Levine takedown of Henry Kissinger caused a feminist revolt among staffers (the objection was to the objectification of women, not a concern for Kissinger’s sensibilities). The cartoon showed Dr. K. in bed, draped in an American flag, gleefully rutting atop a naked woman with a world globe for a head. “A petition landed on my desk, signed by twenty-five people in an office that I had thought employed only twenty-three,” Navasky writes. Navasky dismissed the censorship and ran the cartoon. He faced and rejected a similar staff revolt over a multipanel Ed Sorel cartoon poking caustic fun at Frances Lear when she used her $112 million divorce settlement to launch her magazine, Lear’s, and lectured women to show gumption similar to hers. Sorel weathered the staffers’ storm of protest without offering an apology. “To work,” he said, “a cartoon not only has to be funny, but you don’t pick on people smaller than you.” Or as Mauldin used to say, “If it’s big, hit it.” Cartoonists in other parts of the world sometimes have a harder time of it. Navasky provides a sobering list of cartoonists who have been arrested, jailed, beaten, and even assassinated for their work. Most of them have been from totalitarian or theocratic regimes (or, like the Danish cartoonists who lampooned Mohammed, the target of fanatical religious reprisal). But Robert Edwards, a British reactionary cartoonist of modest talent, was sentenced in 1982 to two years in an English prison for his holocaust-denying anti-Semitic comic strips that were deemed “likely to incite racial hatred.” Navasky, a staunch defender of free speech, decries this reaction: “The citizen in me finds his ideas repugnant, yet the sociologist in me wonders why the authorities find his work, which itself is a caricature of conventional bigotry, sufficiently threatening to earn him imprisonment.” Where Navasky is at his best in this book is in the section he calls the gallery, in which he devotes a few pages each to a pantheon of greats from the world of political cartooning. Names like Goya, Gillray, Daumier, Nast, Mauldin, Herblock, Sorel, Steadman, and even the sublime Al Hirschfeld (not generally thought of in terms of political or social commentary) receive, if not their due, at least a thoughtful entry to remind us of what immense contributions they have made. He includes a rogues’ gallery of distasteful but influential work: the savage hook-nosed, blood-drinking Jews of the cartoons featured in the Nazi paper Der Sturmer helped shape the minds of a generation of Germans (and ultimately sent its editor, but not its cartoonists, to the gallows from Nuremberg). The South African cartoonist Zapiro, who has created a stir in his country with his lacerating depictions of ANC President Jacob Zuma, offers the image of the political cartoonist as “the equivalent of the old court jester ... licensed to rudely confront those in power,” Navasky writes. At its best, the political cartoonist’s art can get under the skin of the powerful enough to change history. Hitler would go into a frenzy at his ridicule by David Low in the London Evening Standard, to the point that the British foreign secretary asked the cartoonist to ease up to try to preserve peace. And Daumier’s caricatures of the pear-shaped King Louis Philippe, which got him sent to jail for “offending the king’s person,” helped lead to that regime’s downfall and paved the way for 20th century revolutions. ◀
“The Art of Controversy: Political Cartoons and Their Enduring Power” by Victor S. Navasky was published by Alfred A. Knopf/Random House in April.
Top, from left, Robert Edwards: from “The Real Menachem Begin Story,” 1981, © Robert Edwards; Ralph Steadman: “Richard M. Nixon,” 1974, © Ralph STEADman; middle, from left, Qaddaffi caricature, Novinar, 2006; Edward Sorel: “Enter Queen Lear, Triumphant,” 1988, © Edward Sorel; bottom, from left, Plantu: “I Must Not Draw Muhammad,” 2006, © Plantu; Art Spiegelman: “Valentine’s Day,” The New Yorker, 1993, © 1993 by Art Spiegelman; opposite page, Barry Blitt: “The Politics of Fear,” The New Yorker, 2008 © 2008 by Barry Blitt; images courtesy Alfred A. Knopf/Random House
PASATIEMPOMAGAZINE.COM
19
James M. Keller I The New Mexican
Reflection and Revolution at Santa Fe Chamber Music Festival
20
PASATIEMPO I July 26 - August 1, 2013
ince Santa Fe marks an intersection of deeply rooted Spanish culture and rampant fascination with both the visual and musical arts, the Santa Fe Chamber Music Festival concert coming up on Saturday, July 27, ought to be a big draw. Richard Savino, a noted performer on both the modern guitar and its historic predecessors, devised his program Reflection and Revolution: Music From the Time of Goya (1746-1828) as a multimedia presentation for the 2009 Aston Magna Music Festival (a venerated early-music enterprise in Massachusetts) and Milano Classica (an Italian chamber orchestra and concert series). Images by Francisco Goya are to be projected throughout the concert while performers — here Savino himself, soprano Christine Brandes, and a quartet of string players from the Santa Fe Opera Orchestra — provide a live underpinning consisting of classical and popular works heard in Madrid during the artist’s lifetime. Goya’s life had its ups and downs. Born in Fuentetodos, a village in Aragón, he moved to the big city of Madrid in 1764, at the age of 18. He traveled around a bit, reaching even Italy, soaking up artistic influences wherever he could. Back in Spain, he secured a position in the royal workshops in 1774. His projects included making cartoons to serve as models for tapestries in the royal residences. Among these we find The Blind Guitarist, designed for an antechamber in the royal hunting lodge of El Pardo; when it proved too difficult to transfer to looms, Goya worked it out instead as a large copperplate etching and an oil painting, providing a much simplified rendering for the weavers. During the 1780s he moved up in the ranks, gaining an appointment as painter to the Bourbon King Carlos III in 1786 and as court painter when Carlos IV ascended to the throne, in 1790. Goya was appreciated for his magnificent work, even to a degree that allowed him to flirt with the boundaries of the outré. His painting La maja desnuda (The Naked Maja), for example, provoked considerable outrage in 1798. As its title states, it did indeed depict a nude woman, but Goya refused to cave in to demands that he paint over the figure with garments. He did, however, consent to create a sister painting, La maja vestida, identical except this time with clothing, thereby providing parallel versions for audiences of differing degrees of prudery. By that time, however, the quality of his life had begun to erode. A serious illness left him deaf in 1792, and his mental state grew increasingly unpredictable, giving rise to the nightmarish hallucinations he depicted in Los caprichos, the famous series of 80 aquatints he produced in 1797 and 1798. The enlightened monarchy of Carlos IV managed to survive as the French Revolution raged to the north; but it came to an end in 1808, when Napoleon’s armies invaded Spain, establishing an occupation that would continue until 1814. Scenes depicting war and military brutality became Goya hallmarks during the occupation and beyond; his aquatint series Los desastres de la guerra (The Disasters of War) continues to shock viewers today. Notwithstanding his horror of the violence that surrounded him, Goya maintained his post as court painter, and in that capacity he created portraits of French officers as well as Spanish ones. When Napoleonic forces were finally pushed back from Iberia, the new Spanish ruler, Fernando VII (aka “The Felon King”), established a harsh regime and a reign of terror. Goya fell under suspicion for his apparent coziness with the former occupiers. And after withdrawing for some years to his country retreat, he emigrated to France in 1824, where he spent the four years that remained to him. Goya’s was an interesting life, its importance magnified by his stature as an artist. Composers have occasionally found inspiration in his story, which was turned into an opera by Gian Carlo Menotti and a concept-album musical by Maury Yeston. (Tenor Plácido Domingo starred in both.) In recent years, quite a few musical performers have put together talk-and-play recitals that link Goya’s art to Spanish music, and there’s good sense in doing so. Since Goya was intrinsically involved in the cultural life of the Spanish court, he would have operated check by jowl with composers and musicians. His work repeatedly returns to musical subjects. Two composers dominate in Savino’s presentation: Luigi Boccherini (1743-1805) and Fernando Sor (1778-1839). The most-remembered figures of Spanish music of that era, their lives provide a fascinating counterpoint to Goya’s. Boccherini grew up in northern Italy and, as a cello virtuoso, toured to such musical capitals as Vienna, Paris, and, in 1768, Madrid, where he put down roots. In 1770 he entered the service of the Infante Don Luis (brother of Carlos III) in Aranjuez. After Don Luis died, in 1785, Boccherini gained an appointment in absentia as chamber composer to Crown Prince Wilhelm of Prussia, but he remained physically in Spain, accepting a position as composer and orchestra director to the aristocratic
Benavente-Osuna family. After they moved their household to Paris in 1799, Boccherini found employment with Lucien Bonaparte, Napoleon’s brother and the French ambassador in Madrid. But he lived just a few more years, expiring exhausted and in modest financial circumstances, spared from seeing how the French occupation would roil his adopted country. He left behind an immense output of music. Most of it is skillful if not particularly distinguished, but his scores tend to come alive when he was writing for string quintet and for chamber ensembles that included the guitar. The latter is the Spanish-flavored Boccherini listeners will encounter in this presentation. Sor was a born Spaniard — a Catalan, actually — and after 1799 he balanced a three-pronged career that involved responsibilities in Madrid and Málaga as well as in his native Barcelona. He was a virtuoso guitarist, and although he wrote operas, ballets, symphonies, and string quartets, it is his guitar music that lives on, occupying a central position in that instrument’s repertoire. If Boccherini’s attachment to Spanish aristocrats mirrored the parallel period of Goya’s life, Sor’s biography corresponds to the trajectory of Goya’s later years. Sor fought against the French during the invasion of 1808, but he proved a pragmatist under the occupation, accepting an administrative position from the French. After they withdrew, he found it untenable to remain in his native country. Like others who had proved compliant during the occupation, he was rebuked as afrancesado (“Frenchified”). He moved briefly to Paris and then continued to London, where a newspaper reported in 1820 that “Mr. Sor’s vocal compositions have gained such favour that a new set of arietts, from his pen, causes almost as much sensation as the publication of a new novel by the author of Waverley” — the literary reference being to Sir Walter Scott. In 1823 he moved to Moscow, where his ballet Cendrillon duplicated the success it had previously found elsewhere; and in 1826 he returned to Paris, where (like Goya before him) he would live out his final years. Though Spain was the central playing field for Goya, Boccherini, and Sor, their lives trace circuitous paths, in each case taking turns in response to political exigencies. As a group, they cover a period of nearly a hundred years that led from the era of comfortable aristocracy through a period of horrific international warfare and on to the threshold of modern Europe. This program promises to elucidate that complicated century by juxtaposing the biographies of individuals with the trajectories of nations, the whole of it illuminated through art and music. ◀
details ▼ Reflection and Revolution: Music From the Time of Goya (1746-1828), presented by the Santa Fe Chamber Music Festival ▼ 5 p.m. Saturday, July 27 ▼ St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. ▼ $32 & $40 (discounts available); Tickets Santa Fe at the Lensic (www.ticketssantafe.org, 988-1234) or from the festival at 982-1890 Opposite page, Goya’s oil painting The Blind Guitarist
Bill Kohlhaase I The New Mexican
FLUX Quartet
iolinist Tom Chiu, founding member of the FLUX Quartet, and cellist Felix Fan, the last member to join the quartet, have more in common than a passion for new and experimental music. They studied with some of the same instructors from the University of Southern California’s Thornton School of Music and Los Angeles’ Colburn School. “We both grew up under special circumstances,“ Chiu said in a phone call from his home in Brooklyn. “We were both talented kids.” The FLUX Quartet — consisting of Chiu, Fan, violinist Conrad Harris, and violist Max Mandel — is one of the more unusual string quartets in modern music. The musicians are best known for performing Morton Feldman’s marathon of a string quartet, the six-hour long No. 2, a piece that goes beyond the usual demands of quartet performance to enter realms of physical and mental exhaustion. The music, a challenge for listeners as well, is quiet and contemplative, the tones seemingly stretched against each other. When the Kronos Quartet was asked to play it for a 1996 concert, the musicians declined, citing the pain that accompanies performing continually for such a long period of time. They did perform the piece’s premiere in 1984, rushing through it in a measly fourand-a-half hours. The FLUX Quartet hasn’t performed the piece once or twice but nine times — with, Chiu announced, performances 10 and 11 coming in the fall. “It’s a completely unique piece of work,” he said. “The live performance is not just a concert but an experience. I’m very proud of the fact that we are one of the authorities of that experience.” FLUX has squeezed the Feldman quartet onto 22
PASATIEMPO I July 26 - August 1, 2013
a five-CD set. The group also performs Feldman’s String Quartet No. 1, a piece that clocks in at a mere 100 minutes. In addition to performing compositions from the usual, beyond category, newmusic suspects — György Ligeti, John Cage, and Iannis Xenakis — they’ve also collaborated with avant-garde composers associated with jazz including Henry Threadgill, Ornette Coleman, John Zorn, Oliver Lake, and Roscoe Mitchell. Chiu and Fan have collaborated — individually and together — with choreographers, interpretive artists, puppeteers, and balloon virtuoso Judy Dunaway (Chiu is heard on Dunaway’s recording Mother of Balloon Music). The group also tours college campuses, where they cultivate new music from promising music students to add to their repertoire. “That’s absolutely a very big part of what we do,” Chiu said, “discovering new voices, new repertoire.” Their appearance as part of the Santa Fe Chamber Music Festival does just that with new works by young artists Elizabeth Ogonek, Reena Esmail, and David Hertzberg. Also on the bill is Conlon Nancarrow’s String Quartet No. 3 and festival artistic director Marc Neikrug’s String Quartet No. 4. “We’ll meet with [the young composers] in Santa Fe to give them collaborative feedback on what they’ve done,” Chiu said. “I know you can’t teach art, but we can tell them what’s doable and what is not, how what they’ve written applies to the string quartet in terms of balance and different textures between the instruments, the things we deal with all the time. Hopefully they’ll get a deeper look with what goes on behind the scenes in presenting this kind of music.”
The quartet, founded in the late ’90s by Chiu, takes its inspiration from the Fluxus art movement of the 1960s championed by the mixed-media artist and musicologist George Maciunas. The avant-garde, anti-art business, performance-oriented movement known for its “happenings” was influenced by the work of Marcel Duchamp and the music of John Cage. It embraced cross-genre expression, deconstruction, and the generally outrageous while rejecting formalism and conformity. “When I chose the name, I was somewhat in Fluxus myself. When I moved to New York (in the mid-’90s, to attend the Juilliard School), my aesthetic world exploded. I was suddenly hearing all this experimental music that was going on downtown, and I began exploring the visual arts and other artistic worlds. I found I had a deep kinship with the Fluxus movement. They were irreverent and intelligent and reckless, also very anti-establishment. I thought it refreshing that they didn’t always have formal training but they had these incredible ideas and attitudes.” Those attitudes are reflected in cellist Fan, who joined the quartet in 2008. Fan said his training was “pretty much straight-ahead classical cello playing” until he attended the Hochschule für Musik und Tanz (High School for Music and Dance) in Cologne. “My tastes were limited and pretty conservative up until then. Suddenly I was exposed to all this new and exciting music, and my interests started to expand.” Fan studied with Eleonore Schoenfeld at the Thornton School and with Janos Starker at Indiana University. He also spent time with innovative jazz saxophonist Sam Rivers. He met Rivers when the saxophonist performed at the Musik3 festival in San Diego, a yearly series of performances Fan initiated in 1998 that brought eclectic, hard-to-categorize music to Southern California. “I was set to play with him at the festival, and in typical Sam fashion he had nothing written out. But he had an incredible way of creating music outside of the realm of notation. I got to sit in with him and got to know him better, and then we had a couple amazing years where Sam would come over to the house and we would sit down and play together for a couple hours. It was quite liberating.” Fan was a member of the Bang on a Can All-Stars, the no-holds-barred music coalition known for championing new and improvisational music. With that ensemble, Fan worked with composers Philip Glass, Terry Riley, and Meredith Monk. Fan also leads a trio, Real Quiet Music, with pianist Andrew Russo and percussionist David Cossins. The trio has recorded new music from Pulitzer Prize winner David Lang, among others. Perhaps his most familiar work, as seen on a YouTube video, is his improvised piece “Please, don’t eat the cello.” Playing shirtless, Fan coaxes a series of squeals, cries, and feedback from an electric cello, at times using a beer glass as a slide. His thinking on art and music, he said, makes a good fit with Chiu and the quartet. “We’re looking for the same kinds of unusual things. Our take on the music sends us looking for sounds that haven’t been heard before.” Chiu was a chemistry student at Yale when he took a class on Debussy taught by music theorist Allen Forte his sophomore year. “I was on a premed course, and I took Forte’s course and it just opened up my mind to a lot of things that it hadn’t been open to before.” Chiu finished at Yale with both music and chemistry degrees. His time in New York at Juilliard really opened his eyes. He has a special respect for the Kronos Quartet, even if they’re no longer capable of performing six hours straight. “They were doing [new music] before everybody else. They broke down the boundaries of repertoire by including so many different kinds of music and composers. They were in flux before FLUX.” Today, Chiu explained, the quartet’s name seems even more defining. “I think we’re seeing the name in a more literal sense of its meaning, of something in flux, as part of a flow, in transition. That applies to a lot of the music we play. It’s taking things another step, beyond where they were before. And it’s a commentary on art in general, in styles, genres, techniques, expressions — how all these things are coming together and constantly changing. And,” he added, “flux is a fun, tacky word.” ◀
details ▼ FLUX Quartet, presented by the Santa Fe Chamber Music Festival ▼ 6 p.m. Friday, July 26 ▼ St. Francis Auditorium, 107 W. Palace Ave. ▼ $21; Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org)
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23
TERRELL’S TUNE-UP Steve Terrell
An alternate reality At the same time Hispanic acts like Sam the Sham, Question Mark & The Mysterians, Cannibal & The Headhunters, Thee Midniters, and of course Carlos Santana were making their marks on what would later be known as garage rock, bands in Mexico, Peru, Uruguay, and other Spanish-speaking lands also got the rock ’n’ roll juju. Although groups like Los Pets (from Venezuela), Los Ovnis (Mexico), Los Holy’s (Peru), and Kaleidoscope (Dominican Republic) never became well known far beyond their native regions, they rocked with abandon. And now, more than 40 years after most of these bands hung it up, we can appreciate them in the U.S. thanks to a new four-disc, 100-plus-track collection from Rock Beat Records, Los Nuggetz: ’60s Garage & Psych From Latin America. This compilation is a bonanza of rock en Español (and a stray song or two in Portuguese). And Los Nuggetz even has Spanish-language covers of Mexican-American garage classics like Sam the Sham’s “Wooly Bully” and Question Mark’s “96 Tears” (appearing here as “Bule Bule” and “96 Lagrimas,” both by the Peruvian band Los Shains). Some historical context: The basic story of 1960s rock ’n’ roll is that British kids got fired up on American blues, R & B, and first-generation rock and created the British Invasion bands we know and love. Americans reacted by forming unknown numbers of new bands, and so were born garage-rock psychedelic music, protometal, proto-punk, and so on. All of this spread across the world as rockers virtually everywhere
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PASATIEMPO I July 26 - August 1, 2013
Despite the subtitle, a number of the songs on ‘Los Nuggetz: ’60s Garage & Psych From Latin America’ are not from Latin America. But in the long run, who cares?
adapted, mimicked, and put their own stamp on the popular music coming out of the U.S. and the U.K. Many don’t realize how popular this decadent Western music was in remote corners of the world. And unless you’re a fanatical record collector, chances are you’ve never heard or even heard of many 1960s rock ’n’ roll groups from non-English-speaking nations. In recent years some CD compilations have attempted to document garage rock and other raw pop sounds from around the world. In 2001 Rhino released a four-disc collection called Nuggets II: Original Artyfacts From the British Empire and Beyond, 1964-1969, though the lion’s share of the songs were from the United Kingdom and nearly all were in English. Then, to get a little obscure, there was the 11-volume World Beaters series, which sprang up early this century on a mysterious label called Krazy World. Now out of print, World Beaters featured garage rock from all over the world — even Papua New Guinea was represented. It was the World Beaters CDs that first got me acquainted with the music of Los Shakers, Los Shains, and Los Salvajes. Geographical grumble: Despite the subtitle, a number of the songs on Los Nuggetz are not from Latin America. Many are by groups from Spain, which isn’t part of America, Latin or otherwise. But in the long run, who cares? “Me Reiré” by Los Shakers (not to be confused with the Argentine Los Shakers, also on Los Nuggetz), a song that sounds like a mutation of Them’s “Mystic Eyes,” as well as Los Salvajes’ covers of “Paint It Black” and “19th Nervous Breakdown” are among the highlights of this collection, so I’ll just shut up about that. Compiled by James Austin, a former producer at Rhino Records (remember when Rhino was the coolest name in music reissues?), Los Nuggetz includes many tracks that have never been reissued. It comes in a very attractive package — a 70-page full-color hardcover book featuring images of a psychedelic skull sharing smoke with an Indian as well as a masked luchador! And there are extensive liner notes by Randall Wood detailing every song.
But the music, of course, is the main draw. It’s definitely not as polished as recordings by the American and British bands that inspired these groups. But most of the tracks here capture the raw enthusiasm of the Nuggetz musicians. Several of the players were teenagers when they went into the studio. Many of the songs on this collection present a virtual alternate reality to ’60s pop. You don’t have to speak Spanish to recognize a huge number of the tunes here. There’s a plethora of covers of songs made famous by rock and soul icons like James Brown, The Beatles, The Kinks, The Four Tops (we hear not one but two versions of “Reach Out, I’ll Be There”), and The Doors. One of my favorite covers is “See See Rider,” done by Los Pops (Spain) in an arrangement based on the version by The Animals. There are Spanish remakes of hits of the day, including Nancy Sinatra’s “These Boots Are Made for Walking” (by Gloria Benavides of Chile), The Rivieras’ “California Sun” reworked as “Tijuana Sun” by Javier Batiz & The Fabulous Finks, and The Crazy World of Arthur Brown’s “Fire” as done by Los Sirex from Spain. Los Nuggetz also features covers of classic garage hits such as The Troggs’ “Wild Thing” sung by Juan “El Matematico” Garza from Mexico under the title “Loco le Patina el Coco,” Them’s “Gloria” performed by Colombia’s Los Young Beats, and a ferocious take on The Leaves’ “Hey Joe” by Los Locos del Ritmo (Mexico). While covers dominate this album, among my favorites are some originals. The best are “El Psicodelico” by Los Yorks of Peru, the even more psychedelic “Colours” by Kaleidoscope, and the Joe Meek/13th Floor Elevators-influenced instrumental “Sueño Sicodelico” by Los Holy’s. While most if not all of these bands broke up decades ago, there’s plenty of noise still rocking the garages of Latin America. If you like Los Nuggetz, I suggest you check out contemporary groups like Los Peyotes from Argentina, Los Vigilantes from Puerto Rico, Horror Deluxe from Brazil, and Los Explosivos from Mexico — as well as Spanish bands like Wau y Los Arrrghs!!! and The Hollywood Sinners. ◀
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25
LISTEN UP
James M. Keller
Inon Barnatan
Soyeon Kate Lee
Pianist in black
Y
ou may recall the Korean-American pianist Soyeon Kate Lee from the flurry of publicity that surrounded a recital she played in New York in 2008. On that occasion, she wore a gown a designer had created for her from refuse — specifically, from a vast number of discarded grape-juice soft-pouches — to promote recycling. I suspect that outfit may have gone the way of many a bridesmaid’s dress; and if it is still lurking at the back of some closet, it probably isn’t flexible enough to tote around the country on concert tours. (And what if you spilled grape juice on it?) When the Santa Fe Chamber Music Festival presented her in a noon recital at St. Francis Auditorium on July 18, she opted for an outfit of basic black. There was no mistaking her technical facility, which is quite at the level one would expect of a youngish (early 30s) pianist with a résumé such as hers. She excelled at Juilliard, where she studied with Jerome Lowenthal and Robert McDonald and received the William Petschek Piano Recital Award, bestowed annually on a “most likely to succeed” pianist graduating from that school. Now she’s pursuing a doctorate in piano at CUNY (City University of New York), where her teachers are Richard Goode and Ursula Oppens. In 2010 she won first prize in the Naumburg International Piano Competition, which has recognized many notable pianists over the years. From the evidence of her recital here, the teacher she seems to resemble most is Lowenthal, both in her impressive digital facility and in her extroverted stance as an interpreter. She opened with Janácek’ ˇ s Sonata From the Street, October 1, 1905, which was inspired by the murder of a protester at a political rally in Brno, Moravia, 26
PASATIEMPO I July 26 - August 1, 2013
on that date. The piece offers a thorny conceptual challenge in that, although the subject is grim (the first movement is titled “Presentiment,” the second “Death”), Janácek ˇ is at heart a very colorful composer. Lee’s interpretation was not at all colorful, unless you count the overly bright, clangorous, glockenspiel-like sound she often pounded out in the treble during the second movement: Janácek ˇ masquerading as bravura Liszt. But overall, the color she chose was gray, and the piece meandered without much direction, its left-hand figuration merely yielding density rather than focusing on a destination. It was apparently a choice rather than a necessity. In fact, she followed this with Scriabin’s Prelude and Nocturne for the Left Hand (op. 9), in which her sinistral voicing was transparency itself, supporting a reading that was appropriately Chopinesque. Scriabin’s ensuing Impromptu (op. 12, no. 2) was more Russian-sounding, and Lee made a fine effect with the extended crescendo that boosts the entire second half of the piece. The festival’s weekly program-note insert indicated that she would be performing not the Scriabin works but rather two preludes by the American modernist Ruth Crawford Seeger; those, however, were swapped out without comment. Beethoven’s Sonata in A-flat Major (op. 110) received a sturdy, orthodox rendition, well in hand technically but without much in the way of compelling ideation (something Goode is no doubt stressing in her current study). I always consider the trio of the scherzo to be a touchstone in that in 99 percent of performances it sounds like the pianist is making it up with giddy abandon and that it bears no relation to the rest of the piece. This interpretation was not part of the 1 percent. (One recalls Goode making more sense of it when he played it this past April at the Lensic Performing Arts Center.) Very laudable was Lee’s voicing of the concluding fugue, in which she not only brought out the principal subject with clarity but also conveyed distinct gradations in the contrapuntal lines that supported it. Again, variety of pianistic color did not seem to be Lee’s strong suit, neither in the Beethoven nor in Guido Agosti’s flamboyantly pianistic arrangement of three segments from Stravinsky’s Firebird, which concluded her program. One yearned for mystery in the central Berceuse, but her fleet fingers and powerful attack stirred up considerable excitement in the outer movements.
Lily Francis
Nicholas Canellakis
With force and mystery
I
n the evening, a succession of players took the stage at St. Francis Auditorium to perform chamber works by Brahms and Mozart, as well as a recent piano quartet by the much-lauded French composer Marc-André Dalbavie. The Brahms was the Scherzo that the composer contributed to the so-called “F.A.E. Sonata,” a work written for the famous violinist Joseph Joachim, its movements divided among Brahms, Schumann, and a lesserknown member of their circle named Albert Dietrich. Violinist Daniel Hope, who has made a strong impression here in the past, seemed to be off his game, his timbre and articulation a bit scraggly, especially when compared with the warm tone and heroic phrasing provided by pianist Inon Barnatan. At the program’s end came Mozart’s C-Major String Quintet (K. 515), an amiable, optimist work rendered here by Hope plus violinist Benjamin Beilman, violists CarlaMaria Rodrigues and Teng Li, and cellist Ronald Thomas. It is an unusually long piece among Mozart’s chamber works, and it sounded so in this rendition, which particularly slogged through the slow movement without much momentum. One of the work’s issues is that Mozart often favors the first violin with highly virtuosic writing that can sit uneasily in the chambermusical balance. Hope embraced this with the abandon of a concerto soloist — a legitimate way of going about it but one that added nothing in the way of unifying spirit. In general, the piece sounded under-rehearsed. Right from the get-go, one was bothered by repeated iterations of the opening theme, an arpeggiated triad ascending through two octaves and a third. Mozart marked the initial note forte and the ensuing ones piano. Thomas, who played it first, defined this phrase logically, projecting the initial note with a solid attack and firm tone, shaded with just a hint of an accent; and so it was every time the figure fell to him. Hope, however, absolutely crushed the beginning note whenever he played it, attacking it sforzando and then maintaining the strong pressure of the bow to sustain the note with a coarse, gritty tone. Mozart did sometimes call for a sforzando in his scores, though not here. Obviously this was an interpretative detail Hope intended to make — an accomplished string player would not do this by accident — and although I didn’t care for it, I suppose an interpreter is within his rights to do it. But playing a Mozart quintet is a group enterprise, and failing to coordinate among players just how a seminal, oft-repeated musical motif is rendered betokens the casualness of what one might call “fly-by chamber-music playing.”
Teng Li
Dalbavie’s Piano Quartet was jointly commissioned by the festival and by La Jolla Music Society, which unveiled it last year. It proved engaging and interesting, and in this first local performance it seemed to be represented very well indeed by violinist Lily Francis, violist Li, cellist Nicholas Canellakis, and pianist Barnatan. In a program commentary, Dalbavie expressed his belief that “chamber music creates a kind of ‘theatre,’ with the audience seeing and hearing not only instruments being played, but seeing ‘actors’ as well.” That was true here in the way it is true in any live ensemble performance, but it should not be taken to imply that the musicians were doing anything but sitting in their chairs playing. Very often the texture did deploy the forces in a strings-versus-piano confrontation, as it did in the crashing chords of the opening and the ensuing unison string music, which was rendered with careful intonation. The topic of the piece seemed to be different ways of dividing a scale (more often than not a descending scale) and reassembling those divisions through various permutations, at different speeds and superimposed over one another in altered temporal proportions (as in augmentation or diminution). Often the material was given out as if falling head over heels down a staircase. Not far into the piece the notes traced patterns of consecutive descending thirds, a pattern much associated with Brahms and therefore a pleasant reference, coming as it did just after that composer’s “F.A.E. Scherzo.” But on the whole, the composer who seemed most inspirational to Dalbavie was Bartók; one sensed him in murmuring misterioso passages as well as in a spirited section that evoked a Balkan hoedown. Then, too, Dalbavie played for a while with sweeping triadic chords that, though essentially consonant in and of themselves, were not closely related to one another in terms of traditional harmony: shades of Vaughan Williams. For the first half of the piece I found myself grasping for structural guideposts, but at about the midpoint a sense of overriding layout seemed to coalesce. The work is cast in a single movement, but the extended final section introduced a new sonic element, with Barnatan intoning chantlike phrases by attacking with the keys while reaching inside the piano with his hand to damp the relevant strings. This was blown away by bustling string scales and then a revisiting of the opening music. After that, all that remained was a coda, delicately hovering at first and then racing to the finish line, shot throughout with scale patterns. The piece ran about 17 minutes, and I hope we may welcome it back in a return visit. ◀ PASATIEMPOMAGAZINE.COM
27
PASA TEMPOS
album reviews
roB Mosher MohaMMed Polebridge (self-released) Fairouz Native Informant (Naxos) The Arab-American comNew York composer and reed poser Mohammed Fairouz has his feet man Rob Mosher has found inspiraplanted in two cultures. Born in Egypt in tion in the tiny Montana town of 1985, he nurtures deep appreciation for Polebridge (population 88), or more Middle Eastern music; but as a longtime specifically at the upright piano in resident of New York City, he is also the tourist stop’s mercantile. What enmeshed in the more general new-music he’s made of it is a bit of Americana scene. Both sides surface intriguingly here. His Tahwidah that transcends period and style. This is a wonderfully simple (Lullaby) sets words by the late Palestinian poet Mahmoud collection of chamber-jazz pieces, beautifully orchestrated with Darwish; soprano Mellissa Hughes renders it with precise purity, few instruments, that come together like the sections of a quilt. while clarinetist David Krakauer adds the unbuttoned emotionalism Trumpeter Micah Killion’s bright play holds it all together with listeners know from his work in klezmer music. The Borromeo String plain-and-simple lyricism and, at times, muted effects. The disc opens Quartet offers a Chorale Fantasy, by turns mournful and spirited, that innocently enough with Ken Burns documentary-style fiddle music employs close harmony in Arabic modes. Rachel Barton Pine is the soloist before it suddenly twists off into atonal contrast. The following piece, in the work from which the CD takes its title, a five-movement sonata for “Rango Tango,” is a stately affair that includes Mosher’s clarinet dancing solo violin. While lovely, its slow sections may wear out their welcome, with a trumpet that wants to lead. This kind of contrast continues throughout but its second and fourth movements (“Rounds” and Scherzo) are the disc, with klezmer-inspired jazz mixing with honky-tonk piano infused with dance-derived spirit, which Pine offers vigorously. tunes and involved waltzes. “North by Northwest” opens on a The same might be said of Jebel Lebnan (“Mount Lebanon”), beautiful blend of piano and arco bass until strings and clarinet a five-movement wind quintet played by the Imani Winds, add a creamy richness. Hammond B3 organ and bassoon most infectious in its fast movements. Different indeed are give “Didn’t Ask (Breathe Now)” a sonic depth appropriate On ‘Big Sur’ the Fairouz’s art songs. A set titled Posh, nicely performed by to its thoughtfulness. “The Klesmanaughts” is a lively “baritenor” Christopher Thompson and pianist Steven comedic romp that features playful clarinet and trumpet band inhabits a beautifully Spooner, includes in-references to Rachmaninoff, Ned exchanges ending with a staggering unison suggestive of Rorem, and old-time tenors, while For Victims (for a drunk exiting a bar. Polebridge is a fun town, but it is quirky space, summoning a baritone and string quartet) mourns political fatalities, serious, too — and well worth the visit. — Bill Kohlhaase tripster along California’s specifically from a Jewish perspective. — James M. Keller ellie herriNg Kite Day (racecar Productions) coastal road, besotted Bill Frisell Big Sur (oKeh) “The Music of Glen Punishingly hot summer days seem to call for albums Deven Ranch” begins with a splendid chord. Then Jenny that are minimalist in approach — as if, sonically, they’re with impressions. Scheinman’s violin-chirps lead into a big, open, expansivetaking their clothes off and stripping down to the absolute mood melody. It’s the first episode of this 19-song suite essentials. The second full-length album by producer Ellie commissioned by the Monterey Jazz Festival and written Herring of Lexington, Kentucky, is such a record, although by guitarist Bill Frisell during a retreat at the Big Sur ranch of it shouldn’t be confused with the minimalist techno pushed by record labels such as Germany’s famed Kompakt. Kite Day is a the opening tune’s title. The song titles describe the place, and robust, pop-minded album in which Herring displays an uncommon the music is a multidimensional tour-de-force, generated by a modest talent for utilizing empty space. Songs such as “Thinking JFK” boast organs quintet: Frisell and Scheinman with violist Eyvind Kang, cellist Hank Roberts, and vocals that are drenched in reverb, withholding the (impressively and drummer Rudy Royston. “Going to California,” with Royston’s rolls programmed) beats and giving the song a dreamlike effect. The electric and the lumbering mood of the others, sounds an epic account of weary “10 Hours in Prague” shows how sparing use of minor-key horn effects travelers who have had more flats than spares, but it’s followed by the lends those notes gravity. That song caps off a stunning stretch, in cool surf-pop groove of “The Big One.” A long, pensive violin/viola intro which “Full Eyed” scrambles up house music with hip-hop, and opens into a splashy, sometimes dissonant quintet piece called “Gather “Say A.M.” fades erotic vocal effects in and out of a velvety bed Good Things.” “Cry Alone” is sad and lovely, driven solemnly by of instrumentation. The album ends with three remixes (two of Royston. Another highlight is “Highway 1.” The band inhabits “Thinking JFK”), which continue a beautifully quirky space, summoning the general vibe of Herring’s work a tripster along California’s coastal road, but make the album feel slight as besotted with impressions. The strings are far as singular artistic visions go. just marvelous. The suite is an amazing Without those remixes, the running testament to how a place can coax so much from a musical genius. Frisell, confronted time is cut to 24 minutes, which by the Big Sur environment, “filled up makes Kite Day seem more like a pages and pages,” he said. “The music tease than a proper debut. But just kept coming.” We’re glad. what an enticing tease it is. — Paul Weideman — Robert Ker
28
PASATIEMPO I July 26 - August 1, 2013
T H E S A N TA F E O P E R A PRESENTS
CHRISTINE BREWER I N RECITAL Commemorating Wagner and Britten
Awaken in you that place where music is, most simply, a source of joy.
Sunday, August 4 at 4:00 pm at THE LENSIC PERFORMING ARTS CENTER
Santa Fe
Desert Chorale Every summer the most talented choral singers in the country come to New Mexico to perform for you. Experience a true gift.
Summer Festival | JUL 11 - AUG 19 The Road Home: Songs of America in Santa Fe and Albuquerque July 28; August 2
Northern Lights August 1, 7
Touched with Fire
H
July 26, 30; August 6,13
istory will make for beautiful music as one of today’s most beloved dramatic sopranos performs at The Lensic Performing Arts Center. This special program honors the 200th Anniversary of Richard Wagner’s birth and the 100th of Benjamin Britten and is presented in collaboration with The Santa Fe Concert Association, as Executive and Artistic Director Joseph Illick will accompany Ms. Brewer.
Christine Brewer has triumphed in Wagner and Britten roles and has received international acclaim for her interpretation of both composers’ works. Selections include Wagner’s Wesendonck Lieder and Britten’s Cabaret Songs. Mr. Illick will also play Franz Liszt’s dazzlingly virtuosic piano transcription of the “Liebestod” from Wagner’sTristan und Isolde.
TICKETS are $50, $35, or $25 and may be purchased through: THE SANTA FE OPERA 800-280-4654 or in person THE LENSIC PERFORMING ARTS CENTER 505-988-1234 or in person ONLINE www.TicketsSantaFe.org
Romance to Requiem with Susan Graham, Special Guest Artist in Santa Fe and Albuquerque August 10, 11
The Triumphs of Oriana: The Birth of the English Madrigal August 15, 16, 18, 19
A Gala Benefit An Evening of Cabaret with Sylvia McNair August 29
Join us for our Pre-Concert Talk series with Robert Kyr one hour prior to each performance at the concert venue.
For more information or tickets: desertchorale.org
Or call 505.988.2282
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ch r i stO p h e r B e n s O n | tO m B i r k n e r | p e r i s c h wa rt z
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Thursday, August 1st 6pm - 8pm Collected Works Bookstore 202 Galisteo Street Downtown Santa Fe
“The Intangible and the Imaginary” A Defense of Painting in the Age of New Media
Christopher Benson
July 26 – August 24, 2013 Opening receptiOn with the artists: t O n i g h t, J u ly 2 6 t h f r O m 5 : 0 0 - 7 : 0 0 p m
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PASATIEMPO I July 26 - August 1, 2013
FEATURING:
ARTIST PANEL DISCUSSION
America Meredith
Cherokee
Ehren Kee Natay Diné/Kewa Pueblo
Mateo Romero Cochiti Pueblo
Heidi K. Brandow
Native Hawaiian/Diné
PAINTING BY HEIDI K. BRANDOW
ON STAGE Contemporary Celtic: RUNA
THIS WEEK
Comparing RUNA to Riverdance paints a very limited picture, even though members of both groups have collaborated in the past. RUNA is a youngish band that incorporates step-dancing, but the emphasis is always on the music. Players combine a traditional Celtic repertoire with North American influences, bringing in modern arrangements and modern vocal and instrumental techniques. The members are an international set: there’s Fionán de Barra (guitar) by way of Dublin, Dave Curley (mandolin, bodhran, and step-dancing) of Galway, Cheryl Prashker (percussion) from Canada, and two Americans, Maggie Estes (fiddle) and frontwoman Shannon Lambert-Ryan (vocals and step-dancing). Lambert-Ryan has garnered particular praise for her singing — she received a Best Female Vocalist nomination at the 2012 Irish Music Awards. RUNA performs Saturday, July 27, at GiG Performance Space (1808 Second St., www.gigsantafe.com). Tickets for the 8 p.m. show cost $20.— L.B.
Vocal sincerity: Barbara Bentree
ra Bent a b r ar
ee
B
Who better to launch public radio station KSFR’s new vocal series at Museum Hill Café (710 Camino Lejo) than Barbara Bentree? With attractive tones and a smart rhythmic sense, she is adept at caressing a ballad or swaying vocally to Brazilian rhythms. Her voice is innocent and at times childlike, carrying a measure of sincerity that few can match. She’ll be accompanied by someone who knows her well, pianist John Rangel, whose fine arrangements on Bentree’s recent CD, Green, match the singer’s warmth and intelligence. Andy Zadrozny, one of the area’s best bassists, and the always-tasteful drummer John Trentacosta round out the supporting trio. The show begins at 7 p.m., Wednesday, July 31. Tickets cost $20; call 428-1527 or visit www.ksfr.org. — B.K.
It’s a mad, mad world: Santa Fe Desert Chorale
This week Santa Fe Desert Chorale unveils Touched With Fire — the third of the four programs it offers in repertory this summer — which the group says “explores the relationship between creativity and madness.” At the heart of the program are three Wölfli Songs by Danish composer Per Nørgård. Several of his works (including a symphony and an opera) have grown from his fascination with the Swiss artist and writer Adolf Wölfli, who spent much of his life institutionalized because of criminal behavior resulting from schizophrenia. Hugo Wolf, whose “Resignation” is on the concert, also suffered from debilitating mental illness, the result of tertiary syphilis; he died utterly insane at the age of 42. Works by Poulenc and Brahms also figure on the program, perhaps with less justification, although it has become fashionable to speak of Poulenc as suffering from depression, and Brahms was decidedly a grump. Joshua Habermann leads performances at 8 p.m. on Friday, July 26, at the Loretto Chapel, 207 Old Santa Fe Trail, and at 8 p.m. on Tuesday, July 30, at First Presbyterian Church, 208 Grant Ave. Additional performances take place Aug. 6 and 13. For tickets ($30 to $50; student discounts available), call 988-2282 or visit www.desertchorale.org. — J.M.K.
Psyched out: Jupiter Spiral and Treemotel
The label “space rock” — the subgenre of psychedelic rock popularized by 1970s-era sonic pioneers such as Pink Floyd — partially describes Northern New Mexico indie/psych rockers Jupiter Spiral. But the term does not necessarily imply any sort of celestial-style wandering; Jupiter Spiral’s songs have direction and form, resulting from the cohesive vision of songwriter-in-chief David Smith. The band describes its sound as involving “unique moments of tension and release as atmospheric keyboards and guitars swirl and reverberate through carefully constructed arrangements.” Jupiter Spiral plays for free at the Santa Fe Bandstand on the Plaza on Tuesday, July 30, at 7:15 p.m. Opening at 6 p.m. is the wayward formerly local band Treemotel, which relocated to Austin at the beginning of the summer. One might assume from the name that Treemotel’s music is equally odd — which it is, compellingly so. The band’s brand of indie pop is distorted in a conceptual rather than an audio way, with catchy melodic lines in contrast to less straightforward lyrics. — L.B.
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Fusion Theatre Company: Kicking a Dead Horse Lensic Performing Arts Center, July 20 matinee
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Horse play Fusion Theatre Company of Albuquerque made a brief jaunt to the Lensic Performing Arts Center on July 20 for two go-rounds of Sam Shepard’s play Kicking a Dead Horse, in which a man kicks a dead horse. Repeatedly. Out of frustration. Because he’s stuck in the middle of nowhere in some badlands in the American West, and his horse died on him and he has dug a grave for it but can’t manage to budge the carcass. That pretty much sums up the action for what is effectively a one-man play, although a female character also wafts through almost incorporeally and adds slightly to the dialogue to portray the man’s inner voice. The piece met with some critical displeasure when it was unveiled through productions in Dublin in 2007 and in New York and London the following year, but I found it entertaining in a bleak way. Shepard has referred to it as an 80-minute monologue, but in this performance directed by Laurie Thomas — it features Paul Blott, with Blair Nodelman as the young woman — it ran only 55 minutes. I can’t account for the disparity; nor can I say that I was hungering for another 25 minutes. The static, existential aura has invited comparison with Beckett, which is legitimate up to a point. And yet, at heart, Kicking a Dead Horse is not very much like Beckett. In Waiting for Godot or Happy Days or Endgame, the characters live in a pitiful yet comical present. Things are as they are, and Beckett’s characters don’t show much interest in what brought them to their current pass. Kicking a Dead Horse, on the other hand, is greatly focused on causality, and the man — named Hobart Struther — spends considerable time recalling what led to the midlife crisis that launched him on his journey to the West in search of “authenticity.” He also laments the destruction of Native cultures, the devastation of the environment, the ruin of the mythic West — which he himself helped loot, persuading back-country saloonkeepers to part with their dusty paintings by Remington and Russell for a pittance and then growing rich reselling them. Blott offered a straightforward accounting of the part. Living longer with the play, he might divide it more clearly into chapters of more distinct character, perhaps adding a more defined sense of progression or differentiated tempo to the flow. It is to his credit that the text stayed just this side of becoming a political screed, which one could imagine happening pretty easily. Touches of humor were mostly underplayed, although they lurked in the writing. (“On a very coarse level, it’s a clown show,” Shepard has said.) Nodelman had little to do, and I didn’t grasp why she sometimes phrased the lines of Hobart’s inner voice in a way that accented words unidiomatically. When Beckett’s Happy Days received its London premiere, in 1962, critic Kenneth Tynan worried that it was “a metaphor extended beyond its capacity.” Kicking a Dead Horse strains at the same limits. Once the expired animal grows unmistakably identified with the wasteland of landscape and life, there is not much further to go in developing the allegory. But this 55-minute version did not cross the line to tedium, even if it came close. — James M. Keller Fusion Theatre Company’s upcoming season at the Lensic begins on Sept. 26 with Christopher Durang’s “Vanya and Sonia and Masha and Spike,” winner of the 2013 Tony Award for Best Play.
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PASATIEMPO I July 26 - August 1, 2013
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James M. Keller I The New Mexican
OSCAR
SINGIN’THEM PRISON BLUES
Music by Theodore Morrison. Text by John Cox and Morrison. Premiere: Saturday, July 27, 2013, Santa Fe Opera. Sung in English. scar Wilde does not appear to have been very closely attached to music. He was more drawn to the literary and visual arts, and when he wrote about music, it was usually in a vague way, the allusion often supporting what is really a description of another art form, or perhaps supporting nothing more than a witticism. For example, in his fictional dialogue “The Decay of Lying: An Observation,” he declares that Dramatic Art provided her practitioners with “a language full of resonant music and sweet rhythm, made stately by solemn cadence, or made delicate by fanciful rhyme, jewelled with wonderful words, and enriched with lofty diction”— which says perhaps something about drama but nothing about music. His most memorable pronouncements on the subject appear in another dialogue, “The Critic as Artist: With Some Remarks Upon the Importance of Doing Nothing,” which includes this exchange between his invented characters Gilbert and Ernest: Gilbert: And now, let me play Chopin to you, or Dvoˇrák? Shall I play you a fantasy by Dvoˇrák? He writes passionate, curiously-coloured things. Ernest: No; I don’t want music just at present. It is far too indefinite. Besides, I took the Baroness Bernstein down to dinner last night, and, though absolutely charming in every other respect, she insisted on discussing music as if it were actually written in the German language. Now, whatever music sounds like I am glad to say that it does not sound in the smallest degree like German. There are forms of patriotism that are really quite degrading.
Reed Luplau and David Daniels
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PASATIEMPO I July 26 - August 1, 2013
A few lines later Gilbert observes: “After playing Chopin, I feel as if I had been weeping over sins that I had never committed, and mourning over tragedies that were not my own. Music always seems to me to produce that effect. It creates for one a past of which one has been ignorant, and fills one with a sense of sorrows that have been hidden from one’s tears.” Theodore Morrison’s opera Oscar, which receives its first performance on Saturday, July 27, fills its subject with music. It is perhaps not the first time the character of Oscar Wilde will have been portrayed in a musical stage work. We may find him lurking in the 1881 Gilbert and Sullivan operetta
Production photos by Ken Howard courtesy Santa Fe Opera
Patience, at least partly inspiring the character of Reginald Bunthorne, whom the Dramatis Personae describes as “a Fleshly Poet.” A recent lawsuit had been the immediate inspiration for that show, a skewering of the Aesthetic Movement. In The Annotated Gilbert and Sullivan, Ian Bradley explains: “In 1877 the art world had been torn asunder by a libel action brought by Whistler, the high priest of the aesthetic style in painting, against the critic John Ruskin, who had described one of his paintings ... as ‘flinging a pot of paint in the public’s face.’ The subsequent court case, which was finally resolved with Whistler being awarded damages of a penny, produced a string of witnesses arguing the merits of primary colours, Japanese art and harmony of form before a bemused British judge and jury.” The foppish poet at the center of the action is not stated to be Wilde, and opinions on the matter have varied. The review of the opening night of Patience in The Times of London posited that Bunthorne evoked the poet Algernon Swinburne, and Sir Henry Lytton, a leading early exponent of the role, insisted that it portrayed Whistler himself. Nonetheless, writes Bradley: “Many others have seen Bunthorne as essentially a caricature of Oscar Wilde, famous for his worship of lilies, blue-and-white china and things Japanese. It was, indeed, Wilde whom [Gilbert and Sullivan producer] D’Oyly Carte sent to the U.S.A. to publicize Patience, but against his claim to be regarded as the main model for Bunthorne must be set the fact that, unlike both Swinburne and Whistler, he was still very little known in 1881.” Bradley goes on to suggest that Bunthorne was in fact a composite who reflected aspects of several individual aesthetes, with his velvet breeches being particularly associated with Wilde. In any case, Bunthorne provides a veritable primer on the aesthetic attitude that Wilde so fervently embraced, singing: If you’re anxious for to shine in the high aesthetic line, as a man of culture rare, You must get up all the germs of the transcendental terms, and plant them everywhere. You must lie upon the daisies and discourse in novel phrases of your complicated state of mind, The meaning doesn’t matter if it’s only idle chatter of a transcendental kind. Even if Wilde was not particularly devoted to music, his works would provide inspiration for quite a few operas. Far the most famous one was Richard Strauss’ Salome. Wilde wrote his play of the same name in French (for the linguistic color, he explained) in 1891. It was published in 1894 in an English translation officially stated to be by Lord Alfred Douglas, who was credited on the
READING GAOL PRISON, PRISONER’S MASK & WILDE’S NOTEBOOK; TOP, WILDE WITH LORD ALFRED DOUGLAS (BOSIE)
continued on Page 36
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Oscar, continued from Page 35
Library of Cong
ress, Prints an
d Photographs
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Right, an early photo of Oscar Wilde
title page, though it appears to have been by Wilde himself. This was not long before the legal crisis Wilde encountered in England — the subject of Morrison’s opera — and the play finally premiered in 1896 in Paris, while Wilde was doing time at Reading Gaol. Although the trial and Wilde’s subsequent imprisonment saddled him with considerable notoriety, it also spurred interest in his work in some places that had not previously paid a great deal of attention to it. His writings began to find fertile ground in Germany, and so it was that Max Reinhardt mounted a German-language production of Salome in 1902 in Berlin, a very successful undertaking that Strauss attended and that spurred him to compose his opera (also in German), which he unveiled in 1905. The New Grove Dictionary of Opera makes note of 39 operas drawn from texts by Wilde. Others have appeared since that reference work was last updated in 1994, including Lowell Liebermann’s opera The Picture of Dorian Gray, which premiered in 1996 at the Opéra de Monte-Carlo, and Gordon Getty’s brand-new operatic version of the short story “The Canterville Ghost,” which is expected to be unveiled within the next couple of seasons. Most of the Wilde-derived operas are by composers who languish in deep obscurity, but a small handful are by notable figures. These include most prominently Alexander von Zemlinsky, who set the play A Florentine Tragedy in 1915-1916 and the short story “The Birthday of the Infanta”: in 1920-1921 under the title Der Zwerg (The Dwarf ). The latter text also formed the basis for a ballet-pantomime by Franz Schreker in 1908. Surely Wilde’s most frequently presented play is The Importance of Being Earnest. It has received surprisingly few operatic treatments — or perhaps not so surprisingly, since good plays don’t always turn into good librettos — but it would be fun to see what Mario Castelnuovo-Tedesco did with it in his chamber opera of 1961-1962, set in parallel versions in English and Italian (the latter as L’importanza di chiamarsi Ernesto). A few concert works have also been generated from Wilde’s writings, of which the most remarkable is Frederic Rzewski’s De Profundis, from 1992, a sort of solo manifesto-oratorio in which, over the course of a half hour, the pianist plays while reciting words Wilde penned while in prison. The Wilde we meet in Morrison’s Oscar is roughly the same character Rzewski depicted, a man who has left behind his Bunthorne-like fluttering (to the extent he could) and is now, so to speak, facing the music. The specific circumstances are that Wilde was goaded by his boyfriend Lord Alfred Douglas (“Bosie”) into tangling in court with Bosie’s hated father, the Marquess of Queensberry. Queensberry spread the word that Wilde and his son were involved in a homosexual liaison, which was true, and Wilde unwisely sued for libel. When Whistler sued Ruskin, he won and
COLLABORATION
THEODORE MORRISON is not a household name in the musical world, and certainly not in the realm of opera, since Oscar is his first effort in that genre. He was born in 1938, and his website tells us that he began to compose only at the age of 42, having by that time worked for some 20 years as a choral conductor. He founded the Baltimore Choral Arts Society in 1966 and continued as its music director for 16 years. He served as choral conductor (among other academic responsibilities) at the Peabody Conservatory of Music of the Johns Hopkins University; Smith College; and, from 1987 to 2005, the University of Michigan School of Music,Theatre, and Dance.The countertenor David Daniels, while earning his master’s degree at Michigan in the early 1990s, sang in the chamber choir Morrison conducted.Their association would go on to bear fruit when Morrison composed, on commission from Daniels, a song cycle titled Chamber Music (based on texts of James Joyce), and now it continues with Oscar, for which Morrison not only wrote the music but also devised the libretto, assisted by British opera director John Cox. — J.M.K.
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PASATIEMPO I July 26 - August 1, 2013
Theodore Morrison
got a penny out of it. When Wilde sued Queensberry, he lost and became a broken man while serving two years at hard labor in Reading Gaol. The action of the opera is framed by a prologue and an epilogue in which Wilde is joined by another gay icon, the American poet Walt Whitman. They met during Wilde’s American tour of 1881-1882. Although they enjoyed no more than a passing acquaintance, Whitman is here represented as an advocate for Wilde in the afterlife, lamenting his colleague’s fate in the prologue, introducing him to other departed immortals in the epilogue. It is a conceit born of the imagination, but Whitman probably would have gotten a kick out of the idea. His poetry is riddled with references to music: “Hark, some wild trumpeter, some strange musician,/Hovering unseen in the air, vibrates capricious tunes tonight.” But beyond that, he actually was an ardent music enthusiast — unlike Wilde — and was a devoted opera lover. He started attending concerts regularly in New York in 1835 (when he was 16), and about 10 years later he began publishing newspaper articles that discussed his listening experiences with great specificity. When he was editor of the Brooklyn Eagle, in 1846-1847, he doubled as the paper’s music critic, keeping readers apprised of activities in the concert hall and on the opera stage. He penned substantial commentaries on productions of such works as Rossini’s Il barbiere di Siviglia, Donizetti’s Linda di Chamounix, and Mendelssohn’s oratorio Elijah, to name three entries in a sequence of 25 operas and four oratorios he specifically discussed in his writings, and his reviews of singers display the acumen of a connoisseur. If including Whitman in the telling of the Oscar Wilde story might be taken as historically suspect, it nonetheless makes sense from an aesthetic point of view. Whitman, one might say, serves as a creditable bridge connecting Wilde to the genre of opera. In an article he wrote following a performance by his favorite tenor, Alessandro Bettini, Whitman underscored how an emotional message can be intensified through an operatic setting: “Never before did I realize what an indescribable volume of delight the recesses of the soul can hear from the sound of the honied perfection of the human voice.” ◀ Oscar opens at 8:30 p.m. on Saturday, July 27, and continues at 8 p.m. on Wednesday, July 31, and Aug. 9, 12, and 17. The conductor is Evan Rogister. Ken Newbury directs. David Korins is the scenic designer; David C. Woolard designed the costumes; and Rick Fisher is the lighting designer. The choreographer is Seán Curran. David Daniels sings Oscar Wilde. Reed Luplau is Bosie. Dwayne Croft plays Walt Whitman. Heidi Stober portrays Ada Leverson. William Burden is Frank Harris. Santa Fe Opera is seven miles north of Santa Fe on U.S. 84/285. Ticket prices vary. Call 986-5900 or 800-280-4654 or visit www.santafeopera.org.
A n o p e r a t i c a p p r o a c h t o O s c a r Wi l d e a n d B o s i e Loren Bienvenu I For The New Mexican
“Is insincerity such a terrible thing? I think not. It is merely a method by which we can multiply our personalities,” Oscar Wilde wrote in The Picture of Dorian Gray. The first-person construction (the only time Wilde uses the device in the novel) arises from a comparison between society and art in which Wilde attributes wit, beauty, the dignity of ceremony, and an insincere character to the success of an art form like a romantic play. On Saturday, July 27, the writer comes to life onstage, not in a romantic play, but in a new opera by Theodore Morrison with John Cox as co-librettist: Oscar. Rather than focusing on the glamour of Wilde’s society days, the new piece seeks to bring his darkest moments into the spotlight. Wilde was imprisoned in 1895, essentially for the Victorian-era crime of being in love with another man: Lord Alfred Douglas, known as Bosie.This relationship is represented in the opera through song and dance, with world-renowned countertenor David Daniels playing Wilde and contemporary dancer Reed Luplau representing Bosie. Speaking jointly with Pasatiempo, Daniels and Luplau explained their approaches to portraying these real figures. For Daniels, channeling Wilde is more involved than just creating a historically focused biographical likeness.“It’s not the point for me to do an imitation of Oscar. It’s really about telling a story that we all believe is incredibly relevant today,”he said.“My performance is more about my heart, my soul, and what I’m bringing to the stage; and the connection we [Luplau and I] have.” Daniels said that despite the tragic story and setting of the opera (the second act takes place in Reading Gaol, where Wilde was incarcerated for two years), he wants audiences to leave feeling thatWilde was a hero, not a martyr or tragic figure. Nonetheless, he continued,“The hideousness of what is happening onstage can’t but help to affect you and the way you hear this music.” Luplau faces a different challenge — representing a voiceless character through movement alone. Bosie’s appearances throughout the play are always within the context of Wilde’s remembrances. His character fluctuates depending on the protagonist’s mental state (allowing Luplau, inWilde’s words, to multiply his personalities) but always remains a silent specter.“It’s been fun to get to know someone and hear different sides of the story,” Luplau said, alluding to the contentious and century-old debate concerning Bosie’s actions during and after the tumultuous relationship.“So it’s like putting all those together and finding myself in the character as well. All without speaking.” Though their approaches are different, both artists said their immersive plunge into these historical lives has been profoundly emotional. Since meeting at the first rehearsal, Luplau said,“We’ve been glued at the hip.” He stressed that the experience has brought out a variety of feelings:“We make each other laugh, smile, cry.” “A lot of crying,” Daniels agreed. “Shockingly a lot. It’s been a much more emotional situation for me than I would have ever imagined.” The collaboration has also propelled them to new heights as individual performers.“I like to come into things with as few inhibitions as possible, and not knowing Reed and how he worked, I found that I actually had many more inhibitions than I thought,” Daniels laughed.“Because he has none.” “Thanks,” rejoined Luplau. “No, it’s a compliment.We just had a connection. And I think it will read.” ◀
David Daniels
Bernard Benant
Reed Luplau
IN CHARACTER
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Librar y of Congress phs Prints and Photogra Division
Bill Kohlhaase I The New Mexican
ACROSSTHE POND
Oscar Wilde’s travels in North America he opening scene of Brian’s Gilbert’s 1997 film Wilde shows the Irish poet and playwright arriving in Leadville, Colorado, on the back of a horse to cheers of “Yeeha!” and celebratory gunfire (in real life, Wilde arrived by train). The year is 1882. Wilde, played by Stephen Fry, is then lowered down a narrow shaft to visit with miners breaking silver from a seam named after its famous visitor. The miners are rapt with attention as Wilde, lit by torchlight, goes on about the importance of beauty. When one young shirtless and perspiring miner refills Wilde’s cup with drink, presumably whiskey, Wilde appears rapt in return. That flame-lit scene framed in darkness foreshadows the rest of the movie: Wilde’s marriage, his turns of affection toward men, and the trial that sent him to prison. The film never again references the U.S. But that first scene suggests the country had a transformational effect on its visitor. Roy Morris Jr.’s recent book Declaring His Genius: Oscar Wilde in North America suggests that Wilde’s 11 months in North America changed the young man “to look inward rather than outward for his sense of achievement.” As for Wilde’s hope to change America, Morris writes, “No visiting celebrity, not even one as memorable as Oscar Wilde, could single-handedly effect lasting change in a country as vast and complex as the United States.” 38
PASATIEMPO I July 26 - August 1, 2013
Wilde was 27 when he landed in New York. He was known principally as an emerging poet, a champion of the Aesthetic movement, and a first-class wit. His only novel, The Picture of Dorian Gray, was eight years in the future, and it was 13 years before his popular play The Importance of Being Earnest would first be performed. Like Dickens before him and the Beatles some time after, Wilde viewed his conquest of America as a measure of his fame. He was, much like any number of today’s celebrities, one with little accomplishment to his name. But he was smart and capable of fulfilling his ambitions. “I have nothing to declare except my genius,” he reputedly told custom agents when arriving in New York on Jan. 3. Apparently, he overlooked a steamer trunk’s worth of false modesty and delusion. Wilde set foot in America hoping to take it by storm. And, at least at first, he did. Dressed in knee breeches and black silk stockings and often clutching flowers, his long hair trailing to the shoulders of a green velvet coat, he underscored the divide, one that exists to this day, between those who were anxious to have America seen as cultured and sophisticated and those who perceived such aspirations as pretentious and elitist. But Wilde, despite being “a vision of intentionally affected preciosity,” in Morris’ words, had one talent that endeared him to Americans of all sorts. He could hold his drink with the best of them.
Over the next months, Wilde held his own against a suspicious press, degrading characterizations, and teasing college students. He competed for attention with P.T. Barnum’s new acquisition, Jumbo the elephant, and the brouhaha surrounding the trial of the man who shot President James Garfield. He was mocked for his long hair and affection toward flowers. With producer Richard D’Oyly Carte — a savvy advance man seeking to gain publicity for his production of Gilbert and Sullivan’s Patience, featuring a character that many believed spoofed Wilde — and a host of letters of recommendation, Wilde was well prepared. He also found willing acceptance in unlikely places. He was especially popular with women as he traveled across the country lecturing on the “English Renaissance” in art and decoration and visiting with the doyens of culture in America. In return for their attention, Wilde dispensed flattery by the plateful to American women, comparing them favorably to the women of London, whom he considered the most beautiful in the world. He was particularly flattering to American actresses, and with good reason. He was looking for someone to star in his play Vera, a tale based on the true story of a young Russian woman who attempted to assassinate the police chief of St. Petersburg. The London production had been canceled because of unlucky coincidences: the Russian czar Alexander II had been killed by a bomb, and a few months later Garfield was fatally shot. The timing, considering the subject matter, didn’t seem right. Maybe an American production could be mounted? Wilde did copious press interviews, not all of them friendly. Records of the bulk of them still exist, and they serve to document the evolution of his thinking as well as his discoveries (a collection of American newspaper accounts, Oscar Wilde in America: The Interviews, was published by the University of Illinois Press in 2010). He told one reporter that he was looking forward to riding horseback through New Mexico, Colorado, and California: “There are such beautiful flowers there, and quantities of lilies.” He visited some 140 cities, including Fremont, Des Moines, and San Antonio as well as New York, San Francisco, and Washington, D.C. He paid his respects to Henry James, Oliver Wendell Holmes, Henry Wadsworth Longfellow, and Jefferson Davis and was gracious to each even if they weren’t in return. He struck up something of a friendship with Walt Whitman, whom he visited twice. Whitman put them on a firstname basis. “I will call you Oscar,” Morris reports Whitman saying. Wilde replied by placing his hand on Whitman’s knee and responding, “I like that so much.” Morris wonders if this was an act of flirtation. Whitman was 35 years Wilde’s senior. After returning to Europe, Wilde delivered a lecture in London entitled “Personal Impressions of America.” In that speech, he said: “It is well worth one’s while to go to a country which can teach us the beauty of the word freedom and the value of the thing liberty.” Wilde considered his travels a turning point in his life. Back in London, he told Robert Sherard, the great-grandson of William Wordsworth, “The Oscar of the first period is dead. We are now concerned with the Oscar Wilde of the second period.” Indeed, on his return Wilde seemed to embrace the American virtues of hard work and honesty. But the true change in him was a turn to self-awareness. He discarded the affectation of his dress, cut back on drinking, and, while still leading a relatively flamboyant lifestyle, sought to be more natural in all ways. “One of the most delightful things I find in America,” he said at one point, “is meeting a people without prejudice — everywhere open to the truth.” Much of Morris’ narrative can be found at shorter length in Richard Ellmann’s excellent 1987 biography of Wilde. But Morris’ telling is more entertaining and illuminated by Wilde’s own words. In Paris, after Wilde’s release from prison in 1897, the author told a companion he was thinking of moving to the West, a place “where a man is a man, today, and yesterdays don’t count ... what a country to live in!” He died three years later. ◀
“I have nothing to declare except my genius,” Wilde reputedly told custom agents when arriving in NewYork in 1882.
Above, Walt Whitman; opposite page, Napoleon Sarony’s portrait of Oscar Wilde, circa 1882
“Declaring His Genius: Oscar Wilde in North America” by Roy Morris Jr. is published by Belknap Press/Harvard University Press. PASATIEMPOMAGAZINE.COM
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Photos by Ken Howard; courtesy Santa Fe Opera
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that we have ly unbearable te lu so ab so s lines from “The ely a form of ug ar Wilde comes er sc m O is by on ip hi as qu “F rk Tribune ” This in The New Yo y six months! ed er ar ev pe it ap r t te rs al fi to y that , written and Dress,” an essa Wilde on Dress of ar y sc O ph n so io ilo ct Ph e colle Victorian included in th pporter of the is su d nt an de 85 ar 18 an in inst the was itself to be “aga Cooper. Wilde ed hn im Jo la by oc pr ed it p ed re, impedes t grou forms the figu ovement. Tha de m er rm th fo ei re at s th es s dr dres health.” any fashion in s to injure the of nd on te ti ay uc w od y tr an in in mfortably, of the body, or d healthily, co ts se en es dr em e ov “b m , e ed th sist other.” ld, adherents in elves and each rs Everyone shou ou lard discussed to ty du David C. Woo y ... as a er gn si de n, oo and beautifull tern rison with John gs on a busy af Theodore Mor by ar sc O of Between fittin re ie self,” Woolard William Burden and David Daniels r the world prem out being your ab h uc m y er his costumes fo “v retto.” ttistt. Wilde was focus of the lib e Cox as co-libre th h Wilde and ily ath. ar ss ce it’s not ne its tragic afterm d rs an l ia tr ’s said, “though or erry, were love ers on the auth ess of Queensb qu ar M ry e er th The opera cent sb of en son en). When Que osie” Douglas, had two childr Lord Alfred “B son, Wilde d s an hi ed ith ri w ar p m de was lationshi re e at , ri op pr ap (although Wil an in t was arrested of carrying on the charges bu d on. pe is op pr dr in ly s accused Wilde al ar to two ye ilde eventu d W ce l. en be nt li se r d fo e sued him indecency” an taunting Wild icted of “gross id. The people sa rd la he oo ” W r, ,” tried, and conv ea ks cl a lot with mas jury. “They’re embers of the “We’re playing m second act is do he as T , .” em ct th pe l wear esque as ot gr a ore ve ha in the street al ey th e late 1800s w melting them so e inmates in th m so wn , do rd r la so added. “We’re oo vi W d the d according to r if you smashe so vi a ith w t set in prison, an a ha r hoods. “Like masklike leathe les. s research, he ho e ey e self littl As he began hi . id sa he ,” and gave your ry teddy bear,” he , toys are the ju ew I wanted a kn e “I l? “In the libretto ca gi lo ns, and the judg t toys would be nette, and clow io l ar al m a be y, ld wondered, Wha ke ou mon ry w also includes a t a Victorian ju said. The jury I had dolls, bu le hi w a or “F box. is a jack-in-thethe New York the dolls out.” mbed through ok to co I he , playne li male, so on torian life and ic g research V in on do s to ok on bo ti rm In addi ction as well as eBay to get a fi s picture colle he searched on . — ng ” ti up in ed pa Public Library’ gl of “all man be a lot to em g se in ld go s ou ’ re sh r he , “T degrees. ar’s fu e Woolard said ed to different — the teddy be es ss th re ed r st us fo di d d g an in an d , be ol rs the toys are dividuality by clude tin soldie there for 20. to convey that ms are given in he toys also in or T if n. TV un or s’ w er l ould have been el on w w is rooms. Wanting e rs Pr ar he .” at al ot than your BBC th et le m ys hi e w ok of to o years, little different to look lik a tw r cret. d na ti fo se an a pa rs n e w ep ba th do grasp on the lo ke g nd ility to en behi stripped to gettin ab s ’ be r in it g t he ve in r bu ha fo , go ld an is nx ri ou k hi w to s A lot of wor e’re doing Vic Wilde called Sp some prisoner verson, whom oolard noted, tion, he said, “W Le uc da od A pr , ercoat, e st th ca e After all, as W of fur-trimmed ov oman in th c portions a ti w is e in , al on ir re e e ha th y or r av m fo e part of true his w For the is particularly ls, who sings th with hats atop s , ie hi lk an T si D .” d id be an av ld et D r.” r lv Fo al — not in ve s to he special wou ly into “wings.” bed as “fairly re ted a sharpnes phs show him at ri ra an ne sc w og d de e ot se rd es “W ph la , pr e oo r id m d so s colla tfits W rence. ◀ Woolard sa coat. These ou n as a dandy, an r frock coats, hi phies” for refe er la ra ow ov pu og e kn bi l po er el s ’ m to w t od sh ri as gh ca ri Wilde w ly one of the pe d a pewter blue ople, so I went and occasional ere “all real pe it with piping an w tf ts ou io et tr lv pa ve m sporting capes n co oo s designed a mar at Wilde and hi Oscar, Woolard yant,” noting th bo am fl o to t d no too cartoony an
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PASATIEMPO I July 26 - August 1, 2013
WILDE STYLE
It is rare that an important contribution by a major author goes unrecorded in literature — rarer still if the author is Oscar Wilde, poet, writer, dramatist, and much-quoted wit, who has been the subject of continual interest and analysis since his death in 1900. But such has been the fate of Wilde’s essay “The Philosophy of Dress,” which first appeared in 1885. That essay, previously unpublished in book form, now forms the centerpiece to “Oscar Wilde on Dress,” a detailed examination of Wilde’s writings and theory on dress and fashion. Here, author John Cooper adapts an excerpt from the book.
“Oscar Wilde on Dress,” written and edited by John Cooper, is published by CSM Press, Philadelphia, 2013.
Photo courtesy John Cooper
he subtitle to Oscar Wilde’s play The Importance of Being Earnest is A Trivial Comedy for Serious People. This caveat to a story in which not everything is as it seems and where characters lead double lives reminds us to address an essential question when interpreting Wilde: When was he being trivial and when was he being serious? The answer that often evaded his contemporaries was that in literature, as in life, it might not be a straight choice. In the first scene of the play Wilde warns his audience that the truth is rarely pure and never simple, but to the pure Victorian mind presenting opposites simultaneously was a subversive art. Applying this idea to dress in his play A Woman of No Importance, Wilde has Lord Illingworth say, “A well-tied tie is the first serious step in life.” Again this could be hyperbole, but it seems just as likely that Wilde actually considered this sartorial step to be a genuine rite of passage. If a counterpoint for Wilde was the importance of being superficial, then the apparent triviality of clothes may well have been a serious business. We know that from the start of his public life, Wilde had a highly developed sensibility to beauty and refinement — and, because of it, he had encountered much ridicule. So a veiled mode of expression would be second nature and might even have been essential if he wished to continue expressing meaning where others saw nonsense. It is appropriate that one of Wilde’s most teasing examples of this duality is his remark,“It is only shallow people who do not judge by appearances,” because it is with appearances that we are concerned when looking at Wilde’s approach to dress. Wilde was an advocate for the artistic and aesthetic aspects of the dress reform movement of the late 19th century, whose focus was on making clothes, particularly for women, more comfortable and practical — free of stays, bustles, and crinolines. There was much resistance to dress reform in fashionable society. One women’s group in Washington, D.C., in 1895 was reported as decrying the“corsetless torso”produced by the loose lines of aesthetic dress, eager as they were to“attract the eye upwards and away from the swelling hips”evident in the“so-called art gown.” Wilde’s own opinion of his importance to the movement ranged from revolutionary to spokesperson. With typical extravagance, he told author Frank Harris:“I almost reformed fashion and made modern dress aesthetically beautiful; what a pity Luther knew nothing of dress.” More modestly, Wilde associated himself with James Abbott McNeil Whistler’s charge of there being dilettanti among the dress reformers: he confessed,“O mea culpa!” So, which was the real Wilde? His jest to Harris of collating his own fashion reforms with the Protestant Reformation suggests idle bathos, while his reply to Whistler may have been an attempt to ingratiate himself with the master using self-deprecating humor. It seems that the truth about Wilde still wasn’t simple, and in these two opinions, the ambiguity of the serious and trivial was again, perhaps, intentional. One aspect we know for certain of Wilde and dress, just as it is true of him in many respects, is that he was avant-garde. He said:“It is probable that dress of the two sexes will be assimilated as similarity of costume always follows similarity of pursuits.” And“Dress of the 20th century will emphasise distinctions of occupation, not distinctions of sex.” For Wilde to predict unisex dress in the 19th century was foresight enough; but the depth of Wilde’s vision was in seeing that it would result from factors that were unheard of at the time: sexual equality in employment and activities. Wilde himself would barely reach the 20th century. He died in November 1900 broken by the British prison system. It is a bittersweet reflection of his unbroken spirit and his feeling for dress that after two years in jail surrounded by nothing but the“monstrous garb”of the convict, as he called it, the first words he spoke to a woman on the day of his release were:“How marvelous of you to know exactly the right hat to wear at seven o’clock in the morning to meet a friend who has been away.” — John Cooper
John Cooper has spent 30 years in the study of Oscar Wilde. He is a long-standing member of the Oscar Wilde Society in London, a founding member of the Oscar Wilde Society of America, and a former manager of the Victorian Society in America. He has lectured on Wilde and is a contributor to academic journals including “The Wildean” and “Oscholars.” He is the online author and editor of the archive Oscar Wilde in America and moderator of the Oscar Wilde internet discussion group at Yahoo. For the last 12 years he has specialized in new and unique research into Oscar Wilde in New York, where he conducts guided walking tours based on the author’s visit to the city. In 2012 Cooper rediscovered the essay “The Philosophy of Dress” by Wilde that forms the centerpiece to his new book, “Oscar Wilde on Dress.”
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PASATIEMPO I July 26 - August 1, 2013
OSCAR
Theodore Morrison
Photo by Peter Ogilvie
World Premiere
The Love That Dared The Santa Fe Opera’s world premiere of Oscar has arrived!
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scholar John Cox, reveal the profoundly human side of this
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literary genius through the trial and imprisonment period of
108 Don Gaspar • 505-988-9558 • info@spiritoftheearth.com
Composer Theodore Morrison, with librettist and Oscar Wilde
his life. The charismatic countertenor David Daniels creates the title role. Evan Rogister, who spellbound audiences with his leadership of King Roger last season, conducts.
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Brantley Gutierrez
Jazz hybrid: Lionel Loueke Lionel Loueke’s jump from acoustic guitar to electric on his latest Blue Note recording, Heritage, doesn’t seem like such a sea change when you consider the Benin native once resorted to replacing broken guitar strings with bicycle brake cable. Resourcefulness has been a trademark of Loueke’s career. It’s also a mark of his music. He’s mined the rhythms and harmonies of his African homeland as well as studying the improvisational techniques of some of the great American jazz guitar masters. Behind it all is a personal warmth and lyricism that makes his sound unique. That sound has been recognized by some of the greatest names in jazz — Herbie Hancock, Wayne Shorter, Jack DeJohnette, and Terence Blanchard among them — who have included the guitarist in their recordings and performances. It’s remarkable that someone so accomplished didn’t even know who these musicians were as he was learning his craft. “No, they were not my heroes,” Loueke told Pasatiempo. “I didn’t know that much about them until I went to study in Paris. Before then, I was listening mostly to guitarists like Tal Farlow, Barney Kessel, Joe Pass, and Wes Montgomery.” Loueke’s long journey from his West African home to concert halls and jazz festivals worldwide — his trio opens for Terence Blanchard on Friday, July 26, as part of the New Mexico Jazz Festival — seems improbable until you hear him. He started out as a young man playing percussion and later bass, but he always felt drawn to make his own way through the music rather than repeat the grooves the local band required. After picking up the guitar at 17, he was exposed to the work of George Benson when a friend brought back a recording from France. Here was something new, a player who seemed to go his own way inside the music, as Loueke wanted to do. Not realizing what the craft of improvisation was, he began to transcribe the guitarist’s every note. Later, the recordings of other American jazz guitarists became an influence, granting a different view from that he’d acquired playing rhythmic Nigerian guitar music of the sort performed by King Sunny Adé and others. Loueke eventually saved the money to travel to Paris to attend the American School of Modern Music, where he studied harmony and notation. There he 52
PASATIEMPO I July 26 - August 1, 2013
Lionel Loueke
won a scholarship to the Berklee College of Music in Boston, and his jazz training began in earnest. He also had to become accustomed to street talk (English is Loueke’s third language). When he felt ready to make the move to New York City, his Berklee instructors encouraged him instead to audition for a spot at the Thelonious Monk Institute of Jazz, then located at the University of Southern California in Los Angeles. The judges of the audition included Hancock, Blanchard, and Shorter. It was at the Monk Institute that he met bassist Massimo Biolcati and drummer Ferenc Nemeth, who make up his trio, as well as the vocalist Gretchen Parlato, who makes a guest appearance on Heritage. Loueke credits instructor Mick Goodrick at Berklee, a veteran of work with everyone from Stan Kenton and Woody Herman to Gary Burton and DeJohnette, and a brief stint learning from guitarist John Scofield at the Monk Institute with solidifying his direction. “I learned a lot from them both, but most importantly they inspired my creativity.” Trumpeter Blanchard tapped the guitarist for his 2003 Blue Note recording Bounce, and Loueke has been with him ever since. “Lionel is a once in a generation kind of musician,” Blanchard said. “He’s extremely unique, extremely creative, and at the same time, extremely dedicated to his art form. Lots of people who have unique talent think that’s where it ends. Lionel works hard to develop his sound and craft everyday.” “It’s great to be a part of his band,” Loueke said of Blanchard. “His music always tells you what to do rather than the other way around.” Loueke’s recorded a handful of albums with his trio since 2005, the last three from Blue Note. The latest is the most innovative, most definitive of the guitarist’s sound. Heritage is co-produced by crossover jazz keyboardist Robert Glasper, and it doesn’t seem out of Loueke’s style at all, even though it is more contemporary and more predictably rhythmic than its predecessors. “It was my idea to play electric guitar on Heritage,” Loueke said. “The sustain of the electric was the solution and direction of my compositions. I wanted to explore new horizons.” The electric guitar isn’t so out of character for someone who cut his teeth on Nigerian juju music and learned from recordings of Tal Farlow and Wes Montgomery. (Loueke may also be heard adding warm electric harmonics on Blanchard’s latest recording.) It’s just another part of a long musical journey. — Bill Kohlhaase
Bill Kohlhaase I The New Mexican
TrumpeT aria
Jazz man and film composer Terence Blanchard writes an opera
Nitin Vadukul
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Terence Blanchard
1982, when Terence Blanchard replaced fellow trumpeter Wynton Marsalis in Art Blakey’s Jazz Messengers, fans could only marvel. Here was another smart, technically proficient product of New Orleans whose playing was mature beyond his years. Blanchard was 20 at the time. His high school buddy, saxophonist Donald Harrison, replaced Marsalis’ brother Branford Marsalis in the band, and the two would later go on to record a number of respected albums together under their own names. Blanchard was appointed the Blakey band’s music director and set an ambitious course for the revered drummer’s ensemble, a route that led to Blakey’s first Grammy nomination in 1984 for the group’s Concord recording New York Scene. With all that promise — even then Blanchard was seen to be as skilled and possibly more expressive than his Jazz Messengers predecessor — the trumpeter was assumed to be among the great instrumentalists of the emerging generation of young lions. That assumption, 30 years later, has since turned out to be correct. Blanchard has not only established himself as a great trumpet player, he’s also become one of music’s most active composers, and not just in the world of jazz. After appearing on the soundtrack to Spike Lee’s Mo’ Better Blues, Blanchard was asked to score Lee’s next film, Jungle Fever. That was the beginning of a long relationship that saw Blanchard write the music for Lee’s 1992 film Malcolm X (as well as making an on-screen appearance as Billie Holiday’s trumpeter) and Lee’s controversial 2006 Katrina documentary When the Levees Broke: A Requiem in Four Acts. Over the years, Blanchard has scored some 50 films for a host of directors including Ron Shelton, Tim Story, and most recently George Lucas (Red Tails). Last year, he contributed the score to director Emily Mann’s Broadway production of A Streetcar Named Desire. His latest compositional work is something else again, a full-scale “opera in jazz,” as he’s described it. Champion had its premiere in June at the Opera Theater of St. Louis and has been hailed by the Denver Post as “a new kind of masterpiece.” It’s the story of Emile Griffith, the one-time welterweight champion of the world, whose title bout with Benny Paret in 1962 resulted in Paret’s death. Paret reputedly used a homophobic slur to taunt Griffith at the weighing-in ceremony, and the dead boxer’s fans accused Griffith of seeking revenge. In 1992, Griffith was nearly beaten to death outside a gay bar in New York City. In the opera, Griffith asks, “What makes a man a man?” Griffith died on July 23 at age 75. Blanchard, speaking by phone from St. Louis, told Pasatiempo he was attending every performance of Champion. “I don’t know if I’d have a chance to do anything like it again, so I wanted to take it all in. It’s bigger, more magical and powerful than anything I could have imagined. To watch it unfold from one performance to the next is the most amazing part. I could feel the singers becoming more comfortable with the music. A lot of the performers didn’t have much background in jazz, and I didn’t have much background in opera. But it’s all come together.” The idea, Blanchard explained, developed in conversation with his friend Michael Bentt, a one-time heavyweight boxing champ. “I am definitely into boxing,” Blanchard said. “[Bentt] and I were always talking about boxing, its history, the fighters, and I don’t know how we got on the subject, but I realized Griffith’s story was very compelling. It was fascinating and unbelievable, how this former champion ended up. So low and behold, when I was commissioned to write an opera and started to think about topics, I suddenly realized: here’s one.” continued on Page 54
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Terence Blanchard, continued from Page 52
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The chance to do the opera came out of the blue. Jazz St. Louis director Gene Dobbs Bradford “had talked to me on the QT about what I thought about writing an opera and said, I may have an opportunity for you to do that. I said OK, whatever. The next thing I know, Jim Robinson, artistic director at the Opera Theater of St. Louis, calls and wants to know what I think of doing an opera. He’d heard the Katrina recording [the Grammy-nominated A Tale of God’s Will] and thought it would be a good idea.” Blanchard admitted a lack of background in opera and little experience writing for voice (Michael Christofer wrote Champion’s libretto). “I knew some classical pieces for voice because of my father’s singing,” he said. His father was a singer in an all-male choir in their New Orleans church. “But I was intimidated by the idea and knew it would take a lot of work. Still, I was intrigued by the idea.” Blanchard’s jazz opera has garnered mostly favorable reviews, as well as comparisons to Scott Joplin’s racially themed opera Treemonisha that was written in 1910 but not performed until 1972. The opera wasn’t the only Blanchard project to have a première this spring. His latest recording, Magnetic, his first since 2009, was released on Blue Note Records. The disc features Blanchard’s working sextet, which plays on Friday, July 26, at the Lensic Performing Arts Center as part of the New Mexico Jazz Festival. The sextet features pianist Fabian Almazan, guitarist Lionel Loueke, saxophonist Brice Wilson, bassist Joshua Crumbly, and drummer Kendrick Scott. Guests who perform on Magnetic include saxophonists Ravi Coltrane and bassist Ron Carter. Magnetic offers some diversions from the usual acoustic nature of Blanchard’s previous recordings. Loueke’s electric guitar adds unusual color and rhythm, and Blanchard himself plugs in for an array of amplified trumpet effects. “I was so used to having a large instrumental palette of sound when doing films,” he explained, “that I wanted to add something different to the recording.” One of the pieces, “Hallucinations,” is a psychedelic, freeform assemblage of sounds and effects. But he also includes a hard-driving straightahead number he wrote called “Don’t Run,” which features master of the walking bass Carter. There’s also a Blanchard tune titled “Central Focus,” first heard on his 1993 date Simply Stated. Like Blakey before him, Blanchard also includes numbers from almost every member of the ensemble. “Art always wanted everybody to have a voice. I’m doing the same.” Blanchard, the product of a strong Christian family, credits some of Magnetic’s cosmic spirituality to Herbie Hancock. “When I started touring with Herbie a few year ago, I was curious about chanting [Hancock is a long-time devotee of Nichiren Shoshu Buddhism]. I chanted with him every night for 10 weeks. I felt like a different person. I love the whole idea of a meditative nature, love the idea of having a daily practice. It’s interesting that all my life I’ve been around people who inspire me to delve deeper. [Pianist Mulgrew Miller] was the first person to make me think about exploring the avenues of the unknown. Throughout my life I’ve run across people who have similar philosophies if not the same beliefs.” Miller, who died of a stroke in May at the age of 57, was the pianist in Blakey’s Jazz Messengers when Blanchard was its musical director. “[His death] was a huge loss not just to the music community but to the world. Mulgrew was a true person of character, a beacon of light and an example to everyone of how to live your life, be productive and respectful.” Blanchard is looking forward to completing another commission, this one written for the Kronos String Quartet and choir as part of the 150th anniversary of the end of the Civil War. He’s currently scoring a couple of upcoming films but wouldn’t say for who. He also intends to keep playing jazz. “No, I’m not content doing just one thing,” he said. “I was always taught by my music teachers that you’re either moving forward or backward, but never standing still. The blessing of life is that it gives us the opportunity to expand our experiences. Why not take advantage?” ◀
details ▼ Terence Blanchard with Lionel Loueke, presented by New Mexico Jazz Festival ▼ 7:30 p.m. Friday, July 26 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $20-$50 (discounts available); 988-1234, www.ticketssantafe.org
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JAZZ
pianist and bandleader Eddie Palmieri was just back from a tour of Istanbul, Paris, Berlin, Lugano, and other European cities when he answered his phone. “It was a really exciting trip, and we were blessed,” he said. “We had all sell-outs, and it was the young new Latin jazz band that we’re bringing to New Mexico. “It’s Jonathan Powell on trumpet and Louis Fouché on alto — he’s an MIT graduate, so he’s probably the smartest alto man in the world. Then we have Orlando Vega on bongo; Vicente ‘Little Johnny’ Rivero on congas; José Claussell, who’s been with me now two centuries, on timbales; and Luques Curtis on bass.” The Eddie Palmieri Latin Jazz Septet, playing the Lensic Performing Arts Center on Saturday, July 27, is the final Santa Fe act in the 2013 New Mexico Jazz Festival. The band has trumpet and saxophone, but — rather uncharacteristically for Palmieri — no trombones. One reason, he said, is that Conrad Herwig is the busy head of the jazz department at Rutgers University these days. Herwig has played on seven Palmieri albums since 1994, and Palmieri was guest pianist on Herwig’s discs The Latin Side of John Coltrane (1996), The Latin Side of Wayne Shorter (2008), and The Latin Side of Herbie Hancock (2010).
© J. Elon Goodman/www.photosjg.com
EddiE PalmiEri
Eddie Palmieri
Paul Weideman I The New Mexican
Master of Latin classics 56
PASATIEMPO I July 26 - August 1, 2013
Palmieri’s trombone connection goes back much further, to 1961, when he formed his now-famous Latin band, La Perfecta, with a front line of trombones rather than trumpets. “That was an accident. What I wanted was the same as all the bands were doing, which was the conjunto: three trumpets and a rhythm section. But I was just starting, and I couldn’t pay the trumpet players that I wanted. “In a jam session that Johnny Pacheco was running, I met [trombonist] Barry Rogers, and we started working together with a wooden-flute player called George Castro. I said, Oh, this is something special, but we needed one more trombone for punch, and that’s how Perfecta started. That turned all the orchestras around. We were known in the Catskills as ‘The sound of the roaring elephants.’ Barry Rogers was a genius. He was way into Latin music, and he heard the musicians I was accustomed to playing with, like Manny Oquendo and Tommy Lopez, and that was like going from triple A to the majors.” Yes, Palmieri is a baseball fan. His team, going back to the late 1940s, is the New York Giants. “In my scrapbook, I caught the miracle year of 1951 when Bobby Thompson hit the shot heard ’round the world and they won the pennant. This was old school, when the players made $22,000 a year and in the winter had to get a day job as a shoe salesman or a jackhammer operator.” Palmieri was 21 when the Giants moved to San Francisco in 1957. Born in Spanish Harlem, he began playing timbales at 13 in his uncle’s Latin orchestra. Within a few years he had changed to piano. In fact, he says his energetic attack on the piano comes from being a frustrated percussionist. His professional career as a musician started in the early- and mid-1950s playing piano in orchestras led by Eddie Forrester and Johnny Segui. He was part of the Tito Rodriguez Orchestra for a year before forming La Perfecta. Palmieri won the first of his many Grammy Awards in 1975 for Sun of Latin Music and the most recent in 2006 for his album Simpatico with trumpeter Brian Lynch. Another standout record,
1971’s Harlem River Drive (co-led by his older brother, organist Charlie Palmieri), represents an early example of the bandleader’s nonconformist bent. It mixes soul, jazz, and funk sounds in with the Latin. Palmieri emphasized that then, as now, a band had to have a rhythm section of timbales, congas, and bongo to qualify as “Latin jazz.” This reporter had just been listening to “Palmieri Radio” on www.eddiepalmierimusic.com, specifically the song “Palmas” from the 1993 album of the same name. “That’s one of the greatest CDs ever recorded of Latin jazz, because it’s under the structure of the instrumental mambo,” Palmieri said, and then he explained what that is. “In 1950 Machito, Tito Puente, or Tito Rodriguez playing in the Palladium Ballroom in New York City had to have instrumental mambos, which were either Broadway compositions, originals, or jazz compositions that had no vocals. But they needed to have the mambo, what we call the montuno, and the mambos that were exciting like they had a vocal.” Palmieri’s career dates back to the days when certain musicians had to have cabaret cards. “That was a racial situation. Even Frank Sinatra backed up the jazz musicians by not playing in New York; he would play in Jersey at a place called The Rustic Cabin. I witnessed it because I had to go to get fingerprinted and get my cabaret card. It was because there were too many blacks and Latinos playing in mid-Manhattan. As long as you were uptown, everything was cool, but coming into mid-Manhattan, which was all supper clubs then — until the Palladium Ballroom opened — it was to keep tabs on you with the card. “The Palladium was the greatest dance ballroom ever, across the street from the Ed Sullivan Theater on 53rd Street, and there was Birdland next to it, and around the corner there were 40 jazz clubs where the greatest names in jazz played. And when I went to the Palladium, working with Vicentico Valdés, we did four days a week. You gave your card to an Italian gentleman called Joe, and he had it in case the police came up to check, then they gave it back to you on Sunday. “That was 1956. I started in the Palladium doing the graveyard shift, which was the summertime. Tico Valdez, Tito Puente, and my brother Charlie were in that band, and Manny Oquendo. Manny was the only one who was hip to what was coming out of Cuba. He was the bongo man who played with Tito Puente, and eventually he was the leader of Conjunto Libre. When I went to Mr. Tito, Manny was the bongo player, and he brought me 25 78s of all the Cuban bands, and I was so amazed at how they could excite me at 2 minutes and 45 seconds; that was all you could record then. Then I started analyzing them intuitively.” At this point, Palmieri laid out one of his favorite quotes, about the “four criteria” that he learned with his teacher, Bob Bianco, in the 1960s. “The first is: he who knows not and knows he knows not can be helped. He who knows not and thinks he knows is a muddlehead. My teacher would put me in the third category: he who knows and knows not that he knows. Then the last is he who knows and knows he knows. That’s wisdom, and very few of us arrive there — that’s Socrates and Aristotle, Spinoza, and Pascal, these cats, you know? “But if there’s any iota of wisdom I have it’s that I don’t guess, I know, that I’m going to excite you with my music. I know it. And I learned that scientifically with Bob Bianco. It has to do with tension and resistance within the composition and the human reactions of love and fear that you have to have to reach an exciting musical climax.”
On the afternoon before his Lensic concert, the jazz festival sponsors a “Meet the Artist” talk between A.B. Spellman, retired deputy chairman of the National Endowment for the Arts, and Palmieri, who was recently named an NEA Jazz Master. He said it was a great honor, but it also provided another trigger for a chronic gagster. Herwig and Lynch, whom Palmieri calls geniuses, routinely use affectionate nicknames for the pianist. “After I got this award, I told them to stop that. I said you have to call me from now on ... Master. “And they told me what I can do with that.” ◀
details ▼ Eddie Palmieri Latin Jazz Septet, presented by New Mexico Jazz Festival ▼ 7:30 p.m. Saturday, July 27 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $20-$50 (discounts available); 988-1234, www.ticketssantafe.org
Musical passion Where’s Charles Mingus — jazz’s angry man — now that we need him? The bassist, who as a composer is often compared to Duke Ellington, was known to be outspoken as well as brilliant (Ellington fired him after a few weeks in his band, reportedly because of his temper). He once declared on a bandstand with Charlie Parker and Bud Powell, “Ladies and gentlemen, this is not jazz. These are very sick men.” He was known to demean members of his own groups in front of audiences. “He is extremely emotional,” jazz critic Dan Morgenstern said. Morgenstern’s quote comes from a host of interviews found in John F. Goodman’s Mingus Speaks. The most important and lengthy of the interviews is from Mingus himself. Goodman, wrote about jazz for Playboy in the 1960s and 70s, conducted some 20 hours of interviews between 1972 and 1974 with the bassist, and the resulting book doesn’t do much to smooth over Mingus’ rough edges. “I think it’s over, man. Jazz is over,” he told Goodman, bemoaning the fact that music was being taught in academies, leading to a kind of elitism, rather than “guys getting together to play solos, man.” He had no regard for the avant-garde: “I wouldn’t even call that soloing” — and worried that the lack of competition was short-changing musicians. Then he told his own story to Goodman about how he was “real snobbish about anybody who didn’t study with Lloyd Reese,” the legendary Los Angeles music teacher, and how he was slapped down by trumpeter Roy Eldridge: “You don’t know about your own people — you don’t know about your own people’s music.” The book is full of such illuminating stories, not all of them from Mingus. Max Gordon, the late owner of the Village Vanguard club in New York City, recalled Mingus holding a knife to his chest. But he also said Mingus was “a man of musical integrity.” That integrity made Mingus challenge the recording industry, the nightclub scene, the music academics, and the racial factors stacked against some musicians and their audiences — many of the same issues that need addressing today. It also explains why Mingus wrote and performed some of the best music of its kind. Not all of what’s here is valuable. Mingus had a tendency to ramble. But there’s plenty that underscores just what a genius — and how angry — he was. — Bill Kohlhaase “Mingus Speaks” by John F. Goodman with photos by Sy Johnson was recently published by University of California Press.
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• Spanish Market celebrates the old and new
• Right, Byron Martinez: St Francis Preaching to the Animals; opposite page, trastero by Federico Prudencio
tRaditions Loren Bienvenu I For The New Mexican
D
espite modern innovations in tool and finish technology, the centuries-old art of Spanish colonial woodworking is as timeintensive and laborious as ever. Today’s best furniture makers, carvers, and santeros — who depict Christian saints and iconography with both bultos (three-dimensional wooden sculptures) and retablos (flat wooden panels painted with images) — rely on time-honored techniques, and their devotion to the tradition as an art rather than just a craft results in a fastidiousness that more than offsets any time saved by technological advancements. So even though furniture maker Federico Prudencio (who has received more than 10 awards at Traditional Spanish Market, including the 2002 Best of Show) has access to synthetic materials such as spray-on lacquer, he still labors over his wood finishes for many days before a piece is complete.
Woodworkers toil for their art He offered Pasatiempo one example of the work that might go into finishing a trastero — a free-standing chest or cabinet — once he’s already drawn the design, selected the wood, milled it to the right dimensions, completed the joinery, assembled the piece, carved and sanded it, and maybe even distressed it to make it look aged. After all that, “I’d say a trastero is going to take me a whole week to paint, especially when I give it a nice antique finish. I’ll put maybe an oil stain on there first, and then I’ll throw a sealer on top of that. Then a glaze on top of the sealer to highlight the carving more and add an antique feeling. Then a few more coats of sealer. Then a top coat of lacquer. Then I’ll let it sit and steel wool it really good to make it smooth. Then a few coats of wax. “I’m not the type of guy who likes to rush these finishes,” he concluded, understating the case. Prudencio has been making furniture professionally for more than 40 years and was trained in the old style from a young age. Before he was 10 years old, he was learning woodworking basics from an older brotherin-law. He took a wood class in ninth grade and landed a wood shop job just a year later. “I was in Taos until 1985. Then I moved to Albuquerque. Here in Albuquerque I tried to find a job with other wood shops, but the pay was so low that I had no choice but to start my own business — which I guess was a good thing for me, because I’ve been working for myself ever since.”
Felicia A. Martinez
For 27 years Contemporary Hispanic Market and Traditional Spanish Market have coexisted side by side on the Plaza. The markets are a highlight of the Santa Fe art scene, bringing in the living traditions of Spanish colonial arts and crafts, including furniture, bultos and retablos, musical instruments, jewelry, and more. At the contemporary end of the spectrum, painters, photographers, sculptors, mixed-media artists, and innovators on the traditional arts present their visions. The 62nd Annual Traditional Spanish Market gets under way Saturday, July 27, and continues through Sunday, July 28, with artists’ booths lining the Plaza on Lincoln, Palace, and Washington avenues and along San Francisco Street. There, 400 years of art-making traditions are represented. The market runs from 8 a.m. to 5 p.m. Saturday and from 9:30 a.m. to 5 p.m. Sunday. At 10 a.m. on Saturday, at the Santa Fe School of Cooking (125 N. Guadalupe St.), La Boca chef/owner James Campbell Caruso demonstrates how to make Spanish tapas. The cost is $85 plus tax. Register at www.santafeschoolofcooking.com. Also on Saturday, at 11 a.m., staff at The Spanish Table (109 N. Guadalupe St.) demonstrate how to make a traditional Spanish paella, with a tasting to follow. There is no charge for the event. After an 8 a.m. Mass at Cathedral Basilica of St. Francis of Assisi on Sunday, follow the mariachis from the cathedral to the Plaza Bandstand for a market blessing by Archbishop Michael J. Sheehan. The bandstand is active throughout the weekend with traditional folk music of New Mexico, folkloric dance, flamenco, award presentations, and more. For a complete list of Bandstand performances, visit www. spanishcolonialblog.org/bandstand-schedule/. The 27th Annual Contemporary Hispanic Market lines both sides of Lincoln Avenue north of the Plaza throughout the weekend. Contemporary Market is open both days from 8 a.m. to 5 p.m. — Michael Abatemarco
RediscoveRed
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PASATIEMPO I July 26 - August 1, 2013
Burley J. Cannon II
One hallmark of Prudencio’s trasteros, benches, writing desks, and other pieces is the figures carved into them. He often incorporates lions and other imagery dating back to the early colonial era, when the furniture in this region was not just inspired by Spanish tradition but actually came from Spain. “I think a lot of people can tell my pieces by my rosette,” he said, referring to a carved flower design. “I put it in the middle, with a little star. That’s how I learned it a long time ago.” However, the woodworker also strives to avoid predictability. He says that no two pieces are the same, even if they have similarities. Some are simple, others are ornately carved, and others incorporate tinwork. “It’s part of being an artist. You don’t want to produce the same piece over and over.” To that end, Prudencio has taken the unusual step, coming late in a successful career, of transitioning from furniture maker to santero. He now devotes his attention to detail to the small-scale precision involved with fashioning santos. At this year’s market, he showcases his santos for the first time, as well as some children’s furniture. Although he’s been a staple of Spanish Market for more than 20 years, he jokes about his nervousness at making a second debut: “I hope I’m accepted, as the newcomer!” His evolving path contrasts with that of a younger woodworker who made his Spanish Market debut just two years ago. Byron Martinez of Chimayó was selected by the 2011 jury to show his unpainted bultos despite being new as a carver. As an unknown, self-taught artist whose only previous work consisted of a bear statue made with a chainsaw, Martinez understandably did not earn the immediate respect of his (soon-to-be) fellow santeros. “To tell you the truth, it was a little rough,” he said. “My first year I didn’t get a lot of artists coming to my booth to check me out.” But heads turned when he won first place in his category — the Leo Salazar Award for unpainted bultos — that very year. “I guess I had to earn my keep.” The two years since have been life-altering for Martinez. Now preparing for his third market, he also chairs the Artist Liaison Committee, a body that represents Spanish Market artists and their interests. His membership in this group led to an important discovery about his family history. While researching past market participants and winners, he came across a familiar name: Apolonio Martinez. “There was my grandfather’s name. He won Best of Show in 1969, and I had no idea.” The younger Martinez knew that his grandfather was a carver — part of his inspiration came after careful study of one of his grandfather’s bultos in 2008 — but he wasn’t aware of the man’s success. Martinez did additional research to determine that his grandfather’s work is preserved “all over the world — in the Smithsonian Institute, in the Spanish Colonial Arts Museum.” Martinez’s journey into the world of traditional bulto carving has been a learning experience on multiple levels, and an inspiring one at that. “Not a lot of the family even knew too much about [my grandfather’s] history, or hadn’t pursued it. So what a neat lesson it was for me to find that out, and now I’m just trying to continue that legacy and keep that tradition going.” For the moment, Martinez is split between two worlds. He is a site manager and supervisor for a construction firm by day and a santero by early morning. “I have very limited time. I usually get up at four and try to work [on art] a few hours before work. And I start work at seven!” It’s his dream, though a relatively new one, to pursue art full-time, just like Prudencio (who said, “I get up in the morning and I go into the shop and work on the santos until late hours of the night.”). To achieve this, Martinez will continue studying the old methods — relying on hand tools such as chisels and mallets and occasionally trekking into the mountains to find aspen to transform into a bulto. Reflecting on his journey, Martinez said, “It’s pretty amazing, because I never had any training. No one has ever helped me with carving. It’s just in the genes. My grandpa blessed me, man.” And maybe one day he will follow in his grandfather’s footsteps by receiving a Best of Show award of his own, though that’s not the priority at the moment. “It would be nice to grab a ribbon, but it’s not all about the ribbons. It’s about doing what you feel in your heart, and the passion.” ◀
Federico Prudencio shows his furniture furnitur and bultos in booth 140 (on San Francisco Street on the Plaza) at the 62nd Annual Traditional Spanish Market, from 8 a.m. to 5 p.m. Saturday, July 27; 9:30 a.m. to 5 p.m. Sunday, July 28. Byron Martinez’s bultos are featured in booth 108 (on Palace Avenue on the Plaza).
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Michael Abatemarco I The New Mexican
D
DreamlanD
arlene Olivia McElroy combines abstract imagery with contemporary and vintage design elements to create dreamlike visions. Her work is figurative with a narrative sense and is squarely fixed in a realm of memory and nostalgia. Colorful floral images, elegant and meandering ribbons, text, birds, and butterflies appear in much of her art, putting one in mind of 19th-century naturalist illustrations. In fact, McElroy’s recent works, including Darwin’s Daughter Learns Deportment, were in part inspired by her interest in cabinets of curiosity, precursors to modern museums of natural history made up of eclectic private collections of oddities. Darwin’s Daughter Learns Deportment depicts a young woman with a stack of books, a marine animal, a specimen jar, flowers, and a monkey skull — the kinds of things you would expect to find in Charles Darwin’s study — carefully balanced on her head. “There’s almost a magic realism quality to my work because I’m using objects that don’t really go together,” McElroy told Pasatiempo. “I’m usually inspired by something I’m reading or that’s happening in my life. I love Darwin and was reading a book on him while working on Darwin’s Daughter Learns Deportment, so that became the title.” On Saturday and Sunday, July 27 and 28, McElroy participates in the 27th Annual Contemporary Hispanic Market on Lincoln Avenue.
Darlene Olivia McElroy explores the fanciful and the fantastical
Darlene Olivia McElroy: Darwin’s Daughter Learns Deportment, mixed media; opposite page, Forever Friends, mixed media
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Born in southern California, McElroy has familial roots in New Mexico and now lives and works in Santa Fe, where she shows her mixed-media paintings at La Posada de Santa Fe Resort and Spa. After studying fine art at California State University, Fullerton, and studying illustration and graphic design at the Art Center College of Design in Pasadena, McElroy worked as an illustrator and web designer. Her recent work retains an illustrative feel. There seems to be a tale going on behind the scenes in each of her paintings. “I deal with myths and stories. It’s very figurative and very narrative. I think I’m starting with one story, but by the end it could be totally different. That’s the beauty of it. I think if I wasn’t an artist I’d be a writer, because I love words too. With the historical images, a lot of that is honoring those who came before. When we look at those old pictures, like old tintypes, we just see the outside of the person. They may have been really fun and cool, or they could have been horrible. We never know. So I kind of make a story about them.” Though much of her work embraces humor and has a cheerful, optimistic spirit, there is often an undercurrent of melancholia and gravity to her subjects. The crowned, female figure in Too Many Romance Novels, for instance, has a wistful demeanor. She is not depicted reading, but the title suggests she is a dreamer. A serpent winds its way unnoticed up her arm. “It seems pretty on the outside, but there’s a substory going on where things are not what they seem.” Forever Friends, another mixed-media painting, depicts a boy and a dog, standing as if posed for a photograph. “I had just lost my dog. At one time I lived in Paris for a couple of years and came across this photograph of a French friend of mine from when he was a kid. So Paris got mixed up with my dog. They were all important things in my life.” The boy holds a globe with an image of the Eiffel Tower, and there’s a Métro sign on a post behind him. McElroy balances collage elements with paint built up in layers, seamlessly merging the two mediums. “I have a collection of old photographs. I usually take the body from one image, the head from another, and paint the whole thing. So the images have been morphed a lot.”
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In addition to showing at La Posada, she was the recipient of the Best of Show award at the 2010 Contemporary Hispanic Market, where she has been exhibiting since 2002, and has garnered several awards for mixed media. McElroy is also the co-author, along with fellow artist Sandra Duran Wilson, of three books on art techniques: Image Transfer Workshop: Mixed-Media Techniques for Successful Transfers; Mixed Media Revolution: Creative Ideas for Reusing Your Art; and Surface Treatment Workshop: Explore 45 Mixed Media Techniques. A fourth book, Alternative Art Surfaces: Mixed Media Techniques for Painting on More Than 35 Different Surfaces, is due out in April 2014. McElroy’s paintings contain a fair amount of abstraction, not just in her merging of patterns and similar decorative motifs but in the environments surrounding figures and in her use of paint. Photographic material, including formal portraits from old tintypes and similar antique pictures, contrasts with vibrant colors and swirling patterns. Figures seem to move through elaborately rendered fantasy worlds, but they often merge with their surroundings to become elements of the overall composition. “They’re kind of like puzzles to me. I’ll have a piece halfway done, and I don’t know where to go. It’s like a puzzle that’s missing a piece. I’ll go through my drawers for images or paper or words to try and find that missing puzzle piece.” One painting, Looking for the Sweet Center, contains number of components that reappear often in her work. There are birds, flowers, and gold — which goes well with the arched panel the work is painted on, putting one in mind of religious iconography. “The sweet spot could be at the center of you, or it could be the attraction — the birds coming to the flowers or the attraction to you. It could be taken on a lot of different levels. That’s what I try and do. Make it your story.” ◀ Darlene Olivia McElroy shows her work in booth 48 at the 27th Annual Contemporary Hispanic Market on Lincoln Avenue from 8 a.m. to 5 p.m. Saturday and Sunday, July 27 and 28.
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WE DO DENTAL HYGIENE...
NO GIMMICKS E JUST GREAT CAR PASATIEMPOMAGAZINE.COM
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Michael Abatemarco I The New Mexican
Charged visions
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any paintings by Miller Lopez might put you in mind of the work of William Blake, though Lopez’s subjects are generally drawn from contemporary life. His range encompasses landscapes, cityscapes, portraits, and figure studies. The rich colors and swirling brushwork add a hallucinatory aspect to his paintings. Fauns, owls, serpents, and other creatures, real and imaginary, are often his subjects. “I try to bring in a lot of mythological figures and tap into the collective subconscious and bring a lot of myself into the paintings,” Lopez told Pasatiempo. “I try to hit on a deeper level than just the superficial imagery.” Lopez, who participates in Contemporary Hispanic Market for the fourth year, takes a traditional approach to working with materials, grinding his own pigments and, in the case of more earthy colors, gathering the pigments himself. “I prepare my art materials by hand. I stretch and prime my canvases using Baroque and Renaissance mediums to bring back a renaissance of artist materials and quality. It gives me a wider voice in my art. My palette is coming from growing up here in Santa Fe, the vivid, lucid colors that happen in the sky and environment. I try to bring that into the darker paintings to have a contrast and a more dreamlike palette. One of the reasons they’re so bright and vivid is that I do grind my own pigments. Store-bought paint is diluted down for shelf life. It’s mass produced, so it’s not as intense or concentrated.”
Miller Lopez’s paintings Color dichotomies are strong in his cityscapes and in his Apocalypse series, where pastel hues seem at odds with the subject matter. In his Manhattan Project, for instance, a crashed airliner rests in the foreground of a scene of destruction, and a flying saucer floats above in a fiery orange sky. Other colors include creamy yellows and soft purples and blues. It’s one of several paintings Lopez made in response to the possibility of human-made, worldwide environmental disaster. “It’s a message that we do have a beautiful world and it’s our responsibility to take care of it and respect its power of creation and destruction.” Lopez’s landscapes are also beguiling. Every element seems alive. These are not quiet scenes of idyllic stillness but atmospheric, romantic landscapes like something J.M.W. Turner might have envisioned, filled with abstraction, color, and light. “I studied with Frank Mason at the Art Students League in New York, and I also studied with Gregory Crane at the School of Visual Arts in New York. Frank Mason was Gregory Crane’s teacher, so it was sort of a line of knowledge passed down. That’s where I get a lot of technique and the way I approach oil paint.” Perhaps it is the particular combination of darkness and light and the subject matter — nature threatening to overtake the peaceful tranquility of rural America — that inspires comparisons to visionary artists such as Blake. “I try to combine a contemporary sense of design with classical storytelling and subconscious imagery. I’m inspired a lot by Samuel Palmer and Charles Burchfield,” Lopez said. Burchfield, an American modernist, and Palmer, a 19th-century British landscape painter, were considered visionaries. That Lopez would cite both as influences is not surprising. His own work bears elements of the Romantic period’s emphasis on awe before the untamed beauty and power of nature, and of modernist aesthetics including expressionism. “All my landscapes start off with alla prima studies outside. I try to take it as far as I can. Sometimes it’s finished, and other times it just becomes a study for a larger painting that I develop in my studio.
Miller Lopez: Grand Canyon, 2012, oil on linen Rebeca, 2010, oil on canvas
Sometimes I combine a few elements from different landscapes.” Lopez grew up in Santa Fe and participated in Traditional Spanish Market, doing woodcarvings and retablos. “I try to incorporate my heritage into my current paintings. I like the freedom and range of colors I can achieve with oil painting. In the design elements, I draw a lot from my past, painting retablos.” Despite a range of influences and subjects, there is consistency to Lopez’s painting style. The amorphous backgrounds, as in his portrait Rebeca, are charged with energy in their loose, gestural brushwork. The space surrounding his figures is halo-like if otherwise not clearly defined. “I try to be bold and have a lot of bravado and try to handle the paint with expressive brushwork.” It is odd to see, so readily, the influence of so many movements and styles in the work of a single artist, who also remains true to his own vision. Work by Flemish Baroque painters and artists from the golden age of Dutch painting (in the 17th century) is similarly steeped in allegory and myth as well as portraiture. To see such work referenced by an artist with a background studying fine art is not surprising, but Lopez seems to have found his own aesthetic compass, avoiding work that’s overtly derivative. His work may put one in mind of more contemporary artists, such as Luis Jiménez, as readily as it reminds us of old masters such as Rubens. The broad range is more a synthesis of styles than imitation. Lopez’s portraits share the swift, expressive rendering seen in his dramatic landscapes and cityscapes, though the portraits are often painted with a more somber palette. “There’s a lot of inspiration from Rembrandt, Velazquez, and Rubens. It’s a collaboration of influences, finding my voice and bringing what I have to say into the paintings, just being aware of different artists and art forms throughout history.” ◀ Miller Lopez shows his work in booth 18 at the 27th Annual Contemporary Hispanic Market on Lincoln Avenue from 8 a.m. to 5 p.m. Saturday and Sunday, July 27 and 28.
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PASATIEMPO I July 26 - August 1, 2013
Naga Treasures:
An Exhibition & Sale of Tribal Textiles, Costumes,
Jewelry and Basketry
BEyOND tHE suRFACE
From the Harry and Tiala Neufeld Collection
John Felsing and les perhacs
T r av e l e r ’s M a r k e t
4 5 De a l e r s of T r i ba l & F ol k A r t, A n t iqu e s , B o oks & J e w e l ry
at t h e D e Va r g a s C e n t e r 1 5 3 B Pa s e o d e P e r a l ta , S a n ta F e , N M 87501 505-989-7667 Hours: T u e - S at 1 1 - 6 p m s u n 1 2 p m - 5 p m w w w. t r av e l e r s m a r k e t. n e t
Upcoming public event?
Save the date!
Clockwise from top left: John Felsing, Red House, oil on linen mounted on panel, 60 x 48 inches. John Felsing, Serpent’s Tooth, oil on linen mounted on panel, 60 x 48 inches. Les Perhacs, Roadrunner, fabricated steel, 8 1/8 x 5 x 24 1/4 inches. All images © 2013 courtesy, Gerald Peters Gallery
July 26 – Aug ust 31, 2013 opening reception with the artists: tonight, July 26th from 5:00 - 7:00pm
For further information about this exhibition please contact Maria Hajic, Director m h a j i c @ g p g a l l e r y. c o m o r ( 5 0 5 ) 9 5 4 - 5 7 1 9
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ART OF SPACE
Paul Weideman A picture, plus a thousand words
Dennis Tedlock’s new book is titled An Archaeology of Architecture: Photowriting the Built Environment (University of New Mexico Press), and it is addictive. He pairs photographs of lots of different buildings and other things out there with texts describing what we see, and more. It reminds us of the fact that, when viewing a photograph, we so often have unanswered questions about objects in the picture or its background or other aspects. “It’s as if they think they’re guaranteeing the fine-art status of the picture by saying nothing about it,” Tedlock told Pasatiempo. The variety of photographic subjects in the book is fascinating. In one regard, they posit a veritable travelogue. We see a restaurant in Manhattan; an old car in Punta de Agua, New Mexico; a mural in Berkeley; a church in Barcelona; and a silo in Moscow, Kansas. Some are less easy to describe, such as Joseph Sutro’s Underworld, where we witness a detail of a decayed wall. In the accompanying essay, the author reveals this as belonging to the Sutro Baths facility built near San Francisco in 1896 and boasting six pools and 500 dressing rooms. It burned down in 1966. “At the time, local Satanists had been saying there were tunnels underneath the pavilion, providing access to the surface of the earth for malevolent beings who live in the underworld.”
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Tedlock’s exposure to camera work began when he was a teenager. His parents moved to Albuquerque when he was 18 months old, and he grew up there and in Taos. In the Duke City, his mother and father had a photography studio at one time. He used some of the darkroom equipment when he was in high school, developing the black-and-white film he used in his camera and doing some contract printing. He went on to a fruitful career as an archaeologist and ethnographer as well as an author. His books in those fields have included some of his photography — although architecture has always been his impulse when he has a camera in hand. “I guess that started with the archaeology and being interested in habitations, first at Zuni and later in Guatemala. I never lost the archaeologist’s eye. You always have one eye on the ground: Look, there’s a potsherd, there’s a streak of charcoal — all the signs of what was.” After a few seasons of working in the silent world of ruins, he started adding other activities to his work. One was sound recording. “It was mostly storytelling, some music sung. I have a book of Zuni stories. They’re scripted with all the continued on Page 66
AFTER 200 MILLION YEARS (OPPOSITE)
H E R C U L E S O N T H E WAT E R F R O N T ( A B O V E )
The gray mountain far away is Triassic, created by a flow of basalt that emerged from the earth more than 200 million years ago. The sandstone cliff closer by is Cretaceous, formed by deposits that were laid down on the shore of a sea more than 60 million years ago. In the foreground, the earth belongs to a deep layer of soft Tertiary sediment, laid down as recently as two million years ago. Basalt and sandstone are combined in the retaining wall at right, and pieces of sandstone pave the dooryard and hold down the low end of the Coca-Cola sign. The adobe bricks at right were made from the sediment. Nearby is the Río Puerco, the “Dirty River” that has taken this New Mexico valley through several cycles of arroyo cutting and filling over the last few thousand years. In the 1880s, when the cycle was about to shift toward erosion, cattle ranchers and irrigation farmers founded a village on this site. First it was known as Ojo del Padre, after a nearby spring, and later as Guadalupe. Overgrazing hastened the erosion, and by the 1940s, the river had cut a deep gulch that made irrigation impossible. A few cowhands stayed in the area, and one of them salvaged materials from abandoned houses to build this seasonal shelter. It had no electricity and no woodstove, but the windows were screened and the privy was right outside the front door.
The telephone box says we are in Britain, the flowers say it is spring, the clock says the current time is 1:14, the rust stains and whale ribs tell us we are near the sea, and the quality of light speaks of seaborne clouds in the sky. Mounted beween the two ribs is a carving that once graced the stern of a sailing ship. It features the bust of a man with a lion pelt over his left shoulder and a club to his right, broken off to the point where only one of its red knotholes remains. Together, the pelt and club tell us he is Hercules. On the ground, between the phone booth and the door below the clock, sits a water dish for a dog. A yellow sign in the window of the door cautions us that the area is covered by closed-circuit television. The small sign below the mail slot identifies someone within as the local agent of the Shipwrecked Fishermen & Marners Royal Benevolent Society, but the temporary sign in the window to the right, below a stuffed clown, tells us the staff is on the pier. Whoever uses the room at upper right has decorated the window with a CD. No sign gives the name of the building, nor do numbers give its address. It sits on the landside of a curved pier that shelters a small harbor, and the locals know it as the Maritime Building. We are in Kent, in the town of Broadstairs, where Charles Dickens once resided in Bleak House. This is where the English Channel meets the North Sea.
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R E M N A N T S O F T H E G O T H I C R E V I VA L On this pair of beauty parlor chairs, Naugahyde upholstery has withstood the weather better than metal tubing. Blocks of white marble bear traces of the mortar that held them together when they formed the twin towers of the new Cathedral of St. Joseph in Buffalo, New York, 40 miles west of this rural junkyard. Completed in 1915, the new cathedral was designed by Aristides Leonori of Rome, the most famous church architect of his day. Like the old cathedral, consecrated in 1855, the new one was Gothic Revival in style, but it was grander, with 260-foot towers, and it stood on higher ground, facing a broad avenue lined with luxury homes. A 45-bell carillon was installed in the towers at the direction of Bishop Charles Henry Colton. He died three weeks before the cathedral was consecrated, and when his bells were rung, their vibrations weakened the masonry. They were taken down and stored, prompting Ripley’s Believe It or Not to describe the new St. Joseph’s as “a cathedral with the belfry in the basement.” Bishop Colton was laid to rest in a marble sarcophagus on the Gospel side of the high altar. For the sake of safety, the towers were dismantled in 1928, and their marble parts ended up here. When the rest of the building was demolished in 1978, the bishop’s remains were moved to the crypt of the old cathedral, but nearly all the bells had disappeared.
Art of Space, continued from Page 64 tones of voice, pauses, loud, soft. I wasn’t satisfied with treating oral narrators’ performances as paragraphed prose, because that deletes all the dynamics, especially the timing.” Tedlock was awarded the 1986 PEN Translation Prize for Popul Vuh: The Mayan Book of the Dawn of Life. His previous volumes include Breath on the Mirror: Mythic Voices and Visions of the Living Maya and Finding the Center: The Art of the Zuni Storyteller. He has received grants and fellowships from the Fulbright Commission, the John Simon Guggenheim Foundation, and the School of American Research, to mention a few. He is a Santa Fe resident when he’s not at school: Tedlock is a research professor of anthropology and distinguished professor of English at the State University of New York at Buffalo. He earned his doctorate in anthropology from Tulane University following his bachelor’s degree in anthropology and art history at 66
PASATIEMPO I July 26 - August 1, 2013
the University of New Mexico. He studied with Cochiti artist Joe Herrera and at UNM with Kenneth M. Adams, Elaine de Kooning, and architectural historian Bainbridge Bunting. “Bainbridge Bunting was really a very generous scholar who inspired a lot of students. I didn’t realize till later how much of what he was up to had to do with his relationship with the Historic American Buildings Survey.” That program, administered by the National Park Service, began in 1933 to document America’s architectural heritage. In his introduction to An Archaeology of Architecture, Tedlock discusses dominant paradigms, such as that architects seem to have a predilection for photographs of freshly minted buildings with no people in them, and drawings that are basically “thin lines laid out on surfaces that are largely left blank, as if to avoid even the illusion of materiality.” A little later on, builders bring in the materials, and owners “set about making their own changes” to the once-pristine plans. Down the pike, what began as a design idea may evolve to abandonment,
decrepitude, and ruin. Thus, Tedlock sees “archaeology in the making” when he views architecture. Anthropologists typically relegate the study of useful buildings to ethnology and the study of ruins to archaeology. In either case, published examples rarely make good, full use of photography. Even when they do, much of what is shown in the photographs remains cryptic. This last point has also become something of a paradigm in fine-art photography. “I love really gorgeous fine-art photographs, but I don’t understand why a photographer claiming that kind of status has to be mute,” he said. “Ansel Adams, just to choose one, was very articulate. “The flip side of this whole business of wanting as little text as possible to go with a fine-art photograph is that a canonizable literary text should not have illustrations of any kind. It’s really only since the Renaissance that this has been a problem. Even Renaissance pictures have text in them sometimes.” Just two or three decades ago, the professional photographer occupied a fairly exclusive domain with his complicated cameras and darkroom equipment and chemical recipes for the perfect print. Today, photography and writing can be pursued virtually simultaneously. “The way is now open for what I call photowriting, the processing of photographs and words by the same person running software on the same equipment,” Tedlock writes. “Among the possibilities are montages like the ones I offer here, in which I intend the pictures and texts to query, complement, and enlarge one another. “The reason I have said that what I’m doing in this book is the opposite of documentary photography is that I start from the picture. It’s not like I wonder if a particular picture will fit the story I’m trying to tell.” The greatest part of An Archaeology of Architecture is its more than five dozen text-photograph pairings. And, again, the variety of places — the Luna Theater in Clayton, a houseboat in Copenhagen, a makeshift dwelling, complete with a Coca Cola-sign roof, under a sandstone cliff in Sandoval County. It’s a very cool progression of places, feelings, and colors. “When you put together a photo book, unless it’s about Southwestern vernacular architecture or it’s a documentary telling someone’s story, it’s more like sticking together stanzas in a poem than stringing together a narrative,” Tedlock said. The author enjoyed “slipping in” one image that, in Northern New Mexico, may be considered almost hackneyed at this point: the Santuario de Chimayó, which he titled Light From a Hole in the Earth. “One of the things I’m sensitive to as a returned New Mexican is that the outside world knows a whole lot less about the Southwest than we think it does. I did broadsides that have these photos and texts and hung them at Meridian Gallery in San Francisco and no one knew what this one was. They had never seen the Santuario. They said, What’s that?” There’s not a lot of overt order to the images in this book, but there is one series of windows and doorways. One is Houses in Hardened Ash, a close-up of some of the ancient cliff dwellings on the Pajarito Plateau. Another is Monument to Penitence, a shot of a well-known church ruin near Abiquiú. He could never figure out why would anyone would stick window frames and logs over an old, ruined nave, but he was told by a resident that a Penitente group throws a tarp over the logs for ceremonies held on the feast day of Santa Rosa de Lima. Signs in the East Harbor is the title of an essay/photograph twofer of an Amsterdam scene. It’s a real mishmash of structures and objects, the dominant ones being a looming, ship-shaped building by the architect Renzo Piano, a full-size replica of a 1749 sailing ship, and a barge full of bleachers. In the text, Tedlock fills in some of the blanks about the other objects, including a wooden crate that has been tagged with graffiti, which appears to be the web address of a Dutch company that sells colorfully painted push brooms. Before and After Katrina freezes in time a gloriously messy New Orleans bookshop with a creaky floor. A computer monitor is plastered with bumper stickers, including one that suggests, “Love in the ruins.” Throughout, Tedlock offers slices of human life, quite well-explained. ◀
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Dennis Tedlock signs “An Archaeology of Architecture: Photowriting the Built Environment” at 5 p.m. Friday, July 26, at Photo-eye Bookstore, 370 Garcia St., 988-5152.
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Michael Abatemarco I The New Mexican
BILL SCHENCK’S VARICOLORED TAKE ON COWBOYS & INDIANS
GOES THE WEST icture the rich colors from om a classic John Ford Western, with an idyllic valley awash in light from the setting sun, framing riders in the distance. Ford’s vision of the American West feeds the myth of wild frontiers and lawlessness that still draws our imagination. While some dream of a life filled with horseback riding, blazing campfires, and bronco-busting cowboys, painter Bill Schenck lives it. “I know where most of the locations are in Monument Valley where Ford shot those films,” Schenck told Pasatiempo. “I’ve done guided tours with close friends and said, ‘Well, here’s the scene from Fort Apache, and this one’s from She Wore a Yellow Ribbon, and this one’s from The Searchers.’ I used to know Joanne Dru, who was in his films. That was quite a kick for me to meet somebody out of the legendary past of my childhood. I met her in Arizona.” An exhibition of Schenck’s recent work opens Friday, July 26, at Manitou Galleries. An award-winning rodeo performer, Schenck, known for his skewering of and tributes to the West in genre paintings with a Pop aesthetic, maintains his own rodeo arena, corrals, and stable on his ranch south of Santa Fe. There, in his studio, he turns out paintings that on the one hand are a nod to artists like Roy Lichtenstein in terms of style and to Andy Warhol, whose fascination with celebrity similarly took on aspects of tribute. On the other hand, Schenck, from Columbus, Ohio, who spent time in New York in Andy Warhol’s circle, developed an interest in the distinctive subject matter that would come to define the Pop Western genre: men in Western garb, guns drawn, dashing off on horseback across Monument Valley; Navajo sheepherders reeling in the last of the flock before sundown; stoic cowboys and cowgirls; and other hard-living symbols of legend and bravura — all rendered in a flat, sharply outlined Pop style. Occasionally, but only
occasionally, occasionally comic book-style text appears as part par of a painting, offering viewers insight into the imagery. “Pocahontas awaiting the arrival of Western civilization,” reads one caption. The central figure of a confident and poised Pocahontas sits nude, looking though a pair of large binoculars, awaiting her fate. The recently painted Pocahontas Awaits is among works featured in a new monograph, Schenck in the 21st Century: The Myth of the Hero and the Truth of America by Amy Abrams (published by Western Skies Press). The book includes a selection of Schenck paintings from the last 13 years, but it does not contain a thorough chronology of Schenck’s life, because he decided to pen his own in a separate volume. “As we were getting the book put together and the chronology came up, I put together a list of 18 or 19 entries. I loved the power that this notion had, of what you included and what you didn’t and how you could twist the truth and still be fact. Then it became 38 entries, then 60 entries. Conceptually, it was as fun and off-the-wall as anything I’ve endeavored to do. It’s a separate chronology, and it’s illustrated.” It’s titled The Chronology of Billy Famous: An Authentic Story (Western Skies Press). The nickname Billy Famous is “on the back of my belt,” Schenck said. “When I ride into the rodeo arenas, I have to live up to that name. I’ve had a lot of nicknames over the years, but when this one showed up around 1980, it stuck. The first two entries in Schenck’s Chronology give some notion of what the myth-making artist is all about. “August 19, 1947 — Born 3:10 am. in Columbus, Ohio,” reads the first. The next says, “August 19, 1947 — Born 4:12 am. Two Guns, Arizona.” continued on Page 70
Above, from left, Bill Schenck: Schenck had a homophobic fear, 2008, archival pigment print; Real Artists Overwhelmed Schenck, 2007, ink drawing on archival paper; opposite page, Shadows Leaving the Vicinity, 2001, oil on canvas; all images courtesy the artist 68
PASATIEMPO I July 26 - August 1, 2013
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DESERT SON
Bill Schenck, continued from Page 68
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PASATIEMPO I July 26 - August 1, 2013
“People always want to know where artists are from,” Schenck said. “I don’t know why they’re obsessed with that notion. For my credibility as a Western artist, I can’t be born anywhere that sounds mundane or stupid. It just doesn’t fit. So legend has it, I’m from Two Guns, Arizona.” Two Guns is a historic ghost town east of Flagstaff with a violent past. “The first town marshal they hired — because of all the mayhem, chaos, and anarchy — they put a badge on him at 3 p.m. in the afternoon and they were putting him in the ground at 8 p.m. the same day. They hired five marshals, and all of them were shot. Nobody lasted more than a couple of months. That’s where I’m from.” Not only does Schenck in the 21st Century offer examples of the artist’s Pop Western genre art, including his landscapes, it also features his photography, self-referential imagery through which, with choice captions, he pokes fun at himself and Pop history. “As far as credibility within the Western genre — and I run back and forth between the contemporary world and the Western genre, and I don’t quite fit in either one — I’ve been an outcast, living between the scenes for 43 years in my career. When I moved to New York, I decided to start making Western paintings. I was more or less at the tail end of the first generation of photorealists. But I wasn’t painting photorealism the way Chuck Close, Audrey Flack, or any number of other people were. I was on the outer edges of it. What I did discover is that it was a really cerebral world. I had a really successful first two shows in New York when I was really young. The third one began to slide, but it was because I kept staying with this subject matter. Everybody who was collecting me, everybody that was reviewing me said, This guy is actually romantically attached to this subject matter.” Even in the early New York days, Schenck’s romantic West became a world of its own. “The [real] West wasn’t what I wanted it to be. The East Coast has thrown me away. I got dumped in the ocean before I got to make it huge in Europe. I just kept building the world bigger.” On his ranch is the world he fashioned, like an enormous set where he has cast himself as protagonist. “One of the greatest philosophies that I took was from the end scene of The Man Who Shot Liberty Valance, as Jimmy Stewart and his wife are sitting in a coach on a train and he’s being interviewed by a newspaper man, and the guy says to Jimmy Stewart ‘You know, when the myth is better than the story, print the myth.’ ” ◀
details ▼ New Works by Bill Schenck ▼ Opening reception 5 p.m. Friday, July 26; through Aug. 9 ▼ Artist talk & book signing 2 p.m. Sunday, July 28 ▼ Manitou Galleries, 225 Canyon Road, 986-9833
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movIng Images film reviews
Scarlet fever Laurel Gladden I For The New Mexican Byzantium, vampire drama, rated R, The Screen, 3 chiles Have you had it up to your carotid with vampires? If the lifeless Twilight franchise and its spawn have sucked all of the fun out of the genre for you, this mesmerizing new drama from director Neil Jordan might help bring it back to life. Jordan got into the undead game early with 1994’s Interview With the Vampire, but he has also given us more earnest, thought-provoking films like Michael Collins and The Crying Game. Byzantium isn’t especially serious, and it’s not on par with Nosferatu, but it’s still worth watching, particularly for its strong leads and its new feminist spin on the vampire myth. Clara (Gemma Arterton) and Eleanor (Saoirse Ronan) are immortal bloodsuckers (screenwriter Moira Buffini calls them not vampires but “soucriants” — a name for vampirelike creatures in Caribbean folklore). They live in a dingy urban apartment complex, where Eleanor spends her days doing what a lot of teenage girls do — writing in her journal — and then moodily crumbling up the pages and tossing them into the wind. Clara makes ends meet by working as an exotic dancer at a local club. One night, a tall, ominous-looking stranger shows up looking for Clara, so she and Eleanor hit the road. They land in a small seaside town with a shabby boardwalk and run-down hotel. Clara convinces the hotel’s owner to let her “revive” the place by turning it into a brothel. Meanwhile Eleanor wanders the streets, occasionally stopping
Like mother, like slaughter: Arterton and Saoirse Ronan
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PASATIEMPO I July 26 - August 1, 2013
Fishnet stalkings: Gemma Arterton
by a local piano bar to tickle the ivories for the senior patrons. That’s when she meets Frank (Caleb Landry Jones, looking like one of Ron Weasley’s sickly cousins), a moody local teen who has leukemia and whose medication coincidentally causes him to bleed profusely when he’s injured. The two enroll in a writing class. Given an assignment to write a true story about herself, Eleanor puts the epic tale of her life in print, and it obviously raises a few eyebrows. What Eleanor knows but Clara hasn’t realized — we learn it all in flashbacks — is that their new hometown just happens to be the location of the village where, some 200 years earlier, Clara was raped, forced into prostitution, and impregnated by a nasty naval officer, Capt. Ruthven ( Jonny Lee Miller of Trainspotting, lately seen in TV’s Elementary) and driven to a life of bloodsucking. Eleanor, of course, is her daughter, and the two women have been wandering the countryside together for two centuries, masquerading as sisters.
This is a new take on an old legend, and it’s intriguing, but there’s a peculiar shortage of tension, and after a while, the story begins to drag. Thanks to Sean Bobbitt’s lush, moody cinematography, Byzantium looks gorgeous, though. With its dull concrete surroundings, rocky beaches, swirling gray waters, and hoary sea mist, it often feels like a fairy tale. (In many scenes, Eleanor even sports a bright red hood — who’s the wolf this time?) At other times, the film is saturated with deep reds and glowing neons that make it almost lurid. Ronan is pale, pensive, and ethereal-looking — she’s an excellent choice for a teenage bloodsucker. Arterton, with her long flowing locks and dewy ivory complexion, looks like a Pre-Raphaelite maiden. But these aren’t your typical Hollywood vampires. True, they don’t die or age, and they do drink human blood. But when they feed, they don’t bite — they use their sharp, pointy thumbnails to puncture a vein. They can walk in the sunlight (and it doesn’t do anything silly like make them look sparkly). They can see their reflections in mirrors and don’t shrink from crucifixes. They’re not really scary, and they’re not mean. They only kill out of kindness or necessity — Clara preys on those who victimize women (pervs and pimps, mostly), while Eleanor is a young Kevorkian, taking the lives of the elderly out of mercy. For much of the film, Clara wears platform pumps, tight pants, and push-up bras. But don’t let that Victoria’s Secret look fool you. Buffini’s story has feminist leanings. The immortal soucriants are a brotherhood — “There are no women amongst us,” says an elder. For centuries, men dominated art, politics, and religion; and in Clara and Eleanor’s world, men like Ruthven can force women into a life of sexual servitude, and only male soucriants can decide who becomes a member of their powerful clan. Clara isn’t shy about how she plans to use her “gifts”: “To punish those who prey on the weak. And to curb the power of men.” That’s a different kind of happily-ever-after indeed. ◀
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works by Linda Fleming & Michael Moore gallery hours: Thurs-Sun 12:00p - 5:00p Fri July 26 1:00p - The Painting* 1:45p - Much Ado... 2:45p - Only God Forgives* 4:00p - 20 Feet... 4:45p - Look of Love* 6:00p - 20 Feet... 6:45p - Look of Love* 8:00p - 20 Feet... 8:45p - Only God Forgives*
Sat-Sun July 27-28 11:00a - Silent Comedy 2!!* 11:30a - Wilde 1:00p - The Painting* 1:45p - Much Ado... 2:45p - Only God Forgives* 4:00p - 20 Feet...
4:45p - Look of Love* 6:00p - 20 Feet... 6:45p - Look of Love* 8:00p - 20 Feet... 8:45p - Only God Forgives*
Mon July 29 1:15p - Much Ado... 2:15p - Only God Forgives* 3:30p - 20 Feet... 4:15p - Look of Love* 5:30p - 20 Feet... 6:15p - Look of Love* 7:30p - Cavedigger, Ra Paulette in person 8:15p - Only God Forgives*
11:00am Sat - Sun July 27-28!!!
Tues-Thurs July 30-Aug 1 1:15p - Much Ado ... 2:15p - Only God Forgives* 3:30p - 20 Feet... 4:15p - Look of Love* 5:30p - 20 Feet... 6:15p - Look of Love* 7:30p - 20 Feet... 8:15p - Only God Forgives*
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Still Mine I’m So Excited The Painting The Hunt The Act of Killing...& more!!!
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movIng Images film reviews
Surface elevator Adele Oliveira I The New Mexican The Look of Love, bio-drama, not rated, Center for Contemporary Arts, 2.5 chiles It’s said that the area of London called Soho takes its name from an old English hunting cry. Supposedly, when Henry VIII rode into the area on horseback (at the time, it served as a royal park) he yelled the words to his followers, signaling his prowess and the beginning of the hunt. There’s a scene in Michael Winterbottom’s The Look of Love, a biopic about sex-entertainment-industry billionaire Paul Raymond, in which Raymond (Steve Coogan) and his daughter Debbie (Imogen Poots) roam the streets of Soho at night, invoking Henry and his ancient cry. Yelling loudly enough to attract the attention of passersby, the two are briefly and truly content, able to enjoy their claim on the district and the night. At the time, Raymond owned much of the area. In addition to his nightclubs, strip joints, and theaters, he amassed a real-estate empire that helped make him one of the richest men in Britain. When he died at 82 in 2008, his fortune was estimated at £650 million, or about $1.2 billion. But no one in The Look of Love is happy for very long, even in the midst of London’s swinging ’60s. The film takes a grim look at Raymond’s rise to fame and wealth. It begins in the early ’90s. We learn that Debbie has died from a drug overdose in her mid-30s, leaving two small children behind. From there, we flash back to the late ’50s (this section is presented in black and white) and watch Raymond’s incredible success over the next three decades as he opens strip clubs and girlie shows in Soho, mounts elaborate plays and theatrical spectacles, and founds
Caligula called. He wants his toga back: Anna Friel
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Party people: Chris Addison, Imogen Poots, and Steve Coogan
a publishing company that includes the Playboy-esque magazine Men Only. Raymond’s world is a parade of beautiful women in pasties and g-strings, blow on glass coffee tables, disco balls, and bottles of good champagne. None of this is very sexy, or even looks like much fun: Raymond’s marriage to Jean (Anna Friel) falls apart (she finally gets sick of his philandering), drug use routinely becomes destructive, and the giggly, pert-breasted women who perform in the clubs and onstage — save for Raymond’s girlfriend of seven years, Fiona Richmond (Tamsin Egerton) — are so ubiquitous that they’re disposable. As Raymond, Coogan is flippant and detached — we never get close enough to discern his real thoughts or feelings. His existential angst is hinted at when, shortly after Debbie’s death, he watches a taped interview with her and in his retelling of stories over many years: about the mind-reading act that got him his start, that Ringo Starr designed his penthouse, and that he’s friends with all the Beatles but not Yoko.
Coogan has paired with Winterbottom before, in 2002’s 24 Hour Party People, about the birth of Manchester’s Factory Records in the 1970s, and in 2010’s The Trip, a wry mockumentary about a culinary tour through Scotland with fellow actor Rob Brydon in which Coogan plays himself. Though The Trip also examines the hollow trappings of fame and wealth, it is lighter and infinitely more hopeful than The Look of Love. The central relationship of the film is between Raymond and Debbie, his favorite child. (He and Jean had a son, Howard, and Raymond had a son from a different relationship whom he never formally acknowledged.) Poots does a fine job of playing the lost, born-to-wealth ingénue (Raymond tries and fails to make his daughter a star), but Debbie still feels thinly drawn — she never emerges as more than an insecure little girl. It’s heartbreaking to watch Raymond fail her by indulging her too often and by never really allowing her to be a grown-up. He babies her because he loves her, but his affection is misguided; at one point, he cuts a line of cocaine for her in the hospital when she cries that labor pains are too much. The Look of Love bears a slight resemblance to Steven Soderbergh’s Behind the Candelabra, a movie about the Vegas entertainer Liberace that aired recently on HBO. Both films profile men of extraordinary wealth and influence and make the age-old point that money doesn’t buy happiness or love but often corrupts both. Liberace and Raymond are presented as prizing sex, yet it is reduced to currency, something on which to expect a return. Years after their divorce, a bleached-blond Jean asks Raymond if she’s still got what it takes to appear on the cover of Men Only. During the subsequent photo shoot, Jean lounges in a bubble bath, pouting and purring at the camera. Her ex-husband directs her pose: “No love,” he reminds her, “just lust.” ◀
Peyote Bird Designs 11th Annual Tent Sale AUDIO CABLES DEMYSTIFIED
Saturday, July 27 @ 10AM David Ellington of AudioQuest will demystify the art and science of audio/video cables, discuss cable theory and design, explain why cables matter, and back up his claims with actual cable comparisons.
Featuring an incredible Spanish Market selection of jewelry Saturday & Sunday overstock, closeouts, and july 27th & 28th 9am to 5pm one-of-a-kind samples, as well as a large Indian Market selection of beading Saturday & Sunday supplies, all at fabulously Aug 17th & 18th 9am to 5pm reduced prices!
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— compiled by Robert B. Ker
THE PAINTING Jean-François Laguionie’s animated French feature is an adventure tale and love story set inside an unfinished painting. Civil unrest disturbs the social order of the Alldunns (fully painted figures), who revile the Halfies (incomplete figures) and Sketchies (simple outlines considered the artist’s mistakes), hunting them, beating them, and forcing them into hard labor. To restore harmony, a ragtag group of Halfies and Sketchies, led by a compassionate Alldunn, escape the picture frame to seek out the painter and convince him to finish his work and render the superficial differences between the three castes negligible. Though it’s skewed toward a younger audience, the superb mix of hypnotic animation and live action and the (often obscure) references to fin de siècle painters and early modernists will delight adults. Not rated. 78 minutes. Dubbed in English. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco)
Liam James in The Way Way Back at Regal DeVargas in Santa Fe
opening this week BYZANTIUM If the Twilight franchise and its spawn have sucked all of the fun out of the vampire genre for you, Neil Jordan’s mesmerizing new drama might help bring it back to life. Clara (Gemma Arterton) and Eleanor (Saoirse Ronan) are immortal bloodsuckers called soucriants who’ve been wandering the earth for 200 years and find themselves in a small seaside town with a shabby boardwalk and a run-down hotel. We learn in flashbacks that it’s a place with historical significance for both of them. There’s a peculiar shortage of narrative tension, and after a while, the story begins to drag. The film is worth watching anyway, particularly for Sean Bobbitt’s lush, moody cinematography; the strong leads; and a new feminist spin on the vampire myth. Rated R. 118 minutes. The Screen, Santa Fe. (Laurel Gladden) See review, Page 72. FRUITVALE STATION This timely drama, which was one of the big winners at the 2013 Sundance Film Festival, details the final day of Oscar Grant (Michael B. Jordan), a 22-year-old African American who was shot by officers of the Bay Area’s public transportation system on New Year’s Eve in 2008. Rated R. 85 minutes. Regal DeVargas, Santa Fe. (Not reviewed) 76
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THE LOOK OF LOVE Michael Winterbottom’s biopic of sex-entertainment billionaire Paul Raymond (Steve Coogan) follows his rise to fame and wealth. It begins in the early ’90s, when his daughter Debbie (Imogen Poots) dies from a drug overdose. From there, we flash back to the late ’50s and watch as Raymond amasses an empire of strip clubs, theaters, magazines, and real estate. His world consists of beautiful women, blow, and good champagne, but no one in The Look of Love is very happy. Sex is reduced to currency, something on which to expect a return. Not rated. 101 minutes. Center for Contemporary Arts, Santa Fe. (Adele Oliveira) See review, Page 74. MASTERS OF COMEDY: SILENT COMEDY EXTRAVAGANZA #2 CCA presents another round of silent comedies and cartoons featuring favorites by Buster Keaton (The Love Nest) and the forgotten Charles Bowers, among others. The latter’s Now You Tell One is a surreal, sometimes grotesque mix of Georges Méliès and Keaton, with our hero conjuring up an army of cats to take on a house full of pistol-packing mice! Charley Chase’s Mighty Like a Moose offers a hard-to-swallow premise but still delivers the laughs, and there’s a politically incorrect Felix the Cat cartoon on the bill, too. Kids should love it. Not rated. Saturday and Sunday, July 27 and 28, only. 75 minutes. Center for Contemporary Arts, Santa Fe. (Robert Nott)
PERFORMANCE AT THE SCREEN The series of high-definition screenings continues with Verdi’s Nabucco, from the Teatro Antico in Taormina, Italy (also known as the Greek Theatre). Juan Pons and Massimiliano Chiarolla star. 11 a.m. Sunday, July 28, only. Not rated. 169 minutes plus three intermissions. The Screen, Santa Fe. (Not reviewed) THE SMURFS 2 Just when it looked like Grown Ups 2 would be the worst movie of the summer, here comes a sequel to the smurfing 2011 stinkfest, complete with an obnoxious mix of CGI animation and real actors, burp jokes, loud club music, a sexualized Smurfette, Hank Azaria chewing up scenes as Gargamel, and a two-minute trailer that is itself an endurance test. Opens Wednesday, July 31. Rated PG. 105 minutes. Shows in 3-D and 2-D at Regal Stadium 14, Santa Fe. (Not reviewed) THE WAY WAY BACK Those summers in high school were when we all came of age, in a clean character arc in which we worked crummy summer jobs, enjoyed our first kisses, and learned how to believe in ourselves — or at least, that’s how filmmakers see it. The latest indie comedy to probe those hot, hazy months stars Liam James as 14-year-old Duncan, who is living with his mom (Toni Collette) and her boyfriend (Steve Carell) for the summer and working at a waterpark, where he learns about life from his manager (Sam Rockwell). Rated PG-13. 103 minutes. Regal DeVargas, Santa Fe. (Not reviewed) THE WOLVERINE The mutant power of the X-Men film franchise is generating new installments at uncanny rates. The second spinoff movie for Hugh Jackman’s mega-popular Wolverine (after 2009’s mega-disappointing X-Men Origins: Wolverine) features the hairy, clawed superhero in Japan, where he falls in love and strips himself of his healing powers. James
Mangold (Walk the Line) directs. Rated PG-13. 129 minutes. Shows in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. Shows in 2-D only at Storyteller, Taos. (Not reviewed)
now in theaters THE ATTACK Amin (Ali Suliman) is a respected Palestinian surgeon in an Israeli hospital, a model of the possibilities of assimilation and accord between Palestinians and Jews. And then his beloved wife Siham (Reymond Amsalem) straps explosives to her body and blows up a children’s birthday party in a Tel Aviv restaurant. This is a movie designed to provoke questions, and most are as wrenching and agonizing as the terrible situation they reflect. When you examine the ripple effects of any suicide bombing, and this one in particular, the smoldering rubble of ruined lives and shattered trust is a landscape that stretches as far as the eye can see. Rated R. 102 minutes. In Arabic and Hebrew with subtitles. The Screen, Santa Fe. ( Jonathan Richards) BEFORE MIDNIGHT The third round of the collaboration between director Richard Linklater and stars Julie Delpy and Ethan Hawke that began with Before Sunrise (1995) is set at the end of a family vacation in southern Greece. Celine (Delpy) and Jesse (Hawke) have been together for the decade since Before Sunset (2004). Here they drive and talk and walk and talk and make love and talk. Both actors are as good as or better than they have ever been. Rated R. 108 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) THE CONJURING Vera Farmiga plays a woman who can sense ghosts and travels the country with her husband (Patrick Wilson) in search of them. In this movie by James Wan (Saw), the couple find more than they anticipated in an old farmhouse with a freaky tree out front. Rated R. 111 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) DESPICABLE ME 2 The 2010 hit gets its sequel with this story about the exvillain Gru (voiced by Steve Carell), who is called out of retirement to track down a bad guy. The animation is a step up from the first film, and the plot is mercifully to the point. Unlike many family films, Despicable Me 2 is proudly a comedy, and it shelves the action, life lessons, and sentiment in favor of attempts at laughter. Whether or not it succeeds is up to the viewer, and the filmmakers hedge their bets by bringing slapstick for the kids and pop-culture references
for the adults. Rated PG. 98 minutes. Shows in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española; Storyteller, Taos. (Robert Ker) GIRL MOST LIKELY In this indie comedy, Kristen Wiig plays a woman in the midst of a nervous breakdown. Her doctor suggests she move in with her mother (Annette Bening), who has a young tenant (Darren Criss) and a weird boyfriend (Matt Dillon). These mismatched eccentrics probably learn how to get along by the end, and there will be plenty of priceless Wiig reactions in between. Rated PG-13. 102 minutes. Regal DeVargas, Santa Fe. (Not reviewed) GROWN UPS 2 Nobody can say Adam Sandler doesn’t look after his friends. Here, he helps old buddies like Chris Rock, Kevin James, David Spade, and many, many more earn a sweet payday for this indulgent, misogynistic, possibly scriptless string of poop, pee, and penis jokes. The sheer audacity of its awfulness is almost something that you have to see to believe, but that would involve seeing it. Don’t. Rated PG-13. 101 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker) HANNAH ARENDT In 1961, the great German-Jewish philosopher Hannah Arendt (played here by Barbara Sukowa) went to Jerusalem to cover the trial of Adolf Eichmann. What she reported, in a series of articles, angered Jews. She did not find a monster inside the glass cage that was the defendant’s dock. She found instead a “terrifyingly normal” human being who followed orders blindly. What really enraged her readers was her reporting that some European Jewish leaders were at least partly complicit in the Nazi treatment of Jews. For this she was vilified, threatened, and rejected by friends and colleagues. Not rated. 113 minutes. In English and German with subtitles. The Screen, Santa Fe; Taos Community Auditorium, 133 Paseo del Pueblo Norte, Taos, 575-758-2052. ( Jonathan Richards) THE HEAT With Bridesmaids, director Paul Feig put women in the traditionally male-dominated genre of the raunchy comedy. Now he does the same with the buddy-cop pic. Melissa McCarthy, who became a star with her frank character in Bridesmaids, plays the bad cop to Sandra Bullock’s good cop. The plot is mainly a vehicle to bring us from one McCarthy tirade to the next. That’s a wise decision: her sassy delivery and take-nocrap personality makes her an audience favorite, and rightfully so. Rated R. 117 minutes. Regal Stadium 14, Santa Fe. (Robert Ker)
The Wolverine
THE LONE RANGER The titular hero (Armie Hammer) and his faithful Comanche friend Tonto (Johnny Depp) take on the railroad, the cavalry, bad guys led by a cannibalistic Butch Cavendish, and a host of other creeps in this fastmoving but curiously unexciting retelling of the classic tale. That the movie is terrible is disappointing, given that most of the creative talent was also involved with the successful and frequently entertaining Pirates of the Caribbean film franchise. Rated PG-13. 149 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Nott) LOVE IS ALL YOU NEED Danish director Susanne Bier, who normally deals in bleaker material, has gone all soft and cuddly in this romantic comedy about two lost souls who unite, and in lesser hands the result would probably be insufferably cute. But Bier manages to keep this valentine on a very enjoyable track, helped by a fine cast led by Pierce Brosnan and Trine Dyrholm. It’s a grown-up film, beautifully photographed on an Amalfi coast. Rated R. 110 minutes. In English, Danish, and Italian with subtitles. Regal DeVargas, Santa Fe. ( Jonathan Richards) MAN OF STEEL Director Zach Snyder reboots the Superman story from the ground up (no need for a plot recap — you know the deal). The result is (sometimes too) dark and violent yet promising; it favors a realistic approach that lends a sense of awe to that which is continued on Page 78
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super. With the exception of Henry Cavill, who looks the part but is often too stiff as Superman, the cast is inspired, especially Amy Adams as Lois Lane. Rated PG-13. 143 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) MONSTERS UNIVERSITY Pixar’s sequel to its 2001 smash Monsters, Inc. shows how far the estimable studio has come with animation: the textures and colors are awe-inspiring. It also shows how far Pixar has fallen with regard to its writing: the cleverness of the original Monsters movie is followed up with this uninspired plot. Set during the younger days of Mike and Sulley (voiced again by Billy Crystal and John Goodman), the story revolves around the two getting booted from their college program and competing in a scaring competition to get back in. Rated G. 103 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) MUCH ADO ABOUT NOTHING Does it trouble you that Joss Whedon, creator of Buffy the Vampire Slayer and The Avengers, is adapting Shakespeare? Well, let me convert your thoughts of woe into hey-nonny-nonny, because this version of the beloved comedy is a sunny and refreshing treat. Reed Diamond, Sean Maher, Fran Kranz, Jillian Morgese, and Amy Acker star. Rated PG-13. 107 minutes. Center for Contemporary Arts, Santa Fe. (Laurel Gladden) NOW YOU SEE ME Woody Harrelson, Jesse Eisenberg, Morgan Freeman, Michael Caine, and Mark Ruffalo star in this fable about four illusionists who perform a trick in Las Vegas in which one of their audience members is “teleported” to Paris to rob a bank. As the FBI and an opportunist who exposes magicians’ secrets close in on the illusionists, every scene is interesting. The movie is wildly entertaining, despite having to cheat to connect all the dots. Rated PG-13. 116 minutes. Regal DeVargas, Santa Fe. (Robert Ker) ONLY GOD FORGIVES Actor Ryan Gosling and director Nicolas Winding Refn reteam after 2011’s much-loved Drive to bloody up Gosling’s heartthrob image with a slow, violent romp. Gosling stars as a drug smuggler in Thailand whose brother (Tom
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Burke) murders a teenage girl and then is killed by the girl’s father. Julian’s mother (Kristin Scott Thomas) seethes at his refusal to avenge his brother’s murder, and they march slowly toward a nihilistic climax. The film is imaginative, but the tone is punishing and the results are too stuffy to be considered farce and too immature to be taken seriously. Rated R. 90 minutes. In English and Thai with subtitles. Center for Contemporary Arts, Santa Fe. (Robert Ker) PACIFIC RIM Guillermo del Toro’s latest film plays like a movie by 12-yearolds, which is both a bad and a good thing. It’s bad because of the underdeveloped characters and cartoon-level dialogue, and it’s good because of everything else. The to-the-point plot centers on massive Voltron-esque robots that are built to stave off even more massive Godzilla-esque monsters, and that’s about it. With characters out of 1980s anime, artful flashbacks, and giant monsters smashing things up, this stuff will scratch an itch for a certain kind of geek. Other people may scratch their heads instead, but hopefully they’ll still have fun. Rated PG-13. 131 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) RED 2 Bruce Willis, John Malkovich, and Helen Mirren once more play former intelligence agents who come out of retirement for yet another “last job,” with fellow acting veterans Anthony Hopkins and Catherine Zeta-Jones in tow. The experience among the cast is one of the film’s major draws, but the movie itself is a throwback to when action films featured heroes and heroines who are not tortured, devoid of personality, or weak but rather cheerful, charming, and often in control. The film’s plot is a bunch of espionage gobbledygook, but the humor often connects, and the action sequences excite. Rated PG-13. 116 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker) R.I.P.D. Men in Black laid out a perfect formula for a supernatural cop film, and R.I.P.D. seems to follow it closely. We’ve got the young wisecracker (Ryan Reynolds) and the old gunslinger ( Jeff Bridges) using fancy technology to take down paranormal perpetrators. The big difference between this and MIB is that here the guys are dead and hunt ghosts, not aliens. Rated PG-13. 96 minutes. Shows in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) STAR TREK: INTO DARKNESS In the newest Star Trek movie, director J.J. Abrams ups the ante on action and visual effects. This film finds Kirk (Chris Pine) and Spock (Zachary Quinto) at odds and the arrival of a genetically enhanced villain (Benedict Cumberbatch). It steers the U.S.S. Enterprise in new and exciting
directions while exploring themes of unjust war and terrorism. Rated PG-13. 132 minutes. Screens in 2-D at Regal DeVargas, Santa Fe. (Rob DeWalt) TURBO A tiny, slow snail (voiced by Ryan Reynolds) has big dreams: to win the Indianapolis 500. It sounds impossible — until a freak accident gives him extraordinary speed. Like many animated films to come off of the Hollywood conveyor belt of late, Turbo is cute and colorful but feels slight, panders to both adults and children, and is ultimately trite. In the spirit of the script’s formulaic laziness, I feel obligated to joke that the film’s second half moves at a snail’s pace. Rated PG. 96 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española; Storyteller, Taos. (Robert Ker) 20 FEET FROM STARDOM “Not everyone is cut out for stardom,” says Bruce Springsteen, one of the headliners who muses here on the contributions and frustrations of the backup singers whose vocals raise the sound to another level. Táta Vega, Claudia Lennear, and Lisa Fischer are a few that will send you out of the theater wondering about that barrier that kept them from headliner stardom. But Morgan Neville’s documentary brings these singers front and center, and it’s glorious. Rated PG-13. 90 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) WORLD WAR Z Though this film thrusts its protagonist (Brad Pitt) into one cliffhanging situation after another in rapid succession, what’s missing from Marc Forster’s production — based on the Max Brooks novel — is suspense. The actors are convincing and the characters more interesting than usual for such fare, but the combination of sloppy scripting, bad special effects for the zombies, and the speed of most of the action scenes is exhausting. Rated PG-13. 115 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Nott)
other screenings Center for Contemporary Arts 11:30 a.m. Saturday and Sunday, July 27 and 28: Wilde. 7:30 p.m. Monday, July 29: Cavedigger. Sculptor Ra Paulette, subject of the documentary, attends. Railyard Park, 740 Cerrillos Road 8 p.m. Friday, July 26: Lady and the Tramp. Free outdoor screening. Regal Stadium 14 8 p.m. Thursday, Aug. 1: 2 Guns. ◀
What’s shoWing
–ANN HORNADAY
PRODUCED BY ACADEMY AWARD WINNER FOREST WHITAKER ®
MICHAEL B. JORDAN
Call theaters or check websites to confirm screening times. CCA CinemAtheque And SCreening room
1050 Old Pecos Trail, 982-1338, www.ccasantafe.org 20 Feet From Stardom (PG-13) Fri. to Sun. 4 p.m., 6 p.m., 8 p.m. Mon. 3:30 p.m., 5:30 p.m. Tue. to Thurs. 3:30 p.m., 5:30 p.m., 7:30 p.m. Cavedigger and Monument to the Dream (NR) Mon. 7:30 p.m. The Look of Love (NR) Fri. to Sun. 4:45 p.m., 6:45 p.m. Mon. to Thurs. 4:15 p.m., 6:15 p.m. Masters of Comedy: Silent Comedy Extravaganza 2
(NR) Sat. and Sun. 11 a.m.
Much Ado About Nothing (PG-13) Fri. to Sun.
1:45 p.m. Mon. to Thurs. 1:15 p.m. Only God Forgives (R) Fri. to Sun. 2:45 p.m., 8:45 p.m. Mon. to Thurs. 2:15 p.m., 8:15 p.m. The Painting (NR) Fri. to Sun. 1 p.m. Wilde (R) Sat. and Sun. 11:30 a.m. regAl deVArgAS
562 N. Guadalupe St., 988-2775, www.fandango.com Before Midnight (R) Fri. and Sat. 1:20 p.m., 4:10 p.m., 7:10 p.m., 9:45 p.m. Sun. to Thurs. 1:20 p.m., 4:10 p.m., 7:10 p.m. Fruitvale Station (R) Fri. and Sat. 1:50 p.m., 4:40 p.m., 7:40 p.m., 10 p.m. Sun. to Thurs. 1:50 p.m., 4:40 p.m., 7:40 p.m. Girl Most Likely (PG-13) Fri. and Sat. 1:30 p.m., 4:20 p.m., 7:20 p.m., 9:50 p.m. Sun. to Thurs. 1:30 p.m., 4:20 p.m., 7:20 p.m. Love Is All You Need (R) Fri. to Thurs. 4 p.m., 6:50 p.m. Now You See Me (PG-13) Fri. and Sat. 1:10 p.m., 3:50 p.m., 7 p.m., 9:40 p.m. Sun. to Thurs. 1:10 p.m., 3:50 p.m., 7 p.m. StarTrek: Into Darkness (PG-13) Fri. and Sat. 1 p.m., 9:30 p.m. Sun. to Thurs. 1 p.m. The Way Way Back (PG-13) Fri. and Sat. 1:40 p.m., 4:30 p.m., 7:30 p.m., 9:55 p.m. Sun. to Thurs. 1:40 p.m., 4:30 p.m., 7:30 p.m. regAl StAdium 14
3474 Zafarano Drive, 424-6296, www.fandango.com Call theater or visit website for days and times not listed. 2 Guns (R) Thurs. 8 p.m. The Conjuring (R) Fri. to Sun. 2:40 p.m., 5:20 p.m., 8 p.m., 10:45 p.m. Despicable Me 2 3D (PG) Fri. to Sun. 10:10 p.m. Despicable Me 2 (PG) Fri. to Sun. 11:30 a.m., 2:35 p.m., 5 p.m., 7:35 p.m. Grown Ups 2 (PG-13) Fri. to Sun. 11:35 a.m., 2:30 p.m., 5:05 p.m., 7:55 p.m., 10:45 p.m. The Heat (R) Fri. to Sun. 11:10 a.m., 1:55 p.m., 4:50 p.m., 7:35 p.m., 10:35 p.m. The Lone Ranger (PG-13) Fri. to Sun. 12 p.m., 3:30 p.m., 7:15 p.m., 10:35 p.m. Man of Steel (PG-13) Fri. to Sun. 11:05 a.m. Monsters University (G) Fri. to Sun. 11:25 a.m., 2:05 p.m., 4:50 p.m., 7:50 p.m., 10:30 p.m. Pacific Rim (PG-13) Fri. to Sun. 1:55 p.m., 4:50 p.m., 7:45 p.m., 10:50 p.m. R.I.P.D. (PG-13) Fri. to Sun. 11:40 a.m., 2:15 p.m., 4:55 p.m., 7:40 p.m., 10:25 p.m. Red 2 (PG-13) Fri. to Sun. 11 a.m., 1:45 p.m., 4:40 p.m., 7:25 p.m., 10:15 p.m. The Smurfs 2 3D (PG) Wed. and Thurs. 11 a.m., 1:40 p.m., 4:15 p.m., 7 p.m., 9:40 p.m. The Smurfs 2 (PG) Wed. and Thurs. 11:30 a.m., 2:10 p.m., 4:45 p.m., 7:30 p.m., 10:10 p.m. Turbo 3D (PG) Fri. to Sun. 10 p.m. Turbo (PG) Fri. to Sun. 11:05 a.m., 1:40 p.m., 4:15 p.m., 7:20 p.m. The Wolverine 3D (PG-13) Fri. to Sun. 1 p.m., 4 p.m., 7 p.m., 10 p.m. The Wolverine (PG-13) Fri. to Sun. 11 a.m., 11:45 a.m., 1:30 p.m., 2:20 p.m., 4:30 p.m., 5:20 p.m., 7:30 p.m., 8:20 p.m., 10:30 p.m., 11:15 p.m. World War Z (PG-13) Fri. to Sun. 11:15 a.m., 2:05 p.m., 4:55 p.m., 7:55 p.m., 10:45 p.m.
MELONIE DIAZ
KEVIN DURAND
AND
OCTAVIA SPENCER
the SCreen
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com The Attack (R) Fri. 6 p.m. Sat. 1:20 p.m., 6 p.m. Sun. 2:30 p.m. Mon. to Thurs. 6 p.m. Byzantium (R) Fri. 3:30 p.m., 8 p.m. Sat. 3:30 p.m., 9 p.m. Sun. 6:45 p.m. Mon. to Thurs. 3:30 p.m., 8 p.m. Hannah Arendt (NR) Sat. 11 a.m. Sun. 4:30 p.m. Mon. to Thurs. 1:15 p.m. Nabucco from italy’s teatro Antico (NR) Sun. 11 a.m.
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15 N.M. 106 and U.S. 84/285), 505-753-0087 The Conjuring (R) Fri. 4:55 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:25 p.m., 4:55 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:25 p.m. Mon. and Tue. 4:55 p.m., 7:25 p.m. Despicable Me 2 (PG) Fri. 4:35 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m. Mon. and Tue. 4:35 p.m., 7:05 p.m. Grown Ups 2 (PG-13) Fri. 4:50 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:15 p.m., 4:50 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:15 p.m., 4:50 p.m., 7:30 p.m. Mon. and Tue. 4:50 p.m., 7:30 p.m. The Lone Ranger (PG-13) Fri. 6:50 p.m. Sat. and Sun. 2:30 p.m., 6:50 p.m. Mon. and Tue. 6:50 p.m. Pacific Rim (PG-13) Fri. and Sat. 4:15 p.m., 6:55 p.m., 9:40 p.m. Sun. to Tue. 4:15 p.m., 6:55 p.m. R.I.P.D. (PG-13) Fri. 4:45 p.m., 7:20 p.m., 9:40 p.m. Sat. 2:20 p.m., 4:45 p.m., 7:20 p.m., 9:40 p.m. Sun. 2:20 p.m., 4:45 p.m., 7:20 p.m. Mon. and Tue. 4:45 p.m., 7:20 p.m. Red 2 (PG-13) Fri. 4:40 p.m., 7:10 p.m., 9:45 p.m. Sat. 2:10 p.m., 4:40 p.m., 7:10 p.m., 9:45 p.m. Sun. 2:10 p.m., 4:40 p.m., 7:10 p.m. Mon. and Tue. 4:40 p.m., 7:10 p.m. Turbo (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. and Tue. 4:30 p.m., 7 p.m. The Wolverine 3D (PG-13) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:50 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:50 p.m., 4:30 p.m., 7:15 p.m. Mon. and Tue. 4:30 p.m., 7:15 p.m. The Wolverine (PG-13) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:50 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:50 p.m., 4:30 p.m., 7:15 p.m. Mon. and Tue. 4:30 p.m., 7:15 p.m.
FRom nicolas
WindinG REFn thE diREctoR oF dRiVE
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110 Old Talpa Canon Road, 575-751-4245 The Conjuring (R) Fri. 4:55 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:25 p.m., 4:55 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:25 p.m. Mon. and Tue. 4:55 p.m., 7:25 p.m. Despicable Me 2 (PG) Fri. 4:35 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m. Mon. and Tue. 4:35 p.m., 7:05 p.m. Grown Ups 2 (PG-13) Fri. 4:50 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:15 p.m., 4:50 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:15 p.m., 4:50 p.m., 7:30 p.m. Mon. and Tue. 4:50 p.m., 7:30 p.m. R.I.P.D. (PG-13) Fri. 4:45 p.m., 7:20 p.m., 9:40 p.m. Sat. 2:20 p.m., 4:45 p.m., 7:20 p.m., 9:40 p.m. Sun. 2:20 p.m., 4:45 p.m., 7:20 p.m. Mon. and Tue. 4:45 p.m., 7:20 p.m. Red 2 (PG-13) Fri. 4:40 p.m., 7:10 p.m., 9:45 p.m. Sat. 2:10 p.m., 4:40 p.m., 7:10 p.m., 9:45 p.m. Sun. 2:10 p.m., 4:40 p.m., 7:10 p.m. Mon. and Tue. 4:40 p.m., 7:10 p.m. Turbo (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. and Tue. 4:30 p.m., 7 p.m. The Wolverine (PG-13) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:50 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:50 p.m., 4:30 p.m., 7:15 p.m. Mon. and Tue. 4:30 p.m., 7:15 p.m.
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RESTAURANT REVIEW Bill Kohlhaase I The New Mexican
Lots of plenty La Taqueria del Pueblo
3668 Cerrillos Road, 474-3431 Usually 11 a.m.-8 p.m. daily (call to confirm) Take-out only Noise level: street traffic No alcohol Cash only
Pollo Asado
Corner of Cerrillos and Siler roads 10 a.m.-7 p.m. Tuesdays-Sundays, closed Mondays Take-out only Noise level: street traffic No alcohol Cash only
•
The Short Order Both these parking-lot takeout trailers have specialties that make them worth a visit. La Taqueria del Pueblo serves simple but satisfying tacos of all sorts — lengua, barbacoa, al pastor, and deshebrada (shredded beef). The other dishes are just OK — the kind of thing that would be great after a night of drinking or dancing, but despite what the sign says, La Taqueria doesn’t seem to be open late. Pollo Asado has a terrific grilled chicken and other wonderful pollo-centric dishes, including gorditas, tortas, and taquitos. The grilled beef items are also good, but nothing compares to the chicken. Recommend at La Taqueria: beef, pork, and chicken tacos. Recommended at Pollo Asado: chicken dinner.
La Taqueria del Pueblo
Pollo Asado
Ratings range from 0 to 4 chiles, including half chiles. This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value.
80
PASATIEMPO I July 26 - August 1, 2013
Food trailers have become America’s go-to places for on-the-fly dining. In Portland, Oregon, there’s a while city block devoted to them — everything from tacos to spring rolls can be found there. In Santa Fe, trailers are scattered around town, but especially down the Cerrillos Road corridor and on Airport Road. Many of them serve what you’d expect: tacos, tortas, gorditas, and the like — food fit to be eaten behind the wheel of your parked car or at a nearby picnic table. La Taqueria del Pueblo sits off Cerrillos in the Pawn City parking lot. The red trailer has serving windows and faded pictures presenting the bill of fare on both sides, stools on the parking lot side, and a picnic table on the sidewalk side. There’s also a black barrel smoker — an encouraging sign. The offerings are extensive — I’ve had a decent carne asada burrito here — but stick to the tacos. There’s nothing fancy about them — just soft corn tortillas cradling various simply presented meats with a pile of lettuce, chopped tomato, a slice of avocado, and a lime wedge nearby. The green sauce prompted a single word from the counterman — “hot” — as he slid our order out the window. The taco al pastor is fabulous, the firm yet toothsome pork stained red with chile. The carne asada and pollo tacos, with the meat chopped into tender strips that sported color from grilling, awakened primitive satisfactions of the sort our nomadic ancestors must have felt while enjoying fire-charred meats. The lengua (tongue) tacos were moist, flavorful, and slightly chewy. The barbacoa, advertised as beef cheek, seemed to be made of tongue as well. The chicharrones, not available in a taco but in a gordita thrown together with a couple of tortillas, were the real deal — not the overfried pork meat that is often passed off as chicharrón but bits of chewy, salty skin in skillet juices. Some items are not always available or served as advertised. On one visit there were no beef tacos of any kind. A torta Cubano, with pork and cheese, had not ham but a sliced pink frankfurter on halves of pan Mexicano, the bread damp with mayonnaise, lettuce, and avocado. This would be just the thing after a night of drinking or dancing, and encouragingly, the sign on the trailer says “open to 1 a.m.” on Friday and Saturday nights. We drove by one Saturday at 10 p.m. hoping to enjoy some of those grilled meat tacos, but alas, the place was closed.
Before it opens in the morning, you’ll see — and smell — smoke rising from a vent on the roof of Pollo Asado (in the parking lot across from Locote Tattoos & Body Piercings and Mary’s Beauty Shop in the Cactus Centro Business Center, where Siler Road ends on Cerrillos) — a signal of good things to come. There are no tacos here, but there are gorditas, tortas, taquitos, and sincronizadas, which the counterman described as small tostadas. Skip them all and go straight for the chicken dinner. Pollo Asado might be the reason none of the major Mexican-inspired chicken chains — El Pollo Loco, Pollo Campero, and the like — have come to Santa Fe. They would have a hard time topping the chicken here. It’s always perfectly finished, smoky, slightly juicy, and terrifically tender. The refritos are creamy and gently flavored, the rice standard issue; both accompany every dish, as does a fat grilled jalapeño. The red chile, which comes in a small container, is not for the heat-averse. The grilled beef is also good here. The carne torta with cheese and mayo will remind you of the best Philly cheese steak (minus the Cheez Whiz) you’ve ever had. The taquitos weren’t as crunchy as we had hoped, but the chicken inside them was top-notch. Still, take our advice and go for the whole bird. Leftovers are good. ◀
Check, please Takeout for two at La Taqueria del Pueblo: Two tacos al pastor .............................. $ 4.00 Chicharrón gordita .............................. $ 3.00 Torta Cubano ....................................... $ 8.00 TOTAL ................................................. $ 15.00 (before tax and tip) Takeout for two at Pollo Asado: Chicken dinner .................................... $ 9.50 with rice and beans Four taquitos ....................................... $ 6.00 Beef torta .............................................. $ 6.00 TOTAL ................................................. $ 21.50 (before tax and tip)
PASATIEMPOMAGAZINE.COM
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pasa week Friday, July 26
ClassiCal musiC
Doug richard, Brian lee, and David glenn ponder Violin, flute, and harp recital, music of Donizetti, Fauré, and Bizet, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., 982-8544, Ext.16, donations appreciated. santa Fe Chamber music Festival The Flux Quartet (see story, Page 22), music of Ogonek, Esmail, and Hertzberg, 6 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., tickets available at santafechambermusic.com, 982-1890, or 988-1234, ticketssantafe.org. santa Fe Desert Chorale 2013 summer Festival Touched With Fire, 8 p.m., pre-concert talk with Robert Kyr, 7 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $15-$50, 988-2282, desertchorale.org.
gallery/museum openings
allá 102 W. San Francisco St., second floor, 988-5416. Los Alvarez — Allá y mas Allá, drawings, prints, and paintings by Antonio Alvarez Morán and B & W photographs by the Manuel Alvarez Bravo, reception 5-7 p.m., through Aug. 16. art exchange gallery 60 E. San Francisco St., Suite 210, 603-4485. Paintings by Ernesto Gutierrez, reception 4-7 p.m., through July. Canyon road Contemporary 403 Canyon Rd., 983-0433. Real and Imagined, pastels by Kathy Beekman, reception 5-7 p.m., through Aug. 8. Chalk Farm gallery 729 Canyon Rd., 983-7125. Stone lithographs by Michael Parkes, reception 5:30-8 p.m., David rothermel Contemporary Fine art 616½ Canyon Rd., 575-642-4981. Inheritance Series, paintings by Rothermel, reception 5-8 p.m., through Aug. 18. Fernando rivera Fine arts 2132 Foothills Rd., 231-3261. Sculpture, abstract work, and furniture, reception 5-9 p.m., through Sunday. gerald peters gallery 1011 Paseo de Peralta, 954-5700. Dwellings, new works by Christopher Benson, Tom Birkner, and Peri Schwartz; Beyond the Surface, works by John Felsing and Les Perhacs, reception 5-7 p.m.; through August. gF Contemporary 707 Canyon Rd., 983-3707. Glance at the Sun, group show, reception 5-7 p.m., through Aug. 9. gVg Contemporary 202 Canyon Rd., 982-1494. Dimensionality, new paintings by Oliver Polzin and Blair VaughnGruler, reception 5-7 p.m., through Aug. 16. Houshang’s gallery 50 E. San Francisco St., 988-3322. Featuring Artist Tonight: Shelbee Mares, reception 5-8 p.m. Hunter Kirkland Contemporary 200-B Canyon Rd., 984-2111. Paintings by Michael Madzo; sculpture by Ted Gall, reception 5-7 p.m., through Aug. 11. independent artists gallery 102 W. San Francisco St., second floor, 983-3376. Pastels by Lally Barnes Freeman, through Aug. 22. Karan ruhlen gallery 225 Canyon Rd., 820-0807. California Dreaming: Form and Color, works by Daniel Phill and Bret Price, reception 5-7 p.m., through Aug. 8. legends santa Fe 125 Lincoln Ave., 983-5639. Third Annual Master Works of the Gurule Family, featuring Michael, Charmaine, and Ronnie Gurule, through Sunday.
Pasa’s Little Black Book......... 83 Exhibitionism...................... 84 At the Galleries.................... 85 Museums & Art Spaces........ 85 In the Wings....................... 86
82
compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com
in ConCerT
John Trentacosta & The straight up Trio Local jazz ensemble, 6 p.m., Museum Hill Café, 710 Camino Lejo, Milner Plaza, no charge, 984-8900. new mexico Jazz Festival Lionel Loueke Trio and Terence Blanchard Quintet, 7:30 p.m., the Lensic, $20-$50, discounts available, 988-1234, ticketssantafe.org (see story, Page 52). Andrew Smith Gallery shows work by Ansel Adams, 122 Grant Ave.
manitou galleries 225 Canyon Rd., 986-9833. New paintings by Billy Schenck, reception 5-7:30 p.m. (see story, Page 68). mark sublette medicine man gallery 602-A Canyon Rd., 820-7451. Paintings by Howard Post, reception and book signing of Howard Post: Western Perspectives 5-7 p.m., through Aug. 9. mark White Contemporary 1611 Paseo de Peralta, 982-2073. Work by Palo Klein Uber, reception 5-7 p.m., through Aug. 18. niman Fine art 125 Lincoln Ave., Suite 116, 988-5091. Dialogue Through Form, new work by sculptor Arlo Namingha, reception 5-7:30 p.m. pippin Contemporary 200 Canyon Rd., 795-7476. Beneath the Surface, new mixed-media work by Sandra Duran Wilson, reception 5-7 p.m., through Tuesday. sage Creek gallery 421 Canyon Rd., 988-3444. New Mexico Gems, landscapes by Marilyn Yates, reception 5-7 p.m., through Aug. 9. santa Fe art Collector 217 Galisteo St., 988-5545. Works by watercolorist John Banuelos and painter Alex J. Peña, reception 5-7 p.m. santa Fe Clay 545 Camino de la Familia, 984-1122. Works by ceramicists Priscilla Mouritzen, Monica Rudquist, and Hide Sadohara, reception 5-7 p.m., through Sept. 7.
Elsewhere............................ 90 People Who Need People..... 90 Under 21............................. 90 Pasa Kids............................ 90
PASATIEMPO I July 26 - August 1, 2013
a sea gallery 407 S. Guadalupe St., 988-9140 or 988-4920. Retablos by Susan Jay; folk-art sculpture of Bill Kaderly, reception 5-7 p.m. Tai gallery 1601-B Paseo de Peralta, 984-1387. Fushi, bamboo baskets by Fujinuma Noboru, reception 4:30 p.m., through Aug. 24. Ventana Fine art 400 Canyon Rd., 983-8815. Pastels from the Mary Silverwood estate, reception 5-7 p.m., through Aug. 10. Worrell gallery 103 Washington Ave., 989-4900. Spanish Market group show, reception 5-7 p.m. Zane Bennett Contemporary art 435 S. Guadalupe St., 982-8111. Native Vanguard: Contemporary Masters, including works by T.C. Cannon, Frank Buffalo Hyde, and Ramona Sakiestewa, reception 5-7 p.m., through Aug. 23.
opera
La Donna del Lago This rarely encountered melodramma by Rossini, based on Sir Walter Scott’s The Lady of the Lake, receives an underwhelming, kilt-crammed production that is redeemed by marvelous bel canto singing from mezzo-sopranos Joyce DiDonato and Marianna Pizzolato, as well as tenor Lawrence Brownlee. 8:30 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900.
THeaTer/DanCe
Broadway Kids Presented by Eldorado Children’s Theatre & Teen Players, 3 p.m., La Tienda Performance Space, 7 Caliente Rd., Eldorado, $5 suggested donation at the door, 690-3188. Bye Bye Birdie Pandemonium Productions presents the musical (actors ages 7-17), 7 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, kids 12 and under $6, 982-3327, final weekend. Gross Indecency: The Three Trials of Oscar Wilde Santa Fe REP presents a reading of Moisés Kaufman’s play, 7 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, $15, discounts available, 629-6517 or sfrep.org, encore Sunday. Juan siddi Flamenco Theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234, TuesdaysSundays through Sept. 1. Spring Awakening Gemini Productions and Warehouse 21 present the musical, 7 p.m., 1614 Paseo de Peralta, $12, 231-6879, holdmyticket.com, ages 16 and under must be accompanied by an adult, final weekend. yjastros: The american Flamenco repertory Company at el Farol 8 p.m. Tuesdays-Sundays through Aug. 11, $25, 983-9912.
calendar guidelines Please submit information and listings for Pasa Week
no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@sfnewmexican.com, or by fax to 820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter.
books/talks
bill karelis The author reads from and signs copies of Living Life Fully, Finding Sanity and Goodness in the Unpredictable, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. Council on International Relations event Young women from Israel and Palestine in discussion, 11 a.m.-1 p.m., Estancia Primera Clubhouse, 45 Avenida Primera South, $20 includes lunch, 982-4931. Dennis tedlock The New Mexico photographer signs copies of his monograph An Archaeology of Architecture, 5-7 p.m., Photo-eye Bookstore, 370 Garcia St., 988-5152 (see story, Page 64). oscar Wilde: Celebrity or Notoriety? Seminar presented by the Santa Fe Opera; panel discussion of scholarly papers and round-table presentation, 10 a.m.-2:30 p.m.; 7 p.m., staged reading of Moisés Kaufman’s play Gross Indecency: The Three Trials of Oscar Wilde by Santa Fe REP, Santa Fe Woman’s Club, 1616 Old Pecos Trail, presentation and lunch $50, entire symposium $85, 946-2417, continues through Sunday.
outDooRs
star party at Cerrillos Hills state Park Green-laser tour of the night sky, 8:30 p.m., 16 miles south of Santa Fe off NM 14, parking area one half-mile north of the village of Cerrillos, $5 per vehicle, 474-0196.
eveNts
santa Fe opera backstage tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays through Aug. 13.
d Wine bar 315 Restaurant an 986-9190 il, 315 Old Santa Fe Tra 317 aztec 150 317 Aztec St., 820-0 e Inn th at ge un lo o agoy E. Alameda St., 3 30 a ed on the alam 984-2121 betterday Coffee 5-1234 55 905 W. Alameda St., nch Resort & spa Ra e dg lo ’s op bish Rd., 983-6377 1297 Bishops Lodge Café Café 6-1391 500 Sandoval St., 46 ó ay Casa Chim 8-0391 409 W. Water St., 42 ón es M ¡Chispa! at el 983-6756 e., Av ton ing ash W 213 hside ut Cleopatra Café so 4-5644 47 ., Dr o an far 3482 Za Cowgirl bbQ , 982-2565 319 S. Guadalupe St. te Café the Den at Coyo 3-1615 132 W. Water St., 98 lton el Cañon at the Hi 811 8-2 98 , St. al ov nd Sa 100 spa eldorado Hotel & St., 988-4455 o isc nc Fra n Sa 309 W.
santa Fe opera Monthly Ranch tours Extended tour of the grounds with a meetthe-artist component, 10 a.m., tour $12, added backstage tour $20, call 986-5900, visit santafeopera.org for a schedule.
NIgHtlIFe
(See addresses below) bishop’s lodge Ranch Resort & spa Jazz guitarist Pat Malone, 6-9 p.m., no cover. Café Café Los Primos Trio, traditional Latin rhythms, 6-9 p.m., no cover. ¡Chispa! at el Mesón The Three Faces of Jazz and Friends, featuring Bryan Lewis on drums, 7:30 p.m.-close, no cover. Cowgirl bbQ Americana singer/songwriter Jonathan Fleig, 5-7:30 p.m.; rock cover band Chango, 8:30 p.m.; no cover. el Cañon at the Hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. el Farol Rolling Stones tribute band Little Leroy and His Pack of Lies, 9 p.m., call for cover. Hotel santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. la Fiesta lounge at la Fonda Jimmy Stadler Band, Americana/rock, 8-11 p.m., no cover. la Posada de santa Fe Resort and spa Nacha Mendez Duo, pan-Latin rhythms, 6:30-9:30 p.m., no cover. the legal tender at the lamy Railroad Museum Judge Bob & The Hung Jury, classic rock and country, 6-9 p.m., no cover.
low ’n’ slow lowrider bar at Hotel Chimayó de santa Fe Jazz off the Plaza, local jazz trio with weekly special guests, 9:30 p.m.-close, no cover. second street brewery Saltine Ramblers, burqueño Americana band, 6-9 p.m., no cover. second street brewery at the Railyard Swing Soleil, Gypsy jazz and swing, 7 p.m.-close, no cover. tiny’s Chris Abeyta Duo, easy listening, 5:30-8 p.m.; alt-country band Anthony Leon & The Chain, 8:30 p.m.-close; no cover. tortilla Flats Singer/songwriter Gary Vigil, acoustic rock, 6-9 p.m., no cover. vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; pianist/vocalist Bob Finnie, pop standards, 8 p.m.-close; call for cover.
27 Saturday galleRy/MuseuM oPeNINgs
ahalenia studios 2889-E Trades West Rd., 699-5882. Salon de la Raza, group show including works by Nanibah Chacon, Bob Haozous, and J. Luna Gaudi, reception 6-9 p.m., through Aug. 4. Intrigue gallery 238 Delgado St., 820-9265. African art from the Robert Fiedler collection, reception 5-7 p.m., through August. Pop gallery 142 Lincoln Ave., Suite 102, 820-0788. Soul of Science, drawings and paintings by Daniel Martin Diaz, reception 6 p.m., through August.
santa Fe art Collector 217 Galisteo St., 988-5545. Works by watercolorist John Banuelos and painter Alex J. Peña, receptions 10 a.m.-1 p.m. and 5-7 p.m.
oPeRa
Oscar A new opera by Theodore Morrison focusing on Oscar Wilde’s trial for indecency and his ensuing imprisonment in Reading Gaol.Countertenor David Daniels portrays the title character, here less a study in flamboyant wit than in shattered defeat. 8:30 p.m., Santa Fe Opera, 301 Opera Dr., call the box office for information, 986-5900 (see stories, Pages 34-41).
ClassICal MusIC
santa Fe Chamber Music Festival Reflection and Revolution, multimedia presentation featuring the music of Boccherini, Courcelle, and Sor, 5 p.m., performers include guitarist Richard Savino and soprano Christine Brandes, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., tickets available at santafechambermusic.com, 982-1890, or 988-1234, ticketssantafe.org (see story, Page 20).
IN CoNCeRt
big sandy and His Fly-Rite boys The free Railyard Summer Concert Series continues with the Americana-roots band, 7 p.m., Railyard Plaza, 1607 Paseo de Peralta. New Mexico Jazz Festival Eddie Palmieri Latin Jazz Septet, 7:30 p.m., the Lensic, $20-$50, ticketssantafe.org, 988-1234 (see story, Page 56). Runa Celtic-roots ensemble, 8 p.m., Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com.
pasa week
Pasa’s little black book ill el Paseo bar & gr 848 2-2 99 , St. teo lis 208 Ga Rd., 983-9912 el Farol 808 Canyon evangelo’s o St., 982-9014 200 W. San Francisc Hotel santa Fe ta, 982-1200 1501 Paseo de Peral asters Ikonik Coffee Ro 6 99 1600 Lena St., 428-0 St., 982-3433 rcy Ma . la boca 72 W ina la Casa sena Cant 8-9232 98 e., Av e lac Pa E. 5 12 at la Fonda la Fiesta lounge , 982-5511 St. o isc nc Fra n Sa 100 E. a Fe Resort nt sa de da sa Po la e Ave., 986-0000 lac Pa E. 0 33 and spa at the the legal tender eum us M d lamy Railroa 466-1650 151 Old Lamy Trail, g arts Center in lensic Perform o St., 988-1234 isc nc Fra n Sa . 211 W the lodge lodge lounge at St. Francis Dr., N. 0 75 at santa Fe 992-5800 l rider bar at Hote low ’n’ slow low Fe 125 Washington a Chimayó de sant Ave., 988-4900
the Matador 116 W. San Francisco St., 984-5050 the Mine shaft tavern 2846 NM 14, Madrid, 473-0743 Molly’s kitchen & lounge 1611 Calle Lorca, 983-7577 Museum Hill Café 710 Camino Lejo, Milner Plaza, 984-8900 Music Room at garrett’s Desert Inn 311 Old Santa Fe Trail, 982-1851 the Palace Restaurant & saloon 142 W. Palace Ave, 428-0690 the Pantry Restaurant 1820 Cerrillos Rd., 986-0022 Pranzo Italian grill 540 Montezuma Ave., 984-2645 Rouge Cat 101 W. Marcy St., 983-6603 san Francisco street bar & grill 50 E. San Francisco St., 982-2044 santa Fe Community Convention Center 201 W. Marcy St., 955-6705 santa Fe sol stage & grill 37 Fire Pl., solofsantafe.com second street brewer y 1814 Second St., 982-3030
continued on Page 87
second street brewer y at the Railyard 1607 Paseo de Peralta, 989-3278 steaksmith at el gancho 104-B Old Las Vegas Highway, 988-3333 sweetwater Harvest kitchen 1512-B Pacheco St., 795-7383 taberna la boca 125 Lincoln Ave., Suite 117, 988-7102 thunderbird bar & grill 50 Lincoln Ave., 490-6550 tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 tortilla Flats 3139 Cerrillos Rd., 471-8685 the underground at evangelo’s 200 W. San Francisco St., 577-5893 upper Crust Pizza 329 Old Santa Fe Trail, 982-0000 vanessie 427 W. Water St., 982-9966 veterans of Foreign Wars 307 Montezuma Ave., 983-9045 Warehouse 21 1614 Paseo de Peralta, 989-4423 Zia Diner 326 S. Guadalupe St., 988-7008
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exhibitionism
A peek at what’s showing around town
Kathy beekman: Four Windows, 2013, pastel on paper. Kathy Beekman’s pastels capture atmospheric, pastoral scenes of rolling hills, verdant farmlands, and dramatic skies. Real and Imagined, an exhibit of Beekman’s pastels, opens Friday, July 26, with a 5 p.m. reception at Canyon Road Contemporary (403 Canyon Road). Beekman gives a free painting demonstration at 11 a.m. Saturday, July 27, at the gallery. Call 983-0433.
bret Price: Crossroads, 2013, hand-fabricated steel. Karan Ruhlen Gallery (225 Canyon Road) presents California Dreaming: Form and Color, an exhibition of sculptures by Bret Price and paintings by Daniel Phill. Price bends heated steel to fashion sculptures with flowing movement and calligraphic form. Phill’s paintings are loose, gestural abstractions reminiscent of flowering botanicals. The reception is Friday, July 26, at 5 p.m. Call 820-0807.
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PASATIEMPO I July 26 - August 1, 2013
John Feodorov: Protecting Civilization, 2010, oil on canvas. The exhibition Native Vanguard: Contemporary Masters spans more than half a century of Native art and includes work by 15 artists, including T.C. Cannon, Ramona Sakiestewa, and John Feodorov. A preview reception is scheduled for Friday, July 26, at 5 p.m. with a second reception to follow on Friday, Aug. 15. The show is at Zane Bennett Contemporary Art (435 S. Guadalupe St.). Related panel discussions and lectures by Native artists and writers begin on Wednesday, Aug. 14, and are free. Call the gallery for event times at 982-8111.
Arlo namingha: Clouds #1, 2013, indiana limestone. Niman Fine Art (125 Lincoln Ave., Suite 16) presents Dialogue Through Form, an exhibit of Arlo Namingha’s bold, abstract sculptural interpretations of landscapes and symbols of the Southwest. The exhibition includes Namingha’s paintings and jewelry as well as works in bronze, stone, and wood. The show opens Friday, July 26, with a 5 p.m. reception. Call 988-5091.
howard Post: Red Steel, 2012, oil on canvas. Howard Post’s impressionistic paintings of cattle, cowboys, and rodeos capture the spirit of contemporary ranch life in the West. His paintings are often rendered from a bird’s-eye perspective. An exhibit of his works opens at Mark Sublette Medicine Man Gallery (602-A Canyon Road) on Friday, July 26. Post and author Jerry Smith, curator of American and Western American art at the Phoenix Art Museum, sign copies of Smith’s book Howard Post: Western Perspectives during the 5 p.m. opening reception. Call 820-7451.
At the GAlleries Blue Rain Gallery 130-C Lincoln Ave., 954-9902. Poetry of Elevation, Deladier Almeida’s New Mexico landscapes, through Wednesday, July 31. Byzantium Lofts 1348 Pacheco St., Suite 105, 982-3305. Reacts 1-11 & Facts 1-8, new digital drawings by Jonathan Morse, through Friday, July 26. Cloud 5 Project 1805 Second St., 577-5282. Coherent Light, group show including work by Joanne Lefrak, Stephen Auger, and Mayumi Nishida, through Aug. 4. Evoke Contemporary 130-F Lincoln Ave., 995-9902. Paintings by Pamela Wilson, through Wednesday, July 31. Giacobbe Fritz Fine Art 702 Canyon Rd., 986-1156. Imagined History, new work by Wendy Chidester, through Wednesday, July 31. Jay Etkin Gallery 703 Camino de la Familia, Suite 3103, 983-8511. Unexpected/Juxtapositions, group show of interdisciplinary works, through Aug. 3. Legends Santa Fe 125 Lincoln Ave., 983-5639. ¡Espiritu, Brilla!, group show, through Wednesday, July 31. Marigold Arts 424 Canyon Rd., 982-4142. Monuments and Rivers, new watercolors by Robert Highsmith, through Wednesday, July 31. Meyer East Gallery 225 Canyon Rd., 983-1657. Falling Down, patina paintings by Nathan Bennett, through Thursday, Aug. 1. The Owings Gallery 120 E. Marcy St., 982-6244. Roses by Starlight, paintings by Page Allen, through Saturday, July 27. Patina Gallery 131 W. Palace Ave., 986-3432. Continuum, Claire Kahn, jewelry artist, through Sunday, July 28. Peyton Wright Gallery 237 E. Palace Ave., 989-9888. Color Walk, paintings by Mokha Laget, through Wednesday, July 31. Touching Stone Gallery 539 Old Santa Fe Trail, 988-8072. Weathered Beauty, ceramics by Yukiya Izumita, through Saturday, July 27. William & Joseph Gallery 727 Canyon Rd., 982-9404. Laughing Matters, mixed-media sculpture by Stephen Hansen, through Wednesday, July 31. Verve Gallery of Photography 219 E. Marcy St., 982-5009. Figures Studied, 10th anniversary group show, through August. Vivo Contemporary 725-A Canyon Rd., 982-1320. Unfolded: Paper, Pages, Pen, works by Ilse Bolle, Joy Campbell, and Patty Hammarstedt, through Aug. 20. William R. Talbot Fine Art, Antique Maps & Prints 129 W. San Francisco St., second floor, 982-1559. Modernist Printmaking in the Southwest, 1920-1950, including works by Emil Bisttram, Gerald Cassidy, and Gene Kloss, through August.
MuseuMs & Art spAces refer to the daily calendar listings for special events. Museum hours subject to change on holidays and for special events. Center for Contemporary Arts 1050 Old Pecos Trail, 982-1338. Making Places, interdisciplinary installation by Linda Fleming and Michael S. Moore, through Sept. 22. Gallery hours available online at ccasantafe.org or by phone, no charge.
El Rancho de las Golondrinas 334 Los Pinos Rd., 471-2261. Living history museum and historic paraje on El Camino Real, the Royal Road to Mexico City. Open 10 a.m.-4 p.m. Wednesday-Sunday through September. $8; seniors and teens $5; ages 12 and under no charge. Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land, through Sept. 8. Open 10 a.m.-5 p.m. Saturday-Thursday, 10 a.m.-7 p.m. Friday. $12; seniors $10; NM residents $6; students 18 and over $10; under 18 no charge; no charge for NM residents first Friday of each month. Museum of Contemporary Native Arts 108 Cathedral Pl., 983-1666. Facing the Camera: The Santa Fe Suite, photographic portraiture by Rosalie Favell • Stands With a Fist: Contemporary Native Women Artists • For Instance, Look at the Land Beneath Your Feet, video installation by Kade L. Twist • Apache Chronicle, Nanna Dalunde’s experimental documentary on the artist collective Apache Skateboards; through Wednesday, July 31. Open 10 a.m.-5 p.m.; closed Tuesday; noon-5 p.m. Sunday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 476-1250. What’s New in New: Recent Acquisitions, annual exhibit celebrating the gallery’s namesake, Lloyd Kiva New, through 2013 • Woven Identities: Basketry Art From the Collections • Margarete Bagshaw: Breaking the Rules, 20-year retrospective • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. TuesdaySunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups free; NM residents no charge on Sundays; no charge for NM residents over 60 on Wednesdays. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 476-1200. Let’s Talk About This: Folk Artists Respond to HIV/AIDS, collaborative community exhibit, through Jan. 5, 2014 • Tako Kichi: Kite Crazy in Japan, exhibit of traditional Japanese kites, through March 2014 • Plain Geometry: Amish Quilts, textiles from the collection and collectors, through Sept. 2 • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays; school groups no charge. Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 982-2226. Beltrán-Kropp Peruvian Art Collection, exhibit of gift items, including a permanent gift of 60 art pieces and objects from the estate of Pedro Gerardo Beltrán Espantoso, Peru’s ambassador to the U.S. (1944-1945), through May 27, 2014 • Stations of the Cross, works by New Mexico artists, through Sept. 2 • Metal and Mud — Out of the Fire, works by Spanish Market artists, through August • San Ysidro/St. Isidore the Farmer, bultos, straw appliqué, paintings on tin, and retablos
• Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonial-period re-creation. Open 10 a.m.-5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; no charge for NM residents on Sundays. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 4765200. Water Over Mountain, Channing Huser’s photographic installation • Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16, 2014 • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author, through Feb. 9, 2014. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Friday. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge for NM residents over 60 on Wednesdays; NM residents no charge on Sundays; free admission 5-8 p.m. Fridays. New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Peter Sarkisian: Video Works 1994-2011, mixed-media installations, through Aug.18 • Shiprock and Mont St. Michel, Santa Fe photographer William Clift’s landscape studies, through Sept. 8 • Back in the Saddle, collection of paintings, prints, photographs, and drawings of the Southwest, through Sept. 15 • It’s About Time: 14,000 Years of Art in New Mexico,
through January 2014. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Friday. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; NM residents free on Sundays. Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Pl., 988-8900. A Straight Line Curved, paintings by Helen Hardin, through September. Open noon-4 p.m. Friday-Sunday. $10 admission. Poeh Museum 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334. Open 8 a.m.-5 p.m. Monday-Friday; 9 a.m.-4 p.m. Saturday; donations accepted. Rotunda Gallery State Capitol, Old Santa Fe Trail and Paseo de Peralta, 986-4589. New Mexico: Unfolding, group show of mixed-media fiber art, through Aug. 16. SITE Santa Fe 1606 Paseo de Peralta, 989-1199. Enrique Martínez Celaya: The Pearl, site-specific installation, through Oct. 13. Open 10 a.m.5 p.m. Tuesday-Saturday; 10 a.m.-7 p.m. Friday; $10; seniors and students $5; 10 a.m.-noon Saturday no charge; Friday no charge. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13, 2014. Open 10 a.m.-5 p.m. Monday-Saturday, 1-5 p.m. Sunday.
unidentified cowboy on bucking horse, circa 1922, in the New Mexico history Museum exhibit Cowboys Real and Imagined
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In the wings MUSIC
Christine Brewer The soprano in recital honoring Wagner and Britten, accompanied by pianist Joseph Illick, 4 p.m. Sunday, Aug. 4, the Lensic, $25-$50, 986-5900. Ring of Fire Johnny Cash and June Carter Cash tribute performed by Matt Gonzales and Kelly Khun, 6 p.m. Sunday and Monday, Aug. 4-5, La Casa Sena Cantina, 125 E. Palace Ave., $25, 988-9232. Truth & Salvage Company Roots-rock band, 8 p.m. Tuesday, Aug. 6, Santa Fe Sol Stage & Grill, 37 Fire Pl., advance tickets $10, 988-1234, ticketssantafe.org, $13 at the door. David Yard and Daniel Weston Classical guitar recitals, 6 p.m. Friday, 11 a.m. Sunday, Aug. 9 and 11, evening concert at Casa Chimayó in Santa Fe, morning concert at La Tienda Performance Space in Eldorado, $25, performance and meals $60, 575-770-5094. Santa Fe Opera community events Special family performances of Britten’s Noah’s Flood, 6 p.m. Saturday, Aug. 10, 10:30 a.m. and 1 p.m. Sunday, Aug. 11, fully staged with costumes, sets, and orchestra, featuring baritone Alan Dunbar and mezzo-soprano Ellie Jarrett Shattles $5; Apprentice Showcase Scenes, 8 p.m. Sunday, Aug. 11 and 18, $7-$21; 986-5900. Festival of Song Santa Fe Opera performers in recital, including tenors Paul Appleby and Michael Fabiano, and mezzo-soprano Susanne Mentzer, 4 p.m. Sunday, Aug. 11 and 18, and Wednesday, Aug.14, Scottish Rite Center, $40, tickets available at the Santa Fe Concert Association box office, 984-8759, or through the Lensic, 988-1234, ticketssantafe.org. Makana Hawaiian slack-key guitarist, 8 p.m. Thursday, Aug. 15, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com. Music From Angel Fire The 30th season features Chick Corea as the 2013 composer-in-residence; artists include Ida Kavafian, Anne-Marie McDermott, the Harlem Quartet, and Imani Winds, Aug. 16Sept. 1, Angel Fire, Taos, Raton, and Las Vegas, $20-$35, 888-377-3300, musicfromangelfire.org. Tiempo Libre Miami-based timba-music band, 8 p.m. Friday, Aug. 16, the Lensic, $12-$42, 988-1234, ticketssantafe.org. 39th Annual Santa Fe Bluegrass and Old Time Music Festival Headliners, Claire Lynch Band and Foghorn Stringband, New Mexico bands include Hard Road Trio, The Lost Howlin’ Coyotes, and The Bill Hearne Trio, Friday-Sunday, Aug. 23-25, Santa Fe County Fairgrounds, $15-$40, three-day pass $50, southwestpickers.org. Sylvia McNair The singer headlines Santa Fe Desert Chorale’s gala benefit, al fresco cocktail reception, dinner, live auction, and performance, 6 p.m. Thursday, Aug. 29, La Posada de Santa Fe Resort and Spa, 330 E. Palace Ave., call 988-2282 for information. Slaid Cleaves Singer/songwriter, 7:30 p.m. Friday, Aug. 30, Music Room, Garrett’s Desert Inn, 311 Old Santa Fe Trail, $20 in advance, southwestrootsmusic.org, $25 at the door. Music and Myth Robert Mirabal’s theatrical concert, 7 p.m. Friday and Saturday, Aug. 30-31, Santa Fe Opera, 301 Opera Dr., $25-$65, 986-5900. 86
PASATIEMPO I July 26 - August 1, 2013
Michael Hearne’s 11th Annual Big Barn Dance Music Festival Lineup includes Sonny Throckmorton, Claude “Butch” Morgan, Jimmy Stadler, and South by Southwest, Thursday-Saturday, Sept. 5-7, Taos Ski Valley, details available online at michaelhearne.com. Melissa Etheridge Rock singer/songwriter, 7:30 p.m. Friday, Sept. 6, Santa Fe Opera, 301 Opera Dr., $44-$81, 986-5900. Los Lonely Boys Texican rock ’n’ rollers, 6:45 p.m. Friday, Sept. 13, Santa Fe Community Convention Center, $25, VIP tickets $75, 988-1234, ticketssantafe.org. Santa Fe Pro Musica season opener Music of Haydn, Shostakovich, and Mozart, featuring pianist Conrad Tao and trumpeter Brian Shaw, Saturday and Sunday, Sept. 21-22, the Lensic, $20-$65, ticketssantafe.org, 988-1234. Michael Franti & Spearhead Funk/reggae/jazz fusion band, 7:30 p.m. Wednesday, Oct. 23, Santa Fe Community Convention Center, $30, ticketssantafe.org, 988-1234, $35 at the door, 21+.
THEATER/DANCE
The Screwtape Letters Fellowship for the Performing Arts presents its comedic theatrical adaptation of the C.S. Lewis novel, 8 p.m. Friday, 4 p.m. Saturday, Aug. 2-3, the Lensic, $35-$55, student discount available, 988-1234, ticketssantafe.org. Still Around Liliane Montevecchi and Kaye Ballard on stage at the Lensic, 7:30 p.m. Thursday, Aug. 8, tickets start at $20, VIP tickets ($125) include a reception with the performers, ticketssantafe.org, 988-1234. From Nofire Hollow to Hollywood Wes Studi’s one-man show, 6:30 p.m. Monday, Aug. 12, The Club at Las Campanas, $85
Upcoming events in advance, includes wine and hors d’oeuvres, silverbulletproductions.com, 820-0552, proceeds benefit SBP’s educational workshops. All for Your Delight Scenes and songs from Shakespeare’s comedies, 7:30 p.m. Friday-Sunday, Aug. 16-18, outdoors at St. John’s College, 1160 Camino de Cruz Blanca, $20 in advance, student discounts available, 988-1234, ticketssantafe.org. Secret Things Camino Real Productions presents Elaine Romero’s play about New Mexico Crypto-Jews, Friday-Sunday, Aug. 16-25, Teatro Paraguas Studio, 3205 Calle Marie, $18, discounts available, 424-1601. A Veritable Verisimilitude of Vegas Voluptuousness or A Fracking Good Time or Challenging Chicken Choices in the Chintzy Chaparral 2013 Fiesta Melodrama, an annual sendup of all things Santa Fe; opening Wednesday, Aug. 28, with a street party honoring the Fiesta Court, continuing through Sept. 8, Santa Fe Playhouse, 142 E. DeVargas St., street party $30, all other performances $20, 988-4262.
HAPPENINgS
Sherman Alexie The Native writer and filmmaker hosts a fundraiser for the Institute of American Indian Arts, 6 p.m. Friday, Aug. 2, 83 Avan Nu Po Rd.,$50 in advance, 988-1234, ticketssantafe.org. 30th Anniversary ground Blessing and Apache Mountain Spirit Dance Allan Houser Studio and Sculpture Gardens hosts the event Saturday, Aug. 3, gates open at 4 p.m., ceremony begins at 5 p.m., $20, couples $30, 471-1528. Your Heart Is My Shelter Hillside Market hosts an art auction with catered food and music in support of Esperanza Shelter for Battered Families; Jay Boy Adams & Zenobia and Raven Red Fox perform, 6:30 p.m. Saturday, Aug. 3, 86 Old Las Vegas Highway, $35, 982-9944. SITE Santa Fe gala Featuring a live auction of contemporary art; guest artist Richard Tuttle; Wednesday and Thursday, Aug. 7-8, 1606 Paseo de Peralta, call 989-1199 for tickets. Breakfast with the Curators series Museum of Indian Arts & Culture exhibit talks and tours, 8:30-10 a.m. Aug. 9, 13, 16,
Roots-rock band truth & salvage company performs at santa Fe sol stage & grill Aug. 6.
and 23, Museum Hill Café, 710 Camino Lejo, Milner Plaza, $35 advance tickets include breakfast and museum admission, 982-5057. 22nd Annual Zia Regional Rodeo Charity event presented by the New Mexico Gay Rodeo Association; 9 a.m.-5 p.m. Saturday and Sunday, Aug. 10-11, Rodeo de Santa Fe Fairgrounds, 3237 Rodeo Rd., $15 per day at the gate; $25 weekend pass; children 12 and under no charge, nmgra.com. 92nd Annual Indian Market Monday-Sunday, Aug. 12-18; more than 1,000 Native artists; market events include the 13th Annual Native Cinema Showcase, Best of Show ceremony and luncheon, concerts, and a Native American Clothing Contest, on the Plaza and surrounding streets; visit swaia.org for full events schedule. At the Artist’s Table Fundraiser with artist Emmi Whitehorse and chef Tracy Ritter for the Partners in Education Foundation and Santa Fe Arts Commission’s Artist Exhibit and Education Program; dinner with a meet-and-greet component and signed artwork by the artist, 6 p.m. Tuesday, Aug. 13, Santa Fe School of Cooking, 125 N. Guadalupe St., visit attheartiststable.org or call 955-6707 or 474-0240 for more information. Jeff Speck: Why the Future Belongs to Walkable Cities Lecture and discussion with the author/city planner, 6 p.m. Tuesday, Aug. 13, Armory for the Arts, 1050 Old Pecos Trail, $10, students $5, ticketssantafe.org, 988-1234. Museum of Contemporary Native Arts 2013 Summer Arts Public Programs Free group exhibit openings Thursday, Aug. 15, featuring a special performance by Iroquois singer/songwriter Joanne Shenandoah; additional events running through the weekend of Aug. 16, include panel discussions featuring Native artists and museum directors and the premiere of a new collection by Native designers, 108 Cathedral Pl., 983-8900. 38th annual Wheelwright Museum of the American Indian benefit auction Silent auction and live auction preview Thursday, Aug. 15; Collector’s Table, live auction preview, and live auction Friday, Aug. 16; plus, artist demonstrations and optional catered lunch, 704 Camino Lejo, Museum Hill, 982-4636, wheelwright.org. Palace Portal Artisans’ Celebration Native specialties food booth, music, handcrafted work, and traditional dances, 10 a.m.-5 p.m. Saturday and Sunday, Aug. 17-18, Palace of the Governors on the Plaza, 476-5200. Jim Hightower talk and reception The national radio commentator is the guest speaker at an event presented by KSFR Radio, 5:30 p.m. Saturday, Aug. 24, Museum Hill Café, $35, 428-1527. Fiestas de Santa Fe Annual community celebration (since 1721) running Aug. 31, through Sept. 8; arts & crafts market; Mariachi Extravaganza de Santa Fe; historic processions and reenactments; burning of Zozobra, Thursday, Sept. 5; visit santafefiesta.org for schedule and details. 23rd Annual Santa Fe Wine & Chile Festival Luncheons, tours, and seminars, Sept. 25-29, visit santafewineandchile.org or call 438-8060 for tickets and details.
pasa week
from Page 83
27 Saturday (continued) theater/dance
Bye Bye Birdie Pandemonium Productions presents the musical (actors ages 7-17), 7 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, kids 12 and under $6, 982-3327, final weekend. Juan Siddi Flamenco theatre company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234, TuesdaysSundays through Sept. 1. Julesworks Follies The monthly variety show series of local talent continues with a reading by author Trent Zelazny, a spoken-word performance by Tone Forrest, and acoustic guitarist John Kurzweg, 7 p.m., Aztec Café, 317 Aztec St., tickets sold at the door, call 310-9997 for more information. The Race to the Planet of the Cheese Playhouse Children’s Theatre production presents a student-produced play, 6 p.m., Santa Fe Playhouse, 142 E. DeVargas St., $10, discounts available, 988-4262. Spring Awakening Gemini Productions and Warehouse 21 present the musical, 7 p.m., Warehouse 21, 1614 Paseo de Peralta, $12, 231-6879, holdmyticket.com, ages 16 and under must be accompanied by an adult, final weekend. Twelfth Night Santa Fe Shakespeare Society presents its third annual outdoor performance series held at SFUA&D; 6 p.m. today and Sunday, the Bandshell, 1600 St. Michael’s Dr., $5$20 sliding donations requested, 490-6271, visit sfshakespeare.org for schedule through Aug. 11. Yjastros: the american Flamenco repertory company at el Farol 8 p.m. Tuesdays-Sundays through Aug.11, $25, 983-9912.
Talking Heads
oscar Wilde: celebrity or notoriety? The seminar, presented by the Santa Fe Opera, includes a panel discussion of scholarly papers, a round-table presentation, and a staged reading of Moisés Kaufman’s play Gross Indecency: The Three Trials of Oscar Wilde by Santa Fe REP; Friday through Sunday, July 26-28, Santa Fe Woman’s Club, 1616 Old Pecos Trail, Friday presentation and lunch $50, entire symposium $85, call 946-2417 for reservations.
bookS/talkS
Marriage and other Poems Poetry and conversation with Mary Margaret Alvarado and Nico Alvarado, 2 p.m., Muñoz Waxman Gallery, Center for Contemporary Arts, 1050 Old Pecos Trail, no charge, 982-1338. new Mexico Jazz Festival: Meet the artist Jazz pianist and bandleader Eddie Palmieri in conversation, 2 p.m., the Lensic, no charge (see story, Page 56). Wild encounters: on the road, alaska to baja Slide presentation by Christina Nealson, 5 p.m., Travel Bug Books, 839 Paseo de Peralta, 992-0418.
outdoorS
Guided nature walks Bird walk with Rocky Tucker, 8 a.m.10 a.m., Leonora Curtin Wetland Preserve, 27283 W. Frontage Rd., adjacent to El Rancho de las Golondrinas, call Santa Fe Botanical Garden for details, 471-9103, no charge. Power Yoga in the Park 9:15 a.m. Saturdays through Aug. 25, Chavez Community Center Park, 3221 Rodeo Rd., $6, discounts available, 955-4000, all ages.
eventS
27th annual contemporary hispanic Market Artists include Darlene Olivia McElroy (booth 48) and Miller Lopez (booth 18), 8 a.m.5 p.m. through Sunday, along Lincoln Ave., contemporaryhispanicmarket.com (see stories, Pages 60 and 62). Santa Fe artists Market 8 a.m.-1 p.m. Saturdays at Railyard Park across from the Farmers Market, through November, 310-1555. Santa Fe Farmers Market 7 a.m.-noon; Collected Works Bookstore hosts Irene Rawlings in a discussion of recipes in the cookbook Cast-Iron Cooking With Sisters on the Fly, 9 a.m.-noon, 1607 Paseo de Peralta, 983-4098. Santa Fe opera Insider days Opera Guild members offer insights into productions and behind-the-scenes processes at no charge; refreshments 8:30 a.m., discussion and backstage tour 8:45 a.m., Saturdays through Aug. 24, meet at the box office, 986-5900, visit santafeopera.org for complete schedule of community events. Santa Fe Society of artists Show 9 a.m.-5:30 p.m., at the First National Bank parking lot on W. Palace Ave., across from the New Mexico Museum of Art, weekends through Oct. 20. Spoon Me Homemade ice cream, porcelain spoons by art collective Scuba, and live music with bassist Brian Mayhall, 9 p.m.-midnight, Counter Culture 930 Baca St., $20, 995-1105. third annual national day of the cowboy Kids horse show, arena polo, jumping competition, and chuckwagon lunch, 10 a.m.-4 p.m., Mortenson Arena, 96 Bonanza Creek Rd., 424-9330. traditional Spanish Market 62nd annual event, featuring furniture makers, santeros, dance troupes, and live music, 8 a.m.-5 p.m., on the Plaza, 982-2226, continues Sunday (see story, Page 58).
nIGhtlIFe
(See Page 83 for addresses) ¡chispa! at el Mesón Tierra Soniquete, Joaquin Gallegos on guitar and J.Q. Whitcomb on trumpet, 7 p.m.-close, call for cover.
Americana-roots band Big Sandy and His Fly-Rite Boys performs in Los Alamos at Gordon’s Summer Concerts Friday, July 26, and at the Santa Fe Railyard Summer Concert Series Saturday, July 27.
cowgirl bbQ Dave Jordon Band, roots rock, 2-5 p.m.; Sean Healen Band, folk-rockers, 8:30 p.m.-close; no cover. el cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. el Farol Albuquerque salsa band Tumbao, 9 p.m., call for cover. la casa Sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Jimmy Stadler Band, Americana/rock, 8-11 p.m., no cover. la Posada de Santa Fe resort and Spa Jazz vocalist Whitney Carroll Malone, bassist Asher Barreras, and guitarist Pat Malone, 6-9 p.m., no cover. the legal tender at the lamy railroad Museum Buffalo Nickel Band, boot-scootin’ music, 6-9 p.m., no cover. Pranzo Italian Grill Pianist David Geist and vocalist Julie Trujillo, Broadway show tunes, 6-9 p.m., call for cover. the Mine Shaft tavern/engine house theatre Connie Long & Fast Patsy, Janis Joplin meets Patsy Cline, 7-11 p.m., at the tavern; R & B band The Pleasure Pilots, 7-11 p.m., at the theater; call for cover. Second Street brewery Local blues band The Attitudes, 6-9 p.m., no cover. Second Street brewery at the railyard Country Blues Revue, 7-10 p.m., no cover. Sweetwater harvest kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover. tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m.-close, no cover. the underground at evangelo’s The Collective Reggae Party with DJ Dynamite Sol and Brotherhood Sound’s Don Martin, 9 p.m., call for cover. vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; Jay Boy Adams and Zenobia, R & B, 8 p.m.-close; call for cover.
28 Sunday claSSIcal MuSIc
Santa Fe chamber Music Festival Beethoven Septet and Brahms Trio, performers include clarinetist Todd Levy, bassoonist Theodore Soluri, and pianist Jeremy Denk, 6 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., tickets available at santafechambermusic.com, 982-1890, or 988-1234, ticketssantafe.org.
In concert
new orleans Sunset Santa Fe Youth Symphony Association fundraiser and 20th anniversary celebration, with jazz sets that include Dave Anderson, Dave Brady, Chris Ishee, and Jan McDonald, 6 p.m., $100, couples $180, includes food and wine, call 467-3770 for tickets and venue details.
theater/dance
Bye Bye Birdie Pandemonium Productions presents the musical (actors ages 7-17), 2 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, kids 12 and under $6, 982-3327. Gross Indecency: The Three Trials of Oscar Wilde Santa Fe REP presents a reading of Moisés Kaufman’s play, 4 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, $15, discounts available, 629-6517 or sfrep.org. Juan Siddi Flamenco theatre company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234, TuesdaysSundays through Sept. 1. Spring Awakening Gemini Productions and Warehouse 21 present the musical, 2 p.m., Warehouse 21, 1614 Paseo de Peralta, $12, 231-6879, holdmyticket.com, ages 16 and under must be accompanied by an adult. Twelfth Night Santa Fe Shakespeare Society presents its third annual outdoor performance series held at SFUA&D; 6 p.m., the Bandshell, 1600 St. Michael’s Dr., $5-$20 sliding donations requested, 490-6271, visit sfshakespeare.org for schedule through Aug. 11. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM
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nIgHTlIFE
Yjastros: The American Flamenco Repertory Company at El Farol 8 p.m. Tuesdays-Sundays through Aug. 11, $25, 983-9912.
(See Page 83 for addresses) El Farol Jazz saxophonist Trey Keepin, 8 p.m., no cover. la Fiesta lounge at la Fonda Sierra, country band, 7:30 p.m.-close, no cover. upper Crust Pizza Balladeer J. Michael Combs, 6-9 p.m.; folk-country duo Eagle Star, 7-8 p.m.; no cover. vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover.
books/TAlks
Artist talk Painter Billy Schenck discusses his work on exhibit, 2 p.m., Manitou Galleries, 225 Canyon Rd., 986-9833 (see story, Page 68). Collected Works open-mic Monthy event open to unpublished poets, writers, acoustic musicians, and stage performers, 3-4:30 p.m., sign up at 2:45 p.m. on the day of the event for a 10-minute spot, Collected Works Bookstore, 202 Galisteo St., no charge, 988-4226. David Correia The author discusses Properties of Violence: Law and Land Grant Struggle in Northern New Mexico, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. Elizabeth Raby and Jane lipman The New Mexico poets read from their collections, 5 p.m., Teatro Paraguas, 3205 Calle Marie, 424-1601, no charge. Henry Ahlefelder The author celebrates the release of his first book, The Way of the Divine Everyman: Drop the Baggage, Discover Your Bliss, and Reveal the Yogi Within, 3-5 p.m. Winterowd Fine Art, 701 Canyon Rd., 992-8878. Institute of American Indian Arts Writers Festival Free readings by students, faculty, and Native authors, including N. Scott Momaday, 6 p.m. today through Aug. 3, 83 Avan Nu Po Rd., 424-2351 (see Subtexts, Page 16).
EvEnTs
27th Annual Contemporary Hispanic Market Artists include Darlene Olivia McElroy (booth 48) and Miller Lopez (booth 18), 8 a.m.5 p.m., along Lincoln Ave. (see stories, Pages 60 and 62), contemporaryhispanicmarket.com. Railyard Artisans Market 10 a.m.-4 p.m.; live music with balladeer J. Michael Combs; Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta. santa Fe society of Artists show 9 a.m.-5:30 p.m., at the First National Bank parking lot on W. Palace Ave., across from the New Mexico Museum of Art, weekends through Oct. 20. Traditional spanish Market 62nd annual event featuring furniture makers, santeros, dance troupes, and live music, 9:30 a.m.-5 p.m., on the Plaza, 982-2226 (see story, Page 58).
FlEA MARkETs
Pueblo of Tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com. The santa Fe Flea at the Downs 8 a.m.-3 p.m. Saturdays and Sundays through September, south of Santa Fe at NM 599 and Interstate 25 Frontage Rd., 982-2671, santafetraditionalflea.com.
nIgHTlIFE
(See Page 83 for addresses) Café Café Guitarist Michael Tait Tafoya, 6-9 p.m., no cover. Cowgirl bbQ R & B/gospel singer/songwriter Zenobia, noon3 p.m.; Texas singer/songwriter Susan Gibson, 8 p.m.; no cover. The Den at Coyote Café Vocalist Faith Amour’s Bright Eyes CD-release party, 6:30-9 p.m., no cover. El Farol Lydia Clark & Soul Evolution, 1-3 p.m., no cover.
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PASATIEMPO I July 26 - August 1, 2013
30 Tuesday oPERA
Grand Duchess of Gerolstein Offenbach’s operetta about military shenanigans is mighty slight stuff, but Lee Blakeley has directed it to a fare-thee-well, the cast sings and dances with frothy élan, and mezzo-soprano Susan Graham invests it with impressive star power. 8 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900.
ClAssICAl MusIC
Paintings by Woody Gwyn at LewAllen Galleries at the Railyard, 1613 Paseo de Peralta
Evangelo’s Tone & Company, R & B, 8:30 p.m., no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Posada de santa Fe Resort and spa Wily Jim, Western swingabilly, 6-9 p.m., no cover. The Mine shaft Tavern Blues band The Barbwires, 3-7 p.m., no cover. second street brewery at the Railyard Joe West & The Santa Fe Revue, Psychedelic country, 1-4 p.m., no cover. vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover.
29 Monday oPERA
La Traviata Verdi’s indelible classic about a Parisian courtesan in a moral quandary returns in a revival of a 2009 staging by Laurent Pelly but with a new cast, now centering on soprano Brenda Rae, tenor Michael Fabiano, and baritone Roland Wood. 8 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900.
ClAssICAl MusIC
santa Fe Chamber Music Festival Free 10 a.m. youth concert with clarinetists Todd Levy and Katherine Kohler and bassoonist Lewis Kirk; 6 p.m. evening concert, Beethoven Septet & Brahms Trio, performers include violist Choon-Jin Chang, bassist Kristen Bruya, and cellist Peter Stumpf, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., tickets available at santafechambermusic.com, 982-1890, or 988-1234, ticketssantafe.org.
In ConCERT
santa Fe bandstand Fiddlin’ Doc Gonzales, classic country-swing, noon; singer/songwriter Lipbone Redding, 6 p.m.; roots-rock duo Round Mountain, 7:15 p.m.; on the Plaza, santafebandstand.org, series continues through Aug. 23.
books/TAlks
battle for supremacy in the northern Plains: The lt. general Pedro de villasur Expedition of 1720 A Southwest Seminars lecture with filmmaker Jeff Hengesbaugh, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775. Institute of American Indian Arts Writers Festival Free readings by students, faculty, and Native authors, including N. Scott Momaday, 6 p.m., through Aug. 3, 83 Avan Nu Po Rd., 424-2351 (see Subtexts, Page 16). namingha: Perspectives on Modernist native American Painting Reception and conversation with Arlo and Dan Namingha, 5-6:30 p.m., Niman Fine Art, 125 Lincoln Ave., presented at no charge by the Georgia O’Keeffe Museum, 946-1039. new Mexico Museum of Art gallery talk The summer series continues with NMMA director Mary Kershaw, 12:15-1 p.m., 107 W. Palace Ave., by museum admission, 476-5072. Penelope grenoble The author reads from and signs copies of No Good E D Deed: A Brody Cooper C E L6lp.m., Collected NMystery, A C Works Bookstore, 202 Galisteo St., 988-4226.
EvEnTs
santa Fe opera backstage Tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays through Aug. 13.
santa Fe Chamber Music Festival Shai Wosner: piano recital, music of Schubert and Widmann, noon, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., tickets available at santafechambermusic.com, 982-1890, or 988-1234, ticketssantafe.org. santa Fe Desert Chorale 2013 summer Festival Touched With Fire, 8 p.m., pre-concert talk with Robert Kyr, 7 p.m., First Presbyterian Church, 208 Grant Ave., $10-$50, 988-2282 desertchorale.org.
In ConCERT
santa Fe bandstand Local dirt-rock band Treemotel, 6 p.m.; psychedelic/post-rock band Jupiter Spiral, 7:15 p.m.; on the Plaza, santafebandstand.org, series continues through Aug. 23.
THEATER/DAnCE
Juan siddi Flamenco Theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234, TuesdaysSundays through Sept. 1. Yjastros: The American Flamenco Repertory Company at El Farol 8 p.m. Tuesdays-Sundays through Aug. 11, $25, 983-9912.
books/TAlks
Institute of American Indian Arts Writers Festival Free readings by students, faculty, and Native authors, including N. Scott Momaday, through Aug. 3, 83 Avan Nu Po Rd., 424-2351 (see Subtexts, Page 16). Roger Wiens The author reads from and signs copies of Red Rover: Inside the Story of Robotic Space Exploration, From Genesis to the Mars Rover Curiosity, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. santa Fe Photographic Workshops Instructor Image Presentation series Open conversation and slide presentation of works by Rick Allred, Norah Levine, Paul Mobley, and Eddie, Soloway, 8:30-10 p.m., Santa Fe Prep auditorium, 1101 Camino de Cruz Blanca, no charge, 983-1400, Ext 11. sITE santa Fe: My life in Art The talk series continues with Sidney Felsen and Joni Weyl in conversation with Juliet Myers, 6 p.m., Santa Fe Performing Arts, 1050 Old Pecos Trail, $5 and $10, 989-1199.
1 Thursday
events
Behind Adobe Walls House and Garden tour Santa Fe Garden Club’s annual guided tour of local private residences; noon-5 p.m., $75, optional pre-tour luncheon $20, call Terry at Westwind Travel, 984-0022, for reservations and information, thesantafegardenclub.org. santa Fe Farmers Market 7 a.m.-noon, 1607 Paseo de Peralta, 983-4098. santa Fe Farmers Market on the southside 3-6 p.m., Santa Fe Place Mall, Zafarano Dr. entrance, 913-209-4940, Tuesdays through Sept. 24. santa Fe Opera Backstage tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900 weekdays through Aug. 13.
La Donna del Lago This rarely encountered melodramma by Rossini, based on Sir Walter Scott’s The Lady of the Lake, receives an underwhelming, kilt-crammed production that is redeemed by marvelous bel canto singing from mezzo-sopranos Joyce DiDonato and Marianna Pizzolato, as well as tenor Lawrence Brownlee. 8 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900.
niGHtliFe
ClAssiCAl MusiC
GAllerY/MuseuM OpeninGs
Bellas Artes 653 Canyon Rd., 983-2745. Pozos Azules, work by textile artist Olga de Amaral, through Sept. 28.
OperA
santa Fe Chamber Music Festival Johannes String Quartet performs music of Dutilleux and Brahms, noon, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., tickets available at santafechambermusic.com, 982-1890, or 988-1234, ticketssantafe.org. santa Fe Chamber Music Festival Baritone Matthew Worth, pianist Shai Wosner, and the Johannes String Quartet in a program of Schumann and Schubert, 6 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., tickets available at santafechambermusic.com, 982-1890, or 988-1234, ticketssantafe.org. santa Fe desert Chorale 2013 summer Festival Northern Lights, 8 p.m., pre-concert talk with Robert Kyr, 7 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $15-$50, 988-2282, desertchorale.org.
(See Page 83 for addresses) Cowgirl BBQ Singer/songwriter Lipbone Redding, 8 p.m., no cover. el Farol Canyon Road Blues Jam with Tiho Dimitrov, Brant Leeper, Mikey Chavez, and Tone Forrest, 8:30 p.m.-midnight, no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Sierra, country band, 7:30 p.m.-close, no cover. vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; jazz-fusion pianist Tom McDermott, 8 p.m.-close; call for cover.
31 Wednesday
in COnCert
OperA
Oscar A new opera by Theodore Morrison focusing on Oscar Wilde’s trial for indecency and his ensuing imprisonment in Reading Gaol. Countertenor David Daniels portrays the title character, here less a study in flamboyant wit than in shattered defeat. 8 p.m., Santa Fe Opera, 301 Opera Dr., call the box office for information, 986-5900 (see stories, Pages 34-41).
in COnCert
KsFr radio Music Café jazz series Vocalist Barbara Bentree, with John Rangel on piano, Andy Zadrozny on bass, and John Trentacosta on drums, 7 p.m., Museum Hill Café, 710 Camino Lejo, Milner Plaza, $20, 428-1527. santa Fe Bandstand Pan-Latin chanteuse Nacha Mendez, noon; Mariachi Buenaventura, 6 p.m.; Chicano-rock band Lumbre Del Sol, 7:15 p.m.; on the Plaza, santafebandstand.org, series continues through Aug. 23.
tHeAter/dAnCe
Juan siddi Flamenco theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, 988-1234, ticketssantafe.org, Tuesdays-Sundays through Sept. 1. Yjastros: the American Flamenco repertory Company at el Farol 8 p.m. Tuesdays-Sundays through Aug. 11, $25, 983-9912.
BOOKs/tAlKs
dharma talk series Hosted by Upaya Zen Center, 5:30-6:30 p.m., 1404 Cerro Gordo Rd., no charge, 986-8518.
santa Fe Bandstand Santa Fe jazz ensembles: John Trentacosta & Straight Up, 6 p.m.; pianist Bert Dalton and his ensemble Brazil Project, 7:15 p.m., on the Plaza, santafebandstand.org, series continues through Aug. 23.
tHeAter/dAnCe Jeffrey Schweitzer’s paintings are shown at Bindle Stick Studio, 616½-B Canyon Rd.
institute of American indian Arts Writers Festival Free readings by students, faculty, and Native authors, including N. Scott Momaday, through Aug. 3, 83 Avan Nu Po Rd., 424-2351 (see Subtexts, Page 16). rick smith The poet reads from Hard Landing, 5:30 p.m., Op. Cit. Books, 500 Montezuma Ave., Suite 101, Sanubusco Center, 428-0321. santa Fe Clay summer slide lecture The series continues with ceramicist Steven Hill, 7 p.m., Santa Fe Clay, 545 Camino de la Familia, no charge, 984-1122, Wednesdays through Aug. 14. santa Fe institute 2013 Community lecture The free series continues with Beyond Interdisciplinarity: Reconceptualizing the Academic Enterprise, with Michael Crow, 7:30 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., santafe.edu. similarity and equality in euclid and Apollonius St. John’s College’s free summer lecture and Q & A series continues with Michael Fried, 3:15 p.m., Junior Common Room, Peterson Student Center, 1160 Camino de Cruz Blanca, 984-6070.
events
santa Fe Opera Backstage tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays through Aug. 13.
niGHtliFe
(See Page 83 for addresses) Agoyo lounge at the inn on the Alameda Jazz guitarist Pat Malone, 5-7 p.m., no cover. ¡Chispa! at el Mesón Flamenco guitarist Joaquin Gallegos, 7:30 p.m.close, no cover. Cowgirl BBQ Americana singer/songwriters Art, Lisa, and John, 8 p.m., no cover. el Farol Pan-Latin chanteuse Nacha Mendez with Santastico, 8 p.m.-close, no cover. la Casa sena Cantina Santa Fe band Savor, Cuban rhythms, 5:30-7:30 p.m., no cover. la Fiesta lounge at la Fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. tiny’s Mike Clymer of 505 Bands’ electric jam, 8:30 p.m.-close, no cover.
Juan siddi Flamenco theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, 988-1234, ticketssantafe.org, TuesdaysSundays through Sept. 1. Yjastros: the American Flamenco repertory Company at el Farol 8 p.m. Tuesdays-Sundays through Aug. 11, $25, 983-9912.
BOOKs/tAlKs
Authenticity in native Arts The lecture series presented by Southwestern Association for Indian Arts continues with Native American Contemporary Art, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. Creativity for peace 2013 summer program Young women from Palestine and Israel discuss the bonds of friendship established during the organization’s camp, 5:30 p.m., Scottish Rite Center, 463 Paseo de Peralta, $25 in advance, $30 at the door, admission includes a catered meal, dancers, and live music, creativityforpeace.com, 982-3765. institute of American indian Arts Writers Festival Free readings by students, faculty, and Native authors, including N. Scott Momaday, 6 p.m., through Aug. 3, 83 Avan Nu Po Rd., 424-2351 (see Subtexts, Page 16). ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM
89
events
11th Annual City of santa Fe Art on loan exhibit Artists working in all media are encouraged to apply to display works outdoors on city-owned property; submission deadline 5 p.m. Monday, Aug. 5; loan proposal forms available online at the City of Santa Fe Arts Commission website, santafenm.gov, at the Art in Public Places page, for more information call 955-6707.
santa Fe Opera Backstage tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays through Aug. 13.
nightliFe
(See Page 83 for addresses) ¡Chispa! at el Mesón Different Standards, jazz trio, 7:30 p.m., no cover. Cowgirl BBQ Reggae band Jah Branch, 8 p.m., no cover. evangelo’s Rolling Stones tribute band Little Leroy and His Pack of Lies, 9 p.m., call for cover. la Boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. la Fiesta lounge at la Fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. la Posada de santa Fe Resort and spa Pat Malone Jazz Trio, with Kanoa Kaluhwa on saxophone, Asher Barreras on bass, and Malone on archtop guitar, 6-9 p.m., no cover. low ’n’ slow lowrider Bar at hotel Chimayó de santa Fe Gerry Carthy, tenor guitar and flute, 8 p.m., call for cover. second street Brewery Local blues singer/ songwriter Jono Manson, 6-9 p.m., no cover. second street Brewery at the Railyard Acadian Drifters, acoustic bluegrass duo Gregg Daigle and Chris Plourde, 6-8 p.m., no cover. vanessie Bob Finnie, pop standards piano and vocals, 7 p.m.-close; no cover.
▶ Elsewhere abiquiú
Abiquiú lecture series Adapting to Suggestion, by Willis Lee, 7 p.m. Thursday, Aug. 1, Abiquiú Inn, 21120 NM 84, 505-685-4378, no charge, continues the first Thursday of the month through Oct. 3.
albuquErquE Museums/Art spaces
Albuquerque Museum of Art & history 2000 Mountain Rd. N.W., 505-243-7255. Estampas de la Raza: Contemporary Prints From the Romo Collection, through Sept. 29 • Changing Perceptions of the Western Landscape, contemporary group show, through Sept. 1 • Landscape Drawings From the Collection, through Oct. 27. Open 9 a.m.-5 p.m. Tuesday-Sunday; adults $4 ($1 discount for NM residents); seniors $2; children ages 4-12 $1; 3 and under no charge; the first Wednesday of the month and 9 a.m.-1 p.m. Sundays no charge. indian Pueblo Cultural Center 240112th St. N.W., 866-855-7902. Challenging the Notion of Mapping, Zuni map-art paintings, through August. Open 9 a.m.-5 p.m. daily; adults $6; NM residents $4; seniors $5.50. new Mexico Museum of natural history & science 1801 Mountain Rd. N.W., 505-841-2804. Open 9 a.m.-5 p.m. daily; adults $7, seniors $6, under 12 $4; NM seniors no charge on Wednesdays.
events/Performance
eighth Annual new Mexico Jazz Festival 8 p.m. Sunday, July 28, pianist/composer Tom McDermott closes out the festival, Outpost Performance Space, 210 Yale Blvd. S.E., $15 and $20, 505-268-0044, or $20 at the Lensic box office, 988-1234, ticketssantafe.org. 90
PASATIEMPO I July 26 - August 1, 2013
Filmmakers/Performers
Singer/songwriter Lipbone Redding performs on the Plaza Monday, July 29, and at Cowgirl BBQ Tuesday, July 30.
Bradbury science Museum 1350 Central Ave., 667-4444. Nanotechnology: The Science of the Small and Algae to Biofuels: Squeezing Power From Pond Scum, exhibits celebrating LANL’s 70th anniversary, reception with demonstrations and talks 5-8 p.m. Friday, July 26, through Aug. 4. Open 10 a.m.-5 p.m. Tuesday-Saturday, 1-5 p.m. Sunday-Monday; no charge. Mesa Public library Art gallery 2400 Central Ave., 662-8247. Gallery talk 3 p.m. Friday, July 26, on the exhibit Mostly Clear and Partly Cloudy: Climate as Metaphor, mixed-media works by Janice Wall and Shaun Gilmore, through Aug. 4.
European and Spanish Colonial antiques. Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge; Taos County residents no charge on Sunday. harwood Museum of Art 238 Ledoux St., 575-758-9826. The Taos art colony is celebrated with four exhibits, Woody Crumbo: The Third Chapter; Jim Wagner: Trudy’s House; R.C. Gorman: The Early Years; and Fritz Scholder: The Third Chapter; through Sept. 8. Open 10 a.m.-5 p.m. Tuesday-Saturday, noon-5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday. Kit Carson home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson. Open 10 a.m.-5 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge. la hacienda de los Martinez 708 Hacienda Way, 575-758-1000. Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Open 10 a.m.-5 p.m. daily. NM residents $5; nonresidents $10; seniors $8; students $6; ages 6-16 $2; Taos County residents no charge. taos Art Museum and Fechin house 227 Paseo del Pueblo Norte, 575-758-2690. Open 10 a.m.-5 p.m. Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday.
events/Performances
events/Performances
Chatter sunday The ensemble is joined by the Santa Fe Desert Chorale, with excerpts from SFDC’s Summer Festival program, 10:30 a.m. Sunday, July 28; readings by the Albuquerque Unidos Youth National Poetry Team follow; The Kosmos, 1715 Fifth St. N.W., $15 at the door only, discounts available, chatterchamber.org.
Española
Bond house Museum 706 Bond St., 505-747-8535. Preserve the Old, but Know the New: Traditional and Contemporary Native American Art, through Sept. 20. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Open noon-4 p.m. Tuesday-Saturday, no charge.
los alamos Museums/Art spaces
gordon’s summer Concerts Americana-roots band Big Sandy and His Fly-Rite Boys, 7 p.m. Friday, July 26, Ashley Pond, 2132 Central Ave., no charge, gordonssummerconcerts.com.
pEñasco
Kit Carson home & Museum summer lecture series Kit Carson and Mrs. White, with Paul Hutton, 6 p.m. Saturday, July 27, 113 Kit Carson Rd., no charge, 575-758-4945, Saturdays through Aug. 5.
Peñasco theatre summer season Santa Fe Opera apprentices perform at no charge, 7:30 p.m. Saturday, July 27, 575-587-2726, penascotheatre.org.
▶ people who need people
taos
Artists
Museums/Art spaces
e.l. Blumenschein home and Museum 222 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection,
ninth Annual santa Fe Pow Wow Artists’ booths available for event held Saturday, Aug. 17, at Genoveva Chavez Community Center; booth fee $40, special event license $10; call Melissa Bustos for details, 955-4005.
new Mexico Dance Coalition student scholarships Three scholarships awarded to New Mexico residents aged 8 to adults in the amount of $400; visit nmdancecoalition.org for guidelines and application forms; applications accepted through Friday, July 26; email Dyan Yoshikawa at nmdancecoalition@gmail.com. Reel new Mexico independent Film series New Mexico filmmakers may submit shorts, narrative and documentary features, student films, and works-in-progress through 2013; for more information or to submit a film, contact reelnewmexico@gmail.com. santa Fe independent Film Festival Submissions sought for the Oct.16-20 festival; Visit santafeindependentfilmfestival.com for rules and guidelines; deadline Thursday, Aug.1.
volunteers
Railyard stewards Yardmasters Develop new project ideas; lead educational training sessions; fund-raise; help out in the office; free training and workshops on keeping Railyard Park vibrant; contact Alanna for schedules, 316-3596, alanna@railyardpark.org. santa Fe Community Farm Help with the upkeep of the garden that distributes fresh produce to The Food Depot, Kitchen Angels, St. Elizabeth Shelter, and other local charities; the hours are 9:30 a.m.-4 p.m. daily, except Wednesdays and Sundays; email sfcommunityfarm@gmail.com or visit santafecommunityfarm.org for details.
▶ under 21 Spring Awakening Gemini Productions and Warehouse 21 present the musical, 7 p.m. Friday and Saturday, 2 p.m. Sunday, July 26-28, W21, 1614 Paseo de Peralta, $12, ages 16 and under must be accompanied by an adult, 231-6879, holdmyticket.com.
▶ pasa Kids santa Fe Children’s Museum open studio Learn to paint and draw using pastels, acrylics, and ink, noon-3:30 p.m. Fridays, 1050 Old Pecos Trail, 989-8359, visit santafechildrensmuseum.org for weekly scheduled events. santa Fe Art institute graffiti workshops Free; geared to ages 6-19; 11 a.m.-1 p.m. Saturdays through August, call 424-5050 to register. The Race to the Planet of the Cheese Playhouse Children’s Theatre production presents a student-produced play with music, 6 p.m. Saturday, July 27, Santa Fe Playhouse, 142 E. DeVargas St., $10, discounts available, 988-4262. storytelling at the Wheelwright Joe Hayes returns for the summer series with ghost stories and tall tales from Native, Hispanic, and Anglo cultures, 7 p.m. Saturday and Sunday, July 27-28, Wheelwright Museum of the American Indian, 704 Camino Lejo, Museum Hill, no charge, weekly on Saturday and Sunday through Aug. 11, 982-4636, Ext. 110, held outdoors, bring chairs. ◀
MarTi at the e ldorado Thr e e gr eaT shows
Premium Objects from Hopi
Wednesday, August 14, 11:00am-5:00pm, DeVargas Room, Eldorado Hotel
Major work by Nampeyo Early Hopi ceremonial pottery displaying katsina motifs Dextra Quotskuyva, Elizabeth White & Jake Koopee pottery Newly discovered Loloma pieces Night Ceremony at Oraibi Pueblo. Depicts maidens grinding corn flanked by the Mother Katsina (left) and Heheya Katsina (right). Hand-carved by Otto Pentewa, 11¼" high.
Our Annual DeVargas Opening
Thursday, August 15, 4:00-7:00pm, DeVargas Room, Eldorado Hotel Major Historic Jewelers: Kenneth Begay, Leekya Deyuse, Charles Loloma & others Today's Leading Jewelers: Mike Bird-Romero, Richard & Jared Chavez, Perry Shorty, Maria Samora & others
An Important Estate Collection of Historic Pottery
Photos from top: © Wendy McEahern, © Wendy McEahern, © Addison Doty
Buckle by Kenneth Begay
A Private McKee Platero Collection Friday, August 16, DeVargas Room, Eldorado Hotel
Continuation of Jewelry & Pottery Show Opens at 11:00am (through 5:00pm)
McKee Platero Jewelry Collection Unveiled at 2:00pm Belt by mckee platero
all shows continue saturday, august 17 & sunday, august 18, 10:00am-5:00pm in the devargas room at the eldorado hotel.
martha hopkins struever
(505)983-9515 Online Gallery: www.MarthaStruever.com
presents
swaia
Santa Fe Indian Market
gala
the moSt gLamorouS event
Introducing...
oF indian market week.
at the Inn on the Alameda Santa Fe’s most enchanting Inn 303 E. Alameda • Santa Fe 505.984.2121 (walking distance from the Plaza)
Saturday, auguSt 17, 5pm - 9.30pm La Fonda on the pLaza
JeweLry Box avaiLaBLe at the 2013
DINING & COCKTAILS 5-10PM
Santa Fe indian market Live auction gaLa. For ticketS caLL (505) 983-5220 or viSit SantaFeindianmarket.com Box by Carlton Jamon. Photo by Kitty Leaken.
N E W W O R K S B Y B I L LY S C H E N C K
The High Low Country, oil, 45 x 45
Friday, July 26, 5 - 7:30 at 225 Canyon Road
Please join us the following Sunday, July 28 for an artist talk and book signing.
MANITOUGALLERIES ManitouGalleries.com 路 Santa Fe, NM 87501 123 W. Palace Ave. 路 505.986.0440 | 225 Canyon Rd. 路 505.986.9833
Your morning fix.
Daily headlines from santafenewmexican.com and fridays from pasatiempomagazine.com.
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Santa Fe Chamber Music Festival All concerts this week @ SFA: St. Francis Auditorium, 107 W. Palace Ave., Santa Fe
SCHUmANN SONGS, SCHUBERT STRINGS
All J.S. BACH
mAHlER – SONGS OF A WAYFARER
AUG 1
AUG 3
AUG 4 + 5
BRAHmS & BEETHOVEN STRINGS
AUG 8
THU 6 pm @ SFA
SAT 5 pm @ SFA
SUN + mON 6 pm @ SFA
THU 6 pm @ SFA
Enjoy Schumann’s Dichterliebe sung by baritone Matthew Worth alongside renowned pianist Shai Wosner. Also, Franz Schubert’s remarkable “Rosamunde” String Quartet played by the Johannes String Quartet.
Sit back and savor Bach with the exuberant first suite, the delightful Sonata No. 3 for Viola da Gamba & Harpsichord, and the ingenious and haunting Partita in A Minor for Solo Flute.
Lawrence Foster conducts masterworks such as Mahler’s Songs of a Wayfarer sung by Matthew Worth with a breathtaking ensemble including the Johannes String Quartet, and the incomparable Lucy Shelton in Schoenberg’s still-revolutionary Pierrot lunaire.
Experience Brahms at his very best in his glowing String Quintet No. 1 in F as violist Cynthia Phelps joins the Shanghai Quartet. Also from the Shanghai’s, Beethoven’s sublime “Serioso” String Quartet, unbridled genius at its very best.
Monday concert sponsored by
YOUTH CONCERTS – FREE!
mINI-FESTIVAl: YEARS OF WONDER
Sonic Splendor! Incredible days and nights of music await you! Coming next to the Santa Fe Chamber Music Festival – from baritone Matthew Worth singing
mON, AUG 5 • 10 am @ SFA Johannes String Quartet
mON, AUG 12 • WED, AUG 14 • THU, AUG 15 • mON, AUG 19 Masterpieces by Mozart and Schumann. The Santa Fe Desert Chorale sings Gesualdo. A musical experience of a lifetime in just one week.
Schumann’s beloved Dichterliebe and Mahler’s Songs of a Wayfarer to Beethoven’s “Serioso” Quartet, there’s sumptuous sound ahead. Please reserve your seats now, as
THU AUG
MUSIC AT
NOON noon @ SFA Generously sponsored by the Edgar Foster Daniels Foundation
TUE AUG WED AUG THU AUG
01 06 07 08
JOHANNES STRING QUARTET Praised for a special combination of passion, warmth, elegance, and poetry, the Quartet plays Henri Dutilleux’s Ainsi la nuit and the Brahms String Quartet No. 3.
many of our concerts will sell out! Our extraordinary season continues through August 19th!
ˇ SHANGHAI QUARTET PLAYS DVORÁK Dvořák’s String Quartet No. 14 in A-flat brings traces of “American influences” heard in such works as the “New World Symphony” to this masterful performance by the Shanghai String Quartet. Also, exquisite Debussy Préludes and much more!
VICTOR SANTIAGO ASUNCION PIANO RECITAL It’s some of Beethoven’s best with celebrated pianist Victor Santiago Asuncion! Experience the evocative “Waldstein” Piano Sonata No. 21 in C and the “Appassionata” Piano Sonata No. 23 in F Minor. Beethoven for lunch. Don’t miss it!
ˇ - PIANO QUARTET DVORÁK This splendid concert begins with Dohnányi’s Serenade in C Major, a rare trio for violin, viola, and cello featuring William Preucil, Cynthia Phelps, and Eric Kim. Then, pianist Haochen Zhang joins the ensemble for Dvořák’s grand Piano Quartet No. 2!
Intimate. Compelling. Unforgettable. Marc Neikrug, Artistic Director
pURCHASE YOUR TICkETS TODAY! 505.982.1890 SantaFeChamberMusic.com Ticket Office: NM Museum of Art 107 West Palace Avenue
The Santa Fe Chamber Music Festival is funded in part by the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax and the National Endowment for the Arts.
COME MEET THE ARTISTS!
Danielle Foster-Herbst Custom Clothier for Women and Men Combining Vintage and Contemporary Fabrics in Timeless Silhouettes
Robin Rotenier Jewelry handcrafted in New York City for Men and Women Pearls, Gems and Exclusive New Designs
DUAL TRUNK SHOW
JULY 26th from 11-5 • Extended to JULY 27th from 11-5 Refreshments by The Butler Did It
Join us at
Exclusive Representative for the Works of ERNEST CHIRIACKA (1913-2010). Native and American Oils, Original Pin Up and Pulp Illustrations Casweck Galleries • 203 West Water St, Santa Fe, NM • casweckgalleries.com • 505.988.2966