JUNE 2014
Acadiana’s Publication for the Arts
June 2014 1
2 June 2014
Overture Magazine
Acadiana’s Publication for the Arts
June 2014 3
June 2014
features
12
A LIVING CANVAS Lafayette model gives us a sneak peak into the International Body Painting Festival in Austria. See the awe-inspiring models transform into living breathing art like you’ve never seen.
18
18
SCULPTURES OF PARC LAFAYETTE Explore the rich history behind the beautiful works of art at Parc Lafayette. Original commissioned pieces to honor and commemorate important figures in the developer’s life, both public and private.
20
MIGNON FAGET
26
Delve into the experiences and inspiration for famed jewelry designer who is a true artist turned successful entrepreneur bringing beauty in many forms for us to enjoy.
COLLABORATION IS KEY
30
Don Begnaud, local welder turned giant precision metal fabricator demonstrates that creativity, dedication, and partnership lead to success, in business and in art.
12
HOME IS WHERE THE MUSIC IS The lovely home of Mark and Patricia Pritchard is made for music, literally. The Pritchards, professional musicians who are passionate about their art, built a recital space to teach, practice and perform in.
20 26 4 June 2014
Overture Magazine
MAKE TONIGHT MEMORABLE. P L AY T O H E R H E A RT.
Acadiana’s Publication for the Arts
June 2014 5
June 2014
contents 8 OPENING NOTES Jenny Krueger, Executive Director
38
10 FANFARE Mariusz Smolij, Music Director & Conductor 14 GUEST COLUMN Dr. Gerd Wuestemann, Executive Director of the Acadiana Center for the Arts 34 THE ARTICLE Parents helping kids discover their creativity 36 ORCHESTRA MAKEUP Getting to Know Members of ASO’s Woodwind Section 38 LEAUXCAL FESTIVAL The Big Easel
42
39 TOOLS OF THE TRADE Paul Ayo, E’s Kitchen 40 STANDING OVATION The Trible Piano Artists’ Fund 42 SYMPHONY SEAUXCIAL HIGHLIGHTS Closing With A Winner 44 COMMUNITY SEAUXCIAL HIGHLIGHTS Junior Achievements 46 COMMUNITY SEAUXCIAL HIGHLIGHTS Stage Backers Party
34 39 6 June 2014
Overture Magazine
June 2014 Vol. 1, No. 9
PUBLISHED BY
EDITOR Jenny Krueger jenny@acadianasymphony.org
PROJECT MANAGER Rebecca Doucet rebecca@acadianasymphony.org
WRITERS Emily Brupbacher Johanna B. Divine Ann B. Dobie Catherine Schoeffler Comeaux ACCOUNT EXECUTIVE Carolyn Brupbacher carolyncb@me.com • 337.277.2823
GRAPHIC DESIGN/LAYOUT Mike Bedgood • Innovative Digital, LLC mike@inndgtl.com • 337.322.2854
CONTRIBUTING WRITERS Paul Ayo, Karen Daigle Mariusz Smolij, Colleen Waguespack Dr. Gerd Wuestemann MAILING ADDRESS 412 Travis Street Lafayette, LA 70503 EMAIL overture@acadianasymphony.org ON THE WEB acadianasymphony.org
Overture Magazine is published nine times a year and distributed free of charge by Acadiana Symphony Orchestra & Conservatory of Music. No parts of this periodical may be reproduced in any form without the prior written consent of Overture Magazine. The owners, publishers, and editors shall not be responsible for loss or injury of any submitted manuscripts, promotional material and/or art. Unsolicited material may not be returned. Advertising in Overture Magazine does not imply endorsement by Overture Magazine or Acadiana Symphony Orchestra & Conservatory of Music. Overture Magazine reserves the right, without giving specific reason, to refuse advertising if copy does not conform with the editorial policies. Overture Magazine does not necessarily agree with nor condone the opinions, beliefs or expressions of our writers and advertisers. Neither the publishers nor the advertisers will be held responsible for any errors found in the magazine. The publishers accept no liability for the accuracy of statements made by the advertisers. © 2013 Overture Magazine. All Rights Reserved.
Acadiana’s Publication for the Arts
June 2014 7
Opening Notes
An Acadiana Summer Jenny Krueger, Executive Director
S
Summer is in full swing. Many of you will travel this summer. Many of you will stay closer to home, and enjoy all the offerings we have here. What I love most about the June issue of Overture is that it reminds me how fortunate we are to live in such a culturally rich community. I love being able to experience a little taste of faraway lands right here in my own backyard. About a year ago I stumbled across information on the International World Body Painting Festival in Europe. I was so intrigued. In talking with our production team about my new discovery, I learned that one of our team members actually knew a model from Lafayette that participates in the festival. What a coincidence! It was such an exciting moment to realize that I could actually have coffee with a person who was familiar with “My favorite thing to do is to this incredible artistic experience, an experience that go where I have never been” once seemed so far away. It makes me realize the depth of the people who live here. I can’t imagine living Diane Arbus anywhere else. As you read the June issue of Overture you will read about the arts abroad, and how tastes of those artistic experiences are all around us. I hope that you will think about the arts in Acadiana in a different light. Do you participate in the current community conversation that is focused around beautifying Lafayette? Have you visited the wonderful public art pieces that have recently been added to our community in Parc Lafayette? In learning and experiencing these new art pieces I hope you will realize how important this type of art can be for our city. You will be moved by the story of young Christopher Waguespack, and how his individuality makes us all look at our strengths and challenges differently. Thank you to his mother Colleen for sharing their beautiful story with us. We are all better for it. I hope the June issue will motivate you to take a look abroad, and take a closer look at home, and be grateful for everything artistic we have in Acadiana.
8 June 2014
Overture Magazine
Acadiana’s Publication for the Arts
June 2014 9
Fanfare
Summer Listening Mariusz Smolij, Music Director and Conductor
S
Summer is a perfect time to catch up on reading and to devote more time to our favorite relaxing activities. This month’s newspapers and magazines are full of suggested summer reading lists for children, hot beach books for adults and all kinds of special publications with subjects ranging from travel to self-improvement. I often spend my summers with the books as well as musical works that I would like to learn, revisit or simply enjoy. If you would like to consider spending some of your summer time with interesting authors as well as composers, I hope you will consider a few of my summer listening suggestions. All of the recordings are easily available on iTunes, Amazon. com or through Barnes & Noble. I divided them into several categories and provided some of my favorite interpretations in parenthesis. Short symphonic works (10 minutes or less). • F. Mendelssohn: Hebrides Overture. Light, early Romantic work with beautiful, unwinding melodies and orchestral sounds reminiscent of waves hitting the shore. (London Symphony/Abbado, cond.) • R. Wagner: Ride of the Valkyries. Powerful, exciting brassy music used in a number of movies. It will be featured in our season opening concert in September. (Orchestre de Paris/ Barenboim, cond.) • L. Bernstein: Overture to Candide. Brilliant, virtuosic and light-hearted work representing the best of American symphonic music. (New York Philharmonic/Bernstein, cond.) Concerto for solo instrument with orchestra. • P. Tchaikovsky: Violin Concerto. One of the most popular concertos of all times, full of dancing rhythms, lovely melodies and wonderful interplay between the solo instrument and the orchestra.
full of passion, energy and unforgettable tunes. (London Symphony/Salerno-Sonnenberg, vln./Shostakovitch, cond.) • S. Rachmaninov: Rhapsody on the Theme by Paganini. Brilliant composition based on the famous Paganini melody. If you are not ready for the 40-minutes long Rachmaninov piano concertos (that I also highly recommend), this work provides a perfect dose of Romantic spirit, Slavic nostalgia and highly entertaining virtuosic piano playing. (Philadelphia Orchestra/ Rubinstein, piano/Ormandy, cond.) Symphony (or a movement from one). • W.A. Mozart: Symphony No. 35 “Haffner,” genius of Mozart at its best, part of soundtrack of Oscar winning movie Amadeus. (English Chamber Orchestra/Tate, cond.) • G. Mahler: Symphony No. 1 “Titan”, many of you who enjoyed our presentation of Mahler’s Resurrection Symphony asked me, what should be next on their “Mahler list.” I suggest starting with the first movement of his first symphony. Beautiful musical paintings of the sound of nature are followed by a one-of-a kind powerful and exciting symphonic march. (Chicago Symphony/Solti, cond.)
(Orchestra of St. Petersburg/Repin, vln./Gergiev, cond.)
• A. Dvorak: Symphony No. 7, not as popular as his Symphony 9, “The New World,” but equal in beauty and passion. This work sounds to me like summer in Eastern Europe with warm sunshine, long Romantic evenings and occasional storms. (Czech Philharmonic/Belohlavek, cond.)
• S. Barber: Violin Concerto. The most beautiful violin concerto written by an American composer, in my opinion,
I would be delighted to hear back from you about your experiences with this literature and wish you happy listening!
10 June 2014
Overture Magazine
Acadiana’s Publication for the Arts
June 2014 11
“The Models of the World Body Painting Festival are a living canvas for the artists.� - Teri Wyble
12 June 2014
Overture Magazine
A Living Canvas One Model’s Experience at the World Body Painting Festival
By Emily Brupbacher Acadiana’s Publication for the Arts
June 2014 13
T
eri Wyble lives her life in constant pursuit of artistic expression, and it’s taken her to some amazing places. Although she started out as a dancer, Wyble soon found a creative outlet in modeling. It’s this form of self-expression that led her across the globe to the renowned World Body Painting Festival in 2010. “After years of modeling, I felt it was time to spice things up,” Wyble says. “In 2009 I found body painter Susie Pierce in Baton Rouge. We hit it off immediately and did a full body painting and photo shoot. By the end of the day she had asked me to be her model in the World Body Painting Festival in Austria later that year, all expenses paid. What a day that was!” The World Body Painting Festival is a week-long exposition of some of the most visionary and exotic art you can imagine. Nude models serve as walking, breathing canvases, and artists use a variety of media to turn their models’ bodies into a work of visual perfection. “The week is filled with amazing classes for artists, mostly geared toward painting the human body,” says Wyble. “Each night, a different party is thrown in varying locations, including the unforgettable Body Circus castle party, where costumes, crazy categories. “One of my proudest moments as an artist was during the 2010 WBPF,” Wyble shares. “Of all the models there that year, I ended up winning the Model of the Year Award. It felt so good to land a spot in the official WBPF Model Hall of Fame, and be recognized internationally, for the work and passion I put into my art form.” “The whole Festival experience is exhausting, yet exhilarating,” says Wyble. “My typical day as a model in the Festival would probably start with a light breakfast, lots of water, and some prep for the day ahead. The artist would have the design for that day’s contest planned out. If you’re smart, you’d have previously done a test run of the design on the body.” performance acts, and musical artists set the mood.” The culmination of all this creativity is the weekend competition, which showcases both special FX and brush/sponge painting body art. International artists from all walks of life compete for the grand prize. While the artists are showcasing their talents, photographers and models compete in their own
14 June 2014
Wyble has participated in the WBPF as both a brush/sponge body paint model and a special FX body paint model. “Brush/sponge body paintings have about a six hour time limit for artists to complete their work,” she says. “The special FX category has seven.” Part of the excitement for Festival attendees is be able to go into the artists’ tents and watch the magic happen as models are Overture Magazine
transformed into pieces of art. Once the time limit is up, models exit the tents in full body paint and go to the judging area. “This is where the artists can explain their creations to the judge,” says Wyble. “Afterwards, the models can go into the photographers’ area, where they are likely to spend anywhere from one to four hours being photographed.” “The end of the day is finished with a stage performance by each artist’s model,” Wyble explains. “This is when we show off the artwork to thousands of onlookers—that has been my biggest audience to date!” Once the stage performance is done, models and artists spend anywhere from one to three hours removing the body paint and prosthetic glue. “By this time,” Wyble says, “my body is aching to rest for the next day...often I don’t get to go to bed until 3:00 AM!”
P LA S T I C S U R G E R Y A S S O C I A T E S Servicing Acadiana for 40 Years
Dr. Darrell L. Henderson & Dr. Jeffrey S. Williams Welcome Dr. Joseph P. Lupo This Summer! Specializing in:
The 2014 World Body Painting Festival will be held from June 29-July 6 in Carinthia, Austria. For more information about the World Body Painting Festival, please visit www.bodypainting-festival.com.
• Breast Procedures • Body Contouring • Full Body Reconstruction • Face Lifts • Rhinoplasty • Arm & Thigh Lifts • Cleft Lip & Palate Repair • Facial Rejuvenation with Fillers and Injectables • Hand, Wrist & Elbow Surgery
Bringing a Modern Approach to Traditional Techniques
Dr. Joseph P. Lupo
For a Limited Time, Call now to book your COMPLEMENTARY consultation with Dr. Lupo Appointments starting July 14th
337-385-3096 1101 South College Road, Suite 400 Lafayette, LA 70503
www.psassoc.com
Acadiana’s Publication for the Arts
June 2014 15
Guest Appearance
The Future of Art & Culture
H
Dr. Gerd Wuestemann, Executive Director of the Acadiana Center for the Arts
Here’s a funny thing about Acadiana: we don’t really think too much about our culture—we just live it everyday, celebrate it with a natural, communitywide exuberance that most of the world’s so-called cultural centers can’t match. Culture in Acadiana is an immersive process, it’s always present in our music, dancing, eating, ArtWalks, and Festivals. We enjoy our culture best in a social setting, together with friends and family, rather than one-on-one with a painting in a museum. This makes us unique; it makes Acadiana such a beautiful place to live. But it also causes a big problem: we take for granted the things that surround us, that are easily and readily available to us. As a community we haven’t learned to re-invest in our cultural assets and resources, to groom and develop them. But just as with other resources - think oil and gas – with smart investment in exploration and careful extraction come great rewards. These rewards manifest themselves first and foremost in social profit: quality of life, education, a level of enlightenment. But when we look below the surface we quickly begin to realize that there are other returns on investment: most tourists don’t travel here in September for the great skiing or mellow climate, but rather for fun festivals. When businesses explore relocation, cultural assets in
16 June 2014
target communities are a high priority. When our brightest most creative kids are thinking about moving to Austin or San Francisco, what can we offer them to keep them here? Culture bridges any social divide and unites us as people, even if just for a moment. When it comes to culture we are successful despite ourselves—but this will not last forever. As a community we will have to make some decisions: are we ready to invest in this? How can we be more strategic in our support? What are we willing to do to fund the things we love, from festivals to museums, from venues to performances, from public art to artists’ support? Are we inclined to pay for events when ‘free’ keeps us from growing? Are we willing to invest as a community, because we live our culture as a community? I think we must allocate much greater support for our artists and arts organizations in the future—it’s simply good business. Most growing communities create a cultural identity for themselves—ours is genuine and unique. If we invest smartly and strategically, the return on investment will make us unstoppable. Dr. Gerd Wuestemann is the Executive Director of the Acadiana Center for the Arts and a world-renown classical guitar soloist.
Overture Magazine
MIGNON
Mignon Faget believes in the beauty of Louisiana. She expresses this belief by creating extraordinary jewelry and gifts, inspired by the architecture, nature and traditions of our unique culture.
FAG E T
Handcrafted in america
P A r c L A F Ay E T T E 3 3 7. 5 3 4 . 8 7 5 3 • w w w . M I G N O N F A G E T. c O M
Acadiana’s Publication for the Arts
June 2014 17
Sculptures of Parc Lafayette By Catherine Schoeffler Comeaux
Along Kaliste Saloom Road near its intersection with Camellia Boulevard, one can see a large equestrian statue of General Lafayette. With his sword raised high, he marks Parc Lafayette, a lifestyle center that combines shopping, dining, lodging and entertainment. Bisecting the development is a line of old-growth live oak trees which shades the park, culminating in a fountain with a colonnade and a small fledgling citrus grove nearby. Well placed throughout Parc is a collection of sculptures—creations that enrich the property in a way that only art can by offering points of reflection on beauty, history, and culture. In contrast to the triumphant general on horseback, a smaller sculpture stands in the oak trees—a local man, a soldier in Vietnam-era military fatigues, machine gun pointing low, his name less well-known. Merlin Semien grew up around Long Plantation, not far from where the sculpture of him stands. Working in farming as a teenager, he planned to become a heavy equipment operator when he finished school. He and his future wife Shelia met just before the draft called him away for combat duty in Vietnam. They corresponded during their separation. As Semien repeatedly put himself in harm’s way for the protection of his fellow troops, he prayed a lot. Upon returning home with two Army Commendation Medals for Heroism, two Purple Hearts, and the lifelong pain that comes from war, he and Shelia were married. Gunshot wounds to his shoulder and back prevented him from pursuing a career in heavy equipment operation; instead he started his own lawn service business to support his growing family. He and his wife continue to live not far from this area he once called home. Merlin Semien and Glenn Stewart, the developer of Parc Lafayette, came to know each other through Semien’s thirty-plus years of employment by Stewart’s parents. Both physicians, they were able to offer Semien advice about caring for his war injuries that continued to trouble him, thus his story was shared with the Stewart family, though he was not one to speak much of his heroism during the war. Intending for the Parc Lafayette project to be a showcase of Acadiana’s history and culture, Stewart commissioned D J Bawden to create a statue of Semien. The sculptor from Utah who also created the likeness of General Lafayette, met with Semien, and listened to his story. Working from photographs, he formed the sculpture of Semien as a universal tribute to the silent heroes who live among us today. When Semien’s wife Shelia first saw the piece she remarked to her husband, “You looked that old when you were young.” Though the sculpture depicts him in his early 20s, her light-hearted comment speaks to the weariness in the face of a soldier who forfeited his youth and his dreams for the greater good. 18 June 2014
Overture Magazine
Several paces from the sculpture of Merlin Semien and forming a triangle with General Lafayette is a figure of an angel, fallen and twisted—muscular and strong even in his brokenness. This memorial to the Louisiana Brigade of the Civil War created by sculptor Gary Weisman of New York honors soldiers killed in battle as it completes the triptych honoring the famous, the forgotten, and the fallen heroes of war. Travelling further into the line of oaks, enveloped by dark aged branches is a figure of a woman, head down, cloak fallen open to reveal a sad vulnerability. This sculpture of Evangeline created by Holger Lassen of Germany is unique in depicting the Acadian woman as physically tired from actively searching for her lover in contrast to the typical imagery of her passively waiting for Gabriel. Stewart has commissioned another Evangeline sculpture for Parc Lafayette due to arrive in mid-June of this year which he says “displays her as a courageous, defiant young woman as she is being evicted from her home in Canada.”
Acadiana’s Publication for the Arts
Photo by Lucius A. Fontenot
Photo by Lucius A. Fontenot
Several other sculptures are tucked in the breezeways and the outer green spaces of the Parc Lafayette property – surprises of beauty for the enjoyment of all. As subsequent phases of the development are completed, more pieces are being commissioned. People are drawn to the place – parents enjoy shaded benches as toddlers bounce around the jungle gym, children aim to get drenched in the spouting of the fountain, young couples take photos in their best attire under the colonnade. The inclusion of public art in the space is an exquisite lagniappe much to be appreciated.
June 2014 19
Mignon Faget Louisiana Originality
Photo by Josephine Sacabo
By Johanna B. Divine
20 June 2014
Overture Magazine
Iconic jewelry designer Mignon Faget has arrived—in Lafayette, that is. With galleries in New Orleans, Metairie, Baton Rouge and now Parc Lafayette, the artist best known for her original jewelry collections has expanded into glassware, housewares, accessories and gifts that reflect the same keen eye for the unexpected with equal parts charm and substance. It’s easy to see why Faget’s exceptional jewelry collections have gained the attention of retailers beyond Louisiana—now in six states and counting. Her exuberance for creating new work is palpable, her sense of humor disarming. She spoke candidly with Overture from the Magazine Street studio in her hometown of New Orleans, a city that continues to inform and inspire her work. Overture Magazine (OM): Was there a seminal moment, or a time in your life, when you knew you would become an artist? Mignon Faget (MF): I think it started to develop in me when I was at Newcomb College. I went to school thinking I was going to major in pottery. I always liked to make mud pies when I was young, to get my hands in the material, so to speak! But the first year was a bit slow and discouraging, and I felt that I needed more of a challenge, so I gravitated toward sculpture. As I studied, I gained confidence and ended up working in experimental materials, with color and metal. I remember being inspired by a trip to a wrecking yard, where I’d seen a piece of stained glass that had been demolished from a building, and was simply fascinated. Here was this translucent, colored, flat object that refracted light in such a unique way. I immediately started working with that in my senior thesis. I was also very interested in music at the time, so I spent lots of time in the music school taking courses and listening to music. There were these rooms you could close yourself in and listen to records—Stravinsky, Chopin, Debussy— historical and contemporary composers alike. Listening was a very physical experience for me, and I ended up creating sculpture inspired by music for my senior thesis. I got a lot of acclaim for my project, and it encouraged me to continue on that path. There was a seminal moment, later in life, after I’d gotten married and had children. You see, whenever I felt stale, bored or frustrated, I would take a class. I signed up for a printmaking class at [St. Mary’s] Dominican [College]. The woman who taught the class was a friend of mine, and one day as she was looking over my work, she said, ‘Mignon, the work you are doing is really design. Perhaps you should take your work in that direction.’ So I did. I had always loved designing clothing—when I was in high school my mother and I would choose patterns and fabrics and alter them based on designs we’d seen in magazines, or in the movies. My mother was so patient and kind, she would work with me, altering things until we had them just right. So I took inspiration from Acadiana’s Publication for the Arts
June 2014 21
During my junior year, I went to Europe as part of the Junior Year Abroad (JYA) program. It was 1955-56, just about 12 years after the War was over, so the French were still recovering from the devastation. I brought a steamer trunk full of clothes that I never wore. Instead, I wore two sweaters, one charcoal and one black, because that’s all the French wore, black and black, and I didn’t want to look like a silly American. In fact, my name is French, but the first young gentleman I met said, ‘What is your real name?’ I didn’t know what he meant, but he continued, ‘Here we don’t call grown people Mignon, only dogs and cats!’ I thought the French would like that I had a French name, but it turned out to be very different than New Orleans French. During JYA, we spent six weeks in Dijon, in the fall. They were having all the wine 22 June 2014
OM: Jewelry is such a complex art form, requiring functionality, comfort and longevity as part of the design. How do you balance these elements in your work? What challenges do you encounter? MF: It is challenging, but that’s part of the intrigue for me, how to take this idea and make it come alive in three dimensions. One example is the Holoch cuff, part of the Zea collection. Through a course at Tulane, we had a guest lecturer who had a particular interest in corn, or Zea mays, which is actually a large grass. A predecessor of corn is teosinthe, a plant that grew in the highlands of Mexico. His theory is that some natural disaster or other event caused teosinthe to mutate so that the kernels, instead of alternating, would be optimally packed, like you see on an ear of corn today. I became fascinated with these plants, their evolution, the texture of the husk, and I began making many, many versions of this idea. As an artist, I want to see each variation on the idea, and this is where I face challenges. I’m not a good editor. I just want to make them all. Photo by Keely Merritt, The Historic New Orleans Collection
OM: How has education inspired you? How have those experiences continued to inform your work? MF: I grew up in New Orleans, and most of my family is in the medical profession. My father and his brothers are physicians and my two brothers and sister are all dentists. I was much younger than my older siblings, so there was always unique table conversation that I was privy to as a child—dissecting cadavers and what not. So, as I child, I became interested in biology, and was always collecting bugs and strange things. In college, I had a professor who was an English historian who taught a class called ‘design in nature,’ and he was very inspirational. He’d take us out on the quadrangle and we’d sit on the ground and pick up something we found interesting—a snail, a rock or an herbaceous plant—and we’d do an exercise, drawing it in detail and abstracting it in stages. You never knew what you were going to experience in his class. He would read to us from ‘The Wind in the Willows’ and just excite us with pieces of literature or the experience of going to look at the ground and finding new things.
festivals and we’d visit churches and these incredible Romanesque structures. Romanesque architecture is my favorite European architecture because you can see the strength and the drive of the builders to raise the arches higher and higher. The buildings were decorated to tell the New Testament and Old Testament stories, as the majority of people didn’t read during that era, so it was just magnificent. It was truly a life-changing experience for me. I guess the influence of that and other coursework was indirect, organic. It came out over time in my work.
Before Zea, I’d made another collection called Armament. Again, in a botany course, the professor began talking about a certain class of plants that are ‘armed’ to protect themselves from insects and animals. I remember, it was like a light went off in my head, and I thought about how people could ‘arm’ themselves with jewelry, like little thorns on your head, or thorns coming out of your earlobes. I was intrigued, and it became another popular series. One of the collections I loved but had trouble making it come to fruition was called Portifiori, from ‘porta fiori,’ Italian for ‘brings flowers’. It’s a pin, shaped like part of a plant, and you wear it with a fresh flower. I remember thinking, ‘If you go into a board meeting with this on, you have a huge advantage!’ It was very creative, but the marketing became difficult, as we had trouble making it come in within a certain price range. I would say it was a success, because of the design, but it was also a challenge. One day, I’ll go back to it. Photo by Glade Bilby II
these experiences and the printmaking class and hired a seamstress to make a series of dresses that I designed and later sold in boutiques. I called the look ‘affluent hippy,’ as this was just on the edge of the hippie movement, but the fabrics were rich, imported linen and lamb suede. I created block prints and hand printed on these natural fabrics, and they got a very positive response. Soon, I decided I needed accessories to go with the pieces. Clothing goes out of style very fast, but jewelry has much more longevity. So I melted down some of my wedding gifts, and used them to make my first pieces. I remember at that time in my life wanting to be an artist so badly. I believe I was just looking for my medium. Once I began designing jewelry, everything fell into place.
OM: Your name and work are synonymous with New Orleans. What influenced your Overture Magazine
Photo by Glade Bilby II
decision to open a gallery in Lafayette? What appeals to you about this community? MF: The people in Lafayette are so warm, friendly, enthusiastic.
It’s a fun-loving town just like New Orleans, and my work has been well received. People have been very welcoming to me. I’ve worked with their carnival association, creating favors and other things, so I’ve known for a long time that I have customers in Lafayette. I also see Lafayette as sharing my French heritage, and I like that connection. The cultures are related, New Orleans and Lafayette, so it was a natural next step. I worked with a wonderful architect, David Waggonner, to design all of my new galleries, including the one in Parc Lafayette. It’s built like an archival room, so it allows the customer to work side-by-side, shoulder-to-shoulder, with the salesperson. My hope is that people feel like they’re getting in the ‘back room,’ enjoying pulling the drawers out and discovering what’s inside. We also carry hand printed scarves, handcrafted and etched glassware and crystal, and a lot of home products, too. The gallery is very fresh—a new concept in jewelry stores. So far, I’m very happy with our experience in Lafayette. Mignon Faget Lafayette is located in Parc Lafayette, at 1921 Kaliste Saloom Road. Gallery hours are Monday through Saturday, 10am to 6pm. You can take a visual tour of the gallery online at www.mignonfaget.com, or call 337.534.8753 for more information.
Acadiana’s Publication for the Arts
June 2014 23
24 June 2014
Overture Magazine
Acadiana’s Publication for the Arts
June 2014 25
Collaboration is Key By Emily Brupbacher
26 June 2014
Overture Magazine
Acadiana’s Publication for the Arts
June 2014 27
Don Begneaud, Founder and CEO of Begneaud Manufacturing, is a man whose ingenuity, creativity, and collaboration with others have served him well. Don’s success in business and his passion for the arts can be attributed to his hands-on approach to life in general. A self-taught welder, Don parlayed his creativity and business savvy into a flourishing precision sheet metal business. “As a kid, I always enjoyed creating hands-on projects,” says Don. “I would make sculptures out of coat hangers and tin cans. When I was in 8th grade, I saw my friend’s brother soldering brass and copper with a torch and I was intrigued. He taught me how to solder metal together with a torch.” From then on, Don was fascinated by metalworking as an art form. He became attracted to the idea of using industrial media, such as torches and metal, to create fine art. He also took to the academic world with this passion, majoring in Industrial Technology at USL while he performed welding jobs out of the back of his pickup truck.
One of Don’s biggest passions is his insistence that art education of all kinds must stay in schools. “Over the years, we have eliminated shop classes, which is a shame,” Don says. “In those classes, kids learn to create things in a hands-on way, and they need that exposure and discipline.” Don Begneaud seems to understand that true success, both in business and art, comes from passion and persistence, hands-on experience, and working with others who push you to do your best. “Collaboration is so important,” he says. “We need to ask ourselves, ‘How can the ASO collaborate with schools to give students more? How can local business collaborate with one another and with schools to allow for more creative experiences?’ Art taught me to be creative in all aspects of life, which is why I see it as being so essential.”
Photo by Lucius A. Fontenot
Despite being a self-made man, Don places a high value on collaboration with other artists. He became friends with painter George Rodrigue when Don was still in high school,
and later the two men went on to expand on Rodrigue’s trademark Blue Dog idea by creating sculptures. “We collaborated with one another to create these metal dog sculptures,” Don shares. “There’s an 8-foot sculpture we created that’s in the back courtyard of the Blue Dog Cafe. We also created a 16-foot metal dog sculpture that is on display on Veteran’s Boulevard in Metairie.” Don’s knowledge of metalworking, both as a businessman and as an artist, has made him a fervent supporter of the arts. He owns work by many local metalworking artists, such as Kyle Branis, and also has served on the board for the Acadiana Arts Council.
28 June 2014
Overture Magazine
30 TH
ANNIVERSARY
2014 2015
CONCERT SERIES
SEASON
MASTERWORKS CONCERTS
CHAMBER CONCERTS
Saturday, September 20, 2014, 6:30 pm Heymann Performing Arts Center
Sunday, November 2, 2014, 3:00 pm Acadiana Center for the Arts
FIREBIRD: MUSIC TELLS A STORY
HEARTSTRINGS
Saturday, October 18, 2014, 6:30 pm Heymann Performing Arts Center
Sunday, February 8, 2015, 3:00 pm Acadiana Center for the Arts
ROYAL FIREWORKS
FIRE OF LOVE
Sunday, November 16, 2014, 3:00 pm St. John’s Cathedral
Sunday, April 12, 2015, 3:00 pm Acadiana Center for the Arts
A FIRESIDE CHRISTMAS
FEUX D’ARTIFICE
Thursday, December 18, 2014, 7:00 pm Heymann Performing Arts Center
Sunday, May 31, 2015, 3:00 pm Acadiana Center for the Arts
SYMPHONIC EMBERS
FOR TICKETS:
FIRED UP
Saturday, March 21, 2015, 6:30 pm Heymann Performing Arts Center
VIRTUOSIC SPARKLERS
acadianasymphony.org 412 TRAVIS STREET /// LAFAYETTE, LA 70503 /// 337-232-4277
LES MISERABLES Saturday, April 25, 2015, 6:30 pm University of Louisiana at Lafayette, Angelle Hall MARIUSZ SMOLIJ // MUSIC DIRECTOR AND CONDUCTOR Acadiana’s Publication for the Arts
June 2014 29
Photo by Chad Chenier
30 June 2014
Overture Magazine
Home is Where the Music Is By Ann B. Dobie
Most everyone has a radio, a CD player, or perhaps Sirius/ XM radio at home to furnish music of one kind or another. Mark and Patricia Pritchard took the concept one step further. They built a performance studio in their house. Over the years it has helped them keep music at the core of their family life. Music, it seems, has always been part of their lives. Mark, who now is principal cellist with the Acadiana Symphony Orchestra, grew up in Saratoga Springs in upstate New York, a city of only about 30,000 people, but filled with interest in and support for the arts. When he was a child, he and his siblings took piano since it was assumed that musical instruction was part of growing up. In high school not everyone studied music, but so many students did that it became mainstream, and Allan Dennis, the orchestra director, generated so much enthusiasm among his students that many of them went on to major in music in college. One of them was Mark Pritchard. He had begun teaching music while still in high school, and during summers he gave private lessons. After graduation he enrolled at the State University of New York at Potsdam, studying cello with Ruth Alsop of the New York City Ballet Orchestra. In the meantime, Pritchard’s former teacher and mentor, Allan Dennis, earned his doctorate and was hired to head the strings program at the University of Louisiana at Lafayette (then USL). Contacting Pritchard, who by then was playing with a Canadian symphony orchestra, he invited his former student to sign on as a teaching assistant. In the fall of 1981 Pritchard made the move to Louisiana and soon was playing with the Baton Rouge Symphony as well as the newly formed group, L’Orchestre of Lafayette, founded by Dennis in 1982. It would later become the Acadiana Symphony Orchestra with the help of the Acadiana Symphony Association, which up until that point had been actively raising money to bring the Baton Rouge and New Orleans orchestras to Lafayette. Dennis also encouraged Pritchard to study the Suzuki method of teaching and learning music. As part of that process, he attended a workshop in Ithaca, New York. In Mark’s second year at USL, Lafayette native Patricia Palmintier, who graduated in music from USL and was working in Baton Rouge, returned home to accept a teaching assistantship under Professor Madelyn Trible in USL’s Music Preparatory Program. It was a fateful move, as Mark and Patricia were married in 1985. Always interested in architecture, Mark decided to add a second professional field to his resumé and enrolled at USL, graduating with a degree in architecture in 1991. Reflecting on the differences in the two fields of study he has pursued, he expresses appreciation for the rich tradition of music education that involves “a real world aspect,” that occurs outside as well as inside the classroom. He also values the personal development that results from music instruction as student and teacher work one-on-one. After graduation from USL, Pritchard’s first architectural
Acadiana’s Publication for the Arts
June 2014 31
commission was to design a home for Bruce and Madelyn Trible, who are well known in Lafayette’s musical circles. He still marvels that they trusted a newly minted architect to design their home. Nevertheless, it was a success, and his architectural design work grew steadily, so much so that he stopped teaching about ten years ago. Currently he has an office suite in River Ranch in a “live-work building” of his own creation. To date he has designed around fifty homes in River Ranch, along with several office buildings. Not surprisingly, Pritchard planned his own home, which the family moved into in 2004. The exterior of the house is reminiscent of his family home in upstate New York, which dates back to the 1830s. The interior was influenced
family. Working to improve instrumental technique and deepen musical understanding never ends. Patricia is studying piano again with Madelyn Trible. Mark gets up around 5 am and practices the cello before breakfast to keep his playing in its best form.
Pritchard incorporated basic acoustical principles and materials in its design—for example, the angled or nonparallel surfaces help to distribute the sound more evenly throughout the room. The first scheduled performance in the new venue was a recital by cellist Amos Yang, a member at that time of the Maia String Quartet. Running behind schedule, the room was not complete. Walls were not painted. The floors had no carpet. Nevertheless, the show went on. To decorate the still bare room, Pritchard painted the name “Amos” in large, brightly colored letters on the wall. Today the performance space is complete with two Steinway pianos and folding chairs to seat approximately fifty people. With recitals presented by professional musicians and aspiring students, it has, over the years, become a symbol of the importance music has in the life of the Pritchard 32 June 2014
Photo by Chad Chenier
by Patricia’s side of the family, more specifically by Betty Palmintier, her mother, and her ideas about decorative arts. Previously Mark and Patricia had lived for eighteen years in a smaller house in White Subdivision. The music studio they added proved so successful they decided that they wanted an even larger one in the new one to use for teaching private lessons, giving group lessons, and presenting recitals.
Pritchard acknowledges that music adds a rich dimension to life. “When you do music, you can’t imagine not doing it,” he says. His own joy in making music leads him to assert that being a participant, not just an observer, is important. He tells the story of having noticed as a child that his grandmother never sang. His mother explained that when his grandmother was young, someone made fun of her singing, leading her to resolve never to sing again. A similar attitude sometimes encountered today comes from the idea that unless you are a highly trained singer you shouldn’t sing. Mark takes exception to both cases, declaring that everyone should experience the joy of singing, and anyone who has the opportunity to learn a musical instrument should do so. Being a part of the process, he believes, allows a person to be part of the wonder, to be more alive. Indeed, the Pritchard home is more alive with music being performed regularly in it.
Overture Magazine
Acadiana’s Publication for the Arts
June 2014 33
the ARTicle Parents helping kids discover their creativity Colleen Waguespack I am a firm believer that the brain is plastic. Neurological connections that have not been made naturally can be made through therapy, and from there a more typical development is possible. I also believe anything is possible. When our middle son was around two years old, my husband Stephen and I started to notice that he was not following a normal path of development. At eighteen months we should have found it odd that he knew every letter and number out of order, but it wasn’t until he was around two that we started detecting odd behaviors that had us concerned. I sat up late at night typing a list of all of my worries and then took Christopher to a local psychologist for what was to be an intensive two-day evaluation. After listening to my concerns she kindly told us that with a child so young there was not much more she was going to uncover than we already knew. Instead of giving us a heartbreaking diagnosis, she directed us to the Speech and Hearing Foundation and encouraged us to get to work. At the Foundation they presented a positive course for how we could unlock the world of a child who had no meaningful speech or manner of communication. They told me Christopher had strengths and he had weaknesses; we would all use his strengths to work through his weaknesses. They identified his phenomenal visual abilities and his talent with numbers and letters. By the time he was three years
34 June 2014
old Christopher was reading fluently: he learned to read, then learned to speak- not your typical path, but one that worked. Although Christopher had no meaningful speech, he could vocalize. In fact, he loved to sing. He did not call me mom, he didn’t ask or answer questions, but he could remember almost every song he heard including the subtle beats between verses that most of us do not pay attention to. Three years we hustled between the Speech and Hearing Foundation and a litany of other therapists, Christopher was mainstreamed into kindergarten at a small, private Episcopal school. The first year was a big transition, but by first grade he had hit his stride and his teacher recommended we sign him up with their piano teacher. She said he was dying to join in when the older students got to play at assembly. The piano was an instantaneous fit for Christopher. Sometimes the hardest part of learning an instrument for a child is reading the music, but for a child like Christopher, the piano used all of his skill sets and at the same time gave him a great tool to work on focus, which had been a struggle for him. The first year he could only sit through a 30 minute lesson, but by the second year he was up to an hour. On his own, he practices every night and loves to have an audience at his recitals. Playing the piano, which comes
Overture Magazine
naturally to him, is a blessing because so many other things do not. It’s also a trait that he got from my own father who to this day plays the piano every morning and every night before he goes to bed. I grew up in New Orleans as the second oldest in a family of six children. Though most of my siblings went into law or the medical profession, I was always the family artist- in practice and in spirit. Many weekends my Dad would take me to the Hobby Store on Magazine Street or the New
Orleans Museum of Art in City Park and encourage my love of the arts. Looking back I appreciate that he found the time to take me on these excursions. I love that he encouraged me to find a career that used my strengths. I became an interior designer and have been able to make a successful career doing something I truly love. Because Christopher is happy when he is singing away and playing the piano, I have stopped trying to coax him into soccer and baseball and am focusing on his strengths.
does not have savant like abilities. To the rest of the world his level of piano playing and drawing would look like nothing more than what you would expect of a typical second grader. It’s just that he’s not a typical second grader. He has had to work hard to achieve every little success and meet every developmental milestone. When he was two years old I remember thinking that we would have to teach him every little functional thing he would ever learn, which was an overwhelming concept. That he
has reached a stage of his life where he can develop his own outside interests is a blessing.
Christopher’s visual ability also carries over into his drawings. When he was young, he did not color in the lines. No matter what he was supposed to be coloring, he covered the paper in dots, as if the black and white drawing he was supposed to be coloring did not exist. He lined up anything he could find in the colors of the rainbow. As he came out of his own world, and became more a part of ours, this went away along with many of the behaviors we feared never would. These days, I always look forward to seeing what drawings come back with Christopher’s schoolwork. There are always small details that I am tickled by particularly because I know most boys his age gloss over these little embellishments. This is what makes him unique. While I once panicked over his obsession with rainbow colored dots and wondered if he’d ever just color in the lines, I now secretly hope one day they will come back. Maybe he’ll be the next Jackson Pollack. Surely most of the greatest artists saw the world differently from those around them? When it comes to the piano and drawing, Christopher Acadiana’s Publication for the Arts
June 2014 35
The Makeup of an Orchestra Getting to Know Members of ASO’s Woodwind Section By Johanna B. Divine Representing ten countries and ranging in age from 19 to 77, members of the Acadiana Symphony Orchestra, or ASO, are as diverse as the instruments they play. There are currently 58 contracted and 192 substitute members of ASO, allowing for a different configuration depending on the scale of the concert and nature of the composition being played. The term “orchestra” is taken from the Greek “ὀρχήστρα”, which refers to an area in front of the stage, often reserved for the chorus. Over the course of centuries, the term orchestra has come to describe a large instrumental ensemble with sections of string, brass, woodwind, and percussion instruments. A smaller orchestra, consisting of fewer than 35 members, is often called a “chamber” orchestra, while a full-size orchestra with 50 or more musicians is usually called a “symphony” or “philharmonic” orchestra. Acadiana Symphony Orchestra attracts musicians from all over the world, including Taiwan, Romania, China, Ukraine, S. Korea, Bulgaria, Brazil, Poland, Canada, and the United States. All of the musicians have formal training, having earned degrees at music conservatories and universities around the world. Many of the musicians play in other area orchestras as well, including Baton Rouge, Lake Charles, Rapides, Louisiana Philharmonic in New Orleans and the Houston Symphony.
Many members of the Lafayette music community know Andrea Kapell Loewy, Principal Flute for ASO and longtime Professor of Flute and Theory and Graduate Coordinator at the University of Louisiana at Lafayette. Raised in New York City, Andrea learned to play piano from her mother while she was still in preschool. “I came to Louisiana in 1985 after completing my doctoral course work in Flute Performance with a minor in Music Theory at the University of Memphis,” says Loewy. “I was looking for a teaching position, and there was an opening at ULL. I immediately felt welcome here, and have made wonderful colleagues and deep friendships over the years. It’s been a perfect place to raise a family.” Loewy has played with ASO since her early days in Lafayette. “It’s been tremendously fulfilling to play with ASO. Mariusz has done a wonderful job. We’ve grown into a true regional orchestra, with an incredibly talented pool of musicians. The level of expertise has gone way up, and it’s an honor to be part of such an esteemed group.” Perry Trosclair, Principal Oboist for ASO, doubles as a flight attendant for United Airlines. Born in New Orleans and raised in Kenner, Louisiana, Trosclair completed his Masters in Oboe Performance at Louisiana State University in 1983 and went on to Cincinnati Conservatory of Music to continue his studies. “Playing principal oboe with ASO is clearly my passion and one of the highest points in my life, 36 June 2014
Overture Magazine
Photo by Danny Izzo, Nouveau Photeau
Regular competitive auditions are held each season for open positions, and musicians are selected based on their level of performance and ASO’s needs for that particular year. According to Emil Ivanov, ASO’s Librarian and Personnel Manager, 65% of ASO members are from the United States, and the majority of members play music as their primary vocation. “The US-born musicians are mostly in the wind and percussion sections. Most of our members are full-time musicians, and probably about a third of them teach music,” Ivanov continues. “By far, our greatest diversity is in the string section.”
Sign Up Today!
Photo by Danny Izzo, Nouveau Photeau
if not the highest. That said, I love my job as a flight attendant.” Perry continues, “Right now I’m in a New York hotel on layover, tomorrow I end up in Tampa by way of Denver, then Cozumel on Thursday. As they say, variety is the spice of life!” Even with a busy flight schedule, Trosclair has played with ASO for 20 years and counting. “The musicians of ASO love music first and foremost. Apart from our exemplary Executive Director, board, staff, and Maestro, what sets ASO apart is the dedication, respect and overall commitment to
IT’S A
Photo by Danny Izzo, Nouveau Photeau
our community. How many orchestras in Louisiana have a Conservatory of Music attached to their name? It’s just another testament to ASO’s true love of music.”
Photo by Danny Izzo, Nouveau Photeau
According to Music Director Mariusz Smolij, the selection of musicians is not just about individual talent, but about “heart,” the ability to work together, and the desire to create a whole greater than the sum of its parts. “As with a professional sports team,” says Smolij, “a coach must assemble a group of talented players to fulfill variety of different roles. The best coaches bring out the best from each individual player, ultimately serving the team as a whole. The role of the conductor is not much different; however, in most sports, once the game begins, the coach remains on the sidelines. In an orchestra, the conductor stays in the middle of all the action.” Having led over 100 orchestras in 25 countries on five continents, Smolij is a veteran musician and conductor. His work with notable symphonies in Germany, Italy, France, Switzerland, Holland, Israel, South Africa, Bulgaria, Czech Republic, Slovak Republic, Poland, and throughout the United States has earned him a reputation as one of the most exciting and innovative conductors of his generation. Currently in his eleventh season with ASO, Smolij envisions great things ahead for the symphony. “Orchestras in the 21st century must fine-tune their mission, repertoire, and type of concerts to better engage with the community. This is not a new concept—adaptations have been necessary throughout the history of music. In the United States, however, the rapid development of technology combined with elimination of public funding as a main source of support have necessitated new ways of financing the arts, thereby increasing an urgency for innovative programming and forms of presentation. ASO has been quite successful in balancing historical traditions while making symphonic music at once relevant, exciting, educational, and enjoyable for audiences from all walks of life.”
Acadiana’s Publication for the Arts
MUSICAL SUMMER SUMMER CAMPS GROUP MUSIC CLASSES PRIVATE LESSONS Piano Violin Viola Guitar Cello Flute Voice Bassoon Mandolin
Trumpet Clarinet Trombone Double Bass French Horn Percussion Saxophone Cajun Fiddle Cajun Accordion
FOR MORE INFORMATION
acadianasymphony.org June 2014 37
Leauxcal Festival
The Big Easel Karen Daigle
Editor’s Note: There are many times that we, as a community, take events and projects for granted. As a transplant to Acadiana, I am often uninformed about the historical background and significance of events like the Big Easel. Karen Daigle, Co-Founder of the Big Easel shares the story of the birth of the event we have all grown to know and love!
T
Thanks to a recent visit with Acadiana Symphony Executive Director Jenny Krueger, I was reminded of the early beginnings of The Big Easel art show at River Ranch. In the year 2004 the artist Hope Herbert and I were anxious to create an art show experience in Lafayette that would showcase deserving local artists. Our first attempt, called Art Alley, was a learning experience. We had three or four artists under the breezeway in River Ranch. Accompanied by a whole lot of wind, we quickly realized these were not the best conditions for artwork and easels. We learned valuable lessons through Art Alley. Hurricane Katrina hit, New Orleans was devastated, and an art community was left in ruins both personally and professionally. It was absolutely heartbreaking, but it gave us the incentive we needed to move past the failure of Art Alley and move forward with a new plan. This would not only bring a one-of-a-kind art experience to Lafayette but it also would show solidarity with our New Orleans neighbors. Thanks to the work of event chairman, Jeffery McCullough, a strict jury selection, and talented artists from Acadiana, New Orleans, and cities throughout Louisiana and surrounding states, the Big Easel was born in 2005. Since then, The Big Easel has become one
38 June 2014
of the most popular art shows in the South. Due to weather problems (that darn wind again) the 2014 Big Easel has been rescheduled to Saturday, June 7 from 9:00 am - 5:00 pm at the River Ranch Town Square. Paintings, sculpture and other artistic items by more than 70 artists will be in one great location. For one day, original art pieces will be for sale at a variety of prices. Admission is free thanks to our generous sponsors. As I write this I am reminded of the message from the Acadiana Symphony Orchestra, its directors, board members and supporters: “A great city knows it cannot be great without the arts.” We could not have said it any better. For more information on the Big Easel and the artists associated with this year’s show, please visit: riverranchdevelopment.com
Overture Magazine
Building Flavor Like Building Music By Paul Ayo, E’s Kitchen
At E’s Kitchen, we make cooking fun. We carry great kitchen gadgets, same potential as spices. They can serve as the perfect touch or the cookware, knives, wine, spirits, and even have meals to-go. We also offer wrong one. Be sure to start with less and add herbs and spices as needed to create the harmonious blend you desire. classes featuring some of Acadiana’s best cooks and chefs. Building flavor is the key to a great dish. Ingredients must work to together to achieve balance just as instruments work together to create a piece of music. Flavors such as dark chocolate can be a wonderful inflection in your dish, just as musical inflections contribute to a great piece. One flavor does not make a meal nor does one instrument make a great song. Backup and support are necessary in cooking in the same way it is necessary in creating an incredible performance.
Lastly the finishing touches complete your dish. Condiments, oils, citrus juices and herbs are used often to top off a dish. Again,
A critical component to a great dish is its base flavor. In many Cajun dishes, the base is a roux, which is simply fat and flour with onions and bell pepper added in the next step. In French cuisine, the base is the mirepoix and, in Italian cuisine, the base is the soffritto. These bases are like the instrumentation of a musical work, they set the tone of your dish. They also determine whether the tone of the dish is subtle or bold. And, if you burn it then you must start all over. Once you have created the base, you add the midtones, which often are the largest component of the dish. For example the chicken and sausage in gumbo or tomatoes in spaghetti sauce comprise the midtones of those dishes. Usually, these ingredients give the dish its name. Some exceptions to this rule exist, like paella and cioppino. The key here is to start with great products. Fresh is always best and local, when you can get it, is even better. Next, you add seasonings and herbs to enhance the flavors of the base and midtones. While rosemary chicken will have a strong rosemary flavor it should not be the only flavor you taste. Other seasonings will round it out for an enjoyable rosemary chicken dish. Be careful during this step because it is easy to over spice and almost impossible to correct if you added more than you need. It also is possible to add spices that conflict with each other so be sure to know which seasonings play well together. Herbs have the Acadiana’s Publication for the Arts
balance is key to a great creation. Drizzling extra virgin olive oil on a dish can help enhance your final product but a bad oil can destroy what you worked hard to achieve. For example, sesame oil often is used in Chinese cooking but must it be used moderately due to its strong flavor or it will overpower it. Tread lightly with your finishing touches and gradually add them to achieve the perfect dish. Like music, the only way to master flavor is to practice. You will make mistakes as you learn but by working through them you can construct a beautiful delicious dish. As the old saying goes, practice makes perfect! If you have any questions please contact us at cooking@eskitchen.com June 2014 39
Standing Ovation
The Trible Piano Artists’ Fund ensures that the ASO can continue to bring high quality pianists to the ASO concert series while offering students the opportunity to learn from these world reknown soloists. ASO’s final concert of the season, Closing with a Winner, featured Jose’ Feghali, a Gold Medal winner of the Van Cliburn International Piano Competition. Piano enthusiasts and Trible Piano Fund supporters had the pleasure of meeting Jose’ before the season finale. Bravo to the following supporters of this fund:
Naming Sponsors Bruce and Madelyn Trible
Ivory Key Sponsors David Baker Dr. James Burke Ann and Walter Dobie
Ebony Key Sponsors Cullen Investment Groups, Ltd. Drs. Patricia Cran and Ronald Daigle Dr. & Mrs. Leo Landry Pat Olson Michelle Parro Larry Roy
Contributors Anne Broussard Constance Carroll Al Landry Robert Lowe Rebecca Mills Rachel Pharr Sylvia Turner 40 June 2014
Overture Magazine
IMAGINE. CREATE. COMPLETE. H O L B R O O K M U LT I M E D I A . C O M | 8 0 0 . 8 0 9 . 2 7 2 5 4 K - M a r ke t i n g - G r i p & L i g h t i n g - V F X - Po s t S u i t e s - R e c o rd i n g S t u d i o s - We b - S I N C E 1 9 7 7
Acadiana’s Publication for the Arts
June 2014 41
Symphony Seauxcial
Closing With A Winner Season Finale Reception May 17, 2014
Photos by Carolyn Brupbacher
ASO guests celebrated at a reception before the season closing concert, “Closing with a Winner”, featuring Jose’ Feghali, Gold Medal winner of the Van Cliburn International Piano Competition. Guests enjoyed wine, hors d’oeuvres, and mingling before being enchanted by Jose’s performance at the Acadiana Center for the Arts.
42 June 2014
Overture Magazine
More local.
There’s only one place to find more of what
More national.
matters to you: The Daily Advertiser. Now with
More of what matters to you.
more local news and stories that bring you closer to the community as well as more national coverage from USA TODAY to keep you connected to our country. If it matters to you, you’ll find the whole story here. Visit TheAdvertiser.com/more
Acadiana’s Publication for the Arts
June 2014 43
Community Seauxcial
2014 Junior Achievement of Acadiana Business Hall of Fame May 6, 2014 Photos by Travis Gauthier of Zoom Photography The Victorian in Broussard, LA was the place to be for the induction of ten honorees into the Acadiana Business Hall of Fame. Sponsors, guests, and friends and family celebrated the honorees while enjoying the beautiful dĂŠcor and local cuisine.
44 June 2014
Overture Magazine
The fastest Internet in town. Period.
Up to 1Gig (1000 Mbps) for home! Equal upload & download speeds only from LUS Fiber. Technology-bending video and phone services are also available, featuring Remote DVR, AllonsTV and unlimited local calling to all of the 337 area code.
Call 99-FIBER today! Based on a comparison of fastest advertised residential offerings as of 6/12 /13 within LUS Fiber service area. Comparison includes upload & download speeds.
99-FIBER (993-4237)
Acadiana’s Publication for the Arts
|
LUSFIBER.COM
|
18 7 5 W E S T P I N H O O K R O A D Seriously, what are you waiting for?
June 2014 45
Community Seauxcial
Stage Backers Party May 2, 2014 Photos by Carolyn Brupbacher
Guest were greeted with champagne and music by Cypress Winds and Alice Wallace as they entered the courtyard of Don and Tish Johnson, hosts of the first event of the Stage Backers. This new nonprofit organization is devoted to supporting and raising funds for the different community theater groups in Lafayette.
EatLafayette.com
June 16—September 1
“Join the Fly Lafayette Club! It’s free and easy to join! Visit lftairport.com and you could be rewarded for Flying Lafayette.”
46 June 2014
Overture Magazine
SACREd HEARt EqUEStRiAn CEntER SUMMER CAMP A day camp open to boys and girls aged 6 and over. Develop horsemanship skills in a fun, relaxed atmosphere. Participate in activities such as: Grooming Tacking Mounting and dismounting Riding Games
337.662.5275
Horse Care Colors, Parts, and Breeds of horses Scavenger hunts Pool activities
June 2-6 June 9-13 June 16-20 June 23-27
www.sshcoteau.org
SSH accepts qualified students of all races, religions, national and ethnic origins.
BlUE RiBBon CAMP
9am-3pm
$400 per week Each week will be limited to 5 English riders and 3 Western riders. $150 deposit required.
Two Schools | One Campus
A day camp open to boys and girls 4 years old to 8th grade. Building confidence, cooperation, and understanding. Creating memories for life.
June 4-8 June 11-15 June 18-22 June 25-29
9am-3pm
$190 per week Lunch provided. Bus transportation available.
Activities Include: Arts and crafts Swimming Pony Rides Karate Basketball
Hip Hop Dance Outdoor Skills Canoeing Sand Volleyball Soccer
Schools of the Sacred Heart in Grand Coteau Single-gender education for PK3-Grade 12 Two Schools | One Campus
Acadiana’s Publication for the Arts
337.662.5275 www.sshcoteau.org June 2014 47
48 June 2014
Overture Magazine