Pasatiempo, June 28, 2013

The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture

La

Grande-Duchesse de Gérolstein

Santa Fe Opera 2013

June 28, 2013

“Seating themselves on the greensward,

they eat while the corks fly and there is

Celebrate the Opera Opening!

talk, laughter, merriment, and

perfect freedom.”

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TRUNK SHOW

Perfect for Summer Hand-painted Silks by

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FASHION SHOW Fri. June 28 & Sat. June 29th 12:15pm

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DESERT SON of santa fe

HANDMADE BOOTS, BELTS, BUCKLES, HANDBAGS & JEWELRY

Community Shopping Day for HumanKind Foundation

Free Global Fiesta!

Friday, June 28th Join Ten Thousand Villages, Cicada Collection, Santa Fe Art Collector, Lucille’s, the Russian Art Gallery and Tutto Fine Yarns and Buttons for a special event June 28th from 4-7pm on the patio at 219 & 221 Galisteo Street.

A percentage of your purchase will be donated to the HumanKind Foundation for Massai education and health projects.

A great cause, great shopping, music, food and friends.

Photo by Kristin St Clair

Re pre s e n ti ng Henr y Beg ue l i n, Num e ro 1 0 & O f f i c i n e C rea ti ve 725 Canyon Rd. • 505-982-9499 • www.desertsonofsantafe.com

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HANDMADE BOOTS, BELTS, BUCKLES, HANDBAGS & JEWELRY

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PASATIEMPO I June 28 - July 4, 2013

Skirts are in!

“Santa Fe’s treasure!”

345 W. Manhattan | Santa Fe, NM | (505) 984-1256 Across from the Train Station. Open Every Day | www.kowboyz.com

5th Annual

A Bishop’s Lodge SUMMER EVENT 4th of July Weekend • Sunday, July 7

Grilled Steaks and Chicken, Braised Ribs, Ranch Burgers and All the Fixin’s • FREE Pony Rides • Cash Bar only on the Mesa Live Country and Western Music & Dancing with The Steve Rose Band

Gourmet BBQ Dinner from 6 pm bishopslodge.com

EUROPEAN CONTEMPORARY STYLING

More Choice.

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Sectionals to sleepers, all made in America.

$39.95 per person • $34.95 seniors $19.95 for buckaroos under 18, under 5 free

RESERVATIONS 505.819.4035 or holdmyticket.com Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room

Wrap summer around your wrist in Roberto Coin Bracelets at Jewel Mark OPEN EVERY DAY 10-6 505-820-630 4233 Canyon Road www.jewel-mark.com

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• Bedroom • Entertainment • Lighting • Accessories

Reasonable prices every day of the year! Please come in, you’ll be pleasantly surprised.

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PASATIEMPOMAGAZINE.COM

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THE SANTA FE NEW MEXICAN

June 28 - July 4, 2013

www.pasatiempomagazine.com

On the cOver 20 downbeat at santa Fe Opera Drumroll, please! That would be the booming percussion that ushers in Jacques Offenbach’s operetta La Grande-Duchesse de Gérolstein, the first production of five that make up Santa Fe Opera’s 57th season. This mirthful sendup of bad management in the military jumps to attention on Friday, June 28. Also opening this weekend, on Saturday, June 29, is a revival of the company’s 2008 production of Le nozze di Figaro, Mozart’s perennially popular comedy of manners, romance, and society on the brink of change. This week, Pasatiempo provides background on the histories and personalities surrounding these opening salvos and sets the stage for ongoing coverage as the season unrolls. On the cover is a lithograph circa 1867 of Hortense Schneider in the title role of La Grande-Duchesse de Gérolstein — she was the role’s first interpreter. Image © copyright 1972-2013 Bridgeman Art Library Limited. All rights reserved.

bOOks

mOving images

14 in Other Words Bone Horses

58 60 62 64

mUsic and PerFOrmance 16 17 19 44

Pasa tempos CD Reviews terrell’s tune-Up Do the Gorgan mash Onstage Deadwood Duet return of the nodmads Juan Siddi

calendar 70 Pasa Week

santa Fe OPera 22 26 28 30 34 36

Hannah Arendt Hava Nagila From Up on Poppy Hill Pasa Pics

and

La Grande-Duchesse de Gérolstein all the world’s a fair Paris 1867 noblesse oblige Susan Graham second empire diva Hortense Schneider culture shocks Offenbach in America Le nozze di Figaro

11 mixed media 13 star codes 68 restaurant review: santa Fe bbQ

art 48 52 54 56

in and out of the shadows Ray Metzker digital derring-do Jonathan Morse art in review Cindy Hickok the die is cast Robert Dean Stockwell

advertising: 505-995-3819 santafenewmexican.com ad deadline 5 p.m. monday

Joe Justad

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

detail of Blue Theater, 2007-2009, by robert dean stockwell

PasatiemPO editOr — kristina melcher 986-3044, kmelcher@sfnewmexican.com ■

art director — marcella sandoval 986-3025, msandoval@sfnewmexican.com

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assistant editor — madeleine nicklin 986-3096, mnicklin@sfnewmexican.com

■

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, robert ker, Jennifer levin, robert nott, adele Oliveira, Jonathan richards, heather roan-robbins, casey sanchez, michael Wade simpson, roger snodgrass, steve terrell, hollis Walker, khristaan d. villela

■

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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Ginny Sohn Publisher

■

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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

Rob Dean editor

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PASATIEMPO I June 28 - July 4, 2013

SUMMER SALE STARTS JUNE 20TH IN STORES AND ONLINE

1 1 0 D O N G A S PA R , S A N TA F E

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BOOTS, BOLOS BOOGIE BaLL

The Second Annual Benefit to Fight Youth Homelessness

FEATURING GRAmmy WINNER

Juice Newton Thursday July 25 at 5:30

Enjoy Dining, Dancing and Live Auction at the beautiful

Inn at Loretto

JeM trio playing during cocktail hour Ticket Price: $100 ($50 tax deductible)

Proceeds from this event will benefit Youth Shelters, a nonprofit in Santa Fe that delivers life-changing services to homeless, runaway, and in-crisis youth and their families.

www.youthshelters.org • 505-983-2300

EIGHTH ANNUAL

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JULY 12–28

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PERFORMANCES AT T H E L E N S I C

Stanley Clarke Band J U LY 21, 7:30 PM

Terence Blanchard Quintet & Lionel Loueke Trio J U LY 25, 7:30 PM

Eddie Palmieri Latin Jazz Band J U LY 27, 7;30 PM O T H E R N M J A Z Z F E S T I VA L PERFORMANCES BY T R I O D A PA Z C AT H E R I N E R U S S E L L DAN DOWLINGJOHN GRIFFIN DUO ARLEN ARCHER & STRAIGHT UP YELLOWJACKETS R E D B A R A AT T H E R E L AT I V E S LARRY MITCHELL THE MIL-TONES TOM MCDERMOTT

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

PASATIEMPOMAGAZINE.COM

9

Outrageously Funny!

She’s the Ultimate Cougar

THE

GRAND

D UCHESS OF GEROLSTEIN O F F E N B A C H

Susan Graham portrays a sexy, spoiled aristocrat with an eye for a young cadet at the local military academy.

Thereʼs just one problem: Heʼs already engaged.

T H I S M E A N S WA R !

PERFORMANCES 8:30 PM: JUNE 28; JULY 3, 6, 12, 19; 8:00 PM: JULY 30; AUGUST 7, 15, 21, 24

T H E S A N TA F E O P E R A 2 0 1 3 F E S T I VA L S E A S O N • J U N E 2 8 — A U G U S T 2 4

Love Unmasked THE MARRIAGE OF FIGARO

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MOZART

8:30 PM: JUNE 29; JULY 5, 10 8:00 PM: AUGUST 3, 8, 13, 20, 23

Only The Heart Knows L A DONNA DEL L AGO

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ROSSINI

8:30 PM: JULY 13, 17, 26 8:00 PM: AUGUST 1, 6, 14

All That Blooms Fades L A T R AV I A T A

I

VERDI

8:30 PM: JULY 20, 24 8:00 PM: JULY 29; AUGUST 2, 5, 10, 16, 22

photo by Kate Russell

TICKETS START AT $32!

Arrive early with a tailgate supper to enjoy the sunset and mountain views.

9 AM Backstage Tours begin at the Box Office (Monday-Friday); $10 Adults, $8 Seniors

The Love that Dared WORLD PREMIERE

OSCAR

I

THEODORE MORRISON

8:30 PM: JULY 27; 8:00 PM: JULY 31; AUGUST 9, 12, 17

10

PASATIEMPO I June 28 - July 4, 2013

505-986-5900 • www.SantaFeOpera.org

MIXED MEDIA Upcoming Events and Specials Join us for our monthly featured events - a perfect way to enjoy Santa Fe!

Beat The Heat this Summer at Nidah Spa

Marvel in the cooling rain forest effect of our Vichy shower system while receiving a lemon mojito sugar scrub ((real Mojitos are available from AGAVE lounge!)

25 minutes $75 Gift Cards Available.

Cannot be combined with any other offer Nidah Spa 505.995.4535

Fried Chicken Dinner at The Old House restaurant Every Sunday Evening

Summer time means fond memories at The Old House restaurant. Enjoy home cooking just like Grandma used to make with a Sunday fried chicken dinner.

For reservations 505.995.4530

Outdoor Dining on The Portal Our newest feature!

Carol Horigon: Dahlia, 2012, mixed-media photography

View our beautiful sculpture garden and Santa Fe sights while enjoying lunchtime dining from 11am-2pm.

Neighborhood watch Feel like getting to know the artists tucked away on Santa Fe’s south side?

How about downtown or in the South Capitol neighborhood? There are plenty of opportunities to canvass these areas and more in this year’s extensive Santa Fe Studio Tour. The 2013 event includes work by nearly 60 artists at 37 venues across town and features jewelry makers, painters, sculptors, photographers, ceramists, mixed-media artists, and more. This is a wonderful opportunity for out-of-town visitors wanting to know what makes Santa Fe a haven for artists and a destination for art enthusiasts and also for residents seeking hidden gems. The open studios allow visitors to learn techniques and processes, talk with artists, and purchase unique works of art. The studio tour is self-guided, so you can tailor it to suit your curiosity. No reservation or application is necessary, and there is no fee. Simply download the tour map and brochure at www.santafestudiotour.com.

The tour begins in the afternoon on Friday, June 28, and continues through Sunday, June 30. Tour hours are Friday from 5:30 to 7:30 p.m., Saturday from 10 a.m. to 6 p.m., and Sunday from noon to 5 p.m. The Santa Fe Studio Tour is a program of Creative Santa Fe. Call 471-4688 for information.

— Michael Abatemarco

Live Entertainment - Friday at The Gallery at Eldorado June 28, 2013 5pm

Every 4th Friday of each month, The Gallery at Eldorado celebrates our local entertainers.

This month’s entertainment duo is Kari Simmons & Todd Lowry.

Enjoy drinks from AGAVE Lounge featuring Avión Tequila with flights and specials.

Kick back and celebrate Santa Fe talent!

Located at Eldorado Hotel & Spa 309 W. San Francisco Street EldoradoHotel.com

505.995.4455

PASATIEMPOMAGAZINE.COM

11

CREATIVE RETIREMENT!

S

pring has arrived and with it comes new opportunities for creativity. Rediscover yourself. Join the journey to Taos Retirement Village.

After the cork has been popped and wine has been enjoyed what can you do with all those leftover wine bottles?

Along with other residents at Taos Retirement Village, Dorothy participated in one of our events called "Monet and Cabernet" where we recycled our social hour wine bottles and rediscovered our creative muse.

T AO S

RETIREMENT VILL AGE 414 Camino de la Placita . Taos taosretirementvillage.com

575.758.8248 Call Pamela Hovden for a personal tour and move-in specials.

what’s happening

Tonight

public lecture

June 28 | Friday 5:30–6:30 pm, Free Video artist Peter Sarkisian talks about his current exhibition.

Santa Fe-based artist Peter Sarkisian is an innovator working at the cutting edge of multimedia art. Juxtaposing projected video and physical object, his installations explore the intersection of moving image and sculpture.

Coming in July gallery talks

Mondays | 12:30 pm, by regular admission Meet some of New Mexico’s most interesting people.

family fun day

July 7 | sunday, 1–4:00 pm, Free Explore your imagination through the magic of solar photography.

public lectures

Invites you to enjoy beautiful work by Judith Kingsley Oil paintings, and Asian watercolors.

Saturday, June 29, 2013 • 5:00 pm 428 Sandoval Street • 820-0239 Refreshments served

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PASATIEMPO I June 28 - July 4, 2013

July 9 | Tuesday, 6:00 pm, Free Petra Giloy-Hirtz, “More and More Cosmic Funk: Hassel Smith’s Late Paintings.”

July 17 | Wednesday, 6:30 pm, $5 Narcissus Quagliata, “Archetypes and Visions in Light and Glass.”

New Mexico MuseuM of Art 107 w. palace ave | on the plaza in santa fe | 505.476.5072 | nmartmuseum.org |

ttwww

STAR CODES

Heather Roan Robbins

We may as well take a vacation this week, because ordinary

work channels just aren’t running clearly. While social interactions overflow with Venus and Mars in friendly and sociable signs, Mercury is retrograde (appearing to back up against the zodiac) in intuitive, touchy Cancer now through July 20 and complicates our efforts to communicate.

A few other major aspects could trigger a sidebar to life, an important but peripheral event that demands our attention. We may be sent back to old stories, friends, and places. A health crisis or a great romance requires attention and interrupts our agendas. Only later will we see how these apparent distractions are really connected to our souls’ work.

This is an interpersonally rich time, so meet, greet, and collaborate during the delays. Mars in Gemini and Venus in Leo bring out our social graces and creativity but can leave us emotionally restless, wanting more attention and romance with less work in relationships. Pets, children, grandparents, and romantic partners need extra appreciation, so when you catch them doing something right, shower them with positive attention.

The weekend begins under a hypersensitive Pisces moon but shifts to an active, forthright Aries moon on Saturday. Appreciate the fresh energy, and feel creative political discontent. Look before leaping as actions may have an unusually strong effect — if we push on a stone, the whole wall falls over — as the sun opposes Pluto and squares Uranus all week.

Early in the week, feed the senses and one another — but don’t feed frustrations. Expect small glitches and an existential longing triggered by a T square between the sun, Pluto, and Uranus and the possible loss of a public person, which leads us to contemplate the passing of time and the nature of freedom.

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Friday, June 28: The mood is sensitive, emotional, and self-focused under a Pisces moon as Mars challenges Saturn. By dinnertime people relax and want ease and comfort as the moon trines Mercury.

Saturday, June 29: Mixed messages, sibling rivalry, and tension between cozy domestic urges and free expression pull us under a feisty Aries moon.

A raucous and competitive quality can be fun — just avoid unproductive bravado. Keep an eye on the weather.

Sunday, June 30: Assess what changed overnight and think of long-term plans before responding. Let the soul wander. Handle a tricky emotional situation philosophically. The afternoon drifts moodily, but plans begin to coalesce tonight.

Monday, July 1: Diplomacy first. Let’s do what we said we would do or at least prove we tried as Venus squares Saturn. The mood settles as the moon enters Taurus midday, though practical glitches slow down creative output.

Seek love, compassion, and beauty tonight as Venus challenges Neptune.

Tuesday, July 2: Honor quiet, deep feelings as the moon opposes Saturn and squares Venus. Expect creative delays this morning. Details smooth out this afternoon; slow and steady efforts produce fertile results on longterm projects. Trust builds if we show up without judgment.

Wednesday, July 3: Rein in easy distractions if anything really needs doing.

Get the point across this morning. Personalities can work at cross-purposes this afternoon.

Thursday, July 4: The mood is funny, restless, wandering, and easily distracted under a talkative Gemini moon. Celebrate Independence Day with creative freedom. Don’t let willful personal quirks cause problems. Be inventive when plans change, and be careful with fireworks as there is an unexpected, unpredictable eccentricity in the air. The evening, although still tricky, warms us for community celebrations as the moon sextiles Venus. ◀ www.roanrobbins.com

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13

In Other wOrds book reviews Bone Horses by Lesley Poling-Kempes, La Alameda Press, 353 pages Novels set in Northern New Mexico too often contain embarrassing cultural stereotypes, inaccurate Spanish, idealized characterizations of Puebloan peoples (Teepees! War bonnets!), and romantic fantasies of the “wild” West. But Abiquiú writer Lesley Poling-Kempes’ latest book is happily free of such distractions. The longtime norteña is best known for her well-researched and definitive chronicle The Harvey Girls: Women Who Opened the West (1989). Bone Horses is her second novel.

Poling-Kempes has drawn an insightful and realistic picture of rural Northern New Mexico life and the characters that populate the fictional, unmapped village of Agua Dulce. Her likable protagonist, Charlotte Lambert, is an uptight 32-year-old schoolteacher from wealthy Scarsdale, New York, who has come to Santa Fe for a conference.

In the previous six months, Charlotte’s father has died, and she has bailed — for the second time — on a wedding engagement. Propelled by forces she doesn’t really understand, Charlotte drives north in search of Agua Dulce — located not far from where her mother committed suicide at a young age — seeking answers to questions that have plagued her since childhood.

Near Agua Dulce, Charlotte accidentally connects with the Durhams, a family that intimately knew her paleontologist grandfather and her mother, Alicia Rose, in the 1950s. The Durham family’s nearly blind matriarch, Thea, repeatedly urges Charlotte to stay for a while, implying that the younger woman will find the answers she wants, but Charlotte keeps making up excuses and planning to book a flight home. We can relate Charlotte’s resistance to the pull of her past; who wants to keep looking into a source of deep pain, knowing such a quest may lead only to more suffering? Yet most of us, like Charlotte, find in the end that the resistance is more agonizing than the truth. Similarly, Charlotte’s denial of what seems readily apparent to the reader — the malevolence of a crazy old man following her around — is true to character and the familiar response of a “nice girl,” to ignore even that which presents a danger to herself rather than create a problem. But there is one person Charlotte can’t resist: Thea’s handsome grandson Jed, who gets her back on a horse after years and introduces her to the country that had entranced her grandfather and mother so thoroughly. Still, Charlotte chides herself, “Don’t be so easily seduced by a man and his horse.”

As Charlotte struggles to sort out her feelings about other people and events of the present (Why does Thea’s son, Barty, seem to dislike her so?) and the past (Why did her grandmother hate Agua Dulce?), she is drawn into the larger questions of life.

Thea’s active relationship with the spirit of her long-dead friend, Conchata, begins to infect Charlotte with a sense that the veil between this world and the next is perhaps quite thin; soon she, too, sees the specter of her grandfather in Thea’s kitchen.

Heightening the mystery are stories of the inexplicable appearance of wild mustangs at a war veterans’ memorial; ravens who act as familiars, ferrying messages from the afterlife and offering protection from evil forces; and the loss of Alicia Rose’s field notebook, which may hold the key to understanding her suicide. Poling-Kempes’ liberal use of the devices of magical realism encourages us to believe that perhaps Charlotte — whom everyone seems to confuse with her dead mother — has been “called” to this place to embody her mother’s legacy in some way.

Poling-Kempes has created an engaging plot and managed to clothe it in our time and culture in a way that conveys comforting and disturbing universal truths. Thea insists that Charlotte learn Conchata’s remedios, how to identify and gather the healing plants and which ones work for what ailments, gently illustrating the ongoing and inevitable interweaving of ethnic histories. The making of adobe blocks for the reconstruction of an old family ranch house suggests the reclamation of ancient practices that is indeed active in Northern New Mexico.

Poling-Kempes uses the true story of the discovery of fossils of Coelophysis (New Mexico’s state dinosaur) as a framework for the narrative, which adds to the novel’s sense of place.

Yet the author doesn’t ignore the shadow side of rural New Mexican culture: Bone Horses addresses violence, drugs and alcohol, long-held grudges and prejudices, and extremist religious views. Contemporary issues, including the threat of environmental pollution and the power of education to save lives, are also threaded into the narrative, sans moralizing.

Bone Horses is extremely well-crafted, and its failings are few. Poling-Kempes’ foreshadowing is sometimes too obvious, and Charlotte is sometimes a bit too much of a city slicker, surprised to realize that cowboys really exist, for example. But these minor problems are redeemed by the novel’s heartfelt themes. Toward the end of the tale, after many plot twists and turns, Charlotte tells Jed, “I still have to take responsibility for my own dreams, and nightmares. ... What I thought was up is down, and what I believed to be a bottomless pit of bad is this magnificent mountain of good.” Who among us hasn’t had that same epiphany?

— Hollis Walker Lesley Poling-Kempes reads at Collected Works Bookstore (202 Galisteo St., 988-4226) at 6 p.m. on Tuesday, July 2.

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PASATIEMPO I June 28 - July 4, 2013

SubtextS Seeing green: Chuck Greaves’ new mystery Having abandoned a 25-year career as a trial lawyer to become a writer, Chuck Greaves found quick success with his 2012 debut mystery, Hush Money. His second book writing as Chuck Greaves (he also writes as C. Joseph Greaves), Green-Eyed Lady, features the protagonist of Hush Money, Jack MacTaggart. He’s a cynical and blunt lawyer, despite possessing a sophistication carefully shrouded in masculinity. He’s the kind of hard-boiled hero who answers his cellphone with the simple and manly enunciation of his own last name. In the new book, MacTaggart defends U.S. Senate hopeful Warren Burkett, whose career is threatened after a one-night entanglement with a mysterious woman with eyes “the bright, mossy tincture of verdigris on an old copper lantern.” Burkett soon finds himself framed for the theft of a Berthe Morisot painting worth millions. It’s up to MacTaggart to, among other things, exonerate the wouldbe-senator using clues that range from political campaign videos to an anonymously delivered Etch-a-Sketch bearing the cryptic message “KEEP YOUR EYE ON THE BALL” — all this while countering a vengeful district attorney, dodging mobsters, and maintaining his cool.

Firmly rooted in the legal-thriller genre, the book combines murder and theft with lessthan-predictable plot twists, courtroom showdowns, and political intrigue along with its fair share of dialogue groaners. “You drive like a girl,” MacTaggart tells the young female cop who supplies the book’s love interest, before qualifying the statement: “Yeah. Danica Patrick.”

Greaves reads from Green-Eyed Lady at 6 p.m. on Friday, June 28, at Collected Works Bookstore (202 Galisteo St., 988-4226).

— Loren Bienvenu

Gun Guys: A Road Trip by Dan Baum, Alfred A. Knopf/Random House, 338 pages Journalist Dan Baum has loved guns since he was 5 years old at sleep-away camp, where he embraced target shooting because he was too awkward for team sports. Since then, the East Coast Jewish Democrat has led a dichotomous existence. His friends and family don’t approve of guns, and — so it would seem — people with guns don’t approve of his friends, family, or the duly elected president of the United States. Baum loves antique guns for their history, their craftsmanship, and the satisfying slick-click sound they make when cocked, but it is clear to him that other people have other reasons. In Gun Guys: A Road Trip, Baum — packing heat where concealed carry is legal — heads out into America to meet some of the 40 percent of his countrymen who own guns and to find out what drives their commitment.

As he expects, Baum encounters a plethora of anti-Obama sentiment and antiliberal rhetoric, of which he quickly tires and which he then avoids. He discovers that gun owners are a diverse bunch with some surprising spokesmen, including a former gun-control enthusiast pushed over the edge by violence and personal circumstance and a former gang member who doesn’t think that criminals are the only ones who should be armed. Most gun owners, regardless of their politics, are thoroughly trained to carry a weapon and consider peacekeeping part of their responsibility as average citizens, and some of what Baum learns might open the minds of those who cannot conceive of why a reasonable person would advocate for gun rights beyond a nod to the lifestyle of hunters and ranchers. Consider the strangely little acknowledged fact that the U.S. Gun Control Act of 1968 is based on a German-to-English translation of Adolf Hitler’s 1938 gun control laws. Baum’s conversations with Aaron Zelman, founder of Jews for the Preservation of Firearms Ownership, provokes interesting questions for the reader. For example, had Hitler not stripped the Jews of their guns, might some Holocaust history be just a little different, with more stories of armed resistance?

It is fundamentally ignorant to dismiss as evil or unnecessary something one takes no pains to understand, which happens too often in the debate over guns in the United States. Gun Guys is a bridge over the political rhetoric to something much deeper inside the hearts and minds of the American people. The road-memoir conceit of Gun Guys is a clever, inviting setup, but Baum’s work borders on scholarly. He is an excellent writer and researcher who crafts exquisite, multifunctional sentences.

He explores the current fascination with the AR-15, the semiautomatic rifle at the center of the assault-weapons-ban controversy, and finds in its endless array of new parts and modifications a lure not unlike that of any other kind of collecting or hobby. Everyone has something that stirs their senses. Yet guns are dangerous in the wrong hands. Some very welltrained people shoot old-fashioned machine guns in sport competition; others buy up AR-15s and bury them underground, preparing for the time — which they believe is imminent — when the government will show up to confiscate their firearms. Baum notes that the line between preparing for this situation and breathlessly anticipating its arrival can be awfully blurry. But gun owners span a spectrum, and lumping everyone together is a disservice to the growing national idea of inclusion and understanding of the Other.

— Jennifer Levin

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PASA TEMPOS

album reviews

Primal SCream Kurt Weill Zaubernacht (CPO) More Light (First Mention the name of Kurt Weill international) The 1990s and a particular cluster of adjectives have been making a comeback this leaps readily to mind: sardonic, acerbic, year, with new albums reasserting the ironic. A word that rarely surfaces in connecrelevance of ’90s envelope-pushers My tion with him is charm, but that is precisely Bloody Valentine, Daft Punk, and Boards what infuses his hour-long Zaubernacht of Canada. The latest band to dust off its (Magic Night). Initially staged in Berlin in Glastonbury ’92 flag is Primal Scream, a 1922, it apparently became the first of his group that helped bridge rock and dance music ever heard in America when it was music with 1991’s Screamadelica. As mounted in New York in 1925. Weill was still with the aforementioned bands, Primal a pupil of Ferruccio Busoni when he was approached to write this Scream aged well because they were far ahead of the curve to “children’s pantomime” for an ambitious production with a limited begin with; with More Light, they continue on trails that they blazed, budget. He rose to the occasion impressively with his score for piano, scrambling the past and future to the point where they can call their percussion, five strings, and two woodwinds, plus (briefly) a singer. nine-minute, saxophone-squalling, dance-rock opening track “2013” The 25 short numbers — including marches, waltzes, a gavotte, a fox — with guitar work by MBV’s Kevin Shields — and it takes a minute to trot (danced by a teddy bear), and a cancan — trace a miscellaneous tale realize that 2013 is the year we’re living in. The album isn’t just an ode to about a brother and sister who spend the night watching their toys 120 Minutes-era alt-rock; it pulls from sources throughout pop-music carry on, from midnight until everyone falls asleep at 6. The history, with “Elimination Blues” sounding like something from performance materials were lost following the Berlin and New the Rolling Stones’ Exile on Main St. (with vocals by Robert York performances, and the work was forgotten until the late Plant of Led Zeppelin) and “River of Pain” resembling an 1990s, when a British musicologist worked up a version Iron & Wine song. Themes of political strife are streaked On ‘Cinema, Circus & based on Weill’s surviving piano score. Miraculously, the with silver linings; it’s a remarkably hopeful album. The lost materials then surfaced in 2005 in a long-forgotten closing number, “It’s Alright, It’s OK,” puts an exclamaSpaghetti,’ Steve Bernstein’s library safe at Yale University, making possible this first tion point on the optimism and the ’90s vibe with a authentic recording by the Arte Ensemble, which is cheerful, gospel-informed melody that directly recalls arrangements of Nino Rota’s spot-on delightful at every turn. — James M. Keller Screamadelica’s rousing single “Movin’ on Up.” — Robert Ker

material take Rota’s gentle swing and relaxed themes and deliver them in wild, unhinged style.

Cinema, Circus & Spaghetti, Sexmob Plays Fellini: The Music of Nino Rota Steve Bernstein’s slide trumpet — a trumpet played like a trombone — is no stranger to film scores, having twisted music out of a number of James Bond films in a 2001 recording. Here, inspired by Hal Wilner’s 1980 Fellini-meets-jazz project Amarcord Nino Rota, Bernstein’s Sexmob takes on Amarcord, La Dolce Vita, and others.

Bernstein’s arrangements of Rota’s material take its gentle swing and relaxed themes and deliver them in wild, unhinged style. The quartet steps on Rota’s go-lightly arrangements and kicks them up with humor, angst, and the sort of free-for-all emotional circus found in the films. “Zamparo” from La Strada opens with the trumpeter spitting harmoniously against Briggan Krauss’ pulsing baritone sax before sliding — literally — into the tune’s melody. The baritone-trumpet unison on the theme from La Dolce Vita is darker than the original before bouncing through a twonote repeated line that gives it something of a Pink Panther feel. The baritone often brings a decided solemnity to the mood — unless it breaks into a complete rant, as on “Paparazzo,” a tune propelled by its share of New Orleansinspired marches. Drummer Kenny Wollesen and bassist Tony Scherr often seem at odds, Scherr precise and melodic, Wollesen playing tantalizingly behind the beat. This is music as crazy — and meaningful — as some of the director’s best work.

— Bill Kohlhaase

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PASATIEMPO I June 28 - July 4, 2013

tHe StraNGlerS Giants (all my People/Fontana North) Of all genres, punk is probably the one least remarkable for band longevity, but The Stranglers have been mainstays in that scene since forming in 1974, in Surrey, England. The U.S. release of Giants, their 17th studio album, corresponds with the band’s first tour of North America in 20 years. Giants combines elements from different stages of the band’s career, which, though rooted in punk, included forays into New Wave, pop, and postpunk. The band reached its height of mainstream success with the 1981 single “Golden Brown,” a New Wave ode to heroin, among other things. Echoes of this laid-back, melancholy hit are spread throughout the new album. “My Fickle Resolve” is especially thoughtful; Black follows the cue of some of his jazz drummer colleagues by sticking to brushes, while the lyrics and vocals maintain a low profile before giving way to a moody synth solo.

The opening instrumental track, “Another Camden Afternoon,” layers blues guitar and organ riffs over a very heavy and repetitive bass line. On the other hand, tracks like “Boom Boom” and “Time Was Once on My Side” rely on the sort of pop sensibilities developed by The Cars, with a little grit mixed in. Nothing on Giants is truly groundbreaking, but over the last 40 years, The Stranglers have broken more than their fair share of it.

— Loren Bienvenu

TERRELL’S TUNE-UP Steve Terrell

Doing the Gargon mash

I never would have thought that in 1998 when I first heard Johnny Dowd’s first album, Wrong Side of Memphis — which at the time I wrote was one of the “strangest albums of the ’90s” — that he would be making another album twice as strange 15 years later. But that’s exactly what he’s done with his latest, Do the Gargon. It’s a concept album of sorts, dealing with a mysterious character who might not even be human.

Born in Fort Worth and raised in Memphis and Pauls Valley, Oklahoma, Dowd started a successful moving company in Ithaca, New York, before he began making albums. He was 50 years old when Wrong Side of Memphis came out.

It gives me a certain faith in humanity that regular working guys might have bizarre musical ideas like these “Gargon” songs bouncing around in their heads as they’re moving your furniture. That’s what makes America great.

So who or what is this Gargon? “Gargon was a character that we ran into on the road several different times,” Dowd recently told his local paper, the Ithaca Journal. “The first time was in Denver, when we opened for a heavy-metal band that was dressed as trolls with scythes and robes. They all seemed sort of Gargon-ish, to use it as an adjective.

“I also was thinking of the Frankenstein movies — inside, he was a nice person, with the exterior of a monster. But in these songs, does Gargon appear as a monster with a soft heart or does he appear normal with a monster’s heart?”

As Dowd writes on his website (www.johnnydowd.com), “All I can say is: look around, look in the mirror, look at me. He is the beast within who got his feelings hurt (boo hoo), he is the boy left at a filling station in the great state of Nebraska in 1953. He says ‘rock and roll will never die,’ and he is a pretty good dancer. That’s why mother married him.” (Some deep Dowd trivia here: Dowd’s website bio says that his mom married his dad because of his dancing skills. And in the Ithaca Journal interview, Dowd talks about being accidentally left behind at a gas station during a family vacation at the age of 4 or 5. He mentions that story in the title song of this album as well as “Gargon’s Disco Balls.”

Dowd sings or mostly talks, and he plays guitar here, backed by longtime musical cronies Michael Stark on keyboards and Brian “Willie B” Wilson on drums and bass pedals. Most of the tracks feature an electro-boogie-beat musical backdrop — think a less slick version of “Sharp-Dressed Man”-era Z.Z. Top. The opening track, “Gargon Gets All Biblical,” starts out with what sounds like a distorted, mutated, synthesized Creedence Clearwater Revival riff. Finally, Gargon speaks. “Wherefore art thou? … Hast thou no mercy ?… On my birth date there was darkness and no breast to suckle. … I am forsaken.” Later in the song, Gargon addresses a woman. “Oh my damsel, so sweet, so fair/My misery with you, I’d love to share.”

This is followed by three and a half minutes of rocking Dowdian madness in a song called “Shaquille.” No, I haven’t quite figured this one out yet as some of the lyrics are incomprehensible.

Gargon reappears in a song titled “Nancy Sinatra.” Here, we learn about another side of the character.

“Gargon has a miniskirt he wears to places fancy/In a pair of go-go boots he borrowed from Nancy Sinatra/ Gargon is a beast, walkin’ kind of prancy/Like a robot ballerina down the Strip with Nancy Sinatra.”

Dowd reveals more aspects of the title character. In the slow, spooky dirge from the dark dimension called “Girl in the Suitcase,” we learn that Gargon was once in love with a red-headed girl from a shantytown.

At the tune’s end, Dowd sings, “All things pass/It’s only memories that last/She’s in his suitcase, his only memory that lasts/He’s in love, in love.” A listener is left wondering if there are human remains in that suitcase. Then in “Touch Her Cheek,” which has a bluesy hook similar to that of Frank Zappa’s “I’m

It gives me a certain faith in humanity that regular working guys might have bizarre musical ideas like these ‘Gargon’ songs bouncing around in their heads as they’re moving your furniture.

That’s what makes America great. the Slime,” we find out that Gargon has a tender side. “Gargon would cut off his arm just to touch your cheek/With his other arm, he would touch your cheek.”

The first half of the nearly six-minute” Butterflies and Unicorns” sounds like a weird marriage between Black Sabbath and ’70s jazz fusion. But then the tempo slows down, and Dowd’s guitar gets psychedelic, with hints of Funkadelic’s “Maggot Brain.”

Meanwhile, Dowd recites more Gargon tales: “Gargon with his iron lung/He says that every single song has been sung.”

Not all of the songs deal directly with Gargon.

For instance, “Pretty Boy” is a comical look at a sharp-dressed man. “I want to kiss myself, ’cause I’m so pretty,” Dowd declares. “I’m a big-town playboy out of Oklahoma City.” I’m betting this tune has its origins in an obscure early ’60s cat called Lord Sundance, whose songs “Pretty Lord Sundance” and “The Return of the Pretty One” tell the story of another guy who wants to kiss himself. (The narrator of “Shaquille” wants to kiss himself too.

Coincidence?)

Musically, this is one of Dowd’s most rocking records. However, I miss the concise storytelling found on his previous works. Earlier albums showed that Dowd has the ability to deliver deep and disturbing sagas of small-time criminals, humiliated lovers, stalkers, and various other kinds of outcasts wrapped in neat three- or four-minute packages. This album is a look at one character, the enigmatic Gargon, from a variety of angles. It’s an interesting experiment, but I hope Dowd hasn’t completely abandoned the elements of his songcraft that made us love him in the first place. ◀

PASATIEMPO

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Orchid Theatre, Dice, 10 x 11 x 8 inches. Photo Credit: Joe Justad

July

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Robert Dean Stockwell

Summer Art Show Public Reception

4:30 to 7:30 p.m., Red Dot Gallery 505-820-7338 An exhibition presenting work in jewelry, sculpture, furniture, photography and painting through August 11. red-dot-gallery.com, 826 Canyon Road.

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The Astronomers’ Workbench: How to Select and Use a Telescope

8 to 9 p.m., SFCC Planetarium 505-428-1744 Commonly asked questions about telescopes will be answered during this Planetarium presentation.

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PASATIEMPO I June 28 - July 4, 2013

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ON STAGE Dangerous influences: Portugal. The Man

Evil Friends, the recently released album by indie rock band Portugal. The Man, bears the heavy stamp of producer Danger Mouse, one of the most active and distinctive producers working today. After making his name in 2004 with The Grey Album, a remix combining Jay-Z’s The Black Album with the Beatles’ White Album, Danger Mouse quickly became an in-demand producer for such diverse artists as Beck, Gorillaz, The Black Keys, Norah Jones, and now Portugal. The Man. Evil Friends is as sleek as might be expected, despite the lingering presence of vocal and guitar fuzz. But when it comes to the band’s appearance at Santa Fe Sol Stage & Grill (37 Fire Place) at 7:30 p.m. Tuesday, July 2, all that matters is how the new songs come across live. Fortunately, these veteran performers of occasionally psychedelic, occasionally poppy rock have been developing their stage presence for almost a decade. Tickets for this all-ages show are $21 in advance, available from Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org) and $25 at the door. — LB

THIS WEEK

American plus: Patty Griffin

“God is a wild old dog/Someone left out on the highway/I seen him running by me/He don’t belong to no one now.” So begins the song “Wild Old Dog” on Patty Griffin’s latest album, American Kid. It’s her first collection of mainly new, original material since 2007’s Children Running Through. As “Wild Old Dog” demonstrates, American Kid holds its own against the most melancholy folk tunes, but it is not without sad humor — another song entreats “Please don’t let me die in Florida.” Though the album has its roots in country and folk music, Griffin’s themes — loss, uncertainty, moving on — are the things everyone experiences, Americana fans or not. Griffin performs in support of American Kid at the Greer Garson Theatre (1600 St. Michael’s Drive, on the campus of Santa Fe University of Art and Design) at 7:30 p.m. on Friday, June 28. Tickets, $46 to $62, are available from Tickets Santa Fe at the Lensic, 988-1234 or www. ticketssantafe.org.

— AO

Wild, wild, one-acts: Deadwood Duet

Wild Bill Hickok and Calamity Jane, two largerthan-life figures from the tumultuous history of the American West, have been mythologized in dime novels, television shows, movies, and now in two one-act plays by Brad Gromelski.

Gromelski, a faculty member at Iona College, mixes fact and humor in Deadwood Duet. The first piece, Wild Bill Meets the Writers, focuses on Hickok’s final hours prior to his ignoble assassination at a poker table, during which he engages in a sort of metaconversation with writers and journalists about his legacy. Calamity Jane Talks to Tourists takes place 25 years later, with the famed frontier heroine discussing her love for both Hickok and herself. The works, performed by members of Albuquerque’s SouthWest Rural Theatre Project, have their premiere at Teatro Paraguas Studio (3205 Calle Marie), at 8 p.m. Friday and Saturday, June 28 and 29, and 2 p.m. Sunday, June 30. Tickets are $12 with discounts available; call 424-1601 for reservations.— LB

Not my mama: Yo Mama’s Big Fat Booty Band

Asheville, North Carolina, outfit Yo Mama’s Big Fat Booty Band isn’t exactly part of the old-school funk — they collaborated with DJs and have done enough remixes of their material to see the difference. On the other hand, they know what’s shakin’ and do just that with grooves, soulful horns, and vocalist Mary Frances, who lets you know what’s she’s feeling, no questions asked. Solid beats, heavy riffin’, chock-ablock rhythm guitar, and a bit of George Clinton-style weirdness are all part of the mix. When they hit the bandstand on the Plaza at 7:15 p.m. on Tuesday, July 2, as part of the 2013 free summer series, don’t expect the crowd to just stand there. Funktasm with Little LeRoy opens at 6 p.m. Visit www.santafebandstand.org. — BK PASATIEMPOMAGAZINE.COM

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James M. Keller I The New Mexican

Santa Fe Opera’s 57th season 20

PASATIEMPO I June 28 - July 4, 2013

arrive at the weekend the city’s culture crowd always awaits with mounting anticipation, the opening of Santa Fe Opera’s season — its 57th — and, by extension, the launch of a musical banquet that will unroll nonstop throughout the summer. As usual, the company offers five operas, this year beginning on Friday, June 28, with a new production of Jacques Offenbach’s La Grande-Duchesse de Gérolstein. (That work also ends the season on Aug. 24.) A randy ruler stands at the center of the action, the first in a procession of nobles who will pop up in each of the summer’s operas. That being the case, we thought it might be wise to review the relative status of all these aristocrats.

The title of grand duchess was most common in the Germanic lands of central Europe, but it also was found in other realms, even prominently in Russia. It denotes a very high rank; a grand duchess would stand in the social order above a regular duchess or duke and just below a queen or king. In fact, should you need to address one, you would use the locution “Your Royal Highness,” although “Your Grand Ducal Highness” would probably be prudent if a king or queen should also be present. In Offenbach’s operetta, the grand duchess weighs the possibility of marrying Prince Paul de Steis Stein Steis Laper de Bott moll Schorstenburg (say it three times and it’s yours forever). There is considerable wiggle room involving the title of prince, but the best practice would be to reserve it for a member of a monarch’s immediate family. The marriage of a grand duchess to a prince would be nearly a union of equals. We also meet a couple of barons: Baron Grog (an emissary for Prince Paul, and briefly the object of the grand duchess’s amorous interest), and Baron Puck, a friend of the grand duchess’s military commander. Barons gather toward the bottom of the pecking order, just above knights.

Though there is considerable variance from country to country (as with many titles), baronies can sometimes be conferred rather than inherited.

In the second work on offer, Mozart’s ever-fresh Le nozze di Figaro, here in a revival of a 2008 production, the Count and Countess Almaviva preside over a palace full of servants who aren’t terribly content with the social order. Counts and countesses perch at about the middle rung of nobility’s ladder, above barons and viscounts but outranked by the likes of a marquis, duke, prince, or king. (In British lands, counts are known as earls, and their wives retain the designation of countess.) The word itself is derived from the Latin root meaning “companion”; a count would be a companion to a king.

Rossini’s La donna del lago is based on the narrative poem The Lady of the Lake by Sir Walter Scott (first baronet — so the holder of a hereditary title awarded by the British Crown, a designation of gentry but not of titled dignity). It takes place in the wilds of Scotland, where King James V is disguised as Uberto, just a guy on a hunting expedition. He is bowled over by Ellen, daughter of the Highland Clan Chief Douglas of Angus, formerly

an earl but now banished for revolting against the king (which is to say, against Uberto). He is one of three fellows courting her, another of them (Rodrigo di Dhu) also being a clan chief. Scottish clan chiefs definitely called the shots in their locales, and they represented a sort of regional nobility that was acknowledged by law. But nobody outranks a king — except the occasional emperor — so a clan chief would want to think twice before fomenting an uprising against a king.

Verdi’s La traviata, one of the most beloved and tear-inducing of all operas, arrives in a production that was introduced in 2009. Headstrong Alfredo falls in love with the vaunted Parisian courtesan Violetta, but his father plays the card of familial honor to split them apart. They remain in love all the same, until she dies pathetically, done in by consumption. The action involves a glittering social swirl that is wealthy but, for the most part, not noble — except in spirit, in the case of the heroine. Still, a few titles waft through the supporting roles. Violetta’s protector is Baron Douphol, so a minor aristocrat. Alfredo’s friend Gastone is the Vicomte de Letorières, just a notch above a baron. And Violetta’s friend Flora counts among her entourage the Marchese d’Obigny. The marchese — or marquis, or marquess — is perhaps slumming in this crowd, since he ranks quite some distance up, above a count and just beneath a duke.

The last opera that will be unveiled this summer is a world premiere and therefore an unknown quantity: Oscar, by composer Theodore Morrison, who was assisted with the libretto by John Cox, a noted stage director (though not for this production). It is about Oscar Wilde, author of the novel The Picture of Dorian Gray and the play The Importance of Being Earnest and witty denizen of leading salons in Britain, on the Continent, and in America. He fell in love with Lord Alfred Douglas, son of the 9th Marquess of Queensberry (a title in the Peerage of Scotland). The marquess publicly berated Wilde, and Wilde countered by suing him for libel. The court found the marquess blameless but so much had been revealed about Wilde’s personal life in the course of the proceedings that he was tried on charges of gross indecency — twice.

The second case concluded in a guilty verdict. This is where the opera’s sad, true story begins, tracing Wilde’s sentencing and his two years of hard labor in Reading Gaol. The Marquess of Queensberry doesn’t appear in this opera (though his son does, portrayed by a nonsinging dancer), but we should know that, despite the perks afforded him by noble status, things didn’t work out too well for him, either. Weakened by syphilis, he died 10 months before Wilde did. ◀

Background image, Garden Court, Exposition Universelle, Paris, France, 1867; courtesy Palace of the Governors Photo Archives (NMHM/DCA), Negative #185352 Opposite page, Le Lion et le Pavillon impérial, Exposition Universelle, Paris, France, 1867; photo by M. Léon & J. Lévy; courtesy Palace of the Governors Photo Archives (NMHM/DCA), Negative #146485

PASATIEMPOMAGAZINE.COM

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In the realm of Gérolstein La Grande-Duchesse de Gérolstein Music by Jacques Offenbach. Libretto by Henri Meilhac and Ludovic Halévy. Premiere: April 12, 1867, Théâtre des Variétés, Paris.

Sung in French with spoken dialogue in English.

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PASATIEMPO I June 28 - July 4, 2013

James M. Keller I The New Mexican

acques Offenbach was not one to underestimate the business opportunity afforded by a world’s fair. In fact, it was a world’s fair, the 1855 Exposition Universelle in Paris, that had set him on his course as an irreplaceable master of operetta. Before that, he had carved out an admirable career as a cellist.

Born in Cologne in 1819, he had moved to Paris at the age of 14 to study at that city’s Conservatoire, and by the 1840s he had won international acclaim as a soloist, appearing in European capitals with such prominent figures as pianist Anton Rubinstein, violinist Joseph Joachim, and conductors Felix Mendelssohn and Franz Liszt. He had aspirations as a stage composer, but even after being appointed conductor of the Comédie-Française in 1850 he had little luck getting his own flippant stage pieces produced.

When Paris announced that it would be hosting a world’s fair in 1855, Offenbach imagined that the inevitable influx of tourists might provide the break he needed. He rented the minuscule Théâtre Marigny on the ChampsÉlysées and established a troupe to occupy it: the Bouffes-Parisiens. At first he presented only chamberscaled farces with two or three characters, but within a few years the company graduated to larger-scaled operettas. From 1855 to 1865, he wrote and produced more than 50 stage pieces, including such still-popular items as Orphée aux enfers (Orpheus in the Underworld, 1858) and La belle Hélène (Beautiful Helen, 1864); and while he continued to amuse his committed audience at the Bouffes-Parisiens, he increasingly made forays from his tiny theater to occupy more commodious spaces that could accommodate his growing fan base.

Then Emperor Napoléon III decreed that it was time for Paris to host another world’s fair, the Exposition Universelle of 1867. Exhibitors and visitors from around the globe would be invited to admire the nearly completed redesign of the city and bask in the legendary delights of the Second Empire (as his reign was called). Construction began on a huge campus to accommodate the fair on the Champ de Mars (not yet occupied by the Eiffel Tower), and ancillary exhibits spilled over to other spaces — 172 acres in all, filled with not only exhibits of industry, art, and agriculture, but also restaurants, amusement parks, and other attractions.

Offenbach’s business instincts again went into high gear. The Exposition Universelle of 1855 had served him well. Surely he could similarly harness its successor; he should be able to mount a very profitable theatrical hit. He already had one up and going — La vie parisienne, which began drawing a hugely amused audience in the fall of 1866 and would continue to play at the Théâtre du Palais-Royal through the months of the 1867 fair, which ran from the beginning of April to the end of October. It depicted Paris as a naughty playground for a cast of international visitors, including a Swedish baron, a Brazilian tycoon, and an admiral of the Swiss navy (think about that) — a mirror of the target audience. But the visitors to the fair would also include many high-ranking aristocrats, even heads of state, and of course everyone found them fascinating. Perhaps something involving the ruling class would hit the spot, Offenbach mused, and he wasted no time contacting his colleagues Henri Meilhac and Ludovic Halévy, the team of wordsmiths with continued on Page 24

Characters and costumes of La Grande-Duchesse de Gérolstein, as produced by Dateman’s Parisian Opera Troupe, New York Top, Susan Graham, center, surrounded by the men of the chorus in Santa Fe Opera’s La Grande-Duchesse de Gérolstein; opposite page, Anya Matanoviˇ c, Paul Appleby, and Susan Graham; production photos Ken Howard, courtesy Santa Fe Opera

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La Grande-Duchesse de Gérolstein, continued from Page 23 whom he had collaborated on La belle Hélène, La vie parisienne, and couple of smaller works.

The three worked at full throttle for several months. As was his custom, Offenbach took a hands-on approach to the libretto, and “Meil and Hal” (as Meilhac and Halévy were known familiarly) were inundated by a barrage of missives in which the composer redrafted large swaths of what they wrote, introduced new twists to the plot, and altered the trajectory of the narrative. Toward the end of the project he assuaged ruffled feathers with a placating note: “I ask your forgiveness, my dears, for having spoken to you with the bluntness of an old soldier, but it’s a duty; aren’t we all in it together so far as work is concerned? On the other hand, I give you permission to tear my music to pieces!”

The central character was a grand duchess, and until late in the game the work was supposed to be titled precisely that: La Grande-Duchesse. Concerns were voiced that some people might think a finger was being pointed specifically at the Grand Duchess of Luxembourg and that officials visiting from that grand duchy might take offense. The authors solved the problem by making theirs a specific grand duchess, the Grand Duchess of Gérolstein. They borrowed the name (but nothing more) from Eugène Sue’s serial novel Les mystères de Paris, in which the disguised hero is actually the Grand Duke of Gerolstein, a fictional realm within Germany. In fact, there is a Gerolstein. It’s

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PASATIEMPO I June 28 - July 4, 2013

a town near Germany’s western edge — about 20 miles from the Luxembourg border, as it happens — and it was once governed by a count, though never by a grand duke or grand duchess. Pointing to a specific but fictional grand duchess allowed Offenbach to proceed with relative impunity while making a joke about highranking aristocrats in general. And yet, the composer did not draw entirely from an imagined realm. He later admitted: “My sources of inspiration were varied: first of all, the Austrian Court, with its outdated modes of ceremony and its antiquated manner of behavior. So far as concerns the central character, I confess that I was strongly influenced by the amatory behavior of the Empress Catherine of Russia and by her ill temper.”

In the resulting opéra-bouffe (as they called it), the madly despotic Grand Duchess takes a shine to Fritz, a dimwitted private in her army, and she courts him by promoting him up the ranks until he displaces even the commander-in-chief. When he fails to grasp her motives and moves ahead with plans to wed his peasant sweetheart, he becomes the target of an assassination plot, which is derailed. He then gets demoted back down to where he started from, and the Grand Duchess contents herself instead with a politically advantageous marriage to Prince Paul de Steis Stein Steis Laper de Bott moll Schorstenburg. But although the spotlight is focused on the title character, one should not fail to consider the also important figure of the displaced and then restored

commander-in-chief, Général Boum. He is one of the great entries in a theatrical family that descends from the Renaissance commedia dell’arte character Il Capitano, a stock figure who would resurface through history in such memorable variants as Scaramouche, Cyrano de Bergerac, and Baron Munchausen.

Général Boum is a caricature of the military itself, short of fuse and quick to shoot. He savors the odor of gunpowder like a connoisseur of fine perfume. Notwithstanding the overriding spirit of farce, the balance of power between the Grand Duchess and Général Boum lends possible depth to this operetta. The piece is a spoof of a Europe in which minor states might sometimes act with bizarre quirkiness, even expending their military power to support the odd whims of their reigning monarch rather than long-term political goals; and yet, even in such a context, the momentum of militarism seems unstoppable.

“How should we define the piece?” mused the historian Pierre de La Gorce, in his Histoire du Second Empire. “Satire, burlesque comedy, travesty? The public didn’t take the time to analyze its impressions and made do with noticing that nobody had ever been so entertained in the theatre.” In his memoirs, Halévy would recall the audience’s response at the Théâtre des Variétés on boulevard Montmartre when La Grande-Duchesse de Gérolstein opened, on Friday, April 12, 1867, at 8:30 in the evening: “I can tell you that at a moment like this a fine old shiver runs right through you from head to foot. How impatiently you wait for the first effect to come off! The great thing is to break the ice. Once the audience is in the mood everything’s all right, but how difficult it is to tear out of them the first roar of laughter, the first murmur of approval, the first applause, and how delightful it is to hear it all! ... Our torture didn’t last long. ... At the first words and thanks, it must be said, to the incredible verve of Couder [as Général Boum], the audience caught fire and only died down towards the middle of the second act. What a beginning!”

The subject of sexual predation in the military is a hot-button issue just now, and that may impact how individual opera-goers respond to the underlying joke. It does not appear to have entered into the equation for viewers a century and a half ago. In fact, nobody took untoward offense from the political implications of this theatrical romp. Napoléon III attended early on in the run, and he returned a few days later with his Empress in tow. It became a must-see for world leaders who visited the fair. Among the figures who included Offenbach’s operetta in their itineraries were the Prince of Wales (the future King Edward VII), Czar Alexander II of Russia (accompanied by his son, Grand Duke Vladimir), Emperor Franz-Joseph of Austria-Hungary, and the crowned heads of Belgium, Sweden, Portugal, Bavaria, and Egypt (the last of whom attended the show every day for a month).

Nobody could resist this skewering of court life, corrupt favoritism, empty-headed patriotism, and power marriages, all of which were rendered delightful by an irresistible onslaught of Offenbach’s polkas, marches, and waltzes. A month after the premiere, a German-language production opened in Vienna. In September the piece embarked on a six-month run in New York (in French), and before the year was out it was also being applauded, in English translation, at London’s Covent Garden. After seeing it in Paris, the Prussian Prime Minister Prince Otto von Bismarck exclaimed: “That’s it! That’s absolutely how it is!” Wrote Halévy in his diary: “Bismarck is helping to double our takings. This time it’s war we’re laughing at, and war is at our gates.”

He was right. Within three years the giddy opulence of the Second Empire would crumble with the onslaught of the FrancoPrussian War in 1870. A 56-ton cannon the Prussians had displayed at the Exposition Universelle as the largest armament in the world — the work of manufacturer Alfred Krupp — was now firing on the French capital as Bismarck’s Prussian army pummeled

its adversaries in the four-month Siege of Paris. A proposed revival of La Grande-Duchesse de Gérolstein was canceled, with the relevant government agency explaining that “under present circumstances it would have a very bad effect.” Offenbach himself came in for a hard time, unfairly victimized by a newspaper campaign that attacked him as “a Prussian at heart,” even though he was a naturalized French citizen, had lived nearly all his life in Paris, and was born in Cologne only four years after Prussia had wrested that city from France.

He would survive it, but the Second Empire would not. After a series of crippling military defeats, Napoléon III was captured by the Prussians. France, declaring his reign ended and the Second Empire defunct, returned to a more democratic government by establishing the Third Republic. After his release, Napoléon III fled with his family to England. The war spurred the formation of a unified Germany, which effectively put an end to the patchwork of negligible Gérolstein-type realms that had previously filled the map of central Europe. Offenbach’s operetta had been born in the nick of time, just before the politics it lampooned changed forever. It satirizes a world that, unbeknownst at the time, stood on the brink of extinction, and it becomes all the more treasurable for being among the final monuments to the carefree hilarity that infused the unsustainable Second Empire. ◀

Jonathan Michie, Kevin Burdette, and Aaron Pegram; production photo Ken Howard, courtesy Santa Fe Opera

La Grande-Duchesse de Gérolstein opens at 8:30 p.m. on Friday, June 28, and continues at 8:30 p.m. on Wednesday, July 3, July 6, 12, and 19, at 8 p.m. on July 30 and Aug. 7, 15, 21, and 24.

The conductor is Emmanuel Villaume. Lee Blakeley directs the production. The scenic designer is Adrian Linford; Jo van Schuppen is the costume designer. Rick Fisher is the lighting designer. Choreography is by Peggy Hickey. Susan Graham sings the Grand Duchess of Gerolstein. Anya Matanoviˇc is Wanda.

Paul Appleby is Fritz. Aaron Pegram plays Baron Puck. Jonathan Michie sings Prince Paul. Kevin Burdette is Général Boum.

Santa Fe Opera is seven miles north of Santa Fe on U.S. 84/285. Tickets start at $40, $15 for standing room. Rush tickets are available for seniors and students. Call 986-5900 or 800-280-4654 or visit www.santafeopera.org.

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James M. Keller I The New Mexican

The Exposition Universelle of 1867

Bronzes d’Art, Section Française, Exposition Universelle, Paris, France, 1867, Negative #146489; top, Le Lion et le Pavillon impérial, Exposition Universelle, Paris, France, 1867, Negative #146485; photos by M. Léon & J. Lévy, courtesy Palace of the Governors Photo Archives (NMHM/DCA) 26

PASATIEMPO I June 28 - July 4, 2013

Exposition Universelle of 1867, for which Offenbach composed La Grande-Duchesse de Gérolstein, brought throngs of culturally minded visitors to Paris. The city qualified as an attraction in its own right, as Paris always has. In 1867, it was eager to show off its new look, the fruit of Baron Haussmann’s grands travaux, which had fundamentally altered the look, feel, and efficiency of the city’s streets, building facades, and infrastructure. The exposition ran for seven months, and estimates suggest that its attendees numbered in the range of nine million to 15 million. The fair’s ostensible theme was “The History of Labor,” but, at heart, it was a showcase for international industry, with perhaps 50,000 exhibitors arriving from around the world.

Culture was also well represented, both within the official confines of the exposition and in the city beyond, where entrepreneurs of all stripes sought to lure francs out of the pockets of the millions of visitors. Inside the fair, aficionados of the fine arts could take in impressive examples of history painting. Nonetheless, historical scenes were at that moment ceding their primacy to a new-sprung passion for genre painting, as evidenced by such officially exhibited pieces as Farm on the Banks of the Oise River by Théodore Rousseau (who would die a month after the fair ended) and Jean-François Millet’s The Gleaners and The Angelus.

The works of such soon-to-emerge Impressionists as Monet, Degas, and Renoir found no place on the walls of the exposition’s galleries. Among their immediate predecessors, Manet and his friend Courbet set up a gallery of their own on the Place de l’Alma, just outside the exposition’s boundary. Manet contented himself with painting the fair rather than having his work showcased there, the result being his large canvas Vue de l’Exposition Universelle, Paris 1867.

The United States was richly represented at the fair. The painters Jasper Cropsey and Frederic Church convinced the U.S. Congress to include a contingent of 41 artists among the nation’s emissaries, with each showing two paintings. Landscapes by Albert Bierstadt, George Innes, Asher B. Durand, and Worthington Whittredge (among others) accordingly provided an international audience with glimpses of America’s natural grandeur, with an emphasis on mountainous scenes from the northeastern states. By and large, they made little impression on even the establishmentarian connoisseurs of France. American art writer James Jackson Jarves lamented: “We most failed in our lauded landscapists. Bierstadt’s Rocky Mountains ... looked cold and untruthful.

Its interest was confined to a tableau-like inventory of an extensive view, while its effect on the mind was similar to sounding phrases of little meaning.”

Music lovers probably had a better experience, not even counting the extended runs of Offenbach’s La vie parisienne and La Grande-Duchesse de Gérolstein. Parisian musical establishments offered a varied sampling of the most admired, not terribly out-of-date works of lyric theater.

Among the productions of the Opéra de Paris during the exposition were Rossini’s Guillaume Tell and Meyerbeer’s Les Huguenots and Robert le diable. At the Opéra-Comique, audiences could take in Boieldieu’s La dame blanche and Hérold’s Le pré aux clercs, and at the Salle Ventadour they could hear the eminent operatic soprano Adelina Patti in Rossini’s Il barbiere di Siviglia.

Within the exhibition halls, musical instruments occupied an amount of space we might find surprising today. In the Report Upon Musical Instruments ... at the Paris Exposition, published in 1869 by United States Commissioner Paran Stevens, we find an exhaustive tabulation of the instruments that were on display and entered into competition by 20 nations: 178 pianos; 51 harmoniums, organs, and accordions; 70 stringed instruments; 82 wind instruments (wood or metal); and 92 “mechanical instruments and parts, &c.” American entries outnumber foreign representation in every category, usually by a large margin, and the prize jury, which included such renowned figures as the Austrian music critic Eduard Hanslick and the French composer Ambroise Thomas, smiled on what they found. Stevens reported: “In no branch of industry did the United States win more distinction at the Universal Exposition of 1867 than in the manufacture of pianofortes. The splendid specimens exhibited by … Messrs. Steinway & Sons, New York, and Messrs. Chickering, of Boston, created a profound sensation not only with artists and professional musicians, but also with the musical public at large. Both firms exhibited grand, square, and upright pianos, and each received a gold medal upon the award of the international jury. The award of two gold medals to piano manufacturers in the United States is the more significant and gratifying, when it is considered that the jury on musical instruments awarded but four gold medals, and that no member of this jury was from the United States.”

Needless to say, both companies hastened to capitalize on their triumph in the international arena, issuing advertisements that reproduced the images of their gold medals from the 1867 Exposition Universelle, recto and verso. ◀

Garden Court, Exposition Universelle, Paris, France, 1867; courtesy Palace of the Governors Photo Archives (NMHM/ DCA), Negative No. 185352 Below, Exposition Universelle, Paris, 1867

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James M. Keller I The New Mexican

Noblesse oblige The

In conversation with Susan Graham

internationally acclaimed mezzo-soprano Susan Graham takes on a new challenge with the opening of the Santa Fe Opera season, appearing for the first time anywhere as the colorful title character of Jacques Offenbach’s operetta La Grande-Duchesse de Gérolstein. If the role represents new musical terrain for her, at least she has the comfort of essaying it in familiar territory, in the state where she was born and in the city she calls home. Pasatiempo caught up with her as she was enjoying the endless westward views from the portal of the house she bought a dozen years ago off a bumpy road outside town. “My house,” she explained, “is called Casa de Quinquin. You know, that’s the Marschallin’s pet name for Octavian in Der Rosenkavalier, and I have sung a lot of Octavians.

Octavian pretty much paid for this house.”

Pasatiempo: How deep do your New Mexican roots run?

Susan Graham: I was born in Roswell and lived there until I was 10. My mother and father were from neighboring ranch families, and they went to grade school together. My father went to college and became a geologist. He didn’t want to do the ranching thing any more and got into the oil business.

We were the first people in the family to live in town, and he worked for years all over eastern New Mexico and West Texas.

I still have a large extended family in New Mexico and Texas.

Pasa: How did this place come to exert its magnetism on you?

Graham: I had been living the peripatetic Gypsy lifestyle for about 15 years, which is what you do if you’re an opera singer, and I was getting tired of feeling like a stranger everywhere I went. I lived in New York, but I was never a New Yorker. I moved there right after I went to college at Texas Tech, to attend the Manhattan School of

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PASATIEMPO I June 28 - July 4, 2013

Music, and I had to adjust to the New York way of life: you don’t have a car, you buy your groceries one day at a time ’cause it’s all you can carry home, you ride the subway everywhere, you live in a beehive with a thousand other people. New Yorkers are somewhat like Texans in that they are very proud of their roots, but they are different roots, and they weren’t mine.

After a while, I started longing to live someplace where I understood the sky, where I knew there would be a thunderstorm in the afternoon at four o’clock, where I knew what kind of bush and shrub and tree I was looking at. I wanted that familiarity back. Being from a place like this really gets in your blood. The opera company drew me back here, too. Everybody who sings here falls in love with this place and wants to come back. They all fall under the spell: the skies, the light, the sunsets, the stars, the air, the silence.

Pasa: How much time do you normally spend here in the course of a year?

Graham: This year is an anomaly since I’m spending the summer at Santa Fe Opera. Normally I spend maybe four or five weeks here. I still have a place in New York, and my boyfriend lives in Los Angeles, where we have an apartment in Burbank. But this is the center of my restorative universe.

Pasa: In fact, you have spent quite a few summers in Santa Fe, haven’t you?

Graham: Actually I have. I was just counting up all the roles I’ve sung here, and it’s getting to be quite a list, stretching back to 1989.

My first summer here I sang in La traviata and Der Rosenkavalier, and in the years since I’ve sung Dorabella in Così fan tutte, the Composer in Ariadne auf Naxos, Cherubino in Le nozze di Figaro, Béatrice in Béatrice et Bénédict, Hélène in La belle Hélène, and Cecilio

in Lucio Silla, plus I did a concert with Alan Gilbert conducting the opera orchestra and then, last summer, the evening of Susan Graham and Friends.

Pasa: But I believe you had aspired to begin your history with the company even prior to all that.

Graham: Oh, my goodness. When I was in school at Texas Tech, my life’s ambition was to be an apprentice at Santa Fe Opera, but I wasn’t deemed far enough along to audition. So then I went to the Manhattan School of Music, and the main reason was because the school’s president was John Crosby [who also ran Santa Fe Opera]. It didn’t work. The first year I auditioned for the program, which was 1986, I don’t think I even made it through round one. I tried again the next year, and again I didn’t get accepted. Fortunately, I did get

into the Merola apprenticeship program at San Francisco Opera that second year, but not Santa Fe. But two years later I finally got here as a principal artist. I tell this story to the opera apprentices every year — that I tried two years in a row to be where they are, and I failed both times.

Pasa: Did it feel to you that your career moved forward quickly?

Graham: It seemed slow to me, but in retrospect I realize things weren’t really happening slowly. It wasn’t meteoric, but I did things in the proper order. I did small roles in decent houses, then worked up to big roles in decent houses, then small roles at the Met, then big roles at big houses, then big roles at the Met. Pasa: You sing a broad repertoire, but would it be accurate to think that French music is especially central to your musical identity?

Graham: French music has been so important to me. I loved playing French piano music — Debussy, Ravel, with their unexpected turns of harmony. Then when I was 16, taking voice lessons in Midland, Texas, my teacher gave me Fauré’s song “Après un rêve” to sing. It was magical for me. I could pretend I was exotic, singing in French.

As the years passed, the more comfortable I got with speaking the words, the more I felt I could express ideas and emotions through French music. And then Berlioz came along. His driving, dramatic force unlocked all the passion that is also in French music.

A very important person in my career has been Denise Massé, the French coach at the Met. For years, I didn’t sing a note of French that didn’t pass through her ears first. I often felt I was playing catch-up.

Since I hadn’t grown up in an operatic milieu, I felt I always had to take one step further to get to the point where I thought everybody else was. That made me want to seek out the best people to help me improve. Part of committing yourself to artistic excellence is humility; you have to know where you need help and who can help you get better.

Pasa: At Santa Fe Opera’s press conference where it was announced that you would appear as the Grande-Duchesse de Gérolstein, you said you initially balked at the idea. Why was that?

Graham: In our country, and to some extent in Europe, operetta has become a vehicle for established artists who are winding down their careers. I’m not ready to perceive myself that way at this point. On the other hand, I love singing The Merry Widow, and I just started to think of the Grande-Duchesse in the same category. She’s vibrant, she’s extremely elegant, and she’s funny and sexy and perceives herself as such. They want to marry her to some fop, but she prefers the hot young military boys.

Pasa: I see an unexpected item coming up on your schedule: a production of The King and I at the Paris Châtelet.

Graham: Yes, that will be a year from now, with the same team that is doing the Grande-Duchesse here: director Lee Blakeley and choreographer Peggy Hickey. We’re doing it in English but with a French movie star, Lambert Wilson, playing the King.

Pasa: Would you like to do more Broadway shows?

Graham: We’ll see. That’s a main reason for doing this. I’m testing the waters.

Pasa: What roles are on your wish list — new roles you haven’t sung before?

Graham: Didon [in Les Troyens] had been one, but I’ve just done it at the Met, and I have more productions of it on the books. I would like to do Ottavia in L’incoronazione di Poppea. I’ve done the title role in that opera but not Ottavia. I’d like to sing more Handel in general.

But there really isn’t much on my wish list — unless somebody wants to do Tosca with the score transposed down a third. ◀

Susan Graham; photo Ken Howard, courtesy Santa Fe Opera

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Hortense Schneider 30

PASATIEMPO I June 28 - July 4, 2013

James M. Keller I The New Mexican

ortense Schneider was famous and admired before she created the title role in Offenbach’s La GrandeDuchesse de Gérolstein, but her appearance in that part catapulted her to a level of superstardom that was unmatched in the annals of 19th-century operetta. She was Offenbach’s leading lady, unrivaled as a stage celebrity in France’s Second Empire. To her he entrusted most of his greatest female roles, and many of his most famous operettas were composed with her talents specifically in mind, including La belle Hélène, Barbe-bleue, and La Périchole, in addition to La Grande-Duchesse de Gérolstein. A letter Offenbach wrote to Schneider on March 21, 1869, probably does not far overstate the position she held in his esteem: “As long as my diva is in good health, nothing else matters to me.”

Her life is the stuff of a novel. She was born in Bordeaux in 1833, and after some early efforts as an actor-singer-dancer in the provinces she arrived in the French capital in early 1855, intent on conquering the hearts of Parisian music lovers. She met Offenbach almost immediately. He was working as the conductor of the Comédie-Française and was on the verge of ratcheting up his career by renting a small theater in which his newly established troupe, the Bouffes-Parisiens, could entertain visitors to the Exposition Universelle of 1855. The Bouffes-Parisiens was hardly a month into its history when Schneider made her debut with the company. She portrayed the wife of a Venetian doge in a curtainraiser that could be termed inconsequential but for the fact that the audience found her ravishing and was therefore predisposed to applaud still more vigorously when she reappeared later the same evening in Les violoneux, a one-act “Breton legend” with music

by Offenbach. Their enthusiastic response cemented her place in the troupe. “As for Mademoiselle Schneider, whom the provinces have sent us and whom Paris had naturalized at her first attempt, it would be impossible to show more grace, refinement, sprightliness, and wit,” proclaimed an appreciative newspaper critic.

She had been introduced to Offenbach by one of the company’s gentleman singers, with whom she was having an affair. She soon set her beau aside to make way for admirers of loftier status — for example, the Duc de Gramont-Caderousse, a bohemian dandy who was smitten when he saw her in L’amour de Psyché, a revue the Bouffes-Parisiens presented at the end of 1856. In 1858 she bore a son. The official documents described the child as “of an unnamed father,” though Gramont-Caderousse seemed the logical candidate.

She sent the child off to be raised by her family in Bordeaux but soon felt drawn to join him there and devote herself to motherhood. Offenbach set about trying to lure her back, and he finally succeeded in 1864 by dangling a spectacular role, the lead in his new operetta La belle Hélène, a comedy based on Greek mythology.

The critic of Le Figaro found that “Mademoiselle Schneider makes men dream like school-boys and flings out her words much as one would give a kiss.”

As plans came together for an operetta that would be unveiled during the Exposition Universelle of 1867, Offenbach knew he wanted Schneider at the center of it. He wrote La Grande-Duchesse de Gérolstein to showcase her exceptional capabilities, and she demanded an exceptional price in return — 4,500 francs per performance. Walls were removed to combine three dressing rooms

Artists were inspired to paint Hortense Schneider throughout her career; she was often portrayed in the costumes of her leading roles.

Below, Historical plaque, Schneider’s home, 123 Avenue de Versailles, Paris Bottom, Parc Français Cascade, Exposition Universelle, Paris, 1867; photograph by M. Léon & J. Lévy; courtesy Palace of the Governors Photo Archives (NMHM/DCA), Negative No. 187627

into one that would provide her with sufficient luxury. She proved temperamental in rehearsals, but in the end she delivered good value for her salary. She created a spectacular costume for herself: a blue coat adorned with gold and jewels, her head surmounted by a crown bedecked with diamonds. Completing the outfit was an official-looking piece of regalia she had found in an antiques shop. Just as the opening performance was about to begin, on April 12, 1867, the backstage representative of the censor’s office noticed that a foreign diplomat in the audience was wearing an identical medallion. He insisted that she shed hers rather than risk offending the diplomat. She refused. The situation escalated into continued on Page 32

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Hortense Schneider, continued from Page 31

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an apparent stalemate, at which point Offenbach signaled to the conductor to begin the overture — the opening sound being an attention-getting drumroll.

Schneider later recalled: “I was like a circus horse when it hears the music to which it must perform in the ring.” When the moment of her entrance arrived, she ripped off her medallion and strode onto the stage. That was her last concession; the next night the regalia stayed, and she wore it proudly in the portraits that immortalized her in the part.

The German theater historian Georgine Maria-Magdalena Balk has observed, “Her triumph in this role was unprecedented for the time and can be cited as one of the first examples of an artist becoming identified with a role to a degree that effected her status in real life.” Now her admirers included heads of state. She entered into a liaison with the Prince of Wales, and the Russian Czar Alexander II and his son, Grand-Duke Vladimir, vied with each other for her favors. The wags of Paris dubbed her with an enduring nickname, “Le Passage des Princes” (The Thoroughfare of Princes). In an example of life imitating art, she fell under her own spell and began to assume the character of a grand duchess even when not onstage.

One day she had her carriage driven up the Avenue de La Bourdonnais to the elaborate gate reserved for ruling families to pass through as they arrived at the grounds of the Exposition Universelle.

The gatekeepers protested that they were authorized to allow entry only for emperors and empresses, kings and queens. “But I am the Grand Duchess of Gérolstein,” she declared — and the gate was opened.

She had reached the high-water mark of her career, but she still had more to offer. In 1868, she starred triumphantly in La Périchole, with Offenbach uncharacteristically presiding over his own work from the podium, and in 1869 he and his trusty lyricists Meilhac and Halévy created a final piece for her, La Diva. Derived fancifully from episodes in her own life, it tantalized audiences with promises of glimpses into the backstage shenanigans of the legendary Schneider, and Offenbach decided to enhance the nostalgia factor by presenting it back in the modest space where her remarkable career had first flourished with the Bouffes-Parisiens. Somehow, the show managed to miss its mark, and the public took a pass on it. “There are days of bad luck when nothing goes right,” shrugged a sympathetic critic. Most reviewers were less kind.

Following the Franco-Prussian War of 1870, Schneider returned to the stage in a Paris that had been profoundly shaken and irretrievably changed. Audiences remained subdued. A tour to St. Petersburg proved more welcoming; her admiring czar led the applause in an aristocratic world that resembled the French Second Empire more than France did by that time.

She continued to perform for a few more years back home in Paris, but in 1878 she declined to appear in a revival of La Grande-Duchesse de Gérolstein.

From then on, she increasingly made way for an up-and-coming generation of leading ladies. In 1881, she was duped into marrying a suitor who represented himself to be an Italian prince but was apparently an imposter scheming to dip into her fortune — which he did deeply before she managed to get a divorce. Whether or not his claim of title was real, she maintained the rank the marriage ostensibly gave her, and for the rest of her life used the honorific title of countess. Though not the loftiest of titles, being a countess was a step in the right direction. But it was beside the point; even as she eased into a long retirement that would stretch until her death in 1920, anyone who remembered her knew that at heart she was the Grande-Duchesse de Gérolstein. ◀

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Marco Brambilla: Creation (Megaplex), a mind-boggling 3D video collage in our new project space through tomorrow. This work presents a spectacle of over 500 clips from a vast archive of iconic Hollywood and international films. upcoming on July 13, the museum-wide installation Enrique Martinez Celaya: The Pearl through october 13, 2013.

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.

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33

James M. Keller I The New Mexican

Culture shocks

Offenbach makes his way stateside people have no idea of this kind of establishment. ... The ground floor of the hotel is an immense bazaar, a city of merchants, where all trades are represented. There is the hotel barber, the hotel hatter, the hotel tailor, the hotel pharmacist, the hotel bookstore, and even the hotel bootblack. You can enter a hotel as naked as Adam before the apple, as hairy as Absalom before the tree, and you can come out as well-dressed as the famous Count d’Orsay of fashionable memory. You can find everything in that Fifth Avenue Hotel, everything; except a person who can speak more than one language. The polyglot is completely lacking. ... It is most inconvenient for those who don’t know any English. But on the other hand, what a lot of conveniences.

Jacques Offenbach

acques Offenbach reached the zenith of his success during the decades of the 1860s, turning out four hits in rapid succession: La belle Hélène (1864), La vie parisienne (1866), La Grande-Duchesse de Gérolstein (1867), and La Périchole (1867).

With the Franco-Prussian War of 1870 came a sea change in French society, and Offenbach seemed to lose his footing for while.

A disastrous gamble on the production of a play by Victorien Sardou (of La Tosca fame) forced him into bankruptcy in 1874.

He was quick to rebound, and he knew he could draw on his abiding fame as a resource. In 1876, he left for a trip to the United States, during which he profitably led some 40 concerts and took in the sights of New York, Philadelphia (where the Centennial Exhibition was underway), and — essential for all tourists at that time — Niagara Falls. Shortly after returning home he published his travel memoirs, which offer culturally fascinating observations about our American ways as glimpsed by a mind attuned to the curious and even the ridiculous. Plus ça change ...

Offenbach checks in Here I am in New York. The Hotel on Fifth Avenue where I am staying certainly deserves a few words of description. In Europe 34

PASATIEMPO I June 28 - July 4, 2013

Offenbach dines out At both hotels and restaurants the waiters who serve you are often peculiar types. ... When you arrive in the dining room, you sit down at the table the maître d’hôtel has designated for you, and a waiter brings you a large glass of ice water. You might stay there for hours at a time in a tête-à-tête with your ice water without anyone serving you. You must call another waiter. He presents the menu, but you are dying of thirst and you want to drink something besides water. The waiter who has charge of the menu goes away slowly to get a third waiter who finally brings you the drink you have asked for. You think you’re saved. An error. The one who brings the bottle does not have the right to pull out the cork, and it is a fourth waiter — at least it was this way at the Hotel Brunswick — who monopolizes the corkscrew. When this little annoying scene had been played several times, I declared one fine day that I wouldn’t set foot in the establishment again unless such a ridiculous state of things was modified. The next day when I arrived for lunch, I found all twenty or thirty waiters of the restaurant lined up in the passage, each one gravely carrying a corkscrew in his hand.

Since that time you don’t have to wait at Brunswick’s.

Offenbach meets the producers An impresario has the right to go bankrupt three or four times, and is not esteemed any the less for such a trifle. The more times he takes a dive, the more times he comes to the surface. One director was pointed out to me who had been honored by six or seven bankruptcies. I was told: “That fellow is mighty clever. Next winter he will have a superb company.” “But how does he go about finding money?” I asked. “It’s the people to whom he owes money who lend it to him again in the hope that some day he will have a success and that they will get back all that they have lost.”

Offenbach is besieged The mania which the Americans have for autographs was frequently forced upon my attention. It is a passion which they carry to the point of rudeness. I received during my stay in the United States an average of ten requests a day from every part of the country. I have been accosted, followed, and pursued in

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Elegy to Jacques Offenbach in the English magazine Punch, 1880

restaurants, in public parks, in theatres, and even in the streets by avid collectors who insisted upon a few lines in my handwriting at any price. My calligraphy was at a premium. I received letters of every sort. ... Every request I received contained a stamped selfaddressed envelope, and I have saved five or six hundred of these.

I warn the honorable gentlemen and the pretty ladies who have made these requests that I have collected their stamps carefully and have sent the proceeds to a welfare society. I offer them my regrets and at the same time the thanks of the poor. ◀

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Translations by Lander MacClintock, as published in “Orpheus in America: Offenbach’s Diary of His Journey to the New World,” Indiana University Press, 1957. An earlier version of this article appeared in “Pasatiempo” on July 16, 2010.

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35

Figaro

Forever

•

Le nozze di Figaro Music by Wolfgang Amadè Mozart. Libretto by Lorenzo da Ponte, after Pierre-Augustin Caron de Beaumarchais’ play La folle journée, ou Le mariage de Figaro. Premiere: May 1, 1786, Burgtheater, Vienna. Sung in Italian.

•

James M. Keller I The New Mexican

H

ow fortunate we are that the Mozart family spent so much time writing letters, and that, against all odds, many of the missives that passed among them were saved by their recipients and preserved for succeeding generations. The opera Le nozze di Figaro first surfaces in the family’s correspondence in late 1785. Wolfgang had been living in Vienna for four years by then. His mother had passed away, but his father, Leopold, was still living in the composer’s native Salzburg and his sister, Nannerl, was residing in St. Gilgen, about 20 miles distant from Salzburg. Letters flowed among them. On Nov. 11, 1785, Leopold wrote to Nannerl: “At last I have received a letter of twelve lines from your brother, dated November 2. He begs to be forgiven, as he is up to the eyes in work at his opera Le nozze di Figaro. ... I know the piece; it is a very tiresome play and the translation from the French will certainly have to be altered very freely, if it is to be effective as an opera. God grant that the text may be a success. I have no doubt about the music. But there will be a lot of running about and discussions before he gets the libretto so adjusted as to suit his purpose exactly. And no doubt according to his charming habit he has kept on postponing matters and has let the time slip by.”

Leopold, whose mind often veered to money, was more than casually interested in this project: for an 18th-century composer, nothing was more remunerative than a successful opera. His concerns about the topic were legitimate. The original play was titled La folle journée, ou Le mariage de Figaro (The Crazy Day, or The Marriage of Figaro), the work of the French playwright, publisher, harpist, watchmaker, and spy Pierre-Augustin Caron de Beaumarchais.

Although Beaumarchais completed it in 1778, it wasn’t staged until 1784 because of problems with the French censors. No wonder they were worried.

Here was a beguiling comedy about a Count and Countess, their marriage on the rocks because he can’t keep his pants on around the servant girls — particularly the Countess’s maid, Susanna, who is about to be married to the Count’s valet, Figaro. The Countess devises a plan to humiliate her noble husband publicly, and she enlists the hired help to assist in carrying out her scheme, privately lamenting that things have come to a pass where aristocrats have to turn to their servants for more than menial labor.

36

PASATIEMPO I June 28 - July 4, 2013

To us moderns, it’s an elegant comedy. But aristocrats in the 1780s lived in a world of strict social demarcation, and the idea of using employees to embarrass a Count would have struck many of the elite as shocking. They did not know that within a very few years — as soon as 1789 — the hoi polloi would take matters into their own hands in Paris, at the expense of aristocratic heads; but many of them nonetheless sensed already that life would not always continue as it was. Certainly Leopold had glimpsed firsthand the divide that separated nobility from humble musicians such as himself and his son.

He was lucky to have been able to read the play at all. The piece was banned from stages in Austria. Officials there were as disturbed by its revolutionary undercurrent as the French censors had been, but they decided to at least allow it to circulate in print, which it did in two competing Germanlanguage translations. Leopold was also on target about the skill that would be required to turn it into an effective opera libretto. Fortunately, his son had just the man in Lorenzo da Ponte, a colorful character who during the 1780s produced librettos for such leading stage composers as Salieri, Martín y Soler, and, of course, Mozart, providing the texts for not only Le nozze di Figaro but also Don Giovanni (1787) and Così fan tutte (1790). After being dismissed from the Viennese court in 1791 because of personal peccadillos, he moved to England and, in 1805, the United States. He worked as a grocer in Pennsylvania but eventually turned to teaching, becoming appointed the first professor of Italian literature at Columbia College (today Columbia University). Reestablished in the world of arts and letters, he founded and managed New York’s first opera house in 1833, and there helped secure the American premiere of Don Giovanni.

“Le nozze di Figaro is being performed on the 28th for the first time,” Leopold reported to Nannerl in a letter of April 28, 1786 — apparently confusing the date of his missive with the true premiere, which occurred three days later, on May 1. He continued with his customary dourness: “It will be surprising if it is a success, for I know that very powerful cabals have continued on Page 38

Marriage à la mode: Zachary Nelson and Lisette Oropesa in Santa Fe Opera’s Le nozze de Figaro; right, Daniel Okulitch; top, Emily Fons and Susanna Phillips; production photos Ken Howard, courtesy Santa Fe Opera

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ranged themselves against your brother. Salieri and all his supporters will try to move heaven and earth to down his opera.”

No such cabals seem to have existed, and the premiere was a reasonable success. At the second performance, a week later, the audience called for so many numbers to be encored that Emperor Joseph zipped off a memo to his director of court theaters: “To prevent the excessive duration of the opera, without however prejudicing the fame often sought by opera singers from the repetition of vocal pieces, I deem the enclosed notice to the public (that no piece for more than a single voice is to be repeated) to be the most reasonable expedient. You will therefore cause some posters to this effect to be printed.”

Still greater triumph for Figaro lay ahead, when the opera began a run in Prague at year’s end. By the time Mozart and his wife traveled to see the new production, Prague was in the throes of a Figaro frenzy. On Jan. 15, 1787, Mozart wrote to his friend Gottfried von Jacquin in Vienna: “Here they talk about nothing but Figaro. Nothing is played, sung, or whistled but Figaro.

No opera is drawing like Figaro. Nothing, nothing but Figaro. Certainly a great honor for me!”

Two and a quarter centuries later, Le nozze di Figaro is one of the most frequently performed of all operas. We doubtless understand its message differently than audiences did in Mozart’s day. If its political commentary seems more distant, we can still relate to its sharp humor in depicting human foibles and the perennial battle of the sexes. Its music has proved timeless, of course. When the Countess muses wistfully on her fading marriage, when she and Susanna ride the breezes of melody in plotting the Count’s humiliation, when the vindicated Countess finally offers forgiveness to her errant husband — at moments such as these, we must share the sentiments that Mozart’s audiences felt when the opera was new, and we, too, may momentarily wish for “nothing, nothing but Figaro.” ◀

•••••••

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PASATIEMPO I June 28 - July 4, 2013

Le nozze di Figaro opens at 8:30 p.m. on Saturday, June 29, and continues at 8:30 p.m. on July 5 and 10, and at 8 p.m. on Aug. 3, 8, 13, 20, and 23.

The conductor is John Nelson.The production is by Jonathan Kent; Bruce Donnell directs its revival. Paul Brown designed the costumes and sets, and Duane Schuler is the lighting designer. Zachary Nelson plays Figaro, and Lisette Oropesa is Susanna. Countess Almaviva is sung by Susanna Phillips.

Daniel Okulitch is Count Almaviva. Cherubino is played by Emily Fons.

Susanne Mentzer sings Marcellina; Keith Jameson plays Don Basilio. Dale Travis sings Dr. Bartolo.

Santa Fe Opera is seven miles north of Santa Fe on U.S. 84/285.Tickets start at $40, $15 for standing room. Rush tickets are available for seniors and students. Call 986-5900 or 800-280-4654 or visit www.santafeopera.org.

•••••••

59 Artists, 37 Studios, Three Days Friday, June 28, 5:30-7:30PM Saturday, June 29, 10AM-6PM Sunday, June 30, Noon-5PM for maps and a list of artists visit www.santafestudiotour.com presented by Creative Santa Fe, a 501(c)(3) non-profit organization

J ERRY U ELSMANN A Retrospective

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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 11, 19, 25, 28; August 2

Northern Lights

July 16, 23; August 1, 7

Touched with Fire

July 26, 30; August 6,13

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

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Santa Fe Chamber Music Festival

Concert venues this season – SFA: St. Francis Auditorium at the New Mexico Museum of Art, 107 W. Palace Ave. and LEN: The Lensic Performing Arts Center, 211 W. San Francisco St.

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Jul 26

Fri 6 pm @ SFA If you’re looking for cutting edge classical music, you’ll find it here. Marc Neikrug’s String Quartet No. 4 and exhilarating premieres by young composers performed by the exciting FLUX Quartet, and the inauguration of the Young Composers String Quartet Program.

Shanghai string quartets; singers Lucy Shelton and Matthew Worth; pianists Jeremy Denk, Inon Barnatan, and Artist-in-Residence Garrick Ohlsson; violinists Benjamin Beilman, Daniel Hope, Ida Kavafian, and dozens more of the world’s most celebrated Chamber Music Stars.

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the incomparable 400-year-old madrigals of Gesualdo. Chamber stars Ida Kavafian, Eric Kim, Anne-Marie McDermott, William Preucil, Peter Wiley, and the Orion String Quartet perform the music of Mozart and Schumann!

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43

Loren Bienvenu I For The New Mexican

hough firmly rooted in Spain, flamenco has a migratory tradition, one that began hundreds of years ago in distant lands and continues its worldly wanderings to this day. It’s appropriate, then, that the Juan Siddi Flamenco Theatre Company has returned to its customary, though temporary, residence at the María Benítez Cabaret room in Santa Fe for the summer season, following a winter and spring tour through the eastern United States. Siddi and his company are slated to perform six nights a week for an impressive eight weeks, starting Tuesday, July 2, and running through Sept. 1. In a conversation with Pasatiempo, the dancer and choreographer discussed plans for the upcoming season, in addition to elucidating the long history of the cultural form.

Siddi was born in Frankfurt and comes from an international background.

“My mother was from Barcelona, Spain, and my father is Italian. They met in Germany, and they were members of an immigrant group.” This society was devoted to maintaining cultural traditions from other European countries, including flamenco. “This is where I started dancing when I was a kid. Since then, I’ve never stopped.”

As a teenager, on summer trips to visit family in Barcelona, he took intensive flamenco classes with some of the area’s leading teachers of the form. It wasn’t long before Siddi’s passion turned into a career. “I started when I was 18 traveling internationally.” His touring took him all across Europe, as well as to the Middle East, North Africa, and beyond. “Then, 10 years ago, everything changed. I came to the United States, and the legendary María Benítez found me.”

Benítez, a native New Mexican who splits her time between Santa Fe and New York, is a famous figure in the dance world, not just locally but nationally and even internationally. She rose to prominence as a leading flamenco dancer in the 1970s, and in the years since she has greatly helped popularize the art form 44

PASATIEMPO I June 28 - July 4, 2013

in this country and abroad. Benítez is also notable for educational outreach and explorations into realms outside flamenco, such as opera choreography. (She has choreographed shows for both the Santa Fe Opera and the Metropolitan Opera in New York.) Understandably, it was a great honor when, after more than 30 years of producing a summer flamenco season in Santa Fe, Benítez passed the torch to Siddi and his company. “I believe this is going to be my sixth season in Santa Fe,” he said.

One of the most important aspects of his job is putting together the company, which is currently composed of five dancers, two singers, two guitarists, a cellist, a pianist, and a violinist (not to mention those involved in production). Siddi makes an effort to bring in as many performers from Spain as he can, “to keep it as authentic as possible,” while also drawing on the larger multinational flamenco community that he’s well familiar with from previous years of touring the world.

The company’s singers Coral de los Reyes and Kina Méndez are from Jerez de la Frontera, Spain, while the company’s five dancers have backgrounds spanning from Calcutta to New Orleans.

The company is a large one, especially since traditionally, to experience flamenco, “you go out to a restaurant and then you have a performance of like one guitarist, one dancer, and one singer,” Siddi explained. That’s “the minimum. But this is a theater production,” offering the opportunity for an expanded show, as well as for combining the new and the old. In describing the repertoire, Siddi paired diverse elements: “It’s contemporary; it’s traditional. It’s authentic; it’s modern.

It has a lot of variety.”

Some of the variety comes from the prevalence of both group and solo pieces, allowing different dancers to be highlighted throughout the night. The pieces continued on Page 46

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Juan Siddi, continued from Page 44

C U ST O M PA I N T I N G , D E C O R AT I V E F I N I S H E S , C O L O R C O N S U LTAT I O N Photos Morgan Smith

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PASATIEMPO I June 28 - July 4, 2013

in the summer program are all works created by Siddi in recent years, but they’ve grown and changed with time as well as from the influence of the dancers performing them. Describing his pieces, Siddi said, “I give each a scene and a concept — but there’s room for improvisation. We’re always updating it and freshening it up and working on it.”

The repertoire includes Encuentro, a duet that relies heavily on mirrored improvisation, and Nataraj: Lord of Dance, a piece evoking the Hindu god Shiva’s spiritual role as a dancer and creator. The homage to India is not coincidental. As Siddi explained, a common theory traces flamenco’s history back to Rajasthan in East India, the ancient homeland of the Gypsies.

According to Siddi, the first Gypsies left Rajasthan centuries ago. They followed a nomadic lifestyle that took them through many countries, subtly altering their artistic traditions along the way. At one point in their wanderings, a geographic schism occurred within their ranks: “They went through Persia before hitting Egypt, and then they split. One tribe went to the north, like the Balkan countries — Turkey, Greece, Bulgaria, Romania — and the other half went south, [through] the Middle East and North Africa,” and from there to Spain.

Traditional flamenco reflects influences from several of these regions, including India. “We have the same footwork technique as a dancer from Rajasthan, India. The only difference is the costumes. They have bells on the ankle, but the technique is exactly the same.” Siddi also sees a Middle Eastern influence in the singing of flamenco, especially the chanting aspect.

Siddi pointed out that flamenco is popular all over the world, even in places like Japan, Russia, and South Africa. When he is touring in such places, Siddi noted, audiences include flamenco enthusiasts and those completely unfamiliar with the genre. “Each country has its own flavor, but the way they receive our work is very similar. It’s universal, because we touch people’s hearts, even if they don’t understand what the singing is about.”

Siddi’s love for his craft is surprisingly selfless, especially considering that he has performed for King Juan Carlos of Spain, among other high-profile figures. Then again, it’s apparent that one of Siddi’s prime artistic aims is to make audience members forget their own individuality, which he achieves by sharing the universal emotions inherent to flamenco.

“Through dancing, singing, or playing the guitar, we express whatever we feel. It’s very personal. Everybody goes through stuff in life: happy things, sad things, loving things, every kind of emotion. So people get touched.

It’s magic.” ◀

details ▼ Juan Siddi Flamenco Theatre Company ▼ 8 p.m. Tuesday-Thursday, July 2-4; performances Tuesdays-Sundays through Sept. 1 ▼ María Benítez Cabaret room at The Lodge at Santa Fe, 750 N. St. Francis Drive, 992-5800 ▼ $25-$55, discounts available; Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org)

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47

Bill Kohlhaase I The New Mexican

HE ANDHIS SHADOWS P h o t o g ra p h e r Ray Met z k e r e m p h a s i z e s l i g ht a n d i ts a bs e n ce

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PASATIEMPO I June 28 - July 4, 2013

hadows, with few defining characteristics other than an edge, aren’t usually photogenic. But placed in the right context in relation to what casts them, and surrounded in a frame of contrasting light, shadows become enticing subject matter rich with meaning. Since the 1950s, photographer Ray Metzker has produced a wealth of material that engages shadows, found in a variety of mostly urban environments, both as focus and as backdrop. A master of manipulating light and its absence, Metzker isolates subjects in surrounding darkness or, less frequently, in light. His shadows do more than attend what casts them. They become subject, defining lines, and carriers of mystery. The effect can be, at once, both starkly objective and suggestively surreal.

Consider a 1964 print from his Philadelphia series, one of several photos on display beginning Friday, June 28, at Andrew Smith Gallery in a show entitled Ray Metzker: Shadow Catcher. A man strides purposefully across a wet sidewalk. His form, lit from the top of the frame, is completely black, the only defining details being his hat and knee-length coat, the slight edge of his eyeglasses, and something, a book or small satchel, in his forward hand. A shadow springs from his feet. It’s every bit as dark and a third again as long as the man, and less sharply defined as it lengthens to the murky hat at the bottom of the print. The wet pavement, with its pools and uneven surface, suggests a topographic view of lakes and rivers seen from the sky. The light coming in from the top widens like a river delta toward the photo’s center and softens around the man’s shadow. One small, suggestive detail: the man, with his leading foot, is about to step on the straight line of a vertical crack in the sidewalk. continued on Page 50

Ray Metzker: images from his Philadelphia series; this page, 1964; opposite page, 1963; page 50, 1963; all silver gelatin prints, Š Ray Metzker

PASATIEMPOMAGAZINE.COM

49

A master of manipulating light and its absence,Metzker isolates subjects in surrounding darkness or, less frequently,in light.His shadows do more than attend what casts them.

They become subject,defining lines, and carriers of mystery.

Ray Metzker,

continued from Page 48

Laurence Miller, a New York-based art dealer who’s represented Metzker for the last 31 years, said in a phone call from Manhattan that despite the emphasis on darkness in the photographer’s work, his true focus was light. “People more often talk about the dark shadows in his work, and they love it. But there’s never a picture that doesn’t have light, even if it’s just a single line. That’s one of the key things in his career: the use of light as a symbol of hope.” A 1963 piece from his series Philadelphia is representative. A man in a sailor’s cap dressed entirely in white and carrying a laundry bag, only half lit, is a bright slice against a large black backdrop and a gray sidewalk. Even in this dimness, the man casts a faint shadow.

Given his first camera by his mother when he was 12, Metzker quickly found that taking pictures was a convenient escape, the darkroom a place of solitude. His home life was dismal, according to Miller, and included unhappy parents and a sister who suffered from a long illness. “He would get out of his house there in Milwaukee with his camera and go out in the snow to escape the oppressive mood. In a way, he found his own happiness and lightness in photography.” Metzker attended Beloit College, where he took photos for the school’s news service and occasionally had them published in The Milwaukee Journal. In 1956 he moved to Chicago to attend the city’s Institute of Design, where he studied with American photographers 50

PASATIEMPO I June 28 - July 4, 2013

Harry Callahan and Aaron Siskind. My Camera and I in the Loop, a series of photographs Metzker produced between 1956 and 1959 for his master’s thesis, resulted in his first showings at the Metropolitan Museum of Art and the Art Institute of Chicago. Those photos defined Metzker’s style — street scenes constructed of contrasts of light and dark — well into his career.

Those black and bright contrasts were often heightened in the darkroom.

Metzker was as much a master printer as he was a photographer with an exceptional eye. “As he began to realize that his real subject was light,” Miller said, “he had to learn how to expose film to achieve the dramatic light and shadow effects he was looking for. He developed techniques that would lighten the highlights and deepen the shadows. But in the middle of his career he did the complete opposite, changing the emphasis from the black to the white. Along the way, he explored everything in between.”

This emergence from the shadows is summed up by William A. Ewing, director of the Musée de l’Élysée in Lausanne, Switzerland, in his preface to the 2008 collection Ray K. Metzker: Light Lines. “At the risk of gross oversimplification, one might say that Metzker’s voyage has led him from the essentially dark, punctuated with light, to the essentially light, punctuated with dark; or, from a negative to a positive world.” Central to this evolution from black to white was Metzker’s two years during the early ’70s teaching at the University of New Mexico in Albuquerque. Here, he could not ignore the intense, dominating light. “New Mexico was one of the most challenging places for him to work,” Miller said. “He was coming from Philadelphia with its old, narrow streets in the downtown area and their deep shadows.

Then he was dropped into the desert, where the horizon goes on forever and the sun was brutal. It was hard for him to reconcile with this new environment. But it freed him to make pictures that were devoid of his usual content. He embraced those light, bright walls and deep shadows.”

Metzker is also known for his composites, prints constructed of matching frames, sometimes as few as two or three, most often set together in crosshatches of dozens. One dated 1965 is constructed of multiple takes of a single scene: a chair and a shadow-dappled column of what appears to be the glassed corner of a room. A single plant seems to grow and shrink as one follows the frames through the print. Seen from a step back, the pieces come together into a beautifully patterned, geometric whole. “Ray was among the first to make large-scale photo works that were not simply an enlargement of a smaller picture. Instead, he constructed these pictures from many parts, which enabled him to build on a large scale while maintaining the work’s integrity,” Miller said. “Someone wrote that the composites worked on two levels: lots of detail when examined close up, yet large abstractions that function differently when seen from afar.”

Metzker’s work continued to evolve over the years, even as he remained true to a few principles. He captured images of alienation and peace, photographing sunbathers on the sand at Atlantic City. He explored complicated tangles of natural objects and their corresponding shadows outdoors in Utah, Wisconsin, and France. He returned again and again to the streets of Philadelphia and saw them with fresh eyes. Once seen as something of an unknown — “he never sought the limelight,” Miller said — he is now celebrated, as demonstrated by major shows in the last several years at the J. Paul Getty Museum in Los Angeles and Kansas City’s Nelson-Atkins Museum of Art. “I think his whole career has been a relentless pursuit to discover new possibilities within back-and-white photography. His work isn’t about storytelling. It’s not about narrative or sociology. It’s about poetry.”

Active well into the first decade of the 21st century, Metzker suffered a stroke in 2012, one that has kept him from his work. Miller reported that the photographer’s recovery is slow and that there are incomplete projects left in his studio. “It’s unlikely he’ll do anymore production. But I just saw him the other day, and we had a great half hour talking, very silly and very serious at the same time.” ◀

details ▼ Ray Metzker: Shadow Catcher ▼ Opening reception 4 p.m. Friday, June 28; exhibit through Aug. 7 ▼ Andrew Smith Gallery, 122 Grant Ave. 984-1234

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51

Michael Abatemarco I The New Mexican

DIGITAL DERRING-DO TAKES PRINTMAKING INTO NEW TERRITORY Jonathan Morse: Reacts 5; opposite page, Facets 8; both pigment on metallic paper, © Jonathan Morse 2013

52

PASATIEMPO I June 28 - July 4, 2013

The process of digital printmaking is not as simple as merely pressing a button. Jonathan Morse has been a digital printmaker for more than a decade, after working in photolithography and other print mediums. Reacts and Facets, two series showing at Morse’s studio beginning Saturday, June 29, demonstrate how digital prints can still be all about the medium of ink on paper.

“These take zillions of hours of reconsideration and processes of development, working and reworking,” Morse told Pasatiempo. It’s a wonderful way to work, having started with all the toxic chemicals of the printmaking world. For me, digital process is the creation of original material as opposed to reproductive material. I think where digital printing got a bad name was the so-called giclée, reproducing a painting as a print where the print looks just like the painting.”

Morse, who received a master’s degree in photography from the State University of New York at Rochester, began working digitally when largeformat Iris printers still cost half the price of a modest house. That good printers are now considerably less expensive is in keeping with the history of printmaking as a medium designed for the masses.

“There’s been a great democratization of photography and digital printing,” he said. “Nearly anybody

now can afford a digital printer, and photography is everywhere. So, as artists, I think we have to bring something to the game. We have to bring our A game.

In a sense, we have to have some value added.”

For Morse, the properties of the paper are essential to the final result of his working process. Ink takes to a smooth, glossy surface differently than to a matte surface, and such considerations are essential to a print’s appearance. For instance, Morse’s Bions, an older series of biomorphic prints, looks like a mix of hand-drawn images and watercolors, the effect enhanced by his use of a porous Japanese mulberry paper designed for digital printing. “I’ve had this fascination for the longest time with ink on paper.

It’s about image, of course. That’s important, but I think the ink and what we used to call substrate has to carry the ball.”

As for paper, for the two new series, Morse found Moab Slickrock Metallic Pearl, by Legion Paper, to be perfect for experimenting with subtle color transitions and grayscales. “The ink just sits right on the surface. There are details and colors that I can’t actually see on the monitor. When I print on matte paper, it just soaks in, but here they’re just totally on the surface.”

The basis for the imagery in Reacts is differences within patterns; the images were inspired by a mini-

malist embrace of repetition Morse encountered in the work of other artists. “I have been to a lot of shows in Santa Fe, and I go out to L.A. from time to time and look at shows there, and a lot of what you see is repetition. Sometimes it’s interesting and sometimes it’s not, but I was nourished as much by what I didn’t like as by what I liked. I was going to the Apple store in Santa Monica. I was in a mall.

I went into Bloomingdale’s, or something like that, and looked at the presentation of women’s shoes or sunglasses or whatever and was picking up on a sort of cultural meme, of the pleasure of seeing variation within regularity.”

Morse has used photographic elements in past bodies of work, but Reacts and Facets have little or no photo-based content; they were built from scratch in the computer using Photoshop. “I started out with something very simple and kept building and building. I wanted to work in complexity while still maintaining that original feeling of why people are out there doing these repetitive kinds of things. I think as human beings — and brain science has been pointing this out lately — we are pattern recognizers.

I see my cat sitting in the window, and I think what she’s doing is looking for differences in the pattern, which might be a bird or a bug or whatever. I have done a lot of layman reading in the field of neuro-

science. I think what first hits our visual brain is pattern because we were, originally, looking for signs of danger. We look for differences and regularity. I think we’re pleased by some asynchronous qualities within that regularity.”

The basic element of Reacts is the cube. That shape dominates, often overlaid with random splashes of color, blending the precision of geometric form with something like action painting, which adds a discordant sense to the imagery. “I’m very intrigued with the way that what I do in Photoshop creates these iterations. You’re sort of generating an image from nothing. They’re built from scratch. Cubes have started to fascinate me in this series. It’s something about the fact that they have depth. They have sides.

It’s a way to put together a bunch of material in a simple, recognizable shape. Much as I would like to occasionally do something minimal, I’m not really comfortable unless I can find some complexity to hang my hat on. When I was teaching a class out at the community college, we had a critique, and I said to one student, ‘I really like this body of work. It reminds me of [Robert] Rauschenberg. You stop just sort of chaos but pull it back in with a sense of control.’ She thought it was a terrible thing to say, to call her work chaotic, and I said to her, ‘I just compared you to Rauschenberg. What do you want?’ ”

The idea of recurring motifs is retained in Facets, but Morse also works with color saturation, and overall the series’ imagery, framed by rich blacks, has a photographic and architectural feel. “I often avoid solid blacks because they’re hard to print without getting blemishes, marks, or dust. But I find that I often like to leave a little trail of imperfection because a digital print can be almost too precise. I like the way the black ink sat on this paper. I think I’m bringing a lot of my photographic sensibility. I want to see a range, from the paper white to the very black, so I’m taking full advantage of that. I started Facets, again, with the idea of the cube and repetition but also bringing the world of drawing into this pristine space. I like to make marks that have never been seen before but still relate to the tradition of printmaking, which has a long and honorable history.” ◀

details ▼ Jonathan Morse: Reacts 1-11 & Facets 1-8, new digital drawings ▼ Opening reception 2 p.m. Saturday, June 29; continues 1-5 p.m. Saturdays through July 26 and by appointment ▼ Byzantium Lofts, 1348 Pacheco St., Suite 105, 982-3305

PASATIEMPOMAGAZINE.COM

53

ART IN

REVIEW

Cindy Hickok: Seeing, Sensing, Savoring, and Stitching; Jane Sauer Gallery, 652 Canyon Road, 995-8513; through July 9

C

indy Hickok uses free-motion machine embroidery as a medium. Like much of fiber art, the medium suffers from the disdain of those who consider embroidery a “domestic craft” rather than fine art, though it requires no less of an eye and no small skill to employ — and certainly your average home Singer user cannot achieve similar results (although there are plenty of YouTube videos that explain the basics).

In a way, fiber art continues to struggle toward individuation; some of those who choose to work in the various fiber media buy into the prejudices against them, so that despite the artists’ creative and technical expertise, their work continues to remain referential rather than to forge new territory.

Hickok’s exquisite art-historical images are a case in point. They are very ingenious and mostly amusing. Consider A Monday on the Island of La Grande Jatte, a takeoff on Georges Seurat’s painting A Sunday Afternoon on the Island of 54

PASATIEMPO I June 28 - July 4, 2013

La Grande Jatte, in which couples, families and their pets promenade and play in a park on an island in the Seine. In Hickok’s parody, the party is over: trash cans are overflowing, park workers are trying to restore order, and only a few random dogs and one person sleeping under a newspaper populate the green.

In Closing Time at the Met, Hickok has borrowed figures from famous paintings; the characters have escaped their canvases and are spilling down the steps of the art museum. There’s a Bruegel peasant, those island women are Gauguin’s, and that floozy has got to be a Toulouse-Lautrec, right?

Most of the other works in this exhibit likewise reference famous paintings, including a series of very small pieces that parody works of culinary subject matter. In Hickok’s take on van Gogh’s The Potato Eaters, for example, the tubers in question are French fried.

In many of the pieces, Hickok uses colored pencil to indicate depth on the paperboard upon which she has mounted the embroideries. This shading, some descriptive notes in pencil and even the drawing of the steps of the Met are unnecessary and distracting. Viewers do have imaginations, after all. Leave some of the work to us.

The best work in the exhibit only obliquely references a historical piece.

Homage to Home features two headless garments — like paper-doll cutouts — of a woman’s dress and a man’s pair of overalls. Into the “fabric” of the garments, Hickok has stitched imagery inspired by her Iowa heritage. The woman’s dress features an old stove and teapot, a laundry wringer, jars of preserves. The male figure holds a hoe, his overalls bearing a cornstalk, a barn with the word JESUS on its roof, a vintage car, and a haystack. Though the work clearly references Grant Wood’s American Gothic, it doesn’t evoke a chuckle. The figures are headless, their identities iconic; any person of that era and place might inhabit those garments. Hickok is committing social commentary, and it is more provocative than merely whimsical. Let’s hope she harvests more from that field in the future.

— Hollis Walker Cindy Hickok: above, A Monday on the Island of La Grande Jatte, 2012; below, The Bachelor Pad, 2013; both free-motion machine embroidery (rayon thread)

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Ray Metzker, Philadelphia, 1963

ONE OF AMERICA’S LEGENDARY PHOTOGRAPHERS

RAY METZKER SHADOW CATCHER

JUNE 28 - AUGUST 7, 2013 Opening reception Friday June 28th, 4-7 p.m.

Featuring exhibitions of ANSEL ADAMS photographs from THE DAVID H. ARRINGTON COLLECTION

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Michael Abatemarco I The New Mexican

SCULPTURE BY ROBERT DEAN STOCKWELL eople use all sorts of tools for peering into the future. They read tarot cards, consult the I Ching, and throw dice. Predicting the future by throwing dice and other objects, such as stones and bones, is called cleromancy, and it’s also the title of an exhibition of sculptures by artist and actor Robert Dean Stockwell, now on view at Zane Bennett Contemporary Art. For nearly a decade, Stockwell has been crafting enigmatic collages. Cleromancy features his most recent body of work, assemblages made with dice. The Dice Works, as he calls the series, includes miniature theater scenes, pyramids, a throne, several crosses, and other forms that have mystic, religious, and theatrical connotations. The dice Stockwell uses are six-sided cubes. Each face of the die bears a number — one through six — represented by dots. In Stockwell’s dice sculptures, the numbers for the most part are not arranged in any particular order. “There’re 56

PASATIEMPO I June 28 - July 4, 2013

only two pieces that have arranged dots in any part of them,” Stockwell told Pasatiempo. “All the rest are abstract, with no selection made whatsoever, so whatever comes out comes out.”

In the exhibit’s four theater scenes, narratives are suggested but not spelled out. “They’re simply open-faced boxes with a little dramatic stuff going on inside.

The largest one has a little Chinese woodcarving figure that I got in a secondhand store in downtown L.A. when I was acting in a police story or something 40, 50 years ago. It’s about 6 inches tall. I took it and I put it in this box with a large, rounded die of wood. I put a round mirror on one face of the die and put it on a stand made of other dice. This figurine is standing and looking at himself in the mirror. In the corner I’ve got a little electric fan that goes on. Up in the front, coming off of the top, are three ribbons that correspond to the color of the three

windows inside. They look like tall church windows, two yellow and one red. The three ribbons flutter when the little propeller goes off. So there’s an activity happening.”

Stockwell turned to assemblage after an artist friend mailed him a package with a set of dice inside, along with the head of a real hummingbird, probably intended to be used in a work of art. “I made a little sculpture out of the white dice and the hummingbird, and I put little metal milagros on it.

Milagro means ‘miracle.’ In the Hispanic tradition they have a wooden cross somewhere, or another kind of cross, in the household. If somebody hits themselves on the hand, say, with a hammer, they’ll put a little milagro of a hand on the cross to help cure it. I had a milagro, for some reason, of a hatchet. I put it next to the little bird’s head and that was the first one.”

It may surprise some to see crosses that Stockwell has formed from dice, with milagros attached, because dice are frequently used for gambling, which some associate with vice. To Stockwell, the connection suggests something more. “For some reason the sheer contrast of the idea of a cross and gambling, something superfirm and something superchance, put together — I found they were very successful. I made, I think, nine crosses altogether. Since then I branched out to the theater pieces.”

Another aspect of the sculptures in Cleromancy is the way they interact with light. Backlit, translucent dice glow as though emanating a light of their own. “I get them all from a catalog from China. They really are fantastic, and they don’t fade from sunlight. I’ve got them right in my front window.

They’re lit up from outside and they’re beautiful. In the show it won’t be as pronounced as that, but I’ll try to get them as backlit as I can. You know who likes these pieces the most are young kids. I’ve had a couple of kids come to the house, and they flip out for them. I interpret that as a good sign.”

The exhibit at Zane Bennett marks the culmination of Stockwell’s work with dice for the time being. “I’m about done with them now. I’ll probably move back to collage because that’s my main forte.” Among his as yet unexhibited work is a series of collage pieces begun after he received a package from another friend, fellow assemblage artist and filmmaker Bruce Conner, shortly before Conner’s death in 2008. “He sent me all of his collage material, which was a big signal to me. He strangely addressed the packages to ‘Anon, care of Robert Dean Stockwell,’ from ‘Anon, care of Bruce Conner.’

So I made a set of collages, 22 of them, and I call them the Anon Collages and these are so hot, I’ll tell you, you can’t even pick them up they’re so hot.

Most of them were already cut out. He was very good with the scissors or an X-Acto. They’re engraving types of images from turn-of-the-century London. I just went nuts with them.”

Stockwell has made artwork his primary means of creative expression in recent years, but he is not new to it. He contributed to assemblage artist Wallace Berman’s Semina publication, a loose-leaf Beat-era journal of poetry and art published from 1955 to 1964. Semina included work by artists Conner and Jay DeFeo and actors Russ Tamblyn and Dennis Hopper, who appeared in David Lynch’s 1986 film Blue Velvet along with Stockwell.

Stockwell’s work was also in the traveling exhibit Semina Culture: Wallace Berman and His Circle, most recently on exhibit in the Grey Art Gallery in New York in 2007.

Although his career as an artist is ongoing, Stockwell hasn’t left the worlds of film and television. “When I get an offer, I’ll look at it. They’re fewer and farther between the older I get. If I get an offer I drop everything, and I go wherever it is and do the acting job. Sometimes I bring artwork with me and other times I just go do the acting. I’m doing a movie next month. I just did one a couple of months ago with Jerry Lewis called Max Rose. I’m looking forward to seeing it; I think I did a good job.” ◀

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details ▼ Robert Dean Stockwell: Cleromancy ▼ Opening reception 5 p.m. Friday, June 28; through July 19 ▼ Zane Bennett Contemporary Art, 435 S. Guadalupe St., 982-8111

Robert Dean Stockwell: opposite page, Multicolor Theater, 2007-2009, assemblage

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movIng Images film reviews

Deliver us from banality Jonathan Richards I For The New Mexican Hannah Arendt, drama, not rated, in English and German with subtitles, The Screen, 3 chiles Hannah Arendt went to the Eichmann trial, and all we got was this lousy ...

Well, what? Fill in the blank. Serious philosophy doesn’t always reduce well to T-shirt slogans. But to furious former friends, fellow Jews, academic colleagues, and an energized swath of the New Yorker-reading public, what Arendt brought back was certainly lousy. She was vilified as an apostate, a traitor, a self-hating Jew, and in the words of a neighbor in her New York apartment building, in a message delivered to her door in a tasteful creamcolored envelope, a “Nazi whore.”

The trigger for all this was a series of articles Arendt wrote in 1961 for The New Yorker, which had sent her to Jerusalem to cover the sensational war crimes trial of Adolf Eichmann, the Nazi bureaucrat who oversaw the transportation of Jews to concentration camps.

The new movie about Arendt opens in the dark of night on a lonely road in Argentina, where a solitary figure is snatched into the back of a truck and kidnapped. The snatchers are the Israeli Mossad, the snatchee is Eichmann, and the destination is a courtroom in Jerusalem.

When the trial is announced, the philosopher (played by Barbara Sukowa), who was interned in a French concentration camp early in the war before managing to get out and obtain passage to the United States, lobbies New Yorker editor William Shawn (Nicholas Woodeson) for the assignment. Despite some misgivings from the staff (“Philosophers don’t meet deadlines”), he sends her over to cover the trial and waits patiently in the following months for her articles.

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Smoke screen: Barbara Sukowa and Janet McTeer

What Arendt discovers upsets her preconceptions.

Expecting a monster, she finds instead a bland little bureaucrat, a milquetoast, an unimaginative, unthinking functionary. Director Margarethe von Trotta (who has also given us films about Rosa Luxemburg and Hildegard von Bingen) shows the man the real Arendt saw at the trial. Rather than casting an actor, she uses archival television footage of Eichmann in court. The grainy black-and-white images show a prim, fastidious man, enclosed in a glass cage for his protection, licking and pursing his lips and cocking his head like a turkey as his bespectacled eyes dart restlessly around the courtroom.

Eichmann is “terribly and terrifyingly normal,” Arendt wrote.

Arendt’s New Yorker articles became a book, Eichmann in Jerusalem: A Report on the Banality of Evil. The phrase “the banality of evil,” has become part of the language; those are the words by which Arendt is remembered, even by people who know nothing else about her. The phrase conveys the unsettling ordinariness of the people who carried out the horrifying policies of the Third Reich. Evil is not a rarefied extreme but something well within the reach of ordinary people under the right circumstances. “I was just following orders” became the much-mocked mantra of Eichmann’s defense.

Hannah Arendt is a hymn to thinking. What Arendt finds inside that glass cage in a Jerusalem

courtroom is a man who has abdicated the thought process. Thinking is sacred to her. As a student at the University of Marburg in prewar Germany she studied with philosopher Martin Heidegger, with whom she had an extended affair. Von Trotta flashes back periodically to their relationship. “Teach me to think,” the young Hannah (Friederike Becht) demands, to which Heidegger (Klaus Pohl) replies, “Thinking is a lonely business.” Heidegger became a Nazi, and their relationship came to an end.

Thinking is hard to dramatize, but Sukowa makes it almost palpable in her fiercely nuanced performance.

There’s a certain amount of lying prostrate with a hand to her forehead and a lot of sitting enveloped in clouds of smoke from her ever-present cigarettes. The best of the movie comes in conversation. Along with Sukowa, its most interesting practitioners are Arendt’s circle of New York intellectual friends, including a bright, acerbic Janet McTeer as the novelist Mary McCarthy and Ulrich Noethen as Hans Jonas, a German-Jewish friend from her student days who turns on her after the publication of the articles. Best of all is her husband, Bard College professor Heinrich Blücher (Axel Milberg), who provides unruffled intelligence, rational calm, and a lifeline to a deeply felt loving human relationship. His affectionate pat on the bottom of one of the towering intellects of the century is a picture of tenderness worth a thousand philosophic words.

The element of her articles that causes the most venomous reaction is her reporting that some European Jewish leaders were at least partly complicit in the Nazi treatment of Jews. The backlash is anguished and bitter. Von Trotta’s treatment of Arendt’s detractors is one of her few missteps in this otherwise absorbing exercise in intellectual cinema.

She simplifies several of the antagonists into snarky, two-dimensional villains. Jonas is the exception.

Arendt refuses to back away from her convictions.

In the movie’s finale, an impassioned tour-de-force speech to her students at New York’s New School, she defends her thinking and her observations and clarifies misunderstandings that have arisen about what she has written. If she can’t change the mindset of her own generation, perhaps she can expand the minds of the young. ◀

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moving images film reviews

Rejoice, re-rejoice, and re-re-rejoice Robert Ker I For The New Mexican Hava Nagila: The Movie, documentary, not rated, Center for Contemporary Arts, 4 kosher chiles Let us rejoice.

That is the meaning of the phrase hava nagila, although it’s entirely possible that not many people — particularly non-Jewish people who weren’t alive when the song was a pop hit by Harry Belafonte and Connie Francis — know this. It is impossible, however, that these people don’t know the song itself, even if some might not know that they know it. They might only know it as the song played at Jewish weddings in the movies that goes “Da-dummm, dada-da-DA-dum, da-da-da-DA-dum, da-da-da-dum da-da-da-DA.” This documentary is for people who aren’t very familiar with the song. It’s also for people who have grown up Jewish and know the song as an integral part of their upbringing and personal lives. The movie brings everyone together like the hora — the traditional dance that is frequently done to “Hava Nagila” at joyous events, in which everyone links arms in a circle — and serves to celebrate the spiritual nature of music. It’s one of the happiest films of the summer, but it also shows how happiness is one part of a human experience that encompasses despair, longing, and suffering as links in the hora of life.

That is the point of the song as well. “There ain’t no happy in Judaism that’s not connected to a bitter

Director Roberta Grossman

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Hora hurrah: “Hava Nagila” plays during a traditional Jewish wedding celebration

aftertaste,” says chazzan Danny Maseng in the film.

The song originated among Jewish people living in poverty in Eastern Europe and was performed through extreme hard times over the course of history. The thought of singing “Let us rejoice” while receiving news of the Holocaust may seem like an unnatural reaction, but as interviewees in the film state, much of the Jewish faith involves celebrating one’s time on Earth, no matter how difficult it may be. In other words, it’s one of the original YOLO songs. YOLO is an acronym for “you only live once” that was coined by the rapper Drake and popularized throughout his music and social media. Drake, it’s worth noting, is Jewish.

Maseng elaborates on that point. According to him, a core component of the Jewish faith is “this wonderful tension between aspiration and reality.” This tension can be heard in “Hava Nagila,” even if you don’t understand Hebrew, as the buoyant rhythm and mournful chords balance each other out. Even if you only know the song as the “da-dums,” you get it, and you also aren’t far from relating to it in the way that it was originally conceived. The melody was first developed as a nigun — or a wordless folk song that was intended to bring one closer to God, with music rather than language being one of the shortest routes.

Director Roberta Grossman takes us on the song’s journey, beginning with its origins in Ukraine and then through to Israel and America, where she stops to gather information in places that include the National Library of Israel and the National Museum of American Jewish History in Philadelphia. Along the way, she offers astounding photographs and footage, making the movie into a rich (if concise) history of the Jewish people as much as a history of a song. As the narrative takes us to the point where the song spreads into the wider currents of pop culture,

she enhances the story with numerous disparate performances of and references to the music.

One of the more fascinating points of the song’s journey lies with Abraham Zevi Idelsohn, an ethnomusicologist and composer in Palestine in the early 20th century. The little-known Idelsohn, credited with writing the lyrics to “Hava Nagila” — an attribution that is disputed, as the film also mentions — is a bit like the Harry Smith of the Jewish people. Just as Smith archived American folk music, Idelsohn archived Palestinian. Jewish people were arriving in Palestine from all over the world, and their music was merging in strange new ways.

Idelsohn captured a lot of it and eventually wrote Israel’s first songbook. “Hava Nagila” was among the melodies that came to the land, and it rose to prominence with the joy of the new Israeli state.

Grossman also spends time with Ayala Goren, daughter of Gurit Kadman — the woman who did for Jewish dance what Idelsohn did for music — in an especially pointed segment. Grossman follows the song to American cities after the formation of Israel and then to the suburbs and across radio, television, and movies. She brings us to modern times by speaking to members of The Klezmatics (who refer to the song as “a cul de sac”) and pop star Regina Spektor.

It’s fortunate that “Hava Nagila” has such an infectious melody, since you’re going to hear it many times over the course of the film. The movie is brief, and it flies by in a hurry, thanks to lively footage, crisp editing, and interviews that are economic, informative, and entertaining. It will leave you feeling elated, in touch with important moments of history, and impressed by the power of music — even if, like me, you’ve never been to a bar mitzvah in your life.

Now that is cause for rejoicing. ◀

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Down by the seaside Robert Ker I For The New Mexican From Up on Poppy Hill, animated melodrama, rated PG, Center for Contemporary Arts, 2 chiles Japanese cinema has always had an eye firmly fixed on Japan’s past. Its most beloved filmic gift to the world remains the samurai picture, a subgenre that — like American Westerns — is set in a time when people lived by a more straightforward set of rules and a conservative code of honor. The great dramas of Yasujiro¯ Ozu frequently focused on generational gaps and on elderly people who faced with dignity their fate of being trampled by progress. World War II and the bombings of Hiroshima and Nagasaki left a permanent scar on the country, which shows itself in beloved pictures such as Godzilla and Grave of the Fireflies. And Japan’s most recent widespread influence on world cinema — its jarring supernatural horror films — often involves ghosts who are kept in the present only by disturbing, secretive pasts.

Over the past two decades, Studio Ghibli has been the big-screen representative of one of Japan’s other great entertainment exports: the cartoon. Whether through anime television series or volumes of manga, the small country has produced mountains of material that has been consumed by youth of the world with increasing hunger. Throughout this growth, Ghibli — and in particular director Hayao Miyazaki (My Neighbor Totoro, Spirited Away) — produced animated feature films with consistent brilliance, earning champions such as Pixar’s John Lasseter and selling international distribution rights to Disney.

Miyazaki and longtime director Isao Takahata both have Ghibli films nearing completion, and the men are getting up in age to the point where these releases are rumored to be their last. They may be

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tireless workers for as long as they live, but they’re shifting the focus of some of their work to grooming Ghibli’s next generation of filmmakers. From Up on Poppy Hill is the second Ghibli film in a row (after 2010’s fine The Secret World of Arrietty) by an upand-comer — in this case Hayao’s son Goro¯. Poppy Hill is Goro¯’s second feature, following his 2006 debut, Tales From Earthsea. Unfortunately, like that film, this one isn’t up to the studio’s high standards.

This is not for lack of effort. Hayao Miyazaki and Keiko Niwa (another rising star at Ghibli) adapted the screenplay from Tetsurô Sayama’s 1980 manga.

Longtime Ghibli cinematographer Atsushi Okui takes up his usual role. The film looks beautiful, with the studio’s famously bold line work, rich detail, and vibrant, painterly colors. Virtually all of the movie’s pleasures stem from this surface. That there isn’t much dramatic tension in the story is not a major problem, as Ghibli films rarely contain significant tension compared to Hollywood films.

Unlike other Ghibli films, however, the fact that little really happens here is not offset by memorable characters and a supernatural sense of wonder.

The story is another in Japanese cinema that looks to the past, boasting a period setting and featuring

characters that want to keep tradition intact during a transitional period of modernization. The year is 1964. Japan is preparing for the Summer Olympics and the chance to affirm its new identity in the hard years after World War II. The tale focuses on a school where the student center, a decaying old building dubbed the Latin Quarter, is set to be destroyed to make way for a new structure for the Olympics. The students strongly oppose this. That is the film’s main source of drama.

The melodrama involves the movie’s heroine, a teenager named Umi (voiced by Sarah Bolger in the English-dubbed version), who tends to her siblings and longs for her father, who was lost at sea. She takes an interest in a boy at the school (voiced by Anton Yelchin), who lost his own father in a similar circumstance. In the eye-rolling soap-opera tradition, they soon realize they are siblings who are missing the same dad. Or are they? This plot, which takes up a healthy portion of the film’s running time, seems like the kind of thing older men think teenage girls want from a story more than what teenage girls actually want.

This is a shame, because if you look nearly everywhere but at the plot — and if you set aside the subpar voice acting and the drippy, soft-jazz piano score — there is a lot to like. The seaside village is the movie’s real star, with meticulously drawn buildings sloping up steep hills. The student center is abuzz with a wide variety of minor characters and a cacophony of witty banter. The figure animation is striking and expressive as usual, if a bit slender and same-looking here.

The true measure of a Ghibli movie’s success, however, is in how a child reacts. Kids often have a higher tolerance for more pastoral movies and revealing glimpses into how older children act.

While I was growing bored with From Up on Poppy Hill, I asked my 5-year-old what he thought. He responded by asking when we could watch it again.

That gave me some small comfort that Ghibli’s brightest days aren’t necessarily in the past. ◀

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MOVING IMAGES pasa pics

— compiled by Robert Ker

HAVA NAGILA: THE MOVIE Let us rejoice. That is what hava nagila means, and this documentary about the song is cause for rejoicing. Director Roberta Grossman takes us on a journey, beginning with the song’s origins in Ukraine and through to Israel and America, offering wonderful photographs and film footage of Jewish people along with numerous disparate performances of the music. The movie is brief, lively, and informative, and it touches nicely on the spiritual balance between the earthly and the divine, between sorrow and joy. It will leave you feeling elated, in touch with important moments in history, and impressed by the power of music. Not rated. 75 minutes. Center for Contemporary Arts, Santa Fe. (Robert Ker) See review, Page 60.

Cleanliness is next to oddliness: Despicable Me 2, at Regal Stadium 14 in Santa Fe

opening this week BERBERIAN SOUND STUDIO Toby Jones plays Gilderoy, an Englishman in the 1970s who moves to Italy to work in a post-production studio for horror films. His life soon begins to resemble those famous giallo movies (made by Dario Argento, Lucio Fulci, and others) for which he spends his days creating sound effects. Not rated. 92 minutes. In English and Italian with subtitles. The Screen, Santa Fe. (Not reviewed) DESPICABLE ME 2 Evil, it turns out, really does never sleep. The left-field hit of 2010 gets its sequel with this story about the ex-villain Gru (voiced by Steve Carell), who is trying to raise his children. He’s called out of retirement to track down a villain even nastier than he was. The true stars of the movie will no doubt once more be Gru’s quirky yellow Minions.

Opens Wednesday, July 3, with sneak previews at 7:15 p.m. (3D) and 7:30 p.m. (2D) on Tuesday, July 2. Rated PG. 98 minutes. Shows in 3D and 2D at Regal Stadium 14, Santa Fe. (Not reviewed) FROM UP ON POPPY HILL The latest release from Japan’s Studio Ghibli comes not from master Hayao Miyazaki (Spirited Away) but from his son Goro¯. Alas, the results are 64

PASATIEMPO I June 28 - July 4, 2013

disappointing. Set in 1964, the story concerns a teenage girl named Umi (voiced by Sarah Bolger in the English-dubbed version) who longs for her lostat-sea father while helping save her school’s student center from demolition. Although melodramatic, the tale lacks real tension. The animation is still gorgeous, however, with the meticulously detailed and exquisitely colored seaside village being the film’s real star Rated PG. 91 minutes. Center for Contemporary Arts, Santa Fe. (Robert Ker) See review, Page 62.

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 “terribly and 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. The climactic scene in which she answers her critics from her New School classroom is a powerful statement of principle and riveting cinema.

Not rated. 113 minutes. In English and German with subtitles. The Screen, Santa Fe. ( Jonathan Richards) See review, Page 58.

THE HEAT With Bridesmaids, director Paul Feig found success by putting women in the traditionally male-dominated genre of the raunchy comedy. Now he attempts to do the same with the buddy-cop genre.

He reunites with Melissa McCarthy, who became a star with her assertive, frank character in Bridesmaids.

She plays the bad cop to Sandra Bullock’s good cop, and the two becoming unlikely partners. Rated R. 117 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) THE KINGS OF SUMMER Three boys flee their oppressive parents to build a cabin and live in the woods for the summer in this indie comedy by newcomer Jordan Vogt-Roberts. The plot sounds a bit like last year’s Moonrise Kingdom, only without the romance and with one secret weapon: Nick Offerman (who plays Ron Swanson on TV’s Parks and Recreation) portrays one of the oppressive parents. Rated R. 93 minutes. Regal DeVargas, Santa Fe. (Not reviewed) THE LONE RANGER Why is Tonto getting top billing everywhere but in the title of this most recent take on the Lone Ranger? Because he’s played by Johnny Depp in all the costume and makeup regalia that found massive success in the Pirates of the Caribbean franchise. Gore Verbinski, the director of those films, is reteaming with Depp for this adventure. So who is the masked man, anyway?

Why, it’s Armie Hammer (The Social Network), kemosabe. Opens Wednesday, July 3, with a sneak preview at 7 p.m. on Tuesday, July 2. Rated PG-13. 149 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) WHITE HOUSE DOWN Just in time for the Fourth of July, here’s a movie in which the White House gets blown up good. Don’t worry, however: the destruction is being carried out by director Roland Emmerich, who has done this before (in Independence Day) and is a total professional. This time, the enemies come not

from outer space but from within our own country.

Channing Tatum is the film’s tough guy, and Jamie Foxx is the President. Rated PG-13. 137 minutes.

Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed)

now in theaters AFTER EARTH Will Smith and real-life son Jaden play a father-son astronaut duo who crash-land on a future Earth. The plants and animals of the planet have wisely evolved to hunt and destroy humans, and the son finds himself fighting for his life. Rated PG-13. 100 minutes.

Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed) 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. All that conversation ebbs and flows through the intimate knowledge two people develop about each other over a long time and the ways they make each other laugh and think and cry and rage. Both actors are as good as or better than they have ever been. Rated R. 108 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) BLANCANIEVES In his striking silent-movie adaptation of Snow White, Spanish director Pablo Berger transfers the setting to Spain in the early 20th century and makes his heroine the daughter of a famous bullfighter. There’s a wicked stepmother — an irresistibly over-the-top Maribel Verdú (Pan’s Labyrinth) — and a troupe of seven bullfighting dwarfs. The fairy-tale sisterhood has been a popular vein to mine in recent movies, and true to contemporary sensibilities, Blancanieves grows up not just beautiful but tough and resourceful enough to take charge of her own life, if not save it. Berger directs this retro tour de force with great gusto, and the performances are excellent.

Rated PG-13. 105 minutes. Silent film with intertitles.

The Screen, Santa Fe. ( Jonathan Richards) THE BLING RING Directed by Sofia Coppola, this is the true-crime tale of celebrity-obsessed young Angelenos (played by the ever-sensational Emma Watson, leaving Hermione Granger in the dust; a captivating Katie

Chang; Taissa Farmiga; Israel Broussard; and Claire Julian) who, beginning in 2008, broke into celebrities’ homes and stole designer sunglasses, shoes, purses, jewelry, and clothes worth more than $3 million.

This is a snappily paced wisp of a film, awash with Coppola’s trademark super-cool aesthetic, her ear for dialogue, and a good amount of tension. For better or worse, she reserves judgment, although as she portrays them, these teens are a lot like the houses of the vacationing celebrities they rob: the lights are on, but nobody’s home. Rated R. 90 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) THE EAST As with The Bling Ring, this movie centers on a group of young people who break into the homes of wealthy people — only these protagonists attack morally bankrupt members of the 1 percent to do unto them what they do unto the 99 percent: spy, steal, poison, and so on. The story centers on an operative at a private investigation firm (Brit Marling) who is asked to find these vigilantes and ends up sympathizing with them. Ellen Page co-stars. Rated PG-13. 116 minutes.

Regal DeVargas, Santa Fe. (Not reviewed) EPIC This animated Avatar rehash by Ice Age director Chris Wedge is about a teenage girl (voiced by Amanda Seyfried) who is shrunk into a secret forest world where she must join plants and animals against an evil dude (Christoph Waltz). There are no palpable stakes, the dialogue is uninspired, the character animation looks straight-toDVD, Aziz Ansari’s hyper-annoying slug seems forced, and the dichotomy between girly princesses and manly soldiers is so dated that even Disney gave it up decades ago. Rated PG. 103 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) FAST & FURIOUS 6 This franchise, which somehow finds new gears with each installment, is wildly popular, and part six is more of the same. The stunts are Looney Tunes-worthy, the dialogue is hilarious (except for the jokes), and the acting (from Dwayne Johnson, Vin Diesel, and friends) stresses brawn over brains. These are all positive traits. The problem is that for a movie that hypes speed, the story, in which the gang attempts to take down a terrorist (Luke Evans), downshifts to a crawl in the film’s second half. Rated PG-13.

130 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) FRANCES HA Writer and director Noah Baumbach’s latest movie, shot digitally in black and white, centers on a 27-year-old woman (Greta Gerwig, who also co-wrote) who is sliding down a rocky road with her struggling dance career and loosening relationships.

Fortunately, her disposition is cheerful and optimistic,

The Heat

and for the most part, so is the film’s mood. Frances Ha nicely captures the awkward plight of those who struggle to find a place in the world and accurately represents floundering in your 20s. Rated R. 88 minutes. Center for Contemporary Arts, Santa Fe. (Robert Ker) THE GREAT GATSBY Baz Luhrmann’s movie rendering of F. Scott Fitzgerald’s classic novel is The Great Gatsby the way Jay Gatsby might have directed it. Gaudy, extravagant, and ecstatically excessive, it lights up the screen like a lavish party into which Luhrmann hopes Daisy Buchanan will wander some night — and if not Daisy, then at least the rest of the world, looking for a good time. That is the quality that distinguishes this movie; when it slows down for the more intimate scenes, it usually fails to convince. Leonardo DiCaprio, Carey Mulligan, and Tobey Maguire star. Rated PG-13.

143 minutes. Screens in 2-D only at Regal DeVargas, Santa Fe. ( Jonathan Richards) 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. continued on Page 66

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But Bier manages to keep this valentine on a very enjoyable track, helped immeasurably by a fine cast led by Pierce Brosnan and the wonderful Trine Dyrholm. It’s a grown-up film, beautifully photographed at a family wedding on an Amalfi coast, that will make you sing “That’s Amore.” Rated R. 110 minutes. In English, Danish, and Italian with subtitles. Regal DeVargas, Santa Fe. ( Jonathan Richards) MAN OF STEEL The big screen has been Kryptonite to Superman — the hero has been thwarted by bad sequels, Hollywood turnaround, and false starts since 1980’s Superman II. Director Zach Snyder (Watchmen) reboots the character from the ground up (no need for a story recap — you know the deal). This result is (sometimes too) dark and violent yet promising; it favors a realistic approach that lends a sense of awe to that which is super. With the exception of Henry Cavill, who looks the part but is often too stiff as Superman, the cast — which includes Michael Shannon, Russell Crowe, and Kevin Costner — is inspired, none more so than Amy Adams as Lois Lane.

Up, up, and away! Rated PG-13. 143 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) 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 of the many monsters and their world are awe-inspiring. It also shows how far Pixar has fallen with regard to its writing: the cleverness of the original Monsters movie is replaced with clichés about college and competition. Set during the younger days of Mike and Sulley (voiced once more by Billy Crystal and John Goodman), the story revolves around the two getting booted from their program at Monsters University and competing in a scaring competition to get back in. It’s cute but hardly economical; in the screening I attended, parents pulled out smartphones with 15 minutes left, and three families left early. Rated G. 103 minutes.

Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker)

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medium

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PASATIEMPO I June 28 - July 4, 2013

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, effervescent, and refreshing summer treat. Don Pedro (Reed Diamond), Don John (Sean Maher), Claudio (Fran Kranz), and Benedick (Alexis Denisof) are visiting the home of high-powered politician Leonato (Clark Gregg), father of young Hero ( Jillian Morgese) and uncle of sharp-tongued Beatrice (Amy Acker).

Claudio falls in love with Hero, while Benedick and Beatrice hide their affection behind a “merry war” of words. Rated PG-13. 107 minutes. Center for Contemporary Arts, Santa Fe. (Laurel Gladden) MUD Matthew McConaughey is in top form as Mud, an Arkansas Delta backcountry hothead with a ton of charm who enlists a couple of teenage boys (Tye Sheridan and Jacob Lofland) to help him reunite with his sweetheart (Reese Witherspoon). Meanwhile, the law and the irate father of a man he killed are out looking for him. It’s a colorful tale and a cautionary one.

Director Jeff Nichols does a good job with style and character, but he lets the story run on too long and loses the handle at the end. With Sam Shepard and Michael Shannon. Rated PG-13. 130 minutes.

Regal DeVargas, Santa Fe. ( Jonathan Richards) NOW YOU SEE ME Assemble a highly watchable cast, which includes Woody Harrelson, Jesse Eisenberg, Morgan Freeman, Michael Caine, Mark Ruffalo, and Mélanie Laurent. Then roll out a crackerjack setup: four illusionists 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, make every scene interesting. Abracadabra! You have a movie that’s wildly entertaining, despite having to cheat to connect all the dots. Rated PG-13. 116 minutes. Regal Stadium 14, Santa Fe. (Robert Ker) STAR TREK: INTO DARKNESS In the newest Star Trek movie, director J.J. Abrams ups the ante on action and visual effects. Kirk (Chris Pine) and Spock (Zachary Quinto) are at odds after a violation of the Prime Directive and the arrival of a genetically enhanced villain (Benedict Cumberbatch). The film 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 only at Regal Stadium 14, Santa Fe. (Rob DeWalt) STORIES WE TELL Actress Sarah Polley’s documentary exploration of her family history is better if you

don’t know too much about it. Polley’s mother, Diane, who died of cancer in 1990, when Polley was 11, is the heart of the film, which is primarily constructed through interviews with her friends and family.

Diane emerges as a complicated figure, and there’s no consensus on her character. Stories We Tell is about the Polleys, but it speaks to the mythmaking that occurs in all families. Rated PG-13. 108 minutes.

The Screen, Santa Fe. (Adele Oliveira) THIS IS THE END James Franco, Jonah Hill, Seth Rogen, Danny McBride, Craig Robinson, and Jay Baruchel are holed up in Franco’s mansion when the apocalypse hits during a raging party. These guys aren’t playing characters — they’re playing themselves, often as preening, egotistical jerks. Suffice it to say, the mileage you get out of this comedy will vary depending on how much you like these dudes. Emma Watson and Michael Cera kill in their cameos, and the cocky, obnoxious McBride pretty much steals the show. Rogen and Evan Goldberg co-direct with a light touch; if it looks like a film made by a bunch of buddies trying to crack each other up, that’s because it is. Rated R. 107 minutes. Regal Stadium 14, Santa Fe; Storyteller, Taos. (Robert Ker) WORLD WAR Z Though this film thrusts its protagonist, played by Brad Pitt, into one Republic serial-type cliffhanging situation after another in rapid succession, what’s missing from Marc Forster’s production — based on the Max Brooks novel of the same name — is suspense. Pitt is the multitalented expert on just about everything — gunplay, medicine, piloting a plane, etc. — traveling the world to find a way to end a zombie epidemic. The actors are convincing, and the characters more interesting than usual for such fare, but the combination of sloppy scripting, CGI special effects for the zombies, and the speed and confusion of most of the action scenes wears you out. Still, the picture partially redeems itself with a tense climax in a zombie-infested hospital wing.

Rated PG-13. 115 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Nott)

other screenings Center for Contemporary Arts Friday-Sunday, June 28-30: Dirty Wars.

11 a.m. Saturday & Sunday, June 29 & 30: Safety Last!

Regal Stadium 14 Friday-Sunday, June 28-30: The Internship.

Taos Community Auditorium 133 Paseo del Pueblo Norte, Taos, 575-758-2052 Sunday-Monday, June 30-July 2: The Reluctant Fundamentalist. ◀

“I’D SEE IT TWICE!” -Mary Pols, TIME MAGAZINE

What’s shoWing

Ethan Hawke

Before Midnight

Call theaters or check websites to confirm screening times.

1050 Old Pecos Trail, 982-1338, www.ccasantafe.org Dirty Wars (NR) Fri. to Sun. 1:45 p.m. Fri. to Thurs.

1:45 p.m.

Frances Ha (R) Fri. to Sun. 8 p.m. Fri. to Sun. 8 p.m.

Mon. to Thurs. 1:45 p.m., 8 p.m. Mon. to Thurs.

1:45 p.m., 8 p.m.

From Up On Poppy Hill (PG) Fri. and Sat. 11:45 a.m., 5:45 p.m. Fri. and Sat. 11:45 a.m., 5:45 p.m. Sun. 5:45 p.m. Sun. 5:45 p.m.

Mon. to Thurs. 11:45 a.m., 5:45 p.m. Mon. to Thurs.

11:45 a.m., 5:45 p.m.

Hava Nagila (NR) Fri. to Thurs. 3:45 p.m. Fri. to Thurs. 3:45 p.m.

Much Ado About Nothing (PG-13) Fri. to Thurs.

12:45 p.m., 3 p.m., 5:15 p.m., 7:30 p.m. Fri. to Thurs.

12:45 p.m., 3 p.m., 5:15 p.m., 7:30 p.m.

Safety Last! (NR) Sat. and Sun. 11 a.m. regAl deVArgAS

562 N. Guadalupe St., 988-2775, www.fandango.com Before Midnight (R) Fri. and Sat. 1:30 p.m., 4:20 p.m., 7:20 p.m., 9:45 p.m. Sun. to Thurs.

1:30 p.m., 4:20 p.m., 7:20 p.m.

The Bling Ring (R) Fri. and Sat. 12:55 p.m., 3:20 p.m., 5:35 p.m., 7:45 p.m., 10:05 p.m. Sun. to Thurs. 12:55 p.m., 3:20 p.m., 5:35 p.m., 7:45 p.m.

The East (PG-13) Fri. and Sat. 1:20 p.m., 4:10 p.m., 7:10 p.m., 9:50 p.m. Sun. to Thurs. 1:20 p.m., 4:10 p.m., 7:10 p.m.

The Great Gatsby (PG-13) Fri. to Thurs. 3:50 p.m., 6:50 p.m.

The Kings of Summer (R) Fri. and Sat. 12:50 p.m., 3:10 p.m., 5:25 p.m., 7:35 p.m., 10 p.m. Sun. to Thurs. 12:50 p.m., 3:10 p.m., 5:25 p.m., 7:35 p.m.

Love Is All You Need (R) Fri. and Sat. 1:10 p.m., 4 p.m., 7 p.m., 9:40 p.m. Sun. to Thurs. 1:10 p.m., 4 p.m., 7 p.m.

Mud (PG-13) Fri. and Sat. 1 p.m., 9:55 p.m.

Sun. to Thurs. 1 p.m. regAl StAdium 14

3474 Zafarano Drive, 424-6296 www.fandango.com. Call for days not noted.

After Earth (PG-13) Fri. to Sun. 11:20 a.m.

Despicable Me 2 3D (PG) Tue. 7:15 p.m. Wed. and Thurs. 11 a.m., 2 p.m., 4:30 p.m., 7 p.m., 9:35 p.m.

Despicable Me 2 (PG) Tue. 7:30 p.m. Wed. and Thurs. 11:30 a.m., 2:30 p.m., 5 p.m., 7:30 p.m., 10:10 p.m.

Epic (PG) Fri. to Sun. 11:30 a.m.

Fast & Furious 6 (PG-13) Fri. to Sun. 12:50 p.m., 7:40 p.m.

The Heat (R) Fri. to Sun. 11 a.m., 1:45 p.m., 2:15 p.m., 4:30 p.m., 5 p.m., 7:20 p.m., 7:50 p.m., 10:15 p.m., 10:45 p.m.

The Internship (PG-13) Fri. to Sun. 10 p.m.

The Lone Ranger (PG-13) Tue. 7 p.m. Wed. and Thurs. 12 p.m., 3:30 p.m., 7:15 p.m., 10:35 p.m.

Man of Steel 3D (PG-13) Fri. to Sun. 1:05 p.m., 4:35 p.m., 8 p.m., 11:30 p.m.

Man of Steel (PG-13) Fri. to Sun. 12:30 p.m., 4 p.m., 7:35 p.m., 11 p.m.

Monsters University 3D (G) Fri. to Sun. 11:10 a.m., 1:55 p.m., 4:35 p.m., 7:05 p.m., 9:50 p.m.

Monsters University (G) Fri. to Sun. 11 a.m., 11:40 a.m., 2 p.m., 2:25 p.m., 4:40 p.m., 5 p.m., 7:15 p.m., 7:40 p.m., 10:30 p.m.

Now You See Me (PG-13) Fri. to Sun. 11:05 a.m., 1:50 p.m., 4:40 p.m., 7:25 p.m., 10:20 p.m.

Star Trek Into Darkness (PG-13) Fri. to Sun. 4:25 p.m., 10:45 p.m.

This Is the End (R) Fri. to Sun. 1:30 p.m., 4:20 p.m., 7:15 p.m., 10 p.m.

White House Down (PG-13) Fri. to Sun. 1 p.m., 1:50 p.m., 4:20 p.m., 4:55 p.m., 7:30 p.m., 7:55 p.m., 10:40 p.m., 11 p.m.

World War Z 3D (PG-13) Fri. to Sun. 1:15 p.m., 4:15 p.m., 7:25 p.m., 10:15 p.m.

World War Z (PG-13) Fri. to Sun. 11 a.m., 1:50 p.m., 4:45 p.m., 7:45 p.m., 10:45 p.m.

the SCreen

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com Berberian Sound Studio (NR) Fri. and Sat. 8:45 p.m. Sun. 6:45 p.m. Mon. to Wed. 8:45 p.m.

Thurs. 6:45 p.m.

Blancanieves (PG-13) Fri. and Sat. 4:20 p.m.

Mon. to Wed. 4:20 p.m.

Hannah Arendt (NR) Fri. and Sat. 2 p.m., 6:30 p.m.

Sun. 11:30 a.m., 2 p.m. Mon. to Wed. 2 p.m., 6:30 p.m. Thurs. 11:30 a.m., 2 p.m.

Stories WeTell (PG-13) Sat. 11:45 a.m.

Sun. 4:30 p.m. Thurs. 4:30 p.m.

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15 N.M. 106 and U.S. 84/285, 505-753-0087 After Earth (PG-13) Fri. 4:40 p.m., 7:30 p.m., 9:40 p.m. Sat. 2:05 p.m., 4:40 p.m., 7:30 p.m., 9:40 p.m. Sun. 2:05 p.m., 4:40 p.m., 7:30 p.m.

Mon. and Tue. 4:40 p.m., 7:30 p.m.

Fast & Furious 6 (PG-13) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m.

Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. and Tue. 4:30 p.m., 7:15 p.m.

The Heat (R) Fri. 4:45 p.m., 7:20 p.m., 9:50 p.m.

Sat. 2:10 p.m., 4:45 p.m., 7:20 p.m., 9:50 p.m.

Sun. 2:10 p.m., 4:45 p.m., 7:20 p.m. Mon. and Tue. 4:45 p.m., 7:20 p.m.

Man of Steel (PG-13) Fri. 6:50 p.m., 9:45 p.m.

Sat. 2:25 p.m., 6:50 p.m., 9:45 p.m. Sun. 2:25 p.m., 6:50 p.m. Mon. and Tue. 6:50 p.m.

Monsters University 3D (G) Fri. 4:30 p.m. Sat. and Sun. 2 p.m., 4:30 p.m. Mon. and Tue. 4:30 p.m.

Monsters University (G) 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.

White House Down (PG-13) Fri. 4:20 p.m., 7:10 p.m., 10 p.m. Sat. 1:50 p.m., 4:20 p.m., 7:10 p.m., 10 p.m. Sun. 1:50 p.m., 4:20 p.m., 7:10 p.m. Mon. and Tue. 4:20 p.m., 7:10 p.m.

World War Z 3D (PG-13) Fri. and Sat. 7:25 p.m., 9:55 p.m. Sun. to Tue. 7:25 p.m.

World War Z (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:25 p.m.

Mon. and Tue. 4:50 p.m., 7:25 p.m. mitChell Storyteller CinemA (tAoS)

110 Old Talpa Canon Road, 575-751-4245 The Heat (R) Fri. 4:45 p.m., 7:20 p.m., 9:50 p.m.

Sat. 2:10 p.m., 4:45 p.m., 7:20 p.m., 9:50 p.m.

Sun. 2:10 p.m., 4:45 p.m., 7:20 p.m. Mon. and Tue. 4:45 p.m., 7:20 p.m.

Man of Steel (PG-13) Fri. 6:50 p.m., 9:45 p.m.

Sat. 2:25 p.m., 6:50 p.m., 9:45 p.m. Sun. 2:25 p.m., 6:50 p.m. Mon. and Tue. 6:50 p.m.

Monsters University 3D (G) Fri. 4:30 p.m. Sat. and Sun. 2 p.m., 4:30 p.m. Mon. and Tue. 4:30 p.m.

Monsters University (G) 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.

This Is the End (R) Fri. 4:40 p.m., 7:15 p.m., 9:40 p.m. Sat. 2:05 p.m., 4:40 p.m., 7:15 p.m., 9:40 p.m. Sun. 2:05 p.m., 4:40 p.m., 7:15 p.m.

Mon. and Tue. 4:40 p.m., 7:15 p.m.

White House Down (PG-13) Fri. and Sat. 4:20 p.m., 7:10 p.m., 10 p.m. Sun. to Tue. 4:20 p.m., 7:10 p.m.

World War Z 3D (PG-13) Fri. and Sat. 7:25 p.m., 9:55 p.m. Sun. to Tue. 7:25 p.m.

World War Z (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:25 p.m.

Mon. and Tue. 4:50 p.m., 7:25 p.m.

SANTA FE UA De Vargas Mall 6 (800) FANDANGO #608

-Peter Debruge, VARIETY

VISUal maGIC!” “STUNNING! -

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WRITTEN BY HAYAO MIYAZAKI DIRECTED BY GORO MIYAZAKI

STARTS TODAY

© 2011, 2012 CHIZURU TAKAHASHI - TETSURO SAYAMA - GNDHDDT

CCA CinemAtheque And SCreening room

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Julie Delpy

CCA CINEMATHEQUE (505) 982-1338 1050 OLD PECOS TRAIL, SANTA FE

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Shabbat, June 29, at KBR During Shabbat Lunch after Morning Services (8:30a) - Free Space is Limited! RSVP to KolBeRamah.org (505) 216-6136 • 551 W Cordova Rd, Suite F

PASATIEMPOMAGAZINE.COM

67

RESTAURANT REVIEW Bill Kohlhaase I For The New Mexican

Rolling smoke Santa Fe BBQ 1330 Cerrillos Road (near Monterey Drive) on Tuesdays; 600 Old Santa Fe Trail (next to the New Old Trail Garage) on Fridays 10:30 a.m.-6 p.m.

Locations and days occasionally vary; check Santa Fe BBQ’s Facebook page or call 505-573-4816 Takeout only No alcohol Noise level: background street traffic Cash only

•

The Short Order Richly smoked barbecued meats make the truck known as Santa Fe BBQ worth seeking out. Currently staking his claim twice a week in one of two parking lots, Steve Schmidt rubs up racks of pork and beef ribs before sunrise and slow-cooks them over locally obtained fruit woods and occasionally hickory to get the smokiest ribs in town. Brisket, pulled pork, and sausage sandwiches, often better than the ribs, are also available, as are big turkey legs and, usually, corn on the cob.

Want baked beans and slaw? You’ll have to get them elsewhere. Recommended: baby back pork ribs, brisket sandwich, sausage sandwich, and turkey legs.

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.

68

PASATIEMPO I June 28 - July 4, 2013

I’ve never taken sides in the regional feuds over the best style of barbecue. Whether it’s from Memphis, the Carolinas, Kansas City, or Texas, I believe about barbecue what Duke Ellington did about music — that there are only two kinds: good and bad. Give me a perfectly smoked and finished rack of ribs, pork, or beef fired over hickory, apple, maple, mesquite, or alder and I couldn’t care less where it — or you — came from.

To me and lots of others, the smell of meat over slowburning hardwood is like perfume. You can catch whiffs of it on certain days as you drive up Cerrillos Road or Old Santa Fe Trail with your windows down. When you do, look for the red Santa Fe BBQ truck parked in a lot, a lazy curl of smoke coming from the big black smoker that’s hooked to the back. The truck, a vintage 1982 Grumman, has a hinged panel on one side that swings open and serves as a takeout window. The menu — which includes pork or beef ribs, brisket, sausage, pulled pork, often corn on the cob, and almost always club-sized turkey legs — is taped to the side.

Want baked beans or slaw to go with your meat? You’ll have to supply them yourself.

Place your order and Steve Schmidt — the pit master, as he’d be called in many a barbecue mecca — climbs down from the back of the truck and steps to the smoker. To get the full effect, follow him. The sight of those dark racks and the smell of smoke as he opens the big lid are heady. He burns apple, cherry, and hickory wood, depending on availability (on one occasion, he used peach). Having tried them all, I’d say the hickory gives the richest, deepest flavor. The fruit woods are lighter, even sweet.

Schmidt will let you choose the rack that you think looks best, selling you as he does. “Look at the finish on this one,” he’ll encourage. Back in the truck, he’ll ask if you want the ribs cut apart. Say no. The membrane of connective tissue on the ribs’ underside will be easier to pull away if the rack is left whole. Also back in the truck, he’ll construct whatever sandwiches you’ve ordered, stuffing the buns to the point where the meat slides out into the foil wrapper. With his tongs, he’ll offer you a taste before he adds the sauce, and he’ll ask if you want smoked green chile on top. You do.

Schmidt is glad to talk about his methods, whether you ask or not. He gives his meat a good rub — the mix is a secret, but he admits that coffee is involved — and puts it on the smoker before sunrise to cook at 200 degrees. On the two days a week he’s out, he’s usually set up by 10:30 a.m. But don’t show up to purchase a rack then. Wait until the middle of the afternoon, when the ribs have had a long slow-cook time — they’ll be

more tender (you can also call and have Schmidt hold your order for afternoon pickup). The beef ribs can be a tough chew when purchased early in the day, but later on they’re a pure meaty delight. If you wait too long, though, you may find the ribs a bit dry. I got a pork rack around 5 p.m. one Tuesday and found most of the flavorful fat cooked away.

The term baby back, usually referring only to pork ribs, is applied to beef as well here; loin might be a more accurate description. But what’s in a name? Time your visit well and you’ll enjoy the smokiest ribs in town, regardless of what meat you prefer.

The sandwiches are even better than the ribs. Both the brisket and the pulled pork are moist and smoky.

The sausage, a fine grind of pork and beef, is extremely flavorful and so large it hangs off both ends of the roll.

The turkey legs are especially tasty. You can slice a serious pile of meat from one or just pick it up and gnaw away. The corn, when available, is smoky as well, though tempered with lots of butter. The three sauces (sweet, regular, and Santa Fe hot) are variations on a theme: thick and slightly tangy with vinegar. The sweet is a touch, well, sweeter than the regular, and the Santa Fe hot is so spicy it defeated even a double dose of my acid-reflux medicine.

The best way to guarantee Schmidt and his truck are out and to confirm the location is to check the Santa Fe BBQ Facebook page. Your nose will tell you when you’ve found them. ◀

Check, please

Dinner for three from Santa Fe BBQ: Full rack, beef ribs ..........................................$ 20.00 Half rack, pork ribs .........................................$ 13.00 2 large turkey legs ...........................................$ 18.00 3 ears of corn ..................................................$ 9.00 TOTAL ............................................................$ 60.00 (before tax and tip) Lunch for three, another visit: Beef brisket sandwich .....................................$ 10.00 Pulled pork sandwich .....................................$ 9.00 Beef-pork sausage sandwich ...........................$ 7.00 3 Cokes ...........................................................$ 3.00 TOTAL ............................................................$ 29.00 (before tax and tip)

santafe realestateguide .com now on santafenewmexican.com Sunday, April 28, 2013 THE NEW MEXICAN

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Lucero Rd

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.

ELDORADO

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N-28 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.

D OL

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.

Mimosa

Flip through the print version of home Real Estate Guide on your tablet or computer.

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.

PASATIEMPOMAGAZINE.COM

69

pasa week Friday, June 28

Zane Bennett Contemporary art 435 S. Guadalupe St., 982-8111. Cleromancy, dice installations by Robert Dean Stockwell, reception 5-7 p.m., through July 19 (see story, Page 56).

gallery/museum openings

andrew smith gallery 122 Grant Ave., 984-1234. Ray K. Metzker: Shadow Catcher, photographs, reception 4-7 p.m., through Aug. 7 (see story, Page 48).

Back street Bistro 513 Camino de los Marquez, 982-3500.

The Poetry of Ordinary Times, plein air paintings

by Mary Ann Bennett, reception 5:30-7:30 p.m., through August.

Bill Hester Fine art 716 and 830 Canyon Rd., 660-5966. Signs, Semiotics, and Icons, paintings by Bruce Mitchell, reception 5-7 p.m., through July 18.

Charlotte Jackson Fine art 554 S. Guadalupe St., 989-8688. Colours of Space, collaborative works by Heiner Thiel and Michael Post, reception 5-7 p.m., through July 21.

David richard gallery 544 S. Guadalupe St., 983-9555. A Career Exploring Color and Visual Perception, paintings by Paul Reed; Slave to Love, work by Steven Alexander; reception 5-7 p.m.; through July 27. el Zaguán 545 Canyon Rd., 983-2567.

Hard Rain’s a Gonna Fall, paintings by Max-Carlos Martinez, reception 5-7 p.m., through July 12. gVg Contemporary 202 Canyon Rd., 982-1494. Southwest Abstraction, group show of paintings and sculpture, reception 5-7 p.m., through July 19.

Heidi loewen porcelain gallery 315 Johnson St., 988-2225. Sexy Curve, new work by Loewen, reception 5-8 p.m., through July 20. independent artists gallery 102 W. San Francisco St., second floor, 983-3376. Work by pastelist R. Baldwin, through July 25. intrigue gallery 238 Delgado St., 820-9265.

Paintings by Pamela Frankel Fiedler, grand-opening reception 5-7 p.m., through July. la posada de santa Fe resort and spa 330 E. Palace Ave., 986-0000. New paintings

by Judith A. Baker, reception 4 p.m., curator talk 4:30 p.m., through August. manitou galleries 123 W. Palace Ave., 986-0440. Spring Into Summer, group show of summer-themed works by gallery artists, reception 5 p.m. marigold arts 424 Canyon Rd., 982-4142. Monuments and Rivers, new watercolors by Robert Highsmith, reception 5-7 p.m., through July. meyer gallery 225 Canyon Rd., 983-1434.

Vachagan Narazyan: Absurd Travels II, paintings, reception 5-7 p.m., through July 11.

Pasa’s Little Black Book......... 71 Exhibitionism...................... 72 At the Galleries.................... 73 Libraries.............................. 73 Museums & Art Spaces........ 73

70

PASATIEMPO I June 28 - July 4, 2013

compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com

opera

Grand Duchess of Gérolstein opening night The 57th season opens with Offenbach’s opéra bouffe, 8:30 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900 (see stories, Pages 20-35).

ClassiCal musiC

genevieve leitner Classical guitar recital, 7 p.m., Music Room at Garrett’s Desert Inn, 311 Old Santa Fe Trail, $10, brownpapertickets.com, $15 at the door.

TgiF recital Soprano Faith Amour and pianist Lydia Madrick in The Songs of My Heart, music of Debussy, Barber, and Bizet, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., 982-8544, Ext.16, donations appreciated.

in ConCerT

Ventana Fine Art shows work by Dennis Wojtkiewicz, 400 Canyon Rd.

The owings gallery 120 E. Marcy St., 982-6244. Roses by Starlight, paintings by Page Allen, reception 4 p.m., through July 27. patina gallery 131 W. Palace Ave., 986-3432. Ecstasy of Gold, works by jewelers Lilly Fitzgerald and Judith Kaufman, reception 5-7:30 p.m., through July 21. photo-eye Bookstore 376-A Garcia St., 988-5159. Annual staff show of photography, sculpture, and mixed media, reception 5-7 p.m., through Aug. 4. santa Fe studio Tour Three-day self-guided tour of 37 studios featuring works by potters, fiber artists, metal workers, painters, and jewelers, 5:30-7:30 p.m., visit santafestudiotour.com for a map and examples of artists’ works, through Sunday. a sea gallery 407 S. Guadalupe St., 988-4920. Monsantos and Other Slights of Hand, group show, reception 5-7 p.m.

In the Wings....................... 74 Elsewhere............................ 77 People Who Need People..... 78 Under 21............................. 78 Pasa Kids............................ 78

Tai gallery 1601-B Paseo de Peralta, 984-1387. Bamboo sculpture by Nagakura Kenichi, reception 5-7 p.m., through July 20.

Taylor a. Dale Fine art 129 W. San Francisco St., second floor, 670-3488. Australian Aboriginal art, reception 5-7 p.m., through July.

Ventana Fine art 400 Canyon Rd., 983-8815.

Group show, reception 5-7 p.m., through July 10.

Wade Wilson art 409 Canyon Rd., 281-788-7609. Recent paintings by Peter Sacks; work by painter Zachariah Rieke, reception 5-7 p.m.

Waxlander gallery 622 Canyon Rd., 984-2202. Nature’s Hues: Distinct and Obscure, new paintings by Marshall Noice, reception 5-7 p.m., through July 8.

Winterowd Fine art 701 Canyon Rd., 992-8878. Cast of Light, work by watercolorist Sarah Bienvenu, artist’s talk 4:30 p.m., reception 5-7 p.m., through July 11.

The Howlin’ Brothers Bluegrass band, 7:30 p.m., Gig Performance Space, 1808-H Second St., $15 in advance at brownpapertickets.com, $18 at the door, gigsantafe.com. patty griffin Singer/songwriter, 7:30 p.m., Max Gomez opens, Greer Garson Theatre, SFUAD, 1600 St. Michael’s Dr., $46-$62, 988-1234, ticketssantafe.org.

THeaTer/DanCe

2013 BUST Circus arts and puppetry troupe Wise Fool New Mexico circus-camp participants showcase, 7 p.m., 2778-D Agua Fría St., $10-$15 sliding scale, kids 12 and under $5, 992-2588, continues Saturday.

Chapter Two Santa Fe Playhouse presents Neil Simon’s comedy, 7:30 p.m., 142 E. De Vargas St., $20, discounts available, santafeplayhouse.org, 988-4262, final weekend.

Deadwood Duet opening night Southwest Rural Theatre Project presents two one-act plays by Brad Gromelski, 8 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $12, discounts available, teatroparaguas.org, 424-1601, through Sunday.

Books/Talks

Chuck greaves The author reads from and signs copies of his debut novel Green-Eyed Lady: A Mystery, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see Subtexts, Page 14).

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.

Peter Sarkisian The artist discusses his exhibit Video Works, 1994-2011, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., no charge, 476-5072.

eventS

Pueblo of tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through the year.

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 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.

Warehouse 21 benefit fashion show Celebrating W21’s 17th birthday; featuring a collection by Rudylee Jr. Designs, 7:30 p.m., 1614 Paseo de Peralta, $10, 989-4423.

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., no cover.

Cowgirl BBQ Broomdust Caravan, juke-joint blues, honky-tonk, and rock, 8:30 p.m., no cover.

d Wine Bar 315 Restaurant an 986-9190 il, 315 Old Santa Fe Tra the inn on the at ge un lo o oy ag meda St., 984-2121 alameda 303 E. Ala nch Resort & Spa Bishop’s lodge Ra ., 983-6377 Rd e dg Lo 1297 Bishops oval St., 466-1391 nd Sa 0 50 Café Café Casa Chimayó 8-0391 409 W. Water St., 42 ón es M el ¡Chispa! at e., 983-6756 Av ton ing ash W 3 21 uthside Cleopatra Café So 4-5644 47 ., Dr o an far 3482 Za Counter Culture 5 930 Baca St., 995-110 Cowgirl BBQ , 982-2565 319 S. Guadalupe St. Café te yo Co the Den at 3-1615 98 , St. r ate W .

W 2 13 lton el Cañon at the hi 811 8-2 98 , St. al ov nd 100 Sa Spa eldorado hotel & St., 988-4455 o isc nc Fra n 309 W. Sa el Farol 3-9912 808 Canyon Rd., 98 ill gr & r el Paseo Ba 2-2848 208 Galisteo St., 99

el Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. hotel Santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. la Fiesta lounge at la Fonda Blues band Night Train, 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 Mine Shaft tavern Open-mic night with Glenn Neff, 7 p.m.-close, no cover. the legal tender at the lamy Railroad Museum Buffalo Nickle Band, 6-9 p.m., no cover.

Pranzo italian grill Pianist Robin Holloway, 6-9 p.m., call for cover.

Second Street Brewery Americana band Caitlin Cannon & The Artillery, 6 p.m., no cover.

Second Street Brewery at the Railyard Soul and funk band Pollo Frito, 7-10 p.m., no cover. tiny’s Rock and blues band Controlled Burn, 8:30 p.m.-close, no cover. tortilla Flats Singer/songwriter Gary Vigil, acoustic rock, 6-9 p.m., no cover. the Underground at evangelo’s Rock cover band Chango, 9:30 p.m., call for cover. vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; pianist/vocalist Bob Finnie, pop standards, 8 p.m.-close, no cover.

Pasa’s little black book evangelo’s o St., 982-9014 200 W. San Francisc hotel Santa Fe ta, 982-1200 1501 Paseo de Peral la Boca 2-3433 72 W. Marcy St., 98 ina nt Ca la Casa Sena 8-9232 98 e., Av e lac Pa E. 125 la Fonda at la Fiesta lounge , 982-5511 St. o isc nc Fra n 100 E. Sa a Fe Resort la Posada de Sant e Ave., 986-0000 lac Pa E. 0 and Spa 33 at the lamy the legal tender 151 Old Lamy Trail, m eu Railroad Mus 466-1650 g arts Center lensic Performin St., 988-1234 o isc nc Fra n 211 W. Sa Sports Bar & grill om Ro er ck the lo 3-5259 47 ., Rd 2841 Cerrillos e lodge th at ge un lodge lo Francis Dr., St. N. at Santa Fe 750 992-5800 the Matador o St., 984-5050 116 W. San Francisc vern the Mine Shaft ta 473-0743 d, dri Ma 2846 NM 14, Museum hill Café lner Plaza, 984-8900 710 Camino Lejo, Mi

29 Saturday galleRy/MUSeUM OPeningS

Byzantium lofts 1348 Pacheco St., Suite 105, 982-3305. Reacts 1-11 & Facts 1-8, new digital drawings by Jonathan Morse, reception 2-6 p.m., through July 26 (see story, Page 52).

Collected Works Bookstore 202 Galisteo St., 988-4226. Paintings by Navajo artist Ronald Chee, reception 5 p.m. heidi loewen Porcelain gallery 315 Johnson St., 988-2225. Sexy Curve, new work

by Loewen, reception 10 a.m.-5 p.m., through July 20. liquid Outpost Coffeehouse Inn at Loretto, 211 Old Santa Fe Trail, 983-6503.

Glyphs, mixed-media paintings by Nicola Gadbois, closing reception 2-4 p.m.

Scheinbaum & Russek 369 Montezuma Ave., Suite 346, 988-5116.

Retrospective exhibit of work by photographer Jerry Uelsmann, reception 1-4 p.m., through August.

OPeRa

The Marriage of Figaro Mozart’s satire on the privileges of the French nobility, 8:30 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900 (see story, Page 36).

ClaSSiCal MUSiC

trio de Corazón Celtic harpists Linda Larkin and Julie Hawey and flutist Charley Drobeck in Heart Strings, 5 p.m., Westminster Presbyterian Church, 841 W. Manhattan Ave., $10-$20 suggested donation benefits the Church Food Pantry, 983-8939.

Molly’s Kitchen & lounge 1611 Calle Lorca, 983-7577 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 Pyramid Café 505 W. Cordova Rd., 989-1378 Rouge Cat 101 W. Marcy St., 983-6603 San Francisco Street Bar & grill 50 E. San Francisco St., 982-2044 Santa Fe Brewing Company 35 Fire Pl., 424-3333 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 Second Street Brewer y at the Railyard 1607 Paseo de Peralta, 989-3278

in COnCeRt

D numbers Instrumental-electronica trio, 7:30 p.m., Railyard Plaza, 1607 Paseo de Peralta, no charge. the Sticky Santa Fe funk band, 8 p.m., Railyard Performance Center, 1611 Paseo de Peralta, $10 at the door.

theateR/DanCe

2013 BUST Circus arts and puppetry troupe Wise Fool New Mexico circus-camp participants showcase, 2 and 7 p.m., 2778-D Agua Fría St., $10-$15 sliding scale, kids 12 and under $5, 992-2588.

Chapter Two Santa Fe Playhouse presents Neil Simon’s comedy, 7:30 p.m., 142 E. De Vargas St., $20, discounts available, santafeplayhouse.org, 988-4262, final weekend.

Deadwood Duet Southwest Rural Theatre Project presents two one-act plays by Brad Gromelski, 8 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $12, discounts available, 424-1601, teatroparaguas.org, concludes Sunday. the Julesworks Follies Monthly variety showcase of local talent; featuring musician Steve Terrell, 7 p.m., Aztec Café, 317 Aztec St., 820-0025, no charge.

The Valerie of Now and Imagining Brad For Giving Productions and Warehouse 21 present two plays by Peter Hedges, 7:30 p.m., open dialogue on social change follows, W21, 1614 Paseo de Peralta, $18, discounts available, 505-886-1251, $20 at the door, seniors $17, ages 18 and under must be accompanied by an adult, encore Sunday.

pasa week

continued on Page 75

Secreto lounge at hotel St. Francis 210 Don Gaspar Ave., 983-5700 the Starlight lounge RainbowVision Santa Fe, 500 Rodeo Rd., 428-7781 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 Zia Diner 326 S. Guadalupe St., 988-7008

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exHibitionism

A peek at what’s showing around town

Robert Highsmith: Monument Valley Road, 2013, watercolor.

Monuments and Rivers: New Watercolors is an exhibition of paintings by Robert Highsmith at Marigold Arts. The artist captures the moods of the Southwest in atmospheric works that accentuate the beauty of the landscape.

There is an opening reception Friday, June 28, at 5 p.m.

The gallery is at 424 Canyon Road. Call 982-4142.

Heiner thiel: Untitled, 2013, anodized aluminum. Charlotte Jackson Fine Art (554 S. Guadalupe St.) presents Colours of Space, a joint exhibition of sculpture by German artists Heiner Thiel and Michael Post. Thiel works in anodized aluminum and Post works in fiberglass-laminated steel. The artists explore the interplay of color and geometric form.

The show opens with a 5 p.m. reception on Friday, June 28. Call 989-8688. sarah bienvenu: Sky, Trees, and Stream, 2013, watercolor. Winterowd Fine Art (701 Canyon Road) presents Cast of Light, an exhibition of Sarah Bienvenu’s new watercolors.

The artist, a plein-air painter, says that these pieces are about “a specific fascinating place and a particular day.” She brings color harmony and a sense of form to her work, lending her watercolors an uncomplicated beauty. The show opens with a 5 p.m. reception on Friday, June 28, after a 4:30 p.m. talk by Bienvenu. Call 992-8878.

Page Allen: Roses Given, 2013, oil on wood panel. Page Allen’s exhibition Roses by Starlight opens at Owings Gallery (120 E. Marcy St.) on Friday, June 28, with a reception at 4 p.m. Her brushwork is loose and painterly, and she renders natural subjects in oil with an abstract sensibility. Call 982-6244.

marina Dieul: Lapin 25, 2013, oil on board. S.R. Brennen Gallery (555 Canyon Road) presents an exhibition of work by figurative painter Marina Dieul. Her paintings of wildlife are in the style of formal portraiture. Children, rabbits, cats, mice, and other subjects suggest innocence, instinct, and youthful play. The show runs through June.

Call 428-0274.

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PASATIEMPO I June 28 - July 4, 2013

At the GAlleries A Gallery Santa Fe 154 W. Marcy St., Suite 104, 603-7744. Rhode Island School of Design-New Mexico Third Annual Alumni Show, through July 27.

Blue Rain Gallery 130-C Lincoln Ave., 954-9902. Group Glass Show, through Sunday, June 30.

Jane Sauer Gallery 652 Canyon Rd., 995-8513. Seeing, Sensing, Savoring, and Stitching, work by Cindy Hickok, through July 9 (see review, Page 54).

Nüart Gallery 670 Canyon Rd., 988-3888. Undertow, new paintings by John Tarahteeff, through July 7.

Touching Stone Gallery 539 Old Santa Fe Trail, 988-8072. Quintessence, work by ceramicist Tadashi Ito; paintings by Sheila Keefe; through Saturday, June 29.

liBrAries Beaumont and Nancy Newhall Library Marion Center for Photographic Arts, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5052. Open by appointment only.

Catherine McElvain Library School for Advanced Research, 660 Garcia St., 954-7200. Open Monday-Friday, call for hours.

Chase Art History Library Thaw Art History Center, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 473-6569. Open Monday-Friday, call for hours.

Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 984-6041. Visit stjohnscollege.edu for hours. $40 fee to nonstudents and nonfaculty.

Fray Angélico Chávez History Library Palace of the Governors, 120 Washington Ave., 476-5090. Open 1-5 p.m. Tuesday-Friday.

Laboratory of Anthropology Library Museum of Indian Arts & Culture, 476-1264.

Open 1-5 p.m. Monday-Friday, by museum admission.

New Mexico State Library 1209 Camino Carlos Rey, 476-9700. Upstairs (state and federal documents and books) open noon-4:30 p.m. Monday-Friday; downstairs (Southwest collection, archives, and records) open 9 a.m.-4:30 p.m. Monday-Friday.

Quimby Memorial Library Southwestern College, 3960 San Felipe Rd., 467-6825. Rare books and collections of metaphysical materials.

Open Monday-Friday, call for hours.

Santa Fe Community College Library 6401 Richards Ave., 428-1352. Open MondayFriday, call for hours.

Santa Fe Institute 1399 Hyde Park Rd., 984-8800. Open 1-5 p.m.

Monday-Friday to current students (call for details).

Visit santafe.edu/library for online catalog.

Santa Fe Public Library, Main Branch 145 Washington Ave., 955-6780. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday, 1-5 p.m. Sunday.

Santa Fe Public Library, Oliver La Farge Branch 1730 Llano St., 955-4860. Open 10 a.m.-8 p.m. Monday-Wednesday, 10 a.m.6 p.m. Thursday-Saturday. Closed Sunday.

Santa Fe Public Library, Southside Branch 6599 Jaguar Dr., 955-2810. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday. Closed Sunday.

Supreme Court Law Library 237 Don Gaspar Ave., 827-4850. Online catalog available at supremecourtlawlibrary.org. Open 8 a.m.-5 p.m. Monday-Friday.

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. Balancing Signal to Noise, works by Zoe Blackwell, Brandon Soder, and Betsy Emil, Spector Ripps Project Space; Muñoz Waxman front and main galleries: Vector Field, installation by Conor Peterson; The Curve, works by CENTER’s competitionwinning photographers David Favrod and Ignacio Evangelista; through July 7. Gallery hours available online at ccasantafe.org or by phone, 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. Fridays. $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 July.

Open 10 a.m.-5 p.m. Monday and WednesdaySaturday, 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.

Open 10 a.m.-5 p.m. Tuesday-Sunday.

NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents no charge on Sundays; free to NM residents over 60 on Wednesdays.

Museum of International Folk Art 706 Camino Lejo, Museum Hill, 476-1200.

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; no charge for NM residents over 60 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 sixty art pieces and objects from the estate of Pedro Gerardo Beltrán Espantoso, Peru’s ambassador to the U.S. (1944-45),

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, and 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; NM residents no charge on Sundays.

New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200.

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. TuesdaySunday; 5-8 p.m. Fridays. 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 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. Fridays. 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.

SITE Santa Fe 1606 Paseo de Peralta, 989-1199. Marco Brambilla: Megaplex, video installations, through Sunday, June 30. Open 10 a.m.-5 p.m.

Tuesday-Saturday; 10 a.m.-7 p.m. Friday; $10; seniors and students $5; Fridays no charge.

Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. The Durango Collection: Native American Weaving in the Southwest, 18601880, through April 13, 2014. Open 10 a.m.5 p.m. daily, Docent tours 2 p.m. Mondays, Wednesdays, and Saturdays.

traditional kite in the Museum of international Folk Art’s exhibit Tako Kichi: Kite Crazy in Japan

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In the wings MUSIC

Stacy Dillard Trio New York City-based tenor saxophonist with bassist Diallo House and percussionist Ismail Lawal, 6 and 8 p.m. sets Friday, July 5, The Den, 132 W. Water St., $55-$250, 670-6482.

Lady Ella & Lady Day Jazz vocalist Cristianne Miranda pays tribute to Ella Fitzgerald and Billie Holiday, with the Bert Dalton Trio, 6 p.m. Sunday and Monday, July 7-8, La Casa Sena Cantina, 125 E. Palace Ave., $25, 988-9232.

Festival au Desert: Caravan for Peace Tour Malian artists Ali Farka Touré All-Stars, featuring Mamadou Kelly and trance-groove ensemble Tartit, 7:30 p.m. Wednesday, July 10, the Lensic, $25-$40, 988-1234, ticketssantafe.org.

Goggle Saxophone Quartet 8 p.m. Thursday, July 11, Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com.

Santa Fe Desert Chorale 2013 Summer Festival The thirty-first season, July 11-Aug.19, features Romance to Requiem with Susan Graham and an evening of cabaret with Sylvia McNair, Santa Fe and Albuquerque, advance tickets available at the box office, 311 E. Palace Ave., 988-2282, or online at desertchorale.org.

Santa Fe Chamber Music Festival The 41st season (July 14-Aug. 19) includes pianists Inon Barnatan and Jeremy Denk, violinists Ida Kavafian and L.P. How, and the Orion and Shanghai String Quartets, for advance tickets call 982-1890, for more information and full concert schedule visit santafechambermusic.com.

KSFR Radio Music Café jazz series A New York State of Mind, Michael Morreale on trumpet, Tony Regusis on piano, Andy Zadrozny on bass, and John Trentacosta on drums, 7 p.m. Saturday, July 20, Museum Hill Café, 710 Camino Lejo, Milner Plaza, $20, 428-1527.

New Mexico Jazz Festival Stanley Clarke Band, Sunday, July 21; Terence Blanchard Quintet and Lionel Loueke Trio, July 26; Eddie Palmieri Latin Jazz Band, July 27; all concerts begin at 7:30 p.m. at the Lensic, $20-$50, 988-1234, ticketssantafe.org; free Santa Fe Bandstand concerts, The Mil-Tones and Larry Mitchell, July 23, full concert schedule available online at nmjazzfestival.org.

Runa Celtic-roots ensemble, 8 p.m. Saturday, July 27, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com.

Christine Brewer The Santa Fe Opera soprano in recital honoring Wagner and Britten, accompanied by pianist Joseph Illick, 4 p.m. Sunday, Aug. 4, 301 Opera Dr., $25-$50, 986-5900.

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.

Kicking a Dead Horse Fusion Theatre presents Sam Shepard’s 2007 drama, 2 and 8 p.m. Saturday, July 20, the Lensic, $10-$40, ticketssantafe.org, 988-1234.

Gross Indecency: The Three Trials of Oscar Wilde Santa Fe REP presents a reading of Moisés Kaufman’s play, 7 p.m. Friday, 4 p.m. Sunday, July 26 and 28, Santa Fe Woman’s Club, 1616 Old Pecos Trail, $15, discounts available, 629-6517 or sfrep.org.

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 Kaye Ballard and Liliane Montevecchi on stage at the Lensic, 7:30 p.m. Thursday, Aug. 8, tickets start at $20, VIP tickets ($125) include CD, poster, and dinner with the cast, 988-1234, ticketssantafe.org.

Secret Things Camino Real Productions presents Elaine Romero’s play about New Mexico CryptoJews, Friday-Sunday, Aug. 16-25, Teatro Paraguas Studio, 3205 Calle Marie, call 424-1601 for ticket information.

Stepology: Tap Into The Now! Tap dancers’ showcase, 7:30 p.m. Thursday, Aug. 29, the Lensic, $15-$35, 988-1234, ticketssantafe.org.

HAPPENINGS

Santa Fe Opera community events Family Night Discount Program, La Donna del Lago, July 13; The Grand Duchess of Gérolstein, Friday, July 19; La Traviata, Wednesday, July 24; The Marriage of Figaro, Tuesday, Aug. 20, 986-5900, visit santafeopera.org for a schedule of other community events.

Upcoming events Young Natives Arts & Crafts Show Children and grandchildren of the artists associated with the Palace of the Governor’s Portal Program sell their wares, 9 a.m.-3 p.m.

Saturday and Sunday, July 6-7, Palace Courtyard, 476-5200.

Santa Fe Wine Festival New Mexico wine samples and sales, music, food booths, and arts & crafts, noon-6 p.m.

Saturday and Sunday, July 6-7, El Rancho de las Golondrinas, 334 Los Pinos Rd., $13 includes wine glass for adults 21+, youth discounts available, 471-2261.

Saving Wild Horses Gala fundraiser for Center for Inter Species Peace & Justice (New Mexico Chapter of the American Mustang & Burro Association), includes art exhibit, refreshments, and equestrian fashion show, 6:30 p.m. Saturday, July 6, La Tienda at Eldorado, 7 Caliente Rd., $15 suggested donation, tickets available at the Feed Bin, 1202 W. Alameda St., 982-0511, for more information call 466-3240.

Louise Glück and Dana Levin The poets read from and sign copies of their collections, 5:30 p.m. Tuesday, July 9, O’Shaughnessy Performance Space, Benildus Hall, SFUAD, 1600 St. Michael’s Dr., no charge, 473-6011.

2013 Santa Fe International Folk Art Market More than150 artists offer goods at the 10th annual event hosted by the Museum of International Folk Art; pre-market events begin July 10-11, opening party July 12, market July 13-14, visit folkartmarket.org for schedule and ticket information.

ART Santa Fe 2013 Contemporary art expo; vernissage Thursday, July 11, $100; expo FridaySunday, July 12-14, $10; Santa Fe Community Convention Center; keynote speaker Robert Wittman, former special agent and founder of the FBI’s art crime team, Saturday, July 13, New Mexico History Museum, 113 Lincoln Ave., $15; ticketssantafe.org, 988-1234.

SITE Santa Fe events The experimental exhibit series SITElab, presented primarily in the lobby gallery space, continues with Enrique Martínez Celaya: The Pearl opening July 12; My Life in Art series (held at the Armory for the Arts) begins July 16, with Lowery Stokes Sims and Jaune Quick-to-See Smith; other shows are scheduled in November, December, and January 2014, visit sitesantafe.org for updates.

THEATER/DANCE

Aspen Santa Fe Ballet The first program of the summer features new works by choreographers Cayetano Soto and Norbert de la Cruz; plus, Trey McIntyre’s Like a Samba, 8 p.m. Friday and Saturday, July 12-13; the Lensic, $25-$72, 988-1234, ticketssantafe.org.

Ali Farka touré and his band on tour July 10, at the Lensic.

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PASATIEMPO I June 28 - July 4, 2013

Museum Hill Garden grand opening Santa Fe Botanical Garden hosts a gala with live music, tapas, and tours of the newly planted Meadow Garden, 6-8 p.m. Friday, July 19, $125 in advance, santafebotanicalgarden.org.

Behind Adobe Walls House and Garden Tour Santa Fe Garden Club’s annual guided tour of local private residences; noon-5 p.m.

Tuesday, July 23 and 30, tour $75, optional pre-tour luncheon $20, call Terry at Westwind Travel, 984-0022 or visit thesantafegardenclub.org for information and reservations.

Oscar Wilde: Celebrity or Notoriety?

Four-day seminar presented by the Santa Fe Opera; Thursday-Sunday, July 25-28, keynote speaker, biographer and grandson of Wilde, Merlin Holland; also, a staged reading of Moisés Kaufman’s play Gross Indecency: The Three Trials of Oscar Wilde, Santa Fe Woman’s Club, 1616 Old Pecos Trail, $85, 946-2417.

Santa Fe Opera community events Ranch Tours, extended tours of the grounds with a meet-the-artist component, July 26 and August 30, tour $12, added backstage tour $20, call 986-5900, visit santafeopera.org for a schedule of other community events.

41st Annual Girls Inc. Arts & Crafts Show On the Plaza, 9 a.m.-5 p.m. Saturday and Sunday, Aug. 3-4, 982-2042, girlsincofsantafe.org.

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, 989-1199.

30th Annual Antique Ethnographic Art Show Gala preview Thursday, Aug. 8, show Friday and Saturday, Aug. 9-10, Santa Fe Community Convention Center, 201 W. Marcy St., 955-6707, preview opening $75, general admission $10, whitehawkshows.com, 992-8929.

Santa Fe Show: Objects of Art More than 65 galleries and exhibitors, gala opening night Friday, Aug. 9, expo Aug. 10-13, El Museo Cultural de Santa Fe, 555 Camino de la Familia, $13 run-of-show, opening-night gala $50, tickets available in advance online at thesantafeshow.com, proceeds benefit New Mexico PBS. 35th Annual Invitational Antique Indian Art Show Gala preview Sunday, Aug. 11, show Monday and Tuesday, Aug. 12-13, Santa Fe Community Convention Center, 201 W. Marcy St., gala preview opening $75, general admission $10, whitehawkshows.com, 992-8929.

92nd Annual Indian Market Monday-Sunday, Aug. 12-16; 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.

38th annual Wheelwright Museum of the American Indian benefit auction Silent auction and live auction preview Thursday, Aug. 15; The 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.

pasa week

from Page 71

29 Saturday (continued) books/talks

Margaret Moore booker The Santa Fe author signs copies of Southwest Art Defined: An Illustrated Guide, p.m., Gerald L l E2 D A N C E1011 Paseo de Peralta, Peters GalleryCbookstore, 954-5757.

Mexico to the arctic ocean: the Under Human Power Expedition Slide presentation

by Darrell Gardner, 5 p.m., Travel Bug Books, 839 Paseo de Peralta, 992-0418.

oUtdoors

Power Yoga in the Park Experience movement in the elements, 9:15 a.m.

Saturdays through Aug. 24, Chavez Community Center Park, 3221 Rodeo Rd., $6, discounts available, 955-4000, all ages.

EvEnts

aIa digital dome screening Currents 2013: The Santa Fe International New Media Festival event hosted by Institute of American Indian Arts, 83 Avan Nu Po Rd., 3-5 p.m., no charge, currentsnewmedia.org. santa Fe artists Market 8 a.m.-1 p.m. Saturdays at the Railyard Park across from the Farmers Market through November, 310-1555. santa Fe brewery’s 25th anniversary party & brewer’s olympics Catered by Jambo Café; live music with bluegrass band Paw & The Clinkers and reggae band Rasta, 1-8 p.m., 35 Fire Pl., no charge, 424-3333. santa Fe Farmers Market 7 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.

Talking Heads

Meyer East Gallery shows work by Robert LaDuke, 225 Canyon Rd.

santa Fe opera preview buffet Dinner, wine, and dessert, 6 p.m., Opera Unveiled talk with Desirée Mays follows, Dapples Pavilion, 301 Opera Dr., $55, reservations 986-5900. santa Fe society of artists show 9 a.m.-5:30 p.m., at the First National Bank parking lot, off West Palace Avenue, across from the New Mexico Museum of Art, weekends through Oct. 20. santa Fe studio tour Self-guided tour of 37 studios featuring works by potters; fiber artists; metal workers; painters; and jewelers; 10 a.m.-6 p.m., santafestudiotour.com, continues Sunday. schooltime duds Community Group The nonprofit’s fundraiser for Turquoise Trail Elementary School students in need of clothing includes live music, arts & crafts vendors, and raffles, 11 a.m.-6 p.m., Buffalo Thunder Resort & Casino, Pojoaque Pueblo off U.S. 84/285, call 424-9005 for information.

FlEa MarkEts

Pueblo of tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through the year. 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 the Interstate 25 Frontage Rd., 982-2671, santafetraditionalflea.com.

nIGHtlIFE

desirée Mays at the sFo preview buffet Enjoy dinner, wine, and dessert at the Dapples Pavilion on the Santa Fe Opera’s rehearsal grounds during the preview event at 6 p.m. Saturday, June 29, followed by an Opera Unveiled talk by local lecturer Desirée Mays.

The cost is $55. Tickets are availble at the box office, 986-5900.

(See Page 71 for addresses) Café Café Los Primos Trio, traditional Latin tunes, 6-9 p.m., no cover. ¡Chispa! at El Mesón Ryan Finn Quartet, Caribbean-style jazz, 7:30 p.m.-close, call for cover.

Cowgirl bbQ Folk/Rock duo Indigie Femme, 2-5 p.m.; Boxcar Bandits, North Texas skunkgrass, 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 Paseo bar & Grill Rock cover band Chango, 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 Blues band Night Train, 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 Rock band Mark’s Midnight Carnival, 6-9 p.m., no cover. the Mine shaft tavern Americana/roots singer/songwriter Ashley Raines, 7 p.m., no cover.

Pranzo Italian Grill Pianist David Geist and vocalist Julie Trujillo, 6-9 p.m., call for cover. second street brewery Hot Honey, singer/songwriters Lucy Barna, Paige Barton, and Lori Ottino, 6-9 p.m., no cover. second street brewery at the railyard Hot Club of Santa Fe, Gypsy jazz, 5-8 p.m., no cover. sweetwater Harvest kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., 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.

Upper Crust Pizza Balladeer J. Michael Combs, Ranchera, and honky-tonk, 6-9 p.m., no cover. vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; New Orleans-based pianist/singer Bob Andrews, 8 p.m.-close, call for cover.

30 Sunday GallErY/MUsEUM oPEnInGs

Heidi loewen Porcelain Gallery 315 Johnson St., 988-2225. Sexy Curve, new work by Loewen, reception noon-5 p.m., through July 20.

In ConCErt

robert sequoia, nelson denman, and Michael kott Guitar and cello recital, 6:30 and 8 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $15-$35, 699-9954. the silent Comedy San Diego-based rock band, 5 p.m., Railyard Plaza, 1607 Paseo de Peralta, no charge.

tHEatEr/danCE

Chapter Two Santa Fe Playhouse presents Neil Simon’s comedy, 2 p.m., 142 E. De Vargas St., $20, discounts available, santafeplayhouse.org, 988-4262.

Deadwood Duet Southwest Rural Theatre Project presents two one-act plays by Brad Gromelski, 2 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $12, discounts available, teatroparaguas.org, 424-1601.

The Valerie of Now and Imagining Brad For Giving Productions and Warehouse 21 present two plays by Peter Hedges, 4 p.m., open dialogue on social change follows, W21, 1614 Paseo de Peralta, $18, discounts available, 505-886-1251, $20 at the door, seniors $17, ages 18 and under must be accompanied by an adult.

books/talks

african american Cowboys Screening of Victoria Lioznyansky’s documentary African American Cowboy: The Forgotten Man of the West, followed by a discussion with Kevin Woodson and Aaron Hopkins, 2 p.m., in conjunction with the New Mexico History Museum’s exhibit Cowboys Real and Imagined, 113 Lincoln Ave., by museum admission, 476-5200. a Judicious death begins With the Judicious Use of Medical treatments A talk on end-of-life issues and New Mexico law

by UNM oncologist Aroop Mangalik, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

Peninnah schram The storyteller shares Jewish folktales, 2 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

EvEnts

railyard artisans Market 10 a.m.-4 p.m.; live music, jazz saxophonist Brian Wingard 10 a.m.-1 p.m.; Ramone, Latin/folk/soul 1-4 p.m.; Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, railyardartmarket.com. santa Fe society of artists show 9 a.m.-5:30 p.m., at the First National Bank parking lot, off West Palace Avenue, across from the New Mexico Museum of Art, weekends through Oct. 20. santa Fe studio tour Noon-5 p.m., self-guided tour of 37 studios featuring works by potters; fiber artists; metal workers; painters; and jewelers; santafestudiotour.com.

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 the Interstate 25 Frontage Rd., 982-2671, santafetraditionalflea.com. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM

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3 Wednesday

NIghtlIfe

(See Page 71 for addresses) Café Café Guitarist Michael Tait Tafoya, 6-9 p.m., no cover.

Cowgirl BBQ Singer/songwriter Zenobia, R & B/gospel, noon-3 p.m.; The Constant Tourists, Gypsy rock, 8 p.m.; no cover. the Den at Coyote Café Speakeasy Sundays with vocalist Faith Amour and Claudio Tolousse, 5:30-8 p.m., call for cover. el farol Nacha Mendez, pan-Latin chanteuse, 7-10 p.m., no cover. 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 fiesta lounge at la fonda Old movie night, 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 The Barbwires, blues band, 3-7 p.m.; Greg Abate Jazz Quartet, 6:30 p.m., call for cover.

Second Street Brewery at the Railyard The Bill Hearne Trio, classic country, 7-10 p.m., no cover.

Vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover.

oPeRa

Grand Duchess of Gérolstein With mezzo-soprano Susan Graham in the title role of Offenbach’s comedy, 8:30 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900 (see stories, Pages 20-35).

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 (see story, Page 44).

BookS/talkS

Broke and Brokered in the Day labor Business School for Advanced Research lecture with Gretchen Wren Purser, noon-1 p.m., 660 Garcia St., no charge, 954-7203.

Santa fe Clay Summer Slide lecture Happiness is a Warm Extruder, the series continues with ceramist Hayne Bayless, 7 p.m., Santa Fe Clay, 545 Camino de la Familia, 984-1122, Wednesdays through Aug. 14.

Shiprock and Mont San Michel: William Clift New Mexico Museum of Art’s artist-of-theweek docent talk continues with a discussion of the Santa Fe photographer’s landscape studies, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5075.

eVeNtS

1 Monday IN CoNCeRt

Santa fe Bandstand Balladeer J. Michael Combs, noon; Strolling Scones, classic ’60s pop and psychedelia, 6 p.m.; Los Wise Guys, oldies/country/rock, 7:15 p.m.; on the Plaza, santafebandstand.org, continues through Aug. 23.

BookS/talkS

Breakfast With o’keeffe Gallery talk on Adobe in the Southwest: Traditions and Contemporary Use Into the 21st Century by Jake Barrow, 8:30 a.m., Georgia O’Keeffe Museum, 217 Johnson St., by museum admission, 946-1039.

Corn and the Pueblos A Southwest Seminars’ lecture with Porter Swentzell of Santa Clara Pueblo, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775.

New Mexico Museum of art gallery talk The summer series begins with UNM assistant professor Ligia Bouton leading a tour of museum exhibits, 12:15-1 p.m., 107 W. Palace Ave., by museum admission, 476-5075.

Russ Baker The founder/editor-in-chief of the news site WhoWhatWhy discusses Can We Trust the Government, the Media, the Tech.

Companies?, 6 p.m., Collected 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.

NIghtlIfe

(See Page 71 for addresses) Cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover.

76

PASATIEMPO I June 28 - July 4, 2013

Paintings by Ben Steele, at Giacobbe-Fritz Fine Art, 702 Canyon Rd.

la Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover.

Vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover.

2 Tuesday

Santa fe Photographic Workshops’ instructor image presentation series Open conversation and slide presentation of works including those of Tony Corbell, Nick Merrick, and Mark Edward Harris, 8:30-10 p.m., Santa Fe Prep auditorium, 1101 Camino de Cruz Blanca, no charge, 983-1400, Ext 11.

eVeNtS

IN CoNCeRt

Portugal. the Man Rock band, 7:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $21, ticketssantafe.org, 988-1234, $25 at the door.

Santa fe Bandstand Funktasm with Little Leroy, 6 p.m.; intermission act Azadeh Dance Company, belly dancers; Yo Mama’s Big Fat Booty Band, 7:15 p.m.; on the Plaza, santafebandstand.org, continues through Aug. 23.

Santa fe farmers Market 7 a.m.-noon, 1607 Paseo de Peralta, 983-4098.

Santa fe farmers Market on the Southside 3-6:30 p.m., Home Depot parking lot, Richards Ave. and Cerrillos Rd., 913-209-4940, weekly through Sept. 25.

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.

theateR/DaNCe

NIghtlIfe

Juan Siddi flamenco theatre Company opening night 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234, Tuesdays-Sundays through Sept. 1 (see story, Page 44).

BookS/talkS

from amazonia: New Paradigms for health and healing A talk by Didier Lacaze on indigenous healing practices, 7 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $25 suggested donation benefits Ecauador’s Sacha Warmi Center, 983-5022. lesley Poling-kempes The Abiquiú-based author reads from and signs copies of Bone Horses, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

(See Page 71 for addresses) Cowgirl BBQ Blues/rock guitarist Alex Maryol, 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 Guitarist Ramón Bermudez Jr., 5:30-7:30 p.m., no cover.

Second Street Brewery at the Railyard Acoustic open-mic nights with Case Tanner, 7:30-10:30 p.m., no cover. tiny’s Mike Clymer of 505 Bands’ acoustic open-mic night, 8:30 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.

arts alive! Weekly walk-in art workshops for children (ages 3 and up) and adults; led by retablo artist José Armijo, 10 a.m.-2 p.m., Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, no charge, 982-2226.

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 71 for addresses) agoyo lounge at the Inn on the alameda Jazz guitarist Pat Malone, 5-7 p.m., no cover.

Cowgirl BBQ Folk rocker David Borrego and friends, 8 p.m., no cover. ¡Chispa! at el Mesón Flamenco guitarist Joaquin Gallegos, 7:30 p.m.-close, no cover. el farol Pan-Latin chanteuse Nacha Mendez with Santastico, 8 p.m.-close, no cover. la Casa Sena Cantina Ramón Bermudez Trio, 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. the Pantry Restaurant Acoustic guitar and vocals with Gary Vigil, 5:30-8 p.m., no cover. tiny’s Mike Clymer of 505 Bands’ electric jam, 7:30 p.m.-close, no cover.

Vanessie Bob Finnie, pop standards piano and vocals, 7 p.m.-close, no cover.

Thursday, 4th of July galleRy/MuSeuM oPeNINgS

axle Contemporary 670-7612 or 670-5854. The Artist Is In, revolving group show, artists’ talks include Paula Castillo, Charlie Carrillo, and Erika Wanenmacher, 8 a.m.3 p.m., look for the mobile gallery’s van on W. Palace Ave. near the New Mexico Museum of Art, visit axleart.com for van locations through July 7.

theater/dance

of prints; Elderly Animals, photographs

by Isa Leshko; reception 6-8 p.m. Saturday, June 29, through July 26.

UnM art Museum Center for the Arts Building, 505-277-4001.

Open 10 a.m.-4 p.m. Tuesday-Saturday; $5 suggested donation.

Weyrich gallery 2935-D Louisiana Blvd. N.E., 505-883-7410.

The Unique and Unusual, new work by Judith Duff; mixed-media paintings by Susan Zimmerman, through July 26.

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 (see story, Page 44).

eventS

Pancakes on the Plaza Breakfast served 7 a.m.-noon; all-day events include children’s activities, musicians, and an arts & crafts show, tickets for breakfast $6 in advance, $7 day of event, call 274-2266 or visit pancakesontheplaza.com for ticket venues.

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.

events/Performance

chatter Sunday Bach’s Goldberg Variations for String Trio, 10:30 a.m. Sunday, June 30; plus, a poetry reading by Ben Boreman, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterchamber.org.

18th annual Summer thursday Jazz nights Musical collective Last Call Quartet, and Entourage Jazz; 7:30 p.m. Thursday, July 4, Outpost Performance Space, 210 Yale Blvd. S.E., $15, students $10, 505-268-0044.

nightliFe

(See Page 71 for addresses) ¡chispa! at el Mesón Acoustic duet Jim Alamand and Julie Stewart, 7:30 p.m.-close, no cover. cowgirl BBQ Santa Fe Chiles Dixie Jazz Band, 2-5 p.m.; singer/songwriter Daniel Link, 8 p.m., no cover. el Farol Old-school rockabilly band Rob-A-Lou, 6-9 p.m., no cover. evangelo’s Dance band Little Leroy and His Pack of Lies, 9 p.m.-close, call for cover. la Boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. la casa Sena cantina Best of Broadway, piano and vocals, 6-10 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, featuring Kanoa Kaluhiwa on saxophone, Asher Barreras on bass, and Malone on guitar, 6-9 p.m., no cover. the legal tender at the lamy railroad Museum 4th of July party, noon-6 p.m., no cover. the Matador DJ Inky spinning soul/ punk/ska, 8:30 p.m.-close, no cover. the Mine Shaft tavern and deck Country-rock guitarist Gary Gorence, 1-5 p.m.; bluesman Kenny Skywolf, 2-6 p.m.; classic-rock band The Jakes, 7 p.m.; no cover.

Second Street Brewery Roots-rock guitarist Jono Manson, 6-9 p.m., no cover.

Second Street Brewery at the railyard Felix y Los Gatos, zydeco/Tejano/juke-swing, 6-8 p.m., no cover. vanessie Bob Finnie, pop standards piano and vocals, 7 p.m.-close; no cover.

▶ Elsewhere Abiquiú

galleria arriba 21120 NM 84, 505-685-4378. Works by sculptor Tom Bowker and jeweler Carol Bowker, opening Tuesday, July 2, through July.

AlbuquErquE Museums/art Spaces

516 arts 516 Central Ave. S.W., 505-242-1445. Native American contemporary artists’ groups shows: Air, Land, Seed and Octopus Dreams, through

chimAyó

chimayó car and art tour Classics, hot rods, low riders, and galleries, noon-5 p.m. Saturday, June 29, call Chimayó Association of Businesses for more information, 505-351-2280. chimayó Museum 13 Plaza de Cerro, 505-351-0950.

Portrait of a Community, photographs

by Don Usner, through July. Open 11 a.m.-4 p.m. Wednesday-Saturday, through October, donations welcome.

EspAñolA

516 Arts in Albuquerque shows collaborative works by Emily Arthur, Marwin Begaye, and John Hitchcock; Equivalencies shown

Sept. 21; public forum, Indigenous Artists in Global Contexts, 4 p.m. Saturday, June 29, reception 6-8 p.m. albuquerque Museum of art & history 2000 Mountain Rd. N.W., 505-243-7255.

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. TuesdaySunday; 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. harwood art center 1114 Seventh St. N.W., 505-242-6367. Original home of the Harwood Girls School (19251976). Open 10 a.m.-4 p.m. Monday-Friday, no charge. holocaust and intolerance Museum of new Mexico 616 Central Ave. S.W., 505-247-0606. Disturbing, but Necessary, Lesson, scale model of a WWII prisoner transport to Auschwitz • Hidden Treasures, 158-year-old German-Jewish heirloom dollhouse belonging to a family that fled to the U.S. and settled in New Mexico. Open 11 a.m.-3 p.m.

Tuesday-Saturday, donations accepted.

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.

Matrix Fine art & newgrounds Print Workshop and gallery 3812 Central Ave. S.E., 505-268-8952. Image New Mexico: A Juried Photography Exhibition, through July 13.

Maxwell Museum of anthropology UNM campus, 505-277-4405. Prehistoric pottery, hands-on activities for children, and exhibits showcasing early Southwestern peoples. Open 10 a.m.-4 p.m. Tuesday-Saturday; closed Sundays and Mondays; no charge. 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.

Palette contemporary 7400 Montgomery Blvd. N.E., 505-855-7777. Primarily, works on paper by Alexander Calder (1898-1976), through Wednesday, July 3. richard levy gallery 514 Central Ave. S.W., 505-766-9888. Alex Katz, retrospective exhibit

Bond house Museum 706 Bond St., 505-747-8535. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (18631945). Open noon-4 p.m. Tuesday-Saturday, no charge.

Misión Museum y convento 706 Bond St., 505-747-8535. A replica based on the 1944 University of New Mexico excavations of the original church built by the Spanish at the San Gabriel settlement in 1598. Open noon-4 p.m. Wednesday-Friday, 11 a.m.-3 p.m. Saturday; no charge.

los AlAmos Museums/art Spaces

Bradbury Science Museum 15th and Central Avenues, 667-4444.

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., 662-8250. Mostly Clear and Partly Cloudy, work by Shaun Gilmore and Janice Wall, through Aug. 4. Meg Kramer: New Work, drawings and prints, through Saturday, June 29.

Pajarito environmental education center 3540 Orange St., 662-0460. Exhibits of flora and fauna of the Pajarito Plateau; an herbarium, live amphibians, and butterfly and xeric gardens.

Open noon-4 p.m. Tuesday-Friday, 10 a.m.-1 p.m.

Saturday, no charge, visitpajaritoeec.org for weekly programs and events schedule.

events/Performances

downtown Friday nights City-wide cultural, historical, and educational events; 5-8 p.m. every other Friday night (June 28, July 12 and 26), visit creativelosalamos.org or call Los Alamos Main Street, 661-4844 for events schedule. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM

77

Gordon’s Summer Concerts Rock band Simo, 7 p.m. Friday, June 28, Ashley Pond, 2132 Central Ave., no charge, gordonssummerconcerts.com.

SITE Santa Fe’s Spread 4.0 dinner Artists of all disciplines are invited to submit proposals for food-related projects for the Oct. 11 dinner designed to generate financial support for artistic innovation; applications accepted online only at spreadsantafe.com through Sunday, July 7.

madrid

Madrid Independence Day parade Noon Thursday, July 4, town picnic follows at the Oscar Huber Ballpark, for more details visit madridculturalprojects.org.

Madrid Old Coal Town Mine Museum 2846 NM 14, 438-3780 or 473-0743. Madrid’s Ghost Town Past, new display celebrating Madrid’s 40th Rebirth Day, through October.

Steam locomotive, mining equipment, and vintage automobiles. Open 10:30 a.m.-4:30 p.m. daily. $5, seniors and children $3.

Filmmakers/Performers

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; deadline Monday, July 1; final deadline Aug.1; Visit santafeindependentfilmfestival.com for rules and guidelines.

taos Museums/Art Spaces

E.L. Blumenschein Home and Museum 222 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, 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.

Encore Gallery Taos Community Auditorium, Taos Center for the Arts, 133 Paseo del Pueblo Norte, 575-758-2052. In the Groove, paintings

by Mimi Chen Ting, opening Wednesday, July 3, through Sept. 1.

Grand Bohemian Gallery at El Monte Sagrado Living Resort and Spa 317 Kit Carson Rd., 575-737-9840. Trucks in Their Natural Habitat, paintings by Elizabeth Jose.

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, noon5 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 11 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.

Retrospective, Altar Screens and Retablos: Catherine Robles Shaw & Family, through July 7. Open 10 a.m.-5 p.m. daily. NM residents $5; non-residents $10; seniors $8; students $6; ages 6-16 $2; Taos County residents no charge.

Taos Artist Collective 106 Paseo del Pueblo Norte, 575-751-7122.

Oil+Water=Emulsion, group show of works by members of the collective, through July 5.

Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690.

Director’s Choice: 14 Years at the Taos Art Museum, works from the collection, through Sunday, June 30. Open 10 a.m.-5 p.m.

Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday.

Events/Performances

51st Annual Taos School of Music Festival The season continues with the Borromeo String Quartet, music of Beethoven, 7:30 p.m.

Sunday, June 30, Taos Community Auditorium, 78

PASATIEMPO I June 28 - July 4, 2013

Volunteers

Girls Inc. of Santa Fe Artists needed to act as jurors during the 41st annual arts & crafts show Aug. 3-4, on the Plaza; also, various positions are available for help during the show; visit girlsincofsantafe.org or call 982-2042 for details and to sign up.

Railyard Stewards Yardmasters Develop new project ideas; lead educational training sessions; fundraise; help out in the office; free training and workshops on keeping the 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.

Santa Fe Spanish Market Sit at barricades for two- or three-hour shifts between 7 a.m.-7 p.m. July 26-28, call Linda at 982-2226, Ext. 121 for details and to sign up.

▶ Under 21 Warehouse 21 benefit fashion show Celebrating W21’s 17th birthday; featuring a collection by Rudylee Jr. Designs, 7:30 p.m.

Friday, June 28, 1614 Paseo de Peralta, $10, 989-4423.

▶ Pasa Kids The Apple Tree, by John Tarahteeff, Nüart Gallery, 670 Canyon Rd.

Taos Center for the Arts, 145 Paseo del Pueblo Norte, $20, discounts available, 575-776-2388, taosschoolofmusic.com.

▶ People who need people Artists

Cleveland Millfest Outdoor spaces available for artists, craftspeople, and food vendors during Labor Day weekend, Aug. 31-Sept. 1, at Cleveland Roller Mill Museum; 575-387-2645 or 575-387-6763; or dancas@nnmt.net.

La Cienega/La Cieneguilla Studio Tour Artists interested in participating in the annual tour held Thanksgiving weekend can contact Lee Manning for information, 699-6788, lensandpens@comcast.net.

Pojoaque River Art Tour Area artists are invited to join the annual studio tour Sept. 21-22; pojoaqueriverarttour.com, 455-3496.

Santa Fe Public Libraries’ exhibits Month-long exhibits open to local artists; all two-dimensional work considered; no commissions taken; for information call 955-4862 or 955-6784; visit santafelibrary.org for application process details.

Especially for Kids Workshop in conjunction with the City of Santa Fe Arts Commission Community Gallery’s exhibit Viva Flora!, noon-4 p.m.

Saturday, June 29, Santa Fe Community Convention Center, 201 W. Marcy St., no charge, call 995-6705 for details.

Arts Alive!

Weekly walk-in art workshops for children (ages 3 and up) and adults; led by retablo artist José Armijo, 10 a.m.-2 p.m. Wednesday, July 3, Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, no charge, 982-2226.

Dig Into Reading Santa Fe Public Library 2013 Summer Reading Program, toddlers and children up to age 12, visit santafelibrary.org for registration and events schedule, through July 27. ◀

page allen Roses by Starlight June 28 - July 27, 2013 Opening Tonight from 4 to 6 pm

The Owings Gallery 120 East Marcy Street | Santa Fe, New Mexico 87501 | 505.982.6244 phone 505.983.4215 fax | info@owingsgallery.com | www.owingsgallery.com

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a tree than the present. By planting now, trees have a much better chance to grow and establish roots before the winter.

Make sure newly planted trees are regularly watered three NEWMAN’S ALWAYS FRIENDLY Newmans to four times a week. Use the same watering schedule for PROFESSIONAL trees planted this spring or last fall. If you have not fertilized NURSERY SERVICE with Gro-Power within the last few months it’s time for an 9AM TO 5PM application. Be sure to check locust and purple leaf plums SEVEN DAYS A WEEK. for signs of boring insects along the main trunk. GOOD THRU 05/23/13 • WHILEClosing 1 p.m.

July 4th SUPPLIESat LAST • STOPon

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