Pasatiempo June 30, 2023

Puccini powers the Santa Fe Opera season premiere

TOSCA

SANTA FE’S RAILYARD DISTRICT

The Destination for Contemporary Art

ArtintheMaking:GroupExhibition

MaxCole:BreakingDay EVOKECONTEMPORARY

ErinCurrier,Troubadours

ZANEBENNETTCONTEMPORARY ArmondLara

AlightfeaturingCoryFeder andDiegoMedina

ARTVAULT

JenniferWest:FilmTitlePoem (AnimationStill)

TanakaKyokusho

LEWALLENGALLERIES

JivanLee:Hondo

BrianRutenberg: BannersoftheCoast

His Mark& RachelRose:Goodnight Moon

Two dynamic young singers soprano Leah Hawkins and baritone Reginald Smith Jr take

Cover: Leah Hawkins photo Curtis Brown for the Santa Fe Opera

PASATIEMPO

PASATIEMPO EDITOR

Carolyn Graham 505-986-3044 cgraham@sfnewmexican.com

ART DIRECTOR

Marcella Sandoval 505-395-9466 msandoval@sfnewmexican.com

ASSOCIATE ART DIRECTOR

Taura Costidis 505-986-1310 tcostidis@sfnewmexican.com

COPY EDITOR

Holly Weber hweber@sfnewmexican.com

CALENDAR EDITOR

Pamela Beach 505-986-3019 pambeach@sfnewmexican.com

STAFF WRITERS

Spencer Fordin 505-986-3048 sfordin@sfnewmexican.com

Brian Sandford 505-995-3862 bsandford@sfnewmexican.com

INTERN

Anthony Romero-Kleve aromero-kleve@sfnewmexican.com

CONTRIBUTORS

Heather Roan Robbins, Judy Gibbs Robinson, Mark Tiarks

P.O Box 2048, Santa Fe NM 87504

OWNER

Robin Martin

PUBLISHER Pat Dorsey

EDITOR Phill Casaus

ADVERTISING 505-995-3852

RETAIL ADVERTISING DIRECTOR

Wendy Ortega, 505-995-3852

ADVERTISING SALES/PASATIEMPO

Maria Lopez Garcia, 505-995-3825

Clara Holiday, 505-995-3892

Deb Meyers, 505-995-3861

Trina Thomas, 505-995-3840

Lisa Vakharia, 505-995-3830

GRAPHIC DESIGNERS

Rick Artiaga, Justin Bixler, Elspeth Hilbert

AD DEADLINE 5 PM FRIDAYS www.santafenewmexican.com

EDITOR’S NOTE

If you ’ re a classical musician living in northern New Mexico, you can get a lot of work

There are gigs with the Santa Fe Symphony, Santa Fe Pro Musica, the New Mexico Philharmonic, and Opera Southwest, as well as smaller ensembles like Chatter and the New Mexico Performing Arts Society You might play in the pit for some of the Broadway touring productions that come to Popejoy Auditorium You could also be hired during the summer by the Santa Fe Opera or the Santa Fe Chamber Music Festival

It takes a lot of time as well as a lot of talent to do so, because playing the performances is just a fraction of what’s involved There’s the never-ending practice to keep your skill level high, plus practicing your individual part prior to and after the first rehearsal There are the rehearsals themselves, and depending on where you live, either driving from Albuquerque to Santa Fe for some of the rehearsals and performances or traveling the other direction if you live in Santa Fe Oh, and don’t forget, you have to arrive early to warm up before the rehearsals and performances, which also takes time

Yes, you can keep busy, play a lot, and drive a lot What you can’t do is earn much of a living this way An instrumentalist who performs as a section player with Pro Musica, the Santa Fe Symphony, and the New Mexico Philharmonic will earn less than $20,000 in a typical year

You’ve got to fund most of your healthcare yourself and try to build up some retirement savings on your own as well, since most of these gigs don’t offer a lot in the way of fringe benefits Your frequent trips up and down I-25 involve not only time but the costs of driving [The IRS says that 120-mile roundtrip you ’ re making for each rehearsal or performance costs $78 60]

If you ’ re a parent, there are childcare costs And then there are the expenses related to instrument maintenance and repair, which can add up quickly You may still be paying those college loans too, since you may well have a graduate degree in performance as well as an undergrad

Of course, any significant improvement in wages and benefits means a significant fiscal commitment from the organizations, many of which are still in a post-pandemic recovery mode for ticket sales

The short-term prognosis shows mixed signals The most encouraging aspect? Chatter is expanding its Santa Fe presence to weekly chamber music concerts, as opposed to monthly just a couple of years ago, thanks to audience growth It’s part of a unique collaboration in which the Albuquerque-based chamber music collective will assume programming responsibilities for the underutilized gallery space at Santa Fe’s Center for Contemporary Arts

On the flip side, at least for the time being, Pro Musica has reduced its signature orchestra series from nine performances last season to five in 2023-2024 Its visiting string quartet series continues with a strong program in the coming season, but it doesn’t employ local musicians The holiday offerings which do are down from 14 concerts in 2019 to four this year

Given the immense enjoyment that our classical musicians provide, especially in Santa Fe, their work in various education and outreach programs, and their importance to tourism, it would be in our best long-term interest to invest in them

Some of our groups are now starting to look at different national models for cooperation, collaboration, and combination, which is a promising development Creating a solution will also involve addressing support inequities between the groups It won’t be easy, but it can be done, and it’s the right thing to do

Future articles in Pasatiempo will explore these issues in more depth, while we continue coverage of the many compelling local events with feature stories and reviews

Mark Tiarks, Frequent Contributor mtiarks@sfnewmexican com

Community Event 2023 Program Schedule

Join us for these fun summer happenings. Sign-ups open to the public.

WALK WITH EASE

• Get more activity at your own pace with the support of a coach and team members

• Fridays: July 7, 14, 21, 8:00 a.m. to 9:00 a.m.

• Sign up with our Santa Fe Community Health Worker at (505) 389-8002 or at prescommhealthclasses.com.

THE SPROUTING KITCHEN COOKING CLASSES

• Learn how to eat more seasonally and sustainably while having fun

• Wednesdays: July 19, August 16, September 20, 12:00 p.m. to 2:00 p.m.

• Sign up with our Santa Fe Community Health Worker at (505) 389-8002 or at prescommhealthclasses com

SANTA FE FARMERS’ MARKET DEL SUR

• Enjoy family-friendly activities, find locally grown fruits and vegetables, and meet farmers and artists

• Tuesdays: July 4 - September 26, 3:00 p.m. to 6:00 p.m.

• Sample farmers’ recipes with field-fresh ingredients at Farmer Favorites, July 18, 3:00 p m to 6:00 p m

• Additional farmers’ market events this season include Chef Showcase on August 15 and the Annual Santa Fe Public Schools Salsa Showcase on September 19

• The Santa Fe Farmers’ Market Del Sur is a partnership between Presbyterian Santa Fe Medical Center, Santa Fe Farmers’ Market and Santa Fe Farmers’ Market Institute.

4801 Beckner Rd, Santa Fe, NM 87507 phs org/santafe

OUT THERE

MARKET NEWS

Get ready for IFAM

The eyes of the folk art world will be on Santa Fe next week, when dozens of the world’s craftiest creators converge on Railyard Park for the International Folk Art Market July 5-9 The annual market, now in its 19th year, moved this year to its new home from its location on Museum Hill

The event includes a diverse slate of art and artists, with 168 craftspeople from 52 countries and territories expected to participate Everyone from woodworkers to textile artists and basket-weavers to metalworkers are in the lineup, as well as artists who make jewelry, ceramics, sculpture, and more

The event will kick off on the evening of Wednesday, July 5, at the Railyard Water Tower with a procession of artists that will introduce festivalgoers to the craftspeople participating in the market

The following day Thursday, July 6 is when the festival begins with a spin for VIPs through the market and an opening night party The next three days Friday through Sunday will offer concerts, lectures, artist demos, and ticketed entry times for general admission to the market

Vendors and festivalgoers enjoy the 2022 International Folk Art Market

The general admission market times will run from 11 a m to 6 p m on Friday, Saturday, and Sunday And for the second straight year, the fair will feature a late-night market on July 8

Friday’s events will include performances on the Market Stage by the New Mexican Marimba Band, Aspen Santa Fe Ballet Folklorico, Sourena Sefati Trio, and Concepto Tambor Los Niños de Santa Fe, Sevda Choir, and Korvin Orkestar will hit the stage Saturday morning through the afternoon Delgrés, a Caribbean blues trio, will play Saturday at 7 p m prior to the night market

The IFAM Lecture Series will feature Mexican senator and singer Susanna Harp and textile artist Caleb Sayan on Friday, fashion designer Carla Fernandez, and author Ivy Ross on Saturday followed by two demonstrations knot-tying and Japanese fan-making on Sunday Artist demonstrations on bell-making, hat-making, sculpture, papier-mâché, ceramics, and rawhide braiding are scheduled over the course of the art market Lectures and workshops will be at SITE Santa Fe; lectures require a general admission market ticket

An all-access pass to IFAM is $500, and general admission tickets cost $25 on Friday, $20 on Saturday, and $15 on Sunday Tickets for the Delgrés show and the night market cost $25, but attendees 16 and younger can obtain a free ticket Spencer Fordin

Community celebration: 7 p.m. Wednesday, July 5; opening night party: 6 p m Thursday, July 6; market hours are 9 a m to 7 p m July 7, 10 a m to midnight July 8, 10 a m to 6 p m July 9

Tickets range from $15 to $500

505-992-7600; folkartmarket org

PHOTOS GABRIELLA MARKS

SHOP TALK

Pandemic pivot

Leroy Garcia had a dream The owner of Blue Rain Gallery wanted to help artists benefit from the copyrights they hold on their original work while also making their art more accessible to folks whose bank accounts might not allow for fine art purchases

That dream came true in 2020, when Garcia expanded his gallery at 544 Guadalupe Street to include the Blue Rain Print Shop, where customers can order some of the gallery’s originals printed on an expanding range of affordable personal and household items, including coffee tumblers and mugs, aprons, potholders, clipboards, luggage and much more (scarves are coming soon)

Garcia’s own metalwork tiles are among the designs that are now available as usable art For example, his tile designed titled Circumspect is printed on both a suitcase ($250) and a luggage tag ($20) The original tile? $5,500

“Birthing the print shop was kind of a long-term vision for him,” says Denise Phetteplace, the gallery’s executive director

Before the pandemic shut down nonessential businesses in early 2020, Garcia had already explored selling fine-art reproductions on the internet But he

WORTH THE DRIVE Arts and spacecrafts

If you ’ re unfamiliar with the 1947 Roswell incident, welcome to New Mexico, and we hope the unpacking goes smoothly

For everyone else, it’s time for the official Roswell UFO Festival, a celebration that has grown into a Fourth of July weekend tradition since its beginnings in the late 1990s For arid Roswell, it’s a chance to draw thousands to the city at a time of year when the temperature can reach triple digits

For visitors, it’s a chance to take part in a wide variety of arts, outdoors, and kid-friendly activities, nearly all hewing to an extraterrestrial theme

They include laser light shows synced to popular music, a performance by aerialists, fire dancers, a drone show, tours, and live music Brian Sandford

8:45 a m to 10 p m Friday, June 30; 5:30 a m to 10 p m Saturday, July 1; and 9 a.m. to 11 p.m. Sunday, July 2

Various locations around Roswell

Costs vary

575-624-6700; ufofestival com

was concerned the process of making giclee prints on a high-resolution scanner was damaging the original work, so he shut it down But the pandemic’s impact on his business amped up his motivation to help find revenue for his artists and led to a decision: Forget fine art prints; put the images on everyday objects

“It was the perfect thing at the right time,” Garcia says His Big Idea wasn’t putting art on products many artists are already doing that, he notes It was bringing it all together under one roof, from sales to production Visitors can see some samples at the gallery, but shopping and sales are all done online at bluerainprintshop com; products are delivered directly to customers

Garcia first opened the Blue Rain Gallery in his native Taos in 1993, then expanded to Santa Fe in 2003 (later closing the Taos location) Earlier this year, he opened a second gallery in Durango, Colorado

The gallery represents about 50 artists on a regular basis, and about half of them have opted in to print shop products a number that could grow if more artists decide to create more art from their art Judy Gibbs Robinson/For The New Mexican

544 S. Guadalupe Street

505-954-9902; blueraingallerycom, bluerainprintshop com

Alien and UFO iconography on Main Street in Roswell are inescapable during the town’s UFO Festival

A tumbler is imprinted with Preston Singletary’s Swan, and a custom leather tote is imprinted with Helen K Tindel’s Spikes and Splatters Items like these are available through Blue Rain Print Shop.

OUT THERE

Popejoy poobah: Fabianna Borghese

There’s a new voice in charge of operations at Popejoy Hall, the University of New Mexico’s performing arts theater

Fabianna Borghese, the theater’s new director, spent a year learning the ropes as interim director before taking the helm permanently on May 1 Borghese, an alumna of the University of New Mexico, has worked at the theater since 2016, and she most recently held the role of Popejoy’s associate director of business operations

She’s a performer in her free time, working with local companies in shows ranging from Shakespearian tragedies to musical comedies

The new director recently talked with Pasatiempo about her role

Q: You’re a UNM grad?

A: I went to Anderson [School of Management]; I got my masters of accounting and my MBA there, and then I actually went to the School of Law and did their masters of law program So I have several UNM grad degrees

Q: And you did all that while still being a performer?

A: The last show I did was in 2021 I did the New Mexico Shakespeare Festival We did a production of Twelfth Night that was bilingual It was Twelfth Night, O Lo Que Quieras, or half-Spanish and half in the traditional Shakespeare

Q: Have you stepped on the Popejoy stage yourself as an actor?

A: We don’t have any local rentals that do performances like that at Popejoy anymore That would definitely be the biggest stage I’ve ever stepped on

Q: What was your progression at Popejoy? You’ve been there a long time and risen through the ranks?

A: I was working at UNM before Popejoy; I’ve actually been working at UNM for 12 years Popejoy had an opening for an accountant, and I was already a subscriber I was very familiar with Popejoy and because of my love of the theater, I applied for the job thinking it would be pretty neat I started as the accountant, and then within about a year, I got moved up to the associate director of business operations That’s where I worked until I was named interim director I worked very closely with our old director Tom Tzach, and he kind of mentored me We had a bit of overlap while I was interim before he left I got a lot of guidance from him over the years

Q: He was there for a long time? Is that pressure to step into his shoes?

A: He was director for about 20 years There’s a lot of pressure from the staff because a lot of them have also been here close to that long, too And from the community, too; just trying to make sure we live up to what people expect from us and maintain that standard of excellence

Q: Are there new initiatives at Popejoy we should know about?

A: One of the things we might want to do in the future is have a family series We have a school-time series in which we bring school-age children to Popejoy as field trips and stuff like that The family series would be for parents to bring their younger kids to the theater It would be more shows geared for younger audiences that parents could bring them to in the evening

We just rolled this out during Hamilton, but we also have a Broadway for Teens program It’s a philanthropic outreach program in which we try to bring in high school students to see Broadway shows at Popejoy We brought 45 kids from Cuba Independent School District [83 miles north of Albuquerque] and 40 students from Albuquerque to see Hamilton We’re hoping to expand that and get more schools to come out and see Broadway shows at Popejoy S F

See“PopejoyPackages,”June16, Pasatiempo,forinformation aboutthe2023-2024season Visitpopejoypresents comorcall 505-277-9771

Jonathan Grunert (left) as Professor Henry Higgins, Madeline Powell as Eliza Doolittle, and John Adkison as Colonel Pickering in My Fair Lady, a Broadway in New Mexico production coming to Popejoy Hall in 2024

Inset: Fabianna Borghese

DRINK UP (Grape) smashing success

The Santa Fe Wine Festival is celebrating its 29th birthday for the first time, it swears Kidding aside, the festival includes food, arts and crafts, and dancing It’s the second of seven festivals being held this year at El Rancho de las Golondrinas, as well as the second-oldest of those events; only the Santa Fe Harvest Festival, in its 51st year, has been around longer These wineries are set to take part: Black Mesa, Black Range Vineyards, Black Smuggler, El Alamo, Gruet, Jaramillo Vineyards, Jarales Wines, La Esperanza Vineyards, Las Nueve Ninas, Lescombes, Luna Rossa, New Mexico Hard Cider, Noisy Water, Ponderosa, Shattuck, Sheehan, St Clair, and Vinos Unidos B S

Noon to 6 p m Saturday, July 1, and Sunday, July 2

El Rancho de las Golondrinas, 334 Los Pinos Road

$20 for adults, $8 for students and ages 13-17, and free for those 12 and younger in advance

($22 and $10 at the door)

505-471-2261; golondrinas.org/events, tickets holdmyticket com

Oenophiles sample the nectar of the vine during the Santa Fe Wine Festival at El Rancho de las Golondrinas

Hats off to Hearne

Brian Sandford l Photos Luis Sánchez Saturno l The New Mexican

When country-Americana artist Bill Hearne’s wife became too ill to perform in 2004, the musician wondered if his high-profile run at La Fonda on the Plaza was over Bill and Bonnie Hearne had long been a team notable for their onstage chemistry, alliterative act name, and pairs of thick, distinctive glasses, the latter a result of serious vision impairment He played guitar; she played piano Both sang By the time Bonnie was forced to leave the stage, they’d been performing as a unit in New Mexico for 25 years and Santa Fe for 13

When Hearne expressed doubt about his future as a solo act, a manager at La Fonda reassured him, telling Hearne, “‘Bill, we expect you here next week, and we know what you do is going to be good ’”

Apparently, it was Nineteen years later, he’s still in the Santa Fe spotlight, performing twice per month at La Fonda and weekly at Cowgirl BBQ He’ll be under an especially bright one during a free concert July 18 at the Plaza, when he opens for Texas singer-songwriter James McMurtry as part of the Lensic 360’s Santa Fe Plaza concert series.

Santa Fe musician Bill Hearne maintains a steady pace of performances

There, he’ll be seen by several hundred and while Hearne won’t be able to make out the faces in the audience, his world is far from dark He was born with congenital cataracts, a condition he describes as a film that develops on the eye’s lens.

“I was born in ’49,” he says “They discovered that I wasn’t responding to light very well So I had a number of surgeries in Dallas, where I grew up, and I lost the left eye In my right eye I have no lens, so what replaced the lens was very thick, fisheye-type glasses. My glasses are very strong, allowing me to see stuff nearby, which is what’s critical for me to see ”

“People seemed to love us [at La Fonda], so we were hired for six months, then a year, then kept signing contracts. That went on until Bonnie retired in 2004, and I thought ‘Oh, man. I’m done.’” Nineteen years later, he still performs twice a month at the hotel’s La Fiesta Lounge

Hearne doesn’t drive and gets around Santa Fe using paratransit He can, however, read and watch television He had his final eye operation in the early 1950s and says the medical treatments for his condition have come a long way

“Today, they would have removed the lens with a laser and replaced it with a synthetic lens,” allowing for nearly 20/20 vision, he says.

At 74, Hearne says that back and shoulder issues are more of a problem now than his vision, but he’s grateful to be in reasonably good health

Before moving to Santa Fe, the Hearnes spent 12 years living and performing in Red River, located just over 100 miles to the northeast

“We’d been playing in New Mexico a lot through the ’70s,” Hearne says. “We got connected to a musical group that was based in Red River ”

The Hearnes made the move from Austin, Texas, to Red River, serving as the resident entertainers at a restaurant-bar in town from 1979 until 1991 It was idyllic, but not ideal

“It was difficult for two people who are visually challenged,” he says. “Red River had no real amenities.”

As a result, they often had to get rides After the restaurant-bar was sold to new owners who weren’t interested in offering live music, the pair considered their options.

“In late 1991, we were approached by the people from the La Fonda Hotel, mainly a woman named Evelyn Martinez who had just taken over as food and beverage director there,” Hearne says. “She had heard us play and contacted us about being resident artists there two nights a week ”

The Hearnes played a couple of one-off shows at the hotel before beginning their weekly run on Wednesdays and Thursdays.

“People seemed to love us, so we were hired for six months, then a year, then kept signing contracts,” Hearne says “That went on until Bonnie retired in 2004, and I thought ‘Oh, man I’m done [La Fonda is] not going to want me by myself ’”

Bonnie Hearne had Turner syndrome, a condition that results from missing part or all of an X chromosome It only affects women She was taking medication to treat

it that increasingly affected her memory onstage, her husband says Bonnie Hearne died of sepsis in 2017 at age 71, which didn’t come as a surprise following a period of declining health, Bill Hearne says.

Hearne sings in a slightly lower register than during his youth, a common adjustment for longtime performers He doesn’t write music and aims to avoid covering songs that are too familiar His and Bonnie’s albums are available on his website, with such localspleasing titles as Live at the La Fonda Hotel and From Santa Fe to Las Cruces

The Hearnes’ lives and careers were immortalized in the 2018 documentary New Mexico Rain: The Story of Bill & Bonnie Hearne, created by Santa Fe University of Art and Design graduate Bunee Tomlinson It won awards at the 2019 Sunny Side Up Film Festival in Miami, Oklahoma, and the Bare Bones International Film & Music Festival in Muskogee, Oklahoma (the documentary is not available for viewing due to music rights issues)

Hearne doesn’t think the timing of the documentary was a coincidence

“That was a result of the New Mexico Music Commission Lifetime Achievement Award that Bonnie and I both received individually in ’17, like four months before she died,” he says, describing the prestigious ceremony held at the Lensic He adds that the award came as a surprise, in part because he was born in Michigan

But he embraces a signature New Mexico look, with his thick glasses and cowboy hat, and is easily recognized around town He doesn’t mind the celebrity for the most part

“I’ve gotten frustrated a time or two, just feeling a little bit pressed, but I do my best to give people my best when they come up and say hello,” he says. “But I’m very fortunate I have a buddy who rides me about this and says, ‘Bill, you got to take care of everybody People want to talk to you ’” ◀

Bill Hearne regularly appears at Ahmyo River Gallery (652 Canyon Road), Cowgirl BBQ (319 S Guadalupe Street), and La Fonda (100 E San Francisco Street)

He’s also scheduled to play at 8 p m Saturday, July 1, at the Second Street Brewery Rufina Taproom (2920 Rufina Street) Visit billhearne com

He takes the stage with Texas singer-songwriter James McMurtry for a free concert at 6 p m on July 18 at the Santa Fe Plaza Visit tickets lensic360 org for information

Bill Hearne performs on Thursdays at Cowgirl BBQ in Santa Fe Opposite page: Teri Jacques and her husband, Fred, of Santa Fe dance to the sounds of Hearne on a recent evening at Cowgirl BBQ

“SeeingToscawas arevelationforme becauseintheroleof Scarpiawasthegreat baritoneDonnieRay Albert.Ididn’tknow therewereAfrican Americanmenwho weremakingacareer inopera.Itjuststruck achordwithinme.”

REGINALD SMITH JR.

A toast to

TOSCA

Two characters strike a fresh chord in a classic opera

INthe world of professional wrestling, it would be a no-holds-barred cage match with no time limit until a victor was crowned In the (slightly) more genteel world of professional opera, it’s the epic confrontation between the title character and the police chief Scarpia that drives Giacomo Puccini’s Tosca toward its inevitable conclusion

Two dynamic young singers who are building impressive careers soprano Leah Hawkins and baritone Reginald Smith Jr take on the iconic roles in the Santa Fe Opera production this summer Both have warm, expansive personalities and both were

able to find a few minutes between rehearsals to talk joyfully about their career paths and the challenges involved with their characters.

For years, Hawkins was convinced she’d never sing Tosca “I was a mezzo-soprano all the way through graduate school,” she explained “As I made the transition to soprano, I was thinking that my voice might not go that way and if it did, I probably wouldn’t sing it until I was much, much older It came up much

sooner than I thought it would [at Opera Memphis in January 2023], and I never dreamed I’d do it again so quickly”

As a baritone with his vocal and physical gifts, Smith Jr (who requested the “Jr ” stay with his last name) seems to have been born to play Scarpia, at least to everyone except his mother “‘Why are you always playing the bad guys?’ she said when I told her about it I said, ‘Maybe I just like being bad ’” [The laughter that followed this statement undercut the possibility ]

continued on Page 22

Mark Tiarks I For The New Mexican

Leah Hawkins as Tosca and Reginald Smith Jr as Scarpia in Act Two of Tosca, in which he agrees to let her imprisoned lover Cavaradossi go free if she will have sex with him Smith Jr says the production “has a new face, a new kind of energy ”

, continued from Page 21

There’s one difference with this role, however “It’s one of the few times that the bad guy finally gets what’s coming to him,” he points out Usually, the baritone is still alive when the opera ends, no matter how bad he’s been, but as Scarpia, Smith Jr finally gets the chance to perform a death scene, and a protracted one at that, at least compared to the fast demises of Tosca and Cavaradossi, her lover

Pushing Beyond the Stereotypes

Tosca and Scarpia are roles that come with specific adjectives forever welded to them “jealous” for the former and “sadistic” for the latter are two of the most common and with audience members who come into performances with very specific ideas about how they should be sung and acted

Both soloists are determined to push beyond the constraints these expectations can create “I think Tosca is different from the others for Scarpia; she’s more special,” says Smith Jr “Now that she’s in his private chambers, he really wants to milk the situation

“Her discomfort is arousing to him it’s that preyand-predator type of situation And I think that lends itself to more variations of color in terms of dramatic intent and also vocal intent He may be charming and appealing to someone, at least at first ”

In developing a multidimensional Tosca, one of Hawkins’ goals involves a word not often associated with the character: humor “I like the idea of giving her a sense of humor that comes through at times She’s not always being 100% serious,” she says “There’s a joking part of her as well I also like finding this more sensual, sexy side of her, especially when she’s with Cavaradossi

“Instead of being this grand diva who no one can talk to and no one can approach, I think she’s like most of us opera singers: a down-to-earth human being She’s someone you could approach and have real conversations with ”

Singing the Praises of Rehearsal

“This has been a really exciting work environment and a really productive one as well,” says Smith Jr “The conductor, John Fiore, and director, Keith Warner, are fantastic They give you room to explore and to work with your colleagues, but they also make sure you have good guidelines and parameters.”

Hawkins agrees, adding, “The atmosphere is just so supportive and honest Reginald stopped [in a rehearsal] today and asked me, ‘Is that OK, the way I touched you?’ and I said absolutely Everyone is just so open to each other’s ideas because it feels like we ’ re portraying real people I’m wide open to try anything because I feel so comfortable ”

Leah Hawkins on Discovering Opera

Hawkins says she knew practically from birth that she wanted to sing for a living What kind of music she would focus on was decided when she was in the sixth grade and saw her first opera, Carmen at Opera Philadelphia

“I didn’t like the opera itself, and I remember being very angry that she died But I went home and told my parents, ‘Whatever that thing was I just saw, I want to learn how to do that ’ So they said ‘OK, if you want to learn how to sing opera, you need a voice teacher ’ We found one by going to a restaurant where they had all these business cards tacked on a wall, and one was for a voice teacher I grabbed it, and they called her, and I started studying!”

And Reginald Smith Jr.

Smith attended an arts-focused high school in Atlanta and grew up wanting to become a choral music director His first opera experience was attending the final dress rehearsal of Tosca at the Atlanta Opera

“I thought, well, sure if I can get out of school for half of the day, why not? Seeing Tosca was a revelation for me because in the role of Scarpia was the great baritone Donnie Ray Albert I didn’t know there were African American men who were making a career in opera It just struck a chord within me, and I thought, ‘This is really interesting; it could be really fun to do this ’”

Cool Credits

For Hawkins: Desdemona in 7 Deaths of Maria Callas with the Paris Opera, Berlin Opera, Bavarian State Opera, and Munich Opera Festival; Musetta in La Bohème and Louise in X: The Life and Times of Malcolm X (upcoming) with the Metropolitan Opera; soprano soloist in Beethoven’s Symphony No 9 with the Philadelphia Orchestra and the Metropolitan Opera orchestra (upcoming)

For Smith Jr : Jim in Porgy and Bess with the Metropolitan Opera, baritone soloist in Beethoven Symphony No 9 with the San Francisco Orchestra, Uncle Paul in Fire Shut Up in My Bones, Amonasro in Aida with Lyric Opera of Chicago (upcoming), and the title role in Falstaff with Houston Grand Opera (upcoming)

What They’re Saying

“Leah Hawkins made a breakout hit [as] the Strawberry Woman in Porgy and Bess The character’s haunting arietta is only a few minutes long, but Hawkins stopped the show with her radiant good humor and audaciously sensuous phrasing ” Opera News

“Vocally and dramatically impressive was the young soprano Leah Hawkins, who pulled off two wildly contrasting characters [in Terence Blanchard’s Champion]: the vindictive Cousin Blanche, raising and punishing the child Emile Griffith, and Emile’s wife, Sadie ”

The Washington Post

“Baritone Reginald Smith, Jr [is] a passionate performer who showed his mettle in an aria from Verdi’s Falstaff and “Oh, Lawd Jesus, heah my prayer ” from Louis Gruenberg’s The Emperor Jones, an opera [from 1933] that incorporates jazz and spirituals ”

The New York Times

“[Smith has] one of the most exciting baritone sounds to come along in years thrillingly dramatic ” Opera News

The Finale

Since he dies before the tenor and the soprano in the opera, we’ll give the baritone the final word in print

“This is going to be a really exciting production,” he says “It has a lot of the traditional elements that most people expect, but there are also twists and turns that will keep them on their toes. It has a new face, a new kind of energy, with it being set around 100 years ago, instead of in the powdered-wig era ” ◀

Tosca

The Santa Fe Opera

8:30 p m Friday, June 30, Wednesday, July 5, also July 8, 14, and 21; 8 p m Aug 1, 7, 12, 19, 23, and 26

Santa Fe Opera, 301 Opera Drive

Tickets $50-$366, 505-986-5900, santafeopera org

“Theatmosphereis justsosupportiveand honest. Everyone isjustsoopentoeach other’sideasbecause itfeelslikewe’reportrayingrealpeople. I’mwideopentotry anythingbecauseI feelsocomfortable.”

LEAH HAWKINS

Tosca

Below: The chilling moment at the end of Act III when Tosca discovers that

Right: Smith Jr is performing Scarpia for the first time in this production; Hawkins is working on bringing out new aspects of her characterization in the Santa Fe staging

Scarpia deceived her about letting Cavaradossi go free after a supposedly fake execution

PHOTO CURTIS BROWN FOR THE SANTA FE OPERA

Michael Cassidy, Far West, The Saga of the Outlaw Kid oil on linen, 70 x 51 inches

Leon Loughridge, Canyon Evening water media on paper, 22 x 14 inches

Mark Tiarks I For The New Mexican

TOSCA101

One-Sentence Description: Tosca thinks she’s saved the life of her lover Mario when she stabs the sadistic police chief Scarpia to death, but she would be wrong, very wrong

Tosca

Music drama in three acts

The Premiere

January 14, 1900, Teatro dell’Opera, Rome

The People

Floria Tosca, a famous opera singer, in love with Mario Cavaradossi, a painter Baron Scarpia, chief of police Cesare Angelotti, Cavaradossi’s friend

The Percentage of Main Characters Who Don’t Make It Out Alive: 100%

The Place

The action takes place in Rome on the evening of June 17, 1800, and the following morning Its three real-life settings still exist

The Plot

ACTI: InsidetheChurchofSant’AndreadellaValle Angelotti has just escaped from prison and runs into the church to hide in his family’s private chapel Cavaradossi is finishing a painting of Mary Magdalene, using a mysterious blond-haired woman seen at the church every day as a model Tosca is immediately jealous of the blond woman, but eventually calms down, after ordering Cavaradossi to paint her eyes black Cavaradossi offers to hide Angelotti at his villa that evening Scarpia orders a search of the church and tells Tosca that Cavaradossi has left with the woman depicted in the painting She rushes off to the villa, with one of Scarpia’s henchman following her, and the chief of police gloats over his plan to seduce Tosca and destroy Cavaradossi

ACTII:Scarpia’sapartmentinthePalazzoFarnese

Cavaradossi has been captured and brought to Scarpia’s apartment As Scarpia prepares to dine, Tosca arrives and hears Cavaradossi being tortured She reveals Angelotti’s hiding place and Cavaradossi is momentarily furious until Napoleon’s victory at Marengo is announced Cavaradossi’s exultant cries result in him being taken to prison Scarpia offers to

June 30-July 6, 2023

Opposite page (top to bottom): Rome’s Castel Sant’Angelo is the site of the opera’s final act The team of composer Giacomo Puccini (from left) and co-librettists Giuseppe Giacosa and Luigi Illica created La Bohème, Tosca, and Madame Butterfly

let him go free if Tosca will succumb to his romantic advances She agrees, as Scarpia explains that they will need to conduct a mock execution of Cavaradossi As he is writing a safe conduct for the lovers, Tosca stabs Scarpia with a table knife and taunts him as he dies

ACTIII:AtoptheCastelSant’Angelo,earlythenext morning

Cavaradossi awaits his execution as Tosca explains Scaria’s supposed ruse the soldiers will be firing blanks, so she coaches him on how to “die” convincingly The executioners’ rifle fire and Cavaradossi’s death scene are completely convincing, however, as it involved live ammunition Scarpia’s body is discovered, and the soldiers attempt to corner Tosca on the ramparts, but she hurls herself off the castle to her death below

Pushing to the Limits

Despite its expansive settings, the opera is a claustrophobic pressure cooker of dramatic intensity,

Right: Moloch, Victorien Sardou (1882) In this caricature, Victorien Sardou “writes”a play by taking pages from his filing drawers of works by forgotten authors and the ideas of others, cutting them up, rearranging the pieces, and sticking them on a spindle (Sardou was often accused of plagiarism or at best unoriginality in his fecund career )

focused almost exclusively on the three main characters, with their vocal lines and the orchestra’s playing pushed to the limits of what was possible at the time It is also Puccini’s most Wagnerian score with its extensive use of leitmotifs, although they are not as developed or modified as Wagner and others did with them Tosca has always been more popular with audiences and with singers than it has been with critics, thanks to the vocal and dramatic opportunities it offers to its central trio

Victorien Sardou Playwright

The opera is based on La Tosca, an 1887 play by Victorien Sardou, the most influential proponent of the well-made play during the late 19th century

The genre’s characteristics included complex, tightly constructed plots driven by important but unlikely coincidences, two-dimensional characters, and a climactic scene that resolved the major plot issues. Sardou wrote La Tosca to showcase the famed French actor Sarah Bernhardt, who performed it throughout the world for many years, including on her four different farewell tours of the U S

Luigi Illica and Giuseppe Giacosa Librettists

Nevertheless, his best works demonstrate a sure grasp of theatrical effectiveness, memorable melodies, and an unparalleled ability to manipulate an audience’s emotional response While his competitors focused on the newly popular verismo genre, with its intense emotional cauldron of lower-class life struggles, Puccini created works that blended the earlier bel canto tradition with aspects of verismo

Historic Background

Led by Napoleon, Republican France fought two wars against Austria and the Holy Roman Empire between 1792 and 1802 In 1798, the French captured Rome and proclaimed it a republic; an Italian army recaptured the city 18 months later and restored papal authority In the opera, Angelotti had been the consul of Republican Rome and Cavaradossi an ardent supporter of it; both are still Republicans, while Scarpia is an agent of the Holy Roman Empire

The Battle of Marengo, which took place in northwest Italy on June 14, 1800, plays an important but shadowy role in the opera Initially the Austrians claimed victory but a surprise attack by Napoleon later that day reversed the outcome The reports of Napoleon’s victory were thus several hours later in reaching Rome than the erroneous earlier reports of his defeat, and the action in Act Two is directly related to this change in the news.

Funny Business

There’s not much in the opera itself A grumbling sacristan who appears in Act I is allegedly a comic character; evidence for this claim is slight, other than the role offering an opportunity for a late-career basso to ham it up

The team of Luigi Illica and Giuseppe Giacosa created Giacomo Puccini’s best librettos those for La Bohème, Tosca, and Madame Butterfly Illica’s primary responsibility was creating the dramatic structure and an initial prose text; Giacosa’s was versifying the text Collaborating with Puccini wasn’t an easy process, given the composer ’ s frequent selfdoubts, changes of opinion, and many demands for revisions

Giacosa was never convinced the play was a viable libretto source, and Illica was barely speaking to Puccini by the time the opera opened Despite their doubts and frustrations, Puccini, Illica, and Giacosa maintained enough mutual respect to collaborate again with great success on Madame Butterfly

Giacomo Puccini Composer

Giacomo Puccini was born in Lucca, Italy, in 1858, into a family lineage of church musicians. His first musical studies were with his father, who had studied with Donizetti, and an uncle He entered the Milan Conservatory in 1880 where composer-teacher Amilcare Ponchielli wisely steered him away from liturgical music in favor of the opera stage

Puccini could be imperious in his dealings with others, and often indulged his passions for sports cars, fishing, and hunting (women as well as wild game) to the detriment of his work schedule

One of the most enduring anecdotes about Tosca concerns the soprano who flung herself off the castle rampart at the finale, only to bounce back into view several times courtesy of the trampoline that had been placed below It happened at the Lyric Opera of Chicago Or maybe New York City Opera Or perhaps in Stuttgart, depending on which version of the story you read

The reasons vary, too, from stagehands who replaced the landing mattress with a trampoline to avenge themselves on a difficult diva to a safety-conscious crew member who tightened the trampoline’s slack springs, turning a gentle landing into a return flight In other words, it may well be an urban legend

A true story: I attended a Tosca performance in which the somewhat-long-in-the-tooth leading lady was unable to come to her feet after kneeling next to Scarpia’s body at the end of Act II The baritone gallantly returned to life for a few moments to help her, then re-died

To sum up: You’lllikeToscaifyoulike(see“Know the Score,” Pasatiempo, June 16):

• Unashamedly tuneful melodies that are turbocharged with Italianate emotion

• The concept of a Hallmark Hall of Fame tear-jerker as reinterpreted by Quentin Tarantino

• Intense drama with scenes of sadism, torture, and (warning!) attempted sexual assault ◀

Anniversary of Festival of Song

SUN, JUL 30

SAMANTHA HANKEY, mezzo-soprano

HUW MONTAGUE RENDALL, baritone

SUN, AUG 6

ROBERT TWETEN, piano

AILYN PÉREZ, soprano

ROBERT WATSON, tenor

Now in its 10th iteration, Festival of Song presents stars of the opera world in intimate recitals at the Scottish Rite Temple. All performances are followed by a reception in the Grand Ballroom where you are invited to meet the artists.

SUN, AUG 13

ROBERT TWETEN, piano

LAUREN SNOUFFER, soprano

ROLANDO VILLAZÓN, tenor

ROBERT TWETEN, piano

Festival of Song presented through the support of Bruce Donnell August 6 Festival of Song presented through the support of Yoko and Thomas Arthur Robert Tweten’s performance underwritten by Yoko and Thomas Arthur Samantha Hankey’s performance underwritten by Kathy and Robert Reidy 23–24 Season Sponsors: Ann Murphy Daily and William W. Daily, Gina Browning and Joe Illick, Robin Black, Leah Gordon

ailyn peréz I photo: dario acosta

Veteran director and fast-rising singer tackle Wagner’s Dutchman for the first time

Three productions at the Santa Fe Opera this summer will feature water onstage Richard Wagner’s The Flying Dutchman isn’t one of them, despite its nautical nature

For veteran stage director David Alden, the key to unlocking the opera for a 21st-century audience isn’t just what the Dutchman is and does, but the impact of what he represents a demonic possession of the seas by industrial capitalism, which turns workers into economic slaves and degrades the environment

Alden is returning to Santa Fe after helming Leoš Janácek’s Jenºufa in 2019, a production about which The Sunday Times said, “Alden’s staging takes this coruscating music-drama a notch higher, turning the screw of the drama inexorably, shatteringly, ultimately movingly”

A Thoughtful Updating

Like Jenºufa, his Flying Dutchman will be set in a time period later than the opera ’ s composition in this case about a century but those who often find such concept stagings unappealing might want to reconsider their point of view Alden’s updates aren’t personal conceits slapped onto the stories in a superficial way; they come from a deep reading of the text and score, as well as extensive research into the social and theatrical milieu that spawned the opera

“One could take a sympathetic view towards him because he’s suffering and lonely,” Alden says, “ a kind of existential figure that, on some levels, everybody can relate to But if you go to the coast or on a ship, you see these monstrous ports and immense cargo ships just piled high with containers It’s like Amazon is running rampant over the seas. It’s a slow destruction of our world ”

Alden’s Dutchman has lots of baggage, physically as well as emotionally, with the women who’ve been unfaithful to him over the centuries and the businessmen who’ve succumbed to his form of capitalism forming an ever-increasing cargo load

Mark Tiarks l For The New Mexican

The women of the Norwegian sailing village are almost automata in a dehumanizing factory

Left: Nicholas Brownlee as the Dutchman and Elza van den Heever as Senta at the beginning of their short but intense romance

Flying Dutchman, continued from Page 31

Midcentury Modern, with a Twist

The design concept is set roughly in the mid-20th century with a mythic, abstracted industrial sensibility that might suggest a sea-borne version of Fritz Lang’s urban-nightmare film Metropolis In act one of this Dutchman, the sailors suggest cogs in a machine, while the women who sing while spinning wool in Act Two become the nearly faceless work crew in a factory filled with wheels and gears.

“I feel that one of Senta’s subtexts and her wanting to save the Dutchman comes from her own alienation from the world around her,” Alden says Senta isn’t part of the anonymous work crew, he notes, and her long-standing obsession with the Dutchman isn’t explained “I’m trying to give the audience a backstory about her,” says the director, “starting with her as a child reading and dreaming about fairy tales ”

Monster Industrialists

Alden says he’s been thinking a lot about Elon Musk and his brand of unhinged capitalism over the last 18 months as he was developing the production Not surprisingly, he sees many parallels between Musk and the Dutchman “They’re monster industrialists

who bemoan who they are, ” he says, “and even though they might want to escape, the power and the money just keep building and they can’t stop ”

Six Decades with Wagner

A self-described Wagner maniac from his teenage years on, the 75-year-old Alden has directed all the operas written by Herr Richard after The Flying Dutchman, which gives him a unique perspective on this early work “It’s very different from the rest of the canon in many ways, but I think it’s a totally exciting, brilliant piece,” he says “It has inklings of everything that followed in it, but there are also these different qualities, it’s almost a folk-ballad opera in some ways And in the midst of it, you have this heavy personal psychology of Wagner ”

For Alden, that means the composer ’ s identification with the Dutchman’s struggles, his loneliness and alienation, fighting the elements in order to survive, and his search for a woman who can give herself up to him completely, all themes that recurred throughout his life and work

Nick Brownlee’s Unusual Path to the Title Role

Bass-baritone Nicholas Brownlee comes to the title

role here with a very unusual type of preparation he learned the part and started rehearsals for it in Frankfurt, Germany, three years ago, with the same soprano, Elza van den Heever, as Senta, only to have the production become a coronavirus victim

“As a singer, you hardly ever prepare a role and then not sing it,” he says. “What this doesn’t feel like is the ‘Oh [my God], I gotta get this learned, I start rehearsals on Monday’ feeling that comes with doing a big part the first time This has been really, really fun because it has the excitement of a role debut combined with three years of letting it stew in my brain ”

A Cast Colleague’s Valuable Advice

While The Flying Dutchman is one of Wagner’s shortest operas, it’s also one of the most challenging to sing, especially for the title character Another plus for Brownlee is that van den Heever came directly to Santa Fe from four critically acclaimed performances of Senta at the Metropolitan Opera

“I asked her, ‘Where are the vocal trouble spots for the Dutchman, and she said, ‘Oh, you gotta be careful here and here and here and here and in the finales.’ I never thought the places that she warned me about would be an issue, but they are, she was right That’s been really important in figuring out how to pace it ” Brownlee also has a musical parallel to Alden’s observation about the folk-like nature of the opera,

Elza van den Heever is enmeshed in a web of ropes spun by the crew of the ship her father captains Opposite page: Morris Robinson as Daland, the Norwegian captain, lands his ship during a storm as the opera begins

sensing aspects of Schubert’s lyricism in much of the vocal writing “What makes this piece so remarkable to me is the lightness of it, the real ‘sing-songiness’ of it,” he says. “If you can find that, you can find more vocal colors in it and the legato [a smooth, flowing quality] as well And then when you get to the finales and you just let it rip, it makes the finales so much more satisfying ”

Navigating a Circular Journey

Brownlee is very familiar with the concept of a journey that keeps returning to the same spot He grew up in southern Alabama, not far from the Mobile International Speedway, where he has engaged in truck racing It’s a lot like opera, he says, describing them both as visceral, athletic, loud, exciting, and accessible

Cool Credits

It’s been a year full of sturm und drang und leitmotifs for our Dutchman In between Brownlee’s Kurwenal in Tristan und Isolde here last year and his return this summer, he’s sung Hans Sachs in Die Meistersinger von Nürnberg and Wotan in Das Rheingold, four big Wagner roles, all for the first time Alden’s recent productions include not just one, but two Romantic-era rarities the French grand operas Les Huguenots by Giacomo Meyerbeer and La Juive by Fromental Halévy as well as Rossini’s seldom-seen, semi-serious opera The Thieving Magpie and Francesco Cavalli’s bawdy Baroque opera La Calisto

The Finale: A Glimmer of Hope

The Dutchman is certainly a dark, tortured character, but Brownlee and Alden are working together to find other aspects of his character “I cannot perform this piece without believing that he has a little bit of hope each time he comes ashore,” the bass-baritone says He cites the critical exchange between his character and that of Daland, the Norwegian captain, in the first act He asks Daland whether he has a daughter, and the reply is yes, a faithful one, exactly the quality the Dutchman has been searching for in vain for centuries

“Then I sing the most gorgeous line in all of the opera, ” Brownlee says [The text for it is “Ah, no wife, no child have I, nothing binds me to this Earth!”] “It’s so bel canto, it’s so beautiful It’s not rambunctious and it’s not too high in the voice

“And in our in our staging, instead of making him big and bombastic in this moment, we kind of make him small I think it does a really great job with giving him a sense of hope ” ◀

The Flying Dutchman

The Santa Fe Opera

8:30 p m Saturday, July 1, also July 7 and 12; 8 p m July 31 and Aug 5, 10, 15, and 25

Santa Fe Opera, 301 Opera Drive

Tickets $45-$371, 505-986-5900, santafeopera org

Why was the Dutchman Dutch?

The Flying Dutchman legend conjures romantic images of life on the high seas during the 17th and 18th centuries, only partially dispelled by his fate and the doom-laden tone of Richard Wagner’s opera The Dutchman was Dutch because he was an employee of the Dutch East India Company, the popular name for the United East India Company of the Netherlands

Its merchant fleet, which totaled more than 4,700 ships from 1602 to 1796, was larger than that of its four largest competitors combined Its primary operations were in the Dutch East Indies (modern-day Indonesia), but it also was active in Japan, China, Taiwan, and coastal India

The Dutch East India Company was, in fact, one of the first and most successful exploitative systems for extracting wealth from non-European lands and peoples ever created, and the reality of its operations was far from romantic

It functioned as both a trading monopoly and the government of a vast territory with no checks and balances on its power, paying an 18% annual dividend to its shareholders for almost 200 years, while also having the power to declare and conduct war, imprison and execute convicts, negotiate treaties, mint its own coins, and establish colonies Enslaved residents of the territories where it functioned furnished much of the labor to build and conduct its trading operations

In 1740, the company ’ s repressive practices in Batavia (present-day Jakarta) sparked violence between Chinese residents and the company ’ s soldiers As many as 10,000 Chinese were killed as the Dutch governor-general at first turned a blind eye toward the massacre It was fueled by the local government’s council, which offered a bounty of two ducats for every Chinese head turned over to its army Anti-Chinese violence continued in the Dutch East Indies for another two decades M T

Chinese prisoners being executed by Dutch soldiers in the 1740 Batavia Massacre

THE FLYING DUTCHMAN 101

TheFlyingDutchman

Romantic opera in three acts

The Premiere January 2, 1843, Royal Court Theater, Dresden, Germany

The People

The Dutchman

Daland, the Norwegian captain of a merchant ship

Senta, his daughter

Erik, a huntsman in love with Senta

The Percentage of Main Characters Who Don’t

Make It Out Alive: 50%

The Place

The seacoast of southern Norway

The Plot

ACTI:Asteep,rockyshore

Daland’s ship takes refuge to wait out a storm, and it is suddenly joined by a ghostly ship with blood-red sails. Its captain steps ashore and laments his fate destined to sail forever unless he can find a loyal wife and he can go ashore to search just one day every seven years, as a punishment for his blasphemy The Dutchman, as he describes himself, offers Daland a vast treasure in exchange for one night of lodging and the hand of his daughter Senta in marriage Daland is overjoyed by the wealth he may soon acquire

ACTII:Daland’shomeintheportofSandwike

While the women of Sandwike spin wool, Senta sings of her obsession with a mysterious man in

a painting on the wall He is a sea captain known as the “Flying Dutchman,” and Senta vows to save him from his fate wandering the oceans. Erik enters and declares his devotion to Senta, then describes a nightmare in which he saw her sailing away with the Dutchman She reiterates her desire to rescue the accursed captain, and Erik rushes out The Dutchman and Daland enter; her father introduces the stranger and Senta promises eternal fidelity to him Daland celebrates his good fortune

ACTIII: TheharborinSandwike

The villagers invite those aboard the Dutchman’s vessel to join in celebrating their safe arrival with Daland’s crew, but their sinister appearance scares the townspeople away Erik pleads with Senta not to marry the Dutchman, who overhears their

Mark Tiarks l For The New Mexican

An 1878 scenic design for Act I of The Flying Dutchman

conversation Convinced Senta is committed to Erik, the Dutchman sets sail, announcing that he is the legendary captain As the Dutchman’s ship sinks, Senta proclaims her eternal fidelity and throws herself into the sea She and the Dutchman are then seen ascending to heaven

The Legend

The ghost ship legend developed in the 17th century, involving the treacherous passage around the Cape of Good Hope in southern Africa and a Dutch East India Company captain who swore to the devil that he would sail “until doomsday” if necessary to make it around the cape Its original name was the Cape of Storms; it was renamed in a public relations maneuver to encourage more ships to use the faster but more dangerous route near the cape to what is now Indonesia

The Background

In My Life, his enormous 1870 autobiography, Richard Wagner claimed composing The Flying Dutchman was immediately inspired by a stormy sea voyage he and his wife Minna took from Latvia to London in the summer of 1839 as they fled their creditors.

The voyage along the Norwegian coast was indeed stormy as well as protracted, lasting more than two weeks instead of the planned four days, but there’s no evidence for such an immediate connection Many years earlier Wagner credited his inspiration to reading Heinrich Heine’s From the Memoirs of Herr von Schnabelewopski, in which a chapter was devoted to the legend

Heinrich Heine

Heine, who lived from 1797 to 1856, was a German poet, author, and social critic best known outside Germany for his collection of bittersweet love poems, The Book of Songs, published in 1827 It and his later poetry served as the texts for an estimated 8,000 different musical settings by composers including Schumann, Schubert, Mendelssohn, Lizst, and Brahms during the 19th century

Heine’s verse juxtaposed the sound of earlier German lyric poetry with a distinct skepticism about the values of the Romantic era, giving them an ironic, edgy quality His most influential prose work was the four-volume Pictures of Travel (1826 to 1831), which wove together fact, invention, autobiography, social commentary, and literary criticism, and hugely influenced other writers who tried to master his style

From the Memoirs of Herr von Schnabelewopski, written circa 1831, combines elements of his travel writing with his interest in legends and folk tales, and his often-outlandish sense of humor (Heine’s fictional memoirist claimed to be born on April 1, 1795, and to have a footman named Prrschtzztwitsch “To pronounce this name properly one must sneeze at the same time,” he wrote )

While Wagner viewed the Dutchman legend as a tale of sacred love, Heine’s point of view was satirical Herr von S waxes nostalgic, recalling his grand-aunt’s recitation of the legend, goes to a staged version of

it in Amsterdam, and promptly misses most of the performance in favor of a quickie with “ a wondrous lovely Eve” of “fascinating amiability” from the upper balcony, notoriously a haunt of prostitutes He returns to his seat just in time for the final scene and from it draws the conclusion that women should not marry Flying Dutchmen and men should avoid marrying women of any kind

Heinrich Heine may have provided Wagner’s inspiration for The Flying Dutchman, as well as an important aspect of the plot for his 1845 music-drama

Tannhäuser, but that didn’t prevent the composer from reviling Heine in print

Wagner claimed that he published his violently antisemitic essay Jewishness in Music, “to explain to ourselves the involuntary repellence possessed for us by the nature and personality of the Jews.” It was published anonymously in 1850 and again in a much-enlarged version, this time under Wagner’s name, in 1869

continued on Page 38

Heinrich Heine in 1831

Left: The seemingly inevitable fate of progressive composers from Mozart to today being accused of writing music that’s overly complex and painfully noisy Celebrated French caricaturist

André Gill’s The Eclipse from 1869 is just one of many such attacks on Wagner

Top: The opera concludes with Senta flinging herself into the ocean to redeem the Dutchman.

In it, he wrote, “The Jews have never produced a true poet [Heinrich Heine] reached the point where he duped himself into a poet, and was rewarded by his versified lies being set to music by our own composers He was the conscience of Judaism, just as Judaism is the evil conscience of our modern civilization ”

Richard Wagner Librettist-composer

The Wagners’ stay in London was brief; they soon headed to Paris where Wagner was convinced fame and fortune awaited him composing for the Paris Opera, the artistically conservative bastion of the French grand opera tradition It was not to be Instead, he had to eke out a living writing music criticism and making insipid arrangements of highlights from other composers ’ operas The only money Wagner ever got paid by the Parisian company was for his Flying Dutchman scenario, written early in 1841 (He originally planned Dutchman as a one-act curtain raiser prior to a longer ballet, then a popular combination at the Paris Opera, but the company rejected the idea, buying just the scenario instead )

Wagner then wrote the full text for The Flying Dutchman, as he did for all his completed operas, preferring to call it the poem rather than the libretto It was finished in May 1841 and his draft score for the piece was completed in November (In typical fashion, he ignored the awkward fact that he’d sold its scenario )

Tribunes was accepted for production by Dresden’s Royal Court Theater, despite its six-hour length (It and The Flying Dutchman were composed roughly contemporaneously; Rienzi was closely modeled on the grand operas of Giacomo Meyerbeer, which were incredibly popular in Paris.)

Meanwhile, The Flying Dutchman was taken up by Dresden’s brand-new Royal Saxon Court Theater, and the two operas premiered just 10 weeks apart, in late 1842 and early 1843

One was an immediate success and received hundreds of productions in Europe and U S over the next few decades The other was a failure, taken out of the repertory after just four performances It was The Flying Dutchman, which gained popularity as the century progressed, especially after Wagner revised it in 1860

Even though the piece is short by Wagner’s standards, audiences are treated to three iterations of the Dutchman’s story

The first is the celebrated overture, which limns the essential conflict through a series of musical motifs It was intended, the composer later wrote, to “lead the central idea at the heart of the drama to a conclusion which would correspond, with a sense of presentiment, to the resolution of the action on stage ”

In her Act Two ballad, Senta recounts the Dutchman legend, which has obsessed her for years And of course, the plot’s third iteration is the opera itself

Wagner’s score is very much a transitional creation, a hybrid of a traditional “numbers opera ” with many identifiable arias, duets, and choruses having clear beginnings and endings, with some more flexibly developed scenes that point toward his future style

To sum up: You’ll like TheFlyingDutchman if you like (see “Know the Score,” Pasatiempo, June 16):

• The idea of attending a Richard Wagner opera but haven’t actually done so many operagoers find it his most immediately accessible piece

The Wagners moved back to Germany in 1842, and Wagner’s career prospects improved almost immediately His immense Rienzi, the Last of the

Occasionally the two styles overlap, as in the beginning of the third act, when the conventional-sounding chorus of Norwegian sailors battles musically with the ghostly demons from the Dutchman’s ship and are eventually overwhelmed by it

• Believing that a woman might actually commit suicide out of her love for you, narcissist that you are

• Relatively short operas about two hours, 45 minutes including one intermission, according to the SFO website ◀ Flying

Elza van den Heever portrays Senta and Tomasz Konieczny is the Dutchman in the Metropolitan Opera’s recent production conducted by Thomas Guggeis

Left: Richard Wagner in an 1855 daguerreotype; top: poster for the world premiere production

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MOVING IMAGES I REVIEW

Surreal nostalgia from an offbeat auteur

ASTEROID CITY

Michael O’Sullivan l The Washington Post Trailer youtu be/9FXCSXuGTF4

To explain Wes Anderson’s Asteroid City, an ambitious yet mystifyingly dysfunctional meta-movie, in terms of both form and content, it may be helpful to walk a prospective viewer backward, outward from the center of this most puzzling and, most puzzlingly, ponderous of puzzle boxes.

Set in 1955, against a robin’s-egg-blue sky that looks like it has been juiced up with an Instagram filter, and featuring the filmmaker’s signature fabulous yet fussy production design, the main action takes place in the titular mid-20th-century Western American town: a desolate desert outpost with not much more than a cluster of motel cabins and an auto body shop, so named because it is the site of an asteroid fall years earlier The preserved, volleyball-size rock itself is hardly something to instill awe, but it somehow attracts an annual gathering of young space enthusiasts and their families for a few days of science-camp fun

And yet this yellowing vintage postcard from the past is presented, in the context of the screenplay Anderson has devised from a story dreamed up with longtime collaborator Roman Coppola, not as a movie, although it clearly looks like one, but as a “play” The action is framed within the context of a black-and-white television show that is being narrated by a Rod Serling-like host, played by Bryan Cranston At one point, as if to remind you that you are watching a piece of staged artifice as if that were necessary

in any Wes Anderson movie Cranston’s character shows up on the set of the Asteroid City drama, in color, having accidentally wandered in from the wings of the TV show

To makes matters even more meta, that TV show which plays more like a play than the teleplay it purports to be staging centers on the act of creation itself, as we watch a writer, Ed Norton’s Conrad Earp, perhaps a stand-in for Anderson himself, compose the action of Asteroid City on what looks like a stage set When one character attending the Asteroid City gathering, Scarlett Johansson’s movie star Midge Campbell, asks another, Jason Schwartzman’s war photographer Augie Steenbeck, why he has just burned his hand on a griddle he was using to cook a grilled cheese sandwich, he replies that it’s in the script

Speaking of script, the characters in this latest outing by Anderson, ever the aficionado of kooky names, are especially distracting here Dr Hickenlooper, Schubert Green, Lucretia Shaver, Linus Mao, Walter Geronimo as if they had been culled from the Toontown phone book

The main story concerns the relationship if that’s even the right word, in a tale in which everyone seems to be merely going through the motions between Augie and Midge, who are chaperoning their respective kids (Jake Ryan and Grace Edwards) at the space camp That’s set against the backdrop of a quarantine that the government has imposed on Asteroid City after an alien spaceship arrives and its pilot looking like E T , courtesy of stopmotion animator Henry Selick steals the asteroid

A subplot involves the disposal of the cremains of Augie’s late wife, which he is carrying around in a Tupperware container When Augie’s father-in-law (Tom Hanks) shows up to help wrangle Augie’s three young daughters, Andromeda, Pandora, and

Cassiopeia, played by triplets Ella, Gracie, and Willan Faris, their grandfather helps them bury their mother’s ashes temporarily pointing out that they may not have the legal rights to use the space encampment as a burial plot “I would question whether it even is a plot,” says Augie, in a line that sounds suspiciously like Anderson acknowledging his own film’s flaws

Asteroid City does have its moments, but they are few: Jeff Goldblum in a blink-and-you’ll-miss-it cameo as the human actor portraying the alien (who opines that, in his interpretation, the alien is actually a metaphor) and several cast members of Asteroid City spontaneously breaking into song with “Dear Alien (Who Art in Heaven),” a delightfully daffy ditty written by Anderson with Jarvis Cocker and performed by a band that includes Brazilian musician and The Life Aquatic With Steve Zissou veteran Seu Jorge It’s the only spontaneous, joy-inducing thing about Asteroid City

Maybe the whole endeavor is some kind of selfportrait of an artist who doesn’t know what he wants to say anymore, or how to even say, “I don’t know how to say what I want to say anymore ” Toward the end of the film, during an acting exercise being conducted by an acting teacher named Saltzburg Keitel (Willem Dafoe), the chant, “You can’t wake up if you don’t fall asleep” is repeated, over and over, as if it meant something

Some of the dialogue does resonate, I’ll admit When Matt Dillon’s auto mechanic turns to Augie to tell him that he still can’t get Augie’s car to start, he puts it in a way that once more sounds like Anderson critiquing his own elaborate but inert material: “Everything’s connected, but nothing’s working ” ◀

Comedy/romance, rated PG-13, 104 minutes, Violet Crown, 2 chiles

Wes Anderson’s latest film, Asteroid City, set in a mid-20th-century Western American town, features the filmmaker’s signature fabulous yet fussy production design.

A lyrical love triangle

PAST LIVES

Ann Hornaday I The Washington Post Trailer youtu be/kA244xewjcI

Celine Song makes a quietly spectacular writing-directing debut with Past Lives, a lyrical slow burn of a film that expertly holds back wellsprings of emotion, until it unleashes a deluge The premise is deceptively simple: Nora and Hae Sung are childhood sweethearts in South Korea when her parents move the family to Canada Twelve years later, the two reconnect online, with Nora trying to make it as a writer in New York

This could be the start of a meet-cute-take-two, but Song is not interested in rom-com confections here Following Nora as she follows her dreams, played with self-possession and dry wit by a revelatory Greta Lee, Song tells a new but achingly familiar kind of love story She also traces the contradictory contours of female ambition as it changes over time

When Nora is 12 (Moon Seung-ah), she wants to win the Nobel Prize for literature, then it changes to the Pulitzer, and finally to a Tony That is what passes for a running gag in Past Lives, which Song structures episodically, in carefully observed scenes that move the plot forward with an unforced but tautly suspenseful sense of inevitability A triangle emerges: While rusticating a perfectly rendered writer’s retreat, Nora meets a nice guy named Arthur (John Magaro) The narrative tension pivots on whether Nora will stay with Arthur or return to her roots with somber, socially awkward Hae Sung (Teo Yoo)

“Who do you think they are to each other?” That is the first line of Past Lives, delivered by an unseen character who is observing Nora, Hae Sung, and Arthur from across a bar late at night A good question, but perhaps the least urgent one raised by this delicate, wisely judged drama as it toggles between Nora’s life in the States and Hae Sung’s far lonelier existence in Korea How do our pasts condition our present? When is change growth, and when is it hiding our true selves? Song and her cast explore these conundrums with admirable grace and equanimity, as Nora considers the role contingency, regret, mistakes, and missed chances have played in forming her own most precious desires.

There are moments when viewers might wonder what Nora is really thinking: Her calm, collected facade is so persuasive it feels virtually impenetrable, especially with the push-and-pull of her own cultural history But if Nora seems to be a cipher in much of Past Lives, she does not remain one, as the masterful final scene proves with shattering power That moment is not just the perfect ending to a story that embraces ambiguity in all its messy glory, it is the work of a supremely confident filmmaker of exhilarating artistic promise ◀

Nora (Greta Lee) and Hae Sung (Teo Yoo) are childhood sweethearts who reunite in their 20s in Celine Song’s Past Lives

COMIDAS Y MAS

Tenderloin to tacos

Fordin l The New Mexican

THEorchestra is tuning their instruments The singers are warming up their pipes.

And you ’ re in the parking lot, enjoying a fine repast

People who love going to the Santa Fe Opera often also have a taste for the longstanding tradition of tailgating that, at least in Santa Fe, has transcended burgers and beer in the parking lot before football games.

If you ’ re attending an opera at some point this summer, you might be looking for some flavorful (and easy) ways to pull together a picnic to kick off an evening at one of our nation’s most beautiful opera houses, where even the parking lot offers a view of the Sangre de Cristos Following is a Pasatiempo sampling of options to fill you up and start your opera evening off on a high note

Santa Fe Opera Tailgate Picnics

505-986-5900; santafeopera org/whats-on/tailgate-picnics

This might be the smoothest path to effortless tailgating, in that everything is prepared for you and ready for pickup at the opera when you arrive

Spencer

Tailgate at the Santa Fe Opera with a mountain backdrop Top: Salsa and chips (left) and brisket from Cowgirl BBQ

BOTTLE TALK

Wines to pair with performances this opera season

Carolyn Graham l The New Mexican

Buckle up, tailgaters: This year ’ s operatic lineup leaves little room for light chards and cheery rosés But that also means that the wines that match this year ’ s operatic selections will offer the chance to make some power-forward, juicy, and yes, sassy selections from the wine rack Pasatiempo paid a visit to Jim Stephens, certified sommelier and wine buyer for Susan’s Fine Wine and Spirits, who provided pairings designed to enhance each opera ’ s theme and spirit (See “Know the Score,” June 16, Pasatiempo, for a guide to this year ’ s Santa Fe Opera season )

TOSCA

You need a fiery wine to match this opera ’ s intense, emotional highs and lows For that, Stephens took us to Sicily’s Mount Etna an active volcanic mountain that is home to ages-old vineyards

Try: Calcaneus Nireddu Etna Rosso ($23) The native grape here is nerello mascalese (“It s like if a Barbaresco and a red burgundy had a love child on a volcano,” Stephens says ) The Mount Etna volcanic wines have a hip following, and, Stephens says can reflect that in price the higher you go up the mountain, the more specific the terroir is to certain lava outcroppings But in general, these are versatile wines that pair well with whatever is on your tailgate

Also try: Passopisciaro Contrada S ($87) Made by an artisan producer whose wines are exceptional at all levels, this bottle is “perfect for a tempestuous opera based on fire,” Stephens says

THE FLYING DUTCHMAN

Rather than going Dutch, the focus here is on the “flying” part of this Wagner-composed opera name For that, Stephen opts for something a little closer to Deutsch: Austria’s Domäne Wachau federspiels Translated as “feather play,” federspiels are a classification of wine: “It sounds a little kinky but really it’s about alcohol content,” Stephens says of these wines that clock in with no more than 12 5% alcohol content This region is also known for its falconry and its grüner veltliner grapes, which Stephens calls “the Swiss army knife of white wines” as they pair well with everything

Try: Domäne Wachau Grüner Veltliner Federspiel Terrassen ($24) Stephens swears it’ll even pair with asparagus and other side dishes

Also try: Prager Hinter Der Burg Grüner Veltliner Federspiel ($45) “These wines have depth and richness and more layers of complexity” Stephens says

PELLÉAS ET MÉLISANDE

This French-language opera is a slam dunk for a French wine Stephens suggests the Savoie region on the eastern border between France and Switzerland, where magical things happen between the wines and the cheeses Those Swiss western Alps produce a Camembert cheese that the French, snooty though they may be, offer their high approval of it

Try: Blard & Fils Micraster Savoie Blanc ($22) The grape here is the alpine white jacquère, which this producer ferments in stainless barrels to preserve the freshness “I call jacquère the ultimate party wine,” Stephens says “It’s not expensive, it’s delicious, and it’s great by itself ”

Also try: Domaine Nicolas Gonin Persan ($31) Persan is an ancient varietal, which only existed in the Isère and Savoie regions

Winemaker Gonin’s mission is to save this French red grape, which presents with tart fruits, like red currant and cranberry Stephens adds, “It’s very Burgundian ”

RUSALKA

For a country that produces more than 20,000 types of wines in more than a dozen wine regions in a swath roughly the size of the state of

Texas, France is the queen of options when it comes to pairing with just about any opera So we’ll stay here but travel to the Burgundy Wine Region, considered to be the benchmark when it comes to toasting a fairy tale story that has a bit of a twisted backstory

Stephens notes that, like a capricious and sassy adolescent mermaid, you never know what kind of mood you ’ re going to encounter with a burgundy “Good producers always make good wines, but the style can change every year, just like how an opera at one house is different when it’s performed at another house,” he says “It’s based on what Mother Earth gives them ”

Try: Maranges La Fussière Thierry et Pascale 1er Cru, 2017 ($47)

The label has a lot to unpack, but loosely translated, this wine is made from grapes from the village of Maranges, which Stephens says is one of the most undervalued areas among the burgundies

The “fussière” or “vineyard,” is 1er cru, a designation that, again loosely translated, is “the best of the village ” So it’s good very good Stephens says you’ll pick up cherry and dried currant notes (and it’s snappy and refreshing, just like a teenaged water nymph) Its chalky undertone is a reflection of the limestone soil that produces it

Also try: Louis Latour Morey-St Denis 2015 ($95) If you want something more brooding and less Alan Menken, train your corkscrew on this “village-level” blend (meaning it’s from a blend of parcels in the village) from Morey-St Denis It comes from a famous family house of winemakers who are known for their wines with clean lines and soft transitions on the palate “It s a poem ” Stephens says with a far-away look in his eye “It’s power through grace ” You’ll like it, too

ORFEO

The Greek legend of Orpheus and his descent into the underworld to retrieve his dead bride practically screams for a heavyweight Italian red “Italy is such a playland ” Stephens says He hones in on the Campania region, located in what he describes as the boot-shaped country’s anklebone The grape he suggests for this operatic pairing is the aglianico, a black grape that is native to southern Italy

Try: Terredora Dipaolo Aglianico ($18) This wine has its roots in the multigenerational wine-making Mastroberardino family that Stephens says, put the Campania region on the map and made the wines accessible to American wine drinkers However, the two sons of recent generations couldn t agree on the approach, so the patriarch gave one son the family name and the other the vineyard The latter got the better deal, Stephens says, and the resulting wines are approachable and good at all levels

Also try: Feudi San Gregorio Taurasi Piano Montevergine Riserva 2014 ($51) This is a single vineyard wine from Taurasi in Campania that manages to hold its own in an area that is known for legendary wines “In a place dominated by monstrous wines this one has such an element of complexity,” Stevens says “The finish goes on for days ” ◀

Susan s Fine Wines and Spirits, 632 Agua Fria St 505-984-1582; sfwineandspirits com

Domaine Nicolas Gonin Persan top: Blard & Fils Micraster Savoie Blanc

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The menus, prepared by the opera ’ s vendor, Masterpiece Cuisine, include appetizers such as charcuterie boards ($30) and shrimp cocktail ($30), as well as entrées like chicken yakitori ($36) or chilled beef tenderloin ($36) All orders through the opera must be made by 3 p m at least two days in advance

Bishop’s Lodge Luxury Tailgate Experience aubergeresorts com/bishopslodge/experiences/opera-picnic

This tailgate package is unique in that it includes the actual tailgate: A private car service delivers you to and from the opera and provides a gourmet dinner for two with wine service once you arrive

The hitch? Reservations are required two weeks in advance Call for pricing

Walter Burke Catering Platters and Takeout

505-473-9600; walterburkecatering.com

Do you need to feed an army of operaites? This catering company offers everything from boxed lunches (sandwiches must be ordered in groups of five or more) to classic takeout platters that can feed as few as 10 or up to 60 diners.

Options include platters of steak, ham, chicken, salmon, or turkey, and there are plenty of vegetarian choices, too Feeding crudité or a fruit platter to 10 to 20 guests costs $110, and more than $300 for 40 people

Just need something for munching? The Southwestern Fiesta Platter, which includes tortilla chips, peppers, housemade guacamole, and salsa, starts at $120 for 10 to 20 people

Kaune’s Picnics to Go

505-982-2629; kaunes com/picnic html

Santa Fe’s popular downtown market is a good way to go if you want to save on the food so you can splurge on the wines. Call Kaune’s a day in advance to order a picnic platter, which ranges from $14 to $20 Kaune’s also offers a charcuterie board ($17) and a classic French cheese plate ($20), which you can supplement with roasted chicken ($14, includes potato salad and berries)

Cowgirl Santa Fe Off-Site Buffets

505-982-2565; cowgirlsantafe com/catering

Order bulk specialties to go for a smaller party, or if you have 20 hungry people, Cowgirl offers a variety of options, ranging from a soft taco bar ($19 25 per person) to Texas Style BBQ ($20-$23 per person), which comes with brisket, pork, and chicken If you don’t want to sauce up your outfit, Cowgirl also offers fajitas ($18 per person), a harvest salad ($19 25 per person), and a Frito Pie bar ($14 per person)

Ranch House BBQ Packs

505-424-8900; theranchhousesantafe.com

The Ranch House offers brisket ($17) and pulled pork ($14) by the pound as well as packages that feed family-sized parties The value pack which includes one pound of meat or two half-chickens plus two pints of sides costs $29 The family pack ($50) comes with two pounds of meat that will feed about five people The Big House Pack ($170) serves eight pounds of meat and five quarts of sides.

Baja Tacos

505-471-8762; bajatacossantafe com

Did you blow your budget on season tickets and are looking to scale back? No one is judging especially if you roll up to the Santa Fe Opera with a batch of tacos. Baja Tacos’s location at 2621 Cerrillos Road has a drive-through, so you don’t even have to plan ahead Just cruise up in your tux and proudly place your order for tacos made with chicken ($2 25), beef ($2 25), or, if you ’ re feeling fancy, carne adovada ($2 95) Order 10 of those bad boys, and you ’ re still below $30 and you have a heck of an opera party pack ◀

Nathanael Gray

Meet the artist: Saturday, July 1

Nathanael Gray will be painting in our garden from 1-3pm

MOVING IMAGES

CHILE PAGES

compiled by Holly Weber

Opening

EVERY BODY

Trailer youtu be/SoNvk5N-MKo

Every Body tells the stories of three intersex individuals who have moved from childhoods marked by shame, secrecy, and nonconsensual surgeries to thriving adulthoods after each decided to set aside medical advice to keep their bodies a secret and instead came out as their authentic selves Actor and screenwriter River Gallo (they/them), political consultant Alicia Roth Weigel (she/they), and doctoral student Sean Saifa Wall (he/him) are now leaders in a fast-growing global movement advocating for greater understanding of the intersex community and an end to unnecessary surgeries Woven into the story is a stranger-than-fiction case of medical abuse, featuring exclusive footage from the NBC News archives, which helps explain the modern-day treatment of intersex people “Every Body is a must-watch for anyone from a marginalized community or anyone looking at the current political landscape we ’ re in ” (TheWrap) Documentary, rated R, 92 minutes, Violet Crown

INDIANA JONES AND THE DIAL OF DESTINY

Trailer youtu be/eQfMbSe7F2g

Daredevil archaeologist Indiana Jones (Harrison Ford) races against time to retrieve a legendary dial that can change the course of history Accompanied by his goddaughter (Phoebe Waller-Bridge), he soon finds himself squaring off against Jürgen Voller (Mads Mikkelsen), a former Nazi who

works for NASA “James Mangold is at the helm and if it isn’t cinematic sacrilege to say so, his solidly entertaining if not inspired installment feels truer to the franchise’s swashbuckling spirit than the latest Spielbergian contribution ” (Slate) Action/adventure, rated PG-13, 142 minutes, Regal Santa Fe Place 6, Violet Crown

PAST LIVES

Trailer youtu be/kA244xewjcI

Celine Song makes a spectacular leap from playwriting to film directing with Past Lives, a heartrending modern romance and one of the big hits of the Sundance Film Festival Nora and Hae Sung, two deeply connected childhood friends, are torn apart after Nora’s family emigrated from South Korea Two decades later, they are reunited in New York for one fateful week as they confront notions of destiny, love, and the choices that make a life “Celine Song makes a quietly spectacular writing-directing debut with Past Lives, a lyrical slow burn of a film that expertly holds back wellsprings of emotion, until it unleashes a deluge ” (Ann Hornaday/The Washington Post) Drama/romance, rated PG-13, 106 minutes, CCAC, Violet Crown. Review Page 42

RISE

Trailer youtu be/nYuukZndeAU

Elise thought she had the perfect life: an ideal boyfriend and a promising career as a ballet dancer It all falls apart the day she catches him cheating on her with her stage backup; and after she suffers an injury on stage, it seems

like she might not be able to dance ever again The path to physical and emotional recovery will lead her away from Paris to a picturesque location in Brittany, where her friends, a new love, and the freedom of contemporary dance will help her reconnect with her father and, most importantly, herself “Breezy, charming love letter to the art form of dance, its tight-knit communities, and what nourishes the impulse to find healing expression in movement ” (Robert Abele/ LA Times) Comedy/drama, not rated, 117 minutes, CCAC

RUBY GILLMAN, TEENAGE KRAKEN

Trailer youtu be/u4uyD8FFUIw

Ruby Gillman (voiced by Lana Condor of the To All the Boys I’ve Loved Before franchise) is a sweet and awkward high school student who discovers she’s a direct descendant of the warrior kraken queens The kraken are sworn to protect the oceans of the world against the vain, power-hungry mermaids Destined to inherit the throne from her commanding grandmother (Jane Fonda), Ruby must use her newfound powers to protect those she loves most “A cute, frequently funny and very likable film ” (Screen International) Animated adventure, rated PG, 90 minutes, Regal Santa Fe Place 6, Violet Crown

Phoebe Waller-Bridge joins Harrison Ford as the archaeologist’s goddaughter in Indiana Jones and the Dial of Destiny

Special screenings

YELLING FIRE IN AN EMPTY THEATER

Screens Saturday, July 1, and Sunday, July 2

Trailer youtu.be/Hbu0o163-H4

Made for less than the rent of the Brooklyn apartment that it was filmed in, Yelling Fire in an Empty Theater is an affectionate tribute to the young masses who continue to flock to the greatest city on Earth Fresh off the plane, a recent college grad moves in with an eccentric couple and soon becomes entangled in their strange and crumbling relationship Shot over the course of a few days, and featuring a cast of some of Brooklyn’s brightest up-and-comers, this debut film acts as a loving ode to youthful naivete and skyscraper-sized expectations Comedy, not rated, 72 minutes, Jean Cocteau Cinema

Continuing

ASTEROID CITY

Trailer youtu be/9FXCSXuGTF4

World-changing events spectacularly disrupt the itinerary of a Junior Stargazer/Space Cadet convention in an American desert town circa 1955 “Wes Anderson’s Asteroid City [is] an ambitious yet mystifyingly dysfunctional meta-movie, in terms of both form and content ” (Michael O’Sullivan/The Washington Post) Comedy/romance, rated PG-13, 104 minutes, Violet Crown Review Page 40

ELEMENTAL

Trailer youtu be/hXzcyx9V0xw

In a city where fire, water, land, and air residents live together, a fiery young woman and a go-with-theflow guy discover something elemental: how much they actually have in common “Elemental is a metaphorically loosey-goosey fairy tale about tolerance, cultural pride, and assimilation, set in a stick-to-your-own-kind world that

Box office

Center for Contemporary Arts Cinema, 1050 Old Pecos Trail, 505-982-1338, ext105, ccasantafe org

Jean Cocteau Cinema, 418 Montezuma Ave , 505-466-5528, jeancocteaucinema com

No Name Cinema, 2013 Piñon St , nonamecinema org

Regal Santa Fe Place 6, 4250 Cerrillos Road, 505-424-6109, sfnm co/3o2Cesk

Violet Crown, 106 Alcaldesa St , 505-216-5678, santafe violetcrown com

makes the relationship between the star-crossed lovers in West Side Story look like a walk in the park Cute, kind of clever and oh, so topical But also problematic ” (Michael O’Sullivan/ The Washington Post) Animation/adventure, rated PG, 102 minutes, Regal Santa Fe Place 6, Violet Crown

THE FLASH

Trailer youtu.be/hebWYacbdvc

Worlds collide when the Flash (Ezra Miller) uses his superpowers to travel back in time to change the events of the past However, when his attempt to save his family inadvertently alters the future, he becomes trapped in a reality in which General Zod has returned, threatening annihilation With no other superheroes to turn to, the Flash looks to coax a very different Batman out of retirement and rescue an imprisoned Kryptonian albeit not the one he’s looking

for “[Miller] brings to their character (or, rather, characters) an intriguing sense of duality a split personality that offers the film’s most accessible and intriguing interpretation of the multiverse: a man at war with himself” (Michael O’Sullivan/ The Washington Post) Action/adventure, rated PG-13, 144 minutes, Violet Crown

NO HARD FEELINGS

Trailer youtu.be/P15S6ND8kbQ

On the brink of losing her childhood home, Maddie (Jennifer Lawrence) discovers an intriguing job listing: wealthy helicopter parents looking for someone to “date” their introverted 19-year-old son, Percy, before he leaves for college To her surprise, Maddie soon discovers the awkward Percy is no sure thing “No Hard Feelings is a nice comedy, courting taboo here and there but largely rounded out with sweetness ” (Vanity Fair) Comedy, rated R, 103 minutes, Regal Santa Fe Place 6, Violet Crown

SPIDER-MAN: ACROSS THE SPIDER-VERSE

Trailer youtu be/shW9i6k8cB0

After reuniting with Gwen Stacy, Brooklyn’s fulltime, friendly neighborhood Spider-Man is catapulted across the Multiverse, where he encounters a team of SpiderPeople charged with protecting its very existence However, when the heroes clash on how to handle a new threat, Miles finds himself pitted against the other Spiders He must soon redefine what it means to be a hero so he can save the people he loves most “Across The Spider-Verse is a frenetic, world-hopping carnival ride of a film, its word-happy dialogue and constantly expanding cast of characters leaving garden-variety viewers in the dust of dazed confusion ” (Ann Hornaday/The Washington Post) Animated action/ adventure, rated PG. 140 minutes, Regal Santa Fe Place 6, Violet Crown

SOURCES: Google, IMDb com, RottenTomatoes com, Vimeo com, YouTube com

in

Lana Condor voices the titular ocean creature and Jaboukie Young-White voices her crush, Conner,

Ruby Gillman, Teenage Kraken

FIREWORKS COULD BE LOVELY THIS WEEK with Venus and Mars in Leo and both square Uranus Hopefully most of the fireworks will be in the sky and not between people This holiday weekend can bring a much-needed break in routine

Friday starts with a burst of efficiency as Mercury and the sun trine Saturn and encourage competence, good boundaries, and pleasant decisions but offer zero objectivity The Sagittarius moon beckons us outdoors for the holiday weekend

Over the weekend, keep an eye on the weather or misbehaving substances and any confusion around plans as foggy Neptune turns retrograde Notice a paradoxical effect as this Neptune confuses what was clear while clearing up some confusions Hidden objects could surface, while long-standing misunderstandings can vanish in the mist.

A full moon in Capricorn on Monday brings up some major control issues and could provoke challenging strategic moves on the big screen. We ponder who controls our world and how they affect us But by midday on July 4 a communal Aquarius moon can bring us back out to the picnic and our cultural celebrations

Midweek it can be like herding cats to get people in agreement; they may enjoy each other’s company and still have trouble cooperating

FRIDAY, JUNE 30: A shift in decisions or identity cooks overnight while Mercury trines Saturn A fresh sense of humor can offer a different take for something that is felt so heavy as the moon enters Sagittarius The lost can be found and the found lost as Neptune stations retrograde Be careful around liquid, weather, odd foods, and intoxicants

SATURDAY, JULY 1: Important healing arises from radical acceptance as the moon trines Venus and Mars Expand the heart and grow our world by loving a bit more Casual rudeness won’t be forgiven as Mercury semisquares Mars; be honest but think before speaking

SUNDAY, JULY 2: Look for opportunity in the glitches, and form new connections while being helpful If familiar people irritate, take a break rather than walk out Watch the desire to control others and the feeling that everything would be fun if they would just follow our script Traditions further and support parades and picnics under a waxing Capricorn moon

MONDAY, JULY 3: It’s a day to move armies or large family groupings with a full moon in Capricorn early on; just make sure everybody is with you Don’t get grim about having fun nor apply your big plans to resistant minds By evening we ’ re more flexible as the moon trines changeable Uranus Laugh together about an earlier problem

TUESDAY, JULY 4: Morning can bring a moody sense of what we ’ ve lost, left behind, or long for in a more perfect country as the moon conjuncts Pluto in Capricorn But by midday, the moon enters collective Aquarius making it easier to be around crowds; share that picnic or go to the rodeo Avoid political discussions; rigorous thinking is out the window

WEDNESDAY, JULY 5: It’s an indecisive, philosophical day when we wonder why we ’ re doing what we ’ re doing as Mercury squares Chiron To explore possibilities without getting lost in the abstract, think of the minor shifts which will improve the situation

THURSDAY, JULY 6: If our feelings catch up with us, let’s ask for what we need directly rather than whimpering as the sensitive Pisces moon conjuncts Saturn Encourage everyone to take care of themselves Storms, both emotional and atmospheric, can quickly arise and as quickly pass over Tonight, open the heart and share with humor as Venus enters Sagittarius

Contact astrologer Heather Roan Robbins at roanrobbins com

compiled by Pamela Beach

FRIDAY 6/30

Gallery and Museum Openings

Blue Rain Gallery

544 S. Guadalupe Street, 505-954-9902

Troubadours: Musica y Mágica, paintings by Erin Currier; through July 15; reception 5-7 p.m.

Charlotte Jackson Fine Art

554 S. Guadalupe Street, 505-989-8688

Max Cole: Breaking Day, paintings; through July 22; reception 5-7 p.m.

CONTAINER

1226 Flagman Way, 505-995-0012

Nadya Tolokonnikova: Putin’s Ashes, mixed media; through July 7.

El Zaguán

545 Canyon Road, 505-983-2567

Broom Room, handmade brooms and brushes by Julia Tait Dickenson; reception 5-7 p.m.

Evoke Contemporary

550 S. Guadalupe Street, 505-995-9902

Art in the Making, group show of multidisciplinary works; through Aug 19; reception and book launch 5-7 p.m.

Form & Concept

435 S. Guadalupe Street, 505-780-8312

Armond Lara, marionettes and works on paper by Lara; through Aug 20; reception 5-7 p.m.

Gerald Peters Gallery

1005 Paseo de Peralta, 505-954-5700

Michael Cassidy: Cowboy Stories, paintings; through September; Leon Loughridge: Sacred Ground, landscapes; through Sept 2; reception 5-7 p.m.

LewAllen Galleries

1613 Paseo de Peralta, 505-988-3250

Hondo, paintings by Jivan Lee; through July 15; Continued Dominions, paintings and mixed-media work on paper by Woody Gwyn; through Aug 20; reception 5-7 p.m.

Nüart Gallery

670 Canyon Road, 505-988-3888

Traces, paintings by Shar Coulson; through July 16; reception 5-7 p.m.

Susan Eddings Pérez Gallery

717 Canyon Road, 505-477-4278

Sunshine, ceramic sculpture by Brandon Reese; through July 17; reception 5-8 p m.

TAI Modern

1601 Paseo de Peralta, 505-984-1387

Bamboo art by Tanaka Kyokusho; through Aug 12; reception 5-7 p.m.

Santa Fe Opera

Tosca

301 Opera Drive, 505-986-5900

Season opener: Keith Warner’s new production of Puccini’s tragic tale of love, lust, betrayal, and murder, with soprano Leah Hawkins and baritone Reginald Smith Jr in the lead roles; 8:30 p.m.; $37$341; santafeopera.org/tickets (See story, Page 20)

In

Concert

ABBAquerque

Tumbleroot Brewery & Distillery, 2791 Agua Fria Street, 505-393-5135

Albuquerque-based tribute band; funk-rock band

Katy P & the Business opens; 8 p.m.; $15 cover

Summer Scene

Santa Fe Railyard Plaza, 1612 Alcaldesa Street Free series; L.A -based dance band Ozomatli; cumbia-salsa band Frontera Bugalú opens; 7 p m ; lensic360 org TGIF recital

First Presbyterian Church, 208 Grant Avenue, 505-982-8544

Music of Ned Rorem and Broadway tunes; baritone Travis Bregier and pianist David Beatty; 5:30 p.m., doors 5:15 p.m.; donations accepted

Theater/Dance

EntreFlamenco

El Flamenco de Santa Fe, 135 W Palace Avenue, 505-209-1302

Featuring Antonio Granjero and Estefania Ramirez; 6:15 p m Fridays and Saturdays, through Sept 3; $25-$45; entreflamenco com/ tickets

A Steady Rain Teatro Paraguas, 3205-B Calle Marie, 505-424-1601

M&Z Productions presents Keith Huff’s play about two Chicago police officers struggling with profound consequences; played by Lewis Pullman and Shaun Sipos; 7 p.m today and Saturday, 3 p.m. Sunday; $30, students $25; 0e1d06 myshopify.com.

Books/Talks

On Wagner

SITE Santa Fe, 1606 Paseo de Peralta, 505-989-1199

A conversation with maestro Thomas Guggeis and musicologist Jennifer Rhodes, in conjunction with the Santa Fe Opera’s mounting of The Flying Dutchman; 10:30 a m ; no charge; santafeopera org/ whats-on/site-santa-fe-events

Events

Tosca: To Live for Art & Love

Santa Fe Opera Dapples Pavilion, 301 Opera Drive

Fundraiser for the Guilds of the Santa Fe Opera; 5:30 p m ; $125, includes buffet dinner and an overview of Puccini’s opera with speaker Desirée Mays; guildsofsfo org

Nightlife

Chat Noir Cabaret

Los Magueyes, 31 Burro Alley, 505-992-0304

Pianist-vocalist Charles Tichenor; 6 p.m.; no cover

Little Leroy and His Pack of Lies

Cowgirl BBQ, 319 S Guadalupe Street, 505-982-2565

Rock‘n’roll band; 8 p.m.-close; no cover

Nacha Mendez

Amaya at Hotel Santa Fe, 1501 Paseo de Peralta, 505-955-7805

Local singer-songwriter; 7-9 p.m.; no cover

Robert Fox Trio

Club Legato 125 E Palace Avenue, 505-988-9232

Jazz pianist, with percussionist John Trentacosta and bassist Cyrus Campbell; 6-9 p.m Fridays and Saturdays; no cover

Tom Williams Band

La Fiesta Lounge at La Fonda, 100 E San Francisco Street, 505-982-5511

Country/rock/blues; 7 p m -close today and Saturday; no cover

SATURDAY 7/1

Gallery and Museum Openings

Artes de Cuba

1700-A Lena Street, 505-303-3138

Open studio 3-6 p.m

Tierra Mar Gallery

225 Canyon Road, Suite 16, 505-372-7087

Inspired Dimensions, works by ceramicist

Andrea Pichaida and painter Stephanie Paige; reception 4-7 p.m

Santa Fe Opera

The Flying Dutchman

301 Opera Drive, 505-986-5900

Opening night of David Alden’s production of Wagner’s drama, a story of a cursed sailor seeking redemption through true love; conducted by Thomas Guggeis; $37-$341; santafeopera.org/tickets. (See story, Page 30)

Hecho Gallery (hecho.gallery.com) shows sculpture by Wesley Anderegg through Monday

Books/Talks

Nancy DeYoung

Travel Bug, 839 Paseo de Peralta, 505-992-0418

The author discusses and signs copies of The Girl in the Tent: Memoir from the Road; 5 p.m.

Events

29th Annual Santa Fe Wine Festival

El Rancho de las Golondrinas, 334 Los Pinos Road 505-471-2261

Samples of local wines, food vendors, arts & crafts booths, and live dance music; noon-6 p.m. today and Sunday; $22, ages 13-18 and students $10; golondrinas.org

Outdoors

Bird Walks

Randall Davey Audubon Center 1800 Upper Canyon Road, 505-983-4609

Guided by experienced birders; 8:30 a.m Saturdays; no charge; randalldavey audubon.org

Nightlife

Bill Hearne

Second Street Brewery RufinaTaproom, 2920 Rufina Sreet, 505-954-1068

Americana singer-songwriter; 8 p m.; no cover

(See story, Page 16)

Drastic Andrew and Joe West

Tumbleroot Brewery & Distillery, 2791 Agua Fria Street, 505-393-5135

Prog-rock band and singer-songwriter; 6 p.m.; $10 cover

Lindsey Conover

Paxton’sTaproom, 109 N. Guadalupe Street, 505-982-1290

Folk singer-songwriter; 7-9 p m ; no cover

Myrrhine & the Big Suitcase

Cowgirl BBQ, 319 S. Guadalupe Street, 505-982-2565 Blues and rock; 8 p.m.-close; no cover

Robert Fox Trio

Club Legato 125 E Palace Avenue, 505-988-9232

Jazz pianist, with percussionist John Trentacosta and bassist Cyrus Campbell; 6-9 p m.; no cover

SUNDAY 7/2

Books/Talks

Tommy Archuleta

Book Mountain, 1302 Osage Avenue, 505-471-2625

The poet reads from Fieldnotes; 4 p m.

Events

New Mexico Museum of Art

Family Art Making

107 W. Palace Avenue, 505-476-5072

Monthly sessions; 10 a.m.-noon, the first Sunday of the month. No charge for New Mexico residents 29th Annual Santa Fe Wine Festival El Rancho de las Golondrinas, 334 Los Pinos Road, 505-471-2261

Local wines, food vendors, arts & crafts booths, and live dance music; noon-6 p m.; $22, ages 13-18 and students $10; golondrinas.org

Nightlife

Doug Montgomery

Rio Chama, 414 Old Santa FeTrail, 505-955-0765

Pianist-vocalist; Great American Songbook; 6-9 p.m. Sundays and Mondays; no cover

MONDAY 7/3

Outdoors

Hiking trails

Alltrails com/us/new-mexico/santa-fe

City limits: Dale Ball, Frenchy’s Field/Santa Fe River; Santa Fe National Forest: Atalaya Mountain, Chamisa, Deception Peak, Lower Río en Medio, Nambé Lake, Picacho Peak, Santa Fe Baldy, Tesuque Peak via Aspen Vista.

Randall Davey Audubon Center & Sanctuary

1800 Upper Canyon Road, 505-983-4609

Trails through habitats and plant zones ranging from meadows to Ponderosa Pine forests; 8 a.m -4 p m. Mondays-Saturdays; randalldavey .audubon.org

INDEPENDENCE DAY 7/4

Events

46th Pancakes on the Plaza Fourth of July celebration

Breakfast served 7 a.m.-noon, Santa Fe Vintage Car Club show 7 a.m.-1 p.m., arts & crafts booths

7 a.m.-4 p.m., childrens’activities 8 a.m.-noon; $12 in advance, family four-pack $40; pancakesontheplaza.com/event-info

Arts Alive!

Santa Fe Botanical Garden, 715 Camino Lejo, Museum Hill, 505-471-9103

All-ages, outdoor class celebrating plants; 10 a.m -2 p m.; no charge; santafebotanicalgarden .org/events

Santa Fe Farmers’ Del Sur Market

Presbyterian Santa Fe Medical Center, 4801 Beckner Road

Season kick off, with free Frito pies, sweets, giveaways, and Los Niños de Santa Fe dancers; 3-6 p m Tuesdays through September; 505-983-4098, santafefarmersmarket com

WEDNESDAY

7/5

Santa Fe Opera

Tosca

301 Opera Drive, 505-986-5900

Soprano Leah Hawkins and baritone Reginald Smith Jr in the lead roles of Puccini’s tragic tale of love, lust, betrayal, and murder; 8:30 p.m.; $37-$341; santafeopera.org/tickets (See story, Page 20)

In Concert

Sandbox Music Series

Jean Cocteau Cinema, 418 Montezuma Avenue, 505-466-5528

Composer-pianist Thollem and guitarist-vocalist

Michael Begay; joined by visual artists ACVilla in second set; 7 p m ; $18 and $22; sandboxmusic org

Theater/Dance

La Emi Flamenco

Benítez Cabaret atThe Lodge at Santa Fe

750 N. St Francis Drive, 505-992-5800

Opening night: guest performers include Eloy Aguilar, Daniel Azcarate, Eloy Cito Gonzales, and Vicente Griego; 8 p.m. Wednesdays-Saturdays, 2 p.m. Sundays, through Oct 8; $25-$55, group discounts available; hhandr.com/entertainment

Events

International Folk Art Market Community Celebration and Artists’ Procession

Santa Fe Railyard Plaza, 1612 Alcaldesa Street

Welcoming hundreds of artists from 52 countries; music by Latin band Super Verza; 7 p m ; 505-992-7600, folkartmarket org; free admission

New Mexico Museum of Art

Family Art Making 107 W Palace Avenue, 505-476-5072

Summer series; 10 a.m.-noon Wednesdays, in the courtyard; no charge; museum admission not included

Santa Fe Opera Backstage Tours

301 Opera Drive, 505-986-5900

A look behind-the-scenes; 9-9:30 a.m.

Mondays-Saturdays through August; $10; ages 6-22 no charge; santafeopera.org/ whats-on/backstage-tours

Nightlife

Instrumental jazz jam

Club Legato, 125 E Palace Avenue, 505-988-9232

Robert Fox Trio hosts; 6-9 p.m.; no cover

THURSDAY 7/6

In Concert

Summer Scene

Downtown Plaza Roots-rock band Cracker; rock band Volores opens; 6 p.m.; lensic360.org

Books/Talks

In Conversation: Eveli Sabatie Wheelwright Museum of the American Indian Library, 704 Camino Lejo, Museum Hill, 505-982-4636 Kiowa jeweler Keri Ataumbi interviews the former apprentice of Hopi jeweler Charles Loloma; 2-3:30 p m ; $15; wheelwright org/ events

Nightlife

David Geist

The Cabaret Upstairs at Osteria D’Assisi, 58 S. Federal Place, 505-986-5858

Pianist/vocalist; 7-10 p.m.; $5 cover; phone reservations only Sean Johnson Quartet

Club Legato, 125 E Palace Avenue, 505-988-9232 Jazz saxophonist, with John Trentacosta, Cyrus Campbell, and Robert Fox; 6-9 p.m.; no cover.

OUT OF TOWN

Albuquerque

27th Annual Summer Thursday Jazz Nights

Outpost Performance Space, 210Yale Boulevard SE, 505-268-0044

Christine Fawson’s Old School Jazz Quintet pays tribute to Hank Mobley; 7:30 p.m. Thursday, July 6; $20 and $25; outpostspace.org

Los Alamos

Summer Concert Series

Ashley Pond Park, 2200Trinity Drive

Country band Ryan Chrys & the Rough Cuts; 8 p m Friday, June 30; 6 p m , no charge; facebook com/secretcitysummerconcertseries

Taos

Colcha Embroidery

La Hacienda de los Martinez, 708 Hacienda Way

Traditional and contemporary examples; Sunday, July 1, opening; through July; housed in a Northern New Mexico-style, Spanish colonial “great house”; taoshistoricmuseums org

Ozomatli

Kit Carson Park, 211 Paseo del Pueblo Norte

Reggae/funk/rock band; gates 4 p.m. Tuesday, July 4; opening act,Latin-funk orchestra Grupo Fantasma; no charge

White Rock

2023 Fourth of July Spectacular

Overlook Park 700 Overlook Road

Los Alamos Community Winds ensemble 4 p.m., US 44th Army Band follows; headliner: tribute band Bohemian Queen; 7 p.m.; opening act, Katy P and The Business; 5:30 p.m.; fireworks display 9 p.m.; food trucks and merchandise vendors on site; info@sancreproductions.com.

PEOPLE WHO NEED PEOPLE

Artists

Arte de Descartes XXIII

Artists working in recycled materials sought for the Taos-based art show held Aug 26-Sept 4. Download prospectus at whollyrags.org; 5 p.m. Aug 1 deadline Call Melissa for more information, 575-751-9862

Emerging Artists Membership Program

Open call for submissions to join the nonprofit Strata Gallery; submission fee for 10-15 images $35; July 30 deadline; stratagallerysantafe.com.

Recycle Santa Fe Art Festival Application process open for 24th market held Nov 10-12; Sept 30 submission deadline; recyclesantafe.org/art-market-application. ◀

Ozomatli performs on Friday at the Santa Fe Railyard Plaza and on July 4 at Kit Carson Park in Taos

A guide to performances & events for the weeks ahead

Music

Chatter North

Center for Contemporary Arts, 1050 Old PecosTrail, 505-982-1338

Brahms Sonata in E-flat Major and Marinů’s Madrigals, 10:30 a.m. July 8; $5-$16.50, chatterabq.org/boxoffice

Michael Morreale

Club Legato, 125 E. Palace Avenue, 505-988-9232

Jazz trumpeter, with Robert Fox on piano, Terry Burns on bass, and John Trentacosta on drums; 6 p.m. July 8; $30 and $35; santafemusiccollective org

Delgres

Fusion 708, 708 First Street NW, Albuquerque, 505-766-9412

French power-blues trio; 7:30 p m July 9; $20; tickets ampconcerts org

Los Lonely Boys

Kit Carson Park, 211 Paseo del Pueblo Norte,Taos

Texican rock ‘n’ roll band; opening acts: Levi Platero and Smooth; 6 p m July 9; $40 and $55; tickets lensic360 org/tickets/413374

Santa Fe Botanical Garden Sunset Concert Series 715 Camino Lejo, Museum Hill, 505-471-9103

Held in the amphitheater; July 12: Americana singer-songwriter

Dana Cooper, Aug 2: Latin quartet Alma, Aug 23: Latin band Nosotros; 6-8 p m ; $10 and $12; picnics encouraged; santafebotanicalgarden org

Stephen Marley

The Bridge at Santa Fe Brewing Company, 37 Fire Place, 505-557-6182

Babylon by Bus tour; 6 p m July 15; $36; tickets lensic360 org/ tickets/413966

John Rangel Quintet

Dave’s Jazz Bistro, Santa Fe Cooking School 125 N. Guadalupe Street, 800-982-4688

Trumpeter Robert Beasly, saxophonist Sean Johnson, bassist Cyrus Campbell, and percussionist Malachi Roberts join the pianist; 6:30 p m July 15; $175; santafeschoolofcooking com/daves-jazz-bistro

Jeanne Jolly Dance Station, 947-B W. Alameda Street, Solana Shopping Center North Carolina-based singer-songwriter; 8 p.m. July 15; $20; sundancehouseconcerts org

Santa Fe Chamber Music Festival

St Francis Auditorium and the Lensic Performing Arts Center

The 50th-anniversary season opens July 16 and runs through Aug 21. Opening night: Violinist Cho-Liang Lin and violist Yura Lee join pianist Inon Barnatan, violinist William Hagen, and cellist Mark Kosower in Mozart’s Divertimento in D-flat Major and Schumann’s Piano Quartet in E-flat Major, ticket prices vary; 505-982-1890; santafechambermusic com

Santa Fe Desert Chorale 41st season

Cathedral Basilica of St Francis of Assisi, 131 Cathedral Place 2023 Summer Festival: July 16, 28, Aug 3: The Tudors and the Medici; July 23, 29, Aug 4: The American Immigrant Experience; July 27, 30, Aug 5: The Ecstasies Above; Aug 2: Artist Spotlight Recital; $20-$100; 505-988-2282, ext 0; desertchorale org

Taos School of Music Chamber Music Festival

Taos Community Auditorium 133 Paseo del Pueblo Norte

July 16: Shanghai Quartet The chamber ensemble performs music of Haydn, Tan Dun, and Grieg; July 30: Brentano String Quartet, with pianist Thomas Sauer; music of Haydn, Brahms, and Beethoven; $10-$35; taosschoolofmusic.com/tickets

Del Sol Quartet

SITE Santa Fe, 1606 Paseo de Peralta, 505-989-1199

Free performance by violinists Benjamin Kreith and Hyeyung

Sol Yoon, violist Charlton Lee, cellist Kathryn Bates, and tenor Joshua Dennis; music of Nico Muhly, Charlton Lee, and Stefano Scodanibbio; 4 p m. July 18; santafeopera org/whats-on/site-santa-fe-events

Nitty Gritty Dirt Band

Lensic Performing Arts Center, 211 W San Francisco Street, 505-988-1234 Country-rock veterans; 7:30 p.m. July 21; $45-$65; lensic.org/events

Ian Moore

Tumbleroot Brewery & Distillery, 2791 Agua Fria Street, 505-393-5135

Rock guitarist-songwriter; 8 p m July 21; $15; holdmyticket com/ tickets/415382

George Thorogood & The Destroyers

Hilton Santa Fe BuffaloThunder 20 BuffaloThunderTrail, 505-455-5555

Bad All Over The World – 50 Years of Rock tour; 8 p.m. July 22; $79-$99; holdmyticket.com/tickets/407812.

Robert Cray Band

Lensic Performing Arts Center, 211 W San Francisco Street, 505-988-1234

Blues Hall of Fame inductee on tour; 7:30 p.m. July 23; $40 and $50; lensic.org/events

Red Wanting Blue

Tumbleroot Distillery and Brewery, 2791 Agua Fría Street, 505-393-5135 Indie-rock band; 7:30 p.m. July 28; $20; tickets.lensic360.org/ tickets/410752.

The Lil Smokies

Taos Mesa Brewing Mothership Stage, 20 ABC Mesa Road, 575-758-1900

Fusion of folk music, pop medley, and bluegrass; 7:30 p.m. July 30; $25; tickets.lensic360.org/tickets/415708.

Performance Santa Fe Festival of Song

Lensic Performing Arts Center, 211 W San Francisco Street, 505-988-1234

Santa Fe Opera’s Pelléas et Mélisande leads, mezzo-soprano

Samantha Hankey and baritone Huw Montague Rendall, open the series, accompanied by pianist Robert Tweten; 4 p.m. July 30; $45-$95; secure.performancesantafe.org/8779/8905.

Rob Scheps

Club Legato, 125 E Palace Avenue, 505-988-9232

Jazz saxophonist/composer, with Robert Fox on piano, Cyrus Campbell on bass, and John Trentacosta on drums; 6 p.m. Aug 11; $30 and $35; santafemusiccollective.org

Los Lobos

The Bridge at Santa Fe Brewing Company, 37 Fire Place, 505-557-6182

The rock band performs in support of United Way of North Central New Mexico; 7:30 p.m. Aug 12; $39-$200; tickets.lensic360.org/ tickets/417275.

The Wailers

Taos Mesa Brewing Amphitheater, 20 ABC Mesa Road, 575-758-1900

U.S. tour; 5 p.m Aug 20; $30, kids 12 and under $8; tickets.ampconcerts.org

Santa Fe TradFest

Camp Stoney, 7855 Old Santa FeTrail, 505-820-3166

Including Beausoleil avec Michael Doucet, Kathy Kallick Band, Bruce Molsky, and Lone Piñon; plus, jam sessions and workshops; Aug 25-27; $20-$60, ages 12 and under no charge, full weekend pass $70 (early bird), $80 on Aug 1; santafetradfest org

Blossoms & Bones Ghost Ranch Music Fest

280 Private Drive, 1708 US 84, Abiquiú

Lineup includes Ocie Elliott, Rising Appalachia, The Beths, and Japanese Breakfast; gates 9 p.m Aug 25; two-day pass $235; holdmyticket.com/tickets/414336.

Meredith Monk

Lensic Performing Arts Center, 211 W. San Francisco Street 505-988-1234

Avant-garde composer/performer, with Katie Geissinger and Allison Sniffin; 7:30 p.m Aug 26; $29-$49; lensic.org/events

An Evening with Judy Collins

KiMoTheatre, 423 Central Avenue NW, Albuquerque On tour; 7:30 p.m Aug 30; $45-$75; holdmyticket.com/ tickets/416334.

Lyle Lovett and the Santa Fe Symphony Orchestra

Santa Fe Opera, 301 Opera Drive, 505-986-5900

Benefit for the Cancer Foundation for New Mexico; 7:30 p.m Sept 3; tickets start at $40; tickets.lensic360 org/tickets/416148.

New Mexico Jazz Festival

Lensic Performing Arts Center, 211 W San Francisco Street 505-988-1234

Vibraphonist Stefon Harris and his ensemble Blackout; 7:30 p.m Sept 15; $29-$55; lensic.org/events

Jimmie Vaughan & the Tilt-A-Whirl Band

Lensic Performing Arts Center, 211 W. San Francisco Street 505-988-1234 On the road again; 7:30 p.m Sept 18; $35-$55; lensic.org/events

Mariachi Herencia de México

Lensic Performing Arts Center, 211 W. San Francisco Street 505-988-1234

Chicago-based group, with vocalist La Marisoul; 7:30 p.m Sept 28 $39 and $69; lensic.org/events

Brent Cobb

Tumbleroot Distillery and Brewery, 2791 Agua Fría Street, 505-393-5135

The singer-songwriter on his Southern Star tour; 7:30 p.m Oct 1; $20; tickets.lensic360 org/tickets/417186.

Wilco

Kiva Auditorium, Albuquerque Convention Center, 401 Second Street NW Alternative-rock band; 7:30 p.m Oct 1; tickets start at $77; tickets.lensic360 org/416554

Josh Ritter & the Royal City Band

Lensic Performing Arts Center, 211 W San Francisco Street 505-988-1234

Spectral Lines tour; 7:30 p.m Oct 2; $30-$45; lensic.org/events

Arturo Sandoval

Lensic Performing Arts Center, 211 W San Francisco Street, 505-988-1234

Jazz trumpeter, touring in support of Rhythm and Soul; 7:30 p m Oct 3; $35-$115; secure.performancesantafe.org/8823/8861.

The Zombies

Lensic Performing Arts Center, 211 W San Francisco Street, 505-988-1234

The Rock & Roll Hall of Fame inductees on tour in support of Different Game; 7:30 p.m. Oct 9; $44-$144; lensic.org/events

Tommy Castro & the Painkillers

Tumbleroot Brewery & Distillery 2791 Agua Fria St., 505-393-5135

Blues rockers; 7:30 p m Oct 10; $25; tickets lensic360 org/tickets/414470

R. Carlos Nakai Trio

Lensic Performing Arts Center, 211 W San Francisco Street, 505-988-1234

Native flutist, joined by guitarist William Eaton and percussionist Will Clipman; 7:30 p.m. Oct 12; $29-$45; lensic.org/events

Pat Metheny

KiMoTheatre, 423 Central Avenue NW, Albuquerque

Solo tour in support of Dream Box; 7:30 p m Oct 14; $55-$80; holdmyticket.com/tickets/414805.

Anoushka Shankar

Lensic Performing Arts Center, 211 W San Francisco Street, 505-988-1234

Sitar virtuoso; 7:30 p.m. Oct 20; $49-$79; lensic.org/events

On Stage

Tensegrity

Teatro Paraguas, 3205-B Calle Marie

Underland Dance company’s improvisational performance; 7 p.m. July 7 and 8; $20; 505-424-1601, teatroparaguasnm.org/tensegrity

A Gentleman’s Guide to Love and Murder

Santa Fe Playhouse 142 E De Vargas Street, 505-988-4262

Rebecca Aparicio directs the musical based on Roy Horniman’s 1907 novel; July 13-Aug. 12; $15-$75; santafeplayhouse.org.

Maestros

Tumbleroot Distillery and Brewery, 2791 Agua Fría Street, 505-393-5135

Spanish flamenco artists Alejandro Granados, Carmen Ledesma, Valeria“La Chispa”Montes, Sebastian Sanchez, and Juani de la Isla; 7:30 p.m. July 19; $35; tickets ampconcerts.org/tickets/417248.

Shakespeare in the Garden

Santa Fe Botanical Garden, 715 Camino Lejo, Museum Hill, 505-471-9103

Santa Fe Classic Theater presents Much Ado About Nothing; July 27-Aug 20; $40 and $60; santafeclassictheaterorg

Stars of American Ballet

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234

Principals and soloists, directed by choreographer Daniel Ulbricht; $40-$125; program I, 7:30 p m July 28, secure performancesantafe org/8688/8689; program II, 7:30 p m July 29, secure performancesantafe org/8783/8786

Compagnie Marie Chouinard

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Canadian modern-dance troupe, featuring The Rite of Spring; 8 p.m. Sept 2; $36-$114; lensic org/events

Happenings

Identity Is Handmade

SITE Santa Fe, 1606 Paseo de Peralta, 505-989-1199

International Folk Art Market lecture series; 10 a.m July 7: Safeguarding Traditions in Mexico, with Susana Harp; 2 p.m. July 7: Threading Cultures, an exchange of ideas among textile artists;

10 a m July 8: Heritage of Fashion Design panel discussion; 2 p m

July 8: Your Brain on Art author Ivy Ross in conversation with trend analyst Philip Fimmano; $20 each; folkartmarket.org/ifam-events

Santa Fe Brewing Company Desert Party 35 Fire Place, 505-557-6182

A 35th anniversary celebration and fundraiser for ARTsmart

New Mexico, ALTO: Arts Integration, and Teatro Paraguas; 4 p.m. July 8; live music, artists’booths, food vendors, and raffles; admission by donation

Storytelling with Joe Hayes

Reunity Resources 1829 SanYsidro Crossing, 505-393-1196

Long-time storyteller of New Mexico and Southwest tales for all ages; 7 p.m. July 9, 16, 23, and 30; bring camp chairs or blankets; no charge

American Indian Cultural Arts Festival

Aztec Ruins National Monument, 725 Ruins Road, Aztec, 505-334-6174, ext. 231 Free event, featuring dancers, artists, and musicians Innastate, the Levi Platero Band, and Jir Project; 10 a.m.-6:30 p.m. July 15, 10 a.m.-4 p.m. July 16 (approximately 3 hours from Santa Fe).

2023 New Mexico IPA Challenge

Bosque Brewing-The Drinkery, 4980-B Promenade Boulevard

Attendees’vote on sixteen India Pale Ales; 2-5 p.m. July 15; $10 admission fee, $30 includes commemorative pint glass, samples of all brews, and a pint of beer, $35 at door; nmbeer.org/events; 21+.

Horizons: Weaving Between the Lines with Diné Textiles

Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, 505-476-1269

Examples from the collection, historic and contemporary weavings, prints, photographs, and other related items; opening July 16; through June 2, 2024; indianartsandculture org

Homegrown: Timothy McVeigh and the Rise of Right-Wing Extremism

Hotel Santa Fe 1501 Paseo de Peralta, 855-825-9876

Author/journalist Jeffrey Toobin shares his point of view; social (with hors d’oeuvres and cash bar) 5:30 p m July 18; conversation 6 p m , book signing 7 p m ; $25 and $35; globalsantafe org

Contemporary Hispanic Market

Downtown Plaza

Annual outdoor event, with national artists; 8 a m -5 p m July 29 and 30; 505-331-5162; contemporaryhispanicmarket org

71st Traditional Spanish Market

Downtown Plaza

Works by adult and youth artisans; 8-5 p.m July 29 and 30; 505-836-0306, atriscoheritagefoundation.org/the-spanish-market Angels Under the Stars Gala

Spanish Colonial Arts Museum, Museum Hill Café, and International Folk Art Museum

A fundraiser for the nonprofit Kitchen Angels; 5-9 p.m Aug 26; cocktails, followed by dinner and desert; $300; kitchenangels.org

Buffalo Thunder presents George Thorogood and his band The Destroyers July 22.

AT THE GALLERIES

Santa Fe

Aurelia Gallery

414 Canyon Road, 505-501-2905

Works in Light, holography by Michael Crawford; through July 29.

Currents 826

826 Canyon Road, 505-772-0953

Ecological Soup: Interspecies Encounters, video installations by Jiabao Li; through Aug 20.

Gerald Peters Contemporary 1011 Paseo de Peralta, 505-954-5700

Fernando Andrade: We the People, drawings; Tom Birkner: Night & Day on Main, paintings; Gil Rocha: 2nd Place, assemblages; through July 29.

Keep Contemporary

142 Lincoln Avenue, Suite 102, 505-557-9574

Paintings by Raymond Argumedo (Awake in a Dream) and Zienna Brunsted Stewart (Akin); through July 17.

Martinez Studio

223 ½ Canyon Road martinezstudio.com

Wandering Inside, paintings by Sandra Jo Martinez; through July 30.

Obscura Gallery

1405 Paseo de Peralta, 505-577-6708

Portraits of Birds, photographs by Debbie Fleming Caffery; through July 29.

MUSEUMS & ART SPACES

Santa Fe

Coe Center for the Arts

1590-B Pacheco Street, 505-983-6372

In the Woods, Is Perpetual Youth, group show of works by local high school students; through July 10 African, Asian, European, Native American, and Oceanic objects; email info@coeartscenterorg for tours; coeartscenter.org. Open by appointment. El Rancho de las Golondrinas

334 Los Pinos Road, 505-471-2261

Living-history museum, dedicated to the heritage and culture of 18th- and 19th-century New Mexico; golondrinas org Open Wednesdays-Sundays

Georgia O’Keeffe Museum

217 Johnson Street 505-946-1000

Radical Abstraction, paintings from the collection; through Oct 30 Georgia O’Keeffe: Making a Life, art and objects from the collection; through March 27, 2024; okeeffemuseum org Open daily

Governor’s Gallery

New Mexico State Capitol, 490 Old Santa FeTrail, 505-476-5072

This Art Is Your Art, works from the Art in Public Places permanent collection; through Oct 3.

IAIA Museum of Contemporary Native Arts

108 Cathedral Place, 505-983-8900

Rick Rivet: Journeys, Mounds and the Metaphysical, 30-year retrospective of work by the Sahtu–Métis painter; through Sunday, July 16 • The Stories

We Carry, jewelry from the museum collection; through Sept 30, 2024; iaia edu/mocna

Closed Tuesdays

Meow Wolf

1352 Rufina Circle, 505-395-6369

The House of Eternal Return, immersive exhibits. The Adulti-Verse, admission discounts for ages 21+, first Thursdays of the month; meowwolf com Closed Tuesdays

Museum of Indian Arts and Culture

710 Camino Lejo, Museum Hill, 505-476-1269

Here, Now and Always, artifacts from the collection; indianartsandculture org Open daily

Museum of International Folk Art

706 Camino Lejo, Museum Hill, 505-476-1200

Between the Lines: Prison Art and Advocacy/ a Community Conversation, engagement-based exhibit providing public input through talk-back boards and a dialogue lounge; through Nov 5

• Ghhúunayúkata/To Keep Them Warm: The Alaska Native Parka, examples from the mid-19th century to contemporary reinterpretations; through April 7, 2024 • La Cartonería Mexicana: The Mexican Art of Paper and Paste, historic sculptures from the collection, exhibited with the work of three visiting cartoneros; through Nov 3, 2024 Core exhibits: Multiple Visions: A Common Bond, works in the Alexander Girard Wing Lloyd’s Treasure Chest: Folk Art in Focus, thematic displays from the permanent collection; moifa org Open daily

Museum of Spanish Colonial Art

750 Camino Lejo, museum@spanishcolonial.org Trails, Rails, and Highways: How Trade Transformed the Art of Spanish New Mexico, works from the collection; through August • To Be Determined: The collaborative Art of Jason/Okuu Pín Garcia and VicenteTelles, contemporary retablos; through Sept 8; spanishcolonial org Open Wednesdays-Fridays New Mexico Governor’s Mansion 1 Mansion Drive, newmexicogovernorsmansion.org

Including works by Marie Romero Cash, Gerald Cassidy, William Penhallow Henderson, and Willard Nash Free, docent-led tours noon-2 p m the second and fourth Wednesdays monthly (by appointment) Contact Mary Brophy, 505-476-2800, mary brophy@ gsd nm gov

New Mexico History Museum

113 Lincoln Avenue, 505-476-5200

Palace Seen and Unseen: A Convergence of History and Archaeology, photographs and artifacts

• The Massacre of Don Pedro Villasur, graphic art by Turner Avery Mark-Jacobs The First World War, ephemera relating to New Mexicans’ contributions • Setting the Standard: The Fred Harvey Company and Its Legacy, objects from the collection and photographs from Palace of the Governors archives • Telling New Mexico: Stories From Then and Now, artifacts, photographs, films, and oral histories; nmhistorymuseum org Downtown walking tours 10:15 a m WednesdaysSundays, through October Open daily

New Mexico Museum of Art

107 W. Palace Avenue, 505-476-5072

With the Grain, showcasing Hispanic, Northern New Mexico wood carvers; through Sept 4

• An American in Paris: Donald Beauregard, paintings, through Oct 22; Selections from the 20th-Century Collection, through December

• The Nature of Glass, group show, through December • Manuel Carrillo: Mexican Modernist, photographic exhibition; through Feb 4, 2024; nmartmuseum.org Open daily

Poeh Cultural Center and Museum

78 Cities of Gold Road, Pueblo of Pojoaque, 505-455-5041

Di Wae Powa: They Came Back, historical Tewa Pueblo pottery Nah Poeh Meng, 1,600-square-foot core installation highlighting works by Pueblo artists; poehcenter org Open Mondays-Fridays

Santa Fe Botanical Garden

715 Camino Lejo, Museum Hill, 505-471-9103

18-acre living museum; santafebotanicalgarden org Open daily

SITE Santa Fe

1606 Paseo de Peralta, 505-989-1199

Going With the Flow: Art, Actions, and Western Waters, group show; through July • His Mark, video installations by Bruce Nauman; Goodnight Moon, multidisciplinary works by Rachel Rose; through Sept 11; sitesantafe org Closed Tuesdays and Wednesdays

Wheelwright Museum of the American Indian

704 Camino Lejo, Museum Hill, 505-982-4636

Always in relation: Artworks from the Schultz Collection; through Oct 21 California Stars: Huivaniūs Pütsiv, the first Californian artists whose works reflected personal experiences, mythology, and social justice; through Jan 14, 2024 Long term: Center for the Study of Southwestern Jewelry, devoted to Diné and Pueblo traditions • Rooted: Samples of Southwest Basketry; works from the collection; wheelwright org Closed Sundays and Mondays

Albuquerque

Albuquerque Museum

2000 Mountain Road NW, 505-243-7255

Those (Un)Familiar Faces, works from photo archives; through July 9 • Indigenous Art, Culture, and Community (from the collection of Ruth); through July 23 • Journey West: Danny Lyon, photographs, films, and montages spanning Lyon’s 60-year career; through Aug 27; cabq gov/culturalservices/ albuquerque-museum Closed Mondays

Indian Pueblo Cultural Center 2401 12th Street NW, 505-843-7270

Colors that Speak Words, collaborative installation between writers and visual artists; through Oct 15 • Grounded: Honoring Our Cultural Ties with Strength and Resilience • Birds and Feathers: Their Beauty Within Our Traditions, groups shows; through April 2024; indianpueblo org Open Tuesdays-Sundays National Hispanic Cultural Center 1701 Fourth Street SW, 505-246-2261

Aliento a Tequila y el Arte de Agave, photographs by Joel Salcido and ephemera from the permanent collection associated with the history of agave and the tequila industry; through Aug 13 • Nexo Entre Raíces/Nexus Between Roots, group show of prints; through Sept 10 • Aquí Estamos, selections from the permanent collection; through Sept 17; nationalhispaniccenterorg Open TuesdaysSundays.

New Mexico Holocaust and Intolerance Museum

616 Central Avenue SW, 505-247-0606

Overturned: A Life Etched in Stone • Hate in America Permanent exhibits, With Evil Intent African American Experience, Phase 2: Slavery 1866-1945 • Czech Torah • Armenian Genocide • Hidden Treasures • Colonization: Racism and Resilience; nmholocaustmuseum org Open Wednesdays-Saturdays

Taos

Couse-Sharp Historic Site

138 & 146 Kit Carson Road, 575-751-0369

Aún Aquí: Spanish Colonial Contemporary, group show of works by New Mexico artists; through November • Joseph Henry Sharp: The Life and Work of an American Legend; through December 2024; couse-sharp org Open by appointment Tuesdays-Saturdays La Hacienda de los Martinez

708 Hacienda Way, 575-758-0505

Sunday, July 1 opening of Colcha Embroidery: Traditional and Contemporary; through July; housed in a Northern New Mexico-style, Spanish colonial home, built in 1804 by Severino Martinez; taoshistoricmuseums org Open daily

FINAL FRAME

Enlightenment, a 44-by-44-by-2-inch contemporary abstract in acrylic by Tracy King, is among the pieces on display as part of “Collective Consciousness,” a celebration of ViVO Contemporary’s 20 years in business King is one of the gallery’s nine artist-owners; the others are Norma Alonzo, Ilse Bolle, Barrie Brown, Nina Glaser, Warren Keating, Ann Laser, Gary Oakley, and Laurinda Stockwell The exhibition runs Wednesday, July 5, to September 26, with an opening reception from 5 to 7 p m July 13 725 Canyon Road, 505-982-1320; gallery@vivocontemporary com Brian Sandford

Tosca

Luigi Illica and Giuseppe Giacosa

Giacomo Puccini

Richard

Claude Debussy

Antonín Dvořák ORFEO

Claudio Monteverdi World Premiere Orchestration Nico Muhly