Pasatiempo, Aug 2, 2013

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

August 2, 2013

Christine Brewer in recital at the Lensic

SUMMERTIME...

AND THE LIVIN’ IS EASY. Majestic sunny mountain days, cool silent nights, extraordinary company. Join us and enjoy the peace of mind of living in a senior community where you can truly live at ease. Much like the town of Taos, Taos Retirement Village is a venue for artists, writers, musicians and active people, who all draw on a lifetime of experiences to live an enriched life each new day. Join the journey to Taos Retirement Village.

First Ultherapy to arrive in New Mexico!

Learn how to receive a free Ulthera brow treatment and Juvederm filler 50% off!

Sterling Aesthetics and Lily Love MD announce the first Ultherapy to arrive in New Mexico

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15 year anniversary sale!

20 to 75% off both Summer & Winter for the entire month of August!

Close out Bridal Cocktail & Long Dresses Silk Separates & Velvets Hats & Sweaters Leather Gloves and so much more!

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PASATIEMPO I August 2 - 8, 2013

DIANE PREKUP color ~ texture ~ style New Collection

July 31 – August 4, 2013

the artist will be present 124½ Galisteo Downtown Santa Fe 505-982-1737 sfwg@textileaddiction.com santafeweavinggallery.com Photo: Kate Russell

indian Market on canyon road at jacQueline’s Place

Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room • Bedroom • Entertainment • Lighting • Accessories

Featuring Attractive Hand Crafted Southwestern Lighting

photo: daniel nadelbach

We Will knock you out With our MuseuM Quality native aMerican jeWelry and clothing

Please join us Fri., aug., 16th to Meet aWard Winning native aMerican jeWelry artist, Wayne aguilar and herbert rations. in addition, aWard Winning clothing designer, virginia yazzie-ballenger. FroM 2PM to 7PM at jacQueline’s Place Fashion shoWs throughout the day, Food and Music. don’t Miss this Weekend oF Fun at jacQueline’s Place.

coMe in today For a sneak PrevieW! open 7 days a week

Great selection of Hand-Forged Iron Lamps, Unique Batik and Rawhide Lamp Shades.

Reasonable prices every day of the year!

Please come in, you’ll be pleasantly surprised.

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THE SANTA FE NEW MEXICAN

August 2 - 8, 2013

www.pasatiempomagazine.com

On the cOver 44 singing from experience Christine Brewer is not your everyday diva. The soprano from a small Mississippi River town took a long and winding path from music teacher to international opera star. She sings Richard Wagner’s Wesendonck Lieder and Benjamin Britten’s Cabaret Songs at the Lensic Performing Arts Center on Sunday, Aug. 4, accompanied by pianist Joseph Illick (see story, Page 46). On the cover is a portrait of Brewer.

mOving images

BOOKs 16 in Other Words The Hypothetical Girl 34 librettos illustrated P. Craig Russell

60 61 62 64

mUsic and PerFOrmance 20 23 24 26 28 30 32 38

Pasa tempos CD Reviews Onstage Toad the Wet Sprocket c.s. lewis The Screwtape Letters sound Waves Kid & the gang Pasa reviews New Mexico Jazz Festival listen Up Meet the Goldbergs One more round Ballard & Montevecchi Opera redux Santa Fe Opera in review

I’m So Excited The Wall Still Mine Pasa Pics

calendar 70 Pasa Week

and 13 mixed media 15 star codes 68 restaurant review: vanessie

art 48 the last pottery show Touching Stone 56 art in review Making Places 58 Fields of gold Olga de Amaral

PeOPle & Places 52 engage and transform CCA’s new director 55 Flicker no more Cinematheque’s revamp

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

Pasatiempo is an arts, entertainment & culture magazine published every Friday

by The New Mexican. Our offices are at 202 e. marcy st. santa Fe, nm 87501. editorial: 505-986-3019. Fax: 505-820-0803. e-mail: pasa@sfnewmexican.com PasatiemPO editOr — Kristina melcher 986-3044, kmelcher@sfnewmexican.com

detail of White Cat Among Hagi by haruna nishihata

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

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

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chief copy editor/Website editor — Jeff acker 986-3014, jcacker@sfnewmexican.com

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associate art director — lori Johnson 986-3046, ljohnson@sfnewmexican.com

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calendar editor — Pamela Beach 986-3019, pambeach@sfnewmexican.com

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staFF Writers michael abatemarco 986-3048, mabatemarco@sfnewmexican.com James m. Keller 986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 986-3039, billk@sfnewmexican.com Paul Weideman 986-3043, pweideman@sfnewmexican.com

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cOntriBUtOrs loren Bienvenu, laurel gladden, Peg goldstein, robert Ker, Jennifer levin, david masello, robert nott, adele Oliveira, Jonathan richards, heather roan-robbins, david J. salazar, casey sanchez, michael Wade simpson, steve terrell, hollis Walker, Khristaan d. villela

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PrOdUctiOn dan gomez Pre-Press Manager

The Santa Fe New Mexican

© 2013 The Santa Fe New Mexican

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Robin Martin Owner

www.pasatiempomagazine.com

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advertising directOr Tamara Hand 986-3007

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marKeting directOr Monica Taylor 995-3824

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art dePartment directOr Scott Fowler 995-3836

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graPhic designers Rick Artiaga, Dale Deforest, Elspeth Hilbert

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advertising sales mike Flores 995-3840 stephanie green 995-3820 cristina iverson 995-3830 rob newlin 995-3841 Wendy Ortega 995-3892 art trujillo 995-3852

Ginny Sohn Publisher

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Upcoming public event?

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& Gift Show Museum of International Folk Art

706 Camino Lejo Santa Fe

Saturday • August 10 10 am - 4 pm Festival Open Sunday • August 11 10 am - 4 pm Festival Open Handcrafted rag rugs and other home furnishings, fashions and personal adorments, and gifts of every description. An Economic Development program helping to create a more abundant life for New Mexico’s women and girls.

Share your upcoming events with more than 300K monthly pasatiempomagazine.com and santafenewmexican.com readers by posting to our calendar today!

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"My people will sleep for one hundred years, but when they awaken it will be the artists who give them back their spirit." – Louis Riel, political and spiritual leader of the Métis people of the Canadian prairies

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Anishinaabensag Biimskowebshkigewag (Native Kids Ride Bikes) Exhibition, 8/12 – 9/27, SFAI and locales throughout city Opening & Lecture: Art, History, Memory: Artistic Practice in an Age of Ongoing Colonialisms, Monday 8/12, 6 pm SFAI $10 general, $5 seniors & students

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MATT GONZALES

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August Readings & Open Studios Thursday, 8/22, 6pm SFAI, free

WWW. S F A I .OR G, 5 0 5 4 2 4 - 5 0 5 0 , I NF O@ S F AI. ORG, SANTA FE ART INSTITUTE, 1600 ST.MICHAELS DRIVE, SANTA FE NM 87505 | SANTA FE ART INSTITUTE PROMOTES ART AS A POSITIVE SOCIAL FORCE THROUGH RESIDENCIES, LECTURES STUDIO WORKSHOPS, EXHIBITIONS, COMMUNITY ART ACTIONS, AND EDUCATIONAL OUTREACH FOR ADULTS AND YOUNG PEOPLE. SFAI IS AN ENVIRONMENT WHERE CREATIVITY, INNOVATION, AND CHALLENGING IDEAS THRIVE. PARTIALLY FUNDED BY CITY OF SANTA FE ARTS COMMISION AND 1% LODGER’S TAX AND BY NEW MEXICO ARTS, A DIVISION OF DEPARTMENT OF CULTURAL AFFAIRS

GUY FORSY TH

THE RAILYARD E AN T A F

CONTINUING

AUGUS T AT THE RAILYARD

S

RISE OF THE NS IA GUARD

RAILYARD PARK SUMMER MOVIE SERIES Every other Friday throughout summer • 8 -10:30pm AUGUST 2 • WILLY WONKA & THE CHOCOLATE FACTORY / Scrumpdiddlyumptious!

AUGUST 16 • STOP MAKING SENSE / The Talking Heads hardly talk, don’t stop, and always make sense.

AUGUST 30 • RISE OF THE GUARDIANS Santa Claus and the Easter Bunny are Super Heroes!

Sponsored by Kiwanis Club of Santa Fe. www.heathconcerts.org

RAILYARD PLAZA SUMMER CONCERT SERIES AUGUST 3 • 6-9pm / Guy Forsyth Austin veteran returns to Santa Fe AUGUST 24 • 6-9pm Ringside Bowl Preview Party with Chali 2Na www.heathconcerts.org AUGUST 1 • 9:30am-12pm / Railyard Plaza CREATIVITY FOR PEACE Chalk art by young women from Palestine, Israel and Santa Fe! Come join us. www.creativityforpeace.com AUGUST 4 • 2-4pm / Farmers Market Building FARMERS MARKET SHOPS Grand opening! Chocolates, wine, tea tastings, Café Fresh and more! • www.santafefarmersmarket.com AUGUST 9-13 • Various Times / El Museo Cultural THE SANTA FE SHOW Objects of Art from around the world. Over 65 exhibitors! www.thesantafeshow.com AUGUST 16 • 5-9pm / Warehouse 21 IAIA STUDENT ART SHOW www.warehouse21.org

SANTA FE FARMERS MARKET Tuesdays & Saturdays / 8am -1pm Railyard Plaza & Shade Structure www.santafefarmersmarket.com SANTA FE ARTISTS MARKET Saturdays 8am-2pm / Railyard Park www.santafeartistsmarket.com

AUGUST 17 • 8-10:30pm / Railyard Park NATIVE CINEMA SHOWCASE The Dead Can’t Dance – Celebrate Indian Market with Zombie night in the Park! www.swaia.org AUGUST 17-18 • 2 & 7pm / Warehouse 21 THE LAST FIVE YEARS Musical about the marriage of two young New Yorkers.

For Tickets: www.warehouse21.org AUGUST 21 • 5-9pm / Railyard Plaza KEEP IT CO-OP CONCERT Nashville singer-songwriter Craig Carothers & Grammy-Award winner Don Henry Celebrate New Mexico co-op organizations. www.dncug.org AUGUST 30 • 5-7pm / All Railyard Galleries LAST FRIDAY ARTWALK Presented by RAD, a cooperative of 10 Railyard area art galleries, the last Friday of every month. www.santaferailyardartsdistrict.com AUGUST 30 • 5-10pm / Railyard Plaza & El Museo FIRST ANNUAL ZOZOFEST! Kick off Zozobra and Fiestas week with local music, including La Junta and the 2013 Fiestas Court. Zozobra Art Show inside El Museo plus Old Man Gloom himself.

8-10:30pm / Railyard Park Movie: Rise of the Guardians www.burnzozobra.com/zozofest AUGUST 31 • 12-5pm / Railyard Park BOYS & GIRLS CLUB FUNFAIR Music, food, rides and fun all day long to support the Boys & Girls Club. www.bgcsantafe.org

RAILYARD ARTISAN MARKET Sundays 10am-4pm / Farmers Market Pavilion • www.artmarketsantafe.com

WAREHOUSE 21 OPEN JAM NIGHT Wednesdays / 7-9pm www.warehouse21.org

SECOND STREET BREWERY Live Music Thursday-Sunday / 6-9 pm Tuesday -Acoustic Open Mic www.secondstreetbrewery.com

AXLE CONTEMPORARY PERFORMANCE ART SERIES Fridays & Saturdays / Shade Structure Various times and artists • www.axleart.com

ALL EVENTS ARE FREE UNLESS NOTED

WWW.R AILYAR D S A N TAF E .C OM PASATIEMPOMAGAZINE.COM

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TesTa Dura ProDucTion comPany in

conjuncTion wiTh Lensic PresenTs

BE CAPTIVATED

Orchestrations

Stage Manager

Larry Blank Patrick O’Neil Ed Smith

Rocky Noel Lighting and Sound Design

Matt Berman

Music Director

David Geist

AN A L L -N EW BRO A D WAY REVU E T O B E NE FIT TH E LE NS IC

August 8, 2013, 7:30 pm $20–$50 / VIP tickets $125

“THE SPIRIT OF ROMANCE” WORLD PREMIERES

S T U D E N T D I S C O U N T S AVA I L A B L E

AUGUST 9, 10, 11

Tickets: 505-988-1234 www.TicketsSantaFe.org

NHCC 1701 4TH ST SW, albuquerque (free parkiNg) TiCkeTS balleTpromuSiCa.org or 505/724-4771

S E R V I C E C H A R G E S A P P LY AT A L L P O I N T S O F P U R C H A S E

Support provided by National Hispanic Cultural Center, Heritage Hotels and resorts, Nm Tourism Department, Nm arts, National endowment for the arts.

Staying

Power More than 25 years of comprehensive orthodontics for families and individuals of all ages. schackelorthodontics.com

Schackel Santa Fe • Los Alamos • Taos 10

PASATIEMPO I August 2 - 8, 2013

505.983.8977 604 N. GUADALUPE ST. DE VARGAS CENTER 5STARBURGERS.COM

The New Earth Institute of Southwestern College presents the 32nd Annual

TRANSFORMATION AND HEALING CONFERENCE

Creative Approaches to the Healing Arts Wednesday - Sunday August 21-25 in Santa Fe at SWC Campus and Center for Spiritual Living

KEYNOTE SPEAKER: Judy Weiser, R.Psych., A.T.R., Founder/Director of the PhotoTherapy Centre

EARN CECs

Saturday, August 24 — 9 to 5:30: Using Photos to Improve Well-Being and Reduce Social Exclusion: A Picture is Worth Far More than a Thousand Words!

Sunday August 25 — 1 to 4pm: Using Photos to Help People with Addictions: 3-hour Illustrated Presentation, plus Discussion plus 18 experiential Workshops August 21-23

To register, call 505.471.5756 or visit swc.edu/transformation-and-healing-conference/

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988-3840

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500 Montezuma Avenue • www.sanbusco.com Bodhi Bazaar • Cost Plus World Market • Dell Fox Jewelry • Eidos Contemporary Jewelry • El Tesoro Café • Get It Together • Kioti • Mercedes Isabel Velarde Fine Jewelry And Art • On Your Feet • On Your Little Feet • Op. cit. Bookstore Pandora’s • Play • Pranzo Italian Grill/Alto • Raaga Restaurant • Ristra Restaurant • Rock Paper Scissor SalonSpa • Santa Fe Pens • SoulfulSilks • Teca Tu – A Paws-Worthy Emporium • The Reel Life • Wink Salon

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Photo by Peter Ogilvie

108 Don Gaspar 505-988-9558

GI fT

All For Your Delight An enchanting medley of scenes and songs from Shakespeare’s most popular comedies.

RA ff le

Presented by ShAkeSPeAre In SAntA Fe under the stars at St. John’s College Friday through Sunday, August 16th - 18th Pre-show music at 6:30, Performance at 7:30 Light picnic fare available for purchase.

A special 6:00 pm buffet reception will precede Friday’s opening night performance, with attendees to enjoy priority seating.

General admission $20 (students $12) Opening night festivities $100 to reserve, simply call 505-988-1234 or visit www.ticketsSantaFe.org For more detail, call 505-988-9560 or visit www.shakesguild.org/Delight.pdf 12

PASATIEMPO I August 2 - 8, 2013

30th ANNIVERSARY

Ground Blessing and Mountain Spirit Dance

The Allan Houser Studio and Sculpture Gardens

(30 minutes south of Santa Fe just off of the Turquoise Trail)

Joe Tohonnie Jr. and Apache Crown Dancers

JOIN US ! Saturday, August 3, 2013

Gates open 4:00 PM Ceremonies begin 5:00 PM

$ 20/ person $ 30 /couple (505) 471-1528 toursandevents@allanhouser.com

Studio House exhibition of Allan Houser, Phillip M. Haozous, Bob Haozous thru December

MIXED MEDIA

Win 1 of 3 2010 Antique Ethnographic Art Show, Santa Fe; courtesy Whitehawk Antique Shows; right, incense burner, A.D. 600-900; courtesy Throckmorton Fine Art

We’ll be giving aWay three FOrD Mustangs in august!

Drawings on saturdays, august 10, 17 & 24 at 6pm, 7pm, 8pm, 9pm and 10pm. see lightning rewards Club desk for complete contest rules and details.

Art and antiques: Whitehawk spreads its wings The Whitehawk Antique Shows have been a Santa Fe staple for more than three decades. But gone are the days when dealers in ethnographic art and antiques sold their wares from the trunks of their cars in the parking lot of Santa Fe’s Hilton Hotel, as some did the year collector and organizer Don Bennett founded the exhibition. Whitehawk Antique Shows, Inc., now owned by collector Marcia Berridge, provides two events: the Antique Ethnographic Art Show (now in its 30th year) and the invitational Antique Indian Art Show (in its 35th year).

The Ethnographic Art Show starts with a gala preview opening on Thursday, Aug. 8, at 6 p.m.; events continue through Saturday, Aug. 10, with tribal masks, porcelain and ceramics, Laotian textiles, antique Mexican folk art, crafts by Mayan artisans of the Guatemalan highlands, Asmat woodcarvings, and more for sale. About 150 dealers participate in the show.

The Antique Indian Art Show begins with a gala preview of its own on Sunday, Aug. 11, also at 6 p.m., and continues through Tuesday, Aug, 13. All events take place at the Santa Fe Convention Center (201 W. Marcy St.). Tickets for either gala cost $75 per person and include Friday and Saturday admission for the Ethnographic Art Show and Monday and Tuesday admission for the Antique Indian Art Show. For either show, visitors can purchase a one-day ticket for $10 or a two-day ticket for $17. All tickets are available at the door.

The Ethnographic Art Show is open 10 a.m. to 6 p.m Friday and 10 a.m. to 5 p.m. Saturday. The Antique Indian Art Show is open 10 a.m. to 5 p.m.

Monday and Tuesday. For information call Whitehawk Antique Shows at 992-8929 or visit www.whitehawkshows.com.

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Management reserves all rights.

— Michael Abatemarco PASATIEMPOMAGAZINE.COM

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Roshi Joan Halifax, PhD and Tsoknyi Rinpoche share practices and insights from their Zen and Vajrayana traditions. s a n ta f e , n e w m e x i c o 505-986-8518 w w w. u p a y a . o r g u paya @ u paya . o rg

Experience our premier club facilities with our 30-day trial membership program.

Quail Run has so much to offer from fitness to golf and tennis! Join today and enjoy Santa Fe’s Best Kept Secret.

The 30-Day trial membership* offer expires August 30, 2013. Call today to sign up and schedule a tour.

3101 Old Pecos Trail 505.986.2200 quailrunsantafe.com *This is a limited time offer with certain restrictions.

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PASATIEMPO I August 2 - 8, 2013

“Holding your hand through the entire process”

STAR CODES

Heather Roan Robbins

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Home or Office | Onsite Repairs

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After some pretty challenging weeks, it’s time for the romantic

and healing powers of summer as Venus and Mars form a friendly sextile.

Romances may be with a person, a place, or a project. It’s time to feed the gentle fires of our hearts. This is not necessarily the aspect of sudden grand passion but of healing affection and tenderness — starting with ourselves and spilling over to others.

The potential sweetness of this sextile needs to be sought out and savored.

What we treasure this week grows. As the sun trines change-master Uranus at the same time, we can make some positive differences in response to this new collaborative gentleness.

The challenges aren’t gone; we’re in a momentous couple of years as Uranus continuously squares Pluto and shifts the era. A recent Mars/ Mercury/Jupiter conjunction opposed Pluto and has triggered many accidents — storms and storms of the mind — since the first week of July; it fades now but still resonates in the background.

Next week the emotional torque picks up again. A new moon in extroverted, dramatic, and generous Leo on Tuesday amps up the plot line and can make us more demanding. It asks us to make sure we’re true to our own creative visions and to encourage others to do the same. Jupiter opposes Pluto within a few degrees all summer and perfects that opposition later this week, which adds a powerful surge to all things corked or under pressure. While this is wonderful for arts festivals and freedom movements, it may add a Shakespearean edge to ongoing world dramas. It temps us to overplay our hand. Subtlety and restraint will strengthen our points.

Friday, Aug. 2: Old memories give us the compassion and words we need to be helpful as Venus opposes Chiron this morning under a communicative Gemini moon. Midday, look for a way to harmonize as Venus sextiles Mars.

Fan the sparks. Tonight, wit may cover an abundance of tender feelings.

Saturday, Aug. 3: A domestic Cancer moon conjuncts Jupiter, trines Saturn and Neptune, and asks us to stay close to our homes and hearts.

What can sound like a self-indulgent streak may be a tender feeling.

Seeing new patients in our Santa Fe office!

Sunday, Aug. 4: Stay gentle and proactive, even though a bumpy patch this morning can set off our personal triggers as the moon conjuncts Mars.

Watch snappy comments and unintentional wounds that take place when we’re impatient. Later as the sun trines Uranus, celebrate positive changes and see what fresh sparks arise.

Most insurance accepted! (not contracted with Tricare)

Appointments scheduled through Los Alamos office: 662-4351

Monday, Aug. 5: Go gently early on — energy picks up quickly as the moon shifts into Leo before noon. A somber note tonight asks us to review events with generous hearts and practical minds.

Tuesday, Aug. 6: Don’t get caught up in melodramas. The new moon in Leo at 3:50 p.m. marks a new beginning for creative or humanitarian endeavors.

Consciously celebrate who we are while also honoring the glory of others.

Wednesday, Aug. 7: Patience, generosity, and timing are everything. Most of us will enjoy an expressive summer day, but some events that hinge on the use and abuse of electrical, personal, or political power hit a boiling point as Jupiter perfects its opposition to Pluto.

Thursday, Aug. 8: People get cranky and critical when they’re anxious about their health or accomplishments; the cure is work, not worry as creative Venus challenges taskmaster Saturn under an industrious Virgo moon. Accept where we are and step forward. ◀ www.roanrobbins.com

T H E W O O D CA R E S P E C I A L I S T A n t i q u e s F i n e F u r n i t u re K i t ch e n s B u i l t - i n C a b i n e t r y !

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OR VISIT OUR NEW LOCATION

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PASATIEMPOMAGAZINE.COM

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In Other wOrds book reviews The Hypothetical Girl by Elizabeth Cohen, Other Press, 237 pages Do you know the hard candy called Zotz? It comes in different flavors — lemon, orange, grape — and is filled with a sweet/sour fizzy liquid. If you bite through the middle you get an explosion of the stuff, but if you’re patient, the fizz seeps out more slowly and lasts much longer.

Elizabeth Cohen’s stories about love in the 21st century demand the coining of a phrase: literary Zotz. To explain, at first her tone feels overly jaunty, almost jokey. The main characters — single women, primarily poets and/or professors with man troubles — seem lifted from “chick lit,” with their mildly deluded ramblings and embarrassing hopes. The book struck me as overly confectionary, with far too many references to dating websites and women’s magazines, until the fourth story, “The Opposite of Love,” about a woman who gets breast cancer and doesn’t tell anyone, not even her mother. The Zotz reference gets complicated here. A story about breast cancer is being compared to fizzy candy filling, but in literature this is very positive.

Many literary-journal editors will tell you that you can’t write an original cancer story anymore. They’re wrong, of course — many literary-journal editors are jaded — and Cohen proves it. Her style is deceptively simple. She gets in unexpected emotional punches while rushing headlong through the plot, as though attempting to tell you the whole story in a single breath. When Rita’s mother finds out about her breast cancer — via mutual Facebook friends — she sends her daughter an email excoriating her for her secrecy. Cohen’s tack is not for Rita to feel badly about this, nor does she reveal the source of the friction in the relationship. She simply lets Rita be angry.

“It was as if she had joined some elite club and left her mom out.

Her mother would have liked to have gone on Cancer Awareness Month walks and worn a pink pin and embraced this disease for her. Made some happy times of it. Some memories! She could have made an album with her friends in their scrapbooking club.

Helping Rita get through breast cancer! She felt it was her RIGHT as a mom. And she had denied her this, selfish as she was. She had hoarded her cancer and kept it to herself. A secret treasure chest of cells, multiplying within her, twirling and whirling, jitterbugging and spiraling through her.”

The Zotz metaphor is most aptly applied to the sixth story, “Love Quiz.” The protagonist, Ona — a name that means, variously, grace, favor, and fire — has a drunken fight with a friend, who tells Ona she hates her. Cohen then advises the reader to read the story like a magazine quiz with multiple sections and multiple-choice answers, A through C. She gives the reader freedom to skip around, though she counsels against turning immediately to section C. And with good reason. In a bracingly courageous move, the ending of “Love Quiz” breaks the sugary candy shell into a million bits, leaving the reader with a mouthful of sour fizz almost too intense to take in all at once, but so powerfully good you want to go back and start over again. Where did all our choices become wrong ones? Who do we blame when we, in the author’s words, “walked right into this one”? How do we end that particular story? Cohen chooses not to. She tells the reader to go back to an earlier section and stop there, and then she apologizes.

There is an element of chick-lit to The Hypothetical Girl, if by chick lit we mean stories about women and their timeless struggles made modern and often humorous through setting and voice — though Cohen’s women are on the other side of 35, and none of them are glamorous. They don’t do yoga or wear fancy shoes. They write bad poetry and stalk their internet fix-ups. Cohen’s themes, and her willingness to let women be angry and ugly, are reminiscent of early Margaret Atwood, while her ease of voice recalls Elinor Lipman or Lorrie Moore. She doesn’t mind a dash of whimsy or magic, as in “The Gravity Doctor,” in which a woman develops a floating problem after visiting the moon. But no matter how lighthearted the tone, every story hinges on something much darker.

In the title story, a man sends a text to a woman he met online: “You are not an actual girl, you are hypothetical.” After that, though her therapist tells her she’s very much still there, she begins to disappear. “She had known the day would come,” Cohen writes. “She walked by a store window and there it was, the absence of her presence. In the place where she should be were other people’s reflections, cars, women with strollers, couples holding hands, couples arguing, a mother and her daughter, two women who had to be sisters, admiring a lovely handbag. People not so different from the person she had been.”

— Jennifer Levin

16

PASATIEMPO I August 2 - 8, 2013

SubtextS Notes from Poland, New York, and Santa Fe Even when an autobiography tells its story clearly on the page, hearing an author read from it can provide an enriching and sometimes unanticipated context for readers. That may well be the case when Leshek Zavistovski appears at Collected Works on Monday, Aug. 5, in a reading and book signing for his memoir, Children and Fish Don’t Talk: Adventures With Nazis, Communists, and the Metropolitan Opera, just published by Sunstone Press.

Many local music lovers will be acquainted with Zavistovski, a retired cellist who is a constant presence in the city’s concert audiences, invariably accompanied by his wife, Toni Rapport Zavistovski (who, along with their daughter Monique Zavistovski, assisted in writing the book). There is not a more genial gentleman in Santa Fe. He seems always curious, gracious, good-humored, and, notwithstanding that he arrived at the English language only as an adult, one can depend on him to utter a perfectly crafted witticism or a naughty pun.

That will surely come through at his reading, but it makes his story all the more shocking. If you can put down this book before you reach page 42, you ... well, it’s not going to happen. That’s about the first point where you dare take a breath. By that time, Zavistovski is 7 years old and has lived a life so dangerous, thrilling, and unpredictable that he qualifies as a picaresque hero along the lines of Lazarillo de Tormes or Oliver Twist. Essentially abandoned by his mother — who, ironically, is the most stable element in his dysfunctional family — he survives in impoverished, war-torn Poland through the kindness of strangers (many of whom he recalls in vivid detail), eventually being adopted as a mascot by a troop of Russian Cossacks ... and on it goes, not much smoother from there. How to square his brutish beginnings with the smiling soul he would become? He doesn’t try to explain it, but he does present his life with unvarnished candor, extending through hair-raising peril when he emigrates to the United States in 1964, on his road to securing a position in the Metropolitan Opera Orchestra.

— James M. Keller Leshek Zavistovski reads from “Children and Fish Don’t Talk: Adventures With Nazis, Communists, and the Metropolitan Opera” at 5 p.m. on Monday, Aug. 5, at Collected Works Bookstore (202 Galisteo St.; 988-4226). He is introduced by mezzo-soprano Susan Graham.

Kevin Avants 505 982 2892, cell 505 780 1061 1061 Pen Road, Santa Fe

The Love Affairs of Nathaniel P. by Adelle Waldman, Henry Holt and Company, 242 pages Nathaniel Piven appraises women with the practiced eye of a vigilant consumer in a cut-throat capitalist market. He’s a 30-year-old writer living in Brooklyn with a new book deal and a seemingly endless sea in which he fishes for companionship.

Adelle Waldman’s smart novel revolves around Nate’s short-lived relationships as he casts about in the conflict of being who he is — a welleducated and social yet chronically single guy. A freelance journalist based in Brooklyn herself, Waldman wields her literary hammer with precision.

She builds a believable contemporary protagonist who is both a spot-on critic of his pretentious scene and a typecast participant.

Dating, Nate’s friend Aurit contemplates, “is probably the most fraught human interaction there is.” Nate likes the version of himself that he presents to new people, but quickly grows irritated with his own personality and others as familiarity sets in. He’s often caught between what he believes he should do or say and how he really feels.

“When he was younger,” Waldman writes, “he had imagined that as he grew up he would become progressively less shallow and women’s looks wouldn’t matter as much. Now that he was, more or less, grown up, he realized it wasn’t going to happen.”

The character Waldman portrays is struggling with truths about issues of class and ethics in gentrifying Brooklyn that also strike a note in Santa Fe, recently named one of America’s snobbiest cities by Travel + Leisure magazine and where a wealth gap seems to steadily yawn.

As he debates whether to claim the federal government’s earned-income tax credit in his annual IRS return, Nate acknowledges that it wasn’t intended for the likes of him and other “Harvard grads who eschewed regular jobs to pursue their idiosyncratic intellectual ambitions.”

One of his articles is about “commodification of conscience,” the idea that those who can buy their way out of guilt and trick themselves into believing it means something — “the ways we protect ourselves from feeling complicit in the economic exploitation that goes on all around us.” It’s trendy to worry about pesticides and child labor in tea fields and miserable caged chickens, but Nate sees it as “latte-liberalism.”

“Take Whole Foods,” he remarks at a dinner party, “half of what you pay for when you shop there is the privilege of feeling ethically pure.”

Waldman’s vocabulary is stunning, satirically reflective of the highbrow literary culture in which her novel is set. (Nate has behaved with wanton libidinousness, being marked by lustful desires. One of his exes has eyes that are limpid, clear, and serene. A friend is ebullient, lively, or enthusiastic in expressing thoughts. Class structures will ossify, change into bone, become rigidly conventional.) Her take on what goes through Nate’s mind isn’t eloquent, but you wouldn’t expect it to be. Nate is still growing up.

He’s got internet porn and a spank bank full of experiences with women whom he doesn’t have to relate with. He’s funny and pathetic and sometimes cruel.

For a good part of the novel, the reader knows a featured encounter is doomed to failure of another “rinse and repeat melodrama,” yet it’s still interesting enough to see how the story will arrive there.

— Julie Ann Grimm

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Readings at Sanbusco Saturday, August 3rd at 2 PM

Sunday, August 4th at 2 PM

reads and signs ‘Return to the Willows’, a sequel to ‘The Wind in the Willows’.

Everyone under 16 gets a free copy of Ms. Kelly’s Newbery Honor Book ‘The Evolution of CalpurniaTate’, courtesy of us!

reads from her memoir and travelogue, ‘Second Chances.’

JAcqueline Kelly

BArBArA JAcoBS

coming soon: nickel Stories, August 8th at 6PM and natalie Goldberg, August 13th at 6PM.

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17

SFCA Festival

The Santa Fe Concert Association presents

of

Song

Stars of the Santa Fe Opera in intimate one-hour recitals, followed by meet-the-artist champagne receptions catered by Whole Foods Market.

Wendy McEahern

Paul Appleby, tenor

Jake Heggie, pianist & composer

Heidi Stober, soprano

Michael Fabiano, tenor

William Burden, tenor

Susanne Mentzer, mezzo-soprano

last spaces for rent

Paul Appleby | August 11, 2013 4:00pm Michael Fabiano | Wed, August 14, 2013 4:00pm Jake Heggie & Friends | Sunday, August 18, 2013 4:00pm Scottish Rite Center

Tickets Santa Fe at the Lensic: 505-988-1234 | $40 general admission Santa Fe Concert Association: 505-984-8759 | www.santafeconcerts.org Thanks to the following sponsors:

The Santa Fe Concert Association 324 Paseo de Peralta, Santa Fe, New Mexico 87501

18

PASATIEMPO I August 2 - 8, 2013

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santa Fe chamber Music Festival

Concert venues this week include SFA: St. Francis Auditorium, 107 W. Palace Ave. and LEN: The Lensic Performing Arts Center, 211 W. San Francisco St., Santa Fe

BRAhmS & BEEthOVEN StRINGS

J.S. BACh – thE ARt OF FuGuE

LuSh ChAuSSON FAIRY muSIC FROm thE &tImE OFtALES GOYA

Magnificent Music!

An incredible musical journey awaits at the Santa Fe Chamber Music Festival!

Beethoven’s “Serioso” Quartet offers

AUG 8

AUG 10

thu 6 pm @ SFA

SAt 5 pm @ SFA

Experience Brahms at his very best in his glowing String Quartet No. 1 in F as violist Cynthia Phelps joins the Shanghai Quartet.

Also from the Shanghai’s, Beethoven’s sublime “Serioso” String Quartet, unbridled genius at its very best.

J.S. Bach’s The Art of Fugue features the renowned Orion String Quartet and the height of chamber music wind players – Tara Helen O’Connor, Robert Ingliss, Kyle Mustain, Patrick Messina, Theodore Soluri, and Julie Landsman!

AUG 11

SuN 6 pm @ LEN

5 PM: Pre-Concert Talk Thierry Lancino with Marc Neikrug Chausson’s expansive Concerto for Violin, Piano, and String Quartet features the Orion String Quartet, violinist William Preucil, and monumental pianist and artist-in-residence Garrick Ohlsson.

an incredible treat for the ears by the Shanghai Quartet on August 8th at 6 pm.

Saturday the 10th at 5 pm, experience J.S. Bach’s The Art of Fugue with a glorious arrangement by Samuel Baron, finished 200+ years after Bach’s death, performed by the Orion String Quartet and a who’s who list of wind players!

Sunday night the 11th at The Lensic,

mINI-FEStIVAL: YEARS OF WONdER

MUsic AT NooN noon @ SFA

Generously sponsored by the Edgar Foster Daniels Foundation

A festival…within a festival! 4 Years of Musical Wonder encompassing 28 masterpieces and 23 superb artists – in 4 amazing concerts – beginning Monday, August 12th.

The genius of Carlo Gesualdo’s madrigals still astonish the listener 400 years later. There’s never been anything like them since. Now is your chance to hear all of the Book 5 madrigals sung by the acclaimed Santa Fe Desert Chorale!

Also in the Years of Wonder concerts – four incomparable Mozart Piano Trios – performed by chamber music greats: violinist Ida Kavafian, cellist Peter Wiley, and pianist Anne-Marie McDermott!

And, savor 3 string quartets, the piano quartet and piano quintet by Robert Schumann at the height of his romantic power.

With the Orion String Quartet, Benny Kim, Eric Kim, Anne-Marie McDermott, William Preucil, and Steven Tenenbom.

WED AUG 7

VICtOR SANtIAGO ASuNCION pIANO RECItAL Experience the evocative “Waldstein” Piano Sonata No. 21 in C and the “Appassionata” Piano Sonata No. 23 in F Minor. It’s Beethoven for lunch!

ahead of the World Premiere of Lancino’s profound Falling Angels played by the Orion String Quartet.

And, beginning August 12th, our Years of Wonder Mini-Festival will astound and amaze you with 28 incredible masterpieces in just one week!

THU AUG 8

Dohnányi’s Serenade in C Major, a rare trio for violin, viola, and cello is followed by Dvořák’s rousing Piano Quartet No. 2!

TUE AUG 13

Intimate. Compelling. Unforgettable.

Marc Neikrug, Artistic Director

ORION StRING QuARtEt Schumann’s delightful String Quartet No. 2 in F, performed by the Orion String Quartet – and, a brilliant Mozart Piano Trio!

THU AUG 15

All concerts 6 pm at the Lensic performing Arts Center

joined by Festival Artistic Director Marc Neikrug for a pre-concert talk

dVOŘÁk - pIANO QuARtEt

GARRICk OhLSSON pIANO RECItAL

mON, AuG 12 • WEd AuG 14 • thu AuG 15 • mON AuG 19

amazing composer Thierry Lancino is

Artist-in-residence and prodigious pianist Garrick Ohlsson plays selections by Chopin and Prokofiev in this not to be missed recital!

puRChASE YOuR tICkEtS tOdAY! 505.982.1890 SantaFeChamberMusic.com Ticket Office: NM Museum of Art 107 West Palace Avenue

The Santa Fe Chamber Music Festival is funded in part by the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax; New Mexico Arts, a division of the Office of Cultural Affairs; and the National Endowment for the Arts.

PASATIEMPOMAGAZINE.COM

19

PASA TEMPOS

album reviews

FRanz IGnaz Joshua Redman Walking Shadows danzI Der Berggeist (nonesuch) This is the first album (Carus) Audiences at Santa Fe by saxophonist Joshua Redman employOpera are getting a dose of operatic ing an orchestral ensemble, here conducted Romanticism through Rossini’s La donna

by Dan Coleman. A surge of romantic strings del lago, which dates from 1819. Listeners and Redman’s yearning-but-sprightly tenor interested in exploring the period further voice introduce the Kern/Hammerstein gem should turn to this first-ever recording of “The Folks Who Live on the Hill.” On Billy Der Berggeist (The Spirit of the Mountain), a Strayhorn’s “Lush Life,” the melody is set Romantic opera that was unveiled six years in washes of violin and cello, although the earlier, in Germany. Its subject is the legend strings, now impishly adventurous and now indeed lush, pose of Rübezahl: to punish him for being a despicable warrior, higher rather an odd contrast. At 1:45 the music shifts, bringing to the forces deprive Rübezahl of the mermaid he loves, and he and his front Redman’s quartet with pianist/producer Brad Mehldau, drummer sidekick have to navigate various challenges — including encounters Brian Blade, and bassist Larry Grenadier. The contrast softens, Mehldau’s with gnomes and sea monsters — to attain happiness again. Danzi distinctively ponderous chord-tones working nicely against the leader’s (1763-1826) was born only seven years after Mozart. That composer gentle improvisations. This is an album of ballads, yes, but there is still often comes to mind in this work, certainly in the fairy-tale trials that a good variety. “Stop This Train” by John Mayer and Pino Palladino shifts evoke Die Zauberflöte but also in the general tenor of the musical language. the program into a modern vibe. Grenadier and Mehldau create But Danzi was no reactionary; he also encouraged and championed a mellow sonic bed; Blade enlivens the mix with his bright, the up-and-comer Carl Maria von Weber, and in many ways elastic beat; and Redman is quietly penetrating. Next up we can hear Der Berggeist, which is rich in folk-flavored is a lovely Redman-Grenadier duet version of J.S. Bach’s episodes, as a way station between Die Zauberflöte and “Adagio.” On the 1930s song “Easy Living,” Redman’s Der Freischütz. Danzi is remembered chiefly for his wind It’s hard to imagine declarations are swathed in swelling, sweetly dissonant quintets, and his passion for woodwinds carries over strings. The band offers a lovingly balladlike cover of to the scoring of this work, which is truly an opera the eerie sounds emanating “Let It Be,” which transforms in the final third to a more for wind aficionados. Frieder Bernius leads a highspirited excursion. Also on this engaging disc are covers quality cast in this engaging performance, which was in rhythmic and off-rhythmic of songs by Wayne Shorter and Hoagy Carmichael, plus recorded live in 2012 in Stuttgart. — James M. Keller Redman and Mehldau originals. — Paul Weideman patterns on ‘Neither Anvil nor so PeRCussIon Neither Anvil nor Pulley (Cantaloupe Pulley’ are actually made BaRBaRossa Bloodlines (memphis Industries) After music) A computer is a tool, like an anvil or a pulley, but years of punching the clock as an acoustic troubadour it’s different in that its function is not readily deducible by humans striking things.

— even landing an enviable spot in José Gonzales’ backfrom its appearance. This is the central reflection informing ing band — Londoner James Mathé, who performs as Dan Trueman’s five-act composition Neither Anvil nor Pulley, Barbarossa, ditches the Nick Drake influence for a Sade influcommissioned by So Percussion and performed by that ence. He’s a few months late to the game, as Canadian duo Rhye group live and on a new studio album. Trueman is a Princeton music professor notable for being a co-founder of the Princeton planted a flag in that territory earlier this year, but Bloodlines is a Laptop Orchestra. His piece for So Percussion, a quartet renowned for different beast — less subtle and sensual, more poppy and powerfully its traditional percussive skills and innovative use of instruments (such as built. Songs like “Pagliaccio” even incorporate a quiet-to-loud dynamic that is jumping from glockenspiel to “amplified cactus”), complements the unique more prevalent in rock music than soul. But make no mistake: this is a soul album at heart. It even opens with an organ that will remind R&B fans of capabilities of the group. At first listen, it’s hard to imagine that most of nothing less than Frank Ocean’s 2012 ballad “Bad Religion.” That organ the eerie sounds emanating in rhythmic and off-rhythmic patterns are actually made by humans striking things. With time, it becomes easier resurfaces in many of the album’s better cuts, including “S.I.H.F.F.Y.,” to accustom oneself to a new range of tonalities that, despite their Barbarossa’s sprawling ode to George Michael’s 1980s minimalist unconventionality, come together in a neoclassical way. Steel drums gospel. Mathé has a relaxed, creamy voice — not unlike Boy George’s provide a hypnotic melody over the fuzz of an old vinyl recording — that glides over the instrumentation but doesn’t impress much in the first act, with a drum set serving mostly of a personality on listeners. It’s technically as a surface for stick clatter (the rims and proficient but not particularly memorable. shells being more targeted than the actual This is a bit of a shame, as Mathé’s time in the indie-folk circuit has otherwise drumheads). Later acts incorporate digital produced a soul record that owes as much metronomes, drum machines, and repurto the hushed ballads of Yo La Tengo as it posed video game controls, but since even does the sultry come-ons of Sade. At the these are often controlled by mallets, the same time, the record gives us no work as a whole melds contradicting idea who Mathé actually is. senses of primalism and futurity.

— Robert Ker — Loren Bienvenu

20

PASATIEMPO I August 2 - 8, 2013

S a n t a Fe

DESERT CHORALE

Santa Fe DESERT CHORALE Summer Festival 2013 | JUL 11-AUG 19

THE TRIUMPHS OF ORIANA:

The Birth of the English Madrigal Joshua Habermann, Music Director For more information or SFDC tickets, visit desertchorale.org or call 505.988.2282.

Summer Festival 2013 is made possible, in part, by the National Endowment for the Arts; New Mexico Arts, a division of the Department of Cultural Affairs; and the City of Santa Fe Arts Commission and 1% Lodgers’ Tax.

AUGUST 15 - 19

The Santa Fe Desert Chorale’s final program for the summer. The greatest of the English madrigal collections, The Triumphs of Oriana, was published in London by Thomas Morley, in honor of Queen Elizabeth I. At turns playful, sensual, tender – and even a bit naughty – these little gems are a beloved part of our shared musical inheritance.

G. RusseLL CAse LoGAn MAxWeLL HAGeGe W i L L i A M M At t H e W s

AuGust 2 - oCtobeR 19, 2013 opening reception with the artists: tonight, August 2nd from 5:00 - 7:00pm

to view additional works by these artists please visit www.gpgallery.com For further information contact Peter Riess, priess@gpgallery.com or (505) 954-5771

Clockwise from top left: G. Russell Case, Trustees, oil on canvas, 30 x 24 inches. William Matthews, Optimister, oil on canvas, 39 1/2 x 20 inches. Logan Maxwell Hagege, Arched, oil on linen, 20 x 30 inches.

All images © 2013 courtesy, Gerald Peters Gallery.

1011 Paseo de Peralta, santa Fe, nM 87501

PASATIEMPOMAGAZINE.COM

21

OkeeffeMuSeuM.Org

MONDAY

AUGUST 5

8:30–9:45 AM

Breakfast With O’Keeffe Jed Foutz shares stories about his life growing up at a trading post on the Navajo reservation.

SUNDAY

AUGUST 11

3–5 PM

Art & Leadership for Boys and Girls Opening Reception View artwork created by extraordinary 11–14-year-old students.

TUESDAY

AUGUST 13

10–11:30 AM

Readers’ Club

Look at the

Discussion explores author Catherine Colby’s book, Kate Chapman: Adobe Builder in 1930s Santa Fe. MONDAY

AUGUST 19

ANGEL FIRE TAOS LAS VEGAS RATON

6 PM

Lecture Program 1929: Annus Mirabilis, a Year of Modern Art Wonders in Northern New Mexico. Talk by Lois Rudnick, Ph.D. TUESDAY

AUGUST 20

6–8 PM

Surrounded by Inspiration: Creating More Meaningful Homes

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SATURDAY

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Family Program: Sunprints Create original sunprints, based on the cyanotype process used by artists since the 19th century. fOr prOgraM lOcatiONS aNd MOre iNfOrMatiON: 505.946.1039 Or ONliNe at OkeeffeMuSeuM.Org

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22

PASATIEMPO I August 2 - 8, 2013

ON STAGE Standard issue: The Shanghai Quartet

The Shanghai Quartet, formed at the Shanghai Conservatory in 1983, was in the first wave of Chinese musicians to claim places in the international classical music circuit. Although the group has undergone a number of personnel changes through the years, two founding members remain in place: the brothers Weigang Li (first violin) and Honggang Li (who played second violin for 11 years before moving to the viola chair). The group maintains its balance of East-West activities, serving as quartet-in-residence at Montclair State University in New Jersey (its home base) and ensemble-in-residence with the Shanghai Symphony Orchestra. Members also lend their talents as guest professors at the leading conservatories of Shanghai and Beijing. The Santa Fe Chamber Music Festival hosts the ensemble in three repertoire standards (in each case as part of a mixed program): Dvoˇrák’s Quartet in A-flat Major, op. 105, at noon on Tuesday, Aug. 6; and Beethoven’s Quartetto Serioso, op. 95, and Brahms’ F-Major String Quintet, op. 88 (with violist Cynthia Phelps assisting), at 6 p.m. on Thursday, Aug. 8. Concerts take place at the St. Francis Auditorium at the New Mexico Museum of Art, 107 W. Palace Ave. Tickets ($20 and $25 for Aug. 6; $31 to $69 for Aug. 8) may be purchased through Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org) and from the festival (982-1890, www.santafechambermusic.com). — J.M.K.

THIS WEEK

Straight from the Underground: Jamalski and Brotherhood Sound System

Brotherhood Sound System is the outfit of reggae musician and radio DJ Don Martin (below), known for bringing the very latest dancehall music to audiences and for hosting frequent guest collaborators. For the Friday, Aug. 2, incarnation of his long-running monthly reggae night at The Underground at Evangelo’s, Martin is joined by Jamalski. A New York-based emcee with more than 20 years of experience in hip-hop, reggae, and raggamuffin (or ragga — a type of reggae that relies on drum machines, samples, and other electronic instrumentation), Jamalski got his start in 1991 when he collaborated with rapper and activist KRS-One. He performs 30 to 40 minutes of original music during Brotherhood Sound System’s dancehall session and helps curate the night’s set list. The show takes place at 200 W. San Francisco, beginning at 10 p.m. Call 819-1597. The cover charge is $6. — L.B.

Let the music play: Santa Fe Chamber Music Festival

Quad squad: Toad the Wet Sprocket

In June, alternative rock band Toad the Wet Sprocket premiered a new song on Rolling Stone’s website. The song was notable for being the first new material from the band since 1997, and the press it has received in recent weeks has focused more on an incredibly successful Kickstarter campaign than on the music itself.

Whether intentionally or not, the band seems to deal in multiples of four: it’s been 16 years since the four members last released an album, and they’ve more than quadrupled their $50,000 fundraising goal (with the help of about 5,000 supporters). Based on samples, Toad is not reinventing its sound — the new songs maintain the same straightforward alternative rock conventions as the older ones, but with less ’90s angst and more pop polish. The band performs at Santa Fe Sol Stage & Grill (37 Fire Place) on Thursday, Aug. 8, at 7:30 p.m. Tickets are $27 in advance from Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org), $30 at the door. — L.B.

The Santa Fe Chamber Music Festival assembles a passel of wind players to perform the Dixtuor of George Enescu, an appealing work that mixes folksy Romanian nationalism, neo-Bachian contrapuntal writing, and Brahms-style late Romanticism. Also on the program, baritone Matthew Worth (below) is the soloist in Lieder eines fahrenden Gesellen (Songs of a Wayfarer), a song set for voice with piano or orchestra that Gustav Mahler composed from 1883 to 1885, early in his career. Here it is given in an arrangement, for singer with large chamber ensemble, that Arnold Schoenberg made for presentation in 1920 at his Society for Private Musical Performances, a by-invitation-only group he oversaw in Vienna. Concluding the program is Schoenberg’s own Pierrot lunaire, a groundbreaking cycle of 21 hallucinatory poems by Albert Giraud for voice and a small instrumental group. The composer calls for the voice part to be rendered as a sort of speech-melody that respects the written pitches and rhythms but without resembling classical singing. Here it will be performed by Lucy Shelton, a longtime champion of modern scores.

Lawrence Foster conducts the entire program at St. Francis Auditorium at the New Mexico Museum of Art (107 W. Palace Ave.) at 6 p.m. on Sunday, Aug. 4, and at 6 p.m. Monday, Aug. 5. Tickets ($53 to $73) are available from Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org) and from www.santafechambermusic.com and 982-1890. — J.M.K. PASATIEMPOMAGAZINE.COM

23

Adele Oliveira I The New Mexican

KNOWTHY ENEMY

C.S.LEWIS’ The Screwtape Letters onstage C.S. Lewis’ 1942 novel The Screwtape Letters, there is a universe turned upside down. The story takes place deep in hell, where God is referred to as the Enemy. Screwtape, a seasoned devil, uses correspondence to instruct his nephew Wormwood, a newly minted demon sent to Earth to corrupt a particular soul called the Patient for Satan, aka Our Father Below. The ultimate goal is to secure the soul for consumption — hell depends on regular sustenance.

Presented entirely in Screwtape’s biting voice, The Screwtape Letters is clever and whimsical: demons have names like Slubgob, Glubose, Toadpipe, and Triptweeze, and Screwtape himself is delightfully evil. A typical letter begins: “My dear Wormwood, I sometimes wonder what Slubgob teaches you at the Training College. Through your incompetence and that disastrous episode of repentance and renewal, the Enemy is turning your Patient’s attention away from self to Him, and to his neighbors.”

In 2006, a 90-minute stage adaptation of The Screwtape Letters, written by Jeffrey Fiske and Max McLean, had its premiere at New York’s Theatre 315. From there, it was performed in Chicago, Washington, D.C., and again in New York, in addition to touring around the country. On Friday, Aug. 2, the production 24

PASATIEMPO I August 2 - 8, 2013

comes to Santa Fe for two performances at the Lensic Performing Arts Center.

Brent Harris portrays Screwtape (Harris is an accomplished villain, having played Iago in Othello, Lucifer in Doctor Faustus, and Scar in The Lion King) and is the sole speaking character in what’s essentially a spirited monologue. The demon Toadpipe is the only other character, and it is a mute, gestural role.

“The first Lewis book I read when I was in my 20s was his autobiography. I didn’t understand a word of it,” said McLean, who directs the Santa Fe production. “The second book I read was The Screwtape Letters, and I immediately thought, I know this guy, this Screwtape.”

Lewis was born in Ireland in 1898. He was an author and an academic and spent much of his life teaching at Cambridge and Oxford, where he was part of a cohort that included J.R.R. Tolkien. Brought up as a Christian, Lewis became an atheist as a teenager before committing to the Church of England in his early 30s.

Virtually all of his work is built around Christian morality and theology. Lewis is best known for his seven-book series The Chronicles of Narnia, about a magical world (with staunchly Christian underpinnings) to which four siblings travel over the course of their childhood and adolescence.

The world of The Screwtape Letters is no less fantastical than Narnia, but it’s also imbued with the familiarity and mundane reality of the everyday, which is described through Screwtape’s grim depictions of life on Earth. In his letters,

Screwtape highlights ordinary moments as gleaming opportunities to capture the wayward Patient: when he’s hungry and distracted by the prospect of lunch, by encouraging temptation for minor sins (sex and cards), or especially during what Screwtape calls “undulation,” the natural “emotional troughs and peaks” which, even though they’re part of life, humans tend to resent.

“In many ways the Patient’s journey echoes Lewis’,” McLean said. “He said that he was as indifferent morally as any human could have been. Not amoral, just indifferent. He wasn’t motivated by moral questions and thought that it’s not our office to worry about stuff like that.” Toward the middle of the play, Screwtape encourages Wormwood to foster a sense of apathy in his Patient, explaining that this is often much more effective (and easier) that rousing him to commit evil acts. Screwtape advocates “making the Patient do nothing at all for long periods, staying up all night staring at a cold fire,” McLean said, referencing a scene in the play. “Satan’s road to hell is the long one. His wheelhouse is the small indifferent choices that we make.”

Of course, Lewis did not take the path to hell that he describes. “He went from atheism to dabbling in paganism and spent a little time in the occult, using things like pentagrams and Ouija boards under the influence of William Butler Yeats,” McLean said. “That had the benefit of scaring the hell out of him. When he got back to Oxford, he decided that he was taking no more detours into the back alleyways but would walk in the middle of the road with the lights on. That was his metaphor for acting sensibly and doing the right thing.”

Subversive though it appears, The Screwtape Letters ultimately bows to the power and absolution of God. Screwtape is clearly afraid of his Enemy, and throughout his monologue, he inserts little reminders about who’s really in charge. He refers to the Church as “spread throughout time and space and rooted in eternity. That, I confess, is a spectacle that makes our boldest tempters uneasy.” Later, he warns Wormwood, “We must never allow the Patient to trust the real, invisible Presence, there with him in the room.” And Screwtape acknowledges of the Enemy, “He really loves the hairless bipeds He has created.”

These moments serve to undermine Screwtape’s power. He may be evil, but Lewis presumes that we are not. Screwtape understands that humans begin as basically good; a corrupting influence is necessary to bring them to Our Father Below. Because Screwtape declares that God’s love for humans is real, he affirms the moral structure of the Christian universe. Not even a demon can unseat or alter the rules.

And because the world of Screwtape is so sharply drawn, Lewis occasionally makes facile distinctions. A humble grocer who attends church with the Patient is just and good; the urbane intellectuals he associates with early on are probably going to hell. There’s a slightly uncomfortable quality when Lewis references vaguely defined sexuality: Screwtape tells Wormwood that “sexual temptations” are separate from love and are a sure-fire way to ensnare the Patient. The woman the Patient falls in love with is righteous and pure, thereby spoiling Wormwood’s plans. This moralizing would be terribly dull if Screwtape himself weren’t so much fun. Lewis is wise in getting us to like him. As with Lolita’s Humbert Humbert, Screwtape’s language is seductive. His tone is deadpan; he makes good jokes, and invites us to relish his wickedness. If Lewis is an apologist, Screwtape is not. He does not explain or justify his demon nature; it’s just who he is.

“I think people who have a theistic mind-set and are interested in supernatural conversations will enjoy the play,” McLean said. “Lewis creates this anthropomorphic representation of hell because he wants to capture people’s imaginations, but the question Screwtape really asks is, Are we free?” ◀

details ▼ The Screwtape Letters, presented by Fellowship for the Performing Arts ▼ 8 p.m. Friday, Aug. 2; 4 p.m. Saturday, Aug. 3 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $35-$55 (discounts available); 988-1234, www.ticketssantafe.org

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Give a teenager the opportunity to experience your life and you will see the hardest part of hosting an exchange student is having to say goodbye! All families welcomed!

Host families can expect to gain better cultural understanding and fun, exciting times as they get to know their new son or daughter. Available students are from countries all over the world and from all religious and cultural backgrounds. Families with and without children and from all stages in life are encouraged to apply.

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25

SOUND WAVES Loren Bienvenu

Toward the end of his set,Kid Rock was strutting on top of a camouflage grand piano with anAmerican flag hanging behind him large enough to be the envy of anyTexas auto lot.

Kid & the gang

Anyone who thinks Kid Rock’s star faded after his 1998 breakout album, Devil Without a Cause, should be made aware that he was one of the best-selling solo recording artists of the following decade. Diverse highlights from his 15 years in the national spotlight include meetings with the last four presidents, rounds of golf with Tiger Woods, four months of marriage to Pamela Anderson, and a 2007 brawl in an Atlanta Waffle House.

Unlike the vast majority of fellow 1990s-era rap-rock stars (Limp Bizkit, for example), Rock has managed to adapt with the changing winds of time. His continued relevance comes from a slow transition into Southern rock and country while still maintaining the (intentionally?) dumbed-down defiance that is his hallmark. His 2010 Rick Rubin-produced song “Born Free” was the officially endorsed campaign song for Mitt Romney’s 2012 campaign, offering another instance of Rock’s cultural chameleonism.

The rebel himself came to Albuquerque’s Isleta Amphitheater on July 23, as one half of the greatest odd-couple pairing in recent memory: his tour mates are veteran R&B/funk/soul hit makers Kool & the Gang. Since 1969, the Gang has sold more than 70 million albums worldwide thanks to hits like “Celebration,” “Get Down on It”, and “Jungle Boogie.” Their commercial breakthrough came with the 1973 album Wild and Beautiful. At the time, Robert James Ritchie (Kid Rock) was a tender 2 years old.

The contrast in performances by the two powerhouses offered a timeline in microcosm of the development of stadium shows over the decades. Kool & the Gang relied on tried-and-true stage staples like fog machines and synchronized dance moves. Though the band still features brothers and founders Robert “Kool” Bell and Ronald Bell, it has evolved over the years to also encompass younger players. Current singer Lavell Evans is notably spry and attractive, and when he serenaded the large cluster of adoring women who gathered at the foot of the stage during “Ladies Night,” the resulting adoration seemed authentic, if innocent.

There was something unreal about watching the band flawlessly execute their repertoire, probably because of the ubiquity of the music in everyday life. Who really expects to hear the line, “Celebrate good times, come on!” live? It was almost as if the performers were in fact a tribute group (possibly because original singer James “J.T.” Taylor was not on the mic), or one of those hologram shows that animate performers who are far away or dead (in the case of Tupac Shakur).

This sensation of anachronistic surreality was heightened as Kool & the Gang ended their set by thanking show opener Uncle Kracker and welcoming Kid Rock to the stage.

The packed amphitheater audience became noticeably more aggressive with the change of guard. As steam issued from the darkened stage and a prayer in Rock’s voice blessed the audience over the loudspeakers, there seemed to be a revamped effort by venue security to collar and haul off the most drunk and 26

PASATIEMPO I August 2 - 8, 2013

belligerent of fans. Rock began his set from behind a replica of a $20 bill so huge that his silhouette usurped the spot traditionally occupied by Andrew Jackson’s face. He stood with arms spread in crucifix position during the invocation, alluding to one of his many nicknames: “Rock ’n’ Roll Jesus.” The choice of denomination was at first puzzling — why not go all the way, with a hundreddollar bill, or at least a fifty? The probable reason for this modesty is that the current tour is billed as the “$20 Best Night Ever” tour, promoted with the promise that all seats carry the same $20 price. Similar promises were not realized on this particular stop of the tour, including the $4 draught beer (it was actually $13), but the low ticket price likely helped fill out the audience.

In an apparent effort to offset any related losses, Rock’s live show relied clumsily and unabashedly on product placement and onstage advertisement, perhaps setting a new standard for tour sponsorship. To complement the giant Jim Beam and Harley-Davidson beacons blazing on either side of the stage, bottles of the whiskey were prominently placed near band members (and frequently panned across on jumbotrons), and a motorcycle gleamed in front of the backup singers.

When Rock took a turn scratching in the DJ booth, his piece culminated in the refrain: “Jim Beam! Jim Beam!” He then poured out a shot for himself and flung his Jimmy John’s baseball hat into the audience.

These promotion gimmicks were relatively benign compared with what ensued.

Midset the music halted and a screen descended for a commercial break posturing as “a toast to America.” Accompanied by shots of motorcycles, whiskey barrels, and Old Glory, a deep voice proclaimed: “The richest people I know trade in a currency called pride. They pour it into everything they do. They pour it into barrels of Kentucky oak. They pour it into Pennsylvania oil and make Milwaukee steel. They pour it into a 10-hour day and then pour it into a tank” — implying that these people’s Harleys run on pride, not gasoline. As the audience cheered each new refrain, the surreality of Kool & the Gang was suddenly and definitively eclipsed.

Not to be upstaged by his own sponsors, Rock took the antics up a notch from there. Toward the end of his set, he was strutting on top of a camouflage grand piano with an American flag hanging behind him large enough to be the envy of any Texas auto lot. His final encore, the 1998 hit “Bawitdaba” was accentuated by giant blasts of flame, a laser show, and a deafening explosion.

Whether or not July 23 was indeed the best night ever for anyone in that Albuquerque audience is hard to say, but the long antlike train of spectators departing into the night certainly throbbed with excited talk over the recently shared spectacle.

In the spirit of advertising: those most impressed are encouraged to book tickets early for Rock’s fifth annual “Chillin’ the Most” cruise (he has a knack for superlatives), leaving port in March 2014. It seems unlikely that Kool & the Gang will serve as first mates for that particular voyage. ◀

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27

PASA REVIEWS New Mexico Jazz Festival Lensic Performing Arts Center ( July 21 & 26) & Santa Fe Bandstand ( July 23)

Jennifer McCormick

Electric regrets

Stanley Clarke

f jazz is, as Duke Ellington declared, the music of surprise, shouldn’t a jazz festival hold some surprises? One of the performers booked into the Santa Fe portion of this year’s New Mexico Jazz Festival was an unexpected choice, considering the festival’s history of mostly nonelectric, straight-ahead music.

And the band that might be expected to fill that no-electronics, horns-andrhythm-section tradition? Well, surprise, surprise.

If jazz purists were taken aback at the booking of jazz-fusion bassist Stanley Clarke, it didn’t show in the sellout crowd at the Lensic Performing Arts Center on July 21. Before the show, everything looked as it should, with Clarke’s electric bass gleaming brightly on its stand in front of large speakers and John Beasley’s electric keyboard pushed to the edge of the stage in front of the grand piano. But when the band came out, Clarke went right to his acoustic bass, and the band struck up an unannounced be-bop tune, followed by a thoughtful rendition of Joe Henderson’s classic post-bop song “Black Narcissus.” Clarke produced many of the same signature percussive techniques and phrases that identified his electric play as well as his speedy trademark fingering. As the show continued, there were calls for him to strap on the electric. But the bassist stuck to the upright, even as the group played his “Light as a Feather,” a tune Clarke had contributed to Chick Corea’s popular fusion band Return to Forever. How many in the audience remembered that Clarke played acoustic bass on the original

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PASATIEMPO I August 2 - 8, 2013

version of the number before the band flipped over to electric bass and guitar? Or that Clarke had worked with mainstream jazz men Art Blakey, Dexter Gordon, and Horace Silver before joining with Corea? There were touches of fusion in the performance, most of them from 18-year-old drummer Mike Mitchell, whose aggressive, on-the-beat play brought cheers from the audience despite its total lack of subtlety and sense of drive. Pianist Beasley, who also stuck to the acoustic instrument, sounded as if he were playing electronic keys because of the Lensic’s characteristic, amplified brightness. Only during the encore did Clarke take up his bass guitar, playing the title riff from his 1976 solo recording School Days.

That performance sounded out-of-place with what went before and proved what drummer Lenny White, Clarke’s bandmate in Return to Forever, has often said: jazz-fusion music of that era had more to do with rock than funk.

Trumpeter-composer Terence Blanchard might have been seen as the festival’s purveyor of hard-bop, acoustic sounds. But, for his July 26 show at the Lensic, he came out with a pick-up mic suspended in front of the bell of his horn — much like the one Miles Davis used during his electric period. He then proceeded to prowl the stage like Davis, playing from a crouch, his horn often pointed directly at the floor, emitting high-powered phrases broken by expectant silences, finding continual high-end resolution for a series of dramatic lines. These sounds, different from pure trumpet notes, came with electronic color, echoes, and harmonies electronically generated from a single note. Yet the music was definitively jazz-derived, whether it was moody, driving, or psychedelic. Blanchard was backed with tonal sweep and sensitive soloing from guitarist Lionel Loueke.

Smart contributions came from pianist Fabian Almazan and saxophonist Brice Winston. Drummer Kendrick Scott played all over the beat, providing crisp accents while continually driving the music forward. The ensemble was at its mesmerizing best playing Ivans Lins’ haunting ballad “Nocturna,” a tune with quiet demands that showed how empathetic Blanchard’s sextet could be. Loueke’s trio with bassist Michael Olatuja and drummer John Davis opened the show.

Loueke’s gentle themes and African rhythmic influences were a study in cool contrasts. Singing in unison with his guitar playing, Loueke recalled the beautiful falsetto harmonies and some of the expressiveness of Brazilian vocalist Milton Nascimento. The tone and temper of Loueke’s soothing play demonstrated the unexpected emotional potential of improvisation. This was music of both passion and intellect, at once smart and brimming with feeling.

Another surprise — and the purest jazz expression of all — was the free performance of the Mil-Tones Brass Band on July 23, at the Santa Fe Bandstand on the Plaza. Led by drummer and New Orleans native Milton Villarubia III, this local ensemble gave a loose and lively reading of jazz and gospel favorites out of the marching-band tradition. With low-end oomph from tuba and sousaphone, the 11-piece ensemble made a contemporary, funky statement in the style of modern ensembles like the Dirty Dozen Brass Band. Their take on Miles Davis’ “All Blues” brought New Orleans heat and humidity to cool-school jazz.

Those who were disappointed that bassist Clarke hadn’t played more electric would have loved the evening’s headliner, guitarist Larry Mitchell. Mitchell’s quick-witted, fast–fingered electric play was technically impressive, even if the instrumental music it was folded into typified the worst of jazz-rock: simple, predictable themes played on an endless groove.

— Bill Kohlhaase

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29

LISTEN UP

James M. Keller

Composer Reena Esmail

Meet the Goldbergs

The Santa Fe Chamber Music Festival can keep a music lover very busy indeed at this season, and notwithstanding the abundance of the organization’s offerings, it appears to be attracting good-sized crowds to most of its performances. That was the case when pianist Jeremy Denk devoted his entire noontime recital on July 23 to Bach’s Goldberg Variations. I was surprised when his repertoire choice was announced since he had played the same piece just this past January up the road in Los Alamos, at a concert easily within reach of Santa Feans. Usually artists are disinclined to repeat the same repertoire so soon in the same “musical market.” Denk has been immersed in this touchstone piece during the past year.

He recorded the set around the time he played it in Los Alamos, and the CD is supposed to be issued on the Nonesuch label in September. He has been public in expressing ambivalence about the piece, but obviously he did not end up disliking it enough to stop playing it once the recording sessions were over.

I liked his Santa Fe performance rather more than I did his one in Los Alamos, when I sensed that his relationship to the piece was reaching a peak on the hostility meter. The Santa Fe concert was hard-driving, but on the whole it was less antagonistic. In the early variations Denk did seem almost to be doing battle with the thing, unwilling to slacken the reins for an instant, intent on building momentum until it had reached an almost uncomfortable intensity. The tension finally slackened with a slight ritardando at the end of Variation Six. This led to a freer, lighter character with the transparent two-part texture of Variation Seven, given at what I would call a relaxed andantino or allegretto rather than the gigue tempo suggested by the earliest published score.

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PASATIEMPO I August 2 - 8, 2013

Every third variation is famously a canon, and Denk rendered the lines of those movements with clarity. Even in the canons in contrary motion, listeners can have had no trouble following the parts as they played their intricate games of follow-the-leader upside-down. Denk sometimes invested transitions between movements with interesting touches. Variation 18, for example, died away in a sweet, lingering suspension, which augmented the surprise when Variation 19 exploded like a circus lion leaping out at spectators through a paper-covered hoop. Denk sustained the last note of the penultimate movement, the bumptious Quodlibet, into the opening note of the Aria that returns to wrap things up an hour or so after we first heard it.

His high-definition articulation stopped short of percussiveness but tended toward firm solidity; for the most part, he seemed to be playing deep in the keys. The pedal was his friend. He used it expressively, sometimes pressing it into service to reinforce accented notes with an extra modicum of tonal power.

This was not an affectionate rendition of the Goldberg Variations, a work I adore unreservedly. Denk obviously put thought into crafting his interpretation, and he conveyed it with technical aplomb. Although I didn’t love it, I did respect it.

On July 26, the Chamber Music Festival’s concert offered five recent string quartets played back-to-back by the intrepid FLUX Quartet. Well, the opening item, Conlon Nancarrow’s Quartet No. 3 (partly an exercise in complex metric relationships) had a little age to it, dating from 1988; but the rest were recent, and three of them were premieres of works by graduate students in composition. I found that an hour and 20 minutes of contemporary string quartets (no intermission) proved exhausting, but I did think one of the works quite interesting: the String Quartet by Indian-American composer Reena Esmail. A product of Juilliard and Yale, where she is pursuing her doctorate, she spent the 2011-2012 year as a Fulbright-Nehru fellow in New Delhi. In this piece, North Indian classical music melded with Western contemporary concert vocabulary in an ingratiating way. The cello often played the role of a tanpura, its extended drone providing a foundation above which the higher instruments intoned riffs rich in harmonics and flavorful augmented intervals, the keening first violin proving particularly rhapsodic. A conflict arises in that classical music of the European tradition depends greatly on harmonic variety, whereas that of North India stresses minute gradations of melody and rhythm within a more static harmonic context.

Midway through its 14-minute span, Esmail’s piece did suddenly swing to a new key-area, providing very welcome harmonic relief. At that point the character changed to become a vivacious dance with complicated rhythms — a South Asian take on John Adams, perhaps — before the work concluded with a return of the opening drone-based rootedness. I would happily hear the piece again.

A disappointment, I am sad to report, was the July 27 presentation purveyed under the title Reflection and Revolution: Music From the Time of Goya (1746-1828).

The guitarist Richard Savino devised the program initially for the Aston Magna Music Festival in Massachusetts, which is a study-and-performance academy focusing on early music in its cultural context. The idea was that an appreciation for the life and works of the Spanish artist Francisco Goya would be enriched if it were presented against a background of music heard in Madrid during the same period. Savino recited a 15-minute run-down of Goya’s biography, projecting a few artworks to underscore his points. After that, short pieces — mostly by Luigi Boccherini and Fernando Sor, two of the chief composers to the Spanish aristocracy — were performed while a parade of Goya’s paintings and prints passed across the screen. They were loosely coordinated: paintings of people dancing coincided with dancelike musical movements, pictures of flirtatious courtiers corresponded with songs about romance, and so on. Things did not jell.

Perhaps it needed a compelling narrative script delivered by an actor. As it was, it merely seemed that artworks and musical compositions were ambling along in parallel universes. And then, there is the problem of Boccherini and Sor. They rarely wrote very interesting music, and only a couple of the selections included here — the Fandango from Boccherini’s Quintet No. 4 and “La ritirata di Madrid” from his Quintet No. 8 — had a very distinct profile. Rarely heard songs by Sor

were sung by soprano Christine Brandes, a much appreciated singer whose voice did not on this occasion display the silvery tone or solid placement that has been her hallmark in years past. Savino played period guitars adeptly but almost always far in the background. The most pleasing music-making came from a quartet of players from the Santa Fe Opera Orchestra — violinists L.P. How and Kathleen Brauer, violist Kimberly Fredenburgh, and cellist Joseph Johnson — but in the end the compositions were too slight to make much impact and the presentation too miscellaneous to provide much inter-artistic insight.

Midway through the 14-minute span of Reena Esmail’s String Quartet, the character became a vivacious dance with complicated rhythms — a South Asian take on John Adams, perhaps.

Fired up

The season of the Santa Fe Desert Chorale is also moving along, and I joined the rather small audience at Loretto Chapel on July 26 for the opening night of the group’s program Touched With Fire, which sporadically involves mental illness or hallucinations: music by composers who were thus afflicted, or about other figures who were, or that sort of thing. The concert featured exactly half of the chorale’s singers, a mixed choir of 12, conducted by Joshua Habermann. Four pieces by Poulenc opened the program, three to poetical texts by Paul Éluard, one a sacred setting (“Vinea mea electa”) based on words from the Book of Luke. The composer’s instantly recognizable harmonies came across vividly in interpretations that displayed fine sensitivity to blend and vocal color. The chorus was strongly constituted throughout, and the sopranos in particular boasted a finer, less strident tone than I had recalled from last season. Five late choral songs by Brahms (his op. 104 collection) benefited from careful readings. In the third piece from the set, “Letztes Glück” (its text, interestingly, by Max Kalbeck, who went on to pen an early Brahms biography), the choir lavished meticulous detail on illustrating the cheerless inevitability of the opening words, “Leblos gleitet Blatt um Blatt/Still und traurig von den Bäumen” (Leaf upon leaf slips lifeless/Quietly and sadly from the trees).

Three pieces by Per Nørgård, a senior eminence of modern Danish music, served as testimony to his obsession with the Swiss artist, poet, and composer Adolf Wölfli, who spent much of his life in an institution because of schizophrenia. Some of the text involved an invented language, as well as yelping against a consonant background, and one movement suggested a street-song gone awry. There followed a rich-hued item by Hugo Wolf, as well as two madrigals by Gesualdo that surrounded an attractive neo-Monteverdian madrigal by the living American composer William Hawley. It has been quite some while since I enjoyed a Desert Chorale concert as much as this one, I was thinking, noting how much more satisfying it is to experience extended groups of pieces by a limited number of composers than a sequence of morsels by an infinity of composers in constantly shifting styles, which is the ensemble’s norm. At that moment, the group segued into “Starry, Starry Night” (aka “Vincent”), the much-covered ode Don McLean wrote in 1971 in celebration of Vincent van Gogh. A tenor stepped out to assume a soloist’s role with pop-inflected portamentos, and the chorus backed him up singing “doo, doo, doo” in kitschy close harmony, and I so wished this had not happened. There remained a piece called “Vidi – The Visions of Hildegard,” in which composer Alec Schumacker set visionary outbursts by the medieval mystic Hildegard of Bingen — an appealing piece that employs minimalist pulsations and builds interesting textures by posing sustained vocal lines against each other. ◀

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on

o m e

u o n d r re

The show goes on with

KAYE BALLARD and LILIANEMONTEVECCHI David Masello I For The New Mexican

arinara sauce and Champagne go well together.

Anyone who attends Kaye Ballard and Liliane Montevecchi’s one-night-only show at the Lensic Performing Arts Center on Thursday, Aug. 8, will discover this culinary fact. Indeed, were you to visit the stars’ respective dressing rooms during intermission, you might find a pot of spaghetti boiling along with flutes of bubbly.

“I have tomato sauce for blood and could eat spaghetti between every show,” said Ballard, nee Balotta, while Paris-born Montevecchi “has to be drinking Champagne all the time.”

For their two-hour show Still Around, the performers admit to being total opposites of each other, though they adore being around one another as much as possible on stage. “I am the sophistication of the show, and she is the fun,” Montevecchi said. “I know if I was in the audience, I would love to see our show, because if you don’t like one of us, you’ll certainly like the other! It’s quite unexpected to see this chic Frenchwoman on stage with a star like Kaye.”

For three years, the 87-year-old Ballard and the 80-year-old Montevecchi have been touring a Broadway-style revue that highlights each of their talents. In Santa Fe they perform a new version of the show that salutes not only the great 32

PASATIEMPO I August 2 - 8, 2013

songbooks of America and France but also the humor and style of a different, bygone time — one they keep decidedly alive and flourishing.

Montevecchi began her career as a ballet dancer in Paris, won a Tony Award in 1982 for her performance in Nine, and was a show-stopper in the 1985 Lincoln Center concert version of Stephen Sondheim’s Follies. She is not easy to characterize. When asked how she defines herself and her many talents, she said, “I’m a star! That’s it. I work at being a star and I am.” She said this with both a certain bravado and a sense of humor, evidenced by a laugh that one could even characterize as glamorous. “It’s my life. I was born to be on the stage. I’ve not married.

I have no children. My life is about me, me, me!”

Ballard, too, admitted, “There was nothing else I could do in life but perform.”

Known for her comedic skills, as well as a singing voice that earned her starring Broadway roles in The Golden Apple, Carnival, Follies, and The Pirates of Penzance, among other plays, Ballard recalled donning her father’s straw hat when she was a 5-year-old in Cleveland and doing an imitation of Maurice Chevalier (who many years later told Ballard that her talents were on a par with those of Bea Lillie, a performer Ballard had long admired). Tennessee Williams, whom she met through her best friend, Maureen Stapleton, once said that Ballard was “the best storyteller of the American song.”

“I was too fat to be a waitress — I would have dropped the tray — and I was too clumsy to be a dancer, so I became a performer,” Ballard said. “I’m one of the lucky people in life, because I have known what I wanted to do since I was a

kid.” Yet she seems to rue possessing so many talents. “That held me back in a way. I haven’t focused on any one particular thing — singing, being a comic, acting. I feel compelled to do all those things.” When asked what her Italian immigrant parents thought of her singing and dancing, Ballard recalled, “They were scared of me! They let me do what I wanted to do.”

When she was 18, Ballard left Cleveland with a new, Americanized name and a calling for the stages of nightclubs and playhouses. “When I was growing up, you couldn’t be Italian in show business — not until Sinatra made it famous. Even Dean Martin changed his name.”

Montevecchi, too, recalled a mother “who never said no to me. I continue to show respect to my mother by simply working at being the performer I am. I still go to ballet class every day. I’m careful about what I eat and what I drink, and I’m always chic. I’m a Frenchwoman, after all. I cannot do it any other way. I will never let myself go. Ever. I want always to be chic.”

Regarding performing songs by Cole Porter, Yip Harburg, and Irving Berlin and delivering the type of humor made famous by Henny Youngman, Ballard recited a line she heard from the show’s producer, Marguerite Gordon.

“Marguerite said, ‘The best of the past is meant to last.’ That really registered with me and with Liliane. I want young people to see what was the best. To know the kinds of talents that existed, like a Judy Holliday or, farther back in time, to Fanny Brice and Sophie Tucker. And in this show that Liliane and I are giving, the audience can hear a real, live orchestra [under the direction of David Geist]. It makes me happy and proud to be able to do this, but it also makes me sad that I’m this old. I want to live a long time because I want to see what’s next. I’m very fascinated with the new.”

While their routines — which include three numbers in which they team up — are expertly choreographed, the performers are not afraid of the unexpected or extemporaneous. “Yes, everything is well rehearsed,” Montevecchi said, “but once the public is there, of course we’re going to play with what we have. It’s one thing to rehearse and another when there’s the reaction of a live audience. We even like to make mistakes — it makes us more human.

You have to put some salt and pepper into every performance.”

Despite their collective years of experience, an element of stage fright remains a given. “I always get a dose of it,” Ballard said, “but once I’m past the first couple of numbers, I’m all right. I get stage fright because I want what I do on stage to be right — that it’s the best that I can do. And I never think it was enough. To be honest, this show that we’re doing is the closest I’ve come to being truly happy and satisfied with what I’ve done.”

While Montevecchi celebrates her native Paris in the show, singing selections that include “Je Cherche un Millionnaire,” “La Vie en Rose,” and “I Love Paris,” Ballard has decided to dedicate the evening to the late Danny Mann, a Broadway director whose birthday happens to be Aug. 8, the night of the performance. “He’s part of the best,” Ballard said. “He helped get me my first really big show [The Golden Apple], which got me on the cover of Life. He came backstage and said, ‘You just did something wonderful.’ He encouraged me, and I hope he hears me on August 8.”

Ballard also performs “Time, You Old Gypsy Man,” the last song Harburg wrote, a song she says “sums up my life.” The lyrics, which frankly describe the silvering of one’s hair and the creases that form around one’s eyes, spooked Rosemary Clooney and Frank Sinatra away from adopting it into their repertoires. But Ballard embraced it and belts it out at the Lensic.

For while time does indeed take its toll, as the lyrics make clear, it is also something to be thanked for providing so many good times.

Anyone who sees these two stars in Santa Fe will also be grateful for time and for the fact that both of them are very much still around. ◀

details ▼ Kaye Ballard & Liliane Montevecchi: Still Around ▼ 7:30 p.m. Thursday, Aug. 8 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $20-$50; $125 VIP tickets (includes reception with cast); 988-1234, www.ticketssantafe.org

Opposite page, Kaye Ballard and Liliane Montevecchi today and in the ’50s; Ballard’s photo courtesy Palm Desert Reporter

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LIBRETTOS ILLUSTRATED

P. Craig Russell: illustrations for, above, Salome; left, The Magic Flute; opposite page, from left, PellĂŠas et MĂŠlisande and Ein Heldenstraum; Page 36, The Magic Flute Images courtesy the artist and NBM

Bill Kohlhaase I The New Mexican as dramatic a portrayal of Pagliacci as you’ve seen, despite the fact that there’s no music. The askew playbill image of the clown — leaning on his drum, his right hand clutching a formidable stick, a single painted tear falling from one of his eyes — is pinned by a deeply plunged, blood-releasing dagger. The drawing calls up at once the tragedy of Ruggero Leoncavallo’s familiar opera, but it carries something more: the graphic terror of horror comics.

Welcome to The P. Craig Russell Library of Opera Adaptations, a three-volume collection of the respected graphic illustrator’s takes on operatic stories. Recently reissued by graphic-arts publisher NBM, the books reflect not only Russell’s classic-comic and illustration influences but also his love of story and music. Done over a period of some 30 years, the volumes include, in addition to I Pagliacci, adaptations of Parsifal, Ariane and Bluebeard, and Pelléas et Mélisande, with illustrations of lyrics to songs by Gustav Mahler and Hugo Wolf. One volume is dedicated to Mozart’s The Magic Flute. Volume 3, which includes a Godfather-influenced reading of Mascagni’s Cavalleria Rusticana, sports a cover that shows Salome dancing as a shadowy arm lifts a bloody platter bearing the head of Jochanaan.

Russell, who’s also done a hard-to-find four-volume adaptation of Wagner’s Ring of the Nibelung for Dark Horse comics, credits dual interests in music and drawing for the operatic side of his career. “I was into classical music from kindergarten on,” he told Pasatiempo. “The music was dramatic and wonderful fun. It always

made sense to me. I took piano lessons and checked out all the classical records from the library I could get.” But he wasn’t so much into opera as a kid. “I had two [operatic] records when I was in junior high: Andre Kostelanetz conducting highlights from Aida and Kostelanetz doing orchestral music from Carmen.”

His entry into comic drawing was exceptionally fortuitous. His father, who owned a shoe store in Russell’s hometown of Wellsville, Ohio, needed someone to do an advertisement and heard of an artist that had just moved back from New York. That artist was comic illustrator Dan Adkins, who had worked on the now-classic comics Creepy and Eerie as well as Marvel’s Doctor Strange. Adkins wasn’t interested in doing his father’s advertisement, but was interested to hear that he had a 19-year-old son who was studying art and had 8,000 comics in his attic. Adkins hired Russell as part of his inking and coloring team, promising him he could get him into the Marvel family. In 1976, Russell did his own rendition of Doctor Strange for Marvel after contributing to Marvel’s popular Amazing Adventures series.

While living in New York City in the early 1970s, Russell was approached by a childhood friend, Patrick Mason, now a professor of voice at the University of Colorado in Boulder, with a project. “He’d written an adaptation of Parsifal for comics. I was always looking for a good story to illustrate, and I was listening continued on Page 36

PASATIEMPOMAGAZINE.COM

35

P. Craig Russell, continued from Page 34

P. Craig Russell takes advantage of the graphic format to construct strong, detailed backgrounds for his illustrated opera adaptations.The adaptations are drawn in a finely timed classic style that might be compared to Al Foster’s ‘Prince Valiant.’

to opera. It was a natural thing to do.” Russell’s first opera project benefited from the rise of “ground-level” comics, the independent comics movement that bridged the gap between commercial comic companies including Marvel and DC and the underground, adult comics of the day. One of the leading ground-level publishers, Star*Reach, published Parsifal, and Russell was on his way.

Russell has stayed away from contemporary operas for licensing and copyright reasons. And not all operas, he said, are suitable for graphic-novel adaptation.

“Some operas survive on the beauty of their music. To work as graphic novels they must have good librettos. Some [operas] are just too silly. They have to have something literary to work with, something to play with.” Russell’s adaptations stay generally true to the story lines, though their panel serialization necessitates some liberties with the text. Their staging can be quite a bit more fantastic than what’ what’ss seen in the theater. Russell takes advantage of the graphic format to construct strong, detailed backgrounds. The adaptations are drawn in a finely lined classic style that might be compared to Al Foster’s Prince Valiant Va by some readers. His take on Ariane and Bluebeard,, Paul Dukas’ opera based on a poem

by Maurice Maeterlinck, makes full use of its characters’ symbolic representation, contrasting light and flames with somber shadows. The Clowns (I Pagliacci), done in blackand-white, begins onstage before moving into the world of the opera and then back to the theater. The Godfather’s Cavalleria Rusticana Rusticana) is directly drawn with little Code (Cavalleria background, its emphasis on portraiture. Parsifal and The Magic Flute contain surreal settings and sweeping landscapes that suggest fantasy comics.

Russell acknowledges the Danish illustrator Kay Nielsen, who participated par in the making of Disney’s Fantasia,, as an influence. An even bigger influence was the American artist ar Eyvind Earle, who contributed backgrounds to Disney’s Sleeping Beauty. “I saw that when it first came out, and it had a profound influence on me. It was like a history lesson. Earle’s influence was medieval painting and Persian art, and those square squar trees and sharp angles in [Sleeping [ Beauty’s] ’s] forest for just captured me. I’ve probably consciously tried to draw like him more times than I’ll admit.”

In addition to his occasional work for Marvel and DC — he did Batman: Hothouse in 1992 — Russell is known for his fantasy-based Elric series (based on the tales of English novelist Michael Moorcock), done for a number of publishers, as well as graphic-novel treatments of Oscar Wilde’ lde’s fairy fair tales. More recently he has collaborated with novelist Neil Gaiman on a number of Gaiman’s Sandman stories as well as illustrating Gaiman’s Gaiman’ popular children’s book, Coraline.

He’s He’ just completed the cover for Gaiman’s Murder Mur Mysteries, Mysteries which can be seen at his website, www.artofpcraigrussell.com. In the manner of a true music lover, Russell has given each of his works an opus number, a list starting in 1973 and ending last year with 67 entries. Parsifal is Opus No. 5, “The Godfather’s Code” is Opus No. 58.

Does he still play piano? “It’s my fallback career,” he laughed. ◀ The three volumes of “The P. Craig Russell Library of Opera Adaptations” ar published by NBM. are

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Tonight | FRIDAY, AUGUST 2, 5:30–6:30 PM

Annual Ice Cream Social. Enjoy sumptuous ice cream in the museum’s courtyard. Thanks to Häagen-Dazs on the Plaza for their support of this event. Free.

Gallery Talks | MONDAYS, 12:15 PM

Tour our exhibitions and meet some of New Mexico’s most interesting people. Free with museum admission. AUGUST 5: Robin Farwell Gavin, Senior Curator, Museum of Spanish Colonial Arts.

AUGUST 12: Mary Anne Redding, Chair of the Photography Department at Santa Fe University of Art and Design.

AUGUST 19: John Flax, Founding Artistic Director, Theater Grottesco. AUGUST 26: Santa Fe Mayor David Coss.

Indian Market Weekend | SATURDAY & SUNDAY, AUGUST 17 & 18, 10:30 AM–3:30 PM

“Critical Indigenous Photographic Exchange, 2013.” For the second year in a row, Will Wilson (Diné) will set up a working portrait studio in the East Sculpture Garden of the museum, using an old-fashioned, large-format camera and the historic wet-plate collodion process. The public is invited to observe the artist at work on his CIPX project.

Public Lecture | FRIDAY, AUGUST 23, 5:30–6:30 PM

Video artist Peter Sarkisian talks about his recent exhibition.

Peter Sarkisian is an innovator working at the cutting edge of multimedia art. Juxtaposing projected video and physical objects, his installations explore the intersection of moving image and sculpture. St. Francis Auditorium, free. (Sunday, August 18 is the last day to view the exhibition.)

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PASATIEMPOMAGAZINE.COM

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James M. Keller I The New Mexican

Santa Fe Opera’s 57th season in review All five main-stage productions of Santa Fe Opera’s 2013 season are up and rolling.

The following write-ups are abridged from reviews that appeared in the daily edition of The New Mexican. They can be accessed in their original, complete forms at www.santafenewmexican.com.

In the realm of Gérolstein: La Grande-Duchesse de Gérolstein

he Santa Fe Opera launched its 57th season transporting its audience to a madcap realm where political foibles and military militar scheming are engulfed in a swirl of silliness. On offer of is Jacques Offenbach’s La Grande-Duchesse de Gérolstein, directed di

by Lee Blakeley in an energetic, colorful production that lets the piece wend along its farcical path without trying to invest it with any deep meaning, thank you.

A Grand Duchess with an unbridled sex drive takes an unseemly interest in her military cadets and particularly Private Fritz, whom she courts by promoting him rapidly up the ranks until he displaces even her commander-in-chief, General Boum. When clueless Fritz proceeds to marry his sweetheart, Wanda, the Grand Duchess plots to have him bumped off by the unholy trinity of Boum, her aide Baron Puck, and her suitor, Prince Paul; but she settles for just demoting him instead and resigns herself to marrying Prince Paul because, as she muses, “When you can’t have what you love, you must love what you have.”

It’s a slender plot to spin out over three acts, but the Offenbachian point of view is that it’s all right as long as you eke out the evening with an abundance of can-cans in which comely dancing girls display ankles, calves, thighs, and acres of frilly undergarments; so that’s the game plan, and the piece has an accordingly miscellaneous feel. Adrian Linford’s classic, stately sets (lit effectively by Rick Fisher) allow plenty of open space for action. Jo van Schuppen’s splendid costumes fill those spaces with colorful elegance and yards of military braid, and choreographer Peggy Hickey makes them vibrant with copious choreography that the cast realizes with bounding élan. Spoken dialogue is delivered in English, but the original French text is retained for sung sections. The flow back and forth is accomplished seamlessly thanks to the performers’ tasteful reluctance to overenunciate in either language.

Heading the cast is mezzo-soprano Susan Graham, an international star at the top of her game, in her first-ever portrayal of the Grand Duchess. This operetta is 38

PASATIEMPO I August 2 - 8, 2013

less a vocal showpiece than a spectacle, but she plumbs the score with authority.

Her stylish rendition of the Act 2 aria “Dites-lui” was the musical high point of the production, displaying a broad dynamic spectrum, expressive articulation, and a spectacular voice that is velvety and penetrating.

Fritz is played by Paul Appleby, whose small but remarkably appealing voice is focused, supple, and sweet as a ripe peach. Soprano Anya Matanoviˇc is an earnest, pure-toned Wanda, and bass Kevin Burdette is an amusingly browbeaten Boum.

Baritone Jonathan Michie serves up an oily Prince Paul, and he gets the production’s most outrageous costume: a pink spangled suit and matching pumps that make him a queenly prince indeed. Tenor Aaron Pegram is burdened with one of the production’s few directorial missteps, being made to whine in a Southern accent that seems out of place in these surroundings. The apprentice singers are as strong as ever, as evidenced by an Act 2 chorus of young women reading letters from their soldier-boyfriends and a wonderfully executed domino-topple of cadets at the end of the Grand Duchess’s famous aria “Ah! Que j’aime les militaires.”

Conductor Emmanuel Villaume led a forthright reading that too often drowned out the singers and, on opening night, left many delicacies unaddressed.

Marriage à la mode: Le nozze di Figaro

udience members were greeted by a familiar sight as they took their seats for the first performance of Mozart’s Le nozze di Figaro: a stage studded with blooming stems that represent the garden in which the work’s machinations would conclude four acts later. This is the same production the company of ed in 2008, created offer offered eated by director Jonathan Kent, but for its revival it has been subtly transformed and improved by Bruce Donnell.

It was a good production to begin with, elegantly conceived in 1780s style. Paul Brown’s sets include paneled rooms for much of the coming and going and, for the Countess’ boudoir, a room dense with dark-silver rococo filigree. Brown’s period costumes make everyone look like they’ve stepped out of a painting by Greuze, and Duane Schuler’s lighting trains the eye on what might otherwise be overlooked.

Nonetheless, some conceptions in the original production begged to be cleaned up. The most egregious error in 2008 involved the Countess, who had been made to behave despondently in Act 2. Donnell has rectified that, and she now

commands the audience’s respect with far greater dignity — a woman demeaned by her husband, but who has fully assumed the nobility that came with her now-unhappy marriage.

Musical standards are high. Conductor John Nelson elicits careful balances from his orchestra and paces the musical paragraphs to clarify the theatrical momentum and Mozart’s musical architecture. The casting of the singers is inspired. Every member of this handsome assemblage fits into the action with absolute credibility, each bringing substantial vocal and dramatic gifts to bear.

You have to love them all, but let’s start with Susanna, first of all acknowledging that it is such a demanding role and then applauding pert, fresh-toned soprano Lisette Oropesa, who made everyone fall in love with her right from the outset. Nothing in the evening surpassed her rendition of “Deh vieni, non tardar” in Act 4, in which she spun strands of magic in the evening air. But you can’t have her — and neither can the Count, which is the conflict that motivates the whole opera. No, her heart belongs to Figaro; and who can blame her, since Zachary Nelson infused that endearing character with a similar measure of charm and allure, not to mention a warmly enveloping baritone.

The Count and Countess, bass-baritone Daniel Okulitch and soprano Susanna Phillips (reprising her role from 2008), made a believable, imposingly tall couple. Okulitch sang with vocal authority that underscored his self-assurance as a character accustomed to getting his way. Phillips took a while to settle in, as Countesses often do, but she arrived at a firm, full-throated performance. Her voice has been evolving impressively in recent years, and one senses that she may be on the verge of the vocal luxuriance that has marked the most memorable Countesses over the years.

Mezzo-soprano Emily Fons was a worthy Cherubino, remarkably boyish in her bearing, and soprano Rachel Hall, an apprentice, made an alluring, devious Barbarina. Keith Jameson was right on the mark as Don Basilio, as he seems to be in every character role he touches. But let us not overlook the pair who are sometimes discounted in this opera, Doctor Bartolo and Marcellina. Bass-baritone Dale Travis was amusingly pompous, but if you want a graduate seminar in operatic stage artistry, I suggest you keep your eyes trained on mezzo-soprano Susanne Mentzer. Formerly a distinguished Cherubino, she has graduated to the matronly role of housekeeper (and, it is revealed, Figaro’s mother) and turned the part into a model of comic portrayal without upstaging her colleagues. One might take exception to details here and there. I was unconvinced by exaggerated rubatos that occasionally stretched instrumental and vocal phrases. I wish more suspense had been built into the moment when the Countess pardons her errant husband. We know she will forgive him, but he has reason to assume the opposite, having just been caught wooing the woman he takes to be Susanna. His redemption would seem sweeter if he sweated a moment longer.

Le nozze di Figaro is my favorite of all operas, and I have seen it more often than any other, but a good production can still disclose new ideas. In this production I heard something I had not encountered before. In the Act 3 duet “Canzonetta sull’aria,” the Countess dictates to Susanna a letter that launches their entrapment of the Count. It is one of the loveliest expanses ever put on paper, and a musician’s

Anya Matanoviˇ c, Paul Appleby, and Susan Graham in La Grande-Duchesse de Gérolstein; photos by Ken Howard, courtesy Santa Fe Opera

Lisette Oropesa, Daniel Okulitch, and Emily Fons in Le nozze di Figaro

natural response is simply to bask in its beauty. Phillips and Oropesa, however, took an emotional turn as it unrolled, and the atmosphere shifted from delight to regret. Right they were; they may be embarking on some exhilarating mischief, but the subject is really a failed marriage. The greatest classics earn their status because they keep revealing their secrets. continued on Page 40 PASATIEMPOMAGAZINE.COM

39

Two tenors braved the Rossinian stratosphere. Lawrence Brownlee, as Uberto/ Giacomo, does not posses a particularly ringing or extroverted voice, but his work was elegantly crafted, refined in delivery, subtle in some of its delicacies.

His tight vibrato could sometimes tend toward a bleating quality, as it did in his aria “O fiamma soave,” but I found him on the whole a pleasure to hear, and he proved a worthy partner to DiDonato in their duets. René Barbera, as Rodrigo, hit top-of-range pitches securely and embraced his rapid scales with gusto.

Still to work on: tempering a tone that can be piercingly strident and developing the bottom few notes of his range, which did not serve him adequately at the opening performance.

There are very few bel canto basses out there, and Wayne Tigges, not being among them, did not bring the requisite skills to his portrayal of Duglas. In the small roles, rendered by company apprentices, tenor David Blalock made a fine impression as the royal servant Bertram, and soprano Lucy Sauter (Elena’s confidante) and tenor Joshua Dennis (Duglas’ servant) presented their parts capably.

Conductor Stephen Lord elicited from the orchestra precise playing that always supported the singers.

There’s not much to be said about the joyless production, which is directed unimaginatively by Paul Curran, with sets and costumes by Kevin Knight and lighting by Duane Schuler. The final scene suddenly pops to life; courtiers wear handsome outfits and the lighting shimmers with gold as Elena is ushered into the palace of Giacomo V, where she recognizes him as her erstwhile suitor. But it’s a long, dark wait until we get there.

the opera is Alfredo’s memory of what has happened. That’s the last we see of that notion, but it’s not the last we see of the blocks, which serve as platforms over which characters bound and pose in ensuing scenes. The pantomime gives way to the festive gathering in Violetta’s home, where partygoers navigate the set tightly for a while before becoming more dispersed among and atop the blocks. (Later in the opera, crowds sometimes dance and sway distractingly, for no apparent reason.)

Violetta would seem a stronger character if she were not directed to behave like a floozy, as she is here, swigging Champagne from a bottle and striking supine poses with legs flailing in the air. The prima donna assoluta of this show is the flamboyant Hollywood-cerise gown Violetta wears in Act 1, curiously conceived to seem something a marionette would be more likely to wear than a person. The dress rather upstaged her during the daunting aria “Sempre libera,” but if attendees focus on her singing, they will surely admire her virtuosic delivery, which is filled with spot-on pitches and precisely modulated coloratura.

Verdi follows this (in the opening of Act 2, Scene 1, set in Violetta’s country house) with a corresponding solo turn for Alfredo, a soliloquy that includes his aria “Dei miei bollenti spiriti,” which Fabiano rendered with winning exuberance. Pelly, however, has mucked up the dramatic balance by having Violetta present, running about playing a game of hide-and-seek in which Alfredo seems hardly interested.

In principle, the pinnacle of this scene follows when Giorgio Germont, Alfredo’s father, confronts Violetta and convinces her to break up with his son. Although no characters had shown much emotional connection to one another up to that point, the affective temperature took a plunge here. Opera aficionados speak of

Immortal beloved: La traviata

Joyce DiDonato in La donna del lago

Opera redux, continued from Page 39

Highland fling: La donna del lago

ioachino Rossini’s La donna del lago, a two-act opera based on Sir Walter Scott’s poetical epic The Lady of the Lake, enjoyed widespread popularity for several decades following its premiere in 1819, but after that the world tucked it in for a century-long nap. Since its modern revival in 1958, it has been presented esented by various companies, and in the past few years a small handful of productions have starred American mezzo-soprano Joyce DiDonato in the demanding title role of Elena, the part she upholds with impressive aplomb in the Santa Fe Opera production.

The piece requires singers skilled in the strenuous demands of bel canto vocal style, artists who can negotiate rapid figuration by the furlong, passing seamlessly from their highest notes to their lowest and vice-versa (dauntingly difficult), apportioning the countless tiny notes of these roulades to clarify an overarching phrase.

DiDonato did not sing a measure all evening that failed to proclaim mastery of this style. From the very opening notes of her entrance aria, “O, mattutini albori!” she rendered everything with complete security. Her entrance was simple but visually striking. The open-air stage back allowed a passing breeze to tousle her tresses, and her unaffected bearing clarified the production’s naturalistic aspirations. DiDonato 40

PASATIEMPO I August 2 - 8, 2013

offered everything opera aficionados have grown to expect of her, her voice proving rich but never heavy, her broad dynamic range projecting clearly even when soft, and her stamina seeing her through with unwavering security to her dazzling rondo-finale, the famous “Tanti affetti,” in which she sang some superbly executed trills — something we rarely hear.

Three men vie for Elena’s hand: the hunter Uberto, later revealed to be the king, Giacomo V, in disguise; Malcom Groeme, Elena’s existing boyfriend; and the highland chief Rodrigo di Dhu, whom Elena’s father, Duglas d’Angus, wants her to marry. Complicating the matter is that Duglas and Rodrigo have fomented a rebellion against the king, and Malcom signs on as their ally, all of which places Elena at the center of a politically perilous situation.

The rest of the cast did not quite rival DiDonato, but some did very well, generally better in some elements of their interpretation than in others. Malcom is portrayed by the Italian mezzo-soprano Marianna Pizzolato, whose impressive singing justified the strong reputation she has been gaining in international bel canto circles. Her Act 2 cabaletta “Che sento!” sparkled with crystal-clear figuration at jaw-dropping velocity. The nature of her voice supported the part, her dusky, almost contralto-like timbre contrasting with DiDonato’s more forward lucidity.

Her stage portrayal was less convincing. She has her work cut out for her; it takes a leap of faith to accept a mezzo-soprano swathed in plaid and wearing a skirt (oh, all right, a kilt) as a male love interest, but even at that her bearing always tended toward the matronly rather than the manly.

a traviata returned to Santa Fe Opera in a performance underpinned by strong musical contributions from three of its participants, all of them appearing in their company debuts. Two Americans proved laudable in their roles as the lovers whose love must not be: as the courtesan Violetta Valéry, soprano Brenda Rae, whose engaging voice and scrupulously constructed technique propelled her through a role that has sunk many a contender; and, as Alfredo Germont, tenor Michael Fabiano, whose virile, warmhued instrument draws together tonal richness and dramatic edge even though it still floats buoyantly in the late springtime of its development. The third worthy of the evening was the gentleman in the pit, the British conductor Leo Hussain, who paced Verdi’s evergreen score intelligently, inserted a few uncommon ideas into the phrasing, and often elicited nuanced playing from the orchestra.

The production is a revival of a staging unveiled here in 2009 by director Laurent Pelly (who also designed the costumes), with sets by Chantal Thomas and lighting by Duane Schuler. It sometimes proved visually striking, but when all is weighed in the balance, the presentation seemed devised more to realize the goals of the director’s sketchbook than to expose the passionate heart of Verdi’s opera.

I am not a fan of filling opera overtures and preludes with staged pantomime. Nonetheless, I found this to be the most effective expanse of the entire production in terms of the cast’s interaction with the set. About 20 large, granitic blocks are arranged at different heights across the stage. When a funeral procession winds through, the blocks convincingly evoked a Parisian cemetery with characteristic aboveground sarcophagi. As Alfredo weeps from afar, we understand that Violetta is inside the coffin and that continued on Page 42

Michael Fabiano and Brenda Rae in La traviata

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going. “Oscar himself was prosecuted by the Crown for ‘gross indecency’ and found guilty,” Whitman states up front — after which the act moves back a step to the run-up to that event, and then the action plays out exactly as we have been told it will. This is not a unique example of how the libretto manages to eviscerate what is already only marginally dramatic.

Perhaps the creators viewed the crux to be how Wilde’s inner character is transformed by the brutality he encountered in prison — how he gained humanity.

But, in countertenor David Daniels’ portrayal, Wilde merely advances from being sad at the beginning to being sadder in prison. One witnesses no sweeping transformation. Why, one wonders, did the story not begin with a scene in which a flamboyant Wilde might hurl bolts of brilliant banter into an adoring entourage?

At least that would have highlighted the degree to which prison would break his spirit. Instead, his legendary witticisms are scattered frugally here and there, often landing with a thud, and since they appear both before and during his incarceration, their presence or absence David Daniels, Heidi Stober, and William Burden in Oscar do not betoken any profound change of character.

Bosie appears as a vision and is portrayed by dancer Reed Luplau, who also resurfaces in several other roles to which he is melded in Opera redux, continued from Page 41 Wilde’s imagination. It’s an ambitious idea that would be difficult for any composer the “Verdi baritone” as a vocal type that excels in delivering sustained, high-lying to realize effectively, let alone one writing his first opera, which is the case with phrases with a resplendent tone enriched by squillo, the bright edge that results Oscar. Here it seems precious. So does the idea of having Whitman speak a few when a singer infuses his sound with abundant high overtones. Roland Wood, who brief sections as if in a stage play, rather than sing them — passages that made the portrayed Germont père, is not a Verdi baritone thus defined. He is, in contrast, a score sound unfinished. Such departures from standard operatic procedure did not baritone of a supremely English sort who would probably be more in his element succeed in enlarging the expressive palette. singing “On the Road to Mandalay” than “Pura siccome un angelo.” Effortful vocal Morrison has provided a reactionary and sentimental score. Notwithstanding production that emphasized the periphery of his vibrato rather than the center of momentary bites of bitonality, an infusion of harmonic sevenths, and patterns that his pitches combined with a cardboard bearing and a profoundly unconvincing trace whole tones, it resides mostly in a space between Benjamin Britten’s Peter beard to undercut the power of this seminal scene. Then, too, the set did its best Grimes and Aaron Copland’s The Tender Land. Words are occasionally infused with to keep the counterpoised characters apart rather than bring them together — a madrigalesque depiction (“rowdiness,” “endless,” “bright”), apparently to provide dynamic the stage arrangement enforced throughout the piece. outlets for Daniels’ impressive ability as a coloratura singer. The composition does After intermission, the “casino” scene in the townhouse of Violetta’s friend Flora not lack skill as it moves through its succession of set pieces, but it didn’t fill its flowed with welcome swiftness. The formally costumed denizens of the salon, two hours and 20 minutes with musical momentum or cohesion. The orchestration illuminated by high-contrast, expressionist lighting, looked good posing on the sounded disjointed and not organic, often seeming a dutiful enlargement of music set’s blocks, suggesting mobile sculptures in a mechanized waxworks. The most that had been conceived at the piano. Conductor Evan Rogister approached the involving expanse of the evening came in the last act, when Rae sang “Addio del score with respect and a sure hand. passato” with carefully calibrated dynamics and heart-rending poignancy. It is, tellSurely this opera will never receive a finer performance than it did here. Daniels ingly, a solo scene. Although this production does have visual appeal, its physical possesses a truly attractive, well-modulated voice, and so does baritone Dwayne aspects inhibit the emotional connections that Verdi’s opera goes to such lengths Croft, who portrays Whitman. In the dancing roles, Laplau was fluid but not emoto establish, and the evening’s most dramatically convincing segments are therefore tionally incisive. The other two principal roles are ancillary in terms of the drama, achieved by characters in moments of isolation. but in both cases the singers acquitted themselves splendidly. Soprano Heidi Stober, as Wilde’s friend Ada Leverson, impresses more and more with each new role; here she proved a natural actress and supported her interpretation with a richly rounded tone that suggested greater depth than we encounter in the soubrettish parts in which she often appears. Tenor William Burden, as friend Frank Harris, brought n July 27, Santa Fe Opera offered the world premiere of Oscar, his accustomed vocal security — rich lyric tone with an urgent dramatic edge — to a two-act work by composer Theodore Morrison, who penned his rock-solid interpretation. Bass Kevin Burdette portrayed both a trial judge and a the libretto jointly with the British opera director John Cox. prison warden who is said to be sadistic but was rendered here with little relish.

Oscar Wilde’s caustic wit made him a darling of lateThe production, directed by Kevin Newbury, is quite lavish by house standards.

Victorian salon society, but this opera focuses instead on the David Korins’ handsome sets, lit by Rick Fisher, include a Victorian brick and ironlow point of his life. Manipulated by his boyfriend, Bosie, into suing Bosie’s father for work structure (for the prison) and a lovely interior room (a nursery) in Leverson’s libel (the father had asserted publicly that Oscar and Bosie were lovers), Wilde not home. That nursery is the setting for the work’s most unanticipated scene, in which only lost that case but was then found guilty of gross indecency and cast into two children’s toys — rocking horse, teddy bear, jack-in-the-box, clowns galore — come years’ brutal confinement at Reading Gaol. It is a heart-rending chapter of Wilde’s alive to act out the trial. Costume designer David C. Woolard went the whole nine biography that depicts a life going down the drain, but deprived of invigorating yards here, as brightly bedecked denizens of the crammed courtroom engaged in personal conflicts or any departure from the inevitable, the work lacks a dramatic much zaniness before declaring Wilde guilty and breaking into a rousing chorus arc that might sustain it as a full-length opera. One senses that the creators realized of “Rule, Britannia!” On one hand, I found it jarring compared to the rest of the this when they decided to superimpose an unrelated character, the American poet staging. On the other, it did show bravery of conception that was largely lacking in Walt Whitman, who observes the action as an outsider. He introduces the tale the rest of the evening. ◀ at the outset, strolls in to comment on the situations as they unroll, and ushers Wilde into the realm of immortality at the end. This device is useful to the extent The Santa Fe Opera season continues through Aug. 24. Call 986-5900 or visit www. that it efficiently fills in some back story, but it also gives away where the drama is santafeopera.org.

Singin’ them prison blues: Oscar

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PASATIEMPO I August 2 - 8, 2013

Symphony

the

anta fe

...bringing great music to life ™

SHOWCASE OF THE STARS Sun., September 8, 4:00 pm AT THE LENSIC

Saturday & Sunday August 3-4, 2013 10am-4pm

Liszt, Hungarian Rhapsody Rachmaninov, Piano Concerto No. 3 Saint-Saëns, Introduction and Rondo Capriccioso Saint-Saëns, Havanaise Sarasate, Zigeunerweisen

Featuring the Peruvian Paso Horses of La Estancia Alegre

VADYM KHOLODENKO Piano Gold Medalist of the 2013 Van Cliburn International Piano Competition

Bring the family out to meet the colorful characters who put the “Wild” in “Wild West”!

Watch Peruvian Paso horse shows at 11 and 2 both days and a Morgan horse demo on Sunday Try flint knapping, hide tanning, archery and other hands-on activities!

Meet Sheriff Pat Garrett and hear fascinating talks about NM lawman Elfego Baca and Territorial justice Enjoy wagon rides, an old west gun fight and hanging, crafts for kids and Territorial music

CHEE-YUN Violin “This is a talented instrumentalist, with the kind of high-gloss tone that pulls sensuously at the listener’s ear.” —New York Times

Meet author Margaret Moore Booker, who will sign her new book “Southwest Art Defined” And much more! All in the setting of a 200-acre Spanish ranch and living history museum with 34 buildings, agricultural fields & costumed villagers!

Adults: $8 Seniors (62+), Teens (13-18): $5 Children 12 & Under: Always Free!

Just south of Santa Fe at 334 Los Pinos Rd. I-25 Exit 276, follow “Las Golondrinas” signs. For more info and a schedule: 505-471-2261 or golondrinas.org

Programs funded in part by Santa Fe Arts Commission and the 1% Lodgers Tax, The Santa Fe County Lodgers’ Tax Advisory Board, New Mexico Arts, New Mexico Humanities Council and New Mexico Tourism Department

BENJAMIN ROUS Conductor 2013 Fellow of the Bruno Walter National Conductor Showcase

Call 505-983-1414 www.santafesymphony.org

Underwritten by eddie & Peaches Gilbert PASATIEMPOMAGAZINE.COM

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Bill Kohlhaase I The New Mexican

Tell

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Tale

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PASATIEMPO I August 2 - 8, 2013

Jane Phillips/The New Mexican

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Soprano Christine Brewer sings from experience

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hristine Brewer has stories to tell and not just her own. Yet her experience often intersects with the telling. As the soprano explained what’s behind Richard Wagner’s Wesendonck Lieder — how the lyrics came from poems written by Mathilde Wesendonck, the wife of Wagner’s patron Otto Wesendonck and how the passion in those poems suggests something more than artistic admiration between the composer and the poet — she recalled her own verse. “They’re like the poems I wrote in college — the lovesick kind of stuff,” she said on the phone from Pennsylvania, where she was appearing at the Shippensburg Symphony Festival. “There’s an intensity about them; you can sense the passion. But they’re not Shakespeare.” She told how Wagner kept two notebooks as he simultaneously wrote Tristan und Isolde and the Wesendonck Lieder, going back and forth between them as one inspired the other. She explained how this information affects her craft. “You’ll hear something in the third act of Tristan that’s right out of the Lieder. And you have to wonder which came first, the Lieder or Tristan? How did all that passion in [Wesendonck’s] poetry affect Tristan? You have to imagine the romantic intrigue between [Wagner and Wesendonck], how inappropriate, how dangerous that would have been.”

Knowing a song’s background and enlivening it with one’s own experience, she said, is what makes a singer’s work convincing and, occasionally, risky.

“It can be exhausting to go to a place that is painful or to sing things that might make you cry or laugh; it can be tough to share those emotions with a lot of people. But if you don’t, you don’t get the full performance.”

Brewer performs the Wesendonck Lieder and Benjamin Britten’s Cabaret Songs when she appears in a recital on Sunday, Aug. 4, at the Lensic Performing Arts Center, accompanied by Santa Fe Concert Association artistic director Joseph Illick. The selections will be familiar to those who’ve heard Brewer’s 2008 album Songs of Wagner, Wolf, Britten, and John Carter, a recital recorded live at London’s Wigmore Hall. “Recitals are pure storytelling,” Brewer said.

“I tell young singers, the apprentices I work with, that I learned to sing opera by singing recitals. They’re more challenging than being part of a production.

It’s just you and the pianist. You don’t get a break while someone else is singing, while you’re off stage having a smoke. (I don’t smoke!) There’s no time to anticipate what you do next. You’re without a costume or a set or the support of other characters or a stage structure. To tell the story you have to dig into yourself. It’s your life experience that strengthens the story as you sing. You get to be the director; you get to paint the picture for us.”

Examining the lyrics and getting beyond their literal meanings can add nuance to a performance, she said. Sometimes, what’s hinted at between the lines is important to her approach. “I find something in the piece, some reading of it, some interpretation, and try to stress that.” Brewer gave an example from one of the Britten numbers she’ll present, its lyrics written by poet W.H. Auden. “In one of the Cabaret Songs, the singer says, Tell me the truth about love; where you can find it? She’s a young woman and wants to know why love is so important. I realized after thinking about the lyric that where she’s looked for love — in the chicken run, under the bed — are places where she’s made love, but she hasn’t found it that way. It gives the piece a more comical edge.”

Breath, its control, its timing, is as important to storytelling as it is to singing. And here is where the two crafts seem almost interchangeable. “When I’m telling you a story, I’m breathing differently. Breath always plays a role; it’s part of the drama. By the way I’m breathing you should be able to tell the tone of what I’m going to say before I say it. It’s like telling a story to kids, putting them on the edge of their seats, just by the way you draw a breath.”

Brewer said she’s a big proponent of singing in one’s native language and that she always tries to sing something in English during recitals. “I know what

the German is and what the words mean. But there’s something about singing in the mother tongue that is magical. It comes from a place that’s deeper than you think. Something about it makes it more honest and authentic and comes closer to your own life experience. It’s easier to take risks and to be vulnerable when singing in one’s own language. For me, it makes a connection to my mother and my grandmother singing folk songs. I can hear their words.”

Brewer’s story — how a young woman from the Mississippi River town of Grand Tower, Illinois, became one of the opera world’s most recognized sopranos — often finds its way into explanations of her craft. She laughed when explaining that she came from a family of storytellers but that the stories were mostly lies. Singing was a family activity while she was growing up, and Brewer coerced her younger brothers to participate in the living-room musicals she staged. Her mother sang at the local church and performed gospel and jazz at different functions. Brewer studied violin as a child and earned a degree in music education from McKendree University in Lebanon, Illinois. As a student, she was inspired by Eileen Farrell during a performance the soprano sang with the St. Louis Symphony. “She didn’t stand in front of the orchestra but stood back by the horns right in the middle of it, and her voice just soared over that orchestra. I was back in the cheap seats, and her voice just sailed out to me. I was so impressed.”

Before graduating, she auditioned for the St. Louis Symphony Chorus and was made a section leader. Her first opera appearance was in the chorus of John Gay’s The Beggar’s Opera in the Opera Theatre of Saint Louis’ 1982 production. Her first lead also came in St. Louis, as Ellen Orford in Britten’s Peter Grimes. In 1989, she took a master class from dramatic soprano Birgit Nilsson and was invited to Germany to study with Nilsson for six weeks.

That was also the year Brewer was a Metropolitan Opera National Council Audition winner. Brewer made her Met debut as the lead in Richard Strauss’ Ariadne auf Naxos in 2003, a role she first performed in Santa Fe in the summer of 1999.

Brewer admitted that she turned down roles to spend time with her young daughter during the school year, accepting work only in the summer when her daughter could travel with her. “I have a lot of empathy for women today who are trying to hold it together while raising kids and pursuing whatever profession they’re in. Really, most women have to work because of the economy; most families have to have two incomes. Sometimes I felt women who chose to stay home with their children weren’t as supportive of me as I might have liked. Maybe I was feeling some guilt when I would take [my daughter] along with me. She practically grew up in Covent Garden. Was it the best way to be a mother? All I know is that she has become a successful, independent woman.”

Brewer is looking forward to working with Illick, someone she hasn’t worked with before. “I’m so much about the text, about the setting and the story. I want an accompanist who loves the songs themselves and has a strong point of view. It’s great to have an accompanist who will collaborate, who you can pass around ideas with. When I work with somebody and they can anticipate when I’m going to take a breath that I didn’t take in rehearsal, that sort of mental awareness, that’s what makes me happy.” ◀

details ▼ Christine Brewer in recital, presented by Santa Fe Opera ▼ 4 p.m. Sunday, Aug. 4 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $25-$50; 988-1234, www.ticketssantafe.org

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Bill Kohlhaase I The New Mexican

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Keyboard

Jane Phillips/The New Mexican

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clairvoyance Conductor, composer, and pianist Joseph Illick

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hen Joseph Illick sits down at the piano Sunday, Aug. 4, to accompany soprano Christine Brewer, he’ll attempt to read her mind. “One can play the piano well but not be a good accompanist,” Illick said. “The basic skill requirement is telepathy. Somehow I know how to enter into the mind of those I’m accompanying. My role is to sense something that’s really never been rehearsed, never performed exactly that way before. What we are doing is conducting very intimate communication in front of hundreds of people. The audience is there to experience something immediate, and it’s a superb experience when we can communicate in a way that seems spontaneous.”

Illick has vast experience working with soloists. As a composition and piano student at London’s Royal College of Music, he found that the best way to spend more time with faculty was to do as much accompaniment as possible. “I was exposed to players from the London Symphony, various chamber groups. There were five professional orchestras in London then, and there was always some great symphonic concert to go to. It was a golden time.” His first professional job as an accompanist didn’t, in his estimation, go well. “It was a well-known German soloist, and I was playing the aria from Strauss’ Ariadne auf Naxos. I thought, Oh my God, I’ll never get hired back. Here was this incredible voice, and I’d just been swept away. I was barely doing a reasonable facsimile of playing the piano.” The Aug. 4 recital is the first time he’s teamed with Brewer. “It’s our birthday celebration for Wagner and Britten [2013 marks Wagner’s 200th and Britten’s 100th]. And I have to say, nobody can touch her on this repertoire.”

Illick has come a long way since his childhood days in San Francisco, when he would sneak next door to play the neighbor’s dilapidated upright. That’s the instrument on which he first started composing.

“That piano engaged some language that I hadn’t spoken before. It activated this particular lobe in my brain. Different people hear music differently, some driven by color or rhythm and melody. But for me it was a kind of semantics. I was making sense out of the music in a linguistic sense.” His parents, sensing his interest, found him a teacher and bought a piano. “One of those uprights that you find in church basements. It barely qualified as a piano.”

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PASATIEMPO I August 2 - 8, 2013

Accompanist, of course, is only one of the roles the energetic Illick plays (he also performs Franz Liszt’s piano transcription of “Liebestod” from Wagner’s Tristan und Isolde at the Brewer recital). He spent three years out of college conducting the Vienna Chamber Opera and has been on the podium for the Greater Miami Opera (now Florida Grand Opera), Opera Theater of Pittsburgh, and the Lyric Opera of Kansas City, among others. He’s been artistic director and principal conductor of Fort Worth Opera since 2002 and was named executive and artistic director of Santa Fe Concert Association in 2008. “Since then, we’ve started an endowment, expanded our educational programs, increased the number and scope of our performances, and expanded into new venues,” he explained. With the appointment earlier this month of Richard Lane as SFCA’s executive director, Illick will have more time for music even as he retains the position of artistic director. “The administrative work had grown beyond what I could handle by myself. This will allow me to do what I want to do on the artistic side, and hopefully do it well.”

Composing is part of that. He’s currently working on two different operas.

“One is based on a Japanese fairy tale that’s about love and sacrifice and magic. It’s a beautiful story. The other is more ambitious, a piece about science and God that spans some four centuries. It’s very inspiring.”

Another of Illick’s talents is as a lecturer. While he’s known locally for his “Notes on Music” talks held at the United Church of Santa Fe as part of the concert association’s season, he has also spoken across the country and in Europe on the craft and joys of classical music. “I was asked to teach the staff about Wagner’s Ring when we were first performing it with the Greater Miami Opera. And it turned into a weekly event. Then it was suggested that we invite the patrons to the talks, and it became so popular that it’s something I’ve just continued to do. To me, classical music seems a familiar language, but it can be daunting to some people. I try to take away the mystery — not the magic but the puzzlement those people have, what they can’t access in the music.” It’s almost as if he can read our minds. ◀ Joseph Illick accompanies soprano Christine Brewer in a Sunday, Aug. 4, concert at the Lensic Performing Arts Center (211 W. San Francisco St.; 988-1234).

23rd Annual Benefit

Navajo Rug Auction saturday, August 3, 2013 in the courtyard of the Palace of the Governors santa fe, New Mexico

Preview 9–11am Auction 11am ‘Til all the rugs are sold

Bid Cards are just $5. Admission is Free.

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Love’s Last Hope Verdi’s imaginative and tender depiction of love in its many forms is brilliantly illuminated by director and designer Laurent Pelly. The realities behind the gorgeous facade of 19th-Century Parisian culture are vividly portrayed in this touching production.

Enjoy some of the most famous music in all of opera as Brenda Rae and Michael Fabiano deliver youthful glamour and excitement through Verdi’s exquisite melodies. British maestro Leo Hussain conducts.

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47

Michael Abatemarco I The New Mexican

The lasT

poTTery show Touching Stone’s Two Generations of Master Tanba Pottery

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PASATIEMPO I August 2 - 8, 2013

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he’s a calligrapher and he’s a photographer and — this might come as a surprise — both are microbiologists. For the past 14 years Akiko Hirano and Tim Wong, owners of Touching Stone, have promoted traditional and contemporary Japanese ceramics and sumi-e paintings at their gallery on Old Santa Fe Trail. They met as scientists working in the department of microbiology at the University of Washington School of Medicine in the 1990s, married, and opened Touching Stone in 1999.

Now celebrating their 100th (and final) show, Hirano and Wong are poised to retire from the gallery business in December. The final exhibition, Nishihata: Two Generations of Master Tanba Pottery, is the gallery’s fifth for ceramist Tadashi Nishihata and the first for his daughter Haruna Nishihata.

The village of Tachikui, known historically as Tanba (also called Tamba) lies in Japan’s Hyogo prefecture. Tachikui is among the nation’s six oldest pottery centers. There, roughly 60 family-run kilns have kept Tanba wares alive for hundreds of years. Often, master potters pass on their knowledge to younger generations. Tadashi Nishihata’s forebears include potters.

In 2001, he recreated an early Edo-period (1603-1867) red glaze called akadobe-yu — the technique for producing this finish had been lost for centuries. “I have been interested in akadobe-yu since I started working on pottery,” Nishihata told Pasatiempo. “I saw the distinctive akadobe red on old Tanba ware, and I wanted to get the same color. But there is no record of how it was made. Basically I experimented by trial and error for a long time, using old Tanba ware still in existence and some old maps from the Edo period that showed clay harvesting locations as references.”

Tanba wares were traditionally functional, and the region is known for its historic sake bottles. Although many contemporary Tanba ceramists continue to make functional wares, their designs have incorporated a modernist aesthetic, sometimes drawing more comparison to sculpture than to vessel forms. Nishihata’s pieces include traditional tea-ceremony bowls and vases and have an organic feel. The ash-glaze of his wood-fired ceramics mesh with the rough clay to create a variable surface, smooth and textured. Striated lines cover some wares, giving them a faceted appearance. The angular designs on the surface complement the roundness of the overall forms. Adorning several of the pieces on view is Nishihata’s signature hai-yu finish, a white glaze with a hint of blue he invented by mixing wood ash with the ash of the rice plant. The glaze stands as one of his innovations in the Tanba tradition. “My hai-yu glaze is inspired by natural scenery. You can visualize beautiful scenery — streams running among rocks down a mountain, cedar trees covered by fresh snow, waves rushing against the shore, etc.”

After Nishihata’s 2010 exhibition at Touching Stone, his son, Taibi, had a stroke and died young. Nishihata stopped producing new pieces. It was continued on Page 50

Tadashi Nishihata: vase with hai-yu glaze, 2013 Top left: wood-fired ceramic vase with akadobe-yu finish, 2013 Opposite page, Haruna Nishihata: Gold Fish, 2013, polychrome covered bowl

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museum of indian arts & culture

indian market week the CURATORS Get a rare behindBREAKFAST with

the-scene peek of Native American art with the Museum of Indian Arts & Culture’s annual Breakfast with the Curators. This series of four breakfasts paired with talks, tours, and artists presentations is an exciting opportunity to meet artists, curators, and scholars in an informal setting.

??????????????????????????????????????????????? Haruna Nishihata Haruna Nishihata: Wild Roses and Rabbit, 2013, polychrome ceramic platter

Turquoise, Water, Sky 8.9.13 Maxine McBrinn, MIAC Curator of Archaeology, guides a behind the scenes preview of our upcoming exhibition Turquoise, Water, Sky opening in April of 2014.

Touching Stone, continued from Page 49

NextGen SWAIA: Approaching the Next Century 8.13.13 John Torres-Nez, Chief Operating Officer of SWAIA Santa Fe Indian Market speaks on NextGen SWAIA: Approaching the Next Century.

Virgil Ortiz: eVolution 8.16.13 Cutting edge artist, Virgil Ortiz, combines art, décor, fashion, video and film, featured in the MIAC exhibition What’s New In New: Recent Acquisitions, presents a look at his eVOlution as an artist.

Heartbeat: Music of the Native Southwest 8.23.13 Tony Chavarria, MIAC Curator of Ethnology, leads a behind the scenes tour of Heartbeat: Music of the Native Southwest, opening in September 2013.

8:30–10:00 a.m.

Full breakfast at the Museum Hill Café followed by programs at the Museum.

at the suggestion of Hirano and Wong, who visited him in Japan, that he began to create new works for the gallery in anticipation of the final show. Haruna Nishihata returned to Tanba to work alongside her father after studying at Seika University in Kyoto. Two Generations of Master Tanba Pottery is the first time father and daughter have publicly exhibited their work together. Though both work in the Tanba tradition, Haruna’s ceramics are a striking contrast to her father’s. She crafts Tanba pottery in the mingei style, a 19th- and early-20th century folk-art tradition of decorated wares. Her intricate, hand-painted designs incorporate figurative elements. “My work is also inspired by nature, but not only the scenery,” she said. “I am more interested in living things. I see beautiful flowers in different seasons. I love all the animals that surround me.” Among her pieces are bowls and platters with animals such as cats, rabbits, and deer, sometimes painted on surfaces and sometimes sculpted as part of the body of a piece. Her titles are often descriptive: Wild Roses and Rabbit, for instance, and Cat and Hydrangea.

Most family-owned kilns in Tanba are run by master craftsmen. Only four of the many kilns are headed by women. While it’s not unheard of, it is unusual for a female potter to work in Tanba clay. Tanba ware varies in appearance from artist to artist. Generally, it is characterized by rich dark clays, naturalistic abstract forms, varicolored ash glazes, and a heavy appearance — much like the work of Tadashi Nishihata. An exception is Keiichi Shimizu, who brings an elegant, geometricized sensibility to his ceramics and is also represented by Touching Stone. But Shimizu, too, renders functional vessels in abstract forms, while Haruna Nishihata’s work is drawn from subjects of personal appeal. “It is hard for me to compare,” she said. “When I make pottery, I simply follow what interests me and don’t think about trendy style or tradition. I feel happy when my work satisfies me.”

So, what’s next for Hirano and Wong after they close the gallery at the end of the year? “We will still be doing the website part of our operation but not doing the monthly shows,” Wong said. “It will be much less restrictive for us. We have more freedom and more flexibility when we don’t have the physical gallery. We have not worked out the format, but we enjoy introducing new talent, promoting them, and connecting them with high-end collectors or with other galleries. We find that rewarding.

We are not moving away. It will be another exciting chapter for us.” ◀

$35 per person; $30 for MNMF members.

(MNMF members attend all four breakfasts for $100).

Price includes full breakfast and museum admission. tickets: Reservations are required and seating is limited.

Purchase tickets in advance at MIAC gift shop or call 505-982-5057.

All topics subject to change, please call to confirm.

and so much more....

Programming highlights below, Visit our website for a complete listing,

www.indiansrtsandculture.org

Decoding the Art and Imagery of Virgil Ortiz 8.9.13 • 4–5pm Virgil Ortiz (Cochiti) will decode the meanings in his work: the designs, symbolisms, S&M, Pueblo Revolt, and more. In the MIAC Theater, seating is limited. Free.

Talk and Book Signing with Walter Echo-Hawk 8.14.13 • 12–1pm Walter Echo-Hawk (Pawnee) talks about his book In The Light Of Justice: The Rise of Human Rights in Native America & the UN Declaration of the Rights of Indigenous Peoples followed by a book signing. In the MIAC Theater, seating is limited. Free.

Film Showing and Discussion 8.14.13 • 3–4pm The film The De Anza Motor Lodge and Its Zuni Connection (30 mins.) explores the history of the Route 66 De Anza Motor Lodge built in 1939 by Indian Trader Charles Garrett Wallace, followed by a discussion with Elizabeth Chestnut, film producer, and Jonathan Sims (Acoma) filmmaker. In the MIAC Theater, seating is limited. Free.

Talk and Book Signing with Women Ledger Artists 8.15.13 • 3–4pm Women and Ledger Art: Four Contemporary Native American Artists explores the narratives of Plains Indian ledger art and cross-cultural feminism. Ledger artists Linda Haukass (Lakota Sicangu), Sharron Ahtone Harjo (Kiowa) and Dolores Purdy Corcoran (Caddo) join the discussion and book signing. In the MIAC Theater, seating is limited. Free.

details

PASATIEMPO I August 2 - 8, 2013

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▼ Opening reception 5 p.m. Friday, Aug. 2; through Aug. 24

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Museum Hill | 710 Camino Lejo (off Old Santa Fe Trail) 505-476-1250 | www.indianartsandculture.org

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▼ Nishihata: Two Generations of Master Tanba Pottery

w Mexico

▼ Touching Stone Gallery, 539 Old Santa Fe Trail, 988-8072

T H E S A N TA F E O P E R A P R E S E N T S

CHRISTINE BREWER I N RECITAL

APPRENTICE SCENES AUGUST 11 & 18 at 8:00 PM

Honoring Wagner and Britten THIS SUNDAY, AUGUST 4 AT 4:00 PM

AT THE SANTA FE OPERA

THE LENSIC PERFORMING ARTS CENTER Gianni Schicchi, 2012

Ken Howard photo

H

istory will make for beautiful music as one of today’s most beloved dramatic sopranos performs at The Lensic Performing Arts Center.

This special program honors the 200th Anniversary of Richard Wagner’s birth and the 100th of the birth of Britten and is presented in collaboration with The Santa Fe Concert Association, as Executive and Artistic Director Joseph Illick will accompany Ms. Brewer.

TICKETS are $50, $35, or $25 and may be purchased through: THE SANTA FE OPERA 800-280-4654 or in person THE LENSIC PERFORMING ARTS CENTER 505-988-1234 or in person ONLINE www.TicketsSantaFe.org

Christine Brewer has triumphed in Wagner and Britten roles and has received international acclaim for her interpretations of their works.

Selections include Wagner’s Wesendonck Lieder and Britten’s Cabaret Songs. Mr. Illick will also play Franz Liszt’s dazzlingly virtuosic piano transcription of the “Liebestod” from Wagner’s Tristan und Isolde.

One of the B ES T entertainment values of the summer, don’t miss attending one or both of these special evenings!

The Opera’s apprentice singers and technical apprentices take the mainstage spotlight for two special evenings of fully-staged scenes from popular operas. Discover why the Opera’s apprentices are such an integral part of the season as their talents shine on their own. Long considered one of the best young artist programs in the world, The Santa Fe Opera’s apprenticeships have launched numerous distinguished careers, including those of William Burden, Joyce DiDonato, Brandon Jovanovich, Susanna Phillips, Kate Lindsey, and Samuel Ramey to name a few.

DON’T MISS the STARS of TOMORROW!

Only $21 for adults and $7 for youth www.SantaFeOpera.org I 505-986-5900 I 800-280-4654

BACKSTAGE TOURS

(meet at the box office) FREE every Saturday: 8:30 am Monday through Friday: 9:00 am

• •

Includes light breakfast and presentation before the tour.

Adults: $10, Seniors: $8, Youth: free

PASATIEMPOMAGAZINE.COM

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EngagE and Transform

Photos Jane Phillips/The New Mexican

From left, Candace Tangorra Matelic, CCA’s new executive director; Cinematheque director Jason Silverman; opposite page, from top, exterior of CCA with Casey Warr’s sculpture My Catharsis; installation view of Linda Fleming and Michael Moore’s Making Places, currently in the Muñoz Waxman Gallery

Bill Kohlhaase I The New Mexican

C

andace Tangorra Matelic followed a long path to becoming executive director of Santa Fe’s Center for Contemporary Arts. But the last steps were just across the parking lot. Matelic was interim executive director of the Santa Fe Children’s Museum, right next door to the campus that holds CCA, Santa Fe Performing Arts, and the Bataan Military Museum. She took that position in June 2012 and reorganized the museum, taking it from what was described as an unsustainable business model to one with a modest operating cushion. She did it by appealing directly to the community for funds and by establishing a network of long-term community partners to provide stability. She successfully sought money from the state legislature by extolling the museum’s benefits to its community. And she seeded the development of new programs that will make the museum more vital and help it serve a larger population.

In June of this year, she was appointed executive director of CCA, which celebrates its 35th anniversary in 2014. Though the organization doesn’t have the problems the Children’s Museum did, it has faced challenges in recent years and needs updates and repairs. CCA was without an executive director for about 15 months, and its staff has been stretched thin. The center has faced fundraising difficulties, a plight common to artistic nonprofits, even as its cornerstone, the Cinematheque, has been moving full-steam ahead in projection, sound, and auditorium improvements.

“The Cinematheque is our strong side,” Matelic said of the screening facility, whose director is Jason Silverman. “He’s developed an amazing number of partnerships with the [Santa Fe] Jewish Film Festival, with the opera, with the folk-art markets and schools, and the American Film Institute, all kinds of organizations. It’s a great example of getting the community involved and engaged in what you’re doing.” The Cinematheque lists about 150 community partners that support and participate in its programs, and Silverman is especially proud to have developed a true community-based model for programming.

“This model has worked for some 30 years, and we’ll be fine as long as we stick to our mission, keep working with and developing partners, and use the

medium to help people connect and advance the art of cinema, ” Silverman said. This kind of thinking fits right in with the new director’s philosophy.

Matelic will tell you that a like-minded staff was already in place when she came aboard. “They were practicing shared management — they had to — and shared responsibility of the kind that I like to work in. And we’re all about engaging the community. All I had to do was fit in.”

Pasatiempo talked to Matelic while touring the other major component of CCA’s facility, the spacious Muñoz Waxman Gallery. During the conversation, certain terms popped up repeatedly: “community engagement,” naturally, but also “transformation” and more specifically “transformational leadership.” The terms seem self-explanatory, but they have broad meaning when applied to the world of artistic nonprofits. They also serve to define Matelic’s management philosophy and background.

Matelic came by these beliefs via a long, somewhat circuitous road through museum and nonprofit management. A native of Dearborn, Michigan, she practically grew up at the city’s Henry Ford Museum. “I learned to swim there.

My father worked for Ford. [The museum] was a big part of the community.”

She earned a fine arts degree at the University of Michigan in Ann Arbor. There she took graduate courses in museum studies and returned to the Henry Ford Museum for a summer job as an interpreter. Her museum studies continued at the University of Delaware and during an internship at Massachusetts’ Old Sturbridge Village. She transferred to the State University of New York’s Cooperstown campus and obtained a master’s degree. It was there that she first considered the idea of transformation. “It’s really about survival, actually transforming an enterprise by empowering everyone in the organization, building that sense of cohesion and aspiring to that higher purpose of becoming a place that serves the community, that serves the people.”

After her studies, she traveled in Europe for four months, immersing herself in museums big and small. An interest in outdoor programs led her to the Living continued on Page 54

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CCA’s new director, continued from Page 53

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Photos Jane Phillips/The New Mexican

History Farms near Des Moines, Iowa. “I was there during ‘Popestock,’ when Pope John Paul visited the farm. We had 500,000 people descend on us in one day and had to bring in porta-potties from seven states.

But I thought it was very significant that the pope chose a museum to go directly to the people.” Not long after, she returned to Dearborn to manage the Ford Museum’s interpretative programs.

She spent three years in the mid-1990s as executive director of the Mission Houses Museum in Honolulu, a National Historic Landmarks site dedicated to preserving the first settlement of Christian missionaries in the Hawaiian Islands. “It was an interesting time to be there because the legacy of the missionaries and their works was becoming controversial as the Hawaiian sovereignty movement grew. But we reached out to the community, engaged as many Hawaiian groups as we could, developed interpretative classes in Hawaiian language and classes in dance. There was a lesson here: that museums and cultural institutions should be serving communities rather than their own internal stakeholders.” She went to Maryland in 1997 to become executive director of Historic St. Mary’s City Museum, an 835-acre site surrounding Maryland’s first capital.

One of her tasks was to develop a partnership between the museum and St. Mary’s College of Maryland. A few years later she founded a consulting group that guided cultural organizations in realizing their goals. Central to the group’s work were the principles of community engagement and developing community partners.

When it came time for Matelic to write her Ph.D. thesis, the way forward was clear. She’d been involved with changes, both major and minor, at a number of museums, and her experience showed that the process was more than just organizational, that it had to begin at the individual level.

One of the topics she researched was organizational learning: how organizations as entities acquire the knowledge they need to prosper. Another was transformational leadership, exactly the kind of thing she put to use five years later at the Santa Fe Children’s Museum. “After reading hundreds of leadership studies and realizing all of the money some of these organizations had invested in making changes, I found the one approach that had the strongest empirical support was smart leadership — not the kind of charismatic leadership that focuses on the leader but the kind of transformational leadership that focuses on the collective. It’s not about you as an individual. It’s about community.”

Matelic hopes to strengthen CCA’s presence as a community gathering place. Part of that will involve improvements to the Muñoz Waxman Gallery, enabling it to host more performances — it’s hosted such notables as Philip Glass and Laurie Anderson in past years and has provided a home to productions from Theater Grottesco — as well as weddings, fundraisers, and other community events. She showed architectural drawings that have the space divided into sections, providing more surfaces for gallery displays and more interesting paths for viewers to follow. She wants to make the space more energy efficient and even imagines solar panels on the roof. She proposes adding a kitchen for catered events. She’d also like to see improvements to the parking area and a sculpture garden between the gallery and the parking lot. She sees CCA’ s 35th anniversary as a springboard to those improvements. Perhaps her biggest dream is to build an atrium to fill the space between the Cinematheque entrance, which is also due for a makeover, and the Muñoz Waxman Gallery.

From experience, Matelic knows dreaming is not enough. Her other goal is to establish a long-term sustainability endowment. “You could describe [the effort] as putting legs on a stool. Grants and donations from organizations, individuals, and government are only part of the package.

We have to think more creatively, think in the long term, about how to fund ourselves. That’s the ultimate goal.” ◀

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Flicker no more The seating is more comfortable. The sound is exquisite. And the projected images are clear, crisp, and seem almost to leap off the screen. You may have noticed. The Cinematheque at the Center for Contemporary Arts has long been known for its exceptional art-house programming and nowhere-elseto-be-seen film series. But with its recent upgrade to the high-tech Digital Cinema Package (DCP) format, the Cinematheque has joined the modern era in state-of-the-art movie quality. A recent, coincidental viewing of the same content at two different venues made for a surprising contrast. The black-and-white Joss Whedon film Much Ado About Nothing was startling in its clarity and shades-of-gray contrasts when seen at CCA. The credits were sharply cut and didn’t vibrate. By comparison, the film’s trailer, seen that same afternoon at a theater using 35 mm projection, looked dull and washed out, its credits blurred and jumpy.

CCA’s digital change has come just in time. With fewer and fewer films being distributed on 35 mm prints, with the Jean Cocteau Cinema scheduled to reopen in Santa Fe this month, and with more local theaters planned for the future, the Cinematheque has not only carved out its niche — one it shares with The Screen on the Santa Fe University of Art and Design campus — it’s also made big-screen movie viewing a revelation in visual and aural quality as well as content.

Cinema has been based on international 35 mm standards since the 1920s, explained Cinematheque director Jason Silverman. “There have been very few changes to the way movies are shown since that time. There have been improvements in sound, but basically it’s just been rolling the film past a light bulb,” said Silverman, a two-time Sundance Documentary Fellow and a media critic for Wired magazine. But in the last decade, movie studios have mounted an effort to replace film with digital materials that deliver equivalent picture quality but are easier to handle, won’t degrade, and cost less to ship.

While nearly every major motion picture house has converted to the new DCP systems, often with financial help from the studios, the conversion process has been an expensive proposition for independent film houses.

Silverman started raising the money for the conversion quietly last fall, lining up resources while waiting for the price of the technology to drop (as technology prices do). The new DCP system was installed in May. The Cinematheque’s 35 mm projection system has been retained for movies available for viewing no other way, such as archival films and classics.

The theater has been retuned for sound, with new layers of soundproofing added front, back, and sides; in Silverman’s words, the theater is “nice, tight, and predictable.” The DCP equipment and its Dolby processors automatically calibrate a movie’s sound to the theater so that it is played to specifications determined by the filmmakers.

Still, the best feature of the Cinematheque is the programming. The parade of independent, foreign, and documentary films presented here is matched by only the most eclectic of art houses. Few, if any, cities of our size can claim such a cinema (let alone more than one). In addition, the Cinematheque features works of local filmmakers and themed series festivals, including Science on Screen, the Santa Fe Film Expo, and Native Cinema Showcase.

The fact that the films are seen in their best light, no matter the format, is an extra-special bonus. — B.K.

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55

REVIEW

Jane Phillips/The New Mexican

ART IN

Making Places, Center for Contemporary Arts, 1050 Old Pecos Trail, 982-1338; through Sept. 22 At once intimate, self-referential, and accessible, Making Places is a trip down memory lane — with someone else’s memories. It’s a fascinating romp through time, marvelously realized, that offers insight into artistic practices and thought processes, married life, and the ephemera people gather. The last of these is important to understanding the exhibit. On their own and without context, a journal entry, a photograph, or other objects may be mundane. In the exhibit, the way a number of objects are arranged provides a sense of the real-life, tangible things that inspire art.

Making Places is a joint exhibition by two artists, married couple Linda Fleming and Michael Moore, and encompasses bodies of work by both, some pieces going back decades. In 1968 Fleming co-founded Libre, an artist community on 360 acres in the Rocky Mountains, with her husband at the time, Dean Fleming. Libre members built their own homes and created the infrastructure for the community. To this day, members of Libre are self-governed by their own agreed-upon by-laws.

Fleming met Moore in San Francisco in 1987, and they now live together in the home she built in Libre. That this is their first joint exhibition comes as a surprise. He paints. She sculpts. Between them, and important for the installation, there is so much more. The show comprises large-scale landscape paintings, journal entries, video, and maquettes crafted out of a variety of materials including balsa wood, paper, and bronze, and sculptures in powder-coated steel and chrome; these individual elements mesh to create a conceptual world. The

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autobiographical components are sometimes direct, as in the case of Moore’s running journal, and implied, as in the everyday objects that seem to be personal belongings. Some of these items have a resemblance to Fleming’s sculptures. For example, lace doilies arranged along one wall are spindly, like her sculptures and maquettes.

The overall arrangement of objects offers an ersatz glimpse into Fleming’s studio. As for the journal, Moore details various automobiles the couple acquired, replete with drawings and sketches of each vehicle, and uses them as a catalyst for detailing road trips and other life moments in a series of stream-of-consciousness entries called Auto Biographies. The presentation takes the autobiographical content a step beyond personal memoir. The entries are arranged along the length of the gallery space. Moore’s clean and steady script and the drawings that accompany it take on a pattern at a distance. It works visually and that, in itself, is compelling for viewers, whether or not they actually have time to linger and read them in their entirety — a daunting task, as the entries span decades.

In theory, Making Places is a portrait of Fleming and Moore. If you could look beyond the physical appearance and even the emotional content portrayed in any straight portrait, whether a painting or photograph, into the inner workings of the mind and its perceptions, you might find something that resembles Making Places, at least in spirit.

Moore’s paintings and Fleming’s sculptures are worth viewing in and of themselves, yet there is ample opportunity to single out individual elements of the installation for viewing.

Fleming’s sculptures are lacy constructs, weblike networks of curving lines casting intricate shadows. Moore’s landscapes, hung

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above the long scroll of Auto Biographies, are minimalist in execution but encompass what is perhaps a car’s-eye view of passing terrain.

The artists move back and forth between three studios in three states: California, Nevada, and Colorado. The places of the exhibit’s title could refer to their studios and homes but it includes the terrain Moore and Fleming travel between the three states as well. Notions of place are fluid, and Making Places is something of a nonlinear map by which locations are connected — not by straight lines from point A to point B but by the artistic expression of moments in time. Moore’s landscapes suggest a sense of dislocation. They represent a liminal state between those destinations (the studios) where full bodies of work are created.

His paintings could also represent the distance between unrealized projects and their eventual fruition.

Making Places is the third large-scale installation in CCA’s Muñoz Waxman Gallery in as many years that takes full advantage of the cavernous space. Though Moore’s work is distinct from Fleming’s, there are ample expressions of shared experience. You come away from the exhibit with some understanding of the framework of the artists’ lives and the history, some shared, some independent, that led them to this moment.

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PASATIEMPOMAGAZINE.COM

57

Michael Abatemarco I The New Mexican

It is tempting to look for the inspirations informing the weavings of Olga de Amaral — such tangible things as landscapes, textiles, and other types of tapestries. But de Amaral’s work, linen pieces that shimmer with gold or silver leaf, is a world of its own. Comparisons can be made to basketry and the weaving traditions in the artist’s native Colombia. But de Amaral is not working in a specific tradition, although she has noted inspirations in the past such as a pre-Columbian gold mantle she saw in a museum in Peru. Nor does she plan her designs, which incorporate geometric patterns, preferring a more organic, spontaneous approach. “When I do them I’m not thinking about all those things,” de Amaral told Pasatiempo. “I don’t think about patterns or how I do it. For me what’s important is the emotion and the idea behind it. When you get a pencil in your hand and start drawing, you are not thinking.”

Fields of gold Olga de amaral’s shimmering tapestries De Amaral’s recent body of work, Pozos Azules (Blue Wells), is on exhibit at Bellas Artes, where she has been showing her tapestries since 1986. Pozos Azules retains the gold leaf and gold paint that have become her signatures. An installation called Field of Stelae hangs in the London office of BGC Partners, Inc. The stelae are arranged to take advantage of available light, and the metallic surfaces, gold on one side and silver on the other, shimmer and change as the light changes. For Pozos Azules, de Amaral fashioned two-toned weavings, interplays of blue and gold. Each piece is a diptych with a thin gap between each panel of the work that takes on depth while the surfaces of the panels change, depending not just on the light but on the position of the viewer. The title of the series is a reference to water and its dazzling, reflective qualities. “For me, it’s the mystery of water when it’s in a pond and the way it moves. What intrigues me is the way that the water, when it comes from the middle and is limited by a circle, forms a fantastic and mysterious pattern.” Pozos Azules’ mix of blue and gold captures a feeling of light dancing on the surface of water. “For me, that’s the sun, which is just light, and it’s as mysterious as the water.

I feel the colors. When I did the first one, it was magic to keep doing them because each one is different, like [each body of] water is.” In addition to Pozos Azules, de Amaral shows work from a similar series in red and gold called Soles Rojos (Red Suns) and an early work from 1976 that was recently acquired by Bellas Artes from a corporate collection.

Though many of her pieces are monochromatic, some of her work is enhanced by underpainting in colors that peek through here and there, adding more dimensionality to the pieces. “The process to me is a very magical situation. I am very aware that the back of the artwork guards some kind of secret, so I paint the back of the tapestries.”

Circular and rectangular configurations feature in each work, but there are variations between them. Pozo Azul 10, for instance, is dominated by circular forms (half circles on each panel), and the rift in the center keeps the forms from lining up with precision. Concentric lines emanate outward from the center to the edges. Circles in Pozo Azul 3,

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by contrast, are framed by a series of concentric lines in a rectangular pattern.

A 2003 lecture-presentation, “The House of My Imagination,” which de Amaral gave at the Metropolitan Museum of Art in New York, was a rare opportunity to see her process including working with a number of skilled assistants who have been with her for many years. “The communal process impregnates each bundle of strands with the spirit of each of these women’s lives; each element acquires a unique patina, as does the knob on the door to a frequented room,” she writes in the lecture’s accompanying catalog. “This team of weavers, this place, is my strongest and deepest connection with my country. To me, they embody Colombia.”

De Amaral and her assistants coat the woven threads with gesso by hand to fill in the gaps of the weavings. Strands of fiber are also coated by hand using ground pigments. Despite the layers of paint and gold leaf, the warp and weft are retained and clearly visible in the finished pieces. The tapestries are designed to hang in front of the wall rather than hanging flush, creating a space around them that gives them sculptural presence and a lightness as they appear to float just in front of the walls.

The tremulous light effects are sometimes achieved through paint rather than gold leaf. Paint is integral, but so are the raw linen and cotton threads that react differently in weaving, with linen providing a structural tension for the more pliable cotton. “It’s like a canvas for a painter,” De Amaral said. “It’s my own canvas.” ◀

details ▼ Olga de Amaral: Pozos Azules ▼ Through Sept. 28 ▼ Bellas Artes, 653 Canyon Road, 983-2745

Olga de Amaral: Pozo Azul 10, 2013, fiber, gesso, and acrylic; opposite page, Sol Rojo 2, 2012, fiber, gesso, and acrylic

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Absurdly apathetic Loren Bienvenu I For The New Mexican I’m So Excited, comedy, rated R, Center for Contemporary Arts, 3 chiles The premise of Pedro Almodóvar’s latest film, I’m So Excited, reads like the setup for a joke: a hit man, a dominatrix, a famous actor, a swindler, a psychic, a newlywed couple, and three gay stewards are on an airplane — and the landing gear is broken.

How will they confront the likelihood of death?

Will anyone survive? All the elements of the “plane movie” genre are present: the blossoming of intimacy through shared terror; travel as a metaphor for celebration, work, escape, and death; and the airplane as social laboratory.

Longtime followers of Almodóvar are sure to appreciate the Spanish director’s return to comic absurdity. Those drawn into the fold by his critically acclaimed 2011 semi-thriller The Skin I Live In might be less excited. While that film expertly portrayed the perversities of revenge, the new feature celebrates the clichés of melodrama — but with slightly less freshness than the director’s name-making early hits like Matador and Tie Me Up! Tie Me Down!

Antonio Banderas and Penélope Cruz, two superstars Almodóvar helped introduce to world audiences, make brief opening-scene cameos as lovers and airline employees. Preparing the plane for takeoff, Léon (Banderas) learns on the runway that Jessica (Cruz) is pregnant. His resulting distraction leads to the mishap that puts the plane in jeopardy.

Similar soap-opera-style cause-and-effect sequences abound, usually unfolding in a way that directly contradicts the “show, don’t tell” school of narrative development. Secrets and plot twists are most often revealed verbally rather than through any suspenseful action. Even the climactic moment of the film (no spoilers ahead), the plane’s emergency landing, occurs off-camera, with only sound to guide the audience as to the consequences.

What results is a sort of flimsiness of reality, where the characters caricature themselves and their situation through speech. This effect is very much at home within the colorful, retro-vintage backdrop that provides the film with its 1970s aesthetic, a setting that is itself off-kilter. Contemporary references (to cellphones and Twitter, for example) indicate that the action is fully rooted in the present.

Drawing on soap opera memes old and new, the film uses class distinction to help stratify its characters. Right after takeoff, we learn that the stewards have drugged all of economy class to avoid dealing with those passengers’ “economy class syndrome.”

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PASATIEMPO I August 2 - 8, 2013

Leaving on a jet plane: Raúl Arévalo, Carlos Areces, and Javier Cámara

plane, where the rich, famous, and more interesting passengers rub shoulders.

A similar “us versus them” mentality initially pits those in business class against the stewards who are meant to serve them. The dominatrix, Norma (Cecilia Roth), refers to the stewards as savages and circulates a petition criticizing the in-flight service. The “them” contingent is led by head flight attendant Joserra (well played by Javier Cámara), a fragile alcoholic in the midst of a love affair with the pilot. He is incapable of keeping a secret and happily reveals the sexual orientations and histories of his colleagues to any stranger who asks. Yet even those who know Joserra don’t hesitate to approach him first with any new gossip or developments in the plane’s status, probably because no one on board seems to particularly value secrecy.

In the same way that privacy is a theme only insofar as it does not actually exist, the idea of hysteria is explored through its notable absence.

Joserra possesses a whole arsenal of calming tools for panicky passengers, including liquor, drugs, and musical routines. Though panic never actually develops (probably thanks to the liquor and drugs), he and his fellow stewards still insist on distracting their passengers with a sultry choreographed and lip-synced take on the Pointer Sisters’ “I’m So Excited.” The song gives the film its English name — the Spanish title is Los Pasajeros Amantes, which has the double meaning of “The Passenger Lovers” and “The Fleeting Lovers” — and is set in contrast to the apathy of those on board. The lyrics “I’m so excited, and I just can’t hide it/ I’m about to lose control, and I think I like it” would realize their obvious ironic potential if the film showed everyone screaming in the aisles. Instead, and probably more interestingly, the irony is that no one is actually excited — about their dire situation or the music

routine, which ends as abruptly as it began.

The characters display excitement only over trivial pleasures and surface relationships, seeming a bit like overworked soap stars. One steward laments having brought only cocaine, heroin, and pills on board.

Overhearing this, the newlywed groom (Miguel Ángel Silvestre) hands over his stash of mescaline, casually admitting that he is an experienced drug mule. The combination of depressants, stimulants, and other substances eventually culminates in anallout dreamlike loss of inhibitions for most of those who are awake (and it affects some who aren’t as well). On one hand, the passengers might be employing sex as a tool for countering death anxiety, but it seems likely that these particular characters would behave with equal abandon during a routine flight.

Some of the film’s sexual content might be shocking to American audiences. However, in typical Almodóvar fashion, taboos are treated with such lightheartedness as to seem innocent.

Innocence pervades everything — there is no real villain and little personal conflict, so the audience ends up rooting for all the characters.

By declawing sexual compulsion and drug use, the film turns soap opera cliché into social commentary.

The downfall, however, is a loss of overall edge, especially when one gets accustomed to the compression of stereotype and the distillation of melodrama. If this were Almodóvar at his early best, such techniques would be accompanied by a rise in the dynamism of his characters, making them seem even more human through their unbelievability. However, these particular passengers never quite reinflate after their initial flattening. They are certainly entertaining companions during the pleasant and somewhat bizarre journey the film takes us on, but just a little more turbulence might create the extra excitement we’ve come to expect from Almodóvar’s work. ◀

moving images film reviews

J O I N US FOR OUR Dog has not forsaken thee: Martina Gedeck

Lucite dreaming

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Jonathan Richards I The New Mexican The Wall, drama, not rated, in German with subtitles, The Screen, 3 chiles The Wall wrestles with the kind of dystopian philosophical questions that keep students in the sophomore year of college busy. The film has been adapted by writer-director Julian Roman Pölsler from a 1963 novel by Austrian writer Marlen Haushofer. A city woman (Martina Gedeck, The Lives of Others) comes to a remote Alpine hunting lodge with friends, who shortly after arriving decide to walk into the nearby village. The woman elects to stay, as does the host couple’s dog, Lynx. (A dog who won’t go for a walk? You know something’s up.)

When she wakes up the next morning to find that her friends have not returned, the woman and Lynx set out for town to look for them. But before they have gone very far, they come up against an invisible wall. There is no way over, under, around, or through. As she wanders along its perimeter, trying to get a sense of the dimensions of her prison, she spies a cottage on the far side of the wall. An old couple is there, immobilized like partygoers in a game of statues.

We get the sense that the woman (never named) explores the wall extensively and comes to accept the fact that it surrounds her completely, like an enormous glass jar. It would be impossible to know this if one had not made the complete circuit, so we can surmise that the dimensions of the area enclosed, though vast, constitute walking distance. And it appears that, as far as human life goes, she is alone.

We don’t know what caused this. We don’t know if there is a purpose to it.

We don’t know whether it is the doing of an intelligent agency, or the product of blind chance. We don’t know why the woman has been trapped, or saved, inside the wall. We don’t know if anyone is watching. In other words, it’s life.

The woman must learn to be self sufficient, to turn her city hands to survival skills. And she does so. Her evolution is brought magnificently to life by Gedeck, who seems to toughen and callous and discover inner resources before our eyes. She writes a journal, or “report.” She’s not sure why, since there’s no foreseeable prospect of anyone ever reading it, but she faithfully records her experiences and impressions and observations, until she runs out of paper. And she recounts these jottings in a voice-over (delivered in English for this market) that floods the soundtrack, turning the movie into an illustrated novel.

This theme of an invisible physical barrier has been handled before, by writers such as Stephen King and Rod Serling. Luis Buñuel treated the subject more psychologically in his 1962 film The Exterminating Angel. In Pölsler’s rendering of the Haushofer novel, it’s an existential treatment of the loneliness and isolation of the human condition. ◀

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Better dead than red tape Jonathan Richards I For The New Mexican Still Mine, drama, rated PG-13, Center for Contemporary Arts, 3 chiles Everything is changing all the time and almost always for the worse. In Still Mine, Michael McGowan’s tender, astringent reflection on aging and a world getting ever more knotted up in a bureaucratic tangle of thou-shalt-nots, the frustrations pile up like parking tickets on an abandoned car.

The fact that this is a “based on a true story” tale gives it a boost of legitimacy and adds to our exasperation with a world in which common sense seems to have gone the way of the passenger pigeon. Craig Morrison is an old-school rancher, farmer, and builder in rural New Brunswick, living a self-sufficient life on a couple of thousand acres of the Maritime provinces.

The lanky, grizzled 87-year-old Morrison is portrayed

by James Cromwell, and he looks great, perhaps not least because Cromwell is a decade and a half younger than the character he plays.

But if Morrison can still manage as well as ever, the same isn’t true of Irene, his wife of 61 years.

She is becoming increasingly forgetful, and family and friends are growing concerned. Irene is played

by Geneviève Bujold, the French-Canadian actress probably best remembered by American audiences for her Oscar-nominated Anne Boleyn in Anne of the Thousand Days. But that was almost 45 years ago, and while Bujold works steadily, she hasn’t been seen much of late in these parts, and her absence from the cineplex over those decades lends a bit of a shock

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James Cromwell and Geneviève Bujold

when we discover that she, too, has grown old. Even so, she’s only 70, playing a good 10 years older, and she appears to be carrying a bit of latex aging makeup on her lovely face.

As Morrison begins to realize that their farmhouse, with its rambling dimensions and flights of stairs, is no longer viable for his wife’s condition, he decides to build a smaller one-story structure on a piece of his land overlooking the Bay of Fundy. Morrison is thoroughly old school. His father was a shipwright and taught him everything about sound, self-sufficient building techniques, from felling his own trees and milling his own lumber to solid, sturdy joists and supports.

But the world has moved on since Morrison was a young man. These days you need permits. You need blueprints. You need lumber with a government stamp of approval on it. There are codes and forms to fill out. The young building inspector ( Jonathan Potts) in charge of all that red tape is not amused at Morrison’s notion that he should be able to build his own place in his own way on his own land. He slaps a “Stop Work” order on the frame that Morrison is putting up. Morrison swats it away like a New Brunswick mosquito. And matters wind up in court.

As a matter of fact, matters start off in court. The movie begins with Morrison appearing before a judge who warns him that he faces jail time and wonders if he understands the seriousness of the charges against him. Morrison asserts that he does, and then he asks the judge, “Are you a baseball fan?” Puzzled look from the judge. Puzzled looks from the lawyers. And then we dissolve to “two years earlier” and the start of our story.

Still Mine will inevitably be compared with Amour, last year’s Oscar-winner, and Away From Her, Sarah Polley’s sensitive study of a woman drifting into the mists of Alzheimer’s. But while this film deals in

dementia, that is only a circumstance. What it really holds to its heart is the issue of rugged individualism pitted against a world that increasingly devalues that quality and relies on mindless adherence to regulation as a solution to everything, even the delivery of fresh strawberries to the local market. When a manager tells Morrison he can no longer accept produce that isn’t delivered in a refrigerated truck, Morrison shakes his grizzled head. “Seems like there’s a regulation for everything these days,” he mutters.

Of course, a lot of regulation is there for perfectly good reasons. The dismantling of regulation of banks and Wall Street led to economic catastrophe, and the financial sector and the Tea Party are still fighting tooth and nail to prevent any safeguards from being put back in place. In that way this movie calls to mind On the Waterfront, a great movie wrapped around Elia Kazan’s defense of naming names in the McCarthy era. Still, the fight that Morrison is waging is as much for common sense as anything else, and it’s impossible to watch it without feeling your gorge rise at the withering of individual freedom.

Still Mine is a simple, straightforward movie shot on a low budget. How low, you ask? Well, the Morrisons have seven children, all of whom live locally enough to confer and meddle in running their parents’ lives, but the movie can only afford two of them (Ronan Rees and Julie Stewart). Its great strength is in the clean, unsentimental work by its two stars, especially Cromwell, who consistently turns in the kind of performance that tempts reviewers to hail it as his best work to date.

The writing is restrained and generally solid, with a few unguarded slips into cliché. The baseball analogy that Morrison delivers in court doesn’t stand up to close scrutiny. But you’ll come out of this movie inspired to go build a house on your own land, and damn the inspectors. ◀

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people that set them up. Rated R. 109 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) THE WALL This movie wrestles with the kind of dystopian philosophical questions that keep students in the sophomore year of college busy. It’s an existential treatment of the loneliness and isolation of the human condition.

A city woman (Martina Gedeck, The Lives of Others) comes to a remote Alpine hunting lodge with friends, who shortly after arrival decide to walk into the nearby village. When they don’t return, the woman sets out to look for them. But before long she comes up against an invisible wall. She’s alone within an invisible enclosure, and the world outside seems to have been wiped out. The woman must learn to be self sufficient, to turn her city hands to survival skills. Her evolution is brought magnificently to life

by Gedeck, who seems to toughen and discover inner resources before our eyes. Not rated. 110 minutes.

In German with subtitles. The Screen, Santa Fe. ( Jonathan Richards) See review, Page 61.

Clash of the teen titans: Logan Lerman in Percy Jackson: Sea of Monsters, opening Wednesday at Regal Stadium 14 in Santa Fe

opening this week

that void in this sequel to his 2010 movie. This time, Percy and pals search for the Golden Fleece. Opens Wednesday, Aug. 7, with a 10 p.m. preview on Tuesday, Aug. 6. Rated PG. 107 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. (Not reviewed)

I’M SO EXCITED The premise of Pedro Almodóvar’s latest film, I’m So Excited, reads like the set-up for a joke: a hit man, a dominatrix, a famous actor, a swindler, a psychic, a newlywed couple, and three gay stewards are on an airplane — and the landing gear is broken. Long-time followers of Almodóvar are sure to appreciate the Spanish director’s return to comic absurdity. This new feature celebrates the clichés of melodrama, but with slightly less freshness than his name-making early hits like Tie Me Up! Tie Me Down!. The passengers in this film are certainly entertaining companions during the pleasant and somewhat bizarre journey the film takes us on, but a little more turbulence might create the extra excitement we’ve come to expect from the director’s work. Rated R. 90 minutes. In Spanish with subtitles. Center for Contemporary Arts, Santa Fe. (Loren Bienvenu) See review, Page 60.

STILL MINE Michael McGowan delivers a strong, not overly sentimental tale based on the true story of an octogenarian Canadian rancher and builder named Craig Morrison ( James Cromwell), who undertakes to build — with his own hands, on his own property, with his own materials — a new house for his wife, Elise (Geneviève Bujold), who is slipping into Alzheimer’s. The problem is, you can’t just do that in a world in which regulation is as pervasive as polluted air. Still Mine pits a rugged individual against a by-the-book bureaucracy.

Cromwell and Bujold are outstanding, and they even get to strike a blow for geriatric sex. You’ll come out inspired to go build a house on your own land, and damn the inspectors. Rated PG-13. 103 minutes.

Center for Contemporary Arts, Santa Fe. (Jonathan Richards) See review, Page 62.

PERCY JACKSON: SEA OF MONSTERS Now that Harry Potter has finally hung up his broomstick, there is a dearth of youth-oriented fantasy. Percy Jackson (Logan Lerman), basically Potter in a world full of Greek gods instead of wizards, flies in on Pegasus to fill

2 GUNS Mark Wahlberg and Denzel Washington play two men who pull off a lucrative bank heist — only to find out that they’re both cops who have been tricked into pulling off the robbery, not knowing the other is undercover as well. The two then team up to find the

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WE’RE THE MILLERS A stripper ( Jennifer Aniston) and a pot dealer ( Jason Sudeikis) join up, recruit a couple of kids, and pretend to be a family so they can sneak drugs across the border from Mexico. The plan does not go off without hitches or high jinks. Opens Wednesday, Aug. 7, with a preview at 8 p.m. Tuesday, Aug. 6. Rated R. 109 minutes. Regal Stadium 14, Santa Fe. (Not reviewed)

now in theaters THE ATTACK Amin (Ali Suliman) is a respected Palestinian surgeon in an Israeli hospital, a model of the possibilities of assimilation and accord between Palestinians and Jews. And then his beloved wife Siham (Reymond Amsalem) straps explosives to her body and blows up a children’s birthday party in a Tel Aviv restaurant.

This is a movie designed to provoke questions, and most are as wrenching and agonizing as the terrible situation they reflect. When you examine the ripple effects of any suicide bombing, and this one in particular, the smoldering rubble of ruined lives and shattered trust is a landscape that stretches as far as the eye can see. Rated R. 102 minutes. In Arabic and Hebrew with subtitles. The Screen, Santa Fe. (Jonathan Richards) BEFORE MIDNIGHT The third round of the collaboration between director Richard Linklater and stars

Julie Delpy and Ethan Hawke that began with Before Sunrise (1995) is set at the end of a family vacation in southern Greece. Celine (Delpy) and Jesse (Hawke) have been together for the decade since Before Sunset (2004). Here they drive and talk and walk and talk and make love and talk. Both actors are as good as or better than they have ever been. Rated R. 108 minutes.

Regal DeVargas, Santa Fe. ( Jonathan Richards) THE CONJURING Vera Farmiga plays a woman who can sense ghosts and travels the country with her husband (Patrick Wilson) in search of them.

In this movie by James Wan (Saw), the couple find more than they anticipated in an old farmhouse with a freaky tree out front. Rated R. 111 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) DESPICABLE ME 2 The 2010 hit gets its sequel with this story about the exvillain Gru (voiced by Steve Carell), who is called out of retirement to track down a bad guy. The animation is a step up from the first film, and the plot is mercifully to the point. Unlike many family films, Despicable Me 2 is proudly a comedy, and it shelves the action, life lessons, and sentiment in favor of attempts at laughter. Whether or not it succeeds is up to the viewer, and the filmmakers hedge their bets by bringing slapstick for the kids and pop-culture references for the adults. Rated PG. 98 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker) FRUITVALE STATION This timely drama, which was one of the big winners at the 2013 Sundance Film Festival, details the final day of Oscar Grant (Michael B. Jordan), a 22-year-old African American who was shot by officers of the Bay Area’s public transportation system on New Year’s Eve in 2008. Rated R. 85 minutes. Regal DeVargas, Santa Fe. (Not reviewed) GROWN UPS 2 Nobody can say Adam Sandler doesn’t look after his friends. Here, he helps old buddies like Chris Rock, Kevin James, David Spade, and many, many more earn a sweet payday for this indulgent, misogynistic, possibly scriptless string of poop, pee, and penis jokes. The sheer audacity of its awfulness is almost something that you have to see to believe, but that would involve seeing it. Don’t. Rated PG-13. 101 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker) HANNAH ARENDT In 1961, the great German-Jewish philosopher Hannah Arendt (played here by Barbara Sukowa) went to Jerusalem to cover the trial of Adolf Eichmann.

What she reported, in a series of articles, angered

Jews. She did not find a monster inside the glass cage that was the defendant’s dock. She found instead a “terrifyingly normal” human being who followed orders blindly. What really enraged her readers was her reporting that some European Jewish leaders were at least partly complicit in the Nazi treatment of Jews. For this she was vilified, threatened, and rejected by friends and colleagues. Not rated. 113 minutes. In English and German with subtitles. The Screen, Santa Fe. (Jonathan Richards) THE HEAT With Bridesmaids, director Paul Feig put women in the traditionally male-dominated genre of the raunchy comedy. Now he does the same with the buddy-cop pic. Melissa McCarthy, who became a star with her frank character in Bridesmaids, plays the bad cop to Sandra Bullock’s good cop. The plot is mainly a vehicle to bring us from one McCarthy tirade to the next. That’s a wise decision: her sassy delivery and take-no-crap personality makes her an audience favorite, and rightfully so. Rated R. 117 minutes.

Regal Stadium 14, Santa Fe. (Robert Ker) THE LONE RANGER The titular hero (Armie Hammer) and his faithful Comanche friend Tonto ( Johnny Depp) take on the railroad, the cavalry, bad guys led by a cannibalistic Butch Cavendish, and a host of other creeps in this fastmoving but curiously unexciting retelling of the classic tale. That the movie is terrible is disappointing, given that most of the creative talent was also involved with the successful and frequently entertaining Pirates of the Caribbean film franchise. Rated PG-13. 149 minutes.

Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Robert Nott) LOVE IS ALL YOU NEED Danish director Susanne Bier, who normally deals in bleaker material, has gone all soft and cuddly in this romantic comedy about two lost souls who unite, and in lesser hands the result would probably be insufferably cute. But Bier manages to keep this valentine on a very enjoyable track, helped by a fine cast led by Pierce Brosnan and Trine Dyrholm.

It’s a grown-up film, beautifully photographed on the Amalfi coast. Rated R. 110 minutes. In English, Danish, and Italian with subtitles. Regal DeVargas, Santa Fe. ( Jonathan Richards) MASTERS OF COMEDY: SILENT COMEDY EXTRAVAGANZA #2 CCA presents another round of silent comedies and cartoons featuring favorites by Buster Keaton (The Love Nest) and the forgotten Charles Bowers, among others. The latter’s Now You Tell One is a surreal, sometimes grotesque mix of Georges Méliès and Keaton, with our hero conjuring up an army of

2 Guns

cats to take on a house full of pistol-packing mice!

Charley Chase’s Mighty Like a Moose offers a hardto-swallow premise but still delivers the laughs, and there’s a politically incorrect Felix the Cat cartoon on the bill, too. Kids should love it. 11 a.m. Saturday and Sunday, Aug. 3 and 4, only. Not rated. 75 minutes.

Center for Contemporary Arts, Santa Fe. (Robert Nott) MONSTERS UNIVERSITY Pixar’s sequel to its 2001 smash Monsters, Inc. shows how far the estimable studio has come with animation: the textures and colors are awe-inspiring. It also shows how far Pixar has fallen with regard to its writing: the cleverness of the original Monsters movie is followed up with this uninspired plot. Set during the younger days of Mike and Sulley (voiced again by Billy Crystal and John Goodman), the story revolves around the two getting booted from their college program and competing in a scaring competition to get back in.

Rated G. 103 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) MUCH ADO ABOUT NOTHING Does it trouble you that Joss Whedon, creator of Buffy the Vampire Slayer and The Avengers, is adapting Shakespeare? Well, let me convert your thoughts of woe into hey-nonny-nonny, because this version of the beloved comedy is a sunny continued on Page 66

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and refreshing treat. Reed Diamond, Sean Maher, Fran Kranz, Clark Gregg, Alexis Denisof, and Amy Acker star. Rated PG-13. 107 minutes. Center for Contemporary Arts, Santa Fe. (Laurel Gladden) NOW YOU SEE ME Woody Harrelson, Jesse Eisenberg, Morgan Freeman, Michael Caine, and Mark Ruffalo star in this fable about four illusionists who perform a trick in Las Vegas in which one of their audience members is “teleported” to Paris to rob a bank. As the FBI and an opportunist who exposes magicians’ secrets close in on the illusionists, every scene is interesting. The movie is wildly entertaining, despite having to cheat to connect all the dots. Rated PG-13. 116 minutes.

Regal DeVargas, Santa Fe. (Robert Ker) PACIFIC RIM Guillermo del Toro’s latest film plays like a movie by 12-year-olds, which is both a bad and a good thing. It’s bad because of the underdeveloped characters and cartoon-level dialogue, and it’s good because of everything else. The to-the-point plot centers on massive Voltron-esque robots that are built to stave off even more massive Godzilla-esque monsters, and that’s about it. With characters out of 1980s anime, artful flashbacks, and giant monsters smashing things up, this stuff will scratch an itch for a certain kind of geek. Other people may scratch their heads instead, but hopefully they’ll still have fun. Rated PG-13. 131 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) RED 2 Bruce Willis, John Malkovich, and Helen Mirren once more play former intelligence agents who come out of retirement for yet another “last job,” with fellow acting veterans Anthony Hopkins and Catherine Zeta-Jones in tow. The experience among the cast is one of the film’s major draws, but the movie itself is a throwback to when action films featured heroes and heroines who are not tortured, devoid of personality, or weak but rather cheerful, charming, and often in control. The film’s plot is a bunch of espionage gobbledygook, but

spicy

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the humor often connects, and the action sequences excite. Rated PG-13. 116 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) R.I.P.D. Men in Black laid out a perfect formula for a supernatural cop film, and R.I.P.D. seems to follow it closely. We’ve got the young wisecracker (Ryan Reynolds) and the old gunslinger ( Jeff Bridges) using fancy technology to take down paranormal perpetrators. The big difference between this and MIB is that here the guys are dead, and they hunt ghosts, not aliens. Rated PG-13. 96 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Not reviewed) THE SMURFS 2 Just when it looked like Grown Ups 2 would be the worst movie of the summer, here comes a sequel to the smurfing 2011 stinkfest, complete with an obnoxious mix of CGI animation and real actors, burp jokes, loud club music, a sexualized Smurfette, Hank Azaria chewing up scenes as Gargamel, and a two-minute trailer that is itself an endurance test.

Rated PG. 105 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española.

Screens in 2-D only at Storyteller, Taos (Not reviewed) TURBO A tiny, slow snail (voiced by Ryan Reynolds) has big dreams: to win the Indianapolis 500. It sounds impossible — until a freak accident gives him extraordinary speed. Like many animated films to come off the Hollywood conveyor belt of late, Turbo is cute and colorful but feels slight, panders to both adults and children, and is ultimately trite. In the spirit of the script’s formulaic laziness, I feel obligated to joke that the film’s second half moves at a snail’s pace. Rated PG. 96 minutes.

Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española; Storyteller, Taos. (Robert Ker) 20 FEET FROM STARDOM “Not everyone is cut out for stardom,” says Bruce Springsteen, one of the headliners who muses here on the contributions and frustrations of the backup singers whose vocals raise the sound to another level. Táta Vega, Claudia Lennear, and Lisa Fischer are a few that will send you out of the theater wondering about that barrier that kept them from headliner stardom. But Morgan Neville’s documentary brings these singers front and center, and it’s glorious. Rated PG-13. 90 minutes. Center for Contemporary Arts, Santa Fe. (Jonathan Richards) THE WAY WAY BACK Those summers in high school were when we all came of age, in a clean character arc in which we worked lousy jobs, enjoyed our first kisses, and learned how to believe in ourselves — or

at least that’s how filmmakers see it. The latest indie comedy to probe those hot, hazy months stars Liam James as 14-year-old Duncan, who is living with his mom (Toni Collette) and her boyfriend (Steve Carell) for the summer and working at a water park, where he learns about life from his manager (Sam Rockwell).

Rated PG-13. 103 minutes. Regal DeVargas, Santa Fe. (Not reviewed) THE WOLVERINE The second spinoff movie for Hugh Jackman’s hairy hero (after 2009’s crummy X-Men Origins: Wolverine) takes the saga to Japan and surrounds Wolvie with powerful women. This change of setting is welcome in the stale superhero genre, but as with most cape films, it could sorely use a sense of style. Aside from a cool set piece on top of a bullet train and some lovely sound effects, director James Mangold doesn’t give us much to work with here. That Wolverine is dull as dirt and Jackman could now play him in his sleep doesn’t help; this flick’s adamantium claws only scratch the surface of what could have been a compelling adventure. Rated PG-13. 129 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española.

Screens in 2-D only at Storyteller, Taos. (Robert Ker) WORLD WAR Z Though this film thrusts its protagonist (Brad Pitt) into one cliffhanging situation after another in rapid succession, what’s missing from Marc Forster’s production — based on the Max Brooks novel — is suspense. The actors are convincing and the characters more interesting than usual for such fare, but the combination of sloppy scripting, bad special effects for the zombies, and the speed of most of the action scenes is exhausting.

Rated PG-13. 115 minutes. Screens in 2-D only at Regal DeVargas, Santa Fe. (Robert Nott)

other screenings Railyard Park, 740 Cerrillos Road 8 p.m. Friday, Aug. 2: Willy Wonka and the Chocolate Factory. Free outdoor screening.

Regal Stadium 14 7 p.m., 7:45 p.m., 9:30 p.m., & 10:15 p.m.

Thursday, Aug. 8: Planes.

10 p.m. Thursday, Aug. 8: Elysium.

Taos Community Auditorium, 133 Paseo del Pueblo Norte, Taos, 575-758-2052 Sunday-Tuesday, Aug. 4-6: Love. ◀

What’s shoWing

–ANN HORNADAY

PRODUCED BY ACADEMY AWARD WINNER FOREST WHITAKER ®

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Call theaters or check websites to confirm screening times.

CCA CinemAtheque And SCreening room

1050 Old Pecos Trail, 982-1338, www.ccasantafe.org 20 Feet from Stardom (PG-13) Fri. 1:30 p.m., 3:30 p.m., 7:30 p.m. Sat. 11:30 a.m., 1:30 p.m., 3:30 p.m., 7:30 p.m. Sun. to Thurs. 1:30 p.m., 3:30 p.m., 7:30 p.m.

I’m So Excited (R) Fri. to Sun. 5:30 p.m., 6:45 p.m., 8:45 p.m. Mon. to Thurs. 5:30 p.m., 6:15 p.m., 8:15 p.m.

Masters of Comedy : Silent Comedy Extravaganza 2

(NR) Sat. and Sun. 11 a.m.

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

2:45 p.m. Mon. to Thurs. 2:15 p.m.

Still Mine (PG-13) Fri. to Sun. 12:45 p.m., 4:45 p.m.

Mon. to Thurs. 12:15 p.m., 4:15 p.m. regAl deVArgAS

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

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

Fruitvale Station (R) Fri. and Sat. 1:50 p.m., 4:40 p.m., 7:40 p.m., 10 p.m. Sun. to Thurs.

1:50 p.m., 4:40 p.m., 7:40 p.m.

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

Now You See Me (PG-13) Fri. and Sat. 1:20 p.m., 4:10 p.m., 7:10 p.m., 9:50 p.m. Sun. to Thurs.

1:20 p.m., 4:10 p.m., 7:10 p.m.

The Way Way Back (PG-13) Fri. and Sat. 1:40 p.m., 4:30 p.m., 7:30 p.m., 9:55 p.m. Sun. to Thurs.

1:40 p.m., 4:30 p.m., 7:30 p.m.

World War Z (PG-13) Fri. and Sat. 1 p.m., 3:50 p.m., 6:50 p.m., 9:30 p.m. Sun. to Thurs. 1 p.m., 3:50 p.m., 6:50 p.m. regAl StAdium 14

KEVIN DURAND

AND

OCTAVIA SPENCER

the SCreen

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com The Attack (R) Fri. to Thurs. 5:35 p.m.

Hannah Arendt (NR) Sat. and Sun. 10:30 a.m.

The Wall (NR) Fri. to Thurs. 12:45 p.m., 3:10 p.m., 7:35 p.m. mitChell dreAmCAtCher CinemA (eSpAñolA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com Call theater or consult website for days and times not shown.

2 Guns (R) Fri. 4:45 p.m., 7:20 p.m., 9:45 p.m.

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

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

The Conjuring (R) Fri. 4:55 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:25 p.m., 4:55 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:25 p.m.

Mon. and Tue. 4:55 p.m., 7:25 p.m.

Despicable Me 2 (PG) Fri. 4:35 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m.

Mon. and Tue. 4:35 p.m., 7:05 p.m.

Grown Ups 2 (PG-13) Fri. 4:50 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:15 p.m., 4:50 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:15 p.m., 4:50 p.m., 7:30 p.m.

Mon. and Tue. 4:50 p.m., 7:30 p.m.

The Lone Ranger (PG-13) Fri. 6:50 p.m. Sat. and Sun. 2:30 p.m., 6:50 p.m. Mon. and Tue. 6:50 p.m.

Red 2 (PG-13) Fri. 4:25 p.m., 6:55 p.m., 9:25 p.m.

Sat. 1:55 p.m., 4:25 p.m., 6:55 p.m., 9:25 p.m.

Sun. 1:55 p.m., 4:25 p.m., 6:55 p.m. Mon. and Tue. 4:25 p.m., 6:55 p.m.

The Smurfs 2 3D (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m.

Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. and Tue. 4:30 p.m., 7 p.m.

The Smurfs 2 (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m.

Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. and Tue. 4:30 p.m., 7 p.m.

Turbo (PG) Fri. 4:40 p.m., 7:10 p.m., 9:40 p.m.

Sat. 2:10 p.m., 4:40 p.m., 7:10 p.m., 9:40 p.m.

Sun. 2:10 p.m., 4:40 p.m., 7:10 p.m. Mon. and Tue. 4:40 p.m., 7:10 p.m.

The Wolverine (PG-13) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:50 p.m., 4:30 p.m., 7:15 p.m., 10 p.m.

Sun. 1:50 p.m., 4:30 p.m., 7:15 p.m. Mon. and Tue. 4:30 p.m., 7:15 p.m. mitChell Storyteller CinemA (tAoS)

110 Old Talpa Canon Road, 575-751-4245, www.storyteller7.com Call theater or consult website for days and times not shown.

2 Guns (R) Fri. 4:45 p.m., 7:20 p.m., 9:45 p.m.

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

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

The Conjuring (R) Fri. 4:55 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:25 p.m., 4:55 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:25 p.m.

Mon. and Tue. 4:55 p.m., 7:25 p.m.

Despicable Me 2 (PG) Fri. 4:35 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m.

Mon. and Tue. 4:35 p.m., 7:05 p.m.

Grown Ups 2 (PG-13) Fri. 4:50 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:15 p.m., 4:50 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:15 p.m., 4:50 p.m., 7:30 p.m.

Mon. and Tue. 4:50 p.m., 7:30 p.m.

The Smurfs 2 (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m.

Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. and Tue. 4:30 p.m., 7 p.m.

Turbo (PG) Fri. 4:40 p.m., 7:10 p.m., 9:40 p.m.

Sat. 2:10 p.m., 4:40 p.m., 7:10 p.m., 9:40 p.m.

Sun. 2:10 p.m., 4:40 p.m., 7:10 p.m. Mon. and Tue. 4:40 p.m., 7:10 p.m.

The Wolverine (PG-13) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:50 p.m., 4:30 p.m., 7:15 p.m., 10 p.m.

Sun. 1:50 p.m., 4:30 p.m., 7:15 p.m. Mon. and Tue. 4:30 p.m., 7:15 p.m.

W INNER

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1

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

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NOW PL AYING

ACADEMY AWARD NOMINEE

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®

®

JAMES CROMWELL GENEVIÈVE BUJOLD CAMPBELL SCOtt “

Unforgettable .

Superbly acted...Cromwell and bujold are nothing short of magnificent.” rex reed, new York obServer

HHHH a grownUp love StorY

“

for the ageS.

‘Still Mine’ has romance, passion, suspense, and a David-and-goliath narrative that may make you want to stand up and cheer.” bill newcott, aarp.org

Still Mine eXClUSIve engageMent

StartS toDaY

CCA CinemAtheque 1050 Old Pecos Trail, Sante Fe (505) 982-1338

StillMine-filM.coM

Heather Roan Robbins Astrologer, Intuitive, and Ceremonialist Author of Pasatiempo’s “Starcodes.”

Readings by phone and Skype.

30-plus years experience in NM, MN, NYC. Your chart is a map, a brilliant navigational tool.

It’s an honor for me to walk with you into your inner workings, offer you a perspective to help understand the past, open up the future, and make dynamic choices.

© Jennifer Esperanza

3474 Zafarano Drive, 424-6296, www.fandango.com Call theater or consult website for days and times not shown.

2 Guns (R) Fri. to Mon. 11:20 a.m., 2:20 p.m., 5:10 p.m., 7:25 p.m., 7:55 p.m., 10:10 p.m., 10:40 p.m.

The Conjuring (R) Fri. to Mon. 11:45 a.m., 2:40 p.m., 5:20 p.m., 8 p.m., 10:45 p.m.

Despicable Me 2 (PG) Fri. to Mon. 11:50 a.m., 2:35 p.m., 5 p.m., 7:40 p.m., 10:10 p.m.

Elysium (R) Thurs. 10 p.m.

Grown Ups 2 (PG-13) Fri. to Mon. 11:35 a.m., 2:30 p.m., 5:05 p.m., 7:55 p.m., 10:45 p.m.

The Heat (R) Fri. to Mon. 11:10 a.m., 1:55 p.m., 4:50 p.m., 7:35 p.m., 10:35 p.m.

The Lone Ranger (PG-13) Fri. to Mon. 12 p.m., 3:30 p.m., 7:15 p.m., 10:35 p.m.

Monsters University (G) Fri. to Mon. 11:25 a.m., 2:05 p.m., 4:50 p.m.

Pacific Rim (PG-13) Fri. to Mon. 11 a.m., 1:55 p.m., 4:55 p.m., 7:50 p.m., 10:50 p.m.

Percy Jackson: Sea of Monsters 3D (PG) Tues. 10 p.m. Wed. and Thurs. 11 a.m., 9:40 p.m.

Percy Jackson: Sea of Monsters (PG) Wed. and Thurs. 1:40 p.m., 4:20 p.m., 7 p.m.

Planes (PG) Thurs. 7 p.m., 7:45 p.m., 9:30 p.m., 10:15 p.m.

Red 2 (PG-13) Fri. to Mon. 11 a.m., 1:45 p.m., 4:40 p.m., 7:30 p.m., 10:15 p.m.

R.I.P.D. (PG-13) Fri. to Mon. 9:40 p.m.

The Smurfs 2 3D (PG) Fri. to Mon. 11:05 a.m., 1:40 p.m., 4:15 p.m., 7 p.m.

The Smurfs 2 (PG) Fri. to Mon. 11:30 a.m., 2:10 p.m., 4:45 p.m., 7:35 p.m., 10:10 p.m.

Turbo 3D (PG) Fri. to Mon. 10 p.m.

Turbo (PG) Fri. to Mon. 11:10 a.m., 1:45 p.m., 4:20 p.m., 7:20 p.m.

We’re the Millers (R) Tue. 8 p.m., 10:40 p.m. Wed. and Thurs. 11 a.m., 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m.

The Wolverine in 3D (PG-13) Fri. to Mon. 4 p.m., 10 p.m.

The Wolverine (PG-13) Fri. to Sun. 11:15 a.m., 1 p.m., 2:25 p.m., 5:20 p.m., 7:05 p.m., 8:20 p.m., 11:15 p.m. Mon. 11:15 a.m., 1 p.m., 2:25 p.m., 5:20 p.m., 7:05 p.m., 8:20 p.m., 11:15 p.m.

MELONIE DIAZ

www.roanrobbins.com PASATIEMPOMAGAZINE.COM

67

RESTAURANT REVIEW Laurel Gladden I For The New Mexican

Mancini and mash Vanessie 427 W. Water St., 982-9966 Dinner 5:30-9:30 p.m. daily (music nightly beginning around 6 p.m.)

Takeout available Vegetarian options Handicapped-accessible Noise level: quiet to boisterous, depending on which room you’re in Full bar Credit cards, no checks

•

The Short Order If you like meat and potatoes with a side of “The Surrey With the Fringe on Top,” then head over to Vanessie, a longtime Santa Fe institution in an off-the-beaten path location on West Water Street. Seven nights a week, local performers tickle the ivories and belt out classics for an eager crowd. The main menu’s a little old school — steaks, fish, chicken, and meatloaf with green beans, mashed potatoes, and rice pilaf. The kitchen can have trouble getting meat temperatures correct, and many things are underseasoned, but the bar food seems solid. Recommended: sea bass, onion blossom, calamari, and rotisserie chicken.

Ratings range from 0 to 4 chiles, including half chiles.

This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value.

68

PASATIEMPO I August 2 - 8, 2013

I never thought I’d eat dinner to the accompaniment of the Pink Panther theme song, but that’s what happened on a recent night at Vanessie, a longtime Santa Fe institution in an off-the-beaten-path location on Water Street. Here, local performers tickle the ivories and belt out classics for an eager crowd (even on weeknights, nearly every seat in the bar may be taken) of full-time residents and tourists alike.

There’s an Old West classicism to the lounge and formal dining rooms — soaring ceilings with sturdy wood beams, russet-hued hardwood floors, tall arched antique doors with a patina indicating age and care. Both dining rooms are pleasant and airy; in one, banks of divided-light windows frame a picturesque view of quaking aspens and blue sky.

The warmly lit lounge can be downright loud. The piano is played with force and flourish, and the singer’s mike is sometimes turned up to 11, which makes conversation difficult. The crowd can be boisterous — some tunes (like “All That Jazz” and “Anything Goes”) involve audience participation and singalongs. The dining rooms, on the other hand, can be nearly empty and quiet — although you can always hear the music. You can also dine at the lengthy wood-topped bar, where the staff pours generously proportioned cocktails, and a selection of bottled beers is available. The wine list is brief and well cultivated, the choices solid but not stuffy.

Regardless of where you sit, service is attentive, enthusiastic, and professional, although some individuals lay on the shtick.

The bar food seems solid. The calamari — often heavily breaded and greasy elsewhere — are plump and have a crisp, barely there crust that serves as a crunchy, salty counterpoint to a sweet-and-spicy Asian-influenced drizzle. Our portobello “fries” — thick strips of earthy brown-black mushroom in a crumby (but far from crummy) pankolike batter were expertly fried — crisp on the outside, juicy but not oily on the inside, and hot through and through. The onion “blossom” is, as you might expect, a version of the infamous “Bloomin’ Onion,” but ours was far better than anything from a chain restaurant, the breading crisp, golden, and even. It’s not overly salty or artificially seasoned, and the sweetness of the onion comes through.

The kitchen has some trouble with meat temperatures.

The elk tenderloin, which we were told is typically prepared medium rare, arrived thoroughly overdone and gray. Our server immediately noticed our concern and whisked it away; the cut he returned with was underdone — a perfect rare.

Still, the meat was lightly seasoned, letting the natural, mildly gamy flavor shine.

A similar thing happened with our 8-ounce filet, which we ordered medium rare. On the first try, it was a pink-middle medium. When we pointed this out, our server gave us an anxious look and mustered a timid “I’ll ask” as she carried it off. She returned with a plate that was too hot to touch and a new, very rare, still-steaming steak with a cool, gelatinous center and no seasoning whatsoever — not even salt and pepper, as far as we could taste.

The onion “crust” on the sea bass is accomplished using dehydrated onion, among other things. Though this brought

to mind ingredients from an industrial-size plastic tub, the dish was flavorful, the fish firm and moist, the crust evenly applied and not overpowering. I left most of the risotto — a super-starchy combo of corn and rice — behind on the plate with some of the firm but completely unseasoned broccoli.

One of my dining companions, a native Iowan, described the meatloaf as being “just like my grandmother’s” — how you interpret that depends on your grandmother’s meatloaf. The “famous” rotisserie chicken (actually only half a chicken) deserves its moniker — it was the best entrée of the night.

The seasoning was balanced and not overpowering, the dish’s only flaw being slightly dry breast meat. The Honig Sauvignon Blanc made a nice accompaniment with its lovely flavors of grass and grapefruit.

Sides are serviceable. The garlic-truffle mashed potatoes were subtly seasoned and creamy on one visit, reeking of truffle oil on another. The haricots verts were crisp and bright green, though again completely unseasoned. The macaroni (actually farfalle) and cheese had a strong, exciting, salty-nutty fromage flavor, but the béchamel, which looked house-made, needed a little more time and attention — its consistency was more like soup than sauce. The price of most entrees includes two sides; this is not true of steaks, however, so adding a starch and a veggie could tack more than $10 onto your bill.

Much like the ambience and the music at Vanessie, the food is a little old school, which doesn’t suit everyone’s taste. But if you like your meat and potatoes with a side of “The Surrey With the Fringe on Top,” then you should head over to West Water Street for dinner, drinks ... and all that jazz. ◀

Check, please

Dinner for two at Vanessie: Onion blossom ....................................................... $ 7.00 Arugula salad .......................................................... $ 9.00 Sea bass ................................................................... $ 32.00 Elk tenderloin ......................................................... $ 36.00 Bottle, Marietta Old Vine Red ................................. $ 43.00 Two coffees ............................................................. $ 6.00 TOTAL .................................................................... $ 133.00 (before tax and tip)

Dinner for three, another visit: Calamari ................................................................. $ 14.00 Portobello fries ....................................................... $ 9.00 Meatloaf .................................................................. $ 22.00 8-ounce filet ............................................................ $ 35.00 Mac and cheese ....................................................... $ 7.00 Green beans ............................................................ $ 5.00 Rotisserie chicken ................................................... $ 20.00 Bottle, Honig Sauvignon Blanc ............................... $ 45.00 TOTAL .................................................................... $ 157.00 (before tax and tip)

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“

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“

The hAPPIesT TIMe you’ll hAve AT The MovIes All suMMer!” TY BURR,

MEET THE UNSUNG HEROES BEHIND THE GREATEST MUSIC OF OUR TIME

Superbly acted...Cromwell and Bujold are nothing short of magnificent.”

Rex Reed, NEW YORK OBSERVER

HHHH A GROWNUP

“

“Perfection!”

PETER TRAvERS,

LOVE STORY FOR THE AGES.

“A

‘Still Mine’ has romance, passion, suspense, and a David-and-Goliath narrative that may make you want to stand up and cheer.”

gift!”

A.O. SCOTT,

“A

must-see!

Massively entertaining and heartfelt heartfelt!”

Bill Newcott, AARP.ORG

CLAUDIA PUIG,

“CROMWELL

AND BUJOLD ARE REMARKABLE.”

“Irresistible!”

KENNETH TURAN,

Michael Sragow, ORANGE COUNTY REGISTER

HHHH STILL MINE TOUCHES “

‘

1/2

featuring BruCe SPringSteen Sting MiCK Jagger SteVie WOnDer anD Bette MiDLer ©2013 PROJECT B.S., LLC

’

ON LOVE, LOSS AND ALL THE BEAUTY IN BETWEEN.” Alynda Wheat, PEOPLE MAGAZINE

JUST WONDERFUL!”

“

Jeffrey Lyons, LYONS DEN RADIO/WCBS RADIO

I’M SO EXCITED! Still Mine EL DESEO PRESENTS

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CCA’s Masters of Comedy Series SILENT COMEDY EXTRAVAGANZA In The Muñoz-Waxman Gallery: (program 2 of 2) MAKING PLACES

Become a CCA Member and get 2 extra months of membership!

works by Linda Fleming & Michael S. Moore gallery hours: Thurs-Sun 12:00p - 5:00p Fri Aug 2

12:45p - Still Mine* 1:30p - 20 Feet 2:45p - Much Ado* 3:30p - 20 Feet 4:45p - Still Mine* 5:30p - I’m So Excited 6:45p - I’m So Excited* 7:30p - 20 Feet 8:45p - I’m So Excited*

Sat-Sun Aug 3-4 11:00a - Masters of Comedy* 11:30a - 20 Feet 12:45p - Still Mine* 1:30p - 20 Feet 2:45p - Much Ado* 3:30p - 20 Feet

4:45p - Still Mine* 5:30p - I’m So Excited 6:45p - I’m So Excited* 7:30p - 20 Feet 8:45p - I’m So Excited*

Mon-Thurs Aug 5-8

12:15p - Still Mine* 1:30p - 20 Feet 2:15p - Much Ado* 3:30p - 20 Feet 4:15p - Still Mine* 5:30p - I’m So Excited 6:15p - I’m So Excited* 7:30p - 20 Feet 8:15p - I’m So Excited*

11:00am Sat - Sun August 3-4!!! presented in part by

*indicates showing is in The Studio at CCA, for a price of $7.50, or $6.00 for CCA Members

COMING SOON:

The Act of Killing Lovelace The Hunt More Than Honey Prince Avalanche...& more!!!

PASATIEMPOMAGAZINE.COM

69

pasa week Friday, Aug. 2

SR Brennen Galleries 124 W. Palace Ave., 467-8295. New paintings

by Adrian Gottlieb, reception 5-6:30 p.m., through Aug. 10.

Sugarman-Peterson Gallery 130 W. Palace Ave., 982-0340. Adair Payne’s latest oil paintings, reception 5-7:30 p.m.

Touching Stone Gallery 539 Old Santa Fe Trail, 988-8072. Two Generations of Master Tanba Pottery, works by Tadashi Nishihata and Haruna Nishihata, reception 5-7 p.m., through Aug. 24 (see story, Page 48).

Waxlander Gallery 622 Canyon Rd., 984-2202. Weaving Sunshine, woven-copper paintings by Suzanne Donazetti, reception 5-7 p.m., through Aug. 12.

William & Joseph Gallery 727 Canyon Rd., 982-9404. Rhythms in Geometry, new work by sculptor Laird Hovland, reception 5-7 p.m., through August.

GALLERy/MUSEUM oPEnInGS

Bellas Artes 653 Canyon Rd., 983-2745.

Pozos Azules, work by textile artist Olga de Amaral, through Sept. 28 (see story, Page 58).

Blue Rain Gallery 130-C Lincoln Ave., 954-9902. Recent drawings

by Tony Abeyta, through Aug. 10; new work by glass artist Preston Singletary, through August; reception 5-7 p.m.

Cloud 5 Project 1805 Second St., 577-5282. Coherent Light, group show including work by Joanne Lefrak, Stephen Auger, and Mayumi Nishida, closing reception 7:30-10:30 p.m.

David Richard Gallery 544 S. Guadalupe St., 983-9555. Ted Larson: Some Assembly Required; Peter Demos: Ten Paintings; Matthew Penkala: There’s No Shame in It; Lilly Fenichel: High Contrast; reception 5-7 p.m., through Sept. 7.

Dust in the Wind 125 E. Palace Ave., Suite 29, 986-1155.

Inspire, handmade cards by Angelisa, reception 5:30-7:30 p.m.

Evoke Contemporary 130-F Lincoln Ave., 995-9902. Retrospective of work by the late New Mexico landscape artist Louisa McElwain, reception 5-7 p.m., through August.

A Gallery Santa Fe 154 W. Marcy St., Suite 104, 603-7744. Works by sculptors Noel Aronov and Clark Man, reception 5-7 p.m.

Manitou Galleries 123 W. Palace Ave., 986-0440. Star York and B.C. Nowlin, sculpture and paintings, reception 5-7:30 p.m., through Aug. 16.

Marigold Arts 424 Canyon Rd., 982-4142. Marigold Recycled!, new weavings by Barbara Marigold, reception 5-7 p.m., through Aug. 30.

Matthews Gallery 669 Canyon Rd., 992-2882. Breaking Through With Light, watercolors and paintings by Eric G. Thompson, reception 5-7 p.m., through Aug. 15.

Meyer East Gallery 225 Canyon Rd., 983-1657. Head Trip, works by painter Melinda K. Hall, reception 5-7 p.m., through Aug. 15.

Meyer Gallery 225 Canyon Rd., 983-1434.

Milt Kobayashi’s figurative paintings, reception 5-7 p.m., through Thursday, Aug. 8 nüart Gallery 670 Canyon Rd., 988-3888.

Beautiful Disaster, new work by Hyunmee Lee, reception 5-7 p.m., through Aug. 18.

Patina Gallery 131 W. Palace Ave., 986-3432. Peter Schmid and Atelier Zobel Return, jewelry, reception 5-7 p.m., through Aug. 25.

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

70

PASATIEMPO I August 2 - 8, 2013

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

oPERA

La Traviata Verdi’s indelible classic about a Parisian courtesan in a moral quandary returns in a revival of a 2009 staging by Laurent Pelly but with a new cast, now centering on soprano Brenda Rae, tenor Michael Fabiano, and baritone Roland Wood. 8 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900.

CLASSICAL MUSIC

GF Contemporary shows work by Marcelo Suaznabar, 707 Canyon Rd.

Peyton Wright Gallery 237 E. Palace Ave., 989-9888. Idioms, paintings by abstract artist Charles Green Shaw (1892-1974), reception 5-8 p.m., through Sept. 3.

Pippin Contemporary 200 Canyon Rd., 795-7476. Texture/Chroma (Rock & River), new paintings by Jakki Kouffman, reception 5-7 p.m., through Aug. 14.

Pop Gallery 142 Lincoln Ave., Suite 102, 820-0788. Dream Catchers, paintings by Joel Nakamura, reception 6 p.m., through August.

Rieke Studio and Gallery 416 Alta Vista, 988-5229. Shadowcatcher, mixed-media work by Gail Rieke, open house 10:30 a.m.-7:30 p.m. daily through Sunday.

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

Santa Fe Weaving Gallery 124 ½ Galisteo St., 982-1737. New work by textile artist Diane Prekup, through Monday.

Scarlett’s Antique Shop and Gallery 225 Canyon Rd., 983-7092. Life in Rural New Mexico: Sheep and More!, watercolors and gouache paintings by Lisa Bemis, through Aug. 27.

Selby Fleetwood Gallery 600 Canyon Rd., 992-8877. Paper Proof, new work by origami artist Kevin Box, reception 5-7:30 p.m., through Aug. 13.

Silver Sun Gallery 656 Canyon Rd., 983-8743. Love the Land, landscapes by Dan Boldman, reception 5-7 p.m., through Aug. 14.

Santa Fe Desert Chorale 2013 Summer Festival The Road Home: Songs of America, 8 p.m., Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Pl., $10-$55, 988-2282, desertchorale.org.

Serenata of Santa Fe free pop-up concerts Including music of Vieuxtemps, Bunch, and Bach, noon, Century Bank, 100 S. Federal Pl.; 2 p.m., The Stables, 821 Canyon Rd.; 4 p.m. Betterday Coffee, Casa Solana Center, 905 W. Alameda St.; 6 p.m., Railyard Plaza, under the water tower, serenataofsantafe.org.

TGIF recital Esso String Orchestra, music of Pachelbel, Breiner, and Handel, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., 982-8544, Ext.16, donations appreciated.

THEATER/DAnCE

Daily Duets/Mixed Doubles Relays by New Mexico and New York dancers, 8 p.m., Railyard Performance Center, 1611 Paseo de Peralta, $10 at the door, 982-8309.

Juan Siddi Flamenco Theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234, TuesdaysSundays through Sept. 1.

The Screwtape Letters Fellowship for the Performing Arts presents its comedic theatrical adaptation of the C.S. Lewis

calendar guidelines Please submit information and listings for Pasa Week

no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@sfnewmexican.com, or by fax to 820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter.

novel, 8 p.m. Friday, the Lensic, $35-$55, student discount available, 988-1234, ticketssantafe.org, continues Saturday (see story, Page 24).

Yjastros: The American Flamenco Repertory Company at El Farol 8 p.m. Tuesdays-Sundays through Aug. 11, $25, 983-9912.

books/TAlks

Terry Wilson The local author reads from and signs copies of Confessions of a Failed Saint, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

EvEnTs

Fourth Annual ksFR Radio book & Music sale Thousands of books, CDs, LPs, and DVDs, 1-6 p.m., Santa Fe Community College Fitness Center, 6401 Richards Ave., $10 at the door, 428-1259, continues Saturday.

Ice Cream social Annual free fun event hosted by New Mexico Museum of Art, 5:30-7:30 p.m., on the Plaza.

Pop-up retail show Local artisans selling handmade goods, 10 a.m.-5 p.m. today and Saturday, Santa Fe Woman’s Club, 1616 Old Pecos Trail, call 466-2497 for information. santa Fe opera backstage Tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays through Aug. 13. santa Fe opera Monthly Ranch Tours Extended tour of the grounds with a meetthe-artist component, 10 a.m., tour $12, added backstage tour $20, call 986-5900, visit santafeopera.org for a schedule.

d Wine bar 315 Restaurant an 986-9190 il, Tra Fe a nt 315 Old Sa 317 Aztec 150 317 Aztec St., 820-0 e Inn th at ge Agoyo loun 3 E. Alameda St., 30 a ed am Al e th on 984-2121 nter dinner Agora shopping Ce Vista Grande, 466-1270 ida en Av courtyard 7 betterday Coffee 5-1234 55 905 W. Alameda St., nch Resort & spa Ra e bishop’s lodg Rd., 983-6377 1297 Bishops Lodge Café Café 6-1391 500 Sandoval St., 46 Casa Chimayó 8-0391 409 W. Water St., 42 ón es M El at ¡Chispa! e., 983-6756 213 Washington Av uthside Cleopatra Café so 4-5644 47 ., Dr o an far Za 82 34 Cowgirl bbQ , 982-2565 319 S. Guadalupe St. te Café The Den at Coyo 3-1615 98 , St. r ate 132 W. W lton El Cañon at the hi 811 8-2 100 Sandoval St., 98

sherman Alexie The Native writer and filmmaker hosts a fundraiser for the Institute of American Indian Arts, 6 p.m., 83 Avan Nu Po Rd., $50 in advance, 988-1234, ticketssantafe.org.

FlEA MARkETs

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

The santa Fe Flea at the Downs 9 a.m.-3 p.m. Fridays through August, south of Santa Fe at NM 599 and Interstate 25 Frontage Rd., 982-2671, santafetraditionalflea.com.

nIghTlIFE

(See addresses below) Agora shopping Center dinner courtyard Never the Same, country rock, 5:30-7:30 p.m., no cover. bishop’s lodge Ranch Resort & spa Jazz guitarist Pat Malone, 6-9 p.m., no cover.

Café Café Los Primos Trio, traditional Latin rhythms, 6-9 p.m., no cover. ¡Chispa! at El Mesón The Three Faces of Jazz and Friends, featuring Bryan Lewis on drums, 7:30 p.m.-close, no cover.

Cowgirl bbQ Singer/songwriter Gato Malo, 5-7:30 p.m., dance band Jaka, 8:30 p.m.; no cover.

El Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover.

Evangelo’s Local rock-cover band Chango, 10 p.m., call for cover.

hotel santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. la Fiesta lounge at la Fonda C.S. Rockshow, classic-rock trio, 8-11 p.m., no cover. la Posada de santa Fe Resort and spa Nacha Mendez Duo, pan-Latin rhythms, 6:30-9:30 p.m., no cover. low ’n’ slow lowrider bar at hotel Chimayó de santa Fe Jazz off the Plaza, local jazz trio with weekly special guests, 9:30 p.m.-close, no cover.

Pranzo Italian grill John Rangel and Faith Amour, jazz piano and vocals, 6-9 p.m., call for cover. second street brewery Gregg Daigle Band, roots and blues, 6-9 p.m., no cover. second street brewery at the Railyard Todd Tijerena Band, rock and blues, 7 p.m.-close, no cover.

Tiny’s Guitarist Chris Abeyta, easy listening, 5:30-8 p.m.; classic-rock band The Jakes, 8:30 p.m.-close; no cover.

The Underground at Evangelo’s Reggae with emcee Jamalski and Brotherhood Sound System, 10 p.m., call for cover. vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; pianist/vocalist Bob Finnie, pop standards, 8 p.m.-close; call for cover.

3 Saturday oPERA

The Marriage of Figaro In Mozart’s beloved evergreen, the relationships of three couples wax and wane against the shifting social mores

of the late 18th century. The strong cast of this elegant production provides abundant musical and dramatic delight. 8 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900.

ClAssICAl MUsIC

santa Fe Chamber Music Festival Bach recital, including cellist Joseph Johnson and flutist Joshua Smith, 5 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., tickets available at santafechambermusic.com, 982-1890, or 988-1234, ticketssantafe.org.

In ConCERT

guy Forsyth The free Railyard Summer Concert Series continues with the Texas singer/songwriter, 7 p.m., Railyard Plaza, 1607 Paseo de Peralta.

ThEATER/DAnCE

Juan siddi Flamenco Theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234, TuesdaysSundays through Sept. 1.

The Screwtape Letters Fellowship for the Performing Arts presents its comedic theatrical adaptation of the C.S. Lewis novel, 4 p.m., the Lensic, $35-$55, student discount available, 988-1234, ticketssantafe.org (see story, Page 24).

Twelfth Night Santa Fe Shakespeare Society presents its third annual outdoor performance series held at SFUA&D; 6 p.m., the Bandshell, 1600 St. Michael’s Dr., $5-$20 sliding donations requested, 490-6271, sfshakespeare.org, Saturday and Sunday performances through Aug. 11.

pasa week

Pasa’s little black book ill El Paseo bar & gr 848 2-2 208 Galisteo St., 99 Rd., 983-9912 El Farol 808 Canyon Evangelo’s o St., 982-9014 200 W. San Francisc hotel santa Fe ta, 982-1200 1501 Paseo de Peral asters Ikonik Coffee Ro 6 99 8-0 42 , St. na 1600 Le St., 982-3433 rcy Ma .

W 72 ca la bo a in la Casa sena Cant 8-9232 98 e., Av e lac 125 E. Pa at la Fonda la Fiesta lounge , 982-5511 St. o isc nc 100 E. San Fra a Fe Resort nt sa de la Posada e Ave., 986-0000 lac Pa and spa 330 E. at the The legal Tender eum us M d oa ilr Ra y lam 466-1650 151 Old Lamy Trail, g Arts Center lensic Performin St., 988-1234 o isc nc 211 W. San Fra e lodge Th at ge lodge loun Francis Dr., St. N. at santa Fe 750 0 992-580 l rider bar at hote low ’n’ slow low Fe 125 Washington a Chimayó de sant 0 90 8-4 98 e., Av

The Matador 116 W. San Francisco St., 984-5050 The Mine shaft Tavern 2846 NM 14, Madrid, 473-0743 Molly’s kitchen & lounge 1611 Calle Lorca, 983-7577 Museum hill Café 710 Camino Lejo, Milner Plaza, 984-8900 Music Room at garrett’s Desert Inn 311 Old Santa Fe Trail, 982-1851 The Palace Restaurant & saloon 142 W. Palace Ave, 428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 986-0022 Pranzo Italian grill 540 Montezuma Ave., 984-2645 Rouge Cat 101 W. Marcy St., 983-6603 san Francisco street bar & grill 50 E. San Francisco St., 982-2044 santa Fe Community Convention Center 201 W. Marcy St., 955-6705 santa Fe sol stage & grill 37 Fire Pl., solofsantafe.com second street brewer y 1814 Second St., 982-3030

continued on Page 75

second street brewer y at the Railyard 1607 Paseo de Peralta, 989-3278 steaksmith at El gancho 104-B Old Las Vegas Highway, 988-3333 sweetwater harvest kitchen 1512-B Pacheco St., 795-7383 Taberna la boca 125 Lincoln Ave., Suite 117, 988-7102 Thunderbird bar & grill 50 Lincoln Ave., 490-6550 Tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 Tortilla Flats 3139 Cerrillos Rd., 471-8685 The Underground at Evangelo’s 200 W. San Francisco St., 819-1597 Upper Crust Pizza 329 Old Santa Fe Trail, 982-0000 vanessie 427 W. Water St., 982-9966 veterans of Foreign Wars 307 Montezuma Ave., 983-9045 Warehouse 21 1614 Paseo de Peralta, 989-4423 Zia Diner 326 S. Guadalupe St., 988-7008

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71

exhibitionism

A peek at what’s showing around town

Adair Payne: McCourtney Sunrise, 2013, oil on canvas. Summer, an exhibition of California landscape artist Adair Payne’s new paintings, is on view at Sugarman-Peterson Gallery (130 W. Palace Avenue). Payne’s works are lavish, detailed pastoral scenes evoking a sense of peace and tranquility.

The opening reception is Friday, Aug. 2, at 5 p.m. Call 982-0340.

Dan boldman: Turquoise Trail, 2012, oil on canvas. Silver Sun Gallery (656 Canyon Road) presents Love the Land, an exhibition of paintings by Dan Boldman. Repeated applications of paint and glazing add radiance to Boldman’s detailed and moody landscapes. There is a 5 p.m. opening reception on Friday, Aug. 2. Call 983-8743.

Charles Green shaw: Black and White Against Yellow, 1968, oil on canvas. Idioms, an exhibit of paintings by Charles Green Shaw (1892-1974), opens at Peyton Wright Gallery (237 E. Palace Ave.) on Friday, Aug. 2, with a reception at 5 p.m. The show features the artist’s work from the 1960s and ’70s. Shaw was a proponent of abstraction. His paintings are reductive, minimalist compositions rendered using a limited palette. Call 989-9888.

Louisa mcelwain: Chalice, 2006, oil on canvas. Evoke Contemporary (130 Lincoln Avenue) presents a retrospective spanning the career of New Mexico artist Louisa McElwain (1953-2013). McElwain painted with a thick impasto technique and gestural brushwork to render vibrant, colorful landscapes and still lifes. There is an opening reception on Friday, Aug. 2, at 5 p.m. Call 995-9902.

nancy A. Clark: Storm at Black Mesa, 2008, oil on canvas. Nancy A. Clark’s paintings are on view in Fully Inspired in the Land That I Love, an exhibition in the Eldorado Coffee Gallery at Las Chivas Coffee Roaster (7 Avenida Vista Grande, Eldorado). Clark is a plein-air painter whose landscapes capture the beauty and variability of the New Mexico terrain. The show opens with a reception on Sunday, Aug. 4, at 1 p.m. Call 466-1010.

72

PASATIEMPO I August 2 - 8, 2013

At the GAlleries Ahalenia Studios 2889-E Trades West Rd., 699-5882. Salon de la Raza, group show including works by Nanibah Chacon, Bob Haozous, and J. Luna Gaudi, through Sunday, Aug. 4.

Chiaroscuro Contemporary Art 702½ Canyon Rd., 992-0711. Works by Peter Millett and Chris Richter, through Aug. 11.

David Rothermel Contemporary Fine Art 616½ Canyon Rd., 575-642-4981. Inheritance Series, paintings by Rothermel, through Aug. 18.

Eggman & Walrus Art Emporium 130 W. Palace Ave., second floor, 660-0048.

Third Annual Kaleidospoke, bike-themed group show and film showcase, through July 27; What Lies Beneath, paintings and an installation

by Nick Peña, through Saturday, Aug. 3.

Eight Modern 231 Delgado St., 995-0231. Chance Animals, inkjet prints by Jason Salavon, through Sept. 1.

Gerald Peters Gallery 1011 Paseo de Peralta, 954-5700. Big + Bold, group show, through Monday, Aug. 5. The Royal Road: Artistic Impressions of El Camino Real, woodblock artist Leon Loughridge and poet John Macker, through Aug. 17. Dwellings, new works by Christopher Benson, Tom Birkner, and Peri Schwartz; Beyond the Surface, works by John Felsing and Les Perhacs, through August.

GF Contemporary 707 Canyon Rd., 983-3707. New works by painters Michael Hudock and Marcelo Suaznabar, through Aug. 9.

GVG Contemporary 202 Canyon Rd., 982-1494. Dimensionality, new paintings by Oliver Polzin and Blair VaughnGruler, through Aug.16.

Hunter Kirkland Contemporary 200-B Canyon Rd., 984-2111. Paintings by Michael Madzo; sculpture by Ted Gall, through Aug. 11.

Jay Etkin Gallery 703 Camino de la Familia, Suite 3103, 983-8511.

Unexpected/Juxtapositions, group show of interdisciplinary works, through Saturday, Aug. 3.

Karan Ruhlen Gallery 225 Canyon Rd., 820-0807. California Dreaming: Form and Color, works by Daniel Phill and Bret Price, through Thursday, Aug. 8.

La Tienda Exhibit Space 7 Caliente Rd., Suite A-6, Eldorado, 428-0024.

Intersection: Lens, Light, Life, works by Daryl A. Black, Caroline Jenney, and Kathy Olshefsky, through Aug. 10.

Photo-eye Bookstore 376-A Garcia St., 988-5159. Annual staff show of photography, sculpture, and mixed media, through Sunday, Aug. 4.

Red Dot Gallery 826 Canyon Rd., 820-7338. Mixed-media group show, through Aug. 11. Traveling Raveling, works by Michelle Goodman, Kathleen McCloud, and Gina Telcocci, through August.

Salon Del Mar 1221 Flagman Way, Suite A-1, 490-2278. Paintings by Leah Saulnier.

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

Retrospective exhibit of work by photographer Jerry Uelsmann, through August.

TAI Gallery 1601-B Paseo de Peralta, 984-1387. Fushi, bamboo baskets by Fujinuma Noboru, through Aug. 24.

Turner Carroll 725 Canyon Rd., 986-9800. New work by ceramicist Wanxin Zhang; Hung Liu: Portraits of a Chinese Self; through Aug. 18.

Verve Gallery of Photography 219 E. Marcy St., 982-5009. Figures Studied, 10th anniversary group show, through August.

Vivo Contemporary 725-A Canyon Rd., 982-1320. Unfolded: Paper, Pages, Pen, works by Ilse Bolle, Joy Campbell, and Patty Hammarstedt, through Aug. 20.

William R. Talbot Fine Art, Antique Maps & Prints 129 W. San Francisco St., second floor, 982-1559. Modernist Printmaking in the Southwest, 1920-1950, including works

by Emil Bisttram, Gerald Cassidy, and Gene Kloss, through August.

Yares Art Projects 123 Grant Ave., 984-0044. Radiance + Reflection: Stain Paintings + Drawings, work by Jules Olitski (1922-2007); The Mujer Pegada Series, sculpture and works on paper by Manuel Neri; through Aug. 24.

Zane Bennett Contemporary Art 435 S. Guadalupe St., 982-8111. Native Vanguard: Contemporary Masters, including works by T.C. Cannon, Frank Buffalo Hyde, and Ramona Sakiestewa, through Aug. 23.

MuseuMs & Art spAces refer to the daily calendar listings for special events. Museum hours subject to change on holidays and for special events.

Center for Contemporary Arts 1050 Old Pecos Trail, 982-1338. Making Places, interdisciplinary installation by Linda Fleming and Michael Moore, through Sept. 22 (see review, Page 56). Gallery hours available online at ccasantafe.org or by phone, no charge.

El Rancho de las Golondrinas 334 Los Pinos Rd., 471-2261. Living history museum and historic paraje on El Camino Real, the Royal Road to Mexico City. Open 10 a.m.-4 p.m. Wednesday-Sunday through September. $8; seniors and teens $5; ages 12 and under no charge.

Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land, through Sept. 8. Open 10 a.m.-5 p.m.

Saturday-Thursday, 10 a.m.-7 p.m. Friday. $12; seniors $10; NM residents $6; students 18 and over $10; under 18 no charge; no charge for NM residents first Friday of each month.

Museum of Contemporary Native Arts 108 Cathedral Pl., 983-1666. Open 10 a.m.5 p.m.; closed Tuesday; noon-5 p.m. Sunday.

Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays.

Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 476-1250.

What’s New in New: Recent Acquisitions, annual exhibit celebrating the gallery’s namesake, Lloyd Kiva New, through 2013 • Woven Identities: Basketry Art From the Collections • Margarete Bagshaw: Breaking the Rules, 20-year retrospective • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions.

Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. Tuesday-

site santa Fe shows enrique Martínez celaya’s site-specific installation, the pearl.

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

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

Let’s Talk About This: Folk Artists Respond to HIV/AIDS, collaborative community exhibit, through Jan. 5, 2014 • Tako Kichi: Kite Crazy in Japan, exhibit of traditional Japanese kites, through March 2014 • Plain Geometry: Amish Quilts, textiles from the collection and collectors, through Sept. 2 • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art.

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

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

Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 982-2226.

Beltrán-Kropp Peruvian Art Collection, exhibit of gift items, including a permanent gift of 60 art pieces and objects from the estate of Pedro Gerardo Beltrán Espantoso, Peru’s ambassador to the U.S. (1944-1945), through May 27, 2014 • Stations of the Cross, works by New Mexico artists, through Sept. 2 • Metal and Mud — Out of the Fire, works

by Spanish Market artists, through August • San Ysidro/St. Isidore the Farmer, bultos, straw appliqué, paintings on tin, and retablos • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonial-period re-creation.

Open 10 a.m.-5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; no charge for NM residents on Sundays.

New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 4765200. Water Over Mountain, Channing Huser’s photographic installation • Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16, 2014 • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author, through Feb. 9,

2014. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Friday. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge for NM residents over 60 on Wednesdays; NM residents no charge on Sundays; free admission 5-8 p.m. Fridays.

New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Peter Sarkisian: Video Works 1994-2011, mixed-media installations, through Aug.18 • Shiprock and Mont St. Michel, Santa Fe photographer William Clift’s landscape studies, through Sept. 8 • Back in the Saddle, collection of paintings, prints, photographs, and drawings of the Southwest, through Sept. 15 • It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m.

Tuesday-Sunday; 5-8 p.m. Friday. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; NM residents free on Sundays.

Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Pl., 988-8900. A Straight Line Curved, paintings

by Helen Hardin, through September. Open 10 a.m.-5 p.m. Tuesday-Sunday. $10 admission.

Poeh Museum 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334. Open 8 a.m.5 p.m. Monday-Friday; 9 a.m.-4 p.m. Saturday; donations accepted.

Rotunda Gallery State Capitol, Old Santa Fe Trail and Paseo de Peralta, 986-4589. New Mexico: Unfolding, group show of mixed-media fiber art, through Aug. 16.

SITE Santa Fe 1606 Paseo de Peralta, 989-1199. Enrique Martínez Celaya: The Pearl, site-specific installation, through Oct. 13. Open 10 a.m.-5 p.m.

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

Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13, 2014. Open 10 a.m.-5 p.m.

Monday-Saturday, 1-5 p.m. Sunday.

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In the wings MUSIC

David Yard and Daniel Weston Classical guitar recitals, 6 p.m. Friday, 11 a.m.

Sunday, Aug. 9 and 11, evening concert at Casa Chimayó in Santa Fe, morning concert at La Tienda Performance Space in Eldorado, $25, performance and meals $60, 575-770-5094.

Santa Fe Opera community events Special family performances of Britten’s Noah’s Flood, 6 p.m. Saturday, Aug. 10, 10:30 a.m. and 1 p.m. Sunday, Aug. 11, fully staged with costumes, sets, and orchestra, featuring baritone Alan Dunbar and mezzo-soprano Ellie Jarrett Shattles $5; Apprentice Showcase Scenes, 8 p.m. Sunday, Aug. 11 and 18, $7-$21; 986-5900.

Festival of Song Santa Fe Opera performers in recital, including tenors Paul Appleby and Michael Fabiano, and mezzo-soprano Susanne Mentzer, 4 p.m.

Sunday, Aug. 11 and 18, and Wednesday, Aug.14, Scottish Rite Center, $40, tickets available at the Santa Fe Concert Association box office, 984-8759, or through the Lensic, 988-1234, ticketssantafe.org.

Schola Cantorum of Santa Fe Songs of a Summer Evening, 7 p.m. Sunday, Aug. 11, Loretto Chapel, $20, discounts available; encore, Aug. 18, Santuario de Guadalupe, no charge, schola-sf.org, 474-2815.

Makana Hawaiian slack-key guitarist, 8 p.m. Thursday, Aug. 15, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com.

KSFR Radio Music Café jazz series Dmitri Matheny Group, flugelhornist Matheny with pianist Bert Dalton, bassist Milo Jaramillo, and percussionist John Trentacosta, 7 p.m.

Thursday, Aug. 22, Museum Hill Café, 710 Camino Lejo, Milner Plaza, $20, 428-1527.

39th Annual Santa Fe Bluegrass and Old Time Music Festival Headliners, Claire Lynch Band and Foghorn Stringband, New Mexico bands include Hard Road Trio, Lost Howlin’ Coyotes, and the Bill Hearne Trio, Friday-Sunday, Aug. 23-25, Santa Fe County Fairgrounds, $15-$40, three-day pass $50, southwestpickers.org.

Sylvia McNair The singer headlines Santa Fe Desert Chorale’s gala benefit, al fresco cocktail reception, dinner, live auction, and performance, 6 p.m. Thursday, Aug. 29, La Posada de Santa Fe Resort and Spa, 330 E. Palace Ave., call 988-2282 for information.

Slaid Cleaves Singer/songwriter, 7:30 p.m. Friday, Aug. 30, Music Room, Garrett’s Desert Inn, 311 Old Santa Fe Trail, $20 in advance, southwestrootsmusic.org, $25 at the door.

Michael Hearne’s 11th Annual Big Barn Dance Music Festival Lineup includes Sonny Throckmorton, Claude “Butch” Morgan, Jimmy Stadler, and South by Southwest, Thursday-Saturday, Sept. 5-7, Taos Ski Valley, details available online at michaelhearne.com.

Maria de Barros Jazz and traditional Cape Verde coladeira singer, 7:30 p.m. Thursday, Sept. 12, the Lensic, $15-$35, ticketssantafe.org, 988-1234.

Brian Hass Jazz pianist/composer, with percussionist Dave Wayne, 8 p.m. Thursday, Sept. 12, Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com.

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PASATIEMPO I August 2 - 8, 2013

Upcoming events THEATER/DANCE

Los Lonely Boys Texican rock ’n’ rollers, Los Plateros and Sol Fire open, 6:45 p.m. Friday, Sept.13, Santa Fe Community Convention Center, $25, VIP tickets $75, 988-1234, ticketssantafe.org.

Jerry Lopez Singer/songwriter, 7 p.m. Saturday, Sept. 14, the Lensic, $20-$35, 988-1234, ticketssantafe.org. ¡Globalquerque! Albuquerque’s National Hispanic Cultural Center hosts the annual music and culture celebration; featuring veteran rocker Leon Russell, Latin-jazz percussionist Poncho Sánchez, and a host of international acts, Friday and Saturday, Sept. 20-21, 1701 Fourth St. S.W., $12-$60, discounts available, NHCC box office, 505-724-4771 or at the door.

Santa Fe Pro Musica season opener Music of Haydn, Shostakovich, and Mozart, featuring pianist Conrad Tao and trumpeter Brian Shaw, Saturday and Sunday, Sept. 21-22, the Lensic, $20-$65, ticketssantafe.org, 988-1234.

Red Elvises Theatrical-rock band, 7:30 p.m. Friday, Sept. 23, Santa Fe Sol Stage & Grill, 37 Fire Pl., $12, solofsantafe.com.

The Canadian Brass Classic to contemporary arrangements, 4 p.m.

Sunday, Sept. 29, Duane Smith Auditorium, Los Alamos, $30, 988-1234, ticketssantafe.org.

Michael Franti & Spearhead Funk/reggae/jazz fusion band, 7:30 p.m.

Wednesday, Oct. 23, Santa Fe Community Convention Center, $30, ticketssantafe.org, 988-1234, $35 at the door, 21+.

Steve Vai Rock guitarist, 7:30 p.m. Thursday, Oct. 24, the Lensic, $29-$51, ticketssantafe.org, 988-1234.

All for Your Delight Scenes and songs from Shakespeare’s comedies, 7:30 p.m. Friday-Sunday, Aug. 16-18, outdoors at St. John’s College, 1160 Camino de Cruz Blanca, $20 in advance, student discounts available, 988-1234, ticketssantafe.org.

Secret Things Camino Real Productions presents Elaine Romero’s play about New Mexico CryptoJews, Friday-Sunday, Aug. 16-25, Teatro Paraguas Studio, 3205 Calle Marie, $18, discounts available, 424-1601.

Daniel Ulbricht Dance Company Contemporary and modern ballet programs, Friday and Saturday, Aug. 23-24, the Lensic, $20-$75, Santa Fe Concert Association box office, 984-8759, or ticketssantafe.org, 988-1234.

Starting Here, Starting Now Greer Garson Theatre’s student production of Richard Maltby Jr. and David Shire’s musical revue, Friday-Sunday, Aug. 23-Sept.1, $10, 988-1234, ticketssantafe.org.

A Veritable Verisimilitude of Vegas Voluptuousness or A Fracking Good Time or Challenging Chicken Choices in the Chintzy Chaparral 2013 Fiesta Melodrama, an annual sendup of all things Santa Fe; opening Wednesday, Aug. 28, with a street party honoring the Fiesta Court, continuing through Sept. 8, Santa Fe Playhouse, 142 E. DeVargas St., street party $30, all other performances $20, 988-4262.

Revelations A play by the late James Galloway presented by Sandia Performing Arts; Saturday and Sunday, Aug. 31-Sept. 1, Teatro Paraguas, 3205 Calle Marie, $15, discounts available, 424-1601.

Vanya and Sonia and Masha and Spike Fusion Theater presents Christopher Durang’s comedy, Friday and Saturday, Sept. 27-28, $20-$40, student discounts available, 988-1234, ticketssantafe.org.

HAPPENINGS

Breakfast with the Curators series Museum of Indian Arts & Culture exhibit talks and tours, 8:30-10 a.m. Aug. 9, 13, 16, and 23, Museum Hill Café, 710 Camino Lejo, Milner Plaza, $35 advance tickets include breakfast and museum admission, 982-5057.

singer/songwriter slaid cleaves performs Aug. 30, at garrett’s Desert inn music Room.

22nd Annual Zia Regional Rodeo Charity event presented by the New Mexico Gay Rodeo Association; 9 a.m.-5 p.m. Saturday and Sunday, Aug. 10-11, Rodeo de Santa Fe Fairgrounds, 3237 Rodeo Rd., $15 per day at the gate; $25 weekend pass; children 12 and under no charge, nmgra.com.

35th Annual Invitational Antique Indian Art Show Gala preview Sunday, Aug. 11, show Monday and Tuesday, Aug. 12-13, Santa Fe Community Convention Center, 201 W. Marcy St., gala preview opening $75, general admission $10, whitehawkshows.com, 992-8929.

92nd Annual Indian Market Monday-Sunday, Aug. 12-18; more than 1,000 Native artists; market events include the 13th Annual Native Cinema Showcase, Best of Show ceremony and luncheon, concerts, and a Native American Clothing Contest, on the Plaza and surrounding streets; visit swaia.org for full events schedule.

At the Artist’s Table Fundraiser with artist Emmi Whitehorse and chef Tracy Ritter for the Partners in Education Foundation and Santa Fe Arts Commission’s Artist Exhibit and Education Program; dinner with a meet-and-greet component and signed artwork by the artist, 6 p.m. Tuesday, Aug. 13, Santa Fe School of Cooking, 125 N. Guadalupe St., visit attheartiststable.org or call 955-6707 or 474-0240 for more information.

Jeff Speck: Why the Future Belongs to Walkable Cities Lecture and discussion with the author/city planner, 6 p.m. Tuesday, Aug. 13, Armory for the Arts, 1050 Old Pecos Trail, $10, students $5, ticketssantafe.org, 988-1234.

Museum of Contemporary Native Arts 2013 Summer Arts Public Programs Free group exhibit openings Thursday, Aug. 15, featuring a special performance by Iroquois singer/songwriter Joanne Shenandoah; additional events running through the weekend of Aug. 16, include panel discussions featuring Native artists and museum directors and the premiere of a new collection by Native designers, 108 Cathedral Pl., 983-8900.

38th annual Wheelwright Museum of the American Indian benefit auction Silent auction and live auction preview Thursday, Aug. 15; Collector’s Table, live auction preview, and live auction Friday, Aug. 16; plus, artist demonstrations and optional catered lunch, 704 Camino Lejo, Museum Hill, 982-4636, wheelwright.org.

Palace Portal Artisans’ Celebration Native specialties food booth, music, handcrafted work, and traditional dances, 10 a.m.-5 p.m.

Saturday and Sunday, Aug. 17-18, Palace of the Governors on the Plaza, 476-5200.

Fiestas de Santa Fe Annual community celebration (since 1721) running Aug. 31, through Sept. 8; arts & crafts market; Mariachi Extravaganza de Santa Fe; historic processions and reenactments; burning of Zozobra Thursday, Sept. 5; visit santafefiesta.org for schedule and details.

23rd Annual Santa Fe Wine & Chile Festival Luncheons, tours, and seminars, Sept. 25-29, visit santafewineandchile.org or call 438-8060 for tickets and details.

Paul Hawken Environmental lecturer, 7 p.m. Tuesday, Oct. 8, the Lensic, $15-$30, 988-1234, ticketssantafe.org.

pasa week

from Page 71

3 Saturday (continued) Yjastros: The American Flamenco Repertory Company at El Farol 8 p.m. Tuesdays-Sundays through Aug.11, $25, 983-9912.

books/TAlks

Institute of American Indian Arts Writers Festival Final day of free readings by students, faculty, and Native authors, 6 p.m., 83 Avan Nu Po Rd., 424-2351.

FlEA MARkETs

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

The santa Fe Flea at the Downs 8 a.m.-3 p.m. Saturdays and Sundays through September, south of Santa Fe at NM 599 and Interstate 25 Frontage Rd., 982-2671, santafetraditionalflea.com.

ouTDooRs

Guided nature walks 10 a.m. every Saturday at the Leonora Curtin Wetland Preserve, 27283 W. Frontage Rd., adjacent to El Rancho de las Golondrinas, call Santa Fe Botanical Garden for details, 471-9103.

Power Yoga in the Park 9:15 a.m. Saturdays through Aug. 25, Chavez Community Center Park, 3221 Rodeo Rd., $6, discounts available, 955-4000, all ages.

EvEnTs

Fourth Annual ksFR Radio book & Music sale Thousands of books, CDs, LPs, and DVDs, 9 a.m.-noon, (1-3 p.m. clearance sale, $10 per bag), Santa Fe Community College Fitness Center, 6401 Richards Ave., no charge, 428-1259.

30th Anniversary Ground blessing and Apache Mountain spirit Dance Allan Houser Studio and Sculpture Gardens hosts the event, gates open at 4 p.m., ceremony begins at 5 p.m., $20, couples $30, 471-1528.

41st Annual Girls Inc. Arts & Crafts show 125 artists, food vendors, and kids’ activities, 9 a.m.-5 p.m. today and Sunday, on the Plaza, 982-2042, girlsincofsantafe.org.

Irene Rawlings The author of Cast-Iron Cooking With Sisters on the Fly presents a cooking demonstration, in front of REI, 500 Market St., at the Railyard, 9 a.m.-noon, presented by Collected Works Bookstore.

Pop-up retail show Local artisans selling handmade goods, 10 a.m.-5 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, call 466-2497 for information. santa Fe Artists Market 8 a.m.-1 p.m.

Saturdays at Railyard Park across from the Farmers Market, through November, 310-1555. santa Fe Farmers Market 7 a.m.-noon; 1607 Paseo de Peralta, 983-4098. santa Fe opera Insider Days Opera Guild members offer insights into productions and behind-the-scenes processes at no charge; refreshments 8:30 a.m., discussion and backstage tour 8:45 a.m., Saturdays through Aug. 24, meet at the box office, 986-5900, visit santafeopera.org for complete schedule of community events. santa Fe society of Artists show 9 a.m.-5:30 p.m., at the First National Bank parking lot on W. Palace Ave., across from the New Mexico Museum of Art, weekends through Oct. 20.

summer Festival and Territorial law & order Peruvian Paso horse show, wagon rides, kids’ workshops, and more, 10 a.m.-4 p.m. today and Sunday, El Rancho de las Golondrinas, 334 Los Pinos Rd., by museum admission, 471-2261.

Your Heart Is My shelter Hillside Market hosts an art auction with catered food and music in support of Esperanza Shelter for Battered Families; Jay Boy Adams & Zenobia and Raven Red Fox perform, 6:30 p.m., 86 Old Las Vegas Highway, $35, 982-9944.

nIGHTlIFE

(See Page 71 for addresses) ¡Chispa! at El Mesón Flamenco Conpaz, 7 p.m.-close, call for cover.

Cowgirl bbQ Bold-school rockabilly band Rob-A-Lou’s Johnny Cash tribute, 2-5 p.m.; Broomdust Caravan, juke joint honky-tonk and biker bar rock, 8:30 p.m.-close; no cover.

El Cañon at the Hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. la Fiesta lounge at la Fonda C.S. Rockshow, classic-rock trio, 8-11 p.m., no cover. la Posada de santa Fe Resort and spa Jazz vocalist Whitney Carroll Malone, bassist Asher Barreras, and guitarist Pat Malone, 6-9 p.m., no cover. second street brewery New Orleans-style funk/jazz band Pollo Frito, 6-9 p.m., no cover. second street brewery at the Railyard Country/folk songwriters Lucy Barna and Paige Barton, 7-10 p.m., no cover. sweetwater Harvest kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover.

The underground at Evangelo’s The Collective Reggae Party with DJ Dynamite Sol and Brotherhood Sound’s Don Martin, 9 p.m., call for cover. vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m., call for cover.

4 Sunday GAllERY/MusEuM oPEnInGs

Eldorado Coffee Gallery Las Chivas Coffee Roaster, 7 Avenida Vista Grande, 466-1010. Paintings by Nancy A. Clark, reception 1 p.m.

ClAssICAl MusIC

Christine brewer The soprano pays tribute to Wagner and Britten, accompanied by pianist Joseph Illick, 4 p.m., the Lensic, $25-$50, 986-5900 (see stories, Pages 44 and 46). santa Fe Chamber Music Festival Music of Enescu, Mahler, and Schoenberg, including baritone Matthew Worth, Johannes String Quartet, and cellist Peter Stumpf, 6 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., tickets available at santafechambermusic.com, 982-1890, or 988-1234, ticketssantafe.org.

In ConCERT

Ring of Fire Johnny Cash and June Carter Cash tribute performed by Matt Gonzales and Kelly Khun, 6 p.m., La Casa Sena Cantina, 125 E. Palace Ave., $25, 988-9232, Monday encore.

THEATER/DAnCE

Juan siddi Flamenco Theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234, TuesdaysSundays through Sept. 1.

Tom Birkner’s Eyes in the Sky, Gerald Peters Gallery, 1160 Paseo de Peralta

Twelfth Night Santa Fe Shakespeare Society presents its third annual outdoor performance series held at SFUA&D; 6 p.m., the Bandshell, 1600 St. Michael’s Dr., $5-$20 sliding donations requested, 490-6271, sfshakespeare.org, Saturday and Sunday performances through Aug. 11.

Yjastros: The American Flamenco Repertory Company at El Farol 8 p.m.

Tuesdays-Sundays through Aug. 11, $25, 983-9912.

books/TAlks

Fire Policy in new Mexico and nationwide Inferno by Commitee author Tom Ribe in conversation, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

John l. kessell The author discusses and signs copies of Miera y Pacheco: Dominguez and Escalante’s Unruly Cartographer, 3 p.m., seating begins at 2:45 p.m., Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, $10, 982-2226.

Pride in the saddle in new Mexico: The story of Gay Rodeo Riders Gregory Hinton and Blake Little in conversation with photographer Herb Lotz and Brian Helander, founder/president of the Gay & Lesbian Rodeo Heritage Foundation, 2 p.m., New Mexico History Museum auditorium, 113 Lincoln Ave., by museum admission, 476-5200.

EvEnTs

41st Annual Girls Inc. Arts & Crafts show 125 artists, food vendors, and kids’ activities, 9 a.m.-5 p.m., on the Plaza, 982-2042.

Railyard Artisans Market 10 a.m.-4 p.m.; Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta. santa Fe Farmers Market shops grand opening Featuring live music by marimba ensemble Kumusha, wine and tea tastings, and refreshments, noon-2 p.m., SFFM Pavilion, 1607 Paseo de Peralta. santa Fe society of Artists show 9 a.m.-5:30 p.m., at the First National Bank parking lot on W. Palace Ave., across from the New Mexico Museum of Art, weekends through Oct. 20.

summer Festival and Territorial law & order Peruvian Paso horse show, wagon rides, kids’ workshops, and more, 10 a.m.-4 p.m., El Rancho de las Golondrinas, 334 Los Pinos Rd., by museum admission, 471-2261.

FlEA MARkETs

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

The santa Fe Flea at the Downs 8 a.m.-3 p.m. Saturdays and Sundays through September, south of Santa Fe at NM 599 and Interstate 25 Frontage Rd., 982-2671, santafetraditionalflea.com.

nIGHTlIFE

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

Cowgirl bbQ Joe West & Friends, strange country and eclectic folk, noon-3 p.m.; local singer/songwriters Gary Gorence and Frank Ondrusek, acoustic rock, 8 p.m.; no cover.

El Farol Nacha Mendez, pan-Latin chanteuse, 7 p.m., no cover.

Evangelo’s Tone & Company, R & B, 8:30 p.m., no cover. la Fiesta lounge at la Fonda Classic movie night, 6-10 p.m., no cover. la Posada de santa Fe Resort and spa Wily Jim, Western swingabilly, 6-9 p.m., no cover. second street brewery at the Railyard Americana band Backwoods Benders, 1-4 p.m., no cover.

The underground at Evangelo’s Bold-school rockabilly band Rob-A-Lou, 9 p.m., call for cover. upper Crust Pizza Americana guitarist Ray Matthew, 6-9 p.m., no cover. vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM

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5 Monday

nigHtliFe

gallery/museum openings

adobe gallery 221 Canyon Rd., 955-0550. Hopi and Zuni katsina dolls from the Tom Mittler estate, reception 4-6 p.m., through August.

opera

La Traviata Verdi’s indelible classic about a Parisian courtesan in a moral quandary returns in a revival of a 2009 staging by Laurent Pelly but with a new cast, now centering on soprano Brenda Rae, tenor Michael Fabiano, and baritone Roland Wood. 8 p.m., Santa Fe Opera, 301 Opera Dr., call box office for information, 986-5900.

classical music

santa Fe chamber music Festival 10 a.m. free youth concert, Johannes String Quartet; 6 p.m. concert, music of Enescu, Mahler, and Schoenberg, including clarinetist Todd Levy, pianist Shai Wosner, and violinist Soovin Kim; St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., tickets available at santafechambermusic.com, 982-1890, or 988-1234, ticketssantafe.org.

in concert

ring of Fire Johnny Cash and June Carter Cash tribute performed by Matt Gonzales and Kelly Khun, 6 p.m., La Casa Sena Cantina, 125 E. Palace Ave., $25, 988-9232. santa Fe Bandstand SFUAD Contemporary Ensemble, noon; country singer/songwriter Bill Hearne, 6 p.m.; Cathy Faber’s Swingin’ Country Band, 7:15 p.m.; on the Plaza, series continues through Aug. 23.

Books/talks

Breakfast With o’keeffe Growing Up on a Trading Post, gallery talk with Jed Foutz, 8:30 a.m., Georgia O’Keeffe Museum, 217 Johnson St., by museum admission, 946-1039.

Meet the Photographers

Dixon’s Hispanic Arts Festival features local singer/songwriter Nacha Mendez on Saturday, Aug. 3.

children & Fish Don’t talk The Zavistovski family: Leshek, Monique, and Toni Rapport Zavistovski celebrate the release of Leshek’s memoir with a reading, 5 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see Subtexts, Page 16). a glimpse into comanche History: the archaeological record A Southwest Seminars lecture with Jimmy Arterberry, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775. new mexico museum of art gallery talk The summer series continues with Robin Farwell Gavin, Museum of Spanish Colonial Art senior curator, 12:15-1 p.m., 107 W. Palace Ave., by museum admission, 476-5072.

events

santa Fe opera Backstage tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays through Aug. 13.

nigHtliFe

(See Page 71 for addresses) cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover. la Fiesta lounge at la Fonda Blues band Night Train, 7:30 p.m.-close, no cover. vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover.

6 Tuesday opera

new mexico treasures 2014: engagement calendar Panel discussion and signing at a launch with photographers including Mike Butterfield, Kitty Leaken, Amadeus Leitner, Steve Northup, and Don Usner, at 6 p.m.

Thursday, Aug. 8. Hosted by Collected Works Bookstore, 202 Galisteo St., 988-4226. (Mike Butterfield’s Winsor Trail pictured)

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PASATIEMPO I August 2 - 8, 2013

La Donna del Lago This rarely encountered melodramma by Rossini, based on Sir Walter Scott’s The Lady of the Lake, receives an underwhelming, kilt-crammed production that is redeemed by marvelous bel canto singing from mezzo-sopranos Joyce DiDonato and Marianna Pizzolato, as well as tenor Lawrence Brownlee. 8 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900.

classical music

santa Fe chamber music Festival Music of Debussy, Stockhausen, and Dvoˇrák, including Shanghai Quartet, oboist Robert Ingliss, and pianist Haochen Zhang, noon,

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., tickets available at santafechambermusic.com, 982-1890, or 988-1234, ticketssantafe.org. santa Fe Desert chorale 2013 summer Festival Touched With Fire, 8 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $15-$50, 988-2282, desertchorale.org.

in concert

santa Fe Bandstand Canyon Road Blues Band, 6 p.m.; local R & B band Soulstatic, 7:15 p.m.; on the Plaza, santafebandstand.org, series continues through Aug. 23. truth & salvage company Roots-rock band, 8 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., advance tickets $10, 988-1234, ticketssantafe.org, $13 at the door.

tHeater/Dance

Juan siddi Flamenco theatre company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234, TuesdaysSundays through Sept. 1. yjastros: the american Flamenco repertory company at el Farol 8 p.m. Tuesdays-Sundays through Aug. 11, $25, 983-9912.

Books/talks

new mexico lawyers for the arts The summer series continues with Public Art, Censorship, and the Visual Artists Rights Act: 6 p.m., Santa Fe Arts Commission Community Gallery, Santa Fe Community Convention Center, 201 W. Marcy St., no charge, info@nmlawyersforthearts.org.

Writing native america Meet-and-greet, signings, and conversation with authors, artists, and photographers, including Michael Pettit, Ricardo Cate, and Margaret Booker, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

events

santa Fe Farmers market 7 a.m.-noon, 1607 Paseo de Peralta, 983-4098. santa Fe Farmers market on the southside 3-6 p.m., Santa Fe Place Mall, Zafarano Dr. entrance, 913-209-4940. santa Fe opera Backstage tours Production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900.

(See Page 71 for addresses) ¡chispa! at el mesón Argentine Tango Milonga, 7:30 p.m.-close, call for cover. cowgirl BBQ Rock/jazz-fusion band Marbin, 8 p.m., no cover. el Farol Canyon Road Blues Jam with Tiho Dimitrov, Brant Leeper, Mikey Chavez, and Tone Forrest, 8:30 p.m.-midnight, no cover. la casa sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Blues band Night Train, 7:30 p.m.-close, no cover. the palace restaurant & saloon Singer/songwriter Cadens Johnson, acoustic alt. Americana and folk-rock 8 p.m., call for cover. second street Brewery at the railyard Acoustic open-mic nights with Case Tanner, 7:30-10:30 p.m., no cover. tiny’s Mike Clymer of 505 Bands’ acoustic open-mic night, 8:30 p.m.-close, no cover. vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m., call for cover.

7 Wednesday gallery/museum openings

John ruddy textile and ethnographic art 129 W. San Francisco St., second floor, 989-9903. Selected Textiles: Tribal, Ceremonial, and Utilitarian, reception 5-8 p.m. taylor a. Dale Fine tribal art 129 W. San Francisco St., second floor, 670-3488.

26th-anniversary show of collections from Africa, Oceania, and the Americas, reception 5-8 p.m.

opera

Grand Duchess of Gerolstein Offenbach’s operetta about military shenanigans is mighty slight stuff, but Lee Blakeley has directed it to a fare-thee-well, the cast sings and dances with frothy élan, and mezzo-soprano Susan Graham invests it with impressive star power. 8 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900.

classical music

santa Fe chamber music Festival Victor Santiago: piano recital, music of Beethoven, noon, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., tickets available at santafechambermusic.com, 982-1890, or 988-1234, ticketssantafe.org. santa Fe Desert chorale 2013 summer Festival Northern Lights, 8 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $15-$50, 988-2282 desertchorale.org.

in concert

santa Fe Bandstand Blues guitarist Tiho Dimitrov, 6 p.m.; intermission set, Candyman Strings and Things’ School of Rock Band; Taoseño folk artist Max Gomez, 7:30 p.m.; on the Plaza, santafebandstand.org, series continues through Aug. 23.

tHeater/Dance

Juan siddi Flamenco theatre company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, 988-1234, ticketssantafe.org, Tuesdays-Sundays through Sept. 1. yjastros: the american Flamenco repertory company at el Farol 8 p.m. Tuesdays-Sundays through Aug. 11, $25, 983-9912.

books/talks

sitE santa Fe gala Live art auction and dinner; honorary artist Richard Tuttle, honoring Lorlee and Arnold Tenenbaum, 5:30 pm., Santa Fe Farmers Market Pavilion, tickets and details available online at sitesantafe.org.

Darma talk Free discussion, 5:30 p.m., Upaya Zen Center, 1404 Cerro Gordo Rd., 986-8518.

Ernest thompson seton: the other Environmentalist Santa Fe Botanical Garden presents a lecture with David Witt, 6 p.m., in conjunction with the exhibit Viva Flora!: Treasured Plants of New Mexico, Santa Fe Arts Commission Community Gallery, Santa Fe Community Convention Center, 201 W. Marcy St., no charge, 955-6705.

Patricia shapiro The author reads from and signs copies of The Privilege of Aging: Portraits of Twelve Jewish Women, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. santa Fe Clay summer slide lecture The series continues with Five Days of Unadulterated Prototype Construction, with ceramicist Christa Assad, 7 p.m., Santa Fe Clay, 545 Camino de la Familia, no charge, 984-1122, Wednesdays through Aug. 14. shirley Cushing Flint The author signs copies of No Mere Shadows: Faces of Widowhood in Early Colonial Mexico, 5 p.m., Allá, 102 W. San Francisco St., second floor, 988-5416.

nightliFE

EvEnts

santa Fe opera backstage tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays through Aug. 13.

nightliFE

(See Page 71 for addresses) agoyo lounge at the inn on the alameda Jazz guitarist Pat Malone, 5-7 p.m., no cover. ¡Chispa! at El Mesón Singer/songwriter Jim Almand, 7:30 p.m.-close, no cover.

Cowgirl bbQ Grand Old Opry-style country band The Far West, 8 p.m., no cover.

El Farol Pan-Latin chanteuse Nacha Mendez with Santastico, 8 p.m.-close, no cover. la Fiesta lounge at la Fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. tiny’s Mike Clymer of 505 Bands’ electric jam, 8:30 p.m.-close, no cover. vanessie Bob Finnie, pop standards piano and vocals, 7 p.m.-close, no cover.

8 Thursday gallEry/MusEuM oPEnings

Commissioner’s gallery — new Mexico state land office 310 Old Santa Fe Trail, 827-5762. Las Tres Amigas, works by Ming Franz, Cassandra Gordon-Harris, and Kay Chowning, reception 5-7 p.m., through August. school for advanced research 660 Garcia St., 954-7205. Artist Glenda McKay (2013 Ronald and Susan Dubin Native Artist Fellow) discusses her Athabascan miniature dolls and leads a tour of her work at the Dubin Studio, reception 5:30-7 p.m., reservations requested, iarc@sarsf.org.

oPEra

The Marriage of Figaro In Mozart’s beloved evergreen, the relationships of three couples wax and wane against the shifting social mores of the late 18th century. The strong cast of this elegant production provides abundant musical and dramatic delight. 8 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900.

Paintings by Melinda K. Hall at Meyer East Gallery, 225 Canyon Rd.

ClassiCal MusiC

santa Fe Chamber Music Festival Music of Dohnányi and Dvoˇrák, including violinist William Preucil, violist Cynthia Phelps, and cellist Eric Kim, noon, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., tickets available at santafechambermusic.com, 982-1890, or 988-1234, ticketssantafe.org. santa Fe Chamber Music Festival Shanghai Quartet, pianist Haochen Zhang and violinist Cynthia Phelps perform music of Beethoven, Stravinsky, and Brahms, 6 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., tickets available at santafechambermusic.com, 982-1890, or 988-1234, ticketssantafe.org.

in ConCErt

santa Fe opera apprentice concert Arias, musical theater selections, and sacred music, 6 p.m., Four Seasons Resort Rancho Encantado, 198 NM 592, no charge, 986-5900. santa Fe bandstand Guitarist Matthew Andrae, original grooves, 6 p.m.; Joe West and The Santa Fe Revue, psychedelic country, 7:30 p.m., on the Plaza, santafebandstand.org, series continues through Aug. 23. toad the Wet sprocket Alt-rock band, 7:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $27 in advance, $30 at the door, ticketssantafe.org, 988-1234.

thEatEr/DanCE

Juan siddi Flamenco theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, 988-1234, ticketssantafe.org, TuesdaysSundays through Sept. 1.

Still Around Liliane Montevecchi and Kaye Ballard on stage at the Lensic, 7:30 p.m., $20-$50, VIP tickets ($125) include a reception with the performers, ticketssantafe.org, 988-1234 (see story, Page 32). yjastros: the american Flamenco repertory Company at El Farol 8 p.m. Tuesdays-Sundays through Aug. 11, $25, 983-9912.

books/talks

new Mexico treasures 2014: Engagement Calendar Panel discussion, meet-and-greet, and signing with contributing photographers, including Mike Butterfield, Kitty Leaken, Amadeus Leitner, Steve Northup, and Don Usner, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. sylvia nakkach The author discusses and signs copies of Free Your Voice: Awaken to Life Through Singing, 3 p.m., Ark Bookstore, 133 Romero St., 988-3709.

EvEnts

30th annual antique Ethnographic art show gala preview 6-9 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., $75, whitehawkshows.com, 992-8929, show runs Aug. 9-10.

Danger: solar storm Learn about solar flares, sunspots, coronal mass ejections, and auroras at the SFCC Planatarium, 8-9 p.m., 6401 Richards Ave., 428-1744. santa Fe County Fair Indoor exhibits, salsa and chile recipe contests, and small pet show, visit santafeextension.nmsu.edu for full schedule of events through Aug. 11. santa Fe opera backstage tours Production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900.

(See Page 71 for addresses) ¡Chispa! at El Mesón Jazz pianist John Rangel, 7:30 p.m., no cover.

Cowgirl bbQ Todd Tijerina Band, rock and blues, 8 p.m., no cover.

Evangelo’s Rolling Stones tribute band Little Leroy and His Pack of Lies, 9 p.m., call for cover. la boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. la Fiesta lounge at la Fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. la Posada de santa Fe resort and spa Pat Malone Jazz Trio, with Kanoa Kaluhwa on saxophone, Asher Barreras on bass, and Malone on archtop guitar, 6-9 p.m., no cover. low ’n’ slow lowrider bar at hotel Chimayó de santa Fe Gerry Carthy, tenor guitar and flute, 8 p.m., call for cover. the Matador DJ Inky Inc. spinning soul/punk/ska, 8:30 p.m.-close, no cover. second street brewery Folk rockers The Bus Tapes, 6-9 p.m., no cover. second street brewery at the railyard Roots-rock guitarist Jono Manson, 6-8 p.m., no cover. tiny’s Broomdust Caravan, juke joint honkytonk and biker bar rock, 8 p.m.-close, no cover. vanessie Bob Finnie, pop standards piano and vocals, 7 p.m.-close; no cover.

Zia Diner Swing Soleil, Gypsy jazz and swing, 6:30-8:30 p.m., no cover.

▶ Elsewhere albuquErquE Museums/art spaces

albuquerque Museum of art & history 2000 Mountain Rd. N.W., 505-243-7255.

Estampas de la Raza: Contemporary Prints From the Romo Collection, through Sept. 29 • Changing Perceptions of the Western Landscape, contemporary group show, through Sept. 1 • Landscape Drawings From the Collection, through Oct. 27. Open 9 a.m.-5 p.m. Tuesday-Sunday; adults $4 ($1 discount for NM residents); seniors $2; children ages 4-12 $1; 3 and under no charge; the first Wednesday of the month and 9 a.m.-1 p.m. Sundays no charge. indian Pueblo Cultural Center 240112th St. N.W., 866-855-7902. Challenging the Notion of Mapping, Zuni map-art paintings, through August. Open 9 a.m.-5 p.m. daily; adults $6; NM residents $4; seniors $5.50.

Pete v. Domenici Education Center National Hispanic Cultural Center, 1701 Fourth St. S.W., 505-724-4771. Synergy: Common Threads, group show of works by members of the ArtStreet Studio at Healthcare for the Homeless, through Sept. 20.

Palette Contemporary 7400 Montgomery Blvd. N.E., 505-855-7777.

Primarily, lithographs by Alexander Calder (1898-1976), reception 5-8 p.m. Friday, Aug. 2, through Sept. 5. ▶▶▶▶▶▶▶▶

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Events/Performance

concert series, 7 p.m. Thursday, Aug. 8, Arthur Bell Auditorium, HMA, 238 Ledoux St., $25, 575-758-9826.

Chatter Sunday Future Shock, contemporary viola and electronics recital with John Graham, 10:30 a.m. Sunday, Aug. 4; poetry reading by Billy Brown follows; The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterchamber.org.

▶ people who need people

cleveland

Artists

Mill Dance Outside event with country dance band The Rifters, BBQ, and informal picking and singing around the campfire, BBQ and potluck dinner 4 p.m., dance 7:30 p.m. Saturday, Aug. 3, Cleveland Roller Mill Museum, two miles north of Mora, off NM 518, $15 in advance; $20 at the door; discounts available; free camping; 575-387-2645 or 505-699-0508.

Ninth Annual Santa Fe Pow Wow Artists’ booths available for event held Saturday, Aug. 17, at Genoveva Chavez Community Center; booth fee $40, special event license $10; call Melissa Bustos for details, 955-4005.

11th Annual City of Santa Fe Art on Loan Exhibit Artists working in all media are encouraged to apply to display works outdoors on city-owned property; submission deadline 5 p.m. Monday, Aug. 5; loan proposal forms available online at the City of Santa Fe Arts Commission website, santafenm.gov, at the Art in Public Places page, for more information call 955-6707.

dixon

Hispanic Arts Festival Santa Fe’s pan-Latin chanteuse Nacha Mendez opens, 3:30-5 p.m. Saturday, Aug. 3, local musicians follow; Teatro Paraguas’ staged reading of Shebana Coelho’s When the Stars Trembled in Río Puerco, 7 p.m., Q & A with oral historian Nasario García and cast follows, The Toolshed, 68 NM 75, visit recuerdosvivosnewmexico.com for more information, no charge.

Filmmakers/Performers

Reel New Mexico Independent Film Series New Mexico filmmakers may submit shorts, narrative and documentary features, student films, and works-in-progress through 2013; for more information or to submit a film, contact reelnewmexico@gmail.com.

española

Bond House Museum 706 Bond St., 505-747-8535. Preserve the Old, but Know the New: Traditional and Contemporary Native American Art, through Sept. 20. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945).

Open noon-4 p.m. Tuesday-Saturday, no charge.

Volunteers

los alamos Events/Museums/Art Spaces

Gordon’s Summer Concerts Texas-based singer/songwriter Guy Forsyth, 7 p.m. Friday, Aug. 2, Del Norte Credit Union, 1,000 Trinity Dr., gordonssummerconcerts.com.

Bradbury Science Museum 1350 Central Ave., 667-4444. Nanotechnology: The Science of the Small and Algae to Biofuels: Squeezing Power From Pond Scum, exhibits celebrating LANL’s 70th anniversary, through Sunday, Aug. 4. Open 10 a.m.-5 p.m. TuesdaySaturday, 1-5 p.m. Sunday-Monday; no charge.

Mesa Public Library Art Gallery 2400 Central Ave., 662-8247. Mostly Clear and Partly Cloudy: Climate as Metaphor, mixedmedia works by Janice Wall and Shaun Gilmore, through Sunday, Aug. 4.

taos Museums/Art Spaces

203 Fine Art 203 Ledoux St., 575-751-1262.

Taos Moderns: Postwar Modern Art, 1940s1970s, including works by Emil Bisttram, Janet Lippincott, Beatrice Mandelman, and Louis Ribak, reception 5-8 p.m. Saturday, Aug. 3, through August.

David Anthony Fine Art 132 Kit Carson Rd., 575-758-7113. Annual DAFA Photography Invitational, photographs of The Beatles’ 1964 concert in Washington D.C., reception 5-7 p.m.

Friday, Aug. 2, through August.

E.L. Blumenschein Home and Museum 222 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish Colonial antiques. Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m.

Sunday. Adults $8; under 16 $4; children under 5 no charge; Taos County residents no charge on Sunday.

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PASATIEMPO I August 2 - 8, 2013

Photographs by Daryl A. Black at Eldorado’s La Tienda Exhibit Space, 7 Caliente Rd.

Harwood Museum of Art 238 Ledoux St., 575-758-9826. The Taos art colony is celebrated with four exhibits, Woody Crumbo: The Third Chapter; Jim Wagner: Trudy’s House; R.C. Gorman: The Early Years; and Fritz Scholder: The Third Chapter; through Sept. 8. Open 10 a.m.-5 p.m. Tuesday-Saturday, noon-5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday.

Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson. Open 10 a.m.-5 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge.

La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000.

Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge.

Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462.

Open 10 a.m.-5 p.m. daily. NM residents $5; nonresidents $10; seniors $8; students $6; ages 6-16 $2; Taos County residents no charge.

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

Four of a Kind: Photographers of the Taos Artist Collective, reception 4-7 p.m. Friday, Aug. 2, through Sept. 6.

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

Open 10 a.m.-5 p.m. Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday.

Events/Performances

Historic E.I. Couse and J.H. Sharp properties studio and garden open house The Couse Foundation hosts the event; 5-7 p.m.

Saturday, Aug. 3, 146 Kit Carson Rd., no charge, 575-770-3705.

Kit Carson Home & Museum Summer Lecture Series General James Carleton: A Controversial Figure, with Rick Thompson, 6 p.m. Saturday, Aug. 3, 113 Kit Carson Rd., no charge, 575-758-4945, through Aug. 24.

Leslie Lewis The Jazz singer and her quartet perform at the debut of Harwood Museum of Art’s jazz

People for Native Ecosystems Join the feeding team caring for the prairie dog colonies in Santa Fe; call Pat Carlton, 988-1596.

Railyard Stewards Yardmasters Develop new project ideas; lead educational training sessions; help out in the office; free training and workshops on keeping Railyard Park vibrant; contact Alanna for schedules, 316-3596, alanna@railyardpark.org.

St. Elizabeth Shelter Help with meal preparation at residential facilities and emergency shelters; other duties also available; contact Rosario, 982-6611, Ext. 108, volunteer@steshelter.org.

Santa Fe Community Farm Help with the upkeep of the garden that distributes fresh produce to The Food Depot, Kitchen Angels, St. Elizabeth Shelter, and other local charities; the hours are 9:30 a.m.-4 p.m. daily, except Wednesdays and Sundays; email sfcommunityfarm@gmail.com or visit santafecommunityfarm.org for details.

▶ pasa Kids Bee Hive Kids Books Story time, 11 a.m., 328 Montezuma Ave., 780-8051.

Santa Fe Art Institute graffiti workshops Free; geared to ages 6-19; 11 a.m.-1 p.m. Saturdays through August, call 424-5050 to register.

Jacqueline Kelly The children’s book author reads from Return to the Willows, 2 p.m., Op. Cit. Books, 500 Montezuma Ave., Suite 101, Sanbusco Center, 428-0321.

Storytelling at the Wheelwright Joe Hayes returns for the summer series with ghost stories and tall tales from Native, Hispanic, and Anglo cultures, 7 p.m. Saturday and Sunday, Aug. 3-4, Wheelwright Museum of the American Indian, 704 Camino Lejo, Museum Hill, no charge, weekly on Saturday and Sunday through Aug. 11, 982-4636, Ext. 110, held outdoors, bring chairs. ◀

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MarTi at the e ldorado Thr e e gr eaT shows

Premium Objects from Hopi

Wednesday, August 14, 11:00am-5:00pm, DeVargas Room, Eldorado Hotel

Major work by Nampeyo Early Hopi ceremonial pottery displaying katsina motifs Dextra Quotskuyva, Elizabeth White & Jake Koopee pottery Newly discovered Loloma pieces Night Ceremony at Oraibi Pueblo. Depicts maidens grinding corn flanked by the Mother Katsina (left) and Heheya Katsina (right). Hand-carved by Otto Pentewa, 11¼" high.

Our Annual DeVargas Opening

Thursday, August 15, 4:00-7:00pm, DeVargas Room, Eldorado Hotel Major Historic Jewelers: Kenneth Begay, Leekya Deyuse, Charles Loloma & others Today's Leading Jewelers: Mike Bird-Romero, Richard & Jared Chavez, Perry Shorty, Maria Samora & others

An Important Estate Collection of Historic Pottery

A Private McKee Platero Collection Friday, August 16, DeVargas Room, Eldorado Hotel

Continuation of Jewelry & Pottery Show Opens at 11:00am (through 5:00pm)

McKee Platero Jewelry Collection Unveiled at 2:00pm Belt by mckee platero

all shows continue saturday, august 17 & sunday, august 18, 10:00am-5:00pm in the devargas room at the eldorado hotel.

martha hopkins struever

(505)983-9515 Online Gallery: www.MarthaStruever.com 80

PASATIEMPO I August 2 - 8, 2013

Photos from top: © Wendy McEahern, © Wendy McEahern, © Addison Doty

Buckle by Kenneth Begay