The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture July 19, 2013
Lensic Presents
TesTa Dura ProDucTion comPany in
conjuncTion wiTh Lensic PresenTs
in association with the Albuquerque Museum of Art and History
FUSIONTheatre Company
Kicking a Dead Horse By Pulitzer Prize-winning playwright Sam Shepard Starring Paul Blott · Directed by Laurie Thomas
Art dealer Hobart Struthers leaves a life of riches in search of authenticity—and finds himself stranded in the desert, forced to reckon with the choices that define him. “Wonderful writing: tough, poetic, and funny . . . ” —Financial Times (UK)
July 20 2 pm & 8 pm $20–$40/$10 students
Stage Manager
Rocky Noel Lighting and Sound Design
Matt Berman
Tickets: 505-988-1234 www.TicketsSantaFe.org
Music Director
David Geist
AN A LL- N E W B R OAD WAY R E V U E TO B E NE FIT THE LE NS IC
August 8, 2013, 7:30 pm $20–$50 / VIP tickets $125
SERVICE CHARGES APPLY AT ALL POINTS OF PURCHASE
S T U D E N T D I S C O U N T S AVA I L A B L E
FUSIONTheatre Company
Tickets: 505-988-1234 www.TicketsSantaFe.org
Tradition // Innovation // Excellence
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
the lensic is a nonprofit, member-supported organization
FUSIONnm.org
Orchestrations
Larry Blank Patrick O’Neil Ed Smith
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PASATIEMPO I July 19 - 25, 2013
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Discover World-Class Opera in an Incredible Setting Only at THE SANTA FE OPERA The Grand Duchess of Gerolstein
OFFENBACH
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La Traviata
The Marriage of Figaro VERDI
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Oscar
MOZART
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ROSSIN
THEODORE MORRISON
Photos by: Robert Godwin, theater; Kate Russell, tailgate
2013 SEASON through August 24
T I C K E T S S TA R T AT $ 3 2 ! • Arrive Early with a Tailgate Supper • Enjoy the Sunset & Stunning Mountain Views • Free Prelude Talks on the Evening's Opera • Instant Translation Screen at Your Seat • Backstage Tours (Monday - Saturday mornings)
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PASATIEMPO I July 19 - 25, 2013
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THE SANTA FE NEW MEXICAN
July 19 - 25, 2013
www.pasatiempomagazine.com
On the cOver 46 eye of the storm Looking at a Mitch Dobrowner photograph is like standing in the path of a coming storm. His images, mostly of colossal clouds that dwarf the landscape below, capture advancing rain, wind, hail, lightning, and tornadoes. Storms, an exhibition of his work, opens at Photo-eye Gallery on Friday, July 19. Of storm chasing, Dobrowner said, “I’m not trying to be a tough guy, but I just don’t get scared. Even when a storm’s coming right at you with lightning and thunder, it’s just so interesting that I think, I gotta go there now.” On the cover is Dobrowner’s 2009 photo Arm of God.
BOOKs
mOving images
12 in Other Words The Son
58 the Attack 59 Only God Forgives 60 Pasa Pics
mUsic and PerfOrmance 14 16 18 21 23 24 32 34 36 54
terrell’s tune-Up Hell to Pay Pasa tempos CD Reviews sound Waves Baca brothers Onstage Spring Awakening crowd pleasers Santa Fe Jazz Festival touching bass at the festival Stanley Clarke dueling keyboards Jeremy Denk Pasa reviews Santa Fe Chamber Music Festival Pasa reviews Aspen Santa Fe Ballet fusion theatre co. Kicking a Dead Horse
calendar 67 Pasa Week
and 8 mixed media 11 star codes 65 restaurant review: coyote cantina
santa fe OPera 26 immortal beloved La traviata 30 talking heads Cast interviews
art 42 candy sculpture Matthew Gray 50 laying it on thick Deladier Almeida
life On the hill 56 first flowering Santa Fe Botanical Garden
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 deladier almeida’s Landscape Jubilant, 2012
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art director — marcella sandoval 986-3025, msandoval@sfnewmexican.com
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assistant editor — madeleine nicklin 986-3096, mnicklin@sfnewmexican.com
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chief copy editor/Website editor — Jeff acker 986-3014, jcacker@sfnewmexican.com
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associate art director — lori Johnson 986-3046, ljohnson@sfnewmexican.com
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calendar editor — Pamela Beach 986-3019, pambeach@sfnewmexican.com
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staff Writers michael abatemarco 986-3048, mabatemarco@sfnewmexican.com James m. Keller 986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 986-3039, billk@sfnewmexican.com Paul Weideman 986-3043, pweideman@sfnewmexican.com
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cOntriBUtOrs loren Bienvenu, laurel gladden, Peg goldstein, robert Ker, Jennifer levin, robert nott, adele Oliveira, Jonathan richards, heather roan-robbins, david J. salazar, casey sanchez, michael Wade simpson, 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
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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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Ginny Sohn Publisher
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PASATIEMPO I July 19 -25, 2013
Mothers and grandmothers Peter Lopez, author, santero artist, and a regular at Spanish Market for more than two decades, first encountered the mural work of Edward O’Brien at the now-closed St. Catherine’s Indian School in Santa Fe. Struck by the power of O’Brien’s art, Lopez went on to pen Edward O’Brien, Mural Artist: 1910-1975, published by Sunstone Press. The book focuses on six murals O’Brien painted between 1960 and 1975, four of them in New Mexico. Blending religious imagery with a visual style reminiscent of the social realist murals of the Mexican modernists and influenced by the frescoes of Renaissance masters, the murals are detailed and luminous. They have remained in almost perfect condition in the nearly 40 years since the last one was painted at the Hacienda de Guru Ram Das in Española. The murals remain an expression of O’Brien’s spirituality and faith. He made them to give devotion to Our Lady of Guadalupe. Lopez reads from and signs copies of Edward O’Brien: Mural Artist at Collected Works Bookstore on Tuesday, July 23, at 6 p.m. On the same evening at the bookstore, author and poet Nasario García recounts tales of the Río Puerco Valley southeast of Chaco Canyon, where he grew up. García’s collection of myths and folklore is presented in a bilingual format in Grandma’s Santo on Its Head: Stories of Days Gone By in Hispanic Villages of New Mexico/El santo patas arriba de mi abuelita: Cuentos de días gloriosos en pueblitos hispanos de Nuevo México, published by the University of New Mexico Press. Collected Works is at 202 Galisteo St. Call 988-4226. — Michael Abatemarco
The importance of being Oscar Wilde Leading up to the world premiere of Theodore Morrison’s opera Oscar, Santa Fe Opera presents a four-day symposium of lectures, round-table discussions, and staged readings that explore the fine line between celebrity and notoriety within the context of Oscar Wilde’s life. The Irish writer played a prominent role in the literary scene of late-1800s Europe thanks to classics such as The Picture of Dorian Gray, The Importance of Being Earnest, and other works. In 1895 Wilde was sentenced to a term of hard labor for “gross indecency,” a charge that stemmed from the public exposure and persecution of his homosexuality. Shortly after completing the two-year sentence, which ruined his health, he died at the age of 46. The symposium opens at 6 p.m. on Thursday, July 25, with a keynote address by Wilde’s only grandchild, Merlin Holland, a noted scholar who has published and edited several books on his famous forebear. Subsequent days feature a staged reading by Santa Fe Rep of the Moisés Kaufman play Gross Indecency: The Three Trials of Oscar Wilde (7 p.m. Friday, July 26, and 4 p.m. Sunday, July 28); a panel discussion from the creative team behind the upcoming SFO premiere, including Morrison and co-librettist John Cox (11 a.m. Saturday, July 27); and other talks and readings. See www. santafeopera.org. All events take place at the Santa Fe Woman’s Club (1616 Old Pecos Trail). Tickets cost $85 for the entire program and $50 for the keynote address only; they can be purchased by calling 946-2417 or emailing dgarcia@santafeopera.org. Individual tickets for Gross Indecency are $15, with discounts available, and can be purchased at www.sfrep.org. — Loren Bienvenu
Seeing new patients in our Santa Fe office! Appointments scheduled through Los Alamos office: 662-4351 Most insurance accepted! (not contracted with Tricare)
July 19–August 31 • reception Saturday, July 20, 3–5 pm
Ralph Pearson. “Taos Pueblo,” 1920
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Friday, July 19th is Dog Night at the Railyard Park Movie Series! Canines are welcome. The Espanola Valley Humane Society is partnering with Teca Tu-A Pawsworthy Pet Store for a FREE showing of “Lady and the Tramp.” Espanola volunteers and Teca Tu staff will be available to talk about their services and there will be treats for all canines. There will also be a dog adoption! The movie starts at sunset around 8:30-ish. Blankets and picnics welcome, but please no alcohol or umbrellas. 10
PASATIEMPO I July 19 - 25, 2013
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Have patience. One Korean term for a meditation retreat translates as “to leap like a tiger while sitting,” and it describes this weekend. Next week, watch out: what’s stuck becomes unstuck, for better or worse. It may be a frustrating, interesting, and emotional week as active Mars gets busy and revs our engines as it conjuncts Jupiter (visible in the east just before dawn), trines Neptune and Saturn, squares Uranus, and opposes Pluto. All the while, mobile Mercury appears to hold still, and hold us still, as it turns direct this weekend after three weeks retrograde. Complete what can be completed and deal with what’s on the table. That will be plenty. Feel the opportunity to take the high road. With Mars activated all week, it’s a time of potentially great derring-do and physical effort that can leave us glowing with charisma, knowing what we truly want and able to set healthy boundaries. That’s positive Mars. Or we can just get cranky, irritable, pushy, competitive, rebellious, or explosive — all attributes of Mars’ shadow side. Tap into the positive side of Mars and choose to be heroes instead. The mood expands as the week begins. The sun enters expressive Leo, and the moon waxes full in collective Aquarius and encourages us to feel our connection to the larger community. Loving, creative Venus also enters competent and healing Virgo. Green lights open doors for us as the week progresses. We can pour Mars’ momentum into creating the next chapter.
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Friday, July 19: Uplifting energy can help us over a hump and into a productive afternoon. We may feel fed up with something that’s dragged on, but we need to persevere. Tonight, soul restlessness relaxes if we walk it out or dance by the light of the waxing moon. Saturday, July 20: On this day of wild cards, we can’t predict events’ outcomes, but we can control the energy and intentions we bring to those events — and that changes the outcomes. The morning is creatively restless; reconnect with affection. After wild crosscurrents midday as Mercury turns direct, fresh understanding is unearthed around dinnertime. If our hearts are troubled tonight, we may personally be feeling the world’s ache. Sunday, July 21: Make the effort to understand, and a breakthrough is possible. Think firm and steady as determined Capricorn conjuncts grim Pluto, squares Uranus, and opposes Mercury. Unknot problems, straighten out misconceptions, and get work done. Sadness is ameliorated by concrete results and when people show they care through practical help. Monday, July 22: Confidence and energy are waiting for us if we choose to tap into them. Positive attitudes and a spirit of enterprise turn the tide as Mars conjuncts Jupiter and the sun enters Leo. The mood is healthy and competitive. Howl tonight, but howl with others and harmonize under a full Aquarius moon.
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Tuesday, July 23: Work with open-minded stubbornness; keep it real but playful and direct the momentum with care. Face some fear, bring in support, and plan to change the future. Wednesday, July 24: The mood softens as the moon enters intuitive Pisces. We may realize the toll of recent efforts and feel tired or vulnerable, but we still have to follow through on the work in motion. Find the poetry anyway. If tonight brings an opening, take it. Thursday, July 25: Yes, we can act on our principles and live by our spirits. Sensitive feelings trigger action; instead of reacting, try to respond with gentle and steady efforts. Feel an upsurge of potential, but bring the mind back down to the practical as Mars approaches an opposition to Pluto. Step toward peace. ◀ www.roanrobbins.com PASATIEMPOMAGAZINE.COM
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In Other wOrds book reviews The Son by Philipp Meyer, Ecco Books, 576 pages “Epic” describes Philipp Meyer’s The Son in spades. This stunning saga of a five-generation clan — shaped by the land, its warring factions, and the sweep and detritus of Texas history — is a tour de force. It’s as if William Faulkner decided to write Edna Ferber’s Texas-family tale Giant in the style of Absalom, Absalom! The storyline is tantalizing. Meyer unravels the family’s past by alternating the recollections of four characters, whose actions profoundly affect the final outcome. The reminiscences of patriarch Eli McCullough bracket those of his son Peter, great-granddaughter Jeanne Anne, and great-great grandson Ulises. Eli is a true son of the Republic of Texas, the first child born there on March 2, 1836, when Texas’ Declaration of Independence from Mexico was signed. His pioneering father, Armstrong, an early Texas Ranger, is an able-bodied Scot with a straight back and hard hands. His Castilian-born mother, Natalie Diaz, is thought to be an octoroon. Considered “close to perfect” by his father, Eli kills the largest mountain lion in Blanco County at the age of 12. His older brother, Martin, writes unsent letters to Ralph Waldo Emerson. The young scholar hopes to attend Harvard and speaks English, French, Spanish, and German, reflecting the Babel that was Texas at the time. In 1849, while Armstrong is pursuing horse thieves, Comanches raid his homestead. Their “papal thoroughness” includes capturing the two boys to become slaves. They also torture and rape Armstrong’s wife and beautiful 17-year-old daughter, Elizabeth. Both subsequently die. After three days in captivity, Martin also dies. Eli not only endures captivity; he prevails. He comes of age among the Comanches and learns hunting, riding, fighting, tracking, and survival skills. During his two-year captivity, he wins respect as a great warrior and talent. Later he draws on those skills as a Texas Ranger and Confederate brevet colonel. Living to be 100, Eli is lionized, revered by Tejanos and regularly visited by Native Americans. Eli’s son Phineas attains the rank of railroad commissioner, said to be “more powerful than the Governor,” an office he seeks in 1917. Eli’s youngest son, Peter, who disgraces the family, is poetic, like his uncle Martin. Eli deems Peter’s only surviving son, Charles, a fool. The fourth generation’s Jonas, Jeanne Anne’s older brother, fulfills Martin’s dream of education in the East by graduating from Princeton. “Jeannie,” he tells his sister, “everything we were taught was a lie or a bad joke.” Ironically, it is Jeanne Anne who inherits Eli’s business acumen. She significantly increases the family’s wealth and holdings after her father’s profligate mismanagement. Eli had recognized “certainty” in her as a child and predicted she would be something. Time twice features her on its cover. Of the 21st-century descendants, Ulises, the youngest to speak, ingenuously pursues an unattainable goal. His cousins Susan and Thomas, Jeanne Anne’s children, are wastrels and never would have earned Eli’s respect. They don’t know how to work. Meyer’s dead-eye fix on 19th-, 20th-, and 21st-century events and cultures backlights the McCullough fortune. The flags of Spain, France, Mexico, Texas itself, the Confederacy, and the United States that fly over Texas virulently color its history, as does conflict. The atrocity upon which the plot revolves triggers terrible tension and violence between Texans and Mexicans. Though not cited specifically, the Texas Bandit War of 1910 to 1918, when Mexico tried to reclaim American border states, hunkers in the background. “Sometimes I wish there was another way to live here,” a McCullough neighbor laments. As the oil industry grows, along with McCullough interests, Jeanne Anne donates $20,000 to Lyndon Johnson’s first campaign for the U.S. Senate. In her later years, she negotiates with Mideast oil sheiks. Despite her success, rampant male chauvinism denies her the recognition she deserves for her business savvy. Worse, her male peers humiliate her at one of their social get-togethers. She knows “liberals would cheer her death.” The Son clearly demonstrates how a well-written, thoroughly researched work of fiction illuminates the past. And it also demonstrates how family tragedy can be revisited on succeeding generations. The McCullough Texas dynasty is characterized by violence, brutality, and rapacious exploitation of resources and peoples, driven by greed and the lust for power. There was still “something primitive” in Texas, Jeanne Anne notes. The land is thirsty. When John F. Kennedy is assassinated in 1963, the state is still home to Texans who had witnessed Indians scalping their parents. “No land was ever acquired honestly in the history of the earth,” Eli maintains. An outstanding novelist has tilled this fertile ground. — Nancy Coggeshall
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PASATIEMPO I July 19 -25, 2013
SubtextS Mr. Bloom, I presume Mark Sublette, a former physician and the owner of Medicine Man Gallery, reads from and signs copies of his new book, Kayenta Crossing, at the gallery (602-A Canyon Road) at 4 p.m. on Friday, July 19. Kayenta Crossing is the second book in Sublette’s Charles Bloom Murder Mystery series. In the latest installment, Santa Fe art dealer Bloom helps out a new acquaintance, Dr. Carson Riddly, who is practicing medicine, quite begrudgingly, in a rural Indian Health Service clinic on the Navajo Reservation in Arizona when a murder occurs. After Bloom gets involved, the murderer — a man with an orange hat and blindingly white teeth — sets his sights on Bloom and his girlfriend, a weaver named Rachael Yellowhorse. Kayenta Crossing also features photographs taken by Sublette of the area in which his book takes place. Sublette’s experience as a physician and an art collector informs his characters, although Bloom collects strictly modern, mostly abstract Native artwork and Sublette collects a broader range of Southwestern art and artifacts. (He also specializes in the work of Maynard Dixon.) Like Dr. Riddly, Sublette worked in rural medical clinics as a young man. Unlike Riddly, Sublette was never among the suspects in a string of grisly murders. Sublette served as a naval doctor for four years before doing his residency in Northern California and then opening a sports medicine practice in Tucson. Art was his first love; he has been collecting pottery since the age of 7. Sublette turned to writing mysteries as a hobby 10 years ago. He plans to release Hidden Canyon, the third book in the Charles Bloom Murder Mystery series, in time for the winter holidays. — Jennifer Levin
Facing the Wave: A Journey in the Wake of the Tsunami by Gretel Ehrlich, Pantheon/Random House, 224 pages Gretel Ehrlich’s books — her first, 1985’s The Solace of Open Spaces, chronicles her life in rural Wyoming — aren’t so much about the natural world as they are about the human presence in it. Her frequent theme is the relationship of people to the environment and how often harsh and ever-changing natural conditions affect their lives. Here, her focus is aftermath, how the survivors of Japan’s March 2011 Tohoku earthquake and tsunami continue on past cataclysm. Ehrlich collects their stories, tying them together thoughtfully, even musically, with poetry, science, and her own observations, to achieve a sort of universal empathy that comes from unimaginable circumstance. Facing the Wave chronicles both the swell’s destruction and what it spared. Physical presences — hollowed temples, stripped foliage, riverbeds, scores of cars scrambled in parking lots — offer mud-and-debris-covered evidence. But those physical manifestations also demonstrate how the coast’s old-new culture, one of quaint fishing villages, giant factories, and now an infamous nuclear power site, persists. The first tales are of the tsunami itself and the magnitude-9.0 earthquake that caused it. Waves move through the earth and then the sea. Chance decisions and luck mark the difference between life and death. A man’s father jumps on a bicycle and pedals directly toward the onslaught as if to embrace it. Teachers at a school built in a flood plain evacuate the building but inexplicably wait some 20 minutes before taking the children up a nearby hill; 84 people die. A farmer and his wife run to a designated safe building, where they are engulfed by swirling water before they can make the safety of the third floor. Pushed to the ceiling, they survive on just inches of air. Ehrlich is present for a string of aftershocks and the resultant wail of tsunami sirens. At these moments, when inaction seems irresponsible, it somehow can’t be resisted. Much of the book relates what’s left when the waters recede. Ehrlich discovers symbols of improbable survival. A rock garden is found intact at the entrance of a destroyed home. A single, perfect head of lettuce is unburied among acres of mud-covered fields. Cultural beliefs survive. The newly dead are carried to temples despite official prohibitions, and graves of the long-dead are restored even before the rebuilding of homes. People stagger bearing the weight of ghosts. The air also carries waves. Radiation that escapes the damaged reactors at Fukushima is treated like the earthquake itself, an unavoidable fact of life. The oldest workers at Fukushima volunteer for cleanup to keep younger workers from radiation exposure. Older Japanese eat the most contaminated fish so that less-contaminated fish can feed the young. Yet everyone still eats fish. Ehrlich visits three times — in June, September, and December — assembling a record of progress and resignation. Her familiarity with Buddhism helps her decipher the reactions of the people as well as her own. She quotes poets Matsuo Basho and Lao Tzu and other writers, including John Berger and Samuel Beckett (“To breathe is all that’s required”), as she equates dying with living. Her own poetry, often more objective and less quotable than that of the authors and religious figures she cites, paints a scrambled still life. But her larger theme survives, as do the memories of those who didn’t: eventually, everything washes away. — Bill Kohlhaase
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TERRELL’S TUNE-UP Steve Terrell
Chain of jewels There’s an old New Mexico legend about a bar and restaurant in Española that’s been closed for a couple of years or so. According to the tale, which has been told for decades, the devil himself was once spotted at Red’s Steakhouse dancing with an unsuspecting lass during Lent. Satan reappears at Red’s in a song on Hell to Pay, the new album by country rockers Anthony Leon & The Chain. Actually, the first time I heard “The Devil’s at Red’s” was at a gig Leon did a few years ago with The Imperial Rooster at (you guessed it) Red’s Steakhouse. It became an instant favorite of mine. But Leon’s song — which doesn’t identify Española as the location — isn’t just about a poor girl who is shocked when she learns the true identity of the mysterious stranger with whom she shares a sinful Holy Season dance. It’s also about an instant of insane jealous rage. “Well, Mario pulled his gun, he had shot everyone/And there was Evangeline on the floor./Well, the devil said son, you can’t undo what you have done/And he smiled and walked right out the door.” Indeed, Hell to Pay is not for the gun-shy. With several songs dealing with pistol-packing antiheroes, it’s almost like a more rocking version of Marty Robbins’ Gunfighter Ballads and Trail Songs. “And I live with a six-gun by my side just trying to stay alive,” Leon sings in the song “Down in Lonely.” The narrator is a guy who
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PASATIEMPO I July 19 -25, 2013
‘Hell to Pay’ is not for the gun-shy, but not all the songs earn a 100-percent NRA rating. flees a bad love after his woman pulls a gun on him, telling him, “You’re better off dead than alive.” And “Aim to Please,” which has an equally pretty melody, starts out, “Hold me only ’fore I run/Baby, I got a gun/Walk away slowly, now run/Baby. I got a gun.” “How the West Was Won” also deals with firearms. “Now there are laws in this town about where a man can hang around /And what he can and cannot do with his gun,” Leon starts out, speaking rather than singing. Naturally, the story is about an ill-fated caper. No, the music doesn’t sound like the soundtrack of that 1962 Western with the same name, but it does have an epic feel. It’s got a nice long introduction with some fine heavy-handed jungle drums by Daniel Jaramillo. Later some organ (I’m not certain who’s playing, but I suspect it’s co-producer Bill Palmer) adds subtle drama to the sound. And “The Sinner” also has an Old West feel. Leon sings, “Well I made my way with a sixgun and I made my way with an ace.” The guy’s in trouble and has to leave a wife and children behind. It’s not exactly clear what’s befallen him, but it’s apparent that he’s in a tight spot he can’t shoot his way out of. Not all the songs on Hell to Pay earn a 100-percent NRA rating. There’s “Alcohol and Drugs,” long a favorite at The Chain’s live gigs. “Alcohol and drugs have kept me alive, when life was empty and I felt like I was dyin’,” Leon sings. And after all this alcohol, tobacco, and firearms, the album ends with a rousing cover of Hank Williams’ “I Saw the Light,” played with a souped-up Johnny Cash-style chunkachunka beat. (This track has harmonica man Freddy Lopez’s finest solo on the album.) Leon and the band play at 8 p.m. Friday, July 19, at Taos Mesa Brewery (20 ABC Mesa Road, El Prado, 575-758-1900, $5 cover) and at 10 p.m. Saturday, July 20, at the Palace Restaurant and Saloon (142 W. Palace Ave., 428-0690, $5 cover). These concerts and a Santa Fe Bandstand show on July 16 are billed
as the group’s “Final Showdown.” I hope this isn’t true. After hearing this fine album, I think Leon and the boys have a few shots left in them. Check out www.reverbnation.com/ anthonyleonandthechain. Also recommended: ▼ Unraveled by Two Tons of Steel. Unlike Anthony Leon’s most recent album, this new record by this San Antonio band has no gun songs. But my favorite tune here is in fact about a weapon — the pool cue, which they call “the great equalizer/For the long-neck Budweiser wielded by some drunken fool … A long-range headbanger/A wild redneck tamer.” The first song I ever heard by Two Tons of Steel, probably at least 10 years ago, was their honky-tonk cover of “I Wanna Be Sedated.” They did it in a way that both country fans and Ramones fans could get behind. (And I felt somewhat justified because years and years before, I once made an admittedly oddball comparison of Joey Ramone and the boys with Buck Owens & The Buckaroos.) There’s nothing quite as remarkable as “I Wanna Be Sedated” on this album, but, as evidenced by “Pool Cue,” there are plenty of good-time country-rock tunes. Unraveled was produced by Lubbock ace Lloyd Maines. One of the best tunes is “Hellcat,” a bluesy, boozy tom-tom-heavy romp about a woman who walks like a woman but fights like a man. Another is “Crazy Heart,” a simple but catchy country love song. And there are a couple of good covers here. “One More Time” was written by Texas soul rocker Roy Head (“Treat Her Right” was his big hit), though I know this song mainly through Joe “King” Carrasco’s version from the early ’80s. Two Tons also does an excellent take on “Busted,” written by Harlan Howard and covered by Johnny Cash, Ray Charles, and probably thousands of others. Here the band plays with the melody, throwing in some minor chords and making it their own. Find out more about this band at www.twotons.com. ◀
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PASA TEMPOS
album reviews
SCHUMANN LUSTMORD The Word as Power (Blackest Piano Trio No. 2, Kinderszenen, Ever Black) Welsh-born musician Piano Quartet (Avie) I made a U-turn Brian Williams has been composing and with this CD. The first time through, I didn’t performing as Lustmord since the early like it at all. The period-instrument players of 1980s. He earned the subgenre label the Benvenue Fortepiano Trio — violinist Monica “dark ambient” for his art by combining Huggett, cellist Tanya Tomkins, and pianist Eric field recordings from places like crypts and slaughterhouses Zivian — came across as terribly severe in their reading of with instrumentation such as Tibetan horns to create music Schumann’s F-Major Piano Trio, and Zivian’s solo readings of that sounds as if Satan worshippers are practicing some ungodly the composer’s cycle Kinderszenen seemed earthbound where one sacrificial ceremony in your basement. As with the prose of desires fantasy. Then the CD concluded with Schumann’s supernal H.P. Lovecraft, the results are frequently unsettling but almost always Piano Quartet (violist Adam LaMotte assisting), and the pure intonation quite beautiful. The Word as Power marks his deepest involvement with of the chordal introduction, followed by an elegantly measured unfolding voice, and the material is almost the opposite of his slightly demonic of the opening Allegro, proved captivating. The performers’ emphasis norm — indeed, the album could be described as heavenly. He refers to on hyper-clarity illuminated the counterpoint Schumann had mastered the album as “ritual music without dogma” in the press notes, and it’s easy through great perseverance not long before he composed this piece, and their to imagine the vocals — influenced in part by Middle Eastern and Tibetan historically accurate instruments yielded a persuasive textural balance. Still, sources — over the top of a meditative montage in a film by Ron Fricke some of their musical decisions take some getting used to, including the unusual (Baraka). To achieve this effect, he recruited some singers, including Swans’ applications of portamento (going down as well as up) that Huggett is fond of Jarboe and Tool’s Maynard James Keenan, and recorded them in a way employing — an interpretative detail underpinned by 19th-century histhat sounds like they’re in a cathedral, with echoes carrying their torical documents. Back to the beginning for another go-round with On ‘Magnetic,’ voices up to the stained-glass windows near the rafters. The my ears habituated to the group’s sound. Now the F-Major Trio album can be a heavy listening experience (by the time you also made convincing arguments. These readings are not going Fabian Almazan’s get to the 12-minute “Abaddon,” you may want to come up to supplant my much-played copies of Schumann’s chamber for air), but it is both effective and affecting. — Robert Ker works with the Beaux Arts Trio, but the Benvenue ensemble did ‘Another Step’ bubbles with get under my skin, demanding repeat listens that grew increasMOON HOOCH Moon Hooch (Hornblow/Palmetto ingly interesting if not really entrancing. — James M. Keller electronics and is reminiscent Records) The two saxophonists and drummer who constitute Moon Hooch describe their sound as “cave music: TERENCE BLANCHARD Magnetic (Blue Note) Trumpeter of Herbie Hancock’s like house music, but more primitive and jagged and raw.” Blanchard’s first recording in four years delivers some surAppropriately, the band honed its skills in the subterranean prises — tunes that border on the surreal and psychedelic, early electric sextet depths of New York City’s subway system, but the exactitude his trumpet electronically enhanced in places — as well as each player brings to his instrument is far from primitive. The what you’d expect from the composer and agile improvisationalexperiments. ist: structure and smart soloing. The other surprise: Blanchard songs on this rereleased, self-titled album (previously available shared compositional duties with his band mates. The result is a only at live shows) are all high-energy acoustic takes influenced primarily by electronic dance music (EDM), an approach that’s in comvaried collection, part straight-ahead, part something else. Blanchard’s title plete contradiction to today’s norm of reinterpreting instrumental music using tune is streetwise and cool, a piece that recalls trumpeter Woody Shaw’s direction digital or electronic means. Mike Wilbur and Wenzl McGowen play tightly with his quintet in the late 1970s. Brice Winston’s tenor solo melds into the arranged woodwind parts consisting of a baritone or contrabass clarinet bass sophisticated mood before Blanchard’s electric trumpet delivers something of a processed fanfare. “Don’t Run,” another Blanchard tune, is played at an line with an occasionally screeching tenor sax providing a contrapuntal assertive walk supplied by bassist Ron Carter, as Ravi Coltrane shows off melody. Drummer James Muschler propels the band with rhythmic uniquely angular yet swinging soprano sax (maybe — Coltrane is credited exactitude that brings to mind ?uestlove of the Roots (another drummer with tenor sax on the cut, though no tenor is heard and no soprano is who proves that humans can challenge the precision of digital beats). credited). The trumpeter follows with his best solo: clean, golden, and The opening track, “Number 9,” sets the tone for the album as gymnastic. Pianist Fabian Almazan contributes three sparkling a whole. The abrasive beat and horn lines are reminiscent of the overplayed club hit “Calabria” by Rune but with enough numbers; the best, “Another Step,” bubbles with electronics and melodic innovation and unusual is reminiscent of Herbie Hancock’s early electric tonalities to offer something completely sextet experiments. Drummer Kendrick Scott, unique. In its entirety, the album saxophonist Winston, and bassist Joshua Crumbly displays a rare combination of also contribute tunes. The strangest piece here unrestricted emotion and technical is Blanchard’s “Hallucinations,” a series of accuracy and is sure to wow fans flashes that seem pulled directly from his from such incongruous spheres as subconscious, backed by Lionel Loueke’s avant-garde jazz and EDM. shimmering guitar. It’s a trip. — Loren Bienvenu — Bill Kohlhaase
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PASATIEMPO I July 19 -25, 2013
fORREsT mOsEs jOHN fINcHER wOOdy gwyN
Santa Fe’s Holy Trinity of Landscape Painting: John Fincher, Woody Gwyn & Forrest Moses July 19-September 1.2013 Artists’ Reception: July 19, 5:00-7:00pm
NATHAN OLIVEIRA
Nathan Oliveira: Paintings & Sculpture July 19-September 1.2013 Reception: July 19, 5:00-7:00pm
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SOUND WAVES Loren Bienvenu
Return of the Tex-Mex king
Fans of Tex-Mex conjunto legend Max Baca might be disappointed to learn that he will not be joined by Los Texmaniacs, his Grammy-winning band, for his Monday, July 22, appearance at the Santa Fe Bandstand. But the show promises to be special nonetheless because it marks the first time in more than two decades that Baca plays with his brother, Jimmy Baca. “It’s going to be a very emotional moment for me,” he told Pasatiempo from his home in San Antonio. Baca’s voice was hoarse from a series of weekend shows in Illinois and Kansas, preceded by a two-week tour of Russia, but he was nevertheless eager to discuss his history, musical and otherwise. The Baca brothers grew up in Albuquerque during the 1970s. Their father, Max Baca Sr., shared his love of music with both sons. “My dad was an accordion player with a lot of history, but he never got recognized for it. He helped create a style called chicken scratch music. He was one of the pioneers.” Native American musicians in New Mexico and Arizona adopted chicken scratch after hearing performances by Baca Sr. and others. Chicken scratch has the same instrumentation and song formats as Tex-Mex conjunto, but without the lyrics. What exactly is Tex-Mex conjunto? It’s a fusion of Mexican American and German musical traditions that dates to the turn of the 19th century, Baca explained. German settlers brought accordions and musical forms such as polkas and waltzes with them to Texas. These were then combined with existing regional instruments such as the 12-string bajo sexto; song forms such as corridos, rancheras, and boleros; and Spanish lyrics. Over the decades, the Tex-Mex sound has continued to evolve. Some bands incorporate brass instruments and saxophones, reflecting the Mexican influences of banda and norteño traditions. Others reference elements of American blues, rock, and country music. The Texas Tornados, formed in the 1980s, became famous for modernizing the music while maintaining many of its traditions. During its height of popularity, the band filled stadiums across the country. This period is when Baca got his big break. In 1990 the Tornados arrived in Albuquerque to play a sold-out show at Tingley Coliseum, but without a bajo sexto player. Flaco Jiménez, the band’s
texmaniacs.com
Max Baca
well-known accordion player, was a close friend of the Baca family, and he knew that Max Baca Jr. was a promising young bajo player. Jiménez called Baca to see if he wanted to jam with the band, and within a matter of hours, Baca found himself not just jamming but performing onstage in front of thousands of people. The next day he joined the tour. “It was history after that. I went from playing at different VFWs and church venues and little cantinas locally ... to playing in front of 40,000 people with the Tornados.”
I never thought in my wildest dreams that being a New Mexican, I would one day record with the Rolling Stones. - - Max Baca His tenure with the band lasted through most of the decade and included many memorable adventures. The high point came in 1994: “Me and Flaco were asked to record with the Rolling Stones on their Voodoo Lounge CD. It was awesome. I never thought in my wildest dreams that being a New Mexican, I would one day record with the Rolling Stones.” Baca fielded the call from the Stones’ manager. He thought it was a prank until a demo tape arrived at his hotel. He and Jiménez were in the studio the next day. After meeting the rock legends, Baca took out his bajo sexto, which immediately attracted the attention of guitarist Keith Richards. Within moments, Richards, whose collection of guitars is estimated to exceed 3,000, asked to buy it. Baca didn’t know what to do. “This was the bajo that my father gave me when I was 8 years old. And Keith’s going, ‘I want this. Name your price.’ ” For Richards, it was destined to become the bajo sexto that got away; Baca couldn’t bring himself to part with the sentimental instrument. He and Jiménez wrapped up their guest appearance in one take and were soon out of the studio. “When I got home, I told my dad what had happened, and he said, ‘Pendejo! You should’ve sold it. You could’ve bought the whole factory.’ ” After a few more years with the Tornados, Baca decided to branch out. He formed his own group, Los Texmaniacs, in 1997. The group found early success with its first album, Tex-Mex Groove. “After the second album, the Smithsonian called me to say they were interested in my band and liked what we were doing. They invited us to play at their festival, and then they invited us to record on their label, Smithsonian Folkways. We recorded Borders y Bailes, and that’s what we won our Grammy for.” Baca says that over the course of his career, recordings he has participated in have won a combined total of 11 Grammys. Because Borders y Bailes was his own project, he received that award personally. “What a feeling — when they call your name. I was sitting right next to Lady Gaga and behind Beyoncé. I’m surrounded by all these superstars. To be included was pretty cool.” Los Texmaniacs have continued touring the world since winning the 2009 Grammy. They’ve appeared in China, the Middle East, South America, and all over Europe. They have also performed for U.S. troops in Bosnia, Kosovo, Iraq, and Afghanistan during peak moments of conflict. “We had to hit the bunkers at least two times a day due to mortar bombs.” But despite having played in so many different places, Baca makes no effort to contain his excitement at the upcoming show in Santa Fe. On top of performing a reunion show with his brother and other special guests, he gets to visit his beloved home state. “I miss the Sandia Mountains and my green chile. Only in New Mexico! Believe me, I know. I’ve toured the world.” ◀ Max Baca of Los Texmaniacs plays at 7:15 p.m. on Monday, July 22, on the Santa Fe Bandstand on the Plaza. There is no charge for the concert; see www.santafebandstand.org.
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PASATIEMPO I July 19 -25, 2013
GRAND
T AO S
RETIREMENT VILL AGE 414 Camino de la Placita . Taos NM
WEEKEND!
Santa Fe Botanical Garden at Museum Hill
July 19–21, 2013 at 715 Camino Lejo Refreshments, music, garden tours, fun for all ages
Gala Opening Night Reception SOLD OUT JANICE TUCKER
Friday, July 19, 6–8pm
Members Only Day
Saturday, July 20, 9am–5pm Free to Santa Fe Botanical Garden Members, memberships for sale at gate
Official Public Opening PETER WEISS
Sunday, July 21, 9am–5pm Free and open to the public
ANDREA MULTARI
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.
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S a n t a Fe
DESERT CHORALE
July 26, 30 Aug 6, 13 8pm
Touched wiTh Fire
including music of the Murdering Prince of Venosa Joshua Habermann, Music Director The Santa Fe Desert Chorale presents an outstanding vocal performance exploring the relationship between creativity and madness. Hear the wondrous music of Carlo Gesualdo, the “murdering prince of Venosa,” as well as music inspired by Vincent van Gogh, whose severe depression led to his suicide at age 37, and the Swiss artist Adolf Wölfli, who while in a mental institution created thousands of extraordinary illustrations with only a single pencil and two sheets of paper per week. 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.
For more information or SFDC tickets, visit desertchorale.org or call 505.988.2282.
PASATIEMPOMAGAZINE.COM
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PASATIEMPO I July 19 - 25, 2013
ON STAGE To Basel and back: Santa Fe Chamber Music Festival
The Santa Fe Chamber Music Festival aims big in its concert at 5 p.m. on Saturday, July 20, at the St. Francis Auditorium of the New Mexico Museum of Art (107 W. Palace Ave.). On the docket are concertos by Handel and Stravinsky (left) and a serenade by Josef Suk (Dvoˇrák’s son-in-law), all featuring a chamber orchestra of a dozen strings players, plus a harpsichord in the Handel. Stravinsky’s Concerto in D is often called the “Basel” Concerto because it was commissioned by the famous musicianphilanthropist Paul Sacher, who based his musical operations in that Swiss city. Sacher commissioned it from Stravinsky in 1946 to celebrate the 20th anniversary of the Basel Chamber Orchestra, of which Sacher was the founding conductor. He offered Stravinsky $1,200 to write the piece, and in accepting the commission, the composer more than doubled his fee, to $2,500. But small change was never an impediment for Sacher, who had married into the Hoffmann-La Roche pharmaceutical fortune. Stravinsky’s biographer Stephen Walsh has described this concise, polished piece as “a clinching if lightweight expression of the neoclassical spirit, immaculate and inscrutable.” Tickets ($32 to $40; discounts available) can be purchased from Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org). — J.M.K.
Solar powered sounds: Alamo Sun
If you ask drummer Nicholas Chiarella or guitarist/vocalist Crockett Bodelson of Alamo Sun to describe their music, they might offer semi-sensical labels like “dirt wave” or “soft-gazer.” Bodelson has said that it’s somewhere between rock and a hard place. Their washed-out recordings thus far are reminiscent of a more bombastic, psychedelic incarnation of The Strokes or a fuzzier Beat Happening. The duo releases a new EP, Living Room, at Counter Culture (930 Baca St., 995-1105) on Friday, July 19. Their performances are largely improvised, and Chiarella warned, “It may get a little loud.” Opening the show are two touring solo musicians — Yairms and Andrew Levi Hiller — who also prefer to avoid limiting, straightforward musical descriptors. The best way, then, to find out what the three acts really sound like is to check out the show. Doors open at 9 p.m.; cover is $5. — L.B.
THIS WEEK
Songs of purple summer: Spring Awakening
The struggles of being a teenager will be on full display at Warehouse 21 with Gemini Productions’ staging of the Tony Award-winning musical Spring Awakening. Based on a widely banned 1891 play by Frank Wedekind, the musical, which opened on Broadway in 2006 with music by Duncan Sheik, maintains the 19th-century setting and racy content of the original, dealing candidly with issues of homosexuality, suicide, and abortion. The Warehouse 21 production stars Forrest Sanchez as Melchior, a German student who falls in love with Wendla, a schoolgirl played by Rikki Carroll. While dealing with his feelings for Wendla, Melchior also tries to help his friend Moritz, played by Gus Spencer. Carroll and Spencer produce and direct the show. Shows are at 7 p.m. on Friday, Saturday, and Thursday, July 19, 20, and 25, and at 4 p.m. Sunday, July 21, at Warehouse 21 (1614 Paseo de Peralta). Spring Awakening continues through July 28. Tickets cost $12 and can purchased at www.holdmyticket. com and reserved by calling 231-6879. The play features strong language, violence, and brief, mild nudity; those 16 and under must be accompanied by an adult. — D.S.
Bold as brass: the Mil-Tones Brass Band
Not to be confused with either the MelTones (a Canadian surf rock band) or the Mel-Tones (a vocal quintet founded by Mel Tormé in the 1940s), the Mil-Tones are a Santa Fe brass band that plays the traditional music of New Orleans. Drummer Milton Villarrubia III leads the show with a bass drum strapped to his chest. A changing lineup of trumpet, trombone, and other brass players, as well as percussion and the occasional woodwind, fill out the band’s bold sound. Together they recreate the festive music one might hear from a New Orleans second-line parade band or during a traditional jazz funeral. The brass band appears at the Santa Fe Bandstand on the Plaza at 6 p.m. Tuesday, July 23. Larry Mitchell, a jazz/rock guitarist who won a Grammy Award for his production and performance work on Robert Mirabal’s album Totemic Flute Chants, follows at 7:15 p.m. Both shows are free. — L.B.
PASATIEMPOMAGAZINE.COM
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Anniversary Sale! 37 years of Fun!
Friday, July 19th - Sunday, July 21st, Both Locations Special deals on furniture from India
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PASATIEMPO I July 19 - 25, 2013
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rq 9 Friday, July 1 jackets, Hiland Theater, Albuque
w 8 p.m.The Yello nds ith, and other ba arge 0 2 Sm . ly A Ju gg y, re a G , rd es ch Satu ; no elativ ill, Albuquerque ed Baraat, The R 2-10:30 p.m. R Route 66 Summerfest, Nob H of perform as part $50 Arts Center; $201 g 2 in ly m Ju or rf y, a Pe d ic n ns Su y Clarke Band, Le 7:30 p.m. Stanle aza; dstand on the Pl 3 2 an B ly Fe Ju a y, nt a Sa sd e s, Tu Mexican The Mil-Tone . Larry Mitchell, I The New m p. . d 6 e n s a a rr a e lh s Bill Koh n be a fool’ who’s no charge festivals ca z z ue; $30 ja f ers — o s rm p o u rf e e n ace, Albuquerq p ly 24 li Sp Ju d e ce n , y, th a e a an c g s sd m n p e in or n ie u rf d in d e ro Pe u m g a W a Trio, Outpost ding their individual ends by ex . Lionel Loueke where m s of expan ore about f er music tr p. n o h m a 8 s e ip y n c m o e sa a d ti a to s ; $30 to dic re a tend rying 25 ace, Albuquerque o’s out the ny broad in ico Jazz Festival ly Sp a e lineups h Ju ce r w th y, e , an , a ff d m ly m o e or rs u rf k n u lb a li Pe Th More a new a io, Outpost New Mex ether — th ostly support of . Lionel Loueke Tr This year’s n back tog m ariety of m al e p. s. v tt 8 e a o lu g g c n y r touring in tl ri e e n ff e o ke Trio, e place, off t suggests the festiv s have rec ose facets all over th ay, July 26 and Lionel Loue what band ha ut even th id et is B T Fr nt ) . . ui 6 z d Q 0 z e 0 rd d ja 2 a f ha e o nc n , in is h ce Bla ival began st definitio the genre 7:30 p.m.Teren Arts Center; $20-$50 f things. nce the fest t the wider, nonpuri o si ty e th ri ing h a m v ig or e ec ood (the Lensic Perf ds that refl popular to have a g n g . u re c o in so si y m u tr , ly c s m d y si n e ri with th rie mu alwa rday, July 27 NEA Jazz Master Eddie Palmie audience-f uch as it is tu has world ck some es. “We’re a m a S It re b s g a t l. a a u d c k iv w n ic st e ro t: ln fe e is arge ec zz sb ura m. Meet the Art Performing Arts Center; no ch is about th ival bill ha w of the ja p. National ctor Tom G st ie 2 e e v fe ir r th e d e , c g th le ti t ig p a is b e th am Lensic Festival art Sheila jazz. It’s th k admitted due to money. For ex A.B. Spellman, zz Band, hard-core dricks and ” Guralnic n st s. is e d t ju a H n ’t a and his Latin Ja n th b n ri t f e z ie is Jo o g z t lm st ja to Pa lo li l a e a This A c c sy di . o a lo Ed 7 v e f s 7:30 p.m. g groups, 6 and 200 er; $20-$50 earances o . “It’s not a entertainin glorious days in 200 ming Arts Cent 07]. Last ed the app re difficult or 0 o rf rt 2 o Pe m n p ic [i p is ns p su ts Le a e t st k a sn o [jazz s grants th year. Even selling tic Reeves sold out in a since its m ace, 28 that’s every for the Art ; e is e t n c n n th n e ia e le m ri D b e “ w Sunday, July mott, Outpost Performance Sp a . p o il End k said our ex ic ren’t ava st ln e er ju ra w t cD u r o M a G n e y ,” t’s 8 p.m.Tom events e years ago Jordan last ll out. Tha 0 d outdoor s it was fiv e didn’t se a n a e sh c e l, n e il fr ie b e d Albuquerque; $2 e u e u an a for th on th querq
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2-9301 nue S.E., 505-26 VENUES ve A l ra nt Ce 00 48 sco St., Hiland Theater, 1 W. San Franci 21 , er nt Ce s rt A ing Lensic Perform ue, 34 S.E., Albuquerq 988-12 d. lv B le Ya 0 21 ance Space, Outpost Perform n nue S.E. betwee 505-268-0044 ve A l ra nt Ce on erfest stages uerque, Route 66 Summ d Washington Street, Albuq an Girard Boulevard .com/rt66summerfest.html al www.rt66centr Arts Center nsic Performing Le e th om fr e bl st la Tickets are avai .ticketssantafe.org) and Outpo lable ai w (988-1234, ww e, 505-268-0044. Discounts av estival.org. zf ac az Performance Sp ances. See www.newmexicoj m for some perfor PASATIEMPOMAGAZINE.COM
23
STANLEY CLARKE
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PASATIEMPO I ????????? ??-??, 2013
Paul Weideman I The New Mexican tanley Clarke is the star of the electric bass in jazz and jazz-rock going back more than 40 years now. And his fondness for instruments, especially those made by the northern California company Alembic, has sometimes gotten out of hand. “Yeah, over the years I’ve had so many basses,” he said in a recent interview. “I had to almost like have another house for them, but I’ve sold or given some of them away now.” Although he plans to spend some time onstage with his acoustic double bass when the Stanley Clarke Band plays the Lensic Performing Arts Center on Sunday, July 21, he will have at least a couple of his electric instruments with him. He and his band mates — Zach Brock on violin, John Beasley on keyboards, and drummer Michael Mitchell — will perform versions of older songs like “No Mystery” as well as newer pieces. Clarke has been doing some songwriting. “I’m working on a new record right now. I’m signing to a new record label, which is nice. It’s interesting — I don’t think I’ve ever met an artist who doesn’t feel like I do right now, like you’re a young kid again, just getting a record contract. I’ve done this three or four times, and every time it’s the same. “The record is more like the acoustic pieces we did in the jazz-rock fusion bands like Return to Forever. Usually, if I say I’m going to do acoustic music, people might assume it’s going to be completely all straightahead, but this will just be less electric.” He has also been working on a J.S. Bach cello suite. That should be available toward end of the year and will probably first appear in video form. Clarke recalled watching a film of Pablo Casals playing Bach’s Cello Suite No. 1. He marveled that although the cellist seemed to be “really, really old” as he walked to the venue, as soon as he began playing, he had the spirit of a teenager. “I’m doing this on the double bass. It’s hard as hell. You can play a lot of things on the bass, but the strings are different and there’s a different kind of sound, so I’ve been working on trying to get it sounding presentable.” Delving into Bach takes him back to his classical training as a young man, when some of his instructors played with the Philadelphia Orchestra. Clarke hit the New York jazz scene running after he arrived in 1971. He was soon working with many of the leading lights of the day, including Art Blakey, Joe Henderson, Pharaoh Sanders, and Chick Corea. With Corea he formed the seminal fusion band Return to Forever. Light as a Feather (1972) was the first of several albums he recorded with the band. The group’s popularity established Clarke’s credentials as a pioneer of the electric bass in jazz — just preceding Jaco Pastorius’ work (beginning with 1976’s Black Market) in another legendary band of the type, Weather Report. Clarke became renowned for his characteristically energetic and percussive technique on the bass and also for playing tenor and piccolo bass guitars and electric uprights in addition to more standard instruments. Over the next couple of decades, he worked with George Duke, Jeff Beck, Keith Richards, and Jean-Luc Ponty, as well as jazzers such as McCoy Tyner and Freddie Hubbard, and was a successful composer of film and television scores. In 2008 he reunited with Return to Forever for a tour and an album, Forever. That and 2010’s The Stanley Clarke Band — featuring the Japanese pianist Hiromi — are his two most recent albums, and both won Grammy Awards. A fascinating example of the different faces of a song performed by different combos is Clarke’s “Three Wrong Notes.” A video version at www.stanleyclarke.com, featuring the bassist playing with keyboardist Corea and drummer Jack DeJohnette, contrasts not just in its improvisations but also in spirit with the track on Jazz in the Garden, also with Hiromi. “One of the luxuries in playing jazz music is that you may play a particular song a certain way on Monday, and then on Wednesday the basic framework could be there but it may sound completely different, with a different speed, a different emotion. Audiences who are serious about jazz like that and actually expect it.” In February, Clarke was part of a rare occurrence: jazz at the Grammys. He and Corea and saxophonist Kenny Garrett were given 45 seconds on Grammy Night to offer a musical tribute to the legendary Dave Brubeck, who died in December.
“After we did that, Herbie Hancock texted either me or Chick and said, ‘Wow, that’s the most jazz I’ve seen on the Grammys in quite some time.’ This is all a kind of misunderstanding I think people have. I mean, to actually think that if you put a particular kind of music on television, you’re going to lose ratings. It’s crazy. I remember that when Elvin Jones died, Carlos Santana was really pissed off, and he was right to be pissed off, because MTV didn’t give it even a few seconds to mention it. “It’s pretty wild when you think about it. I was at [jazz drummer] Tony Williams’ funeral, and every rock-and-roll drummer from all the major bands were at the funeral. I sat next to Ginger Baker. I think if a lot of the media guys — especially in television — really talked to the musicians, they’d find that a lot of those guys are much closer. They’re not so separated by genre.” One of Clarke’s fondest memories from his younger days relates to his time with bandleader Horace Silver. Where most of what Clarke called “consummate bandleaders” were pretty loose in their approach, Silver was “very strict and straight,” although also a nice guy. “Everything was just so perfect with him. His charts look like something that came out of a computer. When he auditioned for the bass Zach Brock chair, he’d rent a room and have like 30 bass players come. Nowadays the guys will stand outside and one guy comes in at a time to play, but no, he had everyone in the room watching everybody try out. “The only thing I ever did that he didn’t like was that he wasn’t a big fan of bass solos and he had the wrong guy with that kind of attitude: me. I remember once in Newark, New Jersey, 1969 or 1970, we were playing, and we were just coming to the tail end of ‘Song for Michael Mitchell My Father,’ and he’s got this riff bass line going over and over, and I just said to myself, You know what? I’m going to stand up and start playing a solo. “So I stood up and started playing. I can still remember the look on his face when he turned around at the piano and looked at me. But the audience started reacting, and they loved it so much that he kept the solo in there, because he understood people liked it. It was like the changing time with the new school coming in.” John Beasley Clarke also worked in his early days Stanley Clarke photo Steven Parke; Zach Brock with Dexter Gordon, Stan Getz, and photo Janis Vogel; John Beasley photo Tim Sassoon Gil Evans. How do they show up in what he’s doing now? “They’re always there. Most musicians, when you play, you really do stand on your foundation. It’s the guys you started out playing with and the guys you listened to or the guys who taught you. I have a pretty solid and diverse foundation.” ◀
details ▼ Stanley Clarke Band, presented by New Mexico Jazz Festival ▼ 7:30 p.m. Sunday, July 21 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $20-$50; 988-1234, www.ticketssantafe.org
PASATIEMPOMAGAZINE.COM
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James M. Keller I The New Mexican
La traviata Music by Giuseppe Verdi. Libretto by Francesco Maria Piave, based on Alexandre Dumas fils’ La dame aux camélias. Premiere: March 6, 1853, Teatro La Fenice, Venice. Sung in Italian. his year the music world celebrates the bicentenary of Giuseppe Verdi, born on Oct. 9 or 10, 1813, in the tiny Italian village of Roncole in the Duchy of Parma. Later in life, Verdi would imply that he had been born a peasant, thereby staking a place in the endless line of entrepreneurs who unnecessarily exaggerate their considerable achievement once they meet with success. In fact, his father was an innkeeper and his mother a spinner, both of them belonging to families who were modest landowners. Nonetheless, Verdi certainly did come up in the world in the course of his long career — he lived until 1901 — and it is marvelous to imagine a lad from a provincial village in farming country growing up to be lionized in the ultra-sophisticated realm of the international culture crowd, the world he depicted with an unforgiving eye in his opera La traviata. He was not yet 40 years old when he unveiled La traviata, in March 1853, but he was already acknowledged as the reigning monarch of Italian opera. His rise in the musical world had been steady if not spectacular. He received solid schooling as a child, and, as he later recalled, “From the ages of 13 to 18, I wrote a motley assortment of pieces: marches for band by the hundred, perhaps as many little sinfonie that were used in church, in the theatre and at concerts, five or six concertos and sets of variations for pianoforte, which I played myself at concerts, many serenades, cantatas (arias, duets, very many trios) and various pieces of church music, of which I remember only a Stabat mater.” In 1836 he composed his first opera, titled Rocester. He failed to get it produced, but after stringent revision, it did finally make it to the stage in late 1839 under the title Oberto — and at no less a venue than the famed Teatro alla Scala in Milan. Such was its success that the company’s management gave him a contract to write three further operas over the next two years; the second of that bunch, Nabucco, is still produced frequently, and its chorus “Va pensiero” has served as a virtual national anthem of Italy (though not the official one) ever since. Verdi continued to create operas at breakneck speed. Between the premiere of Nabucco, in March 1842, and the premiere of La traviata, he composed 15 operas, an average of one every nine months — and that doesn’t include the many revisions he attended to after some of these works had been premiered. Most of those journeyman operas are revived rarely today, but they served as the workshop in which Verdi crafted his distinctive, popular voice. In 1851, he hit his stride with Rigoletto, and in early 1853, in the span of seven weeks, he completed his mid-career triumvirate by unveiling Il trovatore and La traviata traviata. Together, these three works made him the world’s most famous and most frequently performed composer of Italian opera. Verdi’s wife and two children died around the time his operatic career was beginning, but in about 1847 he entered into a liaison with Giuseppina Strepponi, a soprano who had starred in Nabucco. They married in 1859 and remained a couple for half a century, until her death in 1897. When they began their romantic relationship, she had recently withdrawn from the stage and settled in Paris, where she established a voice studio. Verdi joined her, and they lived there together for about two years, after which they returned to Italy. When, in 1852, Verdi embarked on writing La traviata, he therefore 26
PASATIEMPO I ????????? ??-??, 2013
Brenda Rae as Violetta and Michael Fabiano as Alfredo; opposite page, Rae and Fabiano; production photos by Ken Howard, courtesy Santa Fe Opera
enjoyed considerable firsthand knowledge of Paris and of the dynamics of living there in a socially irregular relationship. He wrote the piece at characteristic high speed — indeed, even a bit quicker than his usual pace. In May 1852 he had signed a contract to provide a new opera for La Fenice, the storied opera house of Venice. He and his librettist Francesco Maria Piave had trouble committing to a subject, and not until October did they land on one that captivated both of them: the story of a Parisian paramour suffering from consumption — then the most romanticized of diseases — who renounces her heartfelt love rather than ruin the honor of her boyfriend’s respectable family. Amore e morte they intended to call it: Love and Death. Before long, the name morphed into La traviata (The Wayward Woman), probably to appease the hard-to-please censors who would have to approve it and who would doubtless prefer a title that pointed the finger of blame at the woman around whom the action unrolls. Piave and Verdi called her Violetta Valéry, but everybody knew who she really was: Marie Duplessis, who had been the most fascinating courtesan of Paris, presiding over an acclaimed salon and enchanting a parade of deep-pocketed lovers before she expired in 1847, at the age of 23. Among them was the acclaimed author Alexandre Dumas fils, who had wasted no time turning her story into a novel: La dame aux camélias (The Lady of the Camellias), its name referring to the particular type of flower with which she customarily adorned herself. A biography of this fabled figure appeared last month — The Girl Who Loved Camellias: The Life and Legend of Marie Duplessis by Julie Kavanagh (published by Alfred A. Knopf/Random House). Apart from tracing her short life in careful detail, it etches with a fine point the particularities of the French amatory industry and hierarchy. In so doing, it yields up a more nuanced appreciation of this aspect of Verdi’s opera than most of us enjoy, training a spotlight on what is usually left as shadowy allusion. Though delivered in a breezy style that itself
seems almost novelistic, Kavanagh’s information seems carefully sourced, drawing extensively on gossipy accounts about high and low society in 19th-century France. But what really made a rounded portrayal of Duplessis achievable was the author’s fortunate encounter with an obscure biography by Romain Vienne, who had been Duplessis’ friend and confidant since her childhood in the village of Nonant in Normandy. In this first biography of Duplessis, Kavanagh writes, “Her voice could be heard as vividly as if it had been tape-recorded, and her character — witty, skeptical, modest, sophisticated, merry, subdued — emerged on page after page.” It is quite a tale. Marie (or Alphonsine, if we were to use her given name) was born in 1824, the daughter of an alcoholic peddler who himself “was born as the result of a quick, illicit union between a priest and a prostitute.” She endured a brutal childhood — at some point it seems her father tried to sell her to the Gypsies — and in 1838 she ended up in Paris. We learn about important gradations in the world of Parisian sex workers. At first she was a grisette, basically a brothel prostitute, but after a while she graduated to the more rarefied realm of the lorette, so called because many such woman lived in the city’s ninth arrondissement, near the Church of Notre-Dame-de-Lorette. “They were a product of contemporary Parisian life — girls who had set out to take a lover, not through attraction or affection but for financial gain,” Kavanagh writes. “They would never ask for money or accept it from suitors whose offer was too direct, but they were acutely aware of their market value.” An account from the period observes, “The lorette sleeps in an acacia gondola, the grisette makes do with a folding bed.” Duplessis’ ascent proves to be not without setbacks, but she succeeds in her new lifestyle. Since her job depends on being glamorous and stylish, it requires continued on Page 28
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La traviata, continued from Page 27
Brenda Rae
an immense outlay of cash; but of course her bills are inevitably being paid by whomever is enjoying her favors at a given moment — and often these protectors are simultaneous rather than sequential. “Her developing taste was simple in that she was satisfied only with the best,” Kavanagh says. We join her in making the rounds of such fashionable hangouts as the Opéra and the Jockey Club, both of which could be dens of debauchery. We meet a succession of lovers — so many, in fact, that you may decide to skip lightly over the text after a while. One of them, the very elderly Count Gustav Ernst von Stackelberg, may have infected her with consumption (tuberculosis), which at that time was not even understood to be an infectious disease; “sorrowful passions” seemed a more likely cause. Another of her gentleman callers, a bourgeois lad named Ned Perregaux, who frankly could not afford her, shocked his family by proposing marriage and, despite their protestations, actually following through with it. Curiously, the wedding basically spelled the end of his relationship with Duplessis, but it served to make her “an honest woman” for a brief while. More important for posterity, Perregaux apparently served as the model for Violetta’s boyfriend Alfredo Germont in La traviata. Dumas fils knew his novel was likely to snag considerable interest from readers. Kavanagh writes: “Dumas fils had sold only fourteen copies of his first book, Sins of Youth, a collection of long poems, including one entitled ‘M.D.,’ which intimately details what it was like to make love to Marie Duplessis. Printed at his father’s expense in 1847, it had passed unnoticed, whereas his novel received an advance of a thousand francs from the reputable firm of Cadot, whose first edition of 1,200 copies was quickly followed by a sell-out printing of another 1,500.” When the novel was turned into a play, it initially had trouble finding a theater that would present it. But eventually a production was announced for the Théatre du Vaudeville, and the piece gained the kind of publicity money really cannot buy, such as this endorsement from the director of the Louvre: “This play is shameful. ... During five acts The Lady of the Camellias unfolds before civilized people the sordid details of the life of a prostitute. Nothing is left out. ... The police, the government tolerate these scandals, and seem to ignore the fact that this will result in the demoralization of the public.” Thus buoyed, the play became a blockbuster, selling 20,000 printed copies almost instantly and packing the theater for an extended run that apparently was attended by many people who sobbed through the evening without fully realizing what the woman’s profession actually was. Verdi and Strepponi were visiting Paris and saw the play in February or March of 1852, and we can only be thankful that it occurred to him and Piave to turn it into an opera later that year. It did not succeed at its premiere, among its problems being a soprano so corpulent that the audience simply would not accept her as a personage wasting away with consumption. But after this rocky start, audiences took to the piece warmly. How could they not? The score is packed with expanses that figure among opera’s most delicious chestnuts: the opening “Brindisi”; the soprano’s coloratura standard “Ah fors’è lui ... Sempre libera” and her heartbreaking “Addio, del passato”; the tenor’s aria “De’ miei bollenti spiriti” and the baritone’s “Pura siccome un angelo” and “Di provenza il mar”; the soprano-tenor duets “Un dì felice” and “Parigi, o cara” — not a bad line-up. Kavanagh reminds us of Marcel Proust’s observation on first seeing La traviata: “It’s a work which goes straight to my heart. Verdi has given to La dame aux camélias the style it lacked. I say that not because Alexandre Dumas fils’ play is without merit, but because for a dramatic work to touch popular sentiment the addition of music is essential.” ◀ La traviata opens at 8:30 p.m. on Saturday, July 20, and continues at 8:30 p.m. on Wednesday, July 24, and 8 p.m. on July 29 and Aug. 2, 5, 10, 16, and 22. The conductor is Leo Hussain. Laurent Pelly directs this revival of his 2009 production and designed the costumes. Chantal Thomas is the scenic designer. Duane Schuler is the lighting designer. Brenda Rae sings Violetta. Michael Fabiano plays Alfredo. Roland Wood is Germont. Keith Jameson sings Gastone. Jonathan Michie plays Baron Douphol. Dale Travis is Dr. Grenvil. Santa Fe Opera is seven miles north of Santa Fe on U.S. 84/285. Tickets start at $40, $15 for standing room. Rush tickets are available for seniors and students. Call 986-5900 or 500-280-4654 or visit www.santafeopera.org.
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PASATIEMPO I July 19 -25, 2013
Santa Fe Chamber Music Festival All concerts this week @ SFA: St. Francis Auditorium, 107 W. Palace Ave., Santa Fe
mENDELSSOHN & mORE
NEiKRUG & NEW STRiNG QUARTETS
mUSiC FROm THE TimE OF GOYA
BEETHOVEN SEpTET & BRAHmS TRiO
JUL 25
JUL 26
JUL 27
JUL 28 + 29
THU 6 pm @ SFA
FRi 6 pm @ SFA
SAT 5 pm @ SFA
SUN + mON 6 pm @ SFA
The Miami String Quartet plays Mendelssohn’s enchanting String Quartet No. 6, and is joined by award-winning Soyeon Kate Lee for Dohnányi’s lush, romantic Piano Quintet No. 2. Also, Schulhoff’s virtuosic String Sextet.
If you’re looking for cutting edge classical music, you’ll find it here. Marc Neikrug’s String Quartet No. 4 and premieres by young composers performed by the exciting FLUX Quartet, and the inauguration of the Young Composers String Quartet Program.
Reflection and Revolution: Music from the Time of Goya, a multi-media presentation by guitarist Richard Savino with soprano Christine Brandes and strings featuring music by Boccherini and Fernando Sor.
An all-star ensemble performs one of Beethoven’s greatest hits, the Septet. Followed by Brahms at his most unabashedly romantic – Piano Trio No. 1.
SCHUmANN SONGS, SCHUBERT STRiNGS
YOUTH CONCERTS – FREE!
mON JUL 29 • 10 am @ SFA Todd Levy and Katherine Kohler, clarinets; Lewis Kirk, bassoon
Monday concert sponsored by
Amazing Artistry. Exceptional concerts continue at the Santa Fe Chamber Music Festival! Upcoming concerts through August 1st include works by Mendelssohn,
AUG 1
Dohnányi, Marc Neikrug, Beethoven,
miNi-FESTiVAL: YEARS OF WONDER
THU 6 pm @ SFA Enjoy Schumann’s Dichterliebe sung by baritone Matthew Worth alongside renowned pianist Shai Wosner. Also, Franz Schubert’s remarkable “Rosamunde” String Quartet played by the Johannes String Quartet.
mON, AUG 12 • WED, AUG 14 • THU, AUG 15 • mON, AUG 19 Masterpieces by Mozart and Schumann. The Santa Fe Desert Chorale sings Gesualdo. A musical experience of a lifetime in just one week.
Brahms, Schumann, Schubert, and many more. You can hear outstanding performances by celebrated artists. But please, reserve your seats now as many of our concerts will sell out! Our extraordinary season continues through August 19th!
MUSIC AT
NOON noon @ SFA Generously sponsored by the Edgar Foster Daniels Foundation
THU JUL
25
TUE JUL
30
THU AUG
01
BEETHOVEN & SHOSTAKOVICH The Miami String Quartet plays Shostakovich’s vibrant String Quartet No. 9. Also, world renowned chamber stars perform Beethoven’s Piano and Wind Quintet.
Intimate. Compelling. Unforgettable. Marc Neikrug, Artistic Director
SHAI WOSNER PIANO RECITAL Internationally recognized pianist Shai Wosner performs Schubert and Jörg Widmann’s Schubert homage, Idyll and Abyss.
JOHANNES STRING QUARTET Praised for a special combination of passion, warmth, elegance, and poetry, the quartet plays Henri Dutilleux’s Ainsi la nuit and the String Quartet No. 3 by Brahms.
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
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Michael Wade Simpson I For The New Mexican
IN THEIR OWN WORDS
BrendaRae Violetta —
Violetta knows her place in society. She knows how to do her job well, and she is used to people treating her a certain way. Her illness is not a secret, but society doesn’t care that she is sick. She also knows that the life she leads makes her ripe for abandonment. She seems desperate not to be forgotten. She is afraid of being alone. There’s something to be said for love at first sight. She feels emotional, realizes Alfredo could be the one, and tries to ignore her feelings. She is incredibly torn and broken at that point. When she sees Alfredo, there might be a sense of, maybe I’m not going to die. Violetta forgives him, but his rage breaks her heart. She keeps saying, “Love me as much as I love you.” Over and over. “This is the real me. Don’t forget. You were loved by someone utterly.”
Arielle Doneson
Dario Acosta
Robert Workman
La traviata cast members speak with Pasatiempo
Roland Wood Giorgio Germont —
Violetta’s at the top of her profession. She has dragged herself up — achieved a certain position in society. People don’t care [about her profession], as long as she is hosting the best parties. Everything bad is done with good intentions. Everything bad I do is in the best interest of my daughter and son. For my family. Violetta realizes what will happen to Alfredo’s sister if her brother is with a courtesan. The way she goes from being a happy, contented woman in the country, living a new kind of life, and then slips back into being a courtesan — Germont sees the nobility of someone from a much lower class. It is the first time he has treated her like everyone else does. As Giorgio, I am the only person who knows. I know she really loves Alfredo. It’s my fault, but I don’t allow myself to be human. I’m like the statue of a Roman. Implacable. My character encapsulates the character of a society. I am self-serving. I must protect my family. My actions are repellent, but it is my duty as a father.
Michael Fabiano Alfredo, Giorgio’s son —
Alfredo resents society. He’s quite innocent in some ways. Violetta’s antennae go up when he tells her he’s been watching her for a year. He’s scared, not wanting to be rejected. Everyone knows why she is the hostess with the mostest. I don’t think he cares. It’s the first time she has been treated as a human being, not just a whore. He’s a good man, not a pig. He’s the one with an open heart. From the beginning. He’s the type of guy who sees a wounded bird and is going to help that bird fly. He’s a good-natured man, and he sees something in her. In many productions, Act 2 begins, and you never see in depth the time that Alfredo and Violetta have together. In this production, you see them together. You get a sense of the fun they have, of a loving relationship of equals. In most Verdi operas there is one villain. In Traviata, there is no villain. All three of us are bad in different ways. We’re human. There are circumstances, misinterpretations, and rageful emotions. A lot of unfounded hope is never achieved. Back in Paris, Alfredo is ready to make her feel terrible. He turns really negative and bad. Not knowing the reasons, he shows violence, anger, sarcasm. It’s really pitiful — naked emotion, like a child. I don’t think Alfredo knows [that Violetta is deathly ill]. He notices she’s sick, but not until the final moments, when he says he wants to get married, be happy.
PASATIEMPOMAGAZINE.COM
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Due to overwhelming popularity, another performance has just been added! Discover this unforgettable masterpiece: Monday, August 19 at 8:00 pm Rossini’s most romantic work delivers all the glories of bel canto vocal style on full display. The magnificent mezzo-soprano Joyce DiDonato has won worldwide acclaim for her portrayal of Rossini heroines.
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31
Bill Kohlhaase I The New Mexican
DUELING KEYBOARDS WORDS AND MUSIC BY PIANIST
JE R E MY DE N K
hat’s left to tell about concert pianist Jeremy Denk? Pretty much everything you need to know — about his musical upbringing, his feelings toward certain composers and compositions, his dislike of program notes, his own thoughts and anxieties when it comes to performing and recording — has been revealed in a series of pieces written for The New Yorker, other published essays, in his liner notes, and, especially, on his blog. We know why he’s drawn to Charles Ives and why he’s sour on Bach’s Goldberg Variations. We know how the comments his early piano teachers scribbled in his piano-lesson journal still haunt him. The history of his day-to-day life is also on record: he’ll order huevos rancheros for breakfast but not with plantains on the side; while growing up in Las Cruces, his house’s septic system was a constant concern; the worst possible news he could receive is the closing of his local Vietnamese restaurant. We also know his mother’s reaction to the announcement earlier this year that his blog, Think Denk: The Glamorous Life and Thoughts of a Concert Pianist, was chosen by the Library of Congress for inclusion in its archive of internet materials related to the performing arts. Said mom: “Sounds impressive.” Wrote Denk: “The addition of the unassuming word sounds carries the deliciously unavoidable implication of it being much much less impressive than the word impressive would suggest.” Apparently, there is more telling to do. Random House recently signed Denk to expand his New Yorker piece, “Every Good Boy Does Fine: A Life in Piano Lessons,” into a full-length autobiography. From reading his blog, you’d expect that Denk was a good way there, especially considering his response in 2008 to the release of fellow concert pianist Lang Lang’s autobiography ( Journey of a Thousand Miles: My Story). The title of Denk’s spoof blog entry? “Journey of a Thousand Pop-Tarts: The Toasting of a Concert Pianist.” It tells how our young hero told his parents, in so many ill-chosen words, he didn’t want to get out of bed to see Halley’s comet. It also reveals how he wore a diaper onstage for performances of a Las Cruces production of A Midsummer Night’s Dream. 32
PASATIEMPO I July 19 -25, 2013
“I think there’s quite a lot of work to be done on the book,” Denk said, speaking by phone from Colorado, where he was appearing at the Aspen Music Festival. “There’s not much to be dragged from my satire of Lang Lang’s autobiography, though my title’s not bad.” (Denk’s book will carry the same title as the New Yorker piece.) Denk, celebrated for his recordings of, among other repertoire, Ives’ piano sonatas and György Ligeti’s piano études, is seemingly as visible today for his words as for his music. Did he have any desire to be a writer even as he was suffering through piano lessons? “As a kid, I was kind of repressed, kind of obsessive about reading. It was almost dangerous. I went on a Proust jag for three years of my life, didn’t see anyone during that time. I guess I should have read the proverbial writing on the wall. That side of myself emerged almost by accident.” Encouraged in 2004 by a friend to start a blog, Denk began that very day. “I did find it enjoyable to write about what I was doing and kept at it with no remuneration or hope for remuneration or any hope of getting attention. I was doing it just for my own satisfaction. Then it got out of control. I’d written a lot and then realized that people of importance in the music world were reading it. That was terrifying. The blog had taken on a life beyond what I’d intended.” Denk’s writing, especially his liner notes, enlightens and entertains without talking down to readers. He often relates music directly to his (or any piano student’s) learning experience. “There’s nothing more perverse than piano études,” he writes in the notes to the 2012 recording of the Ligeti recording. “This perversity is on full display in the third Étude.” He finds Ligeti’s genius in writing something that “directs you toward the opposite of what your piano teacher always wanted,” a sort of “satire on technique.” Often, as he dissects his favorite music, he finds things to like in what seem negative qualities — the opening theme of the Brahms Piano Quartet in A Major “would be ‘fine,’ except for an odd move to F#-Major in its fourth bar, sounding a little forced, ill-prepared, artificial ... the A# jangles like a ‘mistake’ against the A, the main note of the piece.” Slow realizations result in guilty admissions: “[I] remember
thinking, when I first looked at [that] score, what a stupid theme it was ... what an idiot.” Denk’s visibility as a writer lept when he was published by The New Yorker. “[Music writer] Alex Ross had been reading my blog and passed things along to his colleagues,” the pianist explained. “They just sent me an email. That was three years ago, and I freaked out and went completely insane. It took me a long time to get up the nerve to submit. The language that I use in the blog wouldn’t work for the magazine, of course, so there’s a lot of refining and crafting required. It’s very similar to sitting at the piano and refining to get the exact perfect phrasing, the mixture of obsession and neurosis in the process, and the pleasure that you get once you’ve found it.” Does he have encompassing intentions for his writing? “The master plan is to play as beautifully as possible and write things that seem interesting. Obviously, people have talked about the hidden agenda in my writing of getting rid of classical stuffiness, demystifying it, and opening up that world to the weirdness of the modern pop-culture world. I have a very mystical view of music. It’s the most important thing in the world. I feel like you have to poke at it and talk about it to re-access its amazing freshness.” In his “Every Good Boy Does Fine” piece, Denk questions the music-lesson clichés found in popular culture: “the mind games and power plays,” “the psychological torment” linked to music studies. He goes on to wonder if his experience was different. Indeed, in his training, fear, shame, and humiliation play roles almost equal to practice. An earlier piece for The New Yorker on recording Ives’ “Concord” Piano Sonata No. 2 is full of anxiety and a certain neuroticism. The experiences suggest he’s been left a psychological mess. “I hope not. Musicians have a special set of problems and concerns. As a performer, you’re out in front of people who are evaluating what you’re doing. That kind of scrutiny is not for everybody. Being a musician is an interesting mix of confidence and insecurity, those two feelings are in tension and play against each other. Too much confidence leads to complacency. There needs to be a balance, like everything in life. On the whole, my teachers didn’t torture me. But it’s inevitable that in making someone play piano better is to subject them to criticism. It’s part of the process.” Denk said that his years in New Mexico — the family moved to Las Cruces from New Jersey when he was 10 — left him with an incredible love of green and red chile. He also said the experience was a spiritual force in his life. “The desert was such a wonderful and strange place. It has a magical quality and opened up a different realm in my thinking after New Jersey. Las Cruces was a generous, easygoing college town with lots of smart people. It was an interesting and kind of ideal place for me at the time. I was lucky and got a lot of attention there.” Sometimes Denk’s words come back to haunt him. Last year, he wrote an essay for NPR’s music blog titled “Why I Hate the ‘Goldberg Variations,’” calling them “the Martha Stewart of variations.” His reasons include the fact that everybody loves them, they’re in the key of G Major, they’re “annoyingly unimpeachable,” and, “Everyone asks you all the time which of the two Glenn Gould recordings you prefer.” This kind of snark is characteristic of Denk’s writing. When Denk’s program for his appearance at the Santa Fe Chamber Music Festival was recently announced, it was surprising to see the Goldberg Variations. “I recorded the variations last Christmas for Nonesuch,” he laughed, “and will be touring a lot in support of the recording when its released. Yes, it’s a piece that I love but famously wrote a mean-spirited article about. But I thought it would sound beautiful there in the St. Francis Auditorium.” And, as Denk also wrote in that article, “I have been assimilated into the Goldberg Borg.” ◀
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details ▼ Jeremy Denk in recital ▼ Noon Tuesday, July 23 ▼ St. Francis Auditorium, 107 W. Palace Ave. ▼ $20 & $25; at the door or from Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org) or the Santa Fe Chamber Music Festival (982-1890, www.sfcm.org)
Opposite page, photo by Michael Wilson
PASATIEMPOMAGAZINE.COM
33
PASA REVIEWS Santa Fe Chamber Music Festival St. Francis Auditorium, July 14
Marco Borggreve
Tchaikovsky and not-quite Tchaikovsky
Inon Barnatan
T
he Santa Fe Chamber Music Festival opened its 41st season at St. Francis Auditorium this past Sunday evening, July 14, with a well-played program that offered two classics of Russian chamber music, one by Tchaikovsky (very famous) the other by Anton Arensky (not so much). They were preceded by speeches and by a musical amuse-bouche in the form of a Serenade for Two Cellos and Piano by Carlo Alfredo Piatti, a 19th-century cellist much extolled in his day. He filled the piece with advanced technical touches of the sort mastered by players who have worked their way through his once-standard Violoncello Method. Cellists Nicholas Canellakis and Joseph Johnson, assisted by pianist Inon Barnatan, dispatched it impressively, but it cannot be said that this seven-minute bit of fluff contains the wherewithal to make much of a statement. More enriching was Arensky’s Piano Quintet from 1900, in which Barnatan was joined by violinists Lily Francis and Benjamin Beilman, violist Teng Li, and cellist Ronald Thomas. Arensky was a second-stringer among Russian composers, and his reputation was not helped when, after his early death, his
teacher Nikolai Rimsky-Korsakov denounced him as a drunkard, a gambler, and — worst of all — a defector to the sphere of Tchaikovskian influence. “He will soon be forgotten,” predicted Rimsky. Indeed, Arensky’s scores do often come across as Tchaikovsky lite, infused with a whiff of the salon, but they neither fail through overaspiration nor overstay their welcome. The four movements of the Piano Quintet run only a bit beyond 20 minutes, and the assembled team rendered them with charm, the lower voices — viola, cello, and piano — even adding intimations of passion. An issue of the piano-quintet texture in general is that the piano can prove overly prominent, but Arensky handled the challenge adeptly and Barnatan wisely took a somewhat deferential stance in the assemblage. The piano’s opening volley can easily come across as empty bravura, but here it was infused with solid warmth. The second movement is a set of variations on a French folk song, “Sur le pont d’Avignon,” though it’s not the famous tune you learned in first-year French. This is an entirely different song with unrelated lyrics (after the opening words) and an introspective, modal melody, its mournfulness intensified when the strings install mutes at the end. The group dispatched the ensuing scherzo-with-two-trios forthrightly, but here we encountered some inattentiveness to detail: the principal theme centers on a rapidly rising-then-falling elaborated arpeggio — first played by the piano, and then by the strings — in which Arensky writes a “hairpin” crescendo and diminuendo over six beats, the volume peaking at the top note. This appears over and over in the course of the movement, but the players almost invariably rendered it with no gradation of dynamics, a few times managing a sudden sforzando at the climax but getting it right only the very last time — a victory that demonstrated what a nice idea Arensky had. Did it detract from the overall interpretation? Not much, but in chamber music the triumph is in the details. The finale was delightful: a short, freely plotted double fugue in which the first subject is taken from the first movement and the second subject from the second, the two then overlapping with combinatorial cleverness. It was a pleasure to encounter this rarely programmed piece in so firm a performance. It would have made a delightful curtain raiser. After intermission came Tchaikovsky’s string sextet Souvenir de Florence, which also might be described as “Tchaikovky lite.” It is a late piece roughly contemporaneous with the composer’s Fifth and Sixth Symphonies, large-scale but without all the weeping-in-your-vodka we encounter in those works. Hearing it in this context made one wonder if Arensky modeled his Piano Quintet directly on this sextet. In Souvenir de Florence (composed from 1887 to 1890, and then revised through 1892), we have again a muscular opening, a subdued second movement with folk inspiration (here Italian rather than French), a third-movement folk-dance-with-trio, and a finale that escalates into a fugue. Violinists Beilman and Francis, violists Teng Li and CarlaMaria Rodrigues, and cellists Thomas and Canellakis had the piece well in hand. There was no overlooking that decades of experience separate newcomer Beilman from veteran Thomas, but it was heartwarming to see interpretative wisdom being passed down through the generations — and, really, Thomas’ expressively modulated tone and sensitively contoured phrasing offered just the sort of model young players should embrace. Perhaps the most memorable pages in this performance came in the bustling trio of the third movement. Here the players’ bouncing bowing (saltando) coordinated precisely, the timbre evoked a buzzing beehive, and ensemble crescendos provided precisely the uplift Arensky had in mind in his third movement. — James M. Keller
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PASATIEMPO I July 19 -25, 2013
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36
PASATIEMPO I July 19 -25, 2013
Angsty athleticism
I
n addition to raising funds, booking engagements, guiding dancers, and generally running a ballet company, another of the tasks undertaken by Jean-Philippe Malaty and Tom Mossbrucker, the duo in charge of Aspen Santa Fe Ballet, is serving as choreographic talent scouts. They have successfully carved out a niche for ASFB as a small company with a big reputation by finding up-and-coming choreographers in Europe, and, more and more, the U.S. Recently, with Norbert De La Cruz III, a young Filipino-American dancer and choreographer from Los Angeles, they have struck gold. Cruz’s first piece for ASFB, Square None, is a bit of a hodgepodge, with a musical score that jumps around in its sources and styles. Yet De La Cruz still managed to unify things and offer an arresting blend of movement and image. Fold by Fold, his second piece for ASFB, seen in Santa Fe after a recent premiere in Aspen, is a mature, dynamic, and satisfying piece. His is a choreographic voice that is not going to fade away. A striking original score by Michael Gilbertson offers music that is highly danceable, with classical bones and a contemporary sensibility. There are pianistic sections, marimba and percussion in other parts, and a constant walk on the edge between lyricism and dissonance. Each of these musical factors was successfully developed by Cruz and embodied by the dancers. This is a dance that plays on the best qualities of the company — the dancers have a consistent style of attack and uniform athleticism, which make for powerful group formations and unisons. There was also a visible sense of dancerly authority on Friday night, which seems new. In previous seasons, commissioned dances were sometimes shaky at the outset, and then amazing a year later, after dozens of performances on the road. This time, there was not an iota of indecision. In particular, Paul Busch, Seia Rassenti, and Joseph Watson offered almost recklessly confident dancing. Another new piece, Beautiful Mistake, was created for ASFB by Cayetano Soto, the Spanish choreographer who has an ongoing artistic relationship with the company, and it suffered by comparison. It has the same dark palette and edgy movement vocabulary as the De La Cruz piece but without the musical unity (it was set to different pieces, by Ólafur Arnalds and Charles Wilson). It also lacks a satisfying resolution, and it came across as a series of ideas looking for a home. Soto’s works offer impressively athletic, angular partnering. If Seah Johnson, the talented lighting designer for both dances, had been able to talk Soto into a world of color and light, his dance might have looked totally different. As it was, it was yet another work from him that takes place in a somewhat bleak and shadowy night. Given that the company is based in such beautiful locales, it’s surprising that so many of the pieces in the repertoire have such a similarly angsty, urban quality to them. ASFB should find the money to send these choreographers on a hike. Trey McIntyre’s Like a Samba, the program’s closer, added color and joy and a welcome levity to an otherwise intense evening. Samantha Klanac Campanile and Rassenti looked lovely en pointe, and Busch, Peter Franc, and Nolan DeMarco McGahan created powerful silhouettes. All in all, however, the choreography is mainly textbook classical, which left the dancers slightly at odds with the music — the soft, sexy Brazilian songs of Astrud Gilberto. — Michael Wade Simpson
PRESENTS THE FABULOUS 50’S MUSICAL
The Encaustic Art Institute Gallery Showing:
Self Portrait; A Journey Within Opening: Saturday, July 20th noon to 5 pm showing through August 31st
Nation-wide members of the non-profit Institute, working in encaustic/wax medium, have entered this themed show with the guideline of exploring the interpretative process of capturing the essence, if not the likeness of Self. An eclectic variety of styles and mixed mediums with creative interpretations are the result. A selection of artists showing their work include: Guy Baldovi (NM) Ann Bitter (NM) Fionna Buck (NM) Allegra Maria Carasava (Canada) Marie Coburn (NM) Trish Foschi (NM) Sherry Ikeda (NM) Kate Palmo (NM) Ellen Reardon (OR) Teena Robinson (NM)
Cherry Whitener Rohe (NM) John Schaeffer (NM) Karen Simkiss (CO) Sheary Clough Suiter (AK) Harriette Tsosie (NM) Ezshwan Winding (TX)
July 19th, 20th, 26th, 27th @ 7:00 PM July 21st, and 28th @ 2:00 PM
Harriette Tsosie (NM) “Still Gemini” 2013 Mixed Media with Encaustic
For maps and more information go to www.eainm.com or call Douglas Mehrens at 505-424-6487. Gallery open to the public weekends from noon to 5 pm, April through October. 18 General Goodwin Road (County Road 55A), Cerrillos, NM 87010
D e l a D i e r a l m e i Da
Santa Fe Institute Community Lecture
Poetry of Elevation, July 19 – 31, 2013 Artist Reception: Friday, July 19th, 5 – 7 pm
New Problems, New Partnerships: What Tomorrow’s University Must Be Wednesday, July 31, 7:30 p.m. James A. Little Theater 1060 Cerrillos Rd. Santa Fe Lectures are free and open to the public. Seating is limited.
Landscape Unfolding, oil on linen, 40" h x 72" w
130 Lincoln Avenue, Suite C, Santa Fe, NM 87501 505.954.9902 | www.blueraingallery.com
In a relatively brief 150 years, human demands on natural systems have, perhaps irrevocably, brought us to an inflection point – the implications of which we do not yet fully understand. Meeting these new and increasingly complex challenges will require massive, coordinated efforts linking academia, industry, and governments. Michael Crow explains why conventional interdisciplinary approaches might not be sufficient, then suggests a new kind of academic enterprise that enhances our ability to cope with tomorrow’s challenges.
www.santafe.edu Michael Crow is President of Arizona State University. Since 2002 he has guided the transformation of ASU into one of the nation’s leading public metropolitan research universities – a model he terms the “New American University.” Support for SFI’s 2013 lecture series is provided by Los Alamos National Bank. PASATIEMPOMAGAZINE.COM
41
Michael Abatemarco I The New Mexican
MATTHEW GRAY’S CANDY SCULPTURE ife may be a mix of bitter and sweet, but in Santa Fe, it just got a little sweeter. For photographer Matthew Gray, candy is the medium for self-expression. There is no store-bought, ready-made candy in Gray’s temporary installation MULE, just sculptural forms cast in sugar by Gray. MULE is a large-scale work in a pop-up studio rented solely for the project. Perfume bottles, fluorescent light tubes, hand axes, rubber tires, and even an apple core are just some of the objects Gray has fashioned into candy sculptures by making latex molds of the actual objects. It’s a laborious process, and the result is a mind-boggling collection of artifacts arranged, somewhat haphazardly, into a big, sticky concoction of rainbow colors. “It’s everyday stuff, for the most part,” Gray told Pasatiempo. “I don’t have a central theme. I’m not about something other than just jump in and see what comes out.” The installation has several components. The title MULE refers to a large wood animal form whose back, like that of a pack mule, is burdened with a mountain of debris, mostly everyday items, cast out of sugar. Another element to the installation is a crashed car, nearly to scale, with candy tires. There are shelves laden with candy shoes, fruits, tools, books, and bottles. There’s a trash can filled to overflowing with candy refuse. “If you go to the beach or a fair or something, at the end of the day you see these garbage cans that are just super piled up. Every single nook and cranny is filled with something, like people made this attempt to do the right thing. They didn’t just throw [their garbage] out the window, they kind of weaseled it in. I searched for two weeks for the right garbage can.” The can, like the trash heaped on top of it, is similarly little more than confection. “It’s just corn syrup, sugar, and water. I don’t know another artist who has a Sysco account. I literally go and buy a palette of sugar. I get most of my materials in aisle seven at Albertsons.”
Gray uses wooden structures as support for some of the larger constructs in MULE, but the magic of the installation comes from the candy. Small vintage bottles and other items are translucent and glow in the light with jewel tones. One might easily mistake the candy objects for glass. To the question “Why candy?” Gray responded, “It’s cheap, it’s easily available, it holds light, it has some structural qualities. It just served the function.” MULE, overall, isn’t pretty. Gray lets candy drip and run like the colors in an Abstract Expressionist painting. The installation was originally planned for a gallery in Culver City, but the prospect of allowing an artist to splatter the floor and walls with melted sugar and corn syrup was daunting. “It takes a pretty gutsy gallery to let you come in and make a mess. It was a proper gallery space, and it was too heavy for that gallery to take on. I understand. Maybe you have ants for the rest of your life, or your dentist might shoot you. I don’t know.” While MULE takes up the bottom floor of the studio, the second floor is given over to two series of photographs, one of which, Stupid Candy, was the starting point for what would become MULE. “You know how old-school photography works, with the enlarger? Where the negative goes, I would put candy and project it. When I could no longer find the candy, I started making it. I had to start making little molds, little shapes, and that stuff starts piling up.” Most of the larger pieces can’t be moved without risk of breaking them. Even the smaller items are not permanent — but candy is a renewable resource. “A lot of the candy I can melt and recast, so it will go into another piece. This is all for large-scale photos. That’s what all this is working toward. It will get torn down. continued on Page 44
Above and opposite page, Matthew Gray: MULE (installation detail), 2013, candy, paint, glitter, wood; images courtesy the artist 42
PASATIEMPO I July 19 -25, 2013
I get most of my materials in aisle seven atAlbertsons. - - Matthew Gray
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Matthew Gray, continued from Page 42
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MULE (detail), 2013, chromogenic print
You could never put this somewhere else. It’s a one-off. It’s a set, a disposable prop. All this goes away, and what lives on are the photographs.” MULE has a performance aspect. The process of creating the individual items is ongoing, and Gray keeps adding to the mix. “In many other venues, the art seems to just magically appear on the wall, like these art trolls come in at night. Not a lot of people see the crazy amount of work that goes into it behind the scenes, and that’s what this is about. You can come in and see me working.” Over several weeks, Gray plans to keep an open studio for visitors to see the project. Gray makes molds out of the most unexpected items: crushed soda cans, Reese’s Peanut Butter Cups, even wood stumps. “Everything within my reach is valid. Same thing Robert Rauschenberg did. He would say, OK, I can only walk one block around my studio in New York. Whatever I find, I can use.” Don’t bother looking for deeper meanings in MULE. Although the entire project could be seen as a commentary on gross consumerism, Gray is coming from a more direct and optimistic position: it’s fun to make a mess. “I don’t wrap a lot of theory or intention around it. You’ve got to leave logic at the door. There comes a point when I’ve got a bunch of ideas, and, Hey, art boy, you think you’re so good? Make it happen. Get out there and do it. You go to art school, you learn the rules, you get your game together and tighten up, then you have to decide, at some point, how you throw all that out the window and rebuild. My role creatively is almost like a stalker. I’m the guy who waits in the dark looking for the Bigfoot of art.” ◀
details ▼ Matthew Gray: MULE ▼ Open studio 10 a.m.-5 p.m. Fridays-Sundays through July ▼ 821 W. San Mateo Road ▼ No charge; www.graycreates.com, 699-1594
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PASATIEMPO I July 19 -25, 2013
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Free Fun for the Whole Family!
Saturday, July 20th 10am – 3pm S A N TA F E C O N V E N T I O N C E N T E R F R E E !
Join CHRISTUS St. Vincent, Santa Fe Firefighters, KOB TV 4, and City of Santa Fe for a day of fun for the kids and the entire family!
Information & Hands-On Activities:
■ Health Screenings ■ Diabetes Checks ■ Pediatric Dental Exams ■ Firefighter Obstacle Course for Kids ■ Rock Climbing Wall ■ Face Painting ■ Free Burgers and Hotdogs ■ Dunk Tank ■ Performances/Demos ■ Clan Tynker Performers ■ SFPD SWAT truck ■ Local Kids Sports ■ Zumba and Other Exercise ■ Balloon Animals ■ Car Seat Clinic ■ Pediatricians and Hospital Services ■ Hands-on Kids Activities and Much More!
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Adults can participate in screenings, demos, Zumba and exercise. Low-cost lab work for the entire family.* Project Heart Start will be on hand teaching you how to administer CPR.
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For more information visit www.stvin.org PASATIEMPOMAGAZINE.COM
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PASATIEMPO I ????????? ??-??, 2013
Adele Oliveira I The New Mexican
EYE OF THE STORM Mitch Dobrowner trains his lens on supercells
I’m trying to capture the experience of standing in front of one of these beautiful things. uring monsoon season in New Mexico, we become storm watchers: we wait as thunderheads build over the mountains during the heat of the day, peering out windows periodically as the sky darkens and thrilling at the sound of thunder. When the rain does come, we pray it pours for five minutes more. And after the sky clears, we marvel at the silty torrent of water rushing through an arroyo and inspect our hail-shredded flowers and vegetable gardens. Weather is important here; it’s anything but dull. Looking at a Mitch Dobrowner photograph is a bit like waiting for a storm to come: a mix of trepidation, excitement, and awe. Dobrowner, whose aptly titled exhibition Storms opens at Photo-eye Gallery on Friday, July 19, takes large-scale black-and-white photographs of monster storms advancing across open country. He travels across the West and the Midwest in search of supercells, clouds that look like motherships, planets, and the limbs of gods. Dobrowner’s work is as dark as it is exhilarating. In an image titled Road, taken near Guymon, Oklahoma, in 2009, a single bolt of lightning bisects a mass of dark clouds. In the foreground, the country road is dark, as though the storm is also coming from behind. Up ahead, a lone tree and thin horizontal strip of gravel and open prairie are illuminated by sunlight before the world darkens again. Road is vivid and stark, and to look at it is to imagine standing in the middle of that road, watching the clouds advance. Dobrowner grew up on Long Island and took off on a road trip across the country at 18. With a small grant from Canon, he took pictures while traveling before settling in California at 22. There, “life took over,” Dobrowner said. He married, had a family, and started a design business in Los Angeles with his wife. It wasn’t until 2006 that Dobrowner returned to photography. “It took 20 years for me to pick up the camera again, but when I did, it was continued on Page 48 Mitch Dobrowner: left, Bear’s Claw, 2010; above, Rope Out, 2011, both archival pigment prints PASATIEMPOMAGAZINE.COM
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Mitch Dobrowner, continued from Page 47 just like it was before I put it down.” He started taking pictures of landscapes, but relatively still photography became something else: “I went out to the Four Corners area a lot, and every time I went out, I looked for stormy weather — it made for the most interesting lighting and composition, and there was something about standing there with the wind blowing in my face, nobody else around.” The first few times Dobrowner went looking for storms, it was an experiment. “I’m not a scientist, and I didn’t know what I was looking for. I was unprepared as far as gear and so forth, but I got some really good shots. There’s an adrenaline rush: you’re looking at a surreal phenomenon, and you don’t know what to expect. I did some investigation and eventually found a storm chaser to serve as a guide.” The storm chaser was Roger Hill, and he usually accompanies Dobrowner on shoots. (Storm enthusiasts, take note: Hill co-owns Silver Lining Tours, a tour company that offers trips through Tornado Alley in the spring.) Though Dobrowner is now experienced enough to go out on his own, he prefers going with Hill, who finds the storms and helps position Dobrowner to get the best possible shots. Getting to the storms often takes hours, and because weather is unpredictable, there’s disappointment and downtime. “There’s a lot of driving and trying to get into position. Days that start in Minnesota end in Colorado. You have to move fast to get into position and get out fast. You can be there for five minutes or two hours. That’s why I like going with Roger — I need to stay really focused to shoot something that’s between a landscape and a sporting event.” While the storms are dangerous, Dobrowner has never been hurt and said his perception of storms is closer to fascination than fear. “I’m not trying to be a tough guy, but I just don’t get scared. Even when a storm’s coming right at you with lightning and thunder, it’s just so interesting that I think, I gotta go there now. I’m trying to capture the experience of standing in front of one of these beautiful things.” Above, Chromosphere, 2012, archival pigment print 48
PASATIEMPO I July 19 -25, 2013
Most of Dobrowner’s photographs feature clouds, behemoths that tower above the earth below. His wide shots of Los Angeles usually feature clouds too, and almost all his work makes use of stark contrast in lighting, aided by dramatic cloud conditions. Only a couple of photographs show tornadoes. An image called Rope Out, taken in Regan, North Dakota, in 2011, captures the thin spindle of a tornado reaching down from a cloud, moving across a field. Rope Out is reminiscent of the slender-but-deadly storm that takes Dorothy for a ride in 1939’s The Wizard of Oz. But Dobrowner isn’t terribly interested in getting more shots of tornadoes. “Tornadoes can be super beautiful, but they can also be super destructive. They also dissipate quickly and move really fast. Thunderstorms are slower and more fun to watch; tornados are just sort of an accent to the whole thing. Rope Out was an F3 [-level tornado and] took out a homestead. Even though it was a destructive tornado, I still experienced it as a beautiful thing, though I feel for the families that get hurt. I don’t need to shoot too many more tornadoes — that was the one that kind of closed it for me.” Instead, Dobrowner follows clouds — infinite in variation and never the same. A photograph captures a storm during one moment of its cycle, but for Dobrowner the entire process is important. “One storm we saw in Sturgis [South Dakota] started in the Badlands. We saw it from birth. In its young age it was wild and unpredictable. Then, as it matured, it lost energy and died. At times there was a certain sense of stability and rotation, but it was always fighting to stay alive.” ◀
details ▼ Mitch Dobrowner: Storms ▼ Opening reception 5 p.m. Friday, July 19; exhibition through Sept. 21 ▼ Artist talk 3 p.m. Saturday, July 20 ▼ Photo-eye Gallery, 376-A Garcia St., 988-5159
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FREE ADMISSION Seating begins 30 minutes prior to performance. For more information call 505-986-5955. Generously supported by First National Bank of Santa Fe.
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Michael Abatemarco I The New Mexican
Deladier Almeida’s New Mexico landscapes t’s no wonder that New Mexico’s dramatic light and shifting landscapes have drawn painters for generations. Patterns in the environment, such as evenly spaced sagebrush, bands of color in striated canyons, and bright or diminishing light in cloud formations, offer opportunities for a range of interpretations. While some artists aim for photorealism in their depiction of the landscape, others take a more abstract approach. Deladier Almeida heeds the call of the unique geography of the Southwest, crafting richly textured, painterly visions of New Mexico. His exhibit Poetry of Elevation: Landscapes of New Mexico opens Friday, July 19, at Blue Rain Gallery. Based in California, Brazil-born Almeida is known for his figurative work as well as his landscapes. Series done in California, Tuscany, and other places are aerial views, shot from a small chartered plane, to take in the patterns of rural, agricultural lands. In New Mexico, Almeida takes another approach. “Abiquiú in particular and New Mexico in general offer something that you don’t see in California, which is the immediacy of the landscape and the geology, the history of the land,” Almeida told Pasatiempo. “In California, at least in the area where I live, in the Central Valley east of San Francisco, the area is very flat. The landscape only reveals itself to me when I go up in an airplane. New Mexico just overwhelms my sense of scale. It’s sort of soothing. It relieves me of my human predicaments when I’m in the middle of a huge mass of rock and the strata that’s exposed. There’s a sense of the longevity of the earth and the scale of time.” Before immigrating to the United States, Almeida studied industrial design, architecture, and urban planning in Brazil, and one detects an interest in geometry in his aerial landscapes. “The aerial views of rural California are a transformation of that immediate landscape into a series of geometric constructs which are largely departures and extrapolations of what’s there. I take a lot of geometric liberties. When painting the New Mexico landscape, in contrast, there’s a more immediate response because the painting is there; I just have to translate it, allow it to play its own tune, in its own voice.” In New Mexico, Almeida approaches his subjects from ground level. His brushwork, evident throughout, is balanced between loose and structured, mirroring the peculiar features inherent in the landscape. Abstraction is essential to the spirit of Almeida’s work. “I allow the paint its brush in telling the story. The paint and the brush — their limitations, their idiosyncrasies — play a big part of how my paintings start out. The more economical your strokes, the more articulate the final result is. Painting is illusion. The illusion becomes more sophisticated when it requires less apparent effort. Addressing a visual stimulus and reproducing it on a two-dimensional construct in painting is an exercise in reduction. The more economical and more filled with abstraction the reduction, the more intriguing and fulfilling the final result will be. Step close and you see paint. Step back and you see a painting.” 50
PASATIEMPO I July 19 -25, 2013
A single landscape has a rich palette of colors. Some, like tans and browns, are expected, but look closely and what reads as brown is actually more of a peach tone, and vibrant reds, soft violets, and bright yellows are apparent, almost outlining the vegetation along spotted hillsides. “I’m not trying to hide the fact that it’s paint. The illusion is open. All the bones are there to be seen. It’s an honest response to how the visual experience hits me. An honest painter always paints for him or herself. The landscapes are a response to my aesthetic agenda and my attempts to improve my work and my painting in general. I’m always looking for that which fulfills and stimulates me emotionally and intellectually. Then I have a painting I feel comfortable with. That applies to every type of painting, whether it be a portrait commission, figurative work, or the California landscapes, or New Mexico landscapes, or still lifes. It’s the same painting. They all are the same painting.” Almeida studied painting at the University of California-Davis, a center for the post-Abstract Expressionist Bay Area figurative movement. There he studied with Wayne Thiebaud, who is known for his still lifes of rows of cakes, ice cream cones,
gum-ball machines, lipsticks, and other common items. Figurative painting and portrait painting became a part of Almeida’s oeuvre. Blue Rain Gallery carries some of his figurative work: images of people in crowds at political demonstrations, in art galleries, or at the changing of the guard at Buckingham Palace — cameras out, shooting pictures. “The portrait work and studio work helped me with my landscapes. In landscapes you have a lot more formal latitude. You can play with the shape a little more than when you’re painting the figure and a face. The technical constraints of portrait painting inform my landscape painting in terms of my control in the drawing. My freedom in the landscape allows me to take more chances and confidence in working the painting with vigor. It’s freedom to go from one to the other.” Compositionally, Almeida’s New Mexico landscapes are centered on the rock formations of the mountainous terrain, particularly in the area of Abiquiú. Moving clouds have a tangibility due to his impasto technique of building up layers of paint. The land is rendered similarly, lending consistency to the work overall,
but it is the light and sky that draw his interest. “One of the things that is lovely there is the dramatic aspect of the sky, how it moves constantly. You have expansive skies with open horizons. The sky is constantly changing the pattern of light and shadow on the ground. That really adds a lot of depth to the visual experience. The constancy of that change activates your imagination.” ◀
details ▼ Poetry of Elevation: Landscapes of New Mexico by Deladier Almeida ▼ Opening reception 5 p.m. Friday, July 19; through July ▼ Blue Rain Gallery, 130-C Lincoln Ave., 954-9902
Deladier Almeida: Hiking to Chama, 2012, oil on linen
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PASATIEMPO I July 19 - 25, 2013
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Tuesday, July 23 – Saturday, July 27 Japanese Kite Making Demonstrations by Hiromi Endo and Masao Kazama Please call 476-1200 for times each day Free with museum admission. New Mexico senior residents with I.D. free on Wednesdays. Youth 16 and under and MNMF members always free. Funded by the Japan Foundation and the International Folk Art Foundation.
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Bargain Matinees Monday through Friday (First Show ONLY) All Seats $7.50 PASATIEMPOMAGAZINE.COM
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Jennifer Levin I For The New Mexican
Paul Blott
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PASATIEMPO I ????????? ??-??, 2013
SAM SHEPARD’S KICKING A DEAD HORSE the opening stage directions to Sam Shepard’s Kicking a Dead Horse, the playwright takes pains to describe the ideal dead horse. The animal should be as realistic as possible, not cartoonish or stylized in any way. “In fact,” Shepard writes, “it should actually be a dead horse.” The authenticity of the horse is pretty important to an audience’s willingness to go along with the premise that Hobart Struther, an art dealer on a sojourn to find meaning in his life, has been stranded in the desert by this felled mighty beast. This event triggers the monologue that ensues. When the play had its American premiere at the Public Theater in New York City in 2008, critics took issue with the inauthentic-looking dead horse dominating the stage. Albuquerque’s Fusion Theatre Company, which brings its production of Kicking a Dead Horse to the Lensic Performing Arts Center on Saturday, July 20, is taking no chances. It’s using a real dead horse. “We respected Mr. Shepard’s request,” said director Laurie Thomas. “The big guy saw a taxidermist some time ago. He’s from a prop house in L.A. He’s had quite a career, actually. He’s been in quite a few films over the years.” Fusion Theatre’s production is being presented in conjunction with the Albuquerque Museum of Art and History’s Changing Perceptions of the Western Landscape exhibit, which runs through Sept. 1. The play asks how and if we can tell we are living our lives authentically, while the lure of the landscape of the American West is an intrinsic part of the quest to define one’s true nature. In 1979 Shepard won a Pulitzer Prize for Buried Child, a play about a terribly unhappy and dysfunctional family that resorts to some of the worst human urges in a search for solace. Many critics interpreted it as a story about the death of Midwestern farming as the essence of the American dream. Shepard is often assumed to be writing about the death of some aspect of that dream, though his characters tend to represent those ideas rather than speak about them directly. Hobart Struther confronts them directly, alone on a stage with a dead horse. In this production, Hobart is played by Paul Blott, a popular local actor recently seen in episodes of Longmire and In Plain Sight, as well as in Fusion’s production of Humble Boy. Blott is also an organic farmer who owns the herb company Aroma Fresca. In this one-character piece, he performs an 80-minute monologue using four distinct voices to represent a conversation he has with himself that incorporates multiple perspectives. His horse has choked on some oats just a day or two into his travels, and he has entered a dark night of the soul, spewing cynicism and idealism in equal measures and chastising himself for both. He confesses some wrongs, assigns blame, and admits that he is lost, figuratively and literally. He laments what the United States of America has done to itself — stripped itself bare of resources, demeaned the people who’ve worked the land, and destroyed its own ideals through hubris. Hobart kicks the dead horse throughout the play, out of rage and frustration at being stranded in the middle of nowhere. There is humor in the play on words, but the act of kicking the horse is humiliating for human and animal. “The horse represents the main character’s only means of support,” Thomas said. “The horse is his transport, his pal — he’s out there with his horse. It’s symbolic of our essential foundations crumbling underneath us. We think that we’re so far from the days of the early West, that we’re so technologically superior, that we’ve made so many scientific discoveries, and yet we seem to have lost our basic footing, our basic ability to deal and survive in our environment. Shepard has put Hobart and the horse in a vast landscape, and yet it’s an intimate play. I think people in the Southwest can relate to that. We understand that sense of intimacy in a profoundly vast landscape. That’s elemental when you live out here.” Critics didn’t rave over Kicking a Dead Horse in its initial New York run, with Shepard directing Irish actor Stephen Rea as Hobart. (Shepard and Rea first did the play at the Peacock Theatre in Dublin in 2007.) Some called its images and ideas about the West clichéd, and others said Shepard was retreading old themes. The title of the play calls into question whether Shepard might have anticipated those criticisms, but Thomas disagrees with that interpretation. “There’s a pioneering spirit that lives within most of us who live in this country. It certainly lives within the immigrant experience. If you’re a native of the Southwest, you intrinsically understand the themes Shepard is dealing with, as far as the loss of a simple life that negotiates with nature. There’s no way you can look at our vistas every day and not be affected by that. “I think the themes are of essential humanity, the quest for authenticity. I don’t think you can drive that home enough, that human experience.” She compared the play to Samuel Beckett’s Happy Days but said it’s linguistically more accessible. “It has a Beckett-like structure, but having said that, it’s very much in the voice of Sam Shepard.” Kicking a Dead Horse is Shepard being experimental, but some critics “want what they’re used to, and this piece is a little different. It is a play that one writes later in life. The questions he asks are complex and philosophical. He’s dancing with the theme of how the West plays out in our human and essentially North American experience.” ◀
The animal should be as realistic as possible, not cartoonish or stylized in any way.“In fact,” Shepard writes, “it should actually be a dead horse.”
details ▼ Fusion Theatre Company presents Kicking a Dead Horse ▼ 2 & 8 p.m. Saturday, July 20 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $20-$40, discounts available; 988-1234, www.ticketssantafe.org
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Bill Kohlhaase I The New Mexican
SHRUB ROSE AND LAVENDER WALK
Santa Fe Botanical Garden
DRY GARDEN
Peter Weiss
A walk through the first phase of the Santa Fe Botanical Garden on Museum Hill 10 days before its grand opening was a journey of small revelations that sprang from a larger, conceptual design. Spear-leafed yucca on short, stout trunks stands guard just past the entry. A Chinese golden rain tree is in blossom among plugs of native grass. Young fruit trees rise in perfect order; various types of lavender are set out here and there. There are tea roses, cacti, and a Gambel oak, all framed in the surrounding juniper and pine. At one point, a rabbit scampers across the trail, and a covey of quail is spotted. Benches wait under welcoming ramadas. Mountains stretch off to the north and east, the valley opens up to the west. You feel as if you’ve stepped from one world into another, though you never lose sight of the world you came from. Somehow, everything fits. The Orchard Gardens, as the first phase of the project is called, is a meeting of form and function. The aesthetic of landscaping and the practicalities of waterwise, xeric gardening not only exist side by side but complement each other. “I walked in here an hour ago,” said the site’s landscape architect, W. Gary Smith, shortly after arriving at the garden from his home in New York, “and it still feels like an oasis, an oasis of water-wise plants among this natural beauty. I think it demonstrates how it’s possible to have a rich ecology, a variety of plants, like a palette. Painting with plants, that’s so appropriate for Santa Fe. I’m just surprised how lush and green and verdant everything is. And it’s done on a water budget.” Smith is not a stranger to the more arid parts of the country. He lived for eight years in Austin, where he designed a children’s garden for the Lady Bird Johnson Wildflower Center. Much of his landscape design has been done in the more humid climes of Delaware, Pennsylvania, and Alabama, but the work he’s done for the master plan in Santa Fe isn’t much different from work he’s done in other parts of the country. “The process is similar. It’s the cast of characters — people and plants — that changes. I enjoy the opportunity to learn from good local professionals and to gain understanding of the botany and new ecosystems from those who know about local conditions.” The differences did make for challenges. “The high elevation here mixes up the various [growing] zones and really affects the palette
PERENNIAL BORDERS SOUTH RAMADA
Clayton Bass
of plants that you can use. The conditions may look similar to those outside of Austin, but the geology is different. Another significant difference is cultural. You have a richness here that’s unlike anything else. And the garden ultimately will reflect that.” Cultural influences are important to Smith, an artist whose conceptual aesthetic is applied freely to his landscape planning. You can get a strong sense of this from his 2010 book From Art to Landscape: Unleashing Creativity in Garden Design (Timber Press). In it, he emphasizes the importance of artistic ideas in garden design. He writes in the language of art, discussing the need for a vocabulary of form and pattern when visualizing growing spaces. The book is filled with photos of various outdoor spaces, not all of which were designed by Smith, as well as sketches and paintings that show dimensional concepts of trees and understory, light and dark spaces, movement, and the relationships between various plots and plants in landscapes. “For the purpose of garden design, I like to think there is a rather small set of basic shapes, forms, and patterns that make up the world we live in,” he writes. The Orchard Garden’s schematic drawing shows this thinking in action. The central rectangular plot of apple, apricot, pear, cherry, 56
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contractor to paint the lines on the ground to get the right shapes and movement. We installed gravel and mulches on the trails to dramatize the curves of the central gentle pathway. There are other curving lines with other rhythms, a sort of playing against the tempo of the other curves.” He points out the contrasts that begin at the “welcoming ramada,” a space beneath bound bunches of burgundy-colored salt cedar waiting for trumpet vines to grow and spread over them. “Those spiky yucca around that area, even the structure has a spiky quality, and then it’s complemented by the perennial borders, the fine grasses beyond, the mounded plantings. Even the cactus garden has a strong sense of space.” The garden has areas set aside for sculpture, some of it already in place. Taos artist Candyce Garrett’s Emergence, near the top of the garden, features three rounded, dark stone shapes that cup large stones as if in a palm. The effect resembles plants sprouting from seeds or flower buds blossoming. “Each is different yet alike, these wonderful soft orbs emerging out of rough rock. When the plants grow up around them and nest them in beautiful perennials it will be fantastic.” The site’s best melding of form and function starts near its highest point, where a shallow stone basin serves as the headwaters of a winding rambla, a water catch that carries rain to a series of dry, flat basins below. The rambla ends at the natural arroyo that divides the grounds. When it rains, these basins will fill with water, allowing the moisture to sink into the ground. Native grasses are planted in them to help hold the soil there. Some of the captured rain will feed the orchard’s trees. Along the way, the rambla takes a serpentine path, the route of rivers and snakes. Its wandering partners are the garden paths that curve gently through the space, sometimes intersecting with the rambla. “One of the patterns most pleasing to the human eye,” Smith says of serpentine lines in his book. Some imagination is required to see exactly what Smith intends in his design. The meadow grasses, mostly plugs at this point, will root and spread. The rose bushes will plump and cover more ground. The perennials will spread, and the vines planted at the base of the ramadas will grow and cover the steel frames. The garden will take on additional textures and dimensions, the stones will weather. Isn’t that a function of art, to spur the imagination? “A garden is constantly changing, constantly becoming itself,” Smith said. Yet today, walking among the new plantings, the freshly laid stones, and the aspiring vines, it seems fully realized. ◀
Clayton Bass
WELCOME RAMADA
NORTH RAMADA
ORCHARD MEADOW GARDEN
details ENTRY WALK
▼ Opening of Santa Fe Botanical Garden at Museum Hill ▼ 9 a.m.-5 p.m. Sunday, July 21 ▼ 715 Camino Lejo ▼ No charge; 471-9103, www.santafebotanicalgarden.org
MEADOW GARDEN SCULPTURE
Peter Weiss
and peach trees is encased inside a surrounding rectangle of perennial plants. Various oval-shaped planting spaces square off where they meet the rectangle. The plantings inside create a mosaic effect. The pathways provide a serpentine trail of motion. Pocket meadows filled with plugs of grass resemble quilts. Smith first saw the Santa Fe site seven years ago. “It’s been a long process of incremental growth with the design, starting first with these broad brush strokes, what goes where, then as the years went by, narrowing down the details, the plants, where each individual plant finds its place.” The site doesn’t seem that large — it’s a bit over two acres — until you start to visit its various areas. “The challenge was to find how many different destinations we could put in and then to make nice transitions between them. How do you move from one theme to another, one mood to another? It takes a lot of time and planning, then pulling together the craftsmen and contractors who do the meticulous work.” The boundaries of these spaces, some lined with New Mexico-quarried stone, are central to Smith’s concept of form and pattern. “The serpentine lines, like the spine of the garden, show up elsewhere, in the edges between the planted beds, along the walking paths. I came out with a spray can and worked with the PASATIEMPOMAGAZINE.COM
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movIng Images film reviews
Imperfect harmony Jonathan Richards I For The New Mexican The Attack, drama, rated R, in Arabic and Hebrew with subtitles, The Screen, 3 chiles In 2008 pundits trumpeted the dawn of post-racial America with the election of our first black president. Subsequent developments have made it painfully clear how far short of that goal we are. In The Attack, the powerful and mostly engrossing new film from Lebanese director Ziad Doueiri, the Arab-Israeli version of the terrible chasm of deep-rooted prejudice underlies a story of violence, fanaticism, deception, love, and heartbreak. The movie opens with two lovers embracing. We soon discover that they are Amin (a superb Ali Suliman), a Palestinian surgeon in a Tel Aviv hospital, and his beautiful young wife, Siham (Reymond Amsalem). She’s going away for a couple of days. “Every time I leave you, a bit of me dies,” she says. In retrospect, it’s a weighted line. Without Siham at his side, Amin is honored that night with a prestigious medical award — the first time, as he notes in his acceptance speech, that it has been given to an Arab. Jews and Arabs, he suggests, are much the same, and he is the living proof, thoroughly assimilated and accepted by Israeli society. Or perhaps not thoroughly. When a terrorist blast in a nearby restaurant sets his hospital on red alert, with maimed victims streaming in on gurneys, Amin is at the center of the bloody action, heroically repairing wounds, saving lives, restarting hearts. Many of the victims are children from a birthday
Ali Suliman
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Ali Suliman
party that was going on in the restaurant. But one adult man recognizes Amin as an Arab, and screams, “I want another doctor!” And then comes the real kick to the gut: Israeli security forces identify Siham as the suicide bomber. Amin refuses to believe it, even when, in an excruciating scene in the morgue, he has to identify a partial body that still has its head attached. His movement toward the grotesque sheet-covered form is agonizingly slow; until he pulls back the covering, it doesn’t have to be true. Amin may not believe his wife is the bomber, but Shin Bet, the Israeli security force, has little doubt. And they’re not so sure he wasn’t in on it up to his eyeballs. There’s a brutal interrogation, but eventually they let Amin go. The audience, like Shin Bet, is persuaded of Siham’s guilt, and when a letter from her posted on the eve of the attack shatters Amin’s last defenses, he sets out to try to find out what led her to this unfathomable act of destruction. Amin goes to Nablus, the Palestinian West Bank city of his origin, whence Siham’s last letter was posted. He talks to his family and to a couple of radical clerics, trying to get answers. He turns up plenty of them, but none that really explain why Siham would do what she has done. We see flashbacks and imaginary conversations between Amin and Siham that flesh out their loving relationship but don’t really mine much in the way of insights. The avalanche of chronological and behavioral questions begins to undermine the effect of the movie. The screenplay by Doueiri, a former assistant cameraman to Quentin Tarantino, and his wife Joelle Touma, is adapted from the bestselling novel by Yasmina Khadra (pen name of Algerian army officer-turnedwriter Mohammed Moulessehoul). Among the most serious of the questions is why this outwardly sane,
caring, loving woman would choose a children’s birthday party as her target. “If you don’t understand, we have nothing to talk about,” the fanatical cleric who inspired her tells Amin. “It was Jenin,” says Adel (Karim Saleh), Amin’s nephew and Sahim’s co-conspirator, referring to the alleged 2002 massacre by Israeli forces of Palestinian refugee camp residents. “She snapped.” This makes you wonder about the time frame. If The Attack is a contemporary story of the Israeli-Palestinian morass, that’s a long snap. Of course this is a movie designed to provoke questions, and most of them are as wrenching and agonizing as the whole 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. The Attack took top honors at the Marrakech International Film Festival and has since been banned throughout most of the Arab world, including Doueiri’s home country of Lebanon, ostensibly for defying a ban on filming in Israel. Doueiri thinks it’s really because of something else. “I’ve somehow committed a breach by showing the Israelis in a sympathetic way,” the director told the Los Angeles Times. “They think that by being neutral you are actually showing an Israeli point of view.” The Israeli reaction may be just as chilly. In a closing scene between Amin and his Israeli friend and colleague Kim (Evgenia Dodina), she makes the unpleasant suggestion that Amin ought to be grateful for all Israel has done for him. It’s a proposition not unlike the contention that Jackie Robinson owed organized baseball gratitude for letting him play in the major leagues. There’s still a long, tortuous way to go before we can start congratulating ourselves. ◀
moving images film reviews
A lover, not a fighter: Ryan Gosling
Pretty vacant Robert Ker I For The New Mexican Only God Forgives, drama, in English and Thai with subtitles, rated R, Center for Contemporary Arts, 1 chile It’s very possible that more people have seen Ryan Gosling in his “hey girl” internet meme (Google it if are you are unfamiliar with the joke) than in any of his films. This is partly his fault, as he’s consistently opted for indie movies like Blue Valentine and Half Nelson over star-making blockbusters. It’s also not his fault; he just happens to be cursed with a handsome jaw line, sensitive eyes, and a chiseled physique. With Only God Forgives, his second collaboration with Danish director Nicolas Winding Refn after 2011’s muchloved Drive, Gosling seems to be trying to undo the running heartthrob gag by having his soft features punched into an unlovable pulp. As with Drive, Only God Forgives is a patient, exceedingly stylish movie that can be challenging to watch — although Gosling’s role doesn’t seem particularly challenging. His performance is frequently vacant, full of considered pauses and unreadable glances. It’s likely there is more dialogue in the opening scene of a Woody Allen film than what Gosling utters in Drive and Only God Forgives combined. Here he stars as Julian, a drug smuggler in Thailand whose brother (Tom Burke) murders a teenage girl and is then killed by the girl’s father. Julian’s blunt and mean-spirited mother (Kristin Scott Thomas) flies in and seethes at Julian’s refusal to avenge his brother’s murder. These players, along with local cops and criminals, participate in a long, bloody march toward a nihilistic climax. It’s quite unpleasant, but most of the time it’s punishing not because of the violence but because of the relentlessly bleak tone. This would be forgivable if the script had some more meat on its bones. The weak attempts at black humor and David Lynchian weirdness — often served through the mother’s barbs — only underscore how ridiculous the grim, pretentious mood of the movie is. It’s too stuffy to be considered farce and too immature to be taken seriously. One of Refn’s favorite tricks — to hold silence and anticipation just past the limits of viewers’ patience, before exploding into shocking violence — comes across as overly obvious with repeated usage. Other stylistic devices work better. Here, as with Drive, Refn displays a cutting-edge ear for music (the score comes courtesy of Cliff Martinez). Cinematographer Larry Smith crafts a bold, colorful look full of imaginatively framed shots, and editor Matthew Newman makes sure the action unfolds in unpredictable ways. It’s lovely to look at — provided you have a stomach for violence — but the whole is much less than the sum of its parts. Hey girl, there are better movies out there. ◀
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MOVING IMAGES pasa pics
— compiled by Robert Ker
throb image with a slow, violent romp. Gosling stars as a drug smuggler in Thailand whose brother (Tom Burke) murders a teenage girl and is then killed by the girl’s father. Julian’s mean-spirited mother (Kristin Scott Thomas) seethes at Julian’s refusal to avenge his brother’s murder, and these players, among others, march slowly toward a nihilistic climax. The film is colorful, the editing is imaginative, and the music cutting-edge, but the tone is punishing and the results are too stuffy to be considered farce and too immature to be taken seriously. Rated R. 90 minutes. In English and Thai with subtitles. Center for Contemporary Arts, Santa Fe. (Robert Ker) See review, Page 59. RED 2 In 2010, Bruce Willis, John Malkovich, and Helen Mirren played former intelligence agents who came out of retirement for one last job. The movie was a big left-field success, so the gang is unretiring for one more last job. This time, Anthony Hopkins gets involved in the fun. Rated PG-13. 116 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) Je t’aim: Helen Mirren in Red 2, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española
opening this week THE ACT OF KILLING How many Americans were aware of the mass killings carried out in Indonesia after the military coup there in 1965? At the direction of the country’s new leaders, and with the complicity of western governments, thugs and paramilitary groups slaughtered over a million “communists,” which included intellectuals, labor leaders, and pretty much anybody the killers didn’t like. Filmmaker Joshua Oppenheimer has made an extraordinary documentary that expands the concept of the form. He interviews some of the killers, men who still hold positions of power in Indonesia. The absence of guilt is stunning and chilling. They preen for the cameras and jump at the chance to make a film-within-a-film reenacting their bloody deeds. It’s surreal, phantasmagorical, and utterly devastating. 7 p.m. Tuesday, July 23, only, with Oppenheimer in attendance. Not rated. 159 minutes. In English and Indonesian with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) 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 60
PASATIEMPO I July 19 -25, 2013
up a children’s birthday party in a Tel Aviv restaurant. This is a movie designed to provoke questions, and most of them are as wrenching and agonizing as the whole 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) See review, Page 58. 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. (Not reviewed) GIRL MOST LIKELY In this indie comedy, Kristen Wiig plays a woman in the midst of a nervous breakdown. Her doctor suggests she live with her mother (Annette Bening), who has a young tenant (Darren Criss) and a weird boyfriend (Matt Dillon). These mismatched eccentrics probably learn how to get along by the end, and there will be plenty of priceless Wiig reactions on the way. Rated PG-13. 102 minutes. Regal DeVargas, Santa Fe. (Not reviewed) ONLY GOD FORGIVES Actor Ryan Gosling and director Nicolas Winding Refn reteam after 2011’s much-loved Drive to bloody up Gosling’s heart-
R.I.P.D. Men in Black laid out a perfect formula for a supernatual buddy-cop film, and R.I.P.D. seems to follow it very closely. We’ve got the young wisecracker (Ryan Reynolds) teaming with the old gunslinger ( Jeff Bridges) and using fancy technology to take down weird-looking paranormal perpetrators. The big difference between this and MIB is that they’re hunting dead people (the lead characters being deceased themselves), not aliens. Rated PG-13. 96 minutes. Shows in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed)
now in theaters BEFORE MIDNIGHT The third round of the collaboration between director Richard Linklater and stars Julie Delpy and Ethan Hawke that began with Before Sunrise (1995) is set at the end of a family vacation in southern Greece. Celine (Delpy) and Jesse (Hawke) have been together for the decade since Before Sunset (2004). Here they drive and talk and walk and talk and make love and talk. All that conversation ebbs and flows through the intimate knowledge two people develop about each other over a long time and the ways they make each other laugh and think and cry and rage. Both actors are as good as or better than they have ever been. Rated R. 108 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) CAVEDIGGER Ra Paulette has lived in Embudo for 29 years and has gained a reputation for his fantastically carved
art caves. Now he’s eschewing clients and building a magnificent 10-year project. The documentary screens with the short Monument to the Dream. 11:30 a.m. Saturday and Sunday, July 20 and 21, only (Paulette attends the screenings). Not rated. Films total 67 minutes. Center for Contemporary Arts, Santa Fe. (Paul Weideman) 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 laugh attempts. Whether or not those attempts are successful is up to the viewer, and the filmmakers hedge their bets by bringing slapstick for the kids and pop-culture references for the adults. Rated PG. 98 minutes. Shows in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española; Storyteller, Taos. (Robert Ker)
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. Aside from Bullock’s downplayed character arc, 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)
FILL THE VOID One of the great gifts of film is to spirit us into cultures to which we would normally never have an entree and expand our world with a greater understanding of the humanity of others. Writer and director Rama Burshtein takes us inside the closely guarded Haredi Jewish community of Tel Aviv. Her story is of Shira (Hadas Yaron), pressured by her mother (Irit Sheleg) to marry the widower Yochay (Yiftach Klein) of her elder sister, who died in childbirth leaving a baby boy, to ensure that the bereaved father won’t move away with the child. It’s a strong, assured first feature from Burshtein, who joined the Haredim as an adult. Rated PG. 90 minutes. In Hebrew with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards)
A HIJACKING Danish director Tobias Lindholm launches his first solo effort (he co-directed the prison movie R and co-wrote Thomas Vinterberg’s drama The Hunt) with this taut, tense pirate movie. These pirates are not the Caribbean sort but the Somali type who have made headlines in recent years off the eastern coast of Africa. A Danish ship is hijacked, and Lindholm takes us back and forth between the sweaty claustrophobia and terror aboard the ship in the Indian Ocean and the white, sterile offices of the shipping company in Copenhagen. As the days turn to months, the tension rises at both ends of the harrowing standoff. Not rated. 99 minutes. In English and Danish with subtitles. The Screen, Santa Fe. ( Jonathan Richards)
GROWN UPS 2 Nobody can say Adam Sandler doesn’t look after his friends. Here, he brings old buddies like Chris Rock, Kevin James, David Spade, and many, many more to 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. I’m a fan of many of these comics, and this is their career nadir. Rated PG-13. 101 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (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 fast-moving but curiously unexciting retelling of the classic tale. The duo should have gone after the film’s screenwriters and director and thrown them in the hoosegow. 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; Storyteller, Taos. (Robert Nott)
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
LOVE IS ALL YOU NEED Danish director Susanne Bier, who normally deals in bleaker material, has
Girl Most Likely
gone all soft and cuddly in this romantic comedy about two lost souls who unite, and in lesser hands the result would probably be insufferably cute. But Bier manages to keep this valentine on a very enjoyable track, helped by a fine cast led by Pierce Brosnan and Trine Dyrholm. It’s a grown-up film, beautifully photographed on an Amalfi coast. Rated R. 110 minutes. In English, Danish, and Italian with subtitles. Regal DeVargas, Santa Fe. ( Jonathan Richards) MAN OF STEEL Director Zach Snyder reboots the Superman story from the ground up (no need for a plot recap — you know the deal). The result is (sometimes too) dark and violent yet promising; it favors a realistic approach that lends a sense of awe to that which is super. With the exception of Henry Cavill, who looks the part but is often too stiff as Superman, the cast is inspired, especially Amy Adams as Lois Lane. Rated PG-13. 143 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) MASTERS OF COMEDY: SILENT COMEDY EXTRAVAGANZA #1 This may be the perfect compilation for today’s YouTube-obsessed crowd — a series of short, often darkly comic cartoons and comedies featuring the still-famous (Charlie Chaplin) and the sadly obscure (Charley Chase). Chase’s What Price Goofy? is continued on Page 62
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a beautifully paced delight and should amuse the kids, thanks to the canine antics of Buddy the dog. Chaplin’s The Immigrant remains a sweet gem, and we even get early Felix the Cat. A great way to start the day, since the screenings are in the morning. Not rated. 78 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 and refreshing treat. Reed Diamond, Sean Maher, Fran Kranz, Jillian Morgese, and Amy Acker star. Rated PG-13. 107 minutes. Center for Contemporary Arts, Santa Fe. (Laurel Gladden) NOW YOU SEE ME Assemble a highly watchable cast, which includes Woody Harrelson, Jesse Eisenberg, Morgan Freeman, Michael Caine, Mark Ruffalo, and Mélanie Laurent. Then roll out a crackerjack setup: four illusionists perform a trick in Las Vegas in which one of their audience members is “teleported” to Paris to rob a bank. As the FBI and an opportunist who exposes magicians’ secrets close in on the illusionists, make every scene interesting. Abracadabra! You have a movie that’s wildly entertaining, despite having to cheat to connect all the dots. Rated PG-13. 116 minutes. Regal DeVargas, Santa Fe. (Robert Ker)
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PASATIEMPO I July 19 -25, 2013
PACIFIC RIM Guillermo del Toro’s latest film plays like a movie by 12year-olds, which is both a bad and good thing. It’s bad because of the underdeveloped characters and cartoon-level dialogue, and 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. Idris Elba, Charlie Day, and Ron Perlman head a scenery-chewing yet excellent cast. 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 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española; Storyteller, Taos. (Robert Ker) STAR TREK: INTO DARKNESS In the newest Star Trek movie, director J.J. Abrams ups the ante on action and visual effects. This film finds Kirk (Chris Pine) and Spock (Zachary Quinto) at odds after a violation of the Prime Directive and the arrival of a genetically enhanced villain (Benedict Cumberbatch). It steers the U.S.S. Enterprise in new and exciting directions while exploring themes of unjust war and terrorism. Rated PG-13. 132 minutes. Screens in 2-D at Regal DeVargas, Santa Fe. (Rob DeWalt) STORIES WE TELL Actress Sarah Polley’s documentary exploration of her family history works better if you don’t know too much about it. Polley’s mother, Diane, who died of cancer in 1990, when Polley was 11, is the heart of the film, which is primarily constructed through interviews with her friends and family. Diane emerges as a complicated figure, and there’s no consensus on her character. Stories We Tell is about the Polleys, but it speaks to the mythmaking that occurs in all families. Rated PG-13. 108 minutes. The Screen, Santa Fe. (Adele Oliveira)
dinary speed and the trip from zero to hero is on. Paul Giamatti, Snoop Dogg, and Michelle Rodriguez contribute their voices. 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. (Not reviewed) 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 the sublime Lisa Fischer are a few that will send you out of the theater wondering about that imponderable barrier that kept them from headliner stardom. Some of it is temperament, some of it is luck, and some of it is just the business. But Morgan Neville’s documentary brings these singers front and center, and it’s glorious. Rated PG-13. 90 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) WORLD WAR Z Though this film thrusts its protagonist, played by Brad Pitt, into one Republic serial-type cliffhanging situation after another in rapid succession, what’s missing from Marc Forster’s production — based on the Max Brooks novel of the same name — is suspense. Pitt is the multi-talented expert who travels the world to find a way to end a zombie epidemic. The actors are convincing, and the characters more interesting than usual for such fare, but the combination of sloppy scripting, CGI special effects for the zombies, and the speed and confusion of most of the action scenes is exhausting. Rated PG-13. 115 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Nott)
other screenings Center for Contemporary Arts 7 p.m. Monday, July 22: Cage on Cage: An Interview. No charge.
THIS IS THE END James Franco, Jonah Hill, Seth Rogen, Danny McBride, Craig Robinson, and Jay Baruchel are holed up in Franco’s mansion when the apocalypse hits during a raging party. These guys aren’t playing characters — they’re playing themselves, often as preening, egotistical jerks. Suffice it to say, the mileage you get out of this comedy will vary depending on how much you like these dudes. Emma Watson and Michael Cera kill in their cameos, and the cocky, obnoxious McBride pretty much steals the show. Rated R. 107 minutes. Regal DeVargas, Santa Fe. (Robert Ker)
Regal Stadium 14 10 p.m. Thursday, July 25: The Wolverine (3-D). 10:30 p.m. Thursday, July 25: The Wolverine.
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 extraor-
Taos Community Auditorium 133 Paseo del Pueblo Norte, Taos, 575-758-2052 Sunday-Tuesday, July 21-23: Midnight’s Children. ◀
Railyard Park, 740 Cerrillos Road 8 p.m. Friday, July 19: Lady and the Tramp. Free outdoor screening. Regal DeVargas White House Down.
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Call theaters or check websites to confirm screening times. A.O. ScOtt,
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1050 Old Pecos Trail, 982-1338, www.ccasantafe.org 20 Feet From Stardom (PG-13) Fri. to Sun. 3:30 p.m., 5:30 p.m., 7:30 p.m. Mon. 2:45 p.m., 4:45 p.m. Tue. 3 p.m. Wed. and Thurs. 3 p.m., 5 p.m., 7 p.m. The Act of Killing (NR) Tue. 7 p.m. Cage on Cage:An Interview (NR) Mon. 7 p.m. CaveDigger and Monument to the Dream (NR) Sat. and Sun. 11:30 a.m. Fill the Void (PG) Fri. to Sun. 12:30 p.m., 2:30 p.m. Mon. to Thurs. 12 p.m., 2 p.m. Masters of Comedy: Silent Comedy Extravaganza I (NR) Sat. and Sun. 11 a.m. Much Ado About Nothing (PG-13) Fri. to Sun. 1:15 p.m. Mon. 12:30 p.m. Tue. 1:30 p.m. Wed. and Thurs. 12:30 p.m. Only God Forgives (R) Fri. to Sun. 4:30 p.m., 6:30 p.m., 8:30 p.m. Mon. to Thurs. 4 p.m., 6 p.m., 8 p.m. regAl deVArgAS
562 N. Guadalupe St., 988-2775, www.fandango.com Before Midnight (R) Fri. and Sat. 1:20 p.m., 4:20 p.m., 7:20 p.m., 9:55 p.m. Sun. to Thurs. 1:20 p.m., 4:20 p.m., 7:20 p.m. Girl Most Likely (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 10:05 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m. Love Is AllYou Need (R) Fri. toThurs. 4:10 p.m., 7 p.m. Now You See Me (PG-13) Fri. and Sat. 1:10 p.m., 4 p.m., 7:10 p.m., 9:50 p.m. Sun. to Thurs. 1:10 p.m., 4 p.m., 7:10 p.m. Star Trek Into Darkness (PG-13) Fri. and Sat. 1 p.m., 3:50 p.m., 6:50 p.m., 9:40 p.m. Sun. to Thurs. 1 p.m., 3:50 p.m., 6:50 p.m. This Is The End (R) Fri. and Sat. 1:40 p.m., 10 p.m. Sun. to Thurs. 1:40 p.m. White House Down (PG-13) Fri. and Sat. 12:50 p.m., 3:45 p.m., 6:40 p.m., 9:35 p.m. Sun. to Thurs. 12:50 p.m., 3:45 p.m., 6:40 p.m. regAl StAdium 14
3474 Zafarano Drive, 424-6296, www.fandango.com Call theater or consult site for times not shown. The Conjuring (R) Fri. to Sun. 11:45 a.m., 2:30 p.m., 5:15 p.m., 8 p.m., 10:45 p.m. Despicable Me 2 3D (PG) Fri. to Sun. 11:30 a.m., 7:30 p.m. Despicable Me 2 (PG) Fri. to Sun. 12:10 p.m., 2:35 p.m., 3:05 p.m., 5 p.m., 5:30 p.m., 8:05 p.m., 10:10 p.m., 10:30 p.m. Grown Ups 2 (PG-13) Fri. to Sun. 11:35 a.m., 2:20 p.m., 5:05 p.m., 7:55 p.m., 10:45 p.m. The Heat (R) Fri. to Sun. 11:10 a.m., 1:55 p.m., 4:50 p.m., 7:35 p.m., 10:35 p.m. The Lone Ranger (PG-13) Fri. to Sun. 12 p.m., 3:30 p.m., 7:15 p.m., 10:30 p.m., 10:35 p.m. Man of Steel (PG-13) Fri. to Sun. 12:20 p.m., 3:50 p.m., 7:10 p.m., 10:25 p.m. Monsters University (G) Fri. to Sun. 11:25 a.m., 2:05 p.m., 4:50 p.m., 7:50 p.m., 10:30 p.m. Pacific Rim 3D (PG-13) Fri. to Sun. 11 a.m., 10:50 p.m. Pacific Rim (PG-13) Fri. to Sun. 1:55 p.m., 4:50 p.m., 7:45 p.m. R.I.P.D. 3D (PG-13) Fri. to Sun. 11:40 a.m., 10:25 p.m. R.I.P.D. (PG-13) Fri. to Sun. 2:15 p.m., 4:55 p.m., 7:40 p.m. Red 2 (PG-13) Fri. to Sun. 11 a.m., 1:45 p.m., 4:40 p.m., 7:25 p.m., 10:15 p.m. Turbo 3D (PG) Fri. to Sun. 11:05 a.m., 1:30 p.m., 10 p.m. Turbo (PG) Fri. to Sun. 12:30 p.m., 3 p.m., 4:15 p.m., 5:20 p.m., 7:20 p.m., 7:50 p.m.
summer!”
tY BUrr,
gift!”
“Perfection!”
The Wolverine 3D (PG-13) Thurs. 10 p.m. The Wolverine (PG-13) Thurs. 10:30 p.m. World War Z (PG-13) Fri. to Sun. 11:15 a.m.,
Peter trAverS,
2:05 p.m., 4:55 p.m., 7:55 p.m., 10:45 p.m.
©2013 PROJECT B.S., LLC
the SCreen
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com The Attack (R) Fri. and Sat. 3:15 p.m., 7:30 p.m. Sun. 3:15 p.m. Mon. to Thurs. 3:15 p.m., 7:30 p.m. Hannah Arendt (NR) Fri. to Thurs. 1 p.m. A Hijacking (NR) Fri. and Sat. 5:25 p.m. Sun. 6:30 p.m. Mon. to Thurs. 5:25 p.m. Stories WeTell (PG-13) Sat. and Sun. 10:45 a.m.
NOW PLAYING!
SANTA FE Center For Contemporary Arts (505) 982-1338
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mitChell dreAmCAtCher CinemA (eSpAñolA)
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com The Conjuring (R) Fri. 4:55 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:30 p.m., 4:55 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:30 p.m., 4:55 p.m., 7:25 p.m. Mon. to Thurs. 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. to Thurs. 4:35 p.m., 7:05 p.m. Grown Ups 2 (PG-13) Fri. 4:50 p.m., 7:30 p.m., 9:55 p.m. Sat. 2:15 p.m., 4:50 p.m., 7:30 p.m., 9:55 p.m. Sun. 2:15 p.m., 4:50 p.m., 7:30 p.m. Mon. to Thurs. 4:50 p.m., 7:30 p.m. The Lone Ranger (PG-13) Fri. 6:50 p.m. Sat. and Sun. 2:25 p.m., 6:50 p.m. Mon. to Thurs. 6:50 p.m. Pacific Rim (PG-13) Fri. and Sat. 4:15 p.m., 6:55 p.m., 9:40 p.m. Sun. to Thurs. 4:15 p.m., 6:55 p.m. R.I.P.D. (PG-13) Fri. 4:45 p.m. Sat. and Sun. 2:20 p.m., 4:45 p.m. Mon. to Thurs. 4:45 p.m. R.I.P.D. 3D (PG-13) Fri. and Sat. 7:20 p.m., 9:50 p.m. Sun. to Thurs. 7:20 p.m. Red 2 (PG-13) Fri. 4:40 p.m., 7:15 p.m., 9:45 p.m. Sat. 2:10 p.m., 4:40 p.m., 7:15 p.m., 9:45 p.m. Sun. 2:10 p.m., 4:40 p.m., 7:15 p.m. Mon. to Thurs. 4:40 p.m., 7:15 p.m. Turbo (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. mitChell Storyteller CinemA (tAoS)
110 Old Talpa Canon Road, 575-751-4245, www.storyteller7.com 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. to Thurs. 4:35 p.m., 7:05 p.m. Grown Ups 2 (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:15 p.m., 4:50 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:15 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m. The Lone Ranger (PG-13) Fri. 6:50 p.m. Sat. and Sun. 2:25 p.m., 6:50 p.m. Mon. to Thurs. 6:50 p.m. Pacific Rim (PG-13) Fri. and Sat. 4:15 p.m., 6:55 p.m., 9:40 p.m. Sun. to Thurs. 4:15 p.m., 6:55 p.m. R.I.P.D. (PG-13) Fri. 4:45 p.m. Sat. and Sun. 2:20 p.m., 4:45 p.m. Mon. to Thurs. 4:45 p.m. R.I.P.D. 3D (PG-13) Fri. and Sat. 7:20 p.m., 9:50 p.m. Sun. to Thurs. 7:20 p.m. Red 2 (PG-13) Fri. 4:40 p.m., 7:15 p.m., 9:45 p.m. Sat. 2:10 p.m., 4:40 p.m., 7:15 p.m., 9:45 p.m. Sun. 2:10 p.m., 4:40 p.m., 7:15 p.m. Mon. to Thurs. 4:40 p.m., 7:15 p.m. Turbo (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m.
EXCLUSIVE ENGAGEMENT STARTS TODAY Santa Fe UA De Vargas Mall 6 (800) FANDANGO #608
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reservations highly reccomended by calling 505-982-1338
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Encore Screening!!!
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EXECUTIVE RADIUS-TWC GIL FRIESEN AND TREMOLO PRODUCTIONS PRESENT “TWENTY FEET FROM STARDOM” PRODUCERS GEORGE CONRADES ART BILGER ASSOCIATE B. MARSH AND GRAHAM WILLOUGHBY PRODUCER CARYN CAPOTOSTO PETER MORTONEDITEDJOEL S. EHRENKRANZ CINEMATOGRAPHYBY NICOLA SUPERVISING PRODUCED PRODUCED BY JASON ZELDES AND KEVIN KLAUBER EDITOR DOUGLAS BLUSH BY CAITRIN ROGERS BY GIL FRIESEN DIRECTED BY MORGAN NEVILLE ©2013 PROJECT B.S., LLC
11:30am Sat & Sun July 20-21 ONLY!! With subject Ra Paulette in person!! preceded by Monument to the Dream SITE Santa Fe presents:
Cage on Cage: An Interview
S!!! W O H LS FINA
(w/ Virginia Dwan)
shaKespeare Knew how to throw a party
BasedonthePlayByWilliamshakesPeare adaPtedforthescreenanddirectedByJossWhedon Facebook.com/muchadomovie
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Free, Mon July 22 at 7:00p
FILL THE VOID
CCA’s Masters of Comedy Series SILENT COMEDY EXTRAVAGANZA (program 1 of 2) In The Muñoz-Waxman Gallery: MAKING PLACES WWW.SONYCLASSICS.COM
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works by Linda Fleming & Michael Moore gallery hours: Thurs-Sun 12:00p - 5:00p Fri July 19 12:30p - Fill the Void* 1:15p - Much Ado 2:30p - Fill the Void* 3:30p - 20 Feet from Stardom 4:30p - Only God Forgives* 5:30p - 20 Feet from Stardom 6:30p - Only God Forgives* 7:30p - 20 Feet from Stardom 8:30p - Only God Forgives*
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Sat-Sun July 20-21
11:00a - Silent Comedy Extravaganza 1* 11:30a - CaveDigger Encore 12:30p - Fill the Void* 1:15p - Much Ado 2:30p - Fill the Void* 3:30p - 20 Feet from Stardom 4:30p - Only God Forgives* 5:30p - 20 Feet from Stardom 6:30p - Only God Forgives* 7:30p - 20 Feet from Stardom 8:30p - Only God Forgives*
PASATIEMPO I July 19 - 25, 2013
Monday July 22 12:00p - Fill the Void* 12:30p - Much Ado 2:00p - Fill the Void* 2:45p - 20 Feet from Stardom 4:00p - Only God Forgives* 4:45p - 20 Feet from Stardom 6:00p - Only God Forgives* 7:00p - SITE Santa Fe: Virginia Dwan presents Cage on Cage 8:00p - Only God Forgives*
Tues July 23 12:00p - Fill the Void* 1:30p - Much Ado 2:00p - Fill the Void* 3:00p - 20 Feet from Stardom 4:00p - Only God Forgives* 6:00p - Only God Forgives* 7:00p - Act of Killing 8:00p - Only God Forgives*
11:00am Sat - Sun July 20-21!!!
Wed-Thurs July 24-25 12:00p - Fill the Void* 12:30p - Much Ado 2:00p - Fill the Void* 3:00p - 20 Feet from Stardom 4:00p - Only God Forgives* 5:00p - 20 Feet from Stardom 6:00p - Only God Forgives* 7:00p - 20 Feet from Stardom 8:00p - Only God Forgives*
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:
Still Mine I’m So Excited The Painting The Hunt The Act of Killing...& more!!!
RESTAURANT REVIEW Laurel Gladden I For The New Mexican
Nachos with a view
Coyote Cantina
132 Water St., second floor (enter through Coyote Café), 983-1615 Lunch and dinner daily 11:30 a.m.-closing; open April-October Covered outdoor dining Takeout available Vegetarian options Handicapped-accessible with server assistance Noise level: lively chatter and festive warm-weather music Full bar Credit cards, no checks
•
The Short Order If you’re in the mood for an informal nosh and a cocktail while you enjoy some fresh air and a little people-watching, few places are better than Coyote Cantina, the casual alfresco dining room off the much more formal Coyote Café. The menu includes everything from chips, salsa, and guacamole to nachos, several types of tacos and enchiladas, pulled pork sliders, a Kobe-style burger, and more formal entrees. Most things are done well, though prices are on the spendy side and cocktails can be inconsistent. Recommended: nachos, fish tacos, tacos al pastor, el Cubaña, and the Lava Lamp.
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.
Few places are better for enjoying the warm months in Santa Fe than Coyote Cantina, the casual open-air dining room off the much more formal Coyote Café. If you’re in the mood for a relaxed nosh — such as nachos, tacos, or just chips, salsa, and a cocktail — head through Coyote Café’s door, up the stairs, and left through the screened wooden doors. This is an excellent spot for people-watching, especially at night and on weekends. Its popularity with locals and tourists can translate into elevated noise levels, though. Service is professional and prompt, unless the place is packed. Food usually arrives very quickly. If you prefer a sunny spot and a view, choose a seat along the wall, where you can watch passers-by below and catch a glimpse of sunset at the end of the day. During the dog days of summer, especially if you’re seated near the kitchen, the cantina can get steamy, despite multiple ceiling fans going at full tilt, but the shade and breezes are usually enough to keep things cool. If a monsoon rolls in, the staff can set up plastic “walls” to keep everyone from getting soaked, and on chillier days of spring and fall, space heaters and a fireplace keep the place pleasantly toasty. The cocktail menu offers several perfectly serviceable variations on the margarita — including the Norteño, which features Hatch green chile — as well as a mojito (ours was cloying on one visit and lacking sweetness the next), a piña colada, a daiquiri, sangria, and some inventive selections like the Pink Geisha (watermelon, litchi liqueur, lime juice, and vodka). The Lava Lamp is a bizarrely delicious combination of frozen margarita and draft beer. The margarita gives the cerveza a refreshing citrus zing and helps keep it cold to boot. The menu says the chips are made from corn, but ours looked and tasted like flour; nevertheless, they were freshly made, thick, salty, and crisp vehicles for chunky pico de gallo, smoky tomato salsa, and supersmooth avocado-tomatillo purée. The guacamole is on the pricey side at nearly $12, but you’ll get a generous scoop of the rich, creamy stuff, studded with diced onion, tomato, and mild jalapeños. The so-called nachos are more like an oversized spicy and meaty nacho napoleon. The kitchen stacks whole small corn tortillas in layers, sandwiching black beans, smoky pulled pork, cheddar cheese, avocado-tomatillo and red chile sauces, and serrano chiles in between. It’s an insanely rich appetizer that easily satisfies four. Entrees include several types of tacos and enchiladas, pulled pork sliders, a Kobe-style burger, and more formal dishes such as grilled salmon with polenta. The al pastor taco plate includes four corn tortillas filled with fantastic nuggets of spicy chile-rubbed pork and soft, fruity pineapple. The Navajo taco is a filling plate: fry bread topped with a jumble of black beans, lettuce, pico de gallo, Tucumcari cheddar, and not one but three kinds of meat: chicken, pulled pork, and ground buffalo. All those toppings soak into the fry bread, creating what my dining companion described as “a bunch of juicy, gooey goodness.”
I’ll be back often for the generous plate of Baja-style fish tacos: lightly battered mahi-mahi with a drizzle of chile aioli in soft corn tortillas. Creamy crunchy slaw, crumbled cotija, and a golden mango-lime salsa only amplify the experience. The Cubaña (no explanation is given for the unusual spelling) is full of smoked ham, lettuce, guacamole, smoky chipotle sauce, and gooey melted asadero cheese. It’s served with both a lightly dressed green salad and chiledusted fries with surprisingly spicy habanero ketchup. This is a sandwich built for two — be prepared to share. The Caesar is an interesting variation: the classic dressing with added chile — applied a little too liberally — and the standard (often stale) croutons blessedly replaced by sturdy cubes of toasty polenta. Top it with shrimp and you’ll get a generous helping of oversized pink prawns with a wonderful grilled char. The chop salad consists of Bibb lettuce, underripe tomato chunks, cubed chicken, tangy blue cheese, a sprinkling of boiled egg, and mild poblanos, all tossed in an overly creamy, nearly heat-free jalapeño-buttermilk dressing. (The bacon mentioned on the menu was nowhere in sight.) It’s bland and relatively nondescript, but it’s nice to have such lighter options. After all, man cannot live by tacos alone. Otherwise, nearly everything we sampled was done well. While prices are on the spendy side and cocktails can be inconsistent, you can console yourself by enjoying good company, fresh air, and a nice view. ◀
Check, please
Dinner for three at Coyote Cantina: Dos Equis lager ..................................................$4.00 Mojito ................................................................$8.50 Blanco margarita ................................................$8.50 Nachos .............................................................$12.50 Cubaña sandwich ............................................$12.95 Caesar salad with grilled shrimp .....................$18.00 Fish tacos .........................................................$15.95 TOTAL .............................................................$80.40 (before tax and tip) Dinner for three, another visit: Lava Lamp .........................................................$7.00 Classic margarita ...............................................$7.50 Chips and guacamole ......................................$11.75 Tacos al pastor .................................................$14.95 Navajo taco ......................................................$13.95 Chop salad .......................................................$11.95 TOTAL .............................................................$67.10 (before tax and tip)
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“THESE ARE THE SONGS I WANTED TO WRITE WHEN I WAS 21... BUT I HADN’T LIVED THEM YET.” - Dave Tutin
“... brilliant lyrical content and songwriting skills.” - ReviewPosse.com Born in England, shaped by years in New York City, and living in Santa Fe, New Mexico for the past four years...Dave Tutin is a worldly-wise singer-songwriter-poet. A truly independent artist, his music - including the inspired new 13-track album JanuaryRising - is available, along with his award-winning books of poetry, direct from davetutin.com. CD LAUNCH PERFORMANCE: ICONIK COFFEE 1600 LENA STREET, SANTA FE SATURDAY JULY 20TH AT 7PM. FREE ADMISSION.
2013
SpaniSh MARKET
SPANISH MARKET MAGAZINE
Sunday July 21 ONLY IN THE
jiMMy TRujillo 2013 MAsTER’s AwARd foR lifETiME AchiEvEMEnT spAnish coloniAl ARTs sociETy t h e sa n ta f e n e w m e x i c a n • w w w.s a n tafenew m exi c an.c om
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PASATIEMPO I July 19 - 25, 2013
You turn to us.
pasa week Friday, July 19
in ConCerT
John proulx New Mexico jazz pianist/vocalist, 2-4 p.m., Little Bird at Loretto patio, 211 Old Santa Fe Trail, no charge, 820-7413. patrick Burns The Santa Fe guitarist celebrates the release of his classical-music CD Guitarra Intima del Río Grande, 7 p.m., Candyman Strings & Things, 851 St. Michael’s Dr., no charge, 983-5906.
gallery/museum openings
allan Houser studio and sculpture gardens Call 471-1528 for directions. Works by the late sculptor and his sons Phillip M. Haozous and Bob Haozous; also, a preview of works from the Chiinde collection, 5-8 p.m. Blue rain gallery 130-C Lincoln Ave., 954-9902. Poetry of Elevation, Deladier Almeida’s New Mexico landscapes, reception 5-7 p.m., through July (see story, Page 50). Due West gallery 217 W. San Francisco St., 988-1001. Hang on, Life Is a Wild Ride, paintings by Hita Von Mende, reception 6-8 p.m. eight modern 231 Delgado St., 995-0231. Chance Animals, inkjet prints by Jason Salavon, reception 5-7 p.m., through Sept. 1. el Farol 808½ Canyon Rd., 507-6585. Beloved, paintings and ceramic sculpture by Jacobo de la Serna, reception 5-7 p.m., through Aug.19. el Zaguán 545 Canyon Rd., 983-2567. New landscapes and seascapes by artist-in-residence William Nelson McLane, reception 5-8 p.m. greenberg Fine art 205 Canyon Rd., 955-1500. Seasons of Light, new work by painter Joseph Breza, reception 5-7 p.m., through July. ikonik Coffee roasters 1600 Lena St., 428-0996. Alphabet Soup, works on paper by Jerry Wellman; artist duo Scuba’s sculpture and drawings; sculpture by Don Kennell; reception with spoken-word performance artists 5-8 p.m., through midAugust. Jay etkin gallery 703 Camino de la Familia, Suite 3103, 983-8511. Unexpected/Juxtapositions, group show of interdisciplinary works, reception 5-7 p.m., through Aug. 3. Johnny’s Classic Barber shop 855 Cerrillos Rd., 982-6154. What’s Unseen, works on paper by Jeremy Holder, reception 6-9 p.m., through Aug. 19. la posada de santa Fe resort and spa 330 E. Palace Ave., 954-9668. Oil paintings by Betty Nance Smith and Jill Pankey, reception 4 p.m., talks follow. lewallen galleries at the railyard 1613 Paseo de Peralta, 988-3250. Santa Fe’s Holy Trinity of Landscape Painting, works by John Fincher, Woody Gwyn, and Forrest Moses; paintings and sculpture by Nathan Oliveira; reception 5-7 p.m., through Sept. 1. meyer east gallery 225 Canyon Rd., 983-1657. Falling Down, patina paintings by Nathan Bennett, reception 5-7 p.m., through Aug. 1. patina gallery 131 W. Palace Ave., 986-3432. Furniture, models, and sketches by metalworker Gary Griffin, reception 5-7:30 p.m., through Aug.11. photo-eye gallery 376-A Garcia St., 988-5159. Storms, Mitch Dobrowner’s cloud studies, reception 5-7 p.m., through Sept. 21 (see story, Page 46).
Pasa’s Little Black Book......... 68 Exhibitionism...................... 70 At the Galleries.................... 71 Museums & Art Spaces........ 71 In the Wings....................... 72
compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com
THeaTer/DanCe
Bye Bye Birdie opening night Pandemonium Productions presents the musical (actors ages 7-17), 7 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, kids 12 and under $6, 982-3327, Friday-Sunday through July 28. 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. Owners of Nothing The duo known a Transient Theater presents three short plays, 6:30-7:30 p.m., Momo & Company Bakery and Boba Tea Bar, 229 Johnson St., $12 online and at the door, discounts available, transienttheater.com, 214-755-1141. Spring Awakening Gemini Productions and Warehouse 21 present the musical, 7 p.m., 1614 Paseo de Peralta, $12, 231-6879, holdmyticket.com, ThursdaySunday through July 28, ages 16 and under must be accompanied by an adult. yjastros: The american Flamenco repertory Company at el Farol 8 p.m. Tuesdays-Sundays through Aug. 11, $25, 983-9912.
Books/Talks
mark sublette The Santa Fe author signs copies of his Charles Bloom murder mystery Kayenta Crossing, 4-5 p.m., Medicine Man Gallery, 602-A Canyon Rd., 820-7451 (see Subtexts, Page 12). Selby Fleetwood Gallery shows work by Rodney Hatfield, 600 Canyon Rd.
silver sun gallery 656 Canyon Rd., 983-8743. Angel, mixed-media work by Radisha, reception 5-7 p.m., through July. Verve gallery of photography 219 E. Marcy St., 982-5009. Figures Studied, 10th anniversary group show, reception 5-7 p.m., through August. Windsor Betts gallery 143 Lincoln Ave., 820-1234. 25th birthday party, 5-7 p.m.
opera
Grand Duchess of Gerolstein Offenbach’s operetta about military shenanigans is mighty
Elsewhere............................ 74 People Who Need People..... 75 Under 21............................. 75 Pasa Kids............................ 75
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. 8:30 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900.
ClassiCal musiC
TgiF santa Fe opera apprentices recital Arias, musical-theater selections, and sacred music, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., 982-8544, Ext.16, donations appreciated.
eVenTs
museum Hill garden grand opening gala Santa Fe Botanical Garden hosts live music, tapas, and tours of the newly planted Meadow Garden, 6-8 p.m., Museum Hill, $125 in advance online at santafebotanicalgarden.org (see story, Page 56). pueblo of Tesuque Flea market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through the year. santa Fe opera Backstage Tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays through Aug. 13. ▶▶▶▶▶▶▶▶
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. PASATIEMPOMAGAZINE.COM
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Santa Fe Opera Monthly Ranch Tours Extended tour of the grounds with a meetthe-artist component, 10 a.m., tour $12, added backstage tour $20, call 986-5900, visit santafeopera.org for a schedule.
NighTliFe
(See addresses below) Bishop’s lodge Ranch Resort & Spa Jazz guitarist Pat Malone, 6-9 p.m., no cover. ¡Chispa! at el Mesón The Three Faces of Jazz and Friends, featuring Bryan Lewis on drums, 7:30 p.m.-close, no cover. Counter Culture Local pop-rock band Alamo Sun celebrates the release of its new EP Living Room, solo musicians Yairms and Andrew Levi Hiller open, 9 p.m., call for cover. Cowgirl BBQ Alt-folk singer/songwriter Shawn Waters, 5-7:30 p.m.; Americana/roots band Boris and the Saltlicks, 8:30 p.m.; no cover. el Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. el Farol Erin & The Project, R & B/soul, 9 p.m., call for cover. hotel Santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. la Fiesta lounge at la Fonda New Mexico Latin-groove band Nosotros, 8-11 p.m., no cover. la Posada de Santa Fe Resort and Spa Nacha Mendez Duo, pan-Latin rhythms, 6:30-9:30 p.m., no cover. The legal Tender at the lamy Railroad Museum E. Christina Herr & Wild Frontier, Americana/alt country/rock ’n’ roll blend, 6-9 p.m., no cover. low ’n’ Slow lowrider Bar at hotel Chimayó de Santa Fe Jazz off the Plaza, local jazz trio with weekly special guests, 9:30 p.m.-close, no cover.
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 Betterday Coffee 5-1234 55 905 W. Alameda St., nch Resort & Spa Ra e dg lo Bishop’s Rd., 983-6377 e dg 1297 Bishops Lo oval St., 466-1391 Café Café 500 Sand Casa Chimayó 8-0391 409 W. Water St., 42 ón es M ¡Chispa! at el 983-6756 e., Av ton ing ash W 213 hside ut So Cleopatra Café 644 4-5 47 ., Dr o an far 3482 Za Counter Culture 5 930 Baca St., 995-110 Cowgirl BBQ , 982-2565 319 S. Guadalupe St. Café te yo Co The Den at 3-1615 98 , St. r ate W . W 2 13 lton el Cañon at the hi 811 8-2 98 , St. al ov nd 100 Sa Spa eldorado hotel & St., 988-4455 o isc nc Fra 309 W. San
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PASATIEMPO I July 19 -25, 2013
The Mine Shaft Tavern Bluegrass duo Paw & Erik, 3-7 p.m., on the deck; DJs Icky Mac and Ian, 8 p.m.-close, no cover. Pranzo italian grill Geist Cabaret with pianist David Geist, Broadway show tunes, 6-9 p.m., call for cover. Second Street Brewery New Orleans-style funk and jazz band Pollo Frito, 6-9 p.m., no cover. Second Street Brewery at the Railyard Pop-rock band Andy Primm & Swordfish, 7 p.m.-close, no cover. Tiny’s Classic-rock band The Jakes, 8:30 p.m.-close; no cover. Vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; pianist/vocalist Bob Finnie, pop standards, 8 p.m.-close; call for cover.
20 Saturday galleRy/MuSeuM OPeNiNgS
la Tienda exhibit Space 7 Caliente Rd., Suite A-6, Eldorado, 428-0024. Intersection: Lens, Light, Life, works by Daryl A. Black, Caroline Jenny, and Kathy Olshefsky, reception 5-7 p.m., through Aug. 10. 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, reception 3-5 p.m., through August.
OPeRa
La Traviata Verdi’s indelible classic about a Parisian courtesan in a moral quandary returns in the revival of a 2009 staging by Laurent Pelly
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 Ro ikonik Coffee 996 8-0 42 , St. na Le 1600 rcy St., 982-3433 la Boca 72 W. Ma ina nt la Casa Sena Ca 8-9232 98 e., Av e lac Pa 125 E. at la Fonda la Fiesta lounge , 982-5511 St. o isc nc Fra 100 E. San a Fe Resort nt Sa de da la Posa e Ave., 986-0000 lac Pa and Spa 330 E. at the The legal Tender eum us M d oa ilr Ra y m la 466-1650 151 Old Lamy Trail, g arts Center lensic Performin St., 988-1234 o isc nc Fra 211 W. San e lodge Th at ge un lodge lo Francis Dr., St. N. 0 at Santa Fe 75 992-5800 l rider Bar at hote low ’n’ Slow low Fe 125 Washington a Chimayó de Sant Ave., 988-4900
but with a new cast, now centering on soprano Brenda Rae, tenor Michael Fabiano, and baritone Roland Wood. 8:30 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900 (see stories, Pages 26-30).
ClaSSiCal MuSiC
Santa Fe Chamber Music Festival Music of Handel, Stravinksky, and Suk; performers include violinists Daniel Hope and L.P. How and cellist Nicholas Canellakis, 5 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., tickets available at the SFCMF box office, 982-1890, santafechambermusic.com, or 988-1234, ticketssantafe.org.
iN CONCeRT
Dave Tutin The Santa Fe singer/songwriter launches his new album January Rising, 7 p.m., Ikonik Coffee Roasters, 1600 Lena St., no charge, 428-0996. KSFR Radio Music Café jazz series A New York State of Mind, Michael Morreale on trumpet, Tony Regusis on piano, Andy Zadrozny on bass, and John Trentacosta on drums, 7 p.m., Museum Hill Café, 710 Camino Lejo, Milner Plaza, $20, 428-1527.
TheaTeR/DaNCe
Bye Bye Birdie Pandemonium Productions presents the musical (actors ages 7-17), 7 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, kids 12 and under $6, 982-3327, Friday-Sunday through July 28. 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 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
Kicking a Dead Horse Fusion Theatre presents Sam Shepard’s 2007 drama, 2 and 8 p.m., the Lensic, $10-$40, ticketssantafe.org, 988-1234 (see story, Page 54). Spring Awakening Gemini Productions and Warehouse 21 present the musical, 7 p.m., Warehouse 21, 1614 Paseo de Peralta, $12, 231-6879, holdmyticket.com, Thursday-Sunday through July 28, ages 16 and under must be accompanied by an adult. yjastros: The american Flamenco Repertory Company at el Farol 8 p.m. Tuesdays-Sundays through Aug. 11, $25, 983-9912.
BOOKS/TalKS
All for Your Delight prologue Director Nagle Jackson, producers Rachel Kelly and John Andrews, and cast members discuss the Shakespeare in Santa Fe production, 3 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. artist talk Photographer Mitch Dobrowner discusses his work in the Photo-eye Gallery exhibit Storms, 3 p.m., 376-A Garcia St., 988-5159 (see story, Page 46). Bernice hill The author discusses and signs copies of Emergence of the Cosmic Psyche: UFOs and ETs From the Perspective of Depth Psychology, 2 p.m., Ark Bookstore, 133 Romero St., 988-3709.
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.
Second Street Brewer y at the Railyard 1607 Paseo de Peralta, 989-3278 Steaksmith at el gancho 104-B Old Las Vegas Highway, 988-3333 Sweetwater harvest Kitchen 1512-B Pacheco St., 795-7383 Taberna la Boca 125 Lincoln Ave., Suite 117, 988-7102 Thunderbird Bar & grill 50 Lincoln Ave., 490-6550 Tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 Tortilla Flats 3139 Cerrillos Rd., 471-8685 The underground at evangelo’s 200 W. San Francisco St., 577-5893 upper Crust Pizza 329 Old Santa Fe Trail, 982-0000 Vanessie 427 W. Water St., 982-9966 Veterans of Foreign Wars 307 Montezuma Ave., 983-9045 Warehouse 21 1614 Paseo de Peralta, 989-4423 Zia Diner 326 S. Guadalupe St., 988-7008
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. Waterfall trail hike Easy 1.5-mile hike led by ranger Peter Lipscomb, 10 a.m., meet at Hyde Memorial State Park Visitor Center, Santa Fe Ski Basin Rd., $5.
events
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.
Glasswork by Ed Archie Noisecat at Lone Dog Noisecat, 241 Delgado St.
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 68 for addresses) Café Café Los Primos Trio, traditional Latin tunes, 6-9 p.m., no cover. ¡Chispa! at el Mesón Flamenco Conpaz, 7 p.m.-close, call for cover. Cowgirl BBQ The Bill Hearne Trio, classic country, 2-5 p.m.; local singer/songwriter Jono Manson, 8:30 p.m.-close; no cover. el Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. el Farol Latin band Agüeybana, 9 p.m., call for cover. evangelo’s Rock cover band Chango, 9:30 p.m., call for cover. la Fiesta lounge at la Fonda New Mexico Latin-groove band Nosotros, 8-11 p.m., no cover. la Posada de santa Fe resort and spa Jazz vocalist Whitney Carroll Malone, bassist Asher Barreras, and guitarist Pat Malone, 6-9 p.m., no cover. the legal tender at the lamy railroad Museum Tornados, country-rock band, 6-9 p.m., no cover. Pranzo Italian grill Geist Cabaret with pianist David Geist, Broadway show tunes, 6-9 p.m., call for cover. the Mine shaft tavern Jim & Tim, soulful blues, 3-7 p.m., on the deck; Paw & The Clinkers, bluegrass, no cover. second street Brewery Todd Tijerina Trio, blues/funk/rock ’n’ roll, 6-9 p.m., no cover. second street Brewery at the railyard Traditional Americana band The Backwoods Benders, 7-10 p.m., no cover.
sweetwater harvest kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover. tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m.-close, no cover. the Underground at evangelo’s The Collective Reggae Party with DJ Dynamite Sol and Brotherhood Sound’s Don Martin, 9 p.m., call for cover. vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; pianist/vocalist Bob Finnie, pop standards, 8 p.m.-close; call for cover.
21 Sunday ClAssICAl MUsIC
santa Fe Chamber Music Festival Music of Berg, Schulhoff, and Brahms; performers include pianist Soyeon Kate Lee, cellist Keith Robinson, and violinist Benny Kim, 6 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., tickets available at the SFCMF box office, 982-1890, santafechambermusic.com, or 988-1234, ticketssantafe.org.
Juan siddi Flamenco theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234, TuesdaysSundays through Sept. 1. Phantom Pain and The Tree Teatro Paraguas presents informal readings of two new plays by New Mexico playwrights Denise Hinson and Shebana Cuelho, respectively, 5:30 p.m., 3205 Calle Marie, no charge, 424-1601. Spring Awakening Gemini Productions and Warehouse 21 present the musical, 4 p.m., Warehouse 21, 1614 Paseo de Peralta, $12, 231-6879, holdmyticket.com, Thursday-Sunday through July 28, ages 16 and under must be accompanied by an adult. Yjastros: the American Flamenco repertory Company at el Farol 8 p.m. Tuesdays-Sundays through Aug. 11, $25, 983-9912.
BOOks/tAlks
karen Marrolli Singer/songwriter in Songs From a Desert Sky, 3 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, donations welcome, 983-5022. new Mexico Jazz Festival Stanley Clarke Band, 7:30 p.m., the Lensic, $20-$50, 988-1234, ticketssantafe.org (see stories, Pages 23-25).
Charles trumbull The author launches A Five Balloon Morning, 3:30 p.m., Op. Cit. Books, 500 Montezuma Ave., Suite 101, Sanbusco Center, 428-0321. Merle lefkoff The founder/CEO of the Center for Emergent Diplomacy: Creating New Models of Conflict Resolution & Mediation speaks as part of Journey Santa Fe’s weekly discussion series, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. suzanne lederer The playwright reads from Constance: The Art of Being Mrs. Oscar Wilde, 3 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.
theAter/DAnCe
events
In COnCert
17th Annual Mono Mundo World Dance Festival New Mexico Dance Coalition presents a showcase including hip-hop, Irish dance, flamenco, and tap dance, 1-3 p.m., on the Plaza, no charge, Bye Bye Birdie Pandemonium Productions presents the musical (actors ages 7-17), 2 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, kids 12 and under $6, 982-3327, Friday-Sunday through July 28.
Museum hill garden public grand opening Santa Fe Botanical Garden celebrates with food, music, and activities at no charge, 9 a.m.-5 p.m., 715 Camino Lejo, 471-9103 (see story, Page 56). railyard Artisans Market 10 a.m.-4 p.m.; live music with Victor Andrada, 10 a.m.-1 p.m.; Carlos Aguirre, 1-4 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta. santa Fe society of Artists show 9 a.m.-5:30 p.m., at the First National Bank
parking lot on W. Palace Ave., across from the New Mexico Museum of Art, weekends through Oct. 20.
FleA MArkets
Pueblo of tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com. the santa Fe Flea at the Downs 8 a.m.-3 p.m. Saturdays and Sundays through September, south of Santa Fe at NM 599 and Interstate 25 Frontage Rd., 982-2671, santafetraditionalflea.com.
nIghtlIFe
(See Page 68 for addresses) Café Café Guitarist Michael Tait Tafoya, 6-9 p.m., no cover. Cowgirl BBQ R & B singer/songwriter Zenobia, noon-3 p.m.; Americana singer/songwriter Sara Petite, 8 p.m.; no cover. the Den at Coyote Café Speakeasy Sundays with vocalist Faith Amour’s trio, with Dimian Disanti, 6:30-9 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. the Mine shaft tavern Americana guitarist Gene Corbin, 3-7 p.m., no cover. second street Brewery at the railyard Joe West & The Santa Fe Revue, Psychedelic country, 1-4 p.m., no cover. 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.
pasa week
continued on Page 73
PASATIEMPOMAGAZINE.COM
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exhibitionism A peek at what’s showing around town
emil bisttram (1895-1976): Indian Ceremonial, circa 1959, acrylic lacquer on board. Addison Rowe Gallery (229 E. Marcy St.) presents The Art of the Transcendental Painters. The exhibition features work by four artists associated with the Transcendental art movement: Emil Bisttram, Stuart Walker, Raymond Jonson, and Ed Garman. The Transcendental group promoted nonobjective abstraction and advanced spiritual themes through color, spatial relationships, and light, avoiding themes of a political or social nature. The show runs through Sept. 6. Call 982-1533.
Jason salavon: Color Wheel, 2012, archival inkjet print. Jason Salavon uses self-designed software that enables him to take data from the internet and transform it into digital installations, video, and prints. Salavon’s artwork includes images and other materials from the web arranged into chance configurations based on algorithms. Chance Animals, an exhibition of his work, opens Friday, July 19, at Eight Modern (231 Delgado St.) with a reception at 5 p.m. Call 995-0231.
nathan bennett: Falling Down #1, 2013, patina on bronze. Meyer East Gallery (225 Canyon Road) presents Falling Down, an exhibition of patina-on-bronze artworks by Nathan Bennett. He uses chemicals and patinas the way other artists use paint to craft atmospheric dreamlike landscapes. The show opens Friday, July 19, with a 5 p.m. reception. Call 983-1657.
Lydia hesse: Desert Fowl,, 2013, acrylic on canvas. Unexpected/Juxtapositions,, an all-media group show, opens at Jay Etkin Gallery (703 Camino de la Familia) on Friday, July 19. Artists include Lydia Hesse, Rex Barron, and Michael Darmody. In addition, Glass Alliance New Mexico members David Leight and Chris Donnelly showcase Dale Chihuly-inspired floral bouquets sculpted in glass. The reception is at 5 p.m. and includes an “unexpected treat” from Sweetwater Harvest Kitchen. Call 983-8511.
nathan oliveira (1928-2010): Mask IV, 2007, bronze. Nathan Oliveira’s mysterious, ambiguous treatment of the human body is explored in an exhibition of paintings and sculptures at LewAllen Galleries at the Railyard (1613 Paseo de Peralta). Oliveira was a prominent artist in the Bay Area figurative movement that began in the 1950s. Also opening is Santa Fe’s Holy Trinity of Landscape Painting: John Fincher, Woody Gwyn, and Forrest Moses. The reception for both exhibits is Friday, July 19, at 5 p.m. Call 988-3250. 70
PASATIEMPO I July 19 -25, 2013
At the GAlleries Addison Rowe Gallery 229 E. Marcy St., 982-1533. Works by early 20th-century Santa Fe artists known as the Transcendental Painting Group, through Sept. 6. Andrew Smith Gallery 122 Grant Ave., 984-1234. Ray K. Metzker: Shadow Catcher, B & W photographs, through Aug. 7; Ansel Adams’ photographs, through June. Axle Contemporary 670-7612 or 670-5854. Traveling Raveling, works by Michelle Goodman, Kathleen McCloud, and Gina Telcocci, visit axleart.com for van locations through Aug. 4. Bindle Stick Studio 616½-B Canyon Rd., 917-679-8080. The Drifter, recent work by Jeffrey Schweitzer, through Aug. 30. Chiaroscuro Contemporary Art 702½ Canyon Rd., 992-0711. Works by Peter Millett and Chris Richter, through Aug. 11. Gebert Contemporary 558 Canyon Rd., 992-1100. Otis Jones: Recent Paintings, through Aug.12. Gerald Peters Gallery 1011 Paseo de Peralta, 954-5700. Earth Song, work by ceramicist Jenny Reeves and painter Margaret Schumacher, through Saturday, July 20. The Royal Road: Artistic Impressions of El Camino Real, collaborative exhibit by woodblock artist Leon Loughridge and poet John Macker, through Aug. 17. Convergence Gallery 219 W. San Francisco St., 986-1245. A Delicate Balance, paintings by Brad Stroman, through July. Giacobbe Fritz Fine Art 702 Canyon Rd., 986-1156. Imagined History, new work by Wendy Chidester, through July. Heidi Loewen Porcelain Gallery 315 Johnson St., 988-2225. Summer Highlights, through Aug. 2; Sexy Curve, works by Loewen through Saturday, July 20. James Kelley Contemporary 550 S. Guadalupe St., 989-1601. Concepts and Studies for The Pearl, interdisciplinary work by Enrique Martínez Celaya, through Aug. 17. Karan Ruhlen Gallery 225 Canyon Rd., 820-0807. Surface Beauty, group show, through Thursday, July 25. Matthew Gray Studio 821 San Mateo St., 699-1594. Mule, mixed-media installation, through July (see story, Page 42). Meyer Gallery 225 Canyon Rd., 983-1434. Paintings by Daniel Gerhartz, through Aug. 1. New Concept Gallery 610-A Canyon Rd., 795-7570. Big + Bold, group show, through Aug. 5. Pop Gallery 142 Lincoln Ave., Suite 102, 820-0788. Urban Enchantments, New Visions of Iconic New Mexico, photo-based work by Jacob Johnson, through July. Soul of Science, paintings by Daniel Martin Díaz, through August. Red Dot Gallery 826 Canyon Rd., 820-7338. Mixed-media group show, through Aug. 11. Santa Fe Arts Commission Community Gallery Santa Fe Community Convention Center, 201 W. Marcy St., 955-6705. Viva Flora: Treasured Plants of New Mexico, group show, through Aug. 23. Selby Fleetwood Gallery 600 Canyon Rd., 992-8877. Mumbo Jumbo, paintings and sculpture by Rodney Hatfield, through July 23.
Scheinbaum & Russek 369 Montezuma Ave., Suite 346, 988-5116. Retrospective exhibit of work by photographer Jerry Uelsmann, through August. Sugarman-Peterson Gallery 130 W. Palace Ave., 982-0340. Miracles, paintings by Jane Jones, through Aug. 1. TAI Gallery 1601-B Paseo de Peralta, 984-1387. Bamboo sculpture by Nagakura Kenichi, through Saturday, July 20. Taylor A. Dale Fine Art 129 W. San Francisco St., second floor, 670-3488. Australian Aboriginal art, through July. Turner Carroll 725 Canyon Rd., 986-9800. New work by ceramicist Wanxin Zhang; Hung Liu: Portraits of a Chinese Self; through Aug. 18. Ventana Fine Art 400 Canyon Rd., 983-8815. Equine-themed paintings by Jean Richardson, through Wednesday, July 24. Vivo Contemporary 725-A Canyon Rd., 982-1320. Unfolded: Paper, Pages, Pen, works by Ilse Bolle, Joy Campbell, and Patty Hammarstedt, through Aug. 20. Wade Wilson Art 217 W. Water St., 423-5933. Recent paintings by Peter Sacks; work by painter Zachariah Rieke. Waxlander Gallery 622 Canyon Rd., 984-2202. Figuratively Romantic, new work by Andrée Hudson, through Monday, July 22. William Siegal Gallery 540 S. Guadalupe St., 820-3300. Newlandia, work by Paula Roland; In the Middle of Nowhere, drawings and objects by Paula Castillo; through Aug.10. 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.
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. Gallery hours available online at ccasantafe.org or by phone, no charge. Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land, through Sept. 8. Open 10 a.m.-5 p.m. Saturday-Thursday, 10 a.m.-7 p.m. Friday. $12; seniors $10; NM residents $6; students 18 and over $10; under 18 no charge; no charge for NM residents first Friday of each month. Museum of Contemporary Native Arts 108 Cathedral Pl., 983-1666. Facing the Camera: The Santa Fe Suite, photographic portraiture by Rosalie Favell • Stands With a Fist: Contemporary Native Women Artists • For Instance, Look at the Land Beneath Your Feet, video installation by Kade L. Twist • Apache Chronicle, Nanna Dalunde’s experimental documentary on the artist collective Apache Skateboards; through July.
rotunda Gallery shows book art by ro calhoun in the group show New Mexico: Unfolding.
Open 10 a.m.-5 p.m.; closed Tuesday; noon-5 p.m. Sunday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 476-1250. What’s New in New: Recent Acquisitions, annual exhibit celebrating the gallery’s namesake, Lloyd Kiva New, through 2013 • Woven Identities: Basketry Art From the Collections • Margarete Bagshaw: Breaking the Rules, 20-year retrospective • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. TuesdaySunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups free; NM residents no charge on Sundays; no charge for NM residents over 60 on Wednesdays. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 476-1200. Let’s Talk About This: Folk Artists Respond to HIV/AIDS, collaborative community exhibit, through Jan. 5, 2014 • Tako Kichi: Kite Crazy in Japan, exhibit of traditional Japanese kites, through March 2014 • Plain Geometry: Amish Quilts, textiles from the collection and collectors, through Sept. 2 • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays; school groups no charge.
Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 982-2226. Beltrán-Kropp Peruvian Art Collection, exhibit of gift items, including a permanent gift of 60 art pieces and objects from the estate of Pedro Gerardo Beltrán Espantoso, Peru’s ambassador to the U.S. (1944-1945), through May 27, 2014 • Stations of the Cross, works by New Mexico artists, through Sept. 2 • Metal and Mud — Out of the Fire, works by Spanish Market artists, through August • San Ysidro/St. Isidore the Farmer, bultos, straw appliqué, paintings on tin, and retablos • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonial-period re-creation. Open 10 a.m.-5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; no charge for NM residents on Sundays. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200. Water Over Mountain, Channing Huser’s photographic installation • Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16, 2014 • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author, through Feb. 9, 2014. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Friday. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge for NM residents over 60 on Wednesdays; NM residents no charge on Sundays; free admission 5-8 p.m. Fridays. New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Peter Sarkisian: Video Works 1994-2011, mixed-media installations, through Aug.18 • Shiprock and Mont St. Michel, Santa Fe photographer William Clift’s landscape studies, through Sept. 8 • Back in the Saddle, collection of paintings, prints, photographs, and drawings of the Southwest, through Sept. 15 • It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Friday. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; NM residents free on Sundays. Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Pl., 988-8900. A Straight Line Curved, paintings by Helen Hardin, through September. Open noon-4 p.m. Friday-Sunday. $10 admission. Poeh Museum 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334. Open 8 a.m.-5 p.m. Monday-Friday; 9 a.m.-4 p.m. Saturday; donations accepted. Rotunda Gallery State Capitol, Old Santa Fe Trail and Paseo de Peralta, 986-4589. New Mexico: Unfolding, group show of mixed-media fiber art, through Aug. 16. SITE Santa Fe 1606 Paseo de Peralta, 989-1199. Enrique Martínez Celaya: The Pearl, site-specific installation, through Oct. 13. Open 10 a.m.5 p.m. Tuesday-Saturday; 10 a.m.-7 p.m. Friday; $10; seniors and students $5; 10 a.m.-noon Saturday no charge; Friday no charge. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13, 2014. Open 10 a.m.-5 p.m. Monday-Saturday, 1-5 p.m. Sunday.
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In the wings MUSIC
Runa Celtic-roots ensemble, 8 p.m. Saturday, July 27, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com. New Orleans Sunset Santa Fe Youth Symphony Association fundraising concert and 20th anniversary celebration, with jazz sets that include Dave Anderson, Dave Brady, Chris Ishee, and Jan McDonald, 6 p.m. Sunday, July 28, $100, couples $180, includes food and wine, call 467-3770 for tickets and venue details. KSFR Radio Music Café jazz series Vocalist Barbara Bentree, with John Rangel on piano, Andy Zadrozny on bass, and John Trentacosta on drums, 7 p.m. Wednesday, July 31, Museum Hill Café, 710 Camino Lejo, Milner Plaza, $20, 428-1527. Christine Brewer The soprano in recital honoring Wagner and Britten, accompanied by pianist Joseph Illick, 4 p.m. Sunday, Aug. 4, the Lensic, $25-$50, 986-5900. Ring of Fire Johnny Cash and June Carter Cash tribute performed by Matt Gonzales and Kelly Khun, 6 p.m. Sunday and Monday, Aug. 4-5, La Casa Sena Cantina, 125 E. Palace Ave., $25, 988-9232., 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, fully staged with costumes, sets, and orchestra, featuring baritone Alan Dunbar and mezzo-soprano Ellie Jarrett Shattles, 6 p.m. Saturday, Aug. 10, 10:30 a.m. and 1 p.m. Sunday, Aug. 11, $5 in advance; Apprentice Showcase Scenes, fully staged performances, 8 p.m. Sunday, Aug. 11 and 18, $21, child discounts available; 986-5900. Festival of Song Recitals by Santa Fe Opera performers, 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. Music From Angel Fire The 30th season features Chick Corea as the 2013 composer-in-residence; artists include Ida Kavafian, Anne-Marie McDermott, the Harlem Quartet, and Imani Winds, Aug. 16Sept. 1, Angel Fire, Taos, Raton, and Las Vegas, $20-$35, 888-377-3300, musicfromangelfire.org. Tiempo Libre Miami-based timba-music band, 8 p.m. Friday, Aug. 16, the Lensic, $12-$42, 988-1234, ticketssantafe.org. 39th Annual Santa Fe Bluegrass and Old Time Music Festival Headliners, Claire Lynch Band and Foghorn Stringband, featured New Mexico bands include Hard Road Trio, The Lost Howlin’ Coyotes, and The Bill Hearne Trio, Friday-Sunday, Aug. 23-25, Santa Fe County Fairgrounds, $15-$40, three-day pass $50, southwestpickers.org. Slaid Cleaves Singer/songwriter, 7:30 p.m. Friday, Aug. 30, Music Room at Garrett’s Desert Inn, 311 Old Santa Fe Trail, $20 in advance, $25 at the door, southwestrootsmusic.org. 72
PASATIEMPO I July 19 -25, 2013
Music and Myth Robert Mirabal’s theatrical concert, 7 p.m. Friday and Saturday, Aug. 30-31, Santa Fe Opera, 301 Opera Dr., $25-$65, 986-5900. Melissa Etheridge Rock singer/songwriter, 7:30 p.m. Friday, Sept. 6, Santa Fe Opera, 301 Opera Dr., $44-$81, 986-5900. Los Lonely Boys Texican rock ’n’ rollers, 6:45 p.m. Friday, Sept. 13, Santa Fe Community Convention Center, $25, VIP tickets $75, 988-1234, ticketssantafe.org. Neko Case Alt-country singer/songwriter, 7:30 p.m. Friday, Sept. 13, the Lensic, $29-$39, ticketssantafe.org 988-1234. Blondie: No Principals Tour Rock band, X opens, 7 p.m. Monday, Sept. 23, Santa Fe Opera, 301 Opera Dr., $38-$86, 986-5900, proceeds benefit the Española Valley Humane Society. Michael Franti & Spearhead Funk/reggae/jazz fusion band, 7:30 p.m. Wednesday, Oct. 23, Santa Fe Community Convention Center, $30, ticketssantafe.org, 988-1234, $35 at the door, 21+.
THEATER/DANCE
Gross Indecency: The Three Trials of Oscar Wilde Santa Fe REP presents a reading of Moisés Kaufman’s play, 7 p.m. Friday, 4 p.m. Sunday, July 26 and 28, Santa Fe Woman’s Club, 1616 Old Pecos Trail, $15, discounts available, 629-6517 or sfrep.org. The Screwtape Letters Fellowship for the Performing Arts presents its comedic theatrical adaptation of the C.S. Lewis novel, 8 p.m. Friday, 4 p.m. Saturday, Aug. 2-3, the Lensic, $35-$55, student discount available, 988-1234, ticketssantafe.org.
Upcoming events Still Around Kaye Ballard and Liliane Montevecchi on stage at the Lensic, 7:30 p.m. Thursday, Aug. 8, tickets start at $20, VIP tickets ($125) include a reception with the performers, ticketssantafe.org, 988-1234. From Nofire Hollow to Hollywood Wes Studi’s one-man show, 6:30 p.m. Monday, Aug. 12, The Club at Las Campanas, $85 in advance, includes wine and hors d’oeuvres, 820-0552, silverbulletproductions.com, proceeds benefit SBP’s educational workshops. All for Your Delight Scenes and songs from Shakespeare’s comedies, 7:30 p.m. Friday-Sunday, Aug. 16-18, outdoors at St. John’s College, 1160 Camino de Cruz Blanca, $20 in advance, student discounts available, 988-1234, ticketssantafe.org. Secret Things Camino Real Productions presents Elaine Romero’s play about New Mexico CryptoJews, Friday-Sunday, Aug. 16-25, Teatro Paraguas Studio, 3205 Calle Marie, call 424-1601 for details. Stepology: Tap into the Now! Tap dancers’ showcase, 7:30 p.m. Thursday, Aug. 29, the Lensic, $15-$35, 988-1234, ticketssantafe.org. Aspen Santa Fe Ballet Dancer Katie Dehler is showcased in the final performance of the summer season, 8 p.m. Saturday, Aug. 31, the Lensic, $25-$72, 988-1234, ticketssantafe.org.
HAPPENINgS
Santa Fe Opera community events Ranch Tours, extended tours of the grounds with a meet-the-artist component, July 26 and August 30, tour $12, added backstage tour $20, call 986-5900, visit santafeopera.org for a schedule of other community events. Institute of American Indian Arts Writers Festival Free readings begin at 6 p.m. July 28 and run through Aug. 1; 83 Avan Nu Po Rd., in conjunction with the festival, writer Sherman Alexie hosts a fundraiser on campus, 6 p.m. Friday, Aug. 2, $50 in advance, 988-1234, ticketssantafe.org. 41st Annual girls Inc. Arts & Crafts Show On the Plaza, 9 a.m.-5 p.m. Saturday and Sunday, Aug. 3-4, 982-2042, girlsincofsantafe.org. SITE Santa Fe gala Featuring a live auction of contemporary art; guest artist Richard Tuttle; Wednesday and Thursday, Aug. 7-8, 1606 Paseo de Peralta, 989-1199.
timba-music band tiempo Libre performs at the Lensic Aug. 16.
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. 30th Annual Antique Ethnographic Art Show Gala preview Thursday, Aug. 8, show Friday and Saturday, Aug. 9-10, Santa Fe Community Convention Center, 201 W. Marcy St., 955-6707, preview opening $75, general admission $10, whitehawkshows.com, 992-8929. Santa Fe Show: Objects of Art More than 65 galleries and exhibitors, gala opening night Friday, Aug. 9, expo Aug.10-13, El Museo Cultural de Santa Fe, 555 Camino de la Familia, $13 run-of-show, opening-night gala $50, tickets available in advance online at thesantafeshow.com, proceeds benefit New Mexico PBS. 35th Annual Invitational Antique Indian Art Show Gala preview Sunday, Aug. 11, show Monday and Tuesday, Aug. 12-13, Santa Fe Community Convention Center, 201 W. Marcy St., gala preview opening $75, general admission $10, whitehawkshows.com, 992-8929. 92nd Annual Indian Market Monday-Sunday, Aug. 12-16; more than 1,000 Native artists; market events include the 13th Annual Native Cinema Showcase, Best of Show ceremony and luncheon, concerts, and a Native American Clothing Contest, on the Plaza and surrounding streets; visit swaia.org for full events schedule. Jeff Speck: Why the Future Belongs to Walkable Cities Lecture and discussion with the author/city planner, 6 p.m. Tuesday, Aug. 13, Armory for the Arts, 1050 Old Pecos Trail, $10, students $5, ticketssantafe.org, 988-1234. Museum of Contemporary Native Arts 2013 Summer Arts Public Programs Free group exhibit openings Thursday, Aug. 15, featuring a special performance by Iroquois singer/songwriter Joanne Shenandoah; additional events running through the weekend of Aug. 16, include panel discussions featuring Native artists and museum directors and the premiere of a new collection by Native designers, 108 Cathedral Pl., 983-8900. 38th annual Wheelwright Museum of the American Indian benefit auction Silent auction and live auction preview Thursday, Aug. 15; Collector’s Table, live auction preview, and live auction Friday, Aug. 16; plus, artist demonstrations and optional catered lunch, 704 Camino Lejo, Museum Hill, 982-4636, wheelwright.org. Palace Portal Artisans’ Celebration Native specialties food booth, music, handcrafted work, and traditional dances, 10 a.m.-5 p.m. Saturday and Sunday, Aug. 17-18, Palace of the Governors on the Plaza, 476-5200. Jim Hightower talk and reception The national radio commentator is the guest speaker at an event presented by KSFR Radio, 5:30 p.m. Saturday, Aug. 24, Museum Hill Café, $35, 428-1527. Fiestas de Santa Fe Annual community celebration (since 1721) running Aug. 31, through Sept. 8; arts & crafts market; Mariachi Extravaganza de Santa Fe; historic processions and reenactments; burning of Zozobra, Thursday, Sept. 5; visit santafefiesta.org for schedule and details.
continued from Page 69
22 Monday classical music
santa Fe chamber music Festival Free youth concert performed by the Miami String Quartet, 10 a.m.; evening concert, music of Berg, Schulhoff, and Brahms; performers include pianist Soyeon Kate Lee, clarinetist Todd Levy, and violinist Benny Kim, 6 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., tickets available at the SFCMF box office, 982-1890, santafechambermusic.com, or 988-1234, ticketssantafe.org.
in concert
santa Fe Bandstand Juggling/fire-eating/magic troupe Clan Tynker, noon, local jazz trumpeter Ryan Montano, 6 p.m., Max Baca and Jimmy Baca, Tex-Mex conjunto, 7:15 p.m. (see Sound Waves, Page 18), on the Plaza, santafebandstand.org, series continues through Aug. 23.
Books/talks
museum of spanish colonial art lecture Don Bernardo de Miera y Pacheco and the Construction of the Capilla Castrense in Santa Fe, with Felipe Mirabal, 2 p.m., 750 Camino Lejo, Museum Hill, by museum admission, 982-2226. new mexico museum of art gallery talk The summer series continues with Joyce BegayFoss, director of education, Museum of Indian Arts and Culture, 12:15-1 p.m., 107 W. Palace Ave., by museum admission, 476-5072. tony Juniper The author reads from and signs copies of What Has Nature Ever Done for Us?, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. Violence against Women in the ancient southwest: a Bioarchaeological Perspective A Southwest Seminars lecture with Debra L. Martin, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775.
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 68 for addresses) el Farol Jazz saxophonist Trey Keepin, 8 p.m., no cover. la Fiesta lounge at la Fonda Soulstatic, funk and R & B, 7:30 p.m., no cover. the underground at evangelo’s Folk/pop/rock band The Shilohs, 9 p.m., call for cover. Vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover.
23 Tuesday classical music
ravel recital Pianist Peter Pesic, 12:30 p.m., Junior Common Room, Peterson Student Center, St. John’s College 1160 Camino de Cruz Blanca, no charge, 984-6070. santa Fe chamber music Festival Jeremy Denk: piano recital of Bach’s Goldberg Variations, noon, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave.,
tickets available at the SFCMF box office, 9821890, santafechambermusic.com, or 988-1234, ticketssantafe.org (see story, Page 32). 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 Traditional New Orleans-style brass band The Mil-Tones, 6 p.m., jazz/rock guitarist Larry Mitchell, 7:15 p.m., on the Plaza, santafebandstand.org, series continues through Aug. 23.
theater/Dance
Juan siddi Flamenco theatre company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234, TuesdaysSundays through Sept. 1. Yjastros: the american Flamenco repertory company at el Farol 8 p.m. Tuesdays-Sundays through Aug. 11, $25, 983-9912.
Books/talks
georgia o’keeffe museum readers’ club The discussion series continues with books about Hopi artists Dan Namingha and Ramona Sakiestewa, 10-11:30 a.m., Education Annex, 123 Grant Ave., 946-1039, no charge. Peter e. lopez and nasario garcía The New Mexico authors read from and sign copies of their respective books Edward O’Brien, Mural Artist: 1910-1975 and Grandma’s Santo on Its Head: Stories of Days Gone By in Hispanic Villages of New Mexico, 6 p.m., Collected Works Bookstore, 202 Galisteo Rd., 988-4226. santa Fe Photographic Workshops instructor image Presentation series Open conversation and slide presentation of works including those of Tony Bonanno, Will Van Beckham, and Joe McNally, 8:30-10 p.m., Santa Fe Prep auditorium, 1101 Camino de Cruz Blanca, no charge, 983-1400, Ext 11. site santa Fe my life in art The talk series continues with Virginia Dwan and Max Protetch, 6 p.m., Armory for the Arts, 1050 Old Pecos Trail, $5 and $10, 989-1199.
eVents
Behind adobe Walls house and garden tour Santa Fe Garden Club’s annual guided tour of local private residences; noon-5 p.m. today and Tuesday, July 30, tour $75, optional pre-tour luncheon $20, call Terry at Westwind Travel, 984-0022, for reservations and information, thesantafegardenclub.org. santa Fe Farmers market 7 a.m.-noon, 1607 Paseo de Peralta, 983-4098. santa Fe Farmers market on the southside 3-6 p.m., Santa Fe Place Mall, Zafarano Dr. entrance, 913-209-4940, Tuesdays through Sept. 24. santa Fe opera Backstage tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900 weekdays through Aug. 13.
nightliFe
(See Page 68 for addresses) ¡chispa! at el mesón Argentine Tango Milonga, 7:30 p.m.-close, call for cover. cowgirl BBQ Texas roots duo Byrd & Street, 8 p.m., no cover.
Inga Hendrickson
pasa week
New Mexico Latin-groove band Nosotros performs at La Fonda’s La Fiesta Lounge on Friday and Saturday, July 19-20, and at St. John’s College Wednesday, July 24.
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 Soulstatic, funk and R & B, 7:30 p.m.-close, no cover. the Palace restaurant & saloon Singer/songwriter Philip Gibbs, 7 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.; pianist/vocalist Bob Finnie, pop standards, 8 p.m.-close; call for cover.
24 Wednesday oPera
La Traviata Verdi’s indelible classic about a Parisian courtesan in a moral quandary returns in the 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. 8:30 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900 (see stories, Pages 26-30).
in concert
music on the hill 2013 St. John’s College’s free outdoor concert series concludes with Latin-groove band Nosotros, 6-8 p.m., outdoors at the college’s athletic field, 1160 Camino de Cruz Blanca. santa Fe Bandstand Railyard Reunion Band, bluegrass, noon; Baile Español, children’s dance troupe, 6 p.m.; Manzanares, nuevo flamenco, 7:15 p.m., on the Plaza, santafebandstand.org, series continues through Aug. 23.
theater/Dance
Juan siddi Flamenco theatre company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, 988-1234, ticketssantafe.org, Tuesdays-Sundays through Sept. 1. Yjastros: the american Flamenco repertory company at el Farol 8 p.m. Tuesdays-Sundays through Aug. 11, $25, 983-9912.
Books/talks
Brainpower & Brownbags lecture Marni Sandweiss discusses Beyond the Edge: One Photograph, Many Stories, and the Violent World of the Reconstruction West, noon-12:45 p.m., a monthly series held at Meem Community Room, Fray Angélico Chávez History Library, 120 Washington Ave., no charge, 476-5200. Dharma talk Hosted by Upaya Zen Center, 5:30-6:30 p.m., 1404 Cerro Gordo Rd., no charge, 986-8518. Feminism and the new ampersand Problem St. John’s College’s free summer lecture and Q & A series continues with Reginald Williams, 3:15 p.m., Junior Common Room, Peterson Student Center, 1160 Camino de Cruz Blanca, 984-6070. santa Fe clay summer slide lecture Organic Structures, by ceramist David Hicks, 7 p.m., Santa Fe Clay, 545 Camino de la Familia, no charge, 984-1122, series continues weekly through Aug. 14. set for life: registers of responsibility in canada’s Diamond Basin Free public lecture by Lindsay A. Bell, noon-1 p.m., School for Advanced Research, 660 Garcia St., 954-7203.
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 68 for addresses) agoyo lounge at the inn on the alameda Jazz guitarist Pat Malone, 5-7 p.m., no cover. ¡chispa! at el mesón Americana/blues guitarist Jim Almand, 7:30 p.m.-close, no cover. cowgirl BBQ Folk/rock artist Dan Tedesco, 8 p.m., no cover. el Farol Pan-Latin chanteuse Nacha Mendez with Santastico, 8 p.m.-close, no cover. la casa sena cantina Guitarist Ramón Bermudez Trio, 5:30-7:30 p.m., no cover. la Fiesta lounge at la Fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM
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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.
ticketssantafe.org; 2-10:30 p.m. Saturday, July 20, Red Baraat, The Relatives, Gregg A. Smith, and others perform at Route 66 Summerfest, Nob Hill, no charge; 8 p.m. Wednesday and Thursday, July 24-25, Lionel Loueke Trio, Outpost Performance Space, 210 Yale Blvd. S.E., $25 and $30, 505-268-0044, or ticketssantafe.org, 988-1234 (see stories, Pages 23-25). kid rock: rebel soul Tour Kool & The Gang and Uncle Kracker open, 6:45 p.m. Tuesday, July 23, Isleta Amphitheater, 5601 University Blvd. S.E., tickets start at $20, livenation.com. santa Fe chamber music Festival The season continues with the Miami String Quartet and SFCMF artists in Mendelssohn & More, 7:30 p.m. Wednesday, July 24, Simms Auditorium, 6400 Wyoming Blvd. N.E., tickets available at the SFCMF box office, 982-1890, santafechambermusic.com, or 988-1234, ticketssantafe.org.
25 Thursday classical music
anna maria cardinalli Flamenco-guitar recital, 7 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $40, 982-2226, Ext.111. santa Fe chamber music Festival Music of LeClaire, Shostakovich, and Beethoven; performers include clarinetist Todd Levy, the Miami String Quartet, and violinist Harvey de Souza, noon, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., tickets available at the SFCMF box office, 982-1890, santafechambermusic.com, or 988-1234, ticketssantafe.org. santa Fe chamber music Festival Music of Dohnányi, Schulhoff, and Mendelssohn; performers include the Miami String Quartet, violinist Jennifer Gilbert, and violist Max Mandel, 6 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., tickets available at the SFCMF box office, 982-1890, santafechambermusic.com, or 988-1234, ticketssantafe.org. santa Fe Desert chorale 2013 summer Festival The Road Home: Songs of America, 8 p.m., Cathedral Basilica of St. Francis of Assisi, 213 Cathedral Pl., $15-$55, desertchorale.org, 988-2282.
in concerT
santa Fe Bandstand Indie band Honey House, 6 p.m., Jay Boy Adams and Zenobia, R & B, 7:15 p.m., on the Plaza, santafebandstand.org, series continues through Aug. 23.
TheaTer/Dance
Juan siddi Flamenco Theatre company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, 988-1234, ticketssantafe.org, TuesdaysSundays through Sept. 1. Spring Awakening Gemini Productions and Warehouse 21 present the musical, 7 p.m., 1614 Paseo de Peralta, $12, holdmyticket.com, 231-6879, Thursday-Sunday through July 28, ages 16 and under must be accompanied by an adult.
Books/Talks
oscar Wilde: celebrity or notoriety? Opening night of a four-day seminar presented by the Santa Fe Opera; keynote address by biographer and grandson of Wilde Merlin Holland on Confounding the Critics — Surviving the Scandal: The Remarkable Reputation of Oscar Wilde, 6 p.m., reception follows, Santa Fe Woman’s Club, 1616 Old Pecos Trail, $50, four-day seminar $85, 946-2417. santa Fe art institute monthly open studio Meet-and-greet with writers- and artists-in-residence, 5:30 p.m., University of Art & Design, 1600 St. Michael’s Dr., 424-5050.
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 68 for addresses) ¡chispa! at el mesón Jazz pianist John Rangel and friends, 7:30 p.m.close, no cover.
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PASATIEMPO I July 19 -25, 2013
chimAyó Photographs by David Scherrer at Greg Moon Art, 109-A Kit Carson Rd., Taos
cowgirl BBQ Folk rockers The Bus Tapes, 8 p.m., no cover. el Farol Classical/Latin/jazz blend duo Evarusnik, 7 p.m., no cover. evangelo’s Rolling Stones tribute band Little Leroy and His Pack of Lies, 9 p.m.-close, call for cover. la Boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. la casa sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. la Posada de santa Fe resort and spa Pat Malone Jazz Trio, 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 Felix y Los Gatos, zydeco/Tejano/juke-swing, 6-9 p.m., no cover. second street Brewery at the railyard Roots-rock duo Man No Sober, 6-8 p.m., no cover. steaksmith at el gancho Mariachi Sonidos del Monte, 6:30 p.m., no cover. Tiny’s DJs Feathericci and Bacon, 9 p.m., no cover. Vanessie Bob Finnie, pop standards piano and vocals, 7 p.m.-close; no cover. Zia Diner Swing Soleil, Gypsy jazz and swing, 6-8 p.m., no cover.
▶ Elsewhere Abiquiú
galleria arriba 21120 NM 84, 505-685-4378. Works by sculptor Tom Bowker and jeweler Carol Bowker, through July.
AlbuquErquE museums/art spaces
516 arts 516 Central Ave. S.W., 505-242-1445. Native American contemporary artists’ group shows: Air, Land, Seed and Octopus Dreams, through Sept. 21. 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. inpost art space Outpost Performance Space, 210 Yale Blvd. S.E., 505-268-0044. Jazz at Half Moments, photographs by Mark Weber, in conjunction with the Eighth Annual New Mexico Jazz Festival. new mexico museum of natural history & science 1801 Mountain Rd. N.W., 505-841-2804. Open 9 a.m.-5 p.m. daily; adults $7, seniors $6, under 12 $4; NM seniors no charge on Wednesdays. richard levy gallery 514 Central Ave. S.W., 505-766-9888. Alex Katz, retrospective exhibit of prints; Elderly Animals, photographs by Isa Leshko; through July 26.
events/Performance
ryan montano The Santa Fe jazz trumpeter/songwriter celebrates the release of his album Something Happened Tuesday, reception 5:30 p.m. Friday, July 19, concert 7:30 p.m., Albuquerque Journal Theatre, National Hispanic Cultural Center, 1701 Fourth St. S.W., $14, discounts available, 505-724-4771. eighth annual new mexico Jazz Festival 8 p.m. Friday, July 19, Yellowjackets, Hiland Theater, 4800 Central Ave. S.E., $25 and $35, VIP tickets $75, Lensic box office, 988-1234,
michael Fitzpatrick The cellist performs in a benefit concert for El Santuario de Chimayó, 7 p.m. Friday, July 19, 15 Santuario Dr., $25, VIP seating $50, brownpapertickets.com.
EspAñolA
Jazz on the green New Mexico jazz saxophonist Doug Lawrence performs, 7 p.m. Friday, July 19, Black Mesa Golf Club, 115 NM 399, $20, 505-747-8946. 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. misión museum y convento 706 Bond St., 505-747-8535. A replica based on the 1944 University of New Mexico excavations of the original church built by the Spanish at the San Gabriel settlement in 1598. Open noon-4 p.m. WednesdayFriday, 11 a.m.-3 p.m. Saturday; no charge.
los AlAmos museums/art spaces
mesa Public library art gallery 2400 Central Ave., 662-8247. Mostly Clear and Partly Cloudy: Climate as Metaphor, mixed-media works by Janice Wall and Shaun Gilmore, through Aug. 4. Pajarito environmental education center 3540 Orange St., 662-0460. Exhibits of flora and fauna of the Pajarito Plateau; an herbarium, live amphibians, and butterfly and xeric gardens. Open noon-4 p.m. Tuesday-Friday, 10 a.m.-1 p.m. Saturday, no charge, visitpajaritoeec.org for weekly programs and events schedule.
events/Performances
Downtown Friday night Citywide cultural, historical, and educational events; Fridays through July 26, call Los Alamos Main Street, 661-4844, visit creativelosalamos.org or for events schedule. gordon’s summer concerts Willie Nelson’s country rocker daughter Paula Nelson and her band, 7 p.m. Friday, July 19, Smiths market, 535 Central Ave., no charge, gordonssummerconcerts.com. light, landscape, and the creative Quest: early artists of santa Fe The Authors Speak series continues with an illustrated discussion of the book by author Stacia Lewandowski, 7 p.m. Thursday, July 25, Upstairs Rotunda, Mesa Public Library, 2400 Central Ave., 662-8247, no charge.
madrid
Filmmakers/Performers
Madrid Old Coal Town Mine Museum 2846 NM 14, 438-3780 or 473-0743. Madrid’s Ghost Town Past, new display celebrating Madrid’s 40th Rebirth Day, through October. Steam locomotive, mining equipment, and vintage automobiles. Open 10:30 a.m.4:30 p.m. daily. $5, seniors and children $3.
New Mexico Dance Coalition student scholarships Three scholarships awarded to New Mexico residents aged 8 to adults in the amount of $400; visit nmdancecoalition.org for guidelines and application forms; applications accepted through Friday, July 26; email Dyan Yoshikawa at nmdancecoalition@gmail.com. Reel New Mexico Independent Film Series New Mexico filmmakers may submit shorts, narrative and documentary features, student films, and works-in-progress through 2013; for more information or to submit a film, contact reelnewmexico@gmail.com. Santa Fe Independent Film Festival Submissions sought for the Oct.16-20 festival; Visit santafeindependentfilmfestival.com for rules and guidelines; deadline Aug.1.
peñasco
Peñasco Theatre summer season Acrobatic artists Codhi Harrell and Oriol Domnech in How to Fall, 7:30 p.m. Saturday, July 20, $20; Irish aerial dance/theater troupe Fidget Feet in Hang On, 4 p.m. Sunday, July 21, $10; 575-587-2726, penascotheatre.com.
pueblo of Tesuque
Micki Free The guitarist/vocalist performs in support of the American Red Cross, doors open at 6:30 p.m. Sunday, July 21, show starts at 7 p.m., Rock Show Room, Camel Rock Casino, 17486 US 84, $10 in advance and at the door, camelrockcasino.com, 800-462-2635, proceeds benefit funds for disaster relief in the Southwest.
Taos
Volunteers
Paula Nelson and her band perform Friday, July 19, at Gordon’s Summer Concerts in Los Alamos.
Museums/Art Spaces
203 Fine Art 203 Ledoux St., 575-751-1262. New still lifes by America Martin, through July 27. E.L. Blumenschein Home and Museum 222 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish Colonial antiques. Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge; Taos County residents no charge on Sunday. Encore Gallery Taos Community Auditorium, Taos Center for the Arts, 133 Paseo del Pueblo Norte, 575-758-2052. In the Groove, paintings by Mimi Chen Ting, through Sept. 1. Greg Moon Art 109-A Kit Carson Rd., 575-770-4463. After Dark II, nocturnal-themed show, through July 27.
Talking Heads
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 11 a.m.5 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge. La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. 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. New works by painter Peter Bonesteel, pastelist Carolene Herbel, and mixed-media artist Jan Nelson, through Aug. 2. 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
Light, Landscape, and the Creative Quest: Early Artists of Santa Fe Local author Stacia Lewandowski discusses her book as July’s guest speaker for Mesa Public Library’s free Authors Speak series at 7 p.m. Thursday, July 25, at the Upstairs Rotunda, 2400 Central Ave., 662-8247.
Fiestas de Taos Annual community celebration featuring live music, dances, parades, and special presentations, noon Friday, July 19, concludes Sunday, July 21, visit fiestasdetaos.com for full schedule of performances and events. Meadows Wind Ensemble SMU students in The French Connection, 8:15 p.m. Saturday, July 20, O’Donnell Auditorium, SMU-in-Taos, Fort Burgwin, 6580 NM 518, no charge, for details call 575-758-8322.
Remarkable Women of Taos Book launch and signing party with contributing writers, photographers, and nominees, 5-8 p.m. Thursday, July 25, KTAOS Solar Center, 9 NM 150, 575-737-9300, taosscf.org.
▶ people who need people Artists
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. Fiesta de Cerrillos Artists and craftspersons interested in a booth at the Sept. 21, event can contact Sandy Young, 438-2885, sandy@dirtdauberstoneware.com; no booth fees; participants provide their own setups. La Cienega/La Cieneguilla Studio Tour Artists interested in participating in the annual tour held Thanksgiving weekend can contact Lee Manning for information, 699-6788, lensandpens@comcast.net. New Mexico furniture craftspersons Santa Fe Arts Commission Community Gallery is planning an exhibit of chairs from June through August 2014; traditional, modern, sculptural, and functional pieces considered; submit portfolio to Rod Lambert, Community Gallery manager, by Friday, June 28; mail to P.O. Box 909, Santa Fe, NM, 87504, 955-6705. Pojoaque River Art Tour Area artists are invited to join the annual studio tour Sept. 21-22; pojoaqueriverarttour.com, 455-3496. Santa Fe Public Libraries exhibits Month-long exhibits open to local artists; all two-dimensional work considered; no commissions taken; for information call 955-4862 or 955-6784; visit santafelibrary.org for application process details.
Girls Inc. of Santa Fe Artists needed to act as jurors during the 41st Annual Arts & Crafts Show Aug. 3-4, on the Plaza; also, various positions are available during the show; call 982-2042 for details, or visit girlsincofsantafe.org. Railyard Stewards Yardmasters Develop new project ideas; lead educational training sessions; fund-raise; help out in the office; free training and workshops on keeping Railyard Park vibrant; contact Alanna for schedules, 316-3596, alanna@railyardpark.org. Santa Fe Community Farm Help with the upkeep of the garden that distributes fresh produce to The Food Depot, Kitchen Angels, St. Elizabeth Shelter, and other local charities; the hours are 9:30 a.m.4 p.m. daily, except Wednesdays and Sundays; email sfcommunityfarm@gmail.com or visit santafecommunityfarm.org for details. Santa Fe Spanish Market Sit at barricades for two- or three-hour shifts 7 a.m.-7 p.m. July 26-28, call Linda at 982-2226, Ext. 121 for details and to sign up.
▶ under 21 Spring Awakening Gemini Productions and Warehouse 21 present the musical, 7 p.m. Friday, Saturday, and Thursday, 4 p.m. Sunday, July 19-28, W21, 1614 Paseo de Peralta, $12, ages 16 and under must be accompanied by an adult, 231-6879, holdmyticket.com.
▶ pasa Kids Santa Fe Children’s Museum open studio Learn to paint and draw using pastels, acrylics, and ink, noon-3:30 p.m. Fridays, 1050 Old Pecos Trail, 989-8359, visit santafechildrensmuseum.org for weekly scheduled events. Larger Than Life Landscapes Georgia O’Keeffe Museum free family program; 9:30-11:30 a.m. Saturday, July 20, 217 Johnson St., call 946-1039 for information. 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. 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, July 20, Wheelwright Museum of the American Indian, 704 Camino Lejo, Museum Hill, no charge, weekly on Saturday through Aug. 11, 982-4636, Ext. 110, held outdoors, bring chairs. Dig Into Reading Santa Fe Public Library 2013 Summer Reading Program, toddlers and children up to age 12, visit santafelibrary.org for registration and events schedule, through July 27. ◀
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