Im­mac­u­late Heart Chapel,

Pasatiempo - - On­stage This Week -

place mu­si­cians behind the au­di­ence for an­tiphonal ef­fects. The cam­pus boasts am­ple park­ing.

Mar­i­an­iello said that she is in­tent on pre­sent­ing mu­si­cians “from a range of per­form­ing groups in the area — but a cen­tral idea is to use New Mex­ico-based artists. As soon as I moved here, I was struck by how many af­ford­able, high-qual­ity, re­ally world-class artists are here, in­clud­ing a sur­pris­ing num­ber of peo­ple who have re­tired here af­ter suc­cess­ful mu­si­cal ca­reers and re­main ex­cel­lent play­ers.” Al­though as artis­tic direc­tor she will plan and par­tic­i­pate in some of the con­certs, she is also big on the ideal of col­lab­o­ra­tion with other per­form­ing or­ga­ni­za­tions, sev­eral of which have al­ready dropped in to check out the space. The in­au­gu­ral event on Feb. 13 fea­tures the Taos Cham­ber Mu­sic Group, di­rected by Nancy Laupheimer (an­other flutist), and it is sea­son­ally themed for Valen­tine’s Day. The evening starts with an op­tional din­ner in the Re­treat Cen­ter’s Sun­mount Room and con­tin­ues in the chapel with Franz Schu­bert’s E-flat-Ma­jor Pi­ano Trio, Arvo Pärt’s Fra­tres, and Jake Heg­gie’s song cy­cle The Deep­est De­sire, set to po­ems by Sis­ter He­len Pre­jean, which will be per­formed by the lo­cal wife-and-hus­band team of Kirsten Lear (mezzo-so­prano) and Robert Tweten (pian­ist), along with Laupheimer. The con­cert be­gins with a re­cent work for alto flute and elec­tron­ics by the ex­per­i­men­tal com­poser Eve Beglar­ian; its ti­tle, I Will Not Be Sad in This World, sets the op­ti­mistic tone that Mar­i­an­iello hopes may rule over the whole se­ries.

An ul­te­rior mo­tive also works its way into her pro­gram­ming: a de­sire to en­cour­age mu­si­cal in­ter­est among young lis­ten­ers. The sec­ond con­cert this spring, on April 17, fea­tures cham­ber mu­sic for wind in­stru­ments by Mozart, Ibert, Poulenc, and Pi­az­zolla. “Cu­ri­ously,” she said, “wind in­stru­ments are some­what un­der­rep­re­sented among stu­dent mu­si­cians lo­cally. We want to en­cour­age wind study.” And the fi­nal con­cert this sea­son, on May 15, fea­tures the New Mex­ico School for the Arts Cham­ber Choir, with an in­stru­men­tal en­sem­ble as­sist­ing, all di­rected by Franz Vote, who has con­ducted many per­for­mances at the Met­ro­pol­i­tan Opera and the en­tire 2001 Ring cy­cle at Seattle Opera — and who hap­pens to be Mar­i­an­iello’s hus­band. The con­certs are mod­estly priced, and dis­counts are avail­able to stu­dents and to par­ents ac­com­pa­nied by their chil­dren. That be­ing the case, one hopes that an abun­dance of younger lis­ten­ers will be on hand to help launch this promis­ing new se­ries, join­ing the more ex­pe­ri­enced mu­sic-lovers who will un­doubt­edly flock to dis­cover Santa Fe’s new­est per­form­ing venue.

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