SantaFe.com

Imani Winds is an ensemble that creates its own opportunities. Since the repertoire for five wind instruments is small, Imani’s flutist Valerie Coleman and French horn player Jeff Scott compose and arrange works for their Grammy-nominated group.

Five of the six pieces being presented during their Santa Fe Chamber Music Festival performance at St. Francis Auditorium on Saturday night were either arranged or composed by Coleman and Scott. The jazz standard “Afro Blue,” which was written by Mongo Santamaria, was arranged for Imani Winds by Coleman. Scott arranged Astor Piazzolla’s “Fuga Y...

Friday, July 25, 2008
by Emily Van Cleve • Journal Santa Fe

Deborah Domanski’s dreams came true next to some cantina trash cans in the shadows of the Sangre de Cristos.

Last week, Santa Fe Opera conductor Harry Bicket and general director Richard Gaddes chose the 33-yearold Santa Fe resident to ascend to the principal role of Zenobia in Handel’s “Radamisto.”

Domanski will replace Christine Rice, who withdrew because of health issues. The opera opens July 19.

Domanski worked as an apprentice during the opera’s 2005-06 season. She had been tapped as Rice’s “cover” — opera-speak for understudy — but was untried as a major role soloist. She knew...

Sunday, July 6, 2008
by Kathaleen Roberts • Journal Santa Fe

One group produced a tented replica of Falstaff’s Garter Inn. Another fan sported an antlered hat, complete with miniature beer cans and a flock of birds. Another flounced fairy wings.

“Falstaff” opened the Santa Fe Opera’s 2008 season Friday night as tailgating regulars clinked crystal in silks and satins, and diamonds and denim.

The parking lot offering sweeping views of the Sangre de Cristos resembled a cruise ship dining hall with candelabras on card tables next to lobster and brie. Jacquard linens and roses dressed the tables, while silver gleamed next to big hair and bare skin.

Saturday, June 28, 2008
by Kathaleen Roberts • Journal Santa Fe

Under the influence of an opening night full moon, everyone is in his or her own private operatic drama.

As the Bird Ladies of the Parking Lot flutter into view, all covered in feathers and not much else, the true nature of opera and opening night at the Santa Fe Opera becomes vividly clear. It is what is commonly called, I believe, “the tipping point”—that moment when things begin to unfold, or simply fall apart, depending. In this case it is the instant when you realize, if you didn’t already know, that the real cultural experience is actually going on here beneath the operatic...

Wednesday, August 1, 2007
by Tom Collins • THE magazine