BRAHMS IN MAYTIME:

THE NEW MEXICO PERFORMING ARTS SOCIETY
AND
M AESTRO F RANZ V OTE PRESENT
BRAHMS
MAYTIME:
IN
VOCAL MUSIC OF JOHANNES BRAHMS
FEATURING
LIEBESLIEDER W ALZER
AND Z IGEUNERLIEDER
SUNDAY, MAY 31, 2015 5:30 PM
IMMACULATE HEART OF MARY CHAPEL
50 M OU NT C A RME L R O AD , S ANTA F E , NM
NMPAS ❖ www.nmperformingartssociety.org
NMPAS 2014-2015 SEASON
First Annual NMPAS Silent Auction
Sunday, November 2, 2014 12:00 noon to 2:30pm
Bishops Lodge Resort, Santa Fe
Annual Winter Solstice Concerts with the New Mexico Bach Society
Saturday, November 29, 2014 5:30 pm
St. Paul Lutheran Church, Albuquerque
Sunday, November 30, 2014 5:30 pm
Immaculate Heart of Mary Chapel, Santa Fe
Annual Valentine’s Concerts
Friday February 13, 2015 7:00 pm
Immaculate Heart of Mary Chapel, Santa Fe
Sunday, February 15, 2015 10:30 am
Chatter Sundays at The Kosmos in Albuquerque
"Brush Up Your Shakespeare"—A Benefit Concert for NMPAS
Saturday, March 7, 2015 at 3:00 pm
Immaculate Heart of Mary Chapel, Santa Fe
Bach 330th Birthday Celebration
Sunday, March 22, 2015 7:00 pm
St. Francis Auditorium, Santa Fe
The Chapel Series at Immaculate Heart presents
Brahms’ Ziegeunerlieder and Liebeslieder Waltzer
Sunday, May 31, 2015 5:30 pm
Immaculate Heart of Mary Chapel, Santa Fe
Second Annual Musical Reception
Saturday, June 20, 2015 5:00 pm
Immaculate Heart Retreat and Conference Center
Santa Fe Flute Immersion Finale Concert
Sunday, June 28, 2014 5:30 pm
Immaculate Heart of Mary Chapel, Santa Fe
Tickets and Reservations
Hold My Ticket: 505-886-1251 | www.HoldMyTicket.com
Email: [email protected]
THE N EW MEXICO P ERFORMING ARTS SOCIETY
FRANZ VOTE M USIC D IRECTOR AND C ONDUCTOR
THE CHAPEL SERIES AT IMMACULATE HEART PRESENTS
BRAHMS IN MAYTIME:
VOCAL MUSIC OF JOHANNES BRAHMS
VOCAL SOLOISTS
Kathlene Ritch Soprano
Sarah Brauer Ihlefeld Mezzo-soprano
André García-Nuthmann Tenor
Carlos Archuleta Bass-baritone
INSTRUMENTALISTS
Debra Ayers Piano
Jacquelyn Helin Piano
With the May Finale concert, NMPAS joins thousands of musicians and
hundreds of concert presenters across the country this May in celebrating
National Chamber Music Month.
Preview of NMPAS 2015-16 Season
The Chapel Series at Immaculate Heart of Mary Chapel
Transcriptions of famous works by Bach, Debussy, Faure, Franck,
Mozart, and others. September 20, 2015
Annual Winter Solstice Concerts with the New Mexico Bach Society
A Bach cantata paired with other special music of the season.
November 28th and 29th, 2015
Annual Valentine’s Concerts
Music of Bach and early Baroque choral works from Irsee Monastery
in Swabia (Germany), whose abbot corresponded with Bach!
February 19th-21st, 2016
Mozartfest at New Mexico Highlands University
Featuring members of the New Mexico Bach Chorale, the New
Mexico Highlands University faculty soloists, Madrigal and
Community Choirs, and the NMPAS orchestra under the direction
of Franz Vote and Dr. André García-Nuthmann.
April 2016
May Finale (The Chapel Series at Immaculate)
Opera scenes from our music director’s favorite operas, featuring our
outstanding singers from the New Mexico Bach Chorale.
Santa Fe Flute Immersion Finale Concert
This very popular concert features participants and faculty in Santa Fe
Flute Immersion. Last year’s concert was standing room only!
June 27th to July 4th, 2016
Texts and Translations
Liebeslieder Walzer (Lovesong Waltzes) text by Georg Friedrich Daumer
1 Rede, Mädchen, allzu liebes, das mir in die
Brust, die kühle, hat geschleudert mit dem Blicke
diese wilden Glutgefühle! Willst du nicht dein
Herz erweichen, willst du, eine Überfromme,
rasten ohne traute Wonne, oder willst du,
daß ich komme? Rasten ohne traute Wonne,
nicht so bitter will ich büßen.
Komme nur, du schwarzes Auge.
Komme, wenn die Sterne grüßen.
1 Speak, young lady, so sweetly that you spin
coolness into my breast with your looks of
wildly glowing emotion!
Don’t you want to soften your heart, or do you
wish to remain pious and forgo sweet bliss; or
do you want me to come? Going without
sweet bliss; I don’t wish to atone so bitterly.
Just come, eyes so black.
Come when the stars greet you.
2 Am Gesteine rauscht die Flut, heftig
angetrieben; wer da nicht zu seufzen weiß, lernt
es unterm Lieben.
2 Upon the stones the river rushes, fiercely
driven; whoever does not know how to sigh
shall learn it by loving.
3 O die Frauen, o die Frauen, wie sie Wonne
tauen! Wäre lang ein Mönch geworden, wären
nicht die Frauen!
3 Oh women, women, how they melt into
delight! I’d have long ago been a monk, were
it not for women!
4 Wie des Abends schöne Röte möcht ich arme
Dirne glühn, Einem, Einem zu gefallen, sonder
Ende Wonne sprühn.
4 Like an evening’s beautiful crimson, I, a poor
peasant lass, want to shine, to please someone,
and end up spreading bliss.
5 Die grüne Hopfenranke,
sie schlängelt auf der Erde hin.
Die junge, schöne Dirne, so traurig ist ihr Sinn!
Du höre, grüne Ranke!
Was hebst du dich nicht himmelwärts?
Du höre, schöne Dirne!
Was ist so schwer dein Herz?
Wie höbe sich die Ranke, der keine Stütze Kraft
verleiht? Wie wäre die Dirne fröhlich,
wenn ihr das Liebste weit?
5 Green hops vines
snake over the earth.
The young, pretty lass, so sad is her spirit!
Oh listen, green tendrils!
Why don't you rise to the sky?
Oh listen, pretty lass!
Why such a heavy heart?
How can tendrils rise, if they have no support?
How should a lass be happy, when her
beloved is far away?
6 Ein kleiner, hübscher Vogel nahm den Flug
zum Garten hin, da gab es Obst genug.
Wenn ich ein hübscher, kleiner Vogel wär,
ich säumte nicht, ich täte so wie der.
Leimruten-Arglist lauert an dem Ort;
der arme Vogel konnte nicht mehr fort.
Wenn ich ein hübscher, kleiner Vogel wär,
ich säumte doch, ich täte nicht wie der.
Der Vogel kam in eine schöne Hand,
da tat es ihm, dem Glücklichen, nicht an.
Wenn ich ein hübscher, kleiner Vogel wär,
ich säumte nicht, ich täte doch wie der.
6 A lovely little bird took flight to the garden,
where there was plenty of fruit.
If I were a lovely, little bird,
I wouldn’t hesitate to do as it did.
Traps and deceit lurk there; the poor bird
cannot fly away.
If I were a lovely, little bird,
I would hesitate to do as it did.
The bird flew into a lovely hand that, lucky
fellow, did him no harm.
If I were a lovely, little bird, I would not
hesitate; I’d do as it did.
7 Wohl schön bewandt war es vor ehe
mit meinem Leben, mit meiner Liebe;
durch eine Wand, ja, durch zehn Wände
erkannte mich des Freundes Sehe.
Doch jetzo, wehe, wenn ich dem Kalten auch
noch so dicht vorm Auge stehe,
es merkts sein Auge, sein Herze nicht.
7 My life and love were really good
back then; through a wall,
yes, even through ten walls
I could sense my friend’s look.
But now, alas, when his coldness is right
before my eyes, his eyes don’t notice,
nor does his heart.
Translations by Linda Marianiello and Franz Vote
Liebeslieder Walzer, cont’d.
8 Wenn so lind dein Auge mir und so lieblich
schauet, jede letze Trübe flieht welche mich
umgrauet. Dieser Liebe schöne Glut,
laß sie nicht verstieben!
Nimmer wird, wie ich,
so treu dich ein andrer lieben.
8 When your eyes, so mild and lovely,
look upon me, all of my troubles take flight.
May these glowing embers of love
never be scattered!
Never shall another love you
or be as true as I.
9 Am Donaustrande, da steht ein Haus,
da schaut ein rosiges Mädchen aus.
Das Mädchen, es ist wohl gut gehegt, zehn
eiserne Riegel sind vor die Türe gelegt.
Zehn eiserne Riegel das ist ein Spaß;
die spreng ich als wären sie nur von Glas.
9 On the banks of the Danube stands a house
where a rosy lass is looking out.
The girl is surely well sequestered with ten iron
locks on the doors.
Ten iron locks is a joke; I’ll break them as if they
were made of glass.
10 O wie sanft die Quelle sich durch die Wiese
windet! O wie schön, wenn Liebe sich zu der
Liebe findet!
10 Oh how gently the brook winds through the
meadow! Oh how beautiful when love finds its
way to love!
11 Nein, es ist nicht auszukommen mit
den Leuten; Alles wissen sie so giftig
auszudeuten.
Bin ich heiter, hegen soll ich lose Triebe; bin ich
still, so heißts, ich wäre irr aus Liebe.
11 No, there is no getting along with people;
they interpret everything so poisonously.
If I am cheerful, I am supposed to curb wanton
desires; if I am quiet, then it would mean that
I am crazy with love.
12 Schlosser auf, und mache Schlösser,
Schlösser ohne Zahl; denn die bösen Mäuler
will ich schließen allzumal.
12 Locksmiths awake and make locks, countless
locks; for I want to shut evil
mouths once and for all.
13 Vögelein durchrauscht die Luft,
sucht nach einem Aste; und das Herz, ein Herz,
ein Herz begehrt's, wo es selig raste.
13 Little bird rustling through the air,
looking for a branch; and the heart, a heart,
a heart seeks where it can find blessed rest.
14 Sieh, wie ist die Welle klar, blickt der Mond
hernieder! Die du meine Liebe bist, liebe du
mich wieder!
14 See, how clear the moonbeams shine down!
You who are my love,
love me again!
15 Nachtigall, sie singt so schön, wenn die
Sterne funkeln. Liebe mich,
geliebtes Herz, küsse mich im Dunkeln!
15 The nightingale sings so sweetly when the
stars sparkle. Love me,
beloved heart, kiss me in the darkness!
16 Ein dunkeler Schacht ist Liebe, ein gar zu
gefährlicher Bronnen; da fiel ich hinein,
ich Armer, kann weder hören noch sehn,
nur denken an meine Wonnen,
nur stöhnen in meinen Wehn.
16 Love is a dark well, a far too dangerous
fountain; there I fell in, poor me,
can’t hear or see, and can
only think about my bliss,
and only moan while breathing.
17 Nicht wandle, mein Licht, dort außen im
Flurbereich! Die Füße würden dir, die zarten,
zu naß, zu weich.
All überströmt sind dort die Wege,
die Stege dir; so überreichlich tränte dorten
das Auge mir.
17 Don’t wander around, my light, out there in
the meadows! Your feet, so tender, would
become too wet, too weak for you.
The paths are completely inundated for you
there, the bridge too; so amply did my eyes
flood them with tears.
18 Es bebet das Gesträuche, gestreift hat es im
Fluge ein Vögelein. In gleicher Art erbebet die
Seele mir, erschüttert von Liebe, Lust und Leide,
gedenkt sie dein.
18 The bushes tremble from being grazed by a
bird in flight. In the same manner my soul
trembles, shaken by love, lust and sorrow,
when it thinks of you.
Mädchenlied (Maiden’s Song) text by P.Heyse
Am jüngsten Tag ich aufersteh'
Und gleich nach meinem Liebsten seh',
und wenn ich ihn nicht finden kann,
leg' wieder mich zum Schlafen dann.
O Herzeleid, du Ewigkeit!
Selbander nur ist Seligkeit!
Und kommt mein Liebster nicht hinein,
mag nicht im Paradiese sein!
On Judgment Day I will rise up
And immediately look around for my love,
and if I can’t find him,
I’ll lie down again and go to sleep.
Oh heartache, eternity!
Being together is the only happiness!
And if my love doesn’t arrive,
I don’t want to be in paradise!
Wie Melodien (Like Melodies) text by K. Groth
Wie Melodien zieht es
Mir leise durch den Sinn,
Wie Frühlingsblumen blüht es,
Und schwebt wie Duft dahin.
It’s as if melodies
were softly running though my mind,
blossoming like spring flowers,
and floating away like fragrance.
Doch kommt das Wort und faßt es
Und führt es vor das Aug',
Wie Nebelgrau erblaßt es
Und schwindet wie ein Hauch.
But now a word comes, grasps them
and leads them to my eye,
and then fades like grey fog
disappearing like my breath.
Und dennoch ruht im Reime
Verborgen wohl ein Duft,
Den mild aus stillem Keime
Ein feuchtes Auge ruft.
Yet within these rhymes
lies a hidden fragrance,
gently calling forth from its silent seed
an eye filled with moisture.
Wenn du nur zuweilen lächelst (If you would only smile now and again)
text by Hans von Daumer
Wenn du nur zuweilen lächelst,
Nur zuweilen Kühle fächelst
Dieser ungemeßnen Glut –
In Geduld will ich mich fassen
Und dich alles treiben lassen,
Was der Liebe wehe tut.
If you would only smile now and again,
and fan just a little coolness
upon my immeasurable passion sometimes
I would remain patient
and let you do all the things
that love does to cause us pain.
Vorschneller Schwur (Hasty Oath) text by S. Kapper (from the Serbian)
Schwor ein junges Mädchen:
Blumen nie zu tragen,
Niemals Wein zu trinken,
Knaben nie zu küssen.
Gestern schwor das Mädchen –
Heute schon bereut es:
Wenn ich Blume trüge,
Wär' ich doch noch schöner!
Wenn ich Rotwein tränke,
Wär' ich doch noch froher!
Wenn den Liebsten küßte,
Wär' mich doch noch wohler!
A young girl swore
to never wear flowers,
never drink wine,
never kiss boys.
Yesterday the girl swore it –
already today she regrets it:
“If I wore flowers,
I would certainly be prettier!
If I drank red wine,
I would certainly be happier!
If I kissed my love,
I would certainly feel much better!”
Wir wandelten (We were strolling) text by Hans von Daumer
Wir wandelten, wir zwei zusammen,
ich war so still und du so stille,
ich gäbe viel, um zu erfahren,
was du gedacht in jenem Fall.
Was ich gedacht, unausgesprochen verbleibe
das! Nur Eines sag' ich:
So schön war alles, was ich dachte,
so himmlisch heiter war es all'.
in meinem Haupte die Gedanken,
sie läuteten wie gold'ne Glöckchen:
so wundersüß, so wunderlieblich
ist in der Welt kein and'rer Hall.
We strolled, just the two of us,
I was so quiet and you were so quiet,
I would have given anything to know
what you were thinking about then.
What I was thinking shall remain unspoken!
All I will say is
that everything I thought was so beautiful,
it was heavenly joy, all of it.
In my mind, thoughts
sounded like golden bells:
so sweet and so lovely
there are no other echoes in the world.
Botschaft (Message) text by Hans von Daumer
Wehe, Lüftchen, lind und lieblich
Um die Wange der Geliebten,
Spiele zart in ihrer Locke,
Eile nicht hinwegzufliehn
Tut sie dann vielleicht die Frage,
Wie es um mich Armen stehe;
Sprich:
“Unendlich war sein Wehe,
Höchst bedenklich seine Lage;
Aber jetzo kann er hoffen,
Wieder herrlich aufzuleben,
Denn du, Holde, denkst an ihn.”
Blow, breezes, mild and lovely
About the cheeks of my beloved,
Play tenderly with her curls,
Don’t be in a hurry to leave!
And then if she perhaps asks,
How poor old me is doing,
Say,
“Endless was his suffering,
Most alarming his condition,
But now he can hope
To come to life again,
Because, you, dearest, are thinking of him.”
Von ewiger Liebe (On Eternal Love) text by Wentzig
Dunkel, wie dunkel in Wald und in Feld!
Abend schon ist es, nun schweiget die Welt.
Nirgend noch Licht und nirgend noch Rauch,
Ja, und die Lerche sie schweiget nun auch.
Kommt aus dem Dorfe der Bursche heraus,
Gibt das Geleit der Geliebten nach Haus,
Führt sie am Weidengebüsche vorbei,
Redet so viel und so mancherlei:
"Leidest du Schmach und betrübest du dich,
Leidest du Schmach von andern um mich,
Werde die Liebe getrennt so geschwind,
Schnell, wie wir früher vereiniget sind.
Scheide mit Regen und scheide mit Wind,
Schnell wie wir früher vereiniget sind."
Spricht das Mägdelein, Mägdelein spricht:
"Unsere Liebe sie trennet sich nicht!
Fest ist der Stahl und das Eisen gar sehr,
Unsere Liebe ist fester noch mehr.
Eisen und Stahl, man schmiedet sie um,
Unsere Liebe, wer wandelt sie um?
Eisen und Stahl, sie können zergehn,
Unsere Liebe muß ewig bestehn!"
Dark, oh how dark in forest and field!
It is now evening, and the world is silent.
No light left nor any sound,
Yes, even the larks are silent.
A lad comes out of the village,
escorting his beloved home,
leading her along the pasture,
talking about lots of things:
“If you are ashamed and troubled,
ashamed of me in front of others,
Our love will quickly fade,
as quickly as it united us earlier.
Gone with the rain and gone with the wind,
as quickly as it united us earlier.”
Speaks the maiden, the maiden speaks:
“Our love will never be parted!
Steel is firm and iron more so,
Yet our love is stronger.
Iron and steel can be recast by a smith,
But our love, who can change it?
Iron and steel can decay,
But our love must last forever!”
Die Mainacht (May Night) text by Hölty
Wann der silberne Mond durch die Gesträuche
blinkt,
Und sein schlummerndes Licht über den Rasen
streut,
Und die Nachtigall flötet,
Wandl' ich traurig von Busch zu Busch.
Selig preis' ich dich dann, flötende Nachtigall,
Weil dein Weibchen mit dir wohnet in einem
Nest,
Ihrem singenden Gatten
Tausend trauliche Küsse gibt.
Überhüllet von Laub girret ein Taubenpaar
Sein Entzücken mir vor; aber ich wende mich,
Suche dunklere Schatten,
Und die einsame Thräne rinnt.
Wann, o lächelndes Bild, welches wie Morgenrot
Durch die Seele mir strahlt, find' ich auf Erden
dich?
Und die einsame Thräne
Bebt mir heißer die Wang' herab!
When the silvery moon twinkles through the
bushes,
and scatters its slumbering light over the grass,
and the nightingale flutes,
I wander sadly from bush to bush.
Blessed, I praise you, fluting nightingale,
Because your little wife lives with you in your
nest,
and gives her singing spouse
a thousand intimate kisses.
Covered with foliage a pair of doves are
cooing
their rapture before me, yet I turn away,
seeking darker shadows,
as a lonely tear runs down.
When, oh smiling image, like the red at dawn
and streaming through my soul, will I find you
on Earth?
and a lonely tear runs
quaking down my hot cheek!
Zigeunerlieder, Op. 103 (Gypsy Songs)
text taken from the Hungarian by Hugo Conrat
1 He, Zigeuner, greife in die Saiten ein!
Spiel das Lied vom ungetreuen Mägdelein!
Laß die Saiten weinen, klagen, traurig bange,
Bis die heiße Träne netzet
diese Wange!
2 Hochgetürmte Rimaflut, Wie bist du so trüb;
An dem Ufer klag ich
Laut nach dir, mein Lieb!
Wellen fliehen, Wellen strömen,
Rauschen an dem Strand heran zu mir.
An dem Rimaufer laß mich
Ewig weinen nach ihr!
3 Wißt ihr, wann mein Kindchen am
allerschönsten ist?
Wenn ihr süßes Mündchen scherzt und lacht
und küßt.
Mägdelein, du bist mein, inniglich küß ich dich,
Dich erschuf der liebe Himmel
einzig nur für mich!
Wißt ihr, wann mein Liebster am besten
mir gefällt? Wenn in seinen Armen er
mich umschlungen hält.
Schätzelein, du bist mein, inniglich küß
ich dich, Dich erschuf der liebe Himmel
einzig nur für mich!
1 Hey, Gypsy, grab those strings!
Play the song of the faithless maiden!
Make your strings cry, complain,
and long sadly,
until hot tears run down my cheeks.
2 Rima flood waters, piled up high,
how murky you are; on the banks, my loud
lament cries out for you, my love!
Waves flee, waves stream
and rush toward me at the shore.
On the banks of the Rima
I will forever cry for you!
3 D’you know when my dearest
is most beautiful?
When her sweet little mouth jokes and laughs
and kisses.
Maiden, you are mine, intimately I kiss you,
heaven above created you
just for me!
D’you know when my beloved
pleases me best? When he takes me in his
arms and embraces me.
My little treasure, you are mine,
intimately I kiss you, heaven above created
you just for me!
Texts and Translations, cont’d.
Zigeunerlieder, cont’d.
4 Lieber Gott, du weißt, wie oft bereut ich hab,
Daß ich meinem Liebsten
einst ein Küßchen gab.
Herz gebot, daß ich ihn küssen muß,
Denk, solang ich leb, an diesen ersten Kuß.
Lieber Gott, du weißt, wie oft in stiller
Nacht Ich in Lust und Leid
an meinen Schatz gedacht.
Lieb ist süß, wenn bitter auch die Reu, Armes
Herze bleibt ihm ewig, ewig treu.
4 Dear God, you know how often I have
regretted that I once
gave my dearest one a kiss.
My heart commanded me to kiss him,
and as long as I live I will think of that first kiss.
Dear God, you know how often in the still
of the night I thought in sorrow
about my treasure.
Love is sweet, and even if regret is bitter, my
poor heart remains always, always true to him.
5 Brauner Bursche führt zum Tanze Sein
blauäugig schönes Kind; Schlägt die Sporen keck
zusammen, Csardasmelodie beginnt.
Küßt und herzt sein süßes Täubchen,
Dreht sie, führt sie, jauchzt und springt;
Wirft drei blanke Silbergulden Auf das
Zimbal, daß es klingt.
5 A lad-so-brown leads his blue-eyed,
beautiful love to the dance; he clicks his spurs
together brazenly, a Csardas melody begins.
He kisses and cuddles his sweet little dove,
turns her, leading, shouting and leaping; he
tosses three shiny silver gulden coins at the
cymbal to make it ring.
6 Röslein dreie in der Reihe blühn so rot, Daß
der Bursch zum Mädel gehe, ist kein Verbot!
Lieber Gott, wenn das verboten wär, Ständ die
schöne weite Welt schon längst nicht mehr;
Ledig bleiben Sünde wär!
Schönstes Städtchen in Alföld ist Ketschkemet,
Dort gibt es gar viele Mädchen schmuck
und nett!
Freunde, sucht euch dort ein Bräutchen aus,
Freit um ihre Hand und gründet euer Haus,
Freudenbecher leeret aus.
6 Roses three in a row are blossoming so red,
so if a boy goes to a girl, that’s not forbidden!
Dear God, if that were forbidden, the whole
wide world would long have ceased to exist,
and only sins would remain!
The prettiest village in the Alföld is Kecskemét;
there you’ll find a lot of girls, all nice
and saucy!
Friends, go there to look for bride;
ask for her hand and start your home,
and drain the cup of joy.
7 Kommt dir manchmal in den Sinn, mein süßes
Lieb, Was du einst mit heil'gem
Eide mir gelobt?
Täusch mich nicht, verlaß mich nicht, Du weißt
nicht, wie lieb ich dich hab, Lieb du mich, wie ich
dich, Dann strömt Gottes Huld auf dich herab!
7 Does it sometimes cross your mind, my
sweet love, the sacred oath you once
swore to me?
Don’t deceive me, don’t leave me, you don’t
know how much I love you; love me as I love
you, then God’s grace will flow down upon you!
8 Horch, der Wind klagt in den Zweigen traurig
sacht; süßes Lieb, wir müssen Scheiden:
gute Nacht.
Ach wie gern in deinen Armen ruhte ich,
doch die Trennungsstunde naht,
Gott schütze dich.
Dunkel ist die Nacht, kein Sternlein
spendet Licht; süßes Lieb vertrau auf Gott und
weine nicht; führt der liebe Gott mich einst zu dir
zurück, bleiben ewig wir
vereint in Liebesglück.
8 Listen, the wind is softly and sadly
complaining in the branches; sweet love, we
have to part, good night.
Oh how I would love to stay in your arms, yet
the hour we must part draws near; may
God protect you.
Dark is the night, with narry a star to give any
light; sweet love, trust in God
and do not cry; if the dear Lord leads me
back to you some day, we will be united in
loving happiness forever.
9 Weit und breit schaut niemand mich an, und
wenn sie mich hassen, was liegt mir dran? Nur
mein Schatz der soll mich
lieben allezeit, soll mich küssen, umarmen und
herzen in Ewigkeit.
Kein Stern blickt in finsterer Nacht; keine Blum
mir strahlt in duftiger Pracht.
Deine Augen sind mir Blumen Sternenschein,
die mir leuchten so freundlich,
die blühen nur mir allein.
9 Far and wide, no one looks at me; and if
they hate me, what do I care?
Only my dearest one shall love me forever,
kiss me, embrace me,
and caress me eternally.
No star sparkles in the dark night; no flower
casts its fragrant splendor upon me.
To me your eyes are flowers and starlight that
shine on me so fondly
and bloom for me alone.
10 Mond verhüllt sein Angesicht, süßes Lieb, ich
zürne dir nicht.
Wollt ich zürnend dich betrüben, sprich wie
könnt ich dich dann lieben?
Heiß für dich mein Herz entbrennt, keine
Zunge dir's bekennt.
Bald in Liebesrausch unsinnig,
bald wie Täubchen sanft und innig.
10 The moon veils his face, sweet love, I’m
not angry with you.
If I were to distress you with my anger, then
how could I love you thus?
My heart loves you passionately, yet my
tongue has not yet confessed it.
Now senselessly intoxicated with love,
now mild and intimate like little doves.
11 Rote Abendwolken ziehn
am Firmament,
Sehnsuchtsvoll nach dir, Mein Lieb,
das Herze brennt,
Himmel strahlt in glühnder Pracht,
Und ich träum bei Tag und Nacht
Nur allein von dem süßen Liebchen mein.
11 Red clouds at sunset gather
in the firmament,
and longing for you, my love,
my heart catches fire,
while the sky radiates in glowing splendor;
And I dream by day and by night,
of my sweet darling and nothing else.
PROGRAM
B R AH M S
V O CA L
IN
M AYT I ME :
M US IC O F J O HA N N ES
B R A H MS (1833-1897)
FRANZ VOTE music director
Kathlene Ritch Soprano
Sarah Brauer Ihlefeld Mezzo-soprano
André García-Nuthmann Tenor
Carlos Archuleta Bass-baritone
Debbie Ayers Piano
Jacquelyn Helin Piano
Liebeslieder Walzer (Love Song Waltzes), opus 52
1869
1. Rede, Mädchen
2 Am Gesteine
3 O die Frauen
4 Wie des Abends schöne Röte
5 Die grüne Hopfenranke
6 Ein kleiner, hübscher Vogel
7 Wohl schön bewandt war es
8 Wenn so lind dein Auge mir
9 Am Donaustrande
10 O wie sanft die Quelle sich
11 Nein, es ist nicht auszukommen
12 Schlosser auf!
13 Vögelein durchrauscht die Luft
14 Sieh, wie ist die Welle klar
15 Nachtigal, sie singt so schön
16 Ein dunkeler Schacht
17 Nicht wandle mein Licht
18 Es bebet das Gesträuche
Please turn off all cell phones and all other personal electronic devices,
as a courtesy to the performers and to the rest of the audience.
Mädchenlied
Kathlene Ritch Soprano
Wie Melodien
Sarah Brauer Ihlefeld Mezzo-soprano
1886
1886-88
Wenn du nur zuweilen lächelst
André García-Nuthmann Tenor
c. 1871
Vorschneller Schwur
Carlos Archuleta Bass-baritone
1883-84
❖ INTERMISSION ❖
Wir Wandelten
Carlos Archuleta Bass-baritone
Botschaft
André García-Nuthmann Tenor
1884
1858-68
Von ewiger Lieber
Sarah Brauer Ihlefeld Mezzo-soprano
1857-1864
Die Mainacht
Kathlene Ritch Soprano
1857-1864
Zigeunerlieder (Gypsy Songs), opus 103
1
2
3
4
5
6
7
8
9
10
11
He, Zigeuner
Hochgetürmte Rimaflut
Wißt ihr, wann mein Kindchen
Lieber Gott, du weisst
Brauner Bursche führt zum Tanze
Röslein dreie in der Reihe
Kommt dir manchmal in den Sinn
Horch, der Wind klagt
Weit und breit
Mond verhüllt sein Angesicht
Rote Abendwolken zieh’n
1887-88
Artist Bios
Franz Vote has been called one of the finest conductors of his generation.
Named a "singer's conductor" by reviewers, his rapport with musicians, both
on stage and in the orchestra pit, elicits music-making of the highest level.
Maestro Vote began his professional career in 1980 as a conductor at The
Eastman School of Music and The Aspen Music Festival. In 1982 he was
engaged at the Musiktheater im Revier in Gelsenkirchen, Germany, where he
conducted Le nozze di Figaro, L'elisir d'amore, Giulio Cesare, Xerxes, and
L'Orfeo. His successes there led to productions of Gianni Schicchi and Hans
Werner Henze's Don Chisciotte de la Mancia in Aachen. From there, he went
to the Gärtnerplatz Theater in Munich and the Theater des Westens in Berlin.
Maestro Vote’s approach to conducting is informed by extensive experience in
German opera houses and his 1989 engagement at the Bayreuth Festival as
Assistant Conductor to Daniel Barenboim and James Levine.
In 1990 he was invited by James Levine to join the Metropolitan Opera,
conducting performances of Elektra, Madama Bufferfly, Un ballo in maschera,
La forza del destino, Les contes d'Hoffmann, and the 1996 New Year's Eve
Gala. Placido Domingo invited him to lead Tokyo's Kanagawa Philharmonic
Orchestra for the Operalia Vocal Competition.
The Los Angeles native has collaborated with many of the world's most
prominent operatic artists, including Luciano Pavarotti, Placido Domingo,
Hildegard Behrens, Stephanie Blythe, Jane Eaglen, Renée Fleming, Galina
Gorchakova, Ben Heppner, Jerry Hadley, James King, Susanne Mentzer,
Richard Leach, Samuel Ramey and Deborah Voigt, among many others.
Maestro Vote achieved international prominence and received high acclaim as
Music Director of Wagner's Der Ring des Nibelungen at Seattle Opera in 2001
with soprano Jane Eaglen. Recent seasons have included Opera Memphis'
Samson et Dalila with Barbara Dever and Otoniel Gonzaga, Aida and Salome
for Orlando Opera, plus touring with that company to Toulon, France; Faust at
Sarasota Opera, which Opera News called a "Faust, passionately, arrestingly
conducted by Franz Vote, who was as interested in theatrical sweep as in
nuances of tempo and phrasing." His recent performances of Lucia di
Lammermoor at Opera Naples were called the company's “best ever...every
section was strong, tightly meshed and well-rehearsed. Vote’s direction
created a seamless tapestry from [the orchestra] and the singers...”
Franz Vote currently lives in Santa Fe, New Mexico, where he is Music
Director and Conductor of the New Mexico Bach Society and Vice-President
of the New Mexico Performing Arts Society. He also guests conducts at various
opera houses around the country.
Carlos Archuleta, a native New Mexican, has had a varied and full singing
career as an operatic baritone. His repertoire ranged from Rossini and Verdi to
Adams and DeFalla. He has performed with notable companies such as The
Santa Fe Opera, Washington National Opera, New York City Opera, Cincinnati
Opera, Dallas Opera, Minnesota Opera and Utah Opera. Repertoire includes
Figaro in Il Barbiere di Siviglia and Le Nozze de Figaro, Conte Almaviva in Le
Nozze de Figaro, Papageno in Die Zauberflote, and Conte di Luna in Il
Trovatore. One of his signature roles was Escamillo in Carmen, which took him
to London, performing in the Royal Albert Hall. Other roles include Belcore in
L'elisir d'amore, Malatesta in Don Pasquale, Nixon in Nixon in China, Sharpless
in Madama Butterfly, Marcello and Schaunard in La Boheme, Silvio in
Pagliacci, Alvaro in Florencia en el Amazonas and Germont in La Traviata. As
an oratorio soloist, Mr. Archuleta has performed the solos for J.S. Bach's
Cantata, "Ich habe genug" with the American Festival of Microtonal Music
(NYC), and was the baritone soloist in Nielsen's Symphony No. 3 with Maestro
Osmo Vänskä and the Minnesota Orchestra. Other appearances include
Mendelssohn's Elijah, most recently with the Santa Fe Community Orchestra,
Handel's Messiah, Bach's Magnificat, Orff's Carmina Burana and the Brahms,
Faure and Verdi Requiems. After retiring from singing to help raise his
daughter, Mr. Archuleta became a Mechanical Designer/ Technician for Area
52 (Chevron Technology), and currently resides in Los Alamos, NM.
Debra Ayers performs internationally as a recitalist with singers,
instrumentalists, and chamber music ensembles. Debra is a founding
member of Montage Music Society and also performs regularly with
Breckenridge Music Festival, Serenata of Santa Fe, Taos Chamber Music
Group, New Mexico Performing Arts Society, Taos Trio and has enjoyed
collaborations with Aspen Music Festival Chamber Players; American, La
Catrina and Vega string quartets; Aspen Santa Fe Ballet, Santa Fe Desert
Chorale, Ballet Pro Musica’s Chamber Ballet, the International Piatti Cello
Festival and most recently at Denver’s annual JAAMM Festival. A proponent
of contemporary music, premieres include works by Ofer Ben-Amots,
William Bolcom, Paul Elwood, Jeff Harrington, Andrew List, Daniel
Schnyder, Ronald Strauss and Yehudi Wyner. Debra and cellist Marc
Moskovitz presented the North American premiere of the rediscovered
Zemlinsky Cello Sonata at the Library of Congress in Washington, DC. An
alumna of the University of Southern California and the University of
Wisconsin, her teachers include Gwendolyn Koldofsky, Jean Barr, AndréMichel Schub, Brooks Smith, Martin Katz, and John Barrows. Debra can be
heard on a number of critically- acclaimed recordings, including “STARRY
NIGHT Project…music based on visual art” (MSR).
Artist Bios, cont’d.
Dr. André García-Nuthmann has been a tenor soloist in the New Mexico
area for many years. In the summer of 2009, André sang the tenor solos in a
performance of Joseph Haydn’s Die sieben letzten Worte in Eisenstadt,
Austria, at the Haydn Saal in the Esterhazy Palace. This concert was part of
the programs commemorating the 200th anniversary of Haydn’s death. In
the summer of 2007, André and his choir “El Coro de la Tierra Alta”
participated in the Classical Music Festival in Eisenstadt, Austria celebrating
Joseph Haydn’s 275th Birthday. While there, André was the guest soloist
and his choir was “Choir in Residence.” André has often been featured as
tenor soloist in Canticum Novum conducted by Kenneth Knight. In March
of 2006 he sang the tenor solos in the Verdi Requiem with the Santa Fe
Community Orchestra conducted by Oliver Present. André often has
soloed with the Santa Fe Symphony including Haydn’s Theresienmesse and
Paukenmesse, Mozart’s Requiem, Beethoven’s Choral Fantasy, Dave
Brubeck’s Fiesta de la Posada, Bach’s Magnificat and Mass in b minor, and
Handel’s Messiah. In 2001 he was invited by BachWorks, with Anthony
Newman, director, to celebrate Bach’s birthday in Manhattan. Besides
oratorio, André has been featured in several operatic roles including Don
Giovanni, Die Zauberflöte, The Prima Donna, The Bartered Bride, Amahl
and the Night Visitors, Bastien and Bastienne, and has performed for the
Santa Fe Opera Outreach Program and One Hour Opera. The favorite role
he sang was Lenski in UNM Opera studio’s production of Tchaikovsky’s
Eugene Onegin under the direction of Marilyn Tyler. His most recent role
was that of the Mad Woman in Britten’s Curlew River. In summer 2002
André shared the stage with Kurt Ollmann in a musical homage to Leonard
Bernstein. Currently, André is the Chair of Visual and Performing Arts at New
Mexico Highlands University. He holds a doctorate in vocal performance
from Arizona State University and coaches voice with Regina Rickless.
Steinway Artist Jacquelyn Helin consistently wins acclaim for her vibrant
and musical playing of a wide-ranging repertoire and has performed in
recital and with orchestras in the major musical capitals of Europe and the
United States. As winner of the Artists international Piano Competition,
Ms. Helin made her New York debut in Carnegie Recital Hall; she made her
European debut in London’s Wigmore Hall. She has performed throughout
Europe in venues such as the Musee Chagall in Nice, the Zunfthaus zur
Meisen in Zurich, and numerous concert halls in Paris and throughout
Great Britain.
Ms. Helin has played in such venues as New York’s 92nd Street Y, Merkin
Concert Hall, Town Hall, and Washington DC’s Corcoran Gallery,
Hirshhorn Museum, Dumbarton Oaks, and the Smithsonian Institution.
She has played concerti with the Richmond, Greenwich, Santa Fe, New
Mexico, Mesa, Canton, Montgomery, Columbus (GA), Hudson Valley
Philharmonic and Redwood Symphonies, and as a WESTAF touring artist,
solo recitals in California, Oregon, Washington, Nevada, Utah, Arizona,
and New Mexico.
Ms. Helin has been presented in recital on Vladimir Horowitz’ Steinway,
the Gershwin commemorative piano, as well as on the pianos of Horowitz,
Paderewski, and Cliburn. Locally, she has performed chamber music with
such groups as Santa Fe New Music, the Santa Fe Chamber Music Festival,
the Santa Fe Opera, Chatter, the Taos Chamber Music Group, Taos
Soundscapes, and Ballet ProMusica. She also serves as Music Director of
the United Church of Santa Fe.
She maintains a large private studio in Santa Fe and teaches the piano
majors at the New Mexico School for the Arts; many of her students
regularly win top prizes in competitions. Ms. Helin holds a B.M. from the
University of Oregon; an M.A. from Stanford University; and a D.M.A. from
The University of Texas at Austin where she studied with John Perry. Her
recordings for New World and Musical Heritage have garnered critical
acclaim and she was a featured artist in the PBS documentary, “Virgil
Thomson at 90.”
Sarah Brauer Ihlefeld, mezzo-soprano, enjoys a varied career of opera,
oratorio, choral and recital performance. Sarah earned her Master of Music
degree from Rice University after completing her Bachelor of Music degree
from the University of Southern California. Sarah has appeared with the
Santa Fe Opera, Santa Fe Symphony, New Mexico Philharmonic, Oregon
Bach Festival, Houston Bach Society, Aspen Music Festival and Salem
Chamber Orchestra, among others. Recent engagements include mezzo
soprano soloist for the concert-drama Defiant Requiem: Verdi at Terezín
with the University of New Mexico, created and conducted by Murry
Sidlin, Amore in Gluck’s Orfeo ed Euridice, Mozart’s Requiem and Bach’s
Magnificat with the New Mexico Philharmonic, Vivaldi’s Gloria, and Dido
in Purcell’s Dido and Aeneas with the Santa Fe Symphony. Sarah has
recorded three discs with professional chamber choir, Conspirare, including
the Grammy-winning Sacred Spirit of Russia with world-renowned classical
label, Harmonia Mundi.
Artist Bios, cont’d.
Kathlene Ritch, soprano, moved to New York City where she sang with
such noted ensembles as the New York Philharmonic, London Sinfonietta,
and the Vienna Philharmonic. In 2001, she made her solo debut at Lincoln
Center with the American Symphony Orchestra in Listz’s Dante’s Inferno.
With that same ensemble, she recorded a live concert version of Die
aegyptische Helena as Hermione opposite Deborah Voigt’s Helen. In
2011, Kathlene moved to Santa Fe to be the accompanist for the Santa Fe
High School Choral Department and the Director of the Royal School of
Church Music at the Church of the Holy Faith. She also has her business,
The Red-Headed Chef, but still finds time to sing with ensembles around
the country including the Santa Fe Desert Chorale and the Grammynominated group Conspirare, with whom she is a featured soloist in their
PBS special “Conspirare, a Company of Voices.”
A SPECIAL THANK YOU TO OUR BUSINESS SPONSORS
News and Upcoming Events
SECOND ANNUAL MUSICAL RECEPTION
SATURDAY, JUNE 20TH, 2015 5:00 TO 7:00 PM
IMMACULATE HEART RETREAT AND CONFERENCE CENTER
TICKETS
: $50.00
PER PERSON
Santa
Fe
Flute Immersion
Unique, Collaborative, Fun!
Information and tickets (if paying by cash or check only)
through Peter Merrill:
Email: [email protected] | phone: 505-473-7733
Credit card ticket purchases through Hold My Ticket:
Buy Online at www.holdmyticket.com
or call 1-505-886-1251
Santa Fe Flute Immersion
Unique, Collaborative, Fun!
June 22 – 29, 2015
Participant Options
Up to 12 college & young professional performers
Special high school masterclass
Flute teachers & auditors welcome!
Closing concert on Sunday with featured composer Aaron Alter
Great room and board packages available at the Retreat Center
“The Whole Enchilada”
Major 20th c. Flute Sonatas/Solo Coaching
Keys to Baroque Style: Bach and Telemann
Orchestra Excerpts & Practice Auditions
Essential Flute Skills and Ensemble Sessions
Back by Popular Demand:
Yoga
Coaching
June 22
– and
29,Performance
2015
with Nadine Stafford and Denise Wilder
Sponsored
Participant
Options by Los Alamos National Bank
Verne
Q. Powell
Flutes
Up to 12 college and
& young
professional
performers
Special high school masterclass
More
information/applications
at:
Flute teachers
& auditors
welcome!
www.nmperformingartssociety.org
Closing concert
on Sunday with featured composer Aaron Alter
505.474.4513
or [email protected]
Great
room and board
packages available at the Retreat Center
“The Whole Enchilada”
Major 20th c. Flute Sonatas/Solo Coaching
Keys to Baroque Style: Bach and Telemann
Contributors (as of May 19, 2015)
We would like to express our thanks to the many Donors to NMPAS: The
Chapel Series at Immaculate Heart, New Mexico Bach Society, and Santa Fe
Flute Immersion.
PLATINUM SPONSOR ($10,000+)
Richard G. Kurman
New Mexico Highlands University Foundation
GOLD SPONSOR ($5,000-$9,999)
Christopher Ihlefeld
Los Alamos National Bank
Linda Marianiello**
Franz Vote**
MAJOR SPONSOR ($2,500-$4,999)
Tim Bower, Burkhart Repair Center*
The Santa Fe Reporter
The UNM John Donald Robb Musical Trust
DONOR ($1,000-$2,499)
Anonymous
Judith Auer and George Lawrence
Bette Evans* and Mike Makoid*
Robert Marcus and Ann Coulston
The Verne Q. Powell Flute Company
SUPPORTER ($100-$999)
Anonymous
Abiquiu Chamber Music Festival
Aaron and Naomi Alter
Debra Ayers and Greg DePrince
Rachel Belash and Robert Burman
John and Barbara Berkenfield
Jim and Diane Bonnell
Meg Bowles, Richard Price
and Hannah Price
Brannen Brothers Flutemakers
Terence Cady
The Camera Shop of Santa Fe
Linda Childers**
Robert and Patricia Ching
Cuddy & McCarthy, LLP
John and Lanie Dickel
Bob and Judy Eagen
Doug and Laura Escue
Dr. Anne Foster
James and Adele Glimm
Susan and Allen Gutheim
Scott Haley**
SUPPORTER ($100-$999) cont’d.
Wendell and Harriett Harris
Tom and Viola Harrison
Anna Jane Hays
Irwin and Maya Hoffman
David H. Johnson and Sheila Conneen
Plato Karayanis and Dorothy Krebill Karayanis
Christine and Chase Keightley
Regina Klapper
Kenneth Knight and Richard Morehead
Jeff and Joan Less
Toni Lipton and Scott Temple
Mike and Barbara List
Marilyn MacBeth
Kathryn and Manny Marczak
Nancy Maret
Peter Merrill and Ruth Wallack
Charles and Susan Mize
Henry and Ruth Ortega
Lucinda Pennington
David Perlowin and Paula Scarpellino
Nina Hinson Rasmussen and Dr. Scott
Rasmussen
Veronica Reed and LeRoy Lehr
Don and Sally Roberts
Marquita Romero Apodaca
Hassan and Cara Lu Salam
Gail P. Samota and Hall A. Acuff
John Serkin and Catherine Kurland
Davida Simon Terry and Josefo Martinez
Martha and Ken Simonsen
Elliot Stern and Judy Williams
Lori Stevens**
Nathaniel and Bina Thompkins
Jim and Solveiga Unger
Vic Vandegriff
Frederick W. Vote
Richard Warsh and Cynthia Feiden-Warsh
Denise Wilder and Brian Patterson
Marylou Witz
FRIEND ($25-$99)
Ruth Aber dba Mostly Madrid
Tom and Yoko Arthur
Norma Bekowies
Community Bank
Mindy Demott
William Epstein
Steve Gallion
John R. Graham MD
Winnie Klotz and Paul Hutton
Susan Lanier
Gary Polkowitz
Lisa and Karl Ray
James S. Rubin
Betty Scannapieco*
Norman Shatkin and Katherine Mansfield
Lynn Spivey
Nadine Stafford
Karen Turner
Vivian Waters
Tim Willson
Rachel Wixom
Norman and Barbara Yoffee
IN-KIND DONATIONS
Anonymous
Marsha Aitken
Bob Ansheless
The Archdiocese of Santa Fe
Jim Attlesey
Debbie Ayers and Greg DePrince
John Berkenfield, Executive Director (ret.), El
Rancho de las Golondrinas
Michael Blackwell
James Bonnell, Jan Hosea & Associates LLC
Chatter Albuquerque
Monika Cosson
Donna Elliot
El Rey Inn
Nanette Ely-Davies
Bette Evans*
Holy Faith Episcopal Church
Hutton Broadcasting
Christopher Ihlefeld
Immaculate Heart of Mary Retreat and
Conference Center*
Chris S. Jones
KHFM Radio
KSFR Radio
Richard G. Kurman
Stefanie Kyser Esq.
R. J. Laino dba True Heart Media
IN-KIND DONATIONS
Mike Makoid*
Linda Marianiello**
Marty Mathisen
Dan McSpadden
Peter Merrill**
Charles and Susan Mize
New Mexico Museum of Art
Brian Patterson*
Lu Rojas
James S. Rubin
The Santa Fe Chamber Music Festival
The Santa Fe New Mexican
The Santa Fe Reporter
The Santa Fe Symphony
Betty Scannapieco*
John Serkin
Jeff Snodgrass
Nadine Stafford
Elliot Stern
Lori Stevens**
Studio Z
Three Stones Consulting
Franz Vote**
Denise Wilder**
NMPAS is partially funded by the
City of Santa Fe Arts Commission
and the 1% Lodgers Tax.
* Guild Member
** Current or past NMPAS Board
Member
*** Special thanks to Meg Bowles
for program artwork and design
✂︎
PLEASE CONSIDER A DONATION TO NMPAS
2014-2015 Annual Fund ($25 and up) $ ___________
-orSponsorship Opportunities (beginning at the $1,000 level):
The New Mexico Bach Society’s Easter Oratorio Project
NMPAS 2014-2015 Annual Season Concerts:
Winter Solstice, Valentine’s Day, and May Finale
Sponsor a participant for Santa Fe Flute Immersion 2015
Name:_____________________________________________________________
Address:___________________________________________________________
Email: _________________________________
Phone:_________________________________
Total contribution amount $ __________________
Please print your name, business or organization as you wish to be
recognized:
___________________________________________________________________
_____I/we wish to remain anonymous.
Please make checks payable to NMPAS, enclose this form and mail to:
New Mexico Performing Arts Society
7038 Camino Rojo
Santa Fe, NM 87507
The New Mexico Performing Arts Society is a 501(c)(3) public charity.
All donations to NMPAS are tax-deductible to the extent permitted by law.
NMPAS is partially funded by the City of Santa Fe Arts Commission
and the 1% Lodgers Tax.
Thank you so much for your support!
The New Mexico Bach Chorale with Maestro Franz Vote
The New Mexico Performing Arts Society
7038 Camino Rojo Santa Fe, NM 87507
Phone: 505-474-4513
Email: [email protected]
Website: www.nmperformingartssociety.org
Board of Directors
Scott Haley, Treasurer
Linda Marianiello, President
Peter Merrill, Board member at large
Franz Vote, Vice President
Denise Wilder, Secretary
Advisory Board
Bob Ansheles, REA Business Strategies
John Berkenfield, Executive Director (ret.), El Rancho de las Golondrinas
James Bonnell, Jan Hosea & Associates, LLC
The New Mexico Performing Arts Society is a 501(c)(3) public charity.
Donations to NMPAS are tax-deductible to the extent allowed by law.
T HE N EW M EXICO B ACH S OCIETY
www.nmperformingartssociety.org

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