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Sunday, September 19, 1999

Opera: Santa Fe Builds on Reputation of Excellence

By David Steinberg
Journal Staff Writer
Now in its 43rd season, the Santa Fe Opera is considered by many as the most important summer festival in the United States and one of the few in the world presenting opera in repertory.
It has become known internationally as the place to see world-class opera productions in a signature setting -- a recently renovated, multimillion-dollar amphitheater whose superstructure might resemble the set of "The Flying Dutchman."
It is set on a hill with a spectacular view of the Sangre de Cristo Mountains.
"It's unique. It's got Santa Fe," said Olin Chism, staff critic of the Dallas Morning News.
Hundreds of patrons take advantage of the mountain view by holding pre-performance tailgate dinners.
During some performances, patrons can peer through the opening at the back of the stage and sit in awe of nature's own sound-and-light show.
Some observers think the success of Santa Fe Opera's productions has increasingly focused wide attention on -- and had a hand in transforming -- Santa Fe as an arts mecca.
"I don't know why John Crosby chose Santa Fe (to build the opera house), but it certainly is an ideal choice," said Robert Marsh, former music critic of the Chicago Sun-Times and an observer of the American opera scene.
Crosby is the founder and general director of the Santa Fe Opera.
"You must appreciate that in the 1960s the idea of a New Yorker getting on a plane to fly to an opera was revolutionary," Marsh said.
"Crosby was very effective in making people aware that he was first doing interesting things that you would not hear otherwise. The quality was going to be good, and he was doing it in a colorful surrounding. ... From the beginning he was getting reviews in national publications. That was important."
The fact that the Santa Fe Opera has produced 20th-century operas such as Alban Berg's "Lulu," operas that the Met and other major houses do not do, has brought critical attention.
Early reviews enabled the Santa Fe Opera to attract a national audience. Which also meant, Marsh said, that Crosby did not have to depend heavily on the support of the local audience.
"Crosby had a knack from the beginning: He did a good job to convince you that if you came to Santa Fe, it would be worth the journey," Marsh said.
Each year the repertory is a mix of favorites, lesser-known works and often new music.
"People should be brought to the theater in its most dignified and phenomenal production atmosphere," says Maria Benitez, a noted flamenco choreographer/dancer and SFO board member. "It should be an unforgettable experience, and you get that by coming to the theater."