An up-close conversation with award-winning songwriters Eaton and Sanders 
By Michael Hager February 1, 2008 San Miguel de Allende 

Concert Series
Steve Eaton and Mike Sanders
Tues–Wed, Feb 12–13, 7:30pm
Teatro Santa Ana
Reloj 50A
200 pesos 

Singer/songwriters Steve Eaton and Mike Sanders are soon coming to San Miguel to lend their musical talents to benefit Casita Linda. The musicians have been a highly respected duo for over twenty years and both have major songwriting credits. Though they have performed internationally and throughout the U.S. to packed crowds, this is their first time performing in Mexico. We thought we would try and catch up with these two talented musicians before their concert at the Santa Ana Theater.

Micheal Hager: Who were your major musical influences? 

Steve Eaton: I couldn’t get enough of The Ventures as a teenager. Over time, Ray Charles became a big influence in my music. I was lucky enough to play with him later in my career, which was a dream come true. My songwriting was influenced by writers like Paul Simon, The Eagles and Henry Mancini; who really helped me understand the importance of a strong melody line. 

Mike Sanders: Folk musicians have always been at the heart of my music. Peter, Paul and Mary, of course Bob Dylan and early groups like the Brothers Four. Currently, players like John Mayer and Jack Johnson are writing some great stuff. MH: What were the circumstances that brought you two together as a duo? 

SE: Mike and I always knew about each other, having played around the same circuit but we never played at the same gig. When one of the bands scheduled to play a big Fourth of July concert cancelled, they asked us to fill in. At first, we said no, but not unlike a lot of musicians, throw enough cash at them and they’ll hit the stage running. Somehow we pulled it off and the rest is history. 

MS: All I remember about the first time we played together was walking out to our cars to get our guitars and asking each other what songs we knew and whether we played any of the same songs. When we realized there were only a few songs we both knew, the look of fear on our faces told us both that we had better be pretty damn good at faking it or we were going to stink up the place. Sometimes you just get lucky and meet someone where it really clicks. 

MH: You both have been staff writers for major record labels, what was that like? 

SE: For an aspiring songwriter, it was like being a kid in a candy shop. I had a chance to hang out with some of the best writers in the business. I worked for Jim Ed Norman, who at the time was President of Warner Records. It really worked out for me because I had a chance to have several of my songs recorded by major artists. It was by far one of the best gigs I've ever had in the music industry….crazy but great. 

MS: It was the good, the bad and ugly for me. I worked for MTM Records for two years and learned a lot about the business and worked with a lot of top writers. The hard part was being part of the whole factory scene of producing music. I guess I was a little naive. Everything they say about the insanity of working in Nashville as a songwriter is true. I ended taking a position for MTM on the music promotion side of the business, which ultimately brought me back to the Northwest. I've always been a small town guy, so it's a good fit for me and my family. 

MH: You both have been involved in supporting different charitable groups but why Casita Linda? 

SE: Well, I’ve have done a couple benefits for Habitat for Humanity here in the States, so it’s a good match for my interest. I hope to go out to a work site while we are here and see all the great work Casita Linda is doing. As for benefit concerts in general, musicians are always asking for appreciation for their talent but we also have the responsibility to give some of that appreciation back. We’re very lucky to make a living doing what we love, so I think we have an obligation to take our talent and make it work for the less fortunate.

MS: I'm looking forward to hearing Steve play (big laugh). I’m not kidding. Every time we play together, it’s a rush. I've been down here to visit friends in San Miguel a couple of times over the past few years and always thought if I had a chance to play here, I wasn’t going to pass it up. I’ve seen how audiences support players and I’m really looking forward to joining in on the fun. 

Tickets go on sale February 1 at Santa Ana Theater box office and at La Conexión, Aldama 3. All proceeds from the concert go to Casita Linda. There will also be a special Meet the Artist event after the second night performance on February 13. Beer, wine and botanas will be served. Attendance will be limited and the price for this event is 100 pesos. You can just about bet there will be more music at this special event. The contact number to make reservations for the Meet the Artist event is 152-5814. 

Building hope one house at a time

Casita Linda is a Mexican non-profit organization founded in 2001. Our primary goal is to provide simple decent housing to the most disadvantaged who are living in shacks. We are focusing on helping those with such limited resources they cannot apply for government housing programs.

For the families we help, even organizations such as Habitat for Humanity are beyond their reach.

Yet Casita Linda can make it possible for them to own a simple, solid home with electricity and water. 

Casita Linda:

Selects families in need 

Provides materials and volunteers 

Manages every aspect of construction with participation from the recipient families 

We are preparing a model, in printed and cyber form, so that the Casita Linda program can be duplicated anywhere in the world

Volunteer programs Volunteers are essential to the achievement of Casita Linda's goals.

No special skills are needed to volunteer to assist in housing construction - and we are always in search of individuals ready to exchange a few days a month for the experience of making a lasting difference in the lives of a deserving family. 

Casita Linda volunteers also serve in many specialized areas

Conducting field assessment and conducting interviews and community meetings 

Coordinating replication of the model in other communities 

Assisting in writing technical reports and educational material 

Carrying out research into ever better construction techniques 

Fundraising and outreach 

To join our team, or to get additional information about volunteering, simply contact us

For more information see www.casitalinda.org  or contact info@casitalinda.org 

Baroque & Beyond Festival tickets on sale
By Bob Kelly

Music Festival
Baroque & Beyond Festival
Feb 15–23
www.promusicasma.com 

Individual tickets and discounted packages for local residents are now on sale for the second Baroque & Beyond Festival, which will present international musicians playing period instruments in unique settings in the San Miguel area.

Performers will include six members of the Camerata Ventapane of Houston, five musicians from the Capella Guanajuatensis of Guanajuato and five guest artists as well as two lecturers.

Four of the chamber music concerts will be matinee performances Monday through Thursday, February 18–21 at noon. A luncheon follows the concert on February 18 by Claudine Gomez, harpsichord, at Posada de San Francisco. Luncheon at La Puertecita Boutique Hotel also follows the Baroque dance demo and film, presented by musicologist Dr. Yvonne Kendall and cellist Barrett Sills on February 19. The other two matinee concerts will be February 20 at Casa Grau (Ana Trevino, soprano and Miguel Cicero, harpsichord) and February 21 at the Instituto Allende (Cuauhtemoc Trejo and Vincent Touzet, Baroque flute, along with Eloy Cruz, theorbo).

Evening performances begin February 18 at 7pm, with artistic director Barrett Sills on cello and Sebastian Knebel on harpsichord in “The Noble Cello” recital and talk at the Hyder House.

Concerts also will be presented on February 19 by The Camerata Ventapane at the Toller Cranston Gallery, followed by a wine reception, and February 20 by The Capella Guanajuatensis, at St. Paul’s Church. Three special out-of-town evening concerts will be performed by the Camerata Ventapane on Thursday, February 21 at Rancho La Loma, Friday, February 22 at the historical Atotonilco Sanctuary, followed by a dinner at a nearby hacienda, and Saturday, February 23, at the Santa Clara Church in Querétaro. 

An exhibit of Baroque instruments will open at noon February 15 at Bellas Artes with a presentation, “Keyboard Wizardry” by master harpsichord builder and tuner Juan Luis Garcia Orozco. The exhibit will close February 23 with a tribute to the harpsichord, the largest instrument of the plucked-string family. The noon recital “Program Music at the Dresden Court,” performed by German early music master Sebastian Knebel, is free to the public.

Residents can save up to 10 percent on ticket packages ranging from US$65 for three concerts; five concerts for US$125; five concerts, the gala festival dinner and dinner in Querétaro and three shuttle buses for US$235; all evening and afternoon concerts, a private concert and wine reception at the Hyder House, a concert and wine reception at the Toller Cranston gallery and the gala dinner for US$295.

Individual tickets are 220 pesos for each of the four matinee concerts; 220 and 320 pesos for the evening concerts, except 490 pesos for the concert and wine reception February 19 at the Toller Cranston Gallery, and 550 pesos for the encore concert, shuttle bus and pre-concert dinner February 23 in Querétaro. Tickets for the concert at 5pm, February 20 at St. Paul’s Church are 90, 160 and 320 pesos.

Optional extras include post-matinee lunches February 18 and 19 at 220 pesos each; a gala dinner at Atotonilco, February 22, 590 pesos; the pre-concert dinner in Querétaro, February 23, 320 pesos, and round-trip shuttle buses to La Loma, February 21 and Atotonilco, February 22, at 220 pesos each.

Individual tickets are now on sale at Casa de Papel, Mesones 57, 154-5187; La Conexión, Aldama 3, 152-1599; and the House & Garden Tour, Sundays at 11am, Biblioteca Pública, Insurgentes 25. Ticket packages for local residents as well as special packages for out-of-town residents may be purchased by emailing ontheplaza@comcast.net.  For more details, consult www.promusicasma.com. 

Bob Kelly was a reporter for his hometown newspaper and the editor of a weekly, both in Parkersburg, WV. His last newspaper job was with the Chicago Sun-Times.

Changing the future of Mexico through music

Concert
Clara Dunham & Ann Reily
Mon, Feb 11, 7pm
La Posada de la Aldea
Ancha de San Antonio 15
100 pesos

A perfect musical match, soprano Clara Dunham and accompanist Ann Reily, will present music by Brahms, Fauré, Wolf and Roussel. Bonuses will be pieces by Benjamin Britten, songs based on old English folk tunes, and musical adaptations of poems written by the Spaniard, García Lorca.

Dunham and Reily have been San Miguel residents for several years, but only recently have begun performing together. With their strong backgrounds in classical music study and performance, it is a winning combination of talents.

Young San Miguel violinist featured 
By Bob Kelly

Pro Musica concert
Trio Nova Mundi
Sat–Sun, Feb 9–10, 5pm
St. Paul’s Church
Cardo 6
200, 150, 50 pesos
www.promusicasma.com 

A rising young violinist who got her start in San Miguel will appear here with the Trio Nova Mundi in two Pro Musica concerts. Maureen Conlon began her musical studies at age six at Bellas Artes.

She earned a bachelor’s in music degree at Rice University in 2003 and a master’s degree in violin performance at Penn State University in 2006.

Conlon has performed in Mexico, Ecuador, Puerto Rico, Spain, France and the US. Her debut appearance as soloist with the Orchestra of the State of Mexico was televised internationally and aired on national radio. She also performed in the premiere concert of “A Forest of Americas” presented by Pro Musica and will perform in a concert of “Forest” scheduled for March in Querétaro. 

Gypsy guitar concert

Javivi Hernan 
Mon, Feb 4, 7pm
Teatro Santa Ana
Reloj 50A
100 pesos

Javivi Hernan returns to delight audiences with his passionate performance of gypsy music. This not-to-be-missed performance is at the Biblioteca Pública’s theater this Monday.

The long-awaited return of Ópera de San Miguel
By Alice Sperling

Auditions Cantantes Camino al Estrellato Thu–Fri, Feb 7–8 Sala Angelica Morales National Conservatory of Music Mexico City Contact: operadesanmiguel@hotmail.com  Foto credit Gordon Morris

Ópera de San Miguel, dormant for more than a year, is pleased to announce its return with a stunning operatic program Cantantes Camino al Estrellato (Singers on the Road to Stardom) showcasing the best and brightest new Mexican operatic talent at a Teatro Ángela Peralta performance on March 15. Tickets go on sale at the box office March 1. Scholarships will be awarded at the concert.

Auditions will be in Mexico City. Interested applicants should contact Joseph McClain, artistic director, Ópera de San Miguel at operadesanmiguel@hotmail.com.  The organization will offer three scholarships for continuing operatic studies in the amounts of 40,000, 25,000 and 15,000 pesos, plus the opportunity to perform.

To qualify, applicants need to be Mexican born or naturalized, or a foreigner with proof of residency of four years or more. Women need to be 33 years or younger; men 36 years or younger. This is for singers with no other major government financial support.

McClain commented, “The level of vocal talent in Mexico is extraordinary. The big need for young singers is ongoing world-class training and stage experience.”

He continued, “We hope that these scholarships will provide major stepping stones for these young artists and that we will hear very soon of their successes both in Mexico and on the international scene.”

In addition, to further the educational mission of the Ópera de San Miguel, two free performances March 13 and 14 for selected music students in the San Miguel area will expose them to these new stars. The programs will be followed by a question and answer period.

These performances and scholarships are made possible through the generosity and support of the charter members of Ópera de San Miguel, using monies raised from the original membership.

For more information, please contact Alice Sperling at (415) 154-7177 or alicesperling@hotmail.com. 

Alice Sperling is the public relations coordinator for Ópera de San Miguel.

Jeanette Macari: Siren and performer
By Isaac Toporek

Performance
¡Viva el Tango!
Jeanette Macari
Fri, Feb 8, 8pm
El Viejo Topo Café-Teatro
Stirling Dickinson 28

The seductive energy of Jeanette Macari’s production “Viva el Tango!” is true confirmation of the highly acclaimed singer and actress’s incredible versatility and mastery of cabaret genres.

There was a time when she was required to bare her breasts and grow a fish tail, playing a mermaid who sang Mozart and danced mambo in the theater production of Atracciones Fénix, directed by the renowned diva, Jesusa Rodríguez.

Being dressed in those sequin beads—her biographers would say—marked the future of her talents in the world of performance art. Until that time her itinerary included the National Conservatory of Music in Mexico, a graduate from Guildhall School of Music and Drama in London and highly commended performances as Suzuki in Puccini’s Madame Butterfly, the grandmother in Manuel de Falla’s La Vida Breve, Count Orlovsky in Strauss’s Die Fledermaus, Anna in Kurt Weill’s The Seven Deadly Sins and the lead role in Bizet’s Carmen.

It was later on in her career, while writing and producing her own shows, that she began to explore the world of the cabaret. Developing a fusion of the spirit of music hall, the European cabaret of the thirties, traditional opera, the Broadway musical and the Mexican musical review, she was able to blend these genres and showcase the versatility of her own talents.

When this Arabian Mermaid was singing and wagging her tail, the term “performer” was just beginning to be used to define creatures who can survive in different environments; those that can transcend, without permission, from music to theater, from the great opera halls to cabarets. A true and remarkable performer, Macari is considered a groundbreaking artist for her original performance art creations and her emotional interpretations.

But to sing tango was the trajectory that was lacking in her career. Macari is presently performing in her own production of “Viva el Tango!” Presenting compositions by Cadícamo, Mores, Discépolo, Troilo and Piazzolla, the program draws us through the delirium and heart-rending that is Buenos Aires music, flirts with its rhythmic milonga, and, of course, with the satirical variant. Macari’s performance is accompanied by two tango powerhouses: Héctor “Bocha” Mazza on piano and Gabriel Fernández on the bandoneon (accordian).

Tickets for this and other performances are available at the theater daily 9am–8pm or call 154-8701 for reservations and more information.

Opera evening a stand-out performance
Concert Review by John Bills

Tenor Rodrigo Garcíarroyo returned to Teatro Ángela Peralta last Friday in a performance that is sure to stand out as a highlight of this year’s concert season. From the opening “Recondita armonia” from Puccini’s Tosca, Garcíarroyo displayed a rich-voiced, ample lyric tenor, capable of ringing top notes. This year’s concert added creative lighting effects, and was semi-staged in a professional, mostly un-obtrusive manner. Mr. Garcíarroyo can be an elegant singer; one only wished his grooming and tailoring showed as much attention to detail.

Soprano Enivia Mendoza was every bit the glamorous diva as she joined the tenor for Tosca’s Act 1 love duet. Her voice is large and well-controlled, and she sings with nuance, seamless legato and confident, often thrilling, high notes. Her singing of Tosca’s great aria, “Vissi d’arte,” was moving and assured.

The tenor was next joined by soprano Denise de Ramery for an extended scene from Verdi’s Rigoletto. Garcíarroyo handled the Duke’s high-flying tessitura with aplomb, but De Ramery’s Gilda was slight and tentative. She made a stronger impression in the quiet beauty of Bellini’s “Oh, quante volte” from I Capuletti ed i Montecchi. Ms. Mendoza then returned for a rousing performance of Leonora’s great aria from Act I of Verdi’s Il Trovatore, “Tacea la notte.” Once again her legato, expressivity, and beauty of voice were ideally suited to the material, with impressive fioratura in Leonora’s cabaletta. The opera excerpts were rounded out with a return to music from Rigoletto, the Duke’s “Parmi veder le lagrime,” well-sung by Garcíarroyo, except for a top B-flat that misfired.

The second half of the evening was devoted to music from Spanish zarzuelas and Broadway musicals. Garcíarroyo and Mendoza returned for two selections from Federico Morena Torroba’s Luisa Fernanda. In the romanza “De este apacible rincón de Madrid,” and the duet “Caballero, de alto plumero,” the natural charm and acting abilities of these two singers effectively brought these dusty pieces back to life.

Mendoza remained on stage for the high-spirted and flirtatious “Las Carceleras” from Ruperto Chapí’s 1889 zarzuela Las Hijas del Zebedeo, bringing her substantial vocal and histrionic abilities together for a thrilling performance, earning some of the most exuberant response of the evening.

In “La roca fría del Calvario” from José Serrano’s La Dolorosa, Rafael, the artist turned guilt-ridden monk, defends his controversial painting of the Virgin weeping inconsolably at the sight of her Son on the cross. Giving full vent to the passion of the character, Garcíarroyo had his finest moments of the evening, with clarion top notes and fervent expression.

In a solo performance, pianist Mario Alberto Hernández played the beautiful “La Maja y El Ruisenor” by Enrique Granados. Resembling at first a nocturne, then closing with intricate figurations, bird-like trills and fleeting arpeggios, Alberto’s sensitive and beautifully modulated performance left us wishing for a solo recital from this gifted musician.

Several pieces in (excellent) English followed, including three selections from Leonard Bernstein’s West Side Story, with Garcíarroyo rejoined by Ms. de Ramery who had her best moments here, using her dance experience to create fluid and subtle gestures. She followed with the comic showpiece “The Girl in 14G” by Jeanine Tesori, singing confidently and with good humor, lacking only the middle voice amplitude to bring the witty text fully to life.

Garcíarroyo closed with a robust rendition of the Mario Lanza hit, “Be My Love,” showing once again why this singer is a San Miguel favorite. Returning for a well-deserved encore, the tenor scaled down his voice for the intimate love song “Te quiero dijiste” by Guanajuato composer María Grever: a heartfelt performance capped by a floated pianissimo that was still hanging in the audience’s memory as it filed out into the street.

John Bills has sung over 5000 performances with The Metropolitan Opera. He writes about music and classic film. Contact him at FliksRUs@aol.com.