The Annual Grand Avenue Festival is a well-loved community event filled with interactive arts projects, vendors, music, food and more. This year, the Sixth Annual Grand Avenue Festival is teaming up with the Phoenix Annual Parade of the Arts (P.A.P.A.) to create a full day of participatory fun for the whole family.
The festival features a variety of ways for the community to get involved as participants, artists, vendors, or sponsors (DPJ is one). Take a minute to check out the options below and join the fun!
Festival Sponsorship Opportunities
Your contribution will help replace 35 missing trees along lower Grand Ave. with 24″ boxed trees that are large and sturdy enough to withstand the highly trafficked right of way along Grand. Your name will be listed in the Tree Sponsor Thank You section of festival program.
Make your tax deductible donation to Phoenix Community Alliance, Attn: JoMarie McDonald, 234 N. Central Ave., Phoenix, AZ 85004 (note that it’s for the Grand Ave Tree Program).
Overall Festival Sponsor – packages from $100 to $2,500.
For more information on all festival sponsorships, contact Beatrice Moore at 602-391-4016, or email@example.com.
Grand P.A.P.A. Sponsor – packages from $5 to $1,000. Learn more.
NOTE: deadline for all sponsorships: October 15 (for inclusion in the festival program)
Be a Vendor at the Grand Avenue Craft Fair
A popular element of the Grand Avenue Festival is the Grand Avenue Craft Fair (formerly Coffee, Cookies & Crafts). Craft fair hours will be from 11:00 a.m. to 5:30 p.m. in the Bragg’s Pie Factory parking lot. Spaces are $25 for a 10′ x 10′ space. Vendors must provide their own tables, chairs and tents. Electricity is not available. Vendors are required to have AZ and City of Phoenix sales permits and are responsible for collecting their own sales tax. Set-up starts at 9 am, teardown at 5:30 pm.
To apply to be a vendor, please email the following information to GrandAvenueCraftFair@gmail.com:
- Your name
- Your company name
- Description of what you make
- Link to your website or online store
VENDOR APPLICATION DEADLINE: OCTOBER 15 (for inclusion in the festival program)
OTHER WAYS TO PARTICIPATE
Recycle Fashion Show – learn more here.
Hanging Garden and/or Woven Fence – Art made primarily from trash and recycled materials will be displayed from tree branches, wrapped trunks, woven on fences and other unexpected locations. Create your entry at home or in the studio and hang it morning of the event. A location will be assigned to you after you register. For more information, contact Beatrice: 602-391-4016 firstname.lastname@example.org
Politi-Art – Make art from recycled political signs that will be displayed on the fence at Bragg’s Pie Factory during the fest. Mixed Media welcome! For more information, contact Beatrice: 602-391-4016 email@example.com
Parade Costume Contest – Members of the community do not have to register to march, however, participants who choose to enter the contests must check in by 5:00pm for judging. Winners in 5 categories: best float, best group, best bike, best costume and best “cute” (typically kids and pets) will receive prizes designed by local artists. Floats and participants must be non-motorized (bicycle, skateboards and other human powered vehicles are acceptable). PAPA takes pride in its “non motorized floats” policy to keep the parade ecologically friendly. Learn more.
See you on Grand!
Poster art by Carolyn Watson Dubisch
Logo design by Ismael Duenas
Photography by Stephen G. Dreiseszun/Viewpoint Photographers
Diversity with local relevance is a prime goal for nonprofit arts organizations, and Arizona Opera hopes to pique interest in its forthcoming mariachi opera and expand multicultural outreach with this week’s Hispanic Heritage Festival.
“The whole purpose of the Festival,” says Arizona Opera Education Manager Joshua Borths, “is to bring together the Hispanic audiences who haven’t necessarily been to the opera before, and expose our opera audiences to this incredible world of mariachi music and cultural richness.”
The Festival begins with Monday’s panel discussion on immigration and the arts at Arizona Opera Center, kicking off a week of events leading up to the weekend’s season-opening performances of Cruzar la Cara de la Luna (To Cross the Face of the Moon). Along with moderator Daniel Buckley — a composer, journalist, historian, documentary filmmaker, photographer, and Governor’s Arts Award winner — the roster of illustrious participants includes playwright, journalist, and policy strategist James Garcia and Arizona State University Vice Provost and Professor of History Eduardo Pagán. The third member of the panel is Shoshana Tancer, a highly respected immigration attorney and professor emeritus at Thunderbird School of Global Management. Tancer’s background comprises extensive work in Latin America as well as longtime advocacy for the arts.
“It’s kind of funny because someone said, ‘Yeah, a member of your Opera board should be on that panel,’” says Borths. “I started talking to her [Tancer] and learning more about her life … understanding arts, and understanding all of the complex issues that surround immigration.” He adds, “We’re lucky to have her involved. It’s a really interesting, diverse group of people.”
Tuesday night offers a lecture-demonstration on mariachi history and conventions by retired ASU musicology professor Richard Haefer and his ensemble Mariachi Corazon de Phoenix. The Opera Center transforms itself into a mercado for the Cultural Exchange on October 8, becoming a marketplace. “We’re going to have food trucks, throw open the garage doors,” says Borths. “Mariachi is booked from 6-9, local arts and crafts, and even a guest appearance by Alan Ponce, the runner-up on La Voz, The Voice in Mexico.”
Hundreds of schoolchildren will converge on Symphony Hall Thursday evening to attend the mariachi opera’s final dress rehearsal on Student Night, and Saturday afternoon the Festival concludes its Phoenix events with a showcase of Hispanic art at the Opera Center — “We’ll have some fine art projects and we’ll be showing some Hispanic films,” explains Borths. Opera-goers will also find local mariachi groups playing outside Symphony Hall before each performance, along with the option of informal pre- and post-show lectures.
The Festival’s centerpiece, Cruzar la Cara de la Luna, premiered at Houston Grand Opera in 2010 and continued on to the venerable Théâtre du Châtelet of Paris. The opera was created by director and writer Leonard Foglia and José “Pepe” Martínez, who served as music director for Mariachi Vargas de Tecalitlán from 1975 until his retirement earlier this year. The music reflects Martínez’s signature of rapid violin ricochets and the mariachi styles of ranchera and boleros. Martínez was also influenced by his appreciation for Beethoven and for the 20th-century classical Mexican composer José Pablo Moncayo, who wrote the famously rhythmic Huapango and the opera La mulata de Córdoba.
Martínez and Foglia wove 15 songs into a brisk, emotionally potent 80-minute opera without intermission, using flashbacks to tell a multi-generational story of immigration between Mexico and America. They also use the metaphor of monarch butterfly migration, says Mariachi Vargas violinist José “Pepe” Martínez Perez, Jr., the composer’s son. Speaking through interpreter and assistant manager Ivan Leony, he continues, “They travel for a better situation, a better place, like the butterflies … a lot of them die. That’s like the immigrants … some of them make it; some of them don’t.” Leony adds, “Of course our group has never been — and probably will never be — political. We do it because of the music.”
Arizona Opera’s production of Cruzar la Cara de la Luna features the original cast including Mariachi Vargas, which was founded in 1898 and gained even wider recognition by releasing a popular album with Linda Ronstadt — it’s one of more than 200 recordings from the venerable Mexico City-based ensemble.
“The piece is scored for mariachi and vocalists,” says Arizona Opera General Director Ryan Taylor, “so the band appears onstage and serves as orchestra and chorus, and then the vocalists and dance troupe tell the story in operatic fashion in front of them, so they’re all onstage all the time.”
“There are opera singers who have spent time studying the technique of mariachi vocalists because they have such stamina and such power in their delivery,” Taylor continues, “and there are also mariachi vocalists who have looked to the way that the original musical theater and opera singers performed … without amplification.” He adds, “They’ve really sort of fed off of one another in their development in a cool kind of way.”
Pepe Jr. will lead the upcoming performances somewhat like a concertmaster leading a chamber orchestra, with the trumpets, violins, and rhythm section of Mariachi Vargas arrayed across the back of the stage. Dancers perform downstage with the soloists, including classically trained baritones Octavio Moreno and Brian Shircliffe, mezzo-soprano Cecilia Duarte, soprano Brittany Wheeler, and tenor David Guzman. Spare, minimal sets and lighting suggest vast desert landscapes interspersed with a few indoor scenes.
“Since of course it talks about the undocumented immigrants crossing over,” says Pepe Jr., “it’s very touching and you see a lot of people teary and sad as they leave the performance hall with an open heart, but also fascinated with how the story of an immigrant family could be such a good opera.”
If you go:
Hispanic Heritage Festival (all listed events take place in downtown Phoenix):
- The Borders of Understanding
- Mon., Oct. 6 at 6 p.m. at Arizona Opera Center, 1636 N. Central Ave.
- Three-person panel participates in guided conversation about immigration and the arts
- Mariachi: The Passion and Pulse of a People
- The Cultural Exchange
- Student Night at the Opera
- Connecting the Dots: A Demonstration of Hispanic Art
- Sat., Oct. 11, 12 p.m.-2 p.m. at Arizona Opera Center
- Watch old movies from Mexico and participate in Hispanic art projects and demonstrations
by José “Pepe” Martínez and Leonard Foglia
(sung in Spanish and English with English supertitles)
- Symphony Hall, 75 N. Second St., downtown Phoenix:
- Fri., Oct. 10 at 7:30 p.m.
- Sat., Oct. 11 at 7:30 p.m.
- Sun., Oct. 12 at 2 p.m.
- Tucson Music Hall, 260 S. Church Ave., Tucson
- Sat., Oct. 18 at 7:30 p.m.
- Sun., Oct. 19 at 2 p.m.
- All performances feature:
- Local mariachi performances outside the venue
- Informal lectures before and after each performance
After several years of conservative programming and lean budgets, Arizona Opera launches Arizona Bold, a new artistic initiative of innovative operas with a corresponding four-year $5 million capital campaign.
Two remarkably successful “Million Dollar May” fundraising projects not only brought in income but also raised the company’s international profile, encouraging participation from dozens of new donors across all 50 states, Canada, Austria and Japan along with AZ Opera staff, supporting organizations, and trustees. This response led to even better news: although the new campaign was only recently announced, it’s already raised more than $2 million.
As for programming, Arizona Bold includes two canon-expanding operas each season, encouraging community engagement with each production and also refreshing the tired palates of longtime operagoers with regionally appropriate fare in Phoenix and Tucson.
Plans include Florencia en el Amazonas by Mexican composer Daniel Catán, Frida & Diego by Gabriela Lena Frank and Nilo Cruz, the comic operetta Arizona Lady by Emmerich Kálmán, and the long-awaited world premiere of Riders of the Purple Sage, written by Arizona’s Craig Bohmler with Steven Mark Kohn and based on the eponymous novel by Zane Grey.
Several upcoming operas resonate with current issues — take for example Dead Man Walking by Jake Heggie and Terrence McNally, which focuses on capital punishment, or the wartime story of Silent Night by Mark Campbell and Kevin Puts (who wrote a commissioned work for The Phoenix Symphony and Hermann Michael in 2001 titled Inspiring Beethoven).
The current season promises equally appropriate material beginning October 10-12 with Cruzar la Cara de la Luna (To Cross the Face of the Moon), billed as the world’s first mariachi opera. “It’s an amazing blend…and a terrific story about sense of place and belonging and romance,” says Arizona Opera General Director Ryan Taylor. “It hits all the high points.”
The opera’s Arizona performances feature the original cast including Mariachi Vargas de Tecalitlán, a 116-year-old ensemble. Cruzar la Cara de la Luna was written as a collaboration between director and writer Leonard Foglia and José “Pepe” Martínez, who served as music director for Mariachi Vargas from 1975 until his retirement earlier this year. Expect songs in Spanish and English with English supertitles projected above the stage, and a multi-generational story of immigration told by dancers and soloists through flashbacks.
Taylor explains, “The Hispanic population here in Arizona is such an integral part of our society that…we really wanted to legitimize the piece and call attention to its validity in the repertoire…so we decided to launch the season with it — we felt like it was a great new way to be a little bold.”
Those who love sweeping Romantic orchestral music will find full satisfaction in November’s emotionally wrenching Rigoletto by Giuseppe Verdi — a classic production from Utah Opera — and the first performances of 2015: a brand new production of Peter Ilyich Tchaikovsky’s passionate Eugene Onegin, both featuring the talents of Arizona Opera’s excellent orchestra.
Rigoletto’s tragic tale of a father’s struggle between love for his daughter and a quest for vengeance stars Italian-American baritone Michael Corvino in the title role. “I can tell you we chose him because he made all of us cry in his audition,” says Ryan with a laugh. “I was riveted and it was…haunting and beautiful…[he] has a certain tambour in the voice that is ideal for this kind of repertoire.”
Alexander Pushkin wrote the original story of Eugene Onegin, a sort of coming-of-age romance directed by Tara Faircloth, who was responsible for last season’s popular and engaging H.M.S. Pinafore. Taylor hopes to involve Arizona’s Eastern European residents, he says. “There’s actually a decent-size Slavic and Russian and Serbian population here…and that’s part of our goal: to start producing repertoire that matters to different sets of communities within our borders.”
Consider the intersection of multi-layered Masonic imagery and Wolfgang Amadeus Mozart’s Classical style in The Magic Flute (Die Zauberflöte) in February and March, with a new production by the Metropolitan Opera’s Dan Regazzi. The opera promises sparkling performances from Arizona Opera Marion Roose Pullin Opera Studio alumnus David Margulis in the tenor role of Tamino and a jaw-dropping Queen of the Night aria from soprano Lindsay Russell.
“If there’s operatic singing that [is] sort of superhuman, it comes in Magic Flute,” Taylor says. “You’ll hear the highest and lowest notes written for artists and regularly performed today in this piece, and it’s a fantasy fairy tale.”
The season ends with the fabled nine high Cs of Gaetano Donizetti’s lighthearted The Daughter of the Regiment (La fille du régiment), which was excellently previewed at Arizona Opera’s recent “Town Hall” presentation by tenor David Portillo. Those heart-stopping high notes will ring even more beautifully when Portillo sings them in April. “That’s the reason that you do Daughter of the Regiment, right?” says Taylor with a laugh.
If you go:
- Cruzar la Cara de la Luna (To Cross the Face of the Moon) by José “Pepe” Martínez and Leonard Foglia (sung in Spanish and English with English supertitles)
- Oct. 10 at 7:30PM
Oct. 11 at 7:30PM
Oct. 12 at 2PM
- Oct. 10 at 7:30PM
- Rigoletto by Giuseppe Verdi (sung in Italian with English supertitles)
- Nov. 14 at 7:30PM
Nov. 15 at 7:30PM
Nov. 16 at 2PM
- Nov. 14 at 7:30PM
- Eugene Onegin by Peter Ilyich Tchaikovsky (sung in Russian with English supertitles)
- Feb. 6 at 7:30PM
Feb. 7 at 7:30PM
Feb. 8 at 2PM
- Feb. 6 at 7:30PM
- The Magic Flute (Die Zauberflöte)by Wolfgang Amadeus Mozart (sung in German with English supertitles)
- Feb. 27 at 7:30PM
Feb. 28 at 7:30PM
Mar. 1 at 2PM
- Feb. 27 at 7:30PM
- The Daughter of the Regiment (La fille du régiment) by Gaetano Donizetti (sung in Italian with English supertitles)
- Apr. 10 at 7:30PM
Apr. 11 at 7:30PM
Apr. 12 at 2PM
- Apr. 10 at 7:30PM
Find more information at azopera.org or call 602-266-7464.
Every year Ballet Arizona gives audiences a family-friendly treat with Ballet Under the Stars, a series of free outdoor performances in Valley parks ending at Steele Indian School Park on Saturday, September 27 at 7PM.
“It’s an extraordinary gift to give Arizona,” says Ballet Arizona Artistic Director Ib Andersen, “that we’re doing this program for free. Nobody does what we do.”
The repertoire includes two classics by American ballet iconoclast George Balanchine, beginning with last season’s Walpurgisnacht from Charles Gounod’s opera Faust. Creating an otherworldly atmosphere, Walpurgisnacht refers to revelry celebrating the souls of the dead and a gathering of witches, although the ballet itself isn’t meant to depict a specific event, “except I would say the last movement,” adds Andersen, “when the women let their hair down and they go sort of bananas.”
Brazilian dancer Nayon Iovino, who’s been with Ballet Arizona since 2012, choreographed the evening’s second work for its performances this past May. “I do think that Nayon has talent,” says Andersen, “and this ballet that he did … is a good one.”
Iovino’s creation uses several pieces of music, ranging from an excerpt from Antonio Vivaldi’s The Four Seasons to more modern tunes. The dancers wear simple costumes of jeans and shirts, without pointe shoes.
Ballet Under the Stars concludes with the 1954 work Western Symphony, featuring well-loved music by American composer Hershy Kay on traditional folk-song themes including “Red River Valley,” “Good Night, Ladies,” and “The Girl I Left Behind Me.” Says Andersen, “It’s cowboys and cowgirls, you know?”
Enthusiastically received by audiences last spring at the Orpheum Theatre, Western Symphony uses the natural landscape as its entirely appropriate backdrop this weekend, showcasing nearly 40 performers. “It’s the biggest ballet we’ve ever done in terms of numbers,” explains Andersen. “We’ve had ballets where we had more people on stage, but not all of them dancing at the same time.”
Bring blankets or lawn chairs, friends, and family to enjoy Ballet Arizona’s invaluable gift to the Valley.
If you go:
- All remaining Ballet Under the Stars performances begin at 7PM
- Fri., Sep. 26 at Estrella Lakeside Amphitheater in Goodyear
- Sat., Sep. 27 at Steele Indian School Park in Phoenix — UPDATE: this performance has been cancelled due to a forecast of inclement weather.
- Ballet Arizona’s Open House is Sat., Oct. 5 from 12PM-4PM
- at 2835 E. Washington St., Phoenix
- tour the Ballet AZ studios, meet faculty, enter drawings for ticket giveaways, or try free classes in ballet, jazz and modern dance, yoga and Zumba
- Find all the details on Ballet AZ’s upcoming season, including:
- Swan Lake (Oct. 30-Nov. 2, 2014 with The Phoenix Symphony at Symphony Hall)
- Dancers’ Choice (Nov. 15, 2015 at Ballet AZ’s Dorrance Theatre)
- The Nutcracker Festival (Nov. 16, 2015 at Ballet AZ’s Dorrance Theatre)
- The Nutcracker (Dec. 12-28, 2014 with The Phoenix Symphony at Symphony Hall)
- Napoli (Feb. 12-15, 2015 with The Phoenix Symphony at Symphony Hall)
- Today’s Masters (Mar. 26-29, 2015 at the Orpheum Theatre)
- All Balanchine (Apr. 30-May 3, 2015 at Symphony Hall)
The Downtown Phoenix, Inc. (DPI) team received excellent feedback at our quarterly Board of Directors meeting earlier this week. In addition to a comprehensive overview of new development initiatives, we focused on events, membership, establishing our brand, and our work with Roosevelt Row and Evans Churchill to investigate the feasibility of creating a business improvement district. Our economic development partner, the Downtown Phoenix Community Development Corporation (CDC), has joined the Downtown Phoenix Partnership (DPP) in agreeing to a January 1, 2015 consolidation date. We continue to work with the Phoenix Community Alliance (PCA) on a similar arrangement.
Having our business, city, and community leadership at the same table focused on the future of downtown bodes well for the future.
Doing Our Best
USA Today named the Roosevelt Row Arts District one of the top ten best arts districts in the nation. Last year Roosevelt Row was spotlighted, again by USA Today, as one of the ten best neighborhoods that tourists haven’t found yet.
Bleacher Report named Phoenix the 13th best city (out of 25) to be a sports fan. Rankings were based on number of teams and events, success of teams in last five years, stadiums, fan passion, general fan experience, media, star power, and tradition and history.
Our Bleacher Report ranking should go up a few notches as the Phoenix Mercury completed a three-game sweep of the Chicago Sky on Sunday to win the third WNBA championship in team history. They join the Arizona Rattlers who, a few weeks earlier, won their Arena Football League championship against the Cleveland Gladiators.
Earlier this month, government, business, and civic leaders hosted representatives from the Democratic National Committee in town to evaluate Phoenix as the site of the 2016 Democratic National Convention. Phoenix was the fifth and final stop for convention planners. Other cities being considered are Birmingham, AL; Columbus, OH; New York City; and Philadelphia, PA. According to Mayor Stanton, “I am confident that when the DNC leadership leaves here, they will leave with an understanding that, logistically, there is no better place than Phoenix.”
What’s Brewing Downtown
Downtown Phoenix welcomes a new brewery. On September 15, Mother Bunch Brewing opened in the 1926 J.B. Bayless Grocery building at Seventh Street and Garfield. Until it offers its own signature beers in a few weeks, Mother Bunch will make available a variety of Arizona beers through its 20 taps along with a “sophisticated, but not complicated” lunch and dinner menu.
Local First Arizona has released the fifth edition of its Phoenix Small Wonders map, a pocket-sized guide featuring nearly sixty local restaurants, pubs, galleries, boutiques, venues, and experiences located in central Phoenix. All of the businesses included in the guide are independently owned and operated.
The City of Phoenix received a $1.6 million grant from the U.S. Department of Transportation to evaluate the planning, environmental, and conceptual engineering to extend Metro light rail down Central Avenue from Jefferson to Baseline Road. According to Mayor Greg Stanton, “Getting light rail to South Mountain is one of my personal priorities. I want to bring the same flexible transit options to the area as others in the city experience with Metro.”
The City of Phoenix has selected Chicago-based Smithfield Properties to develop a mixed-used project on the northwest corner of Central Avenue and Van Buren, the current site of the Central Station transit facility. Smithfield proposes a 476-apartment, 390-foot building that would be one of the tallest buildings in Arizona. A parking garage also would be built as part of the new development. Metro light rail trains and Valley Metro buses still will run through the station.
New City Church will be moving into a 18,000 square foot building at 1300 North Central Avenue for more space and a central location near the Roosevelt Row Arts District. According to Pastor Brian Kruckenberg, “We love being on the ‘front porch’ of the city and are ecstatic about the growth and attention that the city’s center is getting.”
New apartments and condominiums have sprung up or are being planned in and around downtown Phoenix. That’s a positive trend. But stalwarts of downtown living are the residents of Phoenix’s historic districts who remained while others fled to the suburbs in the 50s or purchased, renovated, and brought back to life vintage homes since then. The Arizona Republic has begun to profile these neighborhoods in word and photo: Country Club Park, Del Norte Place, East Evergreen, Encanto Palmcroft, F.Q. Story, Fairview Place, La Hacienda, Margarita Place, North Encanto, North Garfield, Roosevelt, Windsor Square, Woodland, and Woodlea.
Our Creative Arts
The second RadiatePHX business and community networking event, sponsored by DPI and Downtown Phoenix Journal, was held at the ASU Step Gallery in the Warehouse District on Tuesday. The theme and conversation focused on the importance of the arts community, cultural engagement, and the work of our local creatives to help transform and improve our downtown. Guest speakers in front of a packed audience included Councilwoman Kate Gallego and Steven Tepper, the new Dean of the ASU Herberger Institute of Design and the Arts. We appreciated the strong participation of PCA members at this event.
Arizona State University’s Walter Cronkite School of Journalism and Mass Communication in downtown Phoenix is opening the doors of its New Media Innovation Lab to the public, offering expert advice and support on entrepreneurial and technological endeavors.
Two members of the DPI Board of Directors were just highlighted in the press, partly due to their involvement with the arts: Ken Van Winkle, managing partner with Lewis, Roca, Rothgerber, most recently chaired Ballet Arizona’s successful campaign to create their new facility at 29th Street and Washington. Tim Eigo, editor of Arizona Attorney magazine, serves as steering committee chair of Downtown Voices Coalition and recent host of Space 55’s first PHIL Talk (Phoenix Has Ideas LIVE), a comical parody of TED Talks. In addition, Dr. Carol Poore, chair of PCA’s Arts, Culture, and Public Life Committee, wrote a compelling op-ed in the Arizona Republic about how science, technology, engineering, math, and the arts are all vital to attracting businesses and retaining skilled workers in cities and towns throughout our state.
Amanda LaCasse, one of the 106,800 college students who live in Phoenix – and more specifically downtown Phoenix – shared her opinion about growing up and now furthering her education here: “The gems I have grown to love are not hidden – they are plain and simple, out in the open. Anyone can find a spot to feel at home in downtown Phoenix if they spend enough time getting to know the area, and nobody should be afraid of it. It offers the same services as any other part of the city, but with a more authentic attitude and honest, personable interactions with people who love you for who you are.”