The vista is curbed by rich pink summer roses,
tangerine cannas, and trumpet vines.
We dine under a shower scrubbed Santa Fe sky
and a white tent; are titillated by being joined––
ponytail to ponytail––by Ruth Bader Ginsburg.
Then, it is up to “Ariadne auf Naxos”:
”Rearrangement!” “What on earth
is happening?” “Make it happen.”
“Execution!” “The display of fireworks
in the garden.” “Such great beauty
out of nowhere.“ “Everybody
to their places!”
The staging draws a parallel
between the composer's love for Zerbinetta
is played by a woman... thus overtones
color the crescendo of their kiss)
and the embrace of Bacchus (the immortality
of Art) and Ariadne (wanting to sacrifice
in order to preserve her singular love
for Theseus in myth). The program
notes how her wanting to “submit
her passions to the oblivion
of the youngest and most
ancient god’s arms and lips”
confuses the young god, a tenor.
Throw in a little Georgia O’Keeffe,
"Hostiles," Abraham and Isaac,
a pinch of Salome (in drag),
longing... and kissing the head––
but not the babble––of The Baptist.
Tomorrow, at one of the airport shops,
before flying out of Albuquerque,
I will delight in finding
two Koshare bead dolls,
their little articulated
hands sharing watermelon
with any listeners who might
choose to join the circle.