A concert opera based on the story of Our Lady of Guadalupe. • Una opera del concierto de acuerdo con la historia de Nuestra Señora de Guadalupe.
Composed by James DeMars. Compuesto por James DeMars.
Scheduled Performances     
Prevista Interpretaciõn
The Story      
La Historia
Contacts and Links     
Contactos y     
  Performers’ biographies for the premiere concerts on May 16 & 17, 2008 at St. Mark’s Episcopal Church, Mesa, Arizona and the full-length live recording "Guadalupe, Our Lady of the Roses (CR-7090)" available from Canyon Records.  
Composer/conductor James DeMars belongs to a generation of composers that is revealing a new integration of world music with the range, depth and stylistic variety of the classical tradition. His works include orchestral concertos for violin, piano, African drum ensemble, pow-wow singers, Native American flute, several cantatas, a requiem mass and an opera. His music was described by the Washington Post as "grand and spacious, stately, ethereal, glorious, inspired and quintessentially American; an intensely hopeful conjuration of all that is best about the nation's peoples." Ensembles that perform DeMars' music include the Philadelphia Orchestra, New York Choral Society, Phoenix Symphony, California Symphony, Minnesota Orchestra, Chicago Sinfonietta, Buffalo Philharmonic, Tucson Symphony, Wuppertal (Germany) Symphony, Anchorage Symphony, and Choer et Orchestre Francais D'Oratorio (Paris). DeMars has received commissions from the NEA, the Heard Museum, Flynn Foundation, Art Renaissance Foundation, European-American Foundation, the Phoenix Boys Choir and I Solisti di Zagreb. As a conductor, his performances include presentations of his work, An American Requiem, with the Phoenix Symphony, the Utah Symphony and nationally televised performances at the Kennedy Center and the Cathedral of St. John the Divine in New York featuring the Mormon Tabernacle Choir. In 1997 he conducted the European premiere at Église La Trinité in Paris with members of the Orchestre de Paris and was honored with induction to the French Order of Arts and Letters. DeMars' third release for Canyon Records, Two World Concerto, received two Native American Music Awards in 1998. DeMars received his doctorate from the University of Minnesota following studies with Dominick Argento and Eric Stokes. He teaches composition at Arizona State University in Tempe.
Making her professional debut in the Verdi Requiem with the Chicago Symphony, mezzo-soprano Isola Jones within two years made her Metropolitan Opera debut in the role of Olga in Eugene Onegin. She went on to sing more than 500 performances at “The Met” paired with such artists as Luciano Pavarotti, Placido Domingo, Leontyne Price, Joan Sutherland, and conductors Richard Bonynge and James Levine. She performed many leading roles including Giulietta in Les Contes D'Hoffman, Ulrica in Ballo in Maschera, Preziosilla in La Forza del Destino, Amneris in Aida, Suzuki in Madama Butterfly, Maddalena in Rigoletto, and Dalila in Samson and Dalila. But it is her portrayal of Carmen, her signature role, for which she is best known. Ms. Jones has appeared on opera and concert recordings such asWagners’ The Flying Dutchman, Mahler’s Symphony No. 8 and Stravinsky’s Les Noces, with the Chicago Symphony Orchestra, Sir Georg Solti and James Levine conducting, respectively; Gershwin’s Porgy and Bess with LorinMaazel conducting; Mascagni’s Cavalleria Rusticana, James Levine, conducting; and a solo recording entitled Music of Bach, Handel and Purcell. She also appeared in ten "Live from the Met" telecast productions including La Forza del Destino, Manon Lescaut, Francesca DaRimini, and The 100th Anniversary Gala of the Metropolitan Opera. Ms. Jones has sung with the Arizona Opera, Baltimore Opera, Calgary Opera, Chicago Lyric Opera, Cincinnati Opera, Dallas Opera, Denver Opera, Greensboro Opera, Hungarian Opera, Metropolitan Opera, Palm Beach Opera, Seattle Opera, Spoletto Festival, and at the Kennedy Center with the Washington Opera. In 1984 Ms. Jones was presented with the Merit Award from her alma mater, Northwestern University in Evanston, Illinois. She earned a Master's Degree of Science in Education from Capella University in Minneapolis, Minnesota, and was awarded an Honorary Doctorate of Musical Arts from Providence College in Rhode Island. Ms. Jones is currently teaching voice as an adjunct faculty member at South Mountain Community College in Phoenix, Arizona.
Tenor Robert Breault, who enjoys an international career that encompasses opera, oratorio, recital and concert work, is known for his warm and flexible voice and dramatic skills. Opera News praised him for "his mellifluous tenor boasting clarity of both tone and diction; clearly reveling in high notes, he sang with notable dynamic variety," and by the San Francisco Chronicle for having a "tenor of unwavering resonance." Breault's varied operatic experience includes over 70 roles including Alfredo in La Traviata, Edgardo in Lucia di Lammermoor, Rodolfo in La Bohème, the title roles ofWerther and Stiffelio, Roland in Esclarmonde, Count Almaviva in Il Barbiere di Siviglia, Tom Norman in Petitgirard's Joseph Merrick, The Elephant Man, and Jupiter in Semele, Cavaradossi in Tosca, and Pandarus in Walton’s Troilus and Cressida. He has performed with the New York City Opera, Opera de Nice, Florentine Opera, Utah Opera, Madison Opera, Portland Opera, Michigan Opera Theatre, Arizona Opera, Washington Concert Opera, Chautauqua Opera, Opera Theatre of St. Louis, and the San Francisco Opera. Breault's concert repertoire includes over 100 roles ranging from early to modern. He has performed many of the North American symphony orchestras including the Montreal Symphony, Utah Symphony, Atlanta Symphony, Milwaukee Symphony, St. Louis Symphony, Detroit Symphony, San Francisco Symphony, Florida Orchestra, Cleveland Orchestra, Philadelphia Orchestra and National Orchestra of Taiwan. He has also performed numerous times with the Philharmonia Baroque Orchestra and Il Complesso Barocco. Breault's recording credits include Laurent Petitgirard's world premiere recording of Joseph Merrick, The Elephant Man (also available on DVD). He has recorded Haydn's Lord Nelson Mass with the Choeur St. Lawrence and Montreal Symphony, DeMars’ American Requiem with the Mormon Tabernacle Choir and the Berlioz Requiem with the Jerusalem Symphony and Mormon Tabernacle Choir. Born and raised inWisconsin, Robert has served as Professor of Music and Director of Opera at the University of Utah since 1992 and received his Doctorate of Musical Arts from the University of Michigan in 1991.
Of Navajo-Ute heritage, R. Carlos Nakai is the world's premier performer of the NativeAmerican flute. His first studies were on trumpet and he began playing a traditional cedar flute in the early 1980s. Nakai’s first album, Changes, was released by Canyon Records in 1983 and since then he has released over 35 recordings with Canyon plus albums on other labels. Nakai brought the traditional flute into the concert hall, performing DeMars’ Two World Concerto with over fifteen symphonies. He was a featured soloist on the Philip Glass composition, Piano Concerto No. 2: After Lewis & Clark. Nakai has earned two gold records (500,000 albums sold) for Canyon Trilogy and Earth Spirit, sold over 4 million albums in his career, and received eight GRAMMY® nominations in three different categories. His music has been featured in two major motion pictures, Geronimo (Columbia) and NewWorld (New Line). ANavy veteran, Nakai received a Master's in American Indian Studies from the University of Arizona. He was awarded the Arizona Governor's Arts Award, an honorary doctorate from Northern Arizona University, and has been inducted into the Arizona Music & Entertainment Hall of Fame.
Baritone Robert Barefield has performed as a soloist throughout the United States and Europe with the New Orleans Opera, Mississippi Symphony, Arizona Opera, Dorian Opera, Central City Opera, Ohio Light Opera and Operafestival di Roma in Italy, where he performed the role of Danilo in Die lustige Witwe in 2006 and the title role in Mozart's Don Giovanni in 2007. Additional roles have included Figaro in Il Barbiere di Siviglia, Sid in Albert Herring, Eisenstein in Die Fledermaus,and the title role in Gianni Schicchi. As an oratorio soloist, Barefield's performances have included Orff's Carmina Burana, the Fauré Requiem, The Sea Symphony and Dona Nobis Pacem by Vaughan Williams and Handel's Messiah. Barefield's recital repertoire has encompassed Schubert's Die Schöne Müllerin, Wolf`'s Spanisches Liederbuch, Vaughan Williams' Songs of Travel and premiere performances of works by contemporary composers such as Simon Sargon and David Conte. Barefield has presented master classes throughout the United States and at the Vienna Conservatory in Austria and has served as adjudicator and panelist for regional and national vocal competitions. He joined the voice faculty at Arizona State University in 2003, after serving on faculties at West Chester University, Southern Methodist University and the University of Mississippi. He received a Doctor of Musical Arts from the Cincinnati College-Conservatory of Music, where he was a Corbett Opera Scholar.
Soprano Carole FitzPatrick received her Bachelor's Degree from the University of Texas and two Master's from Yale, then moved to Europe in 1988. After engagements in Dortmund and Osnabrück, Germany, she joined the ensemble of the State Theater in Nuremberg. Her extensive opera repertoire there included Mozart, Verdi, Puccini, Strauss andWagner in over 60 major roles in German opera houses including Essen, Hannover, Mannheim, Duesseldorf and Berlin. She has made extensive concert tours in France and Spain and performances in Finland, Austria, Holland, the Czech Republic, Luxemburg and Russia. At its inception, Ms. FitzPatrick was a vocal advisor for the Nuremberg State Theater's Opera Studio for Young Singers, giving master classes and private voice lessons. She was selected by the City of Osnabrück as "Citizen of the Year." In 2005 she participated in the premiere performance of Wagner's Ring des Nibelungen in Beijing and in 2006 sang Donna Anna in Don Giovanni in Hong Kong. Since 2005 she has been a professor of voice at Arizona State. Recent performances include the Chicago Chamber Musicians, Arizona State Lyric Opera Theater and Symphony Orchestra, Prager Sinfoniker, the Austin Chamber Music Society and the Berliner Cappella.
Robert Mills is an assistant professor of Music and the vocal coach-accompanist for Arizona State University's Lyric Opera. He holds a BA in Music from the University of Maryland as well as a MM and DMAin Accompanying fromArizona State University as well as a Juris Doctor from Brigham Young University. Mills has served as an assistant vocal coach and accompanist for the Opera Institute at Boston University and in 2005 joined the faculty at the American Institute of Musical Studies Summer Program in Graz, Austria. Mills has performed with the Baltimore Symphony, Phoenix Symphony and Mesa Symphony. He is a frequent guest artist with the Phoenix Bach Choir, the Three Tenors of Mexico and is in high demand as a coach-accompanist in the Phoenix area.
Fr. Jorge Rodríguez Eagar, a native of LosAngeles, has resided inArizona since 1980 when he began teaching atMesa Community College. He received his BAin Latin American Studies from UCLA,Master’s in Spanish fromCal State LosAngeles, and in 1996 his Ph.D. in Hispanic literature fromArizona State. In 2001 Fr. Jorge was ordained a priest in the Independent Catholic Apostolic Church ofAntioch and was consecrated Bishop in 2008. He is the founder and spiritual director of the Shrine of HolyWisdomin Tempe,Arizona, a center for the study and practice of holistic spirituality.
Born in Guadalajara, Jalisco, Xavier Quijas Yxayotl was given his indigenous name, "Yxayotl" (Nahuatl for “tears”), during a peyote ceremony by Huichol shaman Don JoseMatsuwa. In the 1970s Xavier began to study and play pre-Columbianmusic. He travelled to themountains of Jalisco and Nayarit where he lived with the Huicholes and Tepehuanes, participated in indigenous rituals and began constructing handmade instruments -Mayan andAztec drums and flutes, Tarahumara drums, turtle shells, rain sticks, Teponaxtli log drums,Mayan ocean drums and rattles. In 1985, in LosAngeles, Xavier formed America Indigena which interprets themusic of theMayans,Aztecs, Tarahumaras, Yaquis, Tepehuanes and Huicholes. Xavier has released three albums for Canyon Records - Singing Earth, Aztec Dances and Crossroads.
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