![]() ![]() It’s only me preparing the food and running the business, and it’s a lot for me to take on a multi-course menu. “My original intention was to have an a la carte menu,” Dodds told me the day after we visited NOSA, “to not commit to this multi-course tasting. Sunchoke and spinach dip with some of the tastiest brioche this side of France. There’s an art, he says, to consistently making the same dishes time and time again and keeping them high-quality he, however, would rather flex his creative muscle. NOSA’s premise is simple but enticing: Dodds experiments and creates rotating lunch and dinner menus based on whatever available ingredients are most fresh. His tale is familiar: Dodds visited Santa Fe on a road trip in the ‘90s, fell in love and, he tells SFR, always knew he’d be back permanently. Think minimal with high ceilings and a quiet but warm ambiance a charming and tastefully decorated Christmas tree stood in the corner and I wondered aloud if the main space had perhaps been a church at some point (though I later learned it had not).īoth the restaurant and inn are operated by chef Graham Dodds, a son of Dallas with British parents, decades of cooking experience and schooling from both Portland, Oregon’s Le Cordon Bleu College of Culinary Arts (formerly Western Culinary, at least when Dodds was there) and the real-deal Cordon Bleu itself-the latter for pastry. Still, we managed to arrive early enough to take a brief look at the campus: four rooms available as Airbnbs and a pair of cozy dining rooms. It’s easy to miss with its nondescript driveway in an area we’ll call remote and that, frankly, will likely be a nightmare in the snow. NOSA-which, according to the website both means North of Santa Fe and is an old Spanish word for “ours”-opened roughly six months ago just south of Ojo Caliente (its address is technically in Ojo, but a companion and I blew right past it on some kind of spa-propelled autopilot) and has since been on the lips of many a local foodie. It’s hard enough to get all your friends on the same page dining-wise without putting 45 minutes between you and lunch, but in the case of new-ish eatery NOSA Restaurant and Inn (49 Ranco De San Juan, Ojo Caliente, (505) 753-0881), it seemed more than worth the trek. Where: San Diego Opera at the Balboa Theatre, 868 Fourth Ave.If I’m being honest, I’ve waffled at the thought of a long drive before a meal. and how does thinking about your own mortality affect how you view the world.” ‘Ghosts’ “They’re all about thinking about death, the imminence of death. “I feel like, after (Reveles’) passing, ‘Ghosts’ is more connected to him in a way,” de los Santos said. Instead, they’re eerie in the style of a Hitchcock movie, and they’re focused more on pondering deep questions about life, death and the prospect of an afterlife. The operas will be sung in English, with English and Spanish supertitles projected above the stage.Īlthough “Ghosts” is inspired by horror, de los Santos said its three stories are not gory or terrifying. The running time for “Ghosts” is 90 to 95 minutes. And the finale is “House,” another piece for one singer, set in the latter decades of the 20th century. The centerpiece is “Dormir,” written for three singers, set in the mid-20th century. The evening will begin with “Eden,” an opera for one singer, set in the early part of the 20th century. So, when the pandemic forced everyone into isolation, Reveles wrote both the music and libretto for a second short opera, “House,” which is about a traumatized woman with secrets and delusions moving into a haunted house. In 2019, San Diego Opera General Director David Bennett agreed to produce “Dormir” as part of the company’s Detour Series of nontraditional works. It’s about a Mexican caregiver and her patient, a prejudiced dying man, and their conflicts over religion vs. In 2018, Reveles met San Diego playwright Michael Vegas Mussman and they talked about collaborating on a horror piece inspired by the 1955 French horror film “Diabolique.” That became the basis of the one-act opera “Dormir,” with music by Reveles and libretto by Mussman. ![]() ![]() Reveles was so pleased with how the scene turned out that he vowed to one day write a full-length horror-themed opera. Five years later he wrote “Sextet,” a queer opera that had a brief scene of horror. Reveles wrote the first of his six operas in 2005, the San Diego Opera-commissioned “The Sleeping Beauty” for children. (Hayne Palmour IV/For The San Diego Union-Tribune) ![]()
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