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Santa Fe New Mexican | January 22, 2020 | Pro Musica hires new executive director

Michael Abatemarco

Mary G. Madigan, the director of Composers Now in New York City and a longtime administrator for music organizations and festivals, has been named executive director of Santa Fe Pro Musica, effective Feb. 17.
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Pasatiempo Review | April 26, 2019 | From struggle and conflict, beautiful music; Pro Musica’s East Meets West

Marc Shulgold reviews Pro Musica’s 2018-29 Season Finale

Two seemingly disparate themes come together in the season-ending program by Santa Fe Pro Musica. For guest conductor Gemma New, who is making her Santa Fe debut, each of them fits quite nicely. Titled East Meets West, the two concerts are subtitled Resilience in the Face of Adversity. As the New Zealand conductor explained, the latter touches on the struggles faced by the program’s three composers.
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Pasatiempo | April 26, 2019 | A change is gonna come; Pro Musica’s Thomas O’Connor passes the baton

Marc Shulgold interviews Thomas O’Connor about what’s next

It sounds overly dramatic to say that Santa Fe Pro Musica has reached a critical turning point. Except that it’s true. “It’s a big moment for us,” executive director Elizabeth Harcombe said. “Things will be changing.”
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Sallie Bingham | March 19, 2019 | Nearly Lost

Local Author Sallie Bingham discusses the captivating performances of Music Without Borders

The latest in this year’s Women of Distinction series, presented by Santa Fe’s Pro Musica orchestra, brings into the light contemporary women conductors and performers who are known a little, but not to the extent their talent deserves. They, in turn, lead me to the nearly lost composer and performer, Florence Price.
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Pasatiempo Review | January 4, 2019 | Christmas in the concert halls

James Keller reviews A Baroque Christmas

The Loretto Chapel is especially lovely at Christmastime, when its white, neo-Gothic interior is lightly bedecked with seasonal greenery. The holiday concerts given there annually by Santa Fe Pro Musica Baroque Ensemble generally make it sound as good as it looks. It is a dependably classy event, with the instrumentalists, performing serious but not ponderous repertoire on 18th-century-style instruments, being joined by one of two singers who divide the vocal duties over the run of the concerts. The group offered 12 go-rounds spread across three days, each accommodating just 139 listeners, which ensured an intimate concert experience.
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