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...risk their capital with full knowledge of all relevant circumstances, the Commission should be reluctant to deny them an opportunity to improve the economy of their area." The Texas & Pacific Rail way, which carries freight out of Odessa, and wanted no new competition, appealed the ICC decision. The Santa Fe, which stops at Seagraves, joined the appeal. Last week the Supreme Court ruled for the Permian Basin...
...road's jubilant backers are already busy blueprinting operations. At first, the Permian Basin will use three or four rented diesels on a single track. It will connect with the Santa Fe at Seagraves, with the T & P at Odessa, and along the way make stops at Andrews (pop. 11,000) and Seminole (pop. 6,000). It will have only 50 employees, but it will be highly automated. The founders are confident that it will not only make money hauling commodities out of the area, but more important, attract new industry...
...amid the Sangre de Cristo range outside Santa Fe this year, a dramatic new feature has jutted up in a matter of months. It is the Santa Fe Opera Company's new theater, a bold cross between an open-air arena and a Pueblo fortress. It has no side walls, and its see-through stage provides the action with a striking natural backdrop of dancing hills. Above the orchestra seats, a red wood-beamed adobe canopy sweeps up ward, then breaks off abruptly to re veal a broad area of New Mexico...
Anguish to Joy. Continuing in its tradition of skillful, venturesome productions, the Santa Fe company last week gave the U.S. premiere of Arnold Schoenberg's dark, somber statement of musical theosophy, Die Jakobsleiter (Jacob's Ladder). Schoenberg wrote it in 1917 as an oratorio, but left it unfinished at his death in 1951. Santa Fe presented it as a visually cool, shadow-filled, dreamlike mystery play. In the final scene, the Dying Person (Soprano Patricia Wise) is led up a silver-covered staircase as she approaches death; then she begins to realize that she has gone through many...
...fitting follow-up to Santa Fe's earlier U.S. premiere of Hans Werner Henze's The Bassarids, a stark, twelve-tone retelling of Euripides' The Bacchae. The libretto by W. H. Auden and Chester Kallman rang out with eloquent pathos. The cast struck a perfect balance of harshness and lyricism under Composer Henze's baton. Perhaps best of all, though, was the spectacular scene depicting the burning palace of Pentheus. Smoke billowed and red lights flickered. Once again flames soared at Santa Fe-but this time they were just part of the show...