The Cure' of Ars

A mass for peace in the third millennium

A mass for peace in the third millennium cd cover

"The Curé of Ars", is an exciting new musical based on the life of Saint John Vianney. To date, the script and score have been completed. A beautiful demo CD of the score, with a great cast, has been recorded to help us finance a fully staged production of “The Curé of Ars”.  It will be amazing! 

Click here to learn more about the story and the creation of “The Curé of Ars” and to listen to The Overture and the opening song, The Story Begins, from the CD.

You can obtain a CD with your donation to the Angelus Arts Association (Suggested donation of $20 will include shipping, handling and the beautiful story/lyric booklet.)   ........... Thank You for your support!



In the Studio with John Vitz

Here are a few photos and commentary of “The Curé of Ars” recording session.

In the Studio with John Vitz

Elizabeth Hunter-Ashley (Elise) and the “orphans” enjoy the moment while Allie Cable (Katie), in pink, shares that magic smile.

In the Studio with John Vitz

Engineers, Lee Bothwick and John “The Grappin” Lucasey working the big board. Lee and John spent untold hours in the recording, supervising, mixing and mastering the finished product. John owns the studio and he was the Producer. There is no way that "The Curé of Ars" would ever see the light of day, had it not been for the vision and generosity of John at Studio 880. He provided his word class studio, recruited James and Eoin Harrington (Cadet), put up with the foibles of the artists (including me). On top of that, he rocked the house with his performance as “The Grappin!”

In the Studio with John Vitz

John Vitz (Composer) and James Locke (Vianney) fine-tuning the score.

In the Studio with John Vitz

James Locke, (Saint John Vianney) putting his heart and soul in “Pater Noster”.
James is a remarkable talent and one of the most creative persons I have ever worked with. He is hilariously funny and a serious artist. His commitment to this project was a blessing from the start. Long before we went into the studio, he had his sights on this role. Once we got the go-ahead, he delivered selflessly and consistently.
I pray that James will carry this experience with him forever. He was the perfect “Vianney.”

In the Studio with John Vitz

Elizabeth Hunter-Ashley (Elise) and James (Vianney) recording Destiny Reprise. Elizabeth was the very first one to sign on for "The Curé of Ars" musical. I met Elizabeth at a concert in Danville, CA where she sung an aria from "La Traviata", by Verdi. I knew, at once, that she was Elise! Thank God, and Elizabeth, that everything worked out much better than I could have imagined. Elizabeth is a former Miss Minnesota and an absolute angel to work with. As a voice teacher, she recruited several of her students to sing Philomena. That was one magic night for the kids as they got a behind the scenes look into the scope of the studio where they made their “debuts.”

Also, I need to mention:

We were so lucky to have the mega-talented Eoin Harrington (Cadet) on our CD. Eoin (pronounced “Owen” in case you’ve never been to Ireland and were wondering) is a good friend of James. Eoin was in high gear pursuing his career and a singer/songwriter, that he had to go out of his way to get to the studio to work with us. But, he did and when he showed up, he was gold!

I have no studio pictures of Eoin, but, do yourself a big favor and check out his Facebook page. Also, I have a link to Eoin's web site so you can listen to his music! His newest CD, Confess, has just been released.

Melissa Reese (Mother of Vianney) - We have never met, yet Melissa is one of the many “miracles” that occurred along the way. One Friday morning, I was crying on John Lucasey’s shoulder that we had not recorded note one after months of trying to find our way. Lucasey, ever so calm, cool and collected, told me that he had several people in mind for the various parts; but it is difficult to get them to come together for independent projects such as "The Curé of Ars".

After I left the studio, I stopped into the Adoration Chapel at St. Mary church, in Walnut Creek, CA. I finished my Holy Hour and got back into my car to drive home. My cell phone rang 2 minutes later and it was Lucasey. He said, “You’ll never believe what just happened! Melissa is in town and she just stopped in, out of the blue, to play the studio grand piano. I showed her the song I had in mind for her. She played it once and said, ‘Let’s do it!’”. Two takes later, Mary’s Lullaby was in the can. She was flawless. I never met her, but I love her.

Andrew Alcaraz (John Vianney as an 8 year old) - I met Andrew (age 12 at the time) during a voice lesson at the courtesy of Chad Runyon, his voice coach. His voice was so pure and impeccable, that I offered him the chance to sing on our CD. A few weeks later, Andrew’s father was kind enough to bring him into the studio after work and Andrew sang How Can I Know. You have to hear this young man sing! The voice of a saint, for sure!

John Kendall Bailey - JKB has been my right arm whenever I need a superhero. As musical director of Voices of Musica Sacra, and conductor on my Mass for Peace in the Third Millennium CD, John gathered his singers and they sang their hearts out as “The Angel Chorus”. They were able to overdub the tracks that had been laid down by the soloists and within hours "The Curé of Ars" CD had blossomed.

Joe Hebert - The first time I saw Joe rehearse his choir at St. Augustine’s Church, in Pleasanton, I knew that he was the one who could get the effect I needed for one of the large ensemble pieces in the play, The Journey of a Soul. This song requires more than just good voices, it is dramatic! Joe worked his magic and the singers delivered a great performance.

Carolyn Williams - She directed the St. Joan of Arc choir who did an outstanding job with Anima Christi.  I owe a special thank you to the brilliant Evan O’Dorney for his help with the choral arrangement of Anima Christi, and to Judy Linares for her piano accompaniment!