two weekends of innovative programming SEEKING SPAIN IN THE CINEMA Saturday, November 26, 2011 at 2 p.m. Sunday, November 27, 2011 at 2 p.m. and 4 p.m. National Gallery of Art – East Building Concourse, Auditorium and FALLA/STRAVINSKY El Amor Brujo/The Soldier’s Tale with Peridance Contemporary Dance Company Choreography by Igal Perry

Saturday, December 3, 2011 at 2 p.m. and 8 p.m. Sunday, December 4, 2011 at 2 p.m. Davis Performing Arts Center, Gonda Theatre GEORGETOWN UNIVERSITY presented by FRIDAY MUSIC SERIES Acclaimed artists in free 1:15 p.m. concerts on Georgetown University’s main campus. The following highlighted events, along with many more, and the take place at 1:15 p.m. in McNeir Hall: January 27 March 23 Georgetown University Washington National Opera Thomas Pandolfi, piano Department of Performing Arts Domingo-Cafritz Young Artist Program organized in association with the February 3 March 30 Film Department of the National Gallery of Art Jesuit Heritage Week Concert: Music Vasily Popov, cello Ralitza Patcheva, piano from the Jesuit Missions of Bolivia Support for “Falla/Stravinsky” is provided by the Andrew W. Mellon Foundation, the National Endowment for the Arts, Spain’s Ministry of February 24 April 13 Culture, Spain Arts and Culture, and José Andrés’ Jaleo. Aaron Broadus Jazz Quintet Suely Mesquita, singer/songwriter Visit performingarts.georgetown.edu for full schedule. Cover photo credits (clockwise from top left): Angel Gil-Ordóñez by David Jones; Esperanza Fernandez by Annemiek Rooymans; The Devil is a Woman (1935)--MCA Universal Pictures/Photofest © MCA Universal Photo of Washington National Opera Domingo-Cafritz Young Artists by Michael G. Stewart. Pictures; PostClassical Ensemble by Tom Wolff. SEEKING SPAIN IN THE CINEMA Saturday, November 26, 2011 at 2 p.m. The Devil Is a Woman Sunday, November 27, 2011 at 2 p.m. and 4 p.m. November 27 at 2 p.m. National Gallery of Art -- East Building Concourse, Auditorium East Building Concourse, Auditorium 4th and Constitution Ave. NW Introduction by Josep Colomer Washington, DC Josef von Sternberg’s adaptation—set during Spanish Carnaval—of Pierre Throughout its history, Hollywood has reduced race and ethnicity to Louÿs’s 1898 French novel La Femme et le Pantin, gave Marlene Dietrich conventions and stereotypes that serve to pique viewer interest. In this an opportunity to embody the Spanish temptress Concha, a woman program, the portrayal of Spanish identity (including the Civil War era and whose manipulative and remorseless ways are nearly the downfall of the modern flamenco culture) in three classic Hollywood narrative films is film’s narrator, Don Pasqual. contrasted with El Amor Brujo, the final film in Carlos Saura’s flamenco (Josef von Sternberg, 1935, 35 mm, 80 minutes) cycle. Along with commentary by Spanish novelist Antonio Muñoz Molina Print from UCLA Film and Television Archive and Josep Colomer, Prince of Asturias Chair in Spanish Studies, Georgetown University, legendary Spanish cantaora Esperanza Fernandez provides a “Everything—lighting, camera, editing, acting—is aligned in the desperate musical introduction. expression of the erotic power of the woman.” Presented in association with Post-Classical Ensemble’s production of Manuel de Falla’s flamenco- --Ado Kyrou inspired masterpiece El Amor Brujo at Georgetown University, and with support from Spain’s Ministry of Culture. El Amor Brujo The Barefoot Contessa November 27 at 4 p.m. followed by Behold a Pale Horse East Building Concourse, Auditorium November 26 at 2 p.m. Esperanza Fernandez, cantaora. Richard Marlow, guitar. Angel Gil-Ordoñez, Joseph Horowitz, Robbie Hayes, and Igal Perry East Building Concourse, Auditorium in person Introduction by Josep Colomer with the participation of Paul A. Isbell and Angel Gil-Ordóñez The final film in Carlos Saura’s flamenco cycle, produced in collaboration with choreographer Antonio Gades and dramatically using Manuel de Related in flashback as a rags-to-riches saga, The Barefoot Contessa Falla’s El Amor Brujo, is a tale of tragic gypsy love between Carmelo features Ava Gardner as the ultimate tragic and untamed Spanish born (Gades), José (Juan Antonio Jimenez), and Candela (Christina Hoyos), a gypsy dancer Maria Vargas, transformed by American movie moguls via the woman who as a young girl loves Carmelo, but is promised to José. In Hollywood system into a glamorous star. Down-on-his-luck director Humphrey later life, after his death, Candela continues to be obsessed by the figure Bogart narrates her life story. (Joseph L. Mankiewicz, 1954, 35 mm, 128 of her late husband José. minutes) Print from UCLA Film and Television Archive. Preservation funded (Carlos Saura, 1986, 35 mm, 100 minutes) by The Film Foundation. “The flamenco choreography is so intrinsically dramatic that the acting In Behold a Pale Horse, ex–Catalan anarchist Artiguez (Gregory Peck), living passages often seem superfluous.” in France, continues organizing guerrilla raids on Spain years after the Civil --Janet Maslin War has ended. His bête noire, the Guardia Civil’s Captain Viñolas (Anthony Quinn), sees Artiguez only as an outlaw. The complicated contest between A flamenco set performed by Esperanza Fernandez precedes the the two men hinges on the fact that Artiguez’s mother is now dying at home screening. in Spain. (Fred Zinnemann, 1964, 35 mm, 118 minutes) GU-POSTCLASSICAL FALLA/STRAVINSKY PARTNERSHIP PROGRAM Saturday, December 3, 2011 at 2 p.m. and 8 p.m. Georgetown University is honored to join PostClassical Ensemble in the Sunday, December 4, 2011 at 2 p.m. fourth year of an educational partnership. By combining our resources Davis Performing Arts Center, Gonda Theatre and interdisciplinary interests, we are committed to bringing the joy of music to a new generation. This season, we are also celebrating the second year of collaboration with the Film Program of the National The Soldier’s Tale by Igor Stravinsky Gallery of Art and our inaugural production with Igal Perry and Peridance Directed by Anna Harwell Celenza Contemporary Dance Company of New York. Choreography by Igal Perry Lighting and set design by Robbie Hayes Music is more than entertainment, more than a relic of the past. And Costume design by Debra Kim Sivigny the study of music has long outgrown the confines of the conservatory. Theatrical Direction by Sarah Marshall This week’s performing arts celebration serves as a step along Georgetown University’s path to the future. The Music Program in the PostClassical Ensemble conducted by Angel Gil-Ordóñez Department of Performing Arts has recently gained national attention for its undergraduate major in American Musical Culture. The goal of this The Soldier: John Roach program is to bridge the fields of “music performance” and “music as a The Devil: Allie Villareal liberal art” through an integrated study of history, cultural studies, theory Narrator: Stephen Murray and performance. Under the leadership of Joseph Horowitz and Angel The Princess: Joanna DeFelice Gil-Ordóñez, PostClassical Ensemble is bringing an innovative approach to contemporary music culture that inspires our students. They are living proof that understanding music is both an artistic and an intellectual INTERMISSION achievement. El Amor Brujo by Manuel de Falla Through collaborative concerts, conferences, and classroom instruction, Esperanza Fernandez, cantaora Georgetown University and PostClassical Ensemble are committed to Directed and choreographed by Igal Perry bringing students, scholars, performers and audiences together in new and exciting ways. As partners, we hope to show with events like Falla/ PostClassical Ensemble conducted by Angel Gil-Ordóñez Stravinsky and the upcoming Schubert Uncorked that music is both Peridance Contemporary Dance Company (New York City) a manifestation of intellectual curiosity and a creative endeavor that Lighting and set design by Robbie Hayes strengthens contemporary society. Costume design by Debra Kim Sivigny

Candela: Nikki Holck Carmelo: Attila Joey Csiki Jose: Andrew Trego Lucia: Joanna DeFelice Dancers: Shay Bares, Lauren Jaeger, Midori Nonaka, Zack Thomas Anna H. Celenza Thomas E. Caestecker Professor of Music Pre-concert presentations one hour before curtain time with Igal Perry, Georgetown University Angel Gil-Ordóñez, and Anna Harwell Celenza; hosted by Joseph Horowitz. Post-concert discussion with the artists. THE TIMELESSNESS OF SYNOPSIS OF EL AMOR BRUJO STRAVINSKY’S THE SOLDIER’S TALE CANDELA, a young gypsy, loves CARMELO. But the spirit of her dead BY ANNA HARWELL CELENZA husband, JOSE, intervenes. A ritual fire dance exorcises the influence of Jose. Ultimately, Jose is paired with LUCIA, Daybreak greets the lovers “What shall it profit a man if he gain the whole world, and lose his Candela and Carmelo. own soul?” The Soldier’s Tale explores this timeless question in the guise of a folk tale. Designed as a universal exploration of mankind’s inability to escape an eternal quest for “more,” The Soldier’s Tale was a CHOREOGRAPHING EL AMOR BRUJO collaborative project between Igor Stravinsky, the Swiss writer Charles- BY IGAL PERRY Ferdinand Ramuz, the Swiss conductor Enerst Ansermet, and the Swiss painter René Victor Auberjonois. The team was interested in creating a Falla’s El Amor Brujo, with a libretto by Gregorio Martinez, is a Spanish small theater piece that could be transported easily from one venue to Gypsy love tale which revolves around three main characters: Candela, another. As Stravinsky explained in his autobiography, “my uninterrupted a young Gypsy woman; her lover Carmelo; and the spirit of her dead collaboration with Ramuz was all the more precious to me because our husband, José, which haunts the two lovers but is ultimately exorcised by friendship, growing closer and closer, helped me get through the difficult a Gypsy Ritual Fire Dance (the score’s most popular number). times..., which as a patriot I found to be sickening and humiliating.” The Soldier’s Tale expresses the artists’ reactions to WWI, their In my choreographic treatment of the drama I have chosen to portray the contemplations concerning the inaccessible nature of redemption, the dead husband as very much alive; his “haunting” of Candela is more blurred lines between reality and fiction, and the destructive power of literal than figurative. It is his jealousy of Candela’s love for Carmelo that greed. As the staging of the current production demonstrates, the music keeps him from relinquishing her; yet it is Love itself -- his own love of and text were each meant to exist separately, side-by-side, intersecting by the young women, Lucia (here depicted as a fourth main character, based alternate exchanges of focus. Ramuz and Stravinsky originally published on Candela’s friend in the story as told by Martinez) -- which ultimately the dual elements of The Soldier’s Tale as separate entities: Ramuz’s exorcises his demons of jealousy and brings peace to all involved. text, without music, first appeared in 1920. Stravinsky’s contribution was published several months later, without the libretto. Another aspect highlighted in this rendition of the story is the torment of Candela, who discloses a deep love for her ex-husband, in spite of having After the work’s premiere on September 28, 1918, reviewers called it parted ways with him, and in spite of her tender love for Carmelo. a “bewildering” and “disconcerting” piece that “breaks with all norms, all traditions, to create something absolutely spontaneous without Martinez’s El Amor Brujo is heavily based on folk themes, on superstition attachment to the past.” Ramuz described it as “an animated magic and ritual. My treatment of the subject matter, juxtaposing Lust and lantern.” The piece is a pivotal work in Stravinsky’s repertoire, in that it Betrayal with pure Love, attempts a more explicitly universal statement. reveals both his preoccupation with music traditions of his early career While retaining the general plot line and Flamenco movement, mine is a and his experimentation with compositional techniques that would be contemporary ballet addressing softer, more vulnerable layers of feeling in more thoroughly developed in later works. In our fully staged production, service of the ideal that ultimately there are stronger emotions than Lust we strive for a similar aesthetic: traditional theater craft and modern and Jealousy. technology collide in a narrative that cuts to the core of mankind’s innocent desire to have it all: health, wealth and companionship. This tale of Despair and Hope is not limited to any people, culture, or Contemporary issues such as the recent effects of war and global time. In honoring Falla’s music and delving into its Flamenco sources, financial instability influenced the imagery of our production. In our I discovered vast inspiration as well as a great challenge: to relate the re-imagining of The Soldier’s Tale by Ramuz and Stravinsky, we hope that story to our own times without diluting the beauty and strength of its folk audiences will discover that the evocative music and underlying message origins. I found the means for doing so by treating the storyteller -- in of the work are as fresh and significant today as they were nearly a this case the Gypsy singer -- as a connecting link, intertwined with the century ago. characters and vocalizing the heights and depths of their emotions. SONGS OF EL AMOR BRUJO Canción del Amor Dolido Song of a Broken Heart Danza y cancion de la bruja Dance and Song of the False Ay! Ah! fingida Witch Yo no se qué siento, I don’t know what I feel, (Danza y cancion del juego de (Dance and Song of the Game of ni sé qué me pasa, Nor what is happening to me - cuando este mardito But how I miss amor) Love) gitano me farta! This damned gypsy! Tú eres aquel mal gitano que una You are the evil gypsy that a girl Candela que ardes Fire, that blazes gitana quería! once loved! Más arde el infierno Blazing stronger is the inferno EI querer que eya te daba tú no te lo You didn’t deserve the love that she que toita mi sangre Which burns my blood merecías! gave you! abrasá de celos! With jealousy! Quién lo había de decí que con otra Who would have said that you Ay! Ah! la vendías! would betray her with another! Cuando el río suena When the river boils No te acerques, no me mires, que Don’t come close, don’t touch me, I qué querrá decir? What does it mean? soy bruja consuma; am an out-and-out witch; Ay! Ah! y er que se atreva a tocarme la mano se and whosoever tries to touch my Por querer a otra For the love of another abrasara! arm will be burned! se orvía de mí! He forgets me! Soy la voz de tu destino! I am the voice of your destiny! jAy! Ah! Soy er fuego en que te abrasas! I am the fire in which you burn! Cuando el fuego abrasa ... When the fire blazes, Soy er viento en que suspiras! I am the wind in which you sigh! Cuando el rio suena ... When the river boils ... Soy la mar en que naufragas! I am the sea in which you are Si el agua no mata al fuego, If the water doesn’t kill the flame, shipwrecked! a mí el pesar me condena! Then sorrow will damn me! Soy la mar en que naufragas! I am the sea in which you are A mí el querer me envenena! Love is poisoning me! shipwrecked! A mí me matan las penas! Grief is killing me! Ay! Ah! Final Finale (Las campanas del amanecer) (the bells of morning) Canción del Fuego Fatuo Song of the Will-o’-the-Wisp Ya está despuntando el día! Dawn is breaking! Ah! Ah! Cantad, campanas, cantad! Sing, bells, sing! My love is Lo mismo que er fuego fatuo, Just like the Will-o’-the-Wisp Que vuelve la gloria mía. returned to me! Lo mismito es er queré. Is love. Lo mismo que er fuego fatuo, Just like the Will-o’-the-Wisp Lo mismito es er queré. Is love. Le juyes y te persigue, You flee from it and it pursues you, Le yamas y echa a corré. You call it, and it runs away. Lo mismo que er fuego fatuo, Just like the Will-o’-the-Wisp Lo mismito es er queré! Is love. Nace en las noches de agosto, It is born in August nights cuando aprieta la calor. When the heat bears down. Nace en las noches de agosto, It is born in August nights cuando aprieta la calor. When the heat bears down. Va corriendo por los campos en It runs through the countryside busca de un corazón ... looking for a heart ... Lo mismo que er fuego fatuo, Just like the Will-o’-the-Wisp Lo mismito es el amor! Is love. Malhaya los ojos negros que Ie Damned are the dark eyes that can alcanzaron a ver! see it! Malhaya los ojos negros que Ie Damned are the dark eyes that can alcanzaron a ver! see it! Malhaya er corazón triste que en su Damned is the sad heart that wanted to yama quiso arder! burn in its flame! Lo mismo que er fuego fatuo se Just like the Will-o’-the-Wisp desvanece er queré! Is love. RE-IMAGINING EL AMOR BRUJO BY JOSEPH HOROWITZ

Falla’s El amor brujo is famous and yet incompletely known. A 25-minute Our new PostClassical Ensemble production retains the pithiness orchestral suite (1916), including the popular Ritual Fire Dance and three of the 1916 suite, but with the addition of a flamenco singer and vocal numbers, is commonly performed. The piece originated, however, new choreography. As at BAM, a famous flamenco artist -- Esperanza as a 35-minute gitaneria (gypsy entertainment – 1915 with dialogue, Fernandez – will sing the solos. This time we have also added a company song, and dance, supported by a small pit orchestra. This original of eight dancers (from New York’s Peridance Contemporary Dance version, intended for (and premiered by) the gypsy entertainer Pastora Company) who narrate the story. A major choreographer, Igal Perry, Imperio and her troupe, bristles with the grit and passion of flamenco: it choreographs and directs. Also, we have elected to retain the original famously embodies Falla’s triumphant appropriation of flamenco to forge 1915 scoring for an ensemble of 18 and 22 players and – as with our a modernist/nationalist Spanish musical idiom for the 20th century. American stage debut production of Falla’s El Corregidor y la Molinera two seasons ago – place orchestra and conductor on stage. The result The essential plot of El amor brujo is simple: a gypsy, Candelas, is is a “portable” production we intend to tour, one that aims to restore haunted by her dead lover. The spirit of the lover is exorcised. At daybreak the narrative power and elemental gypsy flavor of the original version, (to pealing bells) Candelas unites with her new love. But Falla’s original unburdened by extensive dialogue and superfluous plot detail. treatment of this story, to a libretto by Martinez Sierra, is flawed. This 1915 version is virtually never revived for a reason: it lacks a clean The choice of Igal Perry consciously sidesteps conventional flamenco musical/dramatic trajectory, and the plot is over-complicated. When he expectations. A consummate contemporary choreographer, he is a created the 25-minute suite for full orchestra – the Amor brujo we hear master of myriad dance genres. No more than Amor brujo is actual today – Falla (in collaboration with the conductor/composer Enrique flamenco are Perry’s dancers actual flamenco artists. Rather, like Falla, Arbos) skillfully solved these problems: the musical trajectory is acute, his goal is to infuse the spirit of flamenco into a contemporary aesthetic. the plot is jettisoned. But the loss of a dance component and a narrative He comments: “When you combine flamenco and contemporary dimension remain regrettable. The Fire Dance, for instance, originates as choreographic styles, you create something new, something that relates a potently climactic rite of exorcism; as a symphonic number, deprived to life both then and now. I’ve always maintained a non-homogeneous of its urgent dramatic function, it risks self-trivialization. In fact, El amor company. We have dancers from five countries. They all have training brujo has long been condemned to “pops” status in the United States. It in both classical ballet and a variety of modern styles. For Amor Brujo registers as an exotic diversion and little more. I’ve choreographed Esperanza in tandem with a ‘double’ - we have both a singing and a dancing Candelas. The chamber orchestra is onstage In 1997, as Executive Director of the Brooklyn Philharmonic, I had behind a scrim, so we can illuminate them or cast them in silhouette. I occasion to present the 1916 Amor brujo suite as part of a “Flamenco” find this far preferable to relegating the musicians to a pit. It brings the festival at the Brooklyn Academy of Music. These performances were music into play far more formidably.” unusual in two respects: The pre-eminent Spanish novelist and cultural critic Antonio Munoz-Molina 1. Present-day concert performances of El amor brujo typically engage comments: “The colorful and humiliating Romantic portraiture of Spain, an operatic mezzo-soprano for the three songs. At BAM, the singer was false yet powerful, has not yet been extinguished. The performance an inspired flamenco cantaora. The impact was revelatory: the emotional history of Amor Brujo bears this out. The new PostClassical Ensemble depth of Falla’s original conception, steeped in cante jondo (“deep song”), production promises to create what this abused score has forever lacked: was restored. a really viable dramatic form. The participation of Esperanza Fernandez is crucial: in these times of mock-fusion banalities, she brings to the project 2. A solo dancer was engaged for the Fire Dance and two other numbers. an authentic, unadulterated flamenco voice.” Portions of the score sprang newly to life. But no narrative thread was drawn. National Gallery of Art Film Program, a continuing exhibition program ABOUT of classic cinema, international avant-garde, documentary, ciné- concerts, and area premieres, occurs each weekend in the National PostClassical Ensemble was founded in 2003 by Angel Gil-Ordóñez Gallery’s East Building Auditorium, 4th Street at Pennsylvania Avenue (Music Director) and Joseph Horowitz (Artistic Director) as an NW. The program is unique in the Washington area, combining rare experimental musical laboratory. “More than an orchestra,” it and historically significant work in original formats while presenting endeavors to expand the boundaries of orchestral programming film as an art form. Commentary by noted scholars often precedes and explore new presentation models for the field. This season, events. The Gallery is a member of the International Federation of Film subsequent “Falla/Stravinsky,” PostClassical Ensemble presents Archives (FIAF), maintaining an archival collection of documentary film “Schubert Uncorked,” March 31 at Georgetown University’s Gaston on the arts. Programs are free of charge but seating is on a first-come, Hall – a program featuring the world’s greatest bass trombonist, the first-seated basis. Doors open approximately 30 minutes before each unclassifiable David Taylor, in the world premiere of the Arpeggione event. www.nga.gov/programs/film/ Concerto for trombone and orchestra – a reworking of Schubert’s Arpeggione Sonata. The Ensemble’s 2011-2012 season marks Peridance Contemporary Dance Company was established in 1984 a further stage in its ongoing collaborations with Strathmore, the by founder and artistic director Igal Perry. The company resides National Gallery of Art, and Georgetown University (the Ensemble’s within New York City’s Peridance Capezio Center, a venue for dance Educational Partner) – a partnership supported by a major grant from study and performance, and is the resident company of its Salvatore the Andrew W. Mellon Foundation. PostClassical Ensemble broadcasts Capezio Theater. As part of its quest for a unique identity, Peridance via Sirius XM Satellite Radio and WFMT Chicago, and records for Contemporary Dance Company has always sought a diversity of Naxos. New this season is “PostClassical Underground” at DC’s collaborating choreographers and composers. The company’s Bohemian Caverns jazz club. Reviewing the inaugural “Underground” repertoire has included original works by such choreographers as Ohad concert, featuring Genadi Zagor improvising on Gershwin, Stephen Naharin, John Butler, Danny Ezralow, and Benjamin Harkarvy, in addition Brookes wrote in the Washington Post: “PostClassical Ensemble never to Igal Perry. The company has performed as far afield as Alaska while met a musical convention it didn’t want to smash, which is why its maintaining major New York seasons. While upholding the elegance concerts tend to be the most adventurous in town.” PostClassical and articulation of classical ballet, the company is structured to Underground continues with pipa virtuoso Min Xiao-fen playing Miles explore innovative movement and design. The current season includes Davis and Thelonious Monk (Jan. 22), and the David Taylor Trio (Feb. the second edition of Igal Perry’s The Nutcracker. www.peridance.com 18). To date, PostClassical Ensemble has presented more than five dozen events in the Washington, DC, region, and has toured programs to New York City and Chicago, including the sold-out American stage premiere of Manuel de Falla’s El Corregidor y la Molinera at the Brooklyn Academy of Music. postclassical.com

Georgetown’s Department of Performing Arts integrates creative and critical inquiry, emphasizing artistic excellence, interdisciplinary learning, socially engaged performance, and the spirit of collaboration. The department is home to the College’s undergraduate degree programs in American Musical Culture and Theater & Performance Studies with dozens of performing groups in all aspects of the performing arts. Administering a wide range of activities—from teaching critical and creative courses to mentoring participation in student organizations—the department also sponsors the professional Friday Music concert series in McNeir Hall and hosts a full season of Theater in the state-of-the-art Davis Performing Arts Center. performingarts.georgetown.edu. Photo courtesy of Peridance Contemporary Dance Company States, he has appeared with the American Composers Orchestra, Opera Colorado, the Pacific Symphony, the Hartford Symphony, the Brooklyn Phil- BIOGRAPHIES harmonic, the Orchestra of St. Luke’s and the National Gallery Orchestra Anna Harwell Celenza, Thomas E. Caestecker Professor of Music at in Washington. Abroad, he has been heard with the Munich Philharmonic, Georgetown University, is the author of several scholarly books – the the Solistes de Berne, at the Schleswig-Holstein Music Festival and at most recent being Hans Christian Andersen and Music: The Nightingale the Bellas Artes National Theatre in Mexico City. In summer of 2000, he Revealed. In addition to her scholarly work, she has authored a series of toured the major music festivals of Spain with the Valencia Symphony award-winning children’s books with Charlesbridge Publishing: The Farewell Orchestra in the Spanish premiere of Leonard Bernstein’s Mass. Born Symphony (2000), Pictures at an Exhibition (2003), The Heroic Symphony in Madrid, Gil-Ordóñez has recorded four CDs devoted to Spanish (2004), Bach’s Goldberg Variations (2005), Gershwin’s Rhapsody in Blue composers, as well as a CD with PostClassical Ensemble’s Virgil Thomson (2006), Duke Ellington’s Nutcracker Suite (2011) and a 14-part syndicated and Copland CD/DVDs. In 2006, the king of Spain awarded Gil-Ordóñez series on Louis Armstrong for the NC Press Foundation. Her work has the country’s highest civilian decoration, the Royal Order of Queen been featured on nationally syndicated radio and TV programs, including Isabella, for his work in advancing Spanish culture around the world and BBC’s “Music Matters” and “Proms Broadcasts,” and C-SPAN’s “Book for performing and teaching Spanish music in its cultural context. TV.” Before coming to Georgetown, she served as a writer and guest commentator for Michigan Public Radio (WKAR) and NPR’s “Performance Robbie Hayes serves as Technical Director for the GU Theater & Today.” Performance Studies Program. GU credits include The Race, Wisconsin Death Trip, Trees and Ghosts, Big Love, and Eurydice (Lighting Designer); Josep M. Colomer, Prince of Asturias Chair in Spanish Studies at The Grace of Mary Traverse, Six Characters in Search of an Author, Georgetown University. He is the author of 10 books in English on Pentecost, Lysistrata, and Stuff Happens (Scenic Designer); and Dr. democratization, political institutions, institutional change, voting, Korczak and the Children (Scenic and Lighting Designer). DC design elections and general political science. He is a member by election of the credits include numerous shows at Rorschach Theatre, Theater J, Academy of Europe and a life member of the American Political Science Journeymen Theater, Solas Nua, and Catalyst. Association. Nikki Holck, a native of Honolulu, is a former member of the National Ballet Atilla Csiki has worked with Jiri Kylian, Sir Peter Wright, William Forsythe, of Canada under the direction of Karen Kain. She has performed a wide Nacho Duato, Mauro Bigonzetti, Anthony Tudor, and Kenneth McMillan. range of classical and contemporary choreography, including works He has performed extensively in Japan, as a soloist with the Du Capitale by Igal Perry, William Forsythe, Jiri Killian, James Kudelka, and Korhan Ballet of Toulouse, and as a member of the Lar Lubovitch Dance Company. Basaran. Nikki will perform in a principal role this December at Peridance Capezio Center’s The Nutcracker, a Contemporary Look, conceived and Joanna DeFelice is a graduate of the Kirov Academy of Ballet in Washington. choreographed by Igal Perry. She is a former member of the Roxey Ballet in New Jersey. Joseph Horowitz, PostClassical Ensemble Artistic Director, has long been Esperanza Fernandez, born in Seville to a distinguished gypsy flamenco a pioneer in classical music programming. As Executive Director of the family, is one of the great names in flamenco today. She first sang as Brooklyn Philharmonic Orchestra in the 1990s, he received national primera cantaora (lead singer) at the age of 16, and has appeared attention for “The Russian Stravinsky,” “American Transcendentalists,” with such eminent flamenco artists Paco de Lucía, Camarón de la Isla, “Flamenco,” and other festivals exploring the folk roots of concert works. Rafael Riqueni, Enrique Morente. She has sung El Amor Brujo on many Now an artistic advisor to various American orchestras, he has created occasions, including a 2002 recording with Rafael Brühbeck d Burgos more than three dozen interdisciplinary music festivals. In Fall 2008, and the National Orchestra of Spain. She has portrayed Candela in the he inaugurated the New York Philharmonic’s “Inside the Music” series, stage version of El Amor Brujo at Madrid’s Teatro Lara. Her repertoire also writing, hosting and producing programs on Tchaikovsky, Dvorák, and includes Falla’s Seven Popular Songs. The present performances mark her Brahms. He is currently curating thematic festival projects for the Florida DC debut. Symphony, the Pacific Symphony, the Pacific Symphony Youth Orchestra, the North Carolina Symphony, and the Buffalo Philharmonic. Called “our Angel Gil-Ordóñez, former associate conductor of the National Symphony nation’s leading scholar of the symphony orchestra” by Charles Olton, Orchestra of Spain, has conducted symphonic music, opera and ballet former President of the League of American Orchestras, Mr. Horowitz throughout Europe, the United States and Latin America. In the United is also the award-winning author of eight books mainly dealing with the institutional history of classical music in the United States. Both his (Jack Anderson, The New York Times), and being “blessedly inventive” Classical Music in America: A History (2005) and Artists in Exile: How (Jennifer Dunning, The New York Times). His works have been set on Refugees from 20th Century War and Revolution Transformed the American such companies as Batsheva and Bat-Dor Dance Companies (Israel), Performing Arts (2008) were named best books of the year by The Complexions Dance Company (NYC), Companhia de Danca de Lisboa Economist. As Project Director of an NEH National Education Project, as (Portugal), Alberta Ballet (Canada), Florence Dance Festival, (Italy), well as an NEH Teacher Training Institute, he is the author of a book for and Teatro Alla Scala (Milan), where he directed the world premiere of young readers entitled Dvorák in America, linked to a state-of-the-art DVD. Krzysztof Penderecki’s opera Paradise Lost. Mr. Perry’s Ballet classes His website is www.josephhorowitz.com; his blog is www.artsjournal.com/ introduce a fresh approach to traditional ballet vocabulary. His teaching uq. engagements have included Scapino and Het National Ballet (Holland), Laterna Magica and the National Ballet of Prague, Architanz (Tokyo), The Paul A. Isbell is a Visiting Senior Fellow at the Inter-American Dialogue. A Royal Ballet of Sweden, the National Ballet of China, and the Kwang-Ju graduate in international economics for Georgetown University, he lived in City Ballet Company (Korea), where he has also served as Artistic Director Madrid for 20 years, where he worked as economic analyst and program for the Kwang-Ju International Ballet Competition. In addition to his daily director for the Royal Institute Elcano for International and Strategic Ballet class at Peridance, Mr. Perry serves as guest master teacher at Studies. Jacob's Pillow Festival and The Juilliard School in NY.

Sarah Marshall teaches acting at Georgetown University and Duke Ellington John Roach is a junior at Georgetown University majoring in American School of The Arts, and has made her acting career in Washington DC, Studies and minoring in Theater and Performance Studies. At performing at Shakespeare Theater, Studio Theater, Arena Stage, Round Georgetown, he has appeared in both The Pain and the Itch with Nomadic House, Signature, Kennedy Center and Washington Stage Guild. She has Theatre and Six Characters in Search of an Author with the Department been a company member at Woolly Mammoth Theater for 20 years. of Performing Arts. He is also involved with the Georgetown Phantoms, Georgetown’s premier co-ed a cappella group, and is excited to return to Antonio Muñoz-Molina regularly collaborates with PostClassical Ensemble/ the Gonda stage with The Soldier’s Tale. Productions in DC and elsewhere. One of Spain’s pre-eminent contemporary novelists, he is the author of more than 20 books, including Debra Kim Sivigny has been designing in the DC area for over a decade essays and memoirs. A member of the Spanish Royal Academy of and is the resident faculty artist at Georgetown. She has designed Letters, he was appointed Chevalier des Arts et des Lettres by the French productions at Rorschach Theatre, Theater J, Imagination Stage, Olney government in 1998. Three of his novels have been published in English: Theatre, Kennedy Center TYA, Adventure Theatre, Shakespeare Theatre Sepharad (called “a masterpiece” in the New York Review of Books), A ACA, The Hub, Studio Theatre 2nd Stage and Colorado Shakespeare Manuscript of Ashes, and In Her Absence. He has long written a weekly Festival. She has an MFA in costume design from the University of column for Madrid’s El Pais. Maryland and a BA from Middlebury College.

Stephen Murray is a senior at Georgetown University majoring in English Andrew Trego recently took part in Opera Boston’s production of The and minoring in Theater and Performance Studies. REGIONAL: Signature Bartered Bride under the direction of Daniel Pelzig, and in Boston Early Theatre: The Boy Detective Fails (u/s Billy Argo), The Hollow (u/s Music Festival’s production of Niobe: Regina di Tebe under the direction of Constable Vos), American Opera Theatre: Hydrogen Jukebox, White Plains Gilbet Bline, Carlos Fittante, and Caroline Copeland. Performing Arts Center: Footloose (Ren McCormack). DC AREA: Arena Stage: The Glass Menagerie Project (Tom/Ensemble), For Whom the Allie Villareal is a senior at Georgetown University double majoring in Southern Belle Tolls (Lawrence). EDUCATION: London Academy for Music Psychology and Theater and Performance Studies. She has been in and Dramatic Art (2010). Signature Overtures Alum. several productions at Georgetown including last year’s Suddenly, Last Summer and Blood Wedding and now serves as Associate Producer of Igal Perry, Founder and Artistic Director of Peridance Capezio Center and Nomadic Theatre. She is currently writing an honors thesis for Theater in Peridance Contemporary Dance Company (established 1983/1984), the form of a one-woman show called The Bi(g) Life about the fat identity, is a choreographer, ballet master and dance educator. Mr. Perry’s opening the first week in February in the Devine Studio Theatre. choreography, often in collaboration with contemporary composers, has been described as having “shrewdly theatrical timing” (Deborah Jowitt, The Village Voice), portraying “craftsmanship and admirable choreography” POSTCLASSICAL ENSEMBLE PLAYERS

Violin David Salness, Concertmaster www.postclassical.com Michelle Kim Eva Cappelletti-Chao, Principal Second Post-Classical Ensemble thanks its 2011-12 Sponsors: Jennifer Rickard

Viola Benefactor Shelley Coss, Principal The Andrew W. Mellon Foundation Adrienne Sommerville-Kiamie Cello Patrons Gita Ladd, Principal National Endowment for the Arts Igor Zubkovsky Spain’s Ministry of Culture Spain Arts and Culture Bass The DC Commission on the Arts and Humanities Ed Malaga MARPAT Foundation Flute, Piccolo Adria Foster Underwriter The Morris & Gwendolyn Cafritz Foundation Oboe Igor Leschishin Soloist Circle Clarinet The Aaron Copland Fund for Music Garrick Zoeter Charles Ives Society Dallas Morse Coors Foundation Bassoon Don Shore Conductor Circle Horn Liz Cullen Mark Hughes Artist Circle Trumpet Philip and Monica Bennett Chris Gekker Tim White Robin Berrington Janet Rogozinski Trombone David Taylor Supporters Percussion Albertina Frenkel Bill Richards Hermann J. Helgert María Sánchez-Carlo Piano Elizabeth E. Stanford Wenyin Chan POSTCLASSICAL ENSEMBLE ACKNOWLEDGEMENTS Angel Gil-Ordóñez, Music Director This program is made possible with support from Joseph Horowitz, Artistic Director The Andrew W. Mellon Foundation Board of Directors Advisory Board Samantha Buker Philip Bennett Chris Denby Arturo Brillembourg John Farina Lizette Corro National Endowment for the Arts Angel Gil–Ordóñez Liz Cullen Eric J. Larsen Jorge Dezcallar, Ambassador of Spain Corporation Secretary Máximo Flügelman Robin Berrington Janet Rogozinski Arturo Sarukhan, Ambassador of Staff and Volunteers Mexico Jamie Broumas, Managing Director Annie Totah Mary Marron, Office Manager Susan Kelly, Personnel Manager Spain’s Ministry of Culture Aaron Muller, Production Manager Lost in Brooklyn Studio, Design Tom Wolff, Photographer Heide Weaver, Database Manager

Spain Arts and Culture NATIONAL GALLERY OF ART Film Program

Margaret Parsons Head

Joanna Raczynska Assistant Head and José Andrés’ Jaleo

Special thanks to EGEDA and Filmotech.com. GEORGETOWN UNIVERSITY DEPARTMENT OF PERFORMING ARTS FACULTY AND STAFF

INTERIM CHAIR MUSIC PROGRAM FACULTY PUBLIC SPEAKING FACULTY ADDITIONAL DEPARTMENT OF PERFORMING Hubert Cloke, Ph.D. ARTS/DAVIS CENTER PERSONNEL Anthony R. DelDonna, Ph.D. Arthur J. Murphy, J.D. Senior Associate Dean Director, Music Program; Visiting Assistant Professor Tobin Clark, B.F.A. Georgetown College Associate Professor of Musicology Production Manager, Associate Producer Sue Davis Roeglin, M.A. Frederick A Binkholder, M.M. Visiting Assistant Professor, Robbie Hayes, B.A. THEATER & PERFORMANCE STUDIES Visiting Assistant Professor Public Speaking Area Coordinator Technical Director, Lecturer PROGRAM FACULTY Aaron T. Broadus, M.A. Susan Hougen, Ed.S. Maya E. Roth, Ph.D. Visiting Assistant Professor Academic and Office Coordinator ASSOCIATED THEATER FACULTY Director, Theater and Performance Studies Anna H. Celenza, Ph.D. Alex Kostura, B.S.F.S. Roger Bensky, Ph.D. Program; Associate Professor Thomas E. Caestecker Professor of Music Interim Business Manager French Department Derek Goldman, Ph.D. William T. Danoff, B.S. Veronica J. Lancaster, M.F.A. Gianni Cicali, Ph.D. Artistic Director, Davis Center; Lecturer Associate Technical Director Professor Department of Italian Benjamin J. Harbert, Ph.D. Ron Lignelli, M.A. Gay Gibson Cima, Ph.D. Mame Hunt, M.F.A. Assistant Professor Administrative Director Lecturer English Department Lars Helgert, Ph.D. Laura Mertens, B.A. Father Richard Curry, S.J., Ph.D. Susan Lynskey, M.F.A. Adjunct Assistant Professor Public Relations and Special Events Manager Visiting Assistant Professor; Catholic Studies Artistic Adviser to Co-curricular Rufus Jones, D.M.A. Veterans’ Academy Ted Parker, B.A. Assistant Professor Properties Master, Technical Adviser, Lecturer Theater Groups Jennifer Fink, Ph.D. Nadia Mahdi, M.A. Joseph F McCarthy, M.M. English Department Adjunct Assistant Professor Lecturer John Glavin, Ph.D. Sarah Marshall, B.F.A. Richard E Miller, Ph.D. English Department Adjunct Professor Adjunct Assistant Professor Barbara Mujica, Ph.D. Donn B. Murphy, Ph.D. Ralitza V. Patcheva, D.M.A. Spanish/Portuguese Department Adjunct Assistant Professor Professor Emeritus Vicky Pedrick, Ph.D. Jennifer Nelson, B.A. Vasily Popov, D.M.A. Classics Department Adjunct Assistant Professor Lecturer Katrin Sieg, Ph.D. Natsu Onoda Power, Ph.D. Robynn J Stilwell, Ph.D. German Department Assistant Professor Associate Professor, Dance Area Coordinator Stephen Richard, B.A. John Flawn Williams, B.S. ASSOCIATED MUSIC FACULTY/STAFF Adjunct Professor Visiting Assistant Professor Jennifer Jackson, M.M. Debra Kim Sivigny, M.F.A. Accompanist Artist-in-Residence, Costume Shop Manager DANCE FACULTY Maurice Jackson, Ph.D. Karen Zacarías, M.F.A. Alfreda Davis, B.F.A. Associate Professor, History Lecturer Artistic Director, Black Movements Dance Bryan McCann, Ph.D. Theatre Associate Professor; Director, Brazilian Miya Hisaka Silva, M.P.A. Studies; Director, Master’s in Global, Artistic Director, GU Dance Company International and Comparative History (MAGIC) Kesslyn Brade Stennis, Ph.D. Gospel Choir Director, Campus Ministry James Wickman, D.Min. Director of Liturgy and Music, Campus Ministry UPCOMING GU EVENTS

Monday, December 5, 2011 at 5:30 p.m. GEORGETOWN UNIVERSITY MUSIC PROGRAM Handel’s Messiah Sing-Along A rebirth of a Georgetown tradition, sponsored by the Georgetown University Concert Choir. Celebrate the end of the semester and ring in the holiday season with a singing of the Christmas portion of Handel’s famous oratorio. Professor Frederick Binkholder and professional soloists will lead the gathered ensemble through the choruses of Part I: “And the Glory of the Lord,” “And He shall Purify,” “Glory to God,” “O thou that Tellest,” “His yoke is easy” and “Hallelujah.” MCNEIR HALL, NEW NORTH BUILDING In keeping with the philanthropic tradition of this work, donations will be accepted with all proceeds going to the Lombardi Cancer Center. Please bring your own score – or one will be provided for you. RSVP to [email protected] to reserve a space.

“Taylor left every brass player in the packed house shaking his head in disbelief.” Monday, December 5, 2011 at 8 p.m. – Chicago Tribune GEORGETOWN UNIVERSITY MUSIC PROGRAM Georgetown University Orchestra Schubert Uncorked Professor Rufus Jones, Jr., Music Director Saturday, March 31, 2012 at 8 p.m. A program celebrating the music of Beethoven. DAVIS PERFORMING ARTS CENTER, GONDA THEATRE $5 GENERAL / FREE STUDENT David Taylor, bass trombone PostClassical Ensemble, conducted by Angel Gil-Ordóñez Thursday-Saturday, April 12-14 at 8 p.m. Sunday, April 15 at 2 p.m. Who was Franz Schubert? Cueing on the anguish and illness of his final Wednesday-Saturday, April 18-21 at 8 p.m. years, today’s “new Schubert” is a challenging and often harrowing creative CO-PRODUCTION BETWEEN THE THEATER & PERFORMANCE STUDIES force, anticipating Dostoyevsky and Kafka, and resisting categorization. PROGRAM AND MASK & BAUBLE DRAMATIC SOCIETY Join PostClassical Ensemble and the world’s greatest bass trombonist, the unclassifiable David Taylor, for a startling re-contextualization of a revered Macbeth composer, including two newly commissioned world premieres. By William Shakespeare Directed by Professor Maya E. Roth PROGRAM Produced by Lorraine Damerau (COL ‘13) Franz Schubert/Anton Webern: Six German Dances A fresh, exhilarating approach to Shakespeare’s most haunted tragedy, this Franz Schubert/David Taylor: Arpeggione Concerto (world premiere) distinctly ensemble rendering conjures an immersive world between nightmares Anton Bruckner: Adagio from String Quintet in F major (arr. for string orchestra). and waking, the living and the dead. Ritualistic, mercurial, and provocative Franz Schubert / David Taylor: Three Songs for bass trombone and strings (world this highly theatrical, cross-cultural staging probes Macbeth’s spiral through premiere), Der Doppelgänger, Die Stadt, Der Leiermann brutality, witches, and war. Co-produced by the Georgetown University Theater & Performance Studies Program and Mask and Bauble Dramatic Society, one of Healy Building, Gaston Hall America’s longest-running co-curricular theater groups, this production caps a year- Georgetown University long focus on Macbeth by Professor Roth. 37th and O Streets, NW DAVIS PERFORMING ARTS CENTER, GONDA THEATRE Washington, DC $7-$18 Tickets $25 ($5 with Student ID)

See the full calendar of events at performingarts.georgetown.edu. performingarts.georgetown.edu