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