two weekends of innovative programming

SEEKING SPAIN IN THE CINEMASaturday, 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/STRAVINSKYEl Amor Brujo/The Soldier’s Tale

withPeridance 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

presented by

and the

Georgetown University Department of Performing Arts

organized in association with the Film Department of the National Gallery of Art

Support for “Falla/Stravinsky” is provided by the Andrew W. Mellon Foundation, the National Endowment for the Arts, Spain’s Ministry of

Culture, Spain Arts and Culture, and José Andrés’ Jaleo.

GEORGETOWN UNIVERSITY FRIDAY MUSIC SERIES

January 27Washington National Opera Domingo-Cafritz Young Artist Program

February 3Jesuit Heritage Week Concert: Music from the Jesuit Missions of Bolivia

February 24Aaron Broadus Jazz Quintet

March 23Thomas Pandolfi, piano

March 30Vasily Popov, celloRalitza Patcheva, piano

April 13

Suely Mesquita, singer/songwriterCover 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 Pictures; PostClassical Ensemble by Tom Wolff.

Visit performingarts.georgetown.edu for full schedule. Photo of Washington National Opera Domingo-Cafritz Young Artists by Michael G. Stewart.

Acclaimed artists in free 1:15 p.m. concerts on Georgetown University’s main campus. The following highlighted events, along with many more,

take place at 1:15 p.m. in McNeir Hall:

SEEKING SPAIN IN THE CINEMASaturday, 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, Auditorium4th and Constitution Ave. NWWashington, DC

Throughout its history, Hollywood has reduced race and ethnicity to conventions and stereotypes that serve to pique viewer interest. In this program, the portrayal of Spanish identity (including the Civil War era and modern flamenco culture) in three classic Hollywood narrative films is contrasted with El Amor Brujo, the final film in Carlos Saura’s flamenco cycle. Along with commentary by Spanish novelist Antonio Muñoz Molina and Josep Colomer, Prince of Asturias Chair in Spanish Studies, Georgetown University, legendary Spanish cantaora Esperanza Fernandez provides a musical introduction. Presented in association with Post-Classical Ensemble’s production of Manuel de Falla’s flamenco-inspired masterpiece El Amor Brujo at Georgetown University, and with support from Spain’s Ministry of Culture.

The Barefoot Contessafollowed by Behold a Pale HorseNovember 26 at 2 p.m. East Building Concourse, AuditoriumIntroduction by Josep Colomerwith the participation of Paul A. Isbell and Angel Gil-Ordóñez

Related in flashback as a rags-to-riches saga, The Barefoot Contessa features Ava Gardner as the ultimate tragic and untamed Spanish born gypsy dancer Maria Vargas, transformed by American movie moguls via the Hollywood system into a glamorous star. Down-on-his-luck director Humphrey Bogart narrates her life story. (Joseph L. Mankiewicz, 1954, 35 mm, 128 minutes) Print from UCLA Film and Television Archive. Preservation funded by The Film Foundation.

In Behold a Pale Horse, ex–Catalan anarchist Artiguez (Gregory Peck), living in France, continues organizing guerrilla raids on Spain years after the Civil War has ended. His bête noire, the Guardia Civil’s Captain Viñolas (Anthony Quinn), sees Artiguez only as an outlaw. The complicated contest between the two men hinges on the fact that Artiguez’s mother is now dying at home in Spain. (Fred Zinnemann, 1964, 35 mm, 118 minutes)

The Devil Is a WomanNovember 27 at 2 p.m.East Building Concourse, AuditoriumIntroduction by Josep Colomer

Josef von Sternberg’s adaptation—set during Spanish Carnaval—of Pierre Louÿs’s 1898 French novel La Femme et le Pantin, gave Marlene Dietrich an opportunity to embody the Spanish temptress Concha, a woman whose manipulative and remorseless ways are nearly the downfall of the film’s narrator, Don Pasqual. (Josef von Sternberg, 1935, 35 mm, 80 minutes) Print from UCLA Film and Television Archive

“Everything—lighting, camera, editing, acting—is aligned in the desperate expression of the erotic power of the woman.”--Ado Kyrou

El Amor BrujoNovember 27 at 4 p.m.East Building Concourse, AuditoriumEsperanza Fernandez, cantaora. Richard Marlow, guitar.Angel Gil-Ordoñez, Joseph Horowitz, Robbie Hayes, and Igal Perryin person

The final film in Carlos Saura’s flamenco cycle, produced in collaboration with choreographer Antonio Gades and dramatically using Manuel de Falla’s El Amor Brujo, is a tale of tragic gypsy love between Carmelo (Gades), José (Juan Antonio Jimenez), and Candela (Christina Hoyos), a woman who as a young girl loves Carmelo, but is promised to José. In later life, after his death, Candela continues to be obsessed by the figure of her late husband José. (Carlos Saura, 1986, 35 mm, 100 minutes)

“The flamenco choreography is so intrinsically dramatic that the acting passages often seem superfluous.”--Janet Maslin

A flamenco set performed by Esperanza Fernandez precedes the screening.

FALLA/STRAVINSKY PROGRAMSaturday, 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

The Soldier’s Tale by Igor StravinskyDirected by Anna Harwell CelenzaChoreography by Igal PerryLighting and set design by Robbie HayesCostume design by Debra Kim SivignyTheatrical Direction by Sarah MarshallPostClassical Ensemble conducted by Angel Gil-Ordóñez

The Soldier: John Roach The Devil: Allie VillarealNarrator: Stephen Murray The Princess: Joanna DeFelice

INTERMISSION

El Amor Brujo by Manuel de FallaEsperanza Fernandez, cantaoraDirected and choreographed by Igal PerryPostClassical Ensemble conducted by Angel Gil-OrdóñezPeridance Contemporary Dance Company (New York City)Lighting and set design by Robbie HayesCostume design by Debra Kim Sivigny

Candela: Nikki HolckCarmelo: Attila Joey CsikiJose: Andrew TregoLucia: Joanna DeFelice Dancers: Shay Bares, Lauren Jaeger, Midori Nonaka, Zack Thomas

Pre-concert presentations one hour before curtain time with Igal Perry, Angel Gil-Ordóñez, and Anna Harwell Celenza; hosted by Joseph Horowitz.Post-concert discussion with the artists.

GU-POSTCLASSICAL PARTNERSHIPGeorgetown University is honored to join PostClassical Ensemble in the fourth year of an educational partnership. By combining our resources 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 Gallery of Art and our inaugural production with Igal Perry and Peridance Contemporary Dance Company of New York.

Music is more than entertainment, more than a relic of the past. And the study of music has long outgrown the confines of the conservatory. This week’s performing arts celebration serves as a step along Georgetown University’s path to the future. The Music Program in the Department of Performing Arts has recently gained national attention for its undergraduate major in American Musical Culture. The goal of this program is to bridge the fields of “music performance” and “music as a liberal art” through an integrated study of history, cultural studies, theory and performance. Under the leadership of Joseph Horowitz and Angel 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 achievement.

Through collaborative concerts, conferences, and classroom instruction, Georgetown University and PostClassical Ensemble are committed to bringing students, scholars, performers and audiences together in new and exciting ways. As partners, we hope to show with events like Falla/Stravinsky and the upcoming Schubert Uncorked that music is both a manifestation of intellectual curiosity and a creative endeavor that strengthens contemporary society.

Anna H. CelenzaThomas E. Caestecker Professor of MusicGeorgetown University

THE TIMELESSNESS OF STRAVINSKY’S THE SOLDIER’S TALEBY ANNA HARWELL CELENZA

“What shall it profit a man if he gain the whole world, and lose his 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 collaborative project between Igor Stravinsky, the Swiss writer Charles-Ferdinand Ramuz, the Swiss conductor Enerst Ansermet, and the Swiss painter René Victor Auberjonois. The team was interested in creating a small theater piece that could be transported easily from one venue to another. As Stravinsky explained in his autobiography, “my uninterrupted collaboration with Ramuz was all the more precious to me because our friendship, growing closer and closer, helped me get through the difficult times..., which as a patriot I found to be sickening and humiliating.” The Soldier’s Tale expresses the artists’ reactions to WWI, their contemplations concerning the inaccessible nature of redemption, the blurred lines between reality and fiction, and the destructive power of greed. As the staging of the current production demonstrates, the music and text were each meant to exist separately, side-by-side, intersecting by alternate exchanges of focus. Ramuz and Stravinsky originally published the dual elements of The Soldier’s Tale as separate entities: Ramuz’s text, without music, first appeared in 1920. Stravinsky’s contribution was published several months later, without the libretto.

After the work’s premiere on September 28, 1918, reviewers called it a “bewildering” and “disconcerting” piece that “breaks with all norms, all traditions, to create something absolutely spontaneous without attachment to the past.” Ramuz described it as “an animated magic lantern.” The piece is a pivotal work in Stravinsky’s repertoire, in that it reveals both his preoccupation with music traditions of his early career and his experimentation with compositional techniques that would be more thoroughly developed in later works. In our fully staged production, we strive for a similar aesthetic: traditional theater craft and modern technology collide in a narrative that cuts to the core of mankind’s innocent desire to have it all: health, wealth and companionship. Contemporary issues such as the recent effects of war and global financial instability influenced the imagery of our production. In our re-imagining of The Soldier’s Tale by Ramuz and Stravinsky, we hope that audiences will discover that the evocative music and underlying message of the work are as fresh and significant today as they were nearly a century ago.

CHOREOGRAPHING EL AMOR BRUJO BY IGAL PERRY

Falla’s El Amor Brujo, with a libretto by Gregorio Martinez, is a Spanish Gypsy love tale which revolves around three main characters: Candela, a young Gypsy woman; her lover Carmelo; and the spirit of her dead husband, José, which haunts the two lovers but is ultimately exorcised by a Gypsy Ritual Fire Dance (the score’s most popular number).

In my choreographic treatment of the drama I have chosen to portray the dead husband as very much alive; his “haunting” of Candela is more literal than figurative. It is his jealousy of Candela’s love for Carmelo that keeps him from relinquishing her; yet it is Love itself -- his own love of the young women, Lucia (here depicted as a fourth main character, based on Candela’s friend in the story as told by Martinez) -- which ultimately exorcises his demons of jealousy and brings peace to all involved.

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 parted ways with him, and in spite of her tender love for Carmelo.

Martinez’s El Amor Brujo is heavily based on folk themes, on superstition and ritual. My treatment of the subject matter, juxtaposing Lust and Betrayal with pure Love, attempts a more explicitly universal statement. While retaining the general plot line and Flamenco movement, mine is a contemporary ballet addressing softer, more vulnerable layers of feeling in service of the ideal that ultimately there are stronger emotions than Lust and Jealousy.

This tale of Despair and Hope is not limited to any people, culture, or time. In honoring Falla’s music and delving into its Flamenco sources, I discovered vast inspiration as well as a great challenge: to relate the story to our own times without diluting the beauty and strength of its folk origins. I found the means for doing so by treating the storyteller -- in this case the Gypsy singer -- as a connecting link, intertwined with the characters and vocalizing the heights and depths of their emotions.

SYNOPSIS OF EL AMOR BRUJO CANDELA, a young gypsy, loves CARMELO. But the spirit of her dead husband, JOSE, intervenes. A ritual fire dance exorcises the influence of Jose. Ultimately, Jose is paired with LUCIA, Daybreak greets the lovers Candela and Carmelo.

SONGS OF EL AMOR BRUJO Canción del Amor DolidoAy!Yo no se qué siento,ni sé qué me pasa,cuando este marditogitano me farta!Candela que ardesMás arde el infiernoque toita mi sangreabrasá de celos!Ay!Cuando el río suenaqué querrá decir?Ay!Por querer a otrase orvía de mí!jAy!Cuando el fuego abrasa ...Cuando el rio suena ...Si el agua no mata al fuego,a mí el pesar me condena!A mí el querer me envenena!A mí me matan las penas!Ay!

Song of a Broken HeartAh!I don’t know what I feel,Nor what is happening to me -But how I missThis damned gypsy!Fire, that blazesBlazing stronger is the infernoWhich burns my bloodWith jealousy!Ah!When the river boilsWhat does it mean?Ah!For the love of anotherHe forgets me!Ah!When the fire blazes,When the river boils ...If the water doesn’t kill the flame,Then sorrow will damn me!Love is poisoning me!Grief is killing me!Ah!

Canción del Fuego FatuoAh!Lo mismo que er fuego fatuo,Lo mismito es er queré.Lo mismo que er fuego fatuo,Lo mismito es er queré.Le juyes y te persigue,Le yamas y echa a corré.Lo mismo que er fuego fatuo,Lo mismito es er queré!Nace en las noches de agosto,cuando aprieta la calor.Nace en las noches de agosto,cuando aprieta la calor.Va corriendo por los campos enbusca de un corazón ...Lo mismo que er fuego fatuo,Lo mismito es el amor!Malhaya los ojos negros que Iealcanzaron a ver!Malhaya los ojos negros que Iealcanzaron a ver!Malhaya er corazón triste que en suyama quiso arder!Lo mismo que er fuego fatuo sedesvanece er queré!

Song of the Will-o’-the-WispAh!Just like the Will-o’-the-WispIs love.Just like the Will-o’-the-WispIs love.You flee from it and it pursues you,You call it, and it runs away.Just like the Will-o’-the-WispIs love.It is born in August nightsWhen the heat bears down.It is born in August nightsWhen the heat bears down.It runs through the countrysidelooking for a heart ...Just like the Will-o’-the-WispIs love.Damned are the dark eyes that cansee it!Damned are the dark eyes that cansee it!Damned is the sad heart that wanted to burn in its flame!Just like the Will-o’-the-WispIs love.

Danza y cancion de la bruja fingida(Danza y cancion del juego de amor)Tú eres aquel mal gitano que unagitana quería!EI querer que eya te daba tú no te lo merecías!Quién lo había de decí que con otrala vendías!No te acerques, no me mires, quesoy bruja consuma;y er que se atreva a tocarme la mano se abrasara!Soy la voz de tu destino!Soy er fuego en que te abrasas!Soy er viento en que suspiras!Soy la mar en que naufragas!

Soy la mar en que naufragas!

Dance and Song of the False Witch(Dance and Song of the Game of Love)You are the evil gypsy that a girlonce loved!You didn’t deserve the love that shegave you!Who would have said that youwould betray her with another!Don’t come close, don’t touch me, Iam an out-and-out witch;and whosoever tries to touch myarm will be burned!I am the voice of your destiny!I am the fire in which you burn!I am the wind in which you sigh!I am the sea in which you areshipwrecked!I am the sea in which you areshipwrecked!

Final (Las campanas del amanecer)Ya está despuntando el día!Cantad, campanas, cantad!Que vuelve la gloria mía.

Finale (the bells of morning)Dawn is breaking!Sing, bells, sing! My love isreturned to me!

Falla’s El amor brujo is famous and yet incompletely known. A 25-minute orchestral suite (1916), including the popular Ritual Fire Dance and three vocal numbers, is commonly performed. The piece originated, however, as a 35-minute gitaneria (gypsy entertainment – 1915 with dialogue, song, and dance, supported by a small pit orchestra. This original version, intended for (and premiered by) the gypsy entertainer Pastora Imperio and her troupe, bristles with the grit and passion of flamenco: it famously embodies Falla’s triumphant appropriation of flamenco to forge a modernist/nationalist Spanish musical idiom for the 20th century.

The essential plot of El amor brujo is simple: a gypsy, Candelas, is haunted by her dead lover. The spirit of the lover is exorcised. At daybreak (to pealing bells) Candelas unites with her new love. But Falla’s original 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 musical/dramatic trajectory, and the plot is over-complicated. When he created the 25-minute suite for full orchestra – the Amor brujo we hear today – Falla (in collaboration with the conductor/composer Enrique Arbos) skillfully solved these problems: the musical trajectory is acute, the plot is jettisoned. But the loss of a dance component and a narrative dimension remain regrettable. The Fire Dance, for instance, originates as a potently climactic rite of exorcism; as a symphonic number, deprived of its urgent dramatic function, it risks self-trivialization. In fact, El amor brujo has long been condemned to “pops” status in the United States. It registers as an exotic diversion and little more.

In 1997, as Executive Director of the Brooklyn Philharmonic, I had occasion to present the 1916 Amor brujo suite as part of a “Flamenco” festival at the Brooklyn Academy of Music. These performances were unusual in two respects:

1. Present-day concert performances of El amor brujo typically engage an operatic mezzo-soprano for the three songs. At BAM, the singer was an inspired flamenco cantaora. The impact was revelatory: the emotional depth of Falla’s original conception, steeped in cante jondo (“deep song”), was restored.

2. A solo dancer was engaged for the Fire Dance and two other numbers. Portions of the score sprang newly to life. But no narrative thread was drawn.

RE-IMAGINING EL AMOR BRUJOBY JOSEPH HOROWITZ

Our new PostClassical Ensemble production retains the pithiness of the 1916 suite, but with the addition of a flamenco singer and new choreography. As at BAM, a famous flamenco artist -- Esperanza Fernandez – will sing the solos. This time we have also added a company of eight dancers (from New York’s Peridance Contemporary Dance Company) who narrate the story. A major choreographer, Igal Perry, choreographs and directs. Also, we have elected to retain the original 1915 scoring for an ensemble of 18 and 22 players and – as with our American stage debut production of Falla’s El Corregidor y la Molinera two seasons ago – place orchestra and conductor on stage. The result is a “portable” production we intend to tour, one that aims to restore the narrative power and elemental gypsy flavor of the original version, unburdened by extensive dialogue and superfluous plot detail.

The choice of Igal Perry consciously sidesteps conventional flamenco expectations. A consummate contemporary choreographer, he is a master of myriad dance genres. No more than Amor brujo is actual flamenco are Perry’s dancers actual flamenco artists. Rather, like Falla, his goal is to infuse the spirit of flamenco into a contemporary aesthetic. He comments: “When you combine flamenco and contemporary choreographic styles, you create something new, something that relates to life both then and now. I’ve always maintained a non-homogeneous company. We have dancers from five countries. They all have training in both classical ballet and a variety of modern styles. For Amor Brujo I’ve choreographed Esperanza in tandem with a ‘double’ - we have both a singing and a dancing Candelas. The chamber orchestra is onstage behind a scrim, so we can illuminate them or cast them in silhouette. I find this far preferable to relegating the musicians to a pit. It brings the music into play far more formidably.” The pre-eminent Spanish novelist and cultural critic Antonio Munoz-Molina comments: “The colorful and humiliating Romantic portraiture of Spain, false yet powerful, has not yet been extinguished. The performance history of Amor Brujo bears this out. The new PostClassical Ensemble production promises to create what this abused score has forever lacked: a really viable dramatic form. The participation of Esperanza Fernandez is crucial: in these times of mock-fusion banalities, she brings to the project an authentic, unadulterated flamenco voice.”

ABOUTPostClassical Ensemble was founded in 2003 by Angel Gil-Ordóñez

(Music Director) and Joseph Horowitz (Artistic Director) as an experimental musical laboratory. “More than an orchestra,” it endeavors to expand the boundaries of orchestral programming and explore new presentation models for the field. This season, subsequent “Falla/Stravinsky,” PostClassical Ensemble presents “Schubert Uncorked,” March 31 at Georgetown University’s Gaston Hall – a program featuring the world’s greatest bass trombonist, the unclassifiable David Taylor, in the world premiere of the Arpeggione Concerto for trombone and orchestra – a reworking of Schubert’s Arpeggione Sonata. The Ensemble’s 2011-2012 season marks a further stage in its ongoing collaborations with Strathmore, the National Gallery of Art, and Georgetown University (the Ensemble’s Educational Partner) – a partnership supported by a major grant from the Andrew W. Mellon Foundation. PostClassical Ensemble broadcasts via Sirius XM Satellite Radio and WFMT Chicago, and records for Naxos. New this season is “PostClassical Underground” at DC’s Bohemian Caverns jazz club. Reviewing the inaugural “Underground” concert, featuring Genadi Zagor improvising on Gershwin, Stephen Brookes wrote in the Washington Post: “PostClassical Ensemble never met a musical convention it didn’t want to smash, which is why its concerts tend to be the most adventurous in town.” PostClassical Underground continues with pipa virtuoso Min Xiao-fen playing Miles Davis and Thelonious Monk (Jan. 22), and the David Taylor Trio (Feb. 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.

National Gallery of Art Film Program, a continuing exhibition program of classic cinema, international avant-garde, documentary, ciné-concerts, and area premieres, occurs each weekend in the National Gallery’s East Building Auditorium, 4th Street at Pennsylvania Avenue NW. The program is unique in the Washington area, combining rare and historically significant work in original formats while presenting film as an art form. Commentary by noted scholars often precedes events. The Gallery is a member of the International Federation of Film Archives (FIAF), maintaining an archival collection of documentary film on the arts. Programs are free of charge but seating is on a first-come, first-seated basis. Doors open approximately 30 minutes before each event. www.nga.gov/programs/film/

Peridance Contemporary Dance Company was established in 1984 by founder and artistic director Igal Perry. The company resides within New York City’s Peridance Capezio Center, a venue for dance study and performance, and is the resident company of its Salvatore Capezio Theater. As part of its quest for a unique identity, Peridance Contemporary Dance Company has always sought a diversity of collaborating choreographers and composers. The company’s repertoire has included original works by such choreographers as Ohad Naharin, John Butler, Danny Ezralow, and Benjamin Harkarvy, in addition to Igal Perry. The company has performed as far afield as Alaska while maintaining major New York seasons. While upholding the elegance and articulation of classical ballet, the company is structured to explore innovative movement and design. The current season includes the second edition of Igal Perry’s The Nutcracker. www.peridance.com

Photo courtesy of Peridance Contemporary Dance Company

BIOGRAPHIESAnna Harwell Celenza, Thomas E. Caestecker Professor of Music at

Georgetown University, is the author of several scholarly books – the most recent being Hans Christian Andersen and Music: The Nightingale Revealed. In addition to her scholarly work, she has authored a series of award-winning children’s books with Charlesbridge Publishing: The Farewell Symphony (2000), Pictures at an Exhibition (2003), The Heroic Symphony (2004), Bach’s Goldberg Variations (2005), Gershwin’s Rhapsody in Blue (2006), Duke Ellington’s Nutcracker Suite (2011) and a 14-part syndicated series on Louis Armstrong for the NC Press Foundation. Her work has been featured on nationally syndicated radio and TV programs, including BBC’s “Music Matters” and “Proms Broadcasts,” and C-SPAN’s “Book TV.” Before coming to Georgetown, she served as a writer and guest commentator for Michigan Public Radio (WKAR) and NPR’s “Performance Today.”

Josep M. Colomer, Prince of Asturias Chair in Spanish Studies at Georgetown University. He is the author of 10 books in English on democratization, political institutions, institutional change, voting, elections and general political science. He is a member by election of the Academy of Europe and a life member of the American Political Science Association.

Atilla Csiki has worked with Jiri Kylian, Sir Peter Wright, William Forsythe, Nacho Duato, Mauro Bigonzetti, Anthony Tudor, and Kenneth McMillan. He has performed extensively in Japan, as a soloist with the Du Capitale Ballet of Toulouse, and as a member of the Lar Lubovitch Dance Company.

Joanna DeFelice is a graduate of the Kirov Academy of Ballet in Washington. She is a former member of the Roxey Ballet in New Jersey.

Esperanza Fernandez, born in Seville to a distinguished gypsy flamenco family, is one of the great names in flamenco today. She first sang as primera cantaora (lead singer) at the age of 16, and has appeared with such eminent flamenco artists Paco de Lucía, Camarón de la Isla, Rafael Riqueni, Enrique Morente. She has sung El Amor Brujo on many occasions, including a 2002 recording with Rafael Brühbeck d Burgos and the National Orchestra of Spain. She has portrayed Candela in the stage version of El Amor Brujo at Madrid’s Teatro Lara. Her repertoire also includes Falla’s Seven Popular Songs. The present performances mark her DC debut.

Angel Gil-Ordóñez, former associate conductor of the National Symphony Orchestra of Spain, has conducted symphonic music, opera and ballet throughout Europe, the United States and Latin America. In the United

States, he has appeared with the American Composers Orchestra, Opera Colorado, the Pacific Symphony, the Hartford Symphony, the Brooklyn Phil- harmonic, the Orchestra of St. Luke’s and the National Gallery Orchestra in Washington. Abroad, he has been heard with the Munich Philharmonic, the Solistes de Berne, at the Schleswig-Holstein Music Festival and at the Bellas Artes National Theatre in Mexico City. In summer of 2000, he toured the major music festivals of Spain with the Valencia Symphony Orchestra in the Spanish premiere of Leonard Bernstein’s Mass. Born in Madrid, Gil-Ordóñez has recorded four CDs devoted to Spanish composers, as well as a CD with PostClassical Ensemble’s Virgil Thomson and Copland CD/DVDs. In 2006, the king of Spain awarded Gil-Ordóñez the country’s highest civilian decoration, the Royal Order of Queen Isabella, for his work in advancing Spanish culture around the world and for performing and teaching Spanish music in its cultural context.

Robbie Hayes serves as Technical Director for the GU Theater & Performance Studies Program. GU credits include The Race, Wisconsin Death Trip, Trees and Ghosts, Big Love, and Eurydice (Lighting Designer); The Grace of Mary Traverse, Six Characters in Search of an Author, Pentecost, Lysistrata, and Stuff Happens (Scenic Designer); and Dr. Korczak and the Children (Scenic and Lighting Designer). DC design credits include numerous shows at Rorschach Theatre, Theater J, Journeymen Theater, Solas Nua, and Catalyst.

Nikki Holck, a native of Honolulu, is a former member of the National Ballet of Canada under the direction of Karen Kain. She has performed a wide range of classical and contemporary choreography, including works by Igal Perry, William Forsythe, Jiri Killian, James Kudelka, and Korhan Basaran. Nikki will perform in a principal role this December at Peridance Capezio Center’s The Nutcracker, a Contemporary Look, conceived and choreographed by Igal Perry.

Joseph Horowitz, PostClassical Ensemble Artistic Director, has long been a pioneer in classical music programming. As Executive Director of the Brooklyn Philharmonic Orchestra in the 1990s, he received national attention for “The Russian Stravinsky,” “American Transcendentalists,” “Flamenco,” and other festivals exploring the folk roots of concert works. Now an artistic advisor to various American orchestras, he has created more than three dozen interdisciplinary music festivals. In Fall 2008, he inaugurated the New York Philharmonic’s “Inside the Music” series, writing, hosting and producing programs on Tchaikovsky, Dvorák, and Brahms. He is currently curating thematic festival projects for the Florida Symphony, the Pacific Symphony, the Pacific Symphony Youth Orchestra, the North Carolina Symphony, and the Buffalo Philharmonic. Called “our nation’s leading scholar of the symphony orchestra” by Charles Olton, former President of the League of American Orchestras, Mr. Horowitz is also the award-winning author of eight books mainly dealing with the

institutional history of classical music in the United States. Both his Classical Music in America: A History (2005) and Artists in Exile: How Refugees from 20th Century War and Revolution Transformed the American Performing Arts (2008) were named best books of the year by The Economist. As Project Director of an NEH National Education Project, as well as an NEH Teacher Training Institute, he is the author of a book for young readers entitled Dvorák in America, linked to a state-of-the-art DVD. His website is www.josephhorowitz.com; his blog is www.artsjournal.com/uq.

Paul A. Isbell is a Visiting Senior Fellow at the Inter-American Dialogue. A

graduate in international economics for Georgetown University, he lived in Madrid for 20 years, where he worked as economic analyst and program director for the Royal Institute Elcano for International and Strategic Studies.

Sarah Marshall teaches acting at Georgetown University and Duke Ellington School of The Arts, and has made her acting career in Washington DC, performing at Shakespeare Theater, Studio Theater, Arena Stage, Round House, Signature, Kennedy Center and Washington Stage Guild. She has been a company member at Woolly Mammoth Theater for 20 years.

Antonio Muñoz-Molina regularly collaborates with PostClassical Ensemble/Productions in DC and elsewhere. One of Spain’s pre-eminent contemporary novelists, he is the author of more than 20 books, including essays and memoirs. A member of the Spanish Royal Academy of Letters, he was appointed Chevalier des Arts et des Lettres by the French government in 1998. Three of his novels have been published in English: Sepharad (called “a masterpiece” in the New York Review of Books), A Manuscript of Ashes, and In Her Absence. He has long written a weekly column for Madrid’s El Pais.

Stephen Murray is a senior at Georgetown University majoring in English and minoring in Theater and Performance Studies. REGIONAL: Signature Theatre: The Boy Detective Fails (u/s Billy Argo), The Hollow (u/s Constable Vos), American Opera Theatre: Hydrogen Jukebox, White Plains Performing Arts Center: Footloose (Ren McCormack). DC AREA: Arena Stage: The Glass Menagerie Project (Tom/Ensemble), For Whom the Southern Belle Tolls (Lawrence). EDUCATION: London Academy for Music and Dramatic Art (2010). Signature Overtures Alum.

Igal Perry, Founder and Artistic Director of Peridance Capezio Center and Peridance Contemporary Dance Company (established 1983/1984), is a choreographer, ballet master and dance educator. Mr. Perry’s 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”

(Jack Anderson, The New York Times), and being “blessedly inventive” (Jennifer Dunning, The New York Times). His works have been set on such companies as Batsheva and Bat-Dor Dance Companies (Israel), Complexions Dance Company (NYC), Companhia de Danca de Lisboa (Portugal), Alberta Ballet (Canada), Florence Dance Festival, (Italy), and Teatro Alla Scala (Milan), where he directed the world premiere of Krzysztof Penderecki’s opera Paradise Lost. Mr. Perry’s Ballet classes introduce a fresh approach to traditional ballet vocabulary. His teaching engagements have included Scapino and Het National Ballet (Holland), Laterna Magica and the National Ballet of Prague, Architanz (Tokyo), The Royal Ballet of Sweden, the National Ballet of China, and the Kwang-Ju City Ballet Company (Korea), where he has also served as Artistic Director for the Kwang-Ju International Ballet Competition. In addition to his daily Ballet class at Peridance, Mr. Perry serves as guest master teacher at Jacob's Pillow Festival and The Juilliard School in NY.

John Roach is a junior at Georgetown University majoring in American Studies and minoring in Theater and Performance Studies. At Georgetown, he has appeared in both The Pain and the Itch with Nomadic Theatre and Six Characters in Search of an Author with the Department 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 the Gonda stage with The Soldier’s Tale.

Debra Kim Sivigny has been designing in the DC area for over a decade and is the resident faculty artist at Georgetown. She has designed productions at Rorschach Theatre, Theater J, Imagination Stage, Olney Theatre, Kennedy Center TYA, Adventure Theatre, Shakespeare Theatre ACA, The Hub, Studio Theatre 2nd Stage and Colorado Shakespeare Festival. She has an MFA in costume design from the University of Maryland and a BA from Middlebury College.

Andrew Trego recently took part in Opera Boston’s production of The Bartered Bride under the direction of Daniel Pelzig, and in Boston Early Music Festival’s production of Niobe: Regina di Tebe under the direction of Gilbet Bline, Carlos Fittante, and Caroline Copeland.

Allie Villareal is a senior at Georgetown University double majoring in Psychology and Theater and Performance Studies. She has been in several productions at Georgetown including last year’s Suddenly, Last Summer and Blood Wedding and now serves as Associate Producer of Nomadic Theatre. She is currently writing an honors thesis for Theater in the form of a one-woman show called The Bi(g) Life about the fat identity, opening the first week in February in the Devine Studio Theatre.

POSTCLASSICAL ENSEMBLE PLAYERS

www.postclassical.com

Post-Classical Ensemble thanks its 2011-12 Sponsors: BenefactorThe Andrew W. Mellon Foundation

PatronsNational Endowment for the ArtsSpain’s Ministry of CultureSpain Arts and CultureThe DC Commission on the Arts and HumanitiesMARPAT Foundation

UnderwriterThe Morris & Gwendolyn Cafritz Foundation

Soloist CircleThe Aaron Copland Fund for MusicCharles Ives SocietyDallas Morse Coors Foundation

Conductor CircleLiz Cullen

Artist CirclePhilip and Monica BennettRobin BerringtonJanet Rogozinski

SupportersAlbertina FrenkelHermann J. HelgertMaría Sánchez-CarloElizabeth E. Stanford

ViolinDavid Salness, ConcertmasterMichelle KimEva Cappelletti-Chao, Principal SecondJennifer Rickard

ViolaShelley Coss, PrincipalAdrienne Sommerville-Kiamie

CelloGita Ladd, PrincipalIgor Zubkovsky

BassEd Malaga

Flute, PiccoloAdria Foster

OboeIgor Leschishin

ClarinetGarrick Zoeter

BassoonDon Shore

HornMark Hughes

TrumpetChris GekkerTim White

TromboneDavid Taylor

PercussionBill Richards

PianoWenyin Chan

POSTCLASSICAL ENSEMBLEAngel Gil-Ordóñez, Music DirectorJoseph Horowitz, Artistic Director

ACKNOWLEDGEMENTSThis program is made possible with support from

The Andrew W. Mellon Foundation

National Endowment for the Arts

Spain’s Ministry of Culture

Spain Arts and Culture

and José Andrés’ Jaleo

Board of DirectorsSamantha BukerChris DenbyJohn FarinaAngel Gil–OrdóñezEric J. Larsen

Corporation SecretaryRobin Berrington

Staff and VolunteersJamie Broumas, Managing DirectorMary Marron, Office ManagerSusan Kelly, Personnel ManagerAaron Muller, Production ManagerLost in Brooklyn Studio, DesignTom Wolff, PhotographerHeide Weaver, Database Manager

Advisory BoardPhilip BennettArturo BrillembourgLizette CorroLiz CullenJorge Dezcallar, Ambassador of SpainMáximo FlügelmanJanet RogozinskiArturo Sarukhan, Ambassador of MexicoAnnie Totah

NATIONAL GALLERY OF ARTFilm Program

Margaret ParsonsHead

Joanna RaczynskaAssistant Head

Special thanks to EGEDA and Filmotech.com.

GEORGETOWN UNIVERSITYDEPARTMENT OF PERFORMING ARTS FACULTY AND STAFF

INTERIM CHAIRHubert Cloke, Ph.D.Senior Associate DeanGeorgetown College

THEATER & PERFORMANCE STUDIES PROGRAM FACULTY

Maya E. Roth, Ph.D.Director, Theater and Performance Studies Program; Associate Professor

Derek Goldman, Ph.D.Artistic Director, Davis Center; Professor

Mame Hunt, M.F.A.Lecturer

Susan Lynskey, M.F.A.Visiting Assistant Professor; Artistic Adviser to Co-curricular Theater Groups

Nadia Mahdi, M.A.Lecturer

Sarah Marshall, B.F.A.Adjunct Assistant Professor

Donn B. Murphy, Ph.D.Professor Emeritus

Jennifer Nelson, B.A.Lecturer

Natsu Onoda Power, Ph.D.Assistant Professor

Stephen Richard, B.A.Adjunct Professor

Debra Kim Sivigny, M.F.A.Artist-in-Residence, Costume Shop Manager

Karen Zacarías, M.F.A.Lecturer

MUSIC PROGRAM FACULTY

Anthony R. DelDonna, Ph.D.Director, Music Program;Associate Professor of Musicology

Frederick A Binkholder, M.M.Visiting Assistant Professor

Aaron T. Broadus, M.A.Visiting Assistant Professor

Anna H. Celenza, Ph.D.Thomas E. Caestecker Professor of Music

William T. Danoff, B.S.Lecturer

Benjamin J. Harbert, Ph.D.Assistant Professor

Lars Helgert, Ph.D.Adjunct Assistant Professor

Rufus Jones, D.M.A.Assistant Professor

Joseph F McCarthy, M.M.Adjunct Assistant Professor

Richard E Miller, Ph.D.Adjunct Professor

Ralitza V. Patcheva, D.M.A.Adjunct Assistant Professor

Vasily Popov, D.M.A.Adjunct Assistant Professor

Robynn J Stilwell, Ph.D.Associate Professor, Dance Area Coordinator

John Flawn Williams, B.S.Visiting Assistant Professor

DANCE FACULTY

Alfreda Davis, B.F.A.Artistic Director, Black Movements Dance Theatre

Miya Hisaka Silva, M.P.A.Artistic Director, GU Dance Company

PUBLIC SPEAKING FACULTY

Arthur J. Murphy, J.D.Visiting Assistant Professor

Sue Davis Roeglin, M.A.Visiting Assistant Professor, Public Speaking Area Coordinator

ASSOCIATED THEATER FACULTY

Roger Bensky, Ph.D.French Department

Gianni Cicali, Ph.D.Department of Italian

Gay Gibson Cima, Ph.D.English Department

Father Richard Curry, S.J., Ph.D.Catholic Studies Veterans’ Academy

Jennifer Fink, Ph.D.English Department

John Glavin, Ph.D.English Department

Barbara Mujica, Ph.D.Spanish/Portuguese Department

Vicky Pedrick, Ph.D.Classics Department

Katrin Sieg, Ph.D.German Department

ASSOCIATED MUSIC FACULTY/STAFF

Jennifer Jackson, M.M.Accompanist

Maurice Jackson, Ph.D.Associate Professor, History

Bryan McCann, Ph.D.Associate Professor; Director, Brazilian Studies; Director, Master’s in Global, 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

ADDITIONAL DEPARTMENT OF PERFORMING ARTS/DAVIS CENTER PERSONNEL

Tobin Clark, B.F.A.Production Manager, Associate Producer

Robbie Hayes, B.A.Technical Director, Lecturer

Susan Hougen, Ed.S.Academic and Office Coordinator

Alex Kostura, B.S.F.S.Interim Business Manager

Veronica J. Lancaster, M.F.A.Associate Technical Director

Ron Lignelli, M.A.Administrative Director

Laura Mertens, B.A.Public Relations and Special Events Manager

Ted Parker, B.A.Properties Master, Technical Adviser, Lecturer

“Taylor left every brass player in the packed house shaking his head in disbelief.” – Chicago Tribune

Schubert UncorkedSaturday, March 31, 2012 at 8 p.m.

David Taylor, bass trombonePostClassical Ensemble, conducted by Angel Gil-Ordóñez

Who was Franz Schubert? Cueing on the anguish and illness of his final years, today’s “new Schubert” is a challenging and often harrowing creative force, anticipating Dostoyevsky and Kafka, and resisting categorization. Join PostClassical Ensemble and the world’s greatest bass trombonist, the unclassifiable David Taylor, for a startling re-contextualization of a revered composer, including two newly commissioned world premieres.

PROGRAMFranz Schubert/Anton Webern: Six German DancesFranz Schubert/David Taylor: Arpeggione Concerto (world premiere)Anton Bruckner: Adagio from String Quintet in F major (arr. for string orchestra).Franz Schubert / David Taylor: Three Songs for bass trombone and strings (world premiere), Der Doppelgänger, Die Stadt, Der Leiermann

Healy Building, Gaston HallGeorgetown University37th and O Streets, NWWashington, DCTickets $25 ($5 with Student ID)

performingarts.georgetown.edu

UPCOMING GU EVENTSMonday, December 5, 2011 at 5:30 p.m. GEORGETOWN UNIVERSITY MUSIC PROGRAM

Handel’s Messiah Sing-AlongA 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 BUILDINGIn 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 concertchoir@georgetown.edu to reserve a space.

Monday, December 5, 2011 at 8 p.m.GEORGETOWN UNIVERSITY MUSIC PROGRAM

Georgetown University OrchestraProfessor Rufus Jones, Jr., Music DirectorA program celebrating the music of Beethoven.DAVIS PERFORMING ARTS CENTER, GONDA THEATRE$5 GENERAL / FREE STUDENT

Thursday-Saturday, April 12-14 at 8 p.m.Sunday, April 15 at 2 p.m. Wednesday-Saturday, April 18-21 at 8 p.m.CO-PRODUCTION BETWEEN THE THEATER & PERFORMANCE STUDIES PROGRAM AND MASK & BAUBLE DRAMATIC SOCIETY

MacbethBy William ShakespeareDirected by Professor Maya E. RothProduced by Lorraine Damerau (COL ‘13)A fresh, exhilarating approach to Shakespeare’s most haunted tragedy, this distinctly ensemble rendering conjures an immersive world between nightmares and waking, the living and the dead. Ritualistic, mercurial, and provocative this highly theatrical, cross-cultural staging probes Macbeth’s spiral through brutality, witches, and war. Co-produced by the Georgetown University Theater & Performance Studies Program and Mask and Bauble Dramatic Society, one of America’s longest-running co-curricular theater groups, this production caps a year-long focus on Macbeth by Professor Roth.DAVIS PERFORMING ARTS CENTER, GONDA THEATRE$7-$18

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