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About Angel Gil-Ordóñez

Gil-Ordóñez

A frequent guest conductor across Europe, the United States and Latin America, Angel Gil-Ordóñez holds the positions of Music Director/Conductor of PostClassical Ensemble in Washington, D.C., Principal Guest Conductor of New York’s Perspectives Ensemble, and Music Director of the Georgetown University Orchestra. He also serves as advisor for education and programming for Trinitate Philharmonia, a program in León, Mexico, modeled on Venezuela’s El Sistema.

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Performances

Wed, January 23, 2019 – 7:30 pm in 39 days

Cultural Fusion: The Gamelan Experience

This unique mega-event, which will transform Washington National Cathedral’s Great Nave into an exotic cultural kaleidoscope, includes both Javanese and Balinese gamelan with dancers, archival films, and much more.

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Sat, December 8, 2018 – 7:00 pm

Redes

A 50-piece orchestra conducted by Angel Gil-Ordóñez performs Silvestre Revueltas’ searing score for the Mexican film masterpiece Redes (1936).

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News

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DC-based Conductor Angel Gil-Ordóñez Brings Classical Music to 40th Annual Havana Film Festival - DC Metro Theater Arts

Posted on December 10 at 8 pm

Another wonderful experience in Cuba with the Lyceum Mozartiano de la Habana at the Festival Internacional de Cine latinoamericano. Many thanks to DC Arts for the interview https://dcmetrotheaterarts.com/2018/12/07/dc-based-conductor-angel-gil-ordonez-brings-classical-music-to-40th-annual-havana-film-festival/

When patrons of the 40th annual Havana Film Festival in Cuba enter the city’s Cine la Rampa on December 8, they’ll be treated to an unexpected viewing experience – a conductor and an orchestra beneath the venue’s large projection screen. DC-based conductor Angel Gil-Ordóñez will lead Cuba....

Cuban Musicians to Perform Live at Mexican Film Screening

Posted on December 5 at 10 pm

Gracias Prensa Latina https://www.plenglish.com/index.php?o=rn&id=36543&SEO=cuban-musicians-to-perform-live-at-mexican-film-screening&fbclid=IwAR2RRdYWKqe5ARZCh9_eFszaBsRagZWrDHTWGuDV76z45XHyIpctMnvutTw

04 de diciembre de 2018, 15:12Havana, Dec 4 (Prensa Latina) Cuban musicians will accompany the screening of the Mexican film Redes (''Networks''), in the framework of the 40th Festival of New Latin American Cinema, organizers said on Tuesda

Bowdoin International Music Festival

Posted on November 28 at 12 pm

Very happy and honored to be back at Bowdoin. This time, Beethoven Triple Concerto!

Angel Gil-Ordóñez CONDUCTOR GUEST ARTIST Angel Gil-Ordóñez is Music Director of DC’s PostClassical Ensemble, Principal Guest Conductor of New York’s Perspectives Ensemble, and Music Director of the Georgetown University Orchestra.

Redes: un poema visual y sinfónico - Festival Internacional del Nuevo Cine Latinoamericano

Posted on November 27 at 5 pm

Cuba anyone? Quién se anima? http://habanafilmfestival.com/redes-poema-visual-sinfonico/

Dentro de la sección Clásicos restaurados de la edición 40 del Festival, un momento especial lo ocupará la proyección del filme mexicano Redes

John Adams on Debussy, the First Modernist

Posted on November 25 at 3 pm

Happy to share this excellent article on Debussy by American composer John Adams. Most pertinent to our upcoming "CULTURAL FUSION: The Gamelan Experience": "The young Debussy’s penchant for unorthodox harmonies was given an unexpected shock stimulant when he encountered a Javanese gamelan at the Paris Exposition Universelle of 1889. He described his delight with this strange and wonderful music as containing “every nuance, even those one can no longer name, in which tonic and dominant were no longer anything but empty ghosts for use on naughty little children.” He responded to these exotic sounds in evocative piano pieces like “Pagodes,” which imitate the sonorous and stately movement of that music from a faraway culture he could only imagine in his mind’s eye." https://www.nytimes.com/2018/11/19/books/review/claude-debussy-stephen-walsh-biography.html

In “Debussy: A Painter in Sound,” the Stravinsky biographer Stephen Walsh focuses on the music.

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In the press

Falla!

Concert review published on August 27, 2018 in The New Yorker

Ángel Gil-Ordóñez: Infravaloramos a nuestras audiencias y lo que hay que hacer es retarlas

Interview published on July 09, 2018 in Konpartitu Magazine

PostClassical Revels in Music of Revueltas

Podcast published on April 20, 2018 in WWFM Classical

Doppelgängers What does Schubert sound like on a jazzy bass trombone?

Article published on February 01, 2018 in The American Scholar

At the altar of change. PostClassical Becomes Ensemble-in-Residence at Washington National Cathedral

Article published on December 21, 2017 in The Washington Diplomat

My thoughts Blog

Reflections on Silvestre Revueltas

Working on Spanish repertoire –the music with which I started my career as a conductor– has helped me to understand the music of all cultures. Consider the internationally popular Spanish filmmaker Pedro Almodóvar. The fact that Almodóvar is so unusual, so local (not just to Spain, but to Madrid), so true to his own vicinity in rendering feeling and experience – this is what makes him so universal. The more I studied the composers of Spain, the more I was able to appreciate the German or French repertoire – or, in the case of tonight’s concert, the music of Mexico.

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Victoria, Falla and the Spanish tradition

Tomas Luis de Victoria is a product of the Siglo de Oro (“The Golden Century”) when Spain was the dominant European nation, Philip II was the powerful Spanish king – and Victoria was Europe’s greatest composer. He was born in Avila in 1548. He went to Rome as a young man and was befriended by Palestrina – the leading Italian church composer of the time. He succeeded Palestrina at the Roman Seminary in 1571 and was ordained a priest four years later. But he yearned to return to Spain, which he did some time in the 1590s as chaplain to the widowed sister of Philip II, living in a convent. He died in 1611, having in effect retired from the world.

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What they say about Angel Reviews

Invigorating… Gil-Ordóñez led a vital rendition.

Alex Ross The New Yorker

Angel Gil-Ordóñez' insight into Shostakovich's music is astounding.

Solomon Volkov author of Testimony

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