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Concert reviews

PostClassical Ensemble takes up new Cathedral residence with music of protest

Concert review published on December 11, 2017 in The Washington Post

In reference to Music in Wartime: A Pearl Harbor Day Commemoration

A cathedral is a house of worship, but it’s also traditionally a place of community. That’s a message Washington National Cathedral has been emphasizing, and it’s a message that was underlined on Thursday night when the PostClassical Ensemble gave its first concert as an official resident group of the cathedral, and the cathedral’s choir, dressed in street clothes and marching up the aisle carrying their own chairs, sent not hymns but songs of proletariat revolution into the echoing spaces of the nave.

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PostClassical Ensemble Rescores the Symphony

Concert review published on December 05, 2017 in District Fray Magazine

In reference to Music in Wartime: A Pearl Harbor Day Commemoration

PostClassical Ensemble (PCE), an experimental music laboratory led by conductor Angel Gil-Ordoñez, is partnering with Washington National Cathedral. And together, the two are reconceiving the classical experience.

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Bowdoin Festival Friday Concert Enthralls a Sold-Out Audience

Concert review published on July 15, 2017 in Maine Classical Beat

In reference to Anne Akiko Meyers plays Mendelssohn

The piece de resistance, of course, was the Mendelssohn Violin Concerto in E Minor, Op. 64, with Meyers and the Festival Orchestra, conducted by Angel Gil-Ordóñez. The Festival Orchestra, of students and faculty, just continues to get better. In this performance it was indistinguishable from a professional ensemble that has played together for years. There was a reversal of the usual balance problems, with the conductor having to turn down the volume to avoid drowning out the soloist.

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Sinfonía del deshielo

Concert review published on May 05, 2017 in El País in Spanish

In reference to Music for Cuba Exchange

The project devised by the Spanish orchestra conductor Angel Gil-Ordóñez after Washington and Havana reopened their diplomatic relations was fulfilled this spring. “It seemed to me a magnificent opportunity to bring together young people from both countries to get to know each other better and to overcome stereotypes.” Inspired by the Israeli-Palestinian orchestra founded by Daniel Barenboim, he opted to bring together the interpreters of his Georgetown University Orchestra, students of diverse music disciplines, and musicians from the Lyceum Mozartiano of Havana.

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A Gathering of Orchestras in D.C.

Concert review published on April 17, 2017 in New Yorker

In reference to Music Under Stalin: Inmersion experience

I went to the Harman Center for the Arts to attend a PostClassical event entitled “Music Under Stalin: The Shostakovich-Weinberg Connection.” The group’s music director is Angel Gil-Ordóñez; its executive director is the scholar-impresario Joseph Horowitz, who, in the nineties, staged meaty festival weekends with the late, lamented Brooklyn Philharmonic.

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Con erre de revolución

Concert review published on September 24, 2016 in El País in Spanish

In reference to A Tribute to Silvestre Revueltas with Spain's Radio and TV Symphony Orchestra

In the context of the México se escribe con X Festival, the RTVE Orchestra dedicated last Friday a monograph to the great composer Silvestre Revueltas, one of the most extraordinary musicians in Mexico in the thirties. The forte of the concert was the presentation of the music composed for the film Redes, prepared and directed admirably by Angel Gil-Ordóñez.

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PostClassical Ensemble traces influences in packed Iberian concert

Concert review published on March 11, 2015 in The Washington Post

In the classical music field, “multimedia” has become a tired buzzword for something purportedly unconventional, usually involving video projections. But the PostClassical Ensemble really did offer multimedia in its long, packed, content-rich concert as part of the Kennedy Center’s Iberian Suite festival Tuesday night.

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University of Maryland highlights Dvorak’s gifts to American music

Concert review published on March 03, 2013 in The Washington Post

Exuberant, unfettered, almost cinematic in its rich colors and heady sweep of ideas, the work seemed to explode with vitality and a sense of freedom and infinite possibility. Much of that was due to superb playing by the ensemble itself — led with fluidity and precision by music director Angel Gil-Ordonez — but the music itself proved that Dvorak was no mere borrower of indigenous melodies: He had grasped the frontier mentality of America itself.

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PostClassical Ensemble transcends Shostakovich’s modest intentions

Concert review published on November 05, 2012 in The Washington Post

In reference to Shostakovich Festival

Under the nuanced and utterly fluid direction of Angel Gil-Ordóñez, the work lost none of its roiling, acrid bite nor its unearthly luminosity. The wild-eyed allegretto was as menacing as ever, the three largo movements even more sweeping and ethereal than in the quartet version, and concertmaster Oleg Rylatko brought off the lead violin lines with genuine ferocity and power. The quartet may be a whirlwind, but in these hands, the chamber version became a tornado.

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Music review: the PostClassical Ensemble's Russian Gershwin evening

Concert review published on September 27, 2010 in The Washington Post

In reference to The Gershwin Project: Russian Gershwin

It’s easy to see why the PostClassical Ensemble would embrace George Gershwin. This most American of composers has long been underappreciated at home, relegated to pops concerts for the sin of having drawn on jazz and popular music. But Gershwin is overdue for a fresh look, and that’s the ensemble’s specialty: turning familiar music on its head, providing context and fresh perspectives and generally pulling the rug out from under listeners.

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Music in Review: Falla and Flamenco

Concert review published on April 20, 2010 in The New York Times

In reference to Falla and Flamenco

Pedro Carboné, the Spanish pianist, opened the concert with a solo showpiece, the Fantasía Baetica, in which he deftly balanced Falla’s flamenco-influenced decorative figuration, brash chord progressions and lilting, modal themes. The orchestra, led by Angel Gil-Ordóñez, joined Mr. Carboné in a muted but graceful account of Nights in the Gardens of Spain, a tour of Spanish music that touches not only on the Gypsy influences that crystallized as flamenco but on Moorish influences as well.

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