El amor brujo, Peridance Contemporary Dance Company and PostClassical Ensemble, with Esperanza Fernandez (photo: Rafael Suanes/Georgetown University)
Perhaps it was the music. After the lavish scores for the Ballets Russes, Stravinsky's pared-down music for L'histoire du soldat has always struck me as disappointingly spare, although its spareness is what makes it famous; and El amor brujo is generally performed only as excerpts because its delights are limited on a full hearing. Perhaps it was the performances, a little clunky in the fast passages of the Falla, and the violin double-stops in the Stravinsky, and the flamenco singer, Esperanza Fernandez, was a little too "authentic" in the sense of being vocally rough and less than beautiful in tone, the amplification magnifying the deficiencies.
Paula Durbin, PostClassical Ensemble soars with ‘Soldier,’ ‘Amor’ (Washington Post, December 5)
Marie Gullard, A double- dose of the unconventional is presented by PostClassical Ensemble at Georgetown (Washington Examiner, December 2)
Next spring, the PostClassical Ensemble will deconstruct the music and life of Franz Schubert (March 31).