“The threads of the two worlds, opera and present-day reality, indeed sometimes merged with stunning effect.
… Ms. Turocy showed a special sensitivity in the shift from the French Thésée to the Italian Teseo, not only with the insertion of Lully’s dances, but also with the extra off-stage elements that pointedly broke down the “willful suspension of disbelief.” In Haym’s Italian libretto, elements of the plot are less fully explained, mostly because recitative is much reduced; arias pop up more frequently with characters often not exiting until they have sung another aria. Ms Turocy showed great skill in plugging the gaps, as it were, while effectively entertaining the audience as well (which after all was a primary aim of Baroque opera too.) Her vision lent whimsy and exuberance as well as moments of insight to the opera. Just as the original Thésée , set in Versailles, formed a bridge between the mythical realm of Thésée and the actual court of Louis XIV, so Ms. Turocy’s concept bridged the world of fabricated baroque artifice and the actuality of today, so dedicated to the breaking down of artifice.”Read full article by Richard B. Beams
In April of 2017 Turocy and McGegan will join forces to work on a modern day world premiere of the 1745 version of Le Temple de la Gloire. Jean Philippe Rameau was the composer and Voltaire the librettist.
in 2017, Philharmonia Baroque Orchestra in San Francisco will be the producer/orchestra. Eight dancers will be from The New York Baroque Dance Company. The creative team consists of Nicholas McGegan: conductor, Catherine Turocy: stage director/choreographer, Scott Blake: set designer, Marie Anne Chiment: costume designer, Pierre Dupouey: lighting designer.
Le Centre de Musique Baroque de Versailles is supporting our research, editing the score and offering artistic advice. Cal Performing Arts is co-producing and 3 performances will be at Zellerbach Hall in Berkeley.
This post will be updated as we progress on this most exciting revival!