A spontaneous event this afternoon! Bravi all and now to the premiere tomorrow, June 8, 2016 at 7pm,
Location: Roulette in Brooklyn. tickets: Click here
Posted in General News on May 31, 2016 |
Our Dance of the Month on June 4, 2016 from 3-5pm at the Mark Morris Dance Center in Brooklyn will be “The Submission” from 1717 with choreography by Kellom Tomlinson. Described as being danced by The French Children, it begins with a slow triple meter, shifts into a minuet (characterized by Tomlinson as a brisk dance) and ends in a Rigaudon. We intend to get through the first and possibly second sections of the dance. Leah Nelson is playing violin and Carly Fox of the NYBDC, who first worked on this dance with former NYBDC member Ken Pierce in one of his workshops, has seduced an unknown dancer into submission so to speak and they will show the class their interpretation of this beautiful notation.
1717 is also the year of Alexander Pope’s final version of his mock-epic poem, “Rape of the Lock.” Our dance, “the Submission,” was described as “a new ball dance to be had at the author’s lodgings,” and was being sold by Tomlinson first in 1717. Perhaps we can imagine Pope and his circle either dancing or being entertained by watching this dance at social gatherings at Hampton Court.
The world premiere of a contemporary opera by Deborah Mason, Rape of the Lock, will be presented in an Open Rehearsal on June 6th and then in performance June 8th and June 9th at Roulette in Brooklyn. This opera was reviewed by New York Times critic, John Rockwell, during its infant stages (not yet completed) at a City Opera series and he said” “The Rape of the Lock,” a work in progress … offered her adaptation of Pope’s text clothed in wonderfully lush, intricate and contrapuntally energetic music. For me, she was the most pleasant surprise of the series.”
He is right! Do not miss this exciting premiere with semi-staging by Catherine Turocy and filmed projections of movement scapes and choreography by Caroline Copeland for NYBDC members Carly Fox Horton, Meggi Sweeney Smith and Alexis Silver.
The opera was chosen by New York Opera Fest to launch their new opera festival!
DEBORAH MASON, Composer
CATHERINE TUROCY, Director
CAROLINE COPELAND, Choreographer
DAVID GRUNBERG, Conductor
AMY COFIELD WILLIAMSON, Soprano (Belinda)
SEAN FALLEN, Tenor (Ariel)
JUSTIN RYAN, Baritone (Baron)
KEITH HARRIS, Baritone (Sir Plume)
JACQUELINE HORNER-KWIATEK, Mezzo Soprano (Clarissa, Eloisa)
ERIKA PERSON, Mezzo (Crispissa)
CHELSEA FRIEDLANDER, Soprano (Zephyretta)
For more information and tickets,
Posted in General News on May 13, 2016 |
The Santa Barbara Historical Dance Workshop Young Student Scholarship
Outside of being a full time student at Santa Barbara City College, Alexis works at Hillside House and volunteers her time at both the Cottage Hospital and the Public Health Department. Dance is a part of her culture and as a native of Santa Barbara she wishes to share her love of dance through her performances with the Spirit of Fiesta. The Spanish Baroque Intensive will deepen her understanding of where the dances of fiesta originate. She hopes one day to serve in the health field and to give back to the community.
The Santa Barbara Historical Dance Work/Study Scholarship
A dance educator dedicated to bringing dance into California history class curriculum, Thea began her journey with a dance research project while still in college: The Dances of Early California in Santa Barbara. (Marisol Cabrera, also a scholarship recipient, participated in this project as a teenager.)
We are including a link to an essay about this project which sheds light on the early local history of some of the dances we will be studying with Ana Yepes in our intensive. We are happy Thea will be joining us and she has expressed an interest in sharing with other teachers her approach to bringing dance history into public education.
Thea is pictured here with her husband, Boris Palencia.
The Shirley Wynne Memorial Scholarship
began her dance training in Santa Barbara, California in the styles of Classical Spanish dance, Flamenco, Baroque, Ballet and Mexican Folklorico. After graduating from UCLA with a B.A. in World Arts in Cultures, Marisol lived in Madrid, Spain for three years receiving her credentials in Danza Española and Flamenco. She has performed in London, Mexico, South Korea, Spain, and Hong Kong. Since moving to New York City, Marisol has received her M.A. from NYU in Arts Education from the Gallatin School of Individualized Study. She is a guest choreographer and performing artist with Company XIV, Siren Baroque and the Juilliard Dance Department. Marisol is currently on faculty at The Ballet Hispanico School of Dance teaching Spanish and Flamenco to young dancers. She is thrilled to be back in Santa Barbara performing and participating in this year’s Historical Dance workshop.
Posted in General News on May 6, 2016 |
Thank you National Endowment for the Arts for supporting our workshop with guest artist Ana Yepes in Santa Barbara, California. NYBDC members Rachel List, Caroline Copeland, Ani Udovicki, Justin Coates and Catherine Turocy are attending and are thrilled to have the opportunity to advance their knowledge of the Spanish style. The NEA grant allows us to share our own deeper exploration of this time period beyond the needs of our own company and to the dancers of Santa Barbara and those attending from other regions of the United States. A special master class will be held in Dallas, Texas on June 18th from 2-4pm. (email firstname.lastname@example.org to sign up)
Posted in General News on April 19, 2016 |
Sponsored by the 2016 Dallas Flamenco Festival, this “one time only” class will take place at Flamenco DNA. www.FlamencoDNA.com
Ana has been brought to Dallas by The New York Baroque Dance Company. After Dallas she will continue on to Santa Barbara …
Posted in General News on April 11, 2016 |
Everywhere and Forever, Mahler’s Song of the Earth is a documentary film by Jason Starr. Winner of the 2016 Whitehead International Film Festival Award for Outstanding Achievement, this film is continuing its Festival tour.
Catherine Turocy of The New York Baroque Dance Company was the movement director and production designer for the dramatized sequences portraying poetic episodes of the film referring to the Tang Dynasty. For more information and to buy the DVD lease visit the Facebook Page: https://www.facebook.com/Everywhere-and-Forever-Mahlers-Song-of-the-Earth-367381030113746/
April 12, 2016 Associate Director Caroline Copeland at Alice Tully Hall with Juilliard
Joining Juilliard415 will be our Associate Director, Caroline Copeland, with former NYBDC member Carlos Fittante and current NYBDC members Alexis Silver, and Andrew Trego, in period choreography reconstructed by Caroline Copeland and Carlos Fittante, and students from Juilliard Dance. Tickets are $20 and now only available at the box office.
April 15, 2016 Artistic Director Catherine Turocy at Temple
Catherine Turocy will be lecturing for the theater, dance and opera students at Temple University in Philadelphia and conducting a master class. Here is an example of one her lectures:
April 15, Associate Director Sarah Edgar at Haymarket Gala in Chicago
Join our Associate Director, Sarah Edgar at the Haymarket Opera Musical Feast: http://www.haymarketopera.org/musical-feast/
Posted in General News on February 4, 2016 |
Please join us for this rare opportunity to hear George Frederick Handel’s work as a young composer of 23 years of age on February 12, 2016 at 8pm, FREE ADMISSION with suggested $10 donation to the church organ fund, Saint Michael’s Second Presbyterian Church, West 96th Street at Central Park West in NYC.
The Stony Brook Opera Workshop joins with the Stony Brook Baroque Players to present a staged production of Handel’s little-known jewel O Come Chiare e Belle with stage direction by Catherine Turocy for three singers and small Baroque orchestra. This hour long serenata depicts Rome’s return to glory. Arthur Haas conducts the Stony Brook Opera cast and Stony Brook Baroque Players.
Repeat Performance: February 14 2016, 3:00 PM Recital Hall | Staller Center for the ArtsTickets: $10/$5
Click Here to Purchase Tickets .
From the liner notes of Hyperion Records: “O come chiare e belle is an ‘occasional’ piece directly connected with Ruspoli’s involvement in the War of the Spanish Succession. Pope Clement XI had accepted the Bourbon claimant, Philip V, as King of Spain, thereby rejecting the claim of the Habsburg Archduke Charles and drawing upon himself the wrath of Charles’s brother, the Emperor Joseph I of Austria. In June 1707 Imperial troops secured the kingdom of Naples for the Habsburg cause and, as Milan was already under Austrian rule, the Pope was put into a highly vulnerable position. In May 1708 Imperial troops occupied the Papal town of Comacchio on the Adriatic coast, threatening the annexation of nearby Ferrara and other Papal territories. The Pope protested without effect. By August he was left with no choice but to raise his own troops to defend Ferrara and, if possible, regain Comacchio. The ambitious Ruspoli promptly offered assistance by forming a regiment of 1200 men. Ferrara was duly defended (though Comacchio remained occupied until the end of the war) and Ruspoli received his hoped-for reward by gaining the title of Prince of Cerveteri in February 1709.
Handel’s cantata was performed on 9 September 1708 and celebrates the moment when Ruspoli offered to come to the Pope’s aid. There are three characters. The shepherd Olinto (soprano) represents Ruspoli himself (Olinto was his ‘Arcadian’ pseudonym); the river Tiber (alto) represents Rome, and the allegorical character of Glory (soprano) appears to inspire Rome to renew her ancient greatness. In the imagery of the text this renewal is to be accomplished under the guidance of a ‘clement star’ who is, of course, Pope Clement himself. There are probably several topical allusions which are now obscure, but it may be noted that the references to ‘alba’ (‘dawn’) also allude to Clement (whose family name was Albani) and the rivers Ister and Orontes represent the Austrian and Turkish Empires. (‘Ister’ is the classical name for the Danube; the Orontes was the chief river of Syria. Though Turkey was not directly involved in the war at this time she was a perennial enemy of the Papacy.) The mention of the ‘lance of Jupiter united with Mars’, coupled with the statement that Urania and Clio (the muses of astronomy and history) cannot lie, suggests that there was a conjunction of the two planets at this time, but there was none between July 1707 and September 1709.
The music is full of spirited invention. A brisk and brief opening sonata leads directly into Olinto’s first aria; the image of the waters of the Tiber shimmering in the light of the ‘clement star’ is evoked by delicate overlapping figures in the violins. The Tiber’s awakening (‘Chi mi chiama?’) is accompanied by a bass line in dotted rhythm which Handel later put to good use in Alcina, and the vigorous G minor aria that follows (‘Più non spera) was rightly rescued for Il Pastor Fido. Glory’s first utterance is, surprisingly, a slow aria with a highly embellished vocal line, gently rebukingRome for its dejected state. Brilliance returns in ‘Tornami a vagheggiar’, which marks the first appearance of the radiant tune best known from the aria in Alcina beginning with the same words. (The ritornellos were used for the aria ‘E pur bello’ in Teseo.) Olinto’s next aria refers to the alarms of war arousing Rome’s ancient heroes, but to avoid anticipating his climax Handel declines to use the obvious imagery and sets it as a formal minuet. After Glory has ecstatically praised the ‘clement star’ Olinto declares he will change his shepherd’s pipes for the trumpet of war and, with splendid effect, Handel adds a real trumpet to the score for the final aria. A brief coro for the three singers concludes.”
from notes by Anthony Hicks © 1985 for Hyperion Records.
“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!