The Baroque Salon, March 19 in Dallas at Moody Performance Hall!
February 22, 2019 by cturocy
by Francois de Troy
The Duchesse du Maine. portrayed above in the Astronomy Lesson by François de Troy, was a patron of the arts in France. Born as Anne Louise Bénédicte de Bourbon (1676-1753), she suffered from a lame arm and dwarf-like stature; she was abused as a child; and at 15 years of age she was forced to marry a man she did not love. Both she and her husband were later imprisoned for their political views in a battle for the Regency after the death of Louis XIV.
However, despite these challenges, she developed her salon in the early 18th century where she created a liberal environment which contributed to the “salon culture,” transforming politics, culture and art.
In our March 19th appearance with the Dallas Bach Society we are celebrating the month of March, dedicated to women.
Featured works on the program are:
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The Cantata: Jonas (from Cantates Françaises sur des sujets tirés de l’écriture) by Elisabeth Jacquet de la Guerre and sung by Julianna Emanski.
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The Sonata in D minor also by Elisabeth Jacquet de la Guerre
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Les Caractères de la danse with music by Jean-Ferry Rebel, choreographed as a duet in the manner of Marie Sallé by Catherine Turocy and danced by Caroline Copeland and Roberto Lara.
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*Apollon, La Nuit, et Comus with music by Nicolas Bernier, stage direction and choreography by Catherine Turocy and performed by members of The New York Baroque Dance Company: Brynt Beitman, Julia Bengtsson, Caroline Copeland (Assoc. Dir. of NYBDC), Roberto Lara, Glenda Norcross and Matthew Ting. Julianna Emanski, Hunter Birkhead and Joshua Hughes will be the soloists singing this charming work.
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We hope you are able to join us for our debut at the Moody Performance Hall in the Arts District in Dallas, Texas.
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*A Word from the Choreographer:
Some of the dances for Apollon, La Nuit, et Comus are actually period dance notations from the early 18th century which have been adapted to the music. In order to give the air of authenticity and a keener sense of the aesthetic, I have asked Caroline Copeland to learn a sarabande from an unpublished collection of dances as well as a musette from Mr. Siris. In both cases I asked her to simply dance the choreography straight to the music. Then, I coached the decision making as we played with density of steps and musicality. I would not have attempted this process with anyone else in the cast but Caroline, because she has a deep understanding of the style. I admire her talent and instincts and I follow the practice of the 18th century which is to give those dancers with the most experience, the most freedom in their solos. For the final trio of “Unissons Nous,” I based the dance on the Minuet by Mr. Shirley, published in 1711. This is my personal acknowledgement to my Baroque dance teacher, Shirley Wynne.
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