The New York Baroque Dance Co.

Contributed by: Seth
The picture depicts a scene from Lully’s opera ‘Amadis de Gaule,’ and right now I’m reconstructing a solo excerpt from that opera choreographed in England by Anthony L’Abbe. It’s called the “Chaconne d’Amadis,” and the notation was published in 1725. The original production of ‘Amadis de Gaule,’ if you believe what the Mercure de France says (and who doesn’t?), was the ‘Oklahoma’ of its day. Its day, or rather its year, being 1684. Supposedly this was the show that finally gave dance an important role in propelling the action of the story, though I guess it didn’t succeed for very long since that’s also what they say about ‘Oklahoma.’ And also what they say about lots of other shows.

If you ask me none of them ever actually succeeded in making a dance help tell the story so compellingly as the critics claim, since dance isn’t really very good at doing that. I mean after all it’s dance.

But the Chaconne d’Amadis is just great, very tough, with lots of intricate jumps and turns. The version I’m doing was performed in London originally by Louis Dupre sometime between 1718 and 1722. Dupre was a hot-shot dancer, much in demand, and here’s an awfully fishy story: he was in Paris in 1718 for the April revival of Lully’s ‘Amadis de Gaule’ and then returned home to England for more shows at John Rich’s theater, Lincoln’s Inn Field. And then a couple of years later out comes L’Abbe’s choreography for the chaconne from Amadis. I don’t know who the Paris choreographer was, but to have a famous soloist from the Paris production return to London and start performing a solo excerpt to music from that show with choreography by someone new….well, that just sounds like there must have been some stealing going on. In other words, Anthony L’Abbe is a big fat phony. Or maybe a fabulous choreographer. Probably both.

I’ll be showing my reconstruction in Wyoming at the Sense of Place Dance Festival and then in New York for a show that Sarah’s curating for early December. Details TBA.

Contributed by: Tim

Well, Sarah and I have been collaborating through the heat of the summer and we would like to announce the world premier of “Minuet &#224 Deux.” As part of the DanceNow Festival, Sarah and I will be presenting a modern dance minuet for two, inspired and guided by the sensibilities of the Baroque era. Our intension was to build a free-moving duet using the elements of design, rhythmical interpretation, and drama found in the work of the dancing masters and choreographers of the 18th century. The product we have to offer is an exciting modern minuet exploring the concepts of courtship and relationships through the use of rhythm and dance.

“Minuet &#224 Deux” will be presented as part of “Upclose and Personal.”

Where: Dance Theater Workshop, Studios
When: September 10th
Time: 2-4pm
Cost: $10

Contributed by: Caroline

Greetings to all, this is my first blog entry and a celebratory one at that! I would like to give you the dish on Katherine and Kerry’s nuptials that occurred on Monday, August 15th, 2005. It was a beautiful, yet simple ceremony which took place on the grounds of the Belvedere Mansion in Staatsburg, New York. Katherine’s dress was absolutely beautiful. She wore an 18th century-inspired gold brocade corset with a matching skirt and a 19th century-type bustle. And her shoes! She special ordered a pair of 18th century ballroom shoes (in the same fabric as her dress) from Menkes. She topped the entire ensemble off with a white feather in her hair. The groom was quite dashing himself in his traditional Scottish kilt. My only disappointment lay in the plaid boxers he wore underneath!
The mansion, which was built in the 1760’s, was the perfect setting for a couple’s first menuet as husband and wife! We chose the G minor menuetto II from Handel’s Water Music. It was just the right length and feel. Unfortunately, I was changing into my costume when Katherine and Kerry gave what I am sure was a memorable performance, and indeed, a thoughtful gift to their families and friends.

Upon finishing their dances with their mothers and fathers, I made my entrance to Purcell’s Nymphs and Shepherds. After giving them my offering of poetry and wishes (in an attractively decorated basket of dark brown with green ribbons, topped with a delicate green bird….) I continued the dance. It was indeed an intimate space, I noted to myself, as I proceeded to perform a menuet from Purcell’s When I have often heard young maids complaining, flirting with the guests who su

Contributed by: Sarah

Please come and see LIMBS, a pageant. I am constructing the choreography for this movement-theater piece, and it has plunged me headlong into a few of the American wars (WWI, Korea, and the current Iraq war) from the point of view of the men and women that had to fight in them. Even if we don’t want it, we are currently at war. Art is one way to help us stay connected and present instead of cocooned in our seemingly safe environment.

LIMBS examines the way we sensationalize, dehumanize, and discard the lives of amputated veterans. A media obsessed household clashes with a century of American war stories in this dance theatre spectacle. This new play is sure to both “shock and awe” as decapitated, mute and limbless veterans compete with a scathing media and government issued televisions.

It is directed by Niegel Smith with choreography by Sarah Edgar and is part of The American Living Room: The Carousel of Progress Festival at HERE.

July 30th at 8:30pm
July 31st at 8:30pm
$15

Here Arts Center is located at 145 6th Ave (between Spring and Broome). Please call 212-647-0202 or visit www.here.orgfor more information about the festival. You may also contact Sarah Edgar at sarahesther2000@yahoo.com for information about LIMBS.

Contributed by: Catherine

April, May and June have been most remarkable! I began April considering the symbolism of wild boar hunts in mythology and Baroque opera, Handel’s Atalanta to be precise. This was a beautiful production. It included a fantastic cast headed by Dominique LaBelle as Atalanta, Nicholas McGegan conducting and ended with fireworks on stage designed by an experienced rock music pyrotechnic artist.

Our performances continued through mid-May. Then it was time to go home to the family, attend Edward’s graduation from 6th grade and pack for our summer trip to the Catskill Mountains. Our 3 week residency with the dancers and my family popping in and out from excursions to the Herkimer Diamond Mine began with rehearsals in a picturesque barn occupied by a family of racoons. In fact, this was the perfect setting for our pastoral ballet to Handel’s Ariodante. Nature inspired us with spontaneous thunder storms, more fire flies than you can imagine and a night sky brimming with stars.

In June we went from the barn to the palace theater of Frederick the Great in Potsdam. I had confidence our show was incredible so when I was told we were not invited to the reception after the private performance for the Nobel Laureates and the President of Germany, I just smiled. That evening I was dressed…just in case… and, yes, upon leaving the stage door we were met with an invitation to the reception in the Shell Room of the Neues Palais for champagne and h’ors d’oeuvres! I spoke to President Kohler and his lovely wife for over 20 minutes about dance, architecture and our changing culture.

For me, the other highlight of the trip was to have our company perform in the theater whose very floor boards were touched by the feet of celebrated 18th century ballerinas:Marie Salle, Catherine Roland and Barbarina. In my own performance I felt an electric tie with the past. In watching my dancers I was transported to the timeless beauty of our art, proud of their accomplishments and proud to be living the life of a dancer.

The NYBDC triumphs at the Sansouci Music Festival in Germany, earning praise from President Horst Kohler.

Contributed by: Tim

Welcome to the first ever Baroque Blog! As I write this I am sitting in the Catskill Mountains after having hiked a waterfall, seen an expansive view of the Hudson River Valley from the site of the old Catskill Mountain House, and spent two weeks rehearsing. The Company has been in residence, dividing our time between the Catskill Mountain Foundation’s “Red Barn” and the River Theatre at the Lexington Center for the Arts, rehearsing during the day and discussing wildlife and dance history by night. We take turns cooking, breaking bread each day at a large round table as the fireflies light up the hillside. And as I sit here looking out at the gentle rise of the Catskills, I find myself amazed that we are taking the material we have learned in a barn to the Neues Palais of Fredrick the Great at Sanssouci Potsdam, Germany. Yes, it is amazing yet somehow appropriate since historical sources indicate that inhabitants of both places used remarkably similar bathing practices…seems there are some advantages to living in the twenty-first century!

We are introducing this blog as part of our website for several reasons: to show a bit of what is going on behind the scenes through-out the year, as a venue to discuss any early music and dance questions that might arise during our research, and as a way to communicate on other aspects of our lives as dancers outside of the realm of the Company. We hope that you feel welcome to respond to anything that piques your interest, to ask questions relating to the work that we do, and to share as you feel inspired.

Company member Rachel List receives her M.F.A. from University of Wisconsin/Milwaukee.