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The New York Baroque Dance Company founded in 1976 by Catherine Turocy, Artistic Director, and Ann Jacoby is still leading the historical dance field today. The company specializes in producing 17th and 18th century programs ranging from street performances to fully staged operas. There are over 60 operas in its repertoire as well as reconstructed dances and ballets choreographed in period style. Through residencies at educational institutions serving grades k-12 and at the university level, the NYBDC instructs professionals and the general public, thus preserving our cultural heritage. The NYBDC has toured North America, Europe and Japan with conductors James Richman, John Eliot Gardiner, Christopher Hogwood, Nicholas McGegan and Wolfgang Katschner. In their home base of New York City, the company produces concerts annually with Concert Royal directed by James Richman. The NYBDC also performs with Opera Lafayette Orchestra and Chorus, The Dallas Bach Society, Mercury Baroque, Apollo’s Fire and Philharmonia Baroque.
Groundbreaking productions over the past three decades include the premiere of Jean Philippe Rameau’s Les Boreades (not performed in the 18th century because of Rameau’s death) and Hippolyte et Aricie, both at the Festival d’Aix-en-Provence and the Opera de Lyon; Henry Purcell’s Indian Queen performed at the Barbican in London; the award winning Scylla et Glaucus by Jean Marie Leclair performed at the Opera de Lyon as well as over 100 performances of a double bill with Rameau’sPygmalion and George Frederick Handel’s Terpsicore. The company is very proud to have performed in Handel’s operas Terpsicore, Ariodante, Arianna, Alcina, Atalanta, Orlando, and Teseo at the International Handel Festival in Goettingen, Germany.
The NYBDC is very appreciative of ongoing support from the National Endowment for the Arts, the New York State Council on the Arts and its individual contributors. The company is being archived by the New York Public Library and many archival videos of past performances are on file in the Dance Collection and available for scholarly research.
The New York Baroque Dance Company
Choreographer and dance researcher Alan Jones goes beyond "la belle danse " and reveals unknown aspects of the performing arts of the 17th and 18th centuries. Fascinated by the secret, the strange, the mysterious and the marvelous, he finds inspiration in overlooked, obscure, often undocumented sources.
Santa Barbara Historical Dance Weekend and Weekend Plus
This multi-era workshop will explore both social and theatrical dances from the 16th to the 20th centuries. Professional and amateur dancers, college students and vintage dancers are welcome. Musicians, actors and those interested in cultural history are encouraged to enroll for the survey course designed for beginners. Students can attend for a weekend or sign up for the extended workshop which adds Monday and Tuesday to the weekend workshop. This year there will be an optional intensive offered on Thursday, August 20th with historian and guest artist, Alan Jones.
TUITION:
$175 for the Weekend Option/ $350 for the Weekend Plus Option
$100 for Of Banquets and Balls: L’Aimable Vainqueur, special intensive with Alan Jones, NOTE: Seating is limited to 15 students
$10 Application Fee and $15 Video Fee (non-refundable)
About the classes:
August 20th Intensive: Alan Jones, guest artist, will give a special intensive on 18th century recipes sung to popular dances of the time as recorded in France’s first cookbook, Festin Joyeaux, published in 1738. Of Banquets and Balls: L’Aimable Vainqueur, is a rare look at the genius of Festin Joyeaux. Using dance music as a way of remembering recipes, this book offers insight into the French cooking style.
The origin of one of the cookbook’s recipe music, L’Aimable Vainqueur, is a famous aria and chorus from Andre Campra’s opera, Hesione, first performed in Paris, 1700. The music was danced in the opera and soon became popular on the ballroom dance floor with at least 3 choreographies to this tune. Notated in the period Feuillet dance notation system, it was disseminated across Europe and its colonies in North America and French Haiti. Everyone knew this music and had most likely danced to it.
The cookbook’s Potage de Moules recipe is sung to this tune and can be made with either a meat broth or a vegetarian broth of dried peas (for Lent and other fasts). Once the broth(s) exist and the mussels are cleaned, it is relatively simple to prepare. Ingredients include: mussels, butter, onions, mushrooms, carrots and other root vegetables, and the broth.
The Ragoût recipe and the Coulis de moules recipe are also sung to L’Aimable Vainqueur. It is an extremely interesting process, going from simplicity to richness, as one realizes these recipes. Students will be able to compare 6 different preparations all springing from the same basic recipe.
Our goal for the special intensive, Of Banquets and Balls: L’Aimable Vainqueur, is to rediscover the 1738 recipes and to teach our students the original sung aria and dances to which this title refers. We will open the cultural discussion of the artwork’s appropriation across class structures and geographical boundaries in the 18th century and now, hopefully, in our own century as this work is “decoded” and re-introduced with our work in Santa Barbara.
Weekend and Weekend Plus, An update on classes to be offered… Social dances from the 19th and 20th centuries will be taught by Richard Powers, master teacher/choreographer at Stanford University and well-respected choreographer for works such as the CBS film, Spring Awakenings. He will teach us the Palais Glide from 1935 , mazurkas, tangos and the Turkey Trot. His class for the community in downtown Santa Barbara looking at the evolution of Line Dancing should be a lot of fun in addition to revealing cultural shifts from the 1950’s to today. James Richman, harpsichordist and conductor, will introduce Baroque music forms to students. From Alan Jones: “Our classes in 16th-century dance seek inspiration in the court of Ferrara, which was as famous for its gastronomic culture as for its music and dance traditions. Cristoforo da Messisbugo and GiamBattista Rossetti left treatises describing balls given by the Este family, and Rossetti continued his career in the service of Lucrezia d’Este when she became duchess of Urbino. I will teach Ardente Sole, an exquisite passo e mezzo that Fabritio Caroso dedicated to this noble lady, and review basic galliard combinations both Italian and French, to the melody of Gaillarde Ferrareze by Phalèse, among others. I will also offer a class, “From Andante to Adagio.” Based on my research of late 18th century notations of Auguste Ferrere and the 19th century works of Arthur Saint-Leon, students will explore the passage of choreographic ideas from French to Russian ballet in the 19th century. Expressive ballet technique and style from the first half of the 19th century will be taught by studying ballet excerpts from these two dancing masters.” From Catherine Turocy: “In the survey class we will learn excerpts from the duet version of L’Aimable Vainqueur, a dance which lasted nearly 100 years in the ballroom repertoire of the 18th century in Europe and the New World. For the advanced Baroque dancers I will conduct a class focused on notation and interpretation using Pecour’s notated male virtuosic solo version of L’Aimable Vainqueur. (students must prepare their reconstruction ahead of time) During the Weekend Plus workshop I will offer a seminar on mask work and the grotesque style as seen in Lambranzi’s The New and Curious School of Theatrical Dancing(1716). I will also give a seminar on creating contemporary choreography from historical models. Currently I am exploring the underlying ties between French parterre garden design and 18th century dance notation and I look forward to sharing my discoveries with students in the workshop.”Workshop
A class is a session of an hour or two