New York Baroque Dance Company and Concert Royal.Those moments when the creation of dance and music together reach a pinnacle of pure beauty and enchantment are seldom more clearly pronounced than in the opera-ballets of the baroque period Baroque period (17th–18th century) Era in the arts that originated in Italy in the 17th century and flourished elsewhere well into the 18th century. It embraced painting, sculpture, architecture, decorative arts, and music. . Opportunities to view reconstructions of works from this era are infrequent, which contributes to the air of anticipation surrounding performances of the New York New York, state, United States New York, Middle Atlantic state of the United States. It is bordered by Vermont, Massachusetts, Connecticut, and the Atlantic Ocean (E), New Jersey and Pennsylvania (S), Lakes Erie and Ontario and the Canadian province of Baroque Dance Baroque dance is dance of the Baroque era in Europe (roughly 1600–1750), closely linked with Baroque music, theater and opera. English country dance The majority of surviving choreographies from the period are English country dances, such as those in the many Company. In the years since its founding, in 1974, the company has gained in authority and fluidity. But this particular program began with a new, original work by director Catherine Turocy, La Danse "La Danse" (The Dance) is a painting created by artist William-Adolphe Bouguereau around 1850 (1856?).. See also William-Adolphe Bouguereau gallery External links
n. An evening party or reception. [French soirée, from Old French seree, from seir, evening, from Latin . The opening Allegro danced by Turocy and Diane Epstein seemed leaden and the final Giga, with Rachel List, Carlos Fittante and Keith Michael joining in, never quite took off. Only a brief mime solo by Turocy, as Euridice anticipating her wedding, rang poignantly true. Much more animated was "L'Espagne," the second entree from Andre Campra's L'Europe Galante, with choregraphy by Guillaume Louis Pecour as it was published in 1700 and 1704. Pecour's choreography was richly inventive, incorporating the dramatic nuances of Spanish dance in head, arms and feet while still retaining the refined elegance of the baroque style. In the second scene List, Fittante and Alan Tjaarda Jones skillfully accompanied themselves with castanets castanets (kăs'tənĕts`), percussion instruments known to the ancient Egyptians and Greeks, possibly of Middle Eastern origin, now used primarily in Spanish dance music or imitations of it. . The delicate balance between song and dance was perfectly measured in this charming entree. In Pygmalion, to music by Jean-Philipe Rameau, Turocy's choreography emphasized the comic characters called Games and Laughter, danced with appropriate, jubilant acrobatics acrobatics Art of jumping, tumbling, and balancing. The art is of ancient origin; acrobats performed leaps, somersaults, and vaults at Egyptian and Greek events. Acrobatic feats were featured in the commedia dell'arte theatre in Europe and in jingxi (“Peking by Fittante and Patricia Beaman, but the most charming scene was that in which the Three Graces teach the Statue, who has come to life, to dance. Here the details of baroque footwork, like the subtle raising and lowering of the heel and the well-placed sur le cou-depied, could be appreciated as the tentative Statue occasionally stumbled. In both "L'Espagne" and Pygmalion the dancers wore white leather masks which, rather than diminishing expression, allowed it to be conveyed by the dancing itself. James Richman, artistic director and founder of Concert Royal, conducted. |
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