A leading force in the revival of 18th century ballet, challenging aesthetic conventions and bringing forgotten
masterpieces to new audiences in what The Guardian has called “a whirlwind of desperately needed fresh air”.
masterpieces to new audiences in what The Guardian has called “a whirlwind of desperately needed fresh air”.
As Le Figaro observed that "nobody today seems more qualified to reconstruct the French dances of the 18. century
than this American”, the Artistic Director, Catherine Turocy has been honoured with numerous French, British and American
awards and honours including Order of Arts and Letters of the French government, the prestigious New York City BESSIE award for Sustained Achievement in Choreography.
Accompanying the NYBDC is Concert Royal which was founded in 1974 by James Richman.
Richman is a recognized leader in the early music field who has brought a pioneering spirit to the revival
of the great Baroque and Classic period masterpieces, particularly in the field of Baroque opera and ballet.
Also a prominent harpsichordist and fortepianist, James Richman is the first musician since Leonard Bernstein
to graduate Harvard, Juilliard, and the Curtis Institute of Music.
https://youtu.be/tIJHRvqgyoM
than this American”, the Artistic Director, Catherine Turocy has been honoured with numerous French, British and American
awards and honours including Order of Arts and Letters of the French government, the prestigious New York City BESSIE award for Sustained Achievement in Choreography.
Accompanying the NYBDC is Concert Royal which was founded in 1974 by James Richman.
Richman is a recognized leader in the early music field who has brought a pioneering spirit to the revival
of the great Baroque and Classic period masterpieces, particularly in the field of Baroque opera and ballet.
Also a prominent harpsichordist and fortepianist, James Richman is the first musician since Leonard Bernstein
to graduate Harvard, Juilliard, and the Curtis Institute of Music.
https://youtu.be/tIJHRvqgyoM
“This production…dazzled in all ways: it was wittily staged and choreographed”
(The Wall Street Journal)
“ingeniously and tastefully presented…Soirée Baroque en Haïti entertained and illuminated”
(Anna Kisselgoff, The New York Times)
“Absolutely gorgeous”
(The Washington Post)
(The Wall Street Journal)
“ingeniously and tastefully presented…Soirée Baroque en Haïti entertained and illuminated”
(Anna Kisselgoff, The New York Times)
“Absolutely gorgeous”
(The Washington Post)
"‘Best in Show!’ Göttingen's production (of Alcina), directed by American choreographer Catherine Turocy, was a whirlwind of desperately needed fresh air. Turocy, an expert in 18th century dance and director of the New York Baroque Dance Company, brought out the compassion and nobility in Händel's characterizations. Turocy also firmly resisted the common temptation to patronize Händel and his current audience with condescending irony and gimmicks. Instead, she enhanced the evening with some wonderfully staged ballets, exactly where Händel specifies them."
(David Wickers, The Guardian=
“I cannot describe the evening’s novelty”
(Deborah Jowitt, The Village Voice)
Turocy has a “gift for flowing and shifting patterns”
(The Boston Globe)
“The 18th century French dance theater comes alive with enormous zest and delicacy…you can’t help being transported by the gentleness and wit of these entertainments”
(Marilyn Tucker, The San Francisco Chronicle)
“Many were notable for their quick, intricate and seemingly effortless footwork…their bodies spoke the language of Baroque dance with admirable fluency”
(Jack Anderson, The New York Times)
“The dancers and the musicians…had a full audience clapping for more…one performance will fascinate and ensnare you for more”
(Marian Horosko, Dancer Magazine)
“The marriage of musical and dramatic expression is as near perfect as one could imagine”
(The Guardian)
“A second facet of heaven…imaginatively programmed and impeccably performed”
(Mindy Aloff, Danceviewtimes.com)
(David Wickers, The Guardian=
“I cannot describe the evening’s novelty”
(Deborah Jowitt, The Village Voice)
Turocy has a “gift for flowing and shifting patterns”
(The Boston Globe)
“The 18th century French dance theater comes alive with enormous zest and delicacy…you can’t help being transported by the gentleness and wit of these entertainments”
(Marilyn Tucker, The San Francisco Chronicle)
“Many were notable for their quick, intricate and seemingly effortless footwork…their bodies spoke the language of Baroque dance with admirable fluency”
(Jack Anderson, The New York Times)
“The dancers and the musicians…had a full audience clapping for more…one performance will fascinate and ensnare you for more”
(Marian Horosko, Dancer Magazine)
“The marriage of musical and dramatic expression is as near perfect as one could imagine”
(The Guardian)
“A second facet of heaven…imaginatively programmed and impeccably performed”
(Mindy Aloff, Danceviewtimes.com)
“Nobody today seems more qualified to reconstruct the French dances of the 18th century than this American and her New York Baroque Dance Company.”
(Le Figaro)
“Above all, Catherine Turocy’s choreography, with its slow, minutely stylized gesture and dance movement realized through the NYBDC, releases and ensures the apprehension of every changing emotion in the score”
(Hilary Finch, The London Times)
Ballet en Versailles:“Catherine Turocy, leader of the NYBDC, is admirably perfect”
(Gottinger Tageblatt)
There was dancing both from the court and the theater artfully directed and choreographed by Chevalier Catherine Turocy. The fact that these dances still appeal to modern audiences is reason enough to welcome the revival of the strictly historical performance practice. Heartfelt applause to Chevalier Turocy!"
(Andreas Berger, Braunschweiger Zeitung)
(Le Figaro)
“Above all, Catherine Turocy’s choreography, with its slow, minutely stylized gesture and dance movement realized through the NYBDC, releases and ensures the apprehension of every changing emotion in the score”
(Hilary Finch, The London Times)
Ballet en Versailles:“Catherine Turocy, leader of the NYBDC, is admirably perfect”
(Gottinger Tageblatt)
There was dancing both from the court and the theater artfully directed and choreographed by Chevalier Catherine Turocy. The fact that these dances still appeal to modern audiences is reason enough to welcome the revival of the strictly historical performance practice. Heartfelt applause to Chevalier Turocy!"
(Andreas Berger, Braunschweiger Zeitung)
Harlequins, Gods and Dancers:
"The New York Baroque Dance Company offers a more lavish and theatrical view of eighteenth-century dances than we generally see. Not only are the costumes rather splendid, but the range and intensity of expression are notable too. The programme goes far beyond the formal dances which other groups have shown."
(John Percival, The Times, London)
"Here was a programme in which elegance and period gaiety were intrinsic. It was revitalizing to see these American dancers, led by Catherine Turocy and Ann Jacoby, performing with stately delicacy, and in a manner quite different from anything else to be seen on the London stage. Such was the poise and confidence of all six, and so fluent were the accompanying musicians playing under the direction of James Richman on old instruments, that authenticity seemed unquestionable."
(Ann Nugent, The Guardian, London)
"In La Cupis, Cathy Turocy still gives one of the most moving performances in dance today; she magnifies the importance of little things, of wrists and eyes, for instance, and no high-power technician is as thrilling as she is in her quiet and concentrated intelligence."
(George Gelles, The Washington Star)
"The New York Baroque Dance Company offers a more lavish and theatrical view of eighteenth-century dances than we generally see. Not only are the costumes rather splendid, but the range and intensity of expression are notable too. The programme goes far beyond the formal dances which other groups have shown."
(John Percival, The Times, London)
"Here was a programme in which elegance and period gaiety were intrinsic. It was revitalizing to see these American dancers, led by Catherine Turocy and Ann Jacoby, performing with stately delicacy, and in a manner quite different from anything else to be seen on the London stage. Such was the poise and confidence of all six, and so fluent were the accompanying musicians playing under the direction of James Richman on old instruments, that authenticity seemed unquestionable."
(Ann Nugent, The Guardian, London)
"In La Cupis, Cathy Turocy still gives one of the most moving performances in dance today; she magnifies the importance of little things, of wrists and eyes, for instance, and no high-power technician is as thrilling as she is in her quiet and concentrated intelligence."
(George Gelles, The Washington Star)
