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Fatal Attraction for the French Baroque

Fully-staged French Baroque Opera!

Glaucus the merman asks Circé the sea witch to introduce him to Scylla, the sea nymph. One problem: Circé is in love with Glaucus.

The design team from PBO’s celebrated, colossal Rameau opera production in 2017 joins forces once again for another monumental staged French Baroque project. The breathtaking soprano Véronique Gens, makes her San Francisco debut as Circé, while Chantal Santon and Aaron Sheehan make their return after their critically-acclaimed performances in Le Temple de la Gloire. Witness this tale of fatal attraction before it travels to the Royal opéra de Versailles, as Nic extends his final farewell as Music Director.

LECLAIR Scylla et Glaucus

Nicholas McGegan, conductor
Chantal Santon Jeffery, soprano (Scylla)
Aaron Sheehan, haute-contre (Glaucus)
Véronique Gens, soprano (Circé)
Judith van Wanroij, soprano (Vénus, Témire, Dorine)
Douglas Williams, baritone (Licas)

New York Baroque Dance Company
Les Chantres du Centre de musique baroque de Versailles

Catherine Turocy, stage direction & choreography
Marie Anne Chiment, costume design
Pierre Dupouey, lighting & set design
Alexandre Dupouey, video assistant

Caroline Mutel, cover for Circé

A co-production of Centre de musique baroque de Versailles and Philharmonia Baroque Orchestra & Chorale.

Major support provided by David Low & Dominique Lahaussois.


NOTE: All performances to be held at Herbst Theatre, San Francisco

Wednesday April 15 @ 7 pm | Herbst Theatre, San Francisco
Friday April 17 @ 7 pm | Herbst Theatre, San Francisco*
Saturday April 18 @ 7 pm | Herbst Theatre, San Francisco
Sunday April 19 @ 3 pm | Herbst Theatre, San Francisco

*Optional Free Bus transportation from Stanford to Herbst Theatre and back available to Peninsula Subscribers. Details provided upon subscription.

Join us for the Pre-Concert Talk forty-five minutes prior to the concert start time.


After shining over the baroque stage for over a decade, Véronique Gens has achieved a strong international reputation and is now considered one of the best Mozart singers. One of her most prominent roles, Donna Elvira in

After shining over the baroque stage for over a decade, Véronique Gens has achieved a strong international reputation and is now considered one of the best Mozart singers. One of her most prominent roles, Donna Elvira in Don Giovanni staged by Peter Brook and conducted by Claudio Abbado at the Aix-en-Provence Festival earned her worldwide recognition.

In 1999, she was chosen Lyrical Performer of the Year at the Victoires de la Musique Classique.

Her repertoire includes the greatest Mozart parts (Donna Elvira, Contessa Almaviva, Vitellia, Fiordiligi…), famous roles from lyrical tragedies (Iphigénie en Tauride, Iphigénie en Aulide, Alceste…) as well as later ones such as Alice Ford (Falstaff), Eva (Meistersinger von Nürnberg), Madame Lidoine (Dialogues des Carmélites), Hélène (La Belle Hélène), Missia Palmeri (Die lustige Witwe).

In addition to her wide-ranging classical repertoire, Véronique Gens gives numerous concerts and French melodies recitals all over the world, notably in Paris, Amsterdam, Dresden, Berlin, Vienna, Prague, London, Tanglewood, Beijing, Stockholm, Moscow, Geneva or Edimburgh.

She has performed on the most prestigious stages in the world: Royal Opera House Covent Garden, Wiener Staatsoper, Paris National Opera, Bayerische Staatsoper in Munich, La Monnaie in Brussels, Gran Teatro del Liceu in Barcelona, Teatro Real in Madrid, Dutch National Opera in Amsterdam as well as at the Festivals of Aix-en-Provence, Salzburg and Glyndebourne.

Véronique Gens thus had the opportunity to sing under the baton of conductors such as Claudio Abbado, Alain Altinoglu, Bertrand de Billy, Ivor Bolton, Jonathan Cohen, William Christie, Myung-Whun Chung, Charles Dutoit, Daniel Harding, Thomas Hengelbrock, Marek Janowski, Philippe Jordan, Louis Langrée, Jean-Claude Malgoire, Sir Neville Marriner, Marc Minkowski, Jérémie Rhorer, Christophe Rousset, Daniele Rustioni… and to collaborate with renowned stage directors like Pierre Audi, Calixto Bieito, Peter Brook, Willy Decker, Jurgen Flimm, Claus Guth, Michael Haneke, Christof Loy, Olivier Py, Graham Vick, Krzysztof Warlikowski, Dmitri Tcherniakov.

More recently, she sang in Alceste at the Wiener Staatsoper and at the Paris National Opera, La Belle Hélène at the Grand Théâtre de Genève, Don Giovanni in Amsterdam, at the Wiener Staatsoper and at the Bayerische Staatsoper in Munich, La clemenza di Tito in Dresden and at the Wiener Staatsoper, Falstaff at the Bayerische Staatsoper in Munich, Les Indes Galantes in Budapest, Alceste, Iphigénie en Tauride and Die lustige Witwe and Les Troyens at the Paris National Opera, Dialogues des Carmélites in Paris, Caen and at La Monnaie in Brussels, Faust in an original concert version of 1859 revisited by Christophe Rousset at the Théâtre des Champs-Elysées… In concert, she sang melodies by Henri Duparc with the Berliner Philharmoniker, the Poème de l’Amour et de la Mer by Ernest Chausson with the Orchestre National de Lille and with the Mitteldeutscher Sinfonieorchester, Les Nuits d’été with the Stavanger Symphony Orchestra and with the Iceland Symphony Orchestra, La Voix humaine by Francis Poulenc at the Atelier Lyrique in Tourcoing, Shéhérazade by Maurice Ravel under the baton of Daniele Rustioni in Lyon and in Oslo with Vassily Petrenko, the Wesendonck Lieder with the Orchestre des Champs-Elysées under the baton of Philippe Herreweghe, La Nonne sanglante by Berlioz at the Festival CôteSaint-André, Maître Péronilla (Leona) by Offenbach at the Théâtre des Champs-Elysées, La Mort de Cléopâtre with the NHK Symphony Orchestra in Tokyo, melodies by Berlioz with the Orchestre de Picardie, Armide in Brussels, Metz and at the Théâtre des Champs-Elysées and will sing at the Gala Offenbach with the Orchestre de Lyon.

Her noteworthy projects include Les Contes d’Hoffmann (Giulietta) at the Paris Opera, Dialogues des Carmélites (Madame Lidoine) at the Liceu in Barcelona, Scylla et Glaucus (Circé) by Jean-Marie Leclair in San Francisco and at the Opéra Royal de Versailles, Henry VIII by Saint-Saëns at the Monnaie in Bruxelles, Così fan tutte at the Aix-en-Provence Festival. In concert, she will sing Shéhérazade at the Estoril Festival in Lisbon, the Poème de l’Amour et de la Mer with the Orchestre Philharmonique de Monte-Carlo.

Her many recordings (over 80 CDs and DVDs) have received several international awards. Néère, her record devoted to French melodies, has won a Gramophone Award in 2016. Visions received an International Classic Music Awards as well as a International Opera Awards in 2018.

Véronique Gens has been promoted to the rank of Chevalier in the French order of Légion d’Honneur as well as Chevalier des Arts et des Lettres.


Chantal Santon Jeffery is acclaimed as one of the most accomplished French sopranos of the moment. As comfortable in the miniature of a consort song than in the lyric romantic repertoire, she has embodied numerous roles in the opera, from Mozart (Donna Anna, Fiordiligi, the Countess, Sandrina) to the contemporary repertoire (an unanimous press praised her Lolo Ferrari in the opera of the same name) including Wagner (Senta in der Fliegende Holländer in Rouen Opera), Britten (Governess in The turn of the screw in Lille Opera), Campra (Tancrède), Gassman (Opera Seria) or Purcell (King Arthur, Dido and Aeneas). She has been invited to sing along prestigious orchestras as Le Concert Spirituel, Les Talens Lyriques, Le Cercle de l’Harmonie, Les Siècles, Opera Fuoco, the Brussels Philarmonic, the Hong Kong Philarmonic. She has recently performed in Théâtre des Champs-Elysées and Salle Pleyel in Paris, in the Royal Opera in Versailles, Avignon Opera,  Liège Opera, Bozar in Brussels, Konzerthaus in Vienna, Palace of Arts in Budapest, etc. Fascinated by the revival of the classic and romantic French repertoire, she has participated in numerous concerts and recordings supported by the Fondation Bru Zane.

Recent recordings include:  King Arthur by Purcell (le Concert Spirituel, DVD), Frédégonde by d’Ollone and the Messe pontificale of Dubois (avec le Brussel Philarmonic), Renaud by Sacchini (les Talens Lyriques), Velléda by Dukas (les Siècles, François Xavier Roth) les Bayadères by Catel (Musica Florea) Les Mystères d’Isis by Mozart/Lachnitz and Les fêtes de l’Hymen by Rameau (le Concert Spirituel), La Vénitienne by Dauvergne and Le Temple de la Gloire by Rameau (les Agrémens), Tancrède by Campra, Zanaïda by JC Bach.

AARON SHEEHAN – haute-contre

GRAMMY Award-winning American tenor Aaron Sheehan has established himself as a first-rate singer in many styles ranging from oratorio and chamber music, to the opera stage. He regularly performs in the United States, South America and Europe. He sang the title role in Boston Early Music Festival’s recording of Charpentier’s La Descente d’Orphée aux Enfers which won Best Opera Recording at the 2015 GRAMMY Awards.

Known especially for his Baroque interpretations, Aaron Sheehan’s voice has been described by the Boston Globe as “superb: his tone classy, clear, and refined, encompassing fluid lyricism and ringing force” and the Washington Post praised his “Polished, lovely tone.

His singing has taken him to many festivals and venues including; Tanglewood, Concertgebouw, Théâtre des Champs-Élysées, Lincoln Center, Kennedy Center, the Metropolitan Museum of Art, Washington National Cathedral, the early music festivals of Boston, San Francisco, Vancouver, Houston, Tucson, Washington DC, and Madison, as well as the Regensburg Tage Alter Musik.

Aaron Sheehan made his professional operatic début with Boston Early Music Festival as Ivan, in the world premiere staging of Mattheson’s Boris Gudenow, a role for which Opera News praised his voice as “sinous and supple“. He has since performed with BEMF in such leading roles as Orphée in Charpentier’s La Descente d’Orphée aux Enfers, L’Amour and Apollon in Lully’s Psyché, Actéon in Charpentier’s Actéon, and Acis in Handel’s Acis and Galatea. He has also performed with Opera Lafayette, Boston Baroque, American Opera Theater and Intermezzo Chamber Opera in leading roles of operas by Cavalli, Rameau, Monteverdi, Handel, Weill, and Satie.

On the concert stage, Aaron Sheehan enjoys a reputation as a first rate interpreter of the oratorios and cantatas of Bach and Handel and the oratorios and masses of Mozart. The San Diego Classical Voice said, “Tenor Aaron Sheehan performed the role of Evangelist, and sang with assured vocal and linguistic fluency, tasked with telling the audience the story while imparting its drama. In this regard, he was superb.

Aaron Sheehan has performed concerts with Orpheus Chamber Orchestra, American Bach Soloists, Seattle Symphony, Nova Scotia Symphony, Handel and Haydn Society, San Juan Symphony, Boston Baroque, North Carolina Symphony, New York Collegium, Charlotte Symphony, Boston Cecilia, Carmel Bach Festival, Baltimore Handel Choir, Les Voix Baroque, Pacific Chorale, Boston Early Music Festival, Ars Lyrica Houston, Tempesta di Mare, Aston Magna Festival, Bach Collegium San Diego, Washington National Cathedral, Pacific Music Works, Boston Museum Trio, Magnificat, Tragicomedia, the Folger Consort, and Concerto Palatino.

Aaron Sheehan also works extensively in chamber music. He has sung with Theater of Voices, Blue Heron Choir, Tenet, Fortune’s Wheel, La Donna Musicale, Folger Consort, Newberry Consort, Dünya, The Rose Ensemble, and the Pro Arte Singers.

He has appeared on many recordings, including the Grammy nominated operas Thésée and Psyché of Lully, and Agostino Steffani’s Niobe, recorded with BEMF on the CPO label, as well as Il ritorno d’Ullise in Patria with Boston Baroque. He also sings Acis on BEMF’s recently released recording of Acis and Galatea.

A native of Minnesota, Aaron Sheehan holds a BA from Luther College and a MM in Early Voice Performance from Indiana University. He is currently on the voice faculties of Boston University and Wellesley College.


After having obtained a degree in Dutch law, the Dutch soprano Judith van Wanroij started her singing-lessons at the Conservatory of Amsterdam with Margreet Honig. In February 2004 she obtained her Certificate (’with distinction’) of the Advanced Opera Programme at De Nieuwe Opera Academie of Amsterdam and The Hague. In 2003 she won the first prize in the prestigious oratorio competition ’Erna Spoorenberg Vocalisten Presentatie’.

Among her projects: VENUS, TEMIRE, DORINE in a staged production of Leclair’s Scyllas et Glaucus with Philharmonia Baroque Orchestra & Chorale (cond. N. McGegan) in San Francisco and Versailles, DRUSILLA (L’Incoronazione di Poppea) at Théatre des Champs-Elysées, DIANE and IPHIGENIE (2 performances) in Iphigénie en Tauride for Nantes Opera, Angers and Rennes Opera.

In concert: Les Voyages de l’Amour (Boismortier) in Budapest and Herne, a recital (R. Hahn..) in Venice with Palazetto Bru Zane, Dardanus (Rameau) in Budapest with Orfeo Orchestra, Mozart’s Requiem with Sao Paolo Symphony Orchestra.

Opera roles last season include her debuts in the role of CONTESSA (Nozze di Figaro) at the Opera Royal de Wallonie, Liège, title rôle in Rossi’s Orfeo at Nancy, Bordeaux and Versailles Opéras, title role in Phèdre (JB Lemoyne) at Théatre des Bouffes du Nord in Paris, revived in Limoges and Metz this season, FIRST DAME (Magic Flute) at Aix-en-Provence Festival revived this season at De Nederlandse Opera Amsterdam.

In concert: Eurydice in Gluck’s Orphée et Eurydice in Toulouse, XAIMA in Gounod’s Le Tribut de Zamora with the Münchner Rundfunkorchester, title roles in Destouches’s Issé (Destouches) in Versailles, and Semiramis in Ambronay, Salieri’s Tarare with Talens Lyriques (cond. C. Rousset) at Theater an der Wien, Versailles, Philharmonie de Paris…, revival of Phèdre at Limoges Opera, Jephté (Monteclair) with Orfeo Orchestra in Budapest, Leçons de Ténèbres (Couperin) in Florence, Gdansk and Lourdes with Les Talens Lyriques.

Recently also, DONNA ELVIRA/Don Giovanni and ILIA/Idomeneo at De Nederlandse in Amsterdam, BELINDA in a revival at Opéra Comique in Paris with William Christie, ILIA in Caen and Luxembourg, First Dame in Magic Flute at DNO in Amsterdam, EMILIE and ATALIDE in Les Indes Galantes in Toulouse and Bordeaux, ILIA Idomeneo in Essen, La Gloire, Phenice, Melisse in Lully’s Armide and title role in Rossi’s Orfeo Nancy, Versailles, Bordeaux, ILIA at Opera National du Rhin in Strasbourg, DONNA ELVIRA in Essen, title role in Phèdre (Lemoyne) in Caen and Théâtre des Bouffes du Nord in Paris.

Among her recent concerts: Odes à Sainte Cécile by Purcell at Innsbruck, Utrecht and Antwerpwith B’Rock, King Arthur in Paris and Toulouse with Talens Lyriques, Mozart Requiem at the Concertgebouw Amsterdam with Salzburg Mozarteum Orchestra, Belinda in Dido and Aeneas at the Théâtre des Champs Elysées in Paris, title role in Gretry’s Andromaque at the Schwetzingen Festival and Montpellier Opera with Hervé Niquet, récitals with Opera Lafayette in Washington, Mozart recitals with Orchestre de Picardie in France, concert La Toison d’Or (Vogel) with Hervé Niquet in Nürnberg : Also, main role of Hypermnestre in Salieri’s Les Danaïdes in Vienna, Versailles and Metz, she recorded concerts of les Indes Galantes in Brugge and London with Talens Lyriques (C. Rousset), Telaïre in Rameau’s Castor & Pollux in Paris Opera Comique, Bordeaux Opera, Besançon under the baton of Raphael Pichon, Couperin’s Leçon des Ténèbres at the London Wigmore Hall, Vienna and Essen and Camille in Salieri’s Les Horaces with C. Rousset at the Theater an der Wien and Versailles, title role in Alceste (Lully) in Beaune, Versailles etc.

In 2005 Judith was invited to take part in William Christie’s young artist programme Le Jardin des Voix, which resulted in a highly successful tour of Europe and the USA with Les Arts Florissants. She has since sung SIDONIE and LICINDE in Gluck’s Armide for Opera Lafayette in USA (New York’s Lincoln Center and Washington, DESPINA in Cosi fan Tutte at the Festival d’Aix-en-Provence and Luxembourg Opera in 2012, SERVILIA in La Clemenza di Tito at the Opéra de Lyon, BELINDA in Dido and Aeneas at Opera Comique, Vienna, Barcelona and Amsterdam Opera, ILIA in Idomeneo at the Opéra de Nancy, Caen and Luxembourg, VIRTU/DAMIGELLA in L’Incoronazione di Poppea at the Gran Teatre del Liceu, Barcelona, Platée in Opera du Rhin in Strasbourg under the baton of Christophe Rousset, Don Chicciotte in Siera Morena (Conti) in Amsterdam under the baton of René Jacobs, FEMALE CHORUS in Britten’s Rape of Lucretia in Nantes Opera.

She made her opera debut with the title role of La Périchole by Offenbach, Musetta in La Bohème Chauve-Souris in L’enfant et les Sortilèges Criside in Satyricon (Maderna), Papagena in Die Zauberflöte, Karolina in Smetana’s Dvê Vdovy, Drusilla and Virtu in L’Incoronazione di Poppea (Opéra de Lyon), Julia in Der Vetter aus Dingsda by Künneke (De Nieuwe Nederlandse Operette), Belinda in Dido and Aeneas (Wiener Festwochen and Festival d’Aix-en-Provence), Echo in Ariadne auf Naxos (Teatro Real, Madrid), Menica in La Madrileña o el Tutor Burlado by Martín y Soler (Les Talens Lyriques, Christophe Rousset), Rossweisse in Die Walküre (Vlaamse Opera, Antwerpen/Gent), Thisbé in Pirame et Thisbé by Rebel and Francoeur (Angers Nantes Opéra), Madrigaux by Monteverdi (Festival d’Aix-en-Provence), Euridice in Orfeo, Valetto in L’Incoronazione di Poppea and Ingrata in Il Ballo dell’Ingrate, all in the Monteverdi Cycle at De Nederlandse Opera, as well as Cléone/Suivante d’Hébé/Une Ombre in Castor et Pollux by Rameau (De Nederlandse Opera) and Psyche in Orfeo und Eurydike by Krenek (Teatro Real, Madrid).

She has taken part in numerous concerts and oratorio performances in Europe, working with Frans Brüggen, Edo de Waart, William Christie, Kenneth Weiss, Jesus Lopez Cobos, Emmanuel Krivine, Christophe Rousset, Jaap van Zweden, Skip Sempé, Marc Minkowsi, Hervé Niquet, Raphael Pichon.


“The gifted young bass-baritone Douglas Williams” (The New York Times) combines a “formidable stage presence” (Seattle Times) with “a bass voice of splendid solidity” (Music Web International), making him one of the most appealing singing actors of his generation. He has collaborated with leading conductors including Sir Simon Rattle, Nicholas McGegan, Helmut Rilling, Sir Neville Marriner, John Nelson, and Christoph Rousset, in such prestigious venues as Lincoln Center, the Kennedy Center, Stuttgart’s Mozart-Saal, and the Frankfurt Alte Oper. His repertoire reaches over four centuries, being a sought-after interpreter of Monteverdi, Handel, Bach, and Mozart, in addition to the romantic and modern eras.

Recent operatic highlights include the role of Sciarrone in Tosca with Simon Rattle and the Berlin Philharmoniker at the Baden-Baden Festspielhaus, Nick Shadow in The Rake’s Progress with Barbara Hannigan with the Munich Philharmonic and at the Royal Concertgebouw and Philharmonie de Paris, and his debut as Figaro with Edo de Waart and the Milwaukee Symphony in a new production by Robin Guarino. His also performed Sciarrone in his Boston Symphony debut at Tanglewood under Andris Nelsons. He appears regularly with Opera Atelier, most recently the title role in Marriage of Figaro and as Antinoo in Monteverdi’s Il ritorno d’Ulisse in patri. He has performed the role of Caronte in Monteverdi’s L’Orfeo with Sash Waltz and Guests and conductor Pablo Heras-Casado and was also highly acclaimed as “Polyphemus” in the world premiere Mark Morris Dance Group production of Handel’s Acis and Galatea, (he recorded the work in 2015 with Boston Early Music Festival). For Mr. Williams’ 19/20 season, he returns to Opera Atelier as the title character in Mozart’s Don Giovanni and performs roles with Opera Lafayette (John Blow’s Venus and Adonis), Philharmonia Baroque Orchestra (Leclair’s Scylla et Glaucus), and Les Talens Lyriques (Handel’s Agrippina).

Mr. Williams’ “superb sense of drama” (The New York Times) is as apparent on the concert stage as it is in opera. Recent highlights include the American premiere of Scarlatti’s La gloria di primavera at Carnegie Hall and California’s Orange County and Bay Area with Philharmonia Baroque Orchestra and conductor Nicholas McGegan; baroque programs with Les Talens Lyriques in Paris, Versailles, and Oslo; a performance at Carnegie Hall of Charles Wuorinen’s It Happens Like This with the MET Chamber Ensemble; and Messiah with Nashville, Detroit, Houston, and National Symphonies. Highlights of the 19/20 season include a series of concerts with the Philadelphia Chamber Music Society and Messiah with the New Jersey Symphony

Mr. Williams is featured on the recording of Scarlatti’s La gloria di primavera released on the Philharmonia Baroque Orchestra’s label in April 2016. His recording of Charpentier’s La Descente d’Orphée aux Enfers with Boston Early Music Festival won the 2015 Grammy Award for Best Opera Recording.

Mr. Williams trained at the New England Conservatory and the Yale School of Music. Raised in Farmington, Connecticut, he now lives in Berlin.

Image credit: Florian Grey

CATHERINE TUROCY – stage direction & choreography

Artistic Director

Catherine Turocy, recognized as one of today’s leading choreographer/reconstructors and stage directors in 17th and 18th century period performance, with over 80 Baroque operas to her credit, (15 of these by Jean Philippe Rameau) has been decorated by the French Republic as a Chevalier in the Order of Arts and Letters.  Her first performance in Baroque dance was in 1972 with conductor Alan Curtis and choreographer Shirley Wynne and the Baroque Dance Ensemble of The Ohio State University at UC Berkeley in Rameau’s La Naissance d’Osiris. She received the prestigious BESSIE Award in New York City for sustained achievement in choreography as well as the Natalie Skelton Award for Artistic Excellence.  In 1980 she received the Dance Film Association Award for “The Art of Dancing” video produced with Celia Ipiotis and Jeff Bush.  NEA International Exchange Fellowships supported extended visits where she lived in London and Paris, conducting research and interacting with other artists.  In the 1980’s she worked under famed stage directors Pier Luigi Pizzi and Jean Louis Martinoty.

A founding member of the Society for Dance History Scholars, Ms. Turocy has lectured on period performance practices around the world including the Royal Academies of Dance in London, Stockholm and Copenhagen; the Festival Estival in Paris and The Society for Early Music in Tokyo.  She has served as consultant to Clark Tippett of American Ballet Theater and Edward Villella of the Miami City Ballet.  As a writer she has contributed chapters to dance history text books, articles to Opera News , Early Music America and Dance Magazine, many which have been translated into French, German, Japanese and Korean. A chapter in Janet Roseman’s book, Dance Masters: Interviews with Legends of Dance, published by Routledge is dedicated to her work.   Books in which Turocy has authored chapters include:   Moving History/Dancing Cultures: A Dance History Reader; Creating Dance: A Traveler’s Guide and “Dance on its Own Terms: Histories and Methodologies,” eds. Melanie Bales and Karen Eliot, published by Oxford.

As a sought after period stage director/choreographer, Ms. Turocy has worked with singers Jessye Norman, Bryn Terfel, Christine Brandes, Howard Crook, Ann Monoyios, Julianne Baird and Drew Minter.  She has worked eleven years at the Handel Festival in Goettingen, Germany where she has been lauded by the international press for her ground breaking production of Handel’s Teseo  in 2011.  In New York, Ms. Turocy works closely with Concert Royal directed by conductor James Richman.  Highlights include Gluck’s Orfeo, Handel’s Ariodante and Terpsicore, Rameau’s Pygmalion, Les Indes Galantes, Le Temple de la Gloire and Les Fetes d’Hebe,among others. In Washington D.C. she has collaborated with Ryan Brown of Opera Lafayette Orchestra and Chorus.

Internationally Ms. Turocy has worked with conductors Nicholas McGegan (Festival Orchestra of Goettingen), Christopher Hogwood (Academy  of Ancient Music in London) ,  John Eliot Gardiner (English Baroque Soloists in London), Philippe Herreweghe (La Chapelle Royale in Paris) and Wolfgang Katschner (Lautten Compagney in Berlin).

Training professional artists is an important part of Ms. Turocy’s work with the NYBDC. Former members of the company include Ken Pierce, Thomas Baird, Paige Whitley Bauguess and Carlos Fittante, all who have gone on to start their own companies and/or careers as freelance historical choreographers. Current members of the company trained by Ms. Turocy and now active in the field as choreographers include Patricia Beaman, Caroline Copeland, Sarah Edgar, Rachel List and Ani Udovicki.

She is a founding member of SDHS and a member of the Committee on Research in Dance (CORD) and CORPS de Ballet International, the Dance Council.

Catherine Turocy began her studies of historical dance as a freshman with Dr. Shirley Wynne at Ohio State University where she graduated magna cum laude.  She is grateful to Lynn Dally, Peter Saul, Kathryn Karipedes, Ruth Currier, Lucy Venable, Alex Martin and Miss Betsy Widmer for their instruction and guidance during her early years.  As a ballet dancer she performed with the Cleveland Ballet under Alex Martin and as a modern dancer she has performed with choreographer Mitchell Rose and in many of her own original works in NYC.

“…Encountering it on stage at last was like watching a resplendently bedecked giant stirring to life.”

Joshua Kosman, San Francisco Chronicle (reviewing Rameau’s Le Temple de la Gloire)

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