Categories - Concerts

Meet our splendid Messiah soloists

We’d like you to meet our splendid soloists for the Meyerson performance of Handel’s Messiah on 9 December:

Soprano Anna Fredericka Popova is the daughter of Dramatic Soprano and Teacher, Charlotte Ellsaesser. Ms. Popova is a leading soloist with ensembles including the Dallas Bach Society, the Orchestra of New Spain, St. Thomas 5th Ave, the Arts District Chorale and many more. Last December she made her New York debut singing Messiah with the St. Thomas Men & Boys Choir and the Concert Royal as well as her Nashville debut as Stella in the brand new musical Chokin’ Out The Kudzu. Former credits include Jupiter in the New World Premier of baroque opera Las Nuevas Armas de Amor with the Orchestra of New Spain which was featured in Early Music America Magazine and Maddalena in Handel’s La Resurrezzione with the Dallas Bach Society. Ms. Popova has appeared on concert stages around the world – most notably the Cervantino International Baroque Music Festival in Mexico and the International Renaissance and Baroque Music Festival in Bolivia.

Curtis Streetman, bass, has sung the major bass roles in Le Nozze di Figaro (Figaro), Die Zauberflöte (Sarastro), La Boheme (Colline), Don Giovanni (Leporello), Rigoletto (Sparafucile) as well as leads in Verdi, Handel, and Rossini operas. Recent operatic performances include appearances at The Salzburg Festival, as well as opera houses in Naples, Vienna, Bilbao, Dortmund, and Victoria, B.C. Other recent operatic debuts include productions in Geneva, Basel, and at the Theatre des Champs-Elyseés in Paris. Festival appearances include Tanglewood, Ravinia, The Hong Kong Arts Festival, and The San Juan Arts Festival. Mr. Streetman was featured in a Canadian tour of Bach’s St. John Passion, with Bernard Labadie and Les Violons du Roi. He made his Kennedy Center debut with The National Symphony in performance of Handel’s Messiah. Mr. Streetman performed the role of Christus in Sir Jonathan Miller’s acclaimed fully staged production of The Saint Matthew Passion, produced by The Brooklyn Academy of Music, and performed the title role in Lalo’s Le Roi d’Ys with The American Symphony Orchestra, which marked his Lincoln Center debut. A gifted comedic actor, Mr. Streetman’s portrayal of Bottom for The Princeton Festival’s production of Britten’s A Midsummer Night’s Dream has been universally heralded by the press as a comedic tour-de-force.

Praised by the New York Times for his “beautifully shaped and carefully nuanced singing,” tenor Derek Chester is steadily making a name for himself in the world of classical music. Mr. Chester received his Bachelor’s degree in Vocal Performance from the University of Georgia where he studied with Gregory Broughton. Though his career in concentrated primarily in concert work, Derek Chester holds his doctoral degree in opera studies has excelled in opera and musical theatre roles spanning nearly five centuries of repertoire. His theater and opera credits include Ferrando in Così fan tutte, Belmonte in Die Entführung aus dem Serail, Nemorino in L’Elixir d’Amore, Peter Quint in Turn of the Screw, Oronte in Alcina, Simon Stimson in Our Town, Acis and Damon in Acis and Galatea, and Abel/Japheth in Children of Eden. Dr. Chester is Assistant Professor of Voice at the University of Northern Colorado. He is a featured soloist at the Staunton Music Festival and the Colorado Bach Festival. He continues his worldwide career as a sought after interpreter of concert and recital repertoire.

Nicholas Garza, countertenor, studied at University of Texas at Arlington as a Vocal Performance major with Jing Ling-Tam and David Grogan. Originally from Harlingen, Texas, Nicholas has performed with Mountainside Baroque in Maryland as the Tenor soloist for the Telemann oratorio Der Tod Jesu and also was alto soloist for the Big Moose Bach Festival in New Hampshire. He worked with noted singer and conductor Simon Carrington as a singing fellow at the 2011 and 2012 Norfolk Chamber Music Festival of Yale University. He performs with many professional groups around the Metroplex including the Dallas Bach Society, Orpheus Chamber Singers, Orchestra of New Spain, the Fort Worth Opera Chorus and Christ the King Catholic Church. He has been called a “stand-out soloist” by the Dallas Morning News and has been hailed for his “appealing tenor, sinewy in the lower register, sweetly soft-edged on high.”

A Tale of Two Cities: Baroque Music and Dance in Paris and London

The Dallas Bach Society

On Baroque Dance

The forerunner of ballet, Baroque Dance has its own vocabulary of movements and expressivity.  Among its characteristics are a relaxed foot, 90-degree turnout of the legs, ornamental hand gestures, vertical carriage of the body, close interplay between music and movement, and the use of symmetrical, complex floor patterns in choreographies.  Whereas the elements of this dance technique were common to both ballroom and theater dances, theatrical choreographies demand a much greater technical ability and expressive range, from the noble style appropriate to gods and pastoral characters to the burlesque movements of peasants and commedia dell’arte characters.

During the 17th and 18th centuries, Paris was the dance capital of Europe.  In the style of opera created at the court of Louis XIV by Jean-Baptiste Lully (1632-1687), dancing was incorporated into each of the five acts as a part of the drama.  Pierre Beauchamps, the choreographer at the Opéra de Paris during Lully’s lifetime, is credited with codifying many of the features of baroque ballet, including the five basic positions of the feet.  The career of his successor, Guillaume Louis Pécour, coincided with the development of a system of dance notation that was exploited commercially by Raoul Auger Feuillet; as a result, approximately 350 dances from the first quarter of the 18th century have been preserved, many of them choreographed by Pécour.

The chief sources of notation for tonight’s concert are the collections of dances published by Raoul-Auger Feuillet in 1700-1709 and Gaudrau in 1713 as well as Mr. Isaac’s dances published in London and Edmund Pemberton’s Essay for the Further Improvement of Dancing, also published in London in 1711. The notation system records the step units, floor patterns, and correlation between music and dance measures.  Although a notation and description of the hand gestures exists, the dances are rarely notated with their corresponding hand gestures. Consequently, the reconstructor must choreograph these gestures into the dances. Theatrical dances which employ contrasts in dynamics and phrasing, and stylized gestures in the development of a character, call even more directly upon the reconstructor’s talents, both as a choreographer and dramatist.

Notes on the Dances

First published in 1704, La Bretagne, consisting of a passepied and a rigaudon, honors the birth of the Duc de Bretagne in 1704 (sadly, he died in 1705).  It was choreographed by Guillaume Louis Pécour for his mother the Duchesse of Bourgogne, Marie-Adélaide, who was also Princess of Savoy and wife of the eldest grandson of Louis XIV.  Pécour was her dancing master, as well as the principal choreographer for the Opera.  The duchess was quite lively, a beautiful dancer and a favorite of Louis XIV. La Bretagne was re-published in many collections and was included as “The French Bretagne” by Mr. Siris in his translation of Chorégraphie by R. A. Feuillet. La Bretagne was danced throughout Europe and the North American and Caribbean colonies, and circulated in the United States through the 1790’s where it was danced in New York, Philadelphia and other major cities. La Royalle, consisting of a sarabande and a bourrée, was also choreographed by Pécour and included in the published collection of Gaudrau (1713).  The sarabande is to the renowned melody Dieu des Enfers of Lully.

About the Artists:

The New York Baroque Dance Company was founded in 1976 by its Artistic Director, Catherine Turocy, and Ann Jacoby. The company specializes in producing seventeenth and eighteenth century programs ranging from street performances to fully staged operas, and has performed over 55 operas as well as hundreds of reconstructed dances and ballets choreographed in period style. Through residencies at educational institutions serving grades K-12 as well as at colleges and universities, the New York Baroque Dance Company instructs both professionals and the general public, thus preserving a unique aspect of our cultural heritage.

The Company has toured North America, Europe and Japan with conductors John Eliot Gardiner, Christopher Hogwood, James Richman, Nicholas McGegan and Wolfgang Katschner. In its home base of New York City, the company produces concerts annually with Concert Royal directed by James Richman, and it also performs regularly around the United States with Opera Lafayette, The Dallas Bach Society, Mercury Baroque, Apollo’s Fire and Philharmonia Baroque.

Groundbreaking productions over the past three decades include the world premiere of Jean Philippe Rameau’s Les Boréades (left unperformed in the eighteenth century after Rameau’s untimely death) and Hippolyte et Aricie,  both at the Festival d’Aix-en-Provence and the Opéra 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 Opéra de Lyon, as well as over 100 performances of a double bill of Rameau’s Pygmalion and George Frederick Handel’s Terpsicore. The company is very proud to have performed in Handel’s Terpsicore, Ariodante, Arianna, Alcina, Atalanta and this spring, Orlando, at the Handel Festival in Goettingen , Germany.

Training professional artists has been an important part of the New York Baroque Dance Company’s activities, and former members Ken Pierce, Thomas Baird, Paige Whitley Bauguess and Carlos Fittante, have all gone on both to start their own companies and to enjoy careers as freelance historical choreographers. The Company 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 New York Baroque Dance Company is being archived by the Performing Arts Divison of the New York Public Library at Lincoln Center, and many archival videos of past performances are on file in the Dance Collection and available for scholarly research.

Catherine Turocy, recognized as today’s leading choreographer/reconstructor in the field of 18th century dance, has been decorated by the French Republic as a Chevalier in the Order of Arts and Letters and has received the prestigious Bessie Award from Dance Theater Workshop in New York City for Sustained Achievement in Choreography. National Endowment for the Arts Exchange Fellowships have supported extended visits abroad where she lived in London and Paris, conducting research and interacting with other artists. A founding member of the Society for Dance History Scholars, Ms. Turocy lectures on period performance practices and has contributed chapters to dance history text books and articles for Opera News and Dance Magazine, several of 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 devoted to her work.

As a sought-after period stage director, Ms. Turocy has worked with singers Jessye Norman, Bryn Terfel, Christine Brandes, Howard Crook, Ann Monoyios, Julianne Baird and Drew Minter  She has appeared seven times at the Handel Festival in Goettingen, Germany, and will be staging their production of Orlando this spring.  In New York,  Ms. Turocy has choreographed and directed works including Gluck’s Orfeo ed Euridice, Handel’s Ariodante, Terpsicore and Il Pastor Fido, Rameau’s Pygmalion, Les Indes Galantes, Le Temple de la Gloire and Les Fêtes d’Hébé, among others.

Catherine Turocy began her studies of historical dance as a freshman at Ohio State University with Dr. Shirley Wynne. She is grateful to Lynn Dally, Peter Saul, Kathryn Karipedes and Ruth Currier, Lucy Venable and Alex Martin for their instruction and guidance. Currently Ms. Turocy is artistic director of The Historical Dance Workshop at Goucher College and is a member of the Society of Dance History Scholars, Committee on Research in Dance, CORPS de Ballet International, the Dance Council, and Dance Theater Workshop.

Alexis Silver was born in Copenhagen, Denmark and spent her formative years in Berkeley, CA.  Her serious ballet training and performance experience was nurtured by Ronn Guidi, at Oakland Ballet.  As a teenager Alexis moved to Massachusetts, shifted her focus to include contemporary dance, and advanced this training with Marcus Schulkind. Alexis joined The New York Baroque Dance Company in the summer of 2010.  With NYBDC, she recently performed in the International Händel Festival in Göttingen, Germany.  She has also performed with the Boston Early Music Festival in their production of Dido and Aeneas.  Alexis has performed work by Trisha Brown in “Dance & Art in Dialogue” at the New Museum of Contemporary Art, an original piece by John Jasperse at The Kennedy Center, and a site-specific 9/11 Memorial piece by Sarah Skaggs Dance.  Additionally, she dances with Rebecca Warner, Gregory Nuber Dance, Becky Radway Dance Projects, Enrico Wey, among others.  Alexis contributes writing to Dance and Dance Spirit Magazines and is an accomplished photographer  She holds a B.A. in Liberal Arts from Sarah Lawrence College and a Certificate of Higher Education from London Contemporary Dance School.

Carly Fox Horton is a New York City based dancer and choreographer who is known for her versatility across movement vocabularies. She has performed Baroque dance in concerts, operas, and theatrical works choreographed and directed by Catherine Turocy, Sean Curran, Thomas Baird, Anuradha Nehru, Ken Pierce, Patricia Forelle, and Caroline Copeland. Carly has collaborated with early music ensembles as part of the NYBDC, such as Opera Lafayette, Anthony Newman, Concert Royal, Dallas Bach Society, and the Gotham Early Music Scene.  She has presented her own work with Aston Magna. She has been a soloist with the New York Baroque Dance Company since 2010. Carly’s choreography has been showcased on film and stage. She reads and reconstructs dances from baroque period notation. She recently collaborated with Catherine Turocy on a solo that she performed in Les Fetes de L’Hymen et l’Amourby Jean Philippe Rameau  at the Kennedy Center and Lincoln Center. She is originally from Missouri City, TX and graduated summa cum laude from the University of Kansas with a BFA in dance where she received the Phillips-Stone Award for excellence in dance.

Brynt Beitman, a native of Dallas, Texas, earned his BFA from The Juilliard School. He has worked with Metropolitan Classical Ballet, New York Baroque Dance Company, Contemporary Ballet Dallas, and Bruce Wood Dance Project. Brynt was recently featured in a workshop showing of “49th Street and Other Stories” by Bronwen Carson at the Alvin Ailey American Dance Theater. His own work has been shown in New York City, Montreal, Dallas, and Varna, Bulgaria. Brynt recently premiered his newest work as a part of “With or Without Me”, curated by Jack Ferver at Dance New Amsterdam.

Andrew Trego is currently living in New York City, and is a native Texan. At fourteen, he began his dance training at Houston’s High School for Performing & Visual Arts and Houston Ballet’s Ben Stevenson Academy. While completing a BFA from The Boston Conservatory, Andrew performed lead roles in works by Jose Limon, Alwin Nikolais, Anna Sokolow, and Anthony Tudor. In Boston, he performed with notable opera companies Opera Boston and Boston Early Music Festival. Andrew came to New York City in 2011 to take a spot in the newly founded Peridance Contemporary Dance Company. In 2012, Andrew had the privilege to perform alongside the Paris Opera Ballet in Bejart’s “Bolero” during their summer season at Lincoln Center. Andrew now performs for The Metropolitan Opera, The People Movers Contemporary Dance Company, New York Baroque Dance Company, and made his debut in the repertoire of BALAM Dance Theatre with this “Icarus” solo.

On the Music

The music for this Saturday’s program is derived primarily, although not exclusively, from dance sources.  It is interesting to note how much Italian music was favored in London, due to the fad for opera which induced Handel to remain in London permanently.  Opera singers were so highly prized (and paid!) that the great Farinelli had the cornerstone of his Venetian mansion engraved “Built by the Folly of the English”.  French music was also in style, having been reintroduced with the Restoration of Charles II, who spent his exile under the Commonwealth as a guest at the French court, in 1660.  It surely represented to the English the kind of license for which the Restoration is in general is renowned.  Henry Purcell, shortly before his death, described how England owed much to both countries – primarily to Italy (“her best master”) but also to France for its stylishness. Paris was of course the most important city in all of Europe at the time, and indeed it was the wealth and political importance of the two cities (abetted by the destruction of most of central Europe in the Thirty Years’ War) that made them such important cultural centers.

The sonatas of Handel and Couperin are very appropriate for this concert, as is the music of Jean Marie Leclair, one of the great but lesser-known composers of the French eighteenth century.  His Trio in D is a lovely piece found among his four books of Violin Sonatas containing 48 very attractive and amazing pieces reflecting his time in Italy. Francois Couperin, known as “Le Grand” (The Great) even during his lifetime, taught harpsichord to the King’s children and was Organist at the church of Saint Gervais, a kind of family position the lasted well into the eighteenth century. He was fascinated by the Italian trio sonata style of the seventeenth century, with many short movements played as one extended piece. He even printed his sonatas under the anagrammatic pseudonym Pernucio, to avoid offending his patriotic patrons! La Sultane, perhaps written upon the visit of the Ottoman envoy Suleiman Agha to the court of Louis XIV (pieces of music are always feminine, as in “La piece intitule Sultan”), exists in a single copy from the library in Lyons. Finally, the important German composer Telemann made two trips to Paris in the 1730’s which he considered to be the highlight of his career, for which he wrote quartets which he played with the very best French musicians, who on their part clearly esteemed the venerable German. You will hear at this concert two exquisite movements from the second volume of quartets.


Arts+Culture interviews Catherine Turocy, dance consultant with Dallas Bach Society

There are two opportunities to experience the wonder of Catherine Turocys New York Baroque Dance Company, one of the leading historical dance troupes in the nation: first at Dallas Bach Society‘s A Tale of Two Cities on Nov. 14 at SMU Meadow School of the Arts, Caruth Auditorium, then at Ars Lyricas Homage to the Sun King, Nov. 20 at Hobby Center.  A + C Editor in Chief  Nancy Wozny visited with Turocy about the upcoming shows.

If audiences are new to New York Baroque Dance Company, what do they need to know about the troupe?

Our mission is to promote public knowledge on 17th and 18th century dance, in all aspects of the art, through concerts, fully staged opera and ballet productions, lectures, workshops, classes and video and film productions. We hope to mine the treasures of the past to create a richer future by bringing history to life in innovative productions. We participate in street parades, costume balls, site specific events on battlefields as well as the more formal venues of European opera houses and concert halls. An important part of our work is sharing our passion with the general public. Every first Saturday of the month we offer a class to the general public at Mark Morris Dance Center in Brooklyn, NY. Maintaining an online vimeo site with documentation of our workshops exploring seminal choreographies, as well as a blog on our website, both free and accessible to the public, helps us to reach thousands of people.


Since Baroque dance predates ballet as we know it, I imagine that we will recognize some of the movements. But what will be different in terms of port de bras and the steps?

The port de bras tends to be lower with more articulation in the hands and fingers. For story telling, we use a gestural system from the art of declamation refined in the 18th century. The dance steps are actually quite similar to ballet steps, but our phrasing and meaning have shifted over the centuries. Also, no point shoes and no aerial lifts with the men and women.

New York Baroque Dance Company. Photos courtesy of NYBDC.

NYBDC dancer Caroline Copeland. Photo by Julie Lemberger.

I always enjoy when NYBDC performs with  Ars Lyrica. What will you be doing during the Homage to the Sun King  program?

Les Arts Florissants by Marc Antoine Charpentier is an Idylle en Musique composed in 1685 and is a perfect choice to honor the 300th   anniversary of the death of Louis XIV, the Sun King. At that time, Jean Baptiste Lully held the Royal Patent for opera, and no one else was allowed to compose a full opera. Thus, smaller categories of “opera-like” works came into creation to circumvent this law. Les Arts Florissants is cleverly constructed for a vocal ensemble of seven, which includes the soloists and chorus parts for all roles. This work pits Discord against Peace and is written in honor of Louis XIV. Charpentier was experienced in writing this genre of work from his other commissions with the Jesuit College, Louis le Grand, and in some ways, one might view Les Arts Florissants as sharing more in common with the Jesuit presentations than court and theater entertainments.

Give us a flash history of Louis XIV during this time.

Historically, Louis XIV was at the height of his power in 1685. The Truce of Ratisbon (August, 1684) concluded the War of the Reunions and allowed France to retain Strasbourg and Luxembourg. The Doge of Genoa traveled to Versailles and made his apologies and peace to Louis XIV, but only after having his city bombarded by the French in 1685 from the sea as punishment for having supported the Spanish. One might consider these events as the wars referenced in the sung text. Meanwhile, work on the gardens of Versailles, with its beautiful fountains, were well underway and are also referred to in the text of Les Arts Florissants. The Truce of Ratisbon could very well be an inspiration for the sung poetry of Peace.


NYBDC performs with Ars Lyrica. Photo by Amitava Sarkar.

How will you merge the singers and dancers?

In our semi-staged production, the seven singers will play all the characters of Discord, Peace and the Arts as they had in Charpentier’s time. Dance as an art form is not sung, but implied by the action in the text and will be realized by four members of The New York Baroque Dance Company in period style choreography and mime after descriptions of the Jesuit staged productions. The singing roles are La Musique, L’Architecture, La Poesie, La Peintre, La Discorde and La Paix. If the Arts are flourishing at the court of Louis XIV, how can they not have dance? I choose to see La Danse as existing in all the dance music and in our four dancers as an element which is so natural to life it need not be named.  As the original production was performed under the patronage of the Duchesse de Guise, the female roles will be danced by women. (Otherwise, they would most likely have been done by men at the Jesuit College, but there are always exceptions.) The masks of the dancers were a convention of the time.

It must be very rewarding to collaborate with your husband, James Richman, artistic director of the Dallas Bach Society. Tell us about your collaboration in the November program.

Dallas offers the opportunity to try things we cannot do in other places. For example, this week I am working with Contemporary Ballet Dallas (CBD) and choreographer/director Valerie Shelton Tabor (a former student of mine from SMU in 1995-6 who also danced with our company). I am a consultant to her new choreography commissioned by Dallas Bach, who are also the producers. We are working closely together on fashioning a contemporary work inspired by 18th century European and Afro/Caribbean dance forms, which are used as a springboard to tell the story of the Chevalier de Saint George.


NYBDC dancers Alan Jones and Gregory Youdan. Photo courtesy Goettingen Handel Festival.

In our Nov. 14 concert with Dallas Bach Society, four dancers of the CBD will join the NYBDC in the final contredanse of the evening, which features ball dances and music of the salons in London and Paris. The NYBDC will be performing published dance notations from the early 18th century, so this is a chance for the audience to “know the score” so to speak. Whereas in works like Les Arts Florissants, there are no published dances from the period for Charpentier’s music. In which case, the dances are created by a choreographer conversant in the style used at the time.

I am interested in how you re-imagine Baroque dance.  Obviously, you are an expert, and the  person to do this, but give us a glimpse of your process.

The process is exactly that, a process which is ongoing. Currently, I am interested in the reflection of the golden nautilus as embodied by the dance in both choreography and in the actual sculpting shapes of the dance positions and movement. Why doesn’t the dance have the same flow of movement as inferred by the paintings and sculpture?  If we use the same body iconography, which was formed through the Baroque mind pondering principles of science, philosophy, mysticism and cosmology, will this give both the dancer and choreographer today more insight into the style and performing practices of the 17th and 18th  centuries?  How will that affect what the audience experiences?


The Historical Cello in Germany

Join DBS for our first house concert of the season on Friday/Saturday night November 7/8!  Our principal cellist, Eric Smith plays a Bach suite for solo cello and Beethoven’s Sonata in G minor, plus a splendid Adagio from Johann Christoph Friedrich Bach. Hear for yourself how Bach’s amazing solo suites sound on an instrument from his time, and how the change of style and of the cello bow led to a different kind of music in the early Beethoven sonatas for cello.

The menu for the Casa M (Flower Mound) event is set and attached here for your review!



Chorus Audition Dates Posted 2014-15 Season


We now have scheduled two possible audition dates:

  • Sunday, August 24, 2014, starting at 6PM, or
  • Monday, August 25, 2014, starting at 7PM

W e would like to schedule each person within a 30-minute time slot. (That doesn’t mean your audition will last 30 minutes – just that it will be basically within that 30-minute period.) We’ll be at Our Redeemer Lutheran Church, 7611 Park Lane, Dallas (north side of Park Lane across from NorthPark Mall)

If you wish to audition and have not recently provided us with a resume, please do so as soon as possible by  e-mail. Be sure all contact information is provided – e-mail addresses, phone numbers (including cell), and mailing address. If you have any digital audio recordings of yourself that you can send, or a link to one, that would be delightful and helpful!

For the audition, please plan to sing TWO prepared pieces by Bach, Handel, Telemann, Buxtehude, Monteverdi, Schütz, or one of their contemporaries. An accompanist will be provided, so you will need to bring legible scores for the accompanist. You may also be asked to sight-read. You will be evaluated for both solo and chorus positions.

Many thanks for your interest in Dallas Bach Society! I look forward to hearing from you.


Chorus Audition Dates Posted 2014-15 Season


We now have scheduled two possible audition dates:

  • Sunday, August 24, 2014, starting at 6PM, or
  • Monday, August 25, 2014, starting at 7PM

We would like to schedule each person within a 30-minute time slot. (That doesn’t mean your audition will last 30 minutes – just that it will be basically within that 30-minute period.) We’ll be at Our Redeemer Lutheran Church, 7611 Park Lane, Dallas (north side of Park Lane across from NorthPark Mall)

If you wish to audition and have not recently provided us with a resume, please do so as soon as possible by  e-mail. Be sure all contact information is provided – e-mail addresses, phone numbers (including cell), and mailing address. If you have any digital audio recordings of yourself that you can send, or a link to one, that would be delightful and helpful!

For the audition, please plan to sing TWO prepared pieces by Bach, Handel, Telemann, Buxtehude, Monteverdi, Schütz, or one of their contemporaries. An accompanist will be provided, so you will need to bring legible scores for the accompanist. You may also be asked to sight-read. You will be evaluated for both solo and chorus positions.

Many thanks for your interest in Dallas Bach Society! I look forward to hearing from you.


Menu for Drew Minter Sings Bach & Handel at Casa M (v2) in Flower Mound

We’d like to share the draft menu for the upcoming house concert at Casa M (v2) in Flower Mound on 31-Jan-14.  We’re really looking forward to the warmth and comfort of this menu to accompany the delicate and gorgeous musical program.  Hoping to see everyone there.  Get your tickets now as seating is limited and tickets are going fast!

201311 Drew Minter Program at Casa M

DBS 2013 Baroque Fiddling at Casa M (v2)



The first house concert of the season was this weekend and played to two sets of nearly standing room only crowds (~45 at each performance). What an amazing and lively program it was (see linked photo for the program)! We entertained until nearly 2am at the Casa M concert (Friday night) and were delighted to see many new faces whom we sincerely hope to see regularly at future concerts.

Photos of the Casa M (v2) event can be found here It’s safe to say that a good time was had by all in attendance and we are now looking forward to our holiday season set of concerts on the Traditional Concert Series and to welcoming Juliana Gondek for our next scheduled house concert!

Quartet Galant and Champagne Reception

Quartet GalantThe day started with a fantastic piece in the Dallas Morning News by Scott Cantrell promoting the event and opening night concluded with an enjoyable reception complete with Champagne and light snacks. Certainly safe to say the 2013-14 season opener was a delightful experience for everyone in attendance.

Photos from the event are linked here.

Thank you to the wonderfully talented Quartet Galant, Our Redeemer Lutheran Church for hosting us, one of our Board Members (Mark Goodson) for the bubbly, and The Bavarian Grill for being our season sponsor and the fantastic food at the reception.

Don’t forget that our first house concerts are only three weeks away! Baroque Fiddling with James Gallagher. If you haven’t already, get your tickets now!

2013-14 Season Opening Champagne Reception


Saturday Evening, 19-Oct-13 at Our Redeemer Lutheran Church — After the Concert Ends

Please join the executive committee, the board of directors, our membership, patrons, subscribers, and others who enjoy and support early music for a Champagne reception following our  “String Quartet Galant” concert.  The concert is our season opener and promises to be a magical experience for all to enjoy.  We are looking forward to the opportunity to better get to know you and talk about our vision for the Dallas Bach Society.

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