“Without music life would be a mistake.”

~Friedrich Wilhelm Nietzsche





Dorian Baroque is back for its 5th season!

We have made our mark in NYC with concerts ranging from chamber music to fully-staged operas, educational outreach, collaborations with esteemed guest artists, and numerous free concerts around the city.  This season we are full steam ahead on all of the above.

We start the season just in time for Halloween with a fun concert of 17th century German music titled The Frog, the Cat & the FiddleFun for the audience we should say, because these violin sonatas require the instruments to sound like anything than what they are – farm animals, bagpipes, even marching bands – while the musicians sweat and wrestle with the demanding virtuosity of the music.  This concert is free!

One of the most important parts of our mission is to raise awareness about historical performance practices and engage with students.  So we are particularly excited to present a concert-lecture at Queensborough Community College of CUNY this fall.  The Curious Case of the Sonata is an educational outreach program that will trace the origins of the form that started in Italy and spread to the rest of Europe during the 17th and 18th centuries.  Be prepared to find out what basso continuo means.  This concert is also free!

Last season we had such an amazing experience collaborating with Cantanti Project on Handel’s Alcina that we decided to do another fully-staged live-streamed opera together again this year!  The details of when and where are still being worked out but what we do know is that we are tackling Handel’s Orlando and it’s happening in late February.  Stay tuned.

There have been rumors of Dorian Baroque being visited by the illustrious violinist Marc Destrubé for a while, and we are pleased to confirm his visit this spring for a program titled L’incomparable Monsieur de Lully.  Marc is more than just a guest artist.  He has been part of Dorian Baroque since its inception serving as a trusted advisor in programming for all the orchestral concerts we have done.  Marc has conceived a program of early French baroque orchestral music that requires us to tune our instruments down so low that they wobble.

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