Campra's Le Carnaval de Venise


  ".....fabulously and variously choreographed in period style by Caroline Copeland.”


The Wall Street Journal


 “Now gracious, now spirited, Caroline Copeland’s choreography — gavotte, passepied, rigaudon, bourrée, chaconne, forlana, and much more — underlines the opera’s political theme of reconciliation: Dancing starts where fighting ends.” Boston Globe

Handel's Almira

The fiery elegance of Caroline Copeland as one of the Ladies-in-Waiting was full of the powerful subtlety, technical prowess, and passionate substance of the best operatic singing. Copeland was also one of the choreographers of the numerous dance episodes. In the Boston Early Music Festival production these intermittent tableaux proved that baroque choreography can captivate when creatively, but rigorously, brought to the stage. Counter

The lavish choreography by Caroline Copeland and Carlos Fittante combined grace, humor, courtly airs and spectacle. Courtiers and ladies hovered and attended. Gardens blossomed. The Berkshire Eagle

Working with choreographers Caroline Copeland and Carlos Fittante, Mr. Blin combined formal gestural language and more naturalistic movement to heighten the emotional effect of each number. Dancers were deftly integrated into the staging, not just in the big numbers, but also as reinforcement for the principals. The Wall Street Journal

Copeland returned to dance amid the 11 short movements of Telemann's "La Putain." Creating her own vivid back-story of a courtesan's personal and professional evolution, she was as splendid an actress as she was a dance-provocateur. The Courier-Journal

Copeland and Kasper….revealed the deep sense of pattern and the process of motion inherent in the music itself and made visible its grace, appeal and fiery energy. It felt, at times, like viewing spirits – ghosts that were summoned, danced, bowed and left the stage before vanishing. The Advocate & Greenwich Time



Chief among the evening’s many choreographic delights was the endlessly agile and fluid presence of Caroline Copeland, who glided through every tableau as if moving on well-oiled casters.  Sanfrancisco Chronicle

Caroline Copeland’s torso retains a regal calm as her turns and jumps race to Handel’s music….Suddenly she stops and shows a simple tendu, pausing to savor the power of the instep. Dance Magazine

Caroline Copeland executed the rapid leaps and tight turns of the title role in Terpsicore with precision and surprising fluidity given her corseted torso. Copeland revealed the timeless allure of a gloved arm emerging from a lace sleeve and, fixing the 21st-century audience with her gaze, paused to present the lost beauty of an ankle delicately displayed just below a hemline. The Village Voice

….but as the muse of dance, Terpsicore, Caroline Copeland made a worthy rival, just as radiant and youthful, just as winning in personality. As she swept across stage with little jumps, pauses and spacious turns, she defined the essence of grace. Dallas Morning News

Caroline Copeland delivered a lovely performance in the role: She tottered self-consciously and twirled around excitedly on one heel, a finger at her lip ("Your every turn enchants the heart, and fills it with delight"). New York Sun

I melted at the soft rise and fall of M. Feuillet’s Sarabande, rapturously performed by Miss Copeland….The Village Voice

Caroline Copeland dancing a solo Sarabande imbued her flawless footwork with alluring acting qualities…. Backstage Magazine

In Sarabande Caroline Copeland swished with lively elegance and sparkling vivacity through this dance, which like the tango today, was all the rage in the 18th centuryShow Business Weekly

In the light-hearted first entrée, professional dancers from the New York Baroque Dance Company stole the show. The sublime Caroline Copeland, as Doris, who tries to distract the singing lovers was set against Timothy Kasper, Love’s emissary.... Wall Street Journal

Paula Court Photography

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Performer- Choreographer- Director- Educator