Wexford Festival Opera 2011

LE ROI MALGRÉ LUI Emanuel Chabrier (1841–1894)

A VILLAGE ROMEO AND JULIET Frederick Delius (1862–1934)

FRANCESCA DA RIMINI Saverio Mercadante (1795–1870)

For additional information about our 2012 season, including running order, please visit www.wexfordopera.com

60th Wexford Festival Opera 2011

THE 61ST WEXFORD FESTIVAL OPERA Wednesday 24 October – Sunday 4 November, 2012

60th Anniversary Season

21 October–5 November, 2011

Festival Calendar

60th Wexford Festival Opera Friday 21 October – Saturday 5 November 2011

Please note that our programmes may be subject to change.

Friday 21 October

Saturday 22 October

Sunday 23 October

20:00 LA COUR

11:00

Concert (Schubert & Variations) 15:30 MAD FOR OPERA 19:00 Pre-Opera Talk 20:00 MARIA

12:00 16:00 17:00 21:30

Wednesday 26 October

Thursday 27 October

Friday 28 October

13:05 Lunchtime Recital 15:30 GIANNI SCHICCHI 20:00 GALA CONCERT

13:05 Lunchtime Recital 15:30 MAD FOR OPERA 19:00 Pre-Opera Talk

11:00 13:05 15:30

20:00 LA COUR

19:00 Pre-Opera Talk 20:00 MARIA

Saturday 29 October

Sunday 30 October

Monday 31 October

11:00 13:05

12:00 15:30

DE CÉLIMÈNE

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DE CÉLIMÈNE

Dr Tom Walsh Lecture Lunchtime Recital

GIANNI SCHICCHI Concert (Orchestra)

11:00 13:05

DOUBLE TROUBLE Pre-Opera Talk

GIANNI DI PARIGI

Evening Cabaret

Brass Concert Lunchtime Recital GIANNI SCHICCHI

DOUBLE TROUBLE Lunchtime Recital

15:30 DOUBLE TROUBLE 19:00 Pre-Opera Talk 20:00 GIANNI DI PARIGI

19:00 Pre-Opera Talk 20:00 LA COUR

16:00 Pre-Opera Talk 17:00 MARIA 21:30 Evening Cabaret

Wednesday 2 November

Thursday 3 November

Friday 4 November

13:05 Lunchtime Recital 15:30 DOUBLE TROUBLE 19:00 Pre-Opera Talk

13:05 Lunchtime Recital 15:30 MAD FOR OPERA 19:00 Pre-Opera Talk

11:00 13:05 15:30

20:00 GIANNI DI PARIGI

20:00 LA COUR

19:00 Pre-Opera Talk 20:00 MARIA

DE CÉLIMÈNE

DE CÉLIMÈNE

Brass Concert Lunchtime Recital GIANNI SCHICCHI

Saturday 5 November 13:05 15:30 19:00 20:00

Lunchtime Recital Choral Concert Pre-Opera Talk

GIANNI DI PARIGI PHOTO © GER LAWLOR

Programme design by 24pt Helvetica Design: www.24pt-helvetica.com

Festival Calendar 161

Welcome to the 60th Wexford Festival Opera

PHOTO © CLIVE BARDA/AREnAPAL

Artistic Director’s Message

3

Artist Biographies

72

Chairman’s Message

4

Orchestra of Wexford Festival Opera

88

Wexford Festival Trust

5

Chorus of Wexford Festival Opera

89

Sponsors & Funders

6

60 Years of Wexford Festival Opera

108

La Cour de Célimène

26

Supporting Wexford Festival Opera

118

Maria

34

Friends’ Membership

122

Gianni di Parigi

46

Friends of the Festival

123

ShortWorks

58

Seat Endowments

127

Mad for Opera

59

Thank You

130

Double Trouble

61

Repertoire

131

Gianni Schicchi

63

Artists 1951–2010

133

Concerts, Recitals, Lectures

64

2011 Personnel

137

Schubert & Variations

65

Volunteers

139

Lunchtime Recitals

66

Wexford Opera House Tours & Merchandise

141

Gala Concert

67

Wexford Festival Opera Tours

142

Brass Concert

68

Index of Advertisers

160

Dr Tom Walsh Lecture

69

Festival Calendar

161

Orchestral Concert

70

Choral Concert

71

Welcome 1

2011 Operas La Cour de Célimène Ambroise Thomas (1811–1896)

(1855)

21, 27, 30 October, 3 November / 20:00 Opéra comique in two acts to a libretto by Joseph-Bernard Rosier First performed on 11 April, 1855 at the Opéra-Comique, Paris Sung in French

Maria

(1903)

Roman Statkowski (1859–1925) 22, 28 October, 4 November / 20:00 31 October / 17:00 Opera in three acts to a libretto by the composer, after Antoni Malczewski’s poem First performed on 1 March, 1906 in Warsaw Sung in Polish

Gianni di Parigi Gaetano Donizetti (1797–1848)

(1839)

23 October / 17:00 29 October, 2, 5 November / 20:00 Melodrama in two acts to a libretto by Felice Romani after Saint-Just First performed on 10 September, 1839 at La Scala, Milan Sung in Italian

On the cover: Stage House of Wexford Opera House.

Original photo by Pat Redmond.

2 2011 Operas

Artistic Director’s Message

Over the decades as the Festival has evolved and changed to meet the challenges of the present day, its abiding stability and strength continues to spring from the dedication, passion and support of the corps of voluntary workers. I am now in my seventh year as Artistic Director, and I remain amazed and grateful for the uniqueness of this cultural phenomenon. Our dedicated and talented volunteers have always been the heartbeat of the Festival.

2011 has been designated by the European Union as the European Year of Volunteering. To acknowledge this initiative and to honour the extraordinary contribution of the Festival voluntary workers, Wexford Festival Opera, in collaboration with our generous sponsor, Zurich, has established an annual Volunteers Award to recognise the exceptional contribution by an individual who exemplifies the spirit of the corps of volunteers. The award will be presented at the closing performance of La Cour de Célimène on 3 November.

PHOTO by Pat Redmond

From the very first days of planning for the 1951 Wexford Music and Arts Festival volunteers have been integral to the operations of our beloved Festival, now celebrating its 60th season. There being no money in 1951 to print tickets, volunteers worked through the night in Room 49 of Eugene McCarthy’s Whites Hotel, stamping tickets. Sean Scallan, the father of our current Chairman, took on the task of organising Festival transport. Long before opening night he had his small army of drivers ready for battle.

“Never doubt that a small group of committed people can change the world. Indeed it is the only thing that ever has.”

– Margaret Mead

I wish you all a most happy Festival.

David Agler

Artistic Director’s Message 3

PHOTO © ger lawlor

Chairman’s Message As the evenings close in and winter beckons, it is again our thrill and pleasure to interrupt the passage of the seasons with a feast of opera here in Wexford.

For our 60th Festival David Agler and the company bring you a vocal and musical mix to challenge and educate you, to tug at your emotions and make you laugh, and above all, to give you that quintessential Wexford experience.

2011 is the European Year of Volunteering and Wexford Festival Opera is an example of what is possible with enthusiastic and skilled volunteers. Without our large corps of volunteers, the Festival would not have started and today could not continue. They continue to give their time and energy because they like to volunteer with us, and are proud of their contribution to a major international event over the past sixty years. They like to meet our patrons and they know our patrons enjoy meeting them. It’s through volunteering that the community of Wexford connects with the world of opera. On behalf of all who have benefited from Wexford Festival Opera since 1951, I sincerely thank every one of the volunteers, past and present. In particular I pay tribute to the late Nicky Cleary who gave fiftyeight years of voluntary service “I remember my first opera, Rigoletto.

I simply fell in love with opera, the backstage at Wexford Festival Opera, and I welcome new excitement of it, the music added volunteers who have joined us so much to spoken dialogue. I was in this special year.

Our board members are volunteers too, and through their expertise and diversity ensure the continuity and growth of our Festival. This year I welcome Seán Benton to the Board of Directors.

eleven then. From then on I simply just took to opera and have been at it ever since in one form or other.”

– Dr T J Walsh (1911–1988), Founder, Wexford Festival Opera

Opera is often described as the most expensive art form; it is certainly one of the most complex. The current Festival and future Festivals are secured by the funding of the Arts Council along with our Friends, sponsors and donors.

Please support our sponsors and consider them when you are making buying decisions; their investment is keeping our art alive. Our Friends are an essential source of funding for our operas and I am grateful for their continuing loyalty.

In these times of uncertainty it is reassuring to be able to announce the dates and operas for the 61st Festival in 2012 on our back cover. You can contribute to the artistic excellence by becoming a Friend (page 122) or joining our President’s Circle (page 118).

If this is your first visit, you are very welcome, and be sure to say hello when you enter the Opera House. If this is a return visit, welcome back to our town, and I hope that the 60th Festival adds to your treasure trove of memories.

Peter Scallan

4 Chairman’s Message

Wexford Festival Trust

PHOTO BY PADDY DOnOVAn

Patron

The President of Ireland, Her Excellency Mary McAleese

President

Sir Anthony O’Reilly

Chairman Peter Scallan

Artistic Director David Agler

Chief Executive David McLoughlin

Board of Directors

Peter Scallan (Chairman), Seán Benton, David Byers, Patrick Caulfield, Dr Cate Hartigan, Paul Hennessy, Ted Howlin (Director of Patron Care), Ger Lawlor (Vice-Chairman), David Maguire (Director of Volunteers), Cyril Murphy, Matt O’Connor, Billy Sweetman (Vice-Chairman), Eleanor White

Contact Details

Wexford Festival Opera, Wexford Opera House High Street, Wexford, Ireland Tel: +353 53 912 2400 Fax: +353 53 912 4289 Box Office: +353 53 912 2144 Callsave: 1850 4 OPERA Email: boxoffice@wexfordopera.com www.wexfordopera.com

Wexford Festival Foundation

Liam Healy (Chairman), Sir David Davies, niall Fitzgerald, Loretta Brennan Glucksman, Frank Keane, Peter D Sutherland SC

Wexford Festival Trust (UK) Ltd

Sir David Davies (Chairman), Paul Hennessy, George Magan, Mary V Mullin, Peter Scallan, Max Ulfane, Michael Waugh

Council

Rita Doyle (Chair), Sir David Davies, Ian Fox, nicky Furlong, Cyril nolan

Presidents 1951 – 1972 1974 – 1976 1977 – 1992 1993 –

Sir Compton Mackenzie Lauder Greenway Sir Alfred Beit Sir Anthony O’Reilly

Chairmen

1951 – 1955 1956 – 1961 1962 – 1966 1967 – 1970 1971 – 1976 1977 – 1979 1980 – 1985 1986 – 1991 1992 – 1997 1998 – 2003 2004 – 2009 2010 –

Dr Tom Walsh Fr M J O’neill Sir Alfred Beit Dr J D Ffrench Seán Scallan Brig Richard Jefferies Jim Golden Barbara Wallace-McConnell John O’Connor Ted Howlin Paul Hennessy Peter Scallan

Artistic Directors 1951 – 1966 1967 – 1973 1974 – 1978 1979 – 1981 1982 – 1994 1995 – 2004 2005 –

Dr Tom Walsh Brian Dickie Thomson Smillie Adrian Slack Elaine Padmore Luigi Ferrari David Agler Wexford Festival Trust 5

Sponsors & Funders

6 Maria

PHOTO © CLIVE BARDA/AREnAPAL

Wexford Festival Opera would like to thank all our funders and sponsors for their support…

Grant-aided by the Arts Council

Festival supported by Fáilte Ireland

Print Media Sponsor & Production Sponsor of Maria

Production Sponsor of La Cour de Célimène

Production Sponsor of Gianni di Parigi

Preferred Hotel Partner

Proudly Supporting La Cour de Célimène

Proudly Supporting La Cour de Célimène

Official IT & Communications Partner

Sponsors of the Orchestral Concerts

The performance of Roman Statkowski’s Maria is supported by the Adam Mickiewicz Institute as a part of the Polska Music grant programme

Sponsors of the Festival Dress Rehearsals

Youth Ticketing Sponsors

National Broadcast Media Partner

Italian Institute of Culture – Dublin Proudly Supporting Gianni di Parigi

Sponsors of the Lunchtime Recitals

Official Airport Partner

Official Festival Partner

Restaurant Partner

Restaurant Partner

Sponsors 7

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Wishing Wexford Festival Opera every success for 2011.

From Wexford Borough Council and Wexford County Council

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Traditional Home of the Wexford Festival Opera

Wexford Festival Opera October 21st – November 5th 2011 Fringe Events

• Evening Cabaret in the Library Bar with a performance of Musical Cabarets and Nightcaps, Sun 23rd Oct & Mon, 31st Oct • Shortworks (Daytime small scale Operatic Productions) (Tickets available for both events above from Wexford Opera House)

• Art & Craft Exhibitions • Singing & Swinging Pubs • The High Kings, Friday 28th October • Adrian Knight Hypnotist, Sunday 30th October

Wine & Dine

• Homemade Treats available in the Coffee Dock • Festival Specials and Carvery in the Library Bar • Full A la Carte Menu available for Pre Opera Dinner • Post Opera Supper in the Terrace Restaurant • Post Opera Snack Buffet in the Coffee Dock with live Jazz music • Post Opera Dinner for larger parties on request • • •

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La Cour de Célimène

by Ambroise Thomas

26 Maria

Special thanks to our Production Sponsor

Friday 21 October | Thursday 27 October | Sunday 30 October | Thursday 3 November All performances at 20:00 The performance will last approximately 2 hours and 20 minutes.

There will be a 30-minute interval after Act 1.

A short introductory talk will take place in the Jerome Hynes Theatre one hour prior to the performance with the exception of opening night. Speaker: Giuliano L Scalisi

By arrangement with Edition Peters

La Cour de Célimène (1855) Opéra comique in two acts to a libretto

by Joseph-Bernard Rosier

First performed on 11 April, 1855 at the Opéra-Comique, Paris Sung in French

Ambroise Thomas (1811–1896)

Conductor Director Set & Costume Designer

Carlos Izcaray

La Comtesse

Claudia Boyle

Stephen Barlow

La Baronne

Nathalie Paulin

Paul Edwards

Lighting Designer

Declan Randall

Movement Coach

Paula O’Reilly

Stage Manager Assistant Conductor Répétiteur French Diction Coach Surtitles

Kimberley S Prescott Curt Pajer Brenda Hurley Rose Marie Robin

Le Commandeur de Beaupré

John Molloy

Le Chevalier de Mérac

Luigi Boccia

Bretonne

Claire Egan

Chorus of Wexford Festival Opera Chorus Master

Gavin Carr

Orchestra of Wexford Festival Opera Leader Fionnuala Hunt

Lydia French

Supported by Peter Moores Foundation

La Cour de Célimène 27

Marie Caroline Miolan-Carvalho, the first singer to perform The Countess.

Opera Rara Archive.

28 La Cour de CÊlimène

Synopsis Act One

Act Two

The young Countess Célimène is wooed by a dozen adoring men, all vying to win the coquettish widow’s attention. In reply to her sister, the Baroness, who reproaches her for her contemptuous treatment of her suitors, Célimène answers that her late husband’s infidelities have made her resolve never to love again.

She feels safe, however, in marrying the Commander, since no love is involved in the transaction. The Commander seeks a marriage of convenience just to share the magnificent estate she owns with her sister, also a widow. He even confesses to placing their two names in a hat – and Célimène’s name was picked. She mockingly suggests that she might change her mind since she can now claim a new conquest, the Chevalier de Mérac, whose arrival interrupts the conversation.

Célimène, alone in her boudoir, expresses her ennui in a florid aria. Addressing her numerous imagined lovers, she reaffirms her resolution: it is better to be loved than to love. Her sister brings alarming news: the twelve suitors have split into factions supporting either the evicted Chevalier or the outraged Commander – with six on one side, half a dozen on the other – and a duel has taken place with seven fighters on each side.

One after the other, the courtiers enter, wounded and seeking Célimène’s sympathy. When the Baroness asks about the Chevalier, she is told that he was victorious.

Enter the Commander, crestfallen. His clothes are ripped and he confesses that he has been forced to renounce marrying the Countess. Everyone mocks him and Célimène blithely concludes that he will have to renounce her magnificent estate, as well. Not at all, he retorts, and turns to the Baroness, saying smugly that she is kind, attractive and gentle, and moreover, as not even the warbler can sing so sweetly in B flat, he will marry her instead.

The Baroness feels sorry for the young Chevalier who storms in, singing a passionate romance. He has been looking eagerly to find the woman destined to him by heaven, he says. He considered the Baroness, but receiving no encouragement, fell for the cold-hearted Célimène. When the Countess appears, the Baroness and the Commander hide and witness the scene between the agitated young man trying to express his love and the more-coquettish-than-ever Célimène who tortures him for a while and then delivers the coup de grâce, announcing that she is marrying the Commander. Furious, the Chevalier reminds Célimène that she gave him signs of her attachment, and offers to become her lover, sealing the proposal with a kiss. She faints, conveniently. The Baroness, the Commander and the twelve lovers appear. The Commander orders the Chevalier to apologise to the Countess. He refuses, arguing that it is she who owes him an apology. The Commander draws his sword. The matter will be settled by a duel.

The Countess is vastly amused, and the Commander endlessly pleased with himself, but the Baroness, before agreeing to the bargain, seeks out the Chevalier.

Célimène would marry him, of course, but now it is he who refuses her hand, having vowed, furthermore, to discourage any suitor approaching her. The Baroness then passes on a message from her sister assuring the Chevalier that he will soon find a simple, gentle and good woman. The Chevalier misunderstands and, overjoyed, vows to marry the Baroness immediately. To the Commander who comes to ask her officially to marry him, the Baroness says she has changed her mind. To the Countess who offers him a bouquet and her hand, the Chevalier announces he is marrying her sister. To save face, Célimène decides to marry the Commander after all. The twelve suitors mourn their fate, she throws them the bouquet, and they each take a flower. She will continue to reign over their hearts, while married to the Commander, whom she will never love. But of course he could not care less, anyway.

Sylvia L’Écuyer

La Cour de Célimène 29

Thomas’s elegant anti-romance, La Cour de Célimène

by Sylvia L’Écuyer

This year marks the unheralded bicentennial of French composer Ambroise Thomas, born in Metz on 5 August, 1811. Unlike his contemporaries Massenet, Verdi and Wagner, Ambroise Thomas faded rapidly from view after his death in 1896, despite a long and celebrated career as a teacher, an administrator (much praised as director of the Paris Conservatoire from 1871 until his death) and a composer of several extremely successful stage works.

Mignon, his most beloved work, was widely performed in France and abroad, reaching its 1,000th performance at the Opéra-Comique in 1894, and has never totally left the stage. Hamlet, inspired by Shakespeare (but with a happy ending!), was premiered at the Paris Opéra in 1868 and has been revived sporadically, most recently at the Metropolitan Opera with Simon Keenlyside in the title role. All his earlier works, even the widely successful opéras comiques, La Double Échelle (1837), Mina, ou le Ménage à trois (1843), and Le Caïd (1849) have fallen into oblivion. This revival of La Cour de Célimène is the first since the original nineteen performances of 1855.

The neglect of this charming work is puzzling, considering its brilliant coloratura writing, witty dialogue and well-crafted ensembles – not to mention its surprisingly modern portrayal of cynical characters such as Célimène herself, who vows an irrevocable contempt for the entire male race, and the Commander, who shamelessly seeks her hand in marriage for the sole purpose of getting his own hands on her estate. It might well be, however, that these were the very qualities responsible for the work’s demise.

In his liner notes for the only recording of this forgotten gem (Opera Rara, 2008) Richard Langham Smith quotes one of the rare contemporary reviews of the premiere in order to find clues to the matter. According to Benoît Jouvin, critic for Le Figaro, there was too much vocal virtuosity on display. Langham Smith writes:

30 La Cour de Célimène

Maybe Jouvin had a point when he wondered why there was ‘a firework display of trills, pedal-points, diatonic or chromatic build-ups and portamenti.’

Everyone had their moments of ‘vocalise, caterwauling, gurgling, mumbling, arpeggiating, negotiating passage-work, and tumbling down through their registers from the top to the bottom of the scale, some securely on their feet, some standing on their heads.’

In view of the demands made on the performers, it is likely that a crucial reason for the failure of the work was the loss of its star soprano, Marie Caroline Miolan, for whom the part of Célimène was written.

She had achieved tremendous success two years earlier in another opéra comique, Victor Massé’s Les Noces de Jeannette (1853), and was widely praised for her technical accuracy, musical intelligence and virtuosity, but she left the Théâtre de l’Opéra-Comique only a few weeks after the premiere of Célimène. In 1853 she had married Léon Carvalho, a baritone who abandoned a mediocre singing career to become the talented director of the Théâtre-Lyrique in February 1856, and it was at her husband’s theatre that she premiered with overwhelming success the splendid roles that Gounod wrote for her: Marguerite (Faust, 1859), Mireille (Mireille, 1864) and Juliette (Roméo et Juliette, 1867).

Meanwhile, the Opéra-Comique itself was losing ground: fewer new works were produced after its competent director Émile Perrin resigned in 1855 (although he returned in 1862), allowing the formidable Carvalho to attract to his Théâtre-Lyrique those young French composers such as Gounod, Félicien David, Bizet and Berlioz, who were either rejected at the Paris Opéra, or who refused to comply with the obligation to include spoken dialogue in works written for the Opéra-Comique.

At the same time, Offenbach was a strong competitor as the undisputed king of light fare at his Bouffes-Parisiens.

Pauline Colson, the first singer to perform The Baroness.

Opera Rara Archive.

La Cour de CÊlimène 31

Yet another reason for the failure of La Cour de Célimène might be found in the libretto. Each Parisian theatre had its dedicated audience, and that of the Opéra-Comique was a rather conservative crowd. It was the favourite venue for bourgeois families with young marriageable daughters, so the rather amoral stance of Célimène and her fiancé on marriage might have been viewed as an inappropriate subject for family entertainment, even though the theme of land ownership and the inheritance of property was very topical in bourgeois circles of the period, as the contemporary novels of Flaubert and George Sand clearly reflect.

A case may also be made that both the style of the work and its storyline were out of fashion by 1855.

The action is set in a château near Paris, in the 1750s according to the libretto, but more likely in the early 1600s according to the implied references. It features a flirtatious Countess, a swaggering, sword-brandishing Commander, and a Chevalier de Mérac, described as a Cadet de Gascogne, a member of a special French regiment active in the time of King Louis XIII. This regiment, which consisted of younger sons of the nobility of Gascony, had a reputation for being romantic and swashbuckling and served as the inspiration for Alexandre Dumas’ immensely popular novel The Three Musketeers, first published as a newspaper feuilleton in the 1840s. The name of the opera’s main character is borrowed from Molière’s Le Misanthrope (1666). In Molière’s comedy the flirtatious Célimène is courted

by Oronte, Acaste, Clitandre, and Alceste, who is the “misanthrope” of the story. Alceste holds the whole human race in contempt and rejects the hypocrisy of society. The Célimène in Thomas’ opera combines the flirtatious manners of Molière’s original character with Alceste’s refusal to comply with social appearances and conventions. As Langham Smith points out, such a psychological study of character has been deemed by the famed Clément and Larousse’s Dictionnaire Lyrique “hardly suitable as a subject for an opera.”

This ancien régime atmosphere fits well with the existing portraits we have of Ambroise Thomas himself, depicted as a dignified, bearded, somewhat stern-looking older gentleman, sitting in a comfortable chair and wearing his Légion d’honneur decoration.

Born in 1811 to a family of musicians, Thomas lost his father when he was thirteen. A few years later, in 1827, his mother took him and his brother to Paris where he studied piano and composition at the Conservatoire.

Being a good student and well-trained in the academic

32 La Cour de Célimène

conventions of the time, he won the prestigious Prix de Rome in 1832, aged twenty-one, and spent the next three years studying in Italy. Returning to Paris, he wrote fashionable salon music such as the romances Souvenirs d’Italie (1835), Six caprices en forme de valses caractéristiques (1837) for piano, and a Valse de salon (1851). His first opera, La Double Échelle (1837) was successfully performed at the Théâtre des nouveautés and received very encouraging reviews from Berlioz. His reputation grew slowly but steadily until the production of Le Caïd (1849), strongly influenced by Rossini, and Le Songe d’une nuit d’été (1850) after Shakespeare’s Midsummer Night’s Dream. In 1851, Thomas won a coveted seat at the prestigious Institut des Beaux-Arts, beating Berlioz in the election. Five years later, after the death of Adolphe Adam, Ambroise Thomas was appointed composition teacher at the Conservatoire.

His career trajectory is thereafter closely attached to this institution, of which he became director in 1871.

At that point, Ambroise Thomas was considered nothing short of a national hero. In her remarkable book on French music under the Third Republic* (1870-1914) Jann Pasler paints a vivid portrait of the composer who was born in Metz, a city that had just recently been lost to Germany after the catastrophic Franco-Prussian War of 1870: To defend his country, he had served in the army in 1848 and again in 1871 at the age of sixty. He was a patriot, albeit a conservative, and an ideal representative of the Moral Order compromise, someone committed to the country’s traditions as well as its regeneration […] Highly respected by the most prestigious artists in the country […] he had served as president of the Institut. Moreover, Thomas had written fifteen choruses for amateur singers in orphéons and was known for opéra comique, the quintessential French genre.

In 1868, he was deemed “the most brilliant representative of the French school” by the influential music journal Le Ménestrel. However, in the last twenty-five years of his life, his duties at the Conservatoire did not allow him to devote much time to composition and his only new opera, Françoise de Rimini (1882), quickly disappeared from the scene.

His main influence on French music has to be traced through his few pupils, including Théodore Dubois, and Jules Massenet, whose eclecticism certainly owes a lot to his master.

* Jann Pasler, Composing the Citizen: Music as Public Utility in Third Republic France, Berkeley, Los Angeles, London, University of California Press, 2009.

La Cour de Célimène perfectly illustrates Thomas’ eclecticism. French wit, charm and elegance are displayed in the first section of the overture, a lovely rondo with variations, delicately orchestrated and perfectly suited to the “eighteenth century” setting. The second section adds bravura in a subtle rhythmic pulsation and suggests the presence of the twelve suitors waiting for Célimène to appear. The first vocal ensemble for mezzo-sopranos, tenors and baritones, in the role of the teenagers, young and older men wooing the Countess, is a pure delight and demonstrates the masterly yet simple choral writing for which Thomas was much admired. Then, as day breaks, we hear the soprano voice of Célimène, flaunting her vanity and, with much ornate singing, her pleasure in reigning “over a thousand hearts.” In a duo with her sister the Baroness, also a soprano, the two women exchange trills and elaborate ornaments, the Countess affirming her flirtatious attitude in a brilliant display of virtuosity.

Enter the Commander, his bass voice suggesting a certain authority. He is to marry Célimène, but we soon discover that this is not a love match. He is simply after her estate and in his first aria, in the classic A-B-A form of opéra comique, he by turn pleads passionately and humbly begs the cruel lady to marry him so that he will enjoy living on her magnificent property. The last character to appear is the Chevalier de Mérac, a tenor, who sings a simple romance written in an obviously old style, accompanied by pizzicati and introduced by a few stately orchestral chords. It is clear that the Chevalier simply loves Célimène and expects to be loved in return — which of course is not what Célimène has in mind at all. There follows one

of those delightful quartets that would have been repeated during a nineteenth century performance: Par un regard, par un sourire, sings the Countess : — With a glance, with a smile / To men’s hearts gain access / Without sharing what I inspire…

The Commander rejoices to see his rival almost speechless: — For a husband what sweet success…

— If in my heart you could read / What my voice cannot speak… sings the Chevalier.

And the Baroness, a noble and generous soul, secretly in love with the Chevalier, disapproves of her sister’s morals: — Alas, poor lovers / These are the agonies you suffer…

The first act concludes with a fiery finale when the twelve suitors reappear, each of them convinced that he is Célimène’s favourite, as the tempo accelerates, and the syllabic singing style becomes reminiscent of Rossini’s brilliant patter.

The second act opens with a spectacular aria for Célimène who, alone in her boudoir, gives vent to a dizzying display of coloratura as she addresses an imaginary lover at her feet. It is surprising that this number, in direct line of descent from Donizetti’s most famous scenes, and preceding by a decade Titania’s famous aria Je suis Titania la blonde! from Mignon, was not subsequently adopted by sopranos wishing to showcase their talent. The following scenes in the second act require vocal and comic acting skills from the Commander, who first recounts in a bragging tone the duel he lost to the Chevalier, forcing him to renounce the Countess, and then turns to the Baroness whom he smugly cajoles into marrying him in order to keep his hands on the estate. After another duel is nearly fought, the finale brings a fiery and surprising end to this no-love story.

Sylvia L’Écuyer is a musicologist and broadcaster.

Music producer for Radio-Canada since 1985, she has been host and producer of l’Opéra du Samedi since 2007. She is also Associate Professor at Université de Montréal. Her writings on music have been published in many languages. She was awarded the title of Chevalier des Arts et des Lettres by the French Government.

Charles Bataille created the role of the Commander in La Cour de Célimène. Opera Rara Archive.

La Cour de Célimène 33

MARIA

by Roman Statkowski

34 Maria

Special thanks to our Production Sponsor

Saturday 22 October | Friday 28 October | Friday 4 November | 20:00 Monday 31 October | 17:00 The performance will last approximately 2 hours and 30 minutes.

There will be a 30-minute interval after Act 1.

A short introductory talk will take place in the Jerome Hynes Theatre one hour prior to the performance.

Speaker: Jack Furness By arrangement with PWM | Original photography by Mark Carrot

Maria (1903) Opera in three acts to a libretto by the composer, after Antoni Malczewski’s poem Maria (1825)

First performed on 1 March, 1906 in Warsaw Sung in Polish Photo: PWM Edition

Roman Statkowski (1859–1925)

Conductor Tomasz Tokarczyk Director Michael Gieleta Set Designer James Macnamara Costume Designer Fabio Toblini Lighting Designer Declan Randall Video Designer Andrzej Goulding Choreographer Edel Quinlan Stage Manager Ray Bingle Jack Furness Assistant Director Assistant Conductor Adam Burnette Adam Burnette, Andrea Grant Répétiteur Polish Diction Coach Marcin Kopec Fight Director Donal O’Farrell Surtitles Michael Gieleta

Maria Daria Masiero Wacław Rafał Bartminski District Governor Adam Kruszewski Count Palatine Krzysztof Szumanski Count Palatine’s Envoy Daniel Joy Waif Eleanor Jean Greenwood Zmora Byron Jackson Cavalry Captain Marcin Gesla Jamie Rock Drunken Nobleman Masked Guard Thomas Faulkner Aaron Cawley, Toby Girling, Rioters Piran Legg, Leonel Pinheiro Dancers Enea Bent, Michael Cooney, Michael Doyle, Lorna Lyons, Lorcan O’Neill, Dara Pierce Chorus of Wexford Festival Opera Chorus Master Gavin Carr Orchestra of Wexford Festival Opera Leader Fionnuala Hunt

Produced in collaboration with Opera Krakowska Supported by Polska Music Maria 35

Costume design for Waif by Fabio Toblini 36 Maria

Synopsis Act One

Act Two

scene 1

At the residence of Maria and her father the District Governor is sorrowful that Maria suffers through her separation from Wacław, caused by the manipulations of the Count. The Count’s envoy arrives with the letter of friendship. The District Governor is suspicious of the Count’s motives, but Maria is nonetheless overjoyed that Wacław has gained permission to see her. Wacław and Maria celebrate their coming together. The lovers’ rapture, however, is cut short. Wacław and the District Governor must confront their enemy. As their fellow fighters assemble before going off to the fight, they sing the venerable medieval hymn Bogurodzica (‘Mother of God’). After the couple’s tender goodbye, the men depart, and Maria is left, anxious and vulnerable.

The Count Palatine is brooding in his office. He is unhappy that his son, Wacław (Vatzlav), has married Maria. Maria is the daughter of his political antagonist, the socially inferior District Governor. The Count, consumed by his own social ambition, had wanted Wacław to make a political match. The Count Palatine cannot bear this decline of his family any longer and resolves to have Maria removed from his way. He instructs his bodyguard, Zmora, to take advantage of the havoc gripping the country, and to attempt to remove her to a convent. The Count hints to Zmora that if Maria resists, a fatal “accident” should happen. The Count writes a letter to the District Governor, and sends it with an envoy. scene 2 The Count holds a lavish party for his allies and supporters. Dances are performed, and the guests collectively praise the Count’s leadership of the nation.

He welcomes the assembled company but warns them that the country is in danger, and tells them that, upon his return, Wacław will not disappoint the expectations of his name. The guests, oblivious of Wacław’s marriage to Maria, toast Wacław and a supposed future wife.

A chill comes over the party when the festivities are interrupted by the sound of a waif singing a portentous song of death and decay. A toast to Bacchus dispels the gloomy mood, while Wacław privately vents his frustration at the corruption of the guests and his separation from Maria at his father’s instigation.

The Count cheers Wacław by telling him of the letter of friendship he has sent to Maria’s father, and that he will welcome Maria into his house as a daughter-in-law.

The party continues long into the night.

Act Three The waif reappears, singing the ominous song. Zmora and the assassins arrive, looking for Maria. They capture her, kill her, as instructed by the Count, and throw her body into nearby water.

Wacław, expectantly returning to bliss with Maria, is confronted by the waif, who relates the horrendous details of the Count Palatine’s subterfuge and Maria’s brutal murder. Wacław vows to exact revenge, and travels immediately to the Count.

The Count Palatine is seeking justification through the idea that the murder was in his son’s interest. Wacław arrives intending to kill his father, but before he does so, the memory of Maria stays his hand. Taking his own life, he leaves the punishment for Maria’s murder in the hands of God. Michael Gieleta

Maria 37

Competing for the nation: opera and cultural revivalism in Poland

by Michael Murphy

Of course, this is not surprising as this group kept their Opera, with its powerful literary associations, its facility distance from the influential critics, academics and to embrace diverse genres such as poetry, dance, sacred cultural administrators, preferring instead to align music, costume and national costume, language and themselves with more modernist European influences. human action, is a very tantalising genre for those Statkowski, by contrast, was an establishment figure, interested in promoting national culture. Opera and after winning the competition he secured in Poland had a distinguished nationalist a post at the conservatory in Warsaw pedigree by the time Roman Statkowski in 1904, spending the rest of (1859–1925) came to compose Maria his days teaching. Indeed in 1903–4. Poland had enjoyed Karłowicz critiqued the something of a cultural revival Warsaw Philharmonic in during the final decades of a satirical prose piece, in the nineteenth century, addition to his polemics and a major achievement with Młynarski, and he of that revival was the ultimately imposed a establishment of the ban on having his own Warsaw Philharmonic works performed by the Hall and Orchestra Warsaw Philharmonic. in 1901, thanks to the Likewise Szymanowski sponsorship of some of found himself at the stiff end Poland’s aristocrats and of the conservative critics who innovative musicians. It accused him and the other was this newly-founded ‘Young Poland’ composers institution, under the Roman Statkowski, Warsaw 1922. Poland lost a considerable part of its cultural heritage in World War II. of slavishly following Vienna musical directorship of the Statkowski pictures are now extremely rare, the ones that and Bayreuth. Szymanowski composer Emil Młynarski, survived are unfortunately blurry. Photo: PWM Edition. of course ultimately wed which commissioned the nationalist elements with highly modernist techniques, competition that Statkowski won with Maria. The most notably in his opera Harnaise and his mazurkas. competition, instigated by Konstanty Wołłodkowicz, Unfortunately Karłowicz died in 1909, but soon achieved demanded that an opera be composed on Antoni posthumous acclaim from the establishment.

Malczewski’s famous epic poem Maria (1825).

The other contestants included Henryk Opieński, Before we examine Maria in more detail, let us briefly Henryk Melcer, Hubert Rostworowski, and Wojciech consider some relevant historical issues. Stanisław Gawroński, with Melcer and Opieński taking second Moniuszko was considered the great hero of Polish and third prizes respectively. Interestingly, none of nationalist opera in the nineteenth century, and his the composers associated with the ‘Young Poland in works are still performed in Poland. Such was the Music’ movement, most notably Mieczyłsaw Karłowicz gravitational pull of opera for nineteenth century Polish and Karol Szymanowski, entered the competition. musicians that Chopin was invited to return from his

38 Maria

also embracing enough ‘Olympian’ abode of cosmopolitan and in Paris to compose modernist ideas so opera in Poland for as not to alienate Poland. But Paris had conservative critics. its own gravitational For instance, Maria pull, and Chopin echoed Moniuszko’s politely declined the operas with its choral invitation from his ballets: Act 1 contains former teacher. Indeed, a choral Polonaise Moniuszko himself and concludes with a heard the Parisian choral Mazurka. It also siren call and travelled features an artefact to the French capital Ludomir Rózycki, Grzegorz Fitelberg, Karol Szymanowski, Warsaw 1931. of Poland’s musicowhere he attempted Photo from the Polish National Digital Archive (Narodowe Archiwum Cyfrowe) political history not to have his own works specified in the original poem: in Act 2 we are presented performed. He pinned his hopes on the great Rossini with a tableau depicting the Polish knights singing the whom he petitioned for help. But these plans came famous Polish hymn Bogurodzica (‘Mother of God’), to naught, and Moniuszko returned to Poland where a hymn dating from the medieval period and which he served the national cause through his musical was traditionally sung by Polish knights heading into activities to his dying days. Perhaps it is because of such battle, most famously at the Battle of Grunwald in 1410 self-sacrifice and his stoic attitude to the curtailment and at the battle with the Turkish army at Varna in of his international ambitions that his fame and 1444. While the hymn lost its significance in subsequent stature in the national psyche remain undiminished. centuries, during the nineteenth century, when Poland notwithstanding his relatively limited abilities as a needed its heroes more than ever, its national symbolism composer, Moniuszko’s name has never left the public was recharged and it once again featured in works of consciousness throughout the twentieth century. art and music. Another prominent folk element is the Even outside Poland his reputation received dutiful first melody which we encounter in the overture: just recognition in the pages of American and European after the opening F minor chord, we hear a languorous music textbooks, and his Straszny Dwór was performed melody which contains the interval of a minor third, at the Wexford Festival Opera in 1999. a simple motif that attains great dramatic significance Statkowski’s Maria stands at the watershed between the towards the end of the opera, especially in the final tragic nineteenth century nationalist tradition as represented moments. This haunting woodwind melody situates us

by Moniuszko and the twentieth century modernist in Lithuania where the story takes place. Indeed, we are tradition instigated by Szymanowski. The fact that reminded of Karlowicz’s beautiful Lithuanian Rhapsody Statkowski was on intimate terms with Szymanowski composed in 1906, which contains a similar bewitching indicates that his work had admirable qualities and that melody that not only depicts the landscape but also the the composer was alive to cosmopolitan tendencies, a melancholy of its history and people. result no doubt of his studies with nikolay Solov’yov Whatever about the individual melodies per se that and Anton Rubinstein in the St Petersburg Conservatory occur in the opera, the general musical style puts us where he graduated in 1890. Statkowski later taught in in mind of Borodin and Tchaikovsky whose Romeo Kiev and was the winner of the London International and Juliet overture forms a clear precedent for the Opera Competition in 1903 with his opera Filenis which more dramatic and expressive moments. While some he had composed in 1897. After its initial successful commentators refer to the Wagnerian aspects of Maria, performance in 1906 in Warsaw, Maria subsequently this influence is mostly superficial. For example, in received a handful of productions, all of them in Poland, the very first scene the Count Palatine sings about the the most recent of which was a webcast in 2008 by the centuries of fame and glory which his family enjoyed.

Polish Radio Choir and Orchestra who released it on CD His current ambition is to marry his son to a princess, in the following year. and we hear chords that would not sound out of place While we don’t know much about the other entries in in Der Ring des Nibelungen, a music drama devoted to the 1903 competition, it is easy to see why Statkowski’s corruption, power and ambition. But such Wagnerian Maria was the winner. It paid homage to tradition while

Maria 39

Teatr Wielki (Grand Theatre) in Warsaw, Poland, where Statkowski's Maria was first performed on 1 March, 1906.

moments are few and far between in Maria. neither is the fact that Statkowski attempted to maintain dramatic continuity by melding one scene into another an indication of his Wagnerian influences. These techniques had been part and parcel of the operatic bag of tricks for a long time. One obvious Wagnerian influence occurs in the orchestral introduction to Act 2, an instrumental episode that depicts the Cossack rider who carries the Count Palatine’s letter across the Steppe to Maria’s father, the District Governor. It is clearly designed along the lines of Wagner’s overture to Die Walküre with its distinctive bass line and punctuating brass fanfares.

Indeed if we are looking for precedents from nonPolish composers, we can do no better than consider the waif who interrupts the celebrations in Act 1 with his inscrutable song of death and decay. Initially the company is silenced by this interruption, but they subsequently dismiss it and return to their revelry. This Shakespearean moment is a clear echo of Mussorgsky’s Boris Godunov wherein the blind pauper reminds Boris of his own Herod-like treachery. Unfortunately Statkowski does not explore the Count Palatine’s mental anguish to the same extent that Mussorgsky does, in creating a psychological portrayal of Boris’s tormented soul. In the final scene of the opera we encounter the Count Palatine attempting to justify his murder of Maria, but it is not dramatically convincing.

40 Maria

Overall, it is fair to say that the opera is largely narrative and descriptive and therefore does not inherit the more sublime achievements of Wagner and Mussorgsky, both masters at psychological portrayal. Consider the instrumental interlude which occurs in Act 1 where the four solo cellos accompany the Count Palatine as he writes his treacherous letter to Maria’s father: the lyrical cello music is curiously at odds with the Count Palatine’s malign intention. Statkowski preferred to portray the Count Palatine’s scented words rather than his destructive thoughts. This is a dramatic miscalculation in my opinion, and a Wagnerian opportunity was lost as he could have explored the villain’s psyche through orchestral means alone, primarily by employing the ‘power’ motif which we just encountered moments earlier.

Overall, it is a satisfying work, thanks largely to the composer’s efforts at maintaining continuity and his ability to meet the dramatic requirements with appropriate musical means. The emotional heart of the opera occurs towards the middle of Act 2 when Maria and Wacław meet for the first time in the opera. We are rewarded with an extended love duet replete with high romance that is indebted to Tchaikovsky and indeed to Verdi’s Otello. Statkowski was evidently a talented craftsman and had a good dramatic sensibility, and it is a pity that he did not continue to compose opera and, indeed, large-scale symphonic works. Opting instead for teaching the next generation of composers, he eventually disappeared from view.

It is always exciting for scholars and audiences alike when works such as Maria are revived, as these occasions provide an opportunity not only to hear and enjoy ‘forgotten’ works, but also to reflect on the nature of our musical experiences which are so keenly determined by financial, cultural and political circumstances. As I explored Statkowski’s Maria I was immediately reminded of musical life in Ireland around the same period. In recent years, Irish musicologists have made comparisons between the condition of musical life in Ireland and elsewhere, not least with Poland. I want to revisit this comparative approach here because the story surrounding the composition of Maria has something to tell us about the importance of cultural revival.

At its simplest, Ireland had its Abbey Theatre (founded 1904) and Poland had its Philharmonic Hall (1901), which was a major venue for Polish composers attempting to establish themselves, to say nothing of its importance as a venue for the most important international musicians.

While Ireland did not have such a musical resource, notwithstanding the importance of the Gaiety Theatre in Dublin as a venue for opera, the Feis Ceoil and the Gaelic League provided a vital stimulus for composers. In Poland and Ireland artistic competitions were powerful instruments for inspiring new works while at the same time channelling artistic energy towards national revival.

In this context we can compare Statkowski’s Maria with those operas composed in Ireland around the same time, most notably William Harvey Pélissier’s Connla of the Golden Hair (1903), Thomas O’Brien Butler’s Muirgheis (1903), Robert O’Dwyer’s Eithne (1909), and Michele Esposito’s The Tinker and the Fairy (1910). Let us briefly consider one of these works, O’Dwyer’s Eithne, composed just six years after Maria. O’Dwyer, who was born in Bristol to Irish parents, settled in Dublin in 1897. He became deeply involved with the Gaelic League and composed numerous arrangements of Irish traditional songs for its choir. He also won a Feis Ceoil competition in 1900 for an orchestral overture. It was this immersion in the revivalist movement that led to his three-act opera Eithne which was based on a Celtic plot with a libretto written in Irish by Thomas O’Kelly. It was thus the first opera to have been performed in the Irish language (O’Brien Butler’s Muirgheis had an Irish-language libretto but was first performed in English). The music of Eithne is a combination of traditional Irish melody and Wagnerian techniques. Whatever its musical and dramatic attributes, it represents an important milestone in the history of opera in Ireland. However, it was soon forgotten after its first performance in the Gaiety Theatre in 1910.

While the three operas nicknamed the ‘Irish Ring’,

by Balfe, Wallace and Benedict, have never been off the radar, and while we know something of Stanford’s Shamus O’Brien, the other Irish operas which I mentioned, and a host of others composed before and since, are simply unheard of and unheard. If Poland has neglected some of its operatic composers at the expense of others (think of the Moniuszko and Statkowski situation), Ireland’s deafness to its operatic past is almost complete. Notwithstanding the official cultural nationalism of the twentieth century and the much-vaunted search for an ‘Irish Sibelius’, no one seemed to remember those important forebears of only a generation earlier. No doubt many of those works lacked artistic quality, had little entertainment value in the context of modern forms of entertainment, and would have seemed irrelevant to a nation that was attempting to modernise itself. But the price of that cultural negligence is all too obvious to us now: cultural debilitation in the form of a seriously depleted indigenous operatic repertoire. By contrast, Poland’s stubborn attempt to keep Moniuszko’s reputation alive might be said to have paid off when we look at the calibre and reputation of its twentieth century giants: Szymanowski, Witold Lutosławski, Grażyna Bacewicz, Henryk Górecki, to name but a few. If we can learn one lesson from Poland’s musical history it is that revivalism is a necessary cultural activity for the national psyche. Tradition is very important for contemporary composers and for their audiences.

Without it, cultural prestige is in jeopardy, and without cultural prestige musical activity is diminished. It is in light of these remarks that we can, perhaps, best appreciate Statkowski’s opera, not only for what it tells us of Poland’s musical past, but because it reminds us of Ireland’s musical past.

Michael Murphy is a musicologist and lecturer in the Department of Music, Mary Immaculate College, University of Limerick. His research interests include the history of music in Poland and Ireland in the nineteenth century.

Maria 41

‘Are there any operas nowhere there?’ Opera in Poland before and after Maria

by Aleksander Laskowski

the popular daily newspaper Kurier Warszawski wrote: The first partition of Poland took place in 1772, six years “During the current week – Polish parliament’s first before the premiere of Poverty Made Happy by Maciej week – we will hear only Polish music at the Wielki Kamieński, which, although considered to be the first Theatre in Warsaw. Six operas will be presented: Polish opera, is only a curiosity when compared to Moniuszko’s Halka and Straszny Dwór (The Haunted contemporary German and Italian works. The Polish Manor), kingdom finally disappeared from the map in 1795, when Manor Münchheimer’s Mazepa, Żeleński’s Stara Baśń (The Old Tale), Szopski’s Lilie (The Lilies) and Różycki’s it was divided between Russia, Prussia and Austria.

Eros i Psyche (Eros and Psyche).”

Unfortunately, no major opera was composed in the Psyche Most of these works will probably be unfamiliar to the Western music lover, country before the 1795 partition. The nineteenth century although Moniuszko’s was for Poles primarily Straszny Dwór was a time of struggle for performed at Wexford independence. Music, in 1999. together with every other human activity, had to Stanisław Moniuszko serve patriotic purposes.

(1819-1872) is the father Fryderyk Chopin, of Polish opera. He whose work someone created the national quite rightly described operatic idiom, as the ideal soundtrack serving Polish music to Polish independence in a similar way to struggles, did not write Glinka and his work an opera, although his for Russian music. teacher Józef Elsner Moniuszko’s output is urged him to do so. In considerable and two 1834 he wrote to Chopin: works stand out as “While I still live in hac masterpieces: Halka larimarum valle I would and Straszny Dwór like to live long enough (The Haunted Manor). to see an opera that Both operas will Sculptor Ignacy Zalek working on a monument to Moniuszko, Torún 1935. you composed.” Elsner Photo from the Polish National Digital Archive (Narodowe Archiwum Cyfrowe) charm the listener with thought about an opera long, beautiful melodies and perky mazurka dances. “based on a purely Polish historical subject”, preferably Moniuszko’s music is hugely popular in Poland, yet it about recent events. Chopin is said to have started looking still has to be fully recognised abroad. for a libretto, but then changed his mind.

Władysław Żeleński (1837–1921) was educated in Krakow, After over a century of foreign rule Poland regained Prague and Paris. He composed four operas, most of them independence in 1918. A year later, when the reborn inspired by Polish romantic literature: Konrad Wallenrod Polish state saw its parliament gather for the first time, to a libretto based on Adam Mickiewicz’s eponymous 42 Maria

poetic novel, Goplana after the great romantic poet Juliusz Słowacki, The Old Tale after a romantic novel by Józef Ignacy Kraszewski, and Janek to the original libretto by Ludomił German, which tells the story of a highland robber from the Tatra Mountains. Żeleński continued the tradition established by Moniuszko, although his musical imagination was also influenced by Western composers, from Gounod to Wagner. The musicologist Janusz Mechanisz believes that “in Konrad Wallenrod the pathetic mood is emphasised by extended and very well written choral parts. Goplana, Żeleński’s best opera, successfully combines the lyrical element with the grotesque and the fantastic. Janek is a showcase for authentic folk melodies and dances from the Tatras. For The Old Tale the seventyyear old composer wrote music that sounded too cold and academic.”

Władysław Żeleński had many students, among them Roman Statkowski.

famous Polish lover of napoleon. After the war Różycki moved to Katowice in Silesia, where he started work on the reconstruction of the scores lost in the Warsaw Uprising in 1944 – Boleslaw Śmiały, Casanova, Beatrix Cenci and Meduza.

Adam Münchheimer (1830–1904) and Felicjan Szopski (1865–1939), whose works were also mentioned by Kurier Warszawski in 1919, are respected, yet relatively little-known composers. Obviously the works chosen for the “operatic independence week in Warsaw” do not form a complete list of Polish operas from that period.

One should certainly add Roman Statkowski’s Maria (premiere in Warsaw, 1906) and Ignacy Jan Paderewski’s Manru (premiere in Dresden in 1901, which is the only Polish opera ever performed at the Metropolitan Opera in new York). Then come Feliks nowowiejski’s Legenda Bałtyku (The Legend of the Baltic In 1919 Kurier Sea), which was first Warszawski also performed in Poznań mentioned Ludomir Performance of Wladyslaw Zelenski’s opera Stara Basn at the Stanislaw Moniuszko Society in Stanislawów 1933.

Photo from the Polish National in 1924, and, arguably, Różycki (1884-1953), Digital Archive (Narodowe Archiwum Cyfrowe) Poland’s greatest opera, who, after studies in Karol Szymanowski’s Król Roger (King Roger), which had Warsaw, continued his education in Berlin with Engelbert its premiere at the Wielki Theatre in Warsaw in 1926.

Humperdinck. Later he moved to Lvov (which was Polish Seven years after the premiere of King Roger Krzysztof at the time), where he conducted the local opera orchestra Penderecki was born in Dębica. He is the most important and taught piano at the conservatory. In Lvov Różycki Polish composer of operas in the second half of the composed his first opera Bolesław Śmiały to a libretto after twentieth century. He wrote four operas: Die Teufel von a play by the great fin de siècle artist Stanisław Wyspiański, Loudun (1969) after Aldous Huxley, Paradise Lost after which is about a famous medieval Polish king. His second John Milton (1978), Die Schwarze Maske after Gerhard opera Meduza is about a fantastic episode from the life of Hauptmann (1986) and Ubu Rex after Alfred Jarry Leonardo da Vinci. The critics and the audience warmly (1991). As we know, the action of Jarry’s play takes place received both works. In 1912 Rożycki went abroad for “in Poland that is nowhere”. Paradoxically, it might be seven years. In that period he composed his masterpiece the perfect place to start looking for still unknown, yet Eros and Psyche to a libretto by Jerzy Żuławski, which fascinating operas. also fascinated Giacomo Puccini. In the end Puccini did not use the text; however, he asked Różycki for a copy of Aleksander Laskowski is a music critic and translator. the score of his work. The premiere of Eros and Psyche He works for the Adam Mickiewicz institute in Warsaw took place in Breslau; later the opera was presented in and also presents opera broadcasts and his own cultural Mannheim, Brema and Stuttgart. Różycki’s next opera programme on Polish Radio 2. in 2010 he served as was Casanova, a popular work first performed in Warsaw chief media co-ordinator for the 16th international in 1923 with Artur Rodziński conducting. Another Fryderyk Chopin Piano Competition in Warsaw, great Polish conductor, Grzegorz Fitelberg, prepared the and in June 2011 he was press director for the 14th premiere of Rożycki’s next opera Beatrix Cenci (1927) after international Tchaikovsky Competition in Moscow and a dark romantic drama by Juliusz Słowacki. Różycki also St Petersburg. He translated into Polish Parallels and composed the opera The Devil’s Mill and the operetta Lili Paradoxes by Daniel Barenboim and edward Said, and Wants to Sing. The outbreak of World War II interrupted The Rest is Noise by Alex Ross. the work on his next opera Madame Walewska about the Maria 43

Men of iron

Director’s Notes by Michael Gieleta I spent the central section of my childhood in a country where the streets were controlled by military tanks, where the Governmental answer to the pleas of the citizens for basic human rights was tear gas, water canons and bullets. The bodies of fatally wounded protesters were secretly buried in unknown graves; their murderers were never made accountable.

I spent the central section of my childhood in a country where the opposition students were kidnapped, kicked and beaten in the stomach. The Militia’s zeal led to not infrequent deaths of the detainees. They were classified as “dangerous delinquents”, and the murky investigations that followed led nowhere. The murderers were never looked for, let alone tried.

I spent the central section of my childhood in a country where the tanks that controlled the streets were also to cannonade the striking workers. Protesting men and women were shot on the doorstep of their workplace.

Even teenage boy protesters, who were proudly fighting for the same cause that their fathers were fighting for, were among the casualties.

I spent the central section of my childhood in a country where the spiritual leader of the nation and the Chaplain of the Solidarity movement, Father Jerzy Popiełuszko, following a series of liberal sermons (given obviously from KGB-bugged pulpits) was kidnapped, tortured,

The philosophy of History emanating from Moscow is not just abstract theory, it is a material force that uses guns, tanks, planes, and all the machines of war and oppression. All the crushing might of an armed state is hurled against any man who refuses to accept the new Faith. At the same time, Stalinism attacks him from within, saying his opposition is caused by his “class consciousness”, just as psychoanalysts accuse their foes of wanting to preserve their complexes.

Still, it is not hard to imagine the day when millions of obedient followers of the new Faith may suddenly turn against it. If it [material might] is lost, it would prove itself wrong by its own definition; it would stand revealed as a false faith, defeated by its own god, reality.

The citizens of the Imperium of the East long for

44 Maria

strangulated and thrown into a river with ten stones in his pockets. Those ultimately responsible were never found nor tried.

I watched how people working in the opposition would sever rapports with their Communist parents. I watched how people who collaborated with the system amassed material benefits, in a country where buying ordinary food supplies required a five-hour wait outside the shop. I watched how people who questioned the regime were evicted from their homes, dismissed from work, imprisoned or force-fed psychotropic drugs on psychiatric wards. (OK, this one I didn’t see myself but the practice features heavily in the masterpieces of the Polish cinematography of the ’70s and early ’80s).

In the Andrzej Wajda film Man of Iron (1981), a psychiatrist is asked about the condition of a forciblyhospitalised anti-Communist protester. She replies with the acerbic grin of a survivor: “From the standpoint of modern psychiatry, he doesn’t show any symptoms to raise concerns about anything whatsoever…unless one is talking of the symptoms experienced by the remaining 30 million citizens of the Polish People’s Republic”. She then dismisses the patient, making sure his medical record remains clear.

It is people like that, and all those mentioned above, whom I saw with my frightened six-year-old eyes, to whom I dedicate this production.

nothing so much as liberation from the terror their own thought creates. (…) They [the Central Committee] compare themselves to the early Christians; they liken the march of Christianity throughout the decaying Roman Empire.

But they envy the Apostles their gift of reaching deep into the human heart. “They knew how to make propaganda!”(…) The new (anti-) religion performs miracles. It shows the doubters new buildings and new tanks. But what would happen if these miracles suddenly stopped? Knives and pistols would appear in the hands that applaud today. The pyramids of thought would topple. For a long time, on the ground where once it stood there would be nothing save blood and chaos.

Czesław Miłosz, The Captive Mind

Michael Gieleta

A clandestine notice announcing the funeral of Father Jerzy Popiełuszko: over 250,000 people attended. Photo © Mark Carrot

There are people who think that the Party boss can run the operation like a Chicago gangster. They should try sitting in this chair. I’ve got a Party which is losing members in droves, and half of those who remain have joined a free trade union with seven million members (…) With the right to strike for more money which I haven’t got because industrial production is down 12 per cent owing to the strikes, so I have to go cap in hand to the Soviets, who are giving us 690 million dollars in credit to keep Poland Communist. And to the United States, who are giving us 550 million dollars for the same reason. (…) I’ve got a Catholic Church which doesn’t want me to provoke the Russians, and a Communist Party two-thirds of whom believe in God. And to top it all off I’ve got a police force which can’t break the habit, and a Public Prosecutor with the political nous of a bull in a china shop. As First Secretary of the Polish United Workers’ Party, Al Capone wouldn’t have lasted out the week.

Tom Stoppard, Squaring the Circle

Justice dictates each to be granted the rights they are due. And so the right to work in accordance with your profession and not be thrown out of work for your beliefs. The Primate of Poland spoke of this…in the following words: “There is one matter which lies heavy on the heart of the Church. It is the matter of the dismissals of those who do not want to resign from the Solidarity trade union. And we stand against this injustice which is an abuse of human rights.”

Nothing has changed.

The body is a reservoir of pain; it has to eat and breathe in the air, and sleep; it has thin skin and the blood just beneath it; it has a good supply of teeth and fingernails; its bones can be broken; its joints can be stretched.

In tortures, all of this is considered.

Nothing has changed.

The body still trembles as it trembled before Rome was founded and after, in the twentieth century before and after Christ.

Tortured are just what they were, only the earth has shrunk and whatever goes on sounds as if it’s just a room away.

Wisława Szymborska, Tortures

On a scrap of paper I affront the prosecutor’s office the court of justice and the government invoking a child Whom You will never Succeed to kill.

Barbara Sadowska, ’Tis Sweet to Be God’s Child.

Her son was clubbed to death by the Militia in 1983.

His murderers were never convicted due to the statute of limitations running out in 2005.

From a sermon of the late Solidarity chaplain Father Jerzy Popiełuszko, murdered October 19th, 1984.

Maria 45

GiANNi Di PARiGi

by Gaetano Donizetti

46 Maria

Special thanks to our Production Sponsor

Sunday 23 October | 17:00 Saturday 29 October | Wednesday 2 November | Saturday 5 November | 20:00 The performance will last approximately 2 hours and 15 minutes.

There will be a 30-minute interval after Act 1.

A short introductory talk will take place in the Jerome Hynes Theatre one hour prior to the performance.

Speaker: Roberto Recchia

By arrangement with Fondazione Donizetti, Bergamo

Gianni di Parigi (1839) Melodrama in two acts to a libretto by Felice Romani after Saint-Just

First performed on 10 September, 1839 at La Scala, Milan Sung in Italian

Gaetano Donizetti (1797–1848)

Conductor Director Set Designer

Giacomo Sagripanti Federico Grazzini Tiziano Santi

La Principessa di Navarra Il Gran Siniscalco

Zuzana Markova Alessandro Luongo

Gianni di Parigi

Edgardo Rocha

Costume Designer

Valeria Donata Bettella

Pedrigo

Alessandro Spina

Lighting Designer

Declan Randall

Lorezza

Fiona Murphy

Sarah Taylor Kent

Oliviero

Lucia Cirillo

Alessandra Premoli

Dancers

Michael Cooney, Michael Doyle, Lorcan O’Neill, Becky Whelan

Stage Manager Assistant Director Assistant Conductor Répétiteur Surtitles

Curt Pajer Carmen Santoro Lydia French

Supernumeraries David Gormley, Feargal O’Brien Chorus of Wexford Festival Opera Chorus Master

Gavin Carr

Orchestra of Wexford Festival Opera Leader Thérèse Timoney

Gianni di Parigi 47

La Principessa di Navarra

il Gran Siniscalco

Gianni di Parigi

Costume designs by Valeria Bettella

Pedrigo

48 Gianni di Parigi

Lorezza

Oliviero

Synopsis Act One

Act Two

An inn beside the highway to Paris is in a turmoil of excitement since the Princess of Navarre, on her way to marry the Dauphin of France, is to spend the night there. Before she can arrive, however, a page named Oliviero tries to commandeer the entire inn on behalf of his master, a rich bourgeois, Gianni di Parigi. The innkeeper, Pedrigo, insists that all his accommodation is already booked, but relents when Gianni appears and offers sums, both for the night’s lodging and for dinner, vastly greater than those the Princess has already paid in advance. Hoping that the Princess may not arrive before evening, Pedrigo agrees that the newcomers may stay a few hours and dine.

A hungry Gran Siniscalco believes that it would be beneath his dignity to sit at table with a member of the bourgeoisie, so decides to eat on his own. But when Pedrigo informs him that the only provisions left in the larder are eggs, cheese and bread, and describes the delicacies to be served at the banquet, gluttony soon triumphs over pride.

But who is this Gianni di Parigi? None other, we discover, than the Dauphin himself, come in most unorthodox fashion to take a preview of his intended bride before finally agreeing to marry her.

The Princess’s Gran Siniscalco or High Steward arrives.

He is pompous and self-important, but his confidence is shaken when Gianni makes it clear that he has no intention of vacating the inn and departing. The Princess herself, by contrast, accepts the situation with equanimity, especially when Gianni, sending Oliviero to her as his envoy, acknowledges the embarrassment he is causing her and offers her his own apartment. When he and she finally meet, he invites her to share his repast, and she, to everyone’s surprise, accepts. But in an aside she reveals that she is well aware that he is the Dauphin, and that he is subjecting her to an elaborate practical joke.

The banquet takes place in the garden of the inn.

Gianni is by now completely won over by the Princess, especially when she insists that he sit on her right, and relegates the Siniscalco to her left. The sumptuous repast, accompanied by a song from Oliviero and a dance by local country folk, ends with a paean in praise of the Princess.

Gianni, unable to keep up his assumed role, confesses to the Princess that he is deeply in love, but finds himself rebuked when she pretends not to know to whom he is so devoted, and considers it tactless that he should mention another woman in her presence. She further puts him in his place by saying that, induced by her brother to choose a husband, she, too, has settled upon a suitor, and asks him – given his talent for organisation – if he will direct the festivities. Their sparring gradually leads to an acknowledgment that each is the object of the other’s passion. The Princess confesses that Gianni’s father had warned her of the trick that was to be played upon her.

Gianni is more than happy to realise that, for all his wit, he has been outwitted. He announces to all that he is about to marry, and that the lady who consents to give him her hand is the Princess of Navarre. The Siniscalco cannot refrain from expressing his disapproval that the Princess should so dishonour herself, but he is quick to plead for pardon when he realises Gianni’s true identity.

The entire company joins in proclaiming and celebrating such a joyful and auspicious day.

Jeremy Commons

Gianni di Parigi 49

Wit Outwitted

by Jeremy Commons

One of the great joys of musical research is to discover an opera which, a failure in its day and ever since consigned to dusty library shelves, turns out upon examination to be a work of dramatic validity, containing music of genuine effectiveness and interest.

Donizetti’s Gianni di Parigi is a case in point. The circumstances of its composition are shrouded in conjecture; its eventual performance in 1839 excited little enthusiasm; and one’s eagerness to re-examine it has always been dampened by the bad press it received both then and for long after. Yet when the Swedish musicologist Anders Wiklund began to study and edit the score in preparation for its first modern-day revival in Bergamo in September 1988, he found a score which contained unexpected riches and rewards.

Wiklund surmised, convincingly, since he found distinctly Neapolitan elements in the overture, and since the dance performed at the banquet in Act II is a tarantella, that it was written in Naples, and indeed Naples was certainly the centre of Donizetti’s activities in the 1820s. But whether it was written with production at a particular theatre and for a particular season in mind is not known. For reasons that will probably never be ascertained, no immediate Neapolitan production took place. All we can say is that the work would seem to have lain neglected upon the composer’s desk until 1832, which is the date of a further score, now to be found in the Archivio Ricordi in Milan. This second score is basically non-autograph, but contains important revisions in the composer’s hand, principally but not exclusively relating to the role of the tenor. It has also been suggested that it was an attempt to make the opera suitable for performance outside Naples – in other cities and in other countries – since both the Giovanni Battista Rubini.

Opera Rara Archive. overture and the tarantella are omitted.

Until Wiklund began these investigations, it had always been believed that Donizetti had composed the opera for Giovanni Battista Rubini, probably about 1831 when, after creating the role of Gualtiero in Il pirata for Bellini in 1827 and that of Ricardo Percy in Anna Bolena for Donizetti at the end of 1830, he was establishing himself as the greatest tenor of his age. Wiklund’s first major discovery, however, was that in the autograph score preserved at the Naples Conservatorium of Music, S. Pietro a Majella, the overture is clearly dated 1828.

This in itself suddenly made the music make more sense, for in style it belongs more convincingly among Donizetti’s more florid operas of the 1820s than it does among his increasingly romantic and lyrically expansive operas of the 1830s. It is a sprightly period comedy, and falls easily into place in a progression which runs from the effervescent Gianni da Calais (Naples, 1828), through the deliciously mischievous Francesca di Foix (Naples, 1831), to the – newer-style – L’elisir d’amore (Milan, 1832).

50 Gianni di Parigi

From this point on we begin to find ourselves upon more secure ground. Rubini, like Donizetti, came from Bergamo, or at least from nearby, and following his enormous success in Anna Bolena, Donizetti made him a gift of the score of Gianni di Parigi – certainly the revision of 1832 – hoping that he would give it its premiere at one of his benefit evenings in Paris. From the composer’s personal point of view, such a premiere would have been extremely welcome and timely, for though his operas were by now becoming increasingly admired in Italy, his reputation was still only just beginning to extend to other European countries. From Rubini’s point of view, on the other hand, the gift may well have seemed less attractive, for, never a great actor, he was finding his niche as a supreme vocalist in serious operas, where to some extent he could afford simply to stand and

Gianni di Parigi, 2010 production from Festival della Valle d’Itria in Martina Franca.

sing, rather than in the comedies in which he had shone – though less brilliantly – in Italy in the 1820s.

He did try to introduce one of them – Gianni da Calais – to Parisian audiences, but its initially favourable impact faded rapidly after only a few performances.

To Donizetti’s disappointment he never so much as acknowledged the gift of Gianni di Parigi, and never evinced any interest in performing it.

The opera consequently continued to remain unheard for several years more. Yet the possibility – and the temptation – of laying hands on an unperformed and unknown opera by Donizetti must have been a great one, and at the beginning of September 1839 the composer learned, to his intense surprise and indignation, that Gianni di Parigi was in its final stages of rehearsal for production at La Scala in Milan. The impresario of La Scala had obtained the score from the publisher Giovanni Ricordi, who had presumably received it from Rubini. Yet, with the music once in his possession, the impresario had had neither the courtesy to seek the composer’s permission to perform it nor even to inform him of his intentions. And the affront was all the more hurtful since the impresario in question was none other than Bartolomeo Merelli, another fellow-Bergamasque and the librettist, years earlier, of Donizetti’s very first operas. The result was

a letter of strongly-worded protest, written from Paris on 6 September 1839, but it would have arrived too late to have had any influence upon the outcome. Gianni di Parigi received its first performance at La Scala on 10 September, 1839.

The cast, at first sight, did not seem an unworthy one.

Later in the same season the same three principals, Antonietta Rainieri-Marini (the Principessa), Lorenzo Salvi (Gianni) and Ignazio Marini (the Gran Siniscalco), were to create the roles of Leonora, Riccardo and Oberto respectively in Verdi’s firstproduced opera, Oberto conte di San Bonifacio (La Scala, 17 november 1839). nor does their claim to fame end there. In 1843 Antonietta Rainieri-Marini was to be Pacini’s first Maria in Maria regina d’Inghilterra (Palermo, 1843). Lorenzo Salvi had already created roles for Donizetti in Il diluvio universale (naples, 1830), Il furioso all’isola di San Domingo (Rome, 1833) and Betly (naples, 1836), and was later to be his first Oliviero in Adelia (Rome, 1841). And Ignazio Marini, who was also to take part in the premiere of Adelia, had already created roles in Maria Stuarda (banned in naples in 1834 but performed in Milan in 1835) and Gemma di Vergy (Milan, 1834). Felicita Baillou-Hilaret, who here took the smaller but still important role of Oliviero, the page, had already taken less prominent parts in Ugo conte di Parigi (Milan, 1832) and Gemma di Vergy.

Gianni di Parigi 51

Despite these promising omens, the opera was not a success. In the words of one of the theatrical journals of the day, it ‘was insufficient to banish the boredom of the spectators, and was received with yawns’. Even more damningly, another described it as ‘an opera, a great deal more boring than the many others that are (also) boring’. It received only twelve performances.

At least two other productions followed: in Turin in 1845 where it appears to have had rather better success, achieving seventeen announced performances, and in naples in 1846, where it could manage only eight complete performances, and two incomplete. And then, as with so many hundreds of operas which failed to find a place in the repertoire… silence.

own day, it had formed the subject of a most successful opéra comique by Boieldieu (Paris, 1812), which at this time still held a secure place in the repertoire both in Paris and in the French provinces. Even in Italy the story had already been successfully treated

by Francesco Morlacchi, whose opera had enjoyed twenty-seven performances at La Scala in 1818. It was, in fact, Morlacchi’s libretto, written by Felice Romani and based upon the text of Boieldieu’s opera, which Donizetti was now setting. Unlike the audiences of 1839, we in this twenty-first century can simply accept it as a delightful comedy in which a prince thinks he is playing a mischievous practical joke upon his intended bride, but in which she is really fully aware of his schemings, and maintains the upper hand throughout. It is a delicious tale of one practical joker outwitted by another. And it is all the more enjoyable because there is not the least touch of malice in the behaviour of either.

Fortunately we are today – somewhat ironically – in a better position to appreciate Gianni di Parigi than were the first audiences who heard it. They would have been all too well aware of features which by 1839 Romani’s libretto gives had dropped or were Donizetti the chance to dropping out of fashion. create five outstanding For example, the long and clearly differentiated stretches of recitativo secco characters, all of whom (recitative accompanied enjoy excellent musical by harpsichord or piano opportunities. Head of the list, rather than by strings or full of course, must come Gianni orchestra; though this remained and the Principessa. Each has two an acceptable feature in opera buffa arias: the Principessa her aria d’entrata Lorenzo Salvi, the first Gianni. for much longer than it did in serious Opera Rara Archive. in Act I and her rondò finale at the end of opera), or the use in slow movements of the opera; Gianni his aria d’entrata and decorated declamation which demanded agility, rather a further aria early in Act II. This last is particularly than the lyrical and melting expression of gentler important, since for the first time it allows him to step emotions. For us such stylistic changes scarcely matter outside the high-spirited assumed role he has been and hardly register: we simply accept the opera as a playing and become a more genuine sentient human good example of an opera written by Donizetti in the being. This second aria also anticipates the climactic first half of his career. duet near the end of the opera, Donizetti’s greatest We are also happily able to ignore the fact that achievement in the score, in which both characters the subject had been around for a long time when stop playing games with each other and by carefullyDonizetti treated it, so offering its audiences little charted degrees reach the point of expressing their real if any novelty. In French literature the tenuouslyand deeply-felt attraction to each other. This duet is the historical story of Jean de Paris may be traced back to item which gives the opera its moment of truth. the end of the fifteenth century. Closer to Donizetti’s

52 Gianni di Parigi

Romani’s libretto also provided Donizetti with the opportunity to write for two comic basses: the innkeeper Pedrigo (whose inability to resist the clink of a coin allows Gianni’s ruse to proceed in the first place) and the Gran Siniscalco, the ‘fall-guy’, whose attempts to maintain decorum and his sense of superiority over the bourgeoisie are turned to his disadvantage throughout the opera. Romani even brings them together at the beginning of Act II in a marvellously energetic and effervescent duet in which the Siniscalco is forced to swallow his pride and his snobbery in the face of the greater demands of hunger and gluttony.

Even the fifth character – the page, Oliviero, a trouser-role for mezzo-soprano – has a moment of glory when ‘he’ sings ‘his’ canzone, ‘Mira, o bella, il trovatore’, at the banquet in Act II. This was, in fact, the one item in the opera which achieved a life of its own, outside the opera, upon the concert stages and in the drawing-rooms of the mid-nineteenth century.

Ignazio Marini, the first Gran Siniscalco.

Opera Rara Archive.

Unappreciated in its day, Gianni di Parigi reveals itself to our modern-day ears as a vigorous, buoyant and sparkling score. It is an ideal vehicle for five superlative actor-singers who, in command of impeccable and bravura bel canto technique, are also endowed with high-spirited and larger-than-life stage personalities.

Jeremy Commons is a New Zealander who in 1989 took early retirement from Victoria university of Wellington to devote himself to his major interest: research into early nineteenth century italian opera. Long associated with Opera Rara, he has for all his working life been known as a student of Donizetti. Nowadays he is also deeply involved in championing the music of lesserknown composers such as Nicola Vaccaj and Giuseppe Balducci.

Agostino Rovere, the first Pedrigo.

Opera Rara Archive.

Gianni di Parigi 53

The Bergamo Connection: Donizetti at Wexford

by Richard B. Beams

Operas by Donizetti presented at Wexford 1952

L’elisir d’amore (comica, 1832)

1953

Don Pasquale (buffa, 1843)

1957

La figlia del reggimento (buffa, 1840)

1958

Anna Bolena (seria, 1830)

1963

Don Pasquale (buffa, 1843)

1964

Lucia di Lammermoor (seria, 1835)

1966

Lucrezia Borgia (seria, 1833)

1970

Il giovedi grasso (farsa, 1828)

1973

L’ajo nell’imbarazzo (buffa, 1824)

1983

Linda di Chamounix (semiseria, 1842)

1991

L’assedio di Calais (seria, 1836)

1996

Parisina (seria, 1833)

2005

Maria di Rohan (seria, 1843)

2006

Don Gregorio (buffa, 1828)

2009

Maria Padilla (seria, 1843)

2011

Gianni di Parigi (comica, 1831)

Over the last sixty years, Wexford Festival Opera has not only kept pace with the Donizetti renaissance, but indeed has helped foster it, sprinkling a hefty helping of opera seria and melodrama with representative samples of the other genres he mastered as well, farsa, buffa and semiseria. Happily, Donizetti’s popularity has been reborn. no surprise, given his facility for poignant lyrical invention, sparkling vitality and both musical and dramatic craftsmanship.

But there’s something else: his humanity. Musicologist Philip Gossett, specialist in the works of Donizetti and Rossini, paid the following bicentennial homage to Donizetti in 1997: Of all the romantic opera composers, he is the one I would most like to have met. You sense the intense warmth of this man from his correspondence, and you hear it in the simple

54 Gianni di Parigi

elegance of his music. Of Rossini’s greatness there is no question. He invented this art form. But Donizetti imbued it with humanity. His affection for his characters, his empathy with their love, their shame and their ambivalence, is captured in his writing. He was a remarkable human being of deep feeling and the most touching sensibility.

Gaetano Donizetti was born in Bergamo, Italy, in 1797, “under the cellar stairs to Borgo Canale…where the sun never reached and where, like an owl, I lived in my underground house,” as he wrote to his esteemed teacher, friend and confidant, Simon Mayr. However, you don’t have to go to Bergamo to get closer to Donizetti; you need only sit here in the Wexford Opera House, where Donizetti has found a second home.

Over the years, with some sixteen main-stage productions of his operas, Donizetti has become the most frequently-performed composer at Wexford Festival Opera. This is at least twice the number of productions any other composer has received at Wexford, including the master of bel canto, Gioachino Rossini (a distant second with eight). A survey of operas performed at the time of Donizetti’s death, aged fifty, in 1848, shows that roughly one in four were by him, drawn from his impressive output of some seventy works for stage. Wexford can claim a similar ratio over its sixty seasons; one in four seasons has included an opera by Donizetti.

An Overview Wexford’s first decade alone included a healthy sampling from the Donizetti repertory: a trilogy of three beloved comedies (L’elisir d’amore, Don pasquale and La figlia del reggimento) and three tragedies (Anna Bolena, Lucia di Lammermoor and Lucrezia Borgia). Of these tragedies, only Lucia di Lammermoor, was familiar at the time.

Elizaveta Martirosyan, Don Gregorio, 2006. Photo © Derek Speirs

However, as programme note writer David Wright once pointed out, “to think of Donizetti as the composer of half a dozen staple works of the opera repertoire would be like thinking of Beethoven as the author of five piano sonatas instead of thirty-two.” Our thanks to Wexford then, first, for continuing with a representative selection of lesser-known comic works. Their variety of tone and subject highlight Donizetti’s genuine comic flair: the one-act farsa, Il Giovedi Grasso; the buffa opera, L’ajo nell’imbarazzo (Donizetti’s first major success, performed at Wexford first in 1973, and more recently in 2006 in its alternate version, Don Gregorio); and the delightful semiseria opera, Linda di Chamounix. Then, as though to remind us that the long arc of Donizetti’s theatrical career includes not just eight farse, eight semiseria works, and twelve buffa works, but roughly just as many serious works (thirty-one), Wexford went on to programme over the years a group of stunning, infrequently-performed opere serie: L’assedio di Calais, Parisina, Maria di Rohan, and Maria Padilla. Icing on the cake, as it were, is certainly this season’s delightful comic offering, Gianni di Parigi revised shortly after Anna Bolena for its star tenor, Rubini, who Donizetti hoped would sing the work in Paris (see Jeremy Commons’ article on Gianni di Parigi, ‘Wit Outwitted’).

Indeed, Wexford’s choice is timely since Donizetti himself never went more than four years without composing a buffa work.

A Selective Survey of Wexford Productions How appropriate for the Festival’s first Artistic Director, Dr Tom Walsh, to stage early on two popular Donizetti comic jewels, L’elisir d’amore in 1952 and Don Pasquale in 1953. These works were the only offering of each season. What a thrill it must have been to have heard the light, attractive voice of the stylish young tenor nicola Monti, just on the brink of his stunning international career, singing nemorino the first year, then Ernesto a year later in the intimate Theatre Royal.

Donizetti’s relatively familiar comic side next appeared in 1957 with La figlia del reggimento, the less well-known Italian version of the ever-popular La fille du régiment.

Another thrill certainly must have been to hear the young Graziella Sciutti in the title role. Referred to early on as “The Callas of the Piccola Scala,” her secure vocal technique and vibrant acting certainly also embodied the ideals of a visceral Wexford production. Already Wexford audiences must have been hooked on Donizetti!

Gianni di Parigi 55

Karola Agai, Lucia di Lammermoor, 1962. Photo © Bord Fáilte & Wexford Festival Archive

A steady diet of Donizetti wouldn’t do, of course, although Don Pasquale, the most familiar and most frequently performed of all Donizetti’s operas, would soon get another airing (in 1963). Indeed Wexford’s early years led their enthusiastic audiences to expect rarities of all sorts, in keeping with Dr Walsh’s innovative policy of giving the public “not what it knew and liked but what it might come to like.” The only offering of the 1951 opening season, for example, was the modern premiere of The Rose of Castille by Irish composer Michael Balfe; Bellini’s La sonnambula (rare at the time) followed in 1954, and in the two succeeding years, Lortzing’s Der Wildschütz and Rossini’s La Cenerentola.

Thus the way was paved for interesting lesser-known comic works by Donizetti. In 1970, Wexford aptly coupled Donizetti’s one-act farsa Il giovedi grasso with an early farsa by Rossini, L’inganno felice. Soon to follow in 1973 was L’ajo nell’imbarazzo (The Embarrassed Tutor, or Don Gregorio), the twenty-six years-old Donizetti’s fifteenth work and his first opera buffa to establish itself. Its early and much-needed success encouraged him to pursue his career. With a delightfully risqué subject involving the coming of age of two female-deprived males, the work has all the freshness and verve of Rossini, yet already includes hints of Donizetti’s increasing propensity to humanise comedy with underpinnings of pathos, a trademark of the later comedies aired in Wexford’s early years, L’elisir d’amore and Don Pasquale.

56 Gianni di Parigi

During the 1950s, Maria Callas had ignited the operaloving public to the dramatic possibilities of a repertory long thought hopelessly out of date. (Arguably this was the beginning of the Donizetti “revival,” which has yet to wane.) In 1958, just one year after her famous portrayal of Anna Bolena at la Scala, Wexford offered this unfamiliar and monumental opera seria in a production led by the young Charles Mackerras, and including the likes of Fiorenza Cossotto and Plinio Clabassi in the cast. Bel canto opera was truly no longer concert in costume.

These electrifying performances were years ahead of famous ones still to come – Beverly Sills at the new York City Opera in the ’70s for example. (The Metropolitan Opera opened its 2011–2012 season with its first-ever Anna Bolena, featuring Anna netrebko who shares the role with rising star Angela Meade, who was a triumph at Wexford in 2010 in Mercadante’s Virginia.)

It was indeed with Anna Bolena, his twenty-fifth opera, written in 1830, that Donizetti would shed the comic mask so expected of him by the public. This great work also stands out as a pivotal opera in Wexford’s Donizetti productions, the first opera seria following three seasons of the more familiar comic works. Logically, Lucia di Lammermoor, the archetype of Italian Romantic opera, which catapulted Donizetti to new heights of fame and fortune, soon followed. notable was Hungarian coloratura soprano Karola Agai, known for her gripping scenes as a woman dealing with interior agonies, and the young

silvery-voiced lyric tenor Giacomo Aragall, soon to enthrall audiences in major appearances all over the world in an illustrious if somewhat under-recognised career. next in the more serious vein at Wexford came the great theatre piece Lucrezia Borgia, which marked another turning point in Italian opera, initiating the nineteenth century obsession for gory melodrama that Verdi and later verismo operas would build on, as would Donizetti himself in the later part of his career. Wexford followed suit in its later Donizetti offerings under David Agler – works like Maria Padilla (1841) and Donizetti’s penultimate work for stage, Maria di Rohan (1843). noone who heard her will soon forget Barbara Quintiliani in Wexford’s 2009 production of Maria Padilla, a reminder yet again how well the music (and art of the singer) can serve the drama. As renowned bel canto specialist and conductor Richard Bonynge once observed, “If you don’t sing his music dramatically, then you’re not performing Donizetti.” Perform Donizetti is what she did.

A few comments are also in order on other Donizetti operas that followed the ten-year hiatus between 1973 and 1983. noteworthy is the return to a Donizetti focus in 1983 with Linda di Chamounix, the only one of Donizetti’s eight semiseria works to have found a home in Wexford, in spite of a plot stretching credulity. This undeservedly neglected later work is a jewel (and I must admit, one of my own favourites). Indeed Donizetti (like Rossini) was a master of this mixed genre, with its controlled “tinta” of irony, sentiment, and comedy.

Why Donizetti?

Why this enlightened focus on Donizetti at Wexford?

The question almost answers itself. Italianate lyricism at its most poignant pierces the heart of any listener.

But “Donizettian” also implies integrity of theatrical concerns, both comic and serious, in which the musical and the theatrical have equal weight, a perfect balance for Wexford.

There has been a resurgence in the popularity of Donizetti and his operas in the recent decades of the so-called “bel canto renaissance” – including works primarily of Rossini (the architect of it all) and Donizetti (the consummate humanist, musician, and master craftsman of theatre). Wexford not only anticipated Donizetti’s rediscovery, but also helped to nurture and to invigorate it. As Donizetti has emerged from the shadows – has been reborn, as it were – Wexford Festival Opera deserves a good share of the credit.

Richard B. Beams is an opera lecturer, reviewer and the director of Opera con Brio, an opera-education programme, based in Boston, Massachusetts. Opera con Brio has just concluded a year-long study of the complete operas of Donizetti.

Also worthy of mention is the rarely staged opera seria, L’assedio de Calais, led in 1991 by internationally renowned stage director Francesca Zambello, now Artistic and General Director of Glimmerglass Opera (whose mission and approach are similar to those of Wexford). The equally neglected Parisina, another noteworthy rarity, followed. Based on a work of the same name by Byron, this bleak melodrama, set in Renaissance Ferrara, revolves around the archetypical plot of a heroine’s suffering and her husband’s furious jealousy. One musicologist has rightly labeled the work “more a psychological novel in music than a theatrical opera,” an apt work, it would seem, for the intimate Wexford stage. Alexandrine Pendatchanske, a Bulgarian soprano especially adept at portraying passionate ladies, took the lead opposite seasoned Italian baritone Roberto Serville. According to William Ashbrook, it was Donizetti’s own favourite among all his operas.

Eglise Gutierrez and Yeghishe Manucharyan, Maria di Rohan, 2005. Photo © Derek Speirs

Gianni di Parigi 57

SHORTWORKS

58 ShortWorks

Mad for Opera

Costume design by Kate Guinness

Saturday 22 October | Thursday 27 October | Thursday 3 November | 15:30 Whites Hotel Made possible due to the generous support of The Lord Magan of Castletown ‘In opera, a mad scene is an enactment of insanity in an opera or play. It was a popular convention of Italian and French opera in the early decades of the nineteenth century.

Mad scenes were often created as a way to offer star singers a chance to show off their abilities, although such scenes may also be very dramatic. The vocal writing is often exciting and highly demanding, requiring

Director Répétiteurs

Rosetta Cucchi Rosetta Cucchi, Carmen Santoro (3 Nov)

Set & Costume Designer

Kate Guinness

Lighting Designer

David Stuttard

Stage Manager

Aisling Fitzgerald

immense skill. Most mad scenes were composed for the soprano voice, but there are examples for the baritone and the tenor.

The convention of writing mad scenes largely died out after the bel canto era, as composers sought to inject more realism into their operas – that’s all very well, but anybody knows that opera itself is mad!’

Rosetta Cucchi, Director

Singers Daria Masiero, Soprano Zuzana Markova, Soprano Edgardo Rocha, Tenor Lucia Cirillo, Mezzo-soprano Alessandro Luongo, Baritone Alessandro Spina, Bass

Additional information on this ShortWork is available in the Daytime Programme available before each ShortWorks performance at Whites Hotel or through the Wexford Festival Opera box office.

Stephen Jeffery, Baritone

Noah Stewart and Rebecca Goulden, La Bohème, 2010. Photo © Clive Barda/Arenapal

ShortWorks 59

SHORTWORKS

Costume designs by Kate Guinness

60 ShortWorks

Double Trouble THE TELEPHONE, or L’amour à trois

Trouble in Tahiti

Comic opera in one act to a libretto by the composer.

First performed at Ethel Barrymore Theatre, New York, 18 February 1947.

Opera in one act to a libretto by the composer.

First performed at Brandeis University, Waltham, Massachusetts on 12 June 1952.

Sung in English

Sung in English

Gian Carlo Menotti (1911-2007)

Leonard Bernstein (1918-1990)

Sunday 23 October | 12:00 Saturday 29 October | Wednesday 2 November | 15:30 Monday 31 October | 11:00 | Whites Hotel Made possible due to the generous support of The Lord Magan of Castletown ‘Double Trouble’ – ‘Trouble and Strife’ – Wife. Marital relationships are at the heart of these two one-act operas, which ‘look at love from both sides now’. In The Telephone the primary emotion is the hopeful anticipation and optimism of love before marriage, whereas in Trouble in Tahiti hope and optimism have died in the marriage.

But even in The Telephone love is affected by other emotions. The young man, Ben, on fire to propose to his girlfriend Lucy, is frustrated by her constantly talking to people on the telephone instead of giving him her attention while he proposes to her. Eventually, learning the lesson that many men have to learn sooner or later, he succeeds when he enters her world and speaks to her on the telephone.

Menotti composed The Telephone in 1945 as a contrasting curtain raiser to his tragic opera The Medium, his first great success, which received 212 performances during its first Broadway production in 1947.

Bernstein wrote the libretto and music for Trouble in Tahiti (1951) in the everyday speech of people like his characters, Sam and Dinah, a young married couple who live with their son in a suburb in 1950s America, and he said that the musical roots of the opera lay in American musical theatre.

Through seven scenes Bernstein tells the poignant story of one day in the lives of Sam and Dinah, a couple who are drifting apart. They are both lonely and long for love, but are unable to communicate this to each other. Bernstein may have based his story on his parents’ unhappy marriage.

The Telephone Music Director

Adam Burnette

Director

Michael Shell

Set & Costume Designer

Kate Guinness

Lighting Designer

David Stuttard

Stage Manager Dancers

Charlotte McBrearty Michael Cooney, Michael Doyle, Lorcan O’Neill

Additional information on this ShortWork is available in the Daytime Programme available before each ShortWorks performance at Whites Hotel or through the Wexford Festival Opera box office.

Lucy Ben

Laurie Ashworth Byron Jackson

Trouble in Tahiti Sam

Toby Girling

Dinah

Martha Bredin

1st Trio Member

Hannah Sawle

2nd Trio Member

Christopher Carroll

3rd Trio Member

Jamie Rock

ShortWorks 61

SHORTWORKS

Costume design by Kate Guinness

62 ShortWorks

Gianni Schicchi gianni schicchi Comic opera in one act to a libretto

by G. Forzano, developed from Canto XXX of ‘Hell’, part I of The Divine Comedy by Dante Alighieri.

First performed on 14 December 1918 at the Metropolitan Opera, NewYork.

Sung in Italian

Giacomo Puccini (1858-1924) Wednesday 26 October | Friday 28 October | Friday 4 November | 15:30 Sunday 30 October | 12:00 | Whites Hotel Made possible due to the generous support of The Lord Magan of Castletown

As the plot for a comic opera, the story of Gianni Schicchi is irresistible. Audiences and critics loved it from the outset, and although Puccini felt strongly that the three operas of Il trittico should be performed together in the same evening, as a triptych, eventually he had to give his consent to separate performances. The other two works, the melodramatic tragedy Il tabarro (‘The Cloak’) and the solemn all-female religious Suor Angelica, have never achieved the popularity of the comedy about the lawyer who impersonates a dead man and writes his will. Gianni Schicchi does this to enable the dead man’s relatives to inherit what they feel should be theirs. But he outsmarts them by saying that the bulk of the estate should go to ‘his dear friend Gianni Schicchi’! There is nothing that the relatives can do about it as they are now complicit in the fraud, and so Gianni’s daughter is able to marry the man she loves, for her father has become a wealthy man.

Music Director

Andrea Grant

Director

Roberto Recchia

Set & Costume Designer

Kate Guinness

Lighting Designer

David Stuttard

Stage Manager

Aisling Fitzgerald

Gianni Schicchi

Alessandro Luongo

Lauretta

Marcella Walsh

Simone

Alessandro Spina

Zita

Alexandra Cassidy

Rinuccio

Ugo Kim

Gherardo

Daniel Joy

Nella Gherardino

Sarah Power Francesca Romana Saracino

Betto di Signa Marco La Ciesca Maestro Spinelloccio Ser Amantio di Nicolao Pinellino Guccio

Additional information on this ShortWork is available in the Daytime Programme available before each ShortWorks performance at Whites Hotel or through the Wexford Festival Opera box office.

Marcin Gesla Stephen Jeffery Eleanor Jean Greenwood Ricardo Panela Koji Terada Thomas Faulkner Piran Legg

ShortWorks 63

CONCERTS, RECITALS, LECTURES

64 Concerts, Recitals, Lectures

Schubert & Variations

JeROMe HyNeS THeATRe

Der Tod und das Mädchen D.531

Saturday 22 October 11:00

Alexandra Cassidy (Mezzo-soprano), Adam Burnette (Piano)

Ticket €20

String Quartet in D Minor D.810, Der Tod und das Mädchen (‘Death and the Maiden’)

Second movement: Andante con moto Fionnuala Hunt, Andrew Harvey (Violins), Robin Panter (Viola), Robert Truman (Cello)

Trockne Blumen D.795/18 from Die schöne Müllerin Carlos Nogueira (Tenor), Adam Burnette (Piano)

introduction and variations D.802 (on Trockne Blumen from Die schöne Müllerin) for flute and piano FRANZ SCHuBeRT

Ríona O’Duinnín (Flute), Adam Burnette (Piano)

(1797-1828)

PHOTO © GER LAWLOR

Die Forelle D.550

Carlos Nogueira (Tenor), Adam Burnette (Piano)

Piano Quintet in A major D.667, Die Forelle (‘The Trout’) Sponsored by:

Fourth movement: Andantino – Allegretto Adam Burnette (Piano), Fionnuala Hunt (Violin), Robin Panter (Viola), Robert Truman (Cello), Joe Csibi (Double Bass)

Concerts, Recitals & Lectures 65

Lunchtime Recitals

PHOTO Š GER LAWLOR

Principal singers from the Festival Company make solo appearances in nine lunchtime recitals. Each performance lasts approximately fifty minutes.

The schedule of singers is posted at the Opera House Box Office and the Announcement Board outside St Iberius church.

ST iBeRiuS CHuRCH 13:05 Wednesday 26, Thursday 27, Friday 28, Saturday 29, Monday 31 October Wednesday 2, Thursday 3, Friday 4 & Saturday 5 november Ticket â‚Ź15

Sponsored by:

66 Concerts, Recitals & Lectures

Gala Concert

PHOTO © PAT REDMOnD

WexFORD OPeRA HOuSe Wednesday 26 October 20:00 Tickets €50–€60

The Gala Concert is one of the highlights of the Wexford Festival Opera diary. It features a collection of party pieces from members of the Festival Company and is a unique opportunity to see and hear the stars of the opera stage display some of their many other – sometimes surprising – talents.

The annual Gala Concert is a grand tradition of Wexford Festival Opera.

Singers donate their services for the occasion and all proceeds go towards supporting the development of Wexford Festival Opera.

Concerts, Recitals & Lectures 67

Brass Concert

PHOTO © GER LAWLOR

MeMBeRS OF THe ORCHeSTRA OF WexFORD FeSTiVAL OPeRA Director: Dan Newell

CHuRCH OF THe iMMACuLATe CONCePTiON, ROWe STReeT

William Byrd (c. 1540-1623) arr. elgar Howarth

Friday 28 October 11:00

The Earl of Oxford’s March J.S. Bach (1685-1750) arr. Christopher Mowat

Brandenburg Concerto no. 3 in G, BWV 1048

Friday 4 november 11:00 Ticket €20

Arr. Peter Reeve

A Selection of Old French Dances Georges Bizet (1838-1875) arr. Roger Harvey

Suite from Carmen Arr. P.J. Lawrence

Medley of hits by Queen Trumpets Horn Trombones Tuba

Dan newell, Rick Cowen, David Collins, niall O’Sullivan nick Wolmark Michael Lloyd, Michael Marshall, Jonathan Clifford, Paul Frost Michael Levis

68 Concerts, Recitals & Lectures

Sponsored by:

Dr Tom Walsh Lecture

PHOTO: WEXFORD FESTIVAL OPERA ARCHIVE

JeROMe HyNeS THeATRe Saturday 29 October 11:00 Brian Dickie, Lecturer Ticket €10

Wexford Festival Opera celebrates two significant anniversaries in 2011: the sixtieth anniversary of the founding of the Festival and the centenary of the birth of Dr Tom Walsh (1911-1988), who was one of the moving spirits behind the founding of the Festival and its first Artistic Director (1951–1966). A passionate opera lover, in 1950 he set up the Wexford Opera Study Circle and invited Sir Compton Mackenzie to give the inaugural address. Mackenzie suggested that they put on an opera themselves, and so an operatic legend was born. The Dr Tom Walsh Lecture is presented by Wexford Festival Opera to honour the memory of ‘Dr Tom’.

This year’s lecture will be given by Brian Dickie, a former Artistic Director of Wexford Festival Opera (1967–1973) who succeeded Dr Tom Walsh. Brian Dickie was General Administrator of Glyndebourne Festival Opera until 1989 before becoming General Director of the Canadian Opera Company, a post he held for five years. In 1999 he was appointed General Director of Chicago Opera Theater, a position he has held with great distinction and from which he steps down in 2013.

Kindly supported by Victoria Walsh-Hamer

BRiAN DiCKie

Lecturer

Concerts, Recitals & Lectures 69

Orchestral Concert

PHOTO © PAT REDMOnD

THe ORCHeSTRA OF WexFORD FeSTiVAL OPeRA Conductor: Carlos izcaray

CHuRCH OF THe iMMACuLATe CONCePTiON, ROWe STReeT

Osvaldo Golijov (b. 1960)

Sunday 30 October 15:30

Last Round

Ticket €20

Ludwig van Beethoven (1770-1827)

Romance no. 2 in F major for Violin and Orchestra, Op. 50 Fionnuala Hunt, (Violin)

Ludwig van Beethoven (1770-1827)

Symphony no. 2 in D major, Op. 36

Additional information on this Concert is available in the Daytime Programme available before the performance at Rowe Street Church or through the Wexford Festival Opera box office.

70 Concerts, Recitals & Lectures

Sponsored by:

Choral Concert

PHOTO © GER LAWLOR

CHuRCH OF THe iMMACuLATe CONCePTiON, ROWe STReeT Saturday 5 november 15:30 Ticket €25

ein deutsches Requiem Op. 45 Sarah Power (Soprano) Koji Terada (Baritone) Chorus of Wexford Festival Opera Andrea Grant (Piano) Adam Burnette (Piano) Conductor: Gavin Carr Sung in German

The new Chorus of Wexford Festival Opera will be conducted by their Chorus Master, Gavin Carr, in a performance of Brahms’s Ein deutsches Requiem in the version arranged by Brahms for two pianos.

JOHANNeS BRAHMS

(1833-1897)

Additional information on this Concert is available in the Daytime Programme available before the performance at Rowe Street Church or through the Wexford Festival Opera box office.

Concerts, Recitals & Lectures 71

Artist Biographies 72 Biographies

Stephen Barlow Director

Rafał Bartminski Tenor

La Cour de Célimène

Maria

Born in Australia, he studied music and drama at Melbourne University.

His productions include Hansel and Gretel and Tosca (Opera Holland Park), La traviata (Singapore Lyric Opera), Dovetails (Glyndebourne Jerwood Studio), Carmen (Riverside Opera), Schubert’s Alfonso and Estrella (UC Opera) and Elegies for Angels (Chelsea Theatre). He has staged revivals of Tosca and Madama Butterfly (Royal Opera), Otello (Glyndebourne) and La rondine (Opera Monte Carlo, San Francisco Opera). With Jonathan Kent he has worked on Tosca (Royal Opera), The Turn of the Screw (Glyndebourne) and Elektra (Mariinsky Theatre, St Petersburg), and was Associate Director on Kent’s production of Marguerite (Haymarket). Recent opera engagements include new productions of Don Giovanni and Fantastic Mr Fox (Opera Holland Park), La bohème (British Youth Opera), reviving La rondine (Metropolitan Opera, New York) and a new production of Les Dialogues des Carmélites (Guildhall School of Music and Drama).

He made his operatic début as Lensky in Eugene Onegin at the Teatr Wielki in 2002. Since then he has sung regularly with Polish National Opera in Warsaw and with Opera Wrocławska. Tours with Polish National Opera took him to London, Vilnius, Spain, Austria, Germany and Switzerland. In 2009 he made his début at the Bolshoi Theatre in Moscow (Drum-Major in Wozzeck).

In the 2010/11 season, he sang Don Ottavio (Don Giovanni) and Shepherd (Król Roger) in Wrocław; Stefan (Straszny Dwór), Pinkerton (Madama Butterfly) and Tamino (The Magic Flute) in Warsaw; DrumMajor (Wozzeck) at the Bolshoi Theatre in Moscow.

He has sung in concerts with the leading Polish orchestras, and abroad with the Symphonieorchester des Bayerischen Rundfunks conducted by Mariss Jansons, the Spanish Radio Orchestra conducted

by Hannu Lintu, and the MDRSinfonieorchester conducted by Krzysztof Penderecki. Future projects include Jontek (Halka) with Marc Minkowski and Walter in The Passenger in Warsaw.

Valeria Donata Bettella Costume Designer

Luigi Boccia Tenor

Claudia Boyle Soprano

Gianni di Parigi

La Cour de Célimène

La Cour de Célimène

Based in Milan, Valeria Donata Bettella received her degree in Fine Arts at Venice Accademia di Belle Arti in 2007, then studied costume at the Accademia Teatro alla Scala of Milan. During her student years she collaborated as set and costume designer for several institutions and events; among others, she realised the sketches and puppet figures of Baldassare Galuppi’s Il mondo della luna based on Goldoni’s libretto directed by Gabbris Ferrari for the Venice Biennale 2006.

Tenor Luigi Boccia is in his second year as a resident artist at the famed Academy of Vocal Arts (AVA) in Philadelphia, where he was featured last season as Don Ottavio in Don Giovanni. The tenor from Serino, Italy graduated cum laude with a Master’s Degree in Musicology from the University of Pavia, but his natural tenor voice brought him to the attention of Gianni Raimondi and Carlo Bergonzi who encouraged him to pursue singing.

Irish soprano Claudia Boyle has recently returned from the Salzburg Opera Festival where she understudied the role of Lulu and participated in the prestigious Young Singers Project.

As costume designer she has collaborated with director Federico Grazzini for the theatre company Expoi at Piccolo Teatro of Milan (2008) and to the mise-en-scène of Verdi’s Rigoletto (Pocket Opera, Como Teatro Sociale, 2009). Other recent collaborations include Donizetti’s Gianni di Parigi for the 34th Festival della Valle d’Itria Festival (2010) and Nabuccolo – Opera Kid (Como Teatro Sociale, 2011), both directed by Federico Grazzini.

She is currently engaged in the realisation of costumes for Il Barbiere di Siviglia for Como Teatro Sociale.

He has since won top prizes in the Giulio Gari Competition, the Licia Albanese/Puccini Foundation Competition, the Gerda Lissner International Singing Competition, the Violetta DuPont Competition and the L. Zachary National Vocal Competition.

He has sung Rinuccio in Gianni Schicchi with Opera Tampa, Alfredo in Verdi’s La Traviata with the Estate Lirica Festival in Sicily and Mozart’s Coronation Mass in Carnegie Hall. This season he will sing his first Nemorino in L’elisir d’amore with AVA. Sponsored by Thomas Moore Tavern

Following the Salzburg Festival Claudia sang the role of Konstanze (Die Entführung aus dem Serail) at the Teatro dell’Opera in Rome. She was cast by renowned conductor Riccardo Muti and understudied the role of Inez (I due Figaro) at the Whitsun Festival in Salzburg and then at the Ravenna Festival in Italy in June. Next year she will perform the role at the Teatro Real de Madrid.

Roles include Violetta (La Traviata), Norina (Don Pasquale), Adina (L’Elisir d’Amore), Konstanze (Die Entführung aus dem Serail), Donna Anna (Don Giovanni), Musetta (La bohème), Micaëla (Carmen) and Sandrina (La Finta Giardiniera).

Claudia makes her début at the Wexford Festival this year singing the role of La Comtesse (La Cour de Célimène). Future engagements include Cunegonde (Candide) at the Teatro dell’Opera in Rome.

Sponsored by Soroptimist International Wexford

Biographies 73

Adam Burnette Répétiteur/Assistant Conductor

Gavin Carr Chorus Master

Maria

Adam Burnette is a conductor and pianist from Chatsworth, Georgia. He has conducted the National Symphony Orchestra at the Kennedy Center and the Wexford Festival Orchestra in Ireland. As a finalist for assistant conductor, he conducted the Seattle Symphony Orchestra. He has also conducted two operatic productions at the Banff Centre in Banff, Alberta and a double bill production at Dalhousie University in Halifax, Nova Scotia.

As a pianist he tours and has recorded with Grammy Awardwinning soprano, Sylvia McNair.

He has also given recitals with internationally-renowned baroque violinist Monica Huggett and British tenor, Adrian Thompson. In 2009 he made his European concert début at the Wexford Festival Opera in Ireland playing a chamber music concert and art song recitals. He has been a coach on the music staff at the Wexford Festival Opera and Opera Theatre of Saint Louis.

Forthcoming engagements include conducting orchestral concerts and a new production of Sweeney Todd in Halifax, Nova Scotia.

Lucia Cirillo Mezzo-soprano Gianni di Parigi

Born in England of Irish, Scottish and Australian extraction, Gavin Carr was a choral scholar at King’s College, Cambridge, before commencing an international career as a baritone. Turning his hand to conducting in 2001, he quickly established a strong reputation, particularly in the field of choral conducting. At Wexford Festival Opera in 2006 Gavin was the Assistant Conductor and Chorus Master for Don Gregorio (Donizetti) and the Assistant Conductor for Transformations (Susa). In 2007 he made his operatic conducting début at Wexford in the ShortWorks production of La tragédie de Carmen, which was nominated for ‘Best Opera Production’ in the Irish Times Theatre Awards that year.

He is increasingly in demand as a chorus master: recent appointments include the Bristol Bach Choir, Bournemouth Symphony Chorus and the Philharmonia Chorus. In 2007 he founded and conducts the critically-acclaimed choir, Chorus Angelorum. Their highly-praised CD of Paul Carr’s Requiem for an Angel, with Bath Philharmonia, was released in 2010.

Lucia Cirillo originally studied classical guitar, graduating with the highest honours from the Conservatorio di Musica di Trento before studying at the Academia Chigiana di Siena and Musik Akademie der Stadt Basel with Oscar Ghiglia, winning the Concours Franco-Italien de Musique de Paris. She then decided to dedicate herself to lyric singing, studying at the Conservatorio di Musica de Piacenza and gaining her performers diploma.

Lucia has won a number of high profile European competitions, and made her operatic début at the Circuito Lirico Toscano in II Cappella di Paglia di Firenze as the Baronessa di Champigny, followed by the title role in La Belle Hélène. She has performed on opera stages throughout Italy and at Glyndebourne, Paris, Amsterdam and Madrid.

In addition to her busy operatic career Lucia also works with leading European Baroque orchestras. Her concert performances include lieder, as well as the Baroque and Classical bel canto operatic repertoire.

Sponsored by Mark and Esther Villamar

74 Biographies

Brian Dickie Lecturer

Paul Edwards Designer

Claire Egan Soprano

Dr Tom Walsh Lecture

La Cour de Célimène

La Cour de Célimène

Born in England, Brian Dickie began his opera career when he joined Glyndebourne Festival Opera in 1962 as an administrative assistant. He was Artistic Director of Wexford Festival from 1967 to 1973 and simultaneously the first Administrator of Glyndebourne Touring Opera. From 1981 to 1988 he was General Administrator of Glyndebourne Festival Opera.

Born in Australia, Paul studied at The Royal Academy of Dramatic Art in London. His recent opera designs include:

New Zealand-born soprano Claire Egan is part of the English National Opera’s 2010-11 Opera Works artists’ programme. In 2011 she has performed the roles of Gilda (Rigoletto) (Opera A La Carte, UK/Luxembourg), Donna Anna (Don Giovanni) (Opera Up Close, Soho Theatre, London), Donna Anna (Woodhouse Music Festival, UK). Other roles include Carolina (Il Matrimonio Segreto) (Festival Opera Barga, Italy), Pamina (Die Zauberflöte), the title role of Suor Angelica and Anna Reich (Die Lustigen Weiber von Windsor) in Australia. Claire was the 2010 winner of the 28th Premio Lirico Internazionale Piero Boni competition in Italy, a Solti-Te Kanawa Accademia scholar, and a 2008 McDonalds Aria finalist, performing at the Sydney Opera House. Claire trained at the Cardiff International Academy of Voice with Dennis O’Neill, and in 2012 will perform the roles of Olympia, Giulietta and Antonia in Les contes d’Hoffmann (Opera A La Carte), and Königin der Nacht (Die Zauberflöte) (Bermuda Festival).

Brian held the post of General Director of the Canadian Opera Company from 1989 to 1993 and from 1994 to 1997 was Artistic Adviser to the Opéra de Nice and Adviser to the International Youth Foundation during the formation of the European Union Opera.

He has been General Director of Chicago Opera Theater (COT) since 1999, a post he steps down from this year. Under his leadership COT has become a company of international renown, and in 2000 his first season was met with such acclaim that the Chicago Tribune named him ‘Chicagoan of the Year’, an honour that was repeated in 2002.

The Magic Flute (Opera Hong Kong, Norwegian Opera and National Centre for the Performing Arts of China), Die Verkaufte Braut (Darmstadt Staatstheater), Otello (Welsh National Opera, Canadian Opera), Tosca (Mariinsky Theatre, St Petersburg), Lucia di Lammermoor (Opernhaus Halle), Cherubin (Teatro Lirico di Cagliari), Eva and Jacobín (Wexford Festival Opera; Jacobín was nominated for an Irish Theatre Award for set and costume design), The Pearl Fishers (Kazan Opera, Den Haag Opera), Orfeo ed Euridice (Teatro Calderon de la Barca, Opera National du Rhin), Il Mondo della Luna and L’Italiana in Algieri (Garsington Opera), Little Magic Flute, The Bartered Bride, Die Zauberflöte and Orfeo ed Euridice (New Israeli Opera), The Marriage of Figaro (Dublin Grand Opera Society), La Finta Semplice (Nice and Paris), The Secret Marriage (Paris) and The Valkyries (Caracas).

Paul also regularly designs for theatre and dance productions.

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Thomas Faulkner Tenor

Jack Furness Assistant Director

Marcin Gesla Bass

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Thomas attended Cambridge University, and has recently finished studying at the Royal Academy of Music. Recent roles have included Bartolo (Nozze di Figaro) for British Youth Opera, and Second Armed Man (The Magic Flute) for Garsington Opera. He has performed with Royal Academy Opera, UCOpera and has had leading roles in contemporary operas as well as numerous scenes.

Jack Furness is the founder and artistic director of Shadwell Opera, for which he has directed Così fan tutte, The Magic Flute, A Midsummer Night’s Dream and Siren Song. In May Jack directed I Found My Horn (Jasper Rees and Jonathan Guy Lewis) at the ADC theatre in Cambridge. His production of Albert Herring for Shadwell Opera toured the UK in the summer, including an acclaimed performance at Opera Holland Park. He has assisted Michael Gieleta on Smetana’s Hubička at Wexford Festival Opera and Coward’s Bitter Sweet at the Bard Summerscape Festival in New York, and John Ramster on the Royal Academy of Music Opera Scenes. Future plans include an observership at the Royal Opera House in November and December for Graham Vick’s Die Meistersinger, and Britten’s Turn of the Screw for Shadwell Opera in February. Jack graduated with a double first in music from Cambridge University last summer.

Polish bass, Marcin Gesla, started his singing education at the Academy of Music in Bydgoszcz with Marek Mozdzierz where he completed his Master degree in vocal studies in 2006. The same year he was awarded a scholarship to attend the Royal Academy of Music, where in 2009 he completed the Postgraduate Opera Course with Distinction, studying with Mark Wildman and Ingrid Surgenor.

He is busy as a concert soloist in a wide repertoire, from early baroque German motets to Puccini and Britten. He has sung in the Spitalfields and Bregenz Festivals, St John’s Smith Square, many of England’s Cathedrals, and appeared in the RAM / Kohn foundation Bach cantata series and on BBC radio.

His recital repertoire includes cycles

by Beethoven, Schumann, and Brahms, songs by Liszt, Schubert, Wolf, Mahler and Mussorgsky, and works by Rameau, Bach, Biber, Schütz and Tunder. He is a member of The Countess of Munster Recital scheme.

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He has sung in Poland, Germany and England for several companies, including Glyndebourne Opera Festival, Opera North, Longborough Festival Opera, Garsington Opera, Heritage Opera, Mahogany Opera, Merry Opera, Soho Theatre, Schwerin Opera Festival and Opera Nova. Marcin’s oratorio repertoire includes bass parts in Mozart’s Requiem and in Messiah. He was a member of Baroque ensemble Illo Tempore.

Marcin is the 2007/8 winner of the Edna Seabright Memorial Award, 2007 Mario Lanza Educational Foundation Scholarship and Dr Kohn Award.

Michael Gieleta Director

Andrzej Goulding Video / Projection Designer

Andrea Grant Répétiteur

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Michael Gieleta directed Hubička for Wexford last year. Recent credits include Noel Coward’s Bitter Sweet (Bard Summerscape), Peter Nichols’ Lingua Franca (London and Britsoff-Broadway), Tom Stoppard’s Artist Descending the Staircase (London) and Manon (Cape Town Opera). He read English at Oxford University and trained at the National Theatre Studio. Associate Director credits include work at the RSC, Glyndebourne, Chichester, the Royal Opera House and projects with Franco Zeffirelli in the West End. He is the Artistic Director of the Cherub Theatre Company and an associate director of Shakespeare School at the Royal Academy of Dramatic Art.

Andrzej trained in set and costume design on the Theatre Design course at Central Saint Martins in London.

Andrea Grant is a full time member of the music staff of the University of Toronto’s Opera Division, and a faculty member of the Banff Centre’s ‘Opera as Theatre’ programme, in Banff, Alberta, Canada. She is very happy to be returning to the Wexford Festival. She is active as a freelance collaborative pianist, and enjoys a variety of experiences encompassing recitals, masterclasses, opera and music theatre. She has been heard in recital on CBC and BBC radio, and performed a lieder recital with Canadian soprano, Simone Osborne in the 2010 Hong Kong International Arts Festival. Andrea has been involved in the development and production of several new works with various North American companies, and works regularly with Opera Atelier, Canada’s Baroque Theatre Company. After completing a Master of Music degree in Collaborative Piano from the University of Western Ontario, Andrea then received a Diploma in Operatic Performance at the University of Toronto.

His forthcoming plans include: The Kiss (Opera St Louis), Maria (Krakow Opera), The Magic Flute (Chicago Opera Theater) and the plays His Greatness (Trafalgar Studios, London) and Tosca’s Kiss (Broadway, NY).

Video designs include: Orlando (Glasgow Opera House, Festival Theatre Edinburgh), Enlightenment (Hampstead Theatre), Fried Rice Paradise (Esplanade Theatre, Singapore), The Last Witch (Royal Lyceum Theatre, Edinburgh), The Pros, The Cons and a Screw (Derby Theatre), The Snow Queen (Derby Theatre), Pinnochio (Royal and Derngate), Speed the Plow (Old Vic Theatre), Street Scene (Young Vic, Tour), Varjak Paw (Linbury Studio, Tour), Wizard of Oz (Royal and Derngate).

Animation Work: Ghost the Musical (Manchester, London), Love Never Dies (Adelphi Theatre), The Wizard of Oz (London Palladium), Alice in Wonderland (ROH, London).

Assistant / Associate set design includes: Ghost the Musical (Manchester, London, NY), Matilda the Musical (Courtyard Theatre, Cambridge Theatre), Lord of The Rings (Toronto, London).

Following Maria, Andrzej will be designing video for a new opera Silent Night for Minnesota Opera.

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Federico Grazzini Director

Eleanor Jean Greenwood Mezzo-soprano

Gianni di Parigi

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Federico Grazzini made his acting début in 1993 in Le Baruffe Chiozzotte directed by G. Strehler and since 1996 he has taken part in various workshops and theatrical events.

Lyric mezzo-soprano Eleanor Greenwood graduated from the Opera School at the Royal Academy of Music in London. She has performed the roles of Hänsel in Hänsel und Gretel under the baton of Sian Edwards, Endimione in La Calisto, the Wife in Cheryomushki, Zerlina in Don Giovanni, Orlofksy in Die Fledermaus under the baton of Shuya Okatsu, Mrs Fairfax in Jane Eyre by Michael Berkeley (Australian Premiere) and L’Enfant in L’Enfant et les Sortilèges. Most recently she made her role début as Rosina in Il barbiere di Siviglia and performed roles in The Cunning Little Vixen for the 2011 Ryedale Festival. Her concert work includes the mezzo solo in Beethoven’s 9th Symphony as well as the alto solos in Handel’s Messiah, Vivaldi’s Gloria, Pergolesi’s Stabat Mater, JS Bach’s Mass in B Minor, Mozart’s Solemn Vespers as well as Mozart’s music written for a play – Thamos, King of Egypt.

In 2004 he attended a course on lighting techniques at the School of the Teatro Comunale in Florence. In 2006 he took part in a masterclass in directing and textual analysis at the Shukinskaya Institute of Dramatic Art in Moscow and in 2008 he obtained a director’s diploma from the Paolo Grassi School of Dramatic Art in Milan.

Since 2004 he has worked as a director and lighting designer in various major Italian theatres and opera houses.

Grazzini is a founder of the Expoi Teatro theatre company and since 2008 has been their director and light designer. His recent engagements have included directing and lighting design for the Pocket Opera production of Rigoletto at the Teatro Sociale in Como and directing Gianni di Parigi by Donizetti at the Festival della Valle d’Itria in 2010 in Martina Franca.

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Janet Haney Chorus Répétiteur

Janet Haney was born in Dudley and graduated from the Birmingham School of Music and the Guildhall School of Music and Drama.

Recognised as an accomplished accompanist, Janet has performed at many of Britain’s festivals and concert halls. She has given recitals in Russia, Qatar, New York, New Zealand and Reykjavik, and has recently performed with the Opera Babes and with Dame Kiri Te Kanawa.

In Britain her operatic experience includes work at the Royal Opera House, English Touring Opera, Harvey Goldsmith Productions, European Chamber Opera, Welsh National Opera, Travelling Opera, Opera Project, Longborough Festival Opera and Opera Holland Park. She has also worked on opera productions in South Africa, Iceland, Japan and the Philippines.

Janet is associated with Dennis O’Neill at the Cardiff International Academy of Voice, the Kiri Te Kanawa Foundation, Trinity College Summer School and the Birmingham Conservatoire of Music. She is Music Director of the Gwalia Welsh Male choir and the Jubilate Choir.

Brenda Hurley Répétiteur

Carlos Izcaray Conductor

Byron Jackson Baritone

La Cour de Célimène

La Cour de Célimène

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Dublin-born Brenda Hurley is one of the leading coaches/répétiteurs of her generation. She studied at the RIAM, Trinity College Dublin, Die Staatliche Hochschule für Musik Frieburg and the National Opera Studio London. She has worked in many leading opera houses and festivals, including the Metropolitan Opera, Salzburg Festival, Glyndebourne Festival, Paris Opera, Amsterdam Opera, Teatro Massimo di Palermo, English National Opera, Scottish Opera and Opera North. She has worked closely with conductors Valery Gergiev, Simon Rattle and Yannick NezetSeguin. She coaches young singers’ training programmes in Covent Garden, Amsterdam, Tokyo and the National Opera Studio London. She was Head Coach for the Salzburg Young Singers Project in 2008 and coaches there every summer. She is the Vocal Consultant of Opera Theatre Company’s Young Associate Artists Programme, where she coaches and mentors many young Irish singers. Recently she returned to live in Dublin and joined the teaching staff of the RIAM.

Spanish-Venezuelan Carlos Izcaray conducted his European opera début at the Wexford Festival Opera 2010, receiving praise from the international press and winning the Best Opera prize at the Irish Times Theatre Awards.

This season includes his return to Wexford leading La Cour de Célimène, and his American opera début at the Opera Theatre of Saint Louis, where he will conduct the St Louis Symphony Orchestra in a production of Carmen. He will also lead numerous performances with the Colombian National Symphony, as well as presentations with European orchestras in Portugal, Sweden, and the UK. He makes his London debut at the Barbican in January 2012. Mr Izcaray has conducted in Switzerland, Italy, Brazil, Argentina, Colombia, Venezuela, and the USA, where he won the first James Conlon Conducting Prize in the history of the Aspen Music Festival. He was also Finalist and Laureate at the 2008 Toscanini Competition.

Born in Birmingham, Byron studied at the Birmingham Conservatoire, supported by the William A. Cadbury Trust. In 2007 he made his operatic début as Rangwan in Delius’ Koanga at Sadlers Wells.

Since then Byron has sung in many prestigious venues in the UK and Europe, including Monmouth Festival and Buxton Festival Opera, the Royal Opera House, Royal Albert Hall, Opéra de Lyon in France, the Teatro dei Rozzi in Italy. He has appeared in world premieres such as the Royal Opera House productions of Anna Nicole, conducted by Antonio Pappano, and Bird of Night.

Recent roles include First Priest in Magic Flute (Garsington Opera), Montano in Otello (Birmingham Opera Company), which was broadcast by the BBC in February 2011, and Leporello in Don Giovanni (Longborough Festival Opera) in June 2010.

On the concert platform he has appeared as soloist in works such as Handel’s Messiah, Requiems by Mozart, Stanford and Verdi, and Bach’s St John Passion.

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Daniel Joy Tenor

Adam Kruszewski Baritone

Alessandro Luongo Baritone

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Daniel studied music at Durham University where he gained a first class music degree and was awarded the Eve Myra Kisch Price Prize for outstanding academic achievement, then on the postgraduate vocal course at The Royal College of Music. He has recently graduated with distinction from the opera course at Guildhall School of Music and Drama. He currently studies with Adrian Thompson and Paul Farrington.

A graduate of the Academy of Music in Warsaw (1985). Prizewinner of the International Vocal Competition in ’s-Hertogenbosch (The Netherlands, 1987), the Jan Kiepura Competition in Krynica (Poland, 1988), and the international vocal competitions in Rio de Janeiro (Brazil, 1989) and Nantes (France, 1989).

Born in Piasa in 1978, baritone Alessandro Luongo has won several international competitions and made his début in 2002 at Teatro del Giglio of Lucca (Beaupertuis in Il Cappello di paglia di Firenze by Nino Rota). He has performed many roles, with a particular preference for Mozart, Rossini and Donizetti.

Daniel has understudied roles for Glyndebourne, Garsington, Grange Park and Scottish Opera.

Roles performed include the title role in Albert Herring, Giovanni in Donizetti’s L’aseddio di Calais and Ricardo in Massenet’s Cherubin, all for GSMD, the lead role of Jimmy in John Estacio’s Lillian Ailing at The Banff Centre in a joint production with Vancouver Opera, the title role of Britten’s The Prodigal Son and Hermann in the UK premiere of Mendelssohn’s Heimkehr aus der Fremde for the Ryedale and Grimeborn Festivals, Don Jose, Tamino and Lensky (Eugene Onegin).

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After graduation he joined the Warsaw Chamber Opera where he sang the leading baritone parts in the operas of Donizetti, Mozart, and Rossini. He has been working with the Teatr Wielki – Polish National Opera since 1993, singing a wide variety of roles. He sang the vocal solo in Henryk Górecki’s Beatus Vir for Krzysztof Pastor’s original ballet And the Rain Will Pass.

In 2004 his interpretation of Iago in Verdi’s Otello won him the Hiolski Prize. In 2007 he sang the title role in Verdi’s Falstaff in a recording for Polish Radio. In 2008 he performed the title role of King Roger in Szymanowski’s opera at Annandale-on-Hudson (Baird Summer Festival, USA).

During the 2010–2011 season he performed the role of Conte di Luna in Il Trovatore at Ravenna Festival, and also performed in Cosenza, Ferrara, Jesi, Fermo and Pisa.

He played Silvio in I Pagliacci in Livorno, Modena and Bartolomeo Merelli in Risorgimento! world premiere by Lorenzo Ferrero at Teatro Comunale of Bologna and in Modena, conducted by Michele Mariotti. In his schedule are I Concerti dell’Amicizia in Ravenna, Piacenza and Nairobi, conducted

by Riccardo Muti, Gianni di Parigi (Siniscalco) in Wexford, Ernani (Carlo) in Sassari, I due Figaro by Mercadante (Figaro) in Madrid, conducted by Riccardo Muti, and Figaro in Il barbiere di Siviglia at Opera di Roma.

Zuzana Markova Soprano

Daria Masiero Soprano

James Macnamara Set Designer

Gianni di Parigi

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During her singing and composition studies she made her début at the age of sixteen performing the role of Frantisek in a new production of E.F. Burian’s Opera z Pouti at the Ostrava National Opera (Czech Republic).

Soprano Daria Masiero is regarded as one of the most important Puccinian voices in the world.

Although still very young, she has sung in many of the major theatres in Italy, France, Spain, Britain, Ireland, Japan, China and Australia.

James Macnamara is one of South Africa’s leading stage designers, and recently designed the Opening Ceremony of the FIFA World Cup in Johannesburg. James has designed sets, costumes and lighting for numerous productions in South Africa and abroad, notably in the UK, including The Buddy Holly Story, Return to the Forbidden Planet and The Fantastics. He worked as the Senior Designer at the State Theatre in Pretoria until its closure in 1996.

He received the Hanekom Bursary in 1992 for outstanding contribution to theatre and in the same year his design for Romeo and Juliet won a Vita Award as Best Design, while Return to the Forbidden Planet was awarded a regional Vita Award in 1998. Recent productions include Hubička (Wexford), Lingua Franca (London and New York), Lucia di Lammermoor, Cavalleria rusticana and I Pagliacci at the South African State Theatre, directed by Michael Gieleta.

Since 2004 she has sung lead roles at the Děhastská Opera in Prague, going on tour with them to Bayreuth, Dortmund, Bologna and Paris.

Her roles with the Ostrava National Opera included Zerlina (Don Giovanni), Melissa (T. Traetta’s Il cavaliere errante), Papagena (Die Zauberflöte), Susanna (Le nozze di Figaro), Jitka (Smetana’s Dalibor), Frasquita and Micaëla (Carmen).

She sang in a new production of Powder her Face by Thomas Adès at the Teatro Rossini in Lugo and in Bologna. In Summer 2010 she sang two concerts at the Festival della Valle d’Itria in Martina Franca. Recent and forthcoming engagements in Palermo, Bologna and Martina Franca include roles in Senso (Marco Tutino), Don Giovanni and La Cenerentola.

She has won many competitions, and was one of the five finalists in the Cardiff Singer of the World Competition in 2005. She has sung with tenors José Carreras and Plácido Domingo, and has worked with many great conductors and directors.

She has sung principal roles in Puccini’s La Bohème, Gianni Schicchi, Turandot and La Rondine; in Verdi’s Otello, La Traviata, Oberto conte di San Bonifacio and Messa da Requiem; in Carmen (Bizet), Medea (Cherubini); La Serva Padrona, Stabat Mater (Pergolesi); Stabat Mater, La Cenerentola (Rossini); Ugo Conte di Parigi (Donizetti); Orfeo ed Euridice (Gluck); Mefistofele (Boito); Don Giovanni, Le nozze di Figaro, Requiem (Mozart); I Pagliacci (Leoncavallo); L’Arlesiana (Cilea).

Biographies 81

John Molloy Bass

Fiona Murphy Soprano

La Cour de Célimène

Gianni di Parigi

John Molloy comes from Birr in Ireland, and studied at the DIT Conservatory of Music and Drama, Dublin and the Royal Northern College of Music, Manchester. In 2005 he graduated from the RNCM, receiving the college’s highest accolade for performance. He has received Awards and Bursaries from the Arts Council of Ireland, John McCormack Society of Ireland and was a major scholar of the Peter Moores Foundation from 2004–2006. He has just completed studies at the National Opera Studio in London, and future engagements include Arthur (The Lighthouse) and Figaro (Le nozze di Figaro) with Nationale Reisopera, and Masetto (Don Giovanni) with English National Opera.

Fiona Murphy, a native of Dublin, is a regular performer in concerts and opera.

John has worked with many Opera Companies in Ireland and the UK, including Opera North, Opera Ireland, Lyric Opera, Opera Theatre Company and the D’Oyly Carte Opera Company. He has also performed at the festivals of Ryedale, Mananan, the Farmleigh Proms and the Sir Malcolm Sergeant Festival in London.

Sponsored by John Small Family

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She studied at University College Dublin and subsequently at the world renowned Curtis Institute of Music, Philadelphia before becoming a young artist member of Houston Grand Opera’s Studio programme. She has performed leading roles with companies such as Chicago Opera Theater, Curtis Opera Theater, Opera Company of Philadelphia, ENO, WNO and Opera Ireland.

This season Fiona has made the transition from mezzo-soprano to the soprano repertoire, which now includes the roles of Donna Elvira, Musetta, Micaëla, Rosalinda, and Cleopatra. Recent engagements include her début as Donna Elvira in Don Giovanni at the Lismore Festival, Valencienne in The Merry Widow for Opera Project, the soprano part in Handel’s Messiah in Wexford and Dublin, a concert with the Royal Liverpool Philharmonic conducted by Carl Davis and concerts with Bryn Terfel at Grange Park Opera.

Sponsored by Sandra Mathews

Curt Pajer Head of Music Staff/ Assistant Conductor Gianni di Parigi La Cour de Célimène Curt Pajer has been Head of the Music Staff at Opera Theatre of Saint Louis since 2004, and in 2008 he was appointed to that same position at Wexford Festival Opera and Toledo Opera. He has also served on the music staff of the Santa Fe Opera, New York City Opera, Palm Beach Opera, Dallas Opera, Boston Lyric Opera, Houston Grand Opera, San Diego Opera, Opera Colorado, Baltimore Opera, and the Bard SummerScape festival. He is currently the principal opera coach at the San Francisco Conservatory and serves as a guest coach to the young artists in the San Francisco Opera Center. In 2007 he made his European début with the Czech National Theatre Opera in Prague, and served as James Conlon’s assistant with the New York Philharmonic.

Recent engagements include Die Liebe der Danae, Bard SummerScape, Dialogues des Carmélites, San Francisco Conservatory. Forthcoming: Così fan tutte, San Francisco Conservatory.

Nathalie Paulin Soprano

Alessandra Premoli Assistant Director

Edel Quinlan Choreographer

La Cour de Célimène

Gianni di Parigi

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Soprano Nathalie Paulin has established herself in the United States, Canada and Europe as an interpretive artist of the very first rank. She has collaborated with internationally renowned conductors including Sir Roger Norrington, Yannick Nézet-Séguin, Andrew Parrott, Robert Spano, David Agler, Bernard Labadie, Andrew Litton, and Antony Walker.

Critics have been lavish in their praise: The New York Times’ Steve Smith noted that Paulin “sang with rich tone and compelling emotion”, while Renaud Machart of Le Monde praised her “impeccable diction, musicality and style.” This past summer she was heard in a rare performance of Der Vampyr at Festival Lanaudière.

Born in Varese, Italy in 1984, Alessandra Premoli graduated with distinction in 2006 from the Università degli Studi in Milan, having studied Theatre, Cinema and Television Sciences under the supervision of Cesare Lievi. In 2008 she was awarded the degree of Master of Arts with distinction in Theatre Sciences and Techniques at Università IUAV (Venice), studying with Magherita Palli, Vera Marzot, Walter LeMoli. In 2008 she won a university competition and staged, under Davide Livermore’s tutoring, La virtù de’ strali d’amore (Cavalli) at Teatro Malibran in Venice, directed by Fabio Biondi. She has worked for Davide Livermore on many productions in Italy, Spain and France. This is the first time she has worked with Federico Grazzini and her first time in Wexford. In 2009 she was placed second with her team at the European competition for young directors, Opera J.

Edel Quinlan graduated in 2000 gaining a Teaching Diploma from both the Royal Academy of Dance and the Imperial Society of Teachers of Dancing and received a Distinction and High Commendation respectively.

Forthcoming engagements include Messiah with the Seattle Symphony, Rodelinda with Mercury Baroque in Houston, Fidelio with Edmonton Opera and Les Clartés de la nuit by Jacques Hétu for the National Arts Centre Orchestra. Nathalie was born and raised in New Brunswick, Canada and now makes her home in Toronto.

In her final year of study, Edel was awarded a prestigious Fulbright Scholarship to study dance and choreography in Western Michigan University, U.S.A. The Department of Education and Science also awarded her a bursary for talented students studying abroad. This allowed Edel to work with such names as Jose Limon Contemporary Dance Company, Anastatia McGloughlin of Art Art Barking Dog Dance Company, Sandra Jennings who worked and danced alongside George Balanchine.

On the homefront Edel is an experienced performer having danced for Wexford Festival Opera and Oyster Lane Theatre Group.

Edel is a long standing member of Wexford Light Opera Society and has recently choreographed their Centennial Gilbert and Sullivan show The Mikado and Hits from the Musicals.

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Declan Randall Lighting Designer

Award-winning lighting designer Declan Randall has designed lighting for over 250 productions covering theatre, opera, musicals and dance. He holds a degree in Stage Lighting Design and Arts Administration and won a scholarship to attend the Broadway Lighting Master Class (New York).

He was resident lighting designer for the Market Theatre, State Theatre Dance Company, Opera Africa and Technical Director and Production Manager for the FNB Dance Umbrella (2006–2008).

Credits: Madame Butterfly (MidWales Opera), Dialogues des Carmélites (Guildhall), Winnie The Opera (State Theatre Pretoria), The Graft and Two Women (Theatre Royal Stratford East); Porgy and Bess (Cape Town Opera’s UK Tour); High School Musical (SA Tour/ Shanghai production), Desert Moves (State of Emergency – UK Tour); Afrovibes (Netherlands/UK Tour); Re:Wind Cantata (Royal Festival Hall, Market Theatre); African Footprint (USA, Canada, South Africa, France, Israel); Foreplay (Amsterdam Festival).

He has published a book: Theatrical Lighting Design: Making the Light Fantastic.

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Edgardo Rocha Tenor

Jamie Rock Baritone

Gianni di Parigi

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Edgardo Rocha was born in 1983 in Uruguay where he gained a diploma in piano studies and graduated in choral and orchestral conducting. He studied singing and in 2004 he won first prize at the 51st Competition for Young Musicians of Uruguay. In 2006 he made his conducting début in L’Elisir d’amore

by Donizetti in Montevideo and in 2007 he won first prize at the Maria Callas International Singing Competition in Sao Paolo, Brazil and made several concert appearances.

Irish baritone Jamie Rock recently finished his studies at the prestigious Alexander Gibson Opera School at the RSAMD, studying with Stephen Robertson. He also studied at the RIAM and RAM with Irene Sandford, Kathleen Tynan and Mark Wildman. Whilst at the RSAMD he sang General Belliard in the world premiere of the original version of Prokofiev’s War and Peace, gave critically-acclaimed performances as Figaro (Le nozze di Figaro), Sid (Albert Herring), Peter (Hänsel und Gretel) and he recently covered Tarquinius in The Rape of Lucretia for British Youth Opera.

In 2008 he moved to Italy to undertake advanced studies with Salvatore Fisichella and won the Giulio Neri Competition in Siena.

He made his Italian début in the Petite Messe Solennelle by Rossini and has performed extensively in concerts and operas in Italy.

In July 2010 Edgardo appeared in Gianni di Parigi by Donizetti at the Festival della Valle d’Itria in Martini Franca and subsequently toured in La Cenerentola. He has recently sung in Don Pasquale in Florence.

Jamie’s operatic roles include Schaunard (La Bohème), Masetto (Don Giovanni), Bartly (Riders to the Sea), Aeneas (Dido and Aeneas), Prince Yamadori (Madama Butterfly) and Enrico (Il Campanello). He is also an active song recitalist and concert performer (Dublin, Edinburgh, Paris and Salzburg).

Jamie gratefully acknowledges the support of Bloxham Stockbrokers, Derek Hill Foundation, Sir James Caird Travelling Scholarship and the Arts Council.

Giacomo Sagripanti Conductor

Tiziano Santi Set Designer

Carmen Santoro Répétiteur

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Gianni di Parigi

Gianni di Parigi

After completing his studies in piano, composition and conducting with high marks he was selected and admitted to the Italian Academy of Opera at the Principal Theatre of Bologna, who permitted him to specialise in professional opera conducting and lyric vocal studies. He has taken part in numerous masterclasses, receiving unanimous praise. He has a busy and extensive career as an orchestral conductor, and has conducted numerous orchestras in Italy and abroad, including engagements in Trieste, Bologna, Genoa, Parma, Naples, Lübeck, Ljubljana, Moscow and Manchester.

Tiziano Santi trained in set design and related studies in his native Italy. He graduated from Bologna´s Academy of Fine Arts and continued his studies on courses run

by La Scala in Milan. From 1984 he was head of the staging department of Parma’s Teatro Regio. He has worked extensively in theatres and opera houses in Italy and abroad, frequently collaborating with his teacher, Ettore Rondelli, and with internationally famous directors.

His continual artistic evolution and research into new ways of scenic expression and representation have led him to develop an interest in other design areas, including theme parks and film production.

His set designs for concerts and operas throughout Europe have been highly praised. His work on Così fan tutte and Il Trittico in St Petersburg received distinguished design awards, as did his designs for five productions by director Luca Ronconi, which were commissioned by the Mayor of Turin for the Winter Olympics.

Born in Martina Franca, Italy, Carmen Santoro began studying piano at the age of seven, later studying violin and composition.

After graduating from the U.Giordano Conservatory of Music in Foggia, she continued her postgraduate piano and répétiteur studies.

In the Pergolesi celebrations at Teatro San Carlo di Napoli he recently conducted Pergolesi’s Stabat Mater. In 2010 he conducted Gianni di Parigi by Donizetti at the Festival della Valle d’Itria in Martina Franca to unanimous critical and audience acclaim.

Other recent acclaimed operatic conducting engagements in Italy include Servante Maitresse by Pergolesi and Rossini’s Cenerentola.

Forthcoming engagements include symphonic concerts in Italy, Germany, Tel Aviv and Bucharest.

From 1981 to 2000 she worked as rehearsal and stage pianist, and on-stage musical director at the Festival della Valle d’Itria in Martina Franca. She has worked as répétiteur at many theatres in Italy, as well as in Valencia, Antwerp and Vienna.

Recent invitations include Wexford, Pesaro (Rossini Opera Festival), Ravenna (Lugo Opera Festival) and Taranto (Paisiello Festival). She is active as a chamber music performer and accompanist. Since 1999 she has given masterclasses and lectures in Japan on the Italian operatic repertoire and on Baroque music.

She is a visiting professor in Bologna and Valencia, and teaches at the Conservatory of Music in Parma.

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Alessandro Spina Bass

Krzystof Szumanski Bass-baritone

Fabio Toblini Costume Designer

Gianni di Parigi

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Alessandro Spina studied singing in Milan and has sung in major opera houses throughout Italy.

He recently performed the role of Don Alfonso in Così fan tutte in Chile with the artistic ensemble of Teatro San Carlo in Naples where he has also taken part in the season’s premiere of Tosca (Angelotti). He has also performed as Abimélech in Samson et Dalila (Teatro Verdi of Triste) and Maestro Sostituto in Risorgimento!, world premiere by Lorenzo Ferrero staged in Modena and at Teatro Comunale of Bologna, conducted by Michele Mariotti.

Again under Mariotti he sang Mozart’s Requiem in Bologna. In his schedule are Amelia al Ballo by Menotti (Spoleto), Gianni di Parigi

by Donizetti in Wexford and, in 2012, La bohème (Colline) in Naples.

After his studies at the Frederic Chopin Academy of Music in Warsaw and the National Opera Studio in London, Polish bassbaritone Krzysztof Szumanski joined the Jette Parker Young Artists Programme at the Royal Opera House Covent Garden in 2006, where he appeared as Narumov (Queen of Spades), Sciarrone (Tosca) and Pietro (Simon Boccanegra). For the National Baltic Opera in Gdansk he sang Don Alfonso (Così fan tutte) and Morales (Carmen).

Fabio Toblini is based in New York City and has designed costumes for opera productions at Nationale Reisopera (Netherlands), and Landestheater (Austria), and in the USA for Gotham Chamber Opera, Portland Opera, Juilliard School and Manhattan School of Music. His theatre credits include productions of classic and new plays for prominent regional theatres in the USA, including the Old Globe, Alley Theatre, Children’s Theatre Company, American Players Theatre, Long Wharf, Guthrie, Ford’s Theatre, Goodspeed Musicals, and Studio Theatre. OffBroadway credits include the world premieres of Hedwig and the Angry Inch, Batboy the Musical, Freckleface Strawberry, and The Divine Sister.

Musical USA tours: The Creature from the Black Lagoon, Jesus Christ Superstar, Fame, Godspell. A production of the new musical Reel to Real, first produced in Beijing, was part of the 2010 Edinburgh Festival. Ballet: Ib Andersen’s Diversions and The Nutcracker, played every year at Ballet Arizona, and Romeo and Juliet for DWDT, in Houston, Texas.

In the sacred repertoire he has sung Te Deum by Britten (Milan), Requiem by Fauré, Requiem by Mozart, Christmas Oratorio by Saint-Saëns, Messa by Mercadante and Messa KV 317 by Mozart.

2008/09 included his début as Frost in Rimsky-Korsakov’s The Snow Maiden with Dimitri Jurowski at Wexford Festival, and Abner in Handel´s Athalia with the European Baroque Academy in France, Portugal and Holland. That season he joined the ensemble of the Deutsche Oper Berlin, where his repertoire includes Figaro (Le Nozze di Figaro), Alidoro (La Cenerentola), Paolo Orsini (Rienzi), Nachtwächter (Die Meistersinger), Saretzki (Eugene Onegin), Graf Dominik (Arabella), Angelotti (Tosca), Masetto (Don Giovanni) and Zuniga (Carmen).

Future plans include his début as Leporello in Don Giovanni at Teatr Wielki in Warsaw.

Sponsored by Peter and Nancy Thompson

86 Biographies

Tomasz Tokarczyk Conductor Maria

A graduate of the Academy of Music in Krakow, he studied conducting with Prof. George Katlewicz, and violin with Eve Szubry-Jargon.

He conducted premieres of works

by Polish and foreign composers, including the Festival of PolishAmerican “Write & Play”, the Festival of Contemporary Music, X and XII Days of Krakow Composers. In the 1999/2000 season he conducted the Chamber Orchestra of Tarnow. He has worked with the Warsaw Radio Orchestra, the symphony orchestras in Rzeszow, Krakow, Szczecin, Jelenia Gora and the Torun Chamber Orchestra. He has performed with outstanding artists, including Kaja Danczowska, Elizabeth Towarnicka, Jakowicz Christopher, Michael and Stefan Polscerem Stałanowskim.

As a scholar at Internationale Bachakademie Stuttgart he collaborated with Maestro Helmut Rilling at the Festival in Eugene, Oregon, USA. He won the III National Festival of Young Conductors in Bialystok (October 2002). He is currently working as musical director and conductor of the Opera at the Castle in Szczecin.

Michael Kepler Meo and Wayne Tigges, The Golden Ticket, 2010.

Photo © Clive Barda/Arenapal Biographies for artists appearing in ShortWorks and Concerts can be found in the individual works’ programme book.

Biographies 87

Orchestra of Wexford Festival Opera

PHOTO © GER LAWLOR

1ST ViOLiNS

DOuBLe BASSeS

TROMBONeS

Fionnuala Hunt, Leader Thérèse Timoney, Leader Anita Vedres, Co-principal Karl Sweeney Lynda O’Connor David O’Leary Roisín Walters Feilimidh nunan Angelica Mihalache Katie O’Connor Magda Kowalska

Joe Csibi, Principal Maeve Sheil Paul Stephens

Michael Lloyd, Principal Michael Marshall Paul Frost, Principal

2ND ViOLiNS

Andrew Harvey, Principal Paul O’Hanlon, Co-principal Justyna Dabek-Liebig Rachel Grimes Maria Ryan Robert Mahon Rachael Du Tom Crowley ViOLAS

Robin Panter, Principal Triona Milne Carla Vedres Margaret Lynch Lucy nolan niamh Roche

FLuTeS

TuBA

Ríona O’Duinnín, Principal Marie Comiskey, Principal Vourneen Ryan

Michael Levis, Principal TiMPANi

noel Eccles, Principal OBOeS

Matthew Manning, Principal Emmet Byrne, Principal Ruby Ashley, Principal

PeRCuSSiON

Bernard Reilly, Principal Chris Stynes Caitríona Frost

CLARiNeTS

Tom Lessels, Principal Conor Sheil Suzanne Brennan, Principal

Dianne Marshall, Principal Aisling Ennis

BASSOONS

KeyBOARDS

Paul Boyes, Principal Cliona Warren John Hearne

Carmen Santoro

HARPS

ORCHeSTRA MANAGeR

Caitriona Walsh HORNS

nick Wolmark, Principal Conor Palliser Liam Duffy, Principal Joseph Ryan

ASSiSTANT ORCHeSTRA MANAGeR

Bernard Reilly LiBRARiAN

CeLLOS

TRuMPeTS

Robert Truman, Principal Gerald Peregrine Peggy nolan Siobhain Lynch Grainne Hope

Dan newell, Principal Rick Cowen David Collins

88 Orchestra of Wexford Festival Opera

Sarah Burn

Chorus of Wexford Festival Opera

PHOTO © PATRICK BROWnE

CHORuS MASTeR & CONDuCTOR Gavin Carr SOPRANOS

MeZZO-SOPRANOS

TeNORS

BASSeS

Kezia Bienek Laurie Ashworth Hannah Sawle Marcella Walsh Claire Egan Elisabeth Marshall Chloe Morgan Sarah Power

Francesca Romana Saracino natalie Sinnott Lucinda Stuart Grant Martha Bredin Alexandra Cassidy Kristin Finnigan Anna Jeffers Eleanor Jean Greenwood

Adam Crockatt Carlos nogueira Richard Monk Christopher Carroll Aaron Cawley Daniel Joy Leonel Pinheiro Lawrence Thackeray

Ricardo Panela Toby Girling Thomas Faulkner Marcin Gesla Byron Jackson Jamie Rock Koji Terada Piran Legg

CHORuS MASTeR elenor Bowers-Jolley

CHORuS RéPéTiTeuR Janet Haney

Chorus of Wexford Festival Opera 89

03_opera_festival_050911.indd 1

05.09.11 15:33

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greening Wexford festival opera

PHotoGRaPH By Paddy donovan

Wexford Festival Opera in conjunction with Green Hospitably, €concertive, Wexford Chamber, Wexford County Council, Wexford Borough Council and Wexford Tidy towns have undertaken this project to make the Festival, and the community supporting it more green sustainable. The EPA is funding the work through its National Waste Prevention Programme.

Wexford Opera House achieved the prestigious Green Hospitality Award in 2010 and continues to be certified.

We have ambitious aims this year, we aim to grow the Greening process further out into the community and engage more supporters and partners. We aim to foster a culture of environmental awareness that will last beyond the Opera Festival and grow within Wexford itself and allow Wexford to promote itself as Green town and county.

The green programme has been developed to involve all businesses who supply goods and services to the Festival.

The businesses are striving to achieve a green certification, in the form of the Green Hospitality “Eco-label” or the Econcertive “EcoCert”. Both of these labels are EPA recognised environmental management programmes for small businesses. If the participant businesses can reduce water and energy use, and cut the amount of waste they produce, they will assist in reducing the environmental impact of the Wexford Festival Opera. Of course, these measures can save significant amount of money for the businesses as well.

€concertive Environmental Business Support

“We are delighted to be involved in the Wexford Festival Greening Programme. Being part of this programme has helped us to focus on all environmental issues, enabling us to implement strategic eco plans and to become more aware of the financial cost savings by introducing the Greening Programme at Kelly’s Resort Hotel.”

— Bill Kelly, Kelly’s Resort Hotel

Participating businesses will be listed in a “Green Map” and we invite visitors to support these businesses and make their own Opera experience a more environmentally friendly one. During the Festival don’t forget to try some of the “locally produced dishes”, by participating “Green Restaurants”, utilising local, seasonal produce designed to reduce the environmental impact. Please contact green@wexfordopera.com and keep an eye on the website www.wexfordopera.com/green for more details on the Greening of Wexford Festival Opera.

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Wishing Wexford Festival Opera all the best in 2011 and Congratulations on their 60th Season! from the Friends of The National Concert Hall

It’s Friends who make the difference!

Join the Friends of The National Concert Hall today and enjoy a host of exclusive benefits and savings whilst supporting our artistic objectives and education and outreach activities.

Friends enjoy priority booking, ticket discounts, music tours and day excursions, evening events, receptions, open rehearsals and much more...

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    

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Wexford Town and its Festival

— by Brian Kellow — It’s August, and it’s stifling in new York. I’m struggling to finish my new book, and the bank has just phoned to say that someone has stolen my credit card number. But I have a remedy: I go out for a walk to clear my head, and I picture myself three months from now, when I’ll be in Wexford.

I paid my first visit to Wexford Festival Opera in 1992, unable to resist the enthusiastic invitation of the company’s chief executive, Jerome Hynes. All I really knew about the festival was that it offered a chance for archival-minded opera lovers to hear little-known works. That fall, Wexford presented a glorious sampling of musical arcana: Storace’s Gli equivoci, Mascagni’s Il piccolo marat, and Marschner’s Der Vampyr – all under the supervision of one of the opera world’s true casting wizards, Elaine Padmore. I wasn’t prepared for the thrill of discovering these works, or the young singers, also mostly unknown to me, who brought them to life. I took long walks along the quay, spending hours looking out at the blessedly calm Irish sea. I poked around the corners of the town, trying to memorize every detail, not sure I would ever return.

unknown to me – yet that combination of intimacy and distance strikes me as being wonderfully Irish.

Each fall when I return to Wexford, I know I’ll be seeing old friends, catching up with them for the first time in a year. We’ll run into each other on the Main Street, have impromptu lunches at Greenacres and dinner at The Yard. I’ll head for the locals’ big event, the Guinness Singing & Swinging Pub Competition, where I’ll hear performances of “The Castle of Dromore” and “The Old Triangle” that will linger in the memory. I’ll see photographer Sean Dempsey, who always seems to be on the run to the next event, catching this year’s festival for posterity. I’ll wait for the true “homecoming” moment when I see David Agler and David McLoughlin welcoming members of the audience in the theater foyer. I’ll sit down for a cup of tea at the Talbot, with the idea of drafting a review of last night’s performance. I won’t get to it, because I’ll fall into conversation with a stranger sitting across from me, someone who seems to love the place as much as I do.

In Wexford, you experience the connection of shared pleasures. You also learn the meaning of the “Irish goodbye” – that drawn-out attempt to part from each other’s company that usually ends with you both sitting down and ordering another coffee or pint of Guinness.

PHOTO © DEREK SPEIRS

“The festival doesn’t overpower the town; instead, the two have achieved a rare kind of confluence.”

I was lucky: this sixtieth anniversary season marks my eleventh visit to the festival. I have a wealth of great opera-going memories: Massenet’s Sapho, Hérold’s Zampa, Pedrotti’s Tutti in Maschera, Fauré’s Pénélope, and all the other works that would have been hard to find elsewhere. At so many international festivals, you find what seems to be a perpetually touring stock company of the same stars and music-business heavyweights.

But Wexford has remained indelibly Wexford. The festival doesn’t overpower the town; instead, the two have achieved a rare kind of confluence. This has a great deal to do with the army of local volunteers who make the festival happen; the townspeople help keep the festival retain its feeling of honesty. nowhere is this more evident than at the Lunchtime Recitals at St Iberius Church; I’m not sure I’ve ever experienced an audience more completely absorbed in the music. I love watching for the familiar faces among the ushering staff, and out on the street. Many of them are, after all these years,

At the end of his first visit to Wexford in 2005, my partner said, “I’d like to grow old coming here.” I think that sums up the way many of us feel about the place.

There’s something about returning regularly to a spot you love that eases any anxieties you may feel about the passing of time. I look around the old town – and I’m thankful that we’ve both made it through another year.

Brian Kellow is the features editor of Opera News.

He is the author of The Bennetts: An Acting Family and co-author of Can’t Help Singing: The Life of Eileen Farrell. Kellow has also written for Opera and Playbill, among other publications. His biography of the film critic Pauline Kael has just been published. He lives in New york City.

Wexford Festival Opera 60th Anniversary 109

Autumn Nights in Wexford

— by Colm Tóibín — The town is at its most beautiful in late October and early november. The dwindling light adds a rare wash of melancholy over Wexford which can become exquisite and deeply memorable on an afternoon when the sky is blue but beginning to darken, and you walk from the Main Street down one of the side streets to the quays. A line from The Tempest haunted T.S. Eliot; he quoted it in The Waste Land almost for its sound as much as its sense, its mystery as much as its dramatic force. The line, spoken by Ferdinand, goes: ‘This music crept by me upon the waters.’ This season in Wexford – autumn light over wide estuary water – by some miracle, has over sixty years been a season of music.

This is why the Wexford Festival Opera has lasted sixty years and has gone through changes that in general have served only to improve standards or offer better chances to hear good singers and attend wonderful opera productions. The festival belongs to the town, and there is a lovely openness about the town, so apparent, say, in the warmth and charm and good manners you witness on the streets, which means that the festival also belongs to the world.

There is nothing like those late autumn nights in Wexford in the small theatre down a side-street and the audience settling down as the orchestra makes sure that it is in tune. And then the hush that comes over as the music begins. After sixty years, we need to pay homage to the people from the town who worked as volunteers, who also worked tirelessly and faithfully on the boards and the committees, who raised funds and kept standards high, who showed us what was possible. And we need to pay homage to the line of artistic directors who took Wexford’s dreams and made reality out of them, the members of the orchestra who came, and the singers who added glamour to this Irish town during booms and downturns and the times in between, who have lifted the spirits of generations of music lovers and given an example of the human spirit at its most exalted.

“The festival belongs to the town, and there is a lovely openness about the town, so apparent, say, in the warmth and charm and good manners you witness on the streets, which means that the festival also belongs to the world.”

It is not hard to imagine that ships once sailed from here to Buenos Aires; and it is easy to remember, too, that a rebellion took place in the town in 1798 which had, as one of its impulses, an idea of liberty which had been imported from the American Revolution and the French Revolution.

But there were other impulses too; nothing is simple about the spirit of Wexford. The town got its name from the Vikings; but its tone was set by the normans. There are descendents of the Gaels walking the streets, as much as descendents of Huguenot and English settlers, as well as many new arrivals. All of them make up a powerful living culture which manifests itself in the writing of John Banville, Billy Roche and Eoin Colfer, who come from the town, whose work is as varied as the town’s own heritage.

Wexford and the towns and villages around it were places where even people without much money had books in their houses, or went to the library once a week. The written word held power here, as it still does.

And with this came an interest in music, which had very deep roots in Victorian society in Wexford. To be a member of a choir, or to sing in public, was a normal aspect of citizenship. To love music and want to listen to the best of it was a normal aspect of life.

“Wexford Winter Scene” by Lee Robinson (www.wexfordphotos.com)

A native of enniscorthy, Co. Wexford, Colm Tóibín is an international award-winning author, whose distinctive sense of place with his native county has inspired much of his writing. His long and affectionate association with Wexford Festival Opera is part of this identity. His work has been published all over the world and he has been awarded honorary doctorates by the university of ulster and by university College Dublin. Currently he is the Leonard Milberg Lecturer in irish Letters at Princeton university.

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Dr Tom Walsh

— by Ian Fox — Just two weeks after this year’s curtain comes down, the 100th anniversary takes place of the birth of Dr Tom Walsh, first Chairman and founding Artistic Director of the Wexford Festival Opera. It is indicative of his remarkable achievements that this year the Festival has reached the venerable age of sixty. Born in Upper George’s Street in Wexford town, Dr Tom, as he was widely known, exhibited an early love of music and took part in local productions, playing Marco in The Gondoliers in 1930. Medicine was to become his vocation but music was in his heart and when studying in Dublin he took vocal lessons from the famous Professor Adelio Viani at the Royal Irish Academy of Music.

Returning to Wexford to work as a medical practitioner he maintained his interest in music, particularly opera.

international audience of opera buffs was soon attracted to the Festival. Meanwhile he continued his medical career fulltime, becoming anaesthetist at Wexford County Hospital, a post he remained in until his retirement in 1977. Inevitably, any complex voluntary organisation eventually encounters conflicts of opinion and by the mid 1960s he was unhappy with the direction the Festival was taking, resigning in 1966. This did not see any diminution in his operatic activities. His other love of academic research led to a series of valuable publications covering opera in 18th and 19th century Ireland and authoritative, wonderfully-detailed studies of the Monte Carlo Opera and operatic life in Second Empire Paris.

“It is indicative of his remarkable achievements that this year the Festival has reached the venerable age of sixty.”

With a number of friends he set up the Wexford Opera Study Circle. noting that Sir Compton Mackenzie was coming to Dublin, he persuaded the famous author to provide the opening address for the new group in 1950. During his visit Mackenzie suggested that rather than talking about opera they should stage one in the town’s venerable Theatre Royal. Then during a visit to London, Dr Tom came across a programme for the Aldeburgh Festival, started on a shoestring by Benjamin Britten in 1948, and this prompted him to take action.

He persuaded his friends to join him in creating the Wexford Festival of Music and the Arts. They included Eugene McCarthy of White’s Hotel, postman Seamus O’Dwyer, and fellow medics Jim Liddy and Des Ffrench. Mackenzie returned for the opening night on 1 november 1951 and became President, holding that office until his death in 1972.

Dr Tom’s role as Festival Director soon brought him into prominence and he was seen as a hard-working, tough and imaginative leader of a willing team, whose loyal support ensured that the new Festival grew with remarkable assurance over the 1950s. His determination to present operas little known in those days (many remain rarities) drew the overseas music press which soon was trumpeting Wexford’s name worldwide. An

Dr Tom Walsh and Dr Des Ffrench. Photo © Wexford Festival Archive.

It was an indication of the esteem in which Tom Walsh was held that on his death the noted journalist and Wexford fan, Bernard Levin, both attended his funeral and provided a touching and lengthy tribute in the London Times (14 november 1988) (see pages 114–115). Few Irish people have been honoured with such prominent treatment in that distinguished newspaper.

While he was fortunate in having a remarkable group of people around him in setting up the Festival, a fact he often acknowledged, his combined organisational skills and musical knowledge were central to the development of the Festival. His contribution to opera, not only in Ireland but internationally, remains a unique achievement. To many Dr Tom was the epitome of the Festival worldwide.

He may have severed his direct connections in the 1960s but the momentum of his imagination, drive and dedication has lived on in his successors and has ensured that the Festival continues to play a central role in opera in Ireland and worldwide today. ian Fox has been involved with the Wexford Festival Opera since the 1960s and a member of the Council since the 1970s. For over thirty years he has presented the annual lecture on the operas in Wexford, Dublin and London and has also lectured on Dr Tom and the Festival in Monaco. He edited the Festival book 100 Nights at the Opera (1991) and presented the history of the Festival on RTé Lyric FM last year.

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Dr Tom’s Final Curtain Reprinted from THE TIMES MONDAY NOVEMBER 14 1988 Malta, a freeman of Wexford (well, I should think so). He wrote a series of scholarly books on the history of opera – another, finished, is in the press; he was twice married and widowed; he is survived by his daughter and sister.

Facts, facts; useful things for charting the stops of life, and seeing who gets off or on; not much good at conjuring the actual man on the actual bus. That shall be my task this morning.

Tom Walsh: a life devoted to tending the sick and spreading the love of music.

We laid Tom Walsh in the earth on Friday, under a glorious Indian-summer sun, in the Barntown cemetery outside the town; that way he can sleep amid the soft green hills of his native County Wexford which he loved so much. After the requiem mass in his home church, the cortege formed up; we filled the street from side to side and end to end. Solemn robed figures walked immediately behind the hearse; easily mistaken for members of the Guild of Mastersingers, they turned out be the entire borough council, in full fig. The town band wasn’t there; perhaps it had been wrongly thought insufficiently reverent for such an occasion. The Taoiseach, though, had sent a telegram. The flowers, piled up, made an Everest of beauty and farewell; the church was heady with their scents. We sang “Abide With Me’’, and meant it.

Well, your man had done a lot for the place, starting by being born there, in 1911 (he missed his 77th birthday by a fortnight). He qualified as a doctor at Dublin University in 1944; he practised in the town from 1944 to 1955; from 1955 to 1977 he was the anaesthetist for the Wexford County Hospital. In 1951 he founded the Wexford Opera Festival, and was its director until 1966.

His worth and achievements were recognized; the University of Dublin made him first an hon MA, then an hon doctor of philosophy, then an hon doctor of literature.

He was an hon fellow of the Faculty of Anaesthetists of Ireland, a fellow of the Royal Historical Society, a Knight of

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Tom died smiling. At least, I assume he did; he was certainly smiling when I saw him in Wexford Hospital a few days before the end. As a doctor, he could not deceive himself about his condition, and his colleagues did not try to bluff him. But there were no solemn farewells; solemn farewells were not much in his line, except, to be sure, operatic ones.

Wexford knew him as “Doctor Tom”, and would call him nothing else. He had retired from active practice a decade before, but until recently he would keep his hand in by slipping over to England to do an annual locum.

When his health began to fail, some way into 1988, we devised Operation Tomplot – “we’’ being the group of friends who go, every autumn, to his festival. We lured him to Sussex, he all unsuspecting while we were hiding out in the hedges and ditches around him, togged up and ready to carry him off to Glyndebourne; the girls had dressed more beautifully than ever, for him. The Plot held: “Bernard, you swindler!’’ he cried, as the whole gang crashed through the door. I had wondered mildly, and put the point to his daughter Victoria, what she would say if he asked why the tea-table was set for 15.

“We’ll keep him out of the room,” she said, “and anyway, Daddy wouldn’t notice.’’

It was perfect Glyndebourne weather that day; a cloudless sky, a breeze to cool it, the gardens beginning to recover from the devastation of the hurricane. In the interval, up on the roof-terrace, the Christies poured libations, in which we drank his health. Brian Dickie was of the company; he is now general manager of Glyndebourne, but in 1967 he had had the alarming task of stepping into Tom’s shoes as director of the Wexford Festival.

The Glyndebourne meeting was a moving moment; George Christie, a man who inherited a festival and thereafter dedicated his life to it, stood beside Tom Walsh, a man who created one out of nothing, and lived to see its fame spread wide. Then we went back into George’s

— by Bernard Levin — Festival Theatre, for the rest of Die Entführung; of course it had to be Mozart for Tom, whose love for that composer was passionate and unwavering. not many men devote their lives to the selfless service of their fellows. Tom Walsh did it twice over; as doctor and as man of music. “Doctor” says all that is necessary for the first part, and if you think it doesn’t, ask his patients in Wexford. But “man of music” is a feeble phrase for what it encompassed in his case. He simply decided that the quiet little town of Wexford should have an annual operatic festival to which, in due course, the world would come.

And the money? Tut; the ravens fed Elishah.

I often wish I had been living in Wexford at the time; I would have loved to watch the scene as he went about the town telling people of his plan, while the news went much faster about the town that Doctor Tom had gone mad. For consider: Wexford in 1951 was not only a quiet place, unheard of outside Ireland and hardly heard of even inside; it was also savagely poor.

The theatre hadn’t been used as such for a century (some say two); moreover it would hold only 400 people, and anyway it was now a furniture repository.

Tom’s Catholicism was deep, tenacious and complete; he suffered great distress when his beloved daughter married out of the faith. But there was no estrangement, and he died full of joy in the knowledge that a grandchild was soon due.

He sought no fame, no fortune. He had got hold of the notion that he was on earth to tend the sick and spread the love of music, and he pursued both vocations with great diligence and no fuss. It pleased him, as it pleased all of us, that over the years Wexford had become noticeably better off; his festival brought a good deal of money into the town.

We returned, en masse, to the hospital, to see him for the last time; the group was almost identical to that of the Great Tomplot. The doctors wouldn’t let us in all together, but said we could go in two by two, each pair strictly enjoined to stay only a few minutes. He had been wandering a little, but he was perfectly clear with us.

“He simply decided that the quiet little town of Wexford should have an annual operatic festival to which, in due course, the world would come. And the money?

Tut; the ravens fed Elishah.”

The very Muses wrung their hands and wept at so forlorn a hope, but they didn’t know Doctor Tom; the iron-clad principles of rectitude and honour that guarded his life were translated into an irresistible determination to see his dream realized. The Wexford Opera Festival, with the weeping Muses engaged for the chorus as a token of forgiveness, opened its doors on time; that was 37 years ago, and they haven’t shut yet. Si monumentum requiris, circumspice.

On Sunday morning during the festival, Tom always kept open house for his friends. now he was adamant that he would be there to preside as usual, even if his hospital bed had to be put on wheels and pushed all the way to Lower George Street; as the week went by, though, even he had to admit defeat. But when he did, he was even more adamant that the ritual would be kept to, even if our host was from home.

He fought on for another week; death would not have dared approach his bedside until the 1988 festival was over. Last Tuesday afternoon, he fell asleep, and in sleep he left us. We who knew him will keep his memory bright, forever in his debt for the joy and friendship he and his festival have given us. We are even more blessed by having known and loved a man of such goodness, wisdom, generosity and laughter. Doubt not that he feasts in Heaven this night, with Mozart on one side of him and Hippocrates on the other, and a glass of good red wine in his good right hand.

© 1988 Times Newspapers Limited. All rights reserved.

Bernard Levin CBe (1928-2004) was described by The Times as ‘the most famous journalist of his day’. A prolific journalist, author and broadcaster, he was a columnist for nearly forty years, particularly for The Spectator, The Daily Mail, The Daily Express and The Times. He was a regular visitor to the Wexford Opera Festival with a large group of his friends. His account of the ‘slippery stage’ incident during a performance of La Vestale by Spontini at Wexford in 1979 is one of the greatest – and may well be the funniest – of all opera stories, and is included in his book Conducted Tour (1981).

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Russian (Ivan Susanin) and Czech It all began with a gramophone (Ká’ta Kabonová). Jill Gomez, Ugo recital. The great Scottish novelist and Benelli, Christiane Eda-Pierre, founder of the Gramophone magazine, Dennis O’neill, Sona Cervenka, Matti Sir Compton Mackenzie, had been Salminen and Elfego Esparza all persuaded during a visit to Ireland became familiar Wexford names. to give a talk to the Wexford Opera Study Circle in november 1950. The His successor in 1974, Thomson Chairman of the Circle, Dr Tom Walsh, Smillie, had been Publicity Officer struck up an excellent relationship with at Scottish Opera and was the him and Sir Compton suggested they first to enunciate the three-opera should stage an opera in their little format: a ‘singers’ opera’, a comedy theatre instead of listening to records. and a ‘thinking piece’. Wexford’s Coming across the programme for Massenet revival began in 1965 with the 1949 Aldeburgh Festival, Dr Tom Poster for first The Rose of Castile, Don Quichotte. This was conducted Wexford Festival’s first opera. discussed the idea of a local version

by Albert Rosen who became the with his friends Dr Des Ffrench, Eugene McCarthy, the Festival’s most frequent conductor, with eighteen owner of White’s Hotel, and Seamus O’Dwyer, a postal productions to his credit. Smillie added Thaïs in his worker with a great operatic knowledge. Despite falling opening season. In all, seven of his works have been short of their fund-raising target, they launched a Festival staged, making Wexford a remarkable Massenet centre. of Music and the Arts on 21 October 1951. Sir Compton One of the Festival’s most memorable productions took was present and became the Festival President, a position place in Smillie’s time in 1976: Britten’s The Turn of the he held until his death in 1972. By selecting less wellScrew. Smillie moved on after 1978, becoming director of known works and the Kentucky Opera in the USA. For the following three exciting young years producer Adrian Slack was Director and put his singers, Wexford stamp on the Festival with Sesto Bruscantini in Crispino e set itself apart la Comare (Ricci Brothers, 1979) and Carlisle Floyd’s tense from other Of Mice and Men (1980) which the composer attended. burgeoning Adrian Slack was festivals. Leading followed by Elaine international Padmore in 1982. critics were quick Lakmé, 1970.

She had supervised to tell the world broadcasts from of the delights to be found on the banks of the Slaney, and the Festival for the Festival took off.

BBC Radio Three.

The theatre was closed for reconstruction throughout Her thirteen-year 1960 and re-opened with Verdi’s Ernani in September reign, only two 1961. Dr Tom continued to exercise his skills into the shorter than Dr 1960s but made the unexpected decision to step down Tom’s, brought a after the 1967 season. The post was advertised and wide spectrum Walter Legge, the great record producer, was a surprise of music and candidate. However, Legge had a heart attack (he lived on singers, and until 1979) and withdrew. Instead a 26-year-old former Thaïs, 1974. many remarkable Trinity College student, Brian Dickie, was appointed; he productions. Marschner’s Hans Heiling caused quite a had been with the Glyndebourne Touring company and stir in 1983 and introduced Sergei Leiferkus to audiences he brought a fresh approach to programme planning. A outside Russia. Raul Gimenez, Cynthia Clarey, Bruce new era of outstanding singing emerged, with emphasis Ford, Curtis Rayam, Kristine Ciesinski, Karen notare, and on the French repertory, as well as the first operas in Alison Browner were just some of the singers who thrilled

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PHOTO © WEXFORD FESTIVAL ARCHIVE

PHOTO © DEnIS O'COnnOR

The Story of Wexford Festival Opera

Snapshots from an Opera Festival

PHOTO BY AMELIA STEIn

In 1999 Padmore went to Copenhagen, and then became Director of Opera at the Royal Opera House, Covent Garden, from which post she recently retired. She was succeeded by the then Director of the Rossini Festival in Pesaro, Luigi Ferrari. This brought a further change of

L’Assedio di Calais, 1991.

j’etais roi (Adam, 2000) he brought back a conductor who had been well received in 1996 with Šarká (Fibich) – David Agler. In 2005 Agler succeeded Ferrari and undertakes his seventh season as Artistic Director this year. After his initial season the Theatre Royal was closed down and for two years the Festival moved to PHOTO © DEREK SPEIRS

audiences during her era. Other outstanding productions included newcomer Francesco Zambello’s two contributions: L’Assedio di Calais Gioelli della Madonna, 1980.

(Donizetti, 1991) with Alison Browner, and Chervichki (Tchaikovsky, 1993), when Alexander Anissimov made his Irish début. There were Patrick Mason and Joe Vaneck’s two visits with La Cene della Beffe (Giordano), introducing a remarkable young American soprano, Alessandra Marc, and Prokofiev’s The Duenna, with neil Jenkins in top form.

La Vestale, 2004.

temporary homes, first to the venerable Dun Mhuire Hall and then to a magnificent tented structure in the spectacular grounds of Johnstown Castle. During this time the ancient Theatre Royal was demolished and the magnificent new Wexford Opera House was built in its place. It was inaugurated in September 2008 and RimskyKorsakov’s Snegurochka opened the first Festival in the new building on 16 October 2008. It now became possible to extend the range of works, from Richard Rodney Bennett’s The Mines of Sulphur in 2008 to Peter Ash’s The Golden Ticket in 2010. Despite the uncertainties of Irish and international economic life today, the 60th season of the Wexford Festival Opera has arrived with all flags flying. It demonstrates what a small town with vision can achieve and how it can look to the future with renewed hope and fresh ambitions.

PHOTO BY PAT REDMOnD

PHOTO BY JOHn IROnSIDE

— by Ian Fox —

style and direction, including Meyerbeer’s L’Étoile du Nord (1996), with the young Juan Diego Flórez in a small role, and the first Western European performance of Šarlatán (1998) by Pavel Haas, a Czech composer sent to a gas chamber in Auschwitz during the Holocaust.

Ferrari’s choices over his nine years ranged widely. As well as Italian works, he introduced Spaniard Enrique Granados (Maria del Carmen, 2003) and brought the first Polish opera to Wexford in 1999 (The Haunted Manor, Moniuszko). He cast such remarkable new voices as Joseph Calleja (1998 and 2000), Iwona Hossa, Tatiana Monagarova and Ekatarina Gubanova. For Si

Snegurochka, 2008.

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Supporting Wexford Festival Opera

Artistic Director David Agler awards the 2008 John Small Bursary to Simone Osborne. Photo by Pat Redmond.

The President’s Circle

Legacy Gifts

To secure the further development of the artistic vision and ambition of Wexford Festival Opera as we enter our second sixty years we have launched a new gifts campaign: The President’s Circle. Festival supporters who are interested in joining this innovative funding programme are encouraged to speak to David McLoughlin or Eamonn Carroll during the Opera Festival or indeed anytime throughout the year.

We are delighted and honoured to have received a number of legacy gifts in 2011 and would like to extend our sincerest thanks to the individuals involved and their families for their generosity.

We are pleased to announce that The President’s Circle will be led by The Lord Magan of Castletown, a member of the Festival’s UK Trust, a long time patron and loyal supporter of the Festival. A special event to mark Lord Magan’s contribution will take place during Wexford Festival Opera 2011.

This major gifts campaign will also sow the seeds for the creation of a Legacy Society to secure the long term success of our much loved Festival.

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Wexford Festival Opera continues to rely heavily on the support of those who care deeply about its present and future success. Those individuals who remember the Festival in their wills make an incredibly positive impact on the lives of future generations and their generosity will never be forgotten by the Festival community.

If you would like further information on sustaining your investment of time and donations by leaving a legacy through your will or estate plan, please contact David McLoughlin in confidence on 053 916 3521. Further information is also available at www.mylegacy.ie.

Wexford Festival Foundation In 2004 the Board of Wexford Festival established Wexford Festival Foundation and gave it the task of raising the private funding element of the cost of constructing Wexford Opera House.

As the Foundation is now completing its task the Festival Board wishes to record its deep gratitude to all Foundation members for their commitment, generosity, support and dedication during the last seven years, and in particular to Liam Healy for his astute and unrelenting leadership.

Wexford Festival Opera recognises the outstanding contribution of the following to Wexford Festival Foundation: Michael & Giancarla Alen-Buckley Lewis & Loretta Brennan Glucksman Sir David Davies The Desmond Family Liam & Eithne Healy Independent News & Media plc Frank A & Ursula Keane Carmel Naughton Tony & Chryss O’Reilly Peter D Sutherland SC Wexford County & Borough Councils Wexford Festival Foundation would like to sincerely thank the following for their contribution to the Foundation Fund: Dame Vivien Duffield DBE The Clore Duffield Foundation Bill Kelly John & Patricia Mellon Danone Nutricia BNY Mellon PwC Philip & Paula Stafford The American Ireland Fund Dr Michael and Ruth West Wexford Creamery Wexford Festival Trust UK Ltd. Tony & Breda Wright

ACC Bank Adrian Haythornthwaite Boland Ford Brendan Foley Celtic Linen Corcoran’s Menswear David Bolger Denis Cremins Doyle Solicitors Dr Bart Curtis Dr David Curtis Dr John Cox Dr Ken Mealy Eithne Scallan Falcon Financial Greenacres Helen Doyle Henry Burke Hertz Hugh Boggan Jimmy & Sylvia O’Connor Kehoe Auctioneers Kelly’s Bakery Ken Hynes Kent Stainless Liam Gaynor Liam Hipwell Mahon & Fox Mary Bowe Max Ulfane Michael Sheehan Michael Tierney MJ O’Connor Solicitors National Vehicle Distribution Nigel Pierce P Smythe Peter & Sarah Scallan Peter Redmond Ray Corish Raymond Kelly Architects Reverend N Ruddock Richard Doyle Sam McCauley Shoe Style International Stone Solicitors Tim Corbett Victoria Walsh-Hamer Wexford Community Development Wexford Management Forum William & Joan Roth

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Cast Sponsorship We have had an excellent response to the new Cast Sponsorship Programme and are pleased to announce a number of new sponsors in 2011. This new initiative will allow us to uphold our artistic integrity and enable us to cast some of the potential great opera singers of the future, in true Wexford Festival Opera tradition.

Sponsors can choose their cast member in consultation with Artistic Director David Agler and you will receive accreditation in the official Festival programme, an official photograph with the cast member and complimentary Festival tickets. A lunch or dinner engagement with the cast member can also be arranged.

If you are interested in Cast Sponsorship at the 2012 Festival please call Eamonn on +353 53 916 3527 or email eamonn@wexfordopera.com John Small Family

peter & Nancy Thompson (Sponsoring Krzystof Szumanski)

Peter and Nancy live in Hong Kong and have been coming to Wexford for almost fifteen years. They have seen young and exciting singers who dĂŠbut at Wexford become well-known international singers, and believe it is important to support their development. To do so at Wexford is particularly satisfying for Peter and Nancy as they enjoy so much their annual visits to the Festival.

Mark & Esther Villamar (Sponsoring Lucia Cirillo)

Esther and Mark are Irish-Americans who have been Friends of the Festival for many years and have a special affection for it. They look forward to hearing exciting young singers here and have noted that many have gone on to major international careers. Their participation in this programme makes them feel that they are not just spectators, but part of the Festival.

(Sponsoring John Molloy)

This sponsorship is funded by the Small family in memory of John who was a Festival Board member from 1962 until his death in 1997. John made an exceptional contribution to the Festival and we are proud to be able to honour his memory in this way.

Sandra Mathews (Sponsoring Fiona Murphy)

Sandra is a long-time and wholehearted Friend of the Festival. Choral music is one of her special interests and several times over the past few years she has presented performances of The Prague Chamber Choir in her home town of Portarlington. Sandra hopes that her sponsorship will inspire others to support the Festival in a similar manner.

John Molloy

Fiona Murphy

Claudia Boyle

Luigi Boccia

Krzystof Szumanski

Lucia Cirillo

Soroptimist International Wexford (Sponsoring Claudia Boyle)

The Soroptimist Club, which this year celebrates fifty years in Wexford, has supported the Festival in many ways throughout that time. The Club is very proud to sponsor Claudia as our local project this year and looks forward to keeping in touch with the Festival over the next fifty years.

Thomas Moore Tavern (Sponsoring Luigi Boccia)

The Thomas Moore Tavern is very proud to be an official sponsor of Italian tenor, Luigi Boccia, and the Wexford Festival Opera. As the tavern is named after Thomas Moore (1779–1852), the renowned Irish poet, playwright, singer and songwriter, this sponsorship reflects his love of music and pays homage to Thomas Moore himself.

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Gerard Arnhold Award (donated by Anthony Arnhold in memory of his father)

This new award, generously donated

by Anthony Arnhold in memory of his father, will be announced by Artistic Director David Agler on the closing night of the Festival.

Gerard Arnhold, a long-time patron and supporter of Wexford Festival Opera, died in 2010 after a long and fulfilling life. Wexford Festival Opera is most grateful to Anthony for providing this award in his father’s memory.

Donations You can also help support our work at any time by making an online donation at www.wexfordopera.com.

Your support is keenly sought and will always be warmly welcomed.

We would like to acknowledge and say a sincere thank you to all those who have pledged their support to Wexford Festival Opera in 2011.

New Sponsors & Partners

heritage and the contemporary achievements of Polish musicians, artists, writers, film makers and others. In its first ten years it organised over 3,000 cultural events in twenty-six countries. In 2011 the Adam Mickiewicz Institute will carry out a cultural programme to mark Poland’s Presidency of the Council of the European Union.

We are also grateful to the Embassy of the Republic of Poland in Ireland for its support of the production of this rarely-performed Polish opera.

We are delighted to announce the Thomas Moore Tavern as our newest hospitality partner. Our new partnerships with Wexford Creamery and with Febvre, the exclusive supplier of wines and champagne to the Festival, are certain to add to the highest quality food and wine offerings which visitors to Wexford expect.

POLSKA MUSIC PROJECT

The aim of the programme is to intensify the presentation and increase the popularity of Polish classical music in Europe. Special focus is placed on contemporary music. The grant programme supports Polish music performances by outstanding foreign and Polish artists abroad, and promotes music from Poland by recordings and phonographic publications.

We are delighted to welcome all our new sponsors and partners to Wexford Festival Opera.

An exciting initiative this year involves the support for La Cour de Célimène by a partnership of official and commercial French representation in Ireland, by the French Embassy, French Cultural Institute and Danone Nutricia. We are very grateful to Her Excellency Emmanuelle d’Achon, the French Ambassador, to Hadrien Laroche, the French Cultural Attache, and to Alexandre Grillet of Danone for their leadership in this partnership.

The Italian Institute of Culture is supporting the performances of Gianni di Parigi. The Italian Institute of Culture (Istituto Italiano di Cultura) is an agency of the Italian Ministry of Foreign Affairs, and was established to support the work of Italian Embassies and Consulates through the promotion of Italian language and culture.

There are ninety Institutes in major cities, including Dublin, across five continents, which organise a variety of cultural events to promote the culture of Italy, from the Classical age to today.

The Adam Mickiewicz Institute is providing generous support for the new production of Maria. In 2010 the Adam Mickiewicz Institute (Instytut Adama Mickiewicza) in Warsaw celebrated the tenth anniversary of its foundation as Poland’s state cultural institution. The Institute promotes Polish culture around the World and co-operates with other countries in presenting both the

Wexford Festival Opera is grateful to M·A·C Cosmetics for providing sponsorship of make-up products for the Festival.

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Friends’ Membership

PHOTO BY PAT REDMOnD

In order to express our continued appreciation to our Friends and Patrons, we are pleased to continue the exciting new membership options and benefits introduced last year.

As well as a Friends’ referral option we have also introduced a Young Friends’ Programme which we hope will encourage our Friends to pass on their passion for Wexford Festival Opera to a new audience of opera lovers.

Friends enjoy an amazing and unique range of benefits, including: — A four-week priority booking period for all Festival Events — An increased allocation of four complimentary invitations to a Friends’ event of their choice, including the post-opera weekend parties or the preopera mid-week buffets — Complimentary invitations to the exclusive Friends’ Concerts and Lectures in Dublin, London and Wexford — Free subscription to the Friends’ Newsletter, Friends’ Ezines, Festival Programme and Discover the Repertoire CD — Access to the Friends’ private hospitality facilities at Wexford Opera House — New for 2012: a ‘Friends of Wexford Festival Opera Loyalty Card’, entitling you to special discounts from selected shops, restaurants and hotels in Wexford.

Young Friends’ membership is available now from €80.

There are also Patrons’ and Patrons’ Circle Programmes available, which will allow patrons to make additional contributions to ongoing programme development projects.

122 Friends’ Memberships

Renew or sign up to the Friends’ Membership before 1 March 2012 and pay only €200 (£160) – a discount of over 10% Enjoy an exclusive four-week priority booking period for all Festival Events, ensuring you secure the best choice of tickets available.

For a Friends’ renewal/application form, visit the Friends’ reception desk or hospitality lounge at Wexford Opera House, or contact friends@wexfordopera.com or +353 53 912 2400. For 2012 memberships you can also become a Friend, or renew your membership, via our online service at www.wexfordopera.com.

To mark the 60th anniversary of Wexford Festival Opera we introduced an exclusive Diamond Friends campaign.

Due to the huge success of this programme we have decided to continue the Diamond Friends initiative.

For the special price of €1,000 you can avail of full Friends’ membership in addition to being granted an individual seat in the main auditorium in Wexford Opera House which you can endow with a special plaque in your own name or that of a loved one. This is the perfect way to highlight your special association with the Festival in a novel and long lasting way. Talk to Eamonn Carroll today to choose your seat and the dedication for your seat plaque – call him on 053 916 3527 or email eamonn@wexfordopera.com.

Friends of the Festival

PHOTO BY PAT REDMOnD

Diamond Friends Mr & Mrs Ate & Jannie Atema, Mrs Jackie Bolger, Mr Flannan Browne, Misses Helen & Angela Cunningham, Mrs Hilary Henry, Mr & Mrs Frank A & Ursula Keane, Mr Timothy King, Mr & Mrs Ger & Laura Lawlor, Mr Denis Mee, Mr & Mrs Terence & Marjorie neill, Mr & Mrs James & Sylvia O’Connor, Mr Patrick O’Sullivan, Mr Billy & Mrs Ceara Sweetman, Mrs Diana Warwick

Circle Patrons Mr Jose Alvarez, Mr James & Lady Emma Barnard, Mrs Joan Boggan, Mr Lyndon MacCann, Mr Thomas P Crotty, Ms Jean Delaney, Mr Simon Derry, Ms Rita Doyle, Mrs Kate Dugdale, Dr James A Glazier, Mr Malcolm Herring, Mr & Mrs J Thomas Kenneally, Ms Judith Lawless, Mr & Mrs Colm & Marroussia Lennon, Mr & Mrs Louis & Liz Loizou, Ms Maeve Mahony, Ms Sandra Mathews, Mr Janek Matthews, Ms Helen McGovern, Mrs Patricia Mellon, Mr & Mrs Terry & Marjorie neill, Mr Dermot O’Brien – Dermot O’Brien Associates, Mr & Mrs Matt & Pippa O’Connor, Ms Catherine O’Halloran, Mr Gordon Richards, Mr & Mrs Peter & nancy Thompson, Countess (Ulrike) Walderdorff – Artramon Estate, Mr & Mrs Michael & Ruth West, Mrs Valerie Willoughby

Patrons Mr David Agler, Mr & Mrs Thomas & Monica Agler, Mr Desmond Barry, Mr Anthony Boswood, Mr Paul Cleary, Mr & Mrs Pearse & Mary Colbert, Mr Denis Cremins, Mr & Mrs Brian & Susan Dickie, Prof Patrick & Dr Grace Dowling, Mr & Mrs Maurice & Maire Foley, Mr Jim Golden, Mr Denis Hearn, Mr & Mrs Shields & Carol Henderson, Mr & Mrs Stephen & Leila Hodge, Mr Gerard Hurl, Mrs Jean Marsden, Mr R John McBratney,

Dr Eamon McCarthy, Mr & Mrs Aidan & Lynette McCullough, Mr & Mrs G R McDowell, Dr David & Lynda Moore, Ms Emer O’Kelly, Mr & Mrs Finbar & Mary O’neill, Mr & Mrs Robert & Christine Pick, Mr Peter Raven, Fr John Paul Sheridan, Mrs Marion Stafford, Mr Stanley Warren, Mr & Mrs Pat & Jacqui Whelan, Mr Ernest Zillekens

Friends Ms Marian Ahern, Mrs Ann J Aken, Mr & Mrs John & Pamela Aldrich, Mrs Vanessa Anderson, Dr Michael Archer, Mrs Patricia Archer, Dr Michael Ashworth, Mr & Mrs Leslie & Marie Auchincloss, Ms Catherine Bainbridge, Mr niven Baird, Rev & Mrs Victor & Anthea Barley, Mr Liam Barrett, Mr Donal Barrington, Ms Marisa Barron & Ms Daniela Simmons, Drs Joseph & Siobháin Barry, Prof. Terry Barry, Mr Paul Batchelor, Mr & Mrs Dick & Leonie Bates, Prof Ray Bates, Mr & Mrs Eamonn & Blánáid Beale, Mrs Valerie Beatty, Ms Alison Begas, P & E Belcher, Ms Moira Bennet & Anne-Marie Woods, Mr Michael Bennett, Mr & Mrs William & Anne Bennett, M Beresford, Mr John Berns, Ms Paula Best, Mr David Bewers, Dr Thomas & Dame Beulah Bewley, Mr JeanJacques Beyer-Weiss, Mr Alan Bigley, Mr & Mrs Sonia & neville Blech, Ms Caroline & Jane Blunden, Mr Matthew Boggan, Mr Sean Boland, Mrs Deirdre Bolger, Mr E John Bourke, Mr Martin P Bourke, Mrs Mary Bowe, Ms Diane Boylan, Dr Margaret Brady, Ms Patricia Brannigan, Ms Mona Brase, Mr Derek & Dr Jane Brauders, Mr Malcolm Bremner, Mrs Mary Breslin, Mr & Mrs Morgan & Maria Broderick, Mr & Mrs B J Brooke-Smith, Ms Margery Brooke-Williams, Mrs Mary Brophy, Mr & Mrs P Clifton Brown, Ms Patricia Elizabeth Brown, Mr John Browne, Mr Mark E Browne, Mrs Maureen Browne, Mr David Buchler, Mr & Mrs David & Caroline Buchler, Ms Jane Buckley, Mr noel Buckley,

Friends of the Festival 123

Mrs Rosemary Buckley, Mrs Aileen Bunyan, Dr Anita Bunyan, Ms Mary Bunyan, Mr H E Burke, Dr Henry Burke, Mr & Mrs D R B Burn, Mrs Myrna Bustani, Ms Dympna Butler & Mr James B Hutchinson, Mrs Noreen Butler, Mr Daniel Byrne, Dr Joan Byrne, Ms Joyce Byrne, Ms Joyce Byrne & Mr Eamonn Sweeney, Dr Michael & Patricia Byrne, Ms Valerie F Byrne-Cook, Mr & Mrs Dermot & Fionnuala Cahillane, Ms Jennifer Caldwell, Mrs Una Callaghan, Mr Fionnbar Callanan, Mr John Cameron, Prof. Bruce M S Campbell, Ms Margaret Cannon, Ms Emily Carey, Dr Tom & Mrs Maura Carey, Carl Zeiss Vision Ireland Ltd., Dr Sylvia Carlisle, Mr Peter Carpenter, Mr Thomas Carr, Dr Jim Carson, Mr Renato Castellano, Mr & Mrs David & Ann Charles, Mr Mark Charnock, Mr Paul Cheeseright, Mrs Frances M Chisholm, Mr & Mrs Sean & Eileen Clancy, Mr Tom Clancy, Mr Jonathan Clark, Mrs Noreen Clarke, Mr Ian Clarkson & Mr Richard Morris, J D Clarkson, Mr James Cleary, Mr Bruce Cleave, Ms Angela Coffey, Ms Denise Cole, Mr John Coleman, Mr Eoin Colfer, Mr & Mrs Michael & Jane Collins, Mr Trevor Collins, Mr & Mrs Louis & Cara Collum, Mr Seamus Concannon, Ms Monica Condron, Mr Philip Coney, Ms Anne Connelly, Ms Jane Conroy, Mr Kerry Constant, Ms Anne Cooke, Mr Andrew R Cooper, Ms Yvonne Copeland, Mr Bernard Corbally, Mrs Ann Corcoran, Mr Donal Corcoran, Ms Sally Corcoran, Ms Antoinette Corrigan, Ms Pat Cosgrave, Ms Barbara Costigan, Mr Jerome Cotter, Dr Paule Cotter, Mrs Eileen E Cottis, Prof. Ian Craft, Ms Suzanne Creagh, Mr & Mrs Graham & Tricia Crisp, Mr Jeremy Crouch, Comtesse Henri de Crouy-Chanel, Mr & Mrs Richard & Una Crowe, Mr & Mrs Brian & Marese Crowley, Mr & Mrs J Cruse, Ms Claire Cuddy, Mr & Mrs Ciaran & Triona Culleton, Mrs Joy Cunningham, Mr Brian Dean Curran, Dr & Mrs David & Ann Marie Curtis, Ms Mary Rose Curtis, Dr Tom Curtis, Mr Neil Dalrymple, Mr & Mrs Adrian & Esther Daly, Dr Joan Daly, Mr Marcus Daly, Mr Paddy Daly, Ms Ursula Daly, Ms Freya Darvall, Ms Caroline Daszewska, Ms Elisabeth Davies, Mr Robin H Davies, Mr Colin Davis, Ms Francoise Davison, Mrs Mary H De Garmo, Mr & Mrs Jean & Godfrey Deacon, Ms Helen Deane, Lord Marcus Decies, Catherine J Delane, Mrs Cathleen Delaney, Mr Kingsley Dempsey, Mr Ange Diaz, M Divilly & Walsh, Mrs Irene Dixon, Dr Sylvia Dockeray, Dr Sean Donnelly, Mr & Mrs Tom & Diana Donnelly, Ms Veronica Donoghue, Mr & Mrs Kieran & Mary Donohoe, Mr & Mrs James & Patricia Doolan, Mrs Dorothy Dowling, Mr & Mrs Frank & Terry Dowling, Ms Ann Downes, Ms Helen Doyle, Mr & Mrs John & Geraldine Doyle, Dr Kevin Doyle, Mrs Nancy Doyle, Ms Tara Doyle, Ms Lindy Duff, Mr & Mrs Eamon & Ann Dundon,

124 Friends of the Festival

Mr Joseph Dundon, Ms Ann Dunne, Mr & Mrs Des & Aine Dunne, Ms Elizabeth Dunne, Mr & Mrs Tom & Paula Dunne, Ms Tess Dunphy, Ms Robyn Durie, Mr & Mrs William & Catherine Early, Ms Mary Egan, Dr Julia P Ellis, Dr Gary Ellison, Mr Roger Epsztajn, Ms & Mr Ann Minors & Bob Essert, Anne Eustace & Eoin Homan Eustace Patterson Ltd, Mrs Sheena Eustace, Mr & Mrs Brian & Chris Evans, Mr Paschal Fahy, Ms Ailbhe Fallon, Mr Robin Farquharson, Mr Ronald Farrants, Mr Matt Farrelly, Mr & Mrs Arnold & Eleanor Fear, Dr D G S Feggetter, Ms Maura Fennell, Mr & Mrs Nial & Maedhbháine Fennelly, Dr Judy Fielding, Mrs Mary Finan, Sir Adrian Fitzgerald, Ms Barbara Fitzgerald, Mr Giles Fitzherbert, C & O C Fitzsimon, Mr Gerard Flannery, Ms Blanka Flavin, Mr Aubrey Flegg, Dr Iain Fletcher, Mr Feargus Flood, Dr Noeleen Foley, Ms Barbara Forde, Mr Dominic Forde, Mr & Mrs Joe & Brenda Fox, Dr Lesley Fox, Mr & Mrs Peter & Noreen Fox, Prof John & Dr Catherine Fraher, Mrs Deirdre M Frame, P L Frank, Dr Ian M Franklin, Mrs Valerie Freeman, Mr & Mrs Nicholas & Mairead Furlong, Ms Delia Gaffney, Mr Vincent Gale, Ms Ann Gallagher, Mr & Mrs John & Maeve Gallagher, Ms Louise Gallagher, Ms Mary Gallagher, Mr & Mrs Francois & Brigitte Gardeil, Mr & Mrs David & Chantal Gardiner, Mrs Mary J Gately, Mr & Mrs Raymond & Judith Gay, Mr & Mrs Stephen & Elizabeth Geer, Mr & Mrs Hugh & Mary Geoghegan, Mrs Mary P Geoghegan, Mr Julian Ghosh, Mr & Mrs Lorenzo & Christina Giulini di Giulino, Ms Muriel Godkin, Ms Janet Gooberman, Mr & Mrs Paul & Eileen Good, Mr Anthony Gore-Grimes, Dr Freda Gorman, Mr & Mrs Liam & Breda Gorman, Mrs Catherine A Gough, Mr & Mrs Hugh & Christine Governey, Rev Ron & Mrs Valerie Graham, Mr Wilson Graham, Mrs Margaret Grant, Mr & Mrs John & Jane Griffiths, Mr Kingsley Griffiths, Mr Patrick Groarke, Mr & Mrs Denis & Sally Gross, Mrs Jennifer Guinness, Ms Dympna Hackett, Mr Gareth Hadley, Dr John A Haines, V H Hamer, Ms Marion Hanlon, Ms Mary Jo Hanlon & Mr Malachy McDaniel-Stone, Mr & Mrs Martin & Angela Hanrahan, Mr & Mrs Michael & Noreen Hanrahan, The Hanton/ Mulcahy Family, Mr & Mrs William & Lillian Harpur, Mr Stewart Harrington, Mr & Mrs Robert & Avril Harvey, Mrs Margaret Hassett, Mr Keith Hatchick, Mr & Mrs John & Yvonne Healy, Mr & Mrs Anne & Ciaran Hearne, Mrs Miriam Hedermann-O’Brien, Ms Maura Hegarty, Ms Louise Hennen, Mr & Mrs Bill & Brid Hennessy, Mr & Mrs Paul & Angela Hennessy, Mrs Monika HerbstMurray, Mrs Eileen Herlihy, Hertz Rent A Car, Mr & Mrs Declan & Joan Hickey, Ms Pamela Jean Hickey, Mr Aidan Hicks, Mr David HS Hobbs, Dr Heinz J Hockmann, Mr A Robin Hodgson,

Mr & Mrs David & Romy Hogan, Mr Sean Hogan, Mr & Mrs Seamus & Cecilia Homan, Mr Charles Hooker, Mr Noel Horgan, Mr & Mrs Michael & Joan Houlihan, Ms Jennifer Howard, Ms Jacqueline Howe, Mr Brendan Howlin, Mr & Mrs Ted & Mary Howlin, Dr Pauline Hughes, S M Hunt, Ms Sheila Hunt, Dr Helena M Hurley, Mr Patrick Hurley, Mr & Mrs Derry & Gemma Hussey, Mr Derek G Hyde, Dr P & Mrs J M Iredale, Mrs Marianne Jackman, Mr Trevor Jacobs, Mr Gerald H Jarvis, Mrs Patricia Jeffares, Ms Marilyn Jeffcoat, Mrs Mary Jennings, Sir Derek Johns, Mrs Joseph G Johnston, Ms Jenny Josselyn, Mr & Mrs Brian & Peggy Joyce, Mr Kyran W S Kane, Mrs Geraldine Karlsson, Mr & Mrs Manfred & Christa Karpa, Ms Rosario Kealy, Ms Ada Kelly, D A Kelly, Prof. Deirdre Kelly, Ms Eileen Kelly, Ms Geraldine Kelly & Co Solrs, Ms Máire Kelly, Ms Margot Kelly, Mr Michael Kelly, Mr & Mrs Paul & Joyce Kelly, Mr Courtney Kenny, Mr & Mrs John & Mary Kenny, Mr John Keogan, Mr Ray Kerrigan, Dr Lisbet & Mr Daniel Kickham, Mr & Mrs Patrick & Sara Kickham, Dr Edward King, Mr N H King, Ms Morette Kinsella, Mr Peter Knowles, Mrs Catherine Kullman, Dr Iain M Kyles, Mr Eamonn Lacey, Mr Benno Laggner, Mr Eamon Lalor, Mr Michael Lambarth, Ms Joan Lambert, Ms Deirdre Lamont-Doyle, Ms Daphne Lane, Ms Carole Lavelle, Ms Barbara Law, Ms Philomena Leach, Mrs Róisín Leahy, Ms Maura Leavy, Mr & Mrs Philippe & Caroline Lecardonnel, Mrs Máire Ledwith-Butler, Ms Anne Leech & Mr Simon Ryan, Ms Miriam Leech & Mr Paul D Walsh, Mrs Maureen Lemass, Ms Caroline Lenehan, Ms Clare Leonard, Lord Anthony & Lady Catherine Lester, Mr & Mrs Geoffrey Lewis, Dr Nora Liddy, Mr Thomas A Linehan, Mr & Mrs Michael & Freddie Linnett, Dr Amalia Liquori, Mr Barry Lock, Mr & Mrs Breda & Charlie Logan-Mooney, Ms Maria Loomes, Mr & Mrs Don & Liz Love, Ms Vickie Love, Mr & Mrs Richard & Ros Lovell, Ms Vivien Luft, Mrs Bernadette Lynch, Mrs Bernice Lynch, D & V Lyons, Mr & Mrs David & Gillian Lyons, Dr Joan MacCarthy, Mr & Mrs James & Ann Macdonald, Mr William MacGowan, Mr Brian D MacManus, Ms Bernadette Madden, Ms Maeve Madden, Dr Paul Magnier, Mr James J Maguire, Mr & Mrs Martin & Celia Maguire, Mr Alexis Maitland Hudson, Ms Anne Makower (Fitzsimon), Ms Mary Mallon, Prof A R & Dr J M Manning, Ms Oonagh Manning, Mr & Mrs Martin & Elizabeth Mansergh, Mr Noel Marshall, Mrs Elliand Elmar Mathier, Ms Eveleen McAuley, Ms Elizabeth McBratney, Mrs Breda McCabe, Ms Geraldine McCarter, Ms Annette McCarthy, Mr Denis McDonald, Ms Mary McDonald, Ms Petria McDonnell, Dr Mary Henry & Mr John McEntaggart, Mr John M McEvoy, Mr Ciarán McGahon, Ms Mary McGarry,

Ms Marguerite McGillycuddy, Mr & Mrs Charles & Rita McGoey, Mr Paul McGowan, Mr Christopher McGuigan, Mr Peter D McGuire, Dr Valentine McHardy, Ms Monica McHenry, Mr & Mrs Michael & Margaret McIntyre, Ms Fiona McKay, Ms Patricia McKee, Paul McKee, Ms Glenna McKenna, Ms Nuala McKenna, Mr A J McKeon, Ms Elizabeth McKiernan & Mr Craig McKiernan, Dr & Mrs Paddy & Eileen McKiernan, Mr James McLoughlin, Ms Deirdre McMahon, Ms Eleanor McMahon, Ms Anne McManus, Mrs Brigid McManus, Mr Seamus McMenamin, Mr Raymond & Máire McSherry, Mrs J Meads, Kenneth Mealy, Mr Kenneth Mealy & Ms Cliona O’Farrelly, Mr Brian Meaney, Dr John Patrick Meehan, Mr & Mrs Stephen & Barbara Mennell, Ms Kathleen Mere, Mr Patrick Merissert-Coffinieres, Mr David M Mitchell, Mr & Mrs Michael & Valerie Moloney, Mr & Mrs John & Helen Molony, Mr James Monaghan, Ms Catherine Moore, Ms Sarah Moorhead, Ms Margaret Moran, Mr & Mrs John Morgan, Mr Paul Moriarty, Mr & Mrs Peter & Grainne Morley, J A Morris, Mrs Roger Morris, Dr & Mrs I F & M C T Moseley, Mr Manuel Munoz Moya, Ms Mary Ellen Mulcahy, Ms Mary Mullin, Mr & Mrs Barry & Caitriona Murphy, C & A J Murphy, C Murphy, Mrs Catherine Murphy, Ms Claudine Murphy, Mr & Mrs Con & Eimear Murphy, Mr Cyril Murphy, Mr Eiven C Murphy, Mr Francis D Murphy, Mr & Mrs James & Gladys Murphy, James A Murphy, Mr & Mrs Joe & Louise Murphy, Mr Liam Murphy, Ms Marie Murphy, Mrs Muriel Murphy, Mr & Mrs Oliver & Joanna Murphy, T J Murphy, Mr Joe Musgrave, Mr & Mrs A C Myer, Mr Michael de Navarro, Mr & Mrs Robert Neill, Mrs Julia Neuberger, Mr David Nevins, Mrs Mary Neylon-Cody, Dr Mealla Ní Ghiobúin, Mr John Nolan, Marie Nolan, Ms Marie Nolan-O’Sullivan, Mr Michael P Nolan, Ms Patricia Norman, Hon Lizzie Norton, An tAthair Deasún Ó Grógáin, Ms Siobhán O’Beirne, Mr & Mrs Conall & Maura O’Brien, Mr Dermot O’Brien, Mr F X O’Brien, Ms Iseult Catherine O’Brien, Ms Mary Noble & Helen O’Brien, Ms Theresa O’Brien, Ms Julia O’Buachalla, A D O’Callaghan, Ms Collette O’Callaghan, Ms Deirdre O’Callaghan, Ms Denise O’Callaghan, Mr & Mrs Diarmuid & Helen O’Cearbhaill, Ms Anne O’Connor, Mr Brian J O’Connor, Ms Catherine O’Connor & Mr Senan O’Reilly, James J O’Connor, M & A O’Connor, Mrs Malak O’Connor, Mr & Mrs John & Dympna O’Donnell, Ms Margaret O’Donnell, Dr Rory O’Donnell, Dr Frances O’Donovan, Ms Maureen O’Donovan, Mr Seamus O’Flaherty, Mr & Mrs Alan & Kathleen O’Grady, Mr Brian O’Hagan, Mr Michael O’Halloran, Dr Patricia O’Hara, Mr & Mrs Francis & Deirdre O’Keeffe, Ms Ann O’Kelly, Ms Eve O’Kelly, Mr Richard S Oldfield, Mr Denis O’Leary,

Friends of the Festival 125

Mr & Mrs John & Amelia O’Leary, Mr James O’Mahony, Mrs Patricia O’Mahony, Mrs Terry O’Rahilly, Mr & Mrs Brian O’Riordan, Mr & Mrs Joe & Pauline O’Rourke, Dr Michael O’Shea, Mr & Mrs Stephen & Oonagh O’Shea, Dr Catriona O’Sullivan, Ms Deirdre O’Sullivan, Mrs Liosa O’Sullivan, Mr & Mrs Conor & Sinead O’Toole, Ms Kristina O’Toole, Dr Brian Otridge, Dr Eileen M Ouellett, Mr & Mrs Richard & Marian Overend, Mr Daniel Oxley, Mr & Mrs Michael & Eileen Paget, Dr Richard Parish, Mr Richard Parry, Mrs Joyce Parsons, Ms Eileen Partington, Mr & Mrs Donald Payne, Mr & Mrs Frank & Maire Pearson, Mr & Mrs John & Jacqui Pearson, Mr John C Pearson, Mr & Mrs Cel & Bill Phelan, Mr John M Pierce, Ms Catherine Pike, Mr Romayne Pike, Ms Melanie Pine, Mr & Mrs Randall & Carol Plunkett, Mrs Florence Policky, Mrs Celine Pomeroy, Mrs Louise Pomeroy, Ms Jennifer Porter, Mr Donnie Potter, Mr Brendan Power, Mrs Maureen Power, Mr Brendan Prendergast, Mr & Mrs Peter & Madeleine Prendergast, Mr Tony Prendergast, Mr & Mrs Patrick & Susan Prenter, Mr & Mrs Christopher & Frances Preston, Mr Seamus Puirseil, Mrs Constanze Puth, Mr & Mrs Colm & Mary Quigley, Ms Margaret Quigley, Mr Bob Quilty, Mrs Eleanor Quilty, Dr Kevin & Marian Quinn, Ms Philomena Rafferty, Dr Eleanor Rashleigh-Belcher, Ms Sheila Reck, Mrs Anne Redmond, Dr & Prof. Barry & Bairbre Redmond, J P R Rees, Dr Raymond Rees, Mr Michael Francis Reid, Mr & Mrs John & Sinead Reynolds, Ms Jane Rigler, Prof Sarah Rogers, Mr Lionel Rosenblatt, Mr David Rowe, Mr & Mrs Jim & Frances Ruane, Mrs Jean Ruddock, Mrs M J Rumney, Dr Angela Ryan, Mr & Mrs Richie & Mairead Ryan, Mr Timothy RG Ryland, Dr Michael Sansbury, Mr & Mrs Jurgen & Helga Sassmannshausen, Mr Marvin H Sayer, Mrs Eithne Scallan, Mr & Mrs Peter & Sarah Scallan, Mr John Schlesinger, Ms Anne Tobin & Mr Tom Schnittger, Mr Frank & Jacqui Schweitzer, Ms Barbara Scott, Mr & Mrs Joe & Selina Scott, Mr & Mrs Jame & Angela Sellick, Mr & Mrs Helen & John Shackleton, Mrs V M Shankland, Ms Ricky Shannon, Ms Mary Sheahan, Dr Sheila Sheerin, Mr & Mrs John & Nancy Sherwood, Mr Nigel Silby, Mr & Mrs David & Mairead Sinnott, Ms Geraldine Skinner, Ms Anna Skrine, Mr Martin Slocock, Mr J M A Sly, Mr Joe Smith, Mrs Helen Smith, Mr Michael D Smith, Dr Anthony Smoker, Mr & Mrs Barry & Jacqueline Smyth, Mr Joseph A G Smyth, Mr Philip Smyth, Dr Beatrice Sofaer-Bennett, Mr Paddy Spain, Mr & Mrs Trevor & Sheila Spalding, Ms Barbara E Spark, Mr Hammy Sparks, Dr Reggie Spelman, Mr & Mrs Martin & Beverly Sperry-Meehan, Mr & Mrs Philip & Paula Stafford, Mr & Mrs Jonathan & Gillian Staunton, Ms Carol Ann Stearns,

126 Friends of the Festival

Mr Michael Steen, Mr Richard Stokes, Mr Philip Stopford, Ms Gillian Stormonth-Darling, Mr & Mrs Brendan & Siobhan Supple, Mr Mark Swindell, Mr John Dean Symon, Ms Peta Taaffe, Mr Roger Tanner, Dr Pru Tatham, Mrs Barbara Taylor, Mrs Alison Thorman, Mr & Mrs Eamon & Niamh Tierney, Ms Mary Tierney, Mr Peter Stewart Tilley, Ms Margaret Tinsley, Mrs Mary Toal, Mr Kieran Tobin, Mr Colm Tóibín, Mr Henry Toner QC, Mr & Mrs Peter & Monika Tonger, Dr Michael Toseland, Ms Mary Tucker, Mr John D Turley KC*HS, Mr & Mrs Michael Tussaud, Mr & Mrs Brendan & Patricia Twomey, Mr & Mrs Brendan & Valerie Twomey, Mrs Doris Tyrrell, Mr James Tyrrell, Ms Sheila Tyrrell, Mr & Mrs Max Ulfane, Mr Werner Ullah, Mrs Eileen Underwood, Mr & Mrs Francis & Janet Valentine, Mr Michael Veale, Prof. Graham Venables, Mr Emilio Venturi, Mr Francoise Vernotte, Mr Mark Villamar, Mr Philip Vince, Mr John Waddell, Ms Irene Walker, Ms Anne Wallace, J E & M C Wallace, Mr & Mrs Sean & Colette Wallace, Mrs Anne Walsh, Mr Anthony J Walsh, L J & A Walsh, Mr Liam Walsh, Mr & Mrs Mark & Ruth Walsh, Dr & Mrs Martin Walsh, Ms Maureen Walsh, Mrs Victoria Walsh-Hamer, Mrs Winefride Walshe, Dr Helmut Walter, Mrs Elaine Ward, Mr David Warren, Mr J A A Watt, Dr K Watters, Mr & Mrs Michael Waugh, Mr Arthur West, Ms Margaret West, Mr & Mrs Richard & Elizabeth Westrup, Mr & Mrs Conor & Jean Whelan, Mr & Mrs Enda & Maura Whelan, Mr & Mrs John & Una Whelan, Mr John A Whelan, Mrs C Whitaker, Ms Eithne White, Mr Paul White, Dr Mark Whitty, Dr Robert Wilkins, Mr William Wilks, Dr Jane Williams, Ms Rachelle Wilmott, Ms Louise Wilson & Mr Paul Kennan, Ms Sari Winckworth, Mr & Mrs Leslie & Alma Wolfson, Mr & Mrs Lloyd & Deirdre Wolfson, Mr & Mrs J & E Woods, Mr & Mrs Nicholas & Fiona Woolf, Mr Laurence J F Wrenne, Mr Christopher Wright, Mr & Mrs Michael & Bernie Wright, Dr Peter Wykes, Dr Gordon Wyllie, Mrs June Zahid, Ms Charlotte Zimmerman, Mrs Sybella Zisman

Corporate Friends Ace Autobody, Medentech

Young Friends Mr Robbie Blake, Mr David Boylan, Ms Margaret Bridge, Mr Richard Bridge, Mr Eoghan Desmond, Ms Clara Hamer, Mr Seab Hanily, Ms Sherry Hazlett, Ms Judith Lyons, Ms Gabrielle Mulachy, Mr Gerard M Mulhall, Mr Kevin Neville, Ms Ursula Ni Choill, Mr Desmond Ryan

Seat endowments

PHOTO © GER LAWLOR

Wexford Festival Foundation would like to record the following dedications to the Seat endowment Programme at Wexford Opera House

Founders Circle A1 A2 A3 A4 A7 A8

Marjorie neill Terence V neill In memory of Mary Golden Cyril & Liz Murphy Matt and Pipa O’Connor Aislinn, Enna and Amy O’Connor A9 Brian and Jane O’Connor A 10 Fionn Lysaght A 11 Tara naughton A 12 Martin naughton A 13 Dr T J Walsh, Founder A 14 Sir A J O’Reilly A 15 Lady O’Reilly A 16 Joan & Tony McLoughlin A 17 Margaret McLoughlin A 18 F Gerard & Marion Stafford Kerlogue House A 19 Philip J & Paula Stafford Drinagh House A 22 John Small A 23 Ann Small A 24 Szabolcs Vedres A 25 Clodagh Vedres A 26 Dr Colm & Mary Quigley & Family A 27 Liam Healy A 28 Eithne Healy AA 1 Denis Cremins AA 2 Grainne Cremins AA 3 Christina White AA 4 Bishop noel V Willoughby, Patron of WFO 1980–1997 AA 5 Dr Michael West AA 6 Ruth West AA 8 Jim Golden AA 9 John Pearson AA 10 Valerie Beggs AA 11 Dr John A Haines

AA 12 John A Sinnott & Co Solicitors, Enniscorthy AA 14 George Valentine Maher AA 15 niall King AA 16 Redwood Castle AA 17 Clive and Suzanne Holmes AA 18 Clive and Suzanne Holmes AA 19 Clive and Suzanne Holmes AA 20 Clive and Suzanne Holmes AA 21 Tom & Jo Hassett AA 22 The Logan Mooney Family, Dublin AA 23 Catherine Moore AA 24 Eiven C Murphy B1 Max Sweetman B2 Billy & Ceara Sweetman B3 Mena Sweetman B4 Gerald & Helen Roche B5 M Tierney B6 Jerome Hynes B7 Alma Hynes B8 Peter & Sarah Scallan B9 Peter & Sarah Scallan B 10 Oonagh McCaffrey B 11 Anna McCarthy B 12 Denis McCarthy B 13 Anna naughton B 14 Conor Lysaght B 15 Laura Lysaght B 16 Seán Lysaght B 17 Liam Lysaght B 18 Austin Channing B 19 Finnuala Channing B 20 Eoin Channing B 21 Frank & noreen Butler & Family B 22 Frank & noreen Butler & Family B 23 Ann Corcoran B 24 Mayor and Members – Wexford Borough Council B 25 David Agler and Miles Linklater B 28 In memory of Dr Des Ffrench B 29 Brian Modler C1 Mafra O’Reilly C2 Tom Lawless

C3 C4 C5 C6 C7 C8 C9 C 10 C 11 C 12 C 13 C 14 C 15 C 16 C 17 C 18

James J Whelan Rita Doyle Mr Matt Farrelly Dr John & Pam Aldrich Lady Decies Lord Decies Joe & Louise Murphy Rev norman Ruddock Jean Ruddock Pat & Mary Geoghegan Dr & Mrs Peter and Camilla Wykes Harry Toner Eleanor Quilty Bob Quilty Dennis Jennings Valerie Beatty

Stalls A 12 A 13 B1 B2 B3 B4 B5 B6 B7 B8 B9 B 10 B 11 B 12 B 13 B 14 B 15 B 16 C1 C2 C3 C4

Joseph A G Smyth Esq Gerard P Smyth Eileen & Peter Cottis Primrose Browne Bill Browne Marie Whelan Adrian Poole Christopher Charles Wright “If music be the food of love play on” Denis Mortell Festival Antique Dealers nicholas & Mairead Furlong The Lords of Love The Lords of Love Caitriona Walsh Mary T Carberry Richard D Carberry Dean & Mario Carberry In honour of Wexford Festival Opera Sylvia L’Écuyer & David Lemon Alex Collinson, Répétiteur 1991-1994 The Drury Family Dr Iain Fletcher Angela Fletcher

Seat Endowments 127

C 5

Dr Iain Fletcher (from the X Ray Department) C 6 Dedicated to Sabrina my love C 7 The McBratneys C 8 Jarlath Mullen 1940-1988 C 10 Michael J Doran C 12 Fr Tomás O’Neill C 15 Wexford Antiques Fair C 16 Marie Slowey C 17 Con O’Sullivan C 18 Artramon Farm C 19 Festival Antique Dealers C 20 Festival Antique Dealers D 1 Prof M J O’Kelly D 2 Mrs Claire O’Kelly D 3 Mary Evelyn Smyly D 4 Anita Rossiter D 6 Malcolm Herring D 7 Francoise Davison D 8 Bob & Mary Cantwell D 9 Marguerite McGillycuddy D 10 Rotary Club of Wexford D 11 Patric Schmid D 12 S & L Hodge D 13 The Scallan Family D 14 Breffni & Jean Byrne D 15 Garrett & Terry Hickey D 16 Pat Caulfield D 17 Mary Caulfield D 21 Leo Willis (RIP) D 22 Ben Hennessy D 23 Bill Hennessy D 24 Tony Hennessy E 1 Cllr John D Turley KCHS & Gerard M Lawler KC*HS E 2 Michael Sweetman 1935-1972 Dr Siobhán Barry E 3 E 4 Prof Joe Barry E 5 Jim & Christina Jenkins E 6 Tom and Diana Donnelly Mary and Eamon Timoney E 7 The Lambarth Family E 8 Emelie FitzGibbon E 9 E 10 The Lacey Family E 11 Shirley & Nathan Sperry (in loving memory) E 12 Jean Marsden E 13 Comtesse Henri de Crouy-Chanel E 14 Comte Henri de Crouy-Chanel E 15 Herman & Olive E 16 Mr & Mrs Jeremy and Marika Taylor E 17 Dr Grace Dowling E 18 (in memory of) Lilian Neuberger E 19 Amelia E 20 Rachel Patton E 21 Anne 128 Seat Endowments

Alec & Angela Fitzgerald O’Connor E 24 Dr Patricia O’Hara E 25 Mary Underwood White Philip Smyth F 1 Philip Smyth F 2 Donal Gallagher F 3 Ita and Bridie F 4 Pauline & Joe O Rourke F 5 1st June 2009 F 6 Johnny Reck F 7 Marie Sherwood F 8 Seamus & Marie O’Rourke F 9 Seamus & Mary T O’Rourke F 10 Jimmy Sturrup F 11 Cliodna O’Riordan F 12 Alyne Healy F 13 Liosa O’Sullivan F 14 Brendan & Patricia Twomey F 15 Peter and Madeleine Prendergast F 16 Cathleen Delaney F 17 Valerie Freeman F 18 Nicholas Cadogan F 19 David H S Hobbs F 20 Marcia Wrixon F 21 Mrs Joyce Parsons F 22 Dennis Hearn F 23 Brian & Chris Evans F 24 Sheila Reck In memory of Captain Frank G 1 O’Connor by his wife Malak G 2 John & Angela Doocey G 3 Niven Baird Jannie Atema G 4 G 5 Noreen Colfer The late Donal O’Buachalla G 6 G 7 Julia O’Buachalla G 8 Elizabeth Bicker MBE Anthony Lester G 9 G 10 Agnes Gardeil G 11 Louise Gardeil G 12 Nancy Mallon (Bowe) G 13 Scott Barnes & Brian Kellow G 14 Frank A Keane G 15 Ursula Keane G 16 Ciarán and Anne Hearne G 18 Kevin & Katherine Lewis G 19 Cairenn Nic An Bhard agus Seán De Cantúail G 20 Derry and Gemma Hussey G 21 Valerie & Brian O’Riordan G 22 Benjamin Barnard G 23 Arthur Barnard G 24 Lady Emma Barnard G 25 James Barnard H 1 Aubrey Kreike H 2 Esther Kreike H 3 Eileen & Bernard Doyle H 4 Twins: Laura and Theresa Mahoney E 23

H 5 H 6 H 7 H 8 H 9 H 10 H 11 H 12 H 13 H 14 H 15 H 16 H 17 H 18 H 19 H 20 H 21 H 22 H 23 H 24 I 1 I 2 I 3 I 4 I 5 I 7 I 8 I 9 I 10 I 11 I 12 I 16 I 17 I 18 I 21 I 22 I 23 I 24 I 25 J 1 J 2 J 3 J 4 J 5 J 6 J 7 J 8 J 10 J 11 J 12 J 13 J 14 J 15 J 16 J 17 J 18

Éanna McKenna Veronica & David Rowe Mrs Terry Dowling Gowan Family John & Gemma O’Connor, Oxford Brian Joyce Peggy Joyce Festival Antique Dealers D & I Kallinikos Sydney Australia Dr Donald H Robertson Joan Roberts 1919-1995 Fay Harbour Fay Harbour John F Fielding The Cranley Family Timothy King Mary Canning Miss Justice Mella Carroll Bridie Browne (née Hess) Stephen Hayes Caroline Blunden Jane Blunden Levin Tours Ingrid & Hans-Günter Schnittger Moira & Tom Tobin David Mere Kathleen Mere Eamon & Heather Lalor Max Ulfane Joy Ulfane Irene Patricia Jeffares In memory of my dear wife June West died 6.10.08 Patric Schmid Ken Mealy Mgt M Crotty T P Crotty Mina Smyth, Waterford Eamonn Walsh Geraldine Walsh Jim Monaghan Kay Monaghan Martin & Liz Mansergh J A G Barrett Oliver & Jules Reck Breda Broaders Tobin Maeve McCarthy Sophie & Brian McCarthy Anthony & Suzanne GrahamDixon Maureen Delaney Seamus Quaid Miriam Hederman O’Brien Aoife O’Brien Gerard A Hurl Sr Mary Walsh Dr Amalia Liguori Eva J H Atema

J 19 J 20 J 21 J 22 J 23 J 24 K 1 K 2 K 3 K 4 K 5 K 6 K 7

Jackie Bolger Oliver & Richard Culleton Fedra Venturi Wexford Historical Society Breda Mulcahy Jeremy Roffey Anne & Jim Berry John & James J Corry Don Carlos Stelling Violeta Stelling de Alvarez Jose Alvarez Stelling Anni Matthews Ethne Sinnott & Eamon McCarthy K 8 Mairead & Bill McCarthy K 9 Eileen Conway K 10 Aidan Conway K 11 Endowed in honour of Lally Scallan by the Sinnott Family K 12 Con and Éimear Murphy K 13 Patric Schmid K 14 In memory of Bernard Coughlan K 15 Denis Mee 2011 K 16 Flannan Browne K 17 Frank A & Ursula Keane K 18 Eilis and John Ryan K 19 The Harveys of Kyle K 20 The Harveys of Kyle K 21 Kathleen Tóibín K 22 Brid Tóibín K 23 John & Peggie Lowney K 24 County Wexford Solicitors K 25 Nicholas Quaife Remembering Cora Carey L 1 L 2 Cunningham Family Eileen M Clancy L 4 Sean C Clancy L 5 L 12 Bill Fiske M 6 For my opera loving friends Hilary M 7 In memory of J M (Mollie) Barton M 8 Ted Rose M 9 Aileen Mulcahy M 10 Mary Bunyan M 11 Charlotte Hendrick M 19 Ellen Mary O’Connor Partington N 1 Dr M O’Beirne N 2 Helen Marie Antoinette Barry N 3 Dr John Curran N 4 Dr Eamonn Maher N 5 Dr Kieran MacCormack N 6 Dr Robin Foyle N 7 Dr John Cox Mrs Mary Cox N 8 Dr Gráinne & Eric Pinaqui N 9 Dr Liam Twomey N 10 Dr Elizabeth O’Sullivan Twomey Sean Banfield P 1

Circle A 3 A 4 A 5 A 6 A 7 A 8 A 9 A 10 A 11 A 12 A 13 A 14 A 15 A 16 A 17 A 18 A 19 A 20 A 21 A 22 A 23 A 24 A 25 A 26 A 27 A 29

B 3 B 4 B 5 B 6 B 7 B 8 B 9 B 10 B 11 B 12 B 13 B 14 B 15 B 16 B 17 B 18 B 19 B 20 B 21 B 22 B 23 B 24 B 25

Bunny O’Connell James A O’Connell Jack & Ann Murphy, St Helens Mary & Leslie Tucker Gerald Leahy Dan & Joan Leavy Róisín & Sinéad Dr M Coleman Dr F O’Donovan Fr John-Paul Sheridan Mairead Cahillane Helen & Diarmuid O’Cearbhaill John Shackleton Bernice Lynch Liam Lynch Mary Josephine (Milly) Hederman Georgina Gaul & Sean Bates Patrick & Patricia Hunt Patrick & Patricia Hunt Aidan & Lynette McCullough (in loving memory of) Mrs Patricia Herin Mrs Brigid Molloy William Goldsmith Gloria Goldsmith The Molloy Family E St Clare Barfield Italian trained Bel Canto Leading Birmingham tutor 1920s to 1960s Andrew & Margaret Nolan, Fortview Antoni & Caroline Daszewski Bruce Flegg Máirín Flegg Allen Sangines Krause Lorena Krause Pearse Colbert Mary Colbert R V Morgan Brendan Corish Maurice Geary Ita Hackett Peter & Imelda Cannon Cathal O’Gara Dr Patrick McKiernan, Wexford Michael and Jane Collins The Snell Family Jimmy Donovan Pat & Viv Gordon, Kew, Vic (Australia) Joe and Selina Scott Deirdre Lawlor Bill Cunningham John Scallan

Mary Tubridy O’Connor-Walsh Family, Oughterard, Co Galway B 28 Wexford Parish B29 Dr Raymond (Ted) Holmes B30 Tessa Holmes C 4 2 into 3 C 5 2 into 3 O’Driscoll Family C 6 C 7 Jürgen and Aislinn (little stars) Séan and Jurgen C 8 (never doubt yourself) C 9 Mervyn & Frederick Godkin C 10 Patric Schmid C 11 Sara Kickham C 12 Patrick J Kickham C 13 John & James J Corry C 14 Joanne Breen C 15 James G O’Connor C 16 Paula M O’Connor C 17 James J O’Connor C 18 Patrick S O’Connor C 19 Louise E O’Connor C 20 Tendai D O’Connor C 21 James & Mabel O’Connor C 22 James J O’Connor C 23 Sylvia O’Connor C 24 Patrick O’Connor C 25 Fintan O’Connor Sean Kelly Nancy Kelly D 1 Patricia Horgan D 2 Gemma & Emily Riordan D 3 Frank & Máire Pearson D 5 Dermot P Kinlen RIP D 6 Michael P Houlihan D 7 Joan C Houlihan D 8 D 10 Nessa Tuite D 12 Patrick (Whacker) Mahoney, Corish Park, Wexford D 13 Patric Schmid D 14 Kurt and Catherine Kullmann D 15 Frank Walsh D 16 Marie & Maurice Foley D 17 Deirdre O’Sullivan D 18 In honour of Greeley Co Nebraska Mary Ellen Mulcahy USA 2009 D 19 Diocese of Ferns D 20 Mary Bowe D 22 Dermot Murphy D 24 Remembering Ronnie Moriarty Timothy King E 1 Laura & Ger Lawlor E 2 E 21 William Earley I 12 Aidan & Joan Murphy remember Seamus O’Dwyer B 26 B 27

Seat Endowments 129

Thank you

Ketevan Kemoklidze, Maria Padilla, 2009. Photo © Pat Redmond

Wexford Festival Opera would like sincerely to thank all those who have supported Wexford Festival Opera 2011 Jürgen Alexander

George Lawlor, Impression Print

nicholas Payne

Richard Beams

Ger Lawlor Photography

nicholas Pender

Paul Cleary

Kevin Lewis

Mike Raftery

Pat Collins, Town Clerk, Wexford Borough Council

Emily Mason

Thomas Redmond

H.E. Bobby McDonagh, Ambassador of the Republic of Ireland, UK.

Lee Robinson, wexfordphotos.com

H.E. Emmanuelle d’Achon, Ambassador of France

Dinah Molloy

Celtic Linen

nikola Sekowska, Cultural Attaché, Embassy of the Republic of Poland

Kevin Murphy, Voluntary Arts Ireland

Kieron Doherty, EnO

Dave Donegan

Mary V Mullin

Scissors Empire

South East Radio

Grainne Doran, Festival Archive, Wexford County Council

MAC Cosmetics

Bobby & Breda Stack, Classic Wedding Car Hire

Fondazione Arturo Toscanini, Parma

Trish Murphy

The Sunday Girl

Ian Fox

H.E. Marcin nawrot, Ambassador of the Republic of Poland

Katarzyna Swietochowska, Adam Mickiewicz Institute

An Garda Síochána, Wexford Town

Aislinn O’Byrne

Colm Tóibín

Hassetts Pharmacy

Opera in the Open, Dublin City Council

Michael Waugh

Anna Pas

Wexford Tidy Towns Committee

Denise Kehoe Brian Kellow Alek Laskowski 130 Thank You

Paul Mitchell Haircare

Flavia Woulfe

Repertoire 1951–2011

PHOTO BY DEREK SPEIRS

1951

The Rose of Castile – Balfe

1952

L’elisir d’amore – Donizetti

1953

Don Pasquale – Donizetti

1954

La sonnambula – Bellini

1955

Der Wildschütz – Lortzing Manon Lescaut – Puccini

1956

La Cenerentola – Rossini Martha – Flotow

1957

La figlia del reggimento – Donizetti L’Italiana in Algeri – Rossini

1958

Anna Bolena – Donizetti I due Foscari – Verdi

1959

La gazza ladra – Rossini Aroldo – Verdi

1964

Lucia di Lammermoor – Donizetti Il Conte Ory – Rossini Much Ado About Nothing – Stanford

1965

1966

1976

Fra Diavolo – Auber Lucrezia Borgia – Donizetti

1967

Otello – Rossini Roméo et Juliette – Gounod

1968

La clemenza di Tito – Mozart La Jolie Fille de Perth – Bizet L’equivoco stravagante – Rossini

1969

L’infedeltà delusa – Haydn Luisa Miller – Verdi

1970

1961

1971

1962

L’amico Fritz – Mascagni I puritani – Bellini

1963

Don Pasquale – Donizetti La Gioconda – Ponchielli The Siege of Rochelle – Balfe

1975

Eritrea – Cavalli Le Roi d’Ys – Lalo La pietra del paragone – Rossini

Theatre closed for reconstruction Ernani – Verdi Mireille – Gounod

Medea in Corinto – Mayr Thaïs – Massenet Der Barbier von Bagdad – Cornelius

Don Quichotte – Massenet La traviata – Verdi La finta giardiniera – Mozart

Albert Herring – Britten Lakmé – Delibes L’inganno felice – Rossini Il giovedì grasso – Donizetti

1960

1974

Giovanna d’Arco – Verdi The Merry Wives of Windsor – nicolai The Turn of the Screw – Britten

1977

Hérodiade – Massenet Orfeo ed Euridice – Gluck Triple Bill: Il maestro di cappella – Cimarosa La serva e l’ussero – Ricci La serva padrona – Pergolesi

1978

Tiefland – d’Albert Il mondo della luna – Haydn The Two Widows – Smetana

1979

Les Pêcheurs de perles – Bizet La rondine – Puccini Il re pastore – Mozart

L’amore dei tre re – Montemezzi La vestale – Spontini Crispino e la comare – Ricci Brothers

1972

1980

1973

1981

Oberon – Weber Il pirata – Bellini Kát’a Kabanová – Janácek Ivan Susanin – Glinka The Gambler – Prokofiev L’ajo nell’imbarazzo – Donizetti

Edgar – Puccini Orlando – Handel Of Mice and Men – Floyd I gioielli della Madonna – Wolf-Ferrari Zaide – Mozart Un giorno di regno – Verdi

Repertoire 1951–2011 131

1982

1992

1983

1993

Sakùntala – Alfano L’isola disabitata – Haydn Grisélidis – Massenet Hans Heiling – Marschner La vedova scaltra – WolfFerrari Linda di Chamounix – Donizetti

1984

Le Jongleur de Notre-Dame – Massenet Le astuzie femminili – Cimarosa The Kiss – Smetana

1985

La Wally – Catalani Ariodante – Handel The Rise and Fall of the City of Mahagonny – Weill

1986

Königskinder – Humperdinck Tancredi – Rossini Mignon – Thomas

1987

La straniera – Bellini La cena delle beffe – Giordano Cendrillon – Massenet

1988

The Devil and Kate – Dvořák Elisa e Claudio – Mercadante Double Bill: Don Giovanni Tenorio – Gazzaniga Turandot – Busoni

1989

Der Templer und die Jüdin – Marschner Mitridate, re di Ponto – Mozart The Duenna – Prokofiev

1990

Zazà – Leoncavallo The Rising of the Moon – Maw La Dame blanche – Boieldieu

1991

L’assedio di Calais – Donizetti La Rencontre imprévue – Gluck Der Widerspenstigen Zähmung – Goetz 132 Repertoire 1951–2011

Il piccolo Marat – Mascagni Gli equivoci – Storace Der Vampyr – Marschner Cherevichki – Tchaikovsky Il barbiere di Siviglia – Paisiello Zampa – Hérold

1994

The Demon – Rubinstein La bohème – Leoncavallo Das Liebesverbot – Wagner

1995

Saffo – Pacini Mayskaya noch’ – RimskyKorsakov Iris – Mascagni

1996

Parisina – Donizetti L’Étoile du Nord – Meyerbeer Šárka – Fibich

1997

Elena da Feltre – Mercadante Rusalka – Dargomïzhsky La fiamma – Respighi

1998

Fosca – Gomes Šarlatán – Haas I cavalieri di Ekebù – Zandonai

1999

Die Königin von Saba – Goldmark Straszny dwór – Moniuszko Siberia – Giordano

2000

Orleanskaya deva – Tchaikovsky Si j’étais roi – Adam Conchita – Zandonai

2001

Alessandro Stradella – Flotow Jakobín – Dvorák Sapho – Massenet

2002

Il giuramento – Mercadante Mirandolina – Martin Manon Lescaut – Auber

2003

Die Drei Pintos – Weber/ Mahler María del Carmen – Granados Švanda dudák – Weinberger

2004

La vestale – Mercadante Eva – Foerster Prinzessin Brambilla – Braunfels

2005

Maria di Rohan – Donizetti Pénélope – Fauré Susannah – Floyd

2006

Don Gregorio – Donizetti Transformations – Susa

2007

Der Silbersee – Weill Double Bill: Pulcinella – Stravinsky Arlecchino – Busoni Rusalka – Dvorák

2008

Snegurochka – RimskyKorsakov The Mines of Sulphur – Bennett Tutti in maschera – Pedrotti

2009

The Ghosts of Versailles – Corigliano Double Bill: Une éducation manquée – Chabrier La cambiale di matrimonio – Rossini Maria Padilla – Donizetti

2010

Virginia – Mercadante The Golden Ticket – Ash & Sturrock Hubička– Smetana

2011

La Cour de Célimène – Thomas Maria – Statkowski Gianni di Parigi – Donizetti

Artists 1951–2010

Laura Vlasak Nolen, The Ghosts of Versailles, 2009. Photo © Pat Redmond SOPRANOS

Jennifer Adams, Mariella Adani, Karola Agai, Lucia Aliberti, Giselle Allen, Ludmilla Andrew, Mariella Angioletti, Rosemary Ashe, Ekaterina Bakanova, Elena Bakanova, Silvia Baleani, Alida Barbasini, Maria Bayo*, Daniela Bechly, Anna Benedict, nina Bernsteiner, Gemma Bertagnolli, Lada Biriucov, Alison Black, Anne Marie Blanzat, Andrea Bolton, Maddalena Bonifaccio, Juliet Booth, Hanneke von Bork, Horiana Branisteanu, Yvonne Brennan, Daniela Bruera, Evelyn Brunner, Trina Bulych, Eleonora Buratto, norma Burrowes, Amy Burton, Joanna Burton, Sinead Campbell, Ann Cant, April Cantelo, June Card, Jessica Cash, Pervin Chakar, Christine Cheateau, Anna Maria Chiuri, Ljuba Chuchrova, Kristine Ciesinski, Patrizia Cigna, Mary Clarke, Sarah Coburn, Monica Colonna, Constance Cloward, Magdalena Cononovici, Marilyn Cotlow, Zsuzsanna Csonka, Maria Cucchio, Majella Cullagh, Lauren Curnow, Doreen Curran, Renata Daltin, Iris dell’Acqua, Monica Di Siena, Helen Dixon, Mattiwilda Dobbs, Renee Doria*, Kiera Duffy, Sandra Dugdale, Veronica Dunne, Denise Dupleix, Christiane EdaPierre, Serena Farnocchia, Angela Feeney, Mirella Freni, Elizabeth Futral, Elizabeth Gale, Isobel Garcisanz, Lesley Garrett, Miriam Gauci, Angela Gheorghiu*, Danna Glaser, Jill Gomez, Virginia Gordoni, Rebecca Goulden, Martene Grimson, Andrea Guiot, Eglise Gutierrez, Theresa Hamm, Patricia Hammond, Eilene Hannan, Alison Hargan, Heather Harper, Dinah Harris, Eiddwen Harrhy, Elizabeth Harwood*, Anne Mari Heimdal*, nancy Hermiston, Beverly Hoch, Elaine Hooker, Iwona Hossa, Alexandra Hunt, Heather Hunter, Lee Hyung-Soo, Rosamund Illing, Christine Isley, Ermonela Jaho, Kishani Jayasinghe, Angela Jenkins, Iveta Jirikova, Renza Jotti, Sena Jurinac*, Maria Kanyova, Helena Kaupova, Lucia Kelston, Mariette Kemmer, Yvonne Kenny*, Virginia Kerr, Margaret Kingsley, Victoria Klasicki, Brigitte Lafon, Aideen Lane, Rosemarie Landry, Irma Lasareva, Carmen Lavani, Soo-Bee Lee, Marina Levitt, Josella Ligi, Elizabeth Lindermeier, Elaine Linstedt, Laureen Livingstone, Marina Lodygensky, Elena Lo Forte, Felicity Lott*, Frances Lucey, Morag MacKay, Carla Maney, Silvana Manga, Jane Manning, Alessandra Marc, Vivian Martin, Elizaveta Martirosyan, Emiko Maruyama, Marketa Matlova, Tereza Matlova, Pumeza Matshikiza,

Fiona McAndrew, Helen McArthur, Patricia McCaffrey, Patricia McCarty, Roisin McGibbon, Angela Meade, Mani Mekler, Joan Merrigan, Marina Mescheriakova, Doriana Milazzo, Mary Mills, Tatiana Monogarova, Ekaterina Morozova, Miriam Murphy, niamh Murray, Pamela Myers, Michie nakamaru, Regina nathan*, Inga nielsen, Morag noble, Birgit nordin, Lena nordin, Karen notate, Carmel O’Byrne, Angela O’Connor, Fiona O’Reilly, Marie-Claire O’Reirdan, Olga Orolinova, Catherine O’Rourke, Cara O’Sullivan, Felicity Palmer, Ann Panagulias, Alesandra Panaro, Marina Panova, Jungwon Park, Anne Pashley, Carmel Patrick, Francesca Pedaci, Hannah Pedley, Alexandrina Pendatchanska*, Jeanette Pilou, Giuseppina Piunti, Marie Plette, Sarah Power, Claire Primrose, Sarah Pring, Emily Pulley, Barbara Quintiliani, Megan Radder, Elvina Ramella, AgneteMunk Rasmussen, Eugenia Ratti, Patricia Reakes*, Ursula Reinhardt-Kiss, Esther Rethy, Susanna Rigacci, Margherita Rinaldi, Inka Rinn, Elena Rossi, Patricia Rozario, Irina Samoylova, Malmfrid Sand, Anna Raquel Satre*, Marit Sauramo, Zuleika Saque, Graziella Sciutti, nicola Sharkey, Kim Sheehan, Cyndia Sieden, Marie Slorach, Jennifer Smith, Anita Soldh, MaureenSpringer, Hilary Straw, RachelLouiseStonehouse, Kristy Swift, Darina Takova, Halinka de Tarcynska, Enriqueta Tarres, Lina Tetruashvilli, Pauline Tinsley, Daphne Touchais, Katia Trebeleva, Kathleen Tynan, Korliss Uecker, Alberta Valentini, Svetelina Vassileva, Silvia Vazquez, Elmira Veda, Diana Veronese, Gisela Vivarelli, Marina Vysvorkina, Louise Walsh, Marcella Walsh, Emily Ward, Lillian Watson, Janice Watson*, Jane Webster, Angela Whitringham, Catherine Wilson, Janet Williams, Annalisa Winberg, Christian Wismann, Elizabeth Woods, Elizabeth Woollett, Caroline Worra, Chloe Wright, Patricia Wright, nicoletta Zanini, Sherry Zannoth, Barbara Zechmeister, Elena Zelenskaja BOy SOPRANOS

James Maguire, Robin McWilliams, Michael Kepler Meo

Artists 1951–2010 133

Mezzo-Sopranos and Contraltos

Jean Bailey, Elizabeth Bainbridge, Anne Baker, Janet Baker, Daniela Barcellona, Patricia Bardon’, Elizabeth Batton, Elena Belfiore, Jennifer Berkebile, Agata Bienkowska, Amy Black, Pauline Bourke, Pamela Bowden, Sandra Browne, Alison Browner, Anna Burford, Luretta Bybee, Dorothy Byrne, Johanna Byrne, Joanna Campion, Maria Casula, Sona Cervena, Valentina Cherbinina, Cynthia Clarey, Anne Collins, Elizabeth Connell, Fiorenza Cossotto, Kathryn Cowdrick, Rosanne Creffield, Doreen Curran, Magali Damonte, Joan Davies, Leslie Davis, Tea Demurishvili, Anita Dobson, Irina Dolzhenko, Margreta Elkins, Therese Feighan, Marian Finn, Maureen Forrester*, Francesca Franci, Elena Gabouri, Annie Gill, Julie Gossage, Yvonne Fuller, Bernadette Greevy, Ekaterina Gubanova, Elena Guschina, Ruth Halvani, Hadar Halevy, Denisa Hamarova, Regina Hanley, Enid Hartle, Emily Hastings, Cornelia Helfricht, Marijke Hendriks, Aafje Heynis*, Margareta Hillerud, Paula Hoffman, Annabel Hunt, Anne Howells, Janet Hughes, Barbara Howitt, Katerina Jalvocova, Patricia Johnson, Niamh Kelly, Patricia Kern, Ketevan Kemoklidze, Gillian Knight, Larisa Kostyuk, Kathleen Kuhlmann, Gloria Lane, Sunny Joy Langton, Susan Lees, Claire Livingstone, Ruth Maher, Stefania Malagu, Claudia Marchi, Sophie Marilley, Lina Markeby, Frances McCafferty, Kate McCarney, Collette McGahon, Alexandra Mercer, Ivana Mixova, Cinzia de Mola, Fiona Murphy, Ann Murray, Paula Murrihy, Natela Nicoli, Abigail Nims, Anne-Marie Owens, Paola Pelliciari, Reni Penkova, Mariana Pentcheva, Johanna Peters, Robynne Redmon, Anna Reynolds, Gabriella Ristori, Elizabeth Rose-Browne, Laura Sarti, Candra Savage, Marit Sauramo, Lorena Scarlata Rizzo, Constance Shacklock, Rebecca Sharp, Mary Sheridan, Monica Sinclair, Annika Skoglund, Denisa Slepkovska, Anna Sollerman, Nora Sourouzian, Frederica von Stade*, Ingrid Steger, Pamela Helen Stephen, Krisztina Szabo, Caroline Tatlow, Anita Terzian, Elena Traversi, Annie Vavrille, Viktoria Vizin, Laura Vlasak Nolen, Delia Wallis, Nellie Walsh, Eliska Weissova, Sabina Willeit, Nuala Willis, Dorothy Wilson, Melody Wilson, Jutta Winkler, Kim-Marie Woodhouse, Agnieszka Zwierko Counter Tenors

Paul Esswood, John Angela Messana, John York Skinner, Kevin Smith, David Trudgen Tenors

Darren Abrahams • Filippo Adami • Christopher Adams Darren Abrahams, Filippo Adami, Christopher Adams, Glenn Alamilla, Dante Alcala, Juri Alexeev, Eduardo Alvares, Kostyantyn Andreyev, Giacomo Aragall, Paul Arden-Griffith, Fabio Armiliato, Ayan Arda, Dominic Armstrong, Maurice Arthur, Eric Ashcraft, Peter Baillie, Lawrence Bakst, Janos Bandi, Antonio Barasorda, Richard Barnard, Richard Barrett, Alfonz Bartha, David Bartleet, Frederick Bateman, John Bellemer, Ugo Benelli, Peter Berger, Nico Boer, Thomas

134 Artists 1951–2010

Booth, Giovanni Botta, Pietro Bottazzo, Bonaventura Bottone, Kevark Boyaciyan, Dennis Brandt, Jean Brazzi, Ennio Buoso, Nicholas Buxton, Mark Calkins, Joseph Calleja, Mario Carlin, Cesare Catani, Brendan Cavanagh, Ivan Choupenitch, Davide Cicchetti, Sean Clayton, Brad Cooper, Joseph Cornwell, Stefano Costa, Charles Craig*, Philip Creasy, David Curry, John Daniecki, Maldwyn Davies, Ryland Davies*, Bernard Dickerson, Murray Dickie, John Dobson, Philip Doghan, Nigel Douglas, Jean Dupouy, Thomas Edmonds, Simon Edwards, Francis Egerton, Ladislav Elgr, Alasdair Elliott, Renato Ercolani, Simeon Esper, Vicenc Esteve, Joseph Evans, Paul Featherstone, Kevin Ferguson, Jason Ferrante, David Fieldsend, Jeremy Finch, Juan Diego Florez, Rupert Oliver Forbes, Bruce Ford, Cato Fordham, Michael Forest, Danilo Formaggia, John Fryatt, Petr Frybert, Jean- Pierre Furlan, Peter Furlong, Robert Gardiner, Donald George, Raul Gimenez, Massimo Giordano, Guiseppe Gismondo, Simon Gleeson, Adriano Graziani, Ernesto Grisales, Vsevolod Grivnov, Gunnar Gudbjornsson, Walter Gullino, Aled Hall, Gary Harger, Paul Harrhy, Maxwell Harrison, Howard Haskin, Christopher Hux, Bryan Hymel, Gianni Jaia, Alberto Jannelli, Valentin Jar, Neil Jenkins, Julian Jensen, Keith Jones, Brandon Jovanovich, Frank Kelley, Declan Kelly, Paul Austin Kelly, John Kentish, Miroslav Kopp, Pavel Kozel, Tyrone Landau, Philip Langridge, Michal Lehotsky, Jeong Won Lee, Robert Lee, Jorge de Leon, William Lewis, Angelo Lo Forese, Veriano Luchetti, Ludovit Ludha, Neil Mackie, Walter MacNeil, Tony Madden, Alexander Magri, Ivan Magri, Angelo Marenzi, Suso Mariategui, Stefan Margita, Riccardo Massi, William McDonald, William McKinney, Neil McKinnon, Yeghishe Manucharyan, John Matthew Myers, Davide Menezes, Keith Mikelson, Kevin Miller, Riccardo Mirabelli, Carlo del Monte, Nicola Monti, Amedeo Moretti, Angelo Mori, Petre Munteanu, Andrew Murgatroyd*, James Drummond Nelson, Matthew Nelson, Harry Nicholl, Mauro Nicoletti, Nicola Nicolov, Juraj Nociar, Daniel Norman, Antoine Normand, Peter O’Leary, Denis O’Neill, Simon O’Neill, Alexander Oliver, Sergio Panajia, Mark T. Panuccio, David Parker, Angel Pazos, Claude-Robin Pelletier, Ingus Peterson, Luigi Petroni, Adrian de Peyer, Julian Pike, Paulo Paolillo, Valerij Popov, Patrick Power, Gerard Powers, Benjamino Prior, Huw Priday, William Pugh, Salvatore Puma, Curtis Rayam, Samuel Read Levine, Arley Reece, Huw Rhys- Evans, Bruno Ribeiro, Patrick Ring, Sean Ruane, Jurgen Sacher, Alessandro Safina, Luciano Saldari, John Sandor, Kjell Magnus Sandve, Valery Serkin, Nicholas Sharratt, Eric Shaw, Grant Shelley, Martin Shopland, Heikki Siukola, Theodore Spencer, Mario Spina, Dariusz Stachura, John Stewart, nOah Stewart, Peter Svensson, Alexander Swan, Robert Swensen, Leszek Swidzinski, Nicola Tagger, Manrico Tedeschi, Adrian Thompson, Martin Thompson, Massimiliano Tonsini, Josef Traxel, Roman Tsymbala, Ragnar Ulfung, Fernando del Valle, Alain Vanzo, Eduardo Velazco, Carlo Ventre, Milan Voldrich, Dario Volonte, Eddie Wade, John Wakefield, Wjacheslav

Weinorovski, Robert White, Kip Wilborn, Bradley Williams, Malcolm Williams, John Winfield, Lee Winston, Finbar Wright, Alexander Young, Ivo Zidek, Renzo Zulian Baritones

Roberto Accurso • Walter Alberti • Pascal Allen Roberto Accurso, Walter Alberti, Pascal Allen, Alberto Arrabal, Alex Ashworth, Norman Bailey, Marco Bakker, Pavel Baransky, David Barrell, David Beavan, Giovanni Bellavia, Robert Bickerstaff, Christopher Blades, Paolo Bordogna, Jean Borthayre, Antonio Boyer, Sesto Bruscantini, James Busterud, Ian Caddy, Roberto De Candia, Adam Cannedy, Bruno Caproni, Paul Carey Jones, Marco Caria, John Cashmore, Alan Cemore, Victor Chernomortzev, John Cimino, Ian Comboy, Lawrence Cooper, David Crawford, Davide Damiani, Geoffrey Davidson, Derick Davies, Roland Davitt, Karl Morgan Daymond, Giuseppe Deligia, Carlo Desderi, Walter Donati, Brian Donlan, Malcolm Donnelly, Patrick Donnelly, Wojciech Drabowicz, Johannes von Duisburg, Brent Ellis, William Elvin, Octav Enigarescu, Geraint Evans, Christopher Feigum, John Fletcher, Massimiliano Gagliardo, Jake Gardner, Eric Garrett, Philip Gelling, John Gibbs, Owen Gilhooly, Luis Giron May, Vladimir Glushchak, Thomas Goerz, Manuel Gonzales, Alessandro Grato, Luca Grassi, Gwyn Griffiths, Greer Grimsley, Henri Gui, Philip Guy-Bromley, Stuart Harling, Thomas Hemsley, Roger Howell, Iain Stuart Hunter, Jorma Hynninen*, Neil Jansen, Ales Jenis, Dalibor Jenis*, Stephen Kechulius, Brian Kemp, Stewart Kempster, John Kitchener, Ladko Koresec, Zenon Kowalski, Keith Latham, Guido Lebron, Matthieu Lecroart, Victor Ledbetter, Luis Ledesma, Sergei Leiferkus, Michael Lewis, Peter Lightfoot, Richard Lloyd-Morgan, Anatoly Lochak, Benjamin Luxon*, Peter McBrien, Tom McDonnell, Thomas McKinney, John McNally, Zbigniew Macias, Hugh Mackey, Pierre-Yves Le Maigat, Christopher Maltman, Dino Mantovani*, Enrico Marabelli, Jacques Mars, Donald Maxwell, Leigh Melrose, Eftimios Michalopoulos, Lajos Miller, Gianfranco Montresor, Igor Morosov, George Mosley, Herbert Moulton, Julian Moyle, Marco Nistico, Noel Noble, Frank O’Brien, Kurt Ollmann, Padraig O’Rourke, Alan Opie, William Parcher, John Packard, Peter Paul, Paolo Pedani, Balazs Poka, Afro Poli, Vittorio Prato, Aldo Protti, Lino Puglisi, Anthony Ransome, Howard Reddy, Kenneth Reynolds, Nigel Richards, Gavan Ring, Matjaz Robavs, Marko Rothmuller, Peter Christoph Runge, Hugh Russell, Luca Salsi, Gordon Sandison, Roberto Serville, Patrick Sheridan, Bruno de Simone, Gerard Souzay*, Terence Sharpe, Gianni Socci, Roy Stevens, William Stone, Jesus Suaste, Saran Suebsantiwongse, Richard Sutliff, Krzysztof Szumanski, Bruno Taddia, Igor Tarassov, Arturo Testa, Damian Thantrey, Julian Tovey, Christopher Trakas, Gino Vanelli, Jonathan Veira, Ljubomir Videnov, George von Bergen, Malcolm Walker, Alan Watt, Markus Werba, Patryk Wroblewski, Andrea Zaupa, Richard Zeller

Bass-Baritones

Scott Brooks, Luca Dall’Amico, Wayne Tigges Basses

Nicola Alaimo, Simone Alberghini, Eldar Aliev, Trevor Anthony, Andrei Antonov, John Ayldon, Wolfgang Babl, Brian Bannatyne-Scott, Ayhan Baran, Davide Baronchelli, Tomas Bartunek, Fernand Bernadi, D’Arcy Bleiker, Leonid Boldin, Oliver Broom, Gianluca Buratto, Armando Caforio, Franco Calabrese, Miroslav Cangalovic, Teodor Ciurdea, Plinio Calabassi, Andre Cognet, Ulrik Cold, Nicolas Courjal, Richard Crist, David Cumberland, James Cuthbert, Cristiano Dallamangas, Glyn Davenport, Federico Davia, Martin Dempsey, Mattia Denti, Arnold Dvorkin, Elfego Esparza, Alan Fairs, Enrico Fissore, Sergio Foresti, Andrew Gallacher, Jose Garcia, Richard Golding, Andrew Greenan, Ugo Guagliardo, Alessandro Guerzoni, Robert Holzer, Plamen Hidjov, Jaroslav Horacek, Guus Hoekman, John Holmes, Robert Holzer, Colin Iveson, Jacek Janiszewski, Gunter von Kannen, Roderick Kennedy, Ingo Kolonerics, Juru Kruglov, Mikhail Krutikov, Jan Kyzlink, Michael Langdon, Thomas Lawlor, Nigel Leeson-Williams, Carlo Lepore, Kurt Link, Peter Loehle, Maurizio Lo Piccolo, Alexander Malta, Alvar Malta, David Marsh, Tigran Martirossian, Vladimir Matorin, Richard McKee, Maxim Mikhailov, Sean Mitten, Gabriele Monici, Paolo Montarsolo, Lorenzo Muzzi, Victor de Narke, Piotr Nowacki, David Nykl, Gerard O’Connor, John O’Flynn, Vladimir Ognev, Frank Olegario, Silvanio Pagliuca, Mirco Palazzi, Andrea Patucelli, Vincent Pavesi, Valentin Pivovarov, Max Proebstl, Jiri Prudic, Marko Putkonen, John Rath, Michael Redding, Lawrence Richard, Stefano Rinaldi-Miliani, Richard Robson, Marco Romano, Joseph Rouleau, Gidon Saks, Matti Salminen, Petteri Salomaa, Georgi Selesnev, Bradley Smoak, Juan Soumagnas, Roger Soyer, Bjorn Stockhaus, Alessandro Svab, Giorgio Taddeo, Alexander Teliga, Steven Timoner, Giancarlo Tosi, Ugo Trama, Barseg Tumanyan*, Nicola Ulivieri, Richard Van Allan, Stephen Varcoe*, Franco Ventriglia, Jiri Vinklarek, Lieuwe Visser, Curtis Watson, Richard Weigold, Dennis Wicks, Simon Wilding, Max Wittges, Matthew Young, Frantisek Zahradnicek, Leonid Zimnenko Conductors

Yves Abel, David Agler, Antonio de Almeida, Alexander Anissimov, Bruno Aprea, Paolo Arrivabeni, David Atherton, Matthias Bambert, Max Bragado-Darman, Bryan Balkwill, Daniele Belardinelli, Guy Barbier, John Barbirolli*, Gabriele Bellini, Maurizio Benini, Roderick Brydon, Daniele Callegari, Stephan Cardon, Aldo Ceccato, Michael Christie, Nicholas Cleobury, Alan Curtis, Jacques Delacote, Carla Delfrate, Oliver von Dohnanyi, Gyorgy Fisher, Christopher Franklin, Myer Fredman, Riccardo Frizza, Henri Gallois, Hans Gierster, Jane Glover, Marco Guidarini, Theodor Guschlbauer, Leonard Hancock, Richard Hickox, Milan Horvat*, Robert Houlihan*, Carlos Izcaray, Newell Jenkins,

Artists 1951–2010 135

Emmanuel Joel, Simon Joly, David Jones, James Judd, Wladimir Jurowski, Dimitri Jurowski, Courtney Kenny, Jaroslav Kyzlink, Jan Latham-Koenig, Christopher Larkin, David Lloyd-Jones, Charles Mackerras, Paul Magi, Leone Magiera, John de Main, Michele Mariotti, Enrique Mazzola, Kenneth Montgomery, Michael Moores, Eimear O Broin*, Arnold Oestman, Prionnsias O’Duinn*, Dermot O’Hara, Colman Pearse, Jean Perisson, Evelino Pido, Roberto Polastri, Andre Prieut*, John Pritchard, Timothy Redmond, Julian Reynolds, Bruno Rigacci, Stewart Robertson, Albert Rosen, Marcello Rota, Guido Johannes Rumstadt, Claude Schnitzler, Mark Shanahan, Gunnar Staern, Robin Stapleton, Pinchas Steinberg, Rudolf Schwartz*, Antonio Tonini, Jean-Luc Tingaud, Yan Pascal Tortelier, Frantisek Vajnar, Alexander Voloschuk, Leonardo Vordoni, Israel Yinon directors

John Abulafia, Giovanni Agostinucci, Jean-Claude Auvray, Lucy Bailey, Frith Banbury, Michael BarkerCaven, Michael Beauchamp, Dimitri Bertma, Anthony Besch, Lee Blakeley, Frans Boerlage, Sesto Bruscantini, Adam Burnette, Robert Carsen, Roger Chaplan, Jean-Philippe Clarac & Olivier Deloeuil, John Copley, Douglas Craig, Michael Crochot, John Cox, Rosetta Cucchi, Paul Curran, Lucio Dalla, John Lloyd Davies, Thomas de Mallet Burgess, Corrado D’Elia, Declan Donnellan, Renaud Doucet, Carl Ebert, Peter Ebert, Charles Edwards, David Fielding, John Fulljames, Sonja Frisell, Jack Furness, Michael Gandini, Massimo Gasparon, Michael Geliot, Michael Gieleta, Pauline Grant, Charles Hamilton, Giles Havergal, Jamie Hayes, Andy Hinds, Julian Hope, Tim Hopkins, Nicholas Hytner, Stefan Janski, Richard Jones, Wilfred Judd, Dieter Kaegi, Denis Krief, Inga Levant, Patrick Libby, Powell Lloyd, Patrick Mailler, Yefim Maizel, Lorenzo Mariani, Patrick Mason, Dennis Maunder, Michael McCaffery, Seamus McGrenera, Stephen Medcalf, Damiano Michieletto, Michael Hadji Mischev, Beni Montresor, Guus Mostart, Kevin Newbury, Reto Nickler, Steven Pimlott, Peter Potter, David Pountney, Roberto Recchia, Franco Ripa di Meana, Toby Robertson, James Robinson, Joseph Rochlitz, Michael Shell, Ceri Sherlock, Adrian Slack, Fabio Sparvoli, Ian Strasfogel, Jeremy Sutcliffe, Stewart Trotter, Timothy Tyrrell, Gabriele Vacis, Sergio Vela, Graham Vick, Stefano Vizioli, WolfSiegfried Wagner, Keith Warner, Francesca Zambello, Michal Znaniecki

136 Artists 1951–2010

Designers

Christopher Akerlind, Robin Archer, Steve Almerighi, Bernard Arnould, Cristiana Aureggi, Richard Aylwin, Silvia Aymonino, Ciaran Bagnall, Maurizio Balo, Andre Barbe, Federico Bianchi, Dick Bird, Huguette BarbetBlanchard, Susan Blanc, Maria Bjornson, Jane Bond, Roger Butlin, John Bury, Francesco Calcagnini, Joseph Carl, John Cervenka, Alison Chitty, Franco Colavecchia, Kandis Cook, Russell Craig, Bernard Culshaw, Lorenzo Cutúli, Elizabeth Dalton, Peter J. Davison, John Lloyd Davies, Marouan Dib, Fotini Dimou, Giuseppe di Iorio, Judith Ebert, Charles Edwards, Paul Edwards, Greg Emetaz, Johan Engels, Michael Eve, David Fielding, John Fraser, Massimo Gasparon, Ariane Gastambide, Italo Grassi, Lucia Goj, Greco, Kate Guinness, Wendall Harrington, Dermot Hayes, Douglas Heap, Richard Hudson, Neil Peter Jampolis, Paul Keogan, Kevin Knight, Denis Krief, Osbert Lancaster, Graham Large, Jane Law, Marie-Jeanne Lecca, Guido Levi, Hilary Lewis, Kenny MacLellan, Nick Malbon, Julian McGowan, Micheal McLiammoir, John McMurray, James Macnamara, Ulderico Manani, Alison Meacher.

Alan Moyer, Anna Hadji Mischev, Bettina Munzer, Ruari Murchison, Conor Murphy, Ferdia Murphy, Patrick Murray, Rupert Murray, Igor Nezny, Francis O’Connor, Nick Ormerod, John Otto, Martin Pakledinaz, Fabrizio Palla, Paul Pallazzov, William Passmore, Claudia Pernigotti, Adam Pollock, Dacre Punt, Vincenzo Raponi, Robin Rawstorne, Tim Reed, Alex Reid, Brigitte Reiffenstuel, Giorgio Ricchelli, Peter Rice, Violeta Rojas, Edoardo Sanchi, James Schuette, Bruno Schwengl, Di Seymour, Jason Southgate, Paul Steinberg, John Stoddart, Annena Stubbs, Maria Rosaria Tartaglia, Mauro Tinti, Fabio Toblini, Tatyana Tulubieva, Joe Vanek, Jamie Vartan, Jan Venables, Simon Vincenzi, Michael Waller, Tom Watson, Reginald Woolley * Appeared in concerts or recitals only

2011 Personnel

PHOTO BY ROS KAVAnAGH

David Agler

MARKeTiNG, COMMuNiCATiONS

Artistic Director

& DeVeLOPMeNT

David McLoughlin

Eamonn Carroll Development

ARTiSTiC ADMiNiSTRATiON

Mark Mahoney Marketing & Communications

Rosetta Cucchi Assistant to the Artistic Director

Elizabeth Rose-Browne Media Relations Executive

nora Cosgrave Artistic Administrator

Claudine Murphy Press Office Liaison

Giuliano Guernieri Company Manager

Julie Busher Marketing Assistant

nicky Kehoe Assistant Company Manager

Sarah Burn Publications Editor

Thomas Roche Michael Roche Operations Assistants

Curt Pajer Head of Music Staff

Gerry Lundberg Public Relations ROI Media Consultants

Stargaze Productions Box Office Supervision Services

Giuliano L Scalisi Artistic Intern

Sue Hyman Associates Ltd UK Press Consultants

FiNANCe

Chief Executive

Clive Barda Company Photographer Miles Linklater (24pt Helvetica) Graphic Designers Ted Moran (Highwind Films) Video Production

OPeRATiONS

Aisling White Head of Operations Brian Byrne Interim Head of Operations Michael Lonergan Technical Manager Mairead Power Green Festival Coordinator Pat Roche Systems Supervisor

Denise Kavanagh Financial Controller Patricia Bonham Corcoran Financial & Procurement Administrator Jonathan Curran Accounts Intern BOx OFFiCe

Anne Wilde Geraldine O’Rourke

2011 Personnel 137

Production

Electrics

Scenic Artists

David Stuttard Technical Director

Didier Barreau Chief Electrician

Bradley Vernatter Production Manager

Allan McGuinness Deputy Chief Electrician

Nic Rée Technical Crew Manager stage crew

Donal McNinch Eoin McNinch Pip Walsh Stage Electricians

Liz Barker Giacomo Ceccarelli Noleen Dempsey Jason McCaffrey Frank O’Neill Rinaldo Rinaldi

Grape Gregory Master Carpenter

Mike Sumner AV Technician

Sean Wright Deputy Master Carpenter

Wardrobe

Mario Colaluca David Donegan Graeme Doyle Carlo Fieldwick Puppy Mulcahy Eddie O’Brien Alex Perry Tommy Rennick Johnny Sherrard Steve Wilson Stage Management

Ray Bingle Sarah Taylor Kent Kimberley S Prescott Stage Managers Emma Doyle Deputy Stage Manager Jean Hally Colin Murphy Kate Porter Assistant Stage Managers

Karin Schmidt Head of Wardrobe Ann Reck Wardrobe Mistress Holly Cain Costume Design Assistant, Maria Deirdre Brennan Jeni Roddy Zuzana Zilkova Stitchers Sinead Lawlor Costume Craft/Dyer Wigs & Makeup

Carole Dunne Head of Wigs & Makeup Stephanie Metzner Marion O’Toole Wigs & Makeup Assistants Properties

Niamh O’Meara Props Supervisor Lizzie Marshall Props Assistant Robbie Sinnott Props Run Crew/Props Assistant

138 2011 Personnel

Shortworks

Conor Mullan Technical Manager Charlotte McBrearty Aisling Fitzgerald Stage Managers Frances White Costume Supervisor Tina Mansell Wardrobe Crew Aoife Warren Props Assistant Peter Boyle Carpenter Surtitles

Lydia French orchestra technical staff

Patrick McLoughlin Co-ordinator Damien O’Rourke Porter

Volunteers

PHOTO BY PAT REDMOnD

BACKSTAGe AND TeCHNiCAL

CLOAKROOM

FRONT OF HOuSe

Manager: Vivian Crofton

Manager: Liz Darcy

Manager: Peter Hussey

Roy Billington, Lorraine Byrne, Ger Keeling, John Kirwan, Dave Martin, Dave Martin Jr, Frank Reck, Tony Reck, Dave Vaughan, Terry White

Assisted By Anne Fitzharris

Assisted by: Albert Lacey, Padraic Larkin, Tony O’Brien

BAR

Manager: Tom Murphy Assisted by : Marie Hussey, Pauline Roche David Atkinson, Kate Banville, noel Butler, Conal Byrne, Marian Campbell, Mary Cherrabi, Grainne Coney, Eithne Coulter, AnneMarie Curtis, Anne Byrne, Rita Cussen, Ruth Deignan, Margaret Donnelly, Mary Doyle, Susan Eustace, Daragh Fitzpatrick, Anne Gubbins, Margaret Gurhy, Marie Hayes, Rosemary Hayes, Ben Hennessy, Bill Hennessy, Anne Hogan, Sarah Howlin, Ann Hogan, Michael Kavanagh, Lorna Kearney, Phil Keeling, Jake Kehoe, Jason Kehoe, Frances Madders, Gertrude Madders, Tricia Martin, Phyllis McCarthy, Yvonne McGuire, Eanna McKenna, Ian Mitchell, Tom Molloy, Dawn Moloney, Marianne Moran, Tracy Morris, Ciaran Murphy, Colin Murphy, Denise Murphy, Conall O’Brien, Karen O’Keeffe, Selina Scott, Angie Thompson

Patricia Bent, Kate Bolger, Crona Carew, Bea Claydon, Ellen Cloney, Bernie Corcoran, Susan Crosbie, Ruth Deignan, Sandra Dempsey, Yvonne Doris, Desmond Fegan, Eithne Fitzpatrick, Marie French, Theresa Gleeson, noeleen Goggin, Rita Kelly, Jane Kenneally, Mary Kerr, Odile le Bolloch, Catherine Malone, Anne McCarthy, Fiona McCoole, Antoinette Mitchell, Brigid Molloy, Ciaran O’Faherty, Jane O’Faherty, Helen O’Riordan, Anne Roche, Gabrielle Roche, Orla Sherwood, Ann Sills, Brenda Stuart, Carmel Swords, niamh Tierney, Aedin Tynan, Mary Tynan, Siobhan Tynan, Marietta Walsh, Tricia Walsh, Helen White DRiVeRS

Manager: David Lynch nick Bowie, Paul Cleary, Michael Connolly, Thomas Conway, Brian Dempsey, Colm Dunne, Denise Fanning, Martin Flynn, Paddy Foley, Bernard Gavin, Ray Heffernan, Peter Hussey, Simon Hussey, Phil Keeling, Rebecca Keeling, nicky Kehoe, Mary Kuhn, David Maguire, Terry McCabe, Michael McGinley, Seamus McMenamin, Pat Morrin, Joe Murphy, John Rackard, Joe Ryan, David Sherwood, Eamon Tierney, Mary Waddell, KC Whelan

Tom Banville, Ann Barrett, Peter Bolger, Vincent Brady, Connor Brett, Joe Campbell, Paul Cleary, Olga Conway, Brian Coulter, Fleur Creed, Tim Cummings, David Curtis, Kieran Donohoe, Shane Donohoe, Chris Doyle, Helen Doyle, Roger Duggan, Eamonn Dundon, Andy Fanning, Edel Fitzmaurice, Seamus Flood, Paddy Foley, Johnny Furlong, Mary Furlong, John Galvin, Fiona Grant, Gordon Gray, Gerard Hartigan, Philip Hatton, David Hession, Brian Hogan, Ian Huxtable, Feargal Hynes, Robbie Hynes, Tony Hynes, Jim Kehoe, Uwe Kuhn, Clare Larkin, Tom Leahy, Kevin Lewis, Bernie Lloyd, David Lloyd, Brian MacGonagle, David Maguire, Luke Maguire, James Maloney, John McCormack, Donal Moran, Gerard Moriarty, Helen Moriarty, John Mullins, Eamonn Murphy, Ray noonan, Frank O’Brien, Cathal O’Gara (Jr), Senan O’Reilly, David O’Sullivan, Philip Quigley, Jack Quinn, Pat Reck, Jim Reidy, Liam Riordan, Larry Roche, Terry Ross, Anita Ryan, Joe Ryan, Peter Scallan, Stephen Scallan, Joe Scott, David Sinnott, Dom Stafford, Billy Sweetman, Ian Wardlaw, Anthony Willis

Volunteers 139

Green Room

Opera House Tours

Recitals Front of House

Manager: Liz Foley

Managers: Val Byrne Cook, David Pearce

Manager: Phil Lynch

Kate Bolger, Brenda Byrne, Irene Carty, Maura Coffey, Angela Cunningham, Helen Cunningham, Mary Doran, Joan Doyle, Mary Fox, Margot Gaul, Lily Hanton, Sandra Harris, Verona Hynes, Anne Kelly, Joe Kelly, Joy Keyes, Jo Kinsella, Claire Moore, Joan O’Keeffe, Mary Pokorny, Christine Roche, Kitty Roche, Mary Sadler, Kathy Shortle, Catherine Whelan Friends Hospitality

Manager: Alma Hynes Ann Barrett, Caroline Carson, Pat Collins, Brian Coulter, Eithne Coulter, Mary Doyle, Rosemary Hayes, Angela Hennessy, Sarah Howlin, Ted Howlin, Marie Hussey, Peter Hussey, Phil Keeling, Bernie Lloyd, Phil Lynch, David Maguire, Phyllis McCarthy, Pat Moore, Betty O’Brien, Eileen Paget, Joan Roche, Joe Scott, Selina Scott, Dairine Sheridan, Mairead Sinnott Festival Tours

Manager: Nicholas Furlong Maura Bell-Browne, Bernard Browne, Monica Crofton, Mairead Furlong, Jarlath Glynn, Jim Hurley, Brian Matthews, Dr Austin O’Sullivan, Celestine Rafferty, Eithne Scallan

Ann Barrett, Maura Coffey, Dave Corcoran, Geraldine Croke, Angela Cunningham, Francoise Davison, Martina Dempsey, Helen Doyle, Anne Fitzharris, Eithne Fitzpatrick, Patricia Howlin, Peter Hussey, Feargal Hynes, Robbie Hynes, Phil Lynch, Brian MacGonagle, Catherine Malone, Phyllis McCarthy, Betty O’Brien, Ciaran O’Faherty, Jane O’Faherty, Elizabeth O’Sullivan, Eileen Paget, Peter Scallan, Billy Sweetman, Eamon Tierney, Niamh Tierney Programmes

Manager: Belle Fitzgearld Mags Bolger, Nuala Byrne, Joanne Crofton, Ann Dempsey, Mary Donohoe, Mary Doyle, Mary G. Doyle, Irene Furlong, Georgina Gaul, Majella Gaul, Eilis Hayes, Marie Hussey, Clare Kehoe, Geraldine Kelly, Colette Mahon, Barbara Mantripp, Carmen McDonald, Bobby Modler, Laura Nolan, Helen O’Brien, Sheila O’Neill Fahy, Sheila Reck, Phil Rowan, Ethna Ryan, Liz Sinnott, Terence Stacey, Eleanor White

nicky cleary (1929-2011) When we accompanied Nicky Cleary to his final resting place in Crosstown on 30 March 2011, we could imagine him pausing one last time to look back at his beloved Wexford, with its Opera House framed by the twin church spires. For fifty-eight years Nicky served tirelessly as a Wexford Festival volunteer, including membership of the Council, as a Trustee, as the Theatre

140 Volunteers

Assisted by: Pat Collins, Michael O’Reilly, James White Doreen Atkinson, Ann Barrett, Helen Burrell, Joe Campbell, Marian Campbell, Caroline Carson, Eileen Coman, Mary Cotter, Susan Crampton, Francoise Davison, Eamonn Dundon, Mary Furlong, Helen Gaynor, Brigid Ann Hayes, Eileen Herlihy, Bernadette Honohan, Heike Huelswitt, Patricia Hyland, Michael Kavanagh, Barbara Kehoe, Bernie Lloyd, Ann Logan, Bernadette Lovett, Marguerite McGillycuddy, Niall McGuigan, Mary G. McGuigan, Eanna McKenna, Ann McMorris, Valerie Morris, Liz Murphy, Lala Murtagh, Pauline Norrison, Betty O’Brien, Helena O’Brien, Ann O’Neill, Anne O’Sullivan, Elizabeth O’Sullivan, Eileen Paget, Rosemary Paget, Madeline Prendergast, Mary Quigley, Michelle Roche, Patty Roche, Jean Ruddock, Ethna Ryan, Sibylle Schmidt, Angie Thompson, Kate Whitty, Ann Young Recitals Box Office

Ted Howlin, Phyllis McCarthy, David Sinnott Wardrobe

Manager: Marie Brady Helena Baker, Martina Dempsey, Julie Hogan, Pat Huxtable, Dolores Kavanagh, Emily Mahon, Michelle O’Kennedy, Anne Reck, Sinead Reck, Bride Tynan, Frances White

Royal Stage Director, and above all as a trainer and mentor of generations of stage hands and technicians, his ‘crew’.

Nicky’s work backstage was legendary, exemplary and totally committed. Tom Walsh valued his expertise and involvement immensely. For Nicky, nothing mattered in opera unless the voices were exact. When he spoke of the Wexford alumni he worked with over the years he described perfectly the magic and the pioneering spirit of the formative years of the Festival.

As a husband and father, he will be missed greatly by Rosaleen and the girls, and as a citizen of Wexford, in so many ways we shall never see his like again.

— Ger Lawlor

Opera House Tours & Merchandise

PHOTO BY ROSS KAVAnAGH

Wexford Opera House Tours

Gifts & Merchandise

During the 2011 Festival guided tours of Wexford Opera House will take place every day from 24 October–5 november inclusive. Tours will commence at 14:15 and 14:30, starting at the Box Office, Wexford Opera House.

Wexford Festival Opera is delighted to announce the addition of a number of items to our gifts and merchandise range. Patrons can now purchase a Friend’s Membership for a loved one in an attractive pack, including a Friend’s Membership certificate, a Friend’s 2012 Pin and a copy of the 2011 programme.

Take in the award-winning architecture while sampling the exceptional acoustics of its two diverse performance spaces, the O’Reilly Theatre and the Jerome Hynes Theatre.

Children under sixteen years of age must be accompanied by an adult.

Booking closes fifteen minutes before the tour start time. no admission without a valid ticket.

Ticket Price €8

new to our gift range is our exclusive Delas Frères wines from the Rhône Valley in a Wexford Festival Operabranded presentation box. You can also purchase a Wexford Creamery limited edition Wexford Festival Opera cheddar cheese.

Our gift range also includes our beautiful silver cufflinks and lapel pins, designed and crafted by Martins Jewellers, plus a variety of items especially branded with the attractive Wexford Festival Opera logo, including fleeces, bags, umbrellas and the ever-popular opera glasses.

Postcards featuring scenes from the past sixty years of the Festival have also been added to our gift range this year.

All items are available from the Box Office at Wexford Opera House or online at www.wexfordopera.com

Opera House Tours & Merchandise 141

Wexford Festival Opera Tours

PHOTO BY PAT KEnnY

The Wexford Festival Tours are organised this year by nicholas Furlong and Bernard Browne. The tours, led by expert guides, are open to everyone and free of charge, but drivers help with transport by offering places in their cars. Tours leave the Talbot Hotel car park at 10:30 sharp and are scheduled to return to Wexford by 13:00.

Saturday 22 October

Saturday 29 October

A fortified church at the buried city of Bannow, Bannow House and the Augustinian foundation of Grantstown with author and historian, Bernard Browne.

Ancient Places of Worship: Mayglass, Tomhaggard, and the windmill at Tacumshane with the Chairman of Wexford Historical Society, Brian Matthews.

Tuesday 25 October

Tuesday 1 November

Wexford town walking tour and talk: Places of Worship to include, Hiberno-norse, mass-house, medieval Christian, Quaker, Franciscan Friars, Convent Chapel, Methodism and three-part complex at Selskar with Wexford author and historian Eithne Scallan.

The national Heritage Park with Director, Maura BellBrowne.

Wednesday 26 October The Johnstown Agricultural Museum with its Chairman, Peter Miller, and international soil ecologist, Dr Austin O’Sullivan.

Thursday 27 October A tour of two of the most significant buildings in Enniscorthy: Enniscorthy Castle and Enniscorthy Cathedral with historian and librarian, Jarlath Glynn.

Friday 28 October A walking tour of Wexford town looking at the silent witnesses of the town – the historic tree trail from the Faythe to Redmond Park with author and tour guide, Monica Crofton.

142 Wexford Festival Opera Tours

Wednesday 2 November Visit the seaside fishing village of Kilmore Quay with its ancient rocks at Forlorn Point, sand dune system at Ballyteige Burrow and drainage works on the agripolders at Inish and Ballyteige Slob with author and naturalist, Jim Hurley.

Thursday 3 November Historic pubs of Wexford town with librarian and historian, Celestine Rafferty.

Friday 4 November The new County Hall and its Art Collection with art historian, Mairead Furlong and author and historian, nicky Furlong.

g LY n D e B O u R n e O n

T O u R

2 0 1 1

Puccini

La BOheMe

David McVicar’s acclaimed production

Donizetti

DOn PasquaLe new for Tour 2011

hanDel

RinaLDO

Direct from the 2011 Festival

‘Simply the greatest all-round opera experience available in this country’ BBC MusiC Magazine

OctOber – December 2011 Glyndebourne, WokinG, Milton keynes, norWich, PlyMouth, WiMbledon, stoke-on-trent

la boheme, PhotograPhy Mike hoban

book now at glyndebourne.com

GOT-wexford ad.indd 1

glyndebourne on Tour

glyndebourne on Tour 2011 sponsored by

09/09/11 10:57

Barbour

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B CORCORAN LTD

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B CORCORAN LTD

WEXFORD TEL: 053 91 22687 www.corcoransmenswear.ie

Experience the magic of… Marlfield House Marlfield House, Wexford’s most elegant and charming country house hotel, is renowned for its luxurious surroundings, fine food and glorious gardens. Find us by taking exit 23 off the N11. Open for morning coffee, library lunch, drinks, afternoon tea, pre opera supper or dinner. We continue to offer very special Wexford Festival Opera Packages including pre opera dinner and transport to and from the Opera House.

This year one of our now established recitals is taking place during the Wexford Festival Opera: Date: Sunday 23rd October Featuring: Siobhan Oliver, Soprano; Ryan Morgan, Tenor; and Eoin O’Callaghan, Pianist Cost: €63 per person for lunch and the recital, recital only are €20.

Lunch is served from 12.30 followed by the recital at 3.30pm for one hour approximately.

The performance will take place in the intimacy of the house in the Print Room, preceded by a delicious four course lunch. Enjoy Sunday afternoon in the beautiful surroundings of Marlfield and its gardens.

Just 45 minutes from Wexford or on route to or from Dublin.

Contact us directly • Tel: 053 94 21124 • Email: info@marlfieldhouse.ie • Website: www.marlfieldhouse.ie

‘It’s worth a big detour, so don’t walk past this gem’ – Tom Doorley may 2011 Run by award-winning chef Warren Gillen

Warren Gillen’s

Cistín Eile Modern Irish Restaurant South Main Street, Wexford, Ireland Tel. (053) 91 21 616 Organic ingredients ~ LOcaL PrOduce ~ MOdern irish FOOd ~

Open Daily During Opera Festival 12–3 & 6–Late ~ Pre-Opera Menu ~ artisan Wine List ~ BOOKing is essentiaL Ph. (053) 91 21 616

The

INSIGNIA

MEET THE STUNNING INSIGNIA AT FERRYBANK MOTORS. Discover how German technology meets award-winning design. Call in today for a test drive.

Photo: Alina Pogostkina by Felix Broede

Ferrybank Motors

Wexford & New Ross. T 053 9122544 / 051 425720 www.ferrybankmotors.com

on the Ab b e y stage

21 SEPTEMBER – 5 NOVEMBER 2011 T I C K E T S €13 – € 4 0

GATE THEATRE NOW ON

As part of the Ulster Bank Dublin Theatre Festival

www.gatetheatre.ie (01) 874 4045

festival della valle d’itria

XXXVIII

Martina Franca, Italy July 20 - August 7, 2012

Johann Adolf Hasse

Artaserse Marco Taralli

Nûr

World première

Saverio Mercadante

Francesca da Rimini World première / Coproduction with Wexford Festival Opera

www.festivaldellavalleditria.it

Give your guests the comfort of Celtic

For over 80 years Celtic has been the leading supplier to the hospitality industry.

We pride ourselves on our quality, customer care and flexibility. That’s why we give you the packages you need whether you want to buy or rent linen.

We provide all your hygiene requirements from toilet tissue, soaps, hygiene chemicals, branded dustmats and glassware to our pristine linen service.

One call to Celtic is all it takes.

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“A new candidate for the accolade of Most Beautiful Opera House in the World” Daily Telegraph

2 June - 3 July 2012 L’OLimpiade Vivaldi Conductor Laurence Cummings Director David Freeman dOn GiOVanni mozart Conductor Douglas Boyd Director Daniel Slater La périchOLe Offenbach Conductor David Parry Director Jeremy Sams

Be among the first to know!

Join the Affiliate Membership. Book ahead of the general public and be part of our future. www.garsingtonopera.org or contact us on 01865 368201 / office@garsingtonopera.org

www.garsingtonopera.org

Jim Lambie, ‘I Remember (Square Dance)’, 2009, Chairs, gloss paint, mirrored handbags, 150 x 150 x 150 cm, Photo: Photographic Services Courtesy of The Artist and The Modern Institute/Toby Webster Ltd, Glasgow

All present and correct.

Ireland’s International Art Exhibition Sept 6 - Oct 31 2011 / Earlsfort Terrace D2 / From €10 100 Artists / Café / Design & Book Shop / Learning Spaces / The Office of Non-Compliance

open daily / box office 01 678 9116 / dublincontemporary.com

DL2011_Press_WexfordFestivalOpera_A4.indd 1

9/6/11 3:25:02 PM

59th Wexford Fringe Festival

20th October ~ 6th November

For more information on this enduring festival see

www.wexfordfringe.ie

AMERICAN PREMIERE

ONE OF FOUR REASONS TO MAKE OPERA THEATRE OF SAINT LOUIS YOUR DESTINATION IN JUNE, 2012.

CARMEN

COSÌ FAN TUTTE

Georges Bizet | 1875 May 19 – June 23, 2013

Wolfgang Amadeus Mozart & Lorenzo Da Ponte | 1790 June 3 – 22, 2012

SWEENEY TODD Stephen Sondheim & Hugh Wheeler | 1979 May 26 – June 24, 2012

ALICE IN WONDERLAND Unsuk Chin & David Henry Hwang | 2007 June 13 – 23, 2012

Subscriptions on sale now. Single tickets on sale February 2012 Tickets at (314) 961-0644 or online at ExperienceOpera.org

All productions are sung in English and performed with members of the St. Louis Symphony.

Index of Advertisers Abbey Theatre

149

Independent News & Media

9

AIB 12

International Leisure & Arts

17

Artramon Farm

Italian Institute of Culture

96

The Arts Council

90 Inside Front Cover 105

Bank of Ireland

J. J. Devereux Ltd.

147

Kelly’s Resort Hotel & Spa

97

Cappuccino’s 144

Marlfield House

145

Ceadogán Rugs

National Concert Hall

102

93, 95

Celtic Linen

152

Opera Theatre of Saint Louis

158

Cistín Eile Restaurant

146

The Piano Gallery

104

Corcoran Menswear

145

RTÉ Lyric FM

101

Shoe Style International

146

Culleton Insurances Ltd.

99

Danone 10

Simons Place

92

Datapac 91

Star Recruit

149

19, 21, 23, 25, 157, 159

Talbot Hotel

22

Thomas Moore Tavern

18

Diana Donnelly Dublin Contemporary 2011

155

EPA (Environmental Protection Agency)

15

Ticketsolve 147

EPA Green Festival

94

Waterford Airport

100

West Cork Chamber Music Festival

148

Fáilte Ireland

8

Febvre 16 Ferrybank Motors

148

Ferrycarrig Hotel

14

Festival della Valle d’Itria

151

French Embassy

106

Garsington Opera

153

Glyndebourne on Tour

143

Greenacres 107

Wexford Borough Council & Wexford County Council

13

Wexford Bus

154

Wexford Chamber of Commerce

156

Wexford Creamery

24

Whites of Wexford

20

The Yard Restaurant

103

Zurich 11

Hertz 98

160 Index of Advertisers

Programme editor: Sarah Burn

Festival Calendar

60th Wexford Festival Opera Friday 21 October – Saturday 5 November 2011

Please note that our programmes may be subject to change.

Friday 21 October

Saturday 22 October

Sunday 23 October

20:00 La cour

11:00

15:30 19:00 20:00

12:00 16:00 17:00 21:30

de Célimène

Concert (Schubert & Variations) Mad for Opera Pre-Opera Talk

Maria

Double Trouble Pre-Opera Talk

Gianni di Parigi Evening Cabaret

Wednesday 26 October

Thursday 27 October

Friday 28 October

13:05 Lunchtime Recital 15:30 Gianni Schicchi 20:00 GALA CONCERT

13:05 Lunchtime Recital 15:30 Mad for Opera 19:00 Pre-Opera Talk

11:00 Brass Concert 13:05 Lunchtime Recital 15:30 Gianni Schicchi

20:00 La cour

de Célimène

19:00 Pre-Opera Talk 20:00 Maria

Saturday 29 October

Sunday 30 October

Monday 31 October

11:00 Dr Tom Walsh Lecture 13:05 Lunchtime Recital

12:00 Gianni Schicchi 15:30 Concert (Orchestra)

11:00 Double Trouble 13:05 Lunchtime Recital

15:30 Double Trouble 19:00 Pre-Opera Talk 20:00 Gianni di Parigi

19:00 Pre-Opera Talk 20:00 La cour

de Célimène

16:00 Pre-Opera Talk 17:00 Maria 21:30 Evening Cabaret

Wednesday 2 November

Thursday 3 November

Friday 4 November

13:05 15:30 19:00 20:00

13:05 15:30 19:00 20:00

11:00 13:05 15:30 19:00

Lunchtime Recital Double Trouble Pre-Opera Talk

Gianni di Parigi

Lunchtime Recital Mad for Opera Pre-Opera Talk

La cour de Célimène

Brass Concert Lunchtime Recital Gianni Schicchi Pre-Opera Talk

20:00 Maria

Saturday 5 November 13:05 15:30 19:00 20:00

Lunchtime Recital Choral Concert Pre-Opera Talk

Gianni di Parigi PHOTO by pat redmond

Programme design by 24pt Helvetica Design: www.24pt-helvetica.com

Festival Calendar 161

LE ROI MALGRÉ LUI Emanuel Chabrier (1841–1894)

A VILLAGE ROMEO AND JULIET Frederick Delius (1862–1934)

FRANCESCA DA RIMINI Saverio Mercadante (1795–1870)

For additional information about our 2012 season, including running order, please visit www.wexfordopera.com

60th Wexford Festival Opera 2011

THE 61ST WEXFORD FESTIVAL OPERA Wednesday 24 October – Sunday 4 November, 2012

60th Anniversary Season

21 October–5 November, 2011