The Second Violinist by irishnationalopera

Landmark Productions & Irish National Opera

The Second Violinist

Macbeth

6â&#x20AC;&#x201C;8 Sep 2018 Theatre

Brink Productions

Memorial Alice Oswald’s extraordinary poem is transformed into a reflective theatrical experience combining dance and music 27–30 Sep ‘Deeply moving and profound…an important and world-class event’ InDaily (Australia)

Image © Shane Reid

Co-commissioned by

Welcome

Welcome to the Barbican and our autumn season which starts with the UK premiere of The Second Violinist by Landmark Productions and Irish National Opera. We’re delighted to see Landmark return to the Barbican and we welcome Irish National Opera here for the first time. This gripping modern opera is the eagerly-awaited second collaboration between the same team that created The Last Hotel and reunites playwright and director Enda Walsh with composer Donnacha Dennehy. The Second Violinist is an edge-of-your-seat thriller revealing the dark side of social media and the pressure to succeed. Driven by a stunning cast, 16-strong chorus and Crash Ensemble, it won the 2017 FEDORA - GENERALI Prize for Opera and was crowned Best Opera at the Irish Times Irish Theatre Awards when it premiered at the Galway International Arts Festival last year. We would also like to take this opportunity to thank Culture Ireland and the Arts Council for their continued support and Tourism Ireland for their support for this production. We hope you enjoy the show.

Barbican

Benedict Nelson, photo © Patrick Redmond

The City of London Corporation is the founder and principal funder of the Barbican Centre

Cover photo Aaron Monaghan © Patrick Redmond

Toni Racklin Head of Theatre

Landmark Productions and Irish National Opera

The Second Violinist a new opera by Donnacha Dennehy and Enda Walsh Premiered at Galway International Arts Festival on 27 July 2017 The performance lasts 1 hour 15 minutes. There is no interval. Presented by the Barbican. Winner of the FEDORA - GENERALI Prize for Opera 2017. Funded through an Opera Production Award from The Arts Council / An Chomhairle Ealaíon. Supported by Culture Ireland as part of GB18: Promoting Irish Arts in Britain. Opening night reception sponsored by Tourism Ireland.

Cast Martin Aaron Monaghan Hannah Máire Flavin Amy Sharon Carty Matthew Benedict Nelson Scarlett Kimani Arthur Voices Niall Buggy, Brian Gleeson, Simone Kirby, Gary Lilburn, Pauline McLynn, Justine Mitchell, George Potts, Eileen Walsh

The Second Violinist

Chorus Soprano Maria McGrann, Chloe Morgan, Gabrielle Mulcahy, Muireann Mulrooney Mezzo Emily Gray, Anna Jeffers, Martha O’Brien, Dominica Williams Tenor Conor Gibbons, Philip Keegan, Ciarán Kelly, Josh Spink Bass Eoghan Desmond, Rory Dunne, Aaron O’Hare, Tim Shaffrey Crash Ensemble Violin 1 Cora Venus Lunny Violin 2 Courtney Orlando Viola Lisa Dowdall Viola da gamba Liam Byrne Cello William Butt Double Bass Malachy Robinson Flute 1/Piccolo 1 Susan Doyle Flute 2/Piccolo 2/Alto Flute Lina Andonovska Clarinet Leonie Bluett Bass Clarinet Deirdre O’Leary Horn Hannah Miller Percussion Owen Gunnell Percussion/Celeste Alex Petcu Piano Eliza McCarthy

Creative team Composer Donnacha Dennehy Writer and Director Enda Walsh Conductor Ryan McAdams Set Designer Jamie Vartan Lighting Designer Adam Silverman Video Designer Jack Phelan Sound Designers David Sheppard and Helen Atkinson Costume Designer Joan O’Clery Assistant Director Eoghan Carrick Assistant Conductor and Chorus Director Sinead Hayes Associate Sound Designer Joel Price Répétiteur Richard McGrath Production Manager Eamonn Fox Technical Manager Tom Rohan Stage Manager (Book) Kate Watkins Stage Manager (Props) Lizzie Chapman Chief LX and Video Technician Colm Robinson Sound Mixer Jonathan Green Costume Supervisor Clodagh Deegan Hair and Make-up Val Sherlock Crew Chief Danny Hones Surtitle Operator Maeve Sheil Photography Patrick Redmond Set Construction TPS Screen Provided by the Barbican

For Landmark Productions Producer Anne Clarke Associate Producer Sara Cregan For Irish National Opera Artistic Director Fergus Sheil Executive Director Diego Fasciati Head of Production Gavin O’Sullivan Head of Corporate Communications & Development Sarah Freeman Marketing Manager Sorcha Carroll Office & Finance Manager Cate Kelliher Digital Communications Manager Sarah Halpin Artistic Administrator Muireann Ní Dhubhghaill INO Board of Directors Gaby Smyth (Chair), Jennifer Caldwell, Stella Litchfield, Sara Moorhead, Joseph Murphy, Ann Nolan, Yvonne Shields, Michael Wall For Crash Ensemble Artistic Director Kate Ellis CEO Neva Elliott McGinley Concert Manager Jonathan Pearson

Confectionery and merchandise, including Jude’s ice cream, quality chocolate, nuts and nibbles, are available from the sales points in our foyers. Please turn off watch alarms, phones, pagers etc. during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. If anything limits your enjoyment please let us know during your visit. Additional feedback can be given online, as well as via feedback forms or the pods located around the foyers.

Máire Flavin © Patrick Redmond

The Second Violinist

Acknowledgements Footage of starling murmuration from The art of flying, a film by Jan van IJken www.janvanijken.com Video game images from Samurai: Way of the Warrior by MadFingerGames www.madfingergames.com

A Dark Road

by Enda Walsh

Most drama for me is creating a reality that is recognisable to our own life but also distinctly different. There’s an abstraction taking place where we’re very soon in an altered way of living. Story passes through a protagonist until the world is changed by them. What are they trying to do? Survive sometimes — or find some rest or love — or some escape. Nearly always I find that the characters are trying to control their minds — harness their creativity, rescue their dreams. It’s a difficult journey, an impossible few days — where they have travelled far from our reality and wrapped themselves up in their own logics and worlds. I think I’ve failed more often than I’ve achieved. Some of my so-called successes are in fact crushing personal failures. I’m so thick-skinned and dogged that it rarely punctures me, this failure — and I pick myself up and go back at the work again and again. The moments of fulfilment are fleeting — the prize having been won is usually tossed aside and replaced by a new goal. It sounds bloody exhausting! — and I suppose it is a little — but the journey, the process — that way of living becomes what you are. You accept it — and you sort of work for it and hate it and love it in equal measure.

The Second Violinist

What if my relationship with my work begins to sour — what if those small disappointments begin to mount — and I can’t bury them with ‘the next thing’? There’s something of this sort of entrapment and failure in The Second Violinist. But I guess it’s larger than the relationship a person has with the thing they’re trying to create or make — whether it’s music, a play or whatever. It’s less a creative journey and more just trying to find a way of making life itself fuller or better or more beautiful. If this beauty and happiness are unattainable and the pursuit of that feels pointless — what happens? In this case failure creates another way of living. Both reality and dreams distort. The energy and drive of the protagonist is the same as before — but the direction has changed and is sometimes morally blind. What can’t be won in the wider world will be pursued in something with its own rules — something singular and winnable. We all win and lose, adapt and change — but in some cases the losing creates other terrifying ways of living.

This is one of those stories. Sharon Carty © Patrick Redmond

The Second Violinist

Carlo Gesualdo by Donnacha Dennehy

The Second Violinist

C arlo Gesualdo lived from 1566 to 1613, and remains to this day one of the most intriguing composers of the Renaissance period. A sonic adventurer, he pushed harmony right to its chromatic limits. R enowned for the crazily colourful madrigals of his younger years, in later life he produced an astonishing body of sacred spiritual music that I hear as dealing with his significant feelings of increasing guilt. L ife was neither easy for him, nor, to put it politely, those around him. O bsessive, mercurial, jealous, controlling and tortured, he’s like a massive exaggeration of the mythic view that people have of an artistic genius. G esualdo is an object of fascination for Martin, the second violinist in this piece. E soteric though some of Gesualdo’s music might be, it possesses an addictive duality of mood almost at all times. S eething with jealousy and hurt pride, Gesualdo planned and executed the murder of his first wife, Maria d’Avalos, and her lover when he discovered their affair in 1590. U gly, disturbing and shocking acts like this are scattered through the story of Gesualdo’s life. A dmittedly, some of the tales associated with Gesualdo have been exaggerated, embellished or simply made up over time. L overs abound, including a supposed witch-mistress that Gesualdo was obliged to lock in his castle as a result of a trial instigated by his second wife. D esperately racked with guilt towards the end of his life, Gesualdo apparently hired twelve men to whip him daily as a kind of punishment. O thers say that he required these floggings for medical reasons; maybe the truth lies in between, or indeed, somewhere else. P .S. This opera is not about Gesualdo; it’s about the characters that exist in it.

Aaron Monaghan and Sharon Carty © Patrick Redmond

The Second Violinist

Biographies

The Second Violinist

Cast Aaron Monaghan Martin Aaron Monaghan trained at The Samuel Beckett Centre, Trinity College Dublin. His recent work includes Stones in his Pockets at the Macarter Theater, Princeton and Shelter (2018) for Druid. He has worked extensively with the Abbey Theatre in King Lear (2013), 16 Possible Glimpses (2011), Christ Deliver Us! (2010), Arrah na Pogue (2010), Tales of Ballycumber (2009), and She Stoops to Conquer (2003); and with Druid Theatre Company, of which he is an ensemble member and with which he has toured internationally in Waiting for Godot (2016-18), The Beauty Queen of Leenane (2016), DruidShakespeare (2015), DruidMurphy (2013), Penelope (2011), The Silver Tassie (2009), The Walworth Farce (2006), Empress of India (2006), DruidSynge (2005) and The Playboy of the Western World (2005). He has also worked with companies such as Fishamble, Bedrock, Yew Tree and Livin’ Dred, which he co-founded in 2004. His film and TV work includes Assassin’s Creed, The Foreigner, Maze, Float Like A Butterfly, Love/Hate, Vikings, The Tudors, Inspector Jury, Hideaways, The Other Side of Sleep and Clean Break, amongst others. He is a recipient of a Lucille Lortel Award, Manchester Evening News Award, an Irish Times Irish Theatre Award and an OBIE Award for Outstanding Performance.

Máire Flavin Hannah Dublin-born soprano Máire Flavin represented Ireland in the BBC Cardiff Singer of the World, where she was a finalist in the Song Prize. Last season she made her Austrian debut as Contessa d’Almaviva in Le nozze di Figaro (Salzburger Landestheater); her company debut as Contessa d’Almaviva in Le nozze di Figaro (Irish National Opera); perform the role of Hannah in the world premiere of The Second Violinist (Landmark Productions and Irish National Opera); perform in the Opera Highlights Tour (Scottish Opera); Mimì in La bohème (Cork International Opera Series); Mozart Requiem and Once upon a Dream: Celebrating Disney (RTÉ National Symphony Orchestra). Previous highlights include roles with Théâtre des Champs Elysées, Atelier Lyrique de Tourcoing, Glyndebourne Festival Opera and Glyndebourne on Tour, Opera North, Welsh National Opera, Scottish Opera, Northern Ireland Opera, and appearances with the RTÉ National Symphony Orchestra, Royal Philharmonic Orchestra, RTÉ Concert Orchestra, Orchestra of Welsh National Opera, and the Deutsche Philharmonie. In the forthcoming season she will make her role debut as Anna Sørensen in the British premiere of Kevin Puts’ Silent Night, and her role debut as Hanna Glawari in The Merry Widow, both for Opera North; she also returns to the role of Hannah in The Second Violinist, which will make its British premiere at the Barbican, London, and at Dutch National Opera’s Opera Forward Festival.

Sharon Carty Amy Mezzo-soprano Sharon Carty is an alumna of the Royal Irish Academy of Music Dublin, University of Music and Performing Arts, Vienna, and the Oper Frankfurt Young Artists programme. Her opera repertoire includes Sesto in Handel’s Giulio Cesare, Hänsel in Humperdinck’s Hänsel und Gretel, Dorabella in Mozart’s Così fan tutte, Dido in Purcell’s Dido and Aeneas, Piacere in Handel’s Il trionfo del Tempo e del Disinganno, and the title role in Handel’s Ariodante. Sharon Carty recently performed Orfeo in Gluck’s Orfeo ed Euridice for Irish National Opera and United Fall in the Galway International Arts Festival. Sharon created the role of Amy in the world premiere of Donnacha Dennehy and Enda Walsh’s Fedora prizewinning opera The Second Violinist. She works regularly on the concert platform across Europe. Her concert and extensive oratorio repertoire includes most of the major works by Mozart, Bach, Handel, Elgar, Mendelssohn and Duruflé, and she is also a dedicated recitalist. Upcoming highlights include her Amsterdam opera debut in The Second Violinist, her Wexford Festival Opera debut as Lucy Talbot in the European première of William Bolcom’s Dinner at Eight in October, and Vivaldi and Handel arias with the Irish Chamber Orchestra. Recordings include Gilbert and Cellier’s comic opera The Mountebanks with the BBC Concert Orchestra, and La traviata on DVD alongside Thomas Hampson and Marina Rebeka with the NDR Radiophilharmonie. A disc of Schubert songs is planned for 2019.

Aaron Monaghan photo © Patrick Redmond

The Second Violinist

Benedict Nelson Matthew British baritone Benedict Nelson has established a reputation as one of the UK’s most exciting young baritones. Highlights of the 2017/18 season include Gloriana at Teatro Real de Madrid, Il Ritorno d’Ulisse in Los Angeles and San Francisco, Carmina Burana with the Gulbenkian Orchestra, Belshazzar’s Feast with the Hallé Orchestra, the Southbank Sinfonia, and the Oxford Bach Choir. Other recent highlights include a successful role debut as The Count in The Marriage of Figaro (2014) at ENO, Aeneas in Dido and Aeneas (2015) at the Teatro Regio di Torino, Salzburg Festival, and Verbier Festival alongside Angelika Kirchschlager as Dido, Ned Keene in Peter Grimes (2014) for Opéra de Lyon and Opera North, Algernon Moncrieff in Barry’s The Importance of Being Earnest (2013) at the Royal Opera House and Lincoln Center, and Stranger in The Lady from the Sea (2012) for the Edinburgh International Festival and Scottish Opera. Concert highlights include Vaughan Williams’ Sea Symphony with the Royal Scottish National Orchestra, Britten’s Noye’s Fludde with La Maîtrise de Radio France, Handel’s Messiah with Orquestra de Cadaqués, Brahms’ Ein deutsches Requiem with the Hallé Orchestra, and Weill’s Das Berliner Requiem with L’Orchestre Philharmonique de Radio France. Upcoming engagements include a return to Scottish Opera for Britten’s The Burning Fiery Furnace and as Miles in Athropocene, a new work by the critically acclaimed collaboration of Stuart McRae and Louise Welsh.

Creators

The Second Violinist

Donnacha Dennehy Composer Donnacha Dennehy’s music has featured in festivals and venues throughout the world. In addition to two operas with Enda Walsh, The Last Hotel and The Second Violinist, recent large-scale commissions include The Hunger, a docu-opera for Alarm Will Sound (presented by BAM and Opera Theatre St. Louis), Broken Unison for So Percussion (commissioned by Carnegie Hall), Tessellatum for Nadia Sirota, Liam Byrne and microtonal viol consort (commissioned by Symphony Space), and pieces for Dawn Upshaw (commissioned by the St. Paul Chamber Orchestra), Third Coast Percussion (commissioned by the Met Museum in New York), Kronos Quartet, and the Doric Quartet (co-commissioned by Wigmore Hall and Carnegie Hall). This coming season includes the premieres of

INO Chorus © Patrick Redmond

a choreographed version of his percussion quartet, Surface Tension, at BAM and a commission from the LA Philharmonic. He continues to maintain a close artistic connection with the group he founded, Crash Ensemble, and they feature in both ‘the operas created with Enda Walsh. Portrait albums of his music have been released by Nonesuch, Cantaloupe, NMC and Bedroom Community. Two new recordsing are forthcoming: The Last Hotel (Cantaloupe) and The Hunger (Nonesuch). Donnacha Dennehy joined the music faculty at Princeton University in 2014. His music is published by G. Schirmer, New York. Enda Walsh Writer / Director Enda Walsh is a Tony and multi award-winning Irish playwright and director. His work has been

translated into over 20 languages and has been performed internationally since 1998. His recent plays include an adaptation of Max Porter’s Grief is the Thing with Feathers (2018) for Complicité; The Same (2017), produced by Corcadorca; Lazarus (2016) with David Bowie; Arlington (2016), Ballyturk (2014), Misterman (2012); and the opera The Last Hotel (2015) for Landmark Productions and Wide Open Opera. His other plays include Once (2011), Penelope (2010), The New Electric Ballroom (2009), The Walworth Farce (2006), Chatroom (2005), The Small Things (2005), Bedbound (2000) and Disco Pigs (1996). He has made five installation ‘Rooms’ with Paul Fahy and GIAF: Room 303, A Girl’s Bedroom, A Kitchen, Bathroom and this year’s Office 33A. In 2014, he received an honorary doctorate from NUI Galway.

Jamie Vartan Set Designer Designs for opera include Eugene Onegin (Opéra du Rhin, Strasbourg), The Barber of Seville (Wide Open Opera 2016 - Irish Times Irish Theatre Award for Best Set Design), The Last Hotel (Landmark Productions and Wide Open Opera 2015), Cristina di Svezia (Wexford Festival Opera 2013), A Village Romeo and Juliet (Wexford Festival Opera 2012 - Irish Times Irish Theatre Award for Best Set Design), La traviata (Malmö Opera), Ariadne auf Naxos (Salzburg), Carmen (Cagliari and Lisbon) and The Queen of Spades (Teatro alla scala, Milan), together with productions in Naples, Florence, Parma, London and Glasgow. Current designs include Ariadne auf Naxos (Teatro alla scala) and Bluebeard’s Castle (Irish National Opera). Designs for theatre include, for Landmark Productions and Galway International Arts Festival, Arlington (2016), Ballyturk (2014), Misterman (2012 - Irish Times Irish Theatre Award for Best Set Design), all of which played at St Ann’s Warehouse in New York; and Woyzeck in Winter in Galway and at the Barbican; several productions at the Abbey Theatre, Dublin, including The Playboy of the Western World and Mrs Warren’s Profession; Bondagers (Edinburgh Lyceum), Khandan (Royal Court); Mass Observation (Almeida); The Lost Child Trilogy (David Glass Ensemble, with residencies in Vietnam, Indonesia, China, the Philippines and Colombia). Exhibitions include Prague Quadrennials 1999, 2007 and 2011; and World Stage Design 2013 (Best Set Design Award for Misterman). Current productions include Grief is the Thing with Feathers (Galway, Dublin, New York and Barbican).

Adam Silverman Lighting Designer Adam Silverman works in opera, theatre and dance. With Enda Walsh, Adam Silverman has lit Grief is the Thing with Feathers, Arlington, The Last Hotel, Ballyturk and Misterman. Recent opera work includes Lohengrin, Andrea Chénier and Adriana Lecouvreur (Royal Opera House, London), Gloriana (Teatro Real) and Un ballo in maschera (Metropolitan Opera). Other work includes The Glass Menagerie and A Day in the Death of Joe Egg (Broadway) and PJ Harvey’s recent tour The Hope Six Demolition Project. In dance, Adam Silverman works regularly with Michael Keegan-Dolan where his credits include Swan Lake/Loch na hEala, Rian, Petrushka, The Rite of Spring, The Bull, James Son of James, Giselle and Julius Caesar. Additional credits include designs in the West End, for Opera Ireland, Landmark Productions, Galway International Arts Festival, Dublin Theatre Festival, Wide Open Opera, Abbey Theatre, the Gate, English National Opera, the Royal National Theatre, Théâtre du Châtelet, the Royal Ballet, Toneelgroep Amsterdam, the Royal Shakespeare Company, the Almeida, Deutsche Oper Berlin, the Young Vic, Vienna State Opera, Bregenz Festival, Liceu Barcelona, Bavarian State Opera, Hamburg State Opera, and the Aix-en-Provence Festival. Forthcoming productions include I masnadieri (Teatro alla scala, Milan).

Ryan McAdams Conductor Ryan McAdams has been recognised as one of the most exciting and versatile conductors of his generation. This season, Ryan McAdam leads Carmen for the Maggio Musicale in Florence and Teatro dell’Opera di Roma; Madama Butterfly for Lyric Opera of Kansas City; The Second Violinist at the Opera Forward Festival, Amsterdam; subscription concerts with the Orchestra of San Carlo in Naples, Lirico Sinfonica Petruzzelli di Bari, Orchestra Filarmonica Salernitana Giuseppe Verdi at the Ravello Festival, Kansas City Symphony, Louisiana Philharmonic, Phoenix Symphony, Borusan Istanbul Philharmonic Orchestra, Moscow State Philharmonic, Orchestra Sinfonica Nazionale della RAI, a tour of Tuscany with the Orchestra della Toscana, and contemporary music projects with Crash Ensemble, Wordless Music Orchestra, and the Juilliard School. Past appearances include the Los Angeles Philharmonic, Israel Philharmonic, Academy of St. Martin in the Fields, Opéra National de Lorraine, St. Paul Chamber Orchestra, Vancouver Symphony, London Contemporary Orchestra, and the RTÉ National Symphony Orchestra. A Fulbright scholar, he was Apprentice Conductor to Alan Gilbert and the Royal Stockholm Philharmonic, was the first recipient of both the Sir Georg Solti Emerging Conductor Award and the Aspen-Glimmerglass Prize for Opera Conducting, and was a Tanglewood Fellow.

The Second Violinist

Creative team

The Second Violinist 12

Benedict Nelson and Aaron Monaghan ÂŠ Patrick Redmond

The Second Violinist

Jack Phelan Video Designer Jack Phelan is a video artist and technologist who specialises in integrating new visual ideas and technology into live performance. Recent theatrical credits include Incantata by Paul Muldoon for Galway International Arts Festival, Asking For It by Louise O’Neill for Landmark Productions and The Everyman, Cork; The Second Violinist by Donnacha Dennehy and Enda Walsh for Landmark Productions and Irish National Opera; and Arlington by Enda Walsh (Landmark Productions and GIAF). Other theatrical credits include Alice in Funderland (Thisispopbaby and the Abbey Theatre); Freefall, Man of Valour and Dubliners (The Corn Exchange and Dublin Theatre Festival); The Lulu House and Macbeth (Siren Productions); Love and Money (Hatch Theatre), Woman and Scarecrow (Siren and the Abbey Theatre) and World to Come (Cryptic Theatre, Glasgow). David Sheppard Sound Designer David Sheppard is a sound designer whose work has taken him from Australia to China and from the USA to Russia, with many other collaborations in all parts of Europe. He works with many leading orchestras and ensembles as well as rock and pop musicians, visual artists, dance and film creatives. He collaborates closely with composers on helping them realise their ideas but he is also known as a sound installation artist and electronics performer in his own right. This year has seen collaborations on new works with Tyondai Braxton, Edward Jessen and Tansy Davies with the creation of an immersive sound design for her new opera at the London Printworks. His trio Alexander’s Annexe with Mira Calix and Sarah Nicolls reformed for a BBC production and, following

the success of the ‘Opera: Passion, Power and Politics’ exhibition at the V&A, he continues to explore creative design for exhibitions with Historic England and Historic Royal Palaces. Helen Atkinson Sound Designer Helen Atkinson’s sound designs include Grief is the Thing with Feathers (Complicité); The Second Violinist (Landmark Productions and Wide Open Opera); Salomé (RSC); Arlington (Landmark Productions and Galway International Arts Festival); The Suicide (Lyttelton, National Theatre); Much Ado about Nothing (Queens Theatre, Hornchurch); You for Me for You (Royal Court Upstairs); The Last Hotel (Landmark and Wide Open Opera); The Matchbox (Galway International Arts Festival); Ballyturk, for which she was awarded Best Sound Designer at the 2014 Irish Times Irish Theatre Awards (Landmark Productions and Galway International Arts Festival); The Edge, 1001 Nights, As You Like It and Elegy (Transport); The Summerbook, ‘Twas the Night before Christmas and 1001 Nights (Unicorn Theatre); Deep Blue Sea, All My Sons and Of Mice and Men (Watermill Theatre); Mr Whatnot and A Christmas Carol (Northampton Theatre Royal); NHS@70, Cuckooed and Bravo Figaro by Mark Thomas (Traverse); Macbeth (Cheek by Jowl); Mountaineering and You’ll See Me Sailing in Antarctica (the company is non zero one); Wolfschild, Great Night Out and Once Upon a Castle (Wildworks); Peppa Pig’s Surprise and Octonauts and the Deep Sea Volcano Adventure (Firey Light).

Joan O’Clery Costume Designer Recently, Joan O’Clery designed the costumes for Landmark Productions and Galway International Arts Festival’s Woyzeck In Winter (2017); the Globe Theatre’s Macbeth (2016) and Rough Magic’s The Train (2015). Her work for the Abbey Theatre include You Never Can Tell (2015), She Stoops to Conquer (2014), Translations (2011), The Plough and the Stars (2010), The Importance of Being Earnest (2006) and Lolita (2002, Irish Times Irish Theatre Award for Best Costume Design). Other theatre credits include A View from the Bridge (2015), A Streetcar Named Desire (2013), An Enemy of the People (2013), Boston Marriage (2010), Endgame (2010), Watt (2010), Celebration (2010), The Pinter Festival (1997, Irish Times Irish Theatre Award Winner, Best Costume Design), Oleanna (1994), all at the Gate Theatre; Peer Gynt (2011, Irish Times Irish Theatre Award, Best Costume Design) for Rough Magic; DruidMurphy (2013) for Druid Theatre Company; The Crucible and Dancing at Lughnasa (2015) for the Lyric Theatre, Belfast; and The Taming of the Shrew (2009) and Macbeth (2008) for the Royal Shakespeare Company. Dance and opera includes The Rite of Spring, Scheherazade, Turandot, Dead Man Walking, Aida, La Traviata and Moses. Films include Swansong, King of The Travellers, Out of Innocence, The Delinquent Season, I, Dolours, and the forthcoming Rose Plays Julie.

Joel Price Associate Sound Producer Joel Price’s work as a sound designer includes I Want My Hat Back, A Declaration from the People, and Young Patrons Gala at the National Theatre, London; Sweeney Todd in Twickenham; Lost in Theatre and Recorded Plays at the Royal Court; and The Devil Inside Him at the White Bear. As an associate designer, his productions include: The Second Violinist for Landmark Productions and Irish National Opera; Arlington and Ballyturk for Landmark Productions and Galway International Arts Festival; The Fifth Column at Southwark Playhouse; Blithe Spirit at the Gielgud; A Midsummer Night’s Dream for the Michael Grandage Company; The Events for ATC, and If You Don’t Let Us Dream We Won’t Let You Sleep at the Royal Court. Richard McGrath Répétiteur Richard McGrath holds a first class honours degree in Music and French from NUI Maynooth and a Masters in Performance (Piano Accompaniment) from the Guildhall School of Music and Drama where he also studied on the répétiteur course. He was a trainee répétiteur at English National Opera and since then has worked with companies including Irish National Opera, Northern Ireland Opera, Wide Open Opera, Opera Theatre Company and Lyric Opera. He is currently a répétiteur in the vocal department at the DIT Conservatory of Music and Drama in Dublin.

The Second Violinist

Sinead Hayes Assistant Conductor/ Chorus Director Sinead Hayes is an Irish conductor experienced in working with choir, orchestra and opera. The 2018/19 season is her fifth as conductor of Belfast’s Hard Rain Soloist Ensemble. Last season saw her debut with Irish National Opera (Der Schauspieldirektor), Northern Ireland Opera (The Threepenny Opera) and Opera Collective Ireland (OCI), as well as returning to the RTÉ National Symphony Orchestra and RTÉ Concert Orchestra. She also made her Berlin Philharmonie debut, playing Irish fiddle in two of the Berlin Philharmonic’s family concerts. Sinead Hayes has been appointed a member of Irish National Opera’s first Opera Studio and will work as assistant conductor / chorus director on four of the company’s productions in 2018/2019 as well as conducting projects with the studio artists. This season she returns to conduct productions with NI Opera and OCI. She studied violin at the Royal Irish Academy of Music. She graduated with a BMus from City University, London in 2008, completing her MMus in orchestral conducting at the Royal Northern College of Music, Manchester in 2009.

Eoghan Carrick Assistant Director Eoghan Carrick is a freelance director, designer and an Associate Director with Corn Exchange Theatre Company. Previous assisting work for opera includes The Second Violinist (2017) for Landmark and Wide Open Opera; Susanna’s Secret (2015), The Human Voice (2015) and Acis and Galatea (2017) for Opera Theatre Company; and Suor Angelica (2015) and The Magic Flute (2016) for Royal Irish Academy of Music. Directing credits include Nora (2017), This Lime Tree Bower (2016), The Matador (2015), Panned (2015), The Ugly One (2014), Macbeth (2013), What I Think Swans Talk About (2012) and He Said, I Said (2012). Recently, he was dramaturg on the Opéra national de Paris production of Owen Wingrave, and he works with the Abbey Theatre’s New Work Department in Ireland. Eoghan Carrick has a BA International in Drama and English from UCD and a first-class honours MFA in Theatre Directing from The Lir Academy, Trinity College Dublin. Later this year, he will direct Nessa Matthews’ Infinity and dramaturg Chaos Factory’s Kiss Kiss Slap Slap for the Dublin Fringe Festival, and assist Enda Walsh on INO’s production of Bluebeard’s Castle for Dublin Theatre Festival.

Landmark Productions Producer

Landmark Productions is one of Ireland’s leading theatre producers. Led by Anne Clarke, the company produces wide-ranging and ambitious work in Ireland and tours work overseas. Since its first production in 2004, the company has produced thirty-one plays, including seven Irish premieres and seventeen world premieres. Its productions include the Irish premieres of David Hare’s Skylight, Edward Albee’s The Goat, or Who is Sylvia?, David Harrower’s Knives in Hens and his Olivier Awardwinning play Blackbird. Recent work includes the world premieres of Mark O’Rowe’s The Approach (Dublin, Cork, Edinburgh) and the stage adaptation of Louise O’Neill’s Asking for It, co-produced with The Everyman in association with the Abbey Theatre (Cork and Dublin). Landmark’s co-productions with Galway International Arts Festival include two world premieres by Enda Walsh: Arlington (Galway, Abbey Theatre, St Ann’s Warehouse) and Ballyturk (Galway, Dublin, Cork, National Theatre, St Ann’s Warehouse); together with Misterman, starring Cillian Murphy, which toured to St Ann’s Warehouse in New York and to the National Theatre in London. Other recent work includes Enda Walsh’s The Walworth Farce, starring Brendan Gleeson, Brian Gleeson and Domhnall Gleeson, and the multi award-winning musical Once, which played for three successive years in Dublin.

The Second Violinist

Mark O’Rowe’s Howie the Rookie, starring Tom Vaughan-Lawlor, played at the Barbican in London and at BAM in New York, where it was co-presented by Irish Arts Center as part of BAM’s 2014 Next Wave season. Other recent world premieres include two operas by Donnacha Dennehy and Enda Walsh, The Last Hotel and The Second Violinist. Co-produced with Irish National Opera, both toured widely internationally (Edinburgh International

Festival, Royal Opera House, Dublin Theatre Festival, Galway International Arts Festival, St Ann’s Warehouse, Les Théâtres de la Ville, Luxembourg). A film version of The Last Hotel, commissioned by Sky Arts and coproduced with Brink Films, was broadcast in 2016. Woyzeck in Winter, starring Patrick O’Kane and Camille O’Sullivan, had its world premiere, again in coproduction with GIAF, in 2017 and subsequently played at the Barbican and at the Dublin Theatre Festival. Over the past decade, Landmark has produced four hugely successful plays featuring the character of Ross O’Carroll-Kelly, all starring Rory Nolan as Ross: Paul Howard’s The Last Days of the Celtic Tiger, Between Foxrock and a Hard Place, Breaking Dad and Postcards from the Ledge. Grief is the Thing with Feathers by Max Porter, adapted and directed by Enda Walsh and starring Cillian Murphy, produced by Complicité and Wayward Productions in association with Landmark Productions and Galway International Arts Festival, had its world premiere in Galway in March 2018. Landmark received the Judges’ Special Award in The Irish Times Irish Theatre Awards for 2011, in recognition of its ‘sustained excellence in programming and for developing imaginative partnerships to bring quality theatre to the Irish and international stage.’ Anne Clarke received the Special Tribute Award for 2015, in recognition of her work as ‘a producer of world-class theatre in the independent sector in Ireland’. Producer | Anne Clarke Associate Producer | Sara Cregan www.landmarkproductions.ie

The Last Hotel © Hugh O’Conor

Irish National Opera Producer

Irish National Opera is Ireland’s newest opera company. It champions Irish talent in its casting, its choice of creative teams and in its commitment to the presentation of new operas. INO produces opera in Ireland’s larger theatres in Dublin, Cork and Wexford and also takes its touring productions the length and breadth of the country. INO was formed in January 2018 in response to an initiative to fund home-produced operas launched by the Arts Council of Ireland, its principal funder. In its inaugural year, the company has programmed 39 performances of eight productions in 13 different venues. Though brand new, the company is led by a team with a wealth of experience and an impressive track record. Artistic Director Fergus Sheil was the founder of Wide Open Opera and Artistic Director of Opera Theatre Company: both organisations are now subsumed into INO. Irish National Opera’s commitment to taking Irish work abroad sees its FEDORA - GENERALI Prize winning production of Donnacha Dennehy and Enda Walsh’s The

Second Violinist, a co-production with Landmark Productions that was premiered at the 2017 Galway International Arts Festival, make this appearance at the Barbican Theatre in London. The Second Violinist will also feature in the Opera Forward Festival in Amsterdam in March 2019. INO’s productions have been broadcast on RTÉ lyric fm. The Second Violinist was web streamed on www. operavision.eu and its street-art opera, Drive By Shooting by Brian Irvine and John McIlduff (a co-production with Dumbworld), appears at Operadagen Festival in Rotterdam, Edinburgh Festival Fringe and Dublin Fringe Festival during 2018. The INO Opera Studio provides training, mentoring and high-level professional engagements for Irish opera artists as they develop their careers. Eight artists are members of the current programme which runs from September 2018 to August 2019. Further developments will include an outreach programme involving initiatives to reach and engage new audiences.

Orfeo ed Euridice photo Pat Redmond

Roy & Aisling Foster Diarmuid Hegarty M Hely Hutchinson Gemma Hussey Kathy Hutton & David McGrath Nuala Johnson Susan Kiely Timothy King & Mary Canning J. & N. Kingston Kate & Ross Kingston Silvia and Jay Krehbiel Landmark Productions Karlin Lillington & Chris Horn Stella Litchfield Jane Loughman Rev Bernárd Lynch & Billy Desmond Lyndon MacCann S.C. Phyllis Mac Namara Tony & Joan Manning

R. John McBratney Ruth McCarthy, in memoriam Niall & Barbara McCarthy Petria McDonnell Jim McKiernan Jean Moorhead Sara Moorhead Ann Nolan & Paul Burns F.X. & Pat O’Brien James & Sylvia O’Connor John & Viola O’Connor Dr J R O’Donnell Diarmuid O’Dwyer Patricia O’Hara Annmaree O’Keeffe & Chris Greene Margaret Quigley Patricia Reilly Riverdream Productions Catherine Santoro

Dermot & Sue Scott Fergus Sheil Sr. Yvonne Shields Gaby Smyth Matthew Patrick Smyth Sara Stewart Bruce Stanley The Wagner Society of Ireland Brian Walsh & Barry Doocey www.irishnationalopera.ie

Anonymous Norbert & Margaret Bannon Valerie Beatty & Dennis Jennings Mark & Nicola Beddy Mary Brennan Angie Brown Jennifer Caldwell Audrey Conlon Gerardine Connolly Jackie Connolly Sarah Daniel Maureen de Forge Kate Donaghy Mareta & Conor Doyle Michael Duggan Catherine & William Earley Jim & Moira Flavin Ian & Jean Flitcroft Maire & Maurice Foley

The Second Violinist

Irish National Opera Founders Circle

Crash Ensemble

Crash Ensemble are Ireland’s leading new music ensemble; a group of world-class musicians who play the most adventurous, ground-breaking music of today. Founded in 1997 by composer Donnacha Dennehy, some of the most distinctive living composers have written for the group, including Terry Riley, David Lang, Michael Gordon, Julia Wolfe, Louis Andriessen, Arnold Dreyblatt, Kevin Volans, Kate Moore, Glenn Branca, Tansey Davies, Nico Muhly and Gerald Barry.

The Second Violinist

Many well-known artists from diverse musical backgrounds have performed with the ensemble: Bryce Dessner (The National), Íarla Ó Lionáird (The Gloaming) Richard Reed Parry (Arcade Fire), Gavin Friday, Dawn Upshaw, Lisa Hannigan, Sam Amidon and Beth Orton.

Crash have recordings on NMC, Cantaloupe, Nonesuch, Bedroom Community and PEOPLE. As well as performing throughout Ireland, the ensemble regularly perform internationally, with appearances in the last few years at the Edinburgh International Festival, the Royal Opera House and the Barbican in London, Carnegie Hall in New York, The John F. Kennedy Center for the Performing Arts in Washington DC, Virginia Tech, GAIDA Festival in Lithuania, and residencies at The Huddersfield Contemporary Music festival and Princeton University. www.crashensemble.com

Photo © Ros Kavanagh

The Second Violinist 19

Aaron Monaghan ÂŠ Patrick Redmond

Barbican 20

Sharon Carty and Máire Flavin © Patrick Redmond

Barbican Theatre and Dance

Barbican Centre Trust Chairman Emma Kane Trustees Richard Bernstein Dr Geraldine Brodie Sir Roger Gifford Sir Nicholas Kenyon Kendall Langford Professor Dame Henrietta Moore John Murray Alasdair Nisbet John Porter Dr Giles Shilson Torsten Thiele Steven Tredget Registered charity no. 294282 Directors Managing Director Sir Nicholas Kenyon Chief Operating and Financial Officer Sandeep Dwesar Artistic Director Louise Jeffreys Director of Learning and Engagement Sean Gregory Director of Operations and Buildings Jonathon Poyner Executive Assistant to Sir Nicholas Kenyon Jo Daly

Technicians John Gilroy, Burcham Johnson, Christian Lyons, Josh Massey, Lawrence Sills, Neil Sowerby, Charlie Mann Systems and Maintenance Technicians Adam Parrott, Charlie Arnold Theatre Production Apprentices Robert Arnall, Paige Holmes Stage Door Julian Fox, aLbi Gravener Creative Learning Head of Creative Learning, Barbican / Guildhall School of Music & Drama Jenny Mollica Creative Learning Producer Kirsten Adam Assistant Producer Lauren Brown Marketing Department Head of Marketing Phil Newby Deputy Head of Marketing Ben Jefferies Senior Marketing Manager Matt Saull Marketing Manager (Theatre) Niharika Jain Marketing Assistant (Theatre) Lani Strange Communications Department Head of Communications Lorna Gemmell Senior Communications Manager Angela Dias PR Consultant Bridget Thornborrow Communications Officer Freddie Todd Fordham Communications Intern Rosie Evans-Hill

Audience Experience Head of Audience Experience, Operations & Sales David Duncan Audience Experience Managers Mark Fleming, Sheree Miller Ticket Sales Managers Lucy Allen, Oliver Robinson, Ben Skinner, Jane Thomas, Will Warnock, Andy Williamson Centre Managers (Delivery) James Carruthers, Robert Norris, Mo Reideman Centre Manager (Planning) Pheona Kidd Audience Event & Planning Manager Freda Pouflis Venue Managers Fiona Badgery, Lucy Dunn, Gary Hunt, Nyah Farier, Elizabeth Wilks Assistant Venue Managers Helen Knights, Richard Long Crew Management Drew Burke, Dave Magwood, James Towell Access and Licensing Manager Rebecca Oliver Safety and Security Manager Nigel Walker Development Head of Development Lynette Brooks Programme editor Emma Gosden Programme designer Stephen Brown

Theatre Department Head of Theatre Toni Racklin Senior Production Manager Simon Bourne Producers Marie Curtin, Jill Shelley, Angie Smith Production Managers Jamie Maisey, Lee Tasker Technical Managers Richard Beaton, Tony Brand, Steve Daly, Jane Dickerson, Martin Morgan

Stage Managers Lucinda Hamlin, Charlotte Oliver Technical Supervisors Kevin Atkins, Martin Coates, Nik Kennedy, Jamie Massey, Stevie Porter, Tom Salmon, John Seston, Chris Wilby PA to Head of Theatre David Green Assistant Producers Alex Jamieson, Lauren Hamilton, Bernie Whittle Production Administrator Caroline Hall

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Barbican Centre Board Chairman Dr Giles Shilson Deputy Chairman Tom Sleigh Board Members John Bennett, Russ Carr, Simon Duckworth, David Graves, Gerard Grech, Wendy Hyde, Emma Kane, Vivienne Littlechild, Wendy Mead, Lucy Musgrave, Graham Packham, Trevor Phillips, Judith Pleasance, John Tomlinson, Jenny Waldman Clerk to the Board Gregory Moore

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The Barbican is very grateful to all our supporters listed here, all the donors to the Barbican Fund and the many thousands who have made a donation when purchasing tickets. Major Supporters A New Direction - London Cultural Education Challenge Arts Council England Christie Digital City Bridge Trust Culture Ireland Esmée Fairbairn Foundation Heritage Lottery Fund J Paul Getty Jr Charitable Trust Paul Hamlyn Foundation SHM Foundation Sir Siegmund Warburg’s Voluntary Settlement The Sackler Trust The Terra Foundation for American Art The Wolfson Foundation UBS Youth Music Business Partners Aberdeen Asset Management PLC Allen & Overy Allford Hall Monaghan Morris Bank of America Merrill Lynch Bloomberg Bupa Global Christie Digital Crédit Agricole DLA Piper Hawkins Brown Leigh Day Linklaters LLP National Australia Bank Natrium Capital Limited Nomura Pinsent Masons Redleaf Communications Reed Smith LLP Slaughter and May Taittinger Champagne Time Out tp bennett UBS Warehouse

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Trusts, Foundations and Public Funders Art Fund Australian High Commission in London Cockayne Grants for the Arts, a donor-advised fund of the London Community Foundation Embassy of the Kingdom of the Netherlands Europa Cinemas Film London Fiorucci Art Trust Goethe-Institut London Institut français Performing Arts Fund NL Phillip and Irene Toll Gage Foundation The 29th May 1961 Charity The Dorothy Slate Trust The Government of Flanders The Great Britain Sasakawa Foundation The Henry Moore Foundation

The Japan Foundation The Office for Cultural & Scientific Affairs of the Embassy of Spain in London The Québec Government Office, London The Swiss Arts Council Pro Helvetia The Wates foundation The Worshipful Company of Barbers Barbican Patrons Leading Patrons SHM Foundation Platinum Patrons Anonymous (1) Crystal Amber Fund Emma Kane The Porter Foundation Principal Patrons Anonymous (1) Mr and Mrs Baha Bassatne Martin and Celestina Hughes John Murray Ian Rosenblatt Premier Patrons Anonymous (1) Russ and Linda Carr Tim and Catherine Cox Stuart and Laura Fraser Sarah Ingham John and Angela Kessler Kendall Langford Ruth and Stuart Lipton Helen Veale and Trevor Phillips Judith Pleasance and Margaret Pleasance Ondine de Rothschild Michael and Melanie Sherwood Lady Juliet and Dr Christopher Tadgell Torsten Thiele Patrons Anonymous (12) The Adamson Family Jane Attias Stephen and Alyson Barter Peter Bazalgette and Hilary Newiss Sam and Rosie Berwick Nicholas Berwin Lynn Biggs Dr Geraldine Brodie Lynette Brooks Homer The Duke of Buccleuch Gwen and Stanley Burnton Emma Chamberlain Tim and Caroline Clark Tim and Jean Clement-Jones Carole Conrad Dr Gianetta Corley Trevor Fenwick and Jane Hindley Ian S. Ferguson Roger and Clare Gifford Marina Gratsos Sean Gregory Barbara and Michael Gwinnell

The Barbican Centre Trust Ltd is a registered charity in England and Wales (no. 294282).

Alfred and Liselotte Gysi Julian Hale and Helen Likierman Gary Halkyard Richard and Jenny Hardie Malcolm Herring Marianne Hinton Hollick Family Charitable Trust Richard Hopkin Sajid Hussein Wendy Hyde Louise Jeffreys Dr Ian Jones and Virginia Crum-Jones Sir Nicholas Kenyon Colin Kirkpatrick Klaret Services (UK) Ltd. The Mark Krueger Charitable Trust Sonya Leydecker and Steven Larcombe Neil and Tracy Lawson-May Michael Likierman James Lintott and May Liang Sir Laurie and Lady Magnus Robert McHenry and Sally Lloyd-Bostock Wendy Mead Millichope Foundation Sir Hamid and Lady Moollan Sir Paul Morgan Professor Dame Linda Partridge and Mr Michael Morgan Mark Payne Ben and Christina Perry Stuart and Carolyn Popham Keith Salway Stephan and Rosamund Shakespeare Giles Shilson Nicola Stanhope John and Paula Tomlinson Steven Tredget Mel Tsiaprazis Liz Veecock Peter and Karen Ventress Mascha Zherebtsova Ann Ziff

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