Wexford Festival Opera 2016 Friends’ Newsletter by Wexford Festival Opera

2016 News for Friends 65th Festival

26 October â&#x20AC;&#x201C; 6 November 2016 WEXFORDOPERA.COM | 1

PHOTO: GER LAWLOR

FRIENDS’ BENEFITS We encourage you to enjoy all the benefits your Friends’ membership offers to enhance your Festival experience. Friends enjoy the following: • Priority booking • Refund/Return policy – exclusive to friends* • 10% discount on accommodation reservations made during priority booking – 27 February to 19 March – with our hotel partners by quoting ‘Wexford Friends’ • Friends’ Welcome Receptions: complimentary tea, coffee, and fresh baked goods in the Friends’ Lounge on the top floor of the National Opera House at 10 a.m. on three mornings during the Festival • Access to the Friends’ Lounge in the Opera House throughout the day and during opera intervals

• Friends’ Newsletter and Discover the Repertoire CD • Access to Friends’ Opera Tour to Vienna • Invitations to the ‘In Conversation’ Series in Dublin and London • Invitations to Friends’ Recitals and Events in Dublin, London, and overseas • Complimentary tickets to Friends’ Parties, Lunches and Buffet during the Festival** • Complimentary Festival programme – available for collection during the Festival from the Friends’ Lounge (12 noon to 4 p.m.) or from the Friends’ Desk in the Opera House Foyer (evenings) • Friends’ Loyalty Card and lapel pin

** See booking terms and conditions on page 46 ** Prelude Friends can purchase tickets at the discounted price of €15

PHOTO: MARK STEDMAN

CONTENTS

DR TOM WALSH LECTURE

FUNDERS AND SPONSORS

WELCOME FROM THE ARTISTIC DIRECTOR

LUNCHTIME RECITALS

DAYTIME EVENTS PACKAGE

FRIENDS’ LOUNGE

FRIENDS’ TRAVEL

ANNA BATES JAMES Ó MURTHUILE

BARRY DOUGLAS

CAST AND ARTISTIC SPONSORSHIP

HERCULANUM

VANESSA

MARIA DE RUDENZ

CONDUCTORS AND DIRECTORS

IL CAMPANELLO

RIDERS TO THE SEA

LONDON FRIENDS’ RECITAL

DUBLIN FRIENDS’ RECITAL

FRIENDS’ ‘IN CONVERSATION’ SERIES

THE BEAR

FRIENDS’ PARTIES, LUNCHES AND BUFFET

RTÉ CONTEMPO QUARTET

IN MEMORIAM

GALA CONCERT

LEGACY GIVING

HOW TO SUPPORT WEXFORD FESTIVAL OPERA

AWARDS

CLIVE BARDA

ENDOW A SEAT

VOLUNTEER AWARD

WINING AND DINING

ACCOMMODATION

WEXFORD FESTIVAL OPERA TOURS

WEXFORD OPERA HOUSE TOURS

TRAVEL

FESTIVAL CALENDAR

BOOK YOUR TICKETS

BOOKING FORM

FRIENDS’ WELCOME RECEPTIONS

WEXFORDOPERA.COM | 1

FUNDERS AND SPONSORS Principal Funder

Grant Funders

Corporate Leaders

Corporate Sponsors

Official IT & Communications Partner

Official Festival Car

Community & Education Partners

Accommodation Partners

Preferred Hotel Partner

Hospitality and Media Partners

2 | FESTIVAL 2016

PHOTO BY 21STOPS.COM

WELCOME Dear Friends, Only a few short months ago I was saying ‘until next year’ at the door of the National Opera House. Now here I am again to introduce the programme for the 2016 Festival Season. I’m writing to you from Dublin where I am on the Jury of the Veronica Dunne International Singing Competition. In an exciting new undertaking, the Competition will be produced in partnership with Wexford Festival in the coming years. This is a fitting way to recognise the Festival’s role in supporting the early careers of singers of great talent and to honour Veronica Dunne’s unique contributions as teacher, mentor, and evangelist of Irish artists.

Donizetti and Wexford have a long relationship which began with a production of L’Elisir d’amore in 1952. With sixteen Donizetti productions over the years, the Festival is known as “the other” Donizetti theatre after the Teatro Donizetti in Bergamo, the composer’s hometown. Maria de Rudenz, our seventeenth Donizetti production, will be created by Fabio Ceresa, the director who gave us our excellent Guglielmo Ratcliff in 2015. The talented Irish designer Gary McCann will design the sets, and Andrew Greenwood – conductor of our 2013 Cristina, regina di Svezia – will conduct.

Well, to the 2016 Season.

It is no secret that your experience with the ShortWorks venues over the past few seasons has not always been satisfactory. Working with Whites Hotel (now Clayton Whites Hotel) we are making some changes that will allow nearly everyone to be no more than nine rows from the stage. Both in terms of sightlines and acoustics, your ShortWorks experience will be much improved.

The 65th Festival will open with Herculanum by Félicien David, an opera which had a sensational reception at its premiere in 1859, after which, like so many Wexford revivals, it went into decline. The work is a true French grand opera requiring the technical challenge of producing an exploding volcano. It is a pleasure to welcome back to Wexford Stephen Medcalf and Jamie Vartan who gave us A Village Romeo and Juliet and Cristina, regina di Svezia, two of the most successful productions of recent years. Vanessa by Samuel Barber is an American classic that is very rarely performed in Europe. Happily, Wexford will remedy this neglect in 2016. It is good to welcome back James Robinson, who directed our Ghosts of Versailles (2009) and The Golden Ticket (2011), as well as set designer Allen Moyer. Our conductor will be Timothy Myers.

As part of our recital series this coming season, it will be a special pleasure to welcome the internationally renowned Irish pianist Barry Douglas who will give a recital of Schubert and Brahms. And of course, there are the daily Lunchtime Recitals. See you in October! David Agler, Artistic Director

WEXFORDOPERA.COM | 3

OPERA

HERCULANUM FÉLICIEN DAVID (1810–1876)

OPERA IN 4 ACTS | LIBRETTO BY JOSEPH MÉRY & TÉRENCE HADOT SUNG IN FRENCH FIRST PERFORMED IN PARIS AT THE THÉÂTRE IMPÉRIAL DE L’OPÉRA, 4 MARCH 1859

DAVID AGLER

STEPHEN MEDCALF

JAMIE VARTAN

Mount Vesuvius is a silent but powerful presence in one of the most famous of all operas, Mozart’s Così fan tutte, whose Neapolitan setting finds its characters sitting on something of an emotional volcano. Dating 70 years after Mozart’s masterpiece, Félicien David’s until recently forgotten Herculanum puts the peak and indeed its calamitous eruption centre-stage: the original production at the Paris Opéra in 1859 featured a stunning visual climax with the destruction of the entire set. The plot is set in ad 79 in the eponymous ancient city neighbouring Pompeii, where the pagan queen Olympia finds herself attracted to the Christian slave Hélios, and thus ignores the advice of her brother Nicanor to put the slave to death. Nicanor himself attempts to seduce the slave Lilia but is struck dead when he tells her that her God does not exist. Soon Satan appears and begins to play havoc with everyone’s lives, forcing Hélios to choose between marrying Olympia and leaving Lilia to die. He opts for a pagan marriage, and before long the slaves

CONDUCTOR DIRECTOR SET & COSTUME DESIGNER

are in revolt. As the ominous rumblings of Mount Vesuvius grow, the Christians console themselves with the prospect of eternal life (‘C’est le ciel! C’est la vie!’). The music of David has sometimes been compared with that of Berlioz, who himself welcomed Herculanum warmly in a review. Though that comparison is stretching things a little, it does perhaps give an idea of what Berlioz would have sounded like if he had wandered off along Orientalist tracks. Having studied at the Paris Conservatoire with Cherubini, David visited the Middle East and remains best remembered today as the composer of the ‘ode symphonique’ Le Désert. Several of his operas reflect this interest too, notably Lalla-Roukh, Eden and Moïse au Sinaï, though other works (Christophe Colomb and La Perle du Brésil) suggest the equal draw of the New World. Almost Meyerbeerian in dramatic ambition if not in duration, Herculanum was to remain the composer’s only grand opéra.

O’REILLY THEATRE | NATIONAL OPERA HOUSE TICKETS ¤25 – ¤145

4 | FESTIVAL 2016

26 OCTOBER – 8 P.M.

29 OCTOBER – 8 P.M.

1 NOVEMBER – 8 P.M.

4 NOVEMBER – 8 P.M.

WEXFORDOPERA.COM | 5

OPERA

VANESSA

SAMUEL BARBER (1910–1981) OPERA IN 3 ACTS | LIBRETTO BY GIAN CARLO MENOTTI SUNG IN ENGLISH FIRST PERFORMED IN NEW YORK AT THE METROPOLITAN OPERA, 15 JANUARY 1958

TIMOTHY MYERS

JAMES ROBINSON

ALLEN MOYER

JAMES SCHUETTE

Though not totally neglected, Barber’s first opera deserves to be much better known than it is. There are few operas of the last half-century that have such obvious audience- and singerappeal, for Barber was a great composer for the voice; think of his songs, or of Knoxville: Summer of 1915, that quintessential American masterpiece. Such sound operatic models as Puccini, Strauss and Berg may inform the work, but the language is recognisably Barber’s own and the orchestral writing is richly atmospheric. That atmosphere is Ibsenesque since the action is set in an unspecified northern country, around 1905. The libretto by Gian Carlo Menotti, Barber’s partner and, of course, a successful opera composer in his own right, tells of how Vanessa, her mother (the Old Baroness) and niece (Erika) have waited 20 years for the return of Vanessa’s lover, Anatol. Upon his arrival, it is discovered that he is the man’s son, also named Anatol, and that the lover is dead. Nevertheless,

CONDUCTOR DIRECTOR SET DESIGNER COSTUME DESIGNER

Vanessa and the younger Anatol are drawn to each other, leaving Erika – seduced by Anatol on his first night at the house – pregnant and suicidal. When Vanessa and Anatol depart for Paris, Erika settles down to wait and, as her aunt had done before, gives orders for the house to be closed up. Vanessa received a glamorous premiere at New York’s Metropolitan Opera in 1958, directed by Menotti, designed by Cecil Beaton and conducted by Dmitri Mitropoulos. The cast featured Eleanor Steber, Rosalind Elias, Regina Resnik and Nicolai Gedda. (Callas had turned down the title role because no one could expect her to fall for a man who had slept with a mezzosoprano.) Six years later Barber tightened the opera, reducing it from four to three acts by running the original first two acts together and cutting a coloratura aria for Vanessa herself. It is this more compact, two-hour version that we will see at Wexford.

A Wexford Festival production in association with the Santa Fe Opera O’REILLY THEATRE | NATIONAL OPERA HOUSE TICKETS ¤25 – ¤145 27 OCTOBER – 8 P.M.

2 NOVEMBER – 8 P.M.

6 | FESTIVAL 2016

30 OCTOBER – 5 P.M.

5 NOVEMBER – 8 P.M.

WEXFORDOPERA.COM | 7

OPERA

MARIA DE RUDENZ GAETANO DONIZETTI (1797–1848)

OPERA IN 3 ACTS | LIBRETTO BY SALVADORE CAMMARANO SUNG IN ITALIAN FIRST PERFORMED IN VENICE AT THE TEATRO LA FENICE, 30 JANUARY 1838

ANDREW GREENWOOD

FABIO CERESA

DIRECTOR

GARY MCCANN

SET DESIGNER

GIUSEPPE PALELLA

Maria de Rudenz has been described as ‘perhaps the darkest of Donizetti’s tragedies’, which is saying something and may account in part for the opera’s long-standing neglect. It tells the story of how Maria de Rudenz falls in love with Corrado against her father’s wishes and flees with him to Venice. But in Venice, Corrado abandons her and heads back to the Rudenz family castle, falling in love this time with Maria’s cousin, Mathilde di Wolf. Maria returns to the castle and discovers that her lover is not only going to marry her cousin but is also, in fact, the son of a murderer. On the wedding day of Mathilde and Corrado, Maria appears and reveals Corrado’s secret, murders Mathilde and commits suicide. First performed at La Fenice in Venice in 1838, Maria de Rudenz comes in the sequence of Donizetti’s 70 or so operas between Roberto Devereux and Poliuto and is thus a work of the composer’s full mastery. Its unsuccessful premiere may have been one reason Donizetti

CONDUCTOR

COSTUME DESIGNER

was quick to rearrange the first act finale for Poliuto (Wexford patrons who saw that opera at Glyndebourne last summer will perhaps recognise some of the music). As so often with Donizetti, this score has its own tinta, or colour, something most noticeable in the long bass clarinet solo in the prelude to Act 2. The first modern staging of Maria de Rudenz was given, again at La Fenice, in 1980, and it still awaits a full production in both the United Kingdom and the United States. This autumn’s Irish premiere is the latest in a series of important Donizetti revivals at Wexford, which has played a major role in what remains an ongoing Donizetti renaissance. It is surely no coincidence that Wexford Festival Opera’s lifetime has overlapped with Donizetti’s reversal of fortune – the composer who 65 years ago was all but written off as intellectually disreputable has now regained his rightful place in the operatic canon.

The October 31st performance is kindly sponsored by Terry and Marjorie Neill

O’REILLY THEATRE | NATIONAL OPERA HOUSE TICKETS ¤25 – ¤145

8 | FESTIVAL 2016

28 OCTOBER – 8 P.M.

31 OCTOBER – 8 P.M.

3 NOVEMBER – 8 P.M.

6 NOVEMBER – 5 P.M.

WEXFORDOPERA.COM | 9

CONDUCTORS & DIRECTORS Herculanum David Agler, Conductor Currently Artistic Director of Wexford Festival Opera. Notable guest conducting engagements include productions with the Teatro Colón, Opera Australia, San Francisco Opera, Santa Fe Opera, Seattle Opera, Netherlands Opera, Pittsburgh Opera, Opera Company of Philadelphia, Opera Theatre of Saint Louis, New York City Opera, Boston Lyric Opera, l’Opéra de Montréal, Minnesota Opera, and Atlanta Opera.

Stephen Medcalf, Director Career highlights include Le Nozze di Figaro (Glyndebourne Festival/ DVD) Aida (Royal Albert Hall/ DVD) Pikovaya Dama (Teatro alla Scala) Manon Lescaut (Palau des Arts, Valencia/Teatro Regio di Parma), Falstaff (Teatro Farnese, Parma/ ROH Muscat/DVD) Die Zauberflöte (Teatro Regio di Parma, Teatro Lirico di Cagliari/DVD). His awardwinning productions at Wexford include A Village Romeo and Juliet and Cristina, regina di Svezia.

Vanessa Timothy Myers, Conductor Timothy Myers’ 2015–2016 season includes two world premieres: O Columbia by Gregory Spears and Royce Vavrek at Houston Grand Opera and Better Gods by Luna Pearl Woolf and Caitlin Vincent at Washington National Opera. As the Artistic Director and Principal Conductor of North Carolina Opera, Timothy will conduct Madama Butterfly, Il Barbiere di Siviglia and Eugene Onegin.

James Robinson, Director James Robinson is the Artistic Director at Opera Theatre of Saint Louis. His work has been seen in new productions at the San Francisco Opera, the Santa Fe Opera, the Canadian Opera Company, Houston Grand Opera, the London Symphony, the Royal Swedish Opera and Opera Australia. He has been acclaimed for his productions of modern works and continues to devote much of his time to the development of new works.

Maria de Rudenz Andrew Greenwood, Conductor Recent and future engagements include La Bohème with Opera Theatre Company Dublin; A Midsummer Night’s Dream, La Vie Parisienne with Royal Northern College of Music; La Bohème, Anna Bolena and Guillaume Tell with Welsh National Opera; Don Giovanni with Zomer Opera, Belgium; Cristina, regina di Svezia with Wexford Festival Opera; and Albert Herring at the New National Theatre, Tokyo.

10 | FESTIVAL 2016

Fabio Ceresa, Director Recently directed Orlando at Korea National Opera in Seoul, and Madama Butterfly at Teatro del Maggio Musicale Fiorentino in Florence. In 2015 he created a new co-production of I Puritani for Florence and Teatro Regio di Torino, as well as a new Madama Butterfly for Florence and Teatro Petruzzelli in Bari. Most recently he staged Mascagni’s Guglielmo Ratcliff at the 2015 Wexford Festival Opera.

S H O RT WO R K

IL CAMPANELLO (The Night Bell) GAETANO DONIZETTI

MELODRAMA GIOCOSO IN ONE ACT TO A TEXT BY THE COMPOSER AFTER A FRENCH VAUDEVILLE, LA SONNETTE DE NUIT, BY BRUNSWICK, MATHIEU-BARTHÉLEMY TROIN AND VICTOR LHÉRIE FIRST PERFORMED IN NAPLES, TEATRO NUOVO, 1 JUNE 1836

ROBERTO RECCHIA

DIRECTOR

In its full title, Il Campanello di notte translates as ‘The Night Bell’. And that bell plays a central role in the plot, in which we meet an old doctor, Don Annibale Pistacchio, who has just married a young bride by the name of Serafina. During the wedding night, they are constantly interrupted by the ringing of the night bell. Each time it is Serafina’s rejected former lover, Enrico, in a different disguise – French dandy, old codger, even an opera singer who has lost his voice – asking the increasingly desperate groom for another preposterous prescription. The work became something of a hit following its premiere in Naples in 1836, just 18 months before the less successful Maria de Rudenz saw the light of day. The hard-working composer would write another four operas in between these two premieres, including Roberto Devereux. Labelled by its composer a melodrama giocoso, it is indeed a very funny farce. Perhaps one obstacle to more recent success is the lack of a starring tenor role – the comedy is carried mostly by the bass (Don Annibale) and baritone (Enrico). The latter is an especially virtuosic part, full of musical and dramatic possibilities. As the hoarse singer, he makes allusions to operas by Rossini and even Donizetti himself. When it comes to the prescriptions, the pseudo-medical terms bantered around are even more exotic than in Dr Dulcamara’s famous aria in L’Elisir d’amore, which the composer was perhaps recalling. Equally, the patter could be said to anticipate the Pasquale-Malatesta duet (another great baritone-bass moment) in Don Pasquale. Il Campanello truly deserves to be better known, and will be an attractive complement to this season’s much darker Donizetti opera.

The Festival ShortWorks are made possible by the generous support of The Lord Magan of Castletown

CLAYTON WHITES HOTEL | TICKETS €25 27 OCTOBER: 3.30 P.M.

30 OCTOBER: 11 A.M.

2 NOVEMBER: 3.30 P.M.

5 NOVEMBER: 3.30 P.M.

WEXFORDOPERA.COM | 11

S H O RT WO R K

RIDERS TO THE SEA RALPH VAUGHAN WILLIAMS OPERA IN ONE ACT TO A LIBRETTO BY THE COMPOSER AFTER JOHN MILLINGTON SYNGE’S PLAY FIRST PERFORMED IN LONDON, ROYAL COLLEGE OF MUSIC, 1 DECEMBER 1937

CATRIONA MCLAUGHLIN

DIRECTOR

Despite the somewhat unoperatic culture of Vaughan Williams’s milieu, the composer had a lifelong interest in bringing music and theatre together. His magnum opus was The Pilgrim’s Progress, a project that occupied him over a period of around 40 years. But many devotees of the composer feel strongly that Riders to the Sea is one of his greatest masterpieces. It has often struggled to find a home in most operahouse planning because of its brevity, but Wexford Festival Opera’s ShortWorks is an ideal place in which to encounter this opera, not least because of its Irish roots. Composed in 1927 but not heard until a decade later, Riders to the Sea is based almost verbatim on J.M. Synge’s early twentieth-century drama of the same name. Music of eerie, elegiac beauty illuminates the theme of elemental and watery death as experienced by the Aran Islanders, west of Galway. The central role is that of Maurya, who by the end loses her husband and six sons to the sea, experiencing a kind of cathartic release when her last son’s death leaves her with nothing more to fear. Realising that the sea can hurt her no longer, Maurya concludes, ‘No man at all can be living for ever, and we must be satisfied’. All this is evoked by Vaughan Williams in music that captures the flinty harshness of the islands and fierce marine brutality. But the theme of mankind against nature – taken to extremes in his Sinfonia Antarctica – always brought out the best in the composer.

The Festival ShortWorks are made possible by the generous support of The Lord Magan of Castletown CLAYTON WHITES HOTEL | TICKETS €25

12 | FESTIVAL 2016

28 OCTOBER: 3.30 P.M.

31 OCTOBER: 3.30 P.M.

3 NOVEMBER: 3.30 P.M.

6 NOVEMBER: 11 A.M.

S H O RT WO R K

THE BEAR WILLIAM WALTON

EXTRAVAGANZA IN ONE ACT TO A LIBRETTO BY PAUL DEHN AND WALTON AFTER A VAUDEVILLE BY ANTON CHEKHOV FIRST PERFORMED IN ALDEBURGH, JUBILEE HALL, 3 JUNE 1967

KYLE LANG

DIRECTOR

One of Walton’s late works, The Bear is small of scale when compared with his previous and only other opera. Troilus and Cressida had been a huge undertaking with a large cast, full orchestra and chorus, and one that had met with mostly tepid responses. So it was little surprise that when commissioned by the Koussevitzky Foundation to write an opera (eventually dedicated ‘to the memory of Serge and Natalie Koussevitzky’) he produced a compact three-hander. Perhaps it was that great conductor’s Russian background that inspired Walton to turn to Chekhov as the source for The Bear. First heard at the 1967 Aldeburgh Festival, The Bear exhibits the same tenderness and bittersweet lyricism which had always been central to the composer’s style. It is also full of the absurd humour that had been a trait right from Walton’s first major work, Façade. His music captures the Chekhovian spirit of a piece set in the Russian provinces in the late nineteenth century. The central character is Madam Popova, the young widow of a landowner who moves from obsessive bereavement to fiery independence, complaining along the way of her husband’s infidelities. She is visited by one of Popov’s creditors, the tempestuous Smirnov, and when they begin to quarrel – she calls him a bear and a boor – pistols are drawn, but they find themselves unable to fire; they realise they have fallen in love. Observing all the action with bemusement is Popova’s manservant, Luka. The librettist in charge of putting Chekhov on the English operatic stage was Paul Dehn, best known as an Oscar-winning screenwriter. Thanks to Walton’s light and sometimes parodistic music, his words never fail to register.

The Festival ShortWorks are made possible by the generous support of The Lord Magan of Castletown

CLAYTON WHITES HOTEL | TICKETS €25 29 OCTOBER: 3.30 P.M.

1 NOVEMBER: 3.30 P.M.

4 NOVEMBER: 3.30 P.M.

WEXFORDOPERA.COM | 13

PHOTO BY MARK STEDMAN

RTÉ CONTEMPO QUARTET

ST IBERIUS CHURCH

27 OCTOBER – 1.05 P.M. | TICKETS ¤15 Described by The Strad magazine as ‘a polished and professional group…full of exuberance with a fine sense of ensemble’, the RTÉ Contempo Quartet is one of the most exciting and vibrant chamber ensembles performing today. Since its formation in Bucharest in 1995, it has performed worldwide in prestigious venues such as St Martin-in-the-Fields, Berliner Philharmonie, Palazzo del Quirinale Rome, Carnegie Hall and the Opera House Tel Aviv. The ensemble has won numerous international prizes, taking first prize at competitions in Munich, Rome and London, and worked alongside artists of the highest calibre including Emma Johnson, Yuko Inoue, Hugh Tinney, Chen Zimbalista, Jérôme Pernoo, Peter Donohue and Martin Roscoe. Collaborations with other distinguished quartets such as the Amadeus, Arditti, Vanbrugh, Casals and Endellion have also been a feature.

Alec Roth, Ian Wilson, John McLachlan, Gráinne Mulvey and Donnacha Dennehy.

The quartet has broadcast widely on RTÉ, BBC, TVR Romania, France Musique Radio, RAI Italy, ORF Austria and 3sat Germany, and has made recordings including music for Steven Spielberg’s drama Band of Brothers; Universal with British clarinettist Emma Johnson; Quartz, music by Osvaldo Golijov; and Spiccato Junction featuring the Irish traditional musicians Máirtín O’Connor, Garry O’Briain and Cathal Hayden. It has premiered and recorded many contemporary pieces, working with composers such as Steve Reich, Jane O’Leary,

The members of the RTÉ Contempo Quartet live in Roscahill, Co. Galway, and describe themselves as ‘the ABBA of classical music’, Adrian and Andreea being married, as are Ingrid and Bogdan!

14 | FESTIVAL 2016

From 1999 to 2002 the quartet coached chamber music groups at the Royal Academy of Music, London and since 2003 has been the Galway Music Residency’s Quartet in Residence, where it has firmly established itself in a variety of genres including core classical repertoire, contemporary, folk, traditional and jazz. It was appointed as RTÉ’s Quartet in Residence in May 2014, giving over 50 performances during its first season. Concerts during 2016 include a celebratory series to mark the quartet’s 20th Anniversary in venues countrywide, and a performance of Gerald Barry’s Quartet no 1 (revised version) at Wigmore Hall, London for a gala concert as part of the 1916 Easter Rising commemoration events.

Programme: Haydn Op 76 no. 1 Sebastian Adams: new work, RTÉ lyric fm commission Bartók Quartet no. 1

PHOTO BY JONATHAN HIMOFF

DR TOM WALSH LECTURE

JOHN JULIUS NORWICH

JEROME HYNES THEATRE | NATIONAL OPERA HOUSE 28 OCTOBER – 11 A.M. | TICKETS ¤10 The 2016 Dr Tom Walsh Lecture will be given by John Julius Norwich (John Julius Cooper, 2nd Viscount Norwich, CVO) one of the most distinguished and charismatic writers and broadcasters of our time. After a career in the diplomatic service, he became a writer, particularly on history, art and travel subjects. His many books include acclaimed works on Venice, Byzantium, Mount Athos, Glyndebourne (Fifty Years of Glyndebourne), the Normans, the Popes, Shakespeare and architecture, and his Christmas Crackers collections of trivia and witticisms. He has edited the diaries of his father, Duff Cooper, 1st Viscount Norwich, and letters from his famously glamorous mother, Lady Diana Cooper (Darling Monster: The Letters of Lady Diana Cooper to Her Son John Julius Norwich).

A distinguished and popular broadcaster on television and radio he has written and presented some thirty television documentaries on art, architecture and history, and he is fondly remembered for his wit and erudition by listeners to the BBC radio programmes My Word! and Round Britain Quiz. He has chaired or served on the committees of numerous charitable projects, including those concerned with Venice, world monuments, fine arts, the disabled, the National Trust and English National Opera. He is a regular speaker at lunches and dinners and in 2006 and 2007 he gave one-man shows in two London theatres. Tea and coffee will be served after the Lecture.

Kindly supported by Victoria Walsh-Hamer

WEXFORDOPERA.COM | 15

PHOTO BY PAULA MALONE CARTY

LUNCHTIME RECITALS

ST IBERIUS CHURCH

28, 29 OCTOBER | 1, 2, 3, 4, 5 NOVEMBER 1.05 P.M. | TICKETS ¤15 The very popular Lunchtime Recitals provide an insight into the artistic personality of some of the principal singers of the Festival and are a way to ‘meet’ them in an informal setting. In the beautiful and acoustically excellent eighteenth-century church of St Iberius in the centre of Wexford, audiences appreciate the musical versatility of solo singers who perform a wide variety of music from across the repertoire, including operatic arias, lieder, oratorio, concert and popular songs.

16 | FESTIVAL 2016

One of the delights of attending a Lunchtime Recital is that the programme is not advertised beforehand, so everyone shares the same degree of anticipation and expectation. Unsurprisingly, the Lunchtime Recitals sell out very quickly. The artists and their performance dates will be announced at the beginning of the Festival.

PHOTO BY PAULA MALONE CARTY

DAYTIME EVENTS PACKAGE

ST IBERIUS CHURCH, CLAYTON WHITES HOTEL TICKETS ¤60 Discover the world of opera with our Daytime Events Package. This is the perfect introduction to Wexford Festival Opera and can be comfortably enjoyed over a few hours in Wexford without staying overnight. It has proved particularly attractive to groups of people as a day out for their organisation.

Daytime Events Package

The package includes two Festival favourites – a Lunchtime Recital in St Iberius Church and a ShortWork opera in the afternoon in Clayton Whites Hotel – as well as lunch in Clayton Whites Hotel.

2.15 p.m. Lunch at Clayton Whites Hotel

Come and find out more about an art form that has captivated Wexford’s locals and visitors for more than sixty years. For groups of fifteen or more, the group organiser receives a complimentary €60 Daytime Events Package ticket. Group bookings must be made through the Box Office: +353 53 912 2144 Individual bookings may be made online or through the Box Office.

1.05 p.m. Lunchtime Recital at St Iberius Church, given by one of the principal artists of the Festival. The schedule of performers will be announced at the beginning of the Festival

3.30 p.m. ShortWork opera in Clayton Whites Hotel – a small-stage opera production, duration approx. 60–90 minutes (see schedule below) Thursday 27 October RTÉ Contempo Quartet – Lunch – Il Campanello Friday 28 October Recital – Lunch – Riders to the Sea Saturday 29 October Recital – Lunch – The Bear Tuesday 1 November Recital – Lunch – The Bear Wednesday 2 November Recital – Lunch – Il Campanello Thursday 3 November Recital – Lunch – Riders to the Sea Friday 4 November Recital – Lunch – The Bear Saturday 5 November Recital – Lunch – Il Campanello WEXFORDOPERA.COM | 17

PHOTO BY PATRICK BROWNE

GALA CONCERT

O’REILLY THEATRE | NATIONAL OPERA HOUSE 30 OCTOBER, 9 P.M. – TICKETS ¤50 – ¤60 The Gala Concert is one of the highlights of Wexford Festival Opera and features a collection of favourite party pieces from members of the Festival company. All performers generously donate their time and talent for the Gala Concert, and all proceeds go toward supporting Wexford Festival Opera. The 2016 Gala Concert will be hosted by one of Wexford Festival’s favourite directors, Roberto Recchia. Early booking is advised.

18 | FESTIVAL 2016

Roberto Recchia

PHOTO BY MARK HARRISON

PIANO RECITAL

BARRY DOUGLAS, PIANO

O’REILLY THEATRE | NATIONAL OPERA HOUSE 31 OCTOBER, 11 A.M. | TICKETS* ¤25–¤30** Barry Douglas has established a major international career since winning the Gold Medal at the 1986 Tchaikovsky International Piano Competition, Moscow. As Artistic Director of Camerata Ireland and the Clandeboye Festival, he continues to celebrate his Irish heritage whilst also maintaining a busy international touring schedule. Highlights of the 2015–2016 season include performances at BBC Proms in the Park with the Ulster Orchestra and at the Yerevan Festival in Armenia; a tour with Brussels Philharmonic; and appearances with the Prague Symphony, Belgrade Philharmonic, Szczecin Philharmonic and Galicia Symphony orchestras. He has previously given concerts with the BBC Scottish Symphony, London Symphony, Russian National, Cincinnati Symphony, Singapore Symphony, Berlin Radio Symphony, Staatskapelle Halle, Orchestre National de France, Seattle Symphony and Melbourne Symphony

orchestras alongside the Royal Liverpool Philharmonic and Hong Kong Philharmonic orchestras, among others. Barry regularly plays in recitals throughout the world, with recent performances in the UK, the Netherlands, Armenia, Mexico and the US. Barry Douglas received the Order of the British Empire (OBE) in the 2002 New Year’s Honours List for services to music.

Programme: Schubert: Impromptus Op 90 (D899) Brahms: Klavierstücke Op 76 Schubert/Liszt: Lieder – Ave Maria, Erlkönig Schubert: Wanderer Fantasy Op 15 (D760)

This performance is kindly sponsored by Terry and Marjorie Neill *€10 Youth Ticket for under 18-year-olds **€30 tickets in Founders Circle centre rows WEXFORDOPERA.COM | 19

LONDON FRIENDS’ RECITAL

HALL ONE, KINGS PLACE, 90 YORK WAY, LONDON N1 9AG MONDAY 21 MARCH, DOORS OPEN AT 7 P.M. PERFORMANCE COMMENCES AT 7.30 P.M. We look forward to welcoming you to this wonderful building when we bring Wexford Festival Opera to London. Moving from our previous home of St. John’s Smith Square, we hope that this move to Kings Cross will enable as many Friends as possible to join us and enjoy a recital from dramatic soprano Alwyn Mellor, who is ‘unquestionably in the very top flight of Wagnerians anywhere’ (Opera). Alwyn will not only perform at our recital in London but will come to Wexford this autumn to sing the leading role in Samuel Barber’s Vanessa. The evening will also provide an opportunity for you to put faces to new

names, including James Ó Murthuile, Ruth Gallagher, Anna Bates, and others from the Wexford Festival Opera team. An invitation will be sent to all of our UK based Friends in advance. Should you wish to join us, please reply to rsvp@wexfordopera.com.

Alwyn Mellor

20 | FESTIVAL 2016

DUBLIN FRIENDS’ RECITAL

NATIONAL CONCERT HALL, DUBLIN TUESDAY 14 JUNE, 7.30 P.M. Please join us for our annual Dublin Friends’ Recital, produced in association with the Friends of the National Concert Hall. The singers will be announced closer to the time of the event. Six weeks prior to the

event, you will receive an electronic invitation. Please reply to rsvp@wexfordopera.com if you are able to join us for this summer recital.

WEXFORDOPERA.COM | 21

FRIENDS’ ‘IN CONVERSATION’ SERIES Our ‘In Conversation’ Series of talks gives expert insight into specific elements of the 2016 productions. Join us as we go behind the scenes to learn more about the challenges that face the artistic teams as they work to realise their concept of an opera and to bring it to life on stage. We will provide further information about the speakers for the 2016 events nearer the time.

London ‘In Conversation’ Wednesday 7 September Embassy of Ireland, 17 Grosvenor Place, London SW1X 7HR Please note that as space is limited the London event is by invitation only. If you are based outside the UK and would like to attend, please contact Anna Bates before Monday 8 August (anna@wexfordopera.com or +353 53 916 3525).

22 | FESTIVAL 2016

Dublin ‘In Conversation’

Tuesday 27 September Royal Irish Academy, 19 Dawson Street, Dublin D02 HH58 7.30–8.30 p.m. Lecture | 8.30–9.30 p.m. Reception This year our Operas – Herculanum, Vanessa and Maria de Rudenz – focus on times past. Where better to celebrate this than the Royal Irish Academy? The Academy aims to promote and investigate ‘the sciences, polite literature, and antiquities’, as well as ‘the encouragement of discussion and debate among scholars of diverse backgrounds and interests’. We consider this to be the perfect location for our Dublin ‘In Conversation’ event, where members of the artistic cohort of the 65th Festival Opera will divulge the decision-making processes and motivations behind their work. We would like to invite you to get ‘up close and personal’ with the inner workings of the Festival and look forward to welcoming you to the Royal Irish Academy. Please register your interest in attending by emailing rsvp@wexfordopera.com. We will send an electronic invitation to you before the event.

PHOTO BY PATRICK BROWNE

FRIENDS’ PARTIES, LUNCHES AND BUFFET We look forward to meeting you at our special Friends’ Events during the 2016 Festival, ranging from informal coffee mornings, lunches and a buffet to glamorous parties. Enjoy delicious local seafood and fresh produce, much of it from County Wexford. Experience the sense of occasion and excitement of an evening at the opera in Wexford. Dressing in evening clothes and enjoying a meal beforehand, getting together with other opera lovers and having the opportunity to meet the singers and artistic teams: these social occasions add immensely to the pleasure of attending Wexford’s renowned opera performances.

Friends’ Parties at Greenacres OPENING NIGHT PARTY Wednesday 26 October – 10.30 p.m. Celebrate the opening of the 65th Festival at the opening night post-opera party at Greenacres. The event includes locally-produced food, wine, live music, great company and the opportunity to catch up with Friends you may not have met since the previous Festival. BANK HOLIDAY CELEBRATION PARTY Saturday 29 October – 10.30 p.m. Join our Artistic Director and members of the cast of Herculanum and enjoy post-opera food, champagne and wine in the beautiful surroundings of Greenacres. CLOSING WEEKEND GALA PARTY Saturday 5 November – 10.30 p.m. Join the cast of Vanessa and members of the Wexford Festival Opera team and enjoy another evening of superb food, champagne and wine with James and Donal at Greenacres.

Friends’ Lunches in the Terrace Restaurant, Clayton Whites Hotel Thursday 27 October – 2 p.m. Monday 31 October – 2 p.m. Our popular daytime Friends’ Lunches are once again on the menu. Enjoy a delicious lunch and a glass of wine at Clayton Whites Hotel.

Friends’ Buffet at the Talbot Hotel Wednesday 2 November – 5.15 p.m. For an elegant pre-opera dining experience come to the Friends’ Buffet at the Talbot Hotel and enjoy a sumptuous three-course buffet meal with fine wines. After your meal a courtesy bus will be available to bring you from the Talbot to the National Opera House for the 8 p.m. evening performance.

How to book your tickets Space is limited and admission is by ticket ONLY, so do remember to book your complimentary tickets to the Friends’ Parties, Buffet and Lunches through the box office. Your complimentary tickets can be used for whichever events you wish to attend during the Festival. As part of your membership benefits, Ensemble Friends are entitled to four complimentary tickets, Aria Friends are entitled to six complimentary tickets and Bravura Friends are entitled to ten complimentary tickets. Prelude Friends may purchase two tickets at the discounted price of €15 each.

Bring a friend If you require additional tickets for the Friends’ Parties, Lunches and Buffet they may be purchased from the Box Office. Additional tickets for the Friends’ Parties may be purchased for €40 each, additional tickets for the Friends’ Buffet may be purchased for €30 each and additional tickets for the Friends’ Lunches may be purchased for €20 each.

WEXFORDOPERA.COM | 23

PHOTO BY PAULA MALONE CARTY

FRIENDS’ WELCOME RECEPTIONS LEVEL 3 | NATIONAL OPERA HOUSE

We invite all our Friends, new and old, to join us for complimentary tea, coffee and pastries to welcome you to the 65th Wexford Festival Opera. These informal welcome receptions will be held in the Friends’ Lounge on level 3 of the National Opera House. This is a small ‘thank you’ for your support

and an opportunity for you to meet each other and talk to members of our team. Friday 28 October: 10 a.m. Monday 31 October: 10 a.m. Thursday 3 November: 10 a.m.

FRIENDS’ LOUNGE LEVEL 3 | NATIONAL OPERA HOUSE

We hope you will enjoy using the Friends’ Lounge in the National Opera House during the Festival – it’s your Festival Club. Open from 12 noon to 4 p.m. every day on level 3 in the National Opera House, it provides an opportunity to relax in comfortable surroundings in the company of other Friends. Volunteers are on hand to answer questions and to help with any restaurant or other

24 | FESTIVAL 2016

bookings you wish to make. Complimentary tea, coffee and newspapers are available. The Lounge is also open for the exclusive use of Friends during the opera intervals and may be a welcome alternative to the busy bars. Your drinks can be pre-ordered and delivered to the Lounge to await your arrival.

FRIENDS’ TRAVEL

VIENNA OPERA TOUR: 28 APRIL – 2 MAY, 2016 (SOLD OUT) Following successful trips to Berlin, Paris, and Vienna, our Friends’ Opera Tour is returning this year to Vienna, a city renowned for opera and classical music. The Friends of Wexford Festival Opera have formed a partnership with a local group of opera enthusiasts, who have run bespoke trips to enjoy performances outside of Ireland for more than 46 years. The tour

will include three operas at the magnificent Vienna State Opera: Verdi’s A Masked Ball, Mozart’s Don Giovanni, and Puccini’s Turandot. For more information or to register your interest in future tours, please contact +353 53 916 3525 or email friendsoperatour@wexfordfestivalopera.com

WEXFORDOPERA.COM | 25

NEW WFO PERSONNEL

JAMES Ó MURTHUILE HEAD OF DEVELOPMENT

James Ó Murthuile joins Wexford Festival Opera as Head of Development, overseeing fundraising activities for the Trust. Prior to joining, James was a senior director with one of the world’s leading fundraising consultancy firms, providing counsel and strategic development planning to Ireland’s leading non-profit organisations. He has over twenty years’ commercial and marketing experience gained while working with American and Japanese organisations at home and abroad.

An avid music lover and regular attendee of Wexford Festival Opera, James is delighted to have the opportunity to join such a unique and cherished Festival. ‘Wexford Festival Opera is one of Ireland’s true treasures and has such a fantastic reputation both at home and internationally. I am looking forward to working with David McLoughlin, CEO, David Agler, Artistic Director, the Board of Directors, and the National Development Council to realise the new and exciting vision for Wexford Festival Opera and the National Opera House.’

ANNA BATES

MEMBERSHIP DEVELOPMENT EXECUTIVE

Anna has followed a circuitous route to come to Wexford Festival Opera. Anna’s family comes from South Wexford and she is delighted to have returned there to live. Anna’s family are the Bates fishing family of Kilmore Quay, but Anna grew up in Wicklow and in Brussels. Returning to Ireland after time spent in Paris, London, Nairobi and Brussels, she joined Wexford Festival Opera in August 2015, right before the whirlwind of the 64th Festival. Her background qualifications in History and Politics, Anthropology 26 | FESTIVAL 2016

and Sociology and experience working in European politics have inured her to high drama, but nothing could ever quite prepare her for the wonders of Wexford Festival Opera. Anna loves working with the Friends – a diverse and fascinating group of people – and loves the challenge of sharing the Festival with more people, convinced that people need only give opera a chance to fall, like she has, completely in love with the entire experience.

PHOTO © WEXFORD FESTIVAL ARCHIVE

LEGACY GIVING

THE REVIVAL OF OPERAS AT WEXFORD - YOUR PRESENT AND THEIR FUTURE Legacies connect the past to the future. Legacy Giving is a way of enabling your love of opera at Wexford to continue for many years to come. All that we enjoy today at Wexford Festival Opera has blossomed out of people’s ideas, talents, and generosity. Their shared passion for performing little-known operas united them and it unites us. Wexford Festival Opera was an unlikely idea that took shape in Foyle’s bookshop in Charing Cross Road, and then grew during a conversation with Sir Compton Mackenzie, founder of Gramophone magazine. Unlikely it may have been, but neglected and forgotten operas gained a new champion when Dr Tom Walsh launched the Wexford Festival of Music and the Arts in 1951 – now Wexford Festival Opera. Many of these rediscoveries are now part of the mainstream operatic repertoire. The Festival attracts internationally recognised operatic talent and has received enthusiastic reviews in the Irish, US, UK, and mainland European press.

‘A world-class opera festival specializing in obscure rarities based in a tiny coastal town – Wexford is the ultimate Irish joke. The punchline? It’s bloody brilliant.’ THE SPECTATOR, ALEXANDRA COGHLAN

Wexford Festival Opera has always valued its links with the past, whilst being committed to ensuring a strong vision for the future. In a bold move, the Festival’s home of so many years, the Theatre Royal, was demolished after the 2005 Festival and replaced on the same site by the Wexford Opera House – now the National Opera House. Widely acclaimed, the

Opera House is comparable with some of the best operatic venues in the world.

‘The Irish alchemy that has drawn collectors of recherché opera year after year to the southeast corner of the Emerald Isle once again worked its magic at the 64th Wexford Festival.’ THE SUNDAY TIMES, HUGH CANNING

The 1951 Society Wexford Festival Opera remains committed to the founding vision and legacy of Dr Tom Walsh – which still informs the opera festival we enjoy today. Legacy gifts ensure that interesting and worthwhile – but neglected – operas have a home. By making a legacy gift to the Festival you can be part of this noble endeavour. Legacy gifts come from the proceeds of one’s estate; the level of support varies greatly to suit the donor’s individual wishes. What matters is that you consider supporting an art form that has a personal connection; your legacy to opera which will continue for many years to come. If you are interested in learning more about how your involvement in the 1951 Society can benefit Wexford Festival Opera, please email James Ó Murthuile – james@wexfordopera.com. We would be happy to discuss this in more detail and explore ways in which any potential legacy could be appropriately honoured and recognised.

WEXFORDOPERA.COM | 27

PHOTO BY PATRICK BROWNE

CAST AND ARTISTIC SPONSORSHIP By sponsoring a singer or member of our artistic team through our Cast and Artistic Sponsorship Programme, you lend your support to Wexford Festival Opera in a profoundly meaningful way. Wexford is famed for discovering gems in terms of both repertoire and talent. Our Cast and Artistic Sponsorship opportunity is an excellent means to become involved in a performer’s career, to meet them in person, to take a personal interest in them, and provide support for one of our cast of artists at a critical stage in their career. Opera is a vocation that demands intense personal investment on a multitude of fronts. Your support allows the artist to develop their talent and career, armed with the knowledge that someone out there in the audience is supporting them in this most practical of manners. We have been delighted to see lasting friendships established between artist and benefactor since the creation of this programme. This initiative has even greater impact as it allows Wexford Festival Opera to maintain its artistic

28 | FESTIVAL 2016

integrity by enabling the Artistic Director to engage truly gifted opera singers, designers, directors and conductors. If this opportunity appeals to you and you are interested in sponsoring a Festival performer, our Artistic Director, David Agler, will be pleased to discuss an artist with whom you can enjoy a rewarding relationship. Cast and Artistic Sponsors receive accreditation in the Festival programme and complimentary Festival tickets. A lunch or coffee engagement with the artist may also be arranged. Such an encounter is a unique opportunity for you to enter into the world of opera in a personal way and appreciate it from a performer’s perspective. So why not become a benefactor and discover the many rewarding benefits of sponsorship? Anna would be delighted to speak to you should you wish to obtain more information about this unique opportunity – anna@wexfordopera.com, +353 53 916 3525.

PHOTO © CLIVE BARDA/ARENAPAL

SUPPORTING WEXFORD FESTIVAL OPERA There are many ways in which you can support Wexford Festival Opera, enabling ever-higher standards of opera performance: • Become a Friend: – Prelude Friend – €80 – Ensemble Friend – €185 – Aria Friend – €500 – Teatro Friend – €1,000 – Bravura Friend – €2,000 • Endow a Seat – €850 • Corporate Friend – packages from €2,000 • Cast Sponsor – from €5,000 • Artistic Sponsor – from €3,500 to €10,000 • ShortWork Producer – €10,000 • Join the President’s Circle – gifts ranging from €25,000 to €100,000 and above can transform a production, a season, and the future of Wexford Festival Opera

Anna Bates would be delighted to hear from you regarding any Friends’ Membership and Seat Endowment queries. Should you be interested in Sponsoring any of our Cast, Artists, or avail of ShortWork Producer opportunities, Anna will be happy to meet to discuss your requirements in detail. Anna Bates Membership Development Executive +353 53 916 3525 anna@wexfordopera.com To learn more about transformational giving, legacies and other ways to support please contact: James Ó Murthuile Head of Development +353 53 916 3527 james@wexfordopera.com For further information on all the opportunities for giving and for ways to support your opera festival, please visit Wexfordopera.com/support Gifts can be made in a tax-advantageous way through our Irish, UK, Canadian and US Charitable Trusts.

WEXFORDOPERA.COM | 29

Artistic Director David Agler, Sopranos Magali Simard-Galdès and Rachel Croash, Chairman Ger Lawlor.

AWARDS

Two singers were awarded very significant artistic bursaries by Artistic Director David Agler, from the stage of the National Opera House in front of a soldout audience, after the final performance of Le Pré aux clercs by Ferdinand Hérold. The Wexford Festival Opera Aria Friends Bursary was awarded to Dublin soprano Rachel Croash, who performed in no less than four operas this year: the role of Renée in Koanga by Delius; Dew Fairy in the

PHOTO BY PATRICK BROWNE

ShortWorks opera Hansel and Gretel; and in the chorus of Guglielmo Ratcliff and Le Pré aux clercs. The long-standing Gerard Arnhold Bursary was awarded to Canadian soprano Magali Simard-Galdès, who sang the role of Nicette in Le Pré aux clercs, her first professional operatic engagement, which received great critical acclaim. Anna Picard in The Times said of her, ‘Yet the evening belongs to the 21-year-old soprano Magali Simard-Galdès (Nicette), making her professional debut with sparkling fioritura…’

PHOTO © CLIVE BARDA

CLIVE BARDA

Wexford Festival Opera would like to congratulate our official photographer, Clive Barda, on being made an Officer of the British Empire (OBE) for services in photography. Clive’s specialist knowledge of the opera field is matched by few photographers in the world and his body of work reflects his reputation. Clive first came to Wexford with Graeme Kay, who was then editor of Opera Now magazine. His first

30 | FESTIVAL 2016

assignment was photographing Das Liebesverbot by Wagner. Despite being in high international demand, Clive’s love of music and the opportunity to capture the rarely performed repertoire keep him coming back to Wexford every year. He is a true Friend of Wexford and we are honoured to have him as one of our colleagues. You can view the master’s work at www.clivebarda.com.

PHOTO © WEXFORD FESTIVAL ARCHIVE

PHOTO BY ROS KAVANAGH

ENDOW A SEAT

Endow a seat and join our Teatro Friends

For a contribution of €1,000, Teatro Friends will receive an Ensemble Friends’ Membership and a Seat Endowment at the National Opera House. You can dedicate your seat with a plaque in your own name or that of a loved one. If you would like to become a Teatro Friend please contact our Membership Development Executive, Anna Bates for more information.

Seat Endowment programme Our Seat Endowment programme is still open and you may dedicate a seat with a plaque in your own name or in the name of a loved one. The cost is €850 and more information is available from Anna Bates: anna@wexfordopera.com, +353 53 916 3525

Chairman Ger Lawlor, John Devitt, Ted Howlin, and Chief Executive David McLoughlin. PHOTO BY PATRICK BROWNE

VOLUNTEERS AWARD

In 2015, at the first Public Dress Rehearsal of the Festival, Artistic Director David Agler announced Ted Howlin as the winner of the Wexford Festival Opera Volunteers Award, sponsored by Ecclesiastical Insurance. John Devitt, Head of Business Development with Ecclesiastical, presented the Award.

last 45 years, including that of board chairman, and is currently a board member and director of patron care. He has given generously of his time in all of these roles, not only as a passionate advocate for the Festival but also, and most crucially, as a great friend to staff, artists and volunteers alike.

Ted began volunteering in the early ’70s, initially helping fellow long-term volunteer Jim Golden in the props department and rapidly moving to the box office, where he and Jim served as a guiding force. Ted has held many roles in the organisation over the

Ecclesiastical Insurance is Ireland’s leading specialist insurance company serving the education, faith, heritage and charity sectors, and donates a significant proportion of its profits to charity.

WEXFORDOPERA.COM | 31

IN MEMORIAM PHOTO: GER LAWLOR

Liam Healy |

By Paul Hennessy, WFO Chairman 2004–2009

The sad news of Liam’s death just weeks before the 2015 Festival left an indelible mark in Wexford. It was deeply felt by everyone who had had the pleasure of engaging with him over his many years as one of Wexford’s staunchest and leading supporters. Wexford had lost an advocate, a leader, an advisor and a muchloved friend. It was a loss that was profoundly personal to so many members of ‘the Wexford Festival Family’. Liam’s business career is well documented and widely acclaimed as one of success and achievement. Setting out as a young Chartered Accountant, he rose to become Chief Executive of Independent News and Media, a position he held for ten years from 1991 to 2000. It was a role he loved and one which he discharged with great distinction and as always, his own characteristic humility. But it was not just his skills and talents as a business leader; the steely determination, the clear judgement, the unrelenting commitment that defined his career. It was the personal values that Liam brought to everything he did that were truly unique and singled him out as a very special person who was held in the highest esteem. Liam had unwavering personal integrity. He believed in the value of old-fashioned courtesy in all matters and that everyone should be treated with due respect. He operated on principles of trust, loyalty, patience, encouragement and empathy. He was particularly generous, occasionally mischievous and always the best of company. Among the many tributes paid to Liam, the comment ‘that Liam Healy’s handshake was better than the written contract of any other man’ captures his essence and is a testimony to the regard in which he was held by everyone who had the pleasure of dealing with him. Liam first came to the Festival with his wife Eithne (they came as a package) and like so many others, they quickly established Wexford in their calendars as a must-do annual event. Both were already recognised as deeply committed supporters of theatre and the arts in general and Wexford simply became part of their passion. Their visits developed an ever increasing circle of friends which included virtually everyone they encountered.

32 | FESTIVAL 2016

When the Festival Board determined that the future of the organisation necessitated the replacement of the Theatre Royal with a new purpose-built Opera House, Liam supported the ambition from the outset. It was, therefore, no surprise that when the Wexford Festival Foundation was mobilised in 2004 to raise the required level of private funding for the project, Liam was the unanimous choice to lead the initiative. Despite his many commitments he immediately accepted the role and set about the work of the Foundation with all his usual dedication, guile and resilience. His personal leadership, throughout the project, was quite inspirational and as always, completely selfless. During this period, it was my privilege to work closely with Liam and the other Foundation members. There were daily challenges and many issues to overcome which required endless rounds of meetings, discussions, dinners, lunches, calls and ad hoc chats throughout which Liam’s handling of Foundation affairs was a master class in shuttle diplomacy. Finally, with the funding secured, the opening of Wexford Opera House in 2008 marked a watershed for the organisation and for opera in Ireland. Sadly, Liam’s health deteriorated shortly after the opening of the Opera House and his ability to enjoy the facility which he played such a key role in creating was cruelly curtailed. However, his interest in Wexford never waned and while his health permitted, he loved to get updates on Festival business, and developments at Wexford. The decision of the Festival Board to dedicate the entire 2015 Festival to his memory was an unprecedented honour, appropriately awarded to a much-loved friend who had made an unprecedented and unique contribution to the organisation. Liam’s life will be fondly recalled across the globe by all who had the pleasure of his company during his long and successful career, but particularly in Wexford, where he will always retain a very special place in the hearts of the ‘Wexford Festival Family’ and long be remembered with respect, gratitude and deep affection. Paul Hennessy, Chairman 2004–2009

PHOTO: PADDY DONOVAN

Mairead Furlong |

In August 2015, Mairead Furlong, one of Wexford Festival's longest serving volunteers and supporters passed away. We at Wexford Festival received the news with great sadness. For over 40 years Mairead had been friend, defender, confidante, adviser and fundraiser for the Festival. She joined the Festival Council in 1968 and served as board member, trustee and Vice Chairman. During her term as Vice Chairman, she was responsible for the running of the Theatre Royal, which we remember with great fondness. It was my honour and privilege to work with Mairead on many projects over those 40 years and I found her to be very down to earth, caring, charismatic, witty and a great person to have on your side. It is because of Mairead, and many like her, that Wexford Festival is ranked as one of the best opera festivals in the world.

Rodney Milnes | PHOTO: GER LAWLOR

By Ted Howlin, WFO Chairman 1998–2003 She was a founding member of The Friends of Wexford County Art Collection and worked tirelessly to promote and procure donations – indeed, many of the pieces in the County Council Art Collection are a direct result of her eloquent powers of persuasion and contain some works from the personal collection owned by herself and her husband, Nicky. Mairead and Nicky initiated the Festival Antiques Fair and continued to run it every October until her retirement in 2012. As you look at the contribution made by Mairead Furlong, not only to Wexford, but to Ireland in general you realise the immense knowledge she had of the arts, music, antiques (she ran a very successful antiques business from her home in Drinagh) and she was willing to share her knowledge, expertise and wealth of experience with anyone who asked. She was the driving force behind many organisations in Wexford and will be greatly missed by all of them. People like Mairead Furlong come along only rarely and I feel very lucky to have known her and to have been able to call her a very good friend. May she rest in peace.Howlin, Chairman 1998–2003

By Geoffrey Wheatcroft

Rodney Milnes first visited Wexford in 1968, the year of Bizet’s La Jolie Fille de Perth and Rossini’s L’Equivoco stravagante, which I envied him as a latecomer, who only reached Wexford the following year. Rodney was immediately beguiled, and remained devoted thereafter to Wexford, the festival, the town, and the people, all so happily unlike so many stops on the European operatic circuit from Bayreuth to Salzburg. Apart from a couple of years when illness kept him away, Rodney was an unfailing Wexford regular for more than forty-five years. He’d hoped to come last autumn and would have done but for the rapid onset of cancer from which he died on 4 December. Our Wexford adventures over the years are too many to recall here, although we talked about some of them in our double act for the Tom Walsh Lecture three years ago. In 1971, he and I were roped in at the last minute to help paint the scenery for Il re pastore at the Celtic Laundry just south of town, and so I suppose Rodney might even be considered an honorary member of the Festival company. When he first came to Wexford, Rodney had barely begun in musical journalism. But over the years, as

he became one of the most eminent opera critics of his age, he reviewed many performances at many Wexfords, for the Spectator and The Times, whose opera critic he was successively over the last three decades of the last century, and in greater depth for Opera, the monthly magazine he edited 1986–99. Some evenings he adored, from Lakmé in 1971 to Cristina, regina di Svezia two years ago, some he loathed, either the work itself – Iris or Siberia – or the production. But no, I wish to recall happy memories of Rodney at Wexford. And some of the happiest were away from the opera house. There was sherry at Dr Tom’s of a Sunday morning, lunch at Ballyhack or Kilmore Quay, and, of course, a ball of malt in the interval at one of the now diminishing number of bars in Main Street. For me, and not for me alone, Wexford won’t be the same without Rodney. I hope he is remembered at a place he loved. Geoffrey Wheatcroft is a journalist and author. He has written regularly for the Guardian, Sunday Telegraph, Spectator, The Times Literary Supplement and The New York Times. His books include The Controversy of Zion and Yo, Blair! He has attended the Festival for 47 years – since 1969! WEXFORDOPERA.COM | 33

PHOTO BY PAULA MALONE CARTY

WINING AND DINING

Pre-Opera Suppers at the National Opera House

Relax and enjoy a meal in the MacKenzie Room on the third floor of the National Opera House before the performance. The popular Pre-Opera Suppers begin at 6 p.m. on each of the 8 p.m. performance evenings during the Festival. On Sunday 30 October, Supper will be served after the 5 p.m. performance, and on Sunday 6 November it will be served at 2.30 p.m. before the performance. Supper €40 Booking for the Pre-Opera Suppers opens on Saturday 27 February. Priority will be given to Friends of Wexford Festival Opera. To make a booking contact Michael O’Keeffe, Conference and Banqueting Manager, Ferrycarrig Hotel, Wexford: michaelokeeffe@ferrycarrighotel.com or phone +353 87 662 0279.

34 | FESTIVAL 2016

Champagne and Canapés Treat yourself to a little luxury! We offer a Champagne and Canapés interval reception in the MacKenzie Room at the National Opera House every night during the Festival. Please note that Champagne and Canapés are only offered at the first interval. Tickets €25 Friends of Wexford Festival Opera may book their tickets from Saturday 27 February at Wexfordopera.com and by telephone (+353 53 912 2144). Public booking opens on Saturday 19 March.

FERRYCARRIG HOTEL

ACCOMMODATION

Ferrycarrig Hotel (Preferred Hotel Partner)

Talbot Hotel

The nationally and internationally renowned 4-star Ferrycarrig Hotel boasts one of the most inspiring locations of any hotel in Wexford or, indeed, Ireland, with sweeping views across the River Slaney. The hotel is the perfect location for your visit to the 2016 Festival.

The 4-star quay front Talbot Hotel is ideally located in the heart of Wexford town. This is one of the finest hotels in Wexford, boasting panoramic views of the quays and River Slaney.

One Night B&B with dinner and evening transfers to the Opera from €109 pps For more information call reservations directly: T: +353 53 915 3623 E : reservations@ferrycarrighotel.com W: Ferrycarrighotel.ie

Clayton Whites Hotel Clayton Whites Hotel is one of the leading 4-star Wexford hotels, conveniently located in the centre of Wexford town. Large parking facilities are available. Stay in the heart of the Festival at Clayton Whites Hotel. Packages from €85 pps For more information: T: +353 53 912 2311 E: info.whites@claytonhotels.com W: claytonwhiteshotel.com

Two Nights B&B with one dinner and evening transfers to the Opera from €235 pps For more information: T: +353 53 912 2566 E: sales@talbothotel.ie W: Talbothotel.ie

Kelly’s Resort Hotel The 4-star Kelly’s Resort Hotel is uniquely situated along five miles of safe sandy beach in Rosslare, Co. Wexford. One Night B&B with dinner and evening transfers to the Opera from €143 pps For more information: T: +353 53 913 2114 E: info@kellys.ie W: Kellys.ie

For further information on accommodation in Wexford and the surrounding area visit Visitwexford.ie | Discoverireland.ie | Irelandhotels.com WEXFORDOPERA.COM | 35

WEXFORD FESTIVAL OPERA TOURS Explore County Wexford

National Opera House Tours

It is said that Wexford is known for three things: opera, writers and history. County Wexford is rich in history: home to Vikings, Normans and rebellions. The Wexford Festival Opera Tours, organised by Nicholas Furlong on behalf of the Wexford Historical Society, have been a part of the Festival since the early 1950s. In fact, Nicholas Furlong could be considered one of the Festival’s original ‘Friends’ since he, like so many other locals, pledged Dr Tom his full support and offered a donation in order for him to get the first Festival off the ground.

Friday 28, Monday 31 October; Wednesday 2, Friday 4 November – 9.30 a.m.

The Wexford Festival Opera Tours are led by expert guides and explore places of historical interest in the town and county – some well known, some lesserknown. The tours leave the Talbot Hotel car park at 10.30 a.m. sharp and return to Wexford by 1 p.m., just in time for the Lunchtime Recitals. No car? Don’t worry; people who have cars make room for those without. Another chance to make new friends! The tours are free and are open to all. Full details of these popular tours will be announced in September. For more information visit Wexfordhistoricalsociety.com 36 | FESTIVAL 2016

Tickets €5 / €4 for groups of 10+ During the 2016 Festival there will be guided tours of the National Opera House on four mornings. Take advantage of this opportunity to find out more about the award-winning architecture of the National Opera House and sample the exceptional acoustics of its two diverse performance spaces, the O’Reilly Theatre and the Jerome Hynes Theatre. Tours commence at 9.30 a.m. from the Box Office, National Opera House. Booking closes fifteen minutes before the tour start time. No admission without a valid ticket. Children under sixteen years of age must be accompanied by an adult.

TRAVEL Waterford Airport

Wexford town and the National Opera House are only 50 minutes from Waterford Airport and this makes it the closest airport to Wexford. The Airport offers daily scheduled service from London Luton and a 4 week service from Birmingham with VLM Airlines. Both these UK airports offer excellent connections from Europe and from North America. Bookings on VLM can be made at www.vlmairlines.com. Car rental facilities, operated by Hertz, are available at the Airport for Opera visitors. There is also a bus service from Waterford City to Wexford every hour, and this service is only a 10 minute taxi ride from the Airport.

Travel options to Wexford from Dublin Airport include car hire, train (Irishrail.ie) and express coach (Buseireann.ie and Wexfordbus.com).

Wexford Bus from Dublin City andÂ Airport Wexford Bus offers the fastest, most reliable bus service between Wexford and Dublin city and airport. It is the ideal option for overseas visitors to the Festival. With up to twelve daily services each way, a range of great value tickets and free wi-fi on board, Wexford Bus is a comfortable and efficient way to travel to and from Dublin Airport. For details of the timetable and fares visit Wexfordbus.com.

WEXFORDOPERA.COM | 37

CULTUREFOX.IE

NEVER MISS OUT The Arts Council’s new, upgraded CULTUREFOX events guide is now live. Free, faster, easy to use – and personalised for you. Never miss out again. 38 | FESTIVAL 2016

✂

FESTIVAL CALENDAR WEDNESDAY 26 OCTOBER

SATURDAY 29 OCTOBER

Opening Ceremony

1.05 p.m. Lunchtime Recital

8 p.m. Herculanum

10.30 p.m. Friends’ Party

3.30 p.m. The Bear

7 p.m. Pre-Opera Talk

8 p.m. Herculanum

10.30 p.m. Friends’ Party THURSDAY 27 OCTOBER

SUNDAY 30 OCTOBER

1.05 p.m. RTÉ Contempo Quartet

2 p.m. Friends’ Lunch

3.30 p.m. Il Campanello

7 p.m. Pre-Opera Talk

8 p.m. Vanessa

FRIDAY 28 OCTOBER

10 a.m. Friends’ Welcome Reception

11 a.m. Dr Tom Walsh Lecture

1.05 p.m. Lunchtime Recital 3.30 p.m. Riders to the Sea

7 p.m. Pre-Opera Talk

8 p.m. Maria de Rudenz

11 a.m. Il Campanello 12 noon Festival Mass, Church of the Immaculate Conception, Rowe Street

4 p.m. Pre-Opera Talk

5 p.m. Vanessa

9 p.m. Gala Concert

MONDAY 31 OCTOBER (bank holiday)

10 a.m. Friends’ Welcome Reception

11 a.m. Barry Douglas Piano Recital

2 p.m. Friends’ Lunch

3.30 p.m. Riders to the Sea

7 p.m. Pre-Opera Talk

8 p.m. Maria de Rudenz

WEXFORDOPERA.COM | 39

TUESDAY 1 NOVEMBER

FRIDAY 4 NOVEMBER

1.05 p.m. Lunchtime Recital

3.30 p.m. The Bear

7 p.m. Pre-Opera Talk

8 p.m. Herculanum

WEDNESDAY 2 NOVEMBER

SATURDAY 5 NOVEMBER

1.05 p.m. Lunchtime Recital

3.30 p.m. Il Campanello

5.15 p.m. Friends’ Buffet

7 p.m. Pre-Opera Talk

8 p.m. Vanessa

10.30 p.m. Friends’ Party

THURSDAY 3 NOVEMBER

SUNDAY 6 NOVEMBER

11 a.m. Riders to the Sea

1.05 p.m. Lunchtime Recital

11 a.m. Festival Service,

3.30 p.m. Riders to the Sea

St Iberius Church

7 p.m. Pre-Opera Talk

4 p.m. Pre-Opera Talk

8 p.m. Maria de Rudenz

5 p.m. Maria de Rudenz

10 a.m. Friends’ Welcome Reception

40 | FESTIVAL 2016

✂

FESTIVAL CALENDAR

WEXFORDOPERA.COM | 41

PHOTO © CLIVE BARDA/ARENAPAL

BOOK YOUR TICKETS

Booking Dates

Book Your Tickets Online

— Priority Booking for Friends from 9.30 a.m. on Saturday, 27 February 2016

Friends have the first opportunity to book their Festival tickets online via the Festival website:

— General Booking from 9.30 a.m. on Saturday, 19 March 2016

Wexfordopera.com

Tickets may be booked using the following methods: — Online: Wexfordopera.com — E-mail: boxoffice@wexfordopera.com — Telephone: +353 53 912 2144 / 1850 4 OPERA* — In person at the National Opera House Box Office* — Post: fill out and post attached booking form *Box Office opening hours: Monday – Saturday, 9.30 a.m. to 5.30 p.m.

Dress Code In keeping with Wexford Festival Opera tradition, evening dress is strongly recommended for the evening opera performances.

which contains a step-by-step guide to booking your tickets online, including an option to print your tickets at home. From the opening of priority booking you will be able to browse and search our programme of events twenty-four hours a day and choose your own seats from the seating plan. We recommend that you book your tickets online as this is the best way to secure your preferred tickets. If you prefer the personal touch, our helpful Box Office staff will be pleased to take your bookings by phone (+353 53 912 2144 / 1850 4 OPERA), by e-mail (boxoffice@wexfordopera.com) or in person (The National Opera House, High Street, Wexford). Postal bookings may be made, using the attached booking form, but this is a slower method and your requested tickets may not be available. A charge of €1.00 for postage and handling will be applied to tickets sent by post. Card transactions will incur a charge of €1.50 (per transaction). Please note: if you have opted to have your tickets posted, you will receive them a minimum of six weeks prior to the event.

42 | FESTIVAL 2016

PHOTO © CLIVE BARDA/ARENAPAL

Booking Dates Tickets are available in three price bands over the Festival. Prices are based on the most requested Festival dates. Price Band A

Wednesday 26, Thursday 27, Monday 31 October Tuesday 1, Wednesday 2, Thursday 3 November

Price Band B

Friday 28, Saturday 29, Sunday 30 October; Friday 4, Saturday 5, Sunday 6 November

Price Band C

Gala Concert: Sunday 30 October

Pricing Floor Level

Seating Area

Dates & Prices Price Band A 26, 27, 31 Oct; 1, 2, 3 Nov

Price Band B 28, 29, 30 Oct; 4, 5, 6 Nov

Price Band C Gala Concert 30 Oct

 Circle

Rows A–B

€140

€75

 Circle

Rows C–G

€90

€120

€60

 Circle

Row H*

€40

€60

 Circle Side Stalls

I 12–18, J 1–7 I 19–22, J 8–11

€50 €35

€60 €60

C ircle Boxes (4 seats)**

Boxes A,B,C,D,E,F

€25

€50

 Founders Circle

A3–A26 A1, A2, A27, A28 Rows B–C

€145 €140 €145

€80 €75 €80

 Founders Circle

Side Stalls

€130

€80

F ounders Circle (4 seats)**

Boxes A,B,D,E Boxes C,F

€50 €25

€50 €50

 Main Stalls

Rows A–B Rows C–P

€95 €105

€115 €125

€60 €60

 Side Stalls

1–6, 13–18 7–12, 19–24

€105 €95

€125 €115

€60 €60

*Reserved during all opera performances exclusively for Prelude Friends of Wexford Festival Opera **Restricted view, prices per seat

Please note Information on our Refund/Return Policy may be found on page 46. In keeping with Wexford Festival Opera tradition, evening dress is strongly recommended for the evening opera performances. WEXFORDOPERA.COM | 43

SEATING PLAN O’REILLY THEATRE, NATIONAL OPERA HOUSE

8 9 10 11 12 13 14 15 16 17 18 H 9 10 11 12 13 14 15 16 17 18 19 20 2 3 12 13 14 15 16 21 G G 1 7 8 9 10 11 17 6 18 19 4 5 20 21 2 3 10 11 12 13 14 15 16 17 22 F F 1 7 8 9 18 19 5 6 20 21 4 3 22 12 13 14 15 16 17 2 11 10 9 23 E 18 19 7 8 E 1 6 20 21 4 5 22 3 23 2 9 10 11 12 13 14 15 16 17 18 8 24 D 19 20 6 7 D 1 21 4 5 22 13 14 15 16 17 18 19 3 23 20 21 11 12 2 10 24 22 23 8 9 C 1 25 C 24 7 12 13 14 15 16 17 18 19 25 6 10 11 20 21 5 26 4 8 9 27 22 7 3 23 28 6 24 29 2 5 25 30 4 26 B 1 3 27 2 28 29 A 1

I 12

BOX

17 18 19 20

B A

lls

O N 1 M

4 3

9 10 11 12 13 14 15 16 17 18 19 20 21 22 7 8 9 10 11 12 13 14 15 16 17 18 19

6 7

4 5

5 4

7 7

9 10 11 12 13 14 15 16 17 18 19 20 8 9 10 11 12 13 14 15 16 17 18 19

BOX

6 7 8

BOX

9 10 11

talls

BOX

3 4

BOX

L 1 2 3 4 K 1 2 3 4 J 1 2 3 4 I 1 2 3

Boxes D, E & F seat 4 each

STAGE

Circle

CIRCLE

Founders’ Circle

FOUNDERS’ CIRCLE

Stalls

STALLS

Rows A–B Rows A–B

Centre Centre

MainMain StallsStalls

Rows C–G Rows C–G

SideStalls Stalls Side

SideSide StallsStalls

Row H

Side Stalls

Boxes

44 | FESTIVAL 2016

Boxes

9 10 11 12 13 14 15 16 17 18 19 20 21 5 22 23 24 BOX L 6 18 1 13 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 K 7 19 2 12 13 11 14 10 14 9 16 8 15 7 17 18 19 20 21 22 5 6 23 24 J 8 20 3 15 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 I 4 16 12 13 11 10 14 9 16 15 9 7 8 17 18 19 20 21 21 3 4 5 6 22 23 24 2 BOX 17 H 1 H 5 10 22 11 12 13 14 15 16 17 18 19 20 21 4 5 6 7 8 9 10 22 23 24 6 18 G 1 2 3 25 G 11 23 12 13 14 15 16 17 18 19 20 7 19 4 5 6 7 8 9 10 11 21 22 23 12 24 F F 1 2 3 24 8 20 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 2 3 4 24 25 E AA AA 1 E 9 21 12 13 11 10 14 9 16 8 15 7 17 18 19 20 21 22 3 4 5 6 23 24 D 10 22 D 1 2 12 13 14 15 16 17 18 19 20 21 7 8 9 10 11 Boxes 22 23 24 11 3 4 5 6 23 25 C C 1 2 A, B & C 9 10 11 12 13 14 15 16 17 18 19 20 21 12 8 24 6 7 4 5 3 22 23 seat 4 2 24 1 B B each 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 3 4 5 6 23 24 25 A A 1 2

BOX

14 15

Side S

9 10 11

BOX

12 13 14 15 16 2 3 17 18 11 12 13 14 15 16 17 18 19 20 C 1 C 9 10 21 22 8 7 23 14 15 13 16 17 18 19 6 24 10 11 12 9 20 5 25 21 8 4 22 7 26 6 23 3 27 5 24 25 4 2 28 3 26 29 27 2 28 1 B

Side Sta

BOX

Boxes D, E & F seat 4 each

BOX

B A

BOX

WheelchairWheelchairaccessible Seat

accessible Seat

Boxes A, B & C seat 4 each

SEATING PLAN CLAYTON WHITES HOTEL

STAGE

60 59

SE C

57 56

49 52 51

52 51

47 48 50 49

44 46 45

43 46

39 38

37 36

13 14

H 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48

32 31

28 29 30 31 32 33 34 35 36 37 38 39 40 41 42

G 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45

E 26 27 28 29 30 31 32 33 34 35 36 37 38 39

9 9

12 13

15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

D 24 25 26 27 28 29 30 31 32 33 34 35 36

8 9

8 10 11

C SE

14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29

7 8

7 9

13 14 15 16 17 18 19 20 21 22 23 24 25 26 27

B 20 21 22 23 24 25 26 27 28 29 30 C 22 23 24 25 26 27 28 29 30 31 32 33

7 7

3 3

11 12 13 14 15 16 17 18 19 20 21 22 23 12 13 14 15 16 17 18 19 20 21 22 23 24 25

18 19 20 21 22 23 24 25 26 27

2 3

9 10 11 12 13 14 15 16 17 18 19 10 11 12 13 14 15 16 17 18 19 20 21

1 2

1 1

8 9 10 11 12 13 14 15 16 17

1 1

SECTION B

We are happy to announce that we have a new seating layout for our ShortWorks productions, being presented in Clayton Whites Hotel again this year.

SECTION C

We are re-orienting our stage onto the east side of the ballroom (facing Abbey Street) and all seats will now be no more than nine rows from the stage.

PHOTO BY PAULA MALONE CARTY

WEXFORDOPERA.COM | 45

Tickets – Friends’ Entitlements

Special Access Requirements

Priority booking for Friends opens on Saturday, 27 February 2016 at 9.30 a.m. and early booking is advised during this three-week advance booking period. Bookings can be made online at Wexfordopera.com, twenty-four hours a day (see ‘Book your Tickets’). As we cannot guarantee your first choice of events, we would ask Friends who are making a postal booking to indicate an alternative date on their booking form. Please remember to book before 19 March, when general booking opens.

The National Opera House is fully accessible for persons with restricted movement, both ambulant and wheelchair bound. There is convenient lift access to all public spaces. Provision has been made to accommodate up to fifteen wheelchair users and their companions in a variety of locations, each with sight lines as good as any on their respective levels. The wheelchair-accessible seating areas are indicated on the seating plan. To book these tickets you must contact the Box Office directly by telephone (+353 53 912 2144 / 1850 4 OPERA) or e-mail (boxoffice@wexfordopera.com).

Ensemble Friends are entitled to purchase up to six tickets per event, Aria Friends up to eight tickets per event, Bravura Friends up to ten tickets and Prelude Friends two tickets per event. Remember that each Friend is also entitled to an allocation of complimentary tickets to the Friends’ Parties, Lunches and Buffet (see relevant section). Additional tickets for the Lunches may be purchased at €20 each, for the Buffet at €30 each and for the Parties at €40 each. If you have opted to have your tickets posted, you will receive them a minimum of six weeks prior to the event. The postage and handling charge for posted tickets is €1.

If you are a wheelchair user and wish to attend Festival events in venues other than the National Opera House, please advise the Box Office at the time of booking so that we can ensure your visit is as enjoyable as possible.

Pricing Operas

€20 – €145

(depending on date and seat selection)

ShortWorks €25 (allocated seating, Clayton Whites Hotel)

Lunchtime Recitals

€15

Card transactions will incur a fee of €1.50 (per transaction).

Gala Concert

Refund/Return Policy – now exclusively for Friends

Dr Tom Walsh Lecture

€10

RTÉ Contempo Quartet

€15

Subject to availability, tickets may be exchanged for the same opera on an alternative date. The original ticket(s) must be with the Box Office no later than 9 October to qualify for an exchange or refund. No refunds can be given after 9 October due to pressure on the Box Office. Tickets can only be accepted for resale if the performance is sold out and the original ticket(s) must be with the Box Office before we can begin the resale process. If your ticket(s) is resold, you will be refunded, less a 15% administration fee. This facility is a Friends-only benefit. Tickets purchased by patrons who are not Friends cannot be exchanged or refunded. If a returned ticket is not re-sold, Wexford Festival Opera reserves the right to allocate the seat to a member of the Festival Company.

Barry Douglas Piano Recital

46 | FESTIVAL 2016

from €50 – €80

(depending on seat selection)

€25 & €30

(depending on seat selection)

Friends’ Lunches

€20

(in addition to the Friends’ complimentary ticket allocation)

Friends’ Buffet

€30

(in addition to the Friends’ complimentary ticket allocation)

Friends’ Parties

€40

(in addition to the Friends’ complimentary ticket allocation)

Please note The Management reserves the right to refuse admission and to change or cancel the advertised programme. Latecomers cannot be admitted once the performance has commenced. Please allow ample time for traffic and parking delays.

BOOKING FORM ✂

Name: Address:

Telephone (day):

Telephone (evening):

Mobile: E-mail:

The Operas

Date 1st Choice

Seat Preference*

Date 2nd Choice

Number of Tickets

Total Payable

Herculanum Vanessa Maria de Rudenz Alternative dates – tickets are subject to availability If your first choice date is unavailable, your second choice date will be used.

Subtotal

*Seat Preference Comments:

Other Events

Dates

Time

Number

Total

of Tickets

Payable

Il Campanello Riders to the Sea The Bear Lunchtime Recitals Daytime Events Package Gala Concert RTÉ Contempo Quartet Barry Douglas Piano Recital Dr Tom Walsh Lecture Friends’ Parties/Lunches/ Buffet Subtotal

WEXFORDOPERA.COM | 47

Total Payable

Any donations to the Festival will be gratefully accepted and acknowledged

If you wish your tickets to be posted, please add a postage and handling fee of ¤1

TOTAL Total from the Operas, Events and Donation (and postage, if applicable)

Payment Method Cheque enclosed

Credit/Debit Card* – Please fill in card details below Expiry Date

Account Number

CVV** Visa Credit

Visa Debit

MasterCard Credit

MasterCard Debit **The CVV is the 3 digit security number on the signature strip on the back of your card.

*please note we do not accept American Express Card transactions will incur a fee of ¤1.50 (per transaction)

Name on card (BLOCK CAPITALS)

Signature on card Tick here if you do not wish to join our mailing list

BOX OFFICE USE ONLY Date Received

Order Number

Signed

Date Processed

48 | FESTIVAL 2016

✂

Voluntary Donation

DISCOVER THE REPERTOIRE The Discover the Repertoire CD is an introduction to the 2016 Wexford Festival Opera programme and provides background information on the composers and operas in the 2016 season.

1 Maria de Rudenz by kind

permission of Opera Rara. To find out more and to order a free catalogue contact Opera Rara at info@opera-rara.com

This introductory CD includes commentary by Ian Fox and excerpts from the three main stage operas. We hope that it will enhance your enjoyment of this year’s Festival.

foam stud

2 Vanessa by kind

permission of Naxos

3 Herculanum by kind

permission of Palazetto Bru Zane

2016 Discover the Repertoire 65th Festival | 26 October – 6 November, 2016

The National Opera House High Street, Wexford, Y35 FEP3, Ireland Tel: +353 53 912 2400 Box Office: +353 53 912 2144 Callsave: 1850 4 OPERA boxoffice@wexfordopera.com Wexfordopera.com

patron

Michael D Higgins, President of Ireland

resident Sir David Davies p hairman Ger Lawlor c artistic director David Agler hief executive David McLoughlin c

Design Miles Linklater, 24pt Helvetica | Contributing Editor John Allison

Join the Conversation #WFO2016

WEXFORDOPERA.COM | 4