Season Brochure 2016 by Wexford Festival Opera

2016 Season Brochure

Wexfordopera.com

65th Festival

26 October â&#x20AC;&#x201C; 6 November 2016

FUNDERS AND SPONSORS Principal Funder

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Corporate Sponsors

Official Festival Car

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Community & Education Partners

Accommodation Partners

Preferred Hotel Partner

Hospitality and Media Partners

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ARTISTIC DIRECTOR’S WELCOME Greetings. If you have never attended a performance in Ireland’s National Opera House, please consider this brochure to be your invitation to the 2016 Wexford Festival Opera. If you are a Festival regular, I hope you will be excited by what is on offer in the 2016 Festival season. Every October Wexford comes alive with musicians and creative artists from many countries. Wexford is rich in creativity: in music performance and composition, theatrical production, art and literature. All these life-enhancing gifts come together in opera. Created by Dr Tom Walsh with the people of Wexford in 1951, the Festival retains a deep connection with the community. It attracts internationally renowned singers, as well as some of the best young vocalists destined for wonderful careers, conductors, directors and designers. In Wexford we explore less-frequented areas of the operatic repertory, so our focus is on reviving and rehabilitating operas that have not received the exposure they richly deserve. Many of Wexford’s re-discoveries have gone on to become part of the standard opera repertory.

In the National Opera House this year, we will be presenting three operatic rarities of unique dramatic interest. Herculanum by Félicien David: A story of forbidden love between Pagan royalty and Christian slaves, culminating in the destructive eruption of Mount Vesuvius. Vanessa by Samuel Barber: Not wanting to acknowledge the many years that have passed since her former lover’s departure, Vanessa waits with tense anticipation for his return. But the man that appears is not who she thinks. Maria de Rudenz by Gaetano Donizetti: Not even after her own apparent murder can a wife seeking revenge be stopped. Her unfaithful and absent husband and his new intended bride will be her victims. You will find the many other unique events on offer at this year’s Festival described within these pages. We’re also very excited to announced that our 2017 Festival will return to 18 days in length, running 19 October to 5 November, 2017. Welcome to Wexford. David Agler, Artistic Director

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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 JEAN-LUC TINGAUD – CONDUCTOR STEPHEN MEDCALF – DIRECTOR JAMIE VARTAN – SET & COSTUME DESIGNER CHRISTOPHER AKERLIND – LIGHTING DESIGNER

PRODUCTION SPONSOR

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 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. 29 OCTOBER PERFORMANCE SPONSOR

O’REILLY THEATRE | NATIONAL OPERA HOUSE | TICKETS €25 – €145* 26 OCTOBER – 8 P.M.

SOLD OUT

29 OCTOBER – 8 P.M.

Returns only – please contact box office

* See page 17 for further explanation of the main opera pricing

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1 NOVEMBER – 8 P.M.

4 NOVEMBER – 8 P.M.

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 – CONDUCTOR RODULA GAITANOU – DIRECTOR CORDELIA CHISHOLM – SET & COSTUME DESIGNER CHRISTOPHER AKERLIND – LIGHTING DESIGNER

PRODUCTION SPONSOR

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 singer-appeal, 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, 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 mezzo-soprano.) 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.

30 OCTOBER – 5 P.M.

2 NOVEMBER – 8 P.M.

5 NOVEMBER – 8 P.M.

LIMITED TICKETS AVAILABLE * See page 17 for further explanation of the main opera pricing BOOK ONLINE AT WEXFORDOPERA.COM |

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

A co-production with Minnesota Opera ANDREW GREENWOOD – CONDUCTOR FABIO CERESA – DIRECTOR GARY MCCANN – SET DESIGNER GIUSEPPE PALELLA – COSTUME DESIGNER CHRISTOPHER AKERLIND – LIGHTING DESIGNER

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, Matilde 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 Matilde and Corrado, Maria appears and reveals Corrado’s secret, murders Matilde 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 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 28 OCTOBER PERFORMANCE SPONSOR

O’REILLY THEATRE | NATIONAL OPERA HOUSE | TICKETS €25 – €145* 28 OCTOBER – 8 P.M.

SOLD OUT

31 OCTOBER – 8 P.M.

Returns only – please contact box office

* See page 17 for further explanation of the main opera pricing

3 NOVEMBER – 8 P.M.

| WEXFORD FESTIVAL OPERA 2016

6 NOVEMBER – 5 P.M.

S H O RT WO R K

IL CAMPANELLO (The Night Bell)

GAETANO DONIZETTI OPERA BUFFA 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.

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 baritonebass 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.

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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 opera-house 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 28 OCTOBER: 3.30 P.M.

31 OCTOBER: 3.30 P.M.

| WEXFORD FESTIVAL OPERA 2016

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.

BOOK ONLINE AT WEXFORDOPERA.COM |

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

| WEXFORD FESTIVAL OPERA 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 included 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. 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!

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

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. His many books include acclaimed works on Venice, Byzantium, Mount Athos, Glyndebourne, the Normans, the Popes, Shakespeare and architecture. 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. Tea and coffee will be served after the Lecture.

Kindly supported by Victoria Walsh-Hamer

PHOTO BY JONATHAN HIMOFF

LUNCHTIME RECITALS

ST IBERIUS CHURCH

28, 29 OCT / 1, 2, 3, 4, 5 NOV – 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. SOLD OUT

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.

Returns only – please contact box office

GALA CONCERT

GALA CONCERT SPONSOR

O’REILLY THEATRE | NATIONAL OPERA HOUSE 30 OCTOBER, 9 P.M. – TICKETS €50 – €80 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 SOLD OUT

donate their time and talent for the Gala Concert, and all proceeds go toward supporting Wexford Festival Opera.

Returns only – please contact box office BOOK ONLINE AT WEXFORDOPERA.COM |

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 TICKETS SELLING FAST

| WEXFORD FESTIVAL OPERA 2016

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 (D 899) Brahms: Klavierstücke Op 76 Schubert : Piano Sonata in A Major (D959)

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

CHORAL CONCERT

O’REILLY THEATRE | NATIONAL OPERA HOUSE 5 NOVEMBER, 11 A.M. – TICKETS €25 Membra Jesu Nostri (The Limbs of Jesus) Dietrich Buxtehude (1637–1707) Members of the Wexford Festival Chorus and Orchestra Errol Girdlestone, Conductor Buxtehude’s Membra Jesu Nostri (The Limbs of Jesus) is an intensely personal composition, consisting of seven symmetrically constructed cantatas. Each describes Christ’s

agony on the Cross through a different part of His body – the feet, knees, hands, side, breast, heart, and face – in a manner which, although symbolic, manages in places to be disconcertingly graphic. The management of contrasting textures and timbres, both vocal and instrumental, is masterly, and not one bar of the score is anything short of miraculous.

BOOK ONLINE AT WEXFORDOPERA.COM |

PHOTO BY JONATHAN HIMOFF

CHAMBER CHOIR IRELAND & THE CHATHAM SAXOPHONE QUARTET VENUE TO BE CONFIRMED

31 OCTOBER – 1.30 P.M. | TICKETS €20 Chamber Choir Ireland is the country’s flagship choral ensemble and national chamber choir under the internationally celebrated and multi-award-winning choral conductor Paul Hillier as Artistic Director. The Choir is known for its unique approach to programming and has gained a reputation for the high artistic quality of its performances. The Choir remains a thriving force on a very active choral scene both at home and abroad.

| WEXFORD FESTIVAL OPERA 2016

Established in 2008 at the DIT Conservatory of Music, the multi-prizewinning Chatham Saxophone Quartet has quickly established a reputation for excellence and versatility, working across contemporary classical and jazz genres, regularly performing nationally and featuring in live broadcasts on Lyric FM, RTÉ Radio and TV. With a particular attention to transcribing string quartet repertoire for saxophone quartet they have worked closely with the RTÉ Vanbrugh Quartet and were Apprentice Ensemble to the acclaimed ConTempo String Quartet in 2011/12 as part of the Galway Music Residency.

PHOTO BY PAULA MALONE CARTY

TANGO CONCERT

CLAYTON WHITES HOTEL

4 NOVEMBER, 11.30 P.M. | TICKETS â&#x201A;Ź20 Fionnuala Hunt (Violin), Andrew Synnott (Piano), Joe Csibi (Bass), Noel Eccles (Percussion) and guest Dermot Dunne (Accordion). Tango music, with its sensuous rhythms and beguiling beat, is one of the most distinctive and recognisable music forms of the twentieth century. As an art form, it developed and flourished in the bordellos and back streets of Buenos Aires but has long since graduated from there to take its acclaimed place on the concert platforms of the world.

The Grand Tango Quartet returns to the Festival to perform the music of the great Argentinian Tango composer, Astor Piazzolla. His music is characterised by gritty Tango rhythms, angular melodic figures and lyrical solos. The quartet will be joined by Dermot Dunne in a performance of the renowned Angel Suite, which was written in the 1960s and traces a journey through optimism to death and finally resurrection.

TICKETS SELLING FAST

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PHOTO: ROGER KENNY

BECOME A FRIEND OF WEXFORD FESTIVAL OPERA

And stay close to the heart of the drama Wexford Festival Opera’s raison d’être is to breathe new life into Hidden Gems of the Operatic Repertoire. This is only made possible with the generous support of our closest Friends.

Each Friends’ level* provides support directly for an important artistic element of the Festival:

As a special thank you, we have designed a range of exclusive benefits to enhance your experience during the Festival and throughout the year.

• Aria Friends provide funds and nominate a young singer for the ‘Aria Friends Artist Bursary’

• Ensemble Friends provide wonderful support for the Wexford Festival Opera Chorus

We provide our Friends:

• Bravura Friends are philanthropic benefactors for one mainstage opera production each year

• Advance Priority Booking for the best seats and performances

We also provide a way for young opera enthusiasts to experience the wonderful ambiance of the Festival:

• Complimentary tickets to Friends’ Parties, Lunches, and Buffet during the Festival

• Prelude Friends (Under 35s, €80) This is a great way to experience the atmosphere of the Festival and the mainstage operas at a very affordable level

• An opportunity to purchase additional tickets for Friends’ events • Invitations to the Friends’ Recitals and ‘In Conversation’ events held in Dublin, London, and continental Europe • An option to join our annual European opera trip • Exclusive access – during the Festival – to: – The Friends’ Lounge in the National Opera House – Welcome Receptions held during the Festival • A Programme Book, Loyalty Card, Newsletter, CD, and lapel pin

For those wishing to support Ireland’s National Opera House we offer a seat endowment programme: • Teatro Friends receive a seat endowed in a name of your choice in the O’Reilly Theatre at the National Opera House coupled with all the benefits of an Ensemble membership For further information about our Friends’ Programme contact Anne-Marie O’Brien, Friends Assistant, on +353 53 916 3525 or by email: friends@wexfordopera.com. Visit Wexfordopera.com/friends

• Regular news updates 14

*Membership levels and benefits are relevant to our 2016 season. | WEXFORD FESTIVAL OPERA 2016

The story of Rubens and robberies in one of Ireland’s great houses.

Russborough House, Co. Wicklow.

From the beautiful galleries of Russborough House, to the tragic past of Wicklow Gaol, to the follies of Belvedere House and Gardens, you’ll ﬁnd hundreds of stories in Ireland’s Ancient East.

GREAT STORIES STAY WITH YOU FOREVER

Find yours at IrelandsAncientEast.com BOOK ONLINE AT WEXFORDOPERA.COM |

BOOK YOUR SEATS BOOK ONLINE Wexfordopera.com BY PHONE +353 53 912 2144 or 1850 4 OPERA PAYMENT Payment may be made by credit or debit card or cheque. Cash payments may only be made in person.

Post If you choose to have your tickets posted to you, they will arrive at least six weeks before the event. A fee of €1.00 to post.

Ticket Collection If you choose to collect your tickets for events outside of the National Opera House, they may be collected from the Box Office up to two hours before the performance.

Booking Fees A booking fee of €1.50 per transaction applies to all credit and debit card transactions.

Exclusive Offers Receive exclusive Festival offers and updates by joining our mailing list online at Wexfordopera.com/media/subscribeto-our-newsletter and by following us on Facebook and Twitter.

Don’t be late

IN PERSON

Please arrive at the venue at least thirty minutes before the performance and allow ample time for traffic and parking delays. Latecomers cannot be admitted once the performance has commenced.

Festival Box Office, The National Opera House, High Street, Wexford

Group Bookings

Box Office opening hours

• to 22 October: Monday–Saturday, 9.30 a.m. – 5.30 p.m. • 23–25 October: 9 a.m. – 8 p.m. • 26 October–5 November: 9 a.m. – 8.30 p.m. • 30 October: 9 a.m. – 9.30 p.m. • 6 November: 9 a.m. – 5.30 p.m.

If there are eight or more people in your group, please contact Box Office management about group discounts: e-mail boxoffice@wexfordopera.com or phone +353 53 912 2144.

Refunds Wexford Festival Opera has a ‘no refund’ and ‘no exchange’ policy on all tickets purchased. Friends of Wexford Festival Opera who book tickets during the Friends’ Priority Booking period have a limited exchange and refund facility.

Special Access Requirements For information on our special access requirements, visit Wexfordopera.com/programme/how-to-book/.

Please Note The Management reserves the right to refuse admission and to change or cancel the advertised programme or artists.

Dress Code In keeping with Wexford Festival Opera tradition, evening dress is strongly recommended for the evening opera performances. 16

| WEXFORD FESTIVAL OPERA 2016

PHOTO © CLIVE BARDA/ARENAPAL

SEATING PLANS & PRICING

O’REILLY THEATRE, THE NATIONAL OPERA HOUSE 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

€90

€120

€60

 Circle Side Stalls

I 12–18, J 1–7 I 19–22, J 8–11

€50 €35

€60 €60

 Circle 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

 Founders’ 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

**Restricted view, prices per seat

BOOK ONLINE AT WEXFORDOPERA.COM |

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 1 12 21 G 13 14 15 16 G 9 10 11 17 18 6 7 8 5 19 20 4 2 3 21 10 11 12 13 14 15 16 17 22 F F 1 7 8 9 18 19 5 6 20 21 3 4 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 12 13 14 15 16 17 23 2 8 9 10 11 18 19 24 D 7 1 6 D 20 21 4 5 22 3 12 13 14 15 16 17 18 19 20 21 23 2 10 11 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 1 29 A

I 12

BOX

18 19 20

B A

15 16

BOX

4 5

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

7 8

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

BOX

4 3

6 7

3 4

talls

O N 1 M

Side S

13 14

alls

BOX

9 10 11

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

Side St

21 22

BOX

Boxes D, E & F seat 4 each

BOX

B A

BOX

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

Boxes A, B & C seat 4 each

STAGE

CIRCLE Circle Rows A–B Rows A–B Rows C–G Rows C–G Row H Row H Side Stalls Side Stalls Boxes Boxes

FOUNDERS’ CIRCLE Founders’ Circle Centre Centre Side Stalls Side Stalls Boxes Boxes

STALLS Stalls Main Stalls Main Stalls Side Stalls Side Stalls WheelchairWheelchair accessible Seat accessible Seat

CLAYTON WHITES HOTEL STAGE

8 5

7 4

6 3

5 2

107

9 6

118

129

6 A8 A 8 5 N N O7 O TI TI C 6 C SE5 SE

13 14 15 11 14 15 16 17 12 13 15 16 17 18 19 13 14 15

14 10 16 12 18 14 20 16 22 18 24 20

15 11 17 13 19 15 21 17 23 19 25 21

16 12 18 14 20 16 22 18 24 20 26 22

17 13 19 15 21 17 23 19 25 21 27 23

18 14 20 16 22 18 24 20 26 22 28 24

19 15 21 17 23 19 25 21 27 23 29 25

20 16 22 18 24 20 26 22 28 24 30 26

21 17 23 19 25 21 27 23 29 25 31 27

14 15 16 17 18 19 20SECTION 21 22 23 B24 25 26 27 28 29

SECTION B

| WEXFORD FESTIVAL OPERA 2016

B 20 21 22 23 24 25 26 27 28 29 30 C A D B E C F D G E H F

22 18 24 20 26 22 28 24 30 26 32 28

23 19 25 21 27 23 29 25 31 27 33 29

24 20 26 22 28 24 30 26 32 28 34 30

25 21 27 23 29 25 31 27 33 29 35 31

26 22 28 24 30 26 32 28 34 30 36 32

27 23 29 25 31 27 33 29 35 31 37 33

28 24 30 26 32 28 34 30 36 32 38 34

29 30 31 25 26 27 31 32 33 27 28 29 33 34 35 29 30 31 35 36 37 31 32 33 37 38 39 33 34 35 39 40 41 35 36 37

32 33

5 2

12 13

13 9 15 11 17 13 19 15 21 17 23 19

18 19 20 21 22 23 24 25 26 27

34 30 36 32 38 34 40 36 42 38

35 36

5 2

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

8 9 10 11 12 13 14 15 16 17

37 33 39 35 41 37 43 39

38 39

40 41 42 36 42 43 44 45 38 39 44 45 46 47 48 40 41 42

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

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

28 29 29 3031 30 3 34 31 2 31 33 33 32 32 35 3 345 34 37 37 33 33 36 3 356 35 38 38 34 34 37 3 40 4 367 36 390 3 389 38 41 4 401 4 37 37 43 4 390 39 423 42 38 38 44 44 41 41 4 4 43 4 46 4 0 4 0 423 456 4 445 4 412 41 47 4 434 4 467 4 49 4 423 42 456 4 48 9 4 445 44 478 4 50 5 467 46 49 52 52 49 0 45 45 48 4 51 5 478 47 50 53 53 50 1 46 46 49 49 52 52 4 4 54 5 51 8 5 8 5051 53 4 5 490 49 52 3 5 55 5 54 5 5 512 51 50 50 53 4 5 56 5 523 52 55 6 5 54 57 57 54 5 53 53 56 5 55 58 58 55 6 54 54 57 57 5 5 59 S 5 6 5 6 SE 58 9 57 8 57 60EC 6 C 59 0 5 TI 58 9 58 6T1 IO O 6061 60 N 62N 62 61 61 D 6D3 63 62 62 64 64 65 65 66 66

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

STAGE

6 8 6 8 5 7 5 7 9 9 4 6 4 6 8 8 3 5 3 5 107 10 7 2 4 2 4 9 1 9 1 6 6 1 1 1 3 1 3 8 8 5 5 107 10 2 2 7 129 12 41 4 9 1 6 6 118 11 3 3 8 13 13 0 5 5 107 2 2 7 2 1 2 1 1 41 4 9 9 1 141 14 6 6 1 1 1 3 3 8 8 130 13 5 5 107 152 15 2 2 7 2 1 1 1 41 4 96 1 141 14 6 1 9 1 1 3 3 8 13 13 10 12 11 10 2

1 1

GREAT PLACES TO STAY

Ferrycarrig Hotel

Clayton Whites Hotel

Talbot Hotel Wexford

Kellyâ&#x20AC;&#x2122;s Resort Hotel

Talbot Suites at Stonebridge

Artramon House

Monart

Marlfield House Hotel

Newbay Country House

Riverbank Hotel

Maldron House Hotel

Killiane Castle Country House & Farm

(Preferred Hotel)

(053) 912 0999 ferrycarrighotel.ie

(053) 912 2566 talbotsuites.ie

(053) 914 6590 newbayhousehotel.com

Rathaspeck Manor (053) 914 1672 rathaspeckmanor.ie

(053) 912 2311 claytonwhiteshotel.com

(053) 915 9395 artramon-farm.com

(053) 912 3611 riverbankhousehotel.com

Moyglare

(053) 915 8618 moyglarelodge.com

(053) 912 2566 talbotwexford.ie

(053) 923 8999 monart.ie

(053) 913 2114 kellys.ie

(053) 942 1124 marlfieldhouse.com

(053) 917 2000 maldronhotelwexford.com

Whitford House Hotel (053) 914 3444 whitfordhotelwexford.ie

(053) 915 8885 killianecastle.com

Rosegarland Estate

(087) 247 8317 rosegarlandestate.com

BOOK ONLINE AT WEXFORDOPERA.COM |

GREAT PLACES TO EAT

Greenacres

(053) 912 2975 greenacres.ie

Thomas Moore Tavern

(053) 917 4688 thomasmooretavern.com

Terrace Restaurant, Clayton Whites Hotel

Reeds Restaurant, Ferrycarrig Hotel

(053) 917 4209 claytonwhiteshotel.com

(053) 912 0999 ferrycarrighotel.ie

Oyster Lane Restaurant, Talbot Hotel Wexford

La Marine Bistro, Kelly’s Resort Hotel

The Duck Restaurant, Marlfield House Hotel

The Restaurant at Monart

Westgate Design

Cístín Eile

Simon Lambert & Sons

The Lobster Pot

The Yard

The Red Kettle

The Holy Grail

Newbay Country House

(053) 912 2566 talbotwexford.ie/Oyster-LaneRestaurant.html

(053) 912 3787 westgatedesign.ie

(053) 914 4083 theyard.ie

(053) 913 2114 kellys.ie/la-marine-bistro.html

(053) 912 1616

(085) 249 7340

| WEXFORD FESTIVAL OPERA 2016

(053) 942 1124 marlfieldhouse.com

(053) 918 0041 simonlambertandsons.ie

(053) 914 4100 theholygrailwexford.com

(053) 923 8999 monart.ie/dining

(053) 913 1110 lobsterpotwexford.com

(053) 914 6590 newbayhousehotel.com

GREAT PLACES TO VISIT

Wells House & Gardens (053) 918 6737 wellshouse.ie

Johnstown Castle (053) 918 4671 irishagrimuseum.ie

Irish National Heritage Park Wexford Lavender Farm (053) 912 0733 inhp.com

(087) 068 6774 wexfordlavenderfarm.com

Hook Lighthouse

(051) 397 055 facebook.com/HookLighthouse

Tintern Abbey

Dunbrody Famine Ship Experience & Restaurant (051) 425 239 dunbrody.com

JFK Memorial Park & Arboretum

(051) 562 650

(051) 388 171

GREAT PLACES TO SHOP

Diana Donnelly

Westgate Design

Charles Pierce Menswear

Corcorans Menswear

Shoestyle

Murphy’s Jewellers

Sherwood’s Pharmacy

Greenacres Fine Food Store

(053) 912 2175

(053) 912 4536 shoestyleinternational.com

(053) 912 3787 westgatedesign.ie

(053) 914 6077

(053) 912 2792 charlespiercemenswear.com

(053) 912 2875 mccabespharmacy.com

(053) 912 2687 corcoransmenswear.ie

(053) 912 2975 greenacres.ie

BOOK ONLINE AT WEXFORDOPERA.COM |

CULTUREFOX.IE

NEVER MISS OUT 22

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.

| WEXFORD FESTIVAL OPERA 2016

96-99fm, www.rte.ie/lyric

@rtelyricfm

They say that if you want to escape time, listen to music. That’s why we say that RTÉ lyric fm is where life sounds better. And it’s true. Across the day, lyric provides a unique escape. And in the evenings, lyric provides true specialisation in the musical arts, across trad and world music, jazz, experimental and opera. But we also go further. The RTÉ lyric fm Outreach scheme takes music into the classrooms, while our Composer in Residence scheme gives budding composers real and powerful development opportunities.

We support the arts. We live the arts.

Supporting the arts. Supporting Communities.

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’ Opening Night 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

12 noon Festival Mass, Church of the Immaculate Conception, Rowe Street

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

*Available to Friends only. See page 14 for details.

11 a.m. Il Campanello

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

1.30 p.m. Chamber Choir Ireland & Chatham Saxophone Quartet

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

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

11.30 p.m. Tango Concert WEDNESDAY 2 NOVEMBER

SATURDAY 5 NOVEMBER

1.05 p.m. Lunchtime Recital

3.30 p.m. Il Campanello

1.05 p.m. Lunchtime Recital

5.15 p.m. Friends’ Buffet*

3.30 p.m. Il Campanello

7 p.m. Pre-Opera Talk

8 p.m. Vanessa

11 a.m. Choral Concert

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*

*Available to Friends only. See page 14 for details.

BOOK ONLINE AT WEXFORDOPERA.COM |

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 president Sir David Davies chairman

Ger Lawlor David Agler David McLoughlin

artistic director chief executive

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

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