2012 Wexford Festival Programme Book by 24pt Helvetica

61st Wexford Festival Opera 2012

61st Season

24 Octoberâ&#x20AC;&#x201C;4 November, 2012

Festival Calendar

61st Wexford Festival Opera Wednesday 24 October – Sunday 4 November 2012

Please note that our programmes may be subject to change.

Wednesday 24 October

Thursday 25 October

Friday 26 October

Opening Ceremony on the Quay 20:00 L’ARLESIANA

15:30 19:00

William V Wallace Recital Pre-Opera Talk

20:00

LE ROI MALGRÉ LUI

11:00 13:05 14:30 15:30 19:00

Dr Tom Walsh Lecture Lunchtime Recital Film – Song of Summer A Dinner Engagement Pre-Opera Talk

20:00

A VILLAGE ROMEO AND JULIET

23:00

Late Night Concert

Saturday 27 October

Sunday 28 October

11:00 13:05 15:30 19:00 20:00

11:00 16:00

A Dinner Engagement Pre-Opera Talk

17:00 22:00

LE ROI MALGRÉ LUI

Morning Concert Lunchtime Recital The Magic Flute Pre-Opera Talk

L’ARLESIANA

GALA CONCERT

Monday 29 October (BANK HOLIDAY)

13:05 14:30 15:30 19:00

Lunchtime Recital Film – Song of Summer The Magic Flute Pre-Opera Talk

20:00

A VILLAGE ROMEO AND JULIET

Tuesday 30 October

Wednesday 31 October

Thursday 1 November

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

Lunchtime Recital The Magic Flute Pre-Opera Talk

13:05 15:30 19:00

Lunchtime Recital A Dinner Engagement Pre-Opera Talk

L’ARLESIANA

20:00

LE ROI MALGRÉ LUI

11:00 13:05 14:30 15:30 19:00

Morning Concert Lunchtime Recital Film – Song of Summer The Magic Flute Pre-Opera Talk

20:00

A VILLAGE ROMEO AND JULIET

Friday 2 November

Saturday 3 November

Sunday 4 November

11:00 13:05 15:30 19:00 20:00 23:00

William V Wallace Recital Lunchtime Recital The Magic Flute Pre-Opera Talk

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

Piano Recital Lunchtime Recital A Dinner Engagement Pre-Opera Talk

14:30 15:30 19:00

Film – Song of Summer Orchestra Concert Pre-Opera Talk

L’ARLESIANA

20:00

LE ROI MALGRÉ LUI

A VILLAGE ROMEO AND JULIET

Late Night Concert

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

PHOTO © PAT KENNY

Welcome to the 61st Wexford Festival Opera

PHOTO © CLIVE BARDA/ARENAPAL

Artistic Director’s Message

Orchestral Concert

Chairman’s Message

Artist Biographies

Wexford Festival Trust

Orchestra of Wexford Festival Opera

Sponsors & Funders

Chorus of Wexford Festival Opera

L’Arlesiana 26

Supporting Wexford Festival Opera

114

Le Roi malgré lui 36

Friends’ Membership

118

A Village Romeo and Juliet 44

Friends of the Festival

119

A Dinner Engagement

Seat Endowments

124

The Magic Flute

Thank You

128

Concerts, Recitals, Lectures 60

Repertoire by Year

129

William V Wallace Recital

Repertoire by Composer

131

Dr Tom Walsh Lecture

Artists 1951–2011

133

Lunchtime Recitals

Personnel 137

Nathalie at Night

Volunteers 139

Emmanuel Chabrier and his Inheritors

Peter Moores Foundation

141

Gala Concert

Wexford Festival Opera Tours

142

Delius and the American

Wexford Opera House Tours

142

Le Grand Tango

Index of Advertisers

160

Piano Recital

Festival Calendar

161 Welcome 1

2012 Operas L’ARLESIANA (1897)

Francesco Cilèa (1866–1950) 24, 27, 30 October, 2 November / 20:00 Lyric drama in three acts to a libretto by Leopoldo Marenco after Alphonse Daudet First performed on 27 November 1897 at the Teatro Lirico di Milano, Milan Sung in Italian

LE ROI MALGRÉ LUI (1887)

Emmanuel Chabrier (1841–1894) 25, 31 October, 3 November / 20:00 28 October / 17:00

Opéra comique in three acts to a libretto by Emile de Najac and Paul Burani, revised by Jean Richepin, after A. and M. Ancelot First performed on 18 May 1887 at the Opéra-Comique, Paris Sung in French

A VILLAGE ROMEO AND JULIET (1907) Frederick Delius (1862–1934) 26, 29 October, 1, 4 November / 20:00

Lyric drama in six scenes to a libretto in English by the composer and Jelka Delius, after Gottfried Keller’s short story Romeo und Julia auf dem Dorfe First performed on 21 February 1907 at the Komische Oper, Berlin Sung in English

On the cover: Le Jardin de Paradis, photo collage by Miles Linklater

2 2012 Operas

Artistic Director’s Message On 16 October 2008 the curtain rose on Rimsky-Korsakov’s Snegurochka, the first performance in the newly-built Wexford Opera House. It hardly seems possible that this autumn marks the fifth anniversary of that very happy occasion. I well remember the pleasure and amazement on the faces of the audience that evening. No amount of prodding by the Festival’s expert front of house team could manage to seat the public to enable the performance to begin on time. As the Festival’s Artistic Director I can say that the new Opera House has been a marvellous opportunity to perform operas we could not possibly consider staging in the Theatre Royal. My colleagues and I constantly challenge each another so that we may present to you operas which fully exploit the excellent technical resources of the Opera House. Although five years have now passed it is never too late to remember the determination of the Festival leaders and to express our gratitude for the generosity of donors that brought to fruition a new theatre for Wexford Festival. Wexford Festival Opera continues to perform operatic rarities to the highest standards of which we are capable. This is not possible without the generous support of the Arts Council and of our sponsors, who appreciate the lifeenhancing value of music and drama, which opera so gloriously combines. This year I would like to express my deep gratitude to the Delius Trust for their magnificent contribution, which has enabled us to present Delius’s opera A Village Romeo and Juliet as part of the celebrations of the life and work of Frederick Delius who was born 150 years ago. Elsewhere in this programme book you will find a tribute to the work of the Peter Moores Foundation. I would like to thank Sir Peter and his Foundation for their generosity to this Festival over the years, and for their evangelical advocacy of the neglected operatic repertoire that Wexford champions and so triumphantly restores to life. I wish you a most happy Festival. David Agler

Artistic Director’s Message 3

PHOTO © GER LAWLOR

Chairman’s Message One of the greatest pleasures of my role is welcoming visitors at the door of Wexford Opera House each evening during the Festival. Some come to hear an unjustly neglected opera resurrected from the archives, bypassed unfairly in a world that seeks the familiar. Others travel in the hope of hearing a promising young singer on the brink of an international career. Regardless of the reason for your trip to Wexford, I encourage you to immerse yourself in our town and our Festival – celebrate, engage, enjoy, connect with us and take home newly-forged memories of what Wexford Festival Opera really means to you. The continued success of our Festival cannot be taken for granted and I thank everyone who makes it happen, particularly the large corps of volunteers who, once again, turn out to support visiting artists and patrons alike. This is the third and final Festival of my term as Chairman and I thank those who encouraged, helped and supported me in the fulfilment of the role. Ger Lawlor will take the helm in January 2013 and I wish him every success in further developing Wexford Festival Opera.

‘Great music is that which penetrates the ear with facility and leaves the memory with difficulty. Magical music never leaves the memory.’

The challenge to any arts organisation is ensuring sufficient funding of its artistic ambition. I am delighted to say that during – Sir Thomas Beecham (1879–1961), the past few economicallyConductor difficult years we have structured our organisation so that it is financially stable. This means that any new funding enhances our art directly. You can be part of exciting artistic developments by joining our President’s Circle, sponsoring an Artist or becoming a Friend. You can find more details on pages 114–118. Because of the belief of those who answered our appeal for support in the past year, and the confidence that this gives us, we can plan the artistic programmes for future festivals with confidence. If you are a regular visitor you will know how proud we are of our Festival and the delight we take in welcoming you into our midst once again. To the first time visitor, let us take you by the hand on your voyage of discovery through our celebration of opera. So, do say ‘hello’ at the door of Wexford Opera House and enjoy the 61st Wexford Festival Opera.

Peter Scallan

4 Chairman’s Message

Wexford Festival Trust

PHOTO BY PAT KENNY

Patron

The President of Ireland, His Excellency, Michael D. Higgins

President

Sir Anthony O’Reilly

Wexford Festival Foundation

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

Wexford Festival Trust (UK) Ltd

Chairman Peter Scallan

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

Chairman Elect

Council

Ger Lawlor

Artistic Director David Agler

Chief Executive David McLoughlin

Board of Directors

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

Contact Details

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

Rita Doyle (Chair), Sir David Davies, Ian Fox, Nicky Furlong, Cyril Nolan

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

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

Chairmen 1951 – 1955 1956 – 1961 1962 – 1966 1967 – 1970 1971 – 1976 1977 – 1979 1980 – 1985 1986 – 1991 1992 – 1997 1998 – 2003 2004 – 2009 2010 – 2012

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

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

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

Sponsors & Funders

6 Le Roi malgré lui

PHOTO © CLIVE BARDA/ARENAPAL

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

Grant-aided by the Arts Council

Festival supported by Fáilte Ireland

THE DELIUS TRUST Lead Production Sponsor L’Arlesiana

Print Media Sponsor & Production Sponsor Le Roi malgré lui

Production Sponsor A Village Romeo and Juliet

Preferred Hotel Partner

Proudly Supporting Le Roi malgré lui

Official IT & Communications Partner

Proudly Supporting Le Roi malgré lui

Sponsors of the Festival Dress Rehearsals

Italian Institute of Culture – Dublin Proudly Supporting L’Arlesiana

Sponsors of The Gala Concert

Education Partner

National Broadcast Media Partner

Youth Ticketing Sponsors

Sponsors of the Lunchtime Recitals

Community Partner

Official Airport Partner

Official Festival Partner

Exclusive Champagne Supplier

Restaurant Partner

Sponsors 7

We’ve squared away everything that’s going on everywhere in the year ahead. Have a quick scan and see for yourself.

Proud to support Wexford Festival Opera

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Proud to be part of the Wexford Community

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Enjoy the festival Best wishes to the 61st Wexford Festival Opera from AIB Wexford

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Carmen International Leisure & Arts

Presents

Opera’s most exciting adventure!

The Moscow State Opera

with International Star Soloists 13th - 17th March 2013

Sung in French with English surtitles Traditional production with traditional sets and costumes

Also featuring Ireland’s favourite soprano

Celine Byrne as Micaëla Tickets from Ticketmaster outlets nationwide Buy online: www.ticketmaster.ie Tel. 24 hrs: 0818 719 377 Group Bookings 10+ (no booking fee) Tel: 01 677 7770 Tickets from €35 to €120 Telephone & Internet bookings subject to 12.5% s/c per ticket (max €5.95)/Agents €2.00

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Wishing Wexford Festival Opera every success for 2012.

From Wexford Borough Council and Wexford County Council

THE DELIUS TRUST We are thrilled to support Wexford Festival Operaâ&#x20AC;&#x2122;s production of A Village Romeo and Juliet which marks the 150th anniversary of the birth of Frederick Delius

Recent sponsorship has included: Performances of Sea Drift in London and at the Three Choirs Festival A Mass of Life at the Edinburgh Festival Concert performances of A Village Romeo and Juliet and Fennimore and Gerda in London Concerts around the world including the USA, Russia, France and Italy An exhibition at the Royal Albert Hall during the Proms season Numerous other performances, symposia and publications marking this anniversary year In 1992, the Trust completed the publication of The Collected Edition of the Works of Frederick Delius edited by Sir Thomas Beecham, Dr Eric Fenby, Robert Threlfall and Norman Del Mar For availability see website Other publications include: A Catalogue of the Compositions of Frederick Delius and A Supplementary Catalogue by Robert Threlfall Delius: a Life in Letters by Lionel Carley Volume 1, 1862-1908/Volume 2, 1909-1934

Trustees: David Lloyd-Jones Hon. DMus. Martin William FSA Musicians Benevolent Fund (Representative: William Parker) Secretary: Helen Faulkner 7-11 Britannia Street, London WC1X 9JS Telephone: 020 7239 9143 Email: DeliusTrust@mbf.org.uk Website: www.delius.org.uk Registered Charity: 207324

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Exclusive champagne of

Using the finest selection of local and seasonal ingredients under the expertise of Head Chef Ryan Bell, formerly of Shanahans on the Green in Dublin, Thomas Moore Tavern is a culinary must during your stay in Wexford.

Traditional Pub | Stylish Bistro | Piano Bar | Rooftop Restaurant | Outdoor Terrace

THE SPIRES R E S TA U R A N T

THE BISTRO

THE BAR

• Open for Pre-Opera Dining from 5pm (closed Sunday October 28th)

• Set ‘Opera’ Lunch Served Daily 12pm – 4pm

• Traditional yet Contemporary Bar named after the Renowned Irish Poet ‘Thomas Moore’

• A Delicious 5 Course Fine Dining Menu Available

• Dinner available from 5pm -10pm (closed 8.30pm on Sundays)

• Blackboard Specials Served 12pm - 4pm

• Panoramic Views of Wexford Town

• Full À La Carte Menu Available from 5pm Pre-Opera 3 Course Set Menu €25

• Wide Range of Premium Beers, Spirits and Liqueurs

• Post-Opera Platters €12.95pps Served from 10pm-11.30pm

• Piano Bar located on 2nd floor Ideal for Private Parties (capacity 70)

• Available for private bookings • Seats 46

• Live Entertainment Venue

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Thomas Moore Tavern is conveniently located 2mins from the Wexford Opera House, and is proud to be an official Restaurant Partner of Wexford Festival Opera.

Wexford Festival Opera October 24th – November 4th 2012 Fringe Events

• Art & Craft Exhibitions throughout the Opera Festival • Singing & Swinging Pubs in our Library Bar & at Central Station • Live Music / Jazz Nightly in our Hotel Lobby

Wine & Dine

• Homemade Treats available in the Coffee Dock • Festival Specials & Carvery Lunch in the Library Bar • Full A la Carte Menu available for Pre Opera Dinner • Post Opera Supper in the Terrace Restaurant • Post Opera Snack Buffet in the Coffee Dock with live Jazz music • Post Opera Dinner for larger parties on request Champagne Bar Daily • Minutes walk from Wexford Opera House • Ample Car Parking

Abbey Street, Wexford, Ireland t: 053 912 2311

f: 053 914 5000

w: www.whitesofwexford.ie e: events@whitesofwexford.ie

Special thanks to our Production Sponsor

Wednesday 24 October | Saturday 27 October | Tuesday 30 October | Friday 2 November All performances begin at 20:00 The performance will last approximately 2 hours and 50 minutes. There will be 30-minute intervals after Acts 1 and 2. A short introductory talk will take place in the Jerome Hynes Theatre one hour prior to the performance with the exception of opening night. Speaker: Roberto Recchia

By arrangement with Schott Music Limited on behalf of Casa Musicale Sonzogno, Milan

(1937)

L’ARLESIANA (1897) First performed on 27 November 1897 at the Teatro Lirico, Milan Sung in Italian

Opera in three acts to a libretto by Leopoldo Marenco after Alphonse Daudet

Francesco Cilèa (1866–1950)

Conductor Director Assistant Director Set Designer

David Angus Rosetta Cucchi Stefania Panighini Sarah Bacon

Costume Designer

Claudia Pernigotti

Lighting Designer

Simon Corder

Stage Manager Répétiteurs Surtitles

Aisling Fitzgerald Carmen Santoro, Dana Sadava Giuliano Scalisi

Rosa Mamai

Annunziata Vestri

Federico

Dmitry Golovnin

Vivetta

Mariangela Sicilia

Baldassarre

Christopher Robertson

Metifio Marco L’innocente Dancers

Quentin Hayes Andrew Greenan Eleanor Greenwood Orla Shine, Ryan O’Neill

Chorus of Wexford Festival Opera Chorus Master

Gavin Carr

Photo Collage: Miles Linklater

Orchestra of Wexford Festival Opera Leader Thérèse Timoney

L’Arlesiana 27 L’Arlesiana 27

Choruswoman

Chorusmen

Federico

Metifio

Marco

Vivetta Costume designs by Claudia Pernigotti

28 Lâ&#x20AC;&#x2122;Arlesiana

Synopsis Act One

Act Three

The shepherd, Baldassarre, tells a story to l’innocente, the retarded young son of Rosa Mamai, about a little goat fighting with a hungry wolf all night long, until the goat collapses and dies at daybreak. Rosa Mamai is worried about her older son Federico who is madly in love with a woman from Arles, so she asks her brother, Marco, to find out about her.

Federico now thinks only of Vivetta and preparations for their wedding are underway. Metifio reveals his plans to kidnap l’Arlesiana but is overheard by Federico. All Federico’s old jealousy returns as he thinks once more about l’Arlesiana, greatly to Vivetta’s distress. Baldassarre advises Metifio not to ruin his life for so unworthy a woman, and Federico tries to assault Metifio. They are separated by Baldassarre and Rosa, and when things have calmed down Rosa laments the trials of motherhood. Federico is half-delirious, repeating the last lines of the shepherd’s story about the goat fighting with the wolf all night and falling dead at daybreak. He pictures l’Arlesiana being carried away on Metifio’s horse and believes he hears her cries. Rosa runs to him as Federico heads for the hayloft. She tries to stop him, but he climbs up to the hayloft and jumps out of the window.

Rosa and Vivetta talk. Vivetta has always loved Federico and is hurt by his obsession with l’Arlesiana. Rosa sees l’innocente up on the edge of a high window in the barn, but Baldassarre pulls the child back. Rosa shudders at the thought of anyone falling from that height. Federico enters, so full of joy and in love with the beautiful woman from Arles that he has to convince his mother that she need not be jealous. Marco returns from Arles and assures Rosa that there can be no obstacle to Federico’s marriage plans, and Vivetta realises that her dream of a relationship with Federico is impossible. Metifio arrives and tells Rosa Mamai that the woman from Arles is a coquette, for she had loved him until her parents thought she would do better for herself by marrying Federico. He shows Federico letters that prove his assertions, which has a devastating effect upon Federico as he realises the faithlessness of l’Arlesiana.

Director’s Note | Rosetta Cucchi An insane passion for a mysterious woman who never appears in the opera, but Federico wants her desperately; he dreams of her, he suffers for her, and suddenly his mind starts to waver. The efforts of those around him to keep his mind clear are useless, and slowly his soul

Act Two

transforms a love story into a gloomy obsession. It is as

Federico has disappeared and Rosa and Vivetta search for him. Rosa suggests that Vivetta should overcome her shyness and behave more seductively with Federico in order to distract him from thoughts of l’Arlesiana. Federico is discovered and Baldassarre urges him to forget his unhappiness by getting on with his work. L’innocente falls asleep while repeating a line from the shepherd’s story about the goat, which leads into Federico’s lament (‘È la solita storia del pastore’).

conscious state, exercises an attraction he is powerless

Vivetta tries to follow Rosa’s advice to seduce Federico and tells him that she loves him, but Federico rejects her. Rosa consents to his marriage with l’Arlesiana, but now Federico vows that he will only give his name to a woman worthy of it. He still loves l’Arlesiana but asks Vivetta to help him forget about her.

them will be unable to help him. But are we absolutely

if the image of the beloved, perpetually suspended in the to defend himself against. The obsessive lover hears the song of his siren and insanely he follows the shadow, which gradually moves away, becoming a projection of his own follies. The audience follows Federico’s journey away from reality, glimpsed through a little black door at the beginning of each act, towards his imaginary ideal world. Lots of people orbit around this man: a powerful mother, a weak brother, a wise old man and others; all of sure that all is real?

L’Arlesiana 29

Cilèa’s Provençal femme fatale by Alexandra Wilson

She gazes out from countless paintings and drawings, sweet-faced and innocent in her traditional full-skirted dress, white neckerchief and cap. In nineteenth-century France, the Arlésienne was considered a living legend, regarded by Parisians as a captivating symbol of an idealised Provence that remained frozen in time. But as the century progressed – and industrialisation and modern fashions crept south – so the image of the archetypal ‘woman from Arles’ began to become corrupted. Those Arlésiennes who remained were increasingly enacting a fantasy for northern tourists, and contemporary commentators remarked with disappointment upon their tendency to inhabit sleazy bars. Cultural representations of the Arlésienne changed too. Van Gogh and Gauguin’s Arlésiennes are middleaged, angular, plain: the beautiful young girl of myth gone to seed. And by the turn of the twentieth century, the Arlésienne had even become a subject favoured by the manufacturers of cheap, vaguely risqué postcards. The Arlésienne that we encounter in Alphonse Daudet’s short story of that name (1869), which he adapted three years later as a play, is of this latter, ‘tainted’ type. Though still enticingly young and attractive – we assume – this Arlésienne has been another man’s mistress and her depiction was very much inspired by the then contemporary fascination with the figure of the femme fatale. But we have to imagine for ourselves her dangerous charms because she never actually appears on stage, either in Daudet’s play or in the 1897 opera inspired by it, by Francesco Cilèa and the librettist Leopoldo Marenco. Instead, she remains behind the scenes, a shadowy figure who drives an innocent youth simultaneously to distraction and to destruction, yet who remains disembodied and voiceless. L’Arlesiana, then, hardly fits the narrative norms of latenineteenth-century Italian opera. Not only is the object of the hero’s love absent but so too is her death, a convention of almost all tragic operas of this period, powerful in cathartic effect. Instead, the focus is placed firmly upon the tenor, the young country boy Federico, and it is he who, mad with love, is ultimately driven to suicide. Yet there are certainly echoes of other contemporary operas here. The motif of a naïve country boy led astray by a worldly-wise city girl evokes Carmen (1875), and Cilèa sets up a similar ‘Madonna-whore’

30 L’Arlesiana

dichotomy, with Federico’s aspiring bride, the chaste Vivetta, stepping into the shoes of Bizet’s Micaëla. (Cilèa was persuaded to expand the role of Vivetta in a later version of the opera to compensate for the lack of a conventional heroine.) Moreover, the archetypically close Mediterranean mother-son relationship looms large in both operas: whereas Don José’s mother is an invisible presence that hovers over Carmen, Federico’s mother, Rosa Mamai, features strongly in L’Arlesiana. Bizet, of course, knew the story of the Arlésienne well. Three years prior to the première of Carmen, he had written the incidental music for Daudet’s stage play, which he subsequently turned into two still regularly-performed orchestral suites, and Cilèa wrote of the intimidating presence of Bizet’s shadow. There are even more striking narrative connections between L’Arlesiana and Massenet’s Sapho (performed at Wexford in 2001), which was based upon another semi-autobiographical novel by Daudet that treats the subject of an inexperienced Provençal boy who falls for the charms of a Parisienne with a past. In a strange quirk of fate, the two operas received their premières on the very same night, 27 November 1897: Sapho at the Opéra-Comique in Paris and L’Arlesiana at the Teatro Lirico in Milan. The latter was a theatre owned by Cilèa’s publisher Edoardo Sonzogno, who used it as a showcase for the works of his growing stable of young Italian composers and for profitable French novelties. It is interesting that Cilèa should have chosen to compose an opera located in Provence at a time when many of his contemporaries had their sights set so firmly upon the poor regions of the Italian south. Sicily was the backdrop for Mascagni’s Cavalleria rusticana and Calabria for Leoncavallo’s Pagliacci, while Umberto Giordano’s La mala vita (literally ‘The Wretched Life’) – possibly the grimmest of all verismo operas – evokes the sordid world of Neapolitan prostitutes. Cilèa hailed from Palmi, Calabria, in the ‘toe’ of Italy and a short hop across the water from Sicily. The world being evoked by his contemporaries was thus perhaps rather too close to home. Moreover, there must surely have been a certain resonance for Cilèa in the themes and preoccupations of Daudet’s Provençal play, written at a moment in French history that witnessed an uprising of regionalism and a backlash against the impact of

The Little Arlesienne, Vincent van Gogh, 1890

Lâ&#x20AC;&#x2122;Arlesiana 31

modernisation on local traditions. Such a subject offered Cilèa the opportunity to reflect upon his own identity as a marginalised southern composer (many of his more successful Italian contemporaries hailed from the north), and also as an upholder of nineteenth-century musical styles determined to resist many of the modern fads that surrounded him. Indeed, Cilèa’s avoidance of setting an opera in the fashionable, poverty-stricken Italian south, in spite of his local knowledge, sent out a clear signal of his desire to distance himself from the excesses of verismo. As a young man, Cilèa flirted briefly with the movement after encouragement from Sonzogno, who initially believed himself to have discovered a second Mascagni. But after Cilèa’s early sensationalist opera Tilda failed to find success, he would increasingly turn his back upon melodrama, disdaining what he called the ‘violent and bloody’ libretti of so many contemporary works. L’Arlesiana, which lacks the crime of passion so central to the verismo aesthetic, offered Cilèa the opportunity to focus upon other types of love – the pure love of Vivetta and the maternal love of Rosa Mamai for her two very different sons. The rural setting and the typically bourgeois topic of how to make a good marriage lent themselves to a lyrical, pastoral style rather than verismo cries and shouts, and at the heart of the opera lie three notable arias: the shepherd Baldassarre’s ‘Come due tizzi accesi’ in the first act, Federico’s Lament in the second, and his mother’s ‘Esser madre è un inferno’ in the third. It is the lament, ‘È la solita storia del pastore’ – which Cilèa claimed had come to him spontaneously one tranquil night in Rome – that has taken on a life of its own. To a haunting, woodwind- and solo violindominated accompaniment, Federico sings of his desire to fall asleep, to disappear into an oblivion that will allow him to forget his fiancée in Arles, since he knows full well that family honour and bourgeois respectability will prevent him from ever following his heart’s desires. But the ‘fatal vision’ lingers on before him, impossible to erase from his mind. The impassioned aria remains a staple of the tenor repertory, having been recorded or sung in recital by many great singers including Tito Schipa, Beniamino Gigli, Mario del Monaco, Luciano Pavarotti, Placido Domingo, Jonas Kaufmann and others. It has also found its way into popular culture, being recorded by crossover singers such as Mario Lanza and even by rock star Michael Bolton. But the first tenor to sing the aria was the then twenty-four-year-old Enrico Caruso. Formerly a street singer, Caruso had made his operatic debut a few years earlier but it was L’Arlesiana that was to make his name. He would subsequently go

32 L’Arlesiana

on to create the role of the tenor lead Maurizio in Cilèa’s Adriana Lecouvreur before embarking upon a glittering career in London and then New York. Unlike Caruso, however, L’Arlesiana itself would not go on to achieve worldwide fame. Cilèa complained about the lack of support he had received from his publishing firm in promoting the opera, which had, he claimed, invested little in the production and assembled an inexperienced cast. He wrote to Edoardo Sonzogno, demanding ‘Do you really think that the Arlésienne and I can be happy with the way in which we have been treated?’ Sonzogno’s response, in spite of some favourable press reviews, was to cancel the production and insist Cilèa cut the opera down from four acts to three. Although Cilèa made the revisions without conviction, the second version, performed at the Teatro Lirico in the Autumn of 1898, also received glowing praise from contemporaries within the musical establishment whose opinion the composer held in high esteem. Franco Cartella, a composer and music critic, described the second act as ‘one of the best in the modern theatre’, while Annibale Ponchielli wrote to tell Cilèa that he preferred the opera by a long way to Massenet’s Sapho and Giordano’s Fedora (both recently performed for the first time in Italy), as well as to ‘many other operas that aren’t operas’. But Cilèa could not hope to compete with the likes of his contemporary Puccini, elevated to the status of heir to Verdi thanks to the powerful and unwavering backing of his publisher Ricordi, and L’Arlesiana soon faded from public view. Further extensive revisions were made for a reprise of the opera at the Teatro San Carlo in Naples in 1912 at the behest of the conductor Leopoldo Mugnone. These included the cutting of Rosa Mamai’s aria and the following scene with her second son, l’innocente – the most significant pages of the score, in Cilèa’s view. So disgusted was he by the result that he withdrew the opera altogether for the next two decades. Indeed, by this time he had given up operatic composition altogether. His 1902 opera Adriana Lecouvreur had found success in theatres all over Europe, North and South America and even in Egypt, and established a certain foothold in the repertory, but that good fortune was not to last. Cilèa’s next opera, Gloria (1907), was a Romeo and Juliet-esque work about feuding families in fourteenth-century Siena, ambitious in scale and forward-looking in its musical language. Like L’Arlesiana, this initially successful work was insufficiently promoted by the Sonzogno firm and soon forgotten, and other intriguing operatic projects, including an adaptation of Maeterlinck’s symbolist La Princesse Maleine, a Francesca da Rimini with

Memory of the Garden at Etten (Ladies of Arles), Vincent van Gogh, 1888 Gabriele D’Annunzio and an opera about the ruin of Pompeii, failed to come to fruition. Shy, sensitive and increasingly disillusioned with the world of opera and the lack of recognition his works had received, Cilèa accepted the Directorship of the Palermo Conservatoire in 1913 and soon afterwards that of his alma mater, the Naples Conservatoire, where he would remain until his retirement in 1935. Inspired by his former tutor Giuseppe Martucci, Cilèa would concentrate his efforts upon promoting instrumental and orchestral music both foreign and Italian to an audience still raised almost exclusively on opera. That was not the end of L’Arlesiana’s story, however. Around the time when Cilèa’s teaching career was coming to an end, there was a sudden burst of interest in his operas, with high-profile productions of Adriana Lecouvreur leading to revivals of his other works. L’Arlesiana made an unexpected return to the stage – and not just any stage: in April 1936 it was performed at La Scala with Tito Schipa in the main role. Cilèa’s beloved sister was seriously ill at the time and he was extremely reluctant to travel to Milan but did so at her encouragement, and he went on to witness his opera receive a further high-profile and well-received performance at the Teatro Reale dell’Opera in Rome

the following year. Cilèa continued to tweak the opera, which reached its final version, including the addition of a new prelude based on its principal themes, only in 1937. During the Second World War the opera began to attract interest in Germany with a production in Stuttgart in 1940, while the bombing of the Deutsches Opernhaus thwarted a planned staging in Berlin. Wartime political allegiances prevented L’Arlesiana from making its way any further west, however, and the work’s post-war performance history has once again been sporadic. Like the woman from Arles herself then, Cilèa’s opera remains something of an enigma to modern audiences. Perhaps the time is ripe for a full appreciation of its mixture of pastoral ambience and pent-up passion, and for a new airing of its lyric gems. Alexandra Wilson is Reader in Music at Oxford Brookes University, where she leads the MA programme and co-directs the OBERTO opera research unit. She is the author of two books: The Puccini Problem: Opera, Nationalism, and Modernity (Cambridge University Press, 2007) and Opera: A Beginner’s Guide (Oneworld, 2010).

L’Arlesiana 33

Who is L’Arlésienne? by Sylvia L’Écuyer

Located on the beautiful banks of the Rhône between Nîmes and Marseille, Arles is one of the oldest cities in France, dating from the period of Celtic civilisation. This 2,500-year-old city boasts remarkable monuments testifying to its glorious past and ageless elegance: an antique Roman theatre, arenas, the Alyscamps (or Champs-Élysées), the Roman circus and the sublime cloister of Saint-Trophime. Siding with Julius Caesar at the time of his power struggle with Pompey certainly helped the prosperity of the city, which later also benefitted from the exile of the papacy in nearby Avignon in the fourteenth century. The development of a very lucrative silk industry, which was at its peak in the early nineteenth century, helped to create the reputation for elegance and sophistication enjoyed by the beautiful women of the region, its mysterious and seductive Arlésiennes.

Nobel Prize for Literature in 1904. In 1930, to celebrate the centenary of his birth, Arles created a festival to elect the Reine d’Arles. A young woman would be chosen from among several candidates, all born in Arles from old Arlesian families, and would, during her reign, serve as the incarnation of Provençal culture, customs and language. Traditionally, she is crowned in the Roman theatre at the beginning of July. This ceremony is more than a beauty contest: the Queen of Arles is selected for her knowledge of the history, literature and traditions of the region. She has to speak the old langue d’oc fluently, and wear the elaborate traditional costume with poise. She has to be celibate and remain so for the three years of her reign. She must also be able to ride a horse side-saddle behind a guardian, one of the horsemen herding bulls and wild horses in the vast, swampy Camargue delta south of the city.

L’Arlésienne is also In 1869 – when Alphonse immortalised in van Daudet published Lettres Gogh’s portrait of de mon Moulin, his Marie Julien who ran charming collection the Café de la Gare in of short stories, which Arles, where van Gogh includes L’Arlésienne lodged from May to – Arles had become mid-September 1888. He the centre of Provençal painted six portraits of culture, a unique area her, one of which was where the old Provençal sold at auction in 2006 language and traditions Astrid Giraud, Queen of Arles. During her reign (2011–2014) for forty million dollars. survived, partly due she is guardian of the culture, customs and language of Provence. to the creation of Photo © Gilles Martin-Raget/www.martin-raget.com Elegant, mysterious, the Félibrige in 1854. a femme fatale; the This association was character of l’Arlésienne is at the heart of Daudet’s tragic dedicated to the conservation and promotion of the short story, as well as the three-act play he wrote three language (langue d’oc) and all aspects of Provençal years later, although she never appears in person in culture. One of the founders of the Félibrige was Frédéric either work. Since then, the term l’Arlésienne, has been Mistral, born in Maillanne, twenty kilometres from used in French literature and cinema to designate a Arles. Mistral was a linguist whose fame earned him the character essential to the action but never seen. 34 L’Arlesiana

L’Arlésienne: Madame Joseph-Michel Ginoux (née Marie Julien, 1848–1911), Vincent van Gogh, 1888–9

L’Arlesiana 35

Special thanks to our Production Sponsor

Thursday 25 October | Wednesday 31 October | Saturday 3 November | 20:00 Sunday 28 October | 17:00 The performance will last approximately 3 hours and 30 minutes. There will be a 30-minute interval after Act 1 and a 20-minute interval after Act 2. A short introductory talk will take place in the Jerome Hynes Theatre one hour prior to the performance. Speaker: Julia Eberwein

By permission of Éditions Enoch & Cie/United Music Publishers Ltd

LE ROI MALGRÉ LUI (THE KING IN SPITE OF HIMSELF) (1887) Opéra comique in three acts to a libretto by Emile de Najac and Paul Burani

First performed on 18 May, 1887 at the Opéra-Comique, Paris Sung in French

Emmanuel Chabrier (1841–1894)

Photo: Darren Cheshire

Conductor Jean-Luc Tingaud Thaddeus Strassberger Director Joel Ivany Assistant Director Kevin Knight Set Designer Mattie Ullrich Costume Designer Simon Corder Lighting Designer Marjorie Folkman Choreographer Paula O’Reilly Choreography restaging Theresa Tsang Stage Manager Adam Burnette Assistant Conductor Adam Burnette, Janet Haney Répétiteurs Julia Eberwein Dramaturg Surtitles Celeste Montemarano & Danielle Sinclair This production of Le Roi malgré lui is a co-production of Wexford Festival Opera and the Fisher Center at Bard College. It was premiered at the Richard B. Fisher Center for the Performing Arts at Bard College on 27 July, 2012. This co-production has been made possible by a generous gift from Emily H. Fisher and John Alexander. Supported by

Henri de Valois Liam Bonner Luigi Boccia Comte de Nangis Frédéric Gonçalvès Le Duc de Fritelli Mercedes Arcuri Minka Nathalie Paulin Alexina Quirijn de Lang Laski Thomas Morris Basile Carlos Nogueira Lincourt Lawrence Thackeray D’Elboeuf Simon Robinson Maugiron Owen Webb Comte de Caylus Simon Meadows Marquis de Villequier Colin Brockie Un soldat Jan Patzke, Ryan O’Neill, Aaron Jones Dancers Olivia Qualye, Jenny Reeves, Máire Dee Chorus of Wexford Festival Opera Chorus Master Gavin Carr Orchestra of Wexford Festival Opera Leader Fionnuala Hunt Le Roi malgré lui 37

Versailles Costumes

Monte Carlo Men

Alexina

Maids (Female Chorus) Costume designs by Mattie Ullrich

38 Le Roi malgrĂŠ lui

Synopsis Act One

Act Two

A glorious line of Polish monarchs has died out and,

On the eve of Henri’s coronation Laski and other

after a contentious election and substantial foreign

conspirators, including the incognito Henri, plot the

intervention, the people have elected a foreigner, Henri

overthrow of the King. Minka performs a spectacular

de Valois, to be their leader.

Chanson Tzigane. Henri summons de Nangis and

As Henri’s servants prepare for his arrival, his courtiers spend their time playing cards, heedless of the rumours of insurrection. In an effort to prevent their sovereign from feeling homesick, they have brought to Poland every comfort they can from their beloved France. The King’s closest friend, the Comte de Nangis, is trying to raise an army in Krakow to help protect the King, for although the ordinary people are well-disposed towards Henri, the nobility, led by Count Albert Laski, are opposed to him and would prefer the Archduke of

introduces him as the King, but manages to tell the mystified de Nangis what is going on. Henri’s plan to be thrown out of Poland – so that he can return to France – is going well, until Laski changes course and demands that the King must be assassinated. De Nangis (the disguised King) is chosen by lot to kill the King (de Nangis in disguise), but Minka intervenes and enables him to escape. Henri says he will hunt down and kill the King, while Minka vows to prevent it.

Austria to be King. De Nangis finds that life in Poland

Act Three

can be enjoyable, for he has fallen in love with Minka –

An innkeeper, Basile, and his staff are preparing to

a dangerous intrigue as she is a slave to none other than

hail the new King of Poland. De Fritelli arrives and

Count Laski, and may be a spy for the Polish resistance.

tells him that the new King is not Henri, but rather the

Whilst preparing for the King’s coronation, his chamberlain, the Duc de Fritelli, tactlessly relates his impression of the difference between French people and Polish people. Minka tries to beguile de Nangis into talking about the King. She is falling in love with de Nangis and they arrange a late-night assignation in the garden. As the homesick Henri regrets the life he has left behind, he recalls a beautiful Polish woman he had once rescued in Venice. Alexina, de Fritelli’s Polish wife, arrives to goad her husband into trying to get rid of the King. Minka meets the King, and, unaware of his true identity, reveals that there is a conspiracy against him. Henri is delighted that no-one has recognised him and joins the conspiracy by concocting a plot to drive himself out of the country.

Archduke of Austria. Basile doesn’t care who becomes King, for taxes will still be collected. Henri asks Basile for a horse to escape the mob he believes is pursuing him; de Fritelli praises the French over the Poles; Alexina searches desperately for her lover, and Minka arrives, fearing that her lover, de Nangis, may be dead. De Nangis appears and, unable to convince Minka that he is not the King, acquiesces in her fantasy. Alexina enters, disguised as a maid, and meets Henri. De Fritelli escorts both of them out and, on learning that the maid was his wife, rushes after them. De Nangis tells Minka who the real King is and the Archduke of Austria, who wanted the Polish throne no more than Henri did, concedes the kingdom to Henri. Exhausted by his efforts to escape his fate, Henri accepts the crown and becomes the King in spite of himself.

Le Roi malgré lui 39

Le Roi malgré lui, Jules Chéret, 1887. Musée des Arts décoratifs, Paris, avec l’aimable autorisation des éditions ENOCH & Cie, Paris Photo: Laurent Sully Jaulmes 40 Le Roi malgré lui

Chabrier’s King Crowned at Last by Sylvia L’Écuyer

Descriptions of Emmanuel Chabrier by his contemporaries all agree that this affable rotund man, this immensely gifted pianist and improviser, this self-taught composer, this fun-loving and colourful character, was a delightful friend. Chabrier was born in 1841 at Ambert, in Auvergne, a pristine rural region of France, renowned for its charcuteries, its cheeses (notably the delicious Fourme d’Ambert), its thermal springs (Volvic and Vichy), and its traditional dances, the most famous being the bourrée. Although Chabrier had moved to Paris with his family in 1856, and died there in 1894 aged only fiftythree, he remained deeply attached to his Auvergnat roots, as evidenced by one of his most beloved works, the 1891 Bourrée fantasque, written for piano. A later orchestral version by conductor Felix Mottl was first performed in Germany, where Chabrier’s music was more appreciated than it was in France. Many reasons may explain the neglect of Chabrier’s works in his own country, none of them stemming either from the music itself or from a lack of admiration on the part of his fellow composers. According to Harry Halbreich, who wrote the liner notes for the only available recording of Le Roi malgré lui (conducted by Charles Dutoit and issued by Erato in 1990, with Barbara Hendricks, Isabel Garcisanz, Gino Quilico, Peter Jeffes and Jean-Philippe Lafont), ‘his limited reputation is based on erroneous ideas … the case of Chabrier is the greatest injustice in the entire history of music’. Ravel considered him the founding father of the French school, declaring that ‘his reputation is not equal to his genius, nor to his generous – and unquenchable – vitality’. Francis Poulenc spoke of ‘his flavourful music … as full of flavour as the cheese of Ambert!’ César Franck saw in his collection of Pièces pittoresques for piano a worthy legacy of Rameau and Couperin. Vincent d’Indy praised his ‘effusive affection … the principal trait of his genius’. Chabrier’s musician friends used to gather in his Parisian home, where D’Indy, Chausson, Duparc, Bréville, Saint-Saëns, Massenet, Lecocq and Messager admired his talent and enjoyed his witty company. Parnassian poets Verlaine, Heredia, Catulle Mendès and Villiers de l’Isle-Adam became his collaborators. The paintings of his friends Manet, Monet, Renoir, Sisley and Cézanne covered the walls of his apartment. Manet’s Bar aux Folies-Bergère hung over the piano.

The most compelling reason for Chabrier’s missed encounter with fame was most likely his nonconformism and an incredible streak of bad luck. A brilliant improviser on the piano, Chabrier got his first music education from a Spanish refugee, the pianist Manuel Zaporta, and from a Polish violinist, Tarnowski. Traces of these early influences survive in his music, particularly in Le Roi, set in Poland, and in his glittering rhapsody for orchestra, España. While studying law in Paris, Chabrier took a few lessons in composition but spent most of his time analysing scores. Copying Tannhäuser was his training in orchestration. His lack of formal education made the musical establishment dismiss him as a mere selftaught amateur when he tried to establish himself as a composer. He first tackled the light vein, with Fish-TonKan (1863–1864) on a libretto by Paul Verlaine after a chinoiserie by Thomas Sauvage (the title is a pun which can be translated ‘Get lost!’). A few years later, he wrote the lovely operetta L’Étoile (1877) which is occasionally performed today, and Une Éducation manquée (1879), staged in Wexford in 2009 after decades of neglect. The course of Chabrier’s life was to change radically in 1880, when he travelled to Munich with Duparc and d’Indy to hear Wagner’s Tristan und Isolde. Upon his return, he decided to quit his job at the Ministry of the Interior, bury himself in a small village in Touraine, and write his first major stage work, Gwendoline, an epic medieval drama with strong Wagnerian influences. Premiered successfully at La Monnaie in Brussels in 1886, Gwendoline was withdrawn after two performances, the director of the theatre having filed for bankruptcy. While working on Gwendoline, Chabrier dreamed of achieving success with a light work: ‘It’s fun to do, and one can make money’, he wrote to his publishers. He was hoping to emulate Offenbach’s success at the Théâtre de la Gaîté or at the Bouffes-Parisiens, but the poor reception of L’Étoile gave theatre directors cold feet. He desperately tried convincing a well-established playwright to provide him with the perfect libretto. But then a friend drew his attention to Le Roi malgré lui, a comedy first performed fifty years earlier at the Théâtre du Palais-Royal. He fell in love with the story of the play, adored its humorous banter, and was convinced

Le Roi malgré lui 41

above the stage. At least twenty-four people were killed he could make a theatrical gem out of an improbable and all further performances were cancelled without storyline in which a king plots his own overthrow. With the composer receiving any compensation. He was his usual ribald humour, he played up his enthusiasm comforted, however, by his visits to Germany where for the work in a letter to his publishers: ‘I will have Gwendoline and Le Roi were staged in various towns, a waltz at the beginning of the second act, and it will and where he relished attending performances in be so lecherous that people will start making babies Bayreuth. Unfortunately, Chabrier’s health declined on stage and in the audience; old men will not have to quickly in the early 1890s. Obsessed by a desire to wear peacock feathers on their rump to attract attention compose a large-scale dramatic work, he completed and misty-eyed young women will giggle’. Working the first act of an opera entitled Briseis (this first act diligently with his librettists, Paul Burani, who was a was conducted by Jean-Yves Ossonce and recorded songwriter for cafés-concerts and an aspiring author, for Hyperion in 1994, and Emile de Najac, he with Joan Rodgers, then faced the problem Mark Padmore, Simon of finding a theatre Keenlyside, Michael willing to stage Le Roi. George and Kathryn The Bouffes-Parisiens, Harries), but he was home of Offenbach and too sick to benefit from Lecocq, where L’Étoile the Parisian premiere was premiered, was of Gwendoline in 1893. the obvious choice. But He died the next year, the director found the having suffered from music too complicated general paralysis. and asked the composer Chabrier’s voluminous to make it simpler – correspondence was which he flatly refused published in 1994. In to do. Then there a letter addressed to was the Théâtre de la his friend, composer Renaissance, a very Charles Lecocq, in 1892 welcoming stage for he confessed: ‘Never has opéras comiques and an artist worshipped operettas, but it had music so much, never a new Polish director, has anyone suffered Okolowitz, who took more from it; and I exception to some of will continue suffering the verses in the first forever’. Act: ‘The Pole is so sad and so solemn / Along To a 2012 audience, with his climate, just Le Roi malgré lui is a isn’t fun / whilst the Henri III, Etienne Dumonstier, 1578 work of uncompromising French are the jolliest originality, full of life and melodic invention, brimming of men’. Meanwhile Carvalho, the dynamic director of with complex rhythms and brilliant orchestration. the Opéra-Comique, was looking for lighter fare for his Musically, it appears in many ways to represent an theatre and asked Chabrier if he had anything ready in obvious link between Berlioz and Ravel, especially in that vein. ‘Well, I wrote Le Roi malgré lui,’ said Chabrier, the clarity of its text setting and respect for the rules of ‘but the story might be too contrived and the music too French prosody. sloppy for your theatre’. Nevertheless, an audition was The tone of the work is set in the opening chords of the arranged the next day, and the work received its first Prelude, which features a brass ensemble – emblematic performance one year later. of ceremonial music of the Renaissance, the period Le Roi malgré lui had a very successful opening on 18 in which the action is set – but harmonised with the May 1887, but seven days later, the theatre was destroyed advanced ninth chords of late-nineteenth century in a blaze caused by a malfunction in the gas lighting compositional practice. The conflict between the King’s

42 Le Roi malgré lui

personal desire and his formal duty is depicted in the way that a delicate harp and flute duo alternates with trumpet calls and music of regal grandeur. The composer’s subtle humour soon makes its presence felt when the Comte de Nangis, back from a tour of Poland to recruit soldiers, sings a syncopated rondeau in which he describes the country as bland, and its inhabitants as boring. There follows a clumsy march introducing the chorus of soldiers, so strangely accented that we have the impression that the motley crew is tripping over their own feet. The three acts of this opera abound with gems, including the lovely cor anglais introduction to Minka’s romance, the witty syllabic duet between Alexina and Fritelli (reminiscent of Berlioz’s Benvenuto Cellini), Minka’s irresistible Chanson tzigane (which was an immediate success at the premiere), the harmonicallydaring barcarolle sung by Henri and Alexina (as seductive as Offenbach’s), and the magnificent fin-desiècle waltz that Ravel still remembered thirty years later. Dwelling more on French style than Polish colour, Chabrier could not resist quoting the Radetzky March at the end of the third act when the crowd happily prepares for the coronation, in spite of the misgivings of the King himself. The libretto will seem as convoluted today as it did in 1887. However, the story of a French king in Poland is based on historical facts. In 1573, Henri de Valois, the third son of Henri II and Catherine de’ Medici, was elected King of Poland – or more accurately, of the Polish-Lithuanian Commonwealth. The notion of an elected king might be surprising, considering the rules of royal succession followed by today’s monarchies, but it was introduced in Poland in 1572 after the death of Sigismund II Augustus, the last Jagiellonian king. This date is generally considered by historians as marking the end of the medieval period and the beginning of modern times in Polish history. During the previous 150 years, the power of the nobility over the crown had been growing to the point that each time the king wanted to raise an army, he had to pay the nobles to bring their men to the battlefield. To free themselves from this domination of the nobility, the kings of Poland courted the wealthy burghers and the lesser nobility. This only made their situation more difficult, however, since by the end of the sixteenth century this class of citizens practically controlled the foreign policy of the country. Little by little, the gentry’s participation in decisions concerning the succession to the throne changed the way in which the matter was decided. ‘From being a carefully considered issue, controlled

by the magnates and the leading families of the land, it became something between a national festival and an auction, during which foreign princes or their representatives placed bids for the Polish Crown in return for concessions.’ (Anita J. Prażmowska, A History of Poland) The first election was held in Warsaw, with many candidates showing interest, including Tsar Ivan IV, Archduke Ernst of Austria, King Johan Vasa of Sweden and Henri de Valois, brother of Charles IX of France. The gentry elected Henri because the Archduke was supported by the all-too-powerful Catholic Church, and also to avoid Habsburg rule, which was thought likely to strengthen royal authority. In addition, there was a desire to please the Ottoman Empire, which was allied with France and was a constant menace to Poland’s borders (does this not already sound like an opera libretto?). Henri was twenty-four, and although he had many mistresses, his sexuality has always been a matter of conjecture. Suggestions that he was homosexual, or at least bisexual, were fostered by his dislike of military matters and of hunting, and by his preference for spending his time playing cards with the effete young men of his entourage. His political opponents, both Protestant and Catholic, used these suggestions of effeminacy to turn the French people against him. He joyously depleted the Polish treasury of funds and made no decisions of state, except to refuse to marry Anna, the fifty-years old widow of the deceased king, upon his arrival in the country. A few months later, hearing of his brother’s death, he escaped to Paris where he was crowned King of France in 1574 and reigned until his death in 1589. Sylvia L’Écuyer is a Canadian musicologist, author and broadcaster. She is host and producer of the weekly Saturday Afternoon at the Opera programme for Radio-Canada’s French-language music network, Espace Musique. She is also associate professor at Université de Montréal and her writings have been published in many languages. In 2007 she was awarded the title of Chevalier des Arts et des Lettres by the French Government.

Le Roi malgré lui 43

This production is made possible through a most generous and deeply appreciated grant from

THE DELIUS TRUST Friday 26 October | Monday 29 October | Thursday 1 November | Sunday 4 November All performances begin at 20:00 The performance will last approximately 2 hours and 20 minutes. There will be a 30-minute interval after Scene 4. A short introductory talk will take place in the Jerome Hynes Theatre one hour prior to the performance. Speaker: Julia Eberwein

By arrangement with Boosey & Hawkes

(1907)

A VILLAGE ROMEO AND JULIET (1907)

Lyric drama in six scenes to a libretto by the composer and his wife Jelka

First performed on 21 February, 1907 at the Komische Oper, Berlin Sung in English

Frederick Delius (1862–1934)

Photo Collage: Miles Linklater

Conductor Rory Macdonald Director Stephen Medcalf Rodula Gaitanou Associate Director Set & Costume Designer Jamie Vartan Lighting Designer Simon Corder Choreographer Paula O’Reilly Stage Manager Ray Bingle Assistant Conductor Dana Sadava Répétiteurs Andrea Grant, Dana Sadava Surtitles Désirée Neumann Manz Quentin Hayes Marti Andrew Greenan Sali as a child Jack Power Vreli as a child Stephanie Kinsella Sali as an adult John Bellemer Vreli as an adult Jessica Muirhead The Dark Fiddler David Stout Farm Men Jamie Rock, Cozmin Sime Farm Women Eleanor Lyons, Angharad Morgan Cátia Moreso

Gingerbread-Woman Iria Perestrelo Wheel-of-Fortune-Woman Maria Miró Mae Heydorn Cheap-Jewellery-Woman Showman Leonel Pinheiro Merry-go-round-Man Owen Webb Shooting-gallery-Man Thomas Faulkner The Slim Girl Hannah Sawle The Wild Girl Kate Symonds-Joy The Poor Horn-Player Daniel Joy The Hunchbacked Bass-Fiddler Simon Robinson Bargemen Adam Gilbert, Quentin Hayes, Patrick Hyland Dancers Jan Patzke, Ryan O’Neill, Aaron Jones Olivia Qualye, Jenny Reeves, Máire Dee Supernumeraries Nicky Kehoe, Niall Cullen Ciarán Ryan, Leonard Gaul, Eoghan Cullen Chorus of Wexford Festival Opera Chorus Master Gavin Carr Orchestra of Wexford Festival Opera Leader Fionnuala Hunt

A Village Romeo and Juliet 45

Vreli

Marti

Sali

Female Chorus

Manz

Male Chorus Costume designs by Jamie Vartan

46 A Village Romeo and Juliet

Synopsis scene I: A Field

scene IV: Marti’s House

Marti and Manz are farmers near the Swiss village of

Sali comes to Vreli as she, alone in the world, prepares

Seldwyla. Their fields are separated by a narrow strip

to leave her old home. Her father, Marti, is not dead, but

of land that has run wild since the death of its former

his mind has gone and he is in an asylum. Sali and Vreli

owner, whose son is unable to inherit the land because

wish they could be like gypsies and wander together

he is illegitimate. The son, who is known as the Dark

through the world. They vow never to leave each other

Fiddler, is a bohemian who lives with his band of free-

and sit clasped together beside the fire and fall asleep.

spirited friends outside the conventions of society. The

They both dream that they are being married in the

farmers’ children, Marti’s daughter Vreli and Manz’s

village church and that church bells are ringing in the

son Sali, play on the strip of rough land and their fathers

distance. The new day dawns and Vreli wants to spend

gradually encroach onto the land as they plough. They

one long happy day with Sali and then to dance with him

quarrel violently over it and the scene ends as each

all night, in some place where they are unknown. They

forbids his child to have anything to do with the other,

joyfully go to a local fair.

and they pull them away. scene V: The Fair scene II: Six Years Later

Their initial happiness at the fair is spoiled by the stares

It is six years later and Marti and Manz have persisted

and comments of the crowd who recognise them, and

in a long-drawn-out legal action that has cost them their

they leave. Sali knows of the Paradise Garden where no-

lands and livestock and reduced them to poverty. Sali

one will know them and they can dance all night.

and Vreli long to renew their old friendship, despite the bitter enmity between their fathers, and arrange to meet secretly on the wild land. scene III: A Poppy Field Sali and Vreli meet and realise that their friendship has ripened into love. The Dark Fiddler appears and invites them to leave society and join him in living freely in the countryside, for now they are all beggars. Marti appears and sees Sali and Vreli together. Beside himself with rage, he seizes Vreli and drags her away. Sali runs after Marti and knocks him down. He lies senseless and Vreli thinks that Sali has killed her father.

Orchestral interlude: The Walk to the Paradise Garden scene VI: The Paradise Garden At the dilapidated riverside inn, the Paradise Garden, the Dark Fiddler and his friends are enjoying a drink. He tells the story of the disputed land and the effect it has had on his own life and on the lives of Sali and Vreli and their families. Once again he invites Sali and Vreli to join him and to live together freely in the wilds, with the purple heather for their marriage bed. Sali and Vreli are homeless outcasts and feel the attraction of the life he offers, but realise that such a life is not for them. The sounds of the boatmen on the river help them to decide their fate. They find an old raft and cast off. As it drifts down river and gradually submerges they are finally united in love and death.

A Village Romeo and Juliet 47

Delius’s A Village Romeo and Juliet: A Problem of Genre by Jeremy Dibble

During the course of the 1890s Delius produced three operas: Irmelin (1890–92), The Magic Fountain (1892–4) and Koanga (1895–7). Yet not a note of any of these operas did he hear until, through his own enterprise, a substantial part of Koanga was performed in concert at London’s St James’s Hall on 30 May 1899. Full of vibrant and inventive music, Koanga was eventually performed in its entirety on 30 March 1904 at the Stadttheater, Elberfeld under the direction of Hans Gregor, but it did not receive its first complete performance in England until September 1935 under the baton of Sir Thomas Beecham, undoubtedly Delius’s greatest champion. By the time the excerpts of Koanga were being premiered in London, to some critical acclaim, Delius had already begun work on a fourth opera, probably during 1897. For this he turned to the Swiss novelist, Gottfried Keller, from whose short story Romeo und Julia auf dem Dorfe (from Die Leute von Seldwyla) he constructed his own libretto. Although he initially sought help from C.F. Keary, the librettist of Koanga, and from Karl-August Gerhardi, who produced a German draft of the libretto in 1898, Delius found it more satisfactory to complete the libretto himself. Much of this was in its final form by 1898, while the main body of the musical score was composed between 1899 and 1901. The first title of the opera in three acts was Le Jardin de Paradis but this was later altered when it was first given at the Berlin Komisches Oper on 21 February 1907 to Romeo und Julia auf dem Dorfe. It was later recast as a ‘Lyrisches Drama in sechs Bildern’ and it was heard in this form at the London premiere in English at the Royal Opera House, Covent Garden on 22 February 1910 under the direction of Beecham. The choice of Keller’s novella was, for Delius, highly significant, for it marked a major step forward in his conception of opera. Whereas his earlier works for the stage had essentially pursued those traditional elements of external drama and plot, A Village Romeo and Juliet explores the human condition on a more psychological level where the drama is often internalised in the same manner as Wagner’s Tristan und Isolde. This internalisation of the drama is manifested in various new ways. Delius’s plot, with its series of ‘pictures’ or

48 A Village Romeo and Juliet

‘tableaux’ (a term Delius was to use in his last opera, Fennimore and Gerda), is essentially simple, with relatively little action, yet the moments of discovery and reversal of fortune are charged with considerable emotion and power. Likewise, the opera’s main characters, the childhood sweethearts, Vreli and Sali, are, like Tristan and Isolde, human archetypes of a more fundamental philosophical narrative. It closely parallels the hopeless love of Shakespeare’s Romeo and Juliet and their feuding families, but concludes with the doomed lovers dying together in one last act of ecstatic love and sacrifice, not unlike the Schopenhaurean ‘Liebestod’ of Tristan. Much of the momentum of the work is led by the orchestra, which, again in the manner of Wagner’s music dramas, is the principal vehicle of symphonic development, and the polyphonic orchestral texture is constructed from an elaborate network of leitmotivs. Two of his earlier operas, The Magic Fountain and Koanga, contained substantial passages of orchestral music and leitmotivic material which served to illustrate internal action, but in A Village Romeo and Juliet the orchestra’s role is significantly more overt in carrying the wordless narrative forward, suggesting a hybrid form of ‘symphonic poem’. Indeed, the presence of the extensive interlude between the fifth and sixth scenes, The Walk to the Paradise Garden, a symphonic poem in its own right and one of the composer’s best-loved pieces, serves to accentuate this new concept. Delius’s thematic invention throughout the music drama is enormously fertile, a level of inspiration which foreshadowed such works as Sea Drift (1903–4), A Mass of Life (1904–5) and the Songs of Sunset (1906–8). A Village Romeo and Juliet opens with a broad descending theme (taken in large part from the earlier orchestral fantasy Over the Hills and Far Away) which is evocative of the rural, agrarian landscape of small fields and of the two neighbouring farms of Manz and Marti. As Manz ploughs his land, to the accompaniment of a jaunty musical cell first heard in the oboe, one senses, uncomfortably, a craving for the strip of untilled land between his field and Marti’s, an unhealthy covetousness hinted at in the light and dark shades of

From the Berlin 1907 production. Vreli, Sali and Marti. Coll. Delius Trust

Delius’s constantly shifting harmony. At the appearance of the children the sombre tone of Sali’s and Vreli’s music gives us a foretaste of the darker future. A strange, ethereal idea, redolent of the parallel harmonies of Debussy, ushers in the disturbing violin melody of the Dark Fiddler, whose music is a disquieting spectre of the inevitable quarrel between Marti and Manz. Their quarrel is musically derived from the children’s material (as they are no longer permitted to see each other), and brings the first scene to its precipitous conclusion. With each successive scene of the music drama Delius’s source of thematic material becomes more and more involved. In the tragic orchestral introduction to Scene 2 – Marti and Manz have been bankrupted by their legal dispute – the grave meaning of the children’s theme is articulated in a new musical working, while the once optimistic idea that began Scene 1 is reiterated with nostalgic regret. With Vreli’s despair, Sali’s resolution (‘If we two hold together’) ushers in a thoroughly Delian figure which will figure more prominently and passionately in the later stages of the opera. Scene 2 moves seamlessly into Scene 3, which is initially dominated by another transformation of the

opening material of Scene 1 as Sali and Vreli seek a new happiness by meeting clandestinely. This is disrupted by the reappearance of the Fiddler’s music which previously hastened their separation. On this occasion, however, Sali is unruffled and finds sufficient courage for him and Vreli to declare their love. At the close of this duet, Delius provides a postludial comment in a simple leitmotiv that captures the fleeting atmosphere of lightheartedness. But this brief moment of tranquillity is shattered by the violent confrontation of Sali and Marti at the scene’s conclusion. Delius’s use of the orchestra in the first three scenes served to emphasise the importance of the internal nature of much of Keller’s narrative. In the last three scenes, however, its role is even more pronounced as the psychological dimension of the opera gathers momentum. At the beginning of Scene 4 it plays a significant part in Vreli’s poetic lament and the love duet that follows, but it is central to the ‘dream’ scene, to the carillon of bells (surely one of Delius’s most euphoric utterances), to the ecstatic, not to say deeply erotic, breaking of the dawn as Sali and Vreli awake, and to the virtuoso finale for chorus and orchestra where the lovers make their way to the fair. In Scene 5, a depiction of the

A Village Romeo and Juliet 49

An image from Hans Trommer’s 1941 film of Romeo und Julia auf dem Dorfe. Coll. L Carley Early in 1934, Mentor Film, Zurich, proposed to make a film of Romeo und Julia auf dem Dorfe, ‘and would use the music from your opera’ should Delius’s publisher be prepared to ask ‘a very modest price’ for such. Delius declined, and incidental music for the film was in the event commissioned from Jack Trommer.

fair (and ultimately a return to reality for the lovers), the chorus and orchestra provide the colourful backdrop in a heady dance reminiscent of Delius’s bacchanals in his symphonic poems Paris, Life’s Dance and the Dance Rhapsodies, although the culmination of the five scenes is reserved for The Walk to the Paradise Garden. The original version of this interlude was somewhat shorter and entirely based in one key, E flat major, which is a highly significant tonality in the fourth scene. A new and much more extensive interlude was composed in 1906 prior to the Berlin performance, probably because the opera house required more time for the scene change. In consequence, Delius took the more ambitious decision of encapsulating thematically and motivically all the musical material of the previous five scenes and gives a foretaste of Sali’s and Vreli’s death scene. Thus, The Walk to the Paradise Garden is a summary in musical terms of the entire operatic plot. Beginning in E flat major, like its shorter predecessor, Delius’s larger canvas is much more tonally and symphonically fluid. Perhaps most conspicuous is the consistent appearance of the motive representing the lovers’ bond, and this is stated wistfully

50 A Village Romeo and Juliet

on strings and oboe in E major (another important key) at a central point of the musical structure. At the conclusion of this passage, we are reminded of the lovers’ once happy childhood existence in the elegiac flute solo, and this combines aptly with the whole-tone passages of the Dark Fiddler. All the while, however, as Delius moves towards his impassioned climax with the love motive, he has also moved elusively into B major, the closing key of the tone poem (and the most Tristanesque of tonalities, which concludes Wagner’s opera). Fascinatingly, Delius’s sixth and last scene maps out much of this same tonal plan from E flat to B major. The scene makes inventive use of the chorus (a noteworthy feature in this opera and in Koanga) as they taunt the lovers (‘Come, and live with us and taste the cream of life!’). But their invitation is rejected, a rejection marked ultimately by a return of the lovers’ music, now radiantly couched in E major, and the entrance of the strange, enigmatic boatmen who call down the river. The poignancy of this passage, as the lovers make their pact to die together, is palpable and is amongst the finest things the composer ever wrote. It is, however, a

because of its unconventional concept of vocal and orchestral music, ‘it was not an opera at all.’ Beecham was, nonetheless, undeterred. He directed the opera again for a BBC broadcast performance in 1932, conducted three performances at the Royal College of Music in June 1934, and finally recorded the opera in 1948 after a further BBC broadcast. Heseltine also remained resolute that Delius’s opera needed to be understood as a musical form rather than as traditional stage melodrama. In truth, Delius’s work, which undoubtedly contains some of his very finest music, poses a problem of genre, but if one accepts it in its post-Wagnerian context, as a symphonic canvas in which components of drama, A Village Romeo and Juliet poetry, voices and musical undoubtedly had its devotees. argument play a new, equal Heseltine and Beecham both and original role, the concept thought highly of the work, and of this magnificent score Heseltine, in his 1923 biography becomes clearer and intensely of Delius, was defensive to the enlightening. As Heseltine point of pugnacity on the work’s remarked: ‘The tragedy of A behalf. Yet from the outset, the Village Romeo and Juliet is the opera excited controversy among tragedy of unreasonable children Cover of vocal score, published in 1910 both impresarios and the press. crying for an impossible moon by Harmonie Verlag. Coll. L Carley Fritz Cassirer, who conducted the that they would not suffer reason first complete performances of to eclipse. Who shall say that they sold their lives too Koanga at Elberfeld in March 1904, was less sure to begin cheaply? Who indeed can deny them their victory?’ with, but later pronounced it ‘magnificent’. Another of Jeremy Dibble is a Professor Delius’s mentors, Hans Haym, expressed similar doubts, of Music at Durham University and Hans Gregor, who eventually undertook the work His principal research interests in Berlin in 1907, needed to be persuaded. At first Gregor are in British and Irish music was decidedly nervous about the opera’s suitability for of the nineteenth and twentieth the stage and considered a concert performance, but centuries. The author of major he was, in time, brought round. Edward Dent, who monographs on Sir Hubert Parry, Sir Charles Villiers reviewed the opera in Berlin, expressed some doubts (both OUP), Sir John Stainer (Boydell) and Michele about the Prologue and the ‘dream’ scene’, but, for all his Esposito (Field Day), he is presently completing a book misgivings, could perceive the work’s originality. At the on Sir Hamilton Harty and has plans a for a study of London premiere, however, the opera was, as Heseltine the music of Frederick Delius. bemoaned, ‘stigmatized by the reporters as “undramatic,”’ and at the opera’s revival in 1920 critics asserted that, prelude to the grand finale – Delius’s ‘Liebestod’ – which commences with a barcarolle (‘See the moonbeams kiss the woods’), and, in Wagnerian fashion, works its way to a rapturous cadence, appropriately in E major. The lovers are about to be united in death, but as Sali removes the plug from the boat, we are reminded of the catalyst that brought this tragedy about – the Dark Fiddler – whose whole-tone progressions lurk in the background. Yet, even more impressively, as the boat drifts down the river Delius removes us to the scene of the boatmen and the key of B major, a potent symbol of Tristan reworked in the context of Keller’s homespun tale of ‘poetic realism’.

Film – Song of Summer

JEROME HYNES THEATRE 26, 29 October, 1, 4 November 14:30

As part of the celebrations in 2012 of the 150th anniversary of Delius’s birth, there will be a screening of Ken Russell’s 1968 biographical film Song of Summer at 14:30 on each of the days of the evening performance of Delius’s opera A Village Romeo and Juliet. The film is based on the memoir, Delius as I Knew Him, by Eric Fenby. He was Delius’s amanuensis during the last years of his life, making it possible for the blind and paralysed composer to realise his compositions.

A Village Romeo and Juliet 51

SHORTWORK

52 ShortWorks

Friday 26 October | Wednesday 31 October | Saturday 3 November | 15:30 Sunday 28 October | 11:00 THE AUDITORIUM, PRESENTATION SECONDARY SCHOOL, SCHOOL STREET Made possible by the generous support of The Lord Magan of Castletown

A DINNER ENGAGEMENT (1954) First performed on 17 June, 1954 at the Jubilee Hall, Aldeburgh. Sung in English

Comic opera in one act to a libretto by Paul Dehn.

Lennox Berkeley (1903–1989)

Lennox Berkeley’s first and most successful opera, A Dinner Engagement, is the story of Lord and Lady Dunmow who have fallen on hard times after World War II. They decide to solve their financial difficulties by arranging for their daughter Susan to marry money. The matchmaking parents focus on the wealthy Prince Philippe of Monteblanco who is about to visit England with his mother, the Grand Duchess, and preparations are made for a dinner party at which Lord and Lady Dunmow hope that the prince will fall in love with Susan. Susan’s reaction to the idea that her worth to her family is as a financial asset to raise money in the marriage market is one theme of the opera, and another is that of a wealthy young man’s surprising preference for the kitchen. These ingredients are combined with the universal theme of financial desperation and the currently popular themes of cooking and home entertaining, resulting in observant, sophisticated and witty social comedy.

Music Director Director Set & Costume Designer Lighting Designer Stage Manager

Adam Burnette Caitriona McLaughlin Kate Guinness Pip Walsh Nicola Candlish

Assistant Stage Manager/ Props Assistant

Florence Pettit

The Earl of Dunmow

Adam Gilbert

The Countess of Dunmow

Hannah Sawle

Susan

Laura Sheerin

Mrs Kneebone HRH Prince Philippe HRH The Grand Duchess Boy

Kristin Finnigan Alberto Sousa Raquel Luis Lawrence Thackeray

A Dinner Engagement 53

Director’s Note | Caitriona McLaughlin

A Dinner Engagement is charming, funny, romantic and surprising. A one act opera, in two scenes, the story itself is deceptively simple and even a little silly. A couple meet, fight, fall in love and get engaged over the course of a dinner engagement. Despite such slight material, Berkeley’s literary skill and knowledge is clear in both the opera’s structure and its character. For a start, the piece feels as if it could be peopled with the cast from the British Ealing comedies. Within a short one act structure he manages to combine elements of kitchen sink realism with French farce and romantic comedy. At a time when theatre in Britain was producing its ‘angry young men’, Berkeley was using the experiences of his own family history, combined with his ferocious musical talent, to produce this light-hearted, witty comic opera. An operatic Leslie Phillips or Thora Hird would not be out of place on Berkeley’s stage.

Lennox Berkeley seems to have had twin passions in his life: music and language. At seventeen he presented his own composition at a school concert before going to Oxford to study language (French, Old French and Philology). Whilst there he continued to study music and to play the organ. Graduating with an undistinguished degree, Berkeley moved to Paris to study music professionally for the first time. On the recommendation of Ravel, to whom he had shown some of his compositions, he studied with Nadia Boulanger. Berkeley’s social circle at this time included Jean Cocteau and Dylan Thomas, whose intoxicating lyricism undoubtedly had an impact on his work. Born in 1903 into both English and French aristocratic families (his paternal grandfather was the Seventh Earl of Berkeley and his maternal grandfather, Edward Drummond, was the Comte de Melfort), Berkeley had access to some of the most prominent artists, musicians, poets and writers of the day. It is no accident, therefore, that throughout his life he would write such beautiful songs in both English and French. Berkeley was profoundly affected by the work of fellow composer Benjamin Britten. The pair met at the ISCM Festival in Barcelona in 1936 and shortly afterwards moved in together and collaborated on Mont Juic, an orchestral suite based on Catalan tunes. Apparently the friendship cooled a little after Britten moved to America with Peter Pears but they remained close, Britten becoming godfather to Berkeley’s first child some years later.

A reminder that we are part of an ongoing cycle and that things will improve

Only three times in his long and impressive career did Berkeley’s two passions come together in the form of theatre (he died before completing his fourth opera). A Dinner Engagement is the second of his operas and has proved the most popular. When I was asked earlier this year to direct A Dinner Engagement I could not believe my luck. As a theatre director keen to ‘try my hand at opera’, there could not be a better first opera. It’s in English, an hour long, has no chorus and has great comic characters. From the first time I heard the opening bar I fell in love with the music, which is instantly uplifting and joyful.

54 A Dinner Engagement

As a director approaching a work like this I feel it is important to look at the context in which the piece was written, in relation to the context in which it is now being shown. In this regard it is a particularly canny piece of programming. The story centres around the impoverished Lord and Lady Dunmow who, having fallen on hard times, are in the process of preparing a dinner for the Grand Duchess of Monteblanco and her son HRH Prince Philippe. The Dunmows have ambitions to marry their only daughter off to the prince and thereby improve their situation. The humour comes from their trials and tribulations in achieving this. My initial reaction to the story was to draw on the parallels between recent events in Ireland and the idea of welcoming royalty into an impoverished state for the first time. The designer Kate Guinness and I explored a number of options. We felt there were good reasons to

explore the piece from a very contemporary Irish context and we considered reflecting that context in the design and presentation. However, on reflection we decided this opera would be best served by presenting it as written, in a 1950s kitchen in Chelsea, London: we had been over-thinking it. Lennox Berkeley has done all the work for us, for the piece has a far more relevant, poignant and uplifting message for its audience today, particularly an Irish audience, and speaks to us most directly through its humour and simplicity. It is in the acceptance of their situation, their resilience and their resourcefulness that we see the humanity and charm of these central characters. It is a reminder that we are part of an ongoing cycle and that things will improve. This opera offers us laughter, hope and joy in the face of hardship.

For my first time directing an opera I hope to tell this quirky little story simply, in a way that highlights the twin passions of Lennox Berkeley and foregrounds his wit, aspiring to achieve Tony Scotland’s description of Berkeley’s music and in doing so, to do justice to the man himself: ‘All the music is polished, thoughtful, and in its quiet sure way, passionate. Much of it is beautiful and some is unquestionably of lasting importance.’

The original production of Lennox Berkeley’s one-act opera A Dinner Engagement, given by the English Opera Group in the Jubilee Hall, Aldeburgh, as part of the Aldeburgh Festival, on 17 June 1954. The conductor was Vilem Tausky and the director was the dancer and designer William Chappell. (Photo Denis de Marney, reproduced by permission of Lady Berkeley and the Lennox Berkeley Estate)

A Dinner Engagement 55

SHORTWORK

Saturday 27 October | Monday 29 October | Tuesday 30 October Thursday 1 November | Friday 2 November | 15:30 THE AUDITORIUM, PRESENTATION SECONDARY SCHOOL, SCHOOL STREET Made possible by the generous support of The Lord Magan of Castletown

THE MAGIC FLUTE (1791) Singspiel in two acts to a libretto by Emanuel Schikaneder.

First performed on 30 September 1791 at the Theater auf der Wieden, Vienna. Sung in English (English translation by Jeremy Sams)

Wolfgang Amadeus Mozart (1756–1791)

Mozart’s last opera Die Zauberflöte, ‘The Magic Flute’, was written out of desperate economic necessity during the final years of his tragically short life. His fellow Freemasons lent him money and suggested that he write the music for a Zauberoper (‘magic opera’) style of singspiel. Their spectacular scenic effects made such works enormously popular, particularly with less sophisticated audiences, and Mozart’s music for the pseudo-Oriental fairy tale, Lulu, or the Magic Flute, was an immediate success. The public was captivated by the opera, by the fantastical characters on stage and by Mozart’s ravishing music.

Photo: Mike Halwa, www.hoga.ca

The first performance of The Magic Flute took place in Vienna on 30 September, 1791 and by 6 November there had been twenty-four performances. Mozart’s immense pride and great enjoyment in his new opera must have been tempered with regret that his father, who had always encouraged him to write more popular music, had not lived long enough to hear The Magic Flute and witness his triumph. Our regret is that Mozart himself died a few weeks later on 5 December. An Irishman’s comment gets neatly to the heart of the matter: the playwright, music critic and devout Mozartean, George Bernard Shaw, said that Sarastro’s two arias were the only music yet written for the mouth of God.

Music Director Director Set & Costume Designer Lighting Designer Stage Manager

Andrea Grant Roberto Recchia Kate Guinness Pip Walsh Emma Doyle

Assistant Stage Manager/ Props Assistant

Florence Pettit

Tamino

Patrick Hyland

Pamina

Anna Jeruc-Kopec

Papageno Sarastro Queen of the Night First Lady Second Lady Third Lady Papagena

Jamie Rock Thomas Faulkner Nazan Fikret Maria Miró Eleanor Lyons Cátia Moreso Chloe Morgan

Monostatos

Carlos Nogueira

Speaker

Simon Robinson

First Armed Man Second Armed Man First Spirit Second Spirit Third Spirit

David Sanchez Serra Cozmin Sime Elenor Bowers-Jolly Natalie Sinnott Anna Jeffers The Magic Flute 57

Director’s Note | Roberto Recchia

“And this year, what are you doing at the Festival?”

story: even if we’re using the straightforward English version by Jeremy Sams, you will appreciate some

“The Magic Flute.”

general instructions. Once upon a time, there were two

“Oh, wonderful!”

higher entities fighting each other, Sarastro and the Queen of the Night. Sarastro has kidnapped Pamina,

Every time someone learns that you have to stage the Flute, the answer is invariably the same: wonderful. And who am I to contradict my interlocutors?

daughter of the Queen of the Night, and holds her captive. Now, that’s a good starting point: Sarastro = good, Queen = bad. The Queen then chooses a young

The fact is that Flute is surely wonderful for the

boy, Tamino, and persuades him to smuggle himself

audience, but it gives a hard time to the poor director

into Sarastro’s palace and rescue Pamina. As a reward,

who has the trouble of facing it from the other side of

he will be allowed to marry the girl. Pamina is very

the curtain.

beautiful and Tamino accepts immediately. He will

Indeed, there is no opera that lends itself to more

be accompanied, despite himself, by Papageno, a bird

different interpretations than this work of Mozart’s

catcher who is both a coward and a liar. He is not exactly

maturity (if one can speak of maturity for a genius who

the kind of body guard you would choose when facing

died at thirty-five).

an adventure that promises to be very dangerous. But of course, they will not go unarmed against the mighty

Apparently it is a children’s story, but the degree of nonsense is so high as to make any of the creations of the Grimm Brothers (or any films by Tim Burton) turn pale. You can study all the masonic implications of this libretto, which will reward you with an intellectual glow. The fight between Enlightenment and Obscurantism is

The dark side of Enlightenment

pretty evident, but most of the symbols and allusions remain inexplicable, and can be interpreted in the most imaginative and contradictory ways. What can an audience make of all this?

Sarastro: Tamino is given a magic flute and Papageno receives a music box. Here, the worldly-wise spectator should begin to have doubts about the real intentions of the Queen, who offers them these unconventional

There are even those who will read into the plot an

weapons – not to mention the sanity of Tamino who

allegory of the late Emperor Joseph II (Tamino) who

accepts them. Thus, Sarastro = bad, Queen = eccentric.

fights against Maria Teresa (Queen of the Night),

Arriving at the palace, Tamino understands that the

the wife of Leopold II, who was openly hostile to

Queen did not tell him the whole truth. Sarastro does

Freemasonry. Is that what we really want to find in

not seem entirely unreasonable, and defends Pamina’s

The Magic Flute? Even assuming that these are the real

honour when Monostatos, the jailer, dares to set his

hidden meanings, a sort of inner joke that at Mozart’s

eyes on her. Sarastro actually realises that Tamino and

time made someone laugh up his sleeve, how can

Pamina are meant for each other, but he will allow

we make it work today? Who knows anything about

them to leave the building only after they have passed

Austrian Emperors or Freemasonry?

through some difficult initiation trials. The Queen of

Let’s begin to bring some order to such a preposterous

the Night will do anything to prevent this, not excepting

58 The Magic Flute

the killing of Sarastro. To achieve the crime, she gives a

a dream can things happen so inconsequentially. Wait

knife to Pamina and commands her to stab Sarastro to

a moment: Flute could be a dream. Indeed, the dream

death. The girl accepts: she is in despair as Tamino has

of a boy (Tamino) in love with a girl (Pamina) whose

refused to speak to her during the whole second act (but

mother does not agree to their getting married! And in

the trial of silence is just one of the things demanded

his agitated sleep Tamino dreams, and in his dreams

of Tamino for their salvation – and a tenor who doesn’t

come – transfigured – all the people of his real life:

sing should be accounted as gold in any opera). Now:

Sarastro, his father; Papageno, the grocer; Papagena,

Sarastro = good, Queen = bad, Pamina = stupid. But

the florist girl; Monostatos, the bully who is courting

the Queen’s plots fail because, of course, only love, not

Pamina; the three ladies, his nosy and gossipy spinster

vengeance, leads to happiness. And Papageno? Involved

aunts. In the end, the wisdom of Sarastro wins over the

in tasks requiring courage that he does not possess, he

obscurantism of the Queen of the Night – and they will

will still be rewarded with his Papagena.

live happily etc., etc. But if the daylight easily dissolves the anguish of sleep, only the immortal genius of our

What can be said about such a story? Moreover, I kept silent on all the dragons, ladies, spirits, dancing animals and guards that punctuate the story. Only in

Wolfgang can give coherence to the extravagances of such a whacky story.

Stage set for Mozart’s Magic Flute, 1815, Karl Friedrich Schinkel (1781–1841)

The Magic Flute 59

CONCERTS, RECITALS, LECTURES

60 Concerts, Recitals, Lectures

William V Wallace Recital

These four images are reproduced courtesy of the National Library of Ireland (call number MU-vc-34)

Thursday 25 October 15:30

Songs and piano music from the William Vincent Wallace Album Máire Flavin (Mezzo-soprano) | Una Hunt (Piano)

Friday 2 November 11:00

Salon dances

Ticket €15

Valse Gracieuse: La Pluie d’Or Schottisch: The Village Festival

JEROME HYNES THEATRE

Song

Orange Flowers (romance) Celtic Fantasy

The Harp that Once and Fly not Yet Four canzonets — The Seasons

WILLIAM V WALLACE

(1812–1865)

This image is reproduced courtesy of the National Library of Ireland (call number EP WALL-WI (1) III)

Spring – The joyful, joyful Spring Summer – It is the happy Summer time Autumn – The leaves are turning red Winter – The Spring and Summer both are past Piano solo

’Tis the Harp in the Air (romance – Souvenir de Maritana) Invitation Polka Song

PHOTO © GER LAWLOR

Say my Heart, can this be Love Excerpt from Maritana

How Dreary to my Heart – Scenes that are Brightest

Concerts, Recitals & Lectures 61

Dr Tom Walsh Lecture

JEROME HYNES THEATRE Friday 26 October 11:00 David Lloyd-Jones, Lecturer Ticket €10

DAVID LLOYD-JONES

Lecturer

Dr Tom Walsh (1911–1988) was one of the founders of the Wexford Opera Festival and its first Artistic Director, from 1951 to 1966. His skills as an impresario were developed during the late 1930s when he reformed the Wexford Operatic Society as the Wexford Musical Society, and then formed the Wexford Theatre Guild during the war years. In 1950 he set up the Wexford Opera Study Circle and invited Sir Compton Mackenzie to give the inaugural address. Mackenzie suggested that they put on an opera themselves, and so an operatic legend was born. The Dr Tom Walsh Lecture is presented by Wexford Festival Opera to honour the memory of ‘Dr Tom’. This year’s lecture will be given by the conductor and Chairman of The Delius Trust, David Lloyd-Jones. He was appointed Assistant Music Director at English National Opera in 1972, and in 1978 he was invited by the Arts Council to found a full-time opera company in Leeds, Opera North, with its new orchestra, the English Northern Philharmonia (later re-named the Orchestra of Opera North). He became Artistic Director of Opera North and spent twelve seasons with the company. He conducted operas at Wexford in 1967 (Roméo et Juliette), 1968 (La Jolie Fille de Perth), 1969 (L’Infedelta Delusa) and 1970 (Lakmé). He has conducted a number of highly-acclaimed CD recordings of music by Delius and other British composers. We invite you to join us for a cup of tea or coffee in the foyer of the Jerome Hynes Theatre after the lecture. Kindly supported by Victoria Walsh-Hamer

62 Concerts, Recitals & Lectures

Lunchtime Recitals

PHOTO © PATRICK REDMOND

Principal singers from the Festival Company make solo appearances in eight lunchtime recitals. Each performance lasts approximately fifty minutes. The schedule of singers is posted at the Opera House Box Office and on the Announcement Board outside St Iberius Church.

ST IBERIUS CHURCH 13:05 Friday 26, Saturday 27, Monday 29, Tuesday 30, Wednesday 31 October Thursday 1, Friday 2, Saturday 3 November Ticket €15

Sponsored by Peter & Nancy Thompson

84 Artist Biographies

Oratorio highlights include Rossini’s Stabat Mater, Haydn’s Creation, Bach’s Matthäus Passion, Handel’s Messiah, Mozart’s Requiem and Berlioz’s L’Enfance du Christ. He sings with the Bayreuther Festspiele Chor and Glyndebourne Festival Opera Chorus. Last year Carlos made his debut in the Wexford Festival Opera Chorus and understudied the title role in Donizetti’s Gianni di Parigi. He is extremely happy to return.

Founding member of awardwinning company ponydance (winners BANKSA Best Dance, Adelaide Fringe 2012) Paula has toured nationally and internationally for the last five years performing in some of the world’s major arts festivals, Edinburgh Fringe, Adelaide Fringe, Dublin Fringe, Dublin Theatre Festival and the WOMAD festival. This year ponydance became associate artists with the new flagship building for the arts in Northern Ireland, The MAC in Belfast. Paula has choreographed for and worked with Fluxus Dance Company, The Performance Corporation, Siamsa Tire, THISISPOPBABY, The Rubberbandits and The Dublin Super Cup event in the Aviva Stadium.

Stefania Panighini Assistant Director

Nathalie Paulin Soprano

Iria Perestrelo Soprano

L’Arlesiana

Le Roi malgré lui

A Village Romeo and Juliet

Stefania Panighini has worked as a director and as an assistant director since the age of twenty. In recent years she has directed Pomme d’Api and Monsieur Choufleri restera chez lui (Offenbach), La serva padrona and Livietta and Tracollo (Pergolesi) for the Teatro Comunale of Bologna, Jesi and Lugo. In addition, she has done work aimed at young audiences, including La boite a joujoux (Debussy, State Conservatory of Turin) and The Little Magic Flute (Aslico, OperaKids 2012).

Nathalie Paulin has established herself as an interpretive artist of the very first rank, collaborating with several renowned conductors, including Sir Roger Norrington, Yannick Nézet-Séguin, Andrew Parrott, David Agler, Bernard Labadie, Andrew Litton and Antony Walker. Recent highlights include la Baronne in La Cour de Célimène (Wexford Festival Opera), Matthäus Passion (Calgary Philharmonic), Messiah (Seattle Symphony), the title role in Rodelinda (Mercury Baroque), Carmina Burana (Orchestre symphonique de Québec) and Marzelline in Fidelio (Edmonton Opera). This season includes a return to the Wexford Festival Opera and another project for Opera Lafayette.

Iria Perestrelo completed the Artist Masters in Performance at the Guildhall School of Music and Drama under Susan Waters, supported by the Guildhall School Trust, Seary Charitable Trust, Music Students’ Hostel Trust, Vasconcellos Award, Sir Richard Stapley Trust, British Federation of Women Graduates and Southdown Trust. Operatic experience includes Moth (A Midsummer Night’s Dream, Britten, Barbican Theatre); Cis (understudy) (Albert Herring, Silk Street Theatre); Fairy Godmother (Cendrillon, Massenet), Amore (L’Egisto, Cavalli/Orfeo, Gluck; Zêzere Arts, conductor Brian Mackay); Elvira (L’italiana in Algeri), Night (The Fairy Queen), Gianetta (L’elisir d’amore), Drusilla (L’incoronazione di Poppea), Despina (Così fan tutte), Kate (Pirates of Penzance), Gazela in Filipe Pires’ Os Zoocratas (Teatro Rivoli and TNSC). Chorus work highlights include Maid 1 and Chorus in Sir Jonathan Miller’s staged production of St. Mathew Passion at the National Theatre. Iria recently played Zerlina at the Zêzere Arts Opera Festival 2012.

She is professor of Scenic Art at the State Conservatory of Bolzano and she has published several essays on musicology, including a study of Pélleas et Mélisande for OpéraComique (Paris). Stefania is engaged in developing a new opera theatre, which combines a thorough analysis of musical dramaturgy, advanced actorial techniques and the use of new technologies. In May 2013 She will direct Handel’s Orlando for the Theater an der Wien.

Her discography includes Caldara’s Clodoveo, Re di Francia (ATMA), Oedipe a Colonne (NAXOS) and Fauré’s Requiem with the Elora Singers of Canada

Artist Biographies 85

Claudia Pernigotti Costume Designer

Leonel Pinheiro Tenor

Jack Power

L’Arlesiana

A Village Romeo and Juliet

Claudia Pernigotti graduated in Scenography and Costume at the Accademia of Brera in 1993. Since September 2000 she has been responsible for the Costume service of Teatro Comunale di Bologna, and has designed the costumes for many productions, including Dido and Aeneas, Jackie O, Sweeney Todd, L’Elisir d’amore, Don Pasquale, and La Traviata. For the 150th anniversary of Italian unification she designed costumes for Risorgimento and Il prigioniero. Under the direction of Rosetta Cucchi she designed costumes for Tutti in maschera (Wexford, 2008), Viaggio a Reims (Piacenza, 2009), La Cenerentola (Brescia), The Servant (Lugo), Rodelinda and Zaira (Festival Valle d’Itria), La Traviata (Modena) and Rigoletto (St Gallen).

Leonel Pinheiro was born in Braga, Portugal. He graduated with distinction from the Opera Course at Guildhall School of Music and Drama under Susan McCulloch, supported by the Worshipful Company of Saddlers, Roseberry Scholarship, Blanch Gertrude Lynch Memorial Scholarship and Music Students’ Hostel Trust.

Jack Power is a thirteen-year-old boy soprano from Adamstown, Co. Wexford, who has just entered the Good Counsel College in New Ross as a first year student. At eight years of age Jack began singing with the Young Wexford Singers under the direction of Eanna McKenna. Jack joined Markéta Malcová’s School of Singing in Wexford in 2008 and has subsequently performed at several concerts with the School. In 2011 Jack won first prize in the Fintan O’Carroll Under 12 Soloist Competition in Waterford Institute of Technology. In May 2011 Jack performed as soloist with the Manchester Choral Society and the Wexford Orchestra in their performance of Mendelssohn’s Elijah in Wexford Opera House. Jack also performed as guest singer with the Wexford Ladies Choir at their Christmas Concert in 2011. As well as singing, Jack loves sports and is noted for his ability in both Gaelic hurling and football.

With Roberto Recchia she designed costumes for Une Éducation Manquée and La cambiale di matrimonio (Wexford, 2009). Future engagements include Le nozze di Figaro and Idomeneo, directed by Rosetta Cucchi.

86 Artist Biographies

Operatic roles include: Clem/ Alfred (The Little Sweep, Haddo House), Borsa (Rigoletto, Clonter Opera), Anuchkin (The Marriage), Giovanni D’Aire (L’Assedio di Calais), Le Duc (Cherubin), Mr. Upfold (Albert Herring, GSMD), Don José (Carmen, Kentish Opera), Cover Rodolfo (La bohème, BYO), Cover Cavaradossi (Tosca, Grange Park Opera), Alfredo (La Traviata, European Chamber Opera), Il Messaggero (Aida, Raymond Gubbay, Royal Albert Hall), Luigi (Il Tabarro, Grimeborn Opera Festival), Don Basilio/ Curzio (Le Nozze di Figaro, Woodhouse Opera). Leonel Pinheiro is the recipient of the Patrick Libby prize for acting. Recently he made his Opera Holland Park debut as Gherardo in the Christine Collins Young Artists performance of Gianni Schicchi.

Christopher Robertson Baritone

Simon Robinson Baritone

Jamie Rock Baritone

L’Arlesiana

Le Roi malgré lui A Village Romeo and Juliet

A Village Romeo and Juliet The Magic Flute

Christopher Robertson’s career has seen him perform a diverse range of baritone roles in opera and on the concert stage. He has recently been associated particularly with the role of Nabucco, which he performed to great acclaim at the Teatro Massimo di Palermo, in concert at the Concertgebouw with Robbert van Steijn, and in Bilbao.

Simon Robinson’s operatic and concert repertoire ranges from early baroque to contemporary. He studied with Prof. Robert Gambill at the Berlin University of Arts. He was a finalist in the first Baroque Opera Competition in Innsbruck in 2010. In 2011 he was a semifinalist in the Wigmore Hall Song Competition and was nominated for the ‘Independent Opera Prize’.

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

A core part of his repertoire, Christopher Robertson has performed dramatic Verdi and Puccini baritone roles around the world. Bel canto roles have included the title role in Guillaume Tell, Alfonso in La favorita and Riccardo in I puritani. Equally adept in French repertoire, notable roles include Agamemnon (Iphigénie en Aulide) and the Marquis de la Force (Les dialogues des Carmélites), for Teatro alla Scala under Riccardo Muti, Les pêcheurs de perles at the Opera di Roma, and Thaïs for Teatro Municipal de Santiago. He has performed leading roles in the German repertoire, including Tristan und Isolde, Rienzi, Die tote Stadt and Lohengrin.

In 2011 he made his debut at the Innsbruck Early Music Festival in La Calisto (Cavalli). He sang the title role in the world premiere of Kalif at the Staatstheater in Kiel earlier this year and has recently performed the roles of Second Elder in Susanna (Handel) at the Iford Opera Festival and Jupiter and Telenus in Nais (Rameau) at the Aldeburgh Proms. Forthcoming engagements include Plutone (Orfeo) at the Netherlands Opera and the Staatsoper Berlin, and he is to sing in Beethoven’s Ninth Symphony in the Konzerthaus Berlin.

His opera roles include Schaunard (La bohème), Tarquinius (The Rape of Lucretia), Masetto (Don Giovanni), Dancairo (Carmen), Bartly (Riders to the Sea), Aeneas (Dido and Aeneas), Prince Yamadori (Madama Butterfly), and Enrico (Il Campanello). He has given recitals in Ireland and the UK and has performed in concerts in Dublin, Edinburgh, Salzburg and Paris. Jamie is extremely grateful for the support of Bloxham Stockbrokers, Derek Hill Foundation, Sir James Caird Travelling Scholarship and the Arts Council.

Artist Biographies 87

Dana Sadava Répétiteur Assistant Conductor

Carmen Santoro Répétiteur

A conductor of operatic and symphonic repertoire, Dana Sadava has conducted productions and concerts at Pensacola Opera, Banff Opera as Theatre, the University of Michigan, Comic Opera Guild, Community Women’s Orchestra, Hot Springs Music Festival, San Francisco Conservatory of Music, and with the new music ensemble Zero Blue. As a pianist, she was recently the mainstage rehearsal pianist for Pensacola Opera and Indianapolis Opera. She studied orchestral conducting with Kenneth Kiesler at the University of Michigan, earning a Masters of Music on a merit scholarship, and also received a scholarship to study piano with Sanford Margolis at the Oberlin Conservatory, where she was the pianist for the Oberlin Contemporary Music Ensemble. Before delving into musical life, Ms Sadava was an engineer and received many awards for leadership and research, including fellowships at NASA and Cambridge University. She received undergraduate degrees in aeronautics and literature from the California Institute of Technology.

Born in Martina Franca, Italy, Carmen Santoro began studying piano at the age of seven, later studying violin and composition. After graduating from the U.Giordano Conservatory of Music in Foggia, she continued her postgraduate piano and répétiteur studies.

88 Artist Biographies

Hannah Sawle Soprano A Village Romeo and Juliet A Dinner Engagement

From 1981 to 2000 she worked as rehearsal and stage pianist, and on-stage musical director at the Festival della Valle d’Itria in Martina Franca. She has worked as répétiteur at many theatres in Italy, as well as in Valencia, Antwerp and Vienna. Recent invitations include Wexford, Pesaro (Rossini Opera Festival), Ravenna (Lugo Opera Festival) and Taranto (Paisiello Festival). She is active as a chamber music performer and accompanist. Since 1999 she has given masterclasses and lectures in Japan on the Italian operatic repertoire and on Baroque music. She is a visiting professor in Bologna and Valencia, and teaches at the Conservatory of Music in Parma.

Hannah Sawle studied at Chethams School of Music, the GSMD (supported by an MBF and Sir Richard Stapeley Scholarship) and on ENO’s Opera Works Course supported by the Nicolas Boas Charitable Trust. She is currently studying with John Evans. Whilst at Guildhall she won awards for her English and Contemporary Song and she has been guest soloist on BBC World Service, Radio 3 and has recorded with the BBC Philharmonic Orchestra. Roles include Tsarevna (cover) (Kashei the Immortal) for Buxton Opera, Trio Soprano (Trouble in Tahiti) and Premiere Adolescent (La Cour de Célimène) for Wexford Festival Opera, Nedda (I Pagliacci) and Mademoiselle Silberklang (The Impresario) for Garden Opera, Fiordiligi (Così fan tutte) for Jackdaws, Pamina (Die Zauberflöte), Adina (L’elisir d’amore) and Elletra (Idomeneo) all for Hampstead Garden Opera, and she premiered the role of Ruth (A Fountain Sealed) conducted by the composer, Nathan Williamson. She has also sung in the chorus for Raymond Gubbay and Buxton.

Mariangela Sicilia Soprano

Cozmin Sime Baritone

David Stout Baritone

L’Arlesiana

A Village Romeo and Juliet The Magic Flute

A Village Romeo and Juliet

Born in Cosenza in 1986, Mariangela Sicilia studied piano and voice at Cosenza Conservatory. In 2009 she won the International Ruggero Leoncavallo Competition as the best soprano voice. She made her debut that year as Gretel in Humperdinck’s Hänsel und Gretel, touring numerous Italian theatres. She attended Scuola dell’Opera Italiana at the Teatro Comunale di Bologna (2010) and the Mozart Academy in Aix-en-Provence (2011).

Born in Ordea, Romania, Cozmin Sime made his début at the Romanian National Opera in Bucharest as Marcello (La bohème) and performed Nick Shadow in the national première of The Rake’s Progress at the National Opera of Cluj-Napoca.

David Stout studied on the opera course at the Guildhall in London with Rudolf Piernay, where he was recipient of the Principal’s Prize. Recent operatic roles include Dr Falke (Die Fledermaus), Ping (Turandot), Papageno (Die Zauberflöte), Konrad Nachtigall (Die Meistersinger von Nürnberg), Schaunard (La bohème), Zaretski (Eugene Onegin), Nikita (Das Portrait), Harašta (The Cunning Little Vixen) and Aeneas (Dido and Aeneas). He has sung for the Royal Opera House, Welsh National Opera, Bregenz Festspiele, English National Opera, Teatro Massimo di Palermo, Opera Holland Park and Grange Park Opera.

In 2010 she was Serpina in Pergolesi’s La Serva Padrona in Naples, a production celebrating the 300th anniversary of Pergolesi’s birth. Other recent roles include Musetta (La bohème), Il Cappello di paglia (Nino Rota) and Don Trastull (Jommelli) in Italy, as well as Massenet’s Cléopâtre at the Salzburg Festival, and in the 2011/2012 season she was chosen as Gilda in Rigoletto at the Teatro Rendano in Cosenza. She is active as a concert soloist and has an especial interest in contemporary repertoire. Sponsored by John Small Family

He made his international début as Claudio in Donizetti’s Emilia di Liverpool with the European Opera Centre. He performed Schaunard (La bohème) at the Verbier Festival, and participated in the Mozart Academy at the Aix-en-Provence Festival. He sang Barone di Trombonok (Il viaggio a Reims) at the Accademia Rossiniana in Pesaro and for Vlaamse Opera. His repertoire also includes Count Almaviva (Le nozze di Figaro), Guglielmo (Così fan tutte), Dandini (La cenerentola), and Belcore (L’elisir d’amore). Recent and forthcoming engagements with English Touring Opera include Onegin (Eugene Onegin), Figaro (The Barber of Seville) and Eduardo (L’assedio di Calais).

Last season’s highlights included Baron Douphol (La Traviata) for the Royal Opera House and Roucher (Andrea Chénier) for Bregenz. Engagements in the 2012–13 season include roles at English National Opera, Welsh National Opera and Opera Holland Park. Recent recordings include the NMC Songbook with Iain Burnside, Haydn’s Creation with New College, Oxford, and Mahler (arr. Schönberg) Lieder eines fahrenden Gesellen.

Artist Biographies 89

Thaddeus Strassberger Director

Kate Symonds-Joy Mezzo-soprano

Lawrence Thackeray Tenor

Le Roi malgré lui

A Village Romeo and Juliet

Le Roi malgré lui A Dinner Engagement

Thaddeus Strassberger returns to Ireland having been awarded the prestigious European Opera Prize in 2005 for La Cenerentola (Opera Ireland / Hessisches Staatstheater Wiesbaden). Recent productions: Les Huguenots and Der Ferne Klang (Bard Summerscape), Hamlet and Nabucco (Washington National Opera, Minnesota and Philadelphia), I due Foscari – with Plácido Domingo making his role debut – (LA Opera in collaboration with Palau de les Arts Valencia, Theater an der Wien in Vienna and the Royal Opera House Covent Garden in London), Le Nozze di Figaro and The Rape of Lucretia (Norwegian National Opera), La Gazzetta (Rossini in Wildbad Festival), Turandot (Theater Augsburg), and La Fanciulla del West (Tiroler Landestheater).

Kate Symonds-Joy was educated at Cambridge University, where she graduated with a First Class Music degree from Gonville and Caius College. She then studied on the Royal Academy Opera course (DipRAM). She was the winner of the 2011 Thelma King Vocal Award and was awarded the Basil A Turner Prize for her role as Bianca in Britten’s The Rape of Lucretia for BYO.

Manchester-born Lawrence studies part time at the DIT Conservatory of Music and Drama (Dublin) with Robert Alderson. This year he returned to Glyndebourne Festival Opera Chorus in La Cenerentola and The Cunning Little Vixen, toured Ireland as Monostatos in The Magic Flute (OTC), performed the title role in Orpheus in the Underworld (DIT Conservatory), The Duke in Rigoletto (Opera in the Open) and created the role of Alfie in Big Brother (DYOC).

Strassberger gained his degree in Engineering from The Cooper Union for the Advancement of Science and Art in New York City and received a Fulbright Fellowship to complete the Corso di Specializzazione per Scenografi Realizzatori at Teatro alla Scala in Milan in 2001.

90 Artist Biographies

Other projects include Mrs Herring in Britten’s Albert Herring (Aldeburgh), Handel’s Messiah (Bordeaux Opera), Bizet’s Carmen (Kentish Opera), Dorabella in Mozart’s Così fan tutte, Medea in Cavalli’s Giasone, Ino in Handel’s Semele and Florence Pike in Britten’s Albert Herring (all RAO). Concert work includes Ravel’s Chansons madécasses at the Purcell Room, Rutter’s Feel the Spirit at the Barbican, Mahler’s Symphony No. 2 in Cadogan Hall, Verdi’s Requiem in London’s Guildhall, a recital at the Wigmore Hall, and a recording of Giles Swayne’s Stabat Mater for NAXOS.

This year he has won major awards at Ballymena Festival of Music and the Feis Ceoil, and performed as a guest soloist in Claudia Boyle’s Rising Star 2012 recital (NCH). Other credits include roles in Die Meistersinger von Nürnberg (GFO), Carmen (LMF), Coffee Cantata (OTC), La Cour de Célimène and chorus in Maria and Gianni di Parigi (WFO, 2011). Lawrence is delighted to be back in Wexford and looks forward to watching his beloved Manchester United at many of the local inns.

Jean-Luc Tingaud Conductor

Mattie Ullrich Costume Designer

Jamie Vartan Designer

Le Roi malgré lui

A Village Romeo and Juliet

Jean-Luc Tingaud studied at the Paris National Conservatoire and was assistant to Manuel Rosenthal. He has appeared at three previous Wexford Festivals, conducting Massenet’s Sapho in 2001, Auber’s Manon Lescaut in 2002 and Fauré’s Pénélope in 2005. He has conducted extensively throughout his native France and is Artistic Director of the Paris-based chamber orchestra OstinatO. He made his UK debut with the English Chamber Orchestra in 2004 and is a regular guest conductor of the Ulster Orchestra.

Mattie Ullrich makes her Wexford Opera debut this season. Her recent work in opera includes I due Foscari (Los Angeles Opera), Nabucco (Washington National Opera), The Rape of Lucretia (Norwegian Opera), Le Roi malgré lui and Der ferne Klang (Bard SummerScape), and Zaïde, Così fan tutte and Ariadne auf Naxos for Wolf Trap Opera. She received the European Opera Prize in 2006 for her collaboration with Thaddeus Strassberger for Opera Ireland’s production of Rossini’s La Cenerentola.

Jamie Vartan has worked extensively as a designer in opera and theatre in Europe and has represented the UK at the Prague Quadrennials in 1999, 2007 and 2011.

Recent engagements include Le siège de Corinthe at the Rossini Festival in Wildbad, Faust at the Macerata Festival, The Turn of the Screw at the Opéra de Lille, L’heure espagnole with l’Atelier Lyrique de l’Opéra de Paris, Dialogues des Carmélites for Pittsburgh Opera and his debut with the Orchestra of the Teatro Carlo Felice in Genoa. Future plans include a new production of Pelléas et Mélisande at the Prague National Theatre and Madama Butterfly in Pittsburgh.

She also works in film, theatre, musicals and print. She designed the costumes for a reworking of the Stephen Schwartz musical Working, for Off Broadway’s The Pride (directed by Joe Mantello), Things We Want (directed by Ethan Hawke), and The Starry Messenger (starring Matthew Broderick). Her film work includes Year of the Fish (Sundance 2007) and the awardwinning short, Sovereignty. She is currently collaborating with Mr Strassberger on a new production of Don Giovanni for Norwegian Opera.

Designs for opera include Ariadne auf Naxos (Salzburg Festspielhaus), The Queen of Spades (La Scala, Milan), Death in Venice (Salzburg Landestheater), Don Giovanni (Varna), Manon Lescaut (Teatro Regio, Parma), A Village Romeo and Juliet, Aida and Carmen (Premio Abbiati Award, Best Production 2006, Teatro Lirico di Cagliari), La Statira (Teatro San Carlo, Naples), Der Zwerg (Teatro Comunale, Florence), La Traviata (Malmö Opera), La Vestale (Wexford), Il Pirata and The Saint of Bleecker Street (Opera Marseille), L’isola disabitata (Royal Opera House), Carmen (Teatro Sao Carlos, Lisbon), and Falstaff (Teatro Farnese, Parma). Recent work in theatre includes Misterman (Best Set Design, Irish Times Theatre Awards 2011) at Galway Arts Festival 2011, New York (St Anne’s Warehouse) and London (National Theatre).

Artist Biographies 91

Annunziata Vestri Mezzo-soprano

Owen Webb Baritone

L’Arlesiana

Le Roi malgré lui A Village Romeo and Juliet

Winner of the ‘Laura Volpi’, ‘Maria Caniglia’ and Rosertum Lyric Contests, Annunziata made her debut in 2003 as Suzuki. An eclectic artist with bold acting qualities, she can boast a huge repertoire, from bel canto to Verdi and Puccini’s masterpieces. She recently sang Preziosilla in La Forza del Destino at the Teatro Regio in Parma and Ninetta in Les vêpres siciliennes at the Teatro San Carlo in Naples, both of them conducted by Gianluigi Gelmetti. She also performed in Il viaggio a Reims in Florence, Elektra at the Teatro dell’Opera in Rome, Madama Butterfly in Bergamo, Novara and in Rigoletto at Pisa. She made her outstanding film debut in the C. Verdone movie La Cenerentola, made by Rada Film production. She recently achieved a great success as Suzuki in Madama Butterfly at the Puccini Festival in Torre del Lago.

His roles for Welsh National Opera include Claudio (cover, Beatrice and Benedict), Eisenstein (cover, Die Fledermaus), Harlekin (Ariadne auf Naxos), Ortel (Die Meistersinger von Nuremburg), Figaro (cover, The Marriage of Figaro), Dancaire (Carmen), Schaunard (La Bohème), Masetto (Don Giovanni), Figaro (cover, Il barbiere di Siviglia), Marullo (Rigoletto), Cappadocian (Salome), First Officer (The Carmelites), Kuligin (Kát’a Kabanová), Helmsman (Tristan und Isolde), The Official Registrar (Madama Butterfly). Roles elsewhere include Mr Noye (Noye’s Fludde) at Llangollen Eisteddfod, Morris (Postcards from Dumbworld by Brian Irvine) at Belfast Festival, Papageno (The Magic Flute), Sweeney Todd, Zurga (The Pearlfishers), Escamillo (Carmen), Guglielmo (Così fan tutte), Dr Falke (Die Fledermaus), Seraphin (Véronique) and Lord Tristan (Martha). Future engagements include Noyes Fludde, Puccini’s Messa di Gloria, Carmina Burana (at The Brangwyn Hall), Haydn’s The Seasons and Harmonie Messe, and Horizons, a new film commission with WNO. Owen is a keen runner and a huge Liverpool supporter!

Biographies for artists appearing in ShortWorks and Concerts can be found in the individual works’ programme book.

92 Artist Biographies

La Cour de Célimène, 2011 Photo © Clive Barda/ArenaPAL

Orchestra of Wexford Festival Opera

PHOTO © GER LAWLOR

1ST VIOLINS

DOUBLE BASSES

TRUMPETS

Fionnuala Hunt, Leader Thérèse Timoney, Leader Anita Vedres, Co-principal Lynda O’Connor David O’Leary Roisín Walters Stephanie McCabe Justyna Dabek-Liebig Feilimidh Nunan Katie O’Connor Rachel Du

Joe Csibi, Principal Maeve Sheil Paul Stephens Mark O’Leary

Dan Newell, Principal Rick Cowen David Collins

FLUTES

Michael Lloyd, Principal Jonathan Clifford Paul Frost

2ND VIOLINS

Paul O’Hanlon, Principal Siún Milne, Co-principal Jenny Burns Rachel Grimes Larissa O’Grady Robert Mahon Tadhg Murphy Deirdre Reddy VIOLAS

Beth McNinch, Principal Robin Panter Triona Milne Carla Vedres Margaret Lynch Lucy Nolan CELLOS

Robert Truman, Principal Gerald Peregrine Peggy Nolan Siobhan Lynch Grainne Hope

TROMBONES

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

TUBA OBOES

Matthew Manning, Principal Emmet Byrne, Principal Ruby Ashley

Jonathan Gawn, Principal HARPS

Dianne Marshall, Principal Aisling Ennis

CLARINETS

Tom Lessels, Principal Conor Sheil Suzanne Brennan, Principal

TIMPANI

Noel Eccles, Principal PERCUSSION

BASSOONS

Paul Boyes, Principal Cliona Warren, Principal John Hearne

Bernard Reilly, Principal Caitríona Frost Lloyd Byrne Angela Dakin Kevin Heffernan

HORNS

John Ryan, Principal Joseph Ryan Liam Duffy, Principal Tom Kane Kevin O’Carroll Brian Daly

ORCHESTRA MANAGER

Caitriona Walsh ASSISTANT ORCHESTRA MANAGER

Bernard Reilly LIBRARIAN

Sarah Burn

Orchestra of Wexford Festival Opera 93

Chorus of Wexford Festival Opera

PHOTO © PATRICK BROWNE

CHORUS MASTER & CONDUCTOR Gavin Carr SOPRANOS

MEZZO-SOPRANOS

TENORS

BASSES

Nazan Fikret Anna Jeruc-Kopec Eleanor Lyons Maria Miró Laura Sheerin Angharad Morgan Eleanor Garside Iria Perestrelo Chloe Morgan Aimee Toshney Hannah Sawle Jennie Witton Ruth Kelly

Natalie Sinnott Raquel Luis Eleanor Greenwood Emma Watkinson Kate Symonds Joy Kristin Finnigan Mae Heydorn Anna Jeffers Cátia Moreso Laura Murphy

Patrick Hyland Daniel Joy Carlos Nogueira Alberto Sousa David Sanchez Serra Clement Hetherington Leonel Pinheiro Lawrence Thackeray

Jamie Rock Adam Gilbert Christopher Cull Ricardo Panela Owen Webb Colin Brockie Thomas Faulkner Simon Meadows Simon Robinson Cozmin Sime Padraic Rowan

CHORUS MANAGER Elenor Bowers-Jolley

94 Chorus of Wexford Festival Opera

CHORUS RÉPÉTITEUR Janet Haney

PANTONE SOLID CO PANTONE SOLID CO

24th October – 4th November

• • • • • •

Luxurious Guestrooms Pre-Opera Dinners at Oyster Lane Restaurant Post-Opera Buffets in the Gallery Bar Food at the Ballast Bank Bar & Grill & Live Music Wexford’s Favourite Art & Craft Exhibitions Antiques Fair & Book Fair

An Outstanding Community Production Wexford Creamery is very proud to support the 2012 Wexford Festival Opera. For more than sixty years the people of Wexford have come together and put their shoulders to the wheel to bring to life one of the worldâ&#x20AC;&#x2122;s most wonderful cultural events. Members of the Wexford community, from all walks of life, join forces every year to put on a festival that gives opera lovers everywhere the chance to experience works that are very rarely seen. Here at Wexford Creamery, we recognise the value of that community effort and the hard work that helps to put Wexford on the map, as a place that prizes excellence and artistic endeavour.

FOR MORE INFORMATION VISIT

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Friends

Join our Friends Family Become a Friend of the National Concert Hall and a symphony of benefits, exclusive invitations, a priority booking status and an up tempo social scene awaits you... Annual Membership packages start at just €125.

Become a Friend today! Alison Balsom trumpet Performing at the National Concert Hall, 8 November 2013

For further information contact: Sinéad Fraher, Tel: +353 1 417 0067 • E-mail: friends@nch.ie

www.nch.ie

Your box at the Wexford Festival Opera

ound off your opera experience at Artramon. autumn game hunting on Artramon Estate. We offer the Countess Walderdorffâ&#x20AC;&#x2122;s grade I listed manor house with ideal opportunity for your individual holiday. its three suites, two double rooms, and a single room is To find out more, please contact our booking office in only 6 km from the Wexford Opera House. Germany: We will make your ticket arrangements for you and even ARTRAMON FARM provide you with a free shuttle service to the Opera and Castlebridge, Co. Wexford, Rep. of Ireland back for evening performances. Phone: +49 (0)4532 21500 Ireland and Artramon-Farm, Castlebridge, are worth a www.artramon.com, E-mail: info@artramon.com visit in any season. Enjoy the unique Curracloe Beach, the exquisite Golf courses, the sea bass fishing and the We look forward to your visit.

Patron Circle

Enjoy access to the heart of the Hall Join some of the National Concert Hall’s most generous Patrons and play a key part in the development and expansion of Hall’s artistic programming and educational and outreach activities in communities throughout Ireland.

Patrons enjoy all Friends benefits plus: Priority reservations and personalised service A year round VIP programme of social and cultural activities to enjoy Recognition in National Concert Hall publications

Become a Patron today! Renée Fleming soprano Performing at the National Concert Hall, 24 July 2013

For further information contact: Sinéad Hope, Tel: +353 1 4170072 • E-mail: Sinead.Hope@nch.ie

www.nch.ie

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THE LYRIC CONCERT with PAUL HERRIOTT (Monday to Friday, 8pm to 10pm) Enjoy live concerts from around the world – Dublin to Vienna, New York to Sydney Great festivals, superb performers, RTÉ National Symphony Orchestra Season live on Fridays E: concerts.lyricfm@rte.ie @lyricconcert /RTÉlyricfm

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THE YARD RESTAURANT, WEXFORD.

OPEN EVERY DAY FOR LUNCH FROM 12 TILL 3 AND DINNER FROM 5.30 TILL LATE. COFFEE SHOP OPEN FROM 8.30AM TILL 6PM DAILY. The Yard, restaurant partner to Wexford Opera Festival.

3 LR. GEORGE’S STREET, 053 9144083 www.theyard.ie

RIVERBANK HOUSE HOTEL

Enjoy Wexford’s most stunning VIEWS AT THE RIVERBAR. extensive menu aVAILABLE from midDAY to 10pm Tel. 053 9123611 www.riverbankhousehotel.com

Official Piano Suppliers and Tuners for the Wexford Opera Festival and House Sales, Tuning, Restoration, Hire and much, much more...

www.thepianogallery.ie St.Mullins, County Carlow Phone: (051) 424 442

Centuries of heritage. Decades of experience. Months of planning. Outstanding performance.

This is what it all comes down to. People with passion, energy, imagination and dedication to deliver a truly outstanding performance. Every time. Best wishes to the Wexford Festival Opera from Frank Lillis and staff at Bank of Ireland Wexford.

Bank of Ireland is regulated by the Central Bank of Ireland.

The Cultural Service of the Embassy of France in Ireland is proud to support Culture in Ireland and the Franco-Irish Relationship

www.ambafrance-ie.org

County Wexford - The Model County has always been famous for the quality of its fresh produce. Our Chef, Richard Trappe and his team are delighted to have the opportunity to showcase the best food that the area has to offer in the unique surroundings of Greenacres restaurant. Wine lovers are welcome to browse in the unique tasting room which features one of the largest collections of Cru Classe wines to be found anywhere. James O’Connor and Donal Morris are pleased to give honest and trustworthy advice and share their expertise gained over many years. Wexford Festival Opera Art Exhibition

An exhibition of Contemporary Irish Art painting, sculpture and stained glass from Ireland’s leading professional artists. Curated by: Eddie O’Reilly

Opening Hours Mon—Sat : 9am till late Sun/Bank Hol Mon: 11am till late

Greenacres, Selskar, Wexford Offering food, wine, art, music and culture - all under one roof. www.greenacres.ie

info@greenacres.ie

P:+353 53 9122975

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Supporting Wexford Festival Opera

PHOTOS BY JAMES HIGGINS

Tenor Luigi Bocciaâ&#x20AC;&#x2122;s recital at the launch in New York of the American Friends of Wexford Opera

Guests attending the American Friends of Wexford Opera reception

Anne Anderson, Irish Ambassador to the UN, David McLoughlin and Loretta Brennan Glucksman

Launch of the American Friends of Wexford Opera Wednesday 19 September 2012, the launch date of the American Friends of Wexford Opera, was a significant event in the history of Wexford Festival Opera. At the launch, which was generously hosted by the Chair of the American Ireland Funds and member of the Wexford Festival Foundation, Loretta Brennan Glucksman, invited guests were introduced to Irelandâ&#x20AC;&#x2122;s most prestigious cultural event and treated to a recital by Wexford alumnus Luigi Boccia.

114 Supporting Wexford Festival Opera

The American Friends of Wexford Opera will play a vital role in our North American audience and donor development plans. The next stage of this exciting initiative will be the inaugural annual American Friends of Wexford Opera fundraising event in New York in 2013. To support this initiative and to join us as an advocate and ambassador for Wexford Opera in North America, please refer to the special American Friends section of the Wexford Opera website: www.wexfordopera.com/ support/american_friends.

PHOTOS: PATRICK BROWNE

The President’s Circle Wexford Festival Opera launched The President’s Circle campaign during the 60th Wexford Festival Opera in 2011. The Lord Magan of Castletown, a longtime supporter of the Festival, is leading the campaign and working in conjunction with Wexford Opera’s small but dedicated development team to help ensure its success. The initial phase of this major gifts campaign aims to fund the artistic ambition and vision of the Festival annually up to 2014. More specifically the campaign is designed to help fund the Festival’s artistic budget, with philanthropic gifts to the President’s Circle directed solely towards this end.

Some examples of specific artistic projects which are available for funding from President’s Circle gifts are as follows: • • • • •

Main Stage Opera Productions Festival ShortWorks Productions The Orchestra of Wexford Festival Opera The Chorus of Wexford Festival Opera Festival Education and Community Access Projects

For further information on The President’s Circle please contact David McLoughlin on +353 53 916 3521, dml@wexfordopera.com or Eamonn Carroll on +353 53 9163527, eamonn@wexfordopera.com.

Wexford Festival Foundation In 2004 the Board of Wexford Festival established Wexford Festival Foundation and gave it the task of raising the private funding element of the cost of constructing Wexford Opera House. As the Foundation is now completing its task the Festival Board wishes to record its deep gratitude to all Foundation members for their commitment, generosity, support and dedication during the last seven years, and in particular to Liam Healy for his astute and unswerving leadership. Wexford Festival Opera recognises the outstanding contribution of the following to Wexford Festival Foundation: Michael & Giancarla Alen-Buckley Lewis & Loretta Brennan Glucksman Sir David Davies The Desmond Family Liam & Eithne Healy Independent News & Media plc Frank A & Ursula Keane Carmel Naughton Tony & Chryss O’Reilly Peter D Sutherland SC Wexford County & Borough Councils

Wexford Festival Foundation would like to sincerely thank the following for their contribution to the Foundation Fund: Dame Vivien Duffield DBE The Clore Duffield Foundation Bill Kelly John & Patricia Mellon Danone Nutricia BNY Mellon PwC Philip & Paula Stafford The American Ireland Fund Dr Michael and Ruth West Wexford Creamery Wexford Festival Trust UK Ltd. Tony & Breda Wright ACC Bank Adrian Haythornthwaite Boland Ford Brendan Foley Celtic Linen Corcoran’s Menswear David Bolger Denis Cremins Doyle Solicitors Dr Bart Curtis Supporting Wexford Festival Opera 115

Contributors to the Foundation Fund (continued): Dr David Curtis Dr John Cox Dr Ken Mealy Eithne Scallan Falcon Financial Greenacres Helen Doyle Henry Burke Hertz Hugh Boggan Jimmy & Sylvia O’Connor Kehoe Auctioneers Kelly’s Bakery Ken Hynes

Kent Stainless Liam Gaynor Liam Hipwell Mahon & Fox Mary Bowe Max Ulfane Michael Sheehan Michael Tierney MJ O’Connor Solicitors National Vehicle Distribution Nigel Pierce P Smythe Peter & Sarah Scallan Peter Redmond

Ray Corish Raymond Kelly Architects The Reverend Norman Ruddock Richard Doyle Sam McCauley Shoe Style International Stone Solicitors Tim Corbett Victoria Walsh-Hamer Wexford Community Development Wexford Management Forum

Cast Sponsorship

Mariangela Sicilia

Eleanor Greenwood

Jessica Muirhead

Our Cast Sponsorship Programme once again received an excellent response in 2012. This initiative allows us to uphold our artistic integrity and enables us to cast some of the potentially great opera singers of the future, in true Wexford Festival Opera tradition. Friends and supporters can choose their cast member in consultation with Artistic Director David Agler and will receive accreditation in the official Festival programme, an official photograph with the cast member and complimentary Festival tickets. A lunch or dinner engagement with the cast member can also be arranged. If you are interested in Cast Sponsorship at the 2013 Festival please call Eamonn on +353 53 916 3527 or email eamonn@wexfordopera.com JOHN SMALL FAMILY (Sponsoring Mariangela Sicilia)

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

Sandra is a long-time and wholehearted Friend of the Festival. Choral music is one of her special interests and

116 Supporting Wexford Festival Opera

Liam Bonner

Dmitry Golovnin

several times over the past few years she has presented performances of the Prague Chamber Choir in her home town of Portarlington. Sandra hopes that her sponsorship will inspire others to support the Festival in a similar manner. PETER & NANCY THOMPSON (Sponsoring Jessica Muirhead)

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

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

GERARD ARNHOLD AWARD (donated by Anthony Arnhold in memory

The Ireland Funds

of his father)

This award, generously donated by Anthony Arnhold in memory of his father, will be announced by Artistic Director David Agler on the closing night of the Festival. Gerard Arnhold, a long-time patron and supporter of Wexford Festival Opera, died in 2010 after a long and fulfilling life. Wexford Festival Opera is most grateful to Anthony for providing this award in his father’s memory.

BEVERLY SPERRY SPONSORSHIP

As part of their Promising Ireland campaign, The Ireland Funds are supporting our Community Partnership and Education Projects. The project forms part of our commitment to making the Festival easily accessible to students and younger people. The support of The Ireland Funds is playing an important role in the development of our strategy to ensure that the Festival is sustainable in terms of audience succession. Exposing the Festival to students and younger people will also assist in the development of the next generation of leaders in the Festival community.

OF THE MORNING CONCERT ON 1 NOVEMBER

In memory of Martin Meehan (4 August 1953–6 April 2012). In this tribute to her late husband, Martin, Beverly celebrates Wexford Festival Opera and the central role it played in their marriage: ‘My darling husband Martin, who died in April, had never been to an opera before we met in 1985. I, on the other hand, came from an opera-loving family in Brooklyn and attended my first performance at the age of two. Despite this disparity, the unique concept and repertoire of the Wexford Festival was a great equaliser, with each of us experiencing – and sharing – the operatic rarities for the first time in a way we never could have done with the standard repertoire. The fact that we attended the Festival for the first time in 1990 makes us johnny-come-latelies by Wexford standards, but what we lacked in longevity, we made up for in fervour. Our annual trip to the Wexford Festival was the fulcrum around which our year revolved. No other holiday plans, no personal commitments, no busy seasons at work were ever allowed to interfere with what became, for us, a pilgrimage. So it was important to me to have a sense of Martin’s presence at this year’s Festival, and I am grateful for the opportunity to sponsor this concert in his memory. In addition, I have endowed our two favourite seats – front row centre – with plaques bearing our names and the ultimate expression of my faith: Together Always.’

Donations We would like to acknowledge sincerely and gratefully all those who made a donation to Wexford Festival Opera in 2012. You can help to support our work at any time by making an online donation at www.wexfordopera.com. Thank you.

Legacies We are delighted and honoured to have received a number of legacy gifts in 2012 and would like to extend our most sincere thanks to the individuals involved and their families for their generosity. Wexford Festival Opera continues to rely heavily on the support of those who care deeply about its present and future success. Those individuals who remember the Festival in their wills make an incredibly positive impact on the lives of future generations and their generosity will never be forgotten by the Festival community. If you would like further information on leaving a legacy through your will or estate plan, please contact David McLoughlin in confidence on 053 916 3521 or email dml@wexfordopera.com. Further information is also available at www.mylegacy.ie.

Supporting Wexford Festival Opera 117

Friends’ Membership

PHOTO © CLIVE BARDA/ARENAPAL

Wexford Festival Opera has flourished for over sixty years due to pride, passion and patronage. It simply could not continue without the generous support of our Friends. The commitment of our Friends to the development of Wexford Festival Opera’s repertoire is vital to its success. Your fervour compels us to continue to deliver excellence on the global opera stage. Becoming a Friend of Wexford Festival Opera allows you to play your part in the development of opera in Ireland, engage with artists and creative teams, and ensures the future of Wexford as a major international opera destination. Declare your appreciation for opera by becoming a Friend and help us to keep the music alive.

Which kind of Friend are you? Prelude Friends – €80 Share the music with a younger generation of opera lovers by helping them to become Prelude Friends. For those aged under 35, Prelude Friends will receive two complementary main stage opera tickets along with a host of other advantages. Pass on your love of a timeless art form to a new generation.

Ensemble Friends – €185 Ensemble Friends of Wexford Festival Opera are the backbone of our continued success; without you the melody would cease. This group of loyal supporters are at the heart of our sixty-plus years of growth and development. Becoming an Ensemble Friend allows you to enjoy priority booking, behind-the-scenes updates, access to overseas opera tours, exclusive Friends events throughout the year, admittance to hospitality facilities and much more! Express your love for Wexford Festival Opera and stay close to the heart of the drama. 118 Friends’ Membership

Aria Friends – €500 Aria Friends of Wexford Festival Opera directly support our work by providing opportunities for young singers, from the recently formed Chorus of Wexford Festival Opera through to principal singers. The additional support you provide by becoming an Aria Friend ensures the continued enhancement and development of emerging Irish and international talent, while helping to secure the future of Wexford Festival Opera as one of the World’s leading companies, producing rarely performed repertoire.

Bravura Friends – €2,000 Wexford has a long and proud history of performing unjustly neglected operas to the highest standard to audiences from all over the world. In becoming a Bravura Friend, you can provide direct philanthropic support for one main stage production each year. The additional support you provide by becoming a Bravura Friend will ensure that the quality and excellence of our artistic programming continues into the future. Through these generous gifts our Friends directly influence the future of the Festival and play a vital part in our success.

Becoming our Friend Become a Friend of Wexford Festival Opera or renew your current membership. Visit the Friends’ Lounge, Friends’ Reception Desk or Box Office in Wexford Opera House; contact Lucy Durack at +353 (0)53 912 2400 ext 583 or email friends@wexfordopera.com. Save time by renewing online at www.wexfordopera.com

Friends of the Festival

PHOTO © GER LAWLOR

Circle Patron

Diamond Friends

Mr Jose Alvarez, Mr James & Lady Emma Barnard, Mrs Joan Boggan, Mr Thomas P Crotty, Ms Jean Delaney, Mr Simon Derry, Ms Rita Doyle, Mr & Mrs David & Kate Dugdale, Dr James A Glazier, Mrs Hilary Henry, Mr Malcolm Herring, Mr & Mrs J Thomas Kenneally, Ms Judith Lawless, Mr & Mrs Colm & Marroussia Lennon, Mr & Mrs Louis & Liz Loizou, Mr Lyndon Mac Cann, Ms Maeve Mahony, Ms Sandra Mathews, Mr Janek Matthews, Ms Helen McGovern, Mrs Patricia Mellon, Mr & Mrs Terence & Marjorie Neill, Mr Dermot O’Brien Dermot O’Brien Associates, Mr & Mrs Matt & Pippa O’Connor, Ms Catherine O’Halloran, Mr & Mrs Finbarr & Mary O’Neill, Mr Gordon Richards, Mr Philip Smyth, Mr & Mrs Peter & Nancy Thompson, Countess (Ulrike) Walderdorff – Artramon Farm, Mr & Mrs Michael & Ruth West, Mrs Valerie Willoughby

Mr & Mrs Ate & Jannie Atema, Dr Sylvia Dockeray, Mr & Mrs Frank A & Ursula Keane, Mr Timothy King, Mrs Malak O’Connor, Mrs Beverly Sperry-Meehan, Mr Billy Sweetman

Patrons Mr David Agler & Mr Miles Linklater, Mr & Mrs Thomas & Monica Agler, Mr Desmond Barry, Mr Anthony Boswood, Mr Flannan Browne, Mr Paul Cleary, Mr & Mrs Pearse & Mary Colbert, Mr Denis Cremins, Mr & Mrs Brian & Susan Dickie, Prof Patrick & Dr Grace Dowling, Mr & Mrs Maurice & Maire Foley, Dr Ian M Franklin, Mr Peter Gerrard, Mr Jim Golden, Dr John A Haines, Mr & Mrs Stephen & Leila Hodge, Mr Gerard Hurl, Mr & Mrs Ger & Laura Lawlor, Mrs Jean M Marsden, Mr R John McBratney, Ms Geraldine McCarter, Mr & Mrs Aidan & Lynette McCullough, Ms Kathleen Mere, Ms Claudine Murphy, Mr Eddie O’Connor, Ms Emer O’Kelly, Mr Peter Raven, Rev Dr John-Paul Sheridan, Mrs Marion Stafford, Mr Michael Steen, Mr Stanley Warren, Mr & Mrs Pat & Jacqui Whelan, Mr Ernest Zillekens

Friends A

Dr ASK Abraham, Ms Marian Ahern, Mrs Ann J Aken, Mr & Mrs John & Pamela Aldrich, Mr Rodger Alexander, Dr Michael Archer, Mrs Patricia Archer, Dr Michael Ashworth, Mr & Mrs Leslie & Marie Auchincloss B

Ms Catherine Bainbridge, Rev & Mrs Victor & Anthea Barley, Mr Donal Barrington, Drs Joseph & Siobháin Barry, Prof Terry Barry, Mr Paul Batchelor, Mr & Mrs Dick & Leonie Bates, Prof Ray Bates, Mrs Valerie Beatty, Ms Alison Begas, Mr Michael Bennett, Mr & Mrs William & Anne Bennett, Mr Lance Bernard, Mr John Berns, Ms Paula Best, Mr David Bewers, Dr Thomas & Dame Beulah Bewley, Mr Alan Bigley, Ms Caroline & Jane Blunden, Mr Matthew Boggan, Mrs Deirdre Bolger, Mrs Jackie Bolger, Mr Martin P Bourke, Mr E John Bourke, Mrs Mary Bowe, Ms Diane Boylan, Dr Margaret Brady, Ms Patricia Brannigan, Ms Mona Brase, Mr Derek & Dr Jane Brauders, Mr Malcolm Bremner, Mrs Mary Breslin, Mr & Mrs Maria & Morgan Broderick, Mr & Mrs B J BrookeSmith, Mrs Mary Brophy, Mr John Browne, Mr Mark E Browne, Mrs Maureen Browne, Mr & Mrs David & Caroline Buchler, Ms Jane Buckley, Mrs Rosemary Buckley, Mr Noel Buckley, Mrs Aileen Bunyan, Dr Anita Bunyan, Ms Mary Bunyan, Mr Derek Burke, Dr Henry Burke, Mr Harry Burke, Mr David Burn, Mrs Noreen Butler, Dr Joan Byrne, Dr Michael & Patricia Byrne, Mr Daniel Byrne, Ms Joyce Byrne Friends of the Festival 119

Mr & Mrs Dermot & Fionnuala Cahillane, Ms Jennifer Caldwell, Dr Una Callaghan, Mr Fionnbar Callanan, Mr John Cameron, Prof Bruce M S Campbell, Ms Margaret Cannon, Dr Thomas & Mrs Maura Carey, Mr Ray Carey, Mrs Emily Carey, Dr Sylvia Carlisle, Mr Peter Carpenter, Mr Thomas Carr, Ms Deirdre Carroll, Dr Jim Carson, Mr & Ms Renato & Lanna Castellano, Mr & Mrs Ann & David Charles, Mr Mark Charnock, Mr Paul Cheeseright, Mrs Frances M Chisholm, Ms Elizabeth Clancy, Mr & Mrs Sean & Eileen Clancy, Mr Tom Clancy, Mrs Noreen Clarke, Mr John Clarkson, Mr & Mrs P Clifton Brown, Mrs Mary Cody, Ms Angela Coffey, Mr John Coleman, Mr Eoin Colfer, Mr & Mrs Michael & Jane Collins, Mr Trevor Collins, Mr & Mrs Louis & Cara Collum, Mr Seamus Concannon, Ms Monica Condron, Mr Phil Coney, Ms Jane Conroy, Mr Kerry Constant, Ms Valerie F Byrne-Cook, Ms Anne Cooke, Mr Andrew R Cooper, Ms Yvonne Copeland, Mr Bernard Corbally, Mrs Ann Corcoran, Ms Sally Corcoran, Ms Antoinette Corrigan, Ms Pat Cosgrave, Ms Barbara Costigan, Dr Paule Cotter McGrath, Mr Jerome Cotter, Ms Suzanne Creagh, Mr & Mrs Graham & Tricia Crisp, Mr Jeremy Crouch, Mr & Mrs Richard & Una Crowe, Mr & Mrs J Cruse, Ms Claire Cuddy, Mr & Mrs Ciaran & Triona Culleton, Mrs Joy Cunningham, Misses Helen & Angela Cunningham, Mr Brian Dean Curran, Dr Tom Curtis, Dr & Mrs David & Ann Marie Curtis, Ms Mary Rose Curtis

Mr & Mrs William & Catherine Earley, Ms Mary Egan, Dr Julia P Ellis, Dr Gary Ellison, Mr Roger Epsztajn, Mrs Sheena Eustace, Annie Eustace & Eoin Homan Eustace Patterson Ltd, Mr & Mrs Brian & Christine Evans

Dr Joan Daly, Mr Marcus Daly, Mrs Ursula Daly, Ms Caroline Daszewska, Ms Elizabeth Davies, Mr Colin Davis, Ms Francoise Davison, Comtesse Henri de Crouy-Chanel, Mrs Mary H De Garmo, Mr Allian De Wilde-Servier (Ireland) Industries Ltd, Ms Helen Deane, Lord Marcus Decies, Mrs Cathleen Delaney, Mr Kingsley Dempsey, Ms Anna Devlin, Mrs Irene Dixon, Mr & Mrs Tom & Diana Donnelly, Ms Veronica Donoghue, Mr & Mrs James & Patricia Doolan, Mrs Dorothy Dowling, Mr & Mrs Frank & Terry Dowling, Mrs Ann Downes, Ms Eileen Doyle, Dr Kevin Doyle, Mrs Nancy Doyle, Ms Helen Doyle, Ms Tara Doyle, Mr & Mrs John & Geraldine Doyle, Ms Lindy Duff, Mr & Mrs Eamon & Ann Dundon, Mr Joseph Dundon, Mr & Mrs Des & Aine Dunne, Ms Ann Dunne, Ms Elizabeth Dunne, Ms Robyn Durie

120 Friends of the Festival

Mr Paschal Fahy, Mr Damian Fannin, Mr Robin Farquharson, Mr Ronald Farrants, Mr & Mrs Arnold & Eleanor Fear, Dr G S Feggetter, Mr & Mrs Nial & Maedhbháine Fennelly, Dr Judy Fielding, Mrs Mary Finan, Ms Barbara Fitzgerald, Sir Adrian Fitzgerald, Mr John Fitzgerald, Mr Giles Fitzherbert, Mr Gerard Flannery, Ms Blanka Flavin, Mr Aubrey Flegg, Mr Feargus Flood, Dr Noleen Foley, Mr Dominic Forde, Ms Barbara Forde, Mr & Mrs Joe & Brenda Fox, Mr & Mrs Peter & Noreen Fox, Prof John & Dr Catherine Fraher, Mrs Deirdre M Frame, Mrs Valerie Freeman G

Ms Delia Gaffney, Mr Vincent Gale, Miss Ann Gallagher, Mr & Mrs Mike & Kathy Gallagher, Mr & Mrs John & Meave Gallagher, Ms Louise Gallagher, Ms Mary Gallagher, Mr & Mrs Brigitte & Francois Gardeil, Mr & Mrs David & Chantal Gardiner, Mrs Tricia Gardom, Mrs Mary J Tubridy, Mr & Mrs Raymond & Judith Gay, Mr & Mrs Hugh & Mary Geoghegan, Mrs Mary P Geoghegan, Mr & Mrs Peter & Anne Gilleran, Mrs Janet Gooberman, Mr & Mrs Paul & Eileen Good, Mr Anthony Gore-Grimes, Mr & Mrs Liam & Breda Gorman, Mrs Catherine A Gough, Rev Ron & Mrs Valerie Graham, Mrs Margaret Grant, Mr & Mrs John & Jane Griffiths, Mr Kingsley Griffiths, Mr Patrick Groarke, Mrs Jennifer Guiness, Mr & Mrs Mark & Annie Guterres H

Ms Dympna Hackett, Mr Gareth Hadley, Ms Marion Hanlon, Mr & Mrs Martin & Angela Hanrahan, Mrs Lillian Harpur, Mr Stewart Harrington, Mr & Mrs Robert & Avril Harvey, Mrs Margaret Hassett, Mr Keith Hatchick, Ms Moira Hayes, Mr & Mrs John & Yvonne Healy, Mr Dennis Hearn, Mrs Miriam Hedermann-O’Brien, Ms Maura Hegarty, Mr & Mrs Shields & Carol Henderson, Ms Louise Hennen, Mr & Mrs Paul & Angela Hennessy, Mrs Monika HerbstMurray, Mrs Eileen Herlihy, Ms Pamela Jean Hickey, Declan & Joan Hickey, Mr Aidan Hicks, Mr David HS Hobbs, Dr Heinz Hockmann and Ms Marcia MacHarg, Mr A. Robin Hodgson, Dr & Mrs David & Romy Hogan, Mr & Mrs Seamus & Cecilia Homan, Mr Charles

Hooker, Mr Noel Horgan, Mr & Mrs Michael & Joan Houlihan, Ms Jennifer Howard, Mrs Jacqueline Howe, Mr & Mrs Ted & Mary Howlin, Dr Pauline Hughes Ward, Ms Sheila Hunt, Dr Helena M Hurley, Mr Patrick Hurley, Mr & Mrs Derry & Gemma Hussey, Ms Dympna Butler & Mr James B Hutchinson, Mr Derek G Hyde, Mr Harry Hyman I

Dr Peter & Mrs J M Iredale J

Mr Trevor Jacobs, Mr Gerald H Jarvis, Mrs Irene Patricia Jeffares, Ms Marilyn Jeffcoat, Mrs Mary Jennings, Sir Derek Johns, Ms Jenny Josselyn, Mr & Mrs Brian & Peggy Joyce K

Mr Kyran W S Kane, Mrs Geraldine Karlsson, Mr & Mrs Manfred & Christa Karpa, Ms Rosario Kealy, Mr Michael Kelly, Ms Eileen Kelly, Ms Máire Kelly, Mr & Mrs Paul & Joyce Kelly, Ms Ada Kelly, Prof Deirdre Kelly, Ms Geraldine Kelly & Co Solrs, Ms Louise Wilson & Mr Paul Kennan, Mr & Mrs John & Mary Kenny, Mr Courtney Kenny, Mr John Keogan, Cp Capt Bill Keppel-Compton, Mr Ramon W P Kerrigan, Dr Lisbet & Mr Daniel Kickham, Mr & Mrs Patrick & Sara Kickham, Dr Edward King, Mr Nicholas H King, Ms Morette Kinsella, Ms Christine Kloner, Ms Veronica Knight, Mr Peter Knowles, Mrs Catherine Kullmann, Dr Iain M Kyles L

Mr Eamonn Lacey, Mr Benno Laggner, Mr Eamon Lalor, Michael Lambarth, Ms Deirdre Lamont-Doyle, Ms Daphne Lane, Mrs Madi Laurence, Ms Carole Lavelle, Ms Barbara Law, Ms Philomena Leach, Mrs Róisín Leahy, Ms Maura Leavy, Mr & Mrs Philippe & Caroline Lecardonnel, Mrs Máire Ledwith-Butler, Ms Anne Leech, Ms Caroline Lenehan, Ms Clare Leonard, Lord Anthony & Lady Catherine Lester, Mr & Mrs Geoffrey Lewis, Dr Nora Liddy, Mr Thomas A Linehan, Mr & Mrs Michael & Freddie Linnett, Dr Amalia Liquori, Mr Barry Lock, Mr & Mrs Charlie & Breda Logan-Mooney, Ms Maria Loomes, Ms Vickie Love, Mr & Mrs Don & Liz Love, Mr & Mrs Richard & Ros Lovell, Mrs Bernice Lynch, Mr & Mrs David & Gillian Lyons

Dr Joan MacCarthy, Mr & Mrs Ann & James Macdonald, Mr Brian MacManus, Ms Bernadette Madden, Dr Paul Magnier, Mr & Mrs Martin & Celia Maguire, Mr James J Maguire, Ms Anne Makower (Fitzsimon), Ms Oonagh Manning, Prof Anthony R & Dr Joan M Manning, Mr & Mrs Martin & Elizabeth Mansergh, Dr Noel Marshall, Mr & Mrs Elli and Elmar Mathier, Mrs Breda McCabe, Ms Annette McCarthy, Dr Eamon McCarthy, Ms Mary Jo Hanlon & Mr Malachy McDaniel-Stone, Mary McDonald, Mr Denis McDonald, Ms Petria McDonnell, Mr & Mrs G R McDowell, Dr Mary Henry & Mr John McEntagart, Mr Ciarán McGahon, Ms Mary McGarry, Ms Marguerite McGillycuddy, Mr & Mrs Charles & Rita McGoey, Mr Paul McGowan, Dr Oran McGrath, Mr Peter D McGuire, Dr Valentine McHardy, Ms Monica McHenry, Mr & Mrs Michael & Margaret McIntyre, Ms Fiona McKay, Mr & Mrs Paul & Patricia McKee, Ms Nuala McKenna, Ms Glenna McKenna, Mr A J McKeon, Dr & Mrs Paddy & Eileen McKiernan, Ms Elizabeth McKiernan & Mr Craig Becker, Mr James McLoughlin, Ms Eleanor McMahon, Ms Deirdre McMahon, Mrs Brigid McManus, Ms Anne McManus, Mr Seamus McMenamin, Mr & Mrs Raymond & Máire McSherry, Mrs J Meads, Mr Brian Meaney, Mr Denis Mee, Dr John Patrick Meehan, Mr & Mrs Stephen & Barbara Mennell, Mr Patrick Merissert-Coffinieres, Mrs Kathleen Mernagh, Mr David Mintz, Mr David M Mitchell, Mr & Mrs Peter & Lois Moderate, Mr & Mrs Michael & Valerie Moloney, Mr & Mrs John & Helen Molony, Mr James Monaghan, Mr Bart Mooney, Ms Catherine Moore, Ms Sarah Moorhead, Ms Margaret Moran, Mr & Mrs John Morgan, Mr Richard Morris, Mr & Mrs Roger & Jacqueline A Morris, Dr & Mrs Ivan F & Mary C T Moseley, Ms Mary Ellen Mulcahy, The Hanton/Mulcahy Family, Mr Eamonn Mullan, Ms Mary V Mullin, Mr Manuel Munoz Moya, Mr Eiven C Murphy, Mrs Muriel Murphy, Miss Marie Murphy, Mr Cyril Murphy, Mr & Mrs Barry & Caitriona Murphy, Mr & Mrs Con & Eimear Murphy, Mr & Mrs James & Gladys Murphy, Mr & Mrs Joe & Louise Murphy, Mr Kevin Murphy, Mr & Mrs Oliver & Joanna Murphy, Mr Liam Murphy, Mr & Mrs Anthony C Myer N

Mr Michael de Navarro, Mr & Mrs Robert & Mary Neill, Mrs Julie Neuberger, Dr Mealla Ní Ghiobúin, Mr Robert Niven Baird, Mr John Nolan, Mr Jeremiah CM Nolan, Ms Marie Nolan, Dr Patricia Norman, Hon Lizzie Norton

Friends of the Festival 121

An tAthair Deasún Ó Grógáin, Ms Siobhán O’Beirne, Ms Mary Noble & Helen O’Brien, Mr & Mrs Conall & Maura O’Brien, Mr F X O’Brien, Ms Iseult Catherine O’Brien, Ms Theresa O’Brien, Dr Tony O’Brien, Ms Deirdre O’Callaghan, Mr & Mrs Diarmuid & Helen O’Cearbhaill, Mr James O’ Connor, Mrs Sylvia O’Connor, Mr Brian O’Connor, Ms Anne O’Connor, Dr Rory O’Donnell, Mr & Mrs John & Dympna O’Donnell, Ms Margaret O’Donnell, Ms Maureen O’Donovan, Dr Frances O’Donovan, Dr Kenneth Mealy & Ms Cliona O’Farrelly, Mr Seamus O’Flaherty, Mrs Denise O’Flynn, Mr & Mrs Alan & Kathleen O’Grady, Mr Brian O’Hagan, Mr John O’Hagan, Mr Michael O’Halloran, Dr Patricia O’Hara, Mr & Mrs Francis & Deirdre O’Keeffe, Ms Ann O’Kelly, Ms Eve O’Kelly, Mr & Mrs John & Amelia O’Leary, Mr Denis O’Leary, Mrs Patricia O’Mahony, Mr James O’Mahony, Mrs Terry O’Rahilly, Mr & Mrs Mike & Jane O’Regan, Ms Catherine O’Connor & Mr Senan O’Reilly, Mr & Mrs Brian O’Riordan, Mrs Pauline O’Rourke, Mr Joe O’Rourke, Dr Michael O’Shea, Mr & Mrs Stephen & Oonagh O’Shea, Dr Catriona O’Sullivan, Ms Deirdre O’Sullivan, Ms Liosa O’Sullivan, Mrs Siobhán O’Sullivan, Dr Brain Otridge, Dr Eileen M Ouellette MD P

Mr & Mrs Michael & Eileen Paget, Dr Richard Parish, Mr Richard Parry, Mrs Joyce Parsons, Sir Brendan Parsons The Earl of Rosse, Miss Eileen Partington, Mr & Mrs Frank & Maire Pearson, Mr John C Pearson, Mr & Mrs Bill & Cel Phelan, Mr & Mrs Robert & Christine Pick, Mr John M Pierce, Ms Catherine Pike, Ms Melanie Pine, Mr & Mrs Randall & Carol Plunkett, Docteur Christian Poilvet, Mrs Celine Pomeroy, Ms Louise Pomeroy, Ms Jenny Porter, Mr Donnie Potter, Mr Brendan Power, Mrs Maureen Power, Mr & Mrs Peter & Madeleine Prendergast, Mr Tony & Helen Prendergast, Mr & Mrs Patrick & Susan Prenter, Mr Seamus Puirseil Q

Mr & Mrs Colm & Mary Quigley, Ms Margaret Quigley, Dr Kevin & Marian Quinn R

Mr Patrick J Radcliffe, Ms Philomena Rafferty, Dr Eleanor Rashleigh-Belcher, Ms Sheila Reck, Dr & Prof Barry & Bairbre Redmond, Dr Raymond Rees, Mr Michael Francis Reid, Mr & Mrs John & Sinead Reynolds, Ms Trish Robinson, Prof Sarah Rogers, Dr N Hindmarch Rombaut, Mrs Norah Rosen, Mr Lionel

122 Friends of the Festival

Rosenblatt, Mr David Rowe, Mr & Mrs Jim & Frances Ruane, Mrs Jean Ruddock, Mrs M J Rumney, Dr A Ryan, Mr Michael Ryan, Mr & Mrs Richie & Mairead Ryan, Mr Timothy RG Ryland S

Dr Michael Sansbury, Mr & Mrs Jurgen & Helga Sassmannshausen, Ms Linda Scales & Mr Michael Durack, Mrs Noeline Scales, Mrs Eithne Scallan, Mr & Mrs Peter & Sarah Scallan, Mr John Schlesinger, Ms Anne Tobin & Mr Tom Schnittger, Ms Katharina Schwander, Mr & Mrs Joe & Selina Scott, Ms Barbara Scott, Mr Michael Seaton, Mr & Mrs Jame & Angela Sellick, Mr & Mrs John & Helen Shackleton, Mr & Mrs David & Victoria M Shankland, Ms Ricky Shannon, Dr Sheila Sheerin, Mr & Mrs John & Nancy Sherwood, Mrs Marie Sherwood, Mr Nigel Silby, Ms Marisa Barron & Daniela Simmons, Mr & Mrs David & Mairead Sinnott, Ms Geraldine Skinner, Ms Anna Skrine, Mr & Mrs Martin & Shirley Slocock, Mr John M A Sly, Mr Michael D Smith, Mrs Helen Smith, Dr Anthony Smoker, Mr Joseph A G Smyth, Dr Beatrice Sofaer-Bennett, Mr & Mrs Trevor & Sheila Spalding, Ms Barbara E Spark, Mr Hammy Sparks, Dr Reggie Spelman, Dr Vina Spiehler, Mr & Mrs Philip & Paula Stafford, Mrs Kathleen Standen, Mr & Mrs Jonathan & Gillian Staunton, Ms Carol Ann Stearns, Mr Richard Stokes, Mr Philip Stopford, Ms Gillian Stormonth-Darling, Ms Susan Strawbridge, Mr & Mrs Brendan & Siobhan Supple, Mrs Anne Sweeney, Ms Joyce Byrne & Mr Edward Sweeney, Mr Mark Swindell, Mr John Dean Symon T

Ms Peta Taaffe, Ms Orlagh Tarpey & Ms Cora Watson, Dr Pru Tatham, Mrs Barbara Taylor, Mr John Tesh, Ms Karan Thompson, Mrs Alison Thorman, Mr & Mrs Eamon & Niamh Tierney, Ms Mary Tierney, Ms Pauline Tierney, Mr Peter Steward Tilley, Ms Margaret Tinsley, Mrs Mary Toal, Mr Kieran Tobin, Mr Colm Tóibin, Mr Henry Toner QC, Ms Mary Tucker, Mr John D Turley KC*HS, Mr & Mrs Michael Tussaud, Mr & Mrs Brendan & Patricia Twomey, Mr & Mrs Brendan & Valerie Twomey, Mr James Tyrrell, Mrs Doris Tyrrell, Ms Sheila Tyrrell U

Mr & Mrs Max Ulfane, Mr Werner Ullah, Mrs Eileen Underwood

Mr & Mrs Francis & Janet Valentine, Mr Michael Veale, Prof Graham Venables, Mr Emilio Venturi, Mr Francoise Vernotte, Mr Mark Villamar, Mr Philip Vince W

Mr John Waddell, Mr & Mrs David and Jenni WakeWalker, Ms Irene Walker, Mr & Mrs Sean & Colette Wallace, Ms Anne Wallace, Mrs Anne M Walsh, Mr Anthony J Walsh, Ms Maureen Walsh, Ms Miriam Leech & Mr Paul D Walsh, Dr & Mrs Martin Walsh, Dr & Mrs Mark & Ruth Walsh, Mr Graham Walsh, Mr Liam Walsh, Ms Winnefride Walsh, Mrs Victoria Walsh-Hamer, Mr David Warren, Mrs Diana Warwick, Dr K Waters, Mr J A A Watt, Mr & Mrs Michael Waugh, Mr Jean-Jacques Beyer-Weiss, Mr & Mrs Richard & Elizabeth Westrup, Mr John A Whelan, Mr & Mrs Enda & Maura Whelan, Mr & Mrs Conor & Jean Whelan, Mr & Mrs John & Una Whelan, Mr Paul White, Ms Eithne White, Dr Mark Whitty, Dr Robert Wilkins, Mr William Wilks, Dr Jane Williams, Ms Rachelle Wilmott, Mr & Mrs Leslie & Alma Wolfson, Mr & Mrs J & E Woods, Ms Moira Bennet & Anne-Marie Woods, Mr & Mrs Nicholas & Fiona Woolf, Mr Stuart Woollard, Mr Laurence J F Wrenne, Mr Christopher Wright, Mr & Mrs Michael & Bernie Wright, Dr Peter Wykes Y

Mr & Mrs Ivor & Ann Young Z

Mrs June Zahid, Ms Charlotte Zimmerman, Mrs Sybella Zisman

Young Friends Ms Clara Hamer, Mrs Marianne Jackman, Mr Gerard M Mulhall

Corporate Friends Ace Autobody, Mason Hayes & Curran, Medentech

Gianni di Parigi, 2011 Photo © Clive Barda/ArenaPAL

Friends of the Festival 123

Seat Endowments

PHOTO © FRAZER ASHFORD

Endow a seat in the stunning Wexford Opera House and dedicate your seat with a plaque in your own name or that of a loved one. Seats can be endowed in a family name or in the name of a spouse, parent, sibling, child or grandchild. Typically, seats are endowed in memory of a life well-lived or used as the perfect, enduring gift. Your chosen name will be etched on a specially designed plaque on the seat, commemorating your involvement. Seat endowments also make the ideal Christmas or corporate gift. If you would like to endow a seat please contact Eamonn Carroll on +353 53 9163527, eamonn@wexfordopera.com.

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

Founders Circle A 1 A 2 A 3 A 4 A 7 A 8

A 9 A 10 A 11 A 12 A 13 A 14 A 15 A 16 A 17 A 18 A 19 A 20 A 21 A 22 A 23 A 24

Marjorie Neill Terence V Neill In memory of Mary Golden Cyril & Liz Murphy Matt and Pipa O’Connor Aislinn, Enna and Amy O’Connor Brian and Jane O’Connor Fionn Lysaght Tara Naughton Martin Naughton Dr T J Walsh, Founder Sir A J O’Reilly Lady O’Reilly Joan & Tony McLoughlin Margaret McLoughlin F Gerard Stafford Kerlogue Philip J & Paula Stafford Drinagh House Anna McCarthy Denis McCarthy John Small Ann Small Szabolcs Vedres

124 Seat Endowments

A 25 Clodagh Vedres A 26 Dr Colm & Mary Quigley & Family A 27 Liam Healy A 28 Eithne Healy AA 1 Denis Cremins AA 2 Grainne Cremins AA 3 Christina White AA 4 Bishop Noel V Willoughby, Patron of WFO 1980–1997 AA 5 Dr Michael West AA 6 Ruth West AA 8 Jim Golden AA 9 John Pearson AA 10 Valerie Beggs AA 11 Dr John A Haines AA 12 John A Sinnott & Co Solicitors, Enniscorthy AA 14 George Valentine Maher AA 15 Niall King AA 16 Redwood Castle AA 17 Clive and Suzanne Holmes AA 18 Clive and Suzanne Holmes AA 19 Clive and Suzanne Holmes AA 20 Clive and Suzanne Holmes

AA 21 Tom & Jo Hassett AA 22 The Logan Mooney Family, Dublin AA 23 Catherine Moore AA 24 Eiven C Murphy B 1 Max Sweetman B 2 Billy & Ceara Sweetman B 3 Mena Sweetman B 4 B 5 B 6 B 7 B 8 B 9 B 10 B 11 B 12 B 13 B 14 B 15 B 16 B 17 B 18 B 19 B 20 B 21 B 22 B 23 B 24 B 25 B 28 B 29 C 1 C 2

Gerald & Helen Roche M Tierney Jerome Hynes Alma Hynes Peter & Sarah Scallan Peter & Sarah Scallan Oonagh McCaffrey Anna McCarthy Denis McCarthy Anna Naughton Conor Lysaght Laura Lysaght Seán Lysaght Liam Lysaght Austin Channing Finnuala Channing Eoin Channing Frank & Noreen Butler & Family Frank & Noreen Butler & Family Ann Corcoran Mayor and Members – Wexford Borough Council David Agler and Miles Linklater In memory of Dr Des Ffrench Brian Modler Mafra O’Reilly Tom Lawless

C 3 C 4 C 5 C 6 C 7 C 8 C 9 C 10 C 11 C 12 C 13 C 14 C 15 C 16 C 17 C 18

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

Stalls A 9

Martin Meehan Together Always A 10 Beverly Sperry Together Always A 12 Joseph A G Smyth Esq A 13 Gerard P Smyth B 1 Eileen & Peter Cottis B 2 Primrose Browne B 3 Bill Browne B 4 Marie Whelan B 5 Adrian Poole B 6 Christopher Charles Wright “If music be the food of love play on” B 7 Denis Mortell B 8 Festival Antique Dealers B 9 Nicholas & Mairead Furlong B 10 The Lords of Love B 11 The Lords of Love B 12 Caitriona Walsh B 13 Mary T Carberry B 14 Richard D Carberry B 15 Dean & Mario Carberry B 16 In honour of Wexford Festival Opera Sylvia L’Écuyer & David Lemon C 1 Alex Collinson, Répétiteur 1991–1994 C 2 The Drury Family C 3 Dr Iain Fletcher C 4 Angela Fletcher

C 5

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

Dr Iain Fletcher (from the X Ray Department) Dedicated to Sabrina my love The McBratneys Jarlath Mullen 1940–1988 Michael J Doran Fr Tomás O’Neill Wexford Festival Antique Dealers Wexford Antiques Fair Marie Slowey Con O’Sullivan Artramon Farm Festival Antique Dealers Festival Antique Dealers Prof M J O’Kelly Mrs Claire O’Kelly Mary Evelyn Smyly Anita Rossiter Malcolm Herring Francoise Davison Bob & Mary Cantwell Marguerite McGillycuddy Rotary Club of Wexford Patric Schmid S & L Hodge The Scallan Family Breffni & Jean Byrne Garrett & Terry Hickey Pat Caulfield Mary Caulfield Leo Willis (RIP) Ben Hennessy Bill Hennessy Tony Hennessy Cllr John D Turley KCHS & Gerard M Lawler KCHS Michael Sweetman 1935–1972 Dr Siobhán Barry Prof Joe Barry Jim & Christina Jenkins Tom and Diana Donnelly Mary and Eamon Timoney The Lambarth Family Emelie FitzGibbon The Lacey Family Shirley & Nathan Sperry (in loving memory)

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

Jean Marsden Comtesse Henri de Crouy-Chanel Comte Henri de Crouy-Chanel Herman & Olive Mr & Mrs Jeremy and Marika Taylor Dr Grace Dowling (in memory of) Lilian Neuberger Amelia Rachel Patton Anne Alec & Angela Fitzgerald O’Connor Dr Patricia O’Hara Mary Underwood White Philip Smyth Philip Smyth Donal Gallagher Ita and Bridie Pauline & Joe O Rourke 1st June 2009 Johnny Reck Marie Sherwood Seamus & Marie O’Rourke Seamus & Mary T O’Rourke Jimmy Sturrup Cliodna O’Riordan Alyne Healy Liosa O’Sullivan Brendan & Patricia Twomey Peter and Madeleine Prendergast Cathleen Delaney Valerie Freeman Nicholas Cadogan David H S Hobbs Marcia Wrixon Mrs Joyce Parsons Dennis Hearn Brian & Chris Evans Sheila Reck In memory of Captain Frank O’Connor by his wife Malak John & Angela Doocey Niven Baird Jannie Atema Noreen Colfer Seat Endowments 125

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

The late Donal O’Buachalla Julia O’Buachalla Elizabeth Bicker MBE Anthony Lester Agnes Gardeil Louise Gardeil Nancy Mallon (Bowe) Scott Barnes & Brian Kellow Frank A Keane Ursula Keane Ciarán and Anne Hearne Kevin & Katherine Lewis Cairenn Nic An Bhard agus Seán De Cantúail Derry and Gemma Hussey Valerie & Brian O’Riordan Benjamin Barnard Arthur Barnard Lady Emma Barnard James Barnard Aubrey Kreike Esther Kreike Eileen & Bernard Doyle Twins: Laura and Theresa Mahoney Éanna McKenna Veronica & David Rowe Mrs Terry Dowling Gowan Family John & Gemma O’Connor, Oxford Brian Joyce Peggy Joyce Festival Antique Dealers D & I Kallinikos Sydney Australia Dr Donald H Robertson Joan Roberts 1919–1995 Fay Harbour Fay Harbour John F Fielding The Cranley Family Timothy King Mary Canning Miss Justice Mella Carroll Bridie Browne (née Hess) Stephen Hayes Caroline Blunden Jane Blunden

126 Seat Endowments

I 3 I 4 I 5 I 7 I 8 I 9 I 10 I 11 I 12 I 15

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

Levin Tours Ingrid & Hans-Günter Schnittger Moira & Tom Tobin David Mere Kathleen Mere Eamon & Heather Lalor Max Ulfane Joy Ulfane Irene Patricia Jeffares Arthur West – Joined June for the second act after a short interval, died 28.01.12 In memory of my dear wife June West, died 6.10.08 Patric Schmid Ken Mealy Mgt M Crotty T P Crotty

K 4 K 5 K 6 K 7

Mina Smyth, Waterford Eamonn Walsh Geraldine Walsh Jim Monaghan Kay Monaghan Martin & Liz Mansergh J A G Barrett Oliver & Jules Reck Breda Broaders Tobin Maeve McCarthy Sophie & Brian McCarthy Anthony & Suzanne Graham-Dixon Maureen Delaney Seamus Quaid Miriam Hederman O’Brien Aoife O’Brien Gerard A Hurl Sr Mary Walsh Dr Amalia Liguori Eva J H Atema Jackie Bolger Oliver & Richard Culleton Fedra Venturi Wexford Historical Society Breda Mulcahy Jeremy Roffey Anne & Jim Berry John & James J Corry Don Carlos Stelling

K 20 K 21 K 22 K 23 K 24 K 25 L 2 L 3 L 4 L 5 L 12 L 19 M 1

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

Violeta Stelling de Alvarez Jose Alvarez Stelling Anni Matthews Ethne Sinnott & Eamon McCarthy Mairead & Bill McCarthy Eileen Conway Aidan Conway Endowed in honour of Lally Scallan by the Sinnott Family Con and Éimear Murphy Patric Schmid In memory of Bernard Coughlan Denis Mee 2011 Flannan Browne Frank A & Ursula Keane Eilis and John Ryan The Harveys of Kyle

The Harveys of Kyle Kathleen Tóibín Brid Tóibín John & Peggie Lowney County Wexford Solicitors Nicholas Quaife Cunningham Family Bridid Roden Eileen M Clancy Sean C Clancy Bill Fiske Ate J.T. Atema In Remembrance of a Good Life and Happy Days Eileen Murphy. Waterloo Road. 1923–2011 M 2 To Malak from your family who love you M 6 For my opera loving friends Hilary M 7 In memory of J M (Mollie) Barton M 8 Ted Rose M 9 Aileen Mulcahy M 10 Mary Bunyan M 11 Charlotte Hendrick M 19 Ellen Mary O’Connor Partington N 1 Dr M O’Beirne N 2 Helen Marie Antoinette Barry

N 3 N 4 N 5 N 6 N 7 N 8 N 9 N 10

Dr John Curran Dr Eamonn Maher Dr Kieran MacCormack Dr Robin Foyle Dr John Cox Mrs Mary Cox Dr Gráinne & Eric Pinaqui Dr Liam Twomey Dr Elizabeth O’Sullivan Twomey N 20 R.D. Fluskey 1927–2009 O 1 Remembering Cora Carey P 1 Sean Banfield

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

B 3

Bunny O’Connell James A O’Connell Jack & Ann Murphy, St Helens Mary & Leslie Tucker Gerald Leahy Dan & Joan Leavy Róisín & Sinéad Dr M Coleman Dr F O’Donovan Fr John-Paul Sheridan Mairead Cahillane Helen & Diarmuid O’Cearbhaill John Shackleton Bernice Lynch Liam Lynch Mary Josephine (Milly) Hederman Georgina Gaul & Sean Bates Patrick & Patricia Hunt Patrick & Patricia Hunt Aidan & Lynette McCullough (in loving memory of) Mrs Patricia Herin Mrs Brigid Molloy William Goldsmith Gloria Goldsmith The Molloy Family E St Clare Barfield Italian trained Bel Canto Leading Birmingham tutor 1920s to 1960s Andrew & Margaret Nolan, Fortview

B 4 B 5 B 6 B 7 B 8 B 9 B 10 B 11 B 12 B 13 B 14 B 15 B 16 B 17 B 18 B 19 B 20 B 21 B 22 B 23 B 24 B 25 B 26 B 27 B 28 B29 B30 C 3

C 4 C 5 C 6 C 7 C 8 C 9 C 10 C 11 C 12 C 13 C 14 C 15

Antoni & Caroline Daszewski Bruce Flegg Máirín Flegg Allen Sangines Krause Lorena Krause Pearse Colbert Mary Colbert R V Morgan Brendan Corish Maurice Geary Ita Hackett Peter & Imelda Cannon Cathal O’Gara Dr Patrick McKiernan, Wexford Michael and Jane Collins The Snell Family Jimmy Donovan Pat & Viv Gordon, Kew, Vic (Australia) Joe and Selina Scott Deirdre Lawlor Bill Cunningham John Scallan Mary Tubridy O’Connor-Walsh Family, Oughterard, Co Galway Wexford Parish Dr Raymond (Ted) Holmes Tessa Holmes Judy Thomas. Sydney Australia April 2012. Love from Dockeray and Wilding Families 2 into 3 2 into 3 O’Driscoll Family Jürgen and Aislinn (little stars) Séan and Jurgen (never doubt yourself) Mervyn & Frederick Godkin Patric Schmid Sara Kickham Patrick J Kickham John & James J Corry Joanne Breen James G O’Connor

C 16 C 17 C 18 C 19 C 20 C 21 C 22 C 23 C 24 C 25 D 1 D 2 D 3 D 5 D 6 D 7 D 8 D 10 D 12 D 13 D 14 D 15 D 16 D 17 D 18

D 19 D 20 D 22 D 24 E 1 E 2 E 21 I 12

Paula M O’Connor James J O’Connor Patrick S O’Connor Louise E O’Connor Tendai D O’Connor James & Mabel O’Connor James J O’Connor Sylvia O’Connor Patrick O’Connor Fintan O’Connor Sean Kelly Nancy Kelly Patricia Horgan Gemma & Emily Riordan Frank & Máire Pearson Dermot P Kinlen RIP Michael P Houlihan Joan C Houlihan Nessa Tuite Patrick (Whacker) Mahoney, Corish Park, Wexford Patric Schmid Kurt and Catherine Kullmann Frank Walsh Marie & Maurice Foley Deirdre O’Sullivan In honour of Greeley Co Nebraska Mary Ellen Mulcahy USA 2009 Diocese of Ferns Mary Bowe Dermot Murphy Remembering Ronnie Moriarty Timothy King Laura & Ger Lawlor William Earley Aidan & Joan Murphy remember Seamus O’Dwyer

Seat Endowments 127

Thank You

PHOTO © CLIVE BARDA/ARENAPAL

Wexford Festival Trust sincerely thanks all those who have supported Wexford Festival Opera 2012 The People of Wexford Steve Aiken and Yve O’Driscoll, British Irish Chamber of Commerce

Kieran McLoughlin and Liadain Conlan, The American Ireland Funds

Aislinn O’Byrne

Philip Hatton

Nicholas Payne

Scott Barnes

Paul Cleary

Eddie Breen, County Manager, Wexford County Council

Pat Collins, Town Clerk, Wexford Borough Council

Loretta Brennan Glucksman

Kieron Doherty, ENO

H.E. Dominick Chilcott, Ambassador of the United Kingdom to Ireland

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

Eugene Downes

Fondazione Arturo Toscanini, Parma

Paul Mitchell Haircare Michael Waugh Wexford Tidy Towns Committee Grainne Doran, Festival Archive, Wexford County Council Royal Irish Academy of Music Kevin McEvoy Simon’s Place John Doyle, Carnew

Adrian Doyle, Wexford County Council

Ian Fox

South East Radio

Helen Faulkner, The Delius Trust

An Garda Siochána, Wexford Town H.E. Bobby McDonagh, Ambassador of the Republic of Ireland to the United Kingdom

Sinead Leahy, National Gallery of Ireland Lowneys Furniture

Audrey Jungers and Gerald Philippe, Opera Europa

Dinah Molloy

Michael Kaiser and Brett Egan, The DeVos Institute at the Kennedy Centre

Kevin Murphy, Voluntary Arts Ireland

Martin Marley, Dun Laoghaire Institute of Art, Design and Technology

Fireworks Sub-Committee of Wexford Borough Council

Cliona McGowan, Ireland France Chamber of Commerce

Mary V Mullin

Alison Taggart (Director) and Helen Anderson, Peter Moores Foundation Trish Murphy

Tony Scotland and The Lennox Berkeley Society Maurice McCarthy, MJ Flood John Roche, Minstrel Music

Wexford Festival Trust would like to thank the following for in-kind support provided in 2012

128 Thank You

Repertoire by Year 1951–2012

PHOTO © CLIVE BARDA/ARENAPAL

1951

The Rose of Castile – Balfe

1952

L’elisir d’amore – Donizetti

1953

Don Pasquale – Donizetti

1954

La sonnambula – Bellini

1955

Der Wildschütz – Lortzing Manon Lescaut – Puccini

1956

La Cenerentola – Rossini Martha – Flotow

1957

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

1958

Anna Bolena – Donizetti I due Foscari – Verdi

1959

La gazza ladra – Rossini Aroldo – Verdi

1964

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

1965

1966

1976

Fra Diavolo – Auber Lucrezia Borgia – Donizetti

1967

Otello – Rossini Roméo et Juliette – Gounod

1968

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

1969

L’infedeltà delusa – Haydn Luisa Miller – Verdi

1970

1961

1971

1962

L’amico Fritz – Mascagni I puritani – Bellini

1963

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

1975

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

Theatre closed for reconstruction Ernani – Verdi Mireille – Gounod

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

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

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

1960

1974

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

1977

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

1978

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

1979

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

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

1972

1980

1973

1981

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

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

Repertoire by Year 1951–2012 129

1982

1992

1983

1993

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

1984

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

1985

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

1986

Königskinder – Humperdinck Tancredi – Rossini Mignon – Thomas

1987

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

1988

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

1989

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

1990

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

1991

L’assedio di Calais – Donizetti La Rencontre imprévue – Gluck Der Widerspenstigen Zähmung – Goetz 130 Repertoire by Year 1951–2012

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

1994

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

1995

Saffo – Pacini Mayskaya noch’ – RimskyKorsakov Iris – Mascagni

1996

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

1997

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

1998

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

1999

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

2000

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

2001

Alessandro Stradella – Flotow Jakobín – Dvorák Sapho – Massenet

2002

Il giuramento – Mercadante Mirandolina – Martin Manon Lescaut – Auber

2003

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

2004

La vestale – Mercadante Eva – Foerster Prinzessin Brambilla – Braunfels

2005

Maria di Rohan – Donizetti Pénélope – Fauré Susannah – Floyd

2006

Don Gregorio – Donizetti Transformations – Susa

2007

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

2008

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

2009

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

2010

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

2011

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

2012

L’Arlesiana – Cilèa Le Roi malgré lui – Chabrier A Village Romeo and Juliet – Delius

Repertoire by Composer 1951–2012

PHOTO © CLIVE BARDA/ARENAPAL

Adam

Si j’étais roi – 2000

d’Albert

Tiefland – 1978

Chabrier

Une éducation manquée – 2009 Le Roi malgré lui – 2012

Cilèa

Fibich

Šárka – 1996

Flotow

Alfano

L’Arlesiana – 2012

Martha – 1956 Alessandro Stradella – 2001

Cimarosa

Floyd

Ash & Sturrock

Il maestro di cappella – 1977 Le astuzie femminili – 1984

Corigliano

Foerster

Cornelius

Gazzaniga

The Rose of Castile – 1951 The Siege of Rochelle – 1963

Delius

Giordano

Bellini

Dargomïzhsky

Sakùntala – 1982 The Golden Ticket – 2010

Auber

Fra Diavolo – 1966 Manon Lescaut – 2002

Balfe

La sonnambula – 1954 I puritani – 1962 Il pirata – 1972 La straniera – 1987

Bennett

The Mines of Sulphur – 2008

Bizet

La Jolie Fille de Perth – 1968 Les Pêcheurs de perles – 1971

Boieldieu

La Dame blanche – 1990

Braunfels

Prinzessin Brambilla – 2004

Britten

Albert Herring – 1970 The Turn of the Screw – 1976

Busoni

Turandot – 1988 Arlecchino – 2007

Catalani

La Wally – 1985

Cavalli

Eritrea – 1975

The Ghosts of Versailles – 2009 Der Barbier von Bagdad – 1974 A Village Romeo and Juliet – 2012 Rusalka – 1997

Of Mice and Men – 1980 Susannah – 2005 Eva – 2004 Don Giovanni Tenorio – 1988 La cena delle beffe – 1987 Siberia – 1999

Glinka

Delibes

Ivan Susanin – 1973

Donizetti

Orfeo ed Euridice – 1977 La Rencontre imprévue – 1991

Lakmé – 1970 L’elisir d’amore – 1952 Don Pasquale – 1953 La figlia del reggimento – 1957 Anna Bolena – 1958 Don Pasquale – 1963 Lucia di Lammermoor – 1964 Lucrezia Borgia – 1966 Il giovedì grasso – 1970 L’ajo nell’imbarazzo – 1973 Linda di Chamounix – 1983 L’assedio di Calais – 1991 Parisina – 1996 Maria di Rohan – 2005 Don Gregorio – 2006 Maria Padilla – 2009 Gianni di Parigi – 2011

Dvořák

The Devil and Kate – 1988 Jakobín – 2001 Rusalka – 2007

Gluck

Goetz

Der Widerspenstigen Zähmung – 1991

Goldmark

Die Königin von Saba – 1999

Gomes

Fosca – 1998

Gounod

Mireille – 1961 Roméo et Juliette – 1967

Granados

María del Carmen – 2003

Haas

Šarlatán – 1998

Handel

Ariodante – 1985

Fauré

Pénélope – 2005

Repertoire by Composer 1951–2012 131

Haydn

L’infedeltà delusa – 1969 Il mondo della luna – 1978 Orlando – 1980 L’isola disabitata – 1982

Hérold

Zampa – 1993

Humperdinck

Königskinder – 1986

Montemezzi

L’amore dei tre re – 1979

Mozart

La finta giardiniera – 1965 La clemenza di Tito – 1968 Il re pastore – 1971 Zaide – 1981 Mitridate, re di Ponto – 1989

Nicolai

Janáček

The Merry Wives of Windsor – 1976

Lalo

Saffo – 1995

Leoncavallo

Il barbiere di Siviglia – 1993

Kát’a Kabanová – 1972 Le Roi d’Ys – 1975

Pacini

Paisiello

Zazà – 1990 La bohème – 1994

Pedrotti

Lortzing

Pergolesi

Lortzing

Ponchielli

Marschner

Prokofiev

Der Wildschütz – 1955 Der Wildschütz – 1955 Hans Heiling – 1983 Der Templer und die Jüdin – 1989 Der Vampyr – 1992

Martin

Mirandolina – 2002

Mascagni

Tutti in maschera – 2008 La serva padrona – 1977 La Gioconda – 1963 The Gambler – 1973 The Duenna – 1989

Puccini

Manon Lescaut – 1955 La rondine – 1971 Edgar – 1980

Il piccolo Marat – 1992 Iris – 1995

Respighi

Massenet

Ricci

Don Quichotte – 1965 Thaïs – 1974 Hérodiade – 1977 Grisélidis – 1982 Le Jongleur de Notre-Dame – 1984 Cendrillon – 1987 Sapho – 2001

Maw

The Rising of the Moon – 1990

La fiamma – 1997 La serva e l’ussero – 1977

Ricci Brothers

Crispino e la comare – 1979

Rimsky-Korsakov

Mayskaya noch’ – 1995 Snegurochka – 2008

Rossini

Elisa e Claudio – 1988 Elena da Feltre – 1997 Il giuramento – 2002 La vestale – 2004 Virginia – 2010

La Cenerentola – 1956 L’Italiana in Algeri – 1957 La gazza ladra – 1959 Il Conte Ory – 1964 Otello – 1967 L’equivoco stravagante – 1968 L’inganno felice – 1970 La pietra del paragone – 1975 Tancredi – 1986 La cambiale di matrimonio – 2009

Meyerbeer

Rubinstein

Mayr

Medea in Corinto – 1974

Mercadante

L’Étoile du Nord – 1996

The Demon – 1994

Smetana

The Two Widows – 1978 The Kiss – 1984 Hubička– 2010

Spontini

La vestale – 1979

Stanford

Much Ado About Nothing – 1964

Statkowski Maria – 2011

Storace

Gli equivoci – 1992

Stravinsky

Pulcinella – 2007

Susa

Transformations – 2006

Tchaikovsky

Cherevichki – 1993 Orleanskaya deva – 2000

Thomas

Mignon – 1986 La Cour de Célimène – 2011

Verdi

I due Foscari – 1958 Aroldo – 1959 Ernani – 1961 La traviata – 1965 Luisa Miller – 1969 Giovanna d’Arco – 1976 Un giorno di regno – 1981

Wagner

Das Liebesverbot – 1994

Weber

Oberon – 1972

Weber/Mahler

Die Drei Pintos – 2003

Weill

The Rise and Fall of the City of Mahagonny – 1985 Der Silbersee – 2007

Weinberger

Švanda dudák – 2003

Wolf-Ferrari

I gioielli della Madonna – 1981 La vedova scaltra – 1983

Zandonai

I cavalieri di Ekebù – 1998 Conchita – 2000

Moniuszko

Straszny dwór – 1999

132 Repertoire by Composer 1951–2012

Repertoire 1951–2011 132

Artists 1951–2011

SOPRANOS

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

133 Repertoire 1951–2011

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

James Maguire, Robin McWilliam, Michael Kepler Meo

Artists 1951–2011 133

MEZZO-SOPRANOS AND CONTRALTOS

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

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

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

134 Artists 1951–2011

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

Weinorovski, Robert White, Kip Wilborn, Bradley Williams, Malcolm Williams, John Winfield, Lee Winston, Finbar Wright, Alexander Young, No Zidek, Renzo Zulian

BASS-BARITONES

Scott Brooks, Luca Dall’Amico, Krzystof Szumanski, Wayne Tigges BASSES

BARITONES

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

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

Artists 1951–2011 135

CONDUCTORS

Yves Abel, David Alger, Antonio de Almeida, Alexander Anissimov, Bruno Aprea, Paolo Arrivabeni´, David Atherton, Mathias Barnett o Max Bragado-Darman, Bryan Balkwill, Daniele Belardinelli, Guy Barbier, John Barbirolli*, Gabriele Bellini, Maurizio Benini, Roderick Brydon, Daniele Callegari, Stephan Cardon, Aldo Ceccato, Michael Christie, Nicholas Cleobury, Alan Curtis, Jacques Delacote, Carla Delfrate, Oliver von Dohnanyi, Gyorgy Fisher, Christopher Franklin, Myer Fredman, Riccardo Frizza, Henri Gallois, Hans Gierster, Jane Glover, Marco Guidarini, Theodor Guschlbauer, Leonard Hancock, Richard Hickox, Milan Horvat*, Robert Houlihan*, Carlos Izcaray, Newell Jenkins, Emmanuel Joel, Simon Joly, David Jones, James Judd, Wladimir Jurowski, Dimitri Jurowski, Courtney Kenny, Jaroslav Kyzlink, Jan Latham-Koenig, Christopher Larkin, David Lloyd-Jones, Charles Mackerras, Paul Magi, Leone Magiera, John de Main, Michele Mariotti, Lubomír Mátl’F, Enrique Mazzola, Kenneth Montgomery, Michael Moores, Eimear O Broin*, Arnold Oestman, Prionnsias O’Duinn*, Dermot O’Hara, Colman Pearse, Jean Perisson, Evelino Pido, Roberto Polastri, Andre Prieut*, John Pritchard, Timothy Redmond, Julian Reynolds, Bruno Rigacci, Stewart Robertson, Albert Rosen, Marcello Rota, Guido Johannes Rumstadt, Giacomo Sagripanti, Claude Schnitzler, Mark Shanahan, Gunnar Staern, Robin Stapleton, Pinchas Steinberg, Rudolf Schwartz*, Tomasz Tokarczyk, Antonio Tonini, Jean-Luc Tingaud, Yan Pascal Tortefier, Frantisek Vajnar, Alexander Voloschuk, Leonardo Vordoni, Israel Yinon

DIRECTORS

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

136 Artists 1951–2011

Fabio Sparvoli, Ian Strasfogel, Jeremy Sutcliffe, Stewart Trotter, Timothy Tyrrell, Gabriele Vacis, Sergio Vela, Graham Vick, Stefano Vizioli, Wolf- Siegfried Wagner, Keith Warner, Francesca Zambello, Michal Znaniecki DESIGNERS

Christopher Akerlind, Robin Archer, Steve Almerighi, Bernard Arnould, Cristiana Aureggi, Richard Aylwin, Silvia Aymonino, Ciaran Bagnall, Maurizio Balo, Andre Barbe, Valeria Donata Bettella, Federico Bianchi, Dick Bird, Huguette Barbet-Blanchard, Susan Blanc, Maria Bjornson, Jane Bond, Roger Butlin, John Bury, Francesco Calcagnini, Joseph Carl, John Cervenka, Alison Chitty, Franco Colavecchia, Kandis Cook, Russell Craig, Bernard Culshaw, Lorenzo Cutúli, Elizabeth Dalton, Peter J. Davison, John Lloyd Davies, Marouan Dib, Fotini Dimou, Giuseppe di Iorio, Judith Ebert, Charles Edwards, Paul Edwards, Greg Emetaz, Johan Engels, Michael Eve, David Fielding, John Fraser, Massimo Gasparon, Ariane Gastambide, Italo Grassi, Lucia Goj, Andrzej Goulding, Greco, Kate Guinness, Wendall Harrington, Dermot Hayes, Douglas Heap, Richard Hudson, Neil Peter Jampolis, Paul Keogan, Kevin Knight, Denis Krief, Osbert Lancaster, Graham Large, Jane Law, Marie-Jeanne Lecca, Guido Levi, Hilary Lewis, Kenny MacLellan, James Macnamara, Nick Malbon, Julian McGowan, Micheal McLiammoir, John McMurray, James Macnamara, Ulderico Manani, Alison Meacher, Alan Moyer, Anna Hadji Mischev, Bettina Munzer, Ruari Murchison, Conor Murphy, Ferdia Murphy, Patrick Murray, Rupert Murray, Igor Nezny, Francis O’Connor, Nick Ormerod, John Otto, Martin Pakledinaz, Fabrizio Palla, Paul Pallazzov, William Passmore, Claudia Pernigotti, Adam Pollock, Dacre Punt, Declan Randall, Vincenzo Raponi, Robin Rawstorne, Tim Reed, Alex Reid, Brigitte Reiffenstuel, Giorgio Ricchelli, Peter Rice, Violeta Rojas, Edoardo Sanchi, Tiziano Santi, James Schuette, Bruno Schwengl, Di Seymour, Jason Southgate, Paul Steinberg, John Stoddart, Annena Stubbs, Maria Rosaria Tartaglia, Mauro Tinti, Fabio Toblini, Tatyana Tulubieva, Joe Vanek, Jamie Vartan, Jan Venables, Simon Vincenzi, Michael Waller, Tom Watson, Reginald Woolley * Appeared in concerts or recitals only

Personnel

PHOTO BY PAT REDMOND

David Agler

MARKETING, COMMUNICATIONS

Artistic Director

& DEVELOPMENT

David McLoughlin

Eamonn Carroll Development

ARTISTIC ADMINISTRATION

Lucy Durack Development Assistant

Rosetta Cucchi Assistant to the Artistic Director

Mark Mahoney Marketing & Communications

Patricia Bonham Corcoran Financial & Procurement Administrator

Nora Cosgrave Artistic Administrator

Elizabeth Rose-Browne Media Relations Executive

Pip Walsh Interim Technical Manager

Giuliano Guernieri Company Manager

Claudine Murphy Press Office Liaison

Eddie O’Brien Duty Manager

Nicky Kehoe Assistant Company Manager

Gary Murphy Marketing Intern

Ger Keeling Duty Manager Assistant

Seamus Redmond Digital Marketing Assistant

Geraldine O’Rourke Anne Wilde Box Office

Chief Executive

Sarah Burn Publications Editor Gerry Lundberg Public Relations ROI Media Consultants Joanna Townsend UK Press Consultants Clive Barda Company Photographer Miles Linklater (24pt Helvetica) Graphic Designers Highwind Films Video Production

OPERATIONS & FINANCE

Aisling White Head of Operations Denise Kavanagh Financial Controller

Ann Marie Clancy Walsh Office Assistant Ciara Hartigan Executive Assistant Christiana Cahill Office Assistant Stargaze Productions Box Office Supervision Services STAGE DOOR

Ann Marie Clancy Walsh Fiona Grant Ian Holmes Phyllis McCarthy Ian Mitchell Damien O’Rourke Nicky Pender Seamus Redmond

Personnel 137

PRODUCTION

ELECTRICS

PROPERTIES

David Stuttard Technical Director

Didier Barreau Chief Electrician

Maggie Nottage Props Supervisor

Bradley Vernatter Production Manager

Martin McLachlan Assistant Lighting Designer

CREW

Paul Hyland Deputy Chief Electrician

Noeleen Dempsey Christine Harold Lizzie Marshall Props Assistants

Nic Rée Technical Crew Manager

Eoin McNinch Board Operator

Paul Gregory Master Carpenter

Pip Walsh Sharon Bagnall Donal McNinch Stage Electrician

Sean Wright Deputy Master Carpenter Carlo Fieldwick Flyman Tom Warren Assistant Flyman David Donegan Puppy Mulcahy Sylva Parizkova Alex Perry Stage Crew Mario Colaluca John Corcoran Daniel Cunningham Paul Ffrench Conall Geoghegan Eddie Milbourne Eddie O’Brien Terry White Steve Wilson Casual Stage Crew STAGE MANAGEMENT

Ray Bingle Aisling Fitzgerald Theresa Tsang Stage Managers Jean Hally Tríona Humphries Colin Murphy Kate Porter Laura Walshe Assistant Stage Managers Amy Browne* Production Observer

Olchan Kirwan Sound & Audio Visual Technician WARDROBE

Karin Schmidt Head of Wardrobe Ann Reck Wardrobe Mistress Antonia Ford Roberts Costume Design Assistant Le Roi malgré lui Miriam Donoghue Grainne Lynch Jeni Roddy Seamstresses Caitriona Ní Threasaigh Costume Craft/Dyer Hannah Fitzgerald Richelle Corcoran* Wardrobe Apprentice WIGS & MAKEUP

Carole Dunne Head of Wigs & Makeup Stephanie Metzner Ida Eriksson Marion O’Toole Jo Charlton Wright Wigs & Makeup Assistants Dorothy Campbell* Makeup Apprentice

Eoin Byrne Props Running Crew Emily Mahon* Props Apprentice SCENIC ARTISTS

Sandra Butler Jason McCaffrey David Redmond L’Arlesiana Liz Barker Jason McCaffrey Mary Lou Roche A Village Romeo and Juliet SHORTWORKS

Conor Mullan Technical Manager Nicola Candlish Emma Doyle Stage Managers Frances White Costume Supervisor Florence Pettit Assistant Stage Manager/Props Assistant Peter Boyle Carpenter SURTITLES

Désirée Neumann CHAPERONE

Amanda Kelly Niamh Murphy Eoin Pinaqui Supernumerary Understudies ORCHESTRA TECHNICAL STAFF

Éamonn Conway Technical Coordinator Damien O’Rourke Orchestra Porter

* In partnership with Dun Laoghaire Institute of Art, Design & Technology

138 Personnel

Volunteers

David McLoughlin, CEO – Wexford Festival Trust, Elizabeth Foley, Zurich Volunteer of the year 2011 & Conor Brennan, Director of Broker Distribution – Zurich. Photo © Patrick Brown BACKSTAGE AND TECHNICAL

CLOAKROOM

FRONT OF HOUSE

Manager: Vivian Crofton

Managers: Liz Darcy, Anne Fitzharris

Manager: Albert Lacey

Lorraine Byrne, Ger Keeling, John Kirwan, Dave Martin, Dave Martin Jnr, Frank Reck, Tony Reck, Dave Vaughan, Steve Wilson, Terry White BAR

Manager: Tom Murphy Assisted by: Susan Eustace, Pauline Roche Philip Broaders, Ann Brown, Noel Butler, Angela Byrne, Marian Campbell, Grainne Cooney, Eithne Coulter, Anne-Marie Curtis, Rita Cussen, Margaret Donnelly, Mary Doyle, Frank Foley, Noleen Goggin, Judi Grey, Anne Gubbins, Margaret Gurhy, Sandra Harris, Marie Hayes, Anne Hogan, Marie Hussey, Michael Kavanagh, Lorna Kearney, Phil Keeling, Jake Kehoe, Jason Kehoe, Lolo Lazaro, Frances Madders, Gertrude Madders, Phyllis McCarthy, Yvonne McGuire, Ian Mitchell, Bobby Modler, Tom Molloy, Dawn Moloney, Marianne Moran, Tracy Morris, Diarmuid North, Ann O’Brien, Mary O’Connor, Conall O’Brien, Ciaran O’ Faherty, Karen O’Keeffe, Meghan Sinnott, Selina Scott, Angie Thompson

Eimear Bell, Patricia Bent, Kate Bolger, Crona Carew, Bea Claydon, Bernie Corcoran, Susan Crosbie, Ruth Deignan, Sandra Dempsey, Yvonne Doris, Desmond Fegan, Eithne Fitzpatrick, Marie French, Theresa Gleeson, Jane Kenneally, Mary Kerr, Odile le Bolloch, Catherine Malone, Anne McCarthy, Fiona McCoole, Mairead Mc Daid, Antoinette Mitchell, Aisling Nolan, Eimear North, Jane O’Faherty, Helen O’Riordan, Anne Roche, Gabrielle Roche, Ann Sills, Brenda Stuart, Carmel Swords, Niamh Tierney, Aedin Tynan, Mary Tynan, Siobhan Tynan, Marietta Walsh, Tricia Walsh, Helen White DRIVERS

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

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

Volunteers 139

GREEN ROOM

OPERA HOUSE TOURS

RECITALS FRONT OF HOUSE

Manager: Liz Foley

Manager: Rosemary Hayes

Manager: Phil Lynch

Kate Bolger, Brenda Byrne, Conor Byrne, Jean Callaghan, Irene Carty, Maura Coffey, Angela Cunningham, Helen Cunningham, Joan Doyle, Eamon Foley, Lorraine Foley, Mary Fox, Margot Gaul, Lily Hanton, Sandra Harris, Marian Hillis, Lorraine Hynes, Verona Hynes, Joe Kelly, Joy Keyes, Jo Kinsella, Claire Moore, Christine Roche, Kitty Roche, May Sadler, Kathy Shortle, Catherine Whelan

Ann Barrett, Val Byrne Cook, Dave Corcoran, Angela Cunningham, Francoise Davison, Helen Doyle, John Duggan, Anne Fitzharris, Eithne Fitzpatrick, Paddy Foley, Dermot Gowan, Mary Grant, Patricia Howlin, Peter Hussey, Robbie Hynes, Mary Kerr, Claire Larkin, Padraic Larkin, Kevin Lewis, Phil Lynch, Brian MacGonagle, Catherine Malone, John McCormack, Betty O’Brien, Ciaran O’Faherty, Jane O’Faherty, Elizabeth O’Sullivan Eileen Paget, Mary Riordan, Billy Sweetman, Niamh Tierney

Assisted by: Liz Murphy, Michael O’Reilly, James White

FRIENDS’ HOSPITALITY

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

Manager: Nicholas Furlong Bernard Browne, Monica Crofton, Jarlath Glynn, Ian Hearn, Jim Hurley, Brian Matthews, Peter Miller, Cyril Nolan, Dr Austin O’Sullivan, Peter Pearson, Eithne Scallan

PROGRAMMES

Manager: Belle Fitzgerald Mags Bolger, Nuala Byrne, Joanne Crofton, Ann Dempsey, Una Doherty, Mary Donohoe, Mary Doyle, Mary G. Doyle, Therese Farrell, Stasia Fortune, Irene Furlong, Georgina Gaul, Majella Gaul, Eilis Hayes, Marie Hussey, Geraldine Kelly, Ann Logan, Colette Mahon, Barbara Mantripp, Carmen McDonald, Bobby Modler, Clare Nolan, Laura Nolan, Helena O’Brien, Sheila O’Neill Fahy, Shelia Reck, Phil Rowan, Ethna Ryan, Liz Sinnott, Terence Stacey, Hilda Stafford, Eleanor White

Doreen Atkinson, Ann Barrett, Helen Burrell, Joe Campbell, Marian Campbell, Caroline Carson, Eileen Coman, Mary Cotter, Susan Crampton, Francoise Davison, Eamonn Dundon, Therese Farrell, Mary Furlong, Helen Gaynor, Brigid Ann Hayes, Eileen Herlihy, Bernadette Honohan, Heike Huelswitt, Patricia Hyland, Michael Kavanagh, Bernie Lloyd, Ann Logan, Bernadette Lovett, Marguerite McGillycuddy, Niall McGuigan, Mary G. McGuigan, Hugh Mc Guire, Eanna McKenna, Ann McMorris, Valerie Morris, Liz Murphy, Lala Murtagh, Pauline Norrison, Betty O’Brien, Helena O’Brien, Ann O’Neill, Anne O’Sullivan, Elizabeth O’Sullivan, Eileen Paget, Rosemary Paget, Colin Polden, Madeline Prendergast, Mary Quigley, Michelle Roche, Patty Roche, Jean Ruddock, Ethna Ryan, Sibylle Schmidt, Angie Thompson, Katie Whitty, Ann Young RECITALS BOX OFFICE

Ted Howlin, Phyllis McCarthy, David Sinnott WARDROBE

Manager: Marie Brady Helena Baker, Louise Duggan, Julie Hogan, Dolores Kavanagh, Michelle O’Kennedy, Anne Reck, Sinead Reck, Bride Tynan, Frances White

140 Volunteers

Peter Moores Foundation

Maria di Rohan, 2005

Don Gregorio, 2006

L’Assedio di Calais, 1991

Wexford Festival Opera would like to record its deep gratitude to the Trustees of the Peter Moores Foundation for their magnificent grant support over the past twenty-one years. The Foundation’s support for this year’s Festival production of Chabrier’s Le Roi malgré lui is especially significant because it heralds the final year of the Foundation’s charitable work. This will be marked by a series of opera productions in the UK starting in 2013 and concluding, with one exception, in 2014, the year of the Foundation’s fiftieth anniversary.

Virginia, 2010

La Cour de Célimène, 2011

support in the fields of opera, the visual arts and education. As a student, Peter Moores worked at Glyndebourne, studied at the Vienna Academy of Music and worked at the Vienna State Opera before joining his father’s business, Littlewoods. Now, having passed his eightieth birthday earlier this year, he has decided to close down his Foundation after many years of critical support to a wide range of beneficiaries. Since its inception the Peter Moores Foundation has enabled Chandos Records to issue the world’s largest catalogue of operas recorded in English. It has supported Opera Rara’s recording of rare bel canto repertoire, the recording of a number of important new works, the staging of many opera performances at Wexford and elsewhere, and the provision of scholarships to many talented young singers.

The Foundation’s first gift to Wexford’s Opera Festival was in support of the production of Donizetti’s L’assedio di Calais (1991) and it went on to provide production funding for two more rare Donizetti operas: Maria di Rohan (2005) and Don Gregorio (2006), followed by Mercadante’s Virginia (2010), Ambroise Thomas’s La Cour de Célimène (2011), and finally, this year’s production of Chabrier’s Le Roi malgré lui. Established by British philanthropist Sir Peter Moores in 1964, the Foundation has provided major financial

The Trustees of the Peter Moores Foundation have demonstrated wonderful commitment to opera in Wexford and we salute their important contribution to the life of our Festival over the past two decades.

Peter Moores Foundation 141

Wexford Festival Opera Tours

The Wexford Festival Opera Tours, under the auspices of Wexford Historical Society, are led by expert guides and are open to everyone. There is no charge but we ask drivers to help by offering places in their cars to visitors. The tours leave the Talbot Hotel car park at 10:30 sharp. All tours are scheduled to return to Wexford at 13:00. Thursday 25 October

Thursday, 1 November

Friday, 26 October

Friday, 2 November

A visit to the battle site of Oulart (1798), its pre-1798 chapel and Michael Warren memorial, with 1798 historian, Bernard Browne. A visit to Horetown and Balloughton churches, which are associated with the last person thought to have escaped from Wexford Gaol in 1798. The tour guide is the Chairman of the Irish Agricultural Museum at Johnstown Castle, Peter Miller.

Saturday, 27 October

A walking tour of the Faythe area of Wexford; its history and legends. The guide is local teacher and author, Monica Crofton.

Monday 29 October

A walking tour along the beach and rocky seashore in the fishing village of Kilmore Quay with author and naturalist, Jim Hurley.

Tuesday, 30 October

Celebrating the bicentenary of the birth of Augustus Welby Pugin (1812–1852), considered to be the finest exponent of Gothic revival architecture. Visit the collegiate chapel in St Peter’s College, Wexford and St Alphonsus Church, Barntown, with librarian and President of Wexford Historical Society, Jarlath Glynn.

Wednesday, 31 October

The lives, times and locations of the Knights Templar in Co. Wexford, including Templetown and Duncannon Fort, with the Chairman of Wexford Historical Society, Brian Matthews.

142 Wexford Festival Opera Tours

A walking tour led by artist and author, Peter Pearson, Discover the fascinating hidden history and architecture of Wexford Port. Visit the sites associated with the infamous 1911–1912 industrial dispute in Wexford’s farm machinery giant, Pierce Ironworks Foundry, with Dr Austin O’Sullivan.

Saturday, 3 November

A walking tour of Wexford’s bridges, waterfront and ancient covered pier, with Nicholas Furlong.

Wexford Opera House Tours During the 2012 Festival guided tours of Wexford Opera House will take place every day from Saturday 27 October to Sunday 4 November inclusive. Tours commence at 14:00, starting at the Box Office, Wexford Opera House. Take in the award-winning architecture while sampling the exceptional acoustics of its two diverse performance spaces, the O’Reilly Theatre and the Jerome Hynes Theatre. Children under sixteen years of age must be accompanied by an adult. Booking closes fifteen minutes before the tour start time. No admission without a valid ticket. Ticket €5

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ABBEY THEATRE

JAMES JOYCE in a dramatisation by Frank McGuinness and directed by Joe Dowling

On the ABBEY STAGE – 5 December—19 January Project1

24/09/2008

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serving food daily

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7 June - 11 July 2013 DIE ENTFÜHRUNG AUS DEM SERAIL Wolfgang Amadeus Mozart Director Daniel Slater Conductor William Lacey Designer Francis O’Connor

MAOMETTO II British premiere Gioachino Rossini Director Edward Dick Conductor David Parry Designer Robert Innes Hopkins

HÄNSEL UND GRETEL Engelbert Humperdinck Director Olivia Fuchs Conductor Martin André Designer Niki Turner

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L I S M O R E F E S T I VA L 2 0 1 3 P R O G R A M M E “Music is such a powerful medium and the Lismore Festival has been working tirelessly promoting the beauty and relevance of opera. It is wonderful to witness results of the drive and enthusiasm of such dedicated people making opera more accessible and connected to audiences in such an inclusive and authentic manner.” His Excellency President Michael D Higgins.

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Visit www.lismoremusicfestival.com Facebook: Lismore Music Festival Twitter: @lismoremusicfest Ireland’s premier music Festival’ Niall O’Carroll - RTE Lryicfm “The Lismore Festival is a bold statement that promising opportunites can be created even during financially challenging times. Being there to witness the birth of opera in County Waterford, I was happier than ever, that my second country is, and always has been Ireland.” Brian Kellow, Features Editor, Opera News (USA)

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Index of Advertisers Lily O’Briens

149

AIB 12

Lismore Festival

157

Artramon Farm

Lobster Pot Restaurant

147

Lyric Opera Productions (Aida)

143 144

Abbey Theatre

148

The Arts Council

Inside Front Cover

Bank of Ireland

109

Marlfield House

Celtic Linen

112

National Concert Hall

Cistín Eile Restaurant

145

Neville’s 150

Corcoran Menswear

144

Northern Ireland Opera

156

Danone 10

Opera Theatre Company

154

Datapac 18

Opera Theatre of Saint Louis

153

Delius Trust

The Piano Gallery

108

Deutz 20

RTÉ Lyric FM

105

Diana Donnelly

Shoe Style International

145

100

Simons Place

151

Talbot Hotel

Thomas Moore Tavern

19, 21, 23, 25, 157, 159

Domonic Smith Electrical EPA (Environmental Protection Agency) Fáilte Ireland

Ferrybank Motors

147

Ferrycarrig Hotel

French Embassy

110

Garsington Opera

152

Greenacres 111 Hertz 104 Independent News & Media International Leisure and Arts

9 13

Ireland’s Blue Book

113

Italian Institute of Culture

102

J. J. Devereux Ltd.

146

Kelly’s Resort Hotel & Spa

101

160 Index of Advertisers

97, 99

Ticketsolve 146 Waterford Airport

106

Wexford Borough Council & Wexford County Council

Wexford Bus

149

Wexford Chamber of Commerce

158

Wexford Creamery

Whites of Wexford

Woodfit 148 Wright Insurance

103

The Yard Restaurant

107

Zurich 11

Programme editor: Sarah Burn

Festival Calendar

61st Wexford Festival Opera Wednesday 24 October – Sunday 4 November 2012

Please note that our programmes may be subject to change.

Wednesday 24 October

Thursday 25 October

Friday 26 October

Opening Ceremony on the Quay 20:00 L’ARLESIANA

15:30 19:00

William V Wallace Recital Pre-Opera Talk

20:00

LE ROI MALGRÉ LUI

11:00 13:05 14:30 15:30 19:00

Dr Tom Walsh Lecture Lunchtime Recital Film – Song of Summer A Dinner Engagement Pre-Opera Talk

20:00

A VILLAGE ROMEO AND JULIET

23:00

Late Night Concert

Saturday 27 October

Sunday 28 October

11:00 13:05 15:30 19:00 20:00

11:00 16:00

A Dinner Engagement Pre-Opera Talk

17:00 22:00

LE ROI MALGRÉ LUI

Morning Concert Lunchtime Recital The Magic Flute Pre-Opera Talk

L’ARLESIANA

GALA CONCERT

Monday 29 October (BANK HOLIDAY)

13:05 14:30 15:30 19:00

Lunchtime Recital Film – Song of Summer The Magic Flute Pre-Opera Talk

20:00

A VILLAGE ROMEO AND JULIET

Tuesday 30 October

Wednesday 31 October

Thursday 1 November

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

Lunchtime Recital The Magic Flute Pre-Opera Talk

13:05 15:30 19:00

Lunchtime Recital A Dinner Engagement Pre-Opera Talk

L’ARLESIANA

20:00

LE ROI MALGRÉ LUI

11:00 13:05 14:30 15:30 19:00

Morning Concert Lunchtime Recital Film – Song of Summer The Magic Flute Pre-Opera Talk

20:00

A VILLAGE ROMEO AND JULIET

Friday 2 November

Saturday 3 November

Sunday 4 November

11:00 13:05 15:30 19:00 20:00 23:00

William V Wallace Recital Lunchtime Recital The Magic Flute Pre-Opera Talk

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

Piano Recital Lunchtime Recital A Dinner Engagement Pre-Opera Talk

14:30 15:30 19:00

Film – Song of Summer Orchestra Concert Pre-Opera Talk

L’ARLESIANA

20:00

LE ROI MALGRÉ LUI

A VILLAGE ROMEO AND JULIET

Late Night Concert

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

61st Wexford Festival Opera 2012

61st Season

24 Octoberâ&#x20AC;&#x201C;4 November, 2012