Wexford Festival Opera 2016 Season Brochure

2016 Season Brochure Wexfordopera.com

65th Festival

26 October – 6 November 2016

BOOK ONLINE AT WEXFORDOPERA.COM |

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PHOTO: SEAN O’ RIORDAN

‘A world-class opera festival specializing in obscure rarities based in a tiny coastal town – Wexford is the ultimate Irish joke.

The punchline? It’s bloody brilliant.’

THE SPECTATOR, ALEXANDRA COGHLAN

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

THE SUNDAY TIMES, HUGH CANNING

‘The Wexford Festival Opera, held for 12 days every October/November, is one of Europe’s key international music events.’

WALL STREET JOURNAL, BRIAN KELLOW

PHOTO: SEAN O’ RIORDAN

WEXFORD AND ITS OPERA FESTIVAL In October each year, Wexford, a town on the south-east coast of Ireland, is transformed by opera when great performers, local volunteers and visitors from many countries come together in a shared enterprise. Since 1951, the Festival has specialised in selecting operas that have fallen out of favour or have almost never been staged.

Over the years, many young singers on the threshold of international careers – Nicola Monti, Graziella Sciutti, Sergei Leiferkus, Joseph Calleja, Mirella Freni, Elizabeth Connell, Janet Baker, Ann Murray, Angela Meade, Bryan Hymel, amongst many others, have all sung at Wexford.

Leading music critics, particularly from Britain, wrote enthusiastically about the operatic rarities that were performed at Wexford. They praised the singers, the directors and their imaginative productions, and they were charmed by the town and its people.

In 2008 a new Opera House was built on the site of the old Theatre Royal. In 2014 the Wexford Opera House was renamed Ireland’s National Opera House. The highly praised Orchestra of Wexford Festival Opera is largely constituted of Irish-born and Irish-resident musicians, and each season young professional opera singers are engaged to form the Chorus of Wexford Festival Opera.

Wexford’s opera productions have received many awards and are regularly nominated in various categories in the International Opera Awards and in the Irish Times Irish Theatre Awards. Exciting productions by internationally renowned directors and designers not only bring life to operas that may have lain on dusty shelves in archives for a century or more, but also enable the lives of characters in an opera to connect with our own.

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FUNDERS AND SPONSORS Principal Funder

Grant Funders

Corporate Leaders

Corporate Sponsors

Official IT & Communications Partner

Official Festival Car

Community & Education Partners

Accommodation Partners

Preferred Hotel Partner

Hospitality and Media Partners

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PHOTO BY 21STOPS.COM

ARTISTIC DIRECTOR’S WELCOME Greetings.

If you have never attended a performance in Ireland’s National Opera House, please consider this brochure to be your invitation to the 2016 Wexford Festival Opera. If you are a Festival regular, I hope you will be excited by what is on offer in the 2016 Festival season. Every October Wexford comes alive with musicians and creative artists from many countries. Wexford is rich in creativity: in music performance and composition, theatrical production, art and literature. All these life-enhancing gifts come together in opera.

Created by Dr Tom Walsh with the people of Wexford in 1951, the Festival retains a deep connection with the community. It attracts internationally renowned singers, as well as some of the best young vocalists destined to wonderful careers, conductors, directors and designers.

In Wexford we explore less-frequented areas of the operatic repertory, so our focus is on reviving and rehabilitating operas that have not received the exposure they richly deserve. Many of Wexford’s re-discoveries have gone on to become part of the standard opera repertory.

In the National Opera House this year, we will be presenting three operatic rarities of unique dramatic interest. Herculanum by Félicien David: A story of forbidden love between Pagan royalty and Christian slaves, culminating in the destructive eruption of Mount Vesuvius.

Vanessa by Samuel Barber: Not wanting to acknowledge the many years that have passed since her former lover’s departure, Vanessa waits with tense anticipation for his return. But the man that appears is not who she thinks.

Maria de Rudenz by Gaetano Donizetti: Not even after her own apparent murder can a wife seeking revenge be stopped. Her unfaithful and absent husband and his new intended bride will be her victims. You will find the many other unique events on offer at this year’s Festival described within these pages.

Experience the magical setting and atmosphere of Wexford, unique in Ireland, during our Festival. You’ll be most welcome.

David Agler, Artistic Director

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OPERA

HERCULANUM FÉLICIEN DAVID (1810–1876)

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

DAVID AGLER

STEPHEN MEDCALF

JAMIE VARTAN

CHRISTOPHER AKERLAND

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

CONDUCTOR DIRECTOR SET & COSTUME DESIGNER LIGHTING DESIGNER

in revolt. As the ominous rumblings of Mount Vesuvius grow, the Christians console themselves with the prospect of eternal life (‘C’est le ciel!

C’est la vie!’).

The music of David has sometimes been compared with that of Berlioz, who himself welcomed Herculanum warmly in a review.

Though that comparison is stretching things a little, it does perhaps give an idea of what Berlioz would have sounded like if he had wandered off along Orientalist tracks. Having studied at the Paris Conservatoire with Cherubini, David visited the Middle East and remains best remembered today as the composer of the ‘ode symphonique’ Le Désert. Several of his operas reflect this interest too, notably Lalla-Roukh, Eden and Moïse au Sinaï, though other works (Christophe Colomb and La Perle du Brésil) suggest the equal draw of the New World. Almost Meyerbeerian in dramatic ambition if not in duration, Herculanum was to remain the composer’s only grand opéra.

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

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26 OCTOBER – 8 P.M.

29 OCTOBER – 8 P.M.

1 NOVEMBER – 8 P.M.

4 NOVEMBER – 8 P.M.

| WEXFORD FESTIVAL OPERA 2016

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OPERA

VANESSA

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

TIMOTHY MYERS

JAMES ROBINSON

ALLEN MOYER

CONDUCTOR DIRECTOR SET DESIGNER

JAMES SCHUETTE

COSTUME DESIGNER

CHRISTOPHER AKERLAND

LIGHTING DESIGNER

Though not totally neglected, Barber’s first opera deserves to be much better known than it is. There are few operas of the last half-century that have such obvious audience- and singer-appeal, for Barber was a great composer for the voice; think of his songs, or of Knoxville: Summer of 1915, that quintessential American masterpiece. Such sound operatic models as Puccini, Strauss and Berg may inform the work, but the language is recognisably Barber’s own and the orchestral writing is richly atmospheric.

That atmosphere is Ibsenesque since the action is set in an unspecified northern country, around 1905. The libretto by Gian Carlo Menotti, Barber’s partner and, of course, a successful opera composer in his own right, tells of how Vanessa, her mother (the Old Baroness) and niece (Erika) have waited 20 years for the return of Vanessa’s lover, Anatol. Upon his arrival, it is discovered that he is the man’s son, also named Anatol, and that

the lover is dead. Nevertheless, Vanessa and the younger Anatol are drawn to each other, leaving Erika – seduced by Anatol on his first night at the house – pregnant and suicidal. When Vanessa and Anatol depart for Paris, Erika settles down to wait and, as her aunt had done before, gives orders for the house to be closed up.

Vanessa received a glamorous premiere at New York’s Metropolitan Opera in 1958, directed by Menotti, designed by Cecil Beaton and conducted

by Dmitri Mitropoulos. The cast featured Eleanor Steber, Rosalind Elias, Regina Resnik and Nicolai Gedda. (Callas had turned down the title role because no one could expect her to fall for a man who had slept with a mezzo-soprano.) Six years later Barber tightened the opera, reducing it from four to three acts by running the original first two acts together and cutting a coloratura aria for Vanessa herself. It is this more compact, two-hour version that we will see at Wexford.

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

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27 OCTOBER – 8 P.M.

30 OCTOBER – 5 P.M.

2 NOVEMBER – 8 P.M.

5 NOVEMBER – 8 P.M.

| WEXFORD FESTIVAL OPERA 2016

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OPERA

MARIA DE RUDENZ GAETANO DONIZETTI (1797–1848)

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

ANDREW GREENWOOD

CONDUCTOR

FABIO CERESA

DIRECTOR

GARY MCCANN

SET DESIGNER

GIUSEPPE PALELLA

COSTUME DESIGNER

CHRISTOPHER AKERLAND

LIGHTING DESIGNER

Maria de Rudenz has been described as ‘perhaps the darkest of Donizetti’s tragedies’, which is saying something and may account in part for the opera’s long-standing neglect. It tells the story of how Maria de Rudenz falls in love with Corrado against her father’s wishes and flees with him to Venice. But in Venice, Corrado abandons her and heads back to the Rudenz family castle, falling in love this time with Maria’s cousin, Mathilde di Wolf. Maria returns to the castle and discovers that her lover is not only going to marry her cousin but is also, in fact, the son of a murderer.

On the wedding day of Mathilde and Corrado, Maria appears and reveals Corrado’s secret, murders Mathilde and commits suicide.

First performed at La Fenice in Venice in 1838, Maria de Rudenz comes in the sequence of Donizetti’s 70 or so operas between Roberto Devereux and Poliuto and is thus a work of the composer’s full mastery. Its unsuccessful premiere may have been one reason Donizetti was quick to rearrange the first act finale for Poliuto (Wexford

patrons who saw that opera at Glyndebourne last summer will perhaps recognise some of the music). As so often with Donizetti, this score has its own tinta, or colour, something most noticeable in the long bass clarinet solo in the prelude to Act 2.

The first modern staging of Maria de Rudenz was given, again at La Fenice, in 1980, and it still awaits a full production in both the United Kingdom and the United States. This autumn’s Irish premiere is the latest in a series of important Donizetti revivals at Wexford, which has played a major role in what remains an ongoing Donizetti renaissance. It is surely no coincidence that Wexford Festival Opera’s lifetime has overlapped with Donizetti’s reversal of fortune – the composer who 65 years ago was all but written off as intellectually disreputable has now regained his rightful place in the operatic canon.

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

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

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28 OCTOBER – 8 P.M.

31 OCTOBER – 8 P.M.

3 NOVEMBER – 8 P.M.

6 NOVEMBER – 5 P.M.

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S H O RT WO R K

IL CAMPANELLO (The Night Bell) GAETANO DONIZETTI

MELODRAMA GIOCOSO IN ONE ACT TO A TEXT BY THE COMPOSER AFTER A FRENCH VAUDEVILLE, LA SONNETTE DE NUIT,

BY BRUNSWICK, MATHIEU-BARTHÉLEMY TROIN AND VICTOR LHÉRIE FIRST PERFORMED IN NAPLES, TEATRO NUOVO, 1 JUNE 1836 ROBERTO RECCHIA — DIRECTOR

In its full title, Il Campanello di notte translates as ‘The Night Bell’. And that bell plays a central role in the plot, in which we meet an old doctor, Don Annibale Pistacchio, who has just married a young bride by the name of Serafina. During the wedding night, they are constantly interrupted by the ringing of the night bell. Each time it is Serafina’s rejected former lover, Enrico, in a different disguise – French dandy, old codger, even an opera singer who has lost his voice – asking the increasingly desperate groom for another preposterous prescription. The work became something of a hit following its premiere in Naples in 1836, just 18 months before the less successful Maria de Rudenz saw the light of day. The hard-working composer would write another four operas in between these two premieres, including Roberto Devereux.

Labelled by its composer a melodrama giocoso, it is indeed a very funny farce. Perhaps one obstacle to more recent success is the lack of a starring tenor role – the comedy is carried mostly by the bass (Don Annibale) and baritone (Enrico).

The latter is an especially virtuosic part, full of musical and dramatic possibilities. As the hoarse singer, he makes allusions to operas by Rossini and even Donizetti himself. When it comes to the prescriptions, the pseudo-medical terms bantered around are even more exotic than in Dr Dulcamara’s famous aria in L’Elisir d’amore, which the composer was perhaps recalling. Equally, the patter could be said to anticipate the Pasquale-Malatesta duet (another great baritone-bass moment) in Don Pasquale. Il Campanello truly deserves to be better known, and will be an attractive complement to this season’s much darker Donizetti opera.

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

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27 OCTOBER: 3.30 P.M.

30 OCTOBER: 11 A.M.

2 NOVEMBER: 3.30 P.M.

5 NOVEMBER: 3.30 P.M.

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S H O RT WO R K

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

Despite the somewhat unoperatic culture of Vaughan Williams’s milieu, the composer had a lifelong interest in bringing music and theatre together. His magnum opus was The Pilgrim’s Progress, a project that occupied him over a period of around 40 years. But many devotees of the composer feel strongly that Riders to the Sea is one of his greatest masterpieces. It has often struggled to find a home in most opera-house planning because of its brevity, but Wexford Festival Opera’s ShortWorks is an ideal place in which to encounter this opera, not least because of its Irish roots.

Composed in 1927 but not heard until a decade later, Riders to the Sea is based almost verbatim on J.M. Synge’s early twentieth-century drama of the same name. Music of eerie, elegiac beauty illuminates the theme of elemental and watery death as experienced by the Aran Islanders, west of Galway.

The central role is that of Maurya, who by the end loses her husband and six sons to the sea, experiencing a kind of cathartic release when her last son’s death leaves her with nothing more to fear. Realising that the sea can hurt her no longer, Maurya concludes, ‘No man at all can be living for ever, and we must be satisfied’. All this is evoked by Vaughan Williams in music that captures the flinty harshness of the islands and fierce marine brutality. But the theme of mankind against nature – taken to extremes in his Sinfonia Antarctica – always brought out the best in the composer.

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

CLAYTON WHITES HOTEL | TICKETS €25 28 OCTOBER: 3.30 P.M.

31 OCTOBER: 3.30 P.M.

3 NOVEMBER: 3.30 P.M.

6 NOVEMBER: 11 A.M.

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S H O RT WO R K

THE BEAR WILLIAM WALTON

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

One of Walton’s late works, The Bear is small of scale when compared with his previous and only other opera. Troilus and Cressida had been a huge undertaking with a large cast, full orchestra and chorus, and one that had met with mostly tepid responses. So it was little surprise that when commissioned by the Koussevitzky Foundation to write an opera (eventually dedicated ‘to the memory of Serge and Natalie Koussevitzky’) he produced a compact three-hander. Perhaps it was that great conductor’s Russian background that inspired Walton to turn to Chekhov as the source for The Bear.

First heard at the 1967 Aldeburgh Festival, The Bear exhibits the same tenderness and bittersweet lyricism which had always been central to the composer’s style. It is also full of the absurd humour that had been a trait right from Walton’s first major work, Façade. His music captures the Chekhovian spirit of a piece set in the Russian provinces in the late nineteenth century. The central character is Madam Popova, the young widow of a landowner who moves from obsessive bereavement to fiery independence, complaining along the way of her husband’s infidelities. She is visited by one of Popov’s creditors, the tempestuous Smirnov, and when they begin to quarrel – she calls him a bear and a boor – pistols are drawn, but they find themselves unable to fire; they realise they have fallen in love. Observing all the action with bemusement is Popova’s manservant, Luka. The librettist in charge of putting Chekhov on the English operatic stage was Paul Dehn, best known as an Oscar-winning screenwriter.

Thanks to Walton’s light and sometimes parodistic music, his words never fail to register.

The Festival ShortWorks are made possible by the generous support of The Lord Magan of Castletown CLAYTON WHITES HOTEL | TICKETS €25 29 OCTOBER: 3.30 P.M.

1 NOVEMBER: 3.30 P.M.

4 NOVEMBER: 3.30 P.M.

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PHOTO BY PAULA MALONE CARTY

DAYTIME EVENTS PACKAGE

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

Daytime Events Package

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

2.15 p.m. Lunch at Clayton Whites Hotel

Come and find out more about an art form that has captivated Wexford’s locals and visitors for more than sixty years.

Thursday 27 October RTÉ Contempo Quartet – Lunch – Il Campanello

For groups of fifteen or more, the group organiser receives a complimentary €60 Daytime Events Package ticket.

Group bookings must be made through the Box Office: +353 53 912 2144 Individual bookings may be made online or through the Box Office.

1.05 p.m. Lunchtime Recital at St Iberius Church, given by one of the principal artists of the Festival.

The schedule of performers will be announced at the beginning of the Festival

3.30 p.m. ShortWork opera in Clayton Whites Hotel – a small-stage opera production, duration approx. 60–90 minutes (see schedule below)

Friday 28 October Recital – Lunch – Riders to the Sea Saturday 29 October Recital – Lunch – The Bear Tuesday 1 November Recital – Lunch – The Bear Wednesday 2 November Recital – Lunch – Il Campanello Thursday 3 November Recital – Lunch – Riders to the Sea Friday 4 November Recital – Lunch – The Bear Saturday 5 November Recital – Lunch – Il Campanello BOOK ONLINE AT WEXFORDOPERA.COM |

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PHOTO BY MARK STEDMAN

RTÉ CONTEMPO QUARTET

ST IBERIUS CHURCH

27 OCTOBER – 1.05 P.M. | TICKETS ¤15 Described by The Strad magazine as ‘a polished and professional group…full of exuberance with a fine sense of ensemble’, the RTÉ Contempo Quartet is one of the most exciting and vibrant chamber ensembles performing today.

Since its formation in Bucharest in 1995, it has performed worldwide in prestigious venues such as St Martin-inthe-Fields, Berliner Philharmonie, Palazzo del Quirinale Rome, Carnegie Hall and the Opera House Tel Aviv. The ensemble has won numerous international prizes, taking first prize at competitions in Munich, Rome and London, and worked alongside artists of the highest calibre including Emma Johnson, Yuko Inoue, Hugh Tinney, Chen Zimbalista, Jérôme Pernoo, Peter Donohue and Martin Roscoe. Collaborations with other distinguished quartets such as the Amadeus, Arditti, Vanbrugh, Casals and Endellion have also been a feature.

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

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From 1999 to 2002 the quartet coached chamber music groups at the Royal Academy of Music, London and since 2003 has been the Galway Music Residency’s Quartet in Residence, where it has firmly established itself in a variety of genres including core classical repertoire, contemporary, folk, traditional and jazz. It was appointed as RTÉ’s Quartet in Residence in May 2014, giving over 50 performances during its first season.

Concerts during 2016 include a celebratory series to mark the quartet’s 20th Anniversary in venues countrywide, and a performance of Gerald Barry’s Quartet no 1 (revised version) at Wigmore Hall, London for a gala concert as part of the 1916 Easter Rising commemoration events.

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

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

PHOTO BY JONATHAN HIMOFF

DR TOM WALSH LECTURE

JOHN JULIUS NORWICH

JEROME HYNES THEATRE | NATIONAL OPERA HOUSE 28 OCTOBER – 11 A.M. | TICKETS ¤10 The 2016 Dr Tom Walsh Lecture will be given by John Julius Norwich (John Julius Cooper, 2nd Viscount Norwich, CVO) one of the most distinguished and charismatic writers and broadcasters of our time.

After a career in the diplomatic service, he became a writer, particularly on history, art and travel subjects.

His many books include acclaimed works on Venice, Byzantium, Mount Athos, Glyndebourne (Fifty Years of Glyndebourne), the Normans, the Popes, Shakespeare and architecture, and his Christmas Crackers collections of trivia and witticisms. He has edited the diaries of his father, Duff Cooper, 1st Viscount Norwich, and letters from his famously glamorous mother, Lady Diana Cooper (Darling Monster: The Letters of Lady Diana Cooper to Her Son John Julius Norwich).

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

Tea and coffee will be served after the Lecture.

Kindly supported by Victoria Walsh-Hamer

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PHOTO BY PAULA MALONE CARTY

LUNCHTIME RECITALS

ST IBERIUS CHURCH

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

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One of the delights of attending a Lunchtime Recital is that the programme is not advertised beforehand, so everyone shares the same degree of anticipation and expectation. Unsurprisingly, the Lunchtime Recitals sell out very quickly.

The artists and their performance dates will be announced at the beginning of the Festival.

PHOTO BY PATRICK BROWNE

GALA CONCERT

O’REILLY THEATRE | NATIONAL OPERA HOUSE 30 OCTOBER, 9 P.M. – TICKETS ¤50 – ¤60

The Gala Concert is one of the highlights of Wexford Festival Opera and features a collection of favourite party pieces from members of the Festival company. All performers generously donate their time and talent for the Gala Concert, and all proceeds go toward supporting Wexford Festival Opera.

The 2016 Gala Concert will be hosted by one of Wexford Festival’s favourite directors, Roberto Recchia.

Early booking is advised.

Roberto Recchia

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PHOTO BY MARK HARRISON

PIANO RECITAL

BARRY DOUGLAS, PIANO

O’REILLY THEATRE | NATIONAL OPERA HOUSE 31 OCTOBER, 11 A.M. | TICKETS* ¤25–¤30** Barry Douglas has established a major international career since winning the Gold Medal at the 1986 Tchaikovsky International Piano Competition, Moscow. As Artistic Director of Camerata Ireland and the Clandeboye Festival, he continues to celebrate his Irish heritage whilst also maintaining a busy international touring schedule.

Highlights of the 2015–2016 season include performances at BBC Proms in the Park with the Ulster Orchestra and at the Yerevan Festival in Armenia; a tour with Brussels Philharmonic; and appearances with the Prague Symphony, Belgrade Philharmonic, Szczecin Philharmonic and Galicia Symphony orchestras. He has previously given concerts with the BBC Scottish Symphony, London Symphony, Russian National, Cincinnati Symphony, Singapore Symphony, Berlin Radio Symphony, Staatskapelle Halle, Orchestre National de France, Seattle Symphony and Melbourne Symphony

orchestras alongside the Royal Liverpool Philharmonic and Hong Kong Philharmonic orchestras, among others.

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

Programme: Schubert: Impromptus Op 90 (D 899) Brahms: Klavierstücke Op 76 Schubert/Liszt: Lieder – Ave Maria, Erlkönig Schubert: Wanderer Fantasy Op 15 (D 760)

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

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PHOTO BY PAULA MALONE CARTY

WINING AND DINING

Pre-Opera Suppers at the National Opera House

Relax and enjoy a meal in the MacKenzie Room on the third floor of the National Opera House before the performance. The popular Pre-Opera Suppers begin at 6 p.m. on each of the 8 p.m. performance evenings during the Festival.

On Sunday 30 October, Supper will be served after the 5 p.m. performance, and on Sunday 6 November it will be served at 2.30 p.m. before the performance.

Supper €40 Booking for the Pre-Opera Suppers opens on Saturday 27 February. Priority will be given to Friends of Wexford Festival Opera.

Champagne and Canapés Treat yourself to a little luxury! We offer a Champagne and Canapés interval reception in the MacKenzie Room at the National Opera House every night during the Festival.

Please note that Champagne and Canapés are only offered at the first interval.

Tickets €25 Friends of Wexford Festival Opera may book their tickets from Saturday 27 February at Wexfordopera.com and by telephone (+353 53 912 2144).

Public booking opens on Saturday 19 March.

To make a booking contact Michael O’Keeffe, Conference and Banqueting Manager, Ferrycarrig Hotel, Wexford: michaelokeeffe@ferrycarrighotel.com or phone +353 87 662 0279.

BOOK ONLINE AT WEXFORDOPERA.COM |

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PHOTO: ROGER KENNY

BECOME A FRIEND OF WEXFORD FESTIVAL OPERA Benefits for all Friends:

Aria Friend €500

• Priority Booking before the box office opens to the general public

A very rewarding way to support young singers:

• A Programme Book, Loyalty Card, Newsletter, CD, and lapel pin

• Access to eight tickets per performance during Priority Booking

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

• Four complimentary tickets to Parties, Lunches and Buffet

• An Opportunity to purchase additional tickets for Friends’ Parties, Lunches, and Buffet

• Invitations to the Aria Friends’ reception at Dublin, and London events

• Exclusive access to: – The Friends’ Lounge on level three of the National Opera House – Friends’ Welcome Receptions held during the Festival

• Nominate the artist of your choice for the Aria Friends of Wexford Festival Opera Bursary

• Regular Friends’ news updates • Invitations to the Friends’ Recitals and other events held in Dublin, London, and continental Europe • An opportunity to join the annual Friends’ European opera trip

The various ways Friends can support are outlined below, with the specific benefits and annual amounts for each one:

Ensemble Friend €185 • Access to six tickets per performance during Priority Booking • Four complimentary tickets to Parties, Lunches, and Buffet

Teatro Friend €1,000 • Access to six tickets per performance during Priority Booking • Four complimentary tickets to Parties, Lunches, and Buffet • A seat endowment, which includes a plaque on a seat in the National Opera House

20

• Invitations to special events during the Festival

Bravura Friend €2,000 Provide direct philanthropic support for one main stage opera production each year: • Unlimited access to tickets during Priority Booking • Ten complimentary tickets to Parties, Lunches, and Buffet • Invitations to a private reception with the artistic team during the Festival • Recognised as the Philanthropic Supporter of a Wexford Festival Opera production

Prelude Friend (Under 35s) €80 • Prelude Friends can purchase two tickets for each main stage opera for: – €35 in Rows G and H in the Circle – €20 in Circle boxes F and C • Tickets must be purchased before 1 September 2016 • Discounted tickets to operas and lunches

For further information about our of Friends’ Programme contact Anna Bates, Development Executive, on +353 53 916 3525 or by email: anna@wexfordopera.com.

Visit Wexfordopera.com/friends | WEXFORD FESTIVAL OPERA 2016

PHOTO: PATRICK BROWNE

CORPORATE MEMBERSHIP If you are looking for a memorable way to entertain clients or reward your team, Wexford Festival Opera Corporate Membership is the ideal solution, offering exclusive access to one of the most prestigious events in the Irish cultural calendar.

An unforgettable evening for you and your party of six begins with a champagne reception before a delicious four-course dinner in a private dining room in the National Opera House. You will enjoy the evening’s opera performance from premium seats, followed by a champagne reception during the interval. After the performance you will mingle with other guests at a special

post-opera party. Platinum membership also includes the added benefit of accommodation in a superior room at one of our four-star partner hotels.

Membership includes admission to our Friends’ events in Dublin, London and continental Europe during the year.

Whatever your business, Wexford Festival Opera Corporate Membership offers a unique experience that your clients will long remember.

For more information on our Gold and Platinum packages or to request a printed brochure, contact Anna Bates: +353 53 916 3525 or email anna@wexfordopera.com.

BOOK ONLINE AT WEXFORDOPERA.COM |

21

BOOK YOUR SEATS BOOK ONLINE

IN PERSON

From 19 March at Wexfordopera.com

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

BY PHONE

Box Office opening hours

From 28 March +353 53 912 2144 or 1850 4 OPERA PAYMENT Payment may be made by credit or debit card or cheque. Cash payments may be made only by personal customers.

• to 17 October: Monday-Saturday, 9 a.m. – 5.30 p.m.

• 18–20 October: 9 a.m. – 8 p.m.

• 21–24 October: 9 a.m. – 8.30 p.m.

• 25 October: 9 a.m. – 8.30 p.m.

• 30 October: 9 a.m. – 9.30 p.m.

• 26–31 October: 9 a.m. – 8.30 p.m.

• 1 November: 9 a.m. – 5.30 p.m.

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| WEXFORD FESTIVAL OPERA 2016

PHOTOPHOTO: © CLIVESEAN BARDA/ARENAPAL O’ RIORDAN

Post

Group Bookings

If you choose to have your tickets posted to you, they will arrive at least six weeks before the event. A fee of €1.50 applies to international post and €1.00 to domestic post.

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

Ticket Collection If you choose to collect your tickets, they may be collected from the Box Office from 19 March and up to two hours before the performance.

Booking Fees A booking fee of €1.00 per ticket applies to all credit and debit card transactions.

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

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

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

Special Needs For information on our special needs’ access, visit Wexfordopera.com.

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

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

BOOK ONLINE AT WEXFORDOPERA.COM |

23

PHOTO © CLIVE BARDA/ARENAPAL

SEATING PLANS & PRICING Floor Level

Seating Area

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

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

Price Band C Gala Concert 30 Oct

 Circle

Rows A–B

€140

€140

€75

 Circle

Rows C–G

€90

€120

€60

 Circle

Row H*

€40

€40

€60

 Circle Side Stalls

I 12–18, J 1–7 I 19–22, J 8–11

€50 €35

€50 €35

€60 €60

C ircle Boxes (4 seats)**

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

€25

€25

€50

 Founders Circle

A3–A26 A1, A2, A27, A28 Rows B–C

€145 €140 €145

€145 €140 €145

€80 €75 €80

 Founders Circle

Side Stalls

€130

€130

€80

F ounders Circle (4 seats)**

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

€50 €25

€50 €25

€50 €50

 Main Stalls

Rows A–B Rows C–P

€95 €105

€115 €125

€60 €60

 Side Stalls

1–6, 13–18 7–12, 19–24

€105 €95

€125 €115

€60 €60

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

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| WEXFORD FESTIVAL OPERA 2016

O’REILLY THEATRE, NATIONAL OPERA HOUSE

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

H

I 12

BOX

D

1

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3

18 19 20

1

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15 16

P

1

BOX

1

3

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2

3

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3

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2

4

7

6

5

5

6

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

7 8

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

N

C

10

BOX

J

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9

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6

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talls

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alls

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4

9 10 11

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

Side St

21 22

8

7

6

5

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17

I

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2

16

E

Boxes D, E & F seat 4 each

J

14

BOX

F

B A

13

15

BOX

7

8

7

6

5

4

6

5

4

3

2

1

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

E

B

Boxes A, B & C seat 4 each

C

F

STAGE

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

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

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

CLAYTON WHITES HOTEL STAGE

A

A

7

85

8 5

3

7 4

7 4

6 3

2

74

6 3

63

5 2

107

107

9

9 6

118

129

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

4

9

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

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

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

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

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

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

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

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

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

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

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

SECTION B

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

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

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

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

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

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

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

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

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

C

D

D

E

E

F

F

G

G

H

H

J

J

32 33

28

52

5 2

41

1

11

12 13

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

18 19 20 21 22 23 24 25 26 27

B

34 30 36 32 38 34 40 36 42 38

35 36

32

5 2

41

41

3

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

A

C

31

7

41

3

3

2

8 9 10 11 12 13 14 15 16 17

B

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

A

3

2

2

E

C

B

STAGE

A

37 33 39 35 41 37 43 39

38 39

34

B

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

D

2

1 1

1

J

F

G

H

C

1

1

H

J

F

G

D

E

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

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

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

BOOK ONLINE AT WEXFORDOPERA.COM |

25

CULTUREFOX.IE

NEVER MISS OUT 26

The Arts Council’s new, upgraded CULTUREFOX events guide is now live. Free, faster, easy to use – and personalised for you.

Never miss out again.

| WEXFORD FESTIVAL OPERA 2016

TRAVELLING TO WEXFORD

Air

Rail

Fly to Dublin International Airport (Dublinairport.com).

There are a number of transport options for travelling from there to Wexford, including car hire and a direct coach service to Wexford, as well as bus services to Dublin city for onward travel to Wexford by bus or train.

Irish Rail operates regular train services to Wexford from Connolly and Pearse railway stations in Dublin (Irishrail.ie).

Waterford Airport (Waterfordairport.ie) is one hour’s drive from Wexford and offers connections from the UK, as well as services for private aircraft. There are flights between Waterford and London Luton, and Waterford and Birmingham, with the Belgium-based VLM Airlines (Flyvlm.com).

Sea Wexford is situated close to Rosslare Europort.

Stena Line operates daily sailings between Rosslare and Fishguard (Stenaline.com).

Irish Ferries sails between Rosslare and Pembroke, and between Rosslare and Cherbourg (Irishferries.com).

Bus Wexford Bus operates a direct bus service between Dublin Airport and Wexford (Wexfordbus.com).

Bus Éireann operates regular bus services to Wexford (Buseireann.ie).

Car Hire Enjoy your visit to Wexford with the greater freedom you get when you rent a car from Hertz, Ireland’s premier car hire company (Hertz.ie).

Road Wexford is easily accessed from many main routes in Ireland. Detailed directions may be obtained from AA Route Planner (Aaireland.ie).

Stena Line and Irish Ferries also operate between Dublin Port and Holyhead.

Visitors to Wexford Festival Opera are encouraged to make their visit more environmentally friendly.

Visit Epa.ie/begreen to discover what you can do to benefit your environment.

BOOK ONLINE AT WEXFORDOPERA.COM |

27

RTÉ ad

✂

FESTIVAL CALENDAR WEDNESDAY 26 OCTOBER

SATURDAY 29 OCTOBER

Opening Ceremony

1.05 p.m. Lunchtime Recital

8 p.m. Herculanum

10.30 p.m. Opening Night Party*

3.30 p.m. The Bear

7 p.m. Pre-Opera Talk

8 p.m. Herculanum

10.30 p.m. Friends’ Party* THURSDAY 27 OCTOBER

SUNDAY 30 OCTOBER

1.05 p.m. RTÉ Contempo Quartet

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

2 p.m. Friends’ Lunch*

3.30 p.m. Il Campanello

7 p.m. Pre-Opera Talk

8 p.m. Vanessa

FRIDAY 28 OCTOBER

10 a.m. Welcome Reception*

11 a.m. Dr Tom Walsh Lecture

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

7 p.m. Pre-Opera Talk

8 p.m. Maria de Rudenz

*Available to Friends only. See page 20 for details.

11 a.m. Il Campanello

4 p.m. Pre-Opera Talk

5 p.m. Vanessa

9 p.m. Gala Concert

MONDAY 31 OCTOBER (bank holiday)

10 a.m. Welcome Reception*

11 a.m. Barry Douglas Piano Recital

2 p.m. Friends’ Lunch*

3.30 p.m. Riders to the Sea

7 p.m. Pre-Opera Talk

8 p.m. Maria de Rudenz

BOOK ONLINE AT WEXFORDOPERA.COM |

29

30

TUESDAY 1 NOVEMBER

FRIDAY 4 NOVEMBER

1.05 p.m. Lunchtime Recital

1.05 p.m. Lunchtime Recital

3.30 p.m. The Bear

3.30 p.m. The Bear

7 p.m. Pre-Opera Talk

7 p.m. Pre-Opera Talk

8 p.m. Herculanum

8 p.m. Herculanum

WEDNESDAY 2 NOVEMBER

SATURDAY 5 NOVEMBER

1.05 p.m. Lunchtime Recital

1.05 p.m. Lunchtime Recital

3.30 p.m. Il Campanello

3.30 p.m. Il Campanello

5.15 p.m. Friends’ Buffet*

7 p.m. Pre-Opera Talk

7 p.m. Pre-Opera Talk

8 p.m. Vanessa

8 p.m. Vanessa

10.30 p.m. Friends’ Party*

THURSDAY 3 NOVEMBER

SUNDAY 6 NOVEMBER

11 a.m. Riders to the Sea

1.05 p.m. Lunchtime Recital

11 a.m. Festival Service,

3.30 p.m. Riders to the Sea

St Iberius Church

7 p.m. Pre-Opera Talk

4 p.m. Pre-Opera Talk

8 p.m. Maria de Rudenz

5 p.m. Maria de Rudenz

10 a.m. Welcome Reception*

| WEXFORD FESTIVAL OPERA 2016

*Available to Friends only. See page 20 for details.

✂

FESTIVAL CALENDAR

FERRYCARRIG HOTEL

ACCOMMODATION

Ferrycarrig Hotel (Preferred Hotel Partner)

Talbot Hotel

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

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

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

Clayton Whites Hotel Clayton Whites Hotel is one of the leading 4-star Wexford hotels, conveniently located in the centre of Wexford town. Large parking facilities are available.

Stay in the heart of the Festival at Clayton Whites Hotel. Packages from €85 pps For more information: T: +353 53 912 2311 E: info.whites@claytonhotels.com W: claytonwhiteshotel.com

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

Kelly’s Resort Hotel The 4-star Kelly’s Resort Hotel is uniquely situated along five miles of safe sandy beach in Rosslare, Co. Wexford.

One Night B&B with dinner and evening transfers to the Opera from €143 pps For more information: T: +353 53 913 2114 E: info@kellys.ie W: Kellys.ie

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

31

Wexford Tourist Office, Quayfront, Wexford. Opening hours: Mon–Sat 9.15 a.m. – 5.15 p.m.

Phone: +353 53 912 3111 E-mail: Wexford@failteireland.ie Website: DiscoverIreland.ie

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| WEXFORD FESTIVAL OPERA 2016

Wexford Map Festival Venues / Preferred Hotels 5

National Opera House

17

Saint Iberius Church (Recitals)

21

Greenacres Art Galleries

22

Ferrycarrig Hotel

23

Whites Hotel (ShortWorks)

24

Talbot Hotel

25

Kelly’s Resort Hotel

Around Wexford 1

The Ballast Bank

2

John Barry Monument

3

The Ballast Office

4

Keyser’s Lane

6

Saint Patrick’s Church

7

Church of the Assumption

8

Franciscan Friary

9

Church of the Immaculate Conception, Rowe Street

10

Wexford Arts Centre

11

Selskar Abbey

12

Westgate Heritage Tower

13

County Hall

14

The Redmond Monument

15

Nickey Rackard Commemorative Statue

16

Bull Ring (1798 Memorial)

18

National Irish Heritage Park

19

Wildfowl Reserve

20

Johnstown Castle Tourist Office Bus Station Assumed Town Walls Car Park Dun Mhuire Theatre Bus Stop Post Office Toilets Library Garda Station Rail Station

BOOK ONLINE AT WEXFORDOPERA.COM |

33

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

patron Michael D Higgins, President of Ireland resident Sir David Davies p hairman Ger Lawlor c artistic director David Agler hief executive David McLoughlin c

Design Miles Linklater, 24pt Helvetica 34 | WEXFORD FESTIVAL OPERA 2016 | Contributing Editor John Allison

Join the Conversation #WFO2016