Alcina and The Sofa Revised

LA LIBERAZIONE DI RUGGIERO DALL’ISOLA DI

THE

Francesca Caccini

Elizabeth Maconchy

Samuel Beckett Theatre 17–21 January 2023

RIAM and IADT present a double bill opera performance

The performance will last approximately 2 hours and 15 mins. There will be one interval of 15 mins.

Please make certain that your mobile phone is turned off during the performance. The taking of photographs and the use of recording equipment are not permitted in this theatre.

ALCINA AND THE SOFA

LA LIBERAZIONE DI RUGGIERO DALL’ISOLA

DI ALCINA, 1625

Composer: Francesca Caccini

Librettist: Ferdinando Saracinelli

THE SOFA, 1957

Composer: Elizabeth Maconchy Librettist: Ursula Vaughan Williams

RIAM and IADT presents a double bill production

Samuel Beckett Theatre

17–21 January 2023

Kathleen Tynan

Once again I am delighted to be showcasing our annual Opera performance in collaboration with the institute of Art, Design and Technology, and even more exciting this year is the intriguing double bill we have challenged the students with.This year, RIAM is producing a double bill production of two operas, La Liberazione di Ruggiero dall’isola di Alcina, composed by Francesca Caccini with libretto by Ferdinando Saracinelli; and The Sofa, composed by Elizabeth Maconchy with libretto by Ursula Vaughan. Both rather bizarre, comic operas are written in four scenes, and are linked through themes of seduction, entrapment, fantasy, love and lust. Both operas explore the idea of strong female characters, though they are set in very distinctive and separate worlds.

La Liberazione di Ruggiero dall’Isola di Alcina, written in 1625, and The Sofa, written in 1957, are both rather bizarre, comic operas written in four scenes. La Liberazione di Ruggiero dall’Isola di Alcina is the first opera written by a woman and was long considered to be the first Italian opera to be performed

“One of the great pleasures in selecting the RIAM Opera each year has been the opportunity to explore rarely performed works and eclecticn repertoire.”

outside of Italy. It is an enchanting spectacle with a score that is stylistically diverse and forward-looking, with surprising psychological depth and melodic beauty. The Sofa, set in Paris during the nineteenth century, is - in the composer’s own words – ‘light-hearted, light- headed and entirely improbable’. Both operas are linked by similar themes including seduction; rescue; humour, to name a few.

I was so delighted a year ago when I realised that we would have a cast of students ready to take on the challenges of the great variety of roles to be found in these fantastic operas. Once again we have had a full production design created bythe students of IADT’s Design for Stage and Screen programme. This is the eleventh opera production that we have collaborated on and it is a wonderful partnership for the RIAM each year. The design of set, costume and make-up showcases their emerging production design talent. In addition the visual identity for the poster and programme was selected from over twenty designs by final year IADT visual communication design students. This production is a wonderful example of what can be achieved when arts educawtion institutions work together and share ideas and resources. There has been a terrific team spirit throughout the months of rehearsal and preparation for this production. I am indebted to my colleagues in the Vocal Faculty of the RIAM and the tutors at IADT and to the professional production team who have worked with a great enthusiasm and generosity towards the realisation of this production.

I hope you enjoy the performance!

KATHLEEN TYNAN Head of Faculty, Vocal Studies and Opera, RIAM

LIAM DOONAN Head of Design and Visual Arts IADT

The Institute of Art, Design and Technology is once again delighted to be working with Royal Irish Academy of Music for this, our eleventh annual opera collaboration. Students from our Design for Stage and Screen BA (Hons) undertake an intensive four year programme with us and a key part of that experience is working on realised productions such as this evening’s opera. The programme at IADT offers specialist study for production designers, costume designers and makeup/character designers who go on to work in theatre, film, television and associated practices. The work you will see tonight is primarily by our third years and marks an important and exciting point in their studies as they gather and demonstrate further creative and technical skills in taking performance from initial concept through to the finished production.

Tonight marks our eleventh year of collaboration with the RIAM and is a good example of IADT’s commitment to collaborative partnerships across the creative arts both educationally and professionally. We extend our congratulations, thanks and best wishes to all the students and staff who made this performance possible and we hopeyou enjoy the performance.

IADT Design for Stage and Screen Students

Francesca Caccini was an Italian composer and singer who was one of only a handful of women in 17th-century Europe whose compositions were published. The most significant of her compositions—published and unpublished—were produced during her employment at the Medici court in Florence. She was the first woman to compose opera. In addition to opera she composed songs, incidental music, and music for the theatre, but few of her works survive.

Elizabeth Maconchy, 1907–1994

Elizabeth Maconchy, born to Irish parents in 1907, showed natural musical gifts at an early age. At the Royal College of Music she made a considerable impact with her composition teachers, Charles Wood and Ralph Vaughan William. Maconchy’s earlier style, based on short motifs and dense argument, metamorphosed into something freer, more lyrical and even expansive. She is considered to be one of the finest composers Great Britain and Ireland have produced. Maconchy’s earlier style, based on short motifs and dense argument, metamorphosed into something freer, more lyrical and even expansive.

ACT ONE

LA BIBERAZIONE DI RUGGERO DALL’ISOLA DI

ALCINA, 1625

Composed by Francesca Caccini Libretto from Ferdinando Saracinelli

SYNOPSIS

La Liberazione di Ruggiero dall’isola di Alcina is a comic opera in four scenes. It is the first opera written by a woman and was long considered to be the first Italian opera to be performed outside of Italy. Following the myths of the knight Ruggiero from Ariosto’s Orlando Furioso, the story centres on a battle between two sorceresses, Alcina and Melissa, over the warrior knight. He is being held captive on an island by the sensual Alcina who has bewitched him into believing he loves her, despite being betrothed to Bradamante, a Christian warrior maiden. Melissa, who has seen Ruggiero’s future and knows that he must marry his betrothed Bradamante, sets out to rescue him. Magic surrounds all; enchanted trees and rocks return to life to sing, sorceresses arrive on dolphins and boats take flight. La liberazione di Ruggiero dall’isola d’Alcina is an enchanting spectacle with a score that is stylistically diverse and forward-looking, with surprising psychological depth and melodic beauty.

MUSICAILTY

Francesca set the libretto as a ‘Balletto in Musica’, part opera, part ballet, lasting about 2 hours, with music, drama and dance. Francesca skilfully respects the Italian speech rhythms and the spirit of the words, as she explores the relationship to power of the two female sorceress characters and the knight Ruggiero.

This operatic work displays fluid musicality: the slow and hesitant rhythms of the plucked strings gradually becoming more enveloping and enchanting, casting Alcina’s spell over the audience. Alcina’s chromatic recitatives suggest an erotic allure that her rival never quite succeeds in countering, though the most remarkable music is reserved for the chorus of Alcina’s discarded lovers, transformed by magic into the exotic plants in the garden where she holds Ruggiero captive.

Melissa

“Amongst these plants, Thy charming lover You hold with a thousand knots.”

A trapped Ruggiero

(Above) Alcina and her Damsels (Below) The Final Number, Melissa and the Freed Plants

THE SOFA

Composed by Elizabeth Maconchy with Libretto from Ursula Vaughan

SYNOPSIS

The Sofa, set in Paris during the nineteenth century, is - in the composer’s own words – ‘light-hearted, light-headed and entirely improbable’. Our hero Dominic is turned into a sofa by his grandmother for his immoral behaviour with Monique; her curse will only be lifted when a couple make love on him! His various attempts to egg on his fellow partygoers into amorous encounters are continually thwarted until the fickle Monique returns with a handsome Englishman and unknowingly releases Dominic from his textile imprisonment. After an ensemble, expressing simultaneously incredulity, indignation, and unashamed enjoyment, the opera ends as it began with Dominic and Monique ensconced again on the Sofa.

MUSICALITY

Elizabeth Maconchy employs tonality ironically, for fractured waltzes, eerie lullabies and overripe romanticism. Around that music she weaves the familiar textures of twittering winds, cacophonous percussion outbursts, and scratchy strings. She creates a succession of delightful and catchy waltz tunes for her ballroom, while spinning long lyrical lines for her soloists.

The libretto is succinct and witty, and in turn Maconchy’s score emulates and affectionately parodies a range of music from Italian verismo to Beethoven. Yet it is unmistakeably her own; the teasing 5/8 duet as Monique and Dominic flirt, the lively counterpoint in the choruses, the colours of solo woodwind in the orchestra, are all characteristic Maconchy fingerprints. The libretto to The Sofa is by Ursula Vaughan Williams, adapted very freely from the famous French novel ‘Le sofa’ by Crebillon, and is in light verse.

(Above) The Party in full swing, Full cast. (Below) Dominic seducing Monique

“You say you’re sat on? Sat on you shall be.”

Grandmother

Dominic emerging from his textile imprisonment

MELISSA, Scene II

La liberazione di Ruggiero dall’isola di Alcina.

“O treacherous one, do you still have faith in your deceitful spells?”

ACT ONE

ALCINA Clodagh Kinsella

RUGGIERO Conor Gibbons

MELISSA Florence Khei

NEPTUNE Robert McAllister

ENSEMLE

Caitriona O’Mahony Naoise Dack Lucie Helleboid Aisling Lyons Francesca De Nardi Rebecca O’Connell Andrew Molloy

ACT TWO

DOMINIC Hannah O’Brien

MONIQUE Leah Redmond

GRANMOTHER Dana Tanase

ERIC Philip Keegan

ENSEMLE James McCreanor Ben Escorcio Lauren Scully Leah Redmond Shane Barriscale Tim Shaffrey

VIOLIN

Caitriona O’Mahony

Naoise Dack

Lucie Helleboid

Aisling Lyons

Francesca De Nardi Rebecca O’Connell Andrew Molloy

VIOLA

Barbara Bamberska Victoria Brooks Sebastian Adams

CELLO

Gabriele Dikcuite Zoe Stedje Davide Forti

DOUBLE BASS

Alex Felle

GUITAR

Matthew Mazanek RECORDER

Victoria Brooks Laoise Thighernaigh Delphi Morris

OBOE

Conor Cavanagh Niamh O’Neill

BASSOON Ciaran

Hayes

TRUMPET

Julia Gasvaer John Kerr Glen Carr

PRECUSSION Tadhg Kinsella

HARPSICHORD David Adams

CREATIVE TEAM

DIRECTOR

Sinead O’Neill

CONDUCTORS

Andrew Synnott, David Adams.

LIGHTING DESIGN

John Comisky,

ASSISTANT DIRECTOR Eoghan Carrick

SOUND DESIGN

Robert Coleman

SET DESIGN

Natasha Bertram, Damien Crean, Bridget Ní Dhuinn Belcher and Eimear Noctor Students of Design for Stage and Screen, IADT

COSTUME DESIGN

Amy Gillen, Student of Design for Stage and Screen, IADT

MAKE UP AND HAIR DESIGN

Yasmin Archer and Hannah Dobson, Students of Design for Stage and Screen, IADT

VISUAL IDENTITY DESIGN

Rachel Broaders, Visual Communication Design, IADT

PRODUCTION TEAM

PRODUCER

Kathleen Tynan RIAM, Head of Vocal Studies and Opera

PRODUCTION MGR. Michael Kyle, Rob Furey

STAGE MANAGER Mary Kilduff

ASSISTANT STAGE MGR

Gordon Bell, COSTUME SUPERVISOR Clodagh Deegan

HAIR & MAKE-UP

Fiona Hogan

DIRECTOR

Sinead O’Neill

GENERAL MANAGER

Francis Thackaberry

HOUSE MANAGER Ann Mulligan

BOX OFFICE MANAGER Rhona Greene

TECHNICAL MANAGER

Michael Canney, PUBLICIST Stephanie Dickenson

IADT PRODUCTION TEAM

Dec Windsor, James Doyle, Paul Kearney, Fiona Mitchell, Sarah Hempenstall and Enya Dunphy

IADT COSTUME TEAM

Aisling Nolan, Sarah McColgan, Sarah Higgins,Fay Wordingham, Elizabeth Whittam, Isobel JonesMcAuley and Orlagh TraceyAlex O’Connor

IADT MAKE-UP TEAM

Alex O’Connor, Sian Fitzgerald, Cliona Campbell, Emily Smyth, Miriam McCarthy and Kayleigh Bealin,

Sinéad O’Neill

John Comisky

Andrew Synott

SINÉAD O’NEILL, Director

Critically-acclaimed director Sinéad O’Neill works internationally across opera and theatre disciplines, driven by a passion for fresh, direct storytelling. Her style is characterised by the poetry of body, voice and space, reflected in distinctive movement, striking imagery, and dynamic musicality. Her work for stage is bold, fresh and zesty.She enjoys working with young people and supporting their personal and professional development.

ANDREW SYNOTT, Conductor Andrew Synnott is a Dublin-based composer, arranger, conductor and pianist, and PhD student at the DIT Conservatory of Music and Drama. He was organ scholar in Christ Church Cathedral and the Pro-Cathedral while studying Music at Trinity College Dublin. He has conducted for Opera Theatre Company; CoOpera, and the Royal Irish Academy of Music .

DAVID ADAMS, Conductor David performs regularly with many ensembles including the Irish Baroque Orchestra, and has recorded extensively both as a soloist and an ensemble player in the fields of Early and contemporary music. He has conducted opera for the RIAM, Opera Theatre Company, English Touring Opera and the Lismore Festival. In 2007 he was awarded a PhD from the Vrije Universiteit, Amsterdam, for his work on the organ music of Max Reger. David lectures in organ and harpsichord and is head of the new Early Music Department at the Royal Irish Academy of Music.

JOHN COMISKEY, Lighting John’s designs for the RIAM include Semele and Die Zauberflöte. Other recent lighting designs include: Falstaff (Vienna Staatsoper); Run to The Rock (Amanda Coogan/Belfast International Festival); The Gaul (Hull Truck Theatre); Flight (Rambert); A Tale of Two Cities (Theatre Royal, Northampton); The Plough and The Stars, Cyprus Avenue, Shibboleth, Our Few and Evil Days and The Risen People (Abbey Theatre, Dublin);

David Adams

(First Youth understudy and Chorus) She is a third year BA in Music Performance (Vocal Studies) student at the RIAM studying with Lynda Lee and Dearbhla Collins. Other Roles: Chorus La Bohème and La Traviata (Lyric Opera Productions), and Strawberry Seller, Oliver! (Festival Productions) and Chorus La Bohème

He is currently in his second year of the RIAM BA in Music Performance (Vocal Studies) under the tutelage of Mary Brennan. This is his first time to participate in the Academy’s annual opera and he relishes the opportunity to perform alongside his peers. Chorus La Bohème and La Traviata (Lyric Opera Productions), and Strawberry Seller, Oliver! (Festival Productions).

She is a fourth year student on the BA in Music Performance (Vocal Studies) at the RIAM studying with Mary Brennan and Dearbhla Collins. Previous Roles for RIAM: Sicle, Ormindo (2015), Novice, Suor Angelica (2015), and Strawberry Seller, Oliver! (Festival Productions).

CLODAGH KINSELLA, Soprano CONOR GIBBONS, Soprano FLORENCE KHEI, Soprano

She is in her first year of the Masters in Music Performance under the tutelage of Veronica Dunne and Dearbhla Collins. She is a recent graduate with a First Class Honours degree from the RIAM where she studied with Mary Brennan. Previous Roles for RIAM: Amore, Ormindo; Frantik, The Cunning Little Vixen; Soprano 1, Jephte, and First Boy, Mozart at the Freemasons. Notable Engagements: Soprano soloist Mozart’s Great Mass in C Minor,the Lord Mayor of Dublin at the Mansion House. Soprano soloist Mozart’s Great Mass in C Minor.

She is currently in his second year of the RIAM BA in Music Performance (Vocal Studies) under the tutelage of Mary Brennan. This is his first time to participate in the Academy’s annual opera and he relishes the opportunity to perform alongside his peers. Chorus La Bohème and La Traviata (Lyric Opera Productions), and Strawberry Seller, Oliver! (Festival Productions). Notable Engagements: Soloist with Strawberry Seller, Oliver! (Festival Productions)

She (First Youth understudy and Chorus) is a third year BA in Music Performance (Vocal Studies) student at the RIAM studying with Lynda Lee and Dearbhla Collins. Other Roles: Chorus La Bohème and La Traviata (Lyric Opera Productions), and Strawberry Seller, Oliver! Notable Engagements: Soloist with The Cunning Little Vixen; Soprano 1, Jephte.

LEAH REDMOND, Soprano

HANNAH O’BRIEN, Soprano DANA TANASE, Soprano

He is in her first year of the Masters in Music Performance under the tutelage of Veronica Dunne and Dearbhla Collins. She is a recent graduate with a First Class Honours degree from the RIAM where she studied with Mary Brennan. Previous Roles for RIAM: Amore, Ormindo; Frantik, The Cunning Little Vixen; Soprano 1, Jephte, and First Boy, Mozart at the Freemasons.Notable Engagements: Soprano soloist Mozart’s Great Mass in C Minor,the Lord Mayor of Dublin at the Mansion House.

He is studying under the tutelage of Mary Brennan at the RIAM. This is Ciarán’s first opera performance with the Royal Irish Academy of Music and he looks forward to many more opportunities like this in the future Previous Roles for RIAM: Amore, Ormindo; Frantik, The Cunning Little Vixen; Soprano 1, Jephte,

He is studying under the tutelage of Mary Brennan at the RIAM. This is Ciarán’s first opera performance with the Royal Irish Academy of Music and he looks forward to many more opportunities like this in the future Previous Roles for RIAM: Amore, Ormindo; Frantik, The Cunning Little Vixen; Soprano 1, Jephte, and First Boy, Previous Roles for RIAM: Amore, Ormindo; Frantik, The Cunning Little Vixen; Soprano 1, Jephte, and First Boy,.

PHILIP KEEGAN, Tenor JAMES MCCREANOR, Tenor BEN ESCORCIO, Tenor

She is studying under the tutelage of Mary Brennan at the RIAM. This is Ciarán’s first opera performance with the Royal Irish Academy of Music and he looks forward to many more opportunities like this in the future.

He is studying under the tutelage of Mary Brennan at the RIAM. This is Ciarán’s first opera performance with the Royal Irish Academy of Music and he looks forward to many more opportunities like this in the future Previous Roles for RIAM: Amore, Ormindo; Frantik, The Cunning Little Vixen; Soprano 1, Jephte,

He (Chorus) is studying under the tutelage of Mary Brennan at the RIAM. This is Ciarán’s first opera performance with the Royal Irish Academy of Music and he looks forward to many more opportunities like this in the future Previous Roles for RIAM: Amore, Ormindo; Frantik, The Cunning Little Vixen; Soprano 1, Jephte, and First Boy, Previous Roles for RIAM: Amore, Ormindo; Frantik, The Cunning Little Vixen; Soprano 1, Jephte, and First Boy,.

SHANE BARRISCALE, Tenor

LAUREN SCULLY, Tenor TIM SHAFFREY, Tenor

ACKNOWLEDGEMENTS

With special thanks to...

Alcina and the Sofa

A RIAM production Programme published by the Royal Irish Academy of Music, www.riam.ie and email: info@riam.ie ©Royal Irish Academy of Music Opera 2023

SPONSORS

CoisCéim, Dublin Youth Theatre, Jack and Jill Foundation, School Supply Centre, Rathfarnham, The Lir Academy of Dramatic Arts at Trinity College DublinMoira O’Brien, Jane Flanagan, Paul Bolger, Teresa McDonnell and Michelle Tanner of Trinity College Dublin Brian Daly, Dermot Desmond, Steve Donnellan, Selecta Vending, Machines, Dennis Jennings, Pamela Maxwell, Tesco Express, Pearse Street, Cathal Murphy and Bruce Ruddell, Calor Gas, Cathy Nolan.

RIAM AND IADT

Mary Brennan, Gillian Carew Derek Chapman, Dearbhla Collins, Johanna Diestelkamp, Laoise Doherty, Melda Drumm, Veronica Dunne, Monica Frawley, Owen Gilhooly, Ciara Higgins, Deborah Kelleher, Regina Nathan, Philip Shields, David Smith, Andrew Synnott

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RIAM AND IADT