Elizabeth Maconchy
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.
Composer: Francesca Caccini
Librettist: Ferdinando Saracinelli
Composer: Elizabeth Maconchy Librettist: Ursula Vaughan Williams
RIAM and IADT presents a double bill production
SAMUEL BECKETT THEATRE
17,18,20,21 January 2023
DIRECTOR: Sinéad O’Neill
CONDUCTORS: David Adams, Andrew Synnott
LIGHTING DESIGN: John Comiskey
PRODUCER:Kathleen Tynan
RIAM Opera Orchestra
Kathleen TynanOne of the great pleasures in selecting the repertoire for the RIAM Opera each year has been the opportunity to explore rarely performed works and eclectic repertoire. 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.
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 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 by the 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
All I insist on, and nothing else, is that you should show the whole world that you are not afraid. Be silent, if you choose: but when it is necessary, speak –and speak in such a way that people will remember it.”
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
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 hope you enjoy the performance.
Liam Doona, Head of Design and Visual Arts IADT
IADT Design for Stage and Screen students hard at work designing and the production, costumes and makeup for the production.
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.
ACT ONE: ALCINA 54 mins
INTERVAL: 15 mins
ACT TWO: THE SOFA 58 mins
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.
Melissa
Empty earthly desires bring no satisfaction; climb instead the steep path to virtue.”
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.
Make us remove from here, And let the feet be released Of us who will praise thee. The bark he can remove And untie the harsh knots With which she has bound us
The Sofa, set in Paris during the nineteenth century, is - in the composer’s own words – ‘lighthearted, 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.
You say you’re sat on?
Sat
you shall be.”
Grandmother
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.
Clodagh Kinsella, Alcina.
Conor Gibbons, Ruggiero.
Florence Khei, Melissa.
Robert McAllister, Neptune.
Hannah O’Brien, Dominic.
Leah Redmond, Monique.
Dana Tanase, Grandmother. Philip Keegan, Eric.
James McCreanor, Ensemble.
Ben Escorcio, Ensemble.
Lauren Scully, Ensemble.
Leah Redmond, Ensemble.
Shane Barriscale, Ensemble.
Tim Shaffrey, Ensemble.
Katie Richardson, Ensemble.
Ana Maria Acunune, Caroline Behan, Eileen Coyle, Amie Dyer, Breffni Fitzpatrick, HaileyLynch, Katie Richardson McCrea, Chorus.
Caitriona O’Mahony ,Naoise Dack, Lucie Helleboid, Aisling Lyons, Francesca De Nardi, Rebecca O’Connell, Andrew Molloy, Violins. Barbara Redmond, Victoria Brooks, Seb Adams, Violas. Gabriele Dikcuite, Zoe Stedje, Davide Forti, Cello.
Alex Felle, Matthew Mazanek, Victoria Brooks, Hannah O’Brien, Guitar. Alex Felle. Double Bass.
Conor Cavanagh, Niamh O’Neill, Oboe. Ciaran Hayes, Bassoon. Julia Gasvaer, John Kerr, Trumpet.
Sinead O’Neill, Director. Andrew Synnott, Conductor. David Adams, Conductor. John Comisky, Lighting Design. Eoghan Carrick, Assistant Dir. Robert Coleman, Sound Design
Natasha Bertram, Damien Crean, Bridget Ní Dhuinn Belcher and Eimear Noctor Students of Design for Stage and Screen, IADT, Set Design.
Amy Gillen, Student of Design for Stage and Screen, IADT, Costume Design & Construction.
Yasmin Archer and Hannah Dobson, Students of Design for Stage and Screen, IADT, Make-Up & Hair Design.
Rachel Broaders, Visual Communication Design, IADT, Visual Identity Design.
Kathleen Tynan, Producer. Michael Kyle, Rob Furey, Production Mgr. Mary Kilduff, Stage Management. Gordon Bell, Assistant Stage Manager. Clodagh Deegan, Costume Supervisor. Stephanie Dickenson, Publicist.
Dec Windsor, James Doyle, Paul Kearney, Fiona Mitchell, Sarah Hempenstall and Enya Dunphy, IADT Production Team.
Aisling Nolan, Sarah McColgan, Sarah Higgins,Fay Wordingham, Elizabeth Whittam, Isobel Jones-McAuley and Orlagh TraceyAlex O’Connor, IADT Costume Team.
Alex O’Connor, Sian Fitzgerald, Cliona Campbell, Emily Smyth, Miriam McCarthy and Kayleigh Bealin, IADT Make-Up Team.
Chrissie Poulter, RIAM Director. Francis Thackaberry, RIAM Manager. Ann Mulligan, RIAM House Manager. Rhona Greene, RIAM Box Office Manager. Michael Canney, RIAM Technical Manager. Colm Hackett, RIAM Technician.
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 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; Co-Opera, and the Royal Irish Academy of Music .
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’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);
SOPRANO (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! (Festival Productions).
TENOR (Slave/Chorus) 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).
SOPRANO (Pamina) 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).
SOPRANO (First Lady) 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.
TENOR (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,
TENOR (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,.
SOPRANO (First Lady) 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.
TENOR (Slave/Chorus) 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 wit
SOPRANO (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! (Festival Productions).
TENOR (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.
TENOR (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,
TENOR (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,
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, Steven Vernon
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
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
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