The Elixir of Love - Programme

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Weekend Review

The Elixir of Love L’elisir d’amore

THE IRISH TIMES

A CO-PRODUCTION WITH NI OPERA

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14/11/2014 12:07

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Rosemary Collier Executive Director Fergus Sheil Artistic Director Sorcha Carroll Marketing & Sponsorship Manager Cate Kelliher Administrator & Bookkeeper Sarah O’Dwyer Marketing Assistant

Board of Directors Gaby Smith Chair Laurie Cearr Hugh Tinney Joe Murphy Brendan Donnelly Yvonne Shields

OTC Opera Hub Sharon Carty Tom Creed Rachel Croash Rory Musgrave Kim Sheehan Andrew Synnott

Opera Theatre Company Temple Bar Music Centre Curved Street, Temple Bar Dublin 2 Tel +353 [0] 1 679 4962 Fax +353 [0] 1 679 4963 Email info@opera.ie Website www.opera.ie

14/11/2014 12:07

Welcome Note Welcome to Opera Theatre Company’s touring production of Donizetti’s The Elixir of Love (L’elisir d’amore) a co-production with NI Opera. Throughout generations, audiences have warmed to the sincere love story that lies at the core of the work, but they have also been entertained and enthralled by the brilliantly paced comedy, while at the same time serenaded by the magnificent arias, duets and ensembles. All these elements have ensured that this opera has a special place in the hearts of audiences.

rosemary Collier Executive director

We’re delighted to have worked with an exceptional creative team to bring this production to audiences throughout the island of Ireland. Oliver Mears (Artistic Director NI Opera) has updated this production bringing great sparkle and life to this great romantic comedy. His creative collaboration with the design team has been a special one and we are delighted to have worked with them all to present a visually stunning show.

We are proud of this production’s sheer scale with 5 principal singers, 12 professional chorus singers, 12 orchestral musicians and with a company of 10 others working in production, this show is the biggest opera production to tour in Ireland this year. The cast for this show represents the very best of Irish and international talent and OTC is delighted to be offering important work opportunities to emerging singers who make up the chorus of exceptionally talented voices in this show.

We have also worked with understudies on this production and Chloe Morgan, Rory Musgrave, Maria McGrann and Richard Shaffrey, four

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promising talents of the future, who will have an opportunity to perform their respective roles in full with chorus and orchestra in a special concert performance in Smock Alley on Thursday 4 December.

Touring nationwide with a company of 40 people is a significant undertaking and our partnership with venues is critical. We are grateful for the support we receive from the venues through their Directors and their marketing teams.

We also thank the Arts Council, our main funder, for their continued support and investment in OTC and its work of bringing accessible, highquality opera productions to venues and audiences throughout the land.

Fergus Sheil Artistic Director

Our work would not be possible without the generous contributions of our Friends and so we are particularly grateful to those individuals who support our work. If you have enjoyed tonight’s show we encourage you to consider supporting us and avail of a range of benefits by becoming a Friend of OTC. Enjoy the performance. If it is your first time at an opera we hope you will enjoy the experience and we look forward to welcoming you to other OTC performances at a venue near you again soon.

Rosemary Collier Executive Director OTC

Fergus Sheil Artistic Director OTC

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Director’s Note The Elixir of Love (L’elisir d’amore) was written by Donizetti when he was 35 and premiered in Milan, close to his hometown of Bergamo, in 1832.

From a poor background in the regions, obscure by Milanese standards, it was probably no accident that Donizetti (and his librettist) chose to move the action from Scribe’s original setting in the Basque country to Northern Italy, the place where he was born and would die. Perhaps he also saw something of himself in the penniless romantic Nemorino; like his hero, Donizetti had overcome his provincial origins and gained a fortune, the recent enormous success of his Anna Bolena ensuring his dominance over the Italian operatic scene for the following decade.

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Probably now the most popular of Donizetti’s operas, L’elisir was written quickly (in just six weeks) and represented a return to comic opera after the composer’s decision to write operas primarily on tragic themes. He brought to the project ten years of experience in buffa opera, as well as a newly serious sensibility and determination to present human beings, rather than just ‘types’. While Belcore and Dulcamara remain traditional two-dimensional comic figures (and none the worse for that), Adina and Nemorino’s music has a beauty and sophistication, a growing complexity and pathos, which reflects their inner development. Trapped in their view of themselves and the views that others hold of them (the superior woman of privilege in Adina’s case, the insecure victim/naïf in Nemorino’s), each is unable to achieve love until they have freed themselves from what are essentially two different kinds of egotism. The ‘elixir’ is not only a comic device, but crucially also an unintended catalyst for Adina’s growing self-reflection and Nemorino’s maturing confidence – a means of them realising their true selves and, in consequence, a deeper love than the many other kinds of lesser ‘love’ (lust, infatuation, romantic idealisation…) explored in the course of the opera’s span of just two hours.

Oliver Mears Artistic Director NI Opera

It is a cruel irony that Donizetti’s own experiences of love –the early deaths of his wife and children, his contraction in Paris of the syphilis which killed him – were to prove so tragic. Nevertheless, L’elisir was to thrive and flourish in the years and centuries to come, the endorsement of no less a figure than Wagner (who wrote a piano transcription of the score in the 1840s) suggesting that this piece, so rich in music and personality, was no mere froth but one of the finest operas of its age.

Oliver Mears Artistic Director, NI Opera

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Synopsis

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Act 1

Act 2

The naïve Nemorino has fallen hopelessly in love with the beautiful and haughty Adina. Adina recites the story of Tristan and Isolde and their love potion, and after she rejects Nemorino’s advances in favour of the handsome Sergeant Belcore, this gives Nemorino an idea. The quack Dr. Dulcamara arrives peddling his cure-alls, and Nemorino buys from him a love potion that Dulcamara says will work in 24 hours. Unbeknown to Nemorino, the potion is actually alcohol, and he quickly becomes tipsy and overconfident. His hopes are, however, crushed, when he overhears Adina agree to marry Belcore that very evening.

The engagement party is underway, but Adina is dissatisfied that Nemorino is not there to witness her triumph. He is desperate to buy more of Dulcamara’s elixir, and to pay for it he agrees on impulse to join Belcore’s regiment.

Meanwhile, word has reached Gianetta and her friends that Nemorino’s wealthy uncle has died leaving him a great inheritance, and they fawn over Nemorino – a reaction he attributes to the powerful love potion. The girls’ behaviour astonishes Adina, who on learning from Dulcamara about the potion states categorically that her own feminine charms are a more potent instrument with which to win a man’s heart. Nemorino sings of his love for Adina, and after much prevarication she finally tells him that she has bought back his army enlistment because she has at last fallen in love with him. The assembled gathering celebrate the union, while Dulcamara departs, convinced that his potion has proved itself to have unexpected powers.

Gaetano Donizetti, 1797 – 1848 Born into a very poor family in Bergamo, North East of Milan, Donizetti’s musical talent was discovered early in life, enabling him to acquire as good a musical training as was then available in Italy. At the age of 25 Donizetti had his first real breakthrough with his ninth opera, Zoraida di Granata, which won him a contract in Naples with the impresario Barbaja. Donizetti quickly realised the commercial potential of producing a stream of new, fresh and quirky operas to satisfy the demand from Italian audiences, and he became a prolific composer, writing as many as four operas a year and utilising the range of operatic genres then current in Italy.

Eight years after Zoraida, Donizetti struck gold with his opera Anna Bolena, which won him commissions from all the leading Italian opera houses, and which ultimately led him to work in Paris and Vienna. Despite constant battles with the censors, particularly on the vexed topic of dealing with religious subjects on the stage, Donizetti produced a stream of acclaimed operas, including L’elisir d’amore, Don Pasquale, Lucrezia Borgia and Lucia di Lammermoor.

Despite numerous personal tragedies (none of his three children lived for more than a few days, and his beloved wife Virginia died of cholera aged 29), Donizetti was a gregarious and good-humoured man, loved and admired by his fellow composers (including his friend Verdi) as well as by his adoring audiences. After his death from syphilis in 1848, Donizetti’s reputation declined before being spectacularly resurrected after 1945. At the height of his fame, one in every four Italian operas performed in Italy was written by Donizetti, and again today, many of his works are staples of the repertoire.

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Donizetti

The Elixir of Love L’elisir d’amore

The Elixir of Love (L’elisir d’amore) composed by Gaetano Donizetti. Libretto by Felice Romani.

The premiere of L’elisir d’amore took place at the Teatro della Canobbiana, Milan on 12 May 1832.

Translation by Arthur Jacobs. Published by Universal Music.

Cast

Chorus

Orchestra

Adina Anna Patalong Dulcamara John Molloy Nemorino Anthony Flaum Belcore James McOran-Campbell Gianetta Sarah Reddin

Soprano Helene Hutchinson

Kelley Lonergan

Maria McGrann

Flute Riona O’Duinnin Oboe Patricia Corcoran Clarinet 1 Conor Sheil Clarinet 2 Macdara Ó Seireadáin Bassoon John Hearne Horn 1 Liam Duffy Horn 2 Brian Daly Violin 1 Bogdan Sofei Violin 2 Ingrida Nicola Viola Andreea Banciu Cello Adrian Mantu Bass Maeve Sheil

Creative Team Conductor Fergus Sheil Director Oliver Mears Associate Director Edwina Casey Designer Anne-Marie Woods Costume Designer Ilona Karas Lighting Designer Kevin Treacy Repetiteur Richard McGrath

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Mezzo

Tenor

Bass

Maria Kelly Laura Murphy Dominica Williams Conor Breen Peter O’Donohue Richard Shaffrey Rory Musgrave Shokri Raoof David Scott

Production Team Production Manager Patrick McLaughlin Stage Manager Paula Tierney Master Carpenter Nic Rée Technical Manager Conor Mullan Production Electrician Eóin McNinch Costume Supervisor Melanie Carmichael

Set Construction Scenedock and Media Mechanical Services Scenic Artist Stuart Marshall Tour Transport Trevor Price Graphic Design Clickworks Publicity Gerry Lundberg PR

Thanks to: Cliona Donnelly & Rachel Clarke Northern Ireland Opera, Brian Harten & Denis Darcy Create Louth, Kate Goodison and the team at the RSGYC, Suzanne Campbell and colleagues at Church of Ireland College of Education, Rathmines, Dublin Orchestral Players, Susan Calvin, Ian Thompson, Gerry and Sinead at Lundberg PR, Orlaith McBride, Randall Shannon, Martin O’Sullivan and all at the Arts Council, Siobhan Griffin at Clickworks, Aodán Ó Dubhghaill and all at RTÉ Lyric FM, Mark Rooney & The Ark, Scott Hayes and all at Ecclesiastical Insurers, Royal Marine Hotel Dún Laoghaire, Eibhlís Farrell, Adele Commins & Helen Lawlor DKIT, Pauline Ashwood, Dermot O’Callaghan AOIC, Sara O’Donovan West Cork Music, Sinéad Dunphy Cork International Choral Festival, Nollaig Kilkenny Arts Festival, Oren Little Theatre Royal and all the venue managers and marketing staff at the venues on this tour.

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Ireland’s national touring opera company.

Fostering Irish opera talent for almost 30 years.

A concert performance Donizetti’s

The Elixir of Love

With emerging singers of the future Chloe Morgan Adina, Richard Shaffrey Nemorino, Rory Musgrave Belcore, Maria McGrann Giannetta and renowned Irish bass-baritone John Molloy as Dulcamara. Featuring professional Chorus and Orchestra. Conducted by Fergus Sheil.

Thursday 04 December 8pm Smock Alley Tickets €10 www.smockalley.ie

Oliver Mears Director

Edwina Casey Associate Director

Artistic Director of Northern Ireland Opera, Oliver read English and History at Lincoln College Oxford, and began his career assisting playwright Howard Barker.

As Artistic Director of Second Movement Opera, Oliver directed many site-specific opera productions in London, including several UK stage premieres (of works by Fleischmann/Shostakovich, Martinu, and Weisman) and a Czech Republic tour of Martinu’s The Knife’s Tears. He has also directed a prison project with lifers, Sweeney Todd (Pimlico Opera), La Calisto (Early Opera Company), Hansel and Gretel (Opera North), the National Opera Studio Showcase 2010, The Bear (National Reisopera, Holland), Albert Herring (Aldeburgh), David Almond’s My Dad’s a Birdman (Young Vic), and The Magic Flute (Nevill Holt Opera). For NI Opera, Oliver has directed Tosca (Irish Times Theatre Award for ‘Best Opera Production’, 2011), Hansel and Gretel, L’elisir d’amore, Noye’s Fludde (Belfast Zoo/Beijing Music Festival/Shanghai Music in the Summer Festival), The Flying Dutchman (nominated for UK TMA Award ‘Achievement in Opera’), Orpheus in the Underworld (co-production, Scottish Opera) and Macbeth (co-production, Welsh National Opera).

His production of The Turn of the Screw was nominated for two Irish Times Theatre Awards in 2013 (‘Best Opera Production’ and ‘Best Director’), and recently premiered at Novaya Opera, Moscow. In 2012 he was nominated for an ‘Achievement in Opera’ award by the UK TMA Awards for his leadership of NI Opera, and was nominated in the ‘Best Newcomer’ (Director/Conductor) category at the 2013 Opera Awards. Future plans include Salomé for NI Opera and Don Giovanni for Bergen National Opera.

Edwina studied directing at LAMDA. She has presented work in Ireland, UK and Holland. She is an international member of the Director’s Lab at the Lincoln Centre Theatre, New York, and of the European Young Performing Arts Lovers network.

Later this year she will be making her first foray into feature film-making. Directing work includes: Purple by Jon Fosse at Project Arts Centre; Down Onto Blue by Pom Boyd (rehearsed reading), Dublin Fringe; I Dreamt Tom Stoppard’s Email Address as part of The Theatre Machine Turns You On: Vol II; We Are All in The Gutter as part of Absolut Fringe 2010; Lagan, Grey and Green by Stacey Gregg (rehearsed reading at RADA); After the Accident by Julian Armitstead (LAMDA); A Boys Dream (Acteer’s Studio, Holland); Titus: Reworked (LAMDA); Krapp’s Last Tape by Samuel Beckett (Andrew’s Lane Studio). She has worked as an assistant director for The Gate Theatre Dublin, NI Opera, Landmark Productions and Bath Theatre Royal. She is delighted to be making her debut with OTC as associate director.

Fergus Sheil Conductor Fergus Sheil is Artistic Director of Opera Theatre Company, Wide Open Opera and Wide Open Music, with whom he has produced many opera, choral and orchestral events throughout Ireland.

Fergus worked for Opera Theatre Company as conductor for The Lighthouse (1998 & 2001), La cenerentola (2003) and The Marriage of Figaro (2010). With Wide Open Opera, Fergus has produced and conducted Wagner’s Tristan und Isolde and John Adams’ Nixon in China at the Bord Gáis Energy Theatre. He conducted the world premiere of Raymond Deane’s opera The Alma Fetish and with WOO he co-produced Gerald Barry’s The Importance of Being Earnest with NI Opera. Fergus has previously worked for Opera Ireland, Wexford Festival Opera, NI Opera, Lyric Opera Productions, Scottish Opera and Welsh National Opera.

For Carlow Local Authorities, he produced the opera Shelter Me From the Rain by Brian Irvine (music) and John McIlduff (text)

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in 2011. Fergus has taken the RTÉ NSO on tour in Ireland with Beethoven’s Symphony No 9 (Choral), and with violinist Tasmin Little. He has also involved the orchestra in community and youth initiatives such as Rain Falling Up (2012) and Bluebottle (2014)

by Brian Irvine (music), John McIlduff (text) and Matthew Robins (visuals). Fergus has also conducted the Ulster Orchestra, the Irish Chamber Orchestra, the RTÉ Concert Orchestra, the Northern Sinfonia, the Royal Liverpool Philharmonic Orchestra and many others. As well as performances at home, Fergus has conducted in USA, Canada, South Africa, Australia, UK, France, Netherlands, Denmark, Sweden, Estonia and Portugal.

Annemarie Woods Designer Annemarie is co-winner of the Ring Award Graz and the European Opera Prize 2011. Recent designs include: Turn of the Screw (NI Opera/Nevill Holt), La Favourite (Graz), Macbeth (NI Opera), Candide (Opera National de Lorraine, Nancy) L’elisir d’amore (NI Opera), The Importance of Being Earnest (Opera National de Lorraine, Nancy), The Triumph of Time and Truth/ The Triumph of Beauty and Deceit (Handel Festival Karlsruhe), La Cenerentola (Luzern Opera), Der Zigeunerbaron (Stadttheater Klagenfurt), Katya Kabanova (Landestheater Coburg), Jakob Lenz (English National Opera), Sigurd der Drachentöter (Bayerische Staatsoper, Munich), I Capuleti e I Montecchi (Teatro Sociale Como), Sigurd the Dragon Slayer (Bavarian State Opera), Albert Herring (Aldeburgh) and she provided the digital design to Alice in Wonderland (Scottish Ballet). Theatre includes: Over Garden’s Out (Riverside Studios), Twelfth Night and As You Like It (Classic Stage Ireland), Mother Teresa is Dead and Picasso’s Women (Focus Theatre Dublin), Well of the Saints and The End of the Beginning (Riverside Theatre, Coleraine), for Contact Theatre, Manchester she designed You Hang Up First, and Bro9 which won the Manchester Evening News Theatre Award for Best Design in 2004.

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Ilona Karas Costume Designer Ilona Karas studied BA Theatre Practice at the Central School of Speech and Drama.

She has worked as a Costume Designer and Supervisor for Theatre, Opera, Dance and Circus. Her costume design work includes Les Miserables and West Side Story for Pimlico Opera, and Physical Theatre productions for companies Mimbre and Acrojou Circus. She regularly works as an assistant costume designer and supervisor for Antony McDonald, including productions of Lohengrin (Welsh National Opera), L’enfant et les Sortileges (Bolshoi Theatre), and Queen of Spades (Grange Park Opera). Other supervision work includes Rat’s Tales (Manchester Royal Exchange), Maestro at the Opera (BBC), Coram Boy (Bristol Old Vic), Albert Herring (Aldeburgh Music Hall), Opera Shots (Royal Opera House), and Can We Talk About This (DV8).

Kevin Treacy Lighting Director Opera designs include The Flying Dutchman, The Bear, The Turn of the Screw, NI Opera Shorts and Tosca (NI Opera); Imeneo, Rodelinda (Royal College of Music); Flavio, Xerxes and La Tragédie de Carmen (English Touring Opera); Orpheus in the Underworld (Scottish Opera, NI Opera); Acis and Galatea, The Barber of Seville, Xerxes, La Cenerentola, The Kiss, Hansel and Gretel, Bastien and Bastienne and The (Little) Magic Flute (Opera Theatre Company); La Voix Humaine, Suor Angelica, The Medium and La tragédie de Carmen (Wexford Festival Opera); Orango (Royal Festival Hall). Future opera projects include Macbeth (NI Opera) Faramondo (Händel Festspiele Göttingen). Theatre designs include The Seafarer (Perth Theatre and Lyric Theatre, Belfast); The Changeling, The Wonderful World of Dissocia and Rose Bernd (Platform Theatre); The Government Inspector and Arrah-na-Pogue (Abbey Theatre, Dublin); Beside the Sea (Southbank Centre); Theatre Brothel (Almeida Festival, London); Anything But Love (Belltable Arts Centre, Limerick); The Shawshank Redemption (West End and Irish Tour); Twelfth Night (Nottingham Playhouse); The Nose

(The Performance Corporation, Irish Times Award for Best Lighting Design); Drive-By (Dublin Fringe Festival and Canterbury Festival); The Yokohama Delegation (Kilkenny Festival); Dr Ledbetter’s Experiment (Edinburgh Fringe Festival and Kilkenny Festival – nominated Best Production, Irish Times awards).

Richard McGrath Répétiteur Richard holds a first class honours degree in Music and French from NUI Maynooth, and a performance masters in piano accompaniment from the Guildhall School of Music and Drama in London where he was also a student on the répétiteur course. Richard was the trainee répétiteur at English National Opera (2013) where he worked on La traviata, The Barber of seville and La bohème and played in the orchestra for The sunken garden, Wozzeck and The perfect American. Since then he has worked on productions including NI Opera’s L’elisir d’amore and Wide Open Opera’s Nixon in China. He has worked as a staff accompanist at the Guildhall School of Music and Drama and a coach at London College of Music. He currently teaches at the DIT Conservatory of Music and Drama. Other credits include Comedy on the Bridge, La Navarraise, Le portrait de manon (GSMD), The Bartered Bride (BYO), Our Town and A Midsummer Night’s Dream (GSMD).

Anthony Flaum Nemorino Anthony Flaum is a London born lyric tenor who studies with Ryland Davies and previously at the Royal Academy of Music in musical theatre following a career in the financial world. He was chosen by the National Opera Studio to join the “Singers of the Future” programme in 2011 and completed the full-time course there in 2013. He was presented with a Nicholas John Fellowship award for his achievements. Credits include; Macduff, Macbeth (Scottish Opera), Nemorino, L’elisir d’amore (Northern Ireland Opera), Tschekalinski, Piques Dames (Grange Park Opera), Henrik, A Little Night Music (Opera Project), Raoul, La Vie Parisienne

(Opera Della Luna at Iford Arts Festival), Lensky, Eugene Onegin (Grange Park Opera), Tamino, The Magic Flute (Regents Opera), Cover Nemorino, Elixir of Love (ENO), Rodolfo, La bohème and Don Ottavio, Don Giovanni (Opera Up Close) and Jean Valjean, Les Miserables (Pimlico Opera, HMP Erlestoke Prison). Previous musical theatre roles include; Dracula, Hell-Sing (Bloomsbury Theatre, London), Basil, Come Dancing (Theatre Royal Stratford East) and DH Lawrence, Scandalous (Nottingham Playhouse) amongst others. Future engagements include cover David in ENO’s new production of The Mastersingers of Nurenberg, Motel, Fiddler on the Roof (Grange Park Opera) and three concert debuts – an Opera Gala with the Royal Philharmonic Orchestra, Spectacular Classics for Raymond Gubbay Ltd. and Puccini’s Messa di Gloria at Arundel Cathedral.

Anna Patalong Adina Anna Patalong studied at the Guildhall School of Music and Drama, where she received numerous awards and was a finalist at the Kathleen Ferrier Awards. She was named as the Concordia Foundation Young Artist by the Worshipful Company of Musicians and is a Samling scholar. In 2014 she won 2nd Prize in the Francisco Viñas International Singing Competition (Liceu‚ Barcelona) and in 2013 3rd prize in the Moniuszko International vocal competition.

Recent and future operatic plans include Mimi, La bohème (Theater Lübeck)‚ Terinka, Jakobin (Buxton Festival Opera)‚ Eleonora, Prima le musica e poi le parole (West Green House) ‚ Annchen, Der Freischütz (Opéra de Limoges)‚ Lauretta Gianni Schicchi (Opera Holland Park) and cover Roxana, Krol Roger (Royal Opera House). Other operatic roles include Flowermaiden, Parsifal (Royal Opera House) Serpetta, La Finta Giardiniera (Buxton) Beauty, The Triumph of Time and Truth (Karlsruhe Handel Festival)‚ title role Cendrillon (Blackheath Halls)‚ Anne Trulove, The Rakes’s Progress (St Endellion Festival), Elle, La Voix Humaine (Battersea Arts)‚ Lisette, La Rondine (Go Opera/ Opera di Peroni)‚ Pedro, Don Quichiotte (Chelsea Opera Group), Musetta, La bohème (BYO); Donizetti’s Rita, Blanche, Dialogues des Carmélites (GSMD) and Susanna, Le Nozze di Figaro (Opera Brava). Anna has appeared on BBC Radio 3’s In Tune

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and on Hear and Now with a live broadcast from the Barbican of George Crumb’s Ancient Voices of Children in the presence of the composer.

John Molloy Dulcarama John Molloy is from Birr in Ireland. He studied at the DIT Conservatory of Music and Drama in Dublin and at the Royal Northern College of Music in Manchester where he received the college’s highest accolade for performance, the PPRNCM Diploma. He completed his studies at the National Opera Studio in London.

Previously for OTC – Trinity Moses, The Rise and Fall of The City of Mahagonny, Figaro The Marriage of Figaro, Zuniga Carmen and Bug Off! Recent concert appearances include Alidoro, La Cenerentola (Scottish Opera); Guccio, Gianni Schicchi (Royal Opera House); Masetto, Don Giovanni (English National Opera); Arthur, The Lighthouse and Figaro (Nationale Reisopera Netherlands); Le Commandeur, La Cour de Célimène (Wexford Festival); Angelotti, Tosca, Luka, The Bear, Banco Macbeth and Dulcamara (Northern Ireland Opera); Raimondo, Lucia di Lammermoor (Opera Holland Park); Leporello, Don Giovanni, Sarastro, Die Zauberflöte, Bonze, Madama Butterfly (Lyric Opera) Snug, A Midsummer Nights Dream (Opera Ireland) Henry Kissinger, Nixon in China (Wide Open Opera). Recent concert appearances include Beethoven’s Missa Solemnis – Shanghai Opera, Verdi’s Requiem and Mendelssohn St. Paul, RTÉCO, Haydn’s Creation – Continuo Rotterdam, Handel’s Messiah – Rheinische Philharmonie Hallé. Stravinsky’s Renard – London Sinfonietta. Festival appearances include Canberra, Macau, The Farmleigh Proms and The Electric Picnic.

James McOran-Campbell Belcore

Sarah Reddin Giannetta

London-born, James McOran-Campbell trained in Milan, at the GSMD and the National Opera Studio before making his debut for Opera North in the title role Don Giovanni, Count, Le Nozze di Figaro and roles in Orfeo and The Merry Widow.

His repertoire encompasses more than forty roles from specialist early opera to contemporary commissions, most recently Adolf, The Jacobin (Buxton Festival Opera) and Lion, Peacock, Mouse, How the Whale Became (Linbury, ROH). He has performed Figaro, The Barber of Seville (Zomeropera and Grange Park Opera), as well as title role Onegin, Hajny/Lovec, Rusalka and Bello La Fanciulla del West (Grange Park Opera). He sang Dandini, Cenerentola (Welsh National Opera), Morales, Carmen (English National Opera), Belcore, The Elixir of Love (Northern Ireland Opera), various roles for English Touring Opera, and toured productions abroad of The Sound of Music and Street Scene (Théâtre du Châtelet in Paris, Theater an der Wien and the Liceu in Barcelona).

For Opéra de Baugé he has sung Eisenstien, Die Fledermaus, Marcello, La bohème and Papageno, Die Zauberflöte. Other highlights include Alasdair, Ghost Patrol (Scottish Opera and MTW) and Ormus Cama, The Ground Beneath her Feet (Hallé Orchestra under Mark Elder at Bridgewater Hall). In concert he has appeared at the Royal Albert Hall, King’s Place, The Forge Arts Venue, Cadogan Hall and the Crush Room, ROH. Television and radio broadcasts include an open-air Zarzuela concert from Alicante in Spain and Kurt Weil’s Street Scene on Radio 3.

Sarah Reddin graduated with Distinction from the MA Opera Performance Course at the Royal Welsh College of Music and Drama, where she studied with Suzanne Murphy. She completed her Master’s in Music Performance with honours at the DIT Conservatory of Music and Drama in Dublin, under the tutelage of Colette McGahon-Tosh. Sarah is also a B.A. Finance and Economics graduate from NUI Maynooth University. While at the RWCMD, Sarah was generously supported by the Leverhulme Trust, the EMI Music Sound Foundation Fund and was the recipient of the Valetta Jacobi Award for Opera and the Elias Prize for Soprano.

Sarah has also been a scholarship and prize winner at the DIT Conservatory of Music and Drama and The Royal Irish Academy of Music and Drama. Her operatic roles include, Giannetta, L’elisir d’amore (Northern Ireland Opera and Opera Theatre Company), Mademoiselle Silberklang, Der Schauspieldirektor (Notte Bianca Festival, Malta), Micaëla, Carmen (St Magnus Festival, Orkney), Barbarina, Le nozze di Figaro (Longborough Opera Festival), Amor, L’incoronazione di Poppea (Longborough Festival Young Artists Programme), Adele, Die Fledermaus (RWCMD), Susanna, Le nozze di Figaro (RWCMD), Amore, Orfeo ed Euridice (DLR Glasthule Festival Opera, Ireland). Highlights of Sarah’s concert engagements include recitals at the late composer Sir William Walton’s residence (La Mortella, Ischia) as part of their Spring Concert Series, Soloist for the late Dr. Bernadette Greevy’s Exaltation of Larks Concert (IMMA, Dublin) and the Lord Mayor of Dublin’s Christmas Gala (Mansion House, Dublin), Bach’s Magnificat (National Concert Hall, Dublin) and Mozart’s Missa Brevis in G (Salzburg Cathedral). Sarah continues her training with Julian Hubbard.

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Even with the fullest houses, box office takings only cover a fraction of what it costs to stage high-quality opera and carry out Opera Theatre Company’s nationwide tours.

Opera Theatre Company (OTC) is the National Touring Opera Company of Ireland.

Founded to create high quality opera productions that can be presented anywhere: from a community centre to an Opera House. The company has toured to more than 100 cities, towns, and villages across Ireland since its first production of Turn of the Screw (1986), as well as touring to UK, France, Belgium, Italy, Czech Republic, USA and Australia.

Although OTC benefits from core funding from the Arts Council, as a charity we rely on support from a variety of private and public sources. Our sincere thanks go to the huge number of individuals, county and city councils, cultural organisations and businesses that support our activities each year. To continue to grow and strengthen, we need your support. OTC’s individual donors are getting even more out of their love of opera by being part of Opera Theatre Company’s family of supporters.

Getting involved as an Opera Friend or Benefactor means you’ll never miss out – you’ll be among the first to know about future OTC plans. You’ll have the opportunity to share exclusive experiences with loved ones, to mingle with other passionate opera fans at season launches and pre-opera talks. To meet the talented artists and creative teams that work together to stage these impressive works.

Maintaining the high standards our audience has come to expect has been significantly helped by the contribution our supporters make. Opera Theatre Company thanks everyone listed in our opera programmes for playing their role in making this happen.

For those that aren’t there yet, we say: you too can have a starring role. Become an OTC supporter and be linked for 12 months to the company whose vision is to produce high quality, accessible opera throughout the island of Ireland.

“Opera Theatre Company have created outstanding branding for themselves in recent years through innovative and daring productions” Sunday Business Post

Since 2011 OTC’s work has been seen by

25,800 people 112 performances In 40 theatres throughout Ireland We believe that supporting the arts should work both ways. Supporting OTC helps sustain world‑class opera in Ireland AND is good for business.

Whether your company is looking to promote your brand to regional and national audiences, enhance your Corporate Social Responsibility programme, or offer staff and clients an unforgettable evening of entertainment, OTC can create bespoke and individually tailored partnerships to meet your needs.

For more information on Investing in the future by becoming a friend of OTC or by corporate opportunities please contact Marketing & Sponsorship Manager Sorcha Carroll on 01 6794962 or scarroll@opera.ie 22

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Will you invest in the future of opera in Ireland?

Opera Theatre Company (OTC) is Ireland’s National Touring Opera Company, bringing opera to venues across Ireland, making professional opera accessible from Derry to Skibbereen and everything in between.

To continue to grow and strengthen, we need you

“ OTC is a valiant organisation with a quarter of a century touring opera to over 100 locations all over Ireland behind it. The island needs the company to continue boldly on its travels.”

Opera Britannica

“ OTC... raises the bar for Irish touring opera.” The Irish Times

Complete this form to become a patron of Opera Theatre Company OTC I would like to invest in the future of opera by supporting OTC as follows: Opera Angel (under 30 yrs)

€85

Silver Friend

€150

Gold Friends

€250

Platinum Friends

€500

Benefactor

€1,000+

I would like my name to appear in OTC programmes and on www.opera.ie as I would prefer to remain anonymous.

Donations over €250 by individuals allow OTC to benefit from tax relief; by companies allows them to claim an allowable expense.

Name: Address:

block capitals

Email:

TeL:

as per bank details referenced below

I enclose a cheque*

Visa Please debit my card Visa Debit Mastercard

To the amount €

Card: — — — — / — — — — / — — — — / — — — —

Expires: — — / — —

Signature:

Date:

Thank you for being an Opera Angel!

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CCV: — — —

* Cheques should be made payable to Opera Theatre Company and posted to: Rosemary Collier, Opera Theatre Company, Temple Bar Music Centre, Curved Street, Dublin 2. When OTC contacts you regarding renewal of annual patronage, we will offer you the option of setting up a standing order. Please contact Sorcha with any queries you may have regarding tax relief, in-kind sponsorship, or corporate giving on (01) 679 49 62 or info@opera.ie