Eithne programme by Opera Theatre Company

Robert Oâ&#x20AC;&#x2122;Dwyer

Eithne concert performance in association with the RTĂ&#x2030; National Symphony Orchestra

hester Psalms

ea Pictures É Requiem

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monic Choir

Mark Hindley

nslie countertenor zzo-soprano e Rendall baritone

otc executive

OTC Supporters

Artistic Director Fergus Sheil Marketing Manager Sorcha Carroll Admin & Finance Officer Cate Kelliher Consulting Producer Diego Fasciati Opera Hub Producer Síobhra Quinlan

Benefactor

Silver Friends

Anonymous Bruce Stanley

Matthew Harrison David & Breda Humphries Carol Hunter Paul & Joyce Kelly John O’Leary Margaret Quigley

OCTOBER • 7.30pm

Platinum Friends Maureen de Forge

Board of Directors Gaby Smyth Chair Jennifer Caldwell Joseph Murphy Yvonne Shields

Opera Theatre Company 69 Dame Street, Dublin 2 Telephone +353 [0] 1 679 4962 Email info@opera.ie Website www.opera.ie

Gold Friends Mary Brennan Paul & Ann Burns Gerardine Connolly Michael Duggan Maire & Maurice Foley Tom Grealy Patrick Honahan Nuala Johnson Jonathan Kilfeather Anne Makower Margaret McAlpine John McBratney Petria McDonnell Prof A.R. & Joan M. Manning F.X. & Pat O’Brien Siobhan O’Beirne Alastair & Ann Martha Rowan Nolie Walsh

OTC also acknowledges Eithne Benefactors and Patrons listed on Page 3.

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Synopsis Act I A crowd gathers to elect the heir to the High King of Ireland. The warriors wholeheartedly nominate Ceart, the courageous prince and one of the King’s three sons. But Duffach (in the chorus) and his supporters claim that Ceart is a traitor who killed the King’s beloved hound and should be banished. Nuala, the woman who looked after Ceart since his mother died, intervenes and tells his father the High King that it was actually Ceart’s half brothers, Neart and Art who did the deed. The brothers confess and the King sentences them to death in front of the crowd. Nuala intervenes again and advises the king against this. The King becomes increasingly captivated by Nuala’s words while at the same time a magical birdlike motif is heard on the flutes and clarinets. The crowd reacts angrily to Nuala’s audacity in speaking to the King, but the King abruptly pardons Art and Neart, he endorses Ceart as his heir and he calls on everybody to join him in a hunt.

Act II scene i The High King of Ireland wanders away from the hunt, entranced by a bird of sweet music (the magical flute and clarinet theme first heard in Act I). Ceart comes to find him. The King searches for the mysterious bird. Eithne appears, protected by a group of maidens. The King, Ceart, Art, and Neart are all mesmerised by Eithne and all want to win her love. Eithne laments her fate as she endlessly waits for a hero to break the spell that holds her captive. The King and Ceart approach the Giant who guards the gates of Tír na nÓg – the mythical land of eternal youth. Ceart takes on the giant in a fight and overpowers him, gaining entry to Tír na nÓg. The Giant explains that the King of Tír na nÓg had angrily and impulsively put his wife under a spell in a fit of jealousy. He has sentenced her to life on earth (we subsequently understand that this was Nuala who we met in Act I) with their daughter Eithne under a spell to attract the attention of warriors. The King of Tír na nÓg is remorseful of his rashness, but is powerless to undo the spell he cast. The only way it can be broken is if a powerful hero comes to win Eithne in marriage. The Giant, having been overpowered by Ceart recognises that Ceart may be Eithne and Nuala’s salvation. He gives Ceart a magic ring, sword and cloak as Ceart enters Tír na nÓg.

Act II scene ii In Tír na nÓg, Eithne, again with her maidens, laments her situation. She has given up hope that one day a hero will rescue her. Many have tried and all have been killed. The maidens try to cheer her up, telling her that her love is near. Ceart arrives and the two recognise that they are destined for each other. They fall in love. The King of Tír na nÓg angrily demands who is the stranger Ceart? Both men fight, and with the help of his magic sword, Ceart defeats the King. At this moment the magical music from Act I is heard and Nuala returns. The King and his wife are joyously re-united and the spell is broken. Eithne and Nuala ask the King of Tír na nÓg to allow her and Ceart to marry. Her father states that they cannot be together until Ceart wins Eithne from among those of his people who conspire against him. Eithne dutifully goes back to the mortal realm to await his victory while Ceart continues on his quest.

Opera Theatre Company gratefully acknowledges the support of a number of benefactors and patrons who have helped this unique project. Their contribution has facilitated the digitisation of the full score of Eithne and the creation of tonight’s new performing edition.

Eithne Benefactor Anonymous

Eithne Patrons Anonymous Catherine Cashman Santoro Elma & Paul Cusack Senator John Dolan & Elizabeth Dolan Michael Duggan Maire & Maurice Foley Prof A. R & Joan Manning John McBratney Margaret Quigley

Act II scene iii The Giant is happy his work is done and the King and Queen of Tír na nÓg are reunited. Art and Neart argue over who should win Eithne but Ceart claims her for himself. The Herald announces the death of the High King of Ireland and Ceart is proclaimed the new King.

Fáilte Is ar na ceoldrámaí móréilimh a bhíonn comhlachtaí ceoldrámaíochta mórthimpeall an domhain ag brath chun na sluaite a thabhairt thar tairseach isteach. Meallfaidh leithéidí Carmen, La bohème agus Madama Butterfly an pobal i gcónaí. Le déanaí, d’inis ceannasaí ar cheann de na tithe ceoldrámaíochta is mó san Eoraip nach acmhainn dóibh séasúr a rith gan La traviata níos mó. Cé gurb iad na clasaicí atá ón lucht féachana, déanann na comhlachtaí ceoldrámaíochta a ndícheall chun stór níos leithne d’ábhar a chur ar fáil. Tá an oiread sin de phriacal ag baint le stáitsiú ceoldrámaí faraor, go bhfuil gá le rúinne den chrógacht agus den díth céille fiú, le go n-imeoimis i bhfad ón gconair seo! Anocht, tréaslaím bhur gcrógacht libh as an gconair a fhágaint in bhur ndiaidh le bheith linn dár taibhiú stairiúil, suntasach. Níl an ceoldráma seo cloiste ag oiread is duine amháin sa lucht éisteachta anocht. Seal in Amharclann an Gaiety sa bhliain 1910 an taibhiú is déanaí, agus níor taifeadadh an saothar ariamh. Dá bhrí sin, ní raibh aon teacht ag an bpobal ar an bhféasta ceoil seo ó shin i leith. Gné mheallacach, aineoil dár tírdhreach cultúrtha is í Eithne. Tá taibheoirí na hoíche anocht curtha faoi dhraíocht aici de réir mar a chuireamar aithne ar an scór. Is é an baratón Gavan Ring (a chanfaidh páirt Ard-Rí na hÉireann anocht) a chuir an ceoldráma seo faoi mo bhráid don chéad uair cúpla bliain ó shin. I gcomhthéacs chomóradh 100 bliain de thréimhse chorraitheach i stair na hÉireann, ba dhíol spéise dúinn beirt é go raibh tionscadal mór ceoldrámaíochta mar chuid lárnach de ghluaiseacht na hathbheochana cultúrtha ag tús an chéid seo caite, agus Éire ag cruthú aitheantas nua di féin. Ceoldráma a scríobh in Éirinn i nGaeilge – b’shin mórsprioc do lucht leanta ceoldrámaí na linne sin. Léirigh sé go bhféadfadh Éire saothar le fiúntas idirnáisiúnta a chruthú le miotaseolaíocht na hÉireann, díreach mar a bhain cumadóirí na hEorpa úsáid as miotaseolaíocht na Gréige, na Róimhe agus na Lochlannach. Ach, bhí suntas ar leith ag baint le Eithne dóibh siúd a bhí báúil don Ghaeilge. Trí cheoldráma i nGaeilge a choimisiúnú, d’fhéadfaí stádas na teanga a ardú i measc na ndaoine nach raibh mórán de mheas acu uirthi. Shíltí go raibh scór iomlán Eithne caillte go dtí le fíordhéanaí. Fágadh é tamall i gclochar i Muineachán agus i dteach tuaithe i dTiobraid Árann tar éis bás an chumadóra. Cúpla bliain ó shin d’éirigh le Leabharlann Náisiúnta na hÉireann é a cheannach. Le tacaíocht ónár bpátrúin agus ár mbronntóirí, thugamar aghaidh ar an dúshlán an scór seo a dhigitiú le leagan nua taibhithe a chruthú ón scór iomlán nua-nochtaithe. Tabharfaimid Eithne chun beatha in athuair anocht le taibhiú ceolchoirme, áit a chanfaidh cliar de na hamhránaithe Éireannacha is mó clú in éineacht le cór Opera Theatre Company. Tá ríméad orainn go bhfuil Ceolfhoireann Shiansach Náisiúnta RTÉ i bpáirt linn ar an togra seo. Is cúis áthais dúinn freisin é go bhfuilimid ag obair i gcomhar le RTÉ lyric fm a dhéanfaidh craoladh beo den cheoldráma chomh maith le taifead atá le heisiúint ar CD i 2018. Ba mhaith liom freisin aitheantas a thabhairt do Chonradh na Gaeilge as an dtacaíocht a thug siad dúinn ar an togra seo. Faigheann gach saothar ag Opera Theatre Company tacaíocht ónár mbunmhaoinitheor The Arts Council/An Chomhairle Ealaíon. Gabhaimid buíochas leo as an tríocha-dó bliain tacaíochta a thug siad. Is mór an onóir dom é fáilte a chur roimh bhaill de theaghlach an chumadóra Robert O’Dwyer chuig an taibhiú anocht. Is cinnte go mairfidh an ócáid seo ina gcuimhne go ceann i bhfad, agus tá súil agam go mbainfidh gach éinne sa lucht éisteachta pléisiúr as Eithne. Fergus Sheil Stiúrthóir ealaíne

Welcome Opera companies throughout the world rely on well-known blockbuster operas to appeal to large audiences. Operas like Carmen, La bohème and Madama Butterfly never go out of favour. Indeed the head of one of Europe’s largest opera houses recently told me how they can no longer afford to do a season without La traviata. Whereas audiences clamour for the favourites, opera companies try to balance this with a broader mix of repertoire. Opera, however, is such a large undertaking with high levels of risk, that it takes special circumstances, and perhaps a little bravery, foolishness or irresponsibility to veer far off the known paths! Tonight I salute your bravery in straying very far off the known operatic path with us for what we think will be a genuinely historic performance. Not one person in tonight’s audience will have heard this opera performed previously. Its last outing was 1910 in the Gaiety Theatre; there have been no recordings of the work, and no way for audiences to know the riches that lie within. Eithne is a fascinating and unknown part of our cultural landscape. It has gripped those of us involved in tonight’s performance more and more as we have become engrossed in the score. Baritone Gavan Ring (who sings the role of the High King of Ireland tonight) brought the opera to my attention some years ago. In the context of Ireland’s commemoration of the events of a century ago, we thought it was interesting that in the period of cultural revival of the early 1900s such a major opera project was at the heart of how Ireland sought to define itself. The idea of writing an opera in Ireland in the Irish language was significant for those with a love of opera – proving that Ireland could produce work of international significance; using Irish mythology in a similar way to which many European composers had previously used Greek, Roman and Norse mythology. But Eithne was also significant for those with a passion for the Irish language. Commissioning an opera in Irish was a way of elevating the status of the language at a time when it was not highly regarded by everybody. Until recently the full score of Eithne was presumed lost. After the composer’s death it spent time in a convent in Monaghan and in a country house in Tipperary before being acquired by the National Library of Ireland some years ago. With the support of a dedicated group of patrons and benefactors, we were able to begin the arduous task of digitising the score and creating a new performing edition from the recently discovered full score. Tonight we bring Eithne to life in a concert performance, which involves a formidable cast of some of the greatest Irish singers together with the chorus of Opera Theatre Company. We are excited to be partnering with the RTÉ National Symphony Orchestra on this project. We are also delighted to be collaborating with RTÉ lyric fm who broadcast the opera live as well as recording it for CD release in 2018. I would also like to acknowledge the strong support of Conradh na Gaeilge in this project. All of our work at Opera Theatre Company is supported by our core funder The Arts Council/An Chomhairle Ealaíon. Many thanks to them for thirty two years of support. I am honoured to welcome many members of composer Robert O’Dwyer’s family to the performance tonight. I’m sure it will be a memorable experience for them and I hope that everybody in the audience will find a lot to enjoy in Eithne. Fergus Sheil Artistic director

Reproduced Courtesy of the The National Library of Ireland.

Robert O’Dwyer:

A Colourful life Described by leading Irish musicologist Dr Joseph Ryan as ‘a colourful character’, Robert O’Dwyer was born in Bristol on 27 January 1862 to Irish parents. He trained in various churches in Bristol as a chorister and as an organist before beginning his performing career as a tenor with the Carl Rosa Opera Company and subsequently as a conductor – his first foray with the baton coming when he successfully deputised for the principal conductor for a Carl Rosa performance of Wallace’s Maritana in 1891. Subsequent work followed with other British touring companies before he settled in Dublin in 1897. In 1900, O’Dwyer had his first taste of national recognition in Ireland when his orchestral overture Rosalind won first prize at the Belfast Feis Ceoil. It was an achievement that would prove the catalyst for what was O’Dwyer’s most successful decade as composer – a period in which he became one of the leading voices in the effort to establish a distinctive, nationalistic school of Irish art music composition. Overly nationalist and a strong supporter of the Gaelic Revival, not long after his success with Rosalind he became a member of Conradh na Gaeilge or the ‘Gaelic League’ and he founded the League’s festival choir in 1902. The League immediately began commissioning O’Dwyer

to write music for the choir, beginning with a series of four-part songs called Amhrán an Oireachtais (1902). In 1904, however, the League commissioned O’Dwyer to collaborate on an operatic project with the well-known writer Tadhg O’Donoghue, setting the first act of the Irish fairy tale Crann an Óir, ‘The Tree of Gold’, to music. This first act of Crann an Óir was performed at the Oireachtas na Gaeilge (the Gaelic League’s annual showcase) in 1904 and overall, the experiment was hailed a success. Hoping to build on some of the progress achieved with Crann an Óir, the League again commissioned O’Dwyer to produce something similar for the 1909 festival. O’Dwyer decided to use the magical legend of “Éan an cheoil bhinn” or ‘The bird of sweet music’ to provide the basis for Eithne’s plot. The story of Éan an cheoil bhinn itself was already well established within the Gaelic League circles as it was submitted as an entry for the unpublished stories competition as part of the events of the 1901 Oireachtas na Gaeilge and subsequently published by the Gaelic League in 1908. O’Dwyer enlisted the renowned academic and playwright Tomás Ó Ceallaigh as the librettist for Eithne. A Sligo-born priest, Ó Ceallaigh was very active in the formation of the Irish cultural revivals

during the early-twentieth century; his translation of W. B. Yeats’s milestone revival work, Cathleen ni Houlihan in 1902, earned him widespread notoriety. Written in under one month in July 1909, rehearsals for Eithne took place as O’Dwyer composed at his Rathmines home; he also employed three copyists for orchestral parts. So hectic was the compositional process that the eve of Eithne’s completion also coincided with the work’s dress rehearsal. Eithne was premiered on 2 August 1909 and ran until 5 August 1909 at the Round Room in Dublin’s Rotunda (now the Ambassador Theatre). Accompanied by an orchestra of forty players, a chorus of sixty singers and conducted by O’Dwyer himself, the 1909 performances of Eithne were hugely successful and critically acclaimed; so much so that it spearheaded a movement by the Gaelic League to form a committee for Eithne to have the vocal score published and the opera performed again in 1910. Chaired by the well-known Irish physician Sir Charles Cameron, the long list of committee members included a great number of Dublin’s artistic, political and social intelligentsia, including Douglas Hyde and Countess Markiewicz. Eithne’s run at the Gaiety Theatre in May 1910 was received with even greater critical esteem, surpassing the success of the 1909 Rotunda performances. The Irish Times records that ‘The opera was enthusiastically received and Mr. O’Dwyer appeared several times on the stage with the principals in response to the applause at the conclusion of each scene.’ While the Gaiety performances were not dependent on the completion of the orchestral score and parts, it appears that the rehearsal process in 1910 was nonetheless another frantic experience; in an interesting little anecdote from the Freeman’s Journal, it is noted how O’Dwyer on the opening night in 1910 forgot his conductor’s baton: ‘Poor Mr. O’Dwyer had nearly worked himself to death with rehearsals, etc., and on that evening he hardly knew whether he was “on his head or his heels,”till he got into the conductor’s chair, and then we noticed he was himself again. But when he was ready to go into the chair he discovered that he had forgotten his baton. The stage manager ran over to a little shop across the road, bought a penny cane, cut a piece off it, and handed it to Mr. O’Dwyer. It was with this he conducted the first performance of Eithne. Eithne ran from 16-21 May 1910 at the Gaiety Theatre but was interrupted by the funeral of King Edward VII, necessitating the closure of theatre for the final two performances. This resulted in a production loss of a

Front cover of the published vocal score of Eithne.

sizable £200 – approximately €25,000 in today’s money – which O’Dwyer had to pay himself. Although O’Dwyer’s exploits with Eithne earned him the position of Professor of Irish Music at University College Dublin and an enduring reputation of excellence in Ireland until his death in 1949, multiple pleas for Eithne to be restaged and performed again went unheeded. Even though the 1909 and 1910 performances of Eithne were indeed very well received, the socio-political issues that arose subsequently may very well have have been a significant contributing factor to the work’s fall from popularity. The opera scene in Dublin during the 1900s was underpinned primarily by an appetite for foreign repertory and following the establishment of the Free State in 1922, Ireland’s cultural outlook became increasingly introverted and art music received little focus; native inventions such as Eithne could not fit this type of cultural paradigm. Dr Gavan Ring

Celticism in Irish Opera Robert O’Dwyer’s Eithne is one of the most important contributions to Celticism in Irish music – a trend that was particularly prevalent around the turn of the century and that responded to similar developments in literature, drama, and the visual arts. Unlike most representatives of these art forms, though, their musical equivalents have largely been forgotten. Eithne reminds us of what we have lost and what we should and could resurrect to form a more balanced view of this period in Irish art by focusing time and again on music. For our purpose, let’s define Celticism as a recourse by a contemporary artist to figures, stories, legends, or mythology that are part of a common heritage of the former Celtic peoples. In Ireland, these would often refer back way beyond early Christianity to the legends of the Fianna or events in the Annals of the Four Masters. Often, such works would exploit existing Irish legends, but often semi-authentic or invented characters creating Celtic clichés play a role, too. Reproduced Courtesy of Conradh na Gaeilge.

Celticism in Irish opera did neither begin nor end with O’Dwyer whose claim to fame rests almost solely on Eithne. The beginnings of the reawakening of the lost Celtic past of Ireland dates back to the eighteenth century. In opera, the earliest works of this kind would be The Milesian (1777) by the Dublin-born Charles Thomas Carter (c.1735–1804) and perhaps the musical plays Genius of Ireland (1784) and The Island of Saints (1785) by the immigrant Italian composer and impresario Tommaso Giordani (c.1733–1806) – who is now primarily remembered for his one tenor aria Caro mio ben. Whether these latter works can actually be termed operas is a different matter, but we are on surer ground with Thomas Simpson Cooke’s Thierna-na-Oge, or

The Prince of the Lakes (1829), anglicised for ‘Tir na nÓg’, the mythological ‘Land of the Young’. Interestingly, both Carter’s Milesian and Cooke’s Thierna-na-Oge received their performances not on Irish but on English stages. Cork was the location of the next Irish Celticist opera. This was Amergen, written by Paul McSwiney (1856– 1890) and first performed in Cork on 23 February 1881. The work attracted considerable local interest at the time. Several newspapers reported daily about the progress of the rehearsals, and during the five performances the house was “packed from floor to

concert performance. The publication clearly shows Pélissier’s operatic intentions which reveal, among other, a very detailed list of leitmotifs inspired by Wagner. The libretto by the composer is based on an old Irish tale from the Cycle of the Kings, originally called Echtrae Chonnlai (‘Connla’s Adventure’). It tells of various, initially futile, attempts by seductive fairies to abduct the opera’s hero into ‘Moy-Mell’, a mythological fairyland, which in the end are, in fact, successful. Judging from the score, it is not at all a bad work, featuring some attractive choral numbers and some genuinely dramatic events, even though the leitmotif idea was a bit over-ambitious. The same year, in December, saw the production of Muirgheis (1903) by Thomas O’Brien Butler (1861–1915), a work subtitled ‘The First Irish Opera’ on account of its Irish libretto – which, however, turns out to be an Irish translation by Thadgh O’Donoghue of an English text by Nora Chesson and George Moore. Probably, an Irish-language performance was envisaged, but since at the first (and only) performance the English version was sung, the honour of the first opera in Irish must go to O’Dwyer’s Eithne. Muirgheis had a highly controversial reception mainly focusing on whether the laudable idea of an Irish/Celtic plot justified comparatively immature music.

Reproduced Courtesy of Conradh na Gaeilge.

ceiling”. McSwiney’s own libretto focused on an attempted Viking invasion of Ireland that failed because of the heroism of Amergen who saved the life of Conaire Mór, the Irish High King, and received his beloved daughter Adela as a gesture of thanks. Just after the turn of the century, a wave of Celticist operas swept over Ireland. The first was Connla of the Golden Hair (1903) by William Harvey Pélissier, a rather obscure composer, born around 1873 in Clonmel, Co. Tipperary, who was active in Dublin during the first decade of the twentieth century. The work won the cantata (!) prize of the Feis Ceoil in May 1903, as a result of which it was printed and published and received a

Neither O’Dwyer’s Eithne (1909) nor the one-act opera The Tinker and the Fairy (1910, after Douglas Hyde) by Michele Esposito (1855–1929) could be accused of immaturity, the latter would almost certainly be a rewarding work, too, were it tackled for a modern performance. The most prolific composer of Celticist operas, however, was Geoffrey Molyneux Palmer (1882– 1957), with works like Finn Varra Maa (1917), Sruth na Maoile (1923), the comic opera Grania Goes (1924), and Deirdre of the Sorrows (1925), the first of an attempted ‘Cuchulainn Cycle’ of three operas that was stopped short due to Palmer’s ill-health. Sruth na Maoile was another full-scale serious opera in Irish – and the last of its kind. Later productions by Éamonn Ó Gallchobhair (1906–1982) during the 1940s and ’50s were of a rather light type. Dr Axel Klein is a Frankfurt-based musicologist www.axelklein.de

Robert O’Dwyer

Eithne concert performance in association with the RTÉ National Symphony Orchestra

Fergus Sheil

Conductor

Cast (in order of vocal appearance) Fearghal Curtis Rachel Croash Eohan Desmond Conor Breen Gavan Ring Robin Tritschler Imelda Drumm Eamonn Mulhall Brendan Collins Orla Boylan John Molloy Robert McAllister

Taoiseach Una Feargus Herald High King of Ireland Ceart Nuala Neart Art Eithne The Giant King of Tír na nÓg

First Performed: First performed 1909 Oireachtas na Gaeilge festival of Irish culture at the Rotunda in Dublin (1909). First full performance Gaiety Theatre 1910. Libretto: Tomás Ó Ceallaigh This concert is being recorded by RTÉ lyric fm for live broadcast and for a CD release on the RTÉ lyric fm label. Artistic Consultant: Gavan Ring Language coaches: Gavan Ring, Mary Brennan, Bríd Ní Ghruagáin Performing edition prepared by: Maeve Sheil, Eoghan Desmond, Fergus Sheil Production co-ordinator: Gavin O’Sullivan

Opera Theatre Company Chorus Soprano Catherine Donnelly Rachel Goode Kelley Lonergan Sarah McCourt Maria McGrann Gabrielle Mulcahy Muireann Mulrooney Rebecca Rodgers Mezzo Soprano Aoife Erraught Leanne Fitzgerald Constance Gardiner Maria Kelly Eimear McCarthy Luddy Bríd Ní Ghruagáin Martha O’Brian Dominica Williams

Tenor Shane Barriscale Conor Breen Richard Bridge Fearghal Curtis Warwick Harte Ciaran Kelly Philip Keegan Oisin ó Dalaigh Josh Spink Jacek Wisloki Bass Tristan Cauldwell Eoghan Desmond Rory Dunne George Rice Matthew Mannion Kevin Neville Ciaran Olohan Shokri Raoof David Scott Tim Shaffrey

RTÉ National Symphony Orchestra First Violins Helena Wood Leader Elaine Clark Co-Leader Sebastian Liebig Principal Orla NÍ Bhraoin String Sub-Principal Catherine McCarthy Ting Zhong Deng David Clark Sylvia Roberts Brona Fitzgerald Dara Daly Claudie Driesen Karl Sweeney Second Violins Elizabeth McLaren Associate Principal Joanne Campbell String Sub-Principal Mary Wheatley Rosalind Brown Paul Fanning Dara O’Connell Melanie Cull Evelyn McGrory Jenny Burns Duffy Magda Kowalska Violas Adèle Johnson Section Leader Francis Harte String Sub-Principal Ruth Bebb Neil Martin Randal Devine áine O’Neill Adele Greene Margarete Clark Cello Martin Johnson Section Leader Violetta-Valérie Muth String Sub-Principal úna Ní Chanainn Niall O’Loughlin Anne Murnaghan Katie Tertell Double Basses Dominic Dudley Section Leader Mark Jenkins Associate Principal Helen Morgan Edward Tapceanu Flute Catriona Ryan Section Leader Sinéad Farrell Oboe Matthew Manning Section Leader Sylvain Gnemmi Associate Principal Clarinet John Finucane Section Leader Matthew Billing Principal

Bassoon Michael Jones Section Leader Hilary Sheil Horn Bethan Watkeys Principal Liam Duffy Jacqueline McCarthy Trumpet Colm Byrne Principal Killyan Bannister Trombone Jason Sinclair Section Leader Gavin Roche Associate Principal Bass Trombone Seán Fleming Principal Timpani Niels Verbeek Percussion Richard O’Donnell Section Leader Harp Fiona Gryson

Sung in Irish with English surtitles. The performance will last approximately 2 hours and 10 minutes. There will be one interval of 20 minutes after Act I. Please switch off mobile phone.

Acknowledgements: Sandra Collins and Katherine McSharry, Joanne Carroll, National Library Ireland. Niall Doyle, Randall Shannon, Liz Meaney and all at The Arts Council. Aodán Ó Dubhghaill, Anthony Long, Muireann Ní Dubhghaill, Debbra Walters, Cathy Stokes and all at RTÉ National Symphony Orchestra. Eoin Brady, Gail Henry and all at RTÉ lyric fm. Cuan Ó Seireadáin at Conradh na Gaeilge. Grainne Redican at Trinity College Dublin, School of Music. Ciaran O’Dwyer, Diarmuid O’Dwyer and all the O’Dwyer Family, Raghnall Ó Floinn, National Museum of Ireland Collins Barracks, Liam Ó Cuinneagáin and Oideas Gael. 11

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biographies Fergus Sheil Conductor Fergus Sheil is a conductor and producer of music and opera based in Ireland. He is Artistic Director of Opera Theatre Company and Wide Open Opera. For Opera Theatre Company Fergus Sheil has conducted The Lighthouse (1998, 2001), La cenerentola (2003), The Marriage of Figaro (2010), L’elisir d’amore (2014), Rigoletto (2015) and Don Giovanni (2016). With Wide Open Opera, Fergus has conducted Tristan und Isolde (2012), The Alma Fetish by Raymond Deane (2013) Nixon in China by John Adams (2014) and The Barber of Seville (2016). Previously he has also worked for Scottish Opera, Welsh National Opera, NI Opera, Opera Ireland and many others. As an orchestral conductor Fergus has appeared many times with the RTÉ National Symphony Orchestra, touring with the orchestra throughout Ireland in repertoire such as Beethoven’s Symphony No 9 (Choral), Stravinsky’s Firebird and Mahler’s Symphony No 2 (Resurrection). He has also appeared with the RTÉ Concert Orchestra, Ulster Orchestra, Irish Chamber Orchestra, Northern Sinfonia, Royal Liverpool Philharmonic Orchestra and others. His choral work has involved projects and tours with the State Choir Latvija and the BBC Singers as well as working with many choirs throughout Ireland. Internationally Fergus has also undertaken engagements in the USA, Canada, South Africa, Australia, UK, France, Netherlands, Denmark, Sweden, Malta and Estonia.

Orla Boylan Eithne Born in Dublin‚ Orla Boylan’s most recent and future plans include the title role Tosca at New Zealand Opera‚ Turandot in semi-staged performances for Opera North‚ Lady Billows Albert Herring (The Grange Festival)‚ Senta Der fliegende Holländer (Royal Danish Opera)‚ and Strauss’ Vier letzte Lieder with RTÉ Symphony Orchestra. Recent seasons have seen a number of major debuts including Gutrune Götterdämmerung (Opera North) and Chrysothemis Elektra (West Australian Opera) as well as her house debut at Teatro alla Scala in Giorgio Batistelli’s new commission CO2. Her thrilling performance as Senta in Der fliegende Holländer – where she “commands the stage with her magnificent performance” (The Listener) – brought her notable international success in recent seasons. A series of title roles for Garsington Opera (Arabella‚ Ariadne auf Naxos and the British stage-premiere of Die Liebe der Danae) established Boylan as a respected interpreter of the music of Richard Strauss. Amongst the glowing reviews for her performances‚ The Times has noted that “The Irish soprano is in sensational form‚ finding a radiance and warmth in Strauss’s lines that is matched by tender insight in the word-

painting.” Orla Boylan is also a leading interpreter of Britten’s operas in which her roles include Ellen Orford Peter Grimes‚ Governess The Turn of the Screw‚ Female Chorus The Rape of Lucretia‚ Miss Wingrave Owen Wingrave (Opera National de Lorraine) Lady Billows (Maggio Musicale Fiorentino). Concert appearances include Britten’s War Requiem (Perth International Arts Festival)‚ Mahler’s Symphony No. 8 with GürzenichOrchester Köln with Markus Stenz and Berg’s Wozzeck (Royal Liverpool Philharmonic Orchestra) with Sir Andrew Davis. She has performed Vier letzte Lieder with a number of orchestras including the Hallé with Sir Mark Elder and Orchestra Sinfonica di Milano Giuseppe Verdi with Xian Zhang and the final scene from Ariadne auf Naxos with the Orchestra Sinfonica Nazionale della RAI with Jeffrey Tate.

Robin Tritschler Ceart Acclaimed for his “radiantly lyrical” voice, Robin Tritschler has appeared in concert with L’Orchestre national de Lyon, Danish Radio, Radio France, and the London Philharmonic, Rotterdam Philharmonic and Bournemouth Symphony orchestras; with conductors Yannick Nézet-Séguin, Vladimir Jurowski, Yutaka Sado, Philippe Herreweghe and Kirill Karabits. He was a BBC New Generation Artist. Robin has performed with Welsh National Opera (Nemorino, Narraboth, Belmonte, Ferrando), La Monnaie, the Aldeburgh and Ruhr Triennale festivals, Stadttheater Klagenfurt, and Royal Opera House. As a renowned recitalist Robin appears regularly at the Wigmore Hall, as well as in Cologne, Amsterdam and Washington, and for the Aldeburgh, Aix-en-Provence and West Cork Chamber Music festivals. His growing discography includes critically acclaimed recordings of World War One songs with Malcolm Martineau (Signum), and a Britten and Schubert disc with Iain Burnside as part of the Wigmore Hall Live series. Robin’s recent highlights include appearances at the BBC Proms (Sir Mark Elder), and with the Bayerische Rundfunk, Pygmalion (Raphael Pichon), NDR Hannover, and London Philharmonic Orchestra (Nathalie Stutzmann), and he made his debut with the Teatro Colon, Buenos Aires in De Materie. His engagements for 2017/18 include the opening recital of the Wigmore Hall season, B minor Mass with the Royal Concertgebouworkest, St John Passion in Dresden and Salzburg with Herreweghe, Bach cantatas with Pygmalion, Scwhanengesang in San Diego with Inon Barnatan, and a return to the Risor Chamber Music Festival.

A co-production by Opera Theatre Company & Wexford Festival Opera

Andrew Synnott

DUBLINERS Libretto Arthur Riordan Two one-act operas Counterparts & The Boarding House from Joyce’s Dubliners

9, 10 & 11 November

TIME: 7.30pm tickets: €22/€20 Booking: www.tcd.ie/beckett-theatre 01 896 2461

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Samuel Beckett Theatre

biographies Gavan Ring High King of Ireland International prize-winning baritone Dr Gavan Ring studied at the Schola Cantorum at St Finian’s College before reading education and music at DCU, RIAM and the National Opera Studio in London. Concert highlights include performances with the London Symphony Orchestra under Sir Simon Rattle and the Orchestra of the Age of Enlightenment under Sir Mark Elder. Opera highlights include leading roles at Glyndebourne, Scottish Opera, Opera North, Wexford Festival Opera, Opera Holland Park, Opera Rara, Wide Open Opera and Opera Theatre Company. 2017/18 season include the roles of Ping in Puccini’s Turandot, Novice’s Friend in Britten’s Billy Budd (Opera North), Horatio in Brett Dean’s Hamlet (Glyndebourne), the title role in Mozart’s Don Giovanni (Welsh National Opera) and Olivier in Strauss’ Capriccio (Garsington Festival Opera) plus recitals for BBC Radio 3 and at Wigmore Hall with pianists Eugene Asti, Simon Lepper and Graham Johnson. Gavan is kindly supported by An Chomhairle Ealaíon/The Arts Council of Ireland.

Imelda Drumm Nuala Laois born mezzo-soprano Imelda Drumm has achieved critical international success as a performer. Developing strong relationships with Glyndebourne Opera and Welsh National Opera, singing numerous principal and title roles. A graduate of the National Opera Studio, London, Imelda has recently completed the degree of Doctor of Music in Performance and is currently a lecturer in voice at the Royal Irish Academy of Music and St Patricks College, DCU. She continues to combine teaching with performing and is delighted to return to the stage in collaboration with Opera Theatre Company to bring to life this historic work of Robert O’Dwyer, Eithne. Imelda looks forward to many more opportunities to engage with Irish audiences in the future and is delighted to continue her long association with conductor Fergus Sheil.

John Molloy The Giant John is from Birr and studied at the DIT Conservatory of Music and at the Royal Northern College of Music Manchester and at the National Opera Studio London. OTC performances include Sparafucile Rigoletto, Trinity Moses Mahagonny, Figaro The Marriage of Figaro, Zuniga Carmen and BUG OFF!!! Other roles include Alidoro La

Cenerentola (Scottish Opera), Guccio Gianni Schicchi (Royal Opera House), Masetto Don Giovanni (English National Opera), Arthur The Lighthouse, Figaro (Nationale Reisopera Netherlands), Le Commandeur La Cour de Célimène (Wexford Festival), Angelotti Tosca, Luka The Bear, Banco Macbeth and Dulcamara L’elisir d’amore (OTC and NI Opera), Raimondo Lucia di Lammermoor (Opera Holland Park), Leporello Don Giovanni, Sarastro Die Zauberflöte, Bonze Madama Butterfly (Lyric Opera) Snug A Midsummer Night’s Dream (Opera Ireland) and Henry Kissinger Nixon in China (Wide Open Opera). Concert repertoire features Beethoven’s Missa Solemnis (Shanghai Opera), Verdi’s Requiem and Mendelssohn St. Paul (RTÉ Concert Orchestra), Haydn’s Creation (Continuo Rotterdam), Handel’s Messiah (Rheinische Philharmonie Hallé). Stravinsky’s Renard (London Sinfonietta).

Robert McAllister King of Tír na nÓg Robert is currently studying in The Royal Irish Academy of Music under the aegis of Dr Veronica Dunne and répétiteurs Alison Young and Dearbhla Collins. Since commencing his studies at RIAM, he has performed the roles of Sarastro in Die Zauberflöte and Bottom in Purcell’s Fairy Queen. He is a multiple prize winner in the ESB feis ceoil and this year won the Dramatic cup, Tony Quigley bursary, The Bass cup and The Young cup. From a field of 37 singers he emerged the winner of the prestigious Irené Sandford bursary in the Royal Irish Academy of Music. Robert was selected as the up and coming classical artist of the year in 2017 by Goldenplec.ie. Concert highlights include performances with the RTÉ National Symphony Orchestra, RTÉ Concert Orchestra and The Orlando Chamber Orchestra. Solo recitals and concert performances include appearances in Dublin Mansion House, Kilruddery House and Gardens, Hugh Lane Gallery, RDS Concert Hall, National Concert Hall Dublin, Pavilion Theatre Dún Laoghaire, Royal College of Physicians, Dublin Castle, Centre Culturel Irlandais – Paris, Irish American Historical Society – New York. Upcoming events include; Travelling to NYC to continue the Writer’s choice concert series. Bach’s Coffee Cantata in RDS Concert Hall. Bass soloist in Charpentier Messe de Minuit de Noel and Haydn Nelson Mass in National Concert Hall with The Goethe choir. Drogheda International Classical Music Series, opera gala concert. Travelling to Halle in Germany to perform the bass solo in Handel’s Messiah with a choir of 400 singers to mark Handel’s birthday in his hometown. Playing the role of Pluto in OPERA BRIEFS: Il Ballo delle Ingrate. Bass soloist in Bach B Minor with Limerick Choral Union.

biographies Eamonn Mulhall Neart

Rachel Croash Una

Eamonn graduated in Music and French from UCD before training at the Royal College of Music and the National Opera Studio in London. He returns to OTC having previously played Acis Acis & Galatea, Jakob Schmidt The Rise and Fall of the City of Mahagonny, Soldier The Emperor of Atlantis and Jaquino Fidelio. Other engagements include Syrian in Marriotte’s Salomé and Ramiro La cenerentola in his hometown – Wexford; a staged Messiah, Almaviva Il barbiere di Siviglia and After Dido (ENO); the world premiere of James MacMillan’s Clemency (ROH2 Covent Garden and Scottish Opera at the Edinburgh Festival); title role in Dorian Gray (Slovak National Theatre); Prince Saphir in Offenbach’s Barbe-bleue (Grange Park Opera); Salieri’s Valet Amadeus (National Theatre, London) and Pong Turandot (NI Opera, Belfast). In concert, he has appeared with the RTÉ Concert Orchestra and RTÉ National Symphony Orchestra as well as with the CBSO, the Ulster Orchestra, the Irish Chamber Orchestra, the Royal Liverpool PO and the Irish Baroque Orchestra. He has also sung at the Bach Festival in Lausanne, Switzerland and at the Prague International Spring Festival, Czech Republic.

Dublin Soprano Rachel Croash, winner of the Wexford Festival Opera Aria Friends Award and WFO & PwC Emerging Artist Bursary, is a graduate of Maynooth University, The Royal Irish Academy of Music and is an alumni of the Opera Theatre Company Opera HUB Artist Programme. She was recently a finalist in the 9th Internationaler LionsGesangswettbewerb Festspiele Immling in Germany and was invited by the Festival to perform the role of Amore in Gluck’s Orfeo ed Euridice. Operatic roles include Mrs.Coyle Owen Wingrave (Opera Collective Ireland), Fiordiligi Così fan tutte (Lismore Opera Festival), Susanna Susanna’s Secret (Opera Theatre Company), Serafina Il Campanello, Reneé Koanga, Dew Fairy Hansel and Gretel, Annina La traviata (Wexford Festival Opera), Valencienne The Merry Widow (Lyric Opera Productions), Frasquita Carmen (Cork Operatic Society with RTÉ Concert Orchestra;), Gorm Flatpack (Ulysses Theatre Company) and Narrator The Oldest Woman in Limerick (Wide Open Opera). She has performed in concert with the RTÉ National Symphony Orchestra, Wexford Sinfonia, City of Dublin Chamber Orchestra, Wexford Festival Opera, Drogheda International Classical Music Series, Ardee Baroque Festival, Clifden Arts Festival and in Recital for The Music in Great Irish Houses Festival, Music for Galway, Dublin Philharmonic Society, Sligo Con Brio, The Contemporary Music Centre and the Metropolitan Club, New York.

Brendan Collins Art Brendan trained at the Cork School of Music, the DIT Conservatory and was granted a scholarship to study at the Opera Studio of La Monnaie de Munt in Brussels under renowned bass-baritone José van Dam. Opera Theatre Company credits include Masetto Don Giovanni, Marullo Rigoletto, Elviro Xerses and Bartolo The Marriage of Figaro. Other roles include the title role in Gianni Schicchi, Conte Almaviva Le nozze di Figaro, Marcello La bohème, Escamillo Carmen, Tonio Pagliacci, Père Germont La traviata, Paolo Albiani Simon Boccanegra, Pietro de Wisants L’Assedio di Calais, Marullo Rigoletto, Yamadori Madama Butterfly, Fiorello The Barber of Seville and Count Gil Il segreto di Susanna with Opera Ireland, Cork Operatic Society, Wide Open Opera, Lyric Opera Dublin, Glyndebourne Festival Opera, English Touring Opera, Scottish Opera, Longborough Festival Opera, and Northern Ireland Opera amongst others. He has performed across Ireland, UK, Europe, the Middle East and the United States at many of the worlds leading venues including the Royal Albert Hall London (BBC Proms under Sir Andrew Davies), Brooklyn Academy of Music New York (under Sir Mark Elder), Kennedy Center Washington D.C., Palais des BeauxArts Brussels, Théâtre de Luxembourg, Stephansdom Vienna, Kajetanekirche Salzburg, Westminster Cathedral London and Wexford Opera House.

Eoghan Desmond Feargus Eoghan is a bass-baritone, composer and conductor from Cork, currently resident in Dublin. He is a member of Chamber Choir Ireland, and a Lay Vicar Choral in St Patrick’s Cathedral, Dublin. Eoghan has appeared in the opera choruses of Don Giovanni (Opera Theatre Company), Tristan und Isolde, Il Barbiere di Siviglia (Wide Open Opera), Turandot (Northern Ireland Opera) and Aida, Il Trovatore, Der Fliegende Holländer, Fidelio, La Traviata (Dorset Opera). As a choral singer, Eoghan has sung with St Patrick’s Cathedral Choir, Chamber Choir Ireland, Resurgam, Anúna and New Dublin Voices and has toured to France, Russia, Switzerland, Japan and the UK. Eoghan’s music has been performed by Chamber Choir Ireland, Contempo String Quartet, Ensemble Avalon, New Dublin Voices, Claire Duff, Malachy Robinson and the Gentlemen of St Patrick’s Cathedral. In 2015 he was awarded the Seán Ó Riada prize for Choral Composition for Mother Goose’s Melodies. He is also the recipient of the 2015 Jerome Hynes Young Composer’s Award, for which he composed

a setting of Rimbaud’s Phrases. Eoghan is the founder and director of Dulciana upper voices choir, who are committed to bringing performances of music by female composers to the Irish public.

Fearghal Curtis Taoiseach Fearghal is a tenor from Dublin. He has studied at the Conservatory of Music and Drama, DIT, Dublin and the Royal Academy of Music, London. He is currently studying with Janice Chapman. He was an Associate Young Artist with Opera Theatre Company in 2012/3 where he performed the roles of Apollo/Sheperd/Ensemble in Monteverdi’s L’Orfeo. Fearghal has continued his relationship with the company regularly performing in operas such as La bohème, The Rise and Fall of the City of Mahagonny and the chorus for their collaboration with Dublin Theatre Festival, Don Giovanni (translated by Roddy Doyle), where he also understudied Don Ottavio. Most recently, he was seen in the ensemble for OTC’s Acis and Galatea, and chorus for Wide Open Opera’s world premiere of a new opera by Enda Walsh and Donnacha Dennedy, The Second Violinist. Fearghal’s credits include Orpheus/Mercury Orpheus in the Underworld (DIT), Prologue/Quint The Turn of the Screw (DIT), Bill A Hand of Bridge (DIT), Marco The Gondoliers (Opera in the Open), Pygmalion Pygmalion (OITO), Box Cox and Box (OITO), Nemorino L’elisir d’amore (OITO), Gherardo Gianni Schicchi (Westminster Opera/OITO), First Priest Magic Flute (DIT/ Glasthule Opera), Mercury Castor et Pollox (Yorke Trust Opera), Pastore L’Orfeo (Yorke Trust Opera) and Ruiz Il trovatore (Lyric Productions). Fearghal is also a keen oratorio singer, most recently performing Zadok Solomon. He has performed tenor solo in works such as Handel’s Messiah, Mozart’s Requiem, Charpentier’s Messe di minuit pour Noel, Mendellsohn’s Ave Maria, along with many oratorio choruses.

Conor Breen Herald A native of County Armagh, twenty-fiveyear-old tenor Conor Breen read English Literature at The Queen’s University of Belfast. Selected to join NI Opera’s Young Artist Programme, the highlights of his tenure include: singing in Vaughan Williams’ Serenade to Music with the Ulster Orchestra; understudying the role of Narraboth in NI Opera’s Salome; and performing in concert for TRH The Prince of Wales and The Duchess of Cornwall for their inaugural state visit to Northern Ireland. Roles include: The Fourth Jew, NI Opera,

Salome; The Prince of Persia, NI Opera, Turandot; and he also understudied Don Ottavio in NI Opera’s Don Giovanni. 2016 saw Conor performing the role of Ambrogio in Wide Open Opera’s Il Barbiere di Siviglia and singing Mozart’s Mass in C Minor with the Ulster Orchestra. So far in 2017 Conor has taken up an invitation to sing in Edinburgh: Haydn’s The Seasons; and Mendelssohn’s Walpurgisnacht, with the Garleton Singers, and also performed Saint-Saen’s Requiem at the Portico Arts centre in Portaferry. Conor has also appeared as a soloist in a variety of works such as: Pergolesi’s Stabat Mater; Handel’s Messiah; Mozart’s Requiem – most recently with the Ulster Orchestra; Tippett’s Five Negro Spirituals, Haydn’s Nelson Mass; Stainer’s Crucifixion; and Britten’s Rejoice in the Lamb. Conor has also given two solo recitals as part of the annual music festival at St. Anne’s Cathedral, Belfast, during its last two iterations.

Aoife O’Sullivan Répétiteur Aoife O’Sullivan was born in Dublin and studied at the College of Music with Frank Heneghan and later at the RIAM with Dr John O’Conor. She graduated from Trinity College Dublin with an honours degree in music. In September 1999 she began her studies as a Fulbright scholar at the Curtis Institute of Music with Mikael Eliasen, Head of Vocal and Opera Studies and in 2001 she joined the staff there for her final two years. She has played for masterclasses including those given by Malcolm Martineau, Ann Murray DBE, Sir Thomas Allen, Thomas Hampson, and Anna Moffo. Aoife worked on Zaide at the Britten Pears Young Artist Programme in June 2004 and then on Turn of the Screw for the Cheltenham Festival with Paul Kildea. She has appeared at the Wigmore Hall in concerts with Ann Murray (chamber versions of Mahler and Berg), Gweneth Ann Jeffers and Wendy Dawn Thompson and with Sinéad Campbell Wallace. She was awarded the Geoffrey Parsons Trust Award in March 2005 for accompaniment of singers. She has worked on the music staff at Wexford Festival Opera in 2005 and 2006, on Orlando (2007) Xerxes (2009) and Alcina (2009/2010) for OTC and ‘Dead Man Walking’ and ‘A Midsummer Nights Dream’ for Opera Ireland in 2007 and 2008. Aoife also worked at the National Opera Studio in London from 2006 to 2008 and was on the deputy coach list for the Jette Parker Young Artist Programme at the Royal Opera House Covent Garden. Aoife is now based in Dublin and was on staff as répétiteur at the Royal Irish Academy of Music in Dublin in 2008/2009. Since January 2010 she has worked as a répétiteur and vocal coach at DIT Conservatory of Music and Drama.

2017 2018

RTÉ National Symphony Orchestra LEONARD BERNSTEIN

Chichester Psalms ELGAR Sea Pictures DURUFLÉ Requiem Joana Carneiro conductor RTÉ Philharmonic Choir Chorus master: Mark Hindley

Christopher Ainslie countertenor Kai Rüütel mezzo-soprano Huw Montague Rendall baritone

FRIDAY 20 OCTOBER • 7.30pm

MOZART

Requiem R. STRAUSS Tod und Verklärung (Death and Transfiguration) Nathalie Stutzmann conductor RTÉ Philharmonic Choir Chorus master: Mark Hindley

Máire Flavin soprano Sara Mingardo alto Robin Tritschler tenor Leon Kosavic bass

FRIDAY 1 DECEMBER • 7.30pm NATIONAL CONCERT HALL TICKETS FROM €25.50 Booking: 01 417 0000 / www.nch.ie Discounts when you buy 3 or more Main Season concerts together

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www.rte.ie/nso

RTÉ National Symphony Orchestra Patron: Michael D. Higgins, President of Ireland

Since its foundation in 1948 as the Raidió Éireann Symphony Orchestra, the RTÉ National Symphony Orchestra has been to the forefront of symphonic music in Ireland. Today, the orchestra plays a central role in classical music through year-long programmes of live performances, schools and educational projects, a mentoring scheme for young musicians, broadcasts on RTÉ and internationally through the European Broadcasting Union, recordings and new commissions. The RTÉ NSO has been critically acclaimed for its recordings across a variety of labels including Naxos, Claves and RTÉ lyric fm. Naxos releases include two critically acclaimed recordings of works by Bizet and Dukas with conductor Jean-Luc Tingaud. The RTÉ National Symphony Orchestra played a major role in RTÉ 1916. On Easter Sunday at the National Museum, Collins Barracks, Dublin, the orchestra and a choir of 1,000 voices from all over Ireland premiered One Hundred Years a Nation with music by Shaun Davey and text by Paul Muldoon and in September 2016 performed four concerts featuring works by 16 Irish composers, including the world premiere of Andrew Hamilton’s c, as part of the three-week long festival Composing the Island: A century of music. The RTÉ NSO marks its 70th anniversary during this 2017-2018 Season. We welcome Nathalie Stutzmann who begins her two year tenure as Principal Guest Conductor with the RTÉ NSO. Nathalie opened our season on 29 September to great aplomb in a programme of Brahms, Beethoven and Prokofiev and conducts the orchestra in four more concerts this season. They include Mozart’s Requiem with the RTÉ Philharmonic Choir on 1 December, and Beethoven Symphony No. 9 ‘Choral’ for the season finale on 25 May. This season many exciting and multi-talented artists perform extraordinary music. The RTÉ NSO presents a new Concerto for Organ by Gerald Barry, RTÉ’s Composer-in-Residence, and our 70th birthday features a first performance of The Binding of the Years, the complete Piano Concerto by Deirdre Gribbin. On the centenary of his birth, we celebrate the great American composer Leonard Bernstein,

in a performance of his Chichester Psalms with outstanding young conductor Joana Carneiro. In January, Alexander Shelley conducts this extraordinary composer’s Overture to West Side Story and Prelude, Fugue and Riffs. Season highlights include conductors Thomas Adès and Jaime Martin, and Carlos Kalmar conducting the unstoppable Storm Large in Weill’s Seven Deadly Sins; guest soloist Alexander Toradze performing Shostakovich’s second piano concerto, Khatia Buniatishvili playing Tchaikovsky Piano Concerto No. 1, and Alexander Bernstein and Fiachra Garvey joining forces for Poulenc’s Double piano concerto. The RTÉ NSO delves into the magic of cinema and gaming in the build up to Christmas. We are the featured orchestra for the film screening of Harry Potter and The Chamber of Secrets at Dublin’s 3Arena on 6 December. We also perform in The Legend of Zelda: Symphony of the Goddesses, at Bord Gáis Energy Theatre, on 11 December, to celebrate its 30 years as a classic.

RTÉ National Symphony Orchestra Management General Manager: Anthony Long Marketing & Communications Manager: Assumpta Lawless Publicist: Mary Folan Orchestra Manager: Debbra Walters Concert & Planning Co-ordinator: Cathy Stokes Librarian: Niamh O’Connor Orchestra Administration Assistant: Olive Kelly Senior Orchestra Assistant: Ari Nekrasius Orchestral Assistant: Andy Dunne For full contact information see rte.ie/nso

RTÉ Orchestras, Quartet and Choirs RTÉ Orchestras, Quartet & Choirs is responsible for managing the RTÉ National Symphony Orchestra, RTÉ Concert Orchestra, RTÉ Contempo Quartet, RTÉ Philharmonic Choir and RTÉ Cór na nÓg. Head of RTÉ’s Orchestras, lyric fm, Quartet & Choirs: Aodán Ó Dubhghaill

Eithne Libretto Act I

Áit: Halla in Áras Áird-Rí Éireann. Tráthnóna an lae ann. Taoisigh, Laochra, Iníona, Seanóirí, etc. i láthair

Location: A Hall in the High King of Ireland’s home. It is afternoon. Chieftains, Warriors, Daughters, Old men present.

TAOISEACH

CHIEF

Is eol daoibh, a chairde De shárshliocht na laochra, Go dtóghfar, an lá so, Tánaiste Rí Éireann.

You know, friends, And most elite warriors, That the Tánaiste to the King of Ireland Will be elected today.

Cloisim anois os ard uaibh, Cé b’áil libh don réim sin?

Let me hear out loud from you, Who do you want for this position?

NA LAOCHRA

WARRIORS

Ceist nach crua le réiteach,

Not a difficult question to resolve,

Thar é nach bhfuil beo Laoch dár dual an chóir, Ach Ceart, saorfhlaith na féile

Above all who are alive A hero who is just: Ceart, Celebrated, free prince.

Seinnimis a thréithe go ceannsa, soilbhir, séisbhinn.

Let’s sing his praises, Gently, richly, sweetly.

Tá’n ghrian taobh thiar de Chnoc na Réidhe, Is cé nach cian uainn deireadh an lae,

The sun is behind the mountain of the kings, And though it be not long ‘til end of day,

Cé siúd ag leathnú scáil na h-oíche,

And shadows of night descend,

Fanfaimid go fóill beag, Go seinntear duan Go néata binn do ghrá na suadh,

We’ll wait a while, To sing a song Neatly, Sweetly of love for the wise one!

Ár bpéarla caoin,

Our dearest jewel,

Do thogha na sárfhear dtapa ngroí, Mac dílis rí mhaith Fódla.

The choice of the finest fastest strongest men Loyal son of the great King of Ireland.

’Sé Ceart an t-óg is airde cáil, Dá maireann beo ar laochra Fáil.

Of Ireland’s living heros, Ceart is the youth of greatest fame.

An chraobhóg chóir, is milse bláth, Ar fhíorshliocht rí na leon-chroí.

Our dearest hope, sweetest flower True stock of our lion-hearted King.

Nuair séidtear an stoc ar shléibh, Nuair séidtear chun cruthú béim,

When the horn sounds from the mountains, When blown to call to arms,

’Sé Ceart an leon, i dtreasaibh na dtreon, Is míleata, mear i réim.

Ceart is the lion, most warlike of all, Most soldierly, quick to lead.

Fear seasta i mbearnain baoil Fear meanmnach, measta i gcéill

A steady man in the gap of danger A brave man, measured of mind

Theas ná thuaidh, i dteannta cruaidh Níl fear is calma céim.

South or North, in dire straits, There’s no man finer.

CLAISCEADAL NA mBAN

CHORUS OF WOMEN

’Sé Ceart an planda cóir Do thug an bhantracht tláth, Oíche is ló, tinn gach óg Dá cloí le neart a grá.

Ceart is the source of hope, He is the most charming, Night and day, every girl Aches with love for him.

ÚNA

Nach baoth atáid mar mhnáibh! Is gur follas don tsaol go léir Gur mé a rogha, Thar bhéithibh an domhain.

Aren’t you foolish women! When it’s absolutely clear That I’m his choice, Over all the beauties in the world.

CLAISCEADAL NA mBAN

CHORUS OF WOMEN

Ní fíor do scéal!

Your story isn’t true!

NA LAOCHRA

WARRIORS

Nuair séidtear an stoc ar shléibh… (&rl.)

When the horn sounds from the mountains… (etc)

FEARGHUS

Ní fíor, is ní ar bhéithibh A smaoiníos rí na laochra, Ach ar reachtaibh críonna ’dhéanamh, Ar mhaithe le críochaibh Éireann.

It’s not true. The king of warriors doesn’t Think of beauty But only of making righteous laws For the good of Ireland.

NA LAOCHRA

WARRIORS

Ceart a ainm, Ceart a mheoin, Sár-chroí gan éislinn

Righteous his name, righteous his way, Big hearted, without blemish

Seinníg’ go h-ard ciall is cáil Thánaiste Rí Éireann.

Sing out loud of his wisdom and fame, Tánaiste to the King of Ireland

Mar ‘sé an t-óg is airde cáil, Dá maireann beo ar laochra Fáil,

For of Ireland’s living heros, Ceart is the youth of greatest fame,

An chraobhóg chóir, is milse bláth Ar shárshliocht na dtréinfhear.

The dearest hope, the sweetest flower. The finest of our noblemen.

CÓR IOMLÁN

FULL CHORUS

Ceart a ainm, Ceart a mheoin… (&rl.)

Righteous his name, righteous his way… (etc)

Tig Dubhthach agus daoine eile isteach.

Duffach enters with others.

DUBHTHACH AGUS A BHUÍON

DUFFACH AND HIS FOLLOWERS

Ná moltar, ámh, don chraobh a bláth Go bhfeictear a toradh sa bhFómhair buí.

Don’t praise yet the flower of a branch Until the fruit is seen in the yellow autumn.

NA LAOCHRA

WARRIORS

Cén rud dob áil leis an daoi seo a rá?

What fool would say such a thing?

DUBHTHACH AGUS A BHUÍON

DUFFACH AND HIS FOLLOWERS

An méad so le bhur dtoil.

We will say this much if you permit.

Bhí ag an rí An cú ba mhire de chonaibh beo.

The King owned The quickest hound that ever lived.

Tá sí marbh!

She is dead!

Do chonac í Ar lár ’na luí, i gcosair chró.

She was seen lying down With a deep wound.

Fealltóir do mharbhuigh an cú ba mhó luth dá raibh fán ngréin;

It was a traitor who killed the finest hound that ever lived;

Ar chóir go molfaí i ndántaibh ceoil, An méirleach ‘sheol an Rí i bpéin?

Is it right to praise in joyful song, The traitor who caused the King such pain?

NA LAOCHRA

WARRIORS

Faraor! Cén duine do rinne an beart?

Alas! Who did this deed?

DUBHTHACH AGUS A BHUÍON

DUFFACH AND HIS FOLLOWERS

An Ceart so ‘mholas sibh go hard!

This Ceart you praise so highly!

NA LAOCHRA & CLAISCEADAL NA mBAN

WARRIORS & CHORUS OF WOMEN

Níorbh é, ní fíor an scéal Ach ceapadh bréag ag lucht an éad’, Ag iarraidh cáil an óglaoich thréin Do thruailliú!

It wasn’t him, this is not true But a falsehood invented by the jealous crowd, Who seek to take the fame of our great warrior And ruin it!

DUBHTHACH AGUS A BHUÍON

FULL CHORUS

Dob é, is fíor an scéal, Ní ceapadh bréag, ná toradh an éad’, Ná h-iarrtar náir’ an mhéirligh léin do chlúdach!

It was him, the story is true It is neither lie, nor result of jealousy, Shame on you for defending the traitor!

Tig Teachtaire isteach.

A Herald enters.

TEACHTAIRE

HERALD

Seo chugaibh Ard Rí Éireann áigh Beannaígí go humhal dó!

The valiant High-King of Ireland approaches. Humbly bow before him!

Tig an tArd-Rí isteach. Neart agus Art agus slua daoine in éineacht leis.

The High King enters. Neart and Art and a crowd enter with him.

Eithne Libretto

CÓR IOMLÁN

FULL CHORUS

Dia bheatha an Rí is mó clú, Ár n-Athair oirdhearc uasal án, Beannaímid go humhal dó!

The Gods’ blessings be upon our celebrated King. Our gracious, noble, brilliant father We humbly greet you!

ARD-RÍ NA hÉIREANN

HIGH KING OF IRELAND

Goirim sibh, a mhuintir Ní lú bhur ndílse Go bhfuil brón inniu ar an gcroí so Is ceo dubh ar m’intinn!

My people, I acknowledge Your greeting and loyalty But there is sadness in this heart, A black fog on my mind!

CÓR IOMLÁN

FULL CHORUS

Faraor lena mhuintir Go bhfuil brón ar an rí Is ceo dubh ar a intinn!

Alas, we are upset That the King is sad With a black fog on his mind!

ARD-RÍ NA hÉIREANN

HIGH KING OF IRELAND

Marbhuíodh inniu mo chú, Dob fhearr ‘bhí in Éirinn Ba chara dhom, is ba shult.

My hound was murdered today, The finest in Ireland Friend to me and loyal companion.

DUBHTHACH AGUS A BHUÍON

DUFFACH AND HIS FOLLOWERS

Faire! Seo chugainn an méirleach!

Look! Here comes the traitor!

Tig Ceart isteach.

Ceart enters.

CEART

Beannaím duit, a rí, is a athair na féile

Greetings, my King and generous father

ARD-RÍ NA hÉIREANN

HIGH KING OF IRELAND

An croí lán de cheilg!

The heart full of deceit!

CEART

Cé’n ghruaim seo, a rí, ar t’éadan?

What gloom is this, King, on your brow?

ARD-RÍ NA hÉIREANN

HIGH KING OF IRELAND

A mhéirligh gan croí Do mharbhuigh, an lá so, Gan taise, cú an Rí, Imigh ar an láthair!

O Traitor, without heart, Who killed, this day Without compassion, the King’s hound. I banish you immediately!

CEART

Má mharbhuíos, a rí, Nár fhágad an láthair Go bpléascaidh an caor mé.

If I did kill, Oh King, Let us not leave this spot, ‘Til lightning strikes me.

ARD-RÍ NA hÉIREANN

HIGH KING OF IRELAND

Faraor, faraor, nach mór an scéal é Nach bhfuil an óige gan cealg, Bíodh go mbíonn geal-gháireach!

Alas, alas, what a great pity That the youth is so sly, He pretends to be innocent!

CEART

Mo léan! Nach fán gcré Do síneadh mé i gcomhrann, Sular chualas ód’ bhéal Na scéala ‘thug tú brónach,

My sorrow! That I was not laid under the earth In a coffin. Before hearing from your mouth The story that afflicted you,

Seo duit mo scian Buail léi an croí seo,

Take my dagger Pierce my heart with it,

Beatha liom ní mian Is marbh cheana go fíor mé. Ód’ chailleas do ghrá Séan ní bhlasfad go deo,

I don’t want life In truth I am dead already; Since I have lost your love, I will never have peace,

Fearr liom an bás ná’n bheatha fá cheo!

I would prefer death to life in disgrace!

DUBHTHACH AGUS A BHUÍON

DUFFACH AND HIS FOLLOWERS

Ná héist, a Rí na hÉireann, le bréithribh binn’ an mhéirligh!

Don’t listen, Oh King of Ireland, To the sweet words of the traitor!

ARD-RÍ NA hÉIREANN

HIGH KING OF IRELAND

Éirigh, a fhealltóir an chroí gan trua, Ní liom dob fhiú do leagan síos,

Arise, heartless traitor without mercy You need not lay before me,

Imigh fán tsléibh’ rua nó fán gcoill, Íoc leis na beithígh ar do ghníomh.

Go to the red mountain or the wood, Pay in exile for your deed.

Tig Nuala isteach

Nuala enters

NUALA

Ná déantar beart mar sin a Rí, Ar t’fhéilmhac dhíl ná cuir an fán, Níorb é ba chiontach le do bhrón,

Do not make a decision like this, my king! Don’t put the blame on your sweet son, It was not he who caused your sadness,

Is dom is eol an scéal iomlán.

I know the whole story.

CÓR IOMLÁN

FULL CHORUS

Imigh, a bhean gan náire, Is ná cuir isteach ar chomhairle Ard-rí críche Fódla!

Go, woman without shame Don’t interrupt the council of the High King of Ireland!

ARD-RÍ NA hÉIREANN

HIGH KING OF IRELAND

Cé tusa, a bhean ró-dhána?

Who are you, bold woman?

NUALA

Le céin gan aird, gan éirim I gCúirt an Rí, Is mé do tháil mo réidh-lacht Ar t’urmhac dhíl.

As someone of low status, I came to the King’s court, I cared for your sweet son As a child.

Ar leabaidh tréith di sínte, Fuaireas ó do ríon Cúram a linbh dhílis, uasail, chaoin.

As she lay on her death-bed, Your queen entrusted me With the care of her faithful, noble, gentle child.

D’fhaireas gan dua mo dhalta an tséin, Do chonac a bhfuair d’anró an tsaoil,

I stood by the noble youth without wavering, I saw your cold-hearted treatment of him

Faraor! Ó phósais bean gan chroí, Thug gráin ar ógán, m’arann istigh.

Alas! Since you married a woman without heart, Who hated the youth, for no good reason.

CÓR IOMLÁN

FULL CHORUS

Tá an bhean ró-dhána!

The woman is too brazen!

NUALA

Tá leagtha inniu air gur mharbhuigh do chú dhílis, Ná creidse an tuairisc. Níorb é do rinne an gníomh sin.

He is accused today of killing your loyal hound! Don’t you believe this, it was not he who did the deed.

DUBHTHACH AGUS A BHUÍON

FULL CHORUS

Dob é

It was

Níorbh é

It wasn’t

NA LAOCHRA & CLAISCEADAL NA mBAN

WARRIORS & CHORUS OF WOMEN

Níorbh é, ní fíor an scéal Ach ceapadh bréag ag lucht an éad’, Ag iarraidh cáil an óglaoich thréin Do thruailliú!

It wasn’t him, this is not true But a falsehood invented by the jealous crowd, Who seek to take the fame of our warrior And ruin it!

DUBHTHACH AGUS A BHUÍON

FULL CHORUS

Dob é, is fíor an scéal! Ní ceapadh bréag, ná toradh an éad’, Ná h-iarrtar náire an mhéirligh léin do chlúdadh!

It was him, the story is true It is not a lie or result of jealousy. Shame on you for defending the traitor!

NUALA

Tá leagtha inniu air gur mharbhuigh do chú dhílis, Ná creid an tuairisc, Níorbh é do rinne an gníomh sin.

He is accused of killing your faithful hound! Don’t believe this, it was not he who did the deed.

CEART

Mo léan! Nach fán gcré Do síneadh mé i gcomhrann, Sular chualas ód’ bhéal Na scéala ‘thug tú brónach,

My sorrow! That I was not laid under the earth In a coffin. Before hearing from your mouth The story that afflicted you,

NA LAOCHRA & CLAISCEADAL NA mBAN

WARRIORS & CHORUS OF WOMEN

Eithne Libretto ARD-RÍ NA hÉIREANN

HIGH KING OF IRELAND

Cé tusa, a bhean ró-dhána?

Who are you, bold woman?

NUALA

B’iad Art agus Neart do rinne an claonbheart, Óm’ ghrianán amach chonac iad dá dhéanamh;

It was Art and Neart who committed this awful deed! From my terrace saw them do it;

Cé leis an brat so le fuil na gcon smeartha?

Who owns this cloak smeared with the hound’s blood?

ARD-RÍ NA hÉIREANN

HIGH KING OF IRELAND

A Nirt, tabhair freagra dom go fíor,

Neart, answer me truthfully,

Labhair anois go fíor

Speak truthfully now

ARD-RÍ NA hÉIREANN

HIGH KING OF IRELAND

An leat an fhallaing annso do chím?

Is this your cloak which I now see?

Inis anois go fíor

Tell truthfully now

NEART

Féach, a Rí, méad an éada! Goideadh uaim mo bhrat go bhféadfaí An droch-bheart náir do chur ’mo pháirt

See, O King, the level of jealousy My cloak was stolen from me So that I could be blamed for the shameful deed

Ná creid go bráth na bréaga.

Don’t ever believe these lies.

NUALA

B’iad Art agus Neart do rinne an claonbheart, Óm’ ghrianán amach chonac iad dá dhéanamh; Cé leis an brat so le fuil na gcon smeartha?

It was Art and Neart who committed this awful deed! From my terrace I saw them do it Who owns this cloak smeared with the hound’s blood?

NEART

Féach, a Rí méad an éada! Goideadh uaim mo bhrat go bhféadfaí An droch-bheart náir do chur ’mo pháirt, Ná creid go bráth na bréaga.

See, O King, the level of jealousy My cloak was stolen from me So that I could be blamed for the shameful deed Don’t ever believe these lies.

ARD-RÍ NA hÉIREANN

HIGH KING OF IRELAND

An féidir go bhfuil braonta De dhea-fhuil mo shinsir Ag preabadh i bhféithibh Na méirleach? Ní miste Na géaga so gan mhaitheas Ar an ndea-chrann úr Do bhaint de gan trua!

Is it possible that drops Of the noble blood of my ancestors Flow within the veins of the traitors? These worthless limbs Of the great tree Of the great young tree Must be trimmed without remorse!

Beiridh orthu, a ghaisgígh Na gclaidheamh ngeal gcrua, Tugtar chun a mbáis iad Os comhair an tslua!

Seize them, soldiers, Of the bright hard swords, Take them to their deaths In front of the crowd!

Tig laochra ar aghaidh le breith orthu. Coisceann Nuala iad.

Warriors come forward to seize them. Nuala stops them.

NUALA

Stadaíg’, ná hiarraidh An rud so do dhéanamh.

Stop! Don’t ask For this to be done.

CÓR IOMLÁN

FULL CHORUS

Faire! A bhean, nach ngéillfeam Do thoil rí na hÉireann?

Watch out! Woman, who does not yield To the King of Ireland’s will?

NUALA

Ná déanaíg’!

Don’t do it!

ARD-RÍ NA hÉIREANN

HIGH KING OF IRELAND

A bhean ró-dhána, An mise an tArd-Rí? Bhfuil meas ar mo bhriathraibh?

Brazen woman, Am I not the High King? Are my commands not respected?

NUALA

Ná salaighse do cháil, Le beart neamh-fhialmhar.

Do not sully your good name With an ungenerous deed.

ARD-RÍ NA hÉIREANN

HIGH KING OF IRELAND

Labhrann an toice, Mar mhnaoi le cumhacht. Níl brí agam ’na coinne

The hussy speaks As a woman of authority. I cannot oppose her.

Tá mo chroí fá bhuairt.

My heart is heavy with worry.

Abair, a bhean liom, Nach bhfuil dom réir

Speak to me, woman, Who is not intimidated by me

Cluinim an freagra gan mhoill ód’ bhéal.

I will hear your answer immediately.

NUALA

Freagród gan mhoill, gan aon mhoill.

I will tell you why without delay.

ARD-RÍ NA hÉIREANN

HIGH KING OF IRELAND

Créad fáth nár chuibhe Do chlann seo an bhróin A gclaonbheart nimhe Do chúiteamh leo?

Why does this family Not understand the sadness Of the poisonous deed For which I must blame them?

CÓR IOMLÁN

FULL CHORUS

Freagair, a thoice, freagair, Créad fáth nár chóir A gclaonbheart nimhe Do chúiteamh leo?

Answer hussy answer, Why should this poisonous deed Not be blamed On them?

NUALA

Freagród gan aon mhoill

I will tell you why without delay

Éistidh liom go fóill.

Listen now.

An tráth a mbíonn an spéar fá scáil Ní léir dúinn áilleacht, bláth,

When is sky is hidden by cloud We cannot see the beauty of flowers and valleys,

Is scéimh na mbánscoth n-íseal nglé gan cháim, Na bpéarla ngnáith ar bharr na ngéag,

The short white blossoms clear and faultless, The pearls of dew upon the trees,

Luisne an róis go modhúil caoin, Lasadh caor i lár na gcraoibh, Gan brí na seoid, ní thógann croí

The gentle blush of the sweet Rose, The shine of berries on the branches, Without meaning or beauty, the heart is not lifted

ní thógann croí go taitneamh gréine Is bánú’n lae.

The heart is not lifted, ‘Til the sun shines And the day brightens.

An tráth ar líonta an croí le gruaim Dá chloí ag buairt is léan an tsaoil.

The time the heart is filled with sadness Burdened with the worries and pain of life,

Is gnáth go mbíonn an intinn dubhach Gan fíorbhreith rún, gan éifeacht gníomh.

It is then that the mind is often darkened Without good judgement, without good actions.

Ach nuair a lasas grá sa chléibh, Mar ghaethe gréine tríd an gceo,

But when love lights in your chest Like rays of sun through the fog,

Is luath a scaipeas scáil is léan, Is blastar séan is aoibhneas cóir.

Soon pain and shadows scatter, And peace and beauty return.

Níl ceol is binne ar chruit sa tsaol Ná seinm Aonghuis1 Óig na nÉan,

No music sounds sweeter on the harp of life Than that played by young Aonghus of the birds,

Is eol don duine ‘chluineas é Créad ann is aoibhneas, sógh is séan.

He who hears it will know Bliss and comfort, peace and tranquillity.

ARD-RÍ NA hÉIREANN

HIGH KING OF IRELAND

Cé’n bhrí atá ‘na glór so, A bhíogas grá chomh mór ionam,

What power does this voice have, To inspire such great love in me,

1 Aonghus or ‘Aengus’ was a member of the mythological celtic deity, the Tuatha Dé Danann. He was the god of love, youth and poetic inspiration.

Eithne Libretto Go sílim nach beo dom, Ar nós daoine an tsaoil? Nó arbh é Aonghus áigh an Bhrógha Do labhair tréna béal?

So that I feel elevated From this mortal world? Or has sweet Aonghus spoken Through your mouth?

NUALA

Níor mhór an síon le Diarmuid2 áigh Ód’ chuala gáire grinn na dtéad. Ó tabhair de shíor is iarr an grá, Is fuath go bráth le dílse séan.

Just as Diarmaid was, I am overjoyed. Live in the way of love And happiness will be yours forever.

NUALA

An tráth a mbíonn an spéar fá scáil… (&rl.)

When is sky is hidden by cloud….(etc)

CÓR IOMLÁN

FULL CHORUS

Is fíor nár ghlórtha daonna Do sheinn go cóir na scéala Ach Aonghus Óg na n-Éan nGeal Ag labhairt tréna béal!

It’s true that mortal voices Did not tell this tale, But young Aonghus of the beautiful Bird Speaking through her mouth!

ARD-RÍ NA hÉIREANN

HIGH KING OF IRELAND

A chlann mo chléibhe, Feasta bígí gan buaireamh; Bhur mbeart dán díchéillí Do mhaitheadh daoibh ní diúltar.

My dearest children, Don’t worry anymore; Your senseless bold deed, Is now pardoned.

NEART & ART

Ár mbuí leat, a rí na féile, Go bráth arís béam umhal duit.

Thank you, great king, We will honour you forever.

NUALA

Labhrais ansin mar rí gan cháim A fhíor-bhláth ar fhréimh chirt.

You spoke there as a king without fault A flower of true justice.

CÓR IOMLÁN

FULL CHORUS

Ar marthainn beidh sa tír go bráth A rí-cháil ar fhéile, Molaimid go hard Molfar go bráth, Ciall, cóir is cáil Ár rí ard gan éislinn!

Through all the ages in this land We will forever speak of his greatness, We praise loudly, we praise forever. His wisdom, justice and fame, Our flawless high king!

NUALA

Labhrais ansin mar rí gan cháim A Fhíor-bhláth ar fhréimh chirt.

You spoke there as a king without fault A flower of true justice.

NEART & ART

Ar mbuí leat, a rí na féile, Go bráth arís béam umhal duit.

Thank you, great king, We will honour you forever.

ARD-RÍ NA hÉIREANN

HIGH KING OF IRELAND

A mhuintir chroí, Ná déanaíg’ moill, Ach insíg’ cé an laoch do thuill

My dear people, Don’t delay, But tell me which hero deserves

An Tánaisteacht sa ríocht so?

To be Tánaiste in this kingdom?

CÓR IOMLÁN

FULL CHORUS

Ceist nach crua le réiteach, Thar é nach maireann beo Laoch dar dual an chóir ach Ceart, Ceart mac an Rí!

Not a difficult question to resolve, Above all who are alive A hero who is just, Ceart, son of the King!

ARD-RÍ NA hÉIREANN

HIGH KING OF IRELAND

A Fhlaith is aoibhinn le do mhuintir Tar is suígh sa gcathaoir ríoga.

Prince, most beloved of your people, Come sit on the throne

Tugtar Ceart go cathaoir ríoga atá ag cúl an ardáin. Suíonn innti. Síneann an tArd-Rí slat ghlas dhíreach chuige.

Ceart is led to the throne at the rear of the stage. He sits on it. The King points a green staff towards him.

2 Diarmuid or ‘Diarmaid’ was a member of Na Fianna in celtic mythology and was the foster son of Aonghus. He is best known as the lover of Gráinne.

Lean lorg do shinsear, Tabhair breith ghlan dhíreach Cumhdaigh do cháilse Is cáil do mhuintir’.

Follow the path of your forefathers, Give righteous clear justice Protect your reputation And that of your people.

Cuirtear brat dearsnuithe uime.

A cloak is placed on him.

CÓR IOMLÁN

FULL CHORUS

Ceart a ainm, Ceart a mheoin, Sár-chroí gan éislinn

Righteous his name, righteous his way, Big hearted, without blemish

Seinníg’ go hard ciall is cáil Thánaiste Rí Éireann.

Sing out loud of his wisdom and of his fame, Tánaiste to the King of Ireland.

NUALA

Go mairir do chéim, A rúin ghil mo chroí; Bí calma, bí tréan Ag tnúth leis an ríon

I hail you, Sweet joy of my heart; Be calm, be fearless Wait for the queen

Is áille scéimh, Is deise gnaoi, ‘Tá ag fanacht le do ghrása.

Of greatest beauty, Of loveliest charms, Who is waiting for your love.

CEART

Mo bhuí leat ó chroí, A chara dhil, agus a mháthair, Do ghealadh mo chroí, Nuair ‘bhíos i mo leanbh.

Heartfelt gratitude to you, Dear friend and mother, You soothed my heart When I was a child.

Mo bhuí leat ó chroí, A bhuime is a mháthair, Do ghealadh mo chroí Nuair bhíos i mo leanbh Le mealladh caoin do gháire.

Heartfelt gratitude to you, My defender and mother, You soothed my heart when I was a child With the sweet consolation of your smile.

NUALA

Go mairir do chéim, A rúin ghil mo chroí.

I hail you, Sweet joy of my heart.

CEART

Nuair bhíos i mo leanbh Le mealladh caoin do gháire.

When I was a child With the sweet consolation of your smile.

NEART

Do theip orainn ár gcairde, Gan tairbhe ár saothar.

Our friends have failed us, our hopes are dashed!

Téanam ar an láthair, Casfaimid arís air

We will leave but we will get another chance!

ARD-RÍ NA hÉIREANN

HIGH KING OF IRELAND

Siúd anoir, a chairde, An fhearg ar fán uainn Mar cheo roimh an ngrian! Is fógraim i bhur láthair

Thus, my friends, Our troubles are scattered As the fog before the sun! And I declare to you all

Gurb é ár mian Sealg, tóir, is fiach, Ó éiríonn grian Go nóin dubh amárach.

That it is our wish, To hunt, chase, and pursue, From rising of the sun, ‘Til dusk tomorrow.

CÓR IOMLÁN

FULL CHORUS

Buíochas leat, a rí na féile!

Thank you, great king!

Álainn cóiriú slóigh na nGael-fhear, Maidin úr ‘san drúcht ar féar-ghlas, Meidhreach glór na n-óglaoch dtréan-mhaith Árd a mian chun fiaidh lae gréine.

Beautiful how the great Gaels gather, The new morning with the dew on green grass, Happy the voices of the great young warriors Full of joy for the hunt this sunny day.

ART

Eithne Libretto Ó Furó! Is geal bheith beo Go taitneamhach cóir gan brón in Éirinn.

Oh Joy! It’s great to be alive Full of happiness, without a care, in Ireland.

Sa ngaorthadh thiar tá an fiadh ag búireadh. Thuas ar an gcnoc tá an torc ag gnúsacht.

In the western glade the dear is bleating. On the mountain top, the boar is grunting.

Tá na gadhair ag caoineadh - scaoilíg’ ar luas iad, Is ar aghaidh go tréan ‘na ndéidh sa ngluaiseacht.

The hounds are baying - let them loose! And we’ll follow close behind in formation.

NUALA, CEART, ARD-RÍ NA hÉIREANN, CÓR IOMLÁN

NUALA, CEART, HIGH KING OF IRELAND, FULL CHORUS

Tríd an ngleann, thar bheann an tsléibhe Trialann an slógh sa tóir go héasca,

Through the glen, over the mountain top The pack follows the chase with ease,

Le fán ag sleamhnú, thar abhainn ag léimnigh Is bíodh air féin ag an té nach bhféadann!

Down slopes sliding, over rivers leaping If you can’t keep up you’ll be left alone!

Act II scene i

Tráthnóna, i lúib coille. Crainn mhóra mór-thimpeall. Cnocáin arda ag an gcúl agus cosán le fána go beal uamha atá faoi bhun chrann mór dara. An tArd-Rí i láthair, agus é ag éisteacht, mar dhuine faoi dhraíocht, le ceol iontach atá dá seinm ag éan éigin anaithnid. Tar éis tamaill cuirtear stop leis an gceol.

Afternoon, in a forest glade. Large trees surround it. Large hills to the rear and a path leading to the entrance of a cave under the shade of a large oak tree. The High King is present, listening, like a person under a spell, to the sublime music being sung by an unseen Bird. After a while the music stops.

ARD-RÍ NA hÉIREANN

HIGH KING OF IRELAND

Is tuirseach tnáite mé ón tsiúl I bhfad óm’ chuallacht cháidh;

I am tired and weary from walking Far from my loyal company

Ní thuigim fáth mo scéil, ná cúis Fá ndear dom dul ar fán;

I do not understand, Why I have wandered thus;

Ach nuair do chuala glór an éin Ag labhairt ar chraobh go hard, Do gheit mo chroí go mór i mo chléibh le h-eagal, léan is le grá.

But when I heard the the voice of the bird Singing high up on a branch, Suddenly my heart was startled With fear, sorrow and with love

Ba chuma liom sealg is fiach, Sceamhaíl na gcon sa tóir, Glórtha na bhfear ar an tsliabh

I cared no more for the hunt, The howl of the hounds in pursuit, The voices of the men on the mountain

Ach, ó do chuala an ghlór, Níorbh aithnid an talamh bhí fúm, Ní spéar ghnáthach bhí os mo chionn,

But when I heard that voice I didn’t recognise the ground beneath me Or the sky over my head,

Siúd tharam ‘na lánrith an slua, Gur fhanas ansúd im’ aonraic, Ag éisteacht ceoil an Éin bhinn, Mo chumha, mo bhrón!

The crowd passed by me at full speed, ‘Til I was left here here on my own, Listening to the music of that sweet bird, Oh my mourning, my sadness!

Suíonn sé ar bhinnse fhearaigh ag machnamh. Cluintear glór an Éin arís. Éisteann an tArd-Rí tamall.

He sits on a bench thinking. The voice of the Bird is heard again. The High King listens for a while.

Ach ó do chuala glór an Éin Ag labhairt ar chraobh go hard, Do gheit mo chroí go mór i mo chléibh Le h-eagal, léan is grá.

But when I heard the voice of the bird Singing high up on a branch, Suddenly my heart was startled With fear, sorrow and love.

Ó! Sámh an glór thar cheoltaibh téad, Is ábhar bróin, is sólás séin; Cuir fáth do leoin in eol don té ‘Bheadh sámh go deo ‘do chomhgar féin!

O sweeter voice than string music A sad subject, a happy consolation; Explain your singing to the one, Who would be at peace forever in your presence!

A Ríon gheal na n-éan, Seinn, seinn leat go fóill, Seinn leat, gan staon, Seinn leat, seinn go deo.

Oh beautiful Queen of the birds, Sing on, Sing without stopping, Sing forever.

Is séimhe do phíob ná an laoi le brón, ‘Chan Déirdre ag caoineadh a Naoise chóir;3

Your melody is finer than the mourning song, Deirdre keened to her beloved Naoise;

3 Deirdre or ‘Deirdre of the Sorrows’ and Naoise; in celtic mythology Deirdre eloped with Naoise, a warrior, although she was betrothed to king of Ulster, Concobhar Mac Nessa. Naoise was subsequently beheaded.

An ghlé-bhean do ghríosaigh Oisín ‘na deoidh,4 Níorbh shéisí a caoimh-sheinm binn ‘na chomhair

The maiden who inspired the faithful Oisín, Her song was not as sweet as yours.

A Ríon gheal na n-éan, Seinn, seinn leat go fóill, Seinn leat, gan staon, Seinn leat, seinn go deo!

Oh beautiful queen of the birds, Sing on, Sing without stopping, Sing forever.

Tig Ceart isteach

Ceart enters.

CEART

A Rí, ba mhór é mo bhuaireamh Nach bhfaca sa tóir ag gluaiseacht An fiagaí nár mhinic tláth.

Oh King, I was very worried That you, the hunter who never tires, Had gone missing from the chase.

ARD-RÍ NA hÉIREANN

HIGH KING OF IRELAND

Ní hionadh an tsealg gur thréigeas Ó chuala cantain an Éin Bhinn Is aoibhne sa tsaol le fáil!

It’s no surprise I abandoned the hunt For I heard the song of the Sweet-voiced Bird, The most lovely in the world!

CEART

Monuar! Ní tusa an chéad fhear Do mealladh le ceol an Éin sin, Níor chlos duit ceol saolta Ach ceol mór-dhraíochta.

Alas! You are not the first man To be enchanted by this bird’s music, What you heard is not mortal music But music of great enchantment.

ARD-RÍ NA hÉIREANN

HIGH KING OF IRELAND

Má tá brí i ríocht is i bhflaitheas, Má tá draíocht ag saoi dá maireann, Más féidir cabhair na sí do mhealladh, Beidh an tÉan sin ar mo shealbh.

If there be life in kingdom and in heaven If there by magic in any wise one living, If I can gain the help of the fairies, That bird will be in my possession!

Tig Ard agus Neart isteach.

Art and Neart enter.

ART

Féach an bheirt ag caint le chéile!

Look at those two talking together!

Ní ar mhaithe linne ón tseilg a d’éalaigh.

Not for our benefit did they abandon the hunt!

ARD-RÍ NA hÉIREANN

HIGH KING OF IRELAND

Muna raibh an tÉan agam ní mhairfead.

If I cannot have that bird, I will not live.

Is baolach troid le cumhacht anaithnid.

It is dangerous to fight with unknown powers.

Cluintear cantain ban, taobh amuigh.

They hear the voices of women singing offstage.

MNÁ

MAIDENS

Á!

Ah!

CEART

Éist! Céard é an míorbhúil nua so?

Listen! What is that new marvel?

MNÁ

MAIDENS

Bíodh ár n-ainnir álainn suairc gan fearadh deor, Ní cian gur seascair sámh di le plúr na gcailmfhear n-óg.

May our beautiful happy maiden be without tears, Soon she’ll find joy with the best of the brave young men.

ARD-RÍ NA hÉIREANN

HIGH KING OF IRELAND

Cé hí an mhaighdean ró-dheas?

Who is the beautiful maiden?

Cé hí an dea-ríon óg so?

Who is the beautiful young girl?

ART

Tá mo chroí ag preabadh le mórghrá!

My heart is beating with great love!

Céard é an míorbhúil nua so?

What is this new marvel?

EITHNE

Ochón, dá mbeadh sé ‘mo threo Lem’ thabhairt ón ngéibheann chrua

Oh, if anyone came To free me from this cruel imprisonment

ART & NEART

CEART

NEART

CEART

ART & NEART

CEART

4 Oisín, in celtic mythology was the son of Fionn Mac Cubhaill and was enticed to travel to Tír na nÓg by Niamh Chinn Ór or ‘Niamh of the Golden Hair’.

Eithne Libretto Do gheobhadh searc mo chléibh go deo, Is stór nach saor le lua.

He would gain the love of my heart forever, And other great treasures besides.

MAIDENS

Ní h-eagal duit a ghlébhean, A dhalta ghrinn ‘s a stóir, Ní fada bhéir i ngéibheann Gan charaid ‘teacht ‘do chomhair.

Do not fear sweet woman, Beloved and happy girl, You will not be long imprisoned Without someone coming to save you.

Tig Eithne isteach le cuallacht bhan. Breathnaíonn sí go grámhar ar Cheart agus imíonn go mall. Seasann Ceart ag féachaint ina diaidh agus é ina staic.

Eithne enters with her female companions. She gazes lovingly at Ceart and departs slowly. Ceart stands staring at her, unable to speak.

ARD-RÍ NA hÉIREANN

HIGH KING OF IRELAND

Cé hí an mhaighdean ró-dheas so?

Who is that beautiful maiden?

Cé hí an dea-ríon óg so?

Who is that young girl?

ART

Tá mo chroí ag preabadh le mórghrá!!

My heart is beating with great love!

NEART, ARD-RÍ NA hÉIREANN, ART

NEART, HIGH KING OF IRELAND, ART

Mór a háille is bláth a scéimhe, Moill ná fanacht tráth, ní dhéanfad Go bhfaighead tásc ar an maighdean spéiriúil, Go mealladh grá a croí, más féidir.

Great is her beauty – the flower of her beauty. I will neither delay nor wait I’ll face the task of winning this beautiful maiden, ‘Til her heart’s love is won, if possible.

CEART

Céard é an míorbhúil nua so? Cé hí an mhaighdean ró-dheas?

What is this new marvel? Who is the beautiful maiden?

ARD-RÍ NA hÉIREANN

HIGH KING OF IRELAND

Cé hí an mhaighdean ró-dheas?

Who is the beautiful maiden?

Céard é an míorbhúil ró-dheas?

What is this amazing marvel?

ART

Cé hí? Cé hí?

Who is she? Who is she?

Cé hí? Cé hí?

Who is she? Who is she?

CEART

Le bliantaibh feadh m’óige Go brónach do bhíos, Ag iarraidh an tsóláis Nár deonadh dom’ chroí,

For years throughout my youth I was always sad, Yearning for the comfort That was denied my heart,

Gur thriall orm an stórach Is lóchrann dom’ shlí, Mo ghrian gheal an eolais Dom’ threorú go fíor.

‘Til I encountered the darling Who lit my path, My bright sun of knowledge Guiding me truly.

Ó d’oscail na Déithe Na spéartha ‘mo chomhair, Ód’ chonac an réilteann Is niamhraí ná ór,

Since the gods opened The skies before me, Since I saw the star More lustrous than gold,

Ní scoirfead, ar aon rud, Go n-éagad, dá tóir, Is cuirfead, dom’ léir-dheoin Mo shaol ar a treoir.

I will not cease, for anything, To pursue her, ‘til I die, And I put, clearly and freely My life at her service.

Ó! Leanfad mo réilteann, ‘Sní thréigfead, aon tráth, An bealach a léireoidh An déighreann im’ dháil;

Oh I will follow my star Won’t abandon, ever, The way shown By this goddess to me;

An bheatha ní méin liom, Sé m’éileamh an bás, Muna ngealfaidh mo réalt caoin Mo réim dom go bráth.

I don’t want life, Death will be my demand, If my dear star doesn’t brighten My kingdom forever.

NEART

CEART & ARD-RÍ NA hÉIREANN

NEART

CEART & HIGH KING OF IRELAND

NEART

Ritheann Art agus Neart go béal na huamha. Osclaítear doras ann agus chítear an fathach.

Art and Neart run to the entrance of the cave. A door is opened and they see the giant.

AN FATHACH

THE GIANT

Gabhaidh siar a dhaorscuir ghránna!

Get back unworthy mortals!

Muna bhfuil an léan i ndán daoibh.

Unless you seek sorrow!

Tarraingíonn a chlaíomh. Cúlaíonn siad uaidh go náir neamh-uasal.

He draws his sword. They withdraw from him in fear.

Á! Is follas bhur gcladhaireacht!

Ah! Your weapons are useless!

Fairimse teora Thíre na h-Óige Is ní ligim thar a chrích

I guard the gates of Tír na nÓg And I do not let anyone pass

Ach fir ‘tá córach, gníomhach, cróga, Dílis, fiúntach, fíor.

Except men that are honest, courageous, hardy, Loyal, worthwhile, true.

Lem’ shleigh mhaith ghéir, lem’ sciath gan béim, Dearbhaímse gach saoi;

With my sharp lance, with my spotless shield, I slay every hero;

Is cuiríg’ i gcéill go dian bhur réim Gur calmacht bhur gcroí.

Show me immediately That your hearts are worthy.

Tiontaíonn uaidh go ceann faoi.

They turn from him with bowed heads.

ARD-RÍ NA hÉIREANN

HIGH KING OF IRELAND

Beirt mhac ‘tá agam tá gan dásacht gníomh,

I have two sons with no courage,

Is mac eile fá dhraíocht,

And another son enchanted,

Fios fáth an scéil Déanfad amach dom féin.

The truth of this story I will figure out by myself

Téann faoi ionsaí ar an uaimh.

He prepares to attack the cave.

CEART

Faire! A Rí áin, Rachadsa ‘plé i mbruíon Leis an bhfathach dúr so.

Watch out! O noble king, I will challenge this obstinate ogre.

I gceann naoi lá Fillfead gan léan arís, Le eolas an rúin so, Má fhillim go bráth,

In nine days I will return With the answer to this secret If I return at all.

ARD-RÍ NA hÉIREANN

HIGH KING OF IRELAND

Beir bua a linbh cháidh, Go n-éirí do shaothar; Go dtigidh tú arís slán; Scoth ghil na laochra.

Be courageous, dear child, Good luck in your endeavour; May you come back safely; Champion of warriors.

CEART

Fillfead gan baol arís nó ní fhillfead go bráth.

I will return unscathed or I will never return.

ART & NEART

Ní fhillfidh go bráth an t-óglaoch dán, Dearbh go bhfaighidh anois a bhás!

He will not return, the fateful warrior, I’m sure he will meet his death!

Imíonn an tArd-Rí, Art agus Neart. Téann Ceart go béal na huamha. Tig an Fathach amach.

The High King, Art and Neart depart. Ceart approaches the mouth of the cave. The Giant emerges.

AN FATHACH

THE GIANT

Cé tusa do rachadh i dTír na mBeo?

Who is this that comes from the mortal world?

CEART

A laoch nach faiteach i mbruíon ná gleo.

A warrior unafraid in quarrel or battle.

Cruthód mo neart is mo ghaisce gníomh, Is cruthód go mear duit mo chalmacht croí!

I will prove my strength and my courage in deed, And prove to you swiftly my steadiness of heart!

AN FATHACH

THE GIANT

Cruthuigh, cruthód neart is do gaisce fíor, Cruthuigh gur ceart do mhéin is do chroí.

Prove, prove your strength and your true valour, Prove that your mind and your heart are righteous.

Eithne Libretto

ART & NEART

Ní fhillfidh go bráth an tóg-laoch

The warrior will never return.

Troideann siad

They fight.

AN FATHACH

THE GIANT

Géillim dod’ chumhacht a shárlaoich chóir Anois bhéarad duit an t-eolas ‘dtáinig tú ‘na threo

I yield to your power, great-hero, I will no longer withhold the knowledge you seek.

An tÉan so do chualais, níorbh éan mar éanlaith, Ach ríon álainn uasal Thíre na n-Óg,

This Bird that you heard, wasn’t truly a bird, But the beautiful noble queen of Tír na nÓg,

Fá gheasa doilfe draíochta Do cuireadh ar a ríocht ghil Lena rí lán-chumachtach ‘Bharr éada thar fóir!

She is under a terrible magic spell Placed on her bright kingdom By the all-powerful King Because of excessive jealousy!

CEART

Mo mhairg! Is trua an scéal!

Alas! What a sad story!

AN FATHACH

THE GIANT

Na geasa do cheangail féin Níor fhéad an rí a scaoileadh, (Cé mór a bhrón ina hiongnais,)

The spell the King placed on her could not be undone by him, (Although his remorse is great)

Is ní scaoilfear go bráth Go dtigidh laoch an ádha Gur mó a dhraíocht-san Ná cumhacht an rí so.

She will never be released Until a fateful warrior comes Who has greater magic power Than this King.

CEART

Má tá neart i gcroí glan córach, Is i gclaidheamh nach fann i gcomhrac, Rachad féin gan mhoill ‘na threosan.

If there is strength in my clean true heart, And in sword not drawn unjustly, I will follow this path without delay!

AN FATHACH

THE GIANT

Do mhealladh na laoch gan scáth, ‘Sí comhairle do cheap an rí, A iníon sámh Do scaoileadh ar fán.

Many great warriors were lured here, It was the king’s own idea, To leave wandering, His serene daughter

CEART

An í an óigbhean d’éalaigh An treo so ar ball?

Was that the young woman who passed here earlier?

AN FATHACH

THE GIANT

B’in í gan ghó an spéirbhean Gon’ a cuallacht bhan.

That certainly was the maiden With her female companions.

CEART

An í an óigbhean álainn Luachmhar toradh a saothar!

Is she the beautiful maiden? A worthy prize!

AN FATHACH

THE GIANT

An laoch is cumhachtaí draíocht ná an rí, Is a dhéanfas suairc arís an ríon, Is leis-sean an stuaire mhín tais chaoin.

The warrior who has more magic than the King And who’ll make merry again the Queen, His will be the gentle tender beauty.

Is bainfear leatsa b’fhéidir. Tá ionat croí cróga.

You can perhaps win her. You have a brave heart.

CEART

Faitíos riamh níorbh eol dom,

I have never known fear.

Draíocht riamh níor fhoghlaim.

But I have never learned magic.

AN FATHACH

THE GIANT

Bí tréan is béarair bua; Ins an mbianna óir so, Ins an gclaidheamh so le do chlí, Ins an mbrat so ar do ghualainn

Be brave and good luck; With this gold ring, With this sword by your side With this cloak on your shoulders

Beidh draíocht chomh mór agat Le draíocht an rí.

You will have as much magic As the magic of the King.

CEART

A shíobhra uasail, Mo bhuí go bráth leat;

O noble spirit, My thanks to you forever;

Lig dom gluaiseacht Ar an turas dán so. Aonghus Óg dom’ ghárdadh!

Let me set off On this fateful quest. Aongus be my guard!

Imíonn an Fathach. Cluintear cantain na mBan Sí taobh istigh den uaimh ag fáiltiú roimh Cheart.

The Giant departs. The voices of the female spirits are heard from inside the cave, welcoming Ceart.

MAIDENS

Fáilte chaoin roimh an laoch gheal cháidh,

Warm welcome to the bright warrior,

Is áine croí, is go bhfillfidh slán.

Of the truest heart, may he return safely.

Gomadh ard a réim don tréin-fhear chóir, Is go bhfaighidh séan gan léan go deo!

The best of luck to the just brave man, And his fortune without sorrow forever!

Act II scene ii Seomra na draíochta in Áras Rí Thír na nÓg. Tig Eithne agus a cuallacht Bhan Sí isteach.

The Magic Room in the Castle of the King of Tír na nÓg. Eithne and her female companions enter.

MAIDENS

Bí sóghach, a ríon, Ná goil níos mó, A stóir ghil chaoin, Cuir dhíot an brón.

Be happy, oh Queen, Don’t cry any more, Sweet gentle darling, Cast off your grief.

Ná bí go duairc, Gan chúis do chaoi, Tá’n téarma suas, Bí suairc, a ríon.

Don’t be gloomy, Without reason, Your sentence is over, Be happy, oh Queen

EITHNE

Fágaíg’ go fóill mé, a chomhlucht cháidh, Ligíg’ dom smaoineamh go díl ar mo ghrá,

Leave me alone now, my venerable companions. Leave me to think about my sweet love.

Nach dtig im’ threo, do leigheas mo bhróin

That doesn’t approach me, To cure my woes

Is gurb é a chló do thug mé tláth.

And in whose vision I have placed my hope.

Imíonn na mná.

The women depart.

Crua an cás Nach bhfuil ar fáil, An t-óglách gan béim Do chonaic mé thrém’ néalaibh,

How cruel it is That as yet has not come The peerless warrior I saw my through my trance,

Is trua an scéal nach dtig sé dom’ fhéachaint, Is mé fá gheasaibh draíochta

How sad it is, that he cannot see me And that I remain under this magic spell

Nach dtig le neach a scaoileadh, Do cheangail orm m’athair dúr;

From which no mortal can free me, And that my father cast upon me;

Is gurb iomaí úr-óglách Do fuair gan trua a bhás Ag iarraidh mé do shaoradh.

And by which many brave warriors Have met their merciless deaths Trying to release me.

MAIDENS (taobh amuigh)

MAIDENS

An oíche dhubh nuair mhúchas Réalta cinn na spéire, Thar chríochaibh thoir, go luath, Tig gaethe grinne gréine.

The dark night which covers The bright stars of the sky, From the eastern mountains will come, soon, Bursting rays of sunshine.

EITHNE

Ní thig libh, a chuallacht Mo mhisneach do mhúscailt; Níl fóir dom a choíche. Ó táim gan dóchas.

You cannot, dear companions Awaken my courage; I shall never be saved, I am without hope

Eithne Libretto

Fágaíg’ mar shógh agam Mo bhrón ró-aoibhinn.

Leave to me as comfort My bittersweet sadness.

MAIDENS

Cuir dhíot an brón, A stóir an chroí, Tiocfaidh an leon ‘Do threo go díl.

Cast off your grief Sweet darling, The lion will come To you without fail.

EITHNE

Á! Dá mb’fhéidir a mhealladh Ó thalamh na ndaoine!

Ah! If only I could lure him from the mortal world!

Glaoim ar mo ghrá, Pé áit a bhfuil a chónaí, Is áilim mo stór geal Do theacht lem’ chroí,

I call to my love Wherever he dwells, I desire my darling To come to my heart,

Lem’ shaoradh go bráth Ón gcás is ón mbrón goirt Gach lá bhíos dom’ bhreo, Gan faoiseamh dom’ chloí.

To free me forever From these chains and this sadness Every day I was heart-sick Without relief

Ní féidir, a stóir, Nach eol duit mo ghéar-chrá Mo bhrónsa nach léir duit Cé fada uaim ‘bhír.

It’s not possible, my darling, That you don’t know of my deep pining, That you can’t see my sorrow Thought you are far from me.

An féidir go deo Nach seolfaidh na Déithe mo mhór-ghrá dom’ shaoradh Ón gcás so a mbím?

Could it ever be That the Gods send My true love to free me From my bonds?

Suíonn sí agus folaíonn a haghaidh; tig Ceart isteach.

She sits and covers her face; Ceart enters.

CEART

Deir mo chroí ar lúth-chrith Go bhfuil sí ar fáil dom, Gléas an draoi mhór-chumhachtaigh seo Féachfad ar an láthair.

My racing heart tells me That my love may be mine, I will use this powerful magic To find out at once.

(Ag tógáil an fháinne)

(Taking the ring)

Léirigh do bhrí, a sheoid le h-éifeacht, Cuir le mo thaoibh Stór mo chléibhe.

Show your power, magic charm, Bring to my side My true love.

EITHNE

Trém’ néal arís Chonac an t-óglách B’é a ghlór go fíor.

Through my trance I saw the warrior It truly was his voice.

Más tú an laoch gan smál Do fuair trém’ néal mo ghrá, Ó! Tar is saor mé, Scaoil mé ón ngéibheann Ná scar óm’ chléibh arís go deo.

If you are the faultless warrior Who captured my love through my trance, Come and free me, Release me from my bonds Don’t ever leave my side.

CEART

Más tú an stóir-bhean áigh Lenar buadh mo mhóir-ghean, tráth, Gearr uait do shaoradh ‘nois ód’ bhrón. Ó! tar a stóir mo chroí!

If you are the darling woman Who captured my great desire. Your freedom from pain is at hand. Oh come my heart’s delight.

EITHNE

Ó! tar a stóir mo chroí!

Oh come my heart’s delight.

EITHNE

Ó! tar a stóir mo chroí lem shaoradh

Oh come my heart’s delight to free me.

CEART

Gearr uait do shaoradh ‘nois ód’ bhrón

Your freedom from pain is now at hand.

EITHNE

Más tú an laoch gan smál Do fuair trém’ néal mo ghrá, Ó! Tar agus saor mé, Scaoil mé óm’ ghéibheann Ná scar óm’ chléibh arís go deo.

If you are the faultless warrior Who captured my love through my trance, Come and free me, Release me from my bonds Don’t ever leave my side.

CEART

Má’s tú an stóir-bhean áigh Lenar buadh mo mhóir-ghean, tráth, Gearr uait do shaoradh ‘nois ód’ bhrón.

If you are the darling woman Who captured my great desire. Your freedom from pain is at hand.

EITHNE

Ó! fan go deo lem’ thaoibh Ní scarfad go h-éag óm’ mhaoineach cáidh. Mochean mo leon groí, Ní scarfam le chéile arís, Ní scarfam arís go bráth!

Oh! Stay forever by my side I won’t part ‘til death from my treasured one Happy my strong lion, We won’t part from each other again, We will never ever part!

Le fada fá bhrón do bhíos Ag fanacht le stór mo chroí Feasta ní baol dom brón.

I was sorrowful for a very long time Waiting for my beloved Sorrow will never threaten me again.

CEART

Le mór-sheal fá bhrón do bhíos Tóraíocht mo stóir ghil chroí, Feasta leat béad go sóghach.

I was sorrowful for a long time Searching for my sweet beloved, Now with you I will be forever happy.

EITHNE

Le fada fá bhrón do bhíos Ag fanacht le stór mo chroí Feasta ní baol dom brón.

I was sorrowful for a very long time Waiting for my beloved Sorrow will never threaten me again.

Tig Rí Thír na nÓg isteach.

The King of Tír na nÓg enters.

RÍ THÍR NA nÓG

THE KING OF TÍR NA nÓG

Ó! Céard so do chím? Nó cén duine le dásacht Do tháinig isteach im’ ríocht, Gan cuireadh gan fáilte?

What is this I see? Or what bold person Has come into my kingdom, Without invitation, without welcome?

CEART

Duine do chír, Gan baol gan scáth romhat, Tháinig an tslí led’ dhraíocht do shárú, Is do dhea-iníon Do shaoradh ón tláthas.

A mortal you see, without fear and no danger to you, Who came this was to undo your spell, And to release your daughter From her bonds.

RÍ THÍR NA nÓG

THE KING OF TÍR NA nÓG

Is iomaí mac rí Go dian mhaith dána Lem’ neart do chloí Le cian do tháinig.

Many a King’s son Worthy and brave Full of courage Over time has come here.

(Ag gáire)

(Laughing)

Ar an bhfaiche amuigh Chifir a gcnámha!

On the lawn outside Observe their bones!

CEART

A Chlaidhimh ghil na mbua, feicim do bhrí go luath!

Magic sword of the victories, I put my trust in you!

RÍ THÍR NA nÓG

THE KING OF TÍR NA nÓG

A laoich ar mian go luath! A laoich, cosain do chliabh go luath!

Warrior defend yourself! Defend your breast!

Troideann siad. Bristear claíomh an Rí. Cluintear Éan an Cheoil Bhinn.

They fight. The King’s sword is smashed. The Bird of Sweet Music is heard.

Géillim do chumhacht An óglaoich dhána is mó Dá dtáinig fós ‘mo chomhair

I yield to the power Of the bravest warrior I’ve ever encountered!

Eithne Libretto

EITHNE

Éistíg’, éistíg’ an ceol!

Listen, listen to the music!

CEART

An ceol do chuir ar siúl mé! ‘Sé an ceol!

The music that brought me here! That is the music!

RÍ THÍR NA nÓG

THE KING OF TÍR NA nÓG

Mo bhean! Is é a glór! Is eol dom guth mo stuaire.

My wife! It’s her voice! I know well the voice of my beloved.

Tig Nuala isteach.

Nuala enters.

‘Sí mo ghrá. Mo mhíle stór arís ar fáil,

She is my love. My dearest love is once again with me.

Mo chroí mar ghual do bhí im’ lár Do bhíog go beo ar theacht dom’ ghrá.

My heart which was like stone Brought to life as love returned

EITHNE

‘Sí séimh-gheal-ghnaoi mo mháthar Go sámh arís do-chím!

It’s my darling sweet beautiful mother I see again, happy!

NUALA

Gan léan, gan díth, gan tláthas Ár bpáirt anois a choíche!

Without suffering, loss, or pain We are reunited!

CEART

Do chéile aoibhinn álainn Ar fáil do chír, a Rí!

Your lovely beautiful wife Is with you once again, King!

RÍ THÍR NA nÓG

THE KING OF TÍR NA nÓG

Mo chéad shearc ‘bhí ar fán uaim Atá ar ais lem’ chroí!

My first love is with me again, Back in my heart!

Goirim an laoch do bhris mo chumhacht, Is thug mo stuaire dom arís.

I thank the warrior who broke my power Who brought my beloved back to me.

Do thabharfainn duit anois gan dua, Pé saibhir-dhuais is mian led’ chroí.

I would give you now without hesitation, Whatever your heart desires.

EITHNE

Tabhair dó, a rí, anois gan dua, Mo ghrása i nduais a fhíor-mhaith-ghníomh’.

King, give to him straight away My love as a prize for his great bravery.

NUALA

Tabhair dó, a rí, anois gan dua, Ár ‘níon uasal chaoin mar mhnaoi.

King, give to him straight away Our sweet noble daughter as wife.

CEART

Tabhair dom, a rí, anois gan dua, An iníon uasal so i ndíol.

King, give me straight away The noble daughter as a reward.

RÍ THÍR NA nÓG

THE KING OF TÍR NA nÓG

Ó ní leat go fóill an duais seo, A dhea-laoich uasail úr-mhaith;

The prize is not yours yet, Dear noble hero,

Ní mór duit do chéile Do bhuachaint le tréine I measc na ndaoine, Ar nós na laochra, Agus lucht an éada Do chloí le h-éifeacht.

You must win your spouse With a valiant deed Amongst the people, Like the heros, And decisvely defeat The jealous ones.

EITHNE

Tabhair dó, a rí, anois gan dua, Mo ghrása i nduais a fhíor-mhaith-ghníomh’.

King, give to him straight away My love as a prize for his great bravery.

NUALA

Tabhair dó, a rí, anois gan dua, Ár ‘níon uasal chaoin mar mhnaoi.

King, give to him straight away Our sweet noble daughter as wife.

CEART

Tabhair dom, a rí, anois gan dua, An iníon uasal so i ndíol.

King, give me straight away The daughter as a noble wife

EITHNE

Rachaidh mé arís ar thalamh na ndaoine Fanfad go díl leat go mbeirir bua.

I will go back to the mortal realm And wait patiently for your victory

CEART

Seo mé arís ar an tóir ró-aoibhinn Fansa go díl liom is béarad bua.

Once again I go on a hopeful pursuit Wait for me patiently and I will be victorious.

EITHNE / NUALA / RÍ THÍR NA nÓG

EITHNE / NUALA / THE KING OF TÍR NA NÓG

Ó!

Oh!

Imíonn Eithne, Ceart ina diaidh. An Rí agus Nuala ag breathnú orthu.

Eithne departs, Ceart follows. The King and Nuala watch them.

Act II Scene iii AN FATHACH

THE GIANT

Ina sheasamh i mbéal na huamha

Standing in the mouth of the cave

Anois, tá críoch lem’ ghnósa, Ó tharla an Rí go sóghach, Is a chéile chaoin ar fáil!

Now my task is completed The King of Tír na nÓg is happy Together with his wife once again!

Is gearr go raibh go séanmhar An mhaighdean mhaiseach mhaorga Maraon le laoch geal án.

It won’t be long until the majestic royal maiden Who has long been in sorrow Will be united with her bright noble hero.

Imíonn. Tig Art agus Neart ag triall ar bhéal na huamha. Osclaítear an doras, agus tig Eithne amach ag amhrán. Téann an bheirt ar gcúl.

He leaves. Art and Neart enter, approaching the mouth of the cave. The door is opened, and Eithne emerges, singing. Art and Neart retreat.

EITHNE

Áilim ar na Déithibh An séan do chur arís ‘mo dháil; Is tnáite tuirseach tréith mé In éagmuis mo mhíle grá.

I implore the Gods To bring my hero back to me; I am tired, exhausted, weak Without my true love.

ART

Féach an spéirbhean Do chonac fadó, An bhé dar ghéilleas mo chroí go h-óg, Is liom go h-éag í!

Look at the maiden We saw long ago, She made my heart feel young, She is mine ‘til I die!

NEART

Ní leat go fóill! (Ag tarraing a chlaíomh) Taispeáin do bhrí!

She’s not yours yet! (Pulling his sword) Prove yourself!

ART

Fág an tslí!

Get out of the way!

NEART

Chífimid gan mhoill Cé againn is mó réim!

We will soon see Which of us will win!

ART

Ná gríosaigh mo laochas!

Don’t provoke my valour!

Tosnaíonn siad ag troid go haireach, agus téann siad amach in achrann a chéile.

They start to fight, timidly, and depart in dispute.

EITHNE

Mo léan! Tuilleadh fós den troid!

Alas! Even more fighting!

Tig Neart isteach.

Neart enters.

NEART

A ríon gheal is méin liom… Uch!

Bright queen who I adore... Argh!

Tig Ceart isteach ar an taobh eile. Ritheann Neart leis.

Ceart enters from the other side. Neart escapes.

Eithne Libretto

CEART

Ar lucht an éada féach an ruagairt, Seo ár bhfuascailt ónár bpéin!

Look at the jealous cowards, Fleeing fast from us!

Anois le chéile béam gan buaireamh, Tar a stuaire le mo chléibh!

Now let us be together without worry, Come my beauty to my arms!

An laochra, lucht ceoil, iníona etc. isteach.

The warriors, musicians, daughters etc. enter.

CÓR IOMLÁN

FULL CHORUS

Fáilte roimhe, flaith na féile ‘Teacht gan léan arís ‘nár dtreo; Fáilte roimh a cháidh-mhnaoi chéile, Bláth na scéimh’ ár ríon gheal óg!

Welcome to the celebrated prince Coming unscathed again towards us; Welcome to his sweet beautiful wife, The finest flower – our bright young queen!

CEART

Móra dhaoibh a mhuintir mhéineach, Croíthe féile ‘fáiltiú romhainn. Gan brón arís, a choíche, béad lem’ chéile óig; Sámh anois, a choíche, béadsa le mo chéile cháidh, dhil óig!

Greetings to you, my loyal people Welcoming us with joyful hearts. Without sorrow again, I’ll be with my young spouse, Content now, forever, I’ll be with my beloved young spouse!

CÓR IOMLÁN

FULL CHORUS

Fáilte roimhe, flaith na féile Fáilte roimh a cháidh-ríon óig!

Welcome to the celebrated prince Welcome to his sweet young queen!

Tig teachtaire isteach.

A herald enters.

TEACHTAIRE

HERALD

Éistíg’, a dhaoine, le scéal mór-bhrónach Gur éag ár rí ceart, mo léan! An ló so!

Listen, people, to a very sad story Our rightful King has died, alas! This very day!

CÓR IOMLÁN

FULL CHORUS

Ochón! Bocht an scéal é, Ár rí na féile ‘Na luí go tréith lag, Gan brí, gan éifeacht, Ochón!

Alas! It’s terrible news. Our dear king Lying weak and feeble, Without power, without life Alas!

FEARGUS

Ná caoiníg’ dalta na nDéithe, ‘Tá i ríocht na beatha fá réim chirt,

Do not weep the child of the Gods. Who has gone to the Kingdom of the afterlife,

Ach seinníg’ Ceart na féile, ‘Na rí orainn feasta in Éirinn!

But hail now the mighty Ceart, Who is now our King in Ireland!

Tarraingítear claimhte.

Swords are drawn.

CÓR IOMLÁN

FULL CHORUS

Ceart a ainm, Ceart a mheoin, Sár-chroí gan éislinn

Righteous his name, righteous his way, Big hearted, without blemish

Seinníg’ go hard ciall is cáill Ard-Rí na hÉireann.

Praise out loud the wisdom and fame, of the High King of Ireland.

Mar ‘sé an leon is airde cáil, Dá maireann beo ar laochra Fáil,

For he is the lion of greatest fame, That lives among the warriors of destiny,

An chraobh mhaith chóir is milse bárr Ar shár-chrann na féile,

The greatest and tallest branch Of our illustrious tree.

Ceart Ard-Rí na hÉireann!

Ceart - High King of Ireland!

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