Paula Murrihy Mezzo Masterpieces Programme Book

MEZZO MASTERPIECES #3
PAULA
MURRIHY
KILKENNY CASTLE

IRISH NATIONAL OPERA
PRINCIPAL FUNDER
CORPORATE
PARTNER
MEZZO MASTERPIECES #3
PAULA
MURRIHY
AN IRISH NATIONAL OPERA PRODUCTION
PAULA MURRIHY MEZZO-SOPRANO
SEÁN BOYLAN BARITONE
IRISH NATIONAL OPERA ORCHESTRA
PETER WHELAN CONDUCTOR
LIVE STREAMED FROM KILKENNY CASTLE
KILKENNY, CO. KILKENNY
ACKNOWLEDGEMENTS
Rosemary Collier, Mary Heffernan, Anne Teehan and the whole
team at the OPW.
THURSDAY 10 DECEMBER 2020
available until WEDNESDAY 23 DECEMBER
www.irishnationalopera.ie
dice.fm account required to view
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Paula Murrihy
Seán Boylan
Mezzo-soprano
Baritone
PRODUCTION TEAM
Lighting Designer
Kevin Smith
Audio Recording Engineer
Simon Cullen
Streaming Technician
Martin Cavanagh
Audio Producer
Benedict Schlepper-
Connolly
Fixed Rig Cameras
Kieran Quigley
Broadcast Director
Noel Kavanagh
IRISH NATIONAL OPERA ORCHESTRA
First Violins
Sarah Sew
Lidia Jewloszewicz-Clarke
David O’Doherty
Rachel Du
Second Violins
Aoife Dowdall
Christine Kenny
Justyna Dabek
Double Bass
Maeve Sheil
Flutes
Ríona Ó Duinnín
Susan Doyle
Oboe
Daniel Bates
Jenny Magee
Horns
Liam Duffy
Hannah Miller
Trumpets
Niall O’Sullivan
Eoghan Cooke
Timpani
Maeve O’Hara
ADDITIONAL THANKS
Graphic Design
Alphabet Soup
Video Footage
Fáilte Ireland
Violas
Adele Johnson
Nathan Sherman
Clarinets
Conor Sheil
Suzanne Brennan
Cellos
Yseult Cooper-Stockdale
Paula Hughes
Bassoons
Hilary Sheil
Clíona Warren
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PROGRAMME
WOLFGANG AMADEUS MOZART 1756-1791
LA CLEMENZA DI TITO 1791
Overture
Parto, parto, ma tu ben mio
COSÌ FAN TUTTE 1789-90
Smanie implacabili
È amore un ladroncello
LE NOZZE DI FIGARO 1785-86
Hai già vinta la causa
Voi che sapete
IDOMENEO 1780-81
Il padre adorato
Marcia
WOLFGANG AMADEUS MOZART 1756-1791
LA CLEMENZA DI TITO 1791
OVERTURE
An opera with political plotting to rival House of Cards or, in musical terms, “a backward
glance at opera seria and a work of neo-classical nobility ushering in the new century”
(Viking Opera Guide). Scheming never sounded so sweet.
PARTO, PARTO, MA TU BEN MIO ACT I
This aria, with its celebrated clarinet obbligato, was written only weeks after the
composer’s Clarinet Concerto. It’s a dramatic delineation of love and vengeance in ancient
Rome.
SESTO
Parto, parto, ma tu ben mio,
meco ritorna in pace;
sarò qual più ti piace;
quel che vorrai farò.
Guardami, e tutto oblio,
e a vendicarti io volo;
a questo sguardo solo
da me si penserà.
Ah qual poter, oh Dei!
donaste alla beltà.
SEXTUS
I go, but, my dearest,
make peace again with me.
I will be what you would most
have me be, do whatever you wish.
Look at me, and I will forget all
and fly to avenge you;
I will think only
of that glance at me.
Ah, ye gods, what power
you have given beauty!
DON GIOVANNI 1787
Ah, chi mi dice mai
Fin ch’han dal vino
LA CLEMENZA DI TITO 1791
Deh, per questo istante solo
COSÌ FAN TUTTE 1789-90
SMANIE IMPLACABILI ACT I
Così fan tutte (All Women are Like This), subtitled La scuola degli amanti (The School for
Lovers), is an imbalanced tale about the faithfulness of women – the unfaithfulness of men
seems to be taken for granted. In this Act I aria Dorabella is devastated, to the point of
melodrama, that her fiancé has gone off to war.
DORABELLA
Smanie implacabili
che m’agitate,
entro quest’anima
più non cessate
finchè l’angoscia
mi fa morir.
DORABELLA
Implacable pangs
which torment me,
do not subside
within my being
until my anguish
brings me death.
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Esempio misero
d’amor funesto
darò all’Eumenidi,
se viva resto,
col suono orribile
de’ miei sospir.
If I remain alive
I will furnish the Furies
with a wretched example
of tragic love
with the dreadful sound
of my sighs.
LE NOZZE DI FIGARO 1785-86
HAI GIÀ VINTA LA CAUSA ACT III
Count Almaviva is a classic villian. As Susanna, his wife’s maid, and others run rings round
around him during the opera, this aria provides one brief moment where he thinks he’s got
the upper hand. The feeling doesn’t last.
È AMORE UN LADRONCELLO ACT II
Dorabella has somewhat changed her tune since the previous aria. Having fallen for a
mysterious Albanian man, she now proceeds to encourage Fiordiligi, her more levelheaded
sister, in the same direction.
DORABELLA
È amore un ladroncello,
un serpentello è amor;
ei toglie e dà la pace,
come gli piace, ai cor.
Per gli occhi al seno appena
un varco aprir si fa,
che l’anima incatena
e toglie libertà.
Porta dolcezza e gusto
se tu lo lasci far,
ma t’empie di disgusto
se tenti di pugnar.
DORABELLA
Love is a little thief,
a little serpent Is he.
according to his whim
the heart finds peace, or no.
Scarcely does he open a path
between your eyes and your bosom
than he chains your soul
and takes away your liberty.
He’ll bring sweetness and content,
if you give him his way,
but will make your lot heavy
if you try to deny him.
IL CONTE
Hai già vinta la causa! Cosa sento!
In qual laccio io cadea? Perfidi! Io voglio
di tal modo punirvi! A piacer mio
la sentenza sarà. Ma s’ei pagasse
la vecchia pretendente?
Pagarla! In qual maniera? E poi v’è Antonio
che a un incognito Figaro ricusa
di dare una nipote in matrimonio.
Coltivando l’orgoglio
di questo mentecatto...
Tutto giova a un raggiro. Il colpo è fatto.
Vedrò mentr’io sospiro,
felice un servo mio!
E un ben ch’invan desio,
ei posseder dovrà?
Vedrò per man d’amore
unita a un vile oggetto
chi in me destò un affetto
che per me poi non ha?
THE COUNT
We’ve won our case! What do I hear!
I’ve fallen into a trap! The traitors!
I’ll punish them so! The sentence
Will be at my pleasure ... But supposing
He has paid off the claims of the old woman?
Paid her? How? And then there’s Antonio
who’ll refuse to give his niece in marriage
to a Figaro, of whom nothing is known.
If I play on the pride
Of that half-wit ...
Everything favours my plan. The die is cast.
Must I see a servant of mine made happy
while I am left to sigh?
And him possess a treasure
which I desire in vain?
Must I see her,
who has roused in me a passion
she does not feel for me,
united by the hand of love to a base stave?
Se nel tuo petto ei siede,
s’egli ti becca qui,
fa’ tutto quel ch’ei chiede,
che anch’io farò così
If he visits your breast
and plucks at you there,
do all that he asks,
as I will do too.
Ah no, lasciarti in pace
non vo’ questo contento!
Tu non nascesti, audace,
per dare a me tormento,
e forse ancor per ridere
di mia infelicità.
Già la speranza sola
delle vendette mie
quest’anima consola
e giubilar mi fa.
Ah no, I will not give you
the satisfaction of this contentment!
You were not born, bold fellow,
to cause me torment
and indeed to laugh
at my discomfiture.
Now only the hope
of taking vengeance
eases my mind
and makes me rejoice.
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VOI CHE SAPETE ACT I
An aria about puberty although nowhere near as terrifying as puberty itself. It’s sung by
Cherubino, a young boy (a trousers role taken by a mezzo-soprano) who’s starting to
discover love for the first time.
CHERUBINO
Voi che sapete
che cosa è amor,
donne, vedete
s’io l’ho nel cor.
Quello ch’io provo
vi ridirò,
è per me nuovo,
capir nol so.
Sento un affetto
pien di desir,
ch’ora è diletto,
ch’ora è martir.
Gelo e poi sento
l’alma avvampar,
e in un momento
torno a gelar.
Ricerco un bene
fuori di me,
non so chi’l tiene,
non so cos’è.
Sospiro e gemo
senza voler,
palpito e tremo
senza saper.
Non trovo pace
notte né dì,
ma pur mi piace
languir così.
Voi che sapete
che cosa è amor,
donne, vedete
s’io l’ho nel cor.
CHERUBINO
You ladies
who know what love is,
see if it is
what I have in my heart.
All that I feel
I will explain.
since it is new to me,
I don’t understand it.
I have a feeling
full of desire,
which now is pleasure,
now is torment.
I freeze, then I feel
my spirit all ablaze,
and the next moment
turn again to ice.
I seek for a treasure
outside of myself,
I know not who holds it
nor what it is.
I sigh and I groan
without wishing to,
I flutter and tremble
without knowing why.
I find no peace
by night or day,
but yet to languish thus
Is sheer delight.
You ladies
who know what love is,
see if it is
what I have in my heart.
IDOMENEO 1780-81
IL PADRE ADORATO ACT I
A somewhat mystified Idamante sings this aria when his long lost father Idomeneo, the
King of Crete, turns up, only to push him away. There’s a perfectly reasonable explanation
though. While lost as sea Idomeneo made a promise to the gods to sacrifice the first
person he saw when he returned home. Pretty awkward when it turns out to be his son.
IDAMANTE
Il padre adorato
ritrovo, e lo perdo.
Mi fugge sdegnato
fremendo d’orror.
Morire credei
di gioia e d’amore;
or, barbari Dei!
m’uccide il dolor.
IDAMANTE
My beloved father
I find again, only to lose him.
He scorns and flies me,
trembling with horror.
I thought I would die
of joy and love,
but, cruel gods,
grief is killing me.
MARCIA (MARCH) ACT I
This Act I March immediately follows the aria, as the homecoming Cretan warriors
disembark after their sea journey.
DON GIOVANNI 1787
AH, CHI ME DICE MAI ACT I
There’s no getting past the fact that Don Giovanni is an utter reprobate. Donna Elvira’s
resentment for her former lover is on full display in this aria as she vows to seek vengeance.
DONNA ELVIRA
Ah, chi mi dice mai
quel barbaro dov’è,
che per mio scorno amai,
che mi mancò di fé?
Ah, se ritrovo l’empio,
e a me non torna ancor,
vo’ farne orrendo scempio,
gli vo’ cavare il cor.
DONNA ELVIRA
Where shall I find a token,
to guide my steps to thee?
My heart is nearly broken,
the world is dark to me.
Ah! If he stood before me,
fiercely his vows I’d spurn,
the love that once he bore me,
can never more return!
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FIN CH’HAN DAL VINO ACT I
In this aria Don Giovanni is in his element. Delighted by the prospect of all the opportunities
that lie in wait at the forthcoming party, the Don is full of a giddiness that flies right out of him.
DON GIOVANNI
Fin ch’han dal vino
calda la testa
una gran festa
fa’ preparar.
Se trovi in piazza
qualche ragazza,
teco ancor quella
cerca menar.
Senza alcun ordine
la danza sia;
chi il minuetto,
chi la follia,
chi l’alemanna
farai ballar.
DON GIOVANNI
Go prepare
a great feast
and let the wine
go to everyone’s head.
If you find
some girls
in the square
bring them along too.
Let there be dances
without any order;
some will dance
the Minuet,
some the Folía,
some the Allemande.
LA CLEMENZA DI TITO 1791
DEH PER QUESTO ISTANTE SOLO ACT II
Sesto faces execution following a failed assassination attempt. In this is oddly peaceful aria
he declares that he is deserving of such a fate.
SESTO
Deh, per questo istante solo
ti ricorda il primo amor.
Che morir mi fa di duolo
il tuo sdegno, il tuo rigor.
Di pietade indegno, è vero,
sol spirar io deggio orror.
Pur saresti men severo,
se vedesti questo cor.
Disperato vado a morte;
ma il morir non mi spaventa.
Il pensiero mi tormenta
che fui teco un traditor!
SEXTUS
Ah, for this single moment
remember our former love.
For your anger, your severity,
make me die of grief.
Unworthy of pity, it is true,
I ought only to inspire horror.
Yet you would be less harsh
if you could read my heart.
In despair I go to death,
but dying does not haunt me.
The thought that I was
a traitor to you tortures me!
Ed io frattanto
dall’altro canto
con questa e quella
vo’ amoreggiar.
Ah! la mia lista
doman mattina
d’una decina
devi aumentar!
Meanwhile
I will seduce
this one
or that one.
Tomorrow morning
you will have to add
ten or so
to my list!
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BIOGRAPHIES
PAULA MURRIHY
MEZZO-SOPRANO
SEÁN BOYLAN
BARITONE
PETER WHELAN
CONDUCTOR
IRISH NATIONAL OPERA
ORCHESTRA
Irish mezzo-soprano Paula Murrihy
received her BMus from the DIT
Conservatory in Dublin before
continuing her studies in North
America at the New England
Conservatory. She was a member
of Oper Frankfurt’s acclaimed ensemble, participated
in the Britten-Pears Young Artist Programme, San
Francisco Opera’s Merola Program and as an
apprentice at Santa Fe Opera. Recent highlights
include her debut at the Metropolitan Opera, as
Stéphano in Gounod’s Roméo et Juliette, a return
to Santa Fe Opera as Ruggiero in Handel’s Alcina
and Orlofsky in Johann Strauss’s Die Fledermaus,
and the Salzburg Festival as Idamante in Peter
Sellars’s production of Mozart’s Idomeneo conducted
by Teodor Currentzis. She recently appeared with
the Dutch National Opera as Octavian in Richard
Strauss’s Der Rosenkavalier and Sesto in Mozart’s La
clemenza di Tito, at Opernhaus Zürich as Concepcion
in Ravel’s L’heure Espagnole and Cherubino in
Mozart’s Le nozze di Figaro, at the Teatro Real in
Madrid as Countess of Essex in Britten’s Gloriana.
On the concert platform she works regularly with
MusicAeterna and Teodor Currentzis. She made
her debut at the BBC Proms in 2017 in Haydn’s
Paukenmesse, and has appeared with the Orchestre
de Chambre de Paris in Handel’s Messiah, the
Spanish National Orchestra in Mendelssohn’s Elijah,
and the Scottish Chamber Orchestra in Bach’s
Christmas Oratorio. She recently appeared in the
Dutch premiere of Kaija Saariaho’s Innocence, and
in 2021 will perform Bach’s St Matthew Passion with
the Orchestra of the Age of Enlightenment, Mozart’s
Requiem with the Berlin Philharmonic Orchestra
under Kirill Petrenko and Strauss’s Capriccio at Zurich
Opera House.
Irish baritone Seán Boylan is a
recent graduate of the Opera
Course at the Guildhall School of
Music and Drama where he studied
with Robert Dean. As a member of
the Alvarez Young Artist Programme
at Garsington Opera in 2019 he covered the title role
in Mozart’s Don Giovanni, for which he was awarded
the Helen Clark Award by Garsington Opera. An
accomplished recitalist, he has performed at Song in
the City, LSO St Luke’s, Hugh Lane Gallery, Dublin,
Clifden Arts Festival, St Columba’s Church, Ennis,
and Hillsborough Castle for HRH The Prince of Wales.
Concert engagements include performances with
the Ulster Orchestra, Galway Cathedral, the National
Concert Hall, Dublin, the Drogheda International
Classical Music Series, the Abbey Theatre and the
Dublin Fringe Festival. He has also performed at
Wigmore Hall, London, and Lincoln Center, New York.
He has participated in masterclasses with Dame
Ann Murray (in the Irish Culture in Britain series
at Wigmore Hall), Elly Ameling, Robert Holl, Roger
Vignoles and Julius Drake (all at the Franz-Schubertlnstitut
in Baden bei Wien) and with Graham Johnson
as part of the Song Guild at Guildhall School of Music
and Drama. He studied piano, organ and voice at
the Royal Irish Academy of Music, and received
many regional and national prizes before focusing his
studies on singing.
Irish conductor Peter Whelan
is among the most exciting and
versatile exponents of historical
performance of his generation,
having forged a remarkable career
as conductor, keyboardist and
virtuoso bassoonist. He is Artistic Director of the Irish
Baroque Orchestra and founding Artistic Director
of Ensemble Marsyas, and has been dubbed “as
exciting a live wire as Ireland has produced in the
world of period performance” (The Irish Times).
He is an Artistic Partner of Irish National Opera and
has conducted Mozart’s The Marriage of Figaro
with the Irish Chamber Orchestra and Gluck’s Orfeo
ed Euridice with the Irish Baroque Orchestra for
the company, as well as Handel’s Radamisto with
English Touring Opera. Other recent engagements
include concerts at the Concertgebouw (Brugge),
the Edinburgh International Festival and the
Wigmore Hall. Recent engagements have included
appearances with the English Concert, the Academy
of Ancient Music, Scottish Chamber Orchestra,
Netherlands Chamber Orchestra and Stavanger
Symphony Orchestra. He has led Ensemble Marsyas
to critical acclaim and established an impressive and
award-winning discography. His Barsanti album was
named Editor’s Choice in Gramophone and Recording
of the Year in MusicWeb International (2017), as well
as reaching second place in the Official UK Specialist
Classical Chart. In 2019-20 Ensemble Marsyas was
an ensemble is residence at the Wigmore Hall. Peter
is passionate about rediscovering Irish music from
the 18th century and his first recording with IBO,
Welcome Home, Mr Dubourg, celebrated music from
that period.
The Irish National Opera orchestra is made up
of leading freelance musicians based in Ireland.
Members of the orchestra have a broad range of
experience playing operatic, symphonic, chamber
and new music repertoire. The orchestra plays for
contemporary opera productions – Thomas Adès’s
Powder Her Face and Brian Irvine’s Least Like The
Other – as well as chamber reductions of larger
scores – Offenbach’s The Tales of Hoffmann and
Humperdinck’s Hansel and Gretel. The orchestra
appeared in its largest formation to date in INO’s 2019
production of Rossini’s Cinderella/La Cenerentola at the
Bord Gáis Energy Theatre in Dublin. The orchestra has
performed in 17 venues throughout Ireland.
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IRISH NATIONAL OPERA
Irish National Opera is Ireland’s newest and most enterprising
opera company.
It champions Irish creativity in its casting, its choice of creative
teams and in its commitment to the presentation of new operas.
The company has performed large-scale productions of works
from the great operatic canon by Mozart, Verdi, Puccini and
Rossini in the Gaiety and Bord Gáis Energy theatres in Dublin,
the National Opera House in Wexford and Cork Opera House.
It has also taken smaller productions of works by Thomas Adès,
Offenbach, Gluck and Vivaldi – the first ever production of a
Vivaldi opera in Ireland – on tour to all parts of the country.
INO was formed in January 2018 through the merger of two
award-winning companies, Opera Theatre Company and
Wide Open Opera. The two companies joined force in 2017
in response to an Arts Council initiative, and have delivered
Ireland its first ever truly national opera company. In its first
24 months of operation Irish National Opera produced 72
performances of 14 different operas in 24 Irish venues, and
its long-term target is to visit over 20 Irish venues annually.
INO is committed to taking Irish opera productions abroad.
Its FEDORA – Generali Prize winning production of Donnacha
Dennehy and Enda Walsh’s The Second Violinist, a coproduction
with Landmark Productions, has been seen in
Galway, Dublin, London and Amsterdam, and The Second
Violinist is slated to become the first Irish production to play
at the Park Avenue Armory in New York.
Paula Murrihy & Joshua Bloom
in Bartók’s Bluebeard’s Castle 2018.
Photo by Pat Redmond
The company’s production of Puccini’s Madama Butterfly
starring Celine Byrne is available on demand on the RTÉ
Player. The Second Violinist and Gluck’s Orfeo ed Euridice
were webstreamed on www.operavision.eu. And its street-art
opera, He did what? by Brian Irvine and John McIlduff, a
co-production with Dumbworld, has screened at Operadagen
Festival in Rotterdam, Edinburgh Fringe Festival, Dublin
Fringe Festival and at New York’s BAM New Wave Festival.
The ABL Aviation Opera Studio provides a platform for
emerging opera artists in several disciplines. Studio members
gave the world premiere of Evangelia Rigaki’s This Hostel
Life in the crypt of Dublin’s Christ Church Cathedral last
September, and they also presented the free, introductory
show, The Deadly World of Opera, in Dublin suburbs and city
centre as part of Dublin City Council’s MusicTown festival.
INO is a member of Opera Europa, Fedora and is an
Operavision partner.
irishnationalopera.ie
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OFFICE OF PUBLIC WORKS
OPW is responsible for Ireland’s most important heritage
sites, including iconic sites ranging from the Rock of Cashel
in Tipperary to Skellig Michael, off the coast of Kerry and
Castletown House in Kildare to Kilkenny Castle and many
more historic sites around the country.
The key role of OPW Heritage Services is to manage and
maintain the most important of Ireland’s historic buildings,
landscapes and collections. We take particular care of the
780 heritage sites in our charge and at the 70 sites with visitor
services, we work hard to present them to their best potential,
making sure that we give visitors from Ireland and abroad the
best experience we possible can.
OPW’s team of dedicated experts look afters buildings,
landscapes and collections for millions of visitors to enjoy
virtually and in person each year. While our aim is to conserve
the buildings and landscapes in our care for generations to
come, it is also to promote the evolution of these living spaces
through cultural events such as the Mezzo Masterpieces
concerts with Irish National Opera.
KILKENNY CASTLE
Built in the twelfth century, Kilkenny Castle was the principal
seat of the Butlers, earls, marquesses and dukes of Ormond
for almost 600 years. Under the powerful Butler family,
Kilkenny grew into a thriving and vibrant city. Its lively
atmosphere can still be felt today. The castle, set in extensive
parkland, was remodelled in Victorian times. It was formally
taken over by the Irish State in 1969 and since then has
Photo: Kilkenny Castle, (top).
Photo: Castletown House, (below).
undergone ambitious restoration works. It now welcomes
thousands of visitors a year. The central block includes a
library, drawing room, nursery and bedrooms decorated in
1830s splendour. The magnificent Picture Gallery is situated
in the east wing of Kilkenny Castle.This stunning space dates
from the 19th century and was built primarily to house the
Butler Family’s fine collection of paintings.
CASTLETOWN HOUSE
Castletown is set amongst beautiful 18th-century parklands
on the banks of the Liffey in Celbridge, Co. Kildare. The house
was built around 1722 for the speaker of the Irish House of
Commons, William Conolly, to designs by several renowned
architects. It was intended to reflect Conolly’s power and to
serve as a venue for political entertaining on a grand scale.
At the time Castletown was built, commentators expected it
to be “the epitome of the Kingdom, and all the rarities she
can afford”. The estate flourished under William Conolly’s
great-nephew Thomas and his wife, Lady Louisa, who devoted
much of her life to improving her home. Today, Castletown
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Dublin Castle, photo: Mark Reddy.
is home to a significant collection of paintings, furnishings
and objets d’art. Highlights include three 18th-century
Murano-glass chandeliers and the only fully intact eighteenthcentury
print room in the country. It is still the most splendid
Palladian-style country house in Ireland.
DUBLIN CASTLE
Just a short walk from Trinity College, on the way to
Christchurch Cathedral, Dublin Castle is well situated for
visiting on foot. The history of this city-centre site stretches
back to the Viking Age and the castle itself was built in the
thirteenth century. The building served as a military fortress,
a prison, a treasury and courts of law. For 700 years, from
1204 until independence, it was the seat of English (and then
British) rule in Ireland. Rebuilt as the castle we now know in
the 17th, 18th, 19th and 20th centuries, Dublin Castle is now
a government complex and an arena of state ceremony. The
state apartments, undercroft, chapel royal, heritage centre
and restaurant are open to visitors.
Paula Murrihy in rehearsal.
Photo by Pat Redmond
heritageireland.ie
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Mary Holohan
Nuala Johnson
Paul Kennan & Louise Wilson
Michael Lloyd
Petria McDonnell
Katherine Meenan
Jean Moorhead
John R Redmill
J & B Sheehy
Judy Woodworth
INO FRIENDS
Anonymous
Ann Barrett
Simon Carey
Liam Clifford
Sarah Daniel
Matthew Dillon
Jack Doherty
Dr Beatrice Doran
Anne Drumm
Matthew Harrison
Eadaoin Hassett
Mr Trevor Hubbard
Kieron Lawlor
Michael Lloyd
Bernadette Madden
Cróine Magan
Mark Mahoney
Miriam McNally & Pat Dolan
Viola O’Connor
Prof Desmond O’Neill
Líosa O’Sullivan & Mandy Fogarty
Marion Palmer
Lucy Pratt
Hilary Pyle
Joseph Musgrave
Philip Regan
Prof Sarah Rogers
Vivienne Sayers
Olivia Sheehy
Jim Smith
Vivian Tannam
Philio Tilling
TU Dublin Operatic Society
Breda Whelan
Niall Williams
Irish National Opera is Ireland’s leading producer of highquality
and accessible opera at home and on great operatic
stages abroad. We are passionate about opera and its unique
power to move and inspire. We showcase world-class singers
from Ireland and all over the world. We work with the cream
of Irish creative talent, from composers and directors to
designers and choreographers. We produce memorable and
innovative performances to a growing audience. And we offer
crucial professional development to nurture Ireland’s most
talented emerging singers.
Our aim is to give everyone in Ireland the opportunity to
experience the best of opera. In our three-year history, we have
presented over 100 performances and won industry praise
both nationally and internationally for our ground-breaking work.
Through our productions, concerts, masterclasses, workshops,
lectures, broadcasts and digital events, we have reached an
audience of over half-a-million worldwide.
We want to do more, and we need your help to do it.
Becoming an Irish National Opera supporter unlocks exclusive,
behind-the-scenes events, including backstage tours,
masterclasses with world-renowned singers, ABL Aviation
Opera Studio performances, artist receptions and much more.
To support Irish National Opera’s pioneering work, please get
in touch or visit our website irishnationalopera.ie
Contact: Aoife Daly, Development Manager
E: aoife@irishnationalopera.ie
Dominica Williams, Javier Ferrer & Sophia Preidel in INO, United Fall 7 Galway International
Arts Festival’s production of Gluck’s Orfeo ed Euridice, July 2018. Photo by Pat Redmond.
22
23 21

INO
TEAM
James Bingham
Studio & Outreach Producer
Sorcha Carroll
Marketing Manager
Aoife Daly
Development Manager
Diego Fasciati
Executive Director
Sarah Halpin
Digital Communications
Manager
Cate Kelliher
Business & Finance Manager
Patricia Malpas
Project Administrator
Claire Lowney
Development & Marketing
Assistant
Muireann Ní Dhubhghaill
Artistic Administrator
Gavin O’Sullivan
Head of Production
Fergus Sheil
Artistic Director
Paula Tierney
Company Stage Manager
Board of Directors
Gaby Smyth (Chair)
Jennifer Caldwell
Tara Erraught
Gerard Howlin
Gary Joyce
Stella Litchfield
Sara Moorhead
Joseph Murphy
Ann Nolan
Yvonne Shields
Michael Wall
69 Dame Street
Dublin 2 | Ireland
T: 01–679 4962
E: info@irishnationalopera.ie
irishnationalopera.ie
@irishnationalopera
@irishnatopera
@irishnationalopera
Company Reg No.: 601853
Registered Charity: 22403
(RCN) 20204547
20 COMPOSERS. 20 OPERAS.
STREAMED FOR FREE FROM THURSDAY 17 DECEMBER
MUIREANN AHERN
GERALD BARRY
ÉNA BRENNAN
IRENE BUCKLEY
LINDA BUCKLEY
MARINA CARR
DYLAN COBURN GRAY
ROBERT COLEMAN
DAVID COONAN
ALEX DOWLING
PETER FAHEY
STELLA FEEHILY
MICHAEL GALLEN
ANDREW HAMILTON
IONE
JENN KIRBY
ANNE LE MARQUAND HARTIGAN
CONOR LINEHAN
LOUIS LOVETT
CONOR MITCHELL
GRÁINNE MULVEY
DOIREANN NÍ GHRÍOFA
EMMA O’HALLORAN
MARK O’HALLORAN
HANNAH PEEL
KAREN POWER
EVANGELIA RIGAKI
BENEDICT SCHLEPPER-CONNOLLY
JESSICA TRAYNOR
JENNIFER WALSHE
go to irishnationalopera.ie
24

FOUNDERS CIRCLE
Anonymous
Desmond Barry & John Redmill
Valerie Beatty & Dennis Jennings
Mark & Nicola Beddy
Carina & Ali Ben Lmadani
Mary Brennan
Angie Brown
Breffni & Jean Byrne
Jennifer Caldwell
Seán Caldwell & Richard Caldwell
Caroline Classon, in memoriam
David Warren, Gorey
Audrey Conlon
Gerardine Connolly
Jackie Connolly
Gabrielle Croke
Sarah Daniel
Maureen de Forge
Doreen Delahunty & Michael Moriarty
Joseph Denny
Kate Donaghy
Marcus Dowling
Mareta & Conor Doyle
Noel Doyle & Brigid McManus
Michael Duggan
Catherine & William Earley
Jim & Moira Flavin
Ian & Jean Flitcroft
Anne Fogarty
Maire & Maurice Foley
Roy & Aisling Foster
Howard Gatiss
Genesis
Hugh & Mary Geoghegan
Diarmuid Hegarty
M Hely Hutchinson
Gemma Hussey
Kathy Hutton & David McGrath
Nuala Johnson
Susan Kiely
Timothy King & Mary Canning
J & N Kingston
Kate & Ross Kingston
Silvia & Jay Krehbiel
Karlin Lillington & Chris Horn
Stella Litchfield
Jane Loughman
Rev Bernárd Lynch & Billy Desmond
Lyndon MacCann SC
Phyllis Mac Namara
Tony & Joan Manning
R John McBratney
Ruth McCarthy, in memoriam Niall
& Barbara McCarthy
Petria McDonnell
Jim McKiernan
Tyree & Jim McLeod
Jean Moorhead
Sara Moorhead
Joe & Mary Murphy
Ann Nolan & Paul Burns
FX & Pat O’Brien
James & Sylvia O’Connor
John & Viola O’Connor
Joseph O’Dea
Dr J R O’Donnell
Deirdre O’Donovan & Daniel Collins
Diarmuid O’Dwyer
Patricia O’Hara
Annmaree O’Keefe & Chris Greene
Carmel & Denis O’Sullivan
Líosa O’Sullivan & Mandy Fogarty
Hilary Pratt
Sue Price
Landmark Productions
Riverdream Productions
Nik Quaife & Emerson Bruns
Margaret Quigley
Patricia Reilly
Dr Frances Ruane
Catherine Santoro
Dermot & Sue Scott
Yvonne Shields
Fergus Sheil Sr
Gaby Smyth
Matthew Patrick Smyth
Bruce Stanley
Sara Stewart
The Wagner Society of Ireland
Julian & Beryl Stracey
Michael Wall & Simon Nugent
Brian Walsh & Barry Doocey
Judy Woodworth
Paula Murrihy in in Bartók’s
Bluebeard’s Castle 2018.
Photo by Pat Redmond
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