21.03.2023 Aufrufe

Der Rosenkavalier programme book 2023

Irish National Opera Der Rosenkavalier

Irish National Opera
Der Rosenkavalier


Erfolgreiche ePaper selbst erstellen

Machen Sie aus Ihren PDF Publikationen ein blätterbares Flipbook mit unserer einzigartigen Google optimierten e-Paper Software.


der<br />








Special thanks to Rosemary Collier, Mary Heffernan and<br />

Dave Cummins at the Office of Public Works and Dublin Castle.<br />

Thank you to the Artane School of Music.

RICHARD STRAUSS 1864–1949<br />

DER<br />


1909–10<br />



Libretto by Hugo von Hofmannsthal.<br />

First performance, Königliches Opernhaus, Dresden, 26 January 1911.<br />

First Irish performance, Gaiety Theatre, Dublin, 1 December 1964.<br />


Running time 4 hours and 15 minutes including intervals of 20 minutes after Act I<br />

and 30 minutes after Act II.<br />

The performance on Saturday 11 March will be recorded for broadcast on RTÉ lyric fm.<br />

PERFORMANCES <strong>2023</strong><br />

#INO<strong>Rosenkavalier</strong><br />

Sunday 5 March Bord Gáis Energy Theatre Dublin<br />

Tuesday 7 March Bord Gáis Energy Theatre Dublin<br />

Thursday 9 March Bord Gáis Energy Theatre Dublin<br />

Saturday 11 March Bord Gáis Energy Theatre Dublin<br />



OF OPERA<br />

Opera has never remained static. It has always changed with the<br />

times. It has adapted to (and sometimes driven) vocal styles and<br />

orchestral developments, grappled with the implications of where<br />

its support and funding have come from, and often moved in<br />

utterly unexpected directions.<br />



One of the most striking shifts came in the career of Richard<br />

Strauss. His Elektra, which premiered in Dresden in January<br />

1909 (and which INO presented in an acclaimed, site-specific<br />

production for Kilkenny Arts Festival in 2021) is a modernist,<br />

angst-filled engagement with the world of Greek tragedy. <strong>Der</strong><br />

<strong>Rosenkavalier</strong>, which followed it almost two years later to the day,<br />

is a sumptuous, waltz-infused comedy, set in the 1740s, which is<br />

almost everything that Elektra is not – I see it as a<br />

kind of summing up of romanticism in music.<br />

The early years of the 20th century have a fin-de-siècle potency.<br />

They brought us gargantuan works like Mahler’s Symphony<br />

of a Thousand, Schoenberg’s Gurrelieder and Strauss’s <strong>Der</strong><br />

<strong>Rosenkavalier</strong>. All these works from the high altar of central<br />

European classical music feel to me like a massive party the night<br />

before the end of the world. The pleasures are endless and they<br />

take no heed of any storm clouds gathering. They are a world<br />

apart from the dramatic gear-shift brought about by the 1913<br />

premiere of Stravinsky’s Rite of Spring, and they seem blissfully<br />

unaware of a wider European political environment which was on<br />

a path towards World War I.<br />

I love <strong>Der</strong> <strong>Rosenkavalier</strong> for the extraordinary emotional journey<br />

it offers. It is a story told through exceptional roles – ideally<br />

exceptional voices, too – with lavish orchestration, and it<br />

absolutely demands a glorious production. I see it as an opera<br />

about growing older, accepting change, holding and releasing<br />


love. Above all it is about one of the great truths that we must all accept: nothing is forever,<br />

everything changes, beauty and happiness slip through our fingers. I find the scene in Act I<br />

where the Marschallin describes getting up in the middle of the night to stop all the clocks in<br />

her house as one of the most intensely affecting moments imaginable. Yet, though there is loss,<br />

there is also wide-eyed youth, renewal, optimism, freshness and new love. As there must be.<br />

The clocks must keep ticking and the world must continue to revolve.<br />

<strong>Der</strong> <strong>Rosenkavalier</strong> is a demanding and complex opera to perform. It has not been seen in Dublin<br />

since 1984, and that is surely in part because of the scale of what it demands. The cast list is long,<br />

the orchestra is large, and the vocal demands are extravagant. I would not have <strong>programme</strong>d<br />

the work without the dream team of Paula Murrihy, Celine Byrne and Claudia Boyle to sing the<br />

three leading roles for female voices. Each of the three singers has appeared several times with<br />

Irish National Opera, but having all three on stage together is a dream come true. I have to pinch<br />

myself to make sure I’m not dreaming. This dream team is perfectly complemented by German<br />

bass Andreas Bauer Kanabas making his INO and role debut as Baron Ochs.<br />

The genesis of tonight’s production dates back to May 2014, before Irish National Opera was<br />

even on the horizon. I was attending an Opera Europa conference in Venice, and it was there<br />

that, for the first time, I met Nicola Creed from Garsington Festival in the UK. Garsington has a<br />

distinguished history of staging Strauss, but had not yet done <strong>Der</strong> <strong>Rosenkavalier</strong>. I suggested that<br />

we should undertake this together, and every time we subsequently met we promised that we<br />

would definitely do it. It is a real joy to have been able to make good on this project and to have<br />

developed this production directed by Bruno Ravella and designed by Gary McCann, not just<br />

with our friends in Garsington, but also with new partners on the far side of the Atlantic, Santa Fe<br />

Opera in New Mexico. You’re in for a heart-warming feast for your eyes as well as your ears.<br />

Lastly I’d like to salute one of the much appreciated but less often remarked on backbones of<br />

our company, the selfless players of the Irish National Opera Orchestra. We are in the fortunate<br />

position of having been able to build up a formidable roster of Irish musicians to come with us<br />

on our great operatic journey. Your responses to their performances always tell us how much<br />

you enjoy their playing.<br />

I hope you enjoy the veritable feast for your eyes and ears that is tonight’s <strong>Der</strong> <strong>Rosenkavalier</strong>.<br />





One of the themes so beautifully evoked in <strong>Der</strong> <strong>Rosenkavalier</strong> is the<br />

passage of time and attendant effects of ageing. Irish National Opera is<br />

still quite young, so we don’t share the apprehensions of the Marschallin.<br />

At least, not yet. However, as we look back on our first five years of opera<br />

making, we are proud of what we have achieved in a relatively short<br />

period of time. The facts and figures are impressive. We have presented<br />

54 operas – in the flesh, online, indoors and outdoors – and have<br />

brought opera to 47 different locations nationwide. We have created<br />

wide-ranging education and outreach initiatives as well as professional<br />

development <strong>programme</strong>s. And our work has garnered national and<br />

international awards as well as critical approbation at home and abroad.<br />

But, most importantly, we have touched hearts, stimulated minds,<br />

and brought joy through treasurable productions that highlight the<br />

best of Irish talent, on and behind the stage, as well as in the pit.<br />

We have changed the landscape of opera in Ireland. Reporting on<br />

the <strong>2023</strong> Irish Times Irish Theatre Award nominations, Sara Keating<br />

noted awards judge Gerry Godley’s view that “the prominence of<br />

opera across the categories makes a resounding statement about the<br />

growing status of the art form in the country”. Godley also observed<br />

that “The kind of wider traction that opera has within the awards this<br />

year is reflective of what is happening in Ireland overall. The work that<br />

Irish National Opera has been doing to make opera accessible, the way<br />

that the Arts Council has chosen to fund it: the piety has been taken<br />

out of opera in Ireland and the result is vibrant and dynamic.”<br />

The compliment is not just to INO, but also to the other vibrant opera<br />

companies and the expanding cohort of opera professionals who are<br />

vital to growing the opera ecology of the country. Conservatoires have<br />

been playing a crucial role in the advancement of opera in Ireland,<br />

and we wish to congratulate the Royal Irish Academy of Music and<br />

Technological University Dublin on their new and newly-extended<br />

campuses. They, along with The Lir and IADT, will continue to provide<br />


the training ground for the next generation of opera professionals. It is our role to help ensure<br />

the viability of careers for anyone wishing to work in opera.<br />

January brought the New York debut of our co-commission and co-production with Beth Morrison<br />

Projects of Emma O’Halloran’s Trade. This world premiere was presented with its companion piece<br />

Mary Motorhead, also with music by Emma O’Halloran and libretto by Mark O’Halloran. “Directed<br />

by Tom Creed,” the New York Times wrote, “both operas offer virtuosic showcases for daring singing<br />

actors...O’Halloran shapes lucid, communicative vocal lines; the text always sings out”. INO regular,<br />

“the vivid, charismatic Naomi Louisa O’Connell,” starred in Mary Motorhead, and INO’s resident<br />

conductor Elaine Kelly was on the podium for the double bill. Both works will be presented at<br />

the Los Angeles Opera in April and are scheduled for a future tour in Ireland.<br />

Also in January, but on this side of the Atlantic, we returned to the Royal Opera House’s Linbury<br />

Theatre in London, where last year we garnered glowing praise for our production of Vivaldi’s Bajazet<br />

– the production was nominated for two Olivier Awards and won one. This time we presented<br />

something completely different: Least Like The Other, Searching For Rosemary Kennedy by Brian<br />

Irvine and Netia Jones, an original INO commission premiered at Galway International Arts Festival<br />

in 2019. We were overwhelmed by the positive response to this production. In a five-star review<br />

for The Observer, Fiona Maddocks observed “Least Like The Other demonstrates the versatility<br />

of Irish National Opera, who triumphed with Vivaldi’s Bajazet at the Linbury last year and whose<br />

online project 20 Shots of Opera remains a highlight of that dismal pandemic year 2020.”<br />

We were particularly pleased that this production gave soprano Amy Ní Fhearraigh, a member or our<br />

2018–19 Opera Studio, the opportunity to make her London debut. And what an impression she<br />

made! Writing for The Arts Desk, David Nice commented on “a breathtakingly disciplined Royal Opera<br />

debut”. Ní Fhearraigh, he wrote, “initially covered the role in Least Like The Other, and now owns it. How<br />

impressive, within weeks of <strong>2023</strong>, to see so totally finessed a performance from a young rising star.”<br />

We thank everyone who supported us during our exciting and exacting first five years, in particular the<br />

Arts Council, our principal funder, and Culture Ireland, who support our international activities. And we are<br />

indebted to everyone else who’s joined us on our journey so far, a journey that has really only just begun.<br />

Tonight we just ask you to give yourself over to the joys and sorrows of Strauss’s endlessly<br />

seductive <strong>Der</strong> <strong>Rosenkavalier</strong>.<br />



MEMBERS <strong>2023</strong><br />



Henry Cox & Michael D. Kunkel<br />


Anonymous [1]<br />

Catherine & William Earley<br />

Ian & Jean Flitcroft<br />

Howard Gatiss<br />

Tiernán Ó hAlmhain<br />

Gaby Smyth & Company<br />


Gianni & Michael Alen-Buckley<br />

Jennifer Caldwell<br />

Mareta & Conor Doyle<br />

Silvia & Jay Krehbiel<br />

Karlin Lillington & Chris Horn<br />

Rory & Mary O’Donnell<br />

Patricia & John O’Hara<br />


Noel Doyle & Brigid McManus<br />

Florrie Draper<br />

Anne Fogarty<br />

Maire & Maurice Foley<br />

Roy & Aisling Foster<br />

Genesis<br />

Gerard Howlin<br />

M Hely Hutchinson<br />

Timothy King & Mary Canning<br />

Kintsukuroi<br />

Stella Litchfield<br />

Stephen Loughman<br />

Tony & Joan Manning<br />

Sara Moorhead<br />

John & Mary O’Conor<br />

Joseph O’Dea<br />

Geraldine O’Sullivan<br />

James & Marie Pike<br />

John Schlesinger & Margaret Rowe<br />

<strong>Der</strong>mot & Sue Scott<br />

Matthew Patrick Smyth<br />


Anonymous [2]<br />

Desmond Barry & John R. Redmill<br />

Breda Cashe<br />

Maureen de Forge<br />

Eric & Christina Haywood<br />

Julian Hubbard<br />

John & Michele Keogan<br />

Catherine Kullmann<br />

Lyndon MacCann & Claire Callanan<br />

R. John McBratney<br />

Petria McDonnell<br />

Ann Nolan & Paul Burns<br />

Helen Nolan<br />

FX & Pat O’Brien<br />

James & Sylvia O’Connor<br />

Paul & Veronica O’Hara<br />

Peadar O’Mórdha<br />

Frances Ruane<br />


Anonymous [7]<br />

Alastair Boles<br />

Ciaran Diamond<br />

Veronica Donoghue<br />

Noel Drumgoole<br />

Michael Duggan<br />

Stephen & Niamh Fennelly<br />

Hugh & Mary Geoghegan<br />

Niall Guinan<br />

Mary Holohan<br />

Nuala Johnson<br />

Paul Kennan & Louise Wilson<br />

Michael Lloyd<br />

Maria Loomes<br />

Dara MacMahon & Garrett Fennell<br />

Patricia McCullagh<br />

Katherine Meenan<br />

Jane Moynihan<br />

Fiona Murphy<br />

Joe & Mary Murphy<br />

Kay Murphy<br />

Anne O’Shea<br />

Philip Regan<br />

Jim Ryan<br />

Catherine Santoro<br />

J & B Sheehy<br />

Charlotte & Dennis Stevenson<br />

Michael Wall & Simon Nugent<br />

Judy Woodworth<br />


Anonymous [6]<br />

Karen Banks<br />

Ann Barrett<br />

Lisa Birthistle<br />

Catherine Bunyan<br />

Clermont Chorale<br />

Cillian Copeland<br />

Aisling de Lacy<br />

Matthew Dillon<br />

Jack Doherty<br />

Dr Beatrice Doran<br />

Josepha Doran<br />

Devidyal Givens<br />

Matthew & Máire Harrison<br />

Mr Trevor Hubbard<br />

Helen Kelly Jones<br />

Ita Kirwan<br />

Ciaran P. Lynch<br />

Bernadette Madden<br />

Cróine Magan<br />

Sandra Mathews<br />

Andrew McCroskery<br />

Niall McCutcheon<br />

Abbey McGiff<br />

Michael McGowan-Hannon<br />

John & Mary Miller<br />

Jean Moorhead<br />

Siobhan O’Beirne<br />

Dorrian O’Connor<br />

Liam O’Daly<br />

Mary O’Kennedy<br />

Prof Desmond O’Neill<br />

Marion Palmer<br />

Lucy Pratt<br />

Hilary Pyle<br />

Prof Sarah Rogers<br />

Linda Scales<br />

Olivia Sheehy<br />

Liam Shorten<br />

Jim Smith<br />

Mary Spollen<br />

Vivian Tannam<br />

Philip Tilling<br />

TU Dublin Operatic Society<br />

Brian Walsh & Barry Doocey<br />

Breda Whelan<br />

Niall Williams<br />

Maureen Willson<br />




Irish National Opera is Ireland’s leading producer of opera at home and<br />

on great operatic stages abroad. We are passionate about opera and its<br />

power to move and inspire. We showcase world-class singers from Ireland<br />

and all over the world. We work with the cream of Irish creative talent,<br />

from composers and directors to designers and choreographers. We<br />

produce memorable and innovative performances to a growing audience<br />

and we offer crucial professional development to nurture Ireland’s most<br />

talented emerging singers, directors, composers and répétiteurs.<br />

We aim to give everyone in Ireland the opportunity to experience the<br />

best of opera. We are a young company, still only in our fifth year, yet<br />

we have presented over 100 performances and won popular praise<br />

and industry awards both nationally and internationally for our groundbreaking<br />

work. Through our productions, concerts, masterclasses,<br />

workshops, lectures, broadcasts and digital events, we have reached<br />

an audience of over half-a-million worldwide.<br />

We want to do more, and we need your help to do it.<br />

Become an Irish National Opera Member to unlock exclusive, behindthe-scenes<br />

events, including backstage tours, masterclasses with worldrenowned<br />

singers, INO Opera Studio performances, artist receptions and<br />

much more. Your invaluable help will ensure that Irish National Opera<br />

can continue to widen access to opera in Ireland, provide professional<br />

development to some of Ireland’s most talented singers and that we can<br />

carry forward our commitment to provide an accessible platform for our<br />

digital output. To support Irish National Opera’s pioneering work, please<br />

get in touch or visit our website irishnationalopera.ie<br />

Contact: Aoife Daly, Development Manager<br />

E: aoife@irishnationalopera.ie T: +353 (0)85–2603721<br />

Image: Soprano Claudia Boyle in the title role in Gerald Barry’s<br />

Alice’s Adventures Under Ground. ©ROH 2020. Photo: Clive Barda.<br />



ACT I<br />


The Marschallin has spent the night with her<br />

young lover, Octavian, whom she calls by his<br />

pet-name, Quinquin. Hearing voices, they<br />

fear that her husband, the Feldmarschall,<br />

has returned unexpectedly. Octavian<br />

disguises himself as a maidservant but the<br />

intruder is the Marschallin’s cousin, Baron<br />

Ochs of Lerchenau. The Baron brings news<br />

of his forthcoming marriage to Sophie, the<br />

daughter of Herr von Faninal, a recently<br />

ennobled merchant. He is much taken<br />

with Octavian who, unable to escape, is<br />

introduced by the Marschallin as Mariandel,<br />

her new chambermaid.<br />

Ochs has come to request his cousin’s help<br />

in finding someone suitable to make the<br />

traditional presentation of a silver rose to<br />

his fiancée. The Marschallin objects to the<br />

attentions he is paying to her chambermaid<br />

but Ochs is unabashed: such actions are<br />

a nobleman’s prerogative. He speculates<br />

that Mariandel is so pretty she must have<br />

blue blood in her veins and boasts of having<br />

his own illegitimate offspring in his service,<br />

his manservant Leopold. The Marschallin<br />

suggests Count Octavian Rofrano as a<br />

possible rose-bearer and produces a portrait<br />

of him. Ochs is intrigued by the resemblance<br />

to Mariandel.<br />

The Marschallin holds her morning levée.<br />

The Baron consults her lawyer but loses his<br />

temper when told that, as bridegroom, he<br />

cannot stipulate the terms of the marriage<br />

settlement. He is approached by the<br />

mysterious Italians, Valzacchi and Annina,<br />

who offer to watch over his fiancée to ensure<br />

her fidelity.<br />

When everyone has gone, the Marschallin<br />

remembers herself as a young girl, forced<br />

into a loveless marriage. When Octavian<br />

returns she warns him that one day he will<br />

leave her for someone younger. He rejects<br />

the very idea. They discuss meeting later and<br />

part coolly. The Marschallin realises that she<br />

did not even kiss him goodbye and sends her<br />

servant after him with the silver rose.<br />



ACT II<br />


Faninal’s household is in a state of high<br />

excitement at the imminent arrival of the<br />

rose-bearer. Octavian enters with the silver<br />

rose and presents it to Sophie. Following the<br />

formalities, they talk, but are interrupted by<br />

the arrival of the groom, Baron Ochs. Sophie<br />

is appalled by his condescension towards<br />

her family and by his boorish behaviour.<br />

Speculating on the delights of the wedding<br />

night ahead, Ochs congratulates himself on<br />

the “luck of the Lerchenaus” and goes off to<br />

discuss the marriage contract with Faninal.<br />

Sophie admits to Octavian that she would<br />

do anything to avoid the marriage. He<br />

promises to help her. They are overheard by<br />

Valzacchi and Annina who summon Ochs. He<br />

at first laughs off the incident but becomes<br />

increasingly furious when Octavian insists<br />

that the wedding must be called off. In the<br />

ensuing struggle, Ochs is wounded. Faninal<br />

orders Octavian to leave but as he goes he<br />

enlists the Italians to work for him instead of<br />

Ochs. Recovering his temper upon realising<br />

that his wound is not life-threatening, Ochs is<br />

further cheered by the arrival of Annina with<br />

a message from “Mariandel”, suggesting a<br />

rendezvous at an inn.<br />


ACT III<br />


Valzacchi and his accomplices arrange<br />

various surprises for Baron Ochs, under the<br />

instruction of Octavian, who is again disguised<br />

as Mariandel. Ochs arrives but his attempts at<br />

seduction are thwarted by strange interruptions.<br />

He rings the bell in terror, only to be confronted<br />

by Annina, claiming to be his deserted wife and<br />

producing children whom she insists are his. A<br />

police commissar arrives and demands that the<br />

Baron explain what he is doing with a young girl<br />

in his room. When Ochs attempts to extricate<br />

himself by explaining that the girl is his fiancée,<br />

Faninal appears and is scandalised by the<br />

suggestion that Mariandel is his daughter. He<br />

sends for Sophie, who is waiting outside, before<br />

collapsing from shock. The chaos mounts until<br />

the Marschallin enters, summoned by Leopold<br />

on his master’s behalf.<br />

Appraising the situation, she quickly takes<br />

control. Recognising the commissar as her<br />

husband’s former army orderly, she convinces<br />

him that this has all been a joke. Ochs persists in<br />

trying to insist on his marriage to Sophie but the<br />

Marschallin reveals Octavian/ Mariandel’s true<br />

identity and he is persuaded to leave, pursued by<br />

the landlord, waiters and musicians, demanding<br />

payment. Sensing Octavian’s dilemma, the<br />

Marschallin tells him to go to Sophie. Seeing<br />

them together, so clearly in love, she reflects<br />

that what she prophesied has come to pass,<br />

sooner than she had foreseen. The Marschallin<br />

withdraws, leaving the two young lovers alone.<br />


Free weekly streams on www.OperaVision.eu<br />

10/03<br />

17/03<br />

24/03<br />

31/03<br />

07/04<br />

21/04<br />

28/04<br />

12/05<br />

Il matrimonio segreto (Cimarosa) • Teatro Regio di Parma<br />

Catone in Utica • Teatro Comunale di Ferrara<br />

Boris Godunov • New National Theatre Tokyo<br />

Cendrillon (Viardot) • Palau de les Arts Valencia<br />

Aida • Teatro dell’Opera di Roma<br />

La Sonnambula • Deutsche Oper am Rhein<br />

Orfeo • Staatsoper Hannover<br />

A Midsummer Night’s Dream • Royal Swedish Opera<br />

Boris Godunov © Rikimaru Hotta, New National Theatre Tokyo<br />


William Tell<br />

Irish National Opera





<strong>Der</strong> <strong>Rosenkavalier</strong> offers challenges for a director. Act I is conversational.<br />

There are moments of romantic bliss, such as the presentation of the rose.<br />

There’s buffo comedy at the start of Act III. And it comes with baggage<br />

carried through from the very first production: the Alfred Roller costume<br />

designs for Dresden, for example, still often inspire the image of Octavian<br />

carrying the rose in Act II. It is delicate, and refined, and profoundly humane.<br />

I first listened to this piece in my late teens. I was immediately hooked<br />

in by the music of the “famous” scenes, and the comedy. The subtler<br />

elements eluded me – Act I, the subtle class references, Vienna, or the<br />

generosity of the Marschallin at the end of the opera. When I was asked to<br />

direct the piece, I was both thrilled and apprehensive. By now the piece<br />

had gradually opened up its full heart. I could identify with the Marschallin’s desire to hold back time<br />

whilst accepting it as an inevitability, and still enjoy the comedy. I decided I wanted to stay true to the<br />

subtle Viennese spirit of the piece, whilst giving it a modern twist and exploring in-depth the characters,<br />

situations and themes. The importance of the concept of Time is well documented and a key concern of<br />

Hofmannsthal’s. The Marschallin expands on this in her Act I monologue and her duet with Octavian.<br />

But beyond chronological time and getting old, we also have moments when time stops, such as in the<br />

presentation of the rose, the final trio or the Italian Tenor aria. I was particularly keen to illustrate the<br />

Marschallin and introspection. We also have “time travel”, as when something triggers memory in the<br />

vein of Proust’s madeleine. I use the sense of smell at regular intervals to convey just that, for instance<br />

how when the Marschallin again smells the rose perfume it takes her back to when she was a young girl.<br />

At a pure aesthetic level, I wanted the three acts to be connected, visually and symbolically. Gary<br />

McCann the designer suggested oversized volutes to represent a Baroque vision of Vienna, with<br />

Act II a bigger, brasher, tackier version of a nobleman’s palace, and Act III a shabby inn reusing the<br />

image of the volutes but without the class attached, pun intended. Finally, I was very keen on a coup<br />

de théâtre for the entrance of the Marschallin in Act III. Her arrival creates a seismic shift in that act.<br />

She brings nobility and order, and kicks off the denouement of the opera. She also brings with<br />

her the memory of Act I and I wanted that symbolised in the scenery at that point.<br />

The Marschallin is the character around whom all the others revolve – she is there at the beginning<br />

and at the end, before gracefully, generously, lovingly, leaving the stage to Sophie and Octavian.<br />




When did Strauss’s <strong>Der</strong> <strong>Rosenkavalier</strong> first make<br />

it to Ireland? Well, it depends on how you reckon<br />

it. The papers of the early 20th century reported<br />

generously on operatic news from all around<br />

Europe. The Belfast Telegraph got in early, with<br />

a report on 3 January 1911 speculating about<br />

the nature of “Strauss’s new opera” from “a few<br />

meagre details” in a Berlin newspaper.<br />

On 27 January, the day after the opera’s premiere in Dresden, the<br />

Cork Examiner printed a long report from the Press Association<br />

with a telegram-like heading: STRAUSS’S “ROSENKAVALIER.”<br />


ENTHUSIASTIC RECEPTION. A day later, the Freeman’s Journal<br />

carried a short Reuters report suggesting that the critics were divided,<br />

that the public approbation might be attributed to “the presence of<br />

Strauss himself in the house and the general desire to do him honour<br />

personally.” It concluded that, “There are no confident prophecies<br />

of lasting success, and some of the critics have vigorously expressed<br />

their disapproval.” The Freeman’s Journal later carried a report<br />

on the first Vienna performance the following April.<br />

The coverage was of special interest to amateur musicians,<br />

who would look out for arrangements to play at home, and<br />

music lovers without performance skills who could purchase<br />

recordings. Singers from the Dresden production were busy<br />

recording excerpts before the year was out. Radio broadcasting<br />

as we know it was of course years away. But one of the major<br />

avenues of musical dissemination at the time was through<br />

the cinema. The silent films of the time were anything but<br />

silent. They were accompanied by music – a pianist, organist,<br />

ensemble or sometimes an orchestra.<br />

14<br />

Image: Richard Strauss in 1922, photo by Ferdinand<br />

Schmutzer; and, above, Hugo von Hofmannsthal.

In fact, before the end of the decade, Dublin cinemas would begin to compete with one<br />

another on the basis of the quality of their orchestras. An advertisement for the opening of the<br />

Bohemian Picture Theatre in Phibsborough in June 1914, promised “Refinement. Good Music.<br />

Clear, steady pictures.” And the cinema (“opposite Bohs’ ground” explained the advert) was<br />

soon claiming to have the best cinema orchestra in the city.<br />

In April 1916, two days before the Easter Rising, the Bohemian Picture Theatre took an<br />

advertisement in the Dublin Evening Mail to highlight its engagement of Clyde Twelvetrees,<br />

“Ireland’s Greatest ‘Cellist” to play in its orchestra, which, it boasted, was “admitted by press &<br />

public alike to be the finest in Ireland”. Twelvetrees, who taught at the Royal Irish Academy of Music,<br />

had played in the Queen’s Hall Orchestra under Henry Wood, and would later become principal<br />

cellist of the Hallé Orchestra in Manchester. He still has a cup in Dublin’s Feis Ceoil named after him.<br />

In the next column on the same page, the Carlton Cinema, which had opened on O’Connell<br />

Street in 1915 (on the same site where the later, bigger, art Deco Carlton still stands), had an<br />

advertisement stating that “Mr Erwin Goldwater’s Violin Solos and his Orchestra at the Carlton<br />

cannot be equalled in Dublin. Our Imitators pay us a great compliment.” Goldwater was a pupil<br />

of Otakar Ševčík (whose exercises are still used today) and a former member of the orchestra at<br />

Covent Garden. The Carlton was aiming to outdo the Bohemian.<br />

In August 1916 the Bohemian presented Carmen, directed by Cecil B DeMille, who was then in<br />

his mid-thirties. According to a Dublin Evening Mail advertisement, the cinema was screening it<br />

“at Enormous Expense”. The billing described the film as an “opera-drama, in 5 Magnificent Acts,<br />

Featuring Geraldine Farrar (The Incomparable International Star)”. Of course Farrar, then a mainstay<br />

of New York’s Metropolitan Opera, only acted in the film. She didn’t sing. But the Bohemian did call<br />

on the services of two singers, Carlo Berckmans, “The Famous Belgian Operatic Tenor,” and Irvine<br />

Lynch, “The distinguished Irish Basso, fresh from his London Successes”. Carmen shared the bill with a<br />

Keystone comedy, a Pathé Gazette and a “full <strong>programme</strong>”. Bizet’s name appeared nowhere. DeMille<br />

baulked at the asking price for the film rights to the opera, and instead paid much less for the rights to<br />

Merimée’s novel. Yet he still found the money to film the bullfight scene to a crowd of 22,000 extras.<br />

Musical competition between cinemas intensified. On 25 August 1919 the Irish Independent carried<br />

an advertisement for the Carlton’s screening of Jerome Storm’s A Desert Wooing. The ad promised<br />

“Drama, Comedy, Travel, Gazette, etc.” and also a “Violin Solo, ‘Habanera’ by Sarasate, by Mr. Erwin<br />

Goldwater” and it listed an orchestral selection of seven items. Strauss’s <strong>Der</strong> <strong>Rosenkavalier</strong> jostled<br />


with work by Meyerbeer, Gounod, Suppé, Fauchey, Delibes and Michiels. Yes. I didn’t recognise all the<br />

names, either. And it was on screen that <strong>Der</strong> <strong>Rosenkavalier</strong> would get its first major outing in Ireland<br />

in October 1926, at the Grand Central Cinema at the Liffey end of O’Connell Street. The building still<br />

stands with its original façade. But, after a fire in 1949, the cinema was replaced by a branch of the<br />

Hibernian Bank, now part of Bank of Ireland. There were three <strong>Rosenkavalier</strong> screenings every<br />

day with what an advertisement in the Evening Herald called “one of the loveliest pictures possible”.<br />

They were interleaved with four screenings of the 1926 world heavyweight boxing title fight in which<br />

Gene Tunney beat Jack Dempsey. Without any audio, that must have been quite a strange show.<br />

The opera, which was shot as a silent film, was directed by Robert Wiene of The Cabinet of<br />

Dr Caligari fame, and it was created with the involvement of both of Strauss and his librettist,<br />

Hugo von Hofmannsthal. The storyline had been changed, a new march was composed, and<br />

the arrangement was supervised by the composer. The project, which had premiered on 10<br />

January 1926 at the opera house in Dresden with Strauss conducting, was international news.<br />

Hofmannsthal was the prime mover, and he had serious reasons for his enthusiasm. “On account<br />

of the possible financial return for which nothing undue is demanded,” he wrote to Strauss in<br />

October 1923, “I attach above all the greatest importance to the conversation with Rosenauer<br />

about the film project. My income last quarter from my (German) share in the operas, from German<br />

performances of my stage plays, and from all <strong>book</strong> sales totalled two and a quarter dollars!”<br />

In January 1925 he broached the subject again in a letter to Strauss, “I would look upon the film,<br />

when it comes out, as a positive fillip and new impetus to the opera’s success in the theatre,” he<br />

wrote. “Why? Please have a look at my sketch for the film scenario or ask someone to read you a<br />

little of it. The whole thing is treated in the manner of a novel: it introduces the characters or, for<br />

those who know them, tells something new of these old acquaintances. Nowhere (not even in the<br />

final scene) are the events of the opera exactly repeated – not in a single scene. If the film appeals,<br />

it cannot but arouse great eagerness to see the now familiar characters in the original action<br />

on the stage, alive, speaking, singing.” There was evidence to support him. Farrar’s Carmen<br />

on stage became a bigger draw after her silent appearance in the role on the big screen. The<br />

<strong>Rosenkavalier</strong> film was first screened in the opera house in Dresden, with Strauss conducting, in<br />

January 1926. The composer came to London and conducted the British premiere the following<br />

April at the Tivoli Theatre, and recorded a suite from the score at the Queen’s Hall, the original<br />


Image: The Grand Central Cinema<br />

at 6-7 O’Connell Street (with domed<br />

portico entrance), ca 1928.<br />

Below: <strong>Der</strong> <strong>Rosenkavalier</strong><br />

advertisement in the Evening<br />

Herald, 18 October 1926.<br />

home of the Henry Wood Proms. Opera on film has a surprisingly long history in the silent era,<br />

from arias and duets not very well synchronised with acoustic recordings in the 1890s through<br />

similar experiments in the early years of the new century. It’s been estimated that around 1,500<br />

operatic shorts with sound were made in Germany alone. But the survival rate is very low.<br />

The silent 1926 <strong>Der</strong> <strong>Rosenkavalier</strong> was the biggest<br />

venture of its kind and might have been expected to<br />

be quickly copied. But the world of film was changed<br />

by the arrival of talkies and the success of Al Jolson<br />

in Alan Crosland’s The Jazz Singer in 1927. Given its<br />

status, it’s ironic that that film concentrated not on<br />

speech, but on the musical numbers, and actually<br />

used old-fashioned intertitles to move the plot on<br />

rather than recording the actors’ speaking voices.<br />

Strauss seems never to have been that enamoured of the filmed opera project. And Hofmannsthal, too,<br />

became disillusioned, calling it “the most dilettante and clumsy film imaginable”. He can’t have been<br />

happy that the backstory of his new script was jettisoned. And there was the fact that the new score was<br />

somewhat longer than the film, so that in the cinema the film had to be broken up to facilitate the music.<br />

As a silent movie it lost value when the talkies took over. The prints of the film were intentionally destroyed<br />

within a few years, and the one that got away was not discovered until the 1960s. Something over<br />

three quarters of the film survived, though not the ending. Full restoration had to wait until 2006.<br />

<strong>Der</strong> <strong>Rosenkavalier</strong> finally made it to the opera stage in Ireland at the Gaiety Theatre in Dublin<br />

on 1 December 1964. Its four performances featured in a 17-night Dublin Grand Opera Society<br />

season. The production was by Ernst August Schneider, with Elisabeth Thoma (Marschallin),<br />

Margarethe Sjostedt (Octavian), Veronica Dunne (Sophie) and Erich Winkelmann (Baron Ochs),<br />

and was conducted by Napoloene Annovazzi.<br />

The newspapers of 1926 contain strange connections with <strong>2023</strong>. There are <strong>Rosenkavalier</strong> ads<br />

on pages with a leader article about “Fuel Famine”, and an ad pushing gas over coal, which had<br />

risen in price and was still in short supply as a consequence of the general strike in the UK. As<br />

well as bemoaning “distress amongst the poor who are without fire,” the leader article even<br />

raises the issue of “Russia’s hand in the coal strike”.<br />






The first opera I went to was Puccini’s La<br />

bohème. It was with Opera Ireland. I was<br />

already in college, so I’d already chosen to do<br />

voice as a performance degree in DIT. I believe<br />

I was in my first year, and Mairéad Hurley,<br />

who was my répétiteur, was involved in the<br />

production and was also doing the surtitles.<br />

She offered me the opportunity to go. I do<br />

remember it was pretty magical. It was also my<br />

first time in the Gaiety Theatre, and she had me<br />

up in a box, where I had both an orchestra and<br />

a stage view. It felt very special to see my first<br />

opera there. It was also maybe a little crazy that<br />

the first time I saw an opera I’d already chosen<br />

to do this as a full-time education.<br />



The first opera I was in was as a student. I<br />

remember an awful lot about it because it was<br />

in Italy. While I was at DIT I remember Jane<br />

Carty [then a radio producer at RTÉ] wrote<br />

or spoke with the head of department at that<br />

time, Anne-Marie O’Sullivan, who was my<br />

teacher, and told her that the William Walton<br />

Foundation, which was in Italy, was doing<br />

a course for young singers, and they were<br />

going to be staging L’Ormindo by Cavalli. The<br />

auditions were going to be in London and they<br />

said, We don’t have any Irish singers. Why<br />

are they not coming over and auditioning? I<br />


LA MURRIHY...<br />

remember myself and Roland Davitt [the<br />

baritone] were sent over. It was my first time<br />

in London. I had no idea...I just picked an aria<br />

from the piece. Three weeks later I got a call<br />

to say that I’d got a part. And that summer<br />

I ended up spending three weeks in Ischia.<br />

It all just seems completely surreal now, to<br />

think that the first opera I ever did was in<br />

Italy. It was the first opera I’d ever studied in<br />

Italian. I was working with two of the greatest<br />

people in the business. Colin Graham was<br />

the director, who had worked very closely<br />

with Benjamin Britten and the English Opera<br />

Group, and I think staged Curlew River and<br />

other Britten premieres. And Stephen Lord,<br />

a wonderful conductor. Both of them at<br />

the time were artistic director and musical<br />

director of the Opera Theatre of Saint Louis.<br />

I don’t know how it came that they were<br />

running this <strong>programme</strong>. I was one of maybe<br />

nine singers. We staged the opera, just with<br />

continuo, no orchestra. I do remember being<br />

very naive in my preparation. I didn’t realise<br />

that we had to have it memorised on day<br />

one. I had never worked with a language<br />

coach. We had this wonderful language<br />

coach, Corradina Caporello, I still chat with<br />

her and work with her. She had come from<br />

Juilliard. I thought I was singing the words<br />

correctly. But, no, it was IPA, the International<br />

Phonetic Alphabet, the whole thing, breaking<br />

it down. That was an amazing baptism of fire.<br />

My first professional engagement was with<br />

Opera Ireland, the small role of Feklusha in<br />

Janáček’s Katya Kabanová. I just have a very<br />

vivid memory that I maybe had three lines to<br />

sing in the whole thing. And James Robinson,<br />

the director, had me deliver them from on top<br />

of a ladder. The smaller parts are often more<br />

difficult, because you’re on tenterhooks to<br />

have your big break. And there I was being on<br />

a ladder and capturing the maestro’s cue.<br />



I don’t think I can remember any singular<br />

piece of advice. I’ve had a lot of mentors,<br />

thankfully, in my life and I still have what I<br />

would call a team of people that I trust. I think<br />

probably the best piece of advice has always<br />

been to be myself, to be truthful to my voice,<br />

my work, my own worth – to be confident in<br />

my own worth and what I can give and offer<br />

as an artist. Colin Graham was extraordinary<br />

in the work that he did in preparation. That’s<br />

another thing I’ve been told. Be as prepared<br />

as you can. That is something I try to take with<br />

me now, because I think it’s only when you<br />

have done the work and come to the table<br />

as prepared as you can be, that then you<br />

can be open to the creative process. Which<br />

is the part that I love. I love rehearsing, I love<br />

working with a team of people. But if you’re<br />

not there with your preparation it’s really<br />

hard to be open to that. It all comes to that<br />


quote, “Be yourself, because everybody else<br />

is taken,” by Oscar Wilde. I love that. In opera,<br />

what touches people is...If you allow yourself<br />

to be vulnerable and to tell the story and be<br />

true to yourself, that’s what the audience gets.<br />



There are many, aren’t there. This idea that<br />

opera is only for a certain group of people<br />

who understand it. That it is elite. That it is<br />

something that you need to be educated<br />

on in order to attend. I hate that. I think that<br />

opera should be accessible to everybody. It<br />

think it’s an incredible artform that combines<br />

so many things. It’s that complete work, you<br />

know, that Wagner talks about. You have the<br />

music, you have the libretto, you most often<br />

have incredible sets, costumes, orchestra. All<br />

of it comes together and I think people should<br />

embrace that. Opera has so much to offer.<br />





When I didn’t know the role, when I hadn’t<br />

studied it in its entirety, I do remember that<br />

moment of the presentation of the rose, early<br />

in Act II, is just the most special music. And<br />

when Octavian is revealed with the silver rose<br />

in his hand, it’s an extraordinary moment. I<br />

remember being in the audience and seeing<br />

it when my friend was singing Sophie. I just<br />

thought it was amazing.<br />



One of the most challenging aspects is<br />

the stamina required. I think it is one of<br />

the longest operatic roles that I have ever<br />

studied. The role of Octavian is massive,<br />

and he is onstage for the majority of the<br />

opera. Everything revolves around him. It<br />

begins with him, it ends with him, I sing the<br />

opening notes, I sing the final note, and then,<br />

basically, everything in between. The Baron<br />

Ochs probably comes close as well. So for me<br />

it’s the stamina. I don’t think about pacing.<br />

Strauss is such a genius that it just takes care<br />

of itself from that point of view. The other<br />

aspect would be the fact that, dramatically,<br />

it’s a challenge. I’m playing the role of a<br />

young man, 17 years old and two months.<br />

And in the opera I have to play Mariandel,<br />

so I am a woman playing a man who dresses<br />

up as a woman. That’s challenging, so that it<br />

doesn’t come across as too kitsch or clichéd.<br />

It’s quite tricky.<br />





Working with different people. I just love the<br />

people that I meet in this business. I think<br />

it’s such a gift to be able to travel to different<br />

countries, and live in these countries, often<br />

for six to eight weeks, or twelve weeks at a<br />

time, and meet people who live there and<br />

work there. And then to meet the different<br />

type of people that you come across in opera.<br />

I love the collaborative aspect of the job. It’s<br />

always amazing the amount of people that<br />

are involved in a production. I don’t know<br />

if anybody quite realises the effort, and the<br />

sheer number of people that are involved in<br />

putting on a show. I love being a part of that.<br />

I’m a person who enjoys being around people,<br />

being a member of a team. It’s something<br />

that I learnt as well when I was in Frankfurt<br />

[where she was a member of the ensemble at<br />

Oper Frankfurt]. I so enjoyed the camaraderie<br />

that’s involved in putting on a show. That also<br />

ties in with the travelling and the different<br />

countries that I get to go to together with my<br />

family, and then experiencing that life on<br />

the road – which has huge challenges but<br />

amazing rewards. We homeschool. If the job<br />

is anything over two weeks we try to travel<br />

together. It depends. We have to look at each<br />

engagement as it comes, ahead of time, and<br />

see what makes the most sense. We just<br />

spent a month in Copenhagen. We were in<br />

Austria for the New Year. We’ll be going to<br />

Frankfurt the week after <strong>Der</strong> <strong>Rosenkavalier</strong><br />

for a new production of Handel’s Hercules,<br />

the four of us.<br />



When I decided that I wanted to pursue<br />

music, I had also primary school teaching<br />

down as my option. However, I know that<br />

ultimately I would have needed to be<br />

somehow involved in stage. So if I were not an<br />

opera singer, I think I would like to be an actor<br />

in film or theatre. I would like to try that.<br />




Octavian Paula Murrihy Mezzo-soprano<br />

called Quinquin, a young gentleman of noble family<br />

The Marschallin Celine Byrne Soprano<br />

Princess of Werdenberg<br />

The Marschallin’s Major Domo Michael Bell Tenor<br />

Baron Ochs of Lerchenau Andreas Bauer Kanabas Bass<br />

Lackeys Richard Shaffrey Tenor<br />

David Mulhall<br />

Bass<br />

Ciarán Crangle<br />

Tenor<br />

Lewis Dillon<br />

Bass<br />

Noble Orphans Jade Phoenix Soprano<br />

Madeline Judge<br />

Mezzo-soprano<br />

Leanne Fitzgerald<br />

Mezzo-soprano<br />

A milliner Niamh St John Soprano<br />

An animal seller Fearghal Curtis Tenor<br />

Valzacchi Peter van Hulle Tenor<br />

A Man of Affairs<br />

An Italian Tenor César Cortés Tenor<br />

A notary Mark Nathan Bass<br />

Annina Carolyn Holt Mezzo-soprano<br />

Partner of Valzacchi<br />

Herr von Faninal Samuel Dale Johnson Baritone<br />

A rich merchant, newly ennobled<br />

Marianne Leizmetzerin Rachel Croash Soprano<br />

Companion to Sophie<br />

Faninal’s Major Domo William Pearson Tenor<br />

Sophie von Faninal Claudia Boyle Soprano<br />

Faninal’s daughter<br />



Lerchenau’s Servants Fearghal Curtis Tenor<br />

David Scott<br />

Bass<br />

Kevin Neville<br />

Bass<br />

Landlord Andrew Masterson Tenor<br />

Waiters Fearghal Curtis Tenor<br />

Ben Escorcio<br />

Tenor<br />

Rory Dunne<br />

Bass<br />

Matthew Mannion<br />

Bass<br />

Commissary of Police David Howes Bass-baritone<br />

Boots Kevin Neville Bass<br />


Cupid Ethan O’Connor Actor<br />

Leopold Vladyslav Volk Actor<br />


Conductor<br />

Director<br />

Set & Costume Designer<br />

Lighting Designer<br />

Associate Lighting Designer<br />

Chorus Director & Resident Conductor<br />

Assistant Conductor<br />

Assistant Director<br />

Assistant Director<br />

Répétiteur<br />

Répétiteur<br />

Language Coach<br />

Fergus Sheil<br />

Bruno Ravella<br />

Gary McCann<br />

Malcolm Rippeth<br />

Edward Saunders<br />

Elaine Kelly<br />

Medb Brereton Hurley<br />

Chris Kelly<br />

Katie O’Halloran<br />

Aoife O’Sullivan<br />

Richard McGrath<br />

Anna Weiss-Tuite<br />



First Violins<br />

Sarah Sew LEADER<br />

David O’Doherty<br />

Lidia Jewloszewicz-Clarke<br />

Anita Vedres<br />

Jennifer Murphy<br />

Emma Masterson<br />

Maria Ryan<br />

Brigid Leman<br />

Victor Perez Vigas<br />

Matthew Wylie<br />

Second Violins<br />

Larissa O’Grady<br />

Aoife Dowdall<br />

Christine Kenny<br />

Sarah Perricone<br />

Justyna Dabek<br />

Andrew Sheeran<br />

Feilimidh Nunan<br />

Rachael Masterson<br />

Violas<br />

Adele Johnson<br />

Giammaria Tesei<br />

Alison Comerford<br />

Gawain Usher<br />

Carla Vedres-Boyle<br />

Abigail Prián Gallardo<br />

Double basses<br />

Dominic Dudley<br />

Maeve Sheil<br />

Alex Felle<br />

Carlos Gomes<br />

Cellos<br />

Christian Elliott<br />

Alona Kliuchka<br />

Zoë Nagle<br />

Niall O’Loughlin<br />

Callum Owens<br />

Grace Coughlan<br />

Harps<br />

Dianne Marshall<br />

Claire O’Donnell<br />

Flutes<br />

Lina Andonovska<br />

Meadhbh O’Rourke<br />

Piccolo<br />

Susan Doyle<br />

Oboes<br />

Aoife McCambridge<br />

Jenny Magee<br />

Cor anglais<br />

Rebecca Halliday<br />

Clarinets<br />

Conor Sheil<br />

Suzanne Brennan<br />

E-flat Clarinet<br />

Seamus Wylie<br />

Basset horn & Bass clarinet<br />

Patrick Burke<br />

Bassoons<br />

Sinéad Frost<br />

Clíona Warren<br />

Contrabassoon<br />

Éanna Monaghan<br />

Horns<br />

Hannah Miller<br />

Ian Dakin<br />

Dewi Jones<br />

Liam Duffy<br />

Javier Fernandez<br />

Trumpets<br />

Darren Moore<br />

Pamela Stainer<br />

Colm Byrne<br />

Trombones<br />

Ross Lyness<br />

Clara Donnellan<br />

Paul Frost<br />

Tuba<br />

Francis Magee<br />

Timpani<br />

Noel Eccles<br />

Percussion<br />

Richard O’Donnell<br />

Brian Dungan<br />

Patrick Nolan<br />

Sam Staunton<br />

Celesta<br />

Edward Holly<br />



Sopranos<br />

Jessica Hackett<br />

Ami Hewitt<br />

Megan O’Neill<br />

Jade Phoenix<br />

Niamh St John<br />

Mezzo-sopranos<br />

Leanne Fitzgerald<br />

Madeline Judge<br />

Sarah Kilcoyne<br />

Heather Sammon<br />

Dominica Williams<br />

Tenors<br />

Michael Bell<br />

Ciarán Crangle<br />

Fearghal Curtis<br />

Ben Escorcio<br />

Andrew Masterson<br />

William Pearson<br />

Richard Shaffrey<br />

Basses<br />

Lewis Dillon<br />

Rory Dunne<br />

Matthew Mannion<br />

David Mulhall<br />

Mark Nathan<br />

Kevin Neville<br />

David Scott<br />


Clare Griffin<br />

Joya Hobson<br />

Catherine Leahy<br />

Emma Griffin<br />

Aibhín Hughes<br />

Ellen McAuliffe<br />

Flora Egan<br />

Joanna Molloy<br />

Smock Alley and Once Off Productions<br />

in association with INO<br />

An Audience with<br />

Maria Callas<br />

A<br />

Play by<br />

Terence McNally<br />

MASTER<br />

CLASS<br />

Smock Alley Theatre<br />

11 TH – 27 TH May <strong>2023</strong><br />

Tickets<br />

smockalley.com / 01 677 0014<br />

€25 / €22 Previews and Matinees,<br />

Dinner + Show Ticket €50<br />


MOZART<br />

COSÌ<br />


TUE 23 – SAT 27 MAY <strong>2023</strong><br />

TIMES: TUE 23, WED 24, THUR 25, FRI 26 MAY 7.30PM | SAT 27 MAY 2PM & 7.30PM<br />


Internet <strong>book</strong>ings subject to 12.5% service charge per ticket (Max €6.85 per ticket). Agents €3.50 per ticket.<br />



Production Manager<br />

Peter Jordan<br />

Company Stage Manager<br />

Paula Tierney<br />

Stage Manager<br />

Anne Kyle<br />

Assistant Stage Managers<br />

Alessandro Rossetti<br />

Rachel Ellen Bollard<br />

Rachel Spratt<br />

Technical SM<br />

Danny Hones<br />

Technical Crew<br />

Abraham Allen<br />

Peter Boyle<br />

Conor Courtney<br />

Andy Edwards<br />

Sami Finucane<br />

Thomas Knight<br />

Fergus McDonagh<br />

Joey Maguire<br />

Martin Wallace<br />

Damien Woods<br />

Production Assistant<br />

Eoin Hanaway<br />

Chief LX<br />

Pip Walsh<br />

LX Programmer<br />

Eoin McNinch<br />

LX Crew<br />

Maeubh Brennan<br />

June González Iriarte<br />

Donal McNinch<br />

Líadan Ní Chearbhaill<br />

Wigs & Makeup Supervisor<br />

Carole Dunne<br />

Wigs, hair, Makeup Assistants<br />

Tee Elliott<br />

Marion O’Toole<br />

Wigs & Makeup Interns<br />

Callum O’Higgins<br />

Saoirse O’hUadhaigh<br />

Rebecca Wise<br />

John Carey<br />

Shauna Dowdall<br />

Costume Supervisor<br />

Aoife O’Rourke<br />

Costume Assistants<br />

Ana O’Doherty<br />

Kate O’Doherty<br />

Diméli Katiussia Rambo<br />

Hazel Ryan<br />

Chaperones<br />

Gillian Oman<br />

Jordan Browne<br />

Surtitle Operator<br />

Thomas Neill<br />

Lighting Provider<br />

Production Services Ireland<br />


Photography<br />

Kip Carroll<br />

Patrick Redmond<br />

Ste Murray<br />

Video<br />

Niall Sheerin<br />

Charlie Joe Doherty<br />

Olmo Hurley & Aaron Riordan<br />

Gansee<br />

Graphic Design<br />

Alphabet Soup<br />

Programme edited by<br />

Michael <strong>Der</strong>van<br />

Transport<br />

Trevor Price<br />

Owen & Odhran Sherwin<br />







Fergus is the founding artistic<br />

director of Irish National Opera.<br />

He has conducted a wideranging<br />

repertoire of 48 operas<br />

in performance, recordings and<br />

on film. Highlights include Verdi’s<br />

Aida, Brian Irvine and Netia Jones’s Least Like The<br />

Other – Searching For Rosemary Kennedy, Rossini’s<br />

La Cenerentola, half of 20 Shots of Opera, Strauss’s<br />

Elektra, Beethoven’s Fidelio, and Rossini’s William<br />

Tell (Irish National Opera). He has also conducted<br />

Wagner’s Tristan und Isolde, John Adams’s Nixon in<br />

China, Rossini’s The Barber of Seville (Wide Open<br />

Opera), Mozart’s Don Giovanni and, in 2017, the<br />

first modern performance of Robert O’Dwyer’s Irishlanguage<br />

opera, Eithne (Opera Theatre Company),<br />

which was recorded and issued on CD by RTÉ lyric fm.<br />

He has appeared with the RTÉ Concert Orchestra, the<br />

Ulster Orchestra, the Irish Chamber Orchestra and<br />

other orchestras at home and abroad. He has toured<br />

Ireland with the RTÉ National Symphony Orchestra<br />

in Beethoven’s Choral Symphony and Mahler’s<br />

Resurrection Symphony. As a choral conductor he has<br />

worked with the State Choir Latvija (giving the world<br />

premiere of Arvo Pärt’s The Deer’s Cry) and the BBC<br />

Singers. Internationally he has fulfilled engagements<br />

in the USA, Canada, South Africa, Australia, the UK,<br />

France, Netherlands, Denmark, Sweden, Malta and<br />

Estonia. Before founding Irish National Opera he led<br />

both Wide Open Opera (which he founded in 2012)<br />

and Opera Theatre Company. Since 2011 he has<br />

been responsible for the production of over sixty<br />

operas, which have been seen around Ireland and<br />

in London, Edinburgh, New York, Amsterdam and<br />

Luxembourg.<br />

Bruno Ravella is an international<br />

opera director based in London.<br />

Born in Casablanca, Morocco,<br />

of Italian and Polish parents, he<br />

studied in France and moved to<br />

London in 1991 on graduation. His<br />

critically acclaimed production of Massenet’s Werther<br />

at the Opera national de Lorraine won the Prix Claude-<br />

Rostand in 2017–18. Verdi’s Falstaff at Garsington<br />

Opera in 2018 was nominated for the South Bank Sky<br />

Arts Award in the Opera category. This was his second<br />

production at Garsington after a very successful<br />

Strauss’s Intermezzo in 2015. He has directed Verdi’s<br />

Rigoletto (Opera Theatre of Saint Louis), Puccini’s<br />

La bohème (Opera di Firenze, Italy), Offenbach’s<br />

La belle Hélène and Ravel’s L’heure espagnole<br />

with Puccini’s Gianni Schicchi (Opéra national de<br />

Lorraine, France), Werther (Opéra de Québec),<br />

Puccini’s Madama Butterfly, Verdi’s Macbeth,<br />

Handel’s Agrippina, Verdi’s Falstaff and Verdi’s La<br />

traviata (Iford Arts, UK), Handel’s Giulio Cesare and<br />

Verdi’s La traviata (Stand’été, Moutier, Switzerland),<br />

Bizet’s Carmen (Riverside Opera, UK), Charpentier’s<br />

La Descente d’Orphée aux enfers (Glyndebourne<br />

Jerwood Project, UK), and Blow’s Venus and Adonis<br />

(Les Arts Florissants, France). He was nominated for<br />

the Independent Opera Director Fellowship in 2015.<br />

He has been recognised time and again for his “pinsharp<br />

attention to detail” and ability to clearly portray<br />

subtleties of the human condition. He makes his INO<br />

debut with <strong>Der</strong> <strong>Rosenkavalier</strong>.<br />






Gary McCann has worked extensively<br />

as a set and costume designer for<br />

some of the world’s most significant<br />

companies. His credits include<br />

Tchaikovsky’s Eugene Onegin (Santa<br />

Fe Opera), Strauss’s Ariadne auf Naxos<br />

(Teatro Comunale di Bologna, Teatro La Fenice, Venice,<br />

and Teatro Massimo, Palermo); Mascagni’s L’Amico Fritz<br />

(Maggio Musicale Fiorentino); Britten’s Peter Grimes<br />

(Teatro La Fenice), Puccini’s Tosca (Wroclaw Opera/Irish<br />

National Opera); Strauss’s <strong>Der</strong> <strong>Rosenkavalier</strong> (Garsington<br />

Opera, Santa Fe Opera), Beethoven’s Fidelio (Garsington<br />

Opera); Weber’s <strong>Der</strong> Freischütz, Verdi’s Macbeth (Vienna<br />

State Opera); Verdi’s La forza del destino, Don Carlos and<br />

Simon Boccanegra, Tchaikovsky’s Eugene Onegin (Opéra<br />

Royal de Wallonie-Liége); Donizetti’s Anna Bolena (Opéra<br />

de Lausanne, Royal Opera House Muscat, ABAO Bilbao<br />

Opera); My Fair Lady (Teatro di San Carlo, Naples, Palermo);<br />

Bizet’s Carmen (Opera Philadelphia/Seattle Opera);<br />

Puccini’s Madama Butterfly, Smetana’s The Bartered<br />

Bride, Rossini’s The Barber of Seville, Strauss’s Ariadne<br />

auf Naxos, Ravel’s L’Heure espagnole, Poulenc’s La Voix<br />

humaine, Humperdinck’s Hänsel und Gretel (Nederlandse<br />

Reisopera); Handel’s Faramondo (Göttingen, Brisbane<br />

Baroque); Johann Strauss’s Die Fledermaus (Norwegian<br />

National Opera); Rimsky-Korsakov’s The Golden Cockerel<br />

(Santa Fe Opera/Dallas Opera); and Mozart’s La clemenza<br />

di Tito (Lausanne, Oviedo, Bilbao); The Girl In The Yellow<br />

Dress (Market Theatre Johannesburg, Baxter Theatre Cape<br />

Town, Stockholm City Theatre); Britten’s Les Illuminations<br />

(Aldeburgh Music); Wagner’s The Flying Dutchman<br />

(Ekaterinburg); Three Days in May, Dangerous Corner, The<br />

Shawshank Redemption, La Cage aux Folles, The Sound<br />

of Music, Saturday Night Fever, Cilla the Musical (Bill<br />

Kenwright, UK tours) and Killology (Royal Court). Gary<br />

lives in Brighton, Sussex.<br />

Malcolm’s opera designs include<br />

Ethel Smyth’s The Wreckers at<br />

Glyndebourne; Handel’s Alcina<br />

at Santa Fe Opera; Offenbach’s<br />

Orpheus in the Underworld at<br />

English National Opera; Prokofiev’s<br />

War and Peace at Welsh National Opera; Britten’s<br />

The Turn of the Screw at Garsington Opera; Bizet’s<br />

Ivan the Terrible at Grange Park; Monteverdi’s The<br />

Coronation of Poppea at Opera North; Verdi’s Stiffelio<br />

at Opéra national du Rhin; Offenbach’s La belle<br />

Hélène at Opéra national du Lorraine; Massenet’s<br />

Werther at Opéra de Marseille; Arthur Lavandier’s<br />

Le Premier meurtre at Opéra de Lille; Handel’s<br />

Hercules at Badisches Staatstheater Karlsruhe;<br />

Missy Mazzoli’s Breaking the Waves at St Gallen and<br />

Puccini’s Madama Butterfly at Oper Graz. Theatre<br />

credits include My Brilliant Friend at National Theatre<br />

London; Captain Corelli’s Mandolin in the West End;<br />

The Wild Bride for Kneehigh; The Dead at the Abbey,<br />

A View from the Bridge at the Gate; The Field at the<br />

Olympia and The Mirror Crack’d at the Gaiety. He<br />

makes his INO debut in <strong>Der</strong> <strong>Rosenkavalier</strong>.<br />







Elaine Kelly is the resident<br />

conductor of Irish National<br />

Opera. Upon her appointment<br />

in late 2021, she conducted a<br />

national tour with Peter Maxwell<br />

Davies’s The Lighthouse. She also<br />

conducted nine new works by Irish composers in<br />

INO’s internationally praised 20 Shots of Opera in<br />

2020 as well as the film of Amanda Feery’s A Thing<br />

I Cannot Name which was streamed as part of the<br />

West Cork Literary Festival in July 2021. She held the<br />

position of studio conductor in the INO Opera Studio<br />

from 2019–21, and worked as assistant conductor<br />

and chorus director on performances of Rossini’s<br />

La Cenerentola, Mozart’s The Abduction from the<br />

Seraglio, Puccini’s La bohéme, Strauss’s Elektra,<br />

Donnacha Dennehy and Enda Walsh’s The First Child,<br />

Beethoven’s Fidelio and Bizet’s Carmen, and films of<br />

Maxwell Davies’s The Lighthouse and Gerald Barry’s<br />

Alice’s Adventures Under Ground. In March 2022 she<br />

was invited to work as assistant conductor on Opéra<br />

National de Bordeaux’s production of Donizetti’s<br />

L’elisir d’amore. In 2014 she won the inaugural ESB<br />

Feis Ceoil Orchestral Conducting Competition which<br />

led to engagements with the RTÉ Concert Orchestra.<br />

She was musical director of the University of Limerick<br />

Orchestra (2019–21), the Dublin Symphony Orchestra<br />

(2017–19) and has worked with the National<br />

Symphony Orchestra, Dublin Youth Orchestra and Cork<br />

Concert Orchestra. Elaine is a BMus and MA graduate<br />

of the MTU Cork School of Music.<br />

Medb Brereton Hurley is from<br />

Bettystown, Co. Meath. She<br />

worked as assistant conductor of<br />

Julianstown Youth Orchestra and<br />

in 2019 conducted the orchestra<br />

in Verdi’s Nabucco Overture at the<br />

Lisbon International Festival of Youth Orchestras.<br />

She was the conductor/co-musical director of a<br />

production of Hedwig and the Angry Inch at the<br />

Samuel Beckett Theatre, TCD, in February 2022. She<br />

has been the conductor of Trinity Orchestra since<br />

September 2020 and made her official concert debut<br />

with the orchestra in April 2022. She graduated from<br />

TCD with a first class honours degree last year and<br />

also started working as conductor of the newly formed<br />

Darndale Community Choir. She has also composed<br />

music and sound designed for theatre, including<br />

many plays for DU Players and multimedia online<br />

installations, including GULL (2020), Cagebirds,<br />

Echo and Everest (both 2021). She has designed<br />

and created two multimedia projects of her own:<br />

POP-TART (2020), as part of DU Players’ Resilience<br />

Festival, and Aurora (2021), as part of their Reverie<br />

Festival. POP-TART was nominated for six different<br />

awards at the 2020 ISDAs, including Best Original<br />

Writing and Best Sound, and won for Best Hair and<br />

Makeup. Medb has studied French horn at the Royal<br />

Irish Academy of Music since 2015 and won the Walton<br />

Cup at Feis Ceoil 2021. She has been a member of the<br />

quintet Vox Amicum Brass since 2019.<br />






Chris is a director based in Dublin,<br />

working in opera and theatre.<br />

He holds a BMus from DIT and<br />

an MA in Theatre Practice from<br />

the Gaiety School of Acting and<br />

UCD. His previous directing<br />

credits include Gluck’s Orfeo ed Euridice, Viardot’s<br />

Cendrillon (Irish premiere), Humperdinck’s Hänsel<br />

und Gretel, Mozart’s Die Zauberflöte, and Purcell’s<br />

Dido and Aeneas, all with North Dublin Opera. For<br />

Opera Collective Ireland, he was assistant director<br />

for Britten’s Owen Wingrave, Raymond Deane’s<br />

Vagabones and Handel’s Semele. His theatre credits<br />

include Suicide Tuesday (Little Shadow Theatre<br />

Company), I Am (GSA), Unicorns Are Real (Jellybelly),<br />

and his own adaptation of Alice in Wonderland<br />

(Skerries Soundwaves Festival). In 2021, he wrote and<br />

co-directed Twenty Minutes from Nowhere with Crave<br />

Productions and Bewley’s Cafe Theatre, which was<br />

also performed in Listowel Writer’s Week.<br />

Katie is a Dublin-based,<br />

interdisciplinary director from<br />

Minneapolis, Minnesota. Since<br />

graduating from The Lir Academy<br />

in 2020, she has worked with<br />

Druid, Irish National Opera, Dublin<br />

Youth Theatre, the Lir, dlr Mill Theatre, Aon Scéal<br />

Theatre, Dublin Fringe, and Fishamble. She is the<br />

2022 recipient of Druid’s Marie Mullen Bursary, and<br />

directed Laura Hennessey DeSena’s The Pendulum<br />

Moon as a Druid Debut for the Galway International<br />

Arts Festival. She holds a BFA (Hons) in Musical<br />

Theatre from The Boston Conservatory and an MFA<br />

(Distinction) in Directing from The Lir Academy.<br />







Aoife O’Sullivan was born in Dublin<br />

and studied at the College of Music<br />

with Frank Heneghan and later<br />

at the RIAM with John O’Conor.<br />

She graduated from TCD with<br />

an Honours degree in Music. In<br />

September 1999 she began her studies as a Fulbright<br />

Scholar at the Curtis Institute of Music and in 2001<br />

she joined the staff there for her final two years. She<br />

was awarded the Geoffrey Parsons Trust Award for<br />

accompaniment of singers in 2005. She has worked<br />

on the music staff at Wexford Festival Opera, and on<br />

three Handel operas for Opera Theatre Company<br />

(Orlando, Xerxes, and Alcina), and for Opera Ireland<br />

on Jake Heggie’s Dead Man Walking and Britten’s<br />

A Midsummer Night’s Dream. She also worked at<br />

the National Opera Studio in London and was on<br />

the deputy coach list for the Jette Parker Young<br />

Artist Programme at the Royal Opera House, Covent<br />

Garden. She has played for masterclasses including<br />

those given by Malcolm Martineau, Ann Murray,<br />

Thomas Allen, Thomas Hampson and Anna Moffo.<br />

She worked on Mozart’s Zaide at the Britten Pears<br />

Young Artist Programme and on Britten’s Turn of the<br />

Screw for the Cheltenham Festival with Paul Kildea.<br />

She has appeared at the Wigmore Hall in concerts<br />

with Ann Murray (chamber versions of Mahler and<br />

Berg), Gweneth Ann Jeffers, Wendy Dawn Thompson<br />

and Sinéad Campbell Wallace. She is now based in<br />

Dublin where she works as a répétiteur and vocal<br />

coach at TU Dublin Conservatoire and also regularly<br />

for INO.<br />

Richard studied at Maynooth<br />

University, the Royal Irish Academy<br />

of Music and the Guildhall School<br />

of Music and Drama, London.<br />

He was a trainee répétiteur at<br />

English National Opera and since<br />

then he has worked with companies including Irish<br />

National Opera, Northern Ireland Opera, Wide Open<br />

Opera, Opera Theatre Company and Lyric Opera.<br />

Previous productions with these companies include<br />

Bizet’s Carmen (INO and Lyric Opera), Donnacha<br />

Dennehy and Enda Walsh’s The First Child (Landmark<br />

Productions/INO), Gerald Barry’s Alice’s Adventures<br />

Under Ground (INO), Beethoven’s Fidelio (Lyric<br />

Opera), Rossini’s The Barber of Seville (Lyric Opera,<br />

Wide Open Opera and English National Opera),<br />

Mozart’s The Magic Flute (INO), Bartók’s Bluebeard’s<br />

Castle (INO), Donnacha Dennehy and Enda Walsh’s<br />

The Second Violinist (Landmark Productions/INO),<br />

Verdi’s La traviata (English National Opera and Lyric<br />

Opera), Puccini’s Madama Butterfly (Lyric Opera),<br />

Puccini’s La bohème (Opera Theatre Company,<br />

English National Opera and Lyric Opera), Donnacha<br />

Dennehy and Enda Walsh’s The Last Hotel (Landmark<br />

Productions/Wide Open Opera), Verdi’s Rigoletto<br />

(Opera Theatre Company), Donizetti’s L’Elisir d’amore<br />

(Opera Theatre Company and Northern Ireland<br />

Opera) and John Adams’s Nixon in China (Wide<br />

Open Opera). Richard is a répétiteur in the vocal<br />

department at the TU Dublin Conservatoire and is a<br />

coach for the INO Opera Studio.<br />




Anna Weiss-Tuite is senior German<br />

language lecturer and coach of<br />

German diction for second- and<br />

third-year Vocal Studies students,<br />

and also at Masters level at the<br />

Royal Irish Academy of Music. She<br />

makes her INO debut with <strong>Der</strong> <strong>Rosenkavalier</strong>.<br />




Celine Byrne, who won First Prize<br />

and gold medal at the Maria Callas<br />

International Grand Prix in Athens in<br />

2007, is an INO Artistic Partner and<br />

made her company debut in the title<br />

role of Puccini’s Madama Butterfly<br />

in 2019. Other INO appearances include Micaëla in<br />

Bizet’s Carmen and a concert performance of Mimì in<br />

Puccini’s La bohème (released by Signum Records).<br />

Other recent performances include Madama<br />

Butterfly (Bregenz Festival), Magda in Puccini’s<br />

La rondine (Minnesota Opera), Madama Butterfly<br />

(Staatstheater Kassel), Die Marschallin in Strauss’s<br />

<strong>Der</strong> <strong>Rosenkavalier</strong> (Santiago), Marietta/Marie in<br />

Korngold’s Die tote Stadt (RTÉ NSO), Donna Elvira in<br />

Mozart’s Don Giovanni (Israeli Opera), the title role in<br />

Puccini’s Tosca (Mikhailovsky Opera, St Petersburg),<br />

Liù in Puccini’s Turandot (Oper Leipzig and Deutsche<br />

Oper am Rhein), Elisabeth in Verdi’s Don Carlo<br />

(Deutsche Oper am Rhein) and Mimì in La bohéme<br />

(Hamburg State Opera). She made her operatic debut<br />

in 2010 as Mimì with Scottish Opera in a production<br />

that also came to the Bord Gáis Energy Theatre. She<br />

made her debut at the Royal Opera House, Covent<br />

Garden, in Dvořák’s Rusalka in 2012, taking over the<br />

role at short notice. She returned to sing First Flower<br />

Maiden in Wagner’s Parsifal followed by Micaëla in<br />

Carmen. Future engagements include Micaëla in<br />

Carmen (Lyric Opera Kansas), Mimì (Deutsche Oper<br />

am Rhein) and Madama Butterfly (Bregenz Festival<br />

and Zurich Opera House). Engagements lost due to<br />

Covid–19 included her debut at the Opéra national<br />

de Paris.<br />






Irish mezzo-soprano Paula Murrihy<br />

enjoys a busy career at the highest<br />

level in both Europe and the US.<br />

She was previously a member of the<br />

ensemble at Oper Frankfurt, where<br />

her roles included the title role in<br />

Bizet’s Carmen in Barrie Kosky’s iconic production,<br />

Octavian in Strauss’s <strong>Der</strong> <strong>Rosenkavalier</strong>, and the title<br />

role in Fauré’s Pénélope. Highlights of recent years<br />

include the title role in Carmen for INO, her house<br />

debut at the Bolshoi Theatre, Moscow, in the title of<br />

Handel’s Ariodante, her debut at the Metropolitan<br />

Opera as Stéphano in Gounod’s Roméo et Juliette,<br />

a return to Santa Fe Opera as Ruggiero in Handel’s<br />

Alcina and Orlofsky in Johann Strauss II’s Die<br />

Fledermaus, and the Salzburg Festival as Idamante in<br />

Peter Sellars’s production of Mozart’s Idomeneo. She<br />

recently made her debut at the Gran Teatre del Liceu<br />

in Barcelona as Komponist in Strauss’s Ariadne auf<br />

Naxos, returned to the Palau de les Arts Reina Sofía<br />

as Nicklausse in Offenbach’s Les Contes d’Hoffmann,<br />

appeared with the Dutch National Opera as Octavian<br />

<strong>Der</strong> <strong>Rosenkavalier</strong>, at Zurich Opera House as<br />

Concepcion in Ravel’s L’heure espagnole and at the<br />

Teatro Real in Madrid as Countess of Essex in Britten’s<br />

Gloriana. She works regularly with MusicAeterna and<br />

Teodor Currentzis, and toured with them in Mozart’s<br />

Da Ponte operas. In her 2022–23 season she sings<br />

Carmen at the Royal Danish Opera, returns to the<br />

Royal Opera House in London as Elvira in Mozart’s<br />

Don Giovanni, Oper Frankfurt as Dejanira in Handel’s<br />

Hercules, and Santa Fe Opera as Messaggeria in<br />

Monteverdi’s Orfeo.<br />


BASS<br />


German bass Andreas Bauer<br />

Kanabas’s repertoire includes Verdi<br />

roles such as Philippe II in Don<br />

Carlos, Zaccaria in Nabucco, Fiesco<br />

in Simon Boccanegra, De Silva in<br />

Ernani and Padre Guardiano in La<br />

forza del destino, as well as Wagner roles such as King<br />

Marke in Tristan und Isolde, King Henry in Lohengrin,<br />

Landgrave Hermann in Tannhäuser, Veit Pogner<br />

in Die Meistersinger and Daland in <strong>Der</strong> fliegende<br />

Holländer. He also sings Mephisto in Gounod’s Faust,<br />

the title role in Bartók’s Bluebeard’s Castle, Vodnik in<br />

Dvořák’s Rusalka, Gremin in Tchaikovsky’s Eugene<br />

Onegin, King René in Tchaikovsky’s Iolanta, Escamillo<br />

in Bizet’s Carmen and Mozart roles such as Sarastro<br />

in Die Zauberflöte, Osmin in Die Entführung aus dem<br />

Serail and Commendatore in Don Giovanni. He has<br />

sung in Vienna, London, Paris, Moscow, Seattle, Tokyo,<br />

Munich and at all three opera houses in Berlin. He<br />

has been a member of the ensemble at the Frankfurt<br />

Opera since 2013. During the global Covid–19<br />

shutdown he was lucky enough to perform in Rusalka<br />

at the Teatro Real Madrid. Recent engagements<br />

brought him back to Antwerp and Ghent as De Silva in<br />

Ernani, saw his debut at the Hamburg State Opera as<br />

Rocco in Beethoven’s Fidelio, and Pogner in Wagner’s<br />

Die Meistersinger in Tokyo is imminent. In 2015 he<br />

sang Eremit in <strong>Der</strong> Freischütz in a new production<br />

of the Semperoper Dresden under the direction of<br />

Christian Thielemann. He makes his INO debut and<br />

his role debut as Baron Ochs in this production.<br />




SOPHIE<br />

Irish soprano Claudia Boyle has<br />

secured a stellar international<br />

profile through highly-acclaimed<br />

performances in Paris, Zurich,<br />

Rome and New York. She recently<br />

made her house debut at Opéra<br />

national de Paris as Dede in Bernstein’s A Quiet Place<br />

conducted by Kent Nagano and directed by Krzysztof<br />

Warlikowski. Career highlights include Konstanze<br />

in Mozart’s Die Entführung aus dem Serail at Teatro<br />

dell’Opera di Roma and Komische Oper Berlin, Alice<br />

in Gerald Barry’s Alice’s Adventures Under Ground<br />

at The Royal Opera House, Covent Garden, under<br />

Thomas Adès, Adina in Donizetti’s L’elisir d’amore<br />

at Semperoper Dresden and Norwegian National<br />

Opera, Leila in Bizet’s The Pearl Fishers for English<br />

National Opera, Tytania in Britten’s A Midsummer<br />

Night’s Dream conducted by James Conlon at Teatro<br />

dell’Opera di Roma, and the title role in Donizetti’s<br />

Lucia di Lammermoor with Danish National Opera.<br />

She performed the roles of Olympia, Antonia, Giulietta<br />

and Stella in Offenbach’s The Tales of Hoffman for<br />

Irish National Opera and made her debut as Verdi’s<br />

Gilda in Rigoletto at Teatro dell’Opera di Roma under<br />

Renato Palumbo to overwhelming audience and<br />

critical acclaim. Her blossoming concert career has<br />

taken her to Tokyo, São Paolo and Ankara. She has<br />

appeared at the Salzburg Festival in Cherubini’s<br />

Chant sur la mort de Joseph Haydn under Riccardo<br />

Muti, and with NHK Symphony Orchestra in Mahler’s<br />

Symphony No. 8 under Paavo Järvi.<br />




With a voice described by Bachtrack<br />

as “gloriously lyrical”, Australian<br />

baritone Samuel Dale Johnson has<br />

established a reputation as one<br />

of the leading young baritones of<br />

today. While in the Royal Opera<br />

House’s Jette Parker Young Artists Programme<br />

his numerous roles included Moralès in Bizet’s<br />

Carmen, Silvio in Leoncavallo’s Pagliacci, Albert<br />

in Massenet’s Werther and Leuthold in Rossini’s<br />

Guillaume Tell. While at Covent Garden, he made<br />

his London Symphony Orchestra debut in Thomas<br />

Adès’s orchestral work Brahms, conducted by<br />

the composer. He is currently a member of the<br />

ensemble of Deutsche Oper Berlin where his roles<br />

in the 2022–23 season include Escamillo in Bizet’s<br />

Carmen, Peter in Humperdinck’s Hänsel und Gretel<br />

on tour to the Royal Opera House Muscat, Marcello in<br />

Puccini’s La bohème, Angelotti in Puccini’s Tosca and<br />

Ostasio in Zandonai’s Francesca da Rimini. He will<br />

also make house debuts with the Opéra de Rouen and<br />

the Glyndebourne Festival as Demetrius in Britten’s<br />

A Midsummer Night’s Dream. In concert, he made<br />

his debut with the National Symphony Orchestra in<br />

Dublin in Orff’s Carmina burana. Previous roles at the<br />

Deutsche Oper Berlin include the title role in Mozart’s<br />

Don Giovanni, Demetrius in Britten’s A Midsummer<br />

Night’s Dream, Figaro in Rossini’s Il barbiere di<br />

Siviglia, and Matthieu in Giordano’s Andrea Chénier.<br />

Other highlights of recent seasons include his US<br />

debut as the Count in Mozart’s Il nozze di Figaro at<br />

Santa Fe Opera, and Belcore in Donizetti’s L’elisir<br />

d’amore for both the Opéra National de Bordeaux<br />

and Zurich Opera House. He makes his INO debut in<br />

<strong>Der</strong> <strong>Rosenkavalier</strong>.<br />






Dublin soprano Rachel Croash<br />

is an alumna of the INO Opera<br />

Studio. Roles for INO include<br />

Mathilde in Rossini’s William Tell,<br />

Frasquita in Bizet’s Carmen, Andi<br />

in Hannah Peel’s Close, Clorinda in<br />

Rossini’s La Cenerentola, First Lady in Mozart’s The<br />

Magic Flute, Kate Pinkerton in Puccini’s Madama<br />

Butterfly, Mademoiselle Silberklang in Mozart’s The<br />

Opera Director and Woman in Evangelia Rigaki’s<br />

This Hostel Life. Other roles include Marzelline<br />

in Beethoven’s Fidelio, Musetta in Puccini’s La<br />

Bohéme, Mabel in Gilbert & Sullivan’s The Pirates<br />

of Penzance and Valencienne in Lehár’s The Merry<br />

Widow (Lyric Opera), Mimí in La bohéme, Fiordiligi<br />

in Mozart’s Così fan tutte, Susanna in Mozart’s Le<br />

nozze di Figaro and Frasquita in Bizet’s Carmen (Cork<br />

Opera House), Elvira in Rossini’s L’italiana in Algeri<br />

and Fiordiligi in Così fan tutte (Blackwater Valley<br />

Opera Festival), Serafina in Donizetti’s Il campanello,<br />

Dew Fairy in Humperdinck’s Hansel and Gretel and<br />

Annina in Verdi’s La traviata (Wexford Festival Opera<br />

ShortWorks), Mrs Coyle in Britten’s Owen Wingrave<br />

(Opera Collective Ireland), Susanna in Wolf-Ferrari’s<br />

Susanna’s Secret and Úna in Robert O’Dwyer’s Eithne<br />

(Opera Theatre Company), and Amore in Gluck’s<br />

Orfeo ed Euridice (Festspiele Immling). Concert<br />

highlights include Barber’s Knoxville: Summer of<br />

1915 with the RTÉ National Symphony Orchestra and<br />

performances with the RTÉ Concert Orchestra, City<br />

of Dublin Chamber Orchestra, Great Music in Irish<br />

Houses and Music for Galway. Rachel has performed<br />

at Áras an Uachtaráin for The President of Ireland<br />

Michael D Higgins and has sung at the National Day<br />

of Commemoration Service at Collins Barracks.<br />


TENOR<br />


English tenor Peter Van Hulle’s<br />

many operatic engagements have<br />

included Hotel Porter in Britten’s<br />

Death in Venice (La Scala, Milan,<br />

La Monnaie, Brussels, Dutch<br />

National Opera and English National<br />

Opera), Pang in Puccini’s Turandot, Snout in Britten’s<br />

A Midsummer Night’s Dream and Shepherd in<br />

Wagner’s Tristan und Isolde (all ENO), <strong>Der</strong> Narr in<br />

Berg’s Wozzeck (ENO and BBC Symphony Orchestra),<br />

Charles Lamb in Sally Beamish’s Monster, Rector in<br />

Britten’s Peter Grimes, Schoolmaster in Janáček’s<br />

The Cunning Little Vixen, Monostatos in Mozart’s Die<br />

Zauberflöte, Goro in Puccini’s Madama Butterfly,<br />

Chaplitsky in Tchaikovsky’s The Queen of Spades, Dr<br />

Caius in Verdi’s Falstaff and First Brother in Weill’s The<br />

Seven Deadly Sins (all Scottish Opera), and Sir Bruno<br />

Robertson in Bellini’s I puritani and Valzacchi in<br />

Strauss’s <strong>Der</strong> <strong>Rosenkavalier</strong> (Welsh National Opera).<br />

His performance in Death in Venice is available<br />

on Opus Arte DVD, and other recordings include<br />

Schoolmaster, Mosquito and Grasshopper in The<br />

Cunning Little Vixen with the Deutsches Symphonie-<br />

Orchester Berlin (Kent Nagano/BBC TV). Recent<br />

engagements include Schoolmaster in Janáček’s<br />

The Cunning Little Vixen (WNO), Time/Peter Doody<br />

in Monckton and Talbot’s The Arcadians (Opera della<br />

Luna), Torquemada in Ravel’s L’Heure espagnole (Mid<br />

Wales Opera), and Eisenstein in Johann Strauss II’s<br />

Die Fledermaus (West Green House). He makes his<br />

INO debut in <strong>Der</strong> <strong>Rosenkavalier</strong>.<br />




ANNINA<br />

Carolyn Holt is from a farming<br />

background in Kildare. She made<br />

her Irish National Opera debut as<br />

The Voice in Offenbach’s The Tales<br />

of Hoffmann, for which she received<br />

critical acclaim. Bachtrack wrote<br />

“Carolyn Holt as the voice of Antonia’s mother stood<br />

out with her rich and seductive mezzo-soprano”.<br />

She covered the role of Mrs Sedley in the Royal<br />

Opera House’s five-star production of Britten’s Peter<br />

Grimes in 2022, and has recently performed with<br />

Garsington Opera, Scottish Opera and Welsh National<br />

Opera. She sang the role of Sister Helen Prejean in<br />

the UK stage premiere of Jake Heggie’s Dead Man<br />

Walking in Glasgow, also to great critical acclaim.<br />

Opera magazine wrote: “Carolyn Holt’s Sister Helen<br />

was impeccably sung, sensitively acted and never<br />

less than sincere”. She has enjoyed recent success<br />

in competitions, particularly the Veronica Dunne<br />

International Singing Competition, in which she was<br />

awarded the <strong>Der</strong>mot Troy Prize for the best Irish<br />

singer in 2019, and one of the first Veronica Dunne<br />

Bursaries of €5000 in 2020. Other competition<br />

successes include the Grange International Singing<br />

Competition (semi-finalist), Bampton Opera Young<br />

Singers’ Competition (second place) and the NI Opera<br />

Festival of Voice (audience prize). Carolyn, who has<br />

been praised in concert for her “wonderfully dark, rich<br />

tone,” is in demand as a soloist with orchestras and<br />

choral societies throughout the UK and Ireland.<br />


TENOR<br />

SINGER<br />

The Colombian tenor César Cortés<br />

completed his master degree in<br />

2019 with Marta Mathéu at the<br />

Liceu Conservatory in Barcelona.<br />

He has won prizes in various<br />

competitions: the Colombian<br />

National Singing Competition with the Orquesta<br />

Filarmónica de Bogotá in 2016 and the Concurs de<br />

Cant Josep Palet in 2017. In 2019 he was awarded<br />

the International BelCanto Prize as best emerging<br />

voice at the Rossini Festival in Wildbad. He made his<br />

operatic debut at Ópera de Colombia in Rossini’s La<br />

cambiale di matrimonio. Since moving to Spain he<br />

performed at Teatro de Sarrià in Rossini’s Il Signor<br />

Bruschino and L’inganno felice; Òpera de Sabadell<br />

in Mozart’s’s Così fan tutte, Leoncavallo’s Pagliacci<br />

and Donizetti’s L’elisir d’amore; in Rossini’s La<br />

Cenerentola (which he studied with Teresa Berganza),<br />

and Mozart’s Die Zauberflöte at the Palau de la<br />

Musica (which he studied with Francisco Araiza).<br />

Other international engagements include: Rossini’s<br />

Il barbiere di Siviglia in Reggio Emilia, Bologna and<br />

Mannheim; La Cenerentola in Stockholm and Bonn;<br />

Bellini’s La sonnambula, Mozart’s La clemenza di<br />

Tito and Donizetti’s Don Pasquale in Oldenburg; Don<br />

Pasquale in Trieste; Auber’s La muette de Portici,<br />

Rossini’s Il viaggio a Reims, Berlioz’s Les Troyens,<br />

Mozart’s La finta giardiniera and Die Zauberflöte in<br />

Kiel; and Donizetti’s Lucia di Lammermoor at Liceu in<br />

Barcelona. He makes his Irish National Opera in <strong>Der</strong><br />

<strong>Rosenkavalier</strong>.<br />






David Howes is a bass-baritone<br />

from Limerick where he studied with<br />

Olive Cowpar, before completing the<br />

BMus at the DIT (now TU Dublin)<br />

Conservatory of Music and Drama.<br />

Since 2021 he has been a member<br />

of the International Opera Studio at Oper Köln. He<br />

was previously a member of the INO Opera Studio,<br />

the Wexford Factory at Wexford Festival Opera and<br />

the Young Artist Programme with Northern Ireland<br />

Opera. With Oper Köln he has performed the roles<br />

of <strong>Der</strong> Kerkermeister in Orff’s Die Kluge, the Hunter<br />

in Dvořák’s Rusalka, Deninskin in York Höller’s<br />

<strong>Der</strong> Meister und Margarita, Gottfried Klepperbein<br />

in Ivan Eröd’s Pünktchen und Anton and Fiorillo in<br />

Rossini’s Il barbiere di Siviglia. Other opera roles<br />

include Don Fernando in Beethoven’s Fidelio (INO),<br />

Badger and Parson in Janáček’s The Cunning Little<br />

Vixen (Longborough Festival Opera Emerging Artist<br />

Programme), Doganiere in Puccini’s La bohème (INO),<br />

Robert Coleman’s The Colour Green (INO’s 20 Shot of<br />

Opera), Count Ceprano in Verdi’s Rigoletto (OTC), Buff<br />

in Mozart’s <strong>Der</strong> Schauspieldirektor (INO), the title role<br />

in Hans Krása’s Brundibár (Killaloe Chamber Music<br />

Festival), Marchese d’Obigny in Verdi’s La traviata<br />

(Lyric Opera), the title role Mozart’s in Le nozze di<br />

Figaro (Zerere Arts Festival, Portugal), Sciarrone in<br />

Puccini’s Tosca (Wexford Festival Opera ShortWorks),<br />

Father Truelove in Stravinsky’s The Rake’s Progress,<br />

Quince in Britten’s A Midsummer Night’s Dream, Craig<br />

Hella Johnson’s Considering Matthew Shepard (WDR<br />

Funkhausorchester), and an appearance at the Höri<br />

Musiktage festival in Öhningen.<br />


ACTOR<br />


Vlad Volk was born in Odesa,<br />

Ukraine. He studied at the Kyiv<br />

National I. K. Karpenko-Kary<br />

Theatre and Cinema University. He<br />

moved to Ireland because of the<br />

war in Ukraine, and is continuing his<br />

education at Bow Street Academy, Dublin. Previous<br />

performances in theatre and film include Vanya in<br />

My Mermaid, My Lorelei (2013), Waif in Oleksandr<br />

Dovzhenko (2014), Syoma in Anka s Moldavanki<br />

(2015) and Vanya in the play Family scenes at Odesa<br />

V. Vasilko Academic Music and Drama Theatre. This<br />

is his first acting role in an opera.<br />




The Irish National Opera Orchestra is made up of<br />

leading freelance musicians based in Ireland. Members<br />

of the orchestra have a broad range of experience<br />

playing operatic, symphonic, chamber and new music<br />

repertoire. The orchestra plays for contemporary<br />

opera productions – Thomas Adès’s Powder her<br />

Face and Brian Irvine and Netia Jones’s Least Like<br />

the Other – as well as chamber reductions of larger<br />

scores – Offenbach’s The Tales of Hoffmann and<br />

Humperdinck’s Hansel and Gretel. The orchestra,<br />

which appeared in its largest live formation to date in<br />

Rossini’s Cinderella/La Cenerentola at the Bord Gáis<br />

Energy Theatre in Dublin in 2019, numbered even<br />

more – 79 players – for the sessions to produce the<br />

soundtrack for INO’s spectacular, site-specific, outdoor<br />

production of Strauss’s Elektra at Kilkenny Arts Festival<br />

in 2021. The Irish National Opera Orchestra has been<br />

heard in 17 venues throughout Ireland.<br />


Irish National Opera Chorus is a flexible ensemble<br />

of professional singers that has ranged in number<br />

from four, in Gluck’s Orfeo ed Euridice, to 60, in<br />

Verdi’s Aida. The chorus is a valuable training ground<br />

for many emerging singers and has been heard in<br />

venues large and small throughout Ireland as well as<br />

internationally. The membership is mostly drawn from<br />

singers based in Ireland. Members are frequently<br />

offered solo roles, and for INO’s touring production<br />

of Offenbach’s The Tales of Hoffmann most were<br />

also heard in a principal role. Membership of Irish<br />

National Opera’s chorus is often a springboard to<br />

greater involvement in the company’s productions.<br />

For larger works Irish National Opera collaborates with<br />

TU Dublin Conservatory of Music and Drama and the<br />

Royal Irish Academy of Music whose senior students<br />

are offered positions in the chorus, usually in tandem<br />

with specially devised professional development<br />

<strong>programme</strong>s for emerging singers. Over the course<br />

of INO’s first two years, the company has offered 200<br />

chorus contracts to over 80 individual singers.<br />



Verdi’s Falstaff on Saturday 1 April<br />

3 SEASON<br />

The Metropolitan Opera’s award-winning series of live cinema transmissions returns this fall<br />

with a lineup of ten spectacular stagings, including seven new productions.<br />

WAGNER<br />

Lohengrin<br />

MAR 18<br />

VERDI<br />

Falstaff<br />

APR 1<br />


<strong>Der</strong> <strong>Rosenkavalier</strong><br />

APR 15<br />


Champion<br />

APR 29<br />

MOZART<br />

Don Giovanni<br />

MAY 20<br />

MOZART<br />

Die Zauberflöte<br />

JUN 3<br />

For more information see<br />

www.irishnationalopera.ie<br />

metopera.org/hd<br />

The Met: Live in HD series is made possible by<br />

a generous grant from its founding sponsor<br />

Digital support of The Met:<br />

Live in HD is provided by<br />

The Met: Live in HD<br />

series is supported by<br />

The HD broadcasts<br />

are supported by


Anonymous<br />

Desmond Barry & John Redmill<br />

Valerie Beatty & Dennis Jennings<br />

Mark & Nicola Beddy<br />

Carina & Ali Ben Lmadani<br />

Mary Brennan<br />

Angie Brown<br />

Breffni & Jean Byrne<br />

Jennifer Caldwell<br />

Seán Caldwell & Richard Caldwell<br />

Caroline Classon, in memoriam<br />

David Warren, Gorey<br />

Audrey Conlon<br />

Gerardine Connolly<br />

Jackie Connolly<br />

Gabrielle Croke<br />

Sarah Daniel<br />

Maureen de Forge<br />

Doreen Delahunty & Michael Moriarty<br />

Joseph Denny<br />

Kate Donaghy<br />

Marcus Dowling<br />

Mareta & Conor Doyle<br />

Noel Doyle & Brigid McManus<br />

Michael Duggan<br />

Catherine & William Earley<br />

Jim & Moira Flavin<br />

Ian & Jean Flitcroft<br />

Anne Fogarty<br />

Maire & Maurice Foley<br />

Roy & Aisling Foster<br />

Howard Gatiss<br />

Genesis<br />

Hugh & Mary Geoghegan<br />

Diarmuid Hegarty<br />

M Hely Hutchinson<br />

Gemma Hussey<br />

Kathy Hutton & David McGrath<br />

Nuala Johnson<br />

Susan Kiely<br />

Timothy King & Mary Canning<br />

J & N Kingston<br />

Kate & Ross Kingston<br />

Silvia & Jay Krehbiel<br />

Karlin Lillington & Chris Horn<br />

Stella Litchfield<br />

Jane Loughman<br />

Rev Bernárd Lynch & Billy Desmond<br />

Lyndon MacCann S.C.<br />

Phyllis Mac Namara<br />

Tony & Joan Manning<br />

R. John McBratney<br />

Ruth McCarthy, in memoriam Niall<br />

& Barbara McCarthy<br />

Petria McDonnell<br />

Jim McKiernan<br />

Tyree & Jim McLeod<br />

Jean Moorhead<br />

Sara Moorhead<br />

Joe & Mary Murphy<br />

Ann Nolan & Paul Burns<br />

F.X. & Pat O’Brien<br />

James & Sylvia O’Connor<br />

John & Viola O’Connor<br />

Joseph O’Dea<br />

Dr J R O’Donnell<br />

Deirdre O’Donovan & Daniel Collins<br />

Diarmuid O’Dwyer<br />

Patricia O’Hara<br />

Annmaree O’Keefe & Chris Greene<br />

Carmel & Denis O’Sullivan<br />

Líosa O’Sullivan & Mandy Fogarty<br />

Hilary Pratt<br />

Sue Price<br />

Landmark Productions<br />

Riverdream Productions<br />

Nik Quaife & Emerson Bruns<br />

Margaret Quigley<br />

Patricia Reilly<br />

Dr Frances Ruane<br />

Catherine Santoro<br />

<strong>Der</strong>mot & Sue Scott<br />

Yvonne Shields<br />

Fergus Sheil Sr<br />

Gaby Smyth<br />

Matthew Patrick Smyth<br />

Bruce Stanley<br />

Sara Stewart<br />

The Wagner Society of Ireland<br />

Julian & Beryl Stracey<br />

Michael Wall & Simon Nugent<br />

Brian Walsh & Barry Doocey<br />

Judy Woodworth<br />




Opera is our passion. And we want to share that<br />

passion. Not just through live events in cities and towns,<br />

large and small, but also through educational initiatives<br />

in schools and colleges, and community activities that<br />

appeal to young and old alike.<br />


We take our productions to all corners of the land, from Dublin<br />

to Galway, Tralee to Letterkenny, Wexford to Sligo. Projects such<br />

as our site-specific production of Strauss’s Elektra in Kilkenny’s<br />

Castle Yard offer a unique way of engaging with our work. INO<br />

has developed its digital output and grown its online content. You<br />

can come to us wherever you happen to be. Our innovative online<br />

project 20 Shots of Opera was highly praised, as also were our film<br />

productions of Gerald Barry’s Alice’s Adventures Under Ground,<br />

Peter Maxwell Davies’s The Lighthouse and Amanda Feery’s<br />

A Thing I Cannot Name. Outdoor screenings take our filmed<br />

productions to some of the most remote corners of Ireland and<br />

our revamped Street Art projected operas will allow us to increase<br />

our reach. Our partnership with Signum Records brings highresolution<br />

recordings of our work to new audiences worldwide.<br />

Image: Watching Peter Maxwell Davies’s<br />

The Lighthouse at Hook Head<br />



In June, our first youth opera, David Coonan and Dylan Coburn<br />

Gray’s Horse Ape Bird, gave young people the experience of<br />

performing in a professional operatic production. Our groundbreaking<br />

virtual reality community opera, Finola Merivale’s Out of<br />

the Ordinary/As an nGnách premiered at the Kilkenny Arts Festival<br />

and was also seen at Dublin Fringe Festival. It’s a voyage into the<br />

unknown and places people from diverse communities directly at<br />

the heart of the creative process. In October our World Opera Day<br />


“Irish National Opera is one<br />

of the great success stories...<br />

it is a dazzling achievement.”<br />


pop-up chorus allowed 100 choristers and opera enthusiasts to workshop and perform with<br />

a professional orchestra and soloists. Our pre-performance In Focus talks delve into varied<br />

aspects of opera with opera makers, from the histories of specific works, the development of<br />

the characters and the issues facing performers and composers.<br />


The professional development and employment of Irish artists are key to the success of Irish<br />

National Opera itself. The Irish National Opera Studio is our artistic development <strong>programme</strong>.<br />

It provides specially-tailored training, professional mentoring and high-level professional<br />

engagements for singers, répétiteurs, conductors, directors and composers whose success<br />

is crucial to the future development of opera in Ireland. We also work with third-level music<br />

students through workshops designed to give them a fuller understanding of the inner workings<br />

of the world of opera, that heady mixture of musical, artistic, theatrical and management skills<br />

that make possible the magic that is opera. Colleges and universities we have worked with<br />

include University College Dublin, National College of Art and Design, Maynooth University,<br />

NUI Galway, TU Dublin and the Royal Irish Academy of Music.<br />


We are at the forefront of operatic innovation. Our award-winning virtual reality community opera<br />

Out of the Ordinary/As an nGnách uses new technologies to widen participation in the arts at<br />

community level. It explores the cutting-edge relationship between opera and digital technology.<br />

In <strong>2023</strong> we will bring this ground-breaking work on a national tour to all 32 counties. We recently<br />

won a major grant from FEDORA to develop a cutting-edge Street Art Performance app that<br />

has the potential to redraw the reach of performing arts and improve accessibility in the sector.<br />

Watch out for its availability on Google’s Play Store and Apple’s App Store.<br />


Our commissioned works explore issues from climate change to mental health. We present opera<br />

in thought-provoking and relevant ways. We nurture and develop emerging talent to ensure that<br />

the Irish opera landscape provides equitable opportunities and pay. We champion gender equality<br />

in the creative teams we work with. Opera is for everyone, and we are committed to inclusivity and<br />

diversity. Everyone, regardless of socio-economic, ethnic or national background, or physical and<br />

mental challenges, should have access and the opportunity to participate in opera.<br />




STUDIO MEMBERS 2022–23<br />









The Irish National Opera Studio is key to delivering a core<br />

aspect of INO’s mission, the development of the very best<br />

operatic talent we can find in Ireland. The studio is the<br />

company’s artistic development <strong>programme</strong>. The membership<br />

is selected annually, and the studio provides specially tailored<br />

training, professional mentoring and high-level professional<br />

engagements for a group of individuals whose success will be<br />

key to the future development of opera in Ireland.<br />

Members of Irish National Opera Studio are involved in all<br />

of Irish National Opera’s productions, large and small. They<br />

sing onstage in roles or in the chorus, understudy lead roles<br />

– enabling them to watch and emulate great artists at work –<br />

and, for non-singing members, they join in the world of opera<br />

rehearsals as assistants.<br />

Studio members also receive individual coaching, attend<br />

masterclasses and receive mentorship from leading Irish and<br />

international singers and musicians. Brenda Hurley, Head of<br />

Opera at the Royal Academy of Music, London, is the vocal<br />

consultant who guides our singers throughout the year.<br />

Other areas of specific attention are performance and<br />

language skills, and members are assisted in their individual<br />

personal musical development and given professional career<br />

guidance. They benefit from Irish National Opera’s national<br />

and international contacts and Irish National Opera Studio<br />

also develops and promotes specially tailored events to help<br />

the members hone specific skills and showcase their work.<br />

For information contact Studio & Outreach Producer<br />

James Bingham at james@irishnationalopera.ie<br />


Success for 2018–19 INO Opera<br />

Studio artist, Amy Ní Fhearraigh,<br />

at her Royal Opera House debut<br />

in the UK premiere of INO’s<br />

production of Brian Irvine and<br />

Netia Jones’s Least Like The Other –<br />

Searching For Rosemary Kennedy.<br />

“a tour de force”<br />


“superbly sung by the young Irish<br />

soprano Amy Ní Fhearraigh”<br />


“the remarkable Amy Ní Fherraigh”<br />


“Amy Ní Fhearraigh incarnates<br />

Rosemary with pathos and<br />

delicately inflected persuasiveness”<br />



INO TEAM<br />

Pauline Ashwood<br />

Acting Artistic Administrator<br />

James Bingham<br />

Studio & Outreach Producer<br />

Sorcha Carroll<br />

Marketing Manager<br />

Aoife Daly<br />

Development Manager<br />

Diego Fasciati<br />

Executive Director<br />

Lea Försterling<br />

Digital Communications<br />

Manager (Maternity Cover)<br />

Cate Kelliher<br />

Business & Finance Manager<br />

Elaine Kelly<br />

Resident Conductor<br />

Audrey Keogan<br />

Development Assistant<br />

Anne Kyle<br />

Stage Manager<br />

Patricia Malpas<br />

Project Administrator<br />

James Middleton<br />

Orchestra & Chorus Manager<br />

Gavin O’Sullivan<br />

Head of Production<br />

Fergus Sheil<br />

Artistic Director<br />

Sarah Thursfield<br />

Marketing Executive<br />

Paula Tierney<br />

Company Stage Manager<br />

Board of Directors<br />

Jennifer Caldwell (Chair)<br />

Tara Erraught<br />

Gerard Howlin<br />

Dennis Jennings<br />

Gary Joyce<br />

Sara Moorhead<br />

Suzanne Nance<br />

Ann Nolan<br />

Bruce Stanley<br />

Jonathan Friend<br />

Artistic Advisor<br />

Irish National Opera<br />

69 Dame Street<br />

Dublin 2 | Ireland<br />

T: 01–679 4962<br />

E: info@irishnationalopera.ie<br />

irishnationalopera.ie<br />

@irishnationalopera<br />

@irishnatopera<br />

@irishnationalopera<br />

Company Reg No.: 601853<br />

Registered Charity: 22403<br />

(RCN) 20204547<br />




Passion...Duty...Heartbreak<br />


22 APRIL – 14 MAY <strong>2023</strong><br />





Hurra! Ihre Datei wurde hochgeladen und ist bereit für die Veröffentlichung.

Erfolgreich gespeichert!

Leider ist etwas schief gelaufen!