INO Mezzo Masterpieces Sharon Carty Programme Book

MEZZO MASTERPIECES #1
SHARON
CARTY
CASTLETOWN HOUSE

IRISH NATIONAL OPERA
PRINCIPAL FUNDER
CORPORATE
PARTNER
MEZZO MASTERPIECES #1
SHARON
CARTY
AN IRISH NATIONAL OPERA PRODUCTION
SHARON CARTY MEZZO-SOPRANO
KELLI-ANN MASTERSON SOPRANO
IRISH NATIONAL OPERA ORCHESTRA
CLAIRE DUFF VIOLIN/DIRECTOR
LIVE STREAMED FROM CASTLETOWN HOUSE
CELBRIDGE, CO. KILDARE
ACKNOWLEDGEMENTS
Rosemary Collier, Mary Heffernan, Kevina Dunne,
Linda Gillen Byrne and the whole team at the OPW.
SATURDAY 31 OCTOBER 2020
available until FRIDAY 13 NOVEMBER
www.irishnationalopera.ie
dice.fm account required to view
03

Sharon Carty
Kelli-Ann Masterson
Mezzo-soprano
Soprano
PRODUCTION TEAM
Lighting Designer
Kevin Smith
Audio Recording Engineer
Simon Cullen
Streaming Technician
Martin Cavanagh
Audio Producer
Benedict
Schlepper-Connolly
Fixed Rig Cameras
Kieran Quigley
Broadcast Director
Bob Corkey
IRISH NATIONAL OPERA ORCHESTRA
First Violins
Claire Duff (Director)
Marja Gaynor
Nicola Cleary
Second Violins
Anita Vedres
Rachael Masterson
Violas
Nathan Sherman
Caitríona O’Mahony
Cello
Norah O’Leary
Double Bass
Malachy Robinson
Harpsichord
David Adams
ADDITIONAL THANKS
Graphic Design
Alphabet Soup
Video Footage
Fáilte Ireland
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PROGRAMME
GEORGE FRIDERIC HANDEL 1685-1759
ALCINA 1735
Overture
GIULIO CESARE IN EGITTO 1724
Cara speme
GEORGE FRIDERIC HANDEL 1685-1759
ALCINA 1735
OVERTURE
This overture sets the tone to Handel’s literally magical opera. Expect more magic this
evening, but of the metaphorical variety.
GIULIO CESARE IN EGITTO 1724
CARA SPEME
Handel’s musical realisation is essentially a way of saying ‘hooray!’. The aria is sung by
Sesto as he rejoices in Cleopatra’s offer to help murder Tolomeo.
ANTONIO VIVALDI 1678-1741
FARNACE 1727
Gelido in ogni vena
Cara speme, questo core
tu cominci a lusingar.
Par che il ciel presti favore
i miei torti a vendicar.
My hope, this heart
You begin to flatter.
Heaven seems to be lending favour
My wrongs to avenge.
GEORGE FRIDERIC HANDEL 1685-1759
ALCINA 1735
Tornami a vagheggiar
MARC-ANTOINE CHARPENTIER 1643-1704
MÉDÉE 1693
Quel prix de mon amour
Prélude
Noires filles du Styx
Premier Air pour les démons
Seconde Entrée des démons
GEORGE FRIDERIC HANDEL 1685-1759
ALCINA 1735
Credete al mio dolore
ARIODANTE 1735
Dopo notte
ANTONIO VIVALDI 1678-1741
FARNACE 1727
GELIDO IN OGNI VENA
This truly chilling aria is sung by Farnace when he learns that he is responsible for the
death of his son. The quotation from The Four Seasons is, as you would expect, from
the concerto titled Winter.
Gelido in ogni vena
Scorrer mi sento il sangue
L’ombra del figlio esangue
M’ingombra di terror
E per maggior mia pena
Vedo che fui crudele
A un’ anima innocente
Al core del mio cor.
Like ice in every vein
I feel my blood flow
The shade of my lifeless son
Falls over me; I am terrorised.
And worse than that pain,
I see that I was cruel
to an innocent soul
To the heart of my heart.
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07

GEORGE FRIDERIC HANDEL 1685-1759
ALCINA 1735
TORNAMI A VAGHEGGIAR
The brave knight Ruggiero has been captured on an island by two sorceresses,
Alcina and Morgana, and placed under a spell which makes him fall in love with Alcina.
Tornami a vagheggiar,
te solo vuol’ amar
quest’ anima fedel,
caro, mio bene, caro!
Già ti donai il mio cor:
fido sarà il mio amor;
mai ti sarò crudel,
cara mia speme.
MARC-ANTOINE CHARPENTIER 1643-1704
Return to me to languish,
Only you it wants to love
this faithful heart,
My dear, my good one, my dear!
Already I gave you my heart:
I trust you will be my love;
but you will be too cruel,
my dear hope.
MÉDÉE 1693
QUEL PRIX DE MON AMOUR
Médée, daughter of King Aeëtes of Colchis and a sorcereress, has killed her own brother to
help her husband Jason only to find him subsequently taking an interest in another woman,
the princess Créuse. In the third scene of Act III she expresses her conflict over separation
from Jason. “What a price for my love,” she sings, “what fruit of my crimes!”
Les mouvements du sang ont voulu me surprendre
J’ay fait gloire de m’en deffendre,
Et l’oubly des serments que cent fois il m’a faits;
L’engagement nouveau que l’amour luy fait
prendre,
L’éloignement, l’exil, sont les tristes effets
De l’hommage éternel que j’en devois attendre?
Quel prix de mon amour, quel fruit de mes
forfaits!
PRÉLUDE
The commotion of my blood tried to take me
by surprise,
I made it a point of honour to defend myself,
And the oblivion of the hundredfold vows he
made to me,
The new engagement that love made him make,
Distance, exile, these are the sad results
Of the eternal tribute that I was to expect.
What a price for my love, what fruit of my crimes!
After the short, sombre prelude to Act III Scene 5 Medée invokes demons, calling
them “Black maidens of the Styx” and casts her spells.
NOIRES FILLES DU STYX
Noires filles du Styx
Divinitez tembles
Quittez vos affreuses prisons.
Venez mesler à mes poisons
La dévorante ardeur de vos feux invisibles.
PREMIÈRE AIR POUR LES DÉMONS
SECONDE ENTRÉE DES DÉMONS
Black maidens of the Styx,
Fearful divinities
Quit your awful prisons.
Come to mix with my poisons
The devouring heat of your invincible fires.
Quel prix de mon amour, quel fruit de mes forfaits,
Il craint des pleurs qu’il m’oblige à répandre
Insensible au feu le plus tendre
Qu’on ait veu s’allumer jamais;
Quand mes soupirs peuvent suspendre
L’injustice de ses projets;
Il fuit pour ne les pas entendre.
J’ay forcé devant luy cent monstres à se rendre
Dans mon cœur où regnoit une tranquille paix
Toujours prompte à tout entreprendre
J’ay sçeu de la nature effacer tous les traits.
What a price for my love, what fruit of my crimes!
He fears the tears he forces me to shed,
Unfeeling towards the most tender glow
That has ever been kindled.
When my sighs could suspend
The injustice of his projects,
He flees so as not to hear them.
I forced a hundred monsters to surrender before him
In my heart where once calm peace reigned,
Always prompt to undertake anything
I succeeded in effacing all the traits of nature.
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09

GEORGE FRIDERIC HANDEL 1685-1759
ALCINA 1735
CREDETE AL MIO DOLORE
Handel’s version of “Sorry seems to be the hardest word”. Morgana has come back to
Oronte with her tail between her legs after earlier rejecting him.
Credete al mio dolore,
luci tiranne e care!
languo per voi d’amore,
bramo da voi pietà!
Se pianger mi vedete,
se mio tesor vi chiamo,
e dite, che non v’amo,
è troppo crudeltà.
Believe my pain,
O eyes, tyrannical and dear!
I pine for you out of love,
I long for your pity.
If you see me cry,
if I call you my treasure,
and you say that I don’t love you,
it’s too cruel.
ARIODANTE 1735
DOPO NOTTE
Ariodante is rejoicing having heard the news his fiancée is not going to be executed after all.
Dopo notte, atra e funesta,
splende in ciel più vago il sole,
e di gioia empie la terra;
Mentre in orrida tempesta
il mio legno è quasi assorto,
giunge in porto, e’llido afferra.
After a night so bleak and foreboding,
the sun shines forth in the heavens,
all the dearer, as the earth fills with joy.
For in the midst of a horrid storm,
my boat has been almost submerged,
but it grasps at the shore as it returns to port.
Gluck’s Orfeo ed Euridice, July 2018.
photo: Pat Redmond
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BIOGRAPHIES
SHARON CARTY
MEZZO-SOPRANO
KELLI-ANN MASTERSON
SOPRANO
CLAIRE DUFF
VIOLIN/DIRECTOR
IRISH NATIONAL OPERA
ORCHESTRA
Irish mezzo-soprano Sharon Carty
has firmly established a reputation
as a respected interpreter of both
early and contemporary works,
and she also has a busy schedule
in mainstream opera and concert
repertoire. She is an alumna of the RIAM, Dublin,
University of Music and Performing Arts, Vienna,
and the Oper Frankfurt Young Artist programme.
She is currently an Artistic Partner to Irish National
opera, as well as being a Creative Associate on the
Arts Council’s pilot Creative Schools scheme. Her
opera repertoire includes many of the important
lyric and coloratura mezzo-soprano roles, and on
the concert platform she has sung most of the major
sacred concert works, including all the major works
of Bach, as well as Handel’s Messiah, Mozart’s Mass
in C minor, and numerous chamber-music works.
She is also a dedicated song recitalist, most recently
appearing in song recitals with pianists Finghin
Collins, Jonathan Ware and Graham Johnson. Recent
highlights include her London and Amsterdam opera
debuts with Donnacha Dennehy and Enda Walsh’s
The Second Violinist, and her Wexford Festival Opera
debut as Lucy Talbot in the European première of
William Bolcom’s Dinner at Eight. 2019 saw her tour
in the title role in Irish National Opera’s critically
acclaimed production of Gluck’s Orfeo ed Euridice,
and Bach’s St Matthew Passion in the Netherlands,
as well as her debut at the Spoleto Festival in Italy, in
Silvia Colasanti’s new opera, Proserpine. She received
critical acclaim for her first disc of Schubert Songs
with pianist Jonathan Ware, released in May 2020.
Kelli-Ann Masterson hails from
Co. Wexford and holds a BMus
Ed. from Trinity College Dublin and
a Masters in Music performance
from the DIT Conservatory of Music
and Drama. She was a member of
NI Opera’s studio 2018-19 and is a current member
of the 2020-21 ABL Aviation Opera Studio with Irish
National Opera. In 2019 she was the winner of the
Dramatic Cup and Margaret and Tony Quigley Awards
at the Feis Ceoil. She was also selected as a Rising
Star by the University Concert Hall, Limerick, and
was a company artist with Cork Opera House. She
made her Wexford Festival Opera debut last Autumn
singing the role of La Fée in a ShortWorks production
of Pauline Viardot’s Cendrillon and in the chorus in
Massenet’s Don Quichotte. She received both the
company’s PwC Bursary as an emerging Irish artist
and the Liam Healy bursary. She made her debut
with Opera Collective Ireland last year singing the
role of Vespetta in the Irish premiere of Telemann’s
Pimpinone at the Killaloe Chamber Music Festival and
the role of Donal in the world premiere of Raymond
Deane’s Vagabones. Other operatic roles include
Chloé in Offenbach’s Daphnis et Chloé (Northern
Ireland Opera), Edith in Gilbert & Sullivan’s The
Pirates of Penzance (Cork Opera House), Despina in
Mozart’s Così fan tutte (Clyde Opera Group, Glasgow),
Papagena in Mozart’s Die Zauberflöte (Lyric Opera
Studio, Weimar) and Daniel in a staged presentation
of Handel’s Susanna (DIT opera ensemble).
Internationally renowned baroque
violinist Claire Duff is in demand
as soloist, chamber musician,
leader and director. Her “stylish
solo violin playing” (Gramophone)
has been described as having “all
the excitement of a high-wire act” (The Irish Times).
In 2016 she was elected Associate of the Royal
Academy of Music, London (ARAM) for her significant
contribution to the music profession. She is leader of
the Irish Baroque Orchestra with which she regularly
performs to critical acclaim as soloist and often as
director. She has led Florilegium, I Fagiolini, English
Touring Opera, The King’s Consort and Camerata
Kilkenny and co-led the Academy of Ancient Music
and The English Concert. She has an extensive
discography, including a highly acclaimed CD of Bach’s
Double Violin Concerto with Monica Huggett and
IBO. She is passionate about baroque music and is a
fervent exponent of period instrument performance.
She is Artistic Director of the Irish Youth Baroque
Orchestra and teacher of baroque violin at the Royal
Irish Academy of Music. She has had a range of solo
works composed for her and last year she performed
Jane O’Leary’s Fantasia (homage to JS Bach) as part
of a Music Network Bach recital tour with the awardwinning
French harpsichordist, Benjamin Alard, and
a piece for modern and baroque violin composed by
Sam Perkin and performed with Diane Daly as part of
the Killaloe Chamber Music Festival.
The Irish National Opera orchestra is made up
of leading freelance musicians based in Ireland.
Members of the orchestra have a broad range of
experience playing operatic, symphonic, chamber
and new music repertoire. The orchestra plays for
contemporary opera productions – Thomas Adès’s
Powder Her Face and Brian Irvine’s Least Like The
Other – as well as chamber reductions of larger
scores – Offenbach’s The Tales of Hoffmann and
Humperdinck’s Hansel and Gretel. The orchestra
appeared in its largest formation to date in INO’s 2019
production of Rossini’s Cinderella/La Cenerentola at the
Bord Gáis Energy Theatre in Dublin. The orchestra has
performed in 17 venues throughout Ireland.
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13

IRISH NATIONAL OPERA
Irish National Opera is Ireland’s newest and most enterprising
opera company.
It champions Irish creativity in its casting, its choice of creative
teams and in its commitment to the presentation of new operas.
The company has performed large-scale productions of works
from the great operatic canon by Mozart, Verdi, Puccini and
Rossini in the Gaiety and Bord Gáis Energy theatres in Dublin,
the National Opera House in Wexford and Cork Opera House.
It has also taken smaller productions of works by Thomas Adès,
Offenbach, Gluck and Vivaldi – the first ever production of a
Vivaldi opera in Ireland – on tour to all parts of the country.
INO was formed in January 2018 through the merger of two
award-winning companies, Opera Theatre Company and
Wide Open Opera. The two companies joined force in 2017
in response to an Arts Council initiative, and have delivered
Ireland its first ever truly national opera company. In its first
24 months of operation Irish National Opera produced 72
performances of 14 different operas in 24 Irish venues, and
its long-term target is to visit over 20 Irish venues annually.
INO is committed to taking Irish opera productions abroad.
Its FEDORA – Generali Prize winning production of Donnacha
Dennehy and Enda Walsh’s The Second Violinist, a coproduction
with Landmark Productions, has been seen in
Galway, Dublin, London and Amsterdam, and The Second
Violinist is slated to become the first Irish production to play
at the Park Avenue Armory in New York.
Gluck’s Orfeo ed Euridice, July 2018.
photo: Pat Redmond
The company’s production of Puccini’s Madama Butterfly
starring Celine Byrne is available on demand on the RTÉ
Player. The Second Violinist and Gluck’s Orfeo ed Euridice
were webstreamed on www.operavision.eu. And its street-art
opera, He did what? by Brian Irvine and John McIlduff, a
co-production with Dumbworld, has screened at Operadagen
Festival in Rotterdam, Edinburgh Fringe Festival, Dublin
Fringe Festival and at New York’s BAM New Wave Festival.
The ABL Aviation Opera Studio provides a platform for
emerging opera artists in several disciplines. Studio members
gave the world premiere of Evangelia Rigaki’s This Hostel
Life in the crypt of Dublin’s Christ Church Cathedral last
September, and they also presented the free, introductory
show, The Deadly World of Opera, in Dublin suburbs and city
centre as part of Dublin City Council’s MusicTown festival.
INO is a member of Opera Europa, Fedora and is an
Operavision partner.
irishnationalopera.ie
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15

OFFICE OF PUBLIC WORKS
OPW is responsible for Ireland’s most important heritage
sites, including iconic sites ranging from the Rock of Cashel
in Tipperary to Skellig Michael, off the coast of Kerry and
Castletown House in Kildare to Kilkenny Castle and many
more historic sites around the country.
The key role of OPW Heritage Services is to manage and
maintain the most important of Ireland’s historic buildings,
landscapes and collections. We take particular care of the
780 heritage sites in our charge and at the 70 sites with visitor
services, we work hard to present them to their best potential,
making sure that we give visitors from Ireland and abroad the
best experience we possible can.
OPW’s team of dedicated experts look afters buildings,
landscapes and collections for millions of visitors to enjoy
virtually and in person each year. While our aim is to conserve
the buildings and landscapes in our care for generations to
come, it is also to promote the evolution of these living spaces
through cultural events such as the Mezzo Masterpieces
concerts with Irish National Opera.
KILKENNY CASTLE
Built in the twelfth century, Kilkenny Castle was the principal
seat of the Butlers, earls, marquesses and dukes of Ormond
for almost 600 years. Under the powerful Butler family,
Kilkenny grew into a thriving and vibrant city. Its lively
atmosphere can still be felt today. The castle, set in extensive
parkland, was remodelled in Victorian times. It was formally
taken over by the Irish State in 1969 and since then has
Photo: Kilkenny Castle, (top).
Photo: Castletown House, (below).
undergone ambitious restoration works. It now welcomes
thousands of visitors a year. The central block includes a
library, drawing room, nursery and bedrooms decorated in
1830s splendour. The magnificent Picture Gallery is situated
in the east wing of Kilkenny Castle.This stunning space dates
from the 19th century and was built primarily to house the
Butler Family’s fine collection of paintings.
CASTLETOWN HOUSE
Castletown is set amongst beautiful 18th-century parklands
on the banks of the Liffey in Celbridge, Co. Kildare. The house
was built around 1722 for the speaker of the Irish House of
Commons, William Conolly, to designs by several renowned
architects. It was intended to reflect Conolly’s power and to
serve as a venue for political entertaining on a grand scale.
At the time Castletown was built, commentators expected it
to be “the epitome of the Kingdom, and all the rarities she
can afford”. The estate flourished under William Conolly’s
great-nephew Thomas and his wife, Lady Louisa, who devoted
much of her life to improving her home. Today, Castletown
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17

MOZART
THE ABDUCTION
FROM THE SERAGLIO
CONCERT PERFORMANCES STARRING CLAUDIA BOYLE
WEDNESDAY 2 DECEMBER
8PM ONLINE LIVE STREAM
NATIONAL CONCERT HALL
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SATURDAY 5 DECEMBER
NATIONAL OPERA HOUSE
WEXFORD
TIME: 8pm TICKETS: €25, €34, €40
nationaloperahouse.ie 053–912 2144
Subject to public health regulations.
Live concert tickets available for NCH subject to public health regulations.
SUNDAY 6 DECEMBER
UNIVERSITY CONCERT HALL
LIMERICK
TIME: 7pm TICKETS: €38, €34
uch.ie 061–331 549
Subject to public health regulations.
Dublin Castle, photo: Mark Reddy.
is home to a significant collection of paintings, furnishings
and objets d’art. Highlights include three 18th-century
Murano-glass chandeliers and the only fully intact eighteenthcentury
print room in the country. It is still the most splendid
Palladian-style country house in Ireland.
DUBLIN CASTLE
Just a short walk from Trinity College, on the way to
Christchurch Cathedral, Dublin Castle is well situated for
visiting on foot. The history of this city-centre site stretches
back to the Viking Age and the castle itself was built in the
thirteenth century. The building served as a military fortress,
a prison, a treasury and courts of law. For 700 years, from
1204 until independence, it was the seat of English (and then
British) rule in Ireland. Rebuilt as the castle we now know in
the 17th, 18th, 19th and 20th centuries, Dublin Castle is now
a government complex and an arena of state ceremony. The
state apartments, undercroft, chapel royal, heritage centre
and restaurant are open to visitors.
heritageireland.ie
irishnationalopera.ie
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21

SHARON CARTY
CASTLETOWN HOUSE
SAT 31ST OCTOBER
INO
TEAM
James Bingham
Studio & Outreach Producer
Sorcha Carroll
Marketing Manager
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Development Manager
Diego Fasciati
Executive Director
Sarah Halpin
Digital Communications
Manager
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Business & Finance Manager
Board of Directors
Gaby Smyth (Chair)
Jennifer Caldwell
Tara Erraught
Gerard Howlin
Gary Joyce
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Joseph Murphy
Ann Nolan
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Michael Wall
THREE OPERA STARS, THREE CONCERTS, THREE ICONIC LOCATIONS
TARA ERRAUGHT
DUBLIN CASTLE
SUN 15TH NOVEMBER
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Assistant
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E: info@irishnationalopera.ie
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@irishnationalopera
MEZZO
MASTERPIECES
Fergus Sheil
Artistic Director
@irishnatopera
Paula Tierney
Company Stage Manager
@irishnationalopera
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Registered Charity: 22403
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PAULA MURRIHY
KILKENNY CASTLE
THUR 10TH DECEMBER
22

FOUNDERS CIRCLE
Anonymous
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Mary Brennan
Angie Brown
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Seán Caldwell & Richard Caldwell
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Tyree & Jim McLeod
Jean Moorhead
Sara Moorhead
Joe & Mary Murphy
Ann Nolan & Paul Burns
FX & Pat O’Brien
James & Sylvia O’Connor
John & Viola O’Connor
Joseph O’Dea
Dr J R O’Donnell
Deirdre O’Donovan & Daniel Collins
Diarmuid O’Dwyer
Patricia O’Hara
Annmaree O’Keefe & Chris Greene
Carmel & Denis O’Sullivan
Líosa O’Sullivan & Mandy Fogarty
Hilary Pratt
Sue Price
Landmark Productions
Riverdream Productions
Nik Quaife & Emerson Bruns
Margaret Quigley
Patricia Reilly
Dr Frances Ruane
Catherine Santoro
Dermot & Sue Scott
Yvonne Shields
Fergus Sheil Sr
Gaby Smyth
Matthew Patrick Smyth
Bruce Stanley
Sara Stewart
The Wagner Society of Ireland
Julian & Beryl Stracey
Michael Wall & Simon Nugent
Brian Walsh & Barry Doocey
Judy Woodworth
Gluck’s Orfeo ed Euridice, July 2018.
photo: Pat Redmond
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