INO Mezzo Masterpieces Sharon Carty Programme Book

irishnationalopera

Live Stream Concert in Castletown House
Saturday 31 October 2020

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

04

05


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.

06

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.

08

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

11


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.

12

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

14

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

16

17


MOZART

THE ABDUCTION

FROM THE SERAGLIO

CONCERT PERFORMANCES STARRING CLAUDIA BOYLE

WEDNESDAY 2 DECEMBER

8PM ONLINE LIVE STREAM

NATIONAL CONCERT HALL

DUBLIN

TICKETS: €15 BOOKING: irishnationalopera.ie

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

19


IRISH NATIONAL OPERA

FRIENDS & PATRONS 2020

SHOW YOUR PASSION

BECOME AN INO SUPPORTER TODAY

INO PATRONS

Anonymous

Gianni & Michael Alen-Buckley

Mareta & Conor Doyle

Catherine & William Earley

Howard Gatiss

Silvia & Jay Krehbiel

Karlin Lillington & Chris Horn

Rory & Mary O’Donnell

INO CHAMPIONS

Jennifer Caldwell

Norbert & Margaret Bannon

Maureen de Forge

Noel Doyle & Brigid McManus

Ian & Jean Flitcroft

Anne Fogarty

Maire & Maurice Foley

Genesis

Gerard Howlin

M Hely Hutchinson

Timothy King & Mary Canning

Stella Litchfield

Stephen Loughman

Tony & Joan Manning

Jim McKiernan

Sara Moorhead

Dr Patricia O’Hara

Geraldine O’Sullivan

James & Marie Pike

Dermot & Sue Scott

Gaby Smyth & Company

Matthew Patrick Smyth

INO BENEFACTORS

Anonymous

Roy & Aisling Foster

Eric & Christina Haywood

Julian & Aoife Hubbard

John & Michéle Keogan

Catherine Kullmann

Lyndon MacCann

Kathleen MacMahon

R John McBratney

Joe & Mary Murphy

Ann Nolan & Paul Burns

Helen Nolan

FX & Pat O’Brien

James & Sylvia O’Connor

Paul & Veronica O’Hara

Joseph O’Dea

Frances Ruane

Catherine Santoro

INO SUPPORTERS

Anonymous

Desmond Barry

Alastair Boles

Una Corr & Elaine Noonan

Veronica Donoghue

Noel Drumgoole

Michael Duggan

Hugh & Mary Geoghegan

Michael & Caroline Goeden

Mary Holohan

Nuala Johnson

Paul Kennan & Louise Wilson

Petria McDonnell

Katherine Meenan

Jean Moorhead

John R Redmill

J & B Sheehy

Judy Woodworth

INO FRIENDS

Anonymous

Ann Barrett

Simon Carey

Liam Clifford

Sarah Daniel

Matthew Dillon

Jack Doherty

Dr Beatrice Doran

Anne Drumm

Matthew Harrison

Eadaoin Hassett

Mr Trevor Hubbard

Kieron Lawlor

Bernadette Madden

Cróine Magan

Mark Mahoney

Miriam McNally & Pat Dolan

Viola O’Connor

Prof Desmond O’Neill

Líosa O’Sullivan & Mandy Fogarty

Marion Palmer

Lucy Pratt

Hilary Pyle

Joseph Musgrave

Philip Regan

Prof Sarah Rogers

Vivienne Sayers

Olivia Sheehy

Jim Smith

Vivian Tannam

Philio Tilling

TU Dublin Operatic Society

Breda Whelan

Niall Williams

Irish National Opera is Ireland’s leading producer of highquality

and accessible opera at home and on great operatic

stages abroad. We are passionate about opera and its unique

power to move and inspire. We showcase world-class singers

from Ireland and all over the world. We work with the cream

of Irish creative talent, from composers and directors to

designers and choreographers. We produce memorable and

innovative performances to a growing audience. And we offer

crucial professional development to nurture Ireland’s most

talented emerging singers.

Our aim is to give everyone in Ireland the opportunity to

experience the best of opera. In our three-year history, we have

presented over 100 performances and won industry praise

both nationally and internationally for our ground-breaking work.

Through our productions, concerts, masterclasses, workshops,

lectures, broadcasts and digital events, we have reached an

audience of over half-a-million worldwide.

We want to do more, and we need your help to do it.

Becoming an Irish National Opera supporter unlocks exclusive,

behind-the-scenes events, including backstage tours,

masterclasses with world-renowned singers, ABL Aviation

Opera Studio performances, artist receptions and much more.

To support Irish National Opera’s pioneering work, please get

in touch or visit our website irishnationalopera.ie

Contact: Aoife Daly, Development Manager

E: aoife@irishnationalopera.ie

20

21


SHARON CARTY

CASTLETOWN HOUSE

SAT 31ST OCTOBER

INO

TEAM

James Bingham

Studio & Outreach Producer

Sorcha Carroll

Marketing Manager

Aoife Daly

Development Manager

Diego Fasciati

Executive Director

Sarah Halpin

Digital Communications

Manager

Cate Kelliher

Business & Finance Manager

Board of Directors

Gaby Smyth (Chair)

Jennifer Caldwell

Tara Erraught

Gerard Howlin

Gary Joyce

Stella Litchfield

Sara Moorhead

Joseph Murphy

Ann Nolan

Yvonne Shields

Michael Wall

THREE OPERA STARS, THREE CONCERTS, THREE ICONIC LOCATIONS

TARA ERRAUGHT

DUBLIN CASTLE

SUN 15TH NOVEMBER

LIVE

STREAMED

Patricia Malpas

Project Administrator

Claire Lowney

Development & Marketing

Assistant

Muireann Ní Dhubhghaill

Artistic Administrator

Gavin O’Sullivan

Head of Production

69 Dame Street

Dublin 2 | Ireland

T: 01–679 4962

E: info@irishnationalopera.ie

irishnationalopera.ie

@irishnationalopera

MEZZO

MASTERPIECES

Fergus Sheil

Artistic Director

@irishnatopera

Paula Tierney

Company Stage Manager

@irishnationalopera

Company Reg No.: 601853

Registered Charity: 22403

(RCN) 20204547

PAULA MURRIHY

KILKENNY CASTLE

THUR 10TH DECEMBER

22


FOUNDERS CIRCLE

Anonymous

Desmond Barry & John Redmill

Valerie Beatty & Dennis Jennings

Mark & Nicola Beddy

Carina & Ali Ben Lmadani

Mary Brennan

Angie Brown

Breffni & Jean Byrne

Jennifer Caldwell

Seán Caldwell & Richard Caldwell

Caroline Classon, in memoriam

David Warren, Gorey

Audrey Conlon

Gerardine Connolly

Jackie Connolly

Gabrielle Croke

Sarah Daniel

Maureen de Forge

Doreen Delahunty & Michael Moriarty

Joseph Denny

Kate Donaghy

Marcus Dowling

Mareta & Conor Doyle

Noel Doyle & Brigid McManus

Michael Duggan

Catherine & William Earley

Jim & Moira Flavin

Ian & Jean Flitcroft

Anne Fogarty

Maire & Maurice Foley

Roy & Aisling Foster

Howard Gatiss

Genesis

Hugh & Mary Geoghegan

Diarmuid Hegarty

M Hely Hutchinson

Gemma Hussey

Kathy Hutton & David McGrath

Nuala Johnson

Susan Kiely

Timothy King & Mary Canning

J & N Kingston

Kate & Ross Kingston

Silvia & Jay Krehbiel

Karlin Lillington & Chris Horn

Stella Litchfield

Jane Loughman

Rev Bernárd Lynch & Billy Desmond

Lyndon MacCann SC

Phyllis Mac Namara

Tony & Joan Manning

R John McBratney

Ruth McCarthy, in memoriam Niall

& Barbara McCarthy

Petria McDonnell

Jim McKiernan

Tyree & Jim McLeod

Jean Moorhead

Sara Moorhead

Joe & Mary Murphy

Ann Nolan & Paul Burns

FX & Pat O’Brien

James & Sylvia O’Connor

John & Viola O’Connor

Joseph O’Dea

Dr J R O’Donnell

Deirdre O’Donovan & Daniel Collins

Diarmuid O’Dwyer

Patricia O’Hara

Annmaree O’Keefe & Chris Greene

Carmel & Denis O’Sullivan

Líosa O’Sullivan & Mandy Fogarty

Hilary Pratt

Sue Price

Landmark Productions

Riverdream Productions

Nik Quaife & Emerson Bruns

Margaret Quigley

Patricia Reilly

Dr Frances Ruane

Catherine Santoro

Dermot & Sue Scott

Yvonne Shields

Fergus Sheil Sr

Gaby Smyth

Matthew Patrick Smyth

Bruce Stanley

Sara Stewart

The Wagner Society of Ireland

Julian & Beryl Stracey

Michael Wall & Simon Nugent

Brian Walsh & Barry Doocey

Judy Woodworth

Gluck’s Orfeo ed Euridice, July 2018.

photo: Pat Redmond

24


irishnationalopera.ie

More magazines by this user