The Abduction from the Seraglio programme book

NCH Classical
Livestream
Series
Irish National Opera
The Abduction from the Seraglio
by Mozart
Livestreamed from the National Opera House
SATURDAY 5 DECEMBER 8PM

IRISH NATIONAL OPERA
PRINCIPAL FUNDER
CORPORATE
PARTNER
WOLFGANG AMADEUS MOZART 1756-91
THE ABDUCTION
FROM THE SERAGLIO
1782
DIE ENTFÜHRUNG
AUS DEM SERAIL
PRESENTED BY IRISH NATIONAL OPERA AND THE NATIONAL CONCERT HALL IN
PARTNERSHIP WITH IRISH CHAMBER ORCHESTRA
KOMISCHES SINGSPIEL
(COMIC OPERA WITH SPOKEN TEXT) IN THREE ACTS
Libretto by Gottlieb Stephanie based on Christoph Friedrich Bretzner’s Belmont und
Constanze, oder Die Entführung aus dem Serail
First performance, Burgtheater, Vienna, 16 July 1782
First Irish performance, Gaiety Theatre, Dublin, 11 July 1921 (in English, as Il Seraglio),
Gaiety Theatre, Dublin, 22 May 1951 (in German, by Hamburg State Opera)
ACKNOWLEDGEMENTS
Aisling White, David Stuttard, David McLoughlin and all at the
National Opera House.
CONCERT PERFORMANCE WITHOUT SPOKEN DIALOGUE
SUNG IN GERMAN WITH ENGLISH SUBTITLES
The edition of Die Entführung aus dem Serail (The Abduction from the Seraglio) used
in these performances is published by Bärenreiter-Verlag, Kassel. By arrangement with
Faber Music Ltd, London.
Running time 2 hours 10 minutes with a 20-minute interval after Act II Scene 3.
LIVE STREAMED FROM NATIONAL OPERA HOUSE, WEXFORD
SATURDAY 5 DECEMBER 2020 AT 8PM
STREAM AVAILABLE FOR 48 HOURS, DICE.FM ACCOUNT REQUIRED TO VIEW
03

CAST IN ORDER OF VOCAL APPEARANCE
IRISH CHAMBER ORCHESTRA
Konstanze Alina Adamski Soprano
loved by Belmonte
Blonde Sarah Power Soprano
her English maid
Belmonte Dean Power Tenor
a young Spanish nobleman
Pedrillo Andrew Gavin Tenor
servant of Belmonte, now the Pasha’s gardener
Osmin James Platt Bass
overseer of the Pasha Selim’s estate
CREATIVE TEAM
Conductor
Assistant Conductor & Chorus Director
Répétiteur
Peter Whelan
Elaine Kelly
Aoife O’Sullivan
First Violin
Katherine Hunka (leader)
Diane Daly
Cliodhna Ryan
Louis Roden
Anita Vedres
Second Violin
André Swanepoel
Kenneth Rice
Oonagh Keogh
Maria Ryan
Viola
Joachim Roewer
Robin Panter
Nathan Sherman
David Kenny
Cello
Aoife Nic Athlaoich
Richard Angell
Yseult Cooper Stockdale
Double bass
Malachy Robinson
Flute
Miriam Kaczor
Emma Roche
Oboe
Daniel Bates
Matthew Draper
Clarinet
Katherine Spencer
John Forde
Bassoon
Lawrence O’Donnell
Clíona Warren
Horn
Hannah Miller
Louise Sullivan
Trumpet
David Collins
Pamela Stainer
Timpani
Noel Eccles
Percussion
Richard O’Donnell
Maeve O’Hara
Lloyd Byrne
IRISH NATIONAL OPERA CHORUS
Soprano
Rheanne Breen
Kelli-Ann Masterson
Maria Matthews
Muireann Mulrooney
Alto
Molly Adams-Toomey
Amy Conneely
Madeline Judge
Katie Richardson
McCrea
Tenor
Fearghal Curtis
Philip Keegan
Jacek Wislocki
Bass
Desmond Capliss
Lewis Dillon
Matthew Mannion
04
05

NCH Classical
Livestream
Series
PRODUCTION TEAM
Floor Manager
Paula Tierney
Chief Electrician
Pip Walsh
Streaming Technician
Streamcast
Stage Manager
Colin Murphy
Broadcast Director
Bob Corkey
Subtitles Operator
Maeve Sheil
Audio Producer
Ergodos
Audio Recording Engineer
Simon Cullen
AV Production
Streamcast
Paul Warde
Kevin Fagan
Broadcast Production
Seismic Events
Matt Herlihy
Karl McGarvey
Lighting Designer/
Programmer
Eoin McNinch
Subtitles Translation
Diego Fasciati
Fergus Sheil
John O’Conor piano
Beethoven Piano Sonatas
ADDITIONAL THANKS
Production Photography
Kip Carroll
Graphic Design
Alphabet Soup
Ticketing
DICE
SUNDAY 13 DECEMBER
IRELAND, UK, EUROPE, 8PM / 9PM CET
Rehearsal Video
Mark Cantan
Programme edited by
Michael Dervan
Tickets €10. Available exclusively from dice.fm
06
07

SYNOPSIS
CHARACTERS
Belmonte, a young Spanish
nobleman [tenor]
Osmin, overseer of the
Pasha Selim’s estate [bass]
Pedrillo, servant of
Belmonte, and now the
Pasha’s gardener [tenor]
Konstanze, loved by
Belmonte [soprano]
Blonde, her English maid,
loved by Pedrillo [soprano]
Pasha Selim [speaking
role, not featured in this
performance]
Belmonte, a Spanish nobleman, has arrived in Turkey to search for
his betrothed, Konstanze. She, unfortunately, has been captured
by pirates along with Blonde, her English maid, and Blonde’s
fiancé Pedrillo, who is also Belmonte’s servant. The captives are
now all subject to the will of Pasha Selim, who has his heart set
on Konstanze, who, along with Blonde, is also now an unwilling
member of his harem. Selim’s overseer, the surly Osmin, is a
constant barrier to the couples’ reconnection. But Selim is too
tender to be a typical tyrant, and true love wins out in the end.
ACT I
After a short, brisk overture the curtain rises on the gardens of
Pasha Selim’s palace. Belmonte vainly seeks someone to direct
him to Selim. He has come to find his beloved, Konstanze, who
was carried off by pirates and sold to Selim. If only he could find
his countryman, Pedrillo, who enjoys the Pasha’s confidence, all
might be well. But his first meeting is with Osmin, who answers
no question but guards jealously the property and the privilege of
his master. Osmin hates and mistrusts Pedrillo, whom he regards
as a rival for his master’s favours. He delights in the bastinado
and other torments. Old, gross and enamoured of Pedrillo’s flame,
Blonde, he provides many comic moments in spite of the fact
that it is he who brings the lovers to despair and nearly to death.
Osmin sings an aria boasting of his skill in defeating plots and his
astuteness. Belmonte is still lamenting his absent love when the
Pasha arrives with his entourage – and Konstanze. The spoken
dialogue [not included tonight] between Selim and Konstanze
makes it clear that his affection for her is not of a violent kind.
Konstanze, however, is very unhappy and gives vent to her feelings
in an exquisite aria. The act ends with a trio in which Osmin
attempts to bar Belmonte and Pedrillo’s way to the palace.
ACT II
The act opens with Blonde’s aria in which she states that a
true maiden will ever be faithful to her love and defy all insolent
advances. Osmin comes to offer her his love. She puts her precept
into practice, and repulses his advances with scorn. Her fury and
her threat to scratch Osmin’s eyes out persuade the old man to
retreat. Konstanze enters in despair but her grief turns to joy in
learning that Belmonte and Pedrillo are at hand with a plan of
escape. Pedrillo advises courage and in the meantime attempts to
make Osmin drunk and so get the better of his vigilance. Belmonte
sings of love which, though it makes tears flow, also promises great
happiness. The act ends with a quartet for the two pairs of lovers
who first exalt love and joy, then pass on to the subject of jealousy –
Pedrillo has heard of Osmin’s advances and Belmonte is aware of the
Pasha’s genuine tenderness. But they decide that to waste time on
reproaches is madness and end by stigmatising jealousy. The quartet
is one of the most brilliant pieces of the kind in all Mozart’s operas,
full of tenderness and sparkling vitality.
ACT III
Belmonte and Pedrillo are ready to escape and are just waiting
for the arrival of Konstanze and Blonde. Belmonte sings tenderly
of his love and hope, while, after him, Pedrillo sings a ballad of a
more romantic type. But the ladies do not arrive and the lovers are
are understandably anxious. Their plot is discovered and they are
taken captive by Osmin, who, in one of the most famous bass arias
ever written, rejoices at his triumph. In a very tender duet Belmonte
and Konstanze prepare for death, but whereas Osmin is cruel, his
master, Selim, is merciful. He forgives all. The happy lovers depart
and promise always to remember Selim’s generosity.
08
09

BIOGRAPHIES
PETER WHELAN
CONDUCTOR
ELAINE KELLY
ASSISTANT CONDUCTOR
CHORUS DIRECTOR
AOIFE O’SULLIVAN
RÉPÉTITEUR
DEAN POWER
TENOR
BELMONTE
INO Artistic Partner Peter Whelan is
among the most exciting and versatile
exponents of historical performance
of his generation, with a remarkable
career as a conductor, keyboardist
and solo bassoonist. He is Artistic
Director of the Irish Baroque Orchestra and founding
Artistic Director of Ensemble Marsyas. As conductor, he
has a particular passion for exploring and championing
neglected music from the Baroque era. Recent projects
funded by The Arts Council/An Chomhairle Ealaíon and
Creative Scotland involved recreating and staging live
performances of choral and symphonic music from
18th-century Dublin and Edinburgh. This led to his
award-winning disc Edinburgh 1742 for Linn Records
and his 2017 reconstruction of the Irish State Musick
in its original venue of Dublin Castle. His performances
with the Irish Baroque Orchestra in 2020-21 include
Bach’s Brandenburg Concertos, Purcell’s Hail, Bright
Cecilia and Handel’s Messiah. With Irish National Opera
and the Irish Chamber Orchestra he conducts Mozart
Abduction from the Seraglio and Vivaldi’s Bajazet in a
co-production with Royal Opera House, Covent Garden.
He makes his conducting debut with Scottish Chamber
Orchestra in a programme of Bach and Vivaldi with
mezzo-soprano Katie Bray. Ensemble Marsyas has
performed internationally under Peter’s direction
including performances at the Lammermuir Festival,
Göttingen Handel Festival, Tetbury Festival and Great
Music in Irish Houses. During their 2020 Wigmore Hall
residency, The Telegraph described Ensemble Marsyas
as “very possibly this country’s finest period group – led
by Peter Whelan, they perform with wonderful élan,
transmitting their total enjoyment”.
Conductor Elaine Kelly became a
member of Irish National Opera’s
ABL Aviation Opera Studio in 2019.
During her first year, she was
assistant conductor and chorus
master on a productions of Rossini’s
La Cenerentola and, as part of the studio, she also
conducted the premiere of Amanda Feery’s As Above,
So Below, with mezzo-soprano Bríd Ní Ghruagáin
and Bangers and Crash Percussion Group at the
2020 First Fortnight Festival. Most recently, she has
been involved in INO’s 20 Shots of Opera, the biggest
single-event commissioning project in Irish operatic
history, for which she conducted nine new works by
Irish composers which will be streamed worldwide in
December. In 2014, she won the inaugural ESB Feis
Ceoil Orchestral Conducting Competition which led to
engagements with the RTÉ Concert Orchestra. She has
also worked with the Dublin Symphony Orchestra (of
which she was Musical Director from 2017-19), Cork
Concert Orchestra, CSM Symphony Orchestra, Cork
Fleischmann Orchestra and the Fleischmann Choir.
In 2015, she was the assistant conductor for Opera
Collective Ireland’s production of Handel’s Agrippina
with the Irish Chamber Orchestra, in association with
Northern Ireland Opera. She is currently the conductor
of the University of Limerick Orchestra and Musical
Director to the award-winning Cork-based choir,
Cantate. Elaine is a BMus & MA graduate of the CIT
Cork School of Music where she studied conducting
with Alan Cutts and violin with Colette O’Brien and
Adrian Petcu, and she has also participated in
masterclasses with many distinguished conductors.
Aoife O’Sullivan studied piano with
Frank Heneghan and later with John
O’Conor. She graduated from TCD
with an honours degree in music.
In September 1999 she began her
studies as a Fulbright scholar at the
Curtis Institute of Music with Mikael Eliasen, head of
vocal and opera studies, and in 2001 she joined the
staff there for her final two years. She was awarded
the Geoffrey Parsons Trust Award for accompaniment
of singers in 2005. She worked at the National Opera
Studio in London from 2006 to 2008 and was on
the deputy coach list for the Jette Parker Young
Artist Programme at the Royal Opera House Covent
Garden. She has played for masterclasses including
those given by Malcolm Martineau, Ann Murray,
Thomas Allen, Thomas Hampson, and Anna Moffo.
She has appeared at the Wigmore Hall in Lieder
recitals including with Ann Murray, Wendy Dawn
Thompson and Sinéad Campbell-Wallace. She has
worked on the music staff at Wexford Festival Opera,
Opera Theatre Company and Opera Ireland. She
coaches the singers in the NI Opera Studio and the
INO Studio. Since January 2010 she has been an
assistant lecturer at the DIT Conservatory of Music
and Drama working as a vocal coach and répétiteur.
She made her INO debut with Mozart’s The Marriage
of Figaro in 2018.
Irish tenor Dean Power is currently
a member of the ensemble at the
Bavarian State Opera in Munich,
where he has been resident since
graduating from the company’s
Opera Studio at the end of the
2011-12 season. After ten years as an ensemble
member, 2020-21 will be his final season as he
begins to expand upon his already growing career
as an international solo guest artist. He studied in
Dublin with Mary Brennan and Mairéad Hurley at
the Royal Irish Academy of Music and TU Dublin
Conservatory of Music and Drama. His work at the
Bavarian State Opera have included Steuermann in
Wagner’s Der fliegende Holländer, a new production
of Hans Abrahamsen’s The Snow Queen, Edmondo
in Puccini’s Manon Lescaut, Rustighello in Donizetti’s
Lucrezia Borgia, Graf Elemer in Strauss’s Arabella,
Scaramuccio in Strauss’s Ariadne auf Naxos, and
Graf Albert in Korngold’s Die tote Stadt. Last season
he made two notable role debuts as Rodrigo in Verdi’s
Otello and Spoletta in Puccini’s Tosca as part of the
Munich Opera Festival. In 2020-21 he will sing Froh in
Wagner’s Das Rheingold at the Staatstheater Kassel. In
concert he sings Ryba’s Stabat Mater with the Prague
Symphony Orchestra, as well as Mozart’s Requiem
with the Irish Chamber Orchestra. His upcoming
Munich roles include Malcolm in Verdi’s Macbeth,
Jaquino in Beethoven’s Fidelio, Gherardo in Puccini’s
Gianni Schicchi and 4th Knappe Wagner’s Parsifal –
also on tour – conducted by Franz Welser-Möst.
10
11

JAMES PLATT
BASS
OSMIN
British bass James Platt was
educated at Chetham’s School of
Music in Manchester and went
on to study at the Royal Academy
of Music and the Opera Course
of the Guildhall School of Music
and Drama in London. He was a
member of the Jette Parker Young Artist Programme
at the Royal Opera, Covent Garden, from 2014 to
2016. Recent highlights have included Bottom
in a new production of Britten’s A Midsummer
Night’s Dream, Crespel in Offenbach’s Les Contes
d’Hoffmann and Basilio in Rossini’s Il barbiere di
Siviglia for the Deutsche Oper, Berlin; Sarastro in
Mozart’s Die Zauberflöte and Sparafucile in Verdi’s
Rigoletto for Welsh National Opera; Ortel in Wagner’s
Die Meistersinger von Nürnberg for Teatro alla Scala,
Milan; First Soldier in Strauss’s Salome for Dutch
National Opera; Il Commendatore in Mozart’s Don
Giovanni for Opera North; Dr Grenvil in Verdi’s La
traviata and Gremin in Tchaikovsky’s Eugene Onegin
for Scottish Opera, and Notary in Donizetti’s Don
Pasquale at the Glyndebourne Festival. His concert
appearances include Il Re in a European tour of
Handel’s Ariodante and Bach’s Christmas Oratorio
with Les Musiciens du Louvre and Marc Minkowski,
Shostakovich’s Four Romances on Poems by Pushkin
with the Hallé Orchestra and Mark Elder, Beethoven’s
Choral Symphony with the Royal Northern Sinfonia
and Lars Vogt, Handel’s Messiah with the Hallé
Orchestra and Christian Curnyn, Verdi’s Requiem with
the Orchestre National de Lyon and Leonard Slatkin,
and Rossini’s Petite messe solennelle at the BBC
Proms with the BBC Singers and David Hill.
ANDREW GAVIN
TENOR
PEDRILLO
Andrew completed his Masters in
Music Performance at the Royal
Irish Academy of Music in Dublin
in 2016, achieving First Class
Honours under the tutelage of Mary
Brennan. He is also a graduate of
the National University of Ireland, Maynooth, where
he attained First Class Honours in English Literature;
he also holds an MPhil in Children’s Literature from
Trinity College Dublin. He made his Irish National
Opera debut in April 2018 as Curzio in Mozart’s
The Marriage of Figaro. In October 2017 he created
the roles of Alleyne, O’Halloran and Bob in Andrew
Synnott’s Dubliners at Wexford Festival Opera,
and later performed the work with Opera Theatre
Company in Dublin. Earlier in 2017 he sang the role
of Damon in Opera Theatre Company’s national tour
of Handel’s Acis and Galatea with the Irish Baroque
Orchestra. He made his Wigmore Hall debut in
2016 as part of Irish Culture in Britain: A Centenary
Celebration. At the Kilkenny Arts Festival in 2016 he
sang the role of Arbace in a concert performance of
Mozart’s Idomeneo, and he was also a winner of the
2016 PwC Wexford Festival Opera Emerging Young
Artist bursary. His notable oratorio engagements
include Rossini’s Stabat Mater, Liszt’s Coronation
Mass, Beethoven’s Symphony No. 9 (Choral),
Handel’s Messiah, Mendelssohn’s Symphony No.
2 (Lobegesang), CPE Bach’s Magnificat, Mozart’s
Requiem, Haydn’s The Creation, Beethoven’s Mass in
C, Bach’s St John Passion and the complete Mozart
mass series of the Dún Laoghaire Choral Society.
Andrew was a member Irish National Opera’s ABL
Aviation Opera Studio from 2018 to 2020.
ALINA ADAMSKI
SOPRANO
KONSTANZE
Polish-German soprano Alina
Adamski studied at the Academy
of Music in Lódź, the Opera
Academy of the Warsaw Opera,
and at the Conservatorio di Musica
Francesco Venezze in Rovigo. She
is a prize winner of several international singing
competitions, including the Grand Prix de l’Opora in
Bucharest. From 2017 to 2019 she was a member
of the International Opera Studio of Zurich Opera
House, where she performed Trendy-Sandy-Mandy
in Michael Pelzel’s Last Call, Sandrina in Mozart’s La
finta giardiniera, Amanda in Ligeti’s Le Grand Macabre
and Atala in Offenbach’s Häuptling Abendwind. She
has appeared at Oper Frankfurt, and at the opera
houses in Warsaw and Poznań, performing such
roles as the Queen of the Night in Mozart’s The
Magic Flute, Gilda in Verdi’s Rigoletto, Sandrina in La
finta giardiniera, Atala in Häuptling Abendwind, and
Amanda in Le Grand Macabre. She was scheduled
to perform the role of Konstanze in Mozart’s The
Abduction from the Seraglio at Oper Frankfurt
Opera this autumn, a production now postponed
to 2021. Upcoming engagements include Gilda in
Frankfurt and Woglinde in Wagner’s Das Rheingold
and Götterdämmerung in London, and Waldvogel in
Wagner’s Siegfried for Oper Leipzig in Germany.
SARAH POWER
SOPRANO
BLONDE
Bray soprano Sarah Power studied
at the TU Dublin Conservatory of
Music and Drama and the Guildhall
School of Music and Drama and
National Opera Studio in London
before moving to Glasgow to work
for Scottish Opera as an Emerging Artist. She has
been awarded many prizes, including the RDS Music
Bursary, the London Bach Singers Prize and second
prize in the prestigious Kathleen Ferrier Awards at the
Wigmore Hall in London. Sarah performed the role of
Euridice in Gluck’s Orfeo ed Euridice for Irish National
Opera in 2018 and 2019. Other recent engagements
include outdoor, pop-up performances for Scottish
Opera, the world premiere of Raymond Deane’s
Vagabones for Opera Collective Ireland, Gershwin’s
Porgy and Bess with the Leeds Philharmonic Chorus
and Haydn’s Creation with The Really Big Chorus in
Athens. She has appeared in productions for Welsh
National Opera, Buxton Opera Festival and Wexford
Festival Opera and made her debut for Scottish
Opera in the title role of Handel’s Rodelinda. She
has been involved in the premiere of many works,
including Terence Browne’s Hazel: Made in Belfast at
Carnegie Hall, New York, Neil Martin’s Mary Gordon
with the RTÉ National Symphony Orchestra and
Janice Kerbel’s Turner Prize-nominated DOUG at
the Tramway, Glasgow. Future engagements include
Handel’s Messiah with the Irish Baroque Orchestra
and Chamber Choir Ireland streamed live from the
National Concert Hall, Haydn’s Creation with the
Bristol Bach Choir, Rossini’s Stabat Mater with the
Harrogate Choral Society and Berlioz’s Les nuits d’été
with the Airedale Symphony Orchestra.
12
13

IRISH NATIONAL OPERA
CHORUS
LIVE
STREAMED
MEZZO MASTERPIECES #3
PAULA MURRIHY
Irish National Opera Chorus is a flexible ensemble
of professional singers that has ranged in number
from four, in Gluck’s Orfeo ed Euridice, to 60, in
Verdi’s Aida. The chorus is a valuable training ground
for many emerging singers and has been heard in
venues large and small throughout Ireland as well as
internationally. The membership is mostly drawn from
singers based in Ireland. Members are frequently
offered solo roles, and for INO’s touring production
of Offenbach’s The Tales of Hoffmann most were
also heard in a principal role. Membership of Irish
National Opera’s chorus is often a springboard to
greater involvement in the company’s productions.
For larger works Irish National Opera collaborates with
TU Dublin Conservatory of Music and Drama and the
Royal Irish Academy of Music whose senior students
are offered positions in the chorus, usually in tandem
with specially devised professional development
programmes for emerging singers. Over the course
of the INO’s first two years, the company has offered
200 chorus contracts to over 80 individual singers.
THURSDAY 10 DECEMBER
KILKENNY CASTLE
TICKETS €15
Booking details on irishnationalopera.ie
Irish National Opera Chorus members in
Verdi’s Aida, November 2018.
Photo by Pat Redmond.
15

MOZART AND ME
PETER
WHELAN OUTLINES HIS LIFE’S
JOURNEY WITH MOZART TO MICHAEL DERVAN.
Peter Whelan as a leaping bassoonist circa 2010.
Photo by Martin Usborne
The influential Swiss theologian Karl Barth wrote
a small book about Mozart that was published
during the celebrations of the bicentenary of the
composer’s birth in 1956. In it he pondered, “It
may be that when the angels go about their task
of praising God, they play only Bach. I am sure,
however, that when they are together en famille,
they play Mozart and that then too our dear Lord
listens with special pleasure.”
Peter Whelan, conductor, bassoonist and Irish
National Opera Artistic Partner, has spent plenty
of time with the work of both composers. Where
is Mozart in his pantheon? “He must be the best.
It’s like a coin tossed between him and Bach. It
just depends what mood you’re in.”
What makes Mozart so special for him is that,
“everything is shot through with humanity. It’s
a real person writing, who understands the
human condition. He can do the whole gamut
of emotions. And he can also turn on a dime, go
from one extreme to the other, and break your
heart in so doing. I’m not sure I know any other
composer who can do that.”
Bach, of course, he says, “is universal. He’s
writing on a huge scale. But he’s just not as
immediately touching as Mozart”. He has no
time for the once common view that Mozart’s
work was shallow and pretty. And he recalls his
early piano lessons with Valerie Walker, when
“my first proper piece was that Sonata in C,
K545, the one everybody plays. I remember her
explaining to me at the age of nine or ten, that
Mozart’s sonatas are too easy for children and
too difficult for artists”. It’s the paradox that
was first proposed by the great Austrian pianist
Artur Schnabel. “I remember wondering what
on earth she could have meant by that. But,
actually, even when I come back to that specific
piece, I see exactly what she meant, now that
I’m in my forties.”
“As a child,” he says, “I sang in the National
Children’s Choir for a bit, before and as my
voice was breaking. We had to sing Laudate
Dominum, as well, which was another early
Mozart experience. It’s very engaging and I
remember one long note at the end of that
piece that the solo soprano sings, it’s a high
F, and I thought it was the most brilliant thing
I’d ever heard in my life. And roughly the
same time there was a CD that came out, I
think it was called Mozart in Flight, with the
Irish Chamber Orchestra. I was maybe a
promotional disc for Aer Lingus. The first track
in that was the Overture to The Marriage of
Figaro. It seemed to me kind of wonky and full
of fizz. You could listen to it again and again
and find new things, working out what all the
instruments were doing.”
After those early encounters, “I guess it changed
when I began to play bassoon and got to know the
piano concertos. I later had the privilege of playing
them with the Scottish Chamber Orchestra with
great artists including Alfred Brendel and Mitsuko
Uchida. You get a sense from the wind writing in
a lot of those that there’s something else afoot,
something that led into the operas. It was clear
that you are playing a character.
“It’s the same with the quintet for piano and
wind. People often talk about how it’s related
to characters in operas. The biggest treat of
all is actually playing in the orchestra for his
operas. I spent quite a bit of time playing Figaro
in Glyndebourne on old instruments. That was
such an incredible experience – all-engrossing,
amazing wind parts. It doesn’t get any better as
far as a wind player goes when playing Mozart.
That developed a lot of my curiosity and I got
more and more interested.”
Finally, he says, “It blew my mind when I went to
the dark side and started conducting. That’s when
you link everything together. You spend a lot more
time looking at the words, thinking about the drama.
It opened up a whole new universe. It was literally
mind-blowing. I remember the experience of just
going to the Act II finale of Figaro, in the inaugural
INO production at Dublin’s Gaiety Theatre in April
2018. There’s nothing better. Coming away at the
interval you’re just covered in sweat. But it’s like the
most amazing high or climax that you could ever
arrive at! One of the greatest musical experiences
I’ve had. So I’m super-fond of Mozart.”
Imagining for a moment that the meeting could
somehow be set up, what musical questions
would he have if he were face to face with
02
17

Wolfgang Amadeus Mozart (1756-1791)
The original playbill for the premiere of Die
Entführung aus dem Serail.
Color engraving of the interior of the Burgtheater Vienna, showing bench seats, balcony seats, boxes, & part of orchestra pit and
stage, From the collections of the Ira F. Brilliant Center for Beethoven Studies, San José State University.
Mozart himself? “I would want to ask him about
Michael Kelly, the Irish tenor – a friend of the
composer, who sang in the world premiere of
Figaro – and did he really save that work from
the fire? I’d also like to know if he was a bit of
a chancer or not, because we don’t get to hear
Mozart’s side of the story, it’s just Michael Kelly
writing about his relationship with the great
man. I’d like to set that straight.
“And I’ve a vested interest. I’d really like to
know how many bassoon concertos he wrote.
There’s a lot of mystery about that. We have one
we play all the time. But there could have been
as many as four. I’d just like to ask him is that
true, and where are they? I’m also really curious
to know how the orchestra layout was, when
he was playing piano concertos, and in the
operas. How did it work? How close were the
musicians to the stage? What way did they sit?
The information we have is very vague. It could
make a huge difference just to see the layout,
how rehearsals worked, and how they went
about producing operas. I’m sure it was very
different from how we do it now. There’s a bit of
a hole in the history books about that process.
“There are a few other singers I’d like to get
some gossip about. He had some wonderful
wind players that he seemed very close to,
like the horn player Joseph Leutgeb he used
to write abuse about in his concertos, and his
oboe players and bassoon players, with whom
he also seemed to have a lot of fun. The idea of
getting to know about them from him is really
tantalising.
“I’d also like to ask him whether he had any
political motivations behind the things he was
doing. A few of his operas, including Seraglio
and Figaro, were rather on the edge. Was there
a political agenda behind them?
“And it would be amazing to know what the
singers of his time sounded like, and what he
really made of them. Even 30 seconds of a
rehearsal. Did they swoop between notes? How
tight was the rhythm? Did they stick to the tempo, as
we do nowdays? Would he find our performances
really shocking? Or maybe even boring?”
And Seraglio? “He wrote a German-language
opera that he got rid of, Zaide, and then it
progressed into Seraglio. I’d love to know what
he didn’t like about Zaide, or what he learnt
from it that inspired him to write Seraglio. And
did he have a political take on Seraglio? It’s a
very fraught topic, the Turks, Vienna, and all of
that. It was his first mature opera in the German
language. What difference did that make to him?
“In Seraglio you’re dealing with spoken word as
well as singing, and with a politically sensitive
and un-politically correct piece of music. It’s up
to the director, of course, how you present an
opera like this, so that’s a challenge which is
slightly out of my hands. You have music which
is super-fun, and cartoonish, and, faced with
modern-day sensibilities, that’s tricky. As always
with Mozart, he presents every single character,
good and bad, rich or poor, whatever level of
society, he gives them a really full treatment.
“We see the bad side of the good guys, and the good
side of the bad guys all the time. Even the worst
characters at the beginning of the opera, Osmin
and the big, bad Pasha Selim, turn out to be pretty
generous, with a soft side, too. And the heroic, white
Westerners are just as awful as anybody else. If you
stick with it, he has a fair hand with these things.
Just as he does so often with the women’s roles
and the subversive roles in Figaro, that the lower
classes are ruling the roost to a large degree.”
And, if it’s not too obvious, any questions
about tempo? He laughs. “There are so many
things you could talk about. Like how much
compromise should you reach with a singer?
How much should you insist that it has to be
at a certain speed? And to what degree was he
happy to leave it to others. I’d be very happy
if I could go back in time and hand him a
metronome. Even with metronomes, they say,
it’s only the first seven or eight bars that should
count. And after that it’s anybody guess. If I
could go back and take a few voice memos
from a rehearsal I’d be very grateful.”
What about confidence in today’s styles of vibrato
and articulation? Would Mozart approve? “No.
I’m not confident at all that he would like what
we do. Things like rubato and portamento – the
expressive bending of musical time, and sliding
between one note and the next – they don’t
appear on the page at all. You can read a lot
about them. He’s sparse with dynamics, mostly
piano and forte, and some of the articulation,
the slurring, is very clear. It would be wonderful
to hear what he did. But it’s not as mysterious in
that regard as with some other composers.”
Favourite moments in Seraglio? “I’m a sucker
for the Janissary moments, the loud, politically
incorrect passages, like the overture and the
choruses with the triangles and all of the jangly
Turkish instruments, which is just a brilliant,
brilliant colour. And, like so many people ever
since the Amadeus movie... Konstanze’s big aria,
Martern aller Arten, is just an incredible tour-deforce,
and it’s very hard to forget that image from
the movie where she’s singing in front of Mozart
wearing a crazy outfit, just going up the scales,
and then he’s inspired to write the aria. And of
course it’s great within the context of the opera,
as well. There’s the fact that the aria itself is so
huge, and then has these four solo instruments
inside it, on top of what the soprano is doing. It’s
amazingly put together. It’s a definite highlight. As
is the music of Osmin, which is one hundred per
cent hilarious. It counteracts all her high notes at
the other extreme. He’s singing down in his boots
a large proportion of the time. It’s a really difficult
role. Osmin has to be so nimble, like a negative of
Konstanze. He’s flying around the bottom of the
voice, which is comic. And it’s also great music!”
18
19

NATIONAL CONCERT HALL
The National Concert Hall (NCH) has an ambition to be one of the
world’s great centres for music, a centre which will be a symbol of
national pride for Irish people everywhere. But above all a centre
for music which will enable the NCH to best deliver on its statutory
remit for music, the arts, for culture and for our nation.
Based in the heart of Dublin City Centre, NCH is Ireland’s
National Cultural Institution for music hosting in excess of 1,000
events each year. World class music and entertainment for all
ages is at the heart of its offering, enriching people’s lives through
music and the magic of live performance.
It is proud to be home to the National Symphony Orchestra
who along with Music Network, Music Generation, Chamber
Choir Ireland, Irish Baroque Orchestra and Crash Ensemble are
resident at the NCH.
Two key strategic projects which will drive the realisation of its
vision are the plans to redevelop the NCH on Earlsfort Terrace
as part of Project Ireland 2040, along with the Government’s
decision to transition the NSO under the remit of the NCH.
By 2025, NCH will have delivered its vision and become:
• Ireland’s national centre for the creation and performance
of music.
• A leadership voice and advocate for music, everywhere.
• A living space for the performance of all music for everyone.
• An iconic Dublin venue with a national impact and
international presence.
• A place for nurturing the widest possible participation in music.
02
21

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.
Clare Presland (Red Queen), Claudia
Boyle (Alice) and Hilary Summers (White
Queen) will perform in INO’s upcoming
production of Gerald Barry’s Alice’s
Adventures Under Ground, ROH 2020.
Photo by Clive Barda.
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
22
23

IRISH CHAMBER
ORCHESTRA
The Irish Chamber Orchestra is Ireland’s most dynamic ensemble. Mixing traditional repertoire
with new commissions and collaborating with everyone from DJs to dance companies, the ICO
pushes the boundaries of what a chamber orchestra can do. These days, you are as likely to
find us at the Electric Picnic as Mozartfest, but wherever we perform, the ICO delivers worldclass
concerts feted for their energy and style.
Each year, Ireland’s busiest chamber ensemble presents concert seasons in both Limerick
and Dublin, embarks on two national tours, and makes a series of prestigious international
appearances supported by Culture Ireland. We work closely with our Artistic Partners to devise
exciting, diverse, and innovative programmes, mixing standard repertoire with new work – often
specially commissioned – from the best young Irish composers. This versatile approach enables
us to appeal to music fans of every stripe while upholding the highest artistic standards.
The driving force behind our recent success is our Principal Conductor/Artistic Partner Jörg
Widmann, a composer, conductor and clarinettist whose irrepressible energy and pursuit of
excellence has enabled the ICO to expand its horizons, attracting outstanding international
performers such as Brett Dean, Gábor Káli, Sheku-Kanneh Mason, Tabea Zimmermann, Igor
Levit and Elisabeth Leonskaja. The last seven years have seen ICO perform at leading concert
halls and festivals across Europe, USA, South America and release a series of acclaimed
recordings on the prestigious Orfeo label. This year, the ICO collaborated on four recordings –
one with Katherine Hunka on Orchid Classics, another with Jörg Widmann, a fabulous homage
to Weber on the Alpha label. The ICO featured on Be All Merry a release with The Choral
Scholars of University College Dublin directed by Desmond Earley on Signum Classics. Finally,
Letters on the Naxos label was the result of a fruitful collaboration with Chamber Choir Ireland.
Following a three-year residency at Heidelberger Frühling, the ICO is currently orchestra-inresidence
at Kilkenny Arts Festival.
Widmann’s enthusiasm and commitment is matched by the orchestra itself, led by the ebullient
Katherine Hunka, and comprises of 22 outstanding musicians. The ICO’s special rapport,
forged by over 20 years of playing – and sometimes singing! – together, creates the unique
sound that has captivated audiences all over the world.
The orchestra enjoys outstanding support. The enthusiasm and
forward thinking of CEO Gerard Keenan has been instrumental in
realising some of the ICO’s most exhilarating collaborations, while
the board, chaired by Aibhlín McCrann, comprises members whose
diverse professional expertise is matched by their determination to
realise the orchestra’s vision.
At the heart of this vision is the belief that music is for everyone.
That is why the ICO has implemented an ambitious and far-reaching
strategy that aims to take music out of the concert hall and into the
local community, inspiring children to try music for themselves, and
supporting them on their journey from first lesson to public performance.
Our groundbreaking initiative, Sing Out with Strings (SOWS),
offers primary school children in Limerick the chance to learn free
music. Now in its eleventh year, the project has been hailed as a
model of social inclusion, offering opportunities for young people,
developing key life skills and providing tangible long-term benefits
for participants, their families and the wider community.
The success of SOWS has led to a new youth orchestra, the ICOYO,
which provides aspiring musicians aged 12 to 18 with the support
they need to grow. However, it doesn’t stop there: the orchestra has
made its home at the University of Limerick for over 20 years, and
UL’s MA in Classical String Performance is run under the auspices
of the ICO – providing a rigorous programme with close contact to
the orchestra, its visiting directors, soloists and guests.
The ICO is orchestra-in-residence at the Irish World Academy of
Music and Dance at the University of Limerick, and is funded by
The Arts Council of Ireland/An Chomhairle Ealaíon.
www.irishchamberorchestra.com
Board of Directors
Aibhlín McCrann (Chair)
Rosemary Collier
Eamonn Cregan
Joan Garahy
Ger Holliday
Terry McManus
Kerstin Mey
Karen Morton
Gearoid Stanley
Chief Executive
Gerard Keenan
Deputy CEO/Operations
Cathriona Murphy
Communications/Media
Relations
Charlotte Eglington
Development
Joanne Tierney
Education
Kathrine Barnecutt
Friends/Finance
Margaret Kelly
Marketing
Ronan Keane
Artistic Advisor
Sonja Stein, Sonja Stein
Company
24
25

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
Ian & Jean Flitcroft
Howard Gatiss
Silvia & Jay Krehbiel
Karlin Lillington & Chris Horn
Rory & Mary O’Donnell
Gaby Smyth & Company
INO CHAMPIONS
Jennifer Caldwell
Norbert & Margaret Bannon
Maureen de Forge
Noel Doyle & Brigid McManus
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
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
Lynn Anderson
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
Michael Lloyd
Petria McDonnell
Katherine Meenan
Jean Moorhead
John R Redmill
J & B Sheehy
Judy Woodworth
INO FRIENDS
Anonymous
Ann Barrett
Simon Carey
Liam Clifford
Sarah Daniel
Matthew Dillon
Jack Doherty
Dr Beatrice Doran
Anne Drumm
Matthew Harrison
Eadaoin Hassett
Mr Trevor Hubbard
Kieron Lawlor
Michael Lloyd
Bernadette Madden
Cróine Magan
Mark Mahoney
Miriam McNally & Pat Dolan
Viola O’Connor
Prof Desmond O’Neill
Líosa O’Sullivan & Mandy Fogarty
Marion Palmer
Lucy Pratt
Hilary Pyle
Joseph Musgrave
Philip Regan
Prof Sarah Rogers
Vivienne Sayers
Olivia Sheehy
Jim Smith
Vivian Tannam
Philio Tilling
TU Dublin Operatic Society
Breda Whelan
Niall Williams
Irish National Opera is Ireland’s leading producer of highquality
and accessible opera at home and on great operatic
stages abroad. We are passionate about opera and its unique
power to move and inspire. We showcase world-class singers
from Ireland and all over the world. We work with the cream
of Irish creative talent, from composers and directors to
designers and choreographers. We produce memorable and
innovative performances to a growing audience. And we offer
crucial professional development to nurture Ireland’s most
talented emerging singers.
Our aim is to give everyone in Ireland the opportunity to
experience the best of opera. In our three-year history, we have
presented over 100 performances and won industry praise
both nationally and internationally for our ground-breaking work.
Through our productions, concerts, masterclasses, workshops,
lectures, broadcasts and digital events, we have reached an
audience of over half-a-million worldwide.
We want to do more, and we need your help to do it.
Becoming an Irish National Opera supporter unlocks exclusive,
behind-the-scenes events, including backstage tours,
masterclasses with world-renowned singers, ABL Aviation
Opera Studio performances, artist receptions and much more.
To support Irish National Opera’s pioneering work, please get
in touch or visit our website irishnationalopera.ie
Contact: Aoife Daly, Development Manager
E: aoife@irishnationalopera.ie
Dominica Williams, Javier Ferrer & Sophia Preidel in INO, United Fall 7 Galway International
Arts Festival’s production of Gluck’s Orfeo ed Euridice, July 2018. Photo by Pat Redmond.
26
23 27

ABL AVIATION OPERA STUDIO
ABL AVIATION OPERA
STUDIO ARTISTS
2020 – 2021
Rachel Goode
Soprano
Kelli Ann Masterson
Soprano
Aebh Kelly
Mezzo-soprano
David Howes
Bass-baritone
Elaine Kelly
Conductor
Amanda Feery
Composer
Davey Kelleher
Director
Luke Lally Maguire
Répétiteur
ABL Aviation, the international aviation investment company,
took title sponsorship of INO Studio, Irish National Opera’s
mentoring programme, in September 2019, as part of a multiannual
agreement. The programme is now the ABL Aviation
Opera Studio.
Members of ABL Aviation Opera Studio are involved in Irish
National Opera’s productions, both main-scale and touring.
They sing onstage in roles or in the chorus, understudy lead
roles – enabling them to watch and emulate great artists at
work – and, for non-singing members, they join in the world of
opera rehearsals as assistants.
Studio members also receive individual coaching, attend
masterclasses and receive mentorship from leading Irish and
international singers and musicians. Brenda Hurley, Head of
Opera at the Royal Academy of Music, London, is the vocal
consultant who guides our singers throughout the year. One of
Ireland’s leading theatres, The Civic, Tallaght, works with the
studio as a cultural partner, and the theatre’s artistic director,
Michael Barker-Caven, is the studio’s stagecraft consultant.
Other areas of specific attention are performance and
language skills and members are assisted in their individual
personal musical development and given professional career
guidance. They benefit from Irish National Opera’s national
and international contacts and ABL Aviation Opera Studio also
develops and promotes specially tailored events to help the
members hone specific skills and showcase their work.
For information contact Studio & Outreach Producer
James Bingham at james@irishnationalopera.ie
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
28
29

INO
TEAM
James Bingham
Studio & Outreach Producer
Sorcha Carroll
Marketing Manager
Aoife Daly
Development Manager
Diego Fasciati
Executive Director
Sarah Halpin
Digital Communications
Manager
Cate Kelliher
Business & Finance Manager
Patricia Malpas
Project Administrator
Claire Lowney
Development & Marketing
Assistant
Muireann Ní Dhubhghaill
Artistic Administrator
Gavin O’Sullivan
Head of Production
Fergus Sheil
Artistic Director
Paula Tierney
Company Stage Manager
Board of Directors
Gaby Smyth (Chair)
Jennifer Caldwell
Tara Erraught
Gerard Howlin
Gary Joyce
Stella Litchfield
Sara Moorhead
Joseph Murphy
Ann Nolan
Yvonne Shields
Michael Wall
69 Dame Street
Dublin 2 | Ireland
T: 01–679 4962
E: info@irishnationalopera.ie
irishnationalopera.ie
@irishnationalopera
@irishnatopera
@irishnationalopera
Company Reg No.: 601853
Registered Charity: 22403
(RCN) 20204547
20 COMPOSERS. 20 OPERAS.
STREAMED FOR FREE FROM THURSDAY 17 DECEMBER
MUIREANN AHERN
GERALD BARRY
ÉNA BRENNAN
IRENE BUCKLEY
LINDA BUCKLEY
MARINA CARR
DYLAN COBURN GRAY
ROBERT COLEMAN
DAVID COONAN
ALEX DOWLING
PETER FAHEY
STELLA FEEHILY
MICHAEL GALLEN
ANDREW HAMILTON
IONE
JENN KIRBY
ANNE LE MARQUAND HARTIGAN
CONOR LINEHAN
LOUIS LOVETT
CONOR MITCHELL
GRÁINNE MULVEY
DOIREANN NÍ GHRÍOFA
EMMA O’HALLORAN
MARK O’HALLORAN
HANNAH PEEL
KAREN POWER
EVANGELIA RIGAKI
BENEDICT SCHLEPPER-CONNOLLY
JESSICA TRAYNOR
JENNIFER WALSHE
go to irishnationalopera.ie
30

irishnationalopera.ie