Maria Stuarda Programme Book 2022

DONIZETTI
MARIA
STUARDA

IRISH NATIONAL OPERA
PRINCIPAL FUNDER
CORPORATE
PARTNER
ACKNOWLEDGEMENTS
Thanks to Ronan O’Reilly, Cora Doyle and John Grant at
Artane School of Music.

GAETANO DONIZETTI 1797–1848
MARIA
STUARDA
1835
TRAGEDIA LIRICA IN 2 ACTS
Libretto by Giuseppe Bardari after Andrea Maffei’s 1830 translation of Friedrich von
Schiller’s 1800 play, Maria Stuart
First performance, Teatro alla Scala, Milan, 30 December 1835
First Irish performances, Down Leisure Centre, Downpatrick, 22 April 1989
(in English, with piano); Gaiety Theatre, Dublin, 5 June 2022 (with orchestra)
SUNG IN ITALIAN WITH ENGLISH SURTITLES
Anders Wiklund’s critical edition of Maria Stuarda used in these performances is
published by Ricordi. © Casa Ricordi (Universal Music Publishing Group).
By arrangement with G. Ricordi & Co. (London) Ltd.
Running time 2 Hours and 30 minutes including 1 interval after Act I
The performance on Saturday 11 June will be recorded for future transmission
on RTÉ lyric fm and for future streaming on www.operavision.eu
PERFORMANCES 2022
#INOMariaStuarda
Sunday 5 June Gaiety Theatre Dublin
Tuesday 7 June Gaiety Theatre Dublin
Thursday 9 June Gaiety Theatre Dublin
Saturday 11 June Gaiety Theatre Dublin
Wednesday 15 June Cork Opera House Cork
Thursday 16 June Cork Opera House Cork
Sunday 19 June National Opera House Wexford
Wednesday 22 June University Concert Hall Limerick concert perf.
03

A CLASH OF QUEENS
FERGUS SHEIL
ARTISTIC DIRECTOR
Maria Stuarda made a big impression on me when I first came
across it at the 2002 Edinburgh International Festival. I was
working as assistant to conductor Charles Mackerras, and my
responsibility was preparing the chorus. I was captivated by
the scale of Donizetti’s musical thinking, which seemed to be
on a larger and more ambitious canvas than any other of his
operas that I had encountered. And, by any measure, the work is
extraordinarily dramatic.
In many if not most Italian operas from the 19th century, there is
one leading soprano role. But, typically there are two men playing
the parts of rival lovers, one a tenor, the other a baritone. The tenor
may be the favoured lover, but the downside is that he is liable to
get killed for his efforts! (Maybe I’m thinking too much of Puccini’s
Tosca, which is just around the corner for INO, with a new
production starting at the Bord Gáis Energy Theatre on Monday
11 July.) Other female roles are usually secondary – a maid, a
nurse, a servant or a mother. The idea of two female roles of equal
importance and stature is much less common. And it’s something
I find really thrilling in this opera.
The two queens are both women certain of their own status and
destiny, and neither is willing to give the other an inch. They are
caught on diametrically opposing sides of a religious and political
divide in a dispute that neither created. Henry VIII’s break with
Catholicism meant that everybody found themselves on one side or
the other. If you followed the Protestant faith, then Henry’s daughter
Elizabeth was the rightful queen of England. If you kept to Catholic
teaching, then Elizabeth was born of an unrecognised marriage
and therefore could not be regarded as being in line to the throne.
Henry’s niece, Mary Stuart – Mary Queen of Scots – was next in line.
Donizetti didn’t confine himself to historic truths. He followed the
source of the opera’s libretto, the 1800 German play by Friedrich
Schiller, so the opera presents a meeting between the two monarchs,
04

even though in reality they never met. The meeting is at a contrived
hunt in the grounds of Fotheringhay Castle, and it doesn’t take long
for things to turn nasty. Elizabeth is unforgiving and Mary loses her
temper, labelling her cousin a vile bastard and a prostitute. Throughout
this notorious and confrontational Act I finale both queens get equal
opportunities for vocal gymnastics and the result is hair-raising.
The opera’s depth extends to the choral writing, particularly in
Act II, where the chorus describe the scene of Mary’s execution,
and when they join her in a final prayer. There’s real emotional
profundity here. Throughout the finale of the opera, Donizetti
employs a wonderful technique that Verdi also used at the end of
La traviata. The music shifts from the sorrowful minor key into the
major, but the traditionally more “up-beat” major key is transformed
in a way that intensifies the feeling of heart-break and devastation.
I’ve been longing to stage this opera for twenty years. But it is
difficult to cast, and I’m delighted now to be able to field a truly
excellent cast, especially when it comes to our two queens. Tara
Erraught as Queen Mary and Anna Devin as Queen Elizabeth are
both taking on these challenging roles for the first time, as is Amy
Ní Fhearraigh, who takes on the role of Elizabeth in two of our
performances. And, of course, as the conductor of the production,
I’m having the great privilege of being part of the team bringing
director Tom Creed and designer Katie Davenport’s vision to
full fruition. The rehearsal room has been transformed by many
moments of sensational beauty. I can but hope that you will
relish the contribution of everyone on the INO team – onstage,
backstage and in the pit – every bit as much as I do.
Maria Stuarda, which has had a particularly convoluted
performance history, has never previously been presented in a full
staging with orchestra and chorus in Ireland. It’s an extraordinary
pleasure to welcome you to this very special moment in Irish
operatic history.
05

OPERA WITHOUT BORDERS
DIEGO FASCIATI
EXECUTIVE DIRECTOR
One of the facets of opera that fascinates me is how this
artform transcends national borders and cultures. Maria
Stuarda is based on historical events that unfolded in England
and Scotland, re-imagined by a German playwright, Friedrich
Schiller, and transposed to the operatic stage by an Italian
composer, the prolific Gaetano Donizetti. We will have another
example of “multi-national” opera in our next season, when
we present William Tell by Rossini: the story of a mythical
Swiss hero, retold by the same German playwright and set to
music to a French libretto by an Italian composer then living
in Paris. As a child, I saw a film version of Maria Stuarda on
television. Though I had no idea who Mary Stuart or Elizabeth I
were, I was gripped by the drama and the music. I have never
seen this opera live on stage and I am greatly looking forward
to hearing our top-notch cast, chorus and orchestra bring this
gem of a bel canto opera to life.
Last month we unveiled our 2022–23 season which
comprises over 60 live performances of eight operas on
20 different stages. In addition, we will present concerts
and other special events as well as roll out an expanded
education and outreach programme. It is astonishing how
quickly we have expanded as a company since our launch in
2018. Our growth and development would of course not be
possible without the firm and committed support of The Arts
Council/An Chomhairle Ealaíon, to whom we are very grateful.
The reach and depth of our programme would also not be
possible without the support of our passionate INO members:
individual donors whose donations help ensure the future of
opera in Ireland.
The season will begin and end with two perennial audience
favourites – Puccini’s thriller Tosca and Mozart’s school for
06

lovers Così fan tutte. And in between we are offering a veritable
smorgasbord of operatic delicacies. As a Swiss person, I must
of course highlight William Tell, the tale of the Swiss hero who
leads the fight to free Switzerland from the clutches of the
Austrians. The plot is very dramatic, and includes the famous
apple-on-the-head scene, and the music is astonishing,
Rossini as you have never heard him before, though everyone
will be familiar with the overture. We were privileged to be able
to announce our season at the Swiss Embassy in Dublin, our
sincere thanks to Ambassador Gubler for welcoming us to his
residence and hosting our season launch.
Our last season was of course much disrupted by Covid
regulations and restrictions. However, we managed to
produce a remarkable number of operas, both for live
performance and as films. Earlier this year, though restrictions
began to ease, we had to change the opening night date and
time of Bajazet by Vivaldi three times and we are grateful
to the Solstice Arts Centre in Navan for facilitating this.
Thanks to a nimble and tenacious cast and production and
administrative teams, we finally had an opening night and
after touring the production in Ireland, we presented it at the
Royal Opera House in London. Our Bajazet went on to earn
two Olivier Award nominations, London’s most coveted
award for theatre, opera and dance, and won one, for
Outstanding Achievement in Opera for Peter Whelan and
the Irish Baroque Orchestra.
We all now hope that the days of restrictions are well behind
us. Of course none of us knows what the future holds in these
uncertain times. But we will continue on our quest to create
unforgettable operatic experiences for everyone in Ireland
and beyond.
07

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08

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07

DIRECTOR’S NOTE
TOM CREED
DIRECTOR OF
DONIZETTI’S MARIA
STUARDA
Writers have always adjusted history to their own ends.
Donizetti’s 1835 opera takes this approach, as did the
German playwright Friedrich Schiller, whose 1800 play Mary
Stuart formed the basis for Donizetti’s treatment of the story.
Among the facts, there is already much speculation. We know
that Mary ascended to the Scottish throne aged six days, on
the death of her father James V in 1548. She spent her youth
in France, betrothed and then married to the future king of
France, becoming queen consort briefly in 1559, until his
untimely death in 1560. She then returned to Scotland into
the middle of a conflict between her own Catholic community
and the rapidly expanding Protestant ascendancy. She
married her half-cousin Henry Stuart, Lord Darnley, in 1565,
and had a son, James, in 1566.
In 1567, Darnley’s castle was blown up, he was found
murdered in the garden, and the chief suspect, the Earl of
Bothwell, quickly became Mary’s third husband. Following
an uprising against the couple, Mary abdicated the throne
in favour of her one-year-old son and fled to England to
seek protection from her cousin, Queen Elizabeth I, but was
imprisoned for the next 18 years. Letters and love poems
addressed to Bothwell were allegedly found in a casket and
formed the basis of the accusations against her.
Like her 20th-century namesake, Elizabeth I became queen
aged 25, and was widely respected in England throughout her
long reign. She never married, but there were long-running
rumours about her will-they-won’t-they relationship with
her so-called favourite, Robert Dudley, Earl of Leicester. At
one point, she proposed that Leicester would marry Mary, to
improve relations between England and Scotland, and that all
three would live together at Elizabeth’s court, but this never
10

came to pass. When, after 18 years, Leicester finally married
someone else, his new wife was ostracised from Elizabeth’s court.
In 1586, Mary was implicated in the infamous Babington Plot, in
which she appeared to approve of plans to assassinate Elizabeth
and take the place of her cousin on the throne. This was the last
straw, and rapidly led to Mary’s conviction and execution. These
events form the backdrop to the opera, as different factions at
Elizabeth’s court compete to secure Mary’s freedom or death.
What’s the truth? Historians are divided about Mary’s role in the
various plots. We’ll never know the intimate details of Elizabeth’s
relationship with Leicester. But what we do know is that Donizetti,
and Schiller before him, created a thrilling and urgent meditation
on power, pride and politics by filling in the gaps.
Crucially, Donizetti developed the relationship between Elizabeth
and Leicester into a full-blown love triangle in which Leicester’s
infatuation with both women is a key driver of the plot. And, most
importantly, the famous confrontation between the two queens,
and the ensuing consequences, were invented for dramatic
effect. How better to tell the story of their rivalry than having
them meet on stage?
All this gives licence to a new production of the opera to continue
to speculate. What if the events depicted were unfolding now
rather than four centuries ago? How might we map the historical
events onto the current state of affairs between England and
Scotland? What might we learn from current news about larger
imperial states encroaching on their smaller neighbours, where
geopolitics are clouded by emotional whims?
We look at the present through the past, and the past through the
present. We use images from around us to gain an understanding
of things that happened and continue to play out.
11

SYNOPSIS
ACT I
Everyone waits at the court of Queen Elizabeth
I for a big decision. It is rumoured that she will
agree to marry the heir to the throne of France
and unite the two nations, which would create
a major political and economic power. She
is still doubtful about this, though she says
she is willing for the sake of her people and
country. But in reality she harbours feelings for
Robert Dudley, the Earl of Leicester, and their
ambiguous relationship has been the talk of the
court for many years. Mary Stuart, Queen of
Scots, is under a kind of house arrest in England,
suspected of conspiring to murder her late
husband and plotting to assassinate Elizabeth.
George Talbot, Earl of Shrewsbury, who has
been charged with guarding Mary, pleads for
mercy, while William Cecil, her chief adviser,
recommends her execution without delay.
Leicester is not at court for Elizabeth’s
announcement, and she wonders why he is
not there. When he appears, she gives him
a ring to take to France as a token of her
provisional willingness to marry, but with the
caveat that she can change her mind at any
time. Talbot has sent for Leicester, and when
they are alone, he passes on a portrait of
Mary in her captivity along with a message in
which she seeks a meeting with Elizabeth,
after which Leicester resolves to set Mary
free. When Elizabeth returns, she senses
his agitation and demands to see Mary’s
message. In spite of her jealousy of Mary and
Leicester’s seeming affection for each other,
she agrees to visit Mary.
Mary and her companion Anna have been
allowed to enjoy the freedom of the open
air at Fotheringhay Castle, where she has
been imprisoned. She is reminded of happier
times during her childhood and teenage
years in France. Distant hunting horns and
the voices of men in the distance announce
the approach of Elizabeth, and now Mary is
having second thoughts. Leicester arrives
and explains that the hunting party is a
pretext for the meeting, and advises Mary
to be submissive towards Elizabeth. When
the queens meet for the first time, Elizabeth
is instantly enraged by Mary’s haughtiness,
and Mary can read that fury clearly on
Elizabeth’s face. Mary swallows her pride and
behaves deferentially towards Elizabeth, who
responds by humilating her in front of her
advisors and especially Leicester. Mary can
only keep silent and withstand this offence
for a while, before insulting Elizabeth and
sealing her fate.
12

ACT II
Elizabeth struggles with the idea of signing
Mary’s death sentence, but Cecil convinces
her. Leicester arrives just as she signs, and
continues to plead for Mary’s life, but in
vain, and Elizabeth orders him to be there to
witness the execution.
Mary bemoans her misfortune and fears
for Leicester. Talbot enters with Cecil, who
presents the death warrant and insensitively
offers the services of a Protestant minister
to the Catholic Mary. Talbot tells her about
Elizabeth’s decree that Leicester will have
to watch her execution. Haunted by ghosts
of her past, she is assailed with memories
of violence and deaths from her turbulent
life. Talbot urges her to clear her conscience
and admit her crimes, and she unloads her
burden of guilt as she prepares to die.
Mary’s supporters wait to see her one last
time at the place of execution, bemoaning
the shame that the death of a queen will
bring down on England. Mary greets them,
presents Anna with a handkerchief to
blindfold her before her execution, and
invites the assembled crowd to join her in
prayer. When offered her last requests by
Cecil, Mary asks that Anna can join her on the
scaffold, and offers her forgiveness to the one
who insulted and condemned her. Leicester
arrives and Mary tries to calm him, but he
can do nothing to prevent her fate. Mary goes
to her death as her supporters continue to
proclaim her innocence.
13

NO, YOU CAN’T
Can there ever have been a time when
freedom of speech and expression
have not been an issue? Cancel
culture is all around us. Social media
thrives on shouting others down. And
it used to be the province of state
institutions with wide remits to control
what could be read, seen on stage, on
film or TV, and in art galleries.
In the liberal Ireland of the 21stcentury
it’s easy to forget that
one of the big interventions of
the newly-independent Irish Free
State in the 1920s was to set up
draconian national censorship
of films, books, newspapers and
magazines through the Censorship
of Films Act 1923, and the
Censorship of Publications Act
1929. The tenor of the censorship
of publications act can be gauged
from the fact that it was preceded
in 1926 by the Report of the
Committee on Evil Literature.
The wording says it all.
In the 19th century getting an
opera past the censors was
an everyday concern for composers and
theatres. One of the most notorious clampdowns
affected Verdi. His Gustavo III, set
in Stockholm and with a plot based on the
Gaetano Donizetti and
Maria Malibrana
assassination of King Gustav III of Sweden in
1792, fell foul of the censors. There was an
unsuccessful assassination attempt while the
Gustavo III rehearsals were underway and this
made it unacceptable to show a monarch on
stage and have him murdered. The work was
transformed into Una vendetta in domino, the
setting moved to Stettin (the German name
for what is now Szczecin in modern-day
Poland), and eventually – though not without
struggles and legal action – into Un ballo in
maschera, safely given a transatlantic setting
in colonial Boston.
Donizetti’s Maria Stuarda experienced an
even worse fate. The first performance was
cancelled by royal intervention after the dress
rehearsal. The opera was then rehashed as
Buondelmonte, with Donizetti himself as a
prime critic of the creative butchery that he
found himself having to carry out. The first
public performance of the final version was
beset by troubles. There had to be a late,
major cast change. The lead singer was in
poor voice – the great Maria Malibran sang
only to collect her fee. The theatre tried to
improve things by putting on a mish-mash
version which butt-jointed the first act of
Maria Stuarda with the second and third acts
of Rossini’s Otello. And then the opera was
taken off the stage entirely after Malibran sang
words that had been banned by the censor.
The future of the opera was hampered by the
fact that Donizetti pilfered material from it for
14

DO THAT
later works that became better known and, after a somewhat bowdlerized production in 1865,
the opera disappeared from the stage until 1958. A critical edition would not appear until the
late 1980s, after the rediscovery of Donizetti’s 1835 autograph score.
It’s tempting to think that curtailments of musical expression are a thing long faded from living
memory. But Anglo-Irish politics came into play at the first Dublin International Festival of Music
and the Arts, in 1959, when the Roman Catholic Archbishop of Dublin, John Charles McQuaid,
was the festival’s patron. Radio Éireann refused to let its symphony orchestra take part in a
performance of Handel’s Zadok the Priest because the text included the words “And all the
people rejoiced and said ‘God save the king! Long live the king! May the king live forever.’”
When American actress Jayne Mansfield came to Ireland for a cabaret at the Mount Brandon
Hotel in Tralee in 1967 she was blisteringly condemned by the Catholic Bishop of Kerry, Denis
Moynihan, as the “Goddess of Lust”, and he had a letter read out at masses in the diocese
telling people not to attend her performance. When her appearance was cancelled, the venue
cited a van breakdown which affected the band travelling from Dublin.
About 20 years ago the title of an RTÉ National Symphony Orchestra commission was changed
by the composer at the request of RTÉ because of political sensitivities in relation to a Northern
Irish subject. The issue can run in the other direction, too. Gerald Barry, whose operas have
recently been having great success – INO’s CD of his Alice’s Adventures Under Ground is
available on Signum Records – was commissioned by the BBC to write an orchestral work
celebrating the defeat of the Spanish Armada for the 1988 Proms. Barry had to explain that
he just didn’t have it in him to celebrate the defeat of the Armada. Someone from Co. Clare, he
explained, couldn’t be expected to view the Armada in the same light as someone brought up in
Britain. The BBC relented and gave him a free hand.
Russian pianist Alexey Lubimov, who earlier this year helped organise the escape to Berlin of
Ukraine’s leading composer, 84-year-old Valentin Silvestrov, in the face of Russia’s invasion
of his country, experienced police arriving to break up a concert he gave in Moscow in April.
The official explanation was a response to a bomb threat. But the wider interpretation was the
inclusion of the Ukrainian composer’s music on the programme.
We may object when artists are prevented from doing their thing. But when the control or
interference is exerted by state or municipal or religious authorities the most important takeaway is
really straightforward. The battle for control only makes sense in the first place because art matters.
MICHAEL DERVAN
15

BEING
WHAT DO YOU REMEMBER FROM THE
FIRST OPERA YOU WENT TO?
The first opera I went to was Mozart’s The Marriage
of Figaro, in the Gaiety in the late 1980s. My
outstanding memories are Regina Nathan singing
Susanna. I completely fell for the character and the
costumes and the colours. There was a chequered,
chessboard-type floor, on the diagonal, like you
see in period houses, but with the black there were
neon colours. The scene that I have the picture of
is the trio in Act II, where the Count has come back
into the room and Susanna’s been locked in the
cupboard. I remember every time she had a line,
she’d just lean out the side and sing. That was when
I fell in love with opera. I came out thinking, I really
want to play Susanna one day, having no real idea of
what that meant in terms of anything to do with the
journey. I wasn’t really singing at that point. I was
only six or seven. I’ve got a very strong visual picture
of it, but no memory of the music or the characters.
WHAT DO YOU REMEMBER FROM THE
FIRST OPERA YOU SANG IN?
I’m pretty sure that Purcell’s Dido and Aeneas
came first, at the Royal Irish Academy of Music.
When I met the director, Derek Chapman, I
said to him, “You played the rat in the panto
when I was a child!”. I also remember standing,
watching Nora King singing Dido’s Lament, but
not much else. I’ve a much stronger memory of
Monteverdi’s The Coronation of Poppea, which I
did when I was a Young Artist with Opera Theatre

ANNA DEVIN
Company. My first professional opera!
I remember being petrified about forgetting
what I had to do. It was quite a big deal to be
with all these professionals.
I didn’t know anything, except how to sing.
I was worried about the fact that I sometimes
had to put furniture in different places on the
stage. That something wouldn’t be in the right
place. And what would I do if it wasn’t there?
It happened one night. There was supposed to
be this chair for the duet between Damigella
and Valletto. It was quite a sexy duet, and I was
supposed to put whipped cream on myself and
all of that nonsense. I came on stage and the
chair wasn’t there! Needless to say, my natural
ability came out and we got on with it and made
it up. Something similar happened when I was
making my debut in Covent Garden. When
you’re in the moment your animal instinct, your
natural instinct, overrides the power of
the thinking mind.
WHAT WAS THE BEST OPERA-RELATED
ADVICE YOU EVER GOT?
Ann Murray came into the academy when I was
a student. Her master-classes really stick out
in my head. She was so frank. She’s amazing.
She said to me, 80 per cent of the time you
won’t be singing on a good day. You’ll be lucky
if 20 per cent of the time are your best days. So,
really, you have to learn to sing when you’re not
having a good day. And that’s what makes you
good at being a professional. It’s so true. You
get a handful of days where you happen to line
up physically, vocally, mentally and happen to
have a performance on the same day. And I’m
pretty sure it was Gráinne Dunne, doing Lieder
coaching, who said to me, whatever you do,
don’t ever sing on your capital. You’ve got to
always keep some in reserve. You should never
be singing on your capital as a singer, ever.
Because then you’re doing too much and you’ll
never get through life as a singer.
WHAT IS THE MOST ANNOYING
MISCONCEPTION ABOUT OPERA?
That it’s expensive, and it’s only for the elite.
The most hilarious one I always feel is the idea
that you have to be fat to do it when, nowadays,
it’s the complete opposite. Another one is that
people who don’t know a lot about opera don’t
understand that it’s like any other artform or
any other entertainment, in that there are so
many different types of story, so many different
types of music, so many different types of
singer. If you’ve gone to one performance and
you hate it, that doesn’t mean that you’re going
to hate all opera. That’s like saying, OK, I went
to the cinema and I didn’t enjoy the film, so I’m
never going to the cinema again.
17

WHAT MOMENT DO YOU MOST LOOK
FORWARD TO IN MARIA STUARDA?
For me the pinnacle of the opera is the moment
where Maria tells Elisabetta that she’s a bastard
child and basically stands up to her – how the
two women react in that moment. That’s the
turning point for Elisabetta. I think up to that
point she may not have done anything. But when
Maria gets back at her, she’s, like, OK, that’s
it. You’ve taken my man. You’re now taking my
power, which you’ve already been trying to do for
a very long time, but you’re actually doing it to
my face. That’s Maria’s demise.
WHAT’S THE MOST CHALLENGING
ASPECT OF SINGING ELISABETTA IN
MARIA STUARDA?
Portraying the character. I’ve been thinking long
and hard, and reading up on the two queens.
To first make an opinion of what I actually think
of Maria, what I believe in what people have
said about her. Whether it’s true that she killed
her husband. Whether she’s trying to steal my
kingdom all the time. Along with how I act as a
political figure. The way the opera is written, the
thing that overrides everything in every scene is
Elisabetta’s love for Leicester. So, how to layer
the character with this underpinning of love and
all the political stuff on top of it. How to show
the moments where that love in a way overtakes
her political mind, overtakes her power. I think
she’s probably the most multi-layered character
I’ve ever played, ever will play.
HOW DO YOU MANAGE A CAREER
WHERE YOU HAVE TO COMMIT SO
MUCH SO FAR IN ADVANCE?
It’s really hard. I’ve gotten better at it, but it
doesn’t necessarily get any easier. The pandemic
has been amazing for me in that respect. I like
to be organised, I like to plan things in advance,
which is quite useful in this career. Some people
find it difficult, but I actually enjoy knowing
what’s going to happen. But I spend so much
time worrying about stuff that’s happening in
two years’ time rather than focussing on the
present...worrying about gaps in the work, or
how on earth am I going to learn five roles in six
months. I’m perfectly capable. But the pandemic
has taught me not to worry about that kind of
stuff, and not look two or three years in advance.
I know from actors I’ve worked with they only
get booked up two or three months in advance.
Twice I’ve planned a holiday and been asked to
do something last minute and the whole family
have had to move their plans because of me.
I don’t like that side of things.
The great thing about the pandemic is that I’ve
decided I’m going to stop worrying about stuff
that’s happening in two or three years’ time.
I’m going to live and worry about the next three
to six months, and take each chunk as it comes.
As I’ve gotten older I’ve realised you do actually
have to look at all your work and how it will all fit
together as a jigsaw. You have to be responsible
for your voice, how you turn up at rehearsal and
18

on the stage. You have to find a balance in it.
It’s not good to overlap a Handel role with bel
canto role. Some people are better at jumping
around. I’ve found as I’ve gotten older and
my voice has gotten bigger, that I need time,
particularly moving back into the baroque, to
get the agility in the voice. My number one tip to
young singers would be to make sure that you
do plan your repertoire and, most importantly,
plan when you’re going to learn it. And look at
a season as a whole and ask is it realistic that
I can actually do all of this. Don’t think too far
ahead. But have a basic plan in place so that
you fit your everyday life around it.
IF YOU WEREN’T AN OPERA SINGER,
WHAT MIGHT YOU HAVE BECOME?
When I was a teenager the other thing I
dreamed about was becoming a showjumper!
Equally challenging, equally difficult. But I
did also dream of becoming the head of a
corporation and leading people and telling them
what to do in my high-heels and power suits.
My parents had their own company. They were
always leading something, moving something
forward and progressing. I always had this idea
that I had to make an impact, do something,
achieve something. I don’t know if achieving
something is necessarily a good thing. I don’t
think life is necessarily about achievements.
I think it’s about experiences. I’d love to do
some coaching and some stuff to do with
leadership. There’s an awful lot you learn from
being a performer, from this lifestyle, that
has something to offer someone who has no
connection with it. Also, I’m fascinated by the
body. I feel I’ve learnt so much about the body
and the micro-things that happen it, I’d love to
impart some of that to other people, too.
IN CONVERSATION WITH
MICHAEL DERVAN
19

CAST IN ORDER OF VOCAL APPEARANCE
Elisabetta Anna Devin Soprano
Queen of England
5, 9, 11, 15, 19 JUNE
Elisabetta Amy Ní Fhearraigh Soprano
Queen of England
7, 16 JUNE
Giorgio Talbot Callum Thorpe Bass
Earl of Shrewsbury
Lord Guglielmo Cecil Giorgio Caoduro Baritone
Lord High Treasurer
Roberto, Conte di Leicester Arthur Espiritu Tenor
Earl of Leicester
Anna Kennedy Gemma Ní Bhriain Mezzo-soprano
Maria’s nurse
Maria Stuarda Tara Erraught Mezzo-soprano
Queen of Scotland, prisoner in England
CREATIVE TEAM
Conductor
Director
Set & Costume Designer
Lighting Design
Chorus Director
Assistant Director
Répétiteur
ABL Aviation Opera Studio Conductor
Offstage Conductor
Fergus Sheil
Tom Creed
Katie Davenport
Sinéad McKenna
Elaine Kelly
John King
Aoife O’Sullivan
Molly de Búrca
Medb Brereton-Hurley
20

IRISH NATIONAL OPERA CHORUS
Sopranos
Mezzo-sopranos
Tenors
Basses
Caroline Behan
Eilís Dexter
Ben Escorcio
Adam Cahill
Catherine Donnelly
Emily Hogarty
Keith Kearns
Desmond Capliss
Jessica Hackett
Madeline Judge
Andrew Masterson
Lewis Dillon
Ami Hewitt
Sarah Kilcoyne
James McCreanor
David Kennedy
Deirdre Higgins
Iris-Fiona Nikolaou
Patrick McGinley
Matthew Mannion
Hailey-Rose Lynch
Heather Sammon
Conor Prendiville
Lorcan O’Byrne
Megan O’Neill
Olivia Sheehy
Tommy Redmond
George Rice
Jade Phoenix
Jacek Wislocki
David Scott
Niamh St John
21

IRISH NATIONAL OPERA ORCHESTRA
First Violins
Sarah Sew LEADER
David O’Doherty
Cillian Ó Breacháin
Brendan Garde
Katherine Sung
Maria Ryan
Second Violins
Larissa O’Grady
Aoife Dowdall
Christine Kenny
Emma Masterson
Sarah Perricone
Violas
Adele Johnson
Thomas McShane
Gawain Usher
Giammaria Tesei
Cellos
Annette Cleary
Niall Ó Loughlin
Zoë Nagle
Yseult Cooper-Stockdale
Double basses
Roger McCann
Carlos Gomes
Harp
Dianne Marshall
Flutes
Lina Andonovska
Naoise Ó Briain
Piccolo
Susan Doyle
Oboes
Daniel Souto Neira
Jenny Magee
Clarinets
Conor Sheil
Suzanne Brennan
Bassoons
John Hearne
Sinéad Frost
Horns
Hannah Miller
Javier Fernandez
Brian Daly
Mary Curran
Trumpets
Pamela Stainer
Nathan McDonnell
Trombones
Ross Lyness
Eoghan Kelly
Paul Frost
Timpani
Noel Eccles
Percussion
Kevin Corcoran
Rónán Scarlett
22

PRODUCTION TEAM IRISH NATIONAL OPERA
Production Manager
Patrick McLaughlin
Company Stage Manager
Colin Murphy
Stage Manager
Anne Kyle
Assistant Stage Manager
Aidan Doheny
Technical Stage Manager
Abraham Allen
Carpenter
Peter Boyle
Stage Technician
Martin Wallace
Chief Electrician/Programmer
Matthew Burke
LX Crew
Simon Burke
Wigs, Hair and Makeup
Carole Dunne
Wigs, Hair and Makeup
Assistant
Tee Elliott
Costume Supervisor
Monica Ennis
Costume Assistant
Laura Fajardo
Costume Crew
Mary Sheehan
Clodagh McCarthy
Sharon Ennis
Eoin Daly
Costume Intern
Muriel Mock
Costume Makers
Denise Assas
James McGlynn Seaver
Caroline Butler
Veronika Romanova
Model Maker
Ger Clancy
Breakdown Artist/Fabric
Painter
Sandra Gibney
Surtitle Operator
Maeve Sheil
Lighting Provider
Cue One
Contract Crew
Event Services Ireland
Transport
Trevor Price
Odhran Sherwin
Graphic Design
Alphabet Soup
Photography
Ruth Medjber
Ruthless Imagery
Programme edited by
Michael Dervan
Rehearsal Photography
Ste Murray
Production Photography
Pat Redmond
Promotional Video
Gansee
Reinaldo Crepaldi at Exertis
Ireland
23

2022—2023
SEASON
Booking and information on
irishnationalopera.ie
TOSCA
DUBLIN
11, 13, 14, 16, 17 JUL 2022
BORD GÁIS ENERGY THEATRE
DONIZETTI
DON PASQUALE
NATIONWIDE TOUR
26 NOV 2022 – 11 FEB 2023
IRVINE & NETIA
LEAST LIKE THE
OTHER
SEARCHING FOR
ROSEMARY KENNEDY
LONDON
15, 17, 18, 19 JAN 2023
LINBURY THEATRE, ROH

DENNEHY & WALSH
THE FIRST CHILD
GALWAY
18, 20, 21, 23, 24 JUL 2022
BAILEY ALLEN HALL
TOURING 14 – 25 SEPT 2022
MERIVALE & O’NEILL
OUT OF THE
ORDINARY
KILKENNY
AUG 2022
KILKENNY ARTS FESTIVAL
& THEN ON NATIONAL TOUR
ROSSINI
WILLIAM TELL
DUBLIN
8, 9, 11, 12 NOV 2022
GAIETY THEATRE
STRAUSS
DER
ROSENKAVALIER
DUBLIN
5, 7, 9, 11 MAR 2023
BORD GÁIS ENERGY THEATRE
MASSENET
WERTHER
NATIONWIDE TOUR
22 APR – 14 MAY 2023
MOZART
COSÌ
FAN TUTTE
NATIONWIDE TOUR
19 MAY – 2 JUN 2023

BIOGRAPHIES
FERGUS SHEIL
CONDUCTOR
TOM CREED
DIRECTOR
Fergus is the founding artistic
director of Irish National Opera.
He has conducted a wide-ranging
repertoire of 47 different operas
in performance, recordings and
on film. Highlights include Verdi’s
Aida, Brian Irvine and Netia Jones’s Least Like The
Other – Searching for Rosemary Kennedy, Rossini’s
La Cenerentola, half of 20 Shots of Opera, Strauss’s
Elektra and Beethoven’s Fidelio (Irish National
Opera). He has also conducted Wagner’s Tristan und
Isolde, John Adams’s Nixon in China, Rossini’s The
Barber of Seville (Wide Open Opera), Mozart’s Don
Giovanni and, in 2017, the first modern performance
of Robert O’Dwyer’s Irish-language opera, Eithne
(Opera Theatre Company), which was subsequently
recorded and issued on CD by RTÉ lyric fm. He has
has appeared with the RTÉ Concert Orchestra,
the Ulster Orchestra, the Irish Chamber Orchestra
and other orchestras at home and abroad. He
has toured the RTÉ National Symphony Orchestra
throughout Ireland in Beethoven’s Choral Symphony
and Mahler’s Resurrection Symphony. As a choral
conductor he has worked with the State Choir Latvija
(giving the world premiere of Arvo Pärt’s The Deer’s
Cry) and the BBC Singers. Internationally he has
fulfilled engagements in the USA, Canada, South
Africa, Australia, the UK, France, Netherlands,
Denmark, Sweden, Malta and Estonia. Before
founding Irish National Opera he led both Wide Open
Opera (which he founded in 2012) and Opera Theatre
Company. Since 2011 he has been responsible for
the production of over sixty different operas, which
have been seen around Ireland and in London,
Edinburgh, New York, Amsterdam and Luxembourg.
Tom directed Vivaldi’s Griselda and
Offenbach’s The Tales of Hoffmann
for Irish National Opera, both of
which were nominated for Best
Opera Production at The Irish
Times Irish Theatre Awards, as
well as Jennifer Walshe’s Libris Solar as part of 20
Shots of Opera. He has developed and staged world
premieres of Michael Gallen’s Elsewhere (Abbey
Theatre), Donnacha Dennehy’s The Hunger (Abbey
Theatre and BAM, New York), Annelies van Parys’s
Private View (winner of the inaugural FEDORA Opera
Prize), and Jürgen Simpson’s air india [redacted]
(Turning Point Ensemble, Vancouver). Other
productions include Britten’s Owen Wingrave (Opéra
national de Paris, Opera Collective Ireland), Handel’s
Acis and Galatea, Wolf-Ferrari’s Susanna’s Secret
and Poulenc’s The Human Voice (Opera Theatre
Company); Stravinsky’s Mavra and Walton’s The Bear
(Royal Conservatoire of Scotland), and Mozart’s Die
Zauberflöte, Puccini’s Suor Angelica, and Stravinsky’s
Mavra and Renard (Royal Irish Academy of Music).
He participated in the Opera Creation Workshop
at the 2020 Aix-en-Provence Festival. He was
previously Festival Director of Cork Midsummer
Festival, Theatre and Dance Curator of Kilkenny Arts
Festival and Associate Director of Rough Magic. He
is a member of the Executive Advisory Committee
of Culture Ireland and the steering committee of
the National Campaign for the Arts, and is board
member of Theatre Forum and GAZE Film Festival.
His theatre productions have been presented in
Ireland, the UK, Europe, the USA and Australia.
Upcoming productions include the world premiere of
Emma O’Halloran’s Trade and Mary Motorhead at the
Prototype Festival in New York and LA Opera in 2023.
26

JOHN KING
ASSISTANT DIRECTOR
KATIE DAVENPORT
SET & COSTUME DESIGNER
John is a director and theatremaker
based in Dublin. With theatre
and sound collective Murmuration,
he has made the headphone
shows You’re Still Here (Dublin
Fringe, co-presented by the Abbey
Theatre), Will I See You There (Dublin Fringe), and
Summertime (Dublin Fringe, Drogheda Arts Festival,
Young Curators Festival at the Abbey Theatre), as well
as in-development showings of new audio works for
Corcadorca and Bewley’s Café. His other directing
work includes The Cyclone Kid (Bewley’s Café
Theatre), The Overcoat (Omnibus Theatre and OSO
Arts Centre, London), and a rolling collaboration with
London-based performance artist Joseph Morgan
Schofield on work that has been presented across
the UK. John is an Associate Artist of Solas Nua in
Washington, DC, where his previous work includes
side-walks (co-written with Jeremy K Hunter), digital
story-telling event whats on ur walls, and somewhere
in the future dark (Atlas Performing Arts Centre). He
was a resident assistant director at Studio Theatre,
Washington, DC, on their 2018–19 season, during
which he assisted on productions of If I Forget, Kings,
Queen of Basel (world premiere) and The Children.
He is an alumnus of the Donmar Warehouse’s Future
Forms initiative and the Royal Court Writer’s Group,
and his work is published by Methuen Drama. He
holds an MA with Distinction in Text and Performance
from RADA and Birkbeck College London, and a BA
(Hons) in English from the University of Cambridge.
Maria Stuarda is his first work with INO.
Katie is a set and costume designer
based in Dublin. She represented
Ireland at The Prague Quadrennial
2019, a world exhibition of theatre
design at which she presented
a digital render of her INO set
design for Offenbach’s The Tales of Hoffmann. She
was also nominated for an Irish Times Irish Theatre
Award for Best Costume Design for The Tales of
Hoffmann. Previously for Irish National Opera she
designed set and costumes for Vivaldi’s Griselda
and The Tales of Hoffmann and costumes for 20
Shots of Opera and Mozart’s The Magic Flute. Other
notable designs include Endgame, Once Before I
Go and The Visiting Hour (Gate Theatre), Dēmos
(Liz Roche Company), Night Dances and This is
Ireland (United Fall), Michael Gallen’s Elsewhere
and the pop-up theatre cafe Pegeen’s for the Abbey
Theatre. She has designed for many other theatre,
dance and opera companies in Ireland, including
Landmark Productions, United Fall, Northern Ireland
Opera, THISISPOPBABY and Rough Magic. She has
associated at St Ann’s Warehouse (New York) and
The Barbican (London). She has also designed for
RTÉ, Ardmore studios art department and won an
Institute of Creative Advertising and Design Award
for Piranha Bar in 2016. She is Vice Chair of the
Irish Society of Stage & Screen Designers and was
Designer in Residence at the Gate Theatre Dublin in
2017. She participated in a cross disciplinary group
curated by IMMA and Project Arts centre, Studio
Interruptions, and is now contributing towards a
collaborative publication for 2022.
27

SINEAD MCKENNA
LIGHTING DESIGNER
ELAINE KELLY
CHORUS DIRECTOR
Sinéad McKenna has received two
Irish Times Irish Theatre Awards for
Best Lighting Design and a Drama
Desk nomination for Outstanding
Lighting Design for a Musical.
Previously for Irish National Opera,
she has designed Puccini’s La bohème at Bord Gáis
Energy Theatre, Vivaldi’s Griselda and Offenbach’s
The Tales of Hoffman. Her many other designs for
opera and music include Michael Gallen’s Elsewhere
(Abbey Theatre), Mozart’s Don Giovanni, The Magic
Flute and The Marriage of Figaro (Opera Theatre
Company); Verdi’s La traviata (Malmö Opera);
Britten’s The Rape of Lucretia (Irish Youth Opera) and
A Midsummer Night’s Dream (Opera Ireland); Parade
(Théâtre du Châtelet), The Wizard of Oz and Prodijig
(Cork Opera House) and Angela’s Ashes: The Musical.
For theatre she recently designed the set and lighting
for Gabriel Byrne’s Walking With Ghosts and Mark
O’Rowe’s The Approach for Landmark Productions.
Other recent lighting designs include Faith Healer
for Abbey Theatre, Dēmos for Liz Roche Company
and Teenage Dick for Donmar Warehouse. Film
and TV credits include Grace Jones: Bloodlight and
Bami (Blinder Films), Bovinity (Tommy Tiernan) and
Fitting In (Des Bishop). She has worked extensively
with Landmark Productions, Druid Theatre, the
Abbey Theatre, the Gate Theatre, West Yorkshire
Playhouse, Dundee Rep, Cork Opera House, The
Everyman, Cork, Rough Magic, Cahoots, Coiscéim
Dance Theatre, Decadent Theatre, Gare St Lazare
Ireland, Lyric Theatre, Belfast, Fishamble, The Corn
Exchange, THISISPOPBABY, Siren Productions,
Second Age, The Performance Corporation, Semper
Fi and Gúna Nua.
Elaine Kelly is the Resident
Conductor of Irish National Opera.
Upon her appointment in late 2021,
she conducted a national tour
with Peter Maxwell Davies’s The
Lighthouse. She also conducted
nine new works by Irish composers in INO’s
internationally praised 20 Shots of Opera in 2020 as
well as the film of Amanda Feery’s A Thing I Cannot
Name which was streamed as part of the West Cork
Literary Festival in July 2021. She held the position of
Studio Conductor in INO’s ABL Aviation Opera Studio
from 2019–21, and worked as assistant conductor
and chorus director on performances of Rossini’s
La Cenerentola, Mozart’s The Abduction from the
Seraglio, Puccini’s La bohéme, Strauss’s Elektra,
Donnacha Dennehy and Enda Walsh’s The First Child,
Beethoven’s Fidelio and Bizet’s Carmen, and films of
Maxwell Davies’s The Lighthouse and Gerald Barry’s
Alice’s Adventures Under Ground. In March 2022
Elaine was invited to work as assistant conductor
on Opéra National de Bordeaux’s production of
Donizetti’s L’elisir d’amore. In 2014 she won the
inaugural ESB Feis Ceoil Orchestral Conducting
Competition which led to engagements with the
RTÉ Concert Orchestra. She was Musical Director
of the University of Limerick Orchestra (2019–21),
the Dublin Symphony Orchestra (2017–19) and
has worked with the National Symphony Orchestra,
Dublin Youth Orchestra and Cork Concert Orchestra.
Elaine is a BMus and MA graduate of the MTU Cork
School of Music.
28

AOIFE O’SULLIVAN
RÉPÉTITEUR
Aoife O’Sullivan was born in Dublin
and studied at the College of Music
with Frank Heneghan and later
at the RIAM 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 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 has worked
on the music staff at Wexford Festival Opera, and
on three Handel operas for Opera Theatre Company
(Orlando, Xerxes, and Alcina), and for Opera Ireland
on Jake Heggie’s Dead Man Walking and Britten’s A
Midsummer Night’s Dream. She also worked at the
National Opera Studio in London 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 worked
on Mozart’s Zaide at the Britten Pears Young Artist
Programme and on Britten’s Turn of the Screw for
the Cheltenham Festival with Paul Kildea. She has
appeared at the Wigmore Hall in concerts with Ann
Murray (chamber versions of Mahler and Berg),
Gweneth Ann Jeffers, Wendy Dawn Thompson and
Sinéad Campbell Wallace. She is now based in Dublin
where she works as a répétiteur and vocal coach at
TU Dublin Conservatoire and also regularly for INO.
MOLLY DE BÚRCA
ABL AVIATION OPERA STUDIO
CONDUCTOR
Molly is a recent Bachelor of Music
Education graduate from Trinity
College Dublin and TU Dublin
Conservatoire, where she studied
flute with Ciarán O’Connell. As a
conductor she has worked at home
and abroad, having most recently conducted Trinity
Orchestra on their concert tour to Leuven in Belgium.
In 2017 she was one of 12 participants selected
to take part in the National Concert Hall’s Female
Conductor Programme. This included masterclasses
with Alice Farnham, Sian Edwards, Eimear Noone
and David Brophy, as well as workshops with visiting
conductors including Simon Rattle and Marin Alsop.
She has conducted various ensembles including the
RTÉ National Symphony Orchestra as part of the
Female Conductor Programme, Dublin Concert Band,
Julianstown Youth Orchestra, and the Cork Opera
House Concert Orchestra. She was also orchestral
director for Trinity Musical Theatre Society’s
production of Chicago as well as musical director for
their production of Glee the Musical. She is a member
of INO’s ABL Aviation Opera Studio 2021–22.
29

TARA ERRAUGHT
MEZZO-SOPRANO
MARIA STUARDA
A rich, radiant voice, expansive
range and dynamic stage presence
are Irish-born mezzo-soprano
Tara Erraught’s hallmarks. Her
extensive repertoire includes,
Mozart, Rossini, Strauss, Bellini,
Dvořák, Gounod and Handel as well as contemporary
composers. She has appeared in recitals and
concerts throughout the United States, Canada,
Denmark, France, Ireland, Japan, Mexico, Spain,
Germany, and the United Kingdom. Among the
distinguished organisations and venues at which
she has appeared are the Metropolitan Opera, Gran
Teatre del Liceu, Theater an der Wien, Berlin State
Opera, Vienna State Opera, Opéra national de Paris,
Glyndebourne Festival, Irish National Opera, Wide
Open Opera, the Salzburg Festival, Wigmore Hall and
the BBC Proms. This season’s engagements include
the title role in Gluck’s Iphigénie en Tauride at Opéra
national de Paris, Rosina in Rossini’s Il barbiere di
Siviglia at Berlin State Opera, Carlotta in Strauss’s
Die schweigsame Frau at Bavarian State Opera and
the title role in Massenet’s Cendrillon, again at Opéra
national de Paris. Concerts and recitals will lead her
to Spain, Schubertiade in Hohenems and Dublin. A
native of Dundalk, she is a graduate of the Royal Irish
Academy of Music in Dublin, where she studied with
Veronica Dunne. A resident principal soloist with
the Bayerische Staatsoper in Munich from 2010 to
2018, she also works frequently with famed German
mezzo-soprano Brigitte Fassbaender, expanding her
song and opera repertoire. Tara is an Artistic Partner
of Irish National Opera.
ANNA DEVIN
SOPRANO
ELISABETTA
Irish soprano Anna Devin is widely
admired for her “impeccable
Baroque style”, and “vocal
control...artistry and musicodramatic
intelligence” (Opera
News). In the 2019–20 season
she performed Almirena in Handel’s Rinaldo with
Glyndebourne Tour and Michal in Handel’s Saul
at the Théâtre du Châtelet in Paris. The 2018–19
season began with her Zurich Opera House debut as
Rosane Vivaldi’s La verità in cimento, followed by her
return to Teatro Real, Madrid, to perform the title role
in Cavalli’s La Calisto and her Irish National Opera
debut in Mozart’s The Magic Flute. Her concerts
include a Handel programme with the Irish Baroque
Orchestra, Handel’s Messiah with the Royal Northern
Sinfonia, the Irish Baroque Orchestra and at the
Albert Hall with the Royal Philharmonic Orchestra,
a New Year’s Day concert with the RTÉ National
Symphony Orchestra, Mendelssohn’s Symphony
No. 2 (Lobgesang) with the Irish Chamber Orchestra,
Handel’s Esther with the Irish Baroque Orchestra,
Handel’s Athalia at the London Handel Festival, and
concerts at the West Cork Chamber Music Festival.
In addition to her work on stage, she is proud to be
an Ambassador for the British Dyslexia Association.
She is passionate about nurturing new talent and
has given masterclasses at the Royal Irish Academy
of Music as well as coaching at the Royal Academy
Opera Course, London. When not on stage, she is a
keen runner and enjoys keeping fit and relaxing with
her husband, two daughters and a Norwegian Forest
Cat in their Bedfordshire home.
30

AMY NÍ FHEARRAIGH
SOPRANO
ELISABETTA
Irish soprano Amy Ní Fhearraigh
is an alumna of the Irish National
Opera Studio 2018–19 and is
currently based in Hannover,
Germany. She is under the tutelage
of Dutch soprano Hanneke de
Wit. Her opera roles include Davnet in the world
premiere of Michael Gallen’s Elsewhere and Gretel
in Humperdinck’s Hansel and Gretel, in productions
which have received Best Opera nominations in
the 2020–21 Irish Times Irish Theatre Awards,
Rosemary in Brian Irvine and Netia Jones’s Least
Like the Other – Searching for Rosemary Kennedy,
Papagena in Mozart’s The Magic Flute, and Barbarina
in Mozart’s Le nozze di Figaro (all Irish National
Opera), Mrs Julian in Britten’s Owen Wingrave (Opera
Collective Ireland), Frasquita in Bizet’s Carmen (Lyric
Opera Productions), Suor Genovieffa in Puccini’s
Suor Angelica (Dublin Opera Studio), the title role
in Handel’s Susanna and Drusilla in Monteverdi’s
L’incoronazione di Poppea (DIT Opera Ensemble),
and Lucinde in Gluck’s Armide (The Yorke Trust). She
has also covered roles for INO – Pamina in The Magic
Flute, Susanna in Le nozze di Figaro, and Hannah in
Donnacha Dennehy and Enda Walsh’s The Second
Violinist. She is making her role debut as Elisabetta in
Maria Stuarda.
GEMMA NÍ BHRIAIN
MEZZO-SOPRANO
ANNA
Dublin mezzo-soprano Gemma Ní
Bhriain graduated in June 2014 with
a BA in Music Performance from
the Royal Irish Academy of Music
where she studied with Veronica
Dunne. She was then invited to
become a member of the Atelier Lyrique Opera
Studio at Opéra national de Paris, and during her two
seasons there she debuted in five roles, including two
world premieres. From 2016 she spent two seasons
at the International Opera Studio at Zurich Opera
House. There she performed many roles including
Cléone in Charpentier’s Médée, Le Pâtre, La Chatte
and L’écureuil in Ravel’s L’enfant et les Sortilèges,
Zweite Dame in Mozart’s Die Zauberflöte, Valletto in
Monteverdi’s L’incoronazione di Poppea and Ramiro
in Mozart’s La finta giardiniera. Over the past number
of years, she made her concert debuts at Théâtre de
Champs-Elysées and for Radio France, and gave her
solo recital debut at Amphithéâtre Bastille, Opéra
national de Paris. In 2018 she made her company
and role debut with Irish National Opera as Niklausse
in Offenbach’s The Tales of Hoffmann. In 2020 she
performed in Linda Buckley’s Glaoch for INO’s 20
Shots of Opera and most recently she performed
the role of Mother in Elaine Agnew’s Paper Boat,
presented by Music for Galway in association with
INO. Gemma is also part of a new chamber ensemble,
Trio Cantare, with pianist Cahal Masterson and cellist
Yseult Cooper-Stockdale. Their debut recital, at the
Drogheda Classical Music Festival in October 2021,
was later broadcast on RTÉ lyric fm.
31

ARTHUR ESPIRITU
TENOR
LEICESTER
The most recent and future projects
of American tenor Arthur Espiritu
include Edgardo in Donizetti’s Lucia
di Lammermoor (Oper Leipzig) and
Alfredo in Verdi’s La traviata (Theater
Basel). Other recent engagements
include Elvino in Bellini’s La sonnambula, Leicester
in Donizetti’s Maria Stuarda and Rodolfo in Puccini’s
La bohème (Staatstheater am Gärtnerplatz, Munich),
Alfredo in La traviata (Hannover State Opera), Cassio
in Verdi’s Otello (Oper Frankfurt), Gualtiero in Bellini’s
Il pirata and the title role in Gounod’s Faust (Theater St
Gallen), Rodolfo in La bohème (Israeli Opera), Rodolfo
in La bohème and Shepherd in Szymanowski’s King
Roger (Sydney Opera House), Duca in Verdi’s Rigoletto
(St. Margarethen Summer Festival) and concerts as a
soloist with the Munich Symphony Orchestra. In past
seasons he sang Rinuccio in Puccini’s Gianni Schicchi
(Oper Frankfurt), Ramiro in Rossini’s La Cenerentola
(Staatstheater am Gärtnerplatz), Ferrando in Mozart’s
Così fan tutte (Theater Basel), Duca in Rigoletto and
Alfredo in La traviata (Oper Klosterneuburg), Rodolfo
in La bohème (Theater Magdeburg), Fernando in
Donizetti’s La favorita (Theater St Gallen Summer
Festival Opera), Ernesto in Donizetti’s Don Pasquale
(Oper Leipzig), Lamplighter in Puccini’s Manon
Lescaut (Baden-Baden Festival) and Ferrando in
Michael Hampe’s staging of Così fan tutte (La Scala,
Milan). He has also sung with Théâtre des Champs-
Élysées, Piccolo Teatro, Milan, Santa Fe Opera,
Pittsburgh Opera, Opera Theatre of St Louis, Marlboro
Music Festival, Louisiana Philharmonic, Pittsburgh
Symphony Orchestra, Royal Opera of Versailles,
Brucknerhaus Linz, Orchestra Sinfonica di Milano
Giuseppe Verdi, Esplanade Concert Hall in Singapore
and Berlin Philharmonic Digital Concert Hall.
GIORGIO CAODURO
BARITONE
CECIL
Giorgio Caoduro is one of the leading
Italian baritones of his generation
and one of the reigning bel canto
singers of today. He has achieved
stunning success in many of the
most important opera houses,
singing Figaro in Rossini’s Il barbiere di Siviglia,
Dandini in Rossini’s La Cenerentola, Taddeo in
Rossini’s L’italiana in Algeri, Enrico in Donizetti’s
Lucia di Lammermoor and Belcore in Donizetti’s L’elisir
d’amore at theatres such as La Scala, Opéra national
de Paris, Berlin State Opera, Gran Teatre del Liceu,
Barcelona, Teatro Comunale, Florence, Rome Opera,
Teatro Regio, Turin, Opéra de Lausanne, Capitole
de Toulouse, Festival d’Aix-en-Provence, Teatro
Colón, Buenos Aires, and Sydney Opera House. He
was Dulcamara in Donizetti’s L’elisir d’amore under
James Conlon at the Los Angeles Opera and appeared
as Peter the Great in Il borgomastro di Saardam
for the Festival Donizetti in Bergamo. Giorgio has
collaborated with conductors such as Carlo Rizzi,
Jesús López Cobos, Riccardo Frizza, Bruno Bartoletti,
Daniel Harding, Bruno Campanella, Nicola Luisotti,
Daniel Oren, James Conlon, Michel Plasson and Zubin
Mehta, and directors including Pier Luigi Pizzi, Jérôme
Savary, Massimo Ranieri, Irina Brook, Peter Hall, Toni
Servillo, Luca Ronconi, Stefano Vizioli, Denis Krief,
Andrei Serban, Francisco Negrin, Marco Bellocchio
and Laurent Pelly. His solo album for Glossa, The Art
of Virtuoso Baritone, features a selection of famous
pieces as well as some exciting rarities by Rossini. It
was released last year, when it inaugurated the label’s
new collection dedicated to bel canto.
32

CALLUM THORPE
BASS
TALBOT
British bass Callum Thorpe initially
obtained a PhD in immunology
before focussing on his vocal
studies at the Royal Academy of
Music. From 2017 to 2021 he was a
member of the solo ensemble at the
Bavarian State Opera, where his roles included Banco
in Verdi’s Macbeth, Pistola in Verdi’s Falstaff, Il re
d’Egitto in Verdi’s Aida, Colline in Puccini’s La bohème,
Zuniga in Bizet’s Carmen, Farfallo in Strauss’s Die
schweigsame Frau,Truffaldino in Strauss’s Ariadne auf
Naxos and Masetto in Mozart’s Don Giovanni. This
season’s highlights include Rocco in Beethoven’s
Fidelio (Glyndebourne Tour) and Sparafucile in Verdi’s
Rigoletto (Opera North). This season’s concerts
include Bach’s Mass in B Minor under Giedrė Šlekytė
at Tyrolean Festspiele Erl, Handel’s La resurrezione at
London Handel Festival with Laurence Cummings and
a return visit to the Edinburgh International Festival.
Other roles have included Sarastro in Mozart’s Die
Zauberflöte and Banco in Verdi’s Macbeth (Theater
Basel), Commendatore and Masetto in Mozart’s
Don Giovanni (Royal Opera of Versailles with Marc
Minkowski), Antinoo and Il Tempo in Monteverdi’s
Il ritorno d’Ulisse in patria (Théâtre des Champs
Elysées under Emmanuelle Haïm), Masetto in Don
Giovanni (Glyndebourne on Tour and Garsington
Opera), Lieutenant Radcliffe in Britten’s Billy Budd
(Opera North) and Plutone in Monteverdi’s L’Orfeo
(Royal Opera House). He has performed extensively
with William Christie and Les Arts Florissants
at Glyndebourne Festival, Théâtre des Champs
Elysées, Lincoln Center, New York, Concertgebouw,
Amsterdam, and at the BBC Proms in works by
Handel, Blow, Purcell, Rameau, Lully and Charpentier.
IRISH NATIONAL OPERA
ORCHESTRA
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 and Netia
Jones’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, which appeared in its
largest live formation to date in Rossini’s Cinderella/
La Cenerentola at the Bord Gáis Energy Theatre in
Dublin in 2019, numbered even more – 79 players
– for the sessions to produce the soundtrack for
INO’s spectacular, site-specific, outdoor production
of Strauss’s Elektra at Kilkenny Arts Festival in 2021.
The Irish National Opera Orchestra has been heard in
17 venues throughout Ireland.
33

C
M
Y
CM
MY
CY
MY
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RTÉ supports more than
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July on
OperaVision
8 JULY
Maria Stuarda
DONIZETTI
Irish National Opera
15 JULY
Like Flesh
SIVAN ELDAR
Opéra de Lille
Opera Rara's mission
and promote the lost
20th centuries. We s
operas and bring
contemporary audienc
22 JULY
Turandot
PUCCINI
Grand Théâtre de Genève
29 JULY
Ernani
VERDI
Teatro dell’Opera di Roma
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"Opera needs "Opera needs
Opera Opera Rara"
LUCIANO PAVAROTTI
LUCIANO PAVAROTTI
Opera Rara's mission is to restore, record, perform
and promote the lost heritage of the 19th and early
20th centuries. We search for rare and forgotten
operas and bring them back to life for
is to restore, record, perform
contemporary audiences to enjoy.
heritage of the 19th and early
earch for rare and forgotten
them back to life for
es to enjoy.
US ON A JOURNEY
JOIN
OPERATIC DISCOVERY
OF
W W W . O P E R A - R A R A . C O M
US ON A JOURNEY
JOIN
OPERATIC DISCOVERY
OF
W W W . O P E R A - R A R A . C O M

NEAR AND FAR, HIGH
AND LOW
IRISH NATIONAL OPERA IS FOR EVERYONE
Opera is our passion. And we want to share that
passion. Not just through live events in cities and towns,
large and small, but also through educational initiatives
in schools and colleges, and community activities that
appeal to young and old alike.
Photo: Pupils from Bennekerry
Primary School giving an operatic
blast in a Popera project with Irish
National Opera, the Royal Irish
Academy of Music, and Music
Generation Carlow
OPERA WHEREVER YOU ARE
We take our productions to all corners of the land, from Dublin to
Galway, Tralee to Letterkenny, Wexford to Sligo. Projects such as our
site-specific production of Strauss’s Elektra in Kilkenny’s Castle Yard
and our street art projected operas offer a unique way of engaging
with our work. And if you’re not able to come to us, we can come
to you wherever you are in the world. Over the past two years, INO
has developed its digital output and grown its online content. Our
innovative project 20 Shots of Opera was highly praised, as well as
film productions of Gerald Barry’s Alice’s Adventures Under Ground,
Peter Maxwell Davies’s The Lighthouse and Amanda Feery’s A Thing I
Cannot Name. Through the generosity of our donors, we invested in a
large outdoor screen (made possible by William and Catherine Earley)
which allows us to take our filmed productions to some of the most
remote corners of Ireland. Our new partnership with Signum Records
to release some of our productions in high-resolution audio is bringing
our work to new audiences worldwide.
TRAILBLAZING DEVELOPMENTS
IN THE COMMUNITY
Our innovative virtual reality community opera, Finola Merivale’s,
Out of the Ordinary, is in full swing. It’s a voyage into the unknown
and will place people from the communities involved directly at the
heart of the creative process. The project is not just embracing new
technologies and widening participation in the arts at a community
level. It is also exploring the cutting edge relationship between opera
38

and digital technology. We are working with our partners in The Civic, Tallaght, Conradh na
Gaeilge and Music Generation Offaly/Westmeath to have the project ready for nationwide touring
in August. And our first youth opera, David Coonan and Dylan Coburn Gray’s Horse Ape Bird,
premieres at the end of June.
ABL AVIATION OPERA STUDIO
The professional development and employment of Irish artists are key to the success of Irish
National Opera itself, and the ABL Aviation Opera Studio is our artistic development programme.
It provides specially tailored training, professional mentoring and high-level professional
engagements for a group of individuals – singers, répétiteurs, conductors, directors, composers
– whose success will be key to the future development of opera in Ireland.
IN FOCUS
Our pre-performance In Focus talks aim to provide background to the works in our major
productions. They delve into all aspects of opera, from the histories of specific works, the
development of the characters and the issues facing performers and composers – where
possible with the actual performers and composers themselves.
INSPIRING MUSIC STUDENTS
We work with third-level music students through workshops designed to give them a fuller
understanding of the inner workings of the world of opera, that heady mixture of musical and
theatrical skills that make possible the magic that is opera. Colleges and universities we have
worked with include University College Dublin, National College of Art and Design, Maynooth
University, NUI Galway, TU Dublin and the Royal Irish Academy of Music.
39

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 S.C.
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
F.X. & 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
40

ABL AVIATION OPERA STUDIO
STUDIO MEMBERS 2021–22
CATHERINE DONNELLY SOPRANO
AMI HEWITT SOPRANO
FRANCESCO GIUSTI COUNTERTENOR
CONOR PRENDIVILLE TENOR
MOLLY DE BÚRCA CONDUCTOR
ÉNA BRENNAN COMPOSER
DAVEY KELLEHER DIRECTOR
ABL Aviation, the international aviation investment company
with offices in Dublin, New York, Casablanca, Dubai and
Hong Kong, is the principal sponsor of Irish National Opera’s
studio mentoring programme.
Members of ABL Aviation Opera Studio are involved in all
of Irish National Opera’s productions, large and small. 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
41

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
Elaine Kelly
Resident Conductor
Audrey Keogan
Development Assistant
Ruth Kielty
Marketing Assistant
Anne Kyle
Stage Manager
Patricia Malpas
Project Administrator
James Middleton
Orchestra & Chorus Manager
Muireann Ní Dhubhghaill
Artistic Administrator
Gavin O’Sullivan
Head of Production
Fergus Sheil
Artistic Director
Paula Tierney
Company Stage Manager
Board of Directors
Jennifer Caldwell (Chair)
Tara Erraught
Gerard Howlin
Gary Joyce
Stella Litchfield
Sara Moorhead
Ann Nolan
Yvonne Shields
Bruce Stanley
Irish National Opera
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
42

“remarkable...vocally
and dramatically”
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