21 October – 64th Wexfordopera.com 1 November Festival 2015 ‘Leading the way with a piece that deserves to be seen widely in Europe’

Sunday Telegraph

Silent Night, 2014, Kevin Puts. Photo © Clive Barda/ArenaPAL

‘Winningly sung, it’s a ‘Mariotte’s operatic work that should be version of Oscar Wilde’s neglected no longer’ tale is given a successful makeover at the Wexford Festival’

The Telegraph

Don Bucefalo, 2014, Antonio Cagnoni. Photo © Clive Barda/ArenaPAL Salomé, 2014, Antoine Mariotte. Photo © Clive Barda/ArenaPAL Wexford and its Opera Festival

In October each year, Wexford, a town on the south- east coast of Ireland, is transformed by opera when great performers, local volunteers and visitors from many countries come together in a shared enterprise. Photo © Ger Lawlor The idea of producing an opera in the old Theatre Royal in Wexford had sprung into being early in 1951, sang at Wexford. Leading music critics, particularly from led by Dr Tom Walsh, a Wexford doctor, a few months Britain, wrote enthusiastically about the operatic rarities after Sir Compton Mackenzie, the Scottish novelist and that were performed at Wexford. They praised the founder of Gramophone magazine, had given a talk to singers, the directors and their imaginative productions, the newly formed Wexford Opera Study Circle. Inspired and they were charmed by the town and its people. by a programme for the Aldeburgh Festival, Dr Tom thought that if a festival could be held in a small town Developments in recent years include the creation of on the Suffolk coast, it might be possible for Wexford a professional orchestra and chorus and a new Opera to transform its own forthcoming opera production House, which was built on the site of the old Theatre into a festival. Most people in the town thought it could Royal. The highly praised Orchestra of Wexford Festival not succeed but Dr Tom went ahead and, assisted by Opera is largely constituted of Irish-born and Irish- friends who shared his vision, and cajoling others who resident musicians, and each season young professional didn’t, Wexford’s Festival of Music and the Arts began opera singers are engaged to form the Chorus of on 21 October 1951 and featured four performances of Wexford Festival Opera. The Rose of Castile by Michael Balfe, who had once lived in Wexford. Wexford’s opera productions have received many awards and are regularly nominated in various The Festival rapidly consolidated its niche position by categories in the International Opera Awards and in the selecting operas that had fallen out of favour and were Irish Times Theatre Awards. Exciting productions by almost never staged, and by booking exciting young internationally renowned directors and designers not singers on the threshold of international careers – Nicola only bring life to operas that may have lain on dusty Monti, Graziella Sciutti, Sergei Leiferkus, Joseph Calleja, shelves in archives for a century or more, but also Mirella Freni, Elizabeth Connell, Janet Baker, Ann Murray, enable the lives of characters in an opera to connect Angela Meade, Bryan Hymel, amongst many others, all with our own lives.

Photo © Wexford Festival Opera Photo © Ger Lawlor Photo by Patrick Browne

BOOK ONLINE AT WEXFORDOPERA.COM | 1 Funders and Sponsors

Principal Funder Grant Funders

Principal Production Sponsor THE DELIUS TRUST

Corporate Leaders

Corporate Sponsors

Official IT & Communications Partner

Community & Education Partners

Accommodation Partners

Preferred Hotel Partner

Hospitality and Media Partners

2 | WEXFORD FESTIVAL OPERA 2015 Artistic Director’s Welcome

Greetings.

If you have never attended a performance in Ireland’s National Opera House, may this Brochure be your invitation. If you are a Festival regular, have a good look at what is on offer in the 2015 Festival season. Every October Wexford comes alive with musicians and creative artists from many countries. Wexford is rich in creativity: in music performance and composition, theatrical production, art and literature. All these life- enhancing gifts come together in opera.

The Festival was created by Dr Tom Walsh with the people of Wexford in 1951 and retains a deep connection with the community. It now attracts internationally renowned singers, conductors, directors and designers. In Wexford we explore less-frequented areas of the operatic repertory, so our focus is on reviving and rehabilitating operas that have fallen out of favour. Many of Wexford’s re-discoveries have become part of the popular repertory.

The Wexford writer Colm Tóibín, described his life- changing experience of opera in Wexford as a boy: ‘Opera offered me a relationship to soaring beauty, to the idea that there was a world beyond the visible world’. You too can be touched by the emotions in an opera, which music and staging transform into a heart-opening and heartfelt experience, as they did for Colm, who discovered that ‘opera paved the way for a life open to possibility’.

Our revivals in the National Opera House this year are Koanga by Delius, a powerful drama of a man’s renunciation of his beliefs; Guglielmo Ratcliff by Mascagni, a Gothic melodrama of a tormented man unable to accept rejection in love, and Le Pré aux clercs by Hérold, a story of love triumphing over obstacles in seventeenth-century France. The other events in this year’s Festival are described within these pages.

With a setting and atmosphere unique in Ireland, Wexford enthusiastically anticipates your participation. Be part of the occasion.

David Agler, Artistic Director

Photo by 21stops.com

BOOK ONLINE AT WEXFORDOPERA.COM | 3 Koanga

FREDERICK DELIUS (1862–1934) Koanga was Delius’s third completed opera, composed Lyric drama in a prologue, three acts and an epilogue in 1895–7, about ten years before A Village Romeo and Juliet (Wexford, 2012). Delius framed the original story by Frederick Delius and Charles F Keary (The Grandissimes: A Story of Creole Life by George W. Cable) with a prologue and epilogue in which the after the novel The Grandissimes: A Story of Creole plantation owner’s daughters ask an old slave, Uncle Joe, Life by George W Cable to tell them the story of Koanga and Palmyra.

First performance (in German translation by Koanga, a Voodoo priest and Dahomean prince, has Jelka Delius) in the Stadttheater, Elberfeld, Germany been brought to the Louisiana plantation where he meets on 30 March 1904 Palmyra, a mulatto, also of Dahomean ancestry. Koanga promises to be an obedient slave if he can marry Palmyra, Sung in English and when this is granted he renounces the beliefs of his people. He and Palmyra love each other, but their Stephen Barlow | Conductor marriage is stopped because the overseer wants to marry Michael Gieleta | Director her himself and enlists the support of Palmyra’s half- sister, the plantation owner’s wife. Palmyra is abducted James Macnamara | Set Designer and Koanga repents of his betrayal of his heritage, calling Sarah Roberts | Costume Designer on his Voodoo gods to curse the plantation. The story of Koanga and Palmyra ends violently, and in the epilogue the girls reflect on Uncle Joe’s tale. 4 | WEXFORD FESTIVAL OPERA 2015 SPONSORED BY THE DELIUS TRUST

This story appealed to Delius and it probably recalled O’Reilly Theatre | National Opera House memories of his time spent in Florida in 1884 on an Tickets ¤25 – ¤145 orange plantation. His glowing, colourful music creates the opera’s powerful characterisations and atmospheric OCTOBER setting. In Koanga he used melodies and improvised WED SAT TUE FRI harmonies he had heard sung by the black workers in Florida, and the authenticity of his collected material led to Koanga being recognised as the first opera in 21|24|27|30 the European tradition to have much of its melodic material based on African-American music. Delius’s 8 p.m. 8 p.m. 8 p.m. 8 p.m. lyricism and admired orchestration complement the poignancy and exoticism of the story. Although the opera was premiered in Germany in 1904, excerpts had 21 OCTOBER PERFORMANCE SPONSOR been performed in London in 1899. Delius’s champion, Sir Thomas Beecham, conducted Koanga in England in 1935. The orchestral interlude La Calinda has remained popular in the concert hall.

BOOK ONLINE AT WEXFORDOPERA.COM | 5 Guglielmo

6 | WEXFORD FESTIVAL OPERA 2015 (1863–1945) Tragedia in four acts

Libretto based on Andrea Maffei’s Italian translation of the play Wilhelm Ratcliff by

First performed at the Teatro alla Scala, Milan on Ratcliff 16 February 1895 Sung in Italian

Francesco Cilluffo | Conductor Fabio Ceresa | Director Tiziano Santi | Set Designer Giuseppe Palella | Costume Designer

Heine wrote his play Wilhelm Ratcliff in only three days and Mascagni too was captivated by the young Scottish romantic anti-hero outsider. He began composing his opera Guglielmo Ratcliff (translated into Italian) in 1882 whilst a student in Milan but laid it aside in order to compose for a competition. He won the competition with Cavalleria rusticana, triumphing over seventy-two other entries, and it made his name as a composer. The Gothic plot and stylistic and melodic mannerisms of Guglielmo Ratcliff, reminiscent of Verdi and Ponchielli, were thought old-fashioned, and it was only moderately successful when first performed in 1895. In addition, the role of Guglielmo Ratcliff has the reputation of being one of the most demanding ever written for a . Cavalleria rusticana is clearly anticipated in the music, particularly in the atmospheric orchestral writing, full-blooded melodies and dramatic pace.

The opera is set in northern Scotland and concerns the tragic consequences of broken relationships in two generations. Maria MacGregor has rejected Guglielmo Ratcliff as a husband but he is determined that no-one else shall marry her and challenges other suitors to duels, killing two of them. As Maria prepares to marry Count Douglas, she learns that her mother and Guglielmo’s father had once loved each other. However, her mother changed her mind and married MacGregor. The erstwhile lovers later resumed their relationship, but Maria’s father, MacGregor, killed Guglielmo’s father out of jealousy and Maria’s mother died of a broken heart. Guglielmo is haunted by the ghosts of the men he has killed and in his final delirium he kills Maria, her father and himself.

O’Reilly Theatre | National Opera House Tickets ¤25 – ¤145

OCTOBER THUR SUN WED SAT 22|25|28|31 8 p.m. 5 p.m. 8 p.m. 8 p.m. SUPPORTED BY

Made possible through the generous support of Stephen Vernon

In association with Italian Institute of Culture – Dublin

BOOK ONLINE AT WEXFORDOPERA.COM | 7 Le Pré aux clercs FERDINAND HÉROLD (1791–1833) Opéra comique in three acts

Libretto by François-Antoine-Eugène de Planard after Chronique du temps de Charles IX by Prosper Merimée

First performed at the Opéra-Comique (Salle de la Bourse), Paris on 15 December 1832

Sung in French

Jean-Luc Tingaud | Conductor Éric Ruf | Director Éric Ruf | Set Designer Renato Bianchi | Costume Designer

Three women are at the heart of Hérold’s last and to Navarre but Isabelle must marry Comminge. finestopéra comique, but because the year is 1572 they Marguerite helps Mergy and Isabelle to marry secretly. are little more than pawns in a male-dominated society. Mergy kills Comminge in a duel and escapes with Nicette is the exception, happy about her forthcoming Isabelle across the border to Navarre. marriage to Girot, hotelier from the Pré aux Clercs (‘the Clerks’ Meadow’), across the Seine from the Louvre Hérold’s libretto drew on a novel by Prosper Merimée, Palace. Marguerite de Valois, godmother of Nicette, Chronique du temps de Charles IX, the same source is the wife of King Henry of Navarre and the sister of as the libretto for Meyerbeer’s opera Les Huguenots. the king of France, Henri III, but she is held in Paris as Hérold was primarily an opera composer whose opéras a virtual prisoner and hostage to peace (the conflict comiques were extremely popular in his native France. between the Roman Catholic Henri of France and the By the end of the nineteenth century Le Pré aux clercs Protestant Henry of Navarre was to culminate in the St had received more than 1,500 performances in Paris. Bartholomew’s Day Massacre in August 1572). Zampa (Wexford, 1993) and Le Pré aux clercs are regarded as Hérold’s masterpieces, but at the premiere A young countess, Isabelle, Marguerite’s lady-in- of Le Pré aux clercs in 1832, Hérold was too ill from waiting, is in love with Baron de Mergy from Navarre tuberculosis to appear on the stage to enjoy his triumph and he with her, but Henri wishes her to marry Comte and the wildly enthusiastic applause. He died five weeks de Comminge. Marguerite is told that she may return later, aged forty-two.

A co-production with L’Opéra-Comique de Paris O’Reilly Theatre | National Opera House in partnership with La Fondazione Palazzetto Bru Tickets ¤25 – ¤145 Zane – Centre de musique romantique française and La Fondation Gulbenkian OCTOBER NOVEMBER SUPPORTED BY FRI MON THUR SUN Presented with the support 23 | 26 | 29 | 1 of the Bravura Friends of Wexford Festival Opera 8 p.m. 8 p.m. 8 p.m. 5 p.m.

8 | WEXFORD FESTIVAL OPERA 2015 BOOK ONLINE AT WEXFORDOPERA.COM | 9 ShortWork The Portrait of Manon Jules Massenet (1842–1912) Sung in French

Manon Lescaut, a young woman with an ardent and loving nature, as well as extravagant and luxurious tastes, who came to the moralist’s ‘bad end’, was the heroine of a short novel by Abbé Prévost, the seventh and final volume ofMemoirs and Adventures of a Man of Quality, which was banned in France when it was published in 1731. Nevertheless, the story became extremely popular and was the subject of operas by Massenet, Puccini, Auber and Hans Werner Henze, and of several films. The character of Manon was also mentioned in a large number of literary works, by Dumas, Oscar Wilde, Stendahl, Foucault, James Joyce, Dorothy L. Sayers, and many others, attesting to her hold on the public imagination.

Massenet wrote The Portrait of Manon in 1894 as a one- act opéra comique sequel or epilogue ten years after his superlatively successful 1884 opera Manon, which established him as the leading French opera composer of his generation. In The Portrait of Manon (Le Portrait de Manon), to a libretto by Georges Boyer, Massenet returns to the character of the Chevalier Des Grieux, now an old man who is obsessed with memories of Manon, his lost love. Des Grieux’s nephew Jean is in love with Aurore but she is neither wealthy nor of noble birth and Des Grieux forbids their marriage, possibly not wanting Jean to be hurt in love as he was hurt by Manon. However, it turns out that Aurore is the niece of Des Grieux’s beloved Manon and so all ends happily. After the tragedy of Manon, The Portrait of Manon is a charming and exhilarating sequel. Whites Hotel | Tickets ¤25

OCTOBER THUR SUN WED 22|25|28

The Festival ShortWorks are made possible by the 3.30 p.m. 11 a.m. 3.30 p.m. generous support of The Lord Magan of Castletown

10 | WEXFORD FESTIVAL OPERA 2015 ShortWork Hansel and Gretel Engelbert Humperdinck (1854–1921) Sung in English

Humperdinck, whose music shows the influence of Wagner, for whom he worked from 1880 until shortly before Wagner’s death in 1884, wrote much vocal It was an immediate and outstanding success and music, but his best-known and most popular work is spread throughout Europe: Mahler gave the first Hänsel und Gretel, which grew out of four songs he performance in Hamburg in September 1894 and composed in 1890 to words by his sister Adelheid Weingartner conducted it in Berlin in October in the Wette, who re-told (and modified) one of the tales presence of the Kaiser; Cosima Wagner directed it collected and published in 1812 by the Grimm brothers. in Dessau in November and Vienna in December, This was the story of a young brother and sister in the attended by Humperdinck, Brahms and Wolf. forest and their escape from the witch who intended Performances in London and New York soon followed, to eat them. The story probably originated in the in English as well as German versions, and in 1923 a Great Famine (1315-1317) in Northern Europe, when performance at Covent Garden was the first complete desperation, caused by starvation and disease, led to opera to be broadcast from an opera house in Europe. child abandonment and cannibalism.

Humperdinck developed Adelheid’s songs into a Singspiel, sixteen songs with piano accompaniment, and gave it to Hedwig Taxer at Christmas 1890 as an Whites Hotel | Tickets ¤25 engagement present. He followed it up a year later with a draft of the full three-act opera as a Christmas present for her and completed the opera in September OCTOBEROCTOBER 1893, family and working life having restricted his time THURFRI WEDMON SATTHUR SAT for composition. His friend directed the first performance in Weimar on 23 December 1893. 2223||2826|31|29|31

The Festival ShortWorks are made possible by the generous 3.30 p.m.3.30 p.m. support of The Lord Magan of Castletown

BOOK ONLINE AT WEXFORDOPERA.COM | 11 ShortWork Tosca Giacomo Puccini (1858–1924) Sung in Italian

Puccini’s fifth opera,Tosca , was an immediate success with the public at its premiere in 1900 and has remained one of the most enduringly popular of all operas. Written four years after La Bohème and four years before Madama Butterfly, its tremendous vitality is a tribute to Puccini’s technical skill. He succeeded so well that the tragedy of the singer Floria Tosca, her republican lover, the painter Mario Cavaradossi, and the scheming, sadistic chief of the Rome police, Baron Scarpia, has remained vividly present in the collective imagination ever since. Victorien Sardou’s 1887 melodrama La Tosca, written for Sarah Bernhardt, was immensely popular and Puccini made great efforts to obtain the rights to make it into an opera libretto. His librettists, Luigi Illica and Giuseppe Giocosa, eventually succeeded in creating a libretto that satisfied Puccini.

Three opening chords, which represent the vindictive character of Scarpia, are heard at the beginning, so the opening scenes in the church are underpinned by an atmosphere of political instability. Menace and fear are frighteningly normal and reflect the historical reality of the political background of Rome in June, 1800, when the Kingdom of Naples’ control of Rome was threatened by Napoleon’s invasion of Italy. This instability is increased by the contrasting lyrical beauty of the arias and duets of Tosca and Cavaradossi. But their happiness is doomed. Cavaradossi helps Angelotti, an escaped political prisoner, to hide, which brings him to the attention of Scarpia, who lusts after Tosca and will do anything to make her his own, including destroying Cavaradossi. Puccini’s intention was to represent reality by putting Whites Hotel | Tickets ¤25 music at the service of the drama. He does this so well, with such expressive economy and tension, that OCTOBER NOVEMBER the dramatic finale is inevitable. SAT TUE FRI SUN 24| 27| 30| 1

The Festival ShortWorks are made possible by the 3.30 p.m. 3.30 p.m. 3.30 p.m. 11 a.m. generous support of The Lord Magan of Castletown

12 | WEXFORD FESTIVAL OPERA 2015 Daytime Events Package

St Iberius Church, Stable Diet Restaurant, Whites Hotel Tickets ¤60

Discover the world of opera with our Daytime Events Package. This is the perfect introduction to Wexford Photo by Sean O’ Riordan Festival Opera and can be comfortably enjoyed over a few hours in Wexford without the necessity of making an overnight stay. It has proved particularly attractive Daytime Events Package to groups of people as a day out for their organisation. 1.05 p.m. Lunchtime Recital at St Iberius Church, The package includes two Festival favourites – given by one of the principal artists of the a Lunchtime Recital in St Iberius Church and a Festival. The schedule of performers will be ShortWork opera in the afternoon in Whites Hotel – announced at the beginning of the Festival as well as lunch. Depending on the date you choose, your lunch will be served either in Whites Hotel or in 2.15 p.m. Lunch at Whites Hotel or at the Stable Diet the spectacularly situated Stable Diet Restaurant in Restaurant, National Opera House (see the National Opera House. schedule below)

Come and find out more about an art form that has 3.30 p.m. ShortWork opera in Whites Hotel – a captivated Wexford’s locals and visitors for over small‑stage opera production, duration sixty years. approx. 60–90 minutes (see schedule below)

For groups of fifteen or more the group organiser Thursday, 22 October receives a complimentary ¤60 Daytime Events Lunch (Stable Diet Restaurant) – The Portrait of Manon Package ticket. Friday, 23 October Group bookings must be made through the Box Office: Lunch (Whites Hotel) – Hansel and Gretel +353 53 912 2144 Saturday, 24 October Individual bookings may be made online or through the Lunch (Stable Diet Restaurant) – Tosca Box Office. Tuesday, 27 October Lunch (Whites Hotel) – Tosca

OCTOBER Wednesday, 28 October Lunch (Stable Diet Restaurant) – The Portrait of Manon THUR FRI SAT TUE Thursday, 29 October 22|23|24|27 Lunch (Whites Hotel) – Hansel and Gretel WED THUR FRI SAT Friday, 30 October Lunch (Stable Diet Restaurant) – Tosca 28|29|30|31 Saturday, 31 October Lunch (Whites Hotel) – Hansel and Gretel 1.05 p.m.

BOOK ONLINE AT WEXFORDOPERA.COM | 13 Lunchtime Recitals

St Iberius Church Tickets ¤15

The very popular Lunchtime Recitals provide an insight into the artistic personality of some of the principal singers of the Festival and are a way to ‘meet’ them in an informal setting. In the beautiful and acoustically excellent eighteenth-century church of St Iberius in the centre of Wexford, audiences appreciate the musical versatility of solo singers who perform a wide variety of music from across the repertoire, including operatic arias, lieder, oratorio, concert and popular songs.

One of the delights of attending a Lunchtime Recital is that the programme is not advertised beforehand, so everyone shares the same degree of anticipation and expectation. Unsurprisingly, the Lunchtime Recitals sell out very quickly.

The artists and their performance dates will be announced at the beginning of the Festival.

OCTOBER THUR FRI SAT TUE 22|23|24|27 WED THUR FRI SAT 28|29|30|31 1.05 p.m. Photo by Sean O’ Riordan 14 | WEXFORD FESTIVAL OPERA 2015 Dr Tom Walsh Lecture John Julius Norwich Jerome Hynes Theatre | National Opera House Tickets ¤10

Photo by Jonathan Himoff

The 2015 Dr Tom Walsh Lecture will be given by John He has been a witty, erudite and popular broadcaster Julius Norwich (John Julius Cooper, 2nd Viscount on television and radio and has written and Norwich, CVO) one of the most distinguished and presented some thirty television documentaries on charismatic writers and broadcasters of our time. art, architecture and history subjects. He is a regular speaker at lunches and dinners and in 2006 and 2007 After a career in the diplomatic service he became a he gave one-man shows in two London theatres. writer, particularly on history, art and travel subjects. His many books include acclaimed works on Venice, Tea and coffee will be served from 10 a.m. before Byzantium, Mount Athos, Glyndebourne (Fifty Years of the Lecture. Glyndebourne), the Normans, the Popes, Shakespeare, architecture and his Christmas Crackers collections of Kindly supported by Victoria Walsh-Hamer trivia and witticisms. He has edited the diaries of his father, Duff Cooper, 1st Viscount Norwich, and letters OCTOBER from his famously glamorous mother, Lady Diana SATURDAY Cooper (Darling Monster: The Letters of Lady Diana Cooper to Her Son John Julius Norwich). 24 11 a.m.

BOOK ONLINE AT WEXFORDOPERA.COM | 15 Gala Concert O’Reilly Theatre | National Opera House Tickets ¤50 – ¤80

The Gala Concert is one of the highlights of Wexford Festival Opera and features a collection of favourite party pieces from Photo by Patrick Browne members of the Festival company. All proceeds go toward supporting the programmes of Wexford Festival Opera.

The 2014 International Opera Award for Best Rediscovered Work was won by Wexford Festival Opera’s 2013 production of Cristina, regina di Svezia by Jacopo Foroni. The audience OCTOBER at the Gala Concert during the 2014 Festival was treated to a SUNDAY celebration of the Award by Helena Dix, who sang the role of Cristina (for which she was nominated as Best Young Singer). 25 Early booking is advised. 9 p.m.

16 | WEXFORD FESTIVAL OPERA 2015

Tara Erraught Celebrity Recital | O’Reilly Theatre | National Opera House Tickets ¤25

Tara Erraught (mezzo-) Henning Ruhe (piano)

Dundalk-born mezzo-soprano Tara Erraught garners critical praise and enthusiastic audience acclaim wherever her increasingly busy international opera career takes her. A graduate of the Royal Irish Academy of Music, she continues to study with Veronica Dunne and Brigitte Fassbaender.

Tara came to worldwide attention in February 2011 when she learned the role of Romeo in five days for a new production of Bellini’s I Capuleti e i Montecchi at the Bayerische Staatsoper, Munich, in order to replace an indisposed colleague. She had already sung solo roles in a number of productions at Glyndebourne, the Wiener Staatsoper, and the Bayerische Staatsoper, being hailed by the press as ‘the new queen of bel canto’. She has been a member of the opera studio at the Bayerische Staatsoper since 2008.

In 2010 she received the National Concert Hall, Dublin’s Rising Star Award, and in 2013 the Bavarian government awarded her the prestigious ‘Pro meritis scientiae et litterarum’ prize, which OCTOBER recognises outstanding contribution to the arts. MONDAY Tara performs with the RTÉ National Symphony Orchestra in Dublin in March, 2015. During the spring and summer 26 of 2015 she will sing with the Hamburg Staatsoper, the Bayerische Staatsoper, Washington National Opera and in 11 a.m. the Dominican Republic.

BOOK ONLINE AT WEXFORDOPERA.COM | 17

Piano Recital O’Reilly Theatre | National Opera House Tickets ¤25

Winner of the 2015 Dublin International Piano Competition

The Tenth Dublin International Piano Competition was thrilled by the recital given by that year’s winner, takes place between 15 and 26 May 2015, when Nikolay Khozyainov. sixty‑nine selected applicants from eighteen countries, including six from Ireland, will compete in front of a The Wexford recital will be an early opportunity to hear panel of distinguished judges for monetary prizes and the winner of this prestigious competition, which, like professional engagements. Wexford Festival Opera, prides itself on presenting the very best performers on the threshold of their careers. A recital in the National Opera House in Wexford is part of the portfolio of national and international recitals awarded to the winner of this highly regarded OCTOBER triennial competition. The first prize includes recitals in world-class concert halls in London, New York and SATURDAY Dublin, concerto performances and prize money, as well as invaluable mentoring and career-nurturing 31 support. At Wexford in 2012 the Festival audience 11 a.m.

18 | WEXFORD FESTIVAL OPERA 2015

Wining and Dining

Pre-Opera Suppers at the National Opera House

Relax and enjoy a meal in the MacKenzie Room on Champagne and Canapés the third floor of the National Opera House before the performance. The popular Pre-Opera Suppers Treat yourself to a little luxury! There is a Deutz are served on each performance evening during the Champagne and Canapés interval reception in the Festival, from 22 to 31 October, at 6 p.m. MacKenzie Room at the National Opera House every night during the Festival. On Sunday 25 October the Suppers will be served after the 5 p.m. performance, and on Sunday 1 November they Tickets ¤25 will be served at 2 p.m. before the performance. Friends of Wexford Festival Opera may book their Supper ¤40 tickets from 28 February at Wexfordopera.com and by telephone (+353 53 912 2144). Booking for the Pre-Opera Suppers opens on 28 February. Priority will be given to Friends of Wexford Public booking opens on 28 March. Festival Opera.

To make a booking contact Michael O’Keeffe, Conference and Banqueting Manager, Ferrycarrig Hotel, Wexford: [email protected] or phone +353 53 915 3664. BOOK ONLINE AT WEXFORDOPERA.COM | 19 Friends’ Membership

Membership benefits for all Friends: • Access to the Priority Booking period before booking opens to the general public Photos by Patrick Browne • Receive a Programme Book, loyalty card, CD and lapel pin Aria Friends ¤500 • Receive complimentary tickets to Friends’ Lunches, A very rewarding way to support young singers. Buffet and Parties during the Festival • Access to eight tickets per performance during • Opportunity to purchase additional tickets for Priority Booking Friends’ Parties, Lunches and Buffet • Four complimentary tickets to Parties, Lunches • Exclusive access to the Friends’ Lounge on level 3 of and Buffet the National Opera House • Invitations to special events during the Festival • Exclusive access to the Friends’ Welcome Receptions • Invitations to the Aria Friends’ reception at Dublin held during the Festival and London events • Receive Friends’ News updates • Nominate the artist of your choice for the Aria • Receive invitations to the Friends’ Recitals and other Friends of Wexford Festival Opera Bursary membership events held in Dublin, London and continental Europe Bravura Friends ¤2,000 • Opportunity to join the annual Friends’ European Provide direct philanthropic support for one main opera trip stage opera production each year. • Unlimited access to tickets during Priority Booking The various categories of Friends’ membership are • Ten complimentary tickets to Parties, Lunches outlined below, with the specific benefits and annual and Buffet membership charge for each one. • Invitations to a private reception with the artistic team during the Festival Ensemble Friends ¤185 • Recognised as the Philanthropic Supporter of a • Access to six tickets per performance during Wexford Festival Opera production Priority Booking • Four complimentary tickets to Parties, Lunches Prelude Friends (Under 35s) ¤80 and Buffet • Two complimentary evening opera tickets • Purchase additional tickets for only ¤35 Teatro Friend ¤1,000 • Discounted tickets to operas and Lunches • Access to six tickets per performance during Priority Booking For further information about our different levels • Four complimentary tickets to Parties, Lunches of Friends’ membership, contact Lucy Durack, and Buffet Development Executive on +353 53 916 3525 or • A seat endowment, which includes a plaque on the by email: [email protected]. Visit seat, in the National Opera House. Wexfordopera.com/friends

20 | WEXFORD FESTIVAL OPERA 2015

Corporate Membership

If you are looking for a memorable way to entertain clients or reward your team, Wexford Festival Opera Corporate Membership is the ideal solution, offering exclusive access to one of the most prestigious events in the Irish cultural calendar.

An unforgettable evening for you and your party of six begins with a champagne reception before a delicious four-course dinner in a private dining room in the National Opera House. You will enjoy the evening’s opera performance from premium seats, followed by a champagne reception during the interval. After the performance you will mingle with other guests at a special post-opera party. Platinum membership also includes the added benefit of accommodation in a superior room at one of our four-star partner hotels.

Membership includes admission to our Friends’ events in Dublin, London and continental Europe during the year.

Whatever your business, Wexford Festival Opera Corporate Membership offers a unique experience that your clients will long remember.

For more information on our Gold and Platinum packages or to request a printed brochure, contact Lucy Durack: +353 53 916 3525 or e-mail [email protected]. Photo by Patrick Browne

BOOK ONLINE AT WEXFORDOPERA.COM | 21

Book Your Seats

Post Group Bookings If you choose to have your tickets posted to you, they If there are eight or more people in your group, will arrive at least six weeks before the event. A fee please contact Box Office management about group of ¤1.50 applies to international post and ¤1.00 to discounts: e-mail [email protected] or domestic post. phone +353 53 912 2144.

Ticket Collection Refunds If you choose to collect your tickets, they may be Wexford Festival Opera has a ‘no refund’ and ‘no collected from the Box Office from 28 March and up to exchange’ policy on all tickets purchased. Friends two hours before the performance. of Wexford Festival Opera who book tickets during the Friends’ Priority Booking period have a limited Booking Fees exchange and refund facility. A booking fee of ¤1.00 per ticket applies to all credit and debit card transactions. Special Needs For information on our special needs’ access, visit Exclusive Offers Wexfordopera.com. Receive exclusive Festival offers and updates by joining our mailing list online at Wexfordopera.com/media/ Please Note subscribe-to-our-newsletter and by following us on The Management reserves the right to refuse Facebook and Twitter. admission and to change or cancel the advertised programme or artists. Don’t be late Please arrive at the venue at least thirty minutes before Dress Code the performance and allow ample time for traffic and In keeping with Wexford Festival Opera tradition, parking delays. Latecomers cannot be admitted once evening dress is strongly recommended for the the performance has commenced. evening opera performances.

22 | WEXFORD FESTIVAL OPERA 2015 The Ghosts of Versailles, 2009, John Corigliano. Photo by Patrick Redmond

BOOK ONLINE BY PHONE From 28 March at Wexfordopera.com From 28 March +353 53 912 2144 or 1850 4 OPERA IN PERSON Festival Box Office, The National Opera House, High Street, Wexford Box Office opening hours to 17 October: Monday-Saturday, 9.30 a.m. – 5.30 p.m. 18–20 October: 9.30 a.m. – 8 p.m. 21–24 October: 9 a.m. – 8.30 p.m. PAYMENT 25 October: 9 a.m. – 9.30 p.m. 26–31 October: 9 a.m. – 8.30 p.m. Payment may be made by credit or debit 1 November: 9 a.m. – 5.30 p.m. card or cheque. Cash payments may be made only by personal customers.

BOOK ONLINE AT WEXFORDOPERA.COM | 23

Seating Plan and Pricing

O’Reilly Theatre | National Opera House

Photo by Ros Kavanagh

8 9 10 11 5 6 7 12 13 14 CIRCLE (Level 2) 3 4 15 16 2 17 18 H 1 10 11 12 H 6 7 8 9 13 14 15 16 4 5 17 18 2 3 19 20 1 9 10 11 12 13 14 21 G G 6 7 8 15 16 17 Rows A–B 4 5 18 19 2 3 20 21 1 9 10 11 12 13 14 15 16 22 F 7 8 17 18 F 5 6 19 4 20 21 3 22 2 10 11 12 13 14 15 16 17 E 1 7 8 9 18 19 23 E Rows C–G 5 6 20 21 4 22 3 11 12 13 14 15 16 23 2 8 9 10 17 18 24 D 1 6 7 19 20 D 4 5 21 3 13 14 15 16 17 18 19 22 2 11 12 20 23 9 10 21 22 24 Row H C 1 8 23 25 7 15 16 17 24 C 6 11 12 13 14 18 25 5 10 19 20 26 4 8 9 21 27 7 22 3 6 23 28 2 5 24 29 1 25 Side Stalls B 4 26 30 B 3 27 2 28 I 1 J A 29 12 A Boxes BOX 1 BOX 13 2 D 14 3 A 15 7 8 9 10 11 12 4 5 6 13 14 3 4 15 16 16 2 17 5 BOX 1 13 14 15 16 18 C 11 12 17 18 19 BOX FOUNDERS’ CIRCLE (Level 1) 9 10 20 C 17 8 21 22 6 7 23 6 11 12 13 14 15 16 17 18 18 10 19 24 E 5 8 9 20 21 25 7 B 4 7 22 26 3 6 23 Centre 19 5 24 27 8 2 4 25 28 20 1 3 26 BOX 2 27 29 9 BOX B 1 28 21 B 10 Side Stalls A A F 22 C 11 1 13 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 I BOX 1 2 3 22 P BOX P 2 J 14 5 6 7 8 9 10 11 12 13 14 15 16 Side Stalls O 1 2 3 4 17 18 19 O Boxes 3 15 5 6 7 8 9 10 11 12 13 14 15 16 D N 1 2 3 4 17 18 19 20 N A 16 4 6 7 8 9 10 11 12 14 Boxes M 1 2 3 4 5 13 15 16 17 18 19 M Boxes D, E & F Side Stalls 7 8 9 10 11 12 13 14 15 16 17 5 17 3 4 5 6 18 19 20 21 22 A, B & C seat 4 BOX L 1 2 23 24 L BOX 18 7 8 9 10 11 12 13 14 15 16 17 18 19 6 seat 4 13 3 4 5 6 20 21 22 23 1 each K 1 2 24 25 K each 19 14 7 8 9 10 11 12 13 14 15 16 17 2 7 STALLS (Level 0) 3 4 5 6 18 19 20 21 22 E 1 2 23 24 B 20 15 J J 3 8 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 2 3 4 22 23 24 16 I 1 25 I 4 7 8 9 10 11 12 13 14 15 16 17 18 9 21 3 4 5 6 19 20 21 22 BOX 17 H 1 2 23 24 H 5 BOX Main Stalls 10 22 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 18 2 3 4 22 23 24 6 23 G 1 25 G 11 7 8 9 10 11 12 13 14 15 16 17 18 F 19 3 4 5 6 19 20 21 22 7 C 24 F 1 2 23 24 F 12 20 7 8 9 10 11 12 13 14 15 16 17 18 19 20 8 Side Stalls 3 4 5 6 21 22 23 AA 1 2 24 AA 21 E 25 E 9 7 8 9 10 11 12 13 14 15 16 17 18 3 4 5 6 19 20 21 22 22 D 1 2 23 24 D 10 Boxes 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 Boxes Wheelchair- 23 2 3 4 22 23 24 11 D, E & F C 1 25 C A, B & C 24 7 8 9 10 11 12 13 14 15 16 17 18 12 seat 4 3 4 5 6 19 20 21 22 2 23 24 seat 4 each B 1 B accessible Seat 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 each 3 4 5 21 22 23 A 1 2 24 25 A

STAGE Pricing Floor Level Seating Area Circle Dates & Prices Founders’ Circle Stalls RowsPrice A–B Band A PriceCentr eBand B Price MainBand Stall C s Rows21, C–G 22, 26, 27, 28, 23,Sid e24, Stall 25,s 30, Gala ConcertSide Stall s 29 Oct 31 Oct, 1 Nov 25 Oct Row H Boxes Wheelchair-  accessible Seat Circle Rows A–B Side Stall¤140s ¤140 ¤75  Circle Rows C–G Boxes¤85 ¤115 ¤60  Circle Row H* ¤40 ¤40 ¤60  Circle Side Stalls Row I–J ¤35 ¤35 ¤60  Circle Boxes (4 seats)** Boxes A, B, C, D, E, F ¤25 ¤25 ¤50  Founders’ Circle A3–A26 ¤145 ¤145 ¤80 A1, A2, A27, A28 ¤120 ¤120 ¤60 Rows B–C ¤145 ¤145 ¤80  Founders’ Circle Side Stalls ¤130 ¤130 ¤80  Founders’ Circle Boxes A, B, D, E ¤50 ¤50 ¤50 (4 seats)** Boxes C, F ¤25 ¤25 ¤50  Main Stalls Rows A–B ¤90 ¤110 ¤60 Rows C–P ¤100 ¤120 ¤60  Side Stalls 1–6, 13–18 ¤100 ¤120 ¤60 7–12, 19–24 ¤90 ¤110 ¤60

24 | WEXFORD FESTIVAL OPERA 2015

National Opera House

Photo by Ros Kavanagh

Following detailed discussions, the Minister for Arts, Heritage and the Gaeltacht announced on the opening officially recognised as the country’s National Opera night of the 2014 Festival that she had approved the House. As the home of Wexford Festival Opera this request to officially recognise Wexford Opera House as national designation will further enhance the Festival’s Ireland’s National Opera House. Opened in 2008, the national and international reputation and should National Opera House remains Ireland’s only custom- present increased opportunities for its productions. built Opera House and has won numerous national It will also heighten the awareness of Irish opera and international architectural awards. Its very specific production and continue to develop this culturally and design and acoustic criteria uniquely qualified it to be economically important art form for Ireland’s benefit.

BOOK ONLINE AT WEXFORDOPERA.COM | 25 CULTUREFOX.IE

NEVER MISS OUT

The Arts Council’s new, upgraded CULTUREFOX events guide is now live. Free, faster, easy to use – and personalised for you. Never miss out again.

26 | WEXFORD FESTIVAL OPERA 2015

Travelling to Wexford

BELFAST

KNOCK

Photo by Paul Holmes DUBLIN

DUN LAOGHAIRE

Air SHANNON

Fly to Dublin International Airport (Dublinairport.com). WEXFORD ROSSLARE There are a number of transport options for travelling FARRANFORE WATERFORD from there to Wexford, including car hire and a direct CORK coach service to Wexford, as well as bus services to Dublin city for onward travel to Wexford by bus or train. Waterford Airport is one hour’s drive from Wexford and offers connections from the UK, as well as services for private aircraft.

Bus

Wexford Bus operates a direct bus service between Sea Dublin Airport and Wexford (Wexfordbus.com).

Wexford is situated close to Rosslare Europort. Bus Éireann operates regular bus services to Wexford (Buseireann.ie). Stena Line operates daily sailings between Rosslare and Fishguard (Stenaline.com). Irish Ferries sails between Rosslare and Pembroke and between Rosslare and Cherbourg (Irishferries.com). Car Hire

Rail Enjoy your visit to Wexford with the greater freedom you get when you rent a car from Hertz, Ireland’s premier car hire company (Hertz.ie). Irish Rail operates regular train services to Wexford from Connolly and Pearse railway stations in Dublin (Irishrail.ie). Road

Wexford is easily accessed from many main routes in Visitors to Wexford Festival Opera Ireland. Detailed directions may be obtained from AA are encouraged to make their visit Route Planner (Aaireland.ie). more environmentally friendly. Visit Epa.ie/begreen to discover what you can do to benefit your environment.

BOOK ONLINE AT WEXFORDOPERA.COM | 27 WHERE LIFE SOUNDS BETTER 96-99fm | On Mobile | rte.ie/lyricfm

28 | WEXFORD FESTIVAL OPERA 2015

Accommodation

Ferrycarrig Hotel Patio. Photo by Lou Metzger

Ferrycarrig Hotel Preferred Hotel Partner Talbot Hotel

The nationally and internationally renowned 4-star The Talbot Hotel is ideally located in the heart of Ferrycarrig Hotel boasts one of the most inspiring Wexford town. This is one of the finest hotels in locations of any hotel in Wexford or, indeed, Ireland, Wexford, boasting panoramic views of the quays and with sweeping views across the River Slaney. The hotel River Slaney. is the perfect location for your visit to the 2015 Festival. For more information: T: +353 53 912 2566 For more information call reservations directly: E: sales @talbothotel.ie T: +353 53 915 3623 W: Talbothotel.ie E : [email protected] W: Ferrycarrighotel.ie Kelly’s Resort Hotel

Whites of Wexford The 4-star Kelly’s Resort Hotel is uniquely situated along five miles of safe sandy beach in Rosslare, Whites of Wexford is one of the leading 4-star Wexford Co. Wexford. hotels, conveniently located in the centre of Wexford town. Large parking facilities are available. For more information: T: +353 53 913 2114 E: [email protected] For more information: T: +353 53 912 2311 W: Kellys.ie E: [email protected] W: Whitesofwexford.ie

For further information on accommodation in Wexford and the surrounding area visit Visitwexford.ie | Discoverireland.ie | Irelandhotels.com

BOOK ONLINE AT WEXFORDOPERA.COM | 29 Wexford Tourist Office, Quayfront, Wexford. Opening hours: Mon–Sat 9.15 a.m. – 5.15 p.m. Phone: +353 53 912 3111 E-mail: [email protected] Website: DiscoverIreland.ie

30 | WEXFORD FESTIVAL OPERA 2015 Wexford Map

Festival Venues / Preferred Hotels 5 National Opera House 17 Saint Iberius Church (Recitals) 21 Greenacres Art Galleries 22 Ferrycarrig Hotel 23 Whites Hotel (ShortWorks) 24 Talbot Hotel 25 Kelly’s Resort Hotel

Around Wexford 1 The Ballast Bank 2 John Barry Monument 3 The Ballast Office 4 Keyser’s Lane 6 Saint Patrick’s Church 7 Church of the Assumption 8 Franciscan Friary 9 Church of the Immaculate Conception, Rowe Street 10 Wexford Arts Centre 11 Selskar Abbey 12 Westgate Heritage Tower 13 County Hall 14 The Redmond Monument 15 Nickey Rackard Commemorative Statue 16 Bull Ring (1798 Memorial) 18 National Irish Heritage Park 19 Wildfowl Reserve 20 Johnstown Castle

Tourist Office Bus Station Assumed Town Walls Car Park Dun Mhuire Theatre Bus Stop Post Office Toilets Library Garda Station Rail Station

BOOK ONLINE AT WEXFORDOPERA.COM | 31

Festival Calendar 64th Wexford Festival Opera Wednesday, 21 October – Sunday, 1 November 2015

Wednesday 21 October Saturday 24 October

Opening Ceremony 11 a.m. Dr Tom Walsh Lecture 8 p.m. KOANGA 1.05 p.m. Lunchtime Recital 10.30 p.m. Friends’ Party 3.30 p.m. TOSCA 7 p.m. Pre-Opera Talk 8 p.m. KOANGA 10.30 p.m. Friends’ Party

Thursday 22 October Sunday 25 October

1.05 p.m. Lunchtime Recital 11 a.m. THE PORTRAIT OF MANON 2 p.m. Friends’ Lunch 12 noon Festival Mass, 3.30 p.m. THE PORTRAIT OF MANON Church of the Immaculate Conception, Rowe Street 7 p.m. Pre-Opera Talk 4 p.m. Pre-Opera Talk 8 p.m. GUGLIELMO RATCLIFF 5 p.m. GUGLIELMO RATCLIFF 9 p.m. Gala Concert

Friday 23 October Monday 26 October (BANK HOLIDAY)

11 a.m. Friends’ Welcome Reception 10 a.m. Friends’ Welcome Reception 1.05 p.m. Lunchtime Recital 11 a.m. Tara Erraught Recital 3.30 p.m. HANSEL AND GRETEL 1 p.m. Friends’ Lunch 7 p.m. Pre-Opera Talk 3.30 p.m. HANSEL AND GRETEL 8 p.m. LE PRÉ AUX CLERCS 7 p.m. Pre-Opera Talk 8 p.m. LE PRÉ AUX CLERCS

32 | WEXFORD FESTIVAL OPERA 2015 Tuesday 27 October Friday 30 October

1.05 p.m. Lunchtime Recital 1.05 p.m. Lunchtime Recital 3.30 p.m. TOSCA 3.30 p.m. TOSCA 7 p.m. Pre-Opera Talk 7 p.m. Pre-Opera Talk 8 p.m. KOANGA 8 p.m. KOANGA

Wednesday 28 October Saturday 31 October

1.05 p.m. Lunchtime Recital 11 a.m. Piano Recital 3.30 p.m. THE PORTRAIT OF MANON 1.05 p.m. Lunchtime Recital 5.15 p.m. Friends’ Buffet 3.30 p.m. HANSEL AND GRETEL 7 p.m. Pre-Opera Talk 7 p.m. Pre-Opera Talk 8 p.m. GUGLIELMO RATCLIFF 8 p.m. GUGLIELMO RATCLIFF 10.30 p.m. Friends’ Party

Thursday 29 October Sunday 1 November

11 a.m. Friends’ Welcome Reception 11 a.m. Friends’ Welcome Reception 1.05 p.m. Lunchtime Recital 11 a.m. TOSCA 3.30 p.m. HANSEL AND GRETEL 11 a.m. Festival Service, 7 p.m. Pre-Opera Talk St Iberius Church 8 p.m. LE PRÉ AUX CLERCS 4 p.m. Pre-Opera Talk 5 p.m. LE PRÉ AUX CLERCS

Schedule correct at the time of going to print, but may be subject to subsequent change. The National Opera House High Street, Wexford, Ireland Tel: +353 53 912 2400 Box Office: +353 53 912 2144 Callsave: 1850 4 OPERA [email protected] Wexfordopera.com

patron Michael D Higgins, President of Ireland president Sir David Davies chairman Ger Lawlor artistic director David Agler chief executive David McLoughlin

Editor Sarah Burn | Design Miles Linklater, 24pt Helvetica Join the Conversation #WexfordOpera