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Home , Agrippina (opera), Amanda Holden (writer), Bernadette Greevy, Faramondo, Grange Park Opera, Les Musiciens du Louvre

Irish Youth

Irish Youth Opera PRESENTING THE FUTURE

Handel Irish Youth Opera

— 1 — Irish Youth Opera

Irish Youth Opera PRESENTING THE FUTURE

Irish An opera in three Youthacts by GF Handel by Cardinal English translation byOpera

A co-production with Opera in association with the Irish Chamber Orchestra and the Lime Tree Theatre Limerick.

Lime Tree Theatre, Limerick Tuesday 8 September 2015 Black Box Theatre, Galway Thursday 10 September 2015 O’Reilly Theatre, Saturday 12 & Sunday 13 September 2015 The Market Place Theatre, Armagh Saturday 19 September 2015

Patron: Michael D Higgins, President of Ireland First performed in Venice on 26th December 1709 IYO Edition © 2015

— 2 — — 3 — identify him as a glorious conqueror in the best (or the deliberations, but she was only allowed to do this from worst) Roman tradition. behind a curtain so that she could not be seen. Mary Beard Agrippina, however, was more than a match for this Predictably enough soon tried to escape his mother’s Agrippina’s main claim to fame is now her concoction of marriage. The emperor had just had his third wife, chameleon. Her main aim, once married, was to push grip (and possibly also, so ancient rumours went, her poisoned mushrooms. It was with this potentially fatal Messalina, put to death, after a particularly flagrant the claims of her son Nero to be ’ successor. He incestuous embrace). One major cause of friction was recipe that she tried to do away with her husband, the display of adultery (she had actually gone through a lavish was adopted by Claudius, consistently promoted above other women and in particular, Nero’s infatuation with elderly emperor Claudius. Rumours had reached her in mock-marriage ceremony with her lover). Agrippina must Claudius’ natural son, Britannicus (named after the Poppaea, who was then married to a man called , 54 AD that Claudius was considering divorce, so – it was have looked a relatively safe choice. Her second husband newly conquered province), and married off to Claudius’ one of Nero’s friends who would himself become emperor said – she decided to strike first, with a draft of poison had recently died, so there was no divorce to be arranged – daughter, Octavia. He was, in short, being groomed for for a few brief months in the civil wars that followed sprinkled on his favourite food. But in the dysfunctional and she was, after all, already part of the firm. Rather too the throne. Agrippina’s motives in murdering her husband Nero’s death in 68 AD. Different versions of the affair world of the Roman imperial family, much so, in the eyes of some. Weighty were largely her fears for Nero: if she were to lose her are told: some ancient writers suggest that Nero stole his even murder did not go smoothly: speeches in the senate had to be hastily hold on Claudius, then Nero’s chances of succession were friend’s wife; others think that Nero found Poppaea first Claudius’ age, drunkenness or sluggish scripted, justifying the awkward fact finished. and merely ‘parked’ her with Otho until he could divorce digestion softened the effects of the that Claudius was actually Agrippina’s Octavia. venom, and he had to be finished off uncle, the brother of her father Her plan worked. Nero was neatly manoeuvred into power by a tame doctor. The feather that Germanicus. This made it an irregular in 54 AD, aged seventeen. According to many accounts, The signs of Agrippina’s fall from grace were at first subtle. tickled the old man’s throat to help union, even by Roman standards. whatever the lurid excesses of his final years, the first Nero engineered the dismissal of one of her greatest allies him vomit had itself been coated in years of the reign were rosy – at least in the sense that at court, the ex-slave bureaucrat – who almost poison. But the imperial ménage turned out to government and political business appeared to proceed ten years earlier had been one of those who persuaded be irregular in other ways too. Claudius with all due propriety, in the traditions established by Claudius to choose Agrippina out of the possible Agrippina was probably the best himself was a contradictory figure. Augustus. This may have had more to do with the efforts of candidates for marriage. But it did not stop there. By 59 connected woman that the Roman Limping and stuttering, and more Nero’s advisers than the instincts of Nero himself. Seneca – AD, Nero had made up his mind to have her killed. It was world ever saw and a key figure in the interested in scholarly research than in Stoic philosopher, playwright and usurer – was one of the another of those bungled murders. One ingenious scheme first imperial dynasty at Rome. She the cut-and-thrust of politics, he had powers behind the throne. So too (and sometimes more in was to send her out to sea in a collapsible boat, and to was grand-daughter of Augustus, the come to the throne only when the army front of the throne than behind) was Agrippina. pass off her drowning as a tragic accident – which might founder of the Roman empire; sister had to find a candidate quickly after have worked, had she not managed to swim ashore. In the of the mad emperor Caligula, killed the murder of Caligula (the story was No woman ever enjoyed such semi-official, public end, Nero had to resort to more conventional means. He in a palace coup in 41AD; wife of his that he was discovered hiding behind prominence in this period of the Roman empire as she did. sent some thugs from the navy to do the job properly: she successor, Claudius; and, by her first husband, the mother a curtain in the palace and was hailed as emperor on the In fact, on some of the coins of the early years of the reign, is said to have died directing the assassin’s sword at her of Nero, whose reign brought the dynasty to a particularly spot). Once emperor, he took considerable trouble to re- Agrippina’s head appears side by side with, or facing, her stomach, telling him to strike the womb that bore Nero. colourful, or disgraceful, end. invent himself, carefully remaking his image. He proved son, almost as if to suggest that they were co-rulers. She tough (not to say murderous) to the aristocracy. But pride is also supposed to have made her views on policy matters How much of this extraordinary story of Agrippina’s It was these blue-blooded connections that made her an of place went to the launch of a successful invasion of well known, and was apparently not beyond attempting life is ‘true’ is now hard to assess – and the answer very attractive wife for Claudius in 49 AD – though Roman Britain. How much of the fighting Claudius actually saw to take her place on the imperial dais next to her son and much depends on what we mean by ‘true’. All the lurid historians mutter also about her dangerously seductive is a moot point; he seems to have turned up (like many to give audience to visiting ambassadors. There were, details are certainly recounted by one or other of our main charms, as well as about in-fighting among the palace leaders since) only in the final stages to announce ‘mission however, limits: the senate would be summoned to meet sources for the reigns of Claudius and Nero: the chatty advisers, each backing rival candidates for the royal accomplished’. But, all the same, the campaign served to in the palace, so that Agrippina could listen to their biographer , the dyspeptic political analyst

— 4 — — 5 — or the third-century historian Cassius Dio. But it Yet the opera is cleverer in its manipulation of the ancient seems very likely that plenty of unsubstantiated gossip world than these ‘mistakes’ might imply. What is on show and innuendo has crept into their accounts. We cannot here is a marvellously inventive (and invented) flashback, STUDY AT even be sure that Claudius was poisoned, let alone that it a retrojection to the reign of Claudius, of many of those was administered on mushrooms or by a corrupt doctor iconic moments that took place, so Roman writers said, with a feather. After all, there is nothing easier than to in the reign of Nero. That shipwreck of Claudius which explain unexplained deaths by allegations of malpractice launches the whole plot is a clever prequel of the boating THE LIR – particularly when (as in the case of Claudius) there were accident of Agrippina – both Claudius and Agrippina, AT some obvious beneficiaries of his demise. significantly survive. When Agrippina hides behind the screen, while Poppaea (Poppea) meets Claudius (Claudio) Even more to the point, the picture of Agrippina and her alone in his apartment, it looks forward to Agrippina UNDERGRADUATE COURSES blighted family relations derives in part from a series of concealed behind the curtain, while the senate meet ancient stereotypes about women, corruption and power. in the palace. And, of course, albeit in very different Acting, Stage Management and Technical One of the ways Roman writers had of making sense of the circumstances, Otho () in the end really does Theatre, Acting and Theatre dysfunction of imperial politics at the highest level was to become emperor. see it in terms of the unnatural behaviour of the female POSTGRADUATE COURSES sex: women getting above themselves and usurping the Handel’s opera is a cunning variation on the ancient story power that rightly belonged to men was both a symbol of Agrippina, transposing the events of the reign of Nero Theatre Directing, Stage Design of, and an explanation for, what was the matter at the back into the reign of Claudius, and weaving brilliant (including lighting, set and costume top of Roman society. The ‘truth’ for Roman writers was farce. Whether this bore any resemblance to the real-life design) Playwriting that corruption was channelled through women, and it mother of Nero, and wife of his step-father, we shall never was encapsulated in the act of poisoning – a particularly know. deceitful and quintessentially female crime, perverting the SHORT COURSES role of provider of sustenance into the bringer of death. Mary Beard’s article originally appeared in the programme Introduction to Acting // I A Clown // for ENO’s 2007 production of Agrippina Young Actors’ Programme // Audition Handel’s plot takes us, at first sight, even further from Masterclass // Using Stanislavski’s System historical reality. Set in 43AD at the time of Claudius’ // The Clear and Confident Voice // conquest of Britain, it throws up all kinds of chronological impossibilities. Agrippina was not even married to Character and Scene Study Claudius at that point; Otho and Poppaea would have been pre-teenagers (and Otho certainly not old enough to have been at war, even as a child soldier); Nero would have been only six, and this is not to mention the fact that the whole scenario is entirely without historical backing. There is no record of any shipwreck of Claudius on his way to or from Britain. And the idea of Claudius desiring Poppaea adds a twist that even ancient writers had not dreamt up.

— 6 — — 7 — www.thelir.ie by

Turandot Creative Team by Giacomo Puccini

Jonathan Cohen Oliver Mears Annemarie Woods Kevin Treacy

All photographs courtesy of Ludwig Olah/State Theatre of Nuremberg Jonathan Cohen Conductor created projects. He tours with them to exceptional halls and festivals such as Philharmonie Berlin, Musikverein, Köln Jonathan Cohen is one of Britain’s finest young musicians. A visually stunning piece of European arthouse theatre from ‘the Quentin Tarantino of Opera’ (). Philharmonie, Ghent Cathedral, and Carnegie Hall New York. He has forged a remarkable career as a conductor, cellist and With aesthetic references ranging from Pedro Almodovar to Fritz Lang, Hitchcock to Tarantino, Calixto Bieito’s new Recent highlights include Bach’s B Minor Mass in Ghent and keyboardist. Well known for his passion and commitment to Handel’s at Zankel Hall New York. Arcangelo are international production is controversial, shocking and unmissable. chamber music Jonathan is equally at home in such diverse busy and much in demand in the recording studio, partnering activities as baroque opera and the classical symphonic with fine soloists. Jonathan and Arcangelo have received five repertoire. He is Artistic Director of Arcangelo, Associate star reviews with ‘Porpora cantatas’ and ‘Arias for Guadagni’ UK AND IRELAND PREMIERE Conductor of Les Arts Florissants and Artistic Director of with on Hyperion, the latter disc won the Recital Tetbury Festival. Recent highlights have included Category at the 2012 Gramophone Awards. In association with the Ulster Bank International Arts Festival. Directed by Calixto Bieito Scottish Chamber Orchestra, Saint Paul Chamber Orchestra, Other recordings are ‘Enchanted Forest’ with Anna Prohaska Royal Scottish National Orchestra, Swedish Radio Symphony on Deutsche Grammophon, ‘Amoretti’ with Christiane Karg Fri 30, Sat 31 October & Sun 1 November, 7.30pm Orchestra, Kammerakademie Potsdam and performances (Mozart, Gluck) on Berlin Classics, Handel’s ‘Finest Arias for of Rameau’s at Glyndebourne Festival. Base Voice’ with Christopher Purves on Hyperion and their most Tickets: £18-46 (concs available) - Box Office: 028 9024 1919. Book online at www.goh.co.uk Future conducting dates include Le Nozze di Figaro with Opera recent disc ‘Monteverdi Sestina Madrigals’. Forthcoming releases de Dijon and Opéra Théâtre de Saint-Etienne, Lockenhaus include ‘Bach B Minor Mass’ and ‘Couperin Leçons de ténèbres’ Festival, Verbier Festival, NDR Hannover, Het Residentie (due for release winter 2014). Orkest, Hamburg Symphony, Seattle Symphony, Zürcher Kammerorchester, Vasteras Sinfonietta, South Jutland Symphony, reinvitations to Saint Paul Chamber Orchestra and Budapest Festival Orchestra, and Aalto Musiktheater Essen with Oliver Mears Director All photographs courtesy of Ludwig Olah/State Theatre of Nuremberg Sung in English. Mozart’s Die Entführing aus dem Serail. With Les Arts Florissants Oliver read English and History at Lincoln College Oxford, and Contains graphic scenes. he conducts in Vienna and St. Petersburg. Jonathan founded began his career assisting playwright Howard Barker. As Artistic Suitable for ages 16+ Arcangelo, with whom he performs high quality and specially Director of Second Movement Opera, Oliver directed many site- A visually stunning piece of European arthouse theatre from ‘the Quentin Tarantino of Opera’ (The Guardian). With aestheticCo-produced references by ranging the State fromTheatre Pedro of Nuremberg Almodovar —/ Théâtre 8 — to Fritzdu Capitole Lang, de Hitchcock Toulouse / Northernto Tarantino, Ireland Calixto Opera Bieito’s new — 9 — international production is controversial, shocking and unmissable. UK AND IRELAND PREMIERE In association with the Ulster Bank Belfast International Arts Festival. Directed by Calixto Bieito

Fri 30, Sat 31 October & Sun 1 November, 7.30pm Tickets: £18-46 (concs available) - Box Office: 028 9024 1919. Book online at www.goh.co.uk

Sung in English. Contains graphic scenes. Suitable for ages 16+

Co-produced by the State Theatre of Nuremberg / Théâtre du Capitole de Toulouse / Northern Ireland Opera Irish Youth Opera

specific opera productions in London, including several UK stage Kevin Treacy Lighting Designer premieres (of works by Fleischmann/Shostakovich, Martinu, and Weisman) and a Czech Republic tour of Martinu’s The Knife’s Kevin is an international lighting designer for opera, theatre and Tears. He has also directed a prison project with lifers, Sweeney dance. He is delighted to be working with Irish Youth Opera. Todd (Pimlico Opera), La Calisto (), Hansel In recent years Kevin has worked with the critically acclaimed and Gretel (Opera North), the National Opera Studio Showcase director Oliver Mears, and NI Opera to light , Macbeth 2010, The Bear (National Reisopera, Holland), Albert Herring (which will also play at in 2016), (Aldeburgh), David Almond’s My Dad’s a Birdman (Young The Flying Dutchman, , The Bear, L’elisir d’Amore (a co- Irish Youth Opera production with Opera Theatre Company), Turn of the Screw Vic), (Nevill Holt Opera) and PRESENTING THE FUTURE (Bergen National Opera). For Northern Ireland Opera, Oliver (which went on to the International Buxton Festival, and to has directed Tosca (Irish Times Theatre Award for ‘Best Opera the Kolobov Novaya Theatre in Moscow), and Orpheus in the Production’, 2012), Hansel and Gretel, L’Elisir D’Amore, Noye’s Underworld (a co-production with Scottish Opera). With Oliver Fludde (Belfast Zoo/Beijing Music Festival/Shanghai Music Mears directing, he has also lit, The Magic Flute at Nevill Holt. Irish Youth Opera in the Summer Festival), The Flying Dutchman (nominated This began a collaboration with Nevill Holt Opera, which has seen Kevin light La Boheme, and , both directed by Ashley for UK TMA Award ‘Achievement in Opera’), Orpheus in the Artistic Director Colette McGahon | Artistic Consultant Dr Suzanne Murphy | Administrator Andrea Underworld (co-production, Scottish Opera/), L’Elisir Page O.B.E. D’Amore (with OTC), Salome and Macbeth (co-production, Welsh Kevin worked with internationally renowned Conductor Gilsenan | PR Christine Monk | Social Media Niall Kinsella | Executive Producer Andrew McElroy National Opera). His production of The Turn of the Screw was Esa-Pekka Salonen, on the World Premiere of the ‘forgotten’ nominated for two Irish Times Theatre Awards in 2013 (‘Best Shostakovich piece Orango, directed by Russian Director Irina IYO Board of Directors : Laura Gilsenan (Company Secretary)Irish | Rhona Kelly | Colette McGahon | Opera Production’ and ‘Best Director’), and recently premiered Brown, which premiered at the Royal Festival Hall in 2013. This Paul McNamara | Cormac Simms | Suzanne MurphyYouth at Novaya Opera, Moscow. In 2012 he was nominated for created an appetite for semi-staged pieces to be shown there, an ‘Achievement in Opera’ award by the UK TMA Awards for and was quickly followed by the hugely successful L’Enfant et Les Opera his leadership of NI Opera, and was nominated in the ‘Best Sortileges, again with Irina Brown directing. Newcomer’ category at the 2013 Opera Awards. For opera Kevin has also lit: (Handel Festspiele, Göttingen, Dir. ); (Royal College of IYO Friends Circle Music); , The Fairy Queen, Xerxes (English Touring Annemarie Woods Designer Opera); Certain Circles by Harrison Birtwistle; (Royal Noelle & Peter Bannon | Joseph Brennan | Trudi Carberry | Harold Clarke | Alfred Cochrane | Recent work includes: Don Giovanni (Bergen National Opera), College of Music); Il barbiere di Siviglia, Don Giovanni, Seamus Crimmins | Veronica Donoghue | Mary Finan | Maire & Maurice Foley | Ann Hetherington | Salome, Macbeth, L’Elisir D’amour, Turn of the Screw (NI Opera), , Hänsel und Gretel, Les contes d’Hoffmann, Il viaggio a Pat Heneghan & Deirdre O’Callaghan | Roy Holmes | Dr Peter Hughes | Gemma Hussey | Reims, Pagliacci, The Medium, Suor Angelica (Wexford Festival Hair (Staadtstheater, Darmstadt), La Favourite (Graz), Alice Philippine & Jim Lucey | Dr John McKeown | Harry McNamara & Ita McNamara | (Scottish Ballet, Croatian National Theatre, Zagreb), Candide, Opera); La tragédie de Carmen (WFO, ETO); The Little Magic The Importance of Being Earnest (Opera National de Lorraine, Flute (ETO, Opera Theatre Company); The Kiss, Hansel and Barbara Nolan & Gerard McNamara | Nicky O’Connell & Kevin Clarke | Fionuala O’Rourke | Nancy), The Triumph of Time, Truth/The Triumph of Beauty Gretel, , Xerxes (OTC). Denis O’Sullivan | Eileen O’Sullivan | Margaret Packenham | Anne Marie Stynes Pritzel | Valerie Sheridan | and Deceit (Handel Festival Karlsruhe), La Cenerentola (Luzern Kevin’s theatre work includes: Unfaithful (Traverse Kathleen Tynan | Brenda Weir | Dr Sheila Woods & Eoin Ryan Opera), Der Zigeunerbaron (Stadttheater Klagenfurt), Jakob Lenz Theatre); Blithe Spirit, Macbeth (Perth Theatre/The Tron); The (), Sigurd der Drachentöter (Bayerische Shawshank Redemption (Edinburgh Festival 2013); Love Staatsoper, Munich), (Teatro Sociale Billy (Lyric Theatre, Belfast);The Seafarer (Perth Theatre/ Como), Katya Kabanova (Landestheater Coburg), Albert Herring Lyric Theatre, Belfast); The Government Inspector (Abbey Thank You (Aldeburgh). Theatre); Dancing Shoes: The George Best Story (Grand 2015 nominee for Best Design in the Austria Music Theater Prize Opera House, Belfast and tour), The Shawshank – for La Favorite, Graz Oper Redemption (Wyndhams Theatre, London; Gaiety Theatre, Alan O’Conchubhair | Appleby Jewellers | Andrew McElroy | Barbara McAlister | Feis Ceoil Association | 2011 Winner of the Ring Award Graz (with director Sam Brown) Dublin). Ghan House Carlingford | Harold Clarke | John Farrington Antiques | Mitchell & Son | 2011 Winner of the Prize of the City of Graz National Concert Hall | Peter Dunne | Pianos Plus | Royal Irish Academy of Music | Roy Holmes | 2011 Winner of European Opera Prize (with dir. Sam Brown) Susan Carton | The Lir | Wayne Dignam 2003 Winner of the Manchester Evening News Award for Best Design

— 10 — — 11 — PIANOS PLUS Synopsis Act I Act II Act III THE COMPLETE PIANO SPECIALISTS Agrippina, wife to Claudius, explains to Meanwhile, Pallas and In her bedroom, Poppea has conceived a plan; she her son Nero that the moment for him Narcissus, realising that instructs Ottone to hide and keep his jealousy in to ascend to power has at last arrived: they have been tricked by check. Nero arrives: he burns with desire for Poppea, Piano House, 9H Centre Point Business Park, Oak Road, Dublin 12 she tells him the news that Claudius Agrippina, form an alliance. but she, telling him that his mother is about to arrive, has drowned on his return from Britain. At a public celebration of persuades him also to hide. When Claudius arrives, GPS co-ordinates: Latitude 33.32260251 Longitude – 6.37085841 Agrippina sends for Claudius’ deputies Claudius’ return, Ottone Poppea complains that Claudius does not really OPEN 7 DAYS (Sunday 2.30pm–5.30pm) Pallas and then Narcissus, both of reminds him of his promise; love her; when Claudius reminds her of all that he whom desire her. She confides to them but Claudius rebuffs him, has done for her, mentioning Ottone’s punishment, Tel: 01 – 409 7373 the news of Claudius’ death and asks, calling him a traitor. Ottone Popppea maintains that she was misunderstood: E: [email protected] in exchange for her love, that they hail first turns to Agrippina for it was not Ottone that importuned her, but Nero. Nero publicly as his successor. support, then to Nerone, and Poppea then hides the Emperor and calls Nero, who, www.pianosplus.ie afterwards Poppea, but they all believing that Claudius has left, leaps out of hiding Nero is on the point of ascending to distance themselves from him to resume his lovemaking, but Claudius intervenes power when Claudius’ servant Lesbo and leave. Ottone despairs. and Nero flees. Poppea gets rid of Claudius and leads arrives to announce that the Emperor Ottone out of his hiding place; the two swear their has survived, saved by Ottone. The INTERVAL love to one another. latter arrives and tells Agrippina that as a reward for having saved his life, Nero recounts to his mother what has happened Claudius has promised him the throne. Act II continued and asks her to defend him from Claudius’ anger, Ottone confides to Agrippina that he Poppea begins to doubt while Pallas and Narcissus inform Claudius of loves Poppea more than the throne. Ottone’s guilt. Ottone arrives the conspiracy hatched by Agrippina during his and declares his innocence; absence, with the result that when Agrippina urges Knowing that Claudius also loves Poppea at last sees through her husband to have Nero appointed his successor, Poppea, Agrippina devises a new Agrippina’s designs and swears Claudius’ response is to accuse her of wishing to scheme that will allow her son to take to be avenged. Agrippina usurp his power. She admits having sought to obtain power. She goes to Poppea, and having summons Pallas, and promises the throne for Nero, but defends herself by claiming reassured herself that Poppea loves him her love if he kills Ottone to have done so in order to prevent a power vacuum. Ottone, tells her that he has betrayed and Narcissus; then she asks Claudius is apparently convinced by Agrippina, who her by ceding her to Claudius in order to Narcissus to kill both Ottone seizes the initiative and accuses him of betrayal, obtain power; she suggests, therefore, and Pallas. She then tells urging him to distance himself from Poppea: the that in order to avenge herself, Poppea Claudius that Ottone wishes latter is Ottone’s lover, Agrippina tells him, but should make Claudius jealous by telling to be revenged upon him for Claudius contradicts her, telling her that it is Nero him that Ottone orders her to refuse the loss of the throne; she who desires Poppea. When Poppea, Nero and Ottone Claudius and give herself to him: at urges him to stifle all dissent by arrive, Claudius accuses Nero of having hidden this the Emperor will punish Ottone by declaring Nero his successor. himself in Poppea’s apartments, which Nero cannot removing the throne from him. Poppea Claudius, impatient to be with deny. Claudius unexpectedly ordains that Nero shall falls into the trap and, on Claudius’ Poppea, reluctantly gives his marry Poppea, and Ottone be his successor. But arrival, follows Agrippina’s plan to the consent. this solution satisfies no one, whereupon Claudius, letter, obtaining from the Emperor all wishing to see all conflicts at an end, cedes the throne that she desires. to Nero while giving Poppea in marriage to Ottone.

SCHOOL — 12 — — 13 —

Piano House, 9H Centre Point Business Park, Oak Road, Dublin 12. GPS Co-ordinates (Latitude: 53.32261251 Longitude: -6.37085841) OPEN 7 DAYS (Sunday 2.30pm - 5.30pm) Tel: 01 409 7373 Email: [email protected] www.pianosplus.ie

33743_Pianos_Plus_Advert.indd 1 22/04/2014 14:16:39 Handel

The Cast

Agrippina Máire Flavin Poppea Anna Devin The Creative Team Nerone Rachel Kelly Narciso Dawn Burns Conductor Jonathan Cohen Lesbo Padraic Rowan Director Oliver Mears Ottone Sharon Carty Design Annemarie Woods Pallante Brendan Collins Lighting Design Kevin Treacy Claudio Alan Ewing

Irish Chamber Orchestra Head of Music/Assistant to Conductor Ashok Gupta | Assistant Conductor Elaine Kelly* | Repetiteur Maria Geheran*, Violin 1: Katherine Hunka (Leader), Cliodhna Ryan, Kenneth Rice | Roy Holmes, Adam Collins* | Assistant Director James McNulty* | Violin 2: André Swanepoel, Anna Cashell, Louis Roden | Stage Manager Emma Doyle | ASM Ciara Nolan | Viola: Joachim Roewer, Cian O Dúill | : Aoife Ní Athlaoich*, Costume Supervisor Ilona Karas | Wardrobe Mistress Melanie Carmichael | Richard Angell | : Malachy Robinson* | Flute: Emma Roche, Hair & Make-up Carol Dunne | Carpenter Arthur Bell | Vourneen Ryan | : Dan Bates, Matthew Draper | Graphic Design Gareth Jones |Production Manager Patrick McLaughlin | Bassoon: Ide Ni Chonaill | Trumpet: David Collins, Pamela Snell | Producer Donal Sheils : Ashok Gupta* * participant in the iyo mentoring scheme * continuo

Duration: Part I 95 mins| 20 min Interval | Part II 65mins

— 14 — — 15 — Cast

Máire Flavin Anna Devin Rachel Kelly Dawn Burns Padraic Rowan Sharon Carty Brendan Collins Alan Ewing

Máire Flavin Paul’s Church, Covent Garden; the British High Commission, singing Michal and is delighted to be starting the season House main stage as Mercédès (Carmen) and followed this with Singapore; and . with Irish Youth Opera in Handel’s Agrippina. performances as Second Esquire (Parsifal) and Javotte (Manon). Agrippina Future engagements include Mahler’s 2nd Symphony with the Highlights of the last season included: She also appeared as Mirinda in Kasper Holten’s production of Dublin-born Máire Flavin represented Ireland at the BBC Cardiff RTÉ National Symphony Orchestra at the National Concert Hall appearances as Nannetta () under Michael Schønwandt, L’Ormindo conducted by , which marked the Singer of the World competition in 2011, where she was a finalist in October and her role and company début with Opera North as Oberto () with The English Concert under first ever collaboration between House and in the Song Prize. Fiordilgi in Mozart’s Cosi fan Tutte. on an international tour; Morgana (also from Alcina) with the Shakespeare’s Globe. Máire made her soprano début just a year ago as Emmy Perth in Russian National Orchestra under Chris Moulds; the title role Rachel’s 2014/15 highlights with the Royal Opera House include Heinrich Marschner’s Der Vampyr at the Cork Summer Festival Anna Devin Soprano of which opened the under Pisana (I due Foscari), Proserpina (Orfeo, at the Roundhouse, and her recent engagements include Tisbe in a new production of . In April 2015 Anna returned to Brisbane Camden), Mirinda (L’Ormindo, at Shakespeare’s Globe), Zaida Rossini’s La Cenerentola; Scottish Opera, Second Lady The Magic Poppea Baroque, Australia to reprise the role of Clotilde in Handel’s (Il turco in Italia) and Flora Bervoix (La traviata). Flute; Welsh National Opera, under the baton of company music Faramondo for which she received critical acclaim for both the In recital, Rachel Kelly has appeared at New York’s Carnegie Hall, “With a voice as liquid and sparkling as the best champagne, live performances and CD recording at the 2014 Göttingen the St Petersburg Academy of Arts, Wexford Opera House, the director Lothar Koenig. this rising young Irish soprano showered us with vivid On the concert platform Máire has performed with the RTÉ Handel Festival. She subsequently received a Helpmann Award Oxford Lieder Festival, and the National Concert Hall, Dublin. characterisations, kaleidoscopic hues and the brightest of for “Best Supporting Female in an Opera”. She makes her Wigmore Hall debut this season with the Samling National Symphony Orchestra in Berlioz Les Nuits d’été, Mahler’s coloratura flourishes.” The Times 8th Symphony with the Royal Philharmonic Orchestra at the Scholars. Rachel has performed Schumann’s Das Paradies und Widely acknowledged as one of today’s brightest young die Peri with the RTE National Symphony Orchestra and she has , Mozart Requiem with the Orchestra of Welsh for her vocal versatility and strong stage presence, Anna Devin Rachel Kelly Mezzo-soprano National Opera in the St. David’s Hall International Concert recorded both Rogers’s Dearest Enemy and Herbert’s Eileen with has begun to establish an international career since graduating the Orchestra of Ireland for New World Records. Series under the baton of Christoph Poppen, Handel’s at from the Royal Opera House’s Jette Parker Young Artist Nerone St. Patricks Cathedral, Dublin and Bach’s St. John Passion at the Rachel recently featured in the Royal Opera House masterclass programme just three years ago. Irish mezzo-soprano Rachel Kelly has just completed her training with Joyce DiDonato which was broadcast internationally in National Concert Hall, Dublin. An avid performer of song, Máire The 2015/16 season sees Anna debut with Welsh National as a member of the Jette Parker Young Artist Programme at has appeared in recital with Simon Lepper and Nico de Villiers cinemas. In addition to her work with the Royal Opera House, Opera as (Le nozze di Figaro), di Milan as La the Royal Opera House Covent Garden where she attracted Rachel Kelly is a Samling Scholar, a Solti Accademia Young Artist in the UK and Ireland, at venues including St. Brides Fleet Street, bergère/La chauve-souris (L’enfant et la sortilège) and with the considerable attention. Last season she earned unanimous praise London; the Blenheim concerts; the Estoril Festival; and recipient of the 2012 Bernadette Greevy Bursary Award Vienna Philharmonic at . She makes a welcome for her portrayal of the Cat in El gato con botas (Puss in Boots) from the National Concert Hall, Dublin. the Rose Street Recital Series; the London Song Festival at St. return to Glyndebourne Tour in the vivid production of Handel’s at the Linbury Theatre, made a noted debut on the Royal Opera

— 16 — — 17 — Dawn Burns Mezzo-soprano 2013 Feis Ceoil in Dublin, as well as being awarded the 2013 (J.S.Bach) at Osnabrück Cathedral, G.F.Handel’s Il trionfo del Alan Ewing Bass Irené Sandford Award for Singers at the RIAM. Tempo e del Disinganno in Dublin and Schubert recitals with Narciso He is a 2012 alumnus of the Opera Theatre Company Young pianist Jonathan Ware. IYO Guest & Mentor Mezzo-soprano Dawn Burns is originally from Belfast and Associate Artists’ Programme. Recent engagements include Bass Future engagements include opera favourites with the RTE NSO Claudio currently based in London. She studied at the University of soloist (arias)/St. Matthew Passion (RTÉ National Symphony in October 2015 and a recital of baroque arias as part of Music Bristol where she completed an MA in Music Performance. Last Orchestra); First Soldier/Salomé (NI Opera); Dottore Grenvil for Galway’s concert season in conjunction with the Galway Alan Ewing, born in Omagh Co. Tyrone, has sung at the the year she graduated with a Distinction from the MA Opera course (cover)/La traviata (Glyndebourne Touring Opera); Zaretsky Early Music Festival in May 2016. Recordings include Orfea Berlin State Opera, the Zürich Opera, the Maggio Musicale at the Royal Welsh College of Music and Drama, where she was (cover)/Eugene Onegin (Glyndebourne Festival Opera); L’Autre Britannica with VUENV recorder consort and The stream in the Florence, the Aix-en-Provence Festival, the Netherlands Opera, kindly supported by the Leverhulme Trust. Officier/Thérèse and The Regent/The Sleeping Queen (Wexford valley, released in 2014, with the support of Music Network. She English National Opera, the Royal Opera House Covent Garden, Dawn is a current recipient of the BBC / ACNI Young Musicians’ Festival Opera); Sailor/ (Brooklyn Academy of was recently appointed a member of Opera Theatre Company’s and in concert at the Salzburg and Lucerne Festivals, the Platform Award, funded by the National Lottery, and earlier this Music); Mr. Gedge/Albert Herring, Somnus/Semele (RIAM); “Opera Hub” programme. Konzerthaus Berlin, the Konzerthaus Vienna, the Barbican, the year she made her concert debut with the in and Pastore/Orfeo (Opera Theatre Company). Salle Pleyel, and the Concertgebouw with conductors including Belfast. She was the winner of the inaugural NI Opera Festival His concert and recital appearances include Glyndebourne’s Brendan Collins Sir Colin Davis, Philippe Jordan, Richard Hickox, Sir Charles of Voice competition in 2012, where she was also awarded the Ebert Room Recital Series, the Brighton Festival and the Mackerras, David Stern, Paul McCreesh, William Christe, Marc audience prize. National Concert Hall, Dublin. In June of this year, Padraic Pallante Minkowski and Antonio Pappano. In March this year, Dawn was featured as a guest soloist on Sean participated in the Handel Residency at the Académie du He is especially well-known for his singing of virtuoso Handel Festival d’Aix-en-Provence in France, working with renowned Brendan trained at Cork School of Music where he was awarded roles with Les Arts Florissants, Les Musiciens du , the Rafferty’s live BBC Radio 3 programme In Tune, as part of the St the Pro Musica Singer of the Year Award. He continued his Patrick’s Day celebrations in Belfast. baroque harpsichordist and conductor, Emmanuelle Haïm. He Akademie für Alte Musik and the Gabrieli Players, and has sung has also participated in a number of Masterclasses, most notably studies at the DIT Conservatory of Music and won a scholarship Polyphemus and Achilla on award-winning recordings of Acis Last year Dawn was on the Young Artist Programme at Mid Wales to study at La Monnaie de Munt Opera Studio. Opera, where she covered the role of Mercedes and performed with Sir Thomas Allen. and Galatea and . Recent engagements include the Handel Residency at the Among his roles are Conte Almaviva Le nozze di Figaro¸ His mainstream repertory now includes Osmin (for both Christie in the chorus of Carmen. Dawn has also worked in the chorus Schaunard & Marcello La Bohème, Escamillo & Dancaire Carmen, at (, The Queen of Spades), NI Académie du Festival d’Aix-en-Provence. and Minkowski), Seneca, Sarastro, Leporello, Sparafucile, Aeneas , Yamadori , Masetto Ferrando, Heinrich der Vogler, Fafner, Baron Ochs, Duke Opera (The Flying Dutchman, L’elisir D’amore) and Opera Holland and Leporello Don Giovanni, and Demetrius A Midsummer Night’s Park (Lakmé, Aïda and L’amore dei tre Re). Dawn’s operatic Bluebeard and the title role of Sweeney Todd. Dream. Recent concerts include the St. Matthew Passion for Jean-Claude roles include Florence Pike (Albert Herring), Dido (Dido and Sharon Carty Mezzo-soprano He made his American début at the Kennedy Center, Washington Aeneas), Minskwoman (), Ida () and Second Malgoire and Handel’s for David Stern, both at the Ottone D.C. with OTC performing the American Première of the Irish Théâtre de Champs Elysées , and Verdi’s Requiem at the Lady (The Magic Flute). Her concert highlights include a solo composer Steven Deazley’s opera Bug Off! With Glyndebourne performance in the Bernstein Mass at the BBC Proms. Winner of the RAAP/RTÉ lyric fm Classical Breakthrough Royal Festival Hall. Festival Opera he appeared as Arthur Jones in Billy Budd at both At the Royal Opera House Covent Garden he has sung in Future engagements include chorus in Turandot for NI Opera in Music Bursary, mezzo-soprano Sharon Carty joined the Opera the Festival and the Brooklyn Academy of Music in New York the autumn. Studio at Oper Frankfurt from 2010-2012. She is now a regular productions of Salome, Carmen, Thomas Adés’Powder her Face, City. the world premiere of Judith Weir’s Miss Fortune, Lady Bracknell guest artist at Oper Frankfurt, with recent roles including Brendan has a busy concert diary with repertoire including Aloes (L’etoile), Annina (Der Rosenkavalier), and the title role in Gerald Barry’s The Importance of Being Earnest and in their Padraic Rowan Bass-Baritone Messiah, Mozart Requiem, Vespers, Coronation Mass, Mass in recent new production of King Roger and will return next season in Purcell’s Dido and Aeneas, a role debut which was lauded as C Minor and Spatzenmesse; Haydn Creation and Nelson Mass; “quite simply sensational” (Der Opernfreund). for a revival of The Importance of Being Earnest which will be seen Lesbo Fauré Requiem, Schubert Mass in G, Puccini Messa di , in London and in New York with the New York Philharmonic. Sharon created the title role of Oscar in the world premiere of Orff Carmina Burana, Mendelssohn Elijah and Beethoven Ninth After completing an undergraduate degree in International Oscar und die Dame in Rosa at Theater Freiburg and recently Relations at Dublin City University, Irish bass-baritone Padraic Symphony. returned there to sing the role of Medoro in Handel’s . He has broadcast on RTE, lyric fm and BBC Radio 3 and sang on Rowan graduated from the Royal Irish Academy of Music in She will repeat this role in the 2015/2016 season, as well as 2013. the original cast recording of the Irish composer John Gibsons’ making company debuts as Hänsel (Landestheater Linz) and Judith and Holofernes singing the title role of Holofernes. This summer, Padraic reached the semi finals of the 34th Dorabella (Ministry of Operatic affairs, Belgium). Hans Gabor Belvedere International Singing Competition in Recent performances include Speaker The Magic Flute and First Equally at home on the concert platform, Sharon performs Nazarene Salome for Northern Ireland Opera, Wagner Faust Amsterdam. A Jerwood Young Artist at the 2014 Glyndebourne regularly with orchestras such as the RTÉ CO, Capella Festival, recent awards include the 2014 Glyndebourne Wessex at The Everyman, Cork; Marullo Rigoletto with Opera Theatre Istrapolitana, EUCO, IBO, RTE NSO and the Wiener Akademie. Company and Longborough Festival Opera. Award, the Dramatic Cup and Tony Quigley Award, the Gilbert Highlights of the 2014/2015 concert season included St.Matthew and Sullivan Prize, and the German Government Cup at the Passion (J.S.Bach) with the RTE NSO, Christmas

— 18 — — 19 — 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.

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IYO ad2.indd 1 21/08/2015 14:51 MFG MWF ad 210x210:Layout 1 24/08/2015 08:44 Page 1

Music for Galway presents MidwinterFestival 22 to 24 JANUARY 2016 For their generous support IYO would like to thank: DECODA Elizabeth Joy Roe piano Carol McGonnell clarinet Saeunn Thorsteinsdottir cello MUSIC FROM THE ABYSS Owen Dalby violin

Finghin Collins piano Lynda Lee soprano Diarmuid deFaoite actor

Friday 22 January 8.00pm THOMAS ADÈS Catch DR. WILLIAM SCHABAS Talk about captivity MESSIAEN for the End of Time

Saturday 23 January 2.00pm – 4.00pm OPEN REHEARSAL Drop in anytime between 2pm and 4pm

Saturday 23 January 8.00pm Film screening The Lady in Number 6 (Running time: 39’) Music from Theresienstadt / Terezin Songs by VIKTOR ULLMANN, ILSE WEBER, KAREL SVENK

Sunday 24 January 3.00pm MARC NEIKRUG Death Row Memoirs of an Extraterrestrial IRISH PREMIERE MICHEL GALANTE “C.T.W.” WORLD PREMIERE Town Hall Theatre, Galway FINGHIN COLLINS in conversation with composers Tickets: €20/€16/€6 • Festival Ticket: €55/€45 MARC NEIKRUG & MICHEL GALANTE Booking: Town Hall Theatre, 091 569 777 • www.tht.ie

— 22 — — 23 — Agrippina Partners

Northern Ireland Opera: WHERE LIFE SOUNDS BETTER 96-99fm | ON MOBILE | ONLINE Oliver Mears Artistic Director | Clíona Donnelly General Manager | Rachel Clarke Financial & Artistic Administrator | Steven Hadley Marketing & Communications Director

Irish Chamber Orchestra: Gerard Keenan CEO | Margaret Kelly Accounts & Friends Administrator | Charlotte Eglington Marketing & Communications Manager | Cathriona Murphy Operations Manager | Katherine Barnecutt Education and Outreach Officer |

Lime Tree Theatre Limerick: Louise Donal Theatre Director | Gill Fenton Marketing Manager | Jay Kavanagh Technical Manager | Deirdre Flynn Box Office Manager | Sadhbh McCoy Marketing & Administration Assistant

The performances on 10 September (Galway) and 12 September (Dublin) will be audio-described by Bríd Ní Ghruagáin – facilitated by Arts & Disability Ireland with funding from the Arts Council.

Bríd Ní Ghruagáin Audio Describer

One of Ireland’s two qualified audio describers, Bríd has been facilitating visually impaired audiences in theatre, dance, film and the visual arts since 2009. In conjunction with Arts & Disability Ireland, Bríd has focused on expanding the range of arts made accessible to VI audiences taking on a greater variety of projects each year. A producer of theatre, radio and television, and a mezzo-soprano and recent graduate of the DIT Conservatory of Music and Drama M Mus (Performance), Bríd was delighted to be asked by IYO last year to do the first ever audio described opera and is happy to be back again for Agrippina.

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Untitled-1 1 01/09/2015 12:59:56 IRISH In Rehearsal CHAMBER ORCHESTRA OctOber 2015 Irish Chamber Orchestra Katherine Hunka Director Finghin Collins Piano HAYDN, MOZART & STRAVINSKY Thurs 8 Oct RDS Concert Hall Dublin @ 8pm Fri 9 Oct University Concert Hall, Limerick @ 8pm Sat 10 Oct Black Box Theatre, Galway @ 8pm (in association with Music for Galway) December 2015 December 2015 Irish Chamber Orchestra Irish Chamber Orchestra Jörg Widmann Principal Guest Conductor/Clarinet Katherine Hunka Director MOZART, MENDELSSOHN & MORE Ailish Tynan Soprano Wed 2 Dec University Concert Hall, Limerick @ 8pm A SCANDINAVIAN CHRISTMAS Thurs 3 Dec Curtis Auditorium, CIT Cork School of Music, Thur 17 Dec St. Mary’s Cathedral, Limerick @ 8pm Cork @ 8pm (presented by Cork Orchestral Society) Fri 18 Dec St. Paul’s Church, Mullingar @ 8pm (presented by Mullingar Arts Centre)

www.irishchamberorchestra.com— 26 — Photos: Frances Marshall Photography — 27 — — 28 —