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Home , Ann Murray, Londonderry Air, Tara Erraught, The Maid of Artois, The Shepherd on the Rock, Wigmore Hall

Irish Culture in Britain A Centenary Celebration

Festival Artistic Director John Gilhooly Supported by Culture as part of the Ireland 2016 Centenary Programme A Message from President Michael D. Higgins

a mhaith liom tréaslú leo siúd a d’eagraigh an mórcheolchoirm seo anocht agus, dar ndóigh, leis na ceoltóirí, damhsóirí agus na h-ealaínteoirí ar fad atá ag glacadh páirt sa chéiliúradh céad bhliain seo B den chultúr Ghaelach sa Bhreatain. I would like to extend my congratulations to the organisers and many artists involved in tonight’s Gala Concert, Irish Culture in Britain: A Centenary Celebration.

If it is in the shadow of each other we live, it is in the cultural space we celebrate our heritage of words and music, a heritage in which we are both intertwined. As we commemorate the courage, dignity and ideals that characterised the events and people of 1916, we also celebrate the depth of connection between Ireland and Britain. Tonight you celebrate not only the rich cultural tradition across these islands, but also its contemporary expression, our new imaginings, and the many creative ways to sustain the artistic work that will form the next chapter of our shared story.

Sabina and I would like to thank and congratulate all of those involved in tonight’s performance for their dedication and hard work in bringing about such a special evening, and in particular to John Gilhooly, who has made such an important contribution to the Ireland 2016 centenary programme. I wish to also congratulate Ann Murray on the presentation of the Wigmore Medal, in recognition of her significant international career.

Tá súil agam go mbainfidh sibh an-taitneamh as an ocáid speisíalta seo.

Beir beannacht.

Michael D. Higgins Uachtarán na hÉireann President of Ireland

1 A Message of Welcome from our Royal Patron HRH The Duke of Kent, KG

aving recently become Patron of Wigmore Hall, I am very pleased that my first duty is to welcome you to this evening’s concert, an occasion underlining the friendship and good neighbourliness that marks H relations between Ireland and Britain. In particular, I think of the warm and reassuring Irish voices that have graced the airwaves in Britain in recent years, including, of course, the very much missed Sir Terry Wogan. It is often in a cultural sphere that we are able to listen best, with the help of music, song and story. Tonight’s concert is a celebration of the great connection that we have, particularly through music and literature.

Looking back over the hundred years of our turbulent past, as Patron of Wigmore Hall, I welcome this opportunity to acknowledge the events of 1916, once a source of division and discord, in an inclusive, harmonious way, whilst also focusing on the possibilities of the future and on the extraordinary capacity of our cultural links to bring us together.

I am very pleased that such a distinguished audience has gathered at Wigmore Hall tonight, with many representatives of both the Irish and British governments, as well as diplomats from all over the world.

I wish everybody in the Hall and those listening to the concert’s live stream in Ireland, the UK and beyond a most enjoyable evening.

HRH The Duke of Kent, KG

2 A Message from Ambassador Mulhall

n behalf of our Embassy team, I would like to extend our thanks to Wigmore Hall, and especially to John Gilhooly, for this celebration of the Irish contribution to the cultural O life of Britain. As we commemorate the centenary of 1916, and the legacy of that transformative era in Irish history, we want to focus also on the future direction of relations between Ireland and Britain, which have always been particularly strong in the cultural field.

It is fitting that this evening’s programme includes songs based on two poems by Francis Ledwidge, for his own story captures some of the complexities of that time. Ledwidge enlisted in 1914 and fought in the British army at Gallipoli and on the Western Front where he was killed in 1917. He was also a committed Irish nationalist and his most famous poem, ‘Lament for Thomas MacDonagh’, was written in memory of one of the leaders of the Easter Rising.

He shall not hear the bittern cry In the wild sky, where he is lain, Nor voices of the sweeter birds, Above the wailing of the rain.

I look forward with enthusiasm to this evening’s concert and want to pay a warm tribute to everyone who helped to make it possible.

Daniel Mulhall Ambassador of Ireland

3 Ann Murray DBE

Ann Murray was born in . She has close links with both English National , for whom she has sung the title roles in Handel’s Xerxes and and Donizetti’s Maria Stuarda, and the Royal Opera House, where her roles have included Cherubino, Dorabella, Donna Elvira, Sian Trenberth Rosina, Octavian, new productions of L’enfant et les sortilèges, Ariadne auf Naxos, Idomeneo, Mitridate, re di Ponto, Così fan tutte, Mosé in Egitto, Alcina and Giulio Cesare.

Her international operatic engagements have taken her to Hamburg, Dresden, Cologne, Berlin, Munich, Paris, Zurich, Brussels, Amsterdam, Milan, Vienna, Salzburg, Chicago, Los Angeles and New York.

Recent opera engagements include return visits to ENO for Pilgrim’s Progress and The Turn of the Screw, Welsh National Opera playing Countess in Pique Dame, Royal Opera House for Le nozze di Figaro, Hänsel und Gretel and La fille du régiment, Opéra de Paris in Le nozze di Figaro, for Le nozze di Figaro and La fille du régiment, Glyndebourne in Le nozze di Figaro, and her debut with Los Angeles Opera for The Turn of the Screw. Most recently, she performed The Turn of the Screw at the Deutsche Staatsoper Berlin, and she returns to the Salzburg Festival this summer for Le nozze di Figaro.

In concert she has appeared with the world’s leading orchestras and her recital appearances have taken her to Paris, Brussels, Amsterdam, Geneva, Dresden, Zurich, Frankfurt, Madrid, , Dublin, the Aldeburgh, Edinburgh, Munich and Salzburg festivals and both the Konzerthaus and Musikverein in Vienna. Her discography reflects not only her broad concert and recital repertoire but also many of her great operatic roles.

In 1997 Ann Murray was made an Honorary Doctor of Music by the National University of Ireland, in 1998 she was made a Kammersängerin of the Bayerische Staatsoper and in 1999 an Honorary Fellow of the Royal Academy of Music. In the 2002 Golden Jubilee Queen’s Birthday Honours she was appointed an honorary Dame Commander of the Most Excellent Order of the British Empire. In 2004 she was awarded the Bavarian Order of Merit.

Wigmore Medal

The Wigmore Medal, inaugurated in 2007, recognises major international artists and significant figures in the classical music world. Awarded at the discretion of the Director of the Hall, the medal honours figures who have made a significant contribution to Wigmore Hall, widely regarded as the world’s leading and song recital venue.

Ann Murray has been awarded the Wigmore Medal in recognition of her pre-eminence as an international singer and her contribution not only to Wigmore Hall, but her close links with ENO, the Royal Opera House and her long list of international operatic and recital accomplishments over more than four decades. She is an inspirational figure and a magnificent representative of Ireland all over the world.

The presentation will be made on the stage during tonight’s concert.

A special medal has been commissioned by the Hall, designed and made by British artist and medallist Irene Gunston.

4 Thursday 21 April 2016

Song Recital Series/Chamber Music Season Irish Culture in Britain A Centenary Celebration

Ailish Tynan soprano Ann Murray DBE mezzo-soprano Tara Erraught mezzo-soprano Robin Tritschler Gavan Ring Lucy Wakeford harp Jonathan Ware piano Finghin Collins piano Michael Collins clarinet RTÉ Contempo String Quartet Bogdan Sofei • Ingrid Nicola violin Andreea Banciu • Adrian Mantu cello Choir from RIAM Sarah Brady soprano • Niamh O’Sullivan mezzo-soprano Eoin Conway countertenor • Andrew Gavin tenor • Seán Boylan baritone Choir from RAM Iúnó Connolly and Phillippa Scammell soprano Carolyn Holt and Olivia Warburton mezzo-soprano Hiroshi Amako and William Blake tenor Richard Walshe and Thomas Bennett

During the concert, Ann Murray DBE will be presented with the Wigmore Medal

Tonight’s concert will be introduced by Sean Rafferty and broadcast live on BBC Radio 3 and RTÉ Lyric FM, and streamed live on the Wigmore Hall website and RTÉ Player. As the concert is broadcast live, please take your seats in a timely manner following the interval.

There is a complimentary drink for every member of the audience at the interval of tonight’s concert

Please go to the following designated areas: Bechstein Room: Front Stalls Rows AA–I (Please use the doors on either side of the stage) Foyer: Stalls Rows J–R Restaurant: Rear Stalls Rows S–X; Balcony Rows A–D

5 6.30 pm Centenary Ireland Irish Ambassador H E Daniel Mulhall gives the keynote address on 100 years of Ireland, including culture.

7.30 pm Gala Concert

British National Anthem • Irish National Anthem

Franz Schubert Impromptu in C minor D899 No. 1 • Nacht und Träume • Die Sterne • Licht und Liebe • Erlkönig Ellens Gesang III • Der Hirt auf dem Felsen • Ständchen

Interval

Gerald Barry String Quartet No. 1 (revised) (world première) Co-commissioned by RTÉ and by Wigmore Hall with the support of André Hoffmann, president of the Fondation Hoffmann, a Swiss grant-making foundation

John Field Andante inédit

Michael Balfe I dreamt I dwelt in marble halls

Traditional/Irish Galway Bay • She moved through the fair

Arr. The Salley Gardens

James Lynam Molloy The Kerry dance

Michael Head The ships of Arcady • A blackbird singing

Traditional/Irish Phil the Fluter’s Ball • I have a bonnet trimmed with blue

Presentation of the Wigmore Medal to Ann Murray DBE

Traditional/Irish

We are grateful to The Monument Trust for essential additional support for our expanded vocal series.

COUGHING CAN BE VERY DISTURBING FOR BOTH THE ARTISTS AND OTHER MEMBERS OF THE AUDIENCE. PLEASE SUPPRESS ANY COUGHING AS MUCH AS POSSIBLE. COUGH LOZENGES ARE ON SALE IN THE FOYER OR MAY BE OBTAINED FROM THE USHERS.

Would patrons please ensure that mobile phones are switched off Please also ensure that watch alarms and other electronic devices which can become audible are switched off. Wigmore Hall is equipped with a ‘Loop’ to help hearing aid users receive clear sound without background noise. Patrons can use this facility by switching their hearing aids over to ‘T’.

6 Programme notes: Michael Downes in conversation with John Gilhooly

Tonight’s concert is above all a celebration: of the role that Irish musicians have played in Britain and throughout the world in the last hundred years, and of the cultural relationship between Britain and Ireland, which has perhaps never been stronger or more mutually rewarding than it is today. It is also a commemoration, since one of the things that the two countries have shared over the last century is the sacrifice of human life in warfare: the concert remembers not only those who died on both sides in the Easter Rising in Dublin a hundred years ago, but also those who gave their lives in the First World War that was taking place at the same Portrait of by Wilhelm August Rieder time, including the many Irish soldiers who fought alongside the British in that conflict, but whose families were best of the younger generation of Irish singers – soprano ostracised due to a misplaced perception that the soldiers , mezzo-soprano Tara Erraught, tenor Robin had been disloyal to the new Irish Free State. Tritschler and baritone Gavan Ring, whose involvement is particularly appropriate, since two of his ancestors fought in Military conflicts of various kinds were responsible for the Easter Rising – feature alongside Ann Murray, who will establishing the fame of the national anthems that will be become a richly deserving recipient of the Wigmore Medal this sung at the start of the concert by choirs from London’s evening. The worldwide success of Ann Murray, who celebrates Royal Academy of Music and Dublin’s Royal Irish Academy of forty years’ singing at Covent Garden this season, is arguably Music. ‘’, the origins of whose words and rivalled among Irish singers of the last hundred years only by music are unknown but may date back to the seventeenth that of the tenor Count John McCormack (1884–1945). century, received its first documented public performance at the Theatre Royal, Drury Lane in 1745, arranged by the Despite all that he did to popularise Irish song and his band-leader in response to the patriotic fervour that involvement with Irish culture (as a young man he was a friend resulted from the Battle of Prestonpans, near Edinburgh, in of James Joyce), McCormack’s career, like that of Ann Murray which King George II’s troops were defeated by the forces was rooted in his performances of continental European song of the Young Pretender, (‘Bonnie’) Prince Charles Edward and opera. The choice of Schubert as the sole composer to Stuart. The text of ‘Amhrán na bhFiann’ or ‘The Soldier’s feature in the first half of the concert symbolises this long- Song’, meanwhile, was written in 1907 by Irish Republican standing relationship between Irish performers and the core Peadar Kearney, an uncle of Brendan Behan (Kearney also classical repertoire. Following Finghin Collins’s performance composed the music, in collaboration with Patrick Heeney), of the Impromptu in C minor – the first of a set composed in and first published in the newspaper Irish Freedom in 1912, 1827, which develops two themes closely related in melodic but it was not widely known until it was sung at the Dublin material but contrasting in texture and key – we hear nine of General Post Office during the Easter Rising of 1916. Schubert’s best-loved Lieder. An die Musik (1817), sets a text by Schubert’s close friend Franz von Schober, and celebrates Though the concert takes place in the week of the centenary the composer’s art in a song to whose success the piano part of that Rising, it is not a partisan or republican response to is at least as important as the melody. The precise date of the events that surround it and the programme makes no composition of the von Collin setting Nacht und Träume is attempt to interpret them. The relationship between Britain uncertain, but a letter from Josef von Spaun indicates that it and Ireland was indeed ‘transformed utterly’ by that Easter was performed at St Florian at some point before June 1823: week, in Yeats’s famous description, but the century that has described by Reed as ‘the most Romantic song Schubert ever followed has also shown the resilience of the two nations’ wrote’, its legato vocal line reminds us that Schubert was a bond, and it is in a spirit of generous collaboration, close contemporary of . recognising a shared heritage as well as understanding differences, that tonight’s concert is offered. The melody of Die Forelle, probably composed in 1817, was used two years later as the basis of the theme-and- The prominence of Irish performers in tonight’s concert variations movement in the piano quintet that takes its reflects the huge contribution they have made to musical life name. Die Sterne was composed in 1828, Schubert’s final in Britain and across the world in the last century. Four of the year: in John Reed’s words, it demonstrates his ‘mature

7 By contrast with the first half’s exploration of Schubert, the second part of tonight’s concert consists entirely of

Betty Freeman repertoire in which the words, the music or both are by Irish artists. It begins with the première of the revised version of the String Quartet No. 1 by Gerald Barry, undoubtedly Ireland’s leading contemporary composer: his opera, The Importance of Being Earnest, achieved great success at the Royal Opera House in 2013 and during its recent revival at the Barbican with and will be presented at Lincoln Center in June with the New York Philharmonic.

Gerald Barry John Field He was born in Clarehill, Clarecastle, Co Clare, Ireland in 1952 and studied with Stockhausen and Kagel. He has written the The Intelligence Park, The Triumph of mastery of the modified strophic song’, the tonally wide- Beauty and Deceit, The Bitter Tears of Petra von Kant, La ranging middle sections of the verses suggesting ‘infinite Plus Forte, The Importance of Being Earnest, and Alice’s space and variety within the stable tonal universe’. The duet Adventures Under Ground. Alice’s Adventures Under Ground Licht und Liebe, another setting of von Collin, has an will première in Los Angeles in November with the Los operatic flavour, including a digression into recitative: Angeles Philharmonic and in London with Britten Sinfonia. Schubert was immersed at this time in Fierrabras, the work He is currently Composer in Residence with the RTÉ National with which he hoped in vain to make his operatic Symphony Orchestra. breakthrough. Breakthrough as a Lieder composer, however, was successfully achieved in the early Goethe He writes the following about the revised version of his setting, Erlkönig: composed in 1815, this song is String Quartet No. 1: remarkable for its characterisation of the innocent child and the fearful father and for the demonic drive of its piano The earliest version of this quartet moved between musical accompaniment. By contrast, Ellens Gesang III (better worlds, and this version stays in the same world more. It is known as ‘’) is famous for the serenity both of its content to dwell in the same place. melodic line and its accompaniment (played tonight by Lucy It refers to music from my opera, The Intelligence Park, set Wakeford on the harp), a quality that has inspired in Dublin in 1753. The gaps between the principle sounds in numerous arrangements and transcriptions. It originated, this music are sometimes filled in, producing rushing music, however, as the third of a group of settings from Sir Walter like line drawings. Scott’s narrative poem, The Lady of the Lake, on which Schubert embarked in 1825 partly with the pragmatic hope It is the fleshing out of a skeleton. that Scott’s enormous international fame would help spread his own reputation outside Austria. The Dublin-born composer and pianist John Field was perhaps the first of Barry’s predecessors to establish a Der Hirt auf dem Felsen is sometimes said to be Schubert’s genuinely international reputation: he studied with Muzio last song: it is one of two songs dated in October 1828, Clementi in London and Albrechtsberger in Vienna before the month before the composer’s death (the other is ‘Die making his first visit to Russia, where he spent much of his Taubenpost’). ‘Der Hirt’ is unusual both for setting two subsequent career, dying in Moscow in 1837. The distinctive different poets (the first four verses and the last come approach to piano writing that he developed in Russia from Wilhelm Müller, poet of Die schöne Müllerin and (his music typically featured decorative and chromatically , the middle section probably from the little- adventurous melodies over wide-ranging, arpeggiated left- known Karl August Varnhagen von Ense), and for including hand parts, and demanded a new subtlety of rubato and an instrumental obbligato: the glorious clarinet part will be pedalling technique from the performer), and his advocacy played tonight by Michael Collins, not an Irishman, but of the piano character-piece and nocturne (he published possessed of one of the most resonant names in Irish eighteen of the latter, and is generally regarded as the Republican history! Commissioned as a birthday present in inventor of the form) were highly influential on later 1827, the Grillparzer ‘Ständchen’ is a concert-hall rarity, but composers. Schumann, Brahms and Liszt all demonstrated its cheerful character and unusual use of choral forces make a deep knowledge of his music in their own work, while it an ideal conclusion to this celebration of Schubert singing. Chopin imitated a Field piece so closely in one of his own Despite its occasional nature, it illuminates Schubert’s Nocturnes that the older composer was offended. The musical thinking at this time: the third stanza’s witty opening Andante inédit is often believed to be Field’s last work, and reminds us of his increasing interest in fugue, which led him is an exquisite miniature that demonstrates the qualities of to take lessons in the discipline shortly before his death. Field’s piano writing to the full.

8 fragments were collected in County Donegal by the poet Padraic Colum and the composer and musicologist Herbert

Roland Haupt Roland Hughes, and it was first published in Hughes’s Irish Country Songs in 1909, but its roots probably lie centuries earlier.

The Salley Gardens was a poem by Yeats first published in 1889 in The Wanderings of Oisin and Other Poems; the melody was composed by Herbert Hughes and published in the same volume as ‘She moved through the fair’, but the delicate harmonic ambiguity of the piano part in Britten’s 1943 arrangement brings out new levels of meaning in the

Michael Balfe Benjamin Britten song. Both the words and music of The Kerry dance were written in 1879 by James Lynam Molloy, born in Offaly but resident in Henley-on-Thames from 1880 onwards; Molloy’s Michael Balfe, who was born in Dublin twenty-six years after ‘Love’s Old Sweet Song’ was given literary immortality by the Field, also established his reputation in continental Europe: his way in which Joyce wove it into Ulysses. abilities as a baritone were notable enough to win the support of both Cherubini and Rossini, whom he met in Paris and with The work of the English composer, singer and pianist whose support he appeared as Figaro in Il barbiere di Siviglia Michael Head is much prized by singers for its sensitivity to at the Théâtre des Italiens. Alongside his career as a singer, he nuances of language and melody. The ships of Arcady and studied composition with teachers including Ferdinando Paer, A blackbird singing are part of Over the Rim of the Moon, a in Rome, and he had Italian operas performed in Palermo, cycle of four songs to texts by the Irish poet Francis Edward Pavia and Milan. He departed from Field’s example, however, Ledwidge, who was killed in action during World War I; Head by returning to work in the British Isles: on moving to London composed the cycle in 1918 when he was working in a in 1835 on the recommendation of the mezzo-soprano Maria munitions factory. In the first, a sequence of serene chords Malibran, he quickly established himself as the most popular in the piano suggest the gathering dusk and still sea as the native composer with the success of The Siege of Rochelle and Arcadian ships move out of harbour; in the second a rocking The Maid of Artois at the Theatre Royal, Drury Lane. He rhythm in the accompaniment offsets a melody once more remained the only nineteenth-century composer of opera in tinged with a sense of loss. English to enjoy a genuinely international reputation, though he also continued to work in Europe, with the operas he wrote The recital ends with Ann Murray singing a group of three for Paris judged by many critics as his finest work. The songs that reveal the variety of mood inherent in Irish traditional song: was written in , produced at Drury Lane in 1843, was the Phil the Fluter’s Ball 1880 greatest triumph of his career, running for over 100 nights and s by the Roscommon singer, composer and artist Percy French, and tells the cheerful story of a commercially savvy bringing in vast profits. I dreamt I dwelt in marble halls, in flautist who raised money to pay his rent by organising a ball which the heroine Arline describes her recollections of her at which he passed round a hat while he played; I have a childhood, is the opera’s best-known number, thanks in part bonnet trimmed with blue, telling of a child’s joy at going to to its advocacy in recitals and recordings by Dame Joan a fair, is another song of anonymous and distant origins Sutherland and in Ireland, by Veronica Dunne. that was collected and arranged by Hughes, and has been Song is one of Ireland’s most significant musical gifts to the recorded by singers including Kathleen Ferrier; while Danny world, and so it is only appropriate that it should feature Boy is perhaps one of the most familiar of all Irish songs. Its heavily in the final section of this concert. The melody of melody, often known as the ‘Londonderry Air’, was famous Galway Bay, the later of two well-known songs with that long before the words were written, and may have been the name, was composed by John Turner Huggard, while the text work of the blind harpist, Rory Dall O’Cahan, who lived in 1700 was written by Arthur Colahan, who grew up in the area but the North of Ireland round the s; the words were settled in Leicester. Like many of Ireland’s best-known written by the English lawyer and lyricist Frederic Weatherly 1910 songs, it expresses a nostalgia for Ireland with which many in , and bid farewell to a young man – whether a son or of the millions who form the across Britain, a lover is, perhaps deliberately, left ambiguous – leaving to the United States, Australia and elsewhere would identify, go to war or to join the diaspora. Ann Murray will be joined and a sense of the Irish landscape as the source of an for the later verses of the song by all the singers in tonight’s concert, in a vivid demonstration of the joy and solace that authenticity and truth that outsiders can never quite people worldwide have for many years taken from words comprehend. The song was made famous by Bing Crosby’s and music that celebrate and commemorate the intertwined performances and recording in the late 1940s. The origins destinies of Britain and Ireland. of She moved through the fair, a beautiful but melancholy song about a wedding that never takes place, are less clear: Michael Downes © 2016

9 CHOIR FROM RAM • AILISH TYNAN • ANN MURRAY • TARA ERRAUGHT GAVAN RING • JONATHAN WARE ROBIN TRITSCHLER • GAVAN RING • FINGHIN COLLINS Die Forelle The trout British National Anthem D550 (1817) (Christian Schubart)

In einem Bächlein helle, In a clear stream, CHOIR FROM RIAM • AILISH TYNAN • ANN MURRAY • TARA ERRAUGHT Da schoß in froher Eil’ in lively haste, ROBIN TRITSCHLER • GAVAN RING • FINGHIN COLLINS Die launische Forelle the capricious trout Vorüber wie ein Pfeil. darted by like an arrow. Irish National Anthem Ich stand an dem Gestade, I stood on the bank, Und sah in süßer Ruh’ contentedly watching Des muntern Fischleins Bade the frisky fish Im klaren Bächlein zu. in the clear stream. Franz Schubert (1797–1828) Ein Fischer mit der Rute An angler with his rod Wohl an dem Ufer stand, stood on the bank, FINGHIN COLLINS Und sah’s mit kaltem Blute, and cold-bloodedly watched

Impromptu in C minor D899 No. 1 (1827) Wie sich das Fischlein wand. the fish twist and turn. So lang dem Wasser Helle, As long as the water, So dacht’ ich, nicht gebricht, I thought, stays clear, ANN MURRAY • JONATHAN WARE So fängt er die Forelle he’ll never catch An die Musik D547 (1817) To music Mit seiner Angel nicht. the trout with his hook. (Franz von Schober) Doch endlich ward dem Diebe But finally the thief Du holde Kunst, in wieviel O sweet art, in how many a Die Zeit zu lang. Er macht lost patience. Cunningly grauen Stunden, grey hour, Das Bächlein tückisch trübe, he muddied the stream, Wo mich des Lebens wilder when I am caught in life’s Und eh’ ich es gedacht, and before I realised, Kreis umstrickt, tempestuous round, So zuckte seine Rute, there was a flick of his rod, Hast du mein Herz zu warmer have you kindled my heart to Das Fischlein zappelt dran, where the little fish writhed; Lieb entzunden, loving warmth, Und ich mit regem Blute and I, my blood boiling, Hast mich in eine beßre Welt and borne me away to a better Sah die Betrogne an. looked at the cheated creature. entrückt. world.

Oft hat ein Seufzer, deiner Harf Often a sigh, escaping your ROBIN TRITSCHLER • JONATHAN WARE entflossen, harp, Die Sterne The stars Ein süßer, heiliger Akkord von a chord of sweet celestial D939 (1828) dir harmony, (Karl Gottfried Ritter von Leitner) Den Himmel beßrer Zeiten mir has opened a heaven of better erschlossen, times, Wie blitzen How brightly Du holde Kunst, ich danke dir O sweet art, for this I thank Die Sterne the stars dafür! you! So hell durch die Nacht! shine through the night! Bin oft schon They’ve often Darüber roused me ANN MURRAY • JONATHAN WARE Vom Schlummer erwacht. from slumber. Nacht und Träume Night and dreams Doch schelt’ ich But I don’t blame D827 (?1822) Die lichten those shining (Matthäus von Collin) Gebilde d’rum nicht, folk for that, Heil’ge Nacht, du sinkest nieder; Holy night, you float down; Sie üben they secretly Nieder wallen auch die Träume, dreams too drift down, Im Stillen perform Wie dein Mondlicht durch die like your moonlight through Manch heilsame Pflicht. many a healing task. Räume, space, Durch der Menschen stille through the silent hearts of Sie wallen They wander Brust. men. Hoch oben like angels Die belauschen sie mit Lust, They listen to them with delight, In Engelgestalt, high above, Rufen, wenn der Tag erwacht: cry out when day awakes: Sie leuchten and light Kehre wieder, heil’ge Nacht! come back, holy night! Dem Pilger the pilgrim Holde Träume, kehret wieder! Sweet dreams, come back again! Durch Heiden und Wald. through heath and wood.

10 Sie schweben Like harbingers Liebe ist ein süßes Licht. Love is a sweet light. Als Boten of love Wie die Erde strebt zur Sonne, Just as the earth aches for the sun Der Liebe umher, they hover above, Und zu jenen hellen Sternen and those bright stars Und tragen and often In den weiten blauen Fernen, in the distant blue expanses, Oft Küsse carry kisses Strebt das Herz nach so the heart aches for Weit über das Meer. across the sea. Liebeswonne: love’s bliss, Liebe ist ein süßes Licht. for love is a sweet light. Sie blicken Tenderly Dem Dulder they gaze Recht mild in’s Gesicht, on the sufferer’s face, GAVAN RING • JONATHAN WARE Und säumen and fringe Erlkönig D328 (1815) Erlking Die Tränen his tears (Johann Wolfgang von Goethe) Mit silbernem Licht. with silver light. Wer reitet so spät durch Who rides so late through night Und weisen Kind and consoling, Nacht und Wind? and wind? Von Gräbern they direct Es ist der Vater mit seinem Kind; It is the father with his child; Gar tröstlich und hold us away Er hat den Knaben wohl in he has the boy safe in Uns hinter from the grave dem Arm, his arms, Das Blaue to beyond the blue Er faßt ihn sicher, er hält ihn he holds him close, he keeps Mit Fingern von Gold. with fingers of gold. warm. him warm.

So sei denn Blessings, then, „Mein Sohn, was birgst du so ‘My son, why hide your Gesegnet upon you, bang dein Gesicht?“ face in fear?’ Du strahlige Schar! O shining throng! „Siehst, Vater, du den Erlkönig ‘Can’t you see the Erlking, Und leuchte And long nicht? father? Mir lange may you shine on me Den Erlenkönig mit Kron’ und The Erlking with his crown and Noch freundlich und klar. kind and clear. Schweif?“ robe?’ „Mein Sohn, es ist ein ‘My son, it is a streak of Und wenn ich And if one day Nebelstreif.“ mist.’ Einst liebe, I fall in love, Seid hold dem Verein, smile on the union, „Du liebes Kind, komm, geh ‘You sweetest child, come go Und euer and let your mit mir! with me! Geflimmer twinkling Gar schöne Spiele spiel’ ich Wondrous games I’ll play Laßt Segen uns sein. be a blessing on us. mit dir; with you; Manch’ bunte Blumen sind an many bright flowers grow on dem Strand; the shore; ANN MURRAY • ROBIN TRITSCHLER • JONATHAN WARE Meine Mutter hat manch my mother has many a garment Licht und Liebe D352 (?1816) Light and love gülden Gewand.“ of gold.’ (Matthäus von Collin) „Mein Vater, mein Vater, und ‘Father, O father, can’t you Liebe ist ein süßes Licht. Love is a sweet light. hörest du nicht, hear Wie die Erde strebt zur Sonne, Just as the earth aches for the sun Was Erlenkönig mir leise the Erlking’s whispered Und zu jenen hellen Sternen and those bright stars verspricht?“ promises?’ In den weiten blauen Fernen, in the distant blue expanses, „Sei ruhig, bleibe ruhig, ‘Be calm, stay calm, Strebt das Herz nach so the heart aches for love’s mein Kind; my child, Liebeswonne: bliss, In dürren Blättern säuselt the wind is rustling in Denn sie ist ein süßes Licht. for love is a sweet light. der Wind.“ withered leaves.’

Sieh! wie hoch in stiller Feier See, high in the silent solemnity, „Willst, feiner Knabe, du mit ‘Won’t you come with me, Droben helle Sterne funkeln: bright stars glitter up above: mir gehn? fine boy? Von der Erde fliehn die dunkeln from the earth flee the dark Meine Töchter sollen dich My daughters shall take good Schwermutsvollen trüben heavy baleful warten schön; care of you; Schleier. mists. Meine Töchter führen den my daughters lead the nightly nächtlichen Reihn, dance, Wehe mir, wie so trübe Alas! Yet how sad I feel Und wiegen und tanzen und and will rock and dance and Fühl ich tief mich im Gemüte, deep in my soul; singen dich ein.“ sing you to sleep.’ Das in Freuden sonst erblühte, once I brimmed with joy; Nun vereinsamt, ohne Liebe. now I am abandoned, unloved. Song continues overleaf. Please turn the page as quietly as possible

11 „Mein Vater, mein Vater, und ‘Father, O father, can’t you Ave Maria! Reine Magd! Ave Maria! Pure Maiden! siehst du nicht dort see Der Erde und der Luft Demons of the earth and Erlkönigs Töchter am düstern the Erlking’s daughters there in Dämonen, air, Ort?“ the gloom?’ Von deines Auges Huld banished by the grace of your „Mein Sohn, mein Sohn, ich ‘My son, my son, I can see verjagt, gaze, seh’ es genau; quite clearly: Sie können hier nicht bei uns cannot dwell with us Es scheinen die alten Weiden it’s the old willows gleaming so wohnen. here. so grau.“ grey.’ Wir woll’n uns still dem We shall silently submit to Schicksal beugen, fate, „Ich liebe dich, mich reizt ‘I love you. Your beautiful Da uns dein heil’ger Trost since your holy comfort deine schöne Gestalt; figure excites me; anweht; breathes on us; Und bist du nicht willig, so and if you’re not willing, I’ll Der Jungfrau wolle hold dich bow down, I pray, to this brauch’ ich Gewalt.“ take you by force.’ neigen, virgin, „Mein Vater, mein Vater, jetzt ‘Father, O father, he’s seizing Dem Kind, das für den Vater this child who prays for her faßt er mich an! me now! fleht. father. Erlkönig hat mir ein Leids The Erlking’s done me Ave Maria! Ave Maria! getan!“ harm!’

Dem Vater grauset’s, er reitet The father shudders, swiftly he AILISH TYNAN • MICHAEL COLLINS • JONATHAN WARE geschwind, rides, Er hält in Armen das ächzende with the groaning child in Der Hirt auf dem Felsen The shepherd on the rock Kind, his arms, D965 (1828) (Wilhelm Müller, Erreicht den Hof mit Müh’ with a final effort he reaches stanzas 5 & 6 Varnhagen von Ense) und Not; home; Wenn auf dem höchsten Fels When I stand on the highest In seinen Armen das Kind the child lay dead in his ich steh’, rock, war tot. arms. In’s tiefe Tal hernieder seh’, look down into the deep valley Und singe, and sing, AILISH TYNAN • LUCY WAKEFORD Fern aus dem tiefen dunkeln From far away in the deep dark Ellens Gesang III Ellen’s song III Tal valley 839 1825 D ( ) (Sir Walter Scott Schwingt sich empor der the echo from the trans. Adam Storck) Widerhall ravines Ave Maria! Jungfrau mild, Ave Maria! Virgin mild, Der Klüfte. rises up. Erhöre einer Jungfrau Flehen, listen to a virgin’s pleading, Aus diesem Felsen starr und from this wild, unyielding Je weiter meine Stimme dringt, The further my voice carries, wild rock Je heller sie mir wieder klingt the clearer it echoes back to me Soll mein Gebet zu dir my prayer shall be wafted to Von unten. from below. hinwehen. you. Wir schlafen sicher bis zum We shall sleep safely till Mein Liebchen wohnt so weit My sweetheart lives so far from Morgen, morning dawns, von mir, me, Ob Menschen noch so grausam however cruel men may Drum sehn’ ich mich so heiß therefore I long so to be sind. be. nach ihr with her O Jungfrau, sieh der Jungfrau O Virgin, behold a virgin’s Hinüber. over there. Sorgen, cares, O Mutter, hör ein bittend Kind! O Mother, hear a pleading child! In tiefem Gram verzehr ich mich, Deep grief consumes me, Ave Maria! Ave Maria! Mir ist die Freude hin, my joy has fled, Auf Erden mir die Hoffnung wich, all earthly hope has vanished, Ave Maria! Unbefleckt! Ave Maria! Undefiled! Ich hier so einsam bin. I am so lonely here. Wenn wir auf diesen Fels When, beneath your hinsinken protection, So sehnend klang im Wald das The song rang out so longingly Zum Schlaf, und uns dein we sink down on this rock to , through the wood, Schutz bedeckt, sleep, So sehnend klang es durch die rang out so longingly through Wird weich der harte Fels uns the hard rock shall seem soft Nacht, the night, dünken. to us. Die Herzen es zum Himmel zieht that it draws hearts to heaven Du lächelst, Rosendüfte You smile, and the fragrance of Mit wunderbarer Macht. with wondrous power. wehen roses In dieser dumpfen Felsenkluft, wafts through this gloomy cavern, Der Frühling will kommen, Spring is coming, O Mutter, höre Kindes Flehen, O Mother, hear a child’s entreaty, Der Frühling, meine Freud’, spring, my joy, O Jungfrau, eine Jungfrau ruft! O Virgin, a virgin cries out to you! Nun mach’ ich mich fertig I shall now make ready Ave Maria! Ave Maria! Zum Wandern bereit. to journey.

12 TARA ERRAUGHT • JONATHAN WARE • TTBB CHOIR FROM RAM RTÉ CONTEMPO STRING QUARTET

920 1827 Ständchen D ( ) Serenade Gerald Barry (b.1952) (Franz Grillparzer)

Zögernd leise Softly, hesitantly, String Quartet No. 1 (revised) (1985, rev. 2015, world première) In des Dunkels nächt’ger Hülle cloaked in night’s darkness, Co-commissioned by RTÉ and by Wigmore Hall with the support Sind wir hier; we have come here; of André Hoffmann, president of the Fondation Hoffmann, Und den Finger sanft gekrümmt, and with fingers gently curled, a Swiss grant-making foundation Leise, leise, softly, softly Pochen wir we knock An des Liebchens Kammerthür. on the beloved’s bedroom door.

Doch nun steigend, But now, our emotion rising, FINGHIN COLLINS Schwellend, schwellend, hebend, swelling, Mit vereinter Stimme, Laut surging, with united voice (1782–1837) Rufen aus wir we call out loud, in warm John Field hochvertraut: friendship: Schlaf du nicht, Do not sleep Andante inédit (?1836) Wenn der Neigung Stimme when the voice of affection spricht! speaks.

Sucht’ ein Weiser nah und Once a wise man with his

ferne lantern AILISH TYNAN • JONATHAN WARE Menschen einst mit der Laterne; sought people near and far; Wieviel seltner dann als Gold how much rarer, then, than gold Michael Balfe (1808–1870) Menschen, und geneigt und are people who are fondly hold? disposed to us? I dreamt I dwelt in marble halls from The Bohemian Girl Drum, wenn Freundschaft, Liebe And so, when friendship and (1840–3) (Alfred Bunn) spricht, love speak, I dreamt I dwelt in marble halls, Freundin, Liebchen, schlaf du do not sleep, friend, With vassals and serfs at my side, nicht! beloved! And of all who assembled within those walls,

Aber was in allen But what in all the world’s That I was the hope and the pride. Reichen realms I had riches too great to count, could boast Wär’ dem Schlummer zu can be compared to Of a high ancestral name; vergleichen? sleep? But I also dreamt, which pleased me most, Drum statt Worten und statt And so, instead of words and That you lov’d me still the same ... Gaben gifts, Sollst du nun auch Ruhe haben. you shall now have rest. That you lov’d me, you lov’d me still the same, Noch ein Grüßchen, noch ein Just one more greeting, one That you lov’d me, you lov’d me still the same. Wort, more word, Es verstummt dir frohe Weise, and our happy song ceases; I dreamt that suitors sought my hand; Leise, leise, softly, softly That knights upon bended knee, Schleichen wir, ja, schleichen we steal away And with vows no maiden heart could withstand, wir uns wieder fort! again. They pledg’d their faith to me;

And I dreamt that one of that noble host Interval Came forth my hand to claim.

There is a complimentary drink for every member of the audience at the interval But I also dreamt, which charmed me most, of tonight’s concert That you lov’d me still the same ...

Please go to the following designated areas: Bechstein Room: Front Stalls Rows AA–I That you lov’d me, you lov’d me still the same, (Please use the doors on either side of the stage) That you lov’d me, you lov’d me still the same. Foyer: Stalls Rows J–R Restaurant: Rear Stalls Rows S–X; Balcony Rows A–D

Please check that your phone is turned off, especially if you used it during the interval. Please do not turn the page until the song and its accompaniment have ended

13 TARA ERRAUGHT • JONATHAN WARE GAVAN RING • JONATHAN WARE Traditional/Irish Arr. Benjamin Britten (1913–1976)

Galway Bay The Salley Gardens (1941–2) (Arthur Colahan) (William Butler Yeats)

If you ever go across the sea to Ireland, Down by the Salley Gardens Then maybe at the closing of your day, My love and I did meet; You will sit and watch the moon rise over Claddagh, She passed the Salley Gardens And see the sun go down on Galway Bay. With little snow-white feet. She bid me take love easy, Just to hear again the ripple of the trout stream, As the leaves grow on the tree The women in the meadows making hay, But I, being young and foolish, And to sit beside a turf fire in the cabin With her would not agree. And watch the barefoot gossoons at their play. In a field by the river For the breezes blowing o’er the seas from Ireland My love and I did stand, Are perfumed by the heather as they blow, And on my leaning shoulder And the women in the uplands digging praties She laid her snow-white hand. Speak a language that the strangers do not know. She bid me take life easy, For the strangers came and tried to teach us their way, As the grass grows on the weirs; They scorn’d us just for being what we are, But I was young and foolish, But they might as well go chasing after moonbeams, And now am full of tears. Or light a penny candle from a star.

And if there is going to be a life hereafter, And somehow I am sure there’s going to be, GAVAN RING • JONATHAN WARE I will ask my God to let me make my heaven In that dear land across the Irish Sea. James Lynam Molloy (1837–1909)

She moved through the fair The Kerry dance (Padraic Colum) (Traditional)

My young love said to me, Oh, the days of the Kerry dancing ‘My mother won’t mind, Oh, the ring of the piper’s tune And my father won’t slight you Oh, for one of those hours of gladness For your lack of kind.’ Gone, alas, like our youth, too soon! And she stepped away from me And this she did say, When the boys began to gather ‘It will not be long, love, In the glen of a summer night Till our wedding day.’ And the Kerry piper’s tuning Made us long with wild delight! She stepped away from me Oh, to think of it And she went through the fair, Oh, to dream of it And fondly I watched her Fills my heart with tears! Move here and move there, And then she went homeward Oh, the days of the Kerry dancing With one star awake, Oh, the ring of the piper’s tune As the swan in the evening Oh, for one of those hours of gladness Moves over the lake. Gone, alas, like our youth, too soon!

Last night she came to me, Was there ever a sweeter Colleen She came softly in; In the dance than Eily More So softly she came Or a prouder lad than Thady That her feet made no din, As he boldly took the floor. And she laid her hand on me, And this she did say, Lads and lasses to your places ‘It will not be long, love, Up the middle and down again Till our wedding day.’ Ah, the merry hearted laughter

14 Ringing through the happy glen! Thro’ the faintest filigree, Oh, to think of it Over the dim waters go Oh, to dream of it Little ships of Arcady Fills my heart with tears! When the morning moon is low.

Oh, the days of the Kerry dancing 1918 Oh, the ring of the piper’s tune A blackbird singing ( ) Oh, for one of those hours of gladness (Francis Ledwidge) Gone, alas, like our youth, too soon! A blackbird singing On a moss-upholstered stone, Time goes on, and the happy years are dead Bluebells swinging, And one by one the merry hearts are fled Shadows wildly blown, Silent now is the wild and lonely glen A song in the wood, Where the bright glad laugh will echo ne’er again A ship on the sea. Only dreaming of days gone by in my heart I hear. The song was for you Loving voices of old companions And the ship was for me. Stealing out of the past once more A blackbird singing And the sound of the dear old music I hear in my troubled mind, Soft and sweet as in days of yore. Bluebells swinging, When the boys began to gather I see in a distant wind. In the glen of a summer night But sorrow and silence, Are the wood’s threnody, And the Kerry piper’s tuning The silence for you Made us long with wild delight! And the sorrow for me. Oh, to think of it Oh, to dream of it Fills my heart with tears!

Oh, the days of the Kerry dancing ANN MURRAY • JONATHAN WARE Oh, the ring of the piper’s tune Oh, for one of those hours of gladness Traditional/Irish Gone, alas, like our youth, too soon! Phil the Fluter’s Ball (Percy French)

Have you heard of Phil the Fluter, from the town of Ballymuck? ROBIN TRITSCHLER • JONATHAN WARE were going hard with him, in fact the man was broke, Michael Head (1900–1976) So he just sent out a notice to his neighbours, one and all, As how he’d like their company that ev’ning at a ball. And when writin’ out he was careful to suggest to them, 1918 The ships of Arcady ( ) That if they found a hat of his convenient to the dure, (Francis Ledwidge) The more they put in, whenever he requested them, Thro’ the faintest filigree, ‘The better would the music be for batherin’ the flure’. Over the dim waters go With the toot on the flute and the twiddle on the fiddle-o, Little ships of Arcady, Hopping in the middle, like a herrin’ on a griddle-o, When the morning moon is low. Up, down, hands a-rown’ crossin’ to the wall, Oh! hadn’t we the gaiety at Phil the Fluter’s ball! I can hear the sailors’ song There was Mister Denis Dogherty, who kep’ ‘The Running Dog’, From the blue edge of the sea, There was little crooked Paddy from the Tiraloughett bog: Passing like the lights along There were boys from ev’ry barony, and girls from ev’ry ‘art’, Thro’ the dusky filigree. And the beautiful Miss Bradys, in a private ass an’ cart. And along with them came bouncing Mrs Cafferty, Then where moon and waters meet Little Micky Mulligan was also to the fore; Sail by sail they pass away, Rose, Suzanne, and Margaret O’Rafferty, With little friendly winds replete The flow’r of Ardmagullion, and the pride of Pethravore. Blowing from the breaking day. With the toot on the flute and the twiddle on the fiddle-o, Hopping in the middle, like a herrin’ on a griddle-o, And when the little ships have flown, Up, down, hands a-rown’ crossin’ to the wall, Dreaming still of Arcady Oh! hadn’t we the gaiety at Phil the Fluter’s ball! I look across the waves, alone In the misty filigree. Song continues overleaf. Please turn the page as quietly as possible

15 First little Micky Mulligan got up to show them how, Presentation of the Wigmore Medal And then the Widda Cafferty steps out and makes her bow. to Ann Murray ‘I could dance you off your legs’, sez she, ‘as sure as you are born, If ye’ll only make the piper play ‘The hare was in the corn’.’ AILISH TYNAN • ANN MURRAY • TARA ERRAUGHT So Phil plays up to the best of his ability, ROBIN TRITSCHLER • GAVAN RING • JONATHAN WARE The lady and the gentleman begin to do their share; Faith then, Mick, ’tis you that has agility! Traditional/Irish Begorra! Mrs Cafferty, yer leppin’ like a hare! With the toot on the flute and the twiddle on the fiddle-o, Danny Boy Hopping in the middle, like a herrin’ on a griddle-o, (Frederic E Weatherly) Up, down, hands a-rown’ crossin’ to the wall, Oh Danny Boy, the pipes, the pipes are calling Oh! hadn’t we the gaiety at Phil the Fluter’s ball! From glen to glen, and down the mountain side The summer’s gone, and all the flowers are dying Then Phil the Fluter tipped a wink to little crooked Pat, ’Tis you, ’tis you must go and I must bide. ‘I think it’s nearly time’, sez he, ‘for passin’ round the hat.’ So Paddy passed the caubeen round, and looking mighty cute, But come ye back when summer’s in the meadow Sez, ‘Ye’ve got to pay the piper when he tooters on the flute.’ Or when the valley’s hushed and white with snow Then all joined in with the greatest joviality, ’Tis I’ll be here in sunshine or in shadow Covering the buckle and the shuffle, and the cut; Oh Danny Boy, oh Danny Boy, I love you so. Jigs were danced, of the very finest quality, But the Widda bet the company at ‘handeling the fut’. And if you come, when all the flowers are dying With the toot on the flute and the twiddle on the fiddle-o, And I am dead, as dead I well may be Hopping in the middle, like a herrin’ on a griddle-o, You’ll come and find the place where I am lying Up, down, hands a-rown’ crossin’ to the wall, And kneel and say an ‘Ave’ there for me. Oh! hadn’t we the gaiety at Phil the Fluter’s ball! But come ye back ...

I have a bonnet trimmed with blue And I shall hear, tho’ soft you tread above me (Traditional, arr. Herbert Hughes) And all my dreams will warm and sweeter be If you’ll not fail to tell me that you love me I have a bonnet trimmed with blue, I’ll sleep in peace until you come to me. Do you wear it? Yes I do. I will wear it when I can, But come ye back ... Going to the ball with my young man. My young man has gone to sea, Translations of An die Musik, Nacht und Träume, Die Forelle, Die Sterne, Erlkönig, When he comes back he’ll play for me. Ellens Gesang III and Der Hirt auf dem Felsen by Richard Stokes from The Book of Lieder published by Faber & Faber, with thanks to George Bird, co-author of The Tip to the heel and tip to the toe, Fischer-Dieskau Book of Lieder published by Victor Gollancz Ltd. Licht und Liebe And that’s the way the polky goes. and Ständchen by Richard Wigmore.

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16 Ailish Tynan Robin Tritschler

Born in Ireland, Ailish Tynan Robin Tritschler graduated from received the BBC Cardiff Singer the Royal Irish Academy of

of the World Rosenblatt Recital Garreth Wong Music and the Royal Academy

Benjamin Ealovega Prize in 2003, was a Young Artist of Music. He was a BBC Radio 3 for the Royal Opera House and New Generation Artist. For Welsh a BBC Radio 3 New Generation National Opera he has sung Artist. Her operatic engagements Almaviva, Nemorino, Narraboth, have included Gretel in Hänsel Ferrando, Don Ottavio, Belmonte, und Gretel for the Royal Opera and Ananda in Jonathan Harvey’s House, Welsh National Opera and Scottish Opera, Tigrane in Wagner Dream, and has appeared at Nantes Opera and La Radamisto at , Papagena in Die Monnaie Brussels. In concert and recital he has performed Zauberflöte at Teatro alla Scala Milan, Sophie in Der with the London Philharmonic, Bournemouth Symphony, Rosenkavalier for Royal Swedish Opera, Héro in Béatrice et Hong Kong Philharmonic, BBC Philharmonic, BBC Symphony Bénédict for Houston Grand Opera and Vixen in The Cunning and Scottish Chamber orchestras, and at the Philharmonie Little Vixen for Grange Park Opera. Cologne, Het Concertgebouw Amsterdam, Kennedy Center Washington DC, Aldeburgh Festival and Aix-en-Provence A prolific recording artist, Ailish Tynan’s releases include Festival. He also performs regularly at Wigmore Hall with Fauré Mélodies for the Opus Arte label and Nacht und Graham Johnson, and Iain Burnside. Träume for Delphian, both with the pianist Iain Burnside. Future highlights include her return to the Royal Opera Engagements this season include appearances as part of House for Shostakovich’s The Nose, Haydn’s La canterina in the complete Schubert series at Wigmore Hall, Lysander in Eisenstadt for Classical Opera, Beethoven’s Symphony No.9 A Midsummer Night’s Dream in Klagenfurt, and concerts for the Philharmonie Zuidnederland and Mahler’s with the Hallé Orchestra under Sir Mark Elder and Collegium Symphony No. 8 in Dresden. Vocale Gent under Philippe Herreweghe.

Ailish Tynan appears by arrangement with Steven Swales Artist Management Robin Tritschler appears by arrangement with Askonas Holt Ltd

Tara Erraught Gavan Ring

Irish-born mezzo-soprano Tara Gavan Ring trained at the Royal Erraught has been praised for Irish Academy of Music and the

Kristin Speed her rich voice, expansive range National Opera Studio in London. and dynamic stage presence. Anthony Riordan Opera plans this season and Her international reputation has beyond include returning to Opera continued to grow since she North for Figaro in Il barbiere di stepped in at five-days’ notice, Siviglia, Guglielmo in Così fan learning the role of Romeo in tutte, Novice in Billy Budd and Bellini’s I Capuleti e i Montecchi Ping in Turandot, and Figaro with at the Bayerische Staatsoper in 2011, her performance Wide Open Opera, Dublin. His debut at Opera Holland Park winning worldwide acclaim. In the seasons since, Tara will be the role of Dr Falke in . Concert plans Erraught has sung two world premières, made her USA include Bach’s St John Passion and Handel’s Messiah with opera debut, numerous role debuts, and successfully toured the RTÉ National Symphony Orchestra. North America twice. Other operatic roles have included Schaunard in La bohème, Following engagements in Ireland, the USA, Germany, Japan, Jake Wallace in La fanciulla del West and Manuel in Falla’s La and the UK, Tara Erraught’s forthcoming appearances include vida breve for Opera North, Pluto in Offenbach’s Orpheus in performances for the Kennedy Center’s Ireland Centenary the Underworld for Scottish Opera, Morales in Carmen and Celebration in Washington DC, and her Salzburg Festival Phoebus in Purcell’s The Fairy Queen for Glyndebourne debut in Gounod’s Faust. She is a graduate of the Royal Irish Festival Opera, Lieutenant Gordon in Kevin Puts’s Silent Academy of Music Dublin, where she studied and continues Night and Father Philippe in Holst’s The Wandering Scholar to study with the acclaimed soprano Veronica Dunne. She is for Wexford Festival Opera, and Cascada in The Merry Widow a resident principal soloist with the Bayerische Staatsoper. and Yamadori in Madama Butterfly for Dublin Lyric Opera.

Tara Erraught appears by arrangement with IMG Artists Gavan Ring appears by arrangement with Maxine Robertson Management Ltd

17 Lucy Wakeford Finghin Collins

As well as being a member of the Finghin Collins was born in Dublin Nash Ensemble, Lucy Wakeford and studied with John O’Conor Tina Foster Tina

is currently Principal Harp with Mark Stedman at the Royal Irish Academy of the Orchestra of the Royal Opera Music and with Dominique Merlet House, having previously held at the Geneva Conservatoire. He the same position with the established his international . She is reputation by winning the 1999 also the harpist with Britten Clara Haskil International Piano Sinfonia. As a soloist she has Competition, and has since performed concertos with the Royal Philharmonic, Israel performed with major orchestras in Europe, the USA and Philharmonic, Ulster, BBC Concert and Bournemouth Asia. He has performed twice at the BBC Proms and is a Symphony orchestras, as well as recording Mozart’s regular recitalist at international concert halls. Concerto for flute and harp with Britten Sinfonia and Lutosławski’s Concerto for oboe and harp with Nicholas In May 2013 he completed a three-year term as the first Daniel and the Wrocław Philharmonic. Associate Artist of the RTÉ National Symphony Orchestra of Ireland. During his tenure he performed all the Mozart Lucy Wakeford has been a prizewinner in several concertos directing many from the keyboard, and a competitions, including First Prize in the Cité des Arts Harp recording of four of these was released by RTÉ Lyric FM. Competition in Paris, Second Prize in the Tenth International Other recordings include two double discs of Schumann Harp Competition in Israel, First Prize in the string section of and Stanford concertos for Claves Records. This season’s the Royal Over-Seas League Competition, and First Prize at engagements include debut performances in Istanbul, China the World Harp Festival Competition in Cardiff. She was a and Australia as well as concertos with the RTÉ Concert winner of the Young Concert Artists Trust auditions in 1998. Orchestra and the Verbier Festival Chamber Orchestra.

Finghin Collins appears by arrangement with Clarion/ Seven Muses

Jonathan Ware Michael Collins

Born in Texas, Jonathan Ware Michael Collins’s virtuosity and studied at the Eastman School musicianship have earned him

Kaupo Kikkas Kaupo of Music, The Juilliard School and recognition as one of today’s

at the Hochschule für Musik Benjamin Ealovega most distinguished artists. At Hanns Eisler Berlin, where he now sixteen he won the woodwind teaches. He won the Pianist’s prize in the first BBC Young Prize at the Wigmore Hall/Kohn Musician of the Year Competition Foundation International Song and has since performed as and Das Lied competitions, and soloist with many of the world’s in 2014 won First Prize in the International Hugo Wolf most significant orchestras and formed strong links with Competition and was selected by YCAT. leading conductors. He also has the distinction of being the most frequently invited wind soloist to the BBC Proms, Sought after as a song accompanist and chamber musician, including several appearances at the Last Night. recent highlights include recitals with Christina Sidak at the Berliner Festspiel, Golda Schultz at the Lauenen Chamber He has become increasingly highly regarded as a conductor Concerts and with at La Roche Switzerland. and took the position of Principal Conductor of the City of London Sinfonia. Conducting highlights include with the Engagements this season include recitals in the Dialogues Philharmonia, BBC Symphony, BBC Scottish Symphony, festival at the Mozarteum Salzburg with Mojca Erdmann, the Bergen Philharmonic and Melbourne Symphony orchestras Hugo Wolf Akademie in Stuttgart and Philharmonie Cologne and the Hong Kong Sinfonietta. In 2007 Michael Collins with Ludwig Mittelhammer, and at Wigmore Hall and received the Royal Philharmonic Society’s Instrumentalist of Barbican with Peter Moore, Benjamin Appl and Morgan the Year Award, made in recognition of the role he has Pearse. He has recorded for BBC Radio 3 and this summer played in expanding the clarinet repertoire, commissioning takes part in the Verbier Academy and Festival. works by some of today’s most highly regarded composers.

Jonathan Ware appears by arrangement with Young Classical Artists Trust (YCAT) Michael Collins appears by arrangement with Hazard Chase

18 RTÉ Contempo Quartet Wigmore Hall Learning Celebrates Irish Culture in Britain

The RTÉ Contempo Quartet is one of the most exciting and vibrant chamber ensembles performing today. Since its formation in Bucharest in 1995, the Quartet has performed worldwide in many leading venues, working alongside artists of the highest calibre and winning prizes at competitions in Munich, Rome and London. It has broadcast widely on European radio and has premièred and recorded Tir Eolas many contemporary pieces. Wigmore Hall Learning is delighted to be joining The Quartet moved to Galway in 2003 to take up the the celebrations of Irish Culture in Britain, with a position of Galway Ensemble in Residence, and was appointed RTÉ’s Quartet in Residence in 2014. It has firmly new partnership with the Irish Cultural Centre. established itself in a variety of genres including core classical repertoire, contemporary, folk, traditional and jazz, To commemorate the Easter Rising of 1916, the and celebrates its 20th anniversary this season. two organisations will come together on Friday 29 April to lead a day of creative music making in primary and secondary schools.

Tir Eolas, a group which draws on its members’ John Gilhooly Celtic and English folk roots, will lead creative music workshops alongside the Irish Cultural John Gilhooly became Artistic and Executive Director of Centre’s resident storyteller Kate Corkery, Wigmore Hall aged thirty-two in early 2005, making him the exploring the rich musical history of Ireland and youngest leader of any of the world’s great concert halls. He had been Executive Director of Wigmore Hall since January Britain through storytelling and song. 2000, and is credited with having over-seen the artistic, financial and administrative transformation of the Hall over If you would like to hear more about the work of the past 16 years. Wigmore Hall Learning please contact Daisy Swift, Head of Learning, on: In July 2010, John Gilhooly was elected Chairman of the Royal Philharmonic Society, and led the Society’s 020 7258 8247 or [email protected] Bicentenary celebrations throughout 2013. He is a recipient of an Honorary Fellowship from the Royal Academy of Music (2006), Honorary Membership of the Royal College of Music (2012) and Honorary Fellowship of the Guildhall School of Music & Drama (2015), and in 2013 was awarded an OBE by Her Majesty Queen Elizabeth II and in 2015 was awarded (Knight) Order of the White Rose of Finland. John Gilhooly is rish a trustee of IMS Prussia Cove, Chairman of Mahogany Opera Cultural Centre Group, a Patron of the performing arts organisation Irish Heritage and the Cavatina Chamber Music Trust.

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Irish Culture in Britain: A Centenary Celebration Events at Wigmore Hall this week Devised by John Gilhooly

Tuesday 19 April 1.00 pm Friday 22 April 11.00 am – 12 noon Wigmore Hall Debut Masterclass Showcase Recital Mícheál Ó Súilleabháin piano With students and alumni from the Royal Irish Academy of Music who took part in the masterclass with Ann THE CAROLAN CELEBRATION Murray DBE, accompanied by Dearbhla Collins. Mícheál Ó Súilleabháin makes a much-anticipated Wigmore Hall debut with the first performance of a Sunday 24 April 3.00 pm new series of suites for solo piano, edited from the eighteenth-century Irish harp music of Turlough Pre-Concert Talk O’Carolan. The music of this nomadic blind traditional harper, known simply as Carolan to his Anglo-Irish J S COUSSER AND THE IRISH STATE MUSICK patrons, represents a sonic encodement of a rapidly AT DUBLIN CASTLE changing Ireland. Professor Samantha Owens introduces John Sigismond Cousser’s work The Universal Applause of Mount Parnassus ahead of the concert.

Sunday 24 April 4.00 pm NB starting time Ensemble Marsyas Peter Whelen director, harpsichord Samuel Boden tenor (Apollo) Mhairi Lawson soprano (Calliope/Polymnia) Emilie Renard mezzo-soprano (Thalia/Terpsichore) Chloe Morgan mezzo-soprano (Clio/Euterpe) Sarah Brady soprano (Melpomene/Urania) Mícheál Ó Súilleabháin Niamh O’Sullivan mezzo-soprano (Erato) Wednesday 20 April 1.00 pm – 4.00 pm Cousser The Universal Applause of Mount Parnassus Handel Eternal source of light divine Ann Murray DBE Masterclass This concert is dedicated to HM Queen Elizabeth II in the week of her 90 th birthday. The charismatic mezzo-soprano Ann Murray DBE, born and raised in Dublin, returns to Wigmore Hall for an afternoon masterclass with selected students and alumni from the Royal Irish Academy of Music, accompanied by Dearbhla Collins.

Sian Trenberth

Ann Murray DBE Ensemble Marsyas