Opera in Ireland - general discussion thread on all things opera in Ireland

marienbad

Welcome to the thread. I go to lots of opera and I am always on a budget on the simple principle that the more value I get the more opera I can go see.

The best value venues - e.g. the highest quality at he lowest price are IMHO the Opera North season in Belfast and the Welsh National Opera season at the Birmingham Hippodrome.

I went to Belfast just a few weeks ago and went to all 4 operas and stayed in the Travelodge . Booking well in advance and the hotel prices can be incredibly cheap.

I am all booked up for the WNO season in Birmingham this coming June. Wagner Dream/Lohengrin/Madame Butterfly- all best seats and total less than 100 quid ( and I could get a lot cheaper) and Travelodge less the 90 quid but booked well in advance and paid for without cancelation option.
Then throw in Aer Arran flights from Shannon for less than 150 euro and I have 4days/3 night/3 operas for less than a Heineken cup weekend .

The planning is everything.

garancafan

marienbad wrote: »

...I have 4days/3 night/3 operas for less than a Heineken cup weekend .

Yes, but, when Munster are playing, you're unlikely to encounter a more passionate rendition of "the Toreador Song"

Sandwlch

Art Music Lover, looks like you have all the bases in Dublin covered.

The next step to some economic opera is definitely Belfast. Keep an eye on Belfast Grand Opera House. Usually a couple to see both in Spring and Autumn. Some times a little more. As marienbad mentions, the Travelodge there can be cheap and only 1 minute walk from BGOH (though sometimes good value to be had in the other few hotels directly beside the house also, Jurys+two others).

Then Wexford opera festival (getting a mention here BTW : http://www.operaawards.org/). 3 productions in October/November. Book early to get cheaper seats (open in May or june).

Next step is regional cities in the UK : Opera North, Welsh National Opera, English Touring Company, and Scottish Opera. All can be variable, but in general are well worthwhile: a full league above anything you have seen from Opera Theatre Company, Lyric, Elen Kent, or Opera Ireland of old. Tickets generally cheap, so it depends on how good you are at booking in advance for cheap flights and accomodation to Glasgow, Edinburgh, Birmuingham, Leeds, Cardiff, etc with Ryanair, Flybe.

Then London. And there is no way around it being costly. Even ENO (who are always in English I think, not just the one you were at). Covent Garden is up there with the most expensive in Europe (par with Paris, Milan, and Vienna), and you need to be very quick to book the cheaper seats. Accomodation in London just cant be done cheaply, so opera bang per buck just cannot compete with going to the likes of Cardiff or Birmingham.

After that, then its Europe, and depends on what you are willing to pay and how badly you need your opera fix. Cheapest on this front are Amsterdam, Brussels, and Paris (to a lesser extent since tickets pricey) - because they have a regular programme of Sunday matinees. So if an addict, you can fly out on a Sunday morning, enjoy a lunch and opera, and back on Sunday night without having to remortgage the house. Combine with a long weekend though and they can have interest of their own with the opera an added bonus.

Worth a mention also is Berlin if you are willing to spend a few nights. For a variety of reasons :
- quality is very high for shockingly low prices (as long as the 'stars' arent singing)
- there are 3 permanent opera houses running full rotating programmes, so picking a few nights entertainment on the trot is very easy (or even difficult due to the embarrasement of choice!)
- accomodation is cheap there. Half the price of Paris or London say, for the same standard
Its an interesting city during the day with no end of museums or gallerys, budget flights can be found, and if you want more music than opera, then top notch symphony orchestras also there. For good value, long 'operatic weekend', there is nowhere to touch it.

nompere

From the ENO website:

"All ENO performances are sung and surtitled in English".

They used to come in for a bit of criticism about the lack of surtitles, so it's good that they now have them.

But they've never done anything other than sing in English, as far as I know. So it's a little unfair to criticise them for doing what they say they're going to do.

marienbad

I have been going to ENO for over 30 years and they have always sung in English as that is their specific brief. And as for the surtitles , it feels like they always had them as I cannot remember back that far , but they most definitely have had them for the last 15 years. I remember that brilliant Nicholaus Lehnhoff production of Parsifal in 1999 and they definitely had them then.

westtip

I only just heard that Colin Davis died at the weekend aged 85
http://www.guardian.co.uk/music/2013/apr/15/sir-colin-davis-remembered

He was a fine master of the pit and I have very fond memories of his time at the helm at the ROH. A true master of the entire operatic repertoire, there are some lovely tributes in the Guardian piece worth clicking on and browsing through.

Colin Davis 1927 - 2013 Rest in Peace and enjoy conducting the finest you can ensemble you can gather together in heaven. Thank you for wonderful memories.

marienbad

westtip wrote: »

I only just heard that Colin Davis died at the weekend aged 85
http://www.guardian.co.uk/music/2013/apr/15/sir-colin-davis-remembered

He was a fine master of the pit and I have very fond memories of his time at the helm at the ROH. A true master of the entire operatic repertoire, there are some lovely tributes in the Guardian piece worth clicking on and browsing through.

Colin Davis 1927 - 2013 Rest in Peace and enjoy conducting the finest you can ensemble you can gather together in heaven. Thank you for wonderful memories.

I always enjoyed him ,particularly in Berlioz and Mozart. He conducted the complete works of Berlioz at the bicentenary in 2003 and it was a great odyssey. I popped over throughout the year for as many as I could and it was just outstanding, particularly Romeo et Juliette,Beatrice et Benedict and Les Troyens. As the year progressed one kept bumping into fellow Berliozians from the previous concerts and a unique mood was created between orchestra ,singers and audience all under sway of the Maestro and his favourite composer.

Along with Kubelik he was responsible for the great revival and rehabilitation of Berlioz and if for nothing else we should be grateful for that. A true giant has left the stage.

shoegirl

I might add to the list of "doing it on the cheap" - houses in Eastern europe and smaller Italian houses. You won't break the bank staying in Bologna, but you can fly to Milan quite reasonably and get a high speed train.

Likewise there is Budapest - great place for music in general. I'm absolutely sure I paid either 3 or 6 euro for tickets for Fidelio for my Mum and myself, and it was the best service I've ever experienced in a venue anywhere.

I have to agree RE cost of London/Paris/New York. That said, some of the cheaper seats in good theatres have great sound, whatever about the views. I believe some of the regional French, Catalan and Spanish houses can be good also. Barcelona comes to mind, but that is far from being a minor venue.

westtip

The thing is if you spend the money and hear a truly great performance - you remember it for the rest of your life, no one can put a price on such memories!

Sandwlch

Season 13/14 from NI Opera.

Cooperation with OTC hopefully works out as a positive move for OTC arresting their recent slide towards redundancy.

http://www.niopera.com/news/

marienbad

Sandwlch wrote: »

Season 13/14 from NI Opera.

Cooperation with OTC hopefully works out as a positive move for OTC arresting their recent slide towards redundancy.

http://www.niopera.com/news/[/QUOTE]

Glad to get an opportunity to see the Gerald Barry, I am a big fan of his.

Sandwlch , I noticed you don't hold OTC in very high regard , I must confess I am a great supporter of them and some of their productions, Handel for example, are some of the best I have ever seen. Maybe they have been not great in recent times but they are keeping the flag flying when others are failing badly. Discuss (as we were told in the olden days)

Bookings for Wexford open Tuesday 10 am.

Sandwlch

marienbad wrote: »

Sandwlch , I noticed you don't hold OTC in very high regard , I must confess I am a great supporter of them and some of their productions, Handel for example, are some of the best I have ever seen. Maybe they have been not great in recent times but they are keeping the flag flying when others are failing badly. Discuss (as we were told in the olden days)

Bookings for Wexford open Tuesday 10 am.

Some of the Handels were indeed very good. But they are a few years ago now. Orfeo last year was also musically very good.

But average standard has undoubtedly dipped badly. Lack of funds I presume the root cause, with the lack of instruments the real killer. Don Pasqual€, Zauberflote and Cosi fan Tutte spoiled by that failure. Stagings also suffering so much from 'austerity' that you wonder would a simple concert staging not be more satisfactory.

Hoping the venture with NIOpera gives L'Elisir a better chance in life (as a litmus test: 'Tran Tran tran' trio - tempo and balance of voices and orchestra makes can make or break it). And maybe a better way forward for OTC!

marienbad

Anyone go to La Donna Del Lago live from ROH in the cinemas last night ?

I must say I enjoyed it immensely with just one caveat , that of the staging mixing the 'modern' and the historic setting . The notion of having Walter Scott and Rossini on the stage was just cack.

I don't understand this predilection with modern directors to seek a new angle on EVERY opera. This is essential with the constantly performed stuff , but I find it a distraction in the less frequently/rarely performed operas. And La Donna Del Lago definitely falls into that category . This was my first time seeing it in decades of opera going.

I am still so grateful for the wonders of modern technology that allows us to see such broadcasts in our local cinema.

Is Joyce Di Donato the best Rossini singer performing today ?

This was my first experience of the ROH/Odeon broadcasts and I was delighted with it. 10 euro as compared with 25 in the Omniplex/MET broadcasts and a much nicer cinema (Limerick ) with a lovely coffee shop for the interval. I generally rate ROH productions higher that MET ones anyway.

Next up Britten's Gloriana in late June

Fluorescence

I'm certainly a huuuuge fan of Joyce Di Donato. The Italian composers are her strong suit for sure - her Rossini is marvellous. I heard her do Handel once though and I wasn't terribly convinced.

She also has a strong Youtube presence, which is becoming more and more important for artists today.

marienbad

Fluorescence wrote: »

I'm certainly a huuuuge fan of Joyce Di Donato. The Italian composers are her strong suit for sure - her Rossini is marvellous. I heard her do Handel once though and I wasn't terribly convinced.

She also has a strong Youtube presence, which is becoming more and more important for artists today.

Same here,huge fan also . She seems to be very underrated though or maybe that is just me ? It might also be the Rossini repertoire she has become so associated with, a blessing and curse possibly.

Anyway we must support our own - she was born Joyce Flaherty to a strong Irish American family and Di Donato was her 1st husband's name, parochial I know but what can I say.

She gave a masterclass during the interval and who was featured ? None other than our own up and coming mezzo Rachel Kelly , so maybe the Irish connection is bearing fruit.

http://www.flickr.com/photos/royaloperahouse/8743480981/

Fluorescence

If you like masterclasses, she did a series with Juilliard recently with a a baritone, a soprano and a mezzo. Streamed and on youtube. They're entertaining and quite enlightening too (even to non-singing plebs like myself :P ). Would recommend if you have some free time.

https://www.youtube.com/watch?v=o3QAvSAoA_8

https://www.youtube.com/watch?v=mu0nicsCK6w

I can't find the clip where she was working with the baritone on The Barber of Seville but that was a great one

I don't know, when I listen to her una voce poco fa compared to Elina Garanca's, I much prefer the latter...

http://www.youtube.com/watch?v=od368OEUZ_8

marienbad

Great we can have both !

http://www.youtube.com/watch?v=3damaS03KgY

Fluorescence

I dunno, I prefer Joyce. But that may just be because of the darker tone to her voice. I'm drawn to dark sopranos rather than crystal-bright ones

marienbad

Fluorescence wrote: »

I dunno, I prefer Joyce. But that may just be because of the darker tone to her voice. I'm drawn to dark sopranos rather than crystal-bright ones

And concert performances are not the best for comparisons, all miked up and orchestra playing to the individual soloists requirements .

Live opera is the test , and Di Donato is the real deal as is Garanca .

As I said I am glad we have both and the best of all Anna Caterina Antonacci , here in Berlioz' The Trojans

http://www.youtube.com/watch?v=J_6iekClmZQ

garancafan

marienbad wrote: »

And concert performances are not the best for comparisons, all miked up and orchestra playing to the individual soloists requirements .

Interesting point of view. I am of the view that, in concert - just as in opera - either of these ladies would absolutely eschew microphones other than for recording. As to the orchestra playing to the soloist's requirements - I would hope that this would be so - the orchestra's function is to accompany the performer, not to lay down some sort of paradigm.

I am an ardent admirer of both ladies. You can attribute my user name simply to being besotted with one!

marienbad

garancafan wrote: »

Interesting point of view. I am of the view that, in concert - just as in opera - either of these ladies would absolutely eschew microphones other than for recording. As to the orchestra playing to the soloist's requirements - I would hope that this would be so - the orchestra's function is to accompany the performer, not to lay down some sort of paradigm.

I am an ardent admirer of both ladies. You can attribute my user name simply to being besotted with one!

Is it just for recording though ? I don't bother with concert performance much anymore , but any that I have seen all seemed to be miked and thus have different vocal requirements . I would assume so from a technical point of view.

On the orchestra playing to the soloists requirement, well in a concert performance their is only one soloist ,whereas in a live opera there are many and I am not sure I would agree with you that it is the orchestra's function to just accompany the soloists.

A recital and a live opera are just two different beasts was my original point and that live opera is the real judge of an opera singer.

garancafan

garancafan wrote: »

Interesting point of view. I am of the view that, in concert - just as in opera - either of these ladies would absolutely eschew microphones other than for recording. As to the orchestra playing to the soloist's requirements - I would hope that this would be so - the orchestra's function is to accompany the performer, not to lay down some sort of paradigm.

I am an ardent admirer of both ladies. You can attribute my user name simply to being besotted with one!

That's brilliant! I've only recently discovered garanca. When I grow up I want to sing like her
Her "chanson boheme" = :eek:

garancafan

marienbad wrote: »

A recital and a live opera are just two different beasts was my original point and that live opera is the real judge of an opera singer.

I am not going to disagree with that. Indeed, the essence of opera is delivering an aria in often physically stressed circumstances such as racing around the stage or having been soaked to the skin or making passionate love (I believe that Anna Netrebko's finest performances come when she is lying down!)

As to the "miking" I firmly believe that no opera singer true to the genre uses a microphone in a concert hall. Mikes are often used for outdoor performances but that is understandable.

My point on the orchestra's function I, perhaps, did not make well. I used the term "performer" in the singular when I should probably have used the plural. It was my intention to opine that the orchestra's primary function was to accompany all of the vocalists be they soloists, ensembles, chorus or the entire company - having voiced that opinion I am delighted to hear other views.

My last experience of a concert performance was that of Elina Garanca in London last October. Perhaps my ability to rationalise has yet to recover!

shoegirl

OTC are (unfortunately correctly) very poorly regarded, mostly because of their practice of reducing the orchestral scores to a piano and a few random other intruments. This is a shame, because generally the singing is good, some of the productions are very, very good (the Cosi from the outgoing season comes to mind) and to credit them, they do take their productions to country venues that otherwise would see nothing.

The problem is some of the musical directors. There is one in particular so abysmal that he should have a restraining order keeping him away from Handel in particular. And sadly, he gets work with other places here too. A shame, as he's actually a really nice guy.

shoegirl

I have to agree on the ROH Donna del Lago - it was magic. I'm hugely fond of Florez, and I've gradually come to like DiDonato (though I'm not fond of her Handel ornamentation - though this is a common problem for American performers of Handel). Garanca I like also - more of an all-rounder than JDD though she's been less good with her PR - the SF Werther cancellation and a slightly nasty affair over her friendship with another Latvian (the other lady was a known out gay woman and Garanca's PR machine went into overdrive denying there was anything going on - in stark contrast to JDD's huge sensitivity to her many gay fans & colleagues and strong support for equal rights).

I agree with some aspects of the production - I didn't mind some of the modernity, but I do mind the depiction of sexual assault onstage where the libretto doesn't call for it. It made for very uncomfortable viewing, and while its true that basically Elena is also being traded off by her family for political gain, I'm not sure we really needed to see that aspect so starkly.

Daniela Barcelona was a great Malcolm - what a coloratura, and Colin Lee was nice to have back as Rodrigo.

I have to agree RE the London productions, though if you are going to the summer season (and travel alone) you can bring down the cost by using student halls of residence which are only 40 pound a night for a room.

westtip

shoegirl wrote: »

OTC are (unfortunately correctly) very poorly regarded, mostly because of their practice of reducing the orchestral scores to a piano and a few random other intruments. This is a shame, because generally the singing is good, some of the productions are very, very good (the Cosi from the outgoing season comes to mind) and to credit them, they do take their productions to country venues that otherwise would see nothing.

The problem is some of the musical directors. There is one in particular so abysmal that he should have a restraining order keeping him away from Handel in particular. And sadly, he gets work with other places here too. A shame, as he's actually a really nice guy.

I think this is very unfair on OTC, no company can hit the right notes with every production - I have seen some howlers at the greatest opera houses, you have to consider what they (OTC) have achieved on the budgets they have - which is remarkable. They are playing small venues to a selective audience and simply are restricted by the limitations they have live in. Consider some of their remarkable achievements like the Fidelio in Kilmainham jail - which will live in my operatic memory for ever, an astonishing evening of drama and music. I think its a pity OTC were left in the lurch by that complete *****k who ran the arts in last administration, Cullen, who virtually wrote OTC off with his grand and unachievable project of a new national opera company - much was written on that subject and how opera should or could have been reshaped in Ireland, but alas no one in Government really grasped the nettle. Cullen though really did a hatchet job on opera in ireland from which we are still trying to recover, the fact OTC survived in tact following the efforts of Cullen are all the more remarkable.

marienbad

shoegirl wrote: »

OTC are (unfortunately correctly) very poorly regarded, mostly because of their practice of reducing the orchestral scores to a piano and a few random other intruments. This is a shame, because generally the singing is good, some of the productions are very, very good (the Cosi from the outgoing season comes to mind) and to credit them, they do take their productions to country venues that otherwise would see nothing.

The problem is some of the musical directors. There is one in particular so abysmal that he should have a restraining order keeping him away from Handel in particular. And sadly, he gets work with other places here too. A shame, as he's actually a really nice guy.

I don't know about that - OTC are very highly regarded , maybe not as great as in their Hugh Canning lovefest , but that can be attributed to the Cullen farce and financial issues.

And to criticise them for pared down scores is to completely miss the point. You allude to it yourself in referencing the country venues. How else can you have opera in small venues is you don't reduce both the size and scale of the sets and the orchestra.

They have kept the opera flag flying for opera on a nationwide scale for many a year and all done on a shoestring. Of course there have been misses as well as hit , but this is to be expected of any performing group worth their salt.

Is their just a hint of the personal in your criticism perhaps ?

Almaviva

I thought the Handels over the last 5-6 years were actually some of OTC's best shoegirl.

(And yes the Fidelio was indeed outstanding.)

But there is only so much paring down of the score that you can do before it becomes pointless. Would touring to 4 or 5 venues around the country with a fuller complement not be enough? Its hardly necessary to perform in venues only 20-30k from each other (clusters like Blanch, Navan, Drogheda, Dundalk). If someone is interested, they will make the little journey.

Did anyone see the Carmen ?

garancafan

shoegirl wrote: »

Garanca I like also - more of an all-rounder than JDD though she's been less good with her PR - the SF Werther cancellation and a slightly nasty affair over her friendship with another Latvian (the other lady was a known out gay woman and Garanca's PR machine went into overdrive denying there was anything going on

Fascinating tittle-tattle. I'm sure you can provide a link.
What has this got to do with her singing?

westtip

http://www.boards.ie/vbulletin/showpost.php?p=65055211&postcount=72

Remember this plan! Where are we now?

I wonder does the Government ban on alcohol sponsorship of sport open up a new opportunity for the performing Arts. Marketing budgets for non sporting sponsorship must be a target.

Sandwlch wrote: »

'Irish National Opera' Founded


News Release: Monday 22 March 2010

Minister Cullen announces foundation of Irish National Opera

Martin Cullen TD, Minister for Arts, Sport and Tourism has today (Monday 22 March 2010) announced the foundation of Irish National Opera with the appointment of an Interim Board.

Irish National Opera will be based in Dublin. It will perform opera at all scales in the capital and will continue the tradition of touring opera nationwide. The company will also encourage the development of opera in Ireland through the provision of opportunities for emerging Irish talent and with education and outreach programmes which will encourage more people to engage with and attend opera performances.

The new Irish company will be forged from two State-funded companies, Opera Ireland and Opera Theatre Company which between them cover much of the range of artistic work that would be expected from a national opera company.

Mr Ray Bates, former Director of the National Lottery has been appointed as Chairman of the Interim Board of Irish National Opera. He will be joined on the Board by Ms Virginia Kerr, Chairperson of Opera Theatre Company, Mr Thomas Lynch, Chair of Opera Ireland and Sir Brian McMaster, Chairman of the National Opera Studio in the UK and former Managing Director at the Welsh National Opera. When the Interim Board has completed its work, these members will continue to serve on the first full-term Board of Irish National Opera. To assist in transitional arrangements, the Chief Executives of Opera Ireland and Opera Theatre Company, Mr Niall Doyle and Ms Kirsty Harris, respectively, are also being appointed to the Interim Board for a period of three months.

Minister Martin Cullen said: "This single unified Irish national opera company will have the remit and responsibility of providing both the highest possible quality opera experience to Irish audiences throughout the country and maximising the resources available so as to develop and encourage a thriving opera sector in the State."

Minister Cullen said he was delighted the Chairman and members had "very willingly agreed to give their time and expertise to the Interim Board." He thanked them for their positive response to his invitation to serve saying: "You will make a very significant contribution to the work of this new company. I wish you well in your important roles over the coming months."

The process of working towards the formation of a new Irish national opera company has been a collaborative one between the Department of Arts, Sport and Tourism, the Arts Council, Opera Ireland and Opera Theatre Company. Opera Ireland and Opera Theatre Company will continue their work throughout 2010, as both companies have been funded by the Arts Council to continue with their respective artistic outputs for all of 2010.

Editor's note: The objectives for which Irish National Opera is established are:
a) To produce and promote main-scale and chamber opera to the highest international standards and to tour such performances both nationally and internationally;
b) To promote and encourage the experience of the company's opera productions to as wide an audience as possible through live performances and via radio, television, film and other media;
c) To encourage the development of the opera industry through the provision of opportunities for emerging talent at all levels;
d) To establish an innovative and diverse education and outreach programme;
e) To develop opera as an art form through the commissioning and presentation of new work.

garancafan

westtip wrote: »

I wonder does the Government ban on alcohol sponsorship of sport open up a new opportunity for the performing Arts. Marketing budgets for non sporting sponsorship must be a target.

Great idea.
Libiamo ne' lieti calici Heineken.

Dickerty

Just curious, did anyone see La Traviata in the Gaiety over the last few days? I went to see it on Saturday, and I thought Claudia Boyle was excellent - you can't pull off that show without a really strong lead!

As a lover of opera, but not an expert, any other views of anyone that saw it?

Sandwlch

Dickerty wrote: »

Just curious, did anyone see La Traviata in the Gaiety over the last few days? I went to see it on Saturday, and I thought Claudia Boyle was excellent - you can't pull off that show without a really strong lead!

As a lover of opera, but not an expert, any other views of anyone that saw it?

Saw it and thought Boyle was just OK. I couldnt warm to her performance. Germonts pere and fils were vocally much better I thought, Luigi Boccia especially. Chorus, not so good. The National Concert Orchestra was very good (surprisingly - some recent efforts for Lyric have been pretty shabby).

Visiting productions to Dublin seem to be becoming scarcer - my hope for someone filling the OI void on a regular basis doesnt seem to be happening. So disappoointing to see the Gaiety only half full for the Saturday. Is it just me, or have audiences at all operas in Ireland declined in the last few years despite the scarcity of productions? I would have thought supply and demand might have prompted decent attendances for the few on offer.

Sandwlch

westtip wrote: »

http://www.boards.ie/vbulletin/showpost.php?p=65055211&postcount=72

Remember this plan! Where are we now?

I wonder does the Government ban on alcohol sponsorship of sport open up a new opportunity for the performing Arts. Marketing budgets for non sporting sponsorship must be a target.

Good question, but I have no idea. Is opera even on the radar for anyone in our state apparatus these days? I guess it isnt. Shocking to reflect on how domestic Irish opera was in a better state when we were a 'poor' country pre celtic tiger.

We can hope for an alcohol ban spin-off, but I wouldnt hold my breath. That industry likes mass markets. Opera elsewhere usually seems to be supported by banks, or accountacy firms entertaining a limited clientele, or by global corporations genuinely patronising opera as their choice policy for 'giving' to society rather than marketing through it.

westtip

Sandwlch wrote: »

Good question, but I have no idea. Is opera even on the radar for anyone in our state apparatus these days? I guess it isnt. Shocking to reflect on how domestic Irish opera was in a better state when we were a 'poor' country pre celtic tiger.

We can hope for an alcohol ban spin-off, but I wouldnt hold my breath. That industry likes mass markets. Opera elsewhere usually seems to be supported by banks, or accountacy firms entertaining a limited clientele, or by global corporations genuinely patronising opera as their choice policy for 'giving' to society rather than marketing through it.

Cullen killed it off and the will to resuscitate it isn't there. Opera in Ireland now needs a fairy god mother to rescue it, I can't see that happening, I have just given up on any hope of sustainable opera in Ireland any more, and will simply leave these shores for my opera in future.

shoegirl

Dickerty wrote: »

Just curious, did anyone see La Traviata in the Gaiety over the last few days? I went to see it on Saturday, and I thought Claudia Boyle was excellent - you can't pull off that show without a really strong lead!

As a lover of opera, but not an expert, any other views of anyone that saw it?

Didn't see it, but Boyle is good, and improving fast. If she keeps going in her current direction, she'll be very fine. Unfortunately had other plans so couldn't make her Traviata.

shoegirl

I'm not fond of this "sports versus arts" funding argument. I don't think its fair to say that sports gets preferential funding over arts - much of the additional funding is due to low barriers to entry, thus high participation rates which lead to bigger community ties and so greatly increases opportunities for all kinds of funding sources - public and private.

As for the alcohol ban, I really don't see how sports losses would ever have been musics gains. You've got to think quality as well as quantity. It should never be an "us against them" situation when vying for funding. Sports is a very, very different animal to the arts in general or opera in particular.

shoegirl

westtip wrote: »

Cullen killed it off and the will to resuscitate it isn't there. Opera in Ireland now needs a fairy god mother to rescue it, I can't see that happening, I have just given up on any hope of sustainable opera in Ireland any more, and will simply leave these shores for my opera in future.

The only way you'll ever see "sustainable opera" happen in Ireland is when the people want it. I was reading in Opera News last month that Frankfurt, a city no bigger than Dublin, has 180 performances at its main house, and is utterly, utterly excellent. Now translate that to Dublin - if you had 180 performances per year - do you think you'd see 70-80% capacity audiences? I'd think not.

The reason there are great opera houses and companies in Europe is because its what their audiences demand and they fill every seat.

The first problem is not having a venue that is dedicated to the production of opera - no opera company is sustainable without a "home" venue. Look around the world and tell me of a long standing company that has no home. There are few, if any. Secondly, the more you produce, the more cost effective it becomes. Lastly, you MUST have audiences. We just don't have that in Ireland - that is the crux of the problem. Lots of people learn to play classical intruments or sing but few translate this into regular concert going. Not even people, by the way, who've studied music fulltime!!

If I was going to pinpoint an opportunity by the way, I'd bypass Dublin. If I'd a magic wand and unlimited funding, I'd place a company in Cork - proper venue, passionate love of music, great local music education and wide support from community/institutions.

marienbad

shoegirl wrote: »

The only way you'll ever see "sustainable opera" happen in Ireland is when the people want it. I was reading in Opera News last month that Frankfurt, a city no bigger than Dublin, has 180 performances at its main house, and is utterly, utterly excellent. Now translate that to Dublin - if you had 180 performances per year - do you think you'd see 70-80% capacity audiences? I'd think not.

The reason there are great opera houses and companies in Europe is because its what their audiences demand and they fill every seat.

The first problem is not having a venue that is dedicated to the production of opera - no opera company is sustainable without a "home" venue. Look around the world and tell me of a long standing company that has no home. There are few, if any. Secondly, the more you produce, the more cost effective it becomes. Lastly, you MUST have audiences. We just don't have that in Ireland - that is the crux of the problem. Lots of people learn to play classical intruments or sing but few translate this into regular concert going. Not even people, by the way, who've studied music fulltime!!

If I was going to pinpoint an opportunity by the way, I'd bypass Dublin. If I'd a magic wand and unlimited funding, I'd place a company in Cork - proper venue, passionate love of music, great local music education and wide support from community/institutions.

Are you a Cork lass then Shoegirl ?;)

Sandwlch

shoegirl wrote: »

I'd think I'd place a company in Cork - proper venue, passionate love of music, great local music education and wide support from community/institutions.

With respect, that would be madness. No chance of sufficient interest there. Dublin is the only candidate with any chance. Performances anywhere outside the city I see as a waste of the minimal resources. But I would have little hope for it either. The Irish are simply not musically cultured enough. A spring and Autum season of 2-3 operas each over 2 weeks will be as good as it ever gets. Funded by highish ticket prices,some sponsorship, and a govt out of the austerity wood some years from now.
Otherwise, buy plane tickets.

marienbad

Have to agree with Sandwlch on this . Dublin is the only viable location . Cork simply is not central enough and there isn't sufficient support or population to to pull off a full time opera company.

If it were ever to happen it would have to be a long time project and take the time (years) to build up a committed and educated audience. And put on a lot more than the Traviatas and Bohemes. In my experience the people that generally go to those operas are not really opera fans and will not be the main support of an opera company . Can't see it happening soon though.

In the meantime we must make do with Wexford and Ryanair/Aer Arann. Brilliant programme with WNO in Birmingham this November .

Did anyone go to Gloriana From ROH at the Odeon Cinemas this evening ? It was outstanding .

westtip

marienbad wrote: »

Have to agree with Sandwlch on this . Dublin is the only viable location . Cork simply is not central enough and there isn't sufficient support or population to to pull off a full time opera company.

If it were ever to happen it would have to be a long time project and take the time (years) to build up a committed and educated audience. And put on a lot more than the Traviatas and Bohemes. In my experience the people that generally go to those operas are not really opera fans and will not be the main support of an opera company . Can't see it happening soon though.

In the meantime we must make do with Wexford and Ryanair/Aer Arann. Brilliant programme with WNO in Birmingham this November .

Did anyone go to Gloriana From ROH at the Odeon Cinemas this evening ? It was outstanding .

+1 absolutely both MarianB and Sandwich. Opera in Ireland despite the brave efforts of the likes of OTC on their very limited budgets, is a dead parrot, much as I don't really like them, thank goodness for Ryanair, the saviour of Irish opera goers.

The Green Pixie

I'm sure you've all forgotten about me. For some reason I stopped getting e-mails telling me there were new messages on the thread and then I kind of forgot about it.
I looked up the thread this afternoon, signed in and here I am again.
Only two operas on the horizon for me at this stage.
I'm going to Berlin with my choir to take part in a rather wacky choral festival towards the end of August. On the 22nd we're going to a kind of semi staged concert performance of the Marriage of Figaro at the Konzerthaus, conducted by Ivan Fischer. Mia Persson is the countess (great excitement) and for all those of a more parochial persuasion, Anne Murray is Marcellina.
Then there's Cristina, Regina di Svezia in Wexford, and that's about it.
Just before the Wexford festival I'm going to NY for a few days to celebrate my wife's "special" birthday. Norma is on at the Met on our last evening there, but she's not into opera and Norma is not the place to start. Angela Meade, who I saw in Wexford a few years ago, is singing Norma. I can hardly say on our last evening there that I'm abandoning her in the middle of Manhattan and going to the opera.....

Sandwlch

Welcome back Pixie.
With Opera in Ireland on an all-time downer, you are not missing much. I was going to suggest renaming the thread 'Foreign travel - general discussion thread on all things opera in Ireland'. Honorary President of the thread to be Martin Cullen.

Das Kissen

Big fan of opera.

westtip

The Green Pixie wrote: »

I can hardly say on our last evening there that I'm abandoning her in the middle of Manhattan and going to the opera.....

There are some very nice cafes and eateries opposite the Lincoln centre plaza you could park her in and meet her at the intervals. Just text her what to order as the curtain comes down. What comes first man, the opera or your marriage, surely she must understand by now!!!!

Sandwlch

http://www.opera.ie/_blog/News/post/opera-theatre-company-announces-the-appointment-of-new-executive-team/

New appointments at OTC.

Anyone know what the plans for that company are ? And is that (with Wexford of course) the extent of funding for local, 26 counties, produced opera?

westtip

Sandwlch wrote: »

http://www.opera.ie/_blog/News/post/opera-theatre-company-announces-the-appointment-of-new-executive-team/

New appointments at OTC.

Anyone know what the plans for that company are ? And is that (with Wexford of course) the extent of funding for local, 26 counties, produced opera?

There is no strategy for opera in this country. Wexford is funded and seems secure and that is about it.

Everything else is (or at least I think this is the position) is based on bids to the AC or the Ministers department for funding of each production/project. Hence we have piecemeal projects part funded like the Tristan, and more recently I think Lyric got some AC money for one or two of its productions. As said outside the committment to fund WFO there is no consistent funding since the remove of OI from the scene.

OTC was screwed by Cullen when he announced they were going to be wound up along with OI, they got saved at the bell by Hanafin when she stepped into cullens shoes in the death throws of the last shambolic government we had (remember the the last ditch cabinet re-shuffle) and she threw them a lifeline. When it was announced by Cullen that funding was being withdrawn from OTC all the good work they had done building relationships with NI AC were blown out the water, and they lost OI AC funding they had fought so hard for - which now goes elsewhere in the north. OTC were the only true 32 county opera company but as said Cullen destroyed that, his political legacy is the destruction of opera in ireland. The company is doing its best, and maybe it will rebuild its relationships in the North and with the AC here and potentially become the fledgling national opera company of a modest size and nature that we need/want. Good luck to these new appointments they will need it.

Sandwlch

WTF :
http://www.operaireland.com/



And,


Am I a closed minded dinosaur thinking that putting money into new opera in Ireland is a terrible waste of the negligble resources available, it appealing only to a very small subset of the already miniscule operagoing population on this island ? I wont be there but wish it well nonetheless and interested to hear from anyone what sort of crowd it gets
http://www.wideopenopera.ie/