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Irish Examiner
2 days ago
- Entertainment
- Irish Examiner
Theatre review: A Midsummer Night's Dream beguiles in Lismore
A Midsummer Night's Dream: Lismore; County Waterford ★★★★★ With an idyllic backdrop of a castle worthy of a fairytale, Britten's Shakespearean opera delving into an enchanted world of mischief and magic was an ideal choice for the Blackwater Valley Opera Festival. Many elements combined to beguile in this production on a summer night in Lismore, not least the weather which stayed fair throughout. Director Patrick Mason's production sets the drama in two eras. The fairies are dressed in Elizabethan costumes, shimmering in silver while the mortal lovers evoke the 60s — the decade when the opera premiered at Aldeburgh. The 'rustic craftsmen' don bowler hats for a Morris dance accompanied by a fairy recorder ensemble, (the excellent Piccolo Lasso Children's Chorus). Festival director, Dieter Kaegi assembled a large ensemble of young Irish and international artists active in the European opera scene. Actor, Barry McGovern adds gravitas in the speaking role of Puck. Barry McGovern as Puck. Picture: Frances Marshall Underpinning the drama, the Irish Chamber Orchestra under David Brophy was terrific, giving a solid instrumental foundation throughout. It was good to see an ensemble back in front of the singers and not tucked away to the side. There is much exposed writing for solo instruments; trumpet and horns excelled — and the opening bass glissandi set the mood of magic and menace from the opening bars. Aside from the headline opera productions, there was much to enjoy with an attractive programme of events over the week. At St Carthage's Cathedral, baritone Rory Dunne and soprano Amy Hewitt impressed in the rarely heard one act operetta; The Tinker and the Fairy with music by Michele Esposito and libretto by Douglas Hyde. Later, writer George Bernard Shaw was the focus of an entertaining programme featuring the voices of Gemma Ní Bhriain and Sean Tester. While the closing numbers from My Fair Lady would have benefitted from a lighter touch, the acerbic wit of Shaw's reviews and the songs of Oscar Straus from The Chocolate Soldier drew the loudest cheers from the house. It is good to see the festival continue to build momentum in its 15th year in one of Ireland's most beautiful settings.
Irish Times
29-05-2025
- Entertainment
- Irish Times
A Midsummer Night's Dream at Blackwater Valley Opera Festival 2025: Vocally sure singing, but has a revamp muted Britten's orchestral magic?
A Midsummer Night's Dream Blackwater Valley Opera Festival ★★★☆☆ How things change. Back in 2010 the first Lismore Music Festival, today's Blackwater Valley Opera Festival , presented sure-fire repertoire – Bizet's Carmen, with Fiona Murphy heading the cast of 10 in the title role – in a marquee in the stable yard of Lismore Castle, with an ensemble of violin, accordion, guitar, double bass and percussion standing in for the colourful orchestral score. Move on 15 years and the festival is offering Benjamin Britten's A Midsummer Night's Dream with a cast of 19 and the Irish Chamber Orchestra conducted by David Brophy, with nearly five times as many musicians in the pit. A Midsummer Night's Dream: Piccolo Lasso, Ami Hewitt and Dominic Veilleux. Photograph: Frances Marshall The stage area is transformed this year. A raised platform now covers the entire performance area, not only allowing for greater freedom of movement but also creating a pit for the orchestra at floor level. (The tiny Jubilee Hall in Aldeburgh, where Britten's opera was first performed, in June 1960, also had to be enlarged and improved to accommodate the work.) The festival has made cosmetic improvements, too, with better-looking seating – which, strangely, is less comfortable because of the way it tilts forward – and black ceiling drapes, which give a softer interior appearance; sadly, they seem to do little or nothing to damp the percussive onslaught of rain on opening night on Wednesday. READ MORE So far so good. What about the production itself, directed by Patrick Mason and designed by Paul Keogan (set and lighting) and Catherine Fay (costumes)? It's a handsome, brightly lit show, the central, white-curtained bed about as close as it gets to any suggestion of night, and with different social levels distinguished through costumes of different periods. The actor Barry McGovern's black-clad Puck, wielding a white feather/wand/baton, falls somewhere between master of ceremonies, wizard and wannabe conductor. The soprano Ami Hewitt's beautifully bewigged Tytania sweeps and soars in style and manages a suppleness of vocal line that is otherwise in short supply. A Midsummer Night's Dream: Barry McGovern. Photograph: Frances Marshall A Midsummer Night's Dream: David Brophy and Irish Chamber Orchestra. Photograph: Frances Marshall The voice of the countertenor Iestyn Morris is too ethereal for his Oberon to make a real impression, sounding mostly insubstantial rather than atmospheric. The various couples – Christopher Cull and Gemma Ní Bhriain as Theseus and Hippolyta, Peter O'Reilly and Sarah Richmond as Lysander and Hermia, and Gregory Feldmann and Amy Ní Fhearraigh as Demetrius and Helena – are more engaging, vocally sure and with real tension in the conflicts they experience as a result of the love-inducing magic juice that mismatches them. A Midsummer Night's Dream: Amy Ní Fhearraigh, Gregory Feldmann, Peter O'Reilly, Sarah Richmond and Dominic Veilleux. Photograph: Frances Marshall A Midsummer Night's Dream: Ami Hewitt and Dominic Veilleux. Photograph: Frances Marshall The mechanicals are a damp squib when going through the preparations for their play within a play but altogether livelier in their performance of that comedy. The Bottom of the bass-baritone Dominic Veilleux revels in the comic opportunities afforded him as the ass Tytania is made to fall in love with. But, musically, there is something pallid about the performance. I'm not sure that this is entirely the fault of either singers or conductor. The voices don't carry well, and the orchestra is often so soft and muted that much of Britten's orchestral magic fails to register. My seat near the back may have played a part, but my primary suspicion is that the drapes just absorb too much sound in a space that's already severely acoustically challenged. A Midsummer Night's Dream is at Blackwater Valley Opera Festival , Lismore, Co Waterford, on Friday, May 30th, Saturday, May 31st, and Sunday, June 1st; the festival runs until Monday, June 2nd
Irish Independent
07-05-2025
- Entertainment
- Irish Independent
Talented Carlow soprano wins prestigious emerging talent award
The €6,000 bursary was presented after a special performance at Kildare Village, held to celebrate one month to go until the 2025 Blackwater Valley Opera Festival (BVOF), which takes place from May 27 to June 2 in Co Waterford. Eva is currently pursuing a Bachelor of Music in vocal performance at the Royal Irish Academy of Music (RIAM) in Dublin, studying under Kathleen Tynan and Dearbhla Collins. Renowned for her versatile talent, Eva has already performed at prestigious venues across Ireland and has earned multiple accolades for her outstanding vocal ability. In 2024, Eva achieved significant success, including multiple awards at the Feis Ceoil, the Canto al Serchio Prize at the Birr Festival of Music, and the John McCormack Bursary. In January 2025, she performed the role of Rosina in Haydn's La vera costanza, and in February she participated in the Winterlied Academie Programme in Leipzig. Eva will perform as part of the 2025 Blackwater Valley Opera Festival, and will also act as a festival ambassador alongside fellow emerging artists. The bursary will support her continued studies and professional development, helping to advance her blossoming career as one of Ireland's most promising young sopranos. 'I'm thrilled to be the first recipient of this incredible new bursary,' said Eva. 'Thanks to the generous donor and to Kildare Village for funding the Brid Phelan Emerging Talent award, and to the ongoing support of Dieter Kaegi and all at Blackwater Valley Opera Festival, I now have the opportunity to travel for auditions and professional training, attend summer schools and masterclasses, and perform at this year's festival – not once, but three times. "I'm also deeply grateful to my family, friends, and my tutors at the Royal Irish Academy of Music for all of their support,' she continued. 'This opportunity is a turning point in my development and will have a lasting impact on my future career.' This new award, to be presented annually from 2025 to 2029, forms part of BVOF's ongoing commitment to nurturing exceptional Irish operatic talent. It honours the legacy of Bríd Phelan and recognises promising young artists on the cusp of exciting careers. Winners are selected by Dieter Kaegi, Artistic Director and Co-Founder of Blackwater Valley Opera Festival. The inaugural award presentation was marked by a performance from Eva Kavanagh at Kildare Village, together with Conor Prendeville, and Ella Nagy.
Irish Independent
05-05-2025
- Entertainment
- Irish Independent
Festivals in Waterford: your guide to summer fun in the Deise
Whether it's dancing in the streets of Ireland's oldest city, listening to classical music while fine dining, or dressing up for the races, here are five summer carnivals to suit every taste in Waterford. International Festival of Time Waterford city is welcoming the return of the International Festival of Time, set to take place on Friday and Saturday, May 23 – 24. This globally celebrated event brings together master watchmakers, horology enthusiasts, collectors, and artisans for an unparalleled celebration of timekeeping excellence. The city is home to Ireland's only dedicated museum of watches and clocks, The Irish Museum of Time in the Viking Triangle, and is just a short distance from New Geneva, where Genevan watchmakers had decided to relocate their entire industry in 1784. The festival highlights for 2025 include Exhibitions of Rare and Exquisite Timepieces, which will showcase a breathtaking collection of handcrafted mechanical watches and antique timepieces. 'The International Festival of Time is a unique opportunity to immerse oneself in the world of cutting-edge horology while experiencing the vibrant culture and heritage of Waterford,' said a spokesperson. Tickets at Blackwater Valley Opera Festival Black Valley Opera Festival (BVOF) is returning to Waterford from May 27– June 2 for its fifteenth anniversary. Ireland's summer opera festival offers a richly-curated programme of opera and classical music set in 12 historic homes and venues across the Blackwater Valley. 'Join us for a week of 23 special events including full-scale operas, intimate concerts, bespoke dining experiences and free open-air recitals,' said an organiser. 'This year's programme has something for everyone, from opera fans to new audiences, from families to foodies.' The festival has evolved from a 2010 pop-up event into a flagship festival for Waterford, attracting thousands of visitors each year. The festival celebrates opera, classical music events, and dining at venues including Lismore Castle and the semi-restored Dromore Yard. Highlights this year include Benjamin Britten - A Midsummer Night's Dream on May 28, 30, 31 and June 1, for which there are limited tickets remaining. Lismore Castle will play host to conductor David Brophy and director Patrick Mason, with the Irish Chamber Orchestra, while Henry Purcell - Dido and Aeneas are on May 27 and 29 in St Carthage's Cathedral, Lismore, with Paula Murrihy, Dean Murphy, Kelli-Ann Masterson, the Irish Baroque Orchestra, and Nicholas McGegan. The Dromore Yard hosts on Niamh O'Sullivan and Gary Beecher with When Birds Do Sing, on June 1 and on June 2 it is Paula Murrihy, Irish Baroque Orchestra, and Nicholas McGegan. Recitals are from May 27 –June 2 in Salterbridge House, Tourin House, Villierstown Church, St Carthage's Cathedral, and Woodhouse Estate, with bespoke dining experiences at Lismore Castle. Final tickets are now on sale. Contact the box office at +353 87 407 9250 or visit Spraoi International Street Arts Festival Spraoi International Street Arts Festival transforms Waterford city from Friday to Sunday, August 1 - 3 into a giant stage where artists from around the world perform for free. The festival attracts audiences of all ages with an exciting programme of street performers, contemporary circus, music, dance, fireworks, and the Spraoi Festival Parade. This year is Spraoi Festival number 33, it began life under the wing of Red Kettle Theatre Company before flying on its own. The name was suggested by Dáithí Kimber. Since then thousands of performers have featured at Spraoi, audiences numbering hundreds of thousands have delighted in the magic, and Waterford is established as Ireland's street performance capital. See events at Tramore Horse Racing Festival The four-day August festival at Tramore Racecourse brings the seaside town alive, with racing each evening leaving days free to explore the coastline or Tramore's many bars and restaurants. Running from August 14-18, the Friday evening will be BBQ night at the racecourse, and on Saturday evening it's all about style as the winners of the lucrative best dressed competitions will be crowned. There is racing over the jumps on Thursday evening too and a final afternoon card of racing, again over jumps, on Sunday. Tickets at Dunmore East Bluegrass Festival Set in one of Waterford's most-loved seaside towns, the Dunmore East Bluegrass Festival brings together musicians from all over the world to celebrate their take on bluegrass or country music. Headliners last year included young US duo Ashlee Watkins and Andrew Small, who hail from the Blue Ridge Mountains in Southwest Virginia and singer songwriter Hank Wangford from the UK. The 30th renewal is set for August 22, 24 and 24, with the line-up of acts and events to be revealed soon at
Irish Examiner
04-05-2025
- Entertainment
- Irish Examiner
Culture That Made Me: Music maestro David Brophy picks his touchstones
David Brophy, 53, grew up in Santry, Co Dublin. In 2007, he was appointed principal conductor of the RTÉ Concert Orchestra. He has conducted orchestras at major international events, including Queen Elizabeth II's state visit to Ireland in 2011. He was made principal conductor with Cologne's WDR Funkhaus orchestra in 2024. He will conduct the Irish Chamber Orchestra for A Midsummer Night's Dream, May 27-June 2, Blackwater Valley Opera Festival, Lismore Castle, Co Waterford. See: Brothers in Arms I remember aged 13 or 14 buying Dire Straits' Brothers in Arms. The lyrics are great. There's outstanding hooks and guitar riffs on it. I can still hear that opening guitar riff on Money for Nothing, with those parallel fifths, and the hairs on the back of my neck stand up. A world opened up to me – it was music you didn't necessarily hear on Top of the Pops. It's well put together – all the tracks lead from one into the other. It was the first album I got that made me listen to music differently. It's amazing. Vivaldi's Four Seasons I didn't do classical music at school. The first classical music thing I bought was aged 17. I stumbled across Vivaldi's Four Seasons. I listened to that so much the spool on the tape eventually gobbled itself up. They were the days when music was perishable. Riffing and the notion of a small group of notes that becomes arresting finds its beginnings with Vivaldi's Four Seasons. There's a lot of music in it that has been used by rock musicians over the years. Jon Lord Great musicians I've worked with over the years have listened to lots of different types of music. I worked with Jon Lord at the RTÉ Concert Orchestra many years ago. I remember having a drink with him after the gig, and we spent the whole evening sitting in the Shelbourne bar talking about Beethoven. He didn't wanna talk about everything else. He wasn't interested in talking about Deep Purple. I see music as a continuum. I don't see a huge difference between Vivaldi and Deep Purple. The Shining Jack Nicholson as Jack Torrance in The Shining The music in The Shining is amazing. Stanley Kubrick married music and tension in a scene in a way no other director has done. That scene where Shelley Duvall's character comes down the stairs – and Jack Nicholson has been writing whatever novel he's been writing – and she sees written across all the pages, 'All work and no play makes Jack a dull boy.' All that music you hear in the background is from Bartók's Music for Strings, Percussion and Celesta. I love that film – the lighting, the cinematography. The acting is unreal. All the scenes are the perfect length. There's a look off it. It's cleverly done. It's one of those films I know inside out. Woody Allen Years ago, I was a big Woody Allen fan. I was first attracted to his films because he's the underdog. I identified with him. I was bullied badly at school and have all my scars that we all have from school. That dry New York wit, the droll underdog sense of humour made me laugh all the time. I didn't relate to swashbucklers in movies, but I related to Woody Allen as a teenager. Enda Walsh Mikel Murfi, Cillian Murphy and Stephen Rea during a photoshoot for Ballyturk. I'm a big Enda Walsh fan. I remember in particular seeing Ballyturk with Stephen Rea, Cillian Murphy and Mikel Murfi, three legends on stage. I felt reassured leaving it because I felt, oh, somebody else sees the world like me. I find the world of his plays completely normal. He taps into the deep psychosis we walk around with all day long. Stephen Rea sang in the play. His mic came down, like one of those microphones that come down in boxing arenas. I spoke to Stephen afterwards, and he goes, 'Oh, Brophy, if I'd known you were there, I'd never have sung.' Benjamin Britten I did a foundation course in Dublin College of Music back in the late 1980s. I got exposed to Benjamin Britten. He was seen as being scary, very modern music. I remember buying his Sinfonia da Requiem and his Cello Symphony, which blew my mind. It wasn't atonal, but it was weird music, unlike music I'd heard before, using an orchestra with all the instruments. I don't know why somebody who had a diet of chart music and a bit of Vivaldi suddenly jumped into Benjamin Britten, that's quite a leap, but I became fascinated by his music. Under the Moon I started working with traditional musicians, and delving into the world of trad, in my mid- to late-twenties. I bought Under the Moon by Martin Hayes with Steve Cooney. I remember listening to it and pennies dropping, thinking there's a circle here between all the baroque music I'd be listening to and traditional Irish music. It's a seminal album for me, still a go-to. It's fantastic. Mise Éire Seán Ó Riada saw himself taking central European avant garde music to Ireland and exploring that world. He did something embryonic but simple, like that opening chord in the strings, which is just tremolo. Everyone's moving their bow very fast. That creates huge expectations straightaway. Then you get the opening horn solo on Roisín Dubh. It's very clever, very simple. He managed to distill traditional elements and put them in an orchestra context. He took trad – music from an oral tradition, domestic music, played in your house by your family, or played in the local pub – and he made it cinematic. That's the genius of it. He gave it a brand new canvas. BB King I went to see U2 on their Lovetown Tour. They played at Dublin's Point Depot in late December 1989. I was blown away by BB King and his band, who supported them, that night. At the time, I didn't realise the legend that BB King was. He had all these amazing jazz/blues musicians from America in his band, there playing at the Point. My jaw hit the ground.. It was unreal. I'll never forget the sheer sense of virtuosity. Grigory Sokolov Around the same time, I went to Dublin's Concert Hall to see the great Russian pianist Grigory Sokolov. He played music by Rameau, an eighteenth-century French composer. On the grand piano there are three pedals. The left pedal is called 'the una corda pedal', the softer pedal. He used that pedal in a way I've never heard in my life. The colours he got from the piano – I was completely mesmerised. One of the best concerts I was ever at. Simon Rattle I saw the English conductor Simon Rattle conduct in Dublin last September. He was on tour with the Bavarian Radio Symphony Orchestra in Germany. The magic is in what he doesn't do. He knows exactly what is the minimum he needs to do with the orchestra. Like, if you look at Usain Bolt's cheeks when he runs, his face is unbelievably relaxed. That sense of being able to let go to create something amazing is what Rattle has. The best people don't try. They just do. They've got that flow. Read More Matt Cranitch takes a bow for lifetime of musical achievement
