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

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  • Registered Users Posts: 4,282 ✭✭✭westtip


    sandwich thanks for the insight on Boheme. The production got very mixed reviews in the UK press - which put me off spending big bucks for the GCT. its good news to hear about the venues suitability for opera - if OI step up to the plate and move there ticket prices shouldn't be as exhorbitant as Scottish Opera were there on a commerical basis - I can't imagine they got subvented by the UK arts council to come to Dublin but their touring in the UK does get UK arts council support so in a way Dublin and Belfast were not level playing fields. Belfast got subsidised Dublin didn't. OI would be subsidised at the GCT therefore the prices versuse the Scottish Opera prices shoudl be more competititive. Lets hope this theory pans out!

    BTW folks on advance notice for next week on July 1st there is a Queen of Spades on live from Barcelona at various cinemas check out www.operaincinema.com


  • Closed Accounts Posts: 143 ✭✭JonnyBlackrock


    I've finally got a few minutes to write a bit about La Boheme, although what I've got to say isn't that much different to what has already been said.
    The theatre is excellent - the sound is more than adequate, the pit is big enough for a full symphony orchestra and it has a very big stage. It also seats 2100. OI should definitely move there, without reducing the number of dates. They may be able to reduce prices a bit, but rather than that I'd say that they should put the extra revenue towards raising their standards and ambitions.
    The cast were fine. Celine Byrne was EXCELLENT. A really beautiful voice which soared through the hall without her having to push. Rodolfo might not have had the greatest voice on the planet but he was very expressive in a funny sort of way. Musetta was also excellent, but her voice didn't quite fill the hall.
    The orchestra was very impressive, especially if you're accustomed to the lacklustre and tinny NSO, but it drowned out the singers occasionally (but that might have been because their voices were small rather than the orchestra too loud).
    The production wasn't very convincing. The action was moved to New York in the present.
    The four Bohemians had an array of computers and mobile phones and didn't look at all poor, and yet they're supposed to be starving. I don't think TB is a widespread problem in NY in 2010, so the whole coughing thing was not credible. Also, Mimi didn't look at all sick, particularly in the last act, but that is more to do with the make-up and costume people than it is with Celine Byrne's acting.
    Cafe Momus was an art gallery opening night. In the original story it is highly believable that a stangely dressed Parpignol goes through a cafe selling balloons on New Year's Eve, but why would a man dressed as a woman be selling balloons at an art gallery opening?
    There is something wrong with opera directing at the moment. There is always this relentless drive for "relevance", as if we can't understand a story if it is set in Paris in the 19th century. But what is there not to understand? These are simply young poor artists struggling to survive and if anything it is easier to understand if it's in 19th century Paris as then at least we understand why Mimi has TB.
    For "updating" to work, every single aspect has to fit in with the story. The best example I have seen so far is Jonathan Miller's 1950s Rigoletto at the ENO, because after all, there is not a huge difference between the court of an Italian prince and the court of an Italian-American mafioso. But in this production that simply didn't happen as there were too many inexplicable aspects.


  • Registered Users Posts: 4,282 ✭✭✭westtip


    thanks interesting thoughts I had pre-read some stuff about this production and as said before it did not make me want to do a 350 mile round trip to get to it - but its good to have some live opera in Dublin in the summer.

    I saw a boheme in Sydney OH (my one and only time to go there, sorry for the name dropping!) in the early 90s set in 1950s Paris which worked really well - and the slightly scaled down OTC Boheme a few years ago was more contemporious - but really excellent but then that was directed by the best operatic directional talent we have in Ireland Annilese Miskimmon - the OTC artistic director.

    You are quite right about the Miller Rigoletto - Which became an icon of British operatic stage history, it was an inspired production that worked so well - do you remember the duke throwing a quarter in the duke box to kick start La donne Mobile - Brilliant piece of theatre!

    Sometimes repositioning an opera works sometimes it doesn't sometimes it is just done to make it different and to please the directors ego (more often than not the case) Personally I think unless the idea is really good with an opera like boheme it is difficult to pull it off - and clearly this contemporary NY job on Boheme leaves some question marks. Nice to get the reports on the theatre - as mentioned above in another post at lease OI will benefit from using their Arts Council support to perform in this theatre. But can you imagine it filling at the prices SO had for say a Janacek or Britten or even the lesser known Verdi stuff? I think it would be a struggle.


  • Registered Users Posts: 2,018 ✭✭✭shoegirl


    OI do have dress rehearsals which I think they only charge a modest fee into. Not sure if you need to know somebody to find out, but its a huge discount on the box prices.

    Agreed that prices are absolutely obscene. San Francisco opera are doing the Ring next year and tickets are around the same despite SFO being about 3 tiers ahead of OI.

    In fairness OI have improved a lot over the last 2 decades, but ticket prices are exhorbitant and don't serve the interests of their long term future.

    I find sometimes the productions done by students in DIT, CIT and the rIAM are very good. Smaller regional productions can be good and reasonably priced. It is unfortunate that it is all so poorly resourced.


  • Registered Users Posts: 4,282 ✭✭✭westtip


    shoegirl wrote: »
    In fairness OI have improved a lot over the last 2 decades,

    .

    Two words that make me disagree with you on this one: Dieter kaegi. Sorry to make it personal but his "artistic" direction has dragged this company into the mire.


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  • Closed Accounts Posts: 143 ✭✭JonnyBlackrock


    westtip wrote: »
    Two words that make me disagree with you on this one: Dieter kaegi. Sorry to make it personal but his "artistic" direction has dragged this company into the mire.

    Indeed. I've only ever seen two of their productions, Carmen 6 or 7 years ago, and the infamous Traviata with x-rays of diseased lungs all over the backdrop. Both were absolutely risible.


  • Closed Accounts Posts: 1,066 ✭✭✭Sandwlch


    Indeed. I've only ever seen two of their productions, Carmen 6 or 7 years ago, and the infamous Traviata with x-rays of diseased lungs all over the backdrop. Both were absolutely risible.

    Its well you didnt see Don Carlo about 10 years ago. I still havent recovered my appetite for the work.


  • Registered Users Posts: 451 ✭✭Doshea3


    Speaking of Carmen, did anyone attend the performance at the Glasthule Opera Festival in the Pavilion, Dun Leary?

    http://www.irishtimes.com/newspaper/features/2010/0623/1224273111187.html


  • Registered Users Posts: 4,282 ✭✭✭westtip


    Sandwlch wrote: »
    Its well you didnt see Don Carlo about 10 years ago. I still havent recovered my appetite for the work.

    Sandwich why did you go reminding me of that!!! I feel ill as a result! do you remember the Grand Inquisitors major aria being sung from a Sedan Chair been carried through rustling leaves, I think they made him eat an apple as he sand and toss the core out onto the stage floor and the intensity of Ebolis great aria being destroyed by cavorting half naked women behind a net curtain draped half way across the stage. I have never booed as loudly at an opera house as much as I did that night - in fact I got warned by a member of staff for shouting out "the Director should be hung that production was a digrace" - Thanks a lot Sandwich - you have bought it all back - I will send you the therapy bill!!! :-)

    Rigoletto and Meistersinger in Cardiff this weekend ---lucky me Have a good weekend folks. :-)


  • Registered Users Posts: 28,200 ✭✭✭✭looksee


    Anyone going to Pikovaya Dama from Barcelona on Thursday- at cinemas. I haven't seen this opera before, is there anything I should look out for, anything of particular interest?


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  • Registered Users Posts: 4,282 ✭✭✭westtip


    looksee wrote: »
    Anyone going to Pikovaya Dama from Barcelona on Thursday- at cinemas. I haven't seen this opera before, is there anything I should look out for, anything of particular interest?


    I most certainly am (Castlebar - but also on at Swords, Dundrum and Dungarvan see http://www.more2screen.com and click on the What's on button) at €15 these operas in cinema from the competitive distributor are much better value (and IMO have had better broadcast quality) than the Met shows at €25 which I think are a bit on the steep side for the cine broadcasts medium have a look at this link there are some good extracts posted up on You tube,

    http://www.youtube.com/watch?v=zYEi6eE9ens&feature=related


  • Closed Accounts Posts: 143 ✭✭JonnyBlackrock


    So how was Cardiff?


  • Registered Users Posts: 4,282 ✭✭✭westtip


    So how was Cardiff?
    Fan bloody tastic.

    Rigoletto and Meistersinger in Cardiff at the weekend.

    Rigoletto was good standard by any international standards (excellent by OI standards) but the production which was first seen in 2002 just did not work for me - set in the political circles of the White House in the early 1960s I can only assume the Duke wa inspired by the Kennedy Irish Mafia - It did not work for me at least and nothing to do with the need for traditionalism etc it just didn't do it and it didn't flow as an idea.. I will write more later.

    Meistersinger was a triumph from start to finish - I have not got time to write a long review - Bryn Tyrfel doing his first Hans Sachs was brilliant - magfnificent -supported by a great cast - I will write more later as the whole experience of seeing WNO in their home of the magnificent Cardiff Millenium Theatre only made me realise what a forlorn hope we ever have of even thinking we could create something like WNO here in Ireland - WNO are in the premier league of international opera companies - in the UK they are equal to anything ROH, can stage. Believe me WNO are on a par with the best international opera houses. Their standards are astonishingly high.

    Now let me tell you I sat with a friend who had booked the tickets on subscrition in the top level of this magnificent theatre - the sound quality and volume was impeccable - Rigoletto - £12, Meistersinger £17. Now try and tell me how this coudl be achieved at the Grand Canal theatre.. The theatre had been sold out for both performances and all performances during the week for over two months.

    You could get a basic single plate meal at any of the local pubs for about a fiver (INCLUDING A PINT!!) The whole weekend including B&B and flights cost not much more than two full price tickets for Boheme at Grand Canal theatre....so what's the moral of this story. We have great regional and international opera companies within a stones throw - how are we going to compete with them.


  • Closed Accounts Posts: 1,066 ✭✭✭Sandwlch


    westtip wrote: »
    We have great regional and international opera companies within a stones throw - how are we going to compete with them.

    Is that not the nub of it? Don't try to compete - we need these opera companies to visit us, and not waste time trying to achieve a level we cannot afford on our own. Wexford does reach a good level - but it is not cheap by any standard. I guess WNO receives substantial state support ?

    Glad you enjoyed Cardiff. Have never really thought of going to there...will keep it in mind for the future. Going to Nozze di Figaro in Covent Garden this week. But its very few of us can afford to travel just to see opera (and I can only afford a fraction of what I would like to). But 15 pounds is super value - until these types of prices are available for quality productions in Ireland, it will remain a very niche passtime. Chicken and egg situation I guess.


  • Registered Users Posts: 4,282 ✭✭✭westtip


    Do you know what Sandwich you may have hit the nail on the head - but politically - it will never happen cos of national pride etc and the arguments why are we subventing - for example scottish musicians to come and play in Dublin when we have unemployed musicians of our own. But consider this - if we could with the arts council budget that gets given to OI - just say to Scottish Opera - when you come to Belfast come down to Dublin as wel and we will subvent your Irish tour, and to Opera North the same - the problem of no credible national opera company may actually be solved. Of course we all know this won't happen because of history, national pride (perceived national pride that is), and complete lack of pragmatism on the part of our politicians but I do rather like the idea of "outsourcing" our need for opera to one or two of hte UK regional companies. Very interesting thought....


  • Closed Accounts Posts: 143 ✭✭JonnyBlackrock


    westtip wrote: »
    but I do rather like the idea of "outsourcing" our need for opera to one or two of hte UK regional companies. Very interesting thought....

    Exactly. I've always thought that. If Dublin could be a regular part of WNO or Opera North tours, then that would do us just fine. The whole "national pride" thing is a total load of rubbish, in my opinion. If Chitty Chitty Bang Bang or Tina Turner can tour here, then why not opera?
    Also, if they can't get grants from our pathetic "arts" council, then can't they get money from the British Council? Aren't they supposed to subsidise British arts organizations when performing abroad?


  • Closed Accounts Posts: 143 ✭✭JonnyBlackrock


    In fact, a kind of "hybrid" model could be created.
    It would be quite possible to host a WNO production (soloists, sets, conductor etc) but to use a local orchestra and chorus at the same time. This would save loads of money and it would also give work to local musicians. This is how they've made an orchestra for Wexford in recent years and the results have been excellent.


  • Registered Users Posts: 4,282 ✭✭✭westtip


    Exactly. I've always thought that. If Dublin could be a regular part of WNO or Opera North tours, then that would do us just fine. The whole "national pride" thing is a total load of rubbish, in my opinion. If Chitty Chitty Bang Bang or Tina Turner can tour here, then why not opera?
    Also, if they can't get grants from our pathetic "arts" council, then can't they get money from the British Council? Aren't they supposed to subsidise British arts organizations when performing abroad?

    Agree with your sentiments - but we know its not going to happen - it is however a very interesting bit of spin on this whole idea of developing a national opera company, why bother when we can buy/subsidise perfectly adequete operatic standards by outsourcing. I am not sure WNO, ON or SO would go along with touring without their own orchestra - and frankly after hearing the standard of playing in the Meistersinger last weekend I wouldn't go to WNO unless their houseband was playing - they were superb.

    But taking this idea forward is a very interesting concept.

    The comparisons with Chitty Chitty Bang Bang and Tina Turner compared to why not opera are not really relevant! The former belong in the area of commercial theatre and tabloid entertainment, opera will struggle to stand alone without public or huge private patronage. We have our Arts Councils in the modern world and to a lesser degree these days corporate sponsors - but how would Wagner realised his genius without Prince Ludwig or Mozart without the patronage of the Court. In the US where public patrongage of the arts is less than it is in Europe, they have lived with private patronage for decades and a huge part of running a large opera company is involved in managing trust funds held by the companies to finance themselves - all from accrued private patronage over the years, and still these companies have financial issues....If the future of opera in ireland is going to be the occassional showing of La boheme in one large theatre in Dublin charging ROH type prices I for one will be spending more time in the likes of Cardiff.


  • Registered Users Posts: 28,200 ✭✭✭✭looksee


    So did anyone else go to the 'two for the price of one' opera? Went to see The Queen of Spades at the Dungarvan cinema, and somehow there was another opera being sung in the background of the one we went to see. Considering it was a live broadcast its difficult to know how this effect happened.

    They said it was not the cinema, it was the broadcast that was at fault, and eventually a lot of us left and got our money back, which was a great pity as the visual presentation looked lovely.


  • Registered Users Posts: 4,282 ✭✭✭westtip


    looksee wrote: »
    So did anyone else go to the 'two for the price of one' opera? Went to see The Queen of Spades at the Dungarvan cinema, and somehow there was another opera being sung in the background of the one we went to see. Considering it was a live broadcast its difficult to know how this effect happened.

    They said it was not the cinema, it was the broadcast that was at fault, and eventually a lot of us left and got our money back, which was a great pity as the visual presentation looked lovely.

    Looksee don't blame the cinema - it was the broadcast, we had the same problem in Castlebar - where by the way we got quite a good audience and the audience in Castlebar is clearly building. God knows what happened in the first act but the satelite stream from Barcelona was clearly problematic - nobody left the management apologised and made a point of talking to people in the foyer at the interval the second act and final act were perfectly OK. Personally I am not mad keen on the opera - I had not seen it for donkeys years but was happy enough to stay and listen out - YOu missed some really great singing in the last two acts.

    However I think there are still some technical issues on these live broadcasts - I had weather related problems at two of the Met broadcasts which cost €25 compared to €15 for these European opera house broadcasts, for €25 you don't want a hit or miss experience. Actually the best I have seen so far in the cinema in terms of quality of sound (and both very good performances) have been those recorded live and distributed/shown after the event. Rigoletto and I Puritani; Any problems with the broadcast are then gone as the cinema just gets a hard disc with the digital recording - and it does believe me beat sitting at home on the sofa wathing a DVD. Some people like the "live" element - don't kid yourself you are not actually going to the Met, or to La Scala - it is just a new way of seeing opera - so why not drop the live bit make sure the technical quality is perfect - cut down the intervals (standing around a cinema foyer for half an hour is not like being in an international opera house!) and maybe show them as "delayed live by say two or three days" I would prefer a sure technical showing than the problems we had last night and previous issues with the Met broadcasts

    Now having said all that - the two previous performances I went to in Castlebar - Tosca last month and Rheingold in May were perfect technically and both very very good performances

    Looksee don't give up on this way of seeing opera - but make your feelings known to the cinema - did anyone go to dundrum or Swords I presume it was the same problem and BTW how many turned up at Dungarvan?


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  • Registered Users Posts: 4,282 ✭✭✭westtip


    OTC being as innovative and exciting as usual and not just bringing brilliant performances and productions of old favs like Nozze di Figaro - this one looks like it could be as really interesting night of theatre going.

    Tickets are on sale today the 1st July for the opening night of The Diary of Anne Frank in the Abbey Theatre on the Peacock Stage on Friday 10 September, with a second performance on Saturday 11 September.
    Vivid and insightful, this heartrending opera recreates the world of 13 year-old Anne Frank in hiding, living in hope and fear, longing for normality for herself and her family.

    Opera Theatre Company’s 24th year of touring opera throughout Ireland continues with this memorable and atmospheric opera. Russian composer Grigory Frid, whose own family suffered enormously under Stalin, was so inspired by Anne Frank’s diary that he created the opera in 1969.

    Sung in English by soprano Ani Maldjian, the powerful optimism and unbending will to live continue to instill awe. The focus is on Anne Frank’s original words – her joy over a glimpse of blue sky, the budding love for her friend Peter, her determination to remain courageous, her humour and resilient hopes for freedom – all find moving and eloquent expression in the poignant score.


    With Andrew Synnott conducting Opera Theatre Company’s eight-piece chamber orchestra and with direction by Ingrid Craigie and Annilese Miskimmon, this compelling production should not be missed.


    Tickets €30 / €25(concession) Box Office 01 878 7222 www.abbeytheatre.ie

    Also Touring: Letterkenny, Navan, Waterford, Kilkenny, Kildare, Roscommon, Tralee, Bray, Galway, Tallaght see www.opera.ie for more details












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  • Registered Users Posts: 28,200 ✭✭✭✭looksee


    Westtip, I entirely agree, though I could not have endured an entire act of the strange sound effects, and they could give us no information about what the problem was or whether it was being dealt with. It was hard to tell, but I think the sound for the actual opera was slightly out of sync too.

    It was a great pity, and I totally agree that the couple of days delay to see a recording would not make a great deal of difference. People do seem to like the live broadcasts though, there is always a better attendance than for the recordings. Not that that is saying a great deal, I would guess there were about maybe 60 there last night, sometimes there might only be 15 or 20.


  • Registered Users Posts: 4,282 ✭✭✭westtip


    Looksee don't give up on it -I think (hope) this was a one off


  • Closed Accounts Posts: 143 ✭✭JonnyBlackrock


    westtip wrote: »
    If the future of opera in ireland is going to be the occassional showing of La boheme in one large theatre in Dublin charging ROH type prices I for one will be spending more time in the likes of Cardiff.

    I, for one, would much rather see the occasional imported production at the GCT than an utterly risible OI "creation" that costs the taxpayer a fortune.

    I paid 120 euros to see La Boheme, not cheap, I agree, but no more than what they charge at OI or in Wexford. Tickets at ROH can easily cost up to 230 pounds.


  • Closed Accounts Posts: 1,066 ✭✭✭Sandwlch


    I, for one, would much rather see the occasional imported production at the GCT than an utterly risible OI "creation" that costs the taxpayer a fortune.

    I paid 120 euros to see La Boheme, not cheap, I agree, but no more than what they charge at OI or in Wexford. Tickets at ROH can easily cost up to 230 pounds.

    Agree with 1st line Jonny, but 120 is still too expensive. OI is cheaper than that. I think I generally pay 40-60 E for the stalls in the Gaiety. 40 pounds buys the best seats to visitors to Belfast, but I think Westtip stated earlier that there is probably a generous subsidy in that.

    You can pay the 230 for ROH - but was there this week for 50, and a super performance it was. Was at the English Touring Opera Nozze in Belfast earlier this year - and while ROH production was clearly superior in almost every respect, ETO version was more than sufficient to thoroughly enjoy your night at the opera. I am not expecting Dublin to be offering us world class opera. But I would be very happy with something less than that standard, at a reasonable price (bulk of the tickets in the 40-70 euro range), if it was delivered with any degree of reliability, with a little more adventure outside the top 20 operas, in Dublin - 8 or 10 decent productions per year.

    (I feel Wexford, as a Festival, with a particular 'rarities/undiscovered' bent to it, and with an international reach, is a special case that just happens (fortunately for us admittedly) to be in Ireland - it should not really be considered part of the core delivery of opera in Ireland).


  • Registered Users Posts: 4,282 ✭✭✭westtip


    Sandwlch wrote: »

    (I feel Wexford, as a Festival, with a particular 'rarities/undiscovered' bent to it, and with an international reach, is a special case that just happens (fortunately for us admittedly) to be in Ireland - it should not really be considered part of the core delivery of opera in Ireland).

    Agreed on that Sandwich - If we call Wexford our Glyndebourne - its a special one off event and should not be included in the everyday mix of what a national repertory company should be putting out. Jonny I think you quoted the absolute top prices for ROH when they have a megastar performing - 230 in the Stalls or best seats in the house - having said that I saw an entire ring cycle from the Lower slips three years ago for 80 quid - which included domingo as Siegmund and John Tomlinson as Wotan/Wanderer, So ROH does have some "reasonably priced" tickets.

    I think what we need to do is set a benchmark and say what do we want for our bread and butter opera going here in Ireland. Personally I don't think OI deliver at the moment and as said before we have a fabulous niche company in OTC. One of the emerging options that we seem to think might work is abandon OI keep OTC and for the mainstream opera going give us say 4/5 operas a year in say Belfast and Dublin of performances by the UK regional companies: SO, ON or even WNO. - The outsourcing model (again politically I don't think this will happen). Using the grant that would have gone to OI to subvent these performances to allow realistic ticket prices for the great unwashed.


  • Closed Accounts Posts: 143 ✭✭JonnyBlackrock


    Absolutely agree about Wexford.
    Which is why the outpourings of righteous indignation when the festival kicked out the RTE orchestra (mostly from the direction of Michael Dervan and Lindsay Armstrong) was so ridiculous. Screams of "there are hundreds of Irish musicians with no work and they are importing an orchestra!". But ensuring employment for Irish musicians can hardly be the responsibility of the two-week festival.


  • Registered Users Posts: 4,282 ✭✭✭westtip


    Not sure I fully see your point here jonny, granted the rantings of Michael Dervan can be safely disregarded, Wexford does receive some funding - (glyndebourne does not BTW) although the grant wexfford recieves does not make it beholding to buy services entirely from the irish employment market; I think the issue of Wexford going outside Ireland to source an orchestra was entirely one of cost - a decision driven by a much wider agenda of how our employment cost base was forced through the roof by bad central fiscal management - but that goes into another agenda.

    Anyway to opera I have not scanned the papers or web recently to see what's on in the next few weeks - anything coming up soon on our culturally barren isle?

    If you want Opera I think july and August is a time to fly these shores to some of the international festival offerings across Europe. The opening three nights of the BBC Proms look like worth spending a few hours on the pavement each day in Kensington it really is a fantastic start to the greatest classical music festival in the world:

    Friday: Mahler symphony of a thousand
    Saturday: WNO Meistersinger - Believe me this is worth queing up for a Prom ticket - Bryn Tyrfel and Amanda Roocroft are WOW.
    Sunday: ROH Simon Boccanegra - with Domingo (the same cast as was on BBC2 on Saturday night)

    Unfortunately I booked a flight out of Dublin to Spain on Friday - had not checked the Prom schedule - this would be worth it for three days in London - even if the days would have been spent in a Prom Queue but a fiver a ticket for this schedule is unbelievable value. If you can - Go!


  • Registered Users Posts: 826 ✭✭✭Travel is good


    On a lighter note, and free!
    My advice, get there early. See this:

    Opera in the Open: Free lunch-time operas return to Dublin city centre

    Do something different at lunchtime this summer and listen to opera in the informal and intimate setting of the grounds of Civic Offices on Wood Quay in the city centre. Don’t worry if you know nothing about opera – an expert narrator will summarise the plot and explain who is who (or, as is often the case with opera, who they are pretending to be!).


    ‘Opera in the Open’ returns with four free performances of well-loved operas each Thursday at 1:00 pm from 5 August through to 26 August.

    Thursday 5th - Don Pasquale (Donizetti)
    Thursday 12th - Ariodante (Handel)
    Thursday 19th - Cavalleria Rusticana (Mascagni)/Pagliacci (Leoncavallo)
    Thursday 26th - Don Giovanni (Mozart)

    Now in its 11th year, ‘Opera in the Open’ is an initiative of Dublin City Council Arts Office as part of its remit to make the best of art and culture accessible to all those living, visiting and working in the city.

    http://www.dublincity.ie/RecreationandCulture/ArtsOffice/Programmes/Pages/CurrentProgrammes.aspx


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  • Registered Users Posts: 4,282 ✭✭✭westtip


    All you opera thread readers let me share this with you. Here I am in southern spain drinking fine Rioja with my headpones plugged into the laptop listening to meistersinger live from the royal albert hall two weeks ago I was watching this same production in Cardiff

    what a world we live in!

    My god what a fululous meistersinger!


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