Treasure is found in the most unlikely places…. For sixty years now many hundreds of thousands of people have made a pilgrimage to Wexford Festival Opera in search of buried operatic treasure. Wexford is a charming seaside town on Ireland’s southeast coast and since 1951 this town has hosted what has become known as one of the world’s most remarkable festivals. Wexford Festival Opera prides itself in giving new life to unjustly neglected operas, introducing artists and audiences to the forgotten masterpieces. And it does this in high quality productions which annually delight both critics and audiences alike. But far from being satisfied with presenting three productions each year, also on offer is a packed programme of morning events, lunchtime concerts, afternoon ShortWorks and recitals and late night revues. As if this wasn’t enough, a vibrant Fringe Festival offers everything from art exhibitions through to singing and swinging pubs And throughout all this, there is the remarkable camaraderie engendered by the warmth and intimacy of Wexford town itself. From the brand new Wexford Opera House seating just over 770, the 350 strong volunteer corps ready to welcome you to Wexford, to the hotels, bars and restaurants along the High, Main, and side streets of this Viking town, Wexford is a town which is truly taken over by the Festival. There’s something in the air that quickens everyone’s pulse – a common heartbeat of expansive good feeling and heightened sensibility that brings people back to Wexford again and again. The Wexford Festival Opera has been running since 1951, playing a central role in the cultural life of Ireland, in the world of Opera and Arts internationally. From small and humble beginnings it has achieved world-wide success and critical acclaim by demonstrating passion, innovation and a willingness to lead audiences and artists into neglected territories to explore the rich vein of operatic work worldwide.+ More details
Wexford Festival Opera - 21, 27, 30 October, 3 November 2011. A hurt and humiliated woman takes her revenge on men, breaking their hearts while protecting her own. The only way to a happy marriage, she says, is to forego love. The hugely surprising thing about La Cour de Célimène is that it has not been performed since it was first produced at the Opéra-Comique in Paris in 1855. Ambroise Thomas (1811-1896), who is best known for his opera Mignon (first performed in 1866 and performed at Wexford in 1986), spent several years in Rome during the 1830s where he immersed himself in the music of the leading Italian opera composers, Rossini, Bellini and Donizetti. Their influence is evident in La Cour de Célimène, which is an opera comique, written in French and containing both spoken and sung passages. The neglect of La Cour de Célimène for nearly a century and a half is difficult to understand, for it is generously endowed in every important area: attractive music, interesting orchestration, good ensemble writing, spectacular vocal solos, drama and duels, a clever and witty plot . . . this is an opera of wide appeal, which glitters with French sophistication and elegance. The character of Célimène, the flirtatious widowed Countess, dominates the opera. She is determined to make men fall in love with her, for her late husband’s infidelities caused her such distress that she wants to take her revenge on all men. Her heartless and cynically-flirtatious goings-on with her twelve suitors and her latest toy-boy – each of whom is convinced that she loves only him – are contrasted with her disapproving sister, the Baroness. The drama increases as events take several unexpected turns. www.wexfordopera.com+ More details
23, 29 October, 2 & 5 November www.wexfordopera.com It’s a good idea to know the woman you’re going to marry – and it’s a clever woman who sees what the man’s getting up to! Donizetti is one of the most frequently-performed composers at Wexford and Gianni di Parigi is the fifteenth of his operas to be staged during the sixty years of the Festival. It is one of Donizetti’s least-known works and was written in 1831 in a fruitless attempt to get a well-known singer to perform it in Paris so as to make Donizetti’s name better known. The first performance was to be a pirated one in La Scala in 1839, put on against Donizetti’s wishes. The story of Gianni di Parigi derives from a popular 15th century romans de chevalerie about the heir to the throne of France, the Dauphin. He is betrothed to the Princess of Navarre, but they have never met, and he wants to see her for himself before they get married, to find out if she is really as good and beautiful as he has been told. So he disguises himself as a wealthy burgher and goes to an inn which the Princess has reserved for herself and her entourage on their journey to Paris for her marriage. The disguised Dauphin insists on staying at the inn himself, bribes the innkeeper, commandeers the food and drink and is then able to ask the Princess to dine with him. The Princess sees through the plot and is well aware of the burgher’s true identity, but she thinks highly of his enterprise, goes along with the ruse and all ends very happily.+ More details
Durante os dias 27 e 28 de maio, os dez finalistas do Laboratório de Música se apresentaram em Audições abertas ao público, no Anfiteatro do Centro Dragão do Mar de Arte e Cultura. Formada pelo músico e produtor Mário Adnet, David McLoughlin (gerente internacional do projeto Brasil Music Exchange) e João Augusto (proprietário das gravadoras Deckdisc e Polysom), a comissão de seleção escolheu quatro artistas para participar da terceira edição do Laboratório. São eles: a banda DanChá, o cantor Miguel Cordeiro, o grupo Murmurando com o projeto "Aquarela Cearense" e o baixista Ananias Gois com o projeto "Kimera".+ More details
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