“… a Ulysses to remember, which is unlikely to be equalled on these shores for some time” ***** Financial Times
“A collective triumph as Ulysses arrives in Ireland at last” The Sunday Business Post
“The musical equivalent of the world’s best chef using just a clutch of the finest ingredients” The Irish Times
“A multiplicity of elements that made for a rare and memorable night of music and drama” **** Irish Examiner
In the first ever staging in Ireland of one of the greatest baroque operas, Monteverdi’s magnificent music finds a perfect creative match in the human drama of Homer’s Odyssey.
Ten years after the fall of Troy, the hero Ulysses has still not found his way home, as the gods quarrel over his fate. In Ithaca, his wife Penelope has waited faithfully, hoping against hope that he may still be alive. Meanwhile the suitors are circling…
The ground-breaking company Opera Collective Ireland joins forces with Kilkenny Arts Festival to showcase Ireland’s finest operatic talent of the younger generation in a new production by Tony Award-winning director Patrick Mason. Christian Curnyn returns to Ireland following superb performances of Idomeneo and Giulio Cesare at the Kilkenny Arts Festival to conduct one of the world’s most acclaimed early music ensembles, the Akademie für Alte Musik Berlin.
Don’t miss this unique opportunity to experience a glorious operatic marriage of Homer’s epic with renaissance Venice.
A heart-stopping tale of true love against adversity, performed in a vivid new English translation by Christopher Cowell.
A co-production with the Kilkenny Arts Festival generously supported by First Berlin GmbH.
Images © Marshall Light Studio
Christian Curnyn made his Royal Opera debut in 2009 conducting The Beggar’s Opera in the Linbury Studio Theatre. He has since conducted The Royal Opera’s productions of Cavalli’s L’Ormindo and Rossi’s Orpheus at the Sam Wanamaker Playhouse, Shakespeare’s Globe.
Curnyn was born in Glasgow. He read music at York and studied harpsichord at the Guildhall School of Music and Drama, and has gone on to become one of the UK’s leading Baroque conductors. He founded the Early Opera Company in 1994. The company’s performances have included Agrippina (New York), Orlando (South Bank Early Music Festival), Partenope (Buxton and Aldeburgh festivals) and tours of Flavio and Susanna. Curnyn made his English National Opera debut in 2008 conducting Partenope and has since returned to conduct After Dido (Katie Mitchell’s realization of Dido and Aeneas), Rameau’s Castor and Pollux, Julius Caesar and Charpentier’s Medea. Opera engagements elsewhere have included Semele and Tamerlano for Scottish Opera, Saul for Opera North, Le nozze di Figaro and Cavalli’s Eliogabalo for Grange Park Opera, Così fan tutte for New York City Opera, Tolomeo for Glimmerglass Opera, Platée and The Fairy Queen for Stuttgart Opera and Cavalli’s La Calisto and Gluck’s Ezio for Frankfurt Opera.
On the concert platform Curnyn has worked with orchestras including the Hallé, Ulster Orchestra, English Concert, Irish Baroque Orchestra and Scottish Chamber Orchestra. He has made award-winning recordings of Semele and Partenope for Chandos, for which he has also recorded Eccles’s The Judgement of Paris and Serse.×
Born in London in 1951, Patrick Mason was educated at Downside School, and trained at the Central School of Speech and Drama (Teacher ’72), where he was awarded diplomas from the Central School, and the University of London.
He joined the Abbey Theatre, Dublin, as a Voice Coach in 1972, before becoming a lecturer in Performance studies at Manchester University in 1975. He returned to the Abbey as a resident director in 1978. His long association with the Abbey culminated in his tenure as Artistic Director from 1993 – 1999. He has worked extensively with Irish writers such as Brian Friel, Hugh Leonard, Tom Murphy, Tom Kilroy, and Tom MacIntyre. His production of Friel’s Dancing at Lughnasa won him an Olivier nomination and a Tony Award for Best Director. He is also closely associated with the work of Frank McGuinness and directed the premieres of The Factory Girls, Observe the Sons of Ulster Marching Towards the Somme,Dolly West’s Kitchen (Abbey/ Old Vic, London), and Gates of Gold (Gate Theatre, Dublin).
He first directed at the Gate Theatre, Dublin, in 1983 and has returned over the years to direct a series of productions of Anglo-Irish playwrights such as Farquhar, Sheridan, Wilde, and Shaw. In recent years he has directed a series of productions for the Gate Theatre, Dublin, which include The Yalta Game (Sydney/Edinburgh Festivals), Hay Fever (Charleston Spoleto Festival), and The Speckled People. Opera work includes productions for Wexford Festival Opera, WNO and ENO, as well as productions for Opera Zuid, Opera Ireland, the Buxton Festival and Irish National Opera.
In 2000 he was awarded an honorary doctorate by Trinity College Dublin in recognition of his contribution to Irish Theatre. He is currently an adjunct professor in Drama at University College Dublin, and was conferred with an honorary doctorate by the university in 2013.×
Paul Keogan’s recent designs include: Sinners (Lyric Theatre Belfast); No Man’s Land (Queensland Ballet, Brisbane); Falstaff (Vienna Staatsoper); Run to The Rock (Amanda Coogan/Belfast International Festival); The Gaul (Hull Truck Theatre); Flight (Rambert, UK Tour); A Tale of Two Cities (Theatre Royal, Northampton); The Plough and The Stars, Cyprus Avenue, Shibboleth, Our Few and Evil Days and The Risen People (Abbey Theatre, Dublin); Maria de Buenos Aires (Cork Opera House), The Lord of the Flies and The Crucible (Open Air Theatre, Regents Park, London); The Hudsucker Proxy (Nuffield Theatre, Liverpool Playhouse); Powder Her Face (Teatro Arriaga, Bilbao); La Bohème andWake (Nationale Reisopera, Netherlands); Yerma (West Yorkshire Playhouse); Novecento (Trafalgar Studios); Big Maggie (Druid, Galway); The Matchbox (Galway International Arts Festival); Hansel and Gretel (English National Ballet); Lost(Ballet Ireland); Cassandra and Hansel & Gretel (Royal Ballet); Sacrifice at Easter and Gentrification (Corcadorca, Cork); Before it Rains (Sherman Cymru, Cardiff); La Bohème, Samson et Dalilah, Don Quichotte and Les Dialogues des Carmelites (Grange Park Opera); The Lighthouse (Opera Theatre Company); Tartuffe, The Misanthrope and A Streetcar Named Desire (Playhouse, Liverpool); The Birds and A Streetcar Named Desire (Gate Theatre, Dublin) and Walworth Farce (Landmark Productions, Dublin).×
Catherine’s most recent work is Acis and Galatea ( Opera Theatre Company) The Skriker (The Lir Academy) and Owen Wingrave ( Opera Bastille, Paris and Opera Collective Ireland). Her work with the Abbey Theatre includes The Plough and the Stars (Irish Times Theatre Award nomination 2017) Oedipus, Bastard Amber (A joint production with Liz Roche Dance Company), Our Few and Evil Days, Aristocrats, Quietly, (Irish Times Theatre Award nomination 2015) The Government Inspector, Macbeth, The Playboy of the Western World, Saved, Doubt, Doldrum Bay, Henry IV Part I (Irish Times/ESB Theatre Award nomination 2007), On Such As We and Chair (Operating Theatre). Recent work includes Romeo and Juliet (Irish Times Theatre Award nomination 2016), The Threepenny Opera (Gate Theatre). Neither Either, Body and Forgetting and Fast Portraits (Liz Roche Company). Breaking Dad (Landmark Productions) an (Irish Times Theatre Award nomination 2015) O Go My Man, Buddleia (Lir Academy), Suor Angelica (R.I.A.M), Tundra, DOGS (Emma Martin Dance)(Winner Best Production and Best Design for ABSOLUT Fringe Festival 2012). Ice Child (Barnstorm Theatre Company), and Carmen (Opera Theatre Company). Other work includes Romeo and Juliet (joint production with Corcadorca and Cork Opera House and she designed much of Bedrock’s back catalogue including Wedding Day at the Cro Magnon’s, Roberto Zucco, Quay West, Night Just before the Forest, Wideboy Gospel and Massacre @ Paris. Catherine is a graduate of the National College of Art and Design, Dublin.×
Countertenor Eoin Conway completed his MMus in performance at the Royal Irish Academy of Music in 2016, earning a First Class Honours. He studies with Lynda Lee, and has taken part in masterclasses with Ann Murray, Emma Kirkby, Iestyn Davies and Laurence Cummings.
He has appeared in Cavalli’s Ormindo (Nerillo), and in Handel’s Clori, Tirsi e Fileno (Fileno) in performances with the Royal Irish Academy of Music and at the Budapest Liszt Academy, and works regularly as a soloist for oratorios. Eoin is a multiple prizewinner at the Dublin Feis Ceoil, including the Dermot Troy trophy for oratorio, and the Joseph O’Mara trophy for male voices. Other recent performances include a recital of songs by Dowland, Purcell and Nico Muhly, with lutenist Toby Carr as part of the Music for Galwayfestival, and Bach’s St John Passion with the Nederlands Bachkoor. This is his first engagement with Opera Collective Ireland.
In addition to his solo performances, he sings with the choir of Christ Church Cathedral Dublin and the vocal quartet 4 in a Bar, and also works as a conductor, arranger and accompanist.×
Baritone Brendan Collins trained at the Cork School of Music and the DIT Conservatory, and was granted a scholarship to study at the Opera Studio of La Monnaie de Munt in Brussels under renowned bass-baritone José van Dam.
His operatic appearances include Le nozze di Figaro (Count Almaviva), La bohème (Marcello), Carmen (Escamillo), Pagliacci (Tonio), La traviata (Père Germont), Simon Boccanegra (Paolo Albiani), Don Giovanni (Masetto), L’assedio di Calais (Pietro de Wisants), Rigoletto (Marullo), Madama Butterfly (Yamadori) and Il segreto di Susanna (Count Gil), with Opera Ireland, Opera Theatre Company, Wide Open Opera, Cork Operatic Society, Glyndebourne Festival Opera, English Touring Opera, Scottish Opera, Longborough Festival Opera, and Northern Ireland Opera, amongst others.
He has performed at major venues including the Royal Albert Hall London (BBC Proms under Sir Andrew Davies), Brooklyn Academy of Music New York (under Sir Mark Elder), Kennedy Center Washington D.C., Palais des Beaux-Arts Brussels, Stephansdom Vienna, Kajetanekirche Salzburg, Grand Théâtre de la Ville de Luxembourg, Opéra de Lausanne, Westminster Cathedral London and Wexford Opera House.
Engagements this season include The Return of Ulysses(Il Tempo/Antinous) with Opera Collective Ireland, Partenope (Ormonte) at the Iford Arts Festival and Les Contes d’Hoffmann (Crespel) with Irish National Opera.×
Irish soprano, Rachel Goode, is currently in her second year on the Master’s in Opera course at the Royal Welsh College of Music and Drama and studies under the tutelage of Suzanne Murphy and coach Michael Pollack. In 2014 Rachel graduated with a First Class Honours, Bachelor of Music degree from the DIT Conservatory of Music and Drama in Dublin under the guidance of Colette McGahon-Tosh and Trudi Carberry and was the recipient of the Michael McNamara Gold Medal for the highest recital mark. In 2012 Rachel made her operatic debut in Menotti’s Amahl and the Night Visitors (The Mother). Rachel’s other operatic experience includes Handel’s Semele (Iris), Kurt Weill’s Street Scene (Anna Maurrant) and Puccini’s Gianni Schicchi (Lauretta) in the RWCMD 2017 Winter Opera Gala with the Welsh National Opera Orchestra under the baton of Maestro Carlo Rizzi.
Rachel is very grateful for the support of Galway County Council, Arts Council Ireland, The Worshipful Company of Girdlers Bursary, The Black Mountains Barns Bursary and the David and Alasdair MacWilliam Scholarship.×
Belfast-born soprano Emma Morwood studied at the University of Edinburgh, and at the Royal Northern College of Music where she was a major award winner.
Performance highlights include appearing as soloist with the Prussian Chamber Orchestra in Berlin, Mozart’s C minor Mass with the Ulster Orchestra, Verdi’s Requiem with Manchester Camerata and Altrincham Choral Society, Handel’s Messiah with Edinburgh Royal Choral Union, her Royal Festival Hall debut in the premiere of Gondai’s Rapid Welcoming Descent with The Philharmonia, Brahms’s Ein deutsches Requiem with the City of Birmingham Symphony Orchestra under Simon Halsey, Beethoven’s Ninth Symphony with the Royal Liverpool Philharmonic Orchestra and Vladimir Ashkenazy, and Mozart’s Exsultate Jubilate with the Ulster Orchestra.
Opera roles include Die Zauberflöte (Pamina), Così fan tutte (Fiordiligi) and La bohème (Mimi) in the Edinburgh International Festival preview workshops, The Magic Flute (Pamina) for Opera Theatre Company, Alcina (Morgana) at the Buxton Festival with OTC, Carmen (Micaela) for New Devon Opera, Yeomen of the Guard(Elsie) with the Gilbert and Sullivan Society and The Marriage of Figaro (Susanna) on tour with OTC.
Forthcoming engagements include Carmina Burana with the Belfast Philharmonic and Beethoven’s Missa solemnis with Altrincham Choral Society and Manchester Philharmonia.×
Tenor Andrew Boushell recently completed the Opera Works programme at ENO, before this he completed an opera performance diploma at the Opera Studio Vlaanderen, Belgium supported by the Arts Council of Ireland. He is also a graduate of the Royal College Music where his studies were supported by the Douglas & Hilda Simmonds Award. Andrew’s varied oratorio repertoire includes works by Puccini, Handel, Purcell, Gounod, Bruckner, Bach and Britten. Operatic experience includes the role of the Young Collector in Opera Ireland’s Irish premiere of Previn’s A Streetcar Named Desire and a national tour of Ireland performing the title role in Mozart’s Bastien and Bastienneas a member of Opera Theatre Company’s Young Associate Artist Programme.
Andrew has covered the role of First Elder in Handel’s Susannafor Iford Art’s Festival with the Early Opera Company conducted by Christian Curnyn and performed the role of Ferrando in Cosi Fan Tutte for Rye Festival Arts Festival and Toby Higgins in Kurt Weill’s The Rise and Fall of the City of Mahagonny for Opera Theatre Company. More recently, Andrew covered the role of Števa Buryja in Janáček’s Jenůfa at English National Opera and appeared as Sir Philip in Opera Collective Ireland’s production of Owen Wingrave.×
Alan Ewing has sung for the Royal Opera, Covent Garden, English National Opera, Welsh National Opera, Netherlands Opera, Berlin Staatsoper, Zurich, Karlsruhe, Strasbourg, Opéra national de Lorraine, Lille, Nantes, Opera Colorado and at the festivals of Salzburg, Lucerne, Aldeburgh, Maggio Musicale and New Zealand, in a wide repertoire including Die Entführung aus dem Serail (Osmin), Die Zauberflöte (Sarastro), Der Rosenkavalier (Ochs), Bluebeard’s Castle (Bluebeard), Fidelio (Rocco), Il trovatore (Ferrando), Rigoletto (Sparafucile), Don Giovanni (Leporello), War and Peace (Kutuzov), Der Ring des Nibelungen (Fafner) Acis and Galatea (Polyphemus) and the title role in Sweeney Todd.
Recent engagements included King Roger and The Nose at the Royal Opera, Covent Garden, Eugene Onegin (Gremin) at Grange Park, Agrippina (Claudio) for Opera Collective Ireland, Gerald Barry’s The Importance of Being Earnest (Lady Bracknell) at the Barbican and the Rose Theatre New York for the Royal Opera, Powder her Faceat the Arriaga Theatre, Bilbao, A Midsummer Night’s Dream (Bottom) at the Performing Arts Centre, Hyogo and Die Walküre (Hunding) at Grange Park Opera.
Engagements in 2018 include Salome (2nd Soldier) for the Royal Opera, Covent Garden. The Nosefor the Komische Oper, Berlin and The Return of Ulysses (Neptune) for Opera Collective Ireland, and concerts including his debut for the BBC Symphony Orchestra.×
Baritone Gyula Nagy is currently a member of the Jette Parker Young Artists Programme at the Royal Opera, Covent Garden. His roles in his first season included Fiorello (Il barbiere di Siviglia), Filotete (Oreste), Konrad Nachtigal (Die Meistersinger von Nürnberg), Imperial Commissioner (Madama Butterfly), Flemish Deputy (Don Carlo) and Baron Douphol (La traviata) for The Royal Opera and in Les Enfants Terribles for The Royal Ballet. In the 2017/18 Season his roles include Schaunard (La bohème), Escamillo (La Tragédie de Carmen), Moralès (Carmen) and Third Noble of Brabant (Lohengrin).
Nagy studied with Károly Ötvös and Mária Fekete in Hungary and with Philip O’Reilly at the Royal Irish Academy of Music. He also trained at the National Opera Studio, supported by the Royal Opera House and the International Opera Awards Foundation, and was a member of the Opera Theatre Company’s Young Associate Artists Programme in Dublin. He currently learns with Robert Dean and Nicholas Powell. He previously studied English language and literature and theatre studies at the University of Pannonia in Veszprém, Hungary. He has received support from the Tudás a Jövönkért Foundation, the John McCormack Society and the Gaiety Bursary.
Operatic engagements include Don Giovanni for the National Opera Studio and Tarquinius (The Rape of Lucretia) for Opera Collective Ireland. Positions before joining the Jette Parker YAP included singing as an Associate Artist with Welsh National Opera, where his roles include Silvio (Pagliacci) and covering Count Almaviva (Le nozze di Figaro) and the Count (Elena Langer’s Figaro Gets a Divorce).×
Mezzo-soprano Raphaela Mangan graduated at the top of her year with First Class Honours from the DIT Conservatory of Music and Drama, where she was also awarded the Michael McNamara Gold Medal for performance and the DIT Academic Gold Medal. She continued her postgraduate studies at the International Opera Academy, Belgium, where she graduated with Distinction.
Her singing career has taken her internationally where she has toured and performed in Alcina (Bradamante), L’incoronazione di Poppea (Ottavia), The Marriage of Figaro (Marcellina), Pelléas et Mélisande (Geneviève), Idomeneo (Idamante), Kát’a Kabanová (Glasha and Varvara), HMS Pinafore (Buttercup) and Sweeney Todd (Mrs Lovett). In Ireland she has performed the title role in Carmen, and in The Marriage of Figaro (Cherubino), Orfeo ed Euridice (Orfeo), The Gondoliers (Tessa), Rusalka (3rd Sprite) and The Rape of Lucretia (Bianca) for Opera Collective Ireland.
A regular in the field of concert and oratorio, Raphaela’s most noted performances are with the RTÉ National Symphony and Concert orchestras, the Irish Baroque Orchestra and the leading Choral Societies of Ireland.×
Andrew completed his MMus in Performance at the Royal Irish Academy of Music in 2016 under the tuition of Mary Brennan, achieving First Class Honours. He also holds a First Class Honours degree in English Literature and an MPhil in Children’s Literature. Andrew was the recipient of the 2016 PwC/Wexford Festival Emerging Young Artist bursary. Operatic highlights include Die Zauberflöte (Tamino), Idomeneo (Arbace), Acis and Galatea (Damon), L’Ormindo (Ormindo) and the world premiere of Andrew Synnott’s Dubliners (Bob Doran, Mr Alleyne and O’Halleran) at Wexford Festival Opera, and with Opera Theatre Company. In 2016, Andrew made his Wigmore Hall debut as part of ‘Irish Culture in Britain: A Centenary Celebration’.
Oratorio engagements include Rossini’s Stabat Mater, Liszt’s Coronation Mass, Beethoven’s Ninth Symphony, Handel’s Messiah, Mendelssohn’s Symphony No. 2 ‘Lobgesang’,C.P.E. Bach’s Magnificat, Mozart’s Requiem, Haydn’s The Creation, Bach’s St John Passion and the complete Mozart Mass series of the Dún Laoghaire Choral Society.
Other engagements in 2018 include The Marriage of Figaro (Curzio) with Irish National Opera, a Gounod bicentenary concert with Our Lady’s Choral Society at the National Concert Hall and The Tales of Hoffmann (Andrés, Cochenille, Pitichinaccio and Franz) with INO.×
Irish tenor Peter Harris studied Music at the University of Oxford. Following university he was awarded a place on the Monteverdi Choir Apprenticeship Scheme. Recent solo engagements with the ensemble include Mozart’s Requiem at the Salzburg Festspielhaus. Peter studied at the Royal Academy of Music and is very grateful for the support of Help Musicians UK, the Countess of Munster Musical Trust, the Leverhulme Trust and Josephine Baker Trust.
Peter won the 2017 Oxford Lieder Young Artist Programme final with his duo partner, Hamish Brown and also the Northern Ireland Opera Festival of Voice 2017. Peter is a Britten–Pears Young Artist. 2018 sees him in Gounod’s Roméo et Juliette (Roméo, cover) for Grange Park Opera, and in Handel’s Theodora (Septimius) with the vocal ensemble Sestina and the Irish Baroque Orchestra.
Recent solo highlights include Bach’s St Matthew Passion with the Dunedin Consort and John Butt, Handel’s Messiah with the Irish Baroque Orchestra and Peter Whelan, Handel’s Dettingen Te Deum with the Orchestra of the Age of Enlightenment and Stephen Layton, Pärt’s Berliner Messe at the Concertgebouw with Britten Sinfonia and Stephen Layton, and Bernstein’s Mass at the BBC Proms under Kristjan Järvi.×
Rory Musgrave, a baritone from Connemara, graduated from the Royal Irish Academy of Music with a Master’s in Vocal Performance, and has since worked with all the major Irish opera companies. An OTC Opera Hub Emerging Artist with Opera Theatre Company (2014 – 2016), Rory was also awarded the PwC/Wexford Festival Opera Emerging Artist Bursary and the Arnholm Bursary by Wexford Festival Opera.
Opera engagements for 2018 include L’Italiana in Algeri (Taddeo) for Blackwater Valley Festival, Rigoletto (Marullo) with Northern Ireland Opera, The Return of Ulysses (Eumaeus) for Opera Collective Ireland, and his international operatic debut in Solaris (Kelvin, Subconscious) at Tokyo Metropolitan Theatre, Japan.
Recent opera engagements include La bohème (Schaunard) for Cork Operatic Society, L’elisir d’amore (Belcore) at Lismore Opera Festival, The Bear (Smirnoff) and Herculanum (Magnus) for Wexford Festival Opera, La bohème (Schaunard) and Susanna’s Secret (Count Gil) for Opera Theatre Company, the world premiere performance of James Joyce’s The Dead (Gabriel Conroy) for the Performance Corporation and The Rape of Lucretia (Junius) for Opera Collective Ireland.
Rory made his National Concert Hall debut with the RTÉ NSO in 2015 as a guest soloist in its Lunchtime Concert Series.×
Bríd Ní Ghruagáin
Dublin-born mezzo-soprano, Bríd Ní Ghruagáin is an alumna of English National Opera’s Opera Works 2016/17 and studies with countertenor Stephen Wallace and dramatic soprano Jeanne-Michèle Charbonnet.
Her most recent projects included the premieres of new works by Irish composers in Beneath Iseult’s Tower and The 24hr Opera for Opera Theatre Company’s Opera Hub, and a new song cycle, Songs After Rain by Neil Martin, commissioned by HRH The Prince of Wales. She made her UK opera debut in Long Story Short: the Belfast Opera (Leah) for NI Opera/Belfast Buildings Trust by Neil Martin and Glenn Patterson in 2016. OCI’s production of The Return of Ulysses marks her first foray into early opera. Other recent opera work includes Die Zauberflöte (Zweite Dame), Hänsel und Gretel (Witch/Mother), Falstaff (Mistress Quickly) for the ENO Opera Works showcase Dispatches, Gianni Schicchi (Zita), Suor Angelica (La Zia Principessa), The Turn of the Screw (Mrs Grose), Noye’s Fludde (Mrs Noye) and Nixon in China (Nancy Tang, cover).
Bríd has sung in the chorus for Irish National Opera, Wide Open Opera, Opera Theatre Company and NI Opera. She is a dialect coach for opera/theatre and was Language Coach for OTC’s Eithne, an Irish language opera from 1909.×
Irish-born tenor Ross Scanlon trained at the DIT Conservatory of Music and Drama, where he was awarded the Michael McNamara Gold Medal of excellence in performance, and at the Royal Academy of Music, London.
At the Royal Academy of Music Opera School, his appearances included Ariodante (Lurcanio), La vera costanza (Masino), Die Zauberflöte (Monostatos) and Ariadne auf Naxos (Scaramuccio).
Other engagements include L’Enfant et les sortilèges (Le Thérière) with the BBC Symphony Orchestra at the Barbican, London. Paul Bunyan (Hot Biscuit) for Welsh National Youth Opera, The Rape of Lucretia (Male Chorus) for Opera Collective Ireland, The Rise and Fall of the City of Mahagonny (The Bookkeeper) for OTC, Carmen (Remendado) for Lyric Opera, Dublin, A Hand of Bridge (Bill) and The Magic Flute (Tamino) for Glasthule Opera.
Notable engagements on the concert platform include Handel’s Messiah and Haydn’s The Creationwith the RTÉ Concert Orchestra, Messiah at the Halle Festival, Germany, at the Handel Music Festival, Dublin, and with the Irish Philharmonic Orchestra.
Recent engagements include the world premiere performance of Long Story Short: the Belfast Opera (Ed) conducted by David Brophy in association with Northern Ireland Opera, and tenor soloist for the Concordia Foundation Christmas Gala at St Paul’s, Covent Garden.×
Mezzo-soprano Margaret Bridge trained at the Royal Irish Academy of Music before completing further graduate studies at the New England Conservatory, Boston. Operatic appearances include Later the Same Evening (Elaine) with Opera Memphis, Cendrillon (Prince Charmant), the title role in Agrippinafor the New England Conservatory) and Ormindo (Erisbe) at the Royal Irish Academy of Music. She is also a former member of the young artist programmes at Chautauqua Opera, USA, and Opera Theatre Company.
As a soloist on the concert stage, Margaret has appeared with Back Bay Chorale, Boston, the Goethe Institut Choir, Dublin, the RTÉ Philharmonic Choir, and the University of Dublin Choral Society. She is also an avid ensemble singer and maintains a busy performance schedule with several leading Boston ensembles including the Boston Purcell Society and the Handel and Haydn Society, under the baton of Harry Christophers. She holds a BA in Musicology and Theory from Trinity College Dublin.×