Allgood joins Inghinidhe na hÉireann (“Daughters of Ireland”), where she first begins to study drama under the direction of Maud Gonne and William Fay. She begins her acting career at the Abbey Theatre and is in the opening of the Irish National Theatre Society. Her first big role is in December 1904 at the opening of Lady Gregory‘s Spreading the News. By 1905 she is a full-time actress, touring England and North America.
In 1915 Allgood is cast as the lead in Peg o’ My Heart which tours Australia and New Zealand in 1916. She marries her leading man, Gerald Henson, in September 1916 in Melbourne, however, her happiness is short lived. She gives birth to a daughter named Mary in January 1918, who dies just a day later. Her husband dies of influenza during an outbreak in November 1918. After her return to Ireland, she continues to perform at the Abbey Theatre. Her most memorable performance is in Seán O’Casey‘s Juno and the Paycock in 1923. She wins acclaim in London when she plays Bessie Burgess in O’Casey’s The Plough and the Stars in 1926.
Allgood is frequently featured in early Alfred Hitchcock films, such as Blackmail (1929), Juno and the Paycock (1930), and Sabotage (1936). She also has a significant role in Storm in a Teacup (1937).
(Note: Many accounts give October 31, 1879, as her date of birth. Her headstone also gives 1879 as her year of birth. However, her sister Margaret is born on August 1, 1879, meaning she could not have been born in that year. Sara Allgood may have been born on October 31, 1880, but her parents may have been late registering her.)
Though a member of a very artistic family, Hone’s initial training is as an engineer at Trinity College Dublin followed by a brief period of work for the Irish Railway before going to Paris in 1853 to study painting. He first studies under Adolphe Yvon, the French military painter, and later Thomas Couture, who is one of the earliest exponents of realism and from whom he learns principles which influence his work throughout his career.
Most of Hone’s later paintings are landscapes, very often enlivened with animals and occasionally with figures. In France he is influenced by the painter Gustav Courbet who is taking a new and quite revolutionary realistic approach. His closest painting tips are, however, from another French impressionist, Jean-Baptiste-Camille Corot. He becomes a close friend of one of Corot’s followers at the Barbizon school of landscape painting. At Barbizon he learns to appreciate colour, texture and tone in the landscape and applies it in strong and confident brushworks to the painting of Irish subjects on his return. In Paris he also works closely with artist Édouard Brandon, also a follower of Corot.
Hone’s paintings which are completed in France have many similarities to those that he completes at his country farm in County Dublin, but the finish is perhaps more polished and professional in the later Irish works.
From 1876, except for four years, Hone exhibits at the Royal Hibernian Academy (RHA). He is elected a full member in 1880 and in 1894 becomes Professor of Painting. His exhibition with John Butler Yeats in 1901 is one of the turning points for the history of Irish art as it is their paintings which convince Sir Hugh Lane that Dublin should have a gallery of modern art.
Nathaniel Hone dies in Dublin on October 14, 1917. After his death his widow bequeaths the contents of his studio to the National Gallery of Ireland. He rarely dates his work, so it is difficult to establish chronology. The similarity of many of his motifs and subjects often make it difficult to tell whether a view is Irish or French. Equally it is difficult to chart his developments on stylistic grounds alone.
(Pictured: Nathaniel Hone, the younger, self-portrait as an old man)
Balfe is born in Dublin on May 15, 1808, where his musical gifts become apparent at an early age. He receives instruction from his father, a dancing master and violinist, and the composer William Rooke. His family moves to Wexford when he is a child.
In 1817, Balfe appears as a violinist in public, and in this year composes a ballad, first called “Young Fanny” and afterwards, when sung in Paul Pry by Lucia Elizabeth Vestris, “The Lovers’ Mistake”. In 1823, upon the death of his father, he moves to London and is engaged as a violinist in the orchestra of the Theatre Royal, Drury Lane. He eventually becomes the leader of that orchestra. While there, he studies violin with Charles Edward Horn and composition with Charles Frederick Horn.
While still playing the violin, Balfe pursues a career as an opera singer. He debuts unsuccessfully at Norwich in Carl Maria von Weber‘s Der Freischütz. In 1825, Count Mazzara takes him to Rome for vocal and musical studies and introduces him to Luigi Cherubini. In Italy, he also pursues composing, writing his first dramatic work, a ballet, La Perouse. He becomes a protégée of Gioachino Rossini‘s, and at the close of 1827, he appears as Figaro in The Barber of Seville at the Italian opera in Paris.
Balfe soon returns to Italy, where he is based for the next eight years, singing and composing several operas. In 1829 in Bologna, he composes his first cantata for the soprano Giulia Grisi, then 18 years old. He produces his first complete opera, I rivali di se stessi, at Palermo in the carnival season of 1829—1830.
Balfe returned to London in May 1835. His initial success takes place some months later with the premiere of The Siege of Rochelle on October 29, 1835, at Drury Lane. Encouraged by his success, he produces The Maid of Artois in 1836, which is followed by more operas in English. In July 1838, Balfe composes a new opera, Falstaff, for The Italian Opera House, based on The Merry Wives of Windsor, with an Italian libretto by S. Manfredo Maggione.
In 1841, Balfe founds the National Opera at the Lyceum Theatre, but the venture is a failure. The same year, he premieres his opera, Keolanthe. He then moves to Paris, presenting Le Puits d’amour in early 1843, followed by his opera based on Les quatre fils Aymon for the Opéra-Comique and L’étoile de Seville for the Paris Opera. Meanwhile, in 1843, he returns to London where he produces his most successful work, The Bohemian Girl, on November 27, 1843, at the Theatre Royal, Drury Lane. The piece runs for over 100 nights, and productions are soon mounted in New York, Dublin, Philadelphia, Vienna, Sydney, and throughout Europe and elsewhere.
From 1846 to 1852, Balfe is appointed musical director and principal conductor for the Italian Opera at Her Majesty’s Theatre. There he first produces several of Giuseppe Verdi‘s operas for London audiences. He conducts for Jenny Lind at her opera debut and on many occasions thereafter.
In 1851, in anticipation of The Great Exhibition in London, Balfe composes an innovative cantata, Inno Delle Nazioni, sung by nine female singers, each representing a country. He continues to compose new operas in English, including The Armourer of Nantes (1863), and writes hundreds of songs. His last opera, nearly completed when he dies, is The Knight of the Leopard and achieves considerable success in Italian as Il Talismano.
In all, Balfe composes at least 29 operas. He also writes several cantatas and a symphony. His only large-scale piece that is still performed regularly today is The Bohemian Girl.
Woffington’s father is believed to have been a bricklayer, and, after his death, the family becomes impoverished. Her mother is obliged to take in washing while Peg sells watercress door to door. It is said that she is walking through a marketplace as a pre-teen and happens upon Madame Signora Violante, a famous tightrope walker. Violante is so immediately enthralled by Peg’s beautiful face that she accompanies her home and asks her mother permission to take her in as her apprentice.
Around 1730, Violante features Woffington as Polly Peachum in a production of John Gay’s The Beggar’s Opera. This serves as a springboard for her fame in Dublin, and she continues dancing and acting in the area playing Dorinda in an adaptation of The Tempest at the Theatre Royal, Dublin in 1735 and joining the Smock Alley Theatre to perform with well-known actor David Garrick.
Woffington dances and acts at various Dublin theaters until her success as Sir Harry Wildair in The Constant Couple leads to her being given her London debut at Covent Garden. She becomes well known as an actress thereafter.
Woffington enjoys success in the role of Sylvia in The Recruiting Officer. She performs at Drury Lane for several years and later returns to Dublin, appearing in a variety of plays. Her most well-received performances are in comic roles, such as elegant women of fashion like Lady Betty Modish and Lady Townley, and breeches roles. She is impeded in the performance of tragedy by a harsh tone in her voice that she strives to eliminate.
Woffington lives openly with David Garrick, the foremost actor of the day, and her other love affairs are numerous and notorious. She becomes friend and mentor to the socialite/actress sisters, Elizabeth and Maria Gunning, and also shares the stage with the likes of Charles Macklin, Kitty Clive, and the tragedienne Susannah Maria Arne.
Though Woffington is popular with society figures, she is not always favored by her competition. She tends to create rivalries with similar-type actresses at Drury Lane and Covent Garden. Her fiercest rivalry is with “equally peppery” actress Kitty Clive. According to Garrick biographer Thomas Davies, “No two women in high life ever hated each other more unreservedly than these two great dames of the stage.” When she returns to Covent Garden, rivalries with these women and with the manager, John Rich, eventually send her back to Dublin, where she is unrivaled and celebrated at the Smock Alley Theatre.
Rich decides to start a Beefsteak Club in 1749, also known as the Sublime Society of Steaks or “the Club.” Some of its members include Garrick and William Hogarth, as well as many other London celebrities. Not only is Woffington the first female member of the all-male dining club, in 1750 she becomes president of the club by election. She also educates and supports her sister and cares for and pensions her mother.
For whatever reason, Woffington leaves Garrick in about 1744 and moves to Teddington, into a house called Teddington Place. In 1754 she becomes the beneficiary of the will of the Irish impresario Owen Swiny. In 1756, she performs the part of Lady Randolph in Douglas, a part which finds a later exponent in Sarah Siddons.
On May 3, 1757, Woffington is playing the part of Rosalind in As You Like It when she collapses on stage. She rallies but would never act again, lingering with a wasting illness. She dies in Queen Square, Westminster on March 28, 1760. She is buried in St. Mary with St. Alban, the parish church in Teddington.
James Barry, Irish painter best remembered for his six-part series of paintings entitled The Progress of Human Culture in the Great Room of the Royal Society of Arts in London, is born in Water Lane (now Seminary Road) on the northside of Cork, County Cork on October 11, 1741.
Barry first studies painting under local artist John Butts. At the schools in Cork to which he is sent he is regarded as a child prodigy. About the age of seventeen he first attempts oil painting, and between that and the age of twenty-two, when he first goes to Dublin, he produces several large paintings.
The painting that first brings him into public notice, and gains him the acquaintance and patronage of Edmund Burke, is founded on an old tradition of the landing of Saint Patrick on the sea-coast of Cashel, although Cashel is an inland town far from the sea, and of the conversion and Baptism of the King of Cashel. It is exhibited in London in 1762 or 1763 and rediscovered in the 1980s in unexhibitable condition.
In late 1765 Barry goes to Paris, then to Rome, where he remains upwards of three years, from Rome to Florence and Bologna, and thence home through Venice. He paints two pictures while abroad, an Adam and Eve and a Philoctetes.
Soon after his return to England in 1771 Barry produces his painting of Venus, which is compared to the Triumph of Galatea of Raphael, the Venus of Urbino of Titian and the Venus de’ Medici. In 1773 he exhibits his Jupiter and Juno on Mount Ida. His Death of General Wolfe, in which the British and French soldiers are represented in very primitive costumes, is considered as a falling-off from his great style of art.
In 1773 Barry publishes An Inquiry into the real and imaginary Obstructions to the Acquisition of the Arts in England, vindicating the capacity of the English for the fine arts and tracing their slow progress to the Reformation, to political and civil dissensions, and lastly to the general direction of the public mind to mechanics, manufactures and commerce.
In 1774 a proposal is made through Valentine Green to several artists to ornament the Great Room of the Society for the encouragement of Arts, Manufactures and Commerce (now the Royal Society of Arts), in London’s Adelphi Theatre, with historical and allegorical paintings. This proposal is rejected at the time. In 1777 Barry makes an offer, which is accepted, to paint the whole on condition that he is allowed the choice of his subjects, and that he is paid by the society the costs of canvas, paints and models. He finishes the series of paintings after seven years to the satisfaction of the members of the society. He regularly returns to the series for more than a decade, making changes and inserting new features. The series of six paintings, The progress of human knowledge and culture, has been described by critic Andrew Graham-Dixon as “Britain’s late, great answer to the Sistine Chapel.”
Soon after his return from the continent Barry is chosen a member of the Royal Academy of Arts. In 1782 he is appointed professor of painting in the room of Edward Penny with a salary of £30 a year. In 1799 he is expelled from the Academy soon after the appearance of his Letter to the Society of Dilettanti, an eccentric publication, full of enthusiasm for his art and at the same time of contempt for the living professors of it. He remains the only academician ever to be expelled by the Academy until Brendan Neiland in July 2004.
After the loss of his salary, a subscription is set on foot by the Earl of Buchan to relieve Barry from his difficulties, and to settle him in a larger house to finish his painting of Pandora. The subscription amounts to £1000, with which an annuity is bought, but on February 6, 1806 he is seized with illness and dies on February 22. His remains are interred in St. Paul’s Cathedral, London on March 4, 1806.
(Pictured: James Barry, Self-portrait, 1803, oil on canvas. National Gallery of Ireland, Dublin.)
On May 14, 2009, Byrne is a substitute for a Liverpool F.C. Legends XI that plays against an All Star XI in a Hillsborough Memorial match to mark the 20th anniversary of the Hillsborough disaster. He represented the Republic of Ireland at U15, U16 and U18 levels.
In June 1998, Byrne attends an audition for new Irish boyband, where Boyzone manager Louis Walsh approaches him to join his new venture, Westlife. He joins Westlife along with Kian Egan, Mark Feehily, Shane Filan and Brian McFadden. With Westlife, he has had 25 top ten UK singles, fourteen of which are number one, seven number one albums and has sold in excess of over 45 million records worldwide. He also has a number one single in Ireland in 2002, alongside the Republic of Ireland national football team and Dustin the Turkey with the Irish 2002 FIFA World Cup anthem, “Here Come the Good Times (Ireland).” He also co-writes many of Westlife’s songs.
On September 7, 2012, it is announced that Byrne will be a contestant for the tenth series of Strictly Come Dancing. He is the ninth contestant to be eliminated. He is ranked number two on Ireland’s Sexiest Man of 2014.
In early January 2016, it is rumored that RTÉ had internally chosen Byrne to represent Ireland in the Eurovision Song Contest 2016. On January 13, he is confirmed to be the Irish singer for the 2016 contest in Stockholm with the song, “Sunlight.” He performs it in the second semi-final but fails to advance to the final.
Byrne’s wife Georgina is the daughter of former TaoiseachBertie Ahern, and they have twin sons, Rocco Bertie Byrne and Jay Nicky Byrne, and a daughter, Gia.
Aiming to raise awareness of world poverty, The Corrs and chartered accountants KPMG jointly launch the NetAid web site on October 7, 1999. NetAid is an anti-poverty initiative started as a joint venture between the United Nations Development Programme and Cisco Systems. It becomes an independent nonprofit organization in 2001 and becomes a part of Mercy Corps in 2007.
NetAid begins with a concert event on October 9, 1999 with simultaneous activities meant to harness the Internet to raise money and awareness for the Jubilee 2000 campaign. Concerts take place at Wembley Stadium in London, Giants Stadium in New Jersey and the Palais des Nations in Geneva. While the Wembley show is at capacity, the U.S. show suffers from very poor ticket sales.
The NetAid website, originally at http://www.netaid.org, receives over 2.4 million hits and raises $830,000 from eight countries. Cisco sponsors the concerts and the web site. Along with Kofi Annan, Keyur Patel, MD of KPMG Consulting spearhead the technology architecture development of the web site and Anaal Udaybabu (Gigabaud Studios, San Francisco) designs the user experience.
Following the concerts, NetAid is spun out of Cisco as an independent entity and tries various approaches to raising awareness of extreme poverty and raising money for anti-poverty projects undertaken by other organizations, through a variety of different NetAid campaigns.
By 2006, NetAid has narrowed its focus to raising awareness among high school students in the United States regarding poverty in developing countries.
Stanford is born into a well-off and highly musical family, the only son of John James Stanford, a prominent Dublin lawyer, Examiner to the Court of Chancery in Ireland and Clerk of the Crown for County Meath, and his second wife, Mary, née Henn. He is educated at the University of Cambridge before studying music in Leipzig and Berlin. He is instrumental in raising the status of the Cambridge University Musical Society, attracting international stars to perform with it.
While still an undergraduate, Stanford is appointed organist of Trinity College, Cambridge. In 1882, at the age of 29, he is one of the founding professors at the Royal College of Music, where he teaches composition for the rest of his life. From 1887 he is also Professor of Music at Cambridge. As a teacher, he is skeptical about modernism and bases his instruction chiefly on classical principles as exemplified in the music of Johannes Brahms. Among his pupils are rising composers whose fame go on to surpass his own, such as Gustav Holst and Ralph Vaughan Williams. As a conductor, he holds posts with the Bach Choir and the Leeds Triennial Music Festival.
Stanford composes a substantial number of concert works, including seven symphonies, but his best-remembered pieces are his choral works for church performance, chiefly composed in the Anglican tradition. He is a dedicated composer of opera, but none of his nine completed operas has endured in the general repertory. Some critics regard him, together with Hubert Parry and Alexander Mackenzie, as responsible for a renaissance in music from the British Isles. However, after his conspicuous success as a composer in the last two decades of the 19th century, his music is eclipsed in the 20th century by that of Edward Elgar as well as former pupils.
In September 1922, Stanford completes the sixth Irish Rhapsody, his final work. Two weeks later he celebrates his 70th birthday and thereafter his health declines. On March 17, 1924, he suffers a stroke and dies on March 29 at his home in London, survived by his wife and children. He is cremated at Golders Green Crematorium on April 2 and his ashes are buried in Westminster Abbey the following day.
Stanford’s last opera, The Travelling Companion, composed during World War I, is premiered by amateur performers at the David Lewis Theatre, Liverpool in 1925 with a reduced orchestra. The work is given complete at Bristol in 1928 and at Sadler’s Wells Theatre, London, in 1935.
Keating studies drawing at the Limerick Technical School before a scholarship arranged by William Orpen allows him to go study at the Metropolitan School of Art in Dublin at the age of twenty. Over the next few years, he spends two weeks or so during the late summer on the Aran Islands and his many portraits of island people depict them as rugged heroic figures.
In 1914 he wins the RDS Taylor award with a painting titled The Reconciliation. The prize includes £50.00 which allows him to go to London to work as Orpen’s studio assistant in 1915. In late 1915 or early 1916, he returns to Ireland where he documents the Irish War of Independence and the subsequent Irish Civil War. Examples include Men of the South (1921–22) which shows a group of Irish Republican Army (IRA) men ready to ambush a military vehicle and An Allegory (first exhibited in 1924), in which the two opposing sides in the Irish Civil War are seen to bury the tri-colour covered coffin amid the roots of an ancient tree. The painting includes a self-portrait of the artist.
Keating is elected an Associate of the Royal Hibernian Academy (RHA) in 1918, and a full member in 1923. One of the cardinal achievements of the Irish Free State in the 1920s is the building, in partnership with Siemens, of a hydro-electric power generator at Ardnacrusha, near Limerick. Between 1926 and 1927, at his own volition, he produces a considerable number of paintings related to this scheme. He exhibits several examples of the paintings in the RHA exhibitions in 1927 and 1928. Most of the paintings are now in the collection of ESB Group.
In 1936 group of prominent Limerick politicians, artists and patrons establish the first Limerick City Collection of Art from various donations and bequests. Keating is part of this artist-led initiative to form a municipal art gallery in Limerick similar to those already in Dublin and Cork. The collection is formed primarily out of donations and bequests. As a pivotal member of the committee, Keating himself donates many works to the collection which is first exhibited as a municipal collection in the Savoy Cinema, Limerick City on November 23, 1937. It is not until 1948 that an extension to the rear of Limerick Free Library and Museum becomes the home to the City Collection as the Limerick Free Art Gallery. In 1985 the Library and Museum are transferred to larger buildings.
In 1939 Keating is commissioned to paint a mural for the Irish pavilion at the New York World’s Fair. He is President of the RHA from 1950 to 1962, and shows at the annual exhibition for 61 years from 1914. Although he is an intellectual painter in the sense that he consciously sets out to explore the visual identity of the Irish nation, and his paintings show a very idealised realism, he fears that the modern movement will bring back a decline in artistic standards. Throughout his career, he exhibits nearly 300 works at the RHA and also shows at the Oireachtas.
Seán Keating dies on December 21, 1977 at the Adelaide Hospital in Dublin and is buried at Cruagh Cemetery, Rathfarnham. The 1978 RHA Exhibition features a small memorial collection of his work.
Posthumous exhibitions of his work are mounted by The Grafton Gallery, Dublin (1986) and the Electricity Supply Board (1987). Sean Keating – The Pilgrim Soul, a documentary presented and written by his son Justin Keating, airs on RTÉ in 1996.
(Pictured: Photograph of Keating’s “An Allegory” painted between 1922 and 1924. The painting represents Keating’s own disillusionment and loss of idealism resulting from the outbreak of the Irish Civil War. The only figure of the group addressing the observer is a self-portrait of the artist.)
Dolores Keane, folk singer and occasional actress, is born on September 26, 1953, in the small village of Sylane, near Tuam, in rural County Galway. She is a founding member of the successful group De Dannan and has since embarked on a very successful solo career, establishing herself as one of the most loved interpreters of Irish song.
Keane is raised from the age of four by her aunts Rita and Sarah Keane, who are also well-known sean-nós singers. She starts her singing at a very young age, due to the influence of her musical aunts. She makes her first recording for Radio Éireann in 1958 at the age of five. This early start sets her on the path to a career in music. Her brother, Seán, also goes on to enjoy a successful music career.
In 1975, Keane co-founds the traditional Irish band De Dannan, and they release their debut album Dé Danann in that same year. The group gains international recognition and enjoys major success in the late 1970s in the United States. She tours with the band and their single “The Rambling Irishman” is a big hit in Ireland. In early 1976, after a short two-year spell, she leaves De Dannan and is replaced by Andy Irvine, who records live with the band on April 30, 1976, during the 3rd Irish Folk Festival in Germany. Soon thereafter, she marries multi-instrumentalist John Faulkner, with whom she subsequently records three albums of folk music.
Keane lives and works in London for several years with Faulkner before they move to Ireland in the early 1980s. They work on a series of film scores and programmes for the BBC and form two successful bands, The Reel Union and Kinvara. During this period, she records her first solo album, There Was a Maid in 1978. This is followed by two other releases, Broken Hearted I’ll Wander (1979) and Farewell to Eirinn (1980), which gives credit to Faulkner. In the mid-1980s she rejoins De Dannan and records the albums Anthem and Ballroom with them.
Keane turns her attention, once again, to her solo career in 1988. It sees the release of the eponymous Dolores Keane album. Her follow-up album, A Lion in a Cage (1989), features a song written by Faulkner called “Lion in a Cage” protesting the imprisonment of Nelson Mandela. It serves as Keane’s second Irish number one, and she performs the hit at the celebration of his release. This exposure expands her reputation and popularity worldwide. A new facet is added to her career when she plays the female lead in the Dublin production of Brendan Behan‘s The Hostage. The opening night is attended by Mary Robinson, the President of Ireland at the time.
In 1992, Keane is among the many female Irish singers to lend their music to the record-smashing anthology A Woman’s Heart. The album goes on to become the biggest-selling album in Irish history. A Woman’s Heart Vol.2 is released in late 1994 and emulates its predecessor in album charts the world over. Also in 1994, a solo album, Solid Ground, is released on the Shanachie Records label and receives critical acclaim in Europe and America.
In August 1995, Keane is awarded the prestigious Fiddler’s Green Hall of Fame award in Rostrevor, County Down, for her “significant contribution to the cause of Irish music and culture.” In that same year, she takes to the stage in the Dublin production of John Millington Synge‘s The Playboy of the Western World. She contributes to the RTÉ/BBC television production “Bringing It All Back Home,” a series of programmes illustrating the movement of Irish music to America.
In August 1997, Keane goes to number one again in the Irish album charts with a compilation album with her most loved songs. And another studio album, Night Owl, is released in 1998. It sees her returning to her traditional Irish roots and it does well in Europe and America. Despite a healthy solo career, she goes on tour with De Dannan again in the late 1990s, where she plays to packed audiences in venues such as Birmingham, Alabama and New York City.
Keane puts an end to recording and touring in the late 1990s, due to depression and alcoholism, for which she receives extensive treatment. As of June 2014, she is given the all clear after suffering from cancer.
seamus dubhghaill 