A 1966 review by Howard Klein in The New York Times of Greevy’s recording of Handel arias states: “The voice has the firm, compact resonance of a true contralto. She has endless breath and can move her voice with agility and precision.”
Greevy has a special affinity with Mahler, in particular his orchestral song cycles. In 1966, she performs Kindertotenlieder in London with the then RTÉ National Symphony Orchestra. The Times praises the 26-year-old Greevy’s “full, glowing voice, rich and firm at the bottom, radiant at the top, and gloriously expressive phrasing.” Later, in the 1990s, she performs all Mahler’s vocal works with orchestra over a four-year period in the Teatro Colón, Buenos Aires, Argentina.
Greevy chooses to live in her native Dublin throughout her career rather than be based in one of the world’s major music centres. She maintains confidently that “if you’re good enough you can live where you like.” Nevertheless, this decision undoubtedly curtails her opportunities in the recording studio and on the concert stage.
Greevy dies at the age of 68 on September 26, 2008, following a short illness. She is married to Peter Tattan, who predeceases her in 1983. They have one son, Hugh.
He is elected in 1985 as a Workers’ Party member of Dublin City Council for Crumlin–Kimmage area, and is re-elected at subsequent local elections until 2011, when he is forced to resign his seat due to dual mandate. He is finally elected at the 1989 Irish general election. He joins with Workers’ Party members who form Democratic Left in 1992. He unexpectedly loses his seat at the 1992 Irish general election. Labour’s Pat Upton is unexpectedly returned on the first count, with Byrne finally losing the last seat to Fianna Fáil‘s Ben Briscoe by five votes after a marathon 10-day count.
He loses his seat again at the 1997 Irish general election. Although the Labour Party and the Democratic Left merge in 1999, he is not selected to contest the Dublin South-Central by-election which follows Pat Upton‘s death later that year. Upton’s sister Mary is elected for the Labour Party.
Byrne contests the 2002 Irish general election on the Labour Party ticket as Mary Upton’s running-mate but is unsuccessful. Along with Upton, he contests the Dublin South-Central constituency at the 2007 Irish general election advocating a Labour Party/Fine Gael government but misses the final seat by 69 votes. He is nominated by the Labour Party to contest the Seanad election in the Labour panel but is not elected. In 2009, he is re-elected to Dublin City Council. At the 2011 Irish general election he is re-elected to the Dáil, after a fourteen-year absence.
In January 2015, Byrne becomes involved in an altercation with Sinn Féin TD, Jonathan O’Brien. During ministers’ questions, O’Brien criticises TánaisteJoan Burton over homelessness in Ireland, citing the experiences of his brother, a recovering heroin addict. Byrne asks of O’Brien, “Why doesn’t his good family give him a home?” This infuriates O’Brien. The Irish TimesjournalistMiriam Lord criticizes Byrne, remarking that “You sense the relief rising in the chamber. They don’t like it when the real world intrudes. These sort of things don’t really happen to TDs.”
Solomons is born to Maurice Solomons and poet Rosa Jane Jacobs. Her father is an optician whose practice in 19 Nassau Street, Dublin, is mentioned in Ulysses. Her father is also the Vice-Consul of Austria-Hungary. The Solomons family, who came to Dublin from England in 1824, are one of the oldest continuous lines of Jews in Ireland.
Solomons grandmother, Rosa Jacobs Solomons, who is born in Hull in England, is the author of a book called Facts and Fancies (Dublin 1883). Her brother, Bethel Solomons, a renowned physician, a master of the Rotunda Hospital and Irish international rugby player, is mentioned in Finnegans Wake. Her brother Edwin is a stockbroker and prominent member of the Dublin Jewish community. Her younger sister Sophie is a trained opera singer. A portrait of Sophie, by her cousin the printmaker Louise Jacobs, survives in the Estella Solomons archives in the Library of Trinity College Dublin (TCD).
In 1898, at the age of 16, Solomons enters the Dublin Metropolitan School of Art where she wins a significant prize. Her classmates include future Irish artists including Mary Swanzy, Eva Hamilton and William J. Leech. She also attends the Chelsea School of Art from 1903 to 1906. A visit to the tercentenary exhibition of the work of Rembrandt in Amsterdam in 1903 impacts her creative practice and possibly influences her adoption of printmaking as her principal vehicle of expression. She studies under two of Ireland’s leading artists, Walter Osborne, who is another major influence, and William Orpen. With her friends Cissie Beckett (aunt of Samuel Beckett) and Beatrice Elvery, she goes to study in Paris at Académie Colarossi. On her return she exhibits in Leinster Hall, Molesworth Street, with contemporaries such as Beatrice Elvery, Eva Hamilton and Grace Gifford. Her work is also included in joint exhibitions with other artists at Mills Hall and the Arlington Gallery, London. She also exhibits at her Great Brunswick Street studio in December 1926.
Solomons illustrates Padraic Colum‘s The Road Round Ireland (1926) and DL Kelleher’s The Glamour of Dublin in 1928. Originally published after the devastation of the 1916 Easter Rising, the later edition features eight views of familiar locations in the city centre including Merchant’s Arch and King’s Inns. Her etching “A Georgian Doorway” is included in Katherine MacCormack’s Leabhar Ultuin in 1920. This publication features illustrations by several prominent Irish artists and is sold in aid of the new Saint Ultan’s Children’s Hospital in Charlemont Street, Dublin, that had been founded by two prominent members of Cumann na mBan, Dr. Kathleen Lynn and Madeleine ffrench-Mullen.
Solomons is elected an associate of the Royal Hibernian Academy (RHA) in July 1925, but it is not until 1966 that she is elected an honorary member. Her work is included in the Academy’s annual members’ exhibition every year for sixty years.
Solomons is married to poet and publisher Seumas O’Sullivan, whose birth name is James Sullivan Starkey. Her parents oppose the relationship as O’Sullivan is not of the Jewish faith. They marry in 1925, when she is 43 and he 46, after her parents have died. She collaborates with her husband on The Dublin Magazine (1923–58), the renowned literary and art journal, of which O’Sullivan is editor for 35 years. She provides vital financial support to the magazine, particularly in sourcing advertising, which is difficult in the tough economic climate of the new Free State. She is helped in this endeavour by poet and writer, Kathleen Goodfellow, a lifelong friend. When Solomons and O’Sullivan are looking to move from their house in Rathfarnham because of a damp problem, Goodfellow offers them the house beside her own on Morehampton Road for a nominal rent. Two of Solomons’ portraits of Goodfellow are in the Model Arts and Niland Gallery in Sligo.
Solomons joins the Ranelagh branch of Cumann na mBan at the same time as Goodfellow. They are taught first aid, drilling and signaling by Phyllis Ryan. She is active before and during the Irish War of Independence. She conceals ammunition in the family vegetable garden before delivering it to a Sinn Féin agent. Her studio at Great Brunswick Street is used as a safe house by republicanvolunteers. During this time, she paints the portraits of a number of revolutionaries, some of which she has to later destroy to avoid incriminating them. Her work includes a portrait of Frank Aiken when we was chief of staff of the Irish Republican Army (IRA).
Solomons takes up a teaching position at Bolton Street College, Dublin. In 1939, she organises an exhibition in Dublin to help refugee artists from Europe.
Solomons dies on November 2, 1968, and is buried in Woodtown Cemetery, Rathfarnham. Her friend Kathleen Goodfellow gifts the Morehampton Road Wildlife Sanctuary, where Solomons liked to paint, to An Taisce. Two plaques have subsequently been erected there, one in memory of Solomons and one for Goodfellow.
Some of Solomons works are held in the Niland Collection, at The Model gallery in Sligo and in the National Gallery of Ireland. Her archives, which include artwork and photographs (and prints by Louise Jacobs), and the archives of The Dublin Magazine are in the Library of Trinity College Dublin.
Cuffe joins the Green Party in 1982, and campaigns with Students Against the Destruction of Dublin (SADD) in the 1980s. He is twice elected to Dublin City Council, in 1991 and 1999, for the South Inner City electoral area. In 1996, he launches a free bikes scheme in which bicycles are placed around Dublin city centre for use by the public.
In June 2003, Cuffe steps down as the Green Party’s environment spokesperson after it is revealed that he held shares worth $70,000 in a number of oil exploration companies which he had inherited when his late mother had left him $1.3 million in her will. He is re-elected at the 2007 Irish general election.
Following the 2007 election, the Green Party forms a coalition government with two other political parties and a number of independent TDs. Just after the election, on May 28, 2007, Cuffe writes in his blog: “A deal with Fianna Fáil would be a deal with the Devil. We would be spat out after 5 years and decimated as a party.” He loses his seat at the 2011 Irish general election.
While Cuffe is minister, the Oireachtas enacts the Planning and Development (Amendment) Act 2010 to address land-use planning failures and over-zoning of development land. The legislation reforms the way development plans and local area plans are made and, for the first time in Irish legislation, includes a definition of Anthropogenic Climate Change and required energy use to be taken into account in planning decisions. He publishes the Climate Change Response Bill 2010, and an update of the National Spatial Strategy. He is head of the Irish delegation at the 2010 United Nations Climate Change Conference in Cancún, Mexico.
Cuffe promotes healthy eating for children, school gardens and local markets. He publishes bills to address climate change, noise pollution, and heritage protection. In January 2011, he launches a new policy of allowing bicycles on off-peak Dublin Area Rapid Transit (DART) trains.
Cuffe resigns as Minister of State on January 23, 2011, when the Green Party withdraws from government.
At the 2014 Irish local elections, Cuffe is elected to Dublin City Council for Dublin North Inner City area, on the 13th count. He is appointed chairperson for the Dublin City Council Transportation Committee in 2014. As a member of the Central Area Committee for Dublin City Council, he works to provide a site for the Gaelscoil Choláiste Mhuire primary school on Dominick Street in 2017. He introduces 30 km/h speed limits to residential and school areas of Dublin and also advocates for a car-free College Green. He calls for an increase in affordable housing in Dublin, specifically for people with different incomes. Speaking on the Strategic Development Zone in the Dublin Docklands, he states, “We have seen a lot of cranes in the Docklands but not a lot of homes. Particularly affordable homes.” He proposes a Motion declaring a Climate Emergency which is approved at a meeting of the Council on May 13, 2019.
Cuffe is selected as the Green Party candidate for the Dublin constituency at the 2019 European Parliament elections. He tops the poll, receiving 63,849 votes and is elected as an MEP on the 13th count, with 17.54% first preference votes. He is also re-elected to Dublin City Council, but due to the prohibition on a dual mandate, this seat is co-opted to fellow Green Party member Janet Horner.
Cuffe is President of the European Forum for Renewable Energy Sources (EUFORES), a cross-party European parliamentary network gathering members of European, regional and national parliaments of the EU, and works to promote renewable energy and energy efficiency.
When Murphy is six, his family returns to Dublin, settling in the South inner-city district of Islandbridge. He first goes to school in nearby Inchicore, attending the Oblate Fathers’ primary school there, then moves to Ballyfermot, a working-class heartland of suburban Dublin, in his teens. There, he attends secondary school at St. John’s De La Salle College. After failing the Irish Intermediate Certificate he leaves school to pursue an apprenticeship in painting and decorating, taking his Junior and Senior Irish Trade Certificates, and the City and Guilds of London exams at the Dublin Institute of Technology, Bolton Street.
Murphy’s stage plays include Brothers of the Brush (Dublin, The Peacock, Dublin Theatre Festival 1993), which is awarded best new Irish play; A Picture of Paradise (The Peacock, 1997); The Muesli Belt (Dublin, The Abbey Theatre, 2000); Aceldama (1998); The Kings of the Kilburn High Road (Waterford, Red Kettle Theatre Company, 2000); The Castlecomer Jukebox (Red Kettle, 2004); and What’s Left of The Flag (Theatre Upstairs at The Plough, 2010), nominated for The Irish TimesBest New Play Award. His last play, with an all-female cast, The Hen Night Epiphany, premieres at the Focus Theatre, Dublin, in September 2011 and is published by Oberon Books. It has recently been translated into Hebrew.
Plays for radio include Mandarin Lime (BBC Radio 4, 1995), Peel’s Brimstone (BBC Radio 4, 1995), and The Jangle of the Keys (BBC Radio 4 1997). His awards include the Stewart Parker Trust Award in 1994. The play The Kings of the Kilburn High Road is adapted by Tommy Collins as the Irish language film Kings, and is selected as Ireland’s entry for best foreign-language film for the Academy Awards by the Irish Film & Television Academy.
Three of Murphy’s plays have been presented at the Acting Irish International Theatre Festival: Brothers of the Brush (2001 Festival, presented by the Tara Players of Winnipeg), The Kings of the Kilburn High Road (2005 Festival, first North American production, presented by the Irish Players of Rochester), and The Muesli Belt (2008 Festival, presented by the Toronto Irish Players).
A one act play, Perfida, premieres at Theatre Upstairs in July 2012. In October 2012, The Muesli Belt receives its United States premiere at the Banshee Theater, Burbank, California, and in 2013 The Hen Night Epiphany receives its U.S. premiere at the Wade James Theater, Edmonds, Washington. In June 2013 a new production of Perfidia is staged by Red Kettle Theatre Company at their new theatre in Waterford. In May 2017 his second Verabtim piece for the Abbey, looking at police corruption, A Whisper Anywhere Else, is produced at the Peacock theatre. His first Verbatim play for the Abbey, Of This Brave Time, commissioned to commemorate the 1916 Easter Rising, tours the United Kingdom in 2016 and later returns to the Peacock stage for a short run. A new full length play, The Cartographer’s Pen, commissioned to mark the centenary of the drawing of the Irish border, opens at the Town Hall Theatre, Cavan, in May 2022.
On the foundation of the Sunday Tribune in 1980, Kennedy joins it as the paper’s political correspondent. The paper’s publisher, John Mulcahy, had become familiar with Kennedy when she had contributed to his journal, The Hibernia Magazine. When the Tribune briefly ceases production, she moves to the Sunday Press.
In 1982, Kennedy’s telephone, along with those of two other journalists, is tapped by former Minister for JusticeSeán Doherty. Early in 1987, she successfully sues the incumbent Charles Haughey-led Fianna Fáil government for illegally tapping her phone. The revelation in 1992 that Charles Haughey had personally ordered the phone taps leads to Haughey’s resignation as Taoiseach.
Kennedy stands in the 1987 Irish general election as a candidate for the newly formed Progressive Democrats party in Dún Laoghaire. She comes in third in the poll, winning 9.4% of the first-preference vote. She is one of fourteen Progressive Democrat TDs elected to Dáil Éireann in that election, a feat the party never achieves again. She is appointed the party’s spokesperson for foreign affairs.
She stands again in the 1989 Irish general election and wins 9% of the first-preference vote but fails to retain her seat.
Following her election defeat, Kennedy returns to The Irish Times, then edited by Conor Brady, whom she had worked with at the Tribune when he was the editor. She avoids party-political journalism for several years, but she returns to covering politics in the early 1990s and becomes the political editor of The Irish Times in 1999. She becomes the newspaper’s first female editor upon the departure of Brady in late 2002. One of her rivals for the editor’s chair is the paper’s high-profile columnist, Fintan O’Toole.
Kennedy is paid more than the editor of Britain’s top non-tabloid newspaper The Daily Telegraph, which has a circulation of about nine times that of The Irish Times. Later columnist Fintan O’Toole tells the Sunday Independent, “We as a paper are not shy of preaching about corporate pay and fat cats but with this there is a sense of excess. Some of the sums mentioned are disturbing. This is not an attack on Ms. Kennedy, it is an attack on the executive level of pay. There is double standard of seeking more job cuts while paying these vast salaries.”
In September 2006, Kennedy approves the publication of an article in The Irish Times giving confidential details of investigations being made into payments purported to have been made in 1993 to Taoiseach Bertie Ahern. She refuses, upon request of the investigating Mahon Tribunal, to provide details of the source of the printed information. She responds that the documents have since been destroyed. Her refusal causes the Tribunal to seek High Court orders compelling her to provide details of the source. On October 23, 2007, the High Court grants the orders compelling her to go before the Tribunal and answer all questions. In its judgment, the High Court, criticising her decision to destroy the documents, says it was an “astounding and flagrant disregard of the rule of law.” In 2009, however, the Supreme Court of Ireland overturns this ruling, holding that the High Court had not struck the correct balance between the journalists’ right to protect their source and the tribunal’s right to confidentiality.
Kennedy announces on March 12, 2011, her intention to retire from The Irish Times by September, after a nine-year term as editor. She actually retires in June and is succeeded by news editor Kevin O’Sullivan on June 23, 2011.
In August 2012, Kennedy is appointed Adjunct Professor of Journalism at the University of Limerick. She has been awarded five honorary doctorates from Irish universities.
Following an early career as an economist, working with the Irish Sugar Company until 1967, Halligan becomes involved in politics. In that year, he becomes General Secretary of the Labour Party.
The party leader, Brendan Corish, relies on Halligan’s intellectual and political skills in his new role. Under Halligan, the party undergoes an energetic reorganisation. New structures and policies are put in place, coinciding with the party’s leftward policy shift and an acute anti-coalition stance. He strongly supports both approaches, but is instrumental in securing the party’s eventual, somewhat unwilling, reversal of its anti-coalition stance after its disappointing result in the 1969 Irish general election. The 1973 Irish general election results in a Fine Gael-Labour Party coalition government coming to power.
Halligan continues to serve as General Secretary of the party until 1980, and is appointed a Member of the European Parliament (MEP) from 1983 until 1984, replacing Frank Cluskey, where he specialises in economic affairs and energy policy.
In 1980, Halligan sets up CIPA, his own public affairs consultancy based in Dublin, and becomes a lecturer in Economics at the University of Limerick. He is also chairman of European Movement Ireland during the late 1980s. In 1985, he is appointed as Chairman of Bord na Móna, the Irish Peat Development Authority, a position he holds for ten years. In 1989 he founds the Institute of European Affairs (IEA), which later becomes the IIEA. He is Director of CIPA until 2014.
Resulting from his keen interest and experience in energy policy and renewable energy, Halligan serves as Chair of the Sustainable Energy Authority of Ireland from 2007 until 2014. He is President of the IIEA, and he is also a Board Member of Mainstream Renewable Energy.
In later years Halligan also works on the foundation and development of the Ireland China Institute (ICI), which, with its maxim bridging the gap between knowledge and understanding, seeks to strengthen Irish-Chinese diplomatic relations, developing cultural links and fostering a deeper understanding of the respective cultural norms and values between the two nations. He is also President of ICI.
Halligan dies on August 9, 2020, after a long illness. On his death, TaoiseachMicheál Martin describes him as “a man who gave his life to politics and the public service with a deep commitment to the institutions of the state.” European Commissioner for TradePhil Hogan states that “Brendan was a committed European to his fingertips. He was a pragmatic European intellectual, in the tradition of Spinelli, Monnet and Schuman.”
By 1972, Ahern has met his future wife, Miriam Kelly, a bank official who lives near the Aherns’ family home. They marry in St. Columba’s Church, Iona Road in 1975. They have two daughters from the marriage, Georgina and Cecelia. Georgina is the wife of Westlife member Nicky Byrne. Cecelia is a best-selling author. The Aherns separate in 1992.
Ahern is elected to the Dáil, the lower house of the Oireachtas, in 1977 as a member of the Fianna Fáil party for the newly created Dublin Finglas constituency. He is elected to the Dublin City Council in 1979, later becoming Lord Mayor of Dublin (1986–87). An assistant whip (1980–81) in the first government of Taoiseach Charles Haughey, he becomes a junior minister in Haughey’s second government (1982) and Minister for Labour in his third (1987–89) and fourth (1989–91) governments.
Ahern’s success in establishing general economic agreements with employers, unions, and farmers in 1987 and 1990 and his role in constructing the first Fianna Fáil coalition government (with the Progressive Democrats) in 1989 confirms his reputation as a skillful negotiator. He is made Minister for Finance in 1991. In the contest to choose Haughey’s successor, Ahern withdraws in favour of Albert Reynolds, and he remains Minister for Finance in each of Reynolds’s two governments (February–November 1992 and 1993–94). In November 1994, following the fall of the Fianna Fáil–Labour Party government, Reynolds resigns, and Ahern is elected party leader. He is set to become Taoiseach in a new coalition with the Labour Party, but at the eleventh-hour Labour opts to join a government with Fine Gael and Democratic Left.
Ahern forms a Fianna Fáil–Progressive Democrats minority government following elections in 1997. Credited with overseeing a thriving economy, he is reelected Taoiseach in 2002. He plays a major role in securing peace in Northern Ireland, participating in the signing of the Good Friday Agreement in 1998 and helping negotiate the return of devolution to Northern Ireland in 2007. On May 15, 2007, he becomes the first Taoiseach to address a joint session of the Parliament of the United Kingdom.
Soon afterward Ahern wins a third term as Taoiseach. He is reelected despite implications of his involvement in an influence-peddling scandal. The Tribunal of Inquiry into Certain Planning Matters & Payments, ultimately better known as the Mahon Tribunal, which is investigating alleged illegal payments by developers to politicians to influence zoning decisions in and around Dublin during the early 1990s, subsequently questions Ahern about his personal finances during his tenure as Minister for Finance. In early April 2008, as the investigation of Ahern’s involvement mounts, he announces that he will step down as Taoiseach and Leader of Fianna Fáil in May. He is succeeded in both posts by Brian Cowen. In the Mahon Tribunal’s final report, issued on March 22, 2012, it indicates that it does not believe Ahern had told the truth when questioned by the commission about alleged financial improprieties, though it does not directly accuse him of corruption. Ahern, threatened with expulsion from Fianna Fáil in the wake of the report, resigns from the party later in March while still maintaining that he had testified truthfully to the tribunal.
Ahern says in April 2018 that he is considering running for President of Ireland in 2025 as an independent candidate. That same month he walks out of an interview with DW News after being questioned on the findings of the Mahon Tribunal.
In October 2018, Ahern is appointed to chair the Bougainville Referendum Commission, which is responsible for preparing an independence referendum in Bougainville, Papua New Guinea, which takes place in December 2019.
In 2006 Feeley completes a doctorate (Doctor of Philosophy in Music [Performance]) at Maynooth University, which involves a major thesis in three volumes with the title Classical Guitar Music by Irish Composers: Performing Editions and Critical Commentary.
Feeley is an enthusiastic champion of contemporary Irish music and in this capacity has commissioned works from many of Ireland’s leading composers including Seóirse Bodley, John Buckley, Jerome de Bromhead, Jane O’Leary, Brent Parker and Eric Sweeney. He also has a great interest in traditional Irish and Scottish music and has recorded with The Chieftains and published his own arrangements of traditional melodies.
Feeley has been described by The Washington Post as “Ireland’s leading classical guitarist” and by Michael Dervan in The Irish Times as “a trailblazer … when it comes to the guitar and guitar-playing in Ireland.”
McLachlan is the featured composer in the RTÉ National Symphony Orchestra‘s “Horizons” series in 2003 and 2008. He also represents Ireland at international festivals, including the ISCM World Music Days in Slovenia in 2003 and Croatia in 2005. In 2006, his work Grand Action is commissioned as a test-piece for the AXA Dublin International Piano Competition.
McLachlan’s musical aesthetic is largely shaped by a desire to impart a sense of narrative and expectation to his music without recourse to pastiche rhetorical devices. A critic writes of a recording of McLachlan’s piano piece Nine: “The style of each little piece sends one’s imagination and musical memory reeling, some of them evoking French Impressionism, some jazzy in feel, some reminiscent of the miniatures for piano of Webern, and none of them in any way, shape or form derivative.” Much of his music is structured in contrasting and suddenly changing block-like sections of homogeneous material. The material within these sections is propelled by a rigorous focus on subtle rhythmic and melodic permutations, which result in both surface opacity and gradually increasing tension.
seamus dubhghaill 