seamus dubhghaill

Promoting Irish Culture and History from Little Rock, Arkansas, USA

Tag Archives: National Symphony Orchestra (Ireland)


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The Founding of the Wexford Festival Opera

Wexford Festival Opera (Irish: Féile Ceoldráma Loch Garman), an opera festival that takes place in the town of Wexford in southeastern Ireland, first takes place on October 21, 1951.

Tom Walsh, an avid opera lover, dreamed of staging an opera production in his hometown Wexford. He starts the Wexford Opera Study Circle in 1950, and invites Sir Compton Mackenzie, the founder of the magazine Gramophone and a writer on music, for the inaugural lecture for the circle. Mackenzie and Walsh discuss the idea of a local opera festival, and Mackenzie becomes the first President of the Wexford Festival of Music and the Arts.

The result is that a group of opera lovers, including Dr. Tom Walsh who becomes the festival’s first artistic director, plan a “Festival of Music and the Arts” (as the event is first called) from October 21 to November 4, 1951. The highlight is a production of the 19th century Irish composer Michael William Balfe‘s 1857 The Rose of Castille, a little-known opera whose composer had lived in Wexford.

Setting itself aside from the well-known operas during its early years places Wexford in a unique position in the growing world of opera festivals, and this move is supported by well-known critics such as the influential Desmond Shawe-Taylor of The Sunday Times, who communicates what is happening each autumn season.

During its first decade, Wexford offers an increasingly enthusiastic and knowledgeable audience such rarities as Albert Lortzing‘s Der Wildschütz and obscure works (for the time) such as Vincenzo Bellini‘s La sonnambula is staged, with Marilyn Cotlow as Adina and Nicola Monti as Elvino. Bryan Balkwill, Charles Mackerras and John Pritchard are among the young conductors, working with subsequently famous producers and designers like Micheál Mac Liammóir. For the time, the results are astounding, and the festival is soon attracting leading operatic talent, both new and established.

Albert Rosen, a young conductor from Prague, begins a long association with the company in 1965, and he goes on to conduct eighteen Wexford productions. He is later appointed Principal Conductor of the RTÉ Symphony Orchestra and is Conductor Laureate at the time of his death in 1997.

In 1967, Walter Legge, the EMI recording producer and founder of the Philharmonia Orchestra is asked to take over the running of the festival, but within a month of the appointment he suffers a severe heart attack and is obliged to withdraw. The 26-year-old former Trinity College Dublin (TCD) student Brian Dickie takes over the running of the Festival. A new era of outstanding singing emerges, with the first operas in Russian and Czech plus a new emphasis on the French repertory as represented by Léo Delibes’ Lakmé in 1970 and Georges Bizet‘s Les pêcheurs de perles in 1971.

Dickie is persuaded to return to Glyndebourne, but his successor in 1974 is Thomson Smillie who comes from the Scottish Opera. In 1976, Benjamin Britten‘s The Turn of the Screw is presented along with a rarity in Domenico Cimarosa‘s one-man piece Il maestro di cappella. Other rare Italian operas of the 18th century are presented in 1979 and subsequent years.

In subsequent years the festival is run by Adrian Slack (1979-81), Elaine Padmore (1982-94), Luigi Ferrari (1995-2004), David Agler (2005-19) and Rosetta Cucchi (2020-present).

The festival’s home of so many years, the Theatre Royal, is demolished and replaced by the Wexford Opera House on the same site. The opera house is officially opened on September 5, 2008, in a ceremony with the Taoiseach Brian Cowen, followed by a live broadcast of RTÉ‘s The Late Late Show from the O’Reilly Theatre. The first opera in the new building opens on October 16, 2008. Wexford Opera House provides the festival with a modern venue with a 35% increase in capacity by creating the 771-seat O’Reilly Theatre and a second, highly flexible Jerome Hynes Theatre, with a seating capacity up to 176. The architect is Keith Williams with the Office of Public Works. The acoustics and structure are designed by Arup.

In 2006, because of the closure of the Theatre Royal, a reduced festival takes place in the Dún Mhuire Hall on Wexford’s South Main Street. Only two operas are staged over a period of two weeks, instead of the usual three operas over three weeks. In 2007, the festival takes place in the summer in a temporary theatre on the grounds of Johnstown Castle, a stately home roughly 5 km from the town centre.

The building is officially renamed as Ireland’s National Opera House by the Minister for Arts, Heritage, Regional, Rural and Gaeltacht Affairs, Heather Humphreys, at the opening of the 2014 Wexford Festival.


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Birth of Mezzo-Soprano Bernadette Greevy

Bernadette Greevy, Irish mezzo-soprano, is born in Clontarf, Dublin, on July 3, 1940. She is founder and artistic director of the Anna Livia Dublin International Opera Festival. She is the first artist-in-residence at the Dublin Institute of Technology‘s Faculty of Applied Arts.

Greevy is one of seven children. She goes to school at the Holy Faith Secondary School, Clontarf and later studies in Dublin with Jean Nolan and at the Guildhall School of Music and Drama in London with Helene Isepp.

Greevy makes her first appearance on the operatic stage at the age of 18 in the role of Siebel in Charles Gounod‘s Faust at Dublin’s Gaiety Theatre. She appeared in Julius Benedict‘s opera, The Lily of Killarney at Dublin’s Olympia Theatre in 1960, alongside Veronica Dunne, John Carolan and Denis Noble with conductor Fr. John O’Brien and the Glasnevin Musical Society. In 1961, she makes her professional operatic debut as Maddalena in the Dublin Grand Opera Society’s production of Giuseppe Verdi‘s Rigoletto. She appears at the Wexford Festival Opera in 1962 as Beppe in Pietro Mascagni‘s L’amico Fritz. She makes her Royal Opera House début in 1982 as Genevieve in Claude Debussy‘s Pelléas et Mélisande.

However, Greevy never develops the acting skills necessary for true operatic success, and makes her musical mark instead in the world of oratorio and song recitals. She is introduced to works such as Edward Elgar‘s The Dream of Gerontius and George Frideric Handel‘s Messiah by Sir John Barbirolli, and later recorded music by Gustav Mahler, Johann Sebastian Bach and Joseph Haydn.

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.


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Death of Frederick May, Composer & Arranger

Frederick May, Irish composer and arranger, dies in Dublin on September 8, 1985. His musical career is seriously hindered by a lifelong hearing problem, and he produces relatively few compositions.

May is born on June 9, 1911, into a Dublin Protestant family who lives in the suburb of Donnybrook. His father, also named Frederick, is employed at the Guinness Brewery. He pursues his musical studies at the Royal Irish Academy of Music, where he is taught composition by John Larchet. In 1930, McCullough Pigott and Co. publishes his Irish Love Song. That same year he is awarded the Esposito Cup at the Feis Ceoil and as a result of this he is nominated as the first recipient of a new scholarship prize worth £100 to be spent on the further study of piano. In July 1930, he takes his preliminary examination for the Bachelor of Music at Trinity College Dublin (TCD) before departing Dublin to utilise his scholarship in London. In September he enrolls at the Royal College of Music (RCM) where his teachers include Charles Kitson, Ralph Vaughan Williams, R. O. Morris and Gordon Jacob. He takes his final TCD examination in December 1931 submitting a string quartet and on December 10 his degree is conferred. During 1932 his study is funded by the RCM’s Foli Scholarship and in October he is awarded the Octavia Travelling Scholarship.

May’s compositions are few in number and he produces most of his small output in the 1930s and early 1940s. His first significant work is the Scherzo for Orchestra, written while he is still a student in London. The first orchestral run through of Scherzo for Orchestra takes place on March 17, 1933, and it receives its first public performance on December 1 when it is heard as part of the Patron’s Concert. Between the months of May and October he composes his Four Romantic Songs, which receive their premiere in London at a Macnaghten-Lemare concert on January 22, 1934. At some point, probably in the second half of 1933, he follows in the footsteps of other Octavia Scholarship winners and travels to Vienna to study with Egon Wellesz.

On January 1, 1936, May takes up the position of Director of Music at the Abbey Theatre in Dublin, a position he retains until he is fired in 1948. His duties mainly consist of leading the piano trio which bears the title “The Abbey Orchestra” in music during the intervals of productions. In 1936, he composes what is today his best-known composition, the String Quartet in C Minor, described in the Grove’s Dictionary of Music and Musicians as “one of the most individual statements from an Irish composer in the first half of the 20th century.” He composes the quartet as his hearing is beginning to deteriorate and he later describes it as “an appeal for release.” String Quartet in C Minor is not premiered until 1948 when it is performed by the Martin Quartet in the Wigmore Hall, London. This is followed by Symphonic Ballad (1937), Suite of Irish Airs (1937), Spring Nocturne (1938), Songs from Prison (1941) and Lyric Movement for Strings (1942). He effectively ceases original composition at this point.

Following a long break from composition, May produces what is to be his valedictory work in 1955, the nine-minute orchestral piece Sunlight and Shadows. It is given its first performance on January 22, 1956, by the Radio Éireann Symphony Orchestra at Dublin’s Gaiety Theatre. Although this is his last original work, he does not abandon music completely. He produces arrangements of Irish music for Radio Éireann, which while not perhaps rewarding artistically, does help to alleviate his always precarious financial situation. He also composes a number of songs for voice and piano and a short piece entitled Idyll for violin and piano. The latter is chosen as a set work for the junior violin competition at the Feis Ceoil in 2017.

Throughout his life May suffers from significant mental health issues which result in hospitalisation. He also experiences otosclerosis, as a result of which he gradually becomes increasingly deaf. In addition, he suffers from severe tinnitus with constant ringing noises in his head. In later life he becomes homeless for a time due to alcoholism and sleeps at night in Grangegorman Asylum, Dublin. He is rescued by some friends led by Garech Browne whose record company, Claddagh Records, records the String Quartet in 1974.

Throughout his career May is an advocate of better musical education in Ireland and expresses his views on this and other musical matters through the medium of The Bell, a monthly journal dealing with the arts. He is a co-founder, along with Brian Boydell and Aloys Fleischmann, of the Music Association of Ireland (now “Friends of Classical Music”), set up in 1948 to promote art music as an integral part of the cultural life of Ireland. Later he becomes a member of Aosdána. He lives the last years of his life at Orthopaedic Hospital of Ireland, Clontarf, Dublin. He dies on September 8, 1985, at the age of 74 and is buried in Mount Jerome Cemetery.


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Death of Albert Rosen, Czech/Irish-Naturalized Conductor

Albert Rosen, Austrian-born and Czech/Irish-naturalised conductor associated with the National Symphony Orchestra of Ireland, the Wexford Festival Opera, the National Theatre in Prague and J. K. Tyl Theatre in Plzeň (Pilsen), dies of lung cancer in Dublin on May 23, 1997. He has a strong affinity with the works of Czech composers such as Bedřich Smetana, Antonín Dvořák, Bohuslav Martinů, and Leoš Janáček.

Rosen is born in Vienna on February 14, 1924. His mother is Czech, while his father’s family is Austrian-Jewish. After Anschluss of Austria in 1938 they move to Bratislava, and after the Slovak version of Nuremberg Laws comes to force in September 1941, he escapes discrimination and genocide via the Danube and the sea to Israel (then Mandatory Palestine). There he works in the Shaʽar_HaGolan kibbutz, manually and as an amateur chorus master, until 1945, when he returns to Bratislava.

In 1946–47 Rosen studies piano, composition and conducting at the Vienna Academy of Music with Joseph Marx and Hans Swarowsky, and continues to study conducting at the Prague Conservatory under Pavel Dědeček and Alois Klíma (1947–48). He starts his career in J. K. Tyl Theatre in Plzeň (Pilsen) as a correpetiteur, assistant conductor and chorus master (1949–52) and conductor (1953–59), participating on the production of 11 operas, 19 ballets and, as the composer of stage music, 17 dramas. In 1960 he is engaged by National Theatre in Prague, to be appointed in 1964 the chief conductor of Smetana Theatre, the National Theatre’s opera stage. He holds this position until 1971, conducting 11 ballets and 9 opera productions.

In 1965 Rosen comes to Ireland for the first time to conduct the National Symphony Orchestra (under its former name, the Radio Telefís Éireann Symphony Orchestra) at the Wexford Festival Opera. This leads to regular appearances at the festival until 1994, conducting 18 Wexford productions, more than anyone else. In 1969 he becomes the orchestra’s chief conductor, until he becomes principal guest conductor in 1981. In 1994 he is honoured with the title Conductor Laureate of the orchestra.

Rosen’s operatic repertoire includes standard works such as Carmen (Bizet), Tosca and Madama Butterfly (Puccini), Il trovatore and Don Carlos (Verdi), Lohengrin (Wagner), Lucrezia Borgia (Donizetti), Otello and L’italiana in Algeri (Rossini), Káťa Kabanová (Janáček), La Wally (Catalani), The Bartered Bride (Smetana), and Salome (Richard Strauss). He also conducted unusual works such as Smetana’s The Two Widows and The Kiss, and Dvořák’s Rusalka, The Devil and Kate and The Jacobin.

In October 1978, in Dublin and Cork, Rosen conducts the National Symphony Orchestra in only the second and third performances of André Tchaikowsky‘s 2nd Piano Concerto, Op. 4, which are the first performances with the composer as soloist. He is to record the work in 1982, again with Tchaikowsky at the piano, but the composer becomes ill and the recording is cancelled. His other work with the NSO includes standard orchestral repertoire as well as major pieces such as Olivier Messiaen‘s Turangalîla-Symphonie and Gustav Mahler‘s Symphony No. 8 (Symphony of a Thousand). In 1992, the orchestra tours ten cities in Germany, having a major success with Die Fledermaus in Stuttgart.

Rosen makes his American debut at the San Francisco Opera in 1980, in Janáček’s Jenůfa. In Australia, he is chief conductor of the West Australian Symphony Orchestra from 1983 until 1985, and the Adelaide Symphony Orchestra in 1986. He conducts the British premiere of Nikolai Rimsky-Korsakov‘s opera Christmas Eve with English National Opera in 1988. He becomes music director of the Irish National Opera in 1993.

Rosen often conducts the National Youth Orchestra of Ireland during the 1990s, in challenging works such as the tone poems and An Alpine Symphony of Richard Strauss. Other opera orchestras he conducts included those of the Welsh National Opera, Scottish Opera, Vancouver Opera, San Diego Opera, and the Dublin Grand Opera Society.

Rosen becomes an Irish citizen by naturalisation. His own conducting students include John Finucane.

Rosen dies at the age of 73 in Dublin on May 23, 1997, of lung cancer.


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Birth of Composer Ian Wilson

Irish composer Ian Wilson is born in Belfast, Northern Ireland, on December 26, 1964. He has written over one hundred and fifty works, including chamber operas, concertos, string quartets, a range of orchestral and chamber music and multi-media pieces.

Wilson studies violin and piano, graduating with a Doctor of Philosophy (DPhil) in composition from Ulster University at Jordanstown in 1990, where he is a research fellow from 2000 to 2003. He is a composer-in-residence with Leitrim County Council and is music director of the Sligo New Music Festival from 2003 to 2011. He receives the Macaulay Fellowship from the Arts Council of Ireland in 1992. In 1998, he is elected to Aosdána, Ireland’s academy of creative artists. Since 2009, he has been a post-doctoral research fellow at Dundalk Institute of Technology, investigating aspects of traditional (ethnic) Irish performance practice as basis for new works of art music.

Wilson’s compositions have been performed and broadcast on six continents, and presented at festivals including the BBC Proms, Venice Biennale, ISCM World Music Days, Frankfort Book Fair and the Ultima Oslo Contemporary Music Festival and at venues such as New York City’s Carnegie Hall, London’s Royal Albert Hall and Wigmore Hall, Amsterdam’s Royal Concertgebouw and Muziekgebouw aan ‘t IJ, Vienna’s Wiener Musikverein and Tokyo’s Suntory Hall. His music has been performed by such diverse groups as the RTÉ National Symphony Orchestra, the London Mozart Players, the Irish Chamber Orchestra (ICO), the pianist Hugh Tinney and many others.

There are commercially available recordings of over fifty of Wilson’s works on labels including Diatribe Records, Riverrun, RTÉ Lyric fm, Black Box, Timbre, Guild, Meridian and Chandos Records. His music is published by Ricordi (London) and Universal Edition.


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Death of A. J. Potter, Irish Composer & Teacher

Archibald James (Archie) Potter, Irish composer and teacher who writes hundreds of works including operas, a mass, and four ballets, as well as orchestral and chamber music, dies suddenly in Greystones, County Wicklow, on July 5, 1980.

Potter is born in Belfast on September 22, 1918, to a Presbyterian family who, oddly, lives on the Falls Road, a republican (Catholic) stronghold. His father is a church organist and piano tuner who has been blind since childhood. His mother is, in Potter’s own words, “a raging alcoholic.” He escapes a rather grim childhood when he goes to live with an aunt in Kent, England.

Possessed of a good voice and natural musical ability, Potter is accepted as a treble by the world-famous choir of All Saints, Margaret Street. In 1933, after four years as a chorister, he is sent to Clifton College, Bristol. From there he goes to the Royal College of Music on a scholarship and studies composition under Vaughan Williams. While at the Royal College he wins the Cobbett prize for chamber music.

World War II interrupts Potter’s music education, and he leaves college to serve with the London Irish Rifles in Europe and the Far East. After the war he settles in Dublin, where he continues his studies at Trinity College, Dublin, gaining a Doctorate in Music in 1953.

Potter had already started composing chamber and vocal music before the war. Now, established in Dublin, he chooses the orchestra as his principal means of expression. His early pieces, such as Rhapsody under a High Sky and Overture to a Kitchen Comedy, show that he has absorbed Vaughan Williams’ pastoral style and his love of folk music. In 1952, both pieces are awarded Radio Éireann‘s “Carolan Prize” for orchestral composition by the adjudicator Arnold Bax. A year later Potter repeats this success when his Concerto da Chiesa, a concerto for piano and orchestra, also wins the Carolan Prize.

In 1955 Potter is appointed Professor of Composition at the Royal Irish Academy of Music, where he becomes an effective administrator and inspiring teacher.

In the 1960s, Potter turns to ballet, writing four orchestral scores for the Cork Ballet company. The first of these, Careless Love, becomes the composer’s own favourite of all his compositions. Several years later, following a successful battle with alcoholism, he writes what some regard as his magnum opus, Sinfonia “de Profundis” (1969). The première is given at the Gaiety Theatre, Dublin on March 23, 1969, in a performance by the RTÉ Symphony Orchestra under the baton of Albert Rosen. The Irish Times refers to the concert as a “major national event.” In December 1969, he receives a Jacob’s Award for the composition.

Potter’s last substantial work, an opera entitled The Wedding, receives its first public performance in Dublin in 1981, almost a year after his death.

Potter dies suddenly at his home in Greystones, County Wicklow on July 5, 1980, at the age of 61. He is buried in the nearby Redford cemetery.


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Birth of Classical Guitarist John Feeley

John Feeley, classical guitarist, and a teacher and editor of guitar music, is born Ballinasloe, County Galway, on May 24, 1955.

Feeley starts playing guitar in popular music, and at age seventeen is recognised as one of Europe‘s best electric guitarists. After graduating from Trinity College Dublin, with a first-class degree in music, he moves to the United States to study with Oscar Ghiglia, Angel Romero, and David Russell, completing a master’s degree at Queens College, City University of New York. In the following years he teaches at Memphis State University in Memphis, Tennessee. He now teaches at the Dublin Institute of Technology (DIT) Conservatory of Music and Drama, Dublin. His past students include all current members of the Dublin Guitar Quartet, along with Redmond O’Toole, Michael O’Toole and Alec O’Leary, director of the Guitar Festival of Ireland. Composers Benjamin Dwyer, Ciarán Farrell, David Fennessy and David Flynn, all of whom have written music for Feeley, are also guitar students of his.

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 has appeared at such festivals as the Guitar Festival of Ireland, Bath International Music Festival, the Dundee International Guitar Festival, and the Wirral International Guitar Festival. He has won numerous awards including the Special Award for interpretation in the 1984 Mauro Giuliani competition, Italy. He has appeared as a soloist with the American Symphony Orchestra at Carnegie Hall, the RTÉ National Symphony Orchestra, the Ulster Orchestra, the Irish Chamber Orchestra and the Contempo Quartet. He performs regularly in duet with the flautist William Dowdall.

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.”


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Birth of Composer Siobhán Cleary

Siobhán Cleary, composer, is born in Dublin on May 10, 1970. Her most successful compositions are her orchestral works Alchemy and Cokaygne and her choral piece Theophilus Thistle and the Myth of Miss Muffett. Her opera Vampirella is first performed in Dublin in March 2017. She is a member of Aosdána.

Cleary starts to compose from an early age, often writing pieces while she is supposed to be practising at the piano. When she begins to study music at Maynooth University, she is initially inspired by Luciano Berio‘s Sinfonia, and soon afterwards by the works of the Irish composer Gerald Barry, the Frenchman Olivier Messiaen and the Hungarian György Ligeti. She continues her studies at Queen’s University Belfast and Trinity College, Dublin. In addition, she follows courses in composition with the Italian composer Franco Donatoni and the Dutchman Louis Andriessen and receives private tuition from the American Tom Johnson and the South African Kevin Volans. She also studies film scoring with the Italian composer Ennio Morricone and the American Don Brandon Ray.

Inspired by the alchemists’ Opus Alchymicum which describes how cheaper metals are transmuted into gold, Cleary’s orchestral work Alchemy (2001) is, like the stages in the Opus, presented in four parts: it evolves from the slow nigrendo, the moderate albedo, the strong citronatus, and the burning rubedo. The work is performed by the RTÉ National Symphony Orchestra in January 2002.

Cleary’s tone poem Cokaygne (2009), which, like Alchemy, is commissioned by RTÉ for the National Symphony Orchestra, is based on a poem and old sources which evoke a land of extreme luxury and contentment. The elaborately orchestrated piece is performed by the RTÉ National Symphony Orchestra in November 2009, Vladimir Altschuler conducting. It is performed by the RTÉ National Symphony Orchestra once again in June 2016, this time under the baton of Alan Buribayev.

Cleary’s choral work Theophilus Thistle and the Myth of Miss Muffett (2010), commissioned by the Cork International Choral Festival, is first performed in April 2011 by Chamber Choir Ireland directed by Paul Hillier. The work is based on a series of tongue twisters and other strange combinations of words popular in various European languages and dialects, moving from Italy, through Germany and Spain, finishing in Ireland. In 2013, it is performed twice by Chamber Choir Ireland in Dublin and Cork in connection with Ireland’s presidency of the European Union. The journalist and music critic Terry Blain comments on the choir’s “dazzingly virtuosic performance” in Belfast in 2013, qualifying the piece as “a tour de force of 21st century vocal chicanery, a clever and richly entertaining composition.” Theophilus Thistle is also performed the same year in the United States as part of the “Imagine Ireland” festival.

The chamber opera Vampirella with a libretto by Katy Hayes is first performed by students from the Royal Irish Academy of Music and the Lir National Academy of Dramatic Art at Dublin’s Smock Alley Theatre in March 2017. Based on a short story by Angela Carter telling how a young English soldier is seduced by a vampire countess, it is directed by Conor Hanratty and conducted by Andrew Synnott. Michael Dervan of The Irish Times finds the electronic sounds in the score particularly effective, commenting, “Perhaps this is a case of a genuinely electronic opera trying to break out of a more conventional mold.”

In 1996, Cleary receives a young artists award from Pépinières européennes pour jeunes artistes, followed in 1997 by the first prize in the Arklow Music Festival Composers’ Competition. In 2008, she is invited to become a member of Aosdána, an Irish association of creative artists.


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Birth of Irish Composer John McLachlan

Irish composer John McLachlan is born in Dublin on March 5, 1964.

McLachlan is the son of the writer Leland Bardwell, and studies at the Dublin Institute of Technology (DIT) Conservatory of Music and Drama (1982–86), the Royal Irish Academy of Music (1989–97), and Trinity College Dublin (BA 1988). He studies composition with William York, Robert Hanson and Kevin Volans. He holds a Ph.D. in musicology from Trinity College (1999) for a study of the relationship between analysis and compositional technique in the post-war avant-garde.

McLachlan writes numerous articles for The Journal of Music in Ireland (2000–10). He is executive director of the Association of Irish Composers (1998–2012), and in 2007 he is elected to Aosdána.

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.

McLachlan’s works have been performed in the United States, Peru, Japan, South Africa, Britain, France, Italy, Germany, Holland, Switzerland, Finland, Denmark, Portugal, Spain, Romania, Moldova, Slovenia, Croatia, and around Ireland, with broadcasts in several of these countries. Performers who have played his music include the National Symphony Orchestra of Ireland, Opera Theatre Company, the National Chamber Choir, Concorde, Sequenza, Traject, Archaeus, the Pro Arte Orchestra, Antipodes, Ensemble Nordlys, The Fidelio Trio, The ConTempo Quartet and Trio Arbós as well as many prominent soloists including Ian Pace, John Feeley, Mary Dullea, Darragh Morgan, Satoko Inoue and David Adams.

McLachlan is also known as a broadcaster and writer on contemporary music, with many published articles.

McLachlan now lives in Inishowen, County Donegal.


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Birth of Albert Rosen, Czech/Irish-Naturalized Conductor

Albert Rosen, Austrian-born and Czech/Irish-naturalised conductor associated with the National Symphony Orchestra of Ireland, the Wexford Festival Opera, the National Theatre in Prague and J. K. Tyl Theatre in Plzeň (Pilsen), is born in Vienna on February 14, 1924. He has a strong affinity with the works of Czech composers such as Bedřich Smetana, Antonín Dvořák, Bohuslav Martinů, and Leoš Janáček.

Rosen’s mother is Czech, while his father’s family is Austrian-Jewish. After Anschluss of Austria in 1938 they move to Bratislava, and after the Slovak version of Nuremberg Laws comes to force in September 1941, he escapes discrimination and genocide via the Danube and the sea to Israel (then Mandatory Palestine). There he works in the Shaʽar_HaGolan kibbutz, manually and as an amateur chorus master, until 1945, when he returns to Bratislava.

In 1946–47 Rosen studies piano, composition and conducting at the Vienna Academy of Music with Joseph Marx and Hans Swarowsky, and continues to study conducting at the Prague Conservatory under Pavel Dědeček and Alois Klíma (1947–48). He starts his career in J. K. Tyl Theatre in Plzeň (Pilsen) as a correpetiteur, assistant conductor and chorus master (1949–52) and conductor (1953–59), participating on the production of 11 operas, 19 ballets and, as the composer of stage music, 17 dramas. In 1960 he is engaged by National Theatre in Prague, to be appointed in 1964 the chief conductor of Smetana Theatre, the National Theatre’s opera stage. He holds this position until 1971, conducting 11 ballets and 9 opera productions.

In 1965 Rosen comes to Ireland for the first time to conduct the National Symphony Orchestra (under its former name, the Radio Telefís Éireann Symphony Orchestra) at the Wexford Festival. This leads to regular appearances at the festival until 1994, conducting 18 Wexford productions, more than anyone else. In 1969 he becomes the orchestra’s chief conductor, until he becomes principal guest conductor in 1981. In 1994 he is honoured with the title Conductor Laureate of the orchestra.

Rosen’s operatic repertoire includes standard works such as Carmen (Bizet), Tosca and Madama Butterfly (Puccini), Il trovatore and Don Carlos (Verdi), Lohengrin (Wagner), Lucrezia Borgia (Donizetti), Otello and L’italiana in Algeri (Rossini), Káťa Kabanová (Janáček), La Wally (Catalani), The Bartered Bride (Smetana), and Salome (Richard Strauss). He also conducted unusual works such as Smetana’s The Two Widows and The Kiss, and Dvořák’s Rusalka, The Devil and Kate and The Jacobin.

In October 1978, in Dublin and Cork, Rosen conducts the National Symphony Orchestra in only the second and third performances of André Tchaikowsky‘s 2nd Piano Concerto, Op. 4, which are the first performances with the composer as soloist. He is to record the work in 1982, again with Tchaikowsky at the piano, but the composer becomes ill, and the recording is cancelled. His other work with the NSO includes standard orchestral repertoire as well as major pieces such as Olivier Messiaen‘s Turangalîla-Symphonie and Gustav Mahler‘s Symphony No. 8 (Symphony of a Thousand). In 1992, the orchestra tours ten cities in Germany, having a major success with Die Fledermaus in Stuttgart.

Rosen makes his American debut at the San Francisco Opera in 1980, in Janáček’s Jenůfa. In Australia, he is chief conductor of the West Australian Symphony Orchestra from 1983 until 1985, and the Adelaide Symphony Orchestra in 1986. He conducts the British premiere of Nikolai Rimsky-Korsakov‘s opera Christmas Eve with English National Opera in 1988. He becomes music director of the Irish National Opera in 1993.

Rosen often conducts the National Youth Orchestra of Ireland during the 1990s, in challenging works such as the tone poems and An Alpine Symphony of Richard Strauss. Other opera orchestras he conducts included those of the Welsh National Opera, Scottish Opera, Vancouver Opera, San Diego Opera, and the Dublin Grand Opera Society.

Rosen becomes an Irish citizen by naturalisation. His own conducting students include John Finucane.

Rosen dies at the age of 73 in Dublin on May 23, 1997, of lung cancer.

(Pictured: Albert Rosen conducts the RTÉ Symphony Orchestra in St. Patrick’s Training College in Drumcondra, Dublin, in 1972)