Page 104 - Weiss, Jernej, ur. 2019. Vloga nacionalnih opernih gledališč v 20. in 21. stoletju - The Role of National Opera Houses in the 20th and 21st Centuries. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 3
P. 104
vloga nacionalnih opernih gledališč v 20. in 21. stoletju
The large number of opera companies can make it difficult to keep
track of upcoming performances, particularly as there is no central insti-
tution or media outlet that collates this information.23 Often I learn of an
upcoming production only about two weeks in advance (despite working
in the sector and therefore being reasonably well connected). An example
of this would be DIT Operatic Society’s Acis and Galatea in June 2018; this
was the first production of a newly formed Society which is rather small
and could not undertake much PR work; consequently the performance
I attended (having been made aware of it on Facebook only a few weeks
ahead) attracted a rather smallish audience. It is not inconceivable that
some people may miss productions they would be interested in, particular-
ly those run by smaller companies.
That two productions of the same opera (Orfeo ed Euridice) are staged
by different companies in the same season indicates that at least some of
them do not communicate much with each other.
Opera Companies
The 23 operatic productions and 88 performances that took place in Ireland
in 2017/18 were produced by 16 companies and institutions, with several of
them collaborating on a number of occasions. These are:
– National Irish Opera
– Wide Open Opera
– Opera Theatre Company
– Northern Ireland Opera
– Wexford Festival Opera
– Lyric Opera
– Blackwater Valley Opera Festival
– Kilkenny Festival
– Opera Collective Ireland
– North Dublin Opera
– Royal Irish Academy of Music
23 This would also make it very difficult to collate comparable lists for previous years
– one would have to check the websites/archives of all the different companies sepa-
rately and may still miss some visiting international ones.
102
The large number of opera companies can make it difficult to keep
track of upcoming performances, particularly as there is no central insti-
tution or media outlet that collates this information.23 Often I learn of an
upcoming production only about two weeks in advance (despite working
in the sector and therefore being reasonably well connected). An example
of this would be DIT Operatic Society’s Acis and Galatea in June 2018; this
was the first production of a newly formed Society which is rather small
and could not undertake much PR work; consequently the performance
I attended (having been made aware of it on Facebook only a few weeks
ahead) attracted a rather smallish audience. It is not inconceivable that
some people may miss productions they would be interested in, particular-
ly those run by smaller companies.
That two productions of the same opera (Orfeo ed Euridice) are staged
by different companies in the same season indicates that at least some of
them do not communicate much with each other.
Opera Companies
The 23 operatic productions and 88 performances that took place in Ireland
in 2017/18 were produced by 16 companies and institutions, with several of
them collaborating on a number of occasions. These are:
– National Irish Opera
– Wide Open Opera
– Opera Theatre Company
– Northern Ireland Opera
– Wexford Festival Opera
– Lyric Opera
– Blackwater Valley Opera Festival
– Kilkenny Festival
– Opera Collective Ireland
– North Dublin Opera
– Royal Irish Academy of Music
23 This would also make it very difficult to collate comparable lists for previous years
– one would have to check the websites/archives of all the different companies sepa-
rately and may still miss some visiting international ones.
102
