Page 107 - 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. 107
opera in ireland – a continuing struggle for acceptance
ber which are included in Appendix 225) is larger than what its predecessors
Opera Theatre Company and Wide Open Opera would have mounted be-
tween them in any given year in this decade. Irish National Opera is cer-
tainly starting with a bang, and it remains to be seen to what extent it will
receive the support allowing them to keep this momentum going in the
long term. It is, however, unlikely that any opera will manage to get per-
formed 104 times over the course of 17 years as was the case with Faust in
the early twentieth century.
Operatic Venues in Dublin in 2017/18
In the absence of a dedicated opera house, operatic performances in Dublin
in the 2017/18 season were spread across eleven different venues of very dif-
ferent sizes and natures. They are here listed in descending order according
to size, with the number of seats and the operas performed in them added.
– Board Gáis Energy Theatre – 2111 seats (Tosca)
– National Concert Hall, main hall – 1200 (Eithne, La Traviata);
– Gaiety Theatre - 1142 (Le nozze di Figaro, Der Schauspieldirektor)
– Sandford Parish Church – c. 900 (Orfeo ed Euridice)
– O’Reilly Theatre, Belvedere College – 500 (The Second Violinist,
Powder her Face)
– Gleeson Theatre, Dublin Institute of Technology, Kevin Street –
400 (Acis and Galatea)
– National Concert Hall, John Field Room – 250 (The Sleeping
Queen)
– Unitary Church – c. 250 (Ulysses)
– Samuel Beckett Theatre, Trinity College Dublin – 208 (Dubliners,
La finta giardiniera, Opera Briefs)
– Mill Theatre, Dundrum – 207 (Orfeo ed Euridice)
– The Little Theatre, Skerries – c. 120 (Orfeo ed Euridice)
The Board Gáis Energy Theatre is the largest and most modern thea-
tre in the country and best equipped to stage opera. The Gaiety Theatre is
used for opera more often, yet it has a very small pit (on occasion one can
25 The revival is The Second Violinist (3 performances in London) while the new pro-
ductions are The Tales of Hoffmann (11 performances in 9 cities), Bluebeard’s Castle
(3 performances in Dublin) and Aida (4 performances in Dublin).
105
ber which are included in Appendix 225) is larger than what its predecessors
Opera Theatre Company and Wide Open Opera would have mounted be-
tween them in any given year in this decade. Irish National Opera is cer-
tainly starting with a bang, and it remains to be seen to what extent it will
receive the support allowing them to keep this momentum going in the
long term. It is, however, unlikely that any opera will manage to get per-
formed 104 times over the course of 17 years as was the case with Faust in
the early twentieth century.
Operatic Venues in Dublin in 2017/18
In the absence of a dedicated opera house, operatic performances in Dublin
in the 2017/18 season were spread across eleven different venues of very dif-
ferent sizes and natures. They are here listed in descending order according
to size, with the number of seats and the operas performed in them added.
– Board Gáis Energy Theatre – 2111 seats (Tosca)
– National Concert Hall, main hall – 1200 (Eithne, La Traviata);
– Gaiety Theatre - 1142 (Le nozze di Figaro, Der Schauspieldirektor)
– Sandford Parish Church – c. 900 (Orfeo ed Euridice)
– O’Reilly Theatre, Belvedere College – 500 (The Second Violinist,
Powder her Face)
– Gleeson Theatre, Dublin Institute of Technology, Kevin Street –
400 (Acis and Galatea)
– National Concert Hall, John Field Room – 250 (The Sleeping
Queen)
– Unitary Church – c. 250 (Ulysses)
– Samuel Beckett Theatre, Trinity College Dublin – 208 (Dubliners,
La finta giardiniera, Opera Briefs)
– Mill Theatre, Dundrum – 207 (Orfeo ed Euridice)
– The Little Theatre, Skerries – c. 120 (Orfeo ed Euridice)
The Board Gáis Energy Theatre is the largest and most modern thea-
tre in the country and best equipped to stage opera. The Gaiety Theatre is
used for opera more often, yet it has a very small pit (on occasion one can
25 The revival is The Second Violinist (3 performances in London) while the new pro-
ductions are The Tales of Hoffmann (11 performances in 9 cities), Bluebeard’s Castle
(3 performances in Dublin) and Aida (4 performances in Dublin).
105
