Page 93 - 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. 93
oi: https://doi.org/10.26493/978-961-7055-50-4.91-115
Opera in Ireland
– A Continuing Struggle for Acceptance
Wolfgang Marx
Univerzitetni kolidž v Dublinu
University College Dublin
Operas have been performed in Ireland for more than 300 years while at
times there has been quite an enthusiastic audience for it in Dublin and
other urban centres on the island. However, two facts are of central impor-
tance when it comes to assessing the history and relevance of opera (and of
a national opera house) in Ireland.
– At no point in its history did Ireland have an indigenous opera
company producing an all-season programme.
– At no point in its history until 2008 did Ireland have a designated
venue (be it called opera house or something else) that was dedi-
cated to the presentation of opera alone, or even an equivalent of
the German municipal theatre (Stadttheater) that would present
a regular, roughly equal mix of opera, ballet and plays across the
season.
This means that opera companies – be they Ireland-based or visiting
from abroad – would run productions for a few days or weeks only, often
travelling from one city to another.
On the other hand, since 2014 Ireland has a venue called “National Op-
era House”, and at the beginning of 2018 two Irish companies were merged
to form “Irish National Opera”. This is the first time that the Irish state has
committed itself to supporting an endeavour claiming to have a national
reach and relevance. Yet venue and company are separate, and, as we shall
91
Opera in Ireland
– A Continuing Struggle for Acceptance
Wolfgang Marx
Univerzitetni kolidž v Dublinu
University College Dublin
Operas have been performed in Ireland for more than 300 years while at
times there has been quite an enthusiastic audience for it in Dublin and
other urban centres on the island. However, two facts are of central impor-
tance when it comes to assessing the history and relevance of opera (and of
a national opera house) in Ireland.
– At no point in its history did Ireland have an indigenous opera
company producing an all-season programme.
– At no point in its history until 2008 did Ireland have a designated
venue (be it called opera house or something else) that was dedi-
cated to the presentation of opera alone, or even an equivalent of
the German municipal theatre (Stadttheater) that would present
a regular, roughly equal mix of opera, ballet and plays across the
season.
This means that opera companies – be they Ireland-based or visiting
from abroad – would run productions for a few days or weeks only, often
travelling from one city to another.
On the other hand, since 2014 Ireland has a venue called “National Op-
era House”, and at the beginning of 2018 two Irish companies were merged
to form “Irish National Opera”. This is the first time that the Irish state has
committed itself to supporting an endeavour claiming to have a national
reach and relevance. Yet venue and company are separate, and, as we shall
91
