At the National Opera House in Wexford, this year’s festival has brought a delightful revival of Gaetano Donizetti’s comical opera, “Le convenienze ed inconvenienze teatrali,” along with a humorous backstage comedy and a clever new opera by Colm Tóibín.
The festival, known for its charm and warmth, has a rich history of presenting rarely performed works since its inception in 1951. This season focuses on the theme of “theatre within theatre,” and Donizetti’s two-act piece fits this theme perfectly, showcasing the chaos that ensues during rehearsals.
Canadian coloratura soprano Sharleen Joynt shines as the demanding prima donna Daria, who adamantly refuses to rehearse with the second soprano, Luigia, portrayed by Paola Leoci. This decision leads to the on-stage arrival of Luigia’s overbearing mother, Agata, played to perfection by the comedic bass-baritone Paolo Bordogna. Agata’s antics—complete with an inability to read music and a talent for creating chaos—bring the house to laughter from the opening note to the final bow.
The Wexford Festival presents an updated edition that incorporates an array of unexpected musical moments, including a humorous nod to “The Sound of Music” and a classy excerpt from Leonard Bernstein’s “Candide.” Choreographer Amy Share-Kissiov has crafted delightful dance sequences, while conductor Danila Grassi leads the festival orchestra with both passion and precision, drawing tears of joy from performers during the heartfelt curtain call.
When comparing the famed Italian composer Giacomo Puccini to Anglo-Irish composer Charles Villiers Stanford, their shared year of death in 1924 seems the only connection at first glance. Puccini enjoyed remarkable success while Stanford faced rejection, with few of his operas capturing the spotlight. However, Wexford is challenging this narrative by reviving Stanford’s “The Critic,” a witty adaptation of Richard Brinsley Sheridan’s satirical work from 1779.
Stanford’s biographer, Jeremy Dibble, has breathed new life into this operatic treasure, and its playful nature shines through. The opera humorously critiques the world of theater, as the critic Sneer, portrayed by Arthur Riordan, observes the rehearsal of an absurd new play. While characters from the Elizabethan era stumble through nonsensical scenes, the comedic misunderstandings and musical references come thick and fast.
One of the highlights of Stanford’s writing is reserved for the character of Tilburina, brilliantly brought to life by soprano Ava Dodd. Throughout the performance, as references to composers like Wagner, Elgar, and Beethoven pop up, conductor Ciarán McAuley skillfully balances humor and rich orchestral textures. Director Conor Hanratty has ensured that the work is treated with the seriousness it deserves, allowing the comedy to shine without descending into farce.
The festival also kicked off with Pietro Mascagni’s “Le maschere,” which attempted to honor the traditions of commedia dell’arte and Rossini, albeit without significant success. Set in a contemporary wellness center, the story struggles to engage, though sopranos Lavinia Bini and Ioana Constantin Pipelea deliver impressive vocal performances.
In addition to the main operas, the festival features around 70 smaller recitals, lectures, and new works over its 16-day run. Among these, Tóibín’s one-act opera, “Lady Gregory in America,” stands out. This innovative piece addresses the controversial 1911 tour of Dublin’s Abbey Theatre and its reception in the U.S. The production is skillfully staged by Aoife Spillane-Hinks, with Erin Fflur portraying the indomitable Augusta Gregory and Jane Burnell delivering a memorable performance as the spirited actor Molly Allgood.
With a range of offerings, the Wexford Festival Opera runs until November 2, promising laughter, thought-provoking themes, and a celebration of opera’s unique magic.
