Carrigdhoun
15.10.05

24 Songs to Capture Grace and Glamour of the Silver Screen

Experience the sound world of International Film Composer C.S.L. Parker. Journey through a galaxy of vivid dreams, colours and emotions, of soaring melodies and of rich, lush harmonies.

In 24 Songs, C.S.L. Parker challenges Opera Star Sonya Keogh, the heavenly voices of Seraphim, concert harp, symphonic strings, and pulsating electric bass to join him in building a performance which embraces the despairing to the sublime, the intimate to the epic.

C.S.L. Parker is a full-time composer and writer. His output includes solo piano, chamber and orchestral works. Several of his orchestral works have been recorded on the Vienna Modern Master label. He also writes extensively for film. Works in this genre include music for the documentary drama, Hold the Passion and the recently finished recording of his new film score for John Conroy's film Poker Nights. John Conroy's first film Selfish Minds for which C.S.L. Parker also wrote and recorded the film score, was awarded the Grand Jury prize in New York in April 2003.

Cork Opera Works is an exciting new Cork opera company founded in 2004 by Cork School of Music graduates Allin Gray, Sonya Keogh and John O'Brien. Cork Opera Works is committed to the production of contemporary Irish artworks. Along with developing the Cork Opera Works String Orchestra and The Works Chorus they have also absorbed and developed the chamber choir Seraphim. With a design that takes its inspiration from Hollywood's Golden Age, 24 songs promises to capture the grace and glamour of the silver screen.

Cork Independent
6.10.05

24 SONGS

THE sound world of International Film Composer CSL Parker will fill the Opera House, when 24 Songs is staged at the Cork venue. Journey through a 'galaxy of vivid dreams, colours and emotions, of soaring melodies and of rich, lush harmonies'. CSL Parker challenges Opera Star Sonya Keogh, the voices of Seraphim, concert harp, symphonic strings, and pulsating electric bass to join him in building a performance which embraces the despairing to the sublime, the intimate to the epic. If it sounds anything like the press release, it could be immense.

Inside Cork

11.08.05

Setting the Stage for Opera!

Cork Opera Works has announced it is to offer professional training and guidance together with hands on experience to nine aspiring artists under it's young Artists Scholarship Scheme 2005/2006.

By Katie Mythen

Director, Sonya Keogh told Inside Cork "The Scholarships currently available are; Conducting, Voice Coaching, Public Relations, Fundraising, production, Children's Chorus Management, Chorus Management Professional Resources Management, and ' Repetiteuring. While it is required that each applicant be able to sing, it is not essential that they have been classically trained. As part of the Young Artists Scholarship Scheme, each scholar will receive intensive vocal training and will work closely with Cork Opera Works performing groups."

As part of the 2005/2006 Season, Cork Opera Works is currently developing a Cultural Exchange programme between the Cork Children's Chorus and Japan's Junior Jazz Orchestra, Little Cherries Tamae. Under this Exchange Programme, it is I hoped that the Cork Children's Chorus will travel to Japan in July 2006. All Cork Opera Works scholars will work together towards making this dream a reality! Applicants must apply by letter, enclosing CV and any other relevant information to Young Artists Scholarship Scheme, Cork Opera Works, Cliffdene, Castlegreina Park, Boreenmanna Road, Cork on, or before, Friday August 19, 2005. Applicants should list their preferred options in order.

From Cork to Kagoshima
by Sonya Keogh

In my capacity as Director of Cork Opera Works, and General Manager and Voice Coach of the Cork Children's Chorus, and by invitation of EU-Japan Fest, I travelled to Japan where I attended the Second International Music Festival for Youth as part of EU-Japan Friendship Week. This international youth festival without borders, took place on the southernmost island of Kyushu and centred in Kagoshima, a city similar in size and status to that of Cork.

04.07.05

I flew from Cork to Kagoshima via Amsterdam, The Netherlands and Osaka, Japan with my husband and co-director of Cork Opera Works, Allin Gray, our son Oscar who at the time was seven months old and still nursing and co-cultural ambassador, Gerry Kelly.

The journey from Cork to Kagoshima took over twenty-four hours to complete. In particular, the eleven-hour flight from Amsterdam to Osaka could only be described as gruelling. While flight attendants did their best to distract with a constant stream of meals, snacks and movies, it was impossible to take my attention away from my ever-increasing ankles.

05.07.05

Upon our arrival in Osaka, it was clear that we had entered another realm. The airport was quiet and clean. A distinct sense of personal safety abounded. Immediately, I envisioned the Cork Children's Chorus, all seventy five members, clattering and chattering their way through the serenity. We would have to develop their silence skills... or perhaps not. Perhaps in the interest of fair and truthful cultural exchange, they could simply be themselves. Perhaps over the course of a week they would quieten by degrees as the surrounding culture affected them. I was suddenly gripped by the prospect of what a week in such a place would do for the children of the Cork Children's Chorus. What lasting impression it would leave. What a once-in-a-lifetime experience it would be. All this, and I still hadn't reached baggage reclaim!

While waiting for our connecting flight to Kagoshima, I met with representatives of the Wakayama Arts and Culture Support Society; Setsuko Inoue, Akinori Inoue and Kaoru Tomatsu. We formally introduced ourselves by exchanging business cards. I was immediately grateful to Martin Barrett for tipping me off in regard to this business custom, as to be caught without a business card would appear to be comparable to refusing to shake hands. Setsuko, Inoue and Kaoru were also travelling to the Second International Music Festival For Youth in Kagoshima and over the coming days were to become friends, in addition to cultural guides and business associates.

Upon arrival to Kagoshima Airport, we were welcomed by Mami Kumano, a representative of EU-Japan Fest, and escorted via coach and taxi to observe a Little Cherries Tamae rehearsal. I will admit that I was far from enthusiastic at the notion of meeting anyone, especially given that I had not slept or washed in what was now approaching thirty hours. I wanted my hotel room, a shower and a good night's sleep. However, I committed to the marathon and embraced the adventure and found myself in the courtyard of Tamae Elementary School.

At seven o'clock in the evening, Tamae Elementary School was a hive of activity. Had the children stayed back to see us or was this a normal day? It wasn't clear if they expected us, however, their excitement upon seeing us was evident. The children giggled nervously and clung to each other as the strange westerners entered the building. They watched as we wrestled our large feet into the guest slippers. They followed us as we toured the school corridors. They watched us, waved and welcomed us from a held distance. Only the sight of baby Oscar, tempted them toward us.

In one of the classrooms, a beginners jazz group were working on their scales. Up and down they went, and then, up and down, up and down, up and down again. They were led by one of their classmates who conducted them in true sergeant-major-like fashion. They marched through their scales as if on a drill assignment. Mr Onishi, conductor to the Little Cherries, entered the room and gave the young group an opportunity to perform for us. In his own inimitable conducting style, he danced a tempo and off they went. They rocked! It was quite astounding that from such deliberate scales could come such jazz. I was impressed and made a note-to-self that Mr Onishi and Little Cherries Tamae should certainly get together with John O'Connor and the Cork School of Music Big Band as I am sure they would learn so much from each other, and have fun in the process.

The older and more accomplished Little Cherries arrived and there was a palpable sense of anticipation. It was obvious that they held status in the school. When the local television station arrived to tape another chapter for their documentary on Little Cherries Tamae, I felt as though I had entered the twilight zone. It was all so strange. I was on the other side of the world in a small classroom, experiencing a school music programme that had to be seen to be believed. I watched and listened and in my close-to-catatonic state, struggled through the tiredness to take it all in.

Like the other group, Little Cherries Tamae began by running though their scales. Up and down, up and down and up and down again. Each time with regimental precision. As Mr Onishi began to dance, it became clear that the rehearsal was over and that the performance was about to begin. And wow! We were up and on our feet as these small-statured children stood and moved, and performed from memory, and from the heart. I was wide awake. I was in Japan. I was learning.

Later as we left Tamae Elementary School and the waving, happy children behind us, I couldn't help but feel that while they had thanked us for our visit, how much more we had gained from them. I was also struck by how the music had transformed us from strangers into friends.

As we all piled into a taxi destined for our hotel, I felt a little anxious when Mami remained with the other group. I didn't speak Japanese. What was I saying, I couldn't even read Japanese. Another note-to-self: I should learn Japanese!

Upon arrival to the hotel, it was time to go out for dinner. I was now past exhaustion and far too intrigued to miss a night out on the town in Kagoshima's world-famous Wagamama. And what a night! What a meal! And what fun! We started with baby squid - little pink fleshy marinaded raw things in a small bowl. While the taste was good, the texture was something else entirely. Luckily I had a large beer to hand to wash it down. After it, the rest of the meal was a piece of cake. Black Kagoshima Pig, Sushi (as in, raw fish on a plate), deep fried pork and lots more beer! During the evening and to my surprise, familiar faces from Ireland appeared in the doorway and joined us. The Crawford Piano Trio; Adrian Petcu, Jan Cap and Josef Calef, together with flautist, Fiona Kelly and Soprano, Emer Collins pulled up a piece of floor and claimed themselves a beer. On tour in Japan, our itineraries were to overlap for the next few days. Drinking and laughing over the remains of a tremendous meal and aided by the delirium that results from sleep deprivation, there were moments when I believed that I had arrived in paradise!

Thirty-six hours after having left home, I found my bed. It had been the longest and most satisfying day of my life thus far, save for the birthday's of each of my children, that is! How could I have known what the next day would bring!

06.07.05

Up early and off to breakfast. Aware of how the Japanese require punctuality, we didn't linger over our smoked fish and rice. Instead, it was a quick six cups of coffee for me and off to our scheduled rendezvous in the foyer. We were going boating. Or rather, we were travelling on a 'tiny ship' six hours south of Kagoshima to the island of Kuroshima in the Pacific Ocean. Kuroshima is one of three islands, collectively known as Mishima-mura. The purpose of our visit was to experience firsthand the islands' youth music programme as supported and developed by EU-Japan Fest.

The 'tiny ship' was closer to a liner than a boat. I was amazed that such a ship would be scheduled to service such a small archipelago of islands. In true 'Celtic Tiger' style, I wondered why such a grand service was maintained when it clearly financially unviable. When I questioned my cultural guide, I learned how the Japanese measure viability in social terms. These regular crossings facilitated social and cultural connection for the islanders and so were regarded viable, albeit unprofitable. I felt slightly ashamed.

As we left the bay, the ocean struck and our 'tiny ship' rose upwards and crashed downwards, again, and again, for a total of six unforgettable hours. It became a ghost ship as each retreated to their room in a bid to maintain some semblance of dignity. We were all sick. Well sick doesn't really describe what we went through but then this is an official report and I ought to restrain myself from complete disclosure. Suffice to say that I felt as though I had endured labour and birth and that I vowed never to bring seventy five children on a boat ride in the Pacific Ocean!

Even though we had been informed that people on the islands are more relaxed than those on the mainland, nothing could have prepared us for the welcome, hospitality and sheer generosity of spirit that we were to encounter. The islanders had gathered at the port to welcome us. They waved and smiled as our dishevelled party disembarked. In a strange way, I felt as though our arrival was to them, a homecoming. Shared out among numerous local drivers, we made our way in convoy to the community's centre, via a rough, twisting and turning road which seemed to spiral the island. In the back of my mind, I felt as though I might have been told at some point that Kuroshima was a live volcano. I decided not to dwell on this, however, and instead looked out the window at the lush greenery and remarkable landscape.

The islands' promotional literature states how the three islands are connected by sea routes, by the Mishima Cup Yacht Race and by Djembe. It tells us how their:

story begins when Mr Mamady, a drum virtuoso from Guinea, West Africa visits the island. By playing Djembe, a musical instrument from his motherland, he conveys his affection for his homeland. His beat, continues to resound as an expression of love for these islands.

In the early nineties, Mamady Keita from Guinea in West Africa visited Mishima and fell in love with the islands and the island people. During his stay he began to teach the young children Djembe drumming. His efforts were both rewarded and reinforced when the local authorities responded with:

A First in Asia
The Mishima Djembe School opens

The School features such Malinke tribal customs such as 'griots,' stories sung to the beat of of percussion instruments and visitors here can even learn how to play authentic Djembe rhythms. Also on exhibition are various African tribal dances. The Djembe School is the first of this kind in Asia, modelled after those in Europe and US. At Mishima Djembe School, one can experience traditional African performing arts.

Leaving a thriving school behind him, Mamady continued on his journey. Years later, he returned to the island and told of how the tradition of Djembe had suffered in his homeland as a result of a period of civic unrest. He told of how the current generation had lost many of the original rhythms. In response to this, the Japanese authorities enabled Mishima-mura children to travel to Guinea where they in turn taught Djembe to the African children! Mamady's love for his indigenous culture had motivated him to share it with the Mishima-mura people. Affected by his talent and enthusiasm, they had nurtured his gift and found themselves in the rare and privileged position of being able to return that gift to its place of origin.

On arrival to the Kata-domari Fureai Hall, it was more waving, more bowing and more slippers. And while the Crawford Piano Trio rehearsed and Jeremy Tomasck, a former student of Mamady's, workshopped with the local Djembe team, Allin, Oscar and I were thankfully taken to our hotel to recover.

Our traditional lodgings on the island came complete with sliding doors, futons and rice pillows. Once inside in the calm of our room, I became aware of the island around me. It was alive, vibrating with the sounds of billions of creatures. I knew if I thought about it too much that I would probably have scared myself stiff, so instead, I summed it up for myself with the word 'tropical'. I was on a 'tropical' island in the Pacific Ocean and I could happily leave the exact information regarding its indigenous wildlife until I returned home to the comfort and safety of my computer screen.

By its very nature, Djembe is an all-inclusive genre. Later at the evening's concert at the Kata-domari Fureai Hall, children from age two danced in accompaniment to the increasingly challenging drum rhythms as performed by the older children and young adults, and led by a number of Mamady's former pupils, now international Djembe stars. By way of introduction to the Crawford Piano Trio and performing soloists, the Mayor of Mishima-mura welcomed the international contingent to the island and told us of his love for classical music. He also said that for the people on the island, this evening's concert would be for some, their first time ever hearing classical music, and for many, their first time experiencing it live. As the Crawford Piano Trio performed Carolan and Philip Martin and the soloists performed from the traditional and contemporary classical repertoire, I wondered if western art music would appeal to the audience, as Djembe has done. Judging by their intense concentration and tumultuous applause, I think I can safely assume that indeed, it did!

The whole evening was a celebration of community and of inclusion. In the audience, children took pride of place as mats were arranged for them to the front of the hall with a more western seated audience arranged to the rear. I was amazed to see tiny children walk confidently to the mats and carefully remove their slippers before stepping onto them. As the concert continued, the little children took mini-breaks by slipping on their slippers and going to what can only be described as a family room which was located in the hall. Here the resting children, read books and played together, mothers breast fed and fathers changed nappies. It was a fantastic idea as it facilitated each community member's participation in their island's social event.

As the island people gathered together, drawn by the sound of music, thousands of winged creatures circled overhead, drawn by the light and by the scent of warm blood. With a rhythmic regularity, they plunged into the crowd below to drink their fill. As I sat in the audience of the Kata-domari Hall at the first ever classical music concert on the island of Kuroshima, 'drunk to the sound of music', derived whole new meaning.

The afterglow took place in the island's social club which was conveniently located upstairs. On our arrival, the long table was decorated with iced-cold glasses of beer and traditional snacks and the room adorned with the Japanese and Irish Flag. Fresh sushi, caught that afternoon in local waters, took pride of place and confirmed that we were, indeed, valued guests. That night we drank to friendship and to community, enjoying each other's company into the small hours of the morning. I even got the singsong going with an a capella rendition of one of their favourite songs, Ave Maria by Schubert!

I felt privileged to have had opportunity to experience a music outreach programme which a clear social, artistic and cultural legacy. Later, when I complimented them on their vision and achievement, I was very generously told that if we would like to have Djembe in Cork that they would be delighted to arrange for Mamady to come and work with us. Note-to-self: Bring Mamady to Cork!

07.07.05

Our early morning drive to our 'tiny ship' was a sombre one. No one relished the thought of the return journey. However, as an experienced mother succumbs to the many challenges of a labour with a quiet acceptance, we resigned ourselves for the voyage ahead. Even our farewell committee, complete with coloured flags, couldn't quite succeed in raising our spirits.

It was travel sickness tablets all round as we each hoped for the best! Anchors up and away we went. And... it... was... CALM! Calm as an... I don't know what! We were giddy with relief! Indeed, euphoria is a wonderful thing! It was up on deck on what was a glorious day in the middle of the monsoon season. It was lashing with warm rain. A special kind of self-drying rain. I mean you went up on deck and got soaking wet while taking in the mind-bending sights and then you came in and within minutes you were bone-dry, as if by magic!

We saw Kuroshima, Ioujima and Takesima, together with numerous baby islands which had erupted from the ocean floor and introduced themselves a mere fifty years ago. We kept our eyes peeled for glimpses of sea turtles and whales, indigenous to the waters. We heard tales of wild peacocks and camellia flowers indigenous to the islands. We were in paradise!

The return trip sailed by and I was in awe of the precision with which we disembarked the 'tiny ship' and boarded our coach and continued our journey to Matsuyama-cho. The transfer took less than ten minutes! I mean, at home it takes me longer to get out of my car at the supermarket! I reminded myself, however, that we were after all in Japan where they do punctuality and precision very, very well.

The coach trip to Matsuyama-cho was like a journey through a Tim Burton film set. Great humpbacked mountains which looked as though they had been dropped on the landscape were placed into greater reveal by low-level houses and large paddy fields. Japan's respect for nature was apparent as man's need for commerce and transport blended with the surrounding landscape. Concrete was even given a natural finish so that upon first, and second glance, it could be confused with natural stone.

Matsuyama-cho and another official welcoming committee, after which we were immediately taken to our hotel and allowed time to rest. Perhaps they had realised that as westerners we simply could not match their stamina.

That evening's concert took place in the Yacchiku Fureai Hall, a large, modern building similar in size and design to University Concert Hall, Limerick. The evening's concert once again featured The Crawford Piano Trio and guest soloists together with the local elementary school's brass band and choir. The special guests for the evening were the Belgium boy's choir, Cantate Domino, who had travelled to Japan on a cultural exchange programme at the invitation of EU-Japan Fest.

By the time I left the concert, jet lag had joined forces with the tiredness that travel and new experience bring, and the combined result had rendered me close to unconscious. I crawled into my bed and slept a long, deep and wonderful sleep.

08.07.05

So wonderful was my nights sleep that it caused me to sleep through two alarms the following morning. I woke with a start with the vague memory of a soft knock at our hotel room door. I was mortified. A phone call from the lobby confirmed my worst fear, we had indeed overslept by two hours and everyone was up and ready to leave, and were now waiting for us in lobby. It was agreed that they would leave and bid farewell to Cantate Domino and the Crawford contingent and that they would return for us en route to Kagoshima. Even after such a polite phone conversation, I felt sure that they would have been abhorred by our indiscipline. Later when they returned for us they were laughing and joking, and if anything, were more forgiving of us than we had been of ourselves. It would certainly appear that to 'err is human' is a phrase that has made it into the international phrase book.
We returned to Kagoshima, booked into our hotel and went shopping! Fantastic food halls, coffee, noodles, all manner of toys for children and adults, alike. Like true capitalists, we indulged ourselves in some good, old-fashioned retail therapy!

In the evening, I left a tired husband and baby behind, and attended a welcome reception and concert at Nishi-Ishiki Elementary School, in Kagoshima where I had opportunity of seeing the Cantate Domino cultural exchange programme in action.

During the concert, members of Cantate Domino sat with their host families around tables adorned with traditional Japanese specialities. They enjoyed performances by the school's brass band and choir, and Japanese traditional artists. Later they offered their performance to a delighted crowd. The evening's festivities were concluded by the professional Japanese Djembe team, 'Cola'. The hall rocked, everyone was on their feet stamping and clapping. It was audience participation at its best! The boys from Cantate Domino, overwhelmed by the experience, danced, whooped, clapped, and howled to the Djembe rhythms.

Later that evening Allin and I discussed our concert experience at home. Challenged by the level of audience involvement and by the resultant concert atmospheres as experienced by us in Japan, we considered audience participation schemes which might in turn challenge and redefine our concert practices. We made numerous and varied plans for the future.

09.07.05

Saturday was, according to my itinerary, my day for meetings. In the morning, I met with the Principal of Nishi-Murasakibaru Elementary School and with the teacher of the Nishi-Murasakibaru Elementary School Choir with whom I was going to be working the following day. It was a meeting whose purpose was one of courtesy and connection. We talked, via translator, about our respective countries' school music programmes. I learned that every school in Japan has a brass band and a school choir. I also learned that I know far too little about the school music programme in Ireland!

Next I went to Tamae Elementary School where I had meetings scheduled with the School Principal; Mr Megushi, Little Cherries Tamae's Conductor; Mr Onishi and Tamae's Elementary School Parents Committee. We introduced Little Cherries Tamae and the Cork Children's Chorus and discussed the possibility for cultural exchange between the two groups. I answered questions about Ireland and about the Little Cherries proposed homestays in Cork. The meetings were successful, however, I was struck of how difficult, if not impossible, it would be to organise such an exchange without the commitment of EU-Japan Fest. Between the meetings at Tamae Elementary School, I had opportunity to attend another performance by Little Cherries Tamae, and felt sure that any effort made on behalf of this group and on behalf of the Cork Children's Chorus would not be wasted.

I left Tamae Elementary School and drove directly to Kagoshima Cathedoral Xavier Church where later that evening, I was to make my Japanese debut. In my dressing room, I prepared for the event and during the interval took my position on the balcony next to the organ and organist Maarten Van Ingelgem. At the beginning of the second half, the spotlights illuminated our performance of Bach-Gounod's Ave Maria. Judging by the applause, it was a success.

After the concert, we went down town for dinner at the generous invitation of Mr Onishi and members of the Tamae Elementary School Parents Committee. To call it dinner is to grossly understate what transpired to be one of life's great feasts.

10.07.05

Our last day as guests of EU-Japan Fest in Kagoshima began with my giving masterclasses to the school choir at Ishi-Murasakibaru Elementary School. The choir had thirty-five members ranging in age from 10 to 16 years and consisting of two boys and thirty-three girls. To give an account of my workshop would require another report entirely, suffice to say that the children gave of their attention, concentration, talent, and ability. We worked rigorously and not without a good measure of fun and laughter. As I left, the children swarmed around me extending their hands to bid me fond farewell, western style. I walked through a human guard of honour to the car and returned to the hotel.

In Conclusion
I have travelled the length and breadth of Europe. I even travelled to Canada, once. Nothing, could have prepared me for this trip to Japan, however. It was like nothing I have ever experienced and yet, I did not feel as though I was ever, very far from home.

While the landscape, language and culture is very different from our own, the people, their kindness, gentleness and welcome is reminiscent of our grandparents' warmth and welcome, of an olden day Ireland as yet, unaware of the 'Celtic Tiger' and of its unrelenting economic drive.

I welcome our connection with the Japan. I believe that it will challenge us to examine our social agenda and allow a platform upon which to further define our cultural identity. I believe that exposure of the children of the Cork Children's Chorus to this strange place and its wonderful people will broaden their horizons and reaffirm their heritage. I believe that such a trip will have a far-reaching legacy which I cannot begin to sum up in writing.

I have written this account according to what I believe to be the truth, however, I acknowledge that certain details may have been lost in translation or indeed misinterpreted through cultural difference. I very much hope that I can be forgiven any such inaccuracies.

I deeply thank EU-Japan Fest for what has been one of the greatest weeks of my life.

Munster Express
27.05.05

Review: Hansel and Gretel

The choice of the Humpersinck opera (for adults and children) Hansel And Gretel was an inspired choice by Gerry Barnes to celebrate 150 years of the Cork Opera House. His stewardship at the venue is remarkable as the amount of state funding is pitiful compared to the cash poured down the black hole of the Abbey Theatre.

The Brothers Grimm are hot property with a major movie due on their lives and stories from Python, Terry Gilliam and Humperdinck used their Gingerbread story to weave a cautionary folktale with Wagnerian touches, fine settings are glorious, romantic music like the Angel's Lullaby.

Barnes co-produced with another fledgling operatic organisation Cork Opera Works, founded in 2004 by Cork School Of Music graduates. Using a seventy strong Cork Children's Chorus was an inspired choice as well, as this clearly sent out a positive message of youth and future in a quality package.

Annelisa O'Mullane designed a glorious Gingerbread House that was the visual centrepiece of this sumptuous feast. It was beautifully functional and yet magical. There were moments of sheer magical and musical delight in this show where Musical Director, John O'Brien, created a transformation that was lovely. Paul Denby's lighting caught the fairytale mood just right after initial scrolling problems. Helen Eastman directed everything onto a front apron and the principal work of Catrin Johnsson as Hansel and Yvette Bonner as Gretel was a little light from where I was sitting.

Sonya Keogh as Mother/Witch was a lynchpin of the show. Oisin O'Corragain was a fine Sandman as were Eimear Merrit and Niamh Lynch as Dew Fairies. Adrian Powter as Father had the vocal power and presence necessary to shine. However the stars of the show were the Children's Chorus.

As part of the 150 years celebration there was street entertainment outside the venue on the Saturday, with Champagne and fizzy drinks as well as fireworks. On the Sunday there were three proms style excerpts with cast and an audience moving freely to experience the magic, the music and the venue, Gingerbread House and all. With carnival events outside, face-painting, balloons, clowns and 3000 free tickets for the inside events. Now, that's how a theatre should celebrate its birthday with its future patrons.

Superb Opera House production of ' Hansel and Gretel' opera
by Flor Dullea

Hansel and Gretel at the Opera House is a superb production and has set the Cork Opera Works Company off on a musical track.

With luck and financial support, their subsequent shows will be as memorable as this Englebert Humperdink opera based on the Grimm Brothers' fairy tale.

A full house on opening night gave the presentation an ecstatic applause that was well deserved, as the show danced along, with never a slip or slide, by a cast of young adults and a swarm of young singers and actors, as disciplined a crowd as ever graced that stage.

Cork Opera Works is the 'dream-child' of three forward-looking Cork musicians, John O'Brien, the conductor, Sony a Keogh, mezzo-soprano, and Ailin Gray. With their first foray into production, they have succeeded beyond their best imagining as the big orchestra played the music with a great sense of respect for the singers, and the music is soothing and rhythmic, ideal for the audience made of parents introducing their children to the magic of the 'live' stage.

Set and costume design­er, Annelisa O'Mullane, who lives in Cork, and was born in San Fransisco, created much of the visual magic with her sets and the chocolate house of the wicked witch was a mas­terpiece, as were her curtained trees in the wood.

CLEVERLY

Paul Denby lighted the scenes very cleverly. The pantomime effect as the witch got herself sent head­long into her own oven was a moment of great relief for the young patrons. Sonya Keogh played two roles, those of mother and witch, and in each she was evidently enjoying the challanges. Her singing and acting were simply outstanding.

From Sweden came the soprano Caitrin Johnson to play Hansel, and from Eng­land came Yvette Bonner, a lyric soprano to play Gretel. We must keep these two experienced performers for future shows. Great actors are born, not made.

From Cambridge came Adrian Powter to play the father with authority and charm. The local actors deserve the highest com,-mendation, led by Oisín O Corragain, a 13-year-old star from Kinsale, playing Sandman. He is a soprano eith the Cork Children's Chorus, directed by John O'Brien and Sonya Keogh. In the summer of 2004, he toured with Opera 2005 playing the part of Mercury in Dido & Aeneas. He per­formed at Cork Opera House during the '03-'04 season, playing the part of Harry Potter in Beauty and the Beast.

Oisín is also an accomplished sean nós singer, and has won a number of All-Ireland Fleadh Cheoil titles under the tutelage of Diarmuid Ó Cathasaigh. He studies traditional fiddle with Caroline Uí Cathasaigh and whistle and flute with Martin Power, and is a member of the traditional orchestra Ceoltoirí Cairbre, based in Dunmanway. He is also a mean guitar player and an avid rock 'n' roll fan!

On alternative nights, Pat O'Sullivan from Ballinlough plays Sand­man. He recently starred in Oliver! and will be back on June 10 in the lead role. A show you must catch - bring the children. Two other Cork girls play Dew Fairy on alternate nights.

Eimear Merritt is ten years old from Donnybrook, Douglas. She is in fourth class in St Columbas O. N.S., Douglas. She attends the Cork Arts Stu­dio for drama and dance. Niamh Lynch is 14 years old and in second year in Gaelcholáiste Choilm, Balhncollig.

UP TO 70

The programme lists up to seventy young members of the Cork Children's Chorus. Their singing was honeyed in tone and among them are, surely, leading singers for future Cork Opera Works entertain­ments.

The director of Hansel and Gretel, Helen Eastman, is from Oxford and, in this production sung in English, she did the translation and the libretto, as she wanted to create a modern, accessible and performable translation, free of the German rhyming couplets and quatrains.

Ms Eastmann succeeded in giving the singers a wide range of emotional songs that caught the moods of the story line. She used her children to great effect as spirits of the trees, as friends to the wicked witch, as angels who guard over Hansel and Gretel, and the final scene of all the chil­dren lost in the woods, lured away by the witch to be baked.

When Cork Opera Works come round again, make your reservations for all the family. Jennie Readman from Rossmore is the make­up artist and also handles the wigs. She is presently engaged for Ha'penny Bridge musical, previously at the Opera House, on its way to Dublin's Gaiety from June 14.

Hansel and Gretel - Cork Opera House
by Colette Sheridan

ALTHOUGH visually splendid, there are two problems with Cork Opera House's production of Hansel and Gretel, co-produced with Cort Opera Works.

While director and librettist Helen Eastman has done a fine job of real­ising this new English translation of Hansel and Gretel, the opera, it was a strain, at times, to figure what Gretel, played by lyric soprano Yvette Bonner, was saying. Facially, she communicates well , but.in contrast to her sidekick Hansel - played by a female, the more force­ful Catrin Johnson - you really rely on Bonner's physical interpretation to follow the action.

The other drawback is the length of the first act in Hansel and Gael's modest log cabin. The rnournful ex­change between the children's par­ents over-establishes what this version of the opera intends to portray: namely the struggles of parenting.

However, mezzo soprano Sonya Keogh as the mother and the witch is a powerful presence, as is Adrian Powter, who tenderly cradles Gr-tel's doll in her absence, signalling fatherly concern, in keeping with this modern take on the fairytale.

The set and lighting by Paul Denby is suitably atmospheric, and in the third act, the children in the au­dience were thrilled with the gingerhouse made of sweets and cake. Full marks also to Cork Children's Chorus and conductor John O'Brien.

Irish Examiner
05.05.2005

Judith and Holofernes
St Fin Barre's Cathedral, Cork

by Declan Towsend

Cork International Choral Festival, in conjunction with Cork 2005, presented John Gibson's chamber opera, Judith and Holofernes at St Fin Barre's Cathedral . The opera tells the story of how Judith, a young Jewish widow, commandingly sung by Julia Canavan, saves Jerusalem by seducing and killing Assyrian general Holofernes (Martin Higgins). Uzziah (Sonya Keogh) is the vacillating Jewish leader and Achior (Gerry Noonan, whose clarity of diction was most impressive) is the Canaanite leader who warns the Jews of Holofernes' plans. It is a simple story convincingly presented by Cork Opera Works (conductor John O'Brien). However, from a promising beginning, the music seemed to this reviewer to loose its way.

www.musicalpointers.co.uk

John Gibson
Judith and Holofernes
St Finn Barre's Cathedral, 30 April
Martin Higgins, Julia Canavan, Sonya Keogh, Gerry Noonan
Cork Opera Works/John O'Brien

Judith and Holofernes is a simple (simplistic ?) chamber opera which appeared to have been modelled on the Church Parables of Benjamin Britten, a new genre of music theatre for which he found a strikingly new musical language in the '60s, the first (Curlew River) an adaptation of a Japanese Noh play. John Gibson draws his score from a series of undisguised references to composers from Rimsky-Korsakov to Satie, taking in many other allusions on the way, but without forging them into a voice of his own.

Here are two divergent responses to its Festival Fringe production by Cork Opera Works:-

1. St Finn Barre's Cathedral was an appropriate setting for a local community opera to stage John Gibson's Judith and Holofernes. It was beautifully produced with minimal, but well thought out, props which built up a kind of traditional story telling which might have been performed 500 years ago, except for nods towards modern, non-challenging sound patterns. The vocal lines were sung with conviction and emotional depth, but Holofernes (Martin Higgins) tended to have his words drowned by the piano score as played by the composer. Popular theatre through the ages has posed ­ or proposed ­ ethical dilemmas for audiences. The Judith and Holofernes story has as its base the justification of homicide through recourse to divine sanction; plus ça change!

Alexa Woolf

2. In addition to showcasing outstanding international choirs, Cork International Choral Festival has continually championed the composition and performance of new music. In former years U.C.C. hosted a seminar on contemporary choral music in conjunction with the Festival and recently the National Chamber Choir has presented most exciting programmes of contemporary music. The Festival, which continues to encourage the performance of new music by Irish composers, in conjunction with Cork 2005, presented John Gibson's chamber opera 'Judith and Holofernes' at St. Finn Barre's Cathedral.

The opera (libretto, based on an Old Testament story, by Robert Craig) tells the story of how Judith, a young Jewish widow, commandingly sung by Julia Canavan saves Jerusalem by seducing and killing Assyrian general, Holofernes (Martin Higgins). Uzziah (Sonya Keogh) is the vacillating Jewish leader and Achior (Gerry Noonan, whose clarity of diction and commanding presence was most impressive) is the Canaanite leader who warns the Jews of Holofernes' plans. It is a simple story, simply told and convincingly presented by Cork Opera Works (Conductor, John O'Brien).

From a promising beginning, in which the four actors and chorus processed in a semi-religious dance to the stage, singing a wordless Jewish-sounding chant, the music seemed to this reviewer to lose its way. There was a complete mishmash of styles and idioms that did not sit comfortably together. Judith's revelation of her plan used the idiom of one of Moore 's Melodies, the chorus Hymn of Resistance used 19 th century hymn idiom and the prayer of Thanksgiving, when Judith succeeds, is that of today's church hymns. It is all pleasant and easy on the ear but the composer is capable of better. He used his orchestral forces (piano, recorder, trumpet and percussion, particularly the latter) effectively but even this did not raise the music above the level of naiveté.

[Declan Townsend - shortened version in The Irish Examiner]

Madam T, Everyman Palace, Cork
by Karen Fricker

You can't fault this production: for lack of ambition. Meridian. Theatre Company has joined up with Cork Opera Works to present a music-theatre piece based on Guy de Maupassant's story The House of Madame Tellier, involving actors, opera singers, tango dancers and two choruses.

It is exciting to see Meridian's director / adaptor Johnny Hanrahan finally working with a proper budget. Along with sound designer / composer Cormac 0'Connor, he has created an interesting and sometimes gripping spectacle, which mingles spoken and sung scenes with musical numbers. Impressively, it pulls off the complex conceit of having the central characters - the titular brothel-keeper and her lover - played by two sets of performers: actors playing their physical selves, and opera singers conveying their emotions and inner thoughts.

There is the sense, however, that so much energy went into staging and troupe movements that clear storytelling went to one side. This being de Maupassant, atmosphere and theme were always going to be stronger than plot, but the production makes it too hard to glean such basic information as the reason why Madam T and her four prostitute 'daughters' head to the countryside.

It is also never clear what the production's point of view is on prostitution. De Maupassant's story is a celebration of alternate visions of family, but the blurring of time and place here to suggest both 19th-century France and contemporary Ireland, and an emphasis on the vulgar display of the girls' bodies, renders any message quite vague, and creates an occasional feeling of exploitation and male fantasy. Also, Paul Denby's woefully inadequate lighting design often makes it hard to see the actors' faces and discern their emotions.

Irish Examiner
23.04.05

Madam T, everyman palace theatre, Cork
by Colette Sheridan

An emphasis on style over content is one obvious charge that could be made against the first act of Meridian Theatre's adaptation of Guy de Mau­passant's short story, The House of Madam Tellier.

A brothel keeper, Madam T (Billie Traynor), it is quickly established, is a respectable homely sort of woman, despite her occupation. Her girls, though, are a decadent lot, entertaining local businessmen who have the morals of alley cats. Much is made of evoking the atmosphere of tawdriness. You can almost smell the cheap perfume. And Cormac O'Connor's musical score is utterly captivating, suggesting an emptiness, a hollow at the core of the thing.

This is a bordello opera and the impressive singing is performed by Sonya Keogh, soprano, who plays Madam T (private). She eggs on Madam T (public) to give vent to her emotions and to capitulate to the man who is pursuing her. The music drives the first act, which is sorely lacking in narrative but strong on image.

However, the second act makes the whole experience worthwhile. Back at the dockside brothel, where the briefly abandoned clients have experi­enced ennui without their nightly fix, Madam T is presented as undergoing a sexual awakening. Traynor, although convincing as the maternal Madam, is not really plausible, however, when she attempts this transformation.

Overall, though, this is quite a good piece of musical theatre, with high production values. But in terms of narrative, it is not terribly strong.

The Irish Times
23.04.05

Madam T, Everyman Palace Theatre, Cork
by Mary Leland

Ingenuity of design enhanced by lighting effects ensure the visual impact of Meridian Theatre Company's production of Madame T; to the imaginative skills of set and costume designer Colin Falconer and lighting designer Paul Denby must be added the considerable talents of soprano Sonya Keogh, mezzo-soprano Teresa la Rocca and bass Richard Wiegold.

These, in a work described as a 'bordello opera', are crucial to the theme chosen by writer and director Johnny Hanrahan, and they do not fail him. Yet while there can be little doubt about the bordello component, the operatic content may not be quite enough to justify the description, for there is a suspicion that composer and musical director Cormac O'Connor has under-estimated the differences between music and sound design.

It's an electronic opera, sung to a pre-recorded score which, even at its quietest, surges under the main themes, interrupting even the lyrical choral passages with thrumming discords; perhaps it's the marriage of the two conventions which doesn't quite make a credible fusion - certainly the arias, duets and choruses don't develop satisfactorily, maybe because there just aren't enough of them.

The professionalism of the leading singers is not surrendered to the general amplification and is matched by the adult chorus of Cork Opera Works, although the junior choir is not used to advantage. Neither, it has to be said, is the story itself. Madame Tellier's club-like brothel closes when she is invited tothe First Holy Communion of her niece; her whores are received by the simple country folk as sophisticates from the big city, but for them the ceremony of innocent joyful faith is a catalyst of memory and regret.

Despite his occasionally lively libretto, Hanrahan gives a respectful reading of de Maupassant's famous short story but distributes the telling among too many people; without a scaffolding as supportive as its original form, both purpose and poignancy fade, although de Maupassant's benign explanation of the function of the brothel survives happily.

Irish Examiner
19.04.05

Soprano star Sonya on song
by Colette Sheridan

'FUDDY duddy, elitist, arrogant and precious are just some of preconceptions about opera,' says one of Ireland's leading mezzo sopranos, Sonya Keogh who stars in Meridian Theatre Company's Madam T, opening at the Everyman Palace on April 21.

On stage, Sonya will show off her full vocal range - proudly. In fact, she hopes that the presentation of opera in conjunction with theatre will introduce the musical genre to a whole new audience.

A director of Cork Opera Works, established last year to create a sustainable programme of opera in the Cork region, Sonya admits that she was initially turned off by opera when she attended her first singing lesson as a young girl at the Royal Irish Academy of Music in Dublin. 'I said to my teacher that there was no way I was ever going to do opera. I thought it was too square. He said that I should at least make an informed decision and made me go to music appreciation classes in the academy. I ended up .falling jn love with opera and its emotional range,' she explains.

At 20, Sonya returned to Cork, the city she was born in and studied at the School of Music followed by post-graduate studies in music at UCC. (Her grandfather was Larry Lyons, a journalist with the Cork Examiner.) Madam T is described as a bordello opera based on the Guy de Maupassant story, 'The House. of r Madarne Teflier. It has been adapted for the stage and is being directed by Meridian's Johnny Hanrahan with John O'Brien as the musical director. The affectionately comic story is set in a dockside brothel where the madam and her girls entertain local worthies. When Madam T is asked to revisit her own country family as communion sponsor for her niece, her entire entourage decamps to her home village, participating in the solemn ceremonies to hilarious and transformative effect. This music-theatre piece brings together a chorus, musicians, opera singer and actors.

There are two Madam Ts on stage in the show with Sonya playing Madam T 'private.' 'In the play, Madam T is the brothel keeper. She has taken on the role of a repressed maternal figure. In the course of the story, she has a sexual and spiritual awakening. I sort of haunt and provoke the public Madam T, at key moments expressing her surging emotions through opera' explains-Sonya. 'There is more acting required of me in this piece than in my usual opera performances. It's fabulous to work with, a theatre director and we also have to dance so we're working with a choreographer. It's an expansion of my artistic ability. To be working with the composer, Cormac O'Connor is very different to what I'm used to. He composes contemporary music a lot of which is electronically generated.'

Inside Cork
07.04.05

Opera - The Ultimate Experience!

As part of her Transition year work experience, Cork student Sinead Cronin spent two weeks learning the ropes at Cork Opera Works. Sinead gave Inside Cork a sneak peek at her work experience diary, here's how she got on:

'I have been interested in music and musical theatre since I was very young and I thought that this week would be the ideal opportunity to explore this passion even more. Cork Opera Works is an opera company with a difference.

It has three directors: John O' Brien, Sonya Keogh and Allin Gray. They do pretty much all of their own work and are probably the most versatile bunch of people I have ever met. My week began with an introductory meeting at 12.00 noon (a very civilised hour) in the cafe of the Cork Opera House. John and Sonya explained how Cork Opera Works works and what it is exactly that they do. They also gave me a research job for the afternoon to find out as much as I could about their company and programme of events on their website, www.corkoperaworks.com.'

Sinead continues 'While at the Opera House I observed auditions for the company's co-production of Hansel and Gretel which is coming up in May. The singers had travelled from Britain to be present and I was delighted to witness such a talented group of people in an unusually friendly atmosphere for an audition. I also attended a production meeting for Hansel and Gretel.

The most important thing on the agenda was to try and compile a rehearsal schedule and I was shocked to find exactly how much work goes into co-ordinating a rehearsal schedule that suits everyone - Director, Conductor, Principals, Children's Chorus, Orchestra, Lighting and Sound people, Set Designer...........the list goes on. My second day was very different. It was into the Cork Opera Works office, where I met Allin. Allin showed me all about printing posters and developing programmes on the computer. This I found extremely fascinating as I am utterly hopeless with computers. Allin is also gifted at web design and has developed the company's website, www.corkoperaworks.com, which I found most impressive when I was doing my research.'

'While working with the company I had the privilege of sitting in on a rehearsal for one of their upcoming projects, Mozart Vespers.' says Sinead.

This is a mass that is sung in four-part harmony and as I listened to the Works Chorus rehearse I found myself having to close my mouth a couple of times. I couldn't get over the incredible sound that was coming from just fourteen people, how the intricate harmonies came together so perfectly and how they all managed not to go flat on a freezing cold night in South Presentation school. The Vespers will take place on the Eve of St. Patrick, the 16th of March 2005, at the Honan Chapel, U.C.C. at 8p.m.

The works chorus will be accompanied by the Cork Opera Works string orchestra and there will also be appearances from many soloists including Sonya herself.' Another day, another project, and Sinead started work with Allin on the on the programme for Judith and Holofernes, a chamber opera written by Cork composer John Gibson which will take place on the 30th April at 5p.m. in St. Finbarre's Cathedral as part of Cork Choral Festival.

'This will be the first production of the opera which, if the design work is anything to go by, seems to be particularly gory and could involve someone's head being chopped off.........but that would be telling. More gore in the afternoon as I attended a production meeting with John and Kathleen Fitzpatrick, the set and costume designer for the project. In the course of the meeting more gruesome details of this biblical epic were revealed - blood, guts, rolling heads - you'll have to go and see it for yourself!

The next day I helped Sonya prepare funding proposals for the Cork Children's Chorus. This has been one of Cork Opera Works biggest success stories to date. One hundred and twenty six children from all over Cork, who collectively Sonya likes to call her 'baby', gather every Saturday to prepare and practice for their next outing which is Schubert's Mass in G as part of the Easter Liturgy at the Honan Chapel, U.C.C. on Saturday the 26th of March at 8p.m.

Admission for this event is free (it is mass after all) and it is not to be missed. Now that my week is over I must say my initial suspicions are confirmed - it was interesting and certainly a beneficial experience. And I hope that in both the near and distant future Cork Opera Works will continue to serve the people of Cork with such delightful musical productions.

For more information check out www.corkchildrenschorus.com.

Inside Cork
10.03.05

Mozart's Vesperae Solemnes de Confessore

On Wednesday next, 16 March 2005, Mozart's 'Vesperae solemnes de Confessore', the 'Solemn Vespers', will take place at 8 p.m. at the Honan Chapel, University College Cork.

On the eve of the Feast Day of the Confessor, St Patrick, the Solemn Vespers will be celebrated by Fr Joe Coghlan and performed by Deirdre Moynihan (soprano), Sonya Keogh (alto), Tim Fouhy (tenor), John Dempsey (bass), The Works chorus, Cork Opera Works Orchestra, and conducted by John O'Brien.

Throughout 2005 and in contribution to Cork's year as European Capital of Culture, the Chaplaincy of the Honan Chapel, in association with Cork Opera Works, will present a number of sacred works as part of the liturgy. All are welcome. For more information contact the UCC Chaplaincy at 4902459 or visit the Cork Opera Works website at www.corkoperaworks.com

Evening Echo
18.02.05

Opera world premiere for historic cathedral
by Edel O'Connell

A very special concert dedicated to a Cork-born soprano will take place at St Fin Barre's Cathedral next week.

UCC Choral Society and Simon Community Society will present an exciting concert in the historic setting of St Fin Barre's Cathedral on Thursday night at 8pm.

The world-renowned Cork Opera Works Orchestra, accompanied by the UCC Choral Society, will kick off the concert with a performance of French composer Fauré's famous Requiem.

This will be followed by Cork's all-female choir, Seraphim, who will perform the world premiere of UK composer CSL Parker's Twelve Songs for Sonya.

Cork soprano, Sonya Keogh, for whom the piece was specifically written, will also perform.

CSL Parker is a well known composer in music circles around the British Isles and has had many of his pieces recorded on the Vienna Modern Masters label.

Cork-born Sonya Keogh is recognised both locally and nationally as one of Ireland's leading Mezzo Sopranos.

A spokeswoman for Seraphim said: 'The combination of one of the most talented composers and a hugely successful female soloist should prove for an exciting performance of a brand new piece never heard before.'

The concert will be conducted John O'Brien, a part-time lecturer at Cork School of Music.

The concert will be this year's final performance by the choral society before it embarks on a trip to an international choral competition in Italy next month.

Tickets are on sale from Pro Musica or at the door and cost €25, or €15 for concessions.

All proceeds raised will go to the Cork Simon Community.

Inside Cork
17.02.05

Twelve Songs for Sonya

UCC Choral Society and Simon Community Society present Gabriel Fauré's Requiem in the historic St Fin Barre's Cathedral on Thursday, February 24. With performances from Sonya Keogh (mezzo), Seraphim and Cork Opera Works String Orchestra and conducted by John O'Brien, the concert marks the world premiere performance of CSL Parker's 12 Songs for Sonya. The world renowned Cork Opera Works Orchestra will accompany the UCC Choral Society as they perform Fauré's Requiem. Cork's all-female choir Seraphim will then perform the world premiere of 12 Songs for Sonya alongside Sonya Keogh (mezzo), for whom the piece was specially written.