PAST PRODUCTION REVIEWS
A Midsummer Night’s Dream
Blackwater Valley Opera Festival 2025
Das Opernglas
“The success of the production lay entirely in the vitality and conviction of its cast, almost all Irish.”
“Ami Hewitt delivered radiant soprano lines, capturing the necessary sensuality for her duet with the transformed Bottom.”
“Dominic Veilleux gave a comic, commanding performance as Bottom, winning the audience's laughter.”
“Iestyn Morris… a fine, charismatic countertenor voice that gave his fairy king an unearthly aura.”
“Amy Ní Fhearraigh stood out with her agile soprano and confident portrayal of Helena.”
“David Brophy conducted the Irish Chamber Orchestra with sensitivity and assurance.”
“Special praise went to the Piccolo Lasso children’s choir and Music Generation Waterford, whose presence enriched the magical atmosphere.”
“Evening dress was the order of the day… warmly welcomed by local volunteers before gathering under white marquees for formal dining or picnic hampers. Lismore Castle with its enchanting floral splendour… welcomed the guests of Blackwater Valley Opera Festival in full early-summer bloom.”
Operawire
Ami Hewitt gave a dominant performance as Tytania, both vocally and visually... with more than just a slight resemblance to Queen Elizabeth I, looked spectacular.
Countertenor Iestyn Morris was a suitably impulsive Oberon yet kept a calm demeanor throughout. His singing had a beautiful clarity, elegance and refinement, while his gentle, detailed embellishments and graceful phrasing possessed a captivating quality.
It was the rustics’ play, “Pyramus and Thisbe,” in Act three, however, that really had the audience laughing out loud, in which its amateurish presentation helped keep the comedy alive. Tenor Seán Tester, was cast in the ludicrous role of the Wall, costumed as a red-brick variety, really made him stand out and had some of the work’s funniest lines. Tenor Conor Prendiville can be relied upon to produce convincing acting performances, and his essaying of the role of Flute was no exception.
The director Patrick Mason decided on a clear, straightforward presentation of the narrative without any attempt to construct a weird and way-out interpretation or to uncover subsidiary motivations or themes. Each character was expertly drawn to provide them with an easily recognizable, sharply defined personality that allowed their behavior to sit comfortably within the quick-moving plot and thus made it simple to follow.
David Brophy, conducting the Irish Chamber Orchestra, elicited a detailed, clearly defined and balanced performance that was sensitive to the drama while carefully revealing the score’s fascinating textural qualities.
Operawire
Ami Hewitt gave a dominant performance as Tytania, both vocally and visually... with more than just a slight resemblance to Queen Elizabeth I, looked spectacular.
Countertenor Iestyn Morris was a suitably impulsive Oberon yet kept a calm demeanor throughout. His singing had a beautiful clarity, elegance and refinement, while his gentle, detailed embellishments and graceful phrasing possessed a captivating quality.
It was the rustics’ play, “Pyramus and Thisbe,” in Act three, however, that really had the audience laughing out loud, in which its amateurish presentation helped keep the comedy alive. Tenor Seán Tester, was cast in the ludicrous role of the Wall, costumed as a red-brick variety, really made him stand out and had some of the work’s funniest lines. Tenor Conor Prendiville can be relied upon to produce convincing acting performances, and his essaying of the role of Flute was no exception.
The director Patrick Mason decided on a clear, straightforward presentation of the narrative without any attempt to construct a weird and way-out interpretation or to uncover subsidiary motivations or themes. Each character was expertly drawn to provide them with an easily recognizable, sharply defined personality that allowed their behavior to sit comfortably within the quick-moving plot and thus made it simple to follow.
David Brophy, conducting the Irish Chamber Orchestra, elicited a detailed, clearly defined and balanced performance that was sensitive to the drama while carefully revealing the score’s fascinating textural qualities.
Irish Times
How things change. Back in 2010 the first Lismore Music Festival, today’s Blackwater Valley Opera Festival, presented sure-fire repertoire – Bizet’s Carmen, with Fiona Murphy heading the cast of 10 in the title role – in a marquee in the stable yard of Lismore Castle, with an ensemble of violin, accordion, guitar, double bass and percussion standing in for the colourful orchestral score. Move on 15 years and the festival is offering Benjamin Britten’s A Midsummer Night’s Dream with a cast of 19 and the Irish Chamber Orchestra conducted by David Brophy, with nearly five times as many musicians in the pit.
The stage area is transformed this year. A raised platform now covers the entire performance area, not only allowing for greater freedom of movement but also creating a pit for the orchestra at floor level.
The various couples – Christopher Cull and Gemma Ní Bhriain as Theseus and Hippolyta, Peter O’Reilly and Sarah Richmond as Lysander and Hermia, and Gregory Feldmann and Amy Ní Fhearraigh as Demetrius and Helena – are more engaging, vocally sure and with real tension in the conflicts they experience as a result of the love-inducing magic juice that mismatches them.
The Bottom of the bass-baritone Dominic Veilleux revels in the comic opportunities afforded him as the ass Tytania is made to fall in love with.
Theatre News
Britten’s score is a multi-faceted balancing act of bold contours, sideways shifts and subtle colorations—wonderfully executed by twenty-seven-piece Irish Chamber Orchestra under the steerage of conductor David Brophy. The festival’s decision to move the orchestra from its stage-left nook of years gone by, to the traditional position below the stage was a sound one—quite literally.
The ambiguous shenanigans of the four mortal lovers—Lysander (tenor, Peter O’Reilly) and Hermia (mezzo-soprano, Sarah Richmond), Demetrius (baritone, Gregory Feldmann) and Helena (soprano, Amy Ní Fhearraigh); the otherworldly machinations of fairy King Oberon (countertenor, Iestyn Morris) and fairy Queen Tytania (soprano Ami Hewitt); and the earthy theatrics of the six rustics, all dictate constant modulations in orchestral dynamics that reflect the amorous discord, the supernatural spheres and the buffoonery that come in and out of play. The six rustics, arguing over their roles in their play within a play, do entertain most royally. Director Patrick Mason’s fluid handling and lightness of touch ensure that fun is never far from the surface.
There is little not to like about Blackwater Valley Opera’s staging of A Midsummer Night’s Dream. Atmospheric lighting (Paul Keogan), costumes (Catherine Fay) that lasso the styles of Elizabethan times, the tweedy 1940s and contemporary British monarchy play sympathetically to the interweaving story threads. There may be a shortage of arias, but musical highlights still abound, with Britten—and the Irish Chamber Orchestra— rising to the task when Shakespeare’s pen is at its most profound.
A highly satisfying production, full of wit and grace, that invites reacquaintance both with Shakespeare’s play and with Britten’s adventurous score.
Irish Examiner
With an idyllic backdrop of a castle worthy of a fairytale, Britten’s Shakespearean opera delving into an enchanted world of mischief and magic was an ideal choice for the Blackwater Valley Opera Festival.
Festival director, Dieter Kaegi assembled a large ensemble of young Irish and international artists active in the European opera scene. Actor, Barry McGovern adds gravitas in the speaking role of Puck.
Underpinning the drama, the Irish Chamber Orchestra under David Brophy was terrific, giving a solid instrumental foundation throughout. It was good to see an ensemble back in front of the singers and not tucked away to the side. There is much exposed writing for solo instruments; trumpet and horns excelled — and the opening bass glissandi set the mood of magic and menace from the opening bars.
It is good to see the festival continue to build momentum in its 15th year in one of Ireland’s most beautiful settings.
Dido and Aeneas
Blackwater Valley Opera Festival 2025
Operawire
Paula Murrihy Lights Up St Carthage’s Cathedral. With its intimate space and reflective ambiance, St Carthage’s Cathedral in Lismore proved to be the ideal venue for the Blackwater Valley Opera Festival’s performance of Purcell’s chamber opera, “Dido and Aeneas.” Seating approximately 350 to 400 people, the cathedral allowed the audience to enjoy a very personal and close-up experience of the composer’s masterpiece.
The star of the evening was undoubtedly soprano Paula Murrihy, who interpreted the characters of Dido and the Sorceress. The expressivity she was able to bring to both roles was impressive in that she was able to clearly differentiate their emotional personalities while never compromising on the beauty. As Dido, she expertly captured her delicate emotions that culminate in bitterness and intense sadness. Her rendition of Dido’s lament, “When I am laid in earth,” was convincingly delivered; long, aching lines, each carefully detailed and coated with a mournful heaviness, clearly articulated, brilliantly the pain. It was also a deeply honest pain; there were no superficial effects or misplaced accents.
Nicholas McGegan conducting the Irish Baroque Orchestra produced an elegant, refined reading that responded sensitively to the locations and drama of the piece. It was also a beautifully paced presentation with a lucid clarity that captured the score’s rhythmic variety and delicate textures.
Overall, it was a performance with much to admire and proved to be a perfect companion piece to the festival’s main opera, Britten’s “A Midsummer Night’s Dream,” in which both works slide between the human and the spirit worlds.
Das Opernglas
"This year marked the first time Blackwater Valley Opera Festival presented a second opera in its programme. In St Carthage’s Cathedral, lit by a glowing moon globe and candles, Henry Purcell’s Dido and Aeneas was performed concert-style.
The evening belonged to Paula Murrihy, who sang both Dido and the Sorceress. Her rounded, expressive mezzo effortlessly conveyed joy, hatred, and grief, with technical finesse and elegant phrasing. Her rendition of “Remember me” was deeply moving, supported by Nicholas McGegan conducting the Irish Baroque Orchestra, described as possibly the finest original-instrument ensemble on the island.
Dean Murphy (Aeneas) brought a warm lyrical baritone to his role, and Kelli-Ann Masterson displayed sparkling coloratura in her dual roles of Belinda and the First Witch."
"Arias at Villierstown featured excerpts by singers from the Britten cast - Morris, Ní Bhriain, Mahase, Cull, Dunne, Tester, Modoni and Gibbons-performing Mozart, Donizetti, Verdi, Leoncavallo and even Wagner, with Frasier Hickland at the piano and Dieter Kaegi providing witty introductions."
Giulio Cesare
Blackwater Valley Opera Festival 2024
⭐️⭐️⭐️⭐️ THE IRISH EXAMINER 4* REVIEW ⭐️⭐️⭐️⭐️
“The abundance of mellifluous arias is well sung by the cast. Particularly powerful are the scenes between mezzos, Carolyn Holt as Cornelia and Sharon Carty as Sesto.”
“Anna Devin as Cleopatra moves effortlessly from coquettish seduction to emotional heartbreak. German countertenor, Nils Wanderer is both comical and menacing as Tolomeo.”
“American baritone Dean Murphy brings a welcome bass ballast to the ensemble.”
“In the title role, Dutch contralto Ingeborg Brocheler has a lovely moment in Act 3 when Caesar can’t resist a smile as the resident ‘augellin’ or little bird chirrups as if on cue in the aria Se in Fiorito Ameno Prato with in tandem with a violin obligado.”
⭐️⭐️⭐️⭐️ THE ARTS DESK 4* REVIEW ⭐️⭐️⭐️⭐️
“Giulio Cesare - characterful, lustrous Handel on parade. An infinitely various cast compels as the splendour falls on castle walls”
“Anna Devin’s achievement as an infinitely various Cleopatra will not be eclipsed by Louise Alder’s eagerly-awaited characterisation at Glyndebourne.”
“Over the Irish sea, in the grounds of a castle with exquisite gardens above the lushly wooded valley of the river Blackwater, they’ve pulled it off."
"This is a singular triumph of which Caesar would be proud”.
⭐️⭐️⭐️⭐️ Opera Now 4* REVIEW ⭐️⭐️⭐️⭐️
“This was earnest, dark-hued, grown-up, even a tad low-octane – but with high musical values and strong direction.”
“Anna Devin…covered all the bases of a complicated role, all sassy confidence in taunting Tolomeo and seducing Julius, then the sudden unexpected (to her and us) access of soul when she fears he is dead.”
“Sharon Carty’s great performance, fighting with fear and indecision with concentrated, undemonstrative actorly art. Carolyn Holt handled Cornelia’s monomaniac misery sympathetically, and the smaller roles (there are no boring ones, unlike much opera seria) were absolutely central to the drama and delivered terrifically well.” “Cornelia and Sesto brought a real emotional heart to things with centred, rock-solid performances.”
"Tolomeo’s arias were delivered with increasing feline stylishness (and the raised profile of him and the smaller 'adviser' roles skewed the drama in interesting ways)…”
“McGegan’s band played with a cultured bounciness, unafraid to take things strikingly slowly in the deeper arias, the virtuoso solos admirably done.”
⭐️⭐️⭐️⭐️ THEATRE NEWS 4* REVIEW ⭐️⭐️⭐️⭐️
“BVOF’s Giulio Cesare delivers in spades.”
“Ingeborg Bröcheler (contralto) as Giulio Cesare commands the auditorium with her swaggering presence. Nils Wanderer (countertenor) is brilliant as Tolomeo, the Egyptian king of high camp and Machiavellian darkness. Anna Devin (soprano) as the seductive Cleopatra, Carolyn Holt (mezzo-soprano) as the grief-stricken Cornelia and Sharon Carty (mezzo-soprano) as the vengeful Sesto, likewise deliver full blooded and nuanced performances.”
“The twenty-plus arias represent a smorgasbord of contrasting emotions and dazzling technical virtuosity from all the leads, but if forced to pick just one—a real sword-at-the-head choice—it would be (Anna) Devin’s “Se pietà di me non senti,” delivered with heart-wrenching emotion.”
“The 25-strong Irish Baroque Orchestra, steered by conductor Nicholas McGegan, interprets the rhythmically lively score with equal parts brio and aching finesse.”
“Bravura performances all round, further cementing Blackwater Valley Opera Festival’s reputation as a jewel in Waterford 's cultural calendar.”
⭐️⭐️⭐️⭐️ KLASSIK BEGEISTERT REVIEW ⭐️⭐️⭐️⭐️
“…This performance was almost perfect. Tom Creed, one of Ireland's leading theatre and opera directors, directed the actors with precision, attention to detail and, above all, a suspenseful mix of drama and humour…nothing distracted from their acting and, above all, their vocal art."
"First-class ensemble: Among the many brilliant performances, the leading Irish soprano Anna Devin in the role of Cleopatra was the undisputed star of the evening: vocally, she effortlessly and in a crystal-clear tone scaled the breakneck coloraturas of Handel's masterpiece. The German countertenor Nils Wanderer gave Tolomeo, Cleopatra's hateful and scheming brother, not only phenomenal vocal power at dizzying heights but also dazzling humour. The duet between mother Cornelia and her "son" Sesto - sung by the celebrated Irish mezzo-sopranos Carolyn Holt and Sharon Carty - was enchanting in its harmonic perfection. The Caesar of the Dutch contralto Ingeborg Bröcheler … improved to a touching, harmonious love duet with the ravishing Cleopatra of Anna Devin."
⭐️⭐️⭐️⭐️ GOLDEN PLEC 3.5* REVIEW ⭐️⭐️⭐️⭐️
“Blackwater Valley Opera Festival…built on ambition and optimism, it has outdone itself this year...The idyllic pastoral haven of the (Lismore) Castle gardens, an appropriate mirror for an early drama like this.”
“Soprano Anna Devin is brilliantly playful as Cleopatra, vocally on top form and clearly enjoying the theatrical possibilities of the role, varying from a spiky, even reckless, sense of humour to sumptuous play-acting.”
“Countertenor Nils Wanderer presents a complex figure, and the childish sadism usually associated with this role is deepened here with a hint of twisted nobility, aided by Wanderer’s imposing physical presence and excellent singing.”
“Carolyn Holt movingly projects with her first aria, an affecting expression of loss, her voice matching the rich sound of the Irish Baroque Orchestra. Sharon Carty sings with keen expression and vivid fluency, and physically commits to the role with real strength and agility, a side to her work not always seen. The two combine beautifully in their duet.”
“Creed and the company show themselves very much alive to the ironies that sit alongside the darker strands of this work, and there is plenty of smart theatricality to enjoy, with the chorus put to good use as ‘rent-a-crowd’ extras for both sides of the story. It is a luxury to have a fuller-sized ensemble than is usually heard for productions of early opera here, directed superbly from the harpsichord by Nicholas McGegan.”
Opera News
Now in its 14th year, Blackwater Valley Opera Festival has been going from strength to strength. This year Handel’s magnificent Giulio Cesare was staged in a splendid presentation featuring the Irish Baroque Orchestra conducted by Nicholas McGegan. The effective production, seen on June 2, was directed by Tom Creed. A superlative cast was headed by Ingeborg Bröcheler in the title role. Anna Devin was a captivating Cleopatra, while Nils Wanderer was a delightfully camp Tolomeo, adding a touch of humour to the complicated plot. Sharon Carty sang impressively as Sesto while Dean Murphy, Carolyn Holt, Fionn Ó hAlmhain and Iestyn Morris completed the exemplary cast.
Aedin Cosgrove’s designs kept the stage set simple—just a wide platform in front of the castle wall with its old doors and windows. The colour was provided instead by the brilliant costumes of Catherine Fay: the style was modern, but this was just used as the basis for colourful fabrics and designs, adding considerable glamour to the production. Creed devised a lively staging with plenty of interaction between the singers, and McGegan’s musical direction was superb throughout.
Macbeth
Blackwater Valley Opera Festival 2023
Irish Examiner
Wonderful music in a spectacular setting… Verdi’s Macbeth featured among the highlights of an event where the weather gods smiled on the assembled opera fans
Witches, ghosts, murders, and mayhem prevailed in idyllic Lismore Castle. The magic began in the walled gardens as the ‘witches’ prowled about the mixed borders as patrons sauntered in the evening sunshine. With wild hair and gothic make up, they set the tone for the dark intrigue of the Shakespearian tragedy in the stable yard theatre
Croatian bass Goran Jurić dominated the first half as Banquo. Too bad that Verdi doesn’t give his ghostly apparition any lines to sing after act 2. While Turkish soprano Serenad Burcu Uyar convinced in her portrayal of Lady Macbeth opposite Italian baritone Vittorio Vitelli. John Porter impressed in the supporting role of Macduff, well matched vocally with Andrew Gavin as Malcolm, both tenors. The fading light allowed the lighting design of Eamon Fox to come in to play in the second half. With a vivid blood-red backdrop for the refugee chorus, Patria Oppresa was a vocal and visual highlight. Director Sarah Baxter added some local colour with the branches of Birnam Wood bearing the mauve blooms of rhododendrons.
The 30-piece Irish Chamber Orchestra under Killian Farrell were tucked away to the stage right but there was no sense of disconnect and some excellent offstage brass effects.
Theatre News
An imposing castle nestled in stunning countryside is a handy prop when staging Verdi’s Macbeth. Lismore Castle fits the bill.
Paths wind through the castle’s walled, meadow-like gardens. Festooned with a riot of flowers, they provide an enchanting gateway to the castle proper. And here and there, witches lurk—a fittingly macabre touch.
This version of Macbeth scores heavily in the department where it matters most—the musical performances, which are strong across the board. (Serenad) Uyar vibrato-charged arias throughout are compelling. Pick of the bunch are her soaring incantations to cold-blooded deeds in Act 1, and her embrace of the powers of darkness in Act 2.
Galeazzi also impresses with an impassioned performance that captures Macbeth’s emotional turbulence, his crushing torment and fear. There are fine turns too from bass Goran Jurić as Banquo and tenor John Porter as Macduff. It is the chorus pieces, however, that really stir the blood. Kudos to Director Sarah Baxter and set/costume designer Francis O’Connor for their unforgettable witches. A coven of fourteen otherworldly goths, they prowl around the stage as nimbly as feral cats, releasing flashes of fire from their hands and conveying properly dark menace.
Irish Times
The whole piece is a pressure cooker’: Verdi’s Macbeth comes to Blackwater Valley Opera
Killian Farrell returns to Ireland to conduct a show with music of sublime profundity despite an atmosphere that’s ‘unrelentingly dark.
Orfeo ed Euridice
Blackwater Valley Opera Festival 2022
Irish Examiner
Impressive Gluck production among the treats in Lismore - Orfeo ed Euridice was possibly the best ever opera seen at the festival.
Another innovation is the engagement of a choreographer, David Bolger, as director. Eight dancers of CoisCéim Dance Theatre, blended unobtrusively with an eleven-strong chorus, moved around the wide stable yard space in beautifully choreographed movements creating striking tableaux as the denizens of Earth, the Elysian Fields, and the Underworld. Peter Whelan directed the Irish Baroque Orchestra…stand-out moments were the solos on harp and a soulful chalumeau. Maree Kearns sets were dominated by heavy wooden gates, and monochrome costumes evoked a black and white Victorian era. Chinese countertenor Meili Li carried the show in the title role. His delivery of the lament Che Faro did not disappoint in its poignant intensity. Aoife Gibney as Euridice was radiant in a glittering snow-white gown. Kelli-Ann Masterson as Amor stole the scenes in a cheeky pantomime costume with top hat askew.
As darkness descended in act 3, Eamon Fox’s dramatic lighting design came into play creating a magical sense of between-worlds in the most memorable production that I have seen at Lismore.
The Arts Desk
"Elysian" is the best way to describe the dream gardens of Ireland's Lismore Castle in early June: lupins, alliums and peonies rampant in endless herbaceous borders, supernatural perspectives towards the main building on various levels.
Putting David Bolger, Artistic Director and co-founder of CoisCéim Dance Company, in charge of what is in essence an 18th century opera-ballet, was a bold move. His team of eight charismatic dancers rose to the challenge of the set pieces in diverse nimble and original ways….Aoife Gibney as Euridice was the most accomplished of the three soloists.
(Meili) Li …. in Gluck’s best-known number, “Che farò senza Euridice”: a riveting delivery of schizoid switches between soft-voiced tenderness and lacerating grief, complete with well-judged ornamentations.
Golden Plec
Blackwater Valley Opera Festival has grown but at its heart remains a short annual opera season in Lismore Castle, tucked away in the lush countryside of west Waterford… suddenly arriving in this oasis of botanical charm – the castle gardens really are amazing – is quite surreal. As well, everyone is so nice and helpful, and the catering is a delight. Why Fáilte Ireland doesn’t go nuts over this event is a mystery.
Director and choreographer David Bolger prefers a narrow palette of colours, black for mourning and the shades of hell, white for the blessed spirits, while a smattering of hats and umbrellas takes us close to the world of Magritte. The Irish Baroque Orchestra directed by Peter Whelan return to this music with evident relish, with the (uncredited) smoky tang of a chalumeau solo – as echo to Orfeo’s first-act cries for Euridice – a novel addition. (Kelli-Ann) Masterson’s excellent singing tonight confirms that she is clearly an artist to watch out for, her playful take on Amor nicely poised. From a vocal and dramatic point of view, however, the star of the show has to be Aoife Gibney. (Aoife) Gibney’s Euridice is febrile and impassioned, and her short appearance in the third act suddenly sets this drama alight. Her voice is richly expressive, scaled well for this production but clearly capable of more, and her presence also brings out a stronger performance from Li, their duet a superb moment.
After she vanishes in a pall of smoke, the ‘happy-ending’ of this version of the story brings everyone back on stage – and raises some interesting questions. Enraptured, the audience rise to their feet, charmed, entertained, and energised by the experience, before heading out into the twilit greenery.
Irish Times
The Chinese countertenor Meili Li makes his Irish and role debut as Orfeo with arresting vocal tone and striking presence, the sound on high and under pressure completely devoid of the sense of artifice of so many countertenor voices. The urgency and immediacy are counterparted by a skill in intimate, honed-down moments, delivered almost like asides.
