The history of WFO. 1961-1969. Part 2.

Mr Brian Dickie

In January 1967 Brian Dickie was appointed as Artistic Director of the festival. Walter Legge had originally been appointed to the position, but had to withdraw due to ill health. And so with less than 10 months to the festival, the 25 year old Dickie set to work. It was not going to be an easy task, as there was a very strong opinion that he festival could not, and indeed should not continue without Dr.Tom. Speaking during the Dr. Tom Walsh Memorial Lecture in November 2011, Brian Dickie remarked that he had to get his act together pretty quickly, and chose a Shakespearean repertoire for his first season. Financial issues dictated that only two operas could be staged that year, and these were Otello by Rossini and Romeo et Juliette by Gounod. Casting trips to Milan and Paris were successful. Albert Rosen returned to conduct Otello which was directed by Anthony Besch and designed by John Stoddard. For Romeo et Juliette Brian Dickie invited Cork designer Patrick Murray to work with John Cox who directed and David Lloyd-Jones who conducted.

All seemed be to in order for the season until two weeks before opening night when the soprano engaged to sing Juliette had to cancel due to illness. After a frantic search, Zuleika Saque a Portuguese soprano who had sung the role before, was tracked down to Italy where she was holidaying, and she agreed to come to Wexford an sing the role. Her Romeo was French tenor Jean Brazzi, who was a regular artist in the most important theatres of France. French baritone Henri Gui, and basses Jaroslav Horacek and Victor de Narke also starred.

Zuleika Sarque and Victor de Narke in Romeo et Juliette

The title role of Otello was sung by Bulgarian tenor Nicola Tagger. The remainder of the cast was predominantly Italian, Soprano Renza Jotti sang Desdemona, tenors Pietro Bottazzo and Walter Giulino were Rodrigo and Iago, Maria Casula sang Emilia and Silvano Pagliuca was Elmiro.

Nicola Tagger, Renza Jotti and Silvano Pagliuca in Otello

For the festival of 1968, three operas were scheduled, and these were L'equivoco stravagante by Rossini, La clemenza di Tito by Mozart, and La jolie fille du Perth by Bizet. While Italian repertoire had been the core of the festival since the beginning, the French repertoire was to feature more prominently at the festival during Brian Dickie's tenure. A three opera season also offered a better structure for development of the repertoire, and allowed the inclusion of pieces such as La clemenza di Tito. This opera was well received in Wexford, thanks to the fine cast assembled. Peter Baille a tenor from New Zealand sang the title role and was much feted by the critics. Italian mezzo Maria Casula returned at short notice to sing Sextus,while Dutch soprano Hanneke Van Bork was Vitellia. Other roles were taken by Delia Wallis, Elaine Hooker and Silvano Pagliuca. John Copley was the director.

A scene from La Clemenza di Tito

Bizet's rarely performed La jolie fille du Perth is perhaps only known for the famous serenade, which is sung by the tenor. At Wexford, John Wakefield, the Yorkshire born singer did the honours. French soprano Denise Dupleix was the beneficiary of the famous aria. The French bass Roger Soyer appeared as Ralph, and made a great impression, but overall the opera was not considered one of Wexford's greatest moments. However, the third opera of the season was quite a hit. Rossini's early comedy has quite a convoluted plot but offers some great music and comic opportunities. The production was directed by John Cox with designs by John Stoddart, and was conducted by Aldo Ceccato. Shortly before the rehearsals were due to begin, the sad news arrived of the death of Renza Jotti who was due to return to sing Ernestina. She was replaced at very short notice by Argentinian soprano Nelie Praganza who was very well received. British bass Richard van Allan was her father and Texas born bass Elfego Esparza played the buffo role of Buralicchio. Pietro Botazzo, Maria Casula and Mario Carlin completed the cast. The opera was broadcast live the BBC's Third Programme.

Richard van Allan, Elfego Esparza and Nelie Praganza

For the final season of the 1960's financial issues only allowed for two operas, which were L'infedelta delusa by Haydn and Luisa Miller by Verdi. L'infedelta delusa was the first Haydn opera to be performed at Wexford, and proved quite a success. Ugo Benelli returned to sing the role of Nencio. Making her first appearance at Wexford as Sandrina was the Trinidadian soprano Jill Gomez. Eugenia Ratti, Alexander Young and Eftimios Michalopoulus completed the cast. David Lloyd-Jones conducted and John Copley was the director.

A scene from Luisa Miller

Late cancellations from sopranos seemed to dog the early years of Brian Dickie's time at Wexford, and just before the festival rehearsals started, the soprano engaged to sing the title role of Luisa Miller cancelled. American soprano Lucy Kelston was flown in from Milan to take over. Ms.Kelston was familiar with the role, and had in fact recorded it back in 1951 with the well known Italian tenor Giacomo Lauri Volpi. Returning from previous festivals, Irish mezzo Bernadette Greevy sang the role of Federica, Silvano Pagliuca was Count Walter and British bass Terence Sharpe was Miller. Tenor Angelo lo Forese who was Rodolfo, had actually sung with Lucy Kelston a few weeks before Wexford in another Verdi opera. Myer Fredman conducted this production which was directed by John Cox with designs by Bernard Culshaw. The design for Luisa Miller was described by one critic as "the most artistically competent set in the history of the festival". Flaming torches were used a lot, as were a pair of Irish wolf hounds, as seen in the image above. Lucy Kelston described the pair as "beasts, not dogs", and pointed out that one of them had the bad manners to yawn, but at least not when she was singing !

Bernadette Greevy, Silvano Pagliuca, Lucy Kelston and Angelo lo Forese

Another event also must have also caused Brian Dickie major concern. After the public dress rehearsal which according to reports at the time did not go that well, the conductor Myer Fredman set out by car to Dublin to collect his wife. It was a cold and icy night, and unfortunately the car skidded and overturned into a ditch at the side of the road. Fredman sustained a lot of cuts and was very badly bruised. There was big concern as to whether Fredman would recover in time to conduct. Two nights later he walked gingerly down the centre aisle of the Theatre Royal to reach the pit, looking like he has done a few rounds in a boxing ring, and then conducted an absolutely superb performance of Luisa Miller.