The contrast between the two operas presented by Opera Ireland this season is startling. The light-hearted Cinderella (La Cenerentola) gives way to the heavier Faust.

Whereas Cinderella is punctuated with real humor in the wicked stepsisters and an hilarious step-father, a sinister devil takes over the stage to foster sadness and despair in Faust.

The choruses in both operas were outstanding! Strong, disciplined voices joined, harmonized, and greatly added to the individual performances of the evenings.

Great liberties were taken with both operas, in that they were set in modern times and apparel. Cinderella was delightful; their modern staging took nothing away from the wonderful voices and exaggerated silliness and happy ending. Faust was foreboding, taking place on a set representing a Parisian train station/city square/cabaret/church with the moral being: be careful what you wish for, you may get it.

The characters portrayed in these operas ran from the innocent child to the devil himself. While Cinderella and the Prince were the paramount characters in the first play, there is no doubt that the devil and his prey were the key players in Faust.

As stated above, Opera Ireland has, over the past decade, moved away from the traditional and toward ultra modern, avant-guard staging of classical operas, perhaps losing some of the excitement and vision of the original librettists. This made, in my opinion, a bit of confusion at first sight in their recent staging of “Faust,” with some heated discussions between audience patrons, most especially the traditionalists. Others, however, were able to catch the symbolism as the evenings progressed, and became quite comfortable with it, as noted by Deirdre Grier Delaney on the last evening of the season.

That said, I can find no other criticism of the production, nor could anyone I spoke with briefly post-performance, nor those who graciously sat for a more lengthy chat or interview.

Opera Ireland Artistic Director, Swiss born Dieter Kaegi, “has brought a whole new life to opera in Dublin,” said Ite O’Donovan, Director of the Dublin Choral Foundation, “He is the main visionary” in O.I.’s growth, in her opinion. Dr. Veronica (Ronnie) Dunne, the grande dame of opera in Dublin and the woman probably most responsible for the advancement of the genré in Ireland, concurs. “Dieter has such a small budget to work with, and grant information often comes to him quite late. It is always wonderful what he is able to pull off.”

The “Faust” orchestra, under the direction of French born Bruno Ferrandis, was excellent; he maintained complete control of his musicians throughout each performance, as was observed by both Ms. O’Donovan and Dr. Dunne.

The male and mixed choruses were mighty and strong, while the female chorus, sweet and angelic. Cathal Garvey, Chorus Master, gathered tremendously good voices for this production. Dunne commented that it was “wonderful to see so many accomplished Irish singers” on the “Faust” stage in leading roles as well, observing that Ireland has great vocal talent from which to draw.

O’Donovan and Dunne both agreed with my impression that the casting of “Faust” was excellent. Besides our deep appreciation of the brilliant singing of Anthony Kearns, Renata Pokupic, the Croatian mezzo soprano singing Siébel, was “outstanding” and Gerard O’Connor, a fantastic Méphistophélès, carrying it effectively and with aplomb.

I found the move from elderly to young Faust fascinating. Though taking considerable liberties with the original libretto by having both Fausts on stage at once, it was effectively done, transitioning from the elderly tenor to one young and powerful. The singing of Anthony Kearns as young Faust was consistently solid and decisive, and his acting assured and believable.

French soprano Chantal Mathias’s Marguerite was done with a calm serenity on the first evening, no doubt suffering the after-effects of a virus. As the week wore on, her singing became more passionate as she returned to full vocal health.

Fr. Michael Collins, whom I met while speaking with Ite during the interval on opening night, not only mentioned the sweetness of Mathias’s Marguerite, he said, “When I think of Anthony Kearns, I think of him in context with The Irish Tenors. I had no idea he had this in his repertoire!" Fr. Collins was “amazed at the clarity of voice” of Anthony Kearns and his ability to sing with that same clarity “whether standing, sitting, kneeling, or reclining!”

Ms. O’Donovan agreed. “Anthony sings at a high intellectual level with great understanding of the music. He has the training, technique, and background,” continues O’Donovan, “to sing in any genré to an international standard. His high notes are glorious.”

Ronnie, observing Kearns, one of her own pupils, in his first big operatic role, was thrilled with Anthony’s singing, saying he was “really wonderful, he sang very well!” Patrick Healy, long time repetiteur and accompanist to Mr. Kearns, agrees wholeheartedly saying, “He deserves great credit; I was very pleased with his performance.”

After speaking with those far more knowledgeable than I, as well as many people in several audiences who were impressed with Anthony’s performance, I can only assume that he will be a frequent performer on Ireland’s opera stages, and that eventually the rest of the world will sit up and take notice.

How Anthony is respected in the music world of Ireland was best put by Dearbhla Collins, concert pianist, repetiteur, operatic and vocal coach: “Anthony always said he’d come back to opera. Many people say those things but don’t do it. We’re delighted that he has!”

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