The Irish Ring production at Carnegie Hall, Saturday night, September 21, was this writer's first experience at an opera. This isn't a fully staged opera, but rather highlights from three English language ballad operas. It was not a disappointment. The Irish Ring was a wonderful introduction to opera, and was most enjoyable.

I found the production to be fascinating. It was narrated in a hugely entertaining way by Angela Kelly-Malloy, who was quite funny. It was backed up by a fine orchestra, ably directed by Fergus Sheil, and rounded out by the Hibernian Festival singers.

I have been told that the Irish Ring is a woman's opera. The Bohemian GIRL, LILY of Killarney, and MARITANA (a title denoting a female). But it is my opinion that on Saturday night, the male leads stole the show, most especially the tenor who had beautiful music to present and did so with the talent to pull it off, and a wonderful bass from whom I would love to have heard more. There were of course some fine female moments, but they were mostly when on stage with the tenor, either in duet or trio, or when the ladies sang together.

The evening began with the National Anthem, which was then followed by the Irish National Anthem. Mrs. Malloy then came on stage and dedicated this performance to the victims of 9/11.

The Bohemian Girl was the first offered. Mr. Kearns made a rather dramatic entrance, singing "'Tis sad to leave the fatherland," and it blew me away. It set the tone for an enchanting and wonderful evening. The duet "The wound upon thine arm" between Anthony and Kathryn was beautiful, and Mr. Kearns was visibly pleased at its completion. "When other lips," done by the tenor, was perfect and ably acted by him, as well. It was very believable and enjoyable to observe. The tender love scenes between Ms. Smith and Mr. Kearns were achingly lovely.

"Through the world, wilt thou fly, Love," was a trio, with the male voices bringing out the very best that Ms. Smith had to offer. It was dynamic and the bass, Derek Ryan, was wonderful. When the full company sang "Though ev'ry hope be fled," I found myself hoping the "Bohemian Girl" wasn't over, but of course, it nearly was.

We then moved on to "Lily of Killarney," which contained two superb pieces. "The Moon has raised her lamp above," by Anthony and Patrick, and "Eily Mavourneen," an incredibly difficult tenor aria, which was truly amazing. Ms. Smith did an admirable job of her entrancing "I'm alone."

After a short interval "Maritana" was begun.This opera highlighted several offerings which I found incredibly good. "Angels that around us hover," by the Chorus, was beautiful. "Turn on, old time," a trio featuring Ms. Blennerhasset, Mr. Kearns, and Mr. Doherty, was grand. Mr. Kearns delivered two really wonderful solo offerings: "Yes, let me like a soldier fall," which knocked my socks off with the power and delivery and lyric itself, and one of his signature arias, "There is a flower that bloometh." Anyone familar with his delivery of "There is a flower that bloometh" would have noticed that in the opera it is done more slowly, and would also immediately have observed the seasoning of his voice since recording it a few years ago. It was a lovely recording, it was amazing in this Irish Ring performance. "Sainted Mother" by Blennerhasset and Smith was beautiful, and Ryan's "Hear me, gentle Maritana" was done superbly.

I'm sure you'll forgive this novice's opinions, based solely upon what I observed and heard, and will understand the lack of technical knowledge in this review. But one can also rest assured that one need not be an "opera buff" nor an expert to know quality of voice and acting skill. This was a well done performance!

There are very few criticisms I can offer. I would have liked to hear more of Ms. Blennerhasset and Mr. Ryan. They didn't have nearly enough stage time, and I found myself wishing for more of them as the evening wore on. I also had the feeling upon occasion that the orchestra overpowered the singers, granted in only a few instances. I also felt the cast was wearing out toward the end of the evening, but carried stalwartly on and did admirably well in a difficult production. This opera is extraordinarily trying for the performers because they must segue from part to part, singing and acting these various characters all in one evening, and the leads are rarely off stage and have very little rest between difficult pieces. They were real troupers.

The Ring was warmly received, and the actors/singers "did their jobs" to create an evening to remember, an unusual evening of opera, an enchanting evening for all.

After the performance when speaking with the director, Mr. Vivian Coates, he said he would have "loved to be out front, feeling it with the audience. But when you take a bow, and see the ovation, well you see it then!"