Press Archive 2005
RTÉ Guide
16.12.05
carol singing
Carols from Cork 2005
RTE ONE / 6.25 (24.12.05)
Gay Byrne presents a gala evening of Christmas favourites
from Cork's North Cathedral, with President Mary McAleese
in attendance. Among the stars taking part are James Galway,
Micheál Ó Suilleabháin, soprano Majella
Cullagh, G4, the Cork Children's Chorus, and over 500
choristers drawn from the choirs of Cork. The readers will
include the Mayor of Cork, Cllr Deirdre Clune and the captains
of the three All-Ireland winning Cork teams in 2005 - Seán
Óg Ó hAilpín, Elaine Burke and Juliette
Murphy - who led their teams to victory in hurling, camogie
and ladies' football. Oonagh Montague will read a Christmas
poem by her father, John Montague. This event is part of the
closing sequence of Cork's year as European Capital of Culture.
Bandon Opinion
12.05
Japan's Children's Jazz Orchestra
On Friday December 2nd, the Little Cherries Tamae, Japan's
children's jazz orchestra, will give a performance in the
Clonakilty Community College Hall for students from: the Community
College and the Gaelscoil Chloch na Coillte. This concert
has been organised by the Community College's music teacher
Ger Condon, of West Cork Music.
The Immigrant
16.12.05
Cork - Japan Cultural Exchange Programme
Little Cherries Tamae children's band from Japan has been
invited to Cork for the week beginning Monday, 28 November
2005. Little Cherries would be an unusual big band anywhere
in Japan. Originally formed in 1984 at Nejime-machi Kamiyama
Elementary School, the baton has been successively inherited
by Kametsu Elementary School in To-kunoshima and Murasakibaru
Elementary School in the city of Kagoshima over the course
of twenty years.
While in Ireland, the children of Japanese band were experienced
Irish culture firsthand when they, in turn, lived, rehearsed,
socialised, and performed with the kids of Cork Children's
Chorus. The Cork Children's Chorus has, in return, been invited
to Kagoshima in the south of Japan for the week beginning
Monday, 3 July 2006 for the Third International Music Festival
For Youth as part of EU-Japan Friendship Week.
Cork Independent
01.12.05
Children from Cork Children's Chorus who led a procession
of light into a beautifully lit Millennium Hall last night
for Cork 2005's Solas - Festival of Light
Evening Echo
30.11.05
Little Cherries journey from Japan to Cork
By Maria Rolston
FROM Japan to Cork, the 18-strong Little Cherries children's
band has traveled thousands of miles for tonight's performance
at the Millennium Hall at City Hall.
The 18-strong Little Cherries instrumental jazz act is made
up of kids aged between 10 and 14, who have traveled from
Kagoshima, on the southern tip of Japan.
Tonight's performance at City Hall is a free one, and will
last for an hour and a half.
The Japanese children are involved in a cultural exchange
programme with the Cork Children's Chorus (CCC) and are being
hosted by members of the Chorus and Cork Opera Works. Children
from Cork will continue the cultural exchange by visiting
Japan next year.
The talented young Japanese musicians will participate in
a series of cultural, artistic and social visits during their
week-long visit to Cork and the highlight of their trip will
be their live performance in the Millennium Hall tonight.
Sonya Keogh, the director of the Cork Children's Chorus,
said the Little Cherries are fantastic, and must be seen to
be believed.
"Although the performance is free, there are a limited
number of tickets remaining," she said.
• For more details, contact Cork Opera Works on (021)
432 1785.
Irish Examiner
25.11.05
Light shows prepare to send Cork 2005 out in blaze
of glory
By Eoin English
CORK 2005's closing ceremonies were launched in a blaze of
light last night with an appeal to the public to get involved.
Cork Children's Chorus paraded into a beautifully lit Millennium
Hall in City Hall to preview Journey of Light — a series
of light-filled labyrinths which will, be set up around the
city next month.
Beginning this Sunday with the switching on of [ . . . ]
Evening Echo
25.11.05
Japan jazz band in city
By Tamara O'Connell
A CHILDREN'S jazz band from Japan will arrive in Cork City
on Sunday as part of a unique exchange programme.
The group, known as Little Cherries Tamae, is coming to perform
with the Cork Children's Chorus at the Lord Mayor's Gala Concert.
The joint performance is part of a cultural, artistic and
social exchange programme developed by Cork Opera Works and
EU-Japan Fest.
Sonya Keogh is a co-founder of Cork Opera Works, a professional
opera company set up in 1994. She also manages the Cork Children's
Chorus, a group of more than 100 children, aged between 10
and 17 years old.
Sonya says: "The children's exchange programme is a
very special project. It involves the children visiting each
other's countries, attending school and performing together
at different events.
"The idea for it came about after Martin Barrett, the
special events consultant for Cork 2005, put me in touch with
an organisation called EU-Japan Fest, which exists in order
to build cultural relations between Japan and Europe's Capital
of Culture.
"After much discussion, we decided that the best way
to forge a connection between Japan and Cork would be a children's
exchange programme."
Cork Children's Chorus could be likened to a cultural youth
club. The children attend 50 rehearsals during the year and
take part in art, music and drama work-shops.
They also hold concert and stage performances and are involved
in various kinds of social events.
Members pay a fee of €100 for the year which works out
at €2 per week. It costs much the same as a trip to the
local youth club.
The children involved in the chorus come from Cork city and
county and have different social and economic backgrounds.
"We have a very specific RAPID policy," said Sonya.
"This means that around 30% of our members come from
what are regarded as disadvantaged areas. "As our members
have such mixed back-grounds we thought that a cultural exchange
programme between Japan and Ireland would be of great benefit
to the children."
The Little Cherries jazz band are a group of 18 Japanese
children also aged between 10-17 years. They will stay in
Cork for a week.
'The children will spend the first few days of their trip
settling in with their host families," said Sonya.
"After that they will visit East Cork to spend a day
in Shanagarry with artist Stephen Pearce where they will work
with some clay in his pottery work-shop.
"They are also going to go to Ballymaloe House for lunch
and will spend some time in Clonakilty where they will perform
for the local schools and take a walk on Inchydoney Strand."
On December 3, both the Little Cherries and the Cork Children's
Chorus will perform together at the Lord Mayor's Gala concert
at Cork City Hall. Tickets for the concert are available
from Pro Musica on Oliver Plunkett Street for €25, €20
and €7.50.
Sonya is planning to take 90 members of the Cork Children's
Chorus to the south of Japan in July 2006. They will also
stay with host families in a city called Kagoshima.
"It's similar in size to Cork city and it is also a port-town.
Like the Little Cherries, the Irish children will do some
touring and will perform at the International Music Festival
for Youth in Kagoshima."
Sonya estimates that the exchange programme will cost €250,000.
So far, €200,000 has been raised for the project.
"To date, we have been extremely fortunate. EU-Japan
Fest made a huge contribution and Culture Ireland have also
been very generous. "But we still need to receive further
sponsorship."
For more information contact Sonya Keogh at Cork Opera Works
on (021) 4321785
or visit www.corkchildrenschorus.com and www.corkoperaworks.com
Evening Echo
21.11.05
Children's Chorus production brings tears to the eyes
By Gareth Naughton
A MASSIVE crowd packed out Millennium Hall to hear the Cork
Children's Chorus premiere Ships and Waltzes —
a new composition which they had a hand in creating.
Ships and Waltzes was composed by CSL Parker and is inspired
by maritime tales researched and retold by the kids themselves.
The process took about three months to complete and the resulting
waltzes reflect the sense of 'Cork-ness' that the children
were aiming for.
There are more than 100 children in the Cork Children's Chorus
— a Cork Opera Works initiative — hailing from a
broad range of backgrounds musically, socially and culturally.
They rehearse about 50 times a year and take part in mid-term
art, music and drama work-shops, concert and stage performances.
Their performance of Ships and Waltzes was well received
at Millennium Hall.
Cork Opera Works director Sonya Keogh said: "It was
fantastic. The kids had recorded it before and it was gorgeous
but nothing like hearing them doing it live. The place was
mobbed.
"It was really beautiful and, to tell the truth, it
brought a tear to my eye."
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.
Inside Cork
08.05 (Serialised)
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,²
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, modeled
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 music², 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 enroute 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 rigourously 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 May 2005
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.
Southern Star
26 May 2005
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.
Irish Examiner
21.05.05
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 Times
20.05.05
Reviews: Hansel and Gretel - Cork Opera House
by Mary Leland
As the operatic entertainment to celebrate the150th anniversary
of the Cork Opera House, this production of Humperdinck's
Hansel and Gretel combines many of the best features of the
theatre's history though all that time: spectacle, magic,
music, fine singing and - although a rare appearance in this
opera - a firm chorus. This is a Cork Opera Works version
- director Helen Eastman is responsible for the translation
as well - with the company orchestra conducted by John O'Brien,
and it reveals a strong professionalism in approach and achievement.
The first effects are those of the set by Lisa O'Mullane,
with towers of gauze making the trees and a canopy of leaves,
while the costumes of the woodland sprites echo the colours
and fabrics of the stage. Lighting by Paul Denby enhances
this sense of magic and both he and O'Mullane seem to relish
opportunities for woodland fantasy. There are times when the
stage is overcrowded and the choreography is laboured (especially
that of the angels who lead the lost pair into danger rather
than into safety), while the gingerbread house itself is a
matter of foam rubber and an afternoon tea biscuit assortment
rather than one which catches the fairy-tale atmosphere of
the rest of the set. However, this is an opera of some contrasts,
not all of which are managed by the orchestra, although by
the second act the playing is united and strong for a score
which gives mezzo soprano Sonya Keogh, staunchly partnered
by Adrian Powter, some terrific moments as both mother and
witch. Yvette Bonner as Gretel and Catrin Johnsson as Hansel
sing very well together, bringing a sprightly confidence even
to phrases where the stress falls according to the music rather
than the language.The children's chorus from Cork Opera Works
is a delight, crowning a presentation distinguished by reachng
its high values.
Evening Echo
19.05.05
Age-old fairytale captures young minds
Hansel And Gretel Cork Opera House
by Bill Browne
SPARE seats were few and far between last night at the Cork
Opera House for the opening night of Engelhert Humperdinck's
magical opera Hansel and Gretel. From the outset the show
- linked to the Opera House 150th anniversary celebrations
- more than lived up to its billing as 'a magical opera for
adults and children'.
Children sat in their parents' and grandparents' laps, staring
spellbound at the colourful stage as the story unfolded. Even
my own three children, aged six, seven and nine, who are not
normally accustomed to sitting still for any period longer
than 20 seconds, could not tear their eyes away from the stage.
This was the first time any of them had seen an opera, its
subject matter was familiar to them and, perhaps more importantly,
was easy to follow on stage. This meant that neither my wife
nor I were faced with a torrent of questions about who was
doing what and why! That allowed us all to sit back and savour
the stunning voices of Catrin Johnsson (Hansel), Yvette Bonner
(Gretel), Sonya Keogh (mother/witch), Adrian Powter (father)
and a supporting cast of more than 70 young local singers
and dancers. The only complaint that I heard from the my children
was that it was at times difficult to make out the words of
the songs. That said, it did not seem to stop them from thoroughly
enjoying the night. Judging by the rapturous round of applause
at the end of the performance, they were not alone.
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
10.02.05
Kid's Chorus party like it's 2005!
by Katie Mythen
MEMBERS of the acclaimed Cork Children's Chorus were joined
by family and friends recently for an exclusive celebration
of their success at Millennium Hall, Cork. The bash was organised
courtesy of Cork 2005: European Capital of Culture by way
of thanks for the group's tireless commitment and spectacular
performance as part of the opening civic ceremony which launched
Cork as European Capital of Culture in January 2005.
Having hit the headlines, the sky is now the limit for the
106 members of the Cork Children's Chorus. In the coming months,
they will perform Schubert's Mass in G as part of the Easter
festivities at the Honan Chapel, University College Cork and
will appear in Madame T at The Everyman Palace Theatre and
in Hansel and Gretel at Cork Opera House.
Given the children's overwhelming success, Cork Opera Works
would now like to invite adults with a love for music and
singing and an appetite for fun to join ranks.
The Works Chorus meets weekly to prepare for their wide-ranging
performance activities. They are presently preparing for a
performance of Mozart's Solemn Vespers as part of Cork Opera
Works Sacred Music Series in the Honan Chapel, University
College Cork, and will also take part in Meridian Theatre
Company's production of Madame T in The Everyman Palace Theatre
in April 2005.
If you would like to get involved, simply call the Cork Opera
Works office on 021 4321 785 or visit www.corkoperaworks.com
Photo Courtesy of Inside Cork
Evening Echo
07.02.05
Children's Chorus feted in City Hall for Red Sun production
by Edel O'Connell
MEMBERS of the Cork Children's Chorus were honoured with a
special reception at City Hall at the weekend.
More than 106 children between the ages 10 and 17 recently
kicked off Cork's year as European Capital of Culture with
a visually-stunning performance of a specially-commissioned
play, The Red Sun, by Cork playwright Ray Scannell.
The play was performed for President Mary McAleese and 800
guests at the civic ceremony at City Hall, before the Awakening
ceremony on Cork's quays.
In appreciation of this spectacular performance, the Cork
2005 team organised a special reception for the chorus members
at the Millennium Hall on Saturday.
The Lord Mayor, Cllr Seán Martin who attended the
party, congratulated the children on their successful performance.
A spokeswoman for the chorus said: 'We received such wonderful
feedback from all of the guests who attended the civic opening
of Cork 2005 European Capital of Culture. The Red Sun was
a great success,' she said
The special reception was followed by a disco.
Evening Echo
17.01.05
President attends launch of European Capital of Culture
at City Hall
(Includes photos by Provision)
Inside Cork
13.01.05
Musical opportunity for Cork kids
Having hit the headlines most recently for an outstanding
performance of Red Sun, attended by none other than the President
of Ireland, Mrs Mary McAleese at City Hall, the Cork Children's
Chorus are now offering a number of opportunities to join
their ranks, writes Katie Mythen.
Interested children will be invited to take part in an hour-long
workshop during which time they will learn how to sing and
perform a new piece of music with fifteen or so other children.
Those selected will be given the opportunity to join the
Cork Children's Chorus and meet and rehearse weekly with over
one hundred other children in preparation for a variety of
performances which will take place throughout the year.
All workshop places are given on a first come, first served
basis, so contact the Cork Opera Works office at 021 4321785,
without delay!
For more information visit: www.corkchildrenschorus.com
(Includes photos by Provision)
Cork Children's Chorus rehearsing in City Hall for their
big performance for the President Mary McAleese on Saturday.
Performers were chosen from large auditions across the city.
Evening Echo
10.01.05
City Hall event wows President
by Mary Smithwick
Cork children played a central role in the official opening
ceremony, as the Cork Children's Chorus performed a piece
called the Red Sun for the President and 800 other guests
at City Hall.
Irish Examiner
10.01.05
President pays tribute to the 'real' republic and its people
by Louise Hogan
President Mary McAleese officially unveiled Cork as European
Capital of Culture on Saturday as 85,000 people poured into
the city to mark the historic year.
The President was joined by ambassadors and citizens from
across the European Union for the official opening ceremony
at City Hall, as the street carnival kicked off across the
city.
A musical drama; Red Sun, performed by 100 young performers
from Cork's Children's Chorus brought colour to the ceremony
in City Hall.
The Irish Times
10.01.05
(Photo of members of the Cork Children's Chorus with the
President outside City Hall by Bryan O'Brien)
The Irish Times
10.01.05
Leesiders revel in the spectacular ceremony
Barry Roche, Southern Correspondent
After the premiere of a specially commissioned theatrical
production, Red Sun, by Cork playwright Raymond Scannell,
performed by 106 school children, it was outside for a rooftop
feu de joie by 54 members of the Naval Service.
Sunday Independent
09.01.05
Wait finally over and Cork blazes a trail as Europe's Capital
of Culture
by Ralph Riegel in Cork
The highlight of the City Hall ceremony was the world premiere
of a new musical score by the Cork Children's Chorus entitled
Red Sun, which was specially commissioned for the event.
Lyric Notes, Lyric FM
09.01.05
Interview with Sonya Keogh
by Evelyn Grant
Evening Echo
08.01.05
At last our big party can begin
Martin Barrett, artistic director and co-ordinator of Awakening:
'I am confident that today will live on in the memory of
Cork.
What amazed me most is the excitement and energy generated
by the 100 children involved in the beautiful fable, Red Sun,
to be performed in front of 800 VIP guests from around the
world, including our Head of State, at the City of Culture
launch in the City Hall.'
Evening Echo
07.01.05
Kids to wow in City Hall date
(Photos by Provision)
More than 100 schoolchildren are busy rehearsing for the
performance of a lifetime - which will herald the beginning
of Cork's year as European Capital of Culture, writes EDEL
O'CONNELL.
Cork Children's Chorus, which includes kids aged between
10 and 17 years from the city and county, is to take part
in a specially commissioned theatrical production tomorrow.
The Red Sun was written by Cork playwright Ray Scannell and
will be performed for President Mary McAleese and 800 guests
at a ceremony at City Hall at 2 pm. The event will officially
kick-start the beginning of Cork's designation as European
Capital of Culture.
The musical play tells the tale of cities that depend on
colour to survive. The climax of the play will see a child
ascend from the from the ceiling of the City Hall in a cocoon.
Evening Echo
06.01.05
Children's Chorus flies flag from 2005
(Photo by Provision)
A VISUALLY stunning theatrical performance by the Cork Children's
Chorus is set to kick off the city's year as European Capital
of Culture, writes EDEL O'CONNELL.
More than 106 children from the Cork Children's Chorus were
busy rehearsing last night for Saturday's performance of a
spectacular commissioned production The Red Sun, Cork playwright
Ray Scannell.
The play will be performed for President Mary McAleese and
800 guests at a civic ceremony at City Hall on Saturday.
The dramatic production tells the tale of one child's quest
to save his red city.
Spokeswoman Aoife Carlin said: 'The climax of the show will
see a child ascend from the ceiling of the City Hall, before
emerging to hand the president a white flag. The President
and the child will then go outside City Hall at which point
there will be a gun salute.'
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