But opera is not dead here. They are doing opera in Irish language.
The language is good for opera singing. It has good vowls, like Italian.

Most of the music they are going to perform will be in Irish, only one or two will be in English (they had no time to translate).

They include Maritana and some Irish composers who wrote musical type of thing. They are really clever about it. They used to produce at least two - three operas a year. Then for some years they were only doing musicals. Now they are tired of that and want to go back.
In fact they told me to start practising Lizst Rigoletto paraphrase in case the need will arise. I pulled out the score today, though I really can not practise it now.

This is just a beginning. One has to know what people want.
We have such a person. He is enthusiastic, sociable and he pulls people together.

Right now they are doing: Mozart Letter duet, from Cosi when men are leaving in a boat, Strauss "Brother my" and some things before that and I don't know what else yet.

This is what they used to have a big gala type of a concert. We used to have it too. This is for publicity. 

Last year they staged Marriage of Figaro that was well attended. It is important to involve local artists. They all have many relatives and friends. That fills the hall quickly.
Singers and instrumentalists for minor parts could be used. (Bassoon part or viola).

There was fire in the theater and we have to perform in a different venue.

Small versatile traveling operas that will use some local musicians will be popular.

They did the same with ballet here. There is an Irish girl that studied in Perm (forgot her name). Every time Perm ballet is here she is dancing one of the secondary parts. 
She is a good dancer.

The same can be done with opera. There are some young people here that travel to London for lessons, or to Dublin (though I am told there is no good teacher there, don't know if this is true).

There is some teacher that also gives master classes in Paris Grand opera. She lives somewhere near London I think. I know one soprano who goes there for one day about once a month or in two months.
At the moment I don't feel such a gloom at all. We had successful performances of Baroque operas (Handel and some others, I had no time to go on some of them).

Ah so be sure, to be sure

Was that a marriage?

And to be sure, to be sure, it twas, did not the Bride wear white to prove she was pure and had no carnal knowlege?

That sounds like it might be very amusing to see.  I don't know whether I'd like it or not, but the idea I find pretty amusing.

Actually I've met some of the performers from t-p's Irish-language MARRIAGE OF FIGARO, and they were all very seriously-intentioned about it.  I don't speak Gaelic, so it's not something I'd have been able to appreciate - but I am in favour of audience-language performances, and if Gaelic works for them...   then why not?  Apparently a great deal of time and ingenuity went into the translation.

Incidentally, as I gained a few credibility points by mentioning - the original Don Curzio in Mozart's premiere performance was an Irishman - Michael Kelly.

The performers also mentioned that Gaelic is a very mellifluous language for singing generally - moreso than English, and therefore writing opera translations in Gaelic is somewhat easier than the contortions required to produce decent singing translations in English.

Sorry to hear that the opera productions have hit a stone wall for the upcoming season, t-p.  Let's see what we can do to change that! 

Agreed. Sorry Mr Ron Dough.

Thank you, oliver sudden. This is very interesting article.
Now opera is becoming "posh". It is good to be seen there.
I like that!!!

I am glad people come because they want to be seen there and they wear beautiful cloths.

In 19th century Italy people used to come in the middle of the day to hear opera and exchanbe information, meet people and to escape cold (in winter time).
Therefore opera thrived, there were many composers writing, etc.