‘The driver talked all the time for the three-hour journey. I understood maybe 20%’

As Wexford Festival Opera approaches its 75th anniversary, the event reflects on its rich heritage while embracing new artistic directions under the guidance of artistic director Rosetta Cucchi. Since first arriving in Ireland in 1995, Cucchi has witnessed the festival’s transformation from a modest theatre on a narrow street to a renowned international event housed in the modern National Opera House.

Cucchi’s initial experience at the festival was marked by the warmth and enthusiasm of the local community, despite linguistic barriers posed by the Irish accent. This hospitality, she found, was emblematic of Wexford’s welcoming nature toward artists, creating a vibrant cultural atmosphere that extends beyond the stage.

For this milestone year, Cucchi has opted to feature three operas from the festival’s archive, demonstrating both a reverence for tradition and a commitment to exploring underappreciated works. The first of these is Pietro Mascagni’s Iris, which holds personal significance as the first opera she worked on at Wexford. Iris stands apart from Mascagni’s more famous Cavalleria Rusticana by moving away from verismo realism toward symbolism, with musical passages evoking impressionistic and even early 20th-century influences.

The festival’s programming also includes Sergei Prokofiev’s The Gambler, a psychologically complex opera rooted in Fyodor Dostoevsky’s narrative. Having premiered in 1929 and introduced to Wexford audiences in the early 1970s, The Gambler signifies the festival’s historical engagement with challenging 20th-century repertoire. Cucchi notes the opera’s exploration of addiction and its demanding musical language, reflecting a period when the festival broadened its embrace of Russian and Eastern European compositions.

Rounding out the trio is Gioachino Rossini’s L’Equivoco Stravagante, a choice made through public vote, which surprised many by surpassing more traditionally favored works by Donizetti and Paisiello. This rarely staged work, banned shortly after its initial 1811 premiere, features themes of gender disguise and comedic misunderstandings. Rossini’s flair for blending humor with complex character dynamics offers a distinctive contrast to the other festival selections.

Cucchi’s leadership has also brought a renewed focus on the relationship between music and stage direction at Wexford, fostering tighter integration that enhances the operatic experience. Additionally, the establishment of the Wexford Factory in 2020 underscores the festival’s dedication to nurturing emerging talent across multiple disciplines, including singers, pianists, and stage managers.

Despite the setbacks posed by recent social distancing and lockdown measures, Cucchi remains optimistic about the festival’s trajectory. She acknowledges that while Wexford has secured a significant international profile, there is potential for it to be better recognized on a national level within Ireland. Expanding the reach to audiences from other continents and developing touring productions are goals that remain on the horizon.

Collaboration with the festival’s executive director Suzanne Nance, whose background in music and media offers clear strategic direction, complements Cucchi’s artistic vision. Together they emphasize the impact of thoughtful, incremental improvements over grand gestures in strengthening the festival’s identity.

Wexford Festival Opera’s 75th season, running from mid to late October, not only celebrates its historical legacy but also presents an opportunity to engage contemporary audiences through rediscovered works and innovative programming. This blend of tradition and forward-thinking leadership positions Wexford as a distinctive presence in the international opera community.