(Photo: Alex Dowling)
During the pandemic, composer Emma O’Halloran and librettist Mark O’Halloran created a work for Irish National Opera’s innovative “20 Shots of Opera” series. Entitled “The Wait,” this opera highlighted O’Halloran’s compositional talent with a score described as “wonderfully evocative,” featuring contrasting densities, textures, dark colouring, silences, and repetitive rhythms. Unfortunately, this piece, which lasts around seven minutes, was not performed live due to COVID restrictions.
Now, audiences will have the opportunity to experience two of O’Halloran’s longer operas at this year’s Kilkenny Arts Festival. Irish National Opera will begin its 2024-25 season with the Irish premieres of “Mary Motorhead” and “Trade,” presented as a double bill. In October, the productions will tour Ireland, with performances in Dublin, Cork, Tralee, Ennis, and Navan, totalling seven shows.
The composer recently discussed her musical career and the upcoming productions of “Mary Motorhead” and “Trade” in an interview.
OperaWire: What were your early musical experiences, and how did you find your way into becoming a composer?
Emma O’Halloran: As a child, I was naturally drawn to music. It was my way of understanding the world and myself, and that’s still true today. I started with dancing and flute lessons, which led to creating simple tunes, though I can’t remember them now and doubt they were particularly noteworthy. My love for music was immense, and I was quite noisy—something my parents must have found challenging.
I first experienced live classical music at around 16 when the National Youth Orchestra of Ireland toured through my town. I had no prior knowledge of classical music, but I was struck by the performance, particularly John Adams’ “Short Ride in a Fast Machine.” My introduction to classical music was quite late.
Opera felt intimidating initially, and I didn’t attend my first performance until much later. This worked to my advantage, as it allowed me to approach opera with a fresh perspective, unburdened by its traditions. My first opera experience was “Jenufa” in Prague during a school trip. While I don’t recall much of the performance, the set designs were remarkable, and I was struck by the concept of opera as an art form.
Now, I attend opera frequently, especially contemporary works, which I find incredibly inspiring. Even operas I don’t particularly enjoy can offer intriguing elements. Each opera, whether good or bad, presents new ideas and perspectives.
After university, I followed my instincts to pursue composing professionally, uncertain of its viability. Fortunately, a commission for “Trade” came through as I completed my doctorate, providing a solid start to my professional career. Since then, I’ve built my network primarily through word of mouth.
OW: Was “Trade” your first opera?
EO’H: Actually, “Trade” wasn’t my first opera; I had already written “Mary Motorhead.”
During my final year at Princeton, The Beth Morrison Project Next Generation initiative called for new opera scores. Two of us were selected to create a 30-minute chamber opera, and I wrote “Mary Motorhead.” This project led to an opportunity to write a full-scale opera, which became “Trade.”
OW: Where does opera fit into your work?
EO’H: I now see opera as the most crucial part of my work.
It took me a while to become involved in it. Initially, I didn’t realise how much I needed it, but now I’m deeply passionate about it. While I engage in other forms of music, there is something uniquely special about opera.
The integration of text in opera allows for a rich exploration of complex emotions through music. I approach these emotions as layers; for instance, jealousy might combine anger, sadness, and bitterness. My aim is to convey these nuanced feelings to the audience. Emotions can also evolve over time; intense rage, for example, may fade, and I strive to reflect this progression in my compositions. Emotions drive the narrative, and this magical process is what draws me to opera.
OW: So, can we expect many more operas from you in the future?
EO’H: Getting an opera off the ground can be quite challenging. They’re like big ships to steer. Nevertheless, I definitely plan to write more operas. It’s a fantastic way to connect with audiences and I really enjoy telling stories.
Currently, I have two opera projects underway, but they are still in the very early stages of development.
Looking ahead, I aim to expand my work by creating longer operas with larger casts and incorporating new elements. I want to continue evolving as a composer and learn how to navigate the complexities of the process.
OW: Your librettist, Mark O’Halloran, is, I presume, a relative. Does this make for an easy working relationship?
EO’H: Yes, he is my uncle. Although we didn’t know each other well growing up, I feel a bond of trust due to our shared family history.
He is an exceptional writer, and I greatly admire his work. His economical use of language is something I particularly value. It might be coincidental, but Mark’s approach with words parallels what I aim to achieve with music; we both explore the human experience.
During the writing process, there are moments when the music flows so seamlessly that it’s hard to remember how I arrived at that point. Collaborating with Mark is similar—there’s a lot of rapid back-and-forth communication, and then the libretto materialises. I don’t usually request many changes. For instance, with “The Wait,” there were only one or two words I wanted altered because they wouldn’t sound right when sung, and he made those changes easily.
I don’t send him any of the music in advance, so he is as surprised as anyone else when the final piece is completed.
OW: How did “The Wait” come about?
EO’H: During the pandemic, Irish National Opera requested a short piece for their “20 Shots of Opera” project. I reached out to Mark, and he promptly came up with ten ideas. Naomi O’Connell, who would be performing the piece, and I chose “The Wait.” I contacted Mark again, and the following day, the text arrived. He writes very quickly!
OW: “The Wait” is a very mysterious and disturbing piece. Was it deliberately created to make the audience work on understanding its meaning?
EO’H: Audiences are very perceptive these days, and you can’t dictate their thoughts; that would be disrespectful. Instead, providing an open-ended piece allows them to reflect and interpret it themselves. For me, it’s about understanding the woman’s backstory—why she stays in her house as the floodwaters rise. Is it desperation, or is she waiting for someone to return? This depth is what makes opera so compelling; it enables exploration of these themes through music.
The image of the horse thrashing in the rising water is quite frightening. The water is everywhere, but when the horse dies, everything becomes very still. I found this particularly intriguing, as it challenged me to think about how to represent the sound of water in music.
OW: What is the story of “Mary Motorhead” entail?
EO’H: Mark originally wrote “Mary Motorhead” as a play, and I adapted it into a libretto. At the time, I didn’t have the funds to pay Mark, and with his busy schedule and my tight deadline, I decided to take on the task myself, thinking it couldn’t be too difficult to write a libretto.
In hindsight, I’m glad I did it because it made me realise how challenging it is and how skilled Mark is at writing libretti.
“Mary Motorhead” is a monodrama about a woman serving an 18-year prison sentence in Mountjoy for a violent crime. She speaks directly to the audience, discussing how a person’s history is a blend of known and unknown events. The known history includes major events like the crime Mary committed, while the unknown history encompasses the small, formative experiences that shape who we are. Through sharing her unknown history—her disappointments and betrayals—she hopes the audience will understand her actions. The drama is outward-facing, and the music complements this by inviting the audience to listen and reflect on her story.
OW: What is the story of “Trade” entail?
EO’H: “Trade” is almost the complete opposite of “Mary Motorhead.” While “Mary Motorhead” features a direct address to the audience, “Trade” presents a situation where the audience feels as if they’ve overheard a conversation they weren’t meant to hear, with the music drawing them in.
The opera depicts an encounter between two men in a room at a north Dublin guesthouse. There is a generational divide: one man is in his late 40s and the other about 18 years old. Despite their differences, they share similarities—they are both fathers, in heterosexual relationships, and from working-class backgrounds. Their meeting is a secret, with the older man paying the younger man for sex. The piece lasts about an hour and consists of a single conversation. It’s implied that they have met before, but this encounter feels different. The older man arrives with blood on his shirt, and the reason remains unclear. As the hour progresses, a process of revelation unfolds. The men struggle to express their emotions but gradually open up as they drink. The older man is there to tell the younger man he loves him, while for the younger man, it’s just about the money.
Like “Mary Motorhead,” “Trade” was initially written by Mark as a play. It was presented at the 2011 Dublin Theatre Festival in a guesthouse setting, where the audience, led into a room by a landlady, experienced an intimate performance with only about 30 people per showing, so it was seen by a limited number of viewers.
OW: Your operas seem to contain quite a dark element. Does this reflect your character?
EO’H: Actually, I consider myself quite a joyful person.
I remember reading a line from a poem that resonated with me:
“The deeper the sorrow that’s carved into your being, the greater the joy you can contain.”
I relate to this sentiment because I process emotions very deeply. For instance, during the last two weeks of writing “Trade,” I cried constantly because it was so emotionally intense. Perhaps this depth of emotion is what allows me to be such a happy person.
OW: You appear to have a close working relationship with the singer Naomi O’Connell. How did this come about, and what is it about her performances that you admire?
EO’H: Naomi O’Connell was recommended to me by one of my college professors when I was considering writing “Mary Motorhead.” I contacted her, and she loved the play. I wanted to create something she would enjoy singing, so I asked about her voice, including her passaggio, her preferences, and her unique abilities. She mentioned her love for cabaret and her skill in transitioning seamlessly between song and spoken text, which many singers struggle with. I only began writing once I had a clear understanding of her voice.
As I got to know Naomi better, I also got to understand her voice more deeply, which helped me tailor the music for her when writing “The Wait.”
I admire her as a performer; she has a remarkable ability to express the complexities of a character, which is ideal for a role like Mary Motorhead, who shifts from violent to contemplative.
I’d love to work with her throughout my career. She’s incredibly talented, and she’s even in the early stages of writing a libretto for me right now.
OW: You have seen both “Mary Motorhead” and “Trade” performed before. What are your expectations for the forthcoming run of performances from Irish National Opera?
EO’H: This is the third performance of “Mary Motorhead,” and I’m particularly excited about it. When a new work is first performed, the focus is often on its immediate success or failure. After the runs in New York and Los Angeles, this assessment has already been made, so now we can approach the piece in a different, perhaps deeper way to uncover more about it. We’re working with the same conductor, Elaine Kelly, and director, Tom Creed, who have both reflected on the work since their last involvement. Elaine mentioned she has discovered many new insights into the orchestration since the previous performances, and I’m eager to hear these developments.
The same applies to “Trade,” although it will feature a new cast, bringing a fresh energy to the piece. I know the new cast is already deeply engaged and has many questions. It’s an exciting time for me, and I hope audiences will enjoy both works.
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