It is not often that the music of centuries past finds itself echoing so naturally within walls of the same vintage. But such was the magic of last Sunday evening at Claregalway Castle, where a full house gathered for the Summer Salon Concert—an experience that delighted both ear and spirit in equal measure. In this majestic medieval setting, the age of the stone matched the age of the sound, and history sang anew.
Under the artistic initiative of Eamonn O’Donoghue—who deserves particular praise for his vision and leadership—Claregalway Castle is quickly becoming one of the most atmospheric and suitable venues for chamber and vocal music in the West of Ireland. The salon concert concept, intimate yet grand, proved utterly viable and deeply rewarding for both audience and performers. One hopes this will be the first of many such evenings.
The audience, discerning and clearly knowledgeable, purred with pleasure at the superb performances of Galway-based soprano Helen Hancock and the radiant young English soprano Anna Rose Marshall. The programme, thoughtfully curated, journeyed through the operatic and art song canon—from Monteverdi’s Pur ti miro to Dvo?ák’s Song to the Moon—offering variety, vitality, and emotional breadth.
It was particularly enjoyable to witness how both sopranos animated the plots and characters of the operas with flair and humour, particularly in pieces such as Voi che sapete and Vedrai, carino. These weren’t merely sung; they were inhabited. Hancock, already well-known for her expressive artistry, brought elegance and sincerity to each phrase, while Anna Rose displayed remarkable vocal agility and stage presence far beyond her years.
Duets such as Sull’aria, Laudamus Te, and the beloved Flower Duet from Lakmé showcased the exquisite blend between the two voices. Whether in the playful elegance of Handel, the wistful romance of Offenbach’s Barcarolle, or the buoyant joy of Vivaldi, each performance found a resonant home in the intimate acoustics of the great hall.
The instrumental accompaniment was equally sensitive and accomplished. Pianist Miranda Clarke, alongside string players David Clarke and Eszter Cetinceviz, brought colour, nuance, and rhythmic clarity to each piece. The shimmering support in Song to the Moon and the delightful ripples of Schubert’s Die Forelle added dimension and depth to the vocal lines.
This was more than a recital—it was a warm, sophisticated celebration of music and place. A salon in the truest sense: shared artistry in a setting that invites listening with both heart and mind.
As the last notes faded into the stone, one could feel the audience collectively hoping this wouldn’t be a singular occasion. With such enthusiastic reception, top-tier talent, and a venue that practically breathes history, the Claregalway Summer Salon series is not only welcome—it is essential. Let us hope Eamonn O’Donoghue and his collaborators continue this inspired endeavour, filling the castle’s ancient halls with song long into the future.
