Irish Heritage and The Blackwater Valley Opera Festival have announced a new collaboration that enhances the benefits of the former’s annual Music Bursary with the inauguration of the Blackwater Valley Festival Recital Award.
The first recipients of the Award will be the winner and two runners-up of the Irish Heritage Bursary auditions that took place in the Wigmore Hall in London in November last. The three young musicians will share a special debut recital in the 2018 Blackwater Valley Festival that will give them the opportunity to showcase their individual talents. The three students concerned will be guests of the Festival and will receive performance fees and travel expenses as part of their award.
The Blackwater Valley Opera Festival builds on the legacy of Lismore Opera Festival, which since 2010 has provided a celebration of classical music and opera that takes place in the County Waterford town each June. The newly expanded Festival features three opera nights performed in the stable yard of Lismore Castle as well as concerts and recitals in venues such as the town’s Cathedral, Salterbridge House and Cappoquin House. The festival is a keenly anticipated, annual event on the European festivals calendar attracting music lovers and visitors to the region. This year’s festival takes place from 29th May to 3rd June.
The first students to benefit from the collaboration will be pianist Adam Heron, recipient of the Irish Heritage Music Bursary for 2017 and the two runners-up, soprano Rebecca Murphy and harpist Maria McNamee.
Commenting on the new collaboration, Katie Rowan, joint artistic director of Irish Heritage said, “The Blackwater Valley Festival Award really enhances the work of our Bursary and increases the range of the support and opportunity we give to young, emerging Irish musicians studying in this country. We are enormously grateful to Michael Alen-Buckley and the Board of Blackwater Valley Opera for their generous support in making this possible.”
Michael Alen-Buckley of Blackwater Valley Opera Festival said, “The Blackwater Valley Festival and Irish Heritage share a common commitment to support and showcase the best of young Irish musical talent. We were impressed by the calibre of all those young musicians who took part in last year’s Bursary auditions. We look forward to working with Irish Heritage over coming years.”
The Recital Award will be presented annually for the next three years.
Adam Heron, a student at Royal Academy of Music (RAM in London), is the recipient of the Irish Heritage Music Bursary for 2017. The prestigious Bursary is an important part of the arts organisation’s annual programme of activities, concerts and recitals.
Adam was chosen for the award after a day of auditions conducted before a panel of expert adjudicators under the Chairmanship of John Gilhooly OBE in the Wigmore Hall in London on 3rd November. The bursary, worth £5,000, is awarded to an Irish student studying in Britain. This year students were nominated by this country’s seven major conservatoires and the National Opera Studios.
Adam (18) was born in Hong Kong and adopted at birth by his mother Ann Heron, who comes from Dublin. Ann, who was teaching in the former colony at the time, returned to this country and settled in Cheltenham in 2003. Adam went to a local junior school from where he was awarded a scholarship at the age of seven to study with Adrian Partington, Director of Music at Gloucester Cathedral. From 2012 until 2017 Adam studied piano at Wells Cathedral School with Hilary Coates and Richard Ormrod from where he was awarded a scholarship to undertake a Bachelor of Music course at the RAM. He was nominated for the Bursary by Christopher Elton, Professor Emeritus of Piano at the RAM.
Adam has already enjoyed numerous successes in both national and international piano competitions and has performed in venues from Cheltenham to Kiev and Hong Kong as well as participating in masterclasses with distinguished musicians such as Stephen Hough, John Lill and Imogen Cooper.
Adam’s mother is a great granddaughter of James Connolly, the Irish patriot. Both Adam and his mother are regular visitors to Dublin and to Spiddal in County Galway, the home of his late grandparents. Adam can speak a little Irish.
Commenting on the award of the bursary to Adam Heron, John Gilhooly, Chairman of the adjudicators said, “Adam is a very engaging young musician and we are very pleased that Irish Heritage can help him at such a pivotal point in his studies.”
Speaking about the bursary, Adam Heron said, “It is both an honour and a delight to have been awarded the Irish Heritage Music Bursary. An opportunity to perform in the main auditorium at the Wigmore Hall was very a special privilege, and I know that it will be a great pleasure to work with Irish Heritage during the years to come. Its outstanding work in supporting Irish artists both in Ireland and the UK is quite simply remarkable.”
Irish Heritage has invited Adam to give a cameo performance as part of its “Christmas by Candlelight” concert in St George’s Hanover Square, London on Monday 18th December. He will give a full recital at the organisation’s bursary winner’s concert in Leighton House Museum, London W14 on Tuesday 12th June 2018. for tickets and further information please visit www.irishheritage.co.uk
Adam will also perform at the Lismore Opera Festival on 1st June 2018 together with the two highly commended contestants for this year’s Bursary soprano Rebecca Murphy from the Royal Conservatoire of Scotland, and harpist Maria McNamee from Trinity Laban Conservatoire of Music and Dance.
Note about Irish Heritage
Irish Heritage is a voluntary arts organisation established in London in 1974 to promote the appreciation and understanding of classical music (broadly defined) and music composed by Irish composers, performed by young Irish musicians in Britain to a wide audience. It is the only Irish arts organisation in Britain dedicated to helping young Irish musicians through their continuing education and the early part of their careers.
Irish Heritage is pleased to announce that Patrick Lennon has joined its Board of Directors.
A long-standing supporter of Irish Heritage, Mr Lennon will oversee the preparation and implementation of a new marketing and communications strategy for the organisation that will draw on his experience of working with leading companies and organisations over the past 35 years.
Mr Lennon owns and manages a marketing and public relations consultancy based at Shepperton Studios in south-west London that is known for its work with Irish business and community organisations including Aer Lingus, London Irish RFC and The Irish Times.
Commenting on the appointment, Mary Connolly, Chair of Irish Heritage, said: “We are pleased that Paddy Lennon has accepted our invitation to join the Board. His extensive, international marketing and communications experience will help us to realise our ambitions for Irish Heritage over coming years.”
“I am delighted to have been asked to contribute to the development of Irish Heritage,” said Mr Lennon. “I’ve long admired its role in helping young Irish musicians develop and perform in Britain. I’m looking forward to working with the other communications professionals that are helping the organisation to raise its profile and generate interest in its events and programmes.”
Mr Lennon is also an advisor to the Kingston Academy of Music in Dalkey in Dublin.
Note about Irish Heritage
Irish Heritage is a voluntary arts organisation established in London in 1974 to promote the appreciation and understanding of classical music (broadly defined) and music composed by Irish composers, performed by young Irish musicians in Britain to a wide audience.
It is the only Irish arts organisation in Britain dedicated to helping young Irish musicians through their continuing education and the early part of their careers.
The Irish Heritage Music Bursary is an important part of the organisation’s annual programme of activities, concerts and recitals. For further information please visit: www.irishheritage.co.uk
The autumn 2017 issue of the VGC Group’s newsletter “Outperformance” is now available at the group’s website: www.vgcgroup.co.uk/newsletters. Alternatively, an enews edition is available by following this link: http://mailchi.mp/vgcgroup/vgc-outperformance-enews-autumn-2017-edition?e=c6ba740ddf
The consultancy is pleased to contribute to the production of “Outperformance” which is published twice a year.
Ever since the first set of rules as to how rugby should be played were drawn up by the newly formed Rugby Football Union in 1871, there have been revisions to reflect the evolution of the game.
The core of “The Laws of the Game”, as they were grandly called, has stood the test of time, however, revisions have been constant as the game has sought to adapt to playing conditions and outside pressures over the past 146 years.
Nowadays, the ultimate responsibility for the Laws rests with World Rugby (formerly the International Rugby Board) and it has a committee that is responsible for recommending changes and their trial before they enshrined in the Laws.
This season World Rugby has added six amendments to its “Global Law Trials” (GLT) following positive trials in specific international competitions earlier this year. The amendments apply to all games in England with effect from 1st August 2017.
The following is a synopsis of the amendments.
1. Definitions – Possession
This happens when a player is carrying the ball (or attempting to bring it under control) or the team has the ball in its control, for example the ball in one half of a scrum or ruck is in that team’s possession.
2. Law 3.6 Number of Players – The Team
Uncontested scrums as a result of a sending off, temporary suspension or injury must be played with eight players per side.
3. Law 5.7 (E) – Time
If a penalty is kicked into touch after time has elapsed without touching another player, the referee allows the throw-in to be taken and play continues until the next time the ball becomes dead. To end the half, the ball must be tapped before the kick to touch.
4. Law 8.1 (A) – Advantage
When there are multiple penalty infringements by the same team, the referee may allow the captain of the non-offending team to choose the most advantageous of the penalty marks.
5. Law 9.A.1 – Method of Scoring
Penalty Try. If a player would probably have scored a try but for foul play by an opponent, a penalty try is awarded. No conversion is attempted. Value: 7 points.
6. Law 15.4 (C)- Amended Tackle
The tackler must get up before playing the ball and then can only play from their side of the tackle gate.
7. Law 16 – Amended Ruck Law
A ruck commences when at least one player is on their feet and over the ball which is on the ground (tackled player, tackler). At this point the offside line is created. A player on their feet may use their hands to pick up the ball as long as this is immediate. As soon as an opposition player arrives no hands can be used.
8. Law 16.4 – Other Ruck Offences
A player must not kick the ball out of a ruck. Sanction: Penalty kick.
The player can only hook the ball in a backwards motion.
9. Law 18 – Definition: Mark
To make a mark a player must have one or both feet on or behind that player’s 22 metre line and catch a ball that has reached the plane of the 22-metre line.
10. Law 19 – Definition: Touch
If a ball has passed the plane of touch when it is caught, then the catcher is not deemed to have taken the ball into touch.
If the ball has not passed the plane of touch when it is caught or picked up, then the catcher is deemed to have taken the ball into touch, regardless of whether the ball was in motion or stationary.
If the player jumps and knocks the ball back into the playing area (or if that player catches the ball and throws it back into the playing area) before landing in touch or touch-in-goal, play continues regardless of whether the ball reaches the plane of touch.
11. Law 19.1 (C) – No Gain in Ground
If a player, with one or both feet behind the 22-metre line, picks up the ball, which was outside the 22, or catches the ball in front of the 22-metre line and kicks it directly into touch from within the 22, then that player has taken the ball back inside the 22, so there is no gain in ground.
12. Law 20.5 – Throwing the Ball into the Scrum
No signal from the referee. The scrum must be stable and there must be no delay once the ball has been presented to the scrum.
13. Law 20.6 (D) – How the Scrum Half Throws in the Ball
The scrum half must throw the ball in straight, but is allowed to align their shoulder on the middle line of the scrum, therefore allowing them to stand a shoulder width towards their side of the middle line.
14. Law 20 – Striking After the Throw-in
Once the ball touches the ground in the tunnel, any front row player may use either foot to try to win possession of the ball. One player from the team who put the ball in must strike for the ball. Sanction: Free-kick.
15. Law 20.9 (B) – Handling in the Scrum – Exception
Allow the number 8 to pick the ball from the feet of the second-rows.
16. Law 22.9 (B) – Defending Player In-goal
If a player with one or both feet on or behind the goal line picks up the ball from within the field of play, or catches the ball in front of the goal line, that player has taken possession of the ball in the field of play.
17. Law 22.9 (D) – Defending Player in In-goal
If a player with one or both feet on or behind the dead ball line picks up or catches a ball that has not reached the dead ball line, or touch in-goal line, that player is deemed to have made the ball dead.
Video clips illustrating the amendments are available on the World Rugby website at www.laws.worldrugby.org – click on the Global Law Trials 2017 tab.