FESTIVAL 2016 21 May – 28 August MEMBERShip BROCHURE
wagner
DIE MEIS TERSINGER VON NÜRNBERG rossini
IL BARBIERE DI SIVIGLIA janáČek
THE CUNNING LIT TLE VIXEN mozart
LE NOZ ZE DI FIG ARO berlioz
BÉ ATRICE E T BÉNÉDIC T britten
A MIDSUMMER NIGHT’S DRE A M
welcome to
20 | FESTIVAL 2016
Festiv
W
elcom e to festival 2016. Our six operas offer a balance of the familiar and the unexpected, a variety of approaches to the art form, and that special Glyndebourne mix of favourite singers and exciting new faces. This season we join the nationwide Shakespeare400 campaign, offering two Shakespeare-inspired operas: first, a new production of Béatrice et Bénédict, directed by Laurent Pelly and conducted by our Music Director, Robin Ticciati. Adapted from Much Ado About Nothing, it had a brief Glyndebourne outing in concert form back in 1993, but is now presented in our first full staging. Our second Shakespeare offering is Peter Hall’s classic 1981 production of Britten’s A Midsummer Night’s Dream, in its first revival in ten years. For many it remains the definitive staging of this work – as striking and magical now as it was when first created. Kazushi Ono returns to conduct an outstanding line-up of young singers. The French dramatist Beaumarchais is another link in our season as we feature two operas based on his ‘Figaro’ trilogy of plays. We present a new production of Rossini’s Il barbiere di Siviglia, absent from the Festival for 33 years. It will be directed by Annabel Arden and conducted by Enrique Mazzola, reuniting the creative team behind Glyndebourne’s popular production
of L’elisir d’amore. Beside this is Mozart’s Le nozze di Figaro, the opera that opened the first Glyndebourne Festival back in 1934 and has remained at the core of our repertoire ever since. Michael Grandage’s hugely enjoyable production is led by the young British conductor Jonathan Cohen. The Cunning Little Vixen is the work which, in the 1970s, launched a series of Glyndebourne productions of operas by Janáček which helped to establish him as one of the 20th century’s greatest musical dramatists. Melly Still’s colourful production from 2012 returns under the baton of Czech conductor Jakub Hrůša. Finally, David McVicar’s production of Die Meistersinger von Nürnberg, first staged in 2011, fulfilled John Christie’s dream of bringing this great masterpiece to Glyndebourne. It remains our most ambitious undertaking to date and I am delighted that Gerald Finley will return to take on the role of Hans Sachs with Robin Ticciati conducting his first Wagner opera. As I leave Glyndebourne after 14 extraordinary years with this great opera company I do want to take this opportunity to thank you, our Members, for your continued loyalty and support of all that we do. I hope you find much to enjoy in Festival 2016, and I look forward to joining you in the audience. — dav i d pick a r d , General Director
al 2016
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DIE MEISTERSINGER VON NÜRNBERG
‘Gerald Finley is glorious… exuding a mesmerising sadness, nobility and anguished stoicism.’ richard morrison, The Times 1 | FESTIVAL 2016
ALASTAIR MUIR
richard wagner
Called ‘grippingly original’ by Opera and its classical staging ‘a masterstroke’ by The Independent when first seen in Festival 2011, Glyndebourne’s first-ever staging of Wagner’s grand Die Meistersinger von Nürnberg was a landmark in the company’s history. It makes a much-anticipated return to open Festival 2016. David McVicar’s finely detailed production shifts the action to the early 19th century of Wagner’s youth, when German nationalism was surging in the wake of the Napoleonic Wars. Wagner’s only mature comedy, Die Meistersinger takes the art of songwriting and singing as its theme in telling the story of the historical cobbler-poet Hans Sachs (1494–1576). He is the most celebrated of the Master Singers, a group of amateur poets and musicians who devised a complex system of rules for composing and performing their songs. When the free-thinking young Walther von Stolzing strives to win their song competition, whose prize is his beloved Eva, wise Sachs must weigh the value of rulebreaking inspiration against that of timehonoured tradition, while grappling with the viability of his own dreams. Gerald Finley, who began his career in the Glyndebourne Chorus, returns to the role of Hans Sachs, which he first sang here in 2011, when The Guardian termed him ‘extraordinary both vocally and dramatically’. American soprano Amanda Majeski sings Eva and Canadian-German tenor Michael Schade debuts as Walther. Robin Ticciati conducts his first Wagner opera at the helm of the London Philharmonic Orchestra.
A revival of the 2011 Festival production Sung in German with English supertitles Conductor..................................Robin Ticciati Director.....................................David McVicar Designer....................................Vicki Mortimer Choreographer...........................Andrew George Lighting Designer......................Paule Constable Fight Director............................Nick Hall cast includes Hans Sachs.................................Gerald Finley Eva..............................................Amanda Majeski Walther von Stoltzing.................Michael Schade Magdalene..................................Hanna Hipp David..........................................David Portillo Pogner........................................Alastair Miles Beckmesser.................................Jochen Kupfer Kothner.......................................Darren Jeffery Vogelgesang................................Colin Judson Nachtigall...................................Andrew Slater Ortel...........................................Nicholas Folwell Moser..........................................Daniel Norman Eisslinger....................................Adrian Thompson Foltz............................................Graeme Broadbent Schwarz......................................Sion Goronwy Zorn............................................Alasdair Elliott Nightwatchman.........................Patrick Guetti London Philharmonic Orchestra The Glyndebourne Chorus
21 May – 27 June Supported by A Syndicate of Individuals led by Lord and Lady Laidlaw Dunard Fund
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‘Napoleon is dead,’ wrote Stendhal, Rossini’s first biographer, ‘but a new conqueror has already shown himself to the world!’ By the time he was 21, Rossini had already become an operatic idol. Three years later, he dashed off the brilliant Il barbiere di Siviglia within a mere three weeks and was well on his way to dominating and defining Italian opera for the first half of the 19th century. Based on Le Barbier de Séville (1775), the first play of the ‘Figaro’ trilogy by the controversial French dramatist Beaumarchais, Rossini’s opera traces the efforts of clever Figaro to win his master, Count Almaviva, his chosen bride. But he meets his match in that crafty would-be bride, Rosina, who is already plotting to escape her guardian Dr Bartolo. Absent from the Glyndebourne Festival repertoire for 33 years, Rossini’s most popular comedy comes roaring back in a new production whose wit and playful energy springs directly from Rossini’s ebullient music. Director Annabel Arden, whose 2007 Glyndebourne staging of L’elisir d’amore ‘charmed audiences all over the country’ (Financial Times), creates a sultry, surreal and subtly Spanish world lightly touched by magic. After huge success in L’elisir d’amore and Don Pasquale, Glyndebourne favourite Danielle de Niese adds Rosina to her growing list of bel canto
heroines. Figaro is sung by the award-winning German baritone Björn Bürger in his company debut. Veteran Italian buffo bass Alessandro Corbelli (Don Pasquale, 2013) and rising American tenor Taylor Stayton (La Cenerentola, 2012) return as Dr Bartolo and Almaviva. Enrique Mazzola, Glyndebourne’s leading bel canto maestro, returns to conduct the London Philharmonic Orchestra. A new production for Festival 2016 Sung in Italian with English supertitles Conductor..................................Enrique Mazzola Director.....................................Annabel Arden Designer....................................Joanna Parker Movement Director....................Ann Yee Lighting Designer......................James Farncombe cast Rosina........................................Danielle de Niese Dr Bartolo...................................Alessandro Corbelli Count Almaviva.........................Taylor Stayton Figaro.........................................Björn Bürger Basilio........................................Christophoros Stamboglis Berta...........................................Janis Kelly London Philharmonic Orchestra The Glyndebourne Chorus Critical Edition by A. Zedda © of Casa Ricordi s.r.l (Universal Music Publishing Group) By arrangement with G. Ricordi & Co. (London) Ltd.
IL BARBIERE gioachino rossini 04 | FESTIVAL 2016
© LES ÉDITIONS JALOU, L'OFFICIEL, 1950/ PHILIPPE POTTIER
22 May – 17 July Supported by Handel and Yvonne Evans Filming supported by Morton and Estelle Sosland through Glyndebourne Association America Inc.
DI SIVIGLIA GLYNDEBOURNE.COM | 05
BILL COOPER
THE CUNNING
06 | FESTIVAL 2016
LIT TLE VIXEN leoš janáček ‘Melly Still’s production… is as colourful and joyous as the composer would have wished.’ paul levy, Wall Street Journal
Leoš Janáček, a lifelong animal lover, was inspired to create an opera based on the graphic novella The Adventures of the Vixen Called Sharp-Ears for its unique view of the relationship between humans and the world of nature. He transformed this comic strip about a clever vixen that constantly outwits a forester into a moving philosophical reflection on life and death and the cyclical nature of renewal. Janáček crafted a succinct libretto with golden opportunities to integrate dance, mime and orchestral interludes into the storytelling. He then blended simple folk-derived melodies and ‘speech tunes’ with sophisticated, lushly orchestrated impressionist harmonies to create a deeply personal and modern musical style. British director Melly Still revives her original production, and Czech conductor Jakub Hrůša, a Glyndebourne regular since 2008, conducts. The Vixen is sung by Russian soprano Elena Tsallagova, (Falstaff 2013), and Czech mezzosoprano Alžbĕta Poláčková debuts as the Fox. Christoper Purves, who sang the title role in Saul last season to great acclaim, is the Forester.
A revival of the 2012 Festival production Sung in Czech with English supertitles Conductor...................................Jakub Hrůša Director.......................................Melly Still Set Designer................................Tom Pye Costume Designer.......................Dinah Collin Choreographer............................Mike Ashcroft Lighting Designer.......................Paule Constable cast includes Vixen Sharp Ears........................Elena Tsallagova Fox .............................................Alžbĕta Poláčková Forester ......................................Christopher Purves Schoolmaster/Mosquito..............Colin Judson Harašta......................................Alexandre Duhamel Priest/Badger.............................Alexander Vassiliev Forester’s Wife/Owl....................Sarah Pring London Philharmonic Orchestra The Glyndebourne Chorus Revised version by Jiři Zahrádka By arrangement with Universal Edition A.G. Wien
12 June – 31 July Supported by A Syndicate of Individuals
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ALASTAIR MUIR
‘…this is a Figaro of rare grace, naturalness and charm... Pure joy.’ rupert christiansen, Daily Telegraph It truly is ‘a mad day’ at Count Almaviva’s estate just outside Seville as plots and promises are made and broken, hopes are raised and dashed, and disguises are donned and exposed, all to the strains of some of Mozart’s most sparkling and sublime music. Mozart based this evergreen comedy, his first full-scale collaboration with the great librettist Lorenzo da Ponte, on La folle journée ou le mariage de Figaro (‘A Mad Day, or Figaro’s Wedding’). The second play of a provocative trilogy of comedies by Beaumarchais, it is set in an upstairs-downstairs world populated by servants who aren’t servile and the masters they outsmart. Renowned British director Michael Grandage keeps the opera in its original locale but moves the action to the 1970s, during the twilight years of the Franco regime, the last gasp of the old order. At its premiere in Festival 2012, Gramophone said the production was ‘a smasher… typical of Glyndebourne at its best’ while The Sunday Times agreed that the production ‘affirms Mozart’s most beloved masterpiece as both of its time and perennially modern.’ South African soprano Golda Schultz and Italian baritone Davide Luciano make their Glyndebourne debuts as the Countess and
Figaro, with Hungarian-Romanian baritone Gyula Orendt and Italian soprano Rosa Feola returning after their appearances in Mozart’s La finta giardiniera in Festival 2014 and Tour 2014, respectively. Conductor Jonathan Cohen returns to lead the Orchestra of the Age of Enlightenment. A revival of the Festival 2012 production Sung in Italian with supertitles Conductor...................................Jonathan Cohen Director.......................................Michael Grandage Revival Director..........................Ian Rutherford Designer.....................................Christopher Oram Lighting Designer......................Paule Constable cast includes Figaro.........................................Davide Luciano Susanna.....................................Rosa Feola Countess Almaviva.....................Golda Schultz Count Almaviva.........................Gyula Orendt Cherubino...................................Serena Malfi Bartolo........................................Carlo Lepore Marcellina..................................Susan Bickley Don Basilio.................................John Graham-Hall Antonio......................................Nicholas Folwell Don Curzio..................................Alasdair Elliott Orchestra of the Age of Enlightenment The Glyndebourne Chorus
3 July – 24 August Supported by The Monument Trust
LE NOZZ 08 | FESTIVAL 2016
wolfgang amadeus mozart
ZE DI FIGARO GLYNDEBOURNE.COM | 09
hector berlioz
BÉ ATRICE ET star of last season’s Carmen, and American tenor Paul Appleby, a regular at the Metropolitan Opera, returning after his Glyndebourne debut in last season’s Saul. Glyndebourne Music Director Robin Ticciati, an ardent champion of Berlioz, conducts the London Philharmonic Orchestra. A new production for Festival 2016 Sung in French with supertitles Conductor...................................Robin Ticciati Director.......................................Laurent Pelly Set Designer................................Barbara de Limburg Costume Designer.......................Laurent Pelly Lighting Designer.......................Duane Schuler cast includes Béatrice......................................Stéphanie d’Oustrac Bénédict......................................Paul Appleby Héro............................................Hélène Guilmette Claudio.......................................Philippe Sly Don Pedro...................................Henry Waddington Somarone....................................Lionel Lhote Ursule.........................................Katarina Bradić London Philharmonic Orchestra The Glyndebourne Chorus The New Berlioz Edition of Béatrice et Bénédict is edited by Hugh Macdonald and published by Bärenreiter-Edition Kassel. Performed by arrangement with Faber Music Ltd., London
23 July – 27 August Supported by André and Rosalie Hoffmann 10 | FESTIVAL 2016
© JUAN DE LA CRUZ MEGÍAS
Béatrice et Bénédict, Berlioz’s last major work, is a compact comic gem radiant with the glow of Italy. Composing it seemed a tonic for the ageing, ailing Berlioz, who wrote, ‘I can scarcely keep up with the music of my little opera, so rapidly do the pieces come to me.’ Like many 19th-century Romantics, Berlioz idolised Shakespeare, who inspired some of his greatest works. Berlioz himself wrote the libretto for Béatrice et Bénédict, basing it closely upon Shakespeare’s Much Ado about Nothing. But he greatly streamlined it by eliminating a dozen minor characters and the dark subplot of the play, amplifying its sunny, comic sparkle. Berlioz also added original elements to the opera, including several ravishing numbers for the female characters, especially the sublime Act I duet-nocturne, described by one critic as ‘a marvel of indescribable lyrical beauty’. Béatrice et Bénédict makes its long-awaited stage premiere at Glyndebourne in an effervescent new production by Laurent Pelly, whose whimsical interpretations of Hänsel und Gretel and the Ravel Double Bill have delighted Glyndebourne audiences. The quarrelsome title couple will be played by French mezzo Stéphanie d’Oustrac,
BÉNÉDICT
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roger parker, Opera
A MIDSUMMER NIGHT’S DRE AM benjamin britten 12 | FESTIVAL 2016
©MIKE HOBAN/THE HOBAN GRAVETT ARCHIVE
‘What makes a production become ‘classic’? Peter Hall’s Dream can certainly now claim that status.’
Shakespeare’s beloved comedy provided Britten with some of his favourite themes – light and dark; dreaming and waking; innocence versus corruption; and natural versus supernatural – yet it gave him the rare chance to explore them in a comic framework. The libretto for A Midsummer Night’s Dream was adapted by tenor Peter Pears and the composer himself, who wrote: ‘To get it into manageable shape… basically entailed simplifying and cutting an extremely complex story… I do not feel in the least guilty at having cut the play in half. The original Shakespeare will survive.’ The opera’s luminous music is essential Britten, featuring atmospheric harmonies and vivid tone painting. Three clear-cut musical soundscapes portray the opera’s three groups of characters: the earthy Rustics are portrayed in ‘simple’ folk-like music; the two pairs of lovers have a lyrical, romantic sonority; and the fairies are painted in ethereal tones. And the famous play-within-a-play in the final scene includes a wicked spoof of 19th-century opera. Peter Hall’s classic production premiered in 1981 and was last seen here in 2006. According to the Guardian, it ‘has often been cited as a perfect realisation of a fairy tale, though Hall also continuously reminds us of the opera’s dark undertow.’ The splendid ensemble cast features a stellar roster of familiar singers. The Japanese maestro Kazushi Ono conducts the London Philharmonic Orchestra.
A revival of the 1981 Festival production Sung in English with supertitles Conductor...................................Kazushi Ono Director.......................................Peter Hall Revival Director..........................Lynne Hockney Set Designer................................ John Bury Costume Designer.......................Liz Bury Lighting Designer.......................Paul Pyant cast includes Oberon........................................Tim Mead Tytania.......................................Kathleen Kim Lysander.....................................Benjamin Hulett Demetrius...................................Duncan Rock Hermia.......................................Elizabeth DeShong Helena........................................Kate Royal Theseus.......................................Michael Sumuel Hippolyta...................................Claudia Huckle Bottom.......................................Matthew Rose Flute...........................................Anthony Gregory Quince........................................David Soar Snug...........................................Sion Goronwy Snout..........................................Colin Judson Starveling...................................William Dazeley London Philharmonic Orchestra Trinity Boys Choir By kind permission of Boosey & Hawkes Music Publishers Limited
11 – 28 August Supported by Lindsay and Sarah Tomlinson
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glyndebourne membership
Sharing your love of opera Associate Membership is currently open with a limited number of places available. Associate Members enjoy second priority booking and secure a position on the waiting list for life-long Festival Society Membership. If you would like us to send you information to share with family and friends, or to find out more about Gift Memberships, please contact us: phone: + 44 (0) 1273 815 400 (10am–5pm Monday–Friday) email: membership@glyndebourne.com web: glyndebourne.com/associate-membership
14 | FESTIVAL 2016
SAM STEPHENSON
Who will you introduce to a lifetime of opera enjoyment at Glyndebourne?
SAM STEPHENSON
Your visit
Customer Service at Glyndebourne Our Box Office and Customer Service team is dedicated to making your visit to Glyndebourne as enjoyable as possible. If you have any specific requirements you can contact us on +44 (0)1273 815 000 or through our live web chat service via glyndebourne.com/live-chat Arriving at Glyndebourne The nearest train station is Lewes. As Glyndebourne is three miles from the station we provide a free round-trip shuttle coach service from Lewes station to Glyndebourne when you arrive on the recommended train (train times are detailed in the Performance Schedule). This service is not pre-bookable and is complimentary if used to and from Glyndebourne; a ticket is issued for your return journey. Alternatively, if you arrive by car there is a large on-site car park for visitors. Auditorium access Conveniently located spaces are reserved for wheelchairs at Foyer Circle (ground level) only. We have a limited number of wheelchairs available if you would like to borrow one. Lift access is available to all levels of the auditorium.
Assistance Hearing support The auditorium is equipped with a sound enhancement system. Receivers may be borrowed from the House Manager’s office (located on the Red side at Foyer Circle level). Assistance animals are welcome. Helping us to help you When booking your tickets please give the Box Office advance notice if: • You have access requirements and require a reserved parking space close to the auditorium • You wish to borrow a wheelchair • You wish to recharge your electric car during a performance Dining at Glyndebourne To find out more about the on-site dining options offered by Leith’s at Glyndebourne please visit diningatglyndebourne.com Your questions answered For more information in advance of your arrival please visit our website where you will find answers to a range of frequently asked questions – from what's happening in the gardens to information on the Festival programme book artist. Please visit glyndebourne.com/faq GLYNDEBOURNE.COM | 15
Enrich your experience OR 2 0 1 NEW F
6
3-Night Opera Package To help you make the most of your visit during Festival 2016 we are introducing a new 3-Night Opera Package, which enables you to visit Glyndebourne on three consecutive nights in August at a preferential rate. WEEKEND 1 Fri 12 August Béatrice et Bénédict Sat 13 August A Midsummer Night’s Dream Sun 14 August Le nozze di Figaro WEEKEND 2 Fri 19 August Béatrice et Bénédict Sat 20 August Le nozze di Figaro Sun 21 August A Midsummer Night’s Dream The 3-Night Opera Package is priced at £1,000 (which amounts to a saving of over £400 per booking) and includes: • • • • •
Two top price tickets for three consecutive performances on your selected weekend A Leith’s Traditional Picnic for two on one night Two glasses of Champagne on one night A £25 voucher for the Glyndebourne Shop An optional pre-performance talk about the three operas
Each package is for a minimum of two people, and you can book more than one package as long as numbers are even, and subject to availability. Full terms and conditions for this package are available at glyndebourne.com/extras
16 | FESTIVAL 2016
Festival Extras PRE-PERFORMANCE TALKS Ebert Room All of our pre-performance talks have been designed to enhance your enjoyment of the opera that follows. Each afternoon talk is presented by an operatic expert, lasts 45 minutes and costs £9. The talks end 30 minutes before the start of each performance. Sun 29 May 12.30pm Sun 12 June 4.00pm Sun 26 June 3.00pm Sun 3 July 2.45pm Sat 30 July 4.00pm Sun 31 July 4.00pm Sun 7 August 2.45pm Fri 26 August 3.00pm Sat 27 August 4.00pm
Die Meistersinger von Nürnberg The Cunning Little Vixen Il barbiere di Siviglia Le nozze di Figaro Béatrice et Bénédict The Cunning Little Vixen Le nozze di Figaro A Midsummer Night’s Dream Béatrice et Bénédict
STUDY EVENTS Ebert Room Featuring expert talks, panel discussions and musical previews, our study events are designed to give you an in-depth insight into our Festival 2016 productions and enhance your enjoyment of each featured opera. This year we are presenting two themed events: the first on Beaumarchais will look at Il barbiere di Siviglia and Le nozze di Figaro; and the second, which will mark the Shakespeare400 celebrations, will delve into Béatrice et Bénédict and A Midsummer Night’s Dream. Beaumarchais: Il barbiere di Siviglia and Le nozze di Figaro Sunday 8 May, 10.30am-4.30pm Price: £40 (not including lunch)* Shakespeare: Béatrice et Bénédict and A Midsummer Night’s Dream Saturday 6 August, 10.30am-4.30pm Price: £40 (not including lunch)* * Lunch is available on 8 May and 6 August at an extra cost of £15.50 for two courses in Nether Wallop Restaurant if pre-booked. Please contact Leith’s on +44 (0) 1273 812 510 for more information.
SAM STEPHENSON
HOW TO BOOK Places can be booked online at glyndebourne.com or by telephone +44 (0)1273 815 000 from 7 March.
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Discover more
Glyndebourne Tour Running from 14 October-10 December, the 2016 Glyndebourne Tour will include our first ever production of Madama Butterfly and a revival of Don Giovanni. The third touring show entitled Don Giovanni: Behind the Curtain is brand new, presenting an accessible introduction to opera. The Tour will start at home in October. For priority booking at Glyndebourne join our Tour Supporters (from £35 per year) by contacting the Membership department on +44 (0)1273 815 400 or via glyndebourne.com Screenings and broadcasts In 2016 Glyndebourne will continue its programme of cinema and online broadcasts, showing titles from the 2016 Festival in cinemas across the country and online in partnership with the Telegraph Media Group. Nothing – a new youth opera 2016 is the 30th anniversary of Glyndebourne’s education department, and the celebrations begin in the new year with a newly commissioned youth opera. From 25–27 February a cast of young performers and professionals will take to the Glyndebourne stage and orchestra pit to perform Nothing by composer David Bruce and librettist Glyn Maxwell. It will be directed by director Bijan Sheibani and conducted by Sian Edwards. Tickets are on sale from 5 October.
18 | FESTIVAL 2016
Archive Gallery We will be presenting two exhibitions in our Archive Gallery over the course of the season. Rossini at Glyndebourne Inspired by our new production Il barbiere di Siviglia we will take a look back at some of the memorable past productions of the composer’s works here at Glyndebourne. These range from Oliver Messel’s dainty designs for La Cenerentola and Il barbiere di Siviglia to Richard Hudson’s steeply raked and dramatic Ermione, taking in pieces designed by Osbert Lancaster and Emanuele Luzzati along the way.
The Bard has played a role in every decade of Glyndebourne’s history. In support of this nationwide celebratory campaign, Glyndebourne is mounting a new production of Berlioz’s opera Béatrice et Bénédict and reviving the magical A Midsummer Night’s Dream. Our exhibition will celebrate all of the Shakespeare-inspired works that have been seen on the Glyndebourne stage.
Visit glyndebourne.com for up-to-date information, podcasts and short films about Festival 2016
Booking information Festival Society Members Please return your postal or online applications by Tuesday 1 December 2015. Associate Members Please return your postal or online applications by Monday 18 January 2016. To maximise your chances of securing Festival 2016 tickets our Box Office team have shared their ‘top tips’ to consider when making your ticket application: • Please provide alternative dates and seating areas as well as your first choices. • Weekends are incredibly busy so please include weekday alternatives if possible. • Upper Circle and Side seats are very popular and always oversubscribed. If you request them it is particularly helpful to offer a wide range of dates and productions. • If you want to see one opera but don’t mind which one – include a note with your booking form or in the comments section of the online form. • Please ensure we have up-to-date contact details so that we can get in touch, without delay, if we are unable to meet your requests. Ticket exchange and resale We offer a ticket exchange facility free of charge to all Festival Society and Associate Members, and will endeavour to exchange purchased tickets for a more suitable date as necessary. We require at least 48 hours notice if you wish to exchange your tickets. We can also offer these for unguaranteed resale.
Glyndebourne<30 Supported by investment from the New Generation Programme As part of our drive to introduce opera to new audiences, the Glyndebourne<30 scheme provides ticket offers, regular email updates and invitations to events for visitors aged 16-29. Launched in 2006 this scheme has introduced thousands of people to opera at Glyndebourne. If you would like to share your love of opera with anyone under 30 during the 10th anniversary year please ask them to register for free at glyndebourne.com. Online and telephone booking for G<30 opens on Monday 29 February 2016. During Festival 2016, at least 1,000 G<30 tickets will be available to subscribers at the special price of £30 each: • Thursday 16 June and Wednesday 22 June 250 tickets will be available for each performance of The Cunning Little Vixen on these dates. • Friday 8 July and Tuesday 19 July 250 tickets will be available for each performance of Le nozze di Figaro on these dates.
General public Booking opens to the general public on Monday 7 March 2016 at 12.01am online and by telephone from 10am. See glyndebourne.com for full terms and conditions.
SAM STEPHENSON
OPENING HOURS Box Office and Customer Service
Until Friday 20 May : Open every weekday from 10am to 6pm From Saturday 21 May : Open 7 days a week from 10am to 6pm Visit glyndebourne.com or call +44 (0)1273 815 000 GLYNDEBOURNE.COM | 19
Performance Schedule May Gardens Price Band see p.25 Open
Performance
Transport
Start
Short interval
Long dining interval
Finish
Train departs Victoria
Post opera coach
4.35
6.00
9.35
11.46
10.15
6.00
8.20
12.47
8.55
6.00
9.35
11.46
10.15
Date
Opera
Sat 21
Die Meistersinger von Nürnberg
1
1.00
2.55
Sun 22
Il barbiere di Siviglia
2
2.00
4.15
Mon 23
No performance
Tue 24
No performance
Wed 25
Die Meistersinger von Nürnberg
1
1.00
2.55
Thu 26
Il barbiere di Siviglia
2
3.00
5.30
7.15
9.35
1.46
10.15
Fri 27
No performance
Sat 28
Il barbiere di Siviglia
2
3.00
5.30
7.15
9.35
1.46
10.15
Sun 29
Die Meistersinger von Nürnberg
1
12.00
1.40
4.45
8.20
10.47
8.55
Mon 30
No performance
Tue 31
No performance
Key Special events Opening night Pre-Performance Talk
4.35
3.20
We provide a free round-trip shuttle coach service from Lewes station to Glyndebourne when you arrive on the recommended train. This service is not pre-bookable and is complimentary if used to and from Glyndebourne; a ticket is issued for your return journey.
Study Event <30 Glyndebourne under 30s performance See page 19 for details Early special event We are running one of our special Pre-Festival Study Events on Sunday 8 May about Beaumarchais featuring Il barbiere di Siviglia and Le nozze di Figaro. See page 17 for details. Booking for G<30 tickets opens on Monday 29 February 2016. → 250 tickets at £30 each will be available on Thursday 16 June and Wednesday 22 June for The Cunning Little Vixen → 250 tickets at £30 each will be available on Friday 8 July and Tuesday 19 July for Le nozze di Figaro See page 19 for more details.
The departure time of the post opera coach is dependent on the length of the opera. Please check the Performance Schedule for the time of the coach on the date of your visit. Monday–Saturday it leaves at 9.20pm or 10.15pm; on Sunday it leaves at 8.55pm. Bus and train times are recommendations only. Glyndebourne cannot guarantee the published times. We recommend that you check with National Rail Enquiries on 08457 484 950 or www.nationalrail.co.uk before embarking on your journey. Note: Television cameras will be present at certain performances. The design of the auditorium specifically allows for camera positions to only cause minimal disruption to members of the audience. All information in this brochure is correct at the time of going to press. Some cast and/or creative teams may change before or during the run of any opera due to unforeseen circumstances. Any changes will be updated on our website and pre-performance emails will also detail any major changes. Designed by Ned Campbell www.nedcampbell.co.uk Printed in England by Evonprint Limited on FSC certified paper
20 | FESTIVAL 2016
June Gardens Price Band see p.25 Open
Performance
Short interval
Transport Long dining interval
Finish
Train departs Victoria
Post opera coach
7.15
9.35
1.46
10.15
6.00
9.35
11.46
10.15
7.15
9.35
1.46
10.15
6.00
9.35
11.46
10.15
Date
Opera
Wed 1
Il barbiere di Siviglia
2
3.00
5.30
Thu 2
Die Meistersinger von Nürnberg
1
1.00
2.55
Fri 3
No performance
Sat 4
Il barbiere di Siviglia
2
3.00
5.30
Sun 5
No performance
Mon 6
No performance
Tue 7
Die Meistersinger von Nürnberg
1
1.00
2.55
Wed 8
Il barbiere di Siviglia
2
3.00
5.30
7.15
9.35
1.46
10.15
Thu 9
No performance
Fri 10
Il barbiere di Siviglia
2
3.00
5.30
7.15
9.35
1.46
10.15
Sat 11
Die Meistersinger von Nürnberg
1
1.00
2.55
6.00
9.35
11.46
10.15
Sun 12
The Cunning Little Vixen
3
2.00
5.10
6.20
8.20
12.47
8.55
Mon 13
No performance
Tue 14
No performance
Wed 15
Die Meistersinger von Nürnberg
1
1.00
2.55
6.00
9.35
11.46
10.15
<30
Start
4.35
4.35
4.35
4.35
Thu 16
The Cunning Little Vixen
4
3.00
6.25
7.35
9.35
1.46
10.15
Fri 17
Il barbiere di Siviglia
2
3.00
5.30
7.15
9.35
1.46
10.15
Sat 18
The Cunning Little Vixen
3
3.00
6.25
7.35
9.35
1.46
10.15
Sun 19
Die Meistersinger von Nürnberg
1
12.00
1.40
4.45
8.20
10.47
8.55
Mon 20
No performance
Tue 21
Il barbiere di Siviglia
2
3.00
5.30
7.15
9.35
1.46
10.15
Wed 22
The Cunning Little Vixen
<30
4
3.00
6.25
7.35
9.35
1.46
10.15
Thu 23
Die Meistersinger von Nürnberg
1
1.00
2.55
6.00
9.35
11.46
10.15
Fri 24
Il barbiere di Siviglia
2
3.00
5.30
7.15
9.35
1.46
10.15
Sat 25
The Cunning Little Vixen
3
3.00
6.25
7.35
9.35
1.46
10.15
Sun 26
Il barbiere di Siviglia
2
2.00
4.15
Mon 27
Die Meistersinger von Nürnberg
1
1.00
2.55
Tue 28
No performance
Wed 29
The Cunning Little Vixen
4
3.00
6.25
Thu 30
No performance
21 | FESTIVAL 2016
3.20
4.35
4.35
6.00
8.20
12.47
8.55
6.00
9.35
11.46
10.15
7.35
9.35
1.46
10.15
July Gardens Price Band see p.25 Open
Performance
Short interval
Transport Long dining interval
Finish
Train departs Victoria
Post opera coach
Date
Opera
Fri 1
Il barbiere di Siviglia
2
3.00
5.30
7.15
9.35
1.46
10.15
Sat 2
The Cunning Little Vixen
3
3.00
6.25
7.35
9.35
1.46
10.15
Sun 3
Le nozze di Figaro
3
2.00
3.55
5.40
8.25
12.47
8.55
Mon 4
No performance
Tue 5
No performance
Wed 6
Le nozze di Figaro
3
3.00
5.10
6.55
9.40
1.46
10.15
Thu 7
Il barbiere di Siviglia
Fri 8
Le nozze di Figaro
Sat 9
Start
2
3.00
5.30
7.15
9.35
1.46
10.15
3
3.00
5.10
6.55
9.40
1.46
10.15
The Cunning Little Vixen
3
3.00
6.25
7.35
9.35
1.46
10.15
Sun 10
Il barbiere di Siviglia
2
2.00
4.15
6.00
8.20
12.47
8.55
Mon 11
No performance
Tue 12
Le nozze di Figaro
3
3.00
5.10
6.55
9.40
1.46
10.15
Wed 13
The Cunning Little Vixen
5
3.00
6.25
7.35
9.35
1.46
10.15
Thu 14
Il barbiere di Siviglia
2
3.00
5.30
7.15
9.35
1.46
10.15
Fri 15
Le nozze di Figaro
3
3.00
5.10
6.55
9.40
1.46
10.15
Sat 16
The Cunning Little Vixen
3
3.00
6.25
7.35
9.35
1.46
10.15
Sun 17
Il barbiere di Siviglia
2
2.00
4.15
6.00
8.20
12.47
8.55
Mon 18
No performance
Tue 19
Le nozze di Figaro
4
3.00
5.10
6.55
9.40
1.46
10.15
Wed 20
No performance
<30
<30
Thu 21
Le nozze di Figaro
4
3.00
5.10
6.55
9.40
1.46
10.15
Fri 22
The Cunning Little Vixen
5
3.00
6.25
7.35
9.35
1.46
10.15
Sat 23
Béatrice et Bénédict
3
3.00
5.20
6.30
8.40
1.46
9.20
Sun 24
Le nozze di Figaro
4
2.00
3.55
5.40
8.25
12.47
8.55
Mon 25
No performance
Tue 26
No performance
Wed 27
Béatrice et Bénédict
3
3.00
5.20
6.30
8.40
1.46
9.20
Thu 28
The Cunning Little Vixen
5
3.00
6.25
7.35
9.35
1.46
10.15
Fri 29
Le nozze di Figaro
4
3.00
5.10
6.55
9.40
1.46
10.15
Sat 30
Béatrice et Bénédict
3
3.00
5.20
6.30
8.40
1.46
9.20
Sun 31
The Cunning Little Vixen
4
2.00
5.10
6.20
8.20
12.47
8.55
GLYNDEBOURNE.COM | 22
August Gardens Price Band see p.25 Open
Performance
Short interval
Transport Long dining interval
Finish
Train departs Victoria
Post opera coach
Date
Opera
Mon 1
No performance
Tue 2
Le nozze di Figaro
5
3.00
5.10
6.55
9.40
1.46
10.15
Wed 3
Béatrice et Bénédict
4
3.00
5.20
6.30
8.40
1.46
9.20
Thu 4
Le nozze di Figaro
5
3.00
5.10
6.55
9.40
1.46
10.15
Fri 5
Béatrice et Bénédict
4
3.00
5.20
6.30
8.40
1.46
9.20
Sat 6
No performance
Sun 7
Le nozze di Figaro
4
2.00
3.55
5.40
8.25
12.47
8.55
Mon 8
No performance
Tue 9
Béatrice et Bénédict
5
3.00
5.20
6.30
8.40
1.46
9.20
Wed 10
Le nozze di Figaro
5
3.00
5.10
6.55
9.40
1.46
10.15
Thu 11
A Midsummer Night’s Dream
3
2.00
4.20
6.10
8.40
12.46
9.20
Fri 12
Béatrice et Bénédict
4
3.00
5.20
6.30
8.40
1.46
9.20
Start
Sat 13
A Midsummer Night’s Dream
3
2.00
4.20
6.10
8.40
12.46
9.20
Sun 14
Le nozze di Figaro
4
2.00
3.55
5.40
8.25
12.47
8.55
Mon 15
Béatrice et Bénédict
5
3.00
5.20
6.30
8.40
1.46
9.20
Tue 16
A Midsummer Night’s Dream
4
2.00
4.20
6.10
8.40
12.46
9.20
Wed 17
Le nozze di Figaro
5
3.00
5.10
6.55
9.40
1.46
10.15
Thu 18
A Midsummer Night’s Dream
4
2.00
4.20
6.10
8.40
12.46
9.20
Fri 19
Béatrice et Bénédict
4
3.00
5.20
6.30
8.40
1.46
9.20
Sat 20
Le nozze di Figaro
4
3.00
5.10
6.55
9.40
1.46
10.15
Sun 21
A Midsummer Night’s Dream
3
2.00
4.05
5.55
8.25
12.47
8.55
Mon 22
Béatrice et Bénédict
5
3.00
5.20
6.30
8.40
1.46
9.20
Tue 23
A Midsummer Night’s Dream
4
2.00
4.20
6.10
8.40
12.46
9.20
Wed 24
Le nozze di Figaro
5
3.00
5.10
6.55
9.40
1.46
10.15
Thu 25
Béatrice et Bénédict
5
3.00
5.20
6.30
8.40
1.46
9.20
Fri 26
A Midsummer Night’s Dream
4
2.00
4.20
6.10
8.40
12.46
9.20
Sat 27
Béatrice et Bénédict
4
3.00
5.20
6.30
8.40
1.46
9.20
Sun 28
A Midsummer Night’s Dream
3
2.00
4.05
5.55
8.25
12.47
8.55
GLYNDEBOURNE.COM | 23
Seating plan and ticket prices
For Festival 2016 Glyndebourne has five price bands, dependent on the day of the week and the repertoire. The numbers 1, 2, 3, 4 and 5 next to the name of the opera in the Performance Schedule (pages 20-23) indicate the price band for each performance; please refer to the table when booking your tickets. The colour coding in the seating plan below correlates directly with the colours on the table opposite on page 25.
BLUE SIDE
RED SIDE
Standing
Standing
UPPER CIRCLE
Circle Sides
Box G
Box H
Box I
Box J
Box E
Box F
Circle Sides
CIRCLE Box A
Foyer Circle Sides
Box B
Box C
PRIVATE BOX
FOYER CIRCLE (ground level)
Foyer Circle Sides
STALLS
Sightlines and Supertitles The Glyndebourne auditorium is a â&#x20AC;&#x2DC;horseshoeâ&#x20AC;&#x2122; shape. As a result, some of our seats have a restricted view of varying degrees of the stage; and restricted or no view of the supertitles. Tickets for these seats are priced accordingly. However, if supertitles are important to your enjoyment of the performance, please tell the Box Office when applying for your tickets.
24 | FESTIVAL 2016
Foyer circle sides and circle sides As there are a very limited number of these seats available, please give alternative options when booking. Standing and slips Standing places and slips are reserved until public booking opens. If you are a Glyndebourne <30s subscriber you can apply for two standing places per production during your priority booking period.
£230
PRICE BAND
2 3
£260
£260
£260
£245
£245
£245
£220
£220
£220
4
£230
£230
£230
£215
£215
£215
£185
£185
£185
5
£200
£200
£200
£180
£180
£180
£155
£155
£155
£245
£245
£205
£205
£160
£215
£215
£160
£160
£125
£180
£180
£135
£135
£110
£165
£165
£155
£155
£155
£125
£125
£125
£155
£155
£110
£95
£60
£120
£120
£125
£125
£125
£50
£100
£100
£110
£110
£110
£50
£90
£90
£95
£95
£95
£40
£80
£80
£120
£60
£220
£120
£100
£50
£185
£100
£90
£50
£155
£90
£110
£80
£40
£125
£80
Please note Upper Circle Slips and Standing seats become available when public booking opens on 7 March and are bookable online via glyndebourne.com.
Please be sure to inform the Box Office if you or your guests have an access requirement at the time of applying for tickets, or if any access needs arise between applying and attending. Box seats may be sold separately. Boxes 4, 5, 8 & 9 are initially held for customers using wheelchairs. Wheelchair access is only available at Foyer Circle (ground level).
*Prices include wheelchair and companion.
£160
Foyer Circle Four spaces in Side Boxes 4 5 8 9 *
£160
Foyer Circle level Two spaces *
£160
£140
£110
Restricted view of varying degrees reflected in ticket prices (including restricted or no view of supertitles). L A very limited number of seats available.
25 | FESTIVAL 2016
£140
£250
£135
£165
£110
£140
£80
£160
£135
PRICE BAND
£80
£140
£205
£160
PRICE BAND
£180
£230
£205
PRICE BAND
£180
Circle Side Boxes 15 16 17 20 21
£250
£180
Circle Side Box 18 (4 seats only)
£250
£180
Circle Sides
£250
£230
Foyer Circle Sides
£285
£230
Upper Circle
£285
£285
Circle Centre Boxes H I (Seven seats in each box)
£285
£285
Circle Centre Boxes G J (Six seats in each box)
£300
Foyer Circle Centre Boxes A F
Circle
£300
Foyer Circle Centre Boxes B C E
Foyer Circle
1
Stalls
PRICE BAND
£300
Glyndebourne Productions Limited Registered â&#x201E;&#x2013; 358266 England Glyndebourne is a registered charity Charity â&#x201E;&#x2013; 243877 Lewes, East Sussex BN8 5UU England
Priority booking for Festival 2016 Members: 1 December 2015 Associate Members: 18 January 2016 Under 30s: 29 February 2016 Public booking opens on 7 March 2016
KEVIN MARTIN
Box Office and Customer Service +44 (0)1273 815 000 glyndebourne.com