Celebrating 80 years
festival 2014
17 May – 24 August
Welcome to our 80th anniversary season
richard strauss
Der Rosenkavalier pyotr ilyich tchaikovsky
Eugene Onegin
wolfgang amadeus mozart
Don Giovanni
wolfgang amadeus mozart
La finta giardiniera giuseppe verdi
La traviata
Festiv  george frideric handel
Rinaldo
20 | FESTIVAL 2014
W
e l c om e t o f e s t i va l 2 0 1 4 . t h i s y e a r w e w i l l celebrate 20 years in our ‘new’ opera house, and 80 years of Glyndebourne. This brochure will provide you with all the information you need in preparation for your visit, together with a short introduction to the six operas in Festival 2014. The Glyndebourne Festival was founded in 1934 by John Christie and his opera-singer wife, Audrey Mildmay. We began with two Mozart operas and since then the repertoire has expanded to include works from the Baroque to the contemporary. Festival 2014 is Robin Ticciati’s first as Music Director. Only the seventh conductor to hold the post since 1934, he will conduct two new productions in 2014, one with each of our ‘house’ orchestras. He will open the Festival conducting the London Philharmonic Orchestra in a new production of Richard Strauss’s Der Rosenkavalier, directed by Richard Jones. Later in the season he will be joined in the pit by the Orchestra of the Age of Enlightenment for Mozart’s La finta giardiniera, directed by Frederic Wake-Walker making his Festival debut. Our third new production for 2014 is Verdi’s La traviata. Conducted by Sir Mark Elder and directed by Tom Cairns, this is our first new production of this great work since 1988. Three popular productions return to complete the Festival – Eugene Onegin, Don Giovanni and Rinaldo; and all six operas will feature some of the world’s most exciting young singers, several making their UK and Glyndebourne debuts. I hope that you will find much to enjoy in Festival 2014 and I look forward to welcoming you to Glyndebourne. — dav i d
pick a r d , General Director
al 2014
GLYNDEBOURNE.COM | 01
and the two sopranos who complete the Rosenkavalier love triangle. Irish mezzo-soprano Tara Erraught makes her role debut as Octavian, while Kate Royal, who began her career in the Glyndebourne Chorus, returns in her role debut as the Marschallin, and Teodora Gheorghiu makes her Glyndebourne debut as Sophie. A new production for the 2014 Festival Sung in German with English supertitles Conductor.................................. Robin Ticciati Director...................................... Richard Jones Set Designer............................... Paul Steinberg Costume Designer...................... Nicky Gillibrand Movement Director.................... Sarah Fahie Lighting Designer...................... Mimi Jordan Sherin cast includes The Marschallin......................... Kate Royal Octavian.................................... Tara Erraught Baron Ochs auf Lerchenau.......... Lars Woldt Sophie........................................ Teodora Gheorghiu Herr von Faninal........................ Michael Kraus Marianne Leitmetzerin.............. Miranda Keys Valzacchi.................................... Christopher Gillett Annina...................................... Helene Schneiderman Notary....................................... Gwynne Howell Italian Singer............................. Andrej Dunaev Innkeeper................................... Robert Wörle Police Commissioner.................. Scott Conner
FILM STILL FROM LEBENDER MARMOR (PRODUCTION: SATURN-FILM 1910). REPRODUCED WITH PERMISSION FROM VERLAG FILMARCHIV AUSTRIA
Glyndebourne’s 80th-anniversary season opens with Strauss’s Der Rosenkavalier, not seen at Glyndebourne since 1982, in a new staging by Richard Jones, with Robin Ticciati, the company’s new Music Director, conducting the London Philharmonic Orchestra. After shocking the opera world with Salome and Elektra, Richard Strauss seduced it with Der Rosenkavalier, first performed in 1911. He and librettist Hugo von Hofmannsthal fashioned the most beguiling of all romantic farces, its nostalgic flavour crystallised in the elegant, sensuous waltzes which pervade and define the score. The married, middle-aged Marschallin chooses her young lover Octavian as Rose Cavalier, bearer of the ceremonial silver rose to Sophie, the teenage fiancée of Baron Ochs, the Marschallin’s crude country cousin. But Octavian and Sophie fall in love at first sight, setting off a chain of boisterous comic intrigues that gradually yield to a bittersweet meditation on the evanescence of love and time. The opera’s hero – the Rose Cavalier – was modelled on Mozart’s Cherubino and tailored ‘for a graceful girl dressed up as a man,’ as Hofmannsthal wrote. Poised between youth and maturity, Octavian’s voice hovers between soprano and mezzo, that timbre so perfect at embodying adolescence and androgyny. Strauss, famously enamoured of the female voice, lavished his most sumptuous music on Octavian
London Philharmonic Orchestra The Glyndebourne Chorus By kind permission of Boosey & Hawkes Music Publishers Ltd.
Der Rosen richard strauss Supported by The Monument Trust Filming sponsored by The Gidlow-Jackson Family
02 | FESTIVAL 2014
nkavalier GLYNDEBOURNE.COM | 03
© MIKE HOBAN
04 | FESTIVAL 2014
pyotr ilyich tchaikovsky
Supported by Lord and Lady Laidlaw
‘It struck me as wild, and I made no reply,’ wrote Tchaikovsky in response to a friend’s proposal of Pushkin’s Eugene Onegin as an operatic subject. But the idea so gripped him that, within eight months, he transformed a revered master-work of Russian literature into the best-loved, and arguably greatest, of all Russian operas. Onegin’s libretto closely follows the plot of Pushkin’s novel-in-verse and retains much of its poetry. But Tchaikovsky removed the ironic narrator’s voice, turning a biting satire into a sentimental romantic drama focused not on its title character but on its heroine. ‘I had so familiarised myself with the figure of Tatyana that she had become for me a living person,’ wrote Tchaikovsky. The cynical young Onegin rejects Tatyana, a dreamy, bookish country girl. But Onegin lives to regret it when, years later, he re-encounters Tatyana, now a beautiful, worldly woman who has married into wealthy society. Tchaikovsky clothed this tale in the Romantic theatrical, domestic, and ballroom music of the story’s milieu, in and around St. Petersburg circa 1820. Graham Vick’s 1994 staging, last seen at Glyndebourne in 2008, was deemed by The Financial Times as ‘… a performance that now ranks as a Glyndebourne classic.’
Its authentic flavour is enhanced by a largely Slavic cast, headed by Ekaterina Scherbachenko as Tatyana and Andrei Bondarenko as Onegin, both of whom made their Glyndebourne Festival debuts in La bohème in 2012. Israeli conductor Omer Meir Wellber, in his Glyndebourne debut, leads the London Philharmonic Orchestra. A revival of the 1994 Festival production Sung in Russian with English supertitles Conductor.................................. Omer Meir Wellber Director...................................... Graham Vick Designer..................................... Richard Hudson Choreographer............................ Ron Howell Lighting Designer...................... Matthew Richardson cast includes Madame Larina......................... Diana Montague Tatyana..................................... Ekaterina Scherbachenko Olga........................................... Ekaterina Sergeeva Filipyevna.................................. Irina Tchistjakova Lensky........................................ Edgaras Montvidas Eugene Onegin........................... Andrei Bondarenko Monsieur Triquet....................... François Piolino Prince Gremin............................ Taras Shtonda Zaretsky..................................... Scott Conner London Philharmonic Orchestra The Glyndebourne Chorus
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BILL COOPER
Don Giov a 06 | FESTIVAL 2014
How many comic operas begin with spinechilling chords and slithering chromatics in the eerie key of D minor, continue with a cold-blooded murder, and end with the hero’s consignment to hell? Don Giovanni, even more than Le nozze di Figaro and Così fan tutte, the other two dark-shaded opere buffe by Mozart and Da Ponte, slinks restlessly between comedy and tragedy. Jonathan Kent’s sleek, suspenseful production, first seen in the 2010 Glyndebourne Festival, captures this duality. ‘All the nuance and subtlety of this tension is present in Mr Kent’s sublime staging, which should become a Glyndebourne classic,’ wrote the Wall Street Journal. The name ‘Don Juan’ has become a synonym for ‘womaniser’. The legendary 14th-century Spanish nobleman has inspired a still-unabated flood of literary and stage works, films and visual art. But in Mozart’s Don Giovanni, we meet the Don on a most unusual day: a day of foiled sexual conquests; a day in which he upsets the natural order by killing a man; his last day on earth. In the title role, Canadian baritone Elliot Madore, returning after his 2012 Festival debut in L’heure espagnole, joins the distinguished line of Glyndebourne Dons beginning with John Brownlee in 1936. British tenor Ben Johnson
sings Don Ottavio opposite Canadian soprano Layla Claire, returning as Donna Anna after her Glyndebourne Tour debut in 2012. Italian soprano Serena Farnocchia, who made her debut at Glyndebourne in La bohème in 2012, returns as Donna Elvira. Andrés Orozco-Estrada makes his Glyndebourne debut conducting the London Philharmonic Orchestra. A revival of the 2010 Festival production Sung in Italian with English supertitles Conductor.................................... Andrés Orozco-Estrada Director........................................ Jonathan Kent Revival Director........................... Lloyd Wood Designer....................................... Paul Brown Movement Director..................... Denni Sayers Lighting Designer....................... Mark Henderson Fight Director.............................. Paul Benzing cast includes Il Commendatore......................... Taras Shtonda Donna Anna................................ Layla Claire Don Ottavio................................. Ben Johnson Don Giovanni.............................. Elliot Madore Leporello....................................... Edwin Crossley-Mercer Donna Elvira................................ Serena Farnocchia Zerlina.......................................... Lenka Máčiková Masetto....................................... Brandon Cedel London Philharmonic Orchestra The Glyndebourne Chorus
anni
wolfgang amadeus mozart Supported by a Syndicate of individuals GLYNDEBOURNE.COM | 07
© DEBORAH TURBEVILLE FROM UNSEEN VERSAILLES
wolfgang amadeus mozart
La finta
Supported by André and Rosalie Hoffmann Dunard Fund
giardiniera ‘I heard an opera buffa by that wondrous genius Mozart; it is called La finta giardiniera … He is bound to grow into one of the greatest musical composers who ever lived,’ wrote CFD Schubart in January 1775 after the premiere of Mozart’s eighth stage work – two weeks before his 19th birthday. In its musical depth, brilliant act finales, tangled love triangles, disguises, symmetries, mixed social classes and serious undercurrents La finta giardiniera displays the seeds of Mozart’s mature operatic comedies Le nozze di Figaro and Così fan tutte. With this new production by Frederic WakeWalker, in his Glyndebourne Festival debut, La finta giardiniera becomes the ninth and earliest entry in the company’s Mozart canon. Long known only in a revised German Singspiel version, La finta giardiniera could not be produced in its original form until long-lost score materials were recently found and reconstructed. La finta giardiniera (The False Garden-Girl) is based on Goldoni’s play Pamela nubile, itself derived from Richardson’s novel Pamela. At its heart the opera presents seven characters in search of love. Through a process of exploring themselves as much as each other, their inquiry reveals what is real and what is ‘finta’.
Christiane Karg, Aricia in Hippolyte et Aricie in Festival 2013, Joélle Harvey, Adina in L’elisir d’amore in Tour 2013 and Wolfgang AblingerSperrhacke, the Dancing Master in Ariadne auf Naxos in Festival 2013, return to anchor an expert Mozartean ensemble. Glyndebourne’s new Music Director Robin Ticciati conducts the Orchestra of the Age of Enlightenment. A new production for the 2014 Festival Sung in Italian with English supertitles Conductor.................................... Robin Ticciati Director........................................ Frederic Wake-Walker Designer....................................... Antony McDonald Lighting Designer...................... Lucy Carter cast Don Anchise (Il Podestà).............. Wolfgang Ablinger-Sperrhacke Sandrina (La Marchesa Violante) .. Christiane Karg Arminda...................................... Nicole Heaston Count Belfiore.............................. Joel Prieto Ramiro......................................... Rachel Frenkel Serpetta....................................... Joélle Harvey Nardo (Roberto)........................... Gyula Orendt Orchestra of the Age of Enlightenment Edited by Gernot Gruber and Alfred Orel (Neue Mozart-Ausgabe). Published by Bärenreiter-Verlag, Kassel represented by Faber Music, London
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The late Verdi scholar Julian Budden described La traviata as, ‘essentially a myth, none the less universal for being modern … and having had its roots in personal experience.’ For this new production, director Tom Cairns returns to create a world that melds the archetypal and the modern, and the great Verdian Sir Mark Elder conducts the London Philharmonic Orchestra. A new production for the 2014 Festival Sung in Italian with English supertitles Conductors.................................. Mark Elder .................................................. David Afkham (13, 16, 20 and 23 August) Director........................................ Tom Cairns Designer....................................... Hildegard Bechtler Choreographer............................. Aletta Collins Lighting Designer....................... Peter Mumford cast includes Violetta Valéry............................ Venera Gimadieva Alfredo Germont.......................... Michael Fabiano Giorgio Germont.......................... Tassis Christoyannis Gastone de Letorières.................. Emanuele D’Aguanno Doctor Grenvil............................. Graeme Broadbent London Philharmonic Orchestra The Glyndebourne Chorus
giuseppe verdi
La Supported by Handel and Yvonne Evans
10 | FESTIVAL 2014
KICK-OFF (1942) BY ERWIN BLUMENFELD. ©THE ESTATE OF ERWIN BLUMENFELD. REPRODUCED WITH PERMISSION
‘For Venice I’m doing La dame aux camélias, which will probably be called La traviata. A subject for our own age,’ wrote Giuseppe Verdi in January 1853. A year earlier, he had been in Paris for the premiere run of Alexandre Dumas fils’ play, a fictionalised fantasia on the author’s turbulent affair with the Parisian courtesan Marie Duplessis, who had died of tuberculosis, aged 23. During the 1850s, Verdi found himself increasingly drawn to stories of complex, ambiguous outsiders who challenge the limits of society. La traviata continues a series of intimate, personal ‘domestic’ operas by Verdi, including Luisa Miller, Stiffelio and Rigoletto. In La traviata, we hear Verdi’s music naturally evolving to accommodate the growing realism of his characters and settings. While remaining true to his bel canto roots, Verdi creates music which bends, stretches and grows with Violetta, a heroine of unprecedented depth and dimension who runs the gamut from glittering coloratura to melting lyricism to dramatic declamation. In their Glyndebourne debut, Russian soprano Venera Gimadieva portrays this iconic role, opposite American tenor Michael Fabiano as Alfredo.
traviata GLYNDEBOURNE.COM | 11
In 1711, the 26-year-old Handel was commissioned to write an Italian opera for the Queen’s Theatre in the Haymarket. Rinaldo, the first Italian-language opera written especially for the London stage, is arguably as English as it is Italian. Designed to fuse the virtuosity of Italian singing with the extravagance of the 17th-century English masque, Rinaldo displays the influence of British semi-operas like Purcell’s King Arthur and plays including Dryden’s Amphitryon. ‘Glyndebourne’s reputation as a Handel house receives a boost with Robert Carsen’s new production of Rinaldo,’ wrote The Sunday Telegraph of this show’s premiere in 2011. Handel’s tale of love, war and redemption during the First Crusade, loosely based on Torquato Tasso’s popular 16th-century epic poem Gerusalemme
A revival of the 2011 Festival production Sung in Italian with English supertitles Conductor.................................... Ottavio Dantone Director........................................ Robert Carsen Designer....................................... Gideon Davey Movement Director..................... Philippe Gireaudeau Lighting Designers...................... Robert Carsen and Peter Van Praet
liberata, here becomes a madcap fantasy set in a British boarding school, a backdrop that deftly underlines the piece’s inherent Englishness. The cast for this revival boasts four leading countertenors. Iestyn Davies, last seen at Glyndebourne in L’incoronazione di Poppea in 2008, returns in the title role. Tim Mead, Eustazio in 2011, now portrays Goffredo. American countertenor Anthony Roth Costanzo debuts as Eustazio, with James Laing as the Magician. Canadian soprano Karina Gauvin, debuting as Armida, and Canadian baritone Joshua Hopkins, the Count in Le nozze di Figaro in Festival 2013, returning as Argante, complete a cast of accomplished Baroque virtuosi. Ottavio Dantone returns to conduct the Orchestra of the Age of Enlightenment ‘in a thrillingly zingy reading of the score,’ according to The Times (2011).
cast includes Rinaldo........................................ Iestyn Davies Goffredo....................................... Tim Mead Eustazio....................................... Anthony Roth Costanzo Almirena...................................... Christina Landshamer Armida......................................... Karina Gauvin Argante........................................ Joshua Hopkins A Christian Magician................. James Laing Orchestra of the Age of Enlightenment Edition by David R. Kimbell by arrangement with Bärenreiter-Verlag, Kassel and Faber Music Ltd, London.
Rinaldo
george frideric handel
Supported by Lindsay and Sarah Tomlinson
12 | FESTIVAL 2014
BILL COOPER
GLYNDEBOURNE.COM | 13
ANDREW LAWSON
Planning your visit All information about planning your visit is available at glyndebourne.com/your-visit
Glyndebourne is open from 3pm Monday– Saturday and from 2pm on a Sunday. Opera start times vary and are detailed in the Performance Schedule (page 24-28) and on our website. Your questions answered For more information in advance of your visit to Glyndebourne please visit our website where you should find answers to your questions – from who is exhibiting sculpture in the gardens to more information on the Festival Programme book artist. Please visit glyndebourne.com/faq or have your questions answered during office hours via our Live Web Chat service at glyndebourne.com/live-chat
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How to get here By car Sat Nav postcode: BN8 5UU Car parking is free and we have a large on-site car park.
By coach If you arrive on the recommended train a round-trip shuttle coach service is available from Lewes train station. This is not pre-bookable.
By train The nearest station is Lewes. There are direct trains from London Victoria and Gatwick Airport to Lewes. Full up-to-date service information is available from National Rail enquiries nationalrail.co.uk or 08457 484 950. To make the most of your visit we recommend that you arrive two hours before the start of a performance and the recommended train time detailed in the Performance Schedule (at the back of this brochure) allows for this.
By taxi Alternatively, if you would like to make your own way to Glyndebourne by taxi there is a taxi rank outside Lewes train station.
LEIGH SIMPSON
What to wear The tradition during the Festival is to wear formal evening dress. Glyndebourne’s founder, John Christie, established this as he thought it was a mark of respect for the artists on stage. We have changing facilities in the Plashett Building, next to the car park.
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Access If you or your guests have an access requirement please telephone the Box Office on +44 (0)1273 815 000 All Festival performances take place in our indoor, state-of-the-art auditorium. When booking your tickets please give the Box Office advance notice if: You have access requirements You will require a reserved parking space close to the auditorium, due to access needs You wish to borrow a wheelchair You wish to re-charge your electric car during a performance
Assistance dogs Assistance dogs are welcome and can be taken into the auditorium. We cannot, however, look after any assistance dogs during a performance nor should they be left in vehicles.
CHARLOTTE BOULTON
• • • •
Hearing support The auditorium is equipped with a sound enhancement system. Receivers may be borrowed on arrival.
16 | FESTIVAL 2014
Make the most of your visit There is also a Long Bar which is open before, during the long dining interval and after every performance. In addition, you are welcome to bring your own picnic to enjoy in the gardens.
CHARLOTTE BOULTON
Balcony picnic tables For those of you bringing your own picnic we have a small number of picnic tables on the balconies outside the auditorium on Circle and Upper Circle levels, which are available for your use. It is not possible to pre-book these tables. In the event of bad weather audience members are welcome to picnic and/or shelter in the undercover areas around the opera house, or in our Marquee which can be found near the lake, at the bottom corner of the main car park.
Where to eat We have a 90-minute long dining interval during all Festival performances. During this time our three on-site restaurants Mildmay, Nether Wallop and Middle & Over Wallop managed by Leith’s offer a range of dining options from sumptuous afternoon teas to fine dining (afternoon tea is only served preperformance). If you prefer to eat al fresco, Leith’s offer a picnic service whereby picnics are available for collection on arrival.
Gardens The grounds and gardens that surround the opera house are a firm favourite with all of our visitors and are there to be enjoyed – whether you are sitting on the lawns for a picnic, strolling around the lake or watching the sheep across the ha-ha. The gardens are open on performance days to ticket holders from 3pm Monday–Saturday and from 2pm on a Sunday.
SAM STEPHENSON
To book restaurants or picnics Please visit diningatglyndebourne.com or call +44 (0)1273 812 510.
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HOWARD SOOLEY
‘Years of careful planting combined with recent improvements ensure that the gardens at Glyndebourne create a show as spectacular as the performances inside the much-loved opera house.’ –Anna Pavord, House & Garden magazine, October 2013
We recommend that you arrive two hours before a performance to make the most of all that there is to do and see at Glyndebourne before the opera starts. Art and sculpture Art fills the gardens and our public spaces during the Festival. A full preview is available in our Festival Programme Book and on our website prior to your visit. Archive Gallery Every year we feature an exhibition in our Archive Gallery. In 2014 we will celebrate the work of Angus McBean in ‘The Photographer’s Photographer’ – an exhibition that will offer a rare glimpse into this wonderful collection of his iconic work. Glyndebourne Shop Our on-site shop is full of gifts, souvenirs and Festival-specific products. Situated next to the Long Bar, it is open before and after every performance and during the long interval. Alternatively, please visit glyndebourne.com/shop to shop online. Angus McBean’s photograph of Michael Redgrave as MacHeath and Audrey Mildmay as Polly Peachum from The Beggars Opera. 18 | FESTIVAL 2014
Festival Programme Book Our Festival Programme Book is available to buy from the Box Office, the Programme Store and the Glyndebourne Shop during your visit or online, priced £20. The Programme Book has been published annually since 1952, with beautifully illustrated articles to complement each season’s repertoire. Each year an eminent artist is commissioned to design the cover. Recent artists have included: David Hockney, Grayson Perry, John Stezaker and Michael Craig-Martin.
Enrich your experience Throughout Festival 2014 we will run a programme of extra events to enhance your visit to Glyndebourne.
Festival Extras EBERT ROOM RECITALS FREE 25, 27 and 30 July An exclusive opportunity to hear our Jerwood Young Artists sing in the unique and intimate setting of the Ebert Room. Programme and artist information will be announced in spring 2014 and will be available at glyndebourne.com during the Festival. 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. Sunday 25 May Sunday 1 June Sunday 6 July Sunday 13 July Sunday 3 August Saturday 9 August Sunday 10 August
2.35pm 2.05pm 2.35pm 2.40pm 2.35pm 3.45pm 3.20pm
Eugene Onegin Der Rosenkavalier La finta giardiniera Don Giovanni La finta giardiniera Rinaldo La traviata
STUDY EVENTS Ebert Room If you wish to find out more about our three new Festival 2014 productions then our Study Events may be just right for you. Each event is designed to offer historical context and musical insight to enhance your enjoyment of each opera. They feature illustrated lectures, musical excerpts and panel discussions with specialist scholars, Glyndebourne creative teams and performers. Sunday 11 May Der Rosenkavalier Study Day 10.30am-5.30pm Price: £40 (not including lunch)* Speakers will include: Raymond Holden, Royal Academy of Music, and Mark Everist, University of Southampton Sunday 6 July La finta giardiniera Study Morning 10.30am-1.30pm** Price: £25 Speakers will include: Julian Rushton, University of Leeds and author of The New Grove Guide to Mozart and His Operas Sunday 20 July La traviata Study Morning 10.30am-1.30pm** Price: £25 Speakers will include: Julie Kavanagh, author of The Girl Who Loved Camellias, and Francesco Izzo, University of Southampton and American Institute of Verdi Studies * **
Lunch is available on 11 May at an extra cost of £14.90 for two courses if pre-booked. Please contact Leith’s on +44 (0) 1273 812 510 for more information. Lunch is NOT available after each Study Morning on 6 and 20 July.
LEIGH SIMPSON
HOW TO BOOK Places can be booked online at glyndebourne.com or by telephone +44 (0)1273 815 000 from 10 March.
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Public booking for Festival 2014 tickets opens on 10 March 2014. One of the benefits of being a Member is that you have early access to Festival tickets. Festival Society Members receive benefits including first priority booking for up to 24 Festival tickets (spread across six productions) and a complimentary Festival Programme Book. Associate Members secure a position on the waiting list for life-long Festival Society Membership and can apply for up to 24 Festival tickets in the second priority ballot (spread across six productions).
Members play the central role in supporting Glyndebourne – without their generosity and support Glyndebourne would simply not exist. If you would like to become a Member or would like more details about life-long and short-term high priority Memberships please contact the Membership team. Telephone + 44 (0)1273 815 400 (10am–5pm Monday–Friday) Email membership@glyndebourne.com Visit glyndebourne.com/associate-membership
LEIGH SIMPSON
Glyndebourne Membership
20 | FESTIVAL 2014
TIM HAWIGANS
Discover more in 2014
Screenings and broadcasts Glyndebourne will be showing three of the titles from the 2014 Festival in cinemas across the UK. Der Rosenkavalier 8 June – LIVE broadcast Don Giovanni from 6 July – recorded live in 2010 La traviata 10 August – LIVE broadcast Further details of venues and how to book tickets can be found at glyndebourne.com Glyndebourne Tour Established in 1968 and supported by Arts Council England, the Glyndebourne Tour takes three operas on the road every autumn around the country. The Tour promotes and showcases young, emerging talent – singers, conductors, musicians – with the aim of making opera accessible and affordable for all. Tour 2014 is sponsored by the Daily Mail. This year’s Tour performances will include Verdi’s La traviata and Mozart’s La finta giardiniera transferring direct from Festival 2014; and Britten’s The Turn of the Screw. For priority booking for performances at Glyndebourne, join Glyndebourne Tour Supporters (from £35 per year) by contacting the Membership Department on +44 (0)1273 815 400. Or join our Tour Mailing List online for the latest Tour information. glyndebourne.com/tour
Glyndebourne.com Our website is constantly refreshed and is the central place to go for all information. For Festival 2014 you will find an expanding library of audio and video material – including podcasts, interviews, behind-the-scenes documentaries, and blogs from artists together with performance details on all six productions. There is also an opportunity for you to share your thoughts about your Glyndebourne experience on our comment pages. You can also join and follow us on Facebook, Twitter, Vimeo, pinterest and YouTube.
Up-to-the-minute information about Festival 2014 is always available at glyndebourne.com
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Booking information Box Office and Customer Service
OPENING HOURS Until Friday 16 May : Open every weekday from 10am to 6pm From Saturday 17 May : Open 7 days a week from 10am to 6pm General public Booking opens to the general public on Monday 10 March 2014 at 12.01am online and by telephone from 10am.
Visit glyndebourne.com or call +44 (0)1273 815 000
* This additional performance of Rinaldo is exclusive to G<30, with all 1,200 tickets available. This has been made possible by investment from a syndicate of New Generation Programme supporters. Returns Club Throughout the Festival we receive returned tickets for some performances, which are offered for sale via our free Returns Club. Simply register on our website and you will be emailed when returned tickets become available.
LEIGH SIMPSON
Large print If you require any information in a larger print format please contact the Communications Department on +44 (0)1273 812321
Glyndebourne<30 Supported by the New Generation Programme As part of our drive to introduce opera to new audiences, the Glyndebourne<30 scheme provides exclusive ticket offers, regular email updates and invitations to events for visitors aged 29 and under. If you would like to share your love of opera with anyone under 30 please ask them to register at glyndebourne.com. Online and telephone booking for G<30s opens on Monday 3 March 2014. During Festival 2014, 1,700 G<30 tickets will be available to subscribers at the special price of ÂŁ30 each for performances of Rinaldo* on Tuesday 12 August and La finta giardiniera on Monday 18 August (500 tickets available).
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HOWARD SOOLEY
Designed by Ned Campbell www.nedcampbell.co.uk Printed in England by Evonprint Limited on FSC certified paper.
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. All changes will be correct on our website at all times and pre-performance emails will also detail any major changes.
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May Performance
Transport
Date
Opera
Start
Long dining interval
Finish
Train departs Victoria
Sat 17
Der Rosenkavalier
2
4.35
7.10*
9.40
1.47
10.15
Sun 18
Eugene Onegin
2
3.50
6.20*
8.25
12.47
8.55
Mon 19
No performance
Tue 20
No performance
Wed 21
Der Rosenkavalier
2
4.35
7.10*
9.40
1.47
10.15
Thu 22
Eugene Onegin
2
5.05
7.35*
9.40
1.47
10.15
Fri 23
No performance
Sat 24
Der Rosenkavalier
1
4.35
7.10*
9.40
1.47
10.15
Sun 25
Eugene Onegin
2
3.50
6.20*
8.25
12.47
8.55
Mon 26
No performance
Tue 27
No performance
Wed 28
Eugene Onegin
2
5.05
7.35*
9.40
1.47
10.15
Thu 29
Der Rosenkavalier
2
4.35
7.10*
9.40
1.47
10.15
Fri 30
No performance
Sat 31
Eugene Onegin
2
5.05
7.35*
9.40
1.47
10.15
Price Band
Post opera coach
* PLEASE NOTE: There is an additional 20 min interval between Acts 1 and 2
2014 Pricing During the 2014 Festival there are 11 performances (Price Band 3) with all tickets at ÂŁ160 and under. Book more for less By choosing some tickets in Price Band 3 you could maximise your budget and see more opera. See pages 24â&#x20AC;&#x201C;25 for Seating Plan and Ticket Prices.
Key Special events Pre-Performance Talk Ebert Room Recitals Study Event <30 Glyndebourne Under 30s Performance (please see page 22) Note: There is a special Pre-Festival Study Event on Sunday 11 May. See page 16 for more details.
24 | FESTIVAL 2014
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 cause minimal disruption to members of the audience. Please note that times in this schedule are subject to change.
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June Performance
Start
Long dining interval
3.20
5.55*
2
5.05
2
Price Band 1
Transport
Finish
Train departs Victoria
Post opera coach
8.25
12.47
8.55
7.35*
9.40
1.47
10.15
4.35
7.10*
9.40
1.47
10.15
Date
Opera
Sun 1
Der Rosenkavalier
Mon 2
No performance
Tue 3
Eugene Onegin
Wed 4
No performance
Thu 5
Der Rosenkavalier
Fri 6
Eugene Onegin
1
5.05
7.35*
9.40
1.47
10.15
Sat 7
Don Giovanni
2
5.10
6.50
9.40
1.47
10.15
Sun 8
Der Rosenkavalier
2
3.20
5.55*
8.25
12.47
8.55
Mon 9
No performance
Tue 10
No performance
Wed 11
Don Giovanni
2
5.10
6.50
9.40
1.47
10.15
Thu 12
Der Rosenkavalier
2
4.35
7.10*
9.40
1.47
10.15
Fri 13
Eugene Onegin
2
5.05
7.35*
9.40
1.47
10.15
Sat 14
Don Giovanni
2
5.10
6.50
9.40
1.47
10.15
Sun 15
Der Rosenkavalier
2
3.20
5.55*
8.25
12.47
8.55
Mon 16
No performance
Tue 17
Eugene Onegin
2
5.05
7.35*
9.40
1.47
10.15
Wed 18
Don Giovanni
2
5.10
6.50
9.40
1.47
10.15
Thu 19
Der Rosenkavalier
1
4.35
7.10*
9.40
1.47
10.15
Fri 20
Eugene Onegin
2
5.05
7.35*
9.40
1.47
10.15
Sat 21
Don Giovanni
2
5.10
6.50
9.40
1.47
10.15
Sun 22
Der Rosenkavalier
2
3.20
5.55*
8.25
12.47
8.55
Mon 23
No performance
Tue 24
Eugene Onegin
2
5.05
7.35*
9.40
1.47
10.15
Wed 25
No performance
Thu 26
Der Rosenkavalier
1
4.35
7.10*
9.40
1.47
10.15
Fri 27
Don Giovanni
2
5.10
6.50
9.40
1.47
10.15
Sat 28
La finta giardiniera
2
5.05
6.30
9.40
1.47
10.15
Sun 29
Eugene Onegin
2
3.50
6.20*
8.25
12.47
8.55
Mon 30
No performance * PLEASE NOTE: There is an additional 20 min interval between Acts 1 and 2
21 | FESTIVAL 2014
July Performance Price Band
Start
Long dining interval
Transport
Finish
Train departs Victoria
Post opera coach
Date
Opera
Tue 1
No performance
Wed 2
La finta giardiniera
2
5.05
6.30
9.40
1.47
10.15
Thu 3
Der Rosenkavalier
1
4.35
7.10*
9.40
1.47
10.15
Fri 4
Don Giovanni
2
5.10
6.50
9.40
1.47
10.15
Sat 5
Eugene Onegin
2
5.05
7.35*
9.40
1.47
10.15
Sun 6
La finta giardiniera
2
3.50
5.15
8.25
12.47
8.55
Mon 7
No performance
Tue 8
Eugene Onegin
2
5.05
7.35*
9.40
1.47
10.15
Wed 9
Don Giovanni
2
5.10
6.50
9.40
1.47
10.15
Thu 10
La finta giardiniera
2
5.05
6.30
9.40
1.47
10.15
Fri 11
Eugene Onegin
2
5.05
7.35*
9.40
1.47
10.15
Sat 12
No performance
Sun 13
Don Giovanni
2
3.55
5.35
8.25
12.47
8.55
Mon 14
No performance
Tue 15
La finta giardiniera
2
5.05
6.30
9.40
1.47
10.15
Wed 16
Don Giovanni
2
5.10
6.50
9.40
1.47
10.15
Thu 17
La traviata
2
5.50
7.15
9.40
2.47
10.15
Fri 18
La finta giardiniera
2
5.05
6.30
9.40
1.47
10.15
Sat 19
Don Giovanni
2
5.10
6.50
9.40
1.47
10.15
Sun 20
La traviata
1
4.35
6.00
8.25
1.47
8.55
Mon 21
No performance
Tue 22
No performance
Wed 23
La finta giardiniera
2
5.05
6.30
9.40
1.47
10.15
Thu 24
La traviata
1
5.50
7.15
9.40
2.47
10.15
Fri 25
Don Giovanni
2
5.10
6.50
9.40
1.47
10.15
Sat 26
La finta giardiniera
2
5.05
6.30
9.40
1.47
10.15
Sun 27
La traviata
1
4.35
6.00
8.25
1.47
8.55
Mon 28
No performance
Tue 29
Don Giovanni
3
5.10
6.50
9.40
1.47
10.15
Wed 30
La traviata
1
5.50
7.15
9.40
2.47
10.15
Thu 31
La finta giardiniera
2
5.05
6.30
9.40
1.47
10.15
* PLEASE NOTE: There is an additional 20 min interval between Acts 1 and 2 GLYNDEBOURNE.COM | 22
August Performance Price Band 3
Start
Long dining interval
5.10
6.50
Transport
Finish
Train departs Victoria
Post opera coach
9.40
1.47
10.15
Date
Opera
Fri 1
Don Giovanni
Sat 2
La traviata
1
5.50
7.15
9.40
2.47
10.15
Sun 3
La finta giardiniera
2
3.50
5.15
8.25
12.47
8.55
Mon 4
No performance
Tue 5
La traviata
2
5.50
7.15
9.40
2.47
10.15
Wed 6
No performance
Thu 7
La finta giardiniera
2
5.05
6.30
9.40
1.47
10.15
Fri 8
La traviata
2
5.50
7.15
9.40
2.47
10.15
Sat 9
Rinaldo
3
5.00
7.35*
9.40
1.47
10.15
Sun 10
La traviata
2
4.35
6.00
8.25
1.47
8.55
Mon 11
La finta giardiniera
2
5.05
6.30
9.40
1.47
10.15
Tue 12
Rinaldo
3
5.00
7.35*
9.40
1.47
10.15
Wed 13
La traviata
2
5.50
7.15
9.40
2.47
10.15
Thu 14
Rinaldo
3
5.00
7.35*
9.40
1.47
10.15
Fri 15
La finta giardiniera
2
5.05
6.30
9.40
1.47
10.15
Sat 16
La traviata
2
5.50
7.15
9.40
2.47
10.15
Sun 17
Rinaldo
3
3.45
6.20*
8.25
12.47
8.55
Mon 18
La finta giardiniera
3
5.05
6.30
9.40
1.47
10.15
Tue 19
Rinaldo
3
5.00
7.35*
9.40
1.47
10.15
Wed 20
La traviata
2
5.50
7.15
9.40
2.47
10.15
Thu 21
La finta giardiniera
3
5.05
6.30
9.40
1.47
10.15
Fri 22
Rinaldo
3
5.00
7.35*
9.40
1.47
10.15
Sat 23
La traviata
2
5.50
7.15
9.40
2.47
10.15
Sun 24
Rinaldo
3
3.45
6.20*
8.25
12.47
8.55
Exclusive
Booking for the two <30 performances in August opens online and by telephone on Monday, 3 March 2014.
* PLEASE NOTE: There is an additional 20 min interval between Acts 1 and 2
GLYNDEBOURNE.COM | 23
Ticket prices
Glyndebourne has three price bands, dependent on day of the week and repertoire. The numbers 1, 2 or 3 next to the name of an opera in the Performance Schedule (pages 20—23) indicate the price band for each performance; please refer to these when booking your tickets. The colour coding in the table below correlates directly with the colours on the seating plan opposite on page 25.
PRICE BAND 1
PRICE BAND 2
Stalls
£250
£235
£210
£215
£205
£175
Foyer Circle
£250
£235
£210
£215
£205
£175
Foyer Circle Sides
£150
£110
£110
£95
Circle
£250
£235
£215
£205
Circle Sides
£150
£110
£110
Upper Circle
£150
£60
£110
Slips
£60
Standing
£30
Foyer Circle Centre Boxes B C E
£235
Foyer Circle Centre Boxes A F
£235
Circle Centre Boxes G J (Six seats in each box)
£195
£165
£95
Circle Centre Boxes H I (Seven seats in each box)
£195
£165
£95
Circle Side Box 18 (4 seats only)
£110
£95
£75
Circle Side Boxes 15 16 17 20 21
£60
£50
£40
Foyer Circle level Two spaces *
£210
£175
£115
Foyer Circle Four spaces in Side Boxes 4 5 8 9 *
£110
£95
£75
£210
£195
PRICE BAND 3
£150
£160
£145
£115
£160
£145
£115
£85
£75
£160
£145
£95
£85
£75
£50
£85
£40
£50 £20
£20
£205
£110
£115
£40 £15
£205 £195
£175
£165
£15
£10
£145 £165
£145
£95
*Prices include wheelchair and companion.
Key
Restricted view of varying degrees reflected in ticket prices (may include restricted view of supertitles). L A very limited number of seats available. X Upper Circle Slips and Standing are NOT available during the Members’ and Associate Members’ Priority Booking Period.
24 | FESTIVAL 2014
lease be sure to inform the Box Office if you or P your guests have an access requirement at the time of applying for tickets, or if any access needs arise between applying and attending. NB: Box seats may be sold separately. Boxes 4, 5, 8 & 9 are initially held for customers using wheelchairs.
£95
£85
Seating plan
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
Foyer Circle Sides
STALLS
Sightlines and Supertitles The Glyndebourne auditorium is a ‘horseshoe’ shape. As a result, some of our seats have a restricted view of varying degrees of the stage and/or supertitles. Tickets for these seats are priced accordingly. However, if supertitles are important to your enjoyment of the performance please tell Box Office when applying for your tickets.
25 | FESTIVAL 2014
Foyer circle sides and circle sides As we only have a very limited number of these seats available, please consider other options when booking. Standing and slips Standing places and slips are reserved until public booking opens on 10 March 2014. If you are a Glyndebourne <30s subscriber you can apply for two standing places per production during your priority booking period.
Glyndebourne Productions Limited Registered â&#x201E;&#x2013; 358266 England Registered as a Charity â&#x201E;&#x2013; 243877 Glyndebourne Lewes, East Sussex BN8 5UU England Box Office and Customer Service +44 (0)1273 815 000 glyndebourne.com