FESTIVAL 2017 20 May – 27 August MEMBERShip BROCHURE GLYNDEBOURNE.COM | 31
Festival ......introducing New for Festival 2017, the ‘Introducing...’ series
02 |
......cavalli
04 |
Hipermestra ......verdi
06 |
La traviata
......brett dean
08 |
Hamlet 10 |
......strauss
Ariadne auf Naxos
......donizetti
12 |
Don Pasquale
......mozart
14 |
La clemenza di Tito
......Festival extras ......Festival 2017 anticipation... 20 |......More opera in 2017 21 |......Your visit 22 |......3-Night Opera Package 23 |......Booking information 24 |......Performance schedule 16 |
18 |
20 | FESTIVAL 2017
I
magine your father asked you and your 49 siblings to kill your bride/groom on your wedding night because an oracle had foretold his death by the hand of one of these suitors. First performed in 1658, Cavalli’s Hipermestra tells the story of Danao's only daughter who refused to fulfil this command. We are proud to present this powerful story, staged by Graham Vick in an opulent and colourful design and conducted by none other than William Christie, as the opening production of Festival 2017. With our next new production we jump to the present day and offer you the rare opportunity to witness the birth of a new opera created especially by Glyndebourne: Hamlet. This new work by Brett Dean explores the depths of the Shakespearean mind and proves that we don't always need an anniversary to perform a work inspired by the Bard. Vladimir Jurowski will return, for the first time since his tenure as Music Director ended in 2013, to conduct an outstanding cast of singers that includes Allan Clayton, Barbara Hannigan, Sarah Connolly and John Tomlinson. Twenty six years after its first presentation in the Festival, Mozart’s La clemenza di Tito will enjoy a new production at Glyndebourne. Our Music Director Robin Ticciati will conduct one of his favourite composers, and the renowned German director Claus Guth will make his Glyndebourne debut. New and exciting casts and conductors always make working on revivals an interesting journey. Glyndebourne has a longstanding tradition of offering a long rehearsal period (six weeks), so that even for existing productions there is
Sebastian F. Schwarz General Director GLYNDEBOURNE.COM | 01
© RICHARD POHLE/NEWS SYNDICATION
2017
enough time to explore new aspects of the piece or to adapt an interpretation to what the new singers have to offer, while incorporating the vision of a new conductor. In 2017 we will present two runs of our popular production of Verdi’s La traviata: the first opens in May, the second in August, with two different casts in the main roles. The remaining two revivals this season will introduce a new generation of conductors who are quickly growing in stature and demand: Mariame Clément’s witty staging of Don Pasquale will be conducted by Giacomo Sagripanti and Cornelius Meister will join us for Katharina Thoma’s production of Richard Strauss’s Ariadne auf Naxos. None of the great work happening at Glyndebourne would be possible without your loyal support and the generosity of our donors. On behalf of staff, artists and our worldwide audience I thank you, our valued Members, for your continued curiosity and loyalty, and look forward to meeting many of you over the course of the summer. I hope you will enjoy our panoramic view this season spanning 359 years of operatic creativity, and these glimpses of opera's amazing diversity, from the much beloved to the as-yetunknown masterpieces of Festival 2017.
Look out for the Introducing symbol throughout this brochure and in forthcoming emails, newsletters and films: it is your signpost to insights about Festival 2017.
Brett Dean SAM STEPHENSON
‘Brett Dean’s score pulses with energy and bristles with invention and clarity’ — The Age (Australia), 2010 on Bliss Australian composer Brett Dean makes his Glyndebourne debut in Festival 2017 with his opera Hamlet. This greatly-anticipated new work levels of cultural diffusion that it possesses an follows in the footsteps of his highly-acclaimed Bliss, an Opera Australia production that opened almost sacred aura. A sculptor in Australia once told me of an exhibition opening of his in in Sydney in 2010, lit up the Edinburgh Melbourne at which an actor was invited to International Festival and opened the Hamburg recite Hamlet's famous soliloquy, experiencing State Opera season in the same year. to his delight almost the entire gathered Born in Brisbane, Dean trained as a viola player at the Queensland Conservatorium before “congregation” joining in as if it were the Lord’s Prayer! he joined the Berlin Philharmonic Orchestra in ‘The trick is to turn the potential burden of this his early 20s, staying for 15 years before taking familiarity into a virtue. How wonderful, how up composition full time. Hamlet is his second liberating, to be working with a synopsis that opera and Dean is excited about creating a new everyone already knows! And how audaciously spin on a familiar story: adventurous of Glyndebourne to gather a team ‘In the time I’ve been working on Hamlet, the of colonials to have our way with this greatest question I'm asked most often is ‘How do you of texts. Or is it perhaps that only a Canadian intend to set To be, or not to be…?’ Therein of librettist, an Australian composer and an course lies one of the great challenges of this Australian director would dare, reckless work for an operatic composer but at the same libertines that we are?’ time one of its great opportunities. Indicative of See page 8 for more on Brett Dean’s Hamlet the entire play, that speech has achieved such
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Lise Davidsen Recently she won Placido Domingo's highly prestigious Operalia World Opera Competition and was also awarded first place in the Queen Sonja International Music Competition in her native Norway. ‘I am looking forward to working at Glyndebourne so much!’ says Lise, ‘Ariadne has been a dream role for a long time, and I’m very excited and maybe a bit scared that I finally get to do this wonderful role in a full production. Glyndebourne’s unique setting makes it a great place for a story like Ariadne.’ See page 10 for more on Ariadne auf Naxos
© CHARLOTTE GUNDERSEN
Heading up the cast of our revival of Ariadne auf Naxos is Lise Davidsen, making her Glyndebourne debut in the vocally challenging role of Ariadne. ‘I am particularly excited to introduce the extraordinarily talented young dramatic soprano Lise Davidsen to the Glyndebourne Festival 2017 audience’ says Steven Naylor, Glyndebourne’s Director of Artistic Administration, ‘Her warm, lyrical and resplendent voice will add grandeur, nobility and distinction to the eponymous heroine’. Davidsen is one of the most talented young singers in the world today, and comes to Glyndebourne fresh from winning a string of international awards for her exceptional voice.
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© LAMBIS STRATOUDAKIS
Hipermest francesco cavalli
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Love conquers all in this tale of a courageous daughter who defies her father to save her husband.
H
ipermestra is one of the 50 daughters of King Danao of Argos, whose twin brother King Egitto has 50 sons. Danao lives in fear of a prophecy that his life and his kingdom will be taken by the lover of one of his daughters, so he commands all of his daughters to marry and then kill all of the sons of Egitto. Forty-nine daughters obey, but Hipermestra refuses to slay her husband Linceo. Despite the trials and dangers that ensue, courage, love and loyalty triumph. Working in 17th-century Venice soon after the world’s first public opera houses opened there, composer Francesco Cavalli had no tradition to follow. He gave his fertile imagination free rein, tinkering with the brand-new art form to create the lively Venetian style of opera with its melodious arias, sprightly dance rhythms, free-wheeling mythological or historical plots, and generous dollops of comedy. Like most of Cavalli’s operas, Hipermestra was not performed between the late 17th century and recent years. Our performances at Glyndebourne mark its UK premiere and unite conductor William Christie with director Graham Vick.
tra
New production for Festival 2017, UK premiere Sung in Italian with English supertitles Conductor..................................William Christie Director.....................................Graham Vick Designer....................................Stuart Nunn Lighting Designer......................Giuseppe Di Iorio cast includes Hipermestra...............................Emőke Baráth Linceo.........................................Raffaele Pe Danao.........................................Renato Dolcini Elisa............................................Ana Quintans Arbante.......................................Benjamin Hulett Orchestra of the Age of Enlightenment
20 May – 8 July Supported by Carol and Paul Collins through Glyndebourne Association America Inc.
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Forced to sacrifice her lover in a battle of morality over freedom, Violetta gives up every hope of happiness in this heartwrenching love story.
La traviat giuseppe verdi
A
lfredo, a young man from the provinces, falls in love with Violetta, the stylish toast of Paris. But she’s not the marrying kind – at least not until now. However, their dreams of domestic bliss are threatened by both a merciless society that condemns Violetta’s racy past and an equally merciless disease. The age-old ‘tart with a heart’ is a familiar dramatic trope. In versions ranging from an ancient Sanskrit drama through to Greta Garbo’s Camille to the film Moulin Rouge, it has always been a gauge of a society's ideas about morality. Verdi’s version is based on the true story of Marie Duplessis, a Parisian courtesan immortalised by her lover, the author Alexandre Dumas fils. Verdi was powerfully drawn to her story during a time in his career when he focused increasingly on vivid and complex outsiders who push the boundaries of society. There’s rarely a dry eye in the house when this poignant tale unfolds through Verdi’s robust, tuneful, full-hearted and full-throated score, laced throughout with melodies as familiar as the story. The visual beauty of Tom Cairns’s opulent production aptly echoes the irresistible allure of this beloved opera.
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Revival of the Festival 2014 production Sung in Italian with English supertitles Conductor..........................Richard Farnes (May-June) .........................................Andrés Orozco-Estrada (August) Director.............................Tom Cairns Designer............................Hildegard Bechtler Choreographer...................Aletta Collins Lighting Designer..............Peter Mumford Video & Projection Designer...Nina Dunn cast includes Violetta............................. Kristina Mkhitaryan (May-June) .........................................Joyce El-Khoury (August) Alfredo............................... Zach Borichevsky (May-June) .........................................Atalla Ayan (August) Giorgio............................... Igor Golovatenko (May-June) .........................................Dimitri Platanias (August) Flora Bervoix...................... Rihab Chaieb Baron Douphol................... William Dazeley Marchese D’Obigny............ Daniel Shelvey Dr Grenvil.......................... Henry Waddington Gastone............................. Gabriele Mangione London Philharmonic Orchestra The Glyndebourne Chorus
RICHARD HUBERT SMITH
ata
21 May – 19 June 1 – 27 August Supported by a Syndicate of Individuals GLYNDEBOURNE.COM | 07
08 | FESTIVAL 2017
© LAMBIS STRATOUDAKIS
Hamlet Tormented by his father’s death, Hamlet's vengeance is thwarted by his introspection in this new opera based on Shakespeare’s best-known tragedy.
T
o be, or not to be. this is hamlet’s dilemma, and the essence of Shakespeare’s most famous and arguably greatest work, given new life in operatic form in this original Glyndebourne commission. Thoughts of murder and revenge drive Hamlet when he learns that it was his uncle Claudius who killed his father, the King of Denmark, then seized his father's crown and wife. But Hamlet’s vengeance vies with the question: is suicide a morally valid deed in an unbearably painful world? ‘The themes of life and death, love and betrayal have opera written all over them,’ observes composer Brett Dean. Dean’s colourful, energetic, witty and richly lyrical music expertly captures the modernity of Shakespeare’s timeless tale, while also exploiting the traditional operatic elements of arias, ensembles and choruses. Matthew Jocelyn’s inspired libretto is pure Shakespeare, adhering to the Bard’s narrative thread but abridging, reconfiguring and interweaving it into motifs that highlight the main dramatic themes: death, madness, the impossibility of certainty, and the complexities of action. By kind permission of Boosey & Hawkes Publishers Ltd.
brett dean
New commission for Festival 2017, world premiere Sung in English with English supertitles Composer....................................Brett Dean Librettist....................................Matthew Jocelyn Conductor...................................Vladimir Jurowski Director.......................................Neil Armfield Set Designer................................Ralph Myers Costume Designer.......................Alice Babidge Movement Director.....................Denni Sayers Lighting Designer.......................Jon Clark cast includes Hamlet.......................................Allan Clayton Gertrude .....................................Sarah Connolly Ophelia ......................................Barbara Hannigan Claudius.....................................Rod Gilfry Polonius......................................Kim Begley Ghost of Old Hamlet...................John Tomlinson Horatio.......................................Jacques Imbrailo Laertes........................................David Butt Philip Rosencrantz................................David Hansen Guildenstern...............................Christopher Lowrey London Philharmonic Orchestra The Glyndebourne Chorus
11 June – 6 July Production supported by The Monument Trust World premiere supported by a Syndicate of Individuals GLYNDEBOURNE.COM | 09
ALASTAIR MUIR
Ariadne 10 | FESTIVAL 2017
25 June – 27 July Supported by Hamish and Sophie Forsyth
A funny, chaotic romp that pits high and low brow art against each other, but the show must go on...
A
troupe of tragic actors and a gaggle of comedians arrive at a country estate to provide entertainment. In the midst of classic backstage chaos, the two troupes get some odd news: everything’s behind schedule so, to save time, both shows must be performed simultaneously. Though the idealistic young composer of the tragedy is devastated, the show(s) must go on. The lofty mythological tale of the lovelorn Ariadne is repeatedly disrupted by the music hall antics of the comedians and their flamboyant leader Zerbinetta. Finally, a deus ex machina – quite literally –arrives to save the day. At the core of this energetic comedy is a thought-provoking dialogue about the eternal tensions between ‘high’ and ‘low’ art, and the very purpose of art and music. Richard Strauss’s late-Romantic score blends rapturous lyricism, vocal virtuosity and catchy comic turns. Katharina Thoma’s imaginative production both raises the dramatic stakes and brings the drama close to home.
Revival of the Festival 2013 production Sung in German with English supertitles Conductor...................................Cornelius Meister Director.......................................Katharina Thoma Set Designer................................Julia Müer Costume Designer.......................Irina Bartels Lighting Designer.......................Olaf Winter cast includes Ariadne.......................................Lise Davidsen Composer ...................................Angela Brower .................................................Hanna Hipp 19, 23, 27 July Zerbinetta ..................................Erin Morley Bacchus......................................AJ Glueckert Music Master..............................Thomas Allen Dancing Master..........................Michael Laurenz Scaramuccio...............................François Piolino Harlequin...................................Björn Bürger Brighella.....................................Manuel Günther Truffaldino.................................Daniel Miroslaw London Philharmonic Orchestra By kind permission of Boosey & Hawkes Publishers Ltd.
auf Naxos
richard strauss
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Don Pasquale
gaetano donizetti
The plot thickens, twists and turns as an old bachelor’s romantic delusions are dashed in a complex deception.
T
he old bachelor don pasquale decides to marry and produce an heir just to spite his disobedient nephew Ernesto, who insists on marrying for love rather than money. Pasquale’s friend Dr Malatesta provides the perfect bride. But Malatesta is a double agent, and nothing and nobody are quite what they seem. Chaos ensues, but love wins the day. The perfect entertainment for a summer night, Don Pasquale is as effervescent and quintessentially Italian as a glass of Prosecco. Its irresistibly lilting score bursts with the feel-good tunes, long lyrical lines, daredevil florid singing and sheer vocal beauty that define the bel canto style. Mariame Clément’s colourful production, inspired by Les liaisons dangereuses, is set in the opera’s original 18th-century milieu, echoing the elegance of Donizetti’s music. Its period forms and contours are filled out with modern details that match the score’s playfulness.
Revival of the Tour 2011 production Sung in Italian with English supertitles Conductor...................................Giacomo Sagripanti Director.......................................Mariame Clément Designer.....................................Julia Hansen Lighting Designer.......................Bernd Purkrabek cast includes Don Pasquale..............................Renato Girolami Norina........................................Lisette Oropesa Dr Malatesta..............................Andrey Zhilikhovsky Ernesto.......................................Andrew Stenson London Philharmonic Orchestra The Glyndebourne Chorus Gaetano Donizetti – Don Pasquale (Cricial Edition by P. Rattolino) Property of Casa Ricordi, Milan (Universal Music Publishing Group) By arrangement with G. Ricordi & Co. (London) Ltd.
13 July – 23 August Supported by Dunard Fund
12 | FESTIVAL 2017
CLIVE BARDA
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La clemenza
wolfgang amadeus mozart
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© LAMBIS STRATOUDAKIS
di Tito V
itellia's path to the throne is thwarted by the man who deposed her father, so she presses her admirer Sesto to murder him. Sesto is caught in an agonising dilemma, for the man in question is not only his best friend but also his sovereign. Driven by love, Sesto does his worst. But in return, receives a lesson in forgiveness. Conducted by Robin Ticciati and directed by Claus Guth, Mozart’s last opera delivers all of the sublime musical beauty and heart-tugging humanity we expect of him. Loosely based on the life of the Roman Emperor Titus, La clemenza di Tito distills the suspense of Don Giovanni, the warmth of Le nozze di Figaro, and the nobility of Die Zauberflöte into one powerful parable of love and friendship, vengeance and mercy.
Spurned by Tito, Vitellia seeks revenge. Besotted Sesto agrees to avenge her as a token of his love, but all does not go to plan.
New production for Festival 2017 Sung in Italian with English supertitles Conductor...................................Robin Ticciati Director.......................................Claus Guth Designer.....................................Christian Schmidt Lighting Designer.......................Olaf Winter Dramaturg..................................Ronny Dietrich cast includes Tito.............................................Steve Davislim Vitellia........................................Alice Coote Sesto...........................................Kate Lindsey Servilia.......................................Joélle Harvey Annio..........................................Anna Stéphany Publio.........................................Clive Bayley Orchestra of the Age of Enlightenment The Glyndebourne Chorus Published by Bärenreiter-Edition Kassel Performed by arrangement with Faber Music Ltd, London
26 July – 26 August
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Festival extras
Inside an orchestra with the OAE, featuring Hipermestra Sun 4 June, 2.30pm
INSIDER TALKS Ebert Room Our new Insider series of talks, moderated by Warwick Thompson, give you an insight into the workings of Glyndebourne. Each talk will explore a different aspect of staging an opera, referencing that evening's performance. Talks last 45 minutes, cost £9 and end 30 minutes before the start of each performance. 16 | FESTIVAL 2017
Hamlet – creating a world premiere Thu 6 July, 3.50pm Ariadne auf Naxos – casting and rehearsing an opera Fri 14 July, 3.50pm Dressing an opera – the costumes and props of La clemenza di Tito Mon 31 July, 3.45pm The allure of La traviata Mon 7 Aug, 3.40pm Defining a look – make-up and wigs in Don Pasquale Mon 14 Aug, 3.25pm
PRE-PERFORMANCE TALKS Ebert Room Our pre-performance talks provide a bite-size overview 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 28 May Fri 9 June Sun 11 June Sat 1 July Wed 9 Aug Wed 16 Aug
3.15pm 3.50pm 3.30pm 3.45pm 3.30pm 3.30pm
La traviata Hipermestra Hamlet Ariadne auf Naxos Don Pasquale La clemenza di Tito
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 2017 productions and enhance your enjoyment of each featured opera. This year we are presenting two morning events exploring our new productions: Hipermestra and La clemenza di Tito. Hipermestra: Cavalli and opera's wonder years Sat 8 July 10.30am–1.30pm £25* La clemenza di Tito: Mozart's 'real opera' Sun 6 Aug 10.30am–1.30pm £25*
ARCHIVE GALLERY Take time to delve into our history with a visit to the Glyndebourne Archive Gallery. Our free exhibitions for Festival 2017 are: Baroque Innovation 20 May – 9 July Sir George Christie was proud of Glyndebourne's efforts to introduce the works of the Baroque masters into the mainstream opera repertoire. The Baroque thread has continued to embellish our canon and as we introduce a new Cavalli work, 50 years after the first Cavalli at Glyndebourne, the Archive looks back at those ground-breaking productions. Bel canto at Glyndebourne 13 July – 27 August Glyndebourne first dallied with the bel canto repertoire as early as 1938 when Donizetti’s sparkling comedy Don Pasquale became only the second non-Mozart opera to be performed in the Festival. In the 1960s a further three bel canto operas enjoyed regular performances during the Festival before waiting another 40 years to be heard here again.
HOW TO BOOK Places for our talks and study events can be booked online at glyndebourne.com or by telephone +44 (0)1273 815 000 from 20 February.
GRAHAM CARLOW
* Sandwiches and snacks are available from the Long Bar and a full tearoom service is available in Mildmay from 2.00pm. Tables in Mildmay are not pre-bookable. Please contact Leith’s on +44 (0) 1273 812 510 for more information.
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Throughout the summer and autumn excitement builds at Glyndebourne about the forthcoming season. So we asked a few staff working behindthe-scenes what they’re most looking forward to in Festival 2017.
Festival 2017 anticipation... Libby Hill Deputy Company Manager BILL COOPER
La clemenza di Tito – ‘Tito is the only major Mozart opera I’m not yet familiar with. Hearing and seeing it for the first time will be such a treat.’ Charismatic Björn Bürger, Figaro in 2016's Il barbiere di Siviglia, returns as Harlequin in Ariadne auf Naxos
Alice Bridges Customer Service Coordinator Ariadne auf Naxos – ‘I’m particularly looking forward to seeing Björn Bürger again. His performance as Figaro in 2016’s Il barbiere di Siviglia was truly stellar and he is now a firm Glyndebourne favourite!’
Ian Julier Senior Music Librarian Hamlet – ‘Don’t miss Hamlet, a cutting-edge production from a creative team of the highest calibre, collaborating with Glyndebourne's expert in-house teams to reinvent Shakespeare's magnum opus with the most innovative and stimulating stage chemistry for our times.’ Sheila Slaymaker Head of Wigs Don Pasquale – ‘I’m looking forward to revisiting a beautiful production that really showcases the work of the Wig, Make-up and Costume departments.’
18 | FESTIVAL 2017
John Hoyland Garden Adviser Hipermestra – ‘I’m so intrigued by it because nobody knows it and I’m a great admirer of William Christie’s and Graham Vick’s work. They each have an enviable history of producing gripping and innovative opera at Glyndebourne.’
Natalie Weber Senior Cutter, Tailoring La traviata – ‘I worked on this production last time and completely fell in love with it. The music is arrestingly beautiful, like nothing I’ve heard before.’
Look out for more behind-the-scenes activity about Festival 2017 in Glyndebourne News, our newsletter for Members. What are you looking forward to? Email your thoughts to membership@glyndebourne.com
A lifetime of extraordinary stories glyndebourne membership Music lovers have enjoyed world-class opera at Glyndebourne for over 80 years. From compelling tales and music on stage, to the simple pleasures of enjoying the gardens with family and friends, our Members have new stories to tell after every visit. For more information about current Membership options or to find out about Gift Memberships please get in touch: + 44 (0) 1273 815 400 membership@glyndebourne.com glyndebourne.com/membership
SAM STEPHENSON
Who will you share your love of opera with?
GLYNDEBOURNE.COM | 19
MIKE HOBAN
Glyndebourne Tour Running from 7 October – 2 December, the 2017 Glyndebourne Tour will feature Mozart’s Così fan tutte, Rossini’s Il barbiere di Siviglia and Brett Dean’s Hamlet. The Tour will start at home in October before visiting Canterbury, Woking, Norwich, Milton Keynes and Plymouth. For priority booking at Glyndebourne become a Tour Member (from £45 per year) by contacting the Membership department on +44 (0)1273 815 400 or via glyndebourne.com/tour Screenings and broadcasts In 2017 Glyndebourne will continue its programme of cinema and online broadcasts, showing titles from the 2017 Festival in cinemas and online: La traviata (recorded live in 2014) from 8 June Hamlet (Live) 6 July La clemenza di Tito (Live) 3 August
Your chance to see more extraordinary opera in 2017 20 | FESTIVAL 2017
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 start a live chat via the website. Arriving at Glyndebourne The nearest train station is Lewes. As Glyndebourne is three miles from the station we provide a free round-trip coach service from Lewes station to Glyndebourne when you arrive on the recommended train (train times are detailed in the Performance Schedule). Coaches are limited so there may be a short wait. 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 Electric cars Can be recharged during a performance so please let Box Office know in advance if you would like to use this facility. All-weather picnicking Once the gardens are open you are welcome to picnic using your own tables and chairs. Picnic tables are also available on the Circle and Upper Circle levels (limited availability), in the Marquee or you can hire one from Leith's. If you need any help please come to the Box Office. Dining at Glyndebourne To find out more about the on-site dining options offered by Leith’s at Glyndebourne (pre-performance and during the long 90 minute dining interval) visit diningatglyndebourne.com
Visit glyndebourne.com for up-to-date information, podcasts and short films about Festival 2017
GLYNDEBOURNE.COM | 21
An extraordinary weekend Night Opera Package
WEEKEND 1 Fri 23 June Hipermestra Sat 24 June Hamlet Sun 25 June Ariadne auf Naxos opening night WEEKEND 2 Fri 30 June Hamlet Ariadne auf Naxos Sat 1 July Sun 2 July Hipermestra WEEKEND 3 Hamlet Thu 6 July Ariadne auf Naxos Fri 7 July Hipermestra Sat 8 July
22 | FESTIVAL 2017
The 3-Night Opera Package is priced at £1,000 – saving you 25% – and includes: • • • • •
Two top price tickets for three consecutive performances on your selected weekend A Leith’s Sharing Picnic for two on the first night of your visit Two glasses of Champagne on one night A £25 voucher for the Glyndebourne Shop A pre-performance talk exclusively for package ticket holders.
Each package is for a minimum of two people and subject to availability. Multiple packages can be booked only in pairs or even numbers. Full terms and conditions for this package, including resale information, are available on our website.
SAM STEPHENSON
Following the success of 2016's ticket packages we are extending our 3-Night Opera Package, offering you the choice of three ‘Glyndebourne weekends’ in June or July at a preferential rate and with a number of added extras.
Booking information Festival Society Members Please return your postal or online applications by Thursday 1 December 2016. Associate Members Please return your postal or online applications by Monday 16 January 2017. Make the most of the ticket ballot To maximise your chances of securing Festival 2017 tickets 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 in the Foyer Circle and Circle 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 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, subject to availability. We require at least 48 hours' notice if you wish to exchange your tickets. We may also accept returns for unguaranteed resale.
Glyndebourne Under 30s Supported by investment from the New Generation Programme As part of our commitment to introduce opera to new audiences, Glyndebourne Under 30s membership provides ticket offers, regular email updates and invitations to events for visitors aged 16-29. Launched in 2006, this scheme has introduced thousands of young people to opera at Glyndebourne. If you would like to share your love of opera with anyone under 30 ask them to register for free at glyndebourne.com. Online booking for Under 30s membership opens on Monday 27 February 2017. During Festival 2017, at least 1,000 Under 30s tickets will be available to subscribers at the special price of £30 each. The following performances are confirmed Under 30s dates, additional dates may be released during the Festival: • Wednesday 24 May – Hipermestra • Tuesday 13 June – Hamlet • Wednesday 28 June – Ariadne auf Naxos • Tuesday 4 July – Ariadne auf Naxos • Friday 14 July – Ariadne auf Naxos • Monday 14 August – Don Pasquale Glyndebourne Under 30s subscribers can also apply for two standing places per production during the Under 30s priority booking period. General public Booking opens to the general public on Sunday 5 March 2016 at 6.00pm online and by telephone from 10.00am on Monday 6 March. See our website for full terms and conditions.
OPENING HOURS Box Office and Customer Service Until Friday 19 May : Open every weekday from 10.00am to 6.00pm From Saturday 20 May : Open 7 days a week from 10.00am to 6.00pm Visit glyndebourne.com or call +44 (0)1273 815 000 GLYNDEBOURNE.COM | 23
Performance Schedule May Gardens Price Band see p.29 Open
Performance
Start
* Long dining interval
Transport
Finish
Train departs Victoria
Post opera coach
Date
Opera
Sat 20
Hipermestra
2
3.00
5.10
7.05
9.30
1.47
10.15
Sun 21
La traviata
1
2.00
4.30
5.55
8.25
12.47
8.55
Mon 22
No performance
Tue 23
No performance
Wed 24
Hipermestra
3
3.00
5.10
7.05
9.30
1.47
10.15
Thu 25
La traviata
1
3.00
4.45
6.10
8.40
1.47
9.20
Fri 26
No performance
Sat 27
Hipermestra
2
3.00
5.10
7.05
9.30
1.47
10.15
Sun 28
La traviata
1
2.00
4.30
5.55
8.25
12.47
8.55
Mon 29
No performance
Tues 30
No performance
Wed 31
La traviata
1
3.00
4.45
6.10
8.40
1.47
9.20
<30
Key Special events Opening night
Insider talk
Pre-Performance talk
Opening night 2nd run
Study Event
See pages 16-17 for more information on all talks
3-Night Opera Package See page 22 for details
<30 Glyndebourne Under 30s performance See page 23 for details * Long dining interval Our long dining interval lasts for 90 minutes.
We provide a free round-trip 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. The departure time of the post opera coach is dependent on the length of the opera. Monday â&#x20AC;&#x201C; Saturday it leaves at 9.20pm or 10.15pm; on Sunday it leaves at 8.55pm. Please check the Performance Schedule for the time of the coach on the date of your visit. Bus and train times are recommendations only. Glyndebourne cannot guarantee the published times as they may be subject to change. We recommend that you check with National Rail Enquiries on 03457 48 49 50 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 only minimal disruption to members of the audience. All information in this brochure is correct at the time of going to print. Some cast and/or creative teams may change before or during the run of any opera due to unforeseen circumstances.
Designed by Ned Campbell www.nedcampbell.co.uk Printed in England by Evonprint Limited on FSC certified paper 24 | FESTIVAL 2017
â&#x20AC;&#x160;
June Gardens
Date
Opera
Thu 1
Hipermestra
Fri 2
No performance
Sat 3
Price Band see p.29 Open
Performance
Start
* Long dining interval
Transport
Finish
Train departs Victoria
Post opera coach
3
3.00
5.10
7.05
9.30
1.47
10.15
La traviata
1
3.00
4.45
6.10
8.40
1.47
9.20
Sun 4
Hipermestra
2
2.00
3.55
5.50
8.15
12.47
8.55
Mon 5
No performance
Tue 6
No performance 2
3.00
4.45
6.10
8.40
1.47
9.20
Wed 7
La traviata
Thu 8
No performance
Fri 9
Hipermestra
2
3.00
5.10
7.05
9.30
1.47
10.15
Sat 10
La traviata
1
3.00
4.45
6.10
8.40
1.47
9.20
Sun 11
Hamlet
4
2.00
4.45
6.00
8.25
12.47
8.55
Mon 12
La traviata
2
3.00
4.45
6.10
8.40
1.47
9.20
Tue 13
Hamlet
4
3.00
5.00
6.15
8.40
1.47
9.20
Wed 14
No performance
Thu 15
Hipermestra
3
3.00
5.10
7.05
9.30
1.47
10.15
Fri 16
La traviata
1
3.00
4.45
6.10
8.40
1.47
9.20
Sat 17
Hamlet
4
3.00
5.00
6.15
8.40
1.47
9.20
<30
Sun 18
Hipermestra
2
2.00
3.55
5.50
8.15
12.47
8.55
Mon 19
La traviata
2
3.00
4.45
6.10
8.40
1.47
9.20
Tue 20
No performance
Wed 21
Hamlet
4
3.00
5.00
6.15
8.40
1.47
9.20
Thu 22
No performance
Fri 23
Hipermestra
2
3.00
5.10
7.05
9.30
1.47
10.15
Sat 24
Hamlet
4
3.00
5.00
6.15
8.40
1.47
9.20
Sun 25
Ariadne auf Naxos
3
2.00
4.45
5.35
8.25
12.47
8.55
Mon 26
No performance
Tue 27
Hamlet
4
3.00
5.00
6.15
8.40
1.47
9.20
4
3.00
5.00
5.50
8.40
1.47
9.20
<30
Wed 28
Ariadne auf Naxos
Thu 29
Hipermestra
3
3.00
5.10
7.05
9.30
1.47
10.15
Fri 30
Hamlet
4
3.00
5.00
6.15
8.40
1.47
9.20
25 | FESTIVAL 2017
July Gardens Price Band see p.29 Open
Performance
Start
* Long dining interval
Transport
Finish
Train departs Victoria
Post opera coach
Date
Opera
Sat 1
Ariadne auf Naxos
3
3.00
5.00
5.50
8.40
1.47
9.20
Sun 2
Hipermestra
2
2.00
3.55
5.50
8.15
12.47
8.55
Mon 3
No performance
Tue 4
Ariadne auf Naxos
4
3.00
5.00
5.50
8.40
1.47
9.20
Wed 5
Hipermestra
3
3.00
5.10
7.05
9.30
1.47
10.15
Thu 6
Hamlet
4
3.00
5.00
6.15
8.40
1.47
9.20
<30
Fri 7
Ariadne auf Naxos
3
3.00
5.00
5.50
8.40
1.47
9.20
Sat 8
Hipermestra
2
3.00
5.10
7.05
9.30
1.47
10.15
Sun 9
Ariadne auf Naxos
3
2.00
4.45
5.35
8.25
12.47
8.55
Mon 10
No performance
Tue 11
No performance
Wed 12
No performance
Thu 13
Don Pasquale
2
3.00
4.50
6.25
8.40
1.47
9.20
Fri 14
Ariadne auf Naxos
3
3.00
5.00
5.50
8.40
1.47
9.20
Sat 15
Don Pasquale
2
3.00
4.50
6.25
8.40
1.47
9.20
Sun 16
Ariadne auf Naxos
3
2.00
4.45
5.35
8.25
12.47
8.55
Mon 17
No performance
Tue 18
Don Pasquale
2
3.00
4.50
6.25
8.40
1.47
9.20
Wed 19
Ariadne auf Naxos
4
3.00
5.00
5.50
8.40
1.47
9.20
Thu 20
No performance
Fri 21
No performance
<30
Sat 22
Don Pasquale
2
3.00
4.50
6.25
8.40
1.47
9.20
Sun 23
Ariadne auf Naxos
3
2.00
4.45
5.35
8.25
12.47
8.55
Mon 24
No performance
Tue 25
Don Pasquale
3
3.00
4.50
6.25
8.40
1.47
9.20
Wed 26
La clemenza di Tito
2
3.00
4.50
6.05
8.40
1.47
9.20
Thu 27
Ariadne auf Naxos
4
3.00
5.00
5.50
8.40
1.47
9.20
Fri 28
Don Pasquale
2
3.00
4.50
6.25
8.40
1.47
9.20
Sat 29
La clemenza di Tito
1
3.00
4.50
6.05
8.40
1.47
9.20
Sun 30
Don Pasquale
2
2.00
4.35
6.10
8.25
12.47
8.55
Mon 31
La clemenza di Tito
2
3.00
4.50
6.05
8.40
1.47
9.20
GLYNDEBOURNE.COM | 26
August Gardens Price Band see p.29 Open
Performance
Start
* Long dining interval
Transport
Finish
Train departs Victoria
Post opera coach
Date
Opera
Tue 1
La traviata
2
3.00
4.45
6.10
8.40
1.47
9.20
Wed 2
Don Pasquale
3
3.00
4.50
6.25
8.40
1.47
9.20
Thu 3
La clemenza di Tito
2
3.00
4.50
6.05
8.40
1.47
9.20
Fri 4
La traviata
1
3.00
4.45
6.10
8.40
1.47
9.20
Sat 5
Don Pasquale
2
3.00
4.50
6.25
8.40
1.47
9.20
Sun 6
La clemenza di Tito
1
2.00
4.35
5.50
8.25
12.47
8.55
Mon 7
La traviata
2
3.00
4.45
6.10
8.40
1.47
9.20
Tue 8
La clemenza di Tito
2
3.00
4.50
6.05
8.40
1.47
9.20
Wed 9
Don Pasquale
3
3.00
4.50
6.25
8.40
1.47
9.20
Thu 10
La traviata
2
3.00
4.45
6.10
8.40
1.47
9.20
Fri 11
La clemenza di Tito
1
3.00
4.50
6.05
8.40
1.47
9.20
Sat 12
La traviata
1
3.00
4.45
6.10
8.40
1.47
9.20
Sun 13
La clemenza di Tito
1
2.00
4.35
5.50
8.25
12.47
8.55
Mon 14
Don Pasquale
3
3.00
4.50
6.25
8.40
1.47
9.20
Tue 15
La traviata
2
3.00
4.45
6.10
8.40
1.47
9.20
<30
Wed 16
La clemenza di Tito
2
3.00
4.50
6.05
8.40
1.47
9.20
Thu 17
Don Pasquale
3
3.00
4.50
6.25
8.40
1.47
9.20
Fri 18
La traviata
1
3.00
4.45
6.10
8.40
1.47
9.20
Sat 19
La clemenza di Tito
1
3.00
4.50
6.05
8.40
1.47
9.20
Sun 20
Don Pasquale
2
2.00
4.35
6.10
8.25
12.47
8.55
Mon 21
La clemenza di Tito
2
3.00
4.50
6.05
8.40
1.47
9.20
Tue 22
La traviata
2
3.00
4.45
6.10
8.40
1.47
9.20
Wed 23
Don Pasquale
3
3.00
4.50
6.25
8.40
1.47
9.20
Thu 24
La clemenza di Tito
2
3.00
4.50
6.05
8.40
1.47
9.20
Fri 25
La traviata
2
3.00
4.45
6.10
8.40
1.47
9.20
Sat 26
La clemenza di Tito
1
3.00
4.50
6.05
8.40
1.47
9.20
Sun 27
La traviata
2
2.00
4.30
5.55
8.25
12.47
8.55
GLYNDEBOURNE.COM | 27
Seating plan and ticket prices
For Festival 2017 Glyndebourne has four price bands, dependent on the day of the week and the repertoire. The numbers 1, 2, 3 and 4 next to the name of the opera in the Performance Schedule (pages 24-27) 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 29. RED SIDE
BLUE 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.
28 | FESTIVAL 2017
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.
£245
£245
£220
£220
£220
£205
PRICE BAND
2 3
£230
£230
£230
£215
£215
£215
£185
£185
£185
4
£200
£200
£200
£180
£180
£180
£155
£155
£155
£120
£220
£60
£120
£120
£60
£120
£125
£125
£125
£100
£185
£50
£100
£100
£50
£100
£100
£100
£100
£90
£155
£50
£90
£90
£50
£90
£95
£95
£95
£80
£125
£40
£80
£80
£40
£80
£160
£215
£215
£160
£160
£125
£180
£180
£135
£135
£100
£165
£165
£155
£155
£155
£125
£125
£125
£155
£155 £95
£110
£110
£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. Please note Upper Circle Slips and Standing places only become available when public booking opens online at 6.00pm on Sunday 5 March at glyndebourne.com and by telephone from 10.00am on Monday 6 March on +44 (0)1273 815 000.
29 | FESTIVAL 2017
£160
£135
£165
£110
£160
£160
£135
PRICE BAND
£160
£205
£160
PRICE BAND
£205
*Prices include wheelchair and companion.
£245
Foyer Circle level 6 spaces (4 in Side Boxes 4 5 8 9)*
£205
Circle Side Boxes 15 16 17 18 20 21
Circle Centre Boxes G J (Six seats in each box)
£245
Circle Sides
Foyer Circle Centre Boxes A F
£245
Foyer Circle Sides
Foyer Circle Centre Boxes B C E
£260
Upper Circle
Circle
£260
Circle Centre Boxes H I (Seven seats in each box)
Foyer Circle
1
Stalls
PRICE BAND
£260
Prices include wheelchair and companion seat. Wheelchair access is only available at Foyer Circle (ground level). 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.
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 Box Office and Customer Service +44 (0)1273 815 000 glyndebourne.com
Priority booking for Festival 2017
SAM STEPHENSON
Members: 1 December 2016 Associate Members: 16 January 2017 Under 30s: 27 February 2017 Public booking opens: 5 March 2017 online 6 March 2017 phone GLYNDEBOURNE.COM | 30