festival 2015 membership brochure

festival 201521 May – 30 August

MEMBERShip BROChURE

3 | FEStiVaL 2015

donizetti

PoLiUto

bizet

CaRmEN

mozart

DiE ENtFühRUNG

aUS DEm SER aiL

britten

thE R aPE oF LUCRE tia

handel

SaUL

ravel

L’hEURE ESPaGNoLE

L’ENFaNt E t LES SoRtiLèGES

Festiv welcome to

GLyNDEBoURNE.Com | 01

al 2015

Welcom e to ou r 2015 festi va l , w hich inclu des r epertoir e spanning 300 years and an enticing mix of Glyndebourne firsts and favourites. The 2015 programme includes three new productions –

two of which are works never previously seen at Glyndebourne. The first ever UK staging of Donizetti’s Poliuto will reunite conductor Enrique Mazzola and director Mariame Clément following their much-admired Don Pasquale in 2013. Handel’s Saul will be the fifth stage work by the composer to be presented in the ‘new’ theatre and marks the Glyndebourne debut of one of today’s most sought-after international directors, the Australian-born Barrie Kosky, as well as the welcome return of conductor Ivor Bolton. Music director Robin Ticciati continues his exploration of Mozart at Glyndebourne with a new staging of Die Entführung aus dem Serail – a collaboration with one of this country’s finest directors, David McVicar.

Fiona Shaw’s critically acclaimed production of The Rape of Lucretia is presented as part of the Festival for the first time – continuing a line of highly successful Britten productions at Glyndebourne, and bringing the work back to the place where it was first performed in 1946. Completing the season are three masterpieces from the French operatic tradition. Bizet’s Carmen remains one of the most captivating operas ever written while Ravel’s two perfect miniatures, L’heure espagnole and L’enfant et les sortilèges, make up a brilliantly conceived double bill from director Laurent Pelly.

In addition to our main stage productions, I hope you will also take the opportunity to enjoy the programme of extra events we offer as part of the Festival including our series of pre-performance talks and study events and the recitals given by our Jerwood Young Artists. I am particularly delighted that we are able to present the first performances of Macbeth, a new work by our recent Young Composer-in-Residence, Luke Styles, a showcase for some of the many talented young artists working at Glyndebourne.

None of this ambitious programme would be possible without the loyalty of you, our Members, and the extraordinary generosity of our major donors. Thank you for your continuing support of Glyndebourne, and I hope you find much to enjoy in the 2015 Festival.

— dav i d pick a r d, General Director

Festiv

1395

Da

ys

wit

ho

ut

Re

Da

FiL

m B

y a

NR

i Sa

La

iN C

oLL

aB

oR

ati

oN

wit

h L

iRia

Bé

Gé

ja m

Ey

ER

S

© a

NR

i Sa

La

, ŠE

jLa

Ka

mE

Rić

, aR

taN

GE

L, S

CC

a/P

Ro

.Ba

201

1

02 | FEStiVaL 2015


1395

Da

ys

wit

ho

ut

Re

Da

FiL

m B

y a

NR

i Sa

La

iN C

oLL

aB

oR

ati

oN

wit

h L

iRia

Bé

Gé

ja m

Ey

ER

S

© a

NR

i Sa

La

, ŠE

jLa

Ka

mE

Rić

, aR

taN

GE

L, S

CC

a/P

Ro

.Ba

201

1

PoLiUtogaetano donizettiSupported by Peter Moores FoundationJon and Julia Aisbitt

Donizetti’s rarely-produced masterwork Poliuto reveals the epic side of this bel canto genius. Poliuto contrasts fierce personal conflict with sweeping heroic scale, in the manner of French grand opera – a choice which would wield great influence on Verdi. Poliuto’s grand Temple Scene in Act II clearly foreshadows the famous Triumphal Scene in Aida.

Based on Corneille’s French Neoclassical tragedy Polyeucte, Poliuto weaves the tale of Saint Polyeuctus (d. 259 AD), an early Christian martyr. The opera portrays Poliuto’s spiritual crisis after his conversion to Christianity incites persecution by Armenia’s Roman occupiers. His wife Paolina, though in love with another man, is so moved by Poliuto’s courage that she finally follows him to his tragic fate.

Conceived as a vehicle for the great French tenor Adolphe Nourrit, the title role demands a tenor of lyricism and suppleness but also power and stamina. Poliuto will be sung by the exciting American tenor Michael Fabiano, who debuted in La traviata in Festival 2014. As Paolina, a role often associated with Maria Callas, the Puerto Rican soprano Ana María Martínez returns to Glyndebourne for the first time since her memorable debut in the title role of Rusalka in 2009.

This Glyndebourne premiere of Poliuto also marks the opera’s UK premiere. Staged by French director Mariame Clément, returning after her winning production of Don Pasquale, this production of Poliuto cuts to the heart of the opera’s intimate personal drama: a classic love triangle, doomed by the conflicting forces of politics and faith, and played out against a timeless, monumental canvas. Enrique Mazzola returns to conduct the London Philharmonic Orchestra.

A new production for Festival 2015 (UK premiere)Sung in Italian with English supertitles

Conductor ................................. Enrique MazzolaDirector ..................................... Mariame Clément Designer .................................... Julia HansenLighting Designer ..................... Bernd Purkrabek

cast includesPoliuto ...................................... Michael FabianoPaolina ..................................... Ana María MartínezSevero ....................................... Igor Golovatenko Callistene .................................. Matthew RoseFelice ......................................... Timothy Robinson Nearco ....................................... Emanuele D’Aguanno

London Philharmonic OrchestraThe Glyndebourne Chorus

Critical Edition by William Ashbrook and Roger ParkerProperty of Casa Ricordi, Milan (Universal Publishing Srl)By arrangement with G. Ricordi & Co (London) Ltd.

04 | FEStiVaL 2015

georges bizet

‘I have written a work that is all clarity and vivacity, full of colour and melody,’ wrote Bizet of Carmen, composed shortly before his sudden death at age 37. He would never know that his tale of a free-spirited femme fatale would become one of the world’s most widely performed and beloved operas.

Set in Andalucía, Carmen reflects the 19th-century European fascination with the exotic, evoked through the use of authentic Spanish music – alongside popular-style opéra-comique tunes and soaring French lyricism. Based on the 1845 novella by Prosper Mérimée, Carmen traces the joined fates of the fiery gypsy Carmen and Don José, a naïve army corporal. In love with Carmen, he abandons his childhood sweetheart and deserts from the military, but loses the capricious Carmen to the glamorous toreador Escamillo, with deadly results. The opera’s portrayal of working-class life, dissolution and lawlessness, as well as the shocking onstage murder of its heroine and the ground-breaking music Bizet wrote for it, scandalised early audiences but blazed new trails in opera.

Of David McVicar’s production, last seen in Festival 2008, The Guardian wrote: ‘It is a brooding view of Carmen, a dissection of lost souls embedded in Michael Vale’s scrupulously realist sets… Sue Blane’s meticulously Spanish costumes provide a note of native colour… McVicar powers this Glyndebourne production with the energy of Rent, and with the seediness of Cabaret.’

Jakub Hrůša conducts the London Philharmonic Orchestra, with Glyndebourne favourite Stéphanie d’Oustrac in the iconic title role, the charismatic Polish-Brazilian baritone Paulo Szot as Escamillo, acclaimed Czech tenor Pavel Cernoch as Don José, and the dazzling British soprano Lucy Crowe as Micaëla.

A revival of the 2002 Festival productionSung in French with English supertitles

Conductor ................................. Jakub Hrůša Director ..................................... David McVicar Revival Director ........................ Marie Lambert Set Designer .............................. Michael ValeCostume Designer ..................... Sue BlaneChoreographer ........................... Andrew GeorgeRevival Choreographer .............. Emily PiercyLighting Designer ..................... Paule ConstableFight Director ............................ Nick Hall

Supported by a Syndicate of Individuals led by Lord Davies of Abersoch cbe

miK

E h

oB

aN

/th

E h

oB

aN

GR

aV

Et

t a

RC

hiV

E


CaRmEN

cast includesCarmen ..................................... Stéphanie d’Oustrac Don José .................................... Pavel Cernoch Escamillo .................................. Paulo SzotMicaëla ..................................... Lucy CroweZuniga ...................................... David Soar Frasquita .................................. Eliana PretorianMercédès ................................... Rihab ChaiebLe Dancaïre ............................... Christophe GayLe Remendado ........................... Loïc FelixMoralès ..................................... Andrey Zhilikhovsky


06 | FEStiVaL 2015

DiE ENtFühRUNG aUS DEm SER aiL

(aN

oN

ym

oU

S) o

Da

LiS

qU

ES

iN a

ha

RE

m, C

oN

Sta

Nti

No

PLE

, Lit

ho

GR

aP

h w

ith

CL

ay

PL

atE

, C. 1

880.

aK

G-i

ma

GE

S


‘Die Entführung has knocked everything else sideways,’ wrote Goethe of this landmark work by the 26-year-old Mozart. A popular Singspiel in which tuneful Viennese comedy meets serious Enlightenment philosophy, the piece is often cited as his first fully mature stage work.

Like many other contemporary works, Die Entführung was inspired by the 18th-century vogue for all things Eastern after the Ottoman Empire’s failed Siege of Vienna in 1683. The plot concerns the attempt of the Spanish nobleman Belmonte to rescue his beloved Konstanze from the seraglio of the Pasha Selim in Turkey. Though the opera reflects the 18th-century European view of ‘the Orient’ as strange, opulent and dissolute, its humane and surprising resolution defies all stereotypes and highlights the keen contemporary pertinence of this startlingly deep masterwork.

Die Entführung features some of Mozart’s most spectacularly virtuosic vocal music, particularly for Konstanze, composed for the celebrated Austrian soprano Caterina Cavalieri: Mozart wrote, ‘I have sacrificed Konstanze’s aria a little to the flexible throat of Mlle Cavalieri.’ In Die Entführung, Mozart also evoked the brilliant flute- and percussion-laden sound of Turkish military marching bands, as he had done in earlier works like the famous Rondo alla turca from his A-Major Piano Sonata, K. 331/300i.

Music director Robin Ticciati conducts the Orchestra of the Age of Enlightenment, carrying

on Glyndebourne’s distinguished history with Die Entführung which began with its seminal 1935 production. This new production is directed by David McVicar, creator of such triumphant Glyndebourne productions as Giulio Cesare and Die Meistersinger von Nürnberg.

The luminous soprano Sally Matthews will return to Glyndebourne as Konstanze, as will Edgaras Montvidas after his Festival 2014 triumph in Eugene Onegin, while the German bass Tobias Kehrer and the Norwegian soprano Mari Eriksmoen make their Glyndebourne debuts as Osmin and Blonde.

A new production for Festival 2015Sung in German with English supertitles

Conductor ................................... Robin TicciatiDirector ....................................... David McVicarDesigner ...................................... Vicky MortimerChoreographer ............................ Andrew GeorgeLighting Designer....................... Paule Constable

cast includesKonstanze ................................... Sally MatthewsBelmonte .................................... Edgaras MontvidasOsmin ......................................... Tobias Kehrer Blonde ......................................... Mari EriksmoenPedrillo ........................................ Brenden Gunnell

Orchestra of the Age of EnlightenmentThe Glyndebourne Chorus

Edited by Gerhard Croll (Neue-Mozart Ausgabe)Published by Bärenreiter-Verlag, Kassel, represented by Faber Music, London

(aN

oN

ym

oU

S) o

Da

LiS

qU

ES

iN a

ha

RE

m, C

oN

Sta

Nti

No

PLE

, Lit

ho

GR

aP

h w

ith

CL

ay

PL

atE

, C. 1

880.

aK

G-i

ma

GE

S

wolfgang amadeus mozartSupported by a Syndicate of Individuals led by Michael Javett in memory of Ingrid MaggsFilming supported by Dunard Fund

thE R aPE oF LUCREtia

benjamin britten

08 | FEStiVaL 2015

Supported by Carol and Paul Collins through Glyndebourne Association America Inc.

RiC

ha

RD

hU

BE

Rt

Sm

ith


A revival of the Tour 2013 productionSung in English with supertitles

Conductor ................................... Leo HussainDirector ....................................... Fiona ShawSet Designer ................................ Michael LevineCostume Designer ..................... Nicky GillibrandLighting Designer ..................... Paul Anderson

castLucretia ....................................... Christine RiceMale Chorus ............................... Allan ClaytonFemale Chorus ........................... Kate RoyalTarquinius .................................. Duncan RockCollatinus ................................... Matthew RoseBianca ......................................... Catherine Wyn-RogersJunius .......................................... Michael Sumuel Lucia ........................................... Louise Alder

London Philharmonic Orchestra

By kind permission of Boosey & Hawkes Music Publishers Ltd

‘This new production… the first at Glyndebourne since Britten’s chamber opera had its premiere there in 1946, is quite the darkest – and possibly the most truthful – you’re likely to see in some time’ wrote The Times while The Daily Telegraph declared, ‘This is opera at its most nakedly powerful.’

Directed by stage and film star Fiona Shaw, it was first presented on the Glyndebourne Tour in 2013, in celebration of the centenary of England’s greatest opera composer.

Britten coined the term ‘chamber opera’ to describe this intimate, haunting masterpiece, which deploys a cast of eight and an orchestra of just 13 players to stunningly colourful and evocative effect. Britten offsets lean, dramatic declamation with passages of meltingly lyrical beauty.

The harrowing historic tale of Lucretia has inspired works by artists throughout the ages. According to historians, Lucretia was raped by Tarquinius Sextus, son of the Etruscan King of Rome. Her consequent suicide spurred the revolution which toppled the monarchy and brought about the Roman Republic. In Ronald Duncan’s libretto, the action is introduced and commented upon throughout by two contemporary observers, a Male and Female Chorus, lending the story an urgent, contemporary air.

This quintessential ensemble opera features some of today’s most exciting British singers, with mezzo-soprano Christine Rice in the title role. She is joined by Kate Royal as the Female Chorus, returning after her much-praised Marschallin in Der Rosenkavalier in Festival 2014 and Allan Clayton who repeats his acclaimed portrayal of the Male Chorus. Conductor Leo Hussain makes his Festival debut leading the London Philharmonic Orchestra.

10 | FEStiVaL 2015

Supported by Vahid Alaghbandand a Syndicate of Individuals

george frideric handel

This Glyndebourne premiere of Handel’s Saul marks the company debut of the brilliant and provocative Australian opera and theatre director Barrie Kosky. He delves deep into this score of heart-breaking beauty and intensity to create an associative dreamscape, a Baroque nightmare world in which this mythic tale of a Lear-like mad king and his crumbling family unfolds.

Freely adapted from the Biblical First Book of Samuel, Saul centres on the first King of Israel’s complicated relationship with his eventual successor, David, which evolves from admiration to envy and hatred and finally leads to Saul’s tragic demise. The drama is heightened by David’s friendship with Saul’s son Jonathan, who Saul tries to enlist to destroy David. The characterisations of Saul and David are among Handel’s most powerful and vivid, making Saul, in the words of Handel scholar Winton Dean, ‘one of the supreme masterpieces of dramatic art, comparable with the Oresteia and King Lear’.

The first of Handel’s great English oratorios, Saul melds operatic-style, psychologically probing arias with mighty choruses. Handel conceived it on a grand scale, with an unusually large orchestra for the time and novel instrumental colours including a carillon, a solo harp, large timpani, extra woodwinds, trombones (rarely found in orchestras at that time), and a virtuosic organ part which he wrote for himself.

Ivor Bolton leads the Orchestra of the Age of Enlightenment with a cast of distinguished Handelians and Glyndebourne favourites including the commanding Christopher Purves in the title role, last season’s virtuosic Rinaldo, Iestyn Davies and acclaimed soprano Lucy Crowe, as well as the elegant young American tenor Paul Appleby, making his UK debut.

A new production for Festival 2015 Sung in English with supertitles

Conductor ................................... Ivor Bolton Director ....................................... Barrie KoskyDesigner ...................................... Katrin Lea TagChoreographer ............................ Otto PichlerLighting Designer....................... Joachim Klein

cast includesSaul ............................................. Christopher Purves(6, 12, 15 August) ........................ Henry Waddington David .......................................... Iestyn DaviesMerab .......................................... Lucy CroweMichal ......................................... Sophie Bevan Jonathan ..................................... Paul ApplebyHigh Priest ................................. Benjamin HulettWitch of Endor ............................ John Graham-Hall

Orchestra of the Age of Enlightenment The Glyndebourne Chorus

Edited by Percy M. Young. Published by Bärenreiter-Verlag, Kassel, represented by Faber Music, London


SaUL

Da

NiE

L jo

SE

FS

oh

N

12 | FEStiVaL 2015

L’hEURE ESPaGNoLE


Supported by The Monument Trust

maurice ravel

Sim

oN

aN

Na

ND


L’hEURE ESPaGNoLE


‘Our work requires an extraordinary production: the roles are numerous, and the phantasmagoria is constant’ wrote Ravel. He would doubtless have been delighted by Glyndebourne’s current staging of his two short operas by Laurent Pelly, which scored such a success when first presented in Festival 2012.

Separated by 15 years and a world war, Ravel’s two sole operas could not be more different: L’heure espagnole evokes the racy Belle Époque of Ravel’s youth, while L’enfant reflects the hard-won humanity of those who survived ‘The War to End All Wars’. L’heure basks in a lush, sensual sound world, while L’enfant deploys large orchestral forces to weave a transparent, almost minimalist musical fabric.

L’heure espagnole, a Feydeau-esque sex farce about a lusty Spanish woman juggling lovers while her husband is preoccupied with clockwork mechanisms, evokes a Spanish flavour through Ravel’s use of native dance forms including the jota, the habañera and the malagueña.

L’enfant et les sortilèges, with a libretto by the French novelist Colette, is both a whimsical ‘lyric fantasy’ and a morality play with a deeply serious core. Fairy tale characters, furniture, crockery, plants and animals come to life to chastise a peevish child who has been tormenting them. All ends happily, though, when the child learns compassion. The score features echoes of Gershwin as well as an eclectic blend of influences ranging from Bach and Monteverdi through Massenet, Wagner and Puccini.

The production’s premiere during Festival 2012 was called ‘pure magic’ by The Financial Times while The Sunday Times urged ‘if there are tickets left... grab them fast.’

Music director Robin Ticciati leads the London Philharmonic Orchestra, with Glyndebourne favourite Danielle de Niese starring as both Concepción in L’heure and the Child in L’enfant, joined on stage by a predominantly Francophone cast.

A revival of the 2012 Festival productionSung in French with English supertitles

Conductor ................................... Robin Ticciati Director ....................................... Laurent Pelly

Set Designl’heure espagnole Original Set Design .................... Caroline Ginet &

Florence EvrardSet adapted by ............................ Caroline Ginetl’enfant et les sortilègesSet Designer ................................ Barbara de Limburg

Costume Design ......................... Laurent Pelly in collaboration with ................. Jean Jacques Delmotte Lighting Designer....................... Joël Adam

l’heure espagnole castConcepción ................................. Danielle de Niese Ramiro ........................................ Étienne Dupuis Torquemada ................................ François Piolino Don Íñigo Gómez ........................ Lionel LhoteGonzalve ..................................... Cyrille Dubois

l’enfant et les sortilèges cast Child............................................ Danielle de Niese Mother/Chinese Cup/Dragonfly Elodie Méchain Grandfather Clock/Tom Cat ...... Étienne Dupuis Armchair/Tree ............................ Lionel Lhote Chair/Bat .................................... Julie PasturaudFire/Princess/Nightingale ......... Sabine DevieilheCat/Squirrel ................................ Hanna HippTeapot/Little Old Man (Arithmetic)/Frog....................... François Piolino


Property of Editions Durand, Paris (Universal Music Publishing Classical)By arrangement with G. Ricordi & Co (London) Ltd.

14 | FEStiVaL 2015

Sharing your love of opera

jam

ES

BE

LLo

RiN

i

Since the early 1950s, when John Christie launched the Festival Society, the loyalty of our Members has continued to preserve and secure the Festival for the future.

In turn, Sir George kept Membership at our core, calling on Members to privately fund the complete rebuild of the opera house in 1994. He was overwhelmed by the response.

Gus is the third generation of the Christie family to lead Glyndebourne, and since 2000 he has been equally determined to keep Members

at the heart of everything we do. Without you, the Glyndebourne we all know and love would simply not exist.

We know that a shared passion for opera between grandparents and parents, children and grandchildren is something many of you already enjoy. By encouraging friends and family to join Associate Membership, your support will be extended long into the future, ensuring that the legacy and work of Gus, his father and grandfather live on.

Glyndebourne Membership

Who will you introduce to a lifetime of opera enjoyment at Glyndebourne?Associate Members enjoy second priority booking and secure a position on the waiting list for life-long Festival Society Membership.Contact the Membership team on + 44 (0) 1273 815 400 (10am – 5pm Monday – Friday) email [email protected] or visit glyndebourne.com/associate-membership


we want to make your visit easierCustomer Service at GlyndebourneOur 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

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• Youwishtoborrowawheelchair• Youwishtore-chargeyourelectriccar during a performance

Coach serviceWe provide a free round-trip shuttle coach service from Lewes station to Glyndebourne when you arrive on the recommended 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.

Your questions answeredFor 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

Auditorium accessConveniently located spaces are reserved for wheelchairs only at Foyer Circle (ground level). 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.

Hearing supportThe 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 dogsAssistance dogs are welcome and can be taken into the auditorium.

Returns ClubThroughout 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.

Large printIf you require any information in a larger print format please contact the Communications Department on +44 (0)1273 812 321.

KE

ViN

ma

Rti

N

16 | FEStiVaL 2015

jam

ES

BE

LLo

RiN

i

Enrich your experience

Festival Extras

jERwooD yoUNG aRtiStS RECitaLS FREE27 june, 2 and 5 july, Ebert Room 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 2015 and will be available at glyndebourne.com during the Festival.

maCBEth FREE25, 27, 28 and 29 august, jerwood StudioMacbeth is a new one-act chamber opera with music by Luke Styles, Glyndebourne’s recent Young Composer-in-Residence. Directed by Ted Huffman, the performance will showcase soloists from the Glyndebourne Chorus and the Jerwood Young Artists programme.

PRE-PERFoRmaNCE taLKSEbert RoomAll 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 31 May 2.20pm CarmenSun 7 June 3.35pm PoliutoSun 19 July 2.50pm Die Entführung aus dem SerailSun 26 July 2.50pm Saul Sun 9 August 3.45pm The Rape of LucretiaSun 23 August 3.55pm Ravel Double Bill

StUDy EVENtSEbert RoomOur study events are designed to give you an in-depth insight into the three new Festival 2015 productions and enhance your enjoyment of the opera.

Saul Handel and the Old Testament: Saint or Showman?Sunday 10 May, 10.30am-4.30pmPrice: £40 (not including lunch)*

Poliuto A Masterpiece RestoredSunday 17 May, 10.30am-4.30pmPrice: £40 (not including lunch)*

Die Entführung aus dem Serail Culture Clash – East meets West in MozartSunday 19 July, 10.30am-1.30pm**Price: £25

* Lunch is available on 10 and 17 May at an extra

cost of £15.50 for two courses in Nether wallop

Restaurant if pre-booked.

** on 19 July sandwiches and snacks are available

from the Long Bar and a full tearoom service is

available in mildmay from 2pm. tables in mildmay

are not pre-bookable. Please contact Leith’s on

+44 (0) 1273 812 510 for more information.

HOW TO BOOKPlaces can be booked online at glyndebourne.com or by telephone +44 (0)1273 815 000 from 9 March.


Discover more Glyndebourne TourOur 2015 Tour performances will include Mozart’s Die Entführung aus dem Serail and Handel’s Saul transferring direct from Festival 2015, and Donizetti’s Don Pasquale.

The Glyndebourne Tour will start at home in October and then visit theatres across the country from October–December 2015, showcasing young talent, at affordable ticket prices for all.

For priority booking, 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 – more information is available at glyndebourne.com/tour

Screenings and broadcastsIn 2015 Glyndebourne will continue its programme of cinema and online broadcasts, showing titles from the 2015 Festival in cinemas across the UK and online in partnership with the Telegraph Media Group.

Further details of titles, venues and how to book tickets can be found at glyndebourne.com

Archive GalleryDie Entführung aus dem Serail – A retrospectiveIt was while hosting a small production of Die Entführung aus dem Serail in 1930 that John Christie met the young soprano Audrey Mildmay – the rest is history. Die Entführung became a regular part of the Glyndebourne Festival repertoire, and this season, to celebrate David McVicar’s new production, the Archive will take a look back at our performance history of this work.

Up-to-the-minute information about Festival 2015 is available at glyndebourne.com

18 | FEStiVaL 2015

Booking information

Festival Society Members Please return your postal or online applications by Monday 1 December 2014.

Associate MembersPlease return your postal or online applications by Monday 19 January 2015.

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 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 2 March.

During Festival 2015, 1,700 G<30 tickets will be available to subscribers at the special price of £30 each:l 500 tickets will be available for the Tuesday 4 August performance of The Rape of Lucretia l 1,200 tickets will be available for the performance of Saul on Tuesday 25 August (this performance is reserved exclusively for G<30).

General publicBooking opens to the general public on Monday 9 March 2015 at 12.01am online and by telephone from 10am.

Ticket exchange and resaleOur ticket exchange and resale facility is free of charge to Festival Society and Associate Members. Please always check with Box Office and Customer Service before returning tickets by calling +44 (0)1273 815 000.

ExchangesSubject to availability tickets may be exchanged for an alternative date. This must be pre-arranged with the Box Office at least 3 days prior to the date of the performance.

Returning tickets for resaleIf your tickets have been accepted for resale by the Box Office the original ticket(s) must be returned before we can begin offering your tickets for resale. Please note that a resale is never guaranteed and that Glyndebourne reserves the right to sell all of its own remaining tickets before returned tickets.

Reimbursement for resold tickets is made only to the original purchaser.

Customers reselling tickets are responsible for contacting the Box Office if they would like to know the status of their resale(s).

See glyndebourne.com for full terms and conditions.

Box office and Customer Service

OPENING HOURS Until Wednesday 20 May : Open every weekday from 10am to 6pmFrom Thursday 21 May : Open 7 days a week from 10am to 6pm

Visit glyndebourne.com or call +44 (0)1273 815 000


jam

ES

BE

LLo

RiN

i

20 | FEStiVaL 2015

Performance Schedule

Performance transport

Date opera

Price Band

See p.24 Start

Long dining interval Finish

train departs Victoria

Post opera coach

Thu 21 Poliuto 2 5.05 6.45 8.40 1.47 9.20

Fri 22 No performance

Sat 23 Carmen 1 4.50 7.05* 9.40 1.47 10.15

Sun 24 Poliuto 2 4.50 6.30 8.25 1.47 8.55

mon 25 No performance

tue 26 No performance

wed 27 No performance

thu 28 Carmen 1 4.50 7.05* 9.40 1.47 10.15

Fri 29 Poliuto 3 5.05 6.45 8.40 1.47 9.20

Sat 30 No performance

Sun 31 Carmen 1 3.35 5.50* 8.25 12.47 8.55

Note there are two special Pre-Festival Study Events on Sunday 10 and Sunday 17 May. Please see page 16 for details.

Key special events

Pre-Performance talk

jerwood young artists Recital

Study Event

Macbeth, new one-act chamber opera

<30 Glyndebourne Under 30s Performance (please see page 18)

may

* PLEASE NOTE: there is an additional 20 min interval between acts 1 and 2

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.

The post opera coach leaves Glyndebourne at three different times depending on the length of the opera. 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. all changes will be correct on our website at all times and pre-performance emails will also detail any major changes.

Designed by Ned Campbellwww.nedcampbell.co.uk

Printed in England by Evonprint Limited on FSC certified paper


junePerformance transport

Date opera

Price Band

See p.24 Start



Post opera coach


tues 2 Poliuto 3 5.05 6.45 8.40 1.47 9.20

wed 3 Carmen 1 4.50 7.05* 9.40 1.47 10.15

thu 4 No performance

Fri 5 Poliuto 2 5.05 6.45 8.40 1.47 9.20

Sat 6 Carmen 1 4.50 7.05* 9.40 1.47 10.15

Sun 7 Poliuto 2 4.50 6.30 8.25 1.47 8.55


tue 9 Carmen 1 4.50 7.05* 9.40 1.47 10.15


thu 11 Poliuto 2 5.05 6.45 8.40 1.47 9.20

Fri 12 Carmen 1 4.50 7.05* 9.40 1.47 10.15

Sat 13 Die Entführung aus dem Serail 2 4.50 7.20* 9.40 1.47 10.15

Sun 14 Poliuto 2 4.50 6.30 8.25 1.47 8.55


tue 16 Carmen 1 4.50 7.05* 9.40 1.47 10.15

wed 17 Die Entführung aus dem Serail 2 4.50 7.20* 9.40 1.47 10.15

thu 18 Poliuto 2 5.05 6.45 8.40 1.47 9.20

Fri 19 Carmen 1 4.50 7.05* 9.40 1.47 10.15


Sun 21 Poliuto 2 4.50 6.30 8.25 1.47 8.55

mon 22 Carmen 1 4.50 7.05* 9.40 1.47 10.15



thu 25 Carmen 1 4.50 7.05* 9.40 1.47 10.15

Fri 26 Poliuto 2 5.05 6.45 8.40 1.47 9.20


Sun 28 Carmen 1 3.35 5.50* 8.25 12.47 8.55


tue 30 Die Entführung aus dem Serail 2 4.50 7.20* 9.40 1.47 10.15


22 | FEStiVaL 2015

julyPerformance transport

Date opera

Price Band

See p.24 Start



Post opera coach

wed 1 Carmen 1 4.50 7.05* 9.40 1.47 10.15

thu 2 Poliuto 2 5.05 6.45 8.40 1.47 9.20

Fri 3 Die Entführung aus dem Serail 1 4.50 7.20* 9.40 1.47 10.15

Sat 4 Carmen 1 4.50 7.05* 9.40 1.47 10.15

Sun 5 The Rape of Lucretia 2 5.00 6.00 8.25 1.47 8.55


tues 7 No performance


thu 9 Poliuto 2 5.05 6.45 8.40 1.47 9.20

Fri 10 the Rape of Lucretia 3 5.15 6.15 8.40 1.47 9.20

Sat 11 Carmen 1 4.50 7.05* 9.40 1.47 10.15

Sun 12 Poliuto 2 4.50 6.30 8.25 1.47 8.55


tue 14 Die Entführung aus dem Serail 2 4.50 7.20* 9.40 1.47 10.15

wed 15 Poliuto 2 5.05 6.45 8.40 1.47 9.20

thu 16 Die Entführung aus dem Serail 2 4.50 7.20* 9.40 1.47 10.15


Sat 18 No performance

Sun 19 Die Entführung aus dem Serail 2 3.35 6.05* 8.25 12.47 8.55




Thu 23 Saul 2 5.20 7.15 9.40 1.47 10.15



Sun 26 Saul 2 4.05 6.00 8.25 12.47 8.55


tues 28 No performance

wed 29 Saul 3 5.20 7.15 9.40 1.47 10.15

thu 30 the Rape of Lucretia 3 5.15 6.15 8.40 1.47 9.20




Performance transport

Date opera

Price Band

See p.24 Start



Post opera coach

Sat 1 Saul 2 5.20 7.15 9.40 1.47 10.15

Sun 2 Die Entführung aus dem Serail 2 3.35 6.05* 8.25 12.47 8.55


tues 4 the Rape of Lucretia 3 5.15 6.15 8.40 1.47 9.20


thu 6 Saul 2 5.20 7.15 9.40 1.47 10.15


Sat 8 Ravel Double Bill 2 5.25 6.25 8.40 1.47 9.20

Sun 9 the Rape of Lucretia 2 5.00 6.00 8.25 1.47 8.55

mon 10 Die Entführung aus dem Serail 3 4.50 7.20* 9.40 1.47 10.15

tue 11 Ravel Double Bill 3 5.25 6.25 8.40 1.47 9.20

wed 12 Saul 2 5.20 7.15 9.40 1.47 10.15

thu 13 Ravel Double Bill 2 5.25 6.25 8.40 1.47 9.20


Sat 15 Saul 2 5.20 7.15 9.40 1.47 10.15

Sun 16 Ravel Double Bill 2 5.10 6.10 8.25 1.47 8.55

mon 17 Saul 3 5.20 7.15 9.40 1.47 10.15

tue 18 Ravel Double Bill 3 5.25 6.25 8.40 1.47 9.20

wed 19 the Rape of Lucretia 3 5.15 6.15 8.40 1.47 9.20

thu 20 Saul 2 5.20 7.15 9.40 1.47 10.15

Fri 21 Ravel Double Bill 3 5.25 6.25 8.40 1.47 9.20

Sat 22 Saul 2 5.20 7.15 9.40 1.47 10.15



tue 25 Saul 3 5.20 7.15 9.40 1.47 10.15

wed 26 Ravel Double Bill 2 5.25 6.25 8.40 1.47 9.20

thu 27 Saul 3 5.20 7.15 9.40 1.47 10.15

Fri 28 Ravel Double Bill 2 5.25 6.25 8.40 1.47 9.20

Sat 29 Saul 2 5.20 7.15 9.40 1.47 10.15


Booking for <30 tickets (500 tickets on 4 august and all 1,200 tickets on 25 august) opens online and by telephone on Monday 2 March 2015. see page 18 for more details.

<30

august

Exclusive <30

24 | FEStiVaL 2015

Glyndebourne has three price bands, dependent on the 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.

Key Restricted view of varying degrees reflected in ticket prices (including restricted or no 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.

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. NB: 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.

P R I C E B A N D 2

£225 £210 £180 £155

£225 £210 £180

£120 £95

£225 £210 £180 £155

£120 £95

£120 £50

£50

£20 £15

£210

£210 £120

£155

£155

£95

£50

£180

£95

P R I C E B A N D 3

£160 £145 £115 £95

£160 £145 £115

£85 £75

£160 £145 £115 £95

£85 £75

£85 £40

£40

£15 £10

£145

£145 £85

£95

£95

£75

£40

£115

£75

P R I C E B A N D 1

Stalls £250 £235 £210 £195

Foyer Circle £250 £235 £210

Foyer Circle Sides £150 £110

Circle £250 £235 £210 £195

Circle Sides £150 £110

Upper Circle £150 £60

Slips £60

Standing £30 £20

Foyer Circle Centre Boxes B C E £235

Foyer Circle Centre Boxes A F £235 £150

Circle Centre Boxes G J (Six seats in each box) £195

Circle Centre Boxes H I (Seven seats in each box) £195

Circle Side Box 18 (4 seats only) £110

Circle Side Boxes 15 16 17 20 21 £60

Foyer Circle level Two spaces * £210

Foyer Circle Four spaces in Side Boxes 4 5 8 9 * £110

ticket prices


Seating plan

RED SIDE

Standing

Circle Sides

FoyerCircle Sides

BLUE SIDE

Standing

CircleSides

FoyerCircleSides

FOYER CIRCLE (ground level)

BoxA

BoxB

BoxC

BoxE

BoxF

PRIVATEBOX

CIRCLE

UPPER CIRCLE

BoxG

BoxH

BoxI

BoxJ

STALLS

Sightlines and SupertitlesThe Glyndebourne auditorium is a ‘horseshoe’ 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 Box Office when applying for your tickets.

Foyer circle sides and circle sidesAs there are a very limited number of these seats available, please give alternative options when booking.

Standing and slipsStanding 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.

Glyndebourne Productions LimitedRegistered № 358266 England

Glyndebourne is a registered charity Charity № 243877

Lewes, East SussexBN8 5UU England

Box Office and Customer Service +44 (0)1273 815 000glyndebourne.com

GE

tt

y im

aG

ES

festival 2015 membership brochure

Documents

glyndebourne debut

new work

new productions

liria bgja meyers anri

new theatre

stage work

ejla kameri

reda film