Festival 2014 Membership Brochure

Celebrating 80 years

FESTIVAL 2014 17 May – 24 August MEMBERSHIP BROCHURE

WELCOME TO OUR 80TH ANNIVERSARY SEASON

RICHARD STRAUSS

Der Rosenkavalier PYOTR ILYICH TCHAIKOVSKY

Eugene Onegin WOLFGANG AMADEUS MOZART

Don Giovanni WOLFGANG AMADEUS MOZART

La ямБnta giardiniera GIUSEPPE VERDI

La traviata GEORGE FRIDERIC HANDEL

Rinaldo

20 | FESTIVAL 2014

Festiv

h e 2 0 1 4 f e s t i va l w i l l be a s u m m e r of c e l e br at ion at Glyndebourne. It is our 80th anniversary; 20 years since the opening of the ‘new’ opera house, and Robin Ticciati’s fi rst Festival as Music Director. He is only the seventh conductor to hold the post since 1934.

Robin Ticciati will conduct two new productions in 2014, one with each of our ‘house’ orchestras. He will launch 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. This marks the fi rst time that this delightful dramma giocoso, written when Mozart was only 18, has been presented by Glyndebourne despite our long and close association with the composer. It will be 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 fi rst 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 fi nd much to enjoy in Festival 2014. I would also like to thank you for your unstinting support of all our work.

Since the Festival is privately funded, the loyalty and commitment of the Glyndebourne Membership is crucial to our continuing success and I am extremely grateful to you for enabling us to continue our long tradition of presenting world-class opera. John Christie’s founding statement: ‘Not the best that we can do but the best that can be done anywhere,’ remains at the heart of Glyndebourne today.

T

— 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, fi rst 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 defi ne 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 fi rst 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

kavalier 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

GLYNDEBOURNE.COM | 05

BILL COOPER

Don Giov 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, fi rst 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, fi lms 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 fi nales, 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 ‘fi nta’.

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

GLYNDEBOURNE.COM | 09

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 Afk ham (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 fi rst 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 Goff redo. 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 Goff redo ...................................... 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.

GEORGE FRIDERIC HANDEL

Rinaldo Supported by Lindsay and Sarah Tomlinson

12 | FESTIVAL 2014

BILL COOPER

GLYNDEBOURNE.COM | 13

Glyndebourne Membership

Your part in Glyndebourne’s future Who will you invite to follow in your footsteps?

For more details about Associate Membership please contact the Membership team Telephone + 44 (0)1273 815 400 (10am–5pm Monday–Friday) email membership@glyndebourne.com or visit glyndebourne.com/associate-membership

CHARLOTTE BOULTON

The Glyndebourne Festival Society was launched in 1951 and within five years there were 3,000 Members. The Society remains at the heart of the organisation and enables us to preserve our fi nancial independence through good times and bad. Today the Society comprises 9,000 highly valued Members who play a central role in our success and without whom Glyndebourne as we know and love it would simply not exist.

To secure the future of Glyndebourne for the next generation it is vital that our Festival Society continues as strongly as ever and to ensure this we are welcoming new members onto the waiting list for Festival Society Membership. We are encouraging our current Members and Associate Members to support the Festival Society’s future by inviting friends and family to become Associate Members and enjoy a lifetime of opera at Glyndebourne.

The waiting list is now open with a limited number of Associate Membership places available. Associate Members enjoy a range of benefits including priority booking for Festival tickets and secure a position on the waiting list for Festival Society Membership. We welcome applications from new audiences as well as friends and family of existing Members.

14 | FESTIVAL 2014

HOWARD SOOLEY

We want to make your visit easier 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 via 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 • You wish to borrow a wheelchair • You wish to re-charge your electric car during a performance.

Your questions answered For more information in advance of your visit to Glyndebourne please visit our website where you should fi nd 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

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 of Foyer Circle level).

Assistance dogs Assistance dogs are welcome and can be taken into the auditorium.

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.

Large print If you require any information in a larger print format please contact the Communications Department on +44 (0)1273 812321

Auditorium access Conveniently located spaces are reserved for wheelchairs at Foyer Circle level, and we have a limited number available if you would like to borrow one. There is a lift to all levels.

GLYNDEBOURNE.COM | 15

Enrich your experience JERWOOD SHOWCASE FREE Since its inception in 2005 the Jerwood Chorus Development Scheme has supported young, emerging operatic talent in the Glyndebourne Chorus. Each year this is celebrated in separate ‘showcase’ performances during the Festival. This year these performances will take place on 18, 19, 21 and 22 August in our Jerwood Studio.

Festival Extras EBERT ROOM RECITALS FREE 25, 27 and 30 July An exclusive opportunity to hear our Jerwood Young Artists sing in this unique and intimate setting.

Programme and artist information will be announced in early 2014 and will be available at glyndebourne.com during Festival 2014.

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

80 YEARS OF GLYNDEBOURNE – HISTORY TALKS Exclusive to Members and new for Festival 2014, our History Talks will take place on a Sunday afternoon on 8 June, 27 July and 17 August. Cost £9.

16 | FESTIVAL 2014

STUDY EVENTS Ebert Room If you wish to fi nd out more about our three new Festival 2014 productions then our Study Events may be just for you. Each event is designed to offer historical context and musical insight to enhance your enjoyment of each opera. They feature lectures, demonstrations, 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)* Special guests 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 Special guests 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 Special guests 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.

HOW TO BOOK Places can be booked online at glyndebourne.com or by telephone +44 (0)1273 815 000 from 10 March.

Angus Mcbean’s photograph of Michael Redgrave as MacHeath and Audrey Mildmay as Polly Peachum from The Beggars Opera.

Discover more in 2014 Screenings and broadcasts Details of our Festival 2014 programme of cinema screenings and online broadcasts of live opera will be announced in Spring 2014.

Glyndebourne Tour The 2014 Tour performances will include Verdi’s La traviata, Mozart’s La finta giardiniera and Britten’s The Turn of the Screw.

The Glyndebourne Tour will visit theatres throughout the UK from October–December 2014, 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 for the latest Tour information. More information is available at glyndebourne.com/tour

Archive gallery This year our main archive exhibition will be: The photographer’s photographer – Angus McBean at Glyndebourne Welsh-born photographer Angus McBean (1904-1990) became, according to Cecil Beaton, ‘one of the best photographers in the country’ with Lord Snowdon calling him ‘ a genius’.

Throughout the 1940s and 1950s McBean was one of Glyndebourne’s commissioned photographers, creating magical images from 15 productions.

The innovations he made and his understanding of the performing arts made him one of the greatest influences on theatrical photography in the last century.

For Festival 2014 the Archive Gallery will be mounting an exhibition drawn from our wonderful collection of his iconic work.

Up-to-the-minute information about Festival 2014 is available at glyndebourne.com GLYNDEBOURNE.COM | 17

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

Festival Society Members Please return your postal or online applications

by Monday 2 December 2013.

Ticket exchange and resale

Associate Members Please return your postal or online applications

by Monday 20 January 2014.

Our 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.

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.

Exchanges Subject 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.

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 £30 each for performances of Rinaldo* on Tuesday 12 August and La finta giardiniera on Monday 18 August (500 tickets available). * 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.

General public Booking opens to the general public on Monday 10 March 2014 at 12.01am online and by telephone from 10am.

18 | FESTIVAL 2014

Returning tickets for resale If 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.

HOWARD SOOLEY

Designed by Ned Campbell www.nedcampbell.co.uk Printed in England by Evonprint Limited on FSC certiďŹ ed 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.

GLYNDEBOURNE.COM | 19

May Performance

Transport

Date

Opera

Start

Long 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

Price Band

Post opera coach

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

* 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 £160 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 24–25 for Seating Plan and Ticket Prices.

Key Special events Pre-Performance Talk Pre-Performance History Talk Ebert Room Recitals Study Event Jerwood Showcase <30 Glyndebourne Under 30s Performance H

Note: There is a special Pre-Festival Study Event on Sunday 11 May. See page 16 for more details.

20 | 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.

June Performance

Date

Opera

Sun 1

Der Rosenkavalier

Mon 2

No performance

Tue 3

Eugene Onegin

Wed 4

No performance

Thu 5

Der Rosenkavalier

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

7.10*

9.40

1.47

10.15

Start

Long Interval

3.20

5.55*

2

5.05

2

4.35

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

1.47

10.15

H

Mon 9

No performance

Tue 10

No performance

Wed 11

Don Giovanni

2

5.10

6.50

9.40

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

2

5.05

7.35*

9.40

1.47

10.15

1

4.35

7.10*

9.40

1.47

10.15

Mon 23

No performance

Tue 24

Eugene Onegin

Wed 25

No performance

Thu 26

Der Rosenkavalier

Fri 27

Don Giovanni

2

5.10

6.50

9.40

1.47

10.15

Sat 28

La ďŹ nta 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

Date

Opera

Tue 1

No performance

Price Band

Start

Long Interval

Transport

Finish

Train departs Victoria

Post opera coach

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

H

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

Date

Opera

Fri 1

Don Giovanni

Price Band 3

Start

Long Interval

5.10

6.50

Transport

Finish

Train departs Victoria

Post opera coach

9.40

1.47

10.15

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

Exclusive

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

H

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

Tickets for the two <30 performances in August are not available during the Members’ and Associate Members’ priority booking period. Please see page 18 for details.

* PLEASE NOTE: There is an additional 20 min interval between Acts 1 and 2

GLYNDEBOURNE.COM | 23

Ticket prices PRICE BAND 1

PRICE BAND 3

PRICE BAND 2

Stalls

£250

£235

£210

£195

Foyer Circle

£250

£235

£210

Foyer Circle Sides

£150

£110

Circle

£250

£235

Circle Sides

£150

Upper Circle

£150

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

£215

£205

£175

£215

£205

£175

£110

£95

£215

£205

£110

£110

£60

£110

£210

£150

£160

£145

£115

£160

£145

£115

£85

£75

£160

£145

£95

£85

£75

£50

£85

£40

£50 £20

£20

£205

£110

£115

£95

£85

£40 £15

£15

£10

£145

£205 £195

£175

£165

£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.

Limited availability due to Audience Development initiatives

24 | FESTIVAL 2014

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.

Seating plan 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

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 there are a very limited number of these seats available, please give alternative options when booking.

Standing and slips Standing places and slips are only available during public booking, however 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