Festival 2015 Membership Brochure

festival 2015

21 May – 30 August

MEMBERShip BROCHURE

donizetti

Poliuto bizet

C armen 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 s ortilèges

welcome to

3 | FESTIVAL 2015

Festiv

W

elcom 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

al 2015

glyndebourne.com | 01

02 | FESTIVAL 2015 1395 Days without RedA film by Anri Sala in collaboration with Liria Bégéja Meyers © Anri Sala, Šejla Kamerić, Artangel, SCCA/pro.ba 2011

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 Mazzola Director...................................... Mariame Clément Designer..................................... Julia Hansen Lighting Designer...................... Bernd Purkrabek cast includes Poliuto....................................... Michael Fabiano Paolina...................................... Ana María Martínez Severo........................................ Igor Golovatenko Callistene................................... Matthew Rose Felice.......................................... Timothy Robinson Nearco........................................ Emanuele D’Aguanno London Philharmonic Orchestra The Glyndebourne Chorus Critical Edition by William Ashbrook and Roger Parker Property of Casa Ricordi, Milan (Universal Publishing Srl) By arrangement with G. Ricordi & Co (London) Ltd.

Poliuto gaetano donizetti Supported by Peter Moores Foundation Jon and Julia Aisbitt glyndebourne.com | 03

A revival of the 2002 Festival production Sung in French with English supertitles Conductor.................................. Jakub Hrůša Director...................................... David McVicar Revival Director......................... Marie Lambert Set Designer............................... Michael Vale Costume Designer...................... Sue Blane Choreographer............................ Andrew George Revival Choreographer............... Emily Piercy Lighting Designer...................... Paule Constable Fight Director............................. Nick Hall

georges bizet Supported by a Syndicate of Individuals led

by Lord Davies of Abersoch cbe 04 | FESTIVAL 2015

Mike Hoban /The Hoban Gravett Archive

‘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 19thcentury 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.

cast includes Carmen...................................... Stéphanie d’Oustrac Don José..................................... Pavel Cernoch Escamillo................................... Paulo Szot Micaëla...................................... Lucy Crowe Zuniga....................................... David Soar Frasquita................................... Eliana Pretorian Mercédès.................................... Rihab Chaieb Le Dancaïre................................ Christophe Gay Le Remendado............................ Loïc Felix Moralès...................................... Andrey Zhilikhovsky London Philharmonic Orchestra The Glyndebourne Chorus

Carmen glyndebourne.com | 05

06 | FESTIVAL 2015

(Anonymous) Odalisques in a Harem, Constantinople, lithograph with clay plate, c. 1880. akg-images

Die Entf端hrung aus dem Ser ail

‘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 2015 Sung in German with English supertitles Conductor.................................... Robin Ticciati Director........................................ David McVicar Designer....................................... Vicky Mortimer Choreographer............................. Andrew George Lighting Designer....................... Paule Constable cast includes Konstanze.................................... Sally Matthews Belmonte..................................... Edgaras Montvidas Osmin.......................................... Tobias Kehrer Blonde.......................................... Mari Eriksmoen Pedrillo......................................... Brenden Gunnell Orchestra of the Age of Enlightenment The Glyndebourne Chorus Edited by Gerhard Croll (Neue-Mozart Ausgabe) Published by Bärenreiter-Verlag, Kassel, represented

by Faber Music, London

wolfgang amadeus mozart Supported by a Syndicate of Individuals led by Michael Javett in memory of Ingrid Maggs Filming supported by Dunard Fund glyndebourne.com | 07

benjamin britten

Supported by Carol and Paul Collins through Glyndebourne Association America Inc. 08 | FESTIVAL 2015

Richard Hubert Smith

The R ape of Lucretia

‘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.

A revival of the Tour 2013 production Sung in English with supertitles Conductor.................................... Leo Hussain Director........................................ Fiona Shaw Set Designer................................. Michael Levine Costume Designer...................... Nicky Gillibrand Lighting Designer...................... Paul Anderson cast Lucretia........................................ Christine Rice Male Chorus................................ Allan Clayton Female Chorus ............................ Kate Royal Tarquinius................................... Duncan Rock Collatinus.................................... Matthew Rose Bianca.......................................... Catherine Wyn-Rogers Junius........................................... Michael Sumuel Lucia............................................ Louise Alder London Philharmonic Orchestra By kind permission of Boosey & Hawkes Music Publishers Ltd

glyndebourne.com | 09

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 Kosky Designer....................................... Katrin Lea Tag Choreographer............................. Otto Pichler Lighting Designer....................... Joachim Klein cast includes Saul.............................................. Christopher Purves (6, 12, 15 August)......................... Henry Waddington David........................................... Iestyn Davies Merab........................................... Lucy Crowe Michal.......................................... Sophie Bevan Jonathan...................................... Paul Appleby High Priest.................................. Benjamin Hulett Witch 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

george frideric handel Supported by Vahid Alaghband and a Syndicate of Individuals

10 | FESTIVAL 2015

DANIEL JOSEFSOHN

Saul glyndebourne.com | 11

L’heure espagnole L’enfant e t les sortilèges maurice ravel

Simon Annand

Supported by The Monument Trust

12 | FESTIVAL 2015

‘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 production Sung in French with English supertitles

l’heure espagnole cast Concepción.................................. Danielle de Niese Ramiro......................................... Étienne Dupuis Torquemada................................. François Piolino Don Íñigo Gómez......................... Lionel Lhote Gonzalve...................................... Cyrille Dubois

Conductor.................................... Robin Ticciati Director........................................ Laurent Pelly Set Design l’heure espagnole Original Set Design..................... Caroline Ginet & Florence Evrard Set adapted by............................. Caroline Ginet l’enfant et les sortilèges Set Designer................................. Barbara de Limburg Costume Design.......................... Laurent Pelly in collaboration with .................. Jean Jacques Delmotte Lighting Designer....................... Joël Adam

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 Pasturaud Fire/Princess/Nightingale.......... Sabine Devieilhe Cat/Squirrel................................. Hanna Hipp Teapot/Little Old Man (Arithmetic)/Frog....................... François Piolino London Philharmonic Orchestra The Glyndebourne Chorus Property of Editions Durand, Paris (Universal Music Publishing Classical) By arrangement with G. Ricordi & Co (London) Ltd.

glyndebourne.com | 13

Glyndebourne Membership 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.

Sharing your love of opera

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 membership@glyndebourne.com or visit glyndebourne.com/associate-membership

14 | FESTIVAL 2015

James Bellorini

Who will you introduce to a lifetime of opera enjoyment at Glyndebourne?

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 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 • You wish to borrow a wheelchair • You wish to re-charge your electric car during a performance Coach service We 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.

Kevin Martin

Your questions answered For more information in advance of your arrival please visit our website where you will find answers to a range of frequently asked questions – from what's happening in the gardens to information on the Festival programme book artist. Please visit glyndebourne.com/faq

Auditorium access Conveniently 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 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 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 812 321.

glyndebourne.com | 15

JERWOOD YOUNG ARTISTS RECITALS FREE 27 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 FREE 25, 27, 28 and 29 August, Jerwood Studio Macbeth 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 TALKS Ebert Room All of our pre-performance talks have been designed to enhance your enjoyment of the opera that follows. Each afternoon talk is presented by an operatic expert, lasts 45 minutes and costs £9. The talks end 30 minutes before the start of each performance.

Sun 31 May 2.20pm Sun 7 June 3.35pm Sun 19 July 2.50pm

Sun 26 July 2.50pm Sun 9 August 3.45pm Sun 23 August 3.55pm

Carmen Poliuto Die Entführung aus dem Serail Saul The Rape of Lucretia Ravel Double Bill

STUDY EVENTS Ebert Room Our 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-4.30pm Price: £40 (not including lunch)* Poliuto A Masterpiece Restored Sunday 17 May, 10.30am-4.30pm Price: £40 (not including lunch)* Die Entführung aus dem Serail Culture Clash – East meets West in Mozart Sunday 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 BOOK Places can be booked online at glyndebourne.com or by telephone +44 (0)1273 815 000 from 9 March.

Enrich your experience 16 | FESTIVAL 2015

James Bellorini

Festival Extras

Discover more Glyndebourne Tour Our 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 broadcasts In 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 Gallery Die Entführung aus dem Serail – A retrospective

It 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 glyndebourne.com | 17

Booking information Box Office and Customer Service

OPENING HOURS Until Wednesday 20 May : Open every weekday from 10am to 6pm From Thursday 21 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 1 December 2014.

Associate Members Please 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 ÂŁ30 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).

Ticket exchange and resale 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.

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.

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.

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

18 | FESTIVAL 2015

James Bellorini

glyndebourne.com | 19

Performance Schedule May Performance Price Band See p.24 2

Start

Long dining interval

5.05

6.45

Transport

Finish

Train departs Victoria

Post opera coach

8.40

1.47

9.20

Date

Opera

Thu 21

Poliuto

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

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

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)

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 preperformance emails will also detail any major changes.

Designed by Ned Campbell www.nedcampbell.co.uk

20 | FESTIVAL 2015

Printed in England by Evonprint Limited on FSC certified paper

June Performance Price Band See p.24

Start

Long dining interval

Transport

Finish

Train departs Victoria

Post opera coach

Date

Opera

Mon 1

No performance

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

Mon 8

No performance

Tue 9

Carmen

1

4.50

7.05*

9.40

1.47

10.15

Wed 10

No performance

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

Mon 15

No performance

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

Sat 20

Die Entführung aus dem Serail

1

4.50

7.20*

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

Tue 23

No performance

Wed 24

Die Entführung aus dem Serail

2

4.50

7.20*

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

Sat 27

Die Entführung aus dem Serail

2

4.50

7.20*

9.40

1.47

10.15

Sun 28

Carmen

1

3.35

5.50*

8.25

12.47

8.55

Mon 29

No performance

Tue 30

Die Entführung aus dem Serail

2

4.50

7.20*

9.40

1.47

10.15

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

glyndebourne.com | 21

July Performance

Transport

Date

Opera

Start

Long dining interval

Finish

Train departs Victoria

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

Mon 6

No performance

Tues 7

No performance

Wed 8

Die Entführung aus dem Serail

2

4.50

7.20*

9.40

1.47

10.15

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

Mon 13

No performance

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

Fri 17

The Rape of Lucretia

2

5.15

6.15

8.40

1.47

9.20

Sat 18

No performance

Sun 19

Die Entführung aus dem Serail

2

3.35

6.05*

8.25

12.47

8.55

Mon 20

No performance

Tue 21

No performance

Wed 22

Die Entführung aus dem Serail

2

4.50

7.20*

9.40

1.47

10.15

Thu 23

Saul

2

5.20

7.15

9.40

1.47

10.15

Fri 24

The Rape of Lucretia

3

5.15

6.15

8.40

1.47

9.20

Sat 25

Die Entführung aus dem Serail

1

4.50

7.20*

9.40

1.47

10.15

Sun 26

Saul

2

4.05

6.00

8.25

12.47

8.55

Mon 27

No performance

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

Fri 31

Die Entführung aus dem Serail

2

4.50

7.20*

9.40

1.47

10.15

Price Band See p.24

* PLEASE NOTE: There is an additional 20 min interval between Acts 1 and 2 22 | FESTIVAL 2015

Post opera coach

August Performance

Transport

Date

Opera

Start

Long dining interval

Finish

Train departs Victoria

Sat 1

Saul

2

5.20

7.15

9.40

1.47

10.15

Sun 2

Die Entf端hrung aus dem Serail

2

3.35

6.05*

8.25

12.47

8.55

Mon 3

No performance

Tues 4

The Rape of Lucretia

3

5.15

6.15

8.40

1.47

9.20

Wed 5

No performance

Thu 6

Saul

2

5.20

7.15

9.40

1.47

10.15

Fri 7

Die Entf端hrung aus dem Serail

3

4.50

7.20*

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 Entf端hrung 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

Fri 14

The Rape of Lucretia

3

5.15

6.15

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

Sun 23

Ravel Double Bill

2

5.10

6.10

8.25

1.47

8.55

Mon 24

No performance

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

Sun 30

Ravel Double Bill

2

5.10

6.10

8.25

1.47

8.55

Exclusive <30

<30

Price Band See p.24

Post opera coach

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.

glyndebourne.com | 23

Ticket prices

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.

price band 1 £225

£210

£180

£225

£210

£180

£120

£95

£250

£235

£210

Foyer Circle

£250

£235

£210

Foyer Circle Sides

£150

£110

Circle

£250

£235

£225

£210

Circle Sides

£150

£110

£120

Upper Circle

£150

£60

£120

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

£155

£95

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

£195

£155

£95

Circle Side Box 18 (4 seats only)

£110

£95

£75

Circle Side Boxes 15 16 17 20 21

£195

£160

£145

£115

£160

£145

£115

£85

£75

£160

£145

£95

£85

£75

£50

£85

£40

£50 £20

£20

£210

£155

£115

£40 £15

£210 £150

£180

£155

price band 3

Stalls

£210

£195

price band 2

£15

£10

£145 £120

£145

£60

£50

£40

Foyer Circle level Two spaces *

£210

£180

£115

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

£110

£95

£75

£85

*Prices include wheelchair and companion.

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.

lease be sure to inform the Box Office if you or P your guests have an access requirement at the time of applying for tickets, or if any access needs arise between applying and attending.

NB: Box seats may be sold separately.

Boxes 4, 5, 8 & 9 are initially held for customers using wheelchairs.

Wheelchair access is only available at Foyer Circle (ground level).

24 | FESTIVAL 2015

£95

£95

Seating plan

BLUE SIDE

RED SIDE

Standing

Standing

UPPER CIRCLE

Circle Sides

Box G

Box H

Box I

Box J

Box E

Box F

Circle Sides

CIRCLE Box A

Foyer Circle Sides

Box B

Box C

PRIVATE BOX

FOYER CIRCLE (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 Box Office when applying for your tickets.

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

Standing and slips Standing places and slips are reserved until public booking opens. If you are a Glyndebourne <30s subscriber you can apply for two standing places per production during your priority booking period.

glyndebourne.com | 25

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

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