Glyndebourne
Ismene Brown
Sex farce, class comedy, crime thriller, existential tragedy, supernatural shocker - Don Giovanni is, as Jonathan Kent notes about his production in the Glyndebourne programme, a cabinet of curiosities. Mozart's music hurdles to and fro across two centuries, the baroque 18th century and the disorientating romantic depths of the 19th; the characters are either stock (Leporello the comic sidekick, Anna the wronged virgin) or so subtle that they need redefining for every staging and every time (Elvira, and the lothario Don Giovanni himself). But again and again, Mozart’s 1787 opera proves itself Read more ...
Jasper Rees
Jonathan Kent was an actor before he was a director. Indeed, he had not directed a single play when in his mid-40s he assumed control of the Almeida Theatre in 1990. By the time he and his co-artistic director Ian McDiarmid has left more than a decade later, they had enforced a vital shift in the ecology of London theatre. Kent lured big names to work for small paychecks: Diana Rigg and Ralph Fiennes were soon followed by the likes of Kevin Spacey, Juliette Binoche, Liam Neeson and Cate Blanchett. The theatre put down roots in the West End, invaded the old Gainsborough Studios and took up Read more ...
caspar.gomez
It’s certainly different from the Glastonbury shuttle, I’ll tell you that. I’m sitting with Finetime on the minibus that takes festival-goers from Lewes Station to the opening day of Glyndebourne Opera Festival 2014.Finetime’s looking very much the peacock today, a suit of many colours and he’s even wearing an earring with a blue feather. I clank my Asahi beer against his.“The first of too many,” I say.All around us the full minibus is silent but not unfriendly. Opera people do anticipation differently from us rockers and ravers. A man of 50-ish in a kilt sits down next to us, smiles and asks Read more ...
David Nice
Is this the same Tatyana whose life depended on every word of her letter to straw idol Onegin at the 2009 Cardiff Singer of the World Competition? Then, Ekaterina Shcherbachenko – she’s since dropped the first “h” in transliteration – gave the most convincing, nuanced interpretation of Tchaikovsky’s famous Letter Scene, his reason for setting Pushkin’s verse-novel about youthful idealism and lost illusions. She enjoyed some success in Dmitri Tcherniakov's strangely compelling Bolshoi re-think. Now, though she looks ideally young and vulnerable, it’s all semaphoring gestures and telephone- Read more ...
David Nice
What spontaneous use might a silver rose take on after its formal presentation by a chubby cherub of a cavalier to a bartered bride-to-be? This and a thousand other score-co-ordinated details are things you never can predict in the hands of that chameleonic yet rigorous director Richard Jones. He throws out most of the meticulous stage directions in Hugo von Hofmannsthal’s rococo libretto for Richard Strauss and finds his own. You may not like them – I mostly did – but you can’t say that this isn’t quality work in tandem with a team of near-ideal Glyndebourne singers and beautifully if often Read more ...
David Nice
Poised when I met him six weeks ago between 40th anniversary celebrations of the Scottish Chamber Orchestra, of which he has been a shaping chief conductor for the past five years and putting his new music directorship of Glyndebourne into action, Robin Ticciati hardly seemed like a man in positions of power, more an idealistic youth with a touch of the dreamer softening a powerful intellect.He was much the same, in short, as when I’d first encountered him sharing a 2009 Glyndebourne study day on Janáček's Jenůfa (Ticciati holding the score below) in the then-26 year old’s last Read more ...
Brian Dickie
I started work at Glyndebourne in 1962 at the age of 20 and remained there for 27 years, for the last seven of which I was General Administrator. Throughout that period George was Chairman of Glyndebourne Productions, and my ultimate boss. George was six and a half years older than me, and had already been Chairman for three years in 1962. He was still working full time at the Gulbenkian Foundation and he and Mary, with their first child Hector, were living during the week in their Godfrey Street house in London. They were, however, in Glyndeboune every weekend. So George was a regular Read more ...
theartsdesk
It's the genre of gender-bending and cross-dressing, where women play warriors and men sing like women (while playing warriors). But when it comes to opera, who really wears the trousers? For at least 300 years the answer has been pretty definitive. Women have donned breeches and boots to play opera's many "trouser roles" in music from Handel and Mozart to Massenet and Offenbach. This month Irish mezzo-soprano Tara Erraught takes on one of the repertoire's very finest trouser roles, making her Glyndebourne debut as the lovestruck young nobleman Octavian in Richard Strauss's Der Rosenkavalier Read more ...
theartsdesk
Its constituent parts come in all sizes, tall and small, compact or full-bodied, and span the ages. But put them all together and an operatic chorus is a vast but single organism that sings – and moves – as one. The current Glyndebourne Chorus consists of 15 sopranos, 12 mezzos, 13 tenors and 18 basses. The longest-serving member has been singing with the Chorus for 18 years, but there is an annual intake from music colleges which will include several aspiring soloists.Not everyone will make it all the way to the top, but our gallery of greats supplies ample proof that the Glyndebourne Chorus Read more ...
David Nice
Der Rosenkavalier, Richard Strauss and Hugo von Hofmannsthal’s 1911 “comedy for music” about love, money and masquerading in a putative 18th-century Vienna, is a repertoire staple around the world. Continental houses throw it together without a moment’s thought, a single rehearsal (Felicity Lott memorably recalls a Vienna Staatsoper performance in which the first time her character, the Marschallin, met the mezzo singing the trousers role of her young lover Octavian was when they woke up in bed together at the beginning of the opera).Glyndebourne is different, with a luxuriously long Read more ...
David Nice
“Aren’t you sick of Britten yet?” asked a colleague three-quarters of the way through the composer’s centenary year. Absolutely not; there have been revelations and there still remains so much to discover or re-discover. Yet re-evaluation can sour as well as sweeten; acclaimed works in the canon may turn out less good than remembered. Was it my own temporary blind spot, the problem of the piece or the musical and dramatic shortcomings so apparent in Fiona Shaw’s Glyndebourne Tour production of The Rape of Lucretia that I emerged into the crepuscular garden unmoved and a little repelled? Read more ...
alexandra.coghlan
It’s not a crowd-pleaser like Albert Herring, nor wittily fanciful like A Midsummer Night’s Dream or macabre like The Turn of the Screw and certainly not the classic that Peter Grimes has become, and until three years ago Glyndebourne had never even staged Britten’s Billy Budd. But Michael Grandage’s 2010 production was a sea-changer. Aided by Mark Elder in the pit, the director made his operatic debut with devastating simplicity, reminding us all of the power of this uneasy tragedy. This anniversary year the production returns, and though there are some significant changes among the crew of Read more ...