Category Archives: glyndebourne
Glyndebourne has posted a podcast on Tito with their current team (none of the singers, though), featuring music from the 1993 Harnoncourt recording (and not their own recording, for some reason). Usual readers aren’t likely to hear many new things but at least it’s clear that teams have left behind the old school slight embarrassment at producing Tito and are now focusing on the music (how it’s different from the other things Mozart composed in his later years) and what it’s about.
Aside from the 3 August Glyndebourne livestream (6pm London time), Tito will appear at the Proms (semi staged with the same cast) on Monday 28 August at 7pm London time. All I’m going to say about that is the broadcast will be a much better deal than the actual Royal Albert Hall acoustics.
Given that I haven’t been to Glyndebourne in a few years, I don’t know if this general booking system is new or not. In any case, you apparently can’t sneak in before the appointed time. Though I got in 14secs after 6pm, I was #622 in the queue. Luckily I was tag-teaming with Baroque Bird, who was in the 300s already. So Team London will be there for La clemenza di Tito on 31 July (Glyndebourne will broadcast the 3 August performance) and yours truly will see a couple more shows (Hipermestra and Hamlet in June plus another go at Tito in August). Let’s hope for clement weather 🙂
edit: we now have Annio (Anna Stéphany) and Publio (Clive Bayley). Interesting that Stéphany is Annio, seeing as how she’s already sung Sesto. But I do rather see her as Annio. You may remember I saw Bayley as Aye in Akhnaten last year and when I say saw I mean it. It’s going to be nice actually hearing him 😉
Important: next year, General ticket sale will start at the unusual hour of 6pm on Sunday, 5 March. They really want to keep us at home on a Sunday afternoon.
- Hipermestra (Cavalli) 20 May – 8 July (new production)
Conductor/ Orchestra: William Christie | Orchestra of the Age of Enlightenment
Emöke Baráth takes the title role.
- La traviata 21 May – 19 June and again (different cast/conductor) 1 – 27 August
Kristina Mkhitaryan and Joyce El-Khoury take the title role.
- Hamlet (Brett Dean) 11 June – 16 July (new commission)
Conductor/ Orchestra: V. Jurowski | London Philharmonic Orchestra
Cast: Allan Clayton (Hamlet), Sarah Connolly (Gertrude), Barbara Hannigan (Ophelia), Rod Gilfry (Claudius), Kim Begley (Polonius), John Tomlinson (Ghost of Old Hamlet)
Badass cast, I wonder about the music.
- Ariadne auf Naxos 25 June – 27 July
Conductor/ Orchestra: Cornelius Meister | London Philharmonic Orchestra
2015 Operalia Winner Lise Davidsen takes the title role. So young and already Ariadne! I am as usual tempted to go but…
- Don Pasquale 13 July – 23 August
Conductor/ Orchestra: Giacomo Sagripanti | London Philharmonic Orchestra
- La clemenza di Tito 26 July – 26 August (new production)
Conductor/ Orchestra: R. Ticciati | Orchestra of the Age of Enlightenment
Tito: Steve Davislim
Vitellia: Alice Coote
Sesto: Kate Lindsey
Servilia: Joélle Harvey
Leander and I have already talked about picnic-ing for this one (and probably Hipermestra as well). Anyone who wants to join us is more than welcome!
- YES! Tito returns and not in that tilted floor production from ~1990.
- Oh, dear
godGuth, please let it be half good – and no additional characters, thanksbye.
- Mantra: decent Sesto, decent Sesto, decent Sesto… After the mega neurotic Nerone in Vienna I’m afraid to think too much about this. Also who. Just not EG, KL or Carmen Tancredi, please ye gods above and below.
- Alice Coote is Vitellia, which is an interesting thought, although that really scuppers my Sesto hopes.
edit: now that we know Sesto is Kate Lindsey, let’s remember how that worked out last time:
PS: thanks to Giulia and Baroque Bird for the prompt alert 😀
That time of the year again, for sketching the next 12 month’s opera schedule. I haven’t made my mind up yet, just musing over the offer:
Die Meistersinger – normally not my thing BUT check out the cast:
Hans Sachs Gerald Finley
Walther von Stoltzing Michael Schade
Beckmesser Jochen Kupfer
Eva Amanda Majeski
Pogner Alastair Miles
David David Portillo
Il barbiere – DeNiese as Rosina, whatever (though of course she’ll be in something at Glyndebourne, just as we’ve got a boatload of Kozena at Wigmore now…). There’s a disgruntled young mezzo out there somewhere.
The Cunning little Vixen – you know, I really like the libretto and I remember it’s a colourful production
Nozze – that ’70s production.
Beatrice et Benedict – making the rounds, eh (Shakespeare year)? Another chance to catch d’Oustrac.
Says Glyndebourne’s site:
French mezzo soprano Stéphanie d’Oustrac will make her role debut as Béatrice opposite the US tenor Paul Appleby.
Mais non, she will make her debut in the role next month at La Monnaie so she will have a bit of experience under the belt come next summer.
A Misummer Night’s Dream – obviously also Shakespeare year and:
Oberon Tim Mead – yes!
Tytania Kathleen Kim
Lysander Benjamin Hulett – maybe?
Demetrius Duncan Rock
Hermia Elizabeth DeShong – curious to hear her live
Helena Kate Royal
Theseus Michael Sumuel
Hippolyta Claudia Huckle
Bottom Matthew Rose – love him!
Online general sale started tonight – with queues forming since before 11pm for a 12am start. The madness takes new shape every year. I didn’t even know, as last year nothing was happening yet around 11pm, good thing I texted opera buddy who got himself in queue way ahead of me and got us cheapy standing tickets for the Ravel double bill. I trudged on for another hour for a ticket to Die Entfuhrung and callled it a day when I had to queue again if I wanted something else. Possibly a slip on my part as I was on the phone with opera buddy but there you go. Saul and anything else are left up to chance for now.
Last year at Glyndebourne – where else? – me and opera buddy ran into one of these Cerbers when went to see Hippolyte et Aricie. Even before the intermission we’d already eyed the sole floor seats left unoccupied, which just so happened to be the best seats in the house. Normally I’m not fussy, any kind of upgrade is fine by me. In fact I often don’t even bother to.
But since truly these were the only seats we could spot and the production would have been fun to see up-close, we thought we should go for it. After first bell we made our way to the arena and sat down. Nobody else had claimed them by the time the lights were about to dim. That’s when Mr. Jeeves showed up and demanded to see our tickets. WHY? What did he bloody accomplish by keeping a couple of opera lovers from getting a better reception of the show? Did he think he was better than us because he ushered at Glyndebourne and we had Standing seats? Did some snobbish arsehole “tip” him? To what end? Nobody sat in those seats until the end of the performance. From what he let on it emerged that the seats were actually unsold.
Nobody wins when seats remain empty. Unless the house feels good about itself in admitting it has not managed to sell out said performances or did not convince patrons to attend…
this “blast from the past” rant brought to you by frustration old and new with customer service (nothing to do with yesterday’s performance)
Let’s look at the roster for Glyndebourne 2015:
Poliuto | Donizetti
Carmen | Bizet – Stephanie d’Oustrac in the title role… interesting idea; ponder, ponder…
Die Entfuhrung aus dem Serail | Mozart – I am so going! I don’t even care who’s in it 😀
The Rape of Lucretia | Britten
Saul | Handel – more Iestyn and some Purves + Bolton; good chance I’m going
L’heure espagnole/L’enfant et les sortileges | Ravel – pretty sure I’m going, I love L’heure and I think DeNiese will be ok, she can for sure pull off the sex starved babe 😉
The neat thing Verdi does in La traviata‘s Act I is Alfredo and Violetta’s duet (with extension) Un di, felice, eterea +E strano…folie! It’s a truly great musical illustration of trying to resist falling in love – and failing. I like how contrasting the musical lines are at first – Alfredo romantic, sincere, Violetta hiding behind sarcasm and fake cheerfulness. Later on she pretends she’s still the same old party girl but as soon as she hears Alfredo’s love tune she falters. She tries to keep her distance via strident coloratura but Sempre libera is already related to Alfredo’s music. Love has seeped in. Poor Violetta…
Michael Fabiano and Venera Gimadieva do a good job at conveying all that in Glyndebourne’s new production. I’d have liked a warmer Violetta acting-wise but vocally Gimadieva is very assured. Fabiano’s Alfredo looks like a git and vocally he could’ve been more agile and more italianate but he ain’t that bad, in fact his tone is pleasant.
This was a search engine term that lead someone to my site the other day. As it’s so awfully specific, I thought I’d give it its own post. Especially since I last gave the wrong info on the subject and then was too lazy to rectify.
For all concerned: the Glyndebourne shuttle bus ticket is included in the performance ticket price but will be issued upon boarding the bus at Lewes Station instead of being printable with your ticket purchase receipt. I couldn’t find this information anywhere on the Glyndebourne site or in the receipt email hence my own confusion.