MEMBER NEWSLETTER SUMMER 2019

1 25th anniversary Moving from a ‘semi to a detached’ In 2019 is celebrating the 25th anniversary of the ‘new’ opera house, rebuilt in the early 1990s. Executive Chairman Gus Christie shares his memories of the project. Guy Gravett Guy Gravett December 1992 ‘All the world’s a stage’ inscription George Christie, June 1992 I was pretty young and green but I certainly corporates donated towards the rebuild in thought it was the right thing to do. I was just exchange for a 20-year membership. Those sitting there soaking it up. There was some contributions accounted for three quarters of very healthy debate going on. Some people the cost of the rebuild. Dad took a personal were very worried about knocking down this approach to raising the money. Once the national institution and what the hell was decision was made to go with a design by going to come in its place? And all the money Michael and Patty Hopkins, he would invite that needed to be raised – it was a major each Corporate Member into the house gamble. individually to show them the model and present his vision. They could see that he But once the idea had formulated in Dad’s was passionate about it and I think that mind there was no going back. He was made a huge difference. Along with support thinking long term, for the 21st century. He’d from companies, Glyndebourne also received been running Glyndebourne since the early generous donations from individuals, many of 60s at this point – over 20 years – and he just whom continue as Founder Members today. felt there was no way this was going to survive in its current form. So whatever anyone on the I’m very glad that he went with the Hopkins Board said, he was going to do it. And there design – Hopkins wanted to build an was a lot of support, mainly from Sir Alex extremely modern, forward-looking theatre Alexander and John Botts, who were right but put it into the context of the house and behind him. the surroundings as if it was always there. It was the first opera house that Hopkins built,

Guy Gravett The fundraising centred around a new which felt like a bit of a risk, but we had a The site is cleared, November 1991 ‘Founder Member’ status through which

It had obviously been on my Dad’s mind era in Glyndebourne’s history, that encouraged that a new theatre was needed but he didn’t him. That, coupled with the fact that the express it that widely before 1987. That was existing theatre was nearly 60 years old. It had the year that he gently introduced the idea been extended as much as it could be over the in the foreword to the Festival Programme years, growing from 300 seats to 800. It was Book, describing it as ‘a twinkle in the eye.’ boiling hot, productions were spilling out into He immediately received letters from alarmed the auditorium – it had a lot of charm but it Members. They’d enjoyed great memories also had a lot of flaws. And I’m sure he felt in the old theatre and were nervous at the that. prospect of change.

I was just coming on to the Board of Guy Gravett Guy Gravett It was the success of the 1980s, a real golden Glyndebourne Productions Ltd at that time. George, Mary and Gus Christie – February 1992 January 1993 – flytower installation

2 3 90 joiners. I’d come back every fortnight or so and the progress was terrific. There were a few nervy moments along the way. I remember when they laid the first bricks for the outer wall of the auditorium. We thought they must have got it wrong because it looked far too Guy Gravett small. But it was just that the Preparing to remove the old flytower new theatre was horseshoe shaped and not as deep as the I was making wildlife films at that time but old one with its rectangular when time allowed I would come down to take shape. photographs of the rebuild along with Joel Hopkins, Michael and Patty’s son. I sat in on On the opening night, a many of the weekly meetings that took place performance of Le nozze di in the Bovis hut. It got quite heated at times Figaro, people weren’t really because once it started going up it was on looking at the production, such a tight schedule that Hopkins could not they were looking at change his mind. We could only afford to miss the theatre. It was an

Guy Gravett one season. I remember it was unbelievably extraordinary evening. Dad Flytower in the old house come down quick. There were 300 brickies on site and made a speech from the Circle

team of expert consultants on hand including Iain Mackintosh of Theatre Projects, Derek Sugden of Arup Acoustics, Stuart Lipton of Stanhope Properties and John Bury, Peter Hall’s designer. We began the rebuild in 1992 and started building the backstage area while the Joel Hopkins old theatre was still there. That was a View from the old proscenium arch to the demolition site foreshortened season, ending in July. There was hoarding all around the new building above the Foyer Level – the most memorable line being his site with little peep holes so that the remark that ‘we no longer live in a semi – we’re detached!’ A audience could see the new Glyndebourne reference to the fact that the manor house was now separated rise up. At that point we hadn’t raised all the from the theatre. money. We had underwriting but it was still a financial risk. The ball was rolling and the fact I think the auditorium is spectacular. It has a magic feel when that people could see it emerge encouraged you go in there and it is much better than the old one. Dad new donations. wanted something fit for purpose that could survive into the next century while retaining the feel of the old. And that is The day that the old theatre was finally exactly what we got. Everyone was delighted. knocked down was all a bit alarming but also quite exciting. I remember the bulldozers coming in and they did the job pretty

damn quickly. Gus Christie Construction of the new backstage area

4 5 Tour 2019

Expanding that ‘first date’ feeling Appointed Principal Conductor of the Tour (2019-2021) at the end of last year, Ben Glassberg will conduct L’elisir d’amore in Tour 2019. As he will make a big impact on the Tour in his new role, Charlotte Alldis finds out a little bit more about him.

How did you become a conductor? started what is becoming a really wonderful I started as a percussionist, but was always relationship with the LPO. Last year was my fascinated by what the conductor was doing, first time on Tour with Glyndebourne and it particularly in performances. It seemed such was a total joy. It felt like a very exciting ‘first an unusual ability, to encourage others to date’, which greatly encourages me for the generate sound entirely through gesture. next three years. When I was 14, I joined a class for young orchestral players and, through that, How familiar are you with L’elisir d’amore? set up a small orchestra of friends who kindly L’elisir is my favourite Donizetti opera and indulged this new hobby of mine! probably my favourite opera in the bel canto repertoire. His use of harmony, orchestration What do you think makes a good conductor? and text is both economical and highly A good conductor in 2019 is perhaps different expressive. Perhaps what appeals to me most to how we would perceive a good conductor is the sheer joy that springs off the page in 30 years ago. I feel strongly that it requires his music. I can’t think of a better way to a leadership style that is decisive and yet spend the cold winter months this year. Kenton Tristram always serves both the musicians and the Ben Glassberg took part in La traviata: Behind the Curtain during Tour 2018 composer’s intentions. A good ear is very What preparation do you do before you go into important, as well as imagination and rehearsals when conducting? simpering pathos of Nemorino. Similarly, as the dramatic cliffhanger, makes for an ideal strong people skills. For an opera conductor, I like to spend several months getting to Dulcamara always sings with a characteristic conclusion to the first half of the evening. know an opera score before the first rehearsal. buffo quality, whilst Adina’s flirtatious nature understanding singers and drama is an What are you most excited about with conducting Step one is always just to study the text – I is evident in her frequent coloratura. absolute essential. in the Glyndebourne Tour? think it’s imperative to understand the drama Working at Glyndebourne is quite unique. Can you talk us through your history with in order to appreciate what the composer is What will you be bringing to the music? The quality of the work is unfailingly high, Glyndebourne? trying to say musically. Then I’ll spend time I’d like to think that I’ll be bringing an never compromising on standards. At the I was fortunate enough to start my over several weeks analysing the structure, awareness of the dramatic requirements same time, prioritising fun and community professional career as an assistant to harmony and orchestration of a work, of the opera to the pit. I love working with is always on the agenda and I love this aspect Antonello Manacorda at Glyndebourne [Ben gradually getting into more and more detail singers, finding moments where I lead or of the work. The orchestra is wonderfully was assistant conductor on Beatrice et Bénédict (things like articulation, colour, texture). I they lead and those magical moments where professional and flexible, plus they have a in Festival 2016]. In that first summer, I learnt always like to play opera scores through at we do exactly the same thing at the same terrific attitude when it comes to taking a a great deal and fell in love with the Festival. the piano, although my keyboard skills leave time. I’m also aware that we’ll have a large show to several different venues. Every time In subsequent years, I conducted several number of performances this autumn, so I’ll quite a lot to be desired. I work at Glyndebourne it feels like coming performances in the Festival, all of which be aiming to find ways of keeping the music How does the music in L’elisir help to bring the back home, so I can’t wait to get started in were landmark moments for me. Jumping fresh and alive each show. in for Robin Ticciati to conduct La clemenza di story to life? September. What is your favourite musical moment in the opera? Tito in 2017 was probably the most significant Donizetti writes very specifically for each Charlotte is Glyndebourne’s Senior Marketing Manager. moment of my career so far. Similarly, voice in L’elisir. The pomposity of Belcore is For me the end of Act I is perfect. The balance performances of Madama Butterfly in 2018 always evident, in contrast to the slightly and juxtaposition of the different voices, as well

6 7 Members memories Liverpool – a long-awaited return for the Tour This autumn, the Glyndebourne Tour makes its first visit to Liverpool’s Empire Theatre. who, the Liverpool Daily Post reported, ‘made a But it is not the first time we have performed in the city asKate Harvey find outs. special journey from their Stafford home to be present.’ Many people dressed up for the Glyndebourne Festival occasion – a nod to the tradition of wearing productions were staged in evening dress at the Glyndebourne Festival. Liverpool in 1940 and 1946 – with one-off visits of The Across two weeks, Glyndebourne gave four Beggars Opera and The Rape of performances each of three different operas Lucretia respectively – before – Le nozze di Figaro and Don Giovanni by Mozart the company undertook a and Rossini’s . Among the starry two-week season at the city’s cast of top international opera singers were Royal Court Theatre in 1956. Sesto Bruscatini, Joan Southerland, Geraint Evans, , Marina De Gabarain and Glyndebourne Member Ian Ian Wallace. Vittorio Gui, John Pritchard and Edwards has fond memories Bryan Balkwill shared conducting duties. of that visit and sent us copies of some of the press coverage Critics and audience were united in praise of it attracted. ‘As you can see, the exceptional quality of the performances. it was quite an event in The Liverpool Daily Post reported that on the Liverpool at the time, and to opening night, ‘The company and orchestra me in particular as a teenager,’ took 11 curtain calls as cheers rang out from all he wrote. corners of the house,’ while the Liverpool Daily Echo enthused, ‘at last we have seen opera as it The invitation to present a should be’. Programme book for the Glyndebourne short season in Liverpool season in Liverpool, 1956 came from the Liverpool Such was the success that many of the press Philharmonic Society, who reports called for the immediate planning of around the availability of venues, repertoire also provided financial Glyndebourne’s next visit. ‘It is not, I think, and singers. But Glyndebourne didn’t forget backing for the visit. Such was too soon to suggest that those responsible its warm welcome in Liverpool and when it the excitement in the city, ought to start planning immediately for launched the Glyndebourne Tour in 1968, the that by the time the curtain another Glyndebourne season here,’ asserted city was among the first destinations, hosted rose on opening night, the the Liverpool Daily Echo. In the same newspaper once again at the Royal Court. It returned there performances had set a new Moran Caplat, then General Director of in 1969, 1971 and 1972. northern box-office record for Glyndebourne, said: ‘After the reception we Now, in 2019, Glyndebourne is delighted to be opera. have had here, I assure you we should like to making another return to this great city and its come back to Liverpool someday – but I have Among the luminaries who very first visit to the historic Empire Theatre. no idea when that would be possible.’ attended the glittering gala Glyndebourne Tour 2019 visits the Empire opening were the Lord Mayor In the event, despite a number of invitations Theatre in Liverpool from 21–23 November 2019. of Liverpool and the Earl and between 1957–1959, a return visit never quite Programme book for Rossini’s La Cenerentola in Liverpool Countess of Shrewsbury happened, mainly due to practical issues Kate is Glyndebourne’s Press Manager.

8 9 Festival 2020

Sacred songs Alexandra Coghlan delves into the music of Poulenc’s Dialogues des Carmélites.

‘You must forgive my Carmelites. It seems they can conceived in a sequence of 12 scenes divided only sing tonal music…’ by orchestral preludes and interludes. These scenes are often intimate, rarely between more When Francis Poulenc began work on Dialogues than two or three people: a series of overheard des Carmélites – his first full-length opera – he conversations, dialogues that draw us in was a mature composer in his 50s. Perhaps theatrically close. It’s in these that we hear it was inevitable that one of the greatest the influence of Monteverdi and Debussy. The and most prolific song-composers of his fluid, naturalistic exchanges, melodies shaped generation would eventually seek a bigger by the inflections and stresses of speech, text canvas for his melodic imagination. More absolutely their driving force – all of these Lucy Evans unexpected was the ravishing, consonant recall not only the continuous musical and beauty and consciously old-fashioned style of emotional flow of Debussy’sPelléas et Mélisande the work that emerged. worlds sits a third, one that is pure Poulenc. gesture, and one underpinned by a repeated but also hark right back to opera’s earliest Anyone familiar with the composer’s sacred bass line that circles inexorably beneath. Music after World War II was at a crossroads. beginnings in the expressive, expansive works – the Gloria, Mass in G, the many There is no escape, it tells us, from this Composers sought a new language for a new recitatives of Monteverdi’s operas. motets – will recognise his fingerprints fate. But where Poulenc’s music cuts deep age, rejecting tonality and embracing the It’s in the orchestral writing that Verdi in the effortless melodic arabesques and it also consoles. The marching music, with 12-tone system of Schoenberg and the Second and Mussorgsky play their part. With such bittersweet harmonies of the music sung its distinctive quaver rhythms, is not new. Viennese School. Harmony, in fashionable unaffected, naturalistic vocal lines, the here by the community of nuns. An all- Heard earlier in the opera at the death of the circles, was dead. But there were those who orchestra inevitably becomes the engine of the female ensemble creates a distinctive sheen, Old Prioress, it now returns here almost as swam against the current. Stravinsky rejected drama, surging into the foreground during the a radiance not earthed or anchored by basses a blessing – a fulfilment of the idea that her atonality, shocking critics with his Mozart- interludes. If the musical world of the convent but which seems to float suspended in the painful, cruel end was an act of generosity, inspired opera The Rake’s Progress in 1951. is black and white (and the infinite shades ear. Stylistically too there’s a strange sense of taking on the burden of another’s death. There It’s surely no coincidence that Poulenc, a of grey between), then the orchestra brings suspension – of music caught between past is no anxiety or horror here as the nuns each long-time supporter and admirer of the elder sudden slashes of deep colour to the canvas. and present. There are memories, shadows face their end, just radiant faith and certainty. composer, produced his own musical homage of plainsong through the music, but they are Far from breaks in the action, these episodes Poulenc’s famous apology for his nuns and to the past just a few years later. moulded into new shapes, creating a music are absolutely pivotal to it. Poulenc uses the their ‘tonal music’, quoted at the start, should that is both of its time and outside it. Turn to the title page of Carmélites and interludes not only to supply his characters not, perhaps, be taken at face value. There’s you’ll find a dedication: ‘To the memory of with rich inner lives, fleshing out emotional Which brings us to the opera’s final scene – the sense of a wry, rueful shrug about it, the my mother, who revealed to me the music states and reactions outwardly suppressed one of the most devastating musical moments amusement of a composer once fashionably of … Claudio Monteverdi, in conversation, but also to drive the drama in the repertoire. Having refused to renounce bold and avant-garde, who has made peace and Modest Mussorgsky’. It’s forwards. Time passes here, and the camera their faith, the nuns have been sentenced to with history and tradition. In fusing his own here that we discover the clues to this unusual pans out from the closed world of the convent death, and as they march to face the guillotine fluid, expressive modernity with the music of piece – the musical giants on whose shoulders to take in the broader social landscape beyond. they begin to sing a hymn – the soaring ‘Salve the past, Poulenc creates an opera of haunting Poulenc finds himself balancing with such For these passages it’s Boris Godunov, La Forza Regina’. As the verses progress the number of beauty and incomparable, immediate power. consummate skill. del Destino and Aida – sweeping historical epics singers diminishes; voice after voice is silenced There’s nothing to forgive in that. – that provide a model. by the dull thud of the guillotine blade. The opera’s title – Dialogues des Carmélites – Alexandra is Glyndebourne’s Opera Content points to its distinctive structure. The opera is Alongside these two contrasting musical It’s an astonishing musical and dramatic Consultant

10 11 Festival 2019 Armida is a very difficult role, it’s very virtuoso, and this will be my Handel debut. How is she different from Violetta (both vocally and in performance)? From Violetta to Armida They are both very strong women but musically, it’s two completely different eras. To Russian soprano Kristina Mkhitaryan made her acclaimed Glyndebourne debut me as a singer, it’s very interesting to go from in La traviata during Festival 2017. This year she returns to take on the role of the one to another, and I’m excited to sing this sorceress Armida in Rinaldo. Andrew Batty caught up with her to find out about Baroque piece. her Glyndebourne experience. And you’re back in Festival 2020 to sing the title role in Alcina... It is a great honour to return to this beautiful Festival for the role of Alcina, it is such a big role, with many arias, and I am very happy to perform it. James Bellorini

Andrew is Glyndebourne’s Digital Media Editor. Kristina in rehearsals for La traviata in 2017

Lise Davidsen competition Spades at The Metropolitan Opera, New York, in November. At the BBC Proms 2019 she Lise Davidsen made will be performing Brahms, Bruckner and her UK opera debut Strauss with the Philharmonia Orchestra. at Glyndebourne Her album has recently made it to No 1 in the in the title role of UK Classical Charts. Ariadne auf Naxos in the 2017 Festival. Lise has kindly offered ten copies of her debut album, released by Decca Classics, as prizes She joined a long for a Glyndebourne Members’ competition. line of distinguished artists who have To be in with a chance of winning one of Robert Workman Robert her CDs please submit your answer to the

Robbie Jack Robbie benefitted from question below no later than midday on Kristina making her Glyndebourne debut in 2017’s La traviata Glyndebourne’s commitment to nurturing Friday 16 August 2019 to: the careers of young singers and musicians, Email: [email protected] As this is your second time appearing in the Festival, The rehearsal at Glyndebourne is a special which also includes alumni of the Post: Membership, Glyndebourne, Lewes, what tips do you have for performers coming here for time. The combination of an opera theatre Glyndebourne Chorus Janet Baker, Gerald East Sussex BN8 5UU the first time? surrounded by nature inspires such interesting Finley and Sarah Connolly. Question: One of Glyndebourne’s talent I would suggest that they pay close attention to emotions. We are following Lise’s career keenly and the coaches, because they amaze me with their development initiatives is called ‘Balancing What is your favourite memory of playing Violetta in hope to welcome her back to Glyndebourne level of professionalism. the Score’ – who is it for? Festival 2017? in the future. Since her performances What do you like doing with your free time between I can’t choose a favourite memory, each of the here in 2017, she has enjoyed success as Answer: performances? What do you do to unwind? 11 performances were very special thanks to the Freia and Third Norn in Das Rheingold and A) Singers I enjoy the beauty of Lewes and I sometimes go audience and the amazing cast. Götterdämmerung respectively at The Royal B) Instrumentalists to Brighton to a little music shop to buy some Opera House and as Lisa in Queen of Spades at C) Composers Are you excited about the role of Armida in Rinaldo? scores. Staatsoper Stuttgart. She is looking forward Ten winners will be drawn and sent a CD Rinaldo has some of the most beautiful music to her Bayreuth debut this summer as before the end of August 2019. For terms and How is the rehearsal process at Glyndebourne ever written. I have wanted to sing the role of Elisabeth in Tannhäuser and as Lisa in Queen of conditions please visit glyndebourne.com different to other opera houses you’ve worked at? Armida since I first saw this production on DVD.

12 13 Glyndebourne Shop

Handmade in Brighton As part of its vision to promote and sell locally-made work, Glyndebourne For Tina’s exclusive showcases new work by artists each year in the Glyndebourne Shop and Gallery. collection for Glyndebourne Karen Anderson talked to one such artist, Brighton-based ceramicist Tina Davies, ‘all the pieces are made by about her new collection. me. They are thrown on a wheel or handmade. I Tina had visited decorate the ceramic with a Glyndebourne and watched tin glaze and freely paint on Festival performances of Le the Glyndebourne colours I nozze di Figaro and Tristan und have chosen. Isolde so was ‘really excited I then do a third firing layer when Alex Warner [Head of overglaze where I sketch. of Retail] approached me These are all individual to make some work. The sketches drawing upon the performances I had seen surroundings and events of here were both beautiful Glyndebourne. Each piece is – so unique and romantic – unique.’ the perfect backdrop.’ And in creating each piece All of her work is made Tina took her ‘inspiration locally ‘I am fortunate to from the buildings, gardens, have two studios at home,’ sculptures and of course she explains. ‘One for the creative energy of the ceramics and the other for opera. A day or evening Tina’s exclusive collection includes a vase, bowl, plate, mug painting. I am also about to at Glyndebourne is such a and soap dish, all handmade and hand painted. open an arch on the seafront beautifully romantic concept in Brighton, so I will be able that I couldn’t help but get to do some work away from inspired from the people who Tina Davies at home at the wheel home with a sea view soon.’ visit Glyndebourne and enjoy the performances, as well as the Before taking a degree in ceramics at Cardiff Her unique approach has spilled out into picnic interludes, all the while University, Tina took an unconventional route her work as she literally paints with her supporting the arts.’ to ensure she had hands-on experience in her hands, ‘I like to work from emotion and chosen field as she was so passionate about feeling so the closer I am to the subject Karen is Glyndebourne’s it: ‘I was 19 when I got my first job in a pottery. matter the better. As a painter I paint with Head of Content Production. I was so drawn to clay that I wrote to all the my hands, using no brushes. With ceramics potteries in the Lake District and asked if it’s a little difficult to do this because of the they would give me a job as I would work for materials being used, so I make spontaneous free’ she explains. ‘Lovely Lilian at the Torver brush marks on the first layer of decoration. Pottery in Coniston did just that, and that’s The final layering is the overglaze where I where I started. After that I got a job in the can work on the piece with my fingers and Caribbean as a production thrower for a year spontaneously sketch – bringing the work which was an amazing experience.’ to life.’

14 15 Nurturing talent Darwin’s natural ability, coupled with clear Following his performances at Glyndebourne passion and a determination to succeed, Festival 2019, Darwin will embark on the impressed his teachers and the next year he next stage of his career as a Young Artist at was the joint winner of the inaugural Gus Staatsoper Hannover, a two-year position Christie Award, presented by Glyndebourne starting in August. Darwin’s success story, so far… to a singer with outstanding talent who has Kate is Glyndebourne’s Press Manager. Darwin Prakash has gone from singing in his Delhi church to the Glyndebourne taken part in one of the company’s education Festival in just five years. Kate Harvey tracks his success. projects. Following his Academy training, Darwin successfully auditioned for the Royal Academy of Music and on graduating in as a singer, much to the young man’s 2018 joined the 2019 Glyndebourne Chorus. Darwin is not the only person working amazement. Darwin had never considered He performed in La damnation de Faust and Il at the 2019 Glyndebourne Festival who pursuing a professional music career, and barbiere di Siviglia. has benefitted from the development although he was familiar with some well- opportunities provided by our education known opera arias from cartoons and other Chris Stones, Head of Education at department. pop culture, his first exposure to live opera Glyndebourne, says: ‘There aren’t that many didn’t come until he was around 20 years old. Darwins in the world. His talent is really exceptional and he has put in a lot of hard Laura Attridge Having met Dr Alderson in June, it was August work, in a very short space of time, to get from Sam Stephenson Assistant Director, La damnation de Faust before Darwin broached the subject with his Darwin during a Glyndebourne Academy rehearsal , 2015 where he was, to where he is now. The reason Opera and theatre maker Laura Attridge parents who were still expecting him to apply we started the Glyndebourne Academy in 2012 is a frequent collaborator with composer Five years ago Darwin Prakash had just for a Masters. They were taken aback by the was to see if we could get a few more people Lewis Murphy, previously Glyndebourne’s completed a degree in geology and was unexpected turn of events but supported Darwin from different backgrounds into the opera Young Composer-in-Residence. Together planning to apply for a Masters. At that stage, in his decision to move to the UK for a year to try industry. Darwin is a real success story as they created the new opera Belongings, his love of music centred around singing in and pursue a professional singing career. he’s there right now, in the profession and which was performed on the main stage by his church in Delhi and beatboxing for his on the stage.’ Glyndebourne Youth Opera in 2017. Laura is university acapella group. Darwin moved to Manchester to study with Dr Alderson in December 2014 and soon after Darwin’s story was recently reported by BBC back at Glyndebourne this summer assisting Then one day Darwin accompanied a friend to applied to the Glyndebourne Academy, a News, attracting interest from all around Richard Jones on his new production of a masterclass being given by British singing development scheme for gifted singers who the world from people inspired by his tale of Berlioz’s La damnation de Faust. teacher, Dr Robert Alderson, a vocal tutor haven’t followed the usual path towards a talent, luck, hard work and determination. Johann Stuckenbruck from the Dublin Conservatory of Music and professional singing career. Writing in support Assistant Conductor, Il barbiere di Siviglia Drama. Rather than just drop his friend off and of Darwin’s application, Dr Alderson stated: The up-and-coming American/British return home, Darwin went in. That last minute ‘He is definitely one of the most, if not the conductor Johann Stuckenbruck was also decision set his life on a new path that bought most, bright and talented students I’ve part of the Belongings company. Having him first to the UK, and more recently to the worked with during 35 years teaching.’ studied with Sian Edwards at RAM, he is Glyndebourne Festival as a member of the now working alongside the charismatic 2019 Glyndebourne Chorus. In August 2015, Darwin arrived at Glyndebourne to take part in the Academy Venezuelan conductor Rafael Payare on In the workshop Dr Alderson soon noticed and received an intensive week of training in the Festival 2019 production of Il barbiere di Siviglia. Darwin’s exceptional potential. ‘I heard his vocal technique, musicianship, movement and sound and asked him to come in the following foreign languages. The residential was led by Connor Malewicz and Flora Atherton morning at 7am. He was there on time and Glyndebourne’s Vocal Talent Consultant Mary actors in La damnation de Faust very eager. I was so excited by his energy and King who says of the programme: ‘It’s a tiny Connor and Flora have both taken part in intelligence that I taught him every day for the amount of time but it really isn’t fluffy. It’s Glyndebourne Youth Opera projects and rest of my stay.’ quite hard core. If you can’t do drip-feed work, are applying the performance skills they When the time came to return home, Dr which takes a lot of money, intense feed does developed there in their roles as actors in La

Alderson encouraged Darwin to consider at least propel you forward several steps – it’s James Bellorini damnation de Faust this summer. moving to the UK to pursue formal training like a leapfrogging system.’ Darwin during rehearsals for Il barbiere di Siviglia, 2019

16 17 Memories Membership notice Celebrating the magic Your Membership makes a vital contribution to Glyndebourne of Glyndebourne – thank you for your continued support. Subscriptions for 2020 Alastair and Barbara McKerlie are celebrating their Diamond Wedding Anniversary this year, which includes a visit to Glyndebourne. Festival Society Membership: £189 Associate Membership: £83 Tour Membership: £45 In the summer of 1964 they made their second John Lewis Partnership and Glyndebourne Make your subscription go even further Tour Benefactor: £290 visit to the opera at Glyndebourne: ‘We were Alastair and Barbara are not the only Members Direct Debit is an easy way for UK bank account in our 20s, married for five years and short to have benefitted through an association Multi-year payments holders to pay the annual Membership of money. Barbara was six months pregnant with John Lewis. And Glyndebourne has If you are a Festival Society Member or a subscription. You’ll free up more of your with our son Andrew and we were late benefitted too. John Spedan Lewis was the newly joined Associate Member you can now contribution to create extraordinary opera. You’ll arriving for Die Zauberflote. The trot from the driving force behind Glyndebourne becoming take advantage of multi-year subscription have peace of mind as your subscription will be car park to squeeze in the back of the stalls a recipient of the Partnership’s assistance. payment options. collected automatically (a reminder will be sent to was uncomfortable but the magic of Mozart’s Having encouraged their staff to attend in the you each year) and of course, your payments are music soon settled our unborn son.’ early days, by the 1940s John Lewis offered Festival Society Members protected by the Direct Debit Guarantee. Glyndebourne even more support in the form £1,700 for a 10-year subscription They tried to book tickets every year for the £3,400 for a 20-year subscription As a charity, Glyndebourne can claim Gift Aid on of advice from John Lewis staff, and in the Festival, sometimes being able to access your subscriptions and donations at no extra cost 1950s pledged assistance to underwrite some New Associate Members to you. If you are a UK taxpayer and eligible to Gift tickets through Alastair’s work at John Lewis. of the costs of the Festival. £830 to cover all annual subscriptions before Aid we can claim 25p for every £1 you give if we ‘We were first on the waiting list for Festival reaching the top of the waiting list to be a hold a Gift Aid declaration from you. Membership and have been full Members Following up after the 1950 Festival, Moran Festival Society Member (estimated between for the last ten years. We are so fortunate Caplet wrote to John Spedan Lewis on We can now record Direct Debit instructions and 10-12 years) to have been present at so many brilliant 23 July 1950: Gift Aid declarations by phone – if you’d like to set productions under six music directors – one up you can simply call us on +44(0)1273 815 400 ‘... It has been a great privilege and pleasure to me to plus some distinguished guests: Leppard, (Monday to Friday, 10.00am - 5.00pm). work on this Season and I am very conscious that the Elder, Rattle, MacKerras and Christie! It is Season could probably not have taken place without wonderful for us to look back in our 50+ years your support. Yours sincerely, Moran Caplat’ of Programme Books to recall some highlights What’s on in 2020 – too many to list them all. We learned to love And in response, on 26 July, from John Spedan March: Glyndebourne Opera Cup Members’ ballot: Sunday 1 December 2019 most of Benjamin Britten’s operas and our Lewis you can hear why he strove to help Semi Final: Wednesday 4 March 2020 Associate Members’ ballot: first introduction to the operas of Janáček, Glyndebourne; Final: Saturday 7 March 2020 Friday 24 January 2020 Dvořák and Debussy. I have not mentioned ‘... Mr Christie made of Glyndebourne a very perfect Public booking: Sunday 8 March 2020 the singers, all so professional and well Priority booking: 1 August 2019 jewel. The tendency of the modern world as against For performance dates please visit rehearsed. We have been most impressed by Public booking: 8 August 2019 the Ancient Greeks in their prime is to fail to know glyndebourne.com Glyndebourne’s policy to audition and cast where to stop and therefore to fall short of harmony or May – August: Festival 2020 many singers early in their careers and to October – December: Tour 2020 to impair it when it has been achieved.’ POULENC: Dialogues des Carmélites welcome them back in later years.’ DONIZETTI: L’elisir d’amore MOZART: The Magic Flute Thanks to John Lewis, along with all our other This year, 55 years after their first visit they will HANDEL: Alcina PUCCINI: Madama Butterfly Founder Members, for contributing to the be visiting again with their son to enjoy the MOZART: Die Entführung aus dem Serail The Magic Flute: Behind the Curtain building of the new opera house, 25 years ago. new production of Die Zauberflöte. ‘The magic BEETHOVEN: Fidelio Tour Members’ ballot: Monday 27 April 2020 will be there for us on the lawns for our picnic, How were you first introduced to Glyndebourne? STRAVINSKY: The Rake’s Progress Public booking: Monday 8 June 2020 in the gardens and always in the music.’ Share your story with us.

18 19 Leith’s at Glyndebourne Vote for your Festival favourite Gin renaissance Were you enchanted by Cendrillon? Besotted with Die Zauberflöte? Let us know by casting your vote in our Members’ poll for your favourite production of the season. Keep an eye out for an Exclusively for Members, Eleanor Crawforth discovers Leith’s email at the end of the Festival with a link to the online poll. We’ll reveal the results in a future at Glyndebourne’s guide to the perfect gin & tonic. G-News email, when we’ll see which opera joins past winners Giulio Cesare (2018), Hipermestra (2017) and A Midsummer Night’s Dream (2016). The classic G&T has always been a perennial Max Murray’s top tips: favourite at Glyndebourne – as much a part of Firstly, ‘be the Festival experience as black tie and picnics. generous As Max Murray, Bar and Cellar Manager for with the Leith’s at Glyndebourne, puts it: ‘At the Long ice. Fill the Bar, the gin & tonic outsells all other drinks glass up to apart from Champagne. Our customers love it.’ the brim.’ The UK has seen an explosion of interest in the Next, get the spirit in recent years, especially in boutique, balance right: craft producers. Brits bought almost 55 million ‘Although bottles of gin in 2018 – that’s 1.32 billion gin we don’t La damnation de Faust Il barbiere di Siviglia & tonics – with Vogue magazine proclaiming use a 50ml it ‘London’s latest It drink’. Murray offers up Mixing it up at the Long Bar measure as the incredible fact that ‘there are now more standard, we than 700 distilleries inside the M25 alone.’ In find the ratio works best with 50ml of gin, response to this gin renaissance and growing filled to the top of the glass – a classic Hi-ball demand, this year Leith’s have introduced a – with the selected mixer (usually most of a new menu of five different gins to cater for all 200ml bottle). At Glyndebourne, we carefully taste buds. partner each gin with different tonics by Fever Tree.’ Finally, the finishing touch: ‘Garnish is The two premier gins in the expanded range a matter of personal taste,’ says Murray. ‘Each are from Sipsmith and Cambridge distilleries. to their own! But when making your choice, The former is a quintessential London dry try to match the garnish to enhance the most gin still made through traditional copper prominent aroma or flavour already present in Cendrillon Rusalka pot distillation techniques, Murray tells me. the gin,’ he advises. Murray gives the example The latter is a boutique gin made with fresh of local favourite Brighton Gin (also on the botanicals grown in English gardens and new menu), which is ‘always served with blended by William Lowe, Cambridge’s Master orange’. Distiller with over 20 years’ experience. The health benefits of quinine, the primary I went behind the bar at Glyndebourne to get ingredient in tonic water, have been renowned our resident drinks expert’s exclusive guide for since the early 19th century, during which Members on how to prepare the perfect G&T. British Army officers stationed in India came to value it for its antimalarial properties. In

the words of Winston Churchill, ‘the gin & tonic has saved more Englishmen’s lives, and minds, than all the doctors in the Empire.’ It Die Zauberflöte Rinaldo Eleanor is Glyndebourne’s Media Officer. seems that Glyndebourne audiences agree. All images created by Shadric Toop Shadric by created All images

20 21 Gardens Interval

Tree renewal How I spend the interval… If you have driven to Glyndebourne this Festival, or plan Darren Elder has worked at Glyndebourne for 21 years – 17 of these have to, you will see the effects of ash dieback disease in the been as Head Flyman. He can often be found high above the stage on woodland that borders the back road. the fly floor or working in the flytower – home to scenery that is ‘flown’ down to the stage when it’s needed for a scene change. He talked to During winter and early spring we removed all Choose a stout Tanya Richardson about his unique job with a birds-eye view of every of the ash trees, to contain the spread of the stake, one will opera. Charlotte Boulton Charlotte disease and make it safe for people accessing be sufficient for the woodland – diseased and weakened bare-root trees, trees can drop branches or fall unexpectedly. and position it in As Head Flyman it is my job to ensure that all in addition to other staff that are recruited on a The resulting gaps in the woodland look the planting hole the scenic flown elements of each opera are show-by-show basis from the stage staff. With dramatic now, but as with most naturally- before planting the in the correct place and able to ‘fly in’ without a team of four on the night shift, we operate occurring events which affect our gardens and tree. clashing or impeding any other elements. I and maintain the flying system on a 24/7 basis countryside, the cycle of change and renewal spend a great deal of time planning and setting throughout the Festival. Planting up the offers opportunities. up the flytower with my team to ensure we can When our new stage automation system is new space at deliver the flown pieces where and when they We decided to use this chance to make our in place [a five-year backstage modernisation the front of the are required in the opera. With a team working road entrance more attractive and so have project, beginning in late 2019] the physical Production Hub overnight to shuffle the flown pieces around planted a common hornbeam hedge (Carpinus side of the job will certainly change has been a bit for the morning rehearsal, and my day team betulus) interspersed with a fastigiate form drastically, and the mind set for the more challenging. Sam Stephenson reshuffling the flown pieces back for an evening of hornbeam trees (Carpinus betulus ‘Frans operation of the system will be different. performance, the logistics and weight that is Fontaine’), along each side of the road behind Fortunately we The automation system will boost our ability moved soon mount up the new Production Hub and we hope to were able to keep the two established trees in to find creative flying solutions, and enhance extend that planting further along the road. front of the Hub, a tall horse chestnut and a We take a great deal of pride in making sure our the operation and delivery of each opera we We are delighted to now rename the back road cherry tree, throughout all of the building work ‘flying cues’ are as in time with the music as create in the future. we possibly can. This is more noticeable to the ‘Hornbeam Avenue’ and even though it will be and they have happily survived. They are now Increasingly, visiting opera directors are audience with the final curtain landing on the many years before the hornbeam trees reach joined by a new cherry tree planted by Gus and asking for fly cues to be faster and faster. stage on the final note. full height they will soon establish. They will Bacchus Christie at the official opening of the An automated fly-system not only provides have lovely summer and autumn colour to Hub, on 28 February 2019 (above). In the raised Before each show, and during the interval we use increased speed to cues and scene changes, welcome both Festival and Tour audiences. bedding area we have sown a wildflower mix but our ‘Bible’ a checksheet containing all the flown but allows us to produce advanced effects have found that the long spell of dry weather in elements for the opera and what counterweight We have also planted hornbeam trees in the for the audience, such as the seemingly May has meant the seeds haven’t germinated as set they are flown on. Each opera can have weightless flight of the mermaids inRusalka , woodland itself to fill the gaps left by the ash multiple flown elements that need to be pre-set trees and plan to put in copper/purple beech well as we hoped. We have been collecting seed known as personnel flying. It will considerably from our cowslips to add to the wildflower area in different positions, or heights, for different acts expand what we can do, enabling us to lift and purple-leaved hazel trees as well, to give and scenes. Each production is allocated a colour colour and create a really diverse environment along with foxgloves and cow parsley but, like heavier scenery, perform more complex and all gardeners, are waiting for the rain to really get at the start of the season and we use that specific synchronised movements in the air, and that will encourage wildlife and hopefully coloured tape on the rope for each show element the seeds going. Watering new planting is vital crucially reduce the impact on flymen’s bodies. withstand future threats. to ensure they are in the correct position. The but the type of water you use makes a difference; interval change could be a ten-minute reset, or it Tanya is Glyndebourne’s Development Manager. If you have the opportunity to plant new trees tap water keeps plants alive, but it’s rainwater could be an hour and a half of striking scenery and or lay hedging, regular watering in the first year that really makes them grow. after planting is crucial. New trees also need placing new scenery in its place. * Flymen – historically this role has been performed staking for the first couple of years to stop the Kevin Martin was interviewed by Vicky Skeet, I fly and direct the operation of the flying by men , pulling heavy ropes. Early flymen were often roots being torn by the wind rocking the trunk. Glyndebourne’s Rights & Content Coordinator system with three highly experienced flymen* ex-sailors.

22 23 glyndebourne.com Getting the most from Information on the Festival and your Membership Tour, plus regularly updated Throughout the year we’ll send you news and information and insight into our information relating to your Membership – such as your year-round activity. ticket application form and brochure, reminders about ballot dates and your annual subscription, and three editions of this newsletter. If you would prefer to receive this newsletter by email please contact the Membership team. We are here to help You can reach the Membership team Monday to Friday, 10.00am – 5.00pm +44 (0)1273 815 400 | [email protected]

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Glyndebourne News is edited by Karen Anderson Front cover image: Roof of the new theatre, May 1993 – photo by Gus Christie glyndebourneshop.com Glyndebourne Productions Ltd Follow @glyndebourne Registered No 358266 England For gifts and art inspired by the Glyndebourne is a registered charity gardens, the South Downs and the Charity No 243877 opera presented on stage, visit the Glyndebourne Shop. Glyndebourne News is printed on FSC See story on page 14. accredited paper stock using vegetable based inks. Printed by Treetop Design & Print

Dates for your diary MORE OPPORTUNITIES TO SEE OPERA ... 28 August: Limited Associate Membership Festival 2019 screening: places released 4 August: Die Zauberflöte Live Early October: Festival 2020 brochure and Tour 2019: booking form posted to Members 11 October-2 November: Tour performances at 1 December: Festival Society Members’ Glyndebourne; Rinaldo, Rigoletto and L’elisir d’amore ticket ballot November-December: Tour 2019 travels to Canterbury, 24 January 2020: Associate Members’ Milton Keynes, Liverpool, Woking and Norwich. ticket ballot 14 & 15 December: Glyndebourne Chorus Christmas 24 February 2020: Second opportunity for Concert at Glyndebourne Members to book Festival tickets 25 February 2020: Second opportunity for Glyndebourne Opera Cup: Associate Members to book Festival tickets 4 March 2020: Semi Final 2 March 2020: Under 30s booking opens 7 March 2020: Final 8 March 2020: Public booking opens 27 April 2020: Tour Members’ ticket ballot