SUMMER 2017

‘My Festival’ • Carl Ebert ‘s1 Influence • Hamlet ’s Music Festival 2017 ‘My Festival’

All of our summer visitors have a different Festival experience, depending on the opera they come to see on stage and who they watch it with, the weather and where they eat. The same goes for our staff who work tirelessly behind the scenes – doing incredibly different jobs.Karen Anderson asked a few to share their Festival experiences.

Deborah Chipper Favourite Glyndebourne opera and why? Wig Technician It has to be Saul. It is a visual feast of energy, Q: What does your job design and colour, like nothing I had seen involve? before. Of course the singing is outstanding, Dressing wigs for and the wigs..! So far, the favourite Chorus the operas according wigs I have ever had the privilege of dressing. to the wishes of the directors and designers for each James Newby show. These might be from the 18th century Jerwood Young or 1960s. The six different Festival operas Artist 2017 provide a great deal of variation and creativity. What does your job I also work on ‘running a plot’ for some of the involve? shows. This involves working with singers Performing the role and following them. A quick change of a wig of Messenger and or hairstyle side of stage is very exciting and covering Marchese gets the adrenaline pumping. After each show D’Obigny in La traviata, I will ‘re-dress’ the wigs I look after to keep the Marcellus (above, left) and Player 4 in Hamlet and standard as high as possible. the Notary in Don Pasquale, as well as part of the What makes your job here unique? Glyndebourne Chorus in La traviata, Hamlet, Don What I truly love is that each show is a Pasquale and La clemenza di Tito. different adventure. There is a start and a What makes your job here unique? finish and everything in between is unique. There are only three Jerwood Young Artists this What do you most like about the Festival? year and each is a different voice type so I’m the The magic of Glyndebourne is to produce only ‘baritone’ Jerwood Young Artist (if that’s not outstanding shows – and this requires great clutching at straws slightly!). Otherwise I’m just attention to detail and skill. I feel extremely part of some very unique things; the amazing privileged to be part of the Glyndebourne team. Chorus and the world premiere of Brett Dean’s I pinch myself everyday when I walk down the Hamlet. drive to ‘work’. What do you most like about the Festival? Do you have a picnic tip? The fantastic colleagues throughout the company. Always bring some picnic glass holders that Do you have a picnic tip? you spike into the ground. Nothing worse than Cold Domino’s pizza is a great addition to your favourite Champagne watering the grass! every picnic.

2 Favourite Glyndebourne opera and why? to maximise the space in the pit along with the Hamlet - it has been an unbelievably thrilling comfort of the players. As this changes between experience to be a part of the world premiere of productions, we’re charged with changing the this fantastic piece, working alongside a cast of pit layout between rehearsals and shows. We’re international stars and learning so much. also custodians of the company’s Steinway and Yamaha pianos in rehearsal rooms and the pit as well as the collection of harpsichords, forte Lizzie Chisholm piano, celeste and other keyed instruments. Shop, Gallery and What makes your job here unique? BarBazaar Supervisor The opportunity to not only work with world- What does your job class singers, players and conductors but to involve? do so in such an idyllic setting in the Sussex Socialising with countryside. the wonderful What do you most like about the Festival? Glyndebourne The variety of operas from different periods and audience. styles. There is something for everyone in every What makes your job here unique? Festival. I can dress up for an evening out, wrap myself Do you have a picnic tip? in the atmosphere, listen to world-class opera, Go light. Pick small foods. Nothing worse than brush shoulders with the world’s most talented sitting on a heavy stomach in the second half. people and have fun talking with customers as they purchase from the Shop. Favourite Glyndebourne opera and why? Rusalka, Festival 2009. This was my first season What do you most like about the Festival? at Glyndebourne as a Pit Assistant and Rusalka The excitement, the creativity, the buzz. was the third opera I had ever seen (Falstaff and Do you have a picnic tip? L’elisir d’amore being the other two). The music Get someone else to carry the candelabra! was sublime, the singing was excellent and the production even more so; it really struck a chord! Favourite Glyndebourne opera and why? Giulio Cesare – the dance routine will be forever stamped in my memory. Vikki Lawson Make-up Artist Tom Waghorn What does your job Orchestra Pit involve? Manager My job involves following a ‘look’ What does your job given to me by my involve? head of department Essentially my team and liaising with and I are responsible the singer/singers on their needs. I apply for the musical special effects and prosthetics where needed. resources (aside from I then check my singer before they enter the the score preparation) for both orchestras we stage. I make changes to the look during the see in the Festival and the touring orchestra. performance and this could be in their dressing We’re set the task of liaising with conductors room or side of stage and then help with cleaning as to the best way of setting the orchestra out the make-up off at the end of the performance.

3 What makes your job here unique? Do you have a picnic tip? Working with incredible opera singers in a live I would suggest bringing an extra blanket... performance environment. I get the opportunity English summers being as they are, an extra to do really creative make-up and help in creating blanket can be useful as an extra layer to wrap a character and seeing them come to life on stage around you. with the costume, wigs, make-up and set. Favourite Glyndebourne opera and why? What do you most like about the Festival? Rusalka, a very sad fairy story. Glyndebourne’s Each of the six operas look so different from production a few years ago was so beautiful, so each other. It is a real pleasure to be a part of moving and so sad. Glyndebourne. Do you have a picnic tip? Notice: Membership subscriptions Take time to wander around the gardens, the lake Each year we publish our Annual Report and the art gallery. summarising the events of the previous Favourite Glyndebourne opera and why? year and financial position (you can view it at glyndebourne.com). And each year we have Really difficult to choose but if I have to pick one you, our Members, to thank for the generous it would be Hipermestra – hearing Emőke [Baráth] contributions you make through subscriptions, sing was a real highlight for me. donations, the buying of tickets and Shop merchandise. This provides the foundation to ensure that Glyndebourne can continue Victoria to stage world-class opera, available to the Buckroyd broadest possible audience through the Dresser Festival, Tour, filming and our education activity. Our focus for the coming years will What does your be to make the necessary investment in our job involve? infrastructure and technology to meet our high I have been a artistic ambitions and to continually improve dresser here the audience experience. We continue to strive for 15 years. to abide by John Christie’s ethos of ‘doing not the best we can do but the best that can be This involves done anywhere’. looking after the performers and their costume throughout the performance. Membership subscriptions have remained constant for the last four years, despite What makes your job here unique? increasing costs, but we will be applying Each production is unique and so are all the an inflationary increase for 2018, with the beautifully made costumes which have such intention that increases will match inflation attention to detail – the lacing, hooks and eyes annually thereafter. We will write to all and invisible poppers. Also building up a unique individual Festival Society Members and relationship with the performers and their Associate Members in September 2017 to costumes. request your subscription payment for 2018. The Festival Society Membership subscription What do you most like about the Festival? will be £189 – you can save £10 on your The mix of people you come in contact with while subscription by setting up a Direct Debit. The working here. I also love being surrounded by such Associate Membership subscription will be £84 creative energy – it is so stimulating and inspiring. or £79 by Direct Debit. Glyndebourne has such a happy atmosphere. A The Membership team is here to assist with lot of people have worked here many years and queries about subscription payment options obviously enjoy and take pride in their work. – contact details can be found on the back page.

4 Tour 2017 The soundworld of Hamlet

What sound does a ghost make? How can you Shakespeare’s words are familiar, but Dean’s express madness in music? What’s the difference music has shaped them into new theatrical between a soliloquy and an aria? These are just rhetoric. This is Hamlet, but not as you’ve ever some of the questions composer Brett Dean heard it before. has faced and answered in his new operatic Alexandra Coghlan, Opera Content Specialist adaptation of Shakespeare’s most famous play. The audience is plunged directly into Hamlet’s troubled mind; musicians are liberated from the pit and singers from the stage, spreading out across the auditorium, physically encircling the listener, inviting him into this extraordinary consciousness. Just as Hamlet’s grip on reality weakens, so conventional orchestral sounds are twisted and distorted by delicate, uncanny electronics – musical ghosts that speak but with no instrumental body. Fights take place in stabbing thrusts of brass, the comedy of Rosencrantz and Guildenstern in the fussy exchanges of two countertenors, and Ophelia’s madness is amplified by writing that tests the physical and technical limits of the voice. At the centre of it all is Hamlet himself – no heroic tenor, but something more lyrical, more exploratory. His generous stream of musical consciousness flows through the opera, swelling and building in colour and range as it approaches the opera’s tragic climax.

Hamlet, Così fan tutte and Il barbiere di Siviglia are all part of Tour 2017, which runs from 7 October–2 December with performances at Glyndebourne, Canterbury, Woking, Norwich, Milton Keynes and Plymouth.

2017 teaser In our Spring 2017 edition of Glyndebourne News we set a teaser to see if you could recognise the music we printed on page 4. It came from Mozart’s Così fan tutte.

5 Art at Glyndebourne Festival art at Glyndebourne

A visit to Glyndebourne is only complete when you’ve taken in the art on display. This quick round-up will hopefully whet your appetite for more...

Susie Monnington Paul Treasure

Heather Betts Stalls Art Gallery Julian Sutherland-Beatson’s daily Exhibited art includes: Simon paintings which have been part of Dorrell’s fine ink drawings; the Festival for the past seven years Tor Falcon’s landscapes; and Paul Treasure’s landscapes Lewes-based Peter Messer’s that illustrate the ever-changing works using egg tempera seasons, weather and light. on a traditional gesso White Cube at Glyndebourne ground; Glynde local Susie Rachel Kneebone is this year’s Monnington’s paintings of White Cube artist and created the lakes at Glyndebourne; the front cover of the 2017 Keith A Pettit’s box wood Glyndebourne Programme engravings infused with Book. She has created three new passion for his native Sussex; porcelain sculptures inspired by Polly Raynes’ paintings that two of the operas being staged have inspired a collection here – Hipermestra and Hamlet. of merchandise for the Paul Messer Glyndebourne Shop; Long Bar Visit our online Members’ hub My Glyndebourne to read Australian artist Heather Betts more behind-the-scenes stories. Find out about the artists on is exhibiting her Hamlet series display around Glyndebourne. This month we also look at the of paintings. Her husband, demolition of the old theatre, and what was saved and recycled composer Brett Dean, started and is still in use at Glyndebourne today. An electronic copy of work on his new opera Hamlet this newsletter is also available for you to download. after she had embarked on her glyndebourne.com/myglyndebourne Hamlet cycle of work.

6 Art auction to support the NGP Alex Echo, the UK-based American artist, is a passionate convert to opera since seeing the Glyndebourne Tour in Woking and subsequent visits to East Sussex. He has produced two new pieces for Glyndebourne ​and generously donated them ​to us. We are thrilled to announce that you can now bid for these paintings – offered separately – with all proceeds going to support our New Generation Programme (NGP). The NGP was launched in 2009 to raise additional funds to support artist and audience development initiatives at Glyndebourne. If you would like to see the paintings ‘in the flesh’ at Glyndebourne during Festival 2017, please call the Membership team on +44 (0)1237 815 400 or email [email protected] to arrange a viewing. ​​Visit our website to find out more:​ glyndebourne.com/alex-echo-ariadne and glyndebourne.com/alex-echo-dream The closing date for bids is Sunday 10 September 2017. Pictured above Alex Echo with his two donated paintings: Ariadne auf Naxos, Act Two, D flat Major and A Midsummer Night’s Dream.

Nick Hornby A graduate of the Slade, the Art Institute of Chicago and Chelsea College of Art, Nick Hornby’s sculptures are in the gardens, in the Organ Room, and on the cover of this newsletter. Charlotte Snee asked him about his inspiration.

How did you come to choose sculpture as your or a face or a classical pedestal… how you string medium? I love sculpture (other people’s) and these things into a sentence to make meaning I love making things: balance, engineering. I think is up to the viewer. I really hope the For me the difference between sculpture and works are quite open [to interpretation]. painting or drawing is that in sculpture, this I do have a few one liners to describe my concept you have has to literally ‘stand up’… if work though... white, curvilinear, full of art its a marble figure, the stone is not as strong as history. Part ruin, part sci-fi. a human leg and would crack at the ankle…. so What has inspired the sculptures you’ve exhibited it needs a support. In the case of Michelangelo’s here at Glyndebourne? David that support is disguised as a tree trunk – I think I was inspired by the juxtaposition it’s a figurative conceit for a practical necessity. between the Jacobean house, the classical This is how I see sculpture… the transition from geometries of English Renaissance alongside an idea in your head, to a verbalised word or the smooth and curvilinear rotor blades of drawing to a manifest object. the turbine. The pieces I have brought to Glyndebourne are about art history and How would you describe your work? narratives, but also form and engineering. My work is full of nods to things you might recognise – a fragment of a limb, or a triangle,

7 Education

New GYO opera explores child migration

Lewis Murphy is currently Glyndebourne’s Young Composer-in-Residence. His latest work, Belongings, is a youth opera exploring child migration alongside the evacuation of children during World War II. Belongings will bring together a company of over 65 young people aged 9 to 19 from the local area.

Earlier this year the Belongings’ creative team travelled to Sarteano in Italy to work with young people in refugee communities alongside artists from around the world. The visit was organised as part of The Complete Freedom of Truth (TCFT), an international youth-led project which aims to develop an awareness of disconnected young people across Europe. The team worked with around 70 young men from a variety of backgrounds including Nigerian, Gambian, Sudanese and Bengali made based on self-interest and distrust of who had been in Tuscany for between three outsiders. A “them and us” attitude has never months and a year. ‘Spending time with solved anything, whether it has been towards the displaced guys in our workshops at the evacuees during World War II or Middle- welcome centre was a real pleasure’ says Eastern and African refugees in the present- Glyndebourne Youth Opera (GYO) Music day. In Sarteano I was amazed at just how Director Lee Reynolds, ‘what a wonderfully quickly “them and us” became simply “us”.’ generous, funny, and sharing group of people The concept of shared experiences is central to have met – I feel very honoured. It helped to the composition of Belongings. As Lewis me connect back to the universal language explains ‘In the finale both chorus groups that we share in music.’ – World War II evacuees and present day Lucy Bradley, Belongings Director, explained: refugees – appear on stage at the same time ‘our sessions seemed to give the men space and combine their “anthems” to create a to laugh and smile, to sing and dance, to have greater musical experience that breaks down fun together, learn more about each other and the divisions between them. This combination to put aside for a short time the difficulties of disparate songs is at first slightly uneasy, they faced elsewhere in their lives.’ yet gradually becomes something much more communal and unified until finally the whole For Lewis Murphy, spending time in Sarteano chorus sings as a single unit.’ cemented his choice of subject. ‘Belongings explores the themes of displacement and Belongings is on stage at Glyndebourne on connection, both of which feel particularly Saturday 11 November 2017 at 3.00pm. We current today’ he says. ‘We live in a society also have one Performance for Schools on in which important decisions are being 10 November.

8 Interview Fond farewell to KB

Having worked at Glyndebourne for an incredible 44 years, Keith Benson is retiring as Head of Lighting at the end of the Tour this winter. Karen Anderson caught up with him during his last Festival for a quick trip down memory lane.

Keith Benson, or KB as he hours though! Back then we is known warmly, had an worked 16-hour days – I’d swim inauspicious start to his in the lake every morning career at Glyndebourne. Back and lived on site in the in January 1973 he joined the Plashetts (home now to the maintenance department, Glyndebourne Archive) during worked the summer season the season so there wasn’t and was promptly made much work/ redundant due to staff cut- life balance backs. In 1974 the lighting back then.’ manager Robert Bryan invited But with those him back to work in the long hours Festival and Tour and he has came a sense been here ever since, taking of belonging: over as Lighting Manager in ‘We were all 1981. Initially he spent the treated as off-season winter months part of the freelancing and working extended Above: KB back in 1974 extensively on West End Christie family. George and Below: the infamous late night set redesign musicals and on tours for Mary were very inclusive, I Shirley Bassey, until 1993 was invited to George’s 50th business, everything was when he was offered a full- birthday party in London more low key and casual - and time job in the new opera for example, and I’ve known we seemed to laugh a lot!’ house running the lighting Gus since he was a child – it But he concedes that before department. has been great to watch him he headed up the lighting grow into a man and succeed When asked about the department he had less his father, to ensure that differences of working in the responsibility and appreciates Glyndebourne carries on old and new houses, KB is that to make the theatre today.’ ‘staggered at what we achieved successful Glyndebourne in the old house – we put on But were the good old had to move with the times. some amazing shows with days better than today? With the new Working Time unsophisticated technology ‘Glyndebourne is more Directive and health and and a small team of staff – we serious now, in the old house safety regulations in place did have to work really long it never felt as if it was a the move to the new opera

9 house in 1994 is viewed by fireworks. During one run of Ebert Room to create his own KB as a period of increased the 1981 Ariadne auf Naxos, KB post-show finale – only to professionalism: ‘The major felt that life should imitate blow a three-foot hole in the change is that we could now art. As the audience had been roof. His pyrotechnic career run the stage 24 hours a told, in the opera’s final act, thankfully ended there. day in two shifts, with the that the fireworks were about Looking back over the last 44 night staff getting the stage to begin – so the audience years it is the laughing and ready for rehearsals the next were met by real fireworks larking around that sticks morning and the day shift on the theatre roof as they with KB. He recalls working changing the stage over left the auditorium. This was on Così fan tutte in 1978, John for evening performances appreciated until one night Bury’s set design included a during the afternoon. Our when strong winds knocked huge seascape made of plastic productivity also increased as over a set of fireworks. As sheeting. ‘We decided it would new technology developed.’ the displays were started be fun to give the seascape a Prior to 2007 all the lights had electronically, then continued late night redesign, so spent to be moved manually into automatically, there was ages drawing and cutting place, but a new computerised nothing KB could do to stop out submarines, octopuses lighting desk that year them. So while most of the and other sea life which we changed everything, a lot fireworks shot up vertically proceeded to stick to the set of the lights could now be as planned, others went with tape at 1am. controlled from a central desk horizontally – over the heads and ‘my working life changed of the audience. Next morning, Geoffrey completely,’ he says. Gilbertson the stage manager Cries of alarm and a scramble had a total sense of humour KB hasn’t just worked on to safety ensued as the failure, he went beserk and told the productions. For the audience tried to escape. us off like naughty children. Millennium Party in 2000, he Letters of complaint were But it was worth it, it was fun lit the whole stage, scene dock duly received. Undeterred, and I made life-long friends and the auditorium: he’s lit he thought that the final during those early years.’ the gardens and buildings and performance really should be has even done the lighting marked, so he tied five huge Some of these friends have for Christie family weddings. fireworks together on the roof gone on to become award- He also has a fondness for of what was to become the winning lighting managers and designers in their own right: Porgy and Bess remains KB’s favourite Glyndebourne opera ‘Andy Bridge went on to great success lighting Phantom of the Opera; Paul Pyant designed the lighting for Charlie and the Chocolate Factory. Mark Jonathan who designed the lighting for our firstMadama Butterfly on the Tour last year started his career in our lighting department and went on to become Head of Lighting at the National Theatre before embarking on his freelance lighting design career.’

10 A love of live performance, Other favourites include Jean- particularly opera, has fed Pierre Ponnelle’s production KB’s soul for many years, of Falstaff (1977), Peter Hall and when asked about his and John Bury’s Fidelio (1979) favourite opera the flood and Carmen featuring Maria gates open. ‘Without a doubt Ewing in the title role (1985) it is Porgy and Bess. It had a with Barry McCauley as Don huge cast and we literally Jose. This particular opera is couldn’t fit everyone in, but memorable because ‘at the the company arrived as a end of the opera Don Jose was family and enveloped us all supposed to cut Carmen’s in their camaraderie and joy. throat, one night Barry forgot It was contagious and was to bring the dagger on stage the best period of work I’ve and finding himself propless KB today ever experienced.’ had to improvise and shocked us all, but particularly Maria, Next up is Peter Grimes ‘in the when he “strangled” her to did in the Mary Christie Rose old house in 1993 and again death instead!’ In the later Garden and the new Figaro in the new house in 1994, the years KB’s favourites have Garden. set was monumental. The been Giulio Cesare, Billy Budd scene changes – from the And what will he miss most? and Saul. street, to a beach, to a boat ‘All of the incredible people I on the sea – were set to music Retirement will bring with it work with and the music, the and tightly choreographed rest and relaxation, but KB music is in my heart – there behind the curtain, it was doesn’t plan to give up work is nowhere on earth like phenomenal to watch.’ The completely and hopes to help Glyndebourne. It is very, very same for Albert Herring ‘the out at Glyndebourne with a special.’ scene changes were again variety of lighting projects set to interlude music with a away from the stage as he very tight change over – our stage staff could change over from Lady Billows’ house to the street in two and a half Shortly before the opening of this summer’s Festival, Gus’s minutes which always got a mother, Lady Christie, celebrated her 80th birthday with family huge round of applause from and friends at a special lunch in Middle and Over Wallop. the audience and gave us all a buzz watching in the wings. Unusually for a Glyndebourne production, we took Albert Herring to the Royal Opera House (as we did with Porgy and Bess) and we were very pleased to note that it took their stage staff longer with the changeover, and the interlude music had to be played twice!’

11 Carl Ebert, the charismatic revolutionary

Last month, Glyndebourne unveiled The Ebert Room Club; a new club to recognise supporters giving donations of £1,000 - £4,999. Glyndebourne’s opera content specialist, Alexandra Coghlan, explores how Carl Ebert’s revolutionary style has come to inspire us.

When Carl Ebert arrived at Glyndebourne in Glyndebourne – the project he once described 1934 he found an opera house in nothing but as ‘my favourite baby’. name – a theatre with no fly-tower and no door Like fellow Glyndebourne-founder Fritz Busch, large enough to bring in scenery, a company Ebert was an émigré, another non-Jewish more in spirit than substance. By the time he opponent of the Nazi regime. Together with retired in 1959, Glyndebourne was a fixture not the quintessentially English John Christie they only of the national but international opera made an unlikely trio in 1934, but such was calendars, a serious, professional concern whose the alchemy of the partnership that it not only productions had revolutionised the conservative endured but flourished. English opera scene. So who was this charismatic director whose artistic vision was so material in It was Busch who brought Ebert to shaping the Glyndebourne we know today? Glyndebourne, understanding, as few conductors did in this period of musical ‘Ebert made a great impression on us all. There was dominance, the equal importance of the something of the lion about him. The large head with dramatic side of opera. Directors (or ‘producers’ long silver grey hair, the shrewd, slightly pouched eyes, as they were then termed) barely existed in the smooth broad forehead and cheeks which instantly England, where opera productions still consisted crumpled into lines and furrows as all the different largely of singers (many of whom might have emotions he wanted us to express marched obediently brought their favourite costume or prop with across his countenance.’ them) gesticulating emphatically while standing The Ebert that actor Ian Wallace describes here rooted to the spot in front of decorative scenery. is a larger-than-life figure whose personality It is no overstatement to describe Ebert’s work and history more than lived up to his physical as revolutionary, the catalyst to fundamental appearance. That he should have started his change at the Royal Opera and beyond. He career as a German film star and protégé of took waxwork heroines and brought them to Max Reinhardt before moving into directing new life, transforming Carmens and Violettas seems only appropriate for a man whose own into real, recognisable people, delving down biography was the stuff of Hollywood. into their psychology. His starting point, The illegitimate son of a Polish count and an however, was always the music, which he Irish-American music student, Ebert grew up recognised as ‘the main medium of opera’. with adoptive parents, ignorant of his history Everything grew organically from there, and until his late teens. Denied his true family it was this philosophy that created such a name, Ebert strove to establish his own identity uniquely collaborative partnership with Busch. and reputation, founding Turkey’s national One reviewer of Glyndebourne’s debut Figaro theatre company and holding academic and captured the essence of Ebert when he expressed musical posts in America and Europe, but that he had ‘… never seen so intelligent or always remaining most proud of his work at imaginative a production. Every movement told

12 and helped to emphasize the various points of the music and the action’. A 1959 BBC film captures Ebert in the Glyndebourne rehearsal room – a restless, energetic figure, moving constantly around the stage, speaking volubly in two languages, living every moment with the singers. What’s most striking, however, is the democracy of the dialogue, with singers taking an unusually active role in shaping their performances. Lunch in the staff dining room with (L-R) Moran Caplat, Carl Ebert, John Christie and Fritz Busch, 1951 Singer Pilar Lorengar, who worked with Ebert, praises him not just as a director but as a Wallace recalls Ebert’s artistic score. Movement was psychologist, demonstrating passions sometimes boiling restricted, generating a series ‘incredible patience and over in the rehearsal room. ‘He of near-tableaux, framed in humanity’ in his dealings with was capable of sudden bouts Beni Montresor’s exquisite pre- performers, his willingness to of rage which were frightening Raphaelite designs. The effect understand their insecurities but short-lived. The cause was was of peering into a medieval and build their confidence. nearly always the same – a fairytale, a world of shadows feeling that someone wasn’t and half-lights, suggestions Which isn’t to say that Ebert working hard enough or and emotions. was without his own quirks. paying attention. Someone His flamboyance is well As a symbol of Ebert’s who had failed to have the documented, and he would astonishing achievements it same intensity of feeling about often insist on taking curtain couldn’t have been more apt, or the production as he had.’ calls in full evening-dress further from the puppet-theatre alongside Busch. His artistic After 19 Glyndebourne seasons productions that preceded him. ideals trumped all, leading and more than 20 productions, As Glyndebourne prepares to to some memorably direct Carl Ebert retired in 1959. But stage a brand-new Pelléas in exchanges with Christie not before creating what would 2018, it’s a timely reminder of in the early years. His son become one of his greatest the company’s revolutionary Peter recalls one occasion achievements – a swansong of roots, of the prescient vision when the embattled topic a Pelléas et Mélisande that, still it has had since the very of Wagner came up. ‘John to this day, remains one of the beginning for the future of asked tentatively whether it company’s most beautiful and opera. might be possible to mount evocative creations. In recognition of Carl Ebert’s a production of Parsifal. The first ever production of contribution to Glyndebourne Carl replied, perhaps a little Debussy’s opera staged at The Ebert Room, a unique brutally: ‘If you put the singers Glyndebourne, the infinite rehearsal and performance and the orchestra in the restraint of Ebert’s staging space, was named in his honour auditorium and the audience matched the elusive, allusive in 1994. on stage, it might.”’ quality of the composer’s

13 How does your garden grow?

Kevin Martin, Head Gardener, shares his secrets on how to keep a mid-summer garden blooming

quickly form an attractive green mound again with a second show of flowers. The same goes for comfrey. The persicaria will already have been cut back, in what’s known as the ‘Chelsea chop’ around the end of May, which helps to prevent mildew. Again, watering well after cutting back helps to reduce the shock to the plant and ensures that it will spring back up again. We use annuals such as cosmos, cleome, agrostemma (corncockle) and Persicaria orientalis, which self-sows, in July and August to fill gaps and add colour to the borders. Kevin Martin Kevin Pots and containers also help to bridge Mid-July into August is a transitional time the gap between mid and late summer. At in the garden; the first flush of May and June Glyndebourne we use pots of pelargonium, flowering plants has quietened down, and the chincherinchee, eucomis, acidanthera, oleander late summer flowers have yet to come into full and lilies to brighten corners. For successful bloom. To keep up a glorious display of colour container gardening, water regularly and well. and form, constant garden maintenance is We water three times a week, once a week key and we are lucky at Glyndebourne to have including a liquid feed. Deadheading the five regular volunteers who help the five full- spent flowers of container plants not only time garden staff with regular tasks. Weeding improves the overall look but also extends the is always on the list of garden jobs, as are flowering period and helps prevent mildew. deadheading and watering, and making sure Moving containers around can help keep up that paths, handrails and lights are kept clear. a good display of colour and can also benefit plants needing more or less light as summer You can save some work by inhibiting the advances. growth of weeds – using a mulch helps to retain moisture in the soil and also restricts Slugs and snails have not been so much in weed growth. If you find bindweed tightly evidence in the Glyndebourne garden this clinging to plants, try snapping the bindweed year as they were last summer. The dry spring stem near the ground, and then leave the plant helped, as did our encouragement of wildlife for a few hours. When you come back to it later biodiversity. We have found slow worms, and the bindweed will have wilted in the heat of evidence of hedgehogs, both of which eat the day and will unwind more easily and not slugs and snails and help to keep them at bay. damage the plant as you pull it away. If you find your garden being ravaged by slugs try leaving a dampened slate out overnight Other garden jobs at this time of year include beside the plants; next morning turn the slate cutting back plants that have already flowered. over with the slugs attached to it and leave it Cut hardy geraniums right back to just above for the birds to deal with. ground level, water them well and they will

14 My favourite place... Claire Palmer, Senior Receptionist

Considering my favourite place I thought about the beautifully manicured gardens and lake, seeing Glyndebourne nestle in the fold of the downs as I drive to work, or looking down from the Upper Circle balcony watching everyone promenade in their finery on a show day. Then I realised that actually my favourite place is where I work, the Stage Door. From my desk the view is one to rival any of the others, it may not be as pretty but it changes minute by minute. It is a busy and vibrant hub. Pinching a quick kiss from Bottom (aka singer Matthew Rose) is all in a day’s work for Claire at Stage Door There are so many facets to Glyndebourne, Suddenly one day in early spring it is as though and such a wide variety of people throughout a silent starting gun has fired, the season is the year that can be seen passing through this upon us and we are off! Life at Stage Door unassuming part of the building on their way goes up a few gears. The medallion-wearing to offices, dressing rooms, the underground ushers arrive sweeping in with black cloaks on warren of storerooms, or to the very beating chilly damp days, the principals, chorus, actors heart of the theatre, the stage. It is like watching and supers come to sign in, all jostling in the a giant jigsaw puzzle being pieced together. It is crowded space alongside the music staff on here that I see the magic happen. their mission to smooth the path of the score. It starts with a slow trickle of staff returning Calm and collected front of house managers after the Christmas break. Momentum gathers and directors who keep a watchful eye on as the days and weeks pass with visiting proceedings glide by. Car park attendants in designers and directors. The suited and booted fluorescent jackets rub shoulders with the arrive for meetings, whilst samples, model orchestra who hurry past with everything from boxes and scenery paints start to give away drum stick to harp on their way to the pit. clues of what to expect. Then the pace really I love to see the chaperones as they corral begins to pick up. From my vantage point I excited children, taking them out into the begin to see rails of exquisite costumes, and gardens to burn off some excess energy before astonishing wigs in all colours and styles they head for the stage. I am in constant awe carried by with great care by their makers of the transformative skills of the make-up and charges. Larger than life, fantastical and artists and dressers, especially when they use amazingly realistic props – stuffed swans, extraordinary prosthetics like the clawed hairy giant broccoli, oil derricks and ships cannon – feet for the high priest in Saul or the body suit manoeuvred with less ease towards the back for the witch in Hänsel und Gretel. dock and beyond. Artist to aerialist, baritone to bee keeper, composer to chorus master, the These are just a few of the characters that make ABC of this creative world eventually find their up the rich fabric of life at Stage Door. There is way to Stage Door. Many arrive with the help never a dull moment. The unexpected, unusual, of Glyndebourne’s fleet of mini buses, I often and eye-catching part of the eclectic mix that think we must have one of the most varied and culminates in stunning breath-taking shows, interesting bus stops. and this is why it is my favourite place.

15 We are here to help glyndebourne.com Please get in touch with any questions about Visit our website your Membership, Gift Aid or donations. We’d for news and up-to- also love to hear your feedback about your date information Glyndebourne experiences. about Festival and Tour. Membership and Development Department Glyndebourne Festival 2017 Lewes, East Sussex BN8 5UU 20 May – 27 August [email protected] Tour 2017 +44 (0)1273 815 400 7 October – 2 December If you need to update your postal address, please let us know in writing or by email. glyndebourneshop.com

For information about corporate membership, Visit the Glyndebourne Shop website for gifts advertising and entertaining, contact: and art including the artworks detailed on page 6. [email protected] +44 (0)1273 815 418 Glyndebourne Productions Ltd Glyndebourne News is edited by Karen Anderson Registered No 358266 England Glyndebourne is a registered charity Charity No 243877

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DATES FOR YOUR DIARY MORE OPPORTUNITIES TO SEE OPERA ...

27 August: Limited Associate Membership Our final Festival 2017 broadcast to cinemas places released and online is on Early October: Festival 2018 brochure and 3 August: La clemenza di Tito Live booking form posted to Members 1 December: Festival Society Members’ Glyndebourne Tour 2017 ticket ballot 7-28 October: Tour performances at 15 January 2018: Associate Members’ Glyndebourne; Così fan tutte, Il barbiere ticket ballot di Siviglia, Hamlet 19 February: Second opportunity for Members October–November: Le nozze di Figaro to book Festival tickets screened in selected cinemas 20 February: Second opportunity for Associate 11 November: Belongings (see page 8) Members to book Festival tickets November–December: Tour 2017 travels to 26 February: Under 30s booking opens Canterbury, Woking, Norwich, Milton Keynes 4 March: Public booking opens and Plymouth. Visit glyndebourne.com for more information

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