Autumn Performances 2020

In the Market for Love or Onions are Forever

PERFORMANCES ON 10, 11, 13, 17, 18, 20, 24 AND 25 OCTOBER Welcome (back) to Glyndebourne!

From March 2020’s lockdown, and Music and theatre function as a meeting the sad cancellation of the Festival point where together we can reflect, we battled to find a way back to live celebrate, grieve, question, imagine – performance. By the end of the summer and laugh! The roots of comic , It’s been an we managed to present a programme opera buffa, reach back to the commedia of open gardens, garden concerts dell’arte: the improvised Italian form extremely and outdoor opera as our positive which sprang up in the hurly-burly of challenging last response to the restrictions of Covid-19: the marketplace. Satirical, ribald and an attempt to find a responsible, ridiculous, playing with social status and few months for appropriately distanced, and above sexual desire, this approach to theatre everybody. all, safe way of performing to a live found a natural home in opera from audience. Next, we set our sights on Pergolesi’s La serva padrona onwards. A our autumn performances – clearly they century later and Offenbach, the master could not go ahead as planned, but we of adapting to changing circumstances, refused to be beaten. So, it is with the wrote countless bouffes. Farcical, cheeky greatest pleasure that we have arrived at and downright risqué, his energetic, this moment, finally together again, this supremely skilful musical and theatrical time indoors, to experience high calibre craft was so popular that it forced a music making. Not digital, not even threatened opera establishment finally analogue, but the real thing: live opera. to open their doors to the man known as the ‘Mozart of the Champs Élysées’. My daughter’s school netball teacher had one major piece of advice which It’s true that these are difficult and she drummed into her pupils: adapt serious times, and you may be to changing circumstances. At socially distanced from each other Glyndebourne we’ve adopted that in the auditorium, but you can allow maxim, and good thing too, because yourselves to enjoy what may be the the circumstances have changed only time you get so much space to continually. What you are seeing today yourself in this beautiful theatre, to is an adaptation, a rapid and joyful have a good laugh and generally be improvisation. No time for a design as rumbustious as Offenbach’s rowdy process: this time it’s a question of audience back in 1858! Let’s have some raiding the costume and props stores. operatic fun together. Opera is usually glacial in development. It’s been good to discover that we can be Stephen Langridge fleet of foot occasionally! Artistic Director

GLYNDEBOURNE.COM | 2 Music by in a new version by Stephen Plaice CAST Vocal setting by in order of appearance Marcia Bellamy Mademoiselle Bouillabaisse Adapted from the French a fish seller Mesdames de la Halle by Brenden Gunnell Armand Lapointe Madame Beurrefondu ___ a purveyor of dairy products Rupert Charlesworth Conductor Ben Glassberg Madame Mangetout a vegetable seller Director Michael Wallace Stephen Langridge Fancy Seller Associate Director Rachel Taylor Fiona Dunn Mask Seller In the Market Lighting Design Niel Joubert David Manion for Love Bread Seller Running Wardrobe Manager Natalia Brzezińska or Onions are Forever Lucy Harris The Police Inspector Chorus Director and Matthew Rose Assistant Conductor John Mackenzie-Lavansch Aidan Oliver 24, 25 October

Répétiteur and piano Raflafla in orchestra a drum major, about to retire Matthew Fletcher Jeffrey Lloyd-Roberts

Vocal Coach Harry Coe Steven Maughan a young cook Kate Lindsey Glyndebourne Tour Emma Kerr 20 October Orchestra Performances on Leader Richard Milone Ciboulette 10, 11, 17, 18, 20 and 25 October a young fruit seller start at 4.00pm The Glyndebourne Chorus Nardus Williams

Performances on 13 and 24 October ___ start at 7.00pm

Mesdames de la Halle, music by Jacques Offenbach, libretto by Armand Lapointe, arranged for chamber orchestra by Caspar Richter, used with the permission of Boosey & Hawkes Music Publishers Limited.

GLYNDEBOURNE.COM | 3 Glyndebourne FIRST VIOLINS FLUTE & PICCOLO Richard Milone LEADER Julian Sperry PRINCIPAL Simon Lewis PRINCIPAL Tour Orchestra Malu Lin Swayne CLARINET 2020 Fiona Cross PRINCIPAL SECOND VIOLINS Clare Thompson PRINCIPAL Andrew Roberts HORN Leo Payne Alexia Cammish PRINCIPAL

VIOLAS TRUMPET Daisy Spiers PRINCIPAL Simon Munday PRINCIPAL Catherine Bradshaw

TIMPANI ORCHESTRA MANAGER CELLO Adrian Bending PRINCIPAL Jonathan Tunnell Jonathan Tunnell PRINCIPAL Sarah Butcher PERCUSSION PIT MANAGER & Cameron Sinclair PRINCIPAL ORCHESTRA ASSISTANT David Tosh Seif O’Reilly Chris West PRINCIPAL

GLYNDEBOURNE.COM | 4 The Chorus Director Glyndebourne Aidan Oliver Sopranos Chorus Nicola Hughes Madison Nonoa-Horsefield Jacquelyn Parker Rachel Taylor

Mezzo Sopranos Natalia Brzezińska Emma Kerr

Tenors Niel Joubert Sean Kerr Anthony Osborne David Shaw

Basses Andrew Davies John Mackenzie-Lavansch

GLYNDEBOURNE.COM | 5 SYNOPSIS In The Market for Love or Onions are Forever

Recently reopened after an epidemic, Harry Coe, and when Ciboulette realises Paris’ Market of the Innocents is bustling it, she rushes off to warn him. Raflafla with business. Customers (all wearing decides to try his luck with Bouillabaisse, their masks) queue for macarons, but she too refuses him. herring, camembert and cabbages, while At last Ciboulette and Harry are reunited. stallholders (all scrupulously socially After declaring their love, they vow to distanced) ply their wares under the marry. Caught dallying by Madame beady eye of the Police Inspector. Beurrefondu who is returning with Raflafla, a smooth-talking drum major Raflafla, Harry flees the angry Major, nearing retirement, enters and makes a leaving Ciboulette to share their plans beeline for three of the market’s ladies. with Beurrefondu. The only problem, she First he tries his charms on Madame explains, is that to marry she needs the Mangetout, sounding out both her consent of her father – a sergeant in the feelings and the size of her savings. Guardes Françaises who abandoned her Rebuffed, he moves onto Madame as a baby. Beurrefondu faints, recognising Beurrefondu, where he meets a similarly Ciboulette as her long-lost child. frosty reception. Both have set their Bouillabaisse interrupts the mother- hearts on the Market Café’s handsome daughter reunion. She relates the details young chef Harry Coe. of Ciboulette’s provenance to Mangetout But Harry only has eyes for fruit seller who immediately faints because they Ciboulette, a young orphan-girl who match those of the child that was taken has grown up in the market, and refuses away from her. Faced with two possible their increasingly determined offers of mothers, Ciboulette produces a letter cheese, vegetables and love. The rivalry from her father, sent to her at just three escalates into an all-out fight between the months old and never before opened. women, further intensified by the arrival Harry reads it aloud to all, revealing that of Madame Bouillabaisse the fish-seller Ciboulette’s father is none other than – another passionate admirer of Harry’s. Raflafla, who took her away from her The Police Inspector attempts to restore mother as a baby in case she grew up order, but in the chaos he tumbles into a smelling of haddock. She can find her tub of sprouts. Once he has emerged he mother on the fish stall in the market. promptly marches all the ladies down to The newly discovered parents the police station to explain themselves. immediately grant permission for Harry Unnoticed in the commotion, Ciboulette and Ciboulette to marry, and everyone arrives. Now, left alone, she sings breaks into song. about her life on the stall and her strict rejection of her customers’ romantic Alexandra Coghlan advances. Raflafla is furiously looking for Opera Content Specialist

GLYNDEBOURNE.COM | 6 Offenbach to the rescue By Stephen Plaice

Offenbach’sMesdames de la Halle, premiered in Paris in 1858, represents a crucial turning-point in the composer’s output, which includes nearly a hundred operettas.

In the preceding decade, Offenbach had the rigid control over cast numbers grown dissatisfied with the limitations exercised by the prefecture of police of life as a cellist in a conventional in mid-19th century Paris. When the orchestra. His own ambitions as Bouffes-Parisiens began, the composer composer, conductor and theatrical producer were too strong to keep him in the pit of the Opéra-Comique. His employers weren’t in the least interested in staging his work, so he broke out and began to produce the bouffes, small opera buffas, usually comprising a single act. These short, humorous entertainments by various young French composers (though Offenbach himself was of German origin) were produced in summer and winter seasons at small Parisian theatres from 1855 onwards, under a licence Offenbach had obtained for performing a ‘new and original’ kind of musical theatre. Astonishingly, Mesdames de la Halle was the first operetta in which Offenbach had legally been allowed to work with a chorus. The reason for this was

GLYNDEBOURNE.COM | 7 Offenbach to the rescue continued

was allowed a maximum of only three the establishment did a volte-face singers. Though there was perhaps and responded to public demand by a moral agenda here, a desire by the removing the restrictions on cast size authorities to restrict licentiousness entirely. The theatrical institutions had around theatrical events, there was come to realise that in order to keep also a financial one. Thebouffes were their audiences, Offenbach’s works, rapidly became popular and were even and those of others working in the threatening the ticket-sales of the same opera buffa genre, would have to be included in their repertoire, along conventional theatres. However, this with fringe performers like Hortense success was to be explained not only Schneider who had made them popular. by the hilarity of the entertainments; This prepared the way for Offenbach’s audiences were also attracted by the larger works – notably La belle Hélène, La louche society around the bouffes, the vie parisienne, Orpheus in the Underworld (the theatrical origin of the famous Can Can) and , which the composer did not quite live long enough to see in production. So Mesdames de la Halle was the stepping stone from the bouffesof Offenbach’s early days, to his full-scale . Though it is still a one-act opera buffa, one can feel in its endeavour an aspiration towards grand opera (even including some element of ballet in the finale), and towards the choral and choreographic possibilities that promise of social and indeed sexual were opening up for the successful interaction with the demi-mondaines composer. Yet the piece is still tight who attached themselves to the in terms of scale, conforming to the enterprise, including the performers. Aristotelian dramatic unities of time, The corruption of this permissive place and action, rolling out in a single society was later explicitly captured in sequence of events. Émile Zola’s novel Nana. Offenbach chose as his librettist In 1857, rather than continuing to Armand Lapointe, a vaudevillian and suppress the new theatrical craze, journalist, who knew the very tick of

GLYNDEBOURNE.COM | 8 Offenbach to the rescue continued

Paris and was well acquainted with its Subtract the choruses and the numbers, history. Lapointe took for his precinct and this is perhaps Offenbach’s purest the iconic Marché des Innocents, a huge farce. It is, surprisingly, also his debut market square in the 1st arrondissement. at Glyndebourne. In the current The market was formerly dominated by climate, his works seem ripe for revival, a fountain housed in a huge structure especially the short and irreverent the size of a church-tower. This was opera buffas, many requiring only a few demolished in the late 18th century performers. Perhaps the era of the (though the fountain itself was re- Bouffes Nouvelles is upon us. sited outside in the square); but it From phone call to delivery of the retained a sentimental significance in vocal score, Marcia Bellamy and I had public consciousness. Composer and three weeks during lockdown to write, librettist deliberately wanted to elicit set and deliver the new version, now nostalgia for pre-revolutionary Paris by titled In the Market for Love. We came to recapturing the feel of the old market. imagine that we were working under So the operetta begins with the cris des the same conditions that Offenbach vendeurs (traders’ cries) that might have himself had experienced during the been heard in the 18th century. Lapointe early days of feverish composition on and his composer may even have been his one act bouffes. We could always feel responding to the imminence of a the composer’s genial, twinkling spirit second demolition, which took place at our shoulder, encouraging us to take in the same year as the production. as many liberties with the text as we Perhaps Mesdames de la Halle was an early desired, while leaving his brilliantly conservationist protest? If so, it was effervescent music in its original partly successful. One can still visit a form, to speak for itself. Mesdames et reduced version of the fountain in what Messieurs, applaud it all, life is a roaring is now Les Halles.In our production the waterfall. fountain has become no more than a public hand sanitiser.

GLYNDEBOURNE.COM | 9 Biographies

Marcia Bellamy Natalia Brzezińska Rupert Charlesworth VOCAL SETTING Mezzo-Soprano BREAD SELLER MADAME BEURREFONDU

Previously for Glyndebourne Previously for Glyndebourne Previously for Glyndebourne Associate Artist, Glyndebourne Young Innkeeper’s Wife/, Laertes/Hamlet (GT) Voices (Glyndebourne education); Mother/Mavra, The Shepherd/L’enfant et les Recent engagements Vocal Setting/In the Market for Love sortilèges (GF); (Cover) 6th Spirit/Cendrillon, Tamino/Die Zauberflöte, Narraboth/Salome, (Glyndebourne Open House) 2nd Bridesmaid/Le nozze di Figaro, Oronte/Alcina (Staatsoper Hannover); Giovanna/Rigoletto (GT); Glyndebourne Recent engagements Bach’s Weihnachtsoratorium (Noord Chorus since 2010 and numerous cover New English setting of Rachmaninoff’s Nederlands Orkest); Messiah (La Cetra roles; Bread Seller/In the Market for Love The Bells (2019 Induction Concert, GSMD); Barockorchester) (Glyndebourne Open House) new settings of Offenbach songs and Forthcoming engagements ensembles for Bouffe!(Brighton Festival Recent engagements Prince/The Love for Three Oranges Fringe); English versions of Brecht Medea/Il Medo (Ensemble Serse); Florence (Komische); Jonathan/Saul (Theater an songs for In & Out of Love (RedBlonde Pike/Albert Herring (RAM) der Wien) Productions tour) Forthcoming engagements He read Music at King’s College London She graduated from University of (Cover) 3rd Lady/ and studied with Philip Doghan. He Washington with a Masters in Music and (Glyndebourne autumn 2020) trained at RAM where he was generously won a scholarship with the American She graduated with distinction in vocal supported by the Karaviotis Scholarship, Berlin Opera Foundation. She was a studies from the Music Academy in the John Kenneth Adams Scholarship, soloist at Deutsche Oper Berlin for 8 Łódź, Poland before coming to the UK the Josephine Baker Trust, the Countess seasons and has since performed in to take up postgraduate studies at Royal of Munster Trust and Mr and Mrs operas and concerts in Germany, Austria, Academy Opera. She was a finalist in Sommerville. He was a 2011 Academy France, Switzerland, and in the UK where the Richard Lewis Competition in 2008 Laureate of the Festival d’Aix-en- she eventually made her home. Building and 2009 and highly commended in Provence and won the Jury and Audience on her experience of singing in many the 2008 Flora Nielsen/Elena Gerhardt prizes both at the 2013 Handel Singing languages, she has developed a practice Prize Competition. She is supported Competition and the 2014 International of setting new translations of existing by the Josephine Baker Trust and the Singing Competition for Baroque Opera operatic repertoire to make them more Nan Copeland Award. She also works as Pietro Antonio Cesti. accessible to modern audiences. She a Polish language coach (most recently is currently Vocal Tutor and Associate with London Philharmonic ) and Lecturer in German for the Vocal for many years taught singing at King’s Performance Programme at University of College London. Chichester Conservatoire.

GLYNDEBOURNE.COM | 10 Biographies © Steven Brown © Steven Collet © Gerard © Cameron Becker Fiona Dunn Ben Glassberg Brenden Gunnell ASSOCIATE DIRECTOR CONDUCTOR Tenor MADEMOISELLE BOUILLABAISSE

Previously for Glyndebourne Previously for Glyndebourne Previously for Glyndebourne As Festival and Revival Director: , Madama Butterfly (GF); Prince/, Pedrillo/Die Entführung Cendrillon (GF) As Assistant Director: La traviata: Behind the Curtain, L’elisir aus dem Serail (GF); Mademoiselle Cendrillon, Hamlet, , Don d’amore (GT) Bouillabaisse/In the Market for Love Giovanni: Behind the Curtain, The Turn of (Glyndebourne Open House) Recent engagements the Screw (GT); (GF); Le nozze di Figaro, Don Giovanni, Così fan Recent engagements Imago (Glyndebourne education) As Staff tutte (La Monnaie); Hansel and Gretel (ENO Siegmund/Die Walküre, Loge/Das Director: The Cunning Little Vixen (GF) As debut); Salzburg debut; BBC SO; LPO Rheingold (Göteborg Opera); Erik/Der Associate Director: In the Market for Love (symphonic debut); Tokyo Symphony fliegende Holländer (Bari Opera); Sergei/ (Glyndebourne Open House) Orchestra (symphonic debut); Deutsche Lady of Mtsensk (BOC); Jenik/ Recent engagements Radio Philharmonie (symphonic debut) Prodana Nesta (Garsington); Hüon de As Revival Director: To Kill a Mockingbird Bordeaux/Oberon (Bayerische); David/Die Forthcoming engagements (UK Tour) As Associate Director: Strictly Meistersinger von Nürnberg (National Centre La clemenza di Tito (Opéra de Rouen); The Ballroom (Piccadilly Theatre); On the Town, for Performing Arts, Beijing) Turn of the Screw (La Monnaie) All My Sons, Peter Pan, Ragtime, The Sound Forthcoming engagements of Music (Regents Park Open Air Theatre); The British conductor first came to Earl of Kent/Lear (Bayerische); Siegmund/ The Turn of the Screw (Regents Park, ENO) international attention when he won the Die Walküre (Saarländische Staatstheater); As Resident Director: Lord of the Flies Grand Prix at the 2017 Besançon Young Oedipus Rex (Norddeutscher Rundfunk, (Regents Park, Tour) As Assistant Director: Conductors Competition at the age of 23. Hamburg); Loge/ (BOC); Title La traviata, (ROH); The Since then he has been made Associate role/Lohengrin (Bolshoi) Pajama Game (Chichester) Guest Conductor of Orchestre National de Lyon and Principal Conductor of One of the most promising young- Forthcoming engagements Glyndebourne Tour, and 2020 sees him heroic of his generation, his As Associate Director: Singing in the Rain begin his tenure as the Music Director of repertoire includes the title roles in Peter (Sadler’s Wells, Toronto); Kát’a Kabanová (GF) Opéra de Rouen Normandie. He has also Grimes, and Parsifal, Siegmund/ She studied at King’s College University appeared with the Royal Philharmonic, Die Walküre, Jimmy Mahoney/Aufstieg und and RADA. As an actor, she has worked London Philharmonic, Orchestre Fall der Stadt Mahagonny, Laça Klemen/ for 20 years with productions in the West Philharmonique de Radio France, Detroit Jenůfa, Eric/Der fliegende Holländer and End, RSC, Chichester Festival Theatre and Symphony and St Peterburg Symphony. Loge/Das Rheingold. From 2007 to 2011 he repertory companies throughout the UK, was an ensemble member of the Tiroler and has performed on radio and TV. Landestheater, Innsbruck under KS Brigitte Fassbaender, before spending 3 years as an ensemble member of the Norwegian National Opera. A native of Indiana, USA, he received his diploma from the Curtis Institute of Music, Philadelphia in 2006.

GLYNDEBOURNE.COM | 11 Biographies Daniel Sutka James Bellorini Niel Joubert Emma Kerr Stephen Langridge Tenor Mezzo-Soprano DIRECTOR MASK SELLER HARRY COE (20 OCTOBER)

Previously for Glyndebourne Previously for Glyndebourne Previously for Glyndebourne Autumn/The Fairy Queen, Parpignol/La Flora Bervoix/La traviata, (Cover) Prince Tangier Tattoo (Producer, GT); Misper, Zoë bohème, Herald/Rinaldo, First Footman, Charming/Cendrillon (GT); (Cover) Croute- (Director, Glyndebourne education); In First Waiter/Der Rosenkavalier, Tantale/La au-pot/Mesdames de la Halles, Siren 2/ the Market for Love (Director, Glyndebourne descente d’Orphée aux enfers, (Cover) Moser/ Rinaldo, (Cover) Second Wood Nymph/ Open House) Die Meistersinger von Nürnberg; (Cover) Rusalka, Un pâtre/L’enfant et les sortilèges, Recent engagements Maintop/, (Cover) Player 3/ (Cover) Mercédès/ (GF); Jerwood Theodora (Champs-Élysées); Carmen Hamlet (GF); Giuseppe/La traviata, Don Young Artist 2015 (Greek National Opera); Tristan und Isolde Curzio/Le nozze di Figaro, (Cover) Male Recent engagements (Staatstheater Hannover); Hamlet, , Chorus/The Rape of Lucretia, (Cover) Witch Shadow Marnie 3/Marnie, Cover Das Rheingold, Die Walküre (Gothenburg of Endor/Saul (GT); Mask Seller/In the Cherubino/Le nozze di Figaro (ENO); Frau Opera) Market for Love (Glyndebourne Open Grubach, Washerwoman/The Trial, 2nd House) Forthcoming engagements Wood Nymph/Rusalka, Dorabella/Così Siegfried, Götterdämmerung Previous engagements fan tutte, Cover Stewardess/Flight, Cover (Gothenburg Opera) Don Ottavio/Don Giovanni, Pedrillo/Die Ariodante/Ariodante, Cover Cherubino/ Entführung aus dem Serail, Monostatos/Die Le nozze di Figaro, Opera Highlights Tour He is the Artistic Director at Zauberflöte, Adolphe/Die Opernprobe, Hot (SO) Glyndebourne, a post he took up in Biscuit Slim/Paul Bunyan, Giacomo de Spring 2019 following six years as Director Born in Edinburgh, she was a Scottish Wisants/L’assedio di Calais (ETO); Handel’s for Opera and Drama at Gothenburg Opera Emerging Artist 2015-2017. She was a Messiah (Harry Bicket/English Concert); Dixit Opera, Sweden. A passionate believer Jerwood Young Artist with Glyndebourne, Dominus, St John Passion, St Matthew Passion in the importance of opera education having graduated with distinction from (Laurence Cummings); L’Allegro (William and participation work as well as talent the Guildhall Opera Course in 2015. She Christie); Ode on St Cecilia Day; Mozart’s development, throughout his career is a Samling Artist 2016 and in 2017 was Requiem; Haydn’s Creation, Nelson Mass he has alternated between the leading awarded the Audience Prize in the Peter operatic stages and ground-breaking Born in South Africa, he attended the Hulsen Orchestral Song Award. community projects, making and devising Drakensberg Boys’ Choir School before opera and music theatre in unusual studying at RAM where he was supported settings from South African Townships, by the Ernest Oppenheimer Memorial to traditional education environments, Trust, South Africa Arts Council and and prisons. various RAM bursaries. He was a finalist in the Handel Singing Competition and has performed in venues across Europe.

GLYNDEBOURNE.COM | 12 Biographies © Greek Rosetta © Julie Kim Kate Lindsey Jeffrey Lloyd-Roberts John Mackenzie-Lavansch Mezzo-Soprano Tenor HARRY COE RAFLAFLA THE POLICE INSPECTOR (24, 25 OCTOBER)

Previously for Glyndebourne Previously for Glyndebourne Previously for Glyndebourne Octavian/Der Rosenkavalier, Composer/ Polonius/Hamlet; Pedrillo/Die Entführung Dandini/La Cenerentola, Hunter/Rusalka, , Prince Charming/ aus dem Serail; High Priest/Idomeneo; Witch/ Baritone Solo/The Fairy Queen, First Cendrillon (GF); Harry Coe/In the Market for Hänsel und Gretel (GT); Judas/The Last Apparition/Macbeth (GF); Imperial Love (Glyndebourne Open House) Supper (GF); Maintop/Billy Budd (BAM) Commissioner/Madama Butterfly, Belcore/L’elisir d’amore, Malatesta/Don Recent engagements Recent engagements Pasquale, Papageno/Die Zauberflöte, Hunter/ Nerone/ (Met); Title role/Orlando Ringmaster/The Bartered Bride Rusalka, Marchese D’Obigny, Messenger/ world premiere, Komponist/Ariadne auf (Garsington); Drunk Prisoner/From the La traviata, Customs Sergeant/La bohème, Naxos (Vienna); Soloist/Berlioz’ Roméo et House of the Dead (ROH, Lyon, La Monnaie); Marcellus, Player 4/Hamlet, Court Usher/ Juliette () Panait/The Greek Passion (ON); Rigoletto (GT); Duncan, Assassin/Luke (Opera Queensland); Mayor/Albert Herring Forthcoming engagements Styles’ Macbeth (Glyndebourne/ROH) (Buxton Opera Festival) Donna Elvira/Don Giovanni (Salzburg Recent engagements Mozarteum); Sesto/Giulio Cesare Forthcoming engagements Dandini/La Cenerentola (Bury Court, Erin (Met); Pergolesi’s Stabat Mater (LA Horace Adams/Peter Grimes (ENO); Arts Centre); Pagano/I Lombardi alla prima Philharmonic); Rosina/Il barbiere di Siviglia, Bardolfo/ (GPO); M. Triquet/Eugene crociata (University College Opera); Primo Nerone/L’incoronazione di Poppea (Vienna) Onegin (West Green Opera) Pastore/L’Orfeo, Hymen/The Fairy Queen (Le A native of Richmond, Virginia and The Welsh tenor read music at Lancaster Concert d’Astrée) now living in the UK with her family, University before studying at RNCM. Born in Dumbarton, he graduated she frequents many of the world’s most He works regularly with all the major UK from the Opera School at RCS. He is prestigious opera houses, including the opera companies and made his debut in an alumnus of the Steans Institute Met, Wiener Staatsoper, ROH, Bayerische, Salzburg singing Erik/Die fliegende Höllander at the Ravinia Festival and a Samling Salzburg, Aix, LA and Champs-Élysées. and returned to sing Arthur in Birtwistle’s Scholar. Winner of the Mary Garden She has worked with many of the world’s Gawain. He has sung at Cheltenham International Prize, he has also received most distinguished conductors including Festival, EIF and the BBC Proms and has the Bill McCue Memorial Award and the Emmanuelle Haïm, , appeared with all of the major British Wessex Glyndebourne Association Award. Harry Bicket, Robin Ticciati, Thomas Symphony Orchestras as well as many Hengelbrock and Franz Welser-Möst. She across Europe and further afield. is recording exclusively for Outhere Music France. Her first solo albumThousands of Miles was released in 2017 and her second album Arianna was released in January 2020 featuring orchestra conducted by Jonathan Cohen.

GLYNDEBOURNE.COM | 13 Biographies © Ben Tomlin Kern © Lena Aidan Oliver Stephen Plaice Matthew Rose CHORUS DIRECTOR LIBRETTIST Bass THE POLICE INSPECTOR

Aidan was appointed Chorus Director at Previously for Glyndebourne Previously for Glyndebourne Glyndebourne in 2019. He is one of the As Librettist: Tangier Tattoo (GT); Bottom/A Midsummer Night’s Dream, UK’s leading choral directors, with wide Zoë, Misper, School4Lovers, Lovers Walk Leporello/Don Giovanni, Nick Shadow/ experience across the whole spectrum (Glyndebourne Education); Imago The Rake’s Progress, Mr Flint/Billy Budd, of symphonic, liturgical, operatic and (Community Opera); In the Market for Love Collatinus/The Rape of Lucretia, Callistene/ contemporary music. Alongside his work (Glyndebourne Open House) (GF); The Police Inspector/In the at Glyndebourne, he directs the Edinburgh Market for Love (Glyndebourne Open House) Recent engagements Festival Chorus, which performs in several Birtwistle’s Angel Fighter (world premiere Recent engagements high-profile concerts each year at the at Bach Festival Leipzig, UK premiere Leporello/Don Giovanni (Chicago); EIF; he is also the founding director of at BBC Proms); Luís Tinoco’s Paint Me Pimen/Boris Godunov (ROH); Bottom/A Philharmonia Voices, the professional choir (premiere at Culturgest, Lisbon); Richard Midsummer Night’s Dream (Philadelphia that collaborates with the Philharmonia Taylor’s Ludd and Isis, Julian Grant’s Hot Opera); Claudio/Agrippina, Colline/La Orchestra on many of its most ambitious House (ROH); ’ The Tale of bohème (Met); Mozart’s Requiem (New York choral-orchestral projects, particularly Januarie (first opera to be written in Middle Philharmonic) under its Principal Conductor, Esa-Pekka English, GSMD); Jamie Man’s Counting Salonen. He has worked regularly on the Forthcoming engagements Sheep children’s opera (Snappy Operas music staff of ROH and ENO, and his Bottom/A Midsummer Night’s Dream (Vienna); project, Mahogany Opera) former positions include Director of Music Gremin/Eugene Onegin (Garsington); Haydn’s at St Margaret’s Westminster and Associate Forthcoming engagements Creation (Cincinnati Symphony under Louis Conductor of the St Endellion Summer Henny Penny children’s opera with Langrée); Beethoven’s Symphony No 9 (Paris Festival in Cornwall. Julian Philips (currently in workshop under Vasily Petrenko, Toyko under Pablo development with schools in Islington); Heras-Casado) Orlando Gough’s post-Brexit satirical He studied at the Curtis Institute of Music opera Bloom Britannia (St Mary in the before becoming a member of the ROH Castle, Hastings); Michael Zev Gordon’s Young Artist Programme. In 2006 he made Raising Icarus chamber opera (Barber an acclaimed debut at Glyndebourne Institute Birmingham); Tony Biggin’s Festival as Bottom in A Midsummer Night’s community musical String. Dream for which he received the John A dramatist working in opera and Christie Award, and he has since performed theatre, he is one of Britain’s leading at opera houses throughout the world. librettists and book writers for musical He has sung under the baton of Sir Colin theatre. He is currently tenured as Davis, Gustavo Dudamel, Sir Andrew Writer-in-Residence at GSMD where he Davis, Vladimir Jurowski, Sir Charles was appointed Professor of Dramatic Mackerras, Yannick Nézet-Seguin and Writing in 2018. His opera work has been and is already a critically- performed throughout Europe and he acclaimed recording artist, winning a has collaborated with many leading Grammy Award for Best Opera Recording composers, including , for Ratcliffe/Billy Budd. His other recordings Michael Zev Gordon and Orlando Gough. include with pianist Gary Matthewman and Schwanengesang with Malcolm Martineau for Stone Records.

GLYNDEBOURNE.COM | 14 Biographies © Bertie Watson Rachel Taylor Michael Wallace Nardus Williams Soprano Baritone Soprano FANCY SELLER MADAME MANGETOUT CIBOULETTE

Previously for Glyndebourne Previously for Glyndebourne Previously for Glyndebourne (Cover) Third Spirit/Cendrillon, Siren/ Title role/Don Giovanni, Wig-Maker/ (Cover) Adina/L’elisir d’amore, (Cover) Rinaldo, Sandman/Hänsel und Gretel, (Cover) Ariadne auf Naxos, First Mate/Billy Budd, Armida/Rinaldo, Milliner/Der Rosenkavalier Marzelline/Fidelio, (Cover) Despina/Così Godofredo/The Yellow Sofa, Miguel/ (GF); Adina/L’elisir d’amore (GT); Maggie/ fan tutte, (Cover) Damigella/L’incoronazione Betrothal in a Monastery, Pilate/St Matthew Marjana/Belongings (Glyndebourne Youth di Poppea, (Cover) Barena/Jenůfa (GT); Passion, Curio/Giulio Cesare, Customs Opera) (Cover) Cousin/Madama Butterfly, (Cover) Officer/La bohème, Messenger/La traviata, Recent engagements Third Spirit/Cendrillon, (Cover) Adele/Die Le Guide/Carmen, Pasek/The Cunning Micaëla/Carmen, Countess/The Marriage Fledermaus, (Cover) Clorinda/La Cenerentola Little Vixen, Shepherd/Pelléas et Mélisande, of Figaro (ENO), Mimì/La bohème, (GF); Chorus member (GF, GT); Fancy Balthazar/Wakening Shadow, Prime Donna Anna/Don Giovanni (Houston); Seller/In the Market for Love (Glyndebourne Minister/Cendrillon (GF); Schaunard, Cover Governess/The Turn of the Screw Open House) Customs Officer/La bohème, Moralès/ (Garsington), Martha/Giorgio Battistelli’s Carmen, Baron Douphol/La traviata, Recent engagements Wake (BOC); Recitals (, St. Assassin/Macbeth, Second Trojan/ Despina/Così fan tutte (European Chamber John’s Smith Square); Handel’s Messiah Idomeneo, Yakuside/Madama Butterfly, Opera); Chair, Owl/L’enfant et les sortilèges, (King’s Place) Fiorello/Il barbiere di Siviglia, Prime Lusya/Paradise Moscow (ON) Minister/Cendrillon, Marullo/Rigoletto (GT); Forthcoming engagements Born in Macclesfield, Cheshire, she Alex/Agreed (Glyndebourne Youth Opera); Countess/Le nozze di Figaro (OHP); Mimì/La studied at RNCM where she won the Madame Mangetout/In the Market for Love bohème (ENO Drive & Live series); Belinda/ Elsie Thurston Award and the Frederic (Glyndebourne Open House) Dido’s Ghost world premiere (Dunedin Cox award. She has appeared as the Consort) Recent engagements Soprano soloist in Handel’s Messiah at First Mate/Billy Budd (BAM); Uncle The British soprano is an ENO Harewood RAH, conducted by Sir David Willcocks, Yakuside/Madama Butterfly, Dancairo/ Artist, was a member of the Houston and subsequently with him in the Olso Carmen, Sergeant/La bohème, Gaoler/Tosca Opera Studio for the 2018/19 season Spectrum, Norway; Georg-Friedrich- (RAH); Bass solo/Mass in B Minor (English and is a former Jerwood Young Artist Händel Halle, Germany; the Santa Concert, Valetta International Baroque at Glyndebourne. She trained at RCM’s Maria del Mar, Barcelona; and the Festival); Title role/Saul (Châtelet) International Opera School where she was Augustinerkirche, Vienna. the sole recipient of the prestigious Kiri Te Born on Merseyside, he studied at RNCM Kanawa Scholarship. She won First Prize and NOS and has been a recipient of the and Audience Prize at the 2016 Maureen Erich Vietheer Memorial Award. He has Lehane Vocal Awards and was a finalist in performed with AAM, The Sixteen, English the 2018 Kathleen Ferrier Competition. Concert, Gabrieli Consort and OAE.

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No Ordinary Opera

GLY20_MembershipAdA4_v3.indd 1 05/10/2020 12:02 Thank you to all Glyndebourne staff. Without your dedication throughout this crisis, these live performances would not be possible.

Production photography: Richard Hubert Smith Design: Fenton+Partners

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