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In the Market for Love Or Onions Are Forever

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In the Market for Love Or Onions Are Forever 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 opera, 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 Jacques Offenbach 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 BASS 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. The bouffes 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.
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