festival 2015 21 May – 30 August

MEMBERShip BROCRE HU donizetti bizet mozart DIE ENTFÜHRUNG AUS DEM SERAIL britten handel SAUL ravel L’HEURE ESPAGNOLE L’ENFANT ET LES SORTILÈGES

welcome to

20 | FESTIVAL 2015 Festiv elcome to our 2015 festival, which includes repertoire spanning 300 years and an enticing mix of Glyndebourne firsts and Wfavourites. The 2015 programme includes three new productions – two of which are works never previously seen at Glyndebourne. The first ever UK staging of Donizetti’s Poliuto will reunite conductor Enrique Mazzola and director Mariame Clément following their much-admired in 2013. Handel’s Saul will be the fifth stage work by the composer to be presented in the ‘new’ theatre and marks the Glyndebourne debut of one of today’s most sought-after international directors, the Australian-born Barrie Kosky, as well as the welcome return of conductor Ivor Bolton. Music director Robin Ticciati continues his exploration of Mozart at Glyndebourne with a new staging of Die Entführung aus dem Serail – a collaboration with one of this country’s finest directors, David McVicar. Fiona Shaw’s critically acclaimed production of The Rape of Lucretia is presented as part of the Festival for the first time – continuing a line of highly successful Britten productions at Glyndebourne, and bringing the work back to the place where it was first performed in 1946. Completing the season are three masterpieces from the French operatic tradition. Bizet’s Carmen remains one of the most captivating operas ever written while Ravel’s two perfect miniatures, L’heure espagnole and L’enfant et les sortilèges, make up a brilliantly conceived double bill from director Laurent Pelly. In addition to our main stage productions, I hope you will also take the opportunity to enjoy the programme of extra events we offer as part of the Festival including our series of pre-performance talks and study events and the recitals given by our Jerwood Young Artists. I am particularly delighted that we are able to present the first performances of Macbeth, a new work by our recent Young Composer-in-Residence, Luke Styles, a showcase for some of the many talented young artists working at Glyndebourne. None of this ambitious programme would be possible without the loyalty of you, our Members, and the extraordinary generosity of our major donors. Thank you for your continuing support of Glyndebourne, and I hope you find much to enjoy in the 2015 Festival.

— david pickard, General Director

al 2015 GLYNDEBOURNE.COM | 01 02

| FESTIVAL 2015

1395 DAYS WITHOUT REDA FILM BY ANRI SALA IN COLLABORATION WITH LIRIA BÉGÉJA MEYERS © ANRI SALA, ŠEJLA KAMERIĆ, ARTANGEL, SCCA/PRO.BA 2011 Donizetti’s rarely-produced masterwork This Glyndebourne premiere of Poliuto also Poliuto reveals the epic side of this bel canto marks the opera’s UK premiere. Staged by French genius. Poliuto contrasts fierce personal conflict director Mariame Clément, returning after her with sweeping heroic scale, in the manner of winning production of Don Pasquale, this French grand opera – a choice which would wield production of Poliuto cuts to the heart of the great influence on Verdi. Poliuto’s grand Temple opera’s intimate personal drama: a classic love Scene in Act II clearly foreshadows the famous triangle, doomed by the conflicting forces of Triumphal Scene in . politics and faith, and played out against a Based on Corneille’s French Neoclassical timeless, monumental canvas. Enrique Mazzola tragedy , Poliuto weaves the tale of returns to conduct the London Philharmonic Polyeuctus (d. 259 AD), an early Christian Orchestra. martyr. The opera portrays Poliuto’s spiritual

crisis after his conversion to Christianity incites A new production for Festival 2015 (UK premiere) persecution by Armenia’s Roman occupiers. His Sung in Italian with English supertitles wife Paolina, though in love with another man, Conductor...... Enrique Mazzola is so moved by Poliuto’s courage that she finally Director...... Mariame Clément follows him to his tragic fate. Designer...... Julia Hansen Conceived as a vehicle for the great French Lighting Designer...... Bernd Purkrabek tenor Adolphe Nourrit, the title role demands cast includes a tenor of lyricism and suppleness but also Poliuto...... Michael Fabiano power and stamina. Poliuto will be sung by Paolina...... Ana María Martínez the exciting American tenor Michael Fabiano, Severo...... Igor Golovatenko who debuted in La traviata in Festival 2014. Callistene...... Matthew Rose

A FILM BY ANRI SALA IN COLLABORATION WITH LIRIA BÉGÉJA MEYERS As Paolina, a role often associated with Maria Felice...... Timothy Robinson Callas, the Puerto Rican soprano Ana María Nearco...... Emanuele D’Aguanno

Martínez returns to Glyndebourne for the first time since her memorable debut in the title role London Philharmonic Orchestra © ANRI SALA, ŠEJLA KAMERIĆ, ARTANGEL, SCCA/PRO.BA 2011 1395 WITHOUT DAYS RED of Rusalka in 2009. The Glyndebourne Chorus

Critical Edition by William Ashbrook and Roger Parker Property of Casa Ricordi, Milan (Universal Publishing Srl) By arrangement with G. Ricordi & Co (London) Ltd.

POLIUTO Supported by Peter Moores Foundation Jon and Julia Aisbitt

GLYNDEBOURNE.COM | 03 ‘I have written a work that is all clarity and A revival of the 2002 Festival production vivacity, full of colour and melody,’ wrote Bizet Sung in French with English supertitles of Carmen, composed shortly before his sudden death at age 37. He would never know that his Conductor...... Jakub Hrůša Director...... David McVicar tale of a free-spirited femme fatale would Revival Director...... Marie Lambert become one of the world’s most widely Set Designer...... Michael Vale performed and beloved operas. Costume Designer...... Sue Blane Set in Andalucía, Carmen reflects the 19th- Choreographer...... Andrew George century European fascination with the exotic, Revival Choreographer...... Emily Piercy Lighting Designer...... Paule Constable evoked through the use of authentic Spanish Fight Director...... Nick Hall music – alongside popular-style opéra-comique tunes and soaring French lyricism. Based on the 1845 novella by Prosper Mérimée, Carmen traces the joined fates of the fiery gypsy Carmen and Don José, a naïve army corporal. In love with Carmen, he abandons his childhood sweetheart and deserts from the military, but loses the capricious Carmen to the glamorous toreador Escamillo, with deadly results. The opera’s portrayal of working-class life, dissolution and lawlessness, as well as the shocking onstage murder of its heroine and the ground-breaking ARCHIVE GRAVETT /THE HOBAN HOBAN MIKE music Bizet wrote for it, scandalised early audiences but blazed new trails in opera. Of David McVicar’s production, last seen in Festival 2008, The Guardian wrote: ‘It is a brooding view of Carmen, a dissection of lost souls embedded in Michael Vale’s scrupulously realist sets… Sue Blane’s meticulously Spanish costumes provide a note of native colour… McVicar powers this Glyndebourne production with the energy of Rent, and with the seediness of Cabaret.’ Jakub Hrůša conducts the London Philharmonic Orchestra, with Glyndebourne favourite Stéphanie d’Oustrac in the iconic title role, the charismatic Polish-Brazilian baritone Paulo Szot as Escamillo, acclaimed Czech tenor Pavel Cernoch as Don José, and the dazzling British soprano Lucy Crowe as Micaëla. Supported by a Syndicate of Individuals led by Lord Davies of Abersoch cbe

04 | FESTIVAL 2015 cast includes Carmen...... Stéphanie d’Oustrac Don José...... Pavel Cernoch Escamillo...... Paulo Szot Micaëla...... Lucy Crowe Zuniga...... David Soar Frasquita...... Eliana Pretorian Mercédès...... Rihab Chaieb Le Dancaïre...... Christophe Gay Le Remendado...... Loïc Felix Moralès...... Andrey Zhilikhovsky

London Philharmonic Orchestra The Glyndebourne Chorus

CARMEN

GLYNDEBOURNE.COM | 05 DIE ENTFÜHRUNG AUS DEM SERAIL (ANONYMOUS) ODALISQUES IN A HAREM, , LITHOGRAPH WITH CLAY PLATE, C. 1880. AKG-IMAGES 1880. C. PLATE, CLAY WITH LITHOGRAPH CONSTANTINOPLE, HAREM, A IN ODALISQUES (ANONYMOUS) 06 | FESTIVAL 2015 ‘Die Entführung has knocked everything else on Glyndebourne’s distinguished history with sideways,’ wrote Goethe of this landmark work Die Entführung which began with its seminal by the 26-year-old Mozart. A popular Singspiel in 1935 production. This new production is directed which tuneful Viennese comedy meets serious by David McVicar, creator of such triumphant Enlightenment philosophy, the piece is often Glyndebourne productions as Giulio Cesare and cited as his first fully mature stage work. Die Meistersinger von Nürnberg. Like many other contemporary works, Die The luminous soprano Sally Matthews will Entführung was inspired by the 18th-century return to Glyndebourne as Konstanze, as will vogue for all things Eastern after the Ottoman Edgaras Montvidas after his Festival 2014 Empire’s failed Siege of Vienna in 1683. The plot triumph in Eugene Onegin, while the German concerns the attempt of the Spanish nobleman Tobias Kehrer and the Norwegian soprano Belmonte to rescue his beloved Konstanze from Mari Eriksmoen make their Glyndebourne the seraglio of the Pasha Selim in Turkey. debuts as Osmin and Blonde. Though the opera reflects the 18th-century European view of ‘the Orient’ as strange, opulent A new production for Festival 2015 and dissolute, its humane and surprising Sung in German with English supertitles resolution defies all stereotypes and highlights Conductor...... Robin Ticciati the keen contemporary pertinence of this Director...... David McVicar startlingly deep masterwork. Designer...... Vicky Mortimer Die Entführung features some of Mozart’s most Choreographer...... Andrew George spectacularly virtuosic vocal music, particularly Lighting Designer...... Paule Constable for Konstanze, composed for the celebrated cast includes Austrian soprano Caterina Cavalieri: Mozart Konstanze...... Sally Matthews wrote, ‘I have sacrificed Konstanze’s aria a little Belmonte...... Edgaras Montvidas to the flexible throat of Mlle Cavalieri.’ In Die Osmin...... Tobias Kehrer Entführung, Mozart also evoked the brilliant Blonde...... Mari Eriksmoen flute- and percussion-laden sound of Turkish Pedrillo...... Brenden Gunnell military marching bands, as he had done in Orchestra of the Age of Enlightenment earlier works like the famous Rondo alla turca The Glyndebourne Chorus from his A-Major Piano Sonata, K. 331/300i. Music director Robin Ticciati conducts the Edited by Gerhard Croll (Neue-Mozart Ausgabe) Published by Bärenreiter-Verlag, Kassel, represented Orchestra of the Age of Enlightenment, carrying by Faber Music, London

Supported by a Syndicate of Individuals led by Michael Javett in memory of Ingrid Maggs Filming supported by Dunard Fund (ANONYMOUS) ODALISQUES IN A HAREM, CONSTANTINOPLE, LITHOGRAPH WITH CLAY PLATE, C. 1880. AKG-IMAGES 1880. C. PLATE, CLAY WITH LITHOGRAPH CONSTANTINOPLE, HAREM, A IN ODALISQUES (ANONYMOUS) GLYNDEBOURNE.COM | 07 THE RAPE OF LUCRETIA

Supported by Carol and Paul Collins through Glyndebourne Association America Inc. RICHARD HUBERT SMITH HUBERT RICHARD 08 | FESTIVAL 2015 ‘This new production… the first at A revival of the Tour 2013 production Glyndebourne since Britten’s chamber opera Sung in English with supertitles had its premiere there in 1946, is quite the Conductor...... Leo Hussain darkest – and possibly the most truthful – Director...... Fiona Shaw you’re likely to see in some time’ wrote The Times Set Designer...... Michael Levine while The Daily Telegraph declared, ‘This is opera Costume Designer...... Nicky Gillibrand at its most nakedly powerful.’ Lighting Designer...... Paul Anderson Directed by stage and film star Fiona Shaw, it was first presented on the Glyndebourne cast Lucretia...... Christine Rice Tour in 2013, in celebration of the centenary Male Chorus...... Allan Clayton of England’s greatest opera composer. Female Chorus ...... Kate Royal Britten coined the term ‘chamber opera’ to Tarquinius...... Duncan Rock describe this intimate, haunting masterpiece, Collatinus...... Matthew Rose which deploys a cast of eight and an orchestra Bianca...... Catherine Wyn-Rogers Junius...... Michael Sumuel of just 13 players to stunningly colourful and Lucia...... Louise Alder evocative effect. Britten offsets lean, dramatic declamation with passages of meltingly lyrical London Philharmonic Orchestra beauty. By kind permission of Boosey & Hawkes Music Publishers Ltd The harrowing historic tale of Lucretia has inspired works by artists throughout the ages. According to historians, Lucretia was raped by Tarquinius Sextus, son of the Etruscan King of Rome. Her consequent suicide spurred the revolution which toppled the monarchy and brought about the Roman Republic. In Ronald Duncan’s libretto, the action is introduced and commented upon throughout by two contemporary observers, a Male and Female Chorus, lending the story an urgent, contemporary air. This quintessential ensemble opera features some of today’s most exciting British singers, with mezzo-soprano Christine Rice in the title role. She is joined by Kate Royal as the Female Chorus, returning after her much-praised Marschallin in Der Rosenkavalier in Festival 2014 and Allan Clayton who repeats his acclaimed portrayal of the Male Chorus. Conductor Leo Hussain makes his Festival debut leading the London Philharmonic Orchestra.

GLYNDEBOURNE.COM | 09 This Glyndebourne premiere of Handel’s Saul Ivor Bolton leads the Orchestra of the Age marks the company debut of the brilliant and of Enlightenment with a cast of distinguished provocative Australian opera and theatre Handelians and Glyndebourne favourites director Barrie Kosky. He delves deep into this including the commanding Christopher Purves score of heart-breaking beauty and intensity in the title role, last season’s virtuosic Rinaldo, to create an associative dreamscape, a Baroque Iestyn Davies and acclaimed soprano Lucy nightmare world in which this mythic tale of Crowe, as well as the elegant young American a Lear-like mad king and his crumbling family tenor Paul Appleby, making his UK debut. unfolds. Freely adapted from the Biblical First Book of A new production for Festival 2015 Samuel, Saul centres on the first King of Israel’s Sung in English with supertitles complicated relationship with his eventual Conductor...... Ivor Bolton successor, David, which evolves from admiration Director...... Barrie Kosky to envy and hatred and finally leads to Saul’s Designer...... Katrin Lea Tag tragic demise. The drama is heightened by Choreographer...... Otto Pichler David’s friendship with Saul’s son Jonathan, Lighting Designer...... Joachim Klein who Saul tries to enlist to destroy David. The characterisations of Saul and David are among cast includes Handel’s most powerful and vivid, making Saul, Saul...... Christopher Purves in the words of Handel scholar Winton Dean, (6, 12, 15 August)...... Henry Waddington ‘one of the supreme masterpieces of dramatic David...... Iestyn Davies art, comparable with the Oresteia and King Lear’. Merab...... Lucy Crowe Michal...... Sophie Bevan The first of Handel’s great English oratorios, Jonathan...... Paul Appleby Saul melds operatic-style, psychologically High Priest...... Benjamin Hulett probing arias with mighty choruses. Handel Witch of Endor...... John Graham-Hall conceived it on a grand scale, with an unusually Orchestra of the Age of Enlightenment large orchestra for the time and novel The Glyndebourne Chorus instrumental colours including a carillon, Edited by Percy M. Young. Published by Bärenreiter-Verlag, Kassel, a solo harp, large timpani, extra woodwinds, represented by Faber Music, London trombones (rarely found in orchestras at that time), and a virtuosic organ part which he wrote for himself.

Supported by Vahid Alaghband and a Syndicate of Individuals

10 | FESTIVAL 2015 DANIEL JOSEFSOHNDANIEL

SAUL

GLYNDEBOURNE.COM | 11 L’HEURE ESPAGNOLE L’ENFA N T ET LES SORTILÈGES maurice ravel Supported by The Monument Trust SIMON ANNAND SIMON

12 | FESTIVAL 2015 ‘Our work requires an extraordinary L’enfant et les sortilèges, with a libretto by the production: the roles are numerous, and the French novelist Colette, is both a whimsical phantasmagoria is constant’ wrote Ravel. ‘lyric fantasy’ and a morality play with a deeply L’HEURE He would doubtless have been delighted by serious core. Fairy tale characters, furniture, Glyndebourne’s current staging of his two short crockery, plants and animals come to life to operas by Laurent Pelly, which scored such a chastise a peevish child who has been success when first presented in Festival 2012. tormenting them. All ends happily, though, ESPAGNOLE Separated by 15 years and a world war, Ravel’s when the child learns compassion. The score two sole operas could not be more different: features echoes of Gershwin as well as an L’heure espagnole evokes the racy Belle Époque eclectic blend of influences ranging from Bach of Ravel’s youth, while L’enfant reflects the and Monteverdi through Massenet, Wagner L’ENFA N T hard-won humanity of those who survived and Puccini. ‘The War to End All Wars’. L’heure basks in a lush, The production’s premiere during Festival sensual sound world, while L’enfant deploys large 2012 was called ‘pure magic’ by The Financial ET LES orchestral forces to weave a transparent, almost Times while The Sunday Times urged ‘if there minimalist musical fabric. are tickets left... grab them fast.’ L’heure espagnole, a Feydeau-esque sex farce Music director Robin Ticciati leads the about a lusty Spanish woman juggling lovers London Philharmonic Orchestra, with SORTILÈGES while her husband is preoccupied with Glyndebourne favourite Danielle de Niese clockwork mechanisms, evokes a Spanish starring as both Concepción in L’heure and flavour through Ravel’s use of native dance the Child in L’enfant, joined on stage by a forms including the jota, the habañera and the predominantly Francophone cast. malagueña.

A revival of the 2012 Festival production l’heure espagnole cast Sung in French with English supertitles Concepción...... Danielle de Niese Ramiro...... Étienne Dupuis Conductor...... Robin Ticciati Torquemada...... François Piolino Director...... Laurent Pelly Don Íñigo Gómez...... Lionel Lhote Gonzalve...... Cyrille Dubois Set Design l’heure espagnole l’enfant et les sortilèges cast Original Set Design...... Caroline Ginet & Child...... Danielle de Niese Florence Evrard Mother/Chinese Cup/Dragonfly. Elodie Méchain Set adapted by...... Caroline Ginet Grandfather Clock/Tom Cat...... Étienne Dupuis l’enfant et les sortilèges Armchair/Tree...... Lionel Lhote Set Designer...... Barbara de Limburg Chair/Bat...... Julie Pasturaud Fire/Princess/Nightingale...... Sabine Devieilhe Costume Design...... Laurent Pelly Cat/Squirrel...... Hanna Hipp in collaboration with ...... Jean Jacques Delmotte Teapot/Little Old Man Lighting Designer...... Joël Adam (Arithmetic)/Frog...... François Piolino

London Philharmonic Orchestra The Glyndebourne Chorus

Property of Editions Durand, Paris (Universal Music Publishing Classical) By arrangement with G. Ricordi & Co (London) Ltd.

GLYNDEBOURNE.COM | 13 Glyndebourne Membership

Since the early 1950s, when John Christie at the heart of everything we do. Without you, launched the Festival Society, the loyalty of our the Glyndebourne we all know and love would Members has continued to preserve and secure simply not exist. the Festival for the future. We know that a shared passion for opera In turn, Sir George kept Membership at our between grandparents and parents, children and core, calling on Members to privately fund the grandchildren is something many of you already complete rebuild of the opera house in 1994. enjoy.y ​B ​encouraging friends and family to join He was overwhelmed by the response. Associate Membership, your support will be Gus is the third generation of the Christie extended long into the future, ensuring that the family to lead Glyndebourne, and since 2000 he legacy and work of Gus, his father and has been equally determined to keep Members grandfather live on. Sharing your love of opera

Who will you introduce to a lifetime of opera enjoyment at Glyndebourne? Associate Members enjoy second priority booking and secure a position on the waiting list for life-long Festival Society Membership. Contact the Membership team on JAMES BELLORINI JAMES + 44 (0) 1273 815 400 (10am – 5pm Monday – Friday) email [email protected] or visit glyndebourne.com/associate-membership

14 | FESTIVAL 2015 We want to make your visit easier

Customer Service at Glyndebourne Auditorium access Our Box Office and Customer Service team Conveniently located spaces are reserved for is dedicated to making your visit to wheelchairs only at Foyer Circle (ground level). Glyndebourne as enjoyable as possible. If you We have a limited number of wheelchairs have any specific requirements you can contact available if you would like to borrow one. Lift us on +44 (0)1273 815 000 or through our Live access is available to all levels of the auditorium. Web Chat service via glyndebourne.com/live-chat Hearing support When booking your tickets please give the The auditorium is equipped with a sound Box Office advance notice if: enhancement system. Receivers may be borrowed from the House Manager’s office • You have access requirements and require (located on the Red side at Foyer Circle level). a reserved parking space close to the auditorium Assistance dogs • You wish to borrow a wheelchair Assistance dogs are welcome and can be taken • You wish to re-charge your electric car into the auditorium. during a performance Returns Club Coach service Throughout the Festival we receive returned We provide a free round-trip shuttle coach tickets for some performances, which are offered service from Lewes station to Glyndebourne for sale via our free Returns Club. Simply register when you arrive on the recommended train on our website and you will be emailed when (times are detailed in the Performance Schedule). returned tickets become available. This service is not pre-bookable and is complimentary if used to and from Glyndebourne; a ticket is issued for your return journey. Large print If you require any information in Your questions answered For more information in advance of your arrival a larger print format please contact please visit our website where you will find the Communications Department answers to a range of frequently asked questions on +44 (0)1273 812 321. – from what's happening in the gardens to information on the Festival programme book artist. Please visit glyndebourne.com/faq KEVIN MARTIN KEVIN GLYNDEBOURNE.COM | 15 Festival Extras STUDY EVENTS Ebert Room JERWOOD YOUNG ARTISTS RECITALS FREE Our study events are designed to give you an 27 June, 2 and 5 July, Ebert Room in-depth insight into the three new Festival An exclusive opportunity to hear our Jerwood 2015 productions and enhance your enjoyment Young Artists sing in the unique and intimate of the opera. setting of the Ebert Room. Programme and artist information will be announced in spring Saul 2015 and will be available at glyndebourne.com Handel and the Old Testament: Saint or Showman? during the Festival. Sunday 10 May, 10.30am-4.30pm Price: £40 (not including lunch)* MACBETH FREE 25, 27, 28 and 29 August, Jerwood Studio Poliuto Macbeth is a new one-act chamber opera with A Masterpiece Restored music by Luke Styles, Glyndebourne’s recent Sunday 17 May, 10.30am-4.30pm Young Composer-in-Residence. Directed by Price: £40 (not including lunch)* Ted Huffman, the performance will showcase soloists from the Glyndebourne Chorus and Die Entführung aus dem Serail the Jerwood Young Artists programme. Culture Clash – East meets West in Mozart Sunday 19 July, 10.30am-1.30pm** PRE-PERFORMANCE TALKS Price: £25 Ebert Room All of our pre-performance talks have been * Lunch is available on 10 and 17 May at an extra designed to enhance your enjoyment of the cost of £15.50 for two courses in Nether Wallop opera that follows. Each afternoon talk is Restaurant if pre-booked. presented by an operatic expert, lasts 45 minutes ** On 19 July sandwiches and snacks are available and costs £9. The talks end 30 minutes before from the Long Bar and a full tearoom service is the start of each performance. available in Mildmay from 2pm. Tables in Mildmay are not pre-bookable. Please contact Leith’s on Sun 31 May 2.20pm Carmen +44 (0) 1273 812 510 for more information. Sun 7 June 3.35pm Poliuto Sun 19 July 2.50pm Die Entführung aus dem Serail HOW TO BOOK Sun 26 July 2.50pm Saul Places can be booked online at Sun 9 August 3.45pm The Rape of Lucretia glyndebourne.com or by telephone Sun 23 August 3.55pm Ravel Double Bill +44 (0)1273 815 000 from 9 March.

Enrich your experience JAMES BELLORINI JAMES

16 | FESTIVAL 2015 Discover more

Glyndebourne Tour Screenings and broadcasts Our 2015 Tour performances will include In 2015 Glyndebourne will continue its Mozart’s Die Entführung aus dem Serail and programme of cinema and online broadcasts, Handel’s Saul transferring direct from Festival showing titles from the 2015 Festival in cinemas 2015, and Donizetti’s Don Pasquale. across the UK and online in partnership with the The Glyndebourne Tour will start at home Telegraph Media Group. in October and then visit theatres across the country from October–December 2015, Further details of titles, venues and how to book showcasing young talent, at affordable ticket tickets can be found at glyndebourne.com prices for all. For priority booking, join Glyndebourne Tour Archive Gallery Supporters (from £35 per year) by contacting the Die Entführung aus dem Serail – A retrospective Membership Department on +44 (0)1273 815 400. It was while hosting a small production of Or join our Tour Mailing List online – more Die Entführung aus dem Serail in 1930 that John information is available at glyndebourne.com/tour Christie met the young soprano Audrey Mildmay – the rest is history. Die Entführung became a regular part of the Glyndebourne Festival repertoire, and this season, to celebrate David McVicar’s new production, the Archive will take a look back at our performance history of this work.

Up-to-the-minute information about Festival 2015 is available at glyndebourne.com

GLYNDEBOURNE.COM | 17 Booking information

Box Office and Customer Service OPENING HOURS Until Wednesday 20 May : Open every weekday from 10am to 6pm From Thursday 21 May : Open 7 days a week from 10am to 6pm

Visit glyndebourne.com or call +44 (0)1273 815 000

Festival Society Members Ticket exchange and resale Please return your postal or online applications Our ticket exchange and resale facility is by Monday 1 December 2014. free of charge to Festival Society and Associate Members. Associate Members Please always check with Box Office and Please return your postal or online applications Customer Service before returning tickets by Monday 19 January 2015. by calling +44 (0)1273 815 000.

Glyndebourne<30 Exchanges Supported by investment from the Subject to availability tickets may be exchanged New Generation Programme for an alternative date. This must be pre-arranged As part of our drive to introduce opera to new with the Box Office at least 3 days prior to the audiences, the Glyndebourne<30 scheme date of the performance. provides exclusive ticket offers, regular email updates and invitations to events for visitors Returning tickets for resale aged 29 and under. If your tickets have been accepted for resale by If you would like to share your love of opera the Box Office the original ticket(s) must be with anyone under 30 please ask them to register returned before we can begin offering your at glyndebourne.com. Online and telephone tickets for resale. Please note that a resale is booking for G<30s opens on Monday 2 March. never guaranteed and that Glyndebourne During Festival 2015, 1,700 G<30 tickets will be reserves the right to sell all of its own remaining available to subscribers at the special price of tickets before returned tickets. £30 each: Reimbursement for resold tickets is made only l 500 tickets will be available for the Tuesday to the original purchaser. 4 August performance of The Rape of Lucretia Customers reselling tickets are responsible for l 1,200 tickets will be available for the contacting the Box Office if they would like to performance of Saul on Tuesday 25 August (this know the status of their resale(s). performance is reserved exclusively for G<30). See glyndebourne.com for full terms and conditions. General public Booking opens to the general public on Monday 9 March 2015 at 12.01am online and by telephone from 10am.

18 | FESTIVAL 2015 JAMES BELLORINI JAMES

GLYNDEBOURNE.COM | 19 Performance Schedule May

Performance Transport Price Long Train Post Band dining departs opera Date Opera See p.24 Start interval Finish Victoria coach Thu 21 Poliuto 2 5.05 6.05 8.40 1.47 9.20 Fri 22 No performance

Sat 23 Carmen 1 4.50 7.05* 9.40 1.47 10.15 Sun 24 Poliuto 2 4.50 5.50 8.25 1.47 8.55 Mon 25 No performance Tue 26 No performance

Wed 27 No performance

Thu 28 Carmen 1 4.50 7.05* 9.40 1.47 10.15 Fri 29 Poliuto 3 5.05 6.05 8.40 1.47 9.20 Sat 30 No performance

Sun 31 Carmen 1 3.35 5.50* 8.25 12.47 8.55

* PLEASE NOTE: There is an additional 20 min interval between Acts 1 and 2

Note We provide a free round-trip shuttle coach service from There are two special Pre-Festival Study Events Lewes station to Glyndebourne when you arrive on the on Sunday 10 and Sunday 17 May. recommended train. This service is not pre-bookable and is Please see page 16 for details. complimentary if used to and from Glyndebourne; a ticket is issued for your return journey. Key Special events The post opera coach leaves Glyndebourne at three Pre-Performance Talk different times depending on the length of the opera. Jerwood Young Artists Recital Monday-Saturday it leaves at 9.20pm or 10.15pm; Study Event on Sunday it leaves at 8.55pm. Macbeth, new one-act chamber opera Bus and train times are recommendations only. <30 Glyndebourne Under 30s Performance Glyndebourne cannot guarantee the published times. (please see page 18) We recommend that you check with National Rail Enquiries on 08457 484 950 or www.nationalrail.co.uk before embarking on your journey. Note: Television cameras will be present at certain performances. The design of the auditorium specifically allows for camera positions to only cause minimal disruption to members of the audience.

All information in this brochure is correct at the time of going to press. Some cast and/or creative teams may change before or during the run of any opera due to unforeseen circumstances. All changes will be correct on our website at all times and pre- performance emails will also detail any major changes.

Designed by Ned Campbell www.nedcampbell.co.uk

20 | FESTIVAL 2015 Printed in England by Evonprint Limited on FSC certified paper June

Performance Transport Price Long Train Post Band dining departs opera Date Opera See p.24 Start interval Finish Victoria coach Mon 1 No performance

Tues 2 Poliuto 3 5.05 6.05 8.40 1.47 9.20 Wed 3 Carmen 1 4.50 7.05* 9.40 1.47 10.15 Thu 4 No performance

Fri 5 Poliuto 2 5.05 6.05 8.40 1.47 9.20 Sat 6 Carmen 1 4.50 7.05* 9.40 1.47 10.15 Sun 7 Poliuto 2 4.50 5.50 8.25 1.47 8.55 Mon 8 No performance Tue 9 Carmen 1 4.50 7.05* 9.40 1.47 10.15 Wed 10 No performance

Thu 11 Poliuto 2 5.05 6.05 8.40 1.47 9.20 Fri 12 Carmen 1 4.50 7.05* 9.40 1.47 10.15 Sat 13 Die Entführung aus dem Serail 2 5.20 6.50 9.40 1.47 10.15 Sun 14 Poliuto 2 4.50 5.50 8.25 1.47 8.55 Mon 15 No performance Tue 16 Carmen 1 4.50 7.05* 9.40 1.47 10.15 Wed 17 Die Entführung aus dem Serail 2 5.20 6.50 9.40 1.47 10.15 Thu 18 Poliuto 2 5.05 6.05 8.40 1.47 9.20 Fri 19 Carmen 1 4.50 7.05* 9.40 1.47 10.15 Sat 20 Die Entführung aus dem Serail 1 5.20 6.50 9.40 1.47 10.15 Sun 21 Poliuto 2 4.50 5.50 8.25 1.47 8.55 Mon 22 Carmen 1 4.50 7.05* 9.40 1.47 10.15 Tue 23 No performance

Wed 24 Die Entführung aus dem Serail 2 5.20 6.50 9.40 1.47 10.15 Thu 25 Carmen 1 4.50 7.05* 9.40 1.47 10.15 Fri 26 Poliuto 2 5.05 6.05 8.40 1.47 9.20 Sat 27 Die Entführung aus dem Serail 2 5.20 6.50 9.40 1.47 10.15 Sun 28 Carmen 1 3.35 5.50* 8.25 12.47 8.55 Mon 29 No performance

Tue 30 Die Entführung aus dem Serail 2 5.20 6.50 9.40 1.47 10.15

* PLEASE NOTE: There is an additional 20 min interval between Acts 1 and 2

Festiv 21 | FESTIVAL 2015 July

Performance Transport Price Long Train Post Band dining departs opera Date Opera See p.24 Start interval Finish Victoria coach Wed 1 Carmen 1 4.50 7.05* 9.40 1.47 10.15 Thu 2 Poliuto 2 5.05 6.05 8.40 1.47 9.20 Fri 3 Die Entführung aus dem Serail 1 5.20 6.50 9.40 1.47 10.15 Sat 4 Carmen 1 4.50 7.05* 9.40 1.47 10.15 Sun 5 The Rape of Lucretia 2 5.00 6.00 8.25 1.47 8.55 Mon 6 No performance Tues 7 No performance

Wed 8 Die Entführung aus dem Serail 2 5.20 6.50 9.40 1.47 10.15 Thu 9 Poliuto 2 5.05 6.05 8.40 1.47 9.20 Fri 10 The Rape of Lucretia 3 5.15 6.15 8.40 1.47 9.20 Sat 11 Carmen 1 4.50 7.05* 9.40 1.47 10.15 Sun 12 Poliuto 2 4.50 5.50 8.25 1.47 8.55 Mon 13 No performance

Tue 14 Die Entführung aus dem Serail 2 5.20 6.50 9.40 1.47 10.15 Wed 15 Poliuto 2 5.05 6.05 8.40 1.47 9.20 Thu 16 Die Entführung aus dem Serail 2 5.20 6.50 9.40 1.47 10.15 Fri 17 The Rape of Lucretia 2 5.15 6.15 8.40 1.47 9.20 Sat 18 No performance

Sun 19 Die Entführung aus dem Serail 2 4.05 5.35 8.25 12.47 8.55 Mon 20 No performance Tue 21 No performance Wed 22 Die Entführung aus dem Serail 2 5.20 6.50 9.40 1.47 10.15 Thu 23 Saul 2 5.20 7.15 9.40 1.47 10.15 Fri 24 The Rape of Lucretia 3 5.15 6.15 8.40 1.47 9.20 Sat 25 Die Entführung aus dem Serail 1 5.20 6.50 9.40 1.47 10.15 Sun 26 Saul 2 4.05 6.00 8.25 12.47 8.55 Mon 27 No performance Tues 28 No performance

Wed 29 Saul 3 5.20 7.15 9.40 1.47 10.15 Thu 30 The Rape of Lucretia 3 5.15 6.15 8.40 1.47 9.20 Fri 31 Die Entführung aus dem Serail 2 5.20 6.50 9.40 1.47 10.15

* PLEASE NOTE: There is an additional 20 min interval between Acts 1 and 2

GLYNDEBOURNE.COM | 22 August

Performance Transport Price Long Train Post Band dining departs opera Date Opera See p.24 Start interval Finish Victoria coach Sat 1 Saul 2 5.20 7.15 9.40 1.47 10.15 Sun 2 Die Entführung aus dem Serail 2 4.05 5.35 8.25 12.47 8.55 Mon 3 No performance

Tues 4 The Rape of Lucretia <30 3 5.15 6.15 8.40 1.47 9.20 Wed 5 No performance Thu 6 Saul 2 5.20 7.15 9.40 1.47 10.15 Fri 7 Die Entführung aus dem Serail 3 5.20 6.50 9.40 1.47 10.15 Sat 8 Ravel Double Bill 2 5.25 6.25 8.40 1.47 9.20 Sun 9 The Rape of Lucretia 2 5.00 6.00 8.25 1.47 8.55 Mon 10 Die Entführung aus dem Serail 3 5.20 6.50 9.40 1.47 10.15 Tue 11 Ravel Double Bill 3 5.25 6.25 8.40 1.47 9.20 Wed 12 Saul 2 5.20 7.15 9.40 1.47 10.15 Thu 13 Ravel Double Bill 2 5.25 6.25 8.40 1.47 9.20 Fri 14 The Rape of Lucretia 3 5.15 6.15 8.40 1.47 9.20 Sat 15 Saul 2 5.20 7.15 9.40 1.47 10.15 Sun 16 Ravel Double Bill 2 5.10 6.10 8.25 1.47 8.55 Mon 17 Saul 3 5.20 7.15 9.40 1.47 10.15 Tue 18 Ravel Double Bill 3 5.25 6.25 8.40 1.47 9.20 Wed 19 The Rape of Lucretia 3 5.15 6.15 8.40 1.47 9.20 Thu 20 Saul 2 5.20 7.15 9.40 1.47 10.15 Fri 21 Ravel Double Bill 3 5.25 6.25 8.40 1.47 9.20 Sat 22 Saul 2 5.20 7.15 9.40 1.47 10.15 Sun 23 Ravel Double Bill 2 5.10 6.10 8.25 1.47 8.55 Mon 24 No performance Tue 25 Saul Exclusive <30 3 5.20 7.15 9.40 1.47 10.15 Wed 26 Ravel Double Bill 2 5.25 6.25 8.40 1.47 9.20 Thu 27 Saul 3 5.20 7.15 9.40 1.47 10.15 Fri 28 Ravel Double Bill 2 5.25 6.25 8.40 1.47 9.20 Sat 29 Saul 2 5.20 7.15 9.40 1.47 10.15 Sun 30 Ravel Double Bill 2 5.10 6.10 8.25 1.47 8.55

Booking for <30 tickets (500 tickets on 4 August and all 1,200 tickets on 25 August) opens online and by telephone on Monday 2 March 2015. See page 18 for more details.

GLYNDEBOURNE.COM | 23 Glyndebourne has three price bands, dependent on the day of Ticket prices the week and repertoire. The numbers 1, 2 or 3 next to the name of an opera in the Performance Schedule (pages 20—23) indicate the price band for each performance; please refer to these when booking your tickets. The colour coding in the table below correlates directly with the colours on the seating plan opposite on page 25.

PRICE BAND 1 PRICE BAND 2 PRICE BAND 3

Stalls £250 £235 £210 £195 £225 £210 £180 £155 £160 £145 £115 £95

Foyer Circle £250 £235 £210 £225 £210 £180 £160 £145 £115

Foyer Circle Sides £150 £110 £120 £95 £85 £75

Circle £250 £235 £210 £195 £225 £210 £180 £155 £160 £145 £115 £95

Circle Sides £150 £110 £120 £95 £85 £75

Upper Circle £150 £60 £120 £50 £85 £40

Slips £60 £50 £40

Standing £30 £20 £20 £15 £15 £10

Foyer Circle Centre Boxes B C E £235 £210 £145

Foyer Circle Centre Boxes A F £235 £150 £210 £120 £145 £85

Circle Centre Boxes G J £195 £155 £95 (Six seats in each box) Circle Centre Boxes H I £195 £155 £95 (Seven seats in each box)

Circle Side Box 18 (4 seats only) £110 £95 £75

Circle Side Boxes £60 £50 £40 15 16 17 20 21 Foyer Circle level £210 £180 £115 Two spaces * Foyer Circle Four spaces in £110 £95 £75 Side Boxes 4 5 8 9 *

*Prices include wheelchair and companion.

Key Restricted view of varying degrees reflected in ticket Please be sure to inform the Box Office if you or prices (including restricted or no view of supertitles). your guests have an access requirement at the time L A very limited number of seats available. of applying for tickets, or if any access needs arise X Upper Circle Slips and Standing are NOT available between applying and attending. during the Members’ and Associate Members’ Priority Booking Period. NB: Box seats may be sold separately. Boxes 4, 5, 8 & 9 are initially held for customers using wheelchairs.

Wheelchair access is only available at Foyer Circle (ground level).

24 | FESTIVAL 2015 Seating plan

BLUE SIDE RED SIDE

Standing Standing

UPPER CIRCLE

Circle Box Box Box Box Circle Sides G H I J Sides

CIRCLE

Box Box Box PRIVATE Box Box BOX A B C E F

Foyer FOYER CIRCLE Foyer Circle (ground level) Circle Sides Sides

STALLS

Sightlines and Supertitles Foyer circle sides and circle sides The Glyndebourne auditorium is a ‘horseshoe’ shape. As there are a very limited number of these seats As a result, some of our seats have a restricted view of available, please give alternative options when varying degrees of the stage; and restricted or no view booking. of the supertitles. Tickets for these seats are priced accordingly. However, if supertitles are important to Standing and slips your enjoyment of the performance, please tell Box Standing places and slips are reserved until public Office when applying for your tickets. booking opens. If you are a Glyndebourne <30s subscriber you can apply for two standing places per production during your priority booking period.

25 | FESTIVAL 2015 Glyndebourne Productions Limited Registered № 358266 England

Glyndebourne is a registered charity Charity № 243877

Lewes, East Sussex BN8 5UU England

Box Office and Customer Service +44 (0)1273 815 000 glyndebourne.com GETTY IMAGES