FESTIVAL 201 6 - Amazon S3s3-eu-west-1.amazonaws.com/glyndebourne-ss3-dev/GLY_F16.pdf · Independent when first seen in Festival 2011, Glyndebourne’s first-ever staging of Wagner’s

FESTIVAL 201621 May – 28 August

MEMBERShIp BROChURE

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wagner

DIE MEIS TERSINGER

VON NÜRNBERG

rossini

IL BARBIERE DI SIVIGLIA

janáČek

THE CUNNING LIT TLE VIXEN

mozart

LE NOZ ZE DI FIGARO

berlioz

BÉ ATRICE E T BÉNÉDICT

britten

A MIDSUMMER

NIGHT’S DRE AM

Festiv welcome to

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Welcom e to festival 2016. Our six operas offer a balance of the familiar and the unexpected, a variety

of approaches to the art form, and that special Glyndebourne mix of favourite singers and exciting new faces.

This season we join the nationwide Shakespeare400 campaign, offering two Shakespeare-inspired operas: first, a new production of Béatrice et Bénédict, directed by Laurent Pelly and conducted by our Music Director, Robin Ticciati. Adapted from Much Ado About Nothing, it had a brief Glyndebourne outing in concert form back in 1993, but is now presented in our first full staging.

Our second Shakespeare offering is Peter Hall’s classic 1981 production of Britten’s A Midsummer Night’s Dream, in its first revival in ten years. For many it remains the definitive staging of this work – as striking and magical now as it was when first created. Kazushi Ono returns to conduct an outstanding line-up of young singers.

The French dramatist Beaumarchais is another link in our season as we feature two operas based on his ‘Figaro’ trilogy of plays. We present a new production of Rossini’s Il barbiere di Siviglia, absent from the Festival for 33 years. It will be directed by Annabel Arden and conducted by Enrique Mazzola, reuniting the creative team behind Glyndebourne’s popular production

of L’elisir d’amore. Beside this is Mozart’s Le nozze di Figaro, the opera that opened the first Glyndebourne Festival back in 1934 and has remained at the core of our repertoire ever since. Michael Grandage’s hugely enjoyable production is led by the young British conductor Jonathan Cohen.

The Cunning Little Vixen is the work which, in the 1970s, launched a series of Glyndebourne productions of operas by Janáček which helped to establish him as one of the 20th century’s greatest musical dramatists. Melly Still’s colourful production from 2012 returns under the baton of Czech conductor Jakub Hrůša.

Finally, David McVicar’s production of Die Meistersinger von Nürnberg, first staged in 2011, fulfilled John Christie’s dream of bringing this great masterpiece to Glyndebourne. It remains our most ambitious undertaking to date and I am delighted that Gerald Finley will return to take on the role of Hans Sachs with Robin Ticciati conducting his first Wagner opera.

As I leave Glyndebourne after 14 extraordinary years with this great opera company I do want to take this opportunity to thank you, our Members, for your continued loyalty and support of all that we do. I hope you find much to enjoy in Festival 2016, and I look forward to joining you in the audience.— dav i d pick a r d, General Director

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‘Gerald Finley is glorious… exuding a mesmerising sadness, nobility and anguished stoicism.’ richard morrison, The Times

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DIE MEISTERSINGER VON NÜRNBERG

richard wagner


Called ‘grippingly original’ by Opera and its classical staging ‘a masterstroke’ by The Independent when first seen in Festival 2011, Glyndebourne’s first-ever staging of Wagner’s grand Die Meistersinger von Nürnberg was a landmark in the company’s history. It makes a much-anticipated return to open Festival 2016.

David McVicar’s finely detailed production shifts the action to the early 19th century of Wagner’s youth, when German nationalism was surging in the wake of the Napoleonic Wars.

Wagner’s only mature comedy, Die Meistersinger takes the art of songwriting and singing as its theme in telling the story of the historical cobbler-poet Hans Sachs (1494–1576). He is the most celebrated of the Master Singers, a group of amateur poets and musicians who devised a complex system of rules for composing and performing their songs. When the free-thinking young Walther von Stolzing strives to win their song competition, whose prize is his beloved Eva, wise Sachs must weigh the value of rule-breaking inspiration against that of time-honoured tradition, while grappling with the viability of his own dreams.

Gerald Finley, who began his career in the Glyndebourne Chorus, returns to the role of Hans Sachs, which he first sang here in 2011, when The Guardian termed him ‘extraordinary both vocally and dramatically’. American soprano Amanda Majeski sings Eva and Canadian-German tenor Michael Schade debuts as Walther. Robin Ticciati conducts his first Wagner opera at the helm of the London Philharmonic Orchestra.

A revival of the 2011 Festival productionSung in German with English supertitles

Conductor .................................Robin TicciatiDirector ....................................David McVicar Designer ...................................Vicki MortimerChoreographer ..........................Andrew GeorgeLighting Designer .....................Paule ConstableFight Director ...........................Nick Hall

cast includesHans Sachs ................................Gerald FinleyEva .............................................Amanda MajeskiWalther von Stoltzing ................Michael SchadeMagdalene .................................Hanna HippDavid .........................................David PortilloPogner .......................................Alastair MilesBeckmesser ................................Jochen KupferKothner ......................................Darren JefferyVogelgesang ...............................Colin JudsonNachtigall ..................................Andrew SlaterOrtel ..........................................Nicholas FolwellMoser .........................................Daniel NormanEisslinger ...................................Adrian ThompsonFoltz ...........................................Graeme BroadbentSchwarz .....................................Sion GoronwyZorn ...........................................Alasdair ElliottNightwatchman ........................Patrick Guetti London Philharmonic OrchestraThe Glyndebourne Chorus

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21 May – 27 JuneSupported by A Syndicate of Individuals led by Lord and Lady Laidlaw

Dunard Fund

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‘Napoleon is dead,’ wrote Stendhal, Rossini’s first biographer, ‘but a new conqueror has already shown himself to the world!’ By the time he was 21, Rossini had already become an operatic idol. Three years later, he dashed off the brilliant Il barbiere di Siviglia within a mere three weeks and was well on his way to dominating and defining Italian opera for the first half of the 19th century.

Based on Le Barbier de Séville (1775), the first play of the ‘Figaro’ trilogy by the controversial French dramatist Beaumarchais, Rossini’s opera traces the efforts of clever Figaro to win his master, Count Almaviva, his chosen bride. But he meets his match in that crafty would-be bride, Rosina, who is already plotting to escape her guardian Dr Bartolo.

Absent from the Glyndebourne Festival repertoire for 33 years, Rossini’s most popular comedy comes roaring back in a new production whose wit and playful energy springs directly from Rossini’s ebullient music. Director Annabel Arden, whose 2007 Glyndebourne staging of L’elisir d’amore ‘charmed audiences all over the country’ (Financial Times), creates a sultry, surreal and subtly Spanish world lightly touched by magic.

After huge success in L’elisir d’amore and Don Pasquale, Glyndebourne favourite Danielle de Niese adds Rosina to her growing list of bel canto

heroines. Figaro is sung by the award-winning German baritone Björn Bürger in his company debut. Veteran Italian buffo bass Alessandro Corbelli (Don Pasquale, 2013) and rising American tenor Taylor Stayton (La Cenerentola, 2012) return as Dr Bartolo and Almaviva. Enrique Mazzola, Glyndebourne’s leading bel canto maestro, returns to conduct the London Philharmonic Orchestra.

A new production for Festival 2016Sung in Italian with English supertitles

Conductor .................................Enrique MazzolaDirector ....................................Annabel Arden Designer ...................................Joanna ParkerMovement Director ...................Ann YeeLighting Designer .....................James Farncombe

castRosina .......................................Danielle de NieseDr Bartolo ..................................Alessandro CorbelliCount Almaviva ........................Taylor StaytonFigaro ........................................Björn BürgerBasilio .......................................Christophoros StamboglisBerta ..........................................Janis Kelly

London Philharmonic OrchestraThe Glyndebourne Chorus

Critical Edition by A. Zedda© of Casa Ricordi s.r.l (Universal Music Publishing Group)By arrangement with G. Ricordi & Co. (London) Ltd.

IL BARBIERE DI SIVIGLIAgioachino rossini


IL BARBIERE DI SIVIGLIA

22 May – 17 JulySupported by Handel and Yvonne Evans

Filming supported by Morton and Estelle Sosland through Glyndebourne Association America Inc.

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THE CUNNING LIT TLE VIXEN

Leoš Janáček, a lifelong animal lover, was inspired to create an opera based on the graphic novella The Adventures of the Vixen Called Sharp-Ears for its unique view of the relationship between humans and the world of nature. He transformed this comic strip about a clever vixen that constantly outwits a forester into a moving philosophical reflection on life and death and the cyclical nature of renewal.

Janáček crafted a succinct libretto with golden opportunities to integrate dance, mime and orchestral interludes into the storytelling. He then blended simple folk-derived melodies and ‘speech tunes’ with sophisticated, lushly orchestrated impressionist harmonies to create a deeply personal and modern musical style.

British director Melly Still revives her original production, and Czech conductor Jakub Hrůša, a Glyndebourne regular since 2008, conducts. The Vixen is sung by Russian soprano Elena Tsallagova, (Falstaff 2013), and Czech mezzo-soprano Alžbĕta Poláčková debuts as the Fox. Christoper Purves, who sang the title role in Saul last season to great acclaim, is the Forester.


A revival of the 2012 Festival productionSung in Czech with English supertitles

Conductor ..................................Jakub HrůšaDirector ......................................Melly StillSet Designer ...............................Tom PyeCostume Designer ......................Dinah CollinChoreographer ...........................Mike AshcroftLighting Designer ......................Paule Constable

cast includesVixen Sharp Ears .......................Elena TsallagovaFox ............................................Alžbĕta PoláčkováForester .....................................Christopher PurvesSchoolmaster/Mosquito .............Colin JudsonHarašta .....................................Alexandre DuhamelPriest/Badger ............................Alexander VassilievForester’s Wife/Owl ...................Sarah Pring


Revised version by Jiři ZahrádkaBy arrangement with Universal Edition A.G. Wien

leoš janáček

12 June – 31 JulySupported by A Syndicate of Individuals

THE CUNNING LIT TLE VIXEN‘Melly Still’s production… is as colourful and joyous as the composer would have wished.’ paul levy, Wall Street Journal

It truly is ‘a mad day’ at Count Almaviva’s estate just outside Seville as plots and promises are made and broken, hopes are raised and dashed, and disguises are donned and exposed, all to the strains of some of Mozart’s most sparkling and sublime music. Mozart based this evergreen comedy, his first full-scale collaboration with the great librettist Lorenzo da Ponte, on La folle journée ou le mariage de Figaro (‘A Mad Day, or Figaro’s Wedding’). The second play of a provocative trilogy of comedies by Beaumarchais, it is set in an upstairs-downstairs world populated by servants who aren’t servile and the masters they outsmart.

Renowned British director Michael Grandage keeps the opera in its original locale but moves the action to the 1970s, during the twilight years of the Franco regime, the last gasp of the old order. At its premiere in Festival 2012, Gramophone said the production was ‘a smasher… typical of Glyndebourne at its best’ while The Sunday Times agreed that the production ‘affirms Mozart’s most beloved masterpiece as both of its time and perennially modern.’

South African soprano Golda Schultz and Italian baritone Davide Luciano make their Glyndebourne debuts as the Countess and

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3 July – 24 AugustSupported by The Monument Trust

‘…this is a Figaro of rare grace, naturalness and charm... Pure joy.’ rupert christiansen, Daily Telegraph

LE NOZZE DI FIGARO

Figaro, with Hungarian-Romanian baritone Gyula Orendt and Italian soprano Rosa Feola returning after their appearances in Mozart’s La finta giardiniera in Festival 2014 and Tour 2014, respectively. Conductor Jonathan Cohen returns to lead the Orchestra of the Age of Enlightenment.

A revival of the Festival 2012 productionSung in Italian with supertitles

Conductor ..................................Jonathan CohenDirector ......................................Michael GrandageRevival Director .........................Ian RutherfordDesigner.....................................Christopher OramLighting Designer .....................Paule Constable

cast includesFigaro ........................................Davide LucianoSusanna.....................................Rosa FeolaCountess Almaviva ....................Golda SchultzCount Almaviva ........................Gyula OrendtCherubino ..................................Serena MalfiBartolo .......................................Carlo LeporeMarcellina .................................Susan BickleyDon Basilio ................................John Graham-HallAntonio .....................................Nicholas FolwellDon Curzio .................................Alasdair Elliott

Orchestra of the Age of EnlightenmentThe Glyndebourne Chorus


LE NOZZE DI FIGAROwolfgang amadeus mozart

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Béatrice et Bénédict, Berlioz’s last major work, is a compact comic gem radiant with the glow of Italy. Composing it seemed a tonic for the ageing, ailing Berlioz, who wrote, ‘I can scarcely keep up with the music of my little opera, so rapidly do the pieces come to me.’

Like many 19th-century Romantics, Berlioz idolised Shakespeare, who inspired some of his greatest works. Berlioz himself wrote the libretto for Béatrice et Bénédict, basing it closely upon Shakespeare’s Much Ado about Nothing. But he greatly streamlined it by eliminating a dozen minor characters and the dark subplot of the play, amplifying its sunny, comic sparkle. Berlioz also added original elements to the opera, including several ravishing numbers for the female characters, especially the sublime Act I duet-nocturne, described by one critic as ‘a marvel of indescribable lyrical beauty’.

Béatrice et Bénédict makes its long-awaited stage premiere at Glyndebourne in an effervescent new production by Laurent Pelly, whose whimsical interpretations of Hänsel und Gretel and the Ravel Double Bill have delighted Glyndebourne audiences. The quarrelsome title couple will be played by French mezzo Stéphanie d’Oustrac,

star of last season’s Carmen, and American tenor Paul Appleby, a regular at the Metropolitan Opera, returning after his Glyndebourne debut in last season’s Saul. Glyndebourne Music Director Robin Ticciati, an ardent champion of Berlioz, conducts the London Philharmonic Orchestra.

A new production for Festival 2016 Sung in French with supertitles

Conductor ..................................Robin TicciatiDirector ......................................Laurent PellySet Designer ...............................Barbara de LimburgCostume Designer ......................Laurent PellyLighting Designer ......................Duane Schuler

cast includesBéatrice......................................Stéphanie d’OustracBénédict .....................................Paul ApplebyHéro ...........................................Hélène GuilmetteClaudio ......................................Philippe SlyDon Pedro ..................................Henry WaddingtonSomarone ...................................Lionel LhoteUrsule ........................................Katarina Bradić


The New Berlioz Edition of Béatrice et Bénédict is edited by Hugh Macdonald and published by Bärenreiter-Edition Kassel. Performed by arrangement with Faber Music Ltd., London

hector berlioz

23 July – 27 AugustSupported by André and Rosalie Hoffmann

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benjamin britten

‘What makes a production become ‘classic’? Peter Hall’s Dream can certainly now claim that status.’ roger parker, Opera

A MIDSUMMER NIGHT’S DRE AM


Shakespeare’s beloved comedy provided Britten with some of his favourite themes – light and dark; dreaming and waking; innocence versus corruption; and natural versus supernatural – yet it gave him the rare chance to explore them in a comic framework. The libretto for A Midsummer Night’s Dream was adapted by tenor Peter Pears and the composer himself, who wrote: ‘To get it into manageable shape… basically entailed simplifying and cutting an extremely complex story… I do not feel in the least guilty at having cut the play in half. The original Shakespeare will survive.’

The opera’s luminous music is essential Britten, featuring atmospheric harmonies and vivid tone painting. Three clear-cut musical soundscapes portray the opera’s three groups of characters: the earthy Rustics are portrayed in ‘simple’ folk-like music; the two pairs of lovers have a lyrical, romantic sonority; and the fairies are painted in ethereal tones. And the famous play-within-a-play in the final scene includes a wicked spoof of 19th-century opera.

Peter Hall’s classic production premiered in 1981 and was last seen here in 2006. According to the Guardian, it ‘has often been cited as a perfect realisation of a fairy tale, though Hall also continuously reminds us of the opera’s dark undertow.’

The splendid ensemble cast features a stellar roster of familiar singers. The Japanese maestro Kazushi Ono conducts the London Philharmonic Orchestra.

A revival of the 1981 Festival productionSung in English with supertitles

Conductor ..................................Kazushi Ono Director ......................................Peter HallRevival Director .........................Lynne HockneySet Designer ............................... John Bury Costume Designer ......................Liz Bury Lighting Designer ......................Paul Pyant

cast includesOberon .......................................Tim Mead Tytania ......................................Kathleen KimLysander ....................................Benjamin HulettDemetrius ..................................Duncan RockHermia ......................................Elizabeth DeShongHelena .......................................Kate RoyalTheseus ......................................Michael SumuelHippolyta...................................Claudia HuckleBottom.......................................Matthew RoseFlute ..........................................Anthony GregoryQuince .......................................David SoarSnug ..........................................Sion GoronwySnout .........................................Colin JudsonStarveling ..................................William Dazeley

London Philharmonic OrchestraTrinity Boys Choir

By kind permission of Boosey & Hawkes Music Publishers LimitedA MIDSUMMER NIGHT’S DRE AM 11 – 28 August

Supported by Lindsay and Sarah Tomlinson

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Sharing your love of opera

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glyndebourne membership

Associate Membership is currently open with a limited number of places available. Associate Members enjoy second priority booking and secure a position on the waiting list for life-long Festival Society Membership.

If you would like us to send you information to share with family and friends, or to find out more about Gift Memberships, please contact us:

phone: + 44 (0) 1273 815 400 (10am–5pm Monday–Friday) email: [email protected] web: glyndebourne.com/associate-membership

Who will you introduce to a lifetime of opera enjoyment at Glyndebourne?


Customer Service at GlyndebourneOur Box Office and Customer Service team is dedicated to making your visit to Glyndebourne as enjoyable as possible. If you have any specific requirements you can contact us on +44 (0)1273 815 000 or through our live web chat service via glyndebourne.com/live-chat

Arriving at GlyndebourneThe nearest train station is Lewes. As Glyndebourne is three miles from the station we provide a free round-trip shuttle coach service from Lewes station to Glyndebourne when you arrive on the recommended train (train times are detailed in the Performance Schedule). This service is not pre-bookable and is complimentary if used to and from Glyndebourne; a ticket is issued for your return journey. Alternatively, if you arrive by car there is a large on-site car park for visitors.

Auditorium accessConveniently located spaces are reserved for wheelchairs at Foyer Circle (ground level) only. We have a limited number of wheelchairs available if you would like to borrow one. Lift access is available to all levels of the auditorium.

AssistanceHearing support The auditorium is equipped with a sound enhancement system. Receivers may be borrowed from the House Manager’s office (located on the Red side at Foyer Circle level). Assistance animals are welcome.Helping us to help you When booking your tickets please give the Box Office advance notice if:• You have access requirements and require a reserved parking space close to the auditorium• Youwishtoborrowawheelchair• Youwishtorechargeyourelectriccar during a performance

Dining at GlyndebourneTo find out more about the on-site dining options offered by Leith’s at Glyndebourne please visit diningatglyndebourne.com

Your questions answeredFor more information in advance of your arrival please visit our website where you will find answers to a range of frequently asked questions – from what's happening in the gardens to information on the Festival programme book artist. Please visit glyndebourne.com/faq

Your visit

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Enrich your experience

3-Night Opera Package

To help you make the most of your visit during Festival 2016 we are introducing a new 3-Night Opera Package, which enables you to visit Glyndebourne on three consecutive nights in August at a preferential rate.

WEEKEND 1Fri 12 August Béatrice et BénédictSat 13 August A Midsummer Night’s DreamSun 14 August Le nozze di Figaro

WEEKEND 2Fri 19 August Béatrice et BénédictSat 20 August Le nozze di Figaro Sun 21 August A Midsummer Night’s Dream

The 3-Night Opera Package is priced at £1,000 (which amounts to a saving of over £400 per booking) and includes:

• Twotoppriceticketsforthreeconsecutive performances on your selected weekend• ALeith’sTraditionalPicnicfortwoon one night• TwoglassesofChampagneononenight• A£25voucherfortheGlyndebourneShop• Anoptionalpre-performancetalkabout the three operas

Each package is for a minimum of two people, and you can book more than one package as long as numbers are even, and subject to availability. Full terms and conditions for this package are available at glyndebourne.com/extras

NEW FOR 2016

Festival Extras

PRE-PERFORMANCE TALKSEbert RoomAll of our pre-performance talks have been designed to enhance your enjoyment of the opera that follows. Each afternoon talk is presented by an operatic expert, lasts 45 minutes and costs £9. The talks end 30 minutes before the start of each performance.

Sun 29 May 12.30pm Die Meistersinger von Nürnberg Sun 12 June 4.00pm The Cunning Little VixenSun 26 June 3.00pm Il barbiere di SivigliaSun 3 July 2.45pm Le nozze di FigaroSat 30 July 4.00pm Béatrice et Bénédict Sun 31 July 4.00pm The Cunning Little VixenSun 7 August 2.45pm Le nozze di FigaroFri 26 August 3.00pm A Midsummer Night’s DreamSat 27 August 4.00pm Béatrice et Bénédict

STUDY EVENTSEbert RoomFeaturing expert talks, panel discussions and musical previews, our study events are designed to give you an in-depth insight into our Festival 2016 productions and enhance your enjoyment of each featured opera. This year we are presenting two themed events: the first on Beaumarchais will look at Il barbiere di Siviglia and Le nozze di Figaro; and the second, which will mark the Shakespeare400 celebrations, will delve into Béatrice et Bénédict and A Midsummer Night’s Dream.

Beaumarchais: Il barbiere di Siviglia and Le nozze di Figaro Sunday 8 May, 10.30am-4.30pmPrice: £40 (not including lunch)*

Shakespeare: Béatrice et Bénédict and A Midsummer Night’s Dream Saturday 6 August, 10.30am-4.30pmPrice: £40 (not including lunch)*

* Lunch is available on 8 May and 6 August at an

extra cost of £15.50 for two courses in Nether Wallop

Restaurant if pre-booked. Please contact Leith’s on

+44 (0) 1273 812 510 for more information.

HOW TO BOOKPlaces can be booked online at glyndebourne.com or by telephone +44 (0)1273 815 000 from 7 March.


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Discover more

Glyndebourne TourRunning from 14 October-10 December, the 2016 Glyndebourne Tour will include our first ever production of Madama Butterfly and a revival of Don Giovanni. The third touring show entitled Don Giovanni: Behind the Curtain is brand new, presenting an accessible introduction to opera. The Tour will start at home in October. For priority booking at Glyndebourne join our Tour Supporters (from £35 per year) by contacting the Membership department on +44 (0)1273 815 400 or via glyndebourne.com

Screenings and broadcastsIn 2016 Glyndebourne will continue its programme of cinema and online broadcasts, showing titles from the 2016 Festival in cinemas across the country and online in partnership with the Telegraph Media Group.

Nothing – a new youth opera2016 is the 30th anniversary of Glyndebourne’s education department, and the celebrations begin in the new year with a newly commissioned youth opera. From 25–27 February a cast of young performers and professionals will take to the Glyndebourne stage and orchestra pit to perform Nothing by composer David Bruce and librettist Glyn Maxwell. It will be directed by director Bijan Sheibani and conducted by Sian Edwards. Tickets are on sale from 5 October.

Archive GalleryWe will be presenting two exhibitions in our Archive Gallery over the course of the season.

Rossini at Glyndebourne Inspired by our new production Il barbiere di Siviglia we will take a look back at some of the memorable past productions of the composer’s works here at Glyndebourne. These range from Oliver Messel’s dainty designs for La Cenerentola and Il barbiere di Siviglia to Richard Hudson’s steeply raked and dramatic Ermione, taking in pieces designed by Osbert Lancaster and Emanuele Luzzati along the way.

The Bard has played a role in every decade of Glyndebourne’s history. In support of this nationwide celebratory campaign, Glyndebourne is mounting a new production of Berlioz’s opera Béatrice et Bénédict and reviving the magical A Midsummer Night’s Dream. Our exhibition will celebrate all of the Shakespeare-inspired works that have been seen on the Glyndebourne stage.

Visit glyndebourne.com for up-to-date

information, podcasts and short films

about Festival 2016


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Booking informationFestival Society Members Please return your postal or online applications by Tuesday 1 December 2015.

Associate MembersPlease return your postal or online applications by Monday 18 January 2016.

To maximise your chances of securing Festival 2016 tickets our Box Office team have shared their ‘top tips’ to consider when making your ticket application:• Pleaseprovidealternativedatesandseating areas as well as your first choices.• Weekendsareincrediblybusysoplease include weekday alternatives if possible.• UpperCircleandSideseatsareverypopular and always oversubscribed. If you request them it is particularly helpful to offer a wide range of dates and productions.• Ifyouwanttoseeoneoperabutdon’tmind which one – include a note with your booking form or in the comments section of the online form.• Pleaseensurewehaveup-to-datecontact details so that we can get in touch, without delay, if we are unable to meet your requests.

Ticket exchange and resaleWe offer a ticket exchange facility free of charge to all Festival Society and Associate Members, and will endeavour to exchange purchased tickets for a more suitable date as necessary. We require at least 48 hours notice if you wish to exchange your tickets. We can also offer these for unguaranteed resale.

Glyndebourne<30 Supported by investment from the New Generation Programme As part of our drive to introduce opera to new audiences, the Glyndebourne<30 scheme provides ticket offers, regular email updates and invitations to events for visitors aged 16-29. Launched in 2006 this scheme has introduced thousands of people to opera at Glyndebourne. If you would like to share your love of opera with anyone under 30 during the 10th anniversary year please ask them to register for free at glyndebourne.com. Online and telephone booking for G<30 opens on Monday 29 February 2016.

During Festival 2016, at least 1,000 G<30 tickets will be available to subscribers at the special price of £30 each:

•Thursday 16 June and Wednesday 22 June 250 tickets will be available for each performance of The Cunning Little Vixen on these dates.

•Friday 8 July and Tuesday 19 July 250 tickets will be available for each performance of Le nozze di Figaro on these dates.

General publicBooking opens to the general public on Monday 7 March 2016 at 12.01am online and by telephone from 10am.

See glyndebourne.com for full terms and conditions.

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

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

20 | FESTIVAL 2016

Gardens Performance Transport

Date Opera

Price Bandsee p.25 Open Start

Short interval

Long dining interval Finish

Train departs Victoria

Post opera coach

Sat 21 Die Meistersinger von Nürnberg 1 1.00 2.55 4.35 6.00 9.35 11.46 10.15

Sun 22 Il barbiere di Siviglia 2 2.00 4.15 6.00 8.20 12.47 8.55

Mon 23 No performance

Tue 24 No performance

Wed 25 Die Meistersinger von Nürnberg 1 1.00 2.55 4.35 6.00 9.35 11.46 10.15

Thu 26 Il barbiere di Siviglia 2 3.00 5.30 7.15 9.35 1.46 10.15

Fri 27 No performance

Sat 28 Il barbiere di Siviglia 2 3.00 5.30 7.15 9.35 1.46 10.15

Sun 29 Die Meistersinger von Nürnberg 1 12.00 1.40 3.20 4.45 8.20 10.47 8.55



Performance Schedule

Key Special events

Opening night

Pre-Performance Talk

Study Event

<30 Glyndebourne under 30s performance See page 19 for details

Early special event We are running one of our special Pre-Festival Study Events on Sunday 8 May about Beaumarchais featuring Il barbiere di Siviglia and Le nozze di Figaro.See page 17 for details.

Booking for G<30 tickets opens on Monday 29 February 2016.

→ 250 tickets at £30 each will be available on Thursday 16 June and Wednesday 22 June for The Cunning Little Vixen → 250 tickets at £30 each will be available on Friday 8 July and Tuesday 19 July for Le nozze di Figaro

See page 19 for more details.

May

We provide a free round-trip shuttle coach service from Lewes station to Glyndebourne when you arrive on the recommended train. This service is not pre-bookable and is complimentary if used to and from Glyndebourne; a ticket is issued for your return journey.

The departure time of the post opera coach is dependent on the length of the opera. Please check the Performance Schedule for the time of the coach on the date of your visit. Monday–Saturday it leaves at 9.20pm or 10.15pm; on Sunday it leaves at 8.55pm.

Bus and train times are recommendations only. Glyndebourne cannot guarantee the published times. 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. Any changes will be updated on our website and pre-performance emails will also detail any major changes.

Designed by Ned Campbellwww.nedcampbell.co.uk

Printed in England by Evonprint Limited on FSC certified paper

21 | FESTIVAL 2016

JuneGardens Performance Transport

Date Opera


Short interval



Post opera coach

Wed 1 Il barbiere di Siviglia 2 3.00 5.30 7.15 9.35 1.46 10.15

Thu 2 Die Meistersinger von Nürnberg 1 1.00 2.55 4.35 6.00 9.35 11.46 10.15

Fri 3 No performance

Sat 4 Il barbiere di Siviglia 2 3.00 5.30 7.15 9.35 1.46 10.15

Sun 5 No performance


Tue 7 Die Meistersinger von Nürnberg 1 1.00 2.55 4.35 6.00 9.35 11.46 10.15

Wed 8 Il barbiere di Siviglia 2 3.00 5.30 7.15 9.35 1.46 10.15

Thu 9 No performance

Fri 10 Il barbiere di Siviglia 2 3.00 5.30 7.15 9.35 1.46 10.15

Sat 11 Die Meistersinger von Nürnberg 1 1.00 2.55 4.35 6.00 9.35 11.46 10.15

Sun 12 The Cunning Little Vixen 3 2.00 5.10 6.20 8.20 12.47 8.55



Wed 15 Die Meistersinger von Nürnberg 1 1.00 2.55 4.35 6.00 9.35 11.46 10.15

Thu 16 The Cunning Little Vixen 4 3.00 6.25 7.35 9.35 1.46 10.15


Sat 18 The Cunning Little Vixen 3 3.00 6.25 7.35 9.35 1.46 10.15

Sun 19 Die Meistersinger von Nürnberg 1 12.00 1.40 3.20 4.45 8.20 10.47 8.55


Tue 21 Il barbiere di Siviglia 2 3.00 5.30 7.15 9.35 1.46 10.15

Wed 22 The Cunning Little Vixen 4 3.00 6.25 7.35 9.35 1.46 10.15

Thu 23 Die Meistersinger von Nürnberg 1 1.00 2.55 4.35 6.00 9.35 11.46 10.15




Mon 27 Die Meistersinger von Nürnberg 1 1.00 2.55 4.35 6.00 9.35 11.46 10.15



Thu 30 No performance

<30

Festiv <30


JulyGardens Performance Transport

Date Opera


Short interval



Post opera coach



Sun 3 Le nozze di Figaro 3 2.00 3.55 5.40 8.25 12.47 8.55



Wed 6 Le nozze di Figaro 3 3.00 5.10 6.55 9.40 1.46 10.15


Fri 8 Le nozze di Figaro 3 3.00 5.10 6.55 9.40 1.46 10.15




Tue 12 Le nozze di Figaro 3 3.00 5.10 6.55 9.40 1.46 10.15








Wed 20 No performance

Thu 21 Le nozze di Figaro 4 3.00 5.10 6.55 9.40 1.46 10.15

Fri 22 The Cunning Little Vixen 5 3.00 6.25 7.35 9.35 1.46 10.15

Sat 23 Béatrice et Bénédict 3 3.00 5.20 6.30 8.40 1.46 9.20




Wed 27 Béatrice et Bénédict 3 3.00 5.20 6.30 8.40 1.46 9.20

Thu 28 The Cunning Little Vixen 5 3.00 6.25 7.35 9.35 1.46 10.15



Sun 31 The Cunning Little Vixen 4 2.00 5.10 6.20 8.20 12.47 8.55

<30

<30


Gardens Performance Transport

Date Opera


Short interval



Post opera coach



Wed 3 Béatrice et Bénédict 4 3.00 5.20 6.30 8.40 1.46 9.20

Thu 4 Le nozze di Figaro 5 3.00 5.10 6.55 9.40 1.46 10.15

Fri 5 Béatrice et Bénédict 4 3.00 5.20 6.30 8.40 1.46 9.20

Sat 6 No performance



Tue 9 Béatrice et Bénédict 5 3.00 5.20 6.30 8.40 1.46 9.20


Thu 11 A Midsummer Night’s Dream 3 2.00 4.20 6.10 8.40 12.46 9.20


Sat 13 A Midsummer Night’s Dream 3 2.00 4.20 6.10 8.40 12.46 9.20


Mon 15 Béatrice et Bénédict 5 3.00 5.20 6.30 8.40 1.46 9.20

Tue 16 A Midsummer Night’s Dream 4 2.00 4.20 6.10 8.40 12.46 9.20


Thu 18 A Midsummer Night’s Dream 4 2.00 4.20 6.10 8.40 12.46 9.20


Sat 20 Le nozze di Figaro 4 3.00 5.10 6.55 9.40 1.46 10.15

Sun 21 A Midsummer Night’s Dream 3 2.00 4.05 5.55 8.25 12.47 8.55

Mon 22 Béatrice et Bénédict 5 3.00 5.20 6.30 8.40 1.46 9.20

Tue 23 A Midsummer Night’s Dream 4 2.00 4.20 6.10 8.40 12.46 9.20


Thu 25 Béatrice et Bénédict 5 3.00 5.20 6.30 8.40 1.46 9.20

Fri 26 A Midsummer Night’s Dream 4 2.00 4.20 6.10 8.40 12.46 9.20


Sun 28 A Midsummer Night’s Dream 3 2.00 4.05 5.55 8.25 12.47 8.55

August

24 | FESTIVAL 2016

For Festival 2016 Glyndebourne has five price bands, dependent on the day of the week and the repertoire. The numbers 1, 2, 3, 4 and 5 next to the name of the opera in the Performance Schedule (pages 20-23) indicate the price band for each performance; please refer to the table when booking your tickets. The colour coding in the seating plan below correlates directly with the colours on the table opposite on page 25.

Seating planand ticket prices

RED SIDE

Standing

Circle Sides

FoyerCircle Sides

BLUE SIDE

Standing

CircleSides

FoyerCircleSides

FOYER CIRCLE (ground level)

BoxA

BoxB

BoxC

BoxE

BoxF

PRIVATEBOX

CIRCLE

UPPER CIRCLE

BoxG

BoxH

BoxI

BoxJ

STALLS

Sightlines and SupertitlesThe Glyndebourne auditorium is a ‘horseshoe’ shape. As a result, some of our seats have a restricted view of varying degrees of the stage; and restricted or no view of the supertitles. Tickets for these seats are priced accordingly. However, if supertitles are important to your enjoyment of the performance, please tell the Box Office when applying for your tickets.

Foyer circle sides and circle sidesAs there are a very limited number of these seats available, please give alternative options when booking.

Standing and slipsStanding places and slips are reserved until public 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 2016

Restricted view of varying degrees reflected in ticket prices (including restricted or no view of supertitles).

L A very limited number of seats available.

Please note Upper Circle Slips and Standing seats become available when public booking opens on 7 March and are bookable online via glyndebourne.com.

Please be sure to inform the Box Office if you or your guests have an access requirement at the time of applying for tickets, or if any access needs arise between applying and attending.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).

*Pri

ces

incl

ude

whe

elch

air

and

com

pani

on.

£300 £300 £300 £285 £285 £230 £230 £180 £180 £180 £140 £80 £250 £140

£285 £285 £285 £180 £80 £140 £140

£250 £250 £250

£230 £230

£260 £260 £260 £245 £245 £205 £205 £160 £160 £160 £120 £60 £220 £120

£245 £245 £245 £160 £60 £120 £120

£220 £220 £220

£205 £205

£230 £230 £230 £215 £215 £160 £160 £125 £125 £125 £100 £50 £185 £100

£215 £215 £215 £125 £50 £100 £100

£185 £185 £185

£160 £160

£200 £200 £200 £180 £180 £135 £135 £110 £110 £110 £90 £50 £155 £90

£180 £180 £180 £110 £50 £90 £90

£155 £155 £155

£135 £135

Sta

lls

Foye

r C

ircl

e

Cir

cle

Foye

r C

ircl

e C

entr

e

Box

es B

C E

Foye

r C

ircl

e C

entr

e

Box

es A

F

Cir

cle

Cen

tre

Box

es G

J

(Six

sea

ts in

eac

h b

ox)

Cir

cle

Cen

tre

Box

es H

I (S

even

sea

ts in

eac

h b

ox)

Upp

er C

ircl

e

Foye

r C

ircl

e S

ides

Cir

cle

Sid

es

Cir

cle

Sid

e B

ox 1

8

(4 s

eats

on

ly)

Cir

cle

Sid

e B

oxes

15

16

17 2

0 21

Foye

r C

ircl

e le

vel

Two

spac

es *

Foye

r C

ircl

e Fo

ur

spac

es

in S

ide

Box

es 4

5 8

9 *

£165 £165 £165 £155 £155 £110 £110 £95 £95 £95 £80 £40 £125 £80

£155 £155 £155 £95 £40 £80 £80

£125 £125 £125

£110 £110

P R I C E B A N D

1

P R I C E B A N D

2

P R I C E B A N D

3

P R I C E B A N D

4

P R I C E B A N D

5

Glyndebourne Productions LimitedRegistered № 358266 England

Glyndebourne is a registered charity Charity № 243877

Lewes, East SussexBN8 5UU England

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

KE

VIN

MA

RTI

N

Priority booking for Festival 2016 Members:1 December 2015 Associate Members: 18 January 2016Under 30s:29 February 2016

Public booking opens on 7 March 2016

Documents

FESTIVAL 201 6 - Amazon S3s3-eu-west-1.amazonaws.com/glyndebourne-ss3-dev/GLY_F16.pdf · Independent when first seen in Festival 2011, Glyndebourne’s first-ever staging of Wagner’s