2 0 1 6 F E S T I VA L

CONTENTS

4 Per formance calendar

6 OLIVER! Lionel Bart

8 DON CARLO Giuseppe Verdi

10 LA FANCIULLA DEL WEST Giacomo Puccini

12 TRISTAN & ISOLDE Richard Wagner

14 JAVIER CAMARENA TENOR

16 Your Visit | Dining | Under 30s

17 Custodians of Culture | Suppor ting Grange Park Opera

18 General Information

20 Ticket Prices & Seat Map

21 How to book

22 Booking Form 2016

23 Booking notes

“thought-provoking . . . theatrically alive . . . thrillingly sung” THE GUARDIAN

“. . . one of the most gorgeous nights out of the season”

HARPERS BA Z A AR

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THE FINAL ARIA OF THE FINAL ACT of our final opera at The Grange will be the Liebestod from Tristan & Isolde. Although this production was planned long before we knew we must move, this is the way the cards have fallen. It must be destiny.

With your support, we have together achieved so much during the last 18 years at The Grange. But we believe that this is only the start of what the charity can and will achieve. We are in advanced discussions about a 99-year lease at West Horsley Place in Surrey, just 23 miles from London, the estate inherited by Bamber Gascoigne from his aunt, the Duchess of Roxburghe. It is an exquisite place, intensely atmospheric, inherently dramatic with venerable trees, glowing brick walls, tiled roofs and secret walled gardens with woodland beyond. In short, it is an exciting new venture at a magical location that has the marked advantage of being closer to London – which will make it easier for many members of our audience, especially the car-less young. That is all to come in 2017.

Having recovered from the termination of our lease and the high excitement of last season’s Fiddler with Bryn Terfel, in 2016 we turn to Fagin’s underworld and the story of a workhouse boy, Oliver. Our star in Lionel Bart’s masterwork, Simon Keenlyside, is more than a world-class baritone, he is celebrated for his stage presence as an actor and even a dancer. For us, he is master thief, Fagin.

We’ve also jetted in three fabulous tenors (Stefano Secco, Bryan Register and Maxim Aksenov) for our other festival offerings: Puccini’s spaghetti western La Fanciulla del West, Verdi’s powerful Don Carlo, Tristan & Isolde in concert (with sought-after soprano Anja Kampe). For good measure, we’ve added a fourth tenor, Mexican Javier Camarana, the darling of the Met, bringing a bouquet of arias and some surprises.

This isn’t the end of the story, but very much the beginning. We hope that you will join us in our final season in Hampshire – and will follow us to West Horsley Place, which is, without doubt, an even more exciting chapter in the history of . . .

GR ANGE PARK OPER AA small jewel with big performances

WELCOME

DATE START TIME

PERFORMANCE GLYNDEBOURNE

JUNE

THU 2 5. 20 PM OLIVER! MEISTERSINGER

FRI 3 6.00 PM OLIVER!

SAT 4 5. 20 PM LA FANCIULLA DEL WEST BARBIERE

THU 9 5. 20 PM LA FANCIULLA DEL WEST

FRI 10 6.00 PM JAVIER CAMARENA TENOR BARBIERE

SAT 11 5. 20 PM OLIVER! MEISTERSINGER

SUN 12 4. 20 PM OLIVER! VIXEN

FRI 17 6.00 PM LA FANCIULLA DEL WEST BARBIERE

SAT 18 5. 20 PM DON CARLO VIXEN

SUN 19 4. 20 PM OLIVER! MEISTERSINGER

WED 22 5. 20 PM DON CARLO VIXEN

THU 23 5. 20 PM OLIVER! MEISTERSINGER

FRI 24 6.00 PM OLIVER! BARBIERE

SAT 25 5. 20 PM DON CARLO VIXEN

SUN 26 4. 20 PM LA FANCIULLA DEL WEST BARBIERE

WED 29 5. 20 PM LA FANCIULLA DEL WEST VIXEN

THU 30 5. 20 PM DON CARLO

JULY

FRI 1 6.00 PM OLIVER! BARBIERE

SAT 2 5. 20 PM OLIVER! VIXEN

SUN 3 4. 20 PM DON CARLO FIGARO

WED 6 5. 20 PM LA FANCIULLA DEL WEST FIGARO

THU 7 5. 20 PM DON CARLO BARBIERE

SAT 9 5. 20 PM LA FANCIULLA DEL WEST VIXEN

SUN 10 4. 20 PM DON CARLO BARBIERE

WED 13 4. 20 PM TRISTAN & ISOLDE VIXEN

SAT 16 4. 20 PM TRISTAN & ISOLDE VIXEN

“Many matches are made in Fiddler but the matchmaking prize goes to Grange Park Opera for getting Bryn Terfel to take on the role of Tevye.”

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Oliver!Music & lyrics by LIONEL BART (1930 – 1999) First performance 30 June 1960, New Theatre, St Martin’s Lane, LondonBased upon the novel Oliver Twist by Charles Dickens (1838)

GENEROUS SUPPORT FROM ALIX PARTNERS

HAILED AS A CLASSIC since it was premiered in 1960, Lionel Bart’s masterpiece has almost eclipsed Charles Dickens’ original story of the workhouse orphan who falls into bad company. Next summer, the musical with its memorable score, and featuring songs such as Consider Yourself and I’d Do Anything, will be given the Grange Park treatment. The show, staged by acclaimed director, Jean-Pierre van der Spuy on an intriguing and magnif icent set, stars none other than celebrity baritone Simon Keenlyside  ‘Reviewing the Situation’,  as master thief, Fagin. There are hoards of children from the workhouse picking pockets, a dog, upbeat antics . . . and heartbreak that will doubtless reduce the house to tears.

Conductor Nicholas Skilbeck

Director Jean-Pierre van der Spuy

Designer Richard Kent

Choreographer Lizzi Gee

Lighting Design David Plater

Simon Keenlyside FaginHis body’s sponsor John L PembertonHis legs and arms are unsponsored

Oliver sponsor David & Clare Kershaw

The Artful Dodgersponsor Simon & Victoria Robey

Sikes’ dog, Bullseye sponsor Mrs Peter Cadbury

The Ginsponsor Paul & Lydia Goodson

Bowl of Gruelsponsor Dominic & Katherine Powell

“Who will buy?” sponsor Christopher Swan

“But, tears were not the things to find their way to Mr Bumble’s soul; his heart was waterproof”

OLIVER T WIST

Don CarloMusic by GIUSEPPE VERDI (1813 – 1901)

Opera in four acts | First performance 11 March 1867, L’Opéra, ParisLibretto by Joseph Méry & Camille du Locle, based on Schiller’s play

SPONSORED BY ICAP

A BITTER FATHER–SON RIVALRY ignites when Don Carlos f inds that his intended bride, Elizabeth, has been promised to his father, King Philip II, instead. Thwarted by political machinations, Carlos, one of Verdi’s most sympathetic heroes, rails against his fate. Will the pair ever f ind love under the malign eye of the Spanish Inquisition? Cue for a searing drama against the backdrop of a sombre 16th century court. And with Verdi’s swirling music which is laced with dark undercurrents, it makes for a powerful evening with Milanese tenor Stefano Secco in the title role. His “superb style, with genuine Italianate fervor, gleaming and riven with remorse” took Chicago by storm.

THE BOURNEMOUTH SYMPHONY ORCHESTRA

Conductor Gianluca Marciano

Director Jo Davies

Set Designer Leslie Travers

Costume Designer Gabrielle Dalton

Lighting Design Anna Watson

Clive Bayley Filippo II, King of Spain sponsor Ruth Markland

Celine Byrne Elisabetta, his wifeHer jewel casket David & Simone Caukill

Stefano Secco Don Carlos, his son sponsor François Freyeisen & Shunichi Kubo

David Stout Rodrigo, Marquis of Posa

Alastair Miles The Grand Inquisitor

Patricia Bardon Princess Ebolisponsor Hamish Parker

Jihoon Kim Monk, ghost of Charles V

Alberto Sousa The Count of Lerma

Flemish Deputy sponsor Anonymous

“Against other things it is possible to obtain security, but when it comes to death we human beings all live in an unwalled city”

EPICURUS

La Fanciulla del WestMusic by GIACOMO PUCCINI (1858 – 1924)

Opera in three acts | First performance 10 December 1910, The Met, New YorkLibretto by Civinini & Zangarini based on The Girl of the Golden West by Belasco

SUPPORTED BY A SYNDICATE LED BY DAVID & AMANDA LEATHERS with one anonymous donor

IN THE CALIFORNIAN GOLDFIELDS of the 1840s, Minnie, the golden-hearted barmaid, fends off the attentions of the sheriff in one of Puccini’s most accessible (and copied) scores. The one thing Minnie doesn’t have is someone to love . . . until a dark, handsome stranger walks into town. But is he all he seems? Stephen Medcalf ’s dazzling 2008 Spaghetti Western production is a wide-screen staging, complete with a full-scale saloon bar. “I doubt the summer opera festival season will deliver a more enjoyable show,” said Richard Fairman in the Financial Times. Russian tenor Maxim Aksenov plays the bandit with a “radiance causing everyone to melt before him” (Berliner Morgenpost).

THE BOURNEMOUTH SYMPHONY ORCHESTRA

Conductor Stephen Barlow

Director Stephen Medcalf

Designer Francis O’Connor

Revival Director Peter Relton

Lighting Design David Plater

Claire Rutter Minniesponsor Francis & Nathalie Phillimore

Maxim Aksenov Dick Johnson, banditLeft half sponsor Ed & Lulu Siskind Right half sponsor Mr & Mrs Richard Morse

Stephen Gadd Jack Rance, sheriffHis aria Minnie della mia casa sponsor Minnie & Joe MacHale

Michel de Souza Sonora, miner

Jihoon Kim Ashby of Wells Fargo Bank

Alberto Sousa Nick, bar tenderBello, miner sponsor Brian & Jennifer Ratner

Billy Jackrabbit a native IndianWowkle his squaw sponsor Anonymous

“In those strange days, people coming from God knows where, joined forces in that far Western land, and, according to the rude custom of the camp, their very names were soon lost and unrecorded, and here they struggled, laughed, gambled, cursed, killed, loved and worked out their strange destinies in a manner incredible to us of to-day. Of one thing only are we sure – they lived!”

E ARLY H ISTORY OF C AL I FORNIA

Tristan und IsoldeIN CONCERT

Music and text by RICHARD WAGNER (1813 – 1883)

Opera in three acts | First performance 10 June 1865, National Theatre, MunichBased on the romance Tristan by Gottfried von Strassburg (d. ca. 1210)

“I have never found a work as dangerously fascinating, with as weird and sweet an inf inity, as Tristan”

THUS SPAKE FR IEDR ICH N IE T ZSCHE

GRANGE PARK OPERA is known for showcasing some of Europe’s most celebrated artists. And for these concert performances, the festival is delighted to present Bayreuth’s sought-after soprano, Anja Kampe, who stars as the conflicted Isolde in Wagner’s long-distance love story. The rest of the cast is as stellar: American tenor Bryan Register appears as love-lorn Tristan, while Clive Bayley sings the cuckolded King Marke. (The opera’s inspiration was Wagner’s affair with Mathilde Wesendonck, his landlord’s wife.)

THE BOURNEMOUTH SYMPHONY ORCHESTRA

Conductor Martyn Brabbins Bryan Register Tristan

Anja Kampe Isolde

Clive Bayley König Marke

Sara Fulgoni Brangäne

Stephen Gadd Kurwenal

The Tristan chord sponsor Nerissa Guest

The Liebstod sponsor Johnny & Marie Veeder

“The most romantic, achingly puzzling, beautiful and shattering piece ever written”

THUS SPAKE STEPHEN FRY

Il Barbiere di Siviglia RossiniEcco ridente

Anna Bolena DonizettiVivi tu, te ne scongiuro

Lucia di Lamermoor Donizetti Tombe degli avi miei . . . Fra poco..

I Capuleti e i Montecchi BelliniÈ serbato questo acciaro . . . L’amo tanto

La Cenerentola RossiniSì, ritrovarla io giuro

Roméo et Juliette GounodAh! lève-toi soleil!

La Fille du Régiment DonizettiAh! mes amis, quel jour de fête!

Passione Tagliaferri

Rondine al nido Di Crescenzo;

Musica proibita Gastaldón

No puede ser Sorozábal

Granada Lara . . . and more

Javier Camarena TENOR with Angel Rodriguez, piano

A BOUQUET OF FAVOURITE TENOR ARIAS . . . AND ALSO SOME SURPRISES

IN  2011, JAVIER CAMARENA , a young tenor from Mexico, made his début at the Metropolitan Opera, New York. The general verdict of this most discerning of houses was that his performance in Il Barbiere di Siviglia was “sensational”. New York adored him and he followed up with tumultuously successful performances in  Sonnambula  (2013) and Cenerentola opposite Joyce DiDonato (2014), with the audiences stamping for an encore – an extremely rare occurrence at any contemporary opera performance. The combination of sweetness and brilliance in Camarena’s singing has made him the darling of European audiences in Vienna, Paris, Barcelona, Madrid, Salzburg, and Zurich. Now, of course, everyone wants him . . . but it is Grange Park that got him. Only for one night, mind, but for the lucky few he will sing a bouquet of all-time favourite tenor arias.

“No wonder he is our tenor-sensation du jour”FINANCIAL TIMES ON CAMARENA’S CENERENTOLA AT THE MET

“The ovation after his deeply affecting Tutto e sciolto was loud and prolonged”NEW YORK TIMES ON CAMARENA’S SONNAMBULA AT THE MET

DINING The important bit… The long interval is (almost) as enjoyable as the opera itself. There are decisions to be made about dining. And it is best if they are made in advance.

From January, dining options may be booked on the website.

INSIDE THE MANSIONThe easiest option is to make a restaurant reservation. The tables are set within the splendour of the neo-classical mansion (tablecloths, gleaming cutlery, f lowers, no expense spared…). Menus and booking details will be sent with your tickets.

FORTNUM & MASON offer a range of picnics, fresh from Piccadilly to Hampshire. Menus and booking details will be sent with your tickets.

RESERVE A PRIVATE PAVILIONBring your own gourmet picnic and eat it in a private Raj-style pavilion. We can provide tables and chairs, and, for a fee, a porter to carry your hamper from the car park. There are also comfortable tables in the Long Marquee, an enclosed tent.

PICNIC OUTDOORS There’s nothing like bagging the best spot on the grass and having your own Arcadian idyll. There are stylish tables and chairs that you are welcome to use – free. Just make sure you get there f irst.

AFTERNOON TEATake an Edwardian tea in the Library (china teacups, a pot of tea and a tiered stand of goodies). Or have tea in the Long Marquee. Excellent cakes and scones, too.

Pre–performance canapés and champagne are served under the magnif icent Doric portico.

••TICKETS FOR UNDER 30s

People of all ages are captivated by opera. It is the most expensive art form (a 60-piece orchestra, a chorus of 30 or more, not to mention the technicians backstage dealing with scenery, costumes, lighting etc). But we don’t want ticket prices to be a barrier to younger people falling in love with opera.

They are, after all, the future.

So we have two special schemes:

AGED 18-30 ? You can join the METEOR scheme at no extra cost. You can then buy seats from £35 on selected nights. Register free on the website.

AGED 14-22 ? Or a teacher or group leader? Then you may be eligible for MUSICAL CHAIRS. These are free seats on selected nights for younger people who otherwise could not come to the opera. They are subsidised by charitable trusts and ticket buyers. Complete the form on the website.

YOUR VIS IT

“What we leave behind is not what is engraved in stone monuments, but what is woven into the lives of others”. Pericles’ maxim encapsulates how the arts make life worth living.

And of all the arts, opera is the most expensive – labelled by early Italian opera-goers “the delight of princes”.

We try to bring you splendour worthy of those Italian princes. And it comes at a price which is greater than income from tickets. That is why donations are vital. We work hard to make donors feel part of the family – the Grange Park family.

To all supporters . . . a huge thank you. All our revenue is from either ticket sales or donations.

We also nurture young ar tists, invite young audiences, introduce lesser-known operas – as well as improving everything that happens at the festival.

SPONSOR AN ARTISTYou’ll notice in cast lists on the preceding pages that some of the singers – or parts therof – have a sponsor.

We make it easy. We send you a menu and if your chosen singer seems too pricey, you can go for a leg or just a head … or any body part . . . within reason. Then after the performance come onto the stage and meet all of him / her.

ANNUAL PERSONAL DONORS Around 1,000 people support with gifts of £200 – £1,100. Since the opera is surrounded by Greek revival architecture, the groups are named after notable Greeks: Hippocrates, Archimedes, Plato. Donations cover a quarter of the costs of the operas.

SCHOLARSHIPS By contributing to the Scholarship Fund, you are helping exceptional post-post-graduate singers to continue singing lessons whilst they establish themselves.

CORPORATE SPONSORS & ADVERTISERS Starts at £2,000.

AMERICAN GIFTS US donors make tax-deductible donations.

TRUSTS & FOUNDATIONS Grange Park Opera seeks support for educational and outreach activities. Sister company Pimlico Opera works in prisons and primary schools. Do you know of a trust whose priorities “chime”?

••YOU ARE THE

CUSTODIANS OF CULTURE

••For further information contact

Charlotte Pomroy charlotte@grangeparkopera.co.uk

01962 73 73 60

WHEN TO ARRIVE Guests arrive from 3.30pm (Sunday, Tristan & Isolde 2.30pm). They take a walk on the terraces, eat some of their picnic, have tea in the library or a glass of champagne before the per formance which begins at 5.20pm (Sunday, Tristan & Isolde 4.20pm).

DRESS Guests wear something stylish. Most of the audience wear black tie/long or short dress, but don’t be afraid to stand out from the crowd: we encourage creativity.

PICNIC TABLES It is easy to reserve picnic furniture and there are many tables, chairs and benches on the terraces which are available on a f irst-come-f irst-served basis. If you bring your own furniture, it can only be used on the lower East Terrace. Please: no barbecues; no erected structures. We aim for elegance at all times.

HOW TO GET HERE A map can be downloaded from the website and a printed version will be sent with your tickets.

From A31 / Alresford use postcode SO24 9TQ for the east entrance. From M3 use address New Lodge, Grange Park SO24 9TG for the west entrance. These are private houses. Nearby are signs.

HELICOPTERS By arrangement 01962 73 73 60

MAKE A DAY OF IT Leave home earlier and savour nearby secrets and a pub lunch. See the wesbite for suggestions.

SPECIAL ACCESS We ask that guests without good mobility are accompanied. When booking please indicate (a) whether or not you require wheelchair space (b) if you have other specif ic seating needs. The Grand Tier is not suitable for people with limited mobility. Guests may borrow a wheelchair from the Welcome Tent in the car park.

Mobility scooters cannot be used as there are slopes and vertiginous drops.

TRAINS, TAXIS & CAR SHARING

The website has train times. There is a designated London–Basingstoke train and we encourage guests on that train to share taxis (25 mins.)

CUSTODIANS OF CULTURE GENER AL INFORMATION

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TICKET PRICES SEAT MAP

SEATS CAMARENA SATURDAY OTHER

CENTRE STALLS GRAND TIER BOXES

£85 £185 £170

REAR STALLS CIRCLE BOXES

£78 £170 £155

FRONT STALLS SMALL BOXES

£70 £155 £140

STOOLS Upholstered, with back and foot rest

£55 £120 £110

TIER SIDESCIRCLE SIDESENDS OF ROW A & B

£40 £80 £80

STANDING £20 £50 £40

SEAT WIDTHS If you are unable to sit comfortably in a single seat please contact the Box Off ice to discuss your requirements.

Some of the loose seating in boxes provides greater f lexibility. See website.

Stalls seats are positioned so as not to be directly behind the seat in front.

For fur ther information about par ticular seats, go to the website and hover over individual seats

on the seating plan or call the Box Off ice 01962 73 73 73

You may book by post, using the form opposite, or you may request tickets online. Log in f irst at grangeparkopera.co.uk, then Book Tickets.

1. Select the opera

2. State your FIRST choice date

3. Note the price band

4. State your preferred price

Some per formances are very popular and sell fast, so please specify alternative dates and prices, numbering your preferences. We will assume that you would prefer a different price on your f irst choice date rather than your alternative dates. If this is not the case, please specify “change date before price”

Make a note of your booking. To change your booking, ring us and then confirm the change by email or post.

ALLOCATION Requests received by WEDNESDAY 13 JANUARY will be in the allocation before general booking opens. Tickets will be mailed to you before the end of January with dining information.

GENERAL BOOKING OPENS TUESDAY 9 FEBRUARY 2016 at 10.30 am

Box Office 01962 73 73 73

Email info@grangeparkopera.co.uk

Box Office Manager Caroline Sheahan

Address Grange Park OperaSutton Manor Farm Bishops SuttonAlresfordSO24 0AA

Out of Festival opening hoursMonday to Friday 9.30–5.30 Saturday & Sunday closed

Festival opening hours Monday to Friday 9.30–5.30 Saturday & Sunday 9.30–2.00

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HOW TO BOOK

BOOKING NOTESAn able-bodied person must accompany each guest without good mobility. The Grand Tier is not suitable as there are many stairs.

Tick if you require a wheelchair space in the Stalls Circle. Tick if you are providing mobility assistance for a member of your party and/or they have special seating needs. Contact the office if you require further assistance.

CONFIRMATION OF YOUR BOOKINGIf we have your email address, we will notify you by email when we receive your booking.

DATA PROTECTION All data supplied to Grange Park Opera by our customers will be handled by us in accordance with the customer’s instructions and under the terms of the Data Protection Act (1998) Tick here if you DO NOT wish to receive information about our news and events. Tick here if you DO NOT wish to receive information from other ar ts organisations.

CONDITIONS OF SALE (i) If you are unable to use your tickets and we are unable to sell them, we will allow a member of staff to use them. This avoids gaps in the theatre. (ii) Tickets may only be used by the purchaser and may not be sold on. (iii) Grange Park Opera is a charity. To make your ticket money work to our best advantage we have split the ticket prices into two parts: one part is a donation and the remainder is liable for VAT. The donation element is £30–£85. By doing this there is no additional cost to ticket buyers and more of your ticket money can go towards the operas. Gift Aid regulations mean we can also claim a further amount

per ticket from HMRC. This practice is used by many charities. Without the donation element, we are unable to cover the festival costs. We are legally bound, however, to point out that the donation element is optional. (iv) Latecomers will not be admitted to the auditorium and there will be no re-admission, unless there is a suitable pause. (v) The Management reserves the right to refuse admission to any ticket holder in reasonable circumstances including, without limitation, where the ticket holder breaches these Terms and Conditions, disrupts other audience members’ enjoyment or does anything that the Management considers to be unacceptable behaviour, taking health and safety, environmental and security concerns into account. (vi) The Management reserves the right to change or cancel the advertised programme and artists due to unforeseen or unavoidable circumstances outside their reasonable control. All ticket holders will be notif ied in advance of any changes, if practicably possible. Please note that we cannot guarantee that ticket holders will be informed of such cancellation before the date of the event.

RESALE OR EXCHANGE OF TICKETS(i) We cannot guarantee tickets will be resold. (ii) If a performance is sold out, we will endeavour to resell tickets on a f irst come, f irst served basis. (iii) Please contact the Box Office prior to returning tickets; please note that we must be in possession of the tickets before we can attempt to resell them. (iv) For successful resales there is a £2 charge per ticket and we will contact you to arrange a refund.

BOOKING NOTES

“O who knows what slumbers in the background of the times?”

FR IEDR ICH SCHILLER (1759-1805) : DON C ARLOS (1787 ) AC T I , SC I