Sarah Hopwood, who joined Glyndebourne as Finance Director in 1997 and
subsequently became Chief Operating Officer, spoke about the unique
business model that allowed Glyndebourne to fund the Production Hub: ‘It is
well known that we receive no Government funding for our annual summer
Festival, and it is through the financial success of that event that we are
able to support our annual tour, year-round education activity (both also
supported by Arts Council England) and the filming of full-length
productions. We have just completed a £6.5m investment in this amazing
Production Hub – creating a state-of-the-art facility to bring together our
expert making teams, so that we maintain our competitive edge in creating
world-class opera.’
Stephen Langridge, most recently Artistic Director at Gothenburg Opera,
spoke about his long history with Glyndebourne; he took his first steps on
the lawn when his father, Philip Langridge, performed on-stage and early in
his career directed two youth operas at Glyndebourne, Misper (1997) and ZoÎ
(2000). Introducing the 2020 season, he said:
‘I am thrilled to be announcing this exciting season, a classic
Glyndebourne Festival smˆrgÂsbord offering comic, tragic, and magical opera
from three centuries – but with a steely through-line of amazing women,
powerful in politics, strong in their relationships, and brave in their
faith.’
Glyndebourne Festival 2020
Dialogues des CarmÈlites is one of the most devastatingly powerful works in
the repertoire. Set against the backdrop of the French Revolution, it is
based on a true story of religious martyrdom and follows the struggles of a
young woman faced with a harrowing decision, made all the more moving by a
breathtaking score.
Glyndebourne’s new production will be directed by Australian director
Barrie Kosky, returning to the company for the first time since his
triumphant production of Handel’s Saul in 2015. Glyndebourne’s Music
Director Robin Ticciati will conduct the London Philharmonic Orchestra and
an exciting ensemble cast led by Australian-American soprano Danielle de
Niese, making a role debut as the opera’s heroine Blanche de la Force.
Also making its first appearance at Glyndebourne next summer is Handel’s
Alcina, in a new production overseen by two Italian artists, director
Francesco Micheli and conductor Gianluca Capuano.
Over the past two decades, Glyndebourne has consistently surprised and
delighted audiences with its fresh take on works by Handel, including
acclaimed productions of Theodora, Rodelinda, Giulio Cesare, Rinaldo and
Saul. The company is building on that record with the first major new UK
production of Alcina for over 20 years. Set in a world of enchantment and
magic, the opera calls for lavish stage effects, promising a visual
spectacle for Glyndebourne audiences next summer.
Taking the title role is Russian soprano Kristina Mkhitaryan, with Armenian
soprano Nina Minasyan as Morgana, Anglo-French mezzo-soprano Anna StÈphany
as Ruggiero and American contralto Avery Amereau as Bradamante.
The third new production of the 2020 season is Beethoven’s
emotionally-charged opera Fidelio, directed by the up-and-coming young
British director Frederic Wake-Walker and conducted by Robin Ticciati. It
will be the first new production of the opera at Glyndebourne in nearly
twenty years and marks the 250th anniversary of the composer’s birth.
Fidelio is Beethoven’s only opera, giving audiences a rare opportunity to
hear the composer’s work in the opera house, and features music as powerful
and beautiful as any that he wrote for the symphony hall. An impressive
cast includes British soprano Emma Bell as Leonore and British tenor David
Butt Philip as Florestan.
The 2020 Festival sees the return of one of Glyndebourne’s greatest ever
productions – John Cox’s definitive 1975 staging of Stravinsky’s
sophisticated comedy The Rake’s Progress, designed by David Hockney. It
will be the first chance to see the production at Glyndebourne in over a
decade, with Czech composer Jakub Hr?öa at the helm of the London
Philharmonic Orchestra and a cast that includes American tenor Ben Bliss as
Tom Rakewell, British bass Matthew Rose as Nick Shadow and British soprano
Louise Alder as Anne Trulove.
Completing the season are revivals of David McVicar’s insightful production
of Mozart’s landmark work Die Entf¸hrung aus dem Serail and Annabel Arden’s
colourful production of Donizetti’s romantic comedy L’elisir d’amore.
Gus Christie said: ‘I’m delighted to be announcing Glyndebourne’s 2020
season today alongside our new leadership team. We have a really exciting
line-up featuring two works that have never been staged here before –
Poulenc’s Dialogues des CarmÈlites and Handel’s Alcina. I’m also delighted
that we’re presenting a new production of Beethoven’s Fidelio nearly twenty
years on from the last. It’s always a treat to hear that great composer in
the opera house.’
Following a successful launch in 2018, the Glyndebourne Opera Cup returns
in 2020. The final will take place at Glyndebourne on 7 March 2020 and will
once again be broadcast live by Sky Arts. Applications for the Glyndebourne
Opera Cup open on 1 September 2019. Full details will be announced later
this year.
The Glyndebourne Tour returns next autumn offering audiences across England
a chance to enjoy world class opera on their doorstep. It features
productions of Mozart’s The Magic Flute, Puccini’s Madama Butterfly and the
return of the Behind The Curtain series with The Magic Flute: Behind the
Curtain, taking audiences under the hood of Mozart’s final operatic
masterpiece.
Glyndebourne Tour 2020 runs from 9 October – 5 December 2020. Following
three weeks of performances at Glyndebourne, the Tour will visit
Canterbury, Milton Keynes, Woking, Norwich and Liverpool. Further
information and casting to follow.
Chair of Trustees of Glyndebourne Productions Ltd to Step Down
John Botts will step down as Chair of Trustees of Glyndebourne Productions
Ltd at the end of this year’s Festival, but will remain on the Board. John
will be succeeded as Chair by Hamish Forsyth, a Trustee since March 2013
and Chair of the Audit, Finance and Compliance Committee. Hamish, President
of Capital Group Europe and Asia, brings a wealth of business, charity and
opera experience. He is a Fellow of the Governing Body of Eton College, and
a former Trustee of both the Royal Opera House and Grange Park Opera.
Gus Christie said: “My father asked John to join the Board in 1985 when he
was working at Citibank and he has been a lynchpin for Glyndebourne ever
since. He was instrumental in encouraging my father’s vision of rebuilding
the new theatre and driving the fundraising strategy and membership
structures which have kept us afloat throughout. He oversaw the transition
from my father to me, and has constantly challenged and prodded us when we
needed it, at the same time providing constant support and guidance. We are
all hugely indebted to John for the leadership he has provided in keeping
us financially independent, at the same time as maintaining our extremely
high artistic and musical standards. I am delighted he is remaining on the
Board and warmly welcome Hamish as his successor.”
image=http://www.operatoday.com/Glyndebourne.jpg
Glyndebourne’s first production of Dialogues des CarmÈlites to open Glyndebourne Festival 2020
Sarah Hopwood, who joined Glyndebourne as Finance Director in 1997 and
subsequently became Chief Operating Officer, spoke about the unique
business model that allowed Glyndebourne to fund the Production Hub: ‘It is
well known that we receive no Government funding for our annual summer
Festival, and it is through the financial success of that event that we are
able to support our annual tour, year-round education activity (both also
supported by Arts Council England) and the filming of full-length
productions. We have just completed a £6.5m investment in this amazing
Production Hub – creating a state-of-the-art facility to bring together our
expert making teams, so that we maintain our competitive edge in creating
world-class opera.’
Stephen Langridge, most recently Artistic Director at Gothenburg Opera,
spoke about his long history with Glyndebourne; he took his first steps on
the lawn when his father, Philip Langridge, performed on-stage and early in
his career directed two youth operas at Glyndebourne, Misper (1997) and ZoÎ
(2000). Introducing the 2020 season, he said:
‘I am thrilled to be announcing this exciting season, a classic
Glyndebourne Festival smˆrgÂsbord offering comic, tragic, and magical opera
from three centuries – but with a steely through-line of amazing women,
powerful in politics, strong in their relationships, and brave in their
faith.’
Glyndebourne Festival 2020
Dialogues des CarmÈlites is one of the most devastatingly powerful works in
the repertoire. Set against the backdrop of the French Revolution, it is
based on a true story of religious martyrdom and follows the struggles of a
young woman faced with a harrowing decision, made all the more moving by a
breathtaking score.
Glyndebourne’s new production will be directed by Australian director
Barrie Kosky, returning to the company for the first time since his
triumphant production of Handel’s Saul in 2015. Glyndebourne’s Music
Director Robin Ticciati will conduct the London Philharmonic Orchestra and
an exciting ensemble cast led by Australian-American soprano Danielle de
Niese, making a role debut as the opera’s heroine Blanche de la Force.
Also making its first appearance at Glyndebourne next summer is Handel’s
Alcina, in a new production overseen by two Italian artists, director
Francesco Micheli and conductor Gianluca Capuano.
Over the past two decades, Glyndebourne has consistently surprised and
delighted audiences with its fresh take on works by Handel, including
acclaimed productions of Theodora, Rodelinda, Giulio Cesare, Rinaldo and
Saul. The company is building on that record with the first major new UK
production of Alcina for over 20 years. Set in a world of enchantment and
magic, the opera calls for lavish stage effects, promising a visual
spectacle for Glyndebourne audiences next summer.
Taking the title role is Russian soprano Kristina Mkhitaryan, with Armenian
soprano Nina Minasyan as Morgana, Anglo-French mezzo-soprano Anna StÈphany
as Ruggiero and American contralto Avery Amereau as Bradamante.
The third new production of the 2020 season is Beethoven’s
emotionally-charged opera Fidelio, directed by the up-and-coming young
British director Frederic Wake-Walker and conducted by Robin Ticciati. It
will be the first new production of the opera at Glyndebourne in nearly
twenty years and marks the 250th anniversary of the composer’s birth.
Fidelio is Beethoven’s only opera, giving audiences a rare opportunity to
hear the composer’s work in the opera house, and features music as powerful
and beautiful as any that he wrote for the symphony hall. An impressive
cast includes British soprano Emma Bell as Leonore and British tenor David
Butt Philip as Florestan.
The 2020 Festival sees the return of one of Glyndebourne’s greatest ever
productions – John Cox’s definitive 1975 staging of Stravinsky’s
sophisticated comedy The Rake’s Progress, designed by David Hockney. It
will be the first chance to see the production at Glyndebourne in over a
decade, with Czech composer Jakub Hr?öa at the helm of the London
Philharmonic Orchestra and a cast that includes American tenor Ben Bliss as
Tom Rakewell, British bass Matthew Rose as Nick Shadow and British soprano
Louise Alder as Anne Trulove.
Completing the season are revivals of David McVicar’s insightful production
of Mozart’s landmark work Die Entf¸hrung aus dem Serail and Annabel Arden’s
colourful production of Donizetti’s romantic comedy L’elisir d’amore.
Gus Christie said: ‘I’m delighted to be announcing Glyndebourne’s 2020
season today alongside our new leadership team. We have a really exciting
line-up featuring two works that have never been staged here before –
Poulenc’s Dialogues des CarmÈlites and Handel’s Alcina. I’m also delighted
that we’re presenting a new production of Beethoven’s Fidelio nearly twenty
years on from the last. It’s always a treat to hear that great composer in
the opera house.’
Following a successful launch in 2018, the Glyndebourne Opera Cup returns
in 2020. The final will take place at Glyndebourne on 7 March 2020 and will
once again be broadcast live by Sky Arts. Applications for the Glyndebourne
Opera Cup open on 1 September 2019. Full details will be announced later
this year.
The Glyndebourne Tour returns next autumn offering audiences across England
a chance to enjoy world class opera on their doorstep. It features
productions of Mozart’s The Magic Flute, Puccini’s Madama Butterfly and the
return of the Behind The Curtain series with The Magic Flute: Behind the
Curtain, taking audiences under the hood of Mozart’s final operatic
masterpiece.
Glyndebourne Tour 2020 runs from 9 October – 5 December 2020. Following
three weeks of performances at Glyndebourne, the Tour will visit
Canterbury, Milton Keynes, Woking, Norwich and Liverpool. Further
information and casting to follow.
Chair of Trustees of Glyndebourne Productions Ltd to Step Down
John Botts will step down as Chair of Trustees of Glyndebourne Productions
Ltd at the end of this year’s Festival, but will remain on the Board. John
will be succeeded as Chair by Hamish Forsyth, a Trustee since March 2013
and Chair of the Audit, Finance and Compliance Committee. Hamish, President
of Capital Group Europe and Asia, brings a wealth of business, charity and
opera experience. He is a Fellow of the Governing Body of Eton College, and
a former Trustee of both the Royal Opera House and Grange Park Opera.
Gus Christie said: “My father asked John to join the Board in 1985 when he
was working at Citibank and he has been a lynchpin for Glyndebourne ever
since. He was instrumental in encouraging my father’s vision of rebuilding
the new theatre and driving the fundraising strategy and membership
structures which have kept us afloat throughout. He oversaw the transition
from my father to me, and has constantly challenged and prodded us when we
needed it, at the same time providing constant support and guidance. We are
all hugely indebted to John for the leadership he has provided in keeping
us financially independent, at the same time as maintaining our extremely
high artistic and musical standards. I am delighted he is remaining on the
Board and warmly welcome Hamish as his successor.”
image=http://www.operatoday.com/Glyndebourne.jpg