Glyndebourne is launching a new streaming service called Glyndebourne Encore. The new streaming service will give on-demand access to its back catalog of world-class opera, as well as all future filmed productions. The company has been investing in filming its operas since 2002 and has built up an extensive collection of its iconic productions that enabled the opera house to {…}
Glyndebourene has announced that its Managing Director Sarsh Hopwood is set to retire next autumn following a career of 25 years with the company. Hopwood was at the forefront of the initiative to have the company invest in its intellectual property and expanding its reach to new audiences worldwide. She was among the leaders of the construction of the Production {…}
Glyndebourne is joining forces with Pegasus Opera Company to mentor singers from diverse backgrounds. The company will support the Pegasus Opera Mentoring Programme, which is offering opportunities to artists of African and Asian heritage. As part of the collaboration, Glyndebourne will invite four of the next group of participants to shadow artists at the 2022 Glyndebourne Festival during the rehearsal {…}
Glyndebourne has announced additional casting for its 2022 festival. The company revealed that its production of “Don Pasquale” will feature Erin Morley as Norina, Huw Montague Rendall as Malatesta, José Fardilha in the title role and Josh Lovell as Ernesto. Meanwhile, “Le Nozze di Figaro” will star Hera Hyesang Park, Germán Olivera, Amanda Woodbury, and Emily Pogorelc. The company is {…}
Glyndebourne has announced the return of its tour in 2021. The tour will see the company bring opera to communities in Canterbury, Milton Keynes, Norwich, and Liverpool. First up will be “Fidelio” starring Dorothea Herbert and Adam Smith. Frederic Wake-Walker directs and Ben Glassberg conducts. Performance Dates: Oct. 8-31 (Glyndebourne) The company will then feature “Don Pasquale” in a production {…}
(Credit: © Glyndebourne Productions Ltd. Photo: Bill Cooper) Glyndebourne’s final production of this year’s festival is a semi-staged realization of Richard Wagner’s “Tristan und Isolde,” conceived by Daniel Dooner and featuring Glyndebourne music director Robin Ticciati in the pit, accompanied by their resident orchestra the London Philharmonic Orchestra. It’s a production that boldly sets out several role debuts, in Simon {…}
Glyndebourne has announced that, in keeping with government regulations, it will lift social distancing restrictions starting on July 19, 2021. As a result, all 1,200 seats in the opera house’s auditorium will be available for performances of “Così fan tutte,” “Luisa Miller,” “Tristan und Isolde,” and three performances by the Orchestra of the Age of Enlightenment. Audiences were previously capped {…}
Glyndebourne has announced the launch of the Glyndebourne Freelancer Fund, meant to support freelancers in the performing arts industry and help them rebound from the economic damages caused by the pandemic. While the details of the fund will be further developed this year, Glyndebourne has pledged its commitment to reserve an amount equivalent to 10 percent of its annual freelancer {…}
Glyndebourne has announced the appointment of two new members to the Board of Trustees. The new appointees include Sharmila Nebhrajani OBE, Chair of NICE, and top solicitor Helen Ward, a partner at Stewarts Law LLP. “The strength of the Board has been felt more than ever this past year as we’ve sought their support and expertise to help us face {…}
Rossini’s operatic world is a crossroads of things: the formal conventions of arias, duets, cavatina, patter number, the stock characters of the Commedia dell’arte, a hotchpotch of contemporary patriarchal and orientalist stereotypes, and reheated scenarios from various librettists. How do modern audiences, relatively unmoored from this world, connect with these shows? A Brilliant Production In this new production of “Il {…}
It is an under-appreciated coincidence that Janacek’s searing opera of bourgeois repressiveness and psychological collapse appears in the same year as fellow Moravian Sigmund Freud’s “Beyond the Pleasure Principle” and his study of “Mass Psychology” (they were, in fact, born mere miles apart). “Kat’a Kabanova” is a psychic drama of shame and self-hatred. As in Freud’s work, Janacek creates a {…}
