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PERFORMANCES ON10, 11, 13, 17, 18, 20, 24 AND 25 OCTOBER

In the Market for Love or Onions are Forever

Autumn Performances 2020

From March 2020’s lockdown, and the sad cancellation of the Festival we battled to find a way back to live performance. By the end of the summer we managed to present a programme of open gardens, garden concerts and outdoor opera as our positive response to the restrictions of Covid-19: an attempt to find a responsible, appropriately distanced, and above all, safe way of performing to a live audience. Next, we set our sights on our autumn performances – clearly they could not go ahead as planned, but we refused to be beaten. So, it is with the greatest pleasure that we have arrived at this moment, finally together again, this time indoors, to experience high calibre music making. Not digital, not even analogue, but the real thing: live opera.

My daughter’s school netball teacher had one major piece of advice which she drummed into her pupils: adapt to changing circumstances. At Glyndebourne we’ve adopted that maxim, and good thing too, because the circumstances have changed continually. What you are seeing today is an adaptation, a rapid and joyful improvisation. No time for a design process: this time it’s a question of raiding the costume and props stores. Opera is usually glacial in development. It’s been good to discover that we can be fleet of foot occasionally!

Music and theatre function as a meeting point where together we can reflect, celebrate, grieve, question, imagine – and laugh! The roots of comic opera, opera buffa, reach back to the commedia dell’arte: the improvised Italian form which sprang up in the hurly-burly of the marketplace. Satirical, ribald and ridiculous, playing with social status and sexual desire, this approach to theatre found a natural home in opera from Pergolesi’s La serva padrona onwards. A century later and Offenbach, the master of adapting to changing circumstances, wrote countless bouffes. Farcical, cheeky and downright risqué, his energetic, supremely skilful musical and theatrical craft was so popular that it forced a threatened opera establishment finally to open their doors to the man known as the ‘Mozart of the Champs Élysées’.

It’s true that these are difficult and serious times, and you may be socially distanced from each other in the auditorium, but you can allow yourselves to enjoy what may be the only time you get so much space to yourself in this beautiful theatre, to have a good laugh and generally be as rumbustious as Offenbach’s rowdy audience back in 1858! Let’s have some operatic fun together.

It’s been an extremely challenging last few months for everybody.

GLYNDEBOURNE.COM

Welcome (back) to Glyndebourne!

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Stephen Langridge Artistic Director

CAST in order of appearance

Mademoiselle Bouillabaisse a fish seller Brenden Gunnell

Madame Beurrefondu a purveyor of dairy products Rupert Charlesworth

Madame Mangetout a vegetable seller Michael Wallace

Fancy Seller Rachel Taylor

Mask Seller Niel Joubert

Bread Seller Natalia Brzezińska

The Police Inspector Matthew Rose John Mackenzie-Lavansch 24, 25 October

Raflafla a drum major, about to retire Jeffrey Lloyd-Roberts

Harry Coe a young cook Kate Lindsey Emma Kerr 20 October

Ciboulette a young fruit seller Nardus Williams

Music by Jacques Offenbach in a new version by Stephen Plaice

Vocal setting by Marcia Bellamy

Adapted from the French Mesdames de la Halle by Armand Lapointe

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Conductor Ben Glassberg

Director Stephen Langridge

Associate Director Fiona Dunn

Lighting Design David Manion

Running Wardrobe Manager Lucy Harris Chorus Director and Assistant Conductor Aidan Oliver

Répétiteur and piano in orchestra Matthew Fletcher

Vocal Coach Steven Maughan

Glyndebourne Tour Orchestra Leader Richard Milone

The Glyndebourne Chorus

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Mesdames de la Halle, music by Jacques Offenbach, libretto by Armand Lapointe, arranged for chamber orchestra by Caspar Richter, used with the permission of Boosey & Hawkes Music Publishers Limited.

Performances on 10, 11, 17, 18, 20 and 25 October start at 4.00pm

Performances on 13 and 24 October start at 7.00pm

In the Market for Loveor Onions are Forever

GLYNDEBOURNE.COM | 3

Glyndebourne Tour Orchestra 2020

FIRST VIOLINSRichard Milone LEADER Simon Lewis PRINCIPAL

Malu Lin Swayne

SECOND VIOLINSClare Thompson PRINCIPAL Andrew RobertsLeo Payne

VIOLASDaisy Spiers PRINCIPAL

Catherine Bradshaw

CELLOJonathan Tunnell PRINCIPAL Sarah Butcher

BASSChris West PRINCIPAL

FLUTE & PICCOLOJulian Sperry PRINCIPAL

CLARINETFiona Cross PRINCIPAL

HORNAlexia Cammish PRINCIPAL

TRUMPETSimon Munday PRINCIPAL

TIMPANIAdrian Bending PRINCIPAL

PERCUSSIONCameron Sinclair PRINCIPAL

David Tosh

ORCHESTRA MANAGERJonathan Tunnell

PIT MANAGER & ORCHESTRA ASSISTANTSeif O’Reilly


The Glyndebourne Chorus

Chorus Director Aidan Oliver

Sopranos Nicola Hughes Madison Nonoa-Horsefield Jacquelyn Parker Rachel Taylor

Mezzo Sopranos Natalia Brzezińska Emma Kerr

Tenors Niel Joubert Sean Kerr Anthony Osborne David Shaw

Basses Andrew Davies John Mackenzie-Lavansch


Recently reopened after an epidemic, Paris’ Market of the Innocents is bustling with business. Customers (all wearing their masks) queue for macarons, herring, camembert and cabbages, while stallholders (all scrupulously socially distanced) ply their wares under the beady eye of the Police Inspector.

Raflafla, a smooth-talking drum major nearing retirement, enters and makes a beeline for three of the market’s ladies. First he tries his charms on Madame Mangetout, sounding out both her feelings and the size of her savings. Rebuffed, he moves onto Madame Beurrefondu, where he meets a similarly frosty reception. Both have set their hearts on the Market Café’s handsome young chef Harry Coe.

But Harry only has eyes for fruit seller Ciboulette, a young orphan-girl who has grown up in the market, and refuses their increasingly determined offers of cheese, vegetables and love. The rivalry escalates into an all-out fight between the women, further intensified by the arrival of Madame Bouillabaisse the fish-seller – another passionate admirer of Harry’s. The Police Inspector attempts to restore order, but in the chaos he tumbles into a tub of sprouts. Once he has emerged he promptly marches all the ladies down to the police station to explain themselves.

Unnoticed in the commotion, Ciboulette arrives. Now, left alone, she sings about her life on the stall and her strict rejection of her customers’ romantic advances. Raflafla is furiously looking for

Harry Coe, and when Ciboulette realises it, she rushes off to warn him. Raflafla decides to try his luck with Bouillabaisse, but she too refuses him.

At last Ciboulette and Harry are reunited. After declaring their love, they vow to marry. Caught dallying by Madame Beurrefondu who is returning with Raflafla, Harry flees the angry Major, leaving Ciboulette to share their plans with Beurrefondu. The only problem, she explains, is that to marry she needs the consent of her father – a sergeant in the Guardes Françaises who abandoned her as a baby. Beurrefondu faints, recognising Ciboulette as her long-lost child.

Bouillabaisse interrupts the mother-daughter reunion. She relates the details of Ciboulette’s provenance to Mangetout who immediately faints because they match those of the child that was taken away from her. Faced with two possible mothers, Ciboulette produces a letter from her father, sent to her at just three months old and never before opened. Harry reads it aloud to all, revealing that Ciboulette’s father is none other than Raflafla, who took her away from her mother as a baby in case she grew up smelling of haddock. She can find her mother on the fish stall in the market.

The newly discovered parents immediately grant permission for Harry and Ciboulette to marry, and everyone breaks into song.

Alexandra Coghlan Opera Content Specialist

SYNOPSIS

In The Market for Love or Onions are Forever


In the preceding decade, Offenbach had grown dissatisfied with the limitations of life as a cellist in a conventional orchestra. His own ambitions as composer, conductor and theatrical producer were too strong to keep him in the pit of the Opéra-Comique. His employers weren’t in the least interested in staging his work, so he broke out and began to produce the bouffes, small opera buffas, usually comprising a single act. These short, humorous entertainments by various young French composers (though Offenbach himself was of German origin) were produced in summer and winter seasons at small Parisian theatres from 1855 onwards, under a licence Offenbach had obtained for performing a ‘new and original’ kind of musical theatre.

Astonishingly, Mesdames de la Halle was the first operetta in which Offenbach had legally been allowed to work with a chorus. The reason for this was

the rigid control over cast numbers exercised by the prefecture of police in mid-19th century Paris. When the Bouffes-Parisiens began, the composer

Offenbach to the rescueBy Stephen Plaice

Offenbach’s Mesdames de la Halle, premiered in Paris in 1858, represents a crucial turning-point in the composer’s output, which includes nearly a hundred operettas.


was allowed a maximum of only three

singers. Though there was perhaps

a moral agenda here, a desire by the

authorities to restrict licentiousness

around theatrical events, there was

also a financial one. The bouffes were

rapidly became popular and were even

threatening the ticket-sales of the

conventional theatres. However, this

success was to be explained not only

by the hilarity of the entertainments;

audiences were also attracted by the

louche society around the bouffes, the

promise of social and indeed sexual

interaction with the demi-mondaines

who attached themselves to the

enterprise, including the performers.

The corruption of this permissive

society was later explicitly captured in

Émile Zola’s novel Nana.

In 1857, rather than continuing to

suppress the new theatrical craze,

the establishment did a volte-face and responded to public demand by removing the restrictions on cast size entirely. The theatrical institutions had come to realise that in order to keep their audiences, Offenbach’s works, and those of others working in the same opera buffa genre, would have to be included in their repertoire, along with fringe performers like Hortense Schneider who had made them popular. This prepared the way for Offenbach’s larger works – notably La belle Hélène, La vie parisienne, Orpheus in the Underworld (the theatrical origin of the famous Can Can) and The Tales of Hoffmann, which the composer did not quite live long enough to see in production.

So Mesdames de la Halle was the stepping stone from the bouffes of Offenbach’s early days, to his full-scale operas. Though it is still a one-act opera buffa, one can feel in its endeavour an aspiration towards grand opera (even including some element of ballet in the finale), and towards the choral and choreographic possibilities that were opening up for the successful composer. Yet the piece is still tight in terms of scale, conforming to the Aristotelian dramatic unities of time, place and action, rolling out in a single sequence of events.

Offenbach chose as his librettist Armand Lapointe, a vaudevillian and journalist, who knew the very tick of

continued


Offenbach to the rescue

Paris and was well acquainted with its history. Lapointe took for his precinct the iconic Marché des Innocents, a huge market square in the 1st arrondissement. The market was formerly dominated by a fountain housed in a huge structure the size of a church-tower. This was demolished in the late 18th century (though the fountain itself was re-sited outside in the square); but it retained a sentimental significance in public consciousness. Composer and librettist deliberately wanted to elicit nostalgia for pre-revolutionary Paris by recapturing the feel of the old market. So the operetta begins with the cris des vendeurs (traders’ cries) that might have been heard in the 18th century. Lapointe and his composer may even have been responding to the imminence of a second demolition, which took place in the same year as the production. Perhaps Mesdames de la Halle was an early conservationist protest? If so, it was partly successful. One can still visit a reduced version of the fountain in what is now Les Halles.In our production the fountain has become no more than a public hand sanitiser.

Subtract the choruses and the numbers, and this is perhaps Offenbach’s purest farce. It is, surprisingly, also his debut at Glyndebourne. In the current climate, his works seem ripe for revival, especially the short and irreverent opera buffas, many requiring only a few performers. Perhaps the era of the Bouffes Nouvelles is upon us.

From phone call to delivery of the vocal score, Marcia Bellamy and I had three weeks during lockdown to write, set and deliver the new version, now titled In the Market for Love. We came to imagine that we were working under the same conditions that Offenbach himself had experienced during the early days of feverish composition on his one act bouffes. We could always feel the composer’s genial, twinkling spirit at our shoulder, encouraging us to take as many liberties with the text as we desired, while leaving his brilliantly effervescent music in its original form, to speak for itself. Mesdames et Messieurs, applaud it all, life is a roaring waterfall.


continuedOffenbach to the rescue

Biographies

Marcia BellamyVOCAL SETTING

Natalia BrzezińskaMezzo-Soprano BREAD SELLER

Rupert CharlesworthTenor MADAME BEURREFONDU

Previously for Glyndebourne Associate Artist, Glyndebourne Young Voices (Glyndebourne education); Vocal Setting/In the Market for Love (Glyndebourne Open House)

Recent engagements New English setting of Rachmaninoff’s The Bells (2019 Induction Concert, GSMD); new settings of Offenbach songs and ensembles for Bouffe! (Brighton Festival Fringe); English versions of Brecht songs for In & Out of Love (RedBlonde Productions tour)

She graduated from University of Washington with a Masters in Music and won a scholarship with the American Berlin Opera Foundation. She was a soloist at Deutsche Oper Berlin for 8 seasons and has since performed in operas and concerts in Germany, Austria, France, Switzerland, and in the UK where she eventually made her home. Building on her experience of singing in many languages, she has developed a practice of setting new translations of existing operatic repertoire to make them more accessible to modern audiences. She is currently Vocal Tutor and Associate Lecturer in German for the Vocal Performance Programme at University of Chichester Conservatoire.

Previously for Glyndebourne Innkeeper’s Wife/The Cunning Little Vixen, Mother/Mavra, The Shepherd/L’enfant et les sortilèges (GF); (Cover) 6th Spirit/Cendrillon, 2nd Bridesmaid/Le nozze di Figaro, Giovanna/Rigoletto (GT); Glyndebourne Chorus since 2010 and numerous cover roles; Bread Seller/In the Market for Love (Glyndebourne Open House)

Recent engagements Medea/Il Medo (Ensemble Serse); Florence Pike/Albert Herring (RAM)

Forthcoming engagements (Cover) 3rd Lady/The Magic Flute (Glyndebourne autumn 2020)

She graduated with distinction in vocal studies from the Music Academy in Łódź, Poland before coming to the UK to take up postgraduate studies at Royal Academy Opera. She was a finalist in the Richard Lewis Competition in 2008 and 2009 and highly commended in the 2008 Flora Nielsen/Elena Gerhardt Prize Competition. She is supported by the Josephine Baker Trust and the Nan Copeland Award. She also works as a Polish language coach (most recently with London Philharmonic Choir) and for many years taught singing at King’s College London.

Previously for Glyndebourne Laertes/Hamlet (GT)

Recent engagements Tamino/Die Zauberflöte, Narraboth/Salome, Oronte/Alcina (Staatsoper Hannover); Bach’s Weihnachtsoratorium (Noord Nederlands Orkest); Messiah (La Cetra Barockorchester)

Forthcoming engagements Prince/The Love for Three Oranges (Komische); Jonathan/Saul (Theater an der Wien)

He read Music at King’s College London and studied with Philip Doghan. He trained at RAM where he was generously supported by the Karaviotis Scholarship, the John Kenneth Adams Scholarship, the Josephine Baker Trust, the Countess of Munster Trust and Mr and Mrs Sommerville. He was a 2011 Academy Laureate of the Festival d’Aix-en-Provence and won the Jury and Audience prizes both at the 2013 Handel Singing Competition and the 2014 International Singing Competition for Baroque Opera Pietro Antonio Cesti.


Biographies

Ben GlassbergCONDUCTOR

Previously for Glyndebourne La clemenza di Tito, Madama Butterfly (GF); La traviata: Behind the Curtain, L’elisir d’amore (GT)

Recent engagements Le nozze di Figaro, Don Giovanni, Così fan tutte (La Monnaie); Hansel and Gretel (ENO debut); Salzburg debut; BBC SO; LPO (symphonic debut); Tokyo Symphony Orchestra (symphonic debut); Deutsche Radio Philharmonie (symphonic debut)

Forthcoming engagements La clemenza di Tito (Opéra de Rouen); The Turn of the Screw (La Monnaie)

The British conductor first came to international attention when he won the Grand Prix at the 2017 Besançon Young Conductors Competition at the age of 23. Since then he has been made Associate Guest Conductor of Orchestre National de Lyon and Principal Conductor of Glyndebourne Tour, and 2020 sees him begin his tenure as the Music Director of Opéra de Rouen Normandie. He has also appeared with the Royal Philharmonic, London Philharmonic, Orchestre Philharmonique de Radio France, Detroit Symphony and St Peterburg Symphony.

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Fiona DunnASSOCIATE DIRECTOR

Previously for Glyndebourne As Festival and Revival Director: Cendrillon (GF) As Assistant Director: Cendrillon, Hamlet, Don Giovanni, Don Giovanni: Behind the Curtain, The Turn of the Screw (GT); The Rape of Lucretia (GF); Imago (Glyndebourne education) As Staff Director: The Cunning Little Vixen (GF) As Associate Director: In the Market for Love (Glyndebourne Open House)

Recent engagements As Revival Director: To Kill a Mockingbird (UK Tour) As Associate Director: Strictly Ballroom (Piccadilly Theatre); On the Town, All My Sons, Peter Pan, Ragtime, The Sound of Music (Regents Park Open Air Theatre); The Turn of the Screw (Regents Park, ENO) As Resident Director: Lord of the Flies (Regents Park, Tour) As Assistant Director: La traviata, Lucia di Lammermoor (ROH); The Pajama Game (Chichester)

Forthcoming engagements As Associate Director: Singing in the Rain (Sadler’s Wells, Toronto); Kát’a Kabanová (GF)

She studied at King’s College University and RADA. As an actor, she has worked for 20 years with productions in the West End, RSC, Chichester Festival Theatre and repertory companies throughout the UK, and has performed on radio and TV.

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Brenden GunnellTenor MADEMOISELLE BOUILLABAISSE

Previously for Glyndebourne Prince/Rusalka, Pedrillo/Die Entführung aus dem Serail (GF); Mademoiselle Bouillabaisse/In the Market for Love (Glyndebourne Open House)

Recent engagements Siegmund/Die Walküre, Loge/Das Rheingold (Göteborg Opera); Erik/Der fliegende Holländer (Bari Opera); Sergei/Lady Macbeth of Mtsensk (BOC); Jenik/Prodana Nesta (Garsington); Hüon de Bordeaux/Oberon (Bayerische); David/Die Meistersinger von Nürnberg (National Centre for Performing Arts, Beijing)

Forthcoming engagements Earl of Kent/Lear (Bayerische); Siegmund/Die Walküre (Saarländische Staatstheater); Oedipus Rex (Norddeutscher Rundfunk, Hamburg); Loge/Das Rheingold (BOC); Title role/Lohengrin (Bolshoi)

One of the most promising young-heroic tenors of his generation, his repertoire includes the title roles in Peter Grimes, Idomeneo and Parsifal, Siegmund/Die Walküre, Jimmy Mahoney/Aufstieg und Fall der Stadt Mahagonny, Laça Klemen/Jenůfa, Eric/Der fliegende Holländer and Loge/Das Rheingold. From 2007 to 2011 he was an ensemble member of the Tiroler Landestheater, Innsbruck under KS Brigitte Fassbaender, before spending 3 years as an ensemble member of the Norwegian National Opera. A native of Indiana, USA, he received his diploma from the Curtis Institute of Music, Philadelphia in 2006.

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Niel JoubertTenor MASK SELLER

Emma KerrMezzo-Soprano HARRY COE

(20 OCTOBER)

Previously for Glyndebourne Autumn/The Fairy Queen, Parpignol/La bohème, Herald/Rinaldo, First Footman, First Waiter/Der Rosenkavalier, Tantale/La descente d’Orphée aux enfers, (Cover) Moser/ Die Meistersinger von Nürnberg; (Cover) Maintop/Billy Budd, (Cover) Player 3/Hamlet (GF); Giuseppe/La traviata, Don Curzio/Le nozze di Figaro, (Cover) Male Chorus/The Rape of Lucretia, (Cover) Witch of Endor/Saul (GT); Mask Seller/In the Market for Love (Glyndebourne Open House)

Previous engagements Don Ottavio/Don Giovanni, Pedrillo/Die Entführung aus dem Serail, Monostatos/Die Zauberflöte, Adolphe/Die Opernprobe, Hot Biscuit Slim/Paul Bunyan, Giacomo de Wisants/L’assedio di Calais (ETO); Handel’s Messiah (Harry Bicket/English Concert); Dixit Dominus, St John Passion, St Matthew Passion (Laurence Cummings); L’Allegro (William Christie); Ode on St Cecilia Day; Mozart’s Requiem; Haydn’s Creation, Nelson Mass

Born in South Africa, he attended the Drakensberg Boys’ Choir School before studying at RAM where he was supported by the Ernest Oppenheimer Memorial Trust, South Africa Arts Council and various RAM bursaries. He was a finalist in the Handel Singing Competition and has performed in venues across Europe.

Previously for Glyndebourne Flora Bervoix/La traviata, (Cover) Prince Charming/Cendrillon (GT); (Cover) Croute-au-pot/Mesdames de la Halles, Siren 2/Rinaldo, (Cover) Second Wood Nymph/Rusalka, Un pâtre/L’enfant et les sortilèges, (Cover) Mercédès/Carmen (GF); Jerwood Young Artist 2015

Recent engagements Shadow Marnie 3/Marnie, Cover Cherubino/Le nozze di Figaro (ENO); Frau Grubach, Washerwoman/The Trial, 2nd Wood Nymph/Rusalka, Dorabella/Così fan tutte, Cover Stewardess/Flight, Cover Ariodante/Ariodante, Cover Cherubino/Le nozze di Figaro, Opera Highlights Tour (SO)

Born in Edinburgh, she was a Scottish Opera Emerging Artist 2015-2017. She was a Jerwood Young Artist with Glyndebourne, having graduated with distinction from the Guildhall Opera Course in 2015. She is a Samling Artist 2016 and in 2017 was awarded the Audience Prize in the Peter Hulsen Orchestral Song Award.

Stephen LangridgeDIRECTOR

Previously for Glyndebourne Tangier Tattoo (Producer, GT); Misper, Zoë (Director, Glyndebourne education); In the Market for Love (Director, Glyndebourne Open House)

Recent engagements Theodora (Champs-Élysées); Carmen (Greek National Opera); Tristan und Isolde (Staatstheater Hannover); Hamlet, Elektra, Das Rheingold, Die Walküre (Gothenburg Opera)

Forthcoming engagements Siegfried, Götterdämmerung (Gothenburg Opera)

He is the Artistic Director at Glyndebourne, a post he took up in Spring 2019 following six years as Director for Opera and Drama at Gothenburg Opera, Sweden. A passionate believer in the importance of opera education and participation work as well as talent development, throughout his career he has alternated between the leading operatic stages and ground-breaking community projects, making and devising opera and music theatre in unusual settings from South African Townships, to traditional education environments, and prisons.

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Biographies

Jeffrey Lloyd-RobertsTenor RAFLAFLA

John Mackenzie-LavanschBaritone THE POLICE INSPECTOR (24, 25 OCTOBER)

Previously for Glyndebourne Polonius/Hamlet; Pedrillo/Die Entführung aus dem Serail; High Priest/Idomeneo; Witch/Hänsel und Gretel (GT); Judas/The Last Supper (GF); Maintop/Billy Budd (BAM)

Recent engagements Ringmaster/The Bartered Bride (Garsington); Drunk Prisoner/From the House of the Dead (ROH, Lyon, La Monnaie); Panait/The Greek Passion (ON); Peter Grimes (Opera Queensland); Mayor/Albert Herring (Buxton Opera Festival)

Forthcoming engagements Horace Adams/Peter Grimes (ENO); Bardolfo/Falstaff (GPO); M. Triquet/Eugene Onegin (West Green Opera)

The Welsh tenor read music at Lancaster University before studying at RNCM.

He works regularly with all the major UK opera companies and made his debut in Salzburg singing Erik/Die fliegende Höllander and returned to sing Arthur in Birtwistle’s Gawain. He has sung at Cheltenham Festival, EIF and the BBC Proms and has appeared with all of the major British Symphony Orchestras as well as many across Europe and further afield.

Previously for Glyndebourne Dandini/La Cenerentola, Hunter/Rusalka, Baritone Solo/The Fairy Queen, First Apparition/Macbeth (GF); Imperial Commissioner/Madama Butterfly, Belcore/L’elisir d’amore, Malatesta/Don Pasquale, Papageno/Die Zauberflöte, Hunter/Rusalka, Marchese D’Obigny, Messenger/La traviata, Customs Sergeant/La bohème, Marcellus, Player 4/Hamlet, Court Usher/Rigoletto (GT); Duncan, Assassin/Luke Styles’ Macbeth (Glyndebourne/ROH)

Recent engagements Dandini/La Cenerentola (Bury Court, Erin Arts Centre); Pagano/I Lombardi alla prima crociata (University College Opera); Primo Pastore/L’Orfeo, Hymen/The Fairy Queen (Le Concert d’Astrée)

Born in Dumbarton, he graduated from the Opera School at RCS. He is an alumnus of the Steans Institute at the Ravinia Festival and a Samling Scholar. Winner of the Mary Garden International Prize, he has also received the Bill McCue Memorial Award and the Wessex Glyndebourne Association Award.

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Kate LindseyMezzo-Soprano HARRY COE

Previously for Glyndebourne Octavian/Der Rosenkavalier, Composer/Ariadne auf Naxos, Prince Charming/Cendrillon (GF); Harry Coe/In the Market for Love (Glyndebourne Open House)

Recent engagements Nerone/Agrippina (Met); Title role/Orlando world premiere, Komponist/Ariadne auf Naxos (Vienna); Soloist/Berlioz’ Roméo et Juliette (Berlin Philharmonic)

Forthcoming engagements Donna Elvira/Don Giovanni (Salzburg Mozarteum); Sesto/Giulio Cesare (Met); Pergolesi’s Stabat Mater (LA Philharmonic); Rosina/Il barbiere di Siviglia, Nerone/L’incoronazione di Poppea (Vienna)

A native of Richmond, Virginia and now living in the UK with her family, she frequents many of the world’s most prestigious opera houses, including the Met, Wiener Staatsoper, ROH, Bayerische, Salzburg, Aix, LA and Champs-Élysées. She has worked with many of the world’s most distinguished conductors including Emmanuelle Haïm, Vladimir Jurowski, Harry Bicket, Robin Ticciati, Thomas Hengelbrock and Franz Welser-Möst. She is recording exclusively for Outhere Music France. Her first solo album Thousands of Miles was released in 2017 and her second album Arianna was released in January 2020 featuring Arcangelo orchestra conducted by Jonathan Cohen.

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Biographies

Matthew RoseBass THE POLICE INSPECTOR

Previously for Glyndebourne Bottom/A Midsummer Night’s Dream, Leporello/Don Giovanni, Nick Shadow/The Rake’s Progress, Mr Flint/Billy Budd, Collatinus/The Rape of Lucretia, Callistene/Poliuto (GF); The Police Inspector/In the Market for Love (Glyndebourne Open House)

Recent engagements Leporello/Don Giovanni (Chicago); Pimen/Boris Godunov (ROH); Bottom/A Midsummer Night’s Dream (Philadelphia Opera); Claudio/Agrippina, Colline/La bohème (Met); Mozart’s Requiem (New York Philharmonic)

Forthcoming engagements Bottom/A Midsummer Night’s Dream (Vienna); Gremin/Eugene Onegin (Garsington); Haydn’s Creation (Cincinnati Symphony under Louis Langrée); Beethoven’s Symphony No 9 (Paris under Vasily Petrenko, Toyko under Pablo Heras-Casado)

He studied at the Curtis Institute of Music before becoming a member of the ROH Young Artist Programme. In 2006 he made an acclaimed debut at Glyndebourne Festival as Bottom in A Midsummer Night’s Dream for which he received the John Christie Award, and he has since performed at opera houses throughout the world. He has sung under the baton of Sir Colin Davis, Gustavo Dudamel, Sir Andrew Davis, Vladimir Jurowski, Sir Charles Mackerras, Yannick Nézet-Seguin and Antonio Pappano and is already a critically-acclaimed recording artist, winning a Grammy Award for Best Opera Recording for Ratcliffe/Billy Budd. His other recordings include Winterreise with pianist Gary Matthewman and Schwanengesang with Malcolm Martineau for Stone Records.

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Stephen PlaiceLIBRETTIST

Previously for Glyndebourne As Librettist: Tangier Tattoo (GT); Zoë, Misper, School4Lovers, Lovers Walk (Glyndebourne Education); Imago (Community Opera); In the Market for Love (Glyndebourne Open House)

Recent engagements Birtwistle’s Angel Fighter (world premiere at Bach Festival Leipzig, UK premiere at BBC Proms); Luís Tinoco’s Paint Me (premiere at Culturgest, Lisbon); Richard Taylor’s Ludd and Isis, Julian Grant’s Hot House (ROH); Julian Philips’ The Tale of Januarie (first opera to be written in Middle English, GSMD); Jamie Man’s Counting Sheep children’s opera (Snappy Operas project, Mahogany Opera)

Forthcoming engagements Henny Penny children’s opera with Julian Philips (currently in workshop development with schools in Islington); Orlando Gough’s post-Brexit satirical opera Bloom Britannia (St Mary in the Castle, Hastings); Michael Zev Gordon’s Raising Icarus chamber opera (Barber Institute Birmingham); Tony Biggin’s community musical String.

A dramatist working in opera and theatre, he is one of Britain’s leading librettists and book writers for musical theatre. He is currently tenured as Writer-in-Residence at GSMD where he was appointed Professor of Dramatic Writing in 2018. His opera work has been performed throughout Europe and he has collaborated with many leading composers, including Harrison Birtwistle, Michael Zev Gordon and Orlando Gough.


Aidan OliverCHORUS DIRECTOR

Aidan was appointed Chorus Director at Glyndebourne in 2019. He is one of the UK’s leading choral directors, with wide experience across the whole spectrum of symphonic, liturgical, operatic and contemporary music. Alongside his work at Glyndebourne, he directs the Edinburgh Festival Chorus, which performs in several high-profile concerts each year at the EIF; he is also the founding director of Philharmonia Voices, the professional choir that collaborates with the Philharmonia Orchestra on many of its most ambitious choral-orchestral projects, particularly under its Principal Conductor, Esa-Pekka Salonen. He has worked regularly on the music staff of ROH and ENO, and his former positions include Director of Music at St Margaret’s Westminster and Associate Conductor of the St Endellion Summer Festival in Cornwall.

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Biographies

Nardus WilliamsSoprano CIBOULETTE

Michael WallaceBaritone MADAME MANGETOUT

Previously for Glyndebourne (Cover) Adina/L’elisir d’amore, (Cover) Armida/Rinaldo, Milliner/Der Rosenkavalier (GF); Adina/L’elisir d’amore (GT); Maggie/Marjana/Belongings (Glyndebourne Youth Opera)

Recent engagements Micaëla/Carmen, Countess/The Marriage of Figaro (ENO), Mimì/La bohème, Donna Anna/Don Giovanni (Houston); Cover Governess/The Turn of the Screw (Garsington), Martha/Giorgio Battistelli’s Wake (BOC); Recitals (Wigmore Hall, St. John’s Smith Square); Handel’s Messiah (King’s Place)

Forthcoming engagements Countess/Le nozze di Figaro (OHP); Mimì/La bohème (ENO Drive & Live series); Belinda/Dido’s Ghost world premiere (Dunedin Consort)

The British soprano is an ENO Harewood Artist, was a member of the Houston Opera Studio for the 2018/19 season and is a former Jerwood Young Artist at Glyndebourne. She trained at RCM’s International Opera School where she was the sole recipient of the prestigious Kiri Te Kanawa Scholarship. She won First Prize and Audience Prize at the 2016 Maureen Lehane Vocal Awards and was a finalist in the 2018 Kathleen Ferrier Competition.

Previously for Glyndebourne Title role/Don Giovanni, Wig-Maker/Ariadne auf Naxos, First Mate/Billy Budd, Godofredo/The Yellow Sofa, Miguel/Betrothal in a Monastery, Pilate/St Matthew Passion, Curio/Giulio Cesare, Customs Officer/La bohème, Messenger/La traviata, Le Guide/Carmen, Pasek/The Cunning Little Vixen, Shepherd/Pelléas et Mélisande, Balthazar/Wakening Shadow, Prime Minister/Cendrillon (GF); Schaunard, Customs Officer/La bohème, Moralès/Carmen, Baron Douphol/La traviata, Assassin/Macbeth, Second Trojan/Idomeneo, Yakuside/Madama Butterfly, Fiorello/Il barbiere di Siviglia, Prime Minister/Cendrillon, Marullo/Rigoletto (GT); Alex/Agreed (Glyndebourne Youth Opera); Madame Mangetout/In the Market for Love (Glyndebourne Open House)

Recent engagements First Mate/Billy Budd (BAM); Uncle Yakuside/Madama Butterfly, Dancairo/Carmen, Sergeant/La bohème, Gaoler/Tosca (RAH); Bass solo/Mass in B Minor (English Concert, Valetta International Baroque Festival); Title role/Saul (Châtelet)

Born on Merseyside, he studied at RNCM and NOS and has been a recipient of the Erich Vietheer Memorial Award. He has performed with AAM, The Sixteen, English Concert, Gabrieli Consort and OAE.

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Rachel TaylorSoprano FANCY SELLER

Previously for Glyndebourne (Cover) Third Spirit/Cendrillon, Siren/Rinaldo, Sandman/Hänsel und Gretel, (Cover) Marzelline/Fidelio, (Cover) Despina/Così fan tutte, (Cover) Damigella/L’incoronazione di Poppea, (Cover) Barena/Jenůfa (GT); (Cover) Cousin/Madama Butterfly, (Cover) Third Spirit/Cendrillon, (Cover) Adele/Die Fledermaus, (Cover) Clorinda/La Cenerentola (GF); Chorus member (GF, GT); Fancy Seller/In the Market for Love (Glyndebourne Open House)

Recent engagements Despina/Così fan tutte (European Chamber Opera); Chair, Owl/L’enfant et les sortilèges, Lusya/Paradise Moscow (ON)

Born in Macclesfield, Cheshire, she studied at RNCM where she won the Elsie Thurston Award and the Frederic Cox award. She has appeared as the Soprano soloist in Handel’s Messiah at RAH, conducted by Sir David Willcocks, and subsequently with him in the Olso Spectrum, Norway; Georg-Friedrich-Händel Halle, Germany; the Santa Maria del Mar, Barcelona; and the Augustinerkirche, Vienna.

Biographies

No Ordinary Opera

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