Glyndebourne Podcast

Peggy Reynolds explores Giuseppe Verdi’s last, great work: the comic opera Falstaff. With contributions from the conductor Sir Mark Elder, who celebrates the delicacy, wit and humanity of Verdi’s score. From Glyndebourne’s dramaturg, Cori Ellison, who reflects on the quicksilver pace of this wonderfully funny work by a composer who we do not tend to associate with comedy. And from the baritone Laurent Naouri, who discusses the role of Falstaff, and the words and music written for the character by Verdi and his librettist, the prodigiously talented Arrigo Boito. Producer: Mair Bosworth. Music extracts from the Glyndebourne CD label recording.

Ariadne auf Naxos brings together the 'high art' of opera seria and the lighter, comic entertainment of the commedia dell'arte. Peggy Reynolds provides a historical and musical introduction to this ambitious, witty and intricately crafted collaboration between Richard Strauss and his librettist, the poet and playwright Hugo von Hofmannsthal. With contributions from the writer and broadcaster David Nice, who provides expert insight into Strauss's use of the orchestra to explore the theme of 'high' versus 'low' art. From theatre director Didi Hopkins of Commediaworks, who explains the history of the commedia dell'arte and introduces us to some of the art form's stock characters. And from the writer Michael Kennedy who explores the - at times rather fraught - working relationship between Strauss and Hofmannsthal and discusses the genius of Strauss's music. (Producer: Mair Bosworth. Musical extracts used with kind permission of EMI Classics.)

Ariadne auf Naxos brings together the 'high art' of opera seria and the lighter, comic entertainment of the commedia dell'arte. Peggy Reynolds provides a historical and musical introduction to this ambitious, witty and intricately crafted collaboration between Richard Strauss and his librettist, the poet and playwright Hugo von Hofmannsthal. With contributions from the writer and broadcaster David Nice, who provides expert insight into Strauss's use of the orchestra to explore the theme of 'high' versus 'low' art. From theatre director Didi Hopkins of Commediaworks, who explains the history of the commedia dell'arte and introduces us to some of the art form's stock characters. And from the writer Michael Kennedy who explores the - at times rather fraught - working relationship between Strauss and Hofmannsthal and discusses the genius of Strauss's music. (Producer: Mair Bosworth. Musical extracts used with kind permission of EMI Classics.)

A guide to the theatrical and musical history of one of the earliest English operas, Henry Purcell’s The Fairy Queen, with music from the live recording of our 2009 production. Presenter Peggy Reynolds considers the nature of the semi-opera and its origins in theatre, song, orchestral music and masque, and explores the historical and political context of the opera, which was first performed just a few years after the Glorious Revolution of 1688. With expert insights from Professor Lisa Jardine of Queen Mary, University of London, Andrew Pinnock, musicologist and Honorary Secretary of the Purcell Society and from General Director of Glyndebourne, David Pickard. (Producer: Mair Bosworth)

Peggy Reynolds gives an introduction to two of the early twentieth century’s most intriguing operas, Maurice Ravel’s L’heure Espagnole and L’enfant et les Sortileges. General Director of Glyndebourne David Pickard praises Ravel’s mastery of orchestration and the unique soundworlds he creates in these two fascinating works. Richard Langham Smith, Research Professor at the Royal College of Music, explores the operatic farce of L’heure Espagnole and considers psychoanalytic readings of L’enfant et les Sortileges. And pianist and musicologist Dr Emily Kilpatrick explores the texts upon which the operas were based and tells us of Ravel’s fascination with Spain, childhood, and the music of machines. (Producer: Mair Bosworth) Musical extracts used with kind permission of Decca.

Presenter Peggy Reynolds provides an introduction to Gioachino Rossini's La Cenerentola. She sets the opera in historical context and explores some of the themes and stories behind the Rossini's great work. With contributions from writer and mythographer Marina Warner on the origins of the Cinderella myth, conductor Vladimir Jurowski on Rossini's use of coloratura, and Director Sir Peter Hall on La Cenerentola as post-enlightenment reimagining of the Cinderella story. (Producer: Mair Bosworth)

Peggy Reynolds provides an introduction to one of the world’s most loved and performed operas – Giacomo Puccini’s La Bohème. With expert insights from Conductor Kirill Karabits, musicologist and cultural historian Alexandra Wilson, the General Director of Glyndebourne David Pickard, Head of Music at Royal Holloway, University of London, Julian Johnson and the soprano Irina Iordachescu. (Producer: Mair Bosworth) Musical extracts used with kind permission of EMI Classics. www.emiclassics.com/releasedetails.php?rid=11272

A guide to Glyndebourne’s signature opera, Mozart’s The Marriage of Figaro, with music from the live recording of our 1962 production. Presenter Peggy Reynolds explores the historical context of the opera, the politics behind its humour, and Mozart’s sublime music of rage and forgiveness. With contributions from Conductor Jane Glover, General Director of Glyndebourne David Pickard, Head of Music at Royal Holloway, University of London, Julian Johnson and Dr John Leigh of Fitzwilliam College, Cambridge – a specialist in 18th Century French thought and literature. (Producer: Mair Bosworth)

Deborah Bell's sculpture Artemis is installed near the Ha-Ha at Glyndebourne in May 2012 as part of our Art and Sculpture at Glyndebourne for the 2012 Festival. Deborah Bell is a leading South African painter and sculptor whose work is created in dialogue with multiple worlds, texts, histories and consciousnesses. She is also widely known for her collaborative projects with William Kentridge and Robert Hodgins.

Rossini’s music has an irrepressible quality, bubbling up effortlessly throughout this retelling of the story of Cinderella. The invention is unstoppable, from Cenerentola’s plaintive song about a king who loves a poor girl to the lavish coloratura of her final aria when goodness triumphs and all ends, for some at any rate, happily ever after. When this production, directed by Peter Hall, was first seen in 2005, Opera magazine credited it as ‘thoughtful, fresh and full of insight’ whilst for The Telegraph it ‘met the Glyndebourne gold standard’. The young American Elizabeth DeShong will sing the role of Cenerentola (Angelina) and Chinese baritone Shenyang, Cardiff Singer of the World in 2007, will make his Glyndebourne debut La Cenerentola as Alidoro. A revival of the 2005 Festival production Sung in Italian with English supertitles Supported by The La Cenerentola Syndicate La Cenerentola (Critical Edition edited by A. Zedda) by Gioachino Rossini. Property of Casa Ricordi, Milan (Universal Music Publishing Ricordi Srl). By arrangement with G. Ricordi & Co. (London) Limited.

Purcell’s intoxicating combination of words and music alternates elements of the plot of A Midsummer Night’s Dream with a variety of musical interludes. A magical brew has been concocted by director Jonathan Kent in inventive collaboration with designer Paul Brown. The glass-fronted cases of a 17th-century cabinet of curiosities disgorge the black-winged inhabitants of a fairy world who make it their business to daze and confuse the poor humans who have accidentally strayed into their kingdom. The mixture is quintessentially English – one moment pastoral and elegiac, the next pure end-of-the-pier slapstick. Baroque specialist Laurence Cummings will lead the Orchestra of the Age of Enlightenment from the harpsichord in this revival of a production that enchanted audiences on its first outing in 2009. The Daily Telegraph called it ‘an absolute riot, but executed with taste and style’ while The Observer said that ‘it is hard to imagine a more brilliantly creative approach to the work’. When it was first produced at the Dorset Gardens Theatre in London in 1692, The Fairy Queen featured stage effects that nearly bankrupted the theatre. There were elaborate costumes, swans gliding over lakes, grottoes, woods and 12-foot high fountains. At Glyndebourne there will be dazzling singing and dancing, flamboyant cross-dressing, a flying horse and a warren full of rampant rabbits!

Watch this year's season overview to get an idea of life at Glyndebourne before the Festival with David Pickard. Hear from Director Melly Still on The Cunning Little Vixen, Sir Peter Hall on La Cenerentola and Jonathan Kent on The Fairy Queen. The season overview gives you a preview of the opportunities and events available at the 2012 festival. The Cunning little Vixen - Overture used with kind permission of Chandos Records Ltd - glyndebourne.com/product/cunning-little-vixen-c-rattle Ravel - L'Heure Espagnole - Introduction used with kind permission of Deutsche Grammaphon. - glyndebourne.com/product/lheure-espagnolelenfant-et-les-sortil%C3%A8ges-c-maazel

Presenter Peggy Reynolds explores some of the themes and stories behind Leoš Janáček's The Cunning Little Vixen. With contributions from music writer Gavin Plumley, who identifies a comic strip as the source of the libretto and tells us of the composer's outings to find foxes in the wild. From Julian Johnson - Head of Music at Royal Holloway, University of London - who sets the opera in historical context and helps us pick out the influence of Moravian folk music and speech patterns in Janáček score. And from Melly Still, Director of the 2012 Glyndebourne production of The Cunning Little Vixen, who explores the deeper meanings of this deceptively simple story of human and animal lives running in parallel. (Producer: Mair Bosworth)

An introduction to Glyndebourne's 2011 festival production The Turn of the Screw. Featuring Director Jonathan Kent and Conductor Jakub Hrusa.

Interview with Principles Joanna Songi and Thomas Parfitt discussing The Turn of the Screw.