23rd May 2011
Glyndebourne is pleased to announce that a limited number of Associate Memberships are now available. For a one off joining fee of £500, plus an annual subscription (currently £75), Associate Members secure priority booking for the Festival (after the Festival Society Members’ ticket ballot) and a position on the waiting list for the Festival Society itself.
16th May 2011
Glyndebourne announces new partnerships with the Guardian, Science Museum and Picturehouse to increase access to its work, reaching a potential audience of millions This summer, Glyndebourne will further develop its digital programme, breaking new ground in the transmission of opera both online and in cinemas and offering increased access to its work to new audiences worldwide. David Pickard, General Director of Glyndebourne said:
12th May 2011
Royal Academician and Turner Prize winner, Grayson Perry has designed the programme book cover for this year’s Festival. The Glyndebourne Festival Programme book has been published annually since 1952, with beautifully illustrated articles to complement each season’s repertoire. Each year an eminent artist has been commissioned to design the cover and recent artists include including Sir Hugh Casson, Peter Doig, Erté, Mary Fedden, David Hockney, Sir Howard Hodgkin, Anish Kapoor, Sir Osbert Lancaster, Oliver Messel Chris Ofili and Maurice Sendak.
11th May 2011
Kate Royal has withdrawn from the role of The Governess in the Glyndebourne Festival Opera 2011 production of Britten’s The Turn of the Screw as she is expecting a baby. We are pleased to announce that Miah Persson will sing The Governess.   Miah Persson Soprano Previously for Glyndebourne: Fiordiligi/Così fan tutte, Anne Trulove/The Rake’s Progress (GFO).
11th May 2011
What does it take to be a musical director of a leading opera house? Glyndebourne's Vladimir Jurowski, ENO's Ed Gardner and the Royal Opera House's Tony Pappano met last month for a lively and illuminating discussion. Watch this fascinating discussion from the Guardian website:
26th April 2011
Glyndebourne is giving audiences another chance to see the acclaimed community production of Knight Crew, to celebrate European Opera Days. From Saturday 7 May until the end of the month, the full opera will be streamed online in partnership with Plushmusic. Find links to the streaming on the Glyndebourne website www.glyndebourne.com from 7 May. Glyndebourne’s digital celebration of European Opera Days 2011 rings true to the theme of this year’s event, which focuses on opera for young audiences.
13th April 2011
Following the success of Knight Crew in 2010, we have now commissioned Orlando Gough (composer), Stephen Plaice (librettist) and Susannah Waters (director) to devise and create our next large-scale community opera, Imago, an opera which explores ageing in a digital world. Imago will have its world premiere at Glyndebourne in March 2013, and will include up to 70 people aged 9-90 from our local community.
12th April 2011
Jonathan Kent's acclaimed production of The Fairy Queen is a fascinating carnival of music, theatre and dance. Purcell's The Fairy Queen incorporates elements of A Midsummer Night's Dream and in addition to Shakespeare's characters, conjures up a wild array of gods and goddesses, nymphs and sprites, fairies and shepherds, dancing swans and figures of dream. Purcell's score takes the form of a series of fantastical masques and contains the composer's finest, wittiest and most inventive score.
11th April 2011
This year’s RPS Music Award for Education nominees include Glyndebourne’s Knight Crew, which placed young people and the community centre stage in four performances of a new commission from Glyndebourne’s first composer-in-residence, Julian Philips (and featured in a BBC documentary). 
1st April 2011
It is with great sadness that Glyndebourne has learnt of the death of opera singer Robert Tear at the age of 72. The Welsh tenor sang at Glyndebourne on a number of occasions, making an unforgettable debut as Aschenbach in the 1989 Glyndebourne On Tour production of Death in Venice. He repeated the role in the 1992 Festival. The Sunday Times described it as ‘a splendid performance’, while The Independent noted: ‘at its centre is Robert Tear’s Aschenbach, his experience and artistry evident in every thoughtful inflection.’

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