Wolfgang Amadeus Mozart

Le nozze di Figaro

4 October - 8 December 2012
Tour 2012

The entire action of Mozart’s life-enhancing opera takes place within a single day; a day of madness as the subtitle of the original text describes it. Figaro and Susanna’s determination to marry enrages their master, the Count, reducing him to a state of lustful frustration, disregarding his wife, the Countess, who is left to suff er the miseries of unrequited love. In a breathless circle of plots and counter-plots, the Count pursues Susanna, the young and hormonally volcanic Cherubino pursues anything in a skirt and the scheming pair of Bartolo and Marcellina come close to upsetting Figaro’s plans but are caught in a web of their own devising. 

Conceived by the brilliantly scurrilous writer Beaumarchais in 1784 as a barbed satire on the aristocracy, the original play was repeatedly banned from performance in the years leading up to the French Revolution. It was considered to be dangerously incendiary and to Mozart and his librettist Da Ponte it proved irresistible, inspiring them to create an opera of unrivalled beauty and acutely perceptive characterisation. 

Transferring direct from the 2012 Festival, this is a new production from celebrated director Michael Grandage, returning to Glyndebourne following his critically acclaimed Billy Budd (2010).

“...a fine show, and well worth catching” says the Guardian.

“…pure delight” says the Daily Express.

A new production from the 2012 Festival

Sung in Italian with English supertitles

Listen to Le nozze di Figaro podcast (20 mins)

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. (Producer: Mair Bosworth)

Download this podcast (right click and select 'Save file as')

Act I

While his fiancée Susanna tries on a wedding bonnet, Figaro measures a room which she is dismayed to discover has been offered them by the Count. She points out its dangerous proximity should he seek her out during her husband’s absence; his offer of a dowry is in exchange for his ancient feudal rights. Figaro swears to frustrate him. 

As he leaves, his old enemy Bartolo and Bartolo’s former servant Marcellina enter, the latter with a marriage contract between her and Figaro to which they intend to hold him. Susanna’s entrance gives Marcellina the opportunity for some spiteful muttering. The two square up for a verbal combat. 

The page Cherubino turns up, miserable that he is to be sent away because the Count found him dallying with the gardener’s daughter, Barbarina. Seeing the Count approach, he hides behind a chair. 

The Count presses his proposal upon Susanna. Her gossipy singing teacher Basilio’s arrival forces him to hide behind the chair while Cherubino moves into it and is hidden beneath Susanna’s dress. Basilio’s mention of Cherubino gazing longingly at the Countess draws the Count out of hiding; demonstrating how he discovered Cherubino in Barbarina’s room, he finds him yet again! 

He is interrupted by the arrival of Figaro and a group of peasants praising him for abolishing the droit de seigneur. The Count sends Cherubino off to join his regiment.

 

Act II

The Countess laments her husband’s neglect. Susanna explains his financial offer. Figaro intends to send a cross-dressed Cherubino to meet the Count instead. Arriving in poor spirits, the page is prepared by Susanna for his meeting with the Count; she leaves to fetch her dress. As the Countess teases Cherubino about his crush on her, the Count’s arrival causes him to hide in the closet. Cherubino knocks something over; the Countess says it is Susanna who, unobserved, returns and hides behind a screen.

The Count demands that Susanna come out. He goes to fetch tools to open the door -- taking the Countess with him. Susanna releases Cherubino who escapes through the window while she enters the closet. Returning with her husband, the Countess confesses that Cherubino is inside. Both are nonplussed when Susanna emerges.

Figaro arrives. The gardener Antonio bursts in complaining about someone jumping from the window; Figaro claims it was him. The Count is relieved to see Bartolo, Marcellina and Basilio enter demanding that Figaro marry Marcellina or repay his debt. All ends in confusion.

 

Act III

In the hall laid out for festivities, the Count takes the opportunity to renew his proposal to Susanna. She appears to agree, until the Count overhears her telling Figaro that they have won their case. 

Alone, the Countess ponders her unhappy marriage. Meanwhile the court case to decide on Marcellina’s contract has been resolved in her favour. Figaro plays one last card – stolen as a baby from a respectable family, he requires his parents’ consent. In his description of his history and birthmark, Marcellina recognises Figaro as her long-lost son; Bartolo is his father. The family is reunited and Susanna and Marcellina reconciled.

Susanna and the Countess write to the Count inviting him to an assignation; a pin must be returned as acknowledgement. A group of peasant girls arrives offering flowers to the Countess; among them she recognises Cherubino; unfortunately, so does the Count. Slyly spilling the beans on the Count’s relationship with her, Barbarina’s plea for Cherubino to marry her forces him to agree. The wedding celebrations begin. Surreptitiously, Susanna passes the letter to the Count.

 

Act IV

That night in the garden, Barbarina laments losing the pin she was supposed to return to Susanna. Figaro and Marcellina realise its significance. Figaro prepares to interrupt the meeting.  Marcellina decides to forewarn Susanna. 

Barbarina enters and hides, soon followed by Figaro and his witnesses Bartolo and Basilio.  Disguised in each other’s clothes, Susanna and the Countess enter to ensnare the Count. 

Cherubino turns up, seeking Barbarina, but seeing (as he thinks) Susanna, he takes the opportunity to flirt with her. He is violently replaced by the Count before ‘Susanna’ makes her excuses. All is mayhem as the disguises confuse both the Count and (initially) Figaro, who is apparently caught trying to seduce the Countess.

The Count calls for arms. He refuses to forgive ‘the Countess’ for her infidelity until the real Countess enters and dumbfounds him. Begging forgiveness, he is pardoned.

Words: George Hall

Creative team

Conductor Jonathan Cohen
Ilyich Rivas (25 Oct; 3, 8, 17 Nov; 1 Dec)
Director Michael Grandage
Revival Director Ian Rutherford
Designer Christopher Oram
Lighting Designer Paule Constable
Movement Director Ben Wright
Revival Movement Director Kieran Sheehan

Cast

Figaro Guido Loconsolo
Derek Welton (25 Oct; 3, 8, 17 Nov; 1 Dec)
Susanna Joélle Harvey (4 - 23, 27 - 30 Oct; 1, 6, 10, 13, 15 Nov)
Anna Devin (25 Oct; 3, 8, 20, 24, 27, 29 Nov; 5, 8 Dec) 
Ellie Laugharne (17 Nov; 1 Dec)
Countess Layla Claire
Sarah-Jane Brandon (25 Oct; 3, 8, 17 Nov; 1 Dec)
Count John Moore
Dawid Kimberg (25 Oct; 3, 8, 17 Nov; 1 Dec)
Bartolo Andrew Slater
Marcellina Jean Rigby
Cherubino Kathryn Rudge
Don Basilio Daniel Norman
Antonio Sion Goronwy
Barbarina Ellie Laugharne
Keri Fuge (17 Nov; 1 Dec)

The Glyndebourne Tour Orchestra
The Glyndebourne Chorus

Guido Loconsolo as Figaro and Joélle Harvey as Susanna in the 2012 Tour production of Le nozze di Figaro. Photo: Bill Cooper
Kathryn Rudge as Cherubino in the 2012 Tour production of Le nozze di Figaro. Photo: Bill Cooper
Daniel Norman as Don Basilio, John Moore as Count Almaviva and Joélle Harvey as Susanna, Tour 2012.  Photo: Bill Cooper
Jean Rigby as Marcellina in the 2012 Tour production of Le nozze di Figaro. Photo: Bill Cooper
Joélle Harvey as Susanna in the 2012 Tour production of Le nozze di Figaro. Photo: Bill Cooper
John Moore as Count Almaviva in the 2012 Tour production of Le nozze di Figaro. Photo: Bill Cooper
John Moore as Count Almaviva and Joélle Harvey as Susanna in the 2012 Tour production of Le nozze di Figaro. Photo: Bill Cooper
Joélle Harvey, Guido Loconsolo, Andrew Slater and Jean Rigby. 2012 Tour production of Le nozze di Figaro. Photo: Bill Cooper
Layla Claire as Countess Almaviva and John Moore as Count Almaviva in the 2012 Tour production. Photo: Bill Cooper
Joélle Harvey as Susanna and Guido Loconsolo as Figaro in the 2012 Tour production of Le nozze di Figaro. Photo: Bill Cooper
Charlotte Beament as First Bridesmaid in the 2012 Tour production of Le nozze di Figaro. Photo: Bill Cooper
Layla Claire as Countess Almaviva in the 2012 Tour production. Photo: Bill Cooper
Guido Loconsolo as Figaro and Jean Rigby as Marcellina in the 2012 Tour production of Le nozze di Figaro. Photo: Bill Cooper
Ellie Laughharne as Barbarina and Kathryn Rudge as Cherubino in the Tour 2012 Le nozze di Figaro. Photo: Bill Cooper
Guido Loconsolo as Figaro in the 2012 Tour production of Le nozze di Figaro. Photo: Bill Cooper

Comments

We have visited Glyndebourne regularly since the mid eighties and, not being opera buffs, it is the Glyndebourne experience that brings us back. Some shows we have liked and some we haven't but this one, "Figaro", blew us away, quite the best evening in Sussex ever ! Still got some quibbles though.
We couldn't quite see the point of the updating of the costumes, they didn't seem to know if they were sixties, seventies or country bumpkin. Biggest moan : The sets, awful.
Far too fussy and dull, very difficult to distinguish the singers against the pseudo Islamic designs. Also, if false perspective is to be used it must follow throughout - otherwise it is distracting (eg the set with the two cane chairs has a false perspective on the cornice and square door frames, the top of the lintol should pay lip service to the cornice). Gone on too long - fantastic evening and I would go again even if Joelle Harvey was singing on her own !

Wrinkly tights for Shakespeare, powdered wigs for Mozart - for some, the law of the Medes and Persians that altereth not. It is, surely, the mark of works of true genius that, being timeless, they can be styled in any period and any way and thus simply bring fresh insights and possibilities into their immortal stories. Having worked as a tutor for an Italian aristocratic family in the sixties, I found the portrayal of the Count,totally credible and much more enjoyable than the grim nasties of many recent productions. The pain of the Countess and the mixture of servility and robust cynicism of the servants were again spot on. We loved the whole thing - the singing, the orchestral playing, the clarity of the story telling AND the Seventies setting , even if the marvelous set wandered a little from Parador to Generalife... and the less than expert renderings of Twist and Locomotion brought back happy memories of the dinner dances of yesteryear.TWO stunning evenings of opera in a single week - we are overwhelmed!

I was disappointed by this production. Transferring the action to the 1960s added nothing to the dramatic impact of the opera. In fact, it detracted from it. Much of the impetus in the 18th century drama relies on the fact that it matters who is in any particular room at one time, be it the Countessa's or Susana's. However, this seems irrelevant in the 1960s. So we are faced with a dichotomy: 18th century mores of behaviour in juxtaposition to the 'swinging' 1960s.

Instead of being funny, the comic characters of Bartolo and Basilio appeared plain silly in the 1960s. Trying to twist to Mozart's fandango after the marriage ceremony was rediculous.

By the way, the overture was too fast! The woodwind had barely time to fit in some of their phrases.

An excellent production in which Layla Claire's role as the Countess Almaviva particularly shone

Susanna was just wonderful - not only can she sing but her acting and facial expressions were excellent. The others were also very good and I had a most enjoyable and fun evening. In my opinion perhaps one of the best nights for the Touring Company. Thank you.

An excellent production, well sung,acted and staged. One minor whinge, however - an interval of only 20 minutes was too short. Stuck in the middle of a very long row (BB) with slow movers either end it took us almost 10 minutes to reach the tea/coffee area only to be confronted with enormous queues and we had to give up, remaining thirsty for the whole of the second half! A half hour interval in a sell-out production of this length would have been more appropriate.

Let me stand up for the defence of a truly brilliant updating. I sympathise with messrs Hodgkinson, Harries and others about losing some history, but we gained so much more. In these days where social heirarchies are less important than financial and "celebrity" heirarchy, where people of markedly different status are superficially quite matey with eachother, where scandals at the BBC underline the pervasiveness of inappropriate behaviour and the subtle power exercised by some, I thought this production captured the zeitgeist of the '70s perfectly. The Count's sinister hypocrisy and bullying was perfect Saville. I've seen many Figaros and this was easily the most powerful and most amusing. Well done!

Marriage of Figaro thoroughly enjoyed by sisters, Brother-in-law and us. As locals it is a wonderful local venue. Loved La Cenerentola which I saw in the summer with a friend from America. Many thanks.

My wife and came away from the new Figaro with mixed feelings. We very much enjoyed the performances of the cast of young singers, especially Joelle Harvey's Susannah, but failed to see the point of an updating which involved not much more than costumes from the 1960s dressing-up box, doing the twist, and some gratuitous "modern" translations to the surtitles. Figaro is a very witty opera and doesn't benefit from treating it as a subject for heavy-handed humour . It is also worth reminding people that Mozart wrote Figaro during, and about, two of the most tumultuous decades of social upheaval in European history. This production skated over the historical significance of that, apparently in exchange for bringing greater clarity to the action, and a few cheap laughs, largely for the benefit of first-time audiences. This tendency has become a worrying part of Glyndebourne's recent approach to repertoire because it means that much of the "magic" inherent in opera has been lost, and the risks of opera being "sent-up", rather than properly appreciated as an art-form, have increased. We'd vote for more "magic" and less clarity any day, and we'd also bet that the first-time audiences would enjoy that too.

BRILLIANT !!!!!! joelle harvey, fantastic x

Loved the singing the orchestra and the wonderful sets and lighting. The production had massive energy and the fun was infectious. The 1960s costumes did not work for me and detracted from the political and historical context which is so crucial to understanding the humour and the plot. The 20 minute interval was much too short possibly because the bar service was so slow. It was dark and raining when we left and the rather restrained lighting made the walk back to the car rather hazardous

Le Nozze di Figaro is such a great opera and Glyndebourne must be the best theatre in the world in which to hear and see it. The orchestral layers are so clear here, it dazzles. I absolutely loved it. Lovely conducting and playing with no eccentric tempi - they don't work in this opera, unlike Cosi. The musical impetus never sagged: it's 3 hours of unfailing inspiration. You hear new things each time you see it live. Here, for example, I was struck by how much the Count's aria moves the tone momentarily into Don Giovanni dramatic territory. A comic opera of largely upbeat music based around a plot full of lies, deceit, anger, disillusion which builds to a final and convincing reconciliation and total joy. Loved the Act IV cuts - they stop the plot for too long when the ending beckons! I'd have deleted Figaro's last recitative/aria too.

I'm afraid I found the production unimaginative. 60s hippies in Granada - (under Franco!?) - apart from Susanna who remained a tea lounge waitress throughout, and I think the Countess. I didn't find one moment where the intervention of the director enhanced or reflected on character, plot, music or libretto. There was nothing I hadn't seen before. It was just too ordinary. Blocking was traditional dull. People just stood around too much. If they did move, it was almost invariably to do an unconvincing twist. While the music built marvellously towards the end, the singers largely just stood around waiting for cues. Couples didn't bond. Musically, the final tutti was elevated and elevating; directorally (if that's a word), it was dying on its feet. I'm sure Peter Hall at Glyndebourne had the singers walking away, backs to the audience, during the quiet bit before the last tutti before having them turn round and rush at the audience for Corriam tutti. Joyous. Missing here. Oh well. It's only one person's reaction and it didn't spoil a wonderful day.

The dancing was cringingly awful. I'm sure a choreographer could have come up with something more suitable than the twist and hitch-hiker.

Loved the singing and music.

Didn't love the mud.

Definitely the most enjoyable opera I've been to and never a dull moment - perhaps because the cast seemed to be enjoying it too. At times it displayed all the energy of a West End musical, yet the glorious singing still dominated. The principals were all excellent and for me Joelle Harvey was the perfect Susannah. One note for the Director though; more work is needed on Antonio's drunkenness. I hope this production enjoys the success it deserves on tour.
END

An excellent production in which all the singers were superb.
We enjoyed tea and cake prior to the performance and we had a lovely dinner in the nether wallop after the opera. welle worth driving 250 miles from Barnsley fot Le Nozze and Rusalka.
This was our first visit and we were entranced. What a beautiful place to see opera.

One of the most enjoyable performances this year. The singing was of high quality (the countess outstanding), and the set a pleasure, very enticing.
Not forgetting Mozart and his beautiful tunes, in this production everything came together; we sang all the way home , having had a memorably good time.

Really enjoyed Le nozze di Figaro. The perfomance was very slick and the singing was wonderful.I wish I could sing like that!! Also enjoyed the tea and cake. A very enjoyable day.Thank you.

A most enjoyable Figaro despite initial concerns as to the 60s "flower power" theme which surprisingly worked quite well .
I rather think that the superb Moorish sets, particularly the garden in the last act, helped enormously.

The singing and orchestra were great, not least from Susannah and the Countess but, such was the egalitarian feel of the production, its difficult to appreciate that Beaumarchais' play caused such controversy. Like the previous reviewer, I thought much of the language in the surtitles was vulgar - surely more elegant modern English could be used.

This seemed a pointless afternoon for us. At this time of living under right wing rule by a posh elite, the downgrading of Mozart to a classless romp maybe ok for the Daily Mail but surely not for the Arts Council. Sure the band played well but we can have CD's for that.

This revival was easily as fine as the Festival original, which I saw at the Ritzy in Brixton. Figaro, Susanna,the Count, Bartolo and Marcellina were well superior vocally. Countess also a great singer, but perhaps a size too big for this role now (I sense a great Donna Anna and Elettra). Extremely perceptive casting and meticulous direction. To get all this for your asking prices with free bus to Lewes is bounty indeed. Sorry about the sports car, but I suppose it's not very practical for touring - hope the DVD will feature it.

Rusalka last night was also terrific.

Both much improved by the shortened intervals. I so prefer the Tour to the Summer version. Picnics and promenading are fine, but couldn't they happen before or after a performance?

Exquisite singing and music were well up to Glyndebourne's usual high standard, however costumes were at best horrible-sorry!, and the sets sets looked shabby and cheap, but perhaps that was deliberate? All in all a good evening, however the bar prices are silly, and if you are going to charge over £5 for a glass of plonk, change your supplier.

O dear, after the glowing reviews above I fear that my adverse comments, particularly when I admit to having loved Figaro for over 60 years marks me down as a fuddy-daddy, out of touch with modern mores.
Nevertheless, here goes.
My main critisim is that the Production did not demonstrate the tension between the classes, which is the main element in the opera. The Count and Figaro looked and behaved as though they were equals who had fallen out. I could go on about the"larking about".
I really cannot see the point of wrenching the piece out of it's period. When played"straight" it provides a window into the manners and morals of the eighteenth century.
The vulgarity of some the surtitles grated as I suspect they would have Mozart ( alright, I know he had an earthy sense of humour) and da Ponte.
In all, an amusing romp, but not true to the spirit of this marvellous opera.
I will add that the singing was good.

A fantastic evening - Superlative set, singing, acting and orchestra. My second Figaro and this production is the best. I had 'first timers' with us who were absolutely amazed at the whole 'Glyndbourne' experience and, like myself, can't wait for their next visit.

Congratulations to all involved both on stage and backstage.

I was around when the twist was in vogue but I do not recall feudal rights being exercised. However forced expatriation to Australia from the UK was still in fashion so maybe that was before civilization. Updating issues apart I generally enjoyed the singing more than I did in the Summer run. Joelle Harvey as Susanna was worth the cost of the ticket alone. Please sign her up for something else.

We invited our daughter and her husband to this performance, which we all enjoyed immensely. From an historical, political and social perspective, it provided a fascinating insight into the mores of pre-revolution France. Add to that, the combination of orchestral and operatic excellence, acting exuberance and bubbling humour and you have an absolute winner. Thank you so much for giving us one of the most enjoyable and memorable experiences of the year.

We had a most enjoyable evening on the 7th October to hear The Marriage of Figaro.
Loved the lightness of the performance and the slight comical atmosphere and with the superb supertitles which were so appropriate and made us laugh.To add to that the wonderful music of Mozart, and the splendid performance of the Orchestra.

Thank-you for yet another superb visit.

Absolutely brilliant performance; wonderful singing, superb acting and very witty, some parts were absolutely hilarious. I have seen this opera in period costume and now in this modern dress and I prefer this production. I have not enjoyed an opera as much as this for a long time. Well done

Thoroughly enjoyed the excellent performace. Music, singing acting and staging all superb and couldn't be faulted.
[Not quite so sure about the sixties costumes though?!]
Cannot wait to see Rusalka and The Yellow Sofa!!

I had a wonderful afternoon at the Marriage of Figaro on Sunday 07/10/12. The singing was excellent as were the stage designs and costumes. The cast were not afraid to exploit moments of comedy and that was done with real wit that made me laugh out loud. I thought the Twist was slightly overdone, but overall a fantastic performance.

I took an opera 'virgin' from Sheffield to see Le Nozze di Figaro last night who was quite prepared to be bored with the whole thing ! Well, he hasn't stopped talking about how he thoroughly enjoyed the whole Glyndebourne 'experience' and didn't want the evening to end. He will definitely be back for more next year !

Wonderful evening. Cast, conductor and orchestra were superb, performance sparkled! Great sense of fun. Staging worked briilliantly. The sun shone that evening and so did Glyndebourne, well done everyone!

Wonderful performance,superb cast with magic voices and the acting/comedy perfect with the enthusiasm of youth. One of the best performances I've ever seen. Am already looking forward to next year!

Personally, our party really loved last year's Rinaldo. It was cleverly contemporary. We hope to enjoy Figaro as much tomorrow.

A triumph! We went to the opening night and had a very memorable evening. The whole production was full of life and fun. The story is crazy anyway, but this was the first production I've seen that captured the madcap, risque, farcical spirit of the work. It just cheers you up!

I'm sure Wolfgang would have approved!

The singing was simply wonderful! I thought the chemistry that Joelle Harvey and Guido Loconsolo created was riveting. They both created their roles with authority and confidence that was entirely credible and appropriate. The Layla Claire was great as the countess and managed the penultimate scene where she is struggling with her bridal gown whilst crawling alongside the raised pond in a way that was convincing and amusing. I was disappointed in the way the role of the Count was directed. John Moore has a great voice, but it seemed that as Count he lacked any gravitas and was more like a sex crazed pop star than a man with responsibilities and status who was worried about his honour.
I didn't think the lewd jestures were necessary, even though the 60's were supposed to be a time of free love etc. few adults behaved in the way that Bartolo and the Count were portrayed.
The scenary was fantastic, particularly in the second half of the production. Although, in the first scene portrayed as the room to be accupied by Figaro and Susannah after their marriage, also seemed to be a corridor for the whole of the staff, rather than an annexe to the Count's room.
Overall a very good evening, which with the unnecessary sexual gestures removed would be an excellent production.

Some fine arias from all the leading women - Cherubino, Countess and Susanna, but the conductor did not in the end elicit from the orchestra or convey to the house the sheer energy, the pain, the joy and the fun that Mozart incomparably left for us.

Excellent stage sets - a real timeless sense of Seville. But the 1970s costumes, dancing - and surtitles? - did not seem to me to work, mainly because the social relationships embodied by them did not fit the politics of the story.

As with Fairy Queen in the Summer Festival, too much playing to the Gallery? I know the Touring season is meant to be reaching out to a wider opera audience, but is this really the way to do it?

Since I am featured on your web site as somewhere to stsay and just 10 minutes away, I am entertained by guests who enjoy the opera, so for me a true delight,the music was beautiful, lovely staff and comfy seats,a lovely evening and lets hope next year is as succesful as this has been. Thank you to everyone

We saw this production when it was new during the summer and I am pleased to say that the quality of singing and playing is as good for the tour version as it was for the summer festival. I slightly missed the summer's impressive revolving set (& car), but felt that an excellent effort had been made to reduce the origional concept to a touring version.

Overall, exceptionally good and highly recommended.

Great production - the Sixties theme worked beautifully, especially with the two lead men, the long hair absolutely right. I was really disappointed than Cherubino was cheated of her justified applause by the Countess breaking in too quickly while we were all gearing up to give her superb applause, what a great debut!
I was also disappointed at having been sent an e-mail in the last few days containing details of the Austin Healey car to be used in the production to find that there was no car!!! Why send out information that is clearly only relevant to the Summer season.
Still a great evening though.

After the disaster of Rinaldo last year it was with trepidation that I approached Marriage of Figaro. I saw the show last night Thursday 4th October. The sets, lighting and the orchestra music making were all excellent. Some purists might not like the translation as it is modern vernacular and relaxed in tone but I didn't care as I spent my time listening and looking what was going on the stage. I liked the mixed era costumes which worked well the stage set. The singers 'sang for their supper'to a high standard. In all Britain, Glyndebourne at it's best, a good evenings entertainment and thoroughly enjoyable.

A wonderful performance. We all enjoyed the evening very much.

A wonderful, original and lively production. We enjoyed it enormously. Apart from the joyful acting and music the sets werea joy to behold. Well done everyone!

Really enjoyed the production but disappointed with the tea facilities having enjoyed such excellent teas in the past. We didn't like the self service, missed the excellent tea plates and charming service from the staff. Previously the tea room has been hugely popular with people prepared to share tables, but this year the room was half empty and lacking atmosphere.

A very enjoyable production, with excellent singing, acting and setting. My seat in a box gave a slightly restricted, but adequate view, and good acoustics. I appreciated the freedom of the dress code and the relatively modest seat prices. I got a bit lost in the manoevres of the last act, but this was more Mozart's fault than yours.
On the drive home, the sign for the turn towards the A26 in Ringmer was unlit, on this very dark night, and as a consequence I got hopelessly lost and the journey was miles longer than necessary. Not your fault, of course, but I shall complain to Ringmer Town Council.
Otherwise, all 5-star!

Quite exceptional.The curtain finally came down on an extraordinary first night performance by the cast and orchestra. Talk to anyone who was there. No tickets left? Catch them up somewhere else on the tour.

Firstly the staff were incredibly pleasant and helpful after we arrived late due to traffic diversion.

The production was a triumph brilliantly staged, played and sung. The sets were excellent Susannah managed her wedding dress whilst hiding and crawling woh great skill! Mozart is perfect for the disco slant.A truly comic opera.

I took my two great nieces, aged 15 and 13 tonight. They are both on music scholarships and neither had ever been to an opera before, though one had sung some of the arias from Figaro at school. They were completely enraptured.
I've seen Figaro many times, but this performance tonight was the very best. Not a dud part, and a riotously glorious production. I was especially pleased by the detailed sur-titles, which enabled us all to share many more of the jokes than I've ever before understood.
Only one little quibble: I'd have liked to be able to offer thema slightly more child-friendly supper beforehand. We had the bistro meal, which was OK, but it would have been nice to have been given just a little choice ofmenu.

But that is really only a very small thing. I'd like you to pass on my congratulations to the entire cast. They gave two happy young girls one of the best nights of their lives.

Superb performance. Beautiful music, excellent acting and very funny. Loved the staging and costumes.

Don't mind the ticket costs but would just say that the bar prices are ridiculous. £6.50 for a modest glass of wine is a rip off.

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