Maurice Ravel

Ravel Double Bill

9 November - 14 November
Screenings from the 2012 Festival

View Australian Cinema listings 9 - 14 November

L’heure espagnole and L’enfant et les sortilèges

"This is Glyndebourne operating once again at world-class level, and is by some distance the most captivating staging of this magical opera I have seen. If there are tickets left for the remaining performances this week and next, grab them fast."

Hugh Canning, Sunday Times August 12

Ravel’s two one-act operas will reunite director Laurent Pelly and conductor Kazushi Ono, who made their Glyndebourne debuts in 2008 with Humperdinck’s Hänsel und Gretel. While L’enfant et les sortilèges shares with that opera a child’s-eye view of a sometimes threatening world, L’heure espagnole is a thoroughly adult confection.

The play on which Ravel based his opéra espagnole is a clever conceit set in the house of a clockmaker. It compares the wound-up mechanism of a clock with the erotic compulsions driving flesh-and-blood humans. Concepción devises a complex sequence of moves and counter-moves to conceal the presence of her various admirers. While directing these activities she becomes increasingly impressed by the physical attributes of her unwitting accomplice, Ramiro.

Stéphanie d’Oustrac, who last sang at Glyndebourne as Sesto in Giulio Cesare, will sing Concepción, while Canadian baritone Elliot Madore will make his UK and Glyndebourne debut as Ramiro.

In L’enfant et les sortilèges, inanimate objects come to life when a child, fed up with doing his homework, throws a temper tantrum. All the things that have been damaged by him start to voice their objections: a broken cup and teapot, a shepherd and shepherdess from the wallpaper he ripped, a battered armchair and the princess from the torn pages of a story book.

When the sums from his homework and the animals and plants in the garden turn on the child as well, Ravel’s music reaches a fierce climax. Only the child’s kindness to an injured squirrel saves him and brings the opera to a touchingly poignant conclusion.

Rated five stars by the Daily Mail.

Rated four stars by the Guardian.

 “...a sparkling evening,” says The Independent.

“...an evening of genuine enchantment,” says The Stage.

Read an interview with director Laurent Pelly on Opera Today.

A new production for the 2012 Festival

Supported by Michael and Dorothy Hintze

Sung in French with English supertitles

This production of L’heure espagnole was originally created for Opéra National de Paris

The Glyndebourne Festival 2012 Ravel Double Bill is a co-production with the Saito Kinen Festival

L’heure espagnole / L’enfant et les sortilèges. Property of Editions Durand Paris (Universal Music Publishing Classical). By arrangement with G. Ricordi & Co (London) Limited.

Listen to the Ravel Double Bill podcast (21 mins)

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.

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

L’heure espagnole and L’enfant et les sortilèges

Maurice Ravel

The performance is captured live

This performance can be seen 9 November - 14 November

We want to share our work with as many people as possible. Broadcasts have been part of the Glyndebourne story since the 1930s, and in 2007 we were the first opera house in the UK to screen performances into cinemas.

Please note that intervals for all events are 30 minutes. For the many people now enjoying opera at the cinema, 30 minutes is a more realistic length of time to take a break. This means that we start our cinema transmissions a little after curtain-up at Glyndebourne and catch up for the second half.

Ticket prices:
£20 (full price) / £15 (concessions) / £13 members (Picturehouse venues only, prices may vary otherwise)

Click on the following website www.picturehouses.co.uk for more details of the season, or you can either telephone or visit your local cinema.

Picture House

L’heure espagnole 

Clocks of various shapes and sizes stand around Torquemada’s shop, striking pleasantly. The muleteer Ramiro comes in to have his watch mended. Torquemada’s wife Concepcion enters to remind her husband it is time for him to regulate the municipal clocks. She complains that he has not placed one of the two grandfather clocks in her room, as requested. It’s too heavy to move, he responds. He asks Ramiro to await his return while he goes about his business.

Concepcion and Ramiro stand looking at one other. She hints about having the clock carried to her room. Nothing easier, says the muscular muleteer. As he takes it upstairs, Gonzalve is heard arriving.

Concepcion’s lover is a poet who waxes lyrical as they prepare to fling themselves into each other’s arms. On his reappearance she thanks Ramiro. To get rid of him again, she asks him to move the other clock upstairs, bringing the first one back. While he goes back upstairs to retrieve the first clock, Concepcion shoves Gonzalve into the second. 

Suddenly the banker Don Inigo turns up, enquiring after Concepcion’s husband. It was he, he admits, who appointed Torquemada to the job of looking after the town’s clocks to get him out of the way. He tries to take Concepcion’s hand. The return of Ramiro with clock number 1 saves her. Ramiro picks up the second clock (containing Gonzalve) without difficulty. Concepcion is impressed and follows him upstairs. 

Left alone, Inigo decides he would improve his image as a playful lover by hiding in the remaining clock. As he does so Ramiro reappears, charged by Concepcion with minding the shop. Suddenly she returns, complaining at the upstairs clock’s noisy innards. Would Ramiro kindly bring it back down? He instantly obliges.

Inigo declares his love to Concepcion. She begins to see his potential. Ramiro returns with the first clock (containing Gonzalve) and offers to take up the second (containing Inigo). Concepcion accepts his suggestion.

Opening the first clock, she tries to dismiss Gonzalve, who is reluctant to leave. She deserts him and he retires into his clock as Ramiro returns. He looks around the shop with admiration; if he were not a muleteer, he would like to be a clockmaker. As Concepcion returns, he divines her unhappiness with the second clock, and goes to retrieve it. 

Left alone, Concepcion expresses dissatisfaction with both her lovers. As Ramiro returns yet again, she appreciates his physical strength. She sends him back to her room – this time without a clock to carry – then follows him.

Inigo and Gonzalve peep out of their hiding places, shutting themselves back in as Torquemada returns. He apologises for keeping them waiting. Noting their interest in the insides of the two clocks, he insists that they buy them. 

Ramiro and Concepcion return and all join in the moral: in the pursuit of love, there comes a moment when it’s the muleteer’s turn.

L’enfant et les sortilèges

A Child is grumbling as he does his homework; he plots naughty deeds. 

His Mother enters to check on him. She is cross that he has done nothing but spatter the carpet with ink; he responds by putting out his tongue. His punishment is dry bread and tea without sugar while he considers his behaviour.

Left alone, the angry Child gives way to naughtiness. He knocks the Teapot and Chinese Cup off the table. He pricks the caged Squirrel with his pen nib. He pulls the Tom Cat’s tail.  He pokes the Fire and kicks the kettle over. He breaks the pendulum of the Grandfather Clock. He tears up his books. He vandalises the painted figures on the wallpaper.  

As he prepares to fling himself into the Armchair, it hobbles away. Now the room comes alive. As the Child watches, the Armchair joins with the Chair, both demanding their freedom from him. The Grandfather Clock complains at the damage done to him. The Teapot and Chinese Cup threaten revenge and dance off. 

Feeling cold, the Child approaches the Fire, who tells him that he warms the good but burns the bad. The Child has offended the household gods that protect him. He begins to feel afraid. 

The wallpaper figures, including the Shepherd and Shepherdess, mourn their destruction. The Child weeps. Out of one of his torn books rises the Princess, complaining that he has wrecked the story she was in; he is too weak to rescue her from her enchanter and she sinks underground. Arithmetic, a little old man, arrives and he and his Numbers bombard the Child with questions.

The Tom Cat, emerging from beneath the Armchair, spits at him and joins with the female Cat in drawing the Child into the garden. A Tree groans at the wound the Child inflicted on him the day before. Feeling pity, the Child lays his cheek against it. The garden begins to teem with life. The Dragonfly searches for his mate, whom the Child regretfully admits he caught and pinned to the wall. The Bat tells him he has killed the mother of his children. The Squirrel warns the Frog against the cage the Child will put him in. He realises that the animals love each other, but not him. He calls for his mother.

The Animals and Trees unite in a desire for revenge. They throw themselves upon him. A Squirrel is injured. The Child binds his paw with a ribbon. The animals notice that he, too, has been hurt. Concerned, they surround and tend him. They call out for his mother. 

As a light goes on in the house, the animals withdraw, praising the Child’s newfound wisdom and kindness. Holding out his arms, the Child calls for his mother. 

George Hall

Creative team

Conductor Kazushi Ono
Director
Laurent Pelly
Set Designers
L’heure espagnole Caroline Ginet and Florence Evrard
L’enfant et les sortilèges Barbara De Limburg
Costume Designer Laurent Pelly
Lighting Designer Joël Adam

L’heure espagnole cast

Ramiro Elliot Madore
Torquemada
François Piolino
Concepción
Stéphanie d'Oustrac
Gonzalve
Alek Shrader
Don Íñigo Gómez
Paul Gay

L’enfant et les sortilèges cast

Child Khatouna Gadelia
Mother/Chinese Cup/Dragonfly Elodie Méchain
Armchair/Tree Paul Gay
Chair/Bat Julie Pasturaud
Grandfather Clock/Tom Cat Elliot Madore
Teapot/Arithmetic/Frog François Piolino
Fire/Princess/Nightingale Kathleen Kim
Shepherd Natalia Brzezinska
Shepherdess Hila Fahima
Cat/Squirrel Stéphanie d’Oustrac
Owl Kirsty Stokes

London Philharmonic Orchestra

The Glyndebourne ChorusL’enfant et les sortilèges

Audio files: 

With kind permission of Deutsche Grammophon

This recording is available to buy on CD from the Glyndebourne Shop

Torquemada (François Piolino) in L’heure espagnole, Festival 2012. Photo: Simon Annand.
Ramiro (Elliot Madore) in L’heure espagnole, Festival 2012. Photo: Simon Annand.
Gonzalve (Alek Shrader) in L’heure espagnole, Festival 2012. Photo: Simon Annand.
Concepción (Stéphanie d'Oustrac) and Torquemada (François Piolino) in L’heure espagnole, Festival 2012. Photo: Simon Annand.
Concepción (Stéphanie d'Oustrac) in L’heure espagnole, Festival 2012. Photo: Simon Annand.
Don Íñigo Gómez (Paul Gay) in L’heure espagnole, Festival 2012. Photo: Simon Annand.
Child (Khatouna Gadelia) in L’enfant et les sortilèges, Festival 2012. Photo: Simon Annand.
Chair (Julie Pasturaud) in L’enfant et les sortilèges, Festival 2012. Photo: Simon Annand.
Grandfather Clock (Elliot Madore) and Child (Khatouna Gadelia) in L’enfant et les sortilèges, Festival 2012. Photo: Simon Annand
Teapot (François Piolino), Child (Khatouna Gadelia) and Chinese Cup (Elodie Méchain), Festival 2012. Photo: Simon Annand.
Child (Khatouna Gadelia) and Fire (Kathleen Kim) in L’enfant et les sortilèges, Festival 2012. Photo: Simon Annand.
Child (Khatouna Gadelia) and wallpaper figures in L’enfant et les sortilèges. Photo: Simon Annand.
Child (Khatouna Gadelia) in L’enfant et les sortilèges, Festival 2012. Photo: Simon Annand.
Frog (François Piolino) in L’enfant et les sortilèges, Festival 2012. Photo: Simon Annand.
Child (Khatouna Gadelia) in L’enfant et les sortilèges, Festival 2012. Photo: Simon Annand.

Comments

Excellent playing and singing, both solo and choral. Really enjoyed seeing L'Enfant, which I've known for decades, together with L'Heure Espagnole, which I didn't know at all well. Cats could have been funnier, though, in L'Enfant, although China teacup and saucer were brilliant. Just hope you won't have such a good lineup next year - we've been four times this year! Sorry to be so late in reviewing - been away since seeing it on 6th August.

Both operas were superbly sung and played. The production of L'Enfant et Les Sortileges was most imaginative and witty,and perfectly matched Ravel's brilliant and subtle setting of Colette's libretto. It deserves to be a classic. However, the comedy in L'Heure Espagnole was too broadly played and reminded me of risque seaside postcards. It did not do full justice to Ravel's music. In addition the stage set was cluttered with too many objects, such as the bull and the car, which served no dramatic purpose and detracted from the action. I preferred the previous Glyndebourne production, which better complemented the music and libretto. An additional enjoyable bonus was the recital by the talented Jerwood artists.

My 39 visit to the Festival, exluding two Prom performances, the first in 1963.

This was a double bill by Ravel. I haven’t seen L’heure espagnole before, but did see L’enfant in the eighties at Covent Garden. It was all very jolly and improper, and re-dated to the seventies (the poet in open-necked shirt and flares), which didn’t matter. It was all well played and sung, and well lit. My only quibble was that the set was overstuffed with junk, including a car and a full-size bull. Little of this had anything to do with the action and was somewhat distracting from a distance in trying to work out what was what. But overall, very jolly.

L’enfant et les sortilèges was Glyndebourne at its best, with brilliant and understandable stage pictures, and the scenery and sets moving effortlessly from picture to picture. The second scene took place in a garden with some brilliantly choreographed trees and a large number of creatures (cat, tree, dragonfly, nightingale, bat, squirrel, frog, owl) explaining the boy’s faults. The two cats were reminiscent of Rossini’s cat duet (a friend said the thing was full of musical references). Overall a delightful and non-intellectually challenging evening, all beautifully done.

I was lucky enough to go to three performances so heard both casts. I have been a Glyndebourne regular for a quarter of a century and have seen some wonderful productions. But excellent as L'Heure was it was L'Enfant which had me struggling to find adequate superlatives - and failing. Encore!!

A wonderful evening. Two superb productions, with brilliant sets, beautiful singing and playing and fine acting. Our French guests loved it, as did we,and we hope that you will be putting it on again in the near future. You even managed to lay on warm sunshine for the picnic! Altogether a great climax to a marvellous season of opera. A big thank you to all involved, including the gardeners, the volunteers and the helful and efficient box office staff.

I found a great deal to enjoy in both productions, particularly L'Heure Espagnole. I found the ending of l'Enfant too sickly sentimental for my taste, but that's not your fault! I was surprised however that the production of l'Heure was an only slightly rehashed version of the production conducted by Seji Ozawa which I saw on television some years ago. I don't recall being told this when I booked for the operas, and of course the live experience is very much more than television. I'm not aware of Glyndebourne's having previously used an imported co-production (as opposed to a revival), and have nothing against that in principle. But it would have been nice to have been told.

Both operas were superbly well sung and acted, with wonderfully playing from the orchestra. The productions and their sets and costumes were in very different styles and both completmented the individual operas very well.

The perspective effects for 'L'Enfact' were particularly impressive and I found this opera to be especially moving.

I can only guess at the amount of effort and resources needed to produce work of this high standard. It was simply wonderful.

We are already looking forward to the GTO season in October.

we enjoyed both (and the Yellow Sofa as well) but did one of the surtitles for L'heure say "armour" rather than "amour"?

It seems superfluous for yet another rave message but the evening really was stupendous. I sat quite close to the stage in one of the single foyer circle seats and was very glad I did as I was able to look into the orchestra pit and marvel at the wonderful sonorities the LPO were producing. I was overwhelmed by the glorious harmonic language and orchestration of l'Heure Espagnol. The sultry Spanish warmth of the last five minutes or so was pure heaven and it was a rare treat to experience such orchestral perfection. Having read a less than enthusiastic review I was not expecting a great performance of l'Heure but my misgivings were most emphatically not confirmed. All the parts were sung strongly and with appropriate character and I thought the production was true to the opera. Yes, it is bawdy but one has to take it in the spirit in which it was intended.

L'Enfant et les Sortileges was simply stunning. Not since Peter Hall's Midsummer Night's Dream have I been so transported into a world of fantasy. From the very beginning the eye was fascinated and beguiled by numerous stage "coups" and perfect realisations of Ravel's demands. Favourites of mine were the torn wallpaper coming to life and the glow-worms. And of course the naughty tea pot and his spout was very funny and not the slightest bit inappropriate in the context. Vocally very strongly cast, Kim's colaratura soprano stood out and was the icing on a very fine cake indeed.

Thank you Glyndebourne for a life-enhancing evening.

Thank you for another enchanted evening Glyndebourne. This evenings L'enfant blew us away! The applause for all performers and musicians was well deserved, however the costume and set design deserved a standing ovation.
I applaud your innovation, creativity and charm .

I bought the records of the Ravel double-bill to be familiar with the music before the show and found it difficult to truly enjoy the music. There was no tune which you could hum. Unlike most operas the visual aspect of the double-bill was of particular importance and in this the producers achieved a great success. The show was also very well sung and acted. At the end our party clapped and cheered as hard as any of the others. For my part I enjoyed the show far more than I had expected to. Five stars!

Very enjoyable, but I have a plea for people directing the operas: if one half is particularly heavily concentrated to one side of the stage, please spare a thought for those of us in the cheap seats who have restricted views, and perhaps stage the second half more to the other side! Better still, perhaps more of the action could take place centre stage? I appreciate that when getting the cheap seats a restricted view is part of the deal, but it seemed that 60% of "L'Heure" took place at the very right hand edge of the stage, out of our sight, and at the start of "L'Enfant" most of the audience were in gales of laughter at something that my companions and I could not see. Beautiful music, brilliant singing and playing.

Fantastic opera and experience! Superb music, sets and ambience.

Highly recommend

Just gorgeous. I loved both operas on the double bill, but L'enfant et les sortileges was especially magical. It was pure wonderland: inventive, modern and moving. Thank you for a fabulous evening!

All three of us loved "L’enfant et les sortilèges", which was adventurous, novel and exciting

Well done to the director, set designer, cast, musicians and all who were involved!

Astounding, phenomenal, staggering, breath-taking, astonishing, fabulous, mind-boggling,stellar,awesome, incredible, extraordinary, marvellous, magnificent, wondrous, immense, sensational, outstanding, superb, amazing, fantastic, out of this world, dazzling, first-class, five star, perfect, life-enhancing, glorious, matchless, exceptional, top-notch, sparkling, a triumph, a delight,a why-has-this-got-to-end performance, brilliant, stunning, spectacular, spine-tingling, superlative, memorable and unforgettable.

This was a wonderful performane.We cannot recall a better evening at Glyndebourne.

Yes, a rewarding evening, not least because of the high standrad of singing throughout. L'Enfant was the better staging, because sets and costumes belonged with the music, and felt as right as they were imaginative and unexpected: it
must have been fun puting this show together. I'm not sure that the two works belong together in a single evening - something more overtly dark might be a better starter (my companion siggested La vida breve of de Falla), and although I was assured that the set for L'Heure was 'funky', I couldn't relate it to the music: hot Spain, all those cuckoo noises in the orchestra ...? L'Heure is also a hard piece to do: it's a wry sexual comedy, not a piece of slapstick, and I thought frankly that the producer took the easy way out by going over the top.But then I've never seen anyone get it right!
One plea: I sat on the blue side, and couldn't see the first 10 minutes. PLEASE don't let your producers position big scenes at the far edge of a set! Remember what happened when Loy did that for his recent Tristan in London: the ROH had to refund 1/3 of the tickets.

Attended double bill last night, wonderful evening, two very entertaining operas but 'L'enfant' certainly deserves all the praise for such an incredible and challenging set. Brilliant!
Please repeat.

I enjoyed the performance on Tuesday. What were the names of the replacement singers? The one who played Ramiro was particularly good.

As for the picnic being "a chilly affair" as Beverley Spence wrote, my party were all very glad it was cooler than it had been at the weekend.

Dear Glyndebourne
This was an excellent combination. Both productions were of the highest imaginative standard, the soloists were marvellous and all worked as a team.

Best of all, I learned much about Ravel from this extended chance to hear his musical ideas. I think the first piece also proved that farce is more wittily and elegantly done in the French style.

I took a non opera-going friend and he loved it all.
Kind regards
Jill

What a marvelous experience on our first visit to Glyndebourne on the 16th August. The imaginative set for L'heure espagnole and the delightful performances from all the cast, really brought out the humour. The double bill with L'enfant completed a perfect evening. Ravel's music is exquisite and beautifully played by the LPO. The Ebert Room Recital by the Jerwood Young Artists was an added bonus and we shall be looking out for these singers in the future. Our thanks to everyone who made our evening such a success.

Wonderful singing, as always. Sadly Elliot Madore was indisposed but his understudy in both operas was excellent. Thought both sets were stunning - loved all the clocks. L'Enfant had me entranced from first note to last with such amazing imagination. Picnic was a rather chilly affair with rug being worn as shawl but I did see others doing the same; gardens and landscape were, as usual,up to standard.

August 21: We had no real expectations of the Ravel duo and so we were overwhelmed with Glyndebourne's treatment of both. Glyndebourne's signature originality permeated the inventive staging the committed singing and playing and the bringing to life of a complex concept. Well done. This was a real coup, bringing a new favourite into our opera experience. Thank you. And please bring back Kathleen Kim.

I saw these two delightful operas on 8th August - our last Glyndebourne evening for this season and what an enjoyable evening it was too, sheer delight.

L'Heure Espagnol was a riot -very funny, beautifully done
L'enfant - stunning set, lovely singing, well paced direction

A great night! Thank you

I can only join the universal chorus of praise. L'Enfant was quite simply one of the most enjoyable and moving operas I have ever seen, at Glyndebourne or anywhere else. It is very rarely staged (both difficult and short!). This production got everything right. PLEASE put it on again soon, and release a DVD too.
L'Heure was not quite in the same class, either on Ravel's part or Glyndebourne's, but still very enjoyable (although I slightly preferred the Covent Garden production). The understudy singing Ramiro on the 21st did very well.
I agree with some of the minor niggles about the car park and people's dress, but they hardly matter. It is a privilege to see opera done as well as this.

We have been coming to Glyndebourne since the 1960's and honestly believe these were two of the best productions we have ever seen, and we have seen some superb ones in a huge range of styles and periods. The stage direction was breath-takingly ingenious, the singers and orchestra quite outstanding, and the whole approach to Ravel's musical fantasies was pin-point accurate.

Both pieces are excellently produced and acted and sung. Glyndebourne has always paid attention to whether the singers look appropriate in their roles, an aspect not often cared for in other Festivals, having been to Bayreuth and Verona just before coming to Glyndebourne. In both of the operas, it is so pleasing to have great singers who look and act their roles so wonderfully! The production of L'Enfant is magical, and funny, even better than the Hockney one as far as memory serves!

Glyndebourneis really one of the BEST Opera Festival in the world!

Performances on Tuesday 21st August were wonderful. Respective 'covers' acquitted themselves very well indeed in the absence of the indisposed Elliot Madore. Sadly we failed to pick up a revised cast list, but hope Twitter or website will furnish names in due course. Lovely to see Stephanie d'Oustrac, as main protagonsist with Ramiro and Tom Cat respectively, delighting in her colleagues' successes at the end of each opera. Amazing singing from her and also from Katherine Kim - especially as Fire in L'enfant when being conveyed above the stage. It shows the remarkable abilities of the production team and support crew, whose contribution was immense this evening: thank you!

A fabulous evening and a perfect introduction to Glyndebourne for young couple for whom attendance was a wedding gift. We hope they will become regular visitors over the years. They certainly greatly enjoyed Laurent Pelly's production and admired the whole musical experience under the expert (and enthusiastic) direction of Kazushi Ono.

Superb double bill, the critics seemed to prefer the second but I enjoyed both equally. Singing superb as was the conducting and orchestral playing. Sets brilliant. Food good too!

I have been coming to Glyndeborne for over 50 years and this was among the most enjoyable experiences that I have had as well as being totally unexpected.
My party were entranced by it all.
My grateful thanks!
Michael Hobbs

Sunday 19th August
Two impressive and really enjoyable productions [Laurent Pelly is a genius!], very well performed by singers and orchestra. We also enjoyed the pre performance talk which enhanced our appreciation of the operas.

l'heure: a brilliantly sung romp with delightfully humorous touches which made us smile, and an enchanting l'enfant most delightfully staged. Imaginative and heartwarmingly beautiful. One of my best Glyndebourne experiences, shall see it again if it is repeated next year.

It hardly seems necessary to add our rave review to everyone else's. L'enfant in particular gave us one of the most magical experiences ever in the opera house (or theatre). I notice one or two adverse comments on the dress-code. I feel strongly that you ought not to start issuing directives. Let things evolve gradually. If fewer people wish to observe the code in future so be it. My wife and I were not commenting to each other on people's dress, but how lovely it was to see lots of young people whatever they were wearing.

The programme had prepared us for the 'naughty'goings-on of L'Heure on 16th, and we can echo all the positive comments about how marvellous to be able to laugh out loud at an opera - so through-composed that it's impossible to recall an aria that can be sung later - the over-the-top poet Gonzalve and the sexiness; but the programme couldn't really prepare us for the sheer magic of L'Enfant et les Sortileges. From the delight of curtain-up and seeing the table stretching away into the distance (how many of us doing homework haven't felt the boredom stretching to infinity in a similar way) to the final redemption, it was delightful and almost impossible to criticise - somehow, though, we felt the very end sagged a little following the wild-life riot. A small negative compared with everything else in the production.

L'Heure most enjoyable all round. l'Enfant stupendous

Another wonderful experience at Glyndebourne. Incredible staging, performance , music and weather ! Who could ask for more !

A wonderful evening. I thought Stephanie d'Oustrac brilliant and L'enfant et les sortileges enchanting - it was over too quickly. The double bill was an interesting contrast. I also wished my grandchildren could have seen the latter!

Words fail me,it was a magical event. The orchestral playing was stunning second to none. The singers and production were first rate too. I wish I could afford to go to more.

Saw the cinema broadcast tonight - really enjoyed it. I've always loved L'enfant, but never really "got" L'Heure Espagnole until tonight. Thought it was wonderfully sung and acted, and I laughed a lot, as did everyone else in the cinema. Thanks1

As a history of music lecturer I have run several courses on Ravel over the last 15 years (http://www.williamsterling.co.uk/2011/05/unravelling-ravel/)
so know the music well but had rarely seen his operas either live or on video. This was therefore a very special treat to see both in one evening. My wife, who is not an opera fan but loves the Glyndebourne experience, particularly enjoyed L'Enfant but I thought the sets, singing, conducting, orchestral playing were superb in both. I hope they remain in the Glyndebourne repertoire for many years.

Most enjoyable, light, funny great to see so many young people enjoying Glyndebourne. Even the rain stopped !

We were enchanted by the Ravel Double Bill. The stage craft of 'L'Espagnole' and the construction of the clock shop was amazing. All voices were of top quality. How did they manage to sing and act the farcical story too, in and out of clocks and situations... brilliant!

Then the total contrast of L'enfant', if only one could deal like that with naughty children in reality, showing them the reality of thoughtless cruelty. The stage craft again shone out, the trees and the amazingly artistic but so realistic disguises of the creatures he had hurt. A marvelous and cleverly varied programme. Thank you to them all.

The opera and overall experience was excellent particularly L’enfant et les sortileges. It is a shame however the management cannot exert more strictness as to the dress code (if indeed there is one) as on the 16 August at times I thought I had been transported into the midst of a 1950’s music hall act and there were more barmy costumes on the lawns than on the stage

Another absolutely splendid Glyndebourne evening. The two Ravel operas were an entirely new experience although I have come to love Ravel's other music. Hence this was a voyage of discovery to remind me of Ravel's mastery of orchestration, his delicacy, and his ear for the most marvellous effects. The performances and staging could barely be faulted, and the LPO played like angels. Glyndebourne at its best.

An enchanted and enchanting evening, the sets and the production were stunningly breathtaking, the singing was transcendant, the conductor gave Ravel's music (of which I am not a huge lover) a zing, the overall effect was just magical.
Two nights previously I came away from Figaro feeling Glyndebourne should try harder. Well you did, and restored my faith!
Wonderful, I am still under the 'Sortilège'!

Congratulations Glyndebourne for providing my friend and I with a night to remember. From the kind and supportive help of the front of house staff when sorting out access issues, to the production team for amazing stage sets, the costume designers and makers for enchanting scenes in L'enfant and to the orchestra and singers who worked together so well to ensure we had a magical evening. Images from L'enfant will stay with me for a long time especially the tea pot and cup and saucer. A fantastic evening. Thank you.

Another fabulous Glyndebourne experience last night. Both productions were absolutely marvellous with the edge going to L'Enfant which simply blew us over. We abandoned our usual picnic this year for dining in NW which was truly superb and well worth the money.

The only marring negative was the scramble from the carpark at the end, which appeared to be exceptionally chaotic and also very dangerous with cars conflicting with other cars and pedestrians, many elderly and some disabled, in dimly lit areas. The goodwill spirit of the Olympic Park seemed noticeably absent and the location of the torch man after the melee was just bizarre. Please, please try and improve this aspect in future - just 2/3 folk for 20 minutes directing traffic before carpark exit and at main road junction.

Two fabulous performances of two hilarious one act operas! We both very much enjoyed both performances, and cannot wait to return to Glyndebourne.

L'enfant is a delight to eyes and ears, (August 13th).
The many children in the audience were extremely quiet and attentive, in fact the audience were better behaved than usual, but what has happened to the dress code these last few seasons?
Some looked as if they had strolled in from the Tesco's.
Out of respect to the artists (and John Christe) it is time for some action and sadly, perhaps some rules.
If you can't take the trouble to dress up (either traditional or adventurous) for Glyndebourne, then where can you?

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