Say the word Glyndebourne and images of opera at its best, champagne corks flying and elegantly dressed people enjoying picnics come to mind. For some it stands for elitism, expensive ticket prices and people attending not for the love of music but for the need to be seen.
Festival goers picnic in the grounds of Glyndebourne Opera House. August 1, 2006, Source: Flickr, Wolfiewolf
Things have changed and the perception of Glyndebourne is also changing. Yes, there are expensive tickets but you can also buy standing tickets for ten pounds and it is not obligatory to turn up in evening wear but jeans might still be frowned upon. And what’s in the picnic basket is up to you – or there is a choice of restaurants. The magnificent setting, with the parkland next to the theatre, is free and there is so much space that you can find a spot far away from the crowds.
Yes, the setting is romantic and so is the story behind this 80 year old opera house. It was built by John Christie for his wife, the famous opera singer Audrey Mildmay. It opened its doors 28 May 1934 with a performance of The Marriage of Figaro by Mozart. Many thought it was a hare-brained venture and John Christie spent the family fortune on the opera house in its first years but it survived and today it is run by John and Audrey’s grandson Gus Christie. The romance continues as Gus is also married to an opera singer, the stunning Danielle de Niese. She is said to have enthralled him when performing as a very seductive Cleopatra in Glyndebourne’s praised production of Giulio Cesare.
Paul Campion, a great opera lover and raconteur, is coming back to Dulwich Picture Gallery to give a talk with recordings and video illustrations covering 80 years of Glyndebourne’s history. He has already entertained the music lovers at Dulwich Picture Gallery at earlier sold-out talks about Kathleen Ferrier and the ultimate prima donna Maria Callas. Few, though, could be more knowledgeable on the subject of the Sussex opera house than Paul Campion. To coincide with its 60th anniversary in 1994 he co-authored a book about Glyndebourne with Rosy Runciman, the archivist at the opera house. It is out of print now, but it received a prestigious American award which was presented at the Library of Congress in Washington DC.
The first performance in Glyndebourne took place on 28 May 1934 and it was of course Christie’s wife Audrey who shone in The Marriage of Figaro. The management of EMI records recognised the quality of the performance and during the 934 and 1935 seasons recorded both Figaro and Cosi fan tutte; it was the first time that any complete recordings of Mozart operas had been made. ‘You can say that it was Christie who popularised Mozart at that time with his productions, ‘ says Paul Campion.
Mozart was pre-eminent during the first six seasons of Glyndebourne. ‘It suited the old theatre, ‘says Paul. During the war Christie’s manor house became home to some 80 children evacuated from London and there were no performances but in 1940 the company toured the regions with John Gay’s The Beggar’s Opera. After the war in 1946 they opened the season with the world premiere of The Rape of Lucretia written by the new big name in opera, Benjamin Britten. ‘This was not traditional Glyndebourne fare, ‘says Paul Campion, ‘ but Glyndebourne gave Britten’s opera a splendid airing.’ Obviously the co-operation between the opera house and Britten worked well as his next opera, Albert Herring, also had its world premiere in 1947 at Glyndebourne. At this time several productions were also taken to the recently founded Edinburgh Festival, with which the opera company had close links for many years.
Paul will play recordings from each of the eight decades of Glyndebourne’s history starting with an excerpt from The Marriage of Figaro with Audrey Mildmay, Mrs Christie, in the lead. Other highlights include a video clip from The Rake’s Progress with its famous monochrome pastiche “steel engraving” designs and costumes by David Hockney from the 70’s. ( Very fitting as the popular Hockney exhibition is still pulling in the crowds at Dulwich Picture Gallery.)
In the 80’s there was another controversial production. Glyndebourne was the first opera house in the United Kingdom to stage the complete version of Gershwin’s Porgy and Bess. ‘That was a real challenge for the traditional Glyndebourne audience, who saw it as a musical, but both brothers Gershwin referred to it as an opera and so did Simon Rattle, who conducted the production,’ Paul says with a smile.
There were more changes in the 90’s. John’s son George Christie, felt that the cramped theatre did not serve its public very well, nor its stars, and the theatre was demolished and a new, larger theatre was opened on 28 May 1994, exactly 60 years to the day after the first performance – and with The Marriage of Figaro, just as in 1934.Today the company is respected all over the world and its touring company, that has been running since 1968 makes sure that the elitist stamp has been erased. Many of the performances are also streamed to cinemas all over the country, so that everyone can enjoy the high quality of Glyndebourne. The motto of the founder is still the touchstone for the third generation of Christies. “We do not aim to do the best we can do, but aim for the best that can be done anywhere.”
Other country houses have set up opera companies but Glyndebourne was the only one for some 50 years and it still remains the one that sets the standard for others to follow. Paul Campion will tell its fascinating and pioneering history as only he can.
Glyndebourne at 80
Illustrated Lecture by Paul Campion
Thursday 3 April 7.30 pm Linbury Room
Dulwich Picture Gallery
£12, £10 Friends
Includes a glass of wine
This event is organised by Friends of Dulwich Picture Gallery
Tickets can be bought online www.dulwichpicturegallery.org.uk
Or by Friends phone 020 8299 8750
or at Friends Desk in the gallery
Hockney, Printmaker Exhibition at Dulwich Picture Gallery ends 11 May 2014
The original theatre built by John Christie was more like a shoebox, the acoustics were not perfect and the singers had to fight for the cramped spaces behind the stage.
