This autumn, Glyndebourne is set to wow, thrill and delight with their trio of performances at Milton Keynes Theatre. Following its cancellation in 2020 due to the COVID-19 pandemic, the highly-anticipated tour returns this year, allowing more audiences to enjoy a taste of the famous Glyndebourne opera experience!
The Glyndebourne Tour brings world-class opera productions to just four venues across the UK, and Milton Keynes is proud to be one of them. Accessibly priced and with a more informal dress code than its summer Festival, the Glyndebourne Tour is open to all, with ticket prices starting from as little as £13. Tickets are on sale now.
The tour includes two stunning operas and favourites of the Glyndebourne repertoire. The first is Mariame Clément’s popular staging of Donizetti’s exhilarating romantic comedy Don Pasquale, featuring a talented young cast and conducted by Jonathan Bloxham. The second is John Cox’s iconic 1975 production of Stravinsky’s The Rake’s Progress, featuring graphic designs from one of the most influential British artists of the 20th century, David Hockney. The opera will be conducted by Kerem Hasan.
The line-up is completed with Glyndebourne’s first-ever staging of Handel’s Messiah, a rare opportunity to see and hear Glyndebourne’s exceptional Chorus centre-stage, and just in time for the festive season.
The Glyndebourne Tour has a long and distinguished record of discovering and developing artistic talent. Continuing its commitment to nurturing young musicians, Glyndebourne’s Pit Perfect scheme for orchestral players of exceptional promise returns this autumn. It provides the opportunity for 13 postgraduate instrumentalists to gain professional experience as part of the Glyndebourne Tour Orchestra throughout the autumn season, plus mentoring from established peers.
This year’s Pit Perfect participants include the young Japanese cellist Tamaki Sugimoto, a recipient of various international prizes who is currently studying at the Royal College of Music whilst forging her performance career. She says of the scheme:
‘Glyndebourne’s Pit Perfect scheme will give me valuable insight into the operatic scene, both in and out of the pit. I am excited and truly grateful to be exposed to such great repertoire and welcomed by its wonderful team. It is a difficult time to be finishing studies, but this opportunity will help make a bridge towards my future career. The Glyndebourne Tour fills me with optimism and I look forward to sharing that enthusiasm with everyone in the productions and the audience.'