Robin Ticciati
Sincere, serious and beautiful: Glyndebourne’s Parsifal reviewed
‘Here time becomes space,’ says Gurnemanz in Act One of Parsifal, and true enough, the end of the new Glyndebourne…
Sex-change soufflé
One morning in the 20th century, Thérèse wakes up next to her husband and announces that she’s a feminist. Hubby,…
Sea fever
You’ve got to hand it to Dame Ethel Smyth. Working in an era when to be a British composer implied…
Grateful for large mercies
Glyndebourne is nothing if not honest. ‘In response to the ongoing Covid-19 restrictions our 2021 performances of Tristan und Isolde…
The caged bird sings
At the first night of Glyndebourne Festival 2021 there was relief and joyful expectation as Gus Christie made his speech…
Vexing reading of a perplexing opera: Glyndebourne’s Pelléas et Mélisande reviewed
The femme fatale was invented in France. A giddy, greedy child in her first incarnation, as the antiheroine of Abbé…
Watching the clocks
When I saw the first performance of this production of Ravel’s two operas at Glyndebourne three years ago, I thought…
Musical youth
Michael Henderson talks to Glyndebourne’s fresh-faced new music director, Robin Ticciati
