Long description:

In its first years of existence, in the 1930s, the Glyndebourne Opera Festival set out to internationalize English opera culture, by both attracting international artists and leading proponents of a new concept of opera production and by giving émigrés the chance to further hone skills developed in Central Europe on British soil. The festival, founded by John Christie and his wife Audrey, opened its doors in 1934. The first five years of productions were marked by the collaboration of Artistic Directors, Fritz Busch and Carl Ebert, and the festival?s General Manager, Rudolph Bing, all of whom had emigrated from Nazi Germany in 1933. Beyond these architects of the festival, Glyndebourne employed the talents of many other émigrés, including the young conductor Hans Oppenheim, singers Irene Eisinger and Ina Souez, and répétiteur Jani Strasser.

Many of these individuals had left Germany in or prior to 1933, and each contributed substantially to the achievements of the festival during its formative years. Prior to the outbreak of the Second World War, the festival?s production team succeeded in establishing a reputation for Glyndebourne as a site for internationally renowned opera production, with an approach markedly different from the production style British audiences had experienced up to that point. This collection explores the development of modern British opera production in the 1930s via the frameworks of mobility, migration, and aesthetics

Table of Contents:

List of Contributors

List of Figures

Foreword Stephen Langridge

Introduction Norbert Meyn

1. Opera Uprooted: The Glyndebourne Festival and Operatic Mobilities Nils Grosch

2. ?Where Music Flows Like Money?: Choreographing Mobility, Migration, and Place at Glyndebourne Peter Adey and Michael Holden

3. The English Salzburg: Casting Glyndebourne Soloists Jürgen Schaarwächter

A Brief Encyclopaedia of Glyndebourne Soloists, 1933?1940 Jürgen Schaarwächter

1. Ebert?s Travels: The Internationalization of a Modern Concept of Opera Staging Natalie Stadler

2. The Mobile Fritz Busch: Oscillations of Artistic Practice around Glyndebourne Nils Grosch, Johann Michael Kreutzer, and Susanne Steinbichl

3. Nationalization and Glyndebourne in Times of War: The Beggar?s Opera Tour of 1940 Miriam Lisa Ljubijankic

4. Situating Glyndebourne: (Story)Mapping the Festival Archives Michael Holden

5. Mobilizing Glyndebourne in the Late 1930s: Heading for the New York World?s Fair Nils Grosch

6. ?Mozart Himself was a Cosmopolitan?: Women Singers at Glyndebourne and Debates about Cosmopolitan Utopia Beth Snyder