Shakespeare’s Hamlet reconfigured for a world premiere at the Glyndebourne Festival 2017. Book your tickets now and some fabulous luxury Lewes accommodation at White Lodge bed and breakfast, Sussex. Just a 15 minute drive across the South Downs to the world famous Opera house
Dean’s colourful, energetic, witty and richly lyrical music expertly captures the modernity of Shakespeare’s timeless tale, while also exploiting the traditional operatic elements of arias, ensembles and choruses.
Matthew Jocelyn’s inspired libretto is pure Shakespeare, adhering to the Bard’s narrative thread but abridging, reconfiguring and interweaving it into motifs that highlight the main dramatic themes: death, madness, the impossibility of certainty and the complexities of action.
Sung in English with English supertitles it's a story of betrayal, revenge and madness.
To be, or not to be. This is Hamlet’s dilemma, and the essence of Shakespeare’s most famous and arguably greatest work, given new life in operatic form in this original Glyndebourne commission.
Thoughts of murder and revenge drive Hamlet when he learns that it was his uncle Claudius who killed his father, the King of Denmark, then seized his father’s crown and wife.
But Hamlet’s vengeance vies with the question: is suicide a morally valid deed in an unbearably painful world?
‘The themes of life and death, love and betrayal have opera written all over them.’ —Brett Dean, Composer
What the critics are saying:
‘Glyndebourne’s latest commission is unmissable — this is the operatic event of the year.’ -
‘Forget Cumberbatch. Forget even Gielgud. I haven’t seen a more physically vivid, emotionally affecting or psychologically astute portrayal of the Prince of Denmark than Allan Clayton gives in this sensational production… don’t miss it.’ ★★★★★ – The Times
‘Brilliant music, rapturously received.’ – The Daily Telegraph
‘Jurowski secures a performance of this unfamiliar, complex score that makes it sound bedded in already, and draws out some fantastic vocal performances too… new opera doesn’t often get to sound this good.’ – The Guardian
‘A hefty dose of proper Shakespeare.’ – WhatsOnStage