Glyndebourne 2018: Saul

It was time for one of my regular yearly outings with a trip to Glyndebourne Opera House. It’s always such a treat as I don’t get out a lot (boo hoo, poor me) and I always make the most of the opportunity to dress up. As all those who regularly read my posts on this subject know you can wear anything you like to Glyndebourne and I embrace that entirely, but I also recycle outfits quite a bit as it’s not practical for me to buy new things each year.IMG_20180722_121318

So, this time it was an old dress (I wore it last year too, as some of you will spot) but new shoes!

IMG_20180722_121206And what shoes they are. Quiet and understated they are not. They’re from Irregular Choice’s Aloha Hula range and I absolutely love them. Clearly, they are not for everyone….some of the ladies I attended Glyndebourne with were not very impressed, but I don’t mind, I don’t dress for other people I dress for myself so I don’t really care. I got lots of positive comments from other Opera goers, mainly elderly ladies some of whom stopped to take photos of my feet!IMG_20180722_124029Here is the rest of the outfit with me attempting to smile (I don’t like taking my own photo). I put these photos up on Instagram and some eagle-eyed folk spotted I have my usual Paperself bird eyelashes on too. Sorry, no close-up photos of the eyes this year as I was too lazy to take one, I also didn’t vintage set my hair as it was simply too hot.

Screen Shot 2018-08-09 at 12.29.49The opera was a delight. I must admit to finding the ‘story’ pace a bit slow in the first half but the music was beautiful and the choral sections were especially good.poaztwm9b0et2l27hoypThe staging was magnificent! 'Saul' Opera performed at Glyndebourne Opera, E Sussex, UKThere was a moment in the second half where I thought we’d swapped to watching an episode of League of Gentlemen (anyone who has seen Glyndebourne’s version of Saul knows exactly what I’m talking about here…’bitty’ *shudder*) but it just added to the slightly bonkers feel of the whole thing.ygtsadzmby0oj4ikgvs7I especially loved the raked ‘soil’ floor, the contrasts of colour against the black background and the mix of modern and period costume. Fabulous.

Anyhow, that’s my yearly outing done (small violin playing in the distance here); the shoes have been put away (actually they haven’t, they are in my newly decorated bathroom, on the shelf, where I can admire them for a bit longer) and it’s back to sewing, surviving the heat and refereeing the kids.

 

Glyndebourne 2015: Ravel

Let’s pretend I haven’t been absent for most of this year, we’ll just gloss over that and crack on with this post, which I started forever ago but never actually published.  Sorry.

Earlier this year, I was lucky enough to be invited along to my Sister’s annual Glyndebourne trip, something I get super excited, because I don’t get out much and I love any opportunity to not look like a bag lady.

This year we were lucky to get to see Maurice Ravel’s short operas, L’heure espagnole and L’enfant et les sortilèges.

Now, I really don’t think I’m qualified at all to give an opinion on the singers, the performance or the music, I just know if I enjoy something or not and inevitably, for me, the staging plays a big part of this.  The operas were very short, witty and really enjoyable to watch, below is Glyndebourne’s own blurb and photos (taken by Richard Hubert Smith) to give you and idea (you can read more and see video snippets here)

‘L’heure espagnole , a Feydeau-esque sex farce about a lusty Spanish woman juggling lovers while her husband is preoccupied with clockwork mechanisms, evokes a Spanish flavour through Ravel’s use of native dance forms including the jota, the habañera and the malagueña.’

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L’enfant et les sortilèges , with a libretto by the French novelist Colette, is both a whimsical ‘lyric fantasy’ and a morality play with a deeply serious core. Fairy tale characters, furniture, crockery, plants and animals come to life to chastise a peevish child who has been tormenting them. All ends happily, though, when the child learns compassion. The score features echoes of Gershwin as well as an eclectic blend of influences ranging from Bach and Monteverdi through Massenet, Wagner and Puccini.

The set and costume design for  L’enfant et les sortilèges were a complete delight, very clever and only a pinch below The Cunning Little Vixon, which is still my favourite.

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(All the above photos are stolen borrowed from the Glyndebourne site and are taken by Richard Hubert Smith, who I hope does’t mind, as I am saying nice things)

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As for what I wore (clearly, VERY important)….

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yet again, fancy eyelashes from Paperself…..

me looking bleurgh

an Orla Kiely dress and Chie Mihara shoes.  I’m so predictable.  (All ‘old’, in fact I think these are the first every CM shoes I bought, many, many years ago).  I hope you appreciate my posting this rather unflattering photo taken quickly in the bedroom I was staying in…my hair is looking rather Bonnie Langford, the curl did drop a bit later.

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I even polished my nails, which rarely happens as I chip it in an instant, I also took my Victorian purse with me, which I made after the original batch was sold in two days, including the sample one I’d planned to keep for myself.  I have more on these in the next post (oh yes, there will be a next post – go me!).

We had a glorious time.  It seems an age ago now, especially as it’s such a damp and chilly day right now, picnics in the grounds of posh opera houses are but a distant memory.  On the plus side, I’m back to shop sewing after a rather long stint of blind making that’s taken up a lot of the summer and I’m very keen to get things knocked back into shape, so hopefully I’m back on a roll 🙂