This year, its productions of operas by Verdi and Massenet combine with a behind-the-scenes look at the Verdi, giving rare insights into what opera is all about.
The tour, as always, begins in Glyndebourne itself before setting off for performances in Canterbury, Norwich, Woking, and Milton Keynes in all of which the seats are much less expensive than in the summer festival, making it an ideal introduction for anyone wanting to sample the glories of opera.
Verdi’s Traviata has long been one of the most popular of all operas, with the heroine in the title (which means “fallen woman”) not only doomed with a fatal illness but having to contend with the bigoted father of her beloved.
This Glyndebourne production, directed with exquisite sensitivity by Tom Cairns, cuts through the boy-meets-stricken-girl plot to turn an operatic cliché into true drama.
In the title role, the Armenian soprano Mané Galoyan is a real find.
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Her glorious voice is backed by excellent acting ability, and her death scene is a real tear-jerker.
It has become usual to see Violetta dying in the arms of her lover Alfredo, but Cairns has come up with a much starker way of portraying her final moments and Galoyan plays it beautifully. Emanuele D’Aguanno also plays the role of Alfredo to perfection, avoiding the usual portrayal of him as a hapless wimp but bringing real depth to the character.
In contrast, Massenet’s Cendrillon is pure fun and joy.
The music is not as powerful as Verdi’s, but this cheeky reworking of the Cinderella story is the perfect pantomime.
The ugly sisters aren’t ugly at all, Cinderella’s father plays a major part in the story, and her stepmother is pure evil, but as always, the fairy godmother saves the day.
Imaginative direction from Fiona Shaw even manages to avoid the tedium of the long ballet sequences in Massenet’s score by introducing some excellently humorous touches into the dancing in collaboration with choreographer Sarah Fahie.
Perhaps most magical of all, however, is the set design by Jon Bausor, which features glass walls, windows, doors and screens that metamorphose into one another, introducing an air of mystery as well as quick scene changes.
Such a design feat is highly ambitious for a touring production, but the effect is glorious.
Don’t be put off by the supposed elitism of opera: both these productions are wonderfully enjoyable and, as I said before, offer the chance to sample superb opera at an affordable price.
Do try to see one or both if you have the chance.
The Verdi is sung in Italian and the Massenet in French, but the English surtitles ensure that you will not miss anything.
• For dates and booking details, see glyndebourne.com.
The tour runs until December 1.