I’ll declare an interest: Glyndebourne is local to us, and as a singer I enjoyed a couple of stretching and very rewarding workshops through the audition process. Unfortunately I had to withdraw from participation because of family and other commitments which will clash with the most intense rehearsal period. Thankyou, Susannah and the team, for the chance to be – even marginally – part of Glyndebourne-behind-the-scenes.
But it was the theme of the opera that drew me to it as well.
You can find more details on Glyndebourne’s own site, but briefly: the opera begins in a care home, where a staff member introduces the residents to virtual worlds as a way to let them express their personalities when their frailty limits their scope to do so in real life. They create avatars (“imagos”). So does he, but his is hijacked by his two sons. The opera switches between two natural worlds (the care home, and his own home) and several islands in the virtual world.
As in worlds we know about, like SecondLife, the imago represents who you’d like to be rather than your natural world constraints. So one elderly lady becomes a teenage girl, who falls in love in the virtual world with the imago operated by the two teenage boys. At the end, when the real lady dies, the relationship moves poignantly from the virtual to the natural world.
Many years ago, I saw Kubrick’s A Clockwork Orange which made waves for all the wrong reasons. It was a powerful film asking questions about what is the essence of humanity. Imago will do the same in a world whose technology has moved on by around 40 years. It’s staged in early March for three days only; ticket prices are community prices, not mega-opera prices; and if you can get to Glyndebourne, do come.