Country house opera is opera performed at a country house, whether in the house itself, in the grounds, or in an adapted or purpose built theatre in the grounds. It is a feature in particular of the English summer. Country house opera is usually initiated by private enthusiasts, and relies on private funding. This distinguishes it from the UK's state subsidised opera companies which, like most opera houses around the world, are based in city centres. Black tie is often de rigueur, in contrast with Covent Garden and other city operas where casual clothing is often acceptable.
The performances of country house opera are generally planned to provide a leisurely and elegant experience, with time for picnics on the lawns or a full meal in the interval, and often start in the late afternoon. "The English have always liked picnicking in the summer and if you can throw in a bit of entertainment, then that's even better" said a former manager at the Sydney Opera House, attributing the popularity of country house opera in England to "the wonderful adventurous spirit of the British.... The British like to go out and find a new place. No one in Australia would go out if they had to take a picnic and it was going to rain."
The most important landmark in country house opera was the opening of Glyndebourne Opera House in 1934. Glyndebourne has gradually expanded so that it now has a 1,200-seat theatre and is one of the most prominent opera companies in the United Kingdom, performing both at its home venue and on tour. Other venues which put on a regular season include Garsington Opera, The Dorset Opera Festival at Bryanston in Dorset, Nevill Holt Opera at Nevill Holt Hall in Leicestershire, Longborough Festival Opera in Gloucestershire, Grange Park Opera in Hampshire, Bampton Classical Opera in Oxfordshire and Opéra de Baugé, established by an English family in the Loire Valley. There are also a number of touring companies that tour to several country houses each summer.
Famous quotes containing the words country, house and/or opera:
“Before the birth of the New Woman the country was not an intellectual desert, as she is apt to suppose. There were teachers of the highest grade, and libraries, and countless circles in our towns and villages of scholarly, leisurely folk, who loved books, and music, and Nature, and lived much apart with them. The mad craze for money, which clutches at our souls to-day as la grippe does at our bodies, was hardly known then.”
—Rebecca Harding Davis (1831–1910)
“Semantically, taste is rich and confusing, its etymology as odd and interesting as that of “style.” But while style—deriving from the stylus or pointed rod which Roman scribes used to make marks on wax tablets—suggests activity, taste is more passive.... Etymologically, the word we use derives from the Old French, meaning touch or feel, a sense that is preserved in the current Italian word for a keyboard, tastiera.”
—Stephen Bayley, British historian, art critic. “Taste: The Story of an Idea,” Taste: The Secret Meaning of Things, Random House (1991)
“Are you suggesting that we reopen the Opera with a murder as an added attraction?”
—Eric Taylor, Leroux, and Arthur Lubin. Lecours (Fritz Feld)