My week has been a Glyndebourne extravaganza in three acts, so this must be the epic conclusion 💀

Can you imagine being a composer that is commissioned to write a funeral/memorial/mass whilst feeling near to the end of your own life? Mozart went through just that with Requiem in D minor K. 626 and the biggest shock of all, he died before it was complete.

An unfinished piece in life about death. Poetic.

Accompanying Mozart grabbling with death in Requiem, was arias by Joseph Bologne, Chevalier de Saint Georges from his one complete opera The Anonymous Lover.

Bologne is the nearly forgotten French black composer whose life was at times considered more remarkable as his contemporary Mozart.

Cleverly we learn parts of Bologne’s life through a small cast and with arias from The Anonymous Lover. And notably his life as a black aristocrat in France.

With comedy and wit, Bologne has now made me want to see The Anonymous Lover staged in its entirety. Glyndebourne breathed life into a nearly forgotten composer (one that I had never heard of before the performance).

So, half of our evening navigating life (and new life) with Bologne. One half of our evening navigating death with Mozart.

Glyndebourne Chorus rehearsal of the Messiah at the Marlowe Theatre, Canterbury, part of Tour 2021.

Experiencing the Glyndebourne chorus and orchestra perform Requiem is something I don’t think I will be forgetting in a hurry. They gave me goosebumps and when I didn’t think I could get more, I did.

My recommendation if you plan on catching Glyndebourne on tour and Requiem specifically, take lots of warm layers as the music makes your blood run as cold as ice. Just stick a flake in me and I’d go again in a heartbeat.

Glyndebourne are at Milton Keynes Theatre Tuesday 1 – Saturday 5 November 2022

Tickets were kindly gifted by Milton Keynes Theatre but they have zero control over what I post, or say about the performance – that’s all me! Thank you for your support. 🖤