Lots of learning and not a hamper in sight

I’m at Glyndebourne at a world premiere and anyone who thinks that the place is nothing but posh frocks and picnics really needs to get out more. No picnics here in March anyway because the perimeter foyers are open to the elements and as cold as a medieval castle although it’s (slightly) cosier inside the auditorium with the doors shut.

But that’s not actually what I meant. Glyndebourne Education has been running impressive, large scale community opera projects for twenty years and not many people know about it.

It is the latest of these, Knight Crew, that I’m here to see. It is by Julian Philips, who was composer-in-residence at Glyndebourne (its first) for three years, and based on a novel by Nicky Singer.

Fifty young people are on stage with six professional singers. Others are in the pit playing alongside professional musicians and there is a mothers’ chorus drawn from the community. Nicholas Collon is conducting. It all adds up to a gripping two hour, two act opera - a reworking of the Arthur story set on a 21st century UK estate where knife crime is a way of life.

I love the lyricism of it. Think of Puccini punctuated by occasional Lloyd Webber moments suffused with Bernstein-ian rhythms and Britten-esque harmonies. I also love Es Devlin’s massive, flexible metallic geometric set with all those shadowy balconies and Bruno Poet’s sinister lighting and evocative, story-telling projection. No compromise on Glyndebourne’s usual production values tonight.

But most of all I love seeing over 100 young people learning and achieving so much together and clearly - it was very obvious at the curtain call - enjoying every minute of the experience.

So how did Knight Crew come about?