Review: A MIDSUMMER NIGHT'S DREAM, Glyndebourne

Sir Peter Hall's iconic production of Benjamin Britten's A Midsummer Night's Dream has achieved legendary status since its premiere in 1981. In 2025, it has lost none of its magic, with the Glyndebourne audience still wide-eyed at the visual feast on stage. Hall understood the complexities in Shakespeare's tale of mistaken identities, confused lovers and alarming transformations so well, but also carried through Britten's three elements of the romantic, the magical and the comic to masterful effect.

Welsh Soprano Ffion Edwards gallantly stepped into the role of Tytania due to Jennifer France being indisposed, making a regal queen of the fairies. Her voice was sparkling with clarity and she handled Britten's vocal leaps with ease.

Nils Wanderer is an ethereal Oberon, dreamy and sinuous with his vocal phrasing. His lovely countertenor creates a real, otherworldly presence, just as Britten intended. For the 18 October performance, Saxon Fox was suitably impish and mischievous as Puck, occasionally needing to up his projection into the audience.

Making his Glyndebourne debut, Joshua Bloom is a truly wonderful Bottom; never playing up the role just for laughs, but genial and gentle, with a fabulous voice. The rustics's play can be where audience goodwill starts to lag, but here it feels lively and engaging.

Revival director Lynne Hockney refreshed all the original choreography in 2001 and brings wit without vulgarity to the production (a key note taken directly from Hall). The lovers have a fun rivalry, particularly in the use of Stephanie Wake-Edwards's luscious mezzo as Hermia against Alexandra Lowe's sprightly soprano as Helena. Samuel Dale Johnson is a suitably aloof Demetrius and Robert Lewis's is engaging, but it is the superb lover's quartet they sing after they wake from their dream that almost steals the show.

Whether you are first-timer at the production or a seasoned viewer, the inherent magic of the production never fails to captivate. John Bury’s living, moving forest strikes the perfect balance between eerieness and enchantment and is almost a character in itself. Paul Pyant's incredible, atmospheric lighting adds moonlight and shadow reflected off the mirrored panels around the stage and a shiny black floor, that look as fresh and innovative as they must have done in 1981. Bury's ornate and perfectly realised costumes provide both intrigue and interest.

The Glyndebourne Sinfonia under Bertie Baigent sounds supple and fluid, engaging with the huge variety in Britten's composition. The discordant sounds of the forest blend beautifully, creating that otherworldy atmosphere so crucial to the production.

Huge credit is due to Glyndebourne's artistic director Stephen Langridge, who has chosen to place this production in the autumn season so as many people can access it as possible. A joy to hear and a visual feast to behold. 

A Midsummer Night's Dream is at Glyndebourne until 29 October