Nothing

Glyndebourne, Glynde, near Lewes, Thursday, February 25, to Saturday, February 27

IN William Golding’s stunning 1954 novel Lord Of The Flies a group of shipwrecked schoolboys descend into savagery when left to their own devices.

Danish writer Janne Teller’s nihilistic 2000 novel Nothing explores a similar world.

When their 13-year-old schoolmate Pierre Anthon leaves class having decided it’s not worth doing anything as nothing matters his friends try to prove life has meaning.

They pile up all the items which mean something to them at the foot of a plum tree where he has taken refuge. But gradually this search for meaning and importance takes a darker turn.

As part of a year of celebrations to mark the 30th anniversary of its education programme, Glyndebourne is hosting the world premiere of a new opera by composer David Bruce and librettist Glyn Maxwell based on Teller’s novel.

The production stars a chorus of singers from Glyndebourne Youth Opera backed by five professional singers and young instrumentalists conducted by Sian Edwards.

The world premiere is being directed by former National Theatre associate director Bijan Sheibani.

Sheibani admits he didn’t know the novel before he was approached by Glyndebourne and the Royal Opera House.

“The libretto wasn’t yet ready, so the first thing I did was read the novel,” he says. “I did it in a cafe in one sitting. It was impossible to put down.

“As a director you’re always looking for projects that you have a connection with, and I felt really drawn in by the story. It’s suspenseful and the ideas that Teller explores take you deep inside yourself.”

The period covered by the novel explores the beginning of teenage years – mirrored by the age of the performers themselves.

“The young performers are bringing so much of themselves to the project,” says Sheibani.

“They are generating a lot of great material from their own experiences. They’re creating lots of different types of teenagers – rebellious ones, well-behaved, conforming ones; there’s a whole spectrum, and they’re having a lot of fun.

“I think adolescence can be an exciting period, but it’s a difficult period too because you’re transitioning from being a child into an adult and you’re trying all sorts of things out. You’re working out who you are, working out what makes you different to others, and what’s important to you.

“I think you’re also working out what you value, and in doing so, you’re realising what doesn’t matter so much to you.

“I don’t think all adolescents experience what Pierre experiences. One of the things Pierre tries to do, and kind of fails at, is in the area of self-containment. He takes himself off from school and goes and sits in a plum tree as if to say he can do without other people. I find this one of the saddest parts of the story, the loneliness of that boy, and presumably the lack of care from his parents.”

Central to the story, and to the stage design, is a pile of meaning, which begins as a collection of childhood objects the children don’t need any more to try to convince Pierre there is meaning in life.

It’s when Pierre changes the dynamic that the story begins to get dark.

“Pierre says that if you have chosen to give up those things, then they can't mean much,” says Sheibani. “The children begin to nominate each other and tell each other what they must sacrifice.

“I think the pile of meaning starts off as a collection of objects - quite meaningful, sentimental objects - and then the children begin to realise that things that have real meaning aren't so tangible. And then what they need to sacrifice is much more difficult and interesting.

“I think this story works well as an opera - the ideas in it are large, and the feelings are big, and so suit being set to music. There are great chorus scenes, so lots of exciting chorus music, as well as more intimate, character-focused moments which gives a lot of variety to the music.

“The way in which the story grows and grows out of the simple action of a boy leaving the classroom, is satisfying. Something gets set in motion by that one action. It builds and builds, and doesn't really stop until the end of the story.

“[Teller] gave us her blessing at the very beginning of the process. She will be coming to the opening night, so we hope she is pleased. It's a new form, so as a result the story has been adapted. But hopefully she will think that the core of it has remained intact.”

Starts 7pm, 11am schools performance Wed 24, tickets £15/£7. Call 01273 815000.