"It's nice not to have to wear a corset," says Anne Mason, listing the advantages of starring in a modern-day opera. "Although I do have to give birth."

Anne is preparing for her return to Flight, the ground-breaking production credited for introducing opera to a new generation. Written by Jonathan Dove (who also wrote the music for Phillip Pullman's His Dark Materials for the National Theatre), it is set in an airport departure lounge and follows a group of would-be passengers left stranded due to a storm - and a refugee who has been "living" at the airport while in personal limbo.

Sound familiar? It's the same true story - that of Mehran Karimi Nasseri, an Iranian refugee who, due to a series of bureaucratic bungles, ended up living inside Paris' Charles de Gaulle airport - that influenced Steven Spielberg's film The Terminal.

In the 2004 film, Tom Hanks plays an Eastern European stuck in a New York airport lounge. It is ultimately a feel-good movie with a happy ending for all.

But Jonathan Dove got there first - although his refugee, whose origin is never revealed, has a far darker story to tell.

The production was premiered by Glyndebourne Festival Opera in 1998 and, due to its popularity, has now been revived. Its three acts are emotion-fuelled: There's romance, heartbreak, passion, violence and sadness as each character pauses to reflect on their lives and reconsider their relationships.

"There are deep moments, funny moments and sad moments," says mezzo-soprano Anne.

"There's something going on all the time and it's in a setting nearly everyone has been in themselves."

This airport backdrop is just one of the reasons the opera has pulled in a younger audience. It's also sung in English, the score is melodic and there is lots of comedy, creating a piece accessible to all.

"It's very funny and also tuneful - more a play set to music," says Anne, who lives in Lewes. "People might think opera is boring but I don't know anyone who hasn't enjoyed this.

"It's nice to see a younger audience enjoying it - and nice to see they are still awake."

Anne stars as "Minsk woman", a central role which was created especially for her and could be the first opera part requiring the performer to act giving birth.

"I think I've given birth about five times this time around," says Anne. "It's very strange but very funny. I've just about perfected it. I've got two children so I remember what it's like - lots of grunts and groans."

The nine performers are on stage virtually the entire time, as each character goes through their personal journey without ever taking off.

"You really get inside the character," says Anne. "It's a real team effort. We all feed off each other - we're like a family. You have to watch the tiniest details - a move of a head, a flick of a finger.

"It's the tiny things that make all the difference. You never get bored."

Since its premiere, Flight has gone around the world but Anne is thrilled it's returning to Glyndebourne.

"This is lovely because I don't have to travel," she says. "It's nice to be home."

Anne, who trained at the Royal Academy of Music, started performing at Glyndebourne in 1981 before going freelance and singing with such esteemed companies as Scottish Opera, Opera North and at the Royal Opera House in Covent Garden. She says the opera scene is thriving.

"There are an amazing number of young singers coming through - I just hope there's enough work for them, that's the only problem.

"To make it, you have to be focussed, work hard, listen to people and directors. You never, ever, stop learning."

And what audiences will learn from Flight, Anne hopes, is opera can be fun. "It will probably be one of the best evenings you've had in a long time.

Everyone will enjoy this, even children. When I heard the live CD the other day I'd forgotton just how much laughter there was. I adore it. It's one of the best things I've worked on."

Flight has enjoyed international success in Europe and the USA since its premiere in 1998, hence Glyndebourne's wish to revive it this year.

"It is part of Glyndebourne's ongoing commitment to make opera accessible to young people," says press officer Emma Whelan. "The management has always striven to make opera relevant and interesting to modern audiences."

In keeping with this ethos, this autumn Glyndebourne On Tour will present Tangier Tattoo.

A contemporary opera with a cinematic storyline, it begins when a backpacking English student meets a young American.

They become caught in a drug feud outside a cafe in which two European dealers are gunned down. The bag containing the money for the deal ends up in their possession and they decide they are going to have the time of their lives.

The production has been developed following a three-year research period listening to the issues that concern young people and an "operatic thriller" has evolved as a result.

Tickets for Tangier Tattoo will be £25 or less.

Traditionally, productions sell out early and there is a waiting list for many shows, so take advantage of these ticket offers and enjoy the Glyndebourne experience.

Starts 5.35pm, ends 9.40pm (4.20pm to 8.25pm on Sundays). Intervals are 1 hour 20 mins. Tickets cost £55-£155. Call 01273 813813. Log on to www.glyndebourne.com .

A beginners' guide to Glyndebourne
The curtain rose on the first performance of the Opera Festival at Glyndebourne on May 28, 1934. It was the culmination of the obsession of John Christie and his wife, professional singer Audrey Mildmay, who both "felt that it (opera) was almost non-existent in England, so we ought to begin to bring it here".

The Christie's early theatre held 300 people but by the end of the Eighties the old theatre was struggling to accommodate productions and public demand. In 1987, their son George Christie announced the idea of building a completely new opera house. When the new Glyndebourne opened in 1994, it was the first opera house to be built in the UK since John Christie had built the original Glyndebourne opera house 60 years earlier.

- What can I expect from an evening at Glyndebourne?

Glyndebourne's ethos has always been to present "not the best we can do, but the best that can be done anywhere". Hence, an evening at Glyndebourne offers an opportunity to see opera of an international standard, performed in a beautiful environment.

- What shall I wear?

Evening dress (black tie/long or short dress) is customary at Glyndebourne but not obligatory. There are facilities for changing if you wish to change into evening clothes once you arrive.

- Are we allowed in the grounds?

Glyndebourne opera house is set in countryside and while the main motivation for attending is to hear the opera, the experience would not be the same without enjoying the gardens. The grounds are open exclusively to opera ticket holders from two hours before the performance begins.

- What shall I take with me?

It is traditional at Glyndebourne to picnic in the grounds during the long interval. Opera-goers can take their own prepared picnics, rugs/table and chairs and choose a spot in the grounds to set up before the performance starts.

You can also order a picnic through Glyndebourne caterers Leith's or book into one of three restaurants. For drinks there is the Long Bar situated in the foyer and in fine weather there is also a champagne tent on the lawn pre-performance. Leith's are offering those booking tickets for Flight the chance of a three-course meal and a glass of champagne for £30 - contact Leith's on 01273 812510 and quote the this is Brighton offer.

- How do I get to Glyndebourne?

Glyndebourne is 11 miles east of Brighton and four miles from Lewes. For information on how to get there by car or by public transport, call 01273 815000 or visit www.glyndebourne.com