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Benjamin Britten, Gloriana, Op. 58

I, 1: Prelude

I, 1: The Tournament

I, 1: Recitative and Fight

I, 1: Entrance of the Queen

I, 1: Recitative

I, 1: The Two Lords' Explanation

I, 1: Raleigh's Song

I, 1: Ensemble of Reconciliation

I, 1: Recitative and Final March

I, 2: Prelude and Dialogue

I, 2: The Queen's Song

I, 2: Cecil's Song of Government

I, 2: Recitative and Essex's Entry

I, 2: First Lute Song

I, 2: Second Lute Song

I, 2: The First Duet for the Queen and Essex

I, 2: Soliloquy and Prayer

II, 1: Prelude and Welcome

II, 1: The Masque

II, 1: Finale

II, 2: Prelude and Song

II, 2: Duet

II, 2: Double Duet

II, 2: Quartet

II, 3: Pavane

II, 3: Conversation

II, 3: Galliard

II, 3: Conversation and the Queen's Entrance

II, 3: Lavolta

II, 3: Conversation

II, 3: Morris Dance

II, 3: Recitative

II, 3: The Queen's Burlesque

II, 3: Quartet

II, 3: March

II, 3: The Queen's Announcement

II, 3: Ensemble

II, 3: Coranto

III, 1: Prelude and Chatter

III, 1: Essex's Intrusion

III, 1: The Second Duet of the Queen and Essex

III, 1: The Dressing-Table Song

III, 1: The Entrance of Cecil

III, 1: Cecil's Report

III, 1: Discussion

III, 1: The Queen's Decision

III, 2: Ballade - Rondo

III, 3: Prelude and Verdict

III, 3: Cecil's Warning

III, 3: The Queen's Dilemma

III, 3: Trio

III, 3: Lady Essex's Pleading

III, 3: Penelope Rich's Pleading

III, 3: Epilogue

Britten's Gloriana

David McVicar (stage director), Ivor Bolton (conductor) — With Anna Caterina Antonacci (Queen Elizabeth I), Leonardo Capalbo (Robert Devereux, Earl of Essex), Paula Murrihy (Frances, Countess of Essex)...

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Cast

David McVicar — Stage director

Robert Jones — Scenography

Brigitte Reiffenstuel — Costumes

Adam Silverman — Lighting

Colm Seery — Choreographer

Anna Caterina Antonacci — Queen Elizabeth I

Leonardo Capalbo — Robert Devereux, Earl of Essex

Program notes

First performed in June 1953 to mark the coronation of Queen Elizabeth II, Benjamin Britten’s Gloriana painted a nuanced and complex portrait of the new queen’s predecessor in name. In her repeated clashes with the Earl of Essex—a longtime favorite of the queen who was ultimately put to death for treason—Elizabeth I is depicted as flawed and vain, human and sympathetic.

To the public in 1953, eager to embrace a robust postwar optimism and celebrate their young monarch, the tragic and morally complicated subject matter of Britten’s opera was unpalatable. Its chilly reception kept the work out of opera houses for years, but a recent critical reappraisal has given audiences sublime new stagings like this one, starring the superb Anna Caterina Antonacci in the lead role. “One of the finest artists of her generation” (OperaWire), Antonacci's elastic, emotive voice brings high drama to the Elizabethan tragedy, supported admirably by a top-notch cast, including Leonardo Capalbo as Essex. The reliably outstanding Ivor Bolton conducts the Orchestra of the Teatro Real de Madrid in this “landmark” production, the “vindication of a neglected masterpiece” (Bachtrack).

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