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GlorianaNew Production

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This listing is in the past
Teatro RealMadrid, 28013, Spain
April 12, 13, 14, 16, 17, 18, 22, 23, 24 at 20:00
Performers
Teatro Real
Ivor BoltonConductor
Sir David McVicarDirector
Robert JonesSet Designer
Brigitte ReiffenstuelCostume Designer
Anna Caterina AntonacciSopranoElizabeth IApr 12, 14, 16, 18, 22, 24
Alexandra DeshortiesSopranoElizabeth IApr 13, 17, 23
Leonardo CapalboTenorRobert Devereux, Earl of EssexApr 12, 14, 16, 18, 22, 24
David Butt PhilipTenorRobert Devereux, Earl of EssexApr 13, 17, 23
Paula MurrihyMezzo-sopranoFrances, Countess of EssexApr 12, 14, 16, 18, 22, 24
Hanna HippMezzo-sopranoFrances, Countess of EssexApr 13, 17, 23
Duncan RockBaritoneCharles Blount, Lord MountjoyApr 12, 14, 16, 18, 22, 24
Gabriel BermúdezBaritoneCharles Blount, Lord MountjoyApr 13, 17, 23
Sophie BevanSopranoPenelope, Lady RichApr 12, 14, 16, 18, 22, 24
Maria MiróSopranoPenelope, Lady RichApr 13, 17, 23
Leigh MelroseBaritoneSir Robert CecilApr 12, 14, 16, 18, 22, 24
Charles RiceBaritoneSir Robert CecilApr 13, 17, 23
David SoarBassSir Walter RaleighApr 12, 14, 16, 18, 22, 24
David SteffensBassSir Walter RaleighApr 13, 17, 23
Benedict NelsonBaritoneHenry Cuffe
James CreswellBassA blind ballad singer
Elena CoponsSopranoA Lady-in-Waiting
Itxar MentxacaMezzo-sopranoA Housewife
Gerardo LopezTenorThe Master of Ceremonies
Sam FurnessTenorThe Spirit of the Masque
Alex SanmartíBaritoneThe City Crier
Scott WildeBassThe Recorder of Norwich
Coro Titular del Teatro Real
Orquesta Titular del Teatro Real

During her last years as queen, Elizabeth I of England was a woman pushed to the limit. As the daughter of Henry VIII and Anne Boleyn, she continued to carry on her shoulders the responsibilities of a divided kingdom and a church which was independent of Rome. Behind the court splendor, hid a woman who was prisoner of her contradictions, affected by age, and betrayed by the man she loved.

This duality can be seen in a libretto that intentionally combined prose and verse in historical and modern day English. The contrast between public and private life was the starting point for an opera which, by no means, met with the acceptance of British monarchical circles, in its bold portrait of the virgin Queen. Moreover, the opera was considered most inappropriate because of the context of its composition: the coronation of Queen Elizabeth II. As a result, and in spite of the unanimous seal of approval for Britten’s dramatically forceful score, the work was neglected until it was accepted decades later. Gloriana continues to be a relatively unique piece and the acknowledgement of it artistic value, an absolute priority. 

New production by the Teatro Real, in co-production with English National Opera

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