| Teatro Real | |||
| Ivor Bolton | Dirección | ||
| Sir David McVicar | Dirección de escena | ||
| Robert Jones | Diseño de escena | ||
| Brigitte Reiffenstuel | Diseño de vestuario | ||
| Coro Titular del Teatro Real | |||
| Orquesta Titular del Teatro Real | |||
| Anna Caterina Antonacci | Soprano | Elizabeth I | 2018 abr 12, 14, 16, 18, 22, 24 |
| Alexandra Deshorties | Soprano | Elizabeth I | 2018 abr 13, 17, 23 |
| Leonardo Capalbo | Tenor | Robert Devereux, Earl of Essex | 2018 abr 12, 14, 16, 18, 22, 24 |
| David Butt Philip | Tenor | Robert Devereux, Earl of Essex | 2018 abr 13, 17, 23 |
| Paula Murrihy | Mezzosoprano | Frances, Countess of Essex | 2018 abr 12, 14, 16, 18, 22, 24 |
| Hanna Hipp | Mezzosoprano | Frances, Countess of Essex | 2018 abr 13, 17, 23 |
| Duncan Rock | Barítono | Charles Blount, Lord Mountjoy | 2018 abr 12, 14, 16, 18, 22, 24 |
| Gabriel Bermúdez | Barítono | Charles Blount, Lord Mountjoy | 2018 abr 13, 17, 23 |
| Sophie Bevan | Soprano | Penelope, Lady Rich | 2018 abr 12, 14, 16, 18, 22, 24 |
| Maria Miró | Soprano | Penelope, Lady Rich | 2018 abr 13, 17, 23 |
| Leigh Melrose | Barítono | Sir Robert Cecil | 2018 abr 12, 14, 16, 18, 22, 24 |
| Charles Rice | Barítono | Sir Robert Cecil | 2018 abr 13, 17, 23 |
| David Soar | Bajo | Sir Walter Raleigh | 2018 abr 12, 14, 16, 18, 22, 24 |
| David Steffens | Bajo | Sir Walter Raleigh | 2018 abr 13, 17, 23 |
| Benedict Nelson | Barítono | Henry Cuffe | |
| James Creswell | Bajo | A blind ballad singer | |
| Elena Copons | Soprano | A Lady-in-Waiting | |
| Itxar Mentxaca | Mezzosoprano | A Housewife | |
| Gerardo López | Tenor | The Master of Ceremonies | |
| Sam Furness | Tenor | The Spirit of the Masque | |
| Alex Sanmartí | Barítono | The City Crier | |
| Scott Wilde | Bajo | The Recorder of Norwich |
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
