Gloriana (2005)
Opera in Three Acts
Music by Benjamin Britten
Libretto by William Plomer after Lytton Strachey’s Elizabeth and Essex.
The opera was first performed on the occasion of the Coronation of Queen Elizabeth II at the Royal Opera House, Covent Garden, London, on 8 June 1953.
First performed in the United States by English National Opera at the Lila Cockrell Theatre, San Antonio, Texas and subsequently at the Metropolitan Opera, New York in June 1984.
Dates of Performance
???
2005 Season
Rigoletto   Romeo and Juliet
Beauty and the Beast   Gloriana
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Cast
Tim Mix
Sir Henry Cuffe
Brandon Jovanovich
Robert Devereux
James Westman
Charles Blount
Christine Brewer
Queen Elizabeth the First
Robert Pomakov*
Sir Walter Raleigh
Steven Condy*
Sir Robert Cecil
Evan Rainey Bennett
The Recorder of Norwich
Daniel Gerdes*
Spirit of the Masque
Anthony Paul Krutzkamp*
Time
Janessa Touchet*
Concord
Mary Wilson
Penelope Rich
Kellie Van Horn
Frances
Erin Morley
Lady-in-Waiting
Alek Shrader*
Master of Ceremonies
Cervilio Miguel Amador*
A Morris Dancer
Morris D. Robinson
A Blind Ballad Singer
David Dereak
His Running Boy
Alan Rosenkoetter
Gittern player
Connor Jacobs*
Boy Drummer
Jennifer Powell
A housewife
Kory Bickel
City Crier
*Company Debut
Creative Team
Steuart Bedford
Conductor
Colin Graham
Stage Director
Neil Patel
Set Designer
David C. Woolard
Costume Designer
Victoria Morgan
Choreographer
Mark McCullough
Lighting Designer
Tim Ocel
Associate Stage Director
Tom Watson
Wig & Makeup Designer
Sandra Horst
Chorus Master
Erie Mills
English Diction Specialist
Bruce Longworth
Fight Director
Craig Terry
Repetiteur
Elise Sandell
Assistant Stage Director
Meredith O’Sullivan*
Stage Manager
Kat Slagell
Assistant Stage Manager
Whitney Martin*
Intern Assistant Stage Manager
*Company Debut
Synopsis
Towards the end of her life and reign, Queen Elizabeth faces the threat of a second Spanish Armada, insurrection by the rebels in Ireland, and the growing ambition of Essex, her godson and favorite. Wedded to the Realm and “to no man,” she must constantly balance her public duty with her private feelings.
1597
Essex and Mountjoy, rivals for the Queen’s favor, quarrel at a tournament. The Queen rebukes them, and they are uneasily reconciled.
Cecil warns the Queen of the possible Armada and the dangers of Essex’s lack of restraint. Essex is frustrated by the Queen’s refusal to involve him in matters of state and, in his Lute Song, reveals a nature that is both passionate and melancholy. He begs Elizabeth to appoint him as Lord Deputy of Ireland, but she dismisses him.
Sander conceals his sacrifice from his three daughters, but Zémire drags the truth from Ali and determines to take her father’s place.
1599
During the Queen’s Progress in the country town of Norwich, the citizens have arranged a masque to entertain the Queen and glorify their “Gloriana.” During the masque, Essex confides in Cecil his ongoing frustration. He has now accepted that Mountjoy is the lover of his sister, Penelope, and is encouraged by Mountjoy’s support.
On the night of a Court Ball, Essex disturbs a tryst between Mountjoy and Penelope, who urge him to stand up to the Queen and demand his “rights.” Frances, his wife, begs him to be cautious.
At the Ball, the Queen is confronted by the sight of Frances in a wholly unsuitable and pretentious dress that Essex has forced her to wear to “shame” the Queen. After an unusually energetic dance, the ladies retire to change their linen. Frances’s dress disappears, and at the height of Essex’s fury and Frances’s grief, the Queen reappears flaunting Frances’s outrageous dress and threatens Essex with her displeasure.
Finally, Elizabeth, against the advice of her Council, appoints Essex as Lord Deputy of Ireland and bids him put down the rebel Tyrone. The ball ends on this ominous note.
1599–1603
The struggle in Ireland has not gone well, and London is fraught with gossip about Essex’s disastrous management of the war. He suddenly appears at the head of an armed force, determined to confront his adversaries at Court. Forcing his way into the Queen’s private chamber, he is horrified to find her half-dressed and as yet unadorned. She is now forced to choose between her affection and her rage at his breach of trust. They are both distraught; she orders him to make a final farewell and instructs Cecil to have Sir Robert put under guard.
The streets of London are in an uproar. The citizens receive the latest news through a Blind Ballad Singer, who provides it in the form of riddles. Finally, a City Crier announces that Essex is proclaimed a traitor for attempting, unsuccessfully, to persuade the citizens of London to rebel.
The Queen cannot bring herself to sign Essex’s death warrant. Her agonized indecision is interrupted when Frances, Penelope, and Mountjoy appear to beg for his pardon. The Queen promises Frances that, whatever she decides, their children shall be spared. This is not enough for Penelope, who haughtily rebukes the Queen. Enraged, Elizabeth signs the warrant.
Almost destroyed by Essex’s death, Elizabeth reviews her life as a Queen and as a woman. Urged out of her sickbed by Cecil, she addresses her people and renews her pledge to them before she can bring herself to announce James of Scotland, son of the executed Mary, Queen of Scots, as her successor. Her sun finally sets as her people, once more, express their love for her.
“Green leaves are we, red rose our golden Queen,
O crowned rose among the leaves so green!”

This production is made possible in part by a deeply appreciated gift from The Andrew W. Mellon Foundation.
OTSL gratefully acknowledges additional major support from the National Endowment for the Arts.
This production is also supported in part by the Whitaker Foundation, Emily Rauh Pulitzer, The Britten-Pears Foundation, and OTSL’s Rudolph W. Driscoll Endowment for Contemporary Opera.

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