ENO's Gloriana was a heartbreaking portrait of a vulnerable queen Review: ⭐⭐⭐⭐
If you were playing a game of odd-one-out with Benjamin Britten’s operas, you could make a strong case for. Composed at the height of Britten’s status and success in 1953, it’s a strange beast – a luscious musical tangle of public ambition and private art.
Startling audiences who expected a blandly ceremonial celebration of Elizabeth I to mark the coronation of Elizabeth II, with something much more uncomfortable, the work that was too intimate at its premiere is now often seen as too stiffly dutiful: a throwback of a 20Where Vaughan Williams’s homages to Tudor England glow with affection , Britten’s is all arms-length irony.
A one-night-only “concert staging”’ is a neat solution to a piece of dramatic artifice whose stylised gestures are only ever exaggerated on stage. Playing to a full house, English National Opera ’s performance was acutely topical: not just abut a reminder of the shifting sands and empty posturing of political power. “The art of government is in procrastination and delay,” declares Robert Cecil . Rarely has the line prompted a more bitter laugh.
Ruth Knight’s light-touch staging was perfectly judged. The score does the scene-setting and Martyn Brabbins’s orchestra – spilling gloriously out into boxes either side of the stage – gave us Tudor technicolour: blistering brass sallies, fruity woodwind, and thrusting percussive drive. The chorus too – ranked on risers at the back of the stage – gave us crisp Choral Dances and bags of colour.
Belgique Dernières Nouvelles, Belgique Actualités
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