Two Interpretations of ‘Gloriana’ as Music Drama: A new impression

Abstract

For those of us who were too young to see any of the original Covent Garden performances of Gloriana, the Sadler's Wells production on October 21 was a genuine revelation—not necessarily of a work of ineffable stature, but of one which had been almost completely misrepresented by the ebb and flow of reaction in the thirteen years since its composition. So far as judging the opera on its own terms is concerned, the criticisms of that gala première can be discounted, though one might register some distress that they were not confined to the distinguished diplomatic guests (whose musical opinions would naturally be suspect), but were echoed, in similar terms, in many corners of the informed press. Gloriana's submergence was practically a political event. Its subsequent rescue was thus bound to be accompanied by panegyrics of the work and polemics of its critics. Sadler's Wells did it proud, with one of the most spectacular and accomplished of its recent productions (by Colin Graham). QED: the work is a masterpiece.