BENJAMIN BRITTEN – WILLIAM PLOMER – GLORIANA – 1953
I have already written a long
review of the libretto. So let’s
start with the libretto and the music will come afterwards.
Gloriana was composed for the coronation of Elizabeth II and
it deals with Elizabeth I in her advanced age when sending the Earl of Essex to
Ireland in 1599 to fight against and bring to a brutal end the rebellion led by
Tyrone. He failed – or rather followed another agenda – and he comes back lo
London to try and bring Elizabeth down, which fails and he ends up sentenced to
death as a traitor, hence drawn, hanged, emasculated, eviscerated, quartered
and beheaded, each severed part being burned in front of his eyes since he was
brought down from his hanging before dying and was alive all along.
The first act shows how the
younger nobles in the court are impatient and very vindictive one against the
other in the pale and lackluster activities of the court like here a tournament
to win a ribbon from the Queen. The second act shows a visit of the Queen to Norwich where she is received with a masque and the
younger nobles who have to follow and want to have real action, in this case Ireland
for the Earl of Essex, are bored and on the verge of plotting. Elizabeth
I finally appoints the Earl of Essex to Ireland
with the mission of bringing the rebel leader Tyrone’s head back to London. In the third act
we discover he has failed and has come back to London after negotiating a truce with the
rebels but now he wants to push the Queen out. She of course reacts as the
Queen should and have him captured, tried and sentenced to death for treason,
the harshest possible sentence he could get with no possible remission in spite
of some women, Essex’s wife and sister, coming
to plead for clemency. The Queen is furious and signs the court sentence
immediately.
This opera sure shows the
sovereign behavior and attitude of the Queen who trusts nearly no one and does
not even follow her feelings or emotions, or hardly. It is always a game of
power and authority, especially since she is a woman, an old woman at that, and
she constantly has to make everyone feel and remember she is the one who has
authority and power. But apart from that the human and humane side of this
Queen disappears and in 1599 the important question of her successor is a
burning question that is not dealt with apart from a vague allusion to the King
of Scotland who must be James IV. Ireland
is not really on the back burner but it sure is not the main question for the
Queen, especially with Spain
that is menacing to send a new Invincible Armada. In fact we see this Queen and
her life at court or on an official visit out of London, or even in her private chamber as
being rather boring and trite. Benjamin Britten probably was not best inspired
in choosing this subject and the way the libretto deals with her is not exactly
fascinating. So many other episodes in her life would have been so much more
attractive and interesting.
The fact that this rather morbid
opera was produced for the coronation of Queen Elizabeth II could even be seen
as bad taste. The following lines sung by the Queen at the end of the first act
sound more like a testament than like the joy of a new and very young Queen
coming to the throne:
“O God, my
King, sole ruler of the world;
That pulled me
from a prison to a palace
To be a
sovereign Princess
And to rule
the people of England:
Thou hast
placed me high, but my flesh is frail:
Without Thee
my throne is unstable,
My kingdom
tottering, my life uncertain:
Oh maintain in
this weak woman the heart of a man!”
She was not a man in a woman’s
attire, nor a woman in a man’s position, because the “sovereign” in the English
tradition was not to be necessarily a man, a king or whatever. The sovereign
was supposed, and is still supposed to be beyond such gender differences. It
was a difficult position to hold for a woman in her very advanced age but she
did not have the heart of a man, far from it. She did not marry not because of
this supposed wavering gender orientation, but because any man would never have
accepted to yield power to her because she would have been the Queen and her
husband would have been the consort. It was easy for Mary I since her husband
was a king in Spain
and in no way dependent. It was a lot more difficult for Mary II who required
her husband who was not king on his own to be king along with her, an
absolutely unique situation with English Kings and Queens.
Queen Anne had it easy because she was a rather discreet women and her husband
was like a private affair hardly a rival for power. Victoria
had it rather easy too since her husband was what we would call an engineer
today, even maybe an industrialist, and he died very early leaving Victoria a widow for
most of her life and reign.
In this opera Britten is playing
with ghosts when Elizabeth II is arriving on the throne. He would have been
better inspired with Queen Anne, or even Queen Victoria in her early period
when Albert was planning the industrialization of the kingdom, and these
subjects would probably have been better received and understood.
And now I can move to the music.
I listened to the opera after
reading the libretto and writing the review on the libretto. I was at first,
with the first act, not very thrilled and yet the opera finally found some life
with the second scene of the second act right through to the end. In this scene
the plotting frustration of Essex is musically
so marvelously set that I felt like a magical moment, an epiphany. The music,
the tone, the power of the ternary accusation from Essex
against the Queen, “Caprice, rebuff, delay-,” what’s more repeated twice is
revealing more than anything he had said before. At this moment the music
reveals him, the plotter, the impatient ambitious cousin of this Queen he seems
to despise, and he will betray.
The third scene with the dancing
party is perfect as for the music because of the musical episodes that are just
mentioned in the libretto. Just as the Masque in Norwich was dull and without any dynamism in
the first scene of this act, the six or seven musical episodes are superb in
variety and vigor. The pavane
is majestuous without being pompous. The galiard
is energetic and lively. The lavolta is trepidating. The Morris dance is frenetic. The quartet is not a musical episode per se but only a sung
section with four singers, Essex, Lady Essex, Mountjoy and Lady Rich. It is
crucial because the Queen has humiliated Lady Essex by appearing in some kind
of trendy short dress Lady Essex had been wearing. The Queen has just played
the clown in that short dress on the Morris dance. Three characters of the
quartet are trying to reassure the fourth one, Lady Essex, that she had lost
nothing, and at the same time it is Lady Essex who reminds her husband that the
Queen may “have her conditions.” Then a very majestic march brings the Queen back, this time in her formal dress.
She announces to Essex she sends him to Ireland. Perfect counterpoint to
his plotting or something close to that.
And that leads to the final musical piece, a cornato. Essex Leads the
queen into it.
At this moment the music has
given to the story a power that per se it did not really have. We can then move
to the dramatic third act and the music, all along, turns scenes that could be
melodramatic into something both poignant and empathic with the Queen assuming
all her power and responsibility, and Essex
appears as pitiful and even pathetic, particularly when he forces his way into
the private room where the Queen is dressing. He sounds like a child and the
music makes him sound like a child in some kind of a temper tantrum. The second
scene is quite surprising. It is the story, news in fact served live, of what
is happening and how the rebellion is defeated even before ever starting. The
great idea is to have a street ballad singer tell what is happening. It sounds
so real in a way as if it were a direct report on some kind of market place radio
in the 16th century. The music is also maybe slightly anachronistic,
slightly only with some notes or small pieces of tunes that sound like a
western ballad.
The end of the rebellion is trite
in the scenario but the music is able to play on gross words and to make them
hyper funny though of an absolute bad taste. It is the chamber-pot small
vignette with the words onto which the music makes us focus our attention:
HOUSEWIFE: I’ll damp your
courage! Take that, you wastrel!
[the chamber pot, the people in the street running in all
directions, the onlookers laughing.]
BALLAD-SINGER: . . . But Goodwife
Joan will jeer at him Till pride itself is slain: It is her lot To keel the pot And mock the hero home again.
HOUSEWIFE & OLD MEN: it is
her/my lot to keel the pot
And mock the hero home again.
Without the music it is not much,
but with the music it is really effective.
After that hilarious little scene
we go back to a serious tone and dense decisions. The Queen has to sign the
warrant sending Essex onto his drawn way to
the scaffold. It is all the more dramatic, even maybe tragic, since she sends
her own cousin to be hanged and she takes a swift decision because Lady Essex
and Lady Rich try to cool her. Lady Essex invokes her or their children, hers
and her husband’s. That could be seen as a provocation due to the “virginal”
status of the Queen. But the straw that breaks the camel’s back is the
intervention of Lady Rich, what’s more with Mountjoy present, her lover; though
she is married of course. She was in other words absolutely out of place, even
if she was Essex’s sister.
And that dynamic scene in which
after her signing the warrant Elizabeth
will practically only speak turns sad because then she is an old lady
contemplating her death coming slowly, maybe too slowly. The tone is once again
carried by the music because the words are rather trite like her very last
words: “I see no weighty reason that I should be fond to live or fear to die.”
These last words are definitely
not the type of ethics we can expect on a coronation day of a young Queen, but
the music has created a perspective that makes the trite words nearly empathetic
and like a friendly confidence.
A last remark is about the
stranger in this opera. Of course Ireland is behind with Tyrone and
the rebellion. Of course Spain is behind too, and even France, though in Spain
Philipp II has just died and France is just some kind of inside joke in England
where the Kings or Queens will pretend to be the King or Queen of France up to
the end of the Stuarts. But the real stranger is in fact Essex who is not able
to understand that his attitude makes him unacceptable, in fact disposable. He
is the cousin of the Queen and he treats her as a pure enemy, as someone he
does not even respect enough not to force his way into her room when she is
dressing. Despicable.
Dr Jacques COULARDEAU
# posted by Dr. Jacques COULARDEAU @ 2:44 PM