King Arthur: Difference between revisions
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''King Arthur, or The British Worthy'' | Semi-opera first performed in 1691 in London. Full title: ''King Arthur, or The British Worthy''. Music composed by [[Henry Purcell]]. Libretto by [[John Dryden]]. | ||
The semi-opera tells the story of | The semi-opera consists of 5 acts and 12 musical pieces. It tells the story of the mythical British king [[Arthur]], more precisely about his attempt to rescue his beloved and blind fiancée Emmeline, who was abducted. It deals with all kinds of magical, supernatural figures and ideas and has the central message that love is the strongest forces of all. Dryden’s text is a motley mix of English myths, fairy tales and legends. It was originally meant to glorify Charles II, but due to his death the focus was set on William III instead. [Please explain: how can a story about love glorify a monarch? And: trivial pursuit question: who reigned between Charles II and William III? Why does this monarch not figure?] | ||
The prologue, representing the restoration of Charles II, was expanded into an independent opera: ''Albion and Albanius'', which actually made it onto the stage earlier than ''King Arthur''. | The prologue, representing the restoration of Charles II, was expanded into an independent semi-opera: ''Albion and Albanius'', which actually made it onto the stage earlier than ''King Arthur''. | ||
In 1970 the | In 1970 the piece was revised by Colin Graham and Philipp Ledger. They added music from other pieces by Purcell, because up until then only 2 of the characters were singing while the others were speaking parts. But even in this edition, many parts are still purely speaking parts, accompanied by music in the background, putting the libretto and plot in the centre of the audience’s attention. | ||
Still, Purcell’s music from King Arthur, especially the Chaconne at the opera’s beginning and the ending’s trumpet tunes, are still well-known and popular and ''King Arthur'' is known and treated as the typical English opera. | Still, Purcell’s music from King Arthur, especially the Chaconne at the opera’s beginning and the ending’s trumpet tunes, are still well-known and popular and ''King Arthur'' is known and treated as the typical English opera [really? sources for this claim?]. | ||
German new-wave artist Klaus Nomi made the so-called "Frost Song" popular (without too many people aware that it stems from ''King Arthur''): http://www.openculture.com/2011/08/klaus_nomi_the_brilliant_performance_of_a_dying_man.html | |||
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Sources: | Sources: | ||
Barnard, John. | Barnard, John. "Dryden and Patronage." ''The Cambridge Companion to John Dryden''. Ed. Steven Zwicker. Cambridge: CUP, 2004. 199-220. | ||
Dent, Edward. ''Foundations of English Opera. A Study of Musical Drama in England during the Seventeenth Century.'' New York: Da Capo Press, 1965. | Dent, Edward. ''Foundations of English Opera. A Study of Musical Drama in England during the Seventeenth Century.'' New York: Da Capo Press, 1965. | ||
Revision as of 16:27, 18 June 2013
Semi-opera first performed in 1691 in London. Full title: King Arthur, or The British Worthy. Music composed by Henry Purcell. Libretto by John Dryden.
The semi-opera consists of 5 acts and 12 musical pieces. It tells the story of the mythical British king Arthur, more precisely about his attempt to rescue his beloved and blind fiancée Emmeline, who was abducted. It deals with all kinds of magical, supernatural figures and ideas and has the central message that love is the strongest forces of all. Dryden’s text is a motley mix of English myths, fairy tales and legends. It was originally meant to glorify Charles II, but due to his death the focus was set on William III instead. [Please explain: how can a story about love glorify a monarch? And: trivial pursuit question: who reigned between Charles II and William III? Why does this monarch not figure?]
The prologue, representing the restoration of Charles II, was expanded into an independent semi-opera: Albion and Albanius, which actually made it onto the stage earlier than King Arthur.
In 1970 the piece was revised by Colin Graham and Philipp Ledger. They added music from other pieces by Purcell, because up until then only 2 of the characters were singing while the others were speaking parts. But even in this edition, many parts are still purely speaking parts, accompanied by music in the background, putting the libretto and plot in the centre of the audience’s attention. Still, Purcell’s music from King Arthur, especially the Chaconne at the opera’s beginning and the ending’s trumpet tunes, are still well-known and popular and King Arthur is known and treated as the typical English opera [really? sources for this claim?]. German new-wave artist Klaus Nomi made the so-called "Frost Song" popular (without too many people aware that it stems from King Arthur): http://www.openculture.com/2011/08/klaus_nomi_the_brilliant_performance_of_a_dying_man.html
Sources:
Barnard, John. "Dryden and Patronage." The Cambridge Companion to John Dryden. Ed. Steven Zwicker. Cambridge: CUP, 2004. 199-220.
Dent, Edward. Foundations of English Opera. A Study of Musical Drama in England during the Seventeenth Century. New York: Da Capo Press, 1965.
Fath, Rolf. Reclams Opernlexikon. Stuttgart: Philipp Reclam jun., 1989.
Price, Curtis Alexander. Henry Purcell and the London Stage. Cambridge: CUP, 1984.
Schreiber, Ulrich. Opernführer für Fortgeschrittene. Eine Geschichte des Musiktheaters von den Anfängen bis zur französischen Revolution. Frankfurt a.M.: Bärenreiter-Verlag, 1988.