King Arthur

Staatsoper Unter den Linden (Berlin State Opera), Berlin, Germany

Scene 1 from the opera "King Arthur", photo 2

Scene 2 from the opera "King Arthur", photo 3

Scene 3 from the opera "King Arthur", photo 4

Scene 4 from the opera "King Arthur", photo 5

Scene 6 from the opera "King Arthur", photo 6

Scene 7 from the opera "King Arthur", photo 7

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7 PM

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Important Info

Type: Semi-opera

City: Berlin, Germany

Starts at: 19:00

Acts: 5

Intervals: 1

Duration:

Sung in: English

Titles in: English,German

Ticket delivery: E-Tickets

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

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You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Overview

King Arthur is a central figure in legends about the origins of the island kingdom of Britain.The "British worthy" is also at the centre of this "dramatick opera" by John Dryden and Henry Purcell, the most original English composer of the baroque. In the opera, Arthur has to defend England against the Saxon invaders, who have descended upon the land like a force of nature.

Arthur’s chance of loving bliss with his betrothed, the blind Emmeline, is under threat too, as the Saxon king Oswald also lays claim to her hand in marriage. In their conflict, both Arthur and Oswald are aided, led astray and rescued by wizards and spirits, but ultimately everything – Emmeline’s fate as well as England’s – comes down to a duel between the two adversaries.
"King Arthur" is a quintessentially British semi-opera. It creates a magical symbiosis of theatre, music and dance, and effortlessly combines sublime art of great seriousness with humour and spectacle. While the roles of the main characters are acted rather than sung, the opera also offers rich material for impressive musical tableaus performed by soloists and a chorus: countless fantastical events, pagan rituals, romantic moments, magical battles and a variety of natural and supernatural phenomena.

History

Premiere of this production: 30 November 1690, Queen's Theatre, Dorset Garden, London

King Arthur, or The British Worthy, is a semi-opera in five acts with music by Henry Purcell and a libretto by John Dryden. It was first performed at the Queen's Theatre, Dorset Garden, London, in late May or early June 1691. The plot is based on the battles between King Arthur's Britons and the Saxons, rather than the legends of Camelot (although Merlin does make an appearance).

Synopsis

Act 1
Scene 1

1. Overture
2. Air
3. Overture

The Britons prepare for the battle which will decide who will rule their land: the Christian Arthur or the heathen Saxon Oswald. It augurs well for them: it is Saint George's Day and the Britons have already defeated the Saxons in ten battles. Conon, Duke of Cornwall, explains the origins of the war. Oswald had sought his daughter, the blind Emmeline's, hand in marriage but she rejected him because she is in love with Arthur. Arthur enters reading a letter of support from his magician Merlin. He meets Emmeline and tries to explain to her what seeing means. A trumpet calls Arthur to battle.

Scene 2: The scene represents a place of Heathen worship; The three Saxon Gods, Woden, Thor, and Freya placed on Pedestals. An Altar.

Oswald and his magician Osmond sacrifice horses and pray to the Saxon gods for victory in the coming battle. Osmond's servant, the spirit Grimbald, arrives and says he has persuaded six Saxons to offer themselves as a human sacrifice. He also admits he has lost control of the other spirit, Philidel, "a puleing Sprite" who "Sighs when he should plunge a Soul in Sulphur,/As with Compassion touched of foolish man." Philidel was supposed to have drawn up the vapours from the marsh and blown them in the face of the Christian soldiers but when he saw the crosses on their banners, he refused to carry out this task. Osmond says he will punish Philidel later.

The sacrifice scene:

4. "Woden, first to thee" (Tenor, bass and chorus)
5. "The white horse neigh'd aloud" (Tenor and alto)
6. "The lot is cast, and Tanfan pleas'd" (Soprano)
7. "Brave souls, to be renown'd in story" (Chorus)
8. "I call you all to Woden's hall" (Alto and chorus)

Scene 3: "A battle supposed to be given behind the Scenes, with Drums, Trumpets, and military Shouts and Excursions."

The Britons sing a song of triumph as the Saxons flee the battlefield:

9. "Come if you dare" (Symphony followed by tenor and chorus)

Act 2
Scene 1

The tender-hearted Philidel pities those soldiers who have lost their lives in the battle. Merlin arrives in his chariot and orders Philidel to tell him who he is. Philidel explains he is a spirit of the air and one of the fallen angels, but he has repented. He deserts Osmond and joins Merlin. Philidel tells Merlin that Grimbald is planning to deceive the victorious Britons by leading them to drown in rivers or fall off cliffs. Merlin leaves Philidel his band of spirits to save the Britons from this trap. Grimbald arrives disguised as a shepherd guiding Arthur and his men. Philidel and his spirits and Grimbald and his spirits compete to win Arthur's trust:

10. "Hither this way" (Chorus)
11. "Let not a moonborn elf deceive thee" (Grimbald)
12. "Hither this way" (Chorus)
13. "Come follow me" (Philidel and spirits)
Grimbald admits defeat, vows revenge on Philidel and vanishes.

Scene 2: A pavilion

Emmeline and her maid Matilda await news of the battle. To pass the time, a "Crew of Kentish Lads and Lasses" entertain them with songs and dances:

14. "How blest are the shepherds, how happy their lasses" (Shepherd and chorus)
15. "Shepherd, shepherd, leave decoying" (Two shepherdesses)
16a. Hornpipe
16b. "Come, shepherds, lead up a lively measure" (Chorus of shepherds)
Oswald and his comrade Guillamar stray from the battlefield, chance upon the pavilion and kidnap Emmeline and Matilda.

Scene 3

A group of Britons continue the battle.

Scene 4

Arthur holds a parley with Oswald and begs him to return Emmeline, offering him land from the River Medway to the Severn, but Oswald refuses to relinquish her.

17. Second Act Tune: Air

Act 3
Scene 1

Arthur and his men attack Oswald's castle but Osmond's magic defeats them. Osmond has conjured a "Magick Wood" which bars access to the castle. Merlin promises to help Arthur reach Emmeline and restore her sight with potion in a vial.

Scene 2: A deep wood

Grimbald catches Philidel as he scouts the enchanted wood for Merlin. Philidel pretends to submit but secretly casts a spell on Grimbald which renders him powerless to move. Merlin asks Philidel to guide Arthur through the wood and gives him the vial, which the spirit uses to rid Emmeline of her blindness. Emmeline is amazed at the new world before her eyes. Merlin's spells also allow Arthur and Emmeline to meet for a brief moment, but Emmeline will not be free until the enchanted wood is destroyed. Osmond enters, intent on seducing Emmeline for himself, having drugged his master Oswald.

Osmond tries to win Emmeline over by showing her a masque acted by spirits. He conjures up a vision of "Yzeland" and "farthest Thule".

The Frost Scene
18. Prelude
19. "What ho! thou genius of this isle" (Cupid wakes the "Cold Genius", who is the spirit of Winter).
20. "What Power art thou, who from below..." (The Cold Genius reluctantly wakes from his slumbers)
21. "Thou doting fool" (Cupid)
22. "Great Love, I know thee now" (The Cold Genius acknowledge's love's power)
23. "No part of my dominion shall be waste" (Cupid)
24. Prelude
25. "See, see, we assemble" (Chorus and dance of the Cold People)
26. "'Tis I that have warm'd ye" (Cupid, followed by ritornello and chorus of Cold People: "'Tis Love that has warm'd us")
27. "Sound a parley" (Cupid and Cold Genius, followed by ritornello and chorus)
28. Third Act Tune: Hornpipe
The masque fails to persuade Emmeline and Osmond resorts to force but the captive Grimbald's shouts interrupt him. Osmond goes to free him, promising Emmeline he will be back.

Act 4
Scene 1

The freed Grimbald warns Osmond that Arthur is approaching the enchanted wood, where Merlin has undone his spells. Osmond decides to replace the threatening spells with seductive ones.

Scene 2: Scene of the Wood continues

Merlin leaves Arthur at the entrance to the wood with the spirit Philidel as his guide. Philidel has a wand which will banish all magical deception. Arthur hears seductive music from two Sirens bathing in a stream.

29. "Two Daughters of this Aged Stream are we"
Though tempted, Arthur realises it is an illusion and presses on. Next, "Nymphs and Sylvans" emerge from the trees singing and dancing.

30. Passacaglia: "How happy the lover"
Again, Arthur rejects them and begins the task of destroying the wood. When he chops a tree with his sword, blood pours out of it and the voice of Emmeline cries out in pain. It convinces Arthur that it is Emmeline, who has been turned into a tree by Osmond, and Arthur is just about to embrace the tree when Philidel reveals it is really a trick by Grimbald. Philidel captures Grimbald and Arthur cuts down the tree, dispelling the enchantment from the wood and freeing the way to Oswald's castle. Philidel drags off Grimbald in chains.

31. Fourth Act Tune: Air

Act 5
Scene 1

Now his magic has been destroyed, Osmond is terrified of the approaching Arthur. He decides he must persuade Oswald to fight for him.

Scene 2

32. Trumpet tune

Arthur and the Britons are preparing to storm the castle when Oswald comes out and challenges his rival to single combat for the hand of Emmeline and the crown. They fight and Arthur disarms Oswald. Arthur spares his life but tells Oswald he and his Saxons must return to Germany because the Britons "brook no Foreign Power/ To Lord it in a Land, Sacred to Freedom." Osmond is cast into a dungeon with Grimbald. Arthur is reunited with Emmeline and the work ends with a celebratory masque.

The final masque: Merlin conjures a vision of the ocean around Britain. The Four Winds create a storm which is calmed by Aeolus:

33. "Ye Blust'ring Brethren of the Skies" (Aeolus)
allowing Britannia to rise from the waves on an island with fishermen at her feet.

34. Symphony (The fishermen dance)
35. "Round thy Coasts, Fair Nymph of Britain" (Duet for Pan and a Nereid)
36. "For Folded Flocks, on Fruitful Plains" (Trio of male voices)
37. "Your hay it is Mow'd, and your Corn is Reap'd" (Comus and peasants)
38. "Fairest Isle" (Venus)
39. "You say 'tis love" (Duet for "He" and "She"; according to the printed libretto, the words were written by "Mr. Howe")
40. "Trumpet Tune (Warlike Consort) (Merlin reveals the Order of the Garter)
41. "Saint George, the Patron of our Isle" (Honour and chorus)
42. Chaconne (The masque ends with a "grand dance")

Venue Info

Staatsoper Unter den Linden (Berlin State Opera) - Berlin
Unter den Linden 7

The Staatsoper Unter den Linden is one of the oldest and largest musical theaters in Germany. Founded in 1742 as the Royal Court Opera (German: Königliche Hofoper) under Frederick II. Located in Berlin, on the main street Unter den Linden.

King Frederick II of Prussia shortly after his accession to the throne commissioned the original building on the site. Construction work began in July 1741 with what was designed by Georg Wenzeslaus von Knobelsdorff to be the first part of a "Forum Fredericianum" on present-day Bebelplatz. Although not entirely completed, the Court Opera (Hofoper) was inaugurated with a performance of Carl Heinrich Graun's Cesare e Cleopatra on December 7, 1742. This event marked the beginning of the successful, 250-year co-operation between the Staatsoper and the Staatskapelle Berlin, the state orchestra, whose roots trace back to the 16th century.

In 1821, the Berlin Opera—hosted at the Schauspielhaus Berlin—gave the premiere of Weber's Der Freischütz. In 1842, Wilhelm Taubert instituted the tradition of regular symphonic concerts. In the same year, Giacomo Meyerbeer succeeded Gaspare Spontini as General Music Director. Felix Mendelssohn also conducted symphonic concerts for a year.

On August 18, 1843 the Linden Opera was destroyed by fire. The reconstruction of the building was supervised by architect Carl Ferdinand Langhans, and the Königliches Opernhaus (Royal Opera House) was inaugurated the following autumn by a performance of Meyerbeer's Ein Feldlager in Schlesien. In 1849, Otto Nicolai's Die lustigen Weiber von Windsor was premiered at the Royal Opera House, conducted by the composer.

1945: The Lindenoper was once again destroyed on February 3. The concerts were relocated to the Admiralspalast and the Schauspielhaus. On 18 February, Karajan conducted his last symphonic concert with the Staatskapelle in the Beethoven hall.

The second rebuilding took a long time. From 1945, the opera company played in the former Admiralspalast (today's Metropoltheater). From 1949, the company served as the state opera of East Germany. It moved back to its original home after the rebuilding in freely adapted baroque forms was finally completed in 1955. The newly rebuilt opera house was opened, again, with Wagner's Die Meistersinger von Nürnberg. The capacity is now about 1,300. After the Berlin Wall was built in 1961, the Opera was somewhat isolated, but still maintained a comprehensive repertoire that featured the classic and romantic period together with contemporary ballet and operas.

After reunification, the Linden Opera rejoined the operatic world. Important works that had already performed in the past were rediscovered and discussed anew within the framework of a "Berlin Dramaturgy". Baroque Opera in particular was at the center of attention, with Graun's Cleopatra e Cesare, Keiser's Croesus, Florian Leopold Gassmann's L'opera seria and Scarlatti's Griselda. These works were performed by Belgian conductor René Jacobs together with the Akademie für Alte Musik Berlin and the Freiburger Barockorchester on period instruments. In the 1990s, the opera was officially renamed Staatsoper Unter den Linden.

In 1992, the Argentine-Israeli conductor Daniel Barenboim was appointed Music Director. In 2000, the orchestra (according to its official website) elected Barenboim "conductor for life." During the 2002 Festtage, he led a Wagner cycle in ten parts, a production created in collaboration with director Harry Kupfer.

Since 2009, the Berlin State Opera has been undergoing considerable renovation work led by German architect HG Merz. The roof of the opera building was raised and the proscenium prolonged to improve the acoustics. Other renovation and extension works include the director's building, the below-ground connection building and the depot building. The latter will house the new rehearsal center.

The house was reopened in 2017 with premieres of Humperdinck's Hänsel und Gretel and Monteverdi's L'incoronazione di Poppea on one weekend.