Organization

Singer

Robert Buckland

Ténor

Jacob Lawrence

Hugo Hymas

Rory Carver

Sebastian Myrus

Basse

Marcus Farnsworth

Lóránt Najbauer

Conductor

Lionel Meunier

Dramaturge

Isaline Claeys

Sophie Junker

Soprano

Zsuzsi Tóth

Caroline Weynants

Viola Blache

Jan Kullmann

Alto

Alexander Chance

Helene Erben

David Feldman

Teatro Real de Madrid

Others

Vox Luminis

King Arthur

Madrid

Spain

Teatro Real

King Arthur Purcell

Public

Approved

During the 17th century, the British stage was conditioned by the most diverse political ups and downs, from the closure of all stages in times of the Puritan government of Cromwell to the flourishing, during the Restoration, of an intense theatrical life. These factors contributed to configure an original dramatic-musical genre independent of the Italian and French models: the English semi-opera. The main problem that this genre poses today – also known as dramatick opera – is the strong dissociation it establishes between the musical and the spoken parts. Thus, while in King Arthurthe dramatic part itself (the spoken one) tells us about the struggle between Arthur –Christian king of the Britons– and Oswald –pagan king of the Saxons– to win the hand of Princess Emmeline and, with her, the kingdom of England, the musical part is responsible for giving luster to various rituals, visions and entertainment strategically interspersed throughout the drama. The exorbitant duration –and relative interest– of the spoken parts with respect to the musical ones makes the concert version an ideal option to enjoy the music of Henry Purcell in his most fanciful register and oriented to popular taste.

English

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