Name: King Arthur
Start: 2022-03-27T00:00:00.000Z
End: 2022-03-27T00:00:00.000Z
Location: Teatro Real

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

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Chefdirigent Musiktheater

Choir

Choreographer

Chorus Director

Chorus master

Composer

Costume designer

Dancer

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Contralto

Bass-baritone

Bass

Mezzo-soprano

Baritone

Countertenor

Tenor

Child vocalist

Continuo

Silent

Spoken

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

King Arthur by Purcell, sek 27 kov 2022, Nuo (2022/2022), Dirigentas Lionel Meunier, Teatro Real, Madrid, Spain

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