King Arthur
or The British Worthy.
A Dramatick Opera.

by Henry Purcell and John Dryden

Direction, conception, scenography Thomas Hengelbrock
Choreography Verena Weiss
Costumes Gabi Bartels
Lighting Dietrich Körner

Speaker Graham F. Valentine

Soprano Constanze Backes, Andrea Brown,
Simone Kermes, Laurie Reviol

Tenor Benoit Haller, Henning Kaiser

Bass Manfred Bittner, Marek Rzepka, Johannes Mannov

Balthasar Neumann Choir and Soloisten
Balthasar Neumann Ensemble

The author John Dryden and the composer Henry Purcell were highly regarded artists in England of the late seventeenth century. With King Arthur they turned their attention to a founding myth of the English nation and developed a subject that offered numerous possibilities of association in the politically turbulent period of the Restoration. Aspects applicable to the twenty-first century can easily be found.

King Arthur is a semi-opera, an English variant of opera: composed parts with dramatic function, which comment on the story, are interpolated into a spoken drama. These musical sections, so-called masques, are not infrequently linked to dance and action on the stage. It is an idiosyncratic, sophisticated concept of musical theater with which Dryden and Purcell made an impression at the 1691 premiere in London.

Thomas Hengelbrock developed a condensed version that weaves together the impressive text and the breathtaking music into a new, compelling dramatic format in which the Scottish actor Graham F. Valentine impressively and unforgettably embodies all the figures. Besides its musical strengths, the Balthasar Neumann Choir displays its acting talent and transports the audience by the simplest of means into a world of poetry and drama.

“Twenty-two impressively talented singers, now as a chorus, now as soloists – and they also act – they perform, they dance as if Pina Bausch’s companions had again wound up in the Baroque period, they mourn, they fight, they mislead – as spirits – the people, they freeze in winter, they make love, and become fixed in nationalistic poses – this physical theater effortlessly transports Purcell’s music into the twenty-first century. Three and a half hours, without an intermission, with deepest earnestness, with subtlest humor – I suspect that Merlin himself strides disguised through the room and casts a spell over the audience. Where were we before – and were so blissful? I don’t know.”
WDR

“The performance is captivating. Hengelbrock’s fantastic orchestra is just as convincing as his velvety-voiced choir. The semi-opera was a complete success.”
Opernwelt

“The audience of the international Triennale was totally fascinated: standing ovations.”
Opernnetz