King Arthur (opera)

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King Arthur, subtitled "The British Worthy", is an opera in five acts, with a libretto by John Dryden and music by Henry Purcell. The opera was first performed at the Queen's Theatre, Dorset Garden, London, in early summer of 1691. The plot is based on King Arthur's battles between the Saxons and the Britons, rather than the legends of Camelot (although Merlin does make an appearance). The action is more in the mode of pantomime than drama, including such characters as Cupid, Honour, and Venus plus the more Nordic gods Woden, Thor, and Freya. The tale centres greatly on Arthur's endeavours to recover his fiancée, the blind Cornish Princess Emmeline, who has been abducted by his arch-enemy, the Saxon King Oswald of Kent.

King Arthur is not what is conventionally understood to be an opera today, in that the principal characters do not sing. They recite their dialogue to the accompaniment of the music. This is sometimes described as "semi-opera". However, in spite of great theatrical special effects, it is neither a true restoration spectacular, nor can it really be described as a drama. This is not uncommon in 17th century English opera. In the Italian tradition of opera, music played an important part in the production, but in early English opera music tended to be thought of more as embellishment to the dialogue and plot, and this is the case in King Arthur. Had the talented Purcell not died young (aged 36), he might well have reversed this relationship; however, in King Arthur, his music reflects his junior standing to the established and celebrated Dryden. Although Purcell's work is subordinate to Dryden's, King Arthur contains some of Purcell's most lyrical music, much of it inspired by French dance rhythms and adventurous (for the day) harmonies.

The third act takes the form of a masque, becoming a play within a play, and is chiefly concerned with how true love can thaw the frigid heart. Purcell's music here is at its most evocative as quivering, almost shivering, notes and tones suit the atmosphere of the act.

The final scene hints that the plot may be an allegory of the contemporary political situation in England during the reign of Charles II. This hint is further stressed by the concluding music, "Fairest Isle", a song exalting the glories, splendour, and beauties of Britain.

King Arthur is still performed regularly. Ironically, it is now more regularly referred to as work by Purcell than Dryden, which is a reversal of its 17th century evaluation.