Opera For Everyone – Ep. 134: King Arthur by Henry Purcell

Release Date: September 8, 2025
Host: Pat Wright
Guest: Gerald Malone (Opera Critic, Board Member – Metropolitan Opera Club, Met Opera Club Treasurer, website: therestisopera.com)

Episode Overview

In this enriching episode, Pat Wright welcomes back opera critic Gerald Malone to deep-dive into Henry Purcell's "King Arthur," with a libretto by the poet John Dryden. With passion, clarity, and wit, the hosts demystify a semi-opera often left in the shadows of the operatic canon, exploring its musical brilliance, political undertones, and storytelling quirks. This episode is perfect for opera newcomers and fans alike—full of historical context, musical analysis, laughter, and engaging explanations of 17th-century England’s sociopolitical climate.

Main Themes & Purpose

• Demystifying “King Arthur”: Making sense of its unique form, mythic backdrop, and absence of expected Arthurian figures.
• Politics and Patriotism: Exploring the opera as an expression of British identity during a turbulent era.
• Operatic Structure & Performance: How the music, choral writing, and staging choices create its impact, and the challenges of modern presentation.
• Myth, Magic, and Machinery: The role of supernatural elements and spectacle in Purcell’s and Dryden’s storytelling.
• The Joy of Discovery: Celebrating lesser-known operas and making opera accessible and enjoyable for everyone.

Key Discussion Points

1. Introducing Gerald Malone and Getting Comfortable with Opera

• [00:27–02:23]
  Pat introduces Gerald, highlighting his opera expertise and playful "scuttlebutt" column mediated by his late West Highland Terrier, Muckle.
  • “Co presenting this with you is probably now the star in my firmament.” – Gerald ([01:51])
• The pair stress that understanding opera before seeing it enhances enjoyment and encourage listeners to seek out live performances.

2. Historical Backdrop: The Political Earthquake of Late 17th-Century Britain

• [04:22–07:50]
  The opera’s creation amid royal turnover, religious strife, and the Glorious Revolution.
  • Dryden’s and Purcell’s allegiances and the political necessity of celebrating British Protestantism.
  • “Glorying Britain and William and Mary was a central political purpose.” – Gerald ([06:31])
• Theaters’ reopening and the return of public performance after the Commonwealth.

3. Purcell and Dryden: The Librettist/Composer Dream Team

• [08:33–09:48]
  Purcell’s brief but prolific career, and Dryden’s standing as an English poet.
  Comparison to Purcell’s other semi-operas (e.g., “Dido and Aeneas,” “The Fairy Queen”).
• The shifting thematic focus—from classical myths (“Dido”) to politically pointed British legend (“King Arthur”).

4. Myth vs. Expectation: There Is No (Singing) King Arthur

• [09:50–11:18]
  King Arthur is talked about but never appears as a singing character; no Round Table, Guinevere, or Lancelot.
  • “There’s no Guinevere, there’s no Lancelot, there’s no Round Table.” – Gerald ([10:18])
• Explanation of the English “semi-opera” form—crossword between theater and sung interludes/masks.

5. Act I: Britons vs. Saxons, Sacrifice, and Satire

• [11:18–16:58]
  The opera quickly pivots to the Saxons’ sacrificial rites—animal and human—praying to Woden, Freya, and Thor, with comic and political undertones.
  • “Brave souls to be renowned in story. You really want to go and do this? Run to the slaughter, and they say, die and reap the fruit of glory.” – Gerald ([15:23])
• Beautiful choral writing and “sumptuous” music.
• All the epic battle takes place offstage (likely due to practical theater limitations).
  • "This is an opera that shows you all the boring bits. But saying it so beautifully..." – Gerald ([21:28])

6. Semi-Opera Staging: The Role of Narration and Adaptation

• [22:00–24:58]
  Challenge with lost original dialogue; necessity of narration in modern performances to bridge sung episodes.
  • “You’ve got to have a way to tell this story…that was done in Purcell’s day.” – Pat ([23:53])

7. The Supernatural Contest: Merlin, Spirits, and the Battle of the Choruses

• [25:30–36:00]
  Introduction of Merlin (good sorcerer), Oswald and his sorcerer Osmund (bad), and their airy and earthy spirits: Philidel (repentant, now good) and Grimbold (earthy, loyal to the Saxons).
• “If you and I were walking down the street and we encountered an earthy or an airy spirit, Pat, would you be able to tell the difference?” – Gerald ([27:09])

8. Act II: ‘This Way, That Way’—Misdirection and Comic GPS

• [27:59–35:25]
  The spirits’ competing choruses try to lure Britons to safety or their doom.
  • "It's the battle of the choruses and Philidel wins...your GPS has gone to the blink." – Gerald ([29:24]/[35:25])
• Dramatic and musical playfulness; eventual victory for Philidel, Grimbold’s disappearance “with a flash.”

9. Diversion and Pastoral Comic Relief: Shepherds & Naughty Flutes

• [36:06–44:14]
  Introduction of Emmeline (blind, betrothed to Arthur) and her friend Matilda.
• Scene featuring suggestive flirtation over “flutes” (marriage required before acceptance!)
  • “I'm somewhat surprised that the censor didn't climb in at this stage…these flutes are exceptionally naughty.” – Gerald ([39:59])
  • Notable quote: “No flutes until there’s a marriage contract.” – Pat ([40:34])

10. Dark Turn: Abduction, Enchantment, and the Spectacle of Magic

• [45:38–49:16]
  Emmeline and Matilda are kidnapped by Oswald, sparking a rescue mission.
• Grimbold’s magical fortification; Arthur and company face terrifying illusions as they attempt a rescue.
  • “Arthur is far braver than they are. They all run away, stand still, one of them hides behind a tree...trees are illusions as well.” – Gerald ([48:00])

11. Act III: The Famous Frost Scene—Cold Genius Awakes

• [51:02–58:13]
  Osmond attempts to freeze Emmeline’s heart; Cupid intervenes, waking the “Cold Genius” (embodiment of the frozen land), leading to Purcell’s orchestral “shivering” effects—a highlight for music lovers.
  • “One of Purcell’s very clever tricks is to use the orchestra...to conjure up this great feeling of cold...picked up by Vivaldi...extremely powerful.” – Gerald ([55:54])
• Cold Genius aria: “Let me, let me freeze again to death.” ([74:18])

12. Librettist & Composer Partnership: Dryden and Purcell

• [64:14–68:30]
  Commendation for Dryden’s poetic flexibility and partnership with Purcell; reflection on the importance of accomplished writers in opera.

13. Opera Helmet Quiz: Recap and Role-Call

• [68:31–71:48] Gerald delivers a lively, humorous summary of key plot beats thus far.

14. Act IV: Temptations, Illusions, and the Tests of Arthur

• [82:23–89:12]
  Osmund conjures seductions and magical temptations (nymphs, sylvans) to distract Arthur; he withstands them.
  • "I'm holier than thou!...Arthur resists the sirens and moves on..." – Gerald ([84:29])
• More illusions: Emmeline appears to be trapped in a bleeding tree (it's a trick!), Grimbold is captured.

15. Resolution: Single Combat, Reconciliation, and Patriotic Triumph

• [90:13–94:09]
  Oswald is released, proposes single combat with Arthur; generosity and unity win out.
  • “It’s an amazing comment on the cleverness of a politician to extend mercy, to bring into the fold…” – Pat ([91:46])
• The final act launches into mythic and patriotic celebration: Britannia, fishermen, Pan, peasants, and more.

16. Act V: Peasant Merriment and Glorious Patriotism

• [95:27–113:01]
  Folk-inspired choruses celebrate British prosperity and peace; all mythic gods lend support.
  • Brexit jokes and metaphors tie England’s past and present ([96:20]).
  • “...it's a blindingly brilliant story. Spirits, love and human life. All human life is in this opera.” – Gerald ([113:30])

17. Grandeur of the Order of the Garter and St. George

• [108:02–110:30] Explanation of the Order’s symbolism, historical origins, and its place in the final patriotic choruses.
  • “Bringing St. George in and tying him in with the Garter is a very important political statement.” – Gerald ([109:35])

Notable Quotes & Memorable Moments

• [06:31] “Glorying Britain and William and Mary was a central political purpose.” – Gerald
• [15:23] “Brave souls to be renowned in story...run to the slaughter and they say, die and reap the fruit of glory.” – Gerald
• [21:28] “There’s an argument for saying that this is an opera that shows you all the boring bits...But saying it so beautifully...” – Gerald
• [29:24] “Your GPS has gone to the blink...It's a chorus of this way, that way...” – Gerald
• [40:34] “No flutes until there’s a marriage contract.” – Pat
• [55:54] “One of Purcell’s clever tricks is to use the orchestra...to conjure up this great feeling of cold.” – Gerald
• [68:31] “And I think of this as the GPS chorus. I would advise the Brits to proceed to the route. Firm is the turf and fit for the bearing.” – Gerald
• [84:29] “Holier than thou. Arthur resists the sirens and moves on through the enchanted woodland. But there’s more.” – Gerald
• [91:46] “It’s an amazing comment on the cleverness of a politician to extend mercy, to bring into the fold as opposed to trying to utterly defeat.” – Pat
• [113:30] “This is utterly accessible. It's a blindingly brilliant story. Spirits, love and human life. All human life is in this opera.” – Gerald

Timestamps for Key Segments

• 00:27 – Pat introduces Gerald, sets the show’s mission
• 04:22 – Historical context: Dryden, Purcell & royal politics
• 09:50 – No singing King Arthur: expectations vs. opera structure
• 11:18 – Saxon sacrifice scene; choral highlights
• 22:00 – The challenge of semi-opera staging and narration
• 27:59 – The battle of spirits: "This way, that way"
• 36:11 – Emmeline and Matilda: shepherd’s diversion and comic subtext
• 45:38 – Abduction, magic fortress, and illusions
• 51:02 – The Frost Scene: Cupid, the Cold Genius, and shivering strings
• 64:14 – On Dryden as librettist/poet
• 68:31 – "Opera Helmet Quiz": brisk, humorous recap so far
• 82:23 – Arthur resists enchanted temptations, more stage magic
• 90:13 – Reconciliation, patriotism, and the uniting of Saxons & Britons
• 95:27 – Peasant choruses, folk merriment
• 108:02 – The Order of the Garter: pageantry and symbolism
• 113:30 – Closing reflections on King Arthur’s accessibility and allure

Episode Conclusion

Pat and Gerald encourage listeners to embrace "King Arthur" for its accessible music, humor, and depth, and to see opera as a living, evolving art. They celebrate the opera’s blend of satire, romance, spectacle, and patriotism, reasserting the “Opera For Everyone” philosophy:

“This is utterly accessible. It's a blindingly brilliant story. Spirits, love and human life. All human life is in this opera.” – Gerald ([113:30])

They end with congratulations, gratitude, and an open invitation to discover more operatic gems, reminding everyone that opera—mythic or mundane—is truly "for everyone."