When to see it
These events are part of the Spring 2015 season.
A mysterious Shepherd is brought before King Roger. The Church officials want him punished for his heretical preaching, but Roger's queen Roxana pleads with the king to let the Shepherd speak first.
Read more… (Contains spoilers)
Polish composer Karol Szymanowski began to gather ideas for Król Roger (King Roger), his second and final opera, in 1918. He was in part inspired by Euripides' The Bacchae, in which King Pentheus attempts to suppress the hedonistic worship of Bacchus but ultimately succumbs to his temptation and is destroyed in a bloody frenzy. Szymanowski's cousin, the poet Jaroslaw Iwaszkiewicz, provided the original libretto; but in Szymanowski's arduous six-year gestation of the piece he altered the third act. His King Roger instead becomes a Nietzschean hero, who resists his desire and emerges 'strong enough for freedom'. But the focus of the opera is Roger's agonizing indecision – and the glorious music of the Act II Bacchic dance leaves a profound impression of the power of sensual temptation.
Szymanowski's music for the opera is opulently scored. The three short acts – commonly called the Byzantine, the Oriental and the Hellenic – brilliantly incorporate distinct musical styles. There are passages of exquisite lyricism, such as Roxana's soaring Act II aria, alongside thrilling writing for the chorus. Kasper Holten's new production (The Royal Opera's first) finds in Roger's indecision an expression of the struggle we all face – the struggle between intelligence and instinct in what is the innate duality of human nature.
News and features
24 April 2015
The composer was fascinated by Nietzsche’s theories of mankind’s opposing desires for control and for chaos – theories that drive the dilemma of King Roger.
22 April 2015
Composers have often looked to the real world for operatic inspiration – though their real-life subjects often undergo some operatization on their way to the stage.
27 March 2015
Composers and choreographers have long explored the difference in cultures between East and West.
10 March 2015
Our quick guide to Szymanowski’s sumptuous opera on self-control and desire.
2 December 2014
Andrea Chénier, La bohème, Die Zauberflöte and others on Opera on 3.
18 July 2014
While the Opera and Ballet Companies are away, work goes into preparing the scores for the new Season.
King Roger (Król Roger, op. 46) is a Polish opera in 3 acts, with music by Karol Szymanowski and the libretto by the composer himself and Jarosław Iwaszkiewicz, the composer's cousin. The opera received its world premiere on 19 June 1926 in Warsaw, Poland, with the cast including the composer's sister, the soprano Stanisława Korwin-Szymanowska, as Roxana.The opera originated from Szymanowski's enthusiasm for Mediterranean culture as a melting pot of different peoples and religions. He spent much time travelling in that area in 1911 and in 1914, and shared his love of the region with Iwaszkiewicz. In the summer of 1918 at Odessa, Ukraine, Szymanowski and Iwaszkiewicz conceived the project, and composed the opera over the period of 1918 to 1924. Szymanowski's lost novel Efebos dealt with mystical themes similar to those that inspired this work.Jim Samson has placed King Roger in a musico-psychological analysis of Szymanowski's compositional struggles. Alistair Wightman has briefly discussed Szymanowski's stylised treatment of Arabic musical idioms in the score. Stephen Downes has analysed in detail the themes of "duality" and "transformation" expressed in the music of the opera.