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King Priam
King Priam, Michael Tippett's ambitious treatment of the Trojan War, focuses on the events leading up to the fall of Troy rather than its aftermath. Premiered in 1962, the opera was groundbreaking both in its musical language and in its themes. In what must have been shocking to audiences at the time, Tippett does not shy away from the homosexual relationship between Achilles and Patroclus—in fact, he places it at the center of the narrative, making it a driving force of the drama.
The score is lean, angular, and emotionally charged, reflecting Tippett's modernist sensibilities while also drawing on ritualistic and mythic structures. The result is a work that feels both timeless and unflinchingly contemporary.
This performance features a superb cast of British artists, including Forbes Robinson in the title role, Marie Collier as Hecuba, Richard Lewis as Achilles, and Josephine Veasey as Andromache. Each brings depth and clarity to Tippett's challenging and thought-provoking score.
Track List
Act I
1. Introduction
2. God Save the Queen
3. What is it nurse?
4. Old man of Troy, you're welcome
5. (Interlude 1) - Thus shall a story begin
6. The bull is away over there
7. So I have often hoped it might be
8. (Interlude 2) - Ah, but life is a bitter charade
9. Helen!... Paris!
10. Divine go-between, that's who I am
11. Act II Synopsis
2. God Save the Queen
3. What is it nurse?
4. Old man of Troy, you're welcome
5. (Interlude 1) - Thus shall a story begin
6. The bull is away over there
7. So I have often hoped it might be
8. (Interlude 2) - Ah, but life is a bitter charade
9. Helen!... Paris!
10. Divine go-between, that's who I am
11. Act II Synopsis
Act II
12. So you've given up fighting!
13. (Interlude 1) - Hermes! Hermes with the winged feet
14. O rich-soiled land of Phthia
15. Why are you weeping, Patroclus
16. (Interlude 2) - O what a threat to Troy!
17. A hero in Achilles' armour
13. (Interlude 1) - Hermes! Hermes with the winged feet
14. O rich-soiled land of Phthia
15. Why are you weeping, Patroclus
16. (Interlude 2) - O what a threat to Troy!
17. A hero in Achilles' armour
Act III
18. Act III synopsis
19. Lady Andromache, should we not light the fire?
20. Daughter Andromache, you must go out now
21. Let her rave. I, Helen, am untouched
22. Woman to Goddess, I to you Athene/Hera/Aphrodite
23. (Interlude 1) - No. No. No. We have it from the runner
24. What is happening?
25. I do not want these deaths
26. (Interlude 2)
27. Priam! Here! What is this?
28. (Interlude 3) - I come as messenger of death
29. Where is my father? Where is Priam
30. Helen!... Paris!
19. Lady Andromache, should we not light the fire?
20. Daughter Andromache, you must go out now
21. Let her rave. I, Helen, am untouched
22. Woman to Goddess, I to you Athene/Hera/Aphrodite
23. (Interlude 1) - No. No. No. We have it from the runner
24. What is happening?
25. I do not want these deaths
26. (Interlude 2)
27. Priam! Here! What is this?
28. (Interlude 3) - I come as messenger of death
29. Where is my father? Where is Priam
30. Helen!... Paris!
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4.7
Based on 3 reviews
✓ Top Reviewer
United Kingdom
WORLD PREMIERE
It's not made quite clear that this was actually the World Premiere, happily broadcast. Apart from the historical import, it's a smashing performance of a wonderful opera!
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✓ Verified Buyer
United States
KING PRIAM
Very interesting opera, which I had not heard previously. The sound is very good, and Forbes Robinson in particular excels in a generally excellent cast.
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✓ Top Reviewer
United States
Seek no farther
Sir Michael Tippett's most accessilbe opera, "King Priam," is angular and fast-moving. However, it doesn't 'play itself,' as performances with lesser casts have demonstrated. For this world premiere, Covent Garden fielded its first team, headed by Forbes Robinson's stalwart protagonist. Richard Lewis is a standout as Achilles, and the combination of Marie Collier, Margreta Elkins and Josephine Veaaey in the female leads speaks for itself. John Pritchard tucks into the score with gusto and the result is a performer that ought to satisfy opera fans who think of Tippett as knotty and inscrutable (a reputation that he did a lot to perpetuate). Highly recommended.
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