Karol Szymanowski is one of the most important Polish composers – arguably the most notable after Chopin – his music influenced by Debussy, Scriabin and Richard Strauss. His opera King Roger premiered in 1926 and is now being presented for the first time in Sweden by the Royal Swedish Opera.
King Roger was inspired by Euripides’ tragedy The Bacchae, interpreted through the lens of early 20th-century psychoanalysis. Roger is a Christian king in Sicily in the 12th century who receives a young, charismatic shepherd at his court. He turns out to be none other than Dionysus, god of wine, fertility and ritual madness. The shepherd speaks in mysterious, cryptic ways, denying Christ and calling for the worship of another god. The people call for his execution, but Queen Roxana is granted her request that the King hear him before rendering judgement. The shepherd charms all the people and the Queen herself, convincing them to follow him. King Roger is unable to stop the events, and, in the end, becomes himself a follower of the shepherd’s religion: the worship of sensuality and beauty. In the end, the Shepherd reveals his divine nature and disappears, while King Roger regains his Apollyonic rationality: he offers his heart to the Sun. He emerges a stronger person, uplifted, but not completely devastated by the Dionysian experience. Man needs both sides – reason and sensuality – to become fully human.
In this co-production with Teatr Wielki in Warsaw, Mariusz Treliński modified the story, which now takes place almost entirely in King Roger’s head. The shepherd is part of the King himself, who seems to suffer from a schizophrenic delusion and takes his own life at the end of Act 2. Act 3 takes place in a sort of after-world where the King enters eternity with a new wisdom and calm.
The concept is not completely convincing from a dramatic point of view. Many facets of the original story are lost: there is no trace of the clash between Christian and Pagan religion, and the drama loses the choral dimension completely. The chorus is almost never visible on stage, which deprives the performance of a key element.