Envy and hatred reign in Saul's heart. For he perceives in David a rival for the throne: After David's victory over the giant Goliath, King Saul finds himself compelled to welcome David into his house and to honour him as a hero. When his son Jonathan and his daughter Michal side with David, and eventually even his daughter Merab acknowledges the universally celebrated hero, Saul finally decides to remove David from his path. However, David enjoys divine protection. Instead, it is Saul whose star threatens to set. With SAUL, George Frideric Handel turned to a biblical subject from the Old Testament. The subject matter was certainly controversial, as around twenty years before Handel’s arrival in London, Parliament, during the “Glorious Revolution” of 1689, had offered the British crown to William III of Orange and Mary II in order to put an end to the rule of the absolutist King James II. Georg Friedrich Handel had so far achieved one box office hit after another in London, primarily with his serious operas. However, the audience gradually seemed to be tiring of Italian opera. Thus, Händel set out in search of new paths in musical theatre. The genre of the oratorio, which he had become acquainted with during his time in Rome from 1706 to 1709, seemed suitable for this purpose. And indeed, the premiere of SAUL on 16 January 1739 at the Haymarket Theatre in London was a success, not least due to the gigantic choral numbers and the English national language in which it was sung. That SAUL is also dramatic, stage-effective musical theatre is demonstrated by the numerous musical effects with which Handel brings the story of the tormented King Saul to life. From triumphal choruses to whispers of witches to the funeral march that is still played today at state funerals worldwide. The acclaimed production from the Glyndebourne Festival, in Barrie Kosky’s opulent and profound direction, presents the Old Testament fable of envy and resentment set in London during the Georgian era, when indulgence and misery, popular entertainment and humiliation existed side by side. At the podium of the Gürzenich Orchestra stands Rubén Dubrovsky, who has already demonstrated his flair for Baroque music in Cologne with GIULIO CESARE IN EGITTO and ORLANDO.