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418:, "Devouring Time, blunt though the lion's paws". Falstaff is displeased and interrupts with the ballad "When Arthur first in Court began", and the two songs continue in parallel. A distant march precedes a communication from Bardolph to Prince Hal, who must go to the Court at Westminster. Prince Hal and Poins remove their disguises and leave to the shouts of the outside crowd.
1823:
42:
406:
The story begins in late afternoon, as
Bardolph, Gadshill and Peto sing and drink in an upstairs room at the tavern. Falstaff arrives, followed by Prince Hal and Poins, whom Falstaff accuses of cowardice, for not assisting him in an attempted highway robbery earlier that day. Falstaff exaggerates the
139:
and others. Holst noticed that the rhythm and metre of
Shakespeare's lines matched the tunes in the Playford, as well as the tunes that Sharp and others had collected. He then decided to set a number of those melodies to a story assembled from episodes set at the Boar's Head Inn from the two parts of
410:
The
Hostess announces the arrival of a gentleman from Court, whereupon Falstaff and the others leave. After Prince Hal delivers a soliloquy, Falstaff and the others return with news that civil war has begun. Falstaff advises Prince Hal to rehearse what he will say to the King before he returns to
421:
Pistol calls to
Falstaff off-stage, and then enters the inn, in spite of the misgivings of Doll and the concern of the Hostess for the inn's reputation. Pistol and Doll argue vehemently, and Pistol is ejected. Bardolph arrives with word that a dozen captains are searching all the taverns for
422:
Falstaff. Falstaff bids Doll farewell, but at the end, before all the men go off to war, Bardolph brings a last message for Doll
Tearsheet to meet Falstaff one last time. The hostess pushes Doll through the door to the assignation at the close of the opera.
394:
The opera observes classical unities of a single setting for the plot, with the events occurring in real time on a single day. The story focuses on the conversations between
Falstaff and Prince Hal, and the characters who wander in and out of the
414:
Doll
Tearsheet arrives, and Prince Hal and Poins don disguises to be able to observe her and Falstaff's behaviour. Falstaff asks for a song, whereupon the disguised Prince Hal sings Shakespeare's
144:. Three of the melodic passages are original, including a recitative for Prince Hal and a setting for the sonnets. Otherwise, Holst devised his score from reworking the collected folk tunes.
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Contemporary audiences overall gave the opera a lukewarm reception. Imogen Holst said of the opera that it contained "very little relief from the onslaught of the counterpoint".
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Holst devised the idea for this opera in 1924, whilst convalescing from an illness. During this period, he alternated between reading
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has commented that another reason for the failure of the opera was that the music did not add sufficiently to the original texts.
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story, until Prince Hal says that he and Poins had stolen from
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Court. Prince Hal practices with
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93:, his op. 42. Holst himself described the work as "A Musical Interlude in One Act". The
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Cecil Sharp, published editions: 4 morris tunes, 1 traditional country dance
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summarised the folk tunes which her father used in the score as follows:
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followed on 20 April 1925, with the following singers among the cast:
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451:(Bardolph), Michael George (Poins); Liverpool Philharmonic Choir,
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685:(July 1934). "Gustav Holst (September 21, 1874 – May 25, 1934)".
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563:(Peter Holland, editor). Cambridge University Press (2007;
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169:G. B. Gardiner, manuscript collection: 2 folksongs
178:The opera received its first performance at the
89:is an opera in one act by the English composer
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220:Holst's opera was part of a double bill with
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1864:Operas based on works by William Shakespeare
717:(June 1974). "Holst as an opera composer".
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1058:First Suite in E-flat for Military Band
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97:, by the composer himself, is based on
1361:The Life and Death of King Richard II
559:, "Falstaff and English Music", from
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820:"Neglected British Operas Are Heard"
1063:Second Suite in F for Military Band
765:. L'Almanacco di Gherardo Casaglia
1091:Terzetto for flute, oboe and viola
856:, New York: Penguin Putnam, 2001.
439:(Falstaff), Elise Ross (Hostess),
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1108:This Have I Done for My True Love
255:Roles, voice types, premiere cast
190:conducting. A performance at the
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1709:The Famous Victories of Henry V
874:Chester Novello score page for
526:Tim Ashley (28 February 2006).
164:Popular Music of the Olden Time
1869:Works based on Henry IV (play)
184:British National Opera Company
1:
447:(Pistol), Peter Hall (Peto),
453:Royal Liverpool Philharmonic
234:, conducted and directed by
854:The New Penguin Opera Guide
528:"Fabulous Mister Fat Belly"
269:Premiere cast, 3 April 1925
1895:
1744:The Merry Wives of Windsor
753:Casaglia, Gherardo (2005).
182:, on 3 April 1925, by the
180:Palace Theatre, Manchester
154:The English Dancing Master
132:The English Dancing Master
16:1925 opera by Gustav Holst
1487:Henry the Fourth, Part II
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1229:
1129:I Vow to Thee, My Country
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192:Golders Green Hippodrome
174:Production and reception
156:: 28 country dance tunes
1428:Henry the Fouth, Part I
1369:King Richard the Second
1844:Operas by Gustav Holst
1702:Holinshed's Chronicles
431:HMV 7243 5 65127 2 6:
1151:First Choral Symphony
958:The Wandering Scholar
818:(23 September 1984).
584:(May 1982). "Holst's
561:Shakespeare Survey 60
1859:Operas set in London
922:List of compositions
571:), pp. 191–192.
445:David Wilson-Johnson
1721:Thomas of Woodstock
1279:William Shakespeare
1145:O Spiritual Pilgrim
257:
1799:Suite from Henry V
1791:At the Boar's Head
1764:Falstaff's Wedding
1756:Sir John Oldcastle
1546:Chimes at Midnight
1479:Chimes at Midnight
1420:Chimes at Midnight
1377:Richard the Second
1051:Concert/brass band
951:At the Boar's Head
876:At the Boar's Head
825:The New York Times
786:At the Boar's Head
780:Greenfield, Edward
757:At the Boar´s Head
651:At the Boar's Head
586:At the Boar's Head
487:At the Boar's Head
443:(Doll Tearsheet),
397:Boar's Head Tavern
253:
125:and an edition of
86:At the Boar's Head
24:At the Boar's Head
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1808:
1594:
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1245:
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1221:Theodor von Holst
1156:A Choral Fantasia
1115:The Hymn of Jesus
1011:Brook Green Suite
727:(1576): 473–474.
720:The Musical Times
695:(1097): 593–597.
688:The Musical Times
663:(1107): 413–414.
656:The Musical Times
634:978-0-7119-6525-6
628:. Omnibus Press (
598:(1671): 321–322.
591:The Musical Times
569:978-0-521-87839-5
492:The Musical Times
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349:Constance Willis
205:Constance Wills (
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46:Holst, circa 1921
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1570:The Hollow Crown
1501:Henry IV, Part 2
1495:The Hollow Crown
1462:Henry IV, Part 2
1442:Henry IV, Part 1
1436:The Hollow Crown
1403:Henry IV, Part 1
1385:The Hollow Crown
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1311:Henry IV, Part 2
1304:Henry IV, Part 1
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1204:Related articles
1068:A Moorside Suite
1029:A Fugal Concerto
997:A Fugal Overture
968:Orchestral works
944:The Perfect Fool
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784:"Review: Holst.
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763:3 April 1925"
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1211:Imogen Holst
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1122:Ode to Death
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829:. Retrieved
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55:Gustav Holst
34:Gustav Holst
18:
1854:1925 operas
1074:Hammersmith
1021:Concertante
1004:Egdon Heath
990:The Planets
459:, conductor
455:Orchestra;
271:Conductor:
166:: 3 ballads
137:Cecil Sharp
117:Development
99:Shakespeare
77:Shakespeare
1838:Categories
1680:Richard II
1651:Prince Hal
1616:Charles VI
1599:Characters
1557:(1979; TV)
1541:(1960; TV)
1490:(1979; TV)
1474:(1960; TV)
1445:(2012; TV)
1431:(1979; TV)
1415:(1960; TV)
1394:(2012; TV)
1391:Richard II
1372:(1979; TV)
1364:(1960; TV)
1356:(1960; TV)
1348:(1954; TV)
1336:Richard II
1297:Richard II
1190:Holst Peak
1165:Film score
793:Gramophone
464:References
297:Prince Hal
265:Voice type
214:Prince Hal
162:Chappell,
52:Librettist
1328:On screen
1173:The Bells
976:Beni Mora
426:Recording
416:sonnet 19
401:Eastcheap
369:baritone
1783:Falstaff
1641:Henry IV
1636:Fluellen
1631:Falstaff
1611:Bardolph
1584:The King
1509:The King
1450:The King
1238:Category
390:Synopsis
381:soprano
331:baritone
326:Bardolph
280:Falstaff
200:Falstaff
142:Henry IV
95:libretto
60:Based on
1694:Sources
1646:Henry V
1576:Henry V
1562:Henry V
1530:Henry V
1521:Henry V
1318:Henry V
1284:Henriad
1136:Thaxted
937:Sāvitri
852:(Ed.),
377:Hostess
345:soprano
222:Puccini
186:, with
1874:Operas
1814:Portal
1802:(1963)
1794:(1925)
1786:(1913)
1767:(1760)
1759:(1599)
1587:(2019)
1579:(2012)
1565:(1989)
1549:(1966)
1533:(1944)
1512:(2019)
1504:(2012)
1482:(1966)
1453:(2019)
1423:(1966)
1380:(2001)
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831:17 May
800:6 June
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741:957953
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701:918729
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669:912992
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612:912992
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539:17 May
513:912992
511:
365:Pistol
357:tenor
71:Part 2
68:&
1828:Opera
1751:1597)
1728:1593)
1716:1585)
1670:Poins
929:Opera
796:: 102
737:JSTOR
697:JSTOR
665:JSTOR
626:Holst
608:JSTOR
509:JSTOR
354:Peto
318:bass
314:Poins
302:tenor
261:Role
249:Roles
30:Opera
858:ISBN
833:2009
802:2009
630:ISBN
565:ISBN
541:2009
285:bass
107:and
1281:'s
729:doi
725:115
600:doi
596:123
588:".
501:doi
489:".
399:in
224:'s
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101:'s
75:by
32:by
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1749:c.
1726:c.
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
