488:
priestess in the temple of Pallas Athene and daughter of Calkas, then receives declarations of love from
Troilus, whom she has noticed prior, but she retreats into the temple. Pandarus, uncle to Cressida, has overheard this conversation and offers his services to further Troilus's romantic cause. Evadne then brings the news that Calkas has defected to the Greek side. Pandarus then finds Cressida in tears, and tells her that the protection of a prince might be helpful to her. Troilus comes in with the news that Antenor has been captured, and that he must be retrieved by any means necessary. They look for Calkas to ask his blessing for such an enterprise, but Calkas is absent, and they go in search of him. Pandarus then pleads Troilus's case with Cressida, and she becomes sympathetic. She gives Pandarus her red scarf to give to Troilus as a pledge of her affection, and he invites her to his residence the next evening. Troilus returns to the temple, aware of Calkas's betrayal, and receives an initial sign of Cressida's approval.
529:
Troilus claims
Cressida as his. Diomede asks Cressida to denounce Troilus, but she cannot. Troilus then challenges Diomede, and they engage in single combat. As Troilus is about to overpower Diomede, Calkas stabs Troilus in the back. Troilus dies in Cressida's arms. Diomede orders Troilus to be borne back to Troy in honour, Calkas to be returned to Troy in chains, and Cressida to remain with the Greeks as an unprivileged prisoner. Left alone, Cressida finds Troilus's sword and conceals it. As the Greeks come to take her away, she pledges her loyalty one last time to Troilus, and stabs herself.
237:, just after the premiere, spoke highly of the libretto's construction, but also noted that the plot began slowly and could have used dramatic tightening in Act I. Other criticisms of the opera have spoken of a lack of sufficient dramatic tension and also Walton resorting to repeated use of past stylistic mannerisms. In his contemporary review of the work, Donald Mitchell noted the overall competence and craft of the opera, and at the same time its overall indebtedness to the style of
511:
Cressida. Pandarus denies her presence, but
Diomede discovers her behind a curtain. Her beauty immediately strikes him, and he orders her to prepare for the journey. After all parties have left, Troilus emerges from hiding, and the two lovers acknowledge fate. Troilus promises that he will bribe the sentries to be able to meet her, and that she should look for him at one end of the Greek camp. He returns the red scarf, the token of their love.
1693:
2004:
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501:
Cressida and
Horaste are at a game of chess. As all are about to go home, a storm is on the horizon. Pandarus persuades Cressida and her company, including Evadne, to stay the night. He then secretly sends a messenger to bring Troilus to his house. As Cressida is about to retire, Troilus enters
143:
as librettist, in spite of the fact that he had never written an opera libretto. During the course of composition, Walton and
Hassell carried out an extensive correspondence. Walton edited passages by Hassall from the libretto that he deemed inappropriate, or in his own coined term, "Novelloismo".
524:
Cressida has still not heard anything from
Troilus. Cressida asks Evadne to await a messenger, but Evadne has been secretly destroying Troilus's messages on orders from Calkas. Evadne urges Cressida to accept Diomede as suitor, but Cressida strongly refuses. Calkas further rebukes Cressida for
487:
Calkas announces to the people that the oracle at Delphi has conveyed signs that Greece will prevail in the conflict. The Trojan people refuse to accept this interpretation of the oracle and are suspicious of Calkas. Antenor demands proof, but
Troilus defends Calkas from the crowd. Cressida, a
244:
Defenders of the opera have noted that at the time of the premiere, the mid-1950s, music in a more conventionally tonal idiom, such as Walton's, was frowned upon during an era when serialism was more dominant in modern music. Walton himself later commented on the problematic fate of the opera as
528:
Troilus and
Pandarus then appear with the news that they have arranged for a ransom for Cressida, during a truce in the hostilities. Cressida says that they are too late, and the Greeks then appear to hail Cressida, betrothed to Diomede. Diomede bears the red scarf, which Troilus recognizes.
510:
Troilus and
Cressida are about to part. Pandarus then enters to tell the news that Greek soldiers are on his grounds, and that Troilus must hide. There is to be a prisoner exchange, with Cressida going to the Greeks and Antenor to be returned to the Trojans. Diomede enters and demands to see
525:
continuing to refuse
Diomede. Diomede appears, and at his final proposal after Cressida has still not heard anything from Troilus, she yields to Diomede's entreaties. Diomede asks of her the red scarf as a token of her pledge.
164:. It was only a moderate success, and various factors were proposed to assess blame for the lacklustre performance, including the conductor not having thoroughly learned the score in advance.
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269:, for whom the role was conceived. Walton also made cuts to the score. A commercial recording was released based on these live Covent Garden performances. For a 1995 production at
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273:, a new edition was commissioned, edited by Stuart Hutchinson, which restored the soprano register and restored the music cut by Walton in 1976. For its 2008 production,
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the house. He reaffirms his love for her, and she reciprocates. They leave to a side chamber, and their love scene is depicted in the orchestra.
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135:. Walton intended to counter this work with an opera of his own, and Alice Wimborne, Walton's companion at the time, suggested the story of
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249:. I felt that opera should have tunes to sing. Unfortunately, I don't seem to have ever found the voices that I dreamt I would."
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commissioned a new performing edition with both the original soprano register and a reduced orchestration.
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staged the work in January 1956. Covent Garden revived the piece in 1963, with Sargent again conducting.
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to sing in a Covent Garden production; parts of the score were transposed down to accommodate the lower
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follows, as quoted in a 2002 retrospective article: "I was trying to write a romantic opera,
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The genesis of the opera dated back to the mid-1940s, after the success of
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The Australian premiere was in March 1964, a highlight of the
1222:
Oxford University Press page on William Walton Edition of
1089:"St. Louis opera continues legacy of loyalty, artistry"
1057:"Opera Theatre of St. Louis scores a 'revelation' with
1992:
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In 1976, Walton prepared an edition of the opera for
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561:, Nigel Robson, Alan Opie, Clive Bayley; Chorus of
497:
Scene 1: The next evening, at the house of Pandarus
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1365:Improvisations on an Impromptu of Benjamin Britten
1230:San Francisco Opera information on US premiere of
760:
195:as Evadne. The New York premiere was presented by
364:high priest of Pallas Athene, father to Cressida
167:The US première took place on 7 October 1955 at
175:, with Walton in attendance. The cast included
2050:Opera world premieres at the Royal Opera House
1004:Michael White, "A sigh of relief for Walton".
1722:
1253:
595:Hassall had written the words for several of
506:Scene 2: The next morning, same as in Scene 1
8:
233:Contemporary criticism of the libretto from
2070:Operas based on works by Giovanni Boccaccio
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156:, London, on 3 December 1954 conducted by
113:. Walton dedicated the score to his wife,
20:
2065:Operas based on works by Geoffrey Chaucer
103:, his own first opera libretto, based on
1144:Michael Oliver, Review of recordings of
806:Hussey, Dyneley (April 1955). "Walton's
801:
799:
767:. Oxford University Press. p. 183.
284:
265:of Baker's voice as compared to that of
144:The opera took seven years to complete.
1999:
1204:, New York: Penguin Putnam, Inc., 2001
956:
954:
746:, pp. 16–20, 22–27 (Winter, 1954/1955).
616:
588:
554:, conductor (version for mezzo-soprano)
1029:, Rescued From Obscurity in St. Louis"
690:
688:
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478:Time: The tenth year of the Trojan War
787:Vincent Plush, "Feast for the ears",
139:as a subject. Wimborne had suggested
7:
2060:Music dedicated to family or friends
316:Trojan priestess, daughter of Calkas
187:as Calkas, Carl Palangi as Antenor,
152:The opera was first produced at the
1131:. L'Almanacco di Gherardo Casaglia
557:Chandos CHAN 9370: Judith Howarth,
219:South Australian Symphony Orchestra
1663:Variations on an Elizabethan Theme
1436:Variations on a Theme by Hindemith
1174:William Walton: His Life and Music
849:"Ill-fated lovers ardent of voice"
847:David Fanning (11 November 2002).
14:
1642:A Song for the Lord Mayor's Table
573:, conductor (version for soprano)
343:Prince of Troy, son of King Priam
287:Roles, voice types, premiere cast
129:'s first great operatic success,
95:, and was premiered in 1954. The
2002:
1930:The pot calling the kettle black
1692:
1691:
1623:
2075:Libretti by Christopher Hassall
1632:In Honour of the City of London
1087:John von Rhein (29 June 2008).
1055:Scott Cantrell (23 June 2008).
697:"The last great movie composer"
520:The Greek camp, ten weeks later
1372:Johannesburg Festival Overture
301:Premiere cast, 3 December 1954
1:
732:Franz Reizenstein, "Walton's
578:Notes, references and sources
567:English Northern Philharmonia
695:Brian Hunt (15 March 2002).
275:Opera Theatre of Saint Louis
1202:The New Penguin Opera Guide
964:(1977). "Review of Walton:
627:(December 1954). "Walton's
2091:
1543:The Foreman Went to France
1419:Spitfire Prelude and Fugue
1119:Casaglia, Gherardo (2005).
680:, pp. 60–63 (Summer 2003).
1900:The Testament of Cresseid
1688:
1275:
922:"Fabulously full-blooded"
213:, with Richard Lewis and
62:3 December 1954
28:
2025:Operas by William Walton
1910:Linguistic contributions
948:Tierney, pp. 145 and 164
87:is the first of the two
2030:English-language operas
1967:To Her Inconstant Lover
1176:. London: Robert Hale.
1066:The Dallas Morning News
16:Opera by William Walton
1620:Façade – Entertainment
1172:Tierney, Neil (1984).
826:10.1093/ml/xxxvi.2.139
793:, November 2017, p. 44
1399:Prelude for Orchestra
1386:Partita for Orchestra
670:, "Weighing Walton".
454:Greek prince of Argos
267:Elisabeth Schwarzkopf
2055:Troilus and Cressida
1923:The Oak and the Reed
1881:Troilus and Cressida
1862:Troilus and Cressida
1743:Troilus and Criseyde
1550:The First of the Few
1458:Sinfonia Concertante
1303:Troilus and Cressida
1278:List of compositions
1232:Troilus and Cressida
1224:Troilus and Cressida
1146:Troilus and Cressida
1123:Troilus and Cressida
1059:Troilus and Cressida
966:Troilus and Cressida
878:Troilus and Cressida
808:Troilus and Cressida
734:Troilus and Cressida
629:Troilus and Cressida
199:on 21 October 1955.
137:Troilus and Cressida
110:Troilus and Criseyde
84:Troilus and Cressida
24:Troilus and Cressida
1981:Amoryus and Cleopes
1942:At sixes and sevens
1917:Words first used in
1034:The Washington Post
918:Rupert Christiansen
813:Music & Letters
403:servant to Cressida
289:
197:New York City Opera
169:San Francisco Opera
158:Sir Malcolm Sargent
148:Performance history
141:Christopher Hassall
121:Composition history
101:Christopher Hassall
44:Christopher Hassall
1960:Sir Giles Goosecap
1610:Belshazzar's Feast
1602:Other compositions
1557:Went the Day Well?
1344:Capriccio burlesco
1010:, 22 January 1996.
968:(HMV recording)".
763:Portrait of Walton
435:friend to Pandarus
285:
160:, and directed by
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1585:Battle of Britain
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1308:
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1183:978-0-70-901784-4
1101:on 2 October 2011
971:The Musical Times
920:(28 March 2002).
883:The Musical Times
673:The Musical Times
641:(1342): 646–649.
634:The Musical Times
603:musical comedies.
550:, Covent Garden;
548:Royal Opera House
467:
466:
419:brother to Calkas
374:Frederick Dalberg
328:in 1976 revision)
211:Adelaide Festival
191:as Pandarus, and
154:Royal Opera House
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73:Royal Opera House
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1902:" (15th century)
1738:Geoffrey Chaucer
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1336:Orchestral music
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2045:1976 operas
2040:1954 operas
1680:Neotonality
1578:Richard III
1522:Stolen Life
1493:Film scores
1446:Concertante
1285:Stage works
563:Opera North
540:Janet Baker
475:Place: Troy
427:Peter Pears
271:Opera North
259:Janet Baker
223:Joseph Post
2019:Categories
1751:Characters
611:References
601:Ruritanian
533:Recordings
417:Pandarus,
297:Voice type
66:1954-12-03
40:Librettist
1818:Deiphobus
1803:Cassandra
1636:(cantata)
1614:(cantata)
1323:The Quest
790:Limelight
678:144(1883)
433:Horaste,
263:tessitura
253:Revisions
229:Reception
1793:Pandarus
1768:Achilles
1763:Cressida
1697:Category
1327:(ballet)
1317:(ballet)
1293:The Bear
1105:15 April
1072:15 April
1040:15 April
930:. London
857:. London
759:(1989).
705:. London
470:Synopsis
458:baritone
401:Evadne,
390:baritone
312:Cressida
217:and the
201:La Scala
107:'s poem
97:libretto
58:Premiere
50:Language
1952:Related
1936:Cowbell
1783:Diomede
1778:Calchas
1773:Antenor
1758:Troilus
1564:Henry V
1405:Scapino
1307:(opera)
1297:(opera)
1166:Sources
1027:Troilus
934:22 July
861:22 July
709:22 July
450:Diomede
381:Antenor
339:Troilus
321:soprano
99:was by
64: (
53:English
2035:Operas
1995:Portal
1892:Poetry
1884:(1602)
1865:(1954)
1854:Operas
1827:Source
1808:Hector
1571:Hamlet
1412:Siesta
1313:Façade
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1151:Tempo
988:JSTOR
900:JSTOR
830:JSTOR
739:Tempo
651:JSTOR
583:Notes
515:Act 3
492:Act 2
483:Act 1
423:tenor
348:tenor
293:Role
281:Roles
204:Milan
30:Opera
1206:ISBN
1178:ISBN
1107:2009
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