Composer

:

Deems Taylor

Genre

:

Opera

Style

:

Opera

The King's Henchman is an opera in three acts composed by Deems Taylor. The opera was composed in 1926 and premiered on February 17, 1927, at the Metropolitan Opera House in New York City. The libretto was written by Edna St. Vincent Millay, an American poet and playwright. The plot of the opera is set in medieval England and revolves around the love triangle between the King, his henchman, and a beautiful woman named Griselda. The King's henchman, Morosus, is in love with Griselda, but she is in love with the King. The King, who is married, is also in love with Griselda and wants to make her his mistress. Morosus is torn between his loyalty to the King and his love for Griselda. The first act of the opera opens with a chorus of peasants celebrating the harvest. Morosus enters and sings of his love for Griselda. The King arrives and announces that he will be staying in the area for a while. Griselda enters, and the King declares his love for her. Morosus is jealous but remains loyal to the King. In the second act, the King and Griselda are alone in a garden, and he declares his love for her again. She tells him that she loves him but cannot be his mistress. Morosus enters and sees them together. He is heartbroken and decides to leave the King's service. The third act takes place in the King's court. Morosus has been captured and is on trial for treason. Griselda pleads with the King to spare Morosus's life, and he agrees. Morosus is pardoned, and the King gives him Griselda as a reward for his loyalty. Morosus is torn between his love for Griselda and his loyalty to the King. The music of The King's Henchman is characterized by its lush orchestration and lyrical melodies. The opera features a number of memorable arias and duets, including Morosus's "Love is a sickness," Griselda's "I am a woman," and the King's "Love is a flame." Overall, The King's Henchman is a romantic and dramatic opera that explores themes of love, loyalty, and betrayal. Its premiere at the Metropolitan Opera House was a critical and commercial success, and it remains a beloved work in the operatic repertoire.

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