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In page Gustav Holst:

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The influential critic Ernest Newman considered The Perfect Fool "the best of modern British operas",[10] but its unusually short length (about an hour) and parodic, whimsical nature—described by The Times as "a brilliant puzzle"—put it outside the operatic mainstream.[11] Only the ballet music from the opera, which The Times called "the most brilliant thing in a work glittering with brilliant moments", has been regularly performed since 1923.[12] Holst's libretto attracted much criticism, although Edwin Evans remarked on the rare treat in opera of being able to hear the words being sung.[13]