Historic accounts and new material illuminate the creation, early history and artistic intentions of Britten's first opera. The premiere of Peter Grimes on 7 June 1945 announced the emergence of the first great composer of opera in English since Purcell. Surviving documents offer evidence of the complex interaction of differing ideas about the possible shape and content of the new work, most notably the composition draft, which these essays are particularly concerned to illuminate. They juxtapose historic material with fresh studies: three items written by members of theteam involved in the 1945 production are set alongside specially-commissioned articles, with the three-fold intention of presenting the views of some of the creators of the opera, outlining the work's early history, and offeringcontemporary perspectives on its historical context and its message.Professor PAUL BANKS is Research Development Fellow at the Royal College of Music.Contributors: PAUL BANKS, PHILIP BRETT, BENJAMIN BRITTEN, ERIC CROZIER, DONALDMITCHELL, PETER PEARS, PHILIP REED, ROSAMUND STRODE. Packed away in its pages is a very large amount of new information. TIMES LITERARY SUPPLEMENT A fitting tribute to the opera's enduring international stature, and undoubtedly [a] significant achievement in Britten studies. MUSIC AND LETTERS

The Cambridge Companion to Benjamin Britten is a comprehensive guide to the composer's work, aimed both at the non-specialist and music student. It sheds light on both the composer's stylistic and personal development, offering new interpretations of his operatic works and discussing his characteristic working methods. Topics treated here in detail for the first time include Britten's work in the cinema in the 1930s, his lifelong pacifism and his strong interest in the music of the Far East; other chapters include reassessments of his relationship with W. H. Auden and his attitude towards childhood, comprehensive analyses of major works and a concise history of the Aldeburgh Festival. A distinguished team of contributors include some who worked with the composer during his lifetime, as well as leading representatives of the younger generation of Britten scholars on both sides of the Atlantic.

Reproduction of the original: The Borough by George Crabbe

ã`Who can turn skies back and begin again?' -Peter ã This book contends that Peter Grimes, widely regarded as one of the greatest and most influential operas of the 20th century, is also one of the British theatre's finest `lost' plays. Seeking to liberate Britten and Slater's work from the blinkered traditions of theatre and opera criticism, Sam Kinchin-Smith poses two questions: If an opera was created like a play, and can be staged as a play, is it a play? If a portion of its success and influence is the product of this newly identified theatrical engine, is it then a great play? The answers involve Wagner and W.G. Sebald, George Crabbe and Complicite, Akenfield and Twin Peaks. Challenging long-established narratives of post-war theatre history, this book makes a compelling case for why practitioners and scholars of performance ought to pay more attention to Britten and Slater's achievement - a milestone of unconventional English modernism - and perhaps to other operatic masterpieces too.

This is a double volume dedicated to two masterpieces by Benjamin Britten. While Peter Grimes established Britten as a composer of international standing, Gloriana, composed for the coronation of Elizabeth II, has never enjoyed a comparable fame. The variety of mood, characterization and pace, in each, illustrates Britten's exceptional gift for theatre. Commentaries on the scores reveal, for instance, how much the popular concert extracts gain from their context in the dramas. The essay by E.M. Forster - the inspiration for Peter Grimes - is reprinted here, and Michael Holroyd discusses Lytton Strachey's controversial Elizabeth and Essex - the source for Gloriana.Contents: Benjamin Britten's Librettos, Peter Porter; George Crabbe: The Poet and the Man, E.M. Forster; 'Peter Grimes': A Musical Commentary, Stephen Walsh; Peter Grimes: Libretto by Montagu Slater; 'Peter Grimes' and 'Gloriana', Joan Cross, Peter Pears and John Evans; Some Reflections on the Operas of Benjamin Britten, Buxton Orr; 'A daring experiment', Michael Holroyd; The Librettist of 'Gloriana', Rupert Hart-Davis; The Music of 'Gloriana', Christopher Palmer; Notes on the Libretto of 'Gloriana', William Plomer; Gloriana: Libretto by William Plomer

An essay collection which examines Britten's juvenilia, influences such as Shostakovich and Verdi, his opera Owen Wingrave and a libretto written by Australian novelist Patrick White with the hope of a future collaboration.

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