| Abstract |
Benjamin Britten's dramatic works--full operas, chamber operas, and dramas for Church performance--dominate the repertoire of contemporary English opera, though they no longer monopolize it. His Peter Grimes will always rank with The Siege of Rhodes as a new beginning for English opera; unlike Sir William D'Avenant's work, the score of Peter Grimes seems likely to survive. Performances of Britten's operas are, however, far from frequent, and the average listener cannot readily form an impression of the scope and development of the series or absorb all the riches of individual works simply from his experiences in the opera house. The majority of British operagoers have a chance to see any one opera by Britten only once or twice in a lifetime. This book is designed to enable them, as well as the thousands of Americans who know Britten's operas exclusively through phonograph records, to make the most of these opportunities; it not only briefs the reader on events on-stage and in the orchestra, but it also prepares him for the experience of becoming involved in the drama. The author distinguishes between details that can be perceived by a "first-time" audience and those that are available only to the listener with an intimate knowledge of the score. Those who already know the operas well can relive them through this book, which has nearly 100 music illustrations. The author's personal approach is stimulating and at times provocative. There is a chapter on each of Britten's dramatic works, including Noye's Fludde and the Parables for Church Performance, but excluding the edited Dido, the revised Beggar's Opera, and the early Paul Bunyan. There is also a general survey of Britten's musicodramatic art throughout the canon. Although it is primarily intended to assist the inexperienced listener and stimulate the confirmed operagoer, this book should interest all those concerned with writing, producing, or studying opera of our time. |
