MUSIC AND MOTIVE IN ‘PETER GRIMES’

1963 ◽  
Vol 44 (4) ◽  
pp. 334-342
Author(s):  
J. W. GARBUTT
Keyword(s):  
Peter Grimes

Peter Grimes, an Opera in Three Acts and a Prologue Derived from the Poem of George Crabbe

Notes ◽  
1946 ◽  
Vol 4 (1) ◽  
pp. 100
Author(s):  
Leonard Burkat ◽  
Benjamin Britten ◽  
George Crabbe
Keyword(s):  
Peter Grimes ◽  
George Crabbe

Book Reviews

Tempo ◽  
1998 ◽  
pp. 25-31
Keyword(s):  
Mass Culture ◽  
List Type ◽  
Peter Grimes ◽  
Gerald Finzi

The Making of Peter Grimes David FarnethGerald Finzi: an English Composer Mike SmithErn Lendvai's Musical Symmetries Roy HowatAdorno, Modernism and Mass Culture Michael GraubartPoles Apart: The Music of Roger Smalley Mike Seabrook

Peter Grimes. Benjamin Britten

1995 ◽  
Vol 11 (3) ◽  
pp. 193-196
Author(s):  
David McKee
Keyword(s):  
Benjamin Britten ◽  
Peter Grimes

Arthur Benjamin and the French Public

Tempo ◽  
1955 ◽  
pp. 2-3
Author(s):  
Jean-Paul Changeur
Keyword(s):  
Cultural Heritage ◽  
Subject Matter ◽  
General Public ◽  
18Th Century ◽  
Foreign Country ◽  
The Public ◽  
Peter Grimes ◽  
Remote Part

“How will the public react to it?” is a question that arises when an opera is about to have its first performance in a foreign countryArthur Benjamin's opera Primadonna does not seem a difficult one to “export,” mainly because of its subject-matter. One might expect the action of a British opera to take place in some remote part of Old England (as in Peter Grimes, the most famous of English operas with us French) whose ways are so unfamiliar as to risk leaving the general public quite untouched. Here, however, there is no such risk: we are in Venice, the courtly Venice of the 18th century, and the characters, the déecor, the whole atmosphere belong to the cultural heritage of all Europe.

‘What harbour shelters peace?’ On the opera Peter Grimes, exclusion and stigma

2014 ◽  
Vol 20 (3) ◽  
pp. 214-216
Author(s):  
Lisa Conlan
Keyword(s):  
Psychological Effects ◽  
Central Character ◽  
Peter Grimes

SummaryBenjamin Britten's opera Peter Grimes premiered in 1945 and has since enjoyed lasting popular and critical acclaim. Its central character is a fisherman driven to suicide by circumstances beyond his control. It has a wide political and social resonance and is a testament to the damaging psychological effects of exclusion and stigma.

From Otello to Porgy

2017 ◽  
Author(s):  
Naomi André
Keyword(s):  
Twentieth Century ◽  
African American ◽  
The Other ◽  
European Ancestry ◽  
Male Roles ◽  
Porgy And Bess ◽  
Black Characters ◽  
Peter Grimes ◽  
The Way

This chapter explores representations of blackness in opera in relation to masculinity and morality. More specifically, it considers the changing codes of masculinity in leading male roles and how they are calibrated differently for white European characters and nonwhite characters with non-European ancestry. It also looks at the ways in which masculinity and heroism are brought together differently for black and non-black characters. In order to elucidate these issues, the chapter analyzes Giuseppe Verdi's Otello (1887), focusing on its references to getting the “chocolate” ready and the way Verdi dramatizes Otello's vicious murder of Desdemona. Four other operas written in the first half of the twentieth century, two of which feature white European title characters and the other two feature African American protagonists, are examined: Alban Berg's Wozzeck (1925), Ernst Krenek's Jonny spielt auf (1927), George Gershwin's Porgy and Bess (1935), and Benjamin Britten's Peter Grimes (1945).

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