Britten Flashcards

1
Q

When was homosexuality decriminalised in Britain?

A

1967

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2
Q

What effect did the criminalisation of homosexuality in the 1950s have on the interpretations of Britten’s operas?

A

People either overlooked homosexual allusions in the operas as it was not as widely talked about as it is now, OR people purposefully ignored the fact that his operas were often allegories for the homosexual experience out of fear it would lead “down a dangerous path” (Brett, 2006)

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3
Q

Which writer DID acknowledge homosexual subtext in Britten’s operas?

A

Colin MacInnes

Was gay himself

Wrote in his private notebook “the theme and tragedy of P. Grimes is homosexuality”

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4
Q

What does Colin MacInnes’ recognition of homosexuality in Britten’s operas tell us?

A

It is possible that the only people who were able to recognise themes themes were gay people who had gone through the homosexual experience themselves

OR it proves public fear of acknowledging homosexuality as even MacInnes was only comfortable writing it in his private notebook

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5
Q

In what way can Owen Wingrave be perceived as an allegory for the homosexual experience?

A

Parallels can be drawn between the pacifism of the titular Owen Wingrave and homosexuality - both considered ‘effeminate’ traits

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6
Q

What is the danger of viewing Britten’s works only thorough a homosexual lens?

A

It focuses in on homosexuality as the only possible theme of these operas, when there are multiple possible interpretations.

  • As well as a queer character, Peter Grimes can also be seen as a victim of rumours and oppression and a labourer looked down upon by locals
  • Owen Wingrave’s pacifism is not exclusively an allegory for homosexuality, but also an expression of Britten’s own identity and experience of being a pacifist
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7
Q

How did Britten promote music education?

A

Let’s Make an Opera

Noye’s Fludde - provided opportunities for 70 local young people to get involved

A Young Person’s Guide to the Orchestra - educational film promoting active listening

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8
Q

Which young boys did Britten develop particularly close bonds with?

A

David Hemmings
David Spenser
Piers Dunkerley
Harry Morris
Michael Crawford

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9
Q

Who was the only boy to accuse Britten of sexual abuse?

A

Harry Morris - accused Britten of making a sexual advance on him whilst they were on holiday together in Cornwall

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10
Q

Which factors explain Britten’s frequent use of the boy treble voice in his works?

A

Dodgy:
1. Provided him with a chance to get closer with the boys he cast

Not dodgy:
1. He was interested in the dramatic function of the voice and how it conveyed innocence and vulnerability
2. It was a part of his distinct sound world
3. It aligned with his objective of getting more young people involved in the arts

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11
Q

Which of Britten’s operas treated the subject of a relationship between an older man and younger boy?

A

The Turning of the Screw

Death in Venice

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12
Q

What is a theory for why Britten treated relationships between older men and younger boys in his operas?

A

It gave him a safe fictional space to explore his fascination without causing any harm, and may have helped him resist any urges in real life

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13
Q

What was his potential reasoning for approaching homosexuality in his operas?

A

Brett (2006) claims that he felt “tension” around the safety he felt at keeping is sexuality a secret and the simultaneous urge to talk openly about it - subliminal messaging in his works was an outlet for this

Brett (2006) also suggests that the manhunt in Peter Grimes was a manifestation of Britten’s fear of being hunted down for his sexuality, even if this had never happened to him personally

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