Britten Operas II

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Britten Operas II

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dc.contributor.other Benjamin Britten es
dc.contributor.other Alfred Deller es
dc.contributor.other Elizabeth Harwood es
dc.contributor.other Stephen Terry es
dc.contributor.other John Shirley-Quirk es
dc.contributor.other Helen Watts es
dc.contributor.other Peter Pears es
dc.contributor.other Thomas Hemsley es
dc.contributor.other Josephine Veasey es
dc.contributor.other Heather Harper es
dc.contributor.other Owen Brannigan es
dc.contributor.other Norman Lumsden es
dc.contributor.other Kenneth Macdonald es
dc.contributor.other London Symphony Orchestra es
dc.coverage.spatial London, England es
dc.date.accessioned 2012-11-20T15:47:17Z
dc.date.available 1966
dc.date.available 2012-11-20T15:47:17Z
dc.date.copyright 2004
dc.date.issued 2012-11-20
dc.identifier.uri http://hdl.handle.net/123456789/2533
dc.description.abstract With the arrival of Benjamin Britten on the international music scene, many felt that English music gained its greatest genius since Purcell. A composer of wide-ranging talents, Britten found in the human voice an especial source of inspiration, an affinity that resulted in a remarkable body of work, ranging from operas like Peter Grimes (1944-1945) and Death in Venice (1973) to song cycles like the Serenade for tenor, horn, and strings (1943) to the massive choral work War Requiem (1961). He also produced much music for orchestra and chamber ensembles, including symphonies, concerti, and chamber and solo works. Britten's father was a prosperous oral surgeon in the town of Lowestoft, Suffolk; his mother was a leader in the local choral society. When Benjamin's musical aptitude became evident, the family engaged composer Frank Bridge to supervise his musical education. Bridge's tutelage was one of the formative and lasting influences on Britten's compositional development; Britten eventually paid tribute to his teacher in his Op. 10, the Variations on a Theme by Frank Bridge (1937). Britten's formal training also included studies at the Royal College of Music (1930-1933). Upon graduation from the RCM, Britten obtained a position scoring documentaries (on prosaic themes like "Sorting Office") for the Royal Post Office film unit. Working on a tight budget, he learned how to extract the maximum variety of color and musical effectiveness from the smallest combinations of instruments, producing dozens of such scores from 1935 to 1938. He rapidly emerged as the most promising British composer of his generation and entered into collaborative relationships that exerted a profound influence upon his creative life. Among the most important of his professional associates were literary figures like W.H. Auden, and later, E.M. Forster. None, however, played as central a role in Britten's life as the tenor Peter Pears, who was Britten's closest intimate, both personally and professionally, from the late '30s to the composer's death. Pears' voice inspired a number of Britten's vocal cycles and opera roles, and the two often joined forces in song recitals and, from 1948, in the organization and administration of the Aldeburgh Festival. A steadfast pacifist, Britten left England in 1939 as war loomed over Europe. He spent four years in the United States and Canada, his compositional pace barely slackening, as evidenced by the production of works like the Sinfonia da Requiem (1940), the song cycle Seven Sonnets of Michelangelo (1940), and his first effort for the stage, Paul Bunyan (1940-1941). Eventually, the poetry of George Crabbe drew Britten back to England. With a Koussevitzky Commission backing him, the composer wrote the enormously successful opera Peter Grimes (1944-45), which marked the greatest turning point in his career. His fame secure, Britten over the next several decades wrote a dozen more operas, several of which—Albert Herring (1947), Billy Budd (1951), The Turn of the Screw (1954), A Midsummer Night's Dream (1960), Death in Venice (1973)—became instant and permanent fixtures of the repertoire. He also continued to produce much vocal, orchestral, and chamber music, including Songs and Proverbs of William Blake (1965), the three Cello Suites (1961-1964) and the Cello Symphony (1963), written for Mstislav Rostropovich, and the Third String Quartet (1975). Britten suffered a stroke during heart surgery in 1971, which resulted in something of a slowdown in his creative activities. Nonetheless, he continued to compose until his death in 1976, by which time he was recognized as one of the principal musical figures of the twentieth century. © Michael Rodman, All Music Guide es
dc.description.tableofcontents CD2-- Act Two (conclusion), Flower of this purple dye, Puppet? Why so?, This is thy negligence, Up and down…Where art thou proud Demetrius?, On the ground sleep sound-- Act Three ; Introduction…My gentle Robin see’st thou this sweet sight?...My Oberon what visions I have seen!, Helena!-Hermia!-Demetrius!-Lysander!, When my cue comes call me, Have you sent to Bottom’s house?, Orchestral march…Now fair Hippolyta our nuptial hour, If we offend it is with our good will, Gentles perchance you wonder at this show, In this same Interlude it doth befall, O grim-look’d night, O Wall full often hast thou heard my moans, You Ladies you (whose gentle hearts do fear…), This lanthorn doth the hornèd Moon present, Sweet Moon I thank thee for thy sunny beams, Asleep my Love? What dead my dove?, Come your Bergomask, Now the hungry lion roars…Through the house give glimmering light-- es
dc.format.extent 70:12 min. es
dc.format.medium 1 CD Rom (70 min., 12 seg) : Stereo 4 3/4 plg es
dc.language.iso en_US es
dc.rights Uninorte F.M Estéreo es
dc.subject.lcc 61204036 es
dc.subject.lcsh Operas es
dc.title Britten Operas II es
dc.title.alternative A Midsummer Night's Dream es
dc.title.alternative A Midsummer Night's Dream Opera in Three Acts Op. 64 es
dc.title.alternative A Midsummer Night's Dream Act Two (conclusion) - Act Three es
dc.title.alternative Las Óperas de Britten II es
dc.title.alternative Sueño de Una Noche de Verano Opera en Tres Actos Op. 64 es
dc.title.alternative Sueño de Una Noche de Verano Segundo Acto (conclusion) - Tercer Acto es
dc.language.rfc3066 eng es
dc.rights.holder Decca Music Group Limited es
dc.identifier.classification 028947560296 es
dc.subject.cdu Bri.09 es


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