On the Margin of Sea and Society: "Peter Grimes" and Romantic Naturalism.
This article critically evaluates the opera "Peter Grimes," by Benjamin Britten. A literary critic approaching the history of the composition of Benjamin Britten's Peter Grimes encounters a somewhat unusual circumstance. "Peter Grimes" is unusual because the first germ of the opera was provided by t...
| Published in: | University of Toronto Quarterly Vol. 74; no. 2; pp. 636 - 648 |
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| Format: | Article |
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University of Toronto Press
Spring2005
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| Online Access: | View this record in EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=16500259&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 16500259 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00420247 UTQ jtl: University of Toronto Quarterly issn: 00420247 maglogo: Y pubinfo: dt: Spring2005 vid: 74 iid: 2 pid: 678 pub: University of Toronto Press artinfo: ui: 16500259 10.3138/utq.74.2.636 ppf: 636 ppct: 12 formats: fmt: – @attributes: type: T – @attributes: type: P size: 705KB tig: atl: On the Margin of Sea and Society: "Peter Grimes" and Romantic Naturalism. aug: au: Bewell, Alan affil: University of Toronto su: Peter Grimes (Theatrical production) Britten, Benjamin, 1913-1976 Opera Crabbe, George, 1754-1832 Poets Critics sug: subj: Peter Grimes (Theatrical production) Britten, Benjamin, 1913-1976 Opera Crabbe, George, 1754-1832 Poets Critics ab: This article critically evaluates the opera "Peter Grimes," by Benjamin Britten. A literary critic approaching the history of the composition of Benjamin Britten's Peter Grimes encounters a somewhat unusual circumstance. "Peter Grimes" is unusual because the first germ of the opera was provided by the novelist and critic E. M. Forster in a radio talk on the English poet George Crabbe that Britten came upon in a 1941 issue of the Listener. Throughout the opera, Britten uses all the stage and musical resources of opera, including extensive interludes, to produce this particular environment, for more was at stake for him than the opera itself. If Crabbe on his best behavior was barely suitable for joining the ranks of accepted poets, and even more of a challenge for an opera, the person whom Britten actually chose to make his protagonist embodies everything that troubled Crabbe's contemporaries about his writing. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of University of Toronto Quarterly is the property of University of Toronto Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: University of Toronto Quarterly holder: University of Toronto Press dt: @attributes: year: 2005 holdings: @attributes: islocal: N |
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