Benjamin Britten and Christianity by Allen, S, Allen, Stephen Arthur

“…<p>This thesis charts the significance of the topic of Christianity in the dramaturgy of Britten's operas, hi light of recent research, it takes an essentially negative view of Britten's relationship with the religious orthodoxy of his day, a view consistent with Britten's own. …”

Ritual and parable in Britten’s Curlew River by Gilles Couderc

“…Benjamin Britten defined himself as “a composer for an occasion” and some of his works are composed for commemorations and civic or religious ceremonies which conform to their own rituals. …”
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Duality and Ambiguity in Britten’s Death in Venice by Lucy Y. Liu

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Danger or Shelter? Lullabies in the Music of Benjamin Britten by Marinu Leccia

“… Britten’s playful aesthetic puts the child at the centre of many of his works. …”
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« A musician for an occasion »: Britten, compositeur engagé by Gilles Couderc

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Danger or shelter? Lullabies in the music of Benjamin Britten by Leccia, M

“…<p>Britten’s playful aesthetic puts the child at the centre of many of his works. …”

'Reading at Intervals': Benjamin Brittens Romantic Poetry by Young, B

Britten et l’art de la parabole by Gilles Couderc

“…With hindsight it seems that Britten’s work as a whole springs from the concept of "parable-art." …”
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Noye’s Fludde: Benjamin Britten’s. Interpretation of the Chester Play by Peter Happé

“…Dans les années cinquante, Benjamin Britten se proposa d’adapter le la pièce du cycle médiéval de Chester, Noah’s Flood. …”
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The Rape of Lucretia, premier « opéra anglais » de Britten ?  by Gilles Couderc

“…As Britten’s first chamber opera and the only one that retells a story from Roman Antiquity it stands apart in the Britten canon. …”
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Voices of the Unseen: Benjamin Britten’s Reading of The Turn of the Screw by Hubert TEYSSANDIER

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A Reappraisal of the Relationship Between Benjamin Britten and Walter Greatorex by Jim Coyle

“…Walter Greatorex was Music Master at Gresham’s School from 1911 to 1936. Benjamin Britten was his pupil from 1928-1930 (aged 14-16). …”
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De Byron à Benjamin Britten : quelques Venises anglaises by Gilles Couderc

“…This paper aims at uncovering in the opera evidence of a filiation, on the one hand, from Byron to Ruskin, to art critic Adrian Durham Stokes and to John Piper and Britten, and on the other hand, a less explicit descent, as it is linked to Britten and Pears’s homosexuality, from poet and art critic John Addington Symonds, historian Horatio Forbes Brown and novelist Henry James who turn the death of Venice into their Death in Venice.…”
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The musical magic of ambiguity in Benjamin Britten’s <i>Death in Venice</i> by B.M. Spies

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Performing Ritual: Physical and Musical Gesture in Benjamin Britten’s Curlew River by Helen Tucker

“… Benjamin Britten’s Curlew River (1964) defies traditional genre labels, exhibiting characteristics of opera, Japanese Noh drama, and religious ritual. …”
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Gloriana de Britten et le rêve de l’opéra anglais by Gilles Couderc

Subjects: “…Britten Benjamin…”
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Re-visioning the 'missing' scene: Critical and tonal trajectories in Britten's 'Billy Budd' by McKellar, S

A Midsummer Night’s Dream: reflections on Benjamin Britten’s Chamber Opera = Sonho de uma noite de verão: reflexões sobre a ópera de câmara de Benjamin Britten = El sueño de una noche de verano: reflexiones sobre la ópera de cámara de Benjamin Britten by Camati, Anna Stegh

“…Os diálogos intermidiáticos entre Shakespeare, Britten e Hall serão investigados à luz de considerações teóricas de Linda e Michael Hutcheon, Claus Clüver, Jorge Coli, Freda Chapple e outros…”
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Review of Philip Rupprecht. 2001. Britten’s Musical Language. Cambridge: Cambridge University Press by Lloyd Whitesell

“…In this wonderful book Philip Rupprecht develops a new, unified theoretical approach to Britten’s dramatic vocal music. To that end, he assembles a chronological series of close readings of major works, some extremely well-known (Peter Grimes, Billy Budd, The Turn of the Screw, War Requiem), others less familiar (Curlew River, Death in Venice). …”
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B. Britten’s “Guide to the Orchestra”: to the Question of the Unity of the Artistic and Pedagogical Aspects of the Composer’s Plan by Andrey M. Lesovichenko

“…The characteristic of the film for which the music and contemporary videos of the performance of Britten’s opus are written is given.…”
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