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Britten's Children;
The Observer, The Guardian
Observer review of "Britten's Children" by John Bridcut Faber.
The author sets out to separate the faintly creepy from the wholesome in Benjamin Britten, and to prove the innocence of his dealings with young males. At the end, I still didn't know what to think, and I wasn't convinced John Bridcut knew either.
From early in life, Britten had close relationships with handsome teenagers. On his side, there was often a sexual attraction. The boys themselves were sometimes unaware, sometimes complicit.
Observer review of "Britten's Children" by John Bridcut Faber.
The author sets out to separate the faintly creepy from the wholesome in Benjamin Britten, and to prove the innocence of his dealings with young males. At the end, I still didn't know what to think, and I wasn't convinced John Bridcut knew either.
From early in life, Britten had close relationships with handsome teenagers. On his side, there was often a sexual attraction. The boys themselves were sometimes unaware, sometimes complicit.
;
The trouble with boys,
May 10 2006
It is no secret that Britten liked boys, and liked them young. He wrote them into some 30 works. In his operas boys are pivotal, start to finish. [...] There is no masking the composer’s affinity for the puerile, a fascination glossed away as Peter Pannish while he was alive but hedged nowadays by widespread and wholly justified anxieties of paedophilia, a malignant vice borne on internet wings.
It is this love of boys that triggers our squeamishness about Britten and the sooner we get to the root of it the sooner we will be able to embrace the work without qualm. [...]
Yes, he was interested in boys, but they were no more than reflections of the boy in himself, an inner voice that was, as he sometimes hinted, the source of his inspiration, an ideal of beauty and goodness. [...]
The time has come to lay the rumours to rest and concentrate on the benefice of the Britten legacy.
It is no secret that Britten liked boys, and liked them young. He wrote them into some 30 works. In his operas boys are pivotal, start to finish. [...] There is no masking the composer’s affinity for the puerile, a fascination glossed away as Peter Pannish while he was alive but hedged nowadays by widespread and wholly justified anxieties of paedophilia, a malignant vice borne on internet wings.
It is this love of boys that triggers our squeamishness about Britten and the sooner we get to the root of it the sooner we will be able to embrace the work without qualm. [...]
Yes, he was interested in boys, but they were no more than reflections of the boy in himself, an inner voice that was, as he sometimes hinted, the source of his inspiration, an ideal of beauty and goodness. [...]
The time has come to lay the rumours to rest and concentrate on the benefice of the Britten legacy.