Krishan P Oberoi wrote:

>Well, some would argue that the bulk of Britten's ouvre can be linked to
>his sexuality and to his relationship with Pears, and not just the operas.
>Not that I mean to compare Britten to Corigiliano; the sexuality of the
>latter does nothing to heighten my appreciation of his music.

The bulk of Britten's ouvre? Hardly.  Specifically, there IS a link
between Britten's and his sexuality but not all of them.  Peter Grimes,
Billy Budd, The Turn of the Screw, and Death in Venice are related to
Britten's sexuality, but more along the lines of the persecution that
one who is different receives.  It's pretty obvious that there is a big
question as to Grimes' relationship with his apprentices.  Captain Vere
is pretty much in love with Billy Budd, and Aeschenbach...well, that's
too obvious to even state.But this is certainly not the case in Albert
Herring, The Rape of Lucretia, The Little Sweep, or Owen Wingrave.

But how can you connect the Britten/Pears relationship to the War Requiem,
the Spring Symphony, the cello suites, the chamber music, the five
canticles? Sure he wrote parts for Pears into many works, but hey, when you
have a fine interpreter of your music living with you, why not? Poulenc
accompanied Bernac all the time too.  So what?

You state that it is not just the operas that are linked to Britten's
sexuality and his relationship with Pears.  What specific works do you
have in mind? Certainly not the Ceremony of Carols, A Birthday Hansel, The
Sonnets of John Donne, The Serenade for tenor, horn and strings, A Boy was
Born (a masterpiece written before he even met Pears), The two Te Deum
settings, etc etc etc.

I think you are over stating your case here without any good evidence to
back it up.

Kevin Sutton