![]() They were often extremely practical too, on points such as … the exact placing of a piece of scenery with acoustics in mind” (Herbert 6).Ī quarter of a century after the premiere of Peter Grimes David Myerscough-Jones (1934-2010), a production designer for the British Broadcasting Corporation (BBC), encountered the prospect of planning a completely new stage set for the opera, this time for television. Piper added that Britten’s ideas about design “were precise and sound and positive in the way he saw them. John Piper (1903-92), who designed Britten’s The Rape of Lucretia in 1946 and continued to work with him until 1973, admitted that he was often called upon to provide an idea of how a series of scenes might look to create some visual stimulus before the composer put pencil to paper (qtd. ![]() This telling image attests to Britten’s interest in the preliminary detail of, and frequently strong opinion on, the design of his stage work. One of the photographs held in the archive of the Britten-Pears Foundation reveals the composer and producer Eric Crozier in 1945 scrutinizing one of four set models by the artist Kenneth Green (1905-86) for the first production of Peter Grimes. Creating scenery for the operas of Benjamin Britten (1913-76) was both a testing and rewarding occupation.
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