Editing Benjamin Britten (section)

===Return to England===
[[File:Peter-grimes-the-borough-1812.jpg|thumb|Page from "Peter Grimes" in 1812 edition of Crabbe's ''The Borough'']]
In 1942 Britten read the work of the poet [[George Crabbe]] for the first time.{{Sfn|White|1954|p=35}} ''[[The Borough (poem)|The Borough]]'', set on the Suffolk coast close to Britten's homeland, awakened in him such longings for England that he knew he must return. He also knew that he must write an opera based on Crabbe's poem about the fisherman Peter Grimes.<ref name=press/> Before Britten left the US, Koussevitzky, always generous in encouraging new talent, offered him a $1,000 commission to write the opera.<ref name=press/>{{Efn|Koussevitzky's generosity later extended to waiving his rights to mount the first production, allowing Britten and his [[English National Opera|Sadler's Wells]] associates the chance to do so. The opera's first performance under Koussevitzky's aegis was at the [[Tanglewood Music Festival]] in 1947, conducted by the young [[Leonard Bernstein]].{{Sfn|Powell|2013|p=252}} Bernstein retained a love of the work, and he conducted the orchestral "Sea Interludes" from the opera at his final concert, given in Tanglewood in 1990, shortly before his death.<ref>[[John Rockwell|Rockwell, John]]. [https://www.nytimes.com/1990/10/16/arts/the-last-days-of-leonard-bernstein.html?pagewanted=all&src=pm "The Last Days of Leonard Bernstein"], ''[[The New York Times]]'', 16 October 1990, accessed 10 June 2016.</ref>}} Britten and Pears returned to England in April 1942. During the long transatlantic sea crossing Britten completed the choral works ''[[A Ceremony of Carols]]'' and ''Hymn to St Cecilia''. The latter was his last large-scale collaboration with Auden. Britten had grown away from him, and Auden became one of the composer's so-called "corpses" – former intimates from whom he completely cut off contact once they had outlived their usefulness to him or offended him in some way.{{Sfn|Matthews|2003|p=79}}

Having arrived in Britain, Britten and Pears applied for recognition as [[conscientious objector]]s; Britten was initially allowed only non-combatant service in the military, but on appeal he gained unconditional exemption.{{Sfn|Matthews|2003|p=66}} After the death of his mother in 1937 he had used money she bequeathed him to buy the Old Mill in [[Snape, Suffolk|Snape]], Suffolk which became his country home. He spent much of his time there in 1944 working on the opera ''[[Peter Grimes]]''. Pears joined [[English National Opera|Sadler's Wells Opera Company]], whose artistic director, the singer [[Joan Cross]], announced her intention to re-open the company's home base in London with Britten's opera, casting herself and Pears in the leading roles.{{Efn|[[Sadler's Wells Theatre]] in [[Islington]], London, was requisitioned by the government in 1942 as a refuge for people made homeless by air-raids; the Sadler's Wells opera company toured the British provinces, returning to its home base in June 1945.{{Sfn|Gilbert|2009|pp=78, 83, 98}}}} There were complaints from company members about supposed favouritism and the "cacophony" of Britten's score, as well as some ill-suppressed [[Homophobia|homophobic]] remarks.{{Sfn|Gilbert|2009|p=98}} ''Peter Grimes'' opened in June 1945 and was hailed by public and critics;<ref>See, for example, "Sadler's Wells Opera – ''Peter Grimes''", ''[[The Times]]'', 8 June 1945, p. 6, and [[William Glock|Glock, William]]. "Music", ''[[The Observer]]'', 10 June 1945, p. 2.</ref> its box-office takings matched or exceeded those for ''[[La bohème]]'' and ''[[Madama Butterfly|Madame Butterfly]]'', which were staged during the same season.{{Sfn|Banks|2000|pp=xvi–xviii}} The opera administrator [[George Lascelles, 7th Earl of Harewood|Lord Harewood]] called it "the first genuinely successful British opera, [[Gilbert and Sullivan]] apart, since [[Henry Purcell|Purcell]]."{{Sfn|Blyth|1981|p=79}} Dismayed by the in-fighting among the company, Cross, Britten and Pears severed their ties with Sadler's Wells in December 1945, going on to found what was to become the [[English Opera Group]].{{Sfn|Gilbert|2009|p=107}}

A month after the opening of ''Peter Grimes'', Britten and [[Yehudi Menuhin]] went to Germany to give recitals to concentration camp survivors.<ref name="Matthews 80">{{Harvnb|Matthews|2003|p=80}}.</ref> What they saw, at [[Bergen-Belsen concentration camp|Belsen]] most of all, so shocked Britten that he refused to talk about it until towards the end of his life, when he told Pears that it had coloured everything he had written since.<ref>{{Harvnb|Carpenter|1992|p=228}} and {{Harvnb|Matthews|2003|p=80}}.</ref> [[Colin Matthews]] comments that the next two works Britten composed after his return, the song-cycle ''The Holy Sonnets of John Donne'' and the Second String Quartet, contrast strongly with earlier, lighter-hearted works such as ''Les Illuminations''.{{Sfn|Matthews|2003|pp=80–81}} Britten recovered his ''joie de vivre'' for ''[[The Young Person's Guide to the Orchestra]]'' (1945), written for an educational film, ''Instruments of the Orchestra'', directed by [[Muir Mathieson]] and featuring the [[London Symphony Orchestra]] conducted by [[Malcolm Sargent]].<ref>[http://explore.bfi.org.uk/4ce2b69f17167 "Instruments of the Orchestra"] {{Webarchive|url=https://web.archive.org/web/20151122145032/http://explore.bfi.org.uk/4ce2b69f17167 |date=22 November 2015}}, British Film Institute, accessed 24 May 2013.</ref> It became, and remained, his most often played and popular work.{{Sfn|Matthews|2003|p=81}}

Britten's next opera, ''[[The Rape of Lucretia]]'', was presented at the first post-war [[Glyndebourne Festival Opera|Glyndebourne Festival]] in 1946. It was then taken on tour to provincial cities under the banner of the "Glyndebourne English Opera Company", an uneasy alliance of Britten and his associates with [[John Christie (opera manager)|John Christie]], the autocratic proprietor of Glyndebourne.<ref>[[Philip Hope-Wallace|Hope-Wallace, Philip]]. "Opera at Glyndebourne", ''The Manchester Guardian'', 15 July 1946, p. 3; and {{Harvnb|Carpenter|1992|pp=242–243}}.</ref> The tour lost money heavily, and Christie announced that he would underwrite no more tours.{{Sfn|Carpenter|1992|p=243}} Britten and his associates set up the English Opera Group; the librettist [[Eric Crozier]] and the designer [[John Piper (artist)|John Piper]] joined Britten as artistic directors. The group's express purpose was to produce and commission new English operas and other works, presenting them throughout the country.<ref>Wood, Anne. "English Opera Group", ''The Times'', 12 July 1947, p. 5.</ref> Britten wrote the comic opera ''[[Albert Herring]]'' for the group in 1947; while on tour in the new work Pears came up with the idea of mounting a festival in the small Suffolk seaside town of [[Aldeburgh]], where Britten had moved from Snape earlier in the year, and which became his principal place of residence for the rest of his life.<ref>{{Harvnb|Headington|1993|pp=149–150}}; and {{Harvnb|Matthews|2003|p=89}}.</ref>