While Benjamin Britten is often credited with having revived British opera, he could equally be recognized for awakening opera to the mostly untapped dramatic possibilities within the subject of homosexuality. Because he came of age when such things were left unsaid, his hands were tied – constrained by law and social taboo. As a result, Britten’s insurrection was subtle, accomplished by writing in code.
In a moment when gay civil rights are a subject of fervent national debate, LA Opera presents Billy Budd - a work populated by people with secret feelings: composed by a closeted gay man; with a libretto written by E.M. Forster, also a closeted gay man. Forster described the resulting tension in the opera as “love constricted, perverted, poisoned, but never the less flowing down its agonizing channel; a sexual discharge gone evil.”
Music Director James Conlon has written extensively on the use of code and its meaning in the works of Benjamin Britten. To learn more, read Maestro Conlon's essay in The Hudson Review
LA Opera's strikingly theatrical production of Billy Budd, conducted by James Conlon and directed by Francesca Zambello, opens February 22 for six performances only.