Benjamin Britten not his own in which Britten was a somewhat dazzled accomplice". The American public liked it, but the critics did not, and it fell into neglect until interest revived near the end of the composer's life. Britten's subsequent operas range from large-scale works written for full-strength opera companies, to chamber operas for performance by small touring opera ensembles or in churches and schools. In the large-scale category are "Peter Grimes" (1945), "Billy Budd" (1951), "Gloriana" (1953), "A Midsummer Night's Dream" (1960) and "Death in Venice" (1973). Of the remaining operas, "The Rape of Lucretia" (1946), "Albert Herring" (1947), "The Little
A Midsummer Night's Dream (opera) be considered that this goes beyond irony, and represents an idealised vision of a paradise of innocence and purity that Britten seems to have been captivated by throughout his life. Britten also pays attention to the play's central motif: the madness of love. Curiously he took the one relationship in the play that is grotesque (that of Tytania and Bottom) and placed it in the centre of his opera (in the middle of act 2). Women in Britten operas tend to run to extremes, being either predators or vulnerable prey, but Tytania is an amalgam; she dominates Bottom, but is