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
Benjamin Britten of each set of characters: "the bright, percussive sounds of harps, keyboards and percussion for the fairy world, warm strings and wind for the pairs of lovers, and lower woodwind and brass for the mechanicals". In "Death in Venice" Britten turns Tadzio and his family into silent dancers, "accompanied by the colourful, glittering sounds of tuned percussion to emphasize their remoteness." As early as 1948 the music analyst Hans Keller, summarising Britten's impact on 20th-century opera to that date, compared his contribution to that of Mozart in the 18th century: "Mozart may in some respects be regarded as a founder