Recommended for Grades 6-12
In this resource, you will:
- Learn the opera’s background and synopsis
- Meet the opera’s composer
Peter Grimes
by Benjamin Britten
Peter Grimes
by Benjamin Britten
A quick overview of Britten’s 1945 opera about a troubled fisherman.
Background
Benjamin Britten was living in California when he read George Crabbe’s poem “The Borough.” Britten, a native of Suffolk, England was struck by Crabbe’s work, which has been described by many as quintessentially English. Britten was particularly taken with the character of Peter Grimes: “In a flash I realized two things: that I must write an opera, and where I belonged.”
And so Peter Grimes began to take shape. Years later, Britten moved to Aldeburgh, the town that “The Borough” is based on. He lived there until his death in 1976.
Synopsis
Prologue
During a coroner’s inquest, Swallow questions Peter Grimes about the death of his apprentice at sea. Grimes testifies that the boy died when they ran out of drinking water. Though Swallow rules the death accidental, he warns Grimes not to take on another apprentice unless he provides a woman to care for him. The fisherman replies that this is his intent. When the hall empties, Ellen Orford promises to help Grimes.
Act I
Balstrode spies a storm and from the harbor. Grimes calls for help to land his boat, but only Balstrode and Ned Keene respond. Keene tells Grimes he has found a new apprentice for him. Balstrode tries to convince Grimes to join the merchant marine, but he wants to earn enough money to get married to Ellen.
That night, at the storm’s height, Auntie unwillingly admits a group of fishermen and other townspeople to her tavern, The Boar. Grimes enters, declaiming a poetic fantasy that mystifies the onlookers. Hobson and Ellen arrive with John, the new apprentice, and Grimes takes the boy back out into the storm to his hut, over angry protests.
Act II
Ellen is concerned about the new apprentice’s torn clothes and bruised neck. She asks Grimes to let the boy have some rest, but he strikes her. Auntie, Keene, and Bob Boles see the incident and inform the townspeople. Despite Ellen’s protests, Boles rallies a mob and leads it off to apprehend Grimes.
At his hut, Grimes orders John to dress for work. Raving to himself, Grimes imagines making enough money to marry Ellen, but his vision turns to the dead apprentice. As the mob is heard approaching, Grimes rushes John out the back door and, in his haste, the boy falls over the steep cliff. Grimes escapes from the mob and the villagers depart.
Act III
A few nights later, a dance is under way at Moot Hall. Mrs. Sedley tries to interest Keene in a theory that Grimes has murdered his apprentice. Balstrode enters with Ellen, who is carrying the apprentice’s wet jersey. When they leave, Mrs. Sedley calls for Swallow, who orders Grimes’ arrest. Several hours later, Grimes staggers in, exhausted and raving. Balstrode tells him to sail out of the harbor and sink his boat. As dawn breaks, the villagers begin their daily chores, while the coastguard reports a sinking vessel out at sea.
—Synopsis courtesy of Santa Fe Opera
Meet the Artists
Listen to the Story
Winslow Homer (1836–1910), The Fog Warning, 1885, oil on canvas [].
Presented by Washington National Opera, host Saul Lilienstein takes you through the musical world of Britten’s 1945 opera about a troubled fisherman, Peter Grimes.
Read the Student Guide
Watch
Watch
Related Resources
Media Billy Budd
A quick overview of Britten鈥檚 1951 opera based on Herman Melville鈥檚 novel.
Media Moby-Dick
A quick overview of Jake Heggie鈥檚 2010 opera based on the novel by Herman Melville.
Media The Flying Dutchman
A quick overview of Wagner鈥檚 1843 maritime ghost story.
Media Opera in the 20th Century: 1920-1960
Consider this opera鈥檚 鈥淐haotic Neutral鈥 era. You鈥檒l discover 20th-century operas don鈥檛 typically celebrate good or evil: they relish the madness and ambiguity of the in between. Which means their musical storytelling will feel and sound vastly different, depending on who鈥檚 doing the telling.
Kennedy Center Education Digital Learning
Eric Friedman
Director, Digital Learning
Kenny Neal
Manager, Digital Education Resources
Tiffany A. Bryant
Manager, Operations and Audience Engagement
JoDee Scissors
Content Specialist, Digital Learning
Connect with us!
Generous support for educational programs at the Kennedy Center is provided by the U.S. Department of Education. The content of these programs may have been developed under a grant from the U.S. Department of Education but does not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the federal government.
Gifts and grants to educational programs at the Kennedy Center are provided by A. James & Alice B. Clark Foundation; Annenberg Foundation; the Andrew W. Mellon Foundation; Bank of America; Bender Foundation, Inc.; Capital One; Carter and Melissa Cafritz Trust; Carnegie Corporation of New York; DC Commission on the Arts and Humanities; Estée Lauder; Exelon; Flocabulary; Harman Family Foundation; The Hearst Foundations; the Herb Alpert Foundation; the Howard and Geraldine Polinger Family Foundation; William R. Kenan, Jr. Charitable Trust; the Kimsey Endowment; The King-White Family Foundation and Dr. J. Douglas White; Laird Norton Family Foundation; Little Kids Rock; Lois and Richard England Family Foundation; Dr. Gary Mather and Ms. Christina Co Mather; Dr. Gerald and Paula McNichols Foundation; The Morningstar Foundation;
The Morris and Gwendolyn Cafritz Foundation; Music Theatre International; Myra and Leura Younker Endowment Fund; the National Endowment for the Arts; Newman’s Own Foundation; Nordstrom; Park Foundation, Inc.; Paul M. Angell Family Foundation; The Irene Pollin Audience Development and Community Engagement Initiatives; Prince Charitable Trusts; Soundtrap; The Harold and Mimi Steinberg Charitable Trust; Rosemary Kennedy Education Fund; The Embassy of the United Arab Emirates; UnitedHealth Group; The Victory Foundation; The Volgenau Foundation; Volkswagen Group of America; Dennis & Phyllis Washington; and Wells Fargo. Additional support is provided by the National Committee for the Performing Arts.
Social perspectives and language used to describe diverse cultures, identities, experiences, and historical context or significance may have changed since this resource was produced. Kennedy Center Education is committed to reviewing and updating our content to address these changes. If you have specific feedback, recommendations, or concerns, please contact us at [email protected].