Benjamin Britten, Owen Wingrave and the politics of the closet; or, ‘He Shall Be Straightened Out at Paramore’

Abstract

Benjamin Britten's television opera, Owen Wingrave, first broadcast on the BBC on 16 May 1971, is probably the least known of his sixteen operatic works. Based on an equally obscure tale of the same name by Henry James, it concerns the last scion of a military family who decides to abandon his calling and embrace pacifism. After fierce family opposition and disinheritance, Owen agrees to spend the night in a haunted room in the family mansion of Paramore – a room in which an ancestor was found dead ‘without a wound’ after accidentally killing his son while disciplining him. Several hours later, his body is discovered – dead, without a wound, like that of his forbear. Despite the compeffing nature of the story, Owen Wingrave has never found a secure place in the Britten canon, largely owing to a lingering dissatisfaction aroused by the ending. In what follows, I should like to explore this dissatisfaction and propose a context within which to approach the opera.

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