‘Darling Kath’: Benjamin Britten’s music for Kathleen Ferrier

© 2018 Alexandra MathewThis thesis examines the career of contralto Kathleen Ferrier (1912–1953), and her collaborations with composer Benjamin Britten (1913–1976). In the late 1940s, Kathleen Ferrier was among the most famous classical singers of her day. Britten was the pre-eminent composer in Britain, composing solos for Ferrier in three major works: the title role in The Rape of Lucretia (1946), the contralto solos in Spring Symphony (1949), and the part of Isaac in Canticle II: Abraham and Isaac (1952). Although their collaboration ceased with Ferrier’s untimely death, Britten’s work with Ferrier was musically and personally significant, and proved influential for the course of Britten’s career and for shaping Ferrier’s legacy. Drawing on diaries, correspondence, and recordings, this thesis examines Britten’s intricate understanding of Ferrier’s voice and ability, the unusual way in which he exploited them, and how Ferrier in turn interpreted and created the premiere performances. In addition, with reference to the writings of J.P.E. Harper-Scott and Carolyn Abbate, this thesis evaluates the nature of the relationship between an influential male composer and the woman who gives voice to a work or role, to address the vexed question whether it is the composer or interpreter who creates that role