This chapter examines the early intersections between Peter Pears and Benjamin Britten, well before their American years (1939–42) and the official beginning of their romantic relationship, as well as the tenor’s early career. Pears’s earliest professional singing engagements began with the BBC Wireless Chorus, in the newly established Wireless Octet (renamed the BBC Singers B in March 1935) intended to function alongside the BBC Singers and take part in BBC Chorus performances and Promenade Concerts; he remained in these various ensembles until October 1937. In both late 1936 and late 1937, Pears travelled to the United States on tours with the New English Singers. In April 1939, Pears travelled to the United States via Canada with Britten. Pears’s career in the United States is explored, but more significant is his vocal study with Clytie Mundy, to whom he attributed the greatest growth in his emerging solo voice. On their return to wartime England, Pears and Britten registered for conscientious objector status. At the same time, Pears enjoyed considerable success as a leading soloist on the operatic (and touring) stage and in recital and BBC broadcasts with Britten.

From mid-1943 until late-1950, Eric Crozier was an essential asset to Britten’s industry. His work alongside director and radio producer Tyrone Guthrie not only introduced Crozier to the Old Vic in London, but to the BBC as well, where Guthrie also worked. Joan Cross invited Crozier and Guthrie to each direct two different productions at Sadler’s Wells in 1943. Crozier directed and produced Britten’s first two operas, Peter Grimes in 1945 at Sadler’s Wells, and The Rape of Lucretia in 1946 for the short-lived Glyndebourne English Opera Company. Crozier wrote the librettos for Albert Herring and the children’s entertainment Let’s Make an Opera (with its central opera, The Little Sweep), in addition to writing the text for the cantata Saint Nicolas, and with E. M. Forster, he was co-librettist for Billy Budd. Britten, Crozier, and designer John Piper founded the English Opera Group. The endeavour was based on ‘the Britten–Crozier doctrine’ that sought the group’s own autonomy and ultimately a home to produce such works. That home was largely realised in the founding of the Aldeburgh Festival of Music and the Arts in 1948, for which Crozier was a founder and co-artistic director.

The inevitable pairing of the names of Britten and Purcell, a pairing promoted by Britten himself, was one in which he was linked to Britain’s ‘only’ composer. In response, Britten willingly took on the mantle of hope for English composition. At the same time, there is no doubt that the Britten felt an affinity with the earlier composer, and drew considerable strength and inspiration from his works. However, although Britten’s response is often presented as a personal one, this article suggests that his engagement with Purcell’s music was part of an earlier and broader picture of the use and reuse of earlier English music in the first decades of the twentieth century. His engagement with Purcell’s music, which included realisations of his songs and the use of forms and techniques associated with the composer, was at its most intense in 1945, and was focused on the period round 21 and 22 November, the dates of the Wigmore Hall concerts which saw the premieres of Britten’s Quartet No. 2 and The Holy Sonnets of John Donne. The reception of Britten’s ‘Purcell’ works was sometimes mixed, but this article concludes that for Britten, it was a matter of supreme enjoyment.

Britten’s diaries and letters between the wars reveal a profound irritation with what he saw as the parochialism and amateurishness of British music making, especially in comparison with the standards he admired in Europe. So it is perhaps not surprising that the first singer with whom he worked closely was not British, but the Swiss-born Sophie Wyss. It is clear that by 1942, on his return from America, and with Peter Pears installed as his permanent partner, Britten’s expectations had developed radically. Unique to this volume and building on Roger Vignoles’s career as an internationally recognised collaborative pianist, this chapter continues with discussions of Joan Cross (after her departure from Sadler’s Wells Opera), as well as Jennifer Vyvyan, Arda Mandikian, Heather Harper, Alfred Deller, David Hemmings, Galina Vishnevskaya, Janet Baker, Kathleen Ferrier, Nancy Evans, Dietrich Fischer-Dieskau, Owen Brannigan, Robert Tear, Theodore Uppman, and John Shirley-Quirk.