This opera is the subject of a 1977 Philip Brett paper that foreshadowed New Musicology. Colin Davis’s 1978 recording of this opera features Jon Vickers’s much darker treatment of the title character. (10[1])In this opera’s ending mad scene, the tenor lead’s monologue (10[1])is punctuated by solo tuba calls and an offstage chorus shouting his name. (10[1])Just before (10[1])that scene, (10[1])this opera’s female lead describes how a hobby “in childhood was a luxury of idleness” (10[1])as she identifies a dead body in the “Embroidery (-5[1])Aria.” (10[3])This opera’s (10[1])passages “Dawn,” “Sunday Morning,” “Moonlight,” (10[1])and “Storm” were published (10[1])as its composer’s Opus (10[1])33. (10[1])This (10[2])opera was written for its composer’s partner (10[1])Peter (10[1])Pears (10[1])(“peers”), who plays a fisherman whose apprentices (10[1])die (10[1])suspiciously. (10[1])For 10 points, name this opera (10[1])from which the Four Sea Interludes were excerpted by composer Benjamin Britten. ■END■ (10[1])