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Into the Little Hill - Wikipedia
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block=document.getElementById("mf-section-"+id);block.className+=" open-block";block.previousSibling.className+=" open-block";}</script><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><section class="mf-section-0" id="mf-section-0"> <p class="mw-empty-elt"> </p> <style data-mw-deduplicate="TemplateStyles:r1257001546">.mw-parser-output .infobox-subbox{padding:0;border:none;margin:-3px;width:auto;min-width:100%;font-size:100%;clear:none;float:none;background-color:transparent}.mw-parser-output .infobox-3cols-child{margin:auto}.mw-parser-output .infobox .navbar{font-size:100%}@media screen{html.skin-theme-clientpref-night .mw-parser-output .infobox-full-data:not(.notheme)>div:not(.notheme)[style]{background:#1f1f23!important;color:#f8f9fa}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .infobox-full-data:not(.notheme) div:not(.notheme){background:#1f1f23!important;color:#f8f9fa}}@media(min-width:640px){body.skin--responsive .mw-parser-output .infobox-table{display:table!important}body.skin--responsive .mw-parser-output .infobox-table>caption{display:table-caption!important}body.skin--responsive .mw-parser-output .infobox-table>tbody{display:table-row-group}body.skin--responsive .mw-parser-output .infobox-table tr{display:table-row!important}body.skin--responsive .mw-parser-output .infobox-table th,body.skin--responsive .mw-parser-output .infobox-table td{padding-left:inherit;padding-right:inherit}}</style><p><i><b>Into the Little Hill</b></i> is a 2006 <a href="/wiki/Chamber_opera" title="Chamber opera">chamber opera</a> by British composer <a href="/wiki/George_Benjamin_(composer)" title="George Benjamin (composer)">George Benjamin</a>. </p><table class="infobox vevent"><tbody><tr><th colspan="2" class="infobox-above summary" style="font-style: italic;">Into the Little Hill</th></tr><tr><td colspan="2" class="infobox-subheader" style="font-weight: bold;"><a href="/wiki/Chamber_opera" title="Chamber opera">Chamber opera</a> by <a href="/wiki/George_Benjamin_(composer)" title="George Benjamin (composer)">George Benjamin</a></td></tr><tr><th scope="row" class="infobox-label">Librettist</th><td class="infobox-data"><a href="/wiki/Martin_Crimp" title="Martin Crimp">Martin Crimp</a></td></tr><tr><th scope="row" class="infobox-label">Language</th><td class="infobox-data">English</td></tr><tr><th scope="row" class="infobox-label">Based on</th><td class="infobox-data">legend of the <a href="/wiki/Pied_Piper_of_Hamelin" title="Pied Piper of Hamelin">Pied Piper of Hamelin</a></td></tr><tr><th scope="row" class="infobox-label">Premiere</th><td class="infobox-data"><div style="display:inline;" class="vevent">22 November 2006<span style="display:none"> (<span class="bday dtstart published updated itvstart">2006-11-22</span>)</span><br><div style="display:inline;" class="summary"><a href="/wiki/Op%C3%A9ra_Bastille" title="Opéra Bastille">Opéra Bastille</a>, Paris</div></div></td></tr></tbody></table> <p>Described by the composer as a "lyric tale in two parts", the libretto is by playwright <a href="/wiki/Martin_Crimp" title="Martin Crimp">Martin Crimp</a> and it is Benjamin's first stage work.<sup id="cite_ref-newyorker2018_1-0" class="reference"><a href="#cite_note-newyorker2018-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> They have since collaborated on a further two operas, <i><a href="/wiki/Written_on_Skin" title="Written on Skin">Written on Skin</a></i> (2012) and <i><a href="/wiki/Lessons_in_Love_and_Violence" title="Lessons in Love and Violence">Lessons in Love and Violence</a></i> (2018). All three works draw upon medieval subject matter in some way, and <i>Into the Little Hill</i> is a modern retelling of the legend of the <a href="/wiki/Pied_Piper_of_Hamelin" title="Pied Piper of Hamelin">Pied Piper of Hamelin</a>. Crimp has stated that he was introduced to Benjamin by musicologist <a href="/wiki/Laurence_Dreyfus" title="Laurence Dreyfus">Laurence Dreyfus</a>.<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p><p>The piece was commissioned by Festival d'Automne à Paris. It premiered at <a href="/wiki/Op%C3%A9ra_Bastille" title="Opéra Bastille">Opéra Bastille</a> on 22 November 2006, conducted by Franck Ollu, directed by Daniel Jeanneteau, and performed by <a href="/wiki/Anu_Komsi" title="Anu Komsi">Anu Komsi</a> and <a href="/wiki/Hilary_Summers" title="Hilary Summers">Hilary Summers</a> with instrumentalists from <a href="/wiki/Ensemble_Modern" title="Ensemble Modern">Ensemble Modern</a>.<sup id="cite_ref-guardian2006_3-0" class="reference"><a href="#cite_note-guardian2006-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> It has since been performed in over 100 productions in Europe, North America, China, Australia.<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> It is approximately 40 minutes in length. </p> <div id="toc" class="toc" role="navigation" aria-labelledby="mw-toc-heading"><input type="checkbox" role="button" id="toctogglecheckbox" class="toctogglecheckbox" style="display:none"><div class="toctitle" lang="en" dir="ltr"><h2 id="mw-toc-heading">Contents</h2><span class="toctogglespan"><label class="toctogglelabel" for="toctogglecheckbox"></label></span></div> <ul> <li class="toclevel-1 tocsection-1"><a href="#Scoring"><span class="tocnumber">1</span> <span class="toctext">Scoring</span></a> <ul> <li class="toclevel-2 tocsection-2"><a href="#Roles"><span class="tocnumber">1.1</span> <span class="toctext">Roles</span></a></li> <li class="toclevel-2 tocsection-3"><a href="#Instrumentation"><span class="tocnumber">1.2</span> <span class="toctext">Instrumentation</span></a></li> </ul> </li> <li class="toclevel-1 tocsection-4"><a href="#Synopsis"><span class="tocnumber">2</span> <span class="toctext">Synopsis</span></a> <ul> <li class="toclevel-2 tocsection-5"><a href="#Part_One"><span class="tocnumber">2.1</span> <span class="toctext">Part One</span></a></li> <li class="toclevel-2 tocsection-6"><a href="#Part_Two"><span class="tocnumber">2.2</span> <span class="toctext">Part Two</span></a></li> </ul> </li> <li class="toclevel-1 tocsection-7"><a href="#Critical_reception"><span class="tocnumber">3</span> <span class="toctext">Critical reception</span></a></li> <li class="toclevel-1 tocsection-8"><a href="#References"><span class="tocnumber">4</span> <span class="toctext">References</span></a></li> </ul> </div> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(1)"><span class="indicator mf-icon mf-icon-expand mf-icon--small"></span><h2 id="Scoring">Scoring</h2><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Into_the_Little_Hill&action=edit&section=1" title="Edit section: Scoring" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div><section class="mf-section-1 collapsible-block" id="mf-section-1"> <div class="mw-heading mw-heading3"><h3 id="Roles">Roles</h3><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Into_the_Little_Hill&action=edit&section=2" title="Edit section: Roles" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div> <p><i>Into the Little Hill</i> is scored for one <a href="/wiki/Soprano" title="Soprano">soprano</a> and one <a href="/wiki/Alto" title="Alto">alto</a>, each representing different roles between scenes: </p> <table class="wikitable"> <tbody><tr> <th>Soprano</th> <th>Alto </th></tr> <tr> <td>The Crowd</td> <td>The Crowd </td></tr> <tr> <td>The Stranger</td> <td>Narrator </td></tr> <tr> <td>Narrator</td> <td>The Minister </td></tr> <tr> <td>The Minister's Child</td> <td>The Minister's Wife </td></tr> <tr> <td>The Children</td> <td>The Mothers </td></tr></tbody></table> <p>The use of two singers has drawn comparison with <a href="/wiki/Herbert_Parry" title="Herbert Parry">Herbert Parry's</a> setting of <a href="/wiki/Robert_Browning" title="Robert Browning">Robert Browning's</a> 1842 poem "The Pied Piper of Hamelin", which casts a <a href="/wiki/Tenor" title="Tenor">tenor</a> as the Piper and a <a href="/wiki/Baritone" title="Baritone">baritone</a> as the Mayor.<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> </p><p><a href="/wiki/Martin_Crimp" title="Martin Crimp">Crimp's</a> libretto uses a mixture of direct and reported speech. Elisabeth Angel-Perez describes this technique as "self-narration", noting its elision of more traditional operatic forms of <a href="/wiki/Recitative" title="Recitative">recitative</a> and <a href="/wiki/Aria" title="Aria">aria</a> as well as its extensive use in <i><a href="/wiki/Written_on_Skin" title="Written on Skin">Written on Skin</a></i>.<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p><p>Benjamin makes versatile use of vocal register for characterization. High, simple soprano writing is used to convey the innocence of the Child, while more extreme <a href="/wiki/Coloratura" title="Coloratura">coloratura</a> passages represent the other-worldliness of the Stranger.<sup id="cite_ref-Cadagin_7-0" class="reference"><a href="#cite_note-Cadagin-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> The alto line makes considerable use of low <a href="/wiki/Tessitura" title="Tessitura">tessitura</a> to convey the Minister's masculinity and the Mother's lamentations.<sup id="cite_ref-newyorker2018_1-1" class="reference"><a href="#cite_note-newyorker2018-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Instrumentation">Instrumentation</h3><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Into_the_Little_Hill&action=edit&section=3" title="Edit section: Instrumentation" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div> <ul><li><a href="/wiki/Bass_flute" title="Bass flute">Bass flute</a> (doubling <a href="/wiki/Western_concert_flute" title="Western concert flute">flute</a> and <a href="/wiki/Piccolo" title="Piccolo">piccolo</a>), two <a href="/wiki/Basset_horn" title="Basset horn">basset horns</a> in F, <a href="/wiki/Contrabass_clarinet" title="Contrabass clarinet">contrabass clarinet</a></li> <li>Two <a href="/wiki/Cornet" title="Cornet">cornets</a>, <a href="/wiki/Trombone" title="Trombone">trombone</a></li> <li><a href="/wiki/Cimbalom" title="Cimbalom">Cimbalom</a></li> <li><a href="/wiki/Percussion" class="mw-redirect" title="Percussion">Percussion</a>: <a href="/wiki/Cymbal" title="Cymbal">cymbals</a>, <a href="/wiki/Guiro" class="mw-redirect" title="Guiro">guiro</a>, whip, 2 <a href="/wiki/Crotales" title="Crotales">crotales</a></li> <li>Two <a href="/wiki/Violin" title="Violin">violins</a> (second doubling <a href="/wiki/Mandolin" title="Mandolin">mandolin</a>), two <a href="/wiki/Viola" title="Viola">violas</a> (second doubling <a href="/wiki/Banjo" title="Banjo">banjo</a>), two <a href="/wiki/Cello" title="Cello">cellos</a>, <a href="/wiki/Double_bass" title="Double bass">double bass</a> (lowest string tuned to C)</li></ul> <p>Several reviewers have remarked upon Benjamin's orchestration, particularly the cimbalom's "eerie" quality<sup id="cite_ref-Cadagin_7-1" class="reference"><a href="#cite_note-Cadagin-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> and the unusual timbres of the contrabass clarinet and basset horn.<sup id="cite_ref-times2008_8-0" class="reference"><a href="#cite_note-times2008-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> The use of traditionally non-orchestral instruments such as the cornet, mandolin and banjo has been interpreted as an evocation of the folk origins of the story, while the extended <a href="/wiki/Obbligato" title="Obbligato">obbligato</a> passages on the bass flute imply the <a href="/wiki/Pied_Piper_of_Hamelin" title="Pied Piper of Hamelin">Pied Piper's</a> flute.<sup id="cite_ref-newyorker2018_1-2" class="reference"><a href="#cite_note-newyorker2018-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> </p> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(2)"><span class="indicator mf-icon mf-icon-expand mf-icon--small"></span><h2 id="Synopsis">Synopsis</h2><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Into_the_Little_Hill&action=edit&section=4" title="Edit section: Synopsis" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div><section class="mf-section-2 collapsible-block" id="mf-section-2"> <div class="mw-heading mw-heading3"><h3 id="Part_One">Part One</h3><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Into_the_Little_Hill&action=edit&section=5" title="Edit section: Part One" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div> <p>The opera opens with the angry Crowd calling for the extermination of the rats in their town. The Minister suggests that they try to coexist peacefully with the rats, but the people insist singing, "kill and you have our vote". </p><p>At night, the Minister finds a mysterious man in his daughter's bedroom. The Stranger has "no eyes, no nose, no ears", and offers to charm the rats away in exchange for a large sum of money. The Minister offers to pay twice as much if he is re-elected, and the Stranger forces him to swear on the bargain by his sleeping child. </p><p>After an instrumental interlude, the Minister's Child asks the Mother why the rats have to die, becoming agitated as she describes them wearing clothes and carrying suitcases and babies. The Mother reassures her that they will "<a href="/wiki/Die_with_dignity" class="mw-redirect" title="Die with dignity">die with dignity</a>". </p> <div class="mw-heading mw-heading3"><h3 id="Part_Two">Part Two</h3><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Into_the_Little_Hill&action=edit&section=6" title="Edit section: Part Two" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div> <p>The Minister is re-elected and the Stranger comes to his office to collect his payment. When the Minister insists that the rats "chose to leave of their own free will" and refuses to pay, the Stranger reminds him of their bargain and leaves. </p><p>After another musical interlude, the townspeople discover that their children are missing. The Mother confronts the Minister, asking "where is my child?". The Children respond that they are "inside the Little Hill ... with the angel under the earth". </p> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(3)"><span class="indicator mf-icon mf-icon-expand mf-icon--small"></span><h2 id="Critical_reception">Critical reception</h2><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Into_the_Little_Hill&action=edit&section=7" title="Edit section: Critical reception" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div><section class="mf-section-3 collapsible-block" id="mf-section-3"> <p><i>Into the Little Hill</i> has been variously interpreted as a commentary on contemporary attitudes to immigration,<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> a "satire on the way power corrupts" and "the tabloid fetishisation of the disappearance of children",<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> a metaphor for genocide,<sup id="cite_ref-Cadagin_7-2" class="reference"><a href="#cite_note-Cadagin-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> a commentary on government cuts to arts funding,<sup id="cite_ref-times2008_8-1" class="reference"><a href="#cite_note-times2008-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> and a "parable about the power of music".<sup id="cite_ref-newyorktimes2007_13-0" class="reference"><a href="#cite_note-newyorktimes2007-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> Because they are coded as socially undesirable and described with clothes and suitcases, the plight of the rats has been read by several commentators as a reference to the Holocaust.<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> </p><p>Because of its ambiguous text and frequent role changes, the opera is usually staged very sparsely, and has been described as a "secular oratorio".<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> </p><p>The opera has been widely well-received, described by <a href="/wiki/Rupert_Christiansen" title="Rupert Christiansen">Rupert Christiansen</a> as "a startling miracle of originality".<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> Critics have praised the piece's concision of both Crimp and Benjamin's writing,<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> favourably comparing the opera to chamber works by <a href="/wiki/Benjamin_Britten" title="Benjamin Britten">Benjamin Britten</a>,<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Judith_Weir" title="Judith Weir">Judith Weir</a><sup id="cite_ref-newyorktimes2007_13-1" class="reference"><a href="#cite_note-newyorktimes2007-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> and <a href="/wiki/Harrison_Birtwistle" title="Harrison Birtwistle">Harrison Birtwistle</a>.<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> </p><p>Less positive reviews cite the alienating effect of the narrative style and its cryptic modes of expression, describing it as dramatically "non-committal".<sup id="cite_ref-telegraph2008_22-0" class="reference"><a href="#cite_note-telegraph2008-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> </p> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(4)"><span class="indicator mf-icon mf-icon-expand mf-icon--small"></span><h2 id="References">References</h2><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Into_the_Little_Hill&action=edit&section=8" title="Edit section: References" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div><section class="mf-section-4 collapsible-block" id="mf-section-4"> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-newyorker2018-1"><span class="mw-cite-backlink">^ <a href="#cite_ref-newyorker2018_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-newyorker2018_1-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-newyorker2018_1-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFMead2018" class="citation magazine cs1"><a href="/wiki/Rebecca_Mead" title="Rebecca Mead">Mead, Rebecca</a> (17 September 2018). <a rel="nofollow" class="external text" href="https://www.newyorker.com/magazine/2018/09/17/how-the-composer-george-benjamin-finally-found-his-voice">"How the Composer George Benjamin Finally Found His Voice"</a>. <i><a href="/wiki/The_New_Yorker" title="The New Yorker">The New Yorker</a></i><span class="reference-accessdate">. Retrieved <span class="nowrap">17 August</span> 2020</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+Yorker&rft.atitle=How+the+Composer+George+Benjamin+Finally+Found+His+Voice&rft.date=2018-09-17&rft.aulast=Mead&rft.aufirst=Rebecca&rft_id=https%3A%2F%2Fwww.newyorker.com%2Fmagazine%2F2018%2F09%2F17%2Fhow-the-composer-george-benjamin-finally-found-his-voice&rfr_id=info%3Asid%2Fen.wikipedia.org%3AInto+the+Little+Hill" class="Z3988"></span></span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCrimp2006" class="citation web cs1">Crimp, Martin (October 2006). <a rel="nofollow" class="external text" href="https://www.ensemble-modern.com/en/mediatheque/texts/2006-10-01/into-the-little-hill-a-work-for-stage-by-george-benjamin-and-martin-crimp">"<span class="cs1-kern-left"></span>"Into the Little Hill" A work for stage by George Benjamin and Martin Crimp"</a>. <i>Ensemble Modern</i>. 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