This chapter examines Britten’s recording and television activities in the 1950s and 1960s and considers how they track the rise of — and the anxiety surrounding — recording technology in mid-century British musical life. In particular, this chapter explores his collaboration with John Culshaw, who served as the producer for Britten’s Decca records and operas on BBC television. I argue that he and Britten sought to tap into elements of the live performance to fashion new musical experiences via technology. To illustrate this point, I focus primarily on their audio recording of the War Requiem, as well as three operas put on BBC television: The Burning Fiery Furnace, Peter Grimes, and Owen Wingrave. Ultimately, I show that, instead of treating technological reproduction as a substitute for live performance, Culshaw and Britten saw the relationship between technology and live performance as a symbiotic one, each helping to reinforce the other.