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Death in Venice (opera)
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Death in Venice (opera)
Death in Venice, Op. 88, is an opera in two acts by Benjamin Britten, his last. The opera is based on Death in Venice, a novella by Thomas Mann. The opera's libretto is by Myfanwy Piper. Her husband John Piper designed the sets. It was first performed at Snape Maltings, near Aldeburgh, England, on 16 June 1973.
The often acerbic and severe score is marked by some haunting soundscapes of "ambiguous Venice". The boy Tadzio is portrayed by a silent dancer, to gamelan-like percussion accompaniment.
Britten had been contemplating the novella for many years and began work in September 1970 with approaches to Piper and to Golo Mann, son of the author. Because of agreements between Warner Brothers and the estate of Thomas Mann for the production of Luchino Visconti's 1971 film, Britten was advised not to see the movie when it was released. According to Colin Graham, director of the first production of the opera, some colleagues of the composer who did see the film found the relationship between Tadzio and Aschenbach "too sentimental and salacious". This contributed to the decision that Tadzio and his family and friends would be portrayed by non-speaking dancers. Ian Bostridge has noted themes in the work of "formalism in art and the perilous dignity of the acclaimed artist".
Scene 1: Munich
Aschenbach, a famous German novelist, is weary and opens the opera bemoaning the fading of his artistic inspiration. As he walks through the suburbs of Munich, he stops before the entrance to a cemetery. He catches sight of a traveller ("from beyond the Alps by his looks") and, musing on the strange and exotic nature of foreign lands, is impulsively moved to travel south in the hope of refreshing his artistic imagination.
Scene 2: On the Boat to Venice
He takes a boat to Venice, sharing his passage with a group of libidinous youths and their leader, the Elderly Fop. Aschenbach's discovery that the fop is not young, but old and made-up ("How can they bear that counterfeit; that young-old horror. A wretched lot, a wretched boat") repulses him, and he arrives in Venice dispirited.
Overture: Venice
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Death in Venice (opera)
Death in Venice, Op. 88, is an opera in two acts by Benjamin Britten, his last. The opera is based on Death in Venice, a novella by Thomas Mann. The opera's libretto is by Myfanwy Piper. Her husband John Piper designed the sets. It was first performed at Snape Maltings, near Aldeburgh, England, on 16 June 1973.
The often acerbic and severe score is marked by some haunting soundscapes of "ambiguous Venice". The boy Tadzio is portrayed by a silent dancer, to gamelan-like percussion accompaniment.
Britten had been contemplating the novella for many years and began work in September 1970 with approaches to Piper and to Golo Mann, son of the author. Because of agreements between Warner Brothers and the estate of Thomas Mann for the production of Luchino Visconti's 1971 film, Britten was advised not to see the movie when it was released. According to Colin Graham, director of the first production of the opera, some colleagues of the composer who did see the film found the relationship between Tadzio and Aschenbach "too sentimental and salacious". This contributed to the decision that Tadzio and his family and friends would be portrayed by non-speaking dancers. Ian Bostridge has noted themes in the work of "formalism in art and the perilous dignity of the acclaimed artist".
Scene 1: Munich
Aschenbach, a famous German novelist, is weary and opens the opera bemoaning the fading of his artistic inspiration. As he walks through the suburbs of Munich, he stops before the entrance to a cemetery. He catches sight of a traveller ("from beyond the Alps by his looks") and, musing on the strange and exotic nature of foreign lands, is impulsively moved to travel south in the hope of refreshing his artistic imagination.
Scene 2: On the Boat to Venice
He takes a boat to Venice, sharing his passage with a group of libidinous youths and their leader, the Elderly Fop. Aschenbach's discovery that the fop is not young, but old and made-up ("How can they bear that counterfeit; that young-old horror. A wretched lot, a wretched boat") repulses him, and he arrives in Venice dispirited.
Overture: Venice
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