Death in Venice
Books enlighten and challenge us, they transport us to different worlds, and they reflect essential truths about the human condition; just as Death in Venice does. First released in 1912 as an original novella by Thomas Mann, Death in Venice is still acknowledged as a masterpiece of European short fiction.
Operas are often based on pre-existing work, and this year Welsh National Opera has brought Mann’s original work to life in their spectacular new touring production as part of their Spring season. I was lucky enough to be invited along to see the show this weekend at Bristol Hippodrome. To witness such a beautifully tragic story take life in new ways was thrilling, and I absolutely loved my first time at the opera.
Operas are often based on pre-existing work, and this year Welsh National Opera has brought Mann’s original work to life in their spectacular new touring production as part of their Spring season. I was lucky enough to be invited along to see the show this weekend at Bristol Hippodrome. To witness such a beautifully tragic story take life in new ways was thrilling, and I absolutely loved my first time at the opera.
Death in Venice is a story of obsession. Gustave von Aschenbach is a successful but ageing writer who travels to Venice for a holiday. One day Aschenbach notices an exceptionally beautiful young boy who is staying with his family in the same hotel. Soon his days begin to revolve around this boy, and he is too distracted to pay attention to the ominous rumours that have begun to circulate through the city.
The curtain rises and the story of obsession, impulse, art, and beauty immediately comes alive on stage. The opera opens in darkness, with the author Aschenbach alone at his desk, struggling terribly with writer’s block.
The curtain rises and the story of obsession, impulse, art, and beauty immediately comes alive on stage. The opera opens in darkness, with the author Aschenbach alone at his desk, struggling terribly with writer’s block.
The tenor Mark Le Brocq delivered a flawless nuanced performance of the writer in his search for beauty and meaning. Gradually he falls in love with Tadzio and as Aschenbach projects his loneliness and desire on him, fantasy, and imagination blend with existence. Le Brocq deftly communicated Aschenbach’s inner torment as the character struggled with his attraction to Tadzio and the inescapable presence of mortality.
Britten’s stunning musical work features intricate harmonies and beautiful melodies, capturing the essence of Thomas Mann’s novella and perfectly complimenting the opera’s themes. The Welsh National Opera Orchestra were exceptional on Saturday night. Led by accomplished conductor, Leo Hussain, the Orchestra created a haunting and atmospheric world through sound. The musicians and vocalists delivered powerful and emotive performances, enhancing the dramatic storytelling of this opera.
Britten’s stunning musical work features intricate harmonies and beautiful melodies, capturing the essence of Thomas Mann’s novella and perfectly complimenting the opera’s themes. The Welsh National Opera Orchestra were exceptional on Saturday night. Led by accomplished conductor, Leo Hussain, the Orchestra created a haunting and atmospheric world through sound. The musicians and vocalists delivered powerful and emotive performances, enhancing the dramatic storytelling of this opera.
Using modern stagecraft and the latest technology, the opera’s lighting and stage design transforms audiences to a world of melancholic beauty and deep emotion, further intensifying the emotional plot. In this production, moving images are displayed through monochrome footage throughout the show. Video designer Sam Sharples’ imagery is very moving, using sombre black and white clips in a letterbox effect to heighten emotional shifts in the story and add an essence of an abstract, even dreamlike, atmosphere. Many of the shots were taken in Venice, featuring not only the city’s buildings and famous architecture, but also the lido and several close-ups of dark water ripples in the canal, a gondolier’s oar gently pushing through water. I was fascinated by the many nods to Greek mythology in the story, and Alexander Chance shines in his role as the Voice of Apollo. Roderick Williams also expertly takes on the roles of seven different characters, including the voice of Doonysus, the Greek God of intoxication, chaos and passion. While Aschenbach sleeps, he dreams of the gods Dionysus and Apollo fighting over him, with Dionysus winning his soul. From this point on, Aschenbach gives entirely into his desires and allows his deadly fate to overcome him.
The collaboration between Welsh National Opera and NoFit State circus was electrifying. Director Olivia Fuchs’ decision to replace Britten’s ensemble of dancers with a team of gymnastic aerialists from NoFit State is what really makes this a must-see production.
The collaboration between Welsh National Opera and NoFit State circus was electrifying. Director Olivia Fuchs’ decision to replace Britten’s ensemble of dancers with a team of gymnastic aerialists from NoFit State is what really makes this a must-see production.
Sung in English and presented with English subtitles at Bristol Hippodrome, the entire cast delivered stellar performances that truly brought the characters to life on stage. Their heartfelt portrayals and exceptional vocal talents added depth and emotion to the production, fascinating the audience from start to finish. Each member of the cast showcased great skill, dedication and immense professionalism that never dwindled. Even an unexpected disturbance in the theatre during the second half of the show did not hinder the overall enjoyment and emotional experience of the piece, which resumed after a situation had been dealt with as promptly as possible. The cast and crew handled the interruption with ease and professionalism, allowing audience members to be transported straight back into this unique opera’s world as soon as the curtain was once again lifted.
Tadzio and his family are typically non-vocal roles, but here Antony César’s sculpted Tadzio communicates his emotions beautifully through various acrobatic displays and expressive body language. I was mesmerised watching Belgian aerialist, César, who for me was the star of the show. The role of Tadzio in this production is hugely demanding; involving gymnastics, straps, hoops and more, and César performed both alone and as part of a group.
As Aschenbach idealises the youthful yet unattainable Tadzio, the boy can be seen literally flying over and above the writer’s head. These circus elements were magnificently atmospheric and hauntingly beautiful.
Featuring powerful performances, breath taking stage design and exquisite music, Death in Venice is essential viewing. A captivating production from Welsh National Opera, who I’d like to thank once again for inviting me along.
Tadzio and his family are typically non-vocal roles, but here Antony César’s sculpted Tadzio communicates his emotions beautifully through various acrobatic displays and expressive body language. I was mesmerised watching Belgian aerialist, César, who for me was the star of the show. The role of Tadzio in this production is hugely demanding; involving gymnastics, straps, hoops and more, and César performed both alone and as part of a group.
As Aschenbach idealises the youthful yet unattainable Tadzio, the boy can be seen literally flying over and above the writer’s head. These circus elements were magnificently atmospheric and hauntingly beautiful.
Featuring powerful performances, breath taking stage design and exquisite music, Death in Venice is essential viewing. A captivating production from Welsh National Opera, who I’d like to thank once again for inviting me along.
This was our view at Bristol Hippodrome. where we were seated in the stalls, Row N - a great position!