Our privacy policy was last updated on Monday 24 June 2019View it hereDismiss
Sign in
Bachtrack logo
Home
What's on
Reviews
Articles
Video
Site
Opera home
EventsReviewsArticles

Death in Venice

MapBuy ticketsWish list
Deutsche OperBismarckstraße 35, Berlin, 10627, Germany
November 22, 27, December 05 at 19:30
Performers
Deutsche Oper Berlin
Markus StenzConductor
Graham VickDirector
Stuart NunnSet Designer, Costume Designer
Ian BostridgeTenorGustav von Aschenbach
Seth CaricoBass-baritoneTraveller/ Elderly fop/ Old gondolier/ Hotel manager/ Hotel barber/ Leader of the players/ Voice of Dionysus
Tai OneyMezzo-sopranoVoice of Apollo
Alexandra HuttonSopranoStrawberry seller
Katherine ManleySopranoLace seller, Russian mother
Meechot MarreroSopranoNewspaper seller
Irene RobertsMezzo-sopranoGerman mother
Flurina StuckiSopranoStrolling player
Gideon PoppeTenorGlassmaker
Andrew DickinsonTenorHotel porter
Andrei DanilovConductorStrolling player
Padraic RowanBass-baritoneA guide
Timothy NewtonBassBoatman, Hotel waiter
Samuel Dale JohnsonBaritoneEnglish clerk
Matthew CossackBaritoneRussian father
Wolfgang GöbbelLighting Designer
Ron HowellChoreography
Jeremy BinesChoirmaster / chorus director
Berlin Deutsche Opera Chorus
Orchestra of the Deutsche Oper Berlin

Benjamin Britten’s last opera was also his most personal. The work is extraordinary not simply for the autobiographical threads that are reflected in Thomas Mann’s ageing writer Gustav von Aschenbach; the circumstances surrounding the creation of the work are also inextricably linked to the themes explored. Looking to thwart what he saw as his impending death, Britten took refuge in composition, citing his need to finish the work as a pretext for putting off an urgent heart operation.

Britten expanded the musical theatre form into a panopticon of self-reflection that accumulates traditions and former experiences. The use of male sopranos – here for the role of Apollo – dates back to baroque opera but was a common feature of Britten’s early work, with parts being written for the great British countertenors Alfred Deller and James Bowman. The role of Gustav von Aschenbach was the largest created by Britten for his partner Peter Pears, with Aschenbach always at the heart of the proceedings. His casting of a bass to play Aschenbach’s various opponents, all threatening him with death and destruction, is rooted in the narrative tradition of Jacques Offenbach’s THE TALES OF HOFFMANN.

Following his staging of Verdi’s OTHELLO [1991], Wagner’s TRISTAN AND ISOLDE [2011] and a coproduction of MORNING AND EVENING [2016], this will be Graham Vick’s fourth production at the Deutsche Oper Berlin. Donald Runnicles continues his Britten cycle with DEATH IN VENICE, bringing the work back to the Deutsche Oper Berlin after an absence of 40 years. From 1958 onwards Benjamin Britten was an associate member of the Berlin Academy of Arts and from 1972 until his death in 1976 a corresponding member. The German premiere of DEATH IN VENICE took place at the Deutsche Oper Berlin in 1974.

November 2019
MonTueWedThuFriSatSun
28293031010203
04050607080910
11121314151617
18192021222324
25262728293001
02030405060708
December 2019
MonTueWedThuFriSatSun
25262728293001
02030405060708
09101112131415
16171819202122
23242526272829
30310102030405
Evening performance
Matinee performance
Mobile version