Death in Venice, Op. 88

Composer: Britten, Benjamin

Librettist/Text Author: Piper, Myfanwy

Conductor: Gardner, Edward

Orchestra: English National Opera Orchestra

Chorus: English National Opera Chorus

Chorus Master: Brough, Paul

Beggar Woman: Shaw, Madeleine

Daughter: Mather, Mia Angelina

Daughter: Shehu, Xhuliana

English Clerk: Farnsworth, Marcus

Glass-maker: Edgar-Wilson, Richard

Gondolier: Daggett, Philip

Gondolier: Rich, Anton

Governess: Henderson, Joyce

Guide: Johnston, Charles

Gustav von Aschenbach: Graham Hall, John

Hotel Porter: Hulle, Peter Van

Hotel Waiter: Newman, David

Jaschiu: Teixeira, Marcio

Lace-seller: Novis, Constance

Lido Boatman / Gondolier / Priest: Napier-Burrows, Paul

Polish Mother: Caldow, Laura

Restaurant Waiter: McGovern, Jonathan

Ship's Steward: Coward, Gary

Strawberry-seller / Strolling Player: Dennis, Anna

Strolling Player: Dwyer, Adrian

Tadzio: Zaldivar, Sam

Traveller / Elderly fop / Gondolier / Barber / Hotel Manager / Player / Dionysus: Shore, Andrew

Voice of Apollo: Mead, Tim

Set Designer: Pye, Tom

Costume Designer: Obolensky, Chloe

Lighting Designer: Kalman, Jean

Choreographer: Brandstrup, Kim

Stage Director: Warner, Deborah

Television Director: MacGibbon, Ross

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Date of Production: 2013

Venue: English National Opera

Playing Time: 02:33:47

Catalogue Number: OA1130D

UPC: 809478011309

Synopsis

Death in Venice, Op. 88

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Death in Venice, the last opera by Benjamin Britten, was composed based on the novella by Thomas Mann of the same name, which inspired at least one other celebrated artist, the filmmaker Luchino Visconti. Britten's opera was first performed at Aldeburgh Festival in 1973, just two years after the cinema release of Visconti's film, which Britten never saw. The complicated subject of the opera required a lot of preparation. Britten, who was already very ill, often expressed his fear that he would not be able to finish it. He even postponed an important operation in order to finish the score. Despite his best efforts, he was not able to conduct his piece, neither for its first performance, which he heard on the radio, nor for its recording.