An elderly gentleman falls madly in love with a beautiful Polish boy, thus wiping the bottom of his existence. The story is simple enough. Yet it is often impossible to make any connections to the various performances (novella, film, opera). This is because the story has become a vehicle for older artists who, due to public decency or legal reasons, had something to hide. You name them: Dirk Bogarde
… (actor in Visconti's film adaptation), Benjamin Britten (the composer of the opera), not to mention Thomas Mann himself (the writer of the partly autobiographical novella). Gentlemen, therefore, who apparently had the need to 'out' themselves, but not without first raising a smoke screen of philosophy (Plato), cultural outlook (Nietzsche) and cholera fumes. Britten has always been a master of musically illustrating these kinds of emotions. In his opera Death in Venice, the music is as mysterious as the story itself. This beautiful production by director Willy Decker, on the other hand, is as clear as anything. In itself that is a relief, although it sometimes deviates from Britten's original intentions. Take, for example, the scene where portraits of the boy Tadzio turn into the scream of fear of the writer Von Aschenbach, it can be that simple. The supporting ballet scenes are of comparable clarity and beauty. The leading singers are also excellent: a hesitant John Daszak opposite the satyr-like death angel Leigh Melrose. (HJ) This beautiful production by director Willy Decker, on the other hand, is as clear as anything. In itself that is a relief, although it sometimes deviates from Britten's original intentions. Take, for example, the scene where portraits of the boy Tadzio turn into the scream of fear of the writer Von Aschenbach, it can be that simple. The supporting ballet scenes are of comparable clarity and beauty. The leading singers are also excellent: a hesitant John Daszak opposite the satyrike death angel Leigh Melrose. (HJ) This beautiful production by director Willy Decker, on the other hand, is as clear as anything. In itself that is a relief, although it sometimes deviates from Britten's original intentions. Take, for example, the scene where portraits of the boy Tadzio turn into the scream of fear of the writer Von Aschenbach, it can be that simple. The supporting ballet scenes are of comparable clarity and beauty. The leading singers are also excellent: a hesitant John Daszak opposite the satyrike death angel Leigh Melrose. (HJ) The supporting ballet scenes are of comparable clarity and beauty. The leading singers are also excellent: a hesitant John Daszak opposite the satyr-like death angel Leigh Melrose. (HJ) The supporting ballet scenes are of comparable clarity and beauty. The leading singers are also excellent: a hesitant John Daszak opposite the satyrike death angel Leigh Melrose. (HJ)more
