Following the disappointment of their new Così Fan Tutte staging, Welsh National Opera now turn to another fresh outing. The company haven’t previously taken on Benjamin Britten’s Death In Venice: indeed, little of Britten’s oeuvre has been done since WNO moved in down the bay. As such, a 2025 premiere of his Peter Grimes, with Nicky Spence in the title role, is an exciting thought.
Death In Venice, like Così, is a controversial work, though fresher to the listener’s ears – its first showing was at the Aldeburgh Festival in 1973. Taking the novella by Thomas Mann, this unsettling story sees Austrian writer Gustav von Aschenbach, torn between his craft and a break from things, make his way to Venice. There, he encounters locals and travellers aplenty, though his eye is keenly on the Polish boy Tadzio, lost between decency and more horrid plans. Putting the lust and longing to one side, that’s pretty much it for the story – yet an outbreak of cholera, and the cover-ups, anxiety, denial and greed which follow, proves how little things change.
Britten’s operas are somewhat difficult, though often rewarding. A delightful use of percussion and piano gives Death In Venice a sparkling and evocative scope rarely heard in his music. Stephen Wood on piano got angular, almost atonal outings, and the chorus play a huge list of passing characters: beggars, glassmakers, tourists, guides and porters. These singers take anything given to them and make it so clear and powerful. Fun moments mess with watery dread, conductor Leo Hussain getting on his gondola and traversing the murky, sometimes shimmering foam with a needle-like focus. The considerably large orchestra wow: we should really hear them do more Britten. It’s been too long.
The direction of Olivia Fuchs pulls into the moody nature of the tale. Gondolas are suitcase trolleys, a golden picture frame is a hotel room door and blackened ladders frame the space. Historically accurate costumes, by Nicola Turner, sees style meet flare, all looking lovingly made. The lighting and video work of Robbie Butler and Sam Sharples continue the monochrome fibre of the staging, effective in moments of tension.
It’s amazing just how much Peter Pears – Britten’s life partner and muse – is baked into the vocal line of Gustav von Aschenbach. Marc Le Brocq evokes Pears, who embodied Aschenbach in the 1973 production, though brings his own colour to this heavy role. Roderick Williams is not seen enough at WNO, and in the mixture of knowing, fleeting characters he tackles all with aplomb, absurd bursts of energy and warm vocal textures. As the voice of Apollo, Alexander Chance offers a rare revival of the countertenor in 20th century music: this is a cameo taking things into a more dreamlike phase, Chance eloquent and buttery in song.
Tadzio and his family are silent roles, and represented here through the marvellous efforts of Antony César and artists from NoFit State. Their time onstage fills the gaps of the excitable and alluring orchestral passages throughout. Though César is simply too physically formidable to be a boy, he is impressive with many tricks, flips and lifts. It defines the writer’s sexual intent, though making us all feel uncomfortable in the process. Finally, Riccardo Saggese wrestles and teases Tadzio, in moments becoming of Women In Love. His fine stature also dazzles, while the remaining circus family demonstrate tightrope, aerial feats and similar shows of prowess.
Death In Venice, Wales Millenium Centre, Cardiff Bay, Thurs 7 Mar
On at Venue Cymru, Llandudno, Wed 13 Mar. Tickets: £22-£56. Info: here
words JAMES ELLIS