[richard]

Not much comment so far on a remarkable forthcoming double in the performance of Britten's last great opera, Death in Venice, in May and June.
In May Ian Bostridge makes his debut as Aschenbach in a new ENO production, their first ever, of Death in Venice at the Coliseum. Then a few days later, the Aldeburgh Festival stages its first new production of the work at the Maltings since the world première in the same venue in June 1973, with Alan Oke in the role of Aschenbach. The multiple baritone roles are taken respectively by Peter Coleman-Wright and Peter Sidhom, with Edward Gardiner and Paul Daniel the conductors. This promises to be a fascinating contrast.
For a while Pears, obviously, was the reigning Aschenbach and I will never forget the first performance in London at Covent Garden in October 1973 when Pears came to the front of the stage at the end and indicated, a presence unknown till then by many in the audience, the ailing composer in the Royal Box. The response was probably my single most memorable moment in half a century of opera going. Robert Tear led the second generation of interpreters, then Philip Langridge, recently at both the Cheltenham Festival and the QEH in concert with the Philharmonia, and on the wonderful Chandos recording. Ian Bostridge's debut, to take the interpretations onwards, is much anticipated.
The work is one of Britten's very greatest achievements, yet is not all that often performed - a combination of its difficulties, both from a musical and dramatic point of view? The subject matter is also a problem for some. It will be fascinating to see how the two productions compare. The three at Aldeburgh are sold out, but the ENO one, in its larger venue, has seats. The respective last nights are on June 12 and June 13.

[curzon]

I'm really looking forward to Ian's first crack at Aschenbach. Incidentally in your list of memorable intepreters you omit Anthony Rolfe Johnson who performed the role to great acclaim abroad. Unfortunately I don't think he ever gave it in the UK.
Hopefully we will get a DVD of the production. It's about time - there are no really good ones available.

Sebastian

[richard]

I'm really looking forward to Ian's first crack at Aschenbach. Incidentally in your list of memorable intepreters you omit Anthony Rolfe Johnson who performed the role to great acclaim abroad. Unfortunately I don't think he ever gave it in the UK.
Hopefully we will get a DVD of the production. It's about time - there are no really good ones available.

Sebastian

I quite agree about the DVD. The performance that needs to be issued is the Philip Langridge one of 1992 from Covent Garden (surely it must be recorded?), when the late lamented Colin Graham re-interpreted and improved the original 1973 production, with stunning adaptations of the John Piper designs and atmospheric slides of Victorian Venice. It was generally agreed - see as an example Michael Kennedy in 'Opera' May 1992 - to be the finest production the work has ever had - up to now maybe. In particular, as Kennedy wrote the Tadzio was the first in his experience 'to convey the adolescent beauty and attraction of this difficult role without any suggestion of embarrassment or queasy self-consciousness.' Too often, as in the Glyndebourne/Robert Tear production, the Games of Apollo look like a Gay Pride rally on Bondi beach!
Also Philip Langridge was at his absolute peak vocally. As you say, I don't think Rolfe Johnson, an under-rated Grimes, ever performed Aschenbach in this country.

[curzon]

I quite agree about the DVD. The performance that needs to be issued is the Philip Langridge one of 1992 from Covent Garden (surely it must be recorded?), when the late lamented Colin Graham re-interpreted and improved the original 1973 production, with stunning adaptations of the John Piper designs and atmospheric slides of Victorian Venice. It was generally agreed - see as an example Michael Kennedy in 'Opera' May 1992 - to be the finest production the work has ever had - up to now maybe. In particular, as Kennedy wrote the Tadzio was the first in his experience 'to convey the adolescent beauty and attraction of this difficult role without any suggestion of embarrassment or queasy self-consciousness.' Too often, as in the Glyndebourne/Robert Tear production, the Games of Apollo look like a Gay Pride rally on Bondi beach!
Also Philip Langridge was at his absolute peak vocally. As you say, I don't think Rolfe Johnson, an under-rated Grimes, ever performed Aschenbach in this country.

I very much enjoyed his Grimes both at Glyndebourne and on cd. Very different from the titanic Grimes of Vickers or Heppner (the best all round of my experience) but no less valid.

Sebastian

[Job]

I quite agree about the DVD. The performance that needs to be issued is the Philip Langridge one of 1992 from Covent Garden (surely it must be recorded?), when the late lamented Colin Graham re-interpreted and improved the original 1973 production, with stunning adaptations of the John Piper designs and atmospheric slides of Victorian Venice. It was generally agreed - see as an example Michael Kennedy in 'Opera' May 1992 - to be the finest production the work has ever had - up to now maybe. In particular, as Kennedy wrote the Tadzio was the first in his experience 'to convey the adolescent beauty and attraction of this difficult role without any suggestion of embarrassment or queasy self-consciousness.'

I too saw Langridge in '92 in the Colin Graham production. However, I cannot agree with the received wisdom about its excellence because I remember being very disappointed at the overstated eroticism of it - quite at odds with the tone of Myfanwy Piper's magnificent libretto - and at odds too with the clashing gears of Britten's music, which is so full of hopeless yearning as Aschenbach represses and rationalises, rather than luxuriates in, his desires.

I have high hopes for this new production as from all I hear Deborah Warner seems to have grasped the stick at the right end.

Job

[curzon]

I too saw Langridge in '92 in the Colin Graham production. However, I cannot agree with the received wisdom about its excellence because I remember being very disappointed at the overstated eroticism of it - quite at odds with the tone of Myfanwy Piper's magnificent libretto - and at odds too with the clashing gears of Britten's music, which is so full of hopeless yearning as Aschenbach represses and rationalises, rather than luxuriates in, his desires.

I have high hopes for this new production as from all I hear Deborah Warner seems to have grasped the stick at the right end.

Job

Oooh, Matron! Sorry, couldn't resist!

Sebastian

[Job]

Yes, I did wonder as I wrote it whether I was being a hostage to fortune when I wrote about DW grasping Britten's stick. But then I thought... nah.The hoi-polloi never come to the rarefied realms of the Opera board. Oh well...

Job


- Where are you off to, little girl?
- I'm taking the cow over to the bull.
- Can't your dad see to that?
- Oh no. It has to be the bull.

[richard]

Yes, I did wonder as I wrote it whether I was being a hostage to fortune when I wrote about DW grasping Britten's stick. But then I thought... nah.The hoi-polloi never come to the rarefied realms of the Opera board. Oh well...

Job


- Where are you off to, little girl?
- I'm taking the cow over to the bull.
- Can't your dad see to that?
- Oh no. It has to be the bull.

Of course the original libretto by E.M. Forster for Billy Budd contained the line 'Clear the decks of seamen.' This, it was quietly pointed out, would have to be altered.

[Job]

Of course the original libretto by E.M. Forster for Billy Budd contained the line 'Clear the decks of seamen.' This, it was quietly pointed out, would have to be altered.

That's made my day. Thank you! But how BB would have scowled...

Job

[richard]

That's made my day. Thank you! But how BB would have scowled...

Job

Glad you liked it. Another Billy Budd story is that when it was known that the opera was to be one with an all male cast, the wags said:

Wasn't Joan cross.

(But Ben made amends with Gloriana).