Benjamin Britten: Death In Venice

Description:
This book is exceptional amongst those that have appeared so far in this well-established series, in that it is largely written by those who worked with the composer and assisted him during the period in which the opera was composed and first put on the stage. It will thus remain a source of first-hand information on Britten's final operatic achievement. Donald Mitchell was Britten's publisher at the time of Death in Venice and his Introduction includes many personal observations on the genesis of the work. The latter part of the book contains essays by T. J. Reed and Patrick Carnegy on the libretto's source in Thomas Mann's novella and Philip Reed compares briefly Visconti's cinematic interpretation of the novella. The volume is richly illustrated with music examples, sketches and extracts from the autograph score, and pictures from the first production. It will make an essential reference work and indispensable companion for opera-goers, students and scholars alike.

Table of Contents:
General preface; List of illustrations; Preface; Acknowledgements; 1. An introduction in the shape of a memoir Donald Mitchell; 2. A Death in Venice chronicle Rosamund Strode; 3. The libretto Myfanwy Piper; 4. The Venice sketchbook Colin Matthews; 5. The first production Colin Graham; 6. Synopsis: the story, the music not excluded Peter Evans; 7. Tonal ambiguity in Death in Venice: a symphonic view Eric Roseberry; 8. Twelve-note structures and tonal polarity John Evans; 9. Britten and the gamelan: Balinese influences in Death in Venice Mervyn Cooke; 10. Britten's Venice orchestra Christopher Palmer; 11. Death in Venice and the Third String Quartet David Matthews; 12. Mann and his novella: Death in Venice T. J. Reed; 13. The novella transformed: Thomas Mann as opera Patrick Carnegy; 14. Aschenbach becomes Mahler: Thomas Mann as film Philip Reed; 15. 'I was Thomas Mann's Tadzio'; 16. Critical reception: Britten's Venice Ned Rorem; Notes; Bibliography; Discography; Index.