Benjamin Britten’s final opera Death in Venice, based on Thomas Mann’s 1912 novella, is given a lush and quite beautiful production from stage director Deborah Warner for the English National Opera.
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In any narrative, the unmentioned—the unmentionable—will always be more alarming than that which is carefully described.
Frustrated, perhaps, by the bulky requirements and dubious future of grand opera—and grand opera commissions—Benjamin Britten created some of his most intriguing and, nowadays, popular pieces for small casts and chamber orchestra.
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