Instrumentation

Gustav von Aschenbach(T),the traveller/multiple role(B-Bar),the voice of Apollo(counter-tenor) 2(=picc).2.2(II=bcl).2 - 2221 - timp - perc(5): 2 SD/2 TD/2 BD/tuned drum/3 tom-t/3 ch.dr/small drum/cyms/2 susp.cym/pair small cym/tamb/wdbl/tgl/2 whip/2 tunedgong/2 tam-t/wind machine/bells/bell tree/crot/vib/2 glsp/2 xyl/mar - pno - harp - strings (min 6.4.3.3.2)

Availability

Full score (Eng/Ger) 0-571-53939-4, vocal score(Eng/Ger) 0-571-50514-7, chorus part (Eng/Ger) 0-571-56823-8, libretto (Eng) 0-571-51453-7 on sale, full score and parts for hire

Death in Venice (Voice(s)/Piano Reduction)

Benjamin Britten

£65.00

Death in Venice (Libretto)

Benjamin Britten, Myfanwy Piper

£8.50

Death in Venice (Orchestra/Chorus/Soloists)

Benjamin Britten

£65.00

Death in Venice

Wales Millennium Centre (Cardiff, Wales, United Kingdom)

Welsh National Opera, Olivia Fuchs, Leo Hussain

Death in Venice

Wales Millennium Centre (Cardiff, Wales, United Kingdom)

Welsh National Opera, Olivia Fuchs, Leo Hussain

Death in Venice

Venue Cymru (Llandudno, Wales, United Kingdom)

Welsh National Opera, Olivia Fuchs, Leo Hussain

Death in Venice

Mayflower Theatre (Southampton, United Kingdom)

Welsh National Opera, Olivia Fuchs, Leo Hussain

Death in Venice

New Theatre (Oxford, United Kingdom)

Welsh National Opera, Olivia Fuchs, Leo Hussain

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Britten 100 - ENO's acclaimed production of 'Death in Venice' returns

English National Opera's classic production of Britten's 'Death in Venice' returns this summer to celebrate the great British composer's centenary.

Britten 100 - ‘Death in Venice’ performances, including Russian premiere

Britten's final opera 'Death in Venice' will receive several performances during 2013.

‘Death in Venice’ in Canada & Italy

Forthcoming 'Death in Venice' performances in Toronto and Milan

'Death In Venice' reviews

‘Benjamin Britten has once again proved the impossible. Thomas Mann’s Death in Venice, a compressed and intense story, an artist’s inner monologue, lacking conversation, has against all odds become a great opera.’ The Guardian (Edward Greenfield)
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