‘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.’
‘Britten’s consummate skill as an opera composer has never been more apparent. In scene after scene he establishes atmosphere and dramatic points with uncanny rapidity and sureness of touch.’
The Guardian (Edward Greenfield)
‘Britten’s consummate skill as an opera composer has never been more apparent. In scene after scene he establishes atmosphere and dramatic points with uncanny rapidity and sureness of touch.’
The Observer (Peter Heyworth)
‘Mrs Piper’s libretto succeeds brilliantly in drawing scenes and dialogues from a narrative of virtual interior soliloquy … Above all the music has a unity of purpose, obtained by continual development of a few simple yet subtle motives, which pulls the opera together not dogmatically but with the effortless blossoming of a masterly improvisation.’
The Times (William Mann)
The Times (William Mann)