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Бенджамин Бриттен - опера «Смерть в Венеции» - Эдвард Гарднер - Дебора Уорнер /Benjamin Britten - Death in Venice - Edward Gardner - Deborah Warner - John Graham Hall - English National Opera/ (Английская национальная опера в Лондоне - 2013) HDTVRip

Бенджамин Бриттен - опера «Смерть в Венеции» - Эдвард Гарднер - Дебора Уорнер /Benjamin Britten - Death in Venice - Edward Gardner - Deborah Warner - John Graham Hall - English National Opera/ (Английская национальная опера в Лондоне - 2013) HDTVRip

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ENGLISH NATIONAL OPERA
Death in Venice
Beauty leads to passion and passion to the abyss.

Music - Benjamin Britten
Text - Myfanwy Piper
Conductor - Edward Gardner
Director - Deborah Warner
Chorus - English National Opera Chorus
Orchestra - English National Opera Orchestra

Gustav von Aschenbach - John Graham Hall
Traveller / Elderly Fop / Gondolier / Barber / Hotel Manger / Player / Dionysus - Andrew Shore
Apollo - Tim Mead
Tadzio - Sam Zaldivar
The Polish Mother - Laura Caldow
Two Daughters - Mia Angelina Mather / Xhuliana Shehu
The Governess - Joyce Henderson
Jaschiu - Marcio Teixeira

The Story

The action takes place in 1911.

Act I

The celebrated author Gustav von Aschenbach struggles with his incapacity to write. By the entrance to a cemetery in Munich, he encounters a Traveller and is filled with a longing for the sun and the south.

On the boat to Venice, Aschenbach is shocked by the behaviour and appearance of an Elderly Fop and some rowdy youths. Aschenbach is rowed by an Old Gondolier who insists, despite Aschenbach’s protests, on taking his passenger direct to the hotel on the Lido. On arrival at the hotel, the Old Gondolier disappears without waiting for payment. Aschenbach is greeted by the Hotel Manager and shown to his room. Watching the hotel guests assemble for dinner, Aschenbach catches his first sight of a Polish boy and his family. He is struck by the boy’s appearance and muses on the nature of beauty and its implications for the artist.

Aschenbach is anxious that the sultry weather might force him to leave. He buys some strawberries and observes a group of children playing on the beach. His first impressions of the Polish boy – Tadzio – are confirmed. Aschenbach crosses the lagoon to visit the city. Fearing the effect of the sirocco on his health and troubled by beggars and street vendors, he resolves to end his stay. He departs for the railway station but a mix-up with his baggage, which has been misdirected, sees him return to the hotel.

On the beach, Aschenbach watches Tadzio and his friends competing in a sequence of games. Aschenbach’s thoughts turn to Ancient Greece and, as the Voice of Apollo is heard and the children’s games become myths and the beach Socratic Greece, the writer’s muse is released. Tadzio is victorious in the games but Aschenbach is unable to congratulate him.

Act II

In the Hotel Barber’s shop, Aschenbach learns that there is a mysterious sickness in the city and that many guests are leaving. Aschenbach becomes obsessed with the desire, on the one hand, to know the truth about the sickness, and on the other to keep knowledge of it from Tadzio and his family. He follows them into St Mark’s, on a gondola ride and back to the hotel.

A group of strolling players entertains the hotel guests, including Aschenbach and Tadzio. Aschenbach asks the Leader of the Players directly if there is a plague in Venice. Aschenbach finally learns the truth from an English clerk: that Venice is in the grip of cholera, and that for fear of commercial loss the city authorities have tried to conceal it. The clerk advises Aschenbach to leave without delay. Aschenbach decides to warn Tadzio’s mother, but when he sees her he fails to speak. He recognizes that this last failure reveals the depths to which his obsession with Tadzio has brought him.

As he sleeps, Aschenbach dreams: the two sides of his personality – the Apolline (by which he has hitherto been ruled) and the Dionysiac – struggle for ascendancy. When Dionysus claims him, Aschenbach suddenly awakes and is resigned to his fate.

Watching from afar Tadzio and his friends playing on the beach, Aschenbach reiterates his decision to abandon himself to his passion. Aschenbach makes a second visit to the Hotel Barber, whom he allows to make him look younger.

Aschenbach continues his pursuit of Tadzio across the city. The boy sees him but does not betray him. Exhausted and confused, Aschenbach rests for a moment. He buys some strawberries, but they are musty and over-ripe. He recalls what he once learned about passion and beauty from reading Socrates.
All the guests are leaving the hotel, including the Polish family. Aschenbach goes to the beach to watch Tadzio for the last time.
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Бенджамин Бриттен - опера «Смерть в Венеции» в Английской национальной опере, музыкальный руководитель и дирижер Эдвард Гарднер, режиссер-постановщик Дебора Уорнер. Спектакль записан ы 2013 году.

О ТЕАТРЕ:

Английская национальная опера (англ. English National Opera) — один из крупнейших оперных театров Великобритании, домашней сценой которого является театр Вест-Энда Лондонский Колизеум (англ. London Coliseum). Основан в 1931 году как оперный театр «Сэдлерс-Уэллс» (по названию театра, в помещении которого проходили спектакли). С 1958 года труппа выступает в лондонском «Колизее» (2360 мест)(точнее: в Лондонском Колизеуме 2359 мест). Современное название театр получил в 1974 году.

Среди главных дирижёров театра Л. Коллингвуд, А. Гибсон, К. Дэвис, Ч. Маккеррас и другие. Репертуар театра включает произведения Моцарта, Вагнера (в том числе «Кольцо нибелунга»), Яначека (ряд произведений которого поставлен здесь впервые на английской сцене), Стравинского и многих других. В 1985-93 годах театр возглавлял П. Джонас (р. 1946). Труппа гастролировала в СССР (1990). Спектакли идут в основном на английском языке.

О ПРОИЗВЕДЕНИИ:

Двухактная опера "Смерть в Венеции" была завершена в 1973 году — за три года до смерти композитора. Либретто создал Мифанви Пайпер, по просьбе Бриттена адаптировав одноименную новеллу Томаса Манна. В музыкальном отношении эта опера — пример позднего бриттеновского стиля, которому были свойственны лаконичные инструментальные составы.

Содержание выше по-английски.

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