Resumen

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. Among his contributors Myfanwy Piper discusses her libretto, Rosamund Strode chronicles the period of composition and staging, Colin Matthews considers the sketches and Colin Graham describes his Aldeburgh production. Peter Evans provides a synopsis and Eric Roseberry, John Evans, Mervyn Cooke and Christopher Palmer consider various aspects of the music. 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.