Welsh National Opera are always very welcome visitors to Oxford's New Theatre. They have delivered since world class performances over the years. Last summer we had the dazzling Candide with one of the most innovative stagings yet seen of Bernstein's masterpiece. A few years ago, we were treated to a powerful The Makropolous Case and now, for one night only, Britten's Death in Venice was given an engaging and inventive production.
Amazingly, this is only the second time that Oxford audiences have had the opportunity to see Britten's final opera. The only other recorded performance in the city having been staged by Glyndebourne Touring Opera in 1989. Given the sell out audience, there is very clearly an appetite for more.
Adapted from the novella by Thomas Mann and most famous, perhaps, for the film adaptation, Death in Venice is, on the surface, the story of a writer taking a holiday to Venice to reinvigorate his writing only to develop an unhealthy interest in a young boy he sees on the beach. It is also an exploration of the creative process, of obsession and of transgression.
Britten's Operatic version is both intimate and grand, restrained and explosive. Beautifully scored, it is a musical masterpiece. This performance was conducted by Leo Hussain. He captures the ever changing flow of the music to perfection and is completely supportive of the singers and their need to convey character and emotion.
Audiences have come to expect brilliance from the Chorus of WNO and this is no exception. They tackle the complex score with complete confidence and authority.
At the heart of the production is the career-defining interpretation of the writer Aschenbach by Mark LeBrocq. He distils his many years of experience into a breathtaking piece of singing and acting. It is a performance that deserves to be seen around the globe. Truly brilliant.
He is well matched by Roderick Williams who demonstrated his versatility in the way he effortlessly switched between his seven roles. At times sinister and manipulative, at others colourful and comedic, he relishes every moment and shows why he is in demand the world over.
One of the innovations of Olivia Fuchs' production is the use of circus performers. Originally conceived for dancers, the roles of Tadzio (the subject of Aschenbach's obsession) and his family are here all circus artists of the highest calibre. The five performers are from the world renowned NoFit State and each display jaw dropping skills that lift the production to a higher level.
Anthony Cesar as Tadzio is mesmerizing in his athleticism. He is very clearly not the 14 year old as originally conceived in Mann's original and so we do lose some of the necessary transgressive elements from the narrative. However we gain passages of majestic physicality that would not have been possible without him.
Visually the production does, for me, lack a little grandeur. The use of projection is rather predictable and lacks the freshness of approach that the company has deployed in recent years. Thankfully the costumes add texture and detail which reinforces the richness of the score.
As an opera, Death in Venice is not an easy piece to love. However there is so much to admire in every element of WNO's production and I am very glad to have experienced it. It is just a shame that the tour only allowed for one performance in Oxford. I trust we do not have to wait a further 35 years for the next opportunity.