Relevant bibliographies by topics / Death in Venice (Britten, Benjamin)

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Academic literature on the topic 'Death in Venice (Britten, Benjamin)'

Author: Grafiati
Published: 27 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Death in Venice (Britten, Benjamin)"

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Docherty, Barbara. "Aschenbach's Wilderness." Tempo, no. 157 (June 1986): 9–11. http://dx.doi.org/10.1017/s0040298200022282.

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Our hunting fathers and Death in Venice stand respectively at the beginning and end of Benjamin Britten's voice-and-orchestra output. Important works (Sinfonietta, A Boy was Born) preceded op. 8, and (Phaedra, String Quartet No. 3) following op. 88, but Our Hunting Fathers (1936) and Death in Venice (1973) are a signpost and a summation. The (presumably fortuitous) symmetry of the opus numbering almost suggests that what was considered in Our Hunting Fathers was to be considered again in Death in Venice, with doubled intensity, and analysis of their respective texts reveals this to be so.
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SARA LONGOBARDI, RUTH. "Multivalence and Collaboration in Benjamin Britten’s Death in Venice." Twentieth-Century Music 2, no. 1 (2005): 53–78. http://dx.doi.org/10.1017/s1478572205000198.

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A multivalent conception of opera, one that understands each operatic domain as functioning independently of every other domain, is one way of accounting for marks of contention: passages in which the music seems not to fit the events, characters, or atmospheres of its accompanying text. With that analytical framework, opera, frequently conceived of as two media subsumed under a cohesive initiative, emerges as a site of elaborate, sometimes contentious, interactions.Scene 11 of Death in Venice exhibits considerable signs of multivalence. The unusual musical construct of this scene suggests poi
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Canton, Kimberly Fairbrother, Amelia Defalco, Linda Hutcheon, Michael Hutcheon, Katherine R. Larson, and Helmut Reichenbächer. "Death in Venice and Beyond: Benjamin Britten's Late Works." University of Toronto Quarterly 81, no. 4 (2012): 893–908. http://dx.doi.org/10.1353/utq.2012.0154.

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Spies, B. M. "The musical magic of ambiguity in Benjamin Britten’s Death in Venice." Literator 22, no. 3 (2001): 39–57. http://dx.doi.org/10.4102/lit.v22i3.369.

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This essay investigates the blurred musical significations in Benjamin Britten’s Death in Venice, an opera based on Thomas Mann’s important novella Der Tod in Venedig. The discussion of multiple meanings links up with two categories of ambiguity as set out by William Empson in his Seven Types of Ambiguity, that is two or more meanings which do not agree among themselves, but combine to make clear a more complicated state of mind, and two opposite meanings that show a fundamental division in the mind of the protagonist. It is indicated how this opera, as a story through music, portrays the phys
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Wolny, Ryszard W. "Travel and Disease in Thomas Mann’s Death in Venice." European Journal of Language and Literature 5, no. 2 (2019): 13. http://dx.doi.org/10.26417/ejls-2019.v5i2-196.

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Thomas Mann’s novella, Death in Venice (Der Tod in Venedig, 1912), presents a story of an artist, Gustav von Aschenbach, suffering from the writer’s block who travels to Venice to look for inspiration and where he eventually finds his death. In the meantime, he suffers from depression strengthened by feats of febrile listlessness, pressure in the temples, heaviness of the eyelids that make discontent befall him. The putrid smell of the lagoon hastens his departure, but a strange coincidence makes him change his mind. He returns to the hotel drawn by the enthrallment for the young lad, Tadzio,
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Spies, B. "Representation and function of characters from Greek antiquity in Benjamin Britten’s Death in Venice." Literator 23, no. 1 (2002): 1–18. http://dx.doi.org/10.4102/lit.v23i1.316.

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Lack of insight into Greek antiquity, more specifically the nature of classical tragedy and mythology, could be one reason for the negative reception of Benjamin Britten’s last opera Death in Venice. In the first place, this article considers Britten’s opera based on Thomas Mann’s novella as a manifestation of classical tragedy. Secondly, it is shown how mythological characters in Mann’s novella represent abstract ideas2 in Britten’s opera, thereby enhancing the dramatic impact of the opera considerably. On the one hand it is shown how the artist’s inner conflict manifests itself in a dialecti
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LONGOBARDI, RUTH SARA. "Reading between the Lines: An Approach to the Musical and Sexual Ambiguities of Death in Venice." Journal of Musicology 22, no. 3 (2005): 327–64. http://dx.doi.org/10.1525/jm.2005.22.3.327.

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ABSTRACT Framing opera as a collaborative genre compels an examination of differences. In particular, opera's media may be understood as simultaneous but not necessarily as cooperative or neutral. This conception of opera raises issues of power dynamics and the politics of voice, both within the work and among its artists. In Benjamin Britten's Death in Venice, musico-dramatic dissonances center on the protagonist's homoerotic obsession with a young boy. His momentous ““I love you”” at the end of the act 1 finale is accompanied by a musical gesture that does not affirm but rather resists this
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Vermeulen, K., and B. Spies. "Musikale narratief in Benjamin Britten se opera Billy Budd." Literator 28, no. 1 (2007): 85–104. http://dx.doi.org/10.4102/lit.v28i1.152.

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Musical narrative in Benjamin Britten’s opera Billy Budd In Herman Melville’s story, which is set on a British warship during the Napoleonic wars, Billy Budd becomes the object of a jealous master-at-arms, John Claggart. When the young Billy faces Captain Vere about Claggart’s false accusation of mutiny, he stutters and in a moment of despair, kills Claggart with one blow. The death sentence is inevitable. The discrepancy between the nature of the three main characters and their actual deeds results in ambiguity. Billy, the innocent boy, kills. Vere, the father figure, does not protect Billy o
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Solyanyk, M. "TheThirdString Quartet by B. Britten as a phenomenof the late composer style." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 50–60. http://dx.doi.org/10.34064/khnum1-55.04.

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The paper is devoted to theproblematics of the late style in composer creativity. The typologies of the late style described in the musical science works of recent years (including the thesesby E. Nazaikinsky and N. Savitskaya) are systematized. The characteristic of B. Britten’s chamberheritage is given in the context of the achievements of the English composer’s school of аnew musical renaissance of the twentieth century. The purpose of the research is to reveal the specificity of the last opus phenomenon. Achieving the goal of the research involves using the following methods: genre approac
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Chowrimootoo, Christopher. "Bourgeois opera:Death in Veniceand the aesthetics of sublimation." Cambridge Opera Journal 22, no. 2 (2010): 175–216. http://dx.doi.org/10.1017/s0954586711000164.

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AbstractThrough investigating the production and reception ofDeath in Venice(1973), this essay considers the ways Britten and his audiences responded to the fraught discourse surrounding opera in the twentieth century. If the genre as a whole often threatened to fall on the wrong side of contemporaneous aesthetic oppositions – between abstraction and immediacy, the intellectual and the visceral, the high and the low – early critics of this particular work tended to translate its visual spectacles and musical rhetoric into more rarefied terms. Taking my cue from elements of contradiction and am
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Dissertations / Theses on the topic "Death in Venice (Britten, Benjamin)"

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Larner, James M. Picart Caroline Joan. "Benjamin Britten and Luchino Visconti iterations of Thomas Mann's Death in Venice /." 2006. http://etd.lib.fsu.edu/theses/available/etd-05082006-153633.

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Thesis (Ph. D.)--Florida State University, 2006.<br>Advisor: Caroline Joan Picart, Florida State University, College of Arts and Sciences, Program in the Humanities. Title and description from dissertation home page (viewed Sept. 20, 2006). Document formatted into pages; contains x, 123 pages. Includes bibliographical references.
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ANGELINI, VALERIO. "Der Tod in Venedig La Morte a Venezia, Death in Venice. Thomas Mann, Luchino Visconti, Benjamin Britten. Analisi e confronti." Doctoral thesis, 2017. http://hdl.handle.net/10808/22582.

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Books on the topic "Death in Venice (Britten, Benjamin)"

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1925-, Mitchell Donald, ed. Benjamin Britten, Death in Venice. Cambridge University Press, 1987.

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1875-1955, Mann Thomas, and Britten Benjamin 1913-1976, eds. La mort à Venise, Britten. Éditions Premières loges, 2021.

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Diana, Barbara. Il sapore della conoscenza: Benjamin Britten e "Death in Venice". De Sono, 1997.

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Book chapters on the topic "Death in Venice (Britten, Benjamin)"

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Hess-Lüttich, Ernest W. B., and Susan A. Liddell. "Medien-Variationen. Aschenbach und Tadzio in Thomas Manns “Der Tod in Venedig”, Luchino Viscontis “Morte a Venezia”, Benjamin Brittens “Death in Venice”." In Code-Wechsel. VS Verlag für Sozialwissenschaften, 1990. http://dx.doi.org/10.1007/978-3-322-89575-2_2.

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Evans, Peter. "Death in Venice." In The Music of Benjamin Britten. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198165903.003.0022.

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Abstract It was possible to regret that Britten and Myfanwy Piper returned to Henry James for their second collaboration since they chose to adapt a story that is a good deal less compelling than The Turn of the Screw. With their last adaptation of story into opera, however, they showed a daring, and an imaginative power to justify it, fully equal to those exhibited by the first James opera. Britten’s Death in Venice was completed in short score in December 1972, and in full score early in 1973, for performance at the Aldeburgh Festival of that year. Because of the composer’s illness, he was u
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Harper-Scott, J. P. E. "9. Made You Look! Children in Salome and Death in Venice." In Benjamin Britten. Boydell and Brewer, 2009. http://dx.doi.org/10.1515/9781846156946-014.

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Hindley, Clifford. "Eros in life and death: Billy Budd and Death in Venice." In The Cambridge Companion to Benjamin Britten. Cambridge University Press, 1999. http://dx.doi.org/10.1017/ccol9780521573849.010.

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Elliott, Graham. "Introduction." In Benjamin Britten. Oxford University PressOxford, 2005. http://dx.doi.org/10.1093/oso/9780198162582.003.0001.

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Abstract Since Benjamin Britten’s death in 1976, a great deal has been written about the man and his music, and about what the various writers consider to be the driving motives which directed his creativity. Much stress has been put on the issues of his pacifism and his homosexuality—so much, indeed, that there is a danger of these factors being seen as the only major influences in his work. Professor Philip Brett made his first confident pronouncements on Britten’s homosexuality in an article ‘Britten and Grimes’, which was published in the Musical Times in 1977 and which he reprinted in rev
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Elliott, Graham. "Sir Peter Pears." In Benjamin Britten. Oxford University PressOxford, 2005. http://dx.doi.org/10.1093/oso/9780198162582.003.0004.

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Abstract Musing on his own perceptions of Britten’s ‘themes and concerns’, Peter Pears observed that ‘what is an essential part of you must perfume all that you do’. Pears has long been acknowledged as one of the greatest English singers of the twentieth century, and a foremost interpreter of the music of Benjamin Britten. He shared with Britten a remarkable personal and professional partnership which lasted for almost forty years from the creation of the relationship in 1937 until Britten’s death in 1976. Any attempted assessment of the personal and professional motivations in Britten’s life
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Wintle, Christopher. "The Dye-line Rehearsal Scores for Death in Venice." In Rethinking Britten. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:oso/9780199794805.003.0012.

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"7 Britten and Shostakovich Again: Dialogues of War and Death, 1963–76." In Benjamin Britten and Russia. Boydell and Brewer, 2016. http://dx.doi.org/10.1515/9781782046318-012.

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Kildea, Paul. "British Composers in Interview: Benjamin Britten (1963)." In Britten on Music. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0069.

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Abstract SCHAFER: Born by the sea, you have returned to it to live and work in the natural environment of a fishing village. Is the physical presence of the sea an incentive for your work?BRITTEN: Yes, a very central one. To what extent its presence is a stimulus I cannot say, but I love the sea and certain works of mine communicate this affection. About three years ago I moved from my house absolutely on the edge of the sea to my present home half a mile inland.1 But I miss the old place; I often go walking by the sea and these walks are a stimulus to the extent that they help me sort out my
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Evans, Peter. "Later Instrumental Works." In The Music of Benjamin Britten. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198165903.003.0015.

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Abstract The Second String Quartet, Op. 36, was first performed on 21 November 1945, the 250th anniversary of Henry Purcell’s death. On the following evening, also in the Wigmore Hall, Britten and Pears gave the first performance of Op. 35, the cycle of Donne Sonnets. Not surprisingly, both works are heavily influenced by the composer’s admiration for his great predecessor, but it is in setting texts that Britten has learnt the more profoundly. The quartet’s tribute lies chiefly in its final Chacony, its first two movements inviting comparison rather with the classical quartet literature.
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