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

Author: Grafiati

Published: 27 July 2024

Last updated: 31 July 2025

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Holmes, Leslie. "A Conversation with James Maddalena, Part 2." Journal of Singing 79, no. 5 (2022): 683–87. http://dx.doi.org/10.53830/dewu6069.

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James Maddalena (born 1954) is an American baritone who is chiefly associated with contemporary American opera. He gained international recognition in 1987 when he originated the role of Richard Nixon at the premiere of John Adams's opera Nixon in China at Houston, directed by Peter Sellars. He has since reprised it over a hundred times. It was recorded for the Nonesuch Records release of the opera in 1987. In addition to Maddalena’s role as Nixon, he has originated two other Adams characters: the Captain in The Death of Klinghoffer and Jack Hubbard in Doctor Atomic.[3] He has also performed r

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12

Holmes, Leslie. "A Conversation with James Maddalena, Part 1." Journal of Singing 79, no. 4 (2023): 537–41. http://dx.doi.org/10.53830/ucnf7627.

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James Maddalena (born 1954) is an American baritone who is chiefly associated with contemporary American opera. He gained international recognition in 1987 when he originated the role of Richard Nixon at the premiere of John Adams's opera Nixon in China at Houston, directed by Peter Sellars. He has since reprised it over a hundred times. It was recorded for the Nonesuch Records release of the opera in 1987. In addition to Maddalena’s role as Nixon, he has originated two other Adams characters: the Captain in The Death of Klinghoffer and Jack Hubbard in Doctor Atomic.[3] He has also performed r

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13

Franseen, Kristin M. "Queering Musical Biography in the Writings of Edward Prime-Stevenson and Rosa Newmarch." 19th-Century Music 44, no. 2 (2020): 100–118. http://dx.doi.org/10.1525/ncm.2020.44.2.100.

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Beginning with the “open secret” of Benjamin Britten and Peter Pears's relationship and continuing through debates over Handel's and Schubert's sexuality and analyses of Ethel Smyth's memoirs, biography has played a central role in the development of queer musicology. At the same time, life-writing's focus on extramusical details and engagement with difficult-to-substantiate anecdotes and rumors often seem suspect to scholars. In the case of early-twentieth-century music research, however, these very gaps and ambiguities paradoxically offered some authors and readers at the time rare spaces fo

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14

Barker, John W. "Michele Pietro Ghezzo, John R. Melville-Jones, and Andrea Rizzi, eds. Antonio Morosini, The Morosini Codex, I: To the Death of Andrea Dandolo (1354). Eds. and Trans. Michele Pietro Ghezzo, John R. Melville-Jones, and Andrea Rizzi. (Archivio del Litorale Adriatico III.) Padua: Unipress, 1999. xxi + 151 pp. Lire 40,000. ISBN: 88-8098-043-2. - Benjamin Arbel, Cyprus, the Franks, and Venice, Thirteenth-Sixteenth Centuries. (Variorum Collected Studies.) Aldershot, UK and Burlington, VT: Ashgate, 2000. xii + 332 pp. $105.95. ISBN: 0-86078-824-75. - Sally McKee, Uncommon Dominion: Venetian Crete and the Myth of Ethnic Purity. Philadelphia: University of Pennsylvania Press, 2000. xiii + 273 pp. n.p. ISBN: 0-8122-3562-2." Renaissance Quarterly 54, no. 4-Part2 (2001): 1582–86. http://dx.doi.org/10.2307/1262165.

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15

Koguashvili, Baia. "The Stage Interpretation of Literary Themes in the Music of Benjamin Britten." Text and Interpretation, 2023. http://dx.doi.org/10.55804/jtsu-2960-9461-2023-13.

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Stage interpretation and adaptation of literary texts in the opera genre is a very complex phenomenon. Any musician undertaking this task will find himself/herself confronted with the problem that arises from the juxtaposition between the original text and its new version. Sometimes a composer and even a librettist has to transform the original text in a radical way to adapt it to its medium of music successfully. The present paper demonstrates the ways in which literary texts are interpreted in Benjamin Britten’s two famous operas Midnight Summer Dream and Death in Venice. An English composer

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16

Lambert, Sterling. "‘In my end is my beginning’: Peter Grimes and Death in Venice." Cambridge Opera Journal, July 29, 2022, 1–27. http://dx.doi.org/10.1017/s0954586722000064.

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Abstract Benjamin Britten, gravely ill at the time of its composition, was surely aware that Death in Venice would be his last opera, and it is not surprising that the work should make reference to his first opera, Peter Grimes, as if to bookend his entire operatic career, and survey the enormous distance he had travelled, as a hallmark of what might be considered the composer's late style. Even so, the dramatic and musical relationships between the two works are unusually extensive. Both operas concern an outsider at odds with the society around him, in a strange reflection of the composer's

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17

Müller, Janina. "Performance as Transformation: The Laughing Songs of “Death in Venice” in Literature, Film, and Opera." Sound Stage Screen 1, no. 2 (2021). http://dx.doi.org/10.54103/sss14054.

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This paper takes as its starting point a scene from the fifth chapter of Thomas Mann’s novella Death in Venice (1912). While Venice is threatened by an outbreak of cholera, a group of Neapolitan street musicians plays in front of Aschenbach, Tadzio, and the other hotel guests. The leader of the band—a buffonesque guitarist-singer with red hair and a wrinkled, emaciated face—is an ominous figure whose facetious, sexually charged performance eventually turns into blatant mockery of the audience, whom he infects with his contagious laughter. Using the concept of “performance as transformation” (E

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18

"NO SENSE." Opernwelt 65, no. 3 (2024): 42. http://dx.doi.org/10.5771/0030-3690-2024-3-042.

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19

Mutti, Lynn. "Sylvia Townsend Warner and Peter Pears: Loss and Friendship." Journal of the Sylvia Townsend Warner Society 21, no. 1 (2021). http://dx.doi.org/10.14324/111.444.stw.2021.7.

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This article describes the friendship between Sylvia Townsend Warner, Peter Pears and Benjamin Britten in the 1970s. It draws on previously unpublished correspondence held at the Britten-Pears Archive and the Sylvia Townsend Warner and Valentine Ackland Archive. It describes the role that John Craske’s paintings played in establishing the connection between Warner and Pears, details some visits and covers Britten’s illness and death. The article also describes the concert in Warner’s honour planned by Pears and given in Aldeburgh in July 1977.

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20

Giblett, Rod. "New Orleans: A Disaster Waiting to Happen?" M/C Journal 16, no. 1 (2013). http://dx.doi.org/10.5204/mcj.588.

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IntroductionNew Orleans is one of a number of infamous swamp cities—cities built in swamps, near them or on land “reclaimed” from them, such as London, Paris, Venice, Boston, Chicago, Washington, Petersburg, and Perth. New Orleans seemed to be winning the battle against the swamps until Hurricane Katrina of 2005, or at least participating in an uneasy truce between its unviable location and the forces of the weather to the point that the former was forgotten until the latter intruded as a stark reminder of its history and geography. Around the name “Katrina” a whole series of events and images

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