Instrumentation

Gustav von Aschenbach(T),the traveller/multiple role(B-Bar),the voice of Apollo(counter-tenor) 2(=picc).2.2(II=bcl).2 - 2221 - timp - perc(5): 2 SD/2 TD/2 BD/tuned drum/3 tom-t/3 ch.dr/small drum/cyms/2 susp.cym/pair small cym/tamb/wdbl/tgl/2 whip/2 tunedgong/2 tam-t/wind machine/bells/bell tree/crot/vib/2 glsp/2 xyl/mar - pno - harp - strings (min 6.4.3.3.2)

Availability

Full score (Eng/Ger) 0-571-53939-4, vocal score(Eng/Ger) 0-571-50514-7, chorus part (Eng/Ger) 0-571-56823-8, libretto (Eng) 0-571-51453-7 on sale, full score and parts for hire

Death in Venice (Voice(s)/Piano Reduction)

Benjamin Britten

£65.00

Death in Venice (Libretto)

Benjamin Britten, Myfanwy Piper

£8.50

Death in Venice (Orchestra/Chorus/Soloists)

Benjamin Britten

£70.00

Death in Venice

Volksoper (Vienna, Austria)

Vienna Volksoper/Gerrit Prießnitz/David McVicar/Martin Winkler/Thomas Lichtenecker

Death in Venice

Volksoper (Vienna, Austria)

Vienna Volksoper/Gerrit Prießnitz/David McVicar/Martin Winkler/Thomas Lichtenecker

Death in Venice

Volksoper (Vienna, Austria)

Vienna Volksoper/Gerrit Prießnitz/David McVicar/Martin Winkler/Thomas Lichtenecker

Death in Venice

Volksoper (Vienna, Austria)

Vienna Volksoper/Gerrit Prießnitz/David McVicar/Martin Winkler/Thomas Lichtenecker

Death in Venice

Volksoper (Vienna, Austria)

Vienna Volksoper/Gerrit Prießnitz/David McVicar/Martin Winkler/Thomas Lichtenecker

View All

Britten 100 - ENO's acclaimed production of 'Death in Venice' returns

English National Opera's classic production of Britten's 'Death in Venice' returns this summer to celebrate the great British composer's centenary.

Britten 100 - ‘Death in Venice’ performances, including Russian premiere

Britten's final opera 'Death in Venice' will receive several performances during 2013.

‘Death in Venice’ in Canada & Italy

Forthcoming 'Death in Venice' performances in Toronto and Milan

'Death In Venice' reviews

‘Benjamin Britten has once again proved the impossible. Thomas Mann’s Death in Venice, a compressed and intense story, an artist’s inner monologue, lacking conversation, has against all odds become a great opera.’ The Guardian (Edward Greenfield)
View All