There are many perfect partnerships that come to mind - strawberries and cream, gin and tonic, fish and chips - but if I said opera and circus acts you might be skeptical.
However, the collaboration of the WNO with NoFit State, the UK's leading large-scale contemporary circus company, is a match made in Heaven and together they have created a masterpiece.
In a nutshell it is like watching a moving work of art accompanied by a sinister soundtrack.
‘Most of Britten’s operas were commissioned but ‘Death in Venice’ was the last of Benjamin Britten’s operas and a personal project. At the time he was suffering from a heart condition which would claim his life in 1976, three years after the opera had its premiere.
The opera is based on Thomas Mann’s novella of the same name published in 1912. The central character of the opera is Gustav von Aschenbach, a famous German novelist.
He lives alone since his wife died and his only daughter married and he is struggling with his loss of imagination.
In keeping with the title of the opera, the theme of death is apparent throughout. Whilst out walking Aschenbach arrives at the cemetery where a mysterious traveller appears out of the darkness and says, “Go travel to the South. Great poets before you have listened to its voice.” The writer decides to head for the warmer climes of Venice.
Aschenbach plans to stay at the Grand Hȏtel des Bains on the Lido. Whilst en route by boat his vision of visiting an exotic land is muddied by the lewd language of the lecherous youths on board and their leader, an elderly Fop, who is wearing a wig and makeup.
Aschenbach makes the last stretch of his journey by gondola and refers to these boats as, “Black coffin, black.” When he arrives at the hotel there are many nationalities staying there and this is where he first sets eyes on Tadzio - a Polish youth staying with his family and is immediately besotted, “Surely the soul of Greece lies in that bright perfection.” He likens Tadzio to Eros, the Greek God of love.
Instead of Tadzio being played by a ballet dancer, this role is played by Antony César, a brilliant circus performer from NoFit State whose talent was mesmerising, particularly when using aerial straps.
As Aschenbach is forced to keep his distance due to the governess calling Tadzio away from the lingering looks of the writer, the idea to have aerial performers rising high above the stage also conveys the distance between the writer, who has finally discovered passion, and the object of his desire.
The other members of his family included his mother, played by Diana Salles, Vilhelmiina Sinervo and Selma Hellman as his sisters and Riccardo Saggesse performed the role of the Governess and Tadzio’s friend, Jaschiu.
All these circus artists performed with pure grace and incredible strength and ability. When one of the sisters walks on a tightrope, I couldn’t help but think this could be symbolic of Aschenbach walking his own tightrope. Furthemore, when one of the female circus artists performs an incredible routine using aerial silks, perhaps this was to suggest the incoming scirocco, due to the material gently swaying.
Indian cholera has also swept into the Mediterranean. A barber at the hotel is the first person to tell the truth about this disease, whereas other citizens in Venice have told him the scent of germicide is purely a preventative measure as excessively warm weather can be bad for people’s health.
Continuing this theme of honesty versus dishonesty, Aschenbach decides not to tell the Polish family about the cholera outbreak as that would mean they would leave Venice and he wouldn’t see Tadzio again.
During a dream Apollo, the God of art, healing, order and truth, plus the protection of the young, to name a few of his gifts, and Dionysus are fighting over Aschenbach. Dionysus, God of chaos and passion is triumphant and when the writer wakes he succumbs to his fate.
Throughout, the loom of death is also hinted at by the backdrop filled with black and white images including bookcases in Aschenbach’s study, a chandelier in the hotel and the moving waves of the sea. I wondered whether the waves projected onto the screen also referred to cholera being a waterborne disease.
The stage was covered in glossy black boards which meant the images on the backdrop were also reflected onto the floor.
The sets were stripped back - a simple prop was used to depict the scene, for example a large plant stand with a fern demonstrated the action was taking place in the hotel.
The role of Aschenbach was portrayed by the tenor Mark Le Brocq who not only has a beautiful singing voice but is a wonderful actor. He is on stage for practically the whole time and his performance can only be described as a tour de force.
I must also mention the hugely talented Roderick Williams who played the traveller, elderly Fop, hotel manager, hotel barber, Leader of the Players and the Voice of Dionysus. His vocal range was extraordinary and he is without doubt an exceptional performer.
Trying to cut through the chaos is Apollo, played by the sublime countertenor, Timothy Chance who also shines like a beacon on the stage dressed head to foot in shimmering gold.
An opera is not complete without the orchestra who were superb under the baton of Leo Hussain.
I won’t ruin the end of the piece but I was left wondering what actually happens to Tadzio. However, the effect of the sea encompassing the whole of the stage was absolutely stunning. Throughout the performance you could hear a pin drop, but sadly a mobile phone rang at this poignant moment.
