Death in Venice (opera) facts for kids

Death in Venice is an opera (a play where people sing instead of speak) created by Benjamin Britten. It is based on a famous story called Death in Venice (Der Tod in Venedig) by the German writer Thomas Mann.

The words for the opera, called the libretto, were written by Myfanwy Piper. This was the very last opera Britten ever wrote. It was first performed on June 16, 1973, at Snape Maltings near Aldeburgh, England. Britten was too unwell to conduct it himself. The main character, Aschenbach, was sung by Sir Peter Pears.

The Story of the Opera

The story of Death in Venice takes place in the year 1911. It begins in Munich, Germany, and then moves to the beautiful city of Venice, Italy. The opera is split into two main parts, called acts.

Act I: A New Journey

Aschenbach is a well-known German writer. He is getting older and finds it hard to come up with fresh ideas for his books. One day, while walking in Munich, he stops near a cemetery. He sees a mysterious traveler who seems to be from a faraway land. This sight makes Aschenbach think he should travel somewhere new to find inspiration for his writing.

He decides to take a boat to Venice. On the boat, he watches a group of young people. Their leader is acting very showy. Aschenbach notices that this leader, despite looking young, is actually an old man dressed up. Aschenbach does not like him.

In Venice, Aschenbach takes a gondola (a traditional Venetian boat). But the boatman does not take him where he wants to go. Aschenbach tries to argue, but the boatman ignores him.

Aschenbach finally arrives at his hotel. He watches the other guests coming down for dinner.

Later, Aschenbach sees a young boy named Tadzio playing on the sandy beach. Tadzio is part of a Polish family staying at the hotel. Aschenbach notices that Tadzio, like many Polish people, dislikes the Russian guests. This makes Aschenbach realize that even Tadzio is not completely perfect.

Aschenbach walks through the streets of Venice. Everywhere he goes, beggars ask him for money. There is also a terrible smell coming from the water in the canals. Because of this, Aschenbach decides to leave Venice. The hotel manager is sad to see him go so soon. As Aschenbach prepares to leave, Tadzio walks past him. Aschenbach goes to the train station, but his luggage has been put on the wrong train. So, he has to go back to the hotel. He is annoyed, but also secretly pleased because he can see Tadzio again.

Aschenbach sits in his chair on the beach, watching Tadzio and his friends play. Their games remind him of the Greek gods. The boys do different sports on the beach, like running, long jump, discus throwing, javelin, and wrestling. Tadzio wins easily. Aschenbach wants to tell him "well done," but when he has the chance, he cannot speak.

Act II: A Deep Connection

Aschenbach realizes he feels a strong admiration for the boy. He visits the barber for a shave. The barber tells him that many people in Venice are getting sick. Aschenbach asks if it is serious, but the barber says it is nothing to worry about.

Aschenbach is being rowed on the water. He can smell disinfectant in the air. There are warning signs in the streets telling people to be careful about the sickness. In a German newspaper, he reads that the sickness in Venice is cholera, a very serious illness. The newspaper says all German people should leave the city and go home. Aschenbach does not want the Polish family to leave Venice. He also does not want them to know about the cholera. He follows them to a café and to church, but he still cannot find the courage to speak to them. After dinner, the hotel guests watch a group of actors perform. Aschenbach notices that Tadzio, like himself, does not laugh at their jokes.

Many hotel guests start leaving. An English clerk tells Aschenbach that many people in the city have Asiatic cholera. He advises Aschenbach to leave immediately before they stop everyone from leaving.

Aschenbach decides he must warn Tadzio's mother about the danger of the illness, but he just cannot do it. He has a dream about the Greek gods. When he wakes up, he realizes that his deep feelings for Tadzio have completely taken over his thoughts. He feels he cannot control them.

Again, Aschenbach watches Tadzio and his friends play a game on the beach; they soon leave. Aschenbach goes to the barber again. He asks the barber to try to make him look beautiful and young. When he goes on a gondola, he realizes he looks just like the old man he saw on the boat at the beginning. He follows the Polish family. Tadzio starts to walk separately from his family. He waits for Aschenbach and looks straight at him, but Aschenbach turns away. He is pleased that Tadzio does not let his mother notice what happened. Aschenbach is alone again and buys some strawberries. They are not fresh. He thinks about the Greek gods again, and about the special connection between a writer and what they write about.

The hotel manager arranges for the last guests to leave. The Polish family is also leaving. Aschenbach watches Tadzio and another boy playing on the beach. The game becomes rough, and the other boy pushes Tadzio’s face into the sand. Aschenbach tries to get up to help him, but he is too weak to get out of his chair. Tadzio is left alone on the beach. He makes a sign for Aschenbach to follow him, but Aschenbach slumps back in his chair and dies. Tadzio continues walking far out into the sea.

Characters and Music

The part of the boy Tadzio is a dancing role. He and his family never speak or sing in the opera.

All the different characters that Aschenbach meets, like the man by the cemetery, the old man dressed as a young man, the gondolier, the hotel manager, the barber, the leader of the actors, and the voice of the God Dionysus, are all sung by the same singer. This singer is a bass-baritone. Besides this singer and Aschenbach (who is a tenor), the only other solo singer is the voice of Apollo. Apollo's part is sung offstage by a countertenor while the boys play sports on the beach. There are also several choruses, which are groups of singers like the young people, hotel staff, actors, a church choir, and tourists.

The entire sound of the opera was created with the voice of Peter Pears in mind. Britten’s music uses both traditional tonal sounds and also twelve-tone music and gamelan music from the Far East. When Aschenbach sings recitative (which is like telling the story through song), he is only accompanied by the piano. Britten purposely uses a limited number of musical sounds. This gives the opera a very special and emotional feeling, especially in its beautiful ending.

See also

In Spanish: Muerte en Venecia (ópera) para niños