The Landestheater Linz is presenting Britten’s final opera, Death in Venice in a production by the company’s Intendant, Hermann Schneider, co-produced with Opéra Nice Côte d'Azur and Theater Bonn. It is an engrossing evening from beginning to end, combining a thought-provoking production with musical values of the highest order.

Schneider takes an unusual approach with his production. He starts as expected in Munich, but not outside a cemetery as indicated in the libretto, but in Aschenbach’s library. As the writer travels to Venice we soon realise that, in fact, he does not leave Munich. Everything that happens appears to do so in the confines of his library as a figment of his imagination. As he muses over a painting of Venice there is the suggestion that the events we see are from the past. Venice itself is created through the use of vintage video film which overlays the Munich library, the result of which is eerily evocative, hallucinogenic and foreboding all at the same time. The library begins to split apart taking on a decidedly dilapidated look, while offering more open space for the action of the opera, such as for Venice’s Lido at the back of the stage. The stage set by Bernd Franke and the videos by Paulo Correia are a tour-de-force.

As Aschenbach becomes more and more obsessed with Tadzio and he succumbs to the cholera epidemic that sweeps the city, his delirious state is depicted by blurry video flashbacks of what we have seen. But as death approaches his Munich library is restored to its orderly state and Aschenbach dies peacefully on the sofa under the painting of Venice with otherwise all vestiges of the city having disappeared. Only the fading sound of the gamelan in the orchestra reminds us of the story we have witnessed.

Changing the premise of a libretto can be dangerous, but Schneider’s interpretation is meticulously thought through and crafted with such care and expertise that it leaves the viewer moved by the dignity of the work and the feelings that it evokes.  Death in Munich maybe, but this production of Death in Venice has everything you could hope for.

If the detailed production contains many riches, then so does the musical side. On stage for almost the entire performance and carrying most of the vocal writing, Aschenbach is a true test for any tenor, and Hans Schöpflin proves to be an outstanding interpreter. Using his clearly focused tenor and faultless English diction he creates a sympathetic character who retains his dignity throughout while becoming increasingly obsessed with the young boy Tadzio. If restraint is at the centre of Schöpflin’s performance, it is not without feeling and passion.

Martin Achrainer stands out in the multiple roles that he portrays, demonstrating a baritone voice that can go from low to high in the blink of an eye.  His obsequious Hotel Manager and camp Hairdresser provide essential humour in the performance.

Jonatan Salgado Romero portrays the non-speaking, but pivotal role of Tadzio who overpowers Aschenbach with his “Greek God” good looks and captivating personality. As a dance role he combines with other members of the dance ensemble to present energetic and spirited dance sequences throughout the performance.

The remainder of the cast creates the colour and spectacle of Venice. These characters are integral to the success of the opera and have been evocatively dressed by Irina Bartels in period costumes and offer individual vignettes that keep the eye entertained.

In the pit Roland Böer leads the Bruckner Orchester Linz in a sensitive yet thrilling account of the score. From the eerie, almost exotic sound of the gamelan to full orchestral climaxes the orchestral performance brings to life Britten’s extraordinary soundscape finding passion, astringency, pathos and ultimately heartbreak. This is quintessential Britten superbly played.

This wonderful production emphatically demonstrates the universality of Britten’s operas, and must surely place Death of Venice, his final opera, as one of his best.