Critical Dance by Maggie Foyer

Death in Venice

For the aging novelist Tadzio is a Greek god: “I might have created him” he sings, while in Andreas Heise’s choreography he is a boisterous lad engaging in horseplay with his mates on the beach. Heise captures effectively the physicality and power that so seduces Aschenbach. Celestin Boutin plays Tadzio to perfection. His mop of blonde curls and frank, direct gaze are disarming while his well-defined musculature brings to life the Apollo of Britten’s imagination. The close of the first act, where the beach transforms in Aschenbach’s mind to epic Greek theatre is given full rein. The chorus in masks and cloaks and a goddess in gold pleats complement the gang of athletic boys: their sporting competition skilfully realised in dance movements.The dance is integrated throughout. For the governess Georgie Rose Connolly, who larks with the young lads, the balletic choreography heightens her rather prissy demeanour while the mother also portrays her anxiety through expressive movements.