Late Britten can be obscure and less approachable than earlier masterpieces like Peter Grimes and Albert Herring. Written for a small, spare ensemble, the music supports the story well enough, without falling into the successful opera trap of being emotionally involving. One admires rather than loves the music. Tony Palmer’s fine film of Britten’s last opera was made at the instigation of the tenor, Peter Pears, Britten’s long-time partner. Pears was too frail to play the part which Britten had written for him, and Australian tenor, Robert Gard, was gifted with the role of the jaded Aschenbach, which he accomplished superbly.

Gard, now retired, had long been noted for his superb diction and deep musicality, making him an ideal successor to the tradition established by Pears. I have no hesitation in saying that I prefer Gard’s singing to that of Pears himself, whose vocal mannerisms from mid-career often reduced his artistry to vocal prissiness.

Palmer has allowed his imagination to run free in many respects claiming the opera for the screen. In works of the mind, film is able to evoke more images and deal with illusions more successfully than can be accomplished on a stage. The opera is virtually a monologue and the camera frequently relieves the audience of the singularity imposed by a stage performance. Britten expert Steuart Bedford, who conducted the opera’s premiere in 1973, has the conducting side of things well in hand.

The family of dancers, led by Vincent Redman as the boy, Tadzio (the object of Aschenbach’s fatal obsession), are all accomplished and Redman is perfectly cast. I do not know if the film was shot in 16 or 35 mm but the transfer to DVD is less than satisfactory, a lack of sharpness being evident throughout. However, Australian opera lovers especially should welcome this fine record on film of one of our very greatest singing actors.