The amalgam of psychological attitudes we form is the synthetic complex. It may fall apart quite quickly as further reflection or further experience bears on it, and we may revert to our former judgments, feelings and tendencies.
Philip KitcherI felt I should also contrast Visconti's treatment of the novella - usually damned by Mann fans (who typically respect Britten's more "faithful" adaptation). The Visconti film does many quite wonderful things, although there are good reasons for the condemnation.
Philip KitcherSometime during the 1990s, when I was teaching philosophy at UCSD, my friend, colleague, and music teacher, Carol Plantamura, discussed the possibility of teaching a course together looking at ways in which various literary works (plays, stories, novels) had been treated as operas, and how different themes emerged in the opera and in its original. One of the pairings we planned to use was Mann's great novella and Britten's opera. Unfortunately, the course was never taught, but the idea remained with me.
Philip KitcherMann's sexuality and his attitudes towards it are extremely complex - and the complexities are inherited in the figure of Aschenbach. Mann had lived through a series of (almost certainly unconsummated) relationships with young men.
Philip KitcherFirst, my frame of reference for the Britten opera shifted. I'd always thought of Britten's approach in Death in Venice as another exploration of the plight of the individual whose aspirations are at odds with those of the surrounding community: his last opera returning to the themes of Peter Grimes. As I read and listened and thought, however, Billy Budd came to seem a more appropriate foil for Death in Venice.
Philip Kitcher