Deborah Warner


In addition to her highly-praised work in theatre, television and film, Deborah Warner has directed Britten's The Turn of the Screw for the Royal Opera (at the Barbican - winner of the Evening Standard and South Bank Awards). She has directed Wozzeck and La Voix Humaine for Opera North and both Don Giovanni and Fidelio for Glyndebourne. For English National Opera she has directed Britten's Death in Venice (also for La Monnaie and La Scala, Milan), Bach's St. John Passion, Janacek's Diary of one who Vanished, Handel's Messiah (also for Opera National de Lyon) and Eugene Ongein. For the Vienna Festival she has directed Dido and Aeneas (also for the Opera Comique, Paris and for the Netherlands Opera) and La Traviata.

She opened the 2014/2015 season at La Scala with a new production of Fidelio, and in Spring 2015 directed Between Worlds, a world premiere by Tansey Davies, for ENO. In the 2016/17 season, Deborah Warner directs the Teatro Real's new production of Billy Budd.

This is for information only and should not be reproduced. Please contact Imogen Lewis Holland for a full biography and for performance details.

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News & Features

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    Between Worlds: World Premiere

Opera Productions

WOZZECK, Opera North
DON GIOVANNI, Glyndebourne
WOZZECK, Opera North
THE TURN OF THE SCREW, ROH (at the Barbican)
FIDELIO, Glyndebourne
THE RAPE OF LUCRETIA,Bayerische Staatsoper
DIDO AND AENEAS, Wiener Festwochen
DIDO AND AENEAS, Opera Comique
DIDO AND AENEAS,Wiener Festwochen
DIDO AND AENEAS, Netherlands Opera
MESSIAH, English National Opera
DEATH IN VENICE, La Scala, Milan
EUGENE ONEGIN, English National Opera
DIDO AND AENEAS, Opera Comique
LA TRAVIATA, Wiener Festwochen
MESSIAH, Opera de Lyon
EUGENE ONEGIN, Metropolitan Opera
FIDELIO, La Scala, Milan
BETWEEN WORLDS, English National Opera (at the Barbican)
BILLY BUDD, Teatro Real, Madrid (co-production with Opéra national de Paris)

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Theatre Productions

WOYZECK, Kick Theatre Company
WOYZECK, Kick Theatre Company
THE TEMPEST, Kick Theatre Company
MEASURE FOR MEASURE, Kick Theatre Company
KING LEAR, Kick Theatre Company (Edinburgh Festival & Almeida Theatre)
CORIONLANUS, Kick Theatre Company (Edinburgh Festival & Almeida Theatre)
KING JOHN, The Other Place, Stratford
ELECTRA, Riverside Studios and Tour
KING LEAR, National Theatre
HEDDA GABLER, Abbey Theatre, Dublin
Playhouse Theatre, West End
CORIOLAN, Salzburg Festival (Felsenreichschule)
FOOTFALLS, Garrick Theatre, West End
RICHARD II, National Theatre
THE WASTE LAND, Ecole Nationale Supérieure des Beaux-Arts, Paris
THE WASTE LAND, Gooderham and Worts Factory, Toronto
THE WASTE LAND, Rialto Cinema, Montreal
THE WASTE LAND, Liberty Theatre, 42nd St, New York
THE WASTE LAND, Everyman Palace Theatre, Cork
THE WASTE LAND, Wilton's Music Hall, London
THE WASTE LAND, Royalty Theatre, Adelaide
THE WASTE LAND, His Majesty's Theatre, Perth
MEDEA, Abbey Theatre, Dublin
THE WASTE LAND, Bergen International Festival, Norway
MEDEA, Queens Theatre, West End
THE POWER BOOK, National Theatre, London
JULIUS CEASAR, Barbican, Luxembourg
HAPPY DAYS, National Theatre and tour to Amsterdam, Paris, Epidavrous, Dublin, BAM
THE WASTE LAND, Wilton’s Music Hall, London
THE WASTE LAND, Madrid Festival
THE SCHOOL FOR SCANDAL, Barbican Theatre, London
PEACE CAMP, London 2012 Cultural Olympics
TESTAMENT OF MARY, Walter Kerr Theater, New York
TESTAMENT OF MARY, Barbican Theatre, London
THE TEMPEST, Salzburg Festival
KING LEAR, The Old Vic, London
BILLY BUDD, Teatro Real, Madrid

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Benjamin Britten

Billy Budd

Teatro Real, Madrid January/February 2017

"British director Deborah Warner has created what might be the Billy Budd of the next decade, an instant classic that will tour to Paris, Helsinki and Rome in the years to come."

Fernando Remiro/Bachtrack
"Magnífica la producción de Deborah Warner ya que potencia todo ello con una gran sabiduría y trabajo teatral. Ante todo, la escenografía de Michael Levine logra -con austeridad de medios y una estupenda iluminación- representar perfectamente el barco y su ambiente agobiante y angustioso. La dirección de escena, inteligente y muy elaborada, es capaz con gran habilidad de expresar con fuerza teatral y pasar de las unas a las otras, tanto las escenas más íntimas como las de masa -gran esfuerzo tanto vocal como escénico del coro-."

Raúl Chamorro Mena/Codalario

Tansy Davies

Between Worlds / April 2015

Barbican (ENO production)

"The psychological truth of this inexorable drama – which perfectly observes the unities of Greek tragedy – comes across with awesome power...

...Rather than crassly upping the decibels when a plane strikes the tower, Davies suggests sonic immensity through abrupt musical understatement. And her restraint is echoed by the direction, which marshals the movement of victims and onlookers with tact and grace, represents the tower’s collapse by the sky turning black and raining sheets of paper and permits itself a climactic fantasy sequence – accompanied by harp, high woodwind and glissando strings – of breath-taking beauty."

Michael Church/The Independent
"Deborah Warner’s production is emotionally forthright but tellingly restrained in its suggestion of the disasters that strike the protagonists out of the blue (in that respect it’s the exact opposite of the Hollywood blockbuster approach to disaster, which pictures the physical events in minute detail but leaves our feelings untouched)."

Ivan Hewett/The Telegraph
"From the start, despite a storyline tracking the key events of that sunny September morning, the work felt like a requiem. That Between Worlds succeeded at all is a tribute to the seriousness of the creative team – not just Davies and Drake but the conductor Gerry Cornelius, director Deborah Warner, designer Michael Levine, lighting designer Jean Kalman and movement director Kim Brandstrup, as well as musicians and all involved."

Fiona Maddocks/The Guardian

Colm Tóibín

The Testament of Mary / May 2014

Fiona Shaw, Barbican Centre, London

"Fiona Shaw is brilliant as the mother of Jesus, and juggles other characters, in an ingenious adaptation of Colm Tóibín's novella" ...
"In a theatre that normally regards religion as a taboo subject, this is an evening that not only rescues Mary from mummified devotion, but one that also raises profound questions about the personal sacrifices involved in universal belief."
To read full review click on the following link:
Michael Billington, The Guardian, 8th May 2014
"This new production however, based on Colm Tóibín’s beautiful and provocative novel that was short-listed for the Man Booker Prize, strikes me as a real success – though it will undoubtedly ruffle feathers among devout Christians, especially Catholics."
"Plays as stark and strong as this don’t come along very often, and though committed Christians might justifiably baulk at it, this is a work of manifest integrity and a reminder of how lucky we are to live in a free society where deeply felt work like this is neither banned nor, thank God, subject to murderous reprisals."
Click the following link to read full review
Charles Spencer, Daily Telegraphy, 8th May 2014
"Once again the Warner-Shaw partnership goes where other theatre-makers fear
to tread and leaves one in awe"
The Mail on Sunday

Benjamin Britten

Death in Venice / 14 June 2013

London Coliseum

"Deborah Warner's compelling staging – worth the price of admission alone" ... "an opera that is full of vignettes all deftly handled by Warner"
Martin Kettle, The Guardian, 17 June 2013
"Deborah Warner's ENO Death in Venice is brilliantly revived" ....  "A flawless evening."
Michael Church, The Independent, 17 June 2013
"It is enormously to the credit of all the performers and the ‘creative team’ that ENO’s production of Death in Venice is such a gripping evening. Deborah Warner’s production is everything that a production should be"
Michael Tanner, The Spectator, 22 June 2013


Eugene Onegin / November 2011

English National Opera

"Deborah Warner's hauntingly beautiful and moving new staging of Tchaikovsky's masterpiece"
"Warner's Onegin is one of the strongest interpretations in its emotional impact: cutting straight to the heart of the work, she shows how Onegin is simultaneously and devastatingly about two colliding Russian societies - rustic provincialism and cosmopolitan decadence - and three wasted lives."
Opera Magazine / January 2012
"This is a co-production with the Met and is a perfect opera for first timers: the design and lighting are stunning, the singing superb as befits the ENO ...This is a classy and timeless production." Melinda Hughes / / 22 November 2011
 "LONDON – The Metropolitan Opera will not see Deborah Warner’s new production of “Eugene Onegin” until 2013, when she makes her house debut, but it will certainly be worth the wait for those who like their opera served up traditionally. This co-production between the Met and English National Opera is that rare thing in today’s opera world -- a clean, faithful telling of the story, as envisaged by the composer.
  For ENO audiences, it may have come as something of a shock not to have the action enlivened by Nazi storm troopers, naked penises or schoolboys smoking dope, but they can probably cope. For in Warner’s vision, viewed Nov. 19 at the London Coliseum, traditional does not mean boring. Warner simply mines deeply into the story and tells it classically, with great elegance.
  Olga and Tatyana are the picture of blushing modesty, Onegin and Lensky believable young bucks and the vexed relations between them all are closely observed and beautifully portrayed on stage. This is a production with dramatic pauses, making the silence work as hard as the music. And there are touches here and there that throw new light on the story.
  Tatyana barricades herself in at the beginning of the Letter Scene, singing, “If I must die for this, so be it,” opening the possibility that she is contemplating suicide, so profound are her doomed feelings for Onegin, and we get a real sense of the enormity of her misplaced love. In the end, of course, she just writes her love letter, diving to the floor to write feverishly before falling into a reverie. As she comes out of it, she dares to imagine Onegin’s hands on her. It is passionate, sensual and completely believable.
  This believability is much aided by the fact that the story is set in its own period, or to be precise, in the period of the opera rather than the period of Pushkin’s original tale. Designer Tom Pye has done a grand job in conjuring up the time. Act 1 is set in a dusty wooden barn with huge doors; for Act 3 the stage is dominated by eight huge pillars, the ballroom sparkling with mirrored side walls. These are sets that will no doubt elicit applause in New York, though British audiences are less eager to reward designers in this way. The whole thing is beautifully lit by Jean Kalman, and Chloe Obolensky’s characterful costumes are completely right for this story of grand passions, barely under control.
  It all looks so right that it is perhaps more difficult to accept the score in English. For all the look of the thing, it sounded about as Russian as roast beef and Yorkshire pudding. This became less of a problem as the evening progressed and Warner’s vision drew us in, and ENO was certainly fielding some fine vocal talent.
  “Onegin” is a slow starter, with an awful lot of scene setting and chorus work that is pretty much superfluous to the plot, but Warner went all out to make the stage-filling scenes work, with endless invention (though why a chef complete with hat was dancing at the St Petersburg ball was unclear). The bolstered ENO Chorus sang magnificently, and played out Warner’s vision as if their lives depended on it. The crowd reaction to Monsieur Triquet’s set piece is particularly nicely observed.
  There was strong sense that Warner felt completely comfortable with the story, something that cannot be taken for granted in modern opera productions. The duel scene alone is worth the ticket price; she creates a stark, unforgiving landscape, truly capturing the horrific reality of the event. The same attention to detail imbues the whole work, as the passion and the consequent awkwardness and despair are laid out before us in all their raw reality.
  In pre-performance publicity, Warner said: “’Eugene Onegin’ stretches the resources of any opera house to its limits – the challenge is legendary – but the rewards for an audience in this masterpiece of music theatre are extraordinary. It is a privilege to be given this opportunity to work together with the ENO and the Met on this new production.”
  English National Opera likes to keep a reputation for innovation and experimentation, which is no bad goal, but this “Eugene Onegin” is proof positive that it can still deliver first-class traditional opera, and will no doubt keep the box office busy for the rest of the run."
Keith Clarke / Musical America / 22 November 2011

"Deborah Warner’s engrossing new production of “Eugene Onegin” at the E.N.O. comes as a tonic." 
"Tchaikovsky’s opera is one of the most emotionally powerful in the repertoire, and after a series of several high-profile deconstructive interpretations, most recently Stefan Herheim’s distorted staging in Amsterdam, a production that recognizes this fundamental fact is long overdue. 
It says something about the approach that “Onegin” is a co-production not with a radical house like the Komische Oper but the Metropolitan Opera in New York. Yet while Ms. Warner’s orientation is traditional, setting the opera firmly in the 19th century, she is ever on the lookout for distinctive ways to enrich the emotional content. Onegin is his usual condescending self, yet he also has feelings that struggle to break through his cool veneer. Just before the ill-fated duel with his friend Lensky — which Ms. Warner lets you know he regards with utter disbelief — he reluctantly shakes Lensky’s outstretched hand, then gives him a passionate embrace.
Onegin, of course, breaks down entirely when, now smitten by Tatyana — the girl he haughtily rejected two acts before — she turns the tables and rejects him, while admitting she still loves him. In a moment charged with tension, Ms. Warner inserts a long silence after Tatyana gives Onegin a farewell kiss and resolutely departs the stage. Only when she is gone does Onegin issue his final cry of despair." 
"Edward Gardner’s superb conducting, always there to stretch out a pregnant phrase, ensures that at every turn the music supports what Ms. Warner achieves on stage."

George Loomis / New York Times / 22 November 2011
"Deborah Warner's superb production of Tchaikovsky’s masterpiece scores both visually and emotionally
Fully deserving of its status as the best-loved Russian opera, Tchaikovsky’s masterpiece Eugene Onegin has been lucky on the British stage. Yet few past productions have come near Deborah Warner’s new English National Opera staging for its mixture of haunting visual and emotional impact: cutting straight to the heart of the work, she shows how Onegin is simultaneously about two colliding Russian societies – rustic provincialism and cosmopolitan decadence – and three wasted lives." 
John Allison / Sunday Telegraph / 21 November 2011
"It doesn’t rest on its lyrical laurels
Deborah Warner’s production of Eugene Onegin for English National Opera offers drama and dynamism
Warner has worked with sensitivity and skill."
Paul Driver / Sunday Times / 20 November 2011
"There are so many wonderful features in the ENO's new production of Tchaikovsky's opera Eugene Onegin that it is difficult to know where to start.
Outstanding performances from all the principal singers, wonderful cameos from some of the supporting cast, meticulous and intelligent direction from Deborah Warner, impressive sets by Tom Pye, and a magnificent interpretation of the music by conductor Edward Gardner all add up to one of the finest productions that I have seen at the London Coliseum." 
William Hartston / Daily Express / 16 November 2011
"A performance that has quality written all over it." Richard Fairman / Financial Times / 14 November 2011
"Director Deborah Warner has described the challenge of staging Eugene Onegin as “legendary” – but she has risen to it with extraordinary aplomb, and her entirely unpretentious new production gels perfectly with Tchaikovsky’s creation."  Lottie Greenhow / Music OMH / 15 November 2011
"Stage director Deborah Warner and, in particular, her designer team provide a tasteful presentation of Tchaikovsky's opera or, to be more precise, Tchaikovsky's lyric scenes in three acts based on Pushkin's novel. 
Warner is clearly mindful of Tchaikovsky's score and she subordinates all stage business to the music with evident humility. Arguably such directorial approach should be taken for granted but it does not seem to be fashionable among stage directors.
Warner does not try to find a new angle for presenting the Pushkin/Tchaikovsky tale; she stands back and lets the story and music unfold without undue interference. I for one welcome this approach. Rather than wondering what the director means and why she has staged the piece in a certain way, I was able sit back and enjoy the inherent drama of the story and music. Warner's presentation is not as challenging as, for instance, Dmitri Tcherniakov's staging for the Bolshoi Opera (shown in London in the summer of 2010) or Balázs Kovalik's interpretation for the Budapest Opera House (April 2011). But while I understood Tcherniakov's logic of making a big table as the central focus throughout the opera (thus almost entirely ignoring Tchaikovsky's dance music) and I also grasped the point in representing different scenes and different characters in specific colours throughout in Kovalik's staging, in both cases I was somewhat deprived of the visual presentation of Tchaikovsky's own colours in his rich score. Tchernakov and Kovalik impose their interpretation while Warner trusts her audience's intelligence and allows undisturbed entertainment."
Agnes Kory / Musical Criticism / 15 November 2011
"Most pleasing of all, Deborah Warner and Tom Pye, the director and designer respectively, give the impression that they have been lunching with Pushkin himself, so thoroughly is the staging steeped in the moods and vistas of 19th-century Russia. Pye’s frontcloths are stunning: act by act the countryside becomes bleaker and snowier, then a frozen St Petersburg waterfront extinguishes all joy. And his uncluttered period sets are enhanced by Jean Kalman’s lighting. The blazing sunrise as Tatyana finishes her letter is the most powerful symbolic moment.
Warner’s direction, too, is naturalistic and intelligent. The duel, between two men whose bond is rent asunder by wounded pride, is superb theatre: brutal and heartbreaking. And although the lingering kiss that Onegin plants on the rejected Tatyana’s lips seems incongruous at the time, Warner’s masterstroke is to reprise it, with tables turned, at the end. Another directorial liberty — ten seconds of silence inserted before Onegin’s last despairing outburst — strikes me as equally justified. After all, he’s staring at emotional extinction."
Richard Morrison / The Times / 14 November 2011
"How nice to be able to record a significant success for ENO in a classic work. Deborah Warner’s staging of Tchaikovsky’s most popular opera is broadly traditional, and much of it looks extremely handsome. The opening tableau of the third act, where the St Petersburg ballroom is invaded by guests dancing a polonaise, even gets a spontaneous round of applause." George Hall / The Stage / 14 November 2011
"In a recent interview, Deborah Warner said that it was vital for audiences to be "immediately surprised". Her new production of Tchaikovsky's lyrical masterpiece for English National Opera achieves just that, if only in that, at first glance it seems so old-school – not what we expect from Warner, nor, with the odd exception, from ENO. Tom Pye's naturalistic sets stretch right up into the flies. The chorus, on excellent form, has been augmented: there are bustling extras, dancers, even a few cute children. Perhaps the clue is that this is ENO's latest joint staging with the New York Met: while UK audiences don't applaud scenery until after at least two interval drinks, those across the Atlantic are less inhibited.
All this, though, is really just window dressing. Warner is less interested in spectacle than in what happens on the fringes, and her direction can be revealing: we realise, for example, that Tatyana has seen Onegin before, and is already fixating on him. Yet the way in which Larina passively watches her daughter Olga's potential disgrace at the party the mother is hosting doesn't ring true.
Still, Warner trusts the opera's ability to tell its own story, and this, in combination with a searing orchestral performance under Edward Gardner, means the story has a moving impact. The music sounds wonderful. In the midst of it, Gardner and Warner dare moments of silence: in the letter scene; and in very different circumstances, when Tatyana and Onegin kiss before parting – in which the audience holds its breath."
Erica Jeal / Guardian / 13 November 2011
"Deborah Warner directs ENO's production (co-produced with the Met) with an all-seeing eye for detail. Tom Pye's sets and Chloe Obolensky's period costumes are jaw-dropping. Each scene is preceded by a landscape projected onto a screen the size of the full stage which places us straight into the location (idyllic farmland, frozen woods, the river Neva in St Petersburg). The farmhouse of the first act perfectly depicts the idyllic rural gentility, slightly faded, of the Larina family. The sunrise as Tatyana seals her letter is an exceptional piece of lighting. The Act II party for Tatyana's name day is quite beautifully directed: the costumes are gorgeous but not quite fashionable (Madame Larina, nostalgic for the good old days, hasn't bought a new dress for years, and it shows), the dances are fun but rather rustic, the children are happy and playful until servants have to shoo them away when things turn nasty. The duel is in a minimalist frozen forest, glistening with the pale light of dawn and the ball in St Petersburg is in an extraordinary set in which the dancers weave between eight giant marble columns - the costumes are opulent and the height of fashion, the Polonaise and Ecossaise danced with verve and elegance." David Karlin / Bachtrack online / 13 November 2011
"If you are fed up with opera stripping off, shooting up and trying to engage with modern realities, then I have good news. Lyrical and gentle in tone, fluent and unassertive in interpretation, Deborah Warner’s new production of Tchaikovsky’s Eugene Onegin may safely be recommended to the primmest maiden aunt with the most conservative tastes."  Rupert Christiansen / Telegraph / 14 November 2011
"Expectations ran high for ENO’s new staging of Tchaikovsky’s operatic masterpiece. Not only was it music director Ed Gardner’s first appearance of the season but this staging of Eugene Onegin had been allocated to one of the country’s most respected theatre and opera directors, Deborah Warner. Throw into the mix a mouth-watering cast and you have all the ingredients for a resounding success, so it’s good to report that a suitably elated first night audience greeted the performance with a thunderous ovation and rightly so, for this staging is yet another feather in ENO’s cap and continues their unbroken run of successes." Keith McDonnell / The Stage / 12 November 2011
"Deborah Warner’s new production (with Metropolitan Opera, New York) for English National Opera of Eugene Onegin is every bit as traditional and faithful to its early-nineteenth-century period as the one it replaces. Huge projections announce each of the seven scenes, with images of the Russian countryside, St Petersburg and, very importantly, the change of seasons providing instant access to the Russian soul. At first it seemed that the staging would be rather lumbered by having the first three scenes (the whole of Act One) set in a very big, very realistic barn. It was fine for Scene 1, needed more justification for Tatyana’s bedroom – although the arrival of dawn was beautifully staged – and by the third, when Onegin returns the fateful letter, you wondered if Tatyana ever left the place. The direction and look of the opening is wonderful. The grouping of Madame Larina and the nurse and of Tatyana and Olga made crystal-clear the sad-but-true triumph of experience over hope, the realities of ageing and making-do and the comfort of memories against youth’s flighty, romantic dreams. It’s an inspired bit of staging to make the gathering-in of the harvest a religious procession, with priests, banners and icons, although the choreography for the brief ‘Rite of Autumn’ is self-consciously arty. The sets for the Larina party, the duel and the St Petersburg ball are very evocative, the grandeur of the latter set, a colonnade on a reflective floor, drawing applause. It’s a thoroughly observed picture with always something to look at." Peter Reed / Classical Source / 12 November 2011

Cultural Life: Deborah Warner, Director

Interview with Elizabeth Davis / The Independent / 22 April 2011

Click on the following link to read article: Interview with Elizabeth Davis / The Independent / 22 April 2011

Benjamin Britten

Death in Venice / March 2011

La Scala, Milan

"The long overdue company premiere of Benjamin Britten's Death in Venice was welcomed with a warm nine minute applause at La Scala by an attentive audience. 
Britten's last opera, which closely follows Luchino Visconti's cinema production of Thomas Mann's famous novel, has been relatively infrequently performed on Italian stages, which certainly explains the almost sold out theater for the whole run of this little known masterpiece. 
Apparently Britten did not want to see Visconti's film, in order to avoid the risk of being sued for plagiarism; perhaps for this reason, he produced an extremely cinematic score. Now both the Deborah Warner production and conductor Edward Gardner's musical interpretation highlighted this aspect of Britten's opera, and came up with an extremely compelling result, which deeply moved the audience. 
The production, already seen at London's Coliseum and at La Monnaie in Brussels, is set in the early 20th century and featured very effective sets designed by Tom Pye, which represented the Venetian lagoon in a dreamlike fashion, reminiscent of Turner's paintings. Chloe Obolensky's period costumes and Jean Kalman's evocative lighting added to the visual impact of the performance.
Particularly effective were the scenes in which Gustav von Aschenbach is travelling in a gondola in the midst of the lagoon. The suffocating damp of the town contrasted with the light atmosphere of the beach, where the elderly writer meets the Polish teenager Tadzio, who hangs like a haunting phantom in his mind, a phantom with whom he never even dares to speak. The light disappointment which preceded opening night for the cancellation of Ian Bostridge was wiped away by the compelling interpretation of tenor John Graham-Hall as Aschenbach. The singer displayed a solid middle range with an easy top, which made him a perfect fit for the role, originally written by the composer for tenor Robert Tear. 
Death in Venice is essentially a one man story; however, it features some smaller roles which are not irrelevant, and were very well covered in the current production. Peter Coleman-Wright proved extremely versatile in the multiple role of the Traveler, the Elderly Fop, and the Voice of Dionysius, and countertenor Iestyn Davies lent his charming voice to the Voice of Apollo. 
Dancers also have an important role in this opera, not least of course the principal dancer who represents Tadzio. In this role, Alberto Terribile had all qualities one might wish for: youthful and delicate looks, and a typical teenager attitude toward adults, which prevented him from consciously realize anything about Aschenbach's feelings. His companions from the La Scala Dance Academy were his valuable partners. 
The orchestra, new to this score, performed gorgeously under Gardner's baton, with special mention deserved for the percussions. All performances thus far have attracted a large audience and have ended in success."
Silvia Luraghi / The Opera Critic
"Deborah Warner mostra di aver assimilato le atmosfere rarefatte e le scelte cromatiche (particolarmente ravvisabili nei bellissimi costumi di Chloe Obolensky) del film omonimo di Luchino Visconti, filtrate però attraverso il proprio gusto e la propria sensibilità. La regista inglese appare abilissima nel riempire lo spazio scenico, posizionando i pochi elementi d’arredo secondo geometrie perfettamente calcolate."  Andrea Dellabianca / GBOpera Italian Web review / 21 March 2011
"Molto apprezzata anche la regia di Deborah Warner. E di particolare effetto sono risultate, agli occhi del pubblico, le scenografie che, attraverso un passaggio continuo quasi come in movimento tra le diverse situazioni ambientate sulla laguna di Venezia, rende quasi palpabile l'atmosfera sulfurea della città raccontata da Mann." RAI Giornale / 8 March 2011
Deborah Warner magnifie "Mort à Venise", de Benjamin Britten
"La metteuse en scène Deborah Warner (née en 1959), ex-prodige de la scène anglaise et seule femme à ce niveau d'excellence aujourd'hui, livre une vision magistrale pétrie d'intelligence et de beauté."
Le Monde / 7 March 2011



BRITTEN: Death in Venice

March 2014 sees the Opus Arte release on DVD and Blu-ray of Deborah Warner's production of 'Death in Venice', recorded live at English National Opera in June 2013.  A trailer of the recording can be viewed here

Director: Deborah Warner
Conductor: Edward Gardner

Gustav von Aschenbach: John Graham-Hall
Traveller/Elderly Fop/Gondolier/Barber/Hotel Manager/Player/Dionysus: Andrew Shore
Apollo: Tim Mead
Tadzio: Sam Zaldivar

Orchestra and Chorus of English National Opera

Opus Arte

PURCELL: Dido and Aeneas

January 2010 sees the FRa release on Blu Ray and DVD of Deborah Warner's production of Purcell's 'Dido and Aeneas' recorded at L'Opera Comique in December 2008.

Director: Deborah Warner
Conductor: William Christie

Malena Ernman, Christopher Maltman, Judith Van Wanroij, Hilary Summers, Lina Markeby, Céline Ricci, Ana Quintans, Damian Whiteley & Marc Mauilon

Choir and Orchestra Les Arts Florissants

FRa (François Roussillon et Associés)