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![]() She is on stage for the entire opera, to represent that what we could be seeing is what she is seeing In our acclaimed production by Alessandro Talevi, the idea that the visitations might be a product of the Governess’ fertile imagination is always retained, as: ![]() Britten and Piper were careful not to interpret the story and impose meaning, but rather to shift the ambiguity of the novella to another medium and leave it to subsequent generations to explore and interpret as they see fit. This ambiguity at the heart of The Turn of the Screw can be found in many of Britten’s operas, making the novella particularly suitable for his operatic treatment. In a 2012 commentary in the New Yorker, Brad Leithauser wrote that the novella “is rigorously committed to lack of commitment”. Back in 1907, Oliver Elton questioned whether “the two ghosts who can choose to which persons they will appear, are facts, or delusions of the young governess who tells the story”. For many years, critics have disputed whether the apparitions in the novella are real or not. ![]()
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