A new theatrical production delving into the dark heart of a Renaissance composer has premiered in London, compelling audiences to confront a disturbing blend of artistic genius and brutal violence. Death of Gesualdo, which had its premiere at the historic St Martin-in-the-Fields church in Trafalgar Square, examines the life and work of the infamous Carlo Gesualdo.
A Life of Extreme Contrasts
The story of Carlo Gesualdo is one of profound contradiction. He was a 16th-century Italian nobleman who achieved notoriety for the brutal murder of his first wife and her lover. Following this, he retreated into isolation within his palace, where his life with a second wife and two concubines was reportedly marked by flagellation and whispers of witchcraft. In stark contrast to this personal depravity, Gesualdo composed vocal music of such radical harmonic invention that it sounds startlingly modern, almost alien, to contemporary ears.
The production, created by director Bill Barclay in collaboration with the acclaimed vocal ensemble The Gesualdo Six, uses the composer's own extraordinary music as the narrative engine. It forces a reckoning with this complex legacy, inviting the audience to look closer at the unsettling connection between the man's monstrous acts and his sublime art.
Stylised Storytelling in a Church Setting
Co-commissioned by the venue, following their previous success with Secret Byrd in 2023, the premiere was heightened by its atmospheric location. The dimly lit nave of St Martin-in-the-Fields provided an eerie and appropriate backdrop, adding a palpable frisson to the performance.
The narrative begins in 1611 at Gesualdo's deathbed, unfolding through a series of flashbacks. His childhood is represented by a puppet, before actor Markus Weinfurter takes over the role. Weinfurter delivers a compelling performance, navigating the character's descent and managing to elicit a sliver of sympathy for this deeply troubled figure. The show's conclusion, which sees the return of the innocent child puppet, leaves a powerful and poignant final impression.
Five other silent actors, choreographed by Will Tuckett, portray the key figures in Gesualdo's life. Dressed in costumes by Arthur Oliver that seem lifted from a Renaissance painting, they move with stylised gestures around the singers, forming striking tableaux vivants. The lighting, primarily from handheld LEDs carried by the cast, bathes the scenes in a dramatic, old-master glow.
The Power of the Music
At the core of the experience is the mesmerising music. The Gesualdo Six, singing with impeccable precision, pure tone, and deep expression, perform a selection of the composer's madrigals and his Tenebrae responses. Their haunting presence is amplified by make-up that gives them eyes blackened as if gouged out.
Led by bass Owain Park, the ensemble weaves an auditory spell that is masterfully broken only once. In a shocking moment, Gesualdo emerges ghost-like from a dark aisle, and a sudden explosion of shouts and screams heralds the dramatisation of the murders. This jarring interruption starkly juxtaposes the beauty of the singing with the horror of the story.
The production is, in essence, a theatrical reflection of Gesualdo's own work: a creepy and compelling combination of beauty and horror. It is a successful and stylish examination of a degenerate life that produced transcendent art. Following its London premiere, the production travels to the National Centre for Early Music in York for performances.
