This week chanced to give me a fascinating study in contrasts and comparisons: Mark-Anthony Turnage’s Greek at the Linbury Studio, Britten’s Death in Venice at the Grand Theatre Leeds. Two English operas from the latter half of the 20th century, both with mythological undertones and overtones, one of them the noisy announcement of his presence by a young composer, the other the last testament, a dying fall, of the ultimate Establishment figure who contrived also to be seen as an outsider; one full of profanities and vicious humour, the other both subversive and genteel, without a trace of irony or...