Although some of the narrative sequences are a little turgid, this Wagnerian take on what we tend to consider a 'Mahler' subject works surprisingly well. Neumeier is at his best when composing passages in neo-classical style, and there are many of these for Tadzio and his chums, as well as for the dancers in a studio. Llyod Riggins (an older American dancer new to me) is effective as the central character (changed, here, to a choreographer rather than an author)and he achieves true pathos at the end when he imagines embracing the boy just before his demise. Tadzio is a big-boned, healthy-looking Adonis type whose personal radiance goes a long way to explaining why Aschenbach becomes obsessed. Neumeier's company looks good. I looked up some reviews of the production when it was new, and the critics were generally a bit dismissive of it. I must say, I liked lots of it.