The motif of lost innocence occupied the composer Benjamin Britten his entire life. He constantly tried to erect protective walls, dwellings and retreats for innocence in his artistic work. But the longed-for security came all too seldom. In his opera THE TURN OF THE SCREW, he turns the omens around by deliberately exposing his characters to the unhoused - and this despite the fact that he places the epitome of the domestic idyll on the stage with Bly, the peaceful estate with its strong walls, thick towers and spacious park. But that's just the paint job. Behind the scenes lurks an overpowering danger.

And so a nameless horror gradually unfolds before the eyes of the nameless governess. With great musical seductiveness, Britten set Henry James' ambiguous ghost story about the demise of security, the reign of the forbidden, and fascination with the abyss.