Gradeniga discovers that her lover Orseolo is cheating on her with Pantea. In a crescendo of tension, the space of the staging is vast but within reach of fierce looks. Frusta devises a mortal division between those who act unaware and carelessly, those who observe and those who indulge in murderous madness. While the two lovers flirt aboard a pleasure boat, Gradeniga sends for a sorceress to take revenge on her rival. Love. Jealousy. Revenge. Death. Themes that are unfortunately all too relevant today are set here in the cocoon-like fog of the Brenta, D’Annunzian velvet and vessels of sin. She, a haughty dogaressa, he, the usual playboy, the other woman, the usual luxurious and lustful courtesan; instead of a short and to the point revolver, deadly pins are stuck into a wax figure. The hateful rival dies, but so does Gradeniga’s beloved, the victim of her extreme passion. In a state of nefarious rapture, she annihilates and burns love itself.