Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.

Premiere: Riders of the Purple Sage

On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.

English Touring Opera Spring 2017: a disappointing Tosca

During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.

Matthias Goerne : Mahler Eisler Wigmore Hall

A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.

A Salome to Remember

Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.

L’Elisir d’Amore Goes On Despite Storm

On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.

Boris Godunov in Marseille

There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

OPERA TODAY ARCHIVES »

Performances

Turandot [Photo by Ken Howard courtesy of San Diego Opera]
07 Feb 2011

Turandot, San Diego

The original story that formed the basis for the libretto of Puccini’s opera Turandot told of a Mongolian princess who insisted that any prospective husband endeavor to win a wrestling match with her.

Giacomo Puccini: Turandot

Turandot: Lise Lindstrom; Calaf: Carlo Ventre; Liu: Ermonela Jaho; Timur: Reinhard Hagen; Ping: Jeff Matsey; Pang: Joel Sorensen; Pong: Joseph Hu; Mandarin: Scott Sikon. Conductor: Edoardo Müller. Director: Lotfi Mansouri. Scenery: David Hockney. Costumes: Ian Falconer.

Above: Turandot [Photo by Ken Howard courtesy of San Diego Opera]

 

In 1710, French author François Pétis de la Croix made her into Turandot, the so-called ice princess, who ordered the beheading of prospective consorts who could not solve riddles she posed. Half a century later, Italian playwright Carlo Gozzi transformed the Pétis story into a work for the theater.*

Turandot was Giacomo Puccini’s last opera. He first looked at it in March 1920 when he met with librettists Giuseppe Adami and Renato Simoni to choose a subject for his next work. Having selected Turandot, he composed most of it between 1921 and 1924, a time when impressionism along with the sounds of Claude Debussy and Richard Strauss were most influential.** When he had completed all but the last few minutes of the score, he went abroad for cancer treatment and, unfortunately, died of a heart attack there. The finale was completed by Franco Alfano and the new opera was premiered at La Scala in Milan on Sunday 25 April 1926, seventeen months after Puccini’s death. It was very quickly accepted by European and American theaters and was performed in New York, Vienna, Dresden and Buenos Aires during the same year as its world premiere.*** It was seen in London the following year. China, however, has taken many decades to accept this work because it once thought the libretto painted its people in a poor light. Performances there did not take place until the 1990s.

On 29 January, San Diego Opera opened its 2011 season with a gala performance of Turandot featuring brightly colored sets by the well-known artist David Hockney. Similarly colored costumes were designed by Ian Falconer. Although the scenery is stylized in a simplified Chinesemanner, for the San Diego Opera performances, inventive, Iranian-born stage director Lotfi Mansouri had his principals move with realistic reactions to the story’s situations.

For Lise Lindstrom, Turandot has become a signature role ever since her Met debut last season. After San Diego, she will sing it at La Scala and the Deutsche Oper in Berlin before returning to the United States and yet another rendition of the role at the Lyric Opera of Kansas City. She sings it with a smooth delivery that belies the difficulty of the part. Her radiant technique is reminiscent of Birgit Nilsson, but although her voice had a great deal of gleaming steel that could cut through the orchestral tapestry like a laser, this ice princess melted into a passionate lover in Act III. She was not the only soprano star on that stage, however.

Albanian soprano Ermonela Jaho, who has been heard in San Diego as Maria Stuarda, was a magnificently poignant Liù. She really brought tears to everyone’s eyes when she sang her aria, ‘Tu che di gel sei cinta’. She is a lyric soprano with a rainbow of warm, glowing colors in her voice and the ability to involve the emotions of the audience with her stagecraft.

Turandot_SD_2011_02.gifA scene from Turandot [Photo by Ken Howard courtesy of San Diego Opera]

As Calàf, Uruguayan tenor Carlo Ventre was a patient suitor who sang all the notes in the right places with a warm, well-bronzed sound. His interpretation could have been a little bit more energetic and passionate, but his rendition of ‘Nessun Dorma’ brought down the house. Having Reinhold Hagen sing Timur was definitely luxury casting. His smoky-toned mellifluous voice and accomplished interpretation made his character a major player in this drama.

The trio of Ping, Pang and Pong add a bit of comic relief in Act I and a pastoral note to the second act. Baritone Jeff Mattsey as Ping, with tenors Joel Sorensen and Joseph Hu as Pang and Pong, sang with distinctive colors as they combined dramatic coherence with visual piquancy. As the Mandarin, veteran comprimario Scott Sikon commanded the stage with his proclamations. Seated at the top rear of the set, Joseph Frank as Emperor Altoum sang with a quivering reedy tone that denoted his great age.

Acting chorus master Charles Prestinari drew skillfully blended harmonies from San Diego Opera’s excellent group of choristers while they played their parts as the People of Peking. Ebullient and energetic Italian conductor Edoardo Müller led the excellent orchestra in Puccini’s somewhat impressionistic and thoroughly complex score. When the performance ended the applause was thunderous as once again the San Diego audience welcomed the opening of its opera season.

Maria Nockin
(This review also appears at Music & Vision)


* Puccini based his libretto upon Turandot, Prinzessin von China, an adaptation of Gozzi by Schiller.

** Julian Budden wrote:

Despite its unfinished state Turandot is rightly regarded as the summit of Puccini’s achievement, bearing witness to a capacity for self-renewal unsurpassed by that of still greater composers. The style remains true to the composer’s 19th-century roots, but it is toughened and amplified by the assimilation of uncompromisingly modern elements, including bitonality and an adventurous use of whole-tone, pentatonic and modal harmony. The resulting synthesis commands a new range of expression (the pentatonic scale, no longer a mere orientalism as in Madama Butterfly, conveys the full depth of Liù’s pathos in ‘Signore, ascolta’). The music is organized in massive blocks, each motivically based – a system which shows to particular advantage in Act 1, arguably the most perfectly constructed act in Puccini’s output; while the scoring shows a rare imagination in the handling of large forces (the writing for xylophone alone immediately attracts the attention). These attributes, combined with Puccini’s unfailing ability to communicate directly with an audience, have established Turandot as a classic of 20th-century opera.
Julian Budden. “Turandot (ii).” In The New Grove Dictionary of Opera, edited by Stanley Sadie. Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/O905166 (accessed February 7, 2011).

*** Yet, as late as 1959, one critic observed that Turandot was rarely performed because of “a certain harshness that sets it apart from the big Puccini favorites (Tosca, Bohème, Butterfly), some devilishly difficult vocal parts, and a need for sumptuous staging.”

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):