TurandotGiacomo Puccini - Turandot

Arena di Verona 2010 | Giuliano Carella, Franco Zeffirelli, Maria Guleghina, Carlo Bosi, Luiz-Ottavio Faria, Salvatore Licitra, Tamar Iveri, Leonardo Lòpez Linares, Gianluca Bocchino, Saverio Fiore, Giuliano Pelizon, Angel Harkatz Kaufman | BelAir Classiques

It’s not as if there is a gap in the market for yet another performance of Turandot, with there being a few versions already out on Blu-ray, and even one that uses the same Franco Zeffirelli production recorded here at the Arena di Verona in 2010. Taking advantage perhaps of Decca’s recall of their Zeffirelli production of Turandot at the Metropolitan Opera in New York due to a fault with the English subtitles, BelAir’s release is a timely one that comes out in the gap before the Met reissue. There’s certainly room in anyone’s collection for another version of Puccini’s final masterpiece, but perhaps not yet another one of this production.

Recorded at the huge stage in the Roman arena at Verona at least gives Zeffirelli quite a bit more scope and an impressive location for the sumptuous sets for this fairy-tale opera. The Met production isn’t exactly understated, but here at Verona, the director can at least double the number of supernumeraries, have room for acrobatics and Chinese parade dragons, but bigger doesn’t necessarily mean better (although try telling Franco Zeffirelli that!). Attempting to fill the stage with people could be seen as making things a little more cluttered, but – provided you don’t have an aversion to Zeffirelli glittery gold extravagance – it does at least give sets like the Royal Palace an appropriate sense of grandeur.

Where there’s room for improvement over the Met version of this classic production – not much, as it’s very good, but just a little in one or two areas – is in the singing. Blow for blow however, there’s not much to choose between the two casts other than personal taste and, perhaps more significantly, the impact of the acoustics on the respective recordings. Maria Guleghina is Turandot on both versions, and here – whether it’s through trying to project to a bigger arena, I’m not sure – she sounds a little shrill and strained in her riddle duel with Calaf, but she’s not perfect on the Met recording either. She does however come through with great regal presence and drama towards the conclusion. Tamar Ivéri sings Liù very well indeed, and I’d be happy with her performance if I didn’t still have Marina Poplavskaya’s deeply emotional performance and unique tone fresh in my mind. Salvatore Licitra is a fine Calaf, but his voice doesn’t always carry and he certainly doesn’t sustain his high notes on Nessun Dorma, although he gives it another worthy effort in an encore (this is Verona and the principal aim is one of popular crowd-pleasing), but he performs reasonably well considering the challenges of the outdoor arena setting.

Ultimately, it’s the occasion and the acoustics of the Arena di Verona that make the difference here at least as far as the singing is concerned. The acting is perhaps turned up a notch to project to the arena and performers all make use of discreet microphones, which means that it doesn’t consequently have the same natural ambience of a traditional theatrical production. If the Met production has the edge then in this regard, the Verona recording has other aspects to recommend. The setting and the occasion are impressive alone, but the performance of the orchestra under Giuliano Carella is also noteworthy and has great presence in both the LPCM Stereo and the DTS HD-Master Audio 7.1 sound mixes.

In all other respects, the same qualities that can be found in the Met’s production also work here. The settings and arrangements fully capture the fairy-tale scale of the opera, but the direction sensitively brings out an appropriate sense of the nature of the characters as expressed though the libretto and in what Turandot’s riddles tell us about the respective personalities involved and how love arises from them. Most importantly, Zeffirelli’s production is perfectly in accordance with the tone of Puccini’s fascinating Oriental-inflected score, and the sense of occasion that the Arena di Verona lends it.

The quality of the Blu-ray release from BelAir is quite good, through not perfect. There is good detail in the image and strong colouration that captures the full glory of the production, but the encoding isn’t the best and movements aren’t the smoothest. This will probably vary according to individual systems however. The audio mixes in LPCM and DTS HD-Master Audio 7.1 are both good, allowing finer detail to be heard in the orchestral the arrangements, and covering the singing reasonably well considering the acoustics and use of attached mics. I didn’t however particularly note any extra dynamic on the surround mix. There are no extra features on the disc, and only a detailed synopsis and credits in the enclosed booklet.