Thu 28 Jul 2011
Giacomo Puccini - Turandot
Metropolitan Opera, New York, 2009 | Andris Nelsons, Franco Zeffirelli, Maria Guleghina, Marcello Giordani, Marina Poplavskaya, Samuel Ramey, Charles Anthony, Joshua Hopkins, Tony Stevenson, Eduardo Valdes | Decca
It wouldn’t be entirely accurate to say that Turandot is an underrated opera, but its most famous aria, ‘Nessun Dorma’, has tended to overshadow the other qualities that the work has to offer. Puccini’s final opera (the last scene completed after his death by Franco Alfano) also has more to it than a superficial look at the fairy-tale nature of the story – based on a work by the 18th century Venetian dramatist Carlo Gozzi – might suggest, or indeed the exotic Oriental inflections of the opera’s music score. Turandot actually contains some of Puccini’s finest musical compositions, the composer bringing his considerable talent to bear on the overall structure and arrangement, while also finding – as he always does – beautiful melodies that express a depth of emotion and character that one might not expect to find in the piece.
There’s a human heart in the story of a cruel princess, Turandot, who demands that anyone seeking her hand in marriage must first give the answer to three riddles that she sets – and where there’s a human heart, few are as expressive as Giacomo Puccini. Despite the consequence of failure being beheading, many noble princes have tried and failed to answer the riddles set by Turandot, and the deaths of so many have cast a long and bloody stain on the Emperor’s reign and despair on the people of his kingdom. An unknown prince however is determined to take his chance, despite the dangers, despite the warnings from the royal court, and despite the pleas of those closest to him, one of whom is Liu, a slave girl who is in love with him.
Puccini sets up the nature of this situation beautifully in Act 1, capturing the full range of the conflicting sentiments of each of the main players, and if the actual staging of the riddle contest in Act 2 is less than perfectly arranged, it’s an occasion for a terrific duel of singing voices between the soprano and the tenor. Although it seems like we have to wait until Act 3 to fully understand what is at stake (and get Nessun Dorma), there are nonetheless hints to the nature of the characters and the conflicting issues between them in the answers to the riddles. It’s hope that lies within Calef, but it is due to die at dawn, his answers to the riddles having failed to melt the burning ice of Turandot, and it’s only through the blood of Liu that the situation is resolved and the true nature of love is revealed. If this doesn’t quite add up to full character development, the beauty of Puccini’s musical arrangements makes up the difference. The Oriental touches are not merely pastiche either – Puccini seems to understand the nature of this foreign and discordant music and the sentiments that lie within it, and he meaningfully and skilfully weaves it into his score to great effect.
Franco Zeffirelli’s lavish production for The Met could also be accused of extravagance, kitsch and overstatement, but in reality it’s perfectly in keeping with the tone and the nature of Puccini’s drama. Zeffirelli’s huge sets capture the grandness of the occasion, the decadence of the royal court and the magical qualities of the fairy-tale nature of the subject, but it also pays attention to the details in the costume design, as well as in the position of the characters within the sets and in relation to one another. Those qualities are also borne out in the performance of the Metropolitan Orchestra conducted by Andris Nelsons, who grasp the full force and dymanic of this extraordinary opera, and in the singing performances from a fine cast. Guleghina and Giordani play well together and rise to the exceptional demands of their roles, but it’s Marina Poplavskaya who positively shines as Liu. Poplavskaya can sometimes be a little inconsistent and out of her depth in certain roles, but she has a great emotional quality in her voice and it comes through here brilliantly. In every respect this production is just magnificent – there’s no other word for it.
The Blu-ray release from Decca has an unfortunate fault with the English subtitles – at least on the initial batch of copies. English subtitles are a full 37 seconds out of sync with the voices, though they seem fine on the other languages (I got by on French). The subs work fine if you access Act 3 directly from the chapter menu (if you want to get to Nessun Dorma, for example), but they cannot be made to synchronise for any of the other acts through this method. It’s a pity, because in all other respects, this is a superb High Definition presentation of the Met’s 2009 Live in HD recording that brings out the full colourful glory of Zeffirelli’s production, and packs a punch on the HD sound mixes. The recording keeps the same format as the HD Live broadcasts, introduced here by Patricia Racette, who also conducts interviews with Maria Guleghina, Marcello Giordani, and Charles Anthony during the interval between Act 2 and 3.