Bold, vivid and startlingly original this is a spectacular revival of the excellent Graeme Murphy production.
Puccini’s opera was left incomplete at his death in 1924 and was finished by his colleague Franco Alfano in 1926.
It is a mythical tale set in China. Prince Calaf falls in love at first sight with the cold, ruthless Princess Turandot, daughter of the Emperor. To obtain permission to marry her, a would-be suitor has to solve the three riddles she has set – but beware, a wrong answer results in death. Calaf solves all three riddles , but Turandot is still extremely hesitant. He offers her a loophole: he agrees to die at dawn if she can discover his name.
This is a visually stunning production with fabulous designs by Kristian Fredrickson and dramatic yet delicate lighting by John Drummond Montgomery.
The concept of the fan , as concealing curtain, as veil , as an item that can be invitingly displayed and then snapped shut and taken away , is a recurring visual motif throughout the production. Much use is made of wonderful Peking Opera like makeup, especially, for instance, for Ping Pang and Png and the ‘lion’ like very threatening bare chested executioner. There is also use of Peking Opera/Kabuki like symbolism in, for example, the use of the red ribbons for the death of the Prince of Persia. There is also complicated use of ‘koken’. There are some wonderful mask like designs for the moon.
Choreographically, there are huge writhing swirls of movement .The chorus as crowds in the city ripple, seethe, withdraw and open out in dramatic procession. (Murphy also uses this most effectively in his later AIDA returning in the winter season). There are also hints of his POPPY in the bell-like choreography at one point for Ping, Pang and Pong in Act 3 and his SALOME in the temptations that Calaf is offered in the same scene.
As the imperious, icy princess Turandot, Susan Foster was most impressive. She contrasts dramatic power and towering presence in her entrance and riddle scene , stark but with plush vibrato, with more subtle phrasing in the Act 3 love duet, emphasizing the transforming effect of Calaf’s persistent yearning for her .When she wears the enveloping veil in Act 3 are we meant to think of Myrthe in GISELLE?!
Rosario La Spina’s strong, powerful voice is perhaps more suited to the lyrical Italianate repertoire, and his Calaf was possibly a trifle lukewarm, but his ‘Nessun Dorma’ in particular was excellently sung.
As the gentle, true Liu, who sacrifices her all for love, Daria Masiero has an an active vibrato in Act 1 combined with melting pianissimi in Act 3 contrasted with poignant colour in her darker , dramatically lyrical ‘sacrifice’ scene in Act 3.
Jud Arthur’s Biblical looking Timur was very dramatically effective especially in Act 3 with his sad farewell of Liu.
As the court officials Ping ,Pang and Pong, Andrew Moran , Graeme Macfarlane and David Corcoran all brought tremendous musical versatility and dramatic presence to their roles : the extended opening scene they have in Act 3 works brilliantly with wonderful use of Chinese bamboo screens.
In the supporting roles Warwick Fyfe was chillingly strong as the Mandarin. Warren Fisher as the mountainous, bell-like Emperor was hugely, darkly imposing.
The Opera Australia Chorus and the children’s chorus under the direction of Anthony Hunt and Francis Greep gave excellent performances as the oppressed and terrified Peking citizens, weary of the bloodthirstiness of Turandot’s savage rule. Their singing was thunderous or lyrically musing and caressing, with great dynamic control, particularly at the end of each act. the children’s chorus was delightfully sweet.
Conductor Arvo Volmer brought out the contrasting textures and highlights of Puccini’s lush score, an unusual mix of dissonance and lyricism.
A very strong, most exciting production that after twenty years, is still gripping and powerful.
This production runs for 3 hours for 3 hours including two intervals.
Opera Australia’s production of TURANDOT opened at the Opera Theatre, Sydney Opera House on Tuesday 17th January and plays until Monday 19th March, 2012.
© Lynne Lancaster
26th January, 2012
Tags: Sydney Opera Reviews- TURANDOT, Opera Theatre Sydney Opera House, Graeme Murphy,Puccini, Kristian Fredrickson, John Drummond Montgomery, Susan Foster, Roserio La Spine, Daria Massiero, Jud Arthur, Andrew Moran, Graeme Macfarlane, David Corcoran, Warwick Fyfe, Warren Fisher, Anthony Hunt, Francis Greep. Arvo Volmer, Sydney Arts Guide, Lynne Lancaster.