Operatoonity.com review: Turandot presented by Opera Philadelphia
Live performance: Sunday, October 2, 2016, 2:30 p.m.
The Academy of Music, Philadelphia, PA
Music: Giacomo Puccini
Libretto: Giuseppe Adami and Renato Simoni
5.0 out of 5.0 stars
Some say Turandot, Giacomo Puccini’s final opera, unfinished when he died, is his tour de force. Puccini lovers including a number of Operatoonity.com readers cite its adventurous musical qualities. Lush orchestration with exotic Asian elements, both instrumental and compositional. Not to mention opera’s most famous tenor aria “Nessun Dorma.”
Puccini’s magnum opus may prove to be Opera Philadelphia’s tour de force this season. Their Turandot was nothing short of fearless and peerless spectacle, boldly embracing both the mystery and vibrancy of Asian culture on every level–sight, sound, movement, concept, staging, lighting, costume. It was the most mystical, moving mainstage production I’ve witnessed in five years.
However, not because of the title character, sung in this production by dramatic soprano Christine Goerke. The storyline builds up Turandot’s first entrance so unrelentingly and thoroughly that the audience’s anticipation of their first glimpse and hearing of the frosty princess is palpable. Perhaps only ghosts of opera greats Sutherland and Tebaldi could satisfy this pent-up expectation for an imperiously icy Turandot who sings in unforgettable form.
Goerke sung a serviceable Turandot but not a great one. She was stronger in her third act duets with Prince Calaf than in the second, when she first appears. She screeched a few high notes in “In questa reggia,” the aria during which she explains that the obscure riddles are intended to avenge her ancestress, killed when an evil warlord conquered her kingdom.
“An evening never recovers from a cracked high note. It is exactly like a bullfight. You are not allowed one mistake.” — Luciano Pavarotti (1935-2007)
Granted, this may be the most difficult soprano role Puccini ever wrote, requiring the talents of a legendary soprano like Birgit Nilsson. However, Goerke sang the role at the Met last season. If she is considered one of the best of her contemporaries, that is not the Goerke I heard that afternoon.
By contrast, from the first note of her first aria, soprano Joyce El-Khoury sang a meltingly lovely Liù that compelled listeners to lean in to capture every note. The show may be entitled Turandot, but in this production, El-Khoury’s Liù captured the devotion of the audience and the heart of this critic.
As The Prince with No Name, tenor Marco Berti, faces a daunting professional challenge because “Nessun Dorma” is all but attached to the ubiquitous Pavarotti version. Berti’s take was beautiful and powerful, and the audience lauded him for his effort. His overall performance was sturdy, if a little wooden, especially when Liù pours out her secret love for him. Based on his performance, the supertitle of his reaction to her heartfelt, heartbreaking confession should have been, “Meh.”
Bass Morris Robinson’s performance as King Timur was pitch perfect in every way. His voice was in excellent form and his sympathetic characterization of an exiled, broken ruler authentically and deeply felt.
While the opera company did not furnish a production photo of Ping, Pong, and Pang to share with Operatoonity.com readers, much to my chagrin, this reviewer would be remiss not to fete them as a highlight of this production. Daniel Belcher as Ping, Joseph Gaines as Pong, and Julius Ahn as Pang were frighteningly entertaining, at times barbaric, and also, in one shining number, highly sympathetic, as they recounted their previously happy lives in peaceful hometowns before being summoned into service for the Princess of Death.
Now that’s range!
Perhaps Opera Phila didn’t want to fuel any more complaints of ethnic stereotyping by providing pictorial evidence of these portrayals. However, just like the fictional kingdom in which they serve, these characters were a brilliant mash-up of more world cultures than a Kia Soul commercial and no genuine cause for concern–at least in this production.
The entire opera chorus from the littlest priest to all the villagers living under Turandot’s tyranny (the show’s Greek chorus) to the lithest dancer deserves kudos. So does conductor Corrado Rovaris and his versatile opera orchestra, whether playing gongs, indigenous instruments, or Western ones merely tuned to sound like they are native to the Far East.
Riddle me this, Operatoonity.com. If the performances weren’t five stars with every turn (except for El-Koury and Robinson), why the five-star rating? The direction, the orchestra, the spectacle, the high concept were out of this world.
Director and Choreographer Renaud Doucet staged an arresting, layered production that must be experienced. The stunning lighting, staging, and choreography of this show have already premiered at companies with whom Opera Philadelphia is co-producing this show including Minnesota Opera, Cincinnati Opera, Pittsburgh Opera, Utah Opera, and Seattle Opera, but (with any luck) not all.
A singularly original and richly satisfying opera. That’s what Opera Phila brought to the City of Brotherly Love. Turandot was a triumph. Simply put, Turandot is Opera Philadelphia.