In spite of the date, it was sadly no joke that due to technical issues with the transmission, we lost the majority of the opening act and just when everything was set for the final act to unfold, further issues saw us stutter through the opening of Nessun Dorma before a freeze and then a jump to the next scene. All of this combined with the fact that the wrong programme information was sent out gives great cause for concern when opera is striving to reinforce its audience and its future with a selected live performance transmitted globally – on this occasion to over one thousand cinemas in twenty-two countries.
None of this is the fault of the creatives and cast and having seen the 2023 revival, that serves as a useful point of reference for me to review this 2025 revival in spite of the technical faux pas.
In legendary Peking, a Mandarin (Ossian Huskinson) advises that any prince seeking to marry Princess Turandot (Sondra Radvanovsky) must answer three riddles: if he fails, he will die. Among the crowd Calàf (Seoklong Back) discovers his long-lost father, Timur (Adam Palka). As the latest failed suitor goes to his death, the crowd implore the princess to spare him, but she orders the execution to proceed. Calàf is transfixed by her beauty and decides to win her heart. Timor and the slave girl Liù (Gemma Summerfield) as well as the ministers Ping (Hansung Yoo), Pang (Aled Hall), and Pong (Michael Gibson) try to discourage him.
After Calàf answers all three riddles correctly, the princess begs her father, the Emperor Altoum (Paul Hopwood), not to give her to the stranger. Calàf offers her a challenge of his own: if she can learn his name by dawn, he will forfeit his life.
Whilst the ministers try to bribe Calàf to leave the city, soldiers drag in Timur and Liù who refuse to reveal his identity. Turandot confronts Calàf who impetuously kisses her. Feeling emotion for the first time, the ice maiden appears to melt and Calàf reveals his true identity: as dawn breaks and the court assembles, will true love really come to the fore?
Jack Furness is again the revival director of Andrei Serban’s 1984 production, designed to be epic on every scale and a delight for all of the senses, with the mythical setting providing a backdrop of terraces – mirroring the opera house seating – that accommodates the chorus whose brooding intensity and questions reflect our own, with the wooden construction supporting an acoustic explosion to match the orchestra.
Whilst this court scene is effectively static, the introduction of moving parts such as the cutting stone effectively keep it alive, whilst in contrast, the heads of departed suitors make the consequence of failure all too clear. This sense of movement is further built upon by the original choreographer Kate Platt and choreologist Tatiana Novaes Coelho which draws upon the original work of designer Sally Jacobs and whilst clearly influenced by Tai Chi, very much writes its own language to match the vitality and rhythm of the score.
With a distinct nod to commedia dell’arte, the chorus are masked which adds a sinister air to proceedings reflective of the events unfolding and nowhere better is this displayed than in the comedic roll and tumble performance of Yoo, Hall and Gibson as the ministers who carry a darker and more believable edge here.
With an uninterrupted Act II, I can at least provide some comment on the vocal performance of the principal singers, particularly Radvanovsky who was truly imperious and displayed a vocal range to deliver the challenging scale of high notes that Turandot demands, with her clever pacing of the vocal and character maintaining the suspense to the end.
Back’s performance was composed demonstrating strong acting skills and it was disappointing that his moment of glory with Nessun Dorma was denied him due to the technical glitches.
A special mention for Summerfield who, as a late replacement, gave an impassioned and heartfelt performance as Liù, with two impressive solos serving as the perfect counterfoil to Turandot, and I look forward to seeing more of her work.
A big production demands a big orchestra although conductor Rafael Payare’s focus here seemed more subtle and subdued, and whilst enjoyable, the emphasis on the brooding undercurrent at play lacked the panache of Antonio Pappano that is pure Puccini.
Reviewer: Mark Davoren
Reviewed: 1st April 2025
North West End UK Rating:
Rating: 3 out of 5.
