Turandot – The Royal Opera House

The Royal Opera House’s latest revival under director Jack Furness of Andrei Serban’s 1984 production is an epic on every scale and a true delight for all of the senses as it delivers the perfect synthesis of music and drama.

In legendary Peking, a Mandarin (Blaise Malaba) advises that any prince seeking to marry Princess Turandot (Anna Pirozzi) must answer three riddles: if he fails, he will die. Among the crowd Calàf (Yonghoon Lee) discovers his long-lost father, Timur (Vitalij Kowaljow). 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 (Masabane Cecilia Rangwanasha) 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 (Alexander Kravets), 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?

Serban’s mythical setting provides a backdrop of terraces to accommodate the chorus which with brooding intensity creates its own acoustic explosion to match that of the orchestra. Whilst the staging of the Imperial Court is effectively static, the clever introduction of moving parts such as the cutting stone keeps it alive whilst in contrast there is an overriding chill to proceedings as the heads of departed suitors are mounted on poles.

There is a great emphasis on movement and sequence throughout by Kate Platt and Tatiana Novaes Coelho which draws upon the original work of designer Sally Jacobs – who sadly passed in 2020 and in whose memory this revival is dedicated – which whilst 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.

The principal singers are all on form vocally in a piece that demands big voices to rise high above the big orchestra and accompanying chorus. I have seen Lee perform Calif strongly at The Met but tonight he took it up a notch again, and his Nessun Dorma was powerfully sung and packed with emotion.

Pirozzi was truly imperious and showed why she is considered one of the best soprano’s around at present and perhaps the only one with the vocal range to deliver the challenging scale of high notes that Turandot demands.

In a piece that revolves around hope, I look forward to seeing more of Rangwanasha who was a Jette Parker artist at ROH for some three years and delivered two stunning solos in Acts I and III, deservedly receiving audience applause: a future Turandot in the making perhaps?

A big production demands a big orchestra, and it got one here, led by the maestro that is conductor Antonio Pappano who delivers a delight of musical marvels in a powerful yet moving performance, full of the panache that is pure Puccini.

The Royal Opera House have a number of productions performing as a part of their 2022-23 season, with some live streaming worldwide, further details https://www.roh.org.uk/

Reviewer: Mark Davoren

Reviewed: 22^nd March 2023

North West End UK Rating: ★★★★★