Have you seen or are you planning to see Turandot? What do you think about the production?
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About this production of Turandot:
The mythical Princess Turandot rules her people with an iron fist and a heart of ice. Can Prince Calaf melt her heart, when so many have failed? And what price will he pay?
Puccini’s masterpiece is back with a starry international cast for this classic production. Director Graeme Murphy and designer Kristian Fredrikson’s bold choreography and larger-than-life sets and costumes balance Puccini’s gorgeous swathes of orchestral and choral colour to produce a spectacular night in the theatre.
This is romantic opera at its intoxicating best.
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I saw Turandot for the first time last night(Tuesday).. I am still enthralled by a most exhilarating, artistic, passionate and professional performance by a very talented and enthusiastic cast. At the end of the first act, I could hardly speak and to hear Susan Fosters voice hit me in waves in the third act was just sublime. The choreography, costumes and set were superb and contributed to a performance that seemed to flow effortlessly from beginning to end. This is my second season as a subscriber and I will be definitely telling my friends and booking further performances before it ends. Well don all!! Greg
ReplyDeletegreg.porter@gpaa.com.au
DeleteWhat propels Calaf's infatuation with Turandot?
ReplyDeleteHis long-lost father may lose his son, Turandot uses torture on innocents to try to discover Calaf's name, Liu lovingly sacrifices her life to preserve his secret. Nothing slows him down: he (briefly) holds his head in his hands before resuming his courtship as soon as the crowd departs offstage bearing Liu's lifeless body aloft.
If Puccini had lived to complete the opera, such incongruities may have been ironed out (the opera was completed by Alfano). Regardless, when I made an eleventh-hour switch from a truncated Magic Flute, I knew I'd made the right decision.
The exotic, evocative music was a revelation to me (I knew only Tosca and La Boheme well, and they are much simpler in conception). The production, designed by Graeme Murphy, is 22 years old but it hasn't aged. It's easy to see how it has survived so long. The large chorus is no static conglomeration on the horizon; they writhe, spiral and sway on the breathtaking set.
In their Act II trio, Ping, Pang and Pong supply humour amid inspired choreography. The primary soloists--Calaf, Liu and Turandot--were all in superb voice. And thank you Rosario La Spina for not overdoing the penultimate note in Nessun Dorma!
A wonderful evening.
twitter: @richardpulley
As someone who loves opera, I hesitate to admit to this being the first time seeing this production live (as opposed to on TV *mumbles* years ago)
ReplyDeleteNothing really prepares you for the beauty, colour and intelligence of this staging. It really works so well. The chorus are used in clever ways (they sounded fab too!) The music hits you afresh, trying its best to overwhelm you with beauty and sheer volume.
The principals last night? Well, they were not Corelli, Dimitriova, and Caballe at their peak (who is today?), but all 3 leads stood up well to the demands. None sounded miscast, all sang well and were believable in their roles. In Australia, you would be hard place to better the combination we had.
But ultimately, the best praise I can say for last night's performance is, I cannot say what the last opera performance I went to was, where there was no weak link, where everything worked the way it should, and I wandered off into the night with no quibbles. This comes from someone hard to please!!!
Well done Opera Australia (and well done to all the performers!)
@stufromoz
stuannels at gmail.com
I'm seen Turandot four times in a row (by chance, Los Angeles, San Francisco, NY Met, and Sydney). This production was by far the most breathtaking. Just loved it.
ReplyDeleteI saw Turandot last Wednesday - it was spectacular! I usually choose a couple of operas to attend each year and so far Opera Australia has not disappointed me at all BUT Turandot far exceeded my expectations. The voices of the principals and chorus were sublime and then coupled with Graeme Murphy's direction and choreography plus the extravagant costumes- who can ask for anything more!! I was amazed that so many people could fit onto such a small stage! There was never a dull moment and I found myself not wanting to leave my seat for the two intermissions! Thank you Opera Australia for such exhilarating evening. ML
ReplyDeletelabfam@ozemail.com.au
My first taste of Opera Australia’s 2012 season was the sumptuous production of Turandot. When the curtain opened with a dramatic flourish of orchestral music, a swarming chorus and striking backdrop, I knew that I was in for a treat.
ReplyDeleteKristian Fredrikson’s costumes and sets brought to life the setting in the Imperial Palace, Peking. Costumes were traditional Chinese style, with handmaidens wearing flowing white gowns which contrasted nicely with their long ponytails of jet black hair. Splashes of red every now and then provided effective symbolic contrast to the crisp black against white.
Our first glimpse of the elusive Ice Princess Turandot (Susan Foster) is when she emerges from a sphere, Aphrodite-like, resplendent in a shimmering white dress and bathed in light. Like a moth to a flame, the opera’s hero Calaf (Rosario La Spina) is transfixed by her beauty. By the end of the first Act, Calaf has struck the gong, sealing his fate as Turandot’s next suitor.
Directed and choreographed by Graeme Murphy, this production of Turandot was a visual delight. The chorus was particularly effective – surging and swaying in various formations that made it seem greater in number than it actually was. At times the chorus appeared as a restless, bloodthirsty crowd, at other times it transformed into a whimsical choir of maidens with gently fluttering fans. The stylised movement greatly enhanced the theatrical appeal of this opera and, I daresay, has set the benchmark for the choreography of operas to come.
Indeed, this production of Turandot was as much a pleasure visually as it was aurally. When the Emperor (Warren Fisher) made his first appearance on stage, for example, he could have been mistaken for part of the set, as he loomed metres high – a figure literally larger than life, resplendent in gold.
The final Act opened with Rosario La Spina singing one of Puccini’s most famous arias – the sublime “Nessun dorma”. Bathed in “moonlight”, with foggy mist and silken sheets billowing around him, the aria was nothing short of magnificent. Susan Foster as the unattainable Princess Turandot was (sometimes literally) a tower of strength, both in voice and in manner. Daria Masiero was passionate and stoic as the loyal slave girl, Liu. Her final aria was beautifully sung and the audience mourned the loss of this sweet, innocent girl. Indeed, it was at times difficult for the audience to understand why Calaf was willing to sacrifice everything for the cold, cruel Turandot. Stranger still was the turning point where, with a single kiss, Turandot went from being proudly defiant, to finally succumbing to Calaf’s love for her.
But let us not forget that this is opera – where the suspension of disbelief is paramount, as we traverse the broad spectrum of emotions. During the course of a couple of hours, we get transported to a different time and place, catching glimpses of princes and paupers, a realm of riddles and challenges, of love and loss...all without having to leave the comfort of our seats. If this is just the beginning of Opera Australia’s 2012 season, I can hardly wait to see what else lies in store for the year ahead.
Paris Rosemont
paris@rosemonts.com.au
This was the first time I had experienced this opera. I attended Turandot with my daughter in a very apprehensive mood because I had injured my knee and was in severe pain and worried that I would not be able to sit an extended period. I should not have worried, from the first scene the whole evening just 'came together', captured us and transported us to the magical world that only some opera productions seem to reach. The music, the voices, the chorus, the sets, the production generally created a magical world where pain is forgotten and you are left at the end of the performance with a wish that you could sit through it all again. Well done Opera Australia this is one of your best.
ReplyDeleteHaving not been to the opera in years, my expectations had become somewhat muted. Regrettably, I allowed my passion to lapse. Well I am happy to report that the passion is back after seeing Opera Australia's stunning production of Turandot. To say this show is grand is an understatement. Every performer is brilliant. The leads, the chorus, the orchestra all gave me goosebumps in this world-class operatic triumph. The costumes and choreography are the best I've seen. When opera is this wonderful, there is no greater art form. Happily I am going to see Turandot again. Yes, it's a twice-in-a-lifetime experience.
ReplyDeleteJean-Patty McNally
jeanpatty27@yahoo.com.au
At various points in Saturday night's splendid performance of Turandot I was struck by the resonance's between the opera and the shenanigans going on in Australian politics. If reports are to be believed, many a Canberra mandarin would know all too well the lament sung by Ping, Pong and Pang's lament about the lives of leisure they would lead were it not for the despotic reign of Turandot. And aren’t the Australian public a little like the good residents of Peking? We don't mind the odd spot of blood thirsty entertainment and we can all too easily get caught up in the hysteria of the mob. In Turandot, as in life, the mob mentality is shamed into a more rational state of mind by Liu's selflessness and their kingdom transformed by Calaf's vision. Puccini's operas always seem to walk a fine line between drama and soap opera. The roles of Turandot and Lui can so easily become slightly misogynist caricatures in the hands of less adept performers but on Saturday Hyesoung Kwon had us believing in the purity and dignity of Lui's love for Calaf and Susan Foster made us feel the depth of Turandot's anger at the treatment of her ancestor and her apprehension at suffering a similar fate. Brava! I had began to think that maybe the power of 'nessun dorma' would have lessened in light of its use at sporting events, in commercials etc. But Rosario La Spina on the darkend stage proved that the aria sung in its proper context in such a rich voice can never be cliched or demeaned.
ReplyDeleteRachel Thompson (rachel_lillian@telstra.com)
I saw Turandot on Saturday afternoon - March 3 - and I was delighted by the opera. Ping, Pang and Pong as played by Andrew Moran, David Corcoran and Graeme Macfarlane were fabulous, I wanted to clap their main piece but they left the stage, so clap! clap! clap! you three.
ReplyDeleteMaestro Arvo Volmer is a complete sweetie! He must have felt that the audience was a bit slow in applauding Carlo Barricelli after he sang "Nessum dorma" because he turned and faced the audience and waved his baton and clapped. It was a lovely gesture for a very well sung aria.I was very impressed with Carlo and his interaction with the other cast members.
Anke Hoppner surprised me because I was not sure that she would make a good Turandot, she was great: cold, psychotic and powerful. Hyeseoung Kwon as Liu balanced Turandot so sweetly, her death was beautiful.
I had a great afternoon and I still love Graeme Murphy's direction and the way the opera flows.
Suzan Aslin (suzanaslin@optusnet.com.au)
I saw the 10th of March matinee, what a magical way to start my weekend. From the fabulous props, amazing colours and very, very talented cast. A superb performance and sublime music that gave credit to the genius of Puccini. So long have I waited to see Turandot and I must say that I was not disappointed, I would love nothing more than to see it again as it has become my favourite. Well done to all who put this piece of magnificence together. I crossed it off my bucket list but have now put it on reinstated it.
ReplyDeleteSandra Parry-Husbands
sandraph@tpg.com.au
For me, this was the complete package: principals in superb voice, spectacular staging, and stunning work from the chorus. Bravo to all involved!
ReplyDeleteM Steinberger
marg272303@yahoo.com.au
I saw Turandot last Friday. It was my first opera ever & I must say that now I'm hooked! The stage & costumes are much more glamorous than I had imagined. The coreography was stunning. I could not take my eyes of the stage I kept missing the surtitles. How I wished I spoke Italian.
ReplyDeleteI wasn't sure of going at the beginning, but now I can't imagine of not going to see more. Two thumbs up for the performers & everyone involved!
Nila
Laura.sudiarta@gmail.com
We saw Turandot for the first time last friday. We flew from Melbourne especially for this performance, we have not been to the opera for some years, but I wish we lived in Sydney to see more at this great venue. The cast and all singers, musicians the set so clever and wonderfull brought tears to my eyes as what an enjoyable evening.
ReplyDeleteThank you all Irene Martin
The AO production of Turandot looked magnificent. Graeme Murphy's direction
ReplyDeleteand choreography were dazzling. I will go to anything Graeme has been involved in and I am never disappointed.
The voices were all good. The role of Liu sung by Hyeseoung Kwon was the most moving. The ridiculous plot was overwhelmed by the beauty of the piece.
As I had not seen it before,I found it entrancing.
I look forward to AO's The Magic Flute which I last saw in Vienna at the Staatsoper. Aren't we lucky in Melbourne with our great State Theatre and such productions?
Under the genius direction of Graeme Murphy, Friday night’s performance of Turandot at The Arts Centre Melbourne was a truly memorable one. It is rare that such a production is as spectacular visually as it is musically, however in this instance it most certainly was. From the opening scene, the audience was treated to spectacular theatrics that complemented the complexity of Puccini’s music.
ReplyDeleteThe musical symmetry of the production was also undoubtedly achieved and Conductor Andrea Licata should be acknowledged for his role in such a feat.
The Opera Australia Chorus was impressive both musically and theatrically and Chorus Master Michael Black should be congratulated, as both balance and clarity were exceptional. The Chorus also maintained a consistent standard in each of their various capacities.
Both Orchestra and Chorus provided pivotal support for the extremely professional and technically sound performances of each of the Cast members. However mention must be made of the outstanding performance of Hyeseoung Kwon in her role as Liu. She placed herself in a class of her own vocally and her characterisation was of a similarly superior standard.
The modern-ness of Turandot lies in Puccini’s attempt to reconcile the tragic, the comic and the romantic. He was well aware that times were changing and that sentimentality would no longer suffice’.
(Vincent Ciccarello)
Friday night’s performance certainly suggests that Mr Puccini has succeeded in his attempt. Through the contemporary staging and modern spin on costume and set design, combined with the intensity of the musical score and the equally dramatic and profound portrayal of the storyline, the symbiotic relationship between love and loss was aptly illustrated. Indeed this was not just an experience of romanticism and sentimentality, it was one that provoked thought and challenged the audience and when an individual is motivated to reflect on the issues that have been raised long after the event, then that is a truly powerful performance.
Turandot...this production was fabulous, well done Graeme Murphy. Hyeseoung Kwon was the best on stage she stole the show, both the Children's and Opera Australia were at their best, the down side of the performance was Rosario La Spina, he could not be heard and didn't appear to want to be there. Susan Foster at times seem to screech to get into her role. I would have preferred to see 2 stronger performers in the main roles.
ReplyDeleteLast evening I saw Turandot.The production was truly entrancing.
ReplyDeleteThe costuming and staging were remarkable.
Hyeseoung Kwons- Liu- was the best I have ever seen.The children and the Chorus were superb .I was so disappointed with Rosario La Spinas performance his voice lacked strength and at times he lost his note.
i saw turandot on saturday and was moved to tears.the wonderful artists, the beautiful sets, the orchestra, graeme murphy's elegant choreography, the thrilling climax as the magnificent chorus soared into the celebration of love and life that Nessun Dorma made me realise how lucky we are to live in melbourne and see such a world class performance
ReplyDeleteI saw Turandot for the first time on 25 March at Arts Centre Melbourne and was enchanted with the performance. Graeme Murphy's obvious balletic background of choreography was sheer brilliance and produced a powerful fluidity of movement from the Chorus and children, which was a joy to behold. This, together with swathes of swirling red ribbons in the first act and flashes of light from the executioner's blade around the auditorium created extraordinary visual and dramatic highlights. Unfortunately, Rosario La Spinas did not live up to my expectations from the glowing reviews likening him to Pavarotti - he has a long way to go before attaining this highest of achievements and there were times when he could not be heard above the orchestra. Susan Foster's performance as Turandot was only average with, at times, a quite disagreeable vibrato. However, this surprisingly did not detract from my absolute delight at the overall performance and the voice of the evening was for me the sweetness and pure beauty of Hyeseoung Kwon. The power of this diminutive performer's voice as Liu was extraordinary and the role of Liu was perfect for her. I came away from the theatre on an absolute high and, despite the disappointing performances of Turandot and Calaf, rank this night as one of my best experiences at the Opera.
ReplyDeleteHighly recommendable. Nessun dorma sung beautiful.
ReplyDeleteI went with some girlfriends to see Turandot which was my first opera (I'm more of a dance/ballet chick) and I am hooked!! I'd seen lots of Greame Murphy's dance work, so I was curious to see what his opera work would be like and I was thrilled from curtain up to the final note.
ReplyDeleteIt was so beautiful with barely a dull moment. The first act gave me goosebumps all the way through. The chorus was incredible and I could actually feel my heart racing as they sung, especially in the lead up to the climax of Calaf striking the gong to put his neck on the line, literally!
I only found out during the interval that there are no microphones which made the soloists skill even MORE impressive. We were sitting a fair way back in the stalls but still Liu and Turandot's voices were crystal clear and perfect. Calaf's voice didn't seem quite as strong to start with, which was a pity, especially in contrast to the dynamics of the other principals and the chorus.
Speaking of strong, the executioner was a VERY attractive distraction - the only thing more intimidating than his stunning body was his deadly glare. Shivers.
I loved the change into the bright riddles scene which just kept building and building - perfect and visually amazing as well.
Then after a small teaser, the act three opening with Nessun Dorma there were goosbumps ON my goosebumps. Hearing it in it's original setting (and not on some gaudy tv talent show) will be an experience I'll never forget. Sublime. But beautifully balanced by the return to reality as Ping & Co pop up, followed by the gorgeous dancers and magnificent chorus and principals and of course the hunky, frightening Executioner (yeah, I have a thing for the bad guys).
Liu's final aria had me in tears well into the next scene, so I missed the point that Turandot suddenly became 'human' , but I heard afterwards, most people do miss that. Then of course there's the finale which was one of the most powerful moments of theatre I've EVER experienced, with the whole cast and orchestra filling the place with the most wonderful music and gorgeous visuals (by the way, Orchestra Victoria was outstanding, a wee bit loud sometimes, but still so gorgeous and the conductor sure did seem to be enjoying himself up there throughout the entire performance).
I know that not all operas will be this amazing, but I am definitely hooked now and can't wait to see more. This is definitely the perfect production for a first-timer. Thank you Opera Australia!
Graeme Murphy's "Turandot" is one of the finest productions ever mounted by Opera Australia. His production breathes life into all facets of the opera, even the middle commedia delle arte exchange between Ping, Pang & Pong. The dramatic power of Calaf striking the gong, or the tension of the three riddles must be experienced to be believed. Even Turandot's 'surrender' when kissed was sensitively handled and not comedic as it often seems to be. All the Principals coped well with the work's extravagant demands, especially Susan Forster's "In questa Reggia". My only caveats are that the lighting is sometimes oppressively dark, to the point where the chorus is masked in shadow, (so you at times lose them despite their kinetic energy), and that the singers are occasionally overwhelmed by the orchestra. Minor quibbles only. However there is no doubt about it: every opera lover should see this production at least once in their life. Don't miss it!
ReplyDeleteUnfortunately this version of Turandot left a lot to be desired. We went to the Friday night (11 April 2012) performance and came away very disappointed. Whilst we were not expecting to hear a 'Pavarotti rendition of Nessun Dorma', Rosario La Spina's performance was to say the least flat.
ReplyDeleteThe best part of the performance were the special effects.
What a shame...
Throughly disappointing, from the realilsation that it was being sung in english, through to the terrible occa accents and the tacky modern references such as 'ice magic'. it doesn't matter how good costumes, puppets and effects are, if the artistic vision and performances are not outstanding, it's just not going to work. A total waste of a drive to Melbourne from central victoria and $183.
ReplyDelete