Have always been a huge fan of opera, and always will be. 'Turandot' has always been close to my heart since performing it thirteen years ago in the chorus, when still in school and at a stage where music was one of the few things that gave me pleasure. Which at the time was a huge achievement for me. To this day, this reviewer still considers it one of Puccini's best operas along with 'Tosca', 'La Boheme' and 'Madama Butterfly'.
2019's production of 'Turandot', another revival of the classic Franco Zeffirelli production, is a solid enough start for the 2019/2020 season of the uneven but interesting 'Metropolitan Opera HD Live' series. Not everything works and it doesn't ever top the original production, also not being close to being one of the best 'Turandots' seen. It is though better than the last time the opera was performed as part of this series, back in 2016 with a lot of good things as well but also a disastrously bad Calaf.
Am going to start with what could have been done better, and a couple of the problems are similar to the ones in the 2016 production. As spectacular as the spectacle was, it did swamp the drama on occasions with some of Act 1 to begin with bordering on too busy and overblown, distracting one from what was going on in the story and what was happening between Calaf, Timur and Liu. Act 3 pre-Liu's death could have done with more mystery and tension.
Was rather conflicted on Yusif Eyvazov as Calaf (actually found him much better than expected), a problematic role to cast it seems. While he will never be classed up there as one of the great Calafs (naming them would be very unfair on him though), he is certainly infinitely better than Marco Berti. Much better actor, as he nails Calaf's ardour, heroism and intensity with some telling little details in Calaf's conflicting thoughts, not usually seen in a lot of Calafs. Far more musical, allowing for some genuinely sensitive moments. And actually more pleasant to listen to. Against all this, it did sound like the role was a little too heavy for Eyvazov. Some of his singing in Act 2 was underpowered and strained and while he sings the iconic "Nessun Dorma" very well it doesn't thrill. His chemistry with Christine Goerke doesn't properly shine until their big final scene.
Goerke is a lot more consistent though and doesn't sound at all taxed in this notoriously fiendishly difficult role. Her intonation is not always perfect, but she has a big, rich voice that doesn't resort to too much unsteadiness or shrieking for a role that sits quite a lot around high middle and high up. The acting is spot on, she is imperiously merciless in Act 2 while eventually but not too lately becoming more vulnerable. While their chemistry could have been more in Act 2 they are scintillating in Act 3. James Morris is a noble and moving Timur, he has been well past prime for years now but the weariness suits the character very well. Carlo Bosi is a firm Emperor and the Mandarin is unsettlingly played. Eduardo Valdes and Tony Stevenson make welcome returns as Pong and Pang and while Alexey Lavrov is not quite on Dwayne Croft's level he is worthy. They make for a very funny and also very fearsome trio while also believable in the tender part of Act 2 where the three sing about their homes. The vocal and dramatic standout to me though was Eleonora Buratto's heart wrenching Liu. "Tu che di gel sei cinta" had me bawling.
Some think that production looks "dated", to me it still looks phenomenal though the spectacle does admittedly get a bit much in places. The sets are typical Zeffirelli, big, sumptuous and elaborate, and the costumes are gorgeously rich in colour and design. The sensitive and remarkably intimate video directing doesn't cheapen the production values at all, and captures the drama very well mostly. The staging is mostly compelling, with it being especially successful in the more intimate moments. The stage direction especially shines in Act 1 when things calmed down and with Liu.
A vast majority of the time, almost all the time in fact, the production was outstanding musically. The orchestra play with all the hair-raising power, tender lyricism, rousing grandeur and poetic nuance that Puccini's music needs, and throughout they sound positively majestic. The chorus, whose role in 'Turandot' is huge, as always sound splendid, while their acting is a fine mix of chilling, joyous and remorseful. The conducting allows the music to breathe in the more intimate parts ("Signore Ascolta" and "Non Piangere Liu"), but is fiery and authoritative enough to keep the drama alive in particularly the chorus work (i.e. the big Grind and Sharpen chorus in Act 1).
Overall, good if not great. 7/10
2019's production of 'Turandot', another revival of the classic Franco Zeffirelli production, is a solid enough start for the 2019/2020 season of the uneven but interesting 'Metropolitan Opera HD Live' series. Not everything works and it doesn't ever top the original production, also not being close to being one of the best 'Turandots' seen. It is though better than the last time the opera was performed as part of this series, back in 2016 with a lot of good things as well but also a disastrously bad Calaf.
Am going to start with what could have been done better, and a couple of the problems are similar to the ones in the 2016 production. As spectacular as the spectacle was, it did swamp the drama on occasions with some of Act 1 to begin with bordering on too busy and overblown, distracting one from what was going on in the story and what was happening between Calaf, Timur and Liu. Act 3 pre-Liu's death could have done with more mystery and tension.
Was rather conflicted on Yusif Eyvazov as Calaf (actually found him much better than expected), a problematic role to cast it seems. While he will never be classed up there as one of the great Calafs (naming them would be very unfair on him though), he is certainly infinitely better than Marco Berti. Much better actor, as he nails Calaf's ardour, heroism and intensity with some telling little details in Calaf's conflicting thoughts, not usually seen in a lot of Calafs. Far more musical, allowing for some genuinely sensitive moments. And actually more pleasant to listen to. Against all this, it did sound like the role was a little too heavy for Eyvazov. Some of his singing in Act 2 was underpowered and strained and while he sings the iconic "Nessun Dorma" very well it doesn't thrill. His chemistry with Christine Goerke doesn't properly shine until their big final scene.
Goerke is a lot more consistent though and doesn't sound at all taxed in this notoriously fiendishly difficult role. Her intonation is not always perfect, but she has a big, rich voice that doesn't resort to too much unsteadiness or shrieking for a role that sits quite a lot around high middle and high up. The acting is spot on, she is imperiously merciless in Act 2 while eventually but not too lately becoming more vulnerable. While their chemistry could have been more in Act 2 they are scintillating in Act 3. James Morris is a noble and moving Timur, he has been well past prime for years now but the weariness suits the character very well. Carlo Bosi is a firm Emperor and the Mandarin is unsettlingly played. Eduardo Valdes and Tony Stevenson make welcome returns as Pong and Pang and while Alexey Lavrov is not quite on Dwayne Croft's level he is worthy. They make for a very funny and also very fearsome trio while also believable in the tender part of Act 2 where the three sing about their homes. The vocal and dramatic standout to me though was Eleonora Buratto's heart wrenching Liu. "Tu che di gel sei cinta" had me bawling.
Some think that production looks "dated", to me it still looks phenomenal though the spectacle does admittedly get a bit much in places. The sets are typical Zeffirelli, big, sumptuous and elaborate, and the costumes are gorgeously rich in colour and design. The sensitive and remarkably intimate video directing doesn't cheapen the production values at all, and captures the drama very well mostly. The staging is mostly compelling, with it being especially successful in the more intimate moments. The stage direction especially shines in Act 1 when things calmed down and with Liu.
A vast majority of the time, almost all the time in fact, the production was outstanding musically. The orchestra play with all the hair-raising power, tender lyricism, rousing grandeur and poetic nuance that Puccini's music needs, and throughout they sound positively majestic. The chorus, whose role in 'Turandot' is huge, as always sound splendid, while their acting is a fine mix of chilling, joyous and remorseful. The conducting allows the music to breathe in the more intimate parts ("Signore Ascolta" and "Non Piangere Liu"), but is fiery and authoritative enough to keep the drama alive in particularly the chorus work (i.e. the big Grind and Sharpen chorus in Act 1).
Overall, good if not great. 7/10
