Productions of Puccini’s last opera, Turandot, were once a rarity; however, after recordings by Nilsson and Bjoerling, Nilsson and Corelli, and especially Sutherland and Pavarotti, Turandot productions have exploded and its most famous aria, “Nessun dorma,” has become a staple of classical music slumming on reality television.
We attended San Diego Opera’s production of Turandot, which opened Saturday night, February 24, and are certainly glad that we did. It was impressive-excellent singing by the principals and by the chorus; it was well directed, and the set was fine. The house was sold-out and it constitutes a much-needed hit for San Diego Opera. Here are my comments:
All principal singers were excellent. Lisa Lindstrom, as the titular ice princess, was believable as the woman men die for, and her voice was beautiful, clear and unerring, even on some seemingly fiendish high notes. She did as well anyone could in making the transition to woman-in-love aided by the effective direction of Keturah Stickann. Audience favorite Angel Joy Blue, as the slave girl Liù, projected a big (almost too big) beautiful voice, but perhaps less than the ultimate in pathos, in her two moving arias. I see a great future for her, but I believe she may transition to roles requiring a larger voice in the near future. Carl Tanner as Calàf, dressed in a costume that did not flatter his robust physique, sang beautifully and ardently. He, of course, gets to sing the “hit song” of the opera, “Nessun dorma,” and he sang it well, although I wish he had held the final high note a bit longer. Marco Nisticò, Joseph Quinn and Joel Sorenson, as Ping, Pang and Pong sang well and acted their parts that range from cynicism to nostalgia with aplomb. For me, the most notable San Diego Opera debut was that of bass Brian Kontes as Timur. Kontes sang his unfortunately small role movingly with a luscious bass voice, and I hope he returns soon in a larger part.
As we all know, Turandot is a big chorus opera, with the chorus appearing in all three acts, and San Diego Opera’s always excellent ensemble outdid itself, singing powerfully, moving well and even acting well.
The production, as a whole, was quite a spectacle, involving a steeply raked stage, platforms and a huge dragon surrounding it all. Nevertheless, I have to say I prefer the David Hockney sets that were used by San Diego Opera in the past. The costumes were intricate and colorful.
Director Keturah Stickann kept everyone in the huge mass moving, and she helped ease the transition to the loving Turandot by having her glance sideways at Calàf in the second act as if in fascination. She innovated a bit after Liù’s death scene by having Liù arise and slowly walk off stage with Timur. However, and perhaps I just missed it, I did not see the Emperor back on his platform in the last scene despite the fact that chorus is singing his praises. That did not make sense to me, but hardly spoiled the show.
This all being said, I missed the excitement of some previous productions. I am not sure why, but I noted that the opening repeated chords did not have the decisiveness and authority that I have heard in the past, so it seems the conducting by Valerio Galli was not quite to my taste.
