Giacomo Puccini's final opera, "Turandot," premiered in 1926. It's an epic fairy tale set in a China of legend, loosely based on a play by 18th-century Italian dramatist Carlo Gozzi. Featuring a most unusual score with an astounding and innovative use of chorus and orchestra, it is still recognizably Puccini, bursting with instantly appealing melody. The unenviable task of completing the opera’s final scene upon Puccini’s sudden death was left to the composer Franco Alfano. Conductor Arturo Toscanini oversaw Alfano’s contribution and led the world premiere.
This season, The Met mounted Franco Zeffirelli’s glittering take on Puccini’s final masterpiece with conductor Oksana Lyniv. Anna Pirozzi stars in the title role with Brian Jagde as her suitor Calàf. Angel Blue (Liù) and John Relyea (Timur) are also featured in the broadcast production.
"Turandot" is very much a 20th Century opera, calling for large orchestra with a wide variety of instruments, including alto saxophones, celesta, bass xylophone, harps, and an organ. There are several genuine Chinese themes that are integrated into the score in a suave and brilliantly original manner, including the big imperial anthem in Act II. The opera also contains moments of sheer melodic beauty in Puccini’s most lyrical vein, most notably in the tenor’s unforgettable song of triumph, “Nessun dorma,” which opens Act III.
Will young Calàf win a bride or lose his head? Find out Saturday (May 23) at 1 p.m. here on Blue Lake Public Radio.
