On opening night at La Scala in 1926, Toscanini abruptly ended Turandot in Act III, declaring to the crowd: “The opera ends here, because this is where the maestro laid down his pen!” Giacomo Puccini had died of throat cancer two years prior with the libretto (lyrics) written, but no music to accompany it. It was Toscanini and Alfano who took on the role of creating a worthy ending but after explosive disagreements Toscanini cut Alfano’s ending – leaving two editions of the opera being performed. Toscanini’s edition is much shorter and has become the standard production. In this production directed by Sir David McVicar, Alfano’s show goes on for the first time on a professional UK stage.
Scottish Opera has brought Turandot to audiences with all the dark splendour worthy of Puccini’s swan song. Look before you listen, and see long, decadent dining tables covered in a layer of dust. The chorus – guests to a never-ending dinner – are similarly dusty and haunted, donning 1920s cool-toned and glimmering party-wear. Reminiscent of white Russians in retreat to a haunted manor, their bloodthirsty gluttony and sedating allure brings some realism to a world where suitor after suitor falls on the sword after failing Princess Turandot’s riddles.
Trine Møller’s portrayal of Princess Turandot is captivating and considered. Never sacrificing her agency, every unsung moment is an opportunity to develop her psychology on stage. This is not a hysterical or mysterious woman in need of a man’s clarifying love, but someone equating distance with safety. Calaf, the man to finally solve her riddles, is played by Victor Starsky. Starsky offers a physicality and earnestness that grounds Turandot in duets, though perhaps shakes in his solo moments. Hye-Youn Lee, who plays Liù, is incredibly controlled in all aspects of her performance and brings an enduring warmth to the stage. Comedic relief comes in the form of Ping, Pang, and Pong, played by Josef Jeongmeen Ahn, Aled Hall, and Luvo Maranti. They through slapstick and self-deprecation bring laughs around the theatre, and at one point even portray a wedding scene complete with a kilt and bonnet.
The set design never detracts from the music, only exuding the extravagance and melodrama befitting a bloodthirsty kingdom. Dancing between icy cruelty and bedazzling jewels, Scottish Opera’s Turandot is truly a feast for the eyes. Controlled and considered throughout, Scottish Opera continues to bring together world-class performers and artists.
Scottish Opera’s Turandot is playing on 7 November at Theatre Royal, Glasgow, and at various dates from 11 until 22 November at Festival Theatre, Edinburgh. Buy tickets here.
Image by Mihaela Bodlovic, provided to The Student for press use.
