Turandot

Turandot was my first experience with an opera and I was not disappointed. Despite not being able to understand what the performers said, as they were speaking in Italian, you can still feel the raw emotion they had. Reading the libretto gives you insight into the personalities. This is mostly evident in Turandot’s and Liu’s words. As the ruler, Turandot has an air of superiority to her as the way she speaks is confident and insulting. She is willing to kill any suitor who doesn’t solve her riddles as she is afraid of being controlled by a man and doesn’t show any remorse doing so. Liu on the other hand is the exact opposite, she speaks softly always putting other’s needs first. What’s also interesting about Liu’s words is that she refers herself by her name instead of saying I or me. In many Asian cultures, young girls do this and it may have something to do with the portrayal of innocence. Nathaniel and I discussed that when the opera was over, the one who got the most applause wasn’t the queen but the peasant, because people empathized with how she spoke. Turandot was a gateway into the world of opera and I hope to experience more in the future.

The History of Turandot

• Turandot is a Persian word that means “the daughter of Turan,” Turan was previously a region located in the Persian empire, and “dokht” meaning daughter.
• The story of Turandot draws a lot of inspiration from fairy tales and definitely has a lot of ancient and mythical elements. The setting for example, although we know it is Beijing, China, there is still no specific location/time period, the use of the three riddles, the cold hearted princess, the mistreated prince ultimately winning, an emperor who is worshipped like a god, etc.
• The first performance of Turandot was in 1726 – Gozzi’s version which was an epic romance that originated from 12th century Persia.
• In 1920 over lunch Puccini discusses with his colleagues the possibility of Turandot becoming an opera. They begin work on it a few months later.
• Puccini died of throat cancer in 1924 after completing three acts, and Alfano finishes the fourth.
• In 1926 the completed version of Turandot is debuted as we know it today.

Turandot takes place in, by the script, Peking, China, but draws it’s design from a more nebulous “Asian” aesthetic that was popular at the time the opera was written. Since it’s first run, large, ornate set pieces matched just as over-the-top costumes. The Met Opera revival plays heavily with thematic coloring.

Each act takes place in a specific area, with the first being in the town square, the second in the royal court, and the third being in a more secluded garden area of the palace that then transitions to the interior court.

The town square is in grey and cool blue tones, which neatly play into the them of Turandot being the light of this country, as her entrance gives one of the few spots of color in this area. This coloring also gives the effect of mourning, as yet another prince has just been killed for failing Turandot’s test.

The royal court is a sharp contrast to the dour look of the town square. It is completely in bright, pale gold, thus showing the opulence and wealth of the nobility. An interesting design choice is the circular river running under the set. In many cultures, water represents serenity, thus giving the throne room a more cultured look, instead of being gaudy.

The river also makes an appearance in the third act, which connects the garden area to the throne room, showing that the cast is still in the palace. It is lit with small lights underneath, which give a more mystical feeling to it. This area is in more blue and green tones, giving more of a sense of traquility, despite the panicked actions of Turandot. However, it is in this place that she finally becomes calm and accepts her fate. It is also a slightly more private and secluded place, being inside the palace, which is ideal for Turandot to fall in love here.

The garden area transitions into throne room to end the show, having a backdrop lift up to reveal the rest of the stage. The stage at the Met Opera House is extremely deep, much more so than it is wide. Thus, it is able to have enough room for a distinct set in front of an entirely different set.

For me, the venue for Turandot was my house, since I watched it on my laptop. The venue of the Metropolitan Opera definitely adds to the elegance and formality of the opera. However, I surprisingly was moved by the piece even though I was watching it in my home. The story of Turandot is very interesting one and it keeps viewers engaged. Furthermore, the music for it is absolutely breathtaking. I would have loved to see the orchestra play live. Furthermore, even though I wasn’t seeing the opera live, I could still connect to the characters and the opera overall. I believe this speaks to the wonderful job Puccini has done at adapting this play to an opera. Also, I did not expect the people on stage to act, I was just expecting them to sing. Their acting added to the emotions their voices held and helped convey the story even more. I feel like I took a lot away from just watching it on my laptop and hearing the music. It was a beautiful blend of Persian, Oriental and Italian culture.

Analysis of the Story of Turandot

*[Image credit: Google.com]

Turandot follows a classic fairytale tragic/forbidden love story. We find a prince in search for a beautiful and powerful princess, even though she may kill him in his pursuits.

As portrayed by the performance, the story of Turandot is divided into three acts, the first two of which build up to the climax and end in cliffhangers; with the climax and resolution in the third act.

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Act 1
Here, the celestial Princess, Turandot, is our woman of beauty, who has a cold heart especially towards men, because of the tragic betrayal that a man caused her ancestor. She devised to protect her purity by declaring, “Any prince seeking to marry me must answer three riddles. But if he fails, he will have to die.” Our story’s hero, is Prince Calaf, who falls in love with Turandot at first sight. And becomes determined to try and answer her three riddles. Though strongly urged against by his father, the banished king, Timur, his slave girl, Liu, and the advisors Ping, Pang, and Pong.

Act 2

The act opens with the interesting advisors, Ping, Pang, and Pong who dread Calaf’s decision. They tell of how much pain and depression they’ve had to endure since the suitors came seeking for Turandot’s hand. Each advisor has a home that they wish to return to, they rant and drink, before being called to the palace for Calaf’s trial. Following, Turandot makes her appearance, and begins to ask Calaf her three riddles. Calaf evidently successfully answers her three riddles. While all rejoice, Turandot becomes furious and refuses to marry him, Calaf ends the scene by proclaiming that she answers a question of his, is she can learn his name, then he will give his life up.

 

Act 3

Turandot orders that someone learns his name. Her people catch Liu and the king. They both deny knowing his name, before Liu proclaims that she is the only one with knowledge of this secret. Turandot tries to force Liu to tell his name, but Liu confesses her love for Calaf, and that she would rather die. Before she is scared into telling his name, she kills herself as sacrifice. After, Turandot remains alone in guilt, to confront Calaf who is furious at her. But, he cannot cease his love for her, kisses her, and gives away his name. At the break of dawn, it is finally time for Turandot to proclaim her victory as she learns his name, but, in a turn of events, she says instead, “His name is …Love”, as she acknowledges defeat and marries him.

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I thoroughly Enjoyed how immersive this Opera. The story itself could have been a little confusing if I had not read the libretto, however, even if i did not i would have gotten that feel of excitement because of the incredible cast members. The only thing I did not appreciate in terms of the story was, apart from its interesting notions, it stuck with that cliche love story ending, which kind of wasn’t very cohesive. One character I really appreciated was Liu, but she only appeared for a little section of act 1 and 3 and died in act 3, then was thus forgotten! But, all in all, it was an incredible and unforgettable performance!

The Metropolitan Opera House is one of the most esteemed opera houses in the world. It was designed as part of the Lincoln Center for the Performing Arts by Wallace K. Harrison. It was created to replace the original Metropolitan Opera House which was located at the corner of Broadway and 39th Street. Construction for the new opera house began in 1963 and was completed in 1966. The Metropolitan Opera is the largest repertory opera house in the world with a seating capacity of 3,800.

With hydraulic elevators, rigging systems, and motorized platforms the Met is the most technologically advanced Opera House stage in the world. The creative mixture of technologies and set design allows the Met to perform an array of operas. They can perform simple stories with the beautiful stage and curtains alone as well as take on four part operas by using their ever changing set. They are able to raise parts of the stage above anyone’s view, lower it into the ground, put a pond center stage, and even show a parade featuring live horses pulling carriages.

The Metropolitan Opera house is world renowned for many reasons. The venue itself is just one. People come from all over the world to see performances, famous performers, and conductors. However, most visitors overlook the amazing feat of architecture they are in. The building and ingenuity that was put into it allow the amazing operas, ballets, and concerts to the performed and enjoyed at the highest quality that exists in the world.