The Opera, Turandot, by Giacomo Puccini (and later completed by Franco Alfano) tells the story of a cod-hearted Princess named Turandot who poses a challenging riddle to the people of Violet City. She presents three riddles, stating that the person who will be able answer all three riddles correctly, will be able to marry her. Anyone who answers incorrectly would be put to death. An Unknown Prince confidently and correctly answers the three riddles, thus gaining the right to marry Princess Turandot. The princess suddenly breaks down in despair over this occurrence, pleading with her father, Emperor Altoum, not to “cast y
our daughter [herself] into the stranger’s arms!” However, the father makes it clear to Princess Turandot that the Unknown Prince risked his life for her, and so she must follow through with her promise! The Unknown prince then poses a riddle of his own: If she can find out what his name is before dawn, the
n he will agree to meet his death. And if not, she must marry him. Princess Turandot is unable to do so, and therefore is forced to marry Prince Calaf.
What was so interesting about reading this Opera was to see how the idea of Love isn’t glorified with positive connotations as it may be in other stories. In this Opera, Love is
perceived as somewhat of a burden, leading to death, torture, suicide, and unhappiness. It’s a tool that can be used and is used negatively. In Act One, a prince, who attempts to attain Princess Turandot’s love, incorrectly answers the riddle and thus must be executed. Love is achievable only at risk of death. Later on in Act Three, Princess Turandot’s servants threaten Prince Calaf himself, and then later on threatens Liu (a loyal slave girl from Timur’s palace) and Timur (Prince Calaf’s father), to find out his name. To escape love (something that would usually be highly regarded), the servants are willing to threaten and torture people! Liu herself loved Prince Calaf, so much so that she committed suicide to protect him! And finally, when Princess Turandot fails to find out Prince Calaf’s name and is forced to marry him, she reacts negatively and actually weeps about this event! As we see, this play uses Love to mask very negative and dark actions, making it seem like a very evil and bad concept.
What is so tragic, though, is that bad things (suicide) happen to the people who truly love, and good things (marriage) happen to those who didn’t love! Liu ends up killing herself for love, and Princess Turandot get’s love (love the idea and Love the prince) without even loving! This play links love with tragedy; attaining love requires so many bad things to happen! Love (the idea and the man) is perceived as a negative power as Princess Turandot is conquered by it! The Opera ends with Princess Turandot weeping about her future, leaving the audience feeling bittersweet about the notion of Love.
After watching a few segments of the Opera on YouTube, I found that there is a lot of focus on the musicality of the performance. Music and song is literally the language of the play. Emotions, dialogues, opinions (and more!) are all delivered through the music! There is immense power in the music as it truly makes the audience understand the plot through the feelings and emotions that the music and singing evokes! I haven’t been to many operas, and I’m excited to see it next week!
Great response! I never really considered that bad things happened to the people who truly love and good things happen to those who didn’t love. Now that you pointed it out, perhaps I wonder if Puccini would have changed the ending drastically to fit those themes if he lived longer. Perhaps, Prince Calaf would have died in order to join his true love, Liu, in spirit, similarly to Romeo and Juliet. It sounds a bit weirder than the given ending, however it is something interesting to consider.
I didn’t really notice those specific themes in the opera, I more noticed the racism and overdramatic dialogue, even for an opera. I do, however, like that you pointed out that the work actually points to several themes about love, tragedy, and death. I did find that I appreciated the opera more after I listened to clips of the arias and watched small segments of the work. I wonder if the cast can make those themes come alive through song in the visual representation of the opera next week. I’m interested to find out.
I like your response. Your point that those who love die (Liu), and those who do not love marry (Turandot and Calaf) is very interesting. I never thought about it like you have, but your point makes complete sense as it would contribute to the opera’s tragic nature. I am also excited to see what the performers’ musicality adds to the opera, specifically in the trial, it should add a great deal of emotion to the story.
I am also really excited to see the opera next week! Last time when we read the play it is different from what we actually saw at the play. So I’m really intrigued to see how seeing the actual live performance is going to change the views that we have from just reading the script of the opera.
It is strange how love works out. The one who loves truly and deeply doesn’t end up getting the love that they deserve. The one who tries desperately to escape love ends up receiving the love. That is just how life works out. The amount of love you give out doesn’t equate the love you receive. That is the tragedy of love.