Metropolitan Opera 8 March 2024 - Turandot | GoComGo.com

Turandot

Metropolitan Opera, Metropolitan Opera, New York, USA
All photos (14)
Friday 8 March 2024
7 PM

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Opera
City: New York, USA
Starts at: 19:00

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Overview

Franco Zeffirelli’s dazzling vision of mythic China retakes the stage, with soprano Elena Pankratova making her Met debut as the legendary—and lethal—title princess, opposite tenor SeokJong Baek as the valiant prince who puts his life on the line to win her love. Later in the spring, a pair of audience favorites, soprano Christine Goerke and tenor Roberto Alagna, assume the starring roles. Sopranos Gabriella Reyes, Aleksandra Kurzak, and Olga Kulchynska alternate as Liù, with basses Vitalij Kowaljow, Peixin Chen, and Soloman Howard as Timur. Maestro Oksana Lyniv makes her Met debut leading Puccini’s rousing score, sharing conducting duties with Marco Armiliato.

Production a gift of Mrs. Donald D. Harrington

In Gozzi’s play, the original commedia dell’arte characters wandered from Italy to China and were members of the Imperial court. Their comments satirized Venetian politics and mores of the times. Puccini and his librettists dispensed with any such relevance. The China of this opera, set in “legendary times,” is a mythic realm viewed from the exoticizing perspective of 20th-century Europeans.

Puccini’s final opera is 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.

Giacomo Puccini (1858–1924) was immensely popular in his own lifetime, and his mature works remain staples in the repertory of most of the world’s opera companies. Franco Alfano (1875–1954) wrote nine operas, of which Cyrano de Bergerac (1936) is still occasionally performed today. The librettists for Turandot were the playwright Giuseppe Adami (1878–1946), who had previously worked with Puccini on Il Tabarro and La Rondine, and the journalist Renato Simoni (1875–1952).

Music

The large Turandot orchestra calls for 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.

History
Premiere of this production: 25 April 1926, Teatro alla Scala, Milan

Turandot is an opera in three acts by Giacomo Puccini, completed by Franco Alfano, and set to a libretto in Italian by Giuseppe Adami and Renato Simoni.

Synopsis

ACT I

Peking, in the mythic past. Outside the Imperial Palace, a mandarin reads an edict to the crowd: Any prince seeking to marry Princess Turandot must answer three riddles. If he fails, he will die. The most recent suitor, the Prince of Persia, is to be executed at the moon’s rising. Among the onlookers are the slave girl Liù, her aged master, and the young Calàf, who recognizes the old man as his long-lost father, Timur, vanquished King of Tartary. Only Liù has remained faithful to him, and when Calàf asks her why, she replies that once, long ago, Calàf smiled at her. The mob cries for blood but greets the rising moon with a sudden fearful silence. As the Prince of Persia goes to his death, the crowd calls upon the princess to spare him. Turandot appears in her palace and wordlessly orders the execution to proceed. Transfixed by the beauty of the unattainable princess, Calàf decides to win her, to the horror of Liù and Timur. The three ministers of state, Ping, Pang, and Pong, appear and also try to discourage him, but Calàf is unmoved. He reassures Liù, then strikes the gong that announces a new suitor. 

ACT II

Within their private apartments, Ping, Pang, and Pong lament Turandot’s bloody reign, hoping that love will conquer her and restore peace. Their thoughts wander to their peaceful country homes, but the noise of the crowd gathering to witness the riddle challenge calls them back to reality.

In the royal throne room, the old emperor asks Calàf to reconsider, but the young man will not be dissuaded. Turandot arrives. She recounts the story of her beautiful ancestor, Princess Lou-Ling, who was abducted and killed by a conquering prince. In revenge, Turandot has turned against men and determined that none shall ever possess her. Trumpets then herald the beginning of the riddles. Turandot poses her first question to Calàf: What is born each night and dies each dawn? “Hope,” Calàf answers correctly. Turandot continues: What flickers red and warm like a flame, yet is not a flame? “Blood,” Calàf replies after a moment’s thought. Shaken, Turandot delivers the third riddle: What is like ice but burns, and if it accepts you as a slave, makes you a king? Tense silence prevails until Calàf triumphantly cries “Turandot!” The crowd erupts in joy, and the princess vainly begs her father not to give her to the stranger. Hoping to win her love, Calàf offers Turandot a challenge of his own: If she can learn his name by dawn, he will forfeit his life.

ACT III

At night in the Imperial Gardens, Calàf hears a proclamation: On pain of death, no one in Peking shall sleep until Turandot learns the stranger’s name. Calàf is certain of his victory, but Ping, Pang, and Pong try to bribe him to leave the city. As the fearful mob threatens him to learn his name, soldiers drag in Liù and Timur. Calàf tries to convince the crowd that neither of them knows his secret. When Turandot appears, commanding Timur to speak, Liù replies that she alone knows the stranger’s identity and will never reveal it. Soldiers torture her, but she remains silent. Impressed by her fortitude, Turandot asks what gives Liù the strength to resist. It is love, she replies. When the torture intensifies, Liù tells Turandot that she, too, will know the joys of love. Then she snatches a dagger and kills herself. The crowd forms a funeral procession, and Timur follows as they take away her body. Turandot remains alone to confront Calàf, who impetuously kisses her. Knowing emotion for the first time, Turandot weeps. Calàf, now sure of winning her, reveals his identity.

Once again before the emperor’s throne, Turandot declares she knows the stranger’s name: It is Love.

Place: Peking, China
Time: Legendary times

Act 1

In front of the imperial palace

In China, beautiful Princess Turandot will only marry a suitor who can answer three secret riddles. A Mandarin announces the law of the land (Aria – Popolo di Pechino! – "People of Peking!"). The Prince of Persia has failed to answer the three riddles, and he is to be beheaded at the next rising moon. As the crowd surges towards the gates of the palace, the imperial guards brutally repulse them, causing a blind old man to be knocked to the ground. The old man's slave-girl, Liù, cries out for help. A young man hears her cry and recognizes that the old man is his long-lost father, Timur, the deposed king of Tartary. The young Prince of Tartary is overjoyed at seeing Timur alive, but still urges Timur to not speak his name because he is afraid that the Chinese rulers, who have conquered Tartary, may kill or harm them. Timur then tells his son that, of all his servants, only Liù has remained faithful to him. When the Prince asks her why, she tells him that once, long ago in the palace, the Prince had smiled at her (Trio with chorus – The crowd, Liù, Prince of Tartary, Timur: Indietro, cani! – "Back, dogs!").

The moon rises, and the crowd's cries for blood dissolve into silence. The doomed Prince of Persia, who is on his way to be executed, is led before the crowd. The young Prince is so handsome and kind that the crowd and the Prince of Tartary decide that they want Turandot to act compassionately, and they beg Turandot to appear and spare his life (Aria – The crowd, Prince of Tartary: O giovinetto! – "O youth!"). She then appears, and with a single imperious gesture, orders the execution to continue. The Prince of Tartary, who has never seen Turandot before, falls immediately in love with her, and joyfully cries out Turandot's name three times, foreshadowing the riddles to come. Then the Prince of Persia cries out Turandot’s name one final time, mirroring the Prince of Tartary. The crowd, horrified, screams out one final time and the Prince of Persia is beheaded.

The Prince of Tartary is dazzled by Turandot's beauty. He is about to rush towards the gong and to strike it three times – the symbolic gesture of whoever wishes to attempt to solve the riddles so that he can marry Turandot – when the ministers Ping, Pang, and Pong appear. They urge him cynically to not lose his head for Turandot and to instead go back to his own country (Fermo, che fai?). Timur urges his son to desist, and Liù, who is secretly in love with the Prince, pleads with him not to attempt to solve the riddles (Signore, ascolta! – "Lord, hear!"). Liù's words touch the Prince's heart. He begs Liù to make Timur's exile more bearable by not abandoning Timur if the Prince fails to answer the riddles (Non piangere, Liù – "Do not cry, Liù"). The three ministers, Timur, and Liù then try one last time to stop the Prince (Ah! Per l'ultima volta! – "Ah! For the last time!") from attempting to answer the riddles, but he refuses to heed their advice.

He calls Turandot's name three times, and each time Liù, Timur, and the ministers reply, "Death!" and the crowd declares, "We're already digging your grave!" Rushing to the gong that hangs in front of the palace, the Prince strikes it three times, declaring himself to be a suitor. From the palace balcony, Turandot accepts his challenge, as Ping, Pang, and Pong laugh at the Prince's foolishness.

Act 2

Scene 1: A pavilion in the imperial palace. Before sunrise

Ping, Pang, and Pong lament their place as ministers, poring over palace documents and presiding over endless rituals. They prepare themselves for either a wedding or a funeral (Trio – Ping, Pang, Pong: Ola, Pang!). Ping suddenly longs for his country house in Honan, with its small lake surrounded by bamboo. Pong remembers his grove of forests near Tsiang, and Pang recalls his gardens near Kiu. The three share their fond memories of their lives away from the palace (Trio – Ping, Pang, Pong: Ho una casa nell'Honan – "I have a house in Honan"). They turn their thoughts back to how they have been accompanying young princes to their deaths. As the palace trumpet sounds, the ministers ready themselves for another spectacle as they await the entrance of their Emperor.

Scene 2: The courtyard of the palace. Sunrise

The Emperor Altoum, father of Turandot, sits on his grand throne in his palace. Weary of having to judge his isolated daughter's sport, he urges the Prince to withdraw his challenge, but the Prince refuses (Aria – Altoum, the Prince: Un giuramento atroce – "An atrocious oath"). Turandot enters and explains (In questa reggia – "In this palace") that her ancestress of millennia past, Princess Lo-u-Ling, reigned over her kingdom "in silence and joy, resisting the harsh domination of men" until she was raped and murdered by an invading foreign prince. Turandot claims that Lo-u-Ling now lives in her, and out of revenge, Turandot has sworn to never let any man wed her. She warns the Prince to withdraw but again he refuses. The Princess presents her first riddle: Straniero, ascolta! – "What is born each night and dies each dawn?" The Prince correctly replies, Speranza – "Hope." The Princess, unnerved, presents her second riddle (Guizza al pari di fiamma – "What flickers red and warm like a flame, but is not fire?") The Prince thinks for a moment before replying, Sangue – "Blood". Turandot is shaken. The crowd cheers the Prince, provoking Turandot's anger. She presents her third riddle (Gelo che ti da foco – "What is ice which gives you fire and which your fire freezes still more?"). He proclaims, "It is Turandot! Turandot!"

The crowd cheers for the triumphant Prince. Turandot throws herself at her father's feet and pleads with him not to leave her to the Prince's mercy. The Emperor insists that an oath is sacred and that it is Turandot's duty to wed the Prince (Duet – Turandot, Altoum, the Prince: Figlio del cielo). She cries out in despair, "Will you take me by force? (Mi porterai con la forza?) The Prince stops her, saying that he has a riddle for her: Tre enigmi m'hai proposto – "You do not know my name. Tell me my name before sunrise, and at dawn, I will die." Turandot accepts. The Emperor then declares that he hopes that he will be able to call the Prince his son when the sun next rises.

Act 3

Scene 1: The palace gardens. Night

In the distance, heralds call out Turandot's command: Cosi comanda Turandot – "This night, none shall sleep in Peking! The penalty for all will be death if the Prince's name is not discovered by morning". The Prince waits for dawn and anticipates his victory: Nessun dorma – "Let no one sleep!"

Ping, Pong, and Pang appear and offer the Prince women and riches if he will only give up Turandot (Tu che guardi le stelle), but he refuses. A group of soldiers then drag in Timur and Liù. They have been seen speaking to the Prince, so they must know his name. Turandot enters and orders Timur and Liù to speak. The Prince feigns ignorance, saying they know nothing. But when the guards begin to treat Timur harshly, Liù declares that she alone knows the Prince's name, but she will not reveal it. Ping demands the Prince's name, and when Liù refuses to say it, she is tortured. Turandot is clearly taken aback by Liù's resolve and asks Liù who or what gave her such a strong resolve. Liù answers, "Princess, love!" (Principessa, amore!). Turandot demands that Ping tear the Prince's name from Liù, and Ping orders Liù to be tortured even more. Liù counters Turandot (Tu che di gel sei cinta – "You who are encircled by ice"), saying that Turandot too will learn the exquisite joy of being guided by caring and compassionate love. Having spoken, Liù seizes a dagger from a soldier's belt and stabs herself. As she staggers towards the Prince and falls dead, the crowd screams for her to speak the Prince's name. Since Timur is blind, he must be told about Liù's death, and he cries out in anguish. When Timur warns that the gods will be offended by Liù's death, the crowd becomes subdued, very afraid and ashamed. The grieving Timur and the crowd follow Liù's body as it is carried away. Everybody departs, leaving the Prince and Turandot alone. He reproaches Turandot for her cruelty (Duet – The Prince, Turandot: Principessa di morte – "Princess of death"), then takes her in his arms and kisses her in spite of her resistance.

The Prince tries to persuade Turandot to love him. At first, she feels disgusted, but after he kisses her, she feels herself becoming more ardently desiring to be held and compassionately loved by him. She admits that ever since she met the Prince, she realized she both hated and loved him. She asks him to ask for nothing more and to leave, taking his mystery with him. The Prince, however, then reveals his name: "Calaf, son of Timur – Calaf, figlio di Timur", thereby placing his life in Turandot's hands. She can now destroy him if she wants (Duet – Turandot, Calaf: Del primo pianto).

Scene 2: The courtyard of the palace. Dawn

Turandot and Calaf approach the Emperor's throne. She declares that she knows the Prince's name: Diecimila anni al nostro Imperatore! – "It is ... love!" The crowd sings and acclaims the two lovers (O sole! Vita! Eternità).

Venue Info

Metropolitan Opera - New York
Location   30 Lincoln Center

The Metropolitan Opera is an opera company based in New York City, resident at the Metropolitan Opera House at the Lincoln Center for the Performing Arts. The Metropolitan Opera is the largest classical music theatre in North America. It presents about 27 different operas each year from late September through May. As of 2018, the company's current music director is Yannick Nézet-Séguin.

The Metropolitan Opera Company was founded in 1883 as an alternative to New York's old established Academy of Music opera house. The subscribers to the Academy's limited number of private boxes represented the highest stratum in New York society. By 1880, these "old money" families were loath to admit New York's newly wealthy industrialists into their long-established social circle. Frustrated with being excluded, the Metropolitan Opera's founding subscribers determined to build a new opera house that would outshine the old Academy in every way. A group of 22 men assembled at Delmonico's restaurant on April 28, 1880. They elected officers and established subscriptions for ownership in the new company. The new theater, built at 39th and Broadway, would include three tiers of private boxes in which the scions of New York's powerful new industrial families could display their wealth and establish their social prominence. The first Met subscribers included members of the Morgan, Roosevelt, and Vanderbilt families, all of whom had been excluded from the Academy. The new Metropolitan Opera House opened on October 22, 1883, and was an immediate success, both socially and artistically. The Academy of Music's opera season folded just three years after the Met opened.

The operas are presented in a rotating repertory schedule, with up to seven performances of four different works staged each week. Performances are given in the evening Monday through Saturday with a matinée on Saturday. Several operas are presented in new productions each season. Sometimes these are borrowed from or shared with other opera companies. The rest of the year's operas are given in revivals of productions from previous seasons. The 2015–16 season comprised 227 performances of 25 operas.

The operas in the Met's repertoire consist of a wide range of works, from 18th-century Baroque and 19th-century Bel canto to the Minimalism of the late 20th century. These operas are presented in staged productions that range in style from those with elaborate traditional decors to others that feature modern conceptual designs.

The Met's performing company consists of a large symphony-sized orchestra, a chorus, a children's choir, and many supporting and leading solo singers. The company also employs numerous free-lance dancers, actors, musicians, and other performers throughout the season. The Met's roster of singers includes both international and American artists, some of whose careers have been developed through the Met's young artists programs. While many singers appear periodically as guests with the company, others, such as Renée Fleming and Plácido Domingo, long maintained a close association with the Met, appearing many times each season until they retired.

Important Info
Type: Opera
City: New York, USA
Starts at: 19:00
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