Name: Turandot
Start: 2014-12-12T00:00:00.000Z
End: 2014-12-14T00:00:00.000Z
Location: City Hall

Organization

Soprano

Jee Hye Han

Turandot

Helen Todd

Tenor

Raúl Melo

Calaf

John Hudson

Eudora Brown

Liù

Yuanming Song

Louise Kwong

Bass

Freddie Tong

Timur

Baritone

Sammy Chien

Ping

Chen Yong

Pong

Christopher Leung

Pang

Frankie Liu

The Emperor Altoum

Isaac Droscha

A Mandarin

Pong Chung Lam

Conductor

Lio Kuokman

Stage director

Lo Kingman

Set designer

Ricky Chan

Costume designer

Mandy Tam

Repetiteur

Felix Suen

Ronald Cheung

Musica Viva Singers

italiensk

Hong Kong

Hong Kong SAR China

City Hall

Turandot Puccini

Public

kinesisk

engelsk

Approved

Instrumentalist

Pianist

Violinist

Cellist

Violist

Flutist

Clarinetist

Guitarist

Organist

Percussionist

hornist

Oboist

Bassoonist

Trumpeter

Contrabassist

Trombonist

Harper

Saxophonist

Harpsichordist

Bassist

Accordionist

Tuba Player

Recorder Player

Lutenist

Tenor Violinist

Timpani

Mandoline Player

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Violino Piccolo Player

Viola da gamba

Musette de cour Player

Viola Pomposa Player

Archlutenist

Vibraphonist

Cornettist

Viola d’amore Player

Theorbist

Composer

Librettist

Choreographer

Lighting designer

Dancer

Actor

Chorus master

Video designer

Dramaturge

Translator

Sound designer

Makeup artist

Executive producer

Hairstylist

Other

Stage Manager

Choir

Orchestra

Poet

Vocal coach

Teacher

Photographer

Broadcasting

Illustrator

Writer

Writing and performance

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Extra

Bass-baritone

Singer

Contralto

Mezzo-soprano

Countertenor

Spoken

Child vocalist

Silent

Alto

Continuo

Puccini’s Unfinished Masterpiece
Puccini began the composition of his last opera, Turandot, early in 1921. The subject had been suggested to him by Renato Simoni, a dramatist, who collaborated with Guiseppe Adami in writing the libretto, based on a play by Carlo Gozzi.

Puccini approached the subject through Friedrich Schiller’s romanticized version of Gozzi’s play, in which the fable of the Princess Turandot is treated in a purely artificial manner. Puccini insisted on the subject being further humanized by the introduction of Liu, the slave-girl who sacrifices herself to save Prince Calaf. The very human and pathetic figure of Liu renders the cruelty of the fable hardly bearable by making it seem real.

Puccini died in November 1924, before the score was completed. He hoped to make the final duet the finest thing he had ever composed. Whether he could have fulfilled his ambition is a matter for conjecture. As it is, the opera was completed by a younger composer, Franco Alfano, based on 36 pages of musical sketches and annotations left by Puccini. Alfano managed to achieve his task in a most admirable way, not only with great craftsmanship, but also with extreme respect and loyalty towards Puccini’s intentions. The work was first performed at La Scala, Milan, on 25 May 1926, under the direction of Toscanini, who ended that first performance at the point where Puccini laid down his pen.

In 2001, the House of Ricordi, Puccini’s publisher, commissioned a new ending from the distinguished contemporary composer Luciano Berio who took a rather different approach. He made use of the themes left by Puccini but introduced more subtle harmonic shifts, tonal ambiguities and exotic scoring that mirror the emotional turmoil of the protagonists. He focused his effort on solving the problem of making Turandot’s transformation from an ice-cold princess into a warm loving woman believable by inserting an orchestral interlude depicting this psychological change. This was the problem with which Puccini had been struggling in vain during the final years of his life. Berio ended the opera quietly and mysteriously at the breaking of a new dawn.

The legend of the three riddles, which the protagonist must solve to save his life, is widespread. The legend has an obvious theatrical effectiveness, which, coupled with the splendor of the Chinese setting, makes the central episode of Turandot one of Puccini’s most successful dramatic strokes, especially as he treated the whole scene with the greatest possible economy as a solemn ritual, beneath whose outward formality strong passions seethe.

Puccini obtained his exotic effects by resorting to bitonality – the simultaneous use of different keys – as in the first pages of the score, and by composing some of the most characteristic tunes on a five-note (pentatonic) scale and in short rhythmical phrases. In addition, he uses, for Chinese colouring, a large number of percussion instruments, gongs, bells, wooden blocks, and so on.

For Turandot herself Puccini wrote music which successfully portrays her ice-cold heartlessness. Although the amount of music she has to sing is not great, the part is extremely exacting on account of the high tessitura of the music, often unsupported by any accompaniment. The chorus has a more important part to play than in any other opera of Puccini’s. This feature and the spectacular nature of the work make Turandot a true Grand opera, the only one of Puccini’s compositions to which the term can properly be applied.

English

Turandot by Puccini, Fra (2014/2014), Instrueret af Lo Kingman,, Dirigent Lio Kuokman, City Hall, Hong Kong, Hong Kong SAR China

Forestilling krediteringer (Medvirkende & Produktionshold )

Medvirkende

Produktionshold

Program, Information & Oversigt

Fotos

Yderligere læsning

Forestillingsdatoer og spillesteder

Spillesteder