Name: Turnadot
Start: 2020-01-23T00:00:00.000Z
End: 2020-01-23T00:00:00.000Z
Location: Národní divadlo (National Theatre)

Organization

Режиссер-постановщик

Zuzana Gilhuus

Художник-постановщик

Дирижер

Christopher Ward

Художник по костюмам

Boris Hanečka

Художник по свету

Martin Bronec

Jaroslav Kyzlink

Хормейстер

Pavel Vaněk

Драматург

Ondřej Hučín

Хореограф

Martin Dvorak

Soprano

Ewa Vesin

Принцесса Турандот

Eliška Weissová

Бас

Jiří Sulženko

Тимур

František Zahradníček

Тенор

SeokJong Baek

Калаф

Michal Lehotský

Yukiko Šrejmová-Kinjo

Лю

Marie Fajtová

Alžběta Poláčková

Баритон

Jiří Brückler

Пинг

Jiří Hájek

Richard Samek

Панг

Jaroslav Březina

Martin Šrejma

Понг

Josef Moravec

Miloš Horák

Мандарин

Roman Vocel

Jan Ježek

Альтоум

Персидский принц

Marek Lhotsky

National Theatre Prague

итальянский

Turnadot

Прага

Чехия

Národní divadlo (National Theatre)

Turnadot: Turandot Puccini

Public

Турандот

чешский

английский

Одобрено

Giacomo Puccini’s final opera, Turandot, may be deemed to be the “last of the Mohicans” of the Golden Age of Italian Romantic opera. The greatest of Verdi’s heirs, the composer, however, did not get bogged down in this tradition, but went on to boldly develop and enrich it with the flavours of the new artistic styles that emerged in the late 19th and the early 20th centuries. Consequently, his Turandot, written between and 1921 and 1924, does not feature many Romantic traits.

Puccini based the opera on the eponymous commedia dell’arte play by Carlo Gozzi, an author much admired by the early 20th-century avant-garde artists. The subject hails from Persia or Mongolia, whose cultures were mainly marvelled at by votaries of the decorative style, while the libretto’s story is set in medieval Beijing and foregrounds fairy-tale, or better said mythological, elements, favoured by the Symbolists. The theme of passionate love, essential for Romantic opera, is veiled in mysterious motifs of ice, fire, moon, while an erotic flame enigmatically blazes along with intense, unrelenting hatred, which we would rather expect to be present in works inspired by decadence or psychoanalysis.

Yet all that which, notwithstanding its modernism, gives Turandot the Romantic opera hallmark is Puccini’s musical idiom, which too encompasses plenty of “eccentric” facets – ranging from Oriental paraphrases, through a brutal orchestral sound, dissonant harmonies to wildly complex chorus and ensemble scenes – but what prevails is Puccini’s masterful melodic invention in the spirit of the legacy of his great Italian opera predecessors, yet utterly original – by and large, Puccinian.

English

Участие в выступлениях (Исполнители и постановщики )

Исполнители

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