Turandot by Puccini, ol. 18 ots. 2022, Noiztik (2021/2022), Zuzendaria Charles Roubaud, Anna Shishkina, Zuzendaria Valery Gergiev, Vitaly Shevelev, Pavel Smelkov, Primorsky Stage of the Mariinsky Theatre, Vladivostok, Russia

Giacomo Puccini’s Turandot (1926) was one of the most performable operas in the 20th century. Created in the composer’s later years – though he did not complete the last duet and finale – the opera summed up both his own career and the great tradition of Italian opera in the new century. The libretto was based on Count Carlo Gozzi’s Chinese-style tragicomic play of a cold princess ruining suitors who cannot solve her riddles. Representative of commedia dell’arte theater, Gozzi’s story was largely rethought by Giacomo Puccini to be turned into a drama of violent passions in which the Oriental gorgeousness combines with carnages or symbolism interfuses reality. Gozzi’s finale plot had been also changed, and the death of a loyal slave could not cast a shadow on the triumph of love. Besides prominent parts of a chorus and orchestra, which were traditionally highlighted by Puccini, his opera had given solo parts that became famous far beyond the opera community. Calaf’s vital aria “Nessun dorma” (“Let no one sleep!”) from Act 3 became a tenor headliner that sounds in movies, talk shows and Olympics ceremonies. Intended for a force-of-nature dramatic soprano, Turandot’s short-length aria became very popular too though it originated a lot of myths of its baneful effect on a singer’s voice. Turandot was premiered at the Mariinsky Theatre in 2002 in its Opéra de Marseille version that was staged by Charles Roubaud and designed by Isabelle Partiot-Pieri and Katia Denise Duflot. Effectively arranged in space and given a classic-like correct interpretation, the opera was acclaimed by spectators and reviewers and became a self-expression site for outstanding artists of our time. Natalia Rogudeeva