Organization

Conductor

Domingo Hindoyan

Stage director

Emmanuelle Bastet

Set designer

Set designer (+2)

Tim Northam

Costume designer

Set designer (+1)

Véronique Seymat

Lighting designer

François Thouret

Soprano (+1)

Elisabeth Teige

Turandot

Tenor (+3)

Arturo Chacón-Cruz

Calaf

Adriana González

Liù

Bass (+3)

Mischa Schelomianski

Timur

Tenor (+6)

Raúl Giménez

The Emperor Altoum

Baritone (+1)

Alessio Arduini

Ping

Gregory Bonfatti

Pang

Tenor (+4)

Éric Huchet

Pong

Baritone (+7)

Andrei Maksimov

A Mandarin

Video

Video (+1)

Eric Duranteau

Chorusmaster

Chorusmaster (+1)

Hendrik Haas

Luciano Bibiloni

Conductor (+2)

Anass Ismat

Tenor

Nicolas Kuhn

The Prince of Persia

Soprano

Clémence Baïz

First handmaiden

Nathalie Gaudefroy

Second handmaiden

Opéra national du Rhin

Opéra de Dijon

Orchestra

Orchestre Philharmonique de Strasbourg

Chorus

Chœur de l'Opéra de Dijon

Chœur Philharmonique de Strasbourg

Chœur de l'Opéra National du Rhin

Les Petits Chanteurs de Strasbourg

Maîtrise de l’Opéra National du Rhin

Opéra National du Rhin

La Filature

Temple Saint-Étienne de Mulhouse

In Beijing, nobody sleeps. The crowds have gathered to watch the beheading of the Prince of Persia. Like many foreigners who came before him, the prince failed to answer the three riddles that would have earned him the hand of the much-coveted Princess Turandot, daughter of the Emperor of China. But she who is “white as jade, cold as blade” has sworn to never wed in vengeance for the death of her ancestress who was murdered by the Prince of Tartary after an invasion. As heads continue to roll, the arrival of an exiled foreign prince might melt Turandot’s ice-cold blood and restore hope in her people who yearn for the good old days.
In 1926, composer Franco Alfano was given the immense responsibility of completing the two final scenes of Turandot, which Puccini had left as a collection of sketches upon his death. These apocryphal pages were arbitrarily trimmed by the conductor Arturo Toscanini in the first performances, stripping the work of its sublime final soaring passage, against Puccini’s wishes, with the triumphant development of the theme of “Nessun Dorma”, which went on to become one of the best-known arias in the opera repertoire. Presented here in its complete version, this original finale is a chance to (re)discover Turandot in a fresh light. In the hands of director Emmanuelle Bastet and conductor Domingo Hindoyan, this is a rare and magnificent production.

Iodáilis

Strasbourg

France

Mulhouse