Organization

Dyrygent

Domingo Hindoyan

Reżyseria

Emmanuelle Bastet

Scenografia

Scenografia (+2)

Tim Northam

Kostiumy

Scenografia (+1)

Véronique Seymat

Reżyseria światła

François Thouret

Sopran (+1)

Elisabeth Teige

Turandot

Tenor (+3)

Arturo Chacón-Cruz

Kalaf

Adriana González

Bas (+3)

Mischa Schelomianski

Timur

Tenor (+6)

Raúl Giménez

Cesarz Altoum

Baryton (+1)

Alessio Arduini

Ping

Gregory Bonfatti

Pang

Tenor (+4)

Éric Huchet

Pong

Baryton (+7)

Andrei Maksimov

Mandaryn

Wideo

Wideo (+1)

Eric Duranteau

Przygotowanie chóru

Przygotowanie chóru (+1)

Hendrik Haas

Luciano Bibiloni

Dyrygent (+2)

Anass Ismat

Tenor

Nicolas Kuhn

Książe Persji

Sopran

Clémence Baïz

Pierwsza służąca

Nathalie Gaudefroy

Druga służąca

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

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.

włoski

Strasburg

Francja

Miluza