Name: Turandot
Start: 2022-08-14T00:00:00.000Z
End: 2023-05-05T00:00:00.000Z
Location: Primorsky Stage of the Mariinsky Theatre

Organization

Conductor

Pavel Smelkov

Lighting designer

Vladimir Lukasevich

Costume designer

Katia Duflot

Set designer

Isabelle Partiot-Pieri

Stage director

Charles Roubaud

Director

Anna Shishkina

Pianist

Marina Repina

Chorus master

Larisa Shveikovskaya

Anna Pipia

Choreographer

Dmitry Korneyev

Movement coaches

Maxim Bystrov

Singer

Soprano

Olga Maslova

Turandot

Bass

Anatoly Badayev

Timur

Tenor

Ivan Gyngazov

Calaf

Liliya Kadnikova

Liù

Baritone

Alexei Bublik

Ping

Yevgeny Mizin

Pang

Roman Krukovich

Pong

Primorsky Stage of the Mariinsky Theatre

Mariinsky Theatre

Repetiteur

Alexey Tikhomirov

Anna Pipiya

Anton Torbeev

italiană

Vladivostok

Russia

Great Hall

Public

Santiago Martin Bermejo

rusă

engleză

Approved

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

English

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