Organization

Admin

Bayerische Staatsoper

Dyrygent

Dyrygent (+2)

Antonino Fogliani

Reżyseria

Reżyseria (+4)

Carlus Padrissa

Scenografia

Scenografia (+2)

Roland Olbeter

Kostiumy

Kostiumy (+1)

Chu Uroz

Wideo

Wideo (+3)

Franc Aleu

Reżyseria światła

Reżyseria światła (+2)

Urs Schönebaum

Przygotowanie chóru

Przygotowanie chóru (+1)

Christoph Heil

Tenor (+6)

Kevin Conners

Cesarz Altoum

Tenor

Yonghoon Lee

Kalaf

Sopran

Selene Zanetti

Baryton (+3)

Thomas Mole

Ping

Tansel Akzeybek

Pang

Andrés Agudelo

Pong

Bas (+5)

Bálint Szabó

Mandaryn

Książe Persji

Chorus

Kinderchor der Bayerischen Staatsoper

La Fura dels Baus

Dramaturgia

Andrea Schönhofer

Rainer Karlitschek

Orchestra

Bayerisches Staatsorchester

Bayerischer Staatsopernchor

Saioa Hernández

Turandot

Nationaltheater Munich

Extras

Bayerischen Staatsoper Extrachorus

Bas (+2)

Vitalij Kowaljow

Timur

The people are thirsty for blood. Another suitor for the hand of the sovereign is about to be publicly beheaded, because Princess Turandot is determined never to belong to any man. That’s why anyone who wants to marry her must first solve three riddles. Anyone who fails has to pay with his life. An unknown prince, revolted by Turandot’s cruelty, yet attracted by her beauty, takes on this potentially lethal risk – and solves the riddles. But has he awakened the ice-cold, man-murdering sovereign to love and put an end to her barbarity?

Turandot is Giacomo Puccini’s final opera. He died at a point in time when he had come upon a thus far unsolved dramaturgical problem with his composition. The princess was to be the counter draft to the anti-feminism at the fin-de-siècle.  But how to depict the transformation of the man-murderer to a loving woman? Puccini left the final love scene between Turandot and Calaf fragmentary.

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