Organization

Admin

Bayerische Staatsoper

Maestro

Maestro (+2)

Antonino Fogliani

Diretor de Palco

Diretor de Palco (+4)

Carlus Padrissa

Cenógrafo

Cenógrafo (+2)

Roland Olbeter

Estilista

Estilista (+1)

Chu Uroz

Vídeo

Vídeo (+3)

Franc Aleu

Designer de Iluminação

Designer de Iluminação (+2)

Urs Schönebaum

Mestre de Coro

Mestre de Coro (+1)

Christoph Heil

Tenor (+6)

Kevin Conners

Altum, imperador da China

Tenor

Yonghoon Lee

Calaf

Soprano

Selene Zanetti

Liù

Barítono (+3)

Thomas Mole

Ping

Tansel Akzeybek

Pang

Andrés Agudelo

Pong

Baixo (+5)

Bálint Szabó

Um Mandarim

O Príncipe da Pérsia

Chorus

Kinderchor der Bayerischen Staatsoper

La Fura dels Baus

Dramaturgo

Andrea Schönhofer

Rainer Karlitschek

Orchestra

Bayerisches Staatsorchester

Bayerischer Staatsopernchor

Saioa Hernández

Turandot

Ópera do Estado Bávaro

Extras

Bayerischen Staatsoper Extrachorus

Baixo (+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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