Organization

Cantante

Soprano

Maria Guleghina

Turandot

Janice Baird

Tenor

Fabio Armiliato

Calaf

Marco Berti

Daniela Dessì

Liù

Ainhoa Arteta

Bajo

Alexander Vinogradov

Timur

Barítono

Manel Esteve Madrid

Ping

Eduardo Santamaría

Pang

Gustavo Peña

Pong

Mario Bellanova

Un mandarín

Director(a) orquestal

Pedro Halffter

Director(a) de escena

Sonja Frisell

Escenógrafo(a)

Jean-Pierre Ponnelle

Diseñador(a) de iluminación

Juan Manuel Guerra

Teatro Maestranza

Orchestra

Real Orquesta Sinfónica de Sevilla

Sevilla

España

Teatro de la Maestranza

Sala Manuel García

Maestranza Theater of Seville, 31/3/2009 Giacomo Puccini TURANDOT Turandot (Soprano): Maria Guleghina Calaf (Tenor): Fabio Armiliato Liu (Soprano): Daniela Dessi Ping, Canciller (Barítono): Manel Esteve Timur (Bass): Alexander Vinogradov Real Orquesta Sinfónica de Sevilla Chorus of the AA of the Teatro de la Maestranza de Sevilla Musical direction: Pedro Halffter Produccion: Jean Pierre Ponnelle Dirección de scene: Sonja Frisell ___________________________________________ Today's appointment is this time dedicated to a very popular title: TURANDOT. The opera where the tenor sings in the third act the famous aria "No Dorma", which has become so popular that even the title of the opera from which it comes from is clouded. The production I have chosen from our archive is the production by the Teatro della Maestranza in Sevilla, after the great success months before with Puccini's LA FANCIULLA DEL WEST. The production is by JP Ponnelle taken up by the talented Sonja Frisell. In the role of the protagonist Maria Guleghina, colleague with whom I worked a lot during my career and who I remember in the unforgettable CAVALLERIA RUSTICANA at the MET and in the Japanese trip in 1997 and then for the many performances of TOSCA sung at the opera de Paris Bastille. This is the last production of TURANDOT made together with Daniela Dessì, then resumed in Montecarlo and previously we had sung it together in Barcelona in a single performance in 2009. My debut in the role of Calaf dates back to 1995, in Cincinnati together with my brother Marco on the podium: a debut that earned us both recognition as "Best season debut". I have very good memories of the many Calaf sung after that lucky debut, but some are really special: the first is linked to the 2007 Baden-Baden performance with the St. Petersburg Opera ensembles directed by Valery Gerghiev whose "Nessun Dorma", at the dawn of YOUTUBE, it collected views and consents from records. You can still find it on this same channel thanks to the shooting done adventurously but effectively (even if a little far) with a small camera by a friend in the audience. The other memory is that of the production at Covent Garden in London, where I was welcomed in a truly triumphal way and finally, perhaps the dearest memory, linked to the reopening of the Petruzzelli Theater in Bari under the direction of maestro Roberto De Simone in 2009 and with Martina Serafin in the role of Turandot. Questa di Siviglia was a recitation in an extraordinary way for the present public, as it showed this video (the audio is very good, but the quality is not eccezionale in how much it was done with a telecamera) and it was reported in some reviews at that time. Good vision! ___________________________ "In this way, the Genoese tenor Fabio Armiliato approached the role of Calaf with remarkable success, a character whom he endowed with courage, security and passion using his consolidated singing technique, vocal power and his innate musicality. His interpretation of the famous aria 'Nessun dorma', which the audience applauded energetically despite the fact that the orchestra continued to play. the soprano Daniela Dessì also took a bouquet of flowers in the final greetings and a warm ovation for her tender Liù. The diva from Genoa knows that when she tackles a Puccinian heroine she is on firm ground." David Cuesta - EL MUNDO 3-19-2010 ______________________________________________ "For technique, Fabio Armiliato, who has studied the role of Calaf very vocally and scenically, achieving a “Nessun dorma” in which poetry and power are combined fifty percent. Hence the spontaneous applause after the aria, although the music continued to play. Liu always dies but she always wins. This is how it happened with Daniela Dessi, solving her slow pace as an artist of race and impregnating her final scene with intensity: "Gonzalo Alonso, LA RAZON-March 20, 2010

Turandot Puccini

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