Conducted by Christian Badea – Directed and Choreographed by Graeme Murphy
Presented by Opera Australia, Joan Sutherland Theatre,
Sydney Opera House – 15th January– 30th March 2019
Performance on 15th January reviewed by
Bill Stephens
 |
| Artists of Opera Australia |
It may be nearly thirty years old but Graeme Murphy’s
mesmerizing staging of Puccini’s last opera, remains a jewel in Opera
Australia’s current repertoire. From the very first moments when huge fans open
to reveal Murphy’s swirling vision of an ancient China which exists only in his
fertile imagination, one is inexorably drawn into a world in which only the
ruler’s head can be seen atop his mountain of robes, and where a princess
composes riddles to baffle her suitors, who have their heads lopped off by
muscular swordsmen when they fail to come up with the right answers.
Murphy’s vision was shared by Kristian Fredrikson who
designed imposing settings and lavishly draped costumes which perfectly
compliment the choreographed undulating movement of the huge chorus, providing
a succession of beautifully composed stage pictures, which frame the action and
focus the attention on the principal players, connecting with and subtly
enhancing the effect of Puccini’s gloriously melodic music.
First seen in 1990, and now meticulously revived by
Kim Walker, and superbly lit by John Drummond Montgomery, this production makes
great use of hand held props such as large fans for the dancers, strips of
blood-red silk and hand-held screens to partition areas as the ensemble move
around the stage. Even the children’s choir snaking around the stage in tight
formation for their folk song, and the clever use of large individual mats held
by Ping, Pang and Pong, stylishly interpreted by Christopher Hillier, Virgilio
Marino and John Longmuir, become striking visual elements.
 |
| Amber Wagner (Turandot) - Andeka Gorrotxategi (Calaf) - Opera Australia chorus |
As the ice princess, Turandot, Amber Wagner is an
imposing presence, especially when perched high above the ensemble on a tall platform.
Her thrilling lustrous voice soars effortlessly above the full force of the
orchestra and chorus. Later in the opera, when she descends from the platform,
she achieves the near-impossible by making Turandot’s capitulation to Calaf at
the end of the opera, believable, even romantic.
 |
| Amber Wagner (Turandot) - Andeka Gorrotxategi (Calaf) |
Equally impressive is Andeka Gorrotxategi as Calaf,
the Tartar prince determined to win the love of Turandot. Matinee idol handsome, and possessing a gloriously
clear, warmly burnished tenor voice, he eschews
the usual operatic posturing, to present an assured Calaf who revels in
Turandot’s frustration as he offers the correct answers to her riddles, and is
unwavering in his resolve to claim his prize no matter what obstacles are
placed in his way. His carefully phrased
“Nessun dorma” sung standing amid a sea of undulating silk waves was quite
simply breathtaking.
Mariana Hong breaks hearts with her beautifully sung
and acted performance as the tragic slave girl, Liu, who harbours a secret love
for Calaf, and is prepared to die rather than betray him. It says much for the
effectiveness of Gorrotxategi’s performance as Calaf that the audience is able
to forgive his response to her death.
 |
| Mariana Hong (Liu ) - Artists of Opera Australia |
There is also superb singing and acting among the
supporting roles. Richard Anderson brings both dignity and pathos to the role
of Timur, Calaf’s exiled father. Graeme Macfarlane is suitably majestic as the
Emperor Altoum, Dean Bassett is a dignified Prince of Persia and Andrew Moran
makes a fine mandarin.
Maestro, Christian Badea, kept impressive control on
his huge musical resources, ensuring a glorious sound throughout with perfect
balance between the orchestra and chorus while remaining carefully attentive to
the needs of his soloists.
This production is a masterpiece and a reminder of how
stunning opera can be even without the technical whizbangery now available. As
one audience member was heard to say as he left the theatre, “This is what
keeps me coming back to opera!”
Photos by Keith Saunders
This review first published in Australian Arts Review. www.artsreview.com.au
Photos by Keith Saunders
This review first published in Australian Arts Review. www.artsreview.com.au
