Composed by
Giacomo Puccini – Libretto by Giuseppe Adami and Renato Simoni
Conducted by
Renato Palumbo – Directed and choreographed by Graeme Murphy
Revival Director
– Shane Placentino – Designed by Kristian Fredrikson
Joan
Sutherland Theatre – Sydney Opera House until 14th March.
Opening
night performance on 12th January 2022 reviewed by Bill Stephens
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| Yonghoon Lee (Calaf) - Lise Lindstrom (Turandot) |
It may be more than 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 Shane
Placentino, 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 Luke Gabbedy, Virgilio Marino
and Iain Henderson, become striking visual elements.
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| Luke Gabbedy (Ping) - Virgillio Marino (Pong) - Iain Henderson (Pang). |
As the ice princess, Turandot, Lise Lindstrom is an
imposing presence, especially when perched high above the ensemble on a tall
platform. Her thrilling laser-beam soprano soars effortlessly above the full
force of the orchestra and chorus as she poses riddle after riddle to trap
Calaf. Later in the opera she sweetens her voice to achieve the near-impossible
by making Turandot’s final capitulation to Calaf at the end of the opera,
believable, even romantic.
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| Yonghoon Lee (Calaf) - Lise Lindstrom (Turandot) |
Equally impressive is Yonghoon Lee as Calaf, every
inch the Tartar prince determined to win the love of Turandot. Matinee idol handsome, and possessing a gloriously
clear, warmly burnished tenor voice, Lee 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.
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| Kara Son as Liu |
Kara Son breaks hearts with her beautifully sung and
acted performance as the tragic slave girl, Liu, who harbors a secret love for
Calaf, and is prepared to die rather than betray him. It says much for the
effectiveness of Yonghoon Lee’s performance as Calaf that the audience is able
to forgive his response to her death.
There is also superb singing and acting among the
supporting roles. David Parkin brought both dignity and pathos to the role of
Timur, Calaf’s exiled father. As the Emperor Dean Basset, positioned high at
the very back of the stage, often sounded under-powered.
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| David Parkin as Timur and Kara Son as Liu |
Maestro, Renato Palumbo kept impressive control on his
huge musical resources, ensuring a glorious sound throughout achieving perfect
balance between the orchestra and the huge 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 wizardry now available. No
surprise therefore that the performance was given an ecstatic reception from the first night
audience.
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| Yonghoon Lee (Calaf) and members of Opera Australia chorus. Photos by Prudence Upton |
This review also published in AUSTRALIAN ARTS REVIEW. www.artsreview.com.au