Opera Review: Turandot
Shenzhen, Longgang Cultural Center Grand Theater 深圳龙岗文化中心大剧院
China National Opera 中央歌剧院 - Yuan Ding, 袁丁 conductor
Turandot: Liu Yan Hong 刘艳红
Calaf: Li Shuang 李爽
Liu: Yao Hong 幺红
Turandot: Liu Yan Hong 刘艳红
Calaf: Li Shuang 李爽
Liu: Yao Hong 幺红
Timur: Tian Hao 田浩
Ping, Pang, Pong: Geng Zhe, Liu Yi Ran, Li Xiang 耿哲，刘怡然，李想
Where I live in Shenzhen, Longgang, is peripheral to the heavy-weight CBD districts of Futian and Nanshan. As a result, cultural events, at least those of more substantial (or foreign) import, are few and far in between (not that there are many to start with in this city without much of a past). This is not unlike anywhere else in the world, be it NYC or HK. Where I am would be Queens in NYC and Yuen Long in HK. There is no denying, the best arts come to the wealthiest. It may not be equitable, but arts increasingly need private funding. I am not even mentioning the issue of "high arts", as they are likely massively imperiled by an age where inequity and populist sentiments are high on the agenda. If one judges by popular votes, hip hop and K-Pop will enter the halls of fame, and Shakespeare and Beethoven will be nearly completely dismissed. Fortunately, the niche always exists, but aficionados will have to be content with a very small pocket.
So it was, and is, a rare event that the premiere Opera Company of China, the National Opera, visits our local venue. Originally scheduled for July, it was postponed due to a smattering of covid cases here. Scouring the net, I found out this is a tried-and-true production that had toured China extensively. It had also been scheduled in Italy this year but I don't think it had happened due to the pandemic.
When I learned that they were finally to come, tickets were sold out. Fewer tickets were available due to anti-covid practices (some seats blocked out). On the evening of performance, I went early to the entrance gate, where patrons were screened for their QR Health Codes. I had with me a sign: "Just 1 ticket wanted". No response. I pestered every person entering the gate for whether he or she had an unused ticket. After maybe 10 attempts, one lady said she had one. I was ecstatic and entered with her (and paid her) and the rest is history. Mind you , were this at the city center's Concert Hall, where I heard all of my favorite SZSO concerts, where tickets during covid times are registered with one's name; any transference of ticket will be hazardous, if not impossible (I had understood this in advance).
This marked the first time I had entered this venue. It is an old-styled "statement building", which is conjoined with the district's main library (which I frequent) and museum (which I occasionally visit; currently, it has an African Art exhibit). The linking elements used to house the Book City, which had been relocated to the newer cultural center, Mecanoo (designed by the Dutch firm), a stone-throw's away, and is now used as a covid-testing site.
Despite its highly absurd story (which, honestly, is a problem that plagues most operas), musically, Turandot is one of my favorite operas, certainly my favorite Puccini, even if the ending was completed by Alfano. Its portrayal of so-called "ancient China" caused it to be banned for decades in China. But now its fortunes is reversed. There is even a Peking Opera version of it; how's that for cultural re-appropriation! For myself, the depiction of "China", even the trio of Ping Pang Pong (who offer some humanistic counterpoint to Turandot's ruthlessness), is not the problem; it's the precipitous softening of the Princess in the third act that defies credulity. I am not the only one. The respectable Spectator even published an article calling it out: Turandot is a disgusting opera that is beyond redemption. I agree with most of the points except that, I do think, despite the problematic ending, musically it is the best of the composer. Also, as an Asian, I personally find Madama Butterfly even more disagreeable, and never listen to it (ditto the despicable musical Miss Saigon, which basically appropriated the Puccini opera. Perhaps one day someone will write "Miss Kabul" - I am serious, and betting on it).
theopera101 (you should read the link to know all about the opera) also takes side swipes at the opera:
"...After the kiss Turandot is horrified but gradually she softens. She reveals that she has always (since Act I at least) both hated and loved the Prince. She tells him to leave, but he bravely reveals his name: “I am Calaf, son of Timur.” His life sits in her hands...Predictably but rather unbelievably - not to mention mawkishly - the couple approach the emperor and Turandot announces that she knows the Prince’s name and it is love. Everyone is happy and the opera ends to the tune of "Nessun Dorma"..."
Cannot agree more. And so, the third and final act is rather difficult to watch, despite the magnificence of the music. It cannot be easy on the cast either. Most singers are basically "statuesque" and terrible actors, but the soprano singing Turandot is further burdened by the impossible task of acting out a radical change of personality in a very short time. Hence, in every production, the soprano singing Liu would steal applause.
Musically, things were on a high level. Hong Kong Opera cannot begin to compare. The singing was fine across the board, and that includes the very important chorus (though they are too few in number on this small stage, and so less impactful than usual). Liu Yan Hong (Turandot), a young singer on the ascent, possesses a voice capable of literally beaming out on demand. The veteran Yao Hong (Liu), also administratively second-in-command at the CNO, sang expressively, though her voice was at times unsteady, even decidedly floppy at first entry. Veteran bass Tian Hao (Timur) had been at this a long time and his timber was lovely. The ensemble act of Ping, Pang and Pong was solidly dependable.
Li Shuang (Calaf) had the lion's share of the limelight. His singing was not quite helden, but of good tonal allure, dependable and fairly idiomatic. However, the Nessun Dorma should have had a little more lingering to bring out the drama. This may partly be due to the conductor, Yuan Ding, who, though proficient, throughout showed not much elasticity.
The orchestra played very well. The woodwinds were the standouts. Strings seemed not full enough. The brass were overly powerful, often somewhat coarse, even grating. The conductor may be partly to blame but I think he was not the real culprit. It's the hall. The size is on the small side but that is not the problem. Rather, it is the acoustics - a very dry sound, and that is definitely not friendly to the orchestra or singers. The walls are pretty bare, with almost no adornment, and seem to be plastered. The lack of Hall Sound diminishes the grandeur of the music, especially the resplendent scoring of the final pages. It certainly didn't help with the Nessun Dorma. Acoustically, wood-laden Shenzhen Concert Hall is markedly superior.
Production values were good. The sets were impressive, though squeezed on the smallish stage. Lighting was fine. Stage direction was alright, and in my opinion no direction can be successful for the final act.
This was an all-Chinese production of one of the more difficult operas to mount. Judged by the performance in all respects China has a very bright future in Opera.
As for this opera, despite the lure of stage opulence, it makes as much sense to just listen to it than watch it. The orchestral scoring is full of riches. I recommend the glorious Decca version conducted by Mehta (resplendent sonics characteristic of Decca opera productions). It has a galaxy of stars that one cannot hope to encounter in the opera house today (and I am not even usually a fan of Pavarotti and Sutherland). My LP set (London) is one of the very few in my modest opera collection that I still pull out and play from time to time (others are Magic Flute, Tristan, Ring and, surprise! Flying Dutchman). In fact, just last year, before I departed for HK, I played the last side. On a good audio setup, it always gives great pleasure. For those who can tolerate old sonics, the legendary 1937 Covent Garden live excerpts conducted by Barbirolli, with Eva Turner and Giovanni Martinelli (EMI), is a MUST. A hair raising performance that has never been surpassed and English Eva Turner, more than the formidable Birgit Nilsson and others, has always been regarded as the greatest Turandot ever.
Ping, Pang, Pong: Geng Zhe, Liu Yi Ran, Li Xiang 耿哲，刘怡然，李想
Where I live in Shenzhen, Longgang, is peripheral to the heavy-weight CBD districts of Futian and Nanshan. As a result, cultural events, at least those of more substantial (or foreign) import, are few and far in between (not that there are many to start with in this city without much of a past). This is not unlike anywhere else in the world, be it NYC or HK. Where I am would be Queens in NYC and Yuen Long in HK. There is no denying, the best arts come to the wealthiest. It may not be equitable, but arts increasingly need private funding. I am not even mentioning the issue of "high arts", as they are likely massively imperiled by an age where inequity and populist sentiments are high on the agenda. If one judges by popular votes, hip hop and K-Pop will enter the halls of fame, and Shakespeare and Beethoven will be nearly completely dismissed. Fortunately, the niche always exists, but aficionados will have to be content with a very small pocket.
So it was, and is, a rare event that the premiere Opera Company of China, the National Opera, visits our local venue. Originally scheduled for July, it was postponed due to a smattering of covid cases here. Scouring the net, I found out this is a tried-and-true production that had toured China extensively. It had also been scheduled in Italy this year but I don't think it had happened due to the pandemic.
When I learned that they were finally to come, tickets were sold out. Fewer tickets were available due to anti-covid practices (some seats blocked out). On the evening of performance, I went early to the entrance gate, where patrons were screened for their QR Health Codes. I had with me a sign: "Just 1 ticket wanted". No response. I pestered every person entering the gate for whether he or she had an unused ticket. After maybe 10 attempts, one lady said she had one. I was ecstatic and entered with her (and paid her) and the rest is history. Mind you , were this at the city center's Concert Hall, where I heard all of my favorite SZSO concerts, where tickets during covid times are registered with one's name; any transference of ticket will be hazardous, if not impossible (I had understood this in advance).
This marked the first time I had entered this venue. It is an old-styled "statement building", which is conjoined with the district's main library (which I frequent) and museum (which I occasionally visit; currently, it has an African Art exhibit). The linking elements used to house the Book City, which had been relocated to the newer cultural center, Mecanoo (designed by the Dutch firm), a stone-throw's away, and is now used as a covid-testing site.
Despite its highly absurd story (which, honestly, is a problem that plagues most operas), musically, Turandot is one of my favorite operas, certainly my favorite Puccini, even if the ending was completed by Alfano. Its portrayal of so-called "ancient China" caused it to be banned for decades in China. But now its fortunes is reversed. There is even a Peking Opera version of it; how's that for cultural re-appropriation! For myself, the depiction of "China", even the trio of Ping Pang Pong (who offer some humanistic counterpoint to Turandot's ruthlessness), is not the problem; it's the precipitous softening of the Princess in the third act that defies credulity. I am not the only one. The respectable Spectator even published an article calling it out: Turandot is a disgusting opera that is beyond redemption. I agree with most of the points except that, I do think, despite the problematic ending, musically it is the best of the composer. Also, as an Asian, I personally find Madama Butterfly even more disagreeable, and never listen to it (ditto the despicable musical Miss Saigon, which basically appropriated the Puccini opera. Perhaps one day someone will write "Miss Kabul" - I am serious, and betting on it).
theopera101 (you should read the link to know all about the opera) also takes side swipes at the opera:
"...Calaf: A prince, anonymous to everyone in the opera. Supposedly a great guy but does little to justify this reputation...Liu: A slave girl. Loves Calaf beyond all measure -- the feeling’s not mutual..."
"...As Liu falls dead Timur must be informed since he is blind, and he cries out in sadness. The crowd and he leave with the body of Liu. Calaf chastises Turandot for effectively slaughtering the heart and soul of the opera and then pulls her in and kisses her. (At this point Puccini finishes and Alfano takes over)..."
"...After the kiss Turandot is horrified but gradually she softens. She reveals that she has always (since Act I at least) both hated and loved the Prince. She tells him to leave, but he bravely reveals his name: “I am Calaf, son of Timur.” His life sits in her hands...Predictably but rather unbelievably - not to mention mawkishly - the couple approach the emperor and Turandot announces that she knows the Prince’s name and it is love. Everyone is happy and the opera ends to the tune of "Nessun Dorma"..."
Cannot agree more. And so, the third and final act is rather difficult to watch, despite the magnificence of the music. It cannot be easy on the cast either. Most singers are basically "statuesque" and terrible actors, but the soprano singing Turandot is further burdened by the impossible task of acting out a radical change of personality in a very short time. Hence, in every production, the soprano singing Liu would steal applause.
Musically, things were on a high level. Hong Kong Opera cannot begin to compare. The singing was fine across the board, and that includes the very important chorus (though they are too few in number on this small stage, and so less impactful than usual). Liu Yan Hong (Turandot), a young singer on the ascent, possesses a voice capable of literally beaming out on demand. The veteran Yao Hong (Liu), also administratively second-in-command at the CNO, sang expressively, though her voice was at times unsteady, even decidedly floppy at first entry. Veteran bass Tian Hao (Timur) had been at this a long time and his timber was lovely. The ensemble act of Ping, Pang and Pong was solidly dependable.
Li Shuang (Calaf) had the lion's share of the limelight. His singing was not quite helden, but of good tonal allure, dependable and fairly idiomatic. However, the Nessun Dorma should have had a little more lingering to bring out the drama. This may partly be due to the conductor, Yuan Ding, who, though proficient, throughout showed not much elasticity.
The orchestra played very well. The woodwinds were the standouts. Strings seemed not full enough. The brass were overly powerful, often somewhat coarse, even grating. The conductor may be partly to blame but I think he was not the real culprit. It's the hall. The size is on the small side but that is not the problem. Rather, it is the acoustics - a very dry sound, and that is definitely not friendly to the orchestra or singers. The walls are pretty bare, with almost no adornment, and seem to be plastered. The lack of Hall Sound diminishes the grandeur of the music, especially the resplendent scoring of the final pages. It certainly didn't help with the Nessun Dorma. Acoustically, wood-laden Shenzhen Concert Hall is markedly superior.
Production values were good. The sets were impressive, though squeezed on the smallish stage. Lighting was fine. Stage direction was alright, and in my opinion no direction can be successful for the final act.
This was an all-Chinese production of one of the more difficult operas to mount. Judged by the performance in all respects China has a very bright future in Opera.
As for this opera, despite the lure of stage opulence, it makes as much sense to just listen to it than watch it. The orchestral scoring is full of riches. I recommend the glorious Decca version conducted by Mehta (resplendent sonics characteristic of Decca opera productions). It has a galaxy of stars that one cannot hope to encounter in the opera house today (and I am not even usually a fan of Pavarotti and Sutherland). My LP set (London) is one of the very few in my modest opera collection that I still pull out and play from time to time (others are Magic Flute, Tristan, Ring and, surprise! Flying Dutchman). In fact, just last year, before I departed for HK, I played the last side. On a good audio setup, it always gives great pleasure. For those who can tolerate old sonics, the legendary 1937 Covent Garden live excerpts conducted by Barbirolli, with Eva Turner and Giovanni Martinelli (EMI), is a MUST. A hair raising performance that has never been surpassed and English Eva Turner, more than the formidable Birgit Nilsson and others, has always been regarded as the greatest Turandot ever.
No comments:
Post a Comment