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Puccini
Turandot - Concert opera performance in three acts, five scenes, in Italian, with Hungarian surtitles
No other opera of Puccini's embraces so much mystery as Turandot does: it contains both the three riddles posed by the princess and the enigma of its own incompleteness. Achieving the emotional fullness he was striving for in the drama of the proud princess, Puccini unleashes in the series of fabulous meetings and moments of recognition everything that is most reminiscent of the tragic - but more familiar bourgeois - world of his earlier operas.
I've read Turandot and I don't think we should abandon this subject... Simplify
it as regards the number of acts [...] and above all heighten the amorous passion of Turandot, which she has smothered so long beneath the ashes of her pride... All in all, I consider Turandot the most normal and human of all Gozzi's works,” the composer wrote to Adami in 1920. This is the first time in his life that Puccini had chosen a fable as the subject for an opera. Nevertheless, after he and his librettists were done with it, the libretto was a far cry from a "well-mannered” fairy tale. The three trials do not serve the standard role of proving the prince's suitability. Instead, Turandot intends to use the opportunity to prevent herself from finding her mate: "Mai nessun m'avra! - I will never belong to anyone!” - she sings. We have no choice but to believe that she means this seriously.
In Puccini's final masterpiece, he wanted to develop the musical-theatrical structure into something that was grandly playful and beyond realism, and the work primarily exerts its frenetic musical-dramatic impact as an opera of massive forms.
Presented by: Hungarian State Opera
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