Czech Republic Puccini, Turandot: Soloists, Chorus, Ballet and Orchestra of the National Moravian-Silesian Theatre / Marek Šedivý (conductor). Antonin Dvořák Theatre, Ostrava, 25.1.2025. (GT)
This new Turandot from Ostrava is the second of five new productions mounted by this excellent theatre company; the first was Pavel Haas’s The Charlatan, which opened in October 2024, and this brand new production premiered on 19 December 2024. An impressive feature of each Ostrava production is the double casting for each stage work.
The history of Turandot in Ostrava goes back to 1931 when it enjoyed five performances. It was several decades before it was seen again in 1983 – gathering 38 performances until 1989. The third staging in 2001 had 20 performances. This new production is the creation of the Slovak director Rocc – I was very impressed by his staging of Smetana’s The Two Widows here during the 200th anniversary Smetana Festival in 2024. Rocc is a director who constantly seeks new, experimental ideas to bring to life the composer’s ideas.
To stage a well-known opera by Puccini and introduce quite novel means of portraying this popular story is always a challenge, however, in this new production, Rocc’s innovative direction was evident before the opening music started. The Roman Vlkovič’s Mandarin walked out across the stage in front of the curtains – almost menacing in his imposing figure – his dress was that of a military officer from Italy of the 1930s – he would pose as a threatening figure throughout the opera. His entry was followed by the simply dressed Prince Calaf who entered from the auditorium and gazed out at the audience before disappearing behind the curtain. Suddenly the music started, and the curtain rose to reveal an empty stage scene with only the blood red curtains as a backdrop. Now, with only the Mandarin and Calaf on the stage, the chorus entered from the auditorium followed by the children’s chorus. The three ministers, Ping, Pang and Pong, entered from the aisles.
A highpoint of the whole production were the performances of Ping, Pang and Pong in their three-piece coloured suits; their characterisation was delightful, bringing out all the often grim gallows humour of their roles, sometimes singing from the auditorium (’Ola, Pang!’), sometimes in front of the curtains (‘Ho una casa nell’Honan!’) Their characters were quite different: one serious, another joking, the other pompous.
The choruses were magnificent, especially in the finale, attired in beautiful golden costumes and masks – their performances were moving and dramatic. The choreography was masterful in enhancing the drama, and the role of the Mandarin was an innovative element in heightening the tension between the characters by walking around the protagonists – in a dramatic switch from the normal scenario – his role changed by him killing Liù rather than her suicide.
The movement of the Three Ministers – onstage or around the auditorium – was masterly in bringing the audience into the narrative. At one moment, they were hitting imaginary golf balls into the auditorium in a momentum of fun, on other occasions they are in the auditorium singing among themselves. The Emperor Altoum was superbly characterised by Jan Vacik – his singing was limited to just one arioso and he displayed a fine tenor. His unspoken facial movements were a source of amusement – he often gave the impression of someone who didn’t know where or what he was doing on the stage. Perhaps invoking the memory of a recently retired political leader who could never remember where he was or what he was to do; his relatively small part was a highlight.
The Three (so-called) Enigmas dressed in Chinese dress were a strange presence throughout; sometimes popping out from the stage curtains, standing centre stage, or during the interval walking around the theatre. At key moments, they hinder Calaf from coming to Liù’s assistance, or would make key interventions.
Of the singers, the Liù by Veronica Rovná was superb – she assumes completely the character of the poor girl by producing every nuance of the servant girl’s tragic fate, her aria, ‘Signore, ascolta!’ was stunning in its beauty and sensitivity, and in her ‘Tu che di gel sei cinta’. The Calaf of Luciano Mastro was also exceptional, but just a little impassive both in voice and character. He has a attractively toned tenor, yet seemed to be holding a little back – his costume of a black suit and white shirt was unpretentious – and his manner was also restrained. His singing ‘Non piangere, Liù’ was his finest singing of the evening, whilst ‘Nessun Dorma’ was wanting in emotion and beauty.
When Maida Hundeling’s Princess Turandot entered from the side of the auditorium, she immediately arrested attention with her haughty manner, yet was magnificent in her glittering silver dress, and her singing did not disappoint. She has a tremendously powerful dramatic soprano and easily attained the highest notes in her ‘In questa reggia’. Yet, her middle range was inconsistent, nevertheless, she was impressive both in voice and characterisation in the final scene in her ‘Diecimila anni al nostro imperatore!’ The choruses prepared and directed by Yuri Galatenko were excellent – at one point – the children’s choir sang from the rear of the hall above the audience displaying heavenly voices in ‘Così comanda Turandot’- and another great moving scene onstage in the final act from the mixed choruses in their beautiful golden costumes and masks, O sole! Vita! Eternità!’
The costumes prepared by Belinda Radulovich were magnificent – both for soloists and choruses – they achieved a spectacular beauty enhancing Puccini’s colourful orchestration. At first the choruses were attired in simple Chinese costumes, while in the final act, their golden dresses and masks were astonishingly beautiful against the scarlet red sets and produced a startling vision. The different coloured suits for the three ministers contrasted with the oriental shaded gowns in which the Three Enigmas were attired. The unassuming dress of Calaf, perhaps focussing attention on his singing, with Turandot in her stunning silvery dress revealing her beauty and great stature.
Rocc’s creativity and imagination resulted in relatively unassuming stage designs; the projection of Chinese images, a beautiful scene of the countryside, the descending huge gong, and a great mask were all spectacular. The stage was limited to a simple large dais upon which Calaf sings his declaration of love, and at the close, both he and Turandot embrace. The use of visual projection was a significant contribution in the success of the show, especially in Act III, when we saw a fairytale-like scene from the Chinese highlands and lakes transversed by oriental birds that created a quite beautiful atmosphere. Rocc ensured that we are drawn to the intensity of the singing ensuring this performance was a triumph. The dramaturgy by Juraj Bajus was another outstanding contribution in guaranteeing this production was a success.
The orchestra were magnificent in producing every nuance of colour and harmony from Puccini’s final score; with outstanding woodwind, brass and string playing all directed masterly by Marek Šedivý. The three new operas which await audiences this season are Popelka by Pauline Viardot, Nino Rota’s The Florentine Straw Hat, and Handel’s Julius Caesar in Egypt. Quite a variation in opera from different ages in world music, but on this evidence, they are sure to be of outstanding quality and blessed by great singing.
Gregor Tassie
Production:
Director and Scenery – Rocc
Costumes – Belinda Radulović
Movement cooperation – Nataša Novotná
Chorus master – Yuri Galatenko
Dramaturgy – Juraj Bajús
Cast:
Turandot – Maida Hundeling
Emperor Altoum – Jan Vacík
Timur – Jozef Benci
Calaf – Luciano Mastro
Liù – Veronika Rovná
Ping – Pavel Divín
Pang – Václav Morys
Pong – Martin Javorský
Mandarin – Roman Vlkovič
Prince of Persia – Jiří Dvořák
The Three Enigmas – Petra Sejkorová, Barbora Travinská, Hana Wimmerová