Metropolitan Opera- Turandot

Tonight was a simple reminder that Franco Zeffirelli still has a place at the Met. Beautifully flowing melodic lines, simple orchestration, use of a large chorus, emotionally touching music, traditional Chinese culture- all of this worked very well with an over-the-top production. Though very stereotypical in its costumes, sets, and even choreography, it certainly was a beautifully grand creation by Zeffirelli. In Act 2 when the Emperor’s temple is revealed, the audience always erupts into applause, and rightly so. It makes sense why the intermission before is 30 minutes long. It takes time to construct a temple on the Met stage. With all the stunts that take place, the glitter, the choreographed movements of over 100 people on stage, this production may seem like a Broadway show with an unending budget. Puccini was, after all a huge influence on musicals. Not only did Turandot’s 1926 premiere line up perfectly with the heart of Vaudeville shows, Minstrel shows, and the movie-musical, but musically speaking you can hear a new genre arising. His soft harmony and gentle orchestration play right into the development of Broadway and the West-End. Puccini had no pretensions to high art like Verdi or Wagner did, but there is no questioning that his melodies are accessible to anyone who want to listen, and go straight to the heart.

Call me crazy, but I went to see this production twice because of different sopranos in the title role. The first one was Maria Guleghina, who sang with the most distraction wobble, covering up much of the emotional brilliance in the music. The second Turandot was Lisa Lindstrom, making her Met debut with the role. She, on the other hand sang with a piercing lyrical flow, nailing all the high notes. Her slightly brittle tone was a perfect match for an emotionless princess. Marina Poplavskaya was perfect as Liù. Her warm tone, gentle lyrical lines, and breathtaking pianissimos earned a much-deserved ovation at the end. Marcello Giordani has become known as a ‘hit-or-miss’ singer at the Met. His high notes have the capability to sound like Franco Corelli’s, but he often lacks the heart-wrenching singing needed in Puccini. The first time I saw him he was more successful with his high notes than the second time, however bland singing marred the rest of his performance. He lacked emotional expression and lyrical line. His “Nessun Dorma” was too fast, and during the second performance he was audibly flat on the climactic note. Just like Verdi, Puccini is willing to offer us some of the most beautiful moments in music if the singer is willing to take the time and enjoy them. For such a musically accessible opera like Turandot, this grandly beautiful Zeffirelli production is a perfect match.