Turandot ticks all boxes to pass test
A towering soprano and talented tenor bring a wow factor to Puccini’s highly entertaining Turandot
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For a bloodthirsty princess with ice in her veins and a grim coterie of axe-wielding attendants, you would expect to see a towering soprano with a fearless approach to the challenges of the libretto.
And that is exactly what we get in this colourful and highly entertaining Turandot, here updated from Graeme Murphy’s original 1990 production, with restless fabrics standing in for raging seas, swirling ribbons representing rivers of blood, outsize fans, crowds of players weaving across a crowded stage and Puccini’s stirring music to set the mood.
Kristian Frederikson’s set and costume designs were a wow too.
The hit of opening night, though, was American soprano Amber Wagner, an outsize talent with an impressively subtle turn of expression, sharp focus and rich colour.
We’ve seen her before, of course, in the title role of Opera Australia’s Aida last year but if anything she has grown in stature since then.
As the cold princess who condemns her suitors to death if they fail to answer three riddles correctly, Wagner brought an unrelenting edge, almost a savage satisfaction in the plight of her pursuers.
TEST
Until Calaf, in the talented form of Spanish tenor Andeka Gorrotxategi, arrives with all the answers.
The big test for any tenor in this opera is the famous aria Nessun Dorma (None Shall Sleep), in the final act when Calaf reveals his real name to the princess, confident that she will respond to his love rather than destroy him. Here, with a clear line and all the intensity required, Gorrotxategi delivered a fine performance.
In support, Mariana Hong (formerly known as Hyeseoung Kwon) played the slave girl Liu who sacrifices her life to save her beloved Calaf. She is no stranger to the role and sang with effortless simplicity and charm.
Richard Anderson played Calaf’s exiled father, Timur, with quiet authority.
Christopher Hillier, Virgilio Marino and John Longmuir, as Ping, Pang and Pong respectively, provided a whimsical commentary on the proceedings, while Graeme Macfarlane emanated weary resignation as the emperor, appearing as a tiny head atop a hugely inflated costume.
The chorus, under Anthony Hunt, was excellent, as has become the norm at Bennelong Point these days, and the crisp direction of conductor Christian Badea was spot-on.
Next up, a change of mood and pace when AO performs Alban Berg’s Wozzek.
DETAILS
● OPERA: Turandot
● STARS: Andeka Gorrotxategi, Amber Wagner, Mariana Hong, Richard Anderson
● AT: Sydney Opera House
● UNTIL: March 30
● BOOKINGS: 9250 7777, www.sydneyoperahouse.com
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