Turandot (1988): Eva Marton, Placido Domingo, Leona Mitchell, Paul Plishka, Hugues Cuenod, Briang Schexnayder, Allan Glassman, Anthony Laciura, Arthur Thompson....Director Kirk Browning.
Live from New York City's Metropolitan Opera, this is a 1988 performance captured on tape, and enjoyed success in VHS form for a long time. Directed by Kirk Browning who had done this sort of thing many times before, this is a lavish and eye-popping performance where not only are the singers in top shape but the air is alive with a sense of magic and power, as if trying to capture the legendary Turandot performances of the past, namely that of Birgit Nilsson's portrayal. Tenor Placido Domingo and soprano Eva Marton, both able to sing lyrically and heavily, are in excellent form as Turandot and Prince Calaf, singing against each other in the first act and with each other in the last act. Leona Mitchell is a dignified and wonderful Liu, reminiscent of Leontyne Price. Veteran baritone Paul Plishka as Timur is another plus. Film director Franco Zefferelli, a long time opera fan in his native Italy, is behind the artistic direction and lavishes the scenery and set with exquisite detail. Costumes are like those of a Mandarin drama, authentic to the period, and the Palace and nocturnal feel to this opera is captured in Oscar winning sets and backdrops. This performance was sold out when it premiered in 1988 after a lot of hype. Actress Elizabeth Taylor attended. Eva Marton would go on to record Turandot and Domingo's repertoire switched from pure lyric to heavy tenor roles. In many ways, this performance is a real winner, possibly the greatest Turandot ever produced on stage.
The plot: Puccini(composer of Madame Butterfly and Tosca) composed his last opera Turandot and set it to an ancient mythical China. Turandot is the "divine" daughter of the Emperor. The land is darkness and ruled by fear for the Emperor wishes for his virgin daughter to take a husband to rule with her as king. But Turandot has ice running through her veins and has vowed never to love a man. She will never forget the inhuman crime against her ancestor, Princess Lou-Ling, who was raped and killed by foreign invaders. But the cocky Prince Calaf falls for Turandot at first sight and is determined to have her. But there is a challenge. He must answer three riddles, none of which have been successfully answered by princes who tried their luck and were executed. What follows is his triumph over the riddles and Turandot's plot to rid herself of him, a plot which ultimately costs the life of the innocent slave girl Liu, who loves only Calaf. The cold man-hating Princess melts after her first kiss and becomes warm and human, living for love. Redemption, salvation and love are the themes of this elaborately produced Chinese fable. Puccini's music is grandiose and yet warm and accessible. This is one performance that should successfully plant interest in Puccini's operas and in opera itself.
Live from New York City's Metropolitan Opera, this is a 1988 performance captured on tape, and enjoyed success in VHS form for a long time. Directed by Kirk Browning who had done this sort of thing many times before, this is a lavish and eye-popping performance where not only are the singers in top shape but the air is alive with a sense of magic and power, as if trying to capture the legendary Turandot performances of the past, namely that of Birgit Nilsson's portrayal. Tenor Placido Domingo and soprano Eva Marton, both able to sing lyrically and heavily, are in excellent form as Turandot and Prince Calaf, singing against each other in the first act and with each other in the last act. Leona Mitchell is a dignified and wonderful Liu, reminiscent of Leontyne Price. Veteran baritone Paul Plishka as Timur is another plus. Film director Franco Zefferelli, a long time opera fan in his native Italy, is behind the artistic direction and lavishes the scenery and set with exquisite detail. Costumes are like those of a Mandarin drama, authentic to the period, and the Palace and nocturnal feel to this opera is captured in Oscar winning sets and backdrops. This performance was sold out when it premiered in 1988 after a lot of hype. Actress Elizabeth Taylor attended. Eva Marton would go on to record Turandot and Domingo's repertoire switched from pure lyric to heavy tenor roles. In many ways, this performance is a real winner, possibly the greatest Turandot ever produced on stage.
The plot: Puccini(composer of Madame Butterfly and Tosca) composed his last opera Turandot and set it to an ancient mythical China. Turandot is the "divine" daughter of the Emperor. The land is darkness and ruled by fear for the Emperor wishes for his virgin daughter to take a husband to rule with her as king. But Turandot has ice running through her veins and has vowed never to love a man. She will never forget the inhuman crime against her ancestor, Princess Lou-Ling, who was raped and killed by foreign invaders. But the cocky Prince Calaf falls for Turandot at first sight and is determined to have her. But there is a challenge. He must answer three riddles, none of which have been successfully answered by princes who tried their luck and were executed. What follows is his triumph over the riddles and Turandot's plot to rid herself of him, a plot which ultimately costs the life of the innocent slave girl Liu, who loves only Calaf. The cold man-hating Princess melts after her first kiss and becomes warm and human, living for love. Redemption, salvation and love are the themes of this elaborately produced Chinese fable. Puccini's music is grandiose and yet warm and accessible. This is one performance that should successfully plant interest in Puccini's operas and in opera itself.