Metropolitan Opera – Puccini’s Turandot. March 28, 2018.

Metropolitan Opera at Lincoln Center.  Orchestra (Seat BB32, $25).

Story.  See previous post.

Conductor – Marco Armiliato.  Turandot – Martina Serafin, Calaf – Marcelo Alvarez, Liu – Guanqun Yu, Timor – Alexander Tsymbalyuk, Ping – Alexey Lavrov, Pang – Tony Stevenson, Pong – Eduardo Valdes.

For all its popularity, especially with the arias “Signore, ascolta” and “Nessum Dorma,” I have seen a live performance of this opera only once, in Australia, and heard it presented in concert at the PNC Arts Center once.  Today’s performance did not disappoint.

First a few words about the set.  In one sentence: it was as elaborate as any I have seen. If I had to write another sentence: way too elaborate.  Things were so busy that the stage looked very congested at times, and I was worried that the artists would trip over one another.  At various times acrobats, lion dancers, and people with masks (including the “three masks” whose meaning eludes me, “Journey to the West?”).  The costumes are clearly ancient regal Chinese familiar to anyone growing up in China, although the time period is “mythical.

Even the two harps were draped in red.  I asked an usher if it was done especially for this opera, his reply was the “new” principal harpist (Ceysson?) got these new harps after he came to the Met.

 The curtain was raised after Act 2.

 The two harps have a red frame.  An usher told me that's how they have looked this season.  I wonder ...

After Act 3 the curtain was raised again before it quickly closed again.

The Franco Zeffirelli designed set has been in use since 1987, so perhaps it is due for an update?  It’s not like the Met won’t get a lot of use out of it – there are fifteen performances of this opera in the current season.

The use of lighting was quite clever in Act 3.  With the lights appropriately dimmed, we had a night scene where Turandot worked to learn Calaf's name and Liu committed suicide.  With the lights full on, the entire palace grounds became visible again.

The best performance, by far, was put in by Yu, playing the part of Liu.  The tragic heroine, Liu’s character is the most sympathetic in the entire opera anyway.  In addition to Signore, ascolta, Liu has another memorable aria – Tu che di gel sei cinta, not easily hummable – in Act 3 before she kills herself to protect the identity of Calaf.  As I said in my previous blog, this opera should be called "Liu."

 Curtain Call act 1 with Timur, Liu, and Calaf.

End of Act 2.  The three officials, Turandot, Calaf, Emperor, and a Mandarin.

The role of Turandot is probably very difficult to pull off as she has to transform from an icy revengeful princess to one consumed by love (I am surprised that there isn’t a lot of protest against this stereotyping.)  Serafin did okay, but probably didn’t win many fans over.  She does possess a steely strong voice that verges on being grating; perhaps called for in this role, and I wonder how she fares in roles that call for softer singing.

The bass Tsimbalyuk was a pleasant surprise.  He voice was strong, and – considering how young he looked in the Program – put in a very credible performance as Timur.  I am sure he will fare well, if he hasn’t already.

The performance of Alvarez was unfortunately only adequate.  As someone sitting behind me remarked, many people come to Turandot only to hear “Nessum Dorma.”  He sounded weak at the very beginning of the opera, and I thought there was the possibility that he was saving his energy for the Act 3 aria.  Alas, that aria didn’t have an auspicious beginning as he sounded extremely weak with the low notes (D); while he was more in his element with the high notes, the last “vin” in “vincero” didn’t come off at all.

It turns out we have seen Marco Armiliato many times before, including at the Paris Opera, and will see him in May during a planned trip to Europe.  He led the orchestra in a good performance.

Overall, I really enjoyed this opera.  And must say the Met did much better than (what I remember) of Opera Australia.  The New York Times review, of a performance last October, was not kind, describing the performance as “facelessly professional, fielding casts that were competent but hardly individual or noteworth.”  The cast members were different, but I am quite sure the reviewer would similarly pan tonight’s singers.

I went up to New York by myself as Anne had to teach.  On the way back I found out the metro 1 stations at both Lincoln Center and Columbus Circle were closed.  The A train station was open, and I made the 11:18 pm NJ Transit train by a few minutes.