Turandot by Puccini review: superb singing, great rendition of the score, but the plot is confusing
A co-production between Hong Kong Opera and New York City Opera, the show was a mixture of great vocal talent, Hong Kong Philharmonic Orchestra’s great rendition of the score and a plot with a few weaknesses.
Puccini’s Turandot returned to Opera Hong Kong’s repertoire for the first time since 2005 as part of the company’s 15th anniversary season.
Musically, there was much to enjoy, with some excellent singing from the principals, outstanding work from the chorus and a fine rendition of the score by the Hong Kong Philharmonic Orchestra under the baton of distinguished opera conductor Paolo Olmi.
As theatre, while there were good moments, overall the production by Michael Capasso, general director of New York City Opera (with which company this is a co-production) suffered from a number of weaknesses.
Turandot is without doubt a hard nut to crack dramatically – left unfinished at Puccini’s death, various composers and librettists have struggled to complete it satisfactorily.
The beautiful yet icy Chinese Princess Turandot is obsessed by the rape and murder of one of her ancestors. To take revenge on men (and protect herself from having to marry) she makes her suitors solve three riddles and has their heads cut off if they fail.