Images: Tristram Kenton/ROH |
Emperor (Alasdair Elliott), Turandot (Iréne Theorin) |
Royal Opera House
Mandarin – Ashley Riches
Liù – Ailyn PérezTimur – Matthew Rose
Calaf – Alfred Kim
Ping – Grant Doyle
Pang – David Butt Philip
Pong – Luis Gomes
Turandot – Iréne Theorin
Emperor Altoum – Alasdair Elliott
Soprano soli – Marianne Cotterill, Anne Osborne
Andrei Serban (director)
Andrew Sinclair (revival director)
Sally Jacobs (designs)
F. Mitchell Dana (lighting)
Kate Flatt (choreography)
Tatiana Novaes Coelho (choreologist)
Royal Opera Chorus and Extra
Chorus (chorus master: Renato Balsadonna)
Orchestra of the Royal Opera
HouseNicola Luisotti (conductor)
This was in almost every
respect an excellent performance – which therefore exacerbates the problem lying
at the heart, or whatever it is that lies in its place, of the work itself. The
prize may be fiercely contested, and I should hesitate to award first place to
any one contender, but is there a more brazenly offensive opera to modern
sensibilities than Turandot? Its
racism and misogyny are far from unique, though they are experienced here in a
form so extreme that even the dullest of listeners could hardly fail to notice
them. The particular offensiveness goes far beyond that, however. Michael
Tanner, writing
in The Spectator upon this
production’s previous outing of the season, went so far as to describe it as ‘an
irredeemable work, a terrible end to a career that had included three
indisputable masterpieces and three less evident ones, counting Il Trittico
as one.’ The real problem is the plot itself. Again to quote Tanner, only summarizing what happens yet in reality twisting
the knife by having the plot speak for itself, ‘once Liù has killed herself
because she can’t stand any more pain, Calaf forgets about her, and about his
frail old father Timur who just disappears, and turns all his attention on
Turandot.’ It is repellent, and it is well-nigh impossible to imagine someone
possessed of a smidgeon of humanity feeling otherwise.
Pang (David Butt Philip), Ping (Grant Doyle), and Pong (Luis Gomes) |
The Royal Opera opted for the former, at least in terms of the umpteenth
revival of Andrei Serban’s production, first seen in 1984. Andrew Sinclair’s
revival direction seemed tighter than it had in September
of last year, though I think that may have been in large part a matter of
greater musical – in particular, orchestral – dynamism, sharpening the cruel
edges of the work. Yes, there is something of an effort – which again, came
across more strongly than last time around – to present the performance with
the idea of ‘staging’ to the forefront. It comes perilously close to being
lost, however, by the exuberant success of the execution, not least Kate Flatt’s
choreography. ‘About staging’ turns into ‘mere staging’. Likewise the
Orientalism of Sally Jacobs’s designs. Surely by 2014, we need to inject a
measure of irony, or indeed violence. I had a nasty feeling that many of those
in the audience wildly applauding had not so much as registered the attendant
problems: an urgent need for any responsible new production.
Liù (Ailyn Peréz) |
Iréne Theorin did what she had to do in the truly
repugnant title role. Steel and sheer vocal strength were allied to a
subtler-than-usual command of dynamic contrast. Alfred Kim might have offered
more in terms of subtlety, especially during that aria, which sounded too much like an aria, however much
responsibility Puccini must also bear for that. But otherwise, his was a
formidable, untiring performance. Liù once again fared very well in indeed in
terms of casting, Ailyn Pérez offering a moving portrayal – again, may Puccini’s
manipulations be cursed! – in which musical and dramatic imperatives were as
one. There are greater opportunities for vocal shading, and of course for
sympathy, than with the Princess; Perez undoubtedly took them all. Matthew Rose
made for a noble Timur, whilst the unbearably irritating trio of Ping, Pong,
and Pang received uncommonly excellent performances, again as laudable in stage
as in musical terms, from Grant Doyle, David Butt Philip, and Luis Gomes.
Renato Balsadonna’s chorus and extra chorus showed themselves the orchestra’s
equals in excellence.