Last time: Sun
6:00pm
November 13, 2011
TURANDOT
Giacomo Puccini

Dramma lirico in three acts (five scenes)
The opera was completed by Franco Alfano
Libretto: Giuseppe Adami and Renato Simoni after Carlo Gozzi
World premiere: Milan, Teatro alla Scala, 26 April 1926
Polish premiere: Warsaw, Teatr Wielki, 15 December 1932
Premiere of this production: 17 April 2011
Original language version with Polish surtitles

 

duration: 3 hrs 10 min., including: 2 intermissions 


Conductor: Carlo Montanaro
Director: Mariusz Treliński
Designer: Boris Kudlička
Costume Designer: Magdalena Musiał
Choreografia: Tomasz Wygoda
Light: Marc Heinz
Chorus Master: Bogdan Gola
Dramaturge: Piotr Gruszczyński
Designs of make-up and coiffures: Waldemar Pokromski
Preparation of the Boys Choir: Danuta Chmurska
Video projections: Bartek Macias

Soloists, Chorus and Orchestra of the Polish National Opera, Boys Choir, female dancers, mimes, and extras


A co-production with the Teatro Comunale di Bologna

Mystery, secrecy is the essence of Turandot. It is what makes this a magnetically powerful show that sends shivers down your spine when Calaf sings how no one in Peking will sleep tonight. Who is Turandot? Who is Liù? What does the royal palace symbolize? Three riddles… Preparing his own interpretation of this work, Mariusz Treliński reached into the subconscious. The opera’s director has revealed that in order to express the author’s intentions believably, he and his team had numerous conversations with psychoanalysts. The show is about how a man meets a woman, and what we see on stage happens inside the human mind. In this way, what is incomprehensible at least becomes true. “To me Turandot is a fable, or perhaps even a myth, and like every myth it contains the key to understanding our mental life, both conscious and subconscious”, says Mariusz Treliński. 


Photo: Krzysztof Bieliński
Poster for the production, designed by Adam Żebrowski, photo: Łukasz Murgrabia

Sponsor of the premiere:



Partners of the premiere:

                         

 

                                                                      

 

Partner of the Teatr Wielki - Polish National Opera:

 


Media patrons
of the Teatr Wielki - Polish National Opera:

    
 
                   

 

 
                                     

 



 

 


PLOT

ACT I

In a moment they will part: she will leave without giving him a chance or hope. Calàf finds himself alone. He sets out on an inward, oneiric journey, during which he strives to understand the situation and overcome his fears. The mysterious Mandarin announces the rules of the game: Turandot shall marry the one who can solve her three riddles. Whoever fails to provide the answers, shall die. The preparations for the execution begin. The inhabitants of the dreamlike city commence their ceremony, in which their extreme passions become confused, ranging from ferocity to pity for Calàf.

Suddenly there appears his long lost father, tended by the gentle, caring Liù, disturbingly similar to Calàf’s lover. Both Calàf and his father are exiles on the strange territory defined by Turandot. Liù, who is in love with Calàf, is ready for every sacrifice, only because he once smiled at her. Meanwhile, the ritual of execution is gathering pace. It will have its culmination in the long awaited appearance of Turandot. Amongst the crowd’s cries for mercy for the condemned, Calàf curses her. He begins to understand that the dazzling ceremony of death concerns none other than him in the first place. When he sees Turandot passing the sentence condemning him, he will ultimately lose his head over her.

Driven by fatal desire, Calàf thinks of nothing else than Turandot. Against his father’s will and in spite of Liù’s pleadings, as well as the warnings of the three transvestites: Ping, Pong and Pang, he wants to challenge her. Those three safely camouflaged effeminate men assure him that Turandot is not so extraordinary at all. A person like Turandot does not really exist. Her splendour is merely a delusion of desire. Nevertheless, Calàf enters the lethal game. A cabaret of dangerous riddles awaits him – La Luna. The spectres of beheaded men entice him to face Turandot. Despite the words of caution, the tears shed by Liù and his father, and the ominous prophecies, Calàf decides to try and solve the riddles.

ACT II

The dreamlike journey of Calàf continues. The masters of ceremony – Ping, Pong and Pang are lazily preparing themselves for various possible turns of events. They plan both the wedding and funeral of Calàf. They wish that the stream of death would finally cease, they debate the hidden desires of Turandot, who surely for some time must have been longing for a relationship with a man. They wish they could return to their old lives, however, for the time being they have to remain involved in these deadly practices, even when the condemned stir tenderness in them. Their emotions oscillate between compassion and cruelty, as the whole of Turandot’s world.

Once they are gone, the solitary journey of Calàf begins. First a little girl appears on his way, a little girl who has been hurt. Then the Emperor, the Lord of Heaven, Turandot’s father – a helpless old man who tries to dissuade another of his daughter’s victims. He wants no more blood. Yet Calàf has to put himself to the test.

It is then that Turandot makes her appearance. She speaks in the language of riddles. Perhaps she can speak in no other way. She speaks of rape that was committed by a man in her kingdom in the past. And of vengeance, which in that moment she swore against all men. This is why she asks her riddles.

‘What is it, that never fades away?’ – ‘It is hope.’
‘What is it, that circulates in me?’ – ‘It is blood.’
‘Who is the one, that suffers so?’ – ‘It is you, Turandot.’

The three riddles are the three stages of identification of the state that Turandot is in. Calàf empathically solves all of them, giving the right answer to the poetically phrased questions. However, in spite of his victory Turandot still refuses to give in, and breaks the rules of the contest. Yet Calàf desires a loving Turandot, not one forced into a relationship. Therefore, he proposes his own riddle, asking her for his name, and once more putting his life at stake.

ACT III

Turandot has lost control over herself and the situation. No one sleeps that night. Calàf is sure of his victory. Ping, Pang and Pong try to bribe him so that he would renounce his prize. The castrating power of Turandot is now a danger not only to the men in love with her. Yet Calàf discards the temptation, he wants all or nothing at all.

Calàf’s father and Liù are held captive. In Calàf’s and Turandot’s presence Liù is tortured, but she will not betray his name, the name of the man she loves. On the contrary, she dies for him. She commits suicide in the name of love, displacing her own feelings in favour of Turandot. Everyone feels the significance of this sacrifice and discerns a whole new aspect of love full of dedication.

At last Calàf and Turandot meet. She returns. She still does not want to give herself to him, even though her icy essence is melting away. She treats the readiness to receive love as dishonour, as surrender. Even the light of dawn that overcomes the lunar chill of the city does not put her at ease. In the end Calàf reveals his name. Along with that secret he offers his life to her. Even though the victory is in her hand, Turandot, at last happy, announces his name to the world – it is Love.