Mariinsky Theatre tickets 28 April 2025 - Turandot (semi-staged performance) | GoComGo.com

Turandot (semi-staged performance)

Mariinsky Theatre, Concert Hall, Saint Petersburg, Russia
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Important Info
Type: Opera
City: Saint Petersburg, Russia
Starts at: 19:00
Acts: 3
Intervals: 1
Duration: 2h 35min
Sung in: Italian
Titles in: English,Italian

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Cast
Performers
Orchestra: Mariinsky Orchestra
Chorus: Mariinsky Chorus
Creators
Composer: Giacomo Puccini
Choreographer: Dmitry Korneyev
Music Director: Valery Gergiev
Musical Preparation: Alla Brosterman
Dramaturge: Carlo Gozzi
Stage Director: Charles Roubaud
Librettist: Giuseppe Adami
Set Designer: Isabelle Partiot-Pieri
Costume designer: Katia Duflot
Librettist: Renato Simoni
Lighting Designer: Vladimir Lukasevich
Overview

In honour of the jubilee of Akhmed Agadi

Turandot was Giacomo Puccini's final opera, and he left it at the stage when it was almost complete.

His death in 1924 heralded the end of the era of verism, it was a farewell to Italian grand opera. At that time, avant-garde art was already witnessing the collapse of the tonal system, and composers were abandoning established vocalisation – with sweeping cantilena and upper accent notes, and the charm of a melody losing its significance, giving way to the beauty of structure and the complexity of formal rules.
In 1920 Puccini had seen a production by Max Reinhardt based on a tale by Carlo Gozzi and conceived the idea of composing an opera based on its plot. He himself was involved in adapting the work into a libretto, though the finale, the part where love was to be awakened in Turandot's icy heart, was something the composer did not live to complete. Using surviving rough drafts, it was finished by Franco Alfano, its ending adopting the “happy-ever-after” format. This coincided with Puccini's own concept, although as a result the finale entered something of a contradiction with what had already occurred in the opera's two and a half preceding acts. This contradiction emerged from an attempt to combine the fairytale with a verist drama – things that almost diametrically oppose one another, each of them having its own logic of construction. Can one justify Turandot, who because of some psychological trauma avenges herself on the entire male sex? How can Calaf love Turandot after she orders the innocent, devoted and timid Liù be tortured, Liù whom the protagonists entirely forget? Luciano Berio attempted to provide an answer later when he wrote his own tragic finale, though it is still Alfano's version that remains most widely used.
The music of verism demands powerful voices that can convey to the highest degree possible the fervency of emotions and, with their sound, cut through the immense and full brass instruments mass of the orchestra. In this opera two of these voices are required: a lyrical-dramatic or simply a dramatic tenor and a dramatic soprano. When two such voices come together in combat (this happens in the riddle scene), we hear verist opera at its apogee.
French stage director Charles Roubaud trained as a graphic designer and has vast experience of working in advertising. Advertising as a genre requires the maximum of compressed expression, vivid and not overburdened with complexities. Traces of this approach may be seen in his production: the opera has been constructed logically, and it has a simple yet beautiful imagistic system. The characters in their oriental costumes act against a background of specific colour schemes that are closely fitted to reflect the mood of the music. A range of black complements the ominous beginning, the Emperor Altoum appears in the richest gold and the celebratory and vivid finale is rendered in scarlet light. Denis Velikzhanin


Musical materials provided by G. RlCORDl & CO., Bühnen- und Musikverlag GmbH, Berlin (Germany)

History
Premiere of this production: 25 April 1926, Teatro alla Scala, Milan

Turandot is an opera in three acts by Giacomo Puccini, completed by Franco Alfano, and set to a libretto in Italian by Giuseppe Adami and Renato Simoni.

Synopsis

Act I
A crowd assembled by the walls of the Imperial palace in Peking listens to a Mandarin reading a decree – anyone who wishes to win the hand of Princess Turandot must solve three riddles; whosoever cannot answer must die. The young Prince of Persia is to be executed this night. The excited crowd rushes towards the palace, but the guards keep the people back. An old man falls to the ground. In anguish, a young girl calls for help. A young man rushes out from the crowd, recognising the old man to be his father. Their unexpected meeting is not a joyful occasion – old Timur´s enemies have usurped his throne and banished him from his native land; his son Calaf has been forced to wander foreign parts, hiding his name from everyone. Timur is accompanied everywhere by the faithful slave girl Liù, whose love for Calaf is unrequited. Preparations for the execution are underway on the square. Night descends. As the moon rises, the crowd awaits the appearance of Turandot. A triumphal procession approaches. It is met by a funeral procession – that of the Prince of Persia going to his execution. The people feel pity for him and beg Turandot to have mercy on him. Calaf vengefully curses the hard-hearted Princess. Finally, however, she appears, and Calaf is blinded by her beauty. In vain, his father tries to dissuade him: Calaf knows he must win Turandot´s heart. Suddenly the ministers Ping, Pong and Pang bar his way. They warn the Prince and jeer at him, summoning the spirits of those who have died from their love of Turandot. Liù begs Calaf to leave – neither she nor his father could bear to see him die. Calaf is touched by her entreaties, but cannot relinquish his love for Turandot. At his signal, a servant strikes a huge gong three times, declaring Calaf´s decision to attempt to win the Princess.

Act II
Scene 1
Ping, Pong and Pang are pondering the fate of the unknown Prince who has decided to solve Turandot´s riddles: what will dawn bring – a wedding or an execution? They dream of returning to a peaceful and tranquil life, far, far away from the Imperial palace. But madmen in love continue to try their luck, and their heads continue to roll in honour of the Princess. When will the suitor come who will defeat Turandot, who can transform her by love and put an end to these perpetual executions in the country?
Scene 2
The crowd gathers on the square before the palace. Timur and Liù are also there. At last, Emperor Altoum appears. He tries to dissuade the Prince from the attempt. The Mandarin repeats once again the dreadful conditions of the challenge.
Turandot appears at the head of a triumphal procession. She is consumed with hatred of all men: once, many thousands of years ago, in this very palace, a foreign invader ravaged a Chinese Princess and, centuries later, her cry resounded in Turandot´s heart. She takes vengeance on all strangers for this evil act. No-one may marry her: there will be three riddles followed by one death. But Calaf answers her proudly that there will be three riddles followed by one life...
Turandot announces her first riddle: what bright, alluring vision is created at night and dies at dawn, only to return the next night? The Prince answers that it is the hope that will bring him to Turandot. The wise men confirm that hope is indeed the answer to the first riddle – it is written thus in their scrolls. The second riddle is announced: what is like a flame, yet is not a flame? What runs cold when a man dies, but burns hotter than the sun if he succeeds? In his confusion, Calaf is silent. The Emperor, Liù and the crowd encourage him and he finds the answer – it is the blood that flows in his veins from his love for Turandot. The Princess is struck with rage and fear and she hurries to pose her third riddle: what is like ice but freezes in fire? What makes a man a slave if he wants to be free and makes him a King if he becomes its servant? In triumph, Turandot mocks the Prince. What kind of ice could he burn in? However, Calaf solves the third riddle: it is Turandot , and the ice of her heart will melt in the fire of his love. The crowd praises the victor. In terror, Turandot begs her father not to marry her to the stranger, but the Emperor is unyielding – his word is sacred. Calaf, however, will not accept Turandot´s hand against her will as he desires the Princess´ love. He sets Turandot just one riddle which she must solve by daybreak: in all Peking not one person knows his name. If the Princess can discover it, he will die willingly.

Act III
Scene 1
The sounds of far-off heralds can be heard in the garden of the Imperial palace – Turandot has decreed that none shall sleep this night in Peking on pain of death; the name of the unknown Prince must be discovered by daybreak. Calaf dreams of Turandot´s love: she will only know the answer to his secret when he holds her in his arms. Daybreak will bring his victory.
Ping, Pong and Pang tempt Calaf with the delights of love, wealth and ultimately compassion – thousands will be tortured to death if Turandot does not know his name by dawn. But Calaf firmly resists all their temptations: the entire world may perish, but he will not be denied Turandot. Liù declares that she alone knows the Prince´s name and nothing will make her reveal the secret. Turandot is confounded by the slave girl´s courage. Where does she get her strength? It comes from the power of love for which Liù is ready to die. Turandot will know it herself soon, though Liù will not live to see this – snatching a dagger from Turandot, she stabs herself. Timur and the crowd are broken-hearted at Liù´s death. With ardent words and kisses, Calaf awakens the love in Turandot´s icy heart. The stranger´s courage and passion have defeated her pride – now she is his. And so, the Prince tells Turandot his name. Night passes and the sun begins to rise.
Scene 2
Before the assembled crowd and in the presence of the Emperor, Turandot gives the answer to Calaf´s riddle: his name is... love.
Everyone sings in praise of love, light and life.

Place: Peking, China
Time: Legendary times

Act 1

In front of the imperial palace

In China, beautiful Princess Turandot will only marry a suitor who can answer three secret riddles. A Mandarin announces the law of the land (Aria – Popolo di Pechino! – "People of Peking!"). The Prince of Persia has failed to answer the three riddles, and he is to be beheaded at the next rising moon. As the crowd surges towards the gates of the palace, the imperial guards brutally repulse them, causing a blind old man to be knocked to the ground. The old man's slave-girl, Liù, cries out for help. A young man hears her cry and recognizes that the old man is his long-lost father, Timur, the deposed king of Tartary. The young Prince of Tartary is overjoyed at seeing Timur alive, but still urges Timur to not speak his name because he is afraid that the Chinese rulers, who have conquered Tartary, may kill or harm them. Timur then tells his son that, of all his servants, only Liù has remained faithful to him. When the Prince asks her why, she tells him that once, long ago in the palace, the Prince had smiled at her (Trio with chorus – The crowd, Liù, Prince of Tartary, Timur: Indietro, cani! – "Back, dogs!").

The moon rises, and the crowd's cries for blood dissolve into silence. The doomed Prince of Persia, who is on his way to be executed, is led before the crowd. The young Prince is so handsome and kind that the crowd and the Prince of Tartary decide that they want Turandot to act compassionately, and they beg Turandot to appear and spare his life (Aria – The crowd, Prince of Tartary: O giovinetto! – "O youth!"). She then appears, and with a single imperious gesture, orders the execution to continue. The Prince of Tartary, who has never seen Turandot before, falls immediately in love with her, and joyfully cries out Turandot's name three times, foreshadowing the riddles to come. Then the Prince of Persia cries out Turandot’s name one final time, mirroring the Prince of Tartary. The crowd, horrified, screams out one final time and the Prince of Persia is beheaded.

The Prince of Tartary is dazzled by Turandot's beauty. He is about to rush towards the gong and to strike it three times – the symbolic gesture of whoever wishes to attempt to solve the riddles so that he can marry Turandot – when the ministers Ping, Pang, and Pong appear. They urge him cynically to not lose his head for Turandot and to instead go back to his own country (Fermo, che fai?). Timur urges his son to desist, and Liù, who is secretly in love with the Prince, pleads with him not to attempt to solve the riddles (Signore, ascolta! – "Lord, hear!"). Liù's words touch the Prince's heart. He begs Liù to make Timur's exile more bearable by not abandoning Timur if the Prince fails to answer the riddles (Non piangere, Liù – "Do not cry, Liù"). The three ministers, Timur, and Liù then try one last time to stop the Prince (Ah! Per l'ultima volta! – "Ah! For the last time!") from attempting to answer the riddles, but he refuses to heed their advice.

He calls Turandot's name three times, and each time Liù, Timur, and the ministers reply, "Death!" and the crowd declares, "We're already digging your grave!" Rushing to the gong that hangs in front of the palace, the Prince strikes it three times, declaring himself to be a suitor. From the palace balcony, Turandot accepts his challenge, as Ping, Pang, and Pong laugh at the Prince's foolishness.

Act 2

Scene 1: A pavilion in the imperial palace. Before sunrise

Ping, Pang, and Pong lament their place as ministers, poring over palace documents and presiding over endless rituals. They prepare themselves for either a wedding or a funeral (Trio – Ping, Pang, Pong: Ola, Pang!). Ping suddenly longs for his country house in Honan, with its small lake surrounded by bamboo. Pong remembers his grove of forests near Tsiang, and Pang recalls his gardens near Kiu. The three share their fond memories of their lives away from the palace (Trio – Ping, Pang, Pong: Ho una casa nell'Honan – "I have a house in Honan"). They turn their thoughts back to how they have been accompanying young princes to their deaths. As the palace trumpet sounds, the ministers ready themselves for another spectacle as they await the entrance of their Emperor.

Scene 2: The courtyard of the palace. Sunrise

The Emperor Altoum, father of Turandot, sits on his grand throne in his palace. Weary of having to judge his isolated daughter's sport, he urges the Prince to withdraw his challenge, but the Prince refuses (Aria – Altoum, the Prince: Un giuramento atroce – "An atrocious oath"). Turandot enters and explains (In questa reggia – "In this palace") that her ancestress of millennia past, Princess Lo-u-Ling, reigned over her kingdom "in silence and joy, resisting the harsh domination of men" until she was raped and murdered by an invading foreign prince. Turandot claims that Lo-u-Ling now lives in her, and out of revenge, Turandot has sworn to never let any man wed her. She warns the Prince to withdraw but again he refuses. The Princess presents her first riddle: Straniero, ascolta! – "What is born each night and dies each dawn?" The Prince correctly replies, Speranza – "Hope." The Princess, unnerved, presents her second riddle (Guizza al pari di fiamma – "What flickers red and warm like a flame, but is not fire?") The Prince thinks for a moment before replying, Sangue – "Blood". Turandot is shaken. The crowd cheers the Prince, provoking Turandot's anger. She presents her third riddle (Gelo che ti da foco – "What is ice which gives you fire and which your fire freezes still more?"). He proclaims, "It is Turandot! Turandot!"

The crowd cheers for the triumphant Prince. Turandot throws herself at her father's feet and pleads with him not to leave her to the Prince's mercy. The Emperor insists that an oath is sacred and that it is Turandot's duty to wed the Prince (Duet – Turandot, Altoum, the Prince: Figlio del cielo). She cries out in despair, "Will you take me by force? (Mi porterai con la forza?) The Prince stops her, saying that he has a riddle for her: Tre enigmi m'hai proposto – "You do not know my name. Tell me my name before sunrise, and at dawn, I will die." Turandot accepts. The Emperor then declares that he hopes that he will be able to call the Prince his son when the sun next rises.

Act 3

Scene 1: The palace gardens. Night

In the distance, heralds call out Turandot's command: Cosi comanda Turandot – "This night, none shall sleep in Peking! The penalty for all will be death if the Prince's name is not discovered by morning". The Prince waits for dawn and anticipates his victory: Nessun dorma – "Let no one sleep!"

Ping, Pong, and Pang appear and offer the Prince women and riches if he will only give up Turandot (Tu che guardi le stelle), but he refuses. A group of soldiers then drag in Timur and Liù. They have been seen speaking to the Prince, so they must know his name. Turandot enters and orders Timur and Liù to speak. The Prince feigns ignorance, saying they know nothing. But when the guards begin to treat Timur harshly, Liù declares that she alone knows the Prince's name, but she will not reveal it. Ping demands the Prince's name, and when Liù refuses to say it, she is tortured. Turandot is clearly taken aback by Liù's resolve and asks Liù who or what gave her such a strong resolve. Liù answers, "Princess, love!" (Principessa, amore!). Turandot demands that Ping tear the Prince's name from Liù, and Ping orders Liù to be tortured even more. Liù counters Turandot (Tu che di gel sei cinta – "You who are encircled by ice"), saying that Turandot too will learn the exquisite joy of being guided by caring and compassionate love. Having spoken, Liù seizes a dagger from a soldier's belt and stabs herself. As she staggers towards the Prince and falls dead, the crowd screams for her to speak the Prince's name. Since Timur is blind, he must be told about Liù's death, and he cries out in anguish. When Timur warns that the gods will be offended by Liù's death, the crowd becomes subdued, very afraid and ashamed. The grieving Timur and the crowd follow Liù's body as it is carried away. Everybody departs, leaving the Prince and Turandot alone. He reproaches Turandot for her cruelty (Duet – The Prince, Turandot: Principessa di morte – "Princess of death"), then takes her in his arms and kisses her in spite of her resistance.

The Prince tries to persuade Turandot to love him. At first, she feels disgusted, but after he kisses her, she feels herself becoming more ardently desiring to be held and compassionately loved by him. She admits that ever since she met the Prince, she realized she both hated and loved him. She asks him to ask for nothing more and to leave, taking his mystery with him. The Prince, however, then reveals his name: "Calaf, son of Timur – Calaf, figlio di Timur", thereby placing his life in Turandot's hands. She can now destroy him if she wants (Duet – Turandot, Calaf: Del primo pianto).

Scene 2: The courtyard of the palace. Dawn

Turandot and Calaf approach the Emperor's throne. She declares that she knows the Prince's name: Diecimila anni al nostro Imperatore! – "It is ... love!" The crowd sings and acclaims the two lovers (O sole! Vita! Eternità).

Venue Info

Mariinsky Theatre - Saint Petersburg
Location   1 Theatre Square

The Mariinsky Theatre is a historic theatre of opera and ballet in Saint Petersburg, Russia. Opened in 1860, it became the preeminent music theatre of late 19th-century Russia, where many of the stage masterpieces of Tchaikovsky, Mussorgsky, and Rimsky-Korsakov received their premieres. Through most of the Soviet era, it was known as the Kirov Theatre. Today, the Mariinsky Theatre is home to the Mariinsky Ballet, Mariinsky Opera and Mariinsky Orchestra. Since Yuri Temirkanov's retirement in 1988, the conductor Valery Gergiev has served as the theatre's general director.

The theatre is named after Empress Maria Alexandrovna, wife of Tsar Alexander II. There is a bust of the Empress in the main entrance foyer. The theatre's name has changed throughout its history, reflecting the political climate of the time.

The theatre building is commonly called the Mariinsky Theatre. The companies that operate within it have for brand recognition purposes retained the Kirov name, acquired during the Soviet era to commemorate the assassinated Leningrad Communist Party leader Sergey Kirov (1886–1934).

The Imperial drama, opera and ballet troupe in Saint Petersburg was established in 1783, at the behest of Catherine the Great, although an Italian ballet troupe had performed at the Russian court since the early 18th century. Originally, the ballet and opera performances were given in the wooden Karl Knipper Theatre on Tsaritsa Meadow, near the present-day Tripartite Bridge (also known as the Little Theatre or the Maly Theatre). The Hermitage Theatre, next door to the Winter Palace, was used to host performances for an elite audience of aristocratic guests invited by the Empress.

A permanent theatre building for the new company of opera and ballet artists was designed by Antonio Rinaldi and opened in 1783. Known as the Imperial Bolshoi Kamenny Theatre the structure was situated on Carousel Square, which was renamed Theatre Square in honour of the building. Both names – "Kamenny" (Russian word for "stone") and "Bolshoi" (Russian word for "big") – were coined to distinguish it from the wooden Little Theatre. In 1836, the Bolshoi Kamenny Theatre was renovated to a design by Albert Cavos (son of Catterino Cavos, an opera composer), and served as the principal theatre of the Imperial Ballet and opera.

On 29 January 1849, the Equestrian circus (Конный цирк) opened on Theatre Square. This was also the work of the architect Cavos. The building was designed to double as a theatre. It was a wooden structure in the then-fashionable neo-Byzantine style. Ten years later, when this circus burnt down, Albert Cavos rebuilt it as an opera and ballet house with the largest stage in the world. With a seating capacity of 1,625 and a U-shaped Italian-style auditorium, the theatre opened on 2 October 1860, with a performance of A Life for the Tsar. The new theatre was named Mariinsky after its imperial patroness, Empress Maria Alexandrovna.

Under Yuri Temirkanov, Principal Conductor from 1976 to 1988, the Opera Company continued to stage innovative productions of both modern and classic Russian operas. Although functioning separately from the Theatre’s Ballet Company, since 1988 both companies have been under the artistic leadership of Valery Gergiev as Artistic Director of the entire Theatre.

The Opera Company has entered a new era of artistic excellence and creativity. Since 1993, Gergiev’s impact on opera there has been enormous. Firstly, he reorganized the company’s operations and established links with many of the world's great opera houses, including the Royal Opera House, Covent Garden, the Metropolitan Opera, the Opéra Bastille, La Scala, La Fenice, the Israeli Opera, the Washington National Opera and the San Francisco Opera. Today, the Opera Company regularly tours to most of these cities.

Gergiev has also been innovative as far as Russian opera is concerned: in 1989, there was an all-Mussorgsky festival featuring the composer’s entire operatic output. Similarly, many of Prokofiev’s operas were presented from the late 1990s. Operas by non-Russian composers began to be performed in their original languages, which helped the Opera Company to incorporate world trends. The annual international "Stars of the White Nights Festival" in Saint Petersburg, started by Gergiev in 1993, has also put the Mariinsky on the world’s cultural map. That year, as a salute to the imperial origins of the Mariinsky, Verdi's La forza del destino, which received its premiere in Saint Petersburg in 1862, was produced with its original sets, costumes and scenery. Since then, it has become a characteristic of the "White Nights Festival" to present the premieres from the company’s upcoming season during this magical period, when the hours of darkness practically disappear as the summer solstice approaches.

Presently, the Company lists on its roster 22 sopranos (of whom Anna Netrebko may be the best known); 13 mezzo-sopranos (with Olga Borodina familiar to US and European audiences); 23 tenors; eight baritones; and 14 basses. With Gergiev in charge overall, there is a Head of Stage Administration, a Stage Director, Stage Managers and Assistants, along with 14 accompanists.

Important Info
Type: Opera
City: Saint Petersburg, Russia
Starts at: 19:00
Acts: 3
Intervals: 1
Duration: 2h 35min
Sung in: Italian
Titles in: English,Italian
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