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THE ROYAL OPERA

Music Director

Sir Antonio Pappano

Director of Opera

Oliver Mears

Libretto property of Casa Ricordi SRL, Milan (Universal Music Publishing Group), by arrangement with G. Ricordi & Co (London) Ltd

Position of Music Director Maestro Antonio Pappano generously supported by Mrs Susan A. Olde OBE

Production supported by Veuve Clicquot

Generous philanthropic support from Julia and Hans Rausing, David Fransen, Huo Family Foundation, Melinda and Donald Quintin, Mr and Mrs Christopher W.T. Johnston and The Royal Opera House Endowment Fund

Young ROH is generously made possible by the Bunting Family, Sir Simon Robey, Tim Ashley and John Booth

Additional kind support from Josh Harris and Layla Namazee Harris

In memory of Jaime Burguera Eleta

This revival is dedicated to Sally Jacobs (1932-2020)

Turandot

LYRIC DRAMA IN THREE ACTS AND FIVE SCENES

22.03.2023 19:30

The 287th performance by The Royal Opera at the Royal Opera House.

APPROXIMATE TIMINGS

The performance lasts about 2 hours 55 minutes, including two intervals.
Act I
40 minutes
Interval
25 minutes
Act II
45 minutes
Interval
20 minutes
Act III
45 minutes

GUIDANCE

Parental guidance recommended

This production contains themes of death

CREDITS

Music
Giacomo Puccini (Completed by Franco Alfano)
Libretto
Giuseppe Adami and Renato Simoni after Carlo Gozzi
Director
Andrei Serban
Revival Director
Jack Furness
Designer
Sally Jacobs
Lighting Designer
F. Mitchell Dana
Choreographer
Kate Flatt
Choreologist
Tatiana Novaes Coelho

CAST

Conducted by
Antonio Pappano
Princess Turandot
Anna Pirozzi
Calaf
Yonghoon Lee
Liù
Masabane Cecilia Rangwanasha
Timur
Vitalij Kowaljow
Ping
Hansung Yoo
Pang
Aled Hall
Pong
Michael Gibson
Emperor Altoum
Alexander Kravets
Mandarin
Blaise Malaba
Soprano Solo 1
Marianne Cotterill
Soprano Solo 2
Tamsin Coombs
Orchestra
Orchestra of the Royal Opera House
Principal Guest Concert Master
Vasko Vassilev
Chorus
Royal Opera Chorus
Chorus Director
William Spaulding

Principal Guest Concert Master Vasko Vassilev appears by arrangement with Trittico

Guards, executioner’s men, Turandot’s ladies, phantoms, wise men, heralds, soldiers, populace

Michael Gibson is a Jette Parker Artist

Children from the Youth Opera Company

The Youth Opera Company is generously supported by Yvonne and Bjarne Rieber

Extra Chorus

Sopranos Yvonne Barclay, Janet Fairlie, Celeste Gattai, Shafali Jalota, Kathryn Jenkin, Susan Jiwey, Bernadette Lord, Alison Rayner, Elizabeth Roberts, Juliet Schiemann, Rosalind Waters, Rachel Wolseley

Mezzo-sopranos Jeanette Ager, Maria Brown, Tamsin Dalley, Siobhain Gibson, Maria Jones, Dervla Ramsay, Jennifer Westwood

Tenors Robert Amon, Simon Biazeck, Phillip Brown, Edmond Choo, James Geer, Richard Monk, James Scarlett

Basses Oliver Gibbs, Gabriel Gottlieb, Gavin Horsley, Darron Moore, Mark Saberton, Jochem van Ast, Peter Willcock, Jonathan Wood

Dancers Otis Cameron Carr, Marie Chabert, Cristina Chinchilla, Natasha Chu, Naomi Cook, Carmine De Amicis, Chloe Dowell, Freya Jeffs, Tobias Richards, Trevor Schoonraad, Anna Smith, Jack Thomson

Actors Cameron Ball, Rain de Rye Barrett, Joy Constantinides, Sarah Ekuhoho-Sharman, Kyle Harrison-Pope, Keiko Hewitt-Teale, Jamal Lowe, Ashley-Jordon Packer, Barbara Rhodes, James Unsworth, Addis Williams

SYNOPSIS

ACT I

Princess Turandot of China has sworn an oath that no man will possess her. However, she offers her suitors a chance: if one of them can answer correctly the three riddles which she asks him, he can marry her. If not, he must die. Inside the walls of Peking, a crowd wait for the execution of the Prince of Persia, who has failed the test of the riddles. As the guards push back the excited people, a blind old man falls, and is helped up by his companion, a young girl. A young man comes to help them and recognizes the blind man as the exiled King Timur of Tartary. He reveals himself as Timur’s son Calaf, who was separated from his father after the loss of their kingdom. Timur’s companion is Liù, a former slave, who has cared for him since their exile. It becomes clear that Liù cares deeply for Calaf. The Prince of Persia is led in by the servants of the executioner. Turandot arrives to confirm the Prince’s death. Calaf is horrified, but, as soon as he sees the Princess, is captivated by her beauty. Despite the warnings of the ministers Ping, Pong and Pang, he vows to win Turandot himself. Liù implores him to leave with her and Timur (Signore, ascolta). Calaf tries to console her (Non piangere, Liù) but remains determined, and strikes the gong to signal his intention to woo the Princess.

INTERVAL

ACT II

Ping, Pong and Pang complain about the endless executions caused by Turandot’s obstinacy. Each longs to leave Peking for the peace of his country home. Wise men arrive holding the scrolls containing the answers to Turandot’s riddles. Calaf, calling himself the ‘Unknown Prince’, is brought before Turandot’s father, the Emperor Altoum. The Emperor begs the ‘Unknown Prince’ to leave, and explains how he must die if he fails to answer Turandot’s riddles correctly. Calaf remains obstinate. Turandot arrives for the test of the riddles. She explains the reason for her cruelty (In questa reggia). Many centuries before, her ancestress Princess Lo-u-Ling was raped and killed by an invader. Turandot sees herself as the reincarnation of Lo-u-Ling and has therefore vowed that no one will possess her. The riddles are her one concession. She reminds Calaf that their outcome has so far always been death. Calaf insists on attempting to solve the riddles. Turandot asks him: what is the ghost which all the world invokes and is constantly renewed; what flickers like a flame when a man dreams of conquest; what is frost that burns, that makes a king of the one it accepts as a slave? Encouraged by the crowd, Calaf correctly answers: Hope! Blood! Turandot! Turandot is now his. But Calaf does not wish the Princess to give herself to him unwillingly, and therefore proposes another test. Turandot does not know his name – if she can discover it during the night, he is prepared to die at dawn. If not, he will possess her.

INTERVAL

ACT III

Calaf awaits dawn, while the voices of heralds announce that no one in Peking shall sleep until the name of the ‘Unknown Prince’ has been discovered. Calaf is confident that he will win Turandot (Nessun dorma). Ping, Pong and Pang attempt to get him to leave, offering him beautiful women, riches and glory if he renounces Turandot. Calaf remains firm, to the annoyance of the ministers and the rage of the crowd, who begin to threaten him. Timur and Liù have been discovered and are dragged in. They were seen with Calaf the day before and are suspected of knowing his name. Turandot is summoned, and orders Liù to be tortured until she reveals the identity of the ‘Unknown Prince’. Liù explains to Turandot that she can bear the torture due to her love of the stranger (Tu, che di gel sei cinta). Still refusing to reveal his name, she kills herself. Timur and the crowd lament her death and carry her body away. Calaf and Turandot are left alone, and Calaf accuses Turandot of inhumanity. To begin with, she is cold and unyielding, but finally she succumbs to Calaf’s embrace. Still not wishing Turandot to marry him unwillingly, Calaf tells her his name and places himself in her power. Turandot summons the Emperor and people, and proudly declares that she now knows the name of the foreigner. It is Love, she states. As Calaf and Turandot embrace, the crowd rejoices.

PRODUCTION CREDITS

Music preparation
Paul Wynne Griffiths, Edward Reeve, Michael Sikich, Michael Papadopoulos, Ben-san Lau, David Sutton-anderson
Assistant Directors
Simon Iorio, Kirsty Tapp
Language Coach
Emma Abbate

Edward Reeve is a Jette Parker Artist

THE ROYAL OPERA

Patron

The former Prince of Wales

Music Director

Sir Antonio Pappano

Director of Opera

Oliver Mears

Director of Casting

Peter Mario Katona

Administrative Director

Cormac Simms

DIGITAL CAST SHEETS

We are working to make the Royal Opera House more sustainable. To do this, some of the ways in which we share information have changed, including cast sheets.

You can view the digital cast sheets on a computer, tablet or smartphone. You can also download and print the digital cast sheet. Check the digital cast sheet for the most up-to-date information before the performance starts, during the interval, or after the performance day.

Scan the QR codes displayed around the building with a smartphone to view the latest digital cast sheets. The cast sheets are also displayed on screens outside the auditoria.

Cast sheets generously supported by the Royal Opera House Endowment Fund.

GUIDELINES

Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the  building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.

Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.

Please do not place any personal belongings on the ledges in front of you.

Only bottled water and ice cream purchased from the premises can be taken into the auditorium.

If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.

Smoking and vaping are not permitted anywhere on the premises.

The safety of our visitors, staff and artists is still our priority. There are hand sanitiser stations throughout the building. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.

Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.

SUPPORT OUR ONGOING RECOVERY

We are so glad to welcome our artists back to our theatres to perform for you the opera and ballet you love. During the pandemic we lost £3 in every £5 of our income and we continue to feel the impact as we recover. Sustaining the future of ballet and opera has never been so important. Please consider making a donation to the Royal Opera House community today and help support the future of ballet and opera.

 

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