Truly a Spectacle

FRANCES FORBES-CARBINES strongly recommends Puccini's 'Turandot' at Covent Garden

Our English word spectacle is from the Latin spectaculum, meaning 'public show'. When people attend an opera they attend not only for the music, but for the visual extravagance: we want to feel as though we are transported from the everyday into a land of fantasy. Turandot at the Royal Opera House truly is a spectacle: from the lavish sets, to the amazing costumes, to the synchronised dances, everything certainly has the wow factor.

Andrei Şerban's spectacular production remains a Covent Garden favourite: it draws upon Chinese and Italian theatrical tradition to evoke a richly imagined Peking, in a dazzling display of colour, drama, and dance.

First staged at Covent Garden in 1984, the production grew out of the deep creative partnership between director Şerban and his designer, the late Sally Jacobs. Şerban's interpretation was rooted in the 1762 play by Italian playwright Carlo Gozzi, upon which Puccini based his opera. Gozzi recast the ancient tale - originally from Persia - as a fable set in an ancient, legendary China, replete with legend and deeply-held beliefs about ancestors. This revival is directed by Jack Furness who is joined by the original choreographer Kate Flatt: despite being forty years old, the production is as vivid and as incredible as if it had been created yesterday. I was amazed by the terrifying masks worn by the characters; the executioner's body painted green to match his monstrous mask as he wields a mighty scimitar.

The lighting and mise-en-scène are truly phenomenal: shards of light fall through the wooden shutters of the ancient Chinese palace: sometimes it is illuminated by moonlight; at others, light from lanterns as the guards pace the corridors.

Every detail is informed by the history of Chinese art, from the golden clouds that flank Turandot's ailing father, King of Heaven, to the dark inky clouds that grace the humungous moon and Turandot's red mantle.

A scene from 'Turandot' at Covent Garden. Photo © 2025 Tristram Kenton
Sondra Radvanovsky as Princess Turandot
and Paul Hopwood as Emperor Altoum
in Turandot at Covent Garden.
Photo © 2025 Tristram Kenton

Acclaimed American-Canadian soprano Sondra Radvanovsky performs as the icy Princess Turandot in the first cast, with Polish-American soprano Ewa Płonka taking on the role from 12 April 2025 onwards. Radvanovsky was a triumph: carrying the role with aplomb, she masterfully evoked the transition from cruel princess to smitten lover as the narrative progressed.

A scene from 'Turandot' at Covent Garden. Photo © 2025 Tristram Kenton
Sondra Radvanovsky as Turandot
and SeokJong Baek as Calaf
in Turandot at Covent Garden.
Photo © 2025 Tristram Kenton

SeokJong Baek and Gwyn Hughes Jones share the role of Calaf, and the role of Liù will be performed by Anna Princeva and Gemma Summerfield.

Rafael Payare returns to conduct the Orchestra of the Royal Opera House after his celebrated House debut in 2023, sharing the run with Francesco Ivan Ciampa. The orchestra was on very fine form, playing the glorious melodies with great sensitivity and ethereal beauty. Payare conducted with gusto, his arms, visible from the stalls, as energetic and lively as those of Bernstein.

My favourite line in Turandot, lyrically and musically, is when Liù sings to Calaf that her devotion to him as his servant derives from one particular moment in the palace, when he smiled at her. The opera's most famous aria is, of course, 'Nessun Dorma': Calaf sings in anticipation of triumph as all around the citizens of Peking stay awake all night in torment, trying to figure out the riddle he has set. Baek sang the aria with the light of victory in his eyes, enraptured by his having won and being in love with the princess. I was blown away.

You would be wrong to think of the opera as being something of the nineteenth century: Puccini died before completing the work, with Franco Alfano finishing the work and giving it its premiere at La Scala two years later in 1926. It went on to become a worldwide success and part of the operatic repertoire.

With all my heart I give this recommendation strongly: even if you are not a seasoned opera fan, or even particularly keen on classical music: go and see Turandot at the Royal Opera House this season: book your ticket now. It is a tremendous flight of fancy; a true spectacle. Bravi tutti.

The above is a review of the 19 March 2025 performance of Turandot at the Royal Opera House in London, UK. Performances continue until 19 April 2025 - for further details see rbo.org.uk

There are more articles here about operatic music, vocal music, choral music, orchestral music, Canada, China, Iran, Italy, Poland, Romania, USA, Venezuela, Covent Garden, London, UK, twentieth century classical music, and you can read our latest concert reviews here.

The background image on this page has been derived from a 2004 photo by 'Almeewar' of the view from the glacier to the northern slope of Mount Belukha, on the border between Kazakhstan and Russia, near China.

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