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Turandot
Metropolitan Opera House, Mon, January 1, 1990
Turandot (159)
Giacomo Puccini | Giuseppe Adami/Renato Simoni
- Turandot
- Gwyneth Jones
- Cal?f
- Vladimir Popov
- Li?
- Aprile Millo
- Timur
- John Macurdy
- Ping
- Vernon Hartman
- Pang
- Kirk Redmann
- Pong
- Anthony Laciura
- Emperor Altoum
- Andrea Velis
- Mandarin
- James Courtney
- Maid
- Christine Flasch
- Maid
- Mary Meyers
- Prince of Persia
- Robert Costello
- Executioner
- Ming Chew
- Temptress
- Pauline Andrey
- Mask
- Gary Cordial
- Mask
- Joseph Fritz
- Temptress
- Linda Gelinas
- Temptress
- Suzanne Laurence
- Temptress
- Deanne Lay
- Mask
- Christopher Stocker
- Conductor
- Nello Santi
- Production/Set Designer
- Franco Zeffirelli
- Costume Designer
- Dada Saligeri
- Costume Designer
- Anna Anni
- Choreographer
- Chiang Ching
- Stage Director
- David Kneuss
Turandot received four performances this season.
Review 1:
Mary Campbell for the Associated Press
Gwyneth Jones Sings First Met Turandot
NEW YORK (AP) Gwyneth Jones, who debuted at the Metropolitan Opera in 1972, hadn't sung the title role in "Turandot" here until the first performance of the Puccini opera this season. Her performance was a triumph.
Her singing, including lots of difficult high notes, was strong and beautiful. Vocally and in acting, the Welsh soprano made Turandot more womanly and less a monster than usually is done. Since Calaf, the tenor, falls in love with the bloodthirsty Chinese princess, it's probably a good idea.
At the Friday night performance, Nello Santi conducted with control and vigor and received enthusiastic applause.
Vladimir Popov of Moscow has an unusual tenor voice. In the first act it was focused too narrowly and sounded strained. After he warmed up, it sounded like an Irish tenor, warm while keeping a crisp edge. His voice can ring, not just on final notes, but through entire phrases.
The aria "Nessun dorma" is where most tenors display their vocal beauty. Popov's voice sounded more beautiful when he was answering Turandot's riddles ? if he missed she'd send him to death and later, when Turandot is feeling emotion for the first time.
Aprile Millo sang the slave, Liu. We prefer a less rich soprano voice for Liu, as more of a contrast to Turandot's voice. But there's no denying that Miss Millo created some beautiful musical moments.
Early in Act 1, however, when Liu, Calaf and his old father are on stage, John Macurdy as the old man sounded best. The other two were pushing too hard.
The production, one of Franco Zeffirelli's elaborate, big ones, was new in March 1987. It wasn't presented last season and much of the audience hadn't seen it before, Judging from the delighted gasps for the emperor's splendid golden throne room.
A few changes have been made. Act 1 is gray people, sampans and shacks. The palace, once shimmering in the distance, seems to have been brought forward. And the banners furled for each riddle now are done by three men instead of the silliness of two men pulling them from a backpack worn by Turandot.
Search by season: 1989-90
Search by title: Turandot,
Met careers
- Nello Santi [Conductor]
- Gwyneth Jones [Turandot]
- Vladimir Popov [Cal?f]
- Aprile Millo [Li?]
- John Macurdy [Timur]
- Vernon Hartman [Ping]
- Kirk Redmann [Pang]
- Anthony Laciura [Pong]
- Andrea Velis [Emperor Altoum]
- James Courtney [Mandarin]
- Christine Flasch [Maid]
- Mary Meyers [Maid]
- Robert Costello [Prince of Persia]
- Ming Chew [Executioner]
- Pauline Andrey [Temptress]
- Gary Cordial [Mask]
- Joseph Fritz [Mask]
- Linda Gelinas [Temptress]
- Suzanne Laurence [Temptress]
- Deanne Lay [Temptress]
- Christopher Stocker [Mask]
- Franco Zeffirelli [Production/Set Designer]
- Chiang Ching [Choreographer]
- Dada Saligeri [Costume Designer]
- Anna Anni [Costume Designer]
- David Kneuss [Stage Director]