Review: Turandot (Theatre Royal Glasgow)
A Fine Production of an Adequate Opera
I often argue that no classic is truly bad as long as innovative directors exist. Gary McNair’s adaptation of The Alchemist from a few years ago comes to mind. He took a play that was wordy and of its time (1610, that is) and preserved its essence while making it entertaining for modern audiences. Of course, that is easier with plays than it is with operas. Scottish Opera’s new production of Puccini’s final piece is a test of whether the best possible direction, the best possible cast, and the best possible design can polish a Turandot.
As always with Scottish Opera, there are soft gasps when the curtain is raised. Set in a decaying Art Deco theatre, the costumes are glittering yet ragged, the walls are gilded yet gloomy, and a touch of horror lingers, especially in the blood-drenched, vampiric Emperor. The populace, an amorphous force set on catering to their princess’s needs, staggers around like zombies, both fearful of violence and relishing it. David McVicar’s direction balances spectacle with thoughtfulness, drawing from many influences and getting the most out of the cast.
At the heart of it is the ruthless princess herself, Turandot. Trine Møller dominates the stage, making you feel for her in spite of her brutal hand. The emphasis of her performance is on her generational trauma – she is enacting a heartfelt vengeance on behalf of her ancestress rather than using it as a villainous excuse. Audience-favourite Hye-Youn Lee performs in a smaller role, lovestruck servant Liù, but nevertheless thoroughly earns her applause with her effortlessly impressive vocals. Finally, Victor Starsky plays our hero Victor Calaf. His vocals are flawless, especially during “Nessun Dorma”. For audiences hoping to connect to the music of the opera, you could not ask for more. For audiences hoping to connect to the emotions of the opera, there is little he can do.
For those unfamiliar, the story of Turandot is about a cruel princess who challenges any prince to answer three riddles. If they succeed, they will marry her. If they fail, they die. It is classic fairy tale stuff. Calaf, having escaped from war, arrives in her kingdom in search of his father, whom he finds a blind, hopeless beggar aided by Liù. He is initially disgusted by Turandot’s trials, but upon seeing her, he abandons all responsibilities, opinions, and impoverished family members to win her hand. Classic plays, operas, and myths have long talked of women so beautiful they make men commit selfish and crazed acts, but a modern audience can only sympathise so much before rooting against the “hero”. To appreciate Turandot means to detach that appreciation from the baseless “romance”. In the programme, general director Alex Reedijk writes a spirited defence of Turandot, which he says is too often dismissed by the wider Operatic world as pompous. Having never seen it before, even a marvellous production such as this could not convince me that the opera world is wrong. Your eyes and ears will be captivated, but not your heart. Three stars.
Turnadot will play at Theatre Royal in Glasgow until the 7th of November, and will play in Edinburgh from the 11th to the 22nd of November
Whispers from the crowd: "I thought it was very good! The scale of it was fantastic." "In the beginning I wasn't sure about the costumes, they looked too western to me, but then there were parts that were more chinese and I liked that they planted those seeds."
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