GREAT PERFORMANCES AT THE MET -- TURANDOT

GREAT PERFORMANCES AT THE MET -- TURANDOT. Live Performance 2009. Rebroadcast May 2010.

This Franco Zeffirelli production of Giacomo Puccini's masterpiece Turandot is, in a word, magnificent.

Based on a Chinese fable, Turandot is the story of a princess who is desired by all the eligible and noble bachelors who come in hopes of winning her hand in marriage. But Turandot, under the influence of a female ancestor who was raped and beaten by men, will have none of it. She demands that every suitor answer three riddles, and if he fails -- as they all do -- he is beheaded. A mysterious prince [Calaf] is horrified by the woman's actions, but when he finally sees her it's love -- or at least lust -- at first sight, and to the dismay of his father and the young woman who has always loved him, he decides to try his hand at the riddles. So ends the first act of three.

Maria Guleghina is Turandot and Marcello Giordani is Calaf in this production and both have wonderful moments; for instance, Giordani nails "Nessum Dorma," the great aria in act three. [In a backstage interview during intermission with hostess Patricia Racette, both singers reveal warm and winning personalities.] Marina Poplavskaya makes a highly favorable impression as the tragic figure of Liu, who has dedicated her life to the father of the man she has forever loved from afar. Samuel Ramey is the father, Timur, and Charles Anthony [who also displays a winning personality in an interview] is the Emperor Altoum.

Andris Nelsons is the conductor, and Gary Halvorson the director of the televised program. Zeffirelli not only conceived the production but designed the memorably beautiful and striking sets.

Puccini's music is moving, uplifting, dramatic, and gorgeous.

Verdict: A stunner. ****.

GRAND OLD OPERA -- TOSCA AT THE MET ON GREAT PERFORMANCES

TOSCA by Giacomo Puccini on Great Performances at the Met/PBS, December 2009. Live telecast.

The first great opera of the 20th century as presented by the Met in New York and telecast live on Great Performances. This is the story of a great artist Cavaradossi (Marcelo Alvarez), and his lover, the jealous and tempestuous opera singer Floria Tosca (Karita Mattila), and how they come afoul of the venal Scarpia (George Gagnidze), who promises to set his captive Cavaradossi free if Tosca will only make love to him. Well ... the best laid plans ... This was conducted by Joseph Colaneri and directed by Gary Halvorson. One could quibble about certain aspects of the production, but basically this is first-rate, with great singing [and acting] from the three principles. Puccini's music combines beauty and drama for an often very powerful effect. One of the great operatic tragedies. NOTE: To read more about Tosca and other 20th century operas click here.

Verdict: The three singers certainly hit the high note! ***1/2.

THE FIRST EMPEROR

THE FIRST EMPEROR. Composed by Tan Dun. Shown on Great Performances at the Met. TV Director: Brian Large.


The three main characters in this epic story are Qin, the first Emperor of China, his crippled daughter Yueyang, and his old friend, the composer Gao Jianli. Qin wants Jianli to compose an anthem for his empire, and takes extreme measures to try to bring this about. Jianli's village is enslaved, and while Qin greets him as a brother, Jianli is enraged by his actions. Jianli's mother was killed in Qin's attempt to "unify the land." Although Yueyang has been promised to the General who took Jianli's village, she falls instead for Jianli -- and vice versa. This leads to some arresting and dramatic developments.


Composer Tan Dun responds to this very interesting libretto by Dun and Ha Yin with music that is lyrical but never that melodious in the true sense, although at times it has a mild Puccini-esque quality. There is an occasional arioso such as "Like a stream rushing to the sea" (the opera is sung in English). Startlingly, members of the orchestra serve as the chorus. In this handsome production, Placido Domingo was Qin, Paul Groves was Jianli, and Elizabeth Futral was Yueyang; all did fine work. Dun conducted his own score, which has many interesting moments.

Verdict: Not for all tastes but not without merit. **1/2.