Last night, Saturday, September 21, 2024, I started my 24/25 season of European opera tours to be able to see as an influencer/media/press/storyteller (delete the unnecessary mentions) by the Berlin Staatsoper! Finally… I feel like no one and like none of its “jobs” since once again, although the theater is far from sold-out, the Berlin Staatsoper does not judge and does not consider digital media as media important and serious enough to benefit from a free seat. By the way, 140 euros for the round trip flight, 130 euros for the hotel, and 100 euros for the seat, which comes to more than 400 euros for 24 hours in Berlin (if I take into account beers (to much beers) and meals)), that’s expensive to talk and what’s more to promote Turandot for FREE, so… anyway.
I am much more grateful for having spent a wonderful evening with this superb cast than the Staatsoper is grateful for me.
The Turandot performance I attended at the Staatsoper Berlin was nothing short of thrilling. It was the first night of this Puccini masterpiece for the season, presented in a staging already familiar to Berlin audiences from the previous year. However, what stood out most was not the familiarity of the production, but the incredible performances, particularly by the women on stage, led by Elena Stikhina as Liù.
Stikhina stole the show entirely. Known for her powerful voice and exceptional acting skills, she delivered a heart-wrenching portrayal of Liù that captivated the entire audience. From her tender moments of vulnerability to her ultimate sacrifice, every note was charged with emotion. Her ovation at the end was well-deserved, and frankly, it could have gone on much longer without anyone complaining.
The evening, in fact, belonged to the women, both on stage and in the pit. The orchestra, led by conductor Keri-Lynn Wilson, performed with exceptional precision and emotion. Wilson guided the Staatsoper’s musicians through Puccini’s lush, dynamic score with great care, bringing out every nuance of the composer’s intent. The result was a sweeping, vibrant musical experience that, together with the choir’s overpowering presence—especially in the third act’s climactic moments—raised the energy in the theater to a fever pitch. The massive chorus of over a hundred voices filled the house, and by the end of Act 3, my pulse must have been racing at 100 beats per minute!
On the male side of things, Riccardo Massi as Calaf was nothing short of impressive. Having seen him before in another Puccini role, as Mario Cavaradossi in Tosca at Gstaad, I was already familiar with his capabilities. But Saturday evening proved once again that Massi is one of the tenors to watch on the European scene. His “Nessun Dorma” was predictably a highlight, but it was more than just the aria itself—it was his command of the role, his clear, ringing high notes, and the intensity of his acting that made his Calaf memorable. The staging, which saw him “flying” on stage during a particularly demanding aria, required immense concentration and breath control, and Massi handled it masterfully.
Special mention must be made of the trio Ping, Pang, and Pong, played by Jaka Mihelač, Andrés Moreno García, and Siyabonga Maqungo respectively. The comedic and often tricky ensemble work between these three was flawless, their camaraderie on full display as they navigated the challenging score. Their scenes injected lightness and humor into an otherwise tense opera, and the balance between them was expertly maintained, something not easy to pull off.
Finally, the titular role of Turandot was portrayed by Liudmyla Monastyrska. It was my first time seeing her perform, and although her initial entrance felt somewhat subdued, she quickly grew into the role. Her powerful, sharp high notes during the riddle scene were striking, even if at times they felt a bit overpronounced. That said, Monastyrska’s overall performance was strong, and she rightly earned a hearty ovation at the opera’s conclusion.
This evening was a true showcase of talent, from Wilson’s commanding musical direction to the strong vocal performances across the cast. I’m already looking forward to seeing Riccardo Massi again in a few weeks for Andrea Chénier in Lyon—it’s going to be fascinating to see how he brings this new role to life!
CASTING
Turandot:
Liudmyla Monastyrska
Altoum:
Florian Hoffmann
Timur:
René Pape
Calaf:
Riccardo Massi
Liù:
Elena Stikhina
Ping:
Jaka Mihelač
Pang:
Andrés Moreno García
Pong:
Siyabonga Maqungo
Ein Mandarin:
Friedrich Hamel
