And so, the iconic Turandot returned to the Bayerische Staatsoper! With a production by Carlus Padrissa from La Fura dels Baus, one might expect a bold and innovative staging—and indeed, it offered a blend of visual spectacle and timeless narrative. Yet, despite the grand staging, the musical and vocal aspects of this Turandot, conducted by Antonino Fogliani, are what left the most lasting impression.
Saioa Hernández took on the formidable role of the icy princess with her usual power and authority. Her high notes were piercing, her interpretation unwavering, encapsulating Turandot’s aloof cruelty while subtly hinting at the vulnerability that lies beneath. The moment when she delivered “In questa reggia” while elevated several meters above the stage was particularly impressive, amplifying the dramatic tension and visually reinforcing her untouchable status.
Yonghoon Lee’s Calaf, while passionate and vocally strong at times, lacked the depth and nuance needed to fully bring the character to life. His rendition of “Nessun dorma” was certainly powerful, but his overall portrayal sometimes felt one-dimensional. That said, his stamina and dedication to the role were evident, and he successfully projected the determination of the unknown prince, even if his interpretation left something to be desired in terms of subtlety.
Selene Zanetti’s Liù was, without doubt, the emotional center of the evening. Her delicate yet powerful voice brought a sense of humanity and warmth to the production, and her heartfelt interpretation was a striking contrast to the coldness of the titular princess. Every one of her arias was a moment of pure beauty, and her final scene brought an overwhelming emotional depth that held the audience in silent captivation. Zanetti’s voice, shimmering with tenderness, navigated Puccini’s lines with an artistry that suggests she’s destined for even greater roles in the near future. Her performance was nothing short of breathtaking, and we found ourselves wishing for more moments with her on stage.
Vitalij Kowaljow’s Timur offered a dignified, sorrowful presence, his deep, resonant bass lending gravity to the role of the dethroned king. The trio of Ping, Pang, and Pong, portrayed by Thomas Mole, Tansel Akzeybek, and Andrés Agudelo, brought a welcome touch of humor and humanity to the production, expertly balancing light-heartedness with the darker undertones of the opera.
This production of Turandot notably presented the opera without the final section composed by Alfano or Berio, choosing instead to stop where Puccini left off. This artistic decision left the unresolved tension hanging in the air, reinforcing the opera’s mysterious and enigmatic nature.
In all, this Turandot was a visually and musically rich experience, with standout performances, particularly from Zanetti. While not all elements were flawless, the evening was undeniably captivating, and the Bayerische Staatsoper continues to prove its place as a house capable of delivering world-class performances. Bravo!
