|Date:||October 12, 2019, 12:55 pm|
|Run Time:||3 hours 22 minutes|
|Ticket Info:||Tickets available at the door and online|
Tickets for TURANDOT • per adult • $22.00 online
Tickets for TURANDOT • per student • $11.00 online
Peking, in the mythic past. Outside the Imperial Palace, a mandarin reads an edict to the crowd: Any prince seeking to marry Princess Turandot must answer three riddles. If he fails, he will die. The most recent suitor, the Prince of Persia, is to be executed at the moon’s rising. Among the onlookers are the slave girl Liù, her aged master, and the young Calàf, who recognizes the old man as his long-lost father, Timur, vanquished King of Tartary. Only Liù has remained faithful to him, and when Calàf asks her why, she replies that once, long ago, Calàf smiled at her. The mob cries for blood but greets the rising moon with a sudden fearful silence. As the Prince of Persia goes to his death, the crowd calls upon the princess to spare him. Turandot appears in her palace and wordlessly orders the execution to proceed. Transfixed by the beauty of the unattainable princess, Calàf decides to win her, to the horror of Liù and Timur. The three ministers of state, Ping, Pang, and Pong, appear and also try to discourage him, but Calàf is unmoved. He reassures Liù, then strikes the gong that announces a new suitor.
Within their private apartments, Ping, Pang, and Pong lament Turandot’s bloody reign, hoping that love will conquer her and restore peace. Their thoughts wander to their peaceful country homes, but the noise of the crowd gathering to witness the riddle challenge calls them back to reality.
In the royal throne room, the old emperor asks Calàf to reconsider, but the young man will not be dissuaded. Turandot arrives. She recounts the story of her beautiful ancestor, Princess Lou-Ling, who was abducted and killed by a conquering prince. In revenge, Turandot has turned against men and determined that none shall ever possess her. Trumpets then herald the beginning of the riddles. Turandot poses her first question to Calàf: What is born each night and dies each dawn? “Hope,” Calàf answers correctly. Turandot continues: What flickers red and warm like a flame, yet is not a flame? “Blood,” Calàf replies after a moment’s thought. Shaken, Turandot delivers the third riddle: What is like ice but burns, and if it accepts you as a slave, makes you a king? Tense silence prevails until Calàf triumphantly cries “Turandot!” The crowd erupts in joy, and the princess vainly begs her father not to give her to the stranger. Hoping to win her love, Calàf offers Turandot a challenge of his own: If she can learn his name by dawn, he will forfeit his life.
At night in the Imperial Gardens, Calàf hears a proclamation: On pain of death, no one in Peking shall sleep until Turandot learns the stranger’s name. Calàf is certain of his victory, but Ping, Pang, and Pong try to bribe him to leave the city. As the fearful mob threatens him to learn his name, soldiers drag in Liù and Timur. Calàf tries to convince the crowd that neither of them knows his secret. When Turandot appears, commanding Timur to speak, Liù replies that she alone knows the stranger’s identity and will never reveal it. Soldiers torture her, but she remains silent. Impressed by her fortitude, Turandot asks what gives Liù the strength to resist. It is love, she replies. When the torture intensifies, Liù tells Turandot that she, too, will know the joys of love. Then she snatches a dagger and kills herself. The crowd forms a funeral procession, and Timur follows as they take away her body. Turandot remains alone to confront Calàf, who impetuously kisses her. Knowing emotion for the first time, Turandot weeps. Calàf, now sure of winning her, reveals his identity.
Once again before the emperor’s throne, Turandot declares she knows the stranger’s name: It is Love.
Notes by Zeke Hecker
Three years ago the Met Live season also began with Turandot, Manon, and Madama Butterfly. But with a difference — the second offering was Puccini’s Manon Lescaut, not Massenet’s version of the same story. More about the latter on October 26. Meanwhile …
Puccini’s final opera, Turandot, was left uncompleted at his death. The standard ending, by Franco Alfano based on Puccini’s sketches, was omitted by conductor Arturo Toscanini at the opera’s 1926 La Scala premiere, and remains controversial. Puccini couldn’t determine how to make the emotional melting of his “ice princess” convincing. The opera’s obsession with torture and death as well as its misogyny have evoked criticism even from such stalwart Puccinians as Albert Innaurato and Owen Lee, while critic Joseph Kerman, who dubbed Tosca a “shabby little shocker,” called Turandot “a good deal more depraved” and its music “consistently, throughout, of cafe-music banality.” Opera companies and their audiences disagree, and the popularity of Turandot has grown steadily. The Met’s extravagant production by the recently deceased Franco Zeffirelli has itself evoked howls from the critics, but it has been one of the company’s biggest crowd-pleasers since it first hit the stage in 1987.
18th century playwright Carlo Gozzi’s Turandot merged Europe’s craving for oriental “exoticism,” the stock characters of medieval commedia dell’arte, and fairy tale elements such as the Three Riddles motif. The result was a brittle comedy. Puccini kept the nobles Ping, Pang, and Pong for comic relief, but turned his Turandot into something much darker. The character of Liu was his own invention, a fragile suffering heroine in the line of Mimi and Butterfly. In harmony and orchestration the score is his most adventurous, and in melody one of his richest. Turandot is the true capstone of Puccini’s career.