Czech Republic Puccini, Turandot: Soloists, Ballet, Refrain and Orchestra of Narodni Divadlo Moravskoslezské Opera and Ballet / Marek Šedivý (conductor). Antonín Dvořák Theatre, Ostrava, 29.11.2025. (GT)
The magnificence of this theatre’s staging of one of the crucial standard Puccini operas impressed me enormously on my final go to to Ostrava. This 2024 manufacturing of Turandot captivates with its sheer magnificence and virtually fairy-tale surroundings, all of which is embellished by great singing. This night introduced a fairly completely different Turandot within the visitor singer Bulgarian soprano Iordanka Derilova, who has significantly impressed me in Germany and in her native nation in recent times.
Among the many highlights of the Slovak producer Rocc’s staging on the Antonín Dvořák Theatre are the sudden entrances by the performers. This innovation occurred on the very starting with the Mandarin and Calaf approaching the stage from the corridor, whereas the Three Enigmas peeped from behind the stage curtain. The Three Enigmas made their presence identified by trying into the faces of the characters, as if asking them questions, whereas usually comically posing with their arms aloft.
The key efficiency, each in character and voice, was Derilova whom I final heard as Brϋnnhilde final summer season on the Wagner Pageant in Sofia. A frequent customer to Ostrava, she has appeared right here in a number of operas. Derilova sang Liu within the 2002 staging, when Iwona Noszczyk was the Princess Turandot. She impressively balances energy in each her excessive notes and center vary, by no means displaying vocal pressure. She effortlessly reached the best notes in ‘In questa reggia’ and ‘Diecimila anni al nostro’, whereas her response to her suitor was notably delicate. Derilova’s stage presence instructions consideration by means of her nuanced characterisation. She appeared to menace these round her, however within the ultimate moments, her iciness melted as her tormented soul turned to like.
The appearing and singing of Veronica Rovná as Liù characterised each nuance of the servant woman’s tragic destiny; her ‘Signore, ascolta!’ was gorgeous in its magnificence and sensitivity, and particularly her ‘Tu che de gel sei cinta’. I’ve heard this singer in a number of roles, in fairly completely different characters from her function as considered one of The Two Widows in Smetana’s opera of the identical title, to her Elena in Nino Rota’s Il cappello di paglia di Firenze, all of which had been clear proof of her nice expertise.
The tenor, Jan Vacik’s Emperor Altoum, was excellent – his singing was restricted to only one arioso – he displayed a tremendous lyrical voice, and his unstated facial actions had been a supply of amusement – he usually appeared like somebody who didn’t know the place or what he was doing on the stage – his comparatively small half was a spotlight.
The Calaf of Luciano Mastro was distinctive, on this evening performing as if this function belonged to him – he has a fantastically toned tenor and masterfully managed vocal energy. His singing of ‘Non piangere, Liu’ and eventually, the ‘Nessun Dorma’ had been magnificent.
The characterisation of Ping, Pang and Pong of their colored fits was pleasant; typically singing from the auditorium, ‘Ola Pang!’, typically in entrance of the curtains, ‘Ho una casa nell’ Honan!’ They linked all the present with their fairly completely different characters, one severe, one other comical, and the opposite pompous. The motion of the three ministers – on and across the auditorium was masterly in bringing the viewers into the narrative. On one event, they had been hitting imaginary golf balls into the auditorium for enjoyable.
The choruses ready and directed by Jurij Galatenko had been wonderful – at one level, the youngsters’s choir sang from the rear of the corridor above the viewers in heavenly voices, ‘Cosa comanda Turandot’- and one other nice transferring scene on stage within the ultimate act by the combined choruses in lovely golden costumes and masks, ’O sole! Vita! Eternita’.
The costumes ready by Belinda Radulovich had been magnificent, each for soloists and choruses, lending a spectacular magnificence to the entire present. The unassuming gown of Calaf, maybe drawing extra consideration to his singing, whereas the gorgeous fantastic thing about Turandot in her silvery, sensible gown emphasised her stature of greatness. The choruses had been at first attired in on a regular basis Chinese language garments, whereas in Act III, they had been gorgeous of their golden attire and masks, producing a startling imaginative and prescient.
The choreography was masterful in enhancing the drama, and the function of the Mandarin was an revolutionary aspect in heightening the strain between the characters by strolling across the protagonists – in a dramatic change from the conventional state of affairs – his function modified to being the executioner by capturing Liù fairly than her committing suicide.
The projection of a phenomenal scene of Chinese language mountains and a lakeside with animated birds flying by means of the panorama was astonishing to behold. The oriental setting was evident by the descending large gong, and an ideal masks introduced a spectacular imaginative and prescient in opposition to the drama of the three questions set for Calaf by Turandot. The stage units had been restricted to a easy, massive dais upon which Calaf sings his dedication of affection, and the place he and Turandot embrace. The dramaturgy by Juraj Bajus was one other excellent contribution in guaranteeing success for this manufacturing.
The orchestra had been magnificent in producing each nuance of color and concord from Puccini’s ultimate rating, masterly directed by Marek Šedivý. This Turandot is one other triumph for Ostrava with its revolutionary staging and world-class singing.
Gregor Tassie
Featured Picture: The Nationwide Moravian-Silesian Theatre’s Turandot (earlier solid) © Martin Popelář
Manufacturing:
Stage Path and Set designer – Rocc
Costumes – Belinda Radulović
Choreography – Nataša Novotná
Head of the NDM Opera studio – Lenka Živocká
Dramaturgy – Juraj Bajús
Refrain director – Jurij Galatenko
Forged:
Princess Turandot – Iordanka Derilova
Emperor Altoum – Jan Vacik
Timur – Jozef Benci
Calaf – Luciano Mastro
Liù – Veronika Rovná
Ping – Pavel Divin
Pang – Vit Šantora
Pong – Martin Javorský
The Mandarin / The Executioner – Tomasz Suchanek
The Persian Prince – Jiří Dvořák
The Three Enigmas – Barbora Cejková, Petra Sejkorová, Hana Wimmerová
