Turandot was Puccini's last opera before he died, and this 1988 version is one of the best I have seen of the opera. The costume and set design looks exquisite, Turandot's costume especially. And Puccini's music deserves a mention, it is just masterful, from Signor Ascolta, In Questa Reggia, Non Piangereie Liu and of course Nessun Dorma, it is phenomenal musical drama from beginning to end. The direction, musically and stage-wise is also fine. And the performances were exceptional, Eva Marton imperiously chilling as Princess Turandot, and her big voice and brilliant acting ability is put to excellent use. Placido Domingo, who is one of the greatest tenors of the 20th century in my opinion, not only looked the part, but he created a magnificent figure on stage, and with perfect vocal control too. Leona Mitchell is very poignant as Liu, and Paul Plishka makes a noble Timur. Ping, Pang and Pong brought great fun to the proceedings, and the chorus were wonderful(the grind and sharpen chorus is one of the most difficult choruses in opera history, because if it isn't done right, it can be a disaster). I cannot recommend this version highly enough, other than a 10/10. Bethany Cox
4 Reviews
Wow!!!
robert-259-2895411 February 2017
Even if you're not an opera fan, you cannot deny the utter beauty and majesty of this Puccini classic. Many years ago, I was an extra in the movie, "Yes, Giorgio," with Luciano Pavarotti. I played the part of "Ping." It was there that I met Luciano personally, and learned to adore his signature song, "Nessun Dorma." But while this tune may have belonged to Pavarotti, on stage and in the flesh, he has no equal to the fantastic Placido Domingo, in my opinion. This is certainly in no part due to Placido's superior acting skills and dulcet yet powerful voice. His commanding stage presence is without peer, so necessary in the part of "Calaf," the heroic suitor to Turandot. Since I have zero Italian skills, watching this with the subtitles ON made the visual and aural enjoyment of this spectacle all the more moving, imbuing the characters the human element you simply cannot get without a thorough understanding of the text. This is "must see" viewing for anyone desiring a musical experience that you will not soon forget.
A Spectacular Turandot At The Met
FloatingOpera729 February 2008
Warning: Spoilers
Turandot (1988): Eva Marton, Placido Domingo, Leona Mitchell, Paul Plishka, Hugues Cuenod, Briang Schexnayder, Allan Glassman, Anthony Laciura, Arthur Thompson....Director Kirk Browning.
Live from New York City's Metropolitan Opera, this is a 1988 performance captured on tape, and enjoyed success in VHS form for a long time. Directed by Kirk Browning who had done this sort of thing many times before, this is a lavish and eye-popping performance where not only are the singers in top shape but the air is alive with a sense of magic and power, as if trying to capture the legendary Turandot performances of the past, namely that of Birgit Nilsson's portrayal. Tenor Placido Domingo and soprano Eva Marton, both able to sing lyrically and heavily, are in excellent form as Turandot and Prince Calaf, singing against each other in the first act and with each other in the last act. Leona Mitchell is a dignified and wonderful Liu, reminiscent of Leontyne Price. Veteran baritone Paul Plishka as Timur is another plus. Film director Franco Zefferelli, a long time opera fan in his native Italy, is behind the artistic direction and lavishes the scenery and set with exquisite detail. Costumes are like those of a Mandarin drama, authentic to the period, and the Palace and nocturnal feel to this opera is captured in Oscar winning sets and backdrops. This performance was sold out when it premiered in 1988 after a lot of hype. Actress Elizabeth Taylor attended. Eva Marton would go on to record Turandot and Domingo's repertoire switched from pure lyric to heavy tenor roles. In many ways, this performance is a real winner, possibly the greatest Turandot ever produced on stage.
The plot: Puccini(composer of Madame Butterfly and Tosca) composed his last opera Turandot and set it to an ancient mythical China. Turandot is the "divine" daughter of the Emperor. The land is darkness and ruled by fear for the Emperor wishes for his virgin daughter to take a husband to rule with her as king. But Turandot has ice running through her veins and has vowed never to love a man. She will never forget the inhuman crime against her ancestor, Princess Lou-Ling, who was raped and killed by foreign invaders. But the cocky Prince Calaf falls for Turandot at first sight and is determined to have her. But there is a challenge. He must answer three riddles, none of which have been successfully answered by princes who tried their luck and were executed. What follows is his triumph over the riddles and Turandot's plot to rid herself of him, a plot which ultimately costs the life of the innocent slave girl Liu, who loves only Calaf. The cold man-hating Princess melts after her first kiss and becomes warm and human, living for love. Redemption, salvation and love are the themes of this elaborately produced Chinese fable. Puccini's music is grandiose and yet warm and accessible. This is one performance that should successfully plant interest in Puccini's operas and in opera itself.
Live from New York City's Metropolitan Opera, this is a 1988 performance captured on tape, and enjoyed success in VHS form for a long time. Directed by Kirk Browning who had done this sort of thing many times before, this is a lavish and eye-popping performance where not only are the singers in top shape but the air is alive with a sense of magic and power, as if trying to capture the legendary Turandot performances of the past, namely that of Birgit Nilsson's portrayal. Tenor Placido Domingo and soprano Eva Marton, both able to sing lyrically and heavily, are in excellent form as Turandot and Prince Calaf, singing against each other in the first act and with each other in the last act. Leona Mitchell is a dignified and wonderful Liu, reminiscent of Leontyne Price. Veteran baritone Paul Plishka as Timur is another plus. Film director Franco Zefferelli, a long time opera fan in his native Italy, is behind the artistic direction and lavishes the scenery and set with exquisite detail. Costumes are like those of a Mandarin drama, authentic to the period, and the Palace and nocturnal feel to this opera is captured in Oscar winning sets and backdrops. This performance was sold out when it premiered in 1988 after a lot of hype. Actress Elizabeth Taylor attended. Eva Marton would go on to record Turandot and Domingo's repertoire switched from pure lyric to heavy tenor roles. In many ways, this performance is a real winner, possibly the greatest Turandot ever produced on stage.
The plot: Puccini(composer of Madame Butterfly and Tosca) composed his last opera Turandot and set it to an ancient mythical China. Turandot is the "divine" daughter of the Emperor. The land is darkness and ruled by fear for the Emperor wishes for his virgin daughter to take a husband to rule with her as king. But Turandot has ice running through her veins and has vowed never to love a man. She will never forget the inhuman crime against her ancestor, Princess Lou-Ling, who was raped and killed by foreign invaders. But the cocky Prince Calaf falls for Turandot at first sight and is determined to have her. But there is a challenge. He must answer three riddles, none of which have been successfully answered by princes who tried their luck and were executed. What follows is his triumph over the riddles and Turandot's plot to rid herself of him, a plot which ultimately costs the life of the innocent slave girl Liu, who loves only Calaf. The cold man-hating Princess melts after her first kiss and becomes warm and human, living for love. Redemption, salvation and love are the themes of this elaborately produced Chinese fable. Puccini's music is grandiose and yet warm and accessible. This is one performance that should successfully plant interest in Puccini's operas and in opera itself.
Spectacular version that will make you love the opera of Puccini
vamanadevadas13 June 2003
Turandot is better heard and seen rather that just being heard alone. This 1988 version of the Opera is by far the best version on video at this time. I have seen all versions of Turandot in video but this stands to be the best. For the following reasons,
It showcases the most versatile tenor in history, Placido Domingo who does not only have the voice quality but a very good acting ability as well. There is a continuous argument as who is the better tenor, Domingo or Pavarotti? All I can say is this, Pavarotti may have the better vocal version of Nessun Dorma, but Domingo when on stage is not Domingo singing Nessun Dorma but he is Calaf proclaiming victory in the night.
Eva Marton on stage is the coldest Turandot I have ever seen. She is untouchable. Although her voice may not be the best compared to the other great supranos like Sutherland (who has a recording of Turandot but never performed on stage) Callas (No stage performance of Turandot preserved on video) and Tebaldi. She compensates it well with great stage acting. Which is a very vital part in watching opera because most of the time you get cues on what they mean thru the actors acting ability rather than meaning of liberretto because very few of us understand Italian anyway.
Franco Z is the stage director of this version. His stunning set can make you feel as if you are in mainland China witnessing a story unfolding.
Leontyne Price is another great voice with superb stage performance. Her role as Lui is one of the most convincing one.
Bottom line this is the best version of Turandot in the acting department and stage design. This version will make you love the great Opera of Puccini Turandot
But I still feel sad that this version is only available in VHS. I wonder if a DVD version would be available someday.
It showcases the most versatile tenor in history, Placido Domingo who does not only have the voice quality but a very good acting ability as well. There is a continuous argument as who is the better tenor, Domingo or Pavarotti? All I can say is this, Pavarotti may have the better vocal version of Nessun Dorma, but Domingo when on stage is not Domingo singing Nessun Dorma but he is Calaf proclaiming victory in the night.
Eva Marton on stage is the coldest Turandot I have ever seen. She is untouchable. Although her voice may not be the best compared to the other great supranos like Sutherland (who has a recording of Turandot but never performed on stage) Callas (No stage performance of Turandot preserved on video) and Tebaldi. She compensates it well with great stage acting. Which is a very vital part in watching opera because most of the time you get cues on what they mean thru the actors acting ability rather than meaning of liberretto because very few of us understand Italian anyway.
Franco Z is the stage director of this version. His stunning set can make you feel as if you are in mainland China witnessing a story unfolding.
Leontyne Price is another great voice with superb stage performance. Her role as Lui is one of the most convincing one.
Bottom line this is the best version of Turandot in the acting department and stage design. This version will make you love the great Opera of Puccini Turandot
But I still feel sad that this version is only available in VHS. I wonder if a DVD version would be available someday.
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