Puccini: Turandot at the Metropolitan Opera

This is tremendous production. The singing (with the exception of the emperor) is top notch. The acting is emotional. The music and the chorus were all fantastic. Despite being recorded live, the sound quality is as clear as a studio recording. The first thing that is very gratifying about this DVD is the SUBTITLES!!! Holy s***! THE FIRST opera that I've watched, whether live or from a recording, that literally translate ALL of the librettos and follow closely with the singing. The English translation isn't perfect, some liberties were taken to make sure the non-Italian speaking audience understands, but they are close enough. This really made the viewing significantly easier and smoother. Because with the translation I can see just how beautifully written the libretto was. I never understood why people object to subtitles. But this time, it has been done right! The set is also fabulous, and unlike other versions of Turandot, the set and the acting pretty much all directly corresponded to the meaning of the libretto, so it makes it easier to understand and made the performance more natural. I only wished that Domingo had done this performance much younger than in this production. Here he is already entering the 50s, so age-wise not really suited for Calaf anymore. You can also tell that he has sung this role way too many times already because he has a bit of a smugness for the role. Whereas in his earlier year performances (e.g. 1982 in La Scala), there was a bit of uneasiness and more focus and passion, and also the acting is a little bit more physical, which suited the character of Calaf better. Whereas here Domingo has this smirk at times, which is fine but I just like his younger year performances better without it. But his singing is fantastic as always--gentle phrasing on the language, smooth transitions and powerful ring of voice resolves in velvet-like softness. Eva Marton is very good as Turandot, she also closely follows the character of Turandot as written. Her acting is not always natural but she does all of the emotional spectrum, unlike other performances of Turandot that I've seen which tend to be more stale. Marton's chemistry with Domingo is also smoking! Leona Mitchel is also great as Liu. The other main casts all sang their parts excellently. Especially to note are the three tenors who sang ping pong and pang. Best trio from any performances that I've heard. Top-notch singers who harmonized perfectly. A couple of minor complaints: Although I know that it's an opera set in a fictional China, I still wish that they at least stick to some fundamentally known style of costumes. Why is the emperor in black and wearing the clothes of an official? Is he supposed to be mourning or something? Which doesn't make sense since even the libretto tells you that the color of mourning in China is white not black. The emperor always wear golden color unless you are talking about extremely early dynasties, which then wouldn't match the rest of the set and costumes, or when the story supposedly has taken place. The set designer also seemed to confuse what the emperor is suppose to wear on his head. As two people (I'm not sure what they were supposed to be) standing slightly lower than the emperor actually wear the emperor's crown, whereas the emperor wears the official's head piece. It's just totally laughable to me, a Chinese, while watching this. The emperor's singing was just bad. The singer portrayed an emperor shaking in his boots the whole time. Okay, I know that it's fictional and that supposedly even the emperor is a bit wary of the princess, but still, seriously? The emperor of China acting like a weasel old man? Unless the libretto specifically mentions it (it doesn't), it's just not how it's supposed to be. The emperor of China is supposed to be glorious and divine. I like the La Scala version of the emperor, and even with that one the emperor still looks a bit too humbled. But the bottom line is, the way he acted in this production seriously compromised his singing, which I find to be the worst thing you can do. But if you like Turandot, I really do think that you should take a look at this one. It's quite a fantastic production overall. I wished that I would have seen it live. But I'm grateful for this recording to enter my collection.

Turandot is a beautiful opera with a happy ending. It was Puccini's final work, completed by his student Franco Alfano Puccini's death. The MET production is spectacular with beautiful costumes, great acting, great voices, and great ballet. It is staged to reflect Chinese culture very accurately. There is another opera performed at Forbidden City in China, which has even a grander scale. But, the Met production is more intimate with better singing and acting. I had purchased the VHS version of this opera, but the DVD has better fidelity of image, better sound, and a better English version of subtitles. It also has subtitles in other languages. The performances of Mitchell, Marton, and Domingo are impressive.

1. Hope...I hope you will buy this dvd. One of the best opera that I have seen on DVD. 2. Blood...This cast has passion. Levine is divine. Domingo is a strong Calaf with a dramatic voice that soars over Puccini's masterpiece. His acting is tremendous as usuall. Mitchell is the bonus of this great cast. She sings flawlessly and one of the best Liu I have heard. 3. Turandot...Eva Marton might not be the best Turandot, but that does not matter. When she and Domingo were singing in act III it was magic. When she was shedding tears while singing my heart palpitated to a renewed passion of why I loved Opera to begin with. My eyes and ears where glued to my home theater. For all I care Marton and Domingo could have cracked their voices and it would have not mattered to me a bit, cause folks the stars were alligned right over the Met that night. I have not seen Metha's version of the Turandot, but this is the best Turandot I have seen so far.

Tremendous production and wonderful casting. Leona Mitchell is astounding as Liu and her first act aria is spot on. I heard Domingo in the '70s sing Calaf with NYC Opera and it was much as it was on this recording - a bit disappointing in the 3rd act when he poops out at the end of Nessun Dorma. The Ping, Pang, Pong trio had their act together and sang the heck out of the opening of the second act. I loved the DTS 5.1 mix, which was an unexpected bonus. The video is a bit grainy at times but the audio more than compensates. The price is right so add this to your collection if you don't have it.

Never ever can you get a perfect DVD of this opera if all you can wish for is your favorite persons who have ever sung each of the lead roles. That being said, this DVD is the closest you'll ever get to the perfect production and cast to watch. Visually opulent, beyond 1st rate orchestra, wonderful singers, etc. Marton is generally fabulous except for the few short segments where the vibrato clouds the clarity of the written melody. Domingo is as good as he ever was in his prime -- great acting, beautiful singing, yet lacking thrilling greater high partials he never had in spades. Leona Mitchell is divine as Liu in singing, acting, and loveliness. The only problem I had on occasion was the "wobble-ato" of the Met chorus.

It is unfortunate that BlueRay did not exist then...but this still looks great even on my 65" hidef...and blueray player does enhance somewhat. I bought the Laserdisc back in the 80's...then the DVD when this came out. Still the best available...Marton's acting and singing is moving , Leona Mitchell's Liu is just stupendous; Domingo heroic...the final scene is stand up rave...If I had the choice for the Ideal cast of Turandot: Pavarotti, Sutherland and Price. The CD Pavarotti/Sutherland is a sonic blast of perfection.

Ever since my taste in music did a 180 and all I now listen to is classical music, I have been in love with nessun dorma. One of my newer recordings had this breathtaking climax of music that turned out to be the Turandot's first act closing. That sealed it for me, I had to see the opera. My PBS station aired it and I recorded it. In replaying it, just as Turandot entered for her first scene, a previously set program came on and that was the end of that recording of Turandot. All that was left to do was purchase it. Upon arrival I opened the DVD, trying not to use my teeth to get the wrapping off, then sat back in comfort to watch Turandot. It was everything I could have hoped for. My ruined recording was a Franco Zeffirelli production but all that was available was an earlier Zeffirelli production, but as a consolation prize, I got Placido Domingo. Sublime. As a plot line, Turandot's refusal to gracefully accept her loss and live up to her bargain made me want to somehow slap her silly face, but since one cannot do that, I tried to ignore that part of the story. When that happens I know the author has done well.

Good parts of this performance: James Levine and the MET orchestra. Amazing as always. Leona Mitchell... unbelievable. The Zefferelli production, wonderful as always. Bad parts: the quality. I swear to God this is the last DVD I ever buy. If it's not on Blu-Ray, then I must not need it. But mostly I was surprised at how bad Placido was in this. There are some roles he is made for, but Calaf simply is not it. Not only is it the worst rendition of Nessun Dorma I've ever heard, but he actually sung a part differently in the second act from how I've ever heard it sung and I swear he did it to avoid straining his voice so he'd be fresh for the 3rd act. None of the notes in the second act are held long enough by the way. In any case, find the Nessun Dorma from the MET that's on Blu Ray. That one is not perfect, but it's better than this. Oh how I wish I could have gotten a performance of Turandot on Blu Ray starring Joan Sutherland, Mirella Freni and most of all Luciano Pavarotti, but alas it simply does not exist.

sehr schöner Opernfilm. Eben Zefirelli !

Que ces années 1980/90 nous ont laissé de magnifiques DVD d’opéra, celui-ci en est un, avec un casting de rêve et surtout la gigantesque mise en scène hollywoodienne de F. Zeffirelli, on aime ou on n’aime pas, moi, dans ce genre d’opéra qui s’y prête parfaitement, j’adore. D’autant que l’histoire se passe aux temps médiévaux, en Chine et que c’est en quelque sorte un conte plein de symbolisme et en même temps romantique dans ce qu’il a de terrible voire de barbare, l’un des opéras qui se prête le mieux au spectaculaire, le nombre de figurants est là pour l’illustrer, c’est presque trop sur notre petit écran, mais que ce devait être beau au Met ! Le premier acte est de ce point de vue particulièrement impressionnant dans l’animation qui règne sur le plateau. Les costumes, notamment ceux de Turandot sont éblouissants de luxe et de sophistication, et que les filles tentatrices au début du troisième acte sont belles, trop belles, comment Calaf peut-il préférer Turandot ? Ah ! L’amour est un grand mystère. Pour animer tout cet ensemble, avec des chœurs impressionnants, nous avons une direction d’orchestre magnifique qui met bien lumière une structure harmonique très riche avec beaucoup de percussions et des instruments exotiques mêlés à la formation traditionnelle, sachant demeurer en léger retrait par rapport aux chanteurs. La Turandot de cette période était incontestablement Eva Marton qui l’a beaucoup interprété, elle nous a d’ailleurs laissé plusieurs enregistrements dont celui de Vienne que j’aime aussi beaucoup, notamment avec la présence de J. Carreras en Calaf. Ce rôle est d’une difficulté exceptionnelle par sa tessiture, l’obligation de chanter à pleine voix et de changer fréquemment de registre, et de faire passer toutes les émotions par l’interprétation vocale, le personnage étant tenu à une rigidité de femme frigide et névrosée, engoncée dans sa parure imposante. Eva Marton dispose d’une voix à la fois puissante, capable de monter dans l’aigu sans faiblesse, et avec une musicalité parfaite. Son entrée au second acte est un grand moment de l’opéra, comme son final au dernier acte; son attitude après le baiser de Calaf est pleine d’émotion, elle est comme perdue, toute sa construction a été détruite en un instant ; on rêve de ce que Puccini aurait pu en faire s’il n’était pas décédé un peu trop tôt pour mieux exprimer la transfiguration par l’amour. Quel superbe duo aurait-il produit au final qui nous laisse toujours un peu insatisfait? Placido Domingo nous donne un bon Calaf, sans plus ; après un très bon début avec un bel air en fin de premier acte, par moment, notamment vers la fin, sa voix semble un peu fatiguée, notamment son « Nessum Dorma » n’a pas la dimension qu’un Pavarotti, ou même J. Carreras en donnait. Il produit malgré tout une interprétation héroïque, avec une forte présence scénique, en réplique à Eva Marton avec laquelle il échange le baiser dans un superbe duo. J’aime beaucoup l’interprétation de Liu par Leona Mitchell, avec une jolie voix dotée d’un aigu très fin et pur et d’une technique de chant parfaite; elle incarne si bien la faible jeune femme amoureuse et qui va être victime de son amour absolu, cet amour qui va s’opposer à l’orgueil de Turandot dans une confrontation saisissante, cet amour qui va la pousser au sacrifice dans la plus grande dignité, comme Madame Butterfly. Ce moment est pour moi au plan émotionnel comme au plan musical le sommet de l’œuvre. Je ne peux pas terminer sans dire beaucoup de bien des autres personnages, notamment Paul Plishka qui fut une superbe basse comme il le montre ici en Timur, et des 3 clowns virtuoses de la Commedia del Arte que sont Ping, Pang et Pong qui rendent une prestation parfaite, mais que je trouve toujours un peu longue. Donc, nous avons ici l’une des plus belles représentations de ce dernier opéra de Puccini marqué du sceau de ce metteur en scène extraordinaire qu’est Franco Zeffirelli qui ici a donné libre cours à son imagination dans un spectacle incroyable de richesse, comme les temps difficiles de nos jours ne le permettent plus, hélas…Zeffirellissimo !

This is one of the classic productions of Turandot. Spectacularly designed by Franco Zeferelli, Domingo is in great voice and the Met Orchestra has never sounded better.

Puccini's final opera has presented many headaches that no previous production that I have seen has been able to overcome. For a start, he left it unfinished. He was also breaking into fresh geographical terrain by setting it in China, and unlike Butterfly whose score includes an occasional genuflection to Japanese musical tonality, Turandot is full-blooded cultural appropriation of China's musical heritage. The characters, with the notable exception of Liu, have such little flesh and blood that they could have stepped right out of an Oriental Puppet Show. Along comes Franco Zeffirelli who casts his customary magic spell over the entire proceedings, raising it to a level that makes it indisputably Puccini's greatest musical achievement. The orchestration is magnificent, and in the melodic prominence given to the orchestra, the frequent use of leitmotifs, the overall narrative that brings Heaven and Earth into a deadly combat, and the dichotomous personna of the principle character ---- half Goddess, half human, the whole creation is positively Wagnerian in the very best sense. Zeffirelli artfully leaves the centre of the stage wide open to accommodate the action that, in the crowd scenes is often amplified by photo-projection. The awesome architectural structures are way back and mainly to the side. The costumes are ravishingly exotic. The stock Chinese characters such as the priests, councillors and executioner sing and act their roles with relish and realism. Eva Marton's Turandot is a tour de force that will set the benchmark for many years to come. Domingo's heroic tenor voice has never resonated more beautifully or effectively than in the demanding role of Calaf in this performance. As a foil to these two demonic Demi-Gods pursuing their own selfish ends with ruthless single-mindedness, Leona Mitchell as Liu and Paul Plischka as Calaf's blind father offer the face and voice of earthly humanity with sorrow and compassion. I have never heard better playing and singing from the Met orchestra and chorus under James Levine.The whole production ---- imprinted with the stamp of authority and excellence that characterizes all Zeffirelli opera productions ---------delivers a feast of singing and acting and seamless ensemble-work that make this a must-have treasure for all opera lovers, especially those with a special affection for the works of Puccini.

He tenido la oportunidad, a lo largo de mi vida, de ver varias interpretaciones de esta gran obra. Esta es sin duda la mejor. Leona Mitchell está soberbia y tanto Placido Domingo como el resto del elenco están más que correctos. Muy recomendable.