Music Reviews

Nov 6, 2004 - Puccini's exotic "Turandot" thrills via Nevada Opera's rapturous production

By Jack Neal

One always wonder why Turandot, the icy princess of three-riddle fame, gets so much attention from gentlemen callers. They have much to lose (their heads for starters) and what do they get? A cold, arrogant mess of a woman. But she is rich, mysterious, wears fascinating clothes and is a knockout singer.

Such is what makes, sans the singing, the world of soap opera go around. And such is what makes Puccini's exquisite music, with lots of singing, go around and on and on into the stratospheric wonders of operatic ecstasy.

Friday night (11/5/04) Nevada Opera tackled the lush and hypnotic "Turandot," with all the difficulties it entails, and came up with a great big grand opera winner. Blessed with a remarkably fine cast of singing actors and a topnotch production crew of stagers, costumers and set and lighting craftsmen and craftswomen, the company's "Turandot" was one thrill after another for the large Reno audience which greeted this triumph of art over challenges with a much deserved ovation.

Friday's opening night audience could and should have been even larger (about a 1000 in a 1400 seat hall). A standing room only crowd is what this stunning production deserves. Maybe that will happen Sunday when Nevada Opera's "Turandot" gets its final performance in its all too short two-performance run.

Two roles moved into legendary status in the later half of the 20th century by tenor Luciano Pavarotti (Calaf) and sopranos Montserrat Caballe, Joan Sutherland and Maria Callas (Turandot) are being sung in Reno by the superlatively gifted soprano Claudia Waite, a fabulous Turandot, and the gifted tenor Arnold Rawls who turns in an impressive performance as Calaf.

The opera is the odd and exotic story of the emotionally icy Turandot and her encounter with the impetuous Calaf, a prince unknown to any in the princess's royal court. Calaf is a rugged young man who would love to be the imperious Turandot's lover. Set in ancient China, the opera's plot thickens immeasurably when Calaf discovers that Turandot is dead set against marriage - with anyone.

So dead set, in fact, suitors are told they must solve three riddles to win her hand in marriage. Beheading is the reward if any of the riddles are missed. Enter three of opera's most enigmatic and entertaining characters, Ping, Pang and Pong. These three Ps of orient are, are Turandot's riddle masters - a kind of operatic male Andrew Sisters in court-jester drag.

When Calaf answers all three riddles with relative ease in a game old Peking must have called "Triple Jeopardy," Turandot loses her icy cool and begs Calaf to free her from any possible marriage. How Bush Republicans would respond to this refusal to propagate is anyone's guess. Nonetheless, nice guy Calaf agrees to let Turandot off the hook and out of the marriage bed, but she must discover his name before sunrise the next morning or the deal is off.

In the meantime, and at all times as the plot unfolds, "Turandot" is loaded with exquisite music exquisitely sung and played. Dennis Jesse, David Root and Bradley Howard sing Ping, Pang and Pong and they are delightful in manner and rich of voice.

Claudia Waite is a defining Turandot. Regal and elegant in both movement and voice she does not sing in the shadows of the opera's mythic 20th century princesses. With this volatile role, Waite opens up spigots of vocal passion, Act II's "Gelo che ti da foco" to name but one, and lets emotion pour out She is perfection in her own right and never shirks from her moments in the sun. Even though from time to time the role's strenuous requirements are a bit of a stretch, Rawls is nonetheless a formidable Calaf and sings the opera's most beloved aria, "Nessun Dorma," with poignancy, passion and a vibrant and clear tenor.

Emily Martin sings Liu, the servant girl devoted to Calaf, and she is a compelling and radiant singing actor. Her last act "Tanto amore segreto" is hauntingly and gorgeously brought off. As Timur, Calaf's long-lost father and Liu's master and guardian, Young-Bok Kim delivers a touching performance with an assured bass voice that has a way with a softly caressed phrase. Robert O'Brien is a most affecting Emperor Altoum. Lawrence Clawson acquits himself with honor as the Mandarin who publicizes the rules for the games Turandot plays.

Michael Borowitz, Nevada Opera's jack of all trades and master of them all (artistic director, production coordinator, chorusmaster) conducts and he moves the production with dispatch, a keenly intuitive revelatory nature for recreating Puccini's luminous orchestral colorations, and an obvious love for the opera's rich score. The Nevada Opera Orchestra is in top form. The Nevada Opera Chorus is superb and moves and acts with a sense of theater rare for opera chourses.

William Shomos's staging is powerful and moving. Susan Allred and Donna Howell's costumes are ornate and lovely. R. Keith Brumley's lavish sets are handsome. Don Smith's glowing lighting gives the production a look of enchantment.

"Turandot" opens Nevada Opera's 37th season on an enviably high note. It's current, choice and absolutely should not be missed.

"Turandot" is performed at the Pioneer Center for the Performing Arts, 100 South Virginia Street, Reno, Friday, November 5, 2004, at 8 p.m. and Sunday, November 6, 2004, at 2 p.m.. Mezzo Soprano Jennifer Larmore sings in concert with the Nevada Opera Orchestra January 22, 2005, at the Reno Hilton Theater. Franz Lehar's "The Merry Widow" closes the company's season with performances March 18 and 20, 2005. For information call 775-786-4046.