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Camden New Journal - Classical Music with JOEL TAYLOR
 

Big-screen show for classic opera

REVIEW - PUCCINI'S TURANDOT
By Helen Lawrence

THIS revival of Andrei Serban’s 1984 staging of Puccini’s Turandot at Covent Garden was broadcast on open air big screens all round the country on July 7 thanks to sponsorship by BP.
Part of the Royal Opera’s drive to bring opera to wider audiences, it was preceded by a “singalong” of Nessun dorma led by three tenors from the Royal Opera House Chorus, in the piazza outside, a novel idea and obviously greatly enjoyed by the large audience. Who says opera isn’t ‘accessible?’
The production, in Sally Jacobs’ spectacular tiered pavilion, now directed by Jeremy Sutcliffe, points up the commedia del’arte elements but to a degree that verges on pantomime. The choreography, (originally by Kate Flatt rehearsed now by Ann Whitley) is graceful and balletic, but there is too much – scarcely a bar goes by without stage movement of some kind.
By contrast the chorus are static, in serried ranks on the terraces of the pavilion, as masked, detached observers which mutes the power of the great choral scenes.
The central roles are two of the most difficult in the operatic repertoire. Georgina Lukacs as Turandot had the essential ringing top notes and was also capable of some effective soft singing but the crucial middle part of the voice lacked the necessary expressive warmth.
Ben Heppner’s is a beautiful voice, expertly used, and Nessun dorma did not disappoint. But ideally Calaf needs a voice with more heft, and Heppner did not really engage emotionally, seeming to wander round the stage rather aimlessly.
A good Liu will often steal the show from Turandot, but not here.
Elena Kelessidi’s obvious commitment as the slave girl was marred by wavery tone which too often affected pitch, although she was able to float the necessary soft high notes at the end of her two arias.
All the supporting roles were expertly taken. Mexican Jorge Lagunes, a fine baritone, made an auspicious house debut leading the trio of courtiers; Robert Lloyd was a noble and moving Timur.

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