Opera_North_Turandot - Page: 1 of 1

BY: Paul Joseph Walkowski
OperaOnline.us
To win the hand and heart of Peking’s passionless and ruthless princess, “Turtandot,” sung by Claudia Waite, a suitor must answer three riddles she poses. Failing any one riddle results in beheading – and many have failed. As her latest suitor loses his head to the sword a young mysterious prince, Caláf, sung by Michael Hayes, enters the city. He falls instantly in love with the icy princess and asks for her hand in marriage.

Be warned, her father, Emperor Altoum, sung by Allen Pinkney, advises, leave the city while you still have your head, for the ominous vow of “death upon failure” is sacred and cannot be broken. Caláf consults with his blind father, Timur, sung by Craig Hart, and his father’s servant Liu, sung by Kimwana Doner, who is secretly in love with Caláf -- and against their pleadings to leave, insists that he be allowed to take up the challenge and be given the chance to win the princess’s hand.

This was Puccini’s final opera, and one of his best.

Saturday evening, August 11th, at the Lebanon Opera House in western New Hampshire just a few miles from the Vermont border, Opera North celebrated its 25th Anniversary by bringing this shamelessly romantic masterpiece to the stage in a production that was glorious in every way one measures a successful opera production. Here’s a piece of advice: if you haven’t been to an opera in a while and think it may have lost its glow, or if you are wondering what the fuss is all about, this production may be just the thing you’ll want to see, to either refresh your memory and/or serve as a thrilling introduction, as the case may be.

Musically, the hall was filled with magnificent instrumental, choral and virtuosic work from an ensemble of performers that exceeded all expectations and, yet, at the same time didn’t surprise those of us who have followed this remarkable company’s past efforts. The production was filled with color, and was masterfully staged and costumed. If you saw Zhang Yimou’s film “Curse of the Golden Flower,” you will understand what I mean when I say this production was a feast for the eyes as well as the ears.

Production-wise, the entire artistic team deserves a huge, Well Done! Director Ron Luchsinger, for having the vision to see it the way it was presented and presenting it with such style; set designer Yoshinori Tanokura, for simple but effective sets that came in and out of view effortlessly and without disrupting a single scene; costume designer Patricia Hibbert, for giving us a richly outfitted show that matched the era and mood of each scene; and lighting designer David Gelhar for lighting the stage and background in rich reds, golds, blues, yellows – all in a seamless rainbow that created the kind of mood that gave this production a polished and big stage glow without interruption.

The performance of the orchestra led by Louis Burkot was about as good as it gets – rich, full, passionate and nuanced around a stellar cast of singers, headed by Soprano Claudia Waite, who gave us a chilling, aloof, menacing “Turandot,” with a voice of pure gold and reach to make it all seem effortless, and Tenor Michael Hayes, who has yet to turn in a performance with a flaw. This singer is remarkable, involved and dynamic throughout his range. His “Nessum Dorma” elicited loud applause and shouts from the audience even before he was finished. “Semper Fi”!

Also worth high praise was Soprano Kimwana Doner who gave us a sensitive, vulnerable and determined vocal and stage performance as the servant girl, Liù; bass Craig Hart as the exiled King, Timur, whose voice resonated with an easy and pleasant sound, matched by a solid stage presence and performance as well, and Ping, Pang and Pong: baritone Brian Carter, tenor Jin Ho Hwang and tenor John Rogers, respectively, who added immeasurably to both the merriment and solid vocal artistry that made this show such an unqualified success.

This was a production filled with exceptional performances and color throughout and one that if you’re in the area August 14, 17, 19(m), 22 or 25th you should not want to miss. It’s worth the trip. Another well-deserved feather-in-the cap for the Burkot/Luchsinger team and this fine summer opera company.

Oh, the riddles:
What is born each night and dies each day?
What flickers red and warm like a flame but is not fire?
What is cold as ice but burns like fire?

The answers:
Hope.
Blood.
Turandot!

Conductor, Louis Burkot
Director, Ron Luchsinger
Set Designer, Yoshinori Tanokura
Costume Designer, Patricia Hibbert
Lighting Designer, David Gelhar.