Performing arts critic Aušra Kaminskaitė ( 15min.lt) notices that, “Wilson, one can say, offers no interpretation he creates aesthetics, taps into sensations and seeks that the audience feels the attraction. The chanting crowd looks like a silent quotation from Boris Godunov - unlit it remains in the darkness and the stage is slit by a white stripe dividing the crowd in half.“ Her confession 'I know the stranger's name: it is Love' implies that there's no room for love in her country. Having succumbed to her feelings just for a fleeting moment, Turandot again becomes an unwavering dictator alone on the stage. As this is how he creates reality - with lighting. How is that depicted on the stage? As the creator of the world the director 'removes' Calaf from our field of vision by simply switching off the lighting for him.
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Calaf reveals his name, Turandot is free to do with him whatever she pleases to, and so she does. Theatre critic Vaidas Jauniškis ( menufaktura.lt) notes that, “Here, the most interesting thing is to observe the dramaturgy unfold phrase by phrase. As the result, not only Puccini but also Wilson leaves unsolved mysteries for the audience - spectators have to guess the dénouement of the performance intuitively.” Naturally, Alfano finished the opera in his own way, as a composer of the modernised music language of the 20 th century (whereas, Puccini was the last creator of the already waning Italian belcanto). Until his death, the composer managed to finish three quarters of the opera however, he did leave the sketches of the fateful duet of Turandot and Calaf, the finale of the opera as well as his authorisations for composer Franco Alfano and conductor Arturo Toscanini. / The dramaturgy of the opera Turandot is complicated it's ending does not belong purely on the will of Puccini. It is the last riddle 'What is ice which gives you fire /./?' (the answer is Turandot) that is the key to the changing range of colours in this performance - the blue background is constantly tinged with the crimson of Turandot's train. And yet Calaf, the unknown prince, manages to overcome the challenges of the wrathful princess. All suitors striving to win Turandot's hand and heart have to solve her riddles and if they fail, they are executed. Turandot is a fairy tale about a despotic Chinese princess taking revenge for her ancestress, whose love for a stranger killed her.
Here is how theatrologist Rima Jūraitė ( menufaktura.lt) describes the dramaturgical peculiarities of this opera, “The changes in Wilson's visualisations have been determined both by the music language of the composer and the plot of the opera. Wilson's Turandot received exceptionally many reviews of both Lithuanian and foreign critics in the media - the performance was almost unanimously recognised as the work that unites ideally the languages of theatre and music. In 2007, the artist staged Saint John Passion by Johann Sebastian Bach at the LNOBT. This is already the second work by Wilson in Lithuania. Lithuanian conductor Modestas Pitrėnas took up the post of the music director of the opera. The premiere of Turandot was organised in cooperation with staging co-author Nicola Panzer as well as numerous other co-authors such as co-set designer Stephanie Engeln and co-lighting designer John Torres. This staging of Turandot is the joint project of the LNOBT, Teatro Real in Madrid, the Canadian Opera Company in Toronto and Houston Grand Opera. I hope you can see it.On March 1-2, 2018, the Lithuanian National Opera and Ballet Theatre (LNOBT) housed the premiere of the opera Turandot by Giacomo Puccini, directed by American director, set and lighting designer Robert Wilson. The enthusiastic standing ovation and the beaming cast proved Houston is ready to enjoy great opera again.
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Plus you'll be treated to the world's favorite aria, Nessun Dorma, by tenor Kristian Benedikt - but only after intermission. Dramatic soprano Tamara Wilson was resplendent as the icy princess. That said, this is Turandot and HGO: expect amazing music from singers and orchestra, huge cast, ambitious sets. Younger adults and mature teens might also be receptive to the outside-the-box style. Since this is not old-fashioned opera, you might enjoy the production more if you know a little about what to expect. Robert Wilson's style is distinct and often imitated, but this is the real deal: expect a non-naturalistic approach, rich lighting and colors and funky stylized movements.
It was cheering to see the international cast truly enjoyed being a part of this show during a rowdy, Texas-sized standing ovation.
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