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Puccini, Turandot: Soloists, Orquestra de la Comunitat Valenciana. Cor de la Generalitat Valenciana. Escolanía de Mare de Déu dels Desamparats. Conductor: Lorin Maazel. Palau de les Arts de Valencia. 25. 4.2009 (JMI)

Production: Palau de les Arts.
Director: Chen Kaige (original) Allex Aguilera (revival).
Sets: Liu King.
Costumes: Chen Tong Xun.
Lighting: Albert Faura.

Cast:
Turandot: Elisabete Matos.
Calaf: Francesco Hong.
Liú: Alexia Voulgaridou.
Timur: Orlin Anastassov.
Ping: Fabio Previati.
Pang: Vincenç Esteve.
Pong.Gianluca Floris.
Mandarin: Ventseslav Anastassov.
The Prince of Persia: Ossama Badreddline.


It was surprising to learn that the Palau de les Arts had once again programmed the Turandot performed last year under the baton of Zubin Mehta, although with a different conductor  this time.  It is true that it was a popular success, but it is unusual for a theatre  outside of Germany  to come up with the same opera in the same production in two consecutive years. But whatever the reason for this, the musical result was excellent.

These performances of Turandot are Lorin Maazel’s farewell to the Palau de les Arts, at least from his position as Director of the Orchestra de la Comunitat Valenciana [But see note below.Ed] Everything seems to indicate that Maazel had decided with this  Turandot to offer a kind of homage both to himself and to all opera lovers in Valencia. It is as if he decided to leave a musical interpretation which would endure in the memory of all those who saw it, and he has certainly achieved this. The first thought that comes  to my mind  is that I have never heard a Turandot to equal this one and I doubt that I ever will again.

If anybody knows what this orchestra can achieve, this is Lorin Maazel and I must say  that would be almost  impossible to attend a more brilliant and fascinating version of this Puccini masterwork. Its slow tempos usually have the disadvantage that, if the tension reduces at all, audience boredom immediately hold. This was not the case with  Lorin Maazel - his tempos were very slow indeed, but this allowed him to reinterpret the orchestral work so that it felt as if we were discovering a whole new opera. There was tension, dramatic quality, brilliance, colour, detail, nuance  and quality -  top quality – in what he did.  This Valencian musical testament from Lorin Maazel will not be easy to forget.

In only a few years  Maazel  has been able to form the best orchestra in Spain and to offer very personal and brilliant operatic interpretations. If his Madama Butterfly last year seemed to be a symphonic opera, this Turandot has turned into a genuine musical monument. From a bright enough Zubin Mehta  last year, we have progressed to exceptional depth from Mr Maazel this year. They are not simply two faces of the same work, but a sparkling performance on the one hand, and a definitive, insurmountable version on the other. The Orchestra proved  that under  Maazel’s leadership, they are a true top quality orchestra and  the Chorus also produced a great performance.

Of the production by the Chinese film director Chen Kaige I have little to add to what I wrote last year while the  vocal casting, although offering both light and shade, did not reach quite the standard of last year’s production.

The main protagonist was the Portuguese soprano Elisabete Matos, who was promoted to first cast after Maria Guleghina cancelled. Ms Matos is a very interesting soprano, probably a little bit short of power for the role, but she has two very appreciable qualities: in the first place she sings the part and does not shout, as happens so often; secondly, she  offers a very  interesting interpretation of the character, becoming very convincing in her change from Ice Princess to a vulnerable human being in love. I have always thought that this singer is undervalued by the opera houses of the world and on this occasion she proved me right again. Popular reaction is particularly deceptive in this opera, where the success goes always for Liu and to  Calaf,  particularly if he  shines in Nessun Dorma. But with  all respect to audience opinion, I considered Ms Matos’ performance to have been  the most accomplished of the evening.

The Korean tenor Francesco Hong was Calaf and he offered a good deal of brilliance in the higher register, but was generally short on  expressiveness. He is one of the few Korean singers  who is enjoying a good career in the big opera houses but  personally whilst I  find him  quite bright in the upper part of the tessitura, his middle range seems rather mediocre and the bottom is almost inaudible. He was at certainly at his best in “Nessum Dorma”, whereas “Non piangere, Liú” was not particularly brilliant. He also ducked the high C at “Principessa altera, ti voglio ardente”.

Alexia Voulgaridou  must be on the permanent payroll of the Palau, since her presence is almost continuous in this house.  On this occasion,  she  replaced Cristina Gallardo-Domas, who has cancelled all her contracts due to health problems. Hers was a decent interpretation of the faithful slave. If she went through “Signore ascolta” without either much pain or glory, she was distinctly disappointing in “Tu che di gel sei cinta”, and was far from being a great Liu.

As Timur,  we had the Bulgarian bass Orlin Anastassov, who sang well, despite a problem with his high register, which  is not properly projected. This is a pity, because the voice is otherwise beautiful and he is a remarkable singer.

Ping, Pang and Pong did not offer very  much interest or particular brilliance. The parts were performed by Fabio Previati (Ping), below his standard of last year, Vicenç Esteve (Pang) and Gianluca Floris (Pong). Ventseslav Anastassov was acceptable as the Mandarin.

There was a full theatre and an enthusiastic final reception  for Lorin Maazel and the orchestra. I have the impression that audience  members were conscious that they will not  hear a Turandot like this again. Among the singers,  as usual the best reception was for Liu and Calaf.  Thank you for ever, Maestro Maazel.

Note: Two days after this performance, I learned that  Lorin Maazel has agreed finally to extend his contract with Palu de les Arts for two more years. Excellent news.

José M Irurzun


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