Title of great appeal, especially if a rate to receive in this case is a single air or, even less, a single note ... The stands are crowded and still the code to enter are quite long when there are few minutes to the first gong . Lots of people come to hear the famous "I will win!", But the problem is that the "vin-ce-rò!" It comes only in the third act and after before you can go home it is still more than half an hour ...



In short, it is not easy to keep people, thousands of people, on those warm seats waiting for their favorite moment trying to convince them that all, but all, the Turandot is a magnificent work! Well, Zeffirelli in the magic and keeps us glued to the armchair with one of his most beautiful shows. We are in fact in front of the Zeffirelli style, the one that really manages to make us dream. Perhaps congratulations in this success, however, is the commitment of Franco Zeffirelli signs a spectacular direction, rich and opulent but never redundant. There are in China never existed, if not in fairy tales and stories. Clearly at the base is a great study that leads this artist to successfully deal with a repertoire among the most difficult, but has a lot more: above all, he can tell to the public this "humanity". Even in the princess of frost, all wrapped up in her own austerity, she manages to free her soul and convince the public.It is a real pity that Puccini did not write him the end of the work because the evolution of this woman is perfectly incarnated.



The scenes are impressive and magnificently popular, the sense of wonder can not but involve even the most demanding palates, like my director. This is the way it is narrated, this is told in a logical and simple way, as you would any fairy tale, playing with shapes and colors, weaving each episode into a magnificent inlay of wooden lacquers. Excellent direction of the protagonists and the masses that crowd and clear the scene coherently and accurately and in a short time, a sign of an excellent pre-production work. Complete with all the costumes by Emi Wada and the lighting design by Paolo Mazzon.

The proof of the musical composition has certainly also played a favor. First of all the direction, pass me the term, "magic" by Daniel Oren. I rarely heard the orchestra play so well! The direction of Oren tends to privilege the emotional aspects of the story in the hole, just as the modernity of the refined music of this Puccini becomes one with the theater. Music at the service then of a fairy tale that transports us to distant places of our soul. Excellent all the sections in the hole that follow him in every intention signing a mature and sensitive test. As for the vocal cast, in the evening of view on July 18, a set of aces paraded.

The role of Calaf is supported by the Turkish tenor Murat Karahan, already appreciated Cavaradossi of the 2017 season. The voice is very beautiful and despite possessing, the tenor, the heroic temperament very appropriate to the role of the unknown prince exploits a lyrical, ductile and very fresh which makes it ideal and credible in the part of the young enthusiast. As we have already appreciated at the Theater, Murat’s work asserts itself, it is never in the bravado of the high register that is still dazzling, but in the continuous work of chiaroscuro with which he solves his characters. How well it was well built the famous aria "Nessun dorma" in "Do not cry Liù" perhaps touches the best moment of his Calaf.

Anna Pirozzi in Turandot has signed a unique test from her. The voice of dramatic soprano of agility is now well known and always gives us great emotions. The timbre is pasty and despite the large volume has been designed to soften and pianissimo from star players. Thus his "palace" and the whole enigma scene becomes a monument. Clearly at the base is a large study that leads this artist to successfully deal with a repertoire among the most difficult, but has a lot more: manages to capture the humanity of each of his characters and, above all, can tell the audience this " humanity". Even in the princess of frost, all wrapped up in her own austerity, she manages to free her soul and convince the public.It is a real pity that Puccini did not write him the end of the work because the evolution of this woman is perfectly incarnated.