TURANDOT – ANTONIO PAPPANO

Antonio Pappano’s recent recording of Puccini’s “Turandot” brings a grand revitalization to this intense and bewitching opera. While many contemporary opera recordings opt for more economical approaches such as capturing live stage performances, Pappano’s production stands as a testament to the enduring appeal of high-quality studio recordings, bolstered by star singers and meticulous orchestral execution.

In this rendition of “Turandot,” Pappano collaborates with the Orchestra dell’Accademia Nazionale di Santa Cecilia in Rome, a departure from his usual association with the Royal Opera House. This strategic move highlights Pappano’s mastery in diverse settings, showcasing his capacity to extract exceptional performances from orchestras across different locales.

“Turandot” is renowned for its juxtaposition of a grim fairy tale narrative with Puccini’s captivating musical compositions. The orchestra, under Pappano’s guidance, unveils the savage essence of the score, skillfully capturing its ceremonial grandeur and exotic allure. The recording’s impeccable sound quality magnifies the dramatic contrasts present in the music, even the pizzicato strings carrying an air of foreboding.

Notably, Pappano’s interpretation captures the haunting essence of the Santa Cecilia chorus, creating an aura of terror that envelops the listener. Despite the distancing constraints imposed by the pandemic, the chorus projects a palpable intensity that adds a layer of menace to the production.

A significant aspect of this recording is the inclusion of Franco Alfano’s original ending, a rare occurrence in a complete recording. Puccini’s untimely death led to the opera’s completion by Alfano, and Pappano’s embrace of the Alfano ending sheds new light on the opera’s climactic moments. While debated as problematic by some, the Alfano ending is given a fresh perspective through this interpretation.

The vocal cast boasts luminaries Sondra Radvanovsky, Jonas Kaufmann, and Ermonela Jaho, who rise to the occasion with compelling performances. Radvanovsky’s commanding soprano lends Turandot the necessary imperiousness, juxtaposed with moments of vulnerability. Kaufmann’s baritonal tenor, though less traditionally heroic, paints Calaf with layers of complexity, his rendition of “Nessun dorma” striking a poignant chord. Jaho’s heartfelt portrayal of Liù adds emotional depth to the narrative, her vocal acting infusing the character with authenticity.

Pappano’s “Turandot” emerges as a triumphant addition to the annals of opera recordings. It not only stands up to the formidable competition posed by historical renditions but also introduces the Alfano ending in a complete recording, offering a fresh perspective on this contentious aspect of the opera. With its stellar vocal performances, masterful orchestration, and audacious exploration of the opera’s alternate ending, Pappano’s “Turandot” secures its place as a standout entry in the operatic discography.