“Every era has its art, every art has its freedom”. It is the famous motto of the Viennese Secession, engraved in golden letters on the magnificent Olbrich Palace, in the Austrian capital. Mutatis mutandis, the motto could also be applied to opera productions. “In every era his direction, in every direction his freedom”.
A reflection that comes to mind when witnessing yet another filming, in Verona Arenafrom the Turandot Of Giacomo Puccini signed by Franco Zeffirelli. A show that well expresses the characteristics of the Florentine master’s approach: the attention to detail, the ability to move the masses, the very fine aesthetic sense, the work on the protagonists, the desire to always place music at the centre. Therefore, an installation which – together with others by Zeffirelli – has not only intercepted and shaped the taste of an era (as claimed by the Viennese secessionists), but also stands the test of time and the changing sensitivity of the public. Spectacularity is the key word of this direction, fully justified because it is consistent with the dramaturgy of Puccini’s masterpiece and in any case presented in a theatrical way and not as an end in itself. Furthermore, a staging shot with great precision and which never slips into calligraphy, thanks to the contribution of excellent mimes, to the elegant choreographic movements of Maria Grazia Garofoliwith the lights always accurate and capable of enhancing with soft colors the sumptuous scenes and the rich costumes (designed, the latter, by Emi Wada).
We found that same chromatic preciousness that shone on stage in the directorial reading of Michele Spotti. A Turandot, his, in some ways unprecedented in a context like that of Verona, where the vastness of space often sacrifices details. The young director thus focuses on a broad color palette, with beautiful shades and an incisive dramatic sense throughout, tense between the languor of certain pages (see the invocation to the moon in the first act) and the angular writing of others, fully twentieth-century and at times expressionist. The modernity of Puccini’s writing emerges so vividly, its evocative power, the exhausted sweetness of the melodies, the emotion of the choral breath. The rhythmic definition is always clear, as is the accompaniment to the singing, for an excellent cast.
Starting with the protagonist Olga Maslova, making his debut in the Arena: voice of notable volume, solid in the central register, well-established in the upper register, with notable high notes and without forcing in the low registers. The Russian soprano then demonstrates her ability to modulate and nuance the sound, resulting in a Turandot that is more mysterious than contemptuous, already touched by a thrill of humanity when she appears on stage in the second act. Gregory Kunde he plays Calaf with his usual stage and vocal charisma, despite the difficulty in holding some long sentences and the need to take a few more breaths. He rises to the top with ease, if not with ringing, and phrases with remarkable variety. The soft vocal paste of Maria Agresta is placed at the service of a Liù who admirably combines intense lyricism and strength of spirit, with a very broad play of accents. Riccardo Fassi outlines a nobly proud Timur, Leonardo Cortellazzi an authoritative and not at all tremulous Altoum, while the three masks are excellent in terms of liveliness and vocal quadrature (Youngjun Park, Riccardo Rados, Matteo Macchioni). They complete the poster worthily Hao Tian (A mandarin), Eder Vincenzi (The Little Prince of Persia), Grazia Montanari And Mirca Molinari (The Handmaids of Turandot). The choir, instructed by Roberto Gabbiani, combines power, delicacy and variety of colors with admirable musicality. Finally, the children of the A.d’A.Mus children’s choir, directed by, also did very well Elisabetta Zucca. 
Arena Opera Festival 2024
TURANDOT
Opera in three acts and five scenes
Booklet by Giuseppe Adami And Renato Simoni
Music by Giacomo Puccini
Last duet and finale of the opera completed
by Franco Alfano (second Toscanini revision)
Princess Turandot Olga Maslova
Emperor Altoum Leonardo Cortellazzi
Timur Riccardo Fassi
The Unknown Prince Gregory Kunde
Liu Maria Agresta
Ping Youngjun Park
Pang Riccardo Rados
Pong Matteo Macchioni
A mandarin Hao Tian
The Prince of Persia Eder Vincenzi
Turandot’s maids Grazia Montanari, Mirca Molinari
Orchestra, Choir, Dance and Technicians of the Arena di Verona Foundation
Director Michele Spotti
Choir master Roberto Gabbiani
Children’s choir A.d’A.Mus.
Master of the Children’s Choir Elisabetta Zucca
Direction and scenes Franco Zeffirelli
Costumes Emi Wada
Choreographic movements Maria Grazia Garofoli
Dance Coordinator Gaetano Petrosino
Stage director Michele Olcese
Verona, 15 June 2024
Photo: Ennevi
Photo: Ennevi
Photo: Ennevi
Photo: Ennevi
Photo: Ennevi
