BWW Reviews: Union Avenue Opera's Stirring Production of TURANDOT

The Union Avenue Opera begins season seventeen with Giacomo Puccini's classic, and final work, Turandot (with libretto by Giuseppe Adami and Renato Simoni), and it's an excellent production buoyed by several fine performances. The opera itself combines the exotic, the romantic, and the poignant in Puccini's dynamic score, and the orchestra, conducted by artistic director Scott Schoonover is in fine fettle with their achievements here. Although Puccini died with only about two-thirds of the material finished, it's certainly engaging from start to finish, and appears to be a fully realized piece.

The action takes place in Peking, China, many centuries ago, where an edict states that any Prince seeking the hand and heart of Princess Turandot must first answer three riddles correctly, or lose their head in the process. The opening act finds the Prince of Persia succumbing to this fate as the moon rises and the citizens, who seem driven with blood lust, urge the dastardly deed on. But, even though Prince Calaf is made aware of these circumstances, he decides to venture forward, striking the gong to announce his intentions. When he finally succeeds, he offers Turandot a riddle of his own, which places his life in jeopardy if she can solve it. Though there is more than a bit of tragedy along the way, Princess Turandot is changed by Calaf's attentions, ensuring a tempered, but happy ending.

Adam Laurence Herskowitz does exceptional work as the determined Prince Calaf, and his vocal range is very well suited to this material. Alexandra LoBianco is equally good as the seemingly unapproachable Princess Turandot, and she displays a powerful voice of her own. But it's Christia Starnes who steals the show as Liu, a slave girl who's smitten with Calaf, and has faithfully tended to his father Timur, the deposed King of Tartary. Starnes gives a heart-breaking performance in a role that requires her to hit some high notes of her own, and she responds with breath-taking skill. Aaron Stegemoller also impresses as Timur, and Jon Garrett delivers strongly as the Emporer Altoum, who attempts to discourage Calaf from his quest. Todd von Felker (Ping), Clark Sturdevant (Pang), and Andrew Papas (Pong) are good in support, especially as they lament the reign of bloody terror that has befallen the kingdom, and as they act in concert to keep Calaf from striking the fatal gong that will set the plot in motion.

Mark James Meier's stage direction is superbly mounted, and the action is always clear and concise in execution. Patrick Huber's multi-level scenic design is eye-catching, conjuring up the locale in nice fashion, and he does a masterful job of lighting both it and the actors. Teresa Doggett's costumes are well done as always, and also aid greatly in setting the proper atmosphere and mood.

The Union Avenue Opera have set the bar high with this equally tragic and hopeful presentation of Puccini's Turandot. This well-mounted and stirring production continues through July 16, 2011 at the Union Avenue Christian Church.

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