Review: TURANDOT, Royal Ballet And Opera

Even more than 40 years since its original run, Andrei Șerban’s production of Turandot succeeds in impressing audiences with its animated choreography, spectacular use of colours and masks, and atmospheric use of lighting to create a visual spectacle. Jack Furness is once again the revival director and maintains the same freshness that he did back in 2022.

Turandot is often considered a flawed masterpiece: the music is some of Puccini’s most daring, but the plot is comparatively far-fetched and, when examined carefully, rather disturbing with its bloodthirsty titular character (here performed masterfully by Sondra Radvanovsky) who is conquered by the love of a rather hapless and cocksure hero, Calaf (portrayed by a dominating SeokJong Baek), who entirely dismisses former slave Liù (beautifully renditioned by Anna Princeva), who commits suicide on his behalf.

But much of this criticism ignores the fact that the opera is meant to be a fable - characters aren’t fleshed out since the plot is making a fairly straightforward point about love and leadership, and how the former can be used to overcome any obstacles. Perhaps not satisfying to the viewer seeking deep psychological profiles, but perfectly suitable for a grand opera.

This production leans heavily into this fantasy. Inspired by the 1762 play by Italian playwright Carlo Gozzi - the source material for Puccini’s opera - the staging practically sparkles with colour, masks, and an almost mystical ambience that casts everything into an almost dreamlike landscape evoking China. Paired with the original choreographer Kate Flatt, there truly is little to complain about. 

Radvanovsky’s Princess Turandot is absolutely magnificent: making a jaw-dropping entrance, she perfectly controls each and every note of what is a challenging role throughout, even as her character turns from murderous tyrant to heartfelt lover. Opposite her is Baek’s Calaf, bringing a confident, determined and alluring tenor to the mix; he never falters in any of his pieces and carries Calaf with an air of nobility that is maintained throughout. The supporting cast is similarly aptly chosen with Princeva’s Liù adding a particularly tragic tone to her role.

The Orchestra of the Royal Opera House performs Puccini’s beautiful music at its usual outstanding level under the guidance of conductor Rafael Payare, who demonstrates a strong familiarity and love for the opera. Șerban’s production shines even after all these years and, while perhaps not modern enough for some viewers, is doubtlessly a classic of the Royal Ballet & Opera at this point. A great success, all around.

Turandot is at the Royal Ballet And Opera until 19 April 2025

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