Though he never quite completed it Turandot is regarded by many as Puccini’s masterpiece. Here, once again, the composer while remaining faithful to the nineteenth century operatic tradition explored newground in particularly in the treatment of his heroine and in the use of the commedia dell’arte elements.  Turandot is no longer the loving heroine of his previous operas, but an Ice Princess who has renounced love and seeks only power.  The music he wrote for his character is very dramatic, with a high tessitura that is accompanied by orchestration that sounds metallic, her theme being stated by reverberating brass.  Only in the final scene when Turandot tells Calaf how she felt when she first saw him does she melt and become a woman. Before this final scene one can hear the softening of a woman in the orchestration and Turandot’s theme is played by the cellos.

Turandot was the opera that the Aurora Theatre Management in Gozo chose as their production for 2012. Their star singer in the title role was the Russian soprano Maria Guleghina.  Guleghina has the right steely voice for the role, with absolute freedom at the top. This is not a long part but but it strains the voice which needs to be sustained at high tension all the time.  Guleghina sailed through the role with its high tessitura with a seeming effortlessness hitting the high notes spot on.  In the final scene her voice became mellower and softer.  Her wide dynamic range and superb voice control enabled her to move with equal effortlessness from powerful fortissimos to a pianissimo which still remained audible throughout the theatre.

Contrasted to her is Liu, another soprano role, a part that Puccini himself introduced in the original story to Giuseppe Adami’s and Renato Simoni’s libretto.  Liu is a yong female slave who sacrifices her life to help save Prince Calaf.  Hers is a lyrical role, generally accompanied by light orchestration that is gentle and flowing.  Miriam Cauchi in this role was in excellent form displaying a fine melodic legato vocal line.

Bass Noel Galea’s Timur, the aged and deposed king and father of Calaf, was a gentle yet dignified interpretation role fully complementary to Liu’s.

Tenor Valter Borin was a Calaf with a fine presence and a pleasant enough singing voice that warmed up as the performance proceeded.  He was best in the tender aria Non piangere Liu though his Nessun dorma, the big party piece in the last act needed a voice with a greater dramatic quality.

The other important characters that, who though not directly involved in the plot yet serve as a kind of Greek chorus, are Ping, Pong and Pang, three characters that originated in the commedia dell’arte. They appear throughout as a trio singing mainly in a contrapuntal or canonical style. Baritone Pier Luigi Dilengite,  and tenor’s Leonardo Alaimo and Roberto Covatta, played and sang well together and introduced a lighter touch to the overall ponderous drama of the story and the music.  

The chorus forms an integral part of the opera, both musically and dramatically. The Aurora chorus sang well and helped to build up the atmosphere of the piece.

Tenor Stefano Consolini’s Altoun, Turandot’s father, was a pale portrait both visually and vocally, while Louis Andrew Cassar’s Mandarin, that opened the performance struck the right tone.

The production was in the hands of Novella Tabili. Aided by attractive costumes and an attractive set, she succeeded in presenting a performance that was alive, even while it retained a stylised oriental air.

Colin Attard conducted the Malta Philharmonic Orchestra and kept all his forces, orchestra, choir and soloists moving smoothly ensuring the right balance between the various elements.