Turandot, Covent Garden - opera review

This traditionalist production of Turandot enjoys a bracing revival in which Eri Nakamura is heart-melting as Liu
12 September 2013

Andrei Serban's 1984 production of Turandot, with its fearsome Chinese masks and dragons, flashing swords and blood reds, spectacularly captures the aestheticised cruelty of Puccini's work. That it does so as vibrantly as ever in its 15th revival (directed by Andrew Sinclair) is largely due to the ongoing involvement of the original designer (Sally Jacobs) and choreographer (Kate Flatt).

But this time it is reanimated too by the young Hungarian conductor Henrik Nanasi of the Komische Oper Berlin, who maintains a thrilling sense of propulsion and sweep of phrase, while drawing ravishingly sensuous textures where appropriate. Careful to avoid the pitfalls of self-indulgence and vulgarity, he’s undoubtedly a name to watch.

Lise Lindstrom brings to the title role an impressive pair of lungs and a tone as incisive and unforgiving as the blade of the Executioner’s scimitar. It’s not a lovely sound and it does little to win much sympathy for the Ice Princess. Marco Berti’s Calaf similarly takes no prisoners: from the start his delivery is intimidatingly full-throated. Had no one told him he had Nessun Dorma to come in the third act? But despite a certain stiffness in tone and phrasing, he delivers an accomplished and exciting account of the role.

Eri Nakamura’s heart-melting Liu deserves a special mention. Serban’s traditionalist production serves the work well enough, especially in this bracing revival, without bringing much new to it.

Until September 28 (020 7304 4000, roh.org.uk)

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