{"id":86150,"date":"2024-03-01T18:16:15","date_gmt":"2024-03-01T23:16:15","guid":{"rendered":"https:\/\/operawire.com\/?p=86150"},"modified":"2024-03-01T21:17:10","modified_gmt":"2024-03-02T02:17:10","slug":"metropolitan-opera-2023-2024-review-turandot","status":"publish","type":"post","link":"https:\/\/operawire.com\/metropolitan-opera-2023-2024-review-turandot\/","title":{"rendered":"Metropolitan Opera 2023-2024 Review: Turandot"},"content":{"rendered":"
(Credit: Karen Almond \/ Met Opera)<\/h6>\n

The 350th performance of \u201cTurandot\u201d at the Met exceeded expectations with Ukrainian conductor <\/span>Oksana Lyniv<\/span><\/a> and Russian soprano <\/span>Elena Pankratova<\/span><\/a> making their house debuts and intentionally working together to deliver jaw-dropping moments of overwhelming musical beauty and power. <\/span><\/p>\n

The night also featured remarkable performances by South Korean tenor <\/span>SeokJong Baek<\/span><\/a>, Polish soprano <\/span>Aleksandra Kurzak<\/span>, Ukrainian bass <\/span>Vitalij Kowaljow<\/span>, South Korean baritone <\/span>Joo Won Kang<\/span>, American tenor <\/span>Tony Stevenson<\/span>, American tenor <\/span>Andrew Stenson<\/span>, Italian tenor <\/span>Carlo Bosi<\/span>, Chinese bass-baritone <\/span>Le Bu<\/span>, Met Opera Chorus, and many note-worthy cast members. This production re-invigorated life into Puccini\u2019s score and Franco Zeffirelli\u2019s timeless set design.<\/span><\/p>\n

Getting it Right<\/h3>\n

\u201cTurandot\u201d is an operatic work that houses contradicting themes arising from a Western projection of the East. Within the context of opera\u2019s traditional bias, this real problem cuts to the core, leaving complexities to exist through means of entertaining exploitation and convoluting orientalism. However, the focus of this review is to further the evolution of opera by taking a look at what the Met Opera absolutely did get right for this season\u2019s debut and that begins with the conductor, Oksana Lyniv.<\/span><\/p>\n

Lyniv is steadily changing the course of what a female conductor can do within the industry. Her <\/span>bio<\/span><\/a> highlights examples of this in her career as the Music Director of Teatro Comunale di Bologna since 2022, making her the first female chief conductor of an Italian opera house. She also made history as the first female conductor in the history of the Bayreuth Festival with her debut production of “The Flying Dutchman” opening the festival in 2021. Following the sensational success of the premiere, she was committed to Bayreuth until 2024. In addition to what her bio documents, experiencing Oksana Lyniv\u2019s work live is a whole other realm of appreciating more about what her expertise and intuitive drive can actually do when given the space to do it.\u00a0\u00a0<\/span><\/p>\n

Puccini\u2019s music for \u201cTurandot\u201d has exponentially influenced opera in many ways, and while it was completed posthumously after Puccini died of a heartattack in 1924, the work as a whole stands to deliver his legacy \u2013 let the music live. This being said, Lyniv\u2019s overall accomplishment while conducting was in how she honored Puccini\u2019s music by leading everyone with her brilliant technique and garnering unconditional support from the cast.\u00a0<\/span><\/p>\n

From the moment Lyniv stepped onto the podium and raised her arms to begin the opera, there was a definitive clarity of alignment in her posture and the orchestra\u2019s attention. This heightened level of awareness during the opening then defined the rest of the opera. Here was a conductor working by means of extreme precision and respect. One cannot deny the power in how a conductor \u201cconducts\u201d themselves, and one could not deny the excitement when seeing this level of performance unfold. It was thrilling!<\/span><\/p>\n

In addition to Lyniv\u2019s astounding house debut performance was the exhilarating performance by soprano Elena Pankratova. All throughout the opera the two mirrored each other\u2019s courage to lean into the music more and turn up the excitement! Just when one thought Pankratova\u2019s voice was reaching a new height, it just kept going. Her voice literally took my breath away several times. The overwhelming intensity of Pankratova\u2019s force was directly influenced by her unshakeable vocal technique. Her breath was so precisely measured that she could\u2019ve easily stretched beyond where she was by the end of every phrase. If there was ever a performance that showed me by example what it looks and sounds like to witness two women in their power, it was this one. I will never forget how my heart leapt with joy in the presence of such greatness. This duo was historical and leaves me hoping that one day they will unite for Shostakovich\u2019s \u201cLady Macbeth of Mtsensk\u201d!!<\/span><\/p>\n

True Power and Beauty<\/b><\/h3>\n

Soprano Aleksandra Kurzak is another noteworthy example of true power and beauty in the role of Li\u00f9. Both arias, \u201cSignore, ascolta!\u201d and \u201cTu che di gel sei cinta,\u201d made everyone stand still and bask in her soprano\u2019s silvery high notes and warm tessitura. Kurzak\u2019s voice flowed naturally and purely as though she could have sung both in another lifetime. Her interpretation of Li\u00f9 was not as a victim, but as a sentient being in love and dedication to honoring what she values most. Her voice exuded confidence and favor from the audience throughout. Her acting was also admirable in that she never over-acted. Instead, she leaned into her breath and connected with Puccini\u2019s score even more, especially during Li\u00f9\u2019s most emotional moment of suicide as an act of self-sacrifice to save Cal\u00e0f\u2019s. Everything Kurzak did and did not do was an act of pure love. This was very refreshing to experience and made my first time seeing Kurzak perform live that much more interesting. I am looking forward to seeing more!<\/span><\/p>\n

Tenor SeokJong Baek as Cal\u00e0f was also a major win for the night. The audience absolutely loved him. His voice and energy made Cal\u00e0f youthful and full of hope. In my opinion, sometimes this role gets out of hand based on ego and overacting Cal\u00e0f\u2019s \u201cheroic\u201d personality. However, Baek was a game changer in this role because he actively listened and participated in his singing with the other singers in the cast. It was obvious why the audience loved him so much, in addition to his undeniable vocal technique. Baek invited listeners in through his moments of listening and attuning his role to the temperature of the stage. His level of empathy is way beyond his years, and it is this level of intelligence that he came from in every note he sang. SeokJong Baek really made a difference in this production for everyone and one can not deny how moments like this evolve the art form beyond words. Bravo!<\/span><\/p>\n

Alignment<\/h3>\n

Bass Vitalij Kowaljow as Timur was aligned with Baek\u2019s empathic approach. Kowaljow\u2019s voice sounded rich and wise as he sang. His interactions with Li\u00f9 and other castmates were honest and vulnerable. Baritone Joo Won Kang, tenor Tony Stevenson, and tenor Andrew Stenson made the roles of Ping, Pang and Pong feel energetically refreshed. Both Stevenson and Stenson are graduates of the Lindemann Young Artist Development Program. All three sang with high energy and focus which made the characters entertaining without reducing their vocal technique. Tenor Carlo Bosi as Emperor Altoum was timeless. Bosi looked and sounded majestic. Chinese bass-baritone Le Bu, a member of the Lindemann Young Artist Development Program, sang the role of Mandarin and his voice carried beautifully into the house hall. His enriching vocal palette is remarkable.\u00a0<\/span><\/p>\n

The Met Opera Chorus was exquisite. Oksana Lyniv really opened up the sound of the chorus and orchestra in new ways for this debut. \u201cTurandot\u201d is back in a very good way! <\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

(Credit: Karen Almond \/ Met Opera) The 350th performance of \u201cTurandot\u201d at the Met exceeded expectations with Ukrainian conductor Oksana Lyniv and Russian soprano Elena Pankratova making their house debuts and intentionally working together to deliver jaw-dropping moments of overwhelming musical beauty and power. The night also featured remarkable performances by South Korean tenor SeokJong Baek, Polish soprano Aleksandra Kurzak, {…}<\/p>\n","protected":false},"author":74,"featured_media":86151,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[8,73],"tags":[294,669,7142,464,8302,16470,183,11134,4018,21814,411,1391],"class_list":["post-86150","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-in-review","category-stage-reviews","tag-aleksandra-kurzak","tag-andrew-stenson","tag-carlo-bosi","tag-elena-pankratova","tag-joo-won-kang","tag-le-bu","tag-met-opera","tag-oksana-lyniv","tag-seokjong-baek","tag-tony-stevenson","tag-turandot","tag-vitalij-kowaljow"],"acf":[],"yoast_head":"\nMetropolitan Opera 2023-2024 Review: Turandot - OperaWire<\/title>\n<meta name=\"description\" content=\"The 350th performance of \u201cTurandot\u201d at the Met exceeded expectations with Ukrainian conductor Oksana Lyniv and Russian soprano Elena Pankratova making their house debuts and intentionally working together to deliver jaw-dropping moments of overwhelming musical beauty and power.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/operawire.com\/metropolitan-opera-2023-2024-review-turandot\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Metropolitan Opera 2023-2024 Review: Turandot - 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