Music / operafilm

Turandot


Reviews (28)


Classics today

2011

By

By

Robert Levine (musikanmelder)

2011

"This production has been recorded for small screen before - in 1988 with Eva Marton and Placido Domingo - but I guess HD has its fans and so this set was deemed necessary. It's a high-camp feast for the undiscerning eye; it gives you your money's worth. Costume designers Anna Anni and Dada Saligeri are to be acknowledged for both their nerve and creativity".


MusicWeb international

2006 October

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By

Ian Lace

2006 October

"My highest marks are reserved for the beautiful playing in every department of the Vienna Philharmonic under the baton of Gergiev ... Disappointing performances from the two principals in an eccentric modern production that is only partially successful mainly due to Gallardo-Domass nicely expressive Liù and the beautiful playing of the Vienna Philharmonic under Gergiev".


MusicWeb international

2015 November

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By

Michael Cookson

2015 November

"Italian tenor Riccardo Massi, a Puccini specialist who knows the role well, excels as Prince Calaf ... Under the direction of Paolo Carignani the playing of the Vienna Symphony Orchestra was excellent from start to finish together with impressive contributions from the choruses ... Directed expertly by Marco Arturo Marelli this magnificent 2015 Bregenz Festival production of Turandot entertained me royally from start to finish".


Kristeligt dagblad

d. 19. Apr. 2017

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By

Peter Dürrfeld

d. 19. Apr. 2017

"Personligt forekommer det mig, at opførelsen taber ikke så lidt i højde i den sidste halve times tid, men det hænger snarere sammen med iscenesættelsen end med musikken.Vi får for mange nærbilleder af den i øvrigt overbevisende Nina Stemme i titelpartiet ... Indtil da er det imidlertid en flot og fremragende fortolkning af en opera, mange musikelskere har en tilbøjelighed til at overse. Men de finesser i orkesterspillet, Chailly får de milanesiske musikere til at levere, er ikke til overhøre".


Politiken

d. 16. Feb. 2017

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By

Thomas Michelsen

d. 16. Feb. 2017

"På denne optagelse fra 2015 ... ser og hører man Nina Stemme ... udslynge sine gåder. Hendes prins er den lettiske dramatiske tenor Aleksandrs Antonenko, og mens han er en solidt funderet tenormaskine i Nessun Dorma, er hun monstrøst kraftfuld i titelpartiet. Men det virkelige vokale hit er slavepigen Liù. Hun synges vidunderligt af den italienske sopran Maria Agresta ... Iscenesættelsen ... blev Nikolaus Lehnhoffs sidste, og den står stærkt".


Kristeligt dagblad

d. 16. July 2014

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By

Peter Dürrfeld

d. 16. July 2014

"Der meget at glæde sig over for både øjne - en flot scenografi- og ører, idet den 40-årige ungarske dirigent Henrik Nánási lokker de rette pucciniske klange frem fra orkestret. I titelrollen kan man opleve den amerikanske sopran Lise Lindstrom folde sig ud med en gnistrende kulde ... Det svage led er den italienske tenor Marco Berti, der hverken vokalt eller scenisk lever op til, hvad man med rimelighed kan forvente".


Jyllands-posten

d. 11. July 2008

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By

John Christiansen

d. 11. July 2008

"En flot opsætning får man med en live-optagelse fra Wiens Statsopera 1983. Billederne og dragterne er prægtige med masser af eksotisk atmosfære i Harold Princes iscenesættelse. Den skulle imponere, og det gjorde den. Eva Marton har sunget Turandot både på The Met og i San Francisco, men hun er bedst her, hvor hendes store sopran klinger frit. José Carreras er en dejligt lyrisk Calaf, som dog ikke mangler den nødvendige kraft ... Lorin Maazel dirigerer præcist og skarpt og havde dengang sin store andel i succesen".


BBC music magazine

2017 June

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By

Christopher Cook (musikanmelder)

2017 June

"BBC music opera choice: It is a measure of Lehnhoff's authority that you never question his choices ... Chailly digs deep into Puccini's score ... and the La Scala orchestra plays as if their life depended on it ... Stemme is in the great tradition of Birgit Nilsson's Turandot, though there is a touching uncertainty around her Princess too ... Agresta's Liù is one of the most appealing on record".


Diapason

2017 avril

By

By

Emmanuel Dupuy

2017 avril


Klassisk

2019, nr. 52

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By

Steen Chr. Steensen

2019, nr. 52

"Stefano Poda har tilsyneladende noget andet på sinde end at fortælle et kærlighedseventyr. Han er også scenograf og har skabt et nøgternt rum bygget op som et hvidt IKEA-system med transparente hvide stofvægge ... Der er ikke meget kineseri i den scenografi ... noget stærkt rituelt ... som om det hele er en drøm, Calafs drøm ... Alligevel er det, som om Stefano Poda farer vild i sine egne filosofiske idéer om Turandot i et universelt perspektiv ... Musikken er dog den samme, og dirigenten Gianandrea Noseda dirigerer Puccinis musik helt ud til kanten ... Rebeka Lokar ... lyder presset, mens der er mere kraft i tenoren Jorge de Leóns stemme ... Opsætningen sejrer ikke i sidste ende".


BBC music magazine

2014 July

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By

Michael Scott Rohan

2014 July

"Vurdering: BBC music opera choice" - "Lise Lindstrom is pretty much the ideal Ice Princess ... Henrik Másáni conducts with considerable power and the stage direction preserves Serban's orginal well. This new version outclasses the two excellent Met videos both musically and dramatically".


Klassisk

2014, nr. 34

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By

Mikael Garnæs

2014, nr. 34

"En både musikalsk og scenisk fin udgave af Turandot ... Násási giver en både nuanceret og subtil fortolkning ... Andrei Seban .. beviser, at man sagtens kan lave vedkommende teater i en scenografi, som komponisten ville have genkendt ... Lise Lindstrom er en spændende Turandot ... Marco Berti [er] ikke nogen stor skuespiller, men han har alle de høje toner og synger en flot Nessun Dorma ... Alt i alt en vel sammentømret ensembleforestilling på højt niveau".


Classics today

2010

By

By

Robert Levine (musikanmelder)

2010

"The production under consideration here is stunning ... it looks authentically Chinese/Royal ... Conductor Zubin Mehta leads a performance alternately shimmering, thrilling, and detailed ... The playing of the Valencia forces is as grand as the sets and costumes. This performance, when all is said and done, is effective; but when you compare it with Marton and Domingo in their primes at the Met, or Marton and Carreras from Vienna, it doesn't quite make it".


Klassisk

2016, nr. 40

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By

Steen Chr. Steensen

2016, nr. 40

"Sceneriet i denne Turandot ude på søen er storslået ... Den italienske tenor Riccardo Massi er et fund i rollen som Calaf ... med en stor, smidig, varm tenorklang med en helt særlig glød i mellemlejet ... De øvrige sangere er fint på niveau med, hvad man kan forvente af Bregenzer Festspillene ... Wiener Symfonikerne ... fremmaner storslåede billeder og stemninger helt i eventyroperaens ånd".


BBC music magazine

2012 February

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By

Michael Scott Rohan

2012 February

"Master of spectable Franco Zeffirelli staged with a brilliant opulence transcending mere conventional taste ... Among the glitz ... Calaf is Salvatore Licitra ... this demanding role confirms he was a credible successor to Pavarotti ... Guleghina is a small spitfire ... again impressive ... The Arena makes this look, and sound, especialy magnificent. An ideal souvenir or sampler, therefore; and memorable for Licitra".


Fono Forum

2017 März

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By

Manuel Brug

2017 März

"Keine nette Frau ist die Turandot der Nina Stemme: gleisnerisch, auf Abstand bedacht, um ihre Verwundbarkeit zu überdecken ... Erstmals wurde in Italien der neue Berio-Schluss gegeben ... Das ist ebenso sublim ausmusiziert, wie es von Stemme, Aleksandr Antonenko und Maria Agresta idiomatisch gesungen wird".


The gramophone

2017 April

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By

Richard Lawrence

2017 April

"Editor's choice: The set and costumes (Raimund Bauer and Andrea Schmidt-Futterer) are a feast for the eye ... [Stemme] delivers 'In questa reggia' with burnished tone, culminating in a gleaming top C ... Tsymbalyuk is touching in Timur's lament for Liù, and the masks are well characterised ... A firm recommendation for this eminently watchable offering from the theatre of the opera's premiere".


Kristeligt dagblad

d. 28. July 2003

By

d. 28. July 2003


International record review

2014 July/August

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By

Peter J. Rabinowitz

2014 July/August

"For all its grandeur, it's a finely poised staging ... Fortunately, the performance is worthy too, although not consistently first-rate ... Henrik Nánási conducts with efficiency and power ... Well worth your consideration".


The gramophone

2014 August

By

By

David Patrick Stearns

2014 August

"Long one of my favourite productions of anything ... Serban struck a healthy blow against the ultra-ornate Zeffirellian approach with a look that's often as dark as the heart of the opera's Chinese fairy-tale princes ... But the most immediate problem in this dvd is the production's depth of field ... Often the chorus disappears into stage murk ... There's still plenty to look at ... Though led with great theatrical authority by conductor Henrik Nánási, the cast seems untried".


The gramophone

2010 March

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By

Patrick O'Connor

2010 March

"Vurdering: Editor's choice" - "Drawing on his intimate knowledge of traditional Chinese theatre and spectacle, Chen and his designers, Liu King and Chen Tong Xun, give us a Turandot in extravagant colours and choreography, true to the spirit of fable and legend - Maria Guleghina must surely not be the Turandot of our time. The role seems to hold no terrors for her... Zubin Mehta's...direction of the Valenciana Orchestra brims with drama and affection".


BBC music magazine

2010 August

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By

Christopher Cook (musikanmelder)

2010 August

"Paradox rules in Chen Kaige's production of Turandot ... looks more Aladdin's Old Peking than a Manchu Imperial capital ... Maria Guleghina is ample, and ample voiced ... Marco Berti is a big beefy Calaf. But the best of all is Alexi Voulgaridou's smoky toned Liu - for once you can hear the pain in both her arias".

Vurdering (performance): 4/5.

Vurdering (picture & sound): 3/5.


BBC music magazine

2011 October

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By

Michael Scott Rohan

2011 October

"The cast certainly concedes little to the past ... The chorus is in fine form, and the action unusually taut for a staging this old. What really makes this production is the vividness with which it's communicated, both in the exceptional high-definition picture and spacious sound".

Vurdering (performance): 5/5.

Vurdering (picture & sound): 4/5.


The gramophone

2015 November

By

By

Mark Pullinger

2015 November

"A fantasy Peking is transported to Bregenz Festival's lakeside setting ... Terracotta Warriors, paper lanterns, Chinese dragons and a 72-metre curved Great Wall of China all contribute to a real sense of spectacle ... Guanqun Yu's schoolgirl Liu, sporting beret and pigtails, is the pick of the cast. She delivers a beautifully affecting, 'Tu che di gel sei cinta' ... Riccardo Massi sings attractively as Calaf, with a very creditable 'Nessun dorma' ... An enjoyable staging".


The gramophone

2008 June

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By

John Steane

2008 June

"This night in Old Peking might be better spent ... The stage production is lavish, in care as well as expenditure ... Carreras, as Calaf, looks handsome and sound magnificent, but can hardly be said to act ... Maazel's speeds are apt to drag but there is some fine playing by the Vienna orchestra".


High fidelity (Kbh.)

Årg. 40, nr. 1 (2007)

By

By

Mogens Wenzel Andreasen

Årg. 40, nr. 1 (2007)


International record review

2011 November

By

By

Robert Levine (musikanmelder)

2011 November

"The whole event suffers from giganticism ... so much of it seems unnecessarily busy and showy ... The stars of the evening are conductor and second soprano. Marina Poplavskaya ... acts convincingly, looks wonderful and sings with great warmth and sure technique".