Turandot

Turandot is an opera in three acts by the Italian composer Giacomo Puccini . The libretto (text), in Italian, was written by Giuseppe Adami and Renato Simoni. They based it on an Oriental fairy-tale play written in 1762 by the Italian author and dramatist Carlo Gozzi. The opera was unfinished at Puccini’s death in 1924 and was completed by another Italian composer, Franco Alfano. It was first performed at La Scala, Milan, on April 25, 1926.

The opera’s setting is Peking (Beijing) during legendary times. Princess Turandot, the proud and hard-hearted daughter of Emperor Altoum, has vowed to marry no man unless he can answer three riddles posed by her. Many suitors have tried and failed. All such unsuccessful candidates have been beheaded. A crowd of people wait to see the execution of the latest failed suitor. Among the watchers are Timur, a former king of Tartary who has been driven into exile, and his son Calaf, who must keep his name secret for fear of his enemies. A slave-girl named Liu has been helping Timur since his escape from his homeland. She loves Calaf, but he has fallen in love with Turandot from afar and means to win her. His father and Liu try desperately to discourage him from presenting himself as a suitor. So too do three ministers at the royal court, Ping, Pang, and Pong. Even the emperor himself tries to dissuade Calaf, but he is determined in his quest.

Still keeping his name hidden, Calaf presents himself to the arrogant Turandot, who proudly declares that no man will ever possess her. She poses the riddles and is dismayed to hear Calaf answer each one correctly. She begs to be released from the vow she made. But Calaf offers her another solution. If she can learn his name before dawn the following day, she may put him to death. Turandot orders that nobody in Peking shall rest until the stranger’s name has been discovered, and if it remains undiscovered at dawn there will be mass executions. The citizens of Peking now turn on Calaf. Timur and Liu are arrested and threatened with torture. In order to save Timur, Liu confesses that she alone knows the stranger’s name but refuses to reveal it. As she is taken away for execution, she seizes a knife and stabs herself. When he is finally alone with Turandot, Calaf initially criticizes her bitterly for her coldness, but then tells her he is in love with her. She orders him to leave, but he refuses and finally tells her his name. A pacified Turandot, touched by the young man’s sincerity, declares to her father that she has at last discovered the stranger’s name—it is Love.

Puccini planned a spectacular love duet for Turandot and Calaf as the climax to the opera but never finished it. Alfano skillfully composed an ending for the opera, but many critics, especially the great conductor Arturo Toscanini, disliked it. At the world premiere performance, Toscanini performed the opera incomplete, choosing to end the work after the death of Lie. He addressed the audience with the words: “At this point the master put down his pen.”

Nevertheless, Turandot has remained a classic of the repertoire because of its glorious music. The role of the haughty and cruel Turandot is a formidable and exciting opportunity for a dramatic soprano who possesses immense vocal strength and technique. Turandot’s opening aria is a highlight of the opera, as are Liu’s two brief but beautiful solos. But for many, the gem of the entire opera is Calaf’s Act III aria “Nessun dorma” (“None shall sleep”), in which he reflects that he alone can reveal his name while Turandot must keep the whole city awake searching for someone to tell her his secret.