Alfred Kim (Calaf)
Valeria Sepe (Liu)
George Andguladze (Timur)
Sammy Chien (Ping)
Chen Chen (Pang)
Chen Yong (Pong)
Apollo Wong (Mandarin)
Alexander Chen (Emperor)
Edge 'n Pointe Dance Centre
Opera Hong Kong Chorus and Children Chorus
Hong Kong Philharmonic Orchestra
Paolo Olmi (conductor)
Michael Capasso (director)
For its 15th anniversary celebration, Opera Hong Kong puts out a lavish production of Turandot that heavily decorates with gold and red, auspicious colours for prosperity and happiness in Chinese culture. John Farrell's stage set looks grand and would have satisfied those after an elaborate visual spectacle. The opera topic also feeds those fascinate by imperial China from the past as drama topic with a touch of western opera.
Yet the narrative approach, for all things look bright and beautiful, is naive and uninspiring by dressing up with a comfort blanket than addressing some questionable aspects. Despite the director's claim of not creating a faithful historical realisation and some kind of European perspective, the purpose of costume style for the crowd and ministers resembling stock characters in Pantomime is unclear. With Venetian long nose mask, Panama hat and slim fit disco glitter shirt, Ping Pang Pong seems more at home if they are at a broadway show. Whereas the lead characters are in some sort of traditional Chinese costume mixing with middle Asia outlook that not really defining their roles among the crowd. These all feel like a random visual twist yet no insight reflects by the dramaturgy nor any directorial indication. Although adding dancers enhance the mobility of the choreography, the routine is mostly conventional with many 'park and sing' moments for the singers and the chorus.
Capasso is also more concerned about the scene locations than, more importantly, exploring Puccini's dilemma on Liu and Turandot. In this production, Liu's innocent sacrifice feels rather sudden since there are not many moments to support why she is so determined to keep the secret for Calaf. Whereas Calaf is no hero but a forceful predator to make Turandot succumbs to his knees for the love union that so bizarrely celebrates. While male dominance and power progression are presented, the women are left to be a subordinate body and obedient to the populist demands that bend them to their knees. The mise-en-scène lacks the level of insight and depth, neither entirely success in its visual spectacle portrayal as explains above.
Yet the most problematic part I found was the conductor Paolo Olmi, who did not really able to get the orchestra and singing on stage together until the third act. His window washing conducting style not able to give a clear indication to keep the everyone together but uncertainty instead. There were moments that he followed the orchestra rather leading them the way, which resulted in some dangerous corners for the singers as how to synchronise with the orchestral playing. The busy trio by Ping Pang Pong went ahead of the orchestra for several bars in act one. The oboe solo sounded always behind during Liu's tender solo 'signore, ascolta!'.
Turandot's riddles for Calaf were rather unnaturally sung and Oksana Dyka did not quite knowing how to finish a phrase while the orchestra dragged behind. She managed to secure the top notes with ease but her timbre sounded grainy and thin in body. Her portrayal of Turandot felt rather unimaginative than the icy tough impression I would have in mind. Alfred Kim possessed a more powerful voice with the energy to sustain his lines in full, which helped the orchestra to stay more together with he was singing. Though his lower range nearly disappeared like Valeria Sepe that resulted in some inaudible moments.
Sepe carried more warmth in her timbre and her less forceful singing style suited the tenderness in Liu's part very well. George Andguladze was rather muddy in his diction and not really connecting the vocal lines. The three local singers for Ping Pang Pong coordinated more successfully in act two than the confusion they had in the first act. The chorus might have a hard time with the director from some rumour I heard, yet one did not find they had a difficult choreography to master. Diction was marginally clear and the tenors sounded rather thin on the top. Perhaps due to tiredness the choral energy dwindled slightly after two evenings, the blending was good but dramatically underwhelming.
(Photo credit: Opera Hong Kong)
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