When they launched the Expo on 1st May, La Scala needed an opera with international appeal. They opted for Nikolaus Lehnhoff's production of Turandot from Dutch National Opera, with its visionary finale from composer Luciano Berio, and enlisted a conductor who knows both the work and the production like the back of his hand. Riccardo Chailly is set to become Music Director in 2017, and kicks off his interim role as Principal Director with this production in impressive form. His was a "music lovers' edition" of the work that made it impossible to take our ears off the score.
It was the work's more brutal elements that came to the fore in this account. Thunderous chords and mechanical jabs made for a cataclysmic opening. A crowd called for the execution of the Prince of Persia as they circled a fire to a Stravinskian frenzy of rampaging timpani and braying brass. Chailly was on leonine form, launching his body at the score, his mane flying through the air. On numerous occasions, the pit retorted with a roar.
There is plenty more mileage in Chailly's relationship with this orchestra – one sensed the maestro trying to draw more than he was able to out of the strings in particular – but it provided a glimpse of the exciting, extrovert sound he is likely to nurture in the long term. There was a shimmering, opium-laced intensity when the crowds beckoned the moon in “Perché tarda la luna?” and Princess Turandot made her first glorious appearance to music that cranked up slowly and dissipated in throbs. Chailly is steeped in this opera house's tradition (he has never been too far out of the loop since his initial training here under Claudio Abbado in the 1970s), and his relentless mining was never to the detriment of the orchestra's particular character. When violins underpinned Liù's aria “Signore, ascolta!”, there was the familiar La Scala sheen on offer.
If Chailly's interpretation brought out the music's Modern and Romantic elements, Raimund Bauer's set design mirrors its jagged and lyrical qualities in support. A studded cell basks in red and stretches upwards in a great trapezium. Its walls are flanked by two balconies and indented with geometric openings – craning rhombuses and a circle centre-stage – behind which Turandot and her entourage emerge to glimmering tidal waves from the pit. She is a towering, ethereal effigy in flowing white dress, physically and figuratively removed from her knife-wielding admirers below, who rhythmically gather and disperse to give the stage a sense of life.