Banned in China until 1998, the contentious opera Turandot has long stirred cultural debate on issues of cultural appropriation. In an effort to create a more culturally accurate realisation of Puccini’s ‘imaginary’ world, director Jia Ding included members of the Zheng Peng Peking Opera Troupe and incorporated other forms of symbolism in Opera Hong Kong's production. Some of these decisions are successful, such as the Peking operatic trio's presence during the orchestral interludes and the Imperial ministers’ reflective account, whilst others are blatantly cringe-worthy – drawn-out glissandi, Peking-style, sung over Puccini’s music in standard non-vibrato nasal tones. The intent is clearly to synthesise the two sound worlds, but the effect is jarring and smacks of tokenism.
The set design, however, enriches the action by incorporating references to both the dragon and yuxi (the emperor’s jade seal), which reference key plot points, governing the trajectory of the opera. The lighting also enhances moments of significance, initially portraying the chorus as an oppressed community by immersing them in a ghostly hue. Later, it depicts Liù’s death through the emergence of a stark tunnel of light, signifying her ascension into heaven. The start of Act 2 is equally memorable, as the three Imperial minsters Ping, Pang and Pong fondly recall life outside the capital to a backdrop of distant mountains bathed in cerulean twilight.
Zhang Wen Wei, as the blind Timur, offered rich tonal contrast to his long-suffering slave girl, played by Bing Bing Wang, whose interpretation was highly emotional, adopting a largely dramatic voice and fervent physicality hardly befitting of the meek and devoted assistant. Although Wang’s “Signore, ascolta!” did not always have the control to fully support the sustained high points, moments of vocal tenderness did appear. Zhang fared better in Act 3, delivering a regal opulence upon learning of her death and convincingly realising his subsequent fate.
Puccini’s wonderfully evocative score was rendered with precision by the Hong Kong Philharmonic under the able direction of Yuan Ding, who provided finely wrought detail to the leads and grand gestures to the company. Naturally, the chorus plays a large role in this essentially grand opera, collectively assured when relegated to commenting and contrastively prominent when questioning morality. The sopranos were particularly notable for their delivery of powerful vocal punches, intensifying the dramatic action when required.