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TurandotNew production

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Teatro RealMadrid, 28013, Spain
November 30, December 02 18:00, 03, 05, 06, 08, 09 18:00, 11, 12, 15, 16, 19, 20, 23 18:00, 26, 27, 29, 30 18:00 (at 20:00 unless shown)
Performers
Teatro Real
Nicola LuisottiConductor
Robert WilsonDirector, Set Designer
Jacques ReynaudCostume Designer
Iréne TheorinSopranoTurandotNov 30, Dec 03, 06, 09, 12, 16, 20, 23, 27, 30
Oksana DykaSopranoTurandotDec 02, 05, 08, 11, 15, 19, 26, 29
Gregory KundeTenorCalafNov 30, Dec 03, 06, 09, 12, 16, 20
Roberto AronicaTenorCalafDec 02, 05, 08, 11, 15, 19, 26, 29
Jae-Hyoeung KimTenorCalafDec 23, 27, 30
Yolanda AuyanetSopranoLiùNov 30, Dec 03, 06, 09, 12, 16, 20, 23, 27, 30
Miren Urbieta-VegaSopranoLiùDec 02, 05, 08, 11, 15, 19, 26, 29
Andrea MastroniBassTimurNov 30, Dec 03, 06, 09, 12, 16, 20, 23, 27, 30
Giorgi KirofBassTimurDec 02, 05, 08, 11, 15, 19, 26, 29
Raúl GiménezTenorEmperor Altoum
Joan Martín-RoyoBassPing
Vicenç EsteveTenorPang
Juan Antonio SanabriaTenorPong
Gerardo BullonBassMandarin
Orquesta Titular del Teatro Real
Coro Titular del Teatro Real
Pequeños Cantores de la ORCAM

Giacomo Puccini wrote what would be his last opera while he – in the illness of old age– felt the same as the world that surrounded him; immersed in convulsive political vicissitudes, staggering and tottering. However in spite of that, he continued to work steadily on an opera, which unfortunately, he would leave unfinished. Based on an epic Persian poem from the XII century, Turandot gave the composer the opportunity to delve into a new universe of sound and plot. There the exoticism and eroticism, so distant in space and time, undoubtedly seduced him, as did the important character of the protagonist: the Chinese princess apparently incapable of loving, who nevertheless, finally gives up her thirst for beheading her suitors when she finds herself irremediably captivated by one of them. The transformation of the princess from being cruel with certain pathological and sadistic traits, to a vulnerable woman in love, is depicted in a ritualistic manner. In addition Puccini made a special effort to make the psychology and interior evolution of this character more understandable than ever. In the letters that the composer wrote in that period, an unmistakable anxiety to share his creative process can be read, including all its inevitable ups and downs. These letters reflect the passion for the work he was immersed in, and for the occupation to which he dedicated his whole life, which was so fully recognized, prior to his being surprised by death.

New production by the Teatro Real, in co-production with the Canadian Opera Company of Toronto, and the National Theatre of Lithuania

Iréne Theorin (Turandot) © Javier del Real | Teatro Real
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