PUCCINI Turandot / Chailly

GIACOMO PUCCINI

Turandot
Stemme · Antonenko · Agresta · Veccia
Covatta · Nacoski · Bosi · Breda
Coro di voci bianche dell'Accademia Teatro alla Scala
Coro del Teatro alla Scala di Milano
Orchestra del Teatro alla Scala di Milano
Riccardo Chailly

Production by Nikolaus Lehnhoff
Int. Release 27 Jan. 2017
1 Blu-ray Video
0440 074 3938 8


Track List

Nina Stemme, Aleksandrs Antonenko, Maria Agresta, Angelo Veccia, Roberto Covatta, Blagoj Nacoski, Carlo Bosi, Gialuca Breda, Coro di voci bianche dell’Accademia Teatro alla Scala, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly

Giacomo Puccini (1858 - 1924)
Turandot

Completed by Franco Alfano

Act 1

Gialuca Breda, Maria Agresta, Aleksandrs Antonenko, Alexander Tsymbalyuk, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly

3.
2:34

Coro del Teatro alla Scala di Milano, Aleksandrs Antonenko, Maria Agresta, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly

Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly

Coro del Teatro alla Scala di Milano, Aleksandrs Antonenko, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly

Alexander Tsymbalyuk, Aleksandrs Antonenko, Maria Agresta, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly

Angelo Veccia, Roberto Covatta, Blagoj Nacoski, Aleksandrs Antonenko, Alexander Tsymbalyuk, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly

Maria Agresta, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly

Aleksandrs Antonenko, Maria Agresta, Angelo Veccia, Roberto Covatta, Blagoj Nacoski, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly

Act 2

Angelo Veccia, Roberto Covatta, Blagoj Nacoski, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly

13.
2:53

Angelo Veccia, Roberto Covatta, Blagoj Nacoski, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly

Carlo Bosi, Aleksandrs Antonenko, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly

16.
1:36

Gialuca Breda, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly

17.
5:56

Nina Stemme, Aleksandrs Antonenko, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly

Nina Stemme, Aleksandrs Antonenko, Carlo Bosi, Maria Agresta, Coro di voci bianche dell’Accademia Teatro alla Scala, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly

Coro del Teatro alla Scala di Milano, Nina Stemme, Carlo Bosi, Aleksandrs Antonenko, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly

Aleksandrs Antonenko, Carlo Bosi, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly

Act 3

Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly

22.
7:06

Aleksandrs Antonenko, Angelo Veccia, Roberto Covatta, Blagoj Nacoski, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly

Angelo Veccia, Nina Stemme, Aleksandrs Antonenko, Maria Agresta, Alexander Tsymbalyuk, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly

Maria Agresta, Aleksandrs Antonenko, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly

Alexander Tsymbalyuk, Angelo Veccia, Roberto Covatta, Blagoj Nacoski, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly

Completed by Luciano Berio - final revised version

Act 3

Aleksandrs Antonenko, Nina Stemme, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly

Aleksandrs Antonenko, Nina Stemme, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly

Aleksandrs Antonenko, Nina Stemme, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly

Nina Stemme, Coro di voci bianche dell’Accademia Teatro alla Scala, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly

Nina Stemme, Aleksandrs Antonenko, Maria Agresta, Angelo Veccia, Roberto Covatta, Blagoj Nacoski, Carlo Bosi, Gialuca Breda, Coro di voci bianche dell’Accademia Teatro alla Scala, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly

Total Playing Time: 2:14:10

The performances all translate poignantly on camera, particularly the two leading ladies. Stemme's Turandot is an imposing figure, her rigid stance, unflinching gaze and robotic walk making her stand out . . . Her rendition of "In Questa Reggia" drives home the characterization with rather precise and even harsh singing, every consonant accented brutally and every ascension into the soprano stratosphere vicious and even violent. It is thrilling to view and delineates a very clear perspective . . . Maria Agresta's Liù is a remarkable counterpart to Stemme's brutal Turandot . . . Her delicate singing imbues the harsh imagery with a sense of repose, especially during moments where she floats high notes with sublime tenderness . . . close-ups allow the viewer to connect with Agresta's pained expressions that match up beautifully with her lush and silky legato . . . [Antonenko's] potent singing marks Calaf not as a suave prince, but a rough one. He manages all of Calaf's vocal demands with relative ease, his singing most pleasing in the middle registers. His forays into the upper stratosphere are marked by wide vibrato . . . the result is quite thrilling in its edginess, a trait that supports his characterization . . . As Altoum, Carlo Bosi sings beautifully and compels with his fragile account of Calaf's blind father. In the pit Riccardo Chailly makes this familiar score, suddenly new and refreshing, bringing out some often obscured orchestral colors. The top of Act 2 is perhaps the most notable example, a double harp glissando riding loudly on the bouncing rhythm. The balancing of voices and orchestra throughout the performance is top-notch, the viewer never feeling that one overpowers the other . . . [this performance of "Turandot" gives] viewers a daring and probing account of one of opera's greatest gems.

. . . as much as I adore the 1987 Met production, this newly-presented production is every bit as good -- if not better . . . the production meets the demands of the music more than admirably with the orchestra playing truly excellent, and the conducting too. The Chorus are wonderful too, particularly at the end of Act 2. The sets are colorful and of haunting quality, and the costumes are nicely oriental too.

. . . [the music] is shown off in spades in this absorbing 2015 staging by director Nikolaus Lehnhoff at Milan's La Scala. Conductor Riccardo Chailly presides over a startlingly dramatic performance with grand and soaring vocals by soprano Nina Stemme (in the title role), tenor Aleksandrs Antonenko and soprano Maria Agresta. The hi-def video and audio are strong.

This performance is notable . . . First, the orchestra and chorus sound tremendous . . . As delivered by Nina Stemme's hitherto murderous Turandot and Aleksandrs Antonenko's numbed Calaf, this alternative finale is a moving if disorientating duet . . . An ambiguous dawn arrives at the end -- perhaps it is a sunset. For La Scala, however, things look pretty rosy.

. . . this is a magnificent performance by everyone . . . [the "new" ending] is suitably ambiguous . . . impressive staging . . . The costumes by Andrea Schmidt-Futterer are spectacular . . . Key to the success of this, or any, production is the singing. Nina Stemme hits all the high notes with ferocious and fearless accuracy, as does Aleksandrs Antonenko in the role of Calaf. Every role is sung superbly well. Riccardo Chailly, the best conductor La Scala could possibly have for this new version, because he has directed it before, has an iron grip on proceedings. The orchestra and chorus are excellent . . . Video quality is crystal clear, camera-work is subtle and effective and the sound up to the high standards we are usually blessed with from Blu-ray.

What is the most outstanding feature of this recording . . . Is it the vividly recorded sound under the expert baton of conductor Riccardo Chailly? How about those well-miked singers . . . Or the staging and lighting at Italy's La Scala, so lush and regal as to be almost overwhelming . . . Perhaps the excellent acting, judiciously understated as when Aleksandrs Antoninko didn't grandstand during the famous "Nessun Dorma"? . . . It's the ending. They've changed it . . . In the final moments of this production . . . the music shimmers with irresolution and trails off . . . pianissimo.

En rien gadget, mais dramatiquement juste, la mise en scène de Nikolaus Lehnhoff confirme l'intérêt du travail . . . Or tout est là: le sujet central de l'oeuvre orientale de Puccini, réside dans ce passage de la pétrification à l'humanisation. En cela, Lehnhoff a bien joué. Côté chanteurs, saluons la belle caractérisation des 3 ministres mandarins, huissiers usés par le protocole, dans leur superbe scène qui ouvre l'acte II . . . Notons le très crédible Timur d'Alexander Tsymbalyuk qui fait un roi des Tartares noble . . . Liù trouve en Maria Agresta une âme généreuse, et surtout déterminée en première amoureuse de Calaf; la noblesse autodéterminée du personnage est rarement aussi bien exprimée . . . Aleksandrs Antonenko a belle allure et vaillance communicative . . . [son Calaf est volontaire et] très expressifs, en somme l'agent rêvé pour Turandot et sa transformation finale . . . la suédoise wagnérienne Nina Stemme affirme un métal sûr aux aigus ronds et chauds, ce qui renforce une incarnation croissante, idéale pour la transformation de la princesse . . . le chef lyrique se dévoile au fur et à mesure . . . le constat de départ est bientôt nuancé grâce à la forte caractérisation que le maestro insuffle à chaque séquence: nerf glacant voire terrifiant quand parait la divine vierge du haut de son rempart de sang au II; puis, au III, direction plus souple, selon les méandres du duo Calaf/Turandot . . . dont le murmure fusionnel recouvré, exprime idéalement cette couleur intimiste, intérieure, "tristanesque", que Puccini avait en tête . . . Convaincant et captivant.

. . . la direction exemplaire de Riccardo Chailly justifie à elle seule cette parution . . . Riccardo Chailly nous offre une lecture bien différente. Il nous fait découvrir une partition étonnement moderne, aux richesses orchestrales et harmoniques inouies . . . les moments d'éblouissement y sont, et les grands sentiments aussi . . . Heureusement, cette lecture se marie à la vision scénique de Nikolaus Lehnhoff . . . Sobre, aux effets visuels marquants, la mise en scène évite soigneusement toute chinoiserie forcée . . . Nina Stemme, voix sombre et puissante, mais capable de belles demi-teintes, incarne à merveille cette Turandot plus fragile que d'habitude. À ses côtés, Aleksanders Antonenko campe un Calaf des plus solides . . . Excellents la Liu de Maria Agresta, aux ravissants aigus émis pianissimo, et le Timur d'Alexander Tsymbalyuk au timbre particulièrement enjôleur . . . Mention spéciale enfin pour l'Altoum, plus en voix que d'habitude, de Carlo Bosi.