Washington Opera presents a fresh conclusion to Puccini’s last masterpiece | Lifestyle

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Washington National Opera Offers New Ending to Puccini’s “Turandot”

In the world of opera, few works are as beloved and yet as controversial as Giacomo Puccini’s final masterpiece, “Turandot.” Since the composer’s death in 1924, audiences have been captivated by the soaring melodies of the opera, particularly the iconic aria “Nessun Dorma.” However, many have also lamented the lack of a satisfying conclusion to the story.

Now, the Washington National Opera (WNO) is seeking to address this issue by commissioning a new ending for “Turandot.” The production, featuring a new libretto by Susan Soon He Stanton and music by Christopher Tin, will run from Saturday to 25.

“Turandot” tells the story of a Chinese princess who challenges her suitors to answer three riddles under the threat of death. When an unknown prince succeeds in solving the riddles, Turandot is forced to marry him unless she can discover his true identity. The original ending of the opera sees the prince revealing his name to Turandot, leading to a somewhat abrupt and unsatisfying conclusion.

Francesca Zambello, artistic director of the WNO, expressed her dissatisfaction with the traditional ending, stating, “You have a very proud and fiery princess who spends the entire opera saying ‘No.’ Then Calaf comes along, he ignores her ‘No,’ then plants a big old kiss on her against her will, and as a result she is suddenly transformed into this nice, magnanimous ruler.”

With the expiration of the copyright on the work, Zambello saw an opportunity to reimagine the story in a way that she believed Puccini himself might have approved. The new ending not only provides a more psychologically nuanced portrayal of Turandot but also brings back the character of Liu, the devoted slave girl whose fate is often overlooked in traditional productions.

Stanton, known for her work on the hit TV series “Succession,” delved deep into Turandot’s character to craft a new ending that felt true to the opera’s themes. In the revised finale, Turandot reveals a traumatic event from her past, leading to a more equal and consensual relationship with Calaf. Liu’s role is also expanded, offering a glimpse of a more egalitarian society under Turandot’s rule.

To set this revised story to music, Zambello enlisted the talents of Christopher Tin, a Grammy award-winning composer with experience in film and video game soundtracks. Tin approached the task with a focus on maintaining the essence of Puccini’s original score while infusing it with a contemporary sensibility.

Tin acknowledged the weight of the task, stating, “Ultimately the only way I could proceed was to tune it all out. At the end of the day nobody wants to hear second-rate Puccini. But somebody might want to hear first-rate Christopher Tin.”

The WNO’s production of “Turandot” promises to offer audiences a fresh perspective on a classic opera, challenging long-held conventions and providing a new interpretation of Puccini’s unfinished masterpiece. With a new ending that reimagines the characters and themes of the story, this production is sure to spark debate and discussion among opera enthusiasts and newcomers alike.