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Giacomo Puccini

In his last, unfinished opera, Giacomo Puccini once again takes up the theme of love and death. On the one hand, Turandot, for whose love men have to die, on the other Liù, who dies for love, and between them Calaf, who solves the riddle and overcomes Turandot. Influenced by his own personal experiences, Puccini wrote a story that added a psychological level to Carlo Gozzi’s earlier fairytale – and that asks questions about the nature of true love. It was not by chance that he noted on a sketch for the final duet: “and then Tristan” – eternal desire, in other words, or fulfilment in transcendence?

The mandarin proclaims the law: Turandot will only marry the man who can solve three riddles that she poses. But whoever fails must die – a fate that has befallen many, most recently a Persian prince. The “unknown” Prince Calaf, who has seen the beautiful but cruel Princess Turandot, is spellbound by her – and determines to take the risk. Before he can do so, he encounters his father, the banished Tartar King Timur, who is accompanied by Liù, a slave.
She in turn is in love with Calaf…
Ping, Pang and Pong report on life in China and complain: since Turandot has been posing her riddles, their tranquil life has ended and they have been reduced to “ministers of the executioner”. Despite all advice to the contrary, Calaf accepts the challenge of answering Turandot’s questions. And he learns the reason for her inhumanity: once, in the dim and distant past, her ancestor Lou-Ling was robbed and raped – and these deeds must now be avenged and expiated. Calaf is able to solve the riddles; against her will, Turandot must now become his wife. But Calaf wishes win her affections, and so places himself at her mercy. So he now puts a riddle to her; if she can solve it, it will mean his death (and her freedom): What is his name?
In spite of all their efforts, no one can find out the name of the prince. Then Liù and Timur, who were seen talking to Calaf, are brought in. In order to protect Timur and out of love for Calaf, pretending to be the only person who knows the prince’s name, Liù kills herself. Love finally wins the day. Although Calaf has revealed his true name to her and placed his fate in her hands, Turandot declares that the name of the unknown prince is “Love”...

  • Gustavo Dudamel | Dirigent
  • Marco Arturo Marelli | Regie und Licht
  • Marco Arturo Marelli | Ausstattung
  • Dagmar Niefind | Kostüme
  • Aron Kitzig | Video
  • Mario Ferrara | Bühnenbildassistenz
  • Katrin Vogg | Kostümassistenz
  • Lise Lindstrom | Turandot
  • Heinz Zednik | Altoum
  • Yusif Eyvazov | Calaf
  • Anita Hartig | Liù
  • Dan Paul Dumitrescu | Timur
  • Paolo Rumetz | Mandarin
  • Gabriel Bermúdez | Ping
  • Carlos Osuna | Pang
  • Norbert Ernst | Pong
  • Won Cheol Song | Prinz von Persien (Gesang)
  • Werner Eske | Prinz von Persien (Pantomime)
  • Secil Ilker, Kaya Maria Last | Mägde


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