On his deathbed, Puccini left scattered sketches to be used for the completion of his final opera 'Turandot'. But what do you do when the libretto has been rewritten, and those sketches no longer match the words?
In this video I discuss my approach to using as many Puccini fragments as possible: through recontextualizing them. By doing so we create a dialogue, and tackle one of the thornier problems of the opera: the issue of sexual assault.
Washington National Opera's production of 'Turandot', with the new ending by Christopher Tin and Susan Soon He Stanton, opens at the John F. Kennedy Center for the Performing Arts on May 11, 2024. Directed by Francesca Zambello and starring Ewa Plonka/Marjorie Owens (Turandot) and Yonghoon Lee/Jonathan Burton (Calaf), conducted by Speranza Scappucci.
Turandot was Giacomo Puccini's final opera, but he died before he could finish it, leaving scattered sketches. On the 100th-anniversary of his death, this newly commissioned ending seeks to resolve one of the biggest plot dilemmas in the opera canon: how to justify the love between the opera's two adversaries: the steely Princess Turandot, and the heroic Prince Calaf.
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