Turandot is an opera with three acts written by Giacomo Puccini. The story was created by Giuseppe Adami and Renato Simoni in Italian. Puccini died in 1924, and he did not finish the opera. After his death, Franco Alfano completed the music. The opera was first performed on April 25, 1926, more than a year after Puccini's death. The story takes place in China and follows Prince Calaf, who falls in love with Princess Turandot. To marry her, a man must answer three riddles correctly. If he answers incorrectly, he is executed. Calaf solves the riddles but Turandot refuses to marry him. Calaf then tells her that if she can guess his name before sunrise the next day, he will accept death.

Origin and pronunciation of the name

The name of the opera comes from the Persian word Turāndokht (توراندخت), which means "daughter of Turan." Turan was a region in Central Asia that was once part of the Persian Empire. The word "Dokht" comes from "dokhtar," which means "daughter" in Persian. In Persian, the letters "kh" and "t" are both pronounced.

Italian pronunciation guides suggest saying the final "t" in the name. However, a scholar named Patrick Vincent Casali says the final "t" is not spoken in the opera's name or in the title character's name. Soprano Rosa Raisa, who first performed the title role, said that neither the composer, Giacomo Puccini, nor the conductor, Arturo Toscanini, ever said the final "t" during the first performances. Similarly, Eva Turner, a well-known performer of Turandot, did not say the final "t" in television interviews. Casali explains that the way the music is written for the character Calaf makes it very difficult to pronounce the final "t."

Composition history

The story of Turandot likely began in Haft Peykar, a twelfth-century Persian epic by the poet Nizami. One of the stories in Haft Peykar includes a Russian princess. In 1722, François Pétis de la Croix published Les Mille et un jours (The Thousand and One Days), a collection of stories said to come from Middle Eastern folklore. One story in this collection, believed to be inspired by Nizami, features a cold princess named Turandokht. However, some believe that many of de la Croix’s stories were his own creations and not based on Middle Eastern cultures. De la Croix’s story was adapted into a play called Turandot by the Italian writer Carlo Gozzi in 1762. Gozzi’s play was later adapted by Friedrich Schiller in 1801. Schiller’s version inspired the Italian composer Giacomo Puccini to write the opera Turandot.

Puccini began working on Turandot in March 1920 after meeting with librettists Giuseppe Adami and Renato Simoni. He started composing in January 1921 before Adami and Simoni had finished the libretto text. Like in his opera Madama Butterfly, Puccini tried to make the music sound authentic by using traditional music from the region. He even ordered thirteen custom-made gongs. Baron Edoardo Fassini-Camossi, a former Italian diplomat to China, gave Puccini a music box that played four Chinese melodies. Puccini used three of these melodies in his opera, including the famous folk tune "Mòlìhuā" (Jasmine Flower), which became a recurring theme for Princess Turandot. Eight themes in Turandot appear to be based on traditional Chinese music and anthems.

By March 1924, Puccini had completed the opera up to the final duet. However, he was unhappy with the text of the duet and did not continue until October 8, when he chose Adami’s fourth version of the duet. Two days later, he was diagnosed with throat cancer. Puccini seemed to know his illness was serious. Before leaving for treatment in Brussels, he visited the conductor Arturo Toscanini and asked, "Don’t let my Turandot die." Puccini died of a heart attack on November 29, 1924.

At the time of his death, the first two acts of Turandot were fully composed, including the orchestration. Puccini had completed and fully orchestrated Act Three up to the death and funeral of the character Liù. These were the last pieces of music he composed. He left behind 36 pages of sketches on 23 sheets for the ending of Turandot. Some sketches included "piano-vocal" or "short score" formats, with vocal lines and occasional orchestration notes. These sketches provided music for parts of the ending but not all of it.

Toscanini suggested Riccardo Zandonai finish the opera, but Puccini’s son, Tonio, objected. Eventually, Franco Alfano was chosen to complete the sketches after other composers were rejected. Puccini’s publisher, Tito Ricordi II, chose Alfano because his opera La leggenda di Sakùntala shared similarities with Turandot, such as its setting and heavy orchestration. Alfano created a first version of the ending, adding some of his own music and text. However, this version was not complete even by Puccini’s standards. After criticism from Ricordi and Toscanini, Alfano revised the ending to closely follow Puccini’s sketches. In some cases, he did not set Adami’s text to music because Puccini had not provided instructions. Ricordi’s main goal was to make the ending sound like it had been written by Puccini. A shortened version of Alfano’s ending, about three minutes shorter, is the version most commonly performed today.

Performance history

Turandot first performed at the La Scala opera house in Milan, Italy, on April 25, 1926. This was one year and five months after Giacomo Puccini, the opera's composer, passed away. Rosa Raisa played the role of Turandot. Tenors Miguel Fleta and Franco Lo Giudice took turns playing Prince Calaf, with Fleta performing on the opening night. The performance was led by conductor Arturo Toscanini. During Act III, the orchestra stopped playing. Toscanini faced the audience and said, "Here the opera ends, because at this point the maestro died." The curtain then closed. A reporter from La Stampa wrote the words slightly differently: "Here the opera ends, left incomplete by the death of the poor Puccini." Others said Toscanini said, "Here, the Maestro laid down his pen." A newspaper from 1926 reported that Puccini had asked Toscanini to stop the performance in the middle of Act III. Later performances of the 1926 season included an ending written by Riccardo Alfano.

After its premiere in Milan, Turandot was performed in other cities.

For many years, the government of the People's Republic of China banned Turandot because they believed it showed China and the Chinese in a bad way. Instead of a single rule against it, any attempts to stage the opera were not approved. In the late 1990s, the ban ended. In September 1998, Turandot was performed for eight nights at the Forbidden City. The production included grand sets and soldiers from the People's Liberation Army as extras. It was an international effort, with director Zhang Yimou as choreographer and Zubin Mehta as conductor. The singing roles were performed by Giovanna Casolla, Audrey Stottler, and Sharon Sweet as Princess Turandot; Sergej Larin and Lando Bartolini as Calaf; and Barbara Frittoli, Cristina Gallardo-Domâs, and Barbara Hendricks as Liù.

The aria "Nessun dorma" has long been a common part of operatic performances. Luciano Pavarotti helped make the piece famous outside the opera world in the 1990s when he sang it for the 1990 World Cup, which was seen by people around the world. Both Pavarotti and Plácido Domingo released recordings of the aria, with Pavarotti's reaching number 2 in the UK. The Three Tenors performed the aria at three World Cup Finals: in 1994 in Los Angeles, 1998 in Paris, and 2002 in Yokohama. Many pop and crossover artists have performed and recorded the aria, and it has been used in the soundtracks of many films. Turandot is a common part of the operatic repertoire and is listed as number 17 on Operabase's list of the most-performed operas worldwide.

The debate about which ending of the opera is better continues. Alfano's original ending was first recorded in 1989 by John Mauceri and Scottish Opera, with Josephine Barstow and Lando Bartolini as soloists. However, some performances in Germany happened early on because Ricordi had a German version made. Alfano's second ending was later shortened: Turandot's aria "Del primo pianto" was performed at the premiere but not included in the first complete recording. It was later added back to most performances.

From 1976 to 1988, composer Janet Maguire believed that Puccini's sketches contained the full ending and created a new version. However, this ending was never performed.

In 2001, Luciano Berio made a new ending approved by Casa Ricordi and the Puccini estate, using Puccini's sketches and adding new music. It was performed in the Canary Islands, Amsterdam, Los Angeles, and Salzburg. Some critics liked Berio's ending for its resolution of Turandot's change of heart and its connection to Puccini's style, but others had mixed opinions.

In late 2007, Chinese composer Hao Weiya created another ending before the opening of the National Centre for the Performing Arts. This version also received mixed reviews.

In 2022, Deborah Burton created a new ending using Puccini's original handwritten notes that had not been studied before. Her version has not yet been performed, but some venues are considering it. A description of her ending is in her article, "Puccini's Last Act: Finishing Turandot," and in her book The Finales of Turandot: Puccini's Last Act.

In 2024, the Washington National Opera premiered a new ending written by composer Christopher Tin and librettist Susan Soon He Stanton. Critics praised the production, calling it "refreshing" and noting that the new ending "fits the opera neatly."

Also in 2024, Opera Delaware premiered a new ending by composer Derrick Wang, which was described as "adept," "respectful," and "seamless."

In 2024, Daniela Kerck created another version for the Hessisches Staatstheater Wiesbaden. This version used only Puccini's music, followed by his 1905 Requiem antiphone. Kerck connected Calaf to Puccini and other characters to people from his life. The story began and ended in Puccini's library with a grand piano. In this version, after Liù dies and Puccini's music ends, Turandot kisses Puccini on stage, causing him to die.

Synopsis

In front of the imperial palace

In China, Princess Turandot will marry only a man who can answer three riddles. A Mandarin announces the law (Aria – "Popolo di Pechino!" – "People of Peking!"). The Prince of Persia has failed to answer the riddles and is to be beheaded at the next rising moon. As the crowd rushes toward the palace gates, imperial guards push them back forcefully, knocking a blind old man to the ground. The old man’s slave-girl, Liù, cries for help. A young man hears her and recognizes the old man as his long-lost father, Timur, the former king of Tartary. The young Prince of Tartary is happy to see Timur alive but warns him not to reveal his name, fearing the Chinese rulers may harm them. Timur tells his son that only Liù has remained loyal to him. When the Prince asks why, Liù explains that the Prince once smiled at her (Trio with chorus – The crowd, Liù, Prince of Tartary, Timur: "Indietro, cani!" – "Back, dogs!").

The moon rises, and the crowd’s cries for blood turn to silence. The doomed Prince of Persia, on his way to execution, is brought before the crowd. The young Prince of Tartary, who is handsome and kind, convinces the crowd and himself that Turandot should show mercy. They beg Turandot to appear and save the Prince’s life (Aria – The crowd, Prince of Tartary: "O giovinetto!" – "O youth!"). She appears and orders the execution to continue. The Prince of Tartary, who has never met Turandot before, falls in love with her and calls her name three times, foreshadowing the riddles. The Prince of Persia calls Turandot’s name one final time, and the crowd screams as he is beheaded.

The Prince of Tartary is captivated by Turandot’s beauty. He is about to strike the gong three times, the signal for anyone wishing to solve the riddles and marry Turandot, when ministers Ping, Pang, and Pong appear. They warn him not to risk his life for Turandot and urge him to return home ("Fermo, che fai?" – "Stop, what are you doing?"). Timur urges his son to stop, and Liù, who secretly loves the Prince, pleads with him not to attempt the riddles ("Signore, ascolta!" – "Lord, hear!"). Liù’s words move the Prince, who asks her to care for Timur if he fails. The ministers, Timur, and Liù try one last time to stop him ("Ah! Per l'ultima volta!" – "Ah! For the last time!"), but he refuses.

He calls Turandot’s name three times, and each time Liù, Timur, and the ministers reply, "Death!" The crowd shouts, "We’re already digging your grave!" The Prince strikes the gong three times, declaring himself a suitor. From the palace balcony, Turandot accepts his challenge as Ping, Pang, and Pong mock his decision.

Scene 1: A pavilion in the imperial palace. Before sunrise

Ping, Pang, and Pong complain about their roles as ministers, reviewing palace documents and overseeing rituals. They prepare for either a wedding or a funeral (Trio – Ping, Pang, Pong: "Ola, Pang!"). Ping longs for his home in Honan, with its lake surrounded by bamboo. Pong remembers his forest near Tsiang, and Pang recalls his gardens near Kiu. They share memories of life outside the palace (Trio – Ping, Pang, Pong: "Ho una casa nell'Honan" – "I have a house in Honan"). They return to thinking about the young princes who have died before them. As the palace trumpet sounds, the ministers prepare for another event, waiting for the Emperor’s arrival.

Scene 2: The courtyard of the palace. Sunrise

The Emperor Altoum, Turandot’s father, sits on his throne. Tired of judging his daughter’s riddles, he urges the Prince to withdraw his challenge, but the Prince refuses (Aria – Altoum, the Prince: "Un giuramento atroce" – "An atrocious oath"). Turandot enters and explains ("In questa reggia" – "In this palace") that her ancestor, Princess Lo-u-Ling, ruled her kingdom in silence and joy until she was raped and killed by a foreign prince. Turandot claims Lo-u-Ling’s spirit lives in her, and she vows never to let a man marry her. She warns the Prince to leave, but he refuses. Turandot asks her first riddle: "What is born each night and dies each dawn?" The Prince answers, "Hope." Turandot asks her second riddle: "What flickers red and warm like a flame, but is not fire?" The Prince replies, "Blood." Turandot is shaken. The crowd cheers, angering Turandot. She asks her third riddle: "What is ice that gives you fire and your fire freezes still more?" The Prince answers, "It is Turandot! Turandot!"

The crowd cheers for the Prince. Turandot falls at her father’s feet, begging him not to leave her to the Prince’s mercy. The Emperor insists the Prince must marry her (Duet – Turandot, Altoum, the Prince: "Figlio del cielo"). She screams, "Will you take me by force?" The Prince stops her, saying he has a riddle for her: "You do not know my name. Tell me my name before sunrise, and at dawn, I will die." Turandot agrees. The Emperor hopes to call the Prince his son when the sun rises.

Scene 1: The palace gardens. Night

Heralds announce Turandot’s command: "This night, none shall sleep in Peking! The penalty for all will be death if the Prince’s name is not discovered by morning." The Prince waits for dawn, confident in his victory: "Let no one sleep!"

Ping, Pong, and Pang offer the Prince women and riches if he gives up Turandot ("Tu che guardi le stelle"), but he refuses. Soldiers drag in Timur and Liù, who have been seen talking to the Prince. Turandot orders them to speak. The Prince claims they know nothing. When guards treat Timur harshly, Liù says she alone knows the Prince’s name but will not reveal it.

Ping demands the Prince’s name, and when Liù refuses, she is tortured. Turandot is surprised by Liù’s strength and asks what gives her courage. Liù answers, "Love!" ("Principessa, amore!"). Turandot orders Ping to force Liù to speak.

Critical response

Turandot is often seen as the most musically adventurous opera by Giacomo Puccini. However, some people believe it has flaws, and not all critics have praised it. Joseph Kerman wrote that while the story has dramatic potential, Puccini's music does not help explain the tale or make the characters clearer. Kerman also said that although Turandot's music is more elegant than Puccini's earlier opera, Tosca, the story is more chaotic and less satisfying.

Some of the criticism may be because of the ending written by Alfano, which shows Liù dying quickly, followed by Calaf's rough treatment of Turandot and a loud, dramatic conclusion. In 2002, composer Luciano Berio worked with Puccini's publishers to create a new ending. This version is thought to improve some issues, but critics like Michael Tanner still disagree. Julian Budden, a supporter of Puccini, pointed out that the final scene does not clearly show Calaf's love for Turandot as anything more than physical desire, and the changes to the text do not make Turandot's change of heart seem more meaningful.

Ashbrook and Powers suggest that Puccini struggled to build enough emotional development for Turandot's change of heart and focused too much on Liù, a secondary character. Another ending, written by Chinese composer Hao Weiya, has Calaf kiss Turandot gently instead of forcefully, and the scene "Del primo pianto" is expanded into a song where Turandot explains her change of heart more fully.

Biographers note that the character Liù, who sacrifices herself, may reflect events in Puccini's life. He had a servant named Doria, who was accused by his wife of having a relationship with him. The accusations led to Doria's suicide. In Turandot, Puccini focused on Liù's suffering, similar to his other heroines. However, Father Owen Lee believed Puccini struggled to resolve the story of Turandot and Calaf, as he was not familiar with the mythic themes in the opera. Puccini was unable to complete the work before his sudden death, as he found it difficult to navigate the unfamiliar and challenging aspects of the story.

Instrumentation

Turandot uses the following instruments: three flutes (the third also plays the piccolo); two oboes; one cor anglais; two clarinets in B-flat; one bass clarinet in B-flat; two bassoons; one contrabassoon; two alto saxophones in E-flat that are played on stage; four French horns in F; three trumpets in F; three tenor trombones; one contrabass trombone; six trumpets in B-flat that are played on stage; three trombones that are played on stage; one bass trombone that is played on stage; a percussion section with timpani, cymbals, gong, one triangle, one snare drum, one bass drum, one tam-tam, one glockenspiel, one xylophone, one bass xylophone, tubular bells, and tuned Chinese gongs; one wood block that is played on stage; one large gong that is played on stage; one celesta; one pipe organ; two harps; and a string section.