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Turandot Triumphs in the Arena di Verona Verona
Arena
08/07/2026 - & August 14, 21, 27, September 3, 11, 2026
Giacomo Puccini: Turandot
Anna Pirozzi*/Lise Lindstrom (Turandot), Carlo Bosi (Altoum), Michele Pertusi/Alexander Vinogradov* (Timur), SeokJong Baek*/Yusif Eyvazov (Calaf), Mariangela Sicilia*/Lisette Oropesa/Maria Agresta (Liù), Gëzim Myshketa (Ping), Saverio Fiore (Pang), Matteo Mezzaro (Pong), Ankhbayar Enkhbold (Un mandarin), Nicolò Dal Ben*/Eder Vincenzi (Prince of Persia), Corpo di ballo dell’Arena di Verona
Coro dell’Arena di Verona, Coro di voci bianche di Fondazione Arena di Verona, Roberto Gabbiani (chorus master), Andrea Battistoni*/Francesco Ivan Ciampa (conductor)
Franco Zeffirelli (stage director), Emi Wada (costumes), Paolo Mazzon (lights), Maria Grazia Garofoli (choreography)
(© Ennevi Foto)
Puccini’s Turandot proved once again to be an opera particularly suited to the immense setting of the Arena di Verona. In Franco Zeffirelli’s spectacular production, the performance combined powerful singing, impressive orchestral playing and the visual grandeur that the Arena can offer. The historic character and enormous scale of the ancient amphitheatre seemed especially appropriate for an opera built around a legendary story from a distant and almost imaginary world.
Zeffirelli’s production is undoubtedly a major achievement, particularly when considered in relation to the enormous dimensions of the Arena. The size of the stage gives the production a visual and even an acoustic dimension that is very different from that of an opera performed in an enclosed theatre. The large crowds, imposing scenery, colourful costumes and many dancers and extras create a convincing sense of an imperial world.
The costumes by Emi Wada added greatly to the visual richness, while the lighting and stage settings were carefully designed to work with the enormous space. Everything appeared to have been created with the scale of the Arena in mind. At times, however, the richness and extravagance of the production became so dominant that they almost took attention away from the individual characters. The spectacle can sometimes feel bigger than the human story itself.
Fortunately, the strength and presence of the singers prevented this from becoming a serious weakness. Anna Pirozzi gave a commanding performance in the title role. Her powerful soprano carried easily across the vast amphitheatre, including the demanding upper register. She also gave Turandot authority and dignity, rather than relying only on vocal volume. Her performance in “In questa reggia” was one of the highlights of the evening. She succeeded in making Turandot a formidable character while still giving her a sense of personality and determination. Her vocal strength was particularly important in such a large theatre and helped keep the character at the centre of the performance.
As Calaf, SeokJong Baek, who replaced the originally announced tenor, proved to be a strong partner for Pirozzi. His bright and powerful tenor was well suited to the Arena, and he sang the role with confidence. As expected, “Nessun dorma” received an enthusiastic response from the audience. But Baek also showed that Calaf is more than his famous aria, giving the character youthful energy and determination throughout the evening.
Mariangela Sicilia was especially touching as Liù. Her warm and lyrical soprano provided an important contrast to the more powerful voices of Turandot and Calaf. She brought sincerity, tenderness and humanity to the character. Her scenes, particularly toward the end of the opera, were among the most emotional moments of the evening. In an opera dominated by spectacle and violence, Liù provides the human heart of the story, and Sicilia communicated this very effectively.
Alexander Vinogradov gave Timur the necessary authority and vocal depth. His resonant bass projected well across the Arena, and his acting was convincing. I felt, however, that his Italian diction was not always as clear as it could have been. Nevertheless, the beauty of his voice and the seriousness of his performance made a strong impression, especially during the tragic scenes following Liù’s death.
The chorus also played an essential role in creating the atmosphere of the imperial court. The large forces on stage worked particularly well in the Arena, where the size of the space allows massed voices and movement to become part of the spectacle.
Under Andrea Battistoni, the orchestra performed with strength and precision. His conducting maintained a good balance between the spectacular passages and the more delicate and lyrical moments of Puccini’s score. The music had the necessary power for the Arena without losing its colour and lyrical qualities.
The Arena itself was almost a character in the performance. Its age, history and enormous dimensions gave Turandot a special atmosphere that would be difficult to reproduce in a conventional opera house. Zeffirelli’s production takes full advantage of this, creating an evening in which music, theatre, costumes, lighting and architecture become part of one large spectacle.
There is, however, another aspect of Turandot that deserves consideration: its ending. Since Puccini died before completing the opera, the final part was completed by Franco Alfano, and this performance used the Arturo Toscanini version of 1926. Personally, I find it difficult to believe that the ending would have been exactly the same had Puccini himself been able to complete the work.
The transition is quite sudden. We move from a story filled with fear, violence, death and cruelty to love, forgiveness and a happy ending. This rapid change can affect the emotional response of the audience. After such a dark and violent journey, the final transformation can feel almost too quick.
At the same time, perhaps this is part of the freedom of opera and imagination. Turandot is not a realistic story, and in the world of fantasy, unexpected transformations are possible. Perhaps, as in real life, anything can happen.
Overall, this performance of Turandot was an impressive and enjoyable evening at the Arena di Verona. Zeffirelli’s production provided the visual scale that such a huge theatre demands, even if its richness occasionally threatened to overshadow the characters. The singers, however, successfully kept the human element alive. Pirozzi brought great authority to Turandot, Baek gave Calaf a confident and ringing voice, Sicilia provided the emotional heart of the opera as Liù, and Vinogradov brought dignity and depth to Timur.
With Battistoni’s assured musical direction and the extraordinary setting of the Arena, this centenary presentation of Turandot offered a memorable combination of Puccini’s music, Zeffirelli’s theatrical imagination and the unique atmosphere of Verona’s ancient amphitheatre.
Wade Ghribi
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