The Opera Season of Teatro Municipale Piacenza continues with Turandot by Giacomo Puccini

Author:

by Opera Charm Team
March 18, 2024

Friday 22 and Sunday 24 March
the Opera Season of Teatro Municipal Piacenza continues with Turandot by Giacomo Puccini on the centenary of the composer's death.

Thursday 21st March at 6pm at the Sala dei Teatini #AperiOpera dedicated to Turandot
with the students of the respighi high school in piacenza.

BIOGRAPHY

Read more

Read less

INTERVIEW

On the centenary of Giacomo Puccini’s death, Turandot, the last unfinished opera by the great composer from Lucca, will be staged at the Teatro Municipale in Piacenza on Friday 22 March at 8pm and Sunday 24 March at 3.30pm. The third title of the Opera Season 2023/2024 of the Fondazione Teatri di Piacenza, Turandot, an opera drama in three acts and five scenes on a libretto by Giuseppe Adami and Renato Simoni, from the theatrical fable of the same name by Carlo Gozzi and with the finale of the third act by Franco Alfano, will see the musical direction of Marco Guidarini, in the staging signed by Giuseppe Frigeni for the Teatro Comunale di Modena in 2003 and reprised by important theatres in Italy and abroad, inspired in its strong and essential lines by the aesthetic and philosophical laws underlying the Chinese cultural tradition.

Direction, choreography, sets and lighting by Giuseppe Frigeni are by Marina Frigeni with costumes by Amélie Haas. The cast formed by Leah Gordon (Princess Turandot), Giacomo Prestia (Timur), Angelo Villari (the unknown prince Calaf), Jaquelina Livieri (Liù), flanked by Raffaele Feo (Emperor Altoum), Fabio Previati (Ping), Saverio Pugliese (Pang), Matteo Mezzaro (Pong) and Benjamin Cho (A Mandarin) is outstanding. In the pit, the Orchestra dell’Emilia-Romagna Arturo Toscanini; the opera will see the presence of the Lyric Choir of Modena and the Choir of the Municipal Theatre of Piacenza prepared by Corrado Casati and the treble voices of the Municipal Theatre of Modena prepared by Paolo Gattolin, in the co-production that unites the Lyric Theatres of Modena, Piacenza, Ravenna and Rimini.

Introducing Turandot to the public, on Thursday 21 March at 6 p.m. in the Sala dei Teatini with free admission, will be, as usual, the students of Piacenza’s Liceo Respighi, thanks to the #AperiOpera project that will see them involved in acting, music, historical insights and interdisciplinary connections, coordinated by teachers Elena Metti and Arianna Gazzola.

Having reached the last title of an astonishing compositional story, Puccini in 1920 had become infatuated with Carlo Gozzi’s fairy tale Turandotte, and above all with the figure of the protagonist, a fairy-tale Chinese princess with feelings frozen by an excess of pride and resentment towards the male gender.

The need for a new subject, different from any previous one, had led him into the world of fairy tales after a career spent on realistic and sentimental dramas, certainly attracted by the possibility of exploiting spectacle, gesture and oriental scents. The escapism towards the areas of myth, of timeless exoticism, was after all Puccini’s necessary response to the changed post-war atmosphere, now disillusioned with realistic subjects. His will was however also in this case to convert the fairy tale into ‘modern brains’. Gozzi’s capricious maiden thus becomes a haughty, algid, terrible figure, who has taken it upon herself to avenge the rape suffered by an ancestor by sacrificing the suitors to her hand through the arduous solution of three enigmas that none of them manages to solve. The suggestion of an exotic musical colour was nurtured by some melodies heard on a music box that belonged to the Italian consul in China and later ended up in the opera’s score. Left unfinished due to the author’s death, the opera was completed by composer Franco Alfano on commission from Casa Ricordi and Arturo Toscanini who conducted the opera at La Scala in 1926.

“Turandot is not a love story,” comments director Giuseppe Frigeni, “but the failure of an amorous illusion in the overturning of power games, of the laws of an archaic power, traversed by macho cynicism, ambition and the arrogance of Calaf. Turandot is not the legendary executioner, but a woman wounded in her own pride, the victim of atavistic male violence”.

Francesca Benazzi
Press Office

PIACENZA THEATRES FOUNDATION
Via Verdi, 41 – 29121 Piacenza
Tel. +39 0523 385716
francesca.benazzi@teatripiacenza.it
www.teatripiacenza.it

RELATED POSTS

The Opera Season of Teatro Municipale Piacenza continues with Turandot by Giacomo Puccini
March 2024
Opera Charm Team
FRANCESCO MELI, MARKUS WERBA AND MICHELE GAMBAFOR A TRIBUTE TO THE YOUNG PUCCINI
March 2024
Opera Charm Team

Alice Lechner

Alice Lechner comes from a music-loving family. Her first encounter with the opera universe was at the tender age of six. The grandeur of the stage productions and costumes, the backstage chatter, and last, but definitely not least, the music left her in awe, beginning with Mozart’s Don Giovanni. The overall feeling that opera awakens in anyone who gets a glimpse into this part of artistic eternity, that each and every day passes the test of time, was what drew her to stay and be a part of this world. The Opera House of Brașov became her second home, and the people who worked there were her second family.

Since then, Alice has devoted her spare time to maximising her musical knowledge through instrumental studies, studying both piano and violin for a short time. In the following years, her number one passion stepped out of the limelight and graciously gave way to Law Studies.
Since 2018 she has been studying Law at “Alexandru Ioan Cuza” University in Iași.

Her passion for opera, even if it is no longer her top professional priority in terms of career, it has most definitely become her priority during her free time. Wanting to experience the best of both worlds and extend her musical horizons, she regularly attends opera performances throughout Romania and abroad.
With OPERA Charm Magazine, Alice aims to nurture her creative side to help it flourish and bloom and to discover, alongside the magazine’s readers, the fascinatingly complex world of opera.

Currently, she is an LL.M. in Business Law at “Alexandru Ioan Cuza” University in Iași.

Oana Zamfir

Oana Zamfir is a second year MA student at the “George Enescu” National University of Arts, at the Department of Musicology.

She studied violin for 12 years at the “Stefan Luchian” High School of Art in Botosani, later focusing on the theoretical aspects of music. In 2019 she completed her bachelor studies in Musicology as a student of the National Academy of Music “Gheorghe Dima” in Cluj-Napoca. Her research during 2018-2019 brought to the forefront elements of the archaic ritual within works of composers who activated during the communist period, giving her the opportunity to start a research internship at the “Carl von Ossietzky” University in Germany. In this context, she recorded conversations with members of the Sophie Drinker Institute in Bremen, and had access to documents directly from the Myriam Marbé archive.

Since 2019 she has been a teacher of Music Education and Theoretical Music Studies, making full use of interactive methods in the musical training of students and working, at the same time, with the children’s choir founded in the first year of her activity.

Her interests include pursuing a degree in interior design in 2020.

Alexandru Suciu

Alexandru Suciu inherited his passion for art growing up in a family of several generations of musicians. He began his musical studies at the “Augustin Bena” School of Music in Cluj, where he studied piano and guitar. Even though his main study direction was philological, his passion for music prevailed. He began his academical journey at the Faculty of Letters of the “Babeș-Bolyai” University, studying Comparative literature and English. He continued by studying Opera Singing at the “Gheorghe Dima” National Music Academy. He also graduated the Musical Education section, followed by Artistic Directing at the Musical Performing Arts department.

His multidisciplinary education opened the doors towards research, which is seen both through his participation in national and international conferences and symposia, such as the Salzburg Easter School PhD-forum, organized by the Salzburg Universität or the Silesian Meeting of Young Scholars, organized by the Institute of English at the University of Silesia, as well as the collaboration with Opera Charm Magazine.

During his student years, he won several prizes, including the Grand Prize at the “Paul Constantinescu” National Musical Interpretation Competition, the Romanian Composers and Musicologists’ Union Prize at the same competition, the First Prize and the Schubert Prize at the “Ada Ulubeanu” Competition.

He further developed his artistic skills by specializing in courses and masterclasses held by personalities such as Vittorio Terranova, Giuseppe Sabbatini, Marian Pop, Ines Salazar, Riccardo Zanellato, Paolo Bosisio, Valentina Farcaș and Manuel Lange in contexts such as the Internationale Sommerakademie für Operngesang Deutschlandsberg, Corso Internazionale di Canto Lirico I.M.C. Licata or the Europäische Akademie für Musik und darstellende Kunst Montepulciano. Besides his activity on-stage, he currently teaches Opera Singing Didactics, and Pedagogical Practice within the Department for Teacher Education and Training at the “Gheorghe Dima” National Music Academy.

Cristina Fieraru

Cristina is a 24 year-old Romanian soprano & a student at the National University of Music Bucharest, where she pursues the MA program in Vocal Performance.

She made her debut in Pamina from “Die Zauberflöte” by Wolfgang Amadeus Mozart at only 19 years old at the Bucharest National Opera House, as a member of the Ludovic Spiess Experimental Opera Studio. Over the years she made her debut in roles such as Contessa d’Almaviva (Le nozze di Figaro), Mimì & Musetta (La Bohème), Alice Ford (Falstaff), Erste Dame (Die Zauberflöte) in her university’s opera productions.
Her passion and experience extends in the field of choral music, too.

She has been part of our dream team since the fall of 2021. For a good period of time she took care of OPERA Charm’s social media and took you on the monthly journey through the history of opera through our Legends rubric – and a few times through the Theaters around the World rubric.

Her little soul rubric – from 2021 to present – is definitely the Conductors of the Future, where, every month, she gives you the chance to meet a young star of the world of conducting and, of course, to find out what’s the most charming feature of opera in these artists’ views.

BIANCA L. NICA

Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur