Turandot—Terrific

An opera review by Victor Grynberg

The standing ovation for this new production of Turandot by a packed mid-week audience at the Joan Sutherland Theatre in the Sydney Opera House was absolutely justified by both the supreme musical quality of this final work by Giacomo Puccini and the really splendid production and singing.

Puccini certainly is one of the most beloved composers, but only 90% of the opera was written by him before his death in 1924. A year and a half later, with the opera completed by Italian composer Franco Alfano it was premiered under the baton of no less than the great Arturo Toscanini.

This new production was directed and choreographed by Ann Lee making her debut for Opera Australia in conjunction with partner companies Opera Queensland, State Opera of South Australia and West Australian Opera. Ann has previously directed many operas, drawing on her training at the Boston Conservatory of Music, the Harvard Dance Centre, and Ohio State University. I certainly hope we will see her work in more operas here.

Supporting Ann was a terrific large-scale video designed by Andrew Thomas Huang, a Grammy-nominated music director, making his OA debut.

The lighting designer was Melbourne designer Paul Jackson, whose excellent work here and previously for OA is world-class.

Costumes were designed by David Fleischer, born here and a NIDA graduate. With many previous operas all over and the winner of many awards, it was no surprise how effective the outfits were in the storytelling.

The story is quite famous: a Chinese Princess, Turandot, seeks a husband who can solve three riddles, and along the way she says no one can sleep, which allows for the greatest opera hit of all time, Nessun Dorma. Just one part of so many beautiful Puccini melodies.

So the technical background was wonderful, but what about the singing?

I’m delighted to report that this was another world-class effort. Having attended performances of Turandot in several countries over a long span of time, last night’s singing was as good as you could hear anywhere.

Starring as mystery named Calaf was Korean tenor Young Woo Kim, whose magnificent voice was extremely well supported by powerful acting. Just superb,

Particularly important in the first act was the role of servant Liu sung by Calabrian-born Maria Teresa Keva. This role has been her only OA role, and as with the other singers, she was outstanding.

Only appearing late in the first half was Turandot herself. Australian-born, but with an impressive array of overseas opera companies she has worked for, was Rebecca Nash. Such a strong performer and the extended applause she received was not unexpected

I’m pleased to report that all supporting singers, including Richard Anderson as Timur, Calaf’s father, Simon Meadows, Iain Henderson and Michael Petruccelli, the three Ps  and as the Emperor, Gregory Brown, were just as brilliant.

I am a great fan of the Opera Australia chorus, and for Turandot, the chorus is extremely important. How absolutely fantastic they were!! As were the children’s choir and dancers. Heartiest congratulations and thanks to Chorus Master Paul Fitzsimon. What an amazing group they all were

Critical to this high standard everywhere on stage is the music itself. Conducted by Hungarian-born Henrik Nanasi, the OA Orchestra made its OA debut. With the much-improved sound from the enlarged pit, the music itself was incredible.

I can recommend in the strongest way to every opera or potential opera lover to attend this production of Turandot. Bravo to all

 

Turandot

Joan Sutherland Theatre

Sydney Opera House

January 28 , 2026

 

5 Stars