Turandot

‘Now is the time to go to Savonlinna if you are interested in world-class vocal art. The tenor Amadi Lagha plays the role of Calaf in Puccini’s Turandot in a way that is rarely heard, at least on Finnish opera stages’, wrote the reviewer from Helsingin Sanomat in 2018, and now this magnificence is coming back again. Princess Turandot is Ewa Płonka, a musician who has been transformed almost overnight from a concert pianist into an opera singer, and who is now in demand at the world’s foremost opera houses.  

‘The Savonlinna Opera Festival’s production of Puccini’s Turandot is without doubt one of the most stunning operas I have seen.’
Turun Sanomat 14.7.2004

If you only listen to one opera aria in your life, you should choose the best: Nessun dorma (‘None shall sleep’). It is a display of strength for the singer and intoxicating honey for the listener. It is also an excellent reason to see Turandot, although there are many other reasons to experience this love classic.

Turandot is an opera that is full of drama, but it still has a happy ending. It is a reminder that love can break down barriers and overcome fear. Pet Halmen’s direction is powerful, and Puccini’s music is extraordinarily grand and beautiful.  

The production of Turandot performed at Savonlinna also has a unique twist. This was the last work written by Puccini, who died in 1924. Director Halmen has skilfully brought the terminally ill Puccini into his own opera: as consciousness fades, the master composer becomes delirious and interweaves his own life with the plot of Turandot. 

In recent years, Turandot has been the subject of a debate concerning Orientalism and cultural appropriation. It is an image of its time, born in a Europe of the past. As was typical of the period, Puccini genuinely admired the exotic East and imitated its beauty. Indeed, this Turandot can be seen through the eyes of Puccini, taking stock of his life.