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The Royal Opera

  • Jakub Hrůša

    Music Director Designate

  • Oliver Mears

    Director of Opera

Turandot

LYRIC DRAMA IN THREE ACTS AND FIVE SCENES

Wednesday 19 March 2025 7pm

The 294th performance by The Royal Opera at the Royal Opera House.

Please note that casting is subject to change up until the start of the performance. Please continue to check the website for the most up-to-date information.

Approximate Timings

The performance lasts approximately 2 hours and 50 minutes including two intervals.

  • Act I

    35 minutes

  • Interval

    25 minutes

  • Act II

    45 minutes

  • Interval

    20 minutes

  • Act III

    40 minutes


Credits

  • Music

    Giacomo Puccini

    (completed by Franco Alfano)

  • Libretto

    Giuseppe Adami

    Renato Simoni

    after Carlo Gozzi

  • Conductor

    Rafael Payare

  • Director

    Andrei Șerban

  • Revival Director

    Jack Furness

  • Designer

    Sally Jacobs

  • Lighting designer

    F. Mitchell Dana

  • Choreographer

    Kate Flatt

  • Choreologist

    Tatiana Novaes Coelho

Cast

  • Princess Turandot

    Sondra Radvanovsky

  • Calaf

    SeokJong Baek

  • Liù

    Anna Princeva

  • Timur

    Adam Palka

  • Ping

    Hansung Yoo

  • Pang

    Aled Hall

  • Pong

    Michael Gibson

  • Emperor Altoum

    Paul Hopwood

  • Mandarin

    Ossian Huskinson

  • Soprano Solos

    Marianne Cotterill

    Tamsin Coombs

  • Actors

    Cameron Ball

    Rain de Rye Barrett

    Aimee Dulake

    Sarah Ekuhoho-Sharman

    Richard Gittins

    Keiko Hewitt-Teale

    Jessie Jing

    Jamal Lowe

    Suleiman Suleiman

    James Unsworth

    Addis Williams

  • Dancers

    Winnie Asawakanjanakit

    Michael Barnes

    Marie Chabert

    Cristina Chinchilla

    Natasha Chu

    Sera Maehara

    Tobias Richards

    Belinda Roy

    Trevor Schoonraad

    Anna Smith

    Jack Thomson

    Sam Vaherlehto

Ossian Huskinson is a Jette Parker Artist

Chorus and Orchestra

  • Chorus

    Royal Opera Chorus

  • Chorus Director

    William Spaulding

  • Orchestra

    Orchestra of the Royal Opera House

  • Concert Master

    Sergey Levitin

Extra chorus

  • Sopranos

    Jennifer Coleman

    Janet Fairlie

    Celeste Gattai

    Shafali Jalota

    Kathryn Jenkin

    Bernadette Lord

    Alison Rayner

    Elizabeth Roberts

    Juliet Schiemann

    Rosalind Waters

    Vanessa Woodfine

  • Mezzo-sopranos

    Maria Brown

    Tamsin Dalley

    Siobhain Gibson

    Maria Jones

    Dervla Ramsay

    Jennifer Westwood

  • Tenors

    Robert Amon

    Simon Biazeck

    Philip Brown

    Andrew Busher

    Andrew Friedhoff

    James Geer

    James Scarlett

  • Basses

    Jochem Van Ast

    Gerard Delrez

    Oliver Gibbs

    Lawrence Gillians

    Gabriel Gottlieb

    Mark Campbell Griffiths

    Gavin Horsley

    Mark Saberton

  • Children

    Cardinal Vaughan and Greycoat Schools

Production credits

  • Music preparation

    Richard Hetherington

    Martin Fitzpatrick

    Edward Reeve

    Nicholas Ansdell-Evans

    Erika Gundesen

    David Sutton-Anderson

  • Assistant Director

    Kirsty Tapp

    Katie Kim Hackman

  • Language Coach

    Alessandra Fasolo

  • Tai Chi Consultant

    Wendie Hou

The Royal Opera

  • Patron

    HM The King

  • Music Director Designate

    Jakub Hrůša

  • Director of Opera

    Oliver Mears

  • Director of Casting

    Peter Mario Katona

  • Associate Director

    Netia Jones

  • Administrative Director

    Cormac Simms

Synopsis

ACT I

Princess Turandot of China has sworn an oath that no man will possess her. However, she offers her suitors a chance: if one of them can answer correctly the three riddles which she asks him, he can marry her. If not, he must die.Inside the walls of Peking, a crowd wait for the execution of the Prince of Persia, who has failed the test of the riddles. As the guards push back the excited people, a blind old man falls, and is helped up by his companion, a young girl. A young man comes to help them and recognizes the blind man as the exiled King Timur of Tartary. He reveals himself as Timur’s son Calaf, who was separated from his father after the loss of their kingdom. Timur’s companion is Liù, a former slave, who has cared for him since their exile. It becomes clear that Liù cares deeply for Calaf.The Prince of Persia is led in by the servants of the executioner. Turandot arrives to confirm the Prince’s death. Calaf is horrified, but, as soon as he sees the Princess, is captivated by her beauty. Despite the warnings of the ministers Ping, Pong and Pang, he vows to win Turandot himself. Liù implores him to leave with her and Timur. Calaf tries to console her but remains determined, and strikes the gong to signal his intention to woo the Princess.

INTERVAL

ACT II

Ping, Pong and Pang complain about the endless executions caused by Turandot’s obstinacy. Each longs to leave Peking for the peace of his country home.Wise men arrive holding the scrolls containing the answers to Turandot’s riddles. Calaf, calling himself the ‘Unknown Prince’, is brought before Turandot’s father, the Emperor Altoum. The Emperor begs the ‘Unknown Prince’ to leave, and explains how he must die if he fails to answer Turandot’s riddles correctly. Calaf remains obstinate.Turandot arrives for the test of the riddles. She explains the reason for her cruelty. Many centuries before, her ancestress Princess Lo-u-Ling was raped and killed by an invader. Turandot sees herself as the reincarnation of Lo-u-Ling and has therefore vowed that no one will possess her. The riddles are her one concession. She reminds Calaf that their outcome has so far always been death. Calaf insists on attempting to solve the riddles. Turandot asks him: what is the ghost which all the world invokes and is constantly renewed; what flickers like a flame when a man dreams of conquest; what is frost that burns, that makes a king of the one it accepts as a slave? Encouraged by the crowd, Calaf correctly answers: Hope! Blood! Turandot! Turandot is now his. But Calaf does not wish the Princess to give herself to him unwillingly, and therefore proposes another test. Turandot does not know his name – if she can discover it during the night, he is prepared to die at dawn. If not, he will possess her.

INTERVAL

ACT III

Calaf awaits dawn, while the voices of heralds announce that no one in Peking shall sleep until the name of the ‘Unknown Prince’ has been discovered. Calaf is confident that he will win Turandot. Ping, Pong and Pang attempt to get him to leave, offering him beautiful women, riches and glory if he renounces Turandot. Calaf remains firm, to the annoyance of the ministers and the rage of the crowd, who begin to threaten him.Timur and Liù have been discovered and are dragged in. They were seen with Calaf the day before and are suspected of knowing his name. Turandot is summoned, and orders Liù to be tortured until she reveals the identity of the ‘Unknown Prince’. Liù explains to Turandot that she can bear the torture due to her love of the stranger. Still refusing to reveal his name, she kills herself. Timur and the crowd lament her death and carry her body away.Calaf and Turandot are left alone, and Calaf accuses Turandot of inhumanity. To begin with, she is cold and unyielding, but finally she succumbs to Calaf’s embrace. Still not wishing Turandot to marry him unwillingly, Calaf tells her his name and places himself in her power. Turandot summons the Emperor and people, and proudly declares that she now knows the name of the foreigner. It is Love, she states. As Calaf and Turandot embrace, the crowd rejoices.

Guidance

Parental guidance recommended

This production contains themes of death and violence. There is a stylised depiction of suicide.

Language

Sung in Italian with English surtitles. Captions and translations in English will be displayed on screens above the stage and around the auditorium.

Generous support from

Further information

DIGITAL CAST SHEETS

We are working hard on our commitment towards becoming more sustainable and are striving for our net zero goal of 2035. By using digital cast sheets and e-tickets, we have reduced our paper consumption by over five tonnes per year. You can view our digital cast sheets on a computer, tablet or smartphone by scanning the QR codes displayed around the building using your smartphone’s camera app. They are also displayed on screens outside the auditoria. Cast sheets are generously supported by the Royal Opera House Endowment Fund.

GUIDELINES

Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the  building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.

Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.

Please do not place any personal belongings on the ledges in front of you. Mobile phones should be turned off and stored away safely during performances.

Only bottled water and ice cream purchased from the premises can be taken into the auditorium.

If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.

Smoking and vaping are not permitted anywhere on the premises.

The safety of our visitors, staff and artists is our priority. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.

Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.

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