There is no shortage of good and, sometimes, exceptional recordings of Puccini’s “Turandot,” with aficionados generally swaying between Molinari-Pradelli’s studio release (with Franco Corelli and Birgit Nilsson) and Mehta’s landmark take from 1972. Add to this Franco Ghione and, in excerpts, Barbirolli’s visceral “Turandots” from the pre-war period, and nearly all aspects of Puccini’s swan song – from the ritualistic {…}