Tuscan artist duo Imaginarium will embark on a world tour celebrating the centenary of Puccini’s “Turandot” with a multimedia performance. “Turandot delle Stelle,” which blends live music, hand-drawn illustration, and digital scenography, is conceived by Francesca Pasquinucci and Davide Giannoni. The tour is being realized in collaboration with Italian Cultural Institutes and embassies worldwide, and carries the patronage of the {…}
Bluebelldisc Music releases the digital single “NESSUN DORMA” from Act three of Puccini’s “Turandot” featuring Vittorio Grigolo. In a press release the tenor said, “Today, this aria should not be viewed merely as the expression of love for another person, but as the embodiment of a deeper idea: the meaning of risk. Nessun dorma! – like the unknown prince Calaf, who {…}
(Photo Credit: Brescia/Amisano) In 2026 Teatro alla Scala once again presents “Turandot.” This is one of the house’s emblematic titles, this time reviving the production by Davide Livermore, originally conceived in 2024 to mark the centenary of Giacomo Puccini’s death. This revival gains additional significance as it joins the celebrations of the hundredth anniversary of the opera’s world premiere in 1926. {…}
The Atlanta Opera is set to present a new production of Puccini’s “Turandot.” Directed by General and Artistic Director Tomer Zvulun, the opera will be conducted by Principal Conductor Iván López Reynoso. The cast will include Angela Meade in the title role alongside tenor Piero Pretti as Calaf, and Juliana Grigoryan as Liù. The cast will be rounded out by Peixen {…}
Pacific Symphony will present Puccini’s “Turandot” in a semi-staged production at the Renée and Henry Segerstrom Concert Hall in Costa Mesa, California this April. Dramatic soprano Marjorie Owens takes on the title role, with tenor Limmie Pulliam as Calaf, Alisa Jordheim as Liu, and Raymond Aceto as Timur. Hunter Enoch, Nicholas Nestorak, and David Blalock appear as Ping, Pang, and {…}
(Credit: Lewis Valdes) To commemorate the 100th anniversary of the world premiere of Puccini’s “Turandot,” the Florida Grand Opera revived the iconic work for the first time since 2010. For the occasion, the company’s CEO Maria Todaro took the stage to give the audience a brief intro to the evening and its significance for the community, while also previewing what {…}
Dubai Opera is set to join forces with the China National Opera House for a production of “Turandot.” The production, which runs from April 3 -5, 2026, marks the 100th anniversary of the opera’s world premiere and features the China National Opera House’s own soloists, orchestra, and chorus. Directed by Wang Huquan, with revival direction by Shi Jingfu, the staging {…}
(Photos: Hans Joerg Michel & Andreas Etter) To think of “Turandot,” Giacomo Puccini’s swan song, inevitably means evoking the Orient – and more specifically China – not only because of its plot, but above all because of its sonic universe. The premise of the production under review is particularly intriguing precisely because it arises from the encounter between East and West. {…}
(credit: Andy Wilkinson) The ending of “Turandot” recording has always been a point of contention for opera goers. The opera is traditionally performed with an ending constructed by Alfano following Puccini’s death, but over the years, composers and librettists have taken a stab at reconsidering this iconic and controversial work. That list includes the likes of Luciano Berio, Derrick Wang, {…}
(Photo credit: Keith Saunders) Puccini famously left the score of “Turandot” incomplete at his death in 1924, and its last minutes have been completed by other composers such as Franco Alfano (1926) and most recently Luciano Berio (2002). Arturo Toscanini conducting the premiere a century ago simply put down his baton at the point where Puccini had stopped composing and {…}
On Tuesday Jan. 27, the Royal Opera and Ballet experienced one of the most dramatic scenes in opera history. After the second act of “Turandot,” tenor Roberto Alagna fell ill and was forced to cancel the rest of the evening. Having no cover, the company was forced to call in Richard Hetherington, the theatre’s head of music. He omitted the {…}