Turandot @ The State Theater 4/2 Cleveland Opera’s final MainStage production of the season is a spectacular and lavish one, without question. Massive but beautiful sets, gorgeous costumes, a humungous cast, and a Turandot for the ages add up to one impressive outing for the company just ending its 30th season. I daresay that there were more people on the stage here than there were in the audience for Cleveland Opera’s very first performance—way back when! The Sunday matinee was sold out. What a terrific birthday present for the company.

Almost everything about this production of Giacomo Puccini’s final opera Turandot was notable. Each of the three acts had its own set, and each of them were huge, beautiful and believable. Set Design is credited to Peter Graves, with no other indication as to where they were built or from whom they might have been borrowed. The lighting by Cynthia Stillings, resident lighting designer complemented the wonderful sets and costumes in every way imaginable. Costumes were designed by Malabar, Ltd., and coordinated by Jeffery E. Gryczan while Allison Mizerski supervised wigs and makeup. Opera is dependent on illusion, and without the efforts of each of these artists, Turandot could not have come to life as vividly as it did.

Having an experienced music director is always a major asset in presenting such a huge work as this is, for the first time. Richard Buckley literally grew up with this opera and he brought a wealth of knowledge with him. The larger than normal orchestra has never sounded better. Mr. Buckley kept a reasonably brisk pace, while allowing the majestic pageantry to unfold as it should. Garnett Bruce, making his Cleveland Opera debut as director, managed the huge production very skillfully.

Turandot is a beautiful ice-princess, who remains unwed in tribute to an ancestor who was treated cruelly by her husband. Since princesses may not remain unwed, she has devised a way of staying that way as long as possible: she will wed the royal suitor who can solve three riddles. The loser loses his head, as well. She has her way until an unknown prince appears and challenges her. He answers her questions, but she begs him to go away and leave her in peace. He refuses and they share a passionate kiss, leading to the final decision by Turandot to accept his love and marry him.

Lise Lindstrom, as Turandot, in her Cleveland Opera debut, is a force to be reckoned with. In addition to the huge voice ideally suited to this type of repertoire, she has impressive acting skills, as well. Whether singing at full volume or in hushed tones, her voice has a beautiful sound. She hits her notes exactly on pitch, and displays no effort whatsoever in doing so, even when singing over the orchestra. Her stage demeanor was entirely that of royalty, but obviously the lavish costumes she wore would have helped some in that regard. Certainly, she is on her way to a major operatic career.

Her prince, Calaf, sung by tenor Tonio DiPaolo, did not fare quite as well. At times, he pushed the notes in his upper register, (sometimes a bit too far) but otherwise, his voice matched the others quite well. His big aria in the final act "Nessum dorma!" received a huge ovation.

As Liu, the slave girl who commits suicide rather than betray her love for Calaf, soprano Eun-hee Kim was entirely believable, whether singing or acting. She displays a lot of emotion in her voice. Bass Alvy Howell as Timur, the blind and exiled king, was either timid or confident as his role required, but always singing with a lustrous sonority.

The three royal counselors, Ping, Pang and Pong were simply marvelous. They seemed to be having a lot of fun on stage, enjoying their roles as part-time comic relief, part-time advisors. They were, respectively; Ping-- baritone James Kleyla, Pang-- tenor Yoonsoo Shin, and Pong --tenor Chad Freeburg. Clevelander Ray C. Liddle was an impressive Mandarin, and Timothy M. R. Culver was dignified and commanding as the Emperor Altoum.

Betsy Burleigh, Chorus Master; JR Fralick of Baldwin-Wallace, and Katherine Plank, Children’s Chorus, all deserve kudos for the excellence of their respective choruses. Sally De Angelo was Acrobat Coordinator.

Turandot was sung in the original Italian with supertitles from Opera North, Lebanon NH. It was enlightening at times to know that while the chorus was singing about death or beheadings, the music being played was lush and sumptuous, all at the same time!

For tickets or information, visit the web-site: http://www.ClevelandOpera.org or call (216) 241-6000.

From Cool Cleveland contributor Kelly Ferjutz artswriterATadelphia.net (:divend:)