I read this days ago but since switching to email I understand now why so many people read stuff without interacting on the platform--long story short I've been meaning to comment and say I'm really enjoying your insight into opera and am learning a lot about its range! I also recently read Bel Canto by Ann Patchett which gave me a small burst of motivation to listen to more opera which has since faded but in any case perhaps the seed is planted...
Thanks so much for posting this! I knew of the opera but was not aware of its plot or its "folk horror" underpinnings. It's interesting that my wife and I were regular attendees of our local (small mid-Atlantic regional) opera company for about 10 years and Turandot was never performed.
Thanks so much, Brian! I wonder if any of the other operas I include in this series will be ones they did perform. There’s quite a lot of obscure ones. I still haven’t actually seen a live performance of Turandot, I’ve just watched various recordings.
For sure. The Mist got that real well. Yes the monsters outside are bad, but there’s a crazy lady next aisle over who wants to sacrifice your child to em
For instance, the irony of the mob with pitchforks and torches in contrast to Frankenstein’s monster.
As an aside, SF author Fred Saberhagen wrote “The Frankenstein Papers”, which retells Shelly’s story from the POV of the “monster” (who is a misunderstood intelligent and gentle soul). Saberhagen also wrote “The Dracula Tape”, which retells Stoker’s story from Dracula’s POV (Jonathan Harker misunderstood the whole situation). The latter was popular enough to get multiple sequels bringing Dracula to modern day.
I love that you wrote this because I actually had a whole Frankenstein section of this article which I cut to keep it more focussed! It's still one of the most affecting examples of an innocent being fed to a mob that I've ever seen, along with that heart-breaking scene in Hunchback of Notre Dame which I also almost referenced. I had a whole digression too about Turandot and the Bride of Frankenstein, how both Puccini and James Whale depict these sympathetically unwilling brides... I'd love to read The Dracula Tape!
Even Peter Boyle’s monster in Young Frankenstein subverts the mindless monster trope. I think you’d enjoy those Saberhagen books (if you can find them).
On the topic of vampires, ever seen the Jim Jarmusch film, “Only Lovers Left Alive”? Possibly one of my favorite vampire movies.
Thanks for this, these pieces on opera are excellent. I was aware of the the title of Turandot (probably from its connection to Nessun Dorma, though I think I must have forgotten that link some time ago), but not the content. Consider me sold. Having listened to Bluebeard's Castle for the first time on your recommendation I'm now off to find a recording of Turandot. Look forward to the next one!
I really appreciate that, Kev, thank you so much! Turandot is one of my all time favourites, you're in for an absolute treat. And one of the musical motifs is actually from a Chinese music box that Puccini was shown (you could try to guess which bit...) Do let me know what you think of it, it's a wild, strange ride.
You're absolutely right, I loved it. I did have some thoughts. The end of the first act, as pretty much everybody pleads with Calaf to reconsider what he's doing, was incredibly powerful. I loved the glimpse of desensitisation to horror that pops up in Pong, Pang and Ping's song in Act 2 - 'we've executed 12 suitors this year alone.' 'Exhausting.' 'Boring.' There's a great deal of complex character and story work that I wasn't expecting, if I'm honest. Turandot is adamant that she won't be married and the end of Act 2 as she pleads with her father is genuinely uncomfortable. Turandot, who likes to dismember her suitors and torture her subjects, feels sympathetically vulnerable. Calaf is utterly blind to her discomfort, utterly confident that she'll fall for him, which leads to the unfolding horror of Act 3. Going back to the theme of your essay, I thought there was a wonderful piece of storytelling here. The desperation of the citizens - if they don't discover Calaf's name before dawn then the sadistic, torturous wrath of Turandot will descend on them all - is the genuine terror of a defenceless populace under the reign of a tyrant. Calaf again is uncaring, oblivious to what he's doing, going so far as to say 'Though all may perish, I must have Turandot!'. At this point I was completely siding with the mob, so when they capture and turn on Liu I was suddenly caught feeling complicit. It's wonderfully done.
I can see why Puccini struggled to finish the opera. I'm not sure there could have been a truly satisfying ending wrought out of that tangle of characters and events, unless he were go full Hamlet on them, and probably not even then.
I did listen out for the music box motif! It didn't jump out at me I'm afraid, but if I were to guess, possibly incorporated into Liu's final aria? Honestly, I have no idea and would be fascinated to know!
Great thoughts, Kev, I'm so glad you enjoyed it! I have a very similar emotional journey with it, and I absolutely agree about how uncomfortable Calaf's interactions with Turandot feel. It's fascinating that everything bad that happens in the story, including Turandot's own agony, seems to have its roots in this old story she so identifies with, this ancestor whose presence lingers like a curse... This is the one I knew about but I just checked and I think he used several real Chinese motifs from the same music box! https://en.wikipedia.org/wiki/Mo_Li_Hua This one is Turandot's leitmotif.
Thank you! It was really interesting to listen to the synthesised clip and then return to the scenes with Turandot to hear how Puccini worked with the motif. Just another layer to appreciate!
Yes, I did somewhat overlook the central role of the ancestor's story. Depending on how you approach the material, it seems to me that it's either being used as an excuse for Turandot's horrific behaviour - which leans into the psychological horror of the piece - or if, as you suggest, the ancestor's presence is more of a curse, could an argument be made for Turandot being an early example of westernised Chinese ancestor horror? And I wonder if a production could successfully lean into that angle?
I read this days ago but since switching to email I understand now why so many people read stuff without interacting on the platform--long story short I've been meaning to comment and say I'm really enjoying your insight into opera and am learning a lot about its range! I also recently read Bel Canto by Ann Patchett which gave me a small burst of motivation to listen to more opera which has since faded but in any case perhaps the seed is planted...
Excellent! Thanks so much, Anne, make sure that you tell me which you enjoyed most
Love learning about stuff like this
It’s loads of fun to research!
Thanks so much for posting this! I knew of the opera but was not aware of its plot or its "folk horror" underpinnings. It's interesting that my wife and I were regular attendees of our local (small mid-Atlantic regional) opera company for about 10 years and Turandot was never performed.
Thanks so much, Brian! I wonder if any of the other operas I include in this series will be ones they did perform. There’s quite a lot of obscure ones. I still haven’t actually seen a live performance of Turandot, I’ve just watched various recordings.
I love the photo you chose here. What spoke to you about it?
I know the music, but never knew the story. Fascinating and terrifying.
Thank you Jude, I’m glad you enjoyed it
I knew the name of this opera, but nothing about the story. Absolutely fascinating, thank you, Rebekah!
Thanks so much, Sheila!
For sure. The Mist got that real well. Yes the monsters outside are bad, but there’s a crazy lady next aisle over who wants to sacrifice your child to em
I literally just watch The Mist for the first time!! Completely agree, I hated her so much more than the spider goblins.
Yeah she’s the worst.
Idk how familiar you are with King but a lot of his books have this as a theme, so you may like them :p
I have noticed that a lot of his stories have intensely religious female figures which…in no way relates to my childhood cough cough
Indeed. Fictional and metaphoric monsters are interesting, but human mobs are real and very scary.
Definitely!
For instance, the irony of the mob with pitchforks and torches in contrast to Frankenstein’s monster.
As an aside, SF author Fred Saberhagen wrote “The Frankenstein Papers”, which retells Shelly’s story from the POV of the “monster” (who is a misunderstood intelligent and gentle soul). Saberhagen also wrote “The Dracula Tape”, which retells Stoker’s story from Dracula’s POV (Jonathan Harker misunderstood the whole situation). The latter was popular enough to get multiple sequels bringing Dracula to modern day.
I love that you wrote this because I actually had a whole Frankenstein section of this article which I cut to keep it more focussed! It's still one of the most affecting examples of an innocent being fed to a mob that I've ever seen, along with that heart-breaking scene in Hunchback of Notre Dame which I also almost referenced. I had a whole digression too about Turandot and the Bride of Frankenstein, how both Puccini and James Whale depict these sympathetically unwilling brides... I'd love to read The Dracula Tape!
Even Peter Boyle’s monster in Young Frankenstein subverts the mindless monster trope. I think you’d enjoy those Saberhagen books (if you can find them).
On the topic of vampires, ever seen the Jim Jarmusch film, “Only Lovers Left Alive”? Possibly one of my favorite vampire movies.
Thanks for this, these pieces on opera are excellent. I was aware of the the title of Turandot (probably from its connection to Nessun Dorma, though I think I must have forgotten that link some time ago), but not the content. Consider me sold. Having listened to Bluebeard's Castle for the first time on your recommendation I'm now off to find a recording of Turandot. Look forward to the next one!
I really appreciate that, Kev, thank you so much! Turandot is one of my all time favourites, you're in for an absolute treat. And one of the musical motifs is actually from a Chinese music box that Puccini was shown (you could try to guess which bit...) Do let me know what you think of it, it's a wild, strange ride.
You're absolutely right, I loved it. I did have some thoughts. The end of the first act, as pretty much everybody pleads with Calaf to reconsider what he's doing, was incredibly powerful. I loved the glimpse of desensitisation to horror that pops up in Pong, Pang and Ping's song in Act 2 - 'we've executed 12 suitors this year alone.' 'Exhausting.' 'Boring.' There's a great deal of complex character and story work that I wasn't expecting, if I'm honest. Turandot is adamant that she won't be married and the end of Act 2 as she pleads with her father is genuinely uncomfortable. Turandot, who likes to dismember her suitors and torture her subjects, feels sympathetically vulnerable. Calaf is utterly blind to her discomfort, utterly confident that she'll fall for him, which leads to the unfolding horror of Act 3. Going back to the theme of your essay, I thought there was a wonderful piece of storytelling here. The desperation of the citizens - if they don't discover Calaf's name before dawn then the sadistic, torturous wrath of Turandot will descend on them all - is the genuine terror of a defenceless populace under the reign of a tyrant. Calaf again is uncaring, oblivious to what he's doing, going so far as to say 'Though all may perish, I must have Turandot!'. At this point I was completely siding with the mob, so when they capture and turn on Liu I was suddenly caught feeling complicit. It's wonderfully done.
I can see why Puccini struggled to finish the opera. I'm not sure there could have been a truly satisfying ending wrought out of that tangle of characters and events, unless he were go full Hamlet on them, and probably not even then.
I did listen out for the music box motif! It didn't jump out at me I'm afraid, but if I were to guess, possibly incorporated into Liu's final aria? Honestly, I have no idea and would be fascinated to know!
Great thoughts, Kev, I'm so glad you enjoyed it! I have a very similar emotional journey with it, and I absolutely agree about how uncomfortable Calaf's interactions with Turandot feel. It's fascinating that everything bad that happens in the story, including Turandot's own agony, seems to have its roots in this old story she so identifies with, this ancestor whose presence lingers like a curse... This is the one I knew about but I just checked and I think he used several real Chinese motifs from the same music box! https://en.wikipedia.org/wiki/Mo_Li_Hua This one is Turandot's leitmotif.
Thank you! It was really interesting to listen to the synthesised clip and then return to the scenes with Turandot to hear how Puccini worked with the motif. Just another layer to appreciate!
Yes, I did somewhat overlook the central role of the ancestor's story. Depending on how you approach the material, it seems to me that it's either being used as an excuse for Turandot's horrific behaviour - which leans into the psychological horror of the piece - or if, as you suggest, the ancestor's presence is more of a curse, could an argument be made for Turandot being an early example of westernised Chinese ancestor horror? And I wonder if a production could successfully lean into that angle?