Libretto by Giuseppe Adami and Renato Simoni
The people are thirsty for blood. Another suitor for the hand of the sovereign is about to be publicly beheaded, because Princess Turandot is determined never to belong to any man. That’s why anyone who wants to marry her must first solve three riddles. Anyone who fails has to pay with his life. An unknown prince, revolted by Turandot’s cruelty, yet attracted by her beauty, takes on this potentially lethal risk – and solves the riddles. But has he awakened the ice-cold, man-murdering sovereign to love and put an end to her barbarity?
is Giacomo Puccini’s final opera. He died at a point in time when he had come upon a thus far unsolved dramaturgical problem with his composition. The princess was to be the counter draft to the anti-feminism at the fin-de-siècle
. But how to depict the transformation of the man-murderer to a loving woman? Puccini left the final love scene between Turandot and Calaf fragmentary.
In Italian with German surtitles
Carlus Padrissa – La Fura dels Baus
La principessa Turandot
Timur, Re tartaro spodestato
Il principe ignoto (Calaf)
Il principe di Persia