The Cultural Center of the Philippines on 9 December drew a full house at the gala performance of Giacomo Puccini’s renowned opera, Turandot.
Hailed by Italian Ambassador Marco Clemente as the most significant cultural event in Manila following the lifting of pandemic restrictions, the three-act international production — about a prince (Calaf) who falls in love with icy princess (Turandot) — starred two Korean artists, soprano Lilla Lee as Chinese princess Turandot, and bass Jinsu Lee as Timur, the exiled Tartar king.
Italian tenor Alessandro Liberatore played Timur’s son Calaf the prince enamored of Turandot.
In supporting roles were Filipino soprano Rachelle Gerodias as Liu; Korean baritone Byeong In Park as Ping the Grand Chancellor, with tenor Ivan Nery as Pong, Grand Intendant, Ervin Lumauag as Pang, Grand Administrator, tenor Nomher Nival as Emperor Altoum, and baritone Greg de Leon as Mandarino.
Italian Maestro Valentino Favoino conducted the Philippine Philharmonic Orchestra, with choral ensembles of the Viva Voce Voice Lab. Members of Alice Reyes Dance Philippines comprised the dance ensembles.
Lee — who debuted as Turandot in 2018 and reprised her role in 2019 in Travaglini’s production in Turkey — rendered “In questa reggia” with stunning power.
However, Liberatore fell short in the final act’s famous aria, “Nessun dorma.”
Park, Lumauag and Nery were a riot in the comedic moments with Calaf.
The show’s highlight was Gerodias’ numbers as the young slave Liu. Not to be ignored was the commanding presence of the towering Jinsu Lee as Timur.
Favoino conducted the PPO with precision.
Director/set and costume designer Vincenzo Grisostomi Travaglini’s sceneries lacked the visual grandeur of imperial China.
But overall, Turandot provided a high point in the CCP’s transition as it closes for a much-needed refurbishing.