DCist Goes to the Opera: Turandot

We last heard Maria Guleghina in the 2005 production of Verdi's I Vespri Siciliani. Her powerhouse dramatic soprano is exactly the sort of voice needed so much of the time for Turandot. From her dramatic entrance with In questa reggia Guleghina sang with immense vocal power, slicing through the massive orchestra, which was mostly given its head by conductor Keri-Lynn Wilson. As her Calaf, Argentinian tenor Darío Volonté was weak and undersupported, although he at least made a decent impression in Nessun dorma. It was what led up to that that made one dread the opening of the third act, a pale voice, most of the tone swallowed, that disappeared completely into the orchestra much of the time.

Slovenian soprano Sabina Cvilak, whom we appreciated as a sweet Micaëla in last fall's Carmen and as one of the high points in a generally annoying La Bohème the year before that, sang with considerable beauty as Liù, in a floating tone that was pure and silken, but vulnerable and tending to vanish at the start of pianissimo notes. Among the supporting cast big points go to the trio of Nathan Herfindal (Ping), Norman Shankle (Pang), and Yingxi Zhang (Pong), with Shankle's voice slightly overpowered by the other two. They went with Şerban's decision to recast these roles not as ministers but as commedia dell'arte acrobat-jesters, complete with colorful, buffoonish costumes (designed by Sally Jacobs), a nod of sorts to the source play by Goethe (adapted from Carlo Gozzi). No one would ever suspect these three clowns of "racking their heads over sacred books," as they sing in the Honan house trio.

Morris Robinson sang with force and pathos as Timur, with a sound that was a little woolly and unfocused, while local tenor Robert Baker gave yet another memorable character performance as Emperor Altoum (descending on a golden throne like a vision of Buddha — sets also by Sally Jacobs) and Domingo-Cafritz Young Artist Oleksandr Pushniak showed an imposing voice as the Mandarin. The chorus, seated in the upper levels of the single set background — modeled on a Chinese theater, according to the director mdash; had a few unaccustomed miscues and balance issues. The children's chorus sang with angelic elegance, especially clear in the first act when they stood on the stage floor. Most of the pageantry of the production was provided by a team of dancers and supernumeraries (choreography by Kate Flatt). Conductor Keri-Lynn Wilson led a strong performance from the orchestra, with the string sound cleaned up and burnished considerably (especially in the Honan House trio), incisive brass and percussion (including the marvelous Chinese gongs), and bubbly winds, especially in the dissonant, comic music for Ping, Pang, and Pong and a fearless piccolo solo, decreasing in sound al niente, at the end of Liù's death scene.

This production of Puccini's Turandot continues through June 4 at Washington National Opera. Other singers will take over the three leading roles at some of the later performances.