Artist: Pedro Lavirgen
Album: PUCCINI:TURANDOT, Pedro lavirgen
Genre: Classical, Opera
Release Date: 2023
Audio Format:: FLAC (tracks) 24 bit, 192 kHz
Duration: 01:49:08
Total Tracks: 3
Total Size: 2,89 GB

Tracklist:

1-1. Pedro Lavirgen – Act I (32:32)
1-2. Pedro Lavirgen – Act II (40:57)
1-3. Pedro Lavirgen – Act III (35:38)

Download:

Puccini died in Brussels of throat cancer in November 1924. I used to smoke compulsively, almost since I was a child. He liked it as much as driving. He was therefore unable to finish his last opera, Turandot, for which the librettists Adami and Simoni rewrote the text several times. He sketched the ending and asked that it be Riccardo Zandonai who would conclude the work, although it was finally Franco Alfano who did it. The Teatro Real closes the season with the production that premiered in 2018, signed by Robert Wilson and with Nicola Luisotti on the podium, the same duo that triumphed five years ago. ”The tandem worked then and I am convinced that it will do so again now,” Joan Matabosch, artistic director of the Teatro Real, tells OPERA ACTUAL. “Five years ago Wilson premiered this production that promised to be one of his important operatic works due to the affinity between its aesthetics and that of Puccini’s posthumous work, but the artistic results remained to be seen. Today the production has become one of the theater’s greatest international triumphs. And Nicola Luisotti has shown that this colossal score, the most ambitious and well-orchestrated of Puccini’s work, cannot be conducted better.”Born at the end of her life, Puccini began working in music in March 1920. However, the opera was to represent a change from his previous production. Matabosch explains this twist: “Calaf’s courageous and generous love, able to overcome the resistance of Turandot’s sterile pride and selfishness, could have been expressed from a realistic code brimming with anecdotal intrigues. It is what, surely, Puccini would have carried out decades earlier, when he was still a composer aligned with sentimental costumbrism, endowed with an undeniable ability for passions and love disappointments to have a tear-jerking stimulating effect on the audience. On the contrary, in this late Puccini decided to reinvent his own aesthetic code. Turandot is a work in the antipodes of that realistic and touching dramaturgy that had been its hallmark. It possesses the choral rigidity typical of the oratorio, the dramatic structure of a pagan mystery, of a ceremonious, vast and immobile fresco, of a closed, purely legendary universe, foreign to any reading other than metaphor, fully ascribed to Symbolist aesthetics. Incompatible, in its essence, with that puerile realism of stone cardboard, variegated and bombastic, with which it is usually represented from the most absolute insensitivity towards the aesthetics of the work itself”.