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The Royal Opera
Music Director Designate
Jakub Hrůša
Director of Opera
Oliver Mears

Turandot

LYRIC DRAMA IN THREE ACTS AND FIVE SCENES

Cast sheet

Saturday 22 March 2025

|

12pm

The 295th performance by The Royal Opera at the Royal Opera House.
Please note that casting is subject to change up until the start of the performance. Please continue to check the website for the most up-to-date information.

Exceptional philanthropic support from Royal Ballet and Opera Principal Julia Rausing Trust

Generous philanthropic support from Alan and Caroline Howard

Approximate timings

The performance lasts approximately 2 hours 45 minutes, including two intervals
Act I
35 minutes
Interval
25 minutes
Act II
45 minutes
Interval
20 minutes
Act III
40 minutes
Credits

Music

(completed by Franco Alfano)

Giacomo Puccini

Libretto

after Carlo Gozzi

Giuseppe Adami, Renato Simoni

Conductor

Rafael Payare

Director

Andrei Șerban

Revival Director

Jack Furness

Designer

Sally Jacobs

Lighting designer

F. Mitchell Dana

Choreographer

Kate Flatt

Choreologist

Tatiana Novaes Coelho

Cast

Princess Turandot

Sondra Radvanovsky

Calaf

SeokJong Baek

Liù

Anna Princeva

Timur

Adam Palka

Ping

Hansung Yoo

Pang

Aled Hall

Pong

Michael Gibson

Emperor Altoum

Paul Hopwood

Mandarin

Ossian Huskinson

Soprano Solos

Marianne Cotterill, Tamsin Coombs

No Show

Actors

Cameron Ball, Rain de Rye Barrett, Aimee Dulake, Sarah Ekuhoho-Sharman, Richard Gittins, Keiko Hewitt-Teale, Jessie Jing, Jamal Lowe, Suleiman Suleiman, James Unsworth, Addis Williams

Dancers

Winnie Asawakanjanakit, Michael Barnes, Marie Chabert, Cristina Chinchilla, Natasha Chu, Sera Maehara, Tobias Richards, Belinda Roy, Trevor Schoonraad, Anna Smith, Jack Thomson, Sam Vaherlehto

Ossian Huskinson is a Jette Parker Artist
Chorus and Orchestra

Chorus

Royal Opera Chorus

Chorus Director

William Spaulding

Orchestra

Orchestra of the Royal Opera House

Concert Master

Sergey Levitin

Extra chorus

Sopranos

Jennifer Coleman, Janet Fairlie, Celeste Gattai, Shafali Jalota, Kathryn Jenkin, Bernadette Lord, Alison Rayner, Elizabeth Roberts, Juliet Schiemann, Rosalind Waters, Vanessa Woodfine

Mezzo-sopranos

Maria Brown, Tamsin Dalley, Siobhain Gibson, Maria Jones, Dervla Ramsay, Jennifer Westwood

Tenors

Robert Amon, Simon Biazeck, Philip Brown, Andrew Busher, Andrew Friedhoff, James Geer, James Scarlett

Basses

Jochem Van Ast, Gerard Delrez, Oliver Gibbs, Lawrence Gillians, Gabriel Gottlieb, Mark Campbell Griffiths, Gavin Horsley, Mark Saberton

Children

Cardinal Vaughn and Greycoat Schools

Production credits

Music preparation

Richard Hetherington, Martin Fitzpatrick, Edward Reeve, Nicholas Ansdell-Evans, Erika Gundesen, David Sutton-Anderson

Assistant Director

Kirsty Tapp, Katie Kim Hackman

Language Coach

Alessandra Fasolo

Tai Chi Consultant

Wendie Hou

Patron

HM The King

Music Director Designate

Jakub Hrůša

Director of Opera

Oliver Mears

Director of Casting

Peter Mario Katona

Associate Director

Netia Jones

Administrative Director

Cormac Simms

Princess Turandot of China has sworn an oath that no man will possess her. However, she offers her suitors a chance...

ACT I

Princess Turandot of China has sworn an oath that no man will possess her. However, she offers her suitors a chance: if one of them can answer correctly the three riddles which she asks him, he can marry her. If not, he must die.

Inside the walls of Peking, a crowd wait for the execution of the Prince of Persia, who has failed the test of the riddles. As the guards push back the excited people, a blind old man falls, and is helped up by his companion, a young girl. A young man comes to help them and recognizes the blind man as the exiled King Timur of Tartary. He reveals himself as Timur’s son Calaf, who was separated from his father after the loss of their kingdom. Timur’s companion is Liù, a former slave, who has cared for him since their exile. It becomes clear that Liù cares deeply for Calaf.

The Prince of Persia is led in by the servants of the executioner. Turandot arrives to confirm the Prince’s death. Calaf is horrified, but, as soon as he sees the Princess, is captivated by her beauty. Despite the warnings of the ministers Ping, Pong and Pang, he vows to win Turandot himself. Liù implores him to leave with her and Timur. Calaf tries to console her but remains determined, and strikes the gong to signal his intention to woo the Princess.

INTERVAL
ACT II

Ping, Pong and Pang complain about the endless executions caused by Turandot’s obstinacy. Each longs to leave Peking for the peace of his country home.

Wise men arrive holding the scrolls containing the answers to Turandot’s riddles. Calaf, calling himself the ‘Unknown Prince’, is brought before Turandot’s father, the Emperor Altoum. The Emperor begs the ‘Unknown Prince’ to leave, and explains how he must die if he fails to answer Turandot’s riddles correctly. Calaf remains obstinate.

Turandot arrives for the test of the riddles. She explains the reason for her cruelty. Many centuries before, her ancestress Princess Lo-u-Ling was raped and killed by an invader. Turandot sees herself as the reincarnation of Lo-u-Ling and has therefore vowed that no one will possess her. The riddles are her one concession. She reminds Calaf that their outcome has so far always been death. Calaf insists on attempting to solve the riddles. Turandot asks him: what is the ghost which all the world invokes and is constantly renewed; what flickers like a flame when a man dreams of conquest; what is frost that burns, that makes a king of the one it accepts as a slave? Encouraged by the crowd, Calaf correctly answers: Hope! Blood! Turandot! Turandot is now his. But Calaf does not wish the Princess to give herself to him unwillingly, and therefore proposes another test. Turandot does not know his name – if she can discover it during the night, he is prepared to die at dawn. If not, he will possess her.

INTERVAL
ACT III

Calaf awaits dawn, while the voices of heralds announce that no one in Peking shall sleep until the name of the ‘Unknown Prince’ has been discovered. Calaf is confident that he will win Turandot. Ping, Pong and Pang attempt to get him to leave, offering him beautiful women, riches and glory if he renounces Turandot. Calaf remains firm, to the annoyance of the ministers and the rage of the crowd, who begin to threaten him.

Timur and Liù have been discovered and are dragged in. They were seen with Calaf the day before and are suspected of knowing his name. Turandot is summoned, and orders Liù to be tortured until she reveals the identity of the ‘Unknown Prince’. Liù explains to Turandot that she can bear the torture due to her love of the stranger. Still refusing to reveal his name, she kills herself. Timur and the crowd lament her death and carry her body away.

Calaf and Turandot are left alone, and Calaf accuses Turandot of inhumanity. To begin with, she is cold and unyielding, but finally she succumbs to Calaf’s embrace. Still not wishing Turandot to marry him unwillingly, Calaf tells her his name and places himself in her power. Turandot summons the Emperor and people, and proudly declares that she now knows the name of the foreigner. It is Love, she states. As Calaf and Turandot embrace, the crowd rejoices.

Guidance
Parental guidance recommended
This production contains themes of death and violence. There is a stylized depiction of suicide.

Language

Sung in Italian with English surtitles. Captions and translations in English will be displayed on screens above the stage and around the auditorium.
Further information

We are working hard on our commitment towards becoming more sustainable and are striving for our net zero goal of 2035. By using digital cast sheets and e-tickets, we have reduced our paper consumption by over five tonnes per year. You can view our digital cast sheets on a computer, tablet or smartphone by scanning the QR codes displayed around the building using your smartphone’s camera app. They are also displayed on screens outside the auditoria. Cast sheets are generously supported by the Royal Opera House Endowment Fund.

Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the  building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.

Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.

Please do not place any personal belongings on the ledges in front of you. Mobile phones should be turned off and stored away safely during performances.

Only bottled water and ice cream purchased from the premises can be taken into the auditorium.

If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.

Smoking and vaping are not permitted anywhere on the premises.

The safety of our visitors, staff and artists is our priority. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.

Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.

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