Turandot (Royal Opera, Cast A)

The Royal Opera's "Turandot" is massive in just about every respect. Huge set with enormous chorus and some weighty singers powering out some massive tunes. Thankfully when called for, it can also do the smaller things as well.

The production is an old warhorse and it's holding up the best of any of the relic stagings. The imposing designs and colourful costumes paired with attractively paired down choreography and thoughtful staging mean it could have been put together yesterday. The entire piece is played out as if in an Asian gladiatorial arena, the chorus looming from the balconies, coaxing the characters to their slaughter. The costumes and masks really conjure up China (a stylised Western view at any rate), and the mammoth constructions that are wheeled around the stage are nothing short of spectacular.

The title role was filled at the last minute by Elizabeth Connell who deserves massive plaudits just for having the bravery to fill in at the last minute. She deserves further praise for doing a damn good job of the part. Strongly sung, firing out the blistering top notes and handling the quiet introverted moments with just as much skill. The problem lay in just how warmly she came across, she was far too matronly for this divine ice queen. The harshness just felt forced, an act behind which she just needed a hug, and that isn't quite true of the role. José Cura is an ideal bit of casting as Calaf, the handsome, young "Unknown Prince". A rich sounding tenor with the range to pull off "Nessun Dorma" but the good sense to try and inject drama into everything. It might be an air that is commonly song like a battle victory celebration but the words are suggesting anything but and Cura was more than good enough to make it bitter sweet. Liù was sung by the appropriately gorgeous Svetla Vassileva but she suffered from being just a little too potent for the slave girl she was meant to be playing. Her "Tu che di gel sei cinta" was absolutely heartbreaking however, a moment when real sadness took hold on precedings. Paata Burchuladze was a very strong Timur, never dominating but adding well needed experience to precedings. He has a rock solid bass and projects with real gusto whilst acting the elderly role with aplomb. Robert Tear in his final performance for the house is ideally suited to the role of the emperor, sitting above the stage in regal fashion. The three ministers were less strong, Giorgio Caoduro, as Ping, weakly voiced and underwhelmingly acted. Ji-Min Park and Alasdair Elliott fared better but none of them made much of an impact and the opening of Act II was dull as a result.

This is a stunning production and a very solid cast. Cura was on top form and whilst I have my reservations about Connell, under the circumstances it was a very fine performance. If you're feeling like an opera this Christmas you could do a great deal worse than this, the Royal Opera's "Hansel und Gretel" (the actual Christmas offering) being an example of this. Thrillingly sung in places, easy on the eye and it's not exactly a score to complain about. A great night out.