Turandot (UK /ˈtjʊər.ən.dɒt/ or US /ˈtʊr.ən.dɑːt/; Italian pronunciation: [tu.ɾanˈdɔ]) is an opera in three acts by Giacomo Puccini, set to a libretto in Italian by Giuseppe Adami and Renato Simoni.
Though Puccini's first interest in the subject was based on his reading of Friedrich Schiller's adaptation of the play, his work is most nearly based on the earlier text Turandot by Carlo Gozzi. The story, set in China, involves prince Calàf who falls in love with the cold princess Turandot. To obtain permission to marry her, a suitor has to solve three riddles; any false answer results in death. Calàf passes the test, but Turandot still hesitates to marry him. He offers her a way out: he agrees to die should she be able to guess his real name.
The opera was unfinished at the time of Puccini's death in 1924 and was completed by Franco Alfano in 1926. The first performance was held at the Teatro alla Scala in Milan on April 25, 1926 and conducted by Arturo Toscanini. This performance included only Puccini's music and not Alfano's additions. The first performance of the opera as completed by Alfano was the following night, 26 April, although it is disputed whether this was conducted by Toscanini again or by Ettore Panizza.
Giacomo Antonio Domenico Michele Secondo Maria Puccini (Italian pronunciation: [ˈdʒaːkomo putˈtʃiːni]; 22 December 1858 – 29 November 1924) was an Italian composer whose operas, including La bohème, Tosca, Madama Butterfly, and Turandot, are among the most frequently performed in the standard repertoire. Some of his arias, such as "O mio babbino caro" from Gianni Schicchi, "Che gelida manina" from La bohème, and "Nessun dorma" from Turandot, have become part of popular culture.
Described by Encyclopædia Britannica Online as "one of the greatest exponents of operatic realism", he is regarded as one of the last major Italian opera composers. His repertoire is essentially rooted in verismo, or a post-Romantic operatic tradition and literary style. Whilst his work is essentially based on traditional late-19th century Italian opera, his music shows some influences from then-contemporary composers and movements such as Igor Stravinsky and Impressionism. Common themes within his operas include the important role, yet usually tragic end, of his heroines, as well as love; furthermore, there is a strong presence of exoticism in his operas, with several being set in faraway locations.
Plot
Allegra, an opera-loving writer in New York, eschews commitment, so her girlfriend, Samantha, leaves her. Allegra misses Sam, and resents the accusation that she's afraid to say "I love you," but she's soon involved with two people - Grace and Philip - who, unbeknownst to her, have just broken up with each other. Allegra juggles the two affairs, telling neither about the other; each likes her more and more as her old fears start making her itchy. Things come to a head at an engagement party where Allegra is pinch-hitting as a catering assistant.
Keywords: affair, bathroom, bedroom, best-friend, bisexual, bookstore, boyfriend-girlfriend-relationship, caterer, cell-phone, champagne
A love triangle of operatic proportions
A Comedy of Operatic Proportions
Allegra: It's hell being alone.::Woman on Bench: No honey, hell is other people.
Allegra: Commit! Just listen to that word, it's what they do in insane asylums!
Allegra: Those who break up with me usually earn my life long devotion.
Nell: You got together with Philip as a way to get back at Samantha and then when your emotions got too strong you found Grace under whom you could project your conflict and who so conveniently was braking up with her boyfriend making her another unavailable love object which of course confirms your deep cynicism about relationships in general and keeps you from confronting your real problem which has had to be yourself.::Allegra: Jesus Christ Nell, all I did was ask you what you wanted to have for lunch...::Nell: Wendy's.
Plot
In May of 1997, Zubin Mehta conducts and Zhang Yimou directs Puccini's "Turnadot" in Florence. A year later, they stage nine performances in Beijing. This documentary focuses on the China production: a huge and elaborate set, hundreds of extras, three sets of principles, props and costumes matching the Ming Dynasty. Mehta, with his Indian roots and European training, revels in bringing disparate cultures together. Zhang wants the music to come through and anticipates the demands (and habits) of the Chinese audience. Rehearsals; production work; rain; talks with singers, crew, and local officials -- can it all come together? When the chorus is in full volume, no one sleeps.
Keywords: acoustics, acrobat, anxiety, asian-indian, backstage, beijing-china, china, china-performing-arts-agency, chinese, chinese-army
Plot
In Torre del Lago, by Lake Massaciuccoli, Puccini is writing "The Girl of the Golden West" when his wife Elvira accuses him of a dalliance with their maid, Doria Manfredi, a young women from town. Although the maestro is frequently unfaithful, he denies the affair; Elvira insists she's right and publicly hounds Doria. Between scenes in this domestic drama that turns tragic, we watch a Scottish company rehearse and stage "Turandot," Puccini's last opera. The film finds parallels between the two stories and suggests that in the opera, Puccini expresses love for his wife and guilt in Doria's fate. Three local gentlemen provide a spoken chorus as Puccini's score plays throughout.
Keywords: italian-music, italy, opera
Plot
In Torre del Lago, by Lake Massaciuccoli, Puccini is writing "The Girl of the Golden West" when his wife Elvira accuses him of a dalliance with their maid, Doria Manfredi, a young women from town. Although the maestro is frequently unfaithful, he denies the affair; Elvira insists she's right and publicly hounds Doria. Between scenes in this domestic drama that turns tragic, we watch a Scottish company rehearse and stage "Turandot," Puccini's last opera. The film finds parallels between the two stories and suggests that in the opera, Puccini expresses love for his wife and guilt in Doria's fate. Three local gentlemen provide a spoken chorus as Puccini's score plays throughout.
Keywords: italian-music, italy, opera
Plot
This merry farce depicts a satirical view of the French society: Twelve years old Zazie has to stay two days with her relatives in Paris, so that her mother can spend some time with her lover. However Zazie escapes her uncle's custody and sets out to explore Paris on her own.
Keywords: 1960s, absurdism, based-on-novel, brat, car, curiosity, dancer, discovery, eiffel-tower-paris, gag
Louis Malle's Comedy With No Holds Barred !
Zazie: What's a hormosessual?::Albertine: A man who wears blue jeans.::Zazie: Aw, you're joking!
Zazie: Are you a homo-sessuell?::Driver: Do I look like a fruit?::Zazie: Guess not - you're just a driver.
Albertine: I have stage fright.
Zazie: [to Albertine from departing train] Goodbye, sir.
Zazie: [in a Paris flea market]... they got American military surpluses, too?::Trouscaillon: Of course! And great French fries, made right that afternoon.::Zazie: I'll take the American military surpluses.::Trouscaillon: They got mussels, too. That don't screw you all up.::Zazie: They got those American blue jeans?::Trouscaillon: Of course! And their compasses too, and that's not all...::Zazie: Fuck all that, I just want the blue jeans.
Madame Mouaque: [very drunk, to Gredoux] People are mostly cunts. You too, cunt.::Ferdinand Grédoux: You hear this...::Madame Mouaque, Ferdinand Grédoux: [increasingly absurd fisticuffs ensue throughout bar as Zazie is passed out]
Madame Mouaque: [about Gabriel] That elephant dances?::Zazie: And in a tutu!
Trouscaillon: [acting sadly in front of crowd] I... was orphaned... in the Resistance.
[last lines]::Zazie: I grew up some.
Turandot
Nessun dorma
Nessun dorma, nessun dorma!
Tu pure, o principessa,
Nella tua fredda stanza,
Guardi le stelle
Che tremano d'amore e di speranza.
Ma il mio mistero e chiuso in me,
Il nome mio nessun sapra!
No, no, sulla tua bocca lo diro'
Quando la luce splendera'!
Ed il mio bacio scioglierà il silenzio
Che ti fa mia!
(il nome suo nessun saprà!
E noi dovrem, ahime, morir!)
Dilegua, o notte! tramontate, stelle!
All'alba vincero'! no one sleeps! no one sleeps!
You too, o princess
In your cold room
Are watching the stars
Which tremble with love and hope!
But my secret lies hidden within me,
No one shall know my name!
No no, on your lips I will tell you,
When daylight will come
And my kiss shall break
The silence which makes you mine
No one shall discover your name!
And we will be able to die!)
Depart, oh night! fade away, you stars!