Turandot

Giacomo Puccini

Turandot

Upcoming Performances

Saturday

Mar 2 at 8 PM

Tuesday

Mar 5 at 7 PM

Friday

Mar 8 at 7 PM

Wednesday

Mar 13 at 7 PM

Saturday

Mar 16 at 12 PM

Wednesday

Mar 20 at 7:30 PM

Saturday

Mar 23 at 8 PM

Wednesday

Apr 3 at 7 PM

Saturday

Apr 6 at 1 PM

Thursday

Apr 11 at 7:30 PM

Sunday

Apr 14 at 3 PM

Friday

Apr 19 at 7:30 PM

Wednesday

May 29 at 7 PM

Saturday

Jun 1 at 1 PM

Tuesday

Jun 4 at 7:30 PM

Friday

Jun 7 at 8 PM

$25 rush tickets are available for every performance and go on sale for Monday through Friday evening performances at noon, for matinees four hours before curtain, and for Saturday evenings at 2:00PM. Learn more about the Met's rush ticketing program here.

Overview

Franco Zeffirelli’s dazzling vision of mythic China retakes the stage, with soprano Elena Pankratova making her Met debut as the legendary—and lethal—title princess, opposite tenor SeokJong Baek as the valiant prince who puts his life on the line to win her love. Later in the spring, a pair of audience favorites, soprano Christine Goerke and tenor Roberto Alagna, assume the starring roles. Sopranos Aleksandra Kurzak, Juliana Grigoryan, Gabriella Reyes, Angel Blue, and Olga Kulchynska alternate as Liù, with basses Vitalij Kowaljow, Peixin Chen, and Soloman Howard as Timur. Maestro Oksana Lyniv makes her Met debut leading Puccini’s rousing score, sharing conducting duties with Marco Armiliato.

Production a gift of Mrs. Donald D. Harrington

Revival a gift of C. Graham Berwind, III and The Joseph and Robert Cornell Memorial Foundation

The Met is grateful to C. Graham Berwind, III for sponsoring the refurbishment of the Turandot sets

Read the program note for Turandot, which includes a discussion of the opera’s cultural insensitivities.

Languages

Languages sung in Turandot

Sung In

Italian

Titles

Title languages displayed for Turandot

Met Titles In

  • English
  • German
  • Spanish
  • Italian

Timeline

Timeline for the show, Turandot

Estimated Run Time

3 hrs 20 mins

  • House Opens

  • Act I

    35 mins

  • Intermission

    40 mins

  • Act II

    50 mins

  • Intermission

    30 mins

  • Act III

    45 mins

  • Opera Ends

Turandot

World premiere: Teatro alla Scala, Milan, 1926. Puccini’s final opera is an epic fairy tale set in a China of legend, loosely based on a play by 18th-century Italian dramatist Carlo Gozzi. Featuring a most unusual score with an astounding and innovative use of chorus and orchestra, it is still recognizably Puccini, bursting with instantly appealing melody. The unenviable task of completing the opera’s final scene upon Puccini’s sudden death was left to the composer Franco Alfano. Conductor Arturo Toscanini oversaw Alfano’s contribution and led the world premiere.

Creators

Giacomo Puccini (1858–1924) was immensely popular in his own lifetime, and his mature works remain staples in the repertory of most of the world’s opera companies. Franco Alfano (1875–1954) wrote nine operas, of which Cyrano de Bergerac (1936) is still occasionally performed today. The librettists for Turandot were the playwright Giuseppe Adami (1878–1946), who had previously worked with Puccini on Il Tabarro and La Rondine, and the journalist Renato Simoni (1875–1952).

PRODUCTION

Franco Zeffirelli

SET DESIGNER

Franco Zeffirelli

COSTUME DESIGNERS

Anna Anni and Dada Saligeri

LIGHTING DESIGNER

Gil Wechsler

CHOREOGRAPHER

Chiang Ching

Headshot of Giacomo Puccini

COMPOSER

Giacomo Puccini

Videos

Setting

Turandot

In Gozzi’s play, the original commedia dell’arte characters wandered from Italy to China and were members of the Imperial court. Their comments satirized Venetian politics and mores of the times. Puccini and his librettists dispensed with any such relevance. The China of this opera, set in “legendary times,” is a mythic realm viewed from the exoticizing perspective of 20th-century Europeans.

Music

The large Turandot orchestra calls for a wide variety of instruments, including alto saxophones, celesta, bass xylophone, harps, and an organ. There are several genuine Chinese themes that are integrated into the score in a suave and brilliantly original manner, including the big imperial anthem in Act II. The opera also contains moments of sheer melodic beauty in Puccini’s most lyrical vein, most notably in the tenor’s unforgettable song of triumph, “Nessun dorma,” which opens Act III.

Turandot