“Turandot” by Giacomo Puccini, directed by Waldemar Zawodzinski, at the Forest Opera House in Sopot as part of the 2nd Baltic Opera Festival

As dusk fell in the Sopot forest on Saturday evening, Giacomo Puccini's “Turandot” began on the Forest Opera stage. Keri-Lynn Wilson stood behind the conductor's desk.

As dusk fell in the Sopot forest on Saturday evening, Giacomo Pucdni's “Turandot” began on the Forest Opera stage. Keri-Lynn Wilson stood behind the conductor's desk.

Death in this opera is omnipresent. One could say that in Turandot's time she took possession of the world.

Hence the set design by Waldemar Zawodzinski features white - for Eastern cultures it is the color of mourning. There is also black, which in European culture is associated with sadness, evil or death. The large fans wrapping the stage have sharp spades at the ends of their ribbing; one can cut the artery of the neck with them like daggers. The funeral character of this opera is also found in the libretto - in the number of terms and references to dying. The dark and menacing, mysterious forest behind the stage will also play, speaking to us as the lights flare among the trees. Black and white were most of the beautiful costumes of the ballet dancers (Ballet of the Lodz Opera) and the chorus-actors (designed by Dorothée Roqueplo).In none of Puccini's operas does the music follow the words and action as much as it does in “Turandot,” which is why it is more of a musical drama than an opera, critics say. The story of the cruel daughter of the Emperor of China is fascinating. To win her hand, three puzzles must be solved. If someone fails, the executioner beheads the pretender. The action of the opera begins when another suitor, the prince of Persia goes to the beheading, because he failed to solve the riddles. The cruel, icy princess Turandot confirms the verdict. One of the observers of this scene is Kalaf, son of the king of the Tartars, who, dazzled by the princess's beauty, volunteers to solve the riddles. To no avail are the pleas of the young slave girl Liu, who is unrequitedly in love with him, his father King Timur and the warnings of the imperial ministers.

As Liu, we saw Isabella Matula. We are under her spell from her first entrance on stage, when she sings subtly, magically: “I've loved you since you smiled at me in the palace.” The second aria, in which Liu commits suicide, is full of drama: “Before the dawn comes, weary I close my eyes.” Her death is a sacrifice made in love. It is through her that the miracle of transformation from the world of evil and death to the world of love is accomplished.

Puccini had a gift for drawing characters, often extreme, controversial, but always extremely expressive, complex. Turandot, played by Liudmyla Monastyrska, is a very different image of femininity than Liu. She embodies destruction and death, but like all evil, she also has the power of attraction. She tempts not only with her beauty, but is also something unmatched, unconquerable.

The success of the show is also due to the sensational chorus and orchestra, perfectly conducted by Keri-Lynn Wilson. The Ukrainian Freedom Orchestra played with precision and passion. The magnificent instrumental and choral parts (Choir of the Grand Theater in Lodz) were in perfect harmony with the stage action. Brazilian-German tenor Martin Muehle as Kalaf particularly pleased the audience, performing together with his stage father Timur (played by Rafal Siwek). Both men were excellent in acting and vocals. Jacek Laszczkowski also delighted as the old emperor Altoum.

The witty trio of dignitaries Ping, Pang and Pong dressed in bright, grotesque costumes delighted. They were played by Tomasz Rak, Aleksander Zuchowicz and Mateusz Zajdel. Stephano Park as the Mandarin, played his role with solemnity and dignity. The delightful choreography was created by Joshua Legge and Gintautas Potockas, perfectly matching the director's vision. Sopot's “Turandot” is a beautiful story about a feeling that is not romance, not love, but something most wonderful.... love.