# Turandot MET Levine vs. Nelsons



## Notung (Jun 12, 2013)

Can anyone recommend which video is better to own? I borrowed the Levine and liked it, thought I should buy one, but noticed the same production except with Nelsons conducting and Guleghina and Giordani singing lead. 

Any suggestions?


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## HumphreyAppleby (Apr 11, 2013)

I personally can't stand Giordani's singing. He almost always sounds weak, strained, and in what I've seen of the recent _Turandot_ he isn't capable of singing the music. It's too difficult for him (certainly no great personal failing- the vocal parts in _Turandot_ are outrageous), and he doesn't sound good to me. Domingo can barely sing the role, but his struggle is much more successful than Giordani's. In terms of Turandots, I don't particularly care for either Marton or Guleghina in the role, so it's a tossup. Ultimately, I think the Levine has the advantage because of Domingo, and also because the Liu of Leona Mitchell is quite good.

All that being said, I think both performances butcher the opera, as most performances of _Turandot_ do. I'm usually a fan of Zeffirelli, but his production doesn't do much for me. The singing is spotty in both of them, and tempi are always too fast. The explicit instructions of the composer are ignored: the concertato at the end of Act One should stay at the same tempo as Non piangere Liu. It's slower, but the payoff at the end is bigger, because the buildup was so much stronger. And neither production has an answer to the question, Why should we forgive Turandot? There is an answer, neither production treats the opera as enigma to be pondered. They treat it as a showcase for expensive sets.

I think the best filmed _Turandot_ is a black and white movie made for RAI in the 60s starring Gianfranco Cecchele and Birgit Nilsson. They are both outstanding. I think Cecchele was better than either Domingo or Giordani in this role. He had the right voice type. There is still no answer, but at least the voices are there.


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## Aramis (Mar 1, 2009)

I agree with Humphrey that neither of these two is very good, mainly because of miscasted Calafs. You said you've watched the Levine already, so when you know the stage action well enough, why not focus on CDs now?


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## LouisMasterMusic (Aug 28, 2013)

Aramis said:


> Iwhy not focus on CDs now?


 Which recording (not the Karajan one) is the best to buy? I currently have Franco Corelli and Birgit Nillson, but with no libretto. I would like a fuller package.


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## DavidA (Dec 14, 2012)

The version under Mehta is certainly very good with Sutherland and Pavarotti in good form.


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## AndyS (Dec 2, 2011)

Notung said:


> Can anyone recommend which video is better to own? I borrowed the Levine and liked it, thought I should buy one, but noticed the same production except with Nelsons conducting and Guleghina and Giordani singing lead.
> 
> Any suggestions?


I remember when I was about to watch the Nelsons... I had just seen Guleghina singing Lady Macbeth and thought he was tremendous in that and was really excited about seeing her Turandot, I thought she'd have done a great job in the role. Man I was disappointed. The role just put too many demands on her (although I still regard her highly as a singer, fair play for having a go at a role that has proved too much for many).

In terms of CD the Mehta with Sutherland, Pav and Caballe is highly recommended. Pav not normally my cup of tea but he is good here, and Sutherland is absolutely something else in the role. I also think it's hard to beat Caballe as Lui.

The recording with Inge Borkh as Turandot, Mario del Monaco as Calaf and Renata Tebaldi as Lui is also not bad. I wouldn't say Borkh was particularly Italianite (neither was Nilsson) but it's a very intelligently sung Turandot


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## Marschallin Blair (Jan 23, 2014)

HumphreyAppleby said:


> I personally can't stand Giordani's singing. He almost always sounds weak, strained, and in what I've seen of the recent _Turandot_ he isn't capable of singing the music. It's too difficult for him (certainly no great personal failing- the vocal parts in _Turandot_ are outrageous), and he doesn't sound good to me. Domingo can barely sing the role, but his struggle is much more successful than Giordani's. In terms of Turandots, I don't particularly care for either Marton or Guleghina in the role, so it's a tossup. Ultimately, I think the Levine has the advantage because of Domingo, and also because the Liu of Leona Mitchell is quite good.
> 
> All that being said, I think both performances butcher the opera, as most performances of _Turandot_ do. I'm usually a fan of Zeffirelli, but his production doesn't do much for me. The singing is spotty in both of them, and tempi are always too fast. The explicit instructions of the composer are ignored: the concertato at the end of Act One should stay at the same tempo as Non piangere Liu. It's slower, but the payoff at the end is bigger, because the buildup was so much stronger. And neither production has an answer to the question, Why should we forgive Turandot? There is an answer, neither production treats the opera as enigma to be pondered. They treat it as a showcase for expensive sets.
> 
> I think the best filmed _Turandot_ is a black and white movie made for RAI in the 60s starring Gianfranco Cecchele and Birgit Nilsson. They are both outstanding. I think Cecchele was better than either Domingo or Giordani in this role. He had the right voice type. There is still no answer, but at least the voices are there.






























I definately incline to the Levine/Zeffirelli production, if _not to_ the 'just'-adequate singing of Domingo and Martinon (Leona Mitchell's sweet utterances to the contrary notwithstanding). I luxuriate in the sets, if not the direction and the singing.


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