Edmonton Opera Blog

Pronouncing 'Turandot': the fourth deadly riddle

Tuesday, October 18. 2016

Confused about how to pronounce ‘Turandot’? Don’t worry, we’re right there with you! Everyone from our production crew to the General Director has gone through at least three different pronunciations of Turandot since we started working on this opera. Our box office staff receives countless variations on a daily basis, with many patrons waiting for them to say the name first, referring to it simply as “the first show” or “the Puccini opera” until then.

So what is the right way to say Turandot? Truthfully, there is no consensus. The originating conductor had his own way of saying it, which Puccini’s family members have disagreed with, and since then there have been intense face-offs among scholars and opera lovers! The correct pronunciation of Turandot has been as mysterious and unforgiving as the princess herself. But let us go over a few options:

Too-rahn-dough — This eliminates the final hard ‘t’ sound, and seems to make sense as a more smooth, effortless delivery of the name.

Too-rahn-dote — “Why doesn’t Turandot dote on her suitor Calaf?” This pronunciation is actually the most popular among our operagoers, and works well because of it allows a harder ‘t’ at the end, but still manages to sound delicate and nuanced.

Too-rahn-dott — This version starts and ends with strong ‘t’s making it the most cut-and-dry. It is also a fairly North Americanized pronunciation and fits in well with our dialect. Within the Edmonton Opera cast, crew, and administrative staff, we seem to have uniformly arrived at this pronunciation.

The above options are, of course, not the only ones. There are several other variations that soften the initial ‘t’ and honour the etymology of this name, a combination of the Persian word for daughter (dokht) and Turan (region of Central Asia). In the opera itself, the name is usually sung with a gentler Italian ‘t’ at the top and no ‘t’ sound at the end.

The trick, now that we have sampled a few pronunciations here, is to pick one and say it with absolute resolve, as though it has never been pronounced any other way!

Hopefully this post has helped relieve some of your anxiety before coming to see Turandot. Now you can sit back, enjoy the show, and tell the whole world about your experience! 


Turandot tickets are selling fast! Get yours today and witness this year's most anticipated theatrical event. 

Photo by Reed Hummell, Nashville Opera's Turandot

Message from Turandot conductor David Stern

Monday, October 17. 2016

To say that Puccini is one of the greatest and most important opera composers is an absolute understatement. It is surprising, however, to learn that Puccini had a tremendously low opinion of himself; he always felt that his music was not as brilliant as other composers, especially his German colleagues.

Puccini grew up in a poor family, did not receive the most rigorous musical education, and also started making music quite quickly to earn money and support his family. While for us this adds to our impression of him, to Puccini it manifested as a constant need to substantiate his existence. Though he embraced the concept of versimo, Puccini was always afraid of his intellectual side not coming through in the music.

Puccini wrote great melodies, as is evident in Turandot, but his music is much more than that. Indeed, there are great emotions and melodies in his operas, but those are secondary to the actual construction of each score. Puccini’s true brilliance is found in the level of subtlety and sophistication between aria and recitative, the very interesting architecture he puts into his work, and how he balances arias with their respective characters.

In a few of his most revered operas such as La Bohème, Madama Butterfly, and Tosca, Puccini demonstrates the height of realism. Then comes Turandot, which is always challenging to categorize as either a romantic opera or a versimo opera. In fact, it is neither.

Turandot is Puccini at his most expressionist. While this opera came towards the end of his life, the world was now beginning to see what would have been the new Puccini. Does Turandot contain versimo? Sometimes. Is it sentimental? No. It contains sentiment without falling into sentimentality. Love in Turandot is not love in the sense of Pinkerton and Butterfly. This is expressionist love — Calaf represents life and Turandot represents death. There is an inherent feeling that the life in Calaf needs to couple with the death in Turandot to create harmony in nature, like yin and yang. The music of Turandot invites a connection with something greater than oneself, creating a truly spiritual experience for the audience.


To experience our highly anticipated production of Turandot, purchase your tickets today starting at just $40! Act fast for the best seats in the house. 

David Pomeroy makes his role debut as Calaf in Turandot!

Tuesday, October 11. 2016

You may remember David Pomeroy from our 2013 production of The Tales of Hoffman, in which he wowed Edmonton audiences with his amazing talent! Now this skilled tenor is back at Edmonton Opera, this time debuting the role of Calaf in Turandot. You can see David on the Jubilee stage October 22, 25, and 27 singing the iconic Puccini aria, 'Nessun dorma'!

What do you find fascinating about Turandot?

The opera has amazing music. Puccini was a magnificent composer. He wrote romantic and sweeping melodies that soar and show off the singer’s voice in the most virile and thrilling way. The orchestration is so lush and mellifluous too! Cool plot …I love that I’m portraying a heroic prince who is arrogant enough to play with his own life in a riddle-game! Who wouldn’t?

Is there a particular part in the opera that you’re especially looking forward to?

‘Nessun dorma’ is my favourite aria, so definitely looking forward to singing that! Also the music of Liu and the exciting riddle scene with Turandot.

This will be your role debut as Calaf. What aspects of Calaf’s character do you relate to most?

I relate mostly to the music. The plot and being a prince cannot, of course, really be applied to my own life. But we must be singing actors and allow ourselves to get taken away to another world and time! As a dramatic singer I’m always excited to sing passionate Italian opera. And also to perform one of the most famous arias ever composed!! #NessunDorma

What are you looking forward to most about performing in Edmonton?

Seeing so many friends and colleagues. It’s been a few years since I’ve visited Edmonton and some of my favourite people are there!

Who is your favourite composer?

I have too many to name one! Some favourites are Verdi, Puccini and Wagner. These composers equipped themselves with the greatest libretti and applied their incredible music and melodies for both orchestra and voice.

Which aria would you recommend that people search on YouTube because it is so impressive?

The Pavarotti version of ‘Nessun dorma’ for sure!

Use 4 words to describe Turandot.

Dramatic, mellifluous, loud, inspiring!


To witness David Pomeroy embody Calaf's thrilling pursuit for love in Turandot, purchase your tickets today starting at just $40! Act fast for the best seats in the house. 

Introducing Turandot's stellar soprano Othalie Graham!

Wednesday, September 21. 2016

This year's highly anticipated production of Puccini's Turandot will be unveiled at the Jubilee in just one month! Our production is complete with incredible sets, costumes, and a cast of superb singers — including acclaimed soprano Othalie Graham. This Canadian has made quite the impression across the US and beyond in her signature role of Turandot, and now she is set to charm her home crowd with an unforgettable debut!

Othalie took some time out of role preparation to talk about her upcoming portrayal of Puccini's most compelling operatic heroine. Enjoy her insights below! 

We are so excited to have your Canadian mainstage debut be with Edmonton Opera. What are you looking forward to most about performing in Canada?

I am looking forward to singing my favorite role in my own country and I am eager to sing for a Canadian audience. Whenever I perform in other countries, everyone always responds positively about how much they love Canadians, so I am very happy to be singing in what is truly my home country.

What makes Turandot such an operatic treat

Turandot is a very challenging role and the opera has some of the most beautiful, soaring lines and heartbreaking moments for all of the characters. I think that Turandots change from what people perceive to be imperiousness (but I interpret as fear within a sequestered woman) to finding love is one of the greatest moments in any opera.

Having played Turandot numerous times, how do you keep your portrayal fresh and inspiring for each new audience? What aspects of Turandots character do you relate to? 

I can relate to her inner fortitude and her devotion to her father. Turandot is very protective of her ancestors and her family. Every time you re-visit a role its different because your fellow castmates, directors, set and production elements are different. Its always exciting and since I love the character of Turandot so much, I look for new things about her character that I can portray and emulate each time. I also enjoy working with a team that helps me uncover something new about the role or helps me see things in a new way, and I am very open to that in my role preparation and rehearsal process.

Is there a particular part in the opera that youre looking forward to performing?

I truly enjoy the entire opera. Its so well written and there are big moments within it that everyone can appreciate. There are also no small roles in this opera and the music is so exciting, from the overture to the last note. Each character has many poignant moments, and with this incredible cast filled with gifted singing actors, I know the audience will be mesmerized!

Personally, when I portray this role, I always look forward to the heartbreaking moment of Lius death and Timurs anguish. The transition that Turandot undergoes when experiencing this moment is riveting. In addition, Turandot pleading with her father in Act 2 really shows her vulnerability and her soft underbelly, and this also makes her transition in Act 3 more believable.

How might Turandot resonate with a contemporary audience? 

Turandot is really a timeless love story about sacrifice and characters willing to make the ultimate sacrifice for love. Everyone loves a story where love conquers all in the end.

Use 4 words to describe Turandot.

Beautiful, imperious, vulnerable, loving.


To experience Othalie Graham's powerful performance as Turandot, purchase your tickets today starting at just $40! Act fast for the best seats in the house. 

Spotlight: Soprano Michele Capalbo in Turandot

Friday, September 16. 2016

We are thrilled to welcome soprano Michele Capalbo to Edmonton Opera as Liu in Turandot. Liu is one of opera's most memorable and endearing characters — the classic underdog, and a stark contrast to Turandot. She loves Calaf and selflessly serves his aged father Timur, and when the time comes to show her loyalty, Liu does not back down from supporting the man she loves. 

Thanks to Michele's undoubtedly sublime interpretation of this character, we guarantee you will fall in love with the sweet and gentle Liu!  

What do you find fascinating about the opera Turandot?

In general, Puccini’s use of ‘exotic’ themes and melodies is always fascinating. Three of his operas were set outside of Europe, which was somewhat unusual for an Italian composer at the time (La Fanciulla del West – USA, Madama Butterfly – Japan, Turandot – China). He attempted to adopt the musical flavour of these locations, if not the actual music itself to his Italian opera milieu. One could argue that Turandot has the most foreign musical flavour of the three.

What aspects of Liu’s character appeal to you?

What I respect the most in Liu’s character is her loyalty and kindness. The vulnerability she shows throughout in her loving nature and her ultimate sacrifice is very compelling.

Is there a particular part in the opera that you’re especially excited about?

Even a slave girl can have a moment of choice which shapes her destiny. Liu’s fate is sealed when she finds the strength to face-off with Turandot, saying she alone knows the Prince’s name and then she withholds the information. What is fascinating musically, is that Turandot starts to sing more in the style of Liu. The two voices intertwine, if only for a moment. One could argue that as their destinies collide, we begin to see Turandot’s strong belief in her own destiny unravel here. The ice princess begins to melt.

This will also be a moment that I look forward to when I sing the role of Turandot (at Calgary Opera) later this season!

How might Liu's character resonate with a contemporary audience?

Certain character traits are universal – or at least I hope they are. Liu’s characteristics of loyalty, kindness, love and sacrifice are among those universal traits that speak to humanity.

Use three words to describe Turandot (the opera). 

Obsession, sacrifice, and love. 

Having performed with the Edmonton Symphony Orchestra before, what are you looking forward to most about being in Edmonton again?

I was in Edmonton for such a short time. I’m really looking forward to having a little more time to explore. I’ll have to see what the symphony is playing and I usually check out an art gallery while I’m in town. I’m also looking forward to working with the Edmonton Opera emerging artists and students at the University of Alberta (Michele is leading a masterclass for the Music department on October 24).


To see Michele work her vocal magic on the Jubilee stage, purchase your tickets to Edmonton Opera's Turandot today! Tickets start at $40 and are selling fast. 

Meet Alex Prior, conductor of Edmonton Opera's Elektra!

Thursday, September 8. 2016

Vibrant, passionate, and wicked smart — that’s how we would describe Alexander Prior, the internationally acclaimed conductor who makes his Edmonton Opera debut with Elektra this season. At the wise young age of (nearly) 24, Prior has conducted at leading opera houses across the world. Edmontonians are familiar with his work, having seen him often over the past few years with the Edmonton Symphony Orchestra, where Prior’s charismatic stage presence has made him a favourite with the orchestra and audiences alike!

How does our enthusiastic maestro feel about conducting Strauss’s complex and dramatic masterpiece Elektra? Read on to find out.

What are you looking forward to with Elektra?

I am so excited to conduct Elektra. It’s one of those really pivotal, brilliant, and most exciting masterpieces in the repertoire. It is any conductor’s dream to be working on this opera. Plus we have a stellar cast and an incredible orchestra here in Edmonton! It’s going to be a good event.

Is there a particular approach you are going to take?

Strauss is great for conductors — you just have to do what he wrote and everything works. So my approach is to do exactly what Strauss wrote, openly and honestly, and let the music speak. Of course, you have to add excitement, energy, and colour. Especially colour.

Strauss is also very precise about the sound of each word in the German language. So as an orchestra, we will have to be really conscious of the words that are being sung and play accordingly, in order to tell the story very clearly through music.

Where would you place Strauss musically and historically?

He is on the cusp, and I don’t think he can be put in a box. Strauss became much more conservative as he went along, but in Elektra there is a modernist sense of foreboding. Both Elektra (1909) and Salome (1905) are very aware, through story and language, that the world is on the cusp of something terrible. With horrific things happening in the Austro-Hungarian Empire at the time, it was all going downhill. The pinnacle of Romanticism was beginning to fade away.

What makes Elektra great?

Elektra is such a hardcore opera. It offers spectacle, vocal fireworks, and a hugely powerful orchestra. Seriously, just the level of power that Strauss gets in the orchestra is unique. It’s almost two hours of being right at the edge of your seat. Like a roller coaster, there’s not a moment of letting go.

What do you think audiences will love about Elektra?

Elektra is a really good opera for first timers and experienced operagoers alike. It is the orchestral equivalent of heavy metal music — intense, visceral, and immediate. The music is a good head banger at times, which is quite fun, and allows a very physical experience.

Elektra can also be an emotional experience, because it addresses the themes of longing, loneliness, and a desire to find justice when there isn’t any to be found. Like any great opera, it helps us understand ourselves a bit better. Elektra gives you a short, strong dose of opera in its most intense form. There’s no time to get bored, no time to get sleepy. Elektra is just great entertainment!


You do not want to miss the Alberta premiere of Strauss's Elektra, playing March 11, 14 & 16, 2017 at the Jubilee. Get your tickets today! 

Puccini, opera's grandest storyteller

Tuesday, September 6. 2016

Born Dec. 22, 1858, in Lucca, Italy, Giacomo Puccini was the fifth child (of eight) and first son born to Michele and Albina Puccini. His family was musically inclined – in fact, members of his family had held the position of music director at the Cathedral of San Martino for decades. When his father died, the municipality of Lucca not only supplied his family with a small pension, but held the music director position until Puccini came of age.

He was regularly exposed to opera, but it was upon seeing Verdi’s Aida that Puccini decided he wanted to compose for the art form. With the help of a grant from the Queen of Italy, he was able to attend the Milan Conservatory, and studied under Antonio Bazzini and Amilcare Ponchielli.

Puccini experienced both failures and successes during his lifetime, including the premiere of Madama Butterfly, which required the work to be adjusted before premiering again a few months later (and received a much better reception the second time). He did not work easily with librettists, and Manon Lescaut lists only the composer, because approximately seven librettists worked on the piece at some point. Puccini was obsessed with creating the perfect libretto and the perfect dramatic experience.

At the time of his death, Turandot was incomplete. At its premiere, it was performed as it had been written, but by the second performance, Franco Alfano had written an additional two scenes based on Puccini’s notes and sketches.

Puccini’s personal life was also dramatic – he lived with a married woman, Elvira Gemignani, and had a son with her, finally marrying her in 1904 when her first husband died. By 1901, he had been in two automobile accidents, and died at the age of 65 on Nov. 29, 1924, of a heart attack in Brussels, shortly after surgery for throat cancer. A funeral was held in Brussels before his body was moved to Milan, where there was a second funeral. He is buried with his wife and son in Torre del Lago.

Designer Deanna Finnman unveils the costumes for Cinderella!

Thursday, September 1. 2016

                                                                                                                                                          What was the conceptual starting point for the Cinderella costume designs?

We started with 1950’s haute couture. We chose haute couture because, as the highest form of garment making in the European tradition, it is incredibly beautiful, and beautiful is probably the first thing that comes to people’s minds when they think ‘Cinderella’. 

But it’s not just about the beauty — there is an incredible amount of skill that goes into making haute couture. It also has the quality of making people think. Really good haute couture can look a certain way at first glance, but when you look again it might reveal something completely different. That’s what the characters in Cinderella are like. The two stepsisters, Clorinda and Tisbe, are beautiful to look at but they are ugly and mean spirited on the inside. This is where the layers come in.

What inspired the haute couture route?

I come from a fashion background and so even though I have worked in costume design for over 25 years, haute couture is the well from which I draw inspiration time and time again. When you picture a Cinderella dress, it often looks like a 1950’s ball gown.

The 1950’s are also interesting because they reflect a time when women were strictly expected to have a certain place. This helps us update the time period Rossini wrote Cinderella in (1817) without losing its thematic significance. In the opera, Don Magnifico is an overbearing father who is trying to get his daughters married. The two daughters are wrapped up in fashion all the time because they are told their looks are all they’re worth.

What kind of colours will we see in the costume designs?

The costumes have really sumptuous colours; in 1950s haute couture they used very complex colour schemes, so a lot of tertiary colours like pinks and purples. We have amped that up for the stepsisters, since they have gone to the far end of “bigger is better” in their clothes. I’m using lots of silks, with 50’s patterns that are much bolder and brighter than you would normally see. This is partly also because our stage is so big that you have to expand what the audience can see.

How do the costumes complement and contrast each other?

With each costume, you get to know something about the characters. The two stepsisters are all about image and trying to be noticed, so their costumes are bright, colourful and bold. Everything including their shoes, bags, and accessories are noticeable. Even within the sisters, there is a contrast: Tisbe is more angular, and Clorinda is far more fluffy and feminine. Cinderella, on the other hand, is much more of a natural beauty. For her we looked a lot more at the natural beauties of the time period like Audrey Hepburn and Princess Grace Kelly. Cinderella isn’t cut out for all this artifice, and her costumes reflect that.

What can Edmonton audiences look forward to with the production of Cinderella?

We are very fortunate to present a new production of Rossini’s opera! We have a fantastic team, including local seamstresses, cutters, and more who will build the costumes here in the shop, and also work directly with singers and their body types to adjust the costumes as rehearsals begin.

The designs for Cinderella are quite magical and fresh. The production elements give singers lots of room to move around and play and be comedic. I think Cinderella will be a fun little treat in the middle of winter for our Edmonton audiences. 

Wrestling With history: the origins of Turandot

Monday, August 22. 2016

                                                                                                                                                       Puccini’s final opera, Turandot (1926), is based on Carlo Gozzi’s play of the same name (1762). Gozzi, however, was himself inspired by a story found in François Pétis de la Croix’s collection of writings from 1712.

Pétis de la Croix was a French traveller who made his way across the Middle East, learning Arabic and translating important cultural works into French. While writing a biography of the great Mongol emperor Genghis Khan, Pétis de la Croix stumbled upon the exciting history of a warrior princess named Khutulun.

Khutulun was a Mongol princess born in 1260. Her father, Kaidu Khan, was the Mongol conqueror of China and the great-grandson of Genghis Khan. Khutulun often joined Kaidu on the battlefield, becoming known for her courage and strength. Her greatest claim to fame, however, was her skill as a wrestler — Khutulun was the undefeated wrestling champion of the Mongol Empire.

Khutlun’s achievements are well documented, including by the Italian explorer Marco Polo. He wrote of Khutulun’s resolve to abstain from marriage, vowing that she would only marry if the suitor could defeat her in a wrestling match. Not only that, Khutulun asked each suitor to wager 100 horses before stepping into the ring. If he lost, she would keep the horses. And she did.

Khutulun’s beauty attracted suitors from far and wide, but she kept winning and ultimately ended up with some 10,000 horses! (That number is likely a slight exaggeration). One particularly arrogant suitor even wagered 1000 horses instead of the usual hundred, but despite putting up a good fight, he lost to Khutulun.

Eventually, Khutulun did marry, but not just for love. Since she had refrained from marriage for so long, rumours started swirling that Khutulun had an uncomfortably close relationship with her father Kaidu. To suppress this gossip and to uphold the kingdom’s reputation, Khutulun chose a man she liked and married him.

When Pétis de la Croix learned of Khutulun’s legendary status, he was inspired to write a story about her. For dramatic effect and to make Khutulun’s tale more fantastical, he significantly altered a lot of details. Firstly, he changed her name to ‘Turandot’, a combination of Persian words meaning daughter (dot) from Central Asia (Turan). Turandot also had nothing to do with wrestling or sport; instead of challenging suitors in the ring, she now threw impossibly difficult riddles at them.

Although Pétis de la Croix created a new character that was very distinct from Khutulun, his story did maintain her portrayal as resolute and strong-willed. In all subsequent adaptations, including Puccini’s opera, Turandot is a figure of authority that cannot be underestimated.

While the story of Khutulun has evolved, passing through centuries of Western orientalist fantasy, her heroism is still the stuff of legend in cultures that trace their roots to the Mongol Empire.

Even in contemporary popular culture, Khutulun has made a comeback — Netflix’s internationally produced $90 million series Marco Polo features Khutulun prominently.

So what makes Khutulun’s story endure? Perhaps it is the sheer defiance with which she lived; an attitude that Marco Polo notes: Khutulun would never let herself be vanquished, if she could help it.


Carnincic, H., A. Penjak, and M. Cavala. "Pink-blue Gender Labelling: An Overview of the Origins of Inequality in Women's Wrestling." Anthropologist 24.3 (2016): 844-52.

Director Rob Herriot talks Turandot

Monday, August 22. 2016

                                                                                                                                                                This October, Edmonton Opera presents the highly anticipated production of Puccini's Turandot, starring soprano Othalie Graham in the title role. This opera, which Puccini left incomplete because of his untimely death, is arguably his best work and has seen thousands of revivals around the world. At the helm of Edmonton Opera's upcoming production is Rob Herriot, who previously directed 2015's The Magic Flute. He shares his thoughts on Puccini's grandest opera, the incredible design, and what audiences can expect from Edmonton Opera's Turandot

What can audiences look forward to with Turandot?

I am very excited about Turandot because it brings a vibrant production to Edmonton Opera that is traditional, yet not traditional. The scenery design reflects the ancient fairytale world that the opera takes place in — the iconic dragon and the pearl of wisdom are focal points that tell the story. We also have a remarkable cast that will make the music come alive and, of course, Puccini’s music itself is one of his best compositions. So when you bring the scenery, music, and stellar singing together, you have a pretty wonderful evening to look forward to.

How do you think the scenery and costumes (originally designed by Allen Charles Klein) support the narrative of Turandot?

From a technical point of view, the set design gives me lots of places to put singers where they can be seen and heard, against a backdrop that is very beautiful and does, in fact, help tell the story. Some sets and costumes are purely functional and sometimes get in the way of storytelling, but this is the perfect example of designs that support the narrative and action in every way, while giving us something pretty to look at.

How do you approach the character of Turandot?

I love the character of Turandot. Her strength and her fierceness are amazing, but what I always find troublesome is her sudden transition from a place of fierceness to this loving, soft woman. The journey I want to see is the ice melting: both elements, the steadfast anger and the loving heart, have to be present from the start in order to make the character believable. Of course, her anger is a lot more obvious throughout the opera, but without multiple layers the character of Turandot can become very black and white. As a director, it is very exciting for me to be given this character as it allows me to work with the singer to try and find those layers.

Have you worked with our Turandot (Othalie Graham) and Calaf (David Pomeroy) before?

I only know Othalie by reputation, and I hear she is a terribly exciting singer. She has performed the role of Turandot many, many times and will bring a world of magic to this production. I have known David Pomeroy for a long time; in fact, we went to opera school in Toronto together. He is a remarkable singer, and he only gets better with age. This is David’s role debut as Calaf, and it is extremely exciting for me to be able to work with him on it.

How does Turandot highlight the best of Puccini’s music?

Turandot was the last opera Puccini wrote, and towards the end, he was able to compose some very dynamic music because he started choosing characters and stories that were strong and interesting. In Turandot, Puccini adds a mixture of anger and softness into a character who cannot admit that she is in love. This infuses the music with a whole new intensity. It captures the terrifying fierceness of Turandot while bringing joyous music in Calaf’s soaring ‘Nessun dorma’. The tender and moving music of Liu and Timur also contrasts with Turandot’s anger. The score is thus full of energy and takes you on a very dramatic journey.

What makes Turandot the must-see opera this year?

The spectacle in Turandot is something that you have to experience live to believe. The music is highly demanding, which for me is like witnessing an Olympic sport. I want to see the singers soar and I want to see them triumph over the music, because when that happens, it is absolutely glorious. Especially if you are a first time operagoer, Turandot is a must-see. It brings an evening of exciting energy and vocal gymnastics, and you will certainly leave the theatre humming Puccini’s sublime tunes.

To watch Rob Herriot talk about Turandot, visit our YouTube channel.

Photo by Reed Hummell, Nashville Opera's Turandot.