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Subject: Re: Turandot
From: "G. Paul Padillo" <[log in to unmask]>
Reply-To:G. Paul Padillo
Date:Tue, 7 Nov 2017 10:48:55 -0500

text/plain (38 lines)

Idia wrote (in part):

“It's a masterpiece and I've often mused upon how the ending would have been had Puccini 
lived to finish it.”

Of course we can never fully or really know, but I’ll put in my annual damnation of Toscanini 
for demanding Alfano shorten his original ending, which to this day is still almost never 
heard.  The complete Alfano ending really opens up the opera, makes more than just “hash” 
of the ending, and fleshes out the characters of Turandot and Calaf to be slightly more than 
the cardboard cartoon fairy tale characters.  Turandot’s “melting” makes far more sense 
when she’s given actual time to reflect and melt – and sing some lovely music to, boot.  

Then there’s the case of the “end” of the finale – which, once heard leaves the ending we 
know feeling just a bit in the dust.  It is the definition of a “sonic spectacular” – even the 
orchestration is different, the crazy triple triplets (or whatever they are) of the trumpets 
adding even more luster and brilliance to what we typically hear.  Additionally, Alfano, 
according to Puccini’s wishes, has Turandot and Calaf singing, their voices rising - sailing 
above the massed forces instead of the usual them just standing around looking on in 

For those who still aren’t familiar with it . . . get a load of this!


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