(First written and posted in the year 2010.)
Someone has said that good music is music which is written better than it can be sung (or played).
I’m on a Turandot kick right now. I’ve loved this Puccini opera for two decades after discovering how different it is from all the others, but without knowing why. I’m not a musician or a singer to speak of. I just swoon at certain kinds of music, however, and this is one of them.
What was puzzling me for years was why Turandot was never as well known as Puccini’s other more popular operas (La Boheme, Tosca, and Madame Butterfly). Why fewer people had even heard of it. And today I found out why.
The liner notes on a CD of highlights from this opera explains that the soprano who sang the part of Princess Turandot was required to do things most singers cannot do. Here is critic Benjamin Folkman:
As late as the 1950s, facing two significant barriers, Turandot was a relative rarity in opera houses. First, it’s spicy harmonies was too modern for opera-devotees’ tastes. Second, the opera was (and is) too difficult to cast. Sopranos who would jump at the change to star in Puccini’s other operas all turned down the role of Princess Turandot. It requires a special type of voice. A Turandot must bring a supreme soprano’s tonal weight and thrust to a sort of unrelieved high-register writing normally comfortable only for piping soubrettes.
That’s what he said. I looked up “soubrettes.” It implies flightly, thin high-pitched voices.
What then made Turandot so popular today? After all, people today love it.