Thanks a lot for such an insightful programme on the production of Turandot. It is amazing to learn about the amount of work behind the scenes. Thanks to both guests and interviewer for all the information shared on this nice conversation.

Fantastic, thank you for uploading.

I was there last night - Seat 24B. It was excellent and the Maestro was at his magical, mesmerising best. Well done to all involved at RoH. A very enjoyable evening 👏🏾👏🏾👏🏾

Thank you Maestro. I will listen differently to next Turandot at Zürich Opera House.

Absolutely brilliant, so informative, so very valuable to have it here!! Bravo Maestro!

Thank you for sharing.🤩❤🕊🕊🕊

Fabulous.

This is by far the best deep dive of the music of Turandot I've ever seen. I came her for the bitonal Turandot chord; "All about Imperial China that seams strange and/or barbaric to the western colonialist", to other deep musical dives I never considered. I love this very much, thanks for posting! I think Puccini's problem was his throat cancer and the fact that he was good at writing operas about how horrible it is that women got unfairly treated. In other words: Puccini was always on women's side in all the operas he wrote... ... that is until Turandot came around, because he found it hard for any protagonist anybody to kill (except Tosca killing Scarpia for torturing trying to kill and actually eventually killing Cavaradossi, not to mention try to rape her), especially if it was the character of any woman (or male "protagonist") who presided over multiple public beheadings of every man who tries to "warm her heart" (and I admit his D major dick, but does that deserve a beheading? What woman today who doesn't hate men would be ok with that? But I digress) because of something that happened to an ancestor long before she was even born, not to mention I assume Turandot is supposed to be an adult and not a child, (who if they were a child'd sooner kill someone than have sex when they're not old enough to do either) and Turandot is clearly NOT a child, at least not in body or age; maybe it's something else, but I digress. Consider: no other Puccini operas's heroins, (or Isolde or Brunhilde from Wagner's best operas) were never deadly or cruel in the slightest, let alone anywhere near the cruelty of Turandot. The closest would be Brunnhilde, from Wagner's Ring, but only in Act 2 scene 5 p Gotterdammerung and only for being 1/3 responsible for Siegfried's death (at most, since she didn't know he was innocent) and that's only one character, for whom death that would've probably been executed by Hagen even without Brunhilde's twisted consent anyway (assuming that's even a type of consent). So Turandot (the character) was something Puccini just couldn't abide anymore. To summarize: I believe that Puccini could't figure out how he could possibly end Turandot any way that'd protect his legacy, and it was that (and throat cancer) that killed him. But this is still the best deep musical dive of Turandot I've ever encountered, so for that: I love you for having posted this. So "thanks for posting!" Keep this good stuff coming! I love it!