TURANDOT

A Fable, by antonomasia of oriental exoticism, full of twists and turns, recognitions and promises, Turandot has become, over time (from Gozzi to Puccini) the symbol of our fanciful imagination when we think of China.
For the very first time, an Italian director, starting from the tale of Prince Calaf and Princess Turandot, takes on the traditions of the Peking Opera.
The show is a subtle game of mirrors between two worlds, seemingly distant, yet mutually attracted and fascinated with each other. On the one hand, the refined acting art of the Peking Opera Company, a extremely competent mixture of acting, dance and song, aimed at a continuous perfection of the artistic gesture, on the other hand, the perspective look of an all-Italian invention, the visionary taste and the lengthy experience of creating illusionistic scenes, skills that have become a heritage of the European Theatre Scene. This Turandot continues the successful Italian-Chinese Faust experience: the enthusiastic theatrical confrontation between Asia and Europe is evident and superb to see.