Turandot: Opera mixed blessing Italian (Chapter 10) The transformation of Princess Turandot often speaks of Puccini's last opera we stressed the fact that in some respects the anomalies and broken with the previous tradition are many.
In this chapter, we explore another element in a particular way brings out another very unique aspect of Turandot.
We mentioned earlier the transformation of the icy princess, and we put in relation to the small Liù first, then we have emphasized the special singularity when we said the strong characterization of the character, so static, rigidly sacred, yet extremely abrupt change in its final.
Well, the emotional changes that involve the beautiful princess can somehow be taken out of context and highlighted as a plot in the plot.
In fact, the event featuring more pronounced the whole work is its de-icing which is subject to the princess. If we wanted to focus our attention only on you could see a process from the beginning of the second act (when they enter the scene really Turandot) until the end of the third port to a complete and gradual (albeit with some overhang) transformation.
The character from which it is taken home, and here we always refer to the original by Carlo Gozzi, it was not cloaked in the tragedy of Puccini's Turandot. Order to make the character the Master had to make a long work of characterization. In the final part of the work conducted the same process, but following the path to the contrary, to return part of humanity that the princess had stolen.
But to achieve its objective, the composer has not only worked on the character. The transformation was not so obvious and effective if it had not been supported by several significant points from the beginning of the work.
The process leading to the gradual humanization of the protagonist is made evident by a series of conflicts that appear clearly from the outset: sunset and sunrise, moon and sun, love and hatred, cruelty and enslavement. But those opposed could be counted to infinity in a work such as Turandot: life and death, victory and defeat, cold and heat. All these elements make clear the contrast affecting the same princess, who, in the new dawn, illuminated by sunlight, it turns human and ardent love.
Turandot could then be raised to the very fabric of the work, and in fact everything revolves around her figure, so physically static, but fluid and contested within. Puccini can lead us beyond the formal aspect of a character without trivializing idealized and makes us partakers of his most intimate disputes.
a more complex than it may seem at first listen, the Turandot. A work that comes from a fairy tale and who knows how to bring up strong emotions more effectively and unstable man in an uninterrupted sequence of transformations and a continuous alternation of love and hate, fear and joy.
A novel was born from a passion for Opera! 
