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Turandot (Alfano II - Revised Completion): Serious Opera, Orchestra Accompaniment

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Turandot (Alfano II - Revised Completion) Cover Image

Turandot (Alfano II - Revised Completion): Serious Opera, Orchestra Accompaniment

By Giacomo Puccini / arr. Franco Alfano / lyrics by Giuseppe Adami, Renato Simoni

Item: 36-A930001OS

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Description
The story of TURANDOT, while originally derived from the Persian collection of stories called "The Book of One Thousand and One Days," was set in China by Puccini. It tells the tale of a cold-hearted princess (Turandot) who sets tests for her suitors, who are all put to death if they fail. An Unknown Prince (revealed at the end to be named Calaf) finally arrives and passes her tests, though Turandot still tries to escape any marriage until she is persuaded by Calaf through a test of his own and a tragic death. Regrettably, Puccini passed away (1924) from a heart attack before he could complete the opera, having finished entirely the first and second acts, and most of the third, including the extremely well-known aria by Calaf, "Nessun Dorma." Following his death, Franco Alfano was asked by Puccini's publisher and family to complete the opera, as one of his recent works resembled TURANDOT in its setting and heavy orchestration. Franco Alfano's first attempt (Alfano I) was rejected by Puccini's publisher and conductor Arturo Toscanini, as he took some liberties with the libretto and added a few musical passages of his own. He was then forced to write a second, more censored version (Alfano II) that followed Puccini's sketches more closely. This second version is the one that has become popular and which is made available by E.F. Kalmus, though Toscanini, in honor of the maestro Puccini, refused to complete the opera on the night of the premiere, laying down his baton where Puccini's work ended. Both the original individual percussion parts and the addition of new percussion scores have been included to suit the musicians' preferences. In addition to the complete opera, some individual scenes have also been extracted and made available by E.F. Kalmus as standalone items. Instrumentation: 3(3dPicc).2+EH.2+BCl.2+CBsn: 4.3.3+BTbn.0: Timp.Perc(5): Clst.Hp(2).Org: Str(4-4-3-3-3): Banda(2ASax.6Tpt.4Tbn.Drum.Gong). 11x14 score.

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Additional Details
Series: Kalmus Oversized Score Library
Publisher: Keiser Productions, Inc.
ISBN10: 1-63-887678-9
ISBN13: 978-1-63-887678-6
UPC: 735816315290
SKU: 36-A930001OS
Instrumentation: Detailed Instrumentation: 3(3dPicc).2+EH.2+BCl.2+CBsn: 4.3.3+BTbn.0: Timp.Perc(5): Clst.Hp(2).Org: Str(4-4-3-3-3): Banda(2ASax.6Tpt.4Tbn.Drum.Gong): Vocal soli (9 roles, SSTTTTTBarBarBB): Chorus

More about this title

About the Composer: Giacomo Puccini

Giacomo Puccini (1858-1924) was an Italian composer who mastered the art of writing for the human voice and orchestra simultaneously. His operas prioritized melodic beauty and emotional directness, making them enduring staples of the repertoire and vehicles for singers to demonstrate both technical command and dramatic presence.

Puccini's gift for orchestration was equally sophisticated. He understood how to support and frame a singer's voice without overwhelming it, and how to build dramatic tension through instrumental color and harmonic language. Turandot represents the culmination of these skills, written near the end of his life when his mastery of the form was complete.

Why we love this

This is the version of Turandot that conductors and opera companies actually perform. Franco Alfano's Alfano II completion respects Puccini's sketches and compositional intent while delivering a dramatically satisfying final act, including the legendary aria 'Nessun Dorma' and the emotional resolution Puccini envisioned. For orchestras with singers capable of handling substantial dramatic roles, this score offers one of the most rewarding collaborative experiences in the operatic canon.

What to expect

Turandot pulses with exotic orchestral color, icy dismissal from the princess, and the growing warmth of a love that transforms her. The famous 'Nessun Dorma' rises above the orchestra with quiet dignity before building to triumph, and the final act unfolds with both delicate lyricism and moments of grand theatrical spectacle. This is opera at its most emotionally direct and orchestrally sophisticated.

Who it's for

Opera companies, conservatory and university opera programs, and orchestras with access to trained singers capable of sustaining dramatic roles across a full evening. This score demands serious vocal talent, orchestral discipline, and a conductor with experience in both lyric opera and the demands of Puccini's writing.

How to get the most out of it

  • Balance the vocal soli carefully against the full orchestra; this is not a work where singers compete with the pit, but where both breathe together. The conductor's role is to shape phrases that honor both the voice and the instrumental context.
  • The banda (2 saxophones, 6 trumpets, 4 trombones, drum, gong) functions as a theatrical ensemble separate from the main orchestra, requiring its own sectional work and clear communication about when it enters and exits the texture.
  • Turandot's orchestration is heavily chromatic and harmonically advanced for an opera of its era. Take rehearsal time to lock the ensemble's intonation in passages where the harmonic language becomes dense, particularly in the third act.
  • The two harps are integral to the orchestration, not decorative. Ensure they are balanced appropriately so that their figuration supports both harmonic movement and dramatic pacing.

How to use it

Stage this as your flagship opera production of the season. Turandot's combination of exotic setting, famous arias, and spectacular orchestration draws audiences who may not otherwise attend opera; it is equally rewarding for singers and musicians who commit to it. Consider pairing it with shorter dramatic works or concerti in the same concert season to balance the demands on your performing ensemble.

Skills your students will build

  • Reading and executing complex orchestral textures with shifting harmonic language
  • Balancing independent orchestral lines while maintaining dramatic phrasing that supports the vocal line
  • Coordinating large ensemble sections (strings, woodwinds, brass, percussion, banda) through frequent cues and conductor gestures
  • Sustaining ensemble intonation and blend in heavily chromatic writing
  • Responding to and supporting dramatic storytelling in real time across a full-length opera

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