The Ice Queen Melts

Soprano Othalie Graham finds the softer side of the villainess in Boheme Opera’s production of ‘Turandot.’

By: Susan Van Dongen
   Soprano Othalie Graham says of all the roles she’s played, Turandot, a beautiful princess embittered by the past, is her "favorite girl."
   That’s why Ms. Graham likes to bring a sense of vulnerability to a role that may be described as a murderous villainess.
   Sequestered since childhood from the world of normal, loving relationships, Turandot puts a heavy price on her hand of marriage. The man who wishes to marry her must first answer three riddles. If he answers wrong, he loses his head.
   "People think she’s a tyrant, but I think there’s a lot of Turandot in most women," Ms. Graham says. "A lot of what she does is based on the fact that she was raised by her elderly father, alone with no women around. I think how she feels is based in fear. There has to be some vulnerability or she won’t be so caught up in the romance when she’s kissed by Calaf. You can’t go from this horrible, uncaring ice princess to suddenly being in love in Act 3."
   Taken from the Persian collection of short stories titled One Thousand and One Days, Turandot was Giacomo Puccini’s final opera. The sumptuous tale of desire opens Boheme Opera’s 2006-2007 season and will be performed at Patriots Theater at the War Memorial in Trenton Nov. 3 and 5.
   The production stars Ms. Graham in the title role, with tenor Benjamin Warschawski as Calaf and soprano Olga Chernisheva as Liu. Set in exotic China in "a legendary time," Turandot also features the artistry of the Nai-Ni Chen Dance Company. Maestro Joseph Pucciatti conducts the orchestra.
   Audiences might recognize Ms. Graham from Boheme Opera’s 2005 production of Aida, for which she sang the title role.
   "It was a tremendous opportunity to do a role I had never done before, and in a really nurturing setting," she says. "It’s a perfect place to sing, a beautiful opera house and just as professional as any of the houses I’ve sung in. But it’s also a good place to try out new repertoire."
   Playing this role is a splendid opportunity to probe the layered personality of Turandot, who Ms. Graham believes has been wounded by negative stories since childhood.
   "She was told this story over and over — about one of her ancestors being murdered — and it’s given her a fear of men," Ms. Graham says. "It’s all very interesting and very psychological."
   How does Calaf win her heart when so many suitors have lost their heads? The soprano believes it’s with trust.
   "He answers the three riddles and he could easily say, ‘Great, now you belong to me, that’s it,’" Ms. Graham says. "But he gives Turandot the opportunity to get out of the deal. He says, ‘If you can learn my name by dawn, you can win.’"
   As the royal court and surrounding city remains awake to discover the stranger’s name — a scene that features the famous aria "Nessun Dorma" — the slave girl Liu is questioned. Secretly in love with Calaf, Liu kills herself instead of giving him up.
   "That really touches Turandot, to see another woman take her own life for love," Ms. Graham says. "She’s used to men sacrificing themselves for her, so to watch this young slave girl kill herself because she loves him is tremendous. And Liu has had no relationship with Calaf whatsoever. She says ‘Once, a long time ago, in passing, you smiled at me.’ For that smile alone, she kills herself instead of giving his name up. Liu says to Turandot, ‘And you will love him as well.’ Turandot realizes that she does love him."
   Puccini never completed Turandot. He had begun composing his last opera in 1921 and by the end of 1923 was at work on the orchestration of Act 2. A heavy smoker, pains in his throat and a persistent cough were beginning to give him trouble, but Puccini ignored the symptoms. In February 1924, the second act was completed, and the following month he had made great progress with the orchestrations for Act 3. By now the pain was getting more intense, though, and Puccini began consulting specialists. He was diagnosed with an inflammation of the throat and was advised to rest at a health resort, which did not bring the composer any relief.
   In the autumn of 1924, Puccini started working with Arturo Toscanini, who was to conduct the premiere. The composer was waiting for the librettist to rewrite the duet between Turandot and Calaf, which he received on Oct. 8, 1924, just two days before he was diagnosed with throat cancer. After working feverishly and managing to compose another 36 pages, Puccini died a few weeks later. Franco Alfano, a successful composer familiar with Puccini’s works, took over the composition of the final two scenes. Turandot premiered in Milan, April 25, 1926.
   A native of Toronto, Canada, Ms. Graham moved to Philadelphia about six years ago to study at the Academy of Vocal Arts with Bill Schuman. She says she hated to leave her family so she flies her mother in to see performances and spend some quality time.
   "The relocation was a good thing," Ms. Graham says. "I can do much more for my family here than I could in Canada. It’s very friendly here and there’s lots of beautiful scenery. I love it here, but I also find it amusing that if there’s a tiny little drizzle of snow, everyone panics and all the schools close."
   Just a few of Ms. Graham’s career highlights include the title role in Turandot with OperaDelaware, Utah Festival Opera and the Sacramento Opera. She played the title role in Aida at Philadelphia’s Academy of Vocal Arts, where she also had the title role in Strauss’ Elektra.
   Princeton audiences may have heard Ms. Graham sing the role of Sieglinde in Act 1 of Die Walkure with the Princeton University Orchestra. She won rave reviews for her performances with Sweden’s Julita Opera Festival in 2001 and 2003. She was also the New Jersey district winner of the 2003 Metropolitan Opera National Council Auditions, a finalist in the 2003 Palm Beach Opera Competition and a recipient of the prestigious Sullivan Foundation Grant for 2005. In Canada, her many awards and honors have included a grant from the Canada Council for the Arts and the coveted Jean Chalmers prize in the Canadian Music Competition. A protégé of legendary soprano Renata Scotto, Ms. Graham began her studies with Canadian soprano Lois McDonall.
   At 33, Ms. Graham’s career is blossoming with the juicy roles she cherishes. In the spring of 2007, she’ll be singing Turandot again with the Michigan Opera Company and will be singing her first Trovatore — the title role of Verdi’s Il Trovatore — next summer.
    "’Turandot’ has been a tremendous gift because there aren’t a lot of women who sing it," she says. "For most people it’s incredibly difficult, but I’ve been lucky because the role fits my voice very well. I think when women tend to play her as this screaming, angry woman, they can get in trouble vocally. It’s not good for your vocal longevity.
   "This role is just ideal," she continues. "It lies where my voice likes to be — high and big. There’s about 20-odd minutes of singing which is different from ‘Aida,’ where it’s constant, you’re just singing and singing and singing. But I enjoy playing Turandot very much. I like these exciting girls with lots of drama."
Boheme Opera will present Turandot at Patriots Theater at the War Memorial,
West Lafayette and Barrack streets, Trenton, Nov. 3, 8 p.m. (pre-concert talk
6:45 p.m.) and Nov. 5, 3 p.m. (pre-concert talk 1:45 p.m.). The performance will
be conducted by Joseph Pucciatti. Tickets cost $28-$68. The season continues April
20 and 22 with Rigoletto. For information, call (609) 581-7200. On the
Web: www.bohemeopera.com