Turandot at Lesher Center a masterful production

Whether you are already an avid opera fan or you have yet to experience the genre, Festival Opera’s current production of Puccini’s “Turandot” at Walnut Creek’s Lesher Center for the Arts is an excellent choice for an evening of music and culture. The story is timeless, the players are professional and passionate, the theater’s design and acoustics are exceptional, and the set, costumes and choreography are masterfully done.

The opera (pronounced “Tour-and-dot”) is named for a Chinese princess whose name literally means “daughter of Turan.” Obligated by law and tradition to marry, Turandot is reluctant to place her trust in any man: “My ancestress’ torment will not be renewed,” she laments, referring to a beloved predecessor, “sweet and serene, who ruled in silence and pure joy,” who was murdered when her kingdom was overthrown by a violent patriarch.

To avoid ever having to fulfill her obligation to marry, Turandot decrees that any prince wishing to have her hand must first answer three riddles. She is confident no one could ever answer correctly, and anyone who does not succeed is summarily executed. As the curtain rises on the opening scene, the heads and skulls of prior suitors are shown impaled atop the palace wall.

Whenever a suitor dares to submit to Turandot’s cruel trial, the townspeople gather for the spectacle. This time, a mysterious, exiled prince is among them. He captures a glimpse of the princess, renowned for her spellbinding beauty, and is instantly captivated. He immediately determines to vie for her hand.

Costume designer Charles Caine has created the ultimate ice-princess ensemble for his main character. Turandot appears in a long, pitch-black vestment with silver-white embroidery. Caine’s crowning achievement in the production is Turandot’s silver and crystal headdress — cold, sharp and glistening, imposing an icy cruelty over her dark figure.

Christopher Jackson, in his Festival Opera debut, is a passionate Calaf, the prince who finally answers Turandot’s three riddles. He has a strong stage presence and a well-trained voice rich with emotion. Othalie Graham is not quite as thrilling in her portrayal of the princess Turandot. At first, it seems her voice is deliberately shrill — she is, after all, portraying a passionless character. But Graham also struggles to land on her opening notes, as if her vocal mechanism has been compromised by illness or strain. Her voice has power and clarity, but somehow lacks conviction and nuance.

Another important character is Liu, servant to Prince Calaf’s elderly father. Rebecca Sjöwall is engaging in her portrayal of the woman who has secretly loved her master’s son since the one day he cast a smile her way. Liu has a major part in the story, mostly pleading with Calaf to give up his dangerous pursuit. Sjöwall’s tender-yet-mature voice is well suited to the character.

“Turandot” is rich in depth and detail, and those unfamiliar with the story can glean a lot from reading the script, which can be found by searching “Turandot libretto” online.

In brief, the tale comes from a collection of Persian fairytales, “Book of One Thousand and One Days,” and contains all the elements of the literary fairytale genre: It takes place somewhere far away and long ago; it follows a hero through a fearsome challenge; and it has a numerical theme. Three ministers, three riddles, and references to Taoism, which is based on three supreme gods. The trinity element is also prominent in the musical score.

Festival Opera’s production reflects an exceptionally talented group of performers and production specialists. The music is the heart of any opera, and Puccini’s music is artfully rendered by conductor Bryan Nies, who received a standing ovation on opening night last week. The opera is sung in Italian, with easy-to-follow English supertitles displayed on an overhead monitor.