Chinese presenters have made their bid for grand opera’s international ranks with the very piece that marks the end of that tradition—Puccini’s Turandot.
The irony reaches further. In the country where Chinese singers have the greatest advantage, these productions have primarily featured Western performers; a piece that had been conspicuously absent from the country where it purports to take place has wound up essentially becoming China’s national opera; and the original story was never about China in the first place—it came from a French translation of a Persian folk tale that was adapted by an Italian playwright and later reinvented by a German writer whose version inspired Puccini.
This according to “A princess comes home” by Ken Smith (Opera LXIII/12 [December 2012] pp. 1473–1479). Above and below, excerpts from Turandot at the Forbidden City, directed by Zhang Yimou.
The group New Order’s World in motion, commissioned by the British Football Association to mark the 1990 World Cup soccer finals, “is probably the least likely official football theme song ever recorded: Denying its own status as a football song, introducing elements of subcultural love lyrics, and becoming a gay club hit, but also assuming the burden of combating football’s major peripheral problem, hooliganism, the song is ultimately unheimlich, even despite its closing chorus that speaks of ‘playing for England; playing this song.’”
This according to “Playing for England” by Paul Smith (South Atlantic quarterly 90/4 [fall 1991] pp. 737–752). Smith goes on to note that “both the BBC and the independent television companies forewent the pleasure of having ‘Love’s got the world in motion’ going across the airwaves every night, and the BBC used as their World Cup theme another piece of music that quickly became a number one hit: Luciano Pavarotti singing his version of the Nessun dorma aria from Turandot.”
Today would have been Pavarotti’s 80th birthday! Below, singing Nessun dorma in 1994.
BONUS: By way of contrast, New Order’s song: