艺术集合体teamLab为新版《图兰朵》——普契尼未完成的最后一部歌剧——设计了舞台背景，这是他们的首个舞台设计作品。歌剧在日内瓦大剧院首次亮相，计划于2022年6月20日到7月3日之间进行七场演出。通过把镭射、LED和投影结合运用在不同场景中，teamLab将数字灯光艺术作品和沉浸式体验带到了舞台上，创造了一场前所未见的歌剧演出。

Art collective teamLab has made its scenographic debut with a new production of Giacomo Puccini’s final, unfinished opera Turandot. Premiering at the Grand Théâtre de Genève in Geneva with seven performances June 20 – July 3, 2022, this marks the first time in teamLab’s career to work on the scenography of an opera. By using a combination of lasers, LED, and projection for different scenes, teamLab brings to the stage its digital light artworks and immersive experience, never before seen at the opera.

“我们超越了传统的舞台设计概念，利用雕塑般的灯光塑造歌剧空间。此次为日内瓦大剧院设计的布景在2017年左右就开始策划和制作，精心雕琢的灯光投影创造了一个连续的空间，消除了舞台和观众之间的界限。”——teamLab

‘Transcending the concept of stage design, the opera space is created by a sculptural space of light. The scenography, which has been in planning and production for the Geneva premiere since around 2017, immerses and unifies the cast in the light sculptures, creating a space where the stage and audience are continuous without boundaries,’ says teamLab.

▼四十五道镭射光组成虚拟的灯光平面，在舞台上形成立体灯光雕塑 ©MAGALI DOUGADOS
Fortyfive lasers are used to make virtual light planes and form 3D light sculptures above the stage © Magali Dougados, Courtesy Daniel Kramer, Grand Théâtre de Genève, and Pace Gallery

舞台包含两个部分。一边是富有未来感的反乌托邦演出，以图兰朵为首。女性是王冠后的掌权者，男性被打扮成女性的理想玩物，或受到禁锢。那些相信自己能迎娶图兰朵而参加猜谜结果输掉的男人，根据礼仪都被“剥夺了贞操”。这是一场令人兴奋的精彩表演。teamLab用四十五道镭射光组成虚拟的灯光平面，在舞台上形成了立体的灯光雕塑，使场面更加疯狂。另外一些时候，镭射变得朦胧、隐晦而抽象，创造出纯粹安静的瞬间，美与恐惧萦绕其中。

The stage has two sides; one side is a futuristic dystopian game show, with Turandot at its head. Women are the power behind the throne and men are consigned to be dressed up as idealised playthings of the women, or imprisoned below them. Those men that dare to believe they can be the one to marry Turndot, that enter the quiz show only to lose, are ritually “deflowered”. It is a spectacle, the populace are excited. That is where teamLab uses fortyfive lasers to make virtual light planes and form 3D light sculptures above the stage, enhancing the frenzy of the scene. Yet at other times the lasers are hazy, subtle and abstract, creating moments of pure calm and tranquillity, haunting beauty and trepidation.

▼光的雕塑形成的空间，space made of sculpture of light ©MAGALI DOUGADOS

▼女性为掌权者，women are the power behind the throne ©MAGALI DOUGADOS

▼朦胧的镭射光形成美丽而恐怖的氛围，subtle lasers creating an atmosphere of beauty and trepidation ©MAGALI DOUGADOS

▼灯光塑造的舞台空间，stage space formed by light ©MAGALI DOUGADOS

▼透明盒子组成的表演空间，performance space made of transparent boxes ©MAGALI DOUGADOS

随着舞台旋转，一个潜意识的世界显现在了观众面前。LED和镜面形成万华镜一般的惊人房间，象征着人的思想，美丽、诱人、极具魅力，同时暗示着诡计和欺骗。穿过这个陌生、令人迷失、千变万化的世界，Calaf不得不面对自己的忧虑和恐惧。

When the stage rotates, a subconscious world appears. LED is used with mirrors to create stunning contrast and kaleidoscopic diamond-like rooms of the mind, which are both beautiful and alluring, seductive, and yet suggestive of trickery and deception. This is where Calaf has to deal with his own complexes and fears as he goes through a strange, disorientating, kaleidoscopic world.

▼多个镜面组成巨大的三角形，创造了一个万华镜般的潜意识世界 ©MAGALI DOUGADOS
A giant triangle is made with multiple mirrors, creating a kaleidoscopic, subconscious world © Magali Dougados, Courtesy Daniel Kramer, Grand Théâtre de Genève, and Pace Gallery

▼表演者与空间互动，interactions between the performers and the spaces ©MAGALI DOUGADOS

▼投影在镜面上形成不同图案，表现了角色的心路历程，various projections on the mirrors, reflecting the subconscious world fo the role ©MAGALI DOUGADOS

▼不同场景下的演出，performance in different scenes ©MAGALI DOUGADOS

teamLab和舞台导演Daniel Kramer紧密合作，共同设想了这个舞台，将Kramer对《图兰朵》的诠释和teamLab的审美结合在了一起。由于新冠爆发造成的延期，项目花费了超过四年时间。期间，Kramer和teamLab讨论想法，探索各种概念、解释、比喻和象征，思考如何实现每个场景的视觉转译。

teamLab worked extensively with the Stage Director, Daniel Kramer, to envisage scenography that would unite Kramer’s interpretation of Turandot and teamLab’s aesthetics. As the project evolved over more than four years – due to the delay caused by the coronavirus pandemic – Kramer and teamLab discussed ideas and explored concepts, interpretations, metaphor and symbolism, along with how the visual interpretation of each scene would be realised.

▼设计师讲述创意过程，interview with the designer

teamLab的建筑师帮助提供了多个想法，并为舞台平面设计了简洁而有力的几何形状，可以通过teamLab的数字灯光艺术作品得到加强。旋转的构件使用玻璃、亚克力和镜面，同时结合了柔软的白色和富有弹性的黑色材料。由于光的反射和吸收，演唱者将会出现在不同视觉品质的空间中并与其互动。

teamLab Architects helped to produce ideas and plans for the stage with simple yet powerful geometry that can be enhanced by teamLab’s digital light artworks. The revolving set makes use of glass and acrylic, reflective surfaces and combinations of soft white and stretchy black materials. Singers will interact or appear in spaces that have different visual qualities due to reflection and absorption of light.

▼灯光调试，light testing ©MAGALI DOUGADOS

继日内瓦公演后，歌剧将于2023年2月23日~26日由东京二期会在东京演出。
Following Geneva, the Tokyo performance by Tokyo Nikikai Opera will take place on February 23 – 26, 2023.
Turandot

TURANDOT
OPERA BY GIACOMO PUCCINI

Art collective teamLab makes its scenographic debut with a new production of Giacomo Puccini’s final, unfinished opera Turandot. Transcending the notion of scenography, the opera space is created by a sculptural space of light. Premiering at the Grand Théâtre de Genève in Geneva, teamLab aims to immerse and unify the cast in the light sculptures, creating a space where the stage and audience are continuous without boundaries.

teamLab worked extensively with the Stage Director, Daniel Kramer, to envisage scenography that would unite Kramer’s interpretation of Turandot and teamLab’s aesthetics. As the project evolved over five years, Kramer and teamLab discussed ideas and explored concepts, interpretations, metaphor and symbolism, along with how the visual interpretation of each scene would be realized.

OVERVIEW

Puccini’s last opera is all about riddles. In the Forbidden City of Peking rules the Emperor of China. His unmarried daughter, the Princess Turandot, has been refusing her hand to all her princely suitors by putting them to a test. She gives them three riddles: if they do not answer them correctly, they have their heads chopped off. Scores of unlucky suitors have already failed and lost their heads in the attempt. It is now the turn of Calaf, a prince of the Tatar people, who is fascinated by Turandot’s glory. To everyone’s astonishment, he answers Turandot’s three questions correctly: first, hope; then, blood and, finally, Turandot herself. The princess is his for the taking, as promised by the Emperor. Turandot, however, is reluctant to keep the promise.

Puccini broke off his composition of Turandot in the third act. The maestro died in 1924 before finishing the final duet and it was his assistant Alfano who completed the score. The first performance of the work and its world premiere at Milan’s La Scala in 1926 was a kind of requiem for Puccini. Arturo Toscanini conducted the work up to the last notes left by Puccini and then put down his baton with the words: “Here ends the master’s work. After that, he died”.

Alfano’s finale became the norm in opera houses throughout the world, without ever really being completely accepted. For this reason, the musical editor Ricordi commissioned a new, less bombastic, finale from the greatest living Italian composer of that time. Luciano Berio’s finale, created in 2002, will be performed in Geneva for the first time ever in Switzerland.

Daniel Kramer’s new staging transposes the old fairy tale to a futuristic world where Turandot’s magic and power hold sway. In a dystopian game show, reminiscent of Hunger Games, the regime of the woman who refuses to become one institutes a surveillance state in which men are culled and the reproduction and breeding of the human species is conducted in a mechanical facility. The US-born director harks back to the archaic essentials of the battle between the sexes.

For the first time in their career, the famous international art collective teamLab will be working extensively on the scenography of an opera, using state-of-the-art visual technologies never before been seen on an opera stage. teamLab’s light creations have been on show all over the world; they create an immersive artistic experience that absorbs and enthrals the audience in its avant-gardist visual flux.

After his impressive Grand Théâtre début with Aida during the 2019-2020 and in La Cenerentola last season, which replaced this production of Turandot, impossible to perform under COVID-19 measures, Antonino Fogliani a true master of the Italian repertoire, is back with his baton. After performing Elektra, the dramatic voice par excellence of Ingela Brimberg returns as icy Princess Turandot. The young soprano Olga Busuoc will be the innocent voice of the luminous Liú.

- Grand Théâtre de Genève

Composer Giacomo Puccini
Musical Director Antonino Fogliani

Stage Director Daniel Kramer
Scenography, Digital and Light Art teamLab
Stage Design teamLab Architects
Costumes Kimie Nakano
Lighting Designer Simon Trottet
Dramaturgy Stephan Müller
Choir director Alan Woodbridge

Turandot Ingela Brimberg
Altoum Chris Merrit
Timur Liang Li
Calaf Teodor Ilincai
Liù Olga Busuioc
Ping Simone Del Savio
Pang Sam Furness
Pong Julien Henric
Un Mandarin Michael Mofidian

Grand Théâtre de Genève Chorus
Maîtrise du Conservatoire populaire
Orchestre de la Suisse Romande