The story of the beautiful but cruel princess Turandot, who had her suitors beheaded if they failed to solve her three riddles, has a unique place among Puccini’s works. Turandot shows the composer’s ability to reflect the musical trends of his time more convincingly than any of his other operas. Here he combines advanced techniques with his own idiom without compromising the foundations of the traditional melodramma. Even today, and in spite of its wealth of inspired melodies (among them Calaf’s aria “Nessun dorma” in the third act), the opera’s chief fascination remains its clever, imaginative tonality and subtle instrumentation. Filmed in 2004, the present production of Turandot was first staged in 1999 to inaugurate the Gran Teatre del Liceu in Barcelona, which was reopening after repairs to extensive fire damage. The cast in this production gathers some of the best singers in the Italian repertory: The title role is performed by Luana De Vol, who has been on the international opera scene for more than two decades and whose versatile, dramatic soprano perfectly suits the character of the despising, yet vulnerable Turandot. Lirico-spinto soprano Barbara Frittoli, who is one of the best-known Mozart and Verdi performers on the current scene, presents her consummately lyrical vocal qualities in the role of the slave Liù, whose loving and self-sacrificing nature forms a contrast to Turandot. As recordings of Barbara Frittoli are still rare, this DVD is a further asset to her growing fan community. Calaf, one of Turandot's suitors, concerned with victory and conquest and showing only a measure of compassion for the fate of his loyal slave Liù, is a signature role for American tenor Franco Farina, whose authoritative voice is well suited to the role. The director, Núria Espert, retained the lavish settings traditionally associated with the opera: the magnificent sets are the work of Ezio Frigerio, while the costumes were designed by Franca Squarciapino. None the less, Espert’s approach to the work is founded on the doubts that the composer himself expressed about the final scene of the work. In Espert’s conception of the piece, Turandot remains incapable of turning into an ordinary, docile woman defeated by male strength, and so she stabs herself to death.