Performer’s notes

Sondra Radvanovsky

This was your first Turandot; how did you find the experience?

It’s very rare to have everything line up so perfectly and create something so special as this recording. I was just starting my divorce when we started, and my Mum had just died, so I think I poured all my emotions into the role. To be with such supportive artists like Jonas Kaufmann and Ermonela Jaho, who really supported me and lifted me up during that whole time – honestly, I can only think of one or two other periods of artistic creation in my career that have equalled that.

And you had Antonio Pappano and these great musicians...

There was great camaraderie between us all. I think I sang ‘In questa reggia’ nine times in a row, and the orchestra members were right there with me – ‘You can do it, Sondra!’ That’s not normal. Maestro Pappano is, in my opinion, the most brilliant conductor, not just because of his technique, but because of his passion and intensity for the music he conducts. He allows us to imbue the characters with our personalities. He doesn’t dictate how the role should be sung.

What was the highlight for you?

All of it! But when Pappano said we were going to be doing the uncut ending by Alfano, I looked at the music and said, ‘It’s not humanly possible to sing this music!’ I did Cyrano de Bergerac so I know his style, but this was so difficult to learn; it’s so unlike the rest of the opera in many ways. The tessitura is relentless and bangs the top of the voice, just high note after high note. I ended up loving that part the most, though, because you really see Turandot falling in love.