The KL City Opera Chorus (Photo: KLCO)
Even those who profess to know nothing about opera cannot fail to recognise the melody that encapsulates Nessun dorma, the inimitable, powerful and dramatic tenor’s aria from the start of Act III of Turandot, the final opera to be composed by Giacomo Puccini.
Although originally composed in 1924, Nessun dorma (Italian for “none shall sleep”) seared itself into global collective consciousness when it was chosen as the theme song for the 1990 FIFA World Cup, which Italy hosted. It certainly helped that it was Luciano Pavarotti’s version — from a 1972 BBC recording — that was ultimately selected. Without doubt, the emotional arc and sheer power of the Modena-born maestro singlehandedly raised the song from the realm of classical music to become an iconic anthem in modern pop culture. This was further augmented after Pavarotti, together with Plácido Domingo and José Carreras, performed Nessun dorma as part of the inaugural Three Tenors concert on the eve of the 1990 World Cup final, transforming a sleepless decree into a veritable global phenomenon.
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“Turandot is Puccini’s grandest score and his last opera. He died before he could finish it, which adds to its fascinating quality, if you ask me,” says Danny Chen, co-executive producer of the KL City Opera (KLCO), alongside Ho Soon Yoon. “But it is also, ultimately, about how love can melt even the coldest heart. If audiences can walk out with Nessun dorma ringing in their ears, moved by Liù or feel Princess Turandot’s own journey and want to listen to opera again, we have done our job. We want people to leave touched and perhaps a little surprised by how opera can evoke this emotion almost immediately.”
Set in ancient Peking, the plot follows the beautiful but chilling Princess Turandot, who orders the execution of any would-be suitor who fails to answer her riddles before dawn. According to the story, one of her ancestors was brutally ravished and summarily killed by a foreign prince. Having grown up with the belief that marriage is not founded on love but is instead a form of subjugation and slavery, Turandot seeks to avenge her ancestor while avoiding the terrifying prospect of binding herself to a man. “She is definitely our favourite character,” says Ho. “Yes, she is often portrayed as cold and cruel, but we see a woman shaped by fear and the past. Ultimately, her transformation becomes the journey for the whole opera.”
Both producers also profess to having a soft spot for Liù, who sacrifices everything for love. “Many would argue that the slave girl is the true heart of the opera and her death, one of Puccini’s most moving scenes.”
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The production is also coincidentally presented in the year of Turandot’s centenary. “The timing was too meaningful to pass up,” Chen notes. “2026 marks 100 years since it was first unveiled at La Scala in Milan, while the opera itself has not been fully staged in Malaysia for more than 20 years. A whole generation of Malaysians might know Nessun dorma but have never seen the opera in which it originated. So, we felt the KLCO was ready to take on a work of this scale. With two casts, a large chorus and full orchestra, we want to show what Malaysian and international artists can achieve together.”
“Turandot has huge choral moments, some of the most famous operatic arias ever composed and intimate scenes of real heartbreak,” Ho says. “As producers, we love how it asks — demands — everything of a company all at once.”
Music aside, acclaimed designer Kel Wen of Behati has stepped in to craft the costumes. “We have always admired the work of local designers but the idea [to collaborate] came about by chance. It was while watching a performance that a Behati outfit caught our eye,” Ho says. “Danny ended up buying the piece and the design proved so inspiring that it immediately sparked the thought: ‘This could be it, this could be for Turandot!’ Moreover, Kel Wen’s use of white and his concept of purity and imagination fit perfectly with our stage director Amelia Tan’s vision. We also love how a Malaysian designer’s work is now at the heart of an Italian operatic classic.”
Arts enthusiasts would already be well familiar with Tan’s name, as she has directed several productions for the KLCO, including Die Zauberflöte, Madama Butterfly, La Serva Padrona and La Bohème. “For Turandot, she has chosen to stay true to Puccini’s version while looking beneath the surface of the title character,” Chen says. “She is usually portrayed as an icy, cold-hearted princess, but we explore the opposite side of her in this production — an inner world beneath the froideur. Turandot, after all, is human.”
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To add to the purity of the theme, the production builds on several layers of the colour white for visual punch. “It represents chastity and the princess’ imaginary world. Amelia shares this vision completely with Behati. The staging and the costumes speak the same language,” says Ho approvingly.
It is also heartening to note that Turandot in Malaysia enjoys the full support of the Embassy of Italy. Moreover, the production coincides with the Week of the Italian Language in the World. “The embassy has been our greatest supporter and patron over the years,” says Chen. “An art form born in Europe, it is Italy that you think of, above all, when one hears opera. Considering all the factors, from the centenary to Italian language week, it is indeed a wonderful way to commemorate the occasion.”
'Turandot' will be performed on Oct 17, 18, 20, 22, 24 and 25 at Pentas 1 of the Kuala Lumpur Performing Arts Centre (klpac). For tickets, visit cloudjoi.com.
This article first appeared on Oct 19, 2026 in The Edge Malaysia.
