I read with interest the review of the Royal Opera House’s recently revived production of Turandot. As someone who has researched the intersection of race, culture, and authenticity in Puccini’s operas, I would like to offer a different perspective on this matter. 

 

It is this conundrum that lies at the heart of the issue of cultural appropriation and Orientalism in opera: how to address the problematic elements of these works while still preserving their artistic integrity and historical context. In my view, it is possible to do both, but it requires a nuanced and thoughtful approach that takes into account the diverse perspectives of different communities.

 

Whilst it is important to acknowledge the longstanding history of Orientalism and cultural appropriation in opera productions that depict non-Western cultures, it is equally important to recognise that there is no ‘one-size-fits-all’ solution as a way of addressing these issues. In some cases, such as with the Seattle Opera’s 2017 production of Madama Butterfly, their approach has involved hosting panel discussions with community leaders, activists, and local Asian artists to raise awareness of the culturally sensitive aspects of the opera. Therefore, I would encourage the Royal Opera House and other institutions to continue engaging with these issues in a meaningful way, by listening to and incorporating the voices of diverse communities, and by striving to create productions that are both artistically compelling and culturally sensitive.