[et_pb_section fb_built=”1″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_row _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/operapaskaret.se\/wp-content\/uploads\/2025\/02\/Lev-Pugliese_1.jpeg” title_text=”Lev Pugliese_1″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_row _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n
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Lev Pugliese is an internationally active director with roots in Italy and a background in classical music and opera from an early age. He has previously directed <\/span>Turandot<\/span><\/i>\u00a0in both Italy and China. This summer, he makes his debut at Opera p\u00e5 Sk\u00e4ret. Here, he shares what draws him to Sk\u00e4ret, his perspective on\u00a0<\/span>Turandot<\/span><\/i>, and his creative process.<\/span><\/p>\n <\/p>\n<\/div>\n
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This is your first time at Sk\u00e4ret. What attracts you to work at Opera p\u00e5 Sk\u00e4ret?- \u00a0– <\/span><\/b>Several things! Over the years, I\u2019ve met many singers who have performed at Opera p\u00e5 Sk\u00e4ret, and they\u2019ve spoken very highly of their experiences. When I met Alexander Niclasson (Artistic Director at Opera p\u00e5 Sk\u00e4ret), I felt that we clicked. Both of us grew up in families with strong connections to opera, and like Alexander, I have worked closely with my father in opera contexts.\u00a0<\/p>\n<\/div>\n\n
I\u2019ve also come to understand that Opera p\u00e5 Sk\u00e4ret fosters a familial atmosphere, the kind that arises when everyone lives and works together in the same place for a while with the goal of creating something together. In such an environment, dialogue between all participants becomes natural and obvious, which ultimately contributes to the authenticity of what we create.<\/span><\/p>\n <\/p>\n<\/div>\n
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You\u2019ve directed\u00a0<\/span><\/b>Turandot<\/span><\/i><\/b>\u00a0before\u2014tell us about that!
<\/span><\/b>– Yes, three times, actually – twice in Italy and once in China. The production in China was particularly special because that\u2019s where <\/span>Turandot<\/span><\/i>\u00a0is set. It was a unique challenge for me as a foreign director to create a production that the Chinese themselves would appreciate and find relevant.<\/span><\/p>\n <\/p>\n<\/div>\n
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What do you see as the opera\u2019s central themes and messages?
<\/span><\/b>– The central themes of <\/span>Turandot <\/span><\/i>revolve around love as a transformative force. Puccini envisioned the opera culminating in an explosion of love, where Turandot\u2019s icy, unyielding nature is shattered by a kiss – an awakening that allows her to feel and express herself for the first time. However, he struggled to make this transformation believable within the opera\u2019s brief final scene.<\/span><\/p>\n <\/p>\n<\/div>\n
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Viewed through a psychological lens, Turandot\u2019s coldness and cruelty are defensive mechanisms, shaped by unresolved fear and inherited trauma, as revealed in the aria “In questa reggia”. Her decree to execute failed suitors is not just an assertion of power, but a symbolic barrier against intimacy, protecting<\/span> <\/span>her from reliving <\/span>the historical violation<\/span> she associates with love.<\/span><\/p>\n<\/o:p><\/span><\/p>\n<\/div>\n\n
Calaf\u2019s persistence, culminating in his act of radical vulnerability – offering his name freely, provides a corrective experience that breaks the cycle of fear-based control. Instead of conquering her through force, he presents love as a choice, mirroring the resolution phase in trauma therapy, where past wounds are integrated rather than repressed.<\/span><\/p>\n<\/o:p><\/span><\/p>\n<\/div>\n\n
By accepting love, Turandot dismantles her psychological armour, allowing her true self to emerge. Her final declaration, naming Calaf as “Amor,” signifies not just romantic surrender but a profound reintegration of identity – a release from the past and a newfound freedom to embrace her authentic self<\/span>.<\/span><\/p>\n<\/o:p><\/span><\/p>\n<\/div>\n\n
How do you balance staying true to the original work while making it relevant to today\u2019s audience?
<\/span><\/b>– The story I hear when I listen to the music, read the score, and watch other productions of <\/span>Turandot<\/span><\/i>\u00a0is my interpretation, and I am someone who lives in today\u2019s society. I trust that interpretive process and feel no need to contrive anything. There are directors who, in an effort to create something they consider relevant, produce something that ends up being entirely different from the original work. Honestly, I don\u2019t really see the point of that and sometimes feel they might be better off creating their own opera.<\/span><\/p>\n <\/p>\n<\/div>\n
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How do you prepare for a new project? What does your creative process look like?
<\/span><\/b>– I always start with the music. I listen to it and read the score. Sometimes, I watch previous productions. I also research the time period in which the opera is set. During this preparation, images begin to form in my mind. I love that part of the process, seeing everything like a film. <\/p>\nEventually, I move into the phase where the \u201cfilm\u201d in my head becomes a reality. That part is, naturally, more challenging. Reality brings limitations that can affect the vision, but that doesn\u2019t mean the result is of a lower quality\u2014just different<\/span> because working together with <\/span>everyone involved <\/span>brings contributions that I consider <\/span>add value.<\/span><\/p>\n<\/div>\n\n
In the end, the goal is for the audience to be emotionally moved above all else. Reflections and rational thoughts can come later\u2014perhaps on their way home.<\/span><\/p>\n<\/div>\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"
Lev Pugliese is an internationally active director with roots in Italy and a background in classical music and opera from an early age. He has previously directed Turandot\u00a0in both Italy and China. This summer, he makes his debut at Opera p\u00e5 Sk\u00e4ret. Here, he shares what draws him to Sk\u00e4ret, his perspective on\u00a0Turandot, and his […]<\/p>\n","protected":false},"author":7,"featured_media":9190,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","inline_featured_image":false,"footnotes":""},"categories":[35,40,1],"tags":[],"class_list":["post-9198","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","category-nyheter-en","category-okategoriserad"],"yoast_head":"\n
Lev Pugliese directs Opera p\u00e5 Sk\u00e4ret\u2019s production of\u00a0Turandot - Opera p\u00e5 Sk\u00e4ret<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/operapaskaret.se\/?p=9188\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Lev Pugliese directs Opera p\u00e5 Sk\u00e4ret\u2019s production of\u00a0Turandot - Opera p\u00e5 Sk\u00e4ret\" \/>\n<meta property=\"og:description\" content=\"Lev Pugliese is an internationally active director with roots in Italy and a background in classical music and opera from an early age. He has previously directed Turandot\u00a0in both Italy and China. This summer, he makes his debut at Opera p\u00e5 Sk\u00e4ret. 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