Chapter 1179: Chapter 127: Beating the Mandarin Ducks (Part 3)
Perhaps from a European perspective, such a plot seems reasonable and quite imbued with Oriental mystical charm. But to Arthur, this story could happen anywhere, except it shouldn’t happen in China.
If nobody told him the story’s background, he would most likely think Turandot should be an Arab Princess or a Greek Princess.
Because of this, Arthur specifically brought up “Turandot” at the internal eting of the “Britisher” editorial departnt. Despite his usual caution, he couldn’t help but boast about the adaptation of “Turandot” to ndelssohn.
However, setting aside the story’s background, “Turandot” is indeed a very captivating production.
After all, if it weren’t a classic production, how could “Turandot” have captivated theaters for 200 years?
Even those who haven’t gone to the theaters to appreciate “Turandot” firsthand can hum that famous aria “No One Sleeps Tonight” and that renowned Chinese folk song “Jasmine Flower.”
Hmm?
“No One Sleeps Tonight”?
“Jasmine Flower”?
Arthur’s furrowed brow slowly relaxed.
Although composing music alone isn’t easy, for soone who has taught himself piano for three years, composing by heart isn’t considered difficult.
Moreover, he recalls that ndelssohn has just ntioned that Miss Clara Wieck, Schumann’s girlfriend, is a female singer with a rich voice and wide range. That being the case, having her play “Turandot” is indeed most suitable.
But Arthur, upon further thought, found a new problem presenting before him.
“No One Sleeps Tonight” is the signature and representative work of the world’s leading tenor, Pavarotti, who gained fa through performing “Turandot.”
ndelssohn continued to persuade earnestly: “Arthur, the adaptation of ‘Turandot’ truly cannot do without you…”
But before he finished speaking, he saw Arthur raise his hand to interrupt him: “Felix, I can participate in the adaptation of ‘Turandot,’ but I have one condition.”
“Condition?” ndelssohn was initially taken aback, then exclaid with joy: “Of course, you don’t need to worry about paynt. If the adaptation of ‘Turandot’ is successful, I guarantee this performance will be staged not only in Leipzig but also at the Paris Opera House, London’s Royal Music Hall, and even Vienna’s Golden Hall!”
“No.”
Arthur took out the sheet music from ndelssohn’s carry-on bag, biting the pen cap while frowning in thought: “Felix, I’m not talking about money. I don’t lack money, but I do have so artistic ambitions. You’ve just told about Clara Wieck’s talent, and she fully ets my requirents to play the female lead, Turandot. But the male lead, Calaf, can the tenor’s high notes reach F5?”
“F…F5?” Krupp blinked in bewildernt: “What is F5?”
Disraeli was shocked by these words: “What the hell! Arthur, what kind of piece are you planning to write?”
Liszt, deeply intoxicated, raised his glass and cheered: “Looks like Sir is planning to get serious!”
ndelssohn stared solemnly at Arthur: “Are you serious?”
Arthur nodded slightly: “I have only this one condition. The male lead needs to not only reach F5 but must be able to do so effortlessly.”
ndelssohn thought for a mont and replied: “There’s no such tenor in Leipzig. I can find a tenor who can reach D5. But F5…even in Vienna, it would be tough to find soone like that.”
“Is that so?” Arthur inserted the pen back into his chest pocket with regret: “Then there’s no way, sorry, Felix.”
“However…if you are truly so confident, this isn’t a problem.” ndelssohn suddenly had a fervent and excited smile on his face: “I’ll head to Paris tomorrow; coincidentally, there’s a tenor there who can reach F5.”
“Hmm?” Arthur pulled his pen out again: “Is there such a person in Paris? Who are you talking about?”
ndelssohn stood up, leaning on the table: “Who else could it be? Rossini’s designated tenor, the star of ‘Cinderella,’ ‘Othello,’ and ‘The Lady of the Lake,’ the king of high notes, Giovanni Rubini.”
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