The Shadow of Great Britain

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 meeting of the “Britisher” editorial department. Despite his usual caution, he couldn’t help but boast about the adaptation of “Turandot” to Mendelssohn.

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 someone who has taught himself piano for three years, composing by heart isn’t considered difficult.

Moreover, he recalls that Mendelssohn has just mentioned 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 fame through performing “Turandot.”

Mendelssohn 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?” Mendelssohn was initially taken aback, then exclaimed with joy: “Of course, you don’t need to worry about payment. 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 Mendelssohn’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 some artistic ambitions. You’ve just told me about Clara Wieck’s talent, and she fully meets my requirements to play the female lead, Turandot. But the male lead, Calaf, can the tenor’s high notes reach F5?”

“F…F5?” Krupp blinked in bewilderment: “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!”

Mendelssohn 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.”

Mendelssohn thought for a moment 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 someone 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.” Mendelssohn 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?”

Mendelssohn 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.”