In the organizer's words:

Turandot - Opera by Giacomo Puccini

Beijing, in fairytale times: at the imperial court, Princess Turandot has made her own marriage a law: anyone wishing to marry her must answer three riddles correctly, anyone who fails will be executed. When a stranger appears, he decides to take on the task. He is the only one who manages to solve the riddles and in turn gives the princess a task: if Turandot can give his name by dawn, he is prepared to give up her hand and die.
Behind the murderous brutality of Turandot's law and her icy rejection of all suitors lies a deep transgenerational trauma. The unsolvable tasks are solely for self-protection: an ancestor was brutally abused and murdered by her husband. Jakob Peters-Messer's production examines Puccini's fairytale opera for this deep psychological cause and at the same time reveals the inscribed ambivalence of tragedy and grotesque comedy.
Puccini's last opera remained a fragment. His death prevented him from completing Act 3. And yet this work seems to be imbued with Puccini's perfectionism and his very own search for a modern musical language. Luciano Berio's addition to the last act from 2001 continues this search by incorporating Puccini's sketches left behind and presents a thought-provoking final version. In addition to incredibly seductive arias and large, subtly drawn choral scenes, it is the struggle for a musical theater "that should make the world weep" that makes Turandot unique.