Puccini’s opera returns to Covent Garden in a vivid staging that, although 40 years old, still feels fresh and fun. David Levene had exclusive access to rehearsals to witness the severed heads, the sumptuous costumes – and the executioner going green

Andrei Șerban’s staging, with dazzling designs by Sally Jacobs, made its debut in 1984 and is the Royal Opera’s longest-running production. This is its 19th revival: the performance on 18 December will be its 295th at Covent Garden. Turandot tackles grand emotions and even grander themes: love, fear, devotion, power, loyalty, life and death in a fantastical, fairytale version of imperial China. And, of course, there’s surely opera’s most famous moment, the showstopper aria Nessun Dorma.

“If the opera has depths, Șerban is content to ignore them, but for once it doesn’t seem to matter. The three-storey Chinese pagoda set, army of extras and troupe of masked dancers make his cartoon-coloured creation the nearest the company has to a West End spectacular,” wrote the Guardian’s Erica Jeal reviewing a 2005 revival.

Puccini’s libretto states that the emperor appears among “clouds of incense … among the clouds like a god”. In this production he does indeed appear as if from the heavens, his magnificent throne lowered slowly to the ground.

The Free Birth Society (FBS) is a multimillion-dollar business that promotes an extreme version of free birth, meaning women giving birth without medical assistance. The Guardian can now reveal that the organisation has been linked to dozens of cases of maternal harm and baby deaths around the world. After a year-long investigation, Sirin Kale and Lucy Osborne explain why some women they interviewed found FBS’s views so appealing, and why medical professionals say their claims about birth are dangerous

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