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.

A reboot of Peter Shaffer’s play hopes to repeat the 1984 film’s magic and lure a fresh audience to classical music

Forty years ago, Amadeus won eight Oscars, four Baftas and four Golden Globes – and introduced a new generation to 18th-century music. Millions bought the film’s Mozart soundtrack and it remains one of the bestselling classical music albums of all time, shifting more than 6.5m copies globally, and earning 13 gold discs.

It even inspired a novelty hit when Falco mixed Europop with rap in Rock Me Amadeus – the first German-language song to top the US Billboard chart (Nena’s 99 Luftballons only reached No 2 in the US, pop-pickers).