- Awesome Music: The whole opera — which is kind of the problem, according to Puccini's critics, who maintain that underlining every single moment with Awesome Music of Awesomeness tends to kill the actual drama. The ticket sales remain undiminished. And, as Giuseppe Verdi said, that's the only true gauge of success.
- Others point to Franco Alfano's bombastic conclusion, which didn't involve the impressionistic subtleties Puccini had planned to use in the finale. (Berio's ending has more of these.)
- Critical Dissonance: Like most of Puccini's operas, Turandot still sells out at the box office, but at least one major critic, the musicologist Joseph Kerman, is not convinced: 'Nobody would deny that dramatic potential can be found in this tale. Puccini, however, did not find it.'
- Designated Hero: Calaf's stubborness and general refusal to care about anything except winning Turandot's hand, as well as Liu dying for him, don't endear him to some viewers. Lampshaded in certain productions where Timur, Calaf's father, disowns his son after Liu's death.
- Esoteric Happy Ending: Not a few viewers seem to interpet the finale that way. Really, a Happy Ending literally minutes after the best person in the whole opera killed themselves, doesn't look too convincing.
- Especially since said person killed herself specifically to avoid giving in to literal torture at the hands of the titular character, just so that her master would have a shot at marrying the torturer herself. Um... hooray?
- Tear Jerker: It's a Puccini opera, what else did you expect?
- True Art Is Angsty: As an opera. But it actually has a Happy Ending!
YMMV / Turandot