http://au.artshub.com/au/news-article/reviews/performing-arts/the-peony-pavilion-193865
For Westerners, Peking Opera is definitely an acquired taste. Its music can seem harsh, discordant and atonal, possibly quite off-putting, and the ritualized, stylized subtle language of the gestures used (the shake of a sleeve, the tiny movement of a finger, can reveal volumes of hidden emotion) can be totally obscure. The art form as we know it today has been developed over centuries and combines elements of dance, dialogue, monologues, mime and martial arts.
In this production of The Peony Pavilion (one of the classics of the genre) as brought to us by the Northern Kunqu Opera Theatre, we have a somewhat radical reworking. The musicians are hidden in the wings stage left. There are virtually no sets, only a gold backdrop and a turquoise front curtain for scene changes, combined with a few tables/chairs and light props: a vase, a hoe, a paintbrush. The emphasis is far more on plot and characterisation, though there are some stunning, very detailed and elaborate costumes and makeup.
There are some similarities to Western opera, for example in Act One the heroine, Du Liniang, has an extended aria and deathbed scene and collapses and dies (as in La Traviata or La Boheme). Also in Act One, with the appearance of the King and the Goddess of Flowers, there was an exquisite, tightly choreographed dance that in some ways echoed the Garland Dance from Petipa’s Sleeping Beauty.
Running for three hours, the production has nonetheless been cut drastically for Western audiences. The surtitles were a great help although sometimes the English was slightly awkward. Watching The Peony Pavilion took some acclimatisation, and particularly in Act One there are periods of languor where nothing much really happened to move the plot along. Indeed, time seemed to be portrayed differently – a lot of the work is seemingly slow and limpid but this is suddenly contrasted with fast, explosive moments full of action, and the final denouement as presented had the feeling of being rushed.
Our heroine, Du Liniang, was magnificently performed by Wei Chunrong, who presented an exquisite picture; she has huge expressive eyes and looks like a blushing flower. She was a ‘good girl', a dutiful daughter – as in all Chinese fairytales – yet still determined, feisty and true to her love. She dies a quite Victorian, operatic death of ennui and hidden love, and is amazing as the ghost towards the end (note the extra long white strips on her costume representing her ‘otherworldliness’ here).
Our hero, handsome scholar Liu Mengmei, was terrifically played by Shao Zheng. He was excellent as the troubled romantic bothered by a strange dream and haunted by the girl in the picture. To Western ears he at times sounded like a counter tenor.
Du’s pert maid, Chun Xiang, was strongly played by Wang Jin. She was sassy and pert, but devoted to her mistress. (Note she did not have the long flowing sleeves of her superiors).
Du’s concerned, stern but loving parents were marvellously played by Hai Jun and Bai Xiaojun. They were shown as somewhat stock characters (like Polonius can be in Hamlet), exemplifying traditional Chinese virtues, but excellently done and wearing (particularly for her father) magnificent costumes. The costumes however really come into focus with the red and gold garb of the Flower King (of particular note is the red mask/beard and the almost bustle-like, heavily detailed embroidery on his back, making him look like a bee), the goddess and their entourage. Act Two is enlivened by two young men as butterflies who, looking like bluebirds, performed splendid tumbling.
There is also for instance the stock ‘comic' character of the old gardener, and the unusual (to Western eyes) Taoist nun and healer, Sister Stone.
A rare, exotic and somewhat challenging treat.
Rating: 4 stars out of 5
The Peony Pavilion
By The Northern Kunqu Opera Theatre China
Original work: Tang Xianzu
Artistic Consultant: Ma Shaobo
Libretto adaptation: Shi Tao & Fu Xueyi
Director: Ma Zianglin
Composer: Fu Xueyi
Drama Theatre, Sydney Opera House
24 - 26 January
Sydney Festival 2013
www.sydneyfestival.org.au
5 – 27 January
In this production of The Peony Pavilion (one of the classics of the genre) as brought to us by the Northern Kunqu Opera Theatre, we have a somewhat radical reworking. The musicians are hidden in the wings stage left. There are virtually no sets, only a gold backdrop and a turquoise front curtain for scene changes, combined with a few tables/chairs and light props: a vase, a hoe, a paintbrush. The emphasis is far more on plot and characterisation, though there are some stunning, very detailed and elaborate costumes and makeup.
There are some similarities to Western opera, for example in Act One the heroine, Du Liniang, has an extended aria and deathbed scene and collapses and dies (as in La Traviata or La Boheme). Also in Act One, with the appearance of the King and the Goddess of Flowers, there was an exquisite, tightly choreographed dance that in some ways echoed the Garland Dance from Petipa’s Sleeping Beauty.
Running for three hours, the production has nonetheless been cut drastically for Western audiences. The surtitles were a great help although sometimes the English was slightly awkward. Watching The Peony Pavilion took some acclimatisation, and particularly in Act One there are periods of languor where nothing much really happened to move the plot along. Indeed, time seemed to be portrayed differently – a lot of the work is seemingly slow and limpid but this is suddenly contrasted with fast, explosive moments full of action, and the final denouement as presented had the feeling of being rushed.
Our heroine, Du Liniang, was magnificently performed by Wei Chunrong, who presented an exquisite picture; she has huge expressive eyes and looks like a blushing flower. She was a ‘good girl', a dutiful daughter – as in all Chinese fairytales – yet still determined, feisty and true to her love. She dies a quite Victorian, operatic death of ennui and hidden love, and is amazing as the ghost towards the end (note the extra long white strips on her costume representing her ‘otherworldliness’ here).
Our hero, handsome scholar Liu Mengmei, was terrifically played by Shao Zheng. He was excellent as the troubled romantic bothered by a strange dream and haunted by the girl in the picture. To Western ears he at times sounded like a counter tenor.
Du’s pert maid, Chun Xiang, was strongly played by Wang Jin. She was sassy and pert, but devoted to her mistress. (Note she did not have the long flowing sleeves of her superiors).
Du’s concerned, stern but loving parents were marvellously played by Hai Jun and Bai Xiaojun. They were shown as somewhat stock characters (like Polonius can be in Hamlet), exemplifying traditional Chinese virtues, but excellently done and wearing (particularly for her father) magnificent costumes. The costumes however really come into focus with the red and gold garb of the Flower King (of particular note is the red mask/beard and the almost bustle-like, heavily detailed embroidery on his back, making him look like a bee), the goddess and their entourage. Act Two is enlivened by two young men as butterflies who, looking like bluebirds, performed splendid tumbling.
There is also for instance the stock ‘comic' character of the old gardener, and the unusual (to Western eyes) Taoist nun and healer, Sister Stone.
A rare, exotic and somewhat challenging treat.
Rating: 4 stars out of 5
The Peony Pavilion
By The Northern Kunqu Opera Theatre China
Original work: Tang Xianzu
Artistic Consultant: Ma Shaobo
Libretto adaptation: Shi Tao & Fu Xueyi
Director: Ma Zianglin
Composer: Fu Xueyi
Drama Theatre, Sydney Opera House
24 - 26 January
Sydney Festival 2013
www.sydneyfestival.org.au
5 – 27 January
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