| Tan Dun |
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| (1957- ) |
| Opera has played a significant role in Tan Dun's creative output of the past decade. Marco Polo (1995-96), set to a libretto by Paul Griffiths, has had three different productions and been performed in more than 20 cities worldwide. Peony Pavilion (1998), on a text by Tang Xianzu (1598), and directed by Peter Sellars, had more than 50 performances at major festivals in Vienna, Paris, London and Rome. Tea: A Mirror of the Soul (2002) on a libretto by Xu Ying and set to music of ceramic, stone and paper instruments with orchestra, premiered at Japan's Suntory Hall and the Netherlands Opera with Pierre Audi directing, and received a new production at Lyon National Opera with Stanislas Nordey directing in June 2004. Other major and influential works are: Water Passion after St. Matthew, for the Internationale Bachakadamie in Stuttgart, commemorating the 250th anniversary of Bach's death; Eight Memories in Watercolor, performed internationally by pianist Lang Lang; the Oscar Award-winning original score for Ang Lee's film, "Crouching Tiger, Hidden Dragon"; and Ghost Opera, toured worldwide by the Kronos Quartet./ Source |
| List of Operas Marco Polo Peony Pavilion Tea: A Mirror of the Soul The First Emperor |
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| GAs a conductor whose primary interest is in creating programs that reach a new and diverse audience and which break the boundaries between classical and non-classical, East and West, avant-garde and indigenous art forms, Tan Dun has led many of the world's leading orchestras. Among them are the Royal Concertgebouw Orchestra, Los Angeles Philharmonic, Boston Symphony, National Orchestra de France, Philadelphia Orchestra, BBC Symphony, Montreal Symphony, NHK Symphony of Japan, National Orchestra de Lyon, Sydney Symphony, and London Sinfonietta. |
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| In composing The First Emperor, a historical portrait of the visionary but brutal leader who unified ancient China and built the Great Wall, Tan Dun drew on both the vocal lyricism in Western opera as well as the percussive and ritualistic elements found in the Eastern tradition. His innovative score, combined with a compelling production by Chinese filmmaker Zhang Yimou (Hero, House of Flying Daggers, Turandot in the Forbidden City), brings freshness, new energy, and a dynamic visual component to the opera stage./ Source |