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| This opera tells the tragic love story of a Chinese princess and a Japanese prince in the ninth century.
The musician explores the philosophy and spirituality as set out in the ancient Book of Tea, or Cha Jing in Mandarin. Tan himself sees Tea as a 21st-century opera, a challenge to Western styles of classical music-theatre. Commissioned by Japan's Suntory Hall and the Netherlands National Opera, Tea had its premiere in Tokyo under Tan Dun's baton two years ago, directed by Pierre Audi, artistic director of the Netherlands National Opera. (Photo Source: qianlong.com)/ Source Partly inspired by Lu Yu's eighth-century Book of Tea, the opera is centered on the Chinese princess Lan and Japanese prince Seikyo, and the challenging of Seikyo by Lan's jealous brother. The vocal lines for the soloists and the chorus of nine bass-baritones are impressively simple and focused, and Tan Dun's orchestration is a mastery of imagination with the 40-strong NHK Symphony Orchestra on stage and three percussionists creating sounds from water, paper and ceramic pots./ DVD |
| TEA: A Mirror of the Soul |
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| Tan Dun uses his score and libretto to explore philosophy and spirituality as set out in the ancient Book of Tea. That 8th-century text by Lu Yu is ostensibly a guide to the traditional methods of growing, preparing and drinking tea and is also a metaphor for the right way to live, through which love, death and religion are all explored.
In preparing to write this opera, Tan Dun travelled to numerous ancient cities and temples in both China and Japan to learn about tea and the ceremonies and ideas surrounding it. A visit with a Chinese nun inspired the opening scene, which depicts a monk raising an empty teapot, passing an empty cup and ritualistically savouring the tea that is not there as a chorus of monks sings "though the bowl is empty, the scent glows." Sung in English, the enchanting libretto (co-written by Tan and Chinese playwright Xu Ying), follows the 20-year span of Seikyo and Lan’s love affair, from its passionate beginnings to its heart wrenching conclusion. Lan is sung by the Chinese soprano Shu-Ying Ji, Seikyo is performed by baritone Haijing Fu. “Tan Dun's music for these two figures was unabashedly vocal. Perhaps since Puccini and Bernstein there has been no one to write such graceful lines for singers” wrote a critic from Opera at Tea’s first European performance in 2003. The cast of five wonderful singers (which also includes tenor Warren Mok whose plays the Prince, bass Dong-Jian Gong who plays the Emperor and mezzo-soprano Ning Liang who sing the part of Lu), are joined on stage by three female Japanese percussionists playing instruments of ceramic, stone and paper. Lavish costumes, evocative lighting, and a graceful set, all designed by a superb European creative team create a magical atmosphere in which the accomplished international cast performs. Directed by French Stanisllas Nordey, on a set designed by Emmanuel Clolus with lighting by Stephanie Daniel and costumes by Raoul Fernandez, the French creative team are delighted to restage Tea at the Festival. Tan Dun’s ingenuity as a composer is highlighted by a score that will surprise and delight audiences with eruptions of unconventional sounds. Tan Dun’s outstanding performances at the 2004 Festival with the NZSO left audiences entranced. In Tan Dun’s music Eastern philosophy is blended beautifully with Western tradition, creating a cross cultural bridge and truly worldly sound. However, he has stated, "I am not interested in whether music is Eastern or Western, I don't allow any such limitations to my thinking; this is my daring and my essence." NRC Cultural Supplement. Tea: A Mirror of Soul has been described by international critics as “captivating” and “ethereal”. Savour every moment./ Source |
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