Maltese opera lovers are in for a treat with a performance by the Beijing Opera on 29 April at the Mediterranean Conference Centre at 7.30pm.
A brief history
Beijing Opera (or Peking Opera) has existed for over 200 years. It is widely regarded as the highest expression of Chinese culture. Artistically, Beijing Opera is perhaps the most refined form of opera in the world. It has deeply influenced the hearts of the Chinese people. Although it is called Beijing Opera, its origins are not in Beijing but in the Chinese provinces of Anhui and Hubei. Beijing Opera got its two main melodies, Xi Pi and Er Huang, from Anhui and Hubei operas. It then absorbed music and arias from other operas and musical arts in China.
It is thought that Beijing Opera was born when the Four Great Anhui Troupes came to Beijing in 1790. Beijing Opera was originally staged for the royal family and became open to the public later. In 1828, some famous Hubei Troupe players came to Beijing. Hubei and Anhui troupes often jointly performed on stage. The combination gradually formed the mainstream of Beijing Opera’s melodies. One of the rare forms of entertainment, it was favoured by people from all walks of the society, from high-ranking government officials to the lower levels of society. There are thousands of pieces covering the entire history and literature of China, including revised stories from the west.
There are as many kinds of Chinese Opera as there are dialects. It has been estimated that there are thousands of branches of Chinese Opera. Most of them are local, dominating a region within a province and its surrounding area. However, Beijing Opera is the national standard, and has a higher reputation than any of the other branches of Chinese Opera. Almost every province of China has more than one Beijing Opera troupe. Beijing and Tianjin are respected as the key base cities in the north while Shanghai is the base in the south.
During the Cultural Revolution (1966-1976), Beijing Opera suffered along with other kinds of theatrical arts in China. All the traditional pieces reflecting the Old Societies were banned from performing. The famous Eight Model Plays, featuring the communist activities during the anti-Japanese war and the civil war with the Nationalists, as well as the class struggles after the founding of the People’s Republic, were then developed. Many outstanding Beijing Opera and Kunqu Opera actors and actresses performed in these operas. Although “Class Struggle” was the theme of most of these plays, these plays introduced some new forms of stage performances. Many people who grew up during the Cultural Revolution are still in favour of the music and singing from the Eight Model Plays.
Traditional Beijing Opera was allowed to be shown again in 1978.
THE PERFORMANCES
This troupe from the Beijing Opera will be performing four different sketches taken from some of the most famous pieces in this form of Chinese Opera.
‘The crossroads’
Jiao Zan, a senior officer under the Song Dynasty, is being exiled under guard to Shamen Island because he has killed a treacherous court official, Xie Tingfang. Marshel Yang orders Ren Tanghui to protect Jiao Zan in secret. He spends the night at the Crossroad inn. The innkeeper, Liu Lihua, believes that Ren Tanghui will murder Jiao Zan so he steals into the room and they fight each other in the dark. Only when the innkeeper’s wife comes in with a candle do the three of them realise in the end that all has been the result of a misunderstanding.
‘Stealing silver in storage’
Bai Suzhen (the White Snake) marries Xu Xian. They badly need money after their wedding, and Bai Suzhen cannot but send Xiao Qing (the Blue Snake) to steal the ill-gotten treasure which has been put by the local government into a storehouse of the Qiantang county. Xiao Qing fights the guards sent by god and beats them, and comes back with the silver.
‘Autumn River’
Having failed the examination at Lin An (capital of the Southern Song Dynasty, 1127 – 1279 AD), Pan Bizheng, nephew of the old nun who is in charge of White Cloud Nunnery, seeks temporary lodging at the nunnery. There, he becomes acquainted with Chen Misochang, a young beautiful nun.
As they get to know each other, the young man and the girl fall in love. The young couple are courageous enough to defy the old nun’s intervention, but she finally succeeds in forcing Pan Bizheng to leave Jinling (today’s Nan jing) for Lin An, preventing the young couple from saying goodbye to each other. The old nun personally sees Pan off to his boat.
After Pan’s departure, Chen Miaochang falls into despair. She soon gets things sorted and freeing herself from all sorts of apprehension, she runs away from the nunnery in pursuit of Pan Bizheng. By the side of Autumn River, she is anxious to find a ferryboat. She happens to meet an elderly boatman, who turns out to be a jocular person. Having understood thoroughly why the girl is in such a hurry, the old boatman takes it easy and enjoys teasing the girl. Having had enough fun with her, the kind-hearted old man helps the girl to catch up with the big ship which Pan Bizheng has boarded.
‘Farewell to a beauty’
Liu Bang and Xiang Yu have agreed to a truce and have drawn a demarcation line at Honggou place. Han Xin, liu Bang’s able General, orders Li Zuoju to make a feigned surrender to Xiang Yu so as to lure Xiang’s troops into a deep trap. Meanwhile, Han Xin deploys his troops around Jiuli Hill and has Xiang’s troops all surrounded at Haixia.
Xiang Yu cannot break through the siege. When his soldiers hear the native songs of Chu sung by Han’s soldiers, they take it for granted that other Chu soldiers have all given up fighting, and their morale flags Xiang Yu realises that he has lost the game and he turns to drink in despair. He bids a farewell to his lover Yu Ji, who dances her last dance as farewell before committing suicide.