Sadler’s Wells, London
October 19, 2018
Charlotte Kasner
It is admittedly an acquired taste but what a delight to receive a fifth visit from the marvellous China National Peking Opera (中國國家京劇院), and with two productions not seen in London before.
In the Emperor and the Concubine (太真外传), it was a privilege to see the great Li Shengsu (李胜素) in the title role of the Concubine, bringing her subtle delicacy and finesse to the tragi-heroine.
Emperors being what they are, this one coerces a nun to become his number one concubine until he tires of her and sends her into exile. She is dutiful and genuinely enamoured and delighted when he later reprieves her. While his attention is elsewhere, the country is invaded. The Concubine is blamed by the populace for distracting the Emperor and they press him to execute her but, learning of this, she commits suicide in order to save him.
Within the usual formula of the genre, the sets are particularly effective. Scenes are divided by a beautiful cut-out of a dragon motif which can be cleverly lit to hide the scene changes behind. Unfortunately, it couldn’t muffle the sound of very noisy changes and shouting stage hands. There also seemed to be problems with the fog machine stage right too. The night scene with a deep blue sky and cut out of a house is especially lovely, though, as is the final cut out of blossoms that framed the stage at the end, enclosing a giant moon. Costumes are equally glorious and detailed.
Chinese opera is as much about movement as music and the cast of tumblers were breathtaking in their athleticism and daring in the battle scene. The women, especially the maids, were full of grace.
It was a shame there were only two live musicians, who played in conjunction with a recording.
While audiences are used to seeing specialisms well executed on the Sadler’s Wells stage, there can be few occasions where each performer is expected to excel in movement, voice, character acting and historical knowledge, as each is in Chinese opera. Indeed, each discipline would seem to require a lifetime of study in its own account. It is good, therefore, to find that there is plenty of appetite for the genre in China and many new audiences that could be reached here too.