Tan Dun - Tea, A Mirror of Soul / Lundy, Fu, Gillet, Richardson, Liang, NHK Symphony Orchestra, Tokyo Opera
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Stunning
I fell entirely under the spell of Tan Dun's "Tea." I get the very strong sense most fans of western opera will despise this piece as very few folk I know have warmed to this particular cup of "Tea." Those who found the musical language in Tan Dun's "First Emperor" arid or not "tuneful" enough may be further frustrated by the challenges of "Tea," which finds the composer writing in a far more Asian-influenced style, but those who give it a chance and let it work its own magic are, I believe, in for something very special.
Anyone intrigued by the "more than just playing" involvement Tan Dun requires from his orchestra may find even more intriguing the fact this work involves the orchestra (at least in the world premiere) to an even greater degree - to the point they are onstage. I found the orchestra's presence added greatly to my own enjoyment of the work and they were integrated into the staging so much so I can't imagine the work "traditionally" played out set up with a division between what occurs onstage and an unseen orchestra tanked in a pit. The battery of percussionists required on some inventive instruments - like paper (a mile high sheet!) a woman dipping her hands into a bowl of water, etc. bathe the hall and create a soundscape that is one of the most aurally sensuous where monks chants, sound, western music and silence all coalesce into something equal parts spiritual and sensual.
While there is most definitely a plot and story line, this is almost more an opera of ideas heavily influenced from the Book of Tea. The principal story is that of Seikyo, a former Japanese prince who became a monk following a rather intense series of events. He relates to his fellow monks the story of his journey through China in search of the Book of Tea, his fatal love for the Chinese Princess Lan, the challenges of her Emperor father, the jealousy and violence of her brother, the symbolism and meanings of the tea ceremony and the creation of tea. Tosca it ain't.
There is, if one allows themselves to fall under its spell, a spiritual, hypnotic quality here far different than the usual blood `n guts stories that enthrall and excite us in traditional western opera. Still, despite being deemed a critical success I fear an audience for Tea among traditionalists will always be rather limited.
I was thrilled one of my new "it" girls - Kelly Kaduce singing Princess Lan at the U.S. premiere in Santa Fe along with the original Prince Seikyo, Haijing Fu - who is absolutely amazing in this set.
For anyone interested in contemporary opera and an open mind (slightly redundant, but one never knows!) this is a must see. It is stunningly beautiful.
The beautiful Opera!!!
I am Chinese and I loved this opera much. It shows the beauty of Estern Asian Culture. Slow, Empty, silence, water, pater, store.
Tea and soul. Tea and Home.
Maybe it is hard for some audience to accept the Concept of Slow and Silence...but actually it is the culture thing... very moving melody...
PS, tea is also my favourtie. however, now i am in US and the type of tea i can drink is very limited.haha...
Take a Risk!
Very few musical experiences as novel and as ethereal as Tea are available on DVD. The staging is graceful; the sound palette of European, Chinese, and "natural" instruments is well integrated and beautifully appropriate; even Tan Dun himself, as conductor, is a visual asset. This is not easily described; you'll have to take a risk. (Caveat: if your taste requires drama and bravura, stick to Verdi.)
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