By outdoor-nature-child.com In mid-October, the rehearsal hall of the Shenzhen Opera and Dance Theater in Futian District saw an influx of performers, with voices that varied from soaring to gentle, and even humorous—a marked change from the usual ambiance. What was happening? The American Qingyu Choir had arrived, joining forces with the Shenzhen Opera and Dance Theater Choir, the Shenzhen Symphony Orchestra, and others to prepare for their large-scale symphonic oratorio, “Da Feng Ge” (The Song of the Great Wind).
Zhang Ningyuan, the joyful nearly-octogenarian and executive producer of “Da Feng Ge,” who also leads the American Qingyu Choir, shared insights with us. “The production features 13 characters, a choir of 100 adults, 68 children, and an orchestra of 80, along with performing artists playing traditional instruments like the suona, banhu, and small drums,” he explained. “That’s a total of 248 people on stage, creating quite a spectacle. Renowned conductor Lin Daya, who is also the artistic director of the Shenzhen Symphony Orchestra, leads the ensemble, with special guest soloists including well-known Chinese vocalists Li Xiuying, Yuan Lu, and expatriate singer Fang Liya. Coordinating such a large group in a short time is quite a challenge.”
The American Qingyu Choir, established in 1999, is composed mainly of engineers, professors, scientists, and other professionals from Silicon Valley. Over the years, they have collaborated with prominent Chinese composers and various artistic groups from the Guangdong-Hong Kong-Macao Greater Bay Area to create choral suites like “Overseas Wanderers’ Song,” and orchestral works such as “Yu Wang Zhi Shui” (The Great Yu Controls the Waters), “Da Feng Ge,” and “Bu Tian” (Mending the Sky). These compositions reflect the struggles of Chinese immigrants in North America over the past 150 years and delve into the origins of Chinese civilization, having toured China six times.
Zhang expressed their aspiration: “We hope to touch more hearts with our music and to present the eternal charm of this ancient civilization. We also aim to enhance the world’s understanding of China and promote cultural exchange between the East and West.”
“Da Feng Ge” consists of four acts: “Chuang Yan Zhao Qing, Feng Sheng Yu Di” (Breaking Traditions to Marry), “Zhan She Qi Yi, Feng Qi Da Ze” (Slaying the Serpent to Start a Rebellion), “Chu Han Xiang Zheng, Feng Yun Ben Zou” (The Struggle Between Chu and Han), and “Han Di Huan Xiang, Feng Liu Qian Gu” (The Emperor Returns to His Hometown). The piece intertwines the melodies of Chinese opera and folk art with Western symphonic elements, masterfully blending grandeur and meticulous detail to evoke historical narratives that showcase Liu Bang’s journey to unite the fragmented hearts of a nation.
“The intent behind ‘Da Feng Ge’ is to use music to recreate the journey of the Chinese nation and to unveil the core values that have endured throughout our history,” stated Guoke, the lyricist and a Chinese-American artist, while holding a blue-covered score of “Da Feng Ge.” He emphasized the crucial role that overseas Chinese have in preserving and passing on Chinese culture.
Guoke added, “Throughout history, the Chinese have had a strong desire for national unity. This aspiration has shaped various eras.” He pointed out that the establishment of central authority during the Qin and Han dynasties was significant for national cohesion, particularly through the county system. The legend of Liu Bang slaying the serpent inspired his troops and left a lasting cultural and political legacy. “I hope audiences, especially young people, understand how our nation has evolved and what makes us unique,” he said, highlighting a lyric that resonates with contemporary implications.
In his view, artistic creations should reflect historical contexts while maintaining academic rigor and authenticity. “The script of ‘Da Feng Ge’ includes annotations citing historical texts for each line, allowing performers to grasp the deeper meanings they convey on stage.”
The well-known Chinese composer and former head of the Composition Department at Tianjin Conservatory of Music, Chen Lechang, composed music for “Da Feng Ge.” He explained, “While the script is temporal, the music must evoke spatiality, which we achieve by incorporating various Chinese musical styles. This piece serves as a foundation of Western symphonic structure while featuring melodies from Chinese folk music, including different opera genres, showcasing the musical heritage of China over millennia.”
Li Xiuying, a professor and doctoral advisor at Shanghai Conservatory of Music, who won an Emmy Award, plays Lüzhi in the opera. She remarked on the rarity of the oratorio form in China and praised the cultural depth and representation found in the work. “It’s a privilege for us as singers to participate in this performance,” she stated.
Li expressed her happiness about the direct collaboration among the composer, lyricist, and singers, praising the talent of the young members of the Shenzhen Opera and Dance Theater’s choir. “I believe this performance will provide a truly unique auditory and visual experience.”
The director, Lin Mei, one of the few Chinese opera directors active on the international stage, expressed satisfaction with the collaboration of the team. “The Shenzhen Opera and Dance Theater was only established in 2018, and the young performers come from outstanding music institutions both domestically and internationally. Along with the various choirs and talented singers, we are uniting in Shenzhen with the simple goal of highlighting our national spirit through this concert, hoping to resonate and connect deeply with both performers and audiences alike.”