Luoyang, a city of elegance, is famous for its iconic peonies, with Yu Opera as its artistic soul. The legendary Ma Jinfeng, creator of the shuai dan (military-leading female) role type, combines stylised movements of qingyi (virtuous female), daomadan (sword-wielding and riding female), and wusheng (martial male), and is acclaimed as ‘the Peony of Luoyang’. Specialised in the shuai dan role, her disciple Guan Meili will be joined by Plum Blossom Award winners and Class One Performers to present signature works of the Ma School: Mu Guiying Takes Command, which exemplifies heroic feminine valour; Demanding Justice from the Emperor, a classic Yu Opera comedy that sparkles with wit and vivacity through the female lead; and The Spear as a Token of Love, a bitter love story spanning four decades. Selected excerpts from diverse stylistic traditions will complete the programme.

Yu Opera

Yu Opera, also known as Henan Bangzi, is a branch of the clapper opera (bangzi) vocal system that emerged during the period of contention between the ‘Elegant’ and ‘Popular’ stylistic schools during the Ming dynasty.  Fusing qin-qiang, Puzhou Bangzi, and local folk theatrical forms of Henan, distinct regional schools took shape – the Xiangfu style (around Kaifeng), Eastern Henan style (around Shangqiu), Western Henan style (around Luoyang), and Shahe style (around Luohe).  Its vocal style is sonorous and forceful, yet also fluid and lyrical, while the overall pacing is vivid and intense.  The unique operatic style has produced many great masters through the ages, among whom the ‘Five Divas’ — Chang Xiangyu, Ma Jinfeng, Chen Suzhen, Cui Lantian, and Yan Lipin — are the most widely celebrated.  Of these, Ma Jinfeng created the distinctive shuaidan role type, which tactfully fuses the poise of qingyi (virtuous female), the heroic bearing of daomadan (sword-wielding and horse-riding female), and the vigour of wusheng (martial male).  Ma’s rich, mellow voice and bold, dashing stylised movements had won her the epithet ‘Peony of Luoyang’ .

Programme Details

17/7  7:30pm

Mu Guiying Takes Command

In 1953, Ma Jinfeng, a leading figure in Yu Opera who is acclaimed as ‘National Treasure’, joined hands with playwright Song Ci to adapt the traditional play Expedition to the East at an Old Age into Mu Guiying Takes Command.  The storyline focuses on Mu Guiying, now past 50, who once again takes command in a time of national peril.  Ma’s brilliant performance triggered an immediate sensation in the operatic world and drew the attention of the Peking Opera legend, Mei Lanfang.  He not only took her in as his disciple, but also introduced Mu Guiying Takes Command into the Peking Opera repertory, making it popular nationwide.  As this year’s ‘City in Focus’ highlight, Guan Meili, a first-generation disciple of Ma, revives the splendour of the Ma-school shuaidan style.  As the curtain rises, Guan offers an awe-inspiring stage presence in her crimson warrior robe as a commanding war marshal.  Her passionate singing adds depth to the character portrayal, which induces a feminine touch into her bravery and determination in fighting for the country again.  Sharing the stage are Plum Blossom Award winners and Class One performers Wang Hui as Dowager She, and Jia Wenlong as the Song Emperor.

18/7  7:30pm

Excerpts

Emotional Outpouring at the South Camp from The Spear as a Token of Love, At the Imperial Court from Demanding Justice from the Emperor, Interrogating the Husband, The Ingenious County Magistrate, Setting Off for Battle from Five Generations of Loyal Generals

This programme is a selection of representative classics by Yu Opera masters.  The Spear as a Token of Love and Demanding Justice from the Emperor – two classics of Ma Jinfeng school – and Mu Guiying Takes Command are three iconic pieces that exemplifies the diversity of female portrayals in Yu Opera.  Through nuanced delivery of the female lead’s singing, Emotional Outpouring at the South Camp highlights the agitated state of Jiang Guizhi prior to meeting her long lost husband.  In the comic Demanding Justice from the Emperor, Madam Cheng leads a group of high-ranking officers’ wives to storm the imperial court to save an upright official.  The versatile character of Madam Cheng is skilfully portrayed via a fascinating combination of podan (shrewish female), caidan (female clown) and qingyi  roles.  Interrogating the Husband is a representative work of the Yan stylistic school.  The emotional manoeuvres between Yan Lanzhen and her husband Zeng Rong reveal the inner struggle of a typical guimendan (young female role).  The Ingenious County Magistrate features the wenchou (clown role) as its protagonist; its operatic gestures incorporate details drawn from everyday life and are lively and humorous.  In the Chang Xiangyu school classic Setting Off for Battle, Dowager She leads the women warriors of the Yang family into battle, and the impassioned singing raises the sense of loyalty towards family and country to a powerful climax.