When tradition meets modernity on a grand stage, it often yields an unforgettable auditory and visual experience. The Shanghai Symphony Orchestra, renowned for its century-old heritage, took Beijing Music Festival attendees on such a journey by pairing the classic 1961 Chinese animation, “The Monkey King,” with a unique blend of Eastern and Western musical instruments.
The iconic animation of The Monkey King holds a special place in Chinese culture. The story of the Monkey King, also known as Sun Wukong, is deeply embedded in China’s artistic and cultural fabric. This recent performance was more than just a mere retelling. By integrating instruments like the pipa, a pear-shaped stringed instrument, with the electric guitar, the orchestra breathed new life into this iconic tale. These diverse instruments were particularly emphasized during the Monkey King’s fight against the fish and shrimp soldiers of the Dragon King of the East Sea.
Beyond just instruments, the intricate beats of Peking Opera, reminiscent of the original animation, were infused into the performance, seamlessly bridging gaps between age-old traditions and modern symphonies.
Zhou Ping, the head of the Shanghai Symphony Orchestra, expressed the group’s consistent goal to evolve and be dynamically in tune with the times. Even though symphonies find their origins in the West, Zhou highlighted the vast reservoir of Chinese culture that can continually inspire and enrich the world of music.
The joint venture between the Shanghai Symphony Orchestra and Shanghai Animation Film Studio was not just an artistic endeavor but a heartening confluence of rich tradition and modern interpretation. Zhou proudly recounted how they integrated elements of traditional Chinese operas with modern jazz-style creations, ensuring the essence of the original version remained untouched.
The Beijing Music Festival wasn’t limited to just one performance. Other highlights included a concert by the Shanghai Quartet and a semi-staged production of composer Hao Weiya’s futuristic piece, “AI’s Variation, Opera of the Future.” Another gem from the orchestra is their new opera, “Ode to the Silk Road,” a tribute inspired by the Shanghai Museum’s collection. This ambitious piece leverages digital multimedia technology to deliver an immersive experience that blurs the lines between music, light, shadow, and architecture.
The orchestra places a strong emphasis on collaborative efforts, believing that joint ventures can amplify reach and garner more attention.
Zhou emphasized the importance of works that deeply resonate and bridge cultures. The orchestra’s collaborative venture with the New York Philharmonic aptly exemplifies this. Their upcoming 90-minute oratorio, “Émigré,” tells the poignant tale of Jewish refugees escaping Nazi persecution and finding refuge in Shanghai. The masterpiece, set to debut on November 17, is penned by acclaimed composer Aaron Zigman and features lyrics by Pulitzer Prize-winner Mark Campbell and songwriter Brock Walsh.
Zhou reflects on the significance of such a collaboration, emphasizing the warm narrative of Jewish refugees integrating into Shanghai’s vibrant scene during World War II. Instead of a tale of mere salvation, it’s a story of mutual cultural enrichment, as evidenced by the influx of music genres like jazz, pop, and opera brought in by the refugees.
Yu Long, the orchestra’s esteemed artistic director, encapsulated the sentiment by stating, “In history’s ever-changing tides, societal shifts and human destinies are inevitable. Yet, humanity’s inherent goodness is a constant beacon, unsinkable amidst adversities.”
The performance, already generating anticipation, will star Ben Bliss, Arnold Livingston Geis, Shen Yang, Zhang Meigui, Andrew Dawn, Zhu Huiling, and Diana Newman. They are set to recreate the magic for US audiences with a premiere in New York.
READ MORE: