Although China’s centuries-long demand for silver was one of the catalysts for the birth of globalization, silver products were also an important Chinese export. So-called “Chinese export silver” is the subject of a current exhibition at the Hong Kong Maritime Museum.
If George Psalmanazar sounds like a made-up name, that’s because it was. Psalmanazar, whose real name seems lost to history, was a turn of 18th-century Frenchman who claimed, with no small success, to be first native of “Formosa” (ahem) to visit Europe.
This special exhibition at the Hong Kong Museum of History makes considerable use of audiovisuals, especially video, which have the dual advantage of not requiring insurance and holding the interest better than, say, incomplete pots which, however interesting, can also be somewhat dry.
Rather than mounting a second production, Hong Kong’s newest opera company, “More than Musical”, decided to reprise La Traviata, first shown here in June. This was probably a wise decision, artistically and logistically; after all, due to the deliberately small size of the spaces that the company uses for intimacy, only a few hundred people—fewer in total than fit in even one of Hong Kong’s smaller traditional venues—saw it last time. The performances themselves benefited from what was in effect a longer run of six, rather than just three, outings.
Musica Viva’s current production of Giacomo Puccini’s La Bohème is a vivid justification for Hong Kong’s support of two opera companies. Different strategies yield different outcomes, to the great advantage of Hong Kong’s cultural scene. Musica Viva’s use of, in general, younger singers (“young” in opera being a relative term) and Director-General Kingman Lo’s focus on ensemble singing, lead to performances that are accessible and immediate.
At the British Council in Hong Kong on Friday, the UK literary quarterly Wasafiri launched an issue dedicated to writing from the former British colony.
This November in New York has featured three different versions of the Madame Butterfly story on stage: the original at the Metropolitan Opera, a revival of the David Henry Hwang play M. Butterfly and a revival of the musical Miss Saigon. Of these, I managed Hwang and Puccini back-to-back.