Giacomo Puccini’s final opera is the tale of a Chinese ice princess melted by an implacable love. Turandot, channeling the spirit of a violated ancestress, sets suitors three unanswerable riddles to be answered on pain of death.
That He Hui chose to open her concert, part of a 20th career anniversary tour of China, with Adriana Lecouvreur’s first act aria from Francesco Cilèa’s eponymous opera says everything one needs to know about this Chinese soprano’s attitude towards her art.
Opera travels well. Its stories are the stories of our collective humanity—love, loss, revenge, strife, rebellion, rejuvenation, absurdity, tragedy—and its archetypes not only define cultures but also connect them. In many respects, we can no longer speak in essentializing ways about Western opera or Chinese opera, but rather must address the world of opera and global operatic voices.
Hong Kong soprano Louise Kwong recently completed a run of two performances as the lead in Giacomo Puccini’s La Bohème at the Opera di Roma, marking her debut with one of Italy’s leading companies.
Arguably the most successful Western opera singer to come out of China, soprano He Hui is known for her roles in Madama Butterfly, Tosca and Aida.
A selection of photos from Musica Viva’s “La Bohème”, December 2017.
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.