By the end of the Ming dynasty, two princes of Emperor Shenzong fighting for the throne. They shook the foundation of the empire and exposed the explicit and covert power stuggles amongst royalties. The throne is at stake- should they follow heavenly laws or shold they fight for it unscruplously? Two brothers have become enemies because of the crown. How should the emperor father react.

A classic Anhui play in the repertoire of Wu Opera, mainly sung in the vocal styles of xipi, jinduzi and manduzi. The rustic and mellow charm of ancient Anhui plays is preserved in the melodies and singing styles.

Wu Opera is a major regional genre in the province of Zhejiang. It is popular in the catchment of Jinhua district, which is why locals call it Jinhua Opera. Wu Opera is a hybrid of six singing styles from different traditional genres: gaoqiang, kunqiang, luantan, huixi, tanhuang and shidiao. Wu Opera performers are all highly skilled in martial arts. As they are versatile in both civil and martial elements, their performances can demonstrate boldness and tenderness at the same time, the line between civil and martial repertoires is often crossed – civil sequences may be played with martial acts, and martial segments could be sung instead. Artistically, Wu Opera is distinctly colourful, vivacious, intense and rustic. Performers are particularly good at playing dancing and martial scenes, highlighting the power of movements and strong emotions. Zhejiang Wu Opera Research Centre performed at the Chinese Opera Festival in 2013. Their brilliant performances were overwhelmingly received by the audience. Returning to Hong Kong with great fame, distinguished Wu Opera performing artists Yang Xiayun, Lou Sheng, Wu Wenling, etc. will be performing the classics of the Wu Opera repertoires. The full-length play Mu Guiying is an elaborate production that features superior martial skills. Other excerpts are performed with the traditional techniques and martial postures of Wu Opera. In Wang Ying Suffers Three Beatings, there is the water drinking stunt; in Burning Zidu Alive, there are face-changing tricks such as wiping and blowing, etc. The Broken Bridge from The Legend of the White Snake is a representative performance of adding martial touches to a civil style. The audience will unquestionably be thrilled by the “snake steps” of the White Snake and the Green Snake, added with Xu Xian’s “eighteen falls”.

Excerpts：
The Death of Zhou Yu
The Incident at White Water Beach
Wang Ying Suffers Three Beatings
Stopping the Horse
The Eighteen Arhats Fighting with Wukong

The Chinese Artists Association of Hong Kong will bring about a complete revival of Cantonese Opera classics based on the librettos printed with ceramic types and videos of the 1966 performance that the Association staged more than half a century ago at the bamboo theatre at Kowloon City Sa Po Road to celebrate the birthday of the HKSAR. Based on popular folk legend, the Enlightenment of the Goddess of Mercy depicts the story of Princess Miu-sin, King Miu-zong’s daughter, attaining enlightenment and becoming Bodhisattva Guanyin. It will be followed by three traditional set pieces Grand Birthday Celebration at Mount Heung Fa, Blessing by the God of Fortune and Fairy Returns Her Son to the Mortal Father. Set pieces are perennial repertoires which have retained the earliest format of Cantonese Opera performance in lyrics, singing and performance routines. Grand Birthday Celebration at Mount Heung Fa is a traditional auspicious set piece with a large cast and amazing performance. It depicts the celebration of Guanyin’s birthday by the immortals and involves a number of ancient performance routines such as “fairy dance”, “dragon-subduing arhat pose”, “tiger-taming arhat pose” and “general-in-chief Wai To pose”. Apart from traditional stylized moves, there are also special fantasized parts like “peach-bursting” and “coins-scattering”. Another highlight is the rarely-seen acrobatic feat of “weaving” performed by over 30 martial actors in a variety of stylized fashions which is a great treat to the eyes. Gathering elite performers from Hong Kong including teachers and students from The Hong Kong Academy of Performing Arts, together with guest performers from Guangdong and Macao, this performance boasts of an excellent cast from different generations, recreate and pass on the classics.

Peking and Kunqu Operas are all about the art of the performer.

On stage, nothing can take the place of the performer’s skills and acting. The artistic merit of a real master will not fade with time, nor will it lose any of its brilliance from being something of pure simplicity.

The performance title meaning “Everlasting Glow of a Flawless Jade” is a metaphor to describe the exquisite art and skills of great artists in Chinese theatre, which have been hammered, seasoned and polished for generations to become as precious as an unblemished jade and as perpetual as mother nature. Through the great masters’ performance, we can appreciate the true essence of Chinese theatrical art. The present production featuring Li Yusheng, Tang Yuen-ha and Lu Yongchang is one such valuable opportunity.

This is a very rare collaboration. Tang Yuen-ha, Hong Kong’s very own Peking and Kunqu Opera artist, will team up with Peking Opera grandmaster Li Yusheng and iconic Kunqu Opera performing artist Lu Yongchang to perform with Shandong Peking Opera Theatre – one of the national key troupes of Peking Opera by the Ministry of Culture of China. They will be presenting a list of classic Peking and Kunqu Operas excerpts.

Li Yusheng is a celebrated wusheng (military male) and hongsheng (red-faced male) performer. His performance has already reached a stage of total freedom, and yet not a single movement is beyond the laws of art. His wusheng performance is characterized as “simple and beautiful, speedy and steady, brisk and graceful, gentle and powerful”. His acting in Guan Yu plays could bring out the boldness and vigour of the old general and touch the heart of the audience. In 1989, The Death of Yang Zaixing at River Xiaoshang, a play that he personally arranged and performed, was listed as a grand wusheng performance art model and an exemplary repertoire in China’s “Quintessential Peking Opera Series”.

Tang Yuen-ha is a hall-of-fame Peking Opera and Kunqu Opera art performer in Hong Kong. She is the only Hong Kong artist to have won the Plum Blossom Award for Chinese Theatre, the highest honour in the Mainland for theatre workers. Her performance is like a breath of fresh air, which is also authentic and eloquent. Tang is reputed as “the Pearl of Peking Opera and Kunqu Opera of Hong Kong”.

Lu Yongchang is a role model for laosheng (old man) in Kunqu Opera. His unrestrained performance always brings the character to life. He has unparalleled singing and reciting skills. He plays Chen Zuiliang in the master’s version of The Peony Pavilion.

This performance will be a classic amongst classics.

Excerpts: Fighting in the Melon Garden |(Peking Opera), Painting the Portrait and Bidding Farewell at the Grade from The Story of the Lute |(Kunqu Opera), The Defeat at Maicheng |(Peking Opera)

Peking and Kunqu Operas are all about the art of the performer.

On stage, nothing can take the place of the performer’s skills and acting. The artistic merit of a real master will not fade with time, nor will it lose any of its brilliance from being something of pure simplicity.

The performance title meaning “Everlasting Glow of a Flawless Jade” is a metaphor to describe the exquisite art and skills of great artists in Chinese theatre, which have been hammered, seasoned and polished for generations to become as precious as an unblemished jade and as perpetual as mother nature. Through the great masters’ performance, we can appreciate the true essence of Chinese theatrical art. The present production featuring Li Yusheng, Tang Yuen-ha and Lu Yongchang is one such valuable opportunity.

This is a very rare collaboration. Tang Yuen-ha, Hong Kong’s very own Peking and Kunqu Opera artist, will team up with Peking Opera grandmaster Li Yusheng and iconic Kunqu Opera performing artist Lu Yongchang to perform with Shandong Peking Opera Theatre – one of the national key troupes of Peking Opera by the Ministry of Culture of China. They will be presenting a list of classic Peking and Kunqu Operas excerpts.

Li Yusheng is a celebrated wusheng (military male) and hongsheng (red-faced male) performer. His performance has already reached a stage of total freedom, and yet not a single movement is beyond the laws of art. His wusheng performance is characterized as “simple and beautiful, speedy and steady, brisk and graceful, gentle and powerful”. His acting in Guan Yu plays could bring out the boldness and vigour of the old general and touch the heart of the audience. In 1989, The Death of Yang Zaixing at River Xiaoshang, a play that he personally arranged and performed, was listed as a grand wusheng performance art model and an exemplary repertoire in China’s “Quintessential Peking Opera Series”.

Tang Yuen-ha is a hall-of-fame Peking Opera and Kunqu Opera art performer in Hong Kong. She is the only Hong Kong artist to have won the Plum Blossom Award for Chinese Theatre, the highest honour in the Mainland for theatre workers. Her performance is like a breath of fresh air, which is also authentic and eloquent. Tang is reputed as “the Pearl of Peking Opera and Kunqu Opera of Hong Kong”.

Lu Yongchang is a role model for laosheng (old man) in Kunqu Opera. His unrestrained performance always brings the character to life. He has unparalleled singing and reciting skills. He plays Chen Zuiliang in the master’s version of The Peony Pavilion.

This performance will be a classic amongst classics.

Excerpts: The Crossroads |(Peking Opera), The Teahouse from The Story of the Iron Bow |(Peking Opera), An Investigation in Disguise from Fifteen Strings of Coins |(Kunqu Opera), Covering the Well from The Battle of Changban Po |(Peking Opera)

The White Silk Gown is a new edition Kunqu Opera curated by world-renowned author Pai Hsien-yung and headlined by the winner of Plum Blossom Award for Chinese Theatre Yu Jiulin. Since its debut in 2016, the production has been highly anticipated by the audience. Presented on the traditional Kunqu stage, the original Qing dynasty play of The White Silk Gown was not frequently played. The original version did not come with a particularly impressive plotline or libretti. Reading the Legal Complaint is the most well-known excerpt. The creative team and cast of Suzhou Kunqu Opera Theatre of Jiangsu enhance the portrayal of characters and the representation of human nature. The script of new version has developed greater depth in content, and the production has placed much more attention on aesthetics. The strong bond between the father and son in the play is connected by conflicts and clashes – these traits are usually associated with those in a Greek tragedy or a Shakespearean play. Tragic elements such as interwoven fates, dilemmas between family and jurisprudence and the like are vividly depicted. Constructed with distinguished acting, a libretto with many layers and a highly captivating concept, the production will strike a chord in the heart of its audience. In the performance of classic excerpts, the excellent cast of the troupe will be putting their poignant acting skills into full play. The audience will be following the bumpy ride of the love story between a scholar in dire strait and a wealthy young woman in The Story of the Hairpin and the Bracelet. The lofty spirit to uphold ethical and moral integrity is depicted in The Story of Heroes. The true love between a couple who weather through difficult times are portrayed in The Story of Horse Selling and will be performed by the winners of Plum Blossom Award for Chinese Theatre Shen Fengying and Zhou Xuefeng.

The White Silk Gown is a new edition Kunqu Opera curated by world-renowned author Pai Hsien-yung and headlined by the winner of Plum Blossom Award for Chinese Theatre Yu Jiulin. Since its debut in 2016, the production has been highly anticipated by the audience. Presented on the traditional Kunqu stage, the original Qing dynasty play of The White Silk Gown was not frequently played. The original version did not come with a particularly impressive plotline or libretti. Reading the Legal Complaint is the most well-known excerpt. The creative team and cast of Suzhou Kunqu Opera Theatre of Jiangsu enhance the portrayal of characters and the representation of human nature. The script of new version has developed greater depth in content, and the production has placed much more attention on aesthetics. The strong bond between the father and son in the play is connected by conflicts and clashes – these traits are usually associated with those in a Greek tragedy or a Shakespearean play. Tragic elements such as interwoven fates, dilemmas between family and jurisprudence and the like are vividly depicted. Constructed with distinguished acting, a libretto with many layers and a highly captivating concept, the production will strike a chord in the heart of its audience. In the performance of classic excerpts, the excellent cast of the troupe will be putting their poignant acting skills into full play. The audience will be following the bumpy ride of the love story between a scholar in dire strait and a wealthy young woman in The Story of the Hairpin and the Bracelet. The lofty spirit to uphold ethical and moral integrity is depicted in The Story of Heroes. The true love between a couple who weather through difficult times are portrayed in The Story of Horse Selling and will be performed by the winners of Plum Blossom Award for Chinese Theatre Shen Fengying and Zhou Xuefeng.

The White Silk Gown is a new edition Kunqu Opera curated by world-renowned author Pai Hsien-yung and headlined by the winner of Plum Blossom Award for Chinese Theatre Yu Jiulin. Since its debut in 2016, the production has been highly anticipated by the audience. Presented on the traditional Kunqu stage, the original Qing dynasty play of The White Silk Gown was not frequently played. The original version did not come with a particularly impressive plotline or libretti. Reading the Legal Complaint is the most well-known excerpt. The creative team and cast of Suzhou Kunqu Opera Theatre of Jiangsu enhance the portrayal of characters and the representation of human nature. The script of new version has developed greater depth in content, and the production has placed much more attention on aesthetics. The strong bond between the father and son in the play is connected by conflicts and clashes – these traits are usually associated with those in a Greek tragedy or a Shakespearean play. Tragic elements such as interwoven fates, dilemmas between family and jurisprudence and the like are vividly depicted. Constructed with distinguished acting, a libretto with many layers and a highly captivating concept, the production will strike a chord in the heart of its audience. In the performance of classic excerpts, the excellent cast of the troupe will be putting their poignant acting skills into full play. The audience will be following the bumpy ride of the love story between a scholar in dire strait and a wealthy young woman in The Story of the Hairpin and the Bracelet. The lofty spirit to uphold ethical and moral integrity is depicted in The Story of Heroes. The true love between a couple who weather through difficult times are portrayed in The Story of Horse Selling and will be performed by the winners of Plum Blossom Award for Chinese Theatre Shen Fengying and Zhou Xuefeng.

The regional operas of Shaanxi province are characterized by their diverse genres. Amongst them, Qinqiang, Wanwanqiang and Meihu Operas were included in the National List of Intangible Cultural Heritage. Qinqiang Opera is the origin of the bangzi vocal style. It is widely popular in Shaanxi and Gansu areas. The singing style is resounding, powerful and intense, while the performances are full of energy. Wanwanqiang Opera, which literally translates as “bowl singing”, is named after the copper bowls used as the main accompanying percussion. The romantic and delicate music of this opera genre features elegant lyrics. The music of Meihu Opera belongs to the musical system of set tunes – the melodies are beautiful and the acts are performed in a lively style. Guanzhongdaoqing Opera is also known as Chang’an-daoqing. It was originally sung at a seated round table, performed in a temporary stage in a plaza or as shadow puppet shows. The music and singing style is mainly based on a variation of tempos. The winners of Plum Blossom Award for Chinese Theatre and two-time winners of the Award at Shaanxi Traditional Opera Research Institute will be presenting the spectacular classic excerpts of these four ancient genres. The Xi’an Yisu Society will also be invited to showcase representative works of Qinqiang Opera. This century-old institution comprises a long list of renowned artists and it is one of the oldest surviving art troupes in the Mainland, having created and performed more than 700 plays in its repertoire since its establishment. The theatre premises of the Society has also been listed as an “Intangible Cultural Heritage Unit Preserved at the National Level”. Romance in the Closet and Watching the Maiden presented in this festival were the first productions staged by Xi’an Yisu Society in 1915 – they are timeless plays that have been delighting the audience for more than 100 years.
Qinqiang Opera Excerpts:Little Banquet, Romance in the Closet, Black Tiger on the Counter, A Lesson from the Mother, Watching the Maiden, On Broken Bridge