An Evening on the Banks of the Huangpu River
As summer gradually transitions to autumn, the symphony of cicadas lingers in the air, blending with the gentle breeze of the Huangpu River. The city lights dance on the water, and at the Shanghai 1862 Art Center, a breathtaking scene unfolds. The theater's walls are partially open, revealing flickering lights that reflect on the river as boats glide by. Against this backdrop, Bai Juyi's timeless poem, Song of the Pipa (琵琶行), comes to life in a performance of Kunqu Opera—a captivating blend of ancient verse and new-age creativity.
On the evening of September 7th, the neo-classical Kunqu Opera (昆曲) adaptation of Song of the Pipa premiered, immersing the audience in a poetic journey. The character of Bai Juyi, the poet himself, makes his appearance, embodying the lines of the poem, "The master dismounted, the guest was on the boat, wine was raised, but no music played." What follows is a two-hour performance where characters from Bai Juyi's verse—including the pipa-playing heroine, Qian Niang—grace the stage. The opera traverses through five acts: Splashing Wine, Parting Ways, Reunion, Blindness, and Lingering Echoes. Through these, the ups and downs of Qian Niang's life unfold, taking the audience on a journey from her youthful glory to her melancholic decline.
The iconic lines, "We are all lost souls, why must we have met before?" echo through the air, a poignant reminder of the shared human experience that transcends time.
The Origins of the Opera
Song of the Pipa has a rich history of its own, dating back to its debut in the year 2000. The playwright Wang Renjie wrote the script specifically for the celebrated Kunqu performer Liang Guyin, after ten years of collaboration. Acclaimed film director Huang Shuqin was invited to direct, and her vision for the opera was clear—she wanted to break away from the confines of a traditional theater. Instead, Huang Shuqin believed the opera should be performed in a natural setting, allowing the audience to immerse themselves in its poetic and artistic essence. The result? The opera's first-ever performance was held in the historic San Shan Guild Hall in Shanghai, where the ornate Kunqu melodies intertwined with the traditional setting, offering a fresh take on the ancient art form.
Fast forward 24 years, and the Shanghai Kunqu Troupe has revisited this masterpiece, breathing new life into its performance. Directed by renowned filmmaker Zheng Dasheng—son of the original director Huang Shuqin—the modern revival stays true to its poetic roots while embracing contemporary artistic flair. Zheng's wife, the esteemed Plum Blossom Award-winning actress Shen Yili, plays the role of Qian Niang, while fellow award winner Li An takes on the part of Bai Juyi.
In this updated version, the performance takes place in the 1862 Art Center, a former shipyard turned cultural hub. The venue offers an industrial aesthetic, contrasting sharply with the classical Kunqu performance but enhancing its modern reinterpretation. As the audience enters the theater, the view of the Huangpu River forms a picturesque backdrop, as if the ancient story is unfolding against the canvas of a traditional Chinese painting.
The New Kunqu Opera Experience
At the heart of this adaptation lies a desire to connect the emotional depth of Bai Juyi's original poem with the modern world. Director Zheng Dasheng believes that the themes of Song of the Pipa—loneliness, human connection, and the passage of time—resonate deeply with contemporary audiences. The creative team worked tirelessly to blend the old with the new, preserving the elegance of Kunqu Opera while introducing modern elements.
The production features an impressive cast of collaborators. Executive director Ni Guangjin, vocal designers Zhou Xuehua and Li Qi, and composer Dong Yingda—famous for his film scores—were instrumental in shaping the opera's sound. Set and lighting design were handled by Tan Hua, and costume designer Wang Haiting, known for her work in the documentary What Makes China (何以中国), contributed the wardrobe, seamlessly fusing historical and modern aesthetics.
The performance's structure was revamped using a montage technique, inviting the audience to jump in and out of the characters' lives. As a result, viewers experience the full spectrum of emotions tied to each phase of Qian Niang's journey. The use of the 1862 Art Center's unique space, combined with the minimalist set of just a table and two chairs—a hallmark of traditional Kunqu—creates a stage atmosphere that feels both timeless and current.
Perhaps the most striking aspect of the production is its fusion of music and visuals. The costumes are elegant yet modern, while the music, composed with both traditional and contemporary influences, adds a rich, dynamic layer to the experience. These elements, combined with the natural setting of the theater, create a performance that is as visually stunning as it is emotionally powerful.
Kunqu Opera has always been known for its delicate balance of grace and refinement, and in this production, those qualities shine brighter than ever. Yet, this revival also showcases a bold willingness to innovate, proving that classical art forms can evolve and remain relevant in the modern world.
In many ways, the latest adaptation of Song of the Pipa is a dialogue between past and present. With guidance from Liang Guyin, the original star of the 2000 production, the creative team has crafted an opera that feels fresh while paying homage to the art form's ancient traditions. The performance's finale is particularly moving, as all the actors take the stage to recite the 88 verses of Bai Juyi's poem, accompanied by new music composed for the production.
