Conductor sets the tone for European success
Maestro Xu Zhong, president of the Shanghai Opera House, became one of the first Chinese conductors to perform in Europe in the wake of the pandemic when he wielded the baton for the Orchestre de Paris at the La Philharmonie de Paris in France on March 29 and 30.
"This is a long-awaited reunion for us as well as music lovers in France and Europe," says Anne-Sophie Brandalise, director of the Orchestre de Paris.
The concert program consisted of Dvorak's Symphony No 9, Mozart's Concerto No 10 for two pianos, which featured Chinese pianist Wan Jieni and French pianist Nathalia Milstein, and The Five Elements by Chinese composer Chen Qigang. This was the second time Xu conducted the French orchestra. In 2019, Xu's conducting of compositions by Ravel and Rachmaninoff at the La Philharmonie de Paris earned a 10-minute ovation from the audience.
One of the most celebrated orchestras in the world, Orchestre de Paris has a history of almost 200 years and is recognized for its exquisite interpretation of music, Xu told China Daily in a telephone interview after the first concert.
A former student of the Paris Conservatory, Xu found himself so comfortable among the musicians during the rehearsals for the two musical performances that he felt as if they "could resonate at the same frequency".
According to the ancient Chinese classic Yijing (I Ching), or the Book of Changes, these five elements constitute the universe: metal, wood, water, fire and earth. In 1998, Chen showcased the five elements in a suite comprising five two-minute movements.
The piece has since been recognized as one of the most prominent contemporary compositions related to ancient Chinese philosophy.
Xu says he had listened to a previous recording of The Five Elements and felt that the beginning for the movement of the fire segment was too loud, recalling that Chen had written in the foreword for the music score that the fire, which represents life, should be "warm, but not aggressive".
During the rehearsal, musicians of the wind segment also suggested that they should play the part about the emergence of the fire like "a spark that lights up in the dark", and Xu immediately loved the idea.
These discussions ensured that the orchestra was able to create "a perfect rendering of Chen's iconic piece about Chinese philosophy", says Xu.
Apart from conducting the two concerts in Paris, Xu also helped facilitate collaboration between the Shanghai Opera House and its European counterparts during his trip to Europe.
Among the collaboration is a potential joint production of Madame Butterfly with the United Kingdom's Royal Opera House that would be performed next year, to commemorate the 100th anniversary of the death of Giacomo Puccini (1858-1924).
Since becoming the president of the Shanghai Opera House in 2016, Xu has overseen many partnership deals, including one with the Royal Opera House. Because of this partnership, the Shanghai Opera House has managed to present original Chinese opera productions such as Thunderstorm in London over the past few years. The Shanghai entity also created a production of Falstaff, directed by Harry Fehr, as part of the Royal Opera's Young Artists' program in 2016.
Leading singers of the Shanghai Opera House, such as Han Peng, Xu Xiaoying, and Song Qian, all benefited from the program.
"I believe the new Madame Butterfly collaboration will further our communication even more," says Xu.
Later this year, the Shanghai Opera House will present the joint production of Lohengrin with the Bayerische Staatsoper from Germany. There are also plans for the opera house's new dance theater production The Ninth Year of Yonghe to go on tour in Europe.
"While showcasing foreign productions in China is important, we also believe that it's equally important to have Chinese artists and artworks featured in the global art scene as we are capable of presenting quality art that addresses issues of common interest for all human beings while retaining unique expressions of Chinese culture," says Xu.
