Far more easily accessible for Westerners than the Northern Kunqu Opera Theatre’s The Peony Pavilion was the delightful The Jade Hairpin, which in some ways, with its beautiful girls (the novice nuns are glittering, elegant and exquisite), mischievous, plucky, caring servants, scheming and plotting elders and young lovers, was similar to Commedia dell’Arte.
As in The Peony Pavilion there were no huge sets, just the two curtains with minimal props and the orchestra hidden in the wings; however unlike the previous Peking Opera, this production did not boast showy acrobatics. Instead, it concentrated far more on the characterisation of a pair of young thwarted lovers, having much fun with their flirting and. Again, there were some incredibly stunning costumes (with numerous changes for our leading lady), exquisite makeup and the ritualised, stylised gestures common to the art form.
Wei Chunrong has much fun as the (at least at first) outwardly prim and proper, demure and correct novice nun, Chen Miaochang. She seems to be happy with her lot, but her true feelings are revealed in a poem, which is stolen by Pan Bizheng (Shao Zheng), our hero, a failed scholar. She is indeed exquisite, as Pan says, a dewy goddess with huge, sparkling, expressive eyes. She can also be determined, kittenish and coy – with hidden claws.
Pan Bizheng is excellently played by Shao Zheng, a role that is bigger and possibly more challenging than that of Liu Mengmei in The Peony Pavilion. In both operas Zheng presents as a terribly handsome, elegant scholar. Here he has a couple of extended monologues/arias which are handled superbly, and he is terrific in his partnering in the duet scenes with Wei Chunrong. The zither flirtation scene is particularly charming.
Pan’s forceful aunt, the scheming Abbess, worried about the nunnery’s’ reputation once word leaks out about Pan Bizheng and Chen Miaochang’s liaison, was excellently portrayed by Bai Ziaojun. Yes, she is concerned for both her nephew and the novice in her charge but also feels that proprieties must be observed.
Pan Bizheng’s servant /valet, a sort of Leporello or Figaro figure, was terrifically played by Ma Baowang in blue. Quick witted, teasing and mischievous, he is also concerned for his master.
Much use is made of tiny subtle gestures – the touch of a finger, the crossing and enfolding of sleeves – and some wonderful use of mime features in the climactic boat scenes towards the end of the opera, where the parted lovers struggle to meet, exchange tokens (one of which is the hairpin of the title) and part sadly.
Will Pan Bizheng and Chen Miaochang be reunited? Will Pan Bizheng pass the Imperial exams and return triumphant? You will have to see the full opera to find out.
If music be the food of love, play on…
Rating: 4 stars out of 5
The Jade Hairpin
Northern Kunqu Opera Theatre
Sydney Opera House
25 – 26 January
Sydney Festival 2013
www.sydneyfestival.org.au
5 – 27 January
