The 7th-century Buddhist monk Xuanzang trekked for 17 years and thousands of miles, traversing empires on foot and on horseback, to complete a self-directed religious and cultural fact-finding mission. Traveling along the fabled Silk Road from China to India and back again, he risked his life and freedom to gain knowledge that, in turn, he brought back to share with his homeland.
Xuanzang’s journey and written record of bridging East and West made him a national hero, a bold historical figure who’s been depicted in art, music, fiction, and film. In 2017, the Chinese National Traditional Orchestra combined those disparate forms to interpret his story as a concert drama, Xuanzang’s Pilgrimage. It makes its U.S. premiere at the Kennedy Center next weekend.
Presented by the China Arts and Entertainment Group, a state-owned entertainment company, Image China: Xuanzang’s Pilgrimage continues CAEG’s annual ventures to D.C. bearing the gift of a large-scale, live production that “introduces traditional and contemporary Chinese performing arts to audiences around the world.”
For the grand, multimedia production that includes over 100 actors, musicians, dancers, and performers, the Chinese National Traditional Orchestra enlisted acclaimed young talent Jiang Ying to compose the music, write the libretto, and direct. But before Jiang managed that massive undertaking, she first hit the road to follow in Xuanzang’s footsteps along his epic journey.
Xuanzang
“Absolutely, I had to see and experience first-hand the places along the Silk Road,” says Jiang. “I wanted to be able to effectively portray the famous story, and to help bring the audience along through the places Xuanzang traveled — the terrain, the mountains, the difficult journey for Xuanzang, the special places and people living long ago.”
The production depicts those various locales through video projection, with the orchestra embodying a multitude of regions by playing traditional instruments specific to each culture. Led by Ding Xiaokui, the CNTO’s principal flute soloist, who acts and performs the starring role of Xuanzang, the show represents an extraordinary achievement in multitasking.
“As the world’s first concert in drama, it blurs boundaries and connects acting with playing music instruments,” says Jiang. “Integrating instrumental music performances with the drama, together with spectacular multi-media features, elaborate costumes, lighting, staging, and impeccable visual effects, we’re delighted to showcase the diversity, inclusiveness, history and rich heritage of Chinese traditional music.”
Image China: Xuanzang’s Pilgrimage runs January 25 to 27, at Kennedy Center Eisenhower Theater. Tickets are $70 to $200. Call 202-467-4600, or visitkennedy-center.org.
President Donald Trump and First Lady Melania Trump were upstaged by a gaggle of drag queens at the Kennedy Center Opera House during a performance of the French Revolution-set hit musical Les Misérables on Wednesday, June 11.
The couple’s appearance -- Trump’s first of the term at the historic venue -- coincided with a special fundraising night aimed at supporting the reportedly financially struggling arts institution.
According to the The Washington Post, ticket sales have slumped following Trump’s takeover of the storied institution, long considered a cornerstone of D.C.’s theater scene. Subscriptions for the upcoming season are down by $1.6 million -- roughly 36% -- compared to last year.
If there is one opera lost or won by its chorus and characters, it's George Gershwin's Porgy and Bess. In this perfect storm of a story, it's all about the tight-knit fishing community that cradles, carries, and sometimes condemns its own. It's only if you believe in their hardscrabble lives and insistence on dignity that you feel what it means to lose them. In this respect, the Washington National Opera's Porgy and Bess absolutely nails it.
Of course, it starts with the vision of director Francesca Zambello and her talent for bringing intimacy to grand themes. Here, those themes run the gamut of ill-fated love: Porgy's tragic devotion, Bess' addiction to the dangerous Crown, and the reality that no union can outrun death.
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