Tan Dun's "Tea' by the Opera Company (2nd review)

I wouldn't go out of my way to see Tan Dun's Tea: A Mirror of the Soul for its story. But its music is tantalizing and provocative, so I was pleased to see it in Philadelphia after being present at the opera's American premiere at Santa Fe in 2007.

This time I tried, really tried, to get into the story. The narrative appeared clearer at this second viewing, partly because Dun has re-written (and tightened) some of the opening scene, and partly due to Amon Miyamoto's sharp stage direction.

Nevertheless, the tale remains episodic and undramatic. This is particularly frustrating for me because I spend as much time attending stage dramas as musical events, and I like to focus on the words in operas as much as the music.

The libretto for Tea, which Tan Dun co-wrote with Xu Ying, is full of metaphors while the direct meaning of the lines is slighted. The characters search for a rare Book of Tea that will reveal its history and the secrets of life. Therefore we expect to learn more than we do about tea preparation, and the cultures of Japan versus China.

Surface allegories

We are told repeatedly that the growing of tea is hard, the harvesting of it is even harder, and the savoring of it is the hardest of all. In other words, the appreciation of tea, like life, is difficult.

But the allegory goes no deeper. The rivalry between a brother and a suitor to win the attention of a woman is never adequately tied to the tea imagery. The incestuous attraction is tantalizing but not sufficiently explored.

I continue to enjoy this opera mostly for its music. The composer incorporates the sounds of water, wind, fire and earthenware because Tan believes they're a necessary part of the aesthetic of tea, and this provides the opera's best moments. Water is poured into teapots and dripped into cups, while paper pages from the Book of Tea are rustled and ripped and tuned ceramic pots are banged. This rhythmic splashing of water, tearing of paper and clanging of bowls by percussionists onstage is exciting.

Puccini? Where?

The composer says he was inspired by ancient Japanese and Tibetan chants, by classical Chinese opera and by Puccini. I don't hear much Puccini in Tea, nor should you expect anything like it; just enjoy the score's unusual beauties. For example, Oriental melodies rise and fall, with the climactic vocal notes usually occurring in the middle of musical phrases, followed by descending ornamentation. Asian instruments are added to a modern orchestra and produce some exotic sounds. Tan Dun conducted the first two performances in this engagement in what was clearly a definitive interpretation.

Haijing Fu is impressive as the Japanese monk who narrates the story, and Roger Honeywell effectively proclaims the high tessitura of the Prince's role. Best of all is the American soprano Kelly Kaduce as Lan, the Chinese princess.♦


To read another review by Jim Rutter, click here.
To read another review by Lesley Valdes, click here.