Opera For The Dead

We all celebrate death and mourning in diverse ways in different countries, but there is one over-riding constant - grief.

Opera For The Dead gives us a fascinating glimpse into the Chinese mourning rites presented as a contemporary Chinese cyber-opera that reimagines the connection between life and death. 

It focusses on the contrast of personal grief versus what we show to others. Based on stories gathered by the creative team, it is their “spirit offering of music and art for those whom we have loved and lost.”

The background stories include - the loss of a father (pain), the illusion of the fleeting physical body, the consecration of the body, and the hopes for meeting in the afterlife (the future).

These stories are played out in a dimly lit artform performance combining live musicians and singers with electronic processing, mobile stages, ambisonic sound, and 3D animation.

Monica Lim & Mindy Meng Wang’s concept & composition changes the way we experience theatre. The only seats are a small number of wooden boxes around the periphery of the performing area, leaving the main area to ‘wander’ through the performance, dominated by   set and lighting designer Jenny Hector’s moving mini stages that contain the performers.

These mini stages are manoeuvred by stagehands and are enclosed by beaded curtains that can be pulled aside when necessary, but when closed also become projection ‘screens’ that also allow a glimpse of the performers inside. There are also screens behind the performers with animations.

Particularly prominent are a number of speaker shells, suspended from the ceiling, containing oranges and beads (symbolising good fortune). On entering the performance space these speakers are ‘live’, pumping out a drone that vibrates the oranges and beads. This continues intermittently throughout the performance creating a feeling of mystery and reverence.

Add to the already impressive experience, the sound & video system design (Nick Roux), and Rel Pham’s animation, and you have another world that the audience can move through and view the performers and animations from all angles.

Opera for the Dead features the performances of Yu Tien Lin (vocals), Alexander Meagher

(percussion), Nils Hobiger (cello), Monica Lim (electronics), Mindy Meng Wang (guzheng), Nicky Tsz Lung Li & Kunyi Queenie Wu (wu chang). All these performers are outstanding in their fields and have their moment to ‘shine.’

Lin’s vocals are a standout. Stunningly costumed by Leonas Panjaitan, Lin has a voice that ranges from rich baritone to countertenor or male alto, all with consummate ease. In a Chinese headdress that illuminates he stands motionless only slowly moving to show grace or extreme grief. It is a ‘tour de force’ performance that will live in the memory of this reviewer.

Equally impressive are Hobiger’s cello solo with its forceful entries, Wangs’ ethereal guzheng and Meagher’s extremely physical drum solo.

There are not enough superlatives for the performing and technical ensemble who can create a modern world of Chinese opera that westerners can appreciate (even though the ‘lyrics’ are Mandarin). It is 50 minutes of sheer wonder, the music, the atmosphere, the dedication of the performers and the experience of an art form that is unique in theatre.

Opera for the Dead is an aural and visual reminder that our bodies are transient, but our spirits live on. It is an unforgettable experience, brilliantly performed. Highly recommended!

Barry Hill OAM

Photo Credit Michael Pham