Tan Dun - Tea, A Mirror of Soul / Lundy, Fu, Gillet, Richardson, Liang, NHK Symphony Orchestra, Tokyo Opera [DVD]

I'm a huge fan of Tan Dun, but rarely listen to opera. Here, I can discuss the music itself and the performance of the music but not so much the vocal performances—except to say that the libretto (by Xu Ying) is terse and (to me) surreal. This opera is quite different (musically, at least) from two others by Tan Dun: “Ghost Opera” (by Kronos Quartet with Wu Man on pipa) and the gorgeous “Bitter Love (selections from Peony Pavilion)” (featuring the wonderful soprano Ying Huang).The music performances of the "Tea, A Mirror of Soul" and Tan Dun's score are remarkable and stunningly rendered. The use of water and other materials for percussion and ambient sounds makes me think of two other exquisite pieces by Tan Dun: “Water Concerto” and “Paper Concerto,” both of which are wonders to watch. The stage setting for "Tea" strikes me as aesthetically minimalistic, while the movements of the performers suggest rather than act out the story's narrative. In the end, you don't have to love opera to enjoy watching this two-hour performance, but it will certainly help. Although the opera is sung in English, the subtitles are essential to following the story. On second viewing, one can ignore the subtitles and simply enjoy the sounds and the spectacle.

By now, I have seen all of the three available Tan Dun Opera recordings. I have also read positive and negattive reviews. I am firmly on the side of the positive. Tan Dun's true genious lays in uniting totally different operatic traditions. Tea is both visually and aurally gorgeous. The more I get of Nancy Allen Lundy, the more I want. Alas, her only other DVD is of an Italian opera I do not care for. Dun's use of "paper music" is astounding. This is probably the most expensive DVD in my opera collection, but worth every penny!

Very few musical experiences as novel and as ethereal as Tea are available on DVD. The staging is graceful; the sound palette of European, Chinese, and "natural" instruments is well integrated and beautifully appropriate; even Tan Dun himself, as conductor, is a visual asset. This is not easily described; you'll have to take a risk. (Caveat: if your taste requires drama and bravura, stick to Verdi.)

Excellent production and singing. Hope it becomes standard repertory.

slow but wonderful

First Opera I ever saw (checked it out of a library)...I'm hooked! The blending of Western Operatic style with Chinese instrumentation, percussion, and theme was excellent -- they even throw in a bit of the pentatonic scale while singing in Western style...i.e., alternating between two notes, one whole step apart at the end of a phrase, mimicking a Chinese instrument. So happy to find this on here. Thanks for the great introduction to Opera.

What a beautiful, strange new opera! This is a hall opera since it was commissioned not by an opera house but by a hall. So in addition to the stage, the orchestra also plays a visible role in the opera. Even the pages of the score are part of the music making. In addition on stage three women play water and paper, as well as a chorus who plays paper and stone. Tea is a love story about a Japanese prince who loves a Chinese princess. It is a strange plot revolving around the book of Tea. In seeking this book the princess dies and the prince retreats to a monastery. In spite of the oriental deistance Tea is quite accessible. It is sung in English by an international cast and conducted by the composer. Anyone interested in modern opera should check out this totally unique work. Its beauty will haunt you long afterwards.

Man muss kein ausgemachter Fan zeitgenössischer Oper sein, um doch am Ende dieser DVD wie verzaubert da zu sitzen. Die Geschichte ist wohl nur aus dem asiatischen Kulturkreis stammenden Hörern bis ins letzte nachvollziehbar - sie fordert - doch ist es vor allem die Musik und der Gesang die einen auf eine kurzweilige zweistündige Reise mitnehmen. Die Musk nimmt gefangen - vor allem im zweiten Akt erreicht sie eine Zartheit, einen Zauber, den ich kaum in Worte zu kleiden vermag. Dabei wird einmal mehr deutlich, wie spannend die Verwendung von Wasserschalen, Steinen, Keramikgefäßen und Papier in der Musik sein kann, ja, wie diese ungewöhnlichen "Instrumente" das Zerbrechliche in der ganzen Handlung unterstreichen. Die drei dafür gesondert agierenden Perkussionistinnen leisten an diesem Abend außerordentliches.Gesanglich und darstellerisch bewegen sich alle Akteure auf höchstem Level - für mich ist aber Nancy Allan Lundy die herrausragendste Interpretin an diesem Abend. Ihre Darstellung und ihr Gesang sind einfach fesselnd und intensiv.Die Regie ist dem asiatischen und der dem Zen nahestehenden Handlung angemessen schlicht. Die Kostüme - nun ja. Die Kameraführung ist für mich das einzige Manko - sie ist gut, keine Frage, aber gerade bei Tan Duns Musik ist es gerade in den Passagen ohne Gesang spannend, das Handeln der Perkussionisten zu beobachten. Das fällt hier fast ganz fort.Der geneigte Leser wird gemerkt haben, dass ich mich mit einer rein sachlichen Kritik schwer tue - das überlasse ich andern - Musik ist für mich dann gut, wenn sie mich im Inneren erreichen kann. Da hat Tan Dun wieder mal einen Volltreffer gelandet - als Empfehlung sei noch auf "The First Emperor" verwiesen und auch auf "Marco Polo".