Stage Rage: Tosca Opens and We Chat with Director Giancarlo Del Monaco About Opera in China

Tosca opens tonight, and before we start taking these sorts of productions for granted, the Beijinger went behind the scenes to understand just how opera is developing in China today.

This isn’t the first production of Tosca here in Beijing, but it is the first time director Giancarlo del Monaco tries his hand at the NCPA. From talking to him, we gather that there’s a cultural gold rush of sorts taking place. The best in the global performing arts community are all fascinated, want their chance at debuting at the NCPA, want an opportunity to pop their heads into Beijing’s proverbial door and see what the heck is going on here.

As you can see, we’ve got a long way to go to catch up with the stage tradition in other cities, but even if we are the runt of the litter, we’re a hungry, aggressive, fast-moving little runt. Like if someone slipped Wilbur some speed and catapulted him from farm to farm to swallow as much pig slop as possible in between his buttermilk baths.

Apparently, inviting top directors like Giancarlo del Monaco (and Britain's Stephen Lawless, whom you'll hear from in our June issue of the Beijinger) to stage new exciting productions is all part of NCPA President Chen Ping's strategy.

Pardon the obvious (and hopefully not racist?) comparison, but when a man directs an opera rehearsal in black Armani jeans, a matching black t-shirt and black leather shoes, then proceeds to smoke a cigar during our interview, I think it’s hard not to see the gangster side of him.

Giancarlo del Monaco is practically opera royalty, having grown up under the tutelage of his father, Mario del Monaco, a world famous tenor. Now, he traverses the opera world known as the man who runs grueling high-energy rehearsals and demands perfection from his performers. He even storms the stage during dress rehearsals. And he's a firecracker interviewee:

Your rehearsal is very fun to watch.

Why?

[del Monaco fixes me with a stare. The tables have turned. Gulp.]

Oh, um … because you seem to connect well with your performers, and you have a lot of energy.

[He relaxes, takes a puff of his cigar. Seems to be formulating an answer. Thank God.]

You know a production is a mixed part of stage, ideas, geometries, and energy. And energy. Energy is very important because I have to give my energy to them, they have to take it, transform it into their own energy and give it to the public. I am like a battery. The car battery goes, “Rrrrrrrrr.” Goes back to the car and the car works.

We hear you don’t like opera?

I don’t like the word “opera,” which is from the Latin opus. The word opera is an old fashioned word. It’s from the 19th century. I like the German word: musiktheatre, which came after the second World War. It means theater with music. The difference is, in opera they are always standing going, “Oooohhhh!!” But the consequence of the opera is that it’s artificial. Everybody is in front singing, like they are making a recording. In musiktheatre, there is movement on the stage. They are thinking about movement, like a play, like Shakespeare.

What’s your background? How do you bring that to the stage?

My work is from a German school. The organization of the German school, with the fantasy of the Italian. I worked 38 years in Germany, but I am Italian. So those two things I try to transmit here: organization on stage - geometry, plus the warmth of the Latin soul. And if this arrives to the public, they have to understand. And if they don’t understand, that means I missed my work. But I don’t think so.

Have you seen Chinese opera, like Peking Opera? What do you think?

I’ve seen it on TV. It’s very traditional. You know when they move with the … like kung-fu. It’s completely different. I think the positive thing about the Chinese culture is they had time to develop themselves with their own tradition.

My father was a great admirer of Chinese culture. Because when he was in Japan, he didn’t like to fly on the plane. So he took the boat, from Italy, 6 weeks on the boat. He loved to stop in Hong Kong to buy antiques, and so, the house of my father was a Chinese house. My father had a salon completely Chinese, filled with fantastic things, paintings from the 1700s, even something from the Ming dynasty.

Will you be doing more productions here at the NCPA? Can you tell us about them?

I already have a contract for the future, yes, but this question you have to ask Mr. Chen Ping. I cannot say I do this and this for the future, because he is the one who tells the press.

Ok. People have been saying China is the future of opera and classical music. What do you think?

Chen Ping says we want to reach a high quality, which is why he wants me to come back for other productions. They’re very kind people, very gentle. The singers have a lot of discipline. I think we are at a beginning where the future can be very positive.

You've learned the phrase “zai lai yi ci” (“Do it again!”) well. Are you learning Chinese?

I’ve been reading a lot about the history of China. I think if I come next time I want to speak Chinese a little bit. When I go back to Spain, I want to take 2 hours of Chinese lessons a day for one year. So that when I come back I can speak pretty bad, but enough.

Judging by your tones, you've got a good start. We can't wait to hear more.

Tosca will be playing at the NCPA May 12-15. Get your tickets here.

Photos from musicweb-international.com and 123nonstop.com.