Vocal Ensembles in Chinese Folk-Patriotic Operas of the 21st Century

This article examines the role of vocal ensembles as important elements of the musical dramaturgy of Chinese operas of the early 21st century. Traditional Chinese operas included spoken dialogue, which was retained in the fi rst operas adopting the European tradition: the introduction and development of dramatic conflict occurred precisely in speech scenes. In operas of the second half of the 20th century, spoken dialogue diminished, but speech penetrated vocal ensembles, giving rise to a new type – vocal-speech ensembles. In the 21st century, Chinese opera increasingly adopted European models: vocal ensembles became established, and opera became truly Europeanised. The important role in dramaturgy previously played by speech scenes and vocal-speech ensembles is now fulfi lled by vocal ensembles and recitative-declamatory dialogues. They become important components of musical dramaturgy, carrying semantic weight in the development of the plot, which is characteristic of European opera. These features of Chinese operas are examined in this article using the national patriotic operas “Xi Shi” and “Visitors on the Icy Mountain” by Lei Lei, and “The Long March” by Yin Qing.