Peking Opera is a Chinese art form with a rich history spanning over hundreds of years. Drawing inspiration from diverse sources including the music and dance traditions of the Han Dynasty (206 BC-220 AD), the performing arts of the Tang Dynasty (618-907), the Southern Opera during the Song Dynasty (960-1279), and the Kunqu Opera in the Ming (1368-1644) and Qing (1616-1911) dynasties, it beautifully integrates elements from various forms of Chinese opera. This mix of influences shows how Peking Opera grew and became its own style of art. Unlike Western operas, Peking Opera employs a stylised, symbolic approach to storytelling, with distinct roles like Sheng, Dan, Jing, and Chou. 

Despite its cultural significance, the art form faces challenges in modern times, struggling to attract today’s audiences. Efforts to revitalise Peking Opera include reforms aimed at reflecting modern life and incorporating Western influences. While these initiatives have met with some success, declining audience numbers persist. Nevertheless, the government’s support and international interest in Peking Opera offer hope for its preservation. Ghaffar Pourazar, a Westerner trained in the art form, contributed to its global appeal as well. Recognised as UNESCO Intangible Cultural Heritage, Peking Opera continues to be a vital link to China’s rich cultural heritage.

As mentioned above, contemporary Chinese opera faces an uncertain future, losing favour with younger audiences probably because of an onslaught of modern media. However, The Midsummer’s Voice, a film by director Zhang Yudi, brings a fresh perspective on this age-old tradition, focusing on the experiences of young opera students coping with adolescence and vocal changes.

Centered around Sun Xiaolei (Bian Cheng), a student with aspirations of following in his grandfather’s revered footsteps in traditional opera, the film, in a very subtle way, depicts challenges of puberty-induced vocal shifts. Xiaolei’s journey is interwoven with his classmates’, including Shi Jiahui (Zhou Meijun), navigating sexual identity, and Xie Tianchi (Zhang Chi), questioning familial expectations. Despite being rivals for theatrical roles, they form an unwitting quasi-love triangle, bonded by their struggle to balance tradition with modern life. This conflict is portrayed in a disco scene where opera and pop music merge, reflecting the complexities of their daily lives.

Set against the backdrop of end-of-year recitals and the pressure to excel, the characters try to deal with complexities of modern life and tradition. The Midsummer’s Voice offers a poignant portrayal of youthful turmoil reminiscent of bittersweet summer holidays. Through its characters’ journeys, the film explores themes of identity, ambition, and the universal challenges in a rapidly changing world. 

In the film, the actors delivered exceptional performances, especially Bian Cheng, Zhou Meijun and Zhang Chi. Trained in the Peking Opera movement and borrowing the voices of professional singers, Bian, as well as the other actors, brought raw and genuine feelings to the screen.

Although the film was made on a shoestring budget, the cinematography was well-executed, capturing the heart of each scene with depth and detail. The costumes, inspired by styles from the Song, Yuan, and Qing dynasties, were particularly striking. Although rented for the purpose of the film, they were made with complex embroidery and vibrant colours, each traditional costume in the film presented stunning patterns and designs. 

Zhang Yudi’s coming-of-age film, The Midsummer’s Voice, is an interesting feature debut that demonstrates Zhang’s talent in both directing and screenwriting. The film itself offers a beautiful exploration of identity, ambition, and adolescence. Through The Midsummer’s Voice, Zhang contributes to the revitalisation of Peking Opera and its relevance in modern society, ensuring that this art form continues to thrive for generations to come.

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Written by Maggie Gogler

View of the Arts is an online publication that chiefly deals with films, music, and art, with an emphasis on the Asian entertainment industry. We are hoping our audience will grow with us as we begin to explore new platforms such as K-pop / K-music, and Asian music in general, and continue to dive into the talented and ever-growing scene of film, music, and arts, worldwide.