9. Peking Opera: The Fourth Son Visits His Mother: At the Palace

1. Origin of the Work

Why is "At the Palace" regarded as “the most famous duet in Peking Opera”?

This scene is one of the great masterpieces of the traditional Peking Opera repertoire, renowned for its vocal demands and emotional depth.
It is inspired by the historical novel The Generals of the Yang Family, though the operatic adaptation departs significantly from the original narrative. In the novel, Yang Yanhui (the Fourth Son) voluntarily goes to the Liao territory to prepare a military counteroffensive. The opera, by contrast, reshapes the story to foreground human relationships—between mother and son, husband and wife, brothers, and in-laws.

Historical records show that the piece was already performed during the Qing dynasty in the early 19th century. It was interpreted by many great masters, including Yu Sansheng, Tan Xinpei, Mei Lanfang, Ma Lianliang, and Zhang Junqiu, giving rise to multiple stylistic traditions.

Although set against the backdrop of the wars between the Song and the Liao, the opera is not about military strategy or political victory. Instead, it explores loyalty, filial piety, marital love, and the painful tension between private duty and public allegiance.

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2. Story and Plot

A secret night visit—between marital love and national duty

Yang Yanhui, the fourth son of the famed general Yang Jiye, is captured during the Battle of Jinshatan. To survive, he conceals his true identity and assumes the name Mu Yi. Valued for his talent and character, he is chosen as a son-in-law by the Liao Empress Dowager and marries Princess Tiejing. Fifteen years pass in exile, far from his homeland.

One day, Yang Yanhui learns that his mother, She Taijun, is personally leading the Song army to the Tianmen frontier. Overwhelmed by longing, he resolves to visit her in secret. After a long inner struggle, he finally reveals his true identity to his wife and asks for her help in obtaining an imperial pass.

Though shocked, Princess Tiejing is moved by her husband’s sincerity. After he swears to return immediately after seeing his mother, she risks her life to steal the pass from the Empress Dowager.

With the document, Yang Yanhui crosses the border at night and reunites with his mother, his brothers, and his first wife. The reunion is deeply moving—but brief. True to his promise, he leaves before dawn, despite desperate pleas.

When the truth comes to light, the Empress Dowager orders his execution. Princess Tiejing, ready to die to save him, intervenes and ultimately secures his pardon.

The At the Palace scene forms the emotional core of the opera. Through finely crafted vocal duets and precise psychological portrayal, it has become a benchmark of excellence for sheng and dan roles. Famous arias such as “As I listen, sweat covers my whole body” and “The love between husband and wife is not without depth” are beloved classics among opera connoisseurs.

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3. Costumes and Props

When a costume reveals identity and inner conflict

Yang Yanhui (the Fourth Son)
He wears the attire of a Liao imperial consort: a red robe embroidered with dragons, a winged headdress adorned with feathers, and a fox tail—symbols of foreign origin. This outward appearance stands in stark contrast to his inner identity as a Song general. Gestures such as removing his headdress or striking his chest visually express his inner turmoil.

Princess Tiejing
Dressed in a court costume inspired by Manchu styles, with an elaborate coiffure and high platform shoes, she embodies nobility and dignity. The object she holds—a small good-luck doll—serves both as a maternal symbol and an expressive prop, highlighting her tenderness and emotional intelligence.

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4. Role Types

How do Sheng and Dan sing the human soul?

Yang Yanhui — Laosheng
A mature male role marked by restrained expression, steady singing, and deep emotional resonance. His arias must convey fifteen years of silence, longing, and guilt, especially in the introspective passages.

Princess Tiejing — Qingyi with huashan tendencies
A female role combining the dignity and poise of Qingyi with the liveliness, expressive flexibility, and physical elements of the mixed huashan role. Her singing is clear and flowing, while her spoken dialogue (in jingbai) adds immediacy and vitality. She embodies the loving wife, the noble princess, and the moral mediator.

Their duet evolves from measured exchange to intense emotional tension, making at the Palace a true psychological drama in song.

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5. What to Watch and Listen For

No battles, no spectacle

With no combat or grand spectacle, Zuò gōng relies entirely on voice and interpretation. Observe:

• the breathing and balance within the sung duets;

• how the voices respond to and support each other;

• the micro-gestures and silences that reveal the marital relationship.

In these details, one perceives how great national values take shape through intimate human emotion.

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6. Performers

Li Fu — Princess Tiejing
A core member of Peking Opera of Québec, specializing in female (dan) roles. She has studied under Jing Lianlian, Jiang Shijia, and Lü Yan, and has performed many classic works, including Dragon and Phoenix Play, The Legend of the White Snake, The Unicorn Purse, Farewell My Concubine, and Dream of the Peony Pavilion.

Max Ma — Yang Yanhui
A core member of Peking Opera of Québec, specializing in male roles (laosheng and xiaosheng). He has performed excerpts from Peking Opera and Kunqu such as The Wild Boar Forest, Dragon and Phoenix Play, The Accession to the Throne, Promenade by the Lake, and The Interrupted Dream, and has appeared in numerous cultural festivals and major events across Québec.