Instrumental Ensemble:  « The Imperial Concubine’s Banquet »

1. At the Source of the Melody

The Imperial Concubine’s Banquet is a cornerstone of Peking Opera repertoire. Its story draws inspiration from an episode at the Tang Dynasty court, centering on Emperor Xuanzong and his beloved consort,Yuhuan Yang.

The work was refined and passed down by Lanfang Mei , one of the most influential figures in modern Peking Opera history. It has since become one of the most iconic pieces associated with the Qingyi role type—female characters known for their elegance, restraint, and emotional depth.

This instrumental adaptation extracts melodies and structures from the original vocal arias and interludes. Through music alone, it recreates the emotional journey and aesthetic essence of the opera, without the use of words.

2. What Does This Music “Tell” Us?

The piece evokes a moment of intense inner drama. While waiting in vain for the emperor at the Pavilion of Flowers, Yang Yuhuan learns that Emperor Xuanzong has chosen to spend the night with another concubine. Wounded by disappointment, anger, and humiliation, she turns to wine in search of oblivion.

This is not music of celebration. Instead, it paints the intimacy of a wounded night: the moon rises, cups are filled—yet the seat across remains empty. In the absence of lyrics, the orchestra becomes the storyteller, giving voice to longing, disillusionment, and a melancholic intoxication where dignity and despair intertwine.

3. The Orchestra and Its Emotional Palette

This ensemble follows the traditional structure of a Peking Opera orchestra, enriched by the evocative sound of the guzheng (Chinese zither). Each instrument plays a precise expressive role:

Jinghu
The principal melodic instrument of Peking Opera, with a bright, piercing tone. It functions as the musical “voice,” leading the emotional expression.

Jing’erhu
With a warmer and deeper timbre, it reinforces the middle and lower registers, adding depth and warmth to the melody.

Yueqin
A round-bodied lute with a lively, rhythmic sound. It provides structural support and shapes the musical pulse.

Zhongruan
A medium-range lute that bridges rhythm and melody. It connects higher voices to the bass line, ensuring balance within the ensemble.

Guzheng
A Chinese zither known for its rich, evocative sonorities, capable of suggesting space, movement, and emotion. In this ensemble, two guzhengs complement each other: one enriches the harmonic texture, while the other reinforces the lower register, grounding the sound.

4. A Musical Choice: Why Erhuang?

Peking Opera is built primarily on two major musical styles. Xipi is often bright, lively, and extroverted. Erhuang, by contrast, is introspective, solemn, and deeply lyrical.

The Imperial Concubine’s Banquet is rooted in the Erhuang style. Emotion unfolds slowly and with restraint—not through dramatic contrasts, but through subtle inflections, breaths, and silences that often speak louder than sound.

5. How to Listen

To appreciate this piece, simply let yourself be carried by it. Notice how the main melody rises and falls like breathing, how the accompaniment supports without overwhelming, and how the emotion gradually shifts from quiet expectation to restrained resignation.

This is music that captivates without ostentatious virtuosity. Its power lies in suggestion and accumulation. As the opening piece of the evening, it gently establishes a sound world that is at once serene, intense, and welcoming.

Close your eyes. Listen. Let the opera unfold in your ears.

6. The Artists

Jia Fu – Jinghu
Jia Fu began studying the jinghu at an early age. He received foundational training from Mr. Lou Boyang, a huqin master from the Xun Huisheng Peking Opera Troupe and the Beijing Opera School. He later became a disciple of Mr. Yang Hongjun, grandson of the great jinghu master Yang Baozhong and a renowned jinghu performer with the Beijing Peking Opera Company. Specializing in the Yang and Xun styles, he performs a broad Peking Opera repertoire.

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Hanqin Guo – Yueqin
Trained within the tradition of the Beijing Opera Academy, she completed three years of specialized yueqin studies. A multi-instrumentalist, she possesses a strong command of operatic accompaniment and stylistic interpretation.

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Zizhou Wang – Guzheng
A graduate of the Wuhan Conservatory of Music, she has over twenty years of experience in guzheng performance and teaching. Based in Montreal, she regularly participates in cultural events and international artistic exchanges.