Review: Peking Opera's Zhang Houding in LEGEND OF THE WHITE SNAKE and THE JEWELRY PURSE

To most of those on this side of the Pacific, Zhang Houding may not be a name celebrity, but to fans of Peking Opera who jammed Lincoln Center's Koch Theater last week, loudly pleading for several curtain calls and the honor of post-performance encores (which were granted), her first two performances anywhere outside of China where a major cultural event.

Once inside the Koch, patrons lined up to take pics next to a giant photo of the star before performances of LEGEND OF THE WHITE SNAKE and THE JEWELRY PURSE. As is traditional, the boisterous crowd yelled approval during solo arias and, in what is certainly a new tradition, crowds rushed down the aisles to take videos of her bows.

To the uninitiated, Peking Opera should in no way be confused with the European opera sung across Lincoln Plaza at The Met. As a leading vocalist, Houding's requirements aren't limited to singing and acting. She also displayed a bit of dancing, highlighted by making elegant patterns with her extra-long sleeves, and even did battle while miming martial arts.

The style of singing is more internalized, with fans cheering for emotional poignancy rather than vocal flourishes. Houding is of the Cheng School of Peking Opera, where the vocals are of low, subtle tones. Program notes describe the sound as "sometimes reminiscent of whimpering."

Americans would recognize the pretty, storybook quality of the traditional Chinese costumes, painted faces and soft pastel settings used for both productions.

LEGEND OF THE WHITE SNAKE, written by Tian Han and directed by Sun Yuanyi had Houding playing a snake fairy that falls in love with a man when she takes human form. In THE JEWELRY PURSE, written by Weng Ouhong and directed by Zhou Long, she played a wealthy woman who shows kindness to a poor woman on their mutual wedding day, and sees that kindness repaid when their fortunes are reversed.

Though Zhang Houding's firm and confident presence and emotionally thick vocals dominated the proceedings, she was surrounded by a charming company of supporting players, particularly some delightful vaudevillian clowns. Music director Wan Ruixing led an onstage 14-piece ensemble of traditional Chinese instruments.

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