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OVERVIEW
Role | Voice Type | Range ? | Character Description |
---|---|---|---|
Xiao Lian | high | A young Chinese-Canadian woman | |
Mom / Zhang Yi / Villager | middle-high | Xiao Lian’s mother / A courtier in the King’s court / A villager on the river Miluo | |
King / Male Friend | middle | King Huai of Chu / Xiao Lian’s friend | |
Qu Yuan / Father | middle-low | An ancient Chinese poet, known as the hero of Duanwu, the Dragon Boat Festival / Xiao Lian’s father | |
Female Friend | middle-high | Xiao Lian’s friend | |
Chorus | high | SATB | Chorus |
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SYNOPSIS
Dragon’s Tale is the story of a young Chinese-Canadian woman (Xiao Lian) and her ailing father, both living in Toronto. Xiao Lian wakes up in the ancient past and witnesses the last days of one of China’s greatest poets, Qu Yuan. In doing so, she begins to understand her father and herself as she returns to a challenging present.
MUSIC DESCRIPTION
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PREMIERE PRODUCTION INFORMATION
Role | Name |
---|---|
Xiao Lian | Alicia Ault |
Mom / Zhang Yi / Villager / Female Friend (Cover) | Evanna Lai |
King / Male Friend | Mishael Eusebio |
Qu Yuan / Father | Todd Jang |
Onstage Chorus (Soprano) | Grace Lee |
Onstage Chorus (Mezzo) / Female Friend | Alyssa Nicole Samson |
Onstage Chorus (Tenor) | Mike Fan 范祖铭 |
Onstage Chorus (Baritone) | Keith Lam |
Choir (Soprano) | Clara Krausse |
Choir (Soprano) | Gisele Kulak |
Choir (Soprano) | Lindsay McIntyre |
Choir (Soprano) | Sara Schabas |
Choir (Mezzo) | Veronika Anissimova |
Choir (Mezzo) | Claudia Lemcke |
Choir (Mezzo) | Anika Venkatesh |
Choir (Tenor) | Robert Busiakiewicz |
Choir (Tenor) | Benjamin Keast |
Choir (Bass) | Jacob Feldman |
Choir (Bass) | Bryan Martin |
Role | Name |
---|---|
Director | Michael Hidetoshi Mori |
Music Director | David Fallis |
Assistant Director | 郝邦宇 Steven Hao |
Associate Conductor, Women in Musical Leadership | Naomi Woo |
Conductor, June 18 | Naomi Woo |
Erhu | Patty Chan |
Pipa | Wen Zhao |
Guzheng | ZiWen Cynthia Qin |
Flute / Dizi | Leslie Allt |
Oboe | Colin Maier |
Clarinet | Dominic Desautels |
Bassoon | Zsofia Stefan |
Horn | Olivia Esther |
Trumpet | Anita McAlister |
Trombone | Ian Cowie |
Percussion | Michael Murphy |
Percussion | Michelle Colton |
Violin I / Concertmaster | Andréa Tyniec |
Violin II | Suhashini Arulanandam |
Viola | Jody Davenport |
Cello | David Hetherington |
Harp | Sanya Eng |
Double Bass | Travis Harrison |
Répétiteur | Hyejin Kwon |
Répétiteur 2 | Stéphane Mayer |
Lighting Designer | Echo Zhou 周芷會 |
Artistic Director, Soundstreams | Lawrence Cherney |
Set & Costume Designer | Jackie Chau |
Production Manager | Clarissa Wilcox |
Stage Manager | Myra Malley |
Assistant Stage Manager | Rachel More |
Head of Props | David Hoekstra |
Head of Wardrobe | Ellie Koffman |
Surtitlist | Patrick Iun |
CREATION
Director's Note
Collaborating with composer Chan Ka Nin and librettist Mark Brownell has been a great pleasure with a dynamic that is a reflection of the show. Both creators are fathers with adult children, whereas I relate more to this story as the son of an immigrant father. While the opera features the story of Qu Yuan, for Xiao Lian, it is the struggle of a child with a stubborn parent that forces the exploration of Qu Yuan’s mythical past, and that tricky intergenerational dynamic is where I find the most resonance.
At the heart of Dragon’s Tale are three propositions. One for parents: despite your lived experience, your children, especially in times of change, must be fundamentally different to adapt and thrive. One for children: you may never know the full picture of your parents, and you should not judge them by the last 5 minutes or years of their life. The final proposition is for Toronto as a model for many places in the world: With a younger population composed of many children of immigrants, any one person’s cultural identity is fluid, complex and unique and mostly accepted as such. This feature of cities like Toronto, Vancouver, and Montréal I humbly put forward as a great opportunity for Canada to lead in celebrating common humanity and cultural differences as complementary.
– Michael Hidetoshi Mori
QUOTATIONS FROM CREATIVE TEAM
Growing up in Hong Kong, my fond memories are the festivals, often associated with fun activities such as lighting firecrackers and playing with lanterns. Together with special foods and a public holiday, what’s not to like? When Dragon Boat racing became popular in Canada, I was amazed this Chinese cultural event is practiced worldwide, and I decided to write an opera to tell the story behind this legend, Qu Yuan because this loyal minister in the court of Chu from 2300 years ago is not that well known in Canada. My first thought is to ask Mark Brownell, a writer with whom I have worked for over 20 years, to write the story and the text. As always, Mark is a good sport and dives into the subject. After 8 years, he knows more about Qu Yuan than I do; initially, I did not know he was also an influential poet. In the process, we incorporate this ancient story into a modern-day story of a young girl and her father. Both Mark and I have a daughter, and our parental experience is inevitably reflected in the story. I am very thankful to Mark, and the dragon team: Michael Mori of Tapestry Opera, Lawrence Cherney of Soundstreams, and music director David Fallis, for realizing the tale from the past.
– Chan Ka Nin, composer
MEDIA
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