On 17th August 2024, we had the privilege of attending the second of two performances of Rhapsody in Yellow, a lecture-concert held at the Esplanade – Theatres on the Bay. Conceived by Singapore-based interdisciplinary artist Ming Wong, this bold and thought-provoking work explores the intricate relationship between the United States and China in the 20th century, weaving together classical music, documentary film, and a historical lecture.

Wong’s vision for Rhapsody in Yellow drew inspiration from the “Ping-Pong Diplomacy” of the 1970s—a period marked by the unlikely collaboration between two superpowers through the sport of table tennis. The heart of the performance was the juxtaposition of George Gershwin’s Rhapsody in Blue with the Yellow River Concerto, a piece born out of China’s Cultural Revolution, reflecting the cultural and political interplay between these nations. The result was a cacophony of sound and image, capturing the turbulence of international relations while also highlighting moments of harmony and clarity.

The introduction to “Rhapsody in Yellow” set the stage by illustrating classical music as a universal medium of communication—one that transcends cultural boundaries and speaks to shared human experiences. The show began with a historical exploration of how Western music traditions were introduced to China, particularly through missionary schools, where the young composer Xian Xinghai first encountered these influences.

Xinghai’s musical journey was profoundly shaped by his studies in Paris, where he became deeply affected by footage of China’s civil war and the suffering of refugees. Witnessing the crowd’s passionate singing at a Bastille Day celebration, he found his own musical voice taking a new direction, one that blended the political with the personal, reminiscent of the missionary hymns he had heard as a child. This evolution in Xinghai’s work, particularly evident in the “Yellow River Cantata,” reflected the broader cultural and political narratives of the time.

In contrast, the show also explored George Gershwin’s parallel journey in America, where he was crafting “Rhapsody in Blue,” a groundbreaking orchestral work that came to symbolize American innovation in classical music by blending elements of African American jazz with traditional symphonic forms. By featuring both the “Yellow River Concerto”—an adaptation of Xinghai’s cantata—and “Rhapsody in Blue,” the production established a compelling musical dialogue, emphasizing the distinct yet interconnected trajectories of classical music in the East and West.

The narrative also delved into the period when Western music was banned in China, leading to the destruction of pianos and classical records in many households. This historical context added depth to the performance, underscoring the resilience of cultural expression in the face of repression. Through these carefully chosen musical pieces, “Rhapsody in Yellow” wove together the legacies of Gershwin and Xinghai, offering a nuanced reflection on the intersection of culture, politics, and history.

A Collaboration of Talents

Director Ming Wong (far left) and the team of creatives behind “Rhapsody in Yellow” take the stage to thank the audience.

The work’s success is due in large part to the exceptional talents involved in the project. Ben Kim, a Korean-American pianist known for his narrative-driven performances, and Berlin-based pianist Mark Taratushkin, a specialist in the works of Bartók and Prokofiev, captivated the audience with their playing, their technical precision and emotional depth added a compelling dimension to the performance. Both pianists lent their voices to the show’s narration as well, giving the showcase a more intimate yet cinematic feel.

The music itself was a collaborative effort, with Christopher Schlechte-Bond as the arranger. His experience in composing for feature films and orchestras around the world brought a cinematic quality to the score, allowing the audience to experience the historical and cultural narratives on a visceral level.

Henry Hao-An Cheng, the musical director, played an integral role in bringing Wong’s vision to life. An acclaimed conductor, composer, and producer, Cheng’s expertise in navigating complex musical structures and his experience with symphonic, contemporary, opera, and ballet works worldwide made him the perfect fit for this ambitious project. His leadership ensured that the performance was both cohesive and exploratory, a true reflection of the geopolitical themes at its core.

2 C. Bechstein D282 Concert Grand Pianos were featured in the production.

An Immersive Experience

The performance itself was surreal and immersive. The juxtaposition of archival film clips with live orchestral recordings created a dense, almost chaotic soundscape, where moments of clarity emerged from the musical dialogue between the two pianists. Their dueling pianos playing themes and transitional cadenzas from Gershwin’s Rhapsody in Blue interplaying and intermingling with the iconic, unmistakable lines of the Yellow River Concerto, along with the pianists on-stage presence — walking around, approaching each other—added a layer of physicality to the metaphor of diplomatic negotiation, with their distinct playing styles highlighting the contrasts and occasional harmonies between the two sonic regimes.

The use of two C. Bechstein D282 concert grand pianos provided by Bechstein Music World, further enriched the performance. The differences in the pianos’ individual tonal qualities, combined with the unique timbres of the pianists’ voices in the spoken-word narration and playing styles, underscored the contrasts and synergies between the American and Chinese musical traditions. “Rhapsody in Yellow” is a one-of-a-kind interdisciplinary art piece that everyone should experience at least once in their lifetime.

Photo Credit: Esplanade Co.

 Live Music Meets Cinema

The visual and technical aspects of the performance were equally impressive, thanks to the efforts of Liam Morgan (Cinematography, Lighting), Elias Fritz (Camera Assistance), and Torsten Podraza (Technical Director). Their contributions created a surreal atmosphere, where archival film clips, and orchestra recordings intertwined with the live playing —  perfectly synced to the accompanying video footage, enhancing the narrative’s depth and emotional impact.

Production Manager Mariko Mikami lent her expertise in managing interdisciplinary and aided in bringing together the diverse elements of this complex production.

Reflections and Insights

Following the performance, a post-concert discussion facilitated by a representative from the Singapore Art Museum allowed the audience to delve deeper into the creative process behind Rhapsody in Yellow. The discussion provided valuable insights into how the show had evolved since its inception, with the creatives sharing their experiences and the challenges of bringing such a multifaceted project to life.

Rhapsody in Yellow was not just a performance; it was an exploration of identity, history, and the complexities of international relations, all conveyed through the universal language of music. It was a fitting tribute to the intricate dance of diplomacy and a powerful reminder of the role that art can play in reflecting and shaping our understanding of the world.