Cape Town Opera’s “Porgy and Bess” created an extraordinary cultural confluence in its Chinese premiere at the Poly Theatre. Closing the 27th Beijing Music Festival on 12 October 2024, this production brings together 39 singers and 75 musicians as Gershwin’s South Carolina masterpiece, reimagined through South African artistry, finds new resonance on the Beijing stage.

It arrives at a moment when cultural dialogue between China and Africa is more vital than ever. Festival director Zou Shuang envisions this centerpiece performance as more than just an artistic showcase- it becomes a living bridge where Chinese audiences discover the rhythms and spiritual depths of South African artistry while honoring the work’s timeless power. Director Noa Naamat’s staging softens the opera’s raw portrayal of race, drugs and social struggles, opting instead for a visual poetry of minimalist sets and vibrant costumes. Dynamic lighting shapes this gentler vision, crafting intimate moments that let the performance’s emotional depth shine through.

Under Kazem Abdullah’s direction, the Shanghai Symphony Orchestra doesn’t merely accompany but actively shapes the drama. Their reading of Gershwin’s score reveals both its classical refinement and vernacular vitality. The orchestra paints a sonic landscape that feels at once authentic and revelatory: from the opening notes, their nuanced interplay brings the world of port loaders, fishermen, street vendors, and beggars to vivid life. The strings excel in atmospheric passages and maintain clarity through rhythmically complex passages, with especially moving performance in the spirituals. Though occasional clarity issues emerge in softer passages, woodwinds demonstrate exceptional agility during “Clara, Clara.” The brass section’s jazz inflections prove especially effective in the hurricane’s approaching fury and Crown’s menacing scenes.

Illuminating Vocal Performances

The vocal performances illuminate both individual journeys and communal bonds. Otto Maidi’s Porgy moves fluidly between heroic strength and touching vulnerability, his resonant bass-baritone wielding consonants like weapons in moments of determination while revealing delicate sensitivity in passages of tenderness. “I Got Plenty o’ Nuttin’” becomes both a personal declaration and a universal statement of resilience.

Nonhlanhla Yende brings vocal ambition to Bess, particularly in “Porgy I’s Your Woman Now,” where her powerful high notes declare both strength and yearning for freedom. Yet, in tracing her path between independence and dependence, her dramatic transitions often lack definition, leaving pivotal moments without their full emotional impact.

From this central relationship, the drama expands through a rich supporting cast. Siphamandla Moyake’s Clara opens with a hauntingly layered “Summertime.” Her voice floats beautifully between bluesy inflections and operatic lines, capturing both struggle and hope of Catfish Row.

Pumza Mxinwa’s Serena delivers a heart-wrenching “My Man’s Gone Now.” Her grief touches something universal in all of us. The night’s biggest surprise comes from Mandisinde Mbuyazwe’s Crown and Siphamandla Moyake’s Sporting Life.

Mandisinde’s Crown radiates dangerous charisma with his rough-edged sound, and his command of descending bass lines is particularly impressive. As Sporting Life, Siphamandla brings perfect wit to “It Ain’t Necessarily So,” his jazz-infused phrasing making every note both question and entertain. He skillfully undercuts the community’s religious certainties while keeping Gershwin’s delicious sense of humor intact. Together, these characterizations vividly reveal the ever-present temptations and dangers facing the community.

Embodying the bittersweet rhythms of life in Catfish Row, the chorus becomes the beating heart of this production. Their voices navigate complex passages with precision while never losing their essential humanity. Whether in the Six Simultaneous Prayers during the hurricane scene or celebrating the tender union of Bess and Porgy, the ensemble transcends mere technical excellence to achieve genuine authenticity, infusing each phrase with a spirit that is uniquely their own—powerful enough to make the world grow small.

Inspiring & Community-Building Production

Each production of “Porgy and Bess” carries its own distinct aesthetic and cultural identity. In an era where cultural discourse often seems trapped between extremes, this Chinese premiere reveals something profound about music’s community-building power. The singing here creates a Catfish Row that transcends its specific setting, where spirituals and blues, gospel fervor and operatic refinement coalesce into something universal.

What emerges is a performance both precisely crafted and deeply spontaneous, where formal excellence meets raw emotional truths. Through the alchemy of these voices, whether raised in spiritual ecstasy or touched with blues tinged sorrow, the stage transforms into a living community. Here, black operatic voices soar with jazz-like freedom, creating a neighborhood that exists simultaneously in South Carolina, Johannesburg, and Beijing, yet speaks to us all.

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The performance at Paarl Toringkerk will be conducted by Bernhard Gueller. The soloists include Siphamandla Moyake, Julia Portela Piñón, Mongezi Mosoaka, and Lonwabo Mose.

“The vocal writing in Mozart’s Requiem is absolutely sublime – it is one of the most coveted oratorios for singers to perform,” said Magdalene Minnaar, Artistic Director of Cape Town Opera, in a press release. “It contains some of the most riveting and sublime vocal writing, both for solo and ensemble. The quartets are particularly genial in its layering of vocal lines – it is one of my personal favourite works.”

The performance kicks off at 4 p.m. local time.

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Between Feb. 14-17, 2024, the organization will spotlight “Suor Angelica” and “Gianni Schicchi” in a production directed by Magdalene Minnarr. Jeremy Silver conducts the Cape Town Philharmonic Orchestra.

Headlining “Suor Angelica” will be Nobulumko Mngxekeza. She is joined by Minette du Toit-Pearce as the Princess, Siphamandla Moyake as Sister Genevieve, Asisipho Petu as The Mother Abbess, and Julia Portela Piñón as The Monitor.

Then for “Gianni Schicchi,” audineces will see Conroy Scott in the title role, joined by Dineo Bokala as Lauretta, Julia Portela Piñón as Zita, and Lonwabo Mose as Simone.

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The showcase will star Conroy Scott as Figaro, Brittany Smith as Susanna, William Berger and Siphamandla Moyake as Count and Countess Almaviva, Megan Kahts as Cherubino, Monica Mhangwana as Marcellina, Danie Verster as Bartolo, Chris Mostert as Basilio/Don Curzio, Alida Stoman as Barbarina, Rouel Beukes as Antonio.

The production will be directed by CTO’s Magdalene Minnaar, who was inspired by Rococo aesthetic for this production.

“I wanted to create a world inspired by the romanticism of artful decay. It encapsulated the opera‘s story and the world we currently live in,” noted designer Maritha Visagie in an official press statement.

“We are delighted to welcome Cape Town Opera, Africa’s Premiere Opera Company to the Roodepoort Theatre and to host to one of the most performed and best-loved opera’s worldwide,” said Pritheven Pillay, General Manager of Roodepoort Theatre, in an official press release. “We believe a production such as ‘Le Nozze di Figaro’ is symbolic of our commitment to supporting and growing local talent. We therefore respectfully encourage audiences share our vision by returning to the theatre.”

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