Issuu

Jie

Act I, S cene 1 & 2

Act II, Sce ne 3

Wang Jie Music PO Box 299

New York, NY 10025

Cast of Characters

Principal R oles

Na n n a n, Dr a matic Sopr ano - a yo ung l ady in h er late 20 s, M aster’ s first wi fe, Min s hen’ s c hi l d hoo d frien d

Mi ns he n, Tenor - a gent le ma n in his l ate 20s , M aster’ s y ounger brot her, wh o ju st gr ad uate d fro m col lege an d returne d ho m e fro m Lon do n.

Lu me i, Lig ht Lyric Sopra no - a yo ung an d attractive ope ra si nger, m arrie d to th e M aster as concubin e.

Mas t er, B as s-B aritone - th e he ad of t he n oble f a mi ly, Na nnan ’ s husb an d, who in herite d major we alt h fro m hi s de cea se d parent s

Secondary R oles

The M ai d, Me zzo-Sopr ano - a 32-year-ol d une du cate d la dy.

The M iss io n ar y, B as s-B aritone - a foreig ner i n his l ate 4 0s.

The S t ewa rd o n th e s hi p, Barito ne - a 40-ye ar-ol d m an.

Se rv a nt s/ St re e t C rowd /P ie r Cro wd, SA T B: mi n. 36 voi ces ∗

Total Duration: 120 m inutes , t he co mpo ser sugg ests a si ngl e int ermi ss ion o f 20 minute s ’ .

In This Version, which is without choir:

Duration of Act I/Scene 1 & 2: ca.15 minutes

Duration of Act II/Scene 3: ca. 15 minutes

This is a special edition writte n for VOX 2007, produced by N ew York City Opera This work was funded in part by the Composer Assistance Program of the American Music Center

∗ The c hoir h as b een eli min at ed in this v ersion, du e to th e f a ct t ha t V OX do es no t p rovi de a c horus fo r th e re adin g.

Set in 1948 as Communist forces clos e in on the city of N anjin, Wang Jie’s N annan is the tragic story of a noble wife who se li fe unrav els after she learns sh e is barren and her husband takes a concubine.

 SYNOPSI S 

Setting: Nanjing, 1948-1949, in one of the wealthiest households in the capital city, at the end of the long and bloody Chinese Civil War.

Act I, Scene 1: Mansion Hal l

Minshen returns home from London, and is surprised to find his older brother marrying a concubine as a second wife, the beautiful opera singer, Lumei. His childhood friend, Nannan, is his brother’s first wife, but in four years she has not produced a child.

Act I, Scene 2: Garden outside Nannan ’ s Chambers

Nannan fears that she is barren. Minshen comforts her, displaying what appear to be romantic feelings for her. They are interrupted by the announcement of Lumei’s pregnancy. Nannan is forced to give up her chambers and garden to the concubine.

Act I, Scene 3: City Street

Nannan is in desperate straits when she comes across Christian missionaries promising salvation. Misunderstanding, she is about ready to be baptized when Minshen arrives. As Comm unist troops chase the missionaries offstage, Minshen seduces Nannan with a poetic aria. As Nannan and Minshen embrace, the Maid is spying on them.

Act II, Scene 1: Garden outside Lumei’s Chambers

Having learned it from the Maid, Lumei takes pleasure in relating Nannan’s infidelity to her husband Master angrily confronts Nannan and threatens her with divorce

Act II, Scene 2: Mansion Hall

The family is forced to flee the approaching Communists. Master is going to the provinces, but new laws allow him only one wife. Minshen confronts his brother, accusing him of abandoning his first wife. They quarrel, then Minshen announces his love for Nannan, and offers to take her to England with him.

Act II, Scene 3: Ocean Liner

Minshen and Nannan quarrel, and he tells her that he would never marry a barren woman. When he has left, the distraught Nannan quietly throws herself overboard and drowns.

 TREATME NT

Act I, Scene 1: Mansion Hal l, 1948 Nanjing

A short prelude plays with the curtain down.

The music turns celebratory as the curtain rises on a stage divided in two: the final preparations for a grand wedding inside the mansion on one side, and an empty walkway leading to the front door on the other.

The distinguished Master stands alongside Lumei, an opera singer from a lower class, who is marrying him as a second wife, a concubine. In turn the bride and groom speak of their hopes for the future: first Lumei, then Master Their greatest wish is to have a male child together. The Chorus, made up of various servants and houseguests, echoes their wishes for good fortune.

On the opposite side of the stage, Minshen, Master’s younger brother, returns from his education in London with a steamer trunk. He tells of how excited he is to be home, especially since he will see his childhood friend, Nannan, now his sister-in-law. As he steps in the front door, he is shocked to see a wedding about to take place.

The wedding is being held up because Nannan, Master’s first wife, is nowhere to be found. Just as Master orders the Maid to fetch her, the elegant Nannan walks on.

During the ceremony, although she is dutiful and proper, it is obvious Nannan’s heart is broken. Minshen watches in silence from the doorway until the wedding is over, then greets Master

The lights go down on the rest of the scene and a spotlight illuminates Nannan as she sings an aria which reveals the reason for Master’s concubine: in four years of matrim ony, she has not produced a child.

Act I, Scene 2: Garden outside Nannan ’ s Chambers

A group of eight Sopranos pick flowers in the garden as they sing about Nannan’s plight and the future of the household. When they see Nannan approaching, they run off.

Alone in her garden, Nannan sings of her worries, wondering if she will ever hear the heartbeat of a child in her womb.

Minshen hears her and they sing a poetic duet, in which he subtly lets the audience know that he has romantic feelings for Nannan

They are interrupted by the Maid and Chorus, loud ly proclaiming the news that Lumei is pregnant.

Nannan’s worst fears are realized. Lumei comes into the gardens, and shares her good news outwardly polite, but gloating just beneath the surface. Nannan offers her “sister” congratulations, although inside her heart is broken. Master arrives and Lumei manipulates the situation to her advantage, complaining about the size of her rooms, which forces Nannan to offer her chambers to the expecting mother. Lumei greedily accepts.

Act I, Scene 3: City Street

Nannan, desperate for some way out of her quandry, is summarily thrown out of a doctor’s office in town. Various Street People (Chorus) lament her misfortune.

As Nannan plaintively calls out for help, she hears a voice, promising her salvation. At first she thinks she is going mad, but when she follows the sound, she finds a Christian Missionary and his Followers (Chorus).

The Missionary tells Nannan that she will be saved. She misunderstands his “firstborn son ” speech about Jesus, thinking he is promising him a child. The Followers are in the background, acting out the story of Christ’s life

Minshen arrives and is angry to see the Missionary preparing to baptize Nannan. He interrupts, arguing with the Missionary, telling Nannan that the Christians are fools. Suddenly, Communist Troops storm the stage. The Missionary and his Followers (Chorus) flee and the Street People (Chorus) all hide. Minshen laughs at their sudden loss of faith.

Minshen turns to Nannan and begins to tell her the story of a young boy who fell in love with a young girl from a neighboring estate. As his aria continues, Nannan realizes he is talking about her. She protests at first, but he makes her feel beautiful and desired, then swears to care for her.

During the preceding, the Street People (Chorus) are moving out of their hiding places inch by inch, their movements so slow as to be imperceptible By the end of the scene, they are onstage again.

When Minshen leads Nannan offstage to make love to her, the Maid steps out of the group of onlooking Street People (Chorus) and the stage goes black.

Act II, Scene 1: Garden outside Lumei’s Chambers

In the garden outside her new chambers, Lumei cir cles around the sitting Master. She complains that Nannan’s spirit is still inside the rooms, and Master agrees to redecorate. She tells Master that she thinks she’s pregnant with a boy he’s overjoyed. But what future will he have, Lumei asks, being the son of a lowly concubine? She wants Master to make her his first wife. He tells her that he cannot, that Nannan is virtuous and has suffered enough, through no fault of her own

Lumei says she doesn’t feel well, but as she’s leaving, the Maid comes in and whispers in her ear. Lumei’s whole attitude suddenly changes. She tells Master what she has learned: first, that Nannan has fallen under the spell of Christians. Master is bothered, but hardly incensed. Then Lumei, wringing her hands in mock concern, tells Master than Nannan is having an affair with Minshen. Master explodes with anger and demands to see Nannan.

As Nannan arrives, Lumei pretends to leave, but instead hides just beyond the stone garden wall, eavesdropping. As Master and Nannan speak, Lumei gleefully comments to herself about Nannan’s fall from grace.

Master tells Nannan to stop seeing the Christians. He explains that it is a delicate time politically, and she is jeopardizing the reputation of the entire family She hangs her head and apologizes, telling him that it was only because she was so ashamed and desperate that she sought solace in the foreign religion.

Then Master angrily confronts her about seeing Minshen. He asks her what she thought was going to happen, if she was stupid enough to think his brother would marry a barren woman. Nannan explains that she simply wanted to be loved, to feel appreciated and beautiful. Master tells her she is foolish and threatens her with divorce. Nannan knows this would be the end of her life.

The scene ends with a loud offstage explosion the Comm unists are closing in.

Act II, Scene 2: Mansion Hall

The Comm unist victory is at hand, and the family’s political and financial future is in grave peril. Master has assembled the entire family, and he begins by telling them that he must flee his estate and will be seeking safe haven with relatives in the provinces.

Minshen interrupts to say that he will not be joining his brother and will instead return to England. Nannan looks devastated by this news.

But Master has an even more upsetting revelation under the Communists, only one wife will be allowed. Obviously, with Lumei pregnant, Nannan will need to be the one divorced. Master presents her with paperwork.

Minshen accuses his brother of being selfish and unfeeling. He says that Master knows that Nannan will be socially ruined, her life worthless. Master places a large sum of cash on the table, saying that he is doing everything he can for Nannan. Minshen continues to challenge Master, asking what good money is going to do Nannan. All of her family has already been imprisoned, and she has nowhere to go.

Master becomes angry with Minshen, asking him what he is doing for Nannan. Minshen steps up to the challenge and loudly announces that he is in love with Nannan He turns to Nannan and chivalrously offers to take her to England with him. She graciously accepts.

Nannan signs the divorce papers as the sounds of gunfire outside grow closer.

Act II, Scene 3: Ocean Liner

Onboard the ship to England, Minshen and Nannan share a private room and sing a bittersweet duet full of their sadness at leaving the past behind and hopes for the future ahead.

The Steward enters with room service, mistakenly referring to them as newlyweds, and Minshen sharply corrects him. Nannan is stung, and asks Minshen why he is embarrassed to be thought of as her husband Minshen tries to assuage her doubts by singing of his love for her.

Nannan tells Minshen that if he truly loves her, he would marry her at once. Minshen becomes irritated by her badgering of him, and snaps back that he would never marry a barren woman. Minshen storms out, slamming the door behind him.

Up on deck, Minshen realizes that he has hurt Nannan, and worries that maybe he just pities her and doesn’t truly love her. He comes across the Steward and they begin to talk.

Meanwhile, on the other side of the ship, a distraught Nannan throws herself overboard.

Minshen and the Steward hear that someone has leapt off the ship and drowned. Minshen remarks on the fragility of life, and decides he does love Nannan, and must apologize.

Minshen runs back to the empty room, and on the final chord, the curtain descends.

Act 1, s cene 1

Na n j in , Ch in a , S ep temb er 1 9 4 8

Mus ic and L ibretto by Wa ng J i e

Th e s ta g e i s d i vid ed b e tw een th e in s id e o f th e ma n s io n , wh e re a wed d in g cer emo n y is ta kin g p la c e, a n d th e emp t y h a l l wa y lea d in g to th e ma n sio n ’ s en tra n c e NA N N AN is sta n d in g n e xt to h er h u sb a n d , th e MAS T ER Th e y a r e we lco m in g th e MAS T E R’S co n cu b in e , a n o p era sin g er L UM EI

Lumei: I have learned to sp eak of happiness, But to b e happy I have not learned I sang and thousands cr ied, The roles I’ve played are countless, Today I am the Mas ter’s m is tress , Today I am an envied wif e, This is not enough. This is never enough

The Mas ter’s mistress, an envied w ife, A real mans ion’s s atisfaction, Deep as its h allways , Was n ever min e

But soon I w ill own my husband When I bear h is son

Maste r: I have learned to sp eak of happiness, But to b e happy I have not learned. Devoted son, my father’s heir , The roles I’ve played are countless: Fath er chos e my life and w ife When he pass ed on, my word w as law, This is not enough This is never enough A real mans ion’s s atisfaction, Deep as its h allways , Was n ever min e.

But soon I w ill s atisfy, When she bears my son.

Minshen: I have learned to sp eak of happiness, But to b e happy I have not learned Chin ese son, Br itish s tuden t, Ten y ears, I observed another country. Today, I am home.

Fond memor ies!

Nannan is in my gray and faded childhood

Nannan w as the on ly fond m emory How fortunate is my brother! What a comp lete fam ily!

MINS H E N en te rs th e w ed d in g s cen e S h o c k r eg i st ers o n h is fa ce H e so o n rea l iz es th a t a wed d in g is ta k in g p la ce a n d th a t h is b ro th er h a s ta ken o n a se co n d wi fe

Maste r and Lumei: Bow to th e heaven ; Bow to the An ces tor; Bow to each other .

Maste r: (su d d en ly n o ti cin g M in sh en a t th e d o o r) So the prodigal son r eturns!

Minshen: Shock!

Nannan: Four years! Four y ears! Where is my b aby? Not ev en a shadow!

NA N NA N sp o t-l ig h t ed , sh e s in g s a n a r io so wh il e o th ers e xi t q u iet ly

Nannan cont: I h ave learned to speak of happin ess, But to b e happy I have not learned. Noble born, nobly taught, Bred from day on e to be the firs t and fin est w ife!

Four years ago,

This d ay w as min e. In red I wore, happ iness fulf illed But four years! Where is my b aby? My husband shattered by sham e What if I am barr en?

Oh, th e crueles t fate, How dare you bring home a concub ine?!

Go away , jealousy Quickly , go away! I hereby w elcome my n ew sis ter To th is broken, yet hopeful family. My n am e is N annan

Act 1, s cene 2

Two mo n th s la te r.

NA N NA N i s si tt in g in h er b ed ro o m a mo n g st th e f in es t g a rd en s sh e h a s ta k en ca r e o f fo r fo u r yea rs . MINS H EN is wo n d er in g in h er g a rd en s

Nannan: That sound I hear so metimes It’s not a voice, It sounds like a nois e, Like th e m aples in a breeze, Like th e thunder in a d is tance, A hear tbeat?

Can it ever b e a heartbeat?

Do you hear that?

Minshen: I do not hear I hear on ly th e wh isper Of your heart

Your frightened hear t. Your uncertain br eath

Nannan: Do you hear that?

Do you hear my frigh tened hear t? Do you hear my uncertain br eath? Was it really me? Am I truly b arren?

Minshen: I hear on ly th e r ain, Crash ing your hear t. Deep I hear

Nannan: Was it really me?

Am I r eally childless ? My unans wered prayer, do you hear?

Minshen: I hear on ly th e r ain, Falling h ard on the eav es, Maybe one frightened b ird

Nannan: I tell you I hear so mething, Someth ing approaches Bad news has a w ay of ou t-running the rain!

Minshen: I hear on ly th e r ain I hear no thing

Th ere is a g r ea t co mmo t io n o u ts id e . LU M EI h a s r etu rn ed h o me a n d is ju b ila n t Th er e a r e sh o u t s o f jo y fro m th e M AS TE R a n d a ll th e se rva n t s in th e h o u se .

Maid: (S h o u tin g fro m o f f s ta g e ) Lu mei is pr egnant! (Ru n n in g o n to th e s ta g e ) N annan! Madam Lu mei is with child!

NA N NA N fro z e. MI NS HE N st ep b y s tep b a c ks o u t o f h e r ro o m. Mu si c ch a n g es temp o wh en LU MEI en t ers , fi ll ed wi th so m et h in g els e b esid es jo y .

Lumei: Greetings to my s ister. Sis ter must have heard th e good news ?

Nannan: It mus t b e joyous for Mas ter

Lumei: Sis ter is the mos t car ing, Sis ter is the mos t knowledgeable, It is my fortune to have you near my pregnancy Sis ter must take good car e, Becaus e the pale f ace tells of s leepless nights

Nannan: Such kindnes s! Such thoughtfuln ess!

Happines s w ill b e fulf illed

LUMEI p a ce s a ro u n d NA N NA N, st ep b y s tep in a c irc le .

Lumei: Sis ter is the mos t car ing, Sis ter is the mos t knowledgeable, It is my fortune to have you near my son Sis ter must take good car e, Becaus e the slim shadow tells of b itter tales

Nannan: Such kindnes s, Such thoughtfuln ess, Joyous for Master!

Th e MAS T ER en t ers w i th g rea t jo y

Maste r: What a blissful day that Lumei is with ch ild! Lumei, moth er of my son, I will have your chambers expended, imm ediately! My son is not to b e born in that cubicle of yours.

Nannan, my chosen w ife, governor of my es tate, It is your duty that Lumei is fully provided!

Nannan: So I understand.

Lumei: Lumei is gr ateful to Master! Nonetheles s, I fear th e construction will dis turb my b aby (to Na n n a n ) Sis ter mus t hav e another proposition

Nannan: (In terru p t s) Cer tainly! May I sugges t Madam Lumei move h ere. The brigh tes t room s, The f ines t gard ens.

Lumei: Such kindnes s! Such thoughtfuln ess! It is my fortune! It is my fortune!

LUMEI a n d M AS TE R h a n d in h a n d , e xi t w ith g rea t jo y Hesi ta t ed , MI NS HE N fo l lo ws th em a n d a lso ex i ts. Bu t h e d o e s i t h esi ta n tl y NA N NA N r ema in s o n th e sta g e

Nannan: I am truly barren NA N NA N co l la p se s o n to h er ch a ir o n th e la st b ea t o f mu si c Cu rta in fa l ls

Act II, Scene 3

NA N NA N a n d MI NS HE N o n th e b o a t to Lo n d o n Th ey sta n d in th ei r ca b in wa t ch in g th e ir h o m ela n d r ec ed e in th e d is ta n ce .

Nannan & Minshen: Th e w ater betw een

Deeper as we go

There in the dis tan ce

The land w e once called hom e (Nannan) A hom e I on ce called my own.

The w ater betw een

Deeper as we go

Here aboard this ship

We as common man

Drifting tow ards a world of unknown (Nannan) A wor ld I must call hom e A home I mus t call my own

Th ere is a kn o ck o n th e d o o r

Ship St ewa rd : Roo m s ervice!

MINS H E N o p en s th e d o o r

Pillows for two, and chocolate for the new ly wed s

Mr and Mrs

Minshen: (in te rru p ts) Noth ing of that kind! We are not husband and wif e

NA N NA N is sh o c ked

Ship St ewa rd : My apo logies, Sir! If there is anything else you n eed Sir

Minshen: (in te rru p ts a g a in ) Certainly! Now leave us .

Nannan: Mus t it be known to all that I am not your w ife?

Minshen: (Ig n o res Na n n a n ) Future is wh at I call a “work-in-progress” Possibilities aw ait the prepar ed Life rew ards the p ersev erant Nannan, this is a futur e for both of us

Nannan: (a b it a n n o yed ) Mus t it be known to all that I am not your wife?

Minshen: Silly worries, Nann an Nothing har ms our love for each oth er When I hold you tight I hear your sw eet g entle lips n ibbling at my ear

Nannan: Is your love mer ely po etry? Where is future without f am ily? Where is fam ily without children? Like gamb ling it is The futur e is the beginn ing of my end

Minshen: Silly worries, Nann an No fate can fo il our love Are you not h appy, my love?

Nannan: I have learned to sp eak of happiness But to b e happy I have not leant I curse my childlessness! I curse my b arren womb!

Minshen: Silly worries, Nann an No ills can choke our love.

Nannan: (In terru p t s) Answ er me, Minshen What is future without f am ily ? What is family w ithout ch ildren ?

Minshen: What is life without love?

Nannan: Love?

Love is alw ays the char ming word from you, Love is merely poetry w ithout a family. You have confused love w ith sympathy, h aven’t you?

Minshen: Silly worries, Nann an Love feels no burden Love thinks no thing of trouble, Love pleads no ex cuse of impossib ility. Do you not believe my love is real?

Nannan: Then, marry me! Marry me now!

Minshen: This is not wh at I intend ed.

Nannan: If Love f eels no burden, m arry m e. I will not add to your worries

Minshen: Nannan, you alon e cur e my worries

Nannan: (ig n o res M in sh en ) If Love thinks no thing of trouble, marry m e. Let it known to all that w e are husb and and w ife

Minshen: What is it you try to prove?

Nannan: If Love p leads no excuse of imposs ibility, marry me! Even though I cannot provide you with a ch ild

Minshen: Nannan, you are a lovely lady But love and marr iage ar e diff erent issues .

Nannan: (a g ita t ed ) How , Minshen? Explain to me!

Minshen: Nannan, this co mes too suddenly

Nannan: Why, Minsh en? Why? G ive m e a reason! Why?

Minshen: There is not a r eason for every thing, Nannan.

Nannan: Why? Why? Why? Is it love or symp athy? I deserve to know!

Minshen: Like th ere is not a r eason for your barr enness .

Nannan: Why? Why? Why? I deserve an answ er!

Minshen: Never!

I will never marry a b arren wom an!

MINS H E N wa l ks o u t o f th e ro o m, a n d sla m s th e d o o r

Nannan: All th at you hear are my sweet gentle lips

Nibbling at your ear. But th e gnaw ing at my heart, You do not hear

NA N NA N slo wl y wa lks to wa rd s th e b a ck o f th e s ta g e, wh ich resemb le s th e ed g e o f th e sh ip

Minshen: (a t th e fro n t o f th e sta g e) My h ear t is trembling! She provokes m e!

I was provoked to hav e s aid th at terrible thing! Perhaps she is r ight I do not love her enough to m arry her. Perhaps sympathy is what it is

MINS H E N ru n s in to th e S HIP S TE WA RD o n th e o th er s id e o f th e sta g e

Ste ward: Good evening, Sir ?

Ah, you ar e th at gen tleman upstairs with the beautiful young lady.

Minshen: Good evening and good memory! She is beyond beautiful Keep in mind,

Beauty n ever ou t-lasts a wom an’s vir tue

Ste ward: Neither does it a woman’s ch ild

I’m a proud father of thr ee…

As MINS H E N a n d th e S T EW ARD k ep t o n ch a t t in g , NA N NA N is n ea r th e ed g e o f th e sh ip a t th e o th er sid e o f th e s ta g e S h e ju mp s o f f th e sh ip a n d ki l ls h erse l f a s th e a u d ien ce w i tn ess es

A Tenor Voice : (sh o u t in g fro m o f f sta g e )

Someone f ell off the boat! Help!! Someone jus t fell off the bo at!!!

Ste ward: How unfortunate!

Minshen: Unbelievab le!

How can such terr ible acciden t h appen?

How heed les s peop le can be!

Ste ward: It is not so easy to f all off this sh ip, S ir! Someone must hav e lost the w ill to live

Someone must be hear t-broken.

Minshen: Perhaps suicide?

How fragile life can be!

Life mus t b egin b efore it ends Life mus t h arbor the broken hearted Life mus t go on for Nannan!

Nannan w ill s tand up to h er brutal fate! No more sugar-coated love of m ine I must help her!

Righ t her e, right now!

MINS H E N q u i ck ly ru n b a c k to lo o k fo r NA N NA N Th e s te wa rd ex its In th e ir ro o m, NA N NA N is n o wh ere to b e fo u n d

Minshen: Nannan, I cam e back to apo logize.

Nannan? Where ar e you?

Nannan? Nannan?

Th e cu r ta in q u ic kl y d esc en d s o n th e la s t n o t e o f th e mu si c E n d o f th e o p era