As a child, Wang Yongji would gaze with awe at symphony conductors, imagining that one day he, too, might lead an orchestra. But coming of age during social upheavals, that dream would have to be postponed. Music, however, was never far from Wang's life, and he rose from a violinist with the Shanghai Film Studio to one of the few conductors in the world with the ability to interweave traditional Chinese instruments and Western orchestral music, writes Susan Zheng.
Sweat pouring from their brows, batons slicing through the air like branches in a hurricane, unkempt hair seemingly whipping the first violinist -- these are some of the popular images conjured when picturing a world-class orchestra conductor.
Wang Yongji, the 56-year-old artistic director of the Shanghai Traditional Music Orchestra, parts with the popular notion, describing himself a "passive conductor."
Best-known for conducting movie scores, Wang has also made a name for himself on the stage, conducting operas and ballets to widespread acclaim.
A prodigious talent comfortable with a variety of styles and methods, Wang's direction of The Royal Concubine -- a Peking Opera classic that debuted in Beijing last week -- was hailed as brilliant.
Though a Peking Opera, The Royal Concubine was actually a Shanghai production from the start -- first staged at the Shanghai International Arts Festival two years ago.
The Shanghai Broadcasting Symphony Orchestra supplied the accompaniment band, with Wang guiding their every note. Using traditional instruments like the jinghu (a two-stringed instrument featured in Peking Opera), yueqin (a moon-shaped plucked string instrument), pipa (lute) and Chinese drums, Wang and the orchestra won over Beijing's notoriously critical audiences.
It was while speaking of his work on the opera that Wang called himself a "passive conductor."
"Conducting a Peking Opera is an entirely different experience to leading an orchestral performance," says Wang. "Instead of delivering your own emotions, in Peking Opera, the first percussionist is the de facto conductor. My role is that of the 'bridge' between the performers and the orchestra," he adds.
In addition to his work for the stage, Wang's name has rolled on the credits of many a movie and TV program. He has worked on more than 200 movies and dozens of TV dramas.
And after conducting the Sunrise, a Chinese musical debut last year, he is now preparing to conduct Shanghai Ballet's Coppelia in Spain in October.
Wang is one of very few conductors in the world with the ability to conduct an orchestra comprised of traditional Chinese and Western instruments.
The novel application of Western instruments like violin and piano in Peking Opera began in the late 1960s. Conductors subsequently grew to appreciate the combination of orchestral and traditional instrumentation which "greatly enhanced the acoustical dimensions of opera accompaniment."
A relatively new trend has emerged in which traditional operas are being modernized, with conductors like Wang having the ability to marry ancient Chinese and Western instrumentation.
Mei Baojiu, son of the late Peking Opera master Mei Lanfang and star of The Royal Concubine, recently credited Wang for bringing a new dimension to the stage.
"I'm very grateful to Mr Wang for providing such a wonderful new energy to the production," said Mei at a press conference in town last month.
When the opera debuted at the Shanghai Grand Theater two years ago, Wang took on the challenge of melding orchestral and traditional instruments, and the result has changed the face of Peking Opera.
While still in his early 20s, Wang conducted Peking Opera Harbor. But the experience proved to be one of frustration for the young conductor.
"The orchestra followed my direction, while the traditional instrument players looked at the chief drummer for guidance," he recalls. "I felt I was losing the respect of the players because I could not reconcile the seemingly disparate harmonies."
Conducting Peking Operas was not high on Wang's musical priorities at the time, yet he rose to the challenge and overcame the obstacles.
As a child, Wang studied violin at the middle school affiliated with the Shanghai Conservatory of Music, but conducting was his dream. At concerts he would sit in the front row and watch the conductor's every movement.
However, he started his career by reluctantly playing violin for the in-house orchestra at Shanghai Film Studio after graduation. Wang was later designated as the orchestra's conductor after several senior conductors left.
Overjoyed at having the opportunity to conduct, but not feeling confident of his abilities, he secretly studied with Huang Xiaotong, a former professor at the local conservatory.
It was not until the 1980s, however, that he graduated from the Composition and Conduction Department of Shanghai Conservatory of Music. In 1998, he won an internship with the Chicago Symphony Orchestra and studied under conductor Daniel Barenboim.
"Today, I believe that conductors learn more from observation and comprehension than from textbooks," he says.
Wang also credits renowned musicians like violinist Yu Lina for aiding his early musical development.
From late 1970s, Wang spent a decade as a conductor for the movies, cooperating with many famous directors, such as Xie Jin.
It was only a few years ago that he left to become resident conductor of the Shanghai Broadcasting Symphony Orchestra.
In 2001, a new chapter of his life unfolded as he was appointed artistic director of Shanghai Traditional Music Orchestra.
At the beginning of this year, he led the orchestra at the Golden Hall in Vienna, Austria and toured around Europe.
"Traditionally, conductors of traditional music were taken from the ranks of senior players. I hope that my unique background has added something fresh to the orchestra," Wang says.
For the coming Shanghai Spring International Music Festival, a special performance featuring female players of Wang's Traditional Music Orchestra, will be a highlight.
(Eastday.com April 23, 2003)
