From Publishers Weekly
Together with Morris, a
New York Times music writer, celebrated operatic bass Hao Jiang Tian tells the colorful story of how he became the first world-class Western opera singer from China. In Beijing, separated from his parents (both military officer/musicians whose Communist loyalties were under suspicion), Tian chafed against the artistic restrictions of China's Cultural Revolution. Everything natural became unnatural, he writes. Tian is 20 before he discovers his singing voice, and he is 30—having played accordion, studied Verdi and attended an American college on scholarship—by the time he sings at the Metropolitan Opera in 1991. Tian's adventures are driven by pluck,
yuan (fate) and romance, and spun with a raconteur's skill, the narrative's chronological rush spiked with apt foreshadowing, flashbacks and endearing humor. His insider's take on the rigors of operatic training and backstage blowups, along with his career details (roles from Mephistopheles to poet Li Bai) and name-dropping (Pavarotti, Domingo), are a fan's delight. Most remarkable, however, is the way that Tian's concern for family and country, along with the details of his life in music, create a metaphor for an emerging self-awareness.
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Born in 1954, Tian was the son of musicians in the Mao-era People’s Liberation Army, whose status allowed the family more privileges and a higher standard of living. Tian quickly learned to play guitar and piano and used these skills to gain some advantage over his peers. For the most part, his life has been one of struggle. Life under Mao included the dark period of the Cultural Revolution, when Tian worked in a factory while honing his musical skills. He studied voice at China’s Central Conservatory and, thanks to contacts in Denver, attended the Lamont School of Music and sang small roles in Opera Colorado before auditioning for the Metropolitan Opera, with which he has sung since 1991. Now in demand all over the world, the basso’s most recent triumphs are the title role in Guo Wenjing’s Poet Li Bai and General Wang in Tan Dun’s The First Emperor. Tales from the opera house add spice; concluding comments on singing, performing, and managing a career, richness to an altogether delicious book. --Alan Hirsch