Shanghai Grand Theatre Continuously Grows, 25 Years Ron Green | Theatre | Shanghai Grand Theatre

Another August 27th is approaching, and together with the first general manager of Shanghai Grand Theatre, Le Shengli, and the artistic director, Qian Shijin, the engineers who have devoted themselves to the construction of the Grand Theatre will reunite in the A+art space corridor on the first floor of Shanghai Grand Theatre. What attracts these grandparents is an unexpected cultural and creative product - the milk flavored ice cream launched by the Shanghai Grand Theatre on the occasion of its 25th anniversary celebration. The design is a cute miniature building of the Grand Theatre, with the ice cream stick engraved with "Art is cool". Over the past 25 years, Shanghai Grand Theatre has continuously produced interesting new content.

"Crystal Palace" Forever Brilliant 25 years ago, Shanghai Grand Theatre used unprecedented "firsts" to push the industry to break down conceptual barriers. At the end of 1993, when Le Shengli was ordered to serve as the overall commander of the headquarters for the construction of the Grand Theatre, the northwest corner of People's Square was still the Sports Palace. "The outdoor ice skating rink there is famous throughout the city." On the fifth day of the Chinese New Year in 1994, Shanghai announced to the world that it would build the Grand Theatre. At that time, the Shanghai Museum had already started construction, and the construction of the Shanghai Art Museum and Shanghai Library was also underway. The headquarters for the construction of the Grand Theater is conducting both relocation and bidding. In April 1994, the review meeting for the international collection of design proposals for the Shanghai Grand Theatre was held. The scheme evaluation committee passed an anonymous vote and unanimously approved France A R. Inspired by the singing platform in Yu Garden, the design scheme of T. E Xia Bangjie Architecture Firm outlines the outline of Shanghai Grand Theater with a huge roof, distinctive columns and an open theater structure. In August of that year, the construction team entered the construction site. "The construction site of the large theater was muddy, and the city leaders held on-site meetings almost once a week to ensure the orderly progress of the project." Le Shengli remembers that at the beginning of the construction of the large theater, the city leaders proposed: "The large theater should be hazy during the day and crystal clear at night." The seemingly contradictory requirements were actually very knowledgeable. "Avoid light pollution during the day and prevent energy waste caused by air conditioning due to direct sunlight." Upon closer inspection, the 749 pieces of 5.4 square meter sized glass that make up the exterior wall of the theater were separated by dot patterns from coarse to fine, from 0 to 95%, achieving "pure white." The effect is transparent, hazy, and crystal clear. Stainless steel frog claws extend from the steel cable, tightly grasping each piece of glass weighing up to 200 kilograms from different directions, making the entire glass curtain wall simple, bright, and safe. At night, the Shanghai Grand Theatre shines brightly like a crystal palace, achieving the leading green and low-carbon technology in China.

At that time, German experts guiding the installation of glass repeatedly emphasized the need to introduce technical workers from overseas. Unexpectedly, after the installation project began, the technical workers from Anhui "flew over the eaves and walls", which impressed the Germans. Le Shengli smiled and said that the spare glass on the wall has always been stored in the warehouse and has not been moved. "It has been 25 years, but it is still 'spare'." This autumn, the Shanghai Grand Theatre opened four new spaces, and the general manager of the theater, Zhang Xiaoding, like his predecessors, hopes that more people can get close to the Shanghai Grand Theatre. The theater has become a part of urban street life. "Citizens and tourists walking by the street will be attracted by the open space and leisure space of the Shanghai Grand Theatre. In addition to watching the theater, the theater can also create an artistic atmosphere, allowing everyone to experience the unique temperature of the city."

Never forget, there will always be echoes. During the 2023-2024 season of the Shanghai Grand Theatre, the "characteristics of the Grand Theatre" such as opera masterpieces, classical symphonies, classic ballet, and popular musicals will all return. Out of the 480 performances on 58 platforms, nearly 70% of the plays were "premieres and shows". When asked which performance Qian Shijin was most interested in, he said without hesitation, "My first choice is the Malinsky Theatre's" The Ring of Nibelungen. "In October, the opera quadruple" The Ring of Nibelungen "will be performed by conductor Valery Dzeyev and the Malinsky Theatre for four consecutive nights, fulfilling the expectations of opera fans, including Qian Shijin. When the Shanghai Grand Theatre was still a construction site, Qian Shijin had a firm idea to introduce representative works of the world's four major opera genres - Italian opera, French opera, German opera, and Russian opera. Since its opening on August 27, 1998, Shanghai Grand Theatre has adhered to the brand positioning of "international, artistic, classic, and original", welcoming countless world-class artists. From the three tenors of Pavarotti, Domingo, and Carreras, to the works of the four major opera genres, as well as international first-class art troupes such as Vienna Philharmonic, Berlin Philharmonic, Royal Opera House, National Opera House of Paris, Moscow Grand Theatre, and Malinsky Theatre, countless unforgettable artistic moments are brought. The uncompromising control over quality was already evident when Shanghai Grand Theatre invited the world's three major tenors. Qian Shijin insists on not holding a three person concert. "The three tenors should come one by one, hold a personal special concert, sing all the representative works one by one, and give the Shanghai audience enough music enjoyment for a long time." "What is your most interesting project for the 2023-2024 performance season?" Zhang Xiaoding's first choice is to come to the Shanghai Grand Theatre again after 23 years at the American Ballet Theatre. In 2000, the American Ballet Theatre made its debut at the Shanghai Grand Theatre with "The Dancer". At that time, Zhang Xiaoding was responsible for producing a program album for the second anniversary of the opening of the Grand Theater. She still remembers the shock brought by the exquisite stills of "The Dancer". In November this year, the American Ballet Theatre will perform three "Giselle" and two "Ballet Essence Special Performances" at the Shanghai Grand Theatre. The "Ballet Essence Special Session" is the only "extra session" of his Chinese tour, featuring the classic works of three choreographers, George Balanchin, Eli Kirian, and Alexei Romansky. "The 'Ballet Essence Special Session' that only exists in Shanghai means that the Shanghai Grand Theatre has more control over content operations, and has added a new menu unique to Shanghai in addition to the regular menu of dance troupes' tours. Zhang Xiaoding said that the new performance season's program was released alone, and the audience" exploded ". Beijing colleagues also sent congratulations," Come to Shanghai to try something new then. "What Zhang Xiaoding can't forget is that in May 2024, Svetlana Zakhalova, the" Double Chief "of the Moscow Grand Theatre Ballet and the Skara Opera House Ballet, will bring two heavyweight programs, including" The Legend of Chanel ". She will perform on stage with her husband and famous violinist Vatin Ribin at the Shanghai Grand Theatre; Anna Naribeko, the "Opera Queen" who won the Russian National Medal of Literature and Art, came to Shanghai this autumn to perform songs by Russian composers such as Rimsky Kosakov, Rahmaninov, and Tchaikovsky. "In 2017, due to various reasons, we missed Anna Naribeko and finally made her Shanghai debut."

The theater art tour held by Shanghai Grand Theatre is guided by professional stage art teachers who lead people down from the audience and onto the stage. Photo by our reporter Dong Tianye

This year, three Shanghai Grand Theatre series of "Oriental Stage Aesthetics" have plans to go nationwide. Kunqu opera "Six Memoirs of Floating Life" will make its debut at the China Japan Korea Drama Festival held in Shenzhen. The new version of "Peony Pavilion" starring Zhang Jun and Dan Wen will be released in Taipei in November. The dance drama "White Snake" starring Tan Yuanyuan will be revised and upgraded and will premiere again next spring. The fourth "Eastern Stage Aesthetics" series of works has entered the script development stage, inspired by a well-known Chinese character painting. "We hope that the audience can discuss the plot and reminisce about the characters when they leave the theater." Zhang Xiaoding has been frequently browsing "Six Records of Floating Life" recently, and her audience's insightful interpretation of the plot and characters has made her exclaim "unexpected". "After several rounds of polishing, the plot of" Six Records of Floating Life "has become smoother, and I heard that the staff of the Chinese Drama Association have cried." In Qian Shijin's view, the "Eastern Stage Aesthetics" series of works echoes the 25 year journey of the Shanghai Grand Theatre. "The positioning of the Shanghai Grand Theatre when it was born was". In 1999, the Shanghai Grand Theatre version of the Yue opera "Dream of the Red Chamber" brought together famous characters such as Qian Huili, Dan Yangping, Zheng Guofeng, Wang Zhiping, Fang Yafen, and Hua Yiqing, with renowned screenwriters Xu Jin writing. All the stage design was tailored to the Grand Theatre, and 10 technical teams were established. The marketing of the Grand Theatre version of "Dream of the Red Chamber" has always been in Hong Kong, where there are a large number of Yueju opera fans. The Grand Theatre also targets the families of fans with advertisements: "Loyalty or unfilial, it depends on whether you buy" Dream of the Red Chamber "for your mother-in-law." Another drama that Qian Shijin is fond of is "Grand Tang Consort". In 2001, Mei Baojiu, along with Zhang Xuejin, Li Shengsu, Yu Kuizhi, Shi Yihong, and Li Jun, appeared on stage together. As the opening performance of the 3rd Shanghai International Art Festival in China, "The Grand Concubine of the Tang Dynasty" stunned four audiences. "No matter where the performance takes place, the audience is always immersed in the play, especially the theme song 'Ode to Pear Blossoms', which is sung across the country." Li Jun said, "I have walked through many parts of the world, and it can be said that wherever there are Chinese people, there is the voice of' Ode to Pear Blossoms'."

The Shanghai Grand Theatre is the earliest musical performance venue in China, with a future track in the layout of musicals. 21 shows of Les Mis é rables in 2002, 53 shows of Cat in 2003, 35 shows of Sound of Music in 2004, 100 shows of Phantom of the Opera in 2005, 101 shows of Lion King in 2006, as well as Sound of Music, Mamma Mia! And Hair Gel Star Dream, leading the way in the country. By the end of 2023, the Broadway immersive new production musical "Natasha, Pierre, and the Great Comet of 1812" will be jointly presented by Shanghai Grand Theatre and Shanghai West Coast Grand Theatre, leveraging the advantages of theater management. The crew plans to recruit 12 actors in New York, with over 2000 applicants. The music director of the original Broadway version of this musical has just left China, and during his time in Shanghai, he participated in the selection of 14 Chinese actors. "The novel" Natasha, Pierre, and the Great Comet of 1812 "originated from the novel" War and Peace ". The Shanghai Grand Theatre will produce a long-term unconventional theater project, which has great appeal to current Broadway musicians. They are very eager that the work can be recognized by Chinese audiences and enter the huge Chinese performance market." Zhang Xiaoding said that the production team, from the director to the lighting and sound engineers, all have Chinese people, and the stage design is completed by a Chinese team selected by the Grand Theatre. "Our designers introduced the concept of clothing to foreign directors, and they praised it as more fashionable and avant-garde than the Broadway version." "For a period of time, the Grand Theatre did not produce musicals, not because it gave up, but because it was the best." "The plays have all been completed," said Zhang Xiaoding. "In the second wave of musical theater craze, Shanghai Grand Theatre remains a golden signboard. Strong market operation and land technology guarantee allow Grand Theatre to calmly layout the future track." Rock School "has the highest box office in the country for a single performance. Macau heard about the production news of" Natasha, Pierre and the Great Comet of 1812 "and immediately inquired about our tour arrangements." Starting from May, "Phantom of the Theatre" The Chinese version premiered 40 shows at the Shanghai Grand Theatre, and the foreign director discovered that the holes drilled in the ceiling of the theater in 2005 for installing crystal chandeliers were still there. The theater staff who helped install the stage were also old acquaintances who had dealt with them in 2005. "The cooperation between the two parties is very tacit. In other theaters, the complex stage effects of" Phantom of the Theater "may be discounted, but when it premieres at the Shanghai Grand Theatre, it will definitely be 100% or even 120% complete."

Adhering to her own track every few years, whenever new large theaters are born in Shanghai, Zhang Xiaoding is often asked what challenges there are. Her answer is consistent, "Shanghai is the region with the highest level of commercialization in the national performance market and the highest ticket warehouse in China. Whether the plays sell well in Shanghai is a key criterion for theater troupes and creators. Shanghai's population and economic prosperity determine the capacity to generate more theaters and cultural activities." On September 17th and 19th, the new performance season of Shanghai Grand Theatre premiered the opera "Ron Green", with a group of gamers entering the theater for the first time in the audience. This year, the Shanghai Grand Theatre Creation Center has partnered with Tencent's game "Love of Light and Night" for the first time, inviting popular characters to serve as "special recommenders" and unlocking the "Z generation" audience circle. On the evening of the announcement, the number of clicks exceeded 100000.

"In the collaboration between the show and the game during the performance season, there is a picture of a swan silhouette. I thought everyone would guess it was" Swan Lake ", but I didn't expect someone to guess it right away as" Swan Knight "in" Ron Green ". These players also bought tickets to watch the opera because of the game's recommendation officer." Zhang Xiaoding sighed and learned a new lesson. "Collaborating with the game, the audience of Shanghai Grand Theatre has increased again. I have confidence in the theater's plays. When new audiences enter the theater, whether they feel warmth, happiness, or shock, they can open up a whole new world." Zhang Xiaoding remembers those who grew up with the Grand Theatre. ". During the new employee interview, someone told her that when she was a child, she went to the Grand Theater with her parents to watch "Swan Lake". A Bilibili employee proudly said that when he was in a relationship with his wife, he went to the theater to watch 40 performances a year. In his long career in engineering construction, Le Shengli witnessed the opening of Shanghai Concert Hall and Shanghai Cultural Square, and provided suggestions for the Fengxian Jiukeshu Future Art Center and the Bank of Communications Qiantan 31 Performing Arts Center. Starting from his establishment of the Shanghai Grand Theatre in 1993, 30 years have passed, and Shanghai has gone from being a unique theater to having theaters throughout the city. The Oriental Art Center, Shanghai Symphony Orchestra Concert Hall, Shangyin Opera House, Wanping Theater, Jiading Poly Grand Theater... Various types of theaters meet the needs of audiences in different regions and tastes. Shanghai should cultivate the awareness of high-quality theaters, which is a principle repeatedly emphasized by Le Shengli. The Shanghai Grand Theatre is also quietly expanding its territory. The musical "The Last Five Years" will take over at the Shanghai Grand Theatre and YOUNG Theater, further enriching and constructing a new system of "Da Xi YOUNG Gathering" linkage in the new performance season. Zhang Xiaoding said, "The Shanghai Grand Theatre adheres to its own track, takes a walk, and then looks to see if it needs to correct its direction. Some people say that with more theaters, the cake that can be eaten is smaller, and there are more museums and art galleries, the audience is diverted. In fact, as an international cultural metropolis, Shanghai will generate a gathering effect, and more performing arts groups and audiences are willing to come to Shanghai and experience Shanghai."