A Dialogue with History

Performing the traditional xipi and erhuang melodies in this sacred home of Chinese opera, Fu Fengyi seemed to be in conversation with history. His interpretation of Xu Ce Runs Through the City was remarkably mature: he handled the movements of the official’s hat wings and the beard techniques with ease, vividly conveying Xu Ce’s exhilaration and urgency upon learning that a long-standing injustice had finally been redressed.

His composure and expressive power, far beyond his age, won high praise from the expert judging panel, which included artists from national-level opera companies. Song Xiaochuan, Chair of the Judging Panel and a leading artist of the Ye-style school at the National Peking Opera Company, noted in his address that holding a youth Peking Opera competition in the “hometown of Cheng Changgeng” carries special significance: it allows the seeds of this national art form to take root in young hearts and be passed on from generation to generation. Fu Fengyi’s performance was a vivid response to that vision.

Practice Behind the Applause

As the saying goes, one minute on stage takes ten years of work offstage. Fu Fengyi’s connection with Peking Opera began with family influence. His mother, Zhu Lei, explained that, inspired by his grandfather’s love of Peking Opera, Fu began encountering and studying the art when he was just over three years old.

For a child of his age, the monotony and difficulty of training are easy to imagine. To master a single gesture or one line of singing, he often repeated it hundreds of times. Yet his love for and dedication to traditional art sustained him through years of demanding practice. In his mother’s eyes, her son’s perseverance and growth are her greatest source of pride. Speaking of his stage performance, Zhu said with emotion: “All these years of hard work have not been in vain. I am proud of him.”

His outstanding showing in the competition was not only recognition of his personal artistry, but also a fitting reward for years of persistence. With a child’s frame, he carries the responsibility of cultural inheritance, allowing this ancient operatic art to shine with the freshness and innocence of a new generation.

Beyond Competition

This year’s competition coincides with the launch of China’s Three-Year Action Plan for the Revitalization of Theatre. More than a contest, the program has created a cultural framework combining competitive performance, masterclasses by renowned artists, and study activities focused on intangible cultural heritage.

Outside the competition, Fu Fengyi and the other 115 young contestants visited the Tianzhushan study camp, took part in opera-inspired cultural and creative activities, and attended lectures by leading artists. This immersive experience allows the seeds of Peking Opera to flourish not only on stage, but also to take deep root in the children’s hearts.

From the historic glory of Anhui opera troupes entering Beijing to the young performers now standing at the foot of Tianzhushan, Peking Opera is writing a new chapter through both generational continuity and innovation. Fu Fengyi’s performance of Xu Ce Runs Through the City expressed not only the joy of the character onstage, but also the vigorous vitality of China’s national art form in a new era.