Mobility and re-creation are key concepts in Tan Dun’s ‘opera within an opera’, although readers expecting gravy-train minimalism will be disappointed. Tan uses rhythm in the old-fashioned way, at key dramatic moments or in support of internal and external action. The ‘re-creative’ element concerns, if I read the composer rightly, opera directors and their potential responses “to different elements of these tales [concerning Marco Polo] in creating the dramatic world of the opera”. The ‘plot’, which has been skilfully rendered verbal by Paul Griffiths (although words in this context have a strongly allusive function), concerns three journeys, one physical, the other two spiritual and musical, respectively. The components of the name ‘Marco’/‘Polo’ are initially polarized to represent ‘Marco the traveller’ and ‘Polo the memory’ (their words are similarly divided), although the two do eventually join forces for a duet.
Musically, Marco Polo is based on the interconnection of two very separate currents – Eastern operatic and instrumental traditions (“Opera 1”), and Western opera traditions with a blend of Eastern and Western instruments (“Opera 2”). The forceful opening (a recurring idea) is shared among Chinese percussion, whereas much of the string writing that follows curves in the style of Chinese popular music. The ‘physical’ aspect of the journey calls on medieval, Middle Eastern, Indian, Tibetan, Mongolian and Chinese influences. For example, the section entitled “Sea” (the ‘medieval’ episode) includes some especially beautiful flute writing and the “Himalaya” sequence features imposing Tibetan horns. In fact, newcomers to Tan Dun’s work are strongly advised to start with that particular group – which occupies tracks 5 to 7 on the second CD – as a sampling point. Mahler counts among the ‘Western’ components (Shakespeare and Dante are two others), quite literally on track 14 of the second disc where “Der Trunkene im Fruhling” from Das Lied von der Erde makes a cameo appearance (remember that the German text is based on a poem by Tan’s poetical Chinese protagonist, the T’ang Dynasty master Li Po – or Li Bai as he is more commonly known today). Time again throughout this work I was reminded of another movement from Das Lied, the powerfully atmospheric final song, “Der Abschied”.
Tan Dun’s instrumentalists and vocal team give virtuoso performances, but special mention should be made of Susan Botti and Thomas Young, although the most astonishing vocal contribution of all comes from Shi-Zheng Chen, whose range and agility are remarkable. Marco Polo’s instrumentation includes a substantial battery of percussion, various national instruments (pipa, sitar, Tibetan bells and so on), ‘optional’ old instruments, plus woodwind, brass and strings. Documentation is intriguing, albeit occasionally cryptic, and the recording is excellent.
Marco Polo is a compelling musical journey that calls on a mass of tonal colour (sometimes riotous, sometimes meditative), invariably to powerful effect. It is a world in itself, set at a pace quite different to our own, and is certainly one that I would want to visit again.'