Backstage Confessions of a Temple Sweeper

Semele's Temple Sweeper, Eveline Chang.
Photo: Eveline Chang

By Eveline Chang

If you asked me a couple of weeks ago if I ever thought I’d have the chance to perform on the BAM Howard Gilman Opera House stage with world-renowned artists, I would have said you were cruel for teasing me. So when the call came up for an extra, or supernumerary, for the Canadian Opera Company’s production of Semele (closing tonight!), I did a double-take. As a program manager for BAM Education, I spend much of my time in the studio, backstage, or front of house. This new role—Temple Sweeper—needless to say, uncovered a completely different side of BAM for me.

During rehearsals with the COC, I learned the mysterious story of the woman I was portraying: the real-life keeper of the 17-ton, Ming Dynasty temple from rural China. Ruan Jinmei is featured in Director Zhang Huan’s documentary film and ash painting that bookend the opera, bringing a contemporary Eastern dimension to the mythology of Handel’s Semele.

In Context: Semele

The Canadian Opera Company's production of Handel's Semele comes to BAM March 4—10. Context is everything, so get even closer to the show with this curated selection of articles, interviews, and videos related to the production. Once you've seen it, help us keep the conversation going by telling us what you thought below.

Where Chinese Spirits Dwell—Semele's Temple

Semele's temple. Photo: Gary Beechey.

By David Hsieh

“Gong Hey Fat Choy!” Today we start the 4712th Chinese new year, the year of the ram. According to astrology, it’s the year to show your gentle hearts and creative impulses!

Many of the Chinese new year customs are known among non-Chinese. For instance, the marking of years with 12 animals; the standard greeting of “Gong Hey Fat Choy!” (in Cantonese) or “Gong Xi Fa Cai!” (in Mandarin), which means “wishing you good fortune;” giving “red packet money” to children; lighting firecrackers; watching the lion dance. But some are less known, including the act of paying tribute to one’s ancestors.

Semele in a Chinese Shrine

Steven Humes as Cadmus in 2012. Photo: Michael Cooper

By David Hsieh 

An ad appeared in London’s Daily Post on January 9, 1744: “By Particular Desire, Mr. Handel proposes to Perform, by Subscription, Twelve Times during next Lent, and engages to play two New Performances (and some of his former Oratorios, if Time will permit).”

Mr. Handel, was, of course, George Frideric Handel, the most famous opera composer and impresario in London then. But in 1744, his fortune was dwindling. Audience taste had turned from Italian to English opera and oratorio; the rival Opera of the Nobility was siphoning the aristocratic patronage he had enjoyed for the past 30 years. The ad was his attempt to establish a subscription-based model to put on shows.