By: Joy Zhang

This exclusive interview with young rising composer Ziyan Yang delves into the intricacies of his journey in the world of opera and musical theatre, exploring his inspirations, creative process, collaborative experiences, and aspirations for the future.

What initially inspired you to pursue a career in composing for opera and musical theatre?

Ziyan Yang: “I’m deeply passionate about storytelling through music. From the enchanting tales of Disney princesses to the raw emotion of Rent, and from the mythical world of Hadestown to the poignant narrative of Fire Shut Up In My Bones, the captivating stories within the realm of opera and musical theatre have always been a profound inspiration for me. I believe that characters on stage should not only act but also sing; as they sing, I envision them dancing, and through their performance, I aim to inspire my audience.”

Could you share a bit about your creative process when composing a new piece? How do you typically begin?

Ziyan Yang: “Collaboration is at the heart of my creative process, and I consistently work closely with my librettists. With countless stories in the world, we ponder: what resonates with us? And who is our intended audience? Our brainstorming sessions span from grounded realism to enchanting fantasies, from exploring Asian culture to addressing global themes, all in pursuit of fresh and inclusive ideas. Once the concepts are solidified, the interplay between music and libretto begins, where artistic minds converge to shape our vision.”

Are there any specific themes or motifs that you find yourself drawn to in your stories?

Ziyan Yang: “Without a doubt, I’m drawn to queer narratives, as there’s a wealth of stories within this community that are underrepresented in the industry. Fantasy tales have always held a special place in my heart; they were my introduction to this art form, and a captivating fantasy journey often resonates deeply with audiences. Exploring Asian stories, reflective of my own background, is another passion of mine. However, I’m committed to challenging stereotypes as I craft new narratives. Ultimately, as a human being, I believe each of us embodies countless facets, each with the potential for an expansive story arc waiting to be explored.”

Collaboration is often key in the world of theatre. Can you walk us through a memorable moment or experience from one of your productions?

Ziyan Yang: “My upcoming work, ‘Ti’Mon,’ holds the distinction of being the sole musical theatre piece featured in the 4th Obsidian Festival in Detroit. Collaborating with my dear friend, Ashlee K. Thomas, has been an incredibly enlightening experience. When Ashlee first proposed the idea—a Haitian immigrant mother and her estranged son, Ti’Mon, whose bond has been fractured by years of separation—I initially felt daunted. The narrative of a black family was unfamiliar territory for me. However, Ashlee’s encouragement to approach the music without hesitation allowed me to dive into the composition process. Through this journey, I came to realize the universal themes embedded within the story: the experiences of people of color, the struggles of immigrants, and the poignant dynamics of fractured familial relationships. It became evident that as creators, it’s essential to embrace narratives outside of our own communities because, fundamentally, we are all interconnected as human beings.”

As a composer, how do you balance staying true to your artistic vision while also meeting the practical demands of a production?

Ziyan Yang: “What a fantastic question! Finding the perfect balance within genres can indeed be quite challenging—avoiding extremes of being overly musical or too operatic while ensuring the sound seamlessly complements the production. For me, maintaining authenticity is key, but it’s equally important to prioritize the narrative above all else. Regardless of the artistic form, my primary role as a composer is to serve the story. While music itself may not convey specific information, it possesses the remarkable ability to evoke profound emotional responses. When combined with text, choreography, and visual elements, it culminates in a powerful synthesis. Even amidst differing creative visions, effective communication and negotiation ensure that every voice involved finds its rightful place in the collaborative process.”

What advice would you offer to aspiring composers who are looking to break into the world of opera and musical theatre?

Ziyan Yang: “Diving into dramatic writing proved immensely beneficial, but it was the fusion of skills as a playwright, poet, and lyricist that truly transformed my perspective. Immersing oneself in the literary realm offers invaluable insights. As we develop our own artistic comprehension of drama, our musical compositions inevitably ascend to new heights, harmonizing seamlessly with the narrative. Moreover, maintaining a cool and open-minded demeanor is essential in this collaborative industry. Gone are the days of solitary score writing; instead, we are tasked with crafting expansive worlds and landscapes that resonate with a diverse crew.”

Lastly, what are your hopes and aspirations for the future of your career in this industry?

Ziyan Yang: “Above all, stay alive. In this fiercely competitive industry, success often requires patience and perseverance. It’s crucial to temper our expectations and remain grounded in reality while pursuing our passions. Looking ahead, my greatest aspiration is to engage in projects that resonate deeply with me, both as an artist and as an audience member. Furthermore, I hold a heartfelt desire to pay it forward by imparting knowledge to the next generation. Along my journey, I’ve been fortunate to benefit from the guidance of exceptional mentors, and I hope to share their wisdom with future creatives. Ultimately, I aspire to be happy.”

In this captivating interview, Ziyan Yang invites everyone into his world of music and storytelling, offering his insights into the creative process and the profound impact of collaboration in the realm of opera and musical theatre.

Published by: Martin De Juan