The opera opens with a promising scene based on traditional Chinese music and employing traditional instruments to great effect. A narrator, the Yin-Yang Master, sensationally done by the Peking Opera performer Wu Hsing-Kuo, outlines the story we are about to see in a striking mixture of singing, dancing, and acrobatics against a backdrop of Chinese drummers and a chorus. After that, the principals enter and the music becomes predominately western with the Chinese instruments relegated to marginal exotica. The singers are forced to struggle with a libretto that seems unsingable, words resisting the melodies to which they?re set. Set piece arias are predominately slow, accentuating the static effect of the staging in most of the scenes. As the Emperor, Placido Domingo, more baritonal than usual, often sounds strained but retains his stage presence. As his daughter, soprano Elizbeth Futral sings very well indeed, especially given the ungrateful material she?s given. Tenor Paul Graves sings her lover, the composer Jianli. He?s perhaps the most effective cast member, singing with color and firm tone. His rival for the princess, General Wang, is well sung by Hao Jiang Tian, and the excellent mezzo, Michelle DeYoung is a suitably scary Shaman, costumed like a Halloween witch, super-long fingernails to the fore. Tan Dun conducts the MET orchestra, whose music is fairly tepid when the assisting Chinese instruments fall silent. The enthusiastic reception of the audience at the end of this 2007 performance suggests that the opera, or at least the production, is a crowd pleaser. Home theatre audiences will welcome the blaze of colors and innovative production details, in a contemporary opera featuring some fine singers. --Dan Davis