After nearly a decade of design and construction, the new Shanghai Grand Opera House finally opened last weekend. Comprising three auditoriums seating 4,200 people, the 146,786 square metre cultural complex on the banks of the Huangpu River also has a spiralling public rooftop, boasting panoramic views of the city.
Three opera productions by international companies are due to be staged in the inaugural season at Shanghai. Teatro La Fenice’s production of Tosca, directed by Joán Anton Rechi, will make its China premiere on 22nd October.
The Mariinsky Theatre’s Aida, conducted by Valery Gergiev, will be on stage from 30th October, and Gergiev will also conduct a Shostakovich cycle with the Mariinsky orchestra. Staatsoper Berlin and Christian Thielemann will also be in Shanghai in November to present André Heller’s production of Der Rosenkavalier in China for the first time.
Concerts this season include appearances from Rudolf Buchbinder, who presents a Beethoven cycle with the Staatskapelle Berlin, Yuja Wang with the Mahler Chamber Orchestra, and Sir András Schiff with Staatskapelle Dresden in January.
Together with international productions and soloists, Shanghai Opera will become the resident company at the new house. They present Turandot this season, in a production originated by Roberto Ando, following a well-received run in April this year. The venue will also showcase Chinese opera (or Xiqu), with performances this season of classics including The Peony Pavilion and Dream of the Red Chamber.
Dance and ballet performances this season include appearances from American Ballet Theatre and Boris Eifman Ballet, as well as the Shanghai Ballet and Shanghai Dance Theatre.
The building’s design was headed up by Norwegian architecture practice Snøhetta, and is intended to become a place for everyday civic life and informal gatherings. With a sweeping white staircase that spirals upwards to the roof, the design recalls Snøhetta’s approach to the Oslo Opera House, where an accessible rooftop has become central to the building’s public identity.
Located on the south bank of the Huangpu River, on the former site of the Shanghai Expo 2010, the building’s architecture is inspired by the distinctive curve of the river and the geometry of a traditional Chinese fan. The elevated rooftop observation deck offers views across Shanghai’s skyline throughout the year, welcoming visitors whether or not they attend a performance.
The predominantly white exterior contrasts with more colourful and textured interiors. Harmony Hall, the principal auditorium, seats 2,000 across five levels. The dark red interior has been designed for operatic performance, with acoustically calibrated surfaces to support vocal projection and clarity.
The 1,200-seat Soar Theatre offers a more intimate setting for Classical and Baroque opera and operetta. Open Stage, with 1,000 seats, provides flexible staging and seating configurations for experimental work, alongside views towards the surrounding park.
As a city, Shanghai has historically maintained international ties, and the new Grand Opera reflects the city’s ambition to strengthen its international cultural presence. Its longer-term significance will depend on how successfully its artistic programme matches the architectural ambition.
For architects Snøhetta, the building’s public role extends beyond the performances themselves, inviting residents and visitors to explore the rooftop and landscaped surroundings as part of everyday urban life in Shanghai.
