Peking Opera boasts the most influential theatrical art of all Chinese operas.

Among varied factors that help enhance its standing position, the most consequential element lies in its capacity of absorbing the best of other traditional Chinese opera styles. This is demonstrated by its other titles of Pihuang, Erhuang, or Huang Qiang in that the main melodies of Peking Opera originated from the Pihuang musical system, a combination of the two distinctive local melodies from southern China, namely, Xipi melody in Anhui Province and Erhuang melody in Hubei Province .

Besides, Peking Opera is also called Jing Diao, Jing Xi, Ping Ju or Guo Ju, which reveals its close relationship to the capital of Beijing as well as its highest national status. Diao, Xi, or Ju means a certain theatrical operatic style while Jing or Ping refers to Beijing and Guo, underlining that Peking Opera is a national opera.

Peking Opera 's Rise to the Peak of Chinese Operas

It is believed that Peking Opera gradually came into being after 1790 when the famous Four Anhui Opera Troupes (the Sanqing, Sixi, Chuntai, and Hechun troupes) came to Beijing in celebration of the 80th birthday of Emperor Qianlong of the Qing Dynasty (1644-1911). Since then, Peking Opera under the imperial patronage underwent fast development during the reigns of Emperor Qianlong and the notorious Empress Dowager Cixi, eventually becoming prevalent around the country.

Around the time when the Four Anhui Opera Troupes first came to Beijing, the contemporary theatrical stage featured the three prominent operatic systems, namely, Kunqiang Opera (the present Kunqu Opera originating from East China's Jiangsu Province), Qinqiang Opera (the forefather of Chinese operas that is thriving in North China's Shanxi and Gansu province s), and Jingqiang Opera (also called Yiyang Qiang or Gaoqiang).

The Four Anhui Opera Troupes made full use of the three accepted operas, assimilating most of Qinqiang Opera's repertoires, tunes, and performing techniques as well as part of those of Jingqiang and Kunqiang operas. Meanwhile, other elements, such as the local dialect and customs of Beijing, are also incorporated in what was later called Peking Opera.

It was only after 1840 that Peking Opera formally took shape, when classic Peking Opera repertoires and the names of the first-generation performers were on the lips of the people in Beijing. The three famous laosheng actors of Cheng Changgeng, Yu Sansheng, and Zhang Erkui, made great contribution to the development of Peking Opera. Represented by Cheng Changgeng, they spared no effort in integrating Kunqu, Anhui and Han opera tunes, which laid the foundation for the laosheng role in Peking Opera.

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