Ca trù: An Opera Night Amid the Streets of Hanoi

On a typical Sunday evening in Hanoi’s Old Quarter, the sounds of bustling motorbikes, lively street vendors, and the click of cameras capturing the chaos are common. But if you stroll down Hang Bac, or 'Silver Street,' another, more unique melody may soon fill your ears.

The mesmerizing sounds of ca trù – one of Vietnam’s most cherished musical traditions – are impossible to overlook. This ancient art form of sung poetry dates back over a millennium.

In 2009, UNESCO recognized ca trù as an ‘Intangible Cultural Heritage in Need of Urgent Safeguarding,’ highlighting its importance and vulnerability.

When you visit Vietnam and hear ca trù for the first time, you’ll quickly see why it’s so treasured. But with the aging practitioners and waning interest among younger generations, there’s concern that this cultural gem could soon fade. Thankfully, efforts are underway to preserve and protect this vital part of Vietnamese heritage.

An Elegant Beginning

In 1994, Barley Norton, a senior lecturer in ethnomusicology at Goldsmiths, University of London, was first introduced to ca trù.

“Ca trù is something you have to grow accustomed to,” says Norton in an interview with Dinogo. “To someone who’s never heard it, it can sound strange. But once you start to appreciate its nuances and the distinctive vocal style, it becomes far more captivating.”

Often considered Vietnam’s version of opera, ca trù is performed with dramatic, powerful vocals – always by a woman. The themes of the songs vary, ranging from tales of love and desire to reflections on the beauty of Hanoi’s West Lake.

Originally, ca trù was reserved for Vietnam’s intellectuals and wealthy classes, but over time, it found its way into the “singing bars” of Hanoi. Some have drawn comparisons, albeit loosely, to the performances of geishas in Japan’s cultural history.

Both musical forms originated as elite entertainment and, over time, both faced reputational damage as associations with vice grew.

Following the communist takeover of northern Vietnam in 1945, ca trù was stigmatized as linked to prostitution and French colonial influence. The genre also suffered from the impact of ongoing wars. However, many aspects of pre-revolutionary culture that were once disdained after 1954 are now embraced as key elements of Vietnam’s cultural heritage, according to Norton.

A Revival of Ca Trù

Over the last thirty years, ca trù has seen a modest but meaningful resurgence, fueled by government support and the dedication of passionate artists like Bach Van.

Wearing a vibrant fuchsia ao dai, Vietnam’s traditional tunic dress, 60-year-old Bach Van is a leading figure in the ca trù scene. With over three decades of experience, she founded the Hanoi Ca Trù Club in 1991 to introduce the genre to a broader audience. Van performs every Sunday evening at Dinh Kim Ngan House, a historic communal venue that has stood for centuries.

Introducing the Master

When Bach Van begins to sing, her voice fills the room with an otherworldly resonance. Using a unique blend of breath control and rapid vibrato, she creates intricate, ornamented tones. At times, her voice echoes with a braying sound, at others, a soft hum. The melodies shift from gentle and lilting to deeply plaintive and yearning.

Her voice swells in a crescendo, breaking into delicate tonal embellishments, reminiscent of ocean waves rippling across the shore. Ca trù features 56 distinct melodies, each without a fixed rhythm.

“There’s no steady pulse, which makes it quite unique,” Norton explains. “It’s an art form that allows for a degree of improvisation.”

As she performs, Van taps out a rhythm on a small bamboo bar. She explains that while she can strike this instrument at various moments – before, during, or after her singing – the rules governing its use are strict and precise.

Two additional instruments accompany the singer – a towering, three-stringed lute (at 5.5 feet, it’s one of the world’s longest stringed instruments) and a 'praise' drum.

The praise drum, as the name suggests, is used to show approval or disapproval of the singer’s performance. Traditionally, audience members would play it, but nowadays, a ca trù musician strikes it, creating a sharp, jarring sound that punctuates the singer’s vocal lines.

The Song Continues

Ca trù isn’t formalized – there’s no school or curriculum that teaches this intricate vocal style. Instead, it’s passed down orally and through hands-on training. Van explains that this process can take anywhere from three to ten years. A student must memorize up to 100 songs before they are deemed ready to perform in front of an audience.

After her Sunday night performance – attended by just four people – Van states, almost casually, that ca trù “will likely die” with her. From the courtyard, the haunting melodies of ca trù drift out into the busy streets of Hanoi, and a few curious passersby stop to listen.

Every Sunday night, Van performs at Dinh Kim Ngan, located at 44 Hàng Bạc, Hoàn Kiếm, Hanoi.