For Hu, performing Zhao in Sword of the Cosmos is not just about playing a role — it is about carrying the weight of Mei Lanfang's legacy. As he steps into Zhao's shoes, he takes on the responsibility of preserving an art form rooted in both beauty and struggle.

"Zhao Yanrong is caught between two worlds," Hu says. "She is a noblewoman, even in her madness. She must maintain her dignity, even as she grapples with her grief. The challenge is not to overplay her madness. It has to feel real, but it must also retain the elegance of Mei's style.

"The role is a tragic one, and it's not just a performance. It's an emotional experience that transcends the stage," Hu continues. "The arias in Sword of the Cosmos are particularly demanding. They test both stamina and artistry. It's like practicing tai chi — there's a fluidity in the movement and thought, but every emotion must still be conveyed. It's physically exhausting, but deeply fulfilling."

A week before the performance, Hu sat down for an interview with China Daily in a rehearsal room at the Jingju Theater Company of Beijing. As the first notes of the band filled the room, he stood poised, his delicate hands steady, his face and body shifting into the noblewoman's form. After hours of intense rehearsal, his body glistened with sweat, every muscle taut, his breath heavy but controlled as he pushed through the final moments.

"I am approaching 60, and this role is both physically and emotionally demanding," he says, wiping sweat from his brow with a tissue. "But that's the beauty of traditional Chinese opera. It challenges both your physical limits and your emotional depth. The actors (of nandan) spend years developing a voice that is both high-pitched and feminine, while mastering the delicate, graceful movements required for female roles."