Ha Anh Tuan’s journey to bring Vietnamese music to some of the world’s most iconic stages recently reached its pinnacle at the Dolby Theatre in Los Angeles. The concert Sketch A Rose gathered 3,400 audiences from across the world, featuring 30 musical performances. It was a dream that has just passed, yet one that will forever remain in the memories of overseas Vietnamese audiences — a night where the warmth of home blossomed in a “rose garden” reimagined through a contemporary lens.
We sat down with Sketch A Rose’s Executive Producer Vo Do Minh Hoang and Creative Director Cao Trung Hieu on bringing Vietnamese music to the iconic Oscar dome. More than a performance for the Vietnamese community abroad, their work continues to affirm the artistry and identity of Vietnamese music — one concert at a time.
How did this chapter of Sketch A Rose told in Los Angeles differ from the previous concerts in Sydney, Singapore, and Ho Chi Minh City?
Cao Trung Hieu: The concert at the Dolby Theatre marked an entirely new chapter for Sketch A Rose. Performing on one of the world’s most iconic stages meant that our storytelling — through music and the beauty of Vietnamese culture — had to rise to that level. The scale, technical execution, and the balance between visual and musical elements all had to be meticulously refined. I wanted the audience to feel the essence of Vietnam through an international lens — where familiar details such as roses, ao dai, and songs about our homeland remain present, yet are expressed with a sense of sophistication and contemporary spirit. Each performance was designed to become a bridge: connecting the emotions of thousands of viewers with the artistic experience of Dolby Theatre.
Vo Do Minh Hoang: From a production standpoint, the biggest difference lay in the level of expectation and operational standards. Dolby has rigorous requirements — from safety protocols to logistics and technical setup — all of which differ greatly from our previous venues. Each country and city has its own process, and in Los Angeles, the responsibility was to uphold international standards at every stage: stage design, sound, lighting, and show direction. Everything had to align to deliver a performance worthy of its name and of the expectations of the audience.
It’s been said that Cao Trung Hieu envisioned bringing the creativity of Vietnamese visual artists to the Dolby stage to recreate a space that reflects contemporary Vietnamese culture. Could you share more about the stage concept for Sketch A Rose this time? Which elements best represent the spirit of modern Vietnamese culture?
Cao Trung Hieu: I designed the Dolby stage as a “rose garden” reimagined through a contemporary lens. There were flowers, layers of light, sculptural forms, and at the center stood a rose sculpture over six meters in diameter, crafted from metallic mesh to meet the theater’s technical standards. I wanted the composition, lighting, scene transitions, and stage movement to all enhance the emotional arc of each song. The cultural essence came through in subtle details from the selection of songs and the use of Vietnamese orchestration and choir, to encouraging the audience to wear ao dai. These seemingly simple gestures came together to paint a memorable portrait of contemporary Vietnam on one of the world’s most prestigious stages.
You once said that a successful stage is one that leaves the audience with a rare, unforgettable sense of beauty and emotion seldom found in real life. What kind of emotion did you hope to bring to the audience of Sketch A Rose? And in Los Angeles — where many overseas Vietnamese gathered — what do you think they were hoping to experience? And how did Sketch A Rose fulfill those expectations?
Cao Trung Hieu: I wanted to bring a feeling that is both warm and radiant: an afterglow that lingers long after the concert ends. Not just a fleeting surge of emotion, but quiet, intimate moments that remind people of their memories, their connections to one another, and to their roots. For the overseas Vietnamese community, they long for the familiarity of music from home but presented with refinement and artistry. Nearly 30 Vietnamese songs were carefully arranged and woven into a seamless narrative that, I believe, truly spoke to their hearts.
During the preparation process, what were some of the most memorable challenges the team encountered?
Vo Do Minh Hoang: This time, Sketch A Rose took place at a venue halfway around the world from Vietnam, known for its world-class performance technology and stage production standards. The biggest challenge lay in logistics and procedures: transporting nearly a hundred pieces of equipment, ensuring everything arrived on schedule, complying with theater and customs regulations, while still maintaining rehearsal and soundcheck timelines for the artists. On top of that, there was the weight of expectation from the audience, which pushed us to monitor every single detail to avoid disappointment. In the end, every logistical challenge became a lesson driving us toward greater professionalism and tighter risk management.
Some have suggested that Ha Anh Tuan’s recent concerts seem to focus more on grandeur than on pure musical performance, as they once did. What are your thoughts on this? Does the integration of visual and experiential elements force the stage to “compromise” with the music?
Cao Trung Hieu: Every visual decision serves the music. Visuals are a means to elevate the experience, not the purpose. In our design process, we always begin with the song — its mood, rhythm, and message — before selecting the imagery to complement it. If an effect doesn’t help the song speak more clearly, we leave it out.
Vo Do Minh Hoang: From a production perspective, investing in the visual dimension allows the show to stand on par with international stages and keep the audience immersed in every moment. But music remains the core.
Every choice in lighting, set design, and staging is made collectively between the music team and the director to ensure that the soul of each song stays intact. We want audiences to leave remembering not only the melodies, but also the feeling of the night — that, to us, is true success.
Viet Vision does not bring Vietnamese music to the world — it brings Vietnamese music to Vietnamese audiences in places outside of Vietnam. What drives Viet Vision to do this? And how do overseas Vietnamese audiences respond to Ha Anh Tuan’s music differently from audiences back home?
Vo Do Minh Hoang: Overseas Vietnamese audiences came with a special mindset — they seek connection to their roots, and they show that support through action: buying tickets, wearing ao dai, sharing moments from the show. Compared to audiences in Vietnam, they often place more value on the sense of festivity and cultural expression within a concert. We understand that, and we design each show to be both authentic and deeply commemorative.
Cao Trung Hieu:
Viet Vision’s mission is to place Vietnamese music within a context worthy of international stages, not merely to perform for Vietnamese communities abroad, but to affirm the artistry and identity of Vietnamese culture itself.
Bringing an entire team, orchestra, and Vietnamese creative vision to a stage like the Dolby Theatre is, in itself, a clear statement: one of precision, respect, and pride in Vietnamese art.
