This article examines the opera The Dawns Here Are Quiet by the renowned Chinese composer TANG Jianping (b. 1955), focusing on its specific approach to adapting the plot of Boris Vasilyev's famous novella. The study draws parallels between the dramaturgy of the literary source and its musical realization. It argues that the opera constitutes an independent artistic text, substantially different not only from its literary basis but also from cinematic and theatrical interpretations, notably the opera by K. Molchanov and the film by S. Rostotsky. The most significant distinction is identified as a genre transformation of the original work, which shifts the vector of the drama from realism toward romantic drama. The form of B. Vasilyev's lyrical-dramatic novella and the essentially chamber, laconic cinematic script by S. Rostotsky were reinterpreted by the librettist and composer through the lens of synthesizing grand heroic-epic and lyrical-dramatic spectacle. This circumstance facilitated the interaction of four stylistically distinct genre spheres, which relate to the traditions of 19th-century operatic language, aspects of 20th-century operatic theatre, the Russian national school, and the song culture of the Soviet era. The work's significant value in the context of contemporary Chinese and Russian culture is highlighted. Furthermore, its position within the contemporary aesthetic mainstream is defined. In particular, the hypothesis is advanced that the opera reflects features of metamodernism.