The “model Beijing operas" popular during the Cultural Revolution can be viewed as an act of artistic apotheosis. This paper identifies the magic effect (le merveilleux) and mystic peak experience in model Beijing operas made possible through the use of Western musical instruments, and which is not easily achieved in traditional xiqu genres. The model Beijing operas often use Western musical vocabulary to depict changes in the scenery and environment (such as the sun shining after storm) and sudden revelations in the protagonists´ minds (such as thinking of Chairman Mao or the Communist Party during a crisis); as changes occur in timber, tempo, and rhythm, so too does an implied shift towards a brighter future. The strong emotive appeal of such sections in model Beijing operas can still be seen in today´s xiqu audiences. This paper studies audiences through a combination of qualitative interviews and measurement of physiological responses.