Offering the Voice of Beauty to the Times, Celebrities Gathering the People | Jiang Jie | The Times
On July 1st, teachers from the Ethnic Vocal Music Teaching and Research Office of Shanghai Conservatory of Music, together with the Shanghai Opera Symphony Orchestra and conductor Zhang Chengjie, re rehearsed the classic arias of ethnic opera and held the "Revolutionary People Forever Young - Classic Selection of Ethnic Opera Concert".
The overture "Time Flows Fragrance" is adapted from numerous classic excerpts of ethnic operas, and the familiar melody instantly evokes memories for the audience. The concert made a small arrangement for "The Water of Honghu Lake, Waves Beat Waves", changing the solo to a small choir. "The Liberation of the Laborers and the People" is a relatively long structured aria that selectively uses Hubei dialect in the pronunciation of some characters. The soprano Liu Fangying, who excels in singing folk songs and poetry, infused her personal wisdom into the interpretation of this song, which may be related to her early experience in performing opera. "Ten Thousand Miles of Spring, Full of Homeland" is a classic excerpt from the opera "The Daughter of the Party", and it is also a song that tests the performer's skills. Famous soprano Yu Lihong's voice is sweet and round, and her bright red clothing further highlights her passionate typhoon.
Chen Jiapo and Chen Yang are excellent young singers, and their performances reflect the full artistic vitality and stage passion of young singers. Chen Yang's sweet and melodious voice, like a wind chime, is perfect for singing "The Clear Water Comes from the Blue Sky". In another song "Our Marriage is Our Own Choice", Chen Yang and Zhao Yong work together harmoniously, creating a lively and lively melody with a unique charm. "Ten Miles of Wind and Snow" is a classic excerpt from the opera "The White Haired Girl". Chen Jiapo's appearance and loud and clear voice depict Yang Bailao's helpless and helpless image in the ten mile wind and snow. Famous soprano singer Yang Xuejin, with her rich stage performance experience, performed the famous excerpt "People from Five Continents Laugh Together" from "Jiang Jie", vividly interpreting Jiang Jie's rich and full character traits. She not only expresses Jiang Jie's longing for the people of her hometown, but also portrays her heroic spirit of denouncing the enemy and being loyal to the revolutionary cause.
The grand finale "Song of Coral" is selected from the opera "Red Coral", which incorporates the tones of Henan folk music and some fishing boat tunes. The lyrics use the technique of expressing emotions by singing about objects, praising the fisherwoman Shan Mei by singing about the red coral. The voice of the famous soprano singer Fang Qiong has the sweet and delicate characteristics unique to Shanghai style musicians, vividly portraying the stunning character image of Shan Mei, who is as beautiful as red coral.
The development of Chinese ethnic opera has emerged from traditional drama, learning from Western opera and accumulating valuable experience under the nourishment and challenges of different cultural contexts such as Chinese and Western, ancient and modern, and refined customs. The transmission of the classic voice often carries a certain aesthetic spontaneity, while the inheritance of the national voice requires more responsibility and responsibility. In terms of creative methods, ethnic operas often adopt a realistic approach; In terms of ethnic style, Chinese ethnic opera adopts a traditional Chinese opera style structure, ethnic singing techniques, and ethnic instruments. Bangzi is one of the most distinctive percussion instruments in ethnic music. Exciting scenes need to be loud but not noisy, and lyrical scenes need to be soft but not empty. Perhaps it was playing Chinese bangzi in a Western orchestra that made the percussionist that night feel a bit "socially fearful"? The sound of bangzi is somewhat restrained.
The development of Chinese ethnic opera has been nearly a century, especially "The White Haired Girl", which has set a classic and exemplary role for the development of future opera. At the concert that night, the hand, eye, and body movements of the singers were clearly influenced by the formulaic performance style of Chinese opera. The neat and uniform or almost identical hand movements make the picture very harmonious. For musicians who pursue artistic individuality, this kind of "harmony" seems to be something to avoid. It is precisely because Chinese ethnic opera has a profound accumulation of nearly a century that its development has inherent historical support and aesthetic power. And the tendency towards standardization and homogenization derived from this profound accumulation needs to be developed and abandoned on this profound foundation. If we listen carefully, the call for the new development of ethnic opera has already echoed in this great era.
