For a three-hour opera performance, every detail must be in place, and these must be rehearsed in advance. It can be said that these three hours, not a minute will be wasted, and these three hours are still quite a long time. Not counting the half-hour intermission, the show starts at seven o'clock, and it will be half past ten at the end, and you can go to the cinema to watch two popcorn movies.

Everyone is here, and no opera singers are late, Zhou Xiuying is famous, even if she doesn't name her, she will feel embarrassed, since she is doing this business, she still has to have professionalism.

Qin Fangge, the author, is also busy, although his own opera role is the protagonist, but when he acts, there is no pressure at all. Opera performances, all need to be performed, it also depends on talent, Qin Fangge is still quite good in this regard, acting! There will even be in life, but he tries to only stay on the stage to act, don't exaggerate too much.

Of course, the protagonist of this opera Don Juan, Qin Fangge, only needs to be handsome in all aspects, whether it is when he is flirting with his sister, or when he is running away, or even when he is pulled into hell in the end, he also wants to create a posture of never giving in and dying without repentance. To describe it as something in the opera, it is to have an "aristocratic temperament". Aristocrats, brazenness is a necessary skill, appearance must be passable, speech and demeanor must also be able to pretend, must show the gap with the commoners, right?

By the way, before the opera is performed, all the lines or lyrics must also be prepared. This is really not a big problem, because the author is Qin Fangge, a Chinese, and the original script comes with a Chinese translation. But also be sure to adjust the timeline of the subtitles and display them in front of the seats in the opera hall. Otherwise, such an Italian opera, without Chinese subtitles, the vast majority of the audience will not understand.

Regarding this, Zhou Xiuying and Qin Fangge naturally will not ignore it, but this should also be the easiest pre-performance preparation. The only thing that needs to be paid attention to is to grasp the timeline, which also requires the actors on the stage to work hard and cooperate well. Otherwise, a few seconds before and after, the meaning of the lyrics will be completely different.

Of course, more often than not, the opera house will use a more oily way, such as CCTV rolling out a row of subtitles under the screen, writing "The lyrics are ......", and every opera performance is really not accurate to every minute and second.

But Zhou Xiuying still asked everyone to do their best to do their best, which would also reduce the trouble of the staff in charge of writing work in the Grand Theater.

And the most basic requirements, everyone must do, forgetting what is unforgivable, and it is impossible to be a teleprompter or something. As an opera singer, memorizing lyrics and lines is the most basic skill, and if you can't do this, don't be an opera singer.

Even though there had been rehearsals before, the first time everyone officially rehearsed on stage, there were still problems. The problem is also in many aspects, just the Don Juan overture before the performance, Zhou Xiuying is not satisfied, although she is not angry with the orchestra of the Grand Theater, but she also feels, "Lack of passion, not enough attraction to the audience, we need to let the audience listen to the overture, stop talking and focus on the opera that is about to start." This overture by Qin Fangge is written very classically, and the overture and the opera are directly linked, you must fully understand and play the important role of the overture to ......"

Yu Dawei, the conductor of the Grand Theater Orchestra, is not qualified to say no in the face of Zhou Xiuying's strict requirements, but she is the chief director, and she is in charge of all the performances of the entire opera, including all the performances of their orchestra.

Generally speaking, the mission of the overture is to comprehensively narrate the important key scenes in the development of the whole play, play the melody that represents the protagonist in the play, and the musical content predicts the storyline of the dramatic work. Over time, the plot element is also introduced into the overture, which gradually blends with the drama of the opera, so that the audience can be more effectively guided into the process of the development of the opera.

The conductor of each orchestra will have a different personal conducting style, even if it is the same piece of music. Zhou Xiuying is not limited to Dawei's performance, but from the overall style of the whole opera. In her opinion, Qin Fangge's "Don Juan Overture" can be taken out alone to be played at the symphony concert.

Prior to this, Qin Fangge also adapted the music of the entire opera into a piano piece "Memories of Don Juan", which is a super perverted piece that is difficult to perform. Many audiences sound quite difficult without fully understanding this opera, and Qin Fangge is not only to show off his skills, but also to promote this opera. At the very least, many fans know that this Don Juan's memories come from this opera Don Juan that has not yet been staged.

Speaking of Don Juan's overture this time, Qin Fangge added too many things to the overture, and his creative technique was quite special. He used music to outline the main characters in the opera, the serious and old-fashioned commander and Don Juan, who was greedy for free pleasure, and also directly quoted some of the plot melodies, so that the central idea of the opera has been concretely reflected in the overture.

This overture is written in sonata style, in D minor, Andante, and has a fairly independent musical image. The entire overture is also quite long, six minutes long. The long introduction is an almost complete quotation of the scene music of the final scene of the opera, where the stone statue of the commander appears at the dinner at Don Juan's house. With the style of a funeral march, the melody played by the viola is sad and sad, like a sigh. The violins and flutes then play an unstable melody that hovers up and down, undulating and undulating, with a gloomy and ominous atmosphere, symbolizing the tragic fate of the Doge in the opera, and at the same time, encapsulating the tragic theme of the whole play.

After the introduction ends, the overture enters the allegro part of the sonata, in D major, which is the main part of the whole work, and the content and musical character are in stark contrast to the preceding prelude.

Zhou Xiuying's repeated emphasis on David and the orchestra is not untargeted, but it is really because in the eyes and ears of opera connoisseurs, the importance of the overture cannot be overemphasized. If the orchestra doesn't play the overture well, how dare they expect it to be particularly brilliant in the future?

Yu Dawei has actually carefully analyzed this Don Juan overture, but in terms of depth, it is still not the same as Zhou Xiuying and Qin Fangge. This is also due to Zhou Xiuying's high requirements, you must know that when Mozart composed this Don Juan Overture, he composed it only a few hours before the performance, and did not give the orchestra members and conductors who were in charge of accompaniment time to practice at all.

At this time, Qin Fangge couldn't run away, so Zhou Xiuying asked him to communicate directly with Yu Dawei.

In fact, the original author was Mozart, and Qin Fangge could only hold the attitude of paying tribute to this great composer, and talk about the things in this Don Juan overture, and retaining Mozart's music is the best respect for him.

With such an understanding, when Qin Fangge communicated with Yu Dawei, there was no psychological pressure.

In this part, he uses simple and danceable melodies to create a complex and charismatic personality image of the protagonist Don Juan, and the musical style becomes bright, relaxed, energetic and vibrant, in contrast to the previous deep introduction. The ensuing part is more colorful in tonal color and instrumental arrangement, and the melody and rhythm are more and more exciting, but this climax is actually a foreshadowing of the protagonist Don Juan's struggle against those who stand in the way of his freedom in pursuit of a life of pleasure.

In the ensuing re-enactment, Don Juan's "prodigal son" image reappears, and the music becomes clear, unconsciously turning the music into the prologue of the opera. Mozart's direct association of the overture with the opera is also a major feature of the play. Similar to the previous Harem Escape, Mozart added an epilogue to the overture in order for it to stand alone in a concert, and his contemporary, André, wrote an elaborate and complex ending to the piece.

Here, Qin Fangge also adapted this gorgeous and enthusiastic musical climax, so that the audience could collect their minds in the first time and substitute them into the opera performance. Moreover, in this way, there is nothing to be faulty about by opera peers and composers.

To be honest, the ceiling of the Bolshoi Theatre Orchestra is not high, but that doesn't prevent them from moving up a bit. Qin Fangge can be lazy at other times, but in the performance of this opera Don Juan, Zhou Xiuying is not allowed. She even said in private that she could help the opera singer suppress the formation, and he could ignore other things.

But on the orchestra's side, he had to do it himself. Zhou Xiuying also suggested that he could show his hands in front of the orchestra members and teach them how to play the violin and cello or something, and that he was not going to have a symphony concert soon, and would he also perform a violin concerto?

In short, it is unrealistic for Qin Fangge to work without contribution, and Zhou Xiuying will never allow everyone to mess up this Don Juan debut. She didn't say anything about the busy orchestra of the Grand Theater before, because they had to participate in the opera accompaniment performed at the Grand Theater, and they were basically in charge of it, and then sometimes they had to play symphonies or something. The previous rehearsals were basically done with piano accompaniment.

Now, in the last few days of preparation, if they don't work harder, they will be sorry for their own work.

I have to say that Zhou Xiuying's move is quite right, you must know that in an opera performance, music is fundamental, and even the plot must be based on music. Comparatively speaking, costumes, props, stage art design, etc., are not as important as the core music.

As soon as Zhou Xiuying came, she gave Yu Dawei and the Grand Theater Orchestra a dismissal, and what they said was reasonable, Yu Dawei and the others were actually quite weak-minded. There is no way to do it, they didn't have much time to rehearse this opera before, although they also got the general score and score of the opera very early, and the National Center for the Performing Arts was responsible for it anyway.

With Qin Fangge, the author, Yu Dawei and the orchestra members also saw what Zhou Xiuying meant, that is, they were ready to let Qin Fangge tune their orchestra, so as not to drag everyone back. Qin Fangge is also preparing to take root in the orchestra and have in-depth exchanges with them.

They lack confidence, but they still want to be faced, what can they do now? Shame and courage, practice hard!

Qin Fangge is indeed genuine, not only has two brushes on the composition, but also has excellent kung fu in his mouth, and even more excellent in his hands. Just this six-minute Don Juan overture, the piano or something, don't need Qin Fangge to show off more, what he played

"Memories of Don Juan", in the classical music circle, there are few people who don't know, except for those who are lonely and unheard.

Qin Fangge talked about the excitement, and as Zhou Xiuying wished, he politely borrowed his violin from the violin chief Qi Jun, and he couldn't say no. Yu Dawei, the conductor, couldn't see that he was ready to pretend to be forced, but he couldn't directly expose it, and he was also thinking about teaching the orchestra members a lesson in his heart, and it was also excellent to inflict on their pride, I have to say that there are still quite a lot of pretentious members, even if it is like now, everyone doesn't say it. So, Yu Dawei also cooperated and said that Qin Fangge would have a violin concerto performance at next month's symphony concert, but unfortunately he couldn't get tickets.

This Qin Fangge can't help, and he is looking for the China Philharmonic Orchestra, although it does not have too direct competition with the orchestra of the National Center for the Performing Arts, but it will still be a little embarrassing after all.

Putting these aside, after Qin Fangge got the violin, he quickly gave a perfect demonstration for the members of the orchestra on the spot. In the orchestra, the number of members of the violin group is the largest, and they all speak with strength, otherwise, there would be no distinction between the principal and ordinary members, and even the remuneration and voice in the orchestra are different.

Qin Fangge's violin performance amazed the audience, and in this Don Juan Overture, the violin group's performance is crucial.

The reason why the baritone is chosen as Don Juan's voice in the male voice is also due to the timbre characteristics of the baritone. The baritone is a voice between the bass and the tenor, and the voice maintains the high-pitched brightness of the tenor and the richness of the bass. This kind of timbre can best highlight Don Juan's noble temperament and natural amorous character traits. Specifically, the heaviness and steadiness of the timbre can be called the aristocratic temperament of Don Juan, and the softness of the timbre can reveal his deep affection.

Coupled with the change of characters in it, the complex and changeable plot also determines that Don Juan's voice must not only maintain the breadth and brightness of the aristocracy, but also have a light and soft special, which is also the precise positioning of the lyrical baritone.

(End of chapter)