After the break, the excitement continued. [Fast update, refreshing website pages, few ads, no pop-ups, I like this kind of website the most, be sure to praise]

The amorous Don Juan still spares no effort, not letting go of any opportunity, all kinds of flirting, but in the whole opera, his superb flirting skills failed to make him get his wish, all kinds of failures.

In the end, his death also seems dramatic, not by Anna and her fiancé, nor by Celina and almost by Midori's fiancé. Instead, he was consumed by the flames summoned by the gargoyle and ended up in hell.

If a great work must have the effect of "edification", then the theme of this opera cannot be more dogmatic. After Don Juan went to hell, everyone came out together and added a verse, "The devil is dead, and the people of the land live happily ever after." ”

Qin Fangge didn't plan to make any changes, and directly took out the original work, he believed in the charm of the classics.

Don Juan in the play is lustful all his life, and he is chaotic and abandoned. He has extraordinary charm and energy, so that many innocent girls and lonely women will give him a hug every time. Even the sad person who was abandoned by him, under his rhetoric, had to return to the nest.

At first, Shen Jianping and the others were worried about whether such a controversial opera would be accepted by the audience, after all, there are really many scenes of teaching bad children. Don Juan, the protagonist, is also a villain who chases women and abandons chaos into happiness.

But despite the theme of "sex", which has been rendered as the abyss of all evil, we can still see Don Juan's unrepentant character even in the face of the final judgment, which highlights the innate arrogance of people. Originally, people are too fragile, too fragile to face the fact that they can never reconcile themselves with morality. Don Juan was so confident that he didn't buy the stone statue at all, and led to eternal destruction, which seemed to be a helpless tragic hero.

And the reason why he is a hero is not because his deeds can be publicly praised, but because this courage to defy morality unravels the long-suppressed criminal desire in everyone's heart, throws it into the raging flames that consume him, and turns it into ashes of peace.

It is better understood when combined with Mozart's experience.

Zhou Xiuying strongly advocated the rehearsal of "Don Juan", and she studied more deeply and saw further. In her opinion, in this opera, Qin Fangge gave a lot of roles to other characters, which is what Chinese opera needs now, and Qin Fangge alone can't save the opera.

After they rehearsed the opera completely, Zhou Xiuying organized everyone to watch the video that had just been recorded. When acting, you may not feel that if you look at it again, whether it is the advantages or disadvantages, it will be particularly obvious.

Zhou Xiuying also asked Shen Jianping, Zhai Liyin, Zhou Hongxia, Fan Qing and other opera singers to summarize today's performance and discuss their knowledge and understanding of this opera with open minds.

Zhou Xiuying did not forget to drag out the author Qin Fangge, explain to everyone, and praised his wonderful performance during the performance, and she herself also made appropriate explanations in it.

Of course, in today's performance, there are many problems exposed, even if it is Qin Fangge, his performance is not flawless. [.la]

So much so that after the performance, Zhai Liyin and Shen Jianping were still encouraging him, "Be bold, this is a stage performance, you don't need to be tied." ”

"You can write it, don't you dare to act?"

"We are not afraid, what are you afraid of! For the sake of the art of opera, it is appropriate to make appropriate sacrifices. ”

Zhou Hongxia and they are much bolder, not to mention a role like Cai Lina, who has the experience of playing a variety of ** images in the opera. When they discussed, it was very intense, and the music lines had been written a long time ago, but how to interpret the specific scene still had to be figured out by themselves.

Director Zhou Xiuying will also give corresponding guidance, and she is most happy that "The opera "Don Juan" is not Qin Fangge singing a one-man show alone, and there is not even a tenor singing section in it. This is what makes this opera particularly good, where every role is very important, and it also tests and trains the actors. I think Qin Fangge's design like this has his original intention!"

Qin Fangge also has nothing to say, "Don Juan" is not really his original, he plagiarized Mozart, but this can't be said directly. This also made Qin Fangge look forward to the filming of "Mozart" in the future, and what he told Teng Shuting and them was not bragging or laughing.

It is also quite clear that the character of Don Juan is particularly controversial, and Beethoven was indignant that Mozart wrote operas based on Don Juan, believing that a genius like Mozart should not have written such vulgar operas. At the time, Viennese values and moral judgments were also detrimental to the popularity of "Mozart's Don Juan Story".

That being said, no Mozart lover of any era can escape the temptation from the opera Don Giovanni. In Qin Fangge's heart, he even thinks that this is Mozart's most genius opera, and there is no one.

Whether it is from the series of stories surrounding the creation of this opera, or from the characterization of the characters in the play and the arrangement of fate, Mozart has exerted too many geniuses. This is also a rare masterpiece of Mozart's opera with considerable depth of thought and human exploration significance, how to embody and convey the meaning of Mozart's title and the colorful colors of musical drama, this opera is the touchstone for testing the ability of conductors and singers to comprehend and shape the drama.

If you dig deeper into the background, you will find that the opera "Don Juan" was first performed in 1787, and it can be said that the positive image of the character Don Juan in the play has Mozart's ideological tendencies. For example, Don Juan's anti-feudal, freedom-fighting and democratic character traits coincide with Mozart's ideas. In order to fight for personal and creative freedom, Mozart broke with the archbishop in 1781 and became a free composer with courage and determination to rebel against the court and the church and defend his personal dignity. His actions were rebellious and negative at the time, but they embodied the spirit of the French Revolution and the ideal world that Mozart wanted to pursue. In his famous opera The Escape from the Harem (1782), he already expressed some discontent, including sadness, resentment, and even protest. Mozart took the pursuit of freedom, equality, and fraternity as his lifelong beliefs, and the opera "Don Juan" reflects such an ideological tendency of opposing feudalism and striving for freedom and democracy.

Don Giovanni is based on a true story from medieval Spain and has been adapted many times, and Mozart's operatic version is one of the most influential and successful of them. Don Juan's body embodies both positive and negative characteristics: on the one hand, Don Juan is a lustful playboy, he is cynical and shameless, playing with women, whether rich or poor, disguised as their admirers to deceive, is a negative image of women from good families. On the other hand, Don Juan was an optimistic and positive image, a young aristocrat with elegant manners and a handsome and free manner, who was fully engaged in the process of seducing women, able to truly discover the beauty of women, and never paid attention to the differences between various classes, showing a positive image of an anti-feudal and revolutionary anarchist. In the musical treatment of this opera, Mozart attaches great importance to the psychological description of the characters, and uses a variety of musical effects to enhance the contradictions and conflicts of the characters in the play, making the characters both full and real, and increasing the watchability of the repertoire.

Mozart made a clever arrangement of the voice part of the opera Don Juan, with a special emphasis on the low voice of the male voice. There are a total of 5 arias in the whole play, and there are 8 male voices, of which 6 are baritone bass parts. There are a total of 79 duets in the play, of which 45 are in the low voice of the male voice. In this play, Mozart portrays Don Juan mainly through recitatives and duets and choruses of other characters. Although Don Juan himself only has two main singing sections, this expressive technique of highlighting and portraying the characters has proved to be very successful. It can be said that Mozart's pioneering work laid a solid foundation for the later male voice middle and low voice characters to dominate the stage, and also played a role in promoting the development of opera.

In Don Juan, the position of the male voice in the lower part is very important, and its role is the central force in the play, which is very rare at the time. In 18th-century Europe, due to the influence of eunuch singers and to cater to the tastes of listeners, composers did not use baritone bass parts as the leading roles. Although opera was the most fashionable form of entertainment at the time, the baritone and bass were not taken seriously, and even the status of these two voices was not clarified. Especially in Italy, the birthplace of opera, people's preference for high voices is evident, and the requirements for sound are also demanding. At that time, many Italians went to the opera house to watch performances, mainly to listen to the high notes, and some people closed their eyes and listened to the high notes and then left, which shows that they enjoyed listening to the high notes very much. Eunuch singers dominate the opera stage, emphasizing lyrical cadenzas, playing both heroines and heroic tenors. Therefore, composers rarely use baritone to play the leading role in the creation of operas. There are relatively few good baritone actors, and there are even fewer works in this voice.

Mozart's use of the bass baritone in the lead role in several of his operas was a bold move, which was clearly contrary to the musical conception of the time. However, Mozart's ingenuity and superb creative skills skillfully used the bass baritone as the leading role in "The Marriage of Figaro" and "Don Juan" to great success, which gradually changed people's inherent concepts and thinking of music appreciation, and thus promoted the development of the baritone voice.

Arranging a lyrical baritone to play Don Juan can be said to be just right, because the lyrical baritone is very suitable for interpreting the unrestrained, free, amorous, and flexible character image, and the magnetic, generous voice of the baritone can appear sincere and emotionally rich when pursuing women or expressing affection.

For example, in the aria "Please Come to the Window", Don Juan uses the soft, lyrical tone of the baritone to portray himself as a good man who has endured a lot of pain and grievances, who is both honest and affectionate, in order to win the heart of the maid. Imagine if this aria was performed by a tenor, it might not be able to cover up Don Juan's flowery heart and achieve such a simple effect.

Another example is Mozart's arrangement of a bass to play the role of Leborello, which can be said to be the icing on the cake. Leporello is Don Juan's servant and appears as a comedic character, funny and cute. He is kind-hearted, honest and honest, admitting that his master is a villain, but the power of money makes him an accomplice to his master, and in the end Don Juan blames him and almost becomes a scapegoat. In the play, he shows extreme loyalty and obedience to his master, and he sings the aria "Madame, please listen to me", which expresses his cynical mood in a comical and witty form. This bass aria is composed of a series of rapid repetition of notes, which brings a cheerful feeling and brings out the honest, lovable and kind nature of Leporello. For another example, Mozart's arrangement of a bass to play the role of Maceto can be said to be a stroke of genius. The bass's honest and earthy timbre makes the character of Farmer Maceto more believable. Maceto is Celina's extremely obedient and obedient fiancé, honest, uneducated, brute, a simple-minded, narrow-minded vinegar jar, who knows that he is incompetent, and always suspects and fears that his fiancée has run away with someone else, and belongs to a cowardly and rough man. In the play, he sings an aria at an allegro tempo, expressing his anger and helplessness. He did not dare to be angry with the honorable Don Juan, but he took all his anger out on Zelina, and sang in a thick bass full of anger: "You unreliable woman, is this what you want to see? I will kill you." "The aria is concise in rhythm, simple in notes, with little melodic fluctuations, and presented in a thick bass, showing the simple-minded, impulsive and superficial personality of farmer Maceto.

Zhou Xiuying also took out the second act and the third scene and re-played it to teach the students present.

This scene is about Don Juan, who is looking for flowers and willows, who intends to seduce his old lover Alvira's maid, but it is Alvira who appears at the window. Don Juan ordered his attendant Leporello to change clothes with him, and Leporello continued to talk to Elvira in his costume, while he himself put on his attendant's costume and played the piano to the window to seduce Elvira's maid. Don Juan's Italianate serenade "Please Come to the Window," sung by Don Juan with a guitar in his arms and a warm and beautiful voice, is a beautiful baritone aria. Don Juan uses gentle rhetoric, disguised as a very sad and pitiful person, to tease and seduce Elvila's maid.

This piece is melodic and lyrical, and it is one of the most frequently sung works in other time and space concerts. Don Juan has a distinct personality and is a veteran of the love scene, Qin Fangge grasps Don Juan's personality and portrays the characters in detail.

At the beginning of the song, Don Juan, dressed in a servant's costume, sings affectionately in a warm, sweet and rich voice: "Oh, please come to your window, my darling." Seeing that the other party did not react much, he began to play the "sadness card" again, using a pitiful and sad tone to win the other party's pity and sympathy: "Please come and dispel the sadness in my heart." If you refuse to give me some comfort, I will die in front of your eyes at once. ”

Forcing each other to die is almost like a threat. But this method still did not work, and he turned to praise the other party in a sweet voice: "Your lips are sweeter than honey, and your heart is more beautiful and lovely." ”

When the other party still didn't pay attention to him, he began to flatter and plead gently: "Don't be so cruel, my baby." I pray that you will catch a glimpse of me, my love. But the maid remained indifferent. The melody of this piece is beautiful and smooth, which fully demonstrates that Don Juan is a seasoned veteran of the love scene, and when singing, his emotions must be gradually progressive and pressing, showing his determination not to give up until the goal is reached.

Zhou Xiuying paused after everyone watched the video and said loudly, "When performing this work, Qin Fangge grasped the emotions of the characters very well, and also paid special attention to the details. You can see that when he sings while playing the guitar, the expression on his face is particularly rich, his eyes are full of love and hope, and his voice becomes soft and sweet, which also makes the character of Don Juan more vivid. Of course, I think Qin Fangge's performance can be slightly exaggerated, after all, it is a performance on the stage, which is different from making a movie. The movie is presented on the big screen, it is a relatively close picture, and if it is too exaggerated, it will be superficial and exaggerated. When we perform opera on stage, we still focus on taking care of the audience, and they go far away, and if the performance is too restrained, they don't see it so realistically, and it's just right to move a little bigger. The degree of this also needs you to carefully understand and grasp it well. ”

When Shen Jianping and Zhai Liyin listened to her, they felt like they had returned to their student days in the past, and Zhou Xiuying at that time was also so conscientious, analyzing, and teaching everyone every detail of performing opera.

Qin Fangge himself also learned a lot of opera performance skills in this day's performance, he is now a genius, but genius also has a process of learning, continuous accumulation, and gradual progress, but this process will be much shorter than ordinary people.

This is true even of his favorite Mozart, who once said, "You only see my success, but you don't see that I have analyzed and studied all the composers' works in the most detail." ”

They all had rehearsals, lunch and dinner at the Grand Theater that day, and finally worked overtime until half past nine in the evening. The next day, she still had to come over early to rehearse, and Zhou Xiuying stayed until the end, and Qin Fangge naturally guarded her. If it weren't for an experienced and responsible old director like Zhou Xiuying, I don't know what this "Don Juan" would have to rehearse.

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