He stayed in Zhou Xiuying's house for almost a year, Fang Xi, Fang Jianguo, and they didn't treat him as an outsider, let alone Zhou Xiuying, fortunately, Fang Zhongxin didn't study music, otherwise he would definitely have to complain about the partiality of the elders. Fang Zhongxin does not have any special talent in music, and Zhou Xiuying, who has always had a strong personality, did not force him to study music, so that he could live the life of an ordinary student with peace of mind. Of course, basic music education is essential, but it is not compulsory, only the cultivation of interests, otherwise it will be a shame for them to go out.

Fang Zhongxin, who is a small ghost, is quite lucky, he has also seen those who study music professionally since he was a child, whether it is a primary and secondary school student or a singer and performer who has been famous for a long time, they all work very hard, and the process of practice is very fortunate. Zhou Xiuying's students, without exception, are all talented and willing to work hard, and both are indispensable.

In Fang Zhongxin's eyes, Qin Fangge is a special case, not only because he is the youngest but also the most talented, and he is most favored by Zhou Xiuying. His attitude towards himself is also very interesting, to the extent that he no longer needs to pat anyone's ass to please anyone. When I talked to him, the topic was quite relaxed and happy.

But there are not too many opportunities like this, no, without chatting a few words, Qin Fangge was pulled over by his great-grandfather Fang Xiping and talked to him about the creation of the opera "Liang Zhu".

Fang Xiping is quite impressed, it is not easy for him to just write an opera script, and there are too many things worth scrutinizing and pondering. Qin Fangge's own words, one person can come up with a masterpiece like "Don Juan", apart from the music, all the details of the script dialogue can be called classics.

Fang Xiping is also worried that Taiwen's crepe words will make it difficult for the audience to understand, even for domestic audiences, let alone foreign audiences. But "Liang Zhu" is a complete story, much easier than everyone expected to extract stories from the "Romance of the Three Kingdoms" to make an opera, and there are many classic dramas, which are found in Yuequ Kunqu Opera and Peking Opera, which can be used as a reference.

However, if it is made into an opera, it is too different from traditional drama, and whether it can be accepted by the audience after adaptation is also a great test. The more Fang Xiping went into it, the more he understood the difficulty, but this also made him more motivated, and he also brought his son Fang Jianguo and his friends and students to join in the creation.

Zhou Xiuying is full of expectations for this, she can also give quite a lot of feasible proposals, it can be said that she directly joins the creation, she has been doing operas for many years, and her ability to lead the overall situation is exercised in one opera after another. Everyone is not in a hurry, carefully crafted, and determined to make this Chinese opera a classic.

The folk music version of "Liang Zhu" performed by Lin Baoqing and her orchestra was widely praised by the audience and professionals as soon as it was performed, and it was also expected by Fang Xiping and Zhou Xiuying. In fact, after reading the score, they were keenly aware of the excellence of this work.

The success of the performance not only confirmed their vision, but also gave them more encouragement to create this opera.

The creation of opera is a comprehensive art, music is the most important, but the creation of the script is equally important, especially for ordinary Chinese audiences, the lyrics are even above the main theme, as for other harmonic textures, it is only after the depth to understand.

But the creator can't ignore its musicality because of this, fortunately, there is Qin Fangge, a genius composer, who is also responsible for all the music creation of the whole play, and also came up with a prototype, which is the folk music version of "Liang Zhu". Let Fang Xi square Jianguo have basic standards and styles when they create scripts.

In addition, dance, scenes, costumes, art, lighting, etc., are all important elements that make up the opera, and if any aspect is not done well, it may drag the whole opera back.

Among them, there are many places that can be carefully explored, just give an example.

In terms of using the voice to shape the character, the main rules and characteristics of the traditional singing method of Chinese opera are to start from the words, pay attention to the clarity of the words, use the words in the line tone, the words are round, and the voice is full of emotion. Bel canto singing is characterized by a rich voice, full breath, wide vocal range, full resonance and durability of continuous singing. At the same time, in order to meet the aesthetic requirements of Chinese audiences, based on the national style and language characteristics of China, and constantly integrate the spirit of the times and modern consciousness, the singing of Chinese opera has formed its own unique vocal skills and image shaping.

It's just that nowadays, the exhibition of Chinese opera is not smooth, and it is not well received by domestic audiences, and foreign audiences may not like it.

Fang Xiping once said, "National opera is a bouquet of charming flowers in the hundred gardens of art in my country!" Zhou Xiuying has personally witnessed the prosperity of national opera, but with the social trend of flying exhibitions, there have been many discordant factors that restrict and affect the national opera exhibition, which also makes her quite helpless, but she did not give up hope, after Qin Fangge was born, she felt more hopeful, and her attitude also affected the people around her, her wife Fang Xiping, Shen Jianping, director of the vocal and singing department of Huaxia Conservatory of Music, and a group of students from the National Center for the Performing Arts.

Zhou Xiuying has always felt that if you want to really show up China's national opera, you must first figure out what are the reasons that restrict the exhibition of opera, because, "only when you really understand why Chinese national opera can't be exhibited, can we make targeted efforts to achieve the prosperity of national opera, which is a long process......

The first is the economic base, "the economic base determines the superstructure, and the superstructure is produced to meet the needs of the economic base. Marxist political economy clearly illustrates this truth: all development is inseparable from economic support. Opera, as a cultural ideology of the superstructure, is based on a certain economic foundation and is constrained by economic factors. From creation to rehearsal, an opera requires a considerable amount of financial investment. In a word, no money is absolutely impossible, and opera performances have always been loss-making, and there is no time to make a profit at all.

Secondly, the emergence of multicultural phenomena has affected the exhibition of opera, not only national opera, but also in countries such as Europe and the United States, which are also affected by the rapid exhibition of new media such as television, film, and the Internet. The emergence of multicultural phenomena has also made people's spiritual and cultural enjoyment shift from single to pluralistic, and has become an objective factor affecting and restricting the exhibition of national opera.

In addition, the audience's aesthetic psychology and appreciation habits also affect the exhibition of national opera.

Due to historical reasons, "the Chinese people have formed a special national mentality: on the one hand, they are accustomed to returning all kinds of suffering suffered in the external world to their inner epiphany and resolving them, and on the other hand, they strongly desire to be satisfied with the loss in the material world and the spiritual world." The special national mentality has created a special national opera art, which in turn guides and creates the aesthetic taste and appreciation habits of the nation. Because of these special national mentality, ordinary Chinese audiences do not appreciate the noisy narratives and arias of Western operas, and the creation of some operas goes against the aesthetic taste of the audience, resulting in some operas being short-lived after they are staged, and it is difficult to have a huge impact on the grassroots audience.

In addition to these relatively objective factors, there are also quite a few problems affecting the national opera exhibition in the creation of opera. The performance of the script problem is particularly prominent, "The script is a play." "The script is the foundation, the soul. Without a good script, there will never be a good opera, and the script of the opera has its own characteristics, which is quite difficult to write. Due to its particularity, it not only requires the playwright to have a high level of musical literacy, but also requires the composer to understand the laws of the drama. It is also necessary for the two to work closely together and work together to make it possible to write a good opera. The two can be connected to each other, and there are not many relevant talents in China.

The creation of the previous national operas, without exception, had certain flaws. For example, in the creation of some operas, they blindly pursue the form of Western grand opera and exaggerate the relationship between recitative and aria in a big way; the accompaniment of the orchestra cannot always enhance the development of opera music; and the application of duets and choruses in opera is not handled well, and if these problems are not solved well, the quality of the opera will inevitably be affected. In Zhou Xiuying's view, the professional level of composers is not too strong, not all composers are geniuses like Qin Fangge, and she herself has no talent in music creation, so she can't blame other composers.

From the formation of Chinese national opera to the present, not enough attention has been paid to the construction of opera theory, and there is no monograph on the history of opera in Chinese opera, and there are very few theories on the creation of national opera, all of which are "crossing the river by feeling the stones". The so-called literary and artistic criticism, which reports good news but not bad news, is mostly echoed and touted. The theoretical construction of national opera cannot keep up, and the exhibition of literary and artistic criticism is not perfect, which restricts the exhibition of national opera to a certain extent.

The loss of opera performance talents is also quite serious, it takes at least ten years to cultivate an excellent opera talent, due to some factors, many outstanding opera talents cultivated by the country are more contracted with major foreign theaters and are unwilling to stay on the domestic stage, which affects the exhibition of national opera to a certain extent.

In short, there are many factors influencing and restricting the exhibition of China's national opera, and how to overcome these problems will also determine the basic trend of China's opera.

So much so that Fang Xiping and the others joked, "This is simply a hellish level of difficulty! It is a more arduous task than reviving opera, at least those classic operas have been deeply rooted in the hearts of the people, and the audience has some impressions, if the performance is wonderful and excellent, everyone will buy it! The new national opera, if you want to fight a piece of the sky, it is too difficult and too difficult!"

But Zhou Xiuying encouraged everyone, "We must have the courage and determination to know that there are tigers in the mountains and prefer to go to the tiger mountains!"

When it comes to the theory of the national opera exhibition, Zhou Xiuying is the most vocal, and she also put forward a lot of requirements, and together with Fang Xiping and Qin Fang, they will continue to move forward in continuous exploration.

First of all, no matter what direction Chinese opera is exhibited, it must be based on the cultural characteristics of its own nation, and cannot ignore the aesthetic psychology, aesthetic habits and emotional forms of the Chinese Chinese people. After all, the audience of national opera is still focused on the Chinese audience.

And in the creation of opera, to absorb the essence of opera, even Qin Fangge said, "If you have such a huge treasure trove and don't know how to make good use of it, it is really a crime!"

If you want to create a national opera with Chinese characteristics that the audience likes to see, it is indispensable to actively absorb the cultural essence of Chinese opera, and his own folk music ensemble "Liang Zhu" has absorbed a lot of nutrients from Yue Opera. The melody in the presentation section of Hiei, the connecting part and the subpart, and the theme of love, is a rhythmic and free brilliance.

In addition, in it, you can see a lot of shadows of Yue Opera, and there are a lot of music similar to Yue Opera singing. If it is adapted into an opera, these advantages must be retained.

Fang Xiping and Zhou Xiuying studied this more deeply, and also deeply realized that national opera should form its own unique style. Because this is based on the national philosophy and traditional culture of the Chinese nation, it is necessary to draw on and complement each other with various humanities and art disciplines such as opera, ethnology, history, literature, and linguistics, and use the performance forms and musical language of opera that are familiar to the broad masses of the people to create a national opera that takes the structure of Chinese opera as the matrix, uses folk music as the material to compose, and has the characteristics of style, attaches equal importance to singing, reading, doing, and dancing, and is deeply loved by the broad masses of the people. If you don't study the philosophy and cultural traditions of your own nation, you can't form your own style and characteristics, and you can only end up learning from others.

In addition, in the arts, it is also necessary to form a system, and they are already working on this, and they have continued to dig up and sort out the relevant theories and examples of those national operas that have been successful in the past. Throughout the history of Chinese national opera exhibitions, although there have been exhibitions for nearly a hundred years, they have not formed a unique system in world culture like opera. Therefore, in its rich exhibition, it is more necessary to learn the musical composition of opera, the singing art of opera, and the comprehensive performing art of opera, and gradually establish the theory, creation and performance system of Chinese national opera, so as to lay the foundation for the exhibition of national opera to a higher level.

Fang Xiping, a former professor of Chinese, has always believed that "only by basing ourselves on the nation can we truly go to the world!"

Although her wife Zhou Xiuying mainly studied Western opera, Zhou Xiuying herself, as she gets older, the more she sees abroad, and the more successful and successful national operas she has, the more she understands this, and she will not blindly worship foreign countries.

In short, the exhibition of Chinese national opera is a grand and arduous theme, and everyone must work together to do it.

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