CCTV Shanghai News on July 13 (Reporter Lin Fuyu) Following the 100th performance last year, the Chinese style music live "Sea Life Folk Music" opened its fifth round of residency at the Shanghai Concert Hall from July 11 to August 3. play. This round of residency will be performed for 25 consecutive performances, continuing the legendary movement of Shanghai-style folk music.
Performance scene (picture provided by the interviewee issued by CCTV)
At the opening performance of this round of residency, "Drinking Song" was performed by pipa players Li Shengnan and Liu Jia. The two pipas affectionately told the eternal love of Farewell My Concubine. , the delicate performance reproduces the heroic spirit of the Overlord and the strong and soft character of Yu Ji. The national music complements the Peking Opera lyrics and performance, which is deeply emotional and soul-stirring.
Suona player Jiang Feng's performance of "Travel" triggered lasting applause and cheers. He walked off the stage and interacted with the audience by high-fiving, and his performance that combined various fashion elements such as electronic music and rock music made many audience members dance to the rhythm.
performance scene (photo provided by the interviewee issued by CCTV)
The "out of the circle" of the resident version of "Sea Life and Folk Music" is precisely because of the bold attempt to use technology and music, and the integration of music and other artistic elements to achieve creative transformation . The performance not only retains the charm and essence of traditional folk music, but also integrates calligraphy, traditional Chinese painting, opera, dance and other cultural elements across borders through continuous innovation. A series of Shanghai-style folk music works with both national characteristics and international vision. Through modern stage technology and performance techniques, audio and visual integration, the immersive traditional Chinese music experience allows the audience and the artists to have an interactive dialogue between heart and music. This ingenious combination of tradition and modernity not only brings vitality to national music, but also meets the aesthetic needs of domestic and foreign audiences of all ages.
After four years of residency, "Folk Music on the Sea" has become a well-known performing arts brand in Shanghai, allowing many audiences to re-understand the charm of traditional folk music through the performance. Audience members who have watched the performance many times said: "After watching the performance for the first time, I decided to call my friends to watch it a second time and a third time. Every time I watched it, I had a different experience. I couldn't help but watch it three or four times."
It is worth mentioning that "Folk Music of the Sea" also attracted audiences from different countries. They were fascinated by the unique personality of traditional Chinese musical instruments, and the integration of Shanghai-style folk music and world music also surprised them. An overseas audience said: "The Shanghai Chinese Orchestra's performance blends the past and the future, the East and the West. The audience is like walking along the Silk Road. We need this kind of music to connect the world together."
"Even if there are 100 performances , I still hope that every performance of "Folk Music on the Sea" will be like the first performance and continue to surprise the audience," said Luo Xiaoci, director of the Shanghai Chinese Orchestra. The residency gives the orchestra's creative team the opportunity to repeatedly polish their works. They continue to improve based on audience feedback and their own perceptions, and their artistic craftsmanship for excellence permeates every detail of the stage.
With the help of the performance platform, the Shanghai Chinese Orchestra promotes practice through performances and performs frequently, and actively cultivates a young talent echelon of Shanghai-style folk music. The mainstay business backbones of each section continue to improve their skills and lead batches of new generations of "post-95s" in the orchestra. Young performers born in the 2000s learn from each other, gain experience and inspire through performance practice, so that the inheritance of traditional Chinese music can radiate lasting artistic creation and vitality.
