[Source: Wen Wei Po] The semi-stage version of the opera "The Marriage of Figaro" will be conducted by Xu Zhong, director of the Shanghai Opera House, famous conductor and pianist, on September 14 for the Shanghai Oriental Art Center's 2024/25 performance season The curtain is li

[Source: Wen Wei Po]

The semi-stage version of the opera "The Marriage of Figaro" will be conducted by Xu Zhong, director of the Shanghai Opera House, famous conductor and pianist, at the Shanghai Oriental Art Center 2024 /25 performance season kicks off. The picture shows the team rehearsing in the rehearsal hall of the Shanghai Opera House. Photographed by our reporter Ye Chenliang ■Our reporter Jiang Fang

It was raining heavily outside, but melodious singing came from the rehearsal hall of the Shanghai Opera House. The semi-stage version of the opera "The Marriage of Figaro" will be performed at the Shanghai Oriental Art Center the day after tomorrow. "The time when the breeze blows, in the hazy night, where the pine trees sigh..." Monica and Leonore, who played the Countess Rosina and the maid Susanna, sang the classic duet "The Breeze Night" and exchanged words. The revolving melody flows like a sweet and refreshing mountain spring.

"Mozart's operas have extremely high demands on the performers. Whether it is coloratura singing or long-span musical intervals, the singers must always ensure the accuracy of pitch, rhythm, and intensity." In order to give the audience the opportunity on the eve of the Mid-Autumn Festival holiday Presenting a wonderful performance, Xu Zhong, director of the Shanghai Opera House, conductor and pianist, led the orchestra and Chinese and foreign singers to perform together. This time, the crew of "The Marriage of Figaro" not only gathered young talents from China and abroad, but also had many post-80s creators playing leading roles in the team. From the stage design, lighting, props to costumes, etc., they are all designed with a lighter but yet ingenious design to bring the show closer to young audiences.

Resonance and growth in communication

Composer Mozart’s works occupy a place on the world stage with extremely high frequency of performances every year. The four-act comic opera "The Marriage of Figaro" created in 1786 is one of his many opera works. one of the most famous. "Mozart's operas place great emphasis on the unity of music and drama, and also boldly explore and expand opera singing skills." In order to guide everyone to cooperate in the dense parts, Xu Zhong paid special attention to guiding the emotions of the singers and performers. , the baton in his hand flew lightly and rhythmically, giving the composer's carefully woven musical texture a rich and clear sense of layering.

The actors who play Figaro, Susanna, Rosina and the Count in this performance are bass Davide Giangregorio, soprano Leonor Bonilla, soprano Monica Cone Sa and baritone Dou Qianming are both Chinese and foreign young singers who have won awards in international vocal competitions and appeared on important opera stages around the world such as the Verona Amphitheatre, La Fenice Opera House in Venice, and the Rossini Opera Festival. Among them, Monica Conesa, who plays Rosina, has played three opera roles written by different composers in three countries in the past six months. Monica is looking forward to working with the Shanghai Opera House this time: "When I cooperated with musicians from China in the United States, I have already felt their meticulousness and professionalism. This time in Shanghai, I have a more personal experience."

Shanghai baritone Dou Qianming, who plays Count Almaviva in the play, has participated in two Mozart operas conducted by Xu Zhong. "The role of Count is very difficult. Not only does it have many arias, but it also has a long recitative. It is indeed very difficult, but rehearsing and growing together with outstanding opera singers on the international stage is very rewarding."

Music is c The location, the way the scenery is transformed without losing any ingenuity

"Presenting it in the form of a semi-stage version is an increasingly common way of performing operas. Compared with the traditional full-stage production, its beautiful scenery, lighting, Props, costumes, etc. will be lighter and more concise, leaving more focus on the stage to the music," director Ma Da said.

In addition to young director Ma Da, many of the main creators in the crew of "The Marriage of Figaro" are born in the 1980s. For example, Zhu Jiajun, director of the Stage Technology Department of the Shanghai Opera House, served as stage designer for the play. "The multiple contradictions in the play constitute a tense relationship between the characters, so I put a lot of thought into the design of the chairs where the characters sit.For example, the pattern on the female chair looks like a vase or vessel when viewed from the hollow transparent part, and looks like the graceful profile of two women facing each other when viewed from the filled black part. Similarly, the pattern on the male chair can be seen as both a vase and a vessel. It can be seen as a wine glass, or it can be seen as two men's faces facing each other. In addition, the height of the chair back and the width of the seat all imply different classes. ”

“We boldly used leather, satin, organza and other fabrics in the costume design to reflect the collision between the modernity of the semi-stage version and the classical feel of the opera itself. " Costume designer Liu Jiawei introduced, for example, a burgundy vest paired with a navy blue glossy long leather windbreaker. The velvet luster and leather luster collide, making people recognize the protagonist at a glance - the bold, witty, humorous and cunning Figaro.

[Source: Wen Wei Po]

The semi-stage version of the opera "The Marriage of Figaro" will be conducted by Xu Zhong, director of the Shanghai Opera House, famous conductor and pianist, at the Shanghai Oriental Art Center 2024 /25 performance season kicks off. The picture shows the team rehearsing in the rehearsal hall of the Shanghai Opera House. Photographed by our reporter Ye Chenliang ■Our reporter Jiang Fang

It was raining heavily outside, but melodious singing came from the rehearsal hall of the Shanghai Opera House. The semi-stage version of the opera "The Marriage of Figaro" will be performed at the Shanghai Oriental Art Center the day after tomorrow. "The time when the breeze blows, in the hazy night, where the pine trees sigh..." Monica and Leonore, who played the Countess Rosina and the maid Susanna, sang the classic duet "The Breeze Night" and exchanged words. The revolving melody flows like a sweet and refreshing mountain spring.

"Mozart's operas have extremely high demands on the performers. Whether it is coloratura singing or long-span musical intervals, the singers must always ensure the accuracy of pitch, rhythm, and intensity." In order to give the audience the opportunity on the eve of the Mid-Autumn Festival holiday Presenting a wonderful performance, Xu Zhong, director of the Shanghai Opera House, conductor and pianist, led the orchestra and Chinese and foreign singers to perform together. This time, the crew of "The Marriage of Figaro" not only gathered young talents from China and abroad, but also had many post-80s creators playing leading roles in the team. From the stage design, lighting, props to costumes, etc., they are all designed with a lighter but yet ingenious design to bring the show closer to young audiences.

Resonance and growth in communication

Composer Mozart’s works occupy a place on the world stage with extremely high frequency of performances every year. The four-act comic opera "The Marriage of Figaro" created in 1786 is one of his many opera works. one of the most famous. "Mozart's operas place great emphasis on the unity of music and drama, and also boldly explore and expand opera singing skills." In order to guide everyone to cooperate in the dense parts, Xu Zhong paid special attention to guiding the emotions of the singers and performers. , the baton in his hand flew lightly and rhythmically, giving the composer's carefully woven musical texture a rich and clear sense of layering.

The actors who play Figaro, Susanna, Rosina and the Count in this performance are bass Davide Giangregorio, soprano Leonor Bonilla, soprano Monica Cone Sa and baritone Dou Qianming are both Chinese and foreign young singers who have won awards in international vocal competitions and appeared on important opera stages around the world such as the Verona Amphitheatre, La Fenice Opera House in Venice, and the Rossini Opera Festival. Among them, Monica Conesa, who plays Rosina, has played three opera roles written by different composers in three countries in the past six months. Monica is looking forward to working with the Shanghai Opera House this time: "When I cooperated with musicians from China in the United States, I have already felt their meticulousness and professionalism. This time in Shanghai, I have a more personal experience."

Shanghai baritone Dou Qianming, who plays Count Almaviva in the play, has participated in two Mozart operas conducted by Xu Zhong. "The role of Count is very difficult. Not only does it have many arias, but it also has a long recitative. It is indeed very difficult, but rehearsing and growing together with outstanding opera singers on the international stage is very rewarding."

Music is c The location, the way the scenery is transformed without losing any ingenuity

"Presenting it in the form of a semi-stage version is an increasingly common way of performing operas. Compared with the traditional full-stage production, its beautiful scenery, lighting, Props, costumes, etc. will be lighter and more concise, leaving more focus on the stage to the music," director Ma Da said.

In addition to young director Ma Da, many of the main creators in the crew of "The Marriage of Figaro" are born in the 1980s. For example, Zhu Jiajun, director of the Stage Technology Department of the Shanghai Opera House, served as stage designer for the play. "The multiple contradictions in the play constitute a tense relationship between the characters, so I put a lot of thought into the design of the chairs where the characters sit.For example, the pattern on the female chair looks like a vase or vessel when viewed from the hollow transparent part, and looks like the graceful profile of two women facing each other when viewed from the filled black part. Similarly, the pattern on the male chair can be seen as both a vase and a vessel. It can be seen as a wine glass, or it can be seen as two men's faces facing each other. In addition, the height of the chair back and the width of the seat all imply different classes. ”

“We boldly used leather, satin, organza and other fabrics in the costume design to reflect the collision between the modernity of the semi-stage version and the classical feel of the opera itself. " Costume designer Liu Jiawei introduced, for example, a burgundy vest paired with a navy blue glossy long leather windbreaker. The velvet luster and leather luster collide, making people recognize the protagonist at a glance - the bold, witty, humorous and cunning Figaro.