Professional composers and judges can immediately hear something in the music they hear.
The symphonic music at this time is not a prelude, but a pure overture.
Smooth, delicate, yet grand, the melody of each part blends together, full of conquering power.
Qin Jian conducts his orchestra, making the sound produced by the orchestra distinct.
The high notes are bright, the syntax is meticulous, and the tone is full of tension.
This kind of music is easily infected by tension, and listeners must hold their breath to listen because they have no idea where the music will go next.
The overture to Yada and Kira certainly has such power.
The catchy melody quickly attracted everyone, but then people seemed to have forgotten the melody just now.
With the further development of music, professionals were horrified to discover a terrifying scene.
Under this aggregation of harmony and rhythm, they immediately thought of Mozart's late works.
Mozart's music has never lacked beauty and beauty, but it cannot be completely remembered by people. This is still a problem studied by music historians.
But at this moment, they saw in the musical shadow of this young Chinese pianist, no, it should be said that he was a composer, that they also saw the same issues worthy of study.
Before the first act even started, the audience was impressed by the unfathomable talent of the composer in the overture.
The musical pulse that is impossible to grasp is like sugar-coated extraterrestrial sounds, eroding the listener's brain wave after wave.
There is no doubt that no one can remain calm about the first scene to come.
But the overture in my ears continues to rage in every corner of the concert hall——
On the other hand, Qin Jian in the orchestra pit was not as calm as the audience imagined.
Feeling the inspiration from Amadeus' last wish, he carefully waved his baton in accordance with the music in his ears.
His movements are slow and concise, with only a few points of careful consideration for each sentence and no smooth flow of movement.
Occasionally, the expression of the left hand is slightly richer, but only in terms of vocal balance.
He did not indulge himself in the wonderful sound effects, but concentrated on restoring Mozart detail by detail with all his strength.
At least he understood Mozart, stitch by stitch, and he didn't let his consciousness interfere with this restoration.
The overture was coming to an end, Qin Jian did not dare to take it lightly, and left it to the people on the stage.
He has confidence in Ning Qianxia.
The volume of the symphony gradually weakened with visible fluctuations in the air.
The audience in the audience realized that the first act was about to take place. They stared intently at the smoke on the stage, as if they were afraid of missing any detail.
At this point, soft string harmonies replace the overture.
A melodious sound of nature sang from the fading smoke, spreading across the stage and directly towards the last row of seats in the hall.
The beautiful fleshy voice, with charming and delicate timbre, shows pure intonation and complex vocal style under absolute control.
The velvety strings paved the ground as accompaniment, and in just one moment, the whole place was immersed in the ethereal and graceful singing.
The moment the two-beat, four-beat resonant coloratura ended and the flute sounded, a slender figure walked out of the smoke with bare feet.
She looks like the Virgin, but is more noble.
She ran long-distance wearing hemp, her left arm was exposed to the air, her face was haggard, but her eyes were full of light.
No one knew who was holding the baby in her arms, but she walked out step by step and lit up her singing voice again.
The otherworldly beauty of the vocals is arranged like a geometric arrangement, summoning figures dressed as saints one after another in the smoke.
At this time, Qin Jian felt a stronger reaction from his left hand. He forcibly suppressed the throbbing in his heart and directed the orchestra to move forward bit by bit.
On the stage, everyone's chorus sounded like a chant from ancient nature, opening the mysterious curtain.
The music reaches the 16th measure, and Ning Qianxia’s coloratura comes back again.
——
The theory of vocal art as an imitation of nature is an ancient pious belief.
The development of opera art has given it a new power, turning it into a primitive view of nature through a simplified way.
Since the sixteenth century, the doctrine of imitating nature has encountered great difficulties in vocal music. Whether Monteldi, Cavalli or Handel, the creations of great composers were once in trouble.
So much so that it had to be completely reinvented and downgraded to musical imitation, or more accurately, the reproduction or expression of the most natural and pure human emotions.
This is consistent with neoclassical teachings. In the eighteenth century, psychological ethics further simplified the emotional complexity of vocal music.
The soprano's coloratura skills still express emotion, but they no longer express an emotion that needs to be accepted.
Until the emergence of Mozart, this phenomenon had a retro trend.
For the opera stage, Mozart's achievements were revolutionary.
He requires the actor's singing to follow the movement of the drama on the stage, but at the same time, he requires the actor's singing to have absolute rationality.
He particularly embodies this in his treatment of soprano in works such as The Magic Flute and Così.
The more famous the script, the more it reflects the quality of a singing actor.
Here we consider not only the range of the singing voice, but also the handling of the character.
Being accustomed to hearing various historical versions, judges and audiences often unconsciously judge a singer from the latter's perspective.
Especially in competitions.
But it is obvious that "Ada and Kira" is a completely new play for them, and this act has not been performed on any stage before.
Like Paul, if someone jumped out at this moment and said that this is Mozart's opera, no one would doubt it from a musical point of view.
But everyone knows that this is not Mozart, but a work by a young Chinese composer.
So they have no way to judge the characters on the stage at this time——
The absolute protagonist——
The mother of creation ‘Kira’——
Her every move and every singing face in every scene will become a historical version of the audience's audio-visual experience in the next second.
At least half of the judges held this attitude.
Regardless of the play itself, Ning Qianxia's unique voice has penetrated deeply into their bodies and minds, making it difficult to pull it out.
People seemed to see a rising coloratura star about to break through the thin linen robe.
The other half of the judges only regarded the soprano in their ears as a sweet pastry and were still immersed in the symphonic music starting from the overture.
Putting aside the vocals of all the singers and the retro stage scenery, if you only listen to the music in front of you as a four-act symphony, the composer's unconstrained imagination has taken people away from the Berlin State Opera House and went to the Federal Opera House.
A hidden corner of the Garro House.
In that corner, there are Mozart's most personal whispers.
...
Along with the last song of the Founding Mother, there was a "ding" sound, and the young conductor on the podium gently lowered his left hand.
He raised the corners of his mouth slightly.
Turn around.
The next second.
“Hua Hua————————————”
The thundering applause instantly annihilated the hall.