Yue opera master Xu Yulan
Xinmin Evening News (Reporter Zhao Yue) On the occasion of the centenary of the birth of The Grandmaster of Yue Opera, Xu Yulan, the Shanghai Yue Theater traced the artistic trajectory of Mr. Xu Yulan's life with Xu Pai's original repertoire and classic excerpts. This week, Xu Pai disciples and descendants from all over the country re-performed the essence of Xu Pai's repertoire at the Wanping Theater, and this day and tomorrow, Xu Wang's version of "Dream of the Red Chamber" will also be staged as scheduled. Express the remembrance and respect for a generation of Yue opera masters.
Xu Yulan's genre singing style, personality charm and stage image have become the main symbols of Yue opera art. From Hua Dan changing from old life to small life, from forming herself a Magnolia Troupe to participating in the War to Resist US Aggression and Aid Korea to forming the Red Chamber Theater Troupe, from "Panfusov" that was successful in one fell swoop to "The Country Breaks the Mountains and Rivers" to the well-known "Dream of the Red Chamber" at home and abroad, Xu Yulan not only left a large number of artistic images, but also left valuable spiritual wealth for generations of inheritors.
"The Country Breaks the Mountains and Rivers", that is, in the "King of the Northland" staged at the Wanping Theater on December 28 last year, "Weeping Ancestral Temple" is a singing section in which the more rare the body drama accounts for a larger proportion, Xu Yulan uses excellent basic skills to complete the difficult body skills such as "kneeling and rubbing" and "grabbing the back", reproducing the heroic and refreshing image of the young general LinkedIn martial arts. The performance was performed by Qian Huili, a disciple of Xu Yulan's concubine, as the artistic director and sang the theme song, and Wang Wanna, the tenth generation of Shangyue and a young literary artist, undertook the interpretation of the master's mantle, and the repertoire was recreated on the basis of completely retaining the classic singing sections such as "Weeping Ancestral Temple", in order to become a regular performance of Yue opera.
Xu Yulan performs
The Yue opera "The Emperor and the Village Girl" staged on the 29th of the same month is the last big drama in which Xu Yulan and Wang Wenjuan participated in the creation and rehearsal, in which Xu Yulan played a triangle by one person, freely switching between roles and playing with ease. This time, the Yue opera "The Emperor and the Village Girl" will be starred by Yang Tingna, a disciple of the "Xu Pai", a new Mesozoic, and a young writer and artist.
Last night's "Magnolia Blossoms" theme performance was the highlight of this "commemoration of the centenary of the birth of Yue opera master Xu Yulan". Narrated by Song Huaiqiang, he tells the flow process of Xu Yulan's life and the development, inheritance and dissemination of Xu Pai's art from a third-party perspective. In order to be grateful and remember Grandmaster Xu Yulan, the theme performance of "Magnolia Blossom" will not only be performed by the actors of the Xu Sect of Shangyue, but also gather many outstanding disciples and descendants of the "Xu School" from all over the country to express the deep remembrance of a generation of Yue opera masters in the form of classic singing segments and original repertoire performances, highlighting the redevelopment and re-creation of Xu Pai art.
Zheng Guofeng (specially invited), Fan Tingting, excerpt from "Panfu Sov"
Although he is a genre master, Xu Yulan said: "The genre itself must flow and change, and only the genre that is constantly changing will show vitality." "Her courage, boldness and open-mindedness are always worth learning from young people." Art must be constantly reformed, and art must be followed by others. If Yue opera wants to move towards a more brilliant tomorrow, it needs younger, younger generations of people to inherit innovation. Xu Yulan's words are still loud today.