Early spring in March, and the wind warms up. Song and swallow dance, Vientiane update. March, like a woman walking with a spring style, is gentle, subtle but full of tenacity and infinite possibilities. Spend the festive Spring Festival, send away the happy Lantern Festival, in March, we ushered in the national "two sessions", but also ushered in the festival belonging to female friends - International Labor Women's Day!
Wearing red makeup and playing Chinese music. Looking back 11 years ago in March, the Central Chinese Orchestra played the first concert to pay tribute to women and show the beautiful picture of prosperous Chinese music at the National Centre for the Performing Arts for the first time under the beautiful name of "Red Makeup Chinese Music". In the past 11 years, after years of baptism and polishing, "Red Makeup Chinese Music" has become a classic of women's theme concerts in the national music industry.
This year, another decade of "Red Makeup Chinese Music" has set sail again, and the footsteps of the Central Chinese Orchestra inheriting traditions and innovating continue to start from this new starting point, taking a more solid and determined step-
In the name of beauty, this stage will gather more female role models in the music industry to show their majesty;
With love as the system, this stage will tell more beautiful and moving female stories, warm and infect the world;
With music as the foundation, this stage will show more excellent and charming musical works, injecting fresh blood into Chinese music.
On March 6th, the Concert of the Central Chinese Orchestra "Red Makeup Chinese Music" was held at the Concert Hall of the National Centre for the Performing Arts in Beijing, which grandly opened the brilliant prelude to another decade of "Red Makeup Chinese Music". The concert was led by conductor Chen Bing, with Jin Yue as the band chief, tenor singer Yan Weiwen, erhu player Yu Hongmei and other top guests joining in, presenting a wonderful and colorful music event for the audience.
Following the successful cooperation last year, Chen Bing once again joined hands with the Central Chinese Orchestra on the stage of "Red Makeup Chinese Music". The baton rises, and a national orchestral piece "Gallop" kicks off the concert.
The narrative music poem "Deer Mother Lotus" brings the audience a beautiful legend about the kind "deer girl" and maternal love under the moving singing of soprano Wei Garni and the affectionate recitation of bass singer Liu Yang.
The national orchestra "Dance of Light and Shadow" is composed by female composer Zhu Lin, this national orchestra sketch has a compact structure, smooth lines without losing personality, the rhythm is bright and dynamic, and the notes are intertwined on the stage into a dynamic light and shadow picture, bringing the audience the enjoyment of beauty.
As the "mysterious guest" of this concert, the appearance of tenor singer Yan Weiwen undoubtedly set off a climax for the concert, and as soon as he appeared, he set off a wave of applause on the spot. His masterpiece "Mother" appears more emotional and touching on the stage of "Red Makeup Chinese Music", and "Want to Kiss" sung with soprano singer Liang Wenjing's "Master and Apprentice" singing will interpret the rich regional style and throbbing love infinitely beautiful and incomparably affectionate. It is worth mentioning that this is not only the first time That Yan Weiwen has joined hands with the Central Chinese Orchestra, but also the first cooperation between himself and the National Orchestra, and it coincides with the women's festival, the two songs praise maternal love and sing love, Yan Weiwen's affectionate voice echoes throughout the concert hall, the two songs are sung, and the scene resounds with thunderous applause.
The second half of the concert opened with the national chamber music "Four Dreams of Meibian", a classic composed by female composer Wang Danhong that uses ethnic music to interpret and depict "beauty". It is also one of the representative works of great breakthrough significance in the miniaturization and diversification of national instrumental performance forms in recent years. As the music flows, we seem to hear the dialogue between tradition and modernity, inheritance and innovation, and enjoy the feast of beauty brought by music. Subsequently, the national orchestral works "Folk Style Suite" were played, and the four works of "Small River Flowing Water", "Fishing Song", "Rainy Night Flower" and "Black Walking Horse" were created and adapted from Yunnan folk songs, Hezhe folk songs, Taiwanese pop songs, and Kazakh folk dance music, using music to depict the cultural outlook of "ten miles of different customs and a hundred miles of different winds" on the vast territory of the motherland.
At the end of the concert, the erhu players appeared in the finale of hongmei. Between the two strings, it brings the audience an audiovisual feeling of "being in the moment". Some people say that her erhu can sing, and some people say that her erhu is the most affectionate, Yu Hongmei's "Mengshan Yishui" is such a work, her performance will be erhu gentle like a song of music to the extreme, the music written to the homeland will be beautiful nostalgic poems slowly unfolded, leading the audience into the beautiful Mengshan Yishui together. Yu Hongmei's erhuli not only has tenderness, but also has toughness, free love and superb skills. This is also the reason why Yu Hongmei's version of "Horse Racing" is so popular and sought after. The majestic racer and the galloping horse are vividly and passionately displayed between her two strings. Yu Hongmei just collaborated with the Central Chinese Orchestra on this piece in this year's Spring Festival's "Literature and Art Chinese New Year Special Program", and the applause was thunderous.
Amid the applause and cheers from the audience, the orchestra presented the return song "Send Me a Rose".
"Red Makeup National Music" is another ten years, and then it starts again. "After ten years, the 'Red Makeup Chinese Music' concert has become a brand play of the Central Chinese Orchestra to present the 'Two Sessions' and pay tribute to women every March. On this stage, musical works praising the party and the people are constantly staged, female conductors, performers, singers, and composers continue to emerge, showing the artistic posture of not letting the eyebrows be shaved, and the female theme music is warm and infects a group of audiences. Zhao Cong, director of the Central Chinese Orchestra, said, "This year, we have brought a grand event of national music to the audience with the top guest lineup, the best quality repertoire, and the most diversified interpretation form, and also reopened another decade of the "Red Makeup Chinese Music" concert, hoping that "Red Makeup Chinese Music" can continue to break through innovation, and constantly recreate and reshape the new classics of women's theme concerts." ”