This season of "The Sound of Dreams" officially ended, and all the dream students successfully graduated. Among the students, I personally remembered Su Lisheng, not only because of his good performance, but also because of his excellent luck. At that time, after the end of the 8th program, Zhang Liangying immediately announced on Weibo that she would invite su Lisheng, a dream student, to join the big family of the Shaocheng era. This kind of "hand-picking" is simply good luck. Of course, the operation is sudden, and it can't help but arouse questions, why is he?
Zhang Liangying's explanation at that time was very concise: because of the scene of the song "We Said Okay". The motivation may seem sloppy, but for the star singer who has been in the pop music scene for many years, her judgment must not be sloppy. In my opinion, this is essentially an instinctive feedback cultivated through the accumulation of sufficient experience. For the question of who is a good singer, in Zhang Liangying's cognitive system, it often constitutes a "standard answer".
At least su Lisheng's performance in the show is enough to support Zhang Liangying's judgment, and this "bearded" can indeed be regarded as the "standard answer" of a good singer.
In the show, Su Lisheng has performed a total of three songs, and each round performance is remarkable.
The 8th issue of Zhang Liangying's "We Say Okay", the first appearance in the show, the most correct thing he did was to output "recognition". At the level of intuitive hearing, the singer's "recognition" includes the most important two aspects, the voice line and the bite word. The former basically relies on talent, and the degree of change can not exceed 30%; the latter can be completely shaped by acquired efforts. In both aspects, Su Lisheng has a good advantage.
In terms of voice, the magnetic sense is sufficient, the grain is strong, the thickness is obvious, with the vicissitudes of melancholy color, with the singing process of stable support of the breath, especially suitable for interpreting love songs. The choice of "We Say Yes" at that time was exactly the standard love song. In terms of biting words, it is very in line with the standards of singing, that is, the bite head is accurate enough and heavy enough, and the spray is powerful. The spit belly is round and full, loose enough. The closing end is crisp and concise, and the stable and formed word belly ends lightly and softly. Simply put, it has a textbook paradigm. On the whole, the "recognition" that belongs to Su Lisheng is that the magnetic baritone is strongly masculine. At the public level, this voice has considerable lethality, in addition to tailor-made soulful songs, the theme song of the film and television drama is also the first choice.
The 10th issue interprets Lin Zhixuan's "Scatter It", and the highlight shown is "plasticity". This song has both melodic lines and rhythm points, and these two parts are well controlled by Su Lisheng. The melodic part is processed long enough, and in the thick and vicissitudes of the voice line, the melody line highlights a strong sense of picture. The rhythm part is expressed crisply enough, and it is not limited to simple rhythms, but can achieve precision in details such as cutting rhythms. From this, it can be judged that he will not have a problem in mastering the works of the melodic type and the rhythm type.
For singers, "recognition" is stock, and "plasticity" is increment. The former determines the starting position, the latter determines the finish position. Judging from this, Su Lisheng has a fairly good starting position and is very likely to get the same beautiful finishing position. Especially for future career development, "plasticity" is almost decisive.
Su Lisheng's "plasticity" not only involves the two song types mentioned above, but also reflects the sense of age. This is to say that the concept of time in his singing presentation is dynamic. For example, the two songs mentioned above, "Let's Go" is a 1997 work, and "We Say Yes" was released in 2007, spanning 10 years in between. Su Lisheng's interpretation does not have the slightest sense of isolation, which can interpret the temperature of the old time in "Let's Go", and can also convey the modern urban sense of "We Say Yes" clearly. This ability to adjust first proves that the singer's awareness of time is very keen, and he can accurately grasp the concept of time in the work. Secondly, it proves that the singer can portray the time in detail through specific singing adjustments. The effect of the singing in "Let's Go" is obviously more nostalgic and the mood is more restrained, which belongs to the traditional paradigm. "We Say Yes" is biased towards a modern atmosphere, such as a more extroverted and more egotistical expression.
Because of its good "plasticity", Su Lisheng's song road is naturally broad, and the possibility of future development is more sufficient.
The 12th issue performed Li Zongsheng's original song "Don't Cry" by Lin Yilian. This song is the ultimate test, especially from the creation of Li Zongsheng, which is a high requirement for all aspects of the singer's cultivation. In this round of deduction, Su Lisheng embodies a valuable "telling power". The use of "telling" in the singing process may be the supreme technique, which is actually processed through two levels, first of all, to enter the song and have a thorough cognitive understanding of the song. Secondly, we must come out of the song, that is, get rid of the limitations of the song and the original singer and the original author, and fully use the way of self to convey, that is, to present the song like a white speech.
Su Lisheng finally showed a good state of telling. Specifically, there are enough emotions in "Don't Cry", and the whole process is complete through weak to gradually strong and then strong and finally to the strongest emotional spread, which is the most standardized display of storytelling singing. Standing in their own perspective to tell the audience the content of the song, the emotions are meticulous, calm enough when it is gentle, and explosive enough when it is strong, and it is fully logical for expression. "Don't Cry" also has a rich sense of picture, with the mood is the picture, this Peugeot sad love song, in Su Lisheng's interpretation of the fully outlined the picture related to the memory, the warm past of the hot love period, the tearing heartache when separated, the complete venting when the determination, and so on can be truly felt.
The greatest energy given to the song is "truth", and "truth" is the most valuable highlight of Su Lisheng as a singer. This is even more important than the technical advantages mentioned above, after all, the technical ability can be completely improved. Moreover, in an era of universal zeal to create human design, "authenticity" is simply a treasure.
In the three performances in the show, Su Lisheng is completely presenting the most suitable for his true self, and does not deliberately imitate or play, and the technical emotions he shows are the most authentic things. This kind of thing, which cannot be learned, is an element that comes with the individual's constitution.
The importance of "authenticity" for Su Lisheng is to ensure the universal impact of singing. The so-called universalization is that the distinction between age, gender, occupation, etc., is a mass group in a broad sense. The content he sings can be accepted by the public, and the emotions he expresses can also be perceived by the public, commonly known as "walking the heart". The three cover songs mentioned above, each capital is a standard "walking heart" work, this effect is far more valuable than the fashionable and lively.
Fashion will become obsolete, bustle will fade, but "real", no.