The performance of the seven regular singers in this issue can be described by their own magic powers, just like the fairy fight is as wonderful, if the singing of each singer is independent, it is a fine product, which is remarkable. But after all, it is a game, which needs to be judged by the audience's aesthetics and the understanding of the songs interpreted by the singer, and naturally there will be a difference between high and low victory and defeat, just to say that the singer at the bottom does not represent the strength, but perhaps the works interpreted may not be able to make the audience quickly absorb.
Like Xiao Jingteng and Hua Chenyu, I think these two singers in this episode of the show brought quite innovative, especially Hua Chenyu, continued to write the previous "Sacred Tree", such music is after all high and low, it is difficult to make the audience completely digest in a few minutes of interpretation, so it is not surprising not to be understood and accepted, it depends on whether the singer is aimed at the taste of the audience, or loyal to the expression of self, obviously Brilliance Chenyu chose the latter.
And the champion of this game is Misia, I will use the deserved to describe, not only captured the ears of the audience, but also expressed the height and depth of this song and the past, the choice of songs is not new, but the interpretation is beyond expectations, there is no reason not to win the first place. Moreover, there are two groups of singers in this scene, including Taiyi and Shengjin Men's Group, Taiyi's surprise attack on Hua Chenyu ended in failure, and the Shengjin Boy Band successfully surprised Xiao Jingteng, as to whether it can be successfully made up, the next period should be able to see the difference.
In fact, at the beginning, I did not have too many expectations for Misia's "Please Don't Go" ("Autumn Yi Nong" Japanese version), before hearing her perform, I could already imagine the feeling she could present when she sang this song, but I was still amazed after listening to it, I have to say that the cooperation of the team is very important, the unique design of the arrangement will bring a lot of unexpected surprises, yes, here is the penetration of the traditional Japanese instrument Shinobu.
It's like a sharp blade suddenly splitting its head, chopping up the original thick sorrow, and then condensing it through the sound of misia, and then bursting, and the infectious force released is more intense and powerful, especially in the second half, misia's voice is like a huge wave, unstoppable, people drown in the terrifying waves of her emotions, willing to indulge, the shocking force swings back to the intestines, for a long time can not retreat, she takes the first truth to deserve.
This time has been brainwashed by "last dance", Wu Bai's version has been deeply rooted in the hearts of the people whether it was before or today, so Xu Jiaying's cover song is actually very risky, this adventure is not only the singer itself has a strong preconceived impression, but also lies in Wu Bai's characteristics, including the style of writing songs, the style of singing is too strong.
However, Xu Jiaying's interpretation of this version exceeded expectations, and she never thought that she would make a work so girly. I think that after Xu Jiaying frequently uses the air tone, her interpretation is becoming more and more exquisite, more and more colorful, and the arrangement in "last dance" abandons the original Taiwanese rock flavor, and injects a large number of modern elements to make the song become soft, especially the integration of the air tone, which is very light and flexible, just like Huang Yuxuan's upper body is interpreting.
It is also worth mentioning that Xu Jiaying completely erased the style that Wu Bai retained in "Last Dance", and all that Wu Bai left in the end was the characteristics left in the melody creation, which was quite difficult.
This issue of Zhou Shen returned to a habitual musical expression, without too much ambition, nor over-radical new attempts, basically playing on the essence, but unexpectedly he was moved by his interpretation of this true color. I think the melody of "Possible Night" itself is very plus, Zeng Yike's creation is too interesting, almost every melody of the tail note is naturally a small rise in a key, but also set up a lot of obstacles to the singer's interpretation. And Zhou Shen's treatment is very beautiful, whenever he sings this part, his already very gentle voice will become softer and more comfortable with the rise of the falsetto.
And the integration of the "Rose Life" singing section, such a setting and processing is not new, but also become indispensable, after all, if you purely sing the song "Possible Night", there may be less undulating, less sublimation part, and join the "Rose Life" singing section, the emotional tension becomes stronger, the sense of hearing becomes richer, the sense of layering is also distinct, and the whole effect is like a new ladder.
Xiao Jingteng turned solo into a genre orchestra in the song "I Only Want the Feeling of One Person", and the atmosphere created the characteristics of piano rock, with the flexibility and dynamics brought by piano playing to synthesize the inherent hard texture of rock, less cold feeling, more brisk and comfortable feeling, and the tone has obviously changed.
The biggest highlight of the whole performance should be Xiao Jingteng's overall false sound processing, which complements this light melody. Sounds very comfortable, but the interpretation is not simple at all, the difficulty is not only to control the breath, but also to control the feelings, the weight of the pinch is quite elaborate, too abrupt, too closed without romantic effect, but also need to be done in one go, so it is like walking a tightrope, and Xiao Jingteng easily went from the beginning to the end, there is no trace of mistakes, just want to say, Xiao Jingteng This performance is too divine.
Yuan Yawei jumped out of the traditional popular characteristics in the singing method, and even surpassed the infectious power of the studio version, the first half of the lingering pity, the second half of the high-pitched power to control the feelings, all the feelings compressed into a limited space, constantly expanding, expanding and then erupting, the infectious force that came out was obviously more shocking.
Yuan Yawei sings high quotient, higher emotional intelligence, emotional combing of the whole song, clear context, diversified expression, not limited to any inherent framework, coupled with the singing voice bias and European and American texture, the effect created is popularly described as tall. In fact, to be able to sing a traditional work with ballet color to another unattainable height, far from being only able to achieve singing skills, but also requires a unique understanding of the song and a skillful control of the voice as a support, in my opinion Yuan Yawei is impeccable.
The next chapter of Hua Chenyu's "Sacred Tree" is "Advent", the style is completely different from the previous part, and it is still quite bold in trying, combining a large number of classical elements with Chinese instruments, especially the performance of chimes, deducing a work with Sanskrit tone, the form is the collision of Chinese and Western musical elements, but the bias is still in Chinese style, so it can be defined as Chinese style, but it is divorced from the aesthetic characteristics of traditional Chinese style.
This is a series of works in two different forms of derivation, perhaps put the two songs together, the whole pattern will be clearer, brighter, if "Sacred Tree" is the interweaving of darkness and light, the alternation of destruction and rebirth, then "Advent" is the birth of redemption and hope, whether it can purify the mind is a matter of opinion, but ideologically, the musical pattern has been made very large, and sublimated the quality of art.
And such musical works are not easy to digest and understand, especially in the highly competitive scene, but dare to let go to try, but I admire Hua Chenyu's courage and boldness.
Seriously, I still prefer Sun Yanzi's version of "Straight Forward", more casual, more free, more comfortable, with an aura to support the whole song, with a little hippie and even playful feeling. Jik's elegant version can not be said to be bad, at least she changed the temperament and direction of the song, her version of the work has become more mature, adding the presentation of the band to make the atmosphere more heavy and heavier, so her interpretation will give people a cool, very cool feeling.
On the stage of "Singer", and from the perspective of cover singing, Jike Junyi is still successful, retaining the inherent essence of the original work, and also integrating the characteristics of the self in the details, not a makeover, but injecting a new soul into the song with the posture and characteristics of the self.
ps: The pictures are from the Internet