金玉良缘 (豆瓣)

又名: 钱惠丽•越剧
表演者: 钱惠丽
流派: 说唱
专辑类型: 专辑
介质: CD
发行时间: 2012-08-10
出版者: 瑞鸣音乐
唱片数: 1
条形码: 9787798615999

豆瓣评分

9.6

30人评价

5星

79.2%
4星

20.8%
3星

0.0%
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0.0%
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0.0%

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简介 · · · · · ·

　　越地多水。若耶溪边那一抹浣纱的传说，将两千年的淡烟疏柳，痴念成馥郁清越的水墨意象。
　　越水多韵。一支呤哦调藉着悠澹如画的剡溪水云，委婉流传，唱世情百态，唱尘间啼笑，唱玲珑人心。
　　越女多情。诸暨西施的捧心救国，上虞祝英台的化蝶殉情，绍兴陈妙常的秋江追别，活画了绕指柔的情愫，更传颂出惊世骇俗的刚烈。也唯有这儿的女子，凭一副柔曼清雅的丽嗓，潇洒俊逸的扮相，将这近八十年的女班越剧，唱得风生水起，长盛不衰，成为声名远播的中国第二大剧种。
　　越剧，孕育于越地水乡，从19世纪初浙江嵊县一带的“落地唱书”发展而来，至今也有了一个多世纪的光景。从担着衣箱跑村头乡间的民间小戏，到走入霓虹都市、华丽舞台的时髦文戏，越剧在发展中汲取了昆曲、话剧、绍剧等特色剧种之大成，几十年间竟有鲜花着锦、烈火烹油的繁盛之势。及至20世纪五六十年代《红楼梦... (展开全部) 　　越地多水。若耶溪边那一抹浣纱的传说，将两千年的淡烟疏柳，痴念成馥郁清越的水墨意象。
　　越水多韵。一支呤哦调藉着悠澹如画的剡溪水云，委婉流传，唱世情百态，唱尘间啼笑，唱玲珑人心。
　　越女多情。诸暨西施的捧心救国，上虞祝英台的化蝶殉情，绍兴陈妙常的秋江追别，活画了绕指柔的情愫，更传颂出惊世骇俗的刚烈。也唯有这儿的女子，凭一副柔曼清雅的丽嗓，潇洒俊逸的扮相，将这近八十年的女班越剧，唱得风生水起，长盛不衰，成为声名远播的中国第二大剧种。
　　越剧，孕育于越地水乡，从19世纪初浙江嵊县一带的“落地唱书”发展而来，至今也有了一个多世纪的光景。从担着衣箱跑村头乡间的民间小戏，到走入霓虹都市、华丽舞台的时髦文戏，越剧在发展中汲取了昆曲、话剧、绍剧等特色剧种之大成，几十年间竟有鲜花着锦、烈火烹油的繁盛之势。及至20世纪五六十年代《红楼梦》、《梁山伯与祝英台》、《追鱼》等一批越剧电影诞生，越剧热潮席卷大江南北，最终风靡全国。
　　与京剧的男旦艺术相映成趣，越剧的女子科班亦是引人注目的特色景观。越剧艺人最初都是男性农民，1923年嵊县施家岙开办了第一副越剧女班，以全堂女角色演出独树一帜，颇为兴旺。上世纪30年代初，女班大批涌现，适合女子嗓音条件的四工调也成为了越剧的主腔。女艺人们亦生亦旦，扮相秀美唱腔清亮，与才子佳人的剧目题材唱词十分熨帖动人，女班渐成越剧演出的主流。虽然越剧舞台也时有男角出现，但倜傥俊美的女小生，则更能将那种性别转换的特殊魅力发挥到极致。
　　钱公子，翩翩如玉，举手自是鲜衣怒马的少年风流，投足亦有玉树临风的俊逸态度。也教人疑作檀郎前度，却在舞台下嫣然一笑间，透露出红粉佳人的秀丽真容。钱惠丽，著名徐派女小生，国家一级演员，上海越剧院副院长，与西施同出于诸暨故里，少年即以开蒙戏“红楼”脱颖而出，三十年来演活越剧舞台上亦古亦今多少风流才子俏雅郎君，“公子”之誉由此知名。近年来以《粉墨是梦》、《姹紫嫣红》等戏曲主题系列享誉海内外的瑞鸣音乐，特意为钱惠丽量身打造这张其从艺三十年来首张高品质发烧天碟。专辑由钱惠丽看家戏码组成，精心编配演唱，首首皆是戏迷们耳熟能详的精品名段，堪为典藏臻品。
　　《红楼梦》中钱公子演活的那个“眉梢眼角藏秀气，声音笑貌露温柔”的贾宝玉，令多少粉丝惊呼“像绝徐玉兰”。因情成痴的张君瑞、自惹相思的书生潘必正，这一系列多情公子形象都被钱惠丽演绎得分外传神。此张专辑中钱惠丽塑造的角色形象生动多变，情绪饱满激昂，令人叹为观止。专辑特邀上海越剧界十数位国乐名手联袂献艺，越剧名段在原汁原味录制演绎之间，更有一份比戏院亲聆还要精致生动的亲切感受。著名音乐制作人叶云川担纲制作，同期录音大师李大康亲自操刀，于上海电影技术厂录音棚同期精湛录制，德国老虎鱼的全程后期制作及母版制造则将这蕴藉越地水云的浣纱之声处理得更加细致完美。
　　曲中自有牵情处，这一幅烟柳画桥风帘翠幕，这一番丝弦楼阙菱歌泛夜，都在这柔美如波的戏文间清雅绽放，暗香浮动，如醉雨聆风，声声滴在心头。
　　The Yue area is home to many waters. These rivers and lakes have given birth to countless legends, which in turn form the basis for the stories Yue opera has to tell.
　　The Yue area is home to many melodies. Some are soothing tunes that offer picturesque images of streams and clouds flowing gently past; others tell the stories of the world, stories of bliss and of misery, of that which makes us human.
　　The Yue area is home to many love stories. All these stories bring to life the sincerity of love, at the same time delivering messages full of bold moral integrity. Yue opera is the second most popular form of Chinese opera. And all roles in Yue opera are sung by female performers.
　　Yue opera, originating from a region of southern China once known as the State of Yue, first began in the early nineteenth century as a form of storytelling native to Sheng County of Zhejiang Province. Yue opera absorbed elements from Kun opera, Shao opera, drama, and several other art forms, and over the course of a few decades reached the splendor that it possesses today.
　　In the early years Yue opera was performed entirely by male peasants, but then in 1923 a man named Shi Jia’ao established the first all-female Yue opera troupe, and they soon became a sensation. The 1930s saw many more female-only Yue opera troupes, and the Sigong style, which is most suitable for the female voice, became the main style of Yue opera. The adept singers could perform both male and female roles, and were talented actresses with impressive voices. The arias they chose and the lyrics they sang were quite well-suited to the time, so these female Yue opera troupes eventually became the mainstream of the entertainment scene. Although male actors do make an occasional appearance on the stage in Yue opera performances, the unconventional charm of female portrayals of roles like Xiaosheng is what really puts Yue opera in a class of its own.
　　Prince Qian, full of charm and grace, is the epitome of the well-mannered gentleman. But offstage he—actually, she—gives a gleaming smile, revealing her true femininity. She is a famous Xu-style female Xiaosheng performer, national class-A actress, vice-president of the Shanghai Yue Opera Theater, as well as director of the Red Mansion Opera Troupe. Her hometown, just like the beauty Xi Shi, is in Zhuji of Zhejiang Province. Starting from her first performances of Red Mansion when she was a child, she has spent more than thirty years on stage, and her portrayals of ancient Chinese royals have earned her the nickname “Prince Qian”. Rhymoi Music, who in recent years has produced popular collections of Chinese arias including Dream of an Opera, and Drunken Beauty, presents this compilation of Qian Huili’s strongest performances. The compilation includes 22 of Prince Qian’s most famous songs, with new vocal and orchestral recordings. This collection of classic arias is sure to be a new favorite for Chinese opera enthusiasts.
　　Prince Qian has played many classic roles, and her performances have been praised time and time again. Her portrayal of Jia Baoyu, the male lead in Dream of the Red Mansion and a refined and dignified gentleman, has become a favorite of Red Mansion fans. Some of her other memorable performances include the love-struck Zhang Junrui, the forlorn scholar Pan Bizheng. Prince Qian’s many personas are collected on this album so that you may enjoy them as often as you please.
　　For this compilation we enlisted a team of top musicians from the Shanghai Yue opera scene to perform the original instrumental recording. Recording artist Li Dakang, one of the foremost in all of Asia, oversaw the live recording sessions at Shanghai Film Technology Studios; and mixing and mastering were provided by Stockfisch Records of Germany.
　　The melodies of Yue opera are elegant and soothing. We sincerely hope you enjoy this collection of masterpieces, brought to life by the one and only Prince Qian.
　　