Mao Tao Wei, who heard her "Phoenix Hall" ten years ago; Zhao Zhigang and desert prince's Yue Opera TV plays are popular all over the country. Xiao Ya, I have heard her sing "I will go when the moon is gone"; But I know nothing about Wang Junan. For Zhejiang people, the reputation of Fujian Fanghua Yue Opera Troupe was really not very loud at that time. At that time, our understanding of Shaoxing opera was mainly in three ways, one was broadcasting, the other was the "screen stage" column of Zhejiang TV Station, and the third was discs or tapes. hear nothing of
Why, I have never heard of Fanghua Yue Opera Troupe on the radio, nor have I seen their plays on TV, nor have I seen the discs and tapes of Wang Junan or CoCo Lee in the audio-visual cabinets of shopping malls.
The first time I listened to Wang Junan's "desert prince-Fortune-telling", I felt like the host said that it kept the original style of the Yin school, and it was quite normal and had no obvious personality. Even today, if Wang Junan's singing style has personality, it is mainly the personality of the voice, which is a bit dumb and the small cavity is not particularly mellow; Melody, in recent years, she may sing more arias composed by Chen Guoliang, slightly closer to Zhejiang School. An important feature of Yin school's singing in Zhejiang school is that it is good at expressing the temperament of ancient literati who are soft outside and rigid inside.
The roles played by Wang Junan in recent years, such as Liu Yong and Hou Chaozong, are all historical and cultural celebrities, which are difficult to play. Peach Blossom Fan didn't. I have seen the video of "Liu Yong". Not as ugly as many viewers criticized, but actually better. This drama is not limited to the usual methods of Shaoxing opera scripts (writing a sad love story and reaching its climax in the penultimate scene), but it pushes out several major events in Liu Yong's life. It looks like a TV series, with kung fu in general, scene after scene, sighing for himself when he is old, and summing up his life with a long aria. This way is not bad, at least it can give me a general understanding of Liu Yong's life. If there is only one climax in the ordinary Yue opera, then every scene of this drama is a small play, which can be performed alone, connecting the preceding with the following and having a climax.
About ten years ago, I first met Wang Junan. In those years, Fanghua Yue Opera Troupe performed in Wenzhou several times a year, and every time it was packed. That night probably wasn't her play. She sat in the hall, handing out leaflets and signing autographs for fans. She doesn't talk much, looks clean, has a bookish air, and really smells of mud but not dye. She has a three-point smile, gentle speech and elegant manners. You can't say she has no aura. She has a distinctive aura, as if she had walked into the world from an ancient picture of a lady. Some of them are isolated and some are mysterious.
I remember that she performed Jade, Dream of Red Mansions and Begging for a Wife in Wenzhou, which is the so-called "Wang Sanchu". I have seen Wang Yimin and Zheng Quan's version of Jade Dragonfly. At that time, it was estimated that they were too young to compare with Wang Junan CoCo Lee's version. A Dream of Red Mansions by Yin School, the first half is, and the second half is. This version makes me feel much better. The script is basically the same as that of Xu Ace. Some lyrics have changed, and some plots have also changed. For example, Wang Xifeng's suggestion has been deleted and only a model of Wang Xifeng has been used instead. In short, the duration is compressed and the plot looks more vivid. Chasing Wife is the best stage version I have ever seen, and other actors really can't compare with Wang Junan. The elegance of a rich boy and the forbearance and elegance of a "strange man" are all beyond others' learning.
She is no longer the "three plays of the king", and those three plays have been handed down for a long time. There are many young students in the Youth League, including Xu, not to mention a group of middle-aged actors such as Xing Lihua. Her cooperation with Tao Qi reminds me of the cooperation between Yin Guifang and Zhu Shuizhao decades ago. I hope this cooperation will continue to produce excellent works and leave some classic works handed down from generation to generation.