What is the essential difference between traditional Chinese opera and traditional Chinese opera in China?

On the other hand, there are various differences between China opera and western opera in singing, development characteristics and ideological content.

First, there are great differences in their singing skills. Modern opera is generally composed of recitations and arias. Dramas are often interspersed with duets, choruses and dance music. Western vocal music system is divided into tenor, baritone, bass, soprano (including drama soprano and coloratura soprano), mezzo-soprano and mezzo-soprano. This distinction was made by the composer of this opera. A young man may be the lead singer of a bass actor or a tenor or baritone actor. However, an old man may also be sung by a bass, baritone or tenor ... that is to say, the artistic style of the performer's singing is determined by the composer and the singer. An actor's singing style is not based on the role, but on the tune and the "voice" he sings.

In China's traditional opera art, the vocal system of vocals is completely different-the vocals of actors are distinguished not according to their range, but according to the characteristics of their roles. Each specific "business" has its own vocal method and singing method. For example, Xiao Sheng is by no means a tenor; Hua Lian is by no means a "bass", Tsing Yi can't be a "soprano" and Lao Dan can't be a "contralto". As long as any actor has mastered the singing method and vocal essentials of this profession, he can sing the role of this profession well: an actress can lead Zhang Fei well according to Hualien's singing method, and an actor can also play You Sanjie well according to Hua Dan's singing method. The male role sung by the actress shows us a kind of male character, not a "female voice" performance; The female role that an actor sings to us is also a real woman, not "disguised as a woman"-unless he is performing "disguised as a man" or "disguised as a woman". It can be seen that western opera and Chinese opera are different systems of drama and cannot be simply compared.

Secondly, from the development characteristics, the types of China operas have formed a variety of operas in the past 1000 years. Besides the famous Peking Opera, Yue Opera, Pingju Opera and Huangmei Opera, there are more than a dozen local operas with their own characteristics, such as Shanghai Opera, Huai Opera, Shandong Opera and Chu Opera. There are similarities and differences between the two, and each has its own strengths, which has made greater development in the new period.

The development of so many local operas in China is inseparable from the vast territory of China and the prevalence of dialects. It is conceivable that it is not easy for Cantonese-speaking areas to appreciate Beijing-style Peking Opera, and vice versa. However, this inconvenience in turn promoted the prosperity of China opera.

Compared with the types of China operas, there is no doubt that the types of western operas are relatively simple. For hundreds of years, the development of western operas lies not in the increase of types, but in the self-improvement of styles. Italian opera was first reformed in France and combined with French national culture. Lu Li is the founder of French opera ("lyric tragedy"). He not only created a solo melody closely combined with French, but also took the lead in applying ballet scenes to opera. In Britain, purcell created the first British national opera Didong and Ignace on the basis of his mask drama tradition. In Germany and Austria, Haydn, Dietdorf, Mozart and others developed folk operas into German-Austrian national operas, including Mozart's Magic Flute. By the18th century, Gluck insisted that opera must have profound content, music and drama should be unified, and performance should be simple and natural. His thoughts and works, such as Orflo and Eurydice and Figini of Orid, had a great influence on the development of later operas. /kloc-After the 9th century, Italian opera masters such as G Rossini, G Verdi, G Puccini, German R Wagner, French G Bizet, Russian M.I. glinka, M.P. Musorgskiy and P.N. Pyotr Il'yich Tchaikovsky all made important contributions to the development of opera. The operetta, which was formed in18th century, has evolved into an independent school. It is short in structure and popular in music. Besides solo, duet, chorus and dance, you need to speak in plain English. Austrian composer Suo Beier and French composer offenbach from Germany are the founders of this genre. After World War I, Berger applied the principle of atonality to opera creation, and the opera developed, perfected and matured step by step, emitting dazzling light.

Thirdly, due to national and cultural reasons, there are great differences in theme and ideological content between China opera and western opera. Most of China's operas are based on history or literati. They are very literary and social, and they also attach great importance to the practical significance of drama. They pay more attention to the plot, such as The West Chamber and Dou Eyuan, which are complex and fascinating. However, western operas are written according to legends or for playwrights. Comparatively speaking, the plot is not as important as singing. Even some classic opera scripts are considered to be simple in plot setting and cannot stand scrutiny. As far as the subject matter is concerned, there are many kinds of China operas, such as the love dramas of talented people and beautiful women, the dramas of emperors and heroes, and the martial arts dramas with simple knives and sticks, while the western operas mostly take love as the subject matter.