Forewords By Xiong Yanyi
All the arts, including painting and music, start from a common impulse, for the impulse to be realised there needs
to be a reconfiguration of the relationship of time and space.
This is the deepest level of abstraction,
it carries a pulsational energy into the field of attention.
Voice or graphical marks are inscriptions into the matrix of space, time and energy.
From an early age I cultivated a relationship both to the singularities of various forms and their modes of distribution,
meanwhile, I was sensitised to the resonant roots that give rise to the play of the various faculties.
Gradually, I have been learning about spacing, intervals, drifts, presence, absence, signification, intensity, gesture, process and rhythm.
Each of these elements relate to schema or the resonance of the working of the imagination discovering a relationship to language.
I think that all art begins in an obscure region where schema and breath start to coming.
Gretchen am Spinnrade, Op. 2, D. 118: Meine Ruh' ist hin .
Opera Singer: Xiong Yanyi
Composer : Franz Schubert
Genre : Classical
"Gretchen am Spinnrade" (Gretchen at the Spinning Wheel), Op. 2, D 118, is a Lied composed by Franz Schubert using the text from Part One, scene 15 of Johann Wolfgang von Goethe's Faust. In this particular scene, Gretchen is at her spinning-wheel troubled by her feelings for Faust, a man she just met and barely knows. Schubert's ability to convey Gretchen's madness came from his "...strong feeling for harmonic color. His complex modulations, sometimes embodying long passages in which the tonality is kept in suspense, powerfully underline the dramatic qualities of his song texts". Schubert masterfully modulates from several different keys, each key change a symbol and exploration of feeling. This method further expressing the intent of the text and Gretchen's heart ache. The piano accompaniment is intended to enforce the meaning and setting of the song but never to over shadow the voice. In Gretchen am Spinnrade, the melody line of the piano part emulates the spinning of the wheel, the cycle of Gretchen's thoughts, and the intensity of her feelings.
《纺车旁的格丽卿》,作品编号 2,D 118
歌剧演唱家:熊晏一
作曲家:弗朗茨·舒伯特
音乐类型:古典音乐
《纺车旁的格丽卿》是弗朗茨·舒伯特根据歌德《浮士德》创作的艺术歌曲,描绘了格丽卿因对浮士德的不解情感而烦恼。舒伯特通过和声色彩和复杂转调
展现了格丽卿的疯狂和心痛。钢琴伴奏模仿纺车旋转,强化了歌曲意义而不掩盖人声。
Hermit Songs, Op. 29: V. The Crucifixion ·
Opera Singer : Xiong Yanyi
Composer : Samuel Barber
Genre : Classical
Opera Singer : Xiong Yanyi
Composer : Samuel Barber
Genre : Classical
Hermit Songs is a cycle of ten songs for voice and piano by Samuel Barber. Written in 1953 on a grant from the Elizabeth Sprague Coolidge Foundation, it takes as its basis a collection of anonymous poems written by Irish monks and scholars from the 8th to the 13th centuries, in translations by W. H. Auden, Chester Kallman, Howard Mumford Jones, Kenneth H. Jackson and Seán Ó Faoláin. The Hermit Songs received their premiere in 1953 at the Library of Congress, with soprano Leontyne Price and Barber himself as pianist.
《隐士之歌》,作品编号 29:V.受难·
歌剧演唱家:熊晏一
作曲家:塞缪尔·巴伯
音乐类型:古典音乐
《隐士之歌》是塞缪尔·巴伯创作的一首包含十首歌曲的声乐和钢琴作品系列。这部作品创作于1953年,受伊丽莎白·斯普拉格·库利奇基金会的资助。它以8世纪至13世纪爱尔兰僧侣和学者创作的匿名诗歌为基础,
由W.H.奥登、切斯特·卡尔曼、霍华德·芒福德·琼斯、肯尼斯·H·杰克逊和肖恩·奥法伦翻译而成。《隐士之歌》于1953年在国会图书馆首次演出,
莱昂泰恩·普莱斯担任女高音,巴伯本人担任钢琴演奏。
Ouvre ton coeur .
Opera Singer : Xiong Yanyi
Composer : Georges Bizet
Genre : Classical
Opera Singer : Xiong Yanyi
Composer : Georges Bizet
Genre : Classical
Ouvre ton cœur (Open your heart) dates from 1859, as George Bizet (1838-1875) was still attending the Paris Conservatory. Its Spanish flair anticipates the musical style he would later put to use in the opera Carmen. A bolero rhythm drives the passionate energy of the poem by Louis Delatre, in which the singer implores their beloved to return their love "as a flower turns to the sun". The song demonstrates Bizet's early mastery of the harmonic color, delicate phrasing, and melodic invention for which he is so greatly admired today. Bizet's intricate composition showcases his masterful command of melody, harmony, and form. Through intricate ornamentation and delicate phrasing, he weaves a musical narrative that engages the listener's imagination and evokes deep feelings of love and vulnerability. "Ouvre ton cœur" stands as a testament to Bizet's ability to create timeless music that transcends time and place.
《打开你的心扉》
歌剧演唱家:熊晏一
作曲家:乔治·比才
音乐类型:古典音乐
《打开你的心扉》是乔治·比才1859年的作品,当时他仍在巴黎音乐学院学习。其西班牙风情预示了《卡门》的音乐风格。该曲基于路易斯·德拉特的诗歌,以波莱罗节奏表达了对所爱之人的深情恳求。
这首歌展现了比才对和声、乐句和旋律的精湛掌握,预示了他日后的辉煌。通过复杂装饰和精巧乐句,
比才编织了充满爱与脆弱感的音乐叙事,证明了其创造永恒音乐的能力。
Aria, Sposa son disprezzata, opera La Merope .
Opera Singer: Xiong Yanyi
Composer: Antonio Vivaldi
Genre: Classical
Aria, Sposa son disprezzata, opera La Merope .
Opera Singer: Xiong Yanyi
Composer: Antonio Vivaldi
Genre: Classical
Sposa son disprezzata" ("I am wife and I am scorned") is an Italian aria written by Geminiano Giacomelli. It is used in Vivaldi's pasticcio, Bajazet. The music for this aria was not composed by Vivaldi. The aria, originally called Sposa, non mi conosci, was taken from the Geminiano Giacomelli's opera La Merope (1734), composed before Vivaldi's pasticcio Bajazet. It was a common practice during Vivaldi's time to compile arias from other composers with one own's work for an opera. Vivaldi himself composed the arias for the good characters and mostly used existing arias from other composers for the villains in this opera. "Sposa son disprezzata" is sung by a villain character, Irene. Vivaldi has recently been attributed as the composer of the work, perhaps because Cecilia Bartoli's album "If You Love Me—'Se tu m'ami': Eighteenth-Century Italian Songs," which uses Alessandro Parisotti's 19th-century piano version, attributes the work solely to Vivaldi.
《被轻视的妻子》
歌剧演唱家:熊晏一
作曲家:安东尼奥·维瓦尔第
音乐类型:古典音乐
《被轻视的妻子》("I am wife and I am scorned")是一首由杰米尼亚诺·贾科梅里创作的意大利咏叹调,用于维瓦尔第的混合歌剧《巴雅泽特》。这首咏叹调的音乐并非维瓦尔第所作。原曲名为《Sposa, non mi conosci》,取自杰米尼亚诺·贾科梅里在维瓦尔第的混合歌剧《巴雅泽特》1734年。维瓦尔第被归因为这首作品的作曲家,这可能是因为西西莉亚·巴尔托利在专辑《如果你爱我——“Se tu m'ami”:十八世纪的意大利歌曲》中使用了亚历山德罗·帕里索蒂19世纪的钢琴版本,并完全将这首作品归功于维瓦尔第。
INTRODUCTION of Xiong Yanyi
Xiong Yanyi can be found in the domain of opera, where artistic sensibilities and technical expertise converge.
She possesses a vast repertoire encompassing both modern operas and Baroque compositions.
Yanyi's lyric soprano exemplifies remarkable technical perfection and emotional depth.
Her voice, adept at navigating the passionate intensity of Verdi and the ethereal delicacy of Handel,
possesses an enchanting allure that captivates listeners from the Royal Duke’s Hall to Guildhall Milton Court and King's Palace.
What sets her apart is not only her vocal dexterity but also her capacity to embody each character with artistic insight.
Regardless of whether she portrays a Baroque heroine or a modern protagonist,
she infuses each line with exceptional sincerity, converting notes into compelling narratives.
From an early age, she has exhibited remarkable musical talent.
Having received rigorous training as a professional pianist since the age of five,
she exhibited her remarkable talent by composing a piano piece at the age of fourteen.
Her exceptional skills are remarkable, as her familial background contributes an additional dimension to her artistic path.
Her mother's knowledge of traditional Chinese choreography and her father's mastery of Chinese painting
define her artistic abilities and produce a special combination of visual art and music.
Her varied background has influenced her artistic sensibilities,
yielding distinctive interpretations that merge Western operatic traditions with remarkable artistry.
In the year of her acceptance,Yanyi was the only lyric soprano admitted to the Royal Academy of Music in London.
The stringent screening procedure further emphasises this acknowledgement.
This not only unveils her voice but also her unwavering determination and fidelity to achieve greatness in all aspects of her performance.
Nevertheless, her aptitude extends beyond connecting the domains of music and visual arts.
She demonstrates a creative sense in her musical interpretations, reflecting her expertise as a distinguished artist in the fine arts.
Her expertise in paintings, gestures, and imagery enhances the domain of music in unprecedented ways.
This novel amalgamation yields performances that challenge conventional standards and provide viewers fresh insights into old literature.
Her varied and diversified approach offers an exciting and distinct experience to anyone who encounters her works.
I assert that Yanyi epitomises the quintessence of a contemporary Renaissance artist, adeptly integrating diverse disciplines, cultures, and eras.
--Prof. Phil Doghan
Royal Academy of Music
在古典歌剧的艺术殿堂里,
熊晏一以其卓越的抒情戏剧女高音技艺,多次荣登英国国王剧院、英国皇家歌剧院以及伦敦市市政厅音乐厅等古典音乐界的权威殿堂。
她的演唱广泛涵盖了从巴洛克时期到古典再到现当代前卫歌剧的广阔跨度。
她的音乐素养与全能的演唱技艺不仅彰显了她卓越的声音能力,也体现了她在古典音乐道路上的决心和毅力。
熊晏一自幼展现非凡的音乐天赋,
五岁起接受专业钢琴训练,十四岁即能创作纯钢琴乐曲。
其才华的背后源于一个优秀的艺术家庭,她的父亲是中国传统山水画的杰出代表,母亲是一名优秀的中国古典舞蹈编舞家。
熊晏一的艺术经历和背景,
使她能以独特的视角诠释歌剧与不同艺术形式的当代结合。
她不仅为古典女高音的身份带来了突破性的诠释,
也为观众提供了新颖且多样化的艺术享受。