A Study Of Hanying's Arias In The Opera The Red Guards On Honghu Lake

The Red Guards on Honghu Lake, as a piece of national opera, displays lasting artistic charm in the opera circle of China. In this play, Hanying holds the chief lead. Her arias (Honghu Water Ripples, Neither Tear Nor Grief, All Toiling Masses Eager to Freedom), with the feature of ban-qiang style, take up much room and deserve a vital place of the whole music structure, thus imparting great significance to music-structural study. Besides, artistic expressions are strongly conveyed in Hanying's arias. They are embodied as follows: Hanying's arias, filled with inner structural tension and contrastive factors, hold in themselves striking conflict in music expressions; through those arias, Hanying's artistic image has successfully created, at the same time forming a sharp contrast with Liu'chuang, another character in the opera; these arias push forward the development of the story and the opening of drama contradiction, meanwhile revealing and deepening the theme. All that mentioned above enhance dramatic effect. Additionally, the image of Hanying is a mixture of various cultural images, so it also shares multinational cultural value. Hanying is created as a mankind "heroine", a "revolutionist" who has revolutionary awareness, noble thoughts, wisdom, impavidity, maturity and all fine qualities that an outstanding revolutionist should have, a "fisherman's daughter" who is the conveyor of rich national characteristics, distinctive local favor and special music style. To successfully sing those arias and create Hanying's image, we are required to properly master the inner culture that exists in Hanying.