How do you evaluate Tan Weiwei s Flower Night ?

Tan Weiwei's "Flower Night" was an outlier in last week's show, and the whole performance was more important than the singing skills, and the stage atmosphere was more important. The addition of modern dance and the rendering of multiple lights make the audience be involved in a stage drama viewing atmosphere, Liu Huan mentioned in the comments: "This ** is very dramatic, and it has always been a simple melody to brew dramatic emotions."

The well-known music critic Er Di also praised it on Weibo: "Tan Weiwei wrote a progrock song "Flower Night" seven years ago, which integrates rock, stage play, ancient style, original ecology and other elements, and it still sounds bold now. It is one of the more mature of her many original works, showing that eerie and mysterious sense of ritual, and in my opinion, it is also appropriate as a stage play of "The Red Lantern Hangs High".

Tan Weiwei's work is of course exquisite, but it is presented through the TV platform, competing with other singers on the same stage in a program that competes for singing skills, and some viewers don't buy it. "Personally, I feel that this performance form is greater than singing, I think it is better for Yuan Yawei to sing and Chang Shilei for arrangement, and the whole song is not suitable for performance as a competition. Some netizens analyzed it carefully, and some netizens directly said that "I can't understand it" and "I don't know it".

Born three years ago, the scene of Tan Weiwei's performance of "Flower Night" is a rare avant-garde artistic attempt on the Chinese television stage, and the song to the stage is full of alternative, sad and weird atmosphere. From the repeated mention of "marriage" in the lyrics, Tan Weiwei's crying voice, the wedding dress on the stage and the ending of the singing paragraph, it can be roughly inferred that this song is about the "crying marriage" tradition of the Qiang people. That is, when a woman says goodbye to her parents and relatives before marriage, all her relatives and her will collectively cry bitterly.

"Flower Night" shows such a scene.

It's a pity that this song didn't catch fire. The song is performed in a form similar to that of an opera. It's about the marriage of a female ghost, so there is no treble gate and there are not too many fancy skills, because it is about a tragedy, and the whole performance situation is sad.

This form is definitely novel, everyone go and look at Liu Huan and Cui Jian's expressions, it is quite appreciated, because this is a new routine that other artists have basically not tried. Tan Weiwei's own singing skills need not be repeated, it is really admirable to be able to start from this form of performance that is not valued in China, and the song selection is so bold.

The sound is full of emotion, and the stage is amazing. A song with a very story to tell. But there is not much breakthrough in singing, and he is still "eating the old book" (no derogatory words).

Having said that, I was very moved to be able to see such an amazing ** show on a talent show. ps: Super exciting issue:

There are also Yuan Yawei, Ji Ke Junyi, and Chang Shilei, which is really "dizzying". At present, the fancy hanging "I Am a Singer Season 4".

The singing style is ancient, full of emotion, and the individual notes are a little abrupt, but the whole is very amazing, and I have received the emotional power. Tan Weiwei from my song to the masked to the Chinese star, basically every show surprises you, I like it very much. I hope that there will be more performances like this in China, more singers like this.

I have to say that China Star has really contributed a lot of highly artistic scenes, with Liu Huan and Cui Jian pressing the formation, the ** level of this show is guaranteed, but unfortunately the logic of the competition system is strange, and Tan Weiwei's ** has always done very well in China, and it can be seen from the performance in "Singer" that the adaptation in the third season of "The Voice of Dreams" is also more subversive.

At the end of the performance, the performance turns back to the folk song that alludes to the wedding ceremony, pulling the inner tangle back to the irrevocable wedding scene, which is a clever and meaningful ending. The wheel of fate eventually ran over the tiny individual.