He doesn't only depend on a gift of his own, at least 50% is lying on an excellent healthful singing technique! (Please beware that I emphasized that is a good vocal ability in his own way, definitely not including any side of artistic taste in his expressing.) If only having natural gift, he can't sustain singing his high notes with a lifetime!!
@@jerryyan4059 I totally agree with you. Both Mr. Li's teacher, Gao Qingkui and his student, Xin Baoda, lost their vocal abilities in their forties. This may be caused by unhealthy singing style or the lack of gift.
It can be a relative QS to think of what do we need to inherit the "Yu" performing arts in his singing method: "could shelters moon"?! It made him lose his vocal ability in his forty years old, also!!! Why are so much followers inflicted by that misguiding?!!! OMG.
Some of the different levels of problems happened to Yu and Gao but there were no essential difference between both of them! Why? 1. Because unreasonably singing too much over of extreme top notes (it's derived from initially singing field of Peking Opera that was formed at a big bare square not in an acoustic theater) so that exhausted the flexibilities from their vocal cords and muscles around the instruments. In term of this, Gao was more severely than Yu, indeed. 2. "cloud covers moon" is as Yu's "trademark," absolutely dominates a wrong singing concept. Tons of evidences convinced us that without any male follower could be raised on and feature of a resemblance to Yu's voice tone and keep of such high key signatures on stages. While, in fact, a rare female actors who can do it imitating when Yu's singing during his peak period. Therefore, Yu's method only fitted a few of female voices!!! All successful male performers are wisely derived from Yu while found out from what the best can be bring out in themselves in order to be attractive to maximum audiences and win the competitive of performing market!!! 3. Please listen to Ma, Tan, Zhang, Qiu what beautiful sounds in their own ways came from BeiJing Peking Opera Group in 50 era, That can be discovering a huge difference from what happened on what is "evolution" and progress... It's getting from a life time of sweating & blooding works from the predecessors!!!
好听🎉🎉🎉太棒了👏
高音美声，非常欣赏👍🏼
李先提高派经典之传人了！后无继承了！享受了！赞赞赞！
李大师的这段演唱真是不朽之作，后人很难或不可能超越。
喜歡!向老藝術家致敬!.
一代宗师李和曾，千古绝唱《逍遙津》!
周先生那更是。
最棒！没有之一！
这个简直是棒极了。谢谢上传。
作为一个南方人，小时候听的都是越剧，最近因为言先生才听了几段京剧，孩子因为我们都在国外谋生，所以对我们中国的传统文化不甚了解。特地给他听了四个派别的甘露寺，机缘巧合找了这个视频给他体会高派，年纪尚小，词义还不能懂，不过他边听边赞叹怎么会唱得这么好😊
經典之作！一代宗師。
一直喜欢这段唱
听李先生的唱·斗志提升!宅家加油!中华民族有战胜一切的勇气!华人老太爱国粹
确实好，不争论，做一个安静的欣赏者。李老的韵足啊，你品，你细品。
我最喜歡李和曾，音色高亢明亮而不刺耳，轉折之遽韻味十足是他的特色。咬字清晰深帶感情。不知版主有沒有李和曾的神醫華陀？
太棒了！好过瘾！
真高啊
大爱高派，大爱李大师
李先生后没人了！思念！绝版经典艺术！戏迷
辛宝达是他的学生
记得少年时起就没少听李和曾先生的戏曲唱段，那都是五十年代的事情了。李先生的艺术真乃～前无古人 ，后无来者…
演奏者很辛苦，訂閱費是要給他們的，勿搶奪。
唱的太好了！
在这新冠灾情，听听京剧大使高唱，增加免疫力！
李先生到晚年照样能彪高音。天赋真好。
He doesn't only depend on a gift of his own, at least 50% is lying on an excellent healthful singing technique! (Please beware that I emphasized that is a good vocal ability in his own way, definitely not including any side of artistic taste in his expressing.) If only having natural gift, he can't sustain singing his high notes with a lifetime!!
@@jerryyan4059 I totally agree with you. Both Mr. Li's teacher, Gao Qingkui and his student, Xin Baoda, lost their vocal abilities in their forties. This may be caused by unhealthy singing style or the lack of gift.
It can be a relative QS to think of what do we need to inherit the "Yu" performing arts in his singing method: "could shelters moon"?! It made him lose his vocal ability in his forty years old, also!!! Why are so much followers inflicted by that misguiding?!!! OMG.
@@jerryyan4059 Mr. Yu had a serious kidney problem. His case is different from Gao. Gao style is more likely to make vocal cord tired and overly used.
Some of the different levels of problems happened to Yu and Gao but there were no essential difference between both of them! Why?
1. Because unreasonably singing too much over of extreme top notes (it's derived from initially singing field of Peking Opera that was formed at a big bare square not in an acoustic theater) so that exhausted the flexibilities from their vocal cords and muscles around the instruments. In term of this, Gao was more severely than Yu, indeed.
2. "cloud covers moon" is as Yu's "trademark," absolutely dominates a wrong singing concept. Tons of evidences convinced us that without any male follower could be raised on and feature of a resemblance to Yu's voice tone and keep of such high key signatures on stages. While, in fact, a rare female actors who can do it imitating when Yu's singing during his peak period. Therefore, Yu's method only fitted a few of female voices!!! All successful male performers are wisely derived from Yu while found out from what the best can be bring out in themselves in order to be attractive to maximum audiences and win the competitive of performing market!!!
3. Please listen to Ma, Tan, Zhang, Qiu what beautiful sounds in their own ways came from BeiJing Peking Opera Group in 50 era, That can be discovering a huge difference from what happened on what is "evolution" and progress... It's getting from a life time of sweating & blooding works from the predecessors!!!
@yc0189 另外關於高慶奎與李和曾高下問題。作為高派藝術長期的愛好者，他二人的錄音我幾乎全部反覆聽過，甚至也把高慶奎的老師劉鴻聲的東西一直對比。個人研究的淺見是，高派藝術的聲腔革命事實上是在劉鴻聲手上完成，但因高慶奎戲路寬廣而更為人所知，事實上劉鴻聲的聲音是更厚實的。我另外認為不應該完全拿高慶奎來評論李和曾，因為李先生事實上在繼承中有發展，已經不完全走高的路子了。就這段二黃倒版來說，高慶奎唱得非常感人，不愧為名段，但在許多高音是用虛音或假聲，行腔時有些地方比較快速，李和曾加上了個人的體會，加上了他特有的分段單起轉腔來讓整段更為細緻而富表現性，我們可以喜歡或不喜歡(我也不完全喜歡)，但全面批判地說他差高慶˙奎遠矣，只怕有失公允。
再來就是去聲字倒字問題，在您所謂父字、奠字的確存有倒字問題，但第一：這在所有四大鬚生中都有這個問題，我認為不影響藝術地位 第二：這句的倒字早在高慶奎時就發生，不是李和曾蓄意竄改，說他不合法規、俏皮這點我實在不能認同，甚至覺得您不知所云。
高人高見，要放下成見，見人見智。
绕梁三日而不落，那怎是一个好字
辛寶達學李先生感覺還是有一段差距，嗓子太扁雖然高亢但是沒有李先生的脆亮。這個版本我看了十幾年了，真的是李先生逍遙津最好的一個版本，感謝上傳！
大爱李大师的艺术！
子太扁雖然李先好的一個！
高先生(更正）
@yc0189 1.關於倒字以區辨高慶奎與李和曾高下，您從頭到尾只舉了[「父、奠」二字，這已經被證明兩人都有倒字，您的推論完全被戳破，關於自己證據的錯誤您從來不肯舉出新的例子，也不肯道歉，只一直打迷糊仗，這絕非誠懇的態度，我已經說第三遍了。
2..關於中州韻問題，您真的該細細考察為何前輩們說該以之為尊，不是人云亦云、不求甚解，甚至在這裡說嘴、賣弄來批評老藝術家。有真正練過功、拜過老師、登過台的都知道，實際表演時音韻的困難在哪裡，這也是四大為何要突破限制的原因(您有拜過師嗎？)京劇作為一個容納三個大的地方戲曲而成的劇種，一定要完全以中州為尊反而是限制藝術發展的！我已經說過了，若您真的這麼以中州為尊，請先去罵前後四大，說他們不照中州韻是錯的，不配做藝術大師。倘若大家普遍認為參雜用京音、有部分倒字無礙於藝術水平，您用違反中州韻來打李和曾根本是不公平的！再說一次，您若有種，請說前後四大老生都有藝術水平下降問題，不及您見高識廣。如果不敢，請不要在這賣弄半瓶水，道個歉，回家好好琢磨琢磨再來！
您若認為這樣討論給人看笑話的話，該檢討的正巧是您自己，因為您先搞文革、扣我帽子，說我是西化音樂觀，我哪句話可以稱的上是"西化音樂觀了"？講不出來先扣人帽子，真的不應該！您前文在我說出高慶奎在"父奠"二字也有倒字後，已經承認"有些倒字，高先生确实也有"，現在又說您根本不認為高有倒字。您要反覆、自打嘴巴，沒關係，正巧您說有拜師，那請錄一段自己唱的逍遙津，放上網路，對比高慶奎、李和曾，何以兩人在父、奠字明明音調相同，您卻要說高慶奎沒有倒字、李和曾有。因為這是您的論述，所以您有說明的義務！請舉出理由、論證之語料，若沒有說明、舉證，代表對自己所發言論不負責任，就不要在這裡再東拉西扯，道個歉，回家好好跟老師學學再來。
120891314是張怡君帳號解約還盜用至今剛被張玉台取消移除。追償廣告費用。
@yc0189 您好，關於您的回覆小弟提出幾點疑問：
1. 您原文從來沒有提到四大鬚生有語音問題，在原文你只一直提到李先生用京腔導致藝術水平下降以及他的倒字，從來沒有指出倒字問題的實際狀況，請不要亂說。既然在我提出證據反駁後，您承認前後四大鬚生都有倒字問題，並且這無礙藝術水平，就請收回原先錯誤的論述。
2. 您在原文說李先生遠遜高慶奎，用的證據是在逍遙津的父、奠字倒字，這個指稱已經被我磋破，因為高慶奎原本在這兩個字就有倒字，這已經顯示你的證據有問題，如果還想保持原論述，請舉出明確的例子，在哪裡還有高慶奎用中州韻而李和曾改用京音造成倒字。如果沒有請不要胡亂指稱。
3. 您的語言學知識似有待加強，而且沒有追本溯源的精神，只是人云亦云。中州韻是明代的官腔，官腔的特色就是不能太複雜，聲音較為簡化。崑曲放棄更有藝術表現的吳音用中州官腔，不是為了讓藝術提升，而是為了普及，為了佔有更大的戲曲市場而犧牲了部分的表現力。您說一切要以中州韻才能表現藝術韻味的說法完全是錯誤的。
單純覺得真好！
7:55
@yc0189
1.客觀二字您絕對稱不上，單講您舉不出高慶奎李和曾倒字差異卻直接評論是非便知道您是沒根據在評論。
2.舉不出實例就要扣別人帽子說別人是西化音樂觀？您這種討論方式是在搞文革嗎？我自小看戲學戲演戲到現在二十年了，竟然被一個棒槌說是西化音樂觀？要扣人帽子請舉出實例，若舉不出來請先道歉吧。
3.我完全懂您要講什麼，說到底不過就是中州韻為準罷了。是您不懂我在說什麼，您欠 缺 批判考證的精神，根本說不出為何要以中州韻為準，一再東拉西扯掩飾自己被戳破的虛假論述。什麼以首都地為官話標準更是鬼扯一通，明代首都在北京，又何曾以北京話作為官腔了。
4.既然您知道倒字問題在四大就有，就更不該說是李和曾用京音降低藝術水平，遠遜高慶奎，這個問題是原本就在的。您若有種請發文說四大老生導致藝術水平下降，不要東拉西扯。我從沒有說四大這樣做就是對的，我只說您的舉證是錯的。
5.既然您承認我說的都是中國戲曲的基本常識，您連常識都不知道卻在妄加評論，是否該承認自己是個棒槌？還是要為自己不負責任亂批評老藝術家的行為道歉？
这段唱的比其他人唱的都好听。
是的，和曾老的这段在继承中有发展，是最好的。
@yc0189 4.
4.您的中國戲曲史常識似乎問題更嚴重，完全不講究史實。京劇是以皮黃腔為基底，加上梆子、崑腔揉合而成。乾隆年間四大徽班進京，以上述劇種混合，當時統稱花部、亂彈來對抗崑腔，而後被上海人稱為京劇。前面已經說過，用中州韻是為了配合官話，當時清代中葉官話並非中州韻，為何一定要以中州為尊？又哪裡是因為用了中州韻而使得京劇脫離漢調？如果用了中州韻就能脫離漢調，那這些早期的藝術家豈不是傻子？
5. 對老藝術家的東西大家可以理性討論，我也認為李和曾先生藝術有些缺陷。但發言請根據史實、根據材料，不要隨便亂念了點東西，缺少追本溯源精神的隨便用些二手論述亂批評，這對老藝術家、對這門藝術都是很不尊重的。
紅色無臉照即是唐鳳盜用的臉照。
李宗義大概比得上吧
李先生的高派更正宗些吧。
李宗义先生唱的也非常精彩，两位先生的演唱难分伯仲。