有人说,歌剧舞台上的主角永远都是男高音,这话虽不夸张,可也有些偏激。如果说男高音是歌剧舞台上的金字塔,那么男中、低音是否为金字塔下的基石?纵观几百年的歌剧历史,在西方古典音乐声乐领域中出现很棒的男高音的确较为难得,但要出现一位优秀的低声部男歌唱家却也算罕物。受作品(尤其是古典和古典主义声乐作品)对男低音这个声种“苛刻”的音域要求,让低男中音有了比男中音和男低音更多的施展机会。 Some people say that the protagonist of the opera stage is always the tenor, although these words are not an exaggeration, but also some extreme. If the tenor is the pyramid on the opera stage, is it that bass is the cornerstone under the pyramid? Looking at centuries-old opera history, it’s rare to see great tenor in Western classical music vocals To show a good bass male singer is also a rarity. Subjects of the “harsh” bass sound of the bass, influenced by works (especially classical and classic vocals), give lower baritones more opportunities than baritones and bass.