相对于流行音乐在国内的盛行,歌剧则显得甚为低迷。一场歌剧的演出往往观众稀少,而投入则是巨大的,排练就需要花费半年以上的时间与精力,人数众多的演员,服装道具等制作,靠最后演出而赢取利益是难上之难。作为其中的歌剧演员,更是苦不堪言,不仅在演出上没有流行歌手那样高的演出费,更没有超高的人气与粉丝,社会知名度与关注度为音乐类最低点,因为如摇滚、民歌等音乐都在华语乐坛上占有一席之地。作为歌剧演员,如何才能在国内取得生存空间、扩大知名度,已经成为一个不可绕开的话题,青年歌手吴天雄则在这方面进行了一些探索,其歌剧演绎之路值得借荐, Compared to popular pop music in the country, the opera is very depressed. The performance of an opera is often sparsely populated, while the input is huge, rehearsal takes more than six months of time and energy, a large number of actors, costumes and other production, relying on the last performance to win the benefit is difficult. As one of the opera singers, he is even more miserable. Not only is there no performance fee as high as a pop singer, nor is it high popularity or fan popularity, and social popularity and attention are the lowest points of music, for such things as rock and roll, folk songs And other music in the Chinese music have a place. As a opera actress, how to gain the living space and expand the popularity in the country has become an irreconcilable topic. The young singer Wu Tianxiong conducted some explorations in this respect. His operatic interpretation is worthy of recommendation,