要我談談《两个女紅軍》的音乐創作問题,感到非常困难。因为不管是理論或者技术修养,我都很差,只是为了工作需要才写了这个歌剧。我在写作过程中也就沒有想到更多的問題。如果說有的話,那我只有一个簡单的想法,就是写出来再說。这样才能从具体的批評中吸取經驗,获得教益。多少年来,不少人似乎存在着歌剧应以西洋歌剧为准繩的观点,不大乐意把新歌剧叫做歌剧,总想把她叫做“話剧加唱”啦,“音乐剧”啦,或者頂多称她为輕歌剧。当然也有許多同志反对这个观点,我也是其中的一个。因为外国有外国的传統,中国有中国的传統;外国传統我們要学習,对我們有用的也要吸收,但要想發展我們民族的歌剧的話,首先还是要把根子扎在我們自己的传統上。当然,我們的歌剧創作还有許多不足之处和缺点,产生这个問題的关鍵在哪里呢?我个人認为是:我們还沒有从更多方面,更好地向民族传統学習和繼承民族传統。我們新歌剧的發展,在过去某 It is very difficult for me to talk about the music creation of the “Two Red Ladies”. Because regardless of theory or technical training, I was poor, just writing for the job needs of the opera. I did not think of any more problems in my writing. If there is any, then I have only one simple idea is to write it out. Only in this way can we draw lessons from specific criticisms and obtain lessons. Over the years, many people seem to have the idea that opera should be based on Western operas. They are not willing to call the new opera an opera. They always want to call her “play plus”, “musical”, or top More called her operetta. Of course, many comrades oppose this view, and I am one of them. Because foreign countries have foreign traditions, China has a Chinese tradition. We must learn from foreign traditions and use them for our own sake. However, if we want to develop our national operas, we must first root ourselves in our own in tradition. Of course, there are many shortcomings and shortcomings in the creation of our opera. Where is the crux of the problem? Personally, I think it is: We have not yet learned and inherited the nation better from the traditional aspects of our nation Tradition. The development of our new opera has been in the past