On the evening of June 22, the Xinghai Conservatory of Music's National Orchestra Suite "Love in the Great Bay" premiered at Xinghai Concert Hall. This national orchestral suite, which takes national orchestral music as the main body and combines different folklore and fashion elements, shows the innovation and research achievements of Xinghai Conservatory of Music in recent years in multi-disciplinary, cross-border integration, and in the exploration of national orchestral music.

"Love in the Great Bay" is produced and performed by Xinghai Conservatory of Music and Guangdong National Orchestra. Cai Qiaozhong, dean of Xinghai Conservatory of Music, and Hong Kong composer Chen Mingzhi are the composers. The chief conductor of Shenzhen Symphony Orchestra, Lin Daye, is the conductor of the orchestra. Tan Hongtao is the choreographer. Zhang Xiqiu, Liu Gang, Feng Guodong, Fei Qifang, Ren Wenwen, Lin Caixia and other singers performed together, chorus conductor Zhang Xin led the Xinghai Conservatory of Music Choir, young harmonica player Long Dengjie, and national first-class guzheng player Fu Na and others participated in the performance.

"Great Bay Love" is about 75 minutes in its entirety. It tries to enter from three aspects: the historical context and development from Lingnan to the Greater Bay Area, the folk customs of Guangdong, Hong Kong and Macao, and the hope of the team to help the cultural construction of the Bay Area. The presentation method is subdivided into several chapters, with a total of six paragraphs. As the beginning of the piece, "South of the Great Ridge" has the meaning of connecting the previous and the next, and narrates the situation of the Greater Bay Area. "Love Song of the Bay Area" is composed of male and female solo, chorus and orchestra singing the best wishes for the future development of the Guangdong-Hong Kong-Macao Greater Bay Area. Afterwards, the three chapters, "Thinking about the Pearl River", "The Colors of the Haojiang River" and "Hong Kong Story", respectively borrowed ten-hole harmonica, guzheng, Guangdong-Hong Kong nursery rhymes and various tunes with the imprint of the times, showing Guangdong, Hong Kong and Macau in the rotation of the times. scenery. In the end, "Dream of the Bay" sang the life words of the people of Guangdong, Hong Kong and Macao and their vision for the Bay Area with male and female solo, chorus and orchestra, and enthusiastically sang the sincere feelings of the people of the three places working together and striving for the new era. The large-scale national orchestra of nearly 90 people has a majestic momentum and a magnificent volume, and with the blessing of special instruments, it shows the current diverse sound landscape and human ecology.

The main creative team cherishes the grand blueprint of the national strategy, and the rich and colorful human history of Guangdong, Hong Kong and Macao, which are in the same vein. The works tell the "Story of the Bay Area" and eulogize the hard work, wisdom and creativity of the people of the three places.

It is understood that the main creative team has traveled to Guangzhou, Shenzhen, Foshan, Zhaoqing, Zhongshan, Zhuhai, Jiangmen, Dongguan, and Huizhou to collect styles and study, extracting materials such as culture, folklore, music and other materials from various places for artistic processing, and finally to "ethnic orchestral music" Suite" is presented. The two composers, Cai Qiaozhong and Chen Mingzhi, showed different perceptions of the scenery and feelings of the Greater Bay Area from different perspectives. Chen Mingzhi said: "Love in the Great Bay is a musical theatre-style work based on the concept of sound ecology, citing or translating the tunes spread throughout the Greater Bay Area and ecological sounds with unique local characteristics."

The suite singing section used the methods of chanting, shouting, humming, selling, and duet. The language used was not only Mandarin, but also Cantonese, which enriched the authentic charm of the music. For Cantonese with colorful tones and syllables and lyrics with strong lyricism, it is difficult to coordinate with the national orchestra. The main creative team has made various attempts for this, such as using "echoing" or vocal chanting to deal with the Cantonese rhyme in the lyrics and the problem between the melody and the melody. In addition, the comprehensive use of different singing methods and styles such as Bel Canto, Folk Vocal, and Pop brings a richer artistic presentation to the vocal part of the work.