三夕恩情廿載仇之放夫 梁兆明 王超群 溫玉瑜 譚穎倫 區文鳳

[@waichuntse8227]

明哥👍👍

[@mq3095]

好好聽,聲哥名劇..💕💚🌿🍾

[@manfungau1948]

謝謝，請繼續支持演出演員和粵劇。

[@yinkamng359]

👍👍👍

[@yeelingng6346]

梁兆明演師公林派戲寶唱做👍👏🥰期待梁兆明王超群舞台上演出,可以現場欣賞兩位精彩演繹,多謝文鳳姐🙏🙏

[@manfungau1948]

不用多謝，希望你繼續支持他們和粵劇。

[@LoonlePang]

這套劇好好睇🎉演員可發揮到演技。唱做技巧。好正.

[@manfungau1948]

謝謝，請繼續支持他們和粵劇。

[@waifunleung8859]

兆明哥❤❤❤🎉🎉🎉

[@andrewtam3185]

Thanks for your commentary. 主要手法是改變唱腔音樂的叮板和拉腔唱法，以達到不同的氣氛效果, this I can understand, like 三夕恩情同夢杳，劇憐生割鳳鸞情 changed to 自由板散板演唱, coupled with the artists' gestures and performance, 氣氛效果 quite effective. What i don't quite catch or understand is this part: 不會和其後宇文豹唱的［芙蓉中板下句］出現上下句不連接的情況? you mean 曲上下句不連接? because 宇文豹唱的［芙蓉中板 - 下句, so he changed to avoid repeating 下句?

[@manfungau1948]

The original singing style structure, [傷心腸斷強登程] is [下句], [淚似秋霖揮不罄] is [上句], [三夕恩情同夢杳，劇憐生割鳳鸞情] is [下句], when [三夕恩情同夢杳，劇憐生割鳳鸞情] sing it in free rhythm, then it can't be counted [下句], it can avoid repeating [下句]。From the other side, [傷心腸斷強登程, 淚似秋霖揮不罄, 三夕恩情同夢杳，劇憐生割鳳鸞情], because of the arrangement of music, we no need to counted the [上下句].

[@JAJZ782]

倫仔好掂, 做奸仔都入型入格, 連腔口都改埋, 成個惡棍咁 👍

[@manfungau1948]

演員要守演員的本份，演奸角就要似奸人。

[@hkl8718]

👏👏👏👏👏

[@maytam5935]

🤗💕🤗💕🤗💕

[@chansewpingmariachanchan7675]

❤❤❤❤❤❤❤❤❤😊

[@dungthu806]

🌹👍🏻👍🏻👍🏻👍🏻👏🏻👏🏻👏🏻👏🏻

[@SuetHui]

💜💚❤👍👍👍