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斯人的黃昏 2015-12-6 08:02 PM

品評港樂

頭三樂章中規中距, 很有條理一步步推展, 但場刋表明要在65min完成, 那樣章與章就不可以有半點差遲, 少了點人性化, 有這感覺, 是發覺有不少部份是等指揮家指示才吹奏, 尤其木管部, 全奏很多時也很緊凑, 卻空間感不足, 定音鼓有點散, 是很爽健的速戰速決.

到了戲肉第四樂章, 小弟坐的位置是樓上左邊Balcony I 66 $266對正Double bass & Cello, 在計算著為何還不見4位獨唱家呢 ? 莫非在最後十秒才跑出台 ?? 這般有戲勢 ???
原來4位獨唱家是站在小弟台下面, 應在Second Violin後, 男低音原本聲線明亮, 但因位在台下凹的位置, 歌聲不能有效的開展, 聽來糢糊一片, 合唱更是可怕, 一堆雄偉浩瀚的男女聲, 就像B-52轟炸機放下一枚原子彈, 大核爆 !!! 只是夠快, 準, 狠, 字正腔圓是有, 但完全沒音樂感, 沒餘音嬝繞, 只是一堆咆哮.

之後二及三重唱, 因聲效不能開展, 簡直完全不知唱什麼, 互相纏繞, 此刻小弟只想快點完畢, 完全是鬧劇一場 !

指揮家一反常態這般放置4位獨唱家,雖可一目瞭然, 但抹殺了音效的舒展, 也對左邊的觀眾臺完全不尊重, 由頭到尾也不見4位獨唱家踪跡, 唱得差站在台中(指揮家附近位置有很多位可站4位獨唱家, 上次Wagner也站了六, 七位, 為何貝九就不可 ?)也情有可愿.
Zweden理應指貝九應是好有經驗, 知道擺法優劣, 為何放棄台中, 而選擇左邊這遮音罩 ?
因這關係, 無論在音樂廳中任何坐位, 也不會得到最好的感受.

當然全場也是一如既往, 掌聲如雷, HK大部份欣賞者就是如此, 什麼也叫好, 沒有起承轉合, 抑揚頓挫, 現代"審美觀"就是如此練成:smile_45: :smile_39:

原主題 - 從來未曾如此差劣的貝九 - HKPO 5/12/2015後記

[[i] 本帖最後由 斯人的黃昏 於 2017-5-26 09:42 PM 編輯 [/i]]

ozozoz 2015-12-6 09:42 PM

小弟坐樓座正中,但不覺合唱很差。
至於獨唱,除了位置問題,實力也平平。
除了木管部,低音部也等待指揮家指示才加力。

巴斯. 2015-12-6 10:49 PM

第一次聽現場,唔知乜係好定壞,當係試過就算,不過樓主很關注香港音樂,一定是愛之心 責之切:loveliness:

lula135 2015-12-7 12:37 AM

好彩無聽呢場:funk: , 我上星期聽貝245坐的位置同樓主差不多:D
睇左HK Phil 的FB, 入面有相睇, 4個獨唱居然在1 & 2 小提琴的後面, 定音鼓隔離, 假如我係歌唱家都頂唔順呢個位置:smile_27:  
不過如果觀眾坐樓下有可能聽得較清楚都唔定喎, 因為音樂廳台上的半圓牆有點回音壁作用, 試過坐樓下左邊後側清楚聽到右邊演奏的低音, 總之呢個場一向古古怪怪:L

ozozoz 2015-12-7 01:02 AM

回覆 4# 的帖子

的確古古怪怪,看不透:smile_27:
坐在正面樓座,聲音則比較清晰平衡(只是比較:funk: )
有一次坐樓下,Piano琴聲十分奇怪:funk: ,中場調音,便知不是Pianist的錯...
除了位置,男高音唱得吃力,女高音也不好(代打的代打,HKPO的誠意...)

斯人的黃昏 2015-12-8 07:49 PM

[quote]原帖由 [i]ozozoz[/i] 於 2015-12-6 09:42 PM 發表 [url=http://www.discuss.com.hk/redirect.php?goto=findpost&pid=431465574&ptid=25346792][img]http://www.discuss.com.hk/images/common/back.gif[/img][/url]
小弟坐樓座正中,但不覺合唱很差。
至於獨唱,除了位置問題,實力也平平。
除了木管部,低音部也等待指揮家指示才加力。 [/quote]
這隊內地合唱團無論德文咬字, 發音, 水平也已不錯, 但成份始終是大陸, 一味叫破喉嚨唱, 歡樂是要有, 但一味向前衝, 唱黃河大合唱就得;P
記得上次HKPO也是夾內地合唱團演出Orff Carmina Burana, 也是100x100, 衝衝衝 !!!
聽完Orff已是對內地合唱團有了介心, 今次也不例外, 只是剛好是Zweden及難得是貝九, 只是沒想到這般差.
唱西方古典樂作品, 除了熟悉文化外, 也要有適當的感情, 音感...只具外形, 內函失硬:smile_39:
你坐樓座正中就一定好少少了, 我第四樂章二, 三重唱時就合上眼聽, 感覺如盜版CD般, 一片灰蒙蒙:smile_45:

斯人的黃昏 2015-12-8 08:01 PM

[quote]原帖由 [i]巴斯.[/i] 於 2015-12-6 10:49 PM 發表 [url=http://www.discuss.com.hk/redirect.php?goto=findpost&pid=431470337&ptid=25346792][img]http://www.discuss.com.hk/images/common/back.gif[/img][/url]
第一次聽現場,唔知乜係好定壞,當係試過就算,不過樓主很關注香港音樂,一定是愛之心 責之切:loveliness: [/quote]
唉 ! 唔係衰到好差, 也不會大力抽插佢啦:smile_22:
聽了幾廿年HKPO, 由細睇到大, 至今羽翼豐滿, 可就是突誤入歧途, 2015年衰幾次, 你上Radio 4藝壇快訊就知咩一回事:smile_42:

斯人的黃昏 2015-12-8 08:12 PM

[quote]原帖由 [i]lula135[/i] 於 2015-12-7 12:37 AM 發表 [url=http://www.discuss.com.hk/redirect.php?goto=findpost&pid=431477866&ptid=25346792][img]http://www.discuss.com.hk/images/common/back.gif[/img][/url]
好彩無聽呢場:funk: , 我上星期聽貝245坐的位置同樓主差不多:D
睇左HK Phil 的FB, 入面有相睇, 4個獨唱居然在1 & 2 小提琴的後面, 定音鼓隔離, 假如我係歌唱家都頂唔順呢個位置:smile_27:  
不過如果觀眾坐樓下有 ... [/quote]
小弟昨天打去HKPO, 質問為何指揮家有這安排 ? (之後已Send mail投訴)
答覆話已是最好的安排:o
咁小弟咪引述這帖的問題, 個位阿姐一句也答不到:smile_44:
小弟話無論等多久, 一定要Zweden回, 咁一定是另一人回架啦. 全世界都冇咁特別的安排, 袋住先 ? no呀:smile_38:

oboe_bassoon_hk 2015-12-8 09:58 PM

[quote]原帖由 [i]斯人的黃昏[/i] 於 2015-12-8 08:12 PM 發表 [url=http://www.discuss.com.hk/redirect.php?goto=findpost&pid=431584473&ptid=25346792][img]http://www.discuss.com.hk/images/common/back.gif[/img][/url]

小弟昨天打去HKPO, 質問為何指揮家有這安排 ? (之後已Send mail投訴)
答覆話已是最好的安排:o
咁小弟咪引述這帖的問題, 個位阿姐一句也答不到:smile_44:
小弟話無論等多久, 一定要Zweden回, 咁一定是另一人回 ... [/quote]
I wonder if van Zweden wanted to avoid the interruption of singers coming to the front of the stage.

He was the concertmaster of the Concertgebouw Orchestea for many years, one would think he would know his stuff?  Or perhaps not ...



[url=http://www.discuss.com.hk/iphone][img=100,23]http://i.discuss.com.hk/d/images/r10/iphoneD.jpg[/img][/url]

Pakfah 2015-12-9 09:05 AM

Every orchestra would bring both excitement and disappointment;and have their on and off days. I have to say that HKPO in the past few years gave me more good moment than disappointing moment. I think it's unfortunate you had bad experience with their Beethoven 9 but would like you to try to remember the good things, rather than lingering on bad and disappointing things fro the concert.

HKPO consist of professionals who are human beings. Human beings are great because we experiment new things, new way to express ourselves, and new interpretations. Someone may enjoy the Beethoven 9 nouveau arrangement, some may not (like OP). Like molecular cuisine, some like it, some hate it.

Life is boring only if we stop trying, experimenting, and keep doing things a certain way. Relax, and enjoy life.

symphonicdance 2015-12-9 10:32 AM

Cultural Centre Concert Hall :smile_27:

Bring more risks for both the orchestra and audience to try something new...  unless well tried and evaluated during rehearsals...

Pakfah 2015-12-9 12:54 PM

Agreed. Cultural Centre Concert Hall has "inconsistent" acoustics depends on where you sit.

Even if you think you figure out everything during rehearsal in an empty hall, when the hall was filled with people during a performance, my own experience is that CC concert hall can give you problem with acoustics adjustment if the hall is:

(i) full
(ii) half full but more people on left side
(ii) half full but more people on right side
(ii) half empty with no one at the balcony

Haha, now I try to 扮專家 but know nothing about acoustics :smile_14:

斯人的黃昏 2015-12-11 03:27 PM

[quote]原帖由 [i]oboe_bassoon_hk[/i] 於 2015-12-8 09:58 PM 發表 [url=http://www.discuss.com.hk/redirect.php?goto=findpost&pid=431590922&ptid=25346792][img]http://www.discuss.com.hk/images/common/back.gif[/img][/url]

I wonder if van Zweden wanted to avoid the interruption of singers coming to the front of the stage.

He was the concertmaster of the Concertgebouw Orchestea for many years, one would think he would  ... [/quote]
太無理由了, Zweden首次指貝九, 卻放棄大好舞台面向觀眾, 這種莫視的處理, 好像坊間沒多人注意或理會.
HKPO節目表近年接近一言堂, HK作曲家發表新作品鳳毛麟角, 反觀中樂團卻更多, 近年更灌有CD...可能MD權力太大, 睇不起HK作品, 冇叫座力 ?

斯人的黃昏 2015-12-11 09:04 PM

Pakfah:
小弟也不會只記恨這一場, 是關聽了咁多年, 一定有不如意的Concert, 但只是痛心, HKPO已有很大進步, 但卻敗於這不可能有的失誤上, Zweden的主觀真是不敢恭為, 希望下次Bruckner 4好啦, 話哂是權威;P

ozozoz 2015-12-14 11:18 AM

[table=98%][tr][td=3,1][/td][/tr][tr][td=3,1]
[table=98%][tr][td][size=13px][b]劉偉霖〈充滿聲音與憤怒……〉[/b][/size][/td][td][/td][/tr][tr][td=2,1][/td][/tr][/table]

[/td][/tr][tr][td][/td][/tr][tr][td=3,1]梵志登和港樂的貝多芬全集以《第一》及《第九》畫上句號,前一個星期他們演奏《第二》、《第四》及《命運》。想先談11月27日的《第二》及12月4日的《第一》,因為編制上,梵志登只採用了50人弦樂,與其餘七首的60人不同,聲響亦有相當分別。
然而筆者不覺得分別是從減10人而來,而是梵志登的手法有別,整體弦樂都減低了在其餘七首的豐厚音質,音量的對比也窄了。筆者覺得梵志登是想將貝多芬的頭兩首交響曲,當成海頓交響曲的延續。
筆者認為這兩首交響曲都奏得太規矩平穩,這一點和樂隊大小及聲音質感沒有直接關係。《第一》及《第二》沒錯是繼承了海頓「倫敦交響曲」系列的編制及格式,但貝多芬是有一種挑戰海頓的意圖。海頓本人欣賞《第一》的創意,但《第二》對他來說太過火了。將這兩首作品奏得太溫馴,令貝多芬的破格難以展現,而且又看不出它們和《英雄》之間的脈絡。《英雄》只不過多了一支圓號,貝多芬在《第一》及《第二》運用的音量對比,套路與其餘七首相同。梵志登用海頓風去奏頭兩首,《英雄》卻是浪漫派大樂隊大聲音,令《英雄》和頭兩首交響曲之間形成鴻溝,猶如是兩個作曲家所作。

[b]橫衝直撞非本意[/b]
弦樂少了,的確減輕了木管的壓力,不過在《第四》,梵志登用回60人弦樂,但他有意識去平衡弦樂及木管,這一點筆者覺得他在頭兩套節目都做不到。梵志登在慢板的速度雖然比多數人聽慣的快,但讀者要留意兩點,第一是再慢一點,單簧管獨奏就會不夠氣,第二是貝多芬想要的速度其實還要快一點,不過筆者接受這個折衷。終曲的速度雖然未到貝多芬想要的速度,但筆者感覺到梵志登有意識要用最快的速度,使弦樂奏得既乾淨又刺激。
《命運》相信是大部分觀眾的焦點,梵志登在終曲急速而熱血的演奏,再次得到觀眾激賞。終於符合筆者的口味?正好相反。梵志登在終曲的速度,超過了每分鐘100拍,奏得比第一樂章還要快。他這次的速度選擇,扭曲了樂曲的意義。
在終曲大部分篇幅中,貝多芬指定的速度只是每分鐘84拍,其餘三個樂章的讀數分別是108、92及96,換而言之,終曲的拍子其實是全曲最慢,一拍之內,音符也不多。若指揮至少能維持四個速度的比例,終曲會是最放鬆的一個樂章。即使絕大部分觀眾習慣終曲比第三樂章稍快,很少指揮會在終曲像梵志登那麼快。只要回歸樂譜,會發覺貝多芬在《命運》終曲追求的不是橫衝直撞,而是在三個神經質樂章之後的一種開揚、終於可以放慢呼吸的感覺。《命運》和《田園》本為一對,表面上風馬牛不相及,實際上布局是有很大的類同。

[b]鳩叫樂聖[/b]
12月4日的《第九》,如果筆者只聽頭三個樂章,大可能會愉快地離場,尤其是慢板,梵志登即使沒有依照拍子機讀數(確實是太快),但他堅持照指示以四拍演奏,不會為了遷就弦樂而打散拍子,他這樣的處理令木管可以呼吸飽滿地歌唱,筆者肯定大部分人未聽過這個樂章應該是這樣。
不過國家大劇院合唱團的表現,筆者只能用「鳩叫」來形容。在現場聽過Simon Halsey預備的柏林廣播合唱團,以及Peter Dijkstra預備的巴伐利亞電台合唱團,分別由蒂利文及楊遜斯指揮的《第九》,即使有音量宏大的時候,也不會這麼吵耳。迪華特告別港樂的《第九》,上海歌劇院合唱團亦不會這樣亂叫。合唱團怎唱,指揮有最終的責任。
聽完全部九首,筆者認為這次全集的最大弱點,是未能見到從第一至第九的脈絡,這固然是編排節目無視次序的先天缺陷,但筆者亦強烈感覺到四套節目的高潮:三、五、七、九,不單是觀眾的偏好,亦是梵志登的喜好所在,尤其出力營造爆炸時刻。指揮有偏好很平常,但梵志登在其餘交響曲的投入程度遠不及這四首,無助觀眾接受其餘五首不是主角出場前的陪襯。注意拍子機讀數不一定奏得好,但確實有助尋找貫穿九首的脈絡,亦能抑制濫炸的衝動。


[/td][/tr][/table]

Pakfah 2015-12-15 01:11 PM

[quote]原帖由 [i]斯人的黃昏[/i] 於 2015-12-11 09:04 PM 發表 [url=http://www.discuss.com.hk/redirect.php?goto=findpost&pid=431787371&ptid=25346792][img]http://www.discuss.com.hk/images/common/back.gif[/img][/url]
Pakfah:
小弟也不會只記恨這一場, 是關聽了咁多年, 一定有不如意的Concert, 但只是痛心, HKPO已有很大進步, 但卻敗於這不可能有的失誤上, Zweden的主觀真是不敢恭為, 希望下次Bruckner 4好啦, 話哂是權威;P [/quote]

Jaap's strength is to create tension and bring out the passion of music such as Sibelius, Shostakovich, Prokofiev and Bruckner. 他演奏熱血的音樂是非常好, 很有感染力也能motivate HKPO members.
However, I don't think Jaap is good at conducting baroque and classical music - each musician has his/her strength and weakness, just like a tennis player with great forehand shots cannot play backhand shots as well.

斯人的黃昏[i], [/i]I think the sad thing about HKPO is their programming: always perform well known popular pieces such as 梁祝, Rach 2, Rach 3 and invite popular musicians like 郎朗及李雲迪every year in order to sell tickets. I know the HKPO management well and sometimes I think HKPO was criticised unfairly in the past:

(1) HKPO fails to promote HK musicians and their works - many HKPO members, although born outside HK, are HK residents with HK ID cards (with 3 stars!!) after living in HK for more than 7 years and can speak Cantonese!! If our grandparents and parents who could come to HK in the past and called themselves HK residents, why we should discriminate HKPO members who contribute a lot for Hong Kong despite their place of birth?
Also, those composers who criticised HKPO not playing their works should look into the mirror and asked themselves "Are we good enough to be lauded as classical music composers?" Being HK born does not automatically qualified oneself as a good musician otherwise we should support 黃之峰 to be our future 特首 just because he is local despite his quality.

(2) While HK people get on the back of Jaap and HKPO, they are very kind to 葉惠康 who I consider a very poor conductor as well as composer. Being local does not give him privilege despite his obvious lack of understanding of classical music. His daughter 葉詠詩 is much better but very lucky to hold a post as director of 小交. 余隆 is much better and should hold that post. Even I think Johnny Poon is better than 葉詠詩. Enough said.

I respect your disappointment over Jaap's interpretation. However, I would like to see you write critical reviews of other HK orchestras as well: 小交, 泛亞, 專業管樂團 (the worst of all of them) and wake up the local classical musicians who are 自視過高 and live in self-denial.

ozozoz 2015-12-15 03:00 PM

回覆 16# 的帖子

HKPO安排曲目時,毫無疑問考慮到票房。如The Flying Frenchman(1 & 2-5-2015),曲目如下︰

BERLIOZ
Harold in Italy
RAVEL
Rapsodie espagnole
ROUSSEL
Bacchus et Ariane, Suite no. 2

結果?即使以50元票促銷,文化中心作仍然“虛席以待”。HKPO一套節目演出兩場,曲目稍僻,票房會大爆死。演出常見但經典的曲目(如最近的Beethoven Cycle),可保證收入,更可作宣傳(Jaap也承認)。至於本地其他西樂團多屬業餘,而且資源不足,但HKPO預算遠比它們高,觀眾自然要求更好的表現。

Pakfah 2015-12-15 04:30 PM

"至於本地其他西樂團多屬業餘,而且資源不足,但HKPO預算遠比它們高,觀眾自然要求更好的表現。"

When you look at resources for China national football team and HK "national" football team, you understand why HK people get excited when HK team drew China twice 0-0 in the World Cup qualifying matches.

I don't understand why HK people are more forgiving to other orchestras in HK. We understand the difference in resources, but when you look at what Dudamel and Simon Bolivia orchestra could achieve, I don't buy this kind of lame excuse blaming poor performance on lack of resources.

Musicians, whether they are professional or amateur, should give 110% in their performance. Otherwise it's useless to blame HKPO (or the HK audience or HK government) not giving them opportunities when they don't try hard in the first place. Just my personal biased opinion.

[[i] 本帖最後由 Pakfah 於 2015-12-15 04:32 PM 編輯 [/i]]

ozozoz 2015-12-15 05:06 PM

回覆 18# 的帖子

首先,港人支持港隊涉及中港矛盾、身份認同,與我所說的情況不同。

誠然,音樂家上台應全情投入。我不是說業餘樂團有免死符,但不要忘記,對“硬實力”不足的業餘樂團來說,他們的110%仍然比不上職業樂團。如曾智斌指揮香港兒童交響樂團,樂團明顯實力不足,但以兒童樂團而言,表現很好--那又有什麼好指責?如VPO、BPO的七、八成,已經打低不少樂團,但觀眾會收貨?批評HKPO有何不可,只是鞭策,又不是謾罵。

另外,Simón Bolívar Symphony Orchestra叫無資源?請去查下WIKI。

symphonicdance 2015-12-15 05:21 PM

大衆對HKPO會有高啲要求都不出奇。話晒叫做 “代表香港” 兼喺 “正規/(大型)管弦樂團”。

[url=http://www.discuss.com.hk/android][img=100,23]http://i.discuss.com.hk/d/images/r10/androidD.jpg[/img][/url]

[[i] 本帖最後由 symphonicdance 於 2015-12-15 05:23 PM 使用[url=http://www.discuss.com.hk/android][img=100,23]http://i.discuss.com.hk/d/images/r10/androidD.jpg [/img][/url] 編輯 [/i]]

symphonicdance 2015-12-15 05:26 PM

香港都冇乜作曲比賽:國際,大型,細型,或豬肉獎型也好,點出好啲嘅本地作曲家。



[url=http://www.discuss.com.hk/android][img=100,23]http://i.discuss.com.hk/d/images/r10/androidD.jpg[/img][/url]

巴斯. 2015-12-15 09:20 PM

[quote]原帖由 [i]symphonicdance[/i] 於 2015-12-15 05:21 PM 發表 [url=http://www.discuss.com.hk/redirect.php?goto=findpost&pid=432033981&ptid=25346792][img]http://www.discuss.com.hk/images/common/back.gif[/img][/url]
大衆對HKPO會有高啲要求都不出奇。話晒叫做 “代表香港” 兼喺 “正規/(大型)管弦樂團”。

[img]http://i.discuss.com.hk/d/images/r10/androidD.jpg[/img] [/quote]

如果佢成團都係港人我都會包容D,但大半都係鬼佬,重有架仔同韓仔,陣容都好國際化。其實點解港樂會咁多外國人,香港唔係好多虎媽迫細路練音樂,練一團應該不難吧?

symphonicdance 2015-12-16 12:01 AM

虎媽迫細路考到八級。但專業樂團要求不只喺八級,喺高好多好多。另外,冷門少少嘅已冇乜家長或學生肯學上去。



[url=http://www.discuss.com.hk/android][img=100,23]http://i.discuss.com.hk/d/images/r10/androidD.jpg[/img][/url]

maulee2008 2015-12-16 12:28 PM

其實香港好少有好聽的現場貝9

Pakfah 2015-12-16 02:50 PM

香港都冇乜作曲比賽:國際,大型,細型,或豬肉獎型也好,點出好啲嘅本地作曲家。

HKUST has organized an event called Intimacy of Creativity annually and open to all classical music composers around the world. It's a pity not many local music composers enter this event.

Pakfah 2015-12-17 12:53 AM

[quote]原帖由 [i]ozozoz[/i] 於 2015-12-15 05:06 PM 發表 [url=http://www.discuss.com.hk/redirect.php?goto=findpost&pid=432033145&ptid=25346792][img]http://www.discuss.com.hk/images/common/back.gif[/img][/url]
首先,港人支持港隊涉及中港矛盾、身份認同,與我所說的情況不同。

誠然,音樂家上台應全情投入。我不是說業餘樂團有免死符,但不要忘記,對“硬實力”不足的業餘樂團來說,他們的110%仍然比不上職業樂團。如曾智 ... [/quote]

我並沒有說也沒能力不淮別人批評港樂. 很多版主如斯人的黃昏批評也算中肯.

為什麼本地樂評人說港樂不能代表香港人因為有日本及外籍樂手? 不是有香港身份証就是香港人? 請你們也查一查WIKI. 香港足球隊也有黑人及白人, 為什麼又說因為中港矛盾而身份認同 ?

原因是有部份本地樂手水準不夠入泛亞, 所以批評港樂不給機會. 我有幸見識專業管樂團的低水準演出, 知道什麼是浪費資源. Enough said.

[[i] 本帖最後由 Pakfah 於 2015-12-17 01:02 AM 編輯 [/i]]

Pakfah 2015-12-17 01:09 AM

[quote]原帖由 [i]巴斯.[/i] 於 2015-12-15 09:20 PM 發表 [url=http://www.discuss.com.hk/redirect.php?goto=findpost&pid=432047894&ptid=25346792][img]http://www.discuss.com.hk/images/common/back.gif[/img][/url]


如果佢成團都係港人我都會包容D,但大半都係鬼佬,重有架仔同韓仔,陣容都好國際化。其實點解港樂會咁多外國人,香港唔係好多虎媽迫細路練音樂,練一團應該不難吧? [/quote]

香港足球隊有黑人白人,又有韓仔教練. 為什麼你們又接受及包容?

香港係好多虎媽迫細路練音樂,練一團應該不難, 但如果本地音樂家爭氣就不用聘請外籍樂手. 對嗎?

ozozoz 2015-12-17 02:01 AM

回覆 26# 的帖子

你有沒有細看我的文字?你說的你們是樂評人,不是我。
我說港人支持港隊,在於不少港人不滿內地(香港人與中國人的對立),無關資源多少。我根本沒有提到和否定外籍球員,你回覆錯人。

ozozoz 2015-12-17 02:08 AM

回覆 28# 的帖子

討論之前,請你看清楚別人在說什麼。
講到我好似歧視外國球員及入籍的外國人。
我最憎被代表,火冒三丈。

Pakfah 2015-12-17 09:12 AM

唔好意思, 沒有細看你的文字, 有何冒犯請見諒!

However, I just want to stress that I don't hold double standard when I listen to different orchestras, whether they are children orchestras, local orchestras or international orchestras.

Too many HK people (I don't direct at anyone here, just a general statement) just moan and blame the lack of opportunities, including the young students who occupied Central. My point is, if they are good, they will get their opportunities, if not in HK, in the rest of the World.
There are many child prodigies from Asia as well so I don't buy kids should be treated differently.

我相信如果只有一把尺, 量度的標準應該一樣.  

If local 樂評人 criticised HKPO 歧視他們, they should ask themselves why if they cannot get the opportunity in HK, and they also cannot get the opportunity overseas? The reason - They are simply not good enough. They need to admit and realise their own weakness before complaining to others; just like I admit my mistake and apologise to OZOZOZ. There is nothing ashamed to admit one's own mistake, apologise and improve and not make same mistake in the future. Too bad HK culture is about 死雞撐飯蓋, 永不認衰.

Hope I do not offend more people by speaking and sharing what I believe.

[[i] 本帖最後由 Pakfah 於 2015-12-17 09:17 AM 編輯 [/i]]
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