Because most contemporary composers come from music schools, they have relatively solid basic composition skills, and the music they write has a strong three-dimensional and symphonic feel, unlike some operas in the past that were mostly "melody plus accompaniment". But it is also generally exposed that a fatal weakness is that they cannot write arias well, and they cannot write beautiful singing melodies. The tones are mostly "generic goods" without characteristics and personality. For this kind of jingle-style melody, the opera world once jokingly called it a "national food stamp" that is prevalent everywhere-this shows that some composers suffer from "cantabile melody aphasia." When people come to the theater, they can't hear a few cantabile melodies and moving singing. Instead, the "lyrical" chants everywhere are some arias that "go in with the left ear and come out with the right ear. Once you hear them, you will immediately forget them." At this time, it is natural for the audience to feel sleepy. This "cantabile aphasia" is a common problem in contemporary opera creation. Even some famous plays, such as "Cang Yuan" and works of famous composers (such as Liu Zhenqiu) are not exempt.

In fact, in the history of Chinese opera, there have been such melody masters as Ma Ke, Liu Chi, Li Jiefu and the composers of "Red Guards of Honghu" and "Sister Jiang". They have profound knowledge of folk music. The cultivation and unique adaptation and refining skills make the melody creation feel like a sincere singing from the depths of the soul and reach the depths of the audience's souls, arousing people's deep excitement. Today, of course, it is not necessary to imitate this kind of adaptation of native folk songs, and national characteristics can be reflected in many ways. The lyrical melody of serious operas is also different from popular songs, but please remember that melody is not only the soul of Chinese music, but also the soul of Chinese opera. soul. This is determined by my country's musical tradition, opera tradition and the appreciation habits of contemporary audiences. If an opera abandons the singing nature of the melody, it will inevitably be abandoned by the audience. Besides, it is not unattainable to pay attention to the casting of melody in serious opera. Past successful experiences are worthy of attention, study and reference by opera composers.