人文湖南 | 慢品社区老房子 · 周小燕旧居
复兴西路44弄7号（周小燕旧居）
周小燕旧居位于复兴西路44弄（玫瑰别墅）7号二楼。
玫瑰别墅建于1940年，由七幢造型典雅的住宅式公寓组成。因建造时在弄口地面上砌有“玫瑰”两字，老上海人称之为“玫瑰别墅”。占地面积4393平方米，建筑总面积3175平方米。原主人是蓝妮（孙科二夫人），后收归国有并作为地方民房。建筑为三层砖木结构，每层都有厨房间、备餐间、卫生间、客厅、卧室等。
七幢建筑均为平屋顶、水泥砂浆外墙，形体简洁，体现现代建筑风格。屋前有花园。
周小燕简介
周小燕（1917—2016），出生于武汉。花腔女高音歌唱家及美声声乐教育家，上海音乐学院终身教授，中国音乐家协会第八届顾问。
1935年考入上海国立音乐专科学校。1938年赴巴黎学习声乐。1945年10月，经七年磨砺登上巴黎国家大剧院的舞台，获得了极大成功。1988年5月，周小燕在上海音乐学院成立了周小燕歌剧中心。因为在声乐艺术和声乐教学上的杰出贡献，先后荣获中国音乐家协会颁发的中国音乐艺术最高荣誉奖——金钟奖，法国政府授予的法国国家军官勋章，上海市政府授予的2002年文学艺术特殊贡献奖和 2003年市教育功臣奖。
代表作品有《长城谣》《最后的胜利是我们的》《蚌壳》等，被赞誉为“中国之莺”。
周小燕
桃李燕歌
曼妙的音乐从玫瑰别墅二楼的那扇窗口飘向远方，周小燕正在家中教授学生声乐课程。每次授课她都精神矍铄、神采飞扬，但等学生离开家门，她常常累得躺在沙发上不愿动弹。家中的保姆心疼周小燕，想帮她婉拒一些上门请教的学生，于是在接听请求拜访的来电时小声称周老师不在家，可是十有八九被听力敏锐的周小燕听到，她急得大声喊：“我在！我在！”帮助有学习声乐潜质的晚辈被周小燕视为自己义不容辞的职责。
一只黄色的大皮球在周小燕家中的钢琴下格外醒目。这是 20 世纪末，周小燕歌剧中心大师班的一位专家送给周小燕强身健体的。周小燕看着这只体积庞大、弹性十足的皮球，思索能否通过大皮球的作用让学生感受到原本虚无缥缈的音乐支点？有了这个设想，周小燕就让她的学生汪任酩坐在大皮球上练唱。
周小燕
起初，汪任酩坐在一颠一跳的大皮球上手忙脚乱、不知所措。周小燕让汪任酩先站起来，自己坐在皮球上做示范。她像顽皮的孩子般一边弹跳一边歌唱，轻松愉悦的氛围驱散了汪任酩忐忑不安的情绪。汪任酩模仿老师将上胸微抬，在皮球上保持身体的平衡，和着老师打的节拍，尝试带动皮球产生律动并保持气息平稳。刚开始，他顾此失彼，气息和节奏比较混乱，但在周小燕的耐心指导与热切鼓励下，经过一段时间的刻苦训练，他能有效地掌控气息，捕捉到微妙的音乐支点，声音也越发富有弹性和穿透力了。
一批又一批学子，走进周小燕的家，在这只黄色大皮球上练唱。在他们心目中，跳动的不仅仅是这只坚韧的大皮球，更是老师全身心耕耘声乐教育园地的赤子之心。
周小燕 （戴晓明画）
Introduction of former
residence of ZHOU Xiaoyan
The former residence of ZHOU Xiaoyan is located on the second floor in Rose Villa at No. 7 in Alley 44 on Fuxing Road.
The villa was built in 1940, composed of seven residential apartments of elegant style. Since the word “rose” was on the ground at the mouth of the lane during the time of construction, the Shanghai natives called it “Rose Villa” in the old days. The building covers an area of 4,393 square meters with a total construction area of 3,175 square meters. Its original owner was Lanny (second wife of SUN Ke) and later it was taken over by the government and used as local people’s house. It is of three-storied structure of brick and wood. On each floor there are kitchen, dining room, bathroom, living room and bedroom.
All the seven buildings have flat roofs and exterior walls of cement mortar. The residence has a concise form, reflecting the modern style of architecture. In front of the house is a garden.
ZHOU Xiaoyan (1917-2016), born in Wuhan, is singer and vocal music educator, a full professor of Shanghai Conservatory of Music and also a consultant of the Eighth National Congress of Chinese Musicians Association.
In 1935, she was admitted to Shanghai National Academy of Music. In 1938, she went to Paris to learn vocal music. In October 1945, she stepped onto the stage at the National Grand Theatre in Paris after seven years of practice and won great success. In May 1988, she founded the ZHOU Xiaoyan Opera Center at Shanghai Conservatory of Music. Because of her outstanding contribution to the art of vocal music and its teaching, she won in succession the Golden Bell Award-the highest honor in the art of music in China awarded by Chinese Musicians Association, the French National Officer Medal awarded by the French government, Special Contribution Award in Literature and Art in 2002 and Meritorious Service Award in Education in 2003 issued by the Shanghai Municipal Government.
Her representative works include The Great Wall Ballad, The Final Victory is Ours and Shell, and she was praised as “China’s warbler”.
The graceful music drifted into the distance from the window on the second floor of the Rose Villa. That’s because ZHOU was teaching students a class of vocal music at home. Every time when she was teaching a class she was in high spirit. But when students left her house, she often lay down on the sofa too tired to move. Her nurse at home felt sorry for her and wanted to help her turn down some students who came to ask for instruction. So in answering the call to request for a visit, her nurse would quietly say that she was not at home. But in all likelihood she would be able to hear the call because of her keen hearing and she would anxiously shouted loudly, “I am in! I am in!” She considered it her responsibility to help those kids with the potential to learn vocal music.
A big yellow ball under the piano in her house was particularly eye-catching. It was from an expert in the class of masters in the Opera Center at the end of 20th century for her to do physical exercise. Looking at the big and resilient ball, she was thinking whether it was possible to use it to enable students to feel the illusory music supporting point. The tenor
WANG Renming, who was in high school at that time, once sat on the ball to practice singing in her house.
At first, WANG sat on the bouncing ball feeling at a loss. ZHOU told him to stand up first and she herself sat on the ball to set an example. Like a naughty child, she jumped with the ball while she continued singing. The easy and cheerful atmosphere calmed his nerves. He imitated the teacher to keep balance on the ball and, to the accompaniment of the beat from the teacher, tried to drive the ball to produce rhythmical movement and keep his breath smooth. At the beginning, he gained for this and lost for that so that his breath and rhythm were chaotic. But with the patient instruction and encouragement of the teacher and also after a period of hard training, he could effectively control breath and capture the subtle music supporting point. In accordance, his voice was more resilient and penetrating.
One group of students after another went into the house of this teacher, doing practice of singing on this big yellow ball. In their minds, what was beating was not only the tough big ball, but also the heart of the teacher who cultivated the garden of vocal music education heart and soul.
信息来源：《200031——一个历史街区的文化记忆》