近年来的京剧创新剧目中,音乐唱腔的原创主体地位越来越得到确认,乃至以前的唱腔设计实至名归地改了冠名,被称为作曲,而朱绍玉就成了菊坛这方面的领军人物。从新世纪开局便一炮走红的《宰相刘罗锅》、《洛神赋》、《蔡文姬》,到被专家称为“时尚舞台走出一小步,京剧舞台迈出一大步”的《马前泼水》、《阎惜姣》,再到中西交融的《图兰朵》、汉藏合一的《文成公主》、交响剧诗《梅兰芳》,以及《袁崇焕》、《武则天》、《下鲁城》等等……无论是堂皇的大制作还是精巧的小剧场,朱绍玉作曲的音乐唱腔成了品牌,台上的演唱者和演奏者,台下的专家眼光和普通观众的反映,都是叫 In recent years, Beijing opera creative repertoire, the original subject of the music singing position has been more and more confirmed, and even the previous design of the singing deserved to change the title, known as composer, and Zhu Shaoyu has become this side of the altar army head. From the beginning of the new century they became popular with the “Prime Minister Liu Luopu”, “Los God Fu”, “Cai Wenji” to be experts called the “fashion stage out of a small step, the Beijing opera stage took a big step,” “ Splashing water ”,“ Yan Xijiao ”, then to“ Turandot ”blending Chinese and Western cultures,“ Princess Wencheng ”of Sino-Tibetan unity, symphonic poem“ Mei Lanfang ”and“ Yuan Chonghuan ”,“ Wu Zetian ” And so on ...... Whether it is magnificent large production or a small theater, Zhu Shaoyu composer’s music became a brand, singers and performers on stage, the audience’s vision and the audience reflect the general audience are called