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感謝您的支持

NSO 藝企夥伴

蕭弘智

(以下依姓氏筆畫順序排列)

NSO 守護者 王靜雯 王儷玲 邱登崧 李松季 李鎗吉 李陳麗霞基金 巫慧燕 建弘文教基金會 楊逸楓 樓海鳥 關東鑫林股份有限公司

NSO 好朋友 王植熙 邱瑗 吳淑芳 姚和成 悅聲志業股份有限公司 單聯璜 劉思楨 劉豪上

NSO 築夢者 何康婷 林秀瑜 71 恩典藥局 王碧蓉 徐詩涵 蔡穗珍 劉昕華 韓昆舉


目次 4

一趟深入人心幽微處的探險—與音樂總監面對面 Those Wild and Vigorous Musical Spirits

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音樂總監 呂紹嘉 Music Director Shao-Chia Lü

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桂冠指揮 赫比希 Conductor Laureate Günther Herbig

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認識 NSO About Taiwan Philharmonic 駐團指揮 張尹芳 Resident Conductor Yin-Fang Chang 樂團首席 吳庭毓 Concertmaster Ting-Yu Wu 樂團首席 李宜錦 Concertmaster I-Ching Li 國家交響樂團 Taiwan Philharmonic, the National Symphony Orchestra

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駐團音樂家 Artist-in-Resident 約格.魏德曼:帶來一劑純粹喜悅、不拘一格的音樂人 Jörg Widmann: the Musical Anarchist Who Brings a Hefty Dose of Sheer Joy 樂季主題導讀 Special Topics

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蕭斯塔科維契用交響曲書寫自己 ——— 焦元溥 When a Hero Becomes a Coward

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伯恩斯坦的時代已經來臨!——— Ken Smith Lenny's Time Has Come!

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布拉姆斯與德國精神 ——— 車炎江 Brahms and the German Spirit

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1900 年前後布達佩斯與維也納的現代文化與音樂 ——— Daniel Ender Modern Culture and Music in Budapest and Vienna Around 1900 樂季音樂會 Season Concerts

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總監系列 MD Series

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經典系列 Classics Series

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名家系列 Masters Series

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歌劇音樂會 Opera in Concert

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愛與藝術的永恆魅力:浦契尼的《托斯卡》——— 焦元溥

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Tragic but Sublime —An Overview of the Opera in the 2018/19 Season ——— Hugo Shirley

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演奏廳系列 Recital Hall Series

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認識客席音樂家 Meet the Guest Artists


一趟深入人心幽微處的探險

與音樂總監呂紹嘉 面對面

問:NSO 今年將演奏兩首蕭斯塔科維契(之後以「蕭氏」簡稱)規模最大的交 響曲(第四號與第七號),並以第四號作為開季曲目,請問是否有特別意義呢? 答:我認為蕭氏是二十世紀最重要的交響樂作曲家,而第四號更是他十五首交 響曲中最特別、最偉大的作品。 如同早他近半世紀的馬勒一般,蕭氏的交響樂規模宏大,縱深遼闊,每一首都 猶如一個世界。不同的是,身處在高壓的蘇維埃共產世界,在風聲鶴唳的大環 境下,他的創作經常深陷藝術信念與政治正確的拉扯,每首作品都與當時周遭 的政治環境息息相關。也可能因此,他後半生發展出一套隱晦的、似乎暗藏密 碼的音樂語彙。我常想,他要是生長在自由世界,音樂會是怎樣?或許不見得 更偉大,但肯定會更前衛,而第四號就是一部可讓人循此方向做無邊想像的奇 6 NSO 2018 19

作,因為它是青年蕭氏 ( 不滿三十)尚未經歷日後兩度慘烈批鬥,純粹聽從自 己藝術理念的傾力之作,也是他交響創作的分水嶺─此後他大致確立了自己交 響曲形式與語彙,而同時也偏離了尖銳的激進路線。 年輕的蕭氏是狂放不羈的,而難得的是,第四號除了狂放外,還有深邃的靈魂, 它像啟示錄一般,透過描繪個人的恐懼,預示了日後的人類浩劫。終曲以無比 駭人的樂團總奏狂掃生靈,最後卻以緲緲上行的鋼片琴音,似有似無地結束全 曲,如一縷殺戮戰場遺留的輕煙,也像一線世界末日餘存的人性光輝,緩緩上 升。這是我見過最具象、最震撼、最深刻的交響曲尾奏。十多年前,我指揮 NSO 演過此曲,此後樂團沒有再碰過它,現在我決定在開季推出,一來希望引


起更多愛樂者對此作的注意,二來也期待跟樂團透過多年培養的默契,為此曲締造出更深刻完 美的詮釋。 第七號是最長大,最具史詩性的作品。光看標題的「列寧格勒」就清楚顯示了它有如紀錄片般 的歷史感,這是在二戰圍城期間完成並首演的作品,每次想到這段故事、聽到這首交響曲,我 都很感動,也更加相信音樂的無形力量,因為當時的音樂家與聽眾都是冒著生命危險去完成這 場音樂會的。 此曲因其外顯的愛國意識及政治因素而在大戰期間風行全球,戰後一段時間在俄國之外鋒頭漸 失。但其藝術價值其實是暗藏在金鼓齊鳴之間,處處閃爍的人性關懷與光輝,而且蕭氏在曲前 所言的「對抗法西斯」,其實是暗指所有的暴力強權(所以也可包括史達林)。這也是近年來 愈來愈多樂團重新認知其價值及重燃起對它興趣的原因。

問:這個樂季仍有幾首莫札特的重要作品,包括第二十五號交響曲、安魂曲、單簧管協奏曲, NSO 也將莫札特與「駐團音樂家」魏德曼並列在音樂會節目上。請問魏德曼擔任「駐團音樂家」 要做些什麼呢? 答:演莫札特是永遠不嫌多的,因為他是所有音樂人的明鏡與清泉。我會將魏德曼與他排在一 起,除了因為魏德曼是當代德國最傑出作曲家之一,也將以獨奏家身份演奏莫札特單簧管協奏 曲;他自在悠遊於作曲、演奏、指揮,以赤子之心面對音樂的態度,都讓我想起莫札特。聽他 興奮的分析一首韋伯或莫札特的樂曲,信手捻來道出其中一般人不會注意到的玄妙,你會以為 這些兩百年前的曲子像是昨天才寫好的,也因此你會了解,音樂作品可以沒有「現代」與「古代」 之分,只有是否具備「創意」與「巧思」的差別,一個好作品,可以永遠不老。 魏德曼這種橫跨創作與演奏及視全方位為理所當然的自由思想,讓我決定請他來擔任我們的「駐 團音樂家」。他很易親近,也很健談,我非常希望,大家能把握這難得機會,多多跟他交流。

問:在這個樂季,將會演出《齊格飛》。這是指環系列第三部, 您有什麼感想嗎?您從臺灣面 對《指環》的反應,您有什麼觀察嗎? 答:四年的《指環》大製作,除了對 NSO 的藝術深度、廣度更提昇之外,另一個重大意義是樂 團實際參與了臺中國家歌劇院從開幕到今天茁壯的過程,也為臺中地區的歌劇發展盡了一份力。 華格納《指環》是歌劇劇碼中的帝王,內容之龐大與錯綜複雜,無論對演唱、演奏、製作者都是 最嚴苛的挑戰,也因此,能完整推出《指環》製作,除了顯示了我們劇場從上到下的整個運作水 準外,也是個重要文化指標。而我對臺灣的聽眾接受力,向來都是很有信心的(事實也證明,我 們常常「低估」了聽眾)。而且,這是一個有著一流水準歌唱家、製作群組、很「好看」的製作。 對一座剛在臺灣開幕的歌劇院,花四年(一年推出一部)來完成《指環》的演出,好處是有時間「消

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化」與「累積」。從《萊茵黃金》到《女武神》的短短一年,在與團隊碰到許多困難到解 決問題、在與聽眾互動的過程中,我感覺到一股持續擴散的正面能量,這是一個互動的循 環。我希望對我們大家,包括聽眾;這四年是一個不斷累積、不斷超越自己的過程。期待 到《齊格飛》到《諸神黃昏》時,這個經驗與能量能發揮到最大值,並對臺灣的歌劇發展 產生持續及決定性的影響。

問:在歌劇方面,還有《托斯卡》與《藍鬍子公爵的城堡》,可否請您談一談這兩場歌 劇音樂會? 答 : 有了與國家表演藝術中心其他場館合作的歌劇計畫(臺中《齊格飛》,衛武營《憨 第德》),我決定明年 NSO 自製的歌劇,要有不同、屬於自己的風格:以音樂為焦點, 輔以簡約的舞臺設計,以 Semi-stage 方式在音樂廳演出。而腦中第一個閃出的念頭,就 是再度推出林懷民過去以「一桌二椅」概念所執導的《托斯卡》。它樸素簡潔、在地親 民的呈現方式,除了充分讓音樂說話外,易於移動到各處演出推廣更是此製作的中心概 念。我個人很期待我與林老師的首度合作,而將此製作帶到臺北之外演出,讓更多人接 觸到浦契尼這齣寫實名劇,也是我們共同的願望。 樂季壓軸的巴爾托克《藍鬍子公爵的城堡》,是結合了上述巴爾托克與維也納世紀末、 Semi-stage Opera 概念的一場歌劇音樂會。《藍》劇是巴爾托克唯一的歌劇,他以多彩豐 富,充滿象徵的音樂語彙,將此以童話為本的傳說塑造為神秘驚悚的心理劇:在一小時 的男女主角對話中,因茱蒂特好奇而一扇扇被打開的門,揭開的只是表面的答案與更加 深的內心疑懼,如此一步步、不可自拔的走入大災難。這是一齣象徵意味濃厚、不斷拋 出人性底層問題、不給解答、讓聽者去思考的戲。上半場則安排了荀貝格的絃樂名作《昇 華之夜》,這是一部如華格納的《崔斯坦與依索德》式的纏綿悱惻音樂。濃厚的世紀末 與神秘的夜晚氛圍,正與陰暗隱晦的藍鬍子遙相對應。

問:從布拉姆斯、馬勒、巴爾托克、魏本、貝爾格、荀貝格,這些作曲家的作品一直出 現在您的指揮曲目中。十九世紀末到二十世紀初「守舊」與「激進」這兩個作曲脈絡的 嬗遞與激盪,對您有特別的吸引力嗎? 答:十九世紀末到與二十世紀一次大戰前後,是近代歐洲音樂最精彩的一段時期。在這 交織著已達飽和極致、即將分崩離析的浪漫王朝,與蓄勢待發、風起雲湧的現代主義之 8 NSO 2018 19

「世紀末」,有著太多挖掘不盡的管絃樂寶藏,值得我們一再探索。布拉姆斯,這位浪 漫主義的中流砥柱,是我們這個主題的起點,藉由密集演出多首他的交響曲及變奏曲, 我們可尋訪他如何以堅實嚴謹的古典形式,注入浪漫深情、雄渾澎湃的樂思,直接影響 到其他駐足維也納的後繼者。從布拉姆斯、馬勒到荀貝格、貝爾格、魏本,我們看到的 是世紀末德奧音樂的傳承與創新的碰撞過程,這是我們在下半樂季的節目重點。與此並 列,做為對比的是幾首巴爾托克的音樂,我想讓大家感受;在同時代、在維也納附近、 同屬「奧匈帝國」的布達佩斯,有個多麼截然不同的、狂野剛勁的音樂靈魂。


問:NSO 也安排了包括伯恩斯坦、巴伯、柯普蘭、蓋希文等美國作曲家的作品。以您的觀察, 臺灣的聽眾對美國作曲家的反應如何?您認為「美國作曲家」(籠統而言)精彩之處在哪裡? 答:就知名度與多樣性而言,伯恩斯坦可說是二十世紀美國音樂家第一人。他指揮、鋼琴、作 曲、教學、論述樣樣在行。2018 年是他誕生百年紀念,我們特別在 12 月,以伯恩斯坦為主軸 安排了三場美國音樂節目,也將應衛武營之邀演出他的歌劇《憨第德》。 美國音樂不能一概而論,若要籠統形容,就是如其文化般,是民族大融爐,伯恩斯坦的作品就 是個好例子。他是博學遊走於各家各派的天才,音樂中純熟運用歐洲各時代風格,黑人靈歌、 福音歌曲、好萊塢、百老匯、爵士、pops、南美音樂等,加上自己絕佳的音樂性與戲劇感,整 個以一種直率,無忌憚的方式表達出來。他的作品幅員遼闊,包括訴求極其嚴肅的交響樂巨構 (可惜在這一部分他至今尚未得到大眾足夠的迴響)。 讓他以作曲家身份傳世的,主要是一些音樂劇、電影音樂或歌劇選曲,這些也是我們這次配合 歲末氣氛特別選擇的曲目(小夜曲除外,這是主題較「嚴肅」的作品),此外,我們挑選多首 蓋希文,柯普蘭等人膾炙人口的傳世名作,配合林昭亮、嚴俊傑、林品任等傑出獨奏家,期待 跟大家共度幾個愉悅盡興的「美國」夜晚。(訪問整理/吳家恆)

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Those Wild and Vigorous Musical Spirits Through the Eyes of Shao-Chia LĂź Interviewed by Chia-Heng Wu

Q: This year, the NSO will be performing two of Shostakovich's largest symphonies (the Fourth and the Seventh), with the Fourth featured on the season's opening concert. Is there any particular reason behind this choice? A: I feel that Shostakovich is the most important symphonist of the 20th century, and the Fourth symphony, among his fifteen symphonies, is the grandest and most unique. Like Mahler a half-century before him, Shostakovich's symphonies are of enormous scope and great depth. Each piece builds up its own universe. What's different is the unsettling environment of the Communist Soviet Union, and in this tense climate, the composer's creativity was deeply conflicted between his artistic vision and political correctness of the time. Each piece has a very delicate relationship with the political climate of the time. Perhaps that's why in the latter half of his life, Shostakovich developed a sort of hidden vocabulary, almost like a secret code. I often think about if he had been in the other side of Iron Curtain, what would his music be like? Perhaps it would be less great, but it certainly would have been more avant-garde. The Fourth symphony is a piece that helps us think along these lines, because it was written by a young Shostakovich, not yet 30, a man who had not yet suffered two scathing public denunciations. We hear the realization of the composer's artistic concept in its purest form, his watershed moment as a symphonist. After this, he had more or less established his symphonic model and vocabulary, and at the same time departed from his radical, extremist path. The young Shostakovich was wild and uninhibited, and in the Fourth, we have a rare glimpse of Shostakovich as not only wild, but possessive of a profound spirit. It is like the Apocalypse, foretells future calamities of mankind through describing his own fears. The finale is an astonishing movement, with the thrilling tutti of orchestra sweeps the souls; and in the end, we hear a faint chime from celesta, brings the entire piece to an end, almost imperceptibly, like a thin plume of smoke rising from a battlefield, bearing the dignity of doomsday survivors. This is the most tangible, stunning, profound end to a symphony that I've seen. I conducted this piece with the NSO more than a decade ago, and we haven't touched it since. I've decided to perform it as part of our season opening for two reasons. First, I hope to draw more attention to this 10 NSO 2018 19

piece, and secondly, as the result of a greater rapport with the orchestra, to offer an even more profound interpretation of this work. The Seventh is the longest, most epic of the composer's works. The fact that it bears the title of Leningrad expresses the historical, documentary-like nature of the piece. It was premiered during the siege of the city during the Second World War. The composer and the audience were risking their lives to be in attendance at this performance. I am very moved when I think of the history, hear this piece, and I am convinced more than ever of the intangible power of music.


As a result of the overt nationalistic, political elements in this piece, it became popular worldwide, but sometime after the war, it faded away save for in Russia. However, the artistic value of the work, is hidden behind the warlike atmosphere through which the human spirit is piercing. Shostakovich wrote the piece 'in opposition to Fascism' actually refer to any tyranny or totalitarianism, and thus includes Stalin. This is also the reason that more and more orchestras recognize its value and put it in the repertoires in recent years.

Q: This season also includes some of Mozart's masterpieces, such as the 25th symphony, Requiem, and the clarinet concerto. The NSO also features both Mozart and artist-inresidence Jรถrg Widmann side by side on this year's program. What will Mr. Widmann do as the artist-in-residence? A: One can never overdose on Mozart. He is a spring, a mirror for all musicians. I pair these two names together is based on the fact that Mr. Widmann is one of the most outstanding contemporary German composers today. And he will also serve as soloist for Mozart's clarinet concerto. Mr. Widmann is very much at home as composer, performer and conductor. His purity and sincerity reminds me of Mozart. To listen to Mr. Widmann excitedly analyzing a piece of Weber or Mozart, or elaborating on treasures that one would not take note of, you might mistakenly think that these pieces written two centuries ago were completed just yesterday. This shows that there isn't real difference between 'modern' and 'classical' works, as long as they display creativity and ingenuity. A good piece would never be out of date. It is this crossover between creativity and performance, as well as his comprehensive outlook and free thinking, that brought about the decision to invite him to be our artist-inresidence. He is very approachable, as well as entertaining in conversation. I hope our musicians can take advantage of this rare chance to get to interact with him a bit.

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Q: This season, the NSO is also performing Siegfried, the third opera in Wagner's Ring Cycle. How do you feel about this piece? Especially you've already have some knowledge of the local response to the Ring Cycle. A: This four-year Ring Cycle, besides improving the depth and breadth of the NSO's artistry, also means having a part in the opening and thriving process of the National Taichung Theater, putting forth a great effort toward opera in the middle of Taiwan. Wagner's Ring Cycle is a pinnacle of the opera literature, with a wealth of material and great complexity. It is a challenge of the highest order no matter in singing, performing or producing. Therefore, to be able to present a complete Ring Cycle proves not only the quality of the entire operation, but also serves as an important cultural indicator. I have always had faith in the taste of audience in Taiwan. Our production team and singers are also top-notch and able to make a very attractive production. The benefit of performing the Ring Cycle in a new opera house in Taiwan over a four-year period (one opera per year) is that everyone has time to 'digest'. In the year between Das Rheingold and Die Walküre, we faced challenges alongside the orchestra, and interacted with the audience, and I felt the spread of a positive force. This is a positive feedback loop. I hope these four years, for us and also for the audience, is a process of exceeding our own limitations. I expect, when staging Siegfried and Götterdämerung, the experience and energy will culminate to the point that a continuous, decisive influence being exerted on the development of opera in Taiwan.

Q: Speaking of opera, there's also Tosca and Duke Bluebeard's Castle in this season. Could you speak a bit about these two opera concerts? A: Along with Siegfried in Taichung and Candide at the National Kaohsiung Center for the Arts (Weiwuying), I hope the operas produced by the NSO will be a bit different, something that is our own. With music as the focus, and a simple stage design, these operas will adopt the form of semi-staged performances. The first thought that comes to mind is to re-stage Tosca, produced by Lin Hwai-Min. This concise production makes room for the music, and is easier to transport and present in different places. I personally am looking very forward to the collaboration with Mr. Lin, and to bring our Tosca to other cities in Taiwan. We hope that more people can enjoy this masterpiece of Verismo by Puccini. Bartók's Duke Bluebeard's Castle, the closing programs of this season, is also an opera-in-concert with 12 NSO 2018 19

the flavor of fin-de-siècle of Vienna. Duke Bluebeard's Castle is the only opera by Bartók, who using a rich, symbolic language, changed this fairytale into a mysterious horror drama: curious Judith opened the doors, one by one, only to raise more questions and deeper fear, culminating in great disaster. This is an opera rich with symbolism, continually raising dark questions of human nature, without giving any answers, forced the audience to think. The first half of the program is Schoenberg's Verklärte Nacht, a piece full of pathos, akin to Wagner's Tristan und Isolde. Also with a rich, mysterious fin-de-siècle atmosphere, it's a contrast to the darkness and gloominess of Bartók .


Q: Brahms, Mahler, Bartók, Webern, Berg and Schoenberg, the works of these composers appear regularly in the programs. Does it means that you are attracted by the transformation and conflicts between the conservative and the radical at the turn of the century? A: The period from the end of the 19th century to the outbreak of the First World War was the most spectacular time for European modern music. With the Romantic halls soon to disintegrate, and the everstrengthening fin-de-siècle idiom waiting to fill the void, there are so many orchestral treasures to discover. It's a period very worthy of exploration. Brahms, the pillar of the Romantic era, is the point of departure in our programs. We will be performing in succession a number of his symphonies and variations, exploring how he infused a Romantic, vigorous style into a robust, strict classical form, and thus directly influenced his Viennese successors. We see from Brahms to Mahler, to Schoenberg, Berg and Webern the collision of tradition and innovation. This is the main part of the latter half of our season's program. Juxtaposing these ideas, as a contrast, are some pieces of Bartók. I would like to invite everyone to appreciate that around the same time, in Budapest, another capital of the Austro-Hungarian Empire, also existed a wild and vigorous musical spirit quite different from that of Vienna.

Q: The NSO has also planned for performances of pieces from Bernstein, Barber, Copland, Gershwin and other American composers. In your opinion, what is the response of Taiwanese audiences to American composers? A: As for familiarity and diversity, Leonard Bernstein could be said to take first place among American musicians. He was an adept conductor, pianist, composer and educator. 2018 is his 100th anniversary, so we will be featuring his works as the main theme of three 'American' concerts in December, as well as his opera Candide at the National Kaohsiung Center for the Arts (Weiwuying) upon their invitation. American music can't be lumped together; to describe it broadly, it's a melting pot, and Bernstein's music is a good example of that. His activities span across so many styles, and effectively used influences from all eras of European music as well as gospel, Hollywood, Broadway, jazz and Latin influences, not to mention his own musical and theatrical aesthetic. It is all conveyed in a straightforward, unbridled way. His works are vast in scope, including serious, large-scale symphonies (it is a pity that these works have not received as great a response from the public). He left his legacy mainly in the form of musicals, film music or opera extracts. These are the pieces that we have chosen for the New Year's Eve Concert (except for his Serenade, which is a more serious piece). We have also selected many popular favorites from Gershwin, Copland and others, together with outstanding soloists like Cho-Liang Lin, Chun-Chieh Yen, Richard Lin and others, and look forward to sharing with you these enjoyable 'American' evenings. (translation by Alan Missroon III )

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音樂總監 Music Director

呂紹嘉 SHAO-CHIA LÜ 呂紹嘉出身臺灣,為享譽國際樂壇的旅歐名指揮家。自鋼琴啟蒙,後隨陳秋盛研習指揮,繼而 赴美印第安那大學及維也納國立音樂院深造。在贏得法國貝桑頌、義大利佩卓地和荷蘭孔德拉 辛三大國際指揮大賽首獎後,展開了他在歐洲的指揮生涯。 旅居德國期間先後擔任柏林喜歌劇院首席駐團指揮 (1995-1998)、德國柯布倫茲市立歌劇院音樂 總監 (1998-2001)、德國國家萊茵愛樂交響樂團音樂總監 (1998-2004)、德國漢諾威國家歌劇院音 樂總監 (2001-2006),並於 2004 年 5 月獲文化部長頒贈象徵該省文化最高榮譽的 Peter Cornelius 獎章。 在歌劇的領域中,曾於英國國家歌劇院、布魯塞爾皇家歌劇院、雪梨歌劇院、德國司徒加特、 柏林德意志、漢堡、法蘭克福歌劇院客席指揮。呂紹嘉在交響樂指揮的表現也同樣耀眼。近年 來合作的主要交響樂團有柏林、西南德、中德、巴伐利亞廣播、法國國家、里昂、杜魯士、史 特拉斯堡、維也納廣播、英國利物浦愛樂、奧斯陸愛樂、貝爾根愛樂、赫爾辛基愛樂、瑞典廣播、 挪威廣播、哥特堡、羅馬聖西西里亞、及荷蘭皇家音樂大會堂管絃樂團等。在亞洲,呂紹嘉與 香港管絃樂團、NHK、新日本愛樂、首爾愛樂、韓國 KBS 及北京、上海等地的代表性樂團合作 演出。 自 2010 年 8 月起接任 NSO 國家交響樂團音樂總監。

Taiwan-born conductor Shao-Chia Lü studied music in Taipei, later at the Indiana University in Bloomington, USA, and also at Vienna's College of Music. His training resulted in important first prizes at three renowned international conductor competitions: Besançon (France), Pedrotti (Italy) and Kondrashin (the Netherlands). Shao-Chia Lü accepted positions as General Music Director of the Koblenz Theatre(1998-2001), the Staatsorchester Rheinische Philharmonie Koblenz(1998-2004), and the Staatsoper Hannover (2001- 2006). Shao-Chia Lü appears regularly as guest conductor at several world-renowned opera houses, including the Opera Australia in Sydney and Melbourne, the English National Opera, Théâtre de la Monnaie in Brussels, Den Norske Opera in Oslo, Gothenburg Opera, Oper Frankfurt, Staatsoper Hamburg and Stuttgart, Deutsche Oper and Komische Oper Berlin. 14 NSO 2018 19

Alongside his opera activities, Lü is equally at home on concert podiums. Lü has worked frequently with many leading European orchestras, such as the Oslo Philharmonic, Orchestra dell'Accademia Nazionale di Santa Cecilia, Norwegian and Swedish Radio Orchestras, Helsinki Philharmonic Orchestra, Royal Liverpool Philharmonic, Orchestre National de France, SWR Stuttgart, Rundfunksinfonieorchster Berlin, the Göteborgs Sinfoniker, Staatskapelle Weimar, Frankfurter Museumsorchester and Royal Concertgebouw Orchestra in Amsterdam. In Asia, Lü has worked with the Hong Kong Philharmonic, NHK, New Japan Philharmonic, Seoul Philharmonic, KBS Symphony Orchestra and leading orchestras in China. Shao-Chia Lü has been Music Director of the Taiwan Philharmonic (the National Symphony Orchestra) since August 2010.


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任何浮誇或是冗贅的詮釋皆非他(呂紹嘉)的風格。他的音樂充滿著堅定的 態度,經過深思熟慮後紮實呈現,是情感張力與專注力量的完美結合。 — 《美國唱片指南》2017 Overstatement and exaggeration are not his style. What one does get is solid, deliberate, exceptionally well-honed performances that combine intense lyricism with power. — American Record Guide 2017


桂冠指揮 Conductor Laureate

根特.赫比希 GÜNTHER HERBIG

赫比希在 1984 年從東德移居美國之後,隨即活躍於歐洲和北美洲地區。 期間,他也親臨亞洲二十多次,並與東京、香港、新加坡、韓國和臺灣等地樂團合作演出。1984 至 1994 年間,他先後擔任了底特律交響樂團和多倫多交響樂團音樂總監的職務。隨後與多個知 名樂團合作,足跡遍至紐約、芝加哥、波士頓、費城、克里夫蘭、舊金山、洛杉磯等地。 赫比希在中歐開始受音樂教育,師事赫曼.阿本德羅斯、卡拉揚與赫曼.舍爾興。1972 年,他成 為德勒斯登愛樂管絃樂團音樂總監;1977 至 1983 年間,他擔任柏林交響樂團音樂總監。1979 年 轉赴西歐受邀擔任英國國家廣播公司愛樂管絃樂團的首席客座指揮。隨後受邀與歐洲各主要樂團 合作,包括倫敦皇家愛樂、倫敦愛樂、巴黎管絃、以色列愛樂等。 離開東德之前,他錄製了將近四十張專輯,其中包括海頓和布拉姆斯的交響曲系列。他近期的錄 音包括與英國國家廣播公司愛樂管絃樂團合作錄製貝多芬第三號及第五號交響曲、舒伯特第八號 交響曲、布拉姆斯第一號交響曲、馬勒第五號交響曲、理查.史特勞斯《英雄的生涯》交響詩等。 在 2001 至 2006 年擔任沙爾布魯克廣播交響管絃樂團首席指揮期間,和該樂團錄製了馬勒與蕭斯 塔科維契的重要交響曲作品。 赫比希在 2008-2010 年樂季擔任國家交響樂團藝術顧問與首席客座指揮。期間,不僅合作演出挑 戰性高的經典作品,並以 NSO Live 品牌實況錄音發行馬勒第六、第九號、布魯克納第九號及貝 多芬第三、第五號交響曲。自 2010 年起,成為 NSO 桂冠指揮至今。

Günther Herbig divides his activities today between Europe, North America and the Far East in a career that has been equally distinguished on all three continents. Herbig's musical training took place in Central Europe where he studied with Hermann Abendroth, Herbert von Karajan and Hermann Scherchen. In 1972 he was named General Music Director of the Dresden Philharmonic and held the same post with the Konzerthaus Orchester Berlin from 1977 to 1983.

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In Western Europe Herbig became Principal Guest Conductor of the BBC Philharmonic in 1979 and was soon invited to conduct major ensembles such as the Philharmonia Orchestra London, the London Symphony, the Royal Philharmonic London, the Orchestre de Paris, and the Israel Philharmonic. In 1984 Herbig moved to the United States and served for ten years as Music Director of the Detroit and later the Toronto Symphony Orchestra. He has since conducted the orchestras of New York, Chicago, Boston, Philadelphia, Cleveland, San Francisco and Los Angeles among numerous others. Herbig has recorded more than 120 works, including cycles of Haydn and Brahms symphonies. His releases include Beethoven's Symphony Nos. 3 and 5, Schubert's Nos. 8 and 9, Brahms's No. 1, Mahler's No. 5 and Strauss's Ein Heldenleben with the BBC Philharmonic and the Royal Philharmonic London. As Chief Conductor of the Deutsche Radio Philharmonie, he recorded between 2001 and 2006 several symphonies of Bruckner and Shostakovich. He has been the Conductor Laureate of the Taiwan Philharmonic since 2010.


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「如果你認為那些偉大指揮家的黃金年代已經不再,最好三思一下。赫比希昨 晚指揮柴科夫斯基的交響曲《悲愴》充滿了高貴、激情與力量的詮釋,讓我聯 想起巴畢羅里與楊頌斯。」 ─ 《曼徹斯特晚報》 ''If you thought the days of the great conductors were all in the past, then think again. Günther Herbig's presentation of the Pathétique Symphony of Tchaikovsky last night was one of nobility, emotion and power, the sort I remember from Barbirolli and Jansons.'' ─ Manchester Evening News


駐團指揮 Resident Conductor

張尹芳 YIN-FANG CHANG

以創意的音樂會節目企劃、多元的指揮風格遊走於東西方管絃樂團;自 2007 年起張尹芳 參與策劃、指揮「NSO 永遠的童話」年度製作、指揮各種節慶及推廣音樂會,均深受好評; 其中與國際知名導演張艾嘉合作,製作演出 2016 NSO 跨新年音樂會《仲夏夜之夢》,以 朗讀與音樂的跨界演出深獲國際媒體肯定。 2012 年 3 月,張尹芳於「高雄春天藝術節」臨陣替代身體不適的俄國指揮大師羅許德茲 特溫斯基指揮蕭斯塔科維契第八號交響曲,深受樂界肯定。曾受邀客席國立臺灣交響樂 團及臺北市立國樂團;與臺北市國演出之《反景入深林─向周文中致敬》音樂會,不僅 為多首作品世界首演,更獲得台新藝術獎最佳演出提名,並已發行錄音。2017 年,與蘇 打綠跨界合作,廣受好評。同年,並受邀指揮總統府音樂會及香港城市室內樂團。其參 與錄製之臺灣原住民傳統歌謠創編交響樂曲專輯《山海琴原》亦於同年八月發行。 自 2006 至 2015 年擔任國家交響樂團助理指揮,2015 年 8 月成為 NSO 駐團指揮。現兼任 於臺北藝術大學、輔仁大學音樂系,並活躍於當代臺灣樂壇。

Yin-Fang Chang is a talented conductor of a new generation. The 2015/16 season saw her become Resident Conductor of the NSO, which she had served as Assistant Conductor for a decade previously. Ms. Chang earned high praise for the series 'NSO Forever Tales', collaborated with Sylvia Chang in the NSO 2016 New Year Concert 'Midsummer Magic in Winter' and worked with indie band Sodagreen in 2017. She conducted several well-received educational concerts with the NSO and is passionate about the transformative power of music in society. In March 2012, she conducted Shostakovich's Symphony No. 8 at Kaohsiung Spring Arts Festival to great acclaim. Later that year she made her debut with Taipei Chinese Orchestra, conducting world premieres of seven contemporary works in 'Tribute to Wen-Chung Chou', which were nominated for the Taishin Arts Award in Performing Arts. Ms. Chang was invited to conduct the same programme again the following year and recorded several works by Wen-Chung Chou. In 2017, she was invited to conduct the Concert of the Presidential Office at Pingtung Performing Arts Center and made her debut with City Chamber Orchestra of Hong Kong. 18 NSO 2018 19

Ms. Chang teaches conducting and score reading at Taipei National University of the Arts and Fu-Jen University.


「真正的掌聲應該給指揮張尹芳。她帶領十位團員優雅 地完成了一場稱得上是音樂風格的障礙接力賽。……團 員們順利通過急轉的樂風,從爵士到百老匯到斯特拉溫 斯基式的配樂,卻一點也沒有拖累戲劇性的主線。」 — 英國《金融時報》 "The real applause, though, goes to conductor Yin-Fang Chang , who gracefully led her 10-piece ensemble through a veritable obstacle course of musical styles.... (T)he musicians negotiated quick turns from jazz to Broadway to Stravinsky-like underscoring with no dips in the dramatic through-line." — Financial Times, UK

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©Bright Photography Studio


樂團首席 Concertmaster

吳庭毓 TING-YU WU 生於高雄,1982 年畢業於國立藝專音樂科(現國立臺灣藝術大學),曾任國防部示範樂隊、 臺北市立交響樂團首席,1988 年赴法國馬爾梅頌國立音樂院最高級班留學,隨教授布里儂 學琴。1989 年畢業返國後,擔任國家交響樂團首席至今。累積近三十年豐富的舞臺經驗, 經常獲邀至國內外演出。2002 年應法國在臺協會之邀錄製法國三百年繪畫展音樂 CD 以及音 樂會演出,並與俄羅斯愛樂室內樂團錄製韋瓦第的《四季》專輯;2007 年起擔任「夏綠 臺灣」 國際音樂節的音樂總監,2008 年創立「NSO 首席絃樂團」,演奏技術備受肯定。除了各項 音樂活動及指揮演出,吳庭毓也積極致力於教學,於交通大學研究所、輔仁大學、臺北藝術 大學、臺灣師範大學以及臺灣藝術大學授課。

Born in Kaohsiung, Ting-Yu Wu graduated from the Conservatoire National de Region de Rueil-Malmaison in 1989 and studied violin with Melle Brignon in France. Upon returning to Taiwan in 1989, he was appointed Concertmaster of NSO, a position he still holds today. With nearly 30 years experiences with orchestras, Wu has been invited to various countries to perform, including China and Russia. In 2002 he recorded for the French Three-Hundred Years Art Exhibition music CD, as well as performing at the Exhibition's concert. In May 2002, he recorded Vivaldi's Four Seasons with the Philharmonic Chamber Orchestra of Moscow. Since 2007, he has been Music Director of the ''Salut Taiwan Music Festival'', and founded the ''NSO String Ensemble'' in 2008. As an incisive soloist as well as participant in recitals and chamber music performances, Wu has received much critical acclaim. In addition, Wu is committed to educating young talents in Taiwan, serving in renowned institutes such as National Chiao Tung University, Fu Jen Catholic University, Taipei National University of the Arts, National Taiwan University of Arts and National Taiwan Normal University.

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樂團首席 Concertmaster

李宜錦 I-CHING LI Fischoff International Chamber Music Competition 銀牌

以 兼 具 細 膩 及 強 烈音樂感染力演出風格的李宜錦,於 2002 年以碩士 學術科特優獎畢業於新英格蘭音樂學院,同年成為國家交響樂團副首 席,2004 年受聘為樂團首席至今。曾師事蔡文河,方永信及小提琴大師 Ivan Galamian 嫡傳弟子 James Buswell;其精湛琴藝屢獲國際樂壇肯定: Musicorda Concerto Competition 首獎、Fischoff International Chamber Music Competition 銀牌;亦受邀於泛太平洋音樂季 (1998)、坦格塢音樂季 (2000) 以 及 德 國 什 列 斯 威 - 霍 爾 斯 坦 音 樂 節 (2001) 及 日 本 霧 島 國 際 音 樂 祭 (2014~2018) 演出。 在樂團演奏之外,李宜錦亦致力於推廣現代音樂及涉獵各領域演出,累 積豐富而多元的舞臺經驗,曾受邀發表美國現代作曲家 Alan Fletcher、第 34 屆葛萊美得主 John Corgliano 及 John Harbison 等人之作品,並亞洲首演 美國作曲家 Susan Botti 小提琴協奏曲《在黑暗中》(Within Darkness)。 起因於身為兩個孩子的母親,近年熱心推廣兒童音樂教育,參與發想 「NSO 媽媽說故事」系列音樂會,錄製出版《頑皮的莫札特》、《聽見 貝多芬》CD 及製作雲門劇場親子音樂會系列,廣受大小朋友的歡迎。 目前任教於師大附中、臺北市立大學以及國立臺北藝術大學。

A native of Kaohsiung, Taiwan, violinist I-Ching Li began her violin studies at age of nine. I-Ching has been praised for her depth of insight, virtuosity and creative flair. Her virtuosic performances had gained her top prizes at numerous competitions, both as a soloist and chamber musician. She started her position at the Taiwan Philharmonic (National Symphony Orchestra) first as the associate concertmaster in 2002, and since 2004 as the concertmaster. I-Ching enjoyed having a multifaceted career as soloist, orchestra member, chamber musician and teacher. She has won prizes including Musicorda Concerto Compeitition, Massachusetts String Teacher Competition, Heida Hermann International Competition, and among others. She has premiered the works of Grammy Award Winner John Corgliano, Alan Fletcher, John Harbison, Susan Botti. I-Ching has appeared under the baton of some of the worlds' premier conductors, including Lorin Maazel, Seigi Ozawa, James Levine, Christopher Eschenbach, Wen-Pin Chien, and among others. She is excited about the prospect of developing her skills as an artist and collaboration with musicians both locally and abroad. Being a mother, I-Ching recently devoted herself on children music education programs. She has co-produced and perform in the NSO Kids Concert series "Dear Little Ones", a CD album The Naughty Mozart, Do You Hear Beethoven and took parts on Cloud Gate Theater production for Kids, all with great success.

「……宜錦絲絲入扣的現場演繹…… 為音樂會畫下圓滿句號……。」 — 香港《文匯報》


國家交響樂團 Taiwan Philharmonic, the National Symphony Orchestra 自信而精銳 國家交響樂團

交響樂團在每個國家有不同的形成背景,在沒有西方管絃樂傳統的臺灣,過去樂團都以文化教育體系營 運。經過三十年耕耘,我們可以驕傲的說,國家交響樂團 (NSO),從交響樂、室內樂到歌劇,是自信、 精銳,有文化意識的「臺灣之音」。 國家交響樂團的前身「聯合實驗管絃樂團」,是教育部於 1986 年集合優秀新生代音樂家,以打造頂尖交 響樂團為目標而成立的。2005 年成為國立中正文化中心附設團隊,2014 年 4 月改隸國家表演藝術中心, 以「臺灣愛樂」立足國際。歷任常任指揮為 Gerard Akoka、Urs Schneider 及音樂總監包括張大勝、林望傑、 簡文彬等人。近十年來 NSO 銳意求變,大步朝專業、開放、勇於創新的職業樂團發展,2010 年 8 月, 旅德知名指揮呂紹嘉接任 NSO 音樂總監,更將樂團打造為亞洲地區最具指標性的樂團之一。

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樂團現有 99 名團員,每年樂季演出約 75 場次。2010 年起,音樂總監呂紹嘉以多元化主題貫穿樂季,整 合與對比並存的廣博曲目,本著「精緻、深刻、悸動」的信念琢磨出樂團多變細膩的音色與深刻撼人的 音樂表現;歌劇演出從跨國製作到深耕國內:《艾蕾克特拉》(2011) 、《蝴蝶夫人》(2012) 、《女武神》 (2013)、《莎樂美》(2014)、《費黛里歐》(2015)、《奧泰羅》(2016) 及《外套》、《修女安潔莉卡》、《強尼. 史基基》(2017) 、《帕西法爾》(2018),每每展現令國際樂評驚豔的製作。呂紹嘉不僅積極拓展樂團演奏 近代管絃樂作品的能力,更致力於鞏固精鍊經典名作,同時持續國人管絃樂創作之演出、錄音。2011 年 起,呂紹嘉帶領樂團積極展開海外巡演:廣州亞運音樂節 (2011)、東北亞巡演 (2012)、歐洲巡演 (2013、 2017)、兩岸三地巡演 (2015)、北美西岸巡演 (2016、2018) 及韓國巡演 (2018) 等均獲得國際各地樂評的 高度讚譽。 30 餘年來與 NSO 合作過的客席指揮家:馬捷爾、巴夏、馬利納爵士、潘德瑞茨基、史拉特金、羅斯托 波維奇、柯米希奧納、羅許德茲特溫斯基、霍格伍德、譚盾、凡斯卡、葛拉夫等;及聲樂家芙蕾妮、柯 楚芭絲、帕瓦洛帝、多明哥、特菲爾、韓普森;吉他大師耶佩斯、鋼琴家傅聰、拉羅嘉、提博德、寇瓦 謝維契、齊柏絲坦、洛提、歐森、白建宇、鄧泰山、薩洛、王羽佳等;大提琴家馬友友、顧德曼、麥斯 基、卡普頌、王健、伊瑟利斯、穆勒-修特、嘉碧妲;小提琴家卡瓦科斯、林昭亮、胡乃元、夏漢、明 茲、列賓、希拉蕊.韓、宓多里、林以信、陳銳;擊樂家葛魯賓格及其他器樂家莎賓.梅耶、巴伯羅柯、 弗黎崔希等千餘位國際知名音樂家。


「他們的蕭斯塔科維契第五號交響曲十分扣人心弦:隨著樂團飛舞的弓弦與宏偉的雄心,他 們的演出令人徹底信服。不需西方世界的背書,這個樂團在音樂舞臺絕對佔有一席之地。」 ─奧地利《信使報》2017/3 「完整、豐富且充滿層次感的音色、各聲部之間完美平衡、沒有任何刺耳或粗糙的聲響、精 準的節奏感、細緻地掌握力度上的對比、精確地詮釋樂句,整個樂團一致性、不帶有任何遲 疑,一股全然的自信與堅定在臺灣愛樂的演奏中恣意流出。」 —《美國唱片指南》 2017/7 "......vor allem bei Schostakowitsch' Symphonie Nr. 5 d-moll war das Ergebnis mitreißend: Es geriet eine Orchestermaschine ins Arbeiten, mit fliegenden Bögen und wuchtigem Wollen, deren Produkt auf (fast) ganzer Linie überzeugen konnte. Da brauchtes kein gut gemeintes westliches Wohlwollen: Das Orchester hat seinen Platz im Konzerthaus wohl verdient." ─ Kurier 2017/3 A full, rich, cultured tone; balance both in sections and the entire ensemble; avoidance of any harsh, raucous, or coarse sounds; rhythmic precision; careful attention to dynamic contrasts; and well-regulated articulation. Everyone enters at precisely the same time; there are no stragglers. A sense of total selfassurance pervades their playing. — American Record Guide 2017/7&8

Founded in 1986, the Taiwan Philharmonic, also known as the National Symphony Orchestra at home, is hailed as one of the best orchestras in the Asian Region and became the resident orchestra of the National Chiang Kai-Shek Cultural Center in 2005. Starting April 2014, the NSO has become an affiliate orchestra to the National Performing Arts Center. Led by renowned conductor Shao-Chia Lü as its 5th music director starting August 2010, the NSO has increased the country's cultural richness and music educational strength throughout Taiwan. The NSO with 99 members presents a 40-week musical season of approximately 75 concerts/chamber recitals and one opera production each year. It also launched educational programs and outreach projects constantly. Tour performances are regularly offered throughout Taiwan and overseas. It has toured to Vienna, Paris, Berlin, Geneva, Milan, Singapore, Kuala Lumpur, Sapporo, Tokyo, Yokohama, Seoul, Hong Kong and major cities in China. The NSO works with internationally acclaimed conductors, such as Lorin Maazel, Sir. Neville Marriner, Krzysztof Penderecki, Rudolf Barshai, Leonard Slatkin, Christopher Hogwood, Oleg Caetani, Gennady Rozhdestvensky, Michael Sanderling, Vassily Sinaisky, Osmo Vanska, Hans Graf and soloists, including Midori, Vadim Repin, Hilary Hahn, Ray Chen, Yo-Yo Ma, Gautier Capuçon, Alban Gerhardt, Mischa Maisky, Sol Gabetta, Martin Grubinger, Louis Lortie, KunWoo Paik, Stephen Hough, Stephen Kovacevich, Sabine Meyer, Reinhold Friedrich, Leonidas Kavakos, Yuja Wang and many others. The NSO has extended its artistic reach, involving in theater and opera productions, such as working with Lin Hwai-min, the world-renowned choreographer and founder of Cloud Gate Dance Theatre of Taiwan, Austrian digital artist Klaus Obermaier, and opera stage directors Tobias Richter, Moffatt Oxenbould, Hans-Peter Lehmann, Andreas Homoki and James Robinson. In addition to its record-breaking semi-stage concert operas Der Ring des Nibelungen, and Elektra, the NSO has collaborated with world-class opera houses for its multinational productions, such as Der Rosenkavalier (Deutsche Oper am Rhein, 2007), Carmen (Royal Opera House Covent Garden, Norwegian National Opera and Opera Australia, 2009), Madama Butterfly (Opera Australia, 2012), Fidelio (Operahaus Zurich, 2015) as well as in-house production Die Walküre (2013), Salome (2014) Othello (2016), Il Trittico (2017) and Parsifal (2018).

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音樂總監 呂紹嘉 桂冠指揮 根特.赫比希 駐團指揮 張尹芳 第一小提琴 吳庭毓 ★ 李宜錦 ★ 鄧皓敦 ☆ 陳逸群 ○ 郭昱麟 林基弘 梁坤豪 陳逸農 卓曉青 方俊人 黃佳頎 李庭芳 賴佳奇 林孟穎 李家豪 曾智弘 蔡竺君

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第二小提琴 陳怡茹 ● 孫正玫 ◎ 陳玟佐 ○ 吳怡慧 李京熹 黃衍繹 顧慈美 康信榮 李梅箋 鍾仁甫 蔡孟峰 洪章文 陳偉泓 王致翔

中提琴 黃瑞儀 ● 鄧啟全 ◎ 呂昭瑩 ○ 黃雅琪 李靖宜 謝君玲 呂孟珊 李思琪 陳猶白 蔡秉璋 吳彥廷 黃亞漢 大提琴 熊士蘭 ● 連亦先 ◎ 韋智盈 ○ 周幼雯 陳怡婷 林宜嫺 黃日昇 蘇品維 唐鶯綺 低音提琴 傅永和 ● 蘇億容 ◎ 周春祥 ○ 王淑瑜 黃筱清 王淑宜 連珮致 蔡歆婕

長笛 安德石 ● 宮崎千佳 李 浚

短笛 鐘美川 雙簧管 王怡靜 ● 阮黃松 ◎ 楊舒婷 英國管 李明怡 單簧管 朱玫玲 ● 張凱婷 ◎ 朱偉誼 孫正茸 低音管 簡凱玉 ● 陳奕秀 ◎ 高靈風 倍低音管 簡恩義 法國號 劉宜欣 ● 劉品均 ◎ 黃任賢 ○ 國田朋宏 王婉如 曹予勉

小號 宇新樂 ● 陳長伯 ◎ 張景民 鄒儒吉 長號 李昆穎 ● 邵恆發 ◎ 陳中昇 低音長號 彭曉昀 低音號 藤田敬介 ● 定音鼓 賽堤恩 ● 陳廷銓 ◎ 打擊樂 陳哲輝 ● 陳振馨 楊璧慈 豎琴 解 瑄 ● 鍵盤 許毓婷 ▲

執行長 郭玟岑 企劃演出經理 賴盈帆 整銷推廣經理 王承禹 行政管理經理 / 總監執秘 王雲玉 企劃演出 企劃專員 / 總監助理 郭奕飛 企劃專員 石玲玲 溫慧雯 譜務專員 高婉瑜 樂團舞監 高冠勳 統籌舞監 蘇敬涵 助理舞監 李艷玲 整銷推廣 行銷專員 黃郁雯 劉世玥 戴瑜均 林洪儀 劉姿伶 行政管理 人事組長 林碧珠 法務專員 劉善謙 行政專員 林欣儀 陳靜怡 張筑昀 法律顧問 林信和 音樂諮詢 焦元溥 錄音製作 NSO Live 講座計畫贊助

樂團職銜學分學程 國立臺北藝術大學音樂學院

★樂團首席 ☆樂團副首席 ●首席 ◎副首席 ○助理首席 ▲樂季合約人員


Music Director

Shao-Chia Lü

Conductor Laureate

Günther Herbig

Resident Conductor

Yin-Fang Chang First Violin Ting-Yu Wu ★ I-Ching Li ★ Hao-Tun Teng ☆ Yi-Chun Chen ○ Yu-Lin Kuo Ji-Hung Lin Kun-Hao Liang Yee-Nong Chen Hsiao-Ching Cho Cecilia Fang Jiachi Huang Ting-Fang Lee Chia-Chi Lai Meng-Ying Lin Chia-Hao Lee Chih-Hong Tseng Chu-Chun Tsai

Second Violin Yi-Ju Chen ● Cheng-Mei Sun ◎ Wen-Tso Chen ○ I-Hui Wu Ching-Hsi Lee Yen-Yi Huang Tsu-Mei Ku Hsin-Jung Kang Mei-Jain Li Jen-Fu Chung Meng-Fong Tsai Chang-Wen Hung Wei-Hong Chen Chih-Hsiang Wang Viola Grace Huang ● Chi-Chuan Teng ◎ Chao-Ying Lu ○ Yea-Chyi Hwang Jing-Yi Lee

Juin-Ling Shieh Meng-San Lu Szu-Chi Li Jubel Chen Ping-Chang Tsai Yen-Ting Wu Ya-Han Huang

Bassoon Kai-Yu Jian ● I-Hsiu Chen ◎ Ling-Feng Kao

Cello Lana Hsiung ● Yi-Shien Lien ◎ Chih-Yi Wei ○ Yu-Wen Chou I-Ting Chen Yi-Hsien Lin Jih-Sheng Huang Pin-Wei Su Ying-Chi Tang

Horn Yi-Hsin Cindy Liu ● Pin-Chun Liu ◎ Jen-Hsien Huang ○ Tomohiro Kunita Wan-Ju Wang Yu-Mien Tsao

Double Bass Yung-Ho Fu ● Yi-Juan Su ◎ Chun-Shiang Chou ○ Su-Yu Wang Hsiao-Ching Huang Shu-Yi Wang Pei-Chih Lien Hsin-Chieh Tsai Flute Anders Norell ● Chika Miyazaki ◎ Chuin Lee Piccolo Mei-Chuan Chung Oboe I-Ching Wang ● Tung Nguyen Hoang ◎ Shu-Ting Yang English Horn Ming-I Lee Clarinet May-Lin Ju ● Kai-Ting Chang ◎ Wei-I Chu Cheng-Jung Sun

Contrabassoon En-Yi Chien

Trumpet Nicolas Rusillon ● Chang-Po Chen ◎ Ching-Min Chang Loo-Kit Chong

Executive Director Wen-Chen Kuo Manager, Planning & Produdion Ying-Fan Lai Manager, Marketing & Development Paul Wang Manager, Administration & Secretary to the Music Director Yun-Yuh Wang Planning & Production Coordinator/ Assistant to the MD Yee-Fei Koay Programme Coordinator Linglin Shih Huiwen Wen Librarian Brittney Kao Stage Manager Kuan-Hsun Kao Production Coordinator Ching-Han Su Assistant Stage Manager Yen-Lin Li

Trombone Kun-Ying Lee ● Hang-Fat Shiu ◎ Chung-Sheng Chen

Marketing & Development Marketing Coordinator Laila Huang, Ariel Liu Carol Tai, Xenia Lin, Michelle Liu

Bass Trombone Hsiao-Yun Peng

Administration Assistant Manager, Personnel Bibi Lin Legal Affairs Cary Liu Administrator Eileen Lin Jing-I Chen Administration Assistant Yuny Chang

Tuba Keisuke Fujita ● Timpani Sebastian Efler ● Ting-Chuan Chen ◎ Percussion Jer-Huei Chen ● Chen-Hsing Chen Pi-Tzu Yang Harp Shuen Chieh ● Keyboard Yu-Ting Hsu▲

★Concertmaster ☆Associate Concertmaster ●Principal ◎Associate Principal ○Assistant Principal

Legal Consultant Hsin-Ho Lin Concert Dramaturgist Yuan-Pu Chiao Recording Partnership NSO-on-Campus Lecture Series

Internship Project with Taipei National University of Arts

▲Season Contracted Musician

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駐團音樂家

約格.魏德曼: 帶來一劑純粹喜悅、不拘一格 的音樂人 文/ Flora Willson

揉和古典音樂的過去與現在,這位德國作曲家兼單 簧管演奏家為古典音樂寫下令人振奮的新篇章。

數一數你所喜愛的作曲家,有幾位仍然在世?可能 很少吧,至少對所謂的古典樂迷來說是如此。甚至 「古典」一詞本身就暗示了發生在遙遠的過去,如 今只有陳跡可憑弔。在 21 世紀,古典音樂無疑背負 著沉重的歷史傳統:最有名、作品最常被演奏的作 曲家幾乎都已過世。這也難怪過去 150 年間,樂評 時不時會問,古典音樂是不是已經日薄西山了? 仍在世的作曲家多方嘗試來處理歷史的重擔。拒絕 與/或搗毀可說是上個世紀的最佳寫照。皮耶.布 列茲在 1967 年高喊:「炸掉歌劇院!」若在今天, 這種象徵式的情緒宣洩恐怕也會讓你惹上許多麻煩。 時間再往前推幾十年,荀貝格也曾發展出十二音技 法,在古典調性之外另闢極端蹊徑。在大西洋的對 岸,在約翰.凱吉的音樂會上,觀眾在一片瀰漫好 奇的靜默中,聆聽了一首長達四分三十三秒的無聲 樂曲。 以一顆謙遜的心,立於經典作品之前 而今日,德國作曲家兼單簧管演奏家約格.魏德曼 採取一條截然不同的路。他以音樂捕捉到各種音樂 的特性,聽見似曾相識的旋律。向過去致敬,又悄 悄從巴哈過渡到當代音樂。這些元素撚線成紗,與 那複雜又充滿冒險精神的聲音世界交織成一幅精巧 的布畫。標準的器樂技法只是個開始,旋律時而稜 28

角分明,時而如夢似幻,時而如詩如歌。他的作品

NSO 2018 19

幾乎感受不到音樂神聖歷史此消彼長所帶來的焦慮。 魏德曼的名氣或許不如荀貝格、布列茲或凱吉響亮, 但 44 歲的他卻已擁有一系列的作品與知名的委託 案。即便在這幾位傑出的前輩面前,也毫不遜色。 此外,他也經常被拿來與歷史上的音樂大師比較:


從莫札特到沃夫岡.里姆 ( 魏德曼的恩師之一 ),乃至梅湘、拉亨曼、蕭邦和李斯特。魏德 曼特別喜愛演奏舒曼的音樂,甚至在 2009 年為湯姆.塞維奇即興演奏多首舒曼的鋼琴作品。 魏德曼的多重身份讓塞維奇為之驚艷:「我以為能一心多用的音樂家在 19 世紀那些偉大的 作曲演奏家之後就絕跡了。」 魏德曼之所以願意開放心胸接受前人的影響,一個簡單的理由是除了作曲家的身分之外,他 也是一位獲獎無數的單簧管演奏家。當時他人在倫敦威格摩音樂廳擔任駐廳音樂家,在一場 演出前的座談會上,被問到他用什麼新奇方法,處理古典音樂悠久歷史帶來的壓力?「可能 是一顆謙遜的心吧。」他羞澀一笑。「身為演奏家,我每天都在接觸這些經典之作。我愛死 他們了,所以我把我的喜愛寫出來。」 後設音樂創作將經典樂段入樂 這種近乎後設音樂的作法—寫關於其他音樂的音樂—是魏德曼在威格摩音樂廳駐廳時期最 新的重頭戲。在一場音樂會上,魏德曼與老朋友中提琴家塔貝爾.齊默曼和鋼琴家德奈什. 瓦爾昂先是演奏舒曼作品 132《童話故事》,緊接著原班人馬又演出他 2015 年的三重奏《很 久很久以前》。這也是該作在英國的首演。 五個樂章的《很久很久以前》充斥舒曼的影子,氣氛歡快。有時候只有極為浪漫的勢態— 只有幾個音,都是強音。有時候,其中一件樂器(通常是魏德曼有如變色龍的單簧管)以小 小的失序,削弱曲子的進程,頑強又堅決的出格。帶點暴力又歡快的對比不時在樂曲間竄出, 就像一場瘋狂派對的大門忽然洞開,竄出啤酒廳裡低音喇吧的嗡鳴,然後又砰然關上。 不過這場跨越歷史的音樂對談有時也會反其道而行。魏德曼、齊默曼和瓦爾昂在一場精彩的 演出中,凸顯了舒曼三重奏裡的唐突轉折與複雜層次,到了猖狂的地步,以最怪誕的方式端 出了德國浪漫主義。最後獻演莫札特的《九柱戲三重奏》。此曲精緻優美,帶了點興奮的緊 張,速度、節奏與樂句又保有彈性,讓真正天人合一的室內樂團能自由發揮。經過魏德曼宛 如施加魔咒般的詮釋,看似無害的旋律再現時卻帶有一種令人迷戀又不安的特質。就像某個 字不斷重複,到最後幾近崩解邊緣。 沒錯,魏德曼的確「不管演奏什麼,都會又踹又叫,把現代感逼出來,」塞維奇寫道。不過 魏德曼身為作曲家與演奏家之所以令人難以抗拒,在於他的所作所為之中所具有的純粹喜悅: 音樂裡的歡愉蓬勃且發自肺腑,必能結合過去與現在的古典音樂,闖出一條通往未來的路。 獲英國《衛報》授權轉載 (翻譯/李雨衡)

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Artist-in-Resident

Jรถrg Widmann: the musical anarchist who brings a hefty dose of sheer joy by Flora Willson

The German composer-clarinettist is fusing classical music's past and present to make an exhilarating future.

How many of your favourite composers are alive today? Probably very few, at least for most lovers of what we now call classical music. Even the term itself suggests an ancient past of which only relics or ruins remain. There's no question that classical music in the 21st century is, for better and worse, a tradition in which the past looms large: of its best known, most often performed composers, the vast majority are dead. No wonder that for the last 150 years, critics have gone through periodic bouts of asking whether classical music is on its last legs. Living composers have adopted various strategies for dealing with this weight of history. For much of the last century, rejection and/or destruction was the name of the game: "Blow up the opera houses!" urged Pierre Boulez in 1967, with the sort of metaphorical panache that could get you into a lot of trouble these days. Decades earlier, Arnold Schoenberg had developed the 12-tone system as a radical alternative to conventional tonality. Across the Atlantic, audiences sat in curious silence for precisely 4 min 33 sec, courtesy of John Cage. Today, German composer-clarinetist Jรถrg Widmann takes an entirely different approach. His music spins an intricate web of characteristic gestures, half-remembered quotations, respectful nods to the past, and sly references, ranging from Bach to his own contemporaries. It's all woven tightly into the fabric of a complex, adventurous sound world in which standard instrumental techniques are only the starting point, where melodies are acutely angular one minute and blurred and dreamlike or generously lyrical the next. There's little anxiety about the encroachment of music's venerable history here.

30 NSO 2018 19

Widmann's name may not be as instantly recognizable as Schoenberg, Boulez or Cage, but, at 44, he has a catalogue of works and high-profile commissions that can stand proudly alongside those illustrious forebears. What's more, he attracts constant comparison to musical luminaries of present and past alike: from Wolfgang Amadeus himself to Wolfgang Rihm (one of his teachers), via Messiaen, Helmut Lachenmann, Chopin and Liszt. Widmann returns time and again to Schumann's music, even providing an impromptu play-through of the latter's piano works for Tom Service in 2009. Service marveled at Widmann's embrace of "the sort of musical multitasking that you thought had gone out of fashion since the great composer performers of the 19th century".


If there's a simple explanation for Widmann's openness to influences from the past, it seems to lie with his parallel, award-winning career as a clarinetist. How to cope creatively with the pressure of that long classical tradition? "I'm humble," he says with an awkward grin, in a pre-performance discussion during his residency at London's Wigmore Hall. "As a player, I'm in touch with these masterworks every day. I love them! So I write pieces about my love." This almost meta-musical approach – writing music about other music – was centre stage in the Wigmore residency's latest instalment. A concert with violist Tabea Zimmermann and pianist Dénes Várjon, both his longtime collaborators, placed the UK premiere of his 2015 trio Es War Einmal...(Once Upon a Time) directly after Schumann's Op. 132 Märchenerzählungen for the same ensemble. The five movements of Es War Einmal... abound in gleeful not-quite-quotations from Schumann's work. At times, only the shapes of high-romantic musical gestures remain – all attack, very little note. Elsewhere, we might be listening to Schumann were it not that one of the instruments (often Widmann's chameleonic clarinet) seems hell-bent on undermining proceedings with small acts of musical anarchy. Violent, exuberant juxtapositions erupt throughout, as if doors to a wild party have suddenly swung open, letting in a blast of frantic beer-hall oompah before slamming shut again. But the transhistorical musical dialogue goes the other way, too. In an exhilarating performance, Widmann, Zimmermann and Várjon emphasised the abrupt gear-changes and complex layerings in Schumann's trio to an extent most wouldn't dare, serving up German romanticism at its weirdest. To close, Mozart's Kegelstatt Trio was a thing of exquisite beauty, simultaneously taut and accommodating the minute, subtle flexibilities of tempo and phrasing that are open to ensembles that play truly as one. Yet even here, in the wake of Widmann's own bewitching reworkings, seemingly harmless melodies took on an obsessive, disturbing quality as they recurred, in danger of disintegrating like a word rendered alien through repetition. So, yes, Widmann does indeed "bring whatever he plays kicking and screaming into the present day", as Service wrote. But what makes him so irresistible as a composer and performer alike is the hefty dose of sheer joy in what he does: the pleasure of vital, visceral musicality that promises to bind together classical music of the past and present – and forge a way into the future.

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2018/2019 Season


的英雄是個懦夫。確切地說,常自認

出〈混亂取代音樂〉社論之後,出現天翻地覆的改

是懦夫。更確切地說,在他所處的位

變。

「我

置不可能不當懦夫。」

「他已經在電梯邊站了三小時。在抽他的第五支

英國名作家、布克獎得主朱利安.巴恩斯 ( Julian

菸,他的思緒在跳躍。」巴恩斯的小說以如此撼動

Barnes, 1946-),在文章中如此描寫了他最新小說

人心的場景開始:被審問的作曲家返家後,斷定自

《時代的喧囂》(The Noise of Time) 的主角,更認為

己即將被捕,和許多藝術家同行一樣就此消失。不

換作你我,落到他的處境,也會不得不當懦夫。

想讓妻子和幼女見到難堪慘狀,蕭斯塔科維契每晚

這不僅僅是權宜之計—在那段時日,反抗強權者

都在電梯口等待,連生活用品都已打包裝箱。面對

都被捕遭害,連親友也同受屈辱,甚至一起喪命。

不可知的命運,無從臆度的未來,至少,他還可以

當英雄需要勇氣,但勇氣若以犧牲家人朋友為代

決定自己消失的姿態。

價,英雄會不會只是虛榮?你真的還有選擇?

抓他的人始終沒來,並不表示陰霾從此散開。第四

巴恩斯的主角,是懦夫的英雄,是蘇聯作曲大師

號交響曲首演被迫取消,蕭斯塔科維契幾經思考,

蕭斯塔科維契。

寫下第五號回應批判,從此譜曲方向默默轉了彎。 「很多人認為當他從第五號交響曲起被迫改變風

蘇聯時代 第一音樂才子 他 或 許 是 生 於 蘇 聯 時 代, 才 華 最 高 的 音 樂 家。 十九歲就發表第一號交響曲,一出手便國際馳名。 蕭斯塔科維契鋼琴演奏也頗見功力,還代表蘇聯 參加首屆蕭邦大賽。根據波蘭樂評,當年的他爽

格後,他就是傑出但不那麼重要的作曲家了」,對 蕭斯塔科維契有深入研究的俄國鋼琴家梅尼可夫 (Alexander Melnikov, 1973-),認為如此評價並不公允。 寧可為信念受苦,也不願為信念殺戮

朗自信,新穎的內聲部對位細節令人著迷。年輕、

「同時期蘇聯有那麼多前衛作曲家,被迫改變風格

明亮、炫技、拆解素材又提出個人心得,這也完

後就無以為繼,蕭斯塔科維契卻以極其驚人的才華

全是他的作曲。他將巴洛克與古典技巧融會貫通,

提出新的音樂語彙,堅強地存活下來,而他又有

也能寫「爵士樂」(蘇聯的通俗輕音樂)與民俗

本事在這種情況下照樣說他想說的話,無論那是多

風格,音樂像萬花筒般繽紛燦爛;浪漫抒情,又

麼迂迴隱晦。」的確,第七號交響曲《列寧格勒》

有獨特的辛辣與詼諧,處處機鋒、妙不可言。 這一切,在 1936 年史達林看了他的歌劇《慕特森 斯克郡的馬克白夫人》中途退場,《真理報》刊

34 NSO 2018 19

即使英雄成了懦夫, 恐懼也不能吞噬心靈 —

蕭斯塔科維契 用交響曲書寫自己 文╱焦元溥(倫敦國王學院音樂學博士) 


雖然獻給圍城苦戰中的故鄉,考察其中「納粹進行 曲」的旋律,草稿竟然在戰事之前,可見那代表的 實是人性邪惡,是納粹,也是史達林與 KGB。他 把自己姓名化為音樂動機「DSCH」,一再於創作 中書寫自己,處處留下真實心意。他在訪問中譴責 荀貝格和貝爾格這類「形式主義、資產階級」的音 樂,卻在隨後寫下的小提琴奏鳴曲,引用了一大段 貝爾格小提琴協奏曲。那手法誠摯高貴,完全是對 十二音列技法與貝爾格的致敬。兩相對照,我們知 道受訪時的他在演戲。受限於政治環境,蕭斯塔科 維契的確無法做太前衛激進的音樂試驗,但在他最 好的創作裡,他始終能觸及人性最深、也最共同的 情感,讓人深深為之共鳴。 追根究柢,這個懦夫其實勇敢,只是把它全都給了 音樂。「寧可為信念受苦,也不願為信念殺戮」, 列寧格勒圍城最後慘到人獸相食,是近代史上最悲 涼的戰役。只要有墨水和稿紙,即使只能向天空揮 拳,蕭斯塔科維契化成音符的每一擊都拳拳到肉, 記錄人類可以多荒謬,人性又可以多澄澈。第八號

2018/9/14 開季音樂會—交響啟示錄 Season Opening Concert 2018/9/30 蕭斯塔科維契的絃音 Shostakovich on Strings 2019/6/6 蕭斯塔科維契七 Leningrad

交響曲就是這樣的血淚紀錄。甚至,他也膽敢在鋼 索上嬉戲,不惜和史達林抬槓,就是要以諷刺筆法 寫下「慶祝勝利」的第九號。即使果然被批鬥,憂 患如影隨形,他心知肚明也心甘情願。 透過引用和密碼,蕭斯塔科維契創造出屬於自己的 音樂語言,也讓人永遠可以多面解讀。既寫大時代 創傷,也有個人自傳式的體會感悟,冷戰結束後, 蕭斯塔科維契沒有如時人預言的逐漸消失於音樂舞 臺,反而更見歷久彌新,正說明他的勇氣終究感動 世界,恐懼不能吞噬心靈。

35


"M

y hero was a coward. Or rather, often considered

the one hand, fuse both baroque and classical techniques;

himself a coward. Or rather, was placed in a

on the other, write "jazz" (Russian parlor music) and

position in which it was impossible not to be a coward." Such is how British writer and Man Booker Prize winner, Julian Barnes, described the main character in his latest novel, The Noise of Time. He even reckoned, if we were in

folk music, as if his works were a dazzling and colorful kaleidoscope. Romantic and lyric as his music is, there exists a unique sense of sharpness and humor. Everywhere you'd sense his subtle and indescribable cleverness.

his shoes, it would have been impossible for us not to be a

However, all these were overturned in 1936 when Stalin

coward. This was not merely a matter of expediency – back

left in the midst of Shostakovich's opera Lady Macbeth of

then, dissidents were all apprehended and killed. Even

Mtsensk and Pravda published a commentary titled "Chaos

relatives and friends were humiliated or worse, died. Being

Instead of Music".

a hero requires bravery, but if bravery costs the lives of family and friends, isn't heroism utter vanity? Do you really have a choice? The 'hero' written by Barnes, a cowardly hero, is the great Russian composer, Dmitri Shostakovich.

"He had been standing by the lift for three hours. He was on his fifth cigarette, and his mind was skittering." Barnes' novel starts with such a striking opening scene: Returning home, the interrogated composer figured that

He was probably the most talented musician born in

he was about to be taken away and disappear just like his

the Soviet Union period. At an early age of nineteen,

peers. Unwilling to shame his wife and little daughter,

Shostakovich presented his First Symphony, which

Shostakovich waited every night by the elevator even with

immediately brought him to the attention of the world.

all his necessities packed. Faced with an unknown destiny

He also displayed musical talent in piano and represented

and an unpredictable future, at least he could decide his

his country at the First International Chopin Piano

gesture to exit.

Competition. According to a Polish critic, he was bright and confident. The novelty of his exquisite counterpoint of inner parts were fascinating. Young, bright, skillful, able to deconstruct materials and create something new upon them - all perfectly describe his composition. He could, on

Although the secret police didn't come at last, the floating cloud of his didn't disperse. The premiere of the Fourth Symphony was forced to cancel. After pondering for some time, Shostakovich completed his Fifth Symphony as a response to the criticism. Since then his composition took a silent turn. "Many people believed that when Shostakovich was forced to change his style sine the Fifth Symphony, he became a great but not so important composer." Russian pianist Alexander Melnikov, who undertook in-depth research on Shostakovich, reckoned this remark unfair.

36 NSO 2018 19

When a Hero Becomes a Coward

A Symphonic Autobiography of Shostakovich By Yuan Pu Chiao (Ph.D. in Musicology, King's College, London)


"There were so many avant-garde composers in the Soviet

The Leningrader Blockade was one of the most convulsive

Union during that time who were defeated after being

sieges in history, where cannibalism unfortunately

forced to change styles. Shostakovich, nevertheless,

appeared as a last resort. As long as there were ink and

strongly survived on a new musical language created with

paper, even if one could only vent to the sky, each and

his stunning talent. Under such a dire circumstance, he

every note Shostakovich wrote was like a knock-out punch,

was still successful in expressing what his heart told him,

documenting how absurd and how pristine humanity could

no matter how obscure and tortuous the way was." Indeed,

be. The Eighth Symphony is truly a reflection of the terrible

although the Seventh Symphony Leningrad seemed like

tragedy of the war. He even dared to frolic on a tightrope

a tribute to his war-stricken home town, if one carefully

to challenge Stalin by writing the Ninth Symphony to

examines the melody of 'Nazi March', the score was actually

"celebrate victory" in the most sarcastic sense. Even

drafted before the war. It can be inferred that this piece is

knowing clearly the consequences of public humiliation

an incarnation of human malice, Nazi, Stalin and KGB.

and the ensuing trouble, he had no regrets.

Converting from his name, Shostakovich introduced the 'DSCH' musical motif to his work as a way to repeatedly write about himself and leave us clues about what he really meant to say. In an interview, he denounced Schoenberg and Berg's music as formalism and bourgeoisie, but in a violin sonata he wrote later, he quoted an extensive part of Berg's violin concerto. Sincere and noble, the act was an absolute admiration to the twelve-tone technique and Berg. From hindsight, we now know he was acting during the interview. Constrained by the political environment,

With quotation and encryption, Shostakovich created a musical language that not only distinguished himself from the others, but also enabled endless interpretations about his works. Addressing both the trauma of a big era and an autobiographical self-reflection, Shostakovich, contrary to many predicted, has not been eventually forgotten by the public after the civil war; instead, he thrived on the test of time. His courage moved the world after all, proving that fear could never devour his heart.

(Translation by Lewis Lee)

Shostakovich could not push his musical experiment to the extreme. However, in his best composition, his music did not fail to resonate with the audience by touching the deepest human life and tugging at the heartstrings. Beneath the surface, this coward was so brave that he gave it all to music. "Rather to suffer for faith than to kill for faith."

37


年前,《伯恩斯坦書信集》出版時,書上有一

總是要做出取捨。畢竟一天只有那麼多時間,人的

段特別引人注目。1944 年 1 月,伯恩斯坦一面

壽命也有限。每個人自然都會想多要點別的東西。

準備指揮他的第一號交響曲世界首演,一面埋頭譜 寫與編舞家傑羅姆.羅賓斯合作的首齣芭蕾舞劇《自 由的想像》。當時雪莉.蓋比斯(她後來與作曲家 喬治.珀爾結婚)曾警告過這位一心多用的指揮, 他的勃勃野心與過人天賦恐怕會讓他落得兩頭空。 她勸伯恩斯坦:「蘭尼,你仔細想想,好好問問自己, 誠實面對自己。難道你的人生目標就是成為最傑出 的半吊子嗎?」 到了那年年底,伯恩斯坦與羅賓斯都是剛滿 26 歲, 這齣芭蕾舞劇被改編為音樂劇《在小鎮上》,初試 啼聲就在百老匯博得滿堂彩。到了 1949 年,米高梅 將該劇拍成電影,由金凱利與法蘭克.辛納屈領銜 主演。這時,伯恩斯坦與羅賓斯正在緊鑼密鼓,籌 劃當時還名為《東城故事》的芭蕾舞劇。1957 年年

貝多芬作品的內在意義,或是馬勒交響曲小提琴聲 部的戲劇張力,凡透過伯恩斯坦的演繹,都被賦予 一種無可抗拒的渲染力,一種美國式的生氣蓬勃。 毫不掩飾的熱情—伯恩斯坦的音樂渲染力 伯恩斯坦在指揮臺上有如神靈附身。在伯恩斯坦去 世時擔任助理指揮的卡爾.聖克萊爾回憶,他有一 次率團在俄國演出孟德爾頌第四號交響曲,伯恩斯 坦也在場。「你享受剛才的演出嗎?」伯恩斯坦事 後問道。「當然,樂團的表現棒極了。」聖克萊爾 回答。「那你怎麼沒表現出很享受的樣子?」 當伯恩斯坦站上臺,他的感受如何根本不需加以揣

到一個月的時間,就此改變了音樂劇的面貌。同年,

測。樂譜可能在很久以前就寫成,但是演繹卻是現在

伯恩斯坦被任命為紐約愛樂的音樂總監,成為第一

進行式。任何一個樂句轉折、任何情緒堆疊,直接反

位美國在地出身、培養、任職於世界知名交響樂團

映在他的表情與肢體動作上。要說伯恩斯坦留給我們

的音樂總監。伯恩斯坦擔任總監幾週之後,便以指

什麼,不得不提當時演出的珍貴錄影畫面—他不僅

揮與鋼琴家的身分,做了蕭斯塔科維契第二號鋼琴

是音樂大師,也是電視效果大師。觀眾可以直接欣賞

協奏曲的美國首演。兩週之後,伯恩斯坦又辦了「青

以往只有樂手才看得到的伯恩斯坦表情輪播。

電視的普及,讓伯恩斯坦成功走進美國人家中,成 為家家戶戶專屬的音樂老師。

同樣的活力在他的作曲上也表露無遺。即便在古典 音樂界聲譽卓著,伯恩斯坦對於路易.阿姆斯壯和 披頭四等流行樂手的創作,也有著直接的情感連結,

綜觀古今文化,很難想像一個人的成就能兼具深度

甚至可說是毫不掩飾的熱情。歌手兼作曲人保羅.

與廣度,這些事件接連發生,尤其令人讚嘆。伯恩

賽門還曾受邀為伯恩斯坦的《彌撒》填詞。在當時,

斯坦除了音樂上成就卓越,提倡人權也是不遺餘力,

茱莉亞音樂院的學生若演奏爵士可是會被退學的。伯

形象更是大大提升,再添職業生涯佳話。蓋比斯也

恩斯坦卻義正嚴詞的說:「世上從沒有『入流』或『不

一改原先的疑慮(她後來也承認:「誰曉得他會成

入流』的音樂,只有『好聽』或『不好聽』的音樂。」

為雷納德.伯恩斯坦呢?」)

NSO 2018 19

們愛的人,才會令我們失望。每一首樂曲,無論是

底,湯尼與瑪麗亞穿越市區(編註),到了百老匯,不

少年音樂入門」系列第一場音樂會。這個節目隨著

38

伯恩斯坦之所以造成如此回應,主要是因為只有我

若要說一樣伯恩斯坦在音樂上的缺點,那就是他的歌

然而,這些成功也都有一絲缺憾。百老匯的戲迷再

聲了。有人曾評論,他的歌聲就像「牛蛙被趕牛棍戳

也等不到另一部《西城故事》;交響樂的聽眾也直

到屁股一樣」。即便如此,他也沒有因此不在人前開

接感受到伯恩斯坦陷入的兩難—如何既能譜寫獨特

金嗓,只是大部分僅限在教學時,需要彈琴舉例,才

且不拘一格的創作,又能在指揮臺上詮釋他人作品。

會有幸一聞。這個小缺點雖然令人莞爾,卻也更拉近 我們與這位天才大師的距離。不過這也顯示伯恩斯坦 相當重視人聲一開口就能立刻表達的特性。

編註:這是一語雙關,《東城故事》因人物描寫對象不同,後來改 標題為《西城故事》,而南北向百老匯大街從 42 街之後轉向西北角 的曼哈頓城西,各種大小劇場也鄰著百老匯大街兩側林立,因而有 此一說。

「蘭尼從不覺得數大就是美」鋼琴家史蒂文.布利爾 如是說。兩人曾首演並錄製了伯恩斯坦的遺世之作, 一部名為《詠歎調與船歌》的聯篇歌曲。「不拖泥帶


水、一擊中的才是他所重視的。我一直都覺得他甘願

部《西城故事》;我們珍視現有的經典。伯恩斯坦

用他的一部交響曲換一首琅琅上口的經典歌曲。」

憑一己之力樹立了現代大師的典範,同時也賦予這

現代樂評經常給予這些大師充滿失望的負評。翻翻 斯特拉溫斯基晚期首演的樂評,人們寫道:「該怎

個典範美國精神。在百年之際,是時候該問到底什 麼是美國精神。

麼說,寫得很好,但突破不了《春之祭》……」伯

身為烏克蘭猶太人的後裔,伯恩斯坦並不忘本。在

恩斯坦不免也遭致類似的批評,但現在他仍然是無

美國作曲家中,沒有一位像他一樣,在作品中大量

庸置疑的大師。

引入猶太禮儀禱文。然而,伯恩斯坦同時也是一位 「耳聽八方」的音樂人。他的作品如《小夜曲》可

在極端之間取得平衡 雅俗共賞的音樂創作

能或多或少流露受過哈佛高等教育的驕傲 ( 此作受柏

慶祝伯恩斯坦誕辰百年之時,我們已不再渴求另一

拉圖《對語錄》的啟發 ),但在《西城故事》中,不 絕於耳的拉丁夜總會音樂,證明他也同樣游刃有餘。 正如伯恩斯坦認為文化並無精緻與粗俗之分,他也 從未想過放棄放蕩不羈的一面。離開愛樂幾十年後, 樂手仍會半開玩笑的說,他們唯一能喘口氣的空檔,

伯恩斯坦的時代 已經來臨!

就是當伯恩斯坦走下舞臺,他的助理遞上一根菸與

文/司馬勤(《金融時報》文化版作家)

會成為最大的弱點。伯恩斯坦最引人注目的特點,

一杯威士忌的時間。 藝術家當然不可能永遠完美。往往最厲害的強項也 同時也是身為美國人的正字標記,肯定是總在極端 之間掙扎著取得平衡。 伯恩斯坦的助理聖克萊爾卻有不同的看法:「他是 個保有赤子之心的人。會說七種語言,跟國王或總 統吃飯不見得能讓他開心。他的快樂源自探索未知 的驚喜。」 《西城故事》中的經典曲目〈天堂某處〉幾乎可說 是伯恩斯坦個人的寫照。聖克萊爾解釋:「這首歌 就是在寫他,寫盡他一生所追求的事。他窮其一生 都在尋覓一個和平與愛不會受到攪擾的地方,那裡 不需要克服人們所面臨的各種難處。他堅信這個地 方的存在。任何阻擋他的人他都抵抗。這也是為什 麼,那首歌的旋律,音符不往下走。音符總是向上。」 (翻譯/李雨衡)

2018/10/28 我討厭音樂 ?! ─ 伯恩斯坦的歌樂 A Bernstein Bash 2018/12/21 2018/12/22 高雄 美國春秋 American Classics 2018/12/31 歲末音樂會─搖擺美國 Swing to America

39


W

hen The Leonard Bernstein Letters appeared in

Still, each of those successes carried a touch of

print a few years ago, one particular note seemed

disappointment. Broadway fans never got another West

to pop off the page. In January 1944, while Bernstein

Side Story. Symphonic audiences found themselves caught

was preparing to conduct the world premiere of his First

up directly in Bernstein's own dilemma, torn between

Symphony and working hard on Fancy Free, his first ballet

writing his own distinctive and eclectic compositions and

with choreographer Jerome Robbins, Shirley Gabbis (the

maintaining a dynamic presence on the podium. It was

future wife of fellow composer George Perle) warned the

always a choice. Ultimately, there were only so many hours in

multitasking maestro that his ambition and sheer breadth of

the day, so many days in a life. At the end, it was only natural

musical gifts would keep him from being truly great in any

that each of us wanted a little something more.

of them. "Think hard, Lenny," she wrote, "bore way down deep into yourself and find the courage to be honest. Is your mission in life to be the greatest of all dilettantes?" By the end of that year, when Bernstein and Robbins both turned 26, that ballet had morphed into their first Broadway hit, On the Town. By the time MGM released the film version with Gene Kelly and Frank Sinatra in 1949, Bernstein and Robbins - another ballet under their belt - were mulling a show still being called East Side Story. In late 1957, less than month after Tony and Maria had crossed town and reached Broadway, forever changing the face of musical theatre, Bernstein was appointed music director of the New York Philharmonic, the first American-born and trained musician to lead a major world orchestra. In his first outing there a few

Bernstein had that effect largely because only the people we love can disappoint us. There was something irresistibly infectious, so exuberantly American, in everything he touched, whether he was explaining the inner lines of a Beethoven score or coaxing more dramatic tension from the violins in a Mahler symphony. On the podium, Bernstein looked like a man possessed.

Second Piano Concerto from the keyboard; two weeks after

The conductor Carl St. Clair, who was serving as Bernstein's

that, Bernstein led his first Young People's Concert, a series

assistant at the time of his death, recalls leading a

that through the rise of television would soon make him the

performance of Mendelssohn's Fourth Symphony in Russia

home music tutor to a nation.

with Bernstein in the hall. "Did you enjoy yourself tonight?"

culture, whose accomplishments were so staggering in both scale and breadth - all the more so when you see how

40

By Ken Smith (Writer of Arts & Cultural for the Financial Times)

weeks later, he conducted the US premiere of Shostakovich's

One would be hard pressed to find anyone, in any era or

NSO 2018 19

Lenny's Time Has Come!

Bernstein asked later that evening. "Of course," St. Clair responded, "the orchestra played so beautifully." "Then why didn't you show that?"

closely those events fall on the timeline. Then add to his

No one ever had to guess how Bernstein felt on the podium.

musical ascent an impressive championing of human rights

Music may have been written for the ages but it lived in the

that became key to his persona and only rarely upstaged his

moment, and every turn of phrase, every emotional shading,

professional life. Gaddis, for her part, was eventually humbled ("Who knew," she reflected later, echoing the maestro's own father, "that he would become Leonard Bernstein?").


was immediately visible in his face and body. If anything,

Though he remained keenly aware of his Ukrainian Jewish

Bernstein's video legacy—he was a virtuoso of television as

heritage - no composer in America drew so heavily on

well as music—offers the viewing audience a repertory of

Hebrew liturgy in their work-Bernstein's ears were always

facial expressions originally experienced only by players in

open to his surroundings. He might have reveled in showing

the orchestra.

off his Harvard education in a piece like Serenade (inspired

Much the same energy courses through his compositions as well. Though eminently versed in the classics, he strived for

by Plato's Symposium), but he was equally at home in the Latin nightclubs that echo throughout West Side Story.

direct emotional connection and was almost embarrassingly

Just as he felt no barriers between cultivated and vernacular

outspoken in his enthusiasm for popular artists like Louis

cultures, Bernstein's seriousness of intent never sacrificed

Armstrong and the Beatles. Singer-songwriter Paul Simon is

his wilder side. Decades after he left the Philharmonic,

credited with a couplet in Bernstein's Mass. At a time when

orchestra musicians still fondly joked that shortest amount of

students at Juilliard were still being kicked out for playing

measurable time was the gap between Bernstein leaving the

jazz, Bernstein publically maintained, "There is no 'serious' or

concert stage and his assistants arriving with a lit cigarette

'unserious' music, just 'good' or 'bad' music."

and a glass of Scotch.

If he had one musical drawback, it was his singing voice,

No great artist is always at his best, and left unchecked their

which at least one listener has compared to "a bullfrog being

greatest strengths often become their biggest weaknesses.

goosed by a cattle prod." Not that it stopped him from singing

Bernstein's most telling trait—certainly his defining trait

in public, though he generally limited it to his educational

as an American—was arguably his constant struggle to

work, singing musical examples from the keyboard. It was

maintain a balance between extremes.

always good for a laugh, the charming fallibility making his genius less imposing. But again, it revealed how much he treasured the immediacy of the human voice. "Lenny never equated size with profundity," says the pianist Stephen Blier, who premiered and recorded Bernstein's final work, a song cycle entitled Arias and Barcarolles. "If anything, he valued concision when it hit the right target. I always thought he would've gladly traded any of his symphonies to have written just one more classic song that people could hum."

His old assistant St. Clair explains it differently. "He had a childlike love of things," he says. "He found pleasure not from speaking seven languages and having dined with kings and presidents, but rather in the excitement of discovery." The song 'Somewhere' from West Side Story as almost a personal anthem, St. Clair maintains. "That song defined him, and what he was looking for his whole life," he explained. "He was the ultimate searcher for that place where peace and love don't get bogged down by those things we all have to overcome. He believed in that place, and would defy anyone

Contemporary reviews of the great masters are often filled

who kept him from searching for it. That's why, when you

with disappointment. Read the reviews of Stravinsky's

think of the notes in that song, the melody doesn't go down.

later premieres and you'll find comments like, "Well, it's

It's constantly looking up."

competent, but it's no Rite of Spring..." Bernstein received his share of similar notices, and is no doubt in the company of the great masters now. Celebrating his centennial season, we no longer pine for another West Side Story; we appreciate the one we have. Almost single-handedly, Bernstein forged the template for the modern-day maestro and gave it an American accent. A hundred years on, it's worth asking just what that means.

41


拉姆斯生於漢堡,以鋼琴演奏起家。他承襲

例如文學家 E. T. A. 霍夫曼針對貝多芬第五號交響

普魯士文化和路德教會音樂傳統,吸收民間

曲所寫的著名樂評(1810),提到作為獨立藝術的

歌謠、舞曲、吉普賽、匈牙利等多種音樂風格,融

音樂表現出的浪漫精神,乃源自維也納作曲家海

入自己的音樂作品。布拉姆斯透過多元、精湛的

頓、莫札特、貝多芬一脈相承的結果。1878 年,

音樂表現展現過人鋒芒,使得舒曼對他格外青睞。

華格納以〈什麼是德國音樂?〉一文指陳巴赫、貝

1853 年,舒曼透過自辦刊物公開宣稱:布拉姆斯

多芬二人及其音樂就是「德國精神」的體現。這些

將是未來的音樂「新道路」(Neue Bahnen),儼

長期積累的觀點逐漸形成「德國音樂的神話」。

然嗅到世代交棒的傳承意味。此舉雖然令當時年僅 20 歲的布拉姆斯聲名大噪,但卻必須在他日後逐 步邁向成熟階段的過程,才得以印證舒曼的預言。

當然,我們更不能忽視荀貝格的著名講稿〈革新主義 者布拉姆斯〉,他精闢解析德奧音樂自巴赫、海頓、 莫札特、貝多芬以降的發展路線和形式轉變,打破

布拉姆斯後半生大多在維也納度過,涵蓋他最重要

布拉姆斯與華格納之間的差異以「阿波羅/戴奧尼

的中晚期創作,包括他的四首交響曲。現今海頓的

索斯」二分法予以區隔的世俗觀點,並認為布拉姆

維也納居所紀念館裡,還掛著一幅偌大的布拉姆斯

斯千變萬化的調性和聲、以及樂句構成的不規則變

畫像以及傢俱、照片和幾份手稿。它們在 1980 年

化,皆出自德奧音樂一脈,甚至裡頭存在著不亞於

後被安放在海頓居所,正是因為布拉姆斯景仰海頓

華格納音樂的戲劇特質。簡言之,此文徹底撼動「布

的藝術成就,他研究海頓、收藏海頓絃樂四重奏手

拉姆斯屬於古典傳統保守學院派」的制式觀點。

稿,甚至還曾經譜寫過著名的《海頓主題變奏曲》。 布拉姆斯被視為德奧音樂道統的傳承者,並非徒具 虛名而已。 承繼 19 世紀的日耳曼道統

在傳統的根基 發展自由的創作 布拉姆斯的室內樂作品是十九世紀德奧器樂曲發展 的關鍵指標。德奧音樂在貝多芬之後逐漸發展出兩 種看似壁壘分明的陣營,分別是傳承古典道統的萊

1860-70 年代,普魯士王國靠著一連串勝利戰役,

比錫派,以及開創新音樂為主的威瑪派。包括李斯

以及「鐵血宰相」俾斯麥的領導,建立德語區的另

特、華格納等人試圖重新思考傳統大型樂曲(如交

一個帝國──德意志帝國。布拉姆斯的時代,德語

響曲、歌劇等)的創作新方法,尋找「音樂以外的

區風起雲湧的民族主義思潮對他的音樂影響既深且

想法」,交給管絃樂團演繹,讓這些新的核心意念

遠。盱衡十九世紀德奧樂壇,日耳曼藝術道統傳承

造成樂曲本質與外顯形式的改變。

路線已成為至關緊要的議題。在輿論中,布拉姆斯 逐漸躋身德奧樂壇「三 B」之列,成為巴赫、貝多 芬的重要傳承者。此一觀點不僅用來指涉德奧音樂 風格的實質傳承,甚至提昇到形上哲學的思想層次。

這些音樂以外的想法可能來自文學、視覺藝術或其 他領域。由於隸屬於古代宮廷娛樂場域的室內樂似 乎不受前述新德意志路線的作曲家重用,於是順理 成章成了古典傳統保守派專擅的代表樂類(musical genre)。但實際上,從貝多芬晚期絃樂四重奏、舒 伯特的室內樂藝術歌曲、一直到荀貝格正式遠離調

42 NSO 2018 19

布拉姆斯與 德國精神 文/車炎江(國立臺北藝術大學音樂學博士)


性世界的絃樂四重奏,闡明古往今來許多觀念與技 法的創新,室內樂從不曾缺席過。 只可惜多數十九世紀室內樂曲受困於保守傳統的形 式與技法束縛,反映對於創新路線脫離傳統根基的 鄙視和恐懼,生怕原本純粹的室內樂曲沾染了李斯 特、華格納之流的雜濁俗氣。與此不同,布拉姆斯 在傳統室內樂的基礎上展現空前的自由精神,與眾 不同的配器新方式,不僅增益室內樂的內容、長度 與表現力,更使他享有歷史重要地位。 藉變奏的轉化技法 活用民俗音樂元素 按 照 荀 貝 格 的 觀 察, 布 拉 姆 斯 是 一 位 變 奏 曲 大 師,擁有極為高明的「發展變奏」(entwickelnde Variation)能力。這項技術讓布拉姆斯可以將一組

2019/3/3 三月布拉姆斯 Brahms in Spring 2019/3/10 向布拉姆斯致敬 All about Brahms 2019/3/16 布拉姆斯絃音 Brahms on Strings 2019/3/22 布拉姆斯 第四 Brahms No.4

短小的基本音樂動機雛型漸次發展、組合、擴張、 變化,生長成一闋規模驚人的龐大作品,這在室內 樂和交響曲當中特別明顯。他使用有限材料,卻能 發揮無窮想像,這種能力除了傳承前人如海頓、貝 多芬的技術基礎外,還包括布拉姆斯大量吸收來自 酒館娛樂音樂、舞曲或是民樂的「變化」特質。 這些富含原創精神的民間音樂原本就經常出現重 覆現象,以符合跳舞享樂的實際需求;但在每一 次 的 重 覆 過 程 又 會 現 場 即 興 製 造 些 許 變 動( 變 奏),避免多次重覆造成的枯燥無趣。布拉姆斯 年輕時即已在酒館彈鋼琴,並與匈牙利等不同地 區的音樂家往來合作,早已學到這些民間音樂最 高明的即興風格典範,從中吸收變奏技法的精髓, 讓他的音樂作品一方面顯露風格獨具的民族特質, 另一方面展現永遠令人驚豔的新鮮感,達到後人 難以企及的藝術高峰。

43


J

ohannes Brahms was born in Hamburg, and was first

time, the gaining force of nationalism in this region

known as a pianist. While inheriting the Prussian

influenced his music in depth and breadth. In the German

culture and musical tradition of Lutheranism, he stayed

and Austrian music school of the 19th century, passing on

abreast of various musical styles such as folk, dance, Gypsy,

the legacy had already become a critical issue. Brahms had

and Hungarian music and fused them to his own style.

gradually made a public impression as one of the "Three Bs"

His diverse and brilliant musical works soon attracted

among the German and Austrian musicians – after Johann

Robert Schumann's (1810-1856) undivided attention. In

Sebastian Bach (1685-1750) and Ludwig van Beethoven

1853, Schumann proclaimed Brahms the "New Path" of

(1770-1827). This perspective not only referred to legacy

music in a journal he founded. Although this act signaled

in the sense of the musical style, but even more elevated, on

an alternation of generation and shot the young Brahms

the level of philosophical concepts. For instance, romantic

to fame at age 20, Schumann's prophet did not come true

author E. T. A. Hoffmann (1776-1822) mentioned in

until later as Brahms grew mature.

his well-known review of Beethoven's Fifth Symphony

Brahms spent most of his professional life in Vienna, where he composed his most important works, including

(1810), the romanticism expressed in Beethoven's musical conventions was indeed inherited from Haydn and Mozart.

four symphonies, in his mid and late career stages. Today,

In 1878, Richard Wagner (1813-1883) argued in the article,

in the Haydnhaus in Vienna, there is still a room with

'What Is German Music', that Bach's and Beethoven's

Brahms' portrait hung on the wall as well as his furniture,

music were the embodiment of the 'German Spirit'. These

photographs, and a few manuscripts. They were placed in

opinions, echoing over time, gradually formed the myth of

the Museum in 1980 for the very reason that Brahms had

German music. Of course, we should never neglect Arnold

always admired Haydn's artistic achievements. Aside from

Schoenberg's (1874-1951) renowned essay, 'Brahms the

studying Haydn's works and collecting his string quartet's

Progressive', in which he incisively analyzed the musical

manuscripts, Brahms even wrote the well-known Variations

and formal evolution of the German composers, from

on a Theme by Haydn, Op.56, in 1873. Brahms was

Bach, Haydn, to Mozart and Beethoven. He overturned the

considered the heir to the German and Austrian musical

popular dichotomy of associating Brahms and Wagner with

legacy and he certainly deserved it.

Apollonian and Dionysian respectively and believed that

In the 1860s and 70s after winning a series of battle victories and under the leadership of the "Blood and Iron"

the myriad of variances in the tonality and harmony as well as the irregular constructions of musical phrases in Brahms

Prime Minister Bismarck (1871-1918), the Kingdom of Prussia founded another empire, the German Empire (1871-1918), in the German-speaking region. In Brahms'

44 NSO 2018 19

Brahms and the German Spirit by Che, Yen-Chiang (Ph.D. in Musicology, Taipei National University of the Arts)


music all derived from the German and Austrian musical

to this, Brahms' music exhibited an unprecedented liberal

conventions. In his music, there even existed a dramatic

spirit on top of the chamber music traditions. His unique

characteristic no less than Wagner's music. In short, this

orchestration not only strengthened the composition,

essay made the rigid notion of 'Brahms, the classical

length, and expressiveness of chamber music, but also

conservative school' tumble.

earned him great historical significance.

Brahms' chamber music works were the key indicator of

In Schoenberg's eyes, Brahms was a master of variations,

the development of the German and Austrian instrumental

who was extremely capable of developing variations. The

music in the 19th century. Two distinguishable schools

skill allowed Brahms to start from a set of small musical

seemed to come into place after Beethoven, the more

motifs, then develop, combine, expand, and vary it,

classical-centered Leipzig school and the trailblazer-like

eventually weaving it into a full-blown work, exemplified

Weimar school. Musicians including Franz Liszt (1811-86)

clearly by his chamber music and symphonies. With finite

and Wagner strived to give a new sound to traditional large-

materials at hand, he showed us infinite imagination. Other

scale compositions (e.g., symphony, opera) and searched

than building the technical foundation with the legacy of

for extra-musical ideas, originating possibly from literature,

Haydn and Beethoven, Brahms absorbed extensively from

visual arts, or other realms, for orchestras to interpret, in

the inherent varied nature of bar, dance, folk, and other

the hope that these new core ideas could cause a change

music for entertaining purposes. These novel folk musical

in both the essence and form of music. Since chamber

styles were meant to have repetitions in order to fulfill the

music used to be played at the court, it did not seem to

practical needs of dancing. However, each time there would

receive equal attention from the new German school,

be some differences (variations) out of improvisation to

hence naturally becoming the specialized musical genre

avoid tedium. In his early years, Brahms already played the

of the conservative classical school. However, in reality,

piano in bars and worked with musicians from Hungary

ranging from Beethoven's string quartets composed in his

and other regions. From there, he had learned the true

last years, Franz Schubert's (1797-1828) chamber Lieder,

spirit of 'play it by the ear' and applied the skills to his

to Schoenberg's string quartets which formally exited the

composition of variations. As a result, his musical works,

tonal world, new concepts and creative techniques were

on the one hand, shone with a remarkable hue of folk

never absent in chamber music. Sadly, constrained by

style, and on the other, never bored us for there was always

conventional forms and techniques, chamber music of the

something new. This achievement eventually marked a new

19th century emanated fear and contempt for innovation

artistic height that few has ever been able to reach.

uprooted from the classical origin. The last thing composers wanted was contamination of initially pure chamber music

(Translation by Lewis Lee)

by the vulgarity of Liszt, Wagner, and the like. Contrary

45


赫的奧匈帝國,輝煌的哈布斯堡王朝所擁有

二維也納樂派的音樂本身就具有直接而豐富的表現

的這個幅員廣闊的多民族國家在 19 世紀末

性,同時相當有意識地在各個層面與歷史傳統連

明顯感受到危機警訊。非德語的不同民族要求更多

結,這些面向則是到後來才逐漸被看見。

屬於他們的權利,市民和勞工亦爭取要得到認同。 然而也正是在這段時期,文化大放異彩,有了獨一 無二的表現。在首都維也納,環城大道的建設以及 兩側宏偉的建築再度成為追求霸權統治的表徵;同 時,各種路線的藝術家與知識分子正推動種種革命 性的發展。佛洛伊德展開夢的解析和精神分析;作 家進行語言實驗;哲學家檢視人類認知的基礎;視 覺藝術家打破所有傳統手法。在帝國的其他都會中 心,知識和藝術也蓬勃發展,思考的人們聚在一 起,形成一個個有影響力的圈子;而維也納作為一 個「熔爐」,加上它擁有的咖啡館文化、許多大型 活動場所和私人沙龍,都讓維也納持續位於文化的

巴爾托克的音樂也為當時聽眾帶來很大的刺激。布 達佩斯一如維也納,在十九世紀末也有密集的都市 建設,甚至歐洲大陸上第一條地下鐵就是在這裡通 車的。雖然這位匈牙利作曲家的出發點和他的維也 納同行不同,然而他運用民謠的野性和清新特性的 手法,讓他的音樂也達到近乎相同激進的「現代 化」。如果說荀貝格做的是「不和諧的解放」,那 麼巴爾托克的音樂讓我們觀察到的就是「節奏的解 放」。兩者都代表了在那樣一個文化豐沛的時代中 藝術表現的解放;他們是一種現代性的代表,直到 一百多年後,依然可以清楚地聽見。(翻譯 / 陳佾均)

中心。 這樣的氛圍也表現在音樂上:來自漢堡,但選擇做 個維也納人的布拉姆斯,對許多人而言還是偉大傳 統,以及貝多芬交響樂遺產的傳人。不過即使是布 拉姆斯,在有些人眼中也是進步的代表。此外還有 荀貝格,他所引領的變革看來完全改變了音樂的法 則:他和他的弟子們──其中最重要的是貝爾格和 魏本──首先打破傳統和聲的基本原則,也就是所 有音符都指向一個中心。這裡面蘊含著一種解放, 而當時的人們並不知道該如何面對這樣的自由── 荀貝格和他的追隨者以十二音列發展新規則的同 時,一般觀眾也越來越不能理解這些原則,這段時 期多場音樂會都受到觀眾干擾,其中一場甚至被迫 中斷(1913 年的「醜事音樂會」(編註))。至於第

1900 年前後 布達佩斯與維也納的 現代文化與音樂 Modern Culture and Music in Budapest and Vienna around 1900 文 / 丹尼爾.安德(維也納 阿班.貝爾格基金會學術與公共事務部主任) Daniel Ender (Chief of the Department of Sciende and Communication of Alban Berg Foundation)

46 NSO 2018 19

編注:1913 年 3 月 31 日,荀貝格、魏本、澤姆 林斯基與貝爾格一同舉行作品首演音樂會、聽 眾受不了這些作品的聲響,於貝爾格作品演出 中,與作曲家們及其支持者對罵、互毆,演出 不得不中斷。兩個月後,著名的斯特拉溫斯基 作品《春之祭》首演, 「騷動」再次於巴黎上演。


T

he glorious monarchy of Austria-Hungary, the

liberation that many contemporaries could not cope with-

expanded multinational state of the proud Habsburg

as Schönberg and his followers were developing new rules

dynasty, sensed clear signs of crisis at the end of the 19th

with the Twelve-Tone Method, these principles were

Century. The non-German ethnic groups became more and

incomprehensible for the general public, who disrupted

more determined to demand their right, and the citizens

several concerts at that time, and even forced one of them

and laborers struggled for recognition. Yet this was also a

to stop ("the scandalous concert", 1913). That the music

time of unique cultural blooms. In the capital, Vienna, the

of the Second Viennese School contains within itself a vast

construction of the Ringstrasse, together with its magnificent

vocabulary that is rich and direct in its expressions, and

buildings, again symbolized the aspiration of the hegemonic

that their music quite consciously connects to the historical

rule; while artists and intellectuals of numerous orientations

tradition in various aspects, these features would only be

encouraged revolutionary developments. Sigmund Freud

gradually recognized later.

developed the interpretation of dreams and psychoanalysis, writers experimented with language, philosophers examined the foundations of human cognition, visual artists broke all conventions. Other urban centers of the empire also thrived intellectually and artistically, men of ideas gathered in influential circles, while Vienna as the "crucible" remained the dominant center, with its coffee house culture, as well as the many big venues and private salons.

Béla Bartók's music also managed to stir up its first listeners. Similar to Vienna, there were also intensive construction activities in Budapest in the last years of the 19th Century; to the point that the city even witnessed the opening of the first subway system in continental Europe. Although the Hungarian composer began somewhere other than his Viennese colleagues, he had also developed modernity to a comparable degree, in which he employed the wildness

This atmosphere also found its expression in the music:

and freshness of the folk melodies in his art music. If we

Johannes Brahms, originally from Hamburg but chose

talk about Schönberg's "emancipation of dissonance", then

to live in Vienna; for many people, he stood for the great

in Bartók's music, we observe a kind of "emancipation of

tradition and the symphonic heritage coming down from

rhythm". Both of them stand for a liberation of artistic

Ludwig van Beethoven. Yet even Brahms was considered by

expressions in an era of cultural abundance, for a modernity

some as the representative of progress. Arnold Schönberg,

that is still clearly heard even after more than 100 years.

who was the pivot of a radical change that seemed to

(Translation from German Text by Betty Chen)

have completely altered the law of the music, was also such a figure: He and his disciples, Alban Berg and Anton Webern being the most important ones, first abrogated the foundations of conventional harmonic progressionsthat all tones refer to a center. This involves a kind of

2019/6/2 雙城記:維也納與布達佩斯 Vienna & Budapest 2019/6/14 璀璨雙城 1—夏日夜風 Promenade in Summer Breeze 2019/6/28 2019/6/29 璀璨雙城 2—奧匈霞輝 Twin Cities and Three Bs 2019/7/5 璀璨雙城 3—藍鬍子的城堡 A Walk in the Moonlight, A Mysterious Castle

47


MD Series

總監系列


「指揮呂紹嘉是傳達音符之間氛圍意境的大師」 ─《南德日報》 "Der Dirigent Shao-Chia Lü ist ein Meister der Zwischentöne." ─ Süddeutsche Zeitung

49


9/14

Fri. 19:30 2018

開季音樂會—交響啟示錄 Season Opening Concert 指揮/呂紹嘉 小提琴/艾拉貝拉.史坦巴赫

SHAO-CHIA LÜ, conductor ARABELLA STEINBACHER, violin

陳立立:《彼岸星潭》(NSO 委託創作,世界首演 ) 布魯赫:第一號小提琴協奏曲 蕭斯塔科維契:第四號交響曲

LILY CHEN: Glittering Across The Ocean (commissioned by the NSO, world premiere) MAX BRUCH: Violin Concerto No.1, Op.26, G minor DMITRI SHOSTAKOVICH: Symphony No.4, Op.43, C minor

三十歲的時候,你在做什麼?剛過完三十生日 不久的 NSO,本次樂季開幕帶來兩首作曲家接 近三十歲時所寫出的經典。這都成為他們的人 生重要里程碑,雖然意義很不一樣。

For the NSO's opening concert this season, Shao Chia Lü has chosen one of the most sensational symphonies in the entire repertory: Shostakovich's Fourth. This hourlong canvas requires a huge orchestra, has solo passages for every instrument from the piccolo to the tuba, and can justly be called a concerto for orchestra as well as a symphony. It is filled with rollercoaster thrills, stupendous climaxes, volcanic eruptions, and apocalyptic visions. No listener is left unmoved by this symphony, the musical equivalent of a 1,000-page Russian novel. Violinist Arabella Steinbacher, praised by New York Times with "balanced lyricism and fire", will have her debut in Taiwan and play with the NSO in Bruch's lushly romantic First Violin Concerto, an audience favorite. Taiwanese young composer Lily Chen contributes the opening work on the program, Glittering Across the Ocean, an NSO commission.

布魯赫創作頗豐,但世人對他的第一、甚至唯 一印象,就是第一號小提琴協奏曲,即使他之 後還寫了兩首。不過此曲實在有成就大名的本 領,光是開頭那如春蠶吐絲又盡訴哀思的小提 琴獨奏,就是極其罕見的妙手。第二樂章傑出 的情感鋪陳,以及終樂章淋漓盡致又不流於誇 張炫技的揮灑,也在在可圈可點。未滿三十就 有成就若此,確實可驚可羨,也讓世人永遠陶 醉在作曲家明媚如詩的青春樂想。

50 NSO 2018 19

說到青春,年輕時的蕭斯塔科維契,過得鋒芒 畢露:十九歲就發表第一號交響曲,一出手便 國際馳名;那時他日子過得燦爛,天寬地廣沒 有盡頭,還是代表蘇聯參加首屆蕭邦鋼琴大賽 的好手。怎知好日子沒多久,就因為歌劇內容 被當局批鬥,第四號交響曲排定的首演也被迫 取消—此曲深受馬勒影響,規模宏大、思緒交 錯,精神內涵深邃又充滿豐富聲響色彩,當屬 二十世紀最偉大的交響音樂。這是讓演出者和 聆賞者皆有「靈魂洗滌」震撼效果的經典,每 場演出都必須把握。呂紹嘉總監帶領 NSO 二度 挑戰這首名作,加上被譽為「小提琴女神慕特 接班人」的史坦巴赫,以及陳立立新作首演, 必然令人耳目一新!

國家音樂廳 500 800 1200 1600 2000


51

© Peter Rigaud

艾拉貝拉.史坦巴赫 ARABELLA STEINBACHER


9/22

Sat. 19:30 2018

莫札特與魏德曼 1 Mozart & Widmann 1

駐團音樂家 Artist-in-Resident

指揮/呂紹嘉 單簧管/約格.魏德曼 女高音/林慈音 女中音/翁若珮 男高音/湯發凱 男低音/羅俊穎 合唱指導/張維君 臺北愛樂合唱團

SHAO-CHIA LÜ, conductor JÖRG WIDMANN, clarinet GRACE LIN, soprano JO-PEI WENG, alto FA-KAI TANG, tenor JULIAN LO, bass WEI-CHUN REGINA CHANG, chorus master TAIPEI PHILHARMONIC CHORUS

莫札特:第二十五號交響曲 魏德曼:《悲歌》為單簧管與管絃樂 莫札特:安魂曲

WOLFGANG AMADEUS MOZART: Symphony No.25, K.183, G minor JÖRG WIDMANN: Elegie for Clarinet & Orchestra WOLFGANG AMADEUS MOZART: Requiem, K.626, D minor

同樣演奏創作皆擅,同樣成果豐富多樣,莫札 特與魏德曼,各以他們的非凡樂才,給予世人 抒懷與省思。NSO 這次請到足稱當代莫札特的 魏德曼擔任駐團音樂家,讓愛樂者充分享受他 在單簧管與作曲上的卓越成就,也和國際樂壇 無縫接軌。

Music for mourning is the theme of Shao-Chia Lü's second concert of the season. The focal work is Mozart's final composition, the sublimely beautiful Requiem, left unfinished at the composer's death. Mozart's unerring sense of orchestral color and vocal effects make this Requiem one of the most cherished works in the choral repertory. As a counterpoise to the Requiem, the concert opens with the same composer's Symphony No. 25, one of only two by Mozart in minor key (the other is the famous No. 40, also in G minor). In between comes the Elegie for Clarinet and Orchestra by the contemporary German composer Jörg Widmann, who also serves as the clarinet soloist.

做 為 二 十 一 世 紀 的 新 銳 代 表, 魏 德 曼 繼 承 了 1970 年代以來的作曲風潮轉折,認為當代音樂 沒有必要放棄旋律與和聲美感,向傳統致敬並 非就是妥協媚俗。於 2006 年寫給交響樂和單簧 管的《悲歌》就是最好的例子—我們聽到易於 接受又大膽創新的想像。當你自認已能抓到它 的形貌,其轉折變化又帶來種種驚奇。

52 NSO 2018 19

莫札特第二十五號 G 小調交響曲原本是愛樂者 的私家典藏,被電影《阿瑪迪斯》當成開頭曲 後聲名大噪,一夕之間成為熱門經典。這是莫 札特反映「狂飆運動」的作品,鮮明表情喚來 揮之不去的宿命陰影,讓人知道他是能寫悅耳 曲調的天才,也是對時代脈動敏銳無比的名家。 《安魂曲》則是莫札特最後一次全心投入的創 作。下筆時他已隱然感覺在和時間賽跑,直到 去世都未能完成自己的絕筆。本場演出呈現莫 札特助理蘇斯邁爾根據手稿以及作曲家臨終前 指示續完的版本,讓我們再次體會莫札特的絕 代天才以及留下的永恆遺憾。NSO 邀來國內聲 樂名家名團,定要帶來震撼人心又意味深長的 精彩演出!

協辦

2018/9/23 Sun. 14:30 魏德曼的音樂創作 主講/約格.魏德曼 憑本場次票券進場,限 150 席,額滿為止。 地點:NSO 三樓排練室(請由國家音樂廳地面層 3 號門進場)

國家音樂廳 500 800 1200 1600 2000


53

© Marco Borggreve

約格.魏德曼 JÖRG WIDMANN


12/31

Mon. 19:30 2018

歲末音樂會—搖擺美國 New Year's Eve Concert — Swing to America 指揮/呂紹嘉 鋼琴/嚴俊傑 小提琴/林品任

SHAO-CHIA LÜ, conductor CHUN-CHIEH YEN, piano RICHARD LIN, violin

伯恩斯坦:《錦城春色》三首舞曲 蓋希文:《一個美國人在巴黎》 《藍色狂想曲》 《甜姐兒》序曲 蓋希文/馬可夫:《波吉狂想曲》 伯恩斯坦:嬉遊曲

LEONARD BERNSTEIN: On the Town: Three Dance Episodes GEORGE GERSHWIN: An American in Paris GEORGE GERSHWIN: Rhapsody in Blue GEORGE GERSHWIN: Funny Face Overture GEORGE GERSHWIN/ALBERT MARKOV: Porgy Rhapsody LEONARD BERNSTEIN: Divertimento for Orchestra

「在火車上,那鋼鐵般的節奏,還有那喀啦喀 啦的碰撞聲,對作曲家而言常是靈感的來源…… 這部作品在我聽來是美國音樂萬花筒,是我們 的大熔爐、我們無可比擬的國家活力、我們的 藍調、我們的都會瘋狂。當我抵達波士頓,我 已對此曲成竹在胸。」

Say hello to American music. Two iconic American composers provide the music for this festive concert that ushers in a new calendar year. The music of George Gershwin and Leonard Bernstein has come to symbolize the "American-ness" of American music as has that of few others. Gershwin was the man who sought "to make a lady out of jazz." Three of his best-known scores are on the program, including the jazzy Rhapsody in Blue. As for Bernstein, that irrepressible dynamo of artistic energy, he accomplished more in his 72 years than most people could hope to achieve in several lifetimes. Bernstein was Mr. Classical Music himself. On the Town was his first musical comedy (1944), providing the perfect format to portray a whirlwind tour through New York City for three sailors on 24-hour shore leave. The show became even more popular through the medium of film, which starred Gene Kelly and Frank Sinatra singing their way through "New York, New York, it's a wonderful town." From the other end of Bernstein's career we hear the Divertimento for Orchestra (1980), a celebratory piece written for the 100th anniversary of the Boston Symphony. Celebrations are in order as we say goodbye to 2018 and welcome 2019.

這首在草稿上原名《美國狂想曲》,正式演出 改叫《藍色狂想曲》的作品,一如美國組成, 果然是繽紛華麗,妙不可言的音樂大熔爐。蓋 希文的音樂旋律動聽、節奏新穎,更有直指人 心,能喚起普世共鳴的感動。離他愈久遠,愈 能感受到他的可貴,筆下樂曲至今熱門,永遠 不退流行。同樣鋼琴作曲兼擅,優游於歌劇和 音樂劇的微妙界線,伯恩斯坦還是名動公卿的 偉大指揮,能原創也能詮釋,更有好文筆與好 口才,是一等一的音樂教育家。他的音樂見解 深刻獨到,美學想像繽紛出彩,無論是何題材, 下筆總能引人入勝,也能激發聆者思考。

54 NSO 2018 19

這場音樂會包括蓋希文與伯恩斯坦多首名作, 還有難得演出,由小提琴名家馬可夫改編,匯 聚歌劇《波吉與貝絲》 美妙旋律而成的炫技大 作《波吉狂想曲》。《藍色狂想曲》首演後一 年內演出八十四次,唱片更賣出百萬張佳績, 非凡魅力在現場才能充分領會。這場音樂會邀 來嚴俊傑與林品任兩位音樂俊彥,加上火力全 開的呂紹嘉,歡迎大家和 NSO 一同過新年!

國家音樂廳 400 700 1000 1200 1500 2000


55

© Sophie Zhai

嚴俊傑 CHUN-CHIEH YEN ╱林品任 RICHARD LIN


3/3

Sun. 19:30 2019

三月布拉姆斯 Brahms in Spring 指揮/呂紹嘉 女中音/石易巧 合唱指導/戴怡音 拉縴人男聲合唱團

SHAO-CHIA LÜ, conductor I-CHIAO SHIH, alto YI-YIN TAI, chorus master TAIPEI MALE CHOIR

布拉姆斯:《女中音狂想曲》 第三號交響曲 第二號交響曲

JOHANNES BRAHMS: Alto Rhapsody, Op.53 Symphony No.3, Op.90, F major Symphony No.2, Op.73, D major

雖然很多人把華格納當成布拉姆斯的對手,但兩 人其實差距二十歲。只怪布拉姆斯少年老成,不 到二十歲就寫出傳世名作。他精研昔日經典,擁 抱保守價值又能以呼應時代,使傳統與現代交融 為一。在他身上,我們可以同時見到早期與後期 浪漫的特色,聽到精雕細琢又不失狂放的聲音。

Aside from the composers of theatrical works, Brahms is the only name in the NSO's repertory this season to be honored with an entire program devoted exclusively to his music. We'll hear his lyrical, bucolic Second Symphony, his Third Symphony (the only one in the standard repertory whose all four movements end quietly), and the sublime Alto Rhapsody, music of heartbreaking beauty composed in response to the composer's learning that a women with whom he was secretly in love had married another. An alto soloist sings words depicting a lonely, bitter man, lost to the world, wandering through the snowy mountains in search of solace.

由於貝多芬的巨大身影,從草稿到完稿,布拉姆 斯前後竟花了二十一年方出手自己的第一號交響 曲。千斤重擔一旦解除,隔年他就寫下第二號交 響曲,堪稱揮筆即就。這是他寫得最愜意愉快的 作品之一,音樂洋溢自在的悠閒感,以及遊歷山 水的快活心得。不過布拉姆斯畢竟是布拉姆斯, 即使輕鬆快活,音樂裡仍有深刻感受和內省思 索,情景交融而有獨到創見,果真是千錘百鍊下 的大師手筆。

56 NSO 2018 19

第三號交響曲則堪稱布拉姆斯管絃美學的巔峰之 作,火山熔岩般的聲響、一葉知秋的滄桑,溫暖 絃樂與悠揚法國號,還有淡淡退出的雋永結尾, 作曲家以古典技法寫出極其浪漫的英雄身影,將 昂揚與憂傷融合成音樂神話。至於以歌德詩作譜 成的《女中音狂想曲》,那是他以苦澀釀成的酒, 音樂中盡是憤怒情傷。究竟在美好旋律下,布拉 姆斯藏了多少秘密?就讓我們和呂紹嘉、石易巧 與拉縴人男聲合唱團一起探索這孤獨又自由的音 樂巨人,在 NSO 的樂音中猜謎解題。

國家音樂廳 500 800 1200 1600 2000


6/28

Fri. 19:30

6/29

Sat. 19:30 (新竹) 2019

璀璨雙城 2—奧匈霞輝 Twin Cities and Three Bs 指揮/呂紹嘉 小提琴/黃俊文

SHAO-CHIA LÜ, conductor PAUL HUANG, violin

巴爾托克:舞蹈組曲 第一號小提琴協奏曲 (6/28) 孟德爾頌:小提琴協奏曲 (6/29) 布拉姆斯:《海頓主題變奏曲》 貝爾格:三首管絃樂作品

BÉLA BARTÓK: Dance Suite Violin Concerto No.1, Sz.36 (6/28) FELIX MENDELSSOHN: Violin Concerto, Op 64, E minor (6/29) JOHANNES BRAHMS: Variations on a Theme of Joseph Haydn, Op.56a ALBERN BERG: 3 Pieces for Orchestra, Op.6

維也納與布達佩斯,奧匈帝國雙元帝國的兩大 首都,各以優雅文化與非凡氣派聞名於世。和 貝多芬一樣,布拉姆斯也從日耳曼地區到維也 納發展,也如前輩大師以音樂改變了此城氛圍。 《海頓主題變奏曲》有長大恢弘的情感鋪陳, 又有小段落的思緒陡然翻轉,展現極其精湛的 譜曲技巧,是他膾炙人口的代表作。貝爾格浸 淫於偉大傳統,又從中再創新聲。即使技法新 穎,始終保持濃厚的浪漫情懷。三首管絃樂作 品聲響華麗燦爛,滿是刺激精彩但刁鑽莫名的 演奏要求,還有曾用於馬勒第六號交響曲的命 運巨槌。無論是聽覺或視覺,都能帶來極大的 震撼!

Vienna and Budapest lie only about 200 kilometers apart, and are linked by the Danube River. Both are capital cities boasting rich historical traditions, grand palaces, and splendid museums. But the three composers we hear on this program – two from Vienna, one from Budapest – couldn't be more different in their styles. There are two works by Bartók: his Dance Suite, full of vigorous rhythms, attractive melodies and colorful orchestration; and his early, seldom-heard, richly romantic First Violin Concerto, replete with autobiographical references. From Brahms we hear the Variations on a Theme by Haydn, a superb example of the variation form. Another Viennese composer, Alban Berg, is represented by his Three Pieces for Orchestra, music of sonorous density; Pierre Boulez described the third piece, (March) as "demented intoxication of the dramatic gesture."

匈牙利的音樂本以維也納馬首是瞻,直到巴爾 托克出現才煥發新風。舞蹈組曲是其代表作之 一,不只有民俗風律動,還有節奏巧妙設計鋪 陳,一個音的重複也能成為旋律。第一號小提 琴協奏曲是他獻給小提琴家史黛菲 (Stefi Geyer) 的創作,單戀癡迷僅得佳人冷漠以對,曲譜直 到兩人皆過世後方見天日。然而炙熱燃燒的愛 情和狂野奇特的想像,使此曲既私密又具爆發 力,問世後即驚豔樂壇,每次聆賞都是難得機 會。 有優雅細膩也有豪放不羈,這場曲目宛如最高 明的大廚,獻上聲響美學的絕妙套餐。小提琴 名家黃俊文和 NSO 首次合作,和呂紹嘉又會激 發出何等火花,還請大家拭目以待!

國家音樂廳 400 700 1000 1200 1500 新竹市文化局演藝廳 400 700 1000 1200 (6/29)

57


Classics Series


經典系列


11/23

Fri. 19:30 2018

俄國風雲 Sinaisky & NSO 指揮/瓦希利.辛奈斯基 大提琴/納瑞克.哈克納札恩

VASSILY SINAISKY, conductor NAREK HAKHNAZARYAN, cello

德弗札克:《狂歡節》序曲 柴科夫斯基:夜曲 (大提琴與交響樂團版本) 《洛可可主題變奏曲》 普羅科菲夫:第六號交響曲

ANTONÍN DVOŘÁK: Carnival Overture, Op.92 PYOTR ILYICH TCHAIKOVSKY: Nocturne for Cello and Orchestra, Op.9 No.4, D minor PYOTR ILYICH TCHAIKOVSKY: Variations on a Rococo Theme SERGEI PROKOFIEV: Symphony No.6, Op.111, E-flat minor

柴科夫斯基《洛可可主題變奏曲》,顯示他不 只擅於在同年完成的《里米尼的弗蘭倩絲卡》 那樣震懾人心的張力,也能創作多彩且優雅的 作品。柴科夫斯基一直對十八世紀時洛可可風 格那纖細、輕盈的美學相當傾心,加上其對莫 札特的仰慕,這種一直想嘗試的風格就成為這 首大提琴與管絃作品的基調,但另一方面, 《洛 可可主題變奏曲》中同時存在著較深沉與憂鬱 的情感表達,充份展現作曲家的兩面性。

The renowned Russian conductor Vassily Sinaisky, Gold Medal winner at the Karajan Competition, has held conducting posts with orchestras in half a dozen countries in addition to several in his native Russia. He brings to the NSO audience three Russian masterpieces, the everpopular Rococo Variations and Nocturne for Cello and Orchestra by Tchaikovsky, two staples in every cellist's repertory, and Prokofiev's Sixth Symphony – not one of his most famous, but the one many consider to be his best, and the only one by a famous composer in the rarely-used key of E-flat minor. To open the program, we go slightly west of Russia to Bohemia for Dvořák's exhilarating Carnival Overture.

這種深沉與憂鬱同樣也是〈夜曲〉的基調。〈夜 曲〉選自柴科夫斯基完成於 1873 年的六首小 品的第四首,原曲為鋼琴所寫,這場音樂會所 演奏的大提琴與交響樂團版本是由柴科夫斯基 親自改編。

60 NSO 2018 19

無獨有偶地,一如音樂學者涅茲齊耶夫(Israel Nestyev)描述,普羅科菲夫第六號交響曲裡, 彷彿也可以看見兩種性格在彼此爭鬥,由三個 樂章組成的交響曲中,兼具機巧的創見,也並 存了《羅蜜歐與茱麗葉》中的甜美旋律,然而 在現實世界中,第六號交響曲卻也造成了作曲 家生活的巨變,該曲被史達林手下管制意識形 態的日丹諾夫 (Andrei Zhdanov) 評為形式主義 而遭禁演,這頂標準不明的帽子不僅扣在普羅 科菲夫身上,其妻也在當時因為引入資本主義 毒害的罪名被判了二十年的流放之刑,面對心 中的龐大壓力,言語雖難自明,但這位天才又 怎可能完全服氣? 普羅科菲夫所不知道的是,他一生所或恐懼, 或反抗,或挑釁的史達林,與他在 1953 年三 月的同一天離世,他自然沒能有機會對這位影 響其創作甚巨的人作出反應,也或者,在音樂 中,他早已作出回應。

國家音樂廳 400 700 1000 1200 1500

NSO Chatroom 會客室 2018/11/21 Wed. 19:45 訪談人:焦元溥 特別來賓:瓦希利.辛奈斯基 憑本場次票券進場,限 150 席,額滿為止。 地點:NSO 三樓排練室 (請由國家音樂廳地面層 3 號門進場)


61

© Jesper Lindgren

瓦希利.辛奈斯基 VASSILY SINAISKY


3/22

Fri. 19:30 2019

布拉姆斯 第四 Brahms No.4 指揮/亞歷山大.德夏 法國號/拉德克.巴伯羅柯

ALEXANDER DRČAR, conductor RADEK BABORÁK, french horn

李元貞:《西岸》(NSO 委託創作,世界首演 ) 鮑爾:法國號協奏曲 布拉姆斯:第四號交響曲

YUAN-CHEN LI: West Coasts (commissioned by the NSO, world premiere) JIŘÍ PAUER: Horn Concerto JOHANNES BRAHMS: Symphony No.4, Op.98, E minor

在時代巨輪的推進下,傳統並非累贅,反而成 為深厚的底蘊,在這樣的基底下,往往提供了 創新所需的扎實腳步,讓藝術發展得以飛向另 一個世界。

Every movement of Brahms's sublime Fourth Symphony contains a wealth of memorable qualities and striking moments-music of autumnal melancholy, melting lyricism, forbidding austerity and stern grandeur. Internationally famed horn player Radek Baborák makes a return visit to Taipei as the featured soloist in a concerto by his Czech countryman Jiří Pauer (1919-2007). Baborák was only eighteen when he was appointed principal horn in the Czech Philharmonic; among the posts he has held since then include principal in the Munich and Berlin Philharmonics. Pauer's concerto is certain to astonish with its virtuosic writing, ardent lyricism and frolicsome character. An NSO commissioned work West Coasts, by Taiwanese composer Yuan-Chen Li opens the program. The title is entirely apt, as the composer comes from Taiwan's west coast and studied (and now lives) on America's west coast.

布拉姆斯與巴赫、貝多芬並列,常給人一種錯 覺,以為布拉姆斯離我們的時代遙遠,其實, 在他譜寫第四號交響曲的年代,華格納的《帕 西法爾》已經完成,布魯克納的第七號交響曲 也已問世,把歷史的卷軸再舒展些,理查 • 史 特勞斯的《唐璜》、馬勒第一號交響曲、德布 西《牧神的午後》前奏曲都將在其後十年內誕 生。在第四號交響曲中,布拉姆斯使用了教會 調式與帕薩卡雅舞曲的古老形式,不直接由其 他文本轉化成交響詩,也未使用特殊樂器、後 臺樂團等嶄新手法,於焉而生的無疑是真正的 交響曲,在這樣的軀殼中裝入了成熟、精密, 像是擁有一顆浪漫的心,卻自我設定了規範, 披著古典的大衣堅定前行。

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由法國號神人巴伯羅柯帶來捷克作曲家鮑爾的 法國號協奏曲,其魔幻氣息的旋律與和聲進 行,馬上就能抓住聽眾,令人聯想電影中魔法 世界的敘事張力。作曲家李元貞由 NSO 委託創 作的《西岸》也將在這世界首演,描寫在西沉 的太陽下,層疊的管絃筆法象徵的海浪,取法 自然音響,也反映心理。 樂迷在這一場音樂會中可以細細品嚐,來自不 同地方的作曲家,用什麼樣的方式來轉化文化 養分,推動巨輪。

國家音樂廳 400 700 1000 1200 1500


63

拉德克.巴伯羅柯 RADEK BABORÁK


5/23

Thur. 19:30 2019

大地之歌 Das Lied von der Erde 指揮/根特.赫比希 女中音/石易巧 男高音/傑.杭特.墨里斯

GÜNTHER HERBIG, conductor I-CHIAO SHIH, alto JAY HUNTER MORRIS, tenor

華格納:《齊格飛牧歌》 馬勒:《大地之歌》

RICHARD WAGNER: Siegfried Idyll WWV 103 GUSTAV MAHLER: Das Lied von der Erde

電影《馬勒傳》中,馬勒對妻子艾瑪說:「即 便世界已荒蕪,人們還是能從我的交響曲中, 看見自然的樣貌。」自然的描寫未必僅為田園 風光的紀錄,許多時候更像是感物抒懷,甚或 是看待這個世界的哲學觀。

The return each season of Günther Herbig, the NSO's highly esteemed Conductor Laureate, is always a muchanticipated event, especially when he conducts music by German and Viennese masters. This time the big work is Mahler's hour-long Das Lied von der Erde (The Song of the Earth). In Das Lied von der Erde, Mahler achieved the complete synthesis of symphony and song cycle, a direction in which he had been moving throughout his career. For his texts, Mahler turned to an anthology of ancient Chinese poems that had appeared in German translation. To open the program, Herbig has chosen Wagner's Siegfried Idyll, which the composer wrote as a surprise birthday gift for his wife Cosima. It was described by one listener as "one of the most beautiful declarations of love any composer has ever made."

一千多年前的唐朝詩人,在二十世紀初間接引 發數萬里之外的馬勒樂思泉湧。馬勒的《大地 之歌》靈感來自德國詩人漢斯.貝特格經過法 文、德文轉譯之後,譯成詩集《中國笛》。艾 瑪在書店發現《中國笛》,相當興奮,認為馬 勒一定會喜歡,未及丈夫生日就忍不住送給他。 馬勒讀後果然深深著迷,立即被濃厚的東方色 彩、別離氣氛,以及時而狂放時而頹美的世界 觀所吸引,加上自己的想像,創作出這闋為男 高音、女低音與管絃樂的交響作品。這個跨越 時空的嘗試自然引起聽眾及學者極大的興趣, 雖已與原詩有所差異,但經過對照後,仍能循 線摸索出李白、孟浩然等人的原貌。 華格納的《齊格飛牧歌》以田園詩為名,帶著 鳥與日出主題,情意濃厚,是獻給妻子柯西瑪 的生日禮物。為了籌備驚喜,華格納偷偷譜寫、 排練,在妻子生日早晨集合樂手,在樓梯上排 成行列,柯西瑪在睡夢中被樂聲喚醒,深受感 動。 64 NSO 2018 19

同為禮物而起,同是自然主題,這場音樂會也 將是 NSO 與赫比希為樂迷呈獻最誠摯的心意。

NSO Chatroom 會客室 2018/5/19 Sun. 15:00 訪談人:焦元溥 特別來賓:根特.赫比希

國家音樂廳 500 800 1200 1600 2000

憑本場次票券進場,限 150 席,額滿為止。 地點:NSO 三樓排練室(請由國家音樂廳地面層 3 號門進場)


65

根特.赫比希 GÜNTHER HERBIG


6/6

Thur. 19:30 2019

蕭斯塔科維契七 Leningrad 指揮/根特.赫比希

GÜNTHER HERBIG, conductor

貝多芬:《雷奧諾拉》序曲 蕭斯塔科維契:第七號交響曲《列寧格勒》

LUDWIG VAN BEETHOVEN: Leonore Overture No.3, Op.72b DMITRI SHOSTAKOVICH: Symphony No.7, Op.60, C major, Leningrad

作為常見的題材,戰爭電影的重點常常並不在 戰爭本身,而在於人面臨極境時被擠壓出的人 性,當然,還有那微小卻強軔的光亮,古今許 多音樂作品亦然。

In a departure from the repertory he usually conducts here, Günther Herbig has chosen for the main work on his second program this season music by a Russian composer-Shostakovich's epic Seventh Symphony (Leningrad). Written during World War II and dedicated to the composer's native city, it stands as a proclamation of heroic strength and a symbol of courage, defiance, and projected victory in the face of insuperable odds. For a concert opener, Herbig turns to Beethoven's Leonore Overture No. 3. This preceded the first performance of his opera Fidelio (1805), whose subjects, like Shostakovich's symphony, are defiance in the face of oppression and the overthrow of tyranny. One writer aptly called it "the grandest overture ever written."

貝多芬的《雷奧諾拉》第三號序曲是作曲家為 其唯一歌劇《費黛里歐》所譜寫的四個序曲版 本之一,初版之時,由於適逢拿破崙入侵維也 納,該劇首演只上演三晚,跨越百餘年,第二 次世界大戰結束後,自戰火瓦礫中重建的維也 納國立歌劇院重新揭幕,第一部上演的作品, 恰好正是這部頌揚正義與人權的作品,全曲極 具張力,儼然全劇縮影,包含溫柔、堅強,以 及勇氣。 蕭斯塔科維契第七號交響曲是作曲家規模最宏 大的交響曲,儘管蕭氏的描寫對象有針對戰爭 或極權壓迫等諸多說法,但作品確實是在列寧 格 勒 圍 城 戰 腥 風 血 雨 的 九 百 日 中 完 成, 重 覆 十二次的入侵主題步步進逼,在腦海中刻下鮮 明記憶,而情緒經過四個樂章的層層堆疊,帶 著貝多芬似的命運動機,在最後出現呼應開頭 的旋律,帶著滿溢張力形成壯麗的結尾,一切 壓抑與苦難終於見到光芒。 赫比希所指揮的音樂會常像是一場真正的展覽, 聽過數次的經典曲目在他手中得以扎實並具說 服力地呈現,其巧妙的安排又總能讓熟悉的作 品們組合成全新的感受與深刻的訊息。 66 NSO 2018 19

國家音樂廳 400 700 1000 1200 1500


67


6/14

Fri. 19:30 2019

璀璨雙城 1—夏日夜風 Promenade in Summer Breeze 指揮/史蒂芬.布魯尼爾 鋼琴/尚.艾弗藍.巴佛傑

STEFAN BLUNIER, conductor JEAN-EFFLAM BAVOUZET, piano

魏本:《在夏日風中》 巴爾托克:第二號鋼琴協奏曲 布拉姆斯:第一號小夜曲

ANTON WEBERN: Im Sommerwind BÉLA BARTÓK: Piano Concerto No.2, Sz.95, G major JOHANNES BRAHMS: Serenade No.1, Op.11, D major

奧地利與匈牙利不但在歷史上關係密切,在 音樂上也有著諸多饒富趣味的連結。NSO 在 這個樂季梳理其中的脈絡,並置輝映,如此 難得的機會當然不能錯過。

Bartók's fiendishly difficult Second Piano Concerto serves as the centerpiece of Stefan Blunier's program, with famed, multi-award-winning pianist Jean-Efflam Bavouzet as soloist. Framing this popular concerto by a Hungarian are lesser-known works by Viennese composers. Anton Webern's tone poem Im Sommerwind (In the Summer Wind), was written by a twenty-year-old youth in 1904 and suffused with post-Wagnerian Romanticism. It describes a summer day in the country. After intermission comes Brahms's longest purely orchestral work, the fiftyminute, six-movement Serenade No. 1, music of prevailing cheerfulness that can stand proudly beside the composer's symphonies as his first completed orchestral composition.

維也納第二樂派的要角魏本取材作家布魯 諾.威爾的詩作,在 22 歲創作了《夏日風 中》,此時作曲家還未走向為人熟知的無調 性風格,以絲絨般的管絃織體展現了充滿和 聲色彩的另外一面。布拉姆斯對交響曲的執 念眾所皆知,直到中年才發表第一號交響 曲,但年輕時就已創作了兩首以小夜曲為名 的管絃作品。 小夜曲原為歐洲夏日夜晚於戀人窗下吟唱以 表心意的小品,布拉姆斯第一號小夜曲乍聽 之下規模完整,具備管絃樂團的量感,但細 細品味不難發現當中承襲著海頓、莫札特維 也納風格的芬芳。 巴爾托克本身是傑出的鋼琴家,在艱澀的第 一號鋼琴協奏曲發表後,50 歲以成熟的技法 完成第二號鋼琴協奏曲,並由作曲家本人在 首演擔任鋼琴獨奏,全曲兼具匈牙利強烈的 節奏感與複雜的對位技巧,對於鋼琴家來說 是一大考驗。在第二樂章具有夜曲風格,與 絃樂交織成如夜空的柔美氣氛。 68 NSO 2018 19

整場音樂會像是一趟旅程中的迷人風景,在 夏夜中,感受星光燦爛與緩緩吹拂的晚風。

NSO Chatroom 會客室 2019/6/12 Wed. 19:45 訪談人: 焦元溥 特別來賓:尚.艾弗藍.巴佛傑 國家音樂廳 400 700 1000 1200 1500 2000

憑本場次票券進場,限 150 席,額滿為止。 地點:NSO 三樓排練室 (請由國家音樂廳地面層 3 號門進場)


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© B. Ealovega

尚.艾弗藍.巴佛傑 JEAN-EFFLAM BAVOUZET


Masters Series


名家系列


10/25

Thur. 19:30 2018

2018 萬海慈善音樂饗宴 來自臺灣— 美國巡演行前音樂會 From Formosa— 2018 U.S. Pre-tour Concert 指揮/呂紹嘉 小提琴/曾宇謙

SHAO-CHIA LÜ, conductor YU-CHIEN TSENG, violin

金希文:〈跳舞歌〉選自《舞動的山巒》

GORDON CHIN: 'Dancing Song' from Three Aboriginal Songs for Orchestra SAMUEL BARBER: Violin Concerto, Op.14 CLAUDE DEBUSSY: La mer MAURICE RAVEL: Daphnis et Chloe Suite No.2

(原住民委員會委託創作)

巴伯:小提琴協奏曲 德布西:《海》 拉威爾:《達芙尼與克羅伊》第二號組曲

國家文藝獎得主金希文以嚴謹的西方作曲技法與音 樂架構,在世界舞臺既可和西方平行對話,音符行 進間又隱藏、流動著臺灣土地的基因。〈跳舞歌〉 選自《鼓動的山巒》,以具有舞曲特色的原創主題 開場,賽德克族跳舞歌的蹤跡則潛藏於第二段。作 品描繪舞者在風中起舞,躍上樹梢,掠過藍天,踩 著酣暢淋漓的節奏,有如歡欣的精靈。 描景繪情,是印象樂派作曲家的拿手絕活,德布西 的《海》猶如一幅恣意揮灑的畫作,音符在作曲家 手中翻動,有著他對大海的想像,有葛飾北齋浮世 繪《神奈川沖浪裡》的情境,也有他最後完成作品 的地點──位於英格蘭南部的濱海小城義本。無論 是對德布西,還是他的追隨者,另一位法國作曲家 拉威爾,管絃樂聲如同顏料般的被他們調配,聲音 的 起 伏 帶 動 著 光 影 變 化。 拉 威 爾《 達 芙 尼 與 克 羅 伊》,以希臘故事為題材,主要受狄亞基列夫俄羅 斯芭蕾舞團的委託,作品將深刻糾結的情感,透過 音樂的多彩豐富展現。 72 NSO 2018 19

共同主 辦

In preparation for its second visit to the United States in two years, the NSO presents a pre-tour concert with some of the repertory it will take across the Pacific. Music from three continents will be on the program. As it always does on tour, the NSO includes something by one of Taiwan's own composers, in this case Gordon Chin's 'Dancing Song'. Music from the country the NSO will visit is represented by Samuel Barber's intensely lyrical Violin Concerto with 24-year-old Taiwanese violinist Yu-Chien Tseng as soloist. Two pillars of the French repertory round out the program - Debussy's stirring evocation of the sea (La Mer) and the Second Suite from Ravel's Daphnis and Chloe, a veritable textbook of orchestral wizardry.

這場音樂會,將是一場聲音魔術的饗宴,臺灣傑出 小提琴家曾宇謙選擇的巴伯小提琴協奏曲,也是一 首 千 變 萬 化 的 樂 曲。 巴 伯 可 說 是 曾 宇 謙 的「 老 學 長」,兩人同為寇蒂斯音樂學院的校友,這首作品 原本是巴伯為同窗小提琴好友所寫,最後兩人卻因 藝術認知的落差無此「琴緣」,然而此曲發表後, 已成為最具代表性的當代小提琴協奏曲之一。

國家音樂廳 500 800 1200 1600 2000 ※ 本場次售票收入不扣除成本捐贈【讓愛閃耀】專案,支持國內中小型社福單位服務推動。


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曾宇謙 YU-CHIEN TSENG


12/21

Fri. 19:30

12/22

Sat. 19:30 衛武營音樂廳 2018

美國春秋 American Classics

共同主辦:衛武營國家藝術文化中心

指揮/呂紹嘉 小提琴/林昭亮

SHAO-CHIA LÜ, conductor CHO-LIANG LIN, violin

伯恩斯坦:《憨第德》序曲 《柏拉圖對話錄》小夜曲 柯普蘭:《阿帕拉契之春》 蓋希文:《波吉與貝絲》交響圖畫

LEONARD BERNSTEIN: Candide Overture Serenade after Plato's Symposium AARON COPLAND: Appalachian Spring GEORGE GERSHWIN: Porgy & Bess: A Symphonic Picture

在美國古典音樂發展的版圖上,蓋希文、柯普蘭、 伯恩斯坦占有舉足輕重的地位。三人以音樂為媒 介,各闢蹊徑,反映美國社會「民族大熔爐」的多 元文化。他們擁抱爵士音樂、拉丁節奏、民間歌謠 等,打破精緻與通俗的界線,跳脫種族隔閡與社會 階層的區分,在音樂國度實現自由開放的理想。

Three of America's most famous, most popular, most accomplished composers are in the spotlight for this program. It opens with Bernstein's zippy, zany Candide Overture, one of the most often-heard works in the entire classical repertory. Then comes something more serious from Bernstein, his masterful Serenade after Plato's Symposium, a musical evocation of the illustrious dialogue Plato oversees among guests at a dinner party concerning the nature of love in its various forms. Aaron Copland's Appalachian Spring, music fresh as natural spring water, and an orchestral suite of numbers from that most American of operas, Gershwin's Porgy and Bess, complete the program.

三人中最早出生的是蓋希文,生於 1898 年,但歲數 最短,只有不到 40 年。柯普蘭在 1900 年出生,比 伯恩斯坦大 18 歲,兩人於 1990 年同年去世。 《波吉與貝絲》交響圖畫,改編自蓋希文同名歌劇。 在種族藩離高築的年代,蓋希文以藍調、爵士為素 材,大膽在舞臺上敘說非裔美國人的故事,以非裔 歌手為舞臺的主角,劇中的《Summertime》更成為 傳唱不輟的金曲。柯普蘭的《阿帕拉契之春》受瑪 莎葛蘭姆舞團委託,以基督教震教徒的歌曲《樸實 的恩賜》為主題旋律,也讓這首曲子走出宗教的世 界。至於阿帕拉契山脈與樂曲的關係,基本上作曲 家想透過樂曲描寫遼闊的山川景致,只是編舞家對 作品的命名而已。

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2018 年適逢伯恩斯坦百歲冥誕。伯恩斯坦集作曲、 指揮於一身,1954 年他專注於兩個新作品的創作, 分別是歌劇《憨第德》以及為小提琴和管絃樂團創 作的小夜曲《柏拉圖對話錄》,後者主要為庫賽維 茲基基金會的委託。俄國指揮庫賽維茲基(Serge Koussevitzky)曾為波士頓交響樂團音樂總監,也是 伯恩斯坦的恩師。

國家音樂廳 500 800 1200 1600 2000 衛武營音樂廳 300 500 800 1200 1600 2000


75

© Sophie Zhai

林昭亮 CHO-LIANG LIN


3/30

Sat. 19:30 2019

琵琶 交響 Wu Man & NSO 指揮/莊東杰 琵琶/吳蠻

TUNG-CHIEH CHUANG, conductor WU MAN, pipa

李子聲:《布農. 天籟》(原住民委員會委託創作,世界首演) 趙季平:第二號琵琶協奏曲 斯特拉溫斯基:給小樂團的組曲 第一號 浦朗克:小交響曲

TZYY-SHENG LEE: Pasi But But (world premiere) ZHAO JIPING: Pipa Concerto No.2 IGOR STRAVINSKY: Suite No.1 for Small Orchestra FRANCIS POULENC: Sinfonietta

在西樂為主流的世界舞臺上,來自中國的吳蠻懷 抱琵琶,獨樹一格。她融合東西,穿越傳統與現 代,是絲路合奏團的核心成員,2013 年獲選「音 樂美國」年度器樂演奏家。

Wu Man, recognized as the world's premier pipa virtuoso and leading ambassador of Chinese music, comes to Taipei to join the NSO in a full-length concerto by Zhao Jiping, known to millions through his film scores for Raise the Red Lantern, Farewell My Concubine, and many others. Stravinsky's satirical and playful Suite No. 1 for Small Orchestra is followed by Poulenc's Sinfonietta, a half-hour of music infused with a carnival atmosphere; Poulenc himself regarded this work as more entertaining than serious.

在西方指揮為主的交響世界,「臺灣之子」莊東 杰征戰各大指揮比賽,拿下亮眼成績,榮獲馬勒 和蕭提指揮大賽第二名、馬爾科指揮大賽首獎。 如今展翅遨翔全球舞臺,足跡可見於柏林德意志 交響樂團、邦貝格交響樂團、BBC 交響樂團。 莊東杰和吳蠻強強合作,演出中國作曲家趙季平 的第二號琵琶協奏曲。作品由雪梨交響樂團委託 創作,2013 年首演,是專為吳蠻量身打造,結合 西方作曲技法和琵琶的樂器特色,並取材吳蠻家 鄉蘇杭評彈吳儂軟語的風格。 趙季平以蘇杭文化出發,臺灣作曲家李子聲的 《布農.天籟》則以布農族的音樂作為發展的素 材。《獵前祭槍歌》(Pislahi) 、《祈禱小米豐收歌》 (Pasi But But) 等,透過作曲家的解構改編再生, 將古謠轉化為具有現代聲響的管絃樂曲。

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對比琵琶、古謠在作曲家筆下的千變萬化,莊東 杰選擇以浦朗克、斯特拉溫斯基作為呼應。兩位 作曲家相差 17 嵗,彼此相惜。斯特拉溫斯基曾 動用影響力,確保浦朗克獲得音樂出版社的合 約,其作品《春之祭》開啟浦氏對於「新」音樂 的想像,因此當有人質疑斯氏的音樂價值,浦氏 也會起身捍衛。莊東杰安排色彩繽紛、小而精緻 的浦朗克小交響曲,和斯特拉溫斯基第一號給小 樂團的組曲進行對話,彷彿重現當年大師的才情 激盪。

國家音樂廳 400 700 1000 1200 1500


77

© Call the Shots Photography

吳蠻 WU-MAN


4/20

Sat. 19:30 2019

來自臺灣— 2019 日本巡演行前音樂會 From Formosa— 2019 Japan Pre-tour Concert 指揮/呂紹嘉 小提琴/林品任

SHAO-CHIA LÜ, conductor RICHARD LIN, violin

江文也:《臺灣舞曲》 芥川也寸志:《為交響曲所寫的音樂》 孟德爾頌 : E 小調小提琴協奏曲 西貝流士:第二號交響曲

JIANG WEN YE: Formosan Dance YASUSHI AKUTAGAWA: Musica per Orchestra Sinfonica FELIX MENDELSSOHN: Violin Concerto in E minor JEAN SIBELIUS: Symphony No.2, Op.43, D major

《臺灣舞曲》的長度不到十分鐘,卻道出藝術家身處 歷史洪流的悲歡。1936 年,江文也以《臺灣舞曲》拿 下柏林奧運文藝競賽特別獎,成為首位在國際獲獎的 臺灣作曲家。

In April, the NSO heads off again to Japan for another tour there. This time, as a bow in the direction of the 2020 Tokyo Olympics, the orchestra will perform, side by side, music by a Taiwanese composer ( Jiang Wen-Ye's Formosan Dance) and a Japanese (Yasushi Akutagawa's Musica per Orchestra Sinfonica). Jiang Wen-Ye is a particularly apt choice for this tour, as he spent many years in Japan. As a pre-tour offering to its Taiwanese audience, the orchestra presents these two works plus one by a German (Mendelssohn's ever-popular Violin Concerto), and one by a Finn (Sibelius' mighty Second Symphony, a work that always sends audiences home in a state of near rapture).

1910 年,江文也生於大稻埕,4 歲遷居廈門,之後於 日本受教育,作品以臺灣為題材,可視為原鄉情懷的 抒發。1934 年隨「鄉土訪問音樂團」從日本回到臺灣, 這趟民樂採集之旅也給了江文也創作的靈感,在 24 歲 創作了《臺灣舞曲》。 《臺灣舞曲》獲獎,擾動了年輕作曲家的人生,如此 殊榮,讓他遭逢自己無法掌握的際遇。當時臺灣為殖 民地,江文也以「日本人」身分報名,與他一同參賽 的「正港」日本人卻未獲獎,日本當局自然無意大力 宣傳。1938 年,江文也前赴北京師範大學任教,1949 年留在中國,歷經下放勞改,1983 年在北京去世。在 國共對峙、兩岸分治的年代,江文也的名字曾經沉寂 多時,不被提及。

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臺裔小提琴家林品任在 2013 年獲得日本仙臺國際音樂 大賽,並於日本 Fontec 唱片發行比賽實況演出,日本 樂迷對他的名字並不陌生。林品任畢業於美國寇蒂斯 音樂學院和茱莉亞音樂學院,近年於世界大賽表現突 出,曾贏得漢諾威姚阿幸大賽第三名、紐西蘭麥克希 爾大賽和新加坡小提琴大賽第二名。 林品任將獨奏孟德爾頌小提琴協奏曲,這是作曲家為 小提琴家好友、也是萊比錫布商大廈管絃樂團首席費 迪南.大衛量身打造,以六年的時間,實現友誼的承 諾,也成就了一首與貝多芬、布拉姆斯、柴可夫斯基 的創作並列演出最頻繁的小提琴協奏曲曲目。

國家音樂廳 500 800 1200 1600 2000


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© Sophie Zhai

林品任 RICHARD LIN


5/17

Fri. 19:30 2019

莫札特與魏德曼 2 Mozart & Widmann 2

駐團藝術家 Artist-in-Resident

指揮與單簧管/約格.魏德曼

JÖRG WIDMANN, conductor & clarinet

魏德曼:《活力洋溢》 莫札特:單簧管協奏曲 孟德爾頌:第三號交響曲《蘇格蘭》

JÖRG WIDMANN: Con Brio for Orchestra WOLFGANG AMADEUS MOZART: Clarinet Concerto, K.622, A Major FELIX MENDELSSOHN: Symphony No.3, Op.56, Scottish

他是全方位的音樂家,集單簧管演奏家、作曲家、 指揮於一身。他是 NSO 本樂季的駐團藝術家,來 自德國的魏德曼。

German composer Jörg Widman comes to Taipei wearing three hats: as composer, as conductor, and as soloist. His own composition Con Brio for Orchestra (2008) opens the program, taking as its point of departure the 'con brio' movements of Beethoven's Seventh and Eighth symphonies. Widmann then returns to the stage with his clarinet for Mozart's ethereally beautiful Clarinet Concerto. This was the last instrumental work Mozart completed before his death. It is also the culmination of his career as "The Prince of Concerto Writers." That it was a concerto for clarinet was doubly fitting, for this was the wind instrument Mozart had loved above all others.

魏德曼 1973 年出生慕尼黑,7 歲時對單簧管一見 鍾情,之後更沉醉於作曲世界,師事里姆 (Wolfgang Rihm)、郭貝爾 (Heiner Goebbels) 等作曲名家。他 以獨奏家的姿態馳騁歐洲各大樂團,里姆《為單 簧管與交響樂團所譜之樂曲》(Musik für Klarinette und Orchester)不僅由他首演,也是題獻給他。他 曾任琉森音樂節駐節藝術家,2017–2018 樂季獲聘 為萊比錫布商大廈首位駐廳作曲家,作品由身兼 布商大廈管絃樂團和波士頓交響樂團音樂總監尼 爾森斯 (Andris Nelsons) 演出。 魏德曼在這場音樂會將展現指揮與單簧管演奏的 功夫,先以自己創作的《活力洋溢》開場,緊接 著為莫札特的單簧管協奏曲,最後以孟德爾頌《蘇 格蘭》交響曲畫下休止。 《活力洋溢》發表於 2008 年,收錄在 2015 年楊頌 斯指揮巴伐利亞廣播交響樂團的專輯中。在十多 分鐘的樂曲中,魏德曼的音符穿梭於細膩與奔放 間,有如進行一場聲響的遊戲,兼具趣味和實驗 感。

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在投身作曲和指揮的道路上,魏德曼從未放棄獨 奏家的角色,三個身分的結合,提供他解析作品 的多視角。莫札特單簧管協奏曲膾炙人口,又為 基本曲目,若求突破既定框架,演出挑戰更大。 魏德曼不求標新立異,而是透視更多的細節,營 造更豐富的聲音層次,突顯音符的律動,進行一 場「活力洋溢」的詮釋。

國家音樂廳 400 700 1000 1200 1500

協辦

Mendelssohn's evocative Scottish Symphony is derived from his visit to Scotland as a young man. The somber, melancholic opening is certainly suggestive of the brooding, misty Scottish land; the ebullient clarinet theme of the Scherzo may be based on a Scottish folk air, and the leaping, vigorous, dance-like main theme of the finale is thought by some to be a musical representation of the gathering of the clans.


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© Marco Borggreve

約格.魏德曼 JÖRG WIDMANN


NSO2018/19 國際巡演

From

2018/10/30 – 11/5

來自臺灣— 2018 美國巡演 From Formosa— 2018 U.S. Tour

指揮/呂紹嘉 鋼琴/史蒂芬.賀夫 小提琴/曾宇謙

SHAO-CHIA LÜ, conductor STEPHEN HOUGH, piano YU-CHIEN TSENG, violin

金希文:〈跳舞歌〉選自《舞動的山巒》(原住民委員會委託創作) 李斯特:第一號鋼琴協奏曲 巴伯:小提琴協奏曲 德布西:《海》 拉威爾:《達芙尼與克羅伊》第二號組曲 布拉姆斯:第二號交響曲 GORDON CHIN:'Dancing Song' from Three Aboriginal Songs for Orchestra 2016 FRANZ LISZT: Piano Concerto No.1, S.124, E-flat major SAMUEL BARBER: Violin Concerto, Op.14 CLAUDE DEBUSSY: La mer MAURICE RAVEL: Daphnis et Chloe Suite No.2 JOHANNES BRAHMS: Symphony No.2

10/30

加州橘郡,塞格斯仲表演藝術中心 Renée and Henry Segerstrom Concert Hall, Segerstrom Performing Arts Center, Orange County

10/31

加州聖地牙哥,柯普萊交響樂音樂廳 Copley Symphony Hall, Jacobs Music Center, San Diego

11/3

華盛頓州西雅圖,華盛頓大學明尼表演藝術中心 Meany Hall, Meany Center for the Performing Arts, Seattle

11/5

加州舊金山,戴維斯交響樂音樂廳 Davies Symphony Hall, San Francisco


2019/4/30 – 5/6

來自臺灣— 2019 日本巡演 From Formosa— 2019 Japan Tour

指揮/呂紹嘉 指揮/張尹芳 小提琴/林品任

SHAO-CHIA LÜ, conductor YIN-FAN CHANG, conductor RICHARD LIN, violin

江文也:《台灣舞曲》 芥川也寸志:《為交響曲所寫的音樂》 孟德爾頌 : E 小調小提琴協奏曲 西貝流士:第二號交響曲

JIANG WEN YE: Formosan Dance YASUSHI AKUTAGAWA: Musica per Orchestra Sinfonica FELIX MENDELSSOHN: Violin Concerto in E minor JEAN SIBELIUS: Symphony No.2

4/30

東京文化會館 Tokyo Bunka Kaikan

5/6

大阪,交響樂音樂廳 The Symphony Hall, Osaka

西貝流士:〈圖歐內拉的天鵝〉、〈雷敏凱能返家〉,選自《傳說》、第二號交響曲 葛令卡:《魯斯蘭與盧蜜拉》序曲 李姆斯基 - 柯薩科夫:《天方夜譚》、《西班牙隨想曲》 柴科夫斯基:《羅密歐與茱麗葉幻想序曲》、第一號鋼琴協奏曲、斯拉夫進行曲 〈花之圓舞曲〉來自《胡桃鉗》 穆索斯基:《荒山之夜》 JEAN SIBELIUS: 'The Swan of Tuonela', 'Lemmikäinen's return' from Lemminkäinén Suite, Symphony No.2, MIKHAIL GLINKA: Russlan and Ludmilla Overture NIKOLAI RIMSKY-KORSAKOV: Scheherazade, Capriccio Espagnol PYOTR ILYICH TCHAIKOVSKY :Romeo and Juliet Fantasy Overture, Piano Concerto No.1, Slavonic March, 'The Waltz of the Flowers' from The Nutcracker MODEST MUSSORGSKY: Night on Bald Mountain

5/3~5

金澤,風と緑の楽都音楽祭 Spring Green Music Festival, Kanazawa


Opera Concert NSO 歌劇音樂會

2/22 3/8

Fri. 19:30

2/23 2/24 3/15

Fri. 19:30 屏東演藝廳

Sat. 19:30

Sun. 14:30

2019

Fri. 19:30 中壢藝術館

托斯卡 Tosca 作曲 / 浦契尼 作詞 / 伊利卡、賈可沙 指揮/呂紹嘉 導演/林懷民 復排導演/汪慶璋 服裝設計/林璟如 燈光設計/李俊餘 聲樂指導/馬丁.安德森

GIACOMO PUCCINI, composer LUIGI ILLICA & GIUSEPPE GIACOSA, librettist SHAO-CHIA LÜ, conductor LIN HWAI-MIN, director CALVIN WANG, assistant director LIN JING-RU, costume & style design KEVIN LEE, lighting design MARTIN ANDERSSON, vocal coach

托斯卡/左涵瀛(2/22、24)、林玲慧(2/23、3/8、3/15) 斯卡皮亞/路奇歐.蓋洛(2/22、24)、吳翰衛 (2/23、3/8、3/15) 卡瓦拉多西/鄭皓允(2/22、24)、孔孝誠 2/23、3/8、3/15) 安傑洛第、獄卒/羅俊穎 堂守、夏羅奈/趙方豪 史波烈塔/湯發凱 合唱指導/古育仲 台北愛樂合唱團 台北愛樂兒童合唱團

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HANYING TSO-PETANAJ (2/22, 24), LING-HUI LIN (2/23, 3/8, 3/15), Tosca LUCIO GALLO (2/22, 24), MARTIN NG (2/23, 3/8, 3/15), Scarpia HO-YOON CHUNG (2/22, 24), EZIO KONG (2/23, 3/8, 3/15), Cavaradossi JULIAN LO, Angelotti & Jailer FANG-HAO CHAO, Sacristan & Sciarrone FA-KAI TANG, Spoletta JOHN Y.C. KU, chorus master TAIPEI PHILHARMONIC CHORUS TAIPEI PHILHARMONIC CHILDREN'S CHORUS

呂紹嘉時間 2019/2/17 Sun. 14:30 主講 呂紹嘉 國家音樂廳 500 800 1100 1500 2000 2400 3000 (2019TIFA 臺灣國際藝術節 ) 屏東演藝廳 400 600 800 1000 (3/8) 中壢藝術館 500 800 1000 1200 (3/15)

憑本場次票券進場,限 150 席,額滿為止。 地點:NSO 三樓排練室(請由國家音樂廳地面層 3 號門進場)


85

© Barry Lam

林懷民 LIN HWAI-MIN


Opera Concert NSO 歌劇音樂會

7/5

Fri. 19:30 2019

璀璨雙城 3—藍鬍子的城堡 A Walk in the Moonlight, A Mysterious Castle 指揮/呂紹嘉 次女高音/愛蓮娜.迪科娃 男中音/巴林特.薩波

SHAO-CHIA LÜ, conductor ELENA ZHIDKOVA, mezzo-soprano BALINT SZABO, baritone-bass

荀貝格:《昇華之夜》 巴爾托克:《藍鬍子公爵的城堡》

ARNOLD SCHÖNBERG: Transfigured Night, Op.4 BÉLA BARTÓK: Duke Bluebeard's Castle, Sz.48

荀貝格與巴爾托克,是從中歐傳統出發,二十世紀 影響力最巨大的作曲家。他們表現強勁,愈是禁忌 曖昧,愈有精彩發揮。這場音樂會聽他們寫愛情, 果然寫出前人未至之境,讓人目眩神迷。

Two turn-of-the century masterpieces, each unique in its own way, constitute the NSO's final subscription concert of the season. Drenched in romanticism and hyperemotional expressivity, Schoenberg's tone poem Transfigured Night is, after more than a century, still his most popular work. It is the direct descendent of Wagner's opera Tristan und Isolde, both in its musical language and its subject matter. Duke Bluebeard's Castle, Bartók's only opera, requires just two singers, but the orchestra is raised to the level of a third character in its dramatic, colorful commentary. The story is chilling, enigmatic, and utterly compelling. A great way to end the season!

男女夜晚散步,「我懷著孩子,但不屬於你」,想 要成為母親的女子慘遭拋棄,已有身孕的她又不知 如 何 面 對 現 任 情 郎。「 別 讓 孩 子 成 為 妳 靈 魂 的 負 擔……妳將為我懷著那孩子,因為他也與我血肉相 連」,男人的大愛讓暗夜隨之昇華,「兩人在暮色 中漫步,夜空明淨而高朗」。荀貝格寫給絃樂的《昇 華之夜》,以精彩非凡的筆法與扣人心弦的旋律, 表現最隱晦難言又最溫柔寬厚的情感,每次聆賞都 令人難忘。

86 NSO 2018 19

巴爾托克的愛情觀,從他筆下三部舞臺作品即可知 曉:《木頭王子》是仙女作弄人間,王子以木偶呼 喚公主,佳人竟愛上木偶而非真人;《奇異的滿洲人》 是中國殭屍傳說的東歐變形,已死怪人非要得到少 女擁抱才肯罷休。本於驚悚傳說的歌劇《藍鬍子公 爵的城堡》,情節倒沒有鄉野故事可怕:七扇門鎖 著七個房間,深藏的不只是秘密,更是主人翁的孤 獨。巴爾托克能寫璀璨珍寶,寫鳥語花香,還能寫 淚水之海,但第七道門打開後究竟出現什麼?音樂 中的傷感或許比真相還要令人震撼。這是此劇在臺 首次以匈牙利原文呈現,歡迎大家和 NSO 一起見證 歷史!

NSO Chatroom 會客室 2019/6/30 Sun. 15:00 訪談人:焦元溥 特別來賓:呂紹嘉 憑本場次票券進場,限 150 席,額滿為止。 地點:NSO 三樓排練室 (請由國家音樂廳地面層 3 號門進場)

國家音樂廳 500 800 1200 1600 2000


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愛蓮娜.迪科娃 ELENA ZHIDKOVA ╱巴林特.薩波 BALINT SZABO


姆克魯斯總也不老。旁角換了好幾輪,韓特

伊 利 卡 (Luigi Illica, 1857-1919) 改 好, 還 於 薩 杜 家

隊長仍然出生入死,還有興致看歌劇:在

中進行讀劇。那時八十歲的威爾第正在巴黎監督

2015 年《不可能的任務:失控國度》裡,維也納

《奧泰羅》(Otello) 法國首演,也欣然受邀與會。

歌劇門票成為暗通聲息的保護,《杜蘭朵公主》

老大師對劇本非常滿意,表示若非年事已高,必

(Turandot) 則是讓人不得不入坑的誘惑。但類似布

然願意下筆。一切都好,可嘆譜曲者並非當紅名

局已有先例,主角換成詹姆斯·龐德:2008 年《007

家浦契尼。一說李柯第夥同伊利卡巧言遊說,一

量子危機》中,各地權貴選在三國交界的湖上劇 院秘謀,《托斯卡》(Tosca) 成了遮掩罪行的工具。 誰說歌劇高不可攀?若能成為商業鉅片一再引用 的文化符碼,在廿一世紀第二個十年,論及最通 俗、最受歡迎的歌劇作曲家,《杜蘭朵公主》與《托 斯卡》作者浦契尼 (Giacomo Puccini, 1858-1924) 絕 對當之無愧,即使他是「討厭的浦契尼」。 是的。都說廣受歡迎者必然格調不高,既然這義 大利佬童叟皆愛,那就活該他俗氣惹人厭。批評 浦契尼的聲音從來沒有少過,可是一百二十年過 去,他的名聲卻愈來愈高,作品始終稱霸全球舞 臺,還被翻轉成音樂劇與電影版本。究竟浦契尼 有何魅力?看看他第五部歌劇,也是確立其高峰 地位的《托斯卡》,答案就在其中。 《 托 斯 卡 》 誕 生 故 事 之 曲 折, 本 身 就 如 一 部 歌 劇:1889 年浦契尼在米蘭看了天后巨星貝恩哈特 (Sarah Bernhardt, 1844-1923) 演 出 為 她 量 身 打 造 的 戲劇《托斯卡》,立即致信出版商李柯第 (Giulio Ricordi, 1840-1912),建議他和劇作家薩杜 (Victorien Sardou, 1831-1908) 取得改編版權,但交涉過程並 不愉快,尚未成名的浦契尼也放棄計畫。然而, 他早就另有打算,果然在 1893 年以《瑪儂雷斯可》 (Manon Lescaut) 一炮而紅,更接著譜出即將讓他揚 名立萬的《波希米亞人》(La bohème)。當他再想 起《托斯卡》,改編權卻已給了他的老同學法蘭 切第 (Alberto Franchetti, 1860-1942),劇本甚至已由

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愛與藝術的永恆魅力: 浦契尼的《托斯卡》 文╱焦元溥(倫敦國王學院音樂學博士)


說法蘭切第本就樂意讓渡,終究,浦契尼在 1895

畢竟不同於戲劇,若還要顧慮演出時間,實在無

年中簽下歌劇改編合約。伊利卡本就負責《波希米

法承載過多細節。原作五幕廿三角,歌劇版刪為

亞人》劇本,李柯第又邀來同劇歌詞作者賈可沙

三幕九角,情節全然聚焦於托斯卡、卡瓦拉多西

(Giuseppe Giacosa, 1847-1906),黃金三角再度成形,

和斯卡比亞。這固然使戲劇時間更濃縮、更符合

《托斯卡》眼看就要水到渠成。

古典規律 ( 全劇發生時間在十二小時之內 ),卻也

不,沒這麼容易。僅僅兩小時的音樂,《托斯卡》 竟耗費了四年時間。浦契尼完全知其優勢與缺點, 劇本和臺詞非得令他滿意,能充分展其所長、掩 其所短,字字句句都服貼構想中的旋律,否則絕 不罷休。如有必要,他還親自動手,包括第二幕 托斯卡殺死斯卡比亞後,那句鼎鼎大名的「在他

不得不捨棄作者精心鋪排的背景脈絡。薩杜鉅細 靡遺,所有人物的背景、行為、動機、個性,皆 能在副文本中找到解答。例如安傑洛第實是被舊 愛設局謀害的政客,斯卡比亞則背負逮捕逃犯不 成,自己反將下獄的壓力。少了這些,光看唱詞, 歌劇版確有漏洞,但這也正顯現浦契尼的高明: 不用多加描述,華美但誠摯的曲調就充分描繪出

面前,整個羅馬都顫抖」(E Avanti a lui tremava tutta

原是牧羊女的歌劇紅伶,托斯卡天真、善妒又勇

Roma!) 以 及 男 主 角 詠 嘆 調〈 今 夜 星 光 燦 爛 〉(E

敢,為愛果決付出的鮮明個性,還點出原作未刻

Lucevan Le Stelle) 中的悲憤呼喊「我絕望而死」(E

意著墨的信仰虔誠之心;無須教育背景與政治立

muoio disperato!)。比文字更敏感的,則是浦契尼百

場交代,光是第二幕卡瓦拉多西那句莽撞又血脈

發百中的戲劇直覺。他太明瞭收放張弛之間的鬆緊

賁湧的「勝利啊!勝利!」(Vittoria! Vittoria!),我

對比,千斤嚴肅必須佐以一兩莞爾,苦到深處定要

們也能知道,這畫家是支持革命的自由主義豪邁

透出香甜。第一幕越獄犯安傑洛第險象環生的逃亡

男兒。倒是斯卡比亞在重新詮釋之後,成為邪惡

藏匿,仍安插了男主角卡瓦拉多西分別與教堂執事

本質的化身。逼姦與刑求,與其說是色慾薰心和

和托斯卡的諧趣對話;第二幕以駭人的強暴未遂和

不擇手段,不如說是貓玩老鼠的殘虐遊戲。這三

血濺舞臺聞名於世,收場小鼓的點滴戰慄與猛然回

位主角也有屬於自己的管絃色調:托斯卡清澈明

眸更怵目驚心,但第三幕開場又是城郊黎明與牧童

媚、卡瓦拉多西溫暖厚實、斯卡比亞森冷晦暗,

歌唱,田園景色無視俗世滄桑。論者每每訝異女主

在劇力萬鈞的聲響中不斷轉換。說到底,歌劇裡

角金曲〈為了藝術為了愛〉(Vissi d'arte),旋律竟皆

真正賦予角色生命的,不是文字,不是情節,而

來自先前片段,難道作曲家無話可說?但就是要以

是音樂。作曲家的才華與精算,編劇與詞人的折

舊曲調組合,思緒不隨新素材過度遠揚,才能讓觀

磨和痛苦,終究換來史上數一數二的賣座金劇,

眾將時間感留在當下,平衡戲劇效果也維繫情節

義大利寫實主義 (Verismo) 歌劇的代表作。

步調。至於最精彩也最挑釁的,或許要屬第一幕

包含《托斯卡》在內的浦契尼歌劇,是否算寫實

終景,秘密警察局長斯卡比亞男爵在「感恩頌」

主義,向來是辯論熱題。以義大利文學的標準來

(Te Deum) 莊嚴合唱中自白邪淫。教堂鐘聲悠悠迴

看,注重押韻與句型,並非日常說話方式的歌劇

盪,他嘴裡竟是「托斯卡,妳讓我忘記上帝啊!」

腳本,本來就很難歸屬於 1870 年左右興起的寫實

(Tosca, mi fai dimenticare Iddio!)—如此褻瀆帶來巨

主義。該派的領導者韋爾加 (Giovanni Verga, 1840-

大甚至恐怖的戲劇張力,果然令人一聽難忘!

1922),作品以克制平實語調書寫鄉村尋常貧賤生

薩杜的《托斯卡》,愛情、色慾、凌虐、陰謀、死

活的悲哀,也和《托斯卡》的大開大闔天差地遠。

亡環環相扣,加上縝密布局與巧妙對話,在大時代

然而,如果此處的寫實主義乃以音樂標準衡量,

歷史背景中螺旋交織。雖然詩意哲理盡皆難尋,道

浦契尼確實呼應了義大利歌劇的寫實主義風潮:

德寓意悉數欠奉,卻是昔日觀眾的心頭好。但歌劇

1890 年 馬 斯 卡 尼 (Pietro Mascagni, 1863-1945) 以 改

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編 韋 爾 加 的《 鄉 村 騎 士 》(Cavalleria Rusticana) 贏 得出版商舉辦之獨幕歌劇競賽,大獲好評轟動全 歐;已寫兩部歌劇但遲遲未獲上演機會的雷昂卡 發洛 (Ruggero Leoncavallo, 1857-1919),決定追隨該 劇風格以應流行,果然也以 1892 年上演的《丑角》 (Pagliacci) 打響名號,寫實風格自此蔚為流行。所 謂寫實,在於樂流最好連續不斷 ( 時間進行如同 真實人生 ),詠嘆調能短則短或根本消失 ( 詠嘆調 的戲劇意義是獨白—最不寫實,日常最少出現的 說話方式 ),唱句則滿是說白語氣與激烈衝撞,音 樂滿溢情感張力與爆發力。《托斯卡》深得精髓, 刑求與行刑場景更有層層堆疊、情緒愈旋愈緊的 音樂行進,成為日後浦契尼的招牌。而這最後一 項,又扣回歐洲寫實主義 / 自然主義文學的領航 者,法國大作家左拉 (Émile Zola, 1840-1902) 的筆 法,讓「寫實主義歌劇」仍有名稱上的立足之處, 即使題材並不皆以下層社會為主。 和當時諸多競爭者,包括喬大諾 (Umberto Giordano, 1867-1948) 和 齊 雷 亞 (Francesco Cilea, 1866-1950) 一 樣,浦契尼等新一代義大利歌劇作曲家,之所以擁 抱寫實主義,最根本的原因仍在要和舊日傳統套路 說再見,追求更鮮活靈動的寫作。以戲劇而言, 《托斯卡》原始腳本中卡瓦拉多西赴死之前,曾有 段向生命、藝術以及永恆之城告別的慷慨頌歌。這 段不僅伊利卡頗感自豪,連威爾第都大表欣賞。浦 契尼堅持刪除。除了不合寫實主義原則,或許更因

浦契尼的創新也展現在對華格納的重新思考。自

如此熱血陳詞早已多次出現於前輩作品。就譜曲技

從 1871 年《羅恩格林》(Lohengrin) 在義大利學術

法而論,浦契尼是高手中的高手。他勤奮好學、多

重鎮波隆那上演之後,華格納所掀起的音樂美學

方鑽研,無論是管絃配器的豐富多變,或音樂織度

與歌劇體裁辯論,就進一步在這歌劇王國發酵,

的縝密計算,都成就海納百川後的一家之言,融合

許多學者與音樂家也成為他的熱情擁護者。浦契

更見創新。槍聲鐘聲大砲聲,聲聲入耳,《托斯卡》

尼自學生時代就知道華格納作品,後來不只親赴

將各類實際聲響融入音樂,就是要予人既視的現實

拜魯特,還應李柯第之邀,精心刪減《紐倫堡的

感。這包括作曲家的嚴謹考究,務求鐘聲音高真實

名 歌 手 》(Die Meistersinger von Nürnberg) 供 米 蘭 史

比照聖彼得大教堂,第三幕的牧童唱詞也另託作家

卡 拉 劇 院 演 出。 他 對 這 位 德 國 大 師 的 主 導 動 機

以羅馬方言寫成。浦契尼也有難得的好運:雖然創

(Leitmotiv) 手法知之甚詳,但有自己的使用方法。

90

作過程拖延甚久,故事設在 1800 年拿破崙進攻羅

簡言之,浦契尼的動機可以是托斯卡或卡瓦拉多

NSO 2018 19

馬的《托斯卡》,首演選在 1900 年一月的羅馬歌

西的優美旋律,也可如斯卡比亞,是建築在「魔

劇院,於同地呼應百年新世紀,成為切合當下的時

鬼音程」上的三個和絃,但它們都沒有心理發展

代劇,復古亦能新潮。

而始終以原本樣式出現,變化僅在配器聲響。他 的動機與主題也有多重含意,不見得綁定特定人


事物,運用相當自由。斯卡比亞動機不只代表斯 卡比亞,更代表邪惡。這既延續義大利歌劇行之 有年的「回憶動機 / 旋律」手法,也展現出浦契 尼參考卻不受限,景仰大師但未服從的創作態度。 了解這點,就可明白《托斯卡》結尾的意涵。常 有論者認為就歌詞邏輯而言,既然托斯卡跳樓前 的絕命詞是「啊,斯卡比亞,在神的面前……」(O Scarpia, avanti a Dio ...),此劇當以斯卡比亞動機結 束,怎會是卡瓦拉多西的〈今夜星光燦爛〉?但 且不論該動機已是第一幕結尾,這更展現浦契尼 對角色的看法:托斯卡之所以選擇從天使堡一躍 而下,並非畏罪,而是殉情;那呼喊中沒有驚惶 膽怯,而是戰勝死亡的愛之勝利。男女主角最後 的重唱,曲調之所以回到第三幕開頭的黎明銅管, 也是作曲家草蛇灰線中的微言大義。愛,是浦契 尼歌劇的共同主題,到最後一部《杜蘭朵公主》 皆然。他不只是二十世紀義大利歌劇代名詞,更 是偉大愛情的佈道家。這也是為何〈公主徹夜未 眠〉(Nessun dorma) 的旋律會融入《失控國度》配 樂,在電影結尾點出幹員之間的曖昧情愫。那音 樂力量太強大,你必然一聽就懂。也是這等本領, 當龐德在《托斯卡》演出中揭發政界密謀,同時 間銀幕上斯卡比亞的魔鬼詠嘆總能深深震懾觀眾, 即便你對義大利文一無所知。 浦契尼的成功,證明大雅亦能大俗,精緻藝術也 可家喻戶曉。不用背景,無須裝臺,這次 NSO 復 刻 2002 年林懷民版《托斯卡》,以「一桌二椅」 原則再度化身行動歌劇院,既在音樂廳饗樂迷, 更把浦契尼帶向臺灣沒有演過歌劇的地方。精省 並不簡單,動作眼神、走位轉場、燈光戲服等等 都必須更講究用心,讓人看熱鬧也看門道。歡迎 新朋舊友和我們再度相見,品味愛與藝術的永恆 魅力,總也不老的《托斯卡》。

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T

he three operas chosen for the Taiwan Philharmonic's

straits and was realistic about the time scale of completing his

2018/19 season cover some six decades operatic

grand project – and of the chances of it being performed, if

composition in what was arguably one of the most vibrant

ever. He broke off to work on a couple of interim operas that,

artistic eras in Europe. It was an era, too, that led up to

as he originally envisaged it, would represent easily-staged

unprecedented political turmoil and – in the form of World

propositions for his publisher to present to opera houses keen

War I – human tragedy. These three works also chart a course

for follow-ups to his popular works of the 1840s.

from monumentalism, in the form of Wagner's four-part Ring

That those two works were Tristan und Isolde and Die

cycle to something, in the case of Bartók's Duke Bluebeard's Castle, concentrated both in terms of duration (the music

Meistersinger von Nürnberg tells us something, perhaps, of Wagner's deeper musical and philosophical drives: both

comes in around the 50 minute mark) and cast (it involves

these works turned into vast scores and are among the most

only two singers).

demanding for any opera house to perform. Both, too,

With Wagner, too, we have a work with an unprecedentedly

are suffused with the ideas of Artur Schopenhauer, whose

complicated gestation period. The Ring itself took some 25 years to compose, a period roughly covering the third quarter

philosophy of renunciation would become an essential element of all of Wagner's further work and thought.

of the 19th century; meanwhile, the period that it took for Wagner to produce Siegfried, the third part of the tetralogy, encompassed a period of extraordinary development on the composer's part. Wagner had been forced into exile in Switzerland after being involved in the uprisings that had spread through Germany in 1848-9. There he had set out his plan for a new sort of 'music drama', and plotted the work that would turn those plans into reality.

Tragic but Sublime —an Overview of Opera in the 2018/2019 Season Hugo Shirley (PhD in Musicology, King's College, London)

He worked first on the libretto (or 'poem' as he called it), which grew, with the addition of more and more pre-history

92 NSO 2018 19

to the hero Siegfried's story, into the four parts we know

Closely intertwined with this philosophical discovery,

today – right up until the 1860s he would still refer to the last

were events in Wagner's private life. He developed a special

two instalment by their original titles, as Der junge Siegfried

infatuation – a particularly Wagnerian one – with Mathilde

(The young Siegfried) and Siegfrieds Tod (Siegfried's Death. He

von Wesendock, the wife of his Swiss patron in the mid 1850s;

began composing in late 1853: Das Rheingold was completed

later he would fall for Cosima, daughter of Liszt and husband

relatively swiftly; he put the finishing touches to Die Walküre in

of his great supporter, the conductor and pianist Hans von

1856 and started composing Siegfried only shortly afterwards.

Bülow. Then there was the arrival of the young King Ludwig

Act 1 was completed in May 1857 but in August 1857 Wagner

II on the scene in 1864. Ludwig was an obsessive Wagnerian

broke off composition of Act 2 abruptly, just before the end of

freshly ascended to the Bavarian throne, and he essentially

the act.

enabled Wagner to restart work on the Ring. The composer

The reasons for this break have been much debated, but can be seen as a mixture of practical concerns and lofty philosophical doubts. In the first instance, Wagner was in dire financial

could cease worrying about finances, and carry on composing with a realistic prospect of the work actually being performed. After the interim works, Wagner picked up the composition of Siegfried again in the middle of the 1860s, but didn't put the finishing touches to the final act until 1869 (it would not be premiered until 1876, as part of the first performance of the complete cycle at Wagner's new Festspielhaus in Bayreuth.)


That final act, however, immediately reflects what he learnt in the interim: from the masterful prelude and its virtuosic mingling of half-a-dozen leitmotifs through to the stunning music reserved for Brünnhilde's awakening and the remarkable duet that concludes the work – a daytime equivalent, in some ways, to the nocturnal love scenes of Tristan. The first two acts, however, are no less remarkable in their way, and perhaps best show why the work is sometimes referred to as the 'Scherzo' of the Ring.

rethought and redefined north of the Alps. The foundations on which Italian opera had been built – in terms of form, as well as the primacy of voice and melody – were being questioned. Giuseppe Verdi, born in the same year as Wagner, became so depressed about what he saw as a crisis in the national art form that he all-but retired after the premiere of his Aida in 1871, returning only 15 years later with two Shakespearean masterpieces, Otello and Falstaff, premiered in 1887 and 1893 respectively.

The young Siegfried's exchanges with Mime are defined by a dark humour, as are Mime's with an increasingly exasperated Wanderer. Wagner's theatrical pacing, meanwhile, demonstrates his instinct for telling a story vividly and involvingly. His scoring is a marvel of atmosphere, colour and musical characterisation. We can almost sense Mime's frustration at his unsuccessful attempts to reforge Notung – the broken sword entrusted to him along with the infant Siegfried. We feel his fear contrasted with Siegfried's fearlessness, the wicked joy he feels when he senses – wrongly, of course – that his evil plan to get his hands back on the Ring are about to come to fruition. But where Wagner's score, and his text, are at their most touching is in the way that they explore Siegfried's development, and the dawning sense he gains of himself and of his origins. This is what prevents the character's boisterousness and, indeed, arrogance, from spilling over into a lack of appeal. It also gets to the heart of how the hero of the Ring should be perceived: his heroism is nascent, currently built on purity and innocence – a raw resource that is corrupted by those who, in Götterdämmerung, seek to exploit and use him. The final scenes of Siegfried show his first loss of innocence, an encounter with

By that time, however, a new generation had emerged, who sought to apply selected Wagnerian lessons to quintessentially Italian subjects. With Cavalleria rusticana (1890), Pietro Mascagni marked the start of what would become known as the verismo movement, whereby techniques learnt from the German composer would be applied to sometimes shockingly everyday – and unedifyingly sordid – plots. Some of these were even based on news stories, or at least purported to be. Puccini is often seen as being part of this movement, and some of his works (especially Il tabarro, the first of the three operas that make up Il trittico) certainly could be categorised as such. Most of his operas, however, resist the temptation of the everyday, with several still set in a time or place at a certain remove. And although Tosca would be set in Rome, its action is set a century before the work was premiered, in the unstable aftermath of the French revolution. It's incorporation of historic events and its reliance on geographical reality – the settings for each of its three acts can still be visited today, and a film of the opera was made making use of them – mean that it in fact has something in common with the grands opéras that dominated the Parisian stage in the middle of the 19th century.

a woman, which he can barely understand or rationalise, which

There is, nevertheless, enough realism, and sufficient portrayal

marks his tragic course.

of human weakness in the work to have led to it earning the

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famous epithet, from Joseph Kerman's 1956 Opera as Drama, of 'shabby little shocker.' This description dates from a time,

The influence of Wagner on the operatic world is almost

however, when writers, suspicious of the popular success

impossible to overestimate, and Giacomo Puccini grew up

of Puccini, were reluctant to acknowledge the composer's

in an Italy that was not immune to the seismic changes that

achievement in incorporating Wagnerian techniques –

Wagner's music dramas brought about. Apart from anything,

weaving themes together into a quasi-symphonic orchestral

at the same time that the Italian independence movement

fabric, for example – into an unmistakably Italian idiom, one

was gaining a head of steam, the musical form that formed

informed by an unerring sense of what is theatrically effective.

so important a part of Italy's national identity was being

93


Unlike Wagner, however, Puccini did stick to the traditional

allots her giving us a sense of her character before we get to see

compositional process of using a librettist – two of them,

her sweep in in one of her impressive frocks.

in fact – for Tosca. It had been his first librettist, Ferdinando Fontana, who had first suggested Victorien Sardou's Tosca as a subject as early as 1889, though attempts by the thenunknown composer to attain the rights were unsuccessful. Puccini saw the play at least twice, in 1890 in Milan and 1895 in Florence, where the role of the fiery, jealous and unrepentant prima donna was played by the legendary Sarah Barnhardt, the dedicatee of the play. By the time the decision was made to go ahead with turning it into an opera, however, the rights had already been granted to the composer Alberto Franchetti. But he, happily, was easily persuaded to hand the project over to Puccini, along with what Luigi Illica had already produced of a libretto (in discussion with Sardou himself). Giuseppe Giacosa was then drafted in to help Illica adjust the libretto to the Puccini's needs, thus reuniting the team that had produced La bohème.

strokes of the musical brush, Puccini is able to fill in the details: the humorous touches that make us, in the audience, like Tosca and Cavaradossi even more throughout the course of their extended Act 1 duet; the extra touches in Act 2, by contrast, that are used to give us a clearer idea Scarpia's sadism, and what drives him. Cavaradossi is no noble, flawed hero like Verdi's Otello, but in Scarpia Puccini created a worthy successor to Iago just 13 years after Verdi's opera was unveiled. Scarpia might even be more insidious: a character whose charisma is difficult to resist, and who is gleeful about his hypocriticism. At least Iago had the decency to sing his so-called 'Credo' alone, one might say; Scarpia sings his 'Te Deum' in a church with full choral accompaniment, lacing the religious display with lust – a deliciously Italian take on a quintessentially Wagnerian

were, and his ideas were informed by an unerring sense of what

dichotomy.

three men set out to create a more rounded and economical drama than Sardou's play – conceived from the start as a star vehicle for Bernhardt. Sardou provided lengthy background stories for each of his principal characters, for example, which it was decided had no place in an opera libretto. In the opera itself, moreover, Puccini is able to use music to tell us all we need to know.

Tosca had its premiere on 14 January 1900 at Rome's Teatro Costanzi. It received a mixed reception, as Puccini tended to in an Italy going through something of an operatic identity crisis, as well as a political crisis – there was a bomb scare in the theatre, and the King was assassinated only a matter of months later. More conservative audience members had been concerned about its apparently rebellious elements; others felt the score to be unnecessarily crude, the opera's drama

The arresting opening chords paint a portrait of Scarpia as

barely better than the low-life melodrama of verismo. Others

unstinting, powerful and pompous, and provides a motif that

were puzzled at Puccini's apparent disregard for convention.

we hear to striking effect as a shadowy whisper – relieved of all

But Puccini's reasons for abandoning conventions have been

its puffed-up, strutting machismo – after his reign is brought

borne out. In Tosca he created one of his most enduring and

to an end by Tosca at the end of Act 2. We know right from

exhilarating masterpieces.

Cavaradossi's first notes, and the soaring lyricism of his first NSO 2018 19

way, having established the basics of these characters in broad

As before, the composer was very clear on what those needs he would be able to bring to life on the operatic stage. The

94

Where the opera is perhaps at its most masterful is in that

aria, that he is impetuous, passionate and hot-blooded. His

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exchanges with the escaped Cesare Angelotti tell us of the

Cavalleria Rusticana, the one-act opera by Mascagni that kicked

urgency of his political beliefs, while 'E lucevan le stelle', his

off the verismo movement was composed for a competition

twilit Act 3 aria presents a more pensive, melancholy side.

run by the Italian publisher Sonzogno (a rival to Ricordi,

Tosca herself is one of the many Puccinian heroines who we

the published of Verdi and, eventually, Puccini). Bartók's

first hear off-stage, with the musical material the composer

remarkable Duke Bluebeard's Castle, though it could hardly be more different, was similarly composed for a competition for one-act operas. There the similarities end, however.


Though some might detect some influence from Richard

in a double bill with Bartók's 'duo-drama'. Whether in the

Strauss, or especially Debussy (or even Paul Dukas, who

theatre, in concert, or on stage, Duke Bluebeard's Castle offers

composed an operatic setting Maurice Maeterlinck's Ariane

a gripping musico-dramatic experience, with the composer

et Barbe-Bleue in 1906) in what is essentially an early work,

filling in the structure of the libretto with vivid colour, offering

Bartók's Bluebeard is unmistakably stamped with the character

musical description that goes deep beneath the surface of the

of its great composer. Part of its distinctiveness, of course,

minimal external action.

comes from the libretto by the socialist writer Béla Balász, produced either for Bartók or his contemporary Zoltan Kodaly to set. Balász creates a text of astonishing focus and economy, rich in symbolism and psychology.

That action consists of little more than Judith gradually being shown what lurks behind each door in the castle. The first two reveal Bluebeard's cruel side. What is behind the other doors seems to reflect a different side of his personality – showing his

Both librettist and composer were determined to create an

garden, treasury and kingdom – but even these are shown to

opera that would be quintessentially Hungarian, without

be tainted with blood: the overwhelming C major burst that

having to be based on Romantic nationalism. The echoes of

accompanies the opening of the fifth door soon gives away to

Maeterlinck and Dukas are also completely outweighed by

the insistent motif that reminds us of the taint. As we progress

the fact that Balász entirely refocused his drama so that Judith

from one door to the next, Bluebeard tries increasingly to

and Bluebeard, both present throughout, vainly seek some

persuade Judith to stop asking, to abandon her quest to find

sort of reconciliation; in Dukas's work Bluebeard makes only a

out more about him.

fleeting appearance, while Ariane's only concern in that work is to make her escape with his other wives.

The more she asks, however, the more such an escape becomes impossible: a fact conveyed with increasing power by Bartók's

Balász also brings the focus entirely onto the opening of

score, until, by the time of the final door, the truth – and the

the doors – a much shorter episode as part of the whole of

impossibility of ever knowing it and not becoming captive –

Dukas's work – giving a clear framework for the dramatic

is fully revealed. We return to the pentatonic sounds that we

structure, which Bartók takes advantage of to stunning effect.

heard at the beginning, while Judith's ends up as the last of

In his setting of Balász's words, too, the composer was setting

Bluebeard's captives – she is the lady of the night, the other

Hungarian in a way that followed the patterns and emphases of

three women each associated with other parts of the day. They

the language more closely than ever before.

go back behind their door, leaving Bluebeard alone.

It has been argued that this reflects the influence of Debussy

Bartók completed his score in 1911. It failed to win a prize

(who did something similar with French in his setting of

in the competition, and had also to wait until 1918 for its

Maeterlinck's Pelléas et Mélisande) as well as Bartók's own

premiere at the Budapest Opera. By that time, Bartók had

work in collecting and studying folk songs – the writer Paul

shown his mettle as the composer of the ballet the Wooden

Griffiths has even suggested that Bartók's use of early recording

Prince, with which the opera would be premiered in a double

equipment in that last project was influential. Duke Bluebeard's

bill. Duke Bluebeard's Castle would remain his only opera: a

Castle, he writes, 'is unusually successful as an opera for the

masterpiece of concision displaying an unerring dramatic

ears alone, whether in concert performance on record, and

instinct. The period between its completion and its first

one might wonder whether Bartók the folksong-collector's

performance straddled the catastrophic years of World War

familiarity with recording, with listening to disembodied voice,

I, yet it did nothing to blunt the work's power, and though it

had some effect on the nature of the work.'

was a success that Bartók never sought to repeat (it remained

Certainly the opera's action is concentrated and internal, its focus on psychology as well as on the power of forbidden questions – and an unwillingness to answer them –placing it somewhere between Wagner's Lohengrin and Schoenberg's Erwartung (1909), a monodrama that is sometimes performed

his only opera), he applied many of the lessons learnt in its composition to his later masterpieces.

95


Music Discovery Lecture Concerts 勇源╳ NSO 探索頻道

10/28

Sun. 14:30 2018

我討厭音樂?!─ 伯恩斯坦的歌樂 A Bernstein Bash 主講與演唱/林慈音 女高音/賴玨妤 次女高音/翁若珮 男高音/林義偉 鋼琴/許惠品 伯恩斯坦: 《我討厭音樂》五首聯篇歌曲 《彼得潘》、《憨第德》、《西城故事》選曲

2018 年是伯恩斯坦的 100 週年誕辰,這位二十世紀的音樂巨人為當代音樂留下了豐富多元的資 產。身為指揮,他的名氣自是不在話下;身為作曲家,他更將美國音樂推向新的高峰,尤其是在 戲劇音樂的領域,從眾所皆知的《西城故事》,到歌劇《憨第德》,他將美國文化和語言,以獨 特的音樂風格發揚光大。在這場講座音樂會裡,我們將會介紹伯恩斯坦幾部戲劇音樂代表作,除 了《西城故事》和《憨第德》之外,還有《彼得潘》和戲劇效果十足的聯篇歌曲《我討厭音樂!》。

3/10

Sun. 14:30 2019

向布拉姆斯致敬 All about Brahms 96 NSO 2018 19

主講/焦元溥 次女高音/范婷玉 小提琴/蔡竺君、曾智弘 中提琴/呂昭瑩 大提琴/唐鶯綺 鋼琴/翁重華 布拉姆斯:《草原上的房子》,選自四十九首德國民歌 《星期天》,選自五首歌曲,作品 47 第一號鋼琴三重奏,作品 8,第一樂章 第二號絃樂四重奏,作品 51-2,第一樂章 第三號鋼琴四重奏,作品 60,第三樂章 兩首歌,給次女高音、中提琴與鋼琴,作品 91 鋼琴五重奏,作品 34A,第四樂章


Lecture in Mandarin

演奏廳 400

是少年老成的音樂奇才,也是名重一方的鋼琴大師,在浪漫狂潮風起雲湧中,布拉姆斯 重新詮釋了古典形式和絕對音樂的傳統,又以澎湃而洗練的深刻情感與匈牙利的吉普賽 民俗素材,創作了嚴謹而迷人、高妙又親民的傑作。他和華格納同樣尊敬貝多芬,也能 使用激進大膽的複雜和弦,卻又將其巧妙藏於古典外衣與優美旋律之中。對昔日經典的 深厚學養,則讓他無入而不自得,更有爐火純青的變奏功力。透過器樂、歌樂以及不同 重奏組合,讓我們在這場音樂會中探索布拉姆斯那看似保守卻引領時代、溫柔敦厚又劇 力萬鈞的音樂世界。

6/2

Sun. 14:30 2019

雙城記: 維也納與布達佩斯 Vienna & Budapest 主講/焦元溥 單簧管/孫正茸 小提琴/曾智弘 鋼琴/廖皎含、翁重華 女高音/林孟君 男中音/趙方豪 杜南伊:小提琴奏鳴曲,作品 21,第三樂章 巴爾托克:《對比》給小提琴、豎笛和鋼琴,第二樂章 柯大宜:《特蘭西瓦尼亞哀歌》,選自七首鋼琴小品,作品 11 康果爾德:〈瑪麗塔之歌〉,選自歌劇《死之城》 〈我個渴望,我的妄想〉,選自歌劇《死之城》 澤姆林斯基:〈林間深處〉,選自《德默爾之詩幻想曲》 阿爾瑪.馬勒:《林間深處》 荀貝格:〈簡單的歌〉,選自《酒館之歌》 〈選自阿卡汀之寫照的詠嘆調〉,選自《酒館之歌》 貝爾格:給豎笛與鋼琴的四首小品,作品 5 魏本:給鋼琴的變奏曲,作品 27,第二樂章 寇斯瑪:《枯葉》

一是魂牽夢縈的夢中之城,一是流連忘返的多瑙明珠,維也納與布達佩斯,哈布斯堡雙 元帝國的兩大首都,各以精緻典雅的文明與雍容氣派的風範為世人留下精彩深刻的文化 成就,更從世紀末土壤開出絕美花朵,影響力直至今日。有家喻戶曉的經典,也有罕為 人知的珠玉,透過 11 位作曲家的精彩創作,從後浪漫到序列主義,自西歐典範至民俗風 情,這場音樂會將為您細數名城故事,探索其華麗芬芳與時局動盪,看美好藝術下的暗 潮洶湧,傳統和革新的融合與衝撞。逸樂無失品味,榮耀伴隨悲涼,音樂能夠承載多少 世途滄桑?就讓我們一起來欣賞。

97


Chamber Concerts NSO 室內樂集

9/30

Sun. 14:30 2018

蕭斯塔科維契的絃音 Shostakovich on Strings

98 NSO 2018 19

NSO 獨奏家群

NSO MUSICIANS

小提琴/吳庭毓 李家豪 中提琴/吳彥廷 大提琴/黃日昇 鋼琴/林佳鋐

TING-YU WU, CHIA-HAO LEE, violin YEN-TING WU, viola JIH-SHENG HUANG, cello OSCAR LIN, piano

蕭斯塔科維契: 小提琴奏鳴曲 第二號鋼琴三重奏 五首雙小提琴與鋼琴小品 第三號絃樂四重奏

DMITRI SHOSTAKOVICH: Violin Sonata, Op.134, G major Piano Trio No.2, Op.67, E minor 5 Pieces for 2 Violins and Piano String Quartet No.3, Op.73, F major


演奏廳 400 600

12/22

Sat. 19:30 2018

浪漫琴絃 Strolling in the Musical Sky NSO 3+1 絃樂四重奏

NSO 3+1 String Quartet

小提琴/洪章文 蔡孟峰 中提琴/黃亞漢 大提琴/陳怡婷 鋼琴/吳紀禛

CHANG-WEN HUNG, MENG-FONG TSAI, violin YA-HAN HUANG, viola I-TING CHEN, cello CHICHEN WU, piano

孟德爾頌:第二號絃樂四重奏 荀菲爾德:《咖啡音樂》鋼琴三重奏 韓恩:鋼琴五重奏

FELIX MENDELSSOHN: String Quartet No. 2 in A minor, Op. 13 PAUL SCHOENFIELD: Cafe Music, for piano trio REYNALDO HAHN: Quintets for piano and strings

99


Chamber Concerts 室內樂集

3/16

Sat. 14:30 2019

布拉姆斯絃音 Brahms on Strings

100 NSO 2018 19

NSO 獨奏家群 小提琴/鄧皓敦 陳偉泓 中提琴/陳猶白 張尹芳 大提琴/黃日昇 林宜嫺 鋼琴/翁重華

NSO MUSICIANS HAO-TUN TENG, WEI-HONG CHEN, violin JUBEL CHEN, YIN-FANG CHANG, viola JIH-SHENG HUANG, YI-HSIEN LIN, cello CHUNG-HUA WENG, piano

布拉姆斯:第一號鋼琴三重奏 第二號絃樂六重奏

JOHANNES BRAHMS: Piano Trio No. 1 Sextet for Strings, No.2, Op.36, G major


演奏廳 400 600

6/16

Sun. 14:30 2019

皮亞佐拉的古典與探戈 Circo Ensemble & NSO 小提琴/王致翔、曾智弘 中提琴/蔡秉璋 大提琴/黃日昇 低音提琴/蘇億容 手風琴/李承宗 吉他/羅貝多.薩亞斯 鋼琴/陳永禎

CHIH-HSIANG WANG, CHIH-HONG TSENG, violin PING-CHANG TSAI, viola JIH-SHENG HUANG, cello YI-JUNG SU, double bass CHEN-CHUNG LEE, bandoneon ROBERTO ZAYAS, guitar YUNG-CHEN CHEN, piano

皮亞佐拉:《天使組曲—序曲》 《探戈五韻》 等 李承宗:《如逝的青春》、《與人水跡》 《探戈戰線》等

ASTOR PIAZZOLLA: Introducción al ángel, Five Tango Sensations, etc. CHEN-CHUNG LEE: Light of Youth, Water and Walker Blues, Tango Practice etc.

101


What is composition? 焦點講座 Lecture Concerts 10/20

Sat. 14:30 2018

樂讀艾倫坡 Edgar Allan Poe Set To Music 主講/焦元溥 小提琴/李宜錦 鄧皓敦 中提琴/黃瑞儀 大提琴/連亦先 豎琴/解瑄 女高音/黃莉錦 男中音/葉展毓、趙方豪 低男中音/羅俊穎 鋼琴/許惠品 卡普萊:《幻想故事:紅死神的面具》 德布西:未完歌劇《亞瑟家的沒落》

102 NSO 2018 19

絢麗筆法超群絕倫,怪異恐怖拍案驚奇,即使近 170 年過去,愛倫坡的詩文與小說仍然持續煽惑人心, 在文學領域之外也成為音樂、影視甚至當代流行文 化的靈感源泉。昏聵國王自欺欺人,在劫難逃害人 害己—法國作曲家卡普萊以小說《紅死神的面具》 為靈感譜成的幻想樂曲,透過豎琴與絃樂帶來驚悚 懸疑。鍾情愛倫波作品的德布西,曾想將其小說《亞 瑟家的覆滅》譜成歌劇。最後雖未完成,遺稿仍有 令人驚嘆的不凡手筆。本場音樂會是其臺灣首演, 也以此曲為德布西逝世百年紀念致意 (1862-1918)。 曲目精彩難得,愛樂者切勿錯過!


贊助:李陳麗霞基金

11/25

Lecture in Mandarin

演奏廳 400

Sun. 14:30 2018

樂讀克莉絲蒂—向謀殺天后致敬 A Musical Tribute to the Queen Of Murder 主講/焦元溥 長笛/安德石 女高音/許育甄 男中音/李增銘 鋼琴/盧易之 陳慧宇 皮亞佐拉:給長笛獨奏的探戈練習曲選曲 浦契尼:〈若要我違背誓言……我為藝術而生,為愛情而活〉,選自歌劇《托斯卡》第二幕 米勒:《與卿同在半時辰》華爾滋 葛利格:〈皮爾金的小夜曲〉、〈蘇爾維琪之歌〉,選自《皮爾金》 德布西:〈給埃及女郎〉,選自《六首古代墓誌銘》 尼洛.羅塔:愛情主題,選自《尼羅河謀殺案》電影配樂 拉赫瑪尼諾夫 / 盧易之:第四號鋼琴協奏曲,第二樂章,改編給鋼琴獨奏 蒙沙維格:給伊薇特的小奏鳴曲,第三樂章:稍快板 亞當:〈……媽媽我想跟妳說〉,選自喜歌劇《鬥牛士》

敘事角度屢出奇招,結局翻轉耐人尋味;譯成超過 103 種語言,總銷量突破 20 億本, 能和聖經與莎士比亞鼎足而三的,唯有推理女王克莉絲蒂!然而這位人類史上最 暢銷的著書作家,不僅是不折不扣的古典音樂迷,甚至也曾懷抱舞臺夢想,要當 聲樂家、作曲家或鋼琴家。「小心,兇手就在你身邊!」東方快車路顛簸,尼羅 河水掀波濤,關燈深陷捕鼠器,夜暗驚聞童謠聲—這場別出心裁的音樂會將從她 的小說、劇本與人生,以精挑細選的美好曲目追索克莉絲蒂的音樂足跡,和白羅 偵探與瑪波小姐一同重回案發現場,向永恆的謀殺天后致敬! 103


Read Between Notes 音樂與朗讀

4/21

Sun. 14:30 2019

《無名者》 Anonymity 音樂策劃/焦元溥 朗讀/胡晴舫 小提琴/李宜錦、鄧皓敦 中提琴/黃瑞儀 大提琴/連亦先 鋼琴/王佩瑤

「找個無雲的夜晚,看一眼星空,你就會領悟文 學的意義。」穿梭國家城市,優游散文小說,寫 評論亦寫人情,胡晴舫的文字向來令人著迷,以 溫柔敦厚的底蘊涵養剔透銳利的聰明。在散文集 《無名者》,她以說與不說的幽微描摹愛情的奧 義,在滄桑變化的人世追索文學藝術的永恆。「星 星只說最純淨的語言……不用一座大而無當的巴 比倫塔,你亦能懂得另一個人類的眼神。星星一 點也不神秘,他們的存在便是為了所有迷路的水 手領航」因為愛,無名亦有名。這次,讓我們在 音樂裡感受文學,聆聽胡晴舫,閱讀胡晴舫。

104 NSO 2018 19


Reciting in Mandarin

5/18

演奏廳 400

Sat. 19:30 2019

《孤獨國》 Land of Solitude 音樂策劃/焦元溥 朗讀/紅樓詩社 小提琴/陳玟佐 長笛/宮崎千佳 單簧管/ TBD 鋼琴/許惠品

詩,可以怎麼讀?詩歌朗誦,又有多少種方法?無論你對詩與朗誦有何 期待,紅樓詩社都將以精練又多元的藝術表現,帶來超乎想像的驚奇與 感動。在這場別開生面的演出中,詩社以周夢蝶的《孤獨國》出發,帶 來扣人心弦的現代詩劇場:國王沉默,誰知孤獨也許是戲?但被擺布的 何止戲子,理型與真實之間又有多少掙扎無奈?觀國內外詩作彼此呼應, 聽詩句如聲響交織對位,欣賞文學傑作與音樂精品的巧妙互動,NSO 與 紅樓詩社邀請您一同讀詩、賞樂,看看創意能如何奔放揮灑,青春又可 以沉澱出何等深刻!

105


Family Fun Time 大手牽小手

演奏廳 350

12/9

Sun. 11:00 14:00 2018

媽媽說故事 Dear Little Ones

腳尖上的柴科夫斯基 Tip Toe Tchaikovsky 說書人/張尹芳、李宜錦 小提琴/李宜錦、鄧皓敦 中提琴/黃瑞儀 大提琴/連亦先 豎琴/解瑄 打擊/楊壁慈 鋼琴/許惠品

YIN-FANG CHANG, I-CHING LI, storyteller I-CHING LI, HAO-TUN TENG, violin GRACE HUANG, viola YI-SHIEN LIEN, cello SHUEN CHIEH, harp PI-TZU YANG, percussion VERA HUI-PIN HSU, piano

芭蕾舞劇《胡桃鉗》、《天鵝湖》、《睡美人》之選曲、 第六號交響曲、《1812》序曲之選段

Selections from The Nutcracker, Swan Lake, Sleeping Beauty , Symphony No. 6, 1812 Overture etc.

芭蕾,是腳尖上的藝術:而譜寫出三大芭蕾舞劇《胡桃鉗》、《天鵝 湖》、《睡美人》的柴科夫斯基,猶如腳尖藝術的王子。 在充滿浪漫並帶著一點魔法氛圍的 12 月裡演出的「媽媽說故事」,是 NSO 每年為小朋友設計製作的音樂會。今年樂團駐團指揮尹芳媽媽將 化身為柴科夫斯基,與宜錦媽媽一起,帶著大小孩一起進入柴科夫斯 基夢幻的芭蕾音樂世界:

106 NSO 2018 19

胡桃鉗王子與克拉克在糖果王國的奇遇,在孤塔沈睡百年被王子以真 愛之吻喚醒的公主,以及《天鵝湖》淒美動人的天鵝公主。除了著名 的三大芭蕾舞劇,柴科夫斯基還寫了許多耳熟能詳,不同風貌的音樂 都將演出,如充滿夏日水塘波光粼粼意境的《船歌》、以甜美旋律觸 動俄國文豪托爾斯泰落淚的《如歌的行板》,柴科夫斯基自詡最滿意 的作品《悲愴》以及激昂的《1812 序曲》。


NSO LIVE 媽媽說故事 NSO 成立 30 餘年,許多樂團裡的成員都是「聽著 NSO 的音樂會長大」,在學成歸國後加入 NSO、 結婚、生子。看著年輕團員的孩子們在台下看爸媽演出的興奮模樣,於是,我們有了這樣的想法: 讓 NSO 年輕音樂家們現身說法,像是跟自己的孩子說故事一般,也跟學齡前小朋友一起聽古典音樂、 說音樂家的故事。 除了現場演出,我們也將音樂會內容重新編排,錄製成 CD,希望「媽媽說故事」能夠陪伴孩子們成 長中的每一個重要時刻。

《頑皮莫札特》音樂故事 CD 2016/1 發行

《聽見貝多芬》音樂故事 CD 即將發行,敬請期待

請至 NSO 音樂會現場購買


西班牙瓦倫西亞蘇菲亞皇后劇院與拉夫拉前衛劇團《尼貝隆指環》系列 Palau de les Arts Sofía, Valencia and La Fura dels Baus | The Ring Cycle 德語演唱|中英文字幕|演出全長約 5 小時,含 2 次中場休息 Performed in German with English & Chinese surtitles Approx. 5 hours including 2 intermissions

華格納:《齊格飛》 RICHARD WAGNER: Siegfried 臺中國家歌劇院指環系列 NTT Ring Cycle

2018

10/10 10/12

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NSO 2018 19

Wed. 17:00 Fri. 17:00

10/14

Sun. 15:00

臺中國家歌劇院.大劇院 Grand Theater, National Taichung Theater

票價 800/1200/2000/3200/4600/6000/8000 2018/8/1 票券啟售,相關資訊請密切關注臺中國家歌劇院官方網站 Visit www.npac-ntt.org for more information.

主辦單位| 共製單位|西班牙瓦倫西亞蘇菲亞皇后劇院 義大利佛羅倫斯五月音樂節 A co-production of Palau de les Arts Reina Sofía and Maggio Musicale Fiorentino


指揮/呂紹嘉 導演/卡盧斯.帕德利薩(拉夫拉前衛劇團) SHAO-CHIA LÜ, conductor CARLUS PADRISSA, stage director (La Fura dels Baus) 執行導演/艾斯特邦.穆諾茲 燈光執行/吉尼亞.米藍達 舞台設計/羅朗.歐貝特 燈光設計/彼得.凡派瑞 服裝設計/裘.烏洛茲 影像設計/法朗.埃樂 英文字幕 /強納森.狄恩 ESTEBAN MUÑOZ, revival stage director GIANNI PAOLO MIRENDA, lighting realizer ROLAND OLBETER, set designer PETER VAN PRAET, lighting designer CHU UROZ, costume designer FRANC ALEU, video designer JONATHAN DEAN, English subtitle 國家交響樂團 (NSO) NATIONAL SYMPHONY ORCHESTRA 齊格飛/文森.沃夫史坦納 迷魅/羅德爾.羅塞爾 流浪者/尤卡.拉斯勒能 阿伯利希/內森.貝格 法夫納/安迪亞.席維斯特利 艾達/張嘉珍 布倫希德/蘇珊.布洛 林中鳥/林孟君 VINCENT WOLFSTEINER, Siegfried RODELL ROSEL, Mime JUKKA RASILAINEN, Der Wanderer NATHAN BERG, Alberich ANDREA SILVESTRELLI, Fafner JULIANA JIA-JEN CHANG, Erda SUSAN BULLOCK, Brünnhilde LIN MENG-CHUN, Waldvogel

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聲樂指導/馬丁.安德森 鋼琴排練/許惠品 特技空間與戊己劇場 MARTIN ANDERSSON, vocal coach VERA HUI-PIN HSU, piano accompanist ACRODYNAMIC & WUGI TROUPE © Tato Baeza


Meet The Guest Artists 認 識客席音樂家

小提琴/艾拉貝拉.史坦巴赫 ARABELLA STEINBACHER, violin

艾拉貝拉.史坦巴赫曾與波士頓交響、巴伐利亞廣播交 響、巴黎管絃樂團、克里夫蘭管絃、紐約愛樂、NHK 各 大交響樂團一起演出,並與馬捷爾、杜南伊、夏伊、布 隆許泰特、艾森巴哈、杜特華、聶澤-賽金等多位指揮大 師合作。她於 2009 年 BBC 逍遙音樂節、2011 年紐約卡內 基音樂廳,以及 2013 年薩爾茲堡音樂節的首次登臺皆獲 得國際媒體的高度讚譽。 其最新專輯與尤若夫斯基指揮的柏林廣播交響樂團合作。 獲得許多國際音樂獎項和提名的她,曾兩次榮獲 ECHO Klassik 大獎。 史坦巴赫三歲開始習琴,於慕尼黑音樂院師事舒馬茜蔻 (Ana Chumachenco )。目前演奏 1716 年製的史特拉第瓦里 名琴「布斯」,由日本音樂基金會慷慨出借。 Arabella Steinbacher appears with major orchestras such as the Boston Symphony, Bavarian Radio Symphony, Orchestre de Paris, Cleveland, New York, NHK and performs with conductors such as the late Lorin Maazel, Christoph von Dohnányi, Riccardo Chailly, Herbert Blomstedt, Christoph Eschenbach, Charles Dutoit, Yannick Nézet-Séguin. Her debuts at the Salzburger Festspiele 2013, the "BBC-Proms" 2009 and at the New York Carnegie Hall in 2011 have been praised by international press.

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Her latest CD release is an album with Berlin Radio Symphony Orchestra and Vladimir Jurowski. Among many international music prizes and nominations, she was awarded the ECHO Klassik twice. Arabella Steinbacher plays the violin since the age of three and studied with Ana Chumachenco at the Munich Academy of Music. Arabella Steinbacher currently plays the 1716 "Booth" Stradivari, generously loaned by the Nippon Music Foundation.

2018/9/14 開季音樂會—交響啟示錄 Season Opening Concert


女高音/林慈音

女中音/翁若珮

GRACE LIN, soprano

JO-PEI WENG, alto

獲英國皇家音樂院特優演唱文憑及音樂學士,國立藝專 音樂科畢業。

翁若珮於 2005 年取得美國約翰霍普金斯大學琵琶蒂音樂 院碩士文憑,同年 10 月獲得第四屆建華愛樂古典菁英聲 樂首獎。2007 年 5 月赴日本橫須賀參加第十二屆新聲歌 唱大賽,榮獲亞洲區優勝。曾參與重要演出包括馬斯卡 尼歌劇《鄉村騎士》;浦契尼歌劇《修女安潔莉卡》、《強 尼史基基》、《蝴蝶夫人》、《瑪儂.雷斯柯》;漢普 丁歌劇《韓賽與葛麗特》;華格納歌劇《尼貝龍根指環》; 莫札特歌劇《魔笛》、《費加洛婚禮》;小約翰史特勞 斯歌劇《蝙蝠》;韓德爾神劇《猶大馬加比斯》、《彌 賽亞》、《所羅門》等,並於金希文歌劇《黑鬚馬偕》 及錢南章歌劇《畫魂》世界首演中擔綱演出。2012 年她 獲國立臺北藝術大學頒發傑出校友獎。2014 年 3 月受北 京國家大劇院邀請,參與大劇院與馬林斯基歌劇院共同 製作歌劇《尤金.奧涅金》,飾演奧爾嘉。並獲葛濟夫 大師邀請赴俄羅斯參加聖彼得堡白晝音樂節。

自 2000 年返台以來,在舞台上屢有傑出表現,活躍於國 內外歌劇、神劇、藝術歌曲等演唱領域,近期演出包括: 2018 年演出臺北愛樂管絃樂團《女人皆如此》,創世歌 劇團《卡門》;2017 年演出臺中國家歌劇院《女武神》, 國家交響樂團(NSO)講座音樂會《小說與音樂-格雷 畫像與歌劇魅影》、《浦契尼歌劇之女英雄記事簿》, 台北市交響樂團大安森林公園音樂會《花絮繽紛舞佳 節》、《附管與名歌手的春吶》,NSO《英雄再起》演 出當代知名作曲家 Brett Dean 新作《哈姆雷特狂想》(亞 洲首演),2016 年澳門聲樂節獨唱會《黎明到黃昏》, 台灣聲樂協會《莎士比亞 200 週年音樂會》等等。 Graduated from the Royal Academy of Music in London with Performance Diploma with Distinction. Grace Lin has developed a successful career since coming back to Taiwan in 2000, which makes her one of the most sought-after singers in in Taiwan and abroad. She has appeared in concerts and operas with major orchestras and companies. Her recent performances include Donna Anna(Don Giovani), Fiordiligi (Cosi fan tutte), Michaela (Carmen), Helmwige (Die Walküre), Asian premier of the renowned composer Brett Dean's work From Melodious Lay (A Hamlet Diffraction) with National Symphony Orchestra, From dusk till dawn-a recital of English songs, A Vow to the Underworld Spring, composed by Professor Tzeng Dau Hsiong. Bach Christmas Oratorio, Elias, Mahler Symphony No. 2, Fidelio (NSO), Ariadne auf Naxos, among others.

In 2005, Jo-Pei Weng received her Master of Music degree in Vocal Performance from the Peabody Conservatory of Johns Hopkins University in Baltimore, and won the first prize of the Young Artists Show Case from Bank SinoPac. Weng is also the winner of the 12th New Voice competition (Asia region) in Yokosuga Japan in 2007. Her oratorio credits include performances with the Taipei Gloria Oratorio Choir, Moment Musical Orchestra, Taipei Symphony Orchestra and Taipei National University of the Arts, Peabody Institute, Baltimore Concert Singners. As an opera singer, Weng has performed the role of Principessa from Puccini's Suor Angelica, Zita from Gianni Schicchi, Suzuki from Madama Butterfly, and many other roles. She was awarded the Outstanding

Grace Lin was made an Outstanding Alumnus of National Taiwan University of the Arts in 2016.

Alumni Award by National Taipei University of the Arts in 2012. In March of 2014 Weng was invited to play Olga in a performance of Tchaikovsky's Eugene Onegin at Beijing's National Centre for the Performing Arts. In July of 2014, renowned conductor and opera director Valery Gergiev invited Weng to perform at the Mariinsky Theatre in Russia, making her the first Taiwanese vocalist to perform in St. Petersburg's White Nights Festival.

2018/9/22 莫札特與魏德曼 1 Mozart & Widmann 1

2018/9/22 莫札特與魏德曼 1 Mozart & Widmann 1

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男高音/湯發凱

男低音/羅俊穎

FA-KAI TANG, tenor

JULIAN LO, bass

男高音。臺灣臺北人。接觸音樂源自於錦和國小的管樂 團,擔任小號手。就讀於五峰國中的普通班,但以主修 小號考上入復興高中音樂班,師事聶中興。副修鋼琴, 師事林香蒂。聲樂啟蒙於鄧吉龍老師,於高三轉修聲樂, 師事何康婷教授。2000 年就讀臺北藝術大學,隨唐鎮教 授領略與精進聲樂藝術。2004 年因為車禍昏迷及復健中 斷學習,延後畢業。經過鍥而不捨的努力後,在 2007 年 考取國立臺北藝術大學研究所,跟隨唐鎮教授學習迄今。 2010 年考入德國國立漢堡音樂暨戲劇學院。2013 年以飾 演莫札特《費加洛婚禮》中巴西里歐一角和個人歌劇詠 嘆調獨唱會,獲得歌劇類最高演唱文憑。現任教於私立 天主教光仁中學、淡江與復興高中音樂班,東海及實踐 大學歌劇與通識課、八角塔男生合唱團、拉縴人男聲與 青年合唱團以及輔仁大學合唱團聲樂指導。

男低音羅俊穎畢業於東吳大學音樂系研究所碩士班。 2005 年於「全日本演奏家協會」主辦之「歌劇詠嘆調大 賽」中獲得首獎。隨後考入日本「藤原歌劇團」。2005 年在歌劇《魔笛》中擔任大祭司薩拉斯妥一角,首度登 上日本歌劇舞臺。此後陸續在亞洲地區三十多部歌劇中 擔任主要角色。演出經驗豐富,並以深沉濃郁的歌聲及 超群的存在感備受讚譽。2017 年預定演出包括有《浮士 德》( 臺中 )、《外套》、《強尼史基基》( 臺北 )、《尤金 • 奧尼根》( 東京 )、《魔笛》( 柬埔寨 ),以及童話親子歌 劇《月亮》。

Tang studied vocal music in the Taipei National University of the Arts and the graduate school, under David Ji-Lung Teng, KangTing Ho and Chen Tang; studied piano under Hsiang-Ti Lin and Ho-Hui Lin. With his excellent performance, Tang earned his master's degree in opera from the Hochschule für Musik und Theater Hamburg in 2012. Subsequently, in 2013, he gained the highest diploma in opera singing from HFMT Hamburg. Tang received severals awards, including The Best Asian Prize and Akishino Prize of Japanese Song in the International Francesco Paolo Tosti Singing Competition 2007. In November 2007, he won The Best Singing in the NTD Television International Vocal Contest and won the TNUA Concerto Contest of New Artists as well. He was awarded the Gold Prize in solo singing in 2008 Hong Kong International Youth & Children Choir Festival, and the second prize in Mozart Vocal Contest in Hamburg in 2011. He also won the Tainan Chimei Arts Award twice in 2012 & 2014. Tang is a full-time educator, teaching in Tankan and Fu-shing high school, Tung-hai and Shi-chien University. Tang also works currently as the vocal coach for Taipei Male Choir, The Octangle Singers, and the Fu-Jen University Chorus.

2018/9/22 莫札特與魏德曼 1 Mozart & Widmann 1 2019/2/22-24, 3/8, 15 托斯卡 TOSCA

現為日本藤原歌劇團團員、東京市立歌劇協會會員、臺 灣聲樂家協會會員。近年亦展開教學工作,受邀於國內 外各地舉辦大師班,並任教於臺灣新店高中音樂班。 Julian Lo studied and obtained his M. Music at Soo-Chow University in Taiwan. He was the first-prize winner of Japan Performers Association's Operatic Aria Competition in 2005, and was awarded Best Young Singer of the Year at the same time. He was then immediately accepted as a member of the famous Fujiwara Opera Company & The Japan Opera Foundation and made his Japanese stage debut as Sarastro in Die Zauberflöte. Since then, he has been offered more than 30 principle roles in many opera productions. In 2017 season, He is going to sing Méphistophélès in Faust, Prince Gremin in Eugene Onegin, Sarastro in Die Zauberflöte, and St.Petrus in Der Mond. Julian Lo was highly praised for his deep velvety voice and strong presence on stage. A member of Fujisawa Opera Company and Tokyo Opera association, Julian Lo is active as a performer in Taiwan and abroad, and is recognized as one of the best bass singers in the country.

2018/9/22 莫札特與魏德曼 1 Mozart & Widmann 1 2019/2/22-24, 3/8,15 托斯卡 TOSCA


小提琴/曾宇謙

鋼琴/史蒂芬.賀夫

YU-CHIEN TSENG, violin

STEPHEN HOUGH, piano

先後獲得新加坡國際小提琴比賽、西班牙薩拉沙蒂國際 小提琴比賽及韓國尹伊桑國際小提琴比賽第一名及 2015 年第十五屆柴可夫斯基國際音樂小提琴大賽。

賀夫是一位具有獨特見解的鋼琴家,也是作家兼作曲家。 他在 2010 年榮獲英國皇家愛樂樂團器樂演奏獎,並於 2014 年 1 月獲頒大英帝國指揮官勳章 (CBE)。

已與許多世界著名交響樂團合作。2016 年與環球唱片 DG 簽約,於 2017 年發行首張獨奏專輯、2018 年發行第二張 專輯。

賀夫的多張專輯獲獎連連,包括德意志唱片獎、金音叉 獎、音樂世界及多項葛萊美獎提名。賀夫四十多部作品 由約瑟夫.溫伯格出版。賀夫也經常為《衛報》、《泰 晤士報》、《每日電訊報》和 BBC 音樂雜誌撰文。《以 經為禱》一書於 2007 年由 Continuum and Paulist 出版。

作為獨奏家,曾宇謙曾與費城管絃、倫敦愛樂、馬林斯 基劇院、比利時國家、西班牙納瓦爾交響樂團、新加坡 等交響樂團、中國愛樂、香港小交、NSO 等知名樂團合 作。指揮曾與葛濟夫、貝洛拉維克、艾薩-佩卡.沙隆年、 凡斯卡、普雷特涅夫和卡斯普契克等大師合作 曾宇謙現在使用義大利製琴大師瓜奈里在 1732 年製作的 小提琴 Castelbarco-Tarisio,由奇美博物館提供。 Yu-Chien (Benny) Tseng won first prizes at the Singapore International Violin Competition, Sarasate Violin Competition in Pamplona, Spain and the Isang Yun Violin Competition in Korea as well as the XV International Tchaikovsky Violin Competition in 2015. Tseng has played as a soloist with the Philadelphia Orchestra, London Philharmonic Orchestra, Mariinsky theatre Orchestra, National Symphony Orchestra of Belgium, Orquesta Sinfónica de Navarra, Singapore Symphony Orchestra, Taiwan Philharmonic, China Philharmonic Orchestra, Hong Kong Sinfonietta and many others. He has worked with Maestros such as Valery Gergiev, Jiří B lohlávek, Esa-Pekka Salonen, Osmo Vänskä, Jacek Kaspszyk, and Mikhail Pletnev.

賀夫現居倫敦,是皇家音樂學院的客座教授,在母校曼 徹斯特皇家北方學院擔任鋼琴研究國際主席,並任教於 茱莉亞音樂學院。 Stephen Hough is regarded as a renaissance man of his time. He was awarded the Royal Philharmonic Society Instrumentalist Award in 2010, and in January 2014 was made a Commander of the Order of the British Empire (CBE). Many of Mr. Hough's catalog of over 50 albums have garnered international prizes including the Deutscher Schallplattenpreis and eight Gramophone Magazine Awards. Mr. Hough has composed over 40 works published by Josef Weinberger. A noted writer, Mr. Hough regularly contributes articles for The Guardian, The Times, The Telegraph and BBC Music Magazine. His book, The Bible as Prayer, was published by Continuum and Paulist Press in 2007. He is also a member of the faculty at The Juilliard School.

Tseng plays the 1732 Giuseppe Guarneri del Gesu Ex "CastelbarcoTarisio" on loan from the Chi-Mei Culture Foundation, Taiwan.

2018/10/25,11/5 來自臺灣—2018 美國巡演及行前音樂會 From Formosa 2018 U.S. Tour & Pre-tour Concert

2018/10/30-11/3 來自臺灣— 2018 美國巡演 From Formosa 2018 U.S. Tour

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指揮/瓦希利.辛奈斯基

大提琴/納瑞克.哈克納札恩

VASSILY SINAISKY, conductor

NAREK HAKHNAZARYAN, cello

被譽為當今的偉大俄國指揮家之一,瓦希利.辛奈斯基 受過培養出穆辛和康德拉辛等傳統俄國指揮名家的教育 薰陶,以對俄、德、英曲目的詮釋而聞名。辛奈斯基也 是位相當傑出的歌劇指揮家。從 2010 年到 2013 年間,他 曾任莫斯科波修瓦劇院管絃樂團的首席指揮與音樂總監。 辛奈斯基的國際演出生涯在 1973 年於國際知名的柏林卡 拉揚指揮大賽奪金後一飛沖天。在那不久之後即被任命 為拉脫維亞國家交響樂團的首席指揮 (1976-1987),最近 被命為名譽指揮。後來接下莫斯科愛樂的首席指揮與音 樂總監之位,帶領許多備受矚目的俄國與巡演計畫。辛 奈斯基目前擔任 BBC 愛樂的名譽指揮和捷克馬爾默交響 樂團的榮譽指揮。在 2018/19 樂季,他將指揮 BBC 愛樂、 杭州愛樂、赫爾辛基愛樂、新日本愛樂、俄國國家交響 樂團、猶他交響樂團等。

自 2011 年以 22 歲之姿在第十四屆國際柴可夫斯基大賽 獲得大提琴首獎和金獎以來,哈克納札亮在他這一輩已 名列國際頂尖大提琴家之榜。他已與全球各大樂團合作 演出過,並與世界頂尖指揮同臺。他也積極展開室內樂 與獨奏會,曾於世界各地的知名音樂廳演出,包括阿姆 斯特丹皇家大會堂、柏林音樂廳和卡內基音樂廳,並於 2017 年在整個東南亞地區盛大巡迴演出。

One of the great Russian conductors schooled in the tradition of Musin and Kondrashin, Vassily Sinaisky is known for his interpretations of Russian, German and English repertoire. Sinaisky also has a distinguished pedigree as an operatic conductor and was Chief Conductor and Music Director of the Bolshoi Theatre, Moscow from 2010 to 2013.

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Vassily Sinaisky's international career was launched in 1973 when he won the Gold Medal at the prestigious Karajan Competition in Berlin. Soon after, he became Chief Conductor of the Latvian National Symphony Orchestra from 1976 to 1987 and has recently been appointed Conductor Emeritus. As Music Director and Principal Conductor of the Moscow Philharmonic, he led numerous high-profile projects both in Russia and on tour. Sinaisky now holds the positions of Conductor Emeritus of the BBC Philharmonic and is Honorary Conductor of the Malmö Symphony Orchestra.

哈克納札亮曾獲選 BBC 「新秀藝術家」,目前是維也納 音樂廳的「璀璨藝術之星」。《洛杉磯時報》在他 2012 年於洛杉磯愛樂首次亮相時報導:「他對樂器的掌控非 同凡響」,絃樂雜誌《The Strad》則形容他「才華洋溢, 輝芒耀眼」,《舊金山紀事報》也盛讚「距離卓偉不凡 已無毫釐之差」。 Since winning the Cello First Prize and Gold Medal at the XIV International Tchaikovsky Competition in 2011 at the age of 22, Narek Hakhnazaryan has established himself internationally as one of the finest cellists of his generation. Hakhnazaryan has performed with most major orchestras across all continents, with many of the world's finest conductors. An eager chamber and recital performer he has also performed in many of the world's recital halls including the Concertgebouw Amsterdam, Berlin Konzerthaus, and Carnegie Hall and in 2017 toured extensively across SE Asia. Hakhnazaryan is a former BBC New Generation Artist and is currently a Great Talent of the Vienna Konzerthaus. Of his LAPO debut in 2012, the LA Times said "His command of the instrument is extraordinary", The Strad has described him as "dazzlingly brilliant" and the San Francisco Chronicle "nothing short of magnificent."

In the 2018/19 season Sinaisky w i l l conduct the BBC Philharmonic, Hangzhou Philharmonic, Helsinki Philharmonic, New Japan Philharmonic, Russian National Symphony Orchestra, Taiwan Philharmonic and Utah Symphony. 2018/11/23 俄國風雲 Sinaisky & NSO

2018/11/23 俄國風雲 Sinaisky & NSO


小提琴/林昭亮

鋼琴/嚴俊傑

CHO-LIANG LIN, violin

CHUN-CHIEH YEN, piano

林昭亮出生於臺灣,15 歲時負笈至紐約茱莉亞音樂院求 學。1980 年她在袓賓.梅塔指揮下與紐約愛樂演出孟德 爾頌小提琴協奏曲,成為他演奏事業的起點。此後,他 受邀與世界各大樂團合作演出。31 歲時,茱莉亞音樂院 邀請他回母校任教。2006 年,林昭亮受聘為美國萊斯大 學教授。 作為當代音樂的倡導者,林昭亮讓許多作曲家把新作品 題獻於他。近來,他受邀於紐約愛樂、底特律交響樂團、 慕尼黑愛樂、多倫多交響樂團、辛辛那提交響樂團、納 許維爾交響樂團、皇家愛樂合作協奏演出。 林昭亮使用 1715 年製的史特拉底瓦里名為「泰坦」以及 2000 年齊格蒙多維茲製的小提琴。他的專輯曾經得到留 聲機年度唱片、葛萊美獎提名及企鵝指南三星帶花的肯 定。 Cho-Liang Lin was born in Taiwan. At the age fifteen, Lin traveled alone to New York and auditioned for the Juilliard School. A concert career was launched in 1980 with Lin's debut playing the Mendelssohn Concerto with the New York Philharmonic and Zubin Mehta. He has since performed as soloist with virtually every major orchestra in the world. At the age of 31, the Juilliard School, his alma mater, invited Lin to become faculty. In 2006, he was appointed professor at Rice University. Cho-Liang Lin has championed composers of our time. His efforts to commission new works have led a diverse field of composers to write for him. Recently, he was soloist with the New York Philharmonic, Detroit Symphony, Munich Philharmonic, Toronto Symphony, Cincinnati Symphony, Nashville Symphony and Royal Philharmonic. Lin performs on the 1715 Stradivari named "Titian" or a 2000 Samuel Zygmuntowicz. His albums have won Gramophone Record of The Year, Grammy nominations and Penguin Guide Rosettes.

2018/12/21, 22 美國春秋 American Classics

嚴俊傑自 1997 年十三歲獲第三屆國際柴科夫斯基青少年 音樂大賽第三獎起,便活躍於國內外樂壇;並以獨奏家 身份與多位指揮名家及著名樂團合作演出並受邀在世界 各地舉行演奏。嚴俊傑立下多項創舉:於台灣首演柴科 夫斯基第二號鋼琴協奏曲;跨界與導演張艾嘉於上海世 博合作演出;與國家交響樂團 (NSO) 於 NAXOS 世界首 錄陳其鋼的鋼琴協奏曲《二黃》;並於 2016 年開創世界 創舉一日三饗音樂節,於一天內演奏三場不同獨奏會, 備受佳評。嚴俊傑目前任教於國立臺灣師範大學,並受 邀至國際各大音樂節講學及演出如 Music Fest Perugia, Colburn Piano Festival 及 Almalfi Coast Music Festival 等。 嚴 俊傑於 2008 年獲第十九屆金曲獎「最佳古典演奏獎」, 並於 2017 年創辦國際台北大師鋼琴藝術節,致力於台灣 音樂藝術之推動。 One of the most distinctive pianist of his generation in Taiwan, Pianist Chun-Chieh Yen enjoys a vibrant career of performing and teaching. Mr. Yen has performed with many of the world's major orchestras such as the Russian National Orchestra, Staatsorchester Rheinische Philharmonie, and the Taiwan Philharmonic. He also enjoyed collaborations with conductors including Mikhail Pletnev, Henry Mazer, Uri Mayer, Shao-Chia Lü, and Günther Herbig. Mr. Yen's debut album on Universal earned him Best Classical Performer at the 19th Golden Melody Awards in Taiwan. In recent seasons Mr. Yen has completed different projects including performing Chopin's complete 27 Etudes in one recital; premiering Tchaikovsky's Piano Concerto No. 2 in Taiwan; world premier recording of Qigang Chen's Piano Concerto Erhuang on Naxos; and giving three different recitals on the same day in "One Day Piano Festival x 3". Mr. Yen is currently full time Assistant Professor at the National Taiwan Normal University. He also serves as faculty member at Music Fest Perugia, Almalfi Coast Music Festival in Italy and Colburn Piano Festival in the states. He is also the founder of International Taipei Maestro Piano Festival. 2018/12/31 歲末音樂會—搖擺美國 Swing to America

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小提琴/林品任

導演/林懷民

RICHARD LIN, violin

LIN HWAI-MIN, director

小提琴家林品任已成為國際樂壇最受矚目的小提琴新星, 曾贏得多項國際小提琴大賽選獎。林品任多次與國際知 名樂團合作演出,並曾多次受邀在各大音樂廳舉行個人 獨奏會,亦多次受邀指導大師班。他也獲得行天宮文教 發展促進基金會長期培育獎學金,連續兩年獲得奇美藝 術獎,也是第四屆東森育英獎學金得主。

林懷民原是一位著名的小說家,1973 年創立雲門舞集。 1999 年創立雲門 2。

在 2013 年,日本 Fontec 唱片公司發行了林品任於日本仙 臺國際大賽的實況演出。隔年,與胞弟「白袍鋼琴家」 林品安合作,受邀至日本錄製第二張專輯「布拉姆斯小 提琴奏鳴曲全集」,並在 iTunes Store 發售。 林品任生於美國,但從小在臺灣受教育,十一歲便與臺 北市立交響樂團於臺北中山堂合作演出聖桑第三號小提 琴協奏曲。十六歲跟隨李東亨博士到美國奧克拉荷馬州 繼續深造,並於次年考上寇帝斯音樂院,在學期間師事 小提琴大師亞倫.羅桑。之後於茱莉亞音樂院入名教授 路易斯.卡普蘭門下,並取得碩士學位。

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Taiwanese-American violinist Richard Lin has already amassed a startling collection of top prizes at major international competitions and collaborated with numerous orchestras at celebrated concert venues. In 2013, Mr. Lin released his first album on the Fontec label. The album includes works for Violin and Orchestra by Beethoven, Bartok, and Brahms performed with the Sendai Philharmonic and conductor Pascal Verrot. The next year, Mr. Lin recorded and released his second album consists of the complete Brahms Sonatas for Piano and Violin with his brother, Robert Lin. Born in Phoenix, Arizona and raised in Taiwan. He gave his public debut at age of eleven when he performed SaintSaëns Violin Concerto No. 3 with the Taipei Symphony Orchestra. At sixteen, he moved to the United States with his teacher Dr. Gregory Lee, newly named to the violin faculty of the University of Oklahoma. In the same year, Mr. Lin was accepted to the Curtis Institute of Music and studied with Aaron Rosand. He later received his Master's degree at The Juilliard School, where he studied with renowned professor Lewis Kaplan. 2018/12/31 歲末音樂會—搖擺美國 Swing to America 2019/4/20, 5/6 來自臺灣—2019 日本巡演及行前音樂會 From Formosa – 2019 Japan Tour & Pre-tour Concert

他經常從亞洲傳統文化與美學汲取靈感,編創充滿當代 意識的舞作,是國際推崇的編舞家。 2013 年,林懷民繼瑪莎.葛蘭姆、模斯.康寧漢、碧娜. 鮑許之後,獲頒有「現代舞諾貝爾獎」美譽的「美國舞 蹈節終身成就獎」。 林懷民也獲頒包括臺灣和香港六所大學的榮譽博士,英 國三一拉邦音樂與舞蹈學院榮譽院士,以及菲律賓麥格 塞塞獎、美國洛克斐勒三世獎、法國文學藝術騎士勳章、 德國舞動國際舞蹈大獎的終身成就獎、國際表演藝術協 會卓越藝術家獎、行政院文化獎、蔡萬才臺灣貢獻獎, 並獲選時代雜誌「亞洲英雄人物」。 A writer-turned choreographer, Lin Hwai-min often draws inspiration from Asian cultures and aesthetics to create works with contemporary resonance. He founded Cloud Gate Dance Theatre of Taiwan in 1973 and Cloud Gate 2 in 1999. In 2013, he received the prestigious Samuel H. Scripps/American Dance Festival Award for Lifetime Achievement. Previous awardees include Martha Graham, Merce Cunningham, Pina Bausch and William Forsythe. Lin is the first recipient based in Asia. Among other honors received by Lin Hwai-min are honorary doctorates from six universities in Taiwan and Hong Kong, the Honorary Fellowship from Trinity Laban Conservatoire of Music and Dance, the John D. Rockefeller 3rd Award, the US, the Chevalier of the Order of Arts and Letters, France, and a Lifetime Achievement Award from the International Movimentos Festival, Germany. He has also been celebrated by Time Magazine as one of Asia's Heroes.

2019/2/22-24 3/8, 15 托斯卡 Tosca


女高音/左涵瀛

女高音/林玲慧

HANYING TSO-PETANAJ, soprano

LING-HUI LIN, soprano

左涵瀛是第一位取得義大利史卡拉歌劇院國家獎學金及 獨唱合約的華人聲樂家,亦是首位義大利浦契尼歌劇院 的華人杜蘭朵。

2000 年留學義大利考入布雷夏國立音樂院聲樂組,隨旅 義女高音朱苔麗教授學習。在校攻讀聲樂、室內樂雙主 修學位,2007 年、2011 年夏天以最高成績取得聲樂與室 內樂最高雙文憑。現為國立臺北教育大學音樂系專任副 教授。

其豐沛的歌唱藝術涵養,啟蒙並奠基於臺灣,後於義大 利國立佛羅倫斯音樂院及米蘭史卡拉歌劇院接受正統的 美聲與歌劇藝術訓練,並屢次榮獲義大利多項聲樂大賽 獎項。2003 年首次於史卡拉歌劇院登臺後,旋即踏上國 際歌劇舞臺,足跡遍及歐、亞與大洋洲。 廣受好評的歌劇角色包含《杜蘭朵公主》杜蘭朵、《納 布果》阿碧凱蕾、《托斯卡》托斯卡、《波西米亞人》 咪咪、《外套》喬潔塔、《修女安潔莉卡》安潔莉卡等。 2018 年的歌劇演出邀約包含《阿依達》及《馬克白》。 Hanying Tso-Petanaj, is the first Chinese soprano who wins the national scholarship for solo singers from and has soloist engagement with the Teatro alla Scala, as well as the first Chinese Principessa Turandot (Turandot) at the Puccini Festival in Torre del Lago. Her profound musicianship was enlightened in Taiwan, later she received authentic training in voice and opera at the Conservatorio di Musica di Luigi Cherubini and the Teatro alla Scala in Italy, where she won numerous prizes in national singing competitions. Since her debut at the Scala, she has developed an international career as an opera singer, and her engagements have led her to Europe, Asia and Oceania. Her repertoire includes, among others, Principessa Turandot (Turandot), Abigaille (Nabucco), Tosca (Tosca), Mimi (La Bohème), Giorgetta (Il Tabarro), Agelica (Suor Angelica), etc.

國內重要演出包括 2012 年與 NSO 交響樂團錄製[樂典 08 錢南章]《四首原住民藝術歌曲》;2012 NSO 跨國歌 劇普契尼《蝴蝶夫人》,擔任女主角蝴蝶;2013 年在威 爾第《安魂曲》擔任女高音獨唱;2014 年於普契尼歌劇《蝴 蝶夫人》歌劇音樂會擔任女主角蝴蝶;2017 年在普契尼 《瑪儂雷斯考》歌劇音樂會中擔任女主角。 Lin Ling-Hui went to Italy in 2000, was admitted to Vocal Music of Conservatorio di Musica di Brescia, and studied with Italybased Taiwanese soprano Chu Tai-Li. Lin continued to study PhD programs of vocal music and chamber music in the same conservatory, and graduated in summer 2007 with honors again. She appeared in the Verona Eximia Forma, an opera workshop, for many years to study the interpretation of operas with opera director Enrico Conforti. Her important performances includes: recording of "Four aboriginal Lieder for Soprano and Orchestra" by Nan-Chang Chien in 2012, nominated as the "The Best Concert Award" in the 24th Golden Melody Awards; Female lead "Butterfly" in Puccini's Madama Butterfly by NSO in 2012; soprano solo in Verdi's Requiem during Taiwan International Festival of Arts in 2013. Female lead "Butterfly" in Puccini's Madama Butterfly by National Taiwan Symphony Orchestra in 2014. Female lead "Manon Lescaut" in Puccini's Manon Lescaut by NSO in 2017.

In 2018 her opera engagements include Aida and Macbeth.

2019/2/22, 24 托斯卡 Tosca

2019/2/23, 3/8,15 托斯卡 Tosca

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男中音/路奇歐.蓋洛

男低音/吳翰衛

LUCIO GALLO, baritone

MARTIN NG, bass

路奇歐.蓋洛在都靈的威爾第音樂學院接受巴塔格利亞 指導,畢業後開始了他輝煌的演出生涯,踏上紐約大都 會歌劇院、倫敦柯芬園、薩爾茲堡音樂節、維也納國家 歌劇院和黃金廳、柏林國家歌劇院與柏林愛樂、史卡拉 歌劇院等世界一流的音樂廳和劇院。他也和阿巴多、巴 倫波因、夏伊、梅塔、慕提、帕帕諾、薩瓦利許等指揮 大師合作。

生於新加坡,畢業於義大利國立維洛納音樂院。曾於第 六屆義大利 Rassegna Concertistica di Montichiari 比賽與義大 利第一屆 Jole de Maria 國際聲樂比賽獲獎。

蓋洛擁有詮釋音樂的天賦和精緻的聲樂技巧,讓他能從 羅西尼唱到莫札特,從浦契尼到華格納、董尼采第、威 爾第以及當代音樂。 最近的成功演出有:德意志歌劇院和雪梨歌劇院的《托 斯卡》、新以色列歌劇院的《馬克白》、倫敦柯芬園的 《強尼.史基基》和《外套》、首爾藝術中心的《安德烈. 謝尼耶》。 2018 年,他以《外套》的米歇爾一角重登紐 約大都會歌劇院的舞臺。 Lucio Gallo, after graduating at Conservatory "Giuseppe Verdi" in Turin under the guidance of Elio Battaglia, has begun an outstanding career that led him to the most important concert halls and theaters, including Metropolitan New York; Covent Garden London, Salzburg Festival, Staatsoper and Musikverein in Wien, Staatsoper and Philharmonie in Berlin, Teatro alla Scala, with such conductors as Claudio Abbado, Daniel Barenboim, Riccardo Chailly, Zubin Mehta, Riccardo Muti, Antonio Pappano, Wolfgang Sawallisch. 120 NSO 2018 19

His interpretative talent and his refined vocal technique allow him to sing from Rossini to Mozart, from Puccini to Wagner, Donizetti, Verdi and also contemporary music.

曾參與的歌劇製作包括普賽爾《精靈女王》、莫札特《女 人皆如此》、羅西尼《塞維利亞理髮師》、雷翁卡伐洛 《丑角》、史特勞斯《莎樂美》和荀貝格《古勒之歌》, 並在米蘭羅瑟暾劇院開季歌劇、烏爾曼的《亞特蘭提斯 皇帝》飾演皇帝一角。 近期演出包括在新加坡歌劇院演唱《杜蘭朵》中的平、 《愛情靈藥》中的杜卡馬拉,以及華格納《漂泊的荷蘭 人》中荷蘭人一角,並將在 2018 年柬埔寨吳哥窟飾演《魔 笛》中的捕鳥人。也與 Orchestra dei Virtuosi Italiani 登臺, 擔任莫札特《加冕彌撒》、巴哈《聖母讚主曲》和《約 翰受難曲》的男低音獨唱。2014 年 4 月受邀為 Accademia Filarmonica di Verona 復活節音樂會,擔任莫札特 C 小調彌 撒男低音獨唱。 Martin Ng was born in Singapore and graduated in Voice at the Conservatorio dall'Abaco di Verona. Martin has sung in numerous opera houses and concert halls throughout Europe and Southeast Asia and has performed a diverse range of roles in operas by Puccini, Verdi, Strauss, Mozart, Menotti, Purcell, Rossini and Schoenberg among others. Martin sang the title role in Viktor Ullmann's Der Kaiser von Atlantis at Milan's Teatro Rosetum, Silvio in Leoncavcallo's I Pagliacci with the Teatro Sociale di Trento and Bartolo in Il Barbiere di Siviglia in Bologna. He also sang the role of Don Alfonso in Mozart's Cosi Fan Tutte at the National Theatre of Taiwan. Other roles include Ping in Turandot and Dulcamara in L'elisir d'amore with the Singapore Lyric Opera and Der Holländer in Wagner's Der Fliegende Holländer

Among his most recent successes, Tosca at Deutsche Oper Berlin and at Opera Australia Sydney; Macbeth at New Israeli Opera; Gianni Schicchi and Il Tabarro at Covent Garden London; Andrea Chénier at Seoul Arts Center. In 2018 his return to Metropolitan New York as Michele in Il Tabarro.

with the Richard Wagner Association of Singapore. Martin's concert performances include bass soloist for Bach's Magnificat and Saint John's Passion, Buxtehude's Membri Jesu Nostri, Mozart's Coronation Mass with the Orchestra of the Virtuosi Italiani, Mozart and Faure's Requiem and the bass soloist in Mozart's C minor Mass Easter Concert at the prestigious Accademia Filarmonica di Verona.

2019/2/22, 24 托斯卡 Tosca

2019/2/23, 3/8, 15 托斯卡 Tosca


男高音/鄭皓允

男高音/孔孝誠

HO-YOON CHUNG, tenor

EZIO KONG, tenor

鄭皓允出生於南韓首爾,年幼時於教堂唱詩班開啟歌唱 生涯,後習藝於首爾大學及柏林藝術大學,並於 1998 年 於首度於首爾擔綱主演歌劇《愛情靈藥》。獲得 2001 年 維爾維埃國際聲樂大賽後,於各大歐洲歌劇院演出,其 中包括:維也納國立歌劇院、德勒斯登森柏歌劇院、漢 堡國立歌劇院、伯恩市立劇院、威爾第劇院、挪威奧斯 特福德歌劇院、維洛納歌劇院、首爾藝術中心歌劇院, 歷年演出角色有:《波希米亞人》的詩人魯道夫、《茶 花女》的阿弗列多、《托斯卡》的卡瓦拉多西、《法斯 塔夫》的芬頓、《弄臣》的曼切瓦公爵、《魔笛》的塔 米諾、《卡門》的唐.荷賽、《瑪儂》的騎士葛利歐, 合作的指揮包括:小澤征爾、丹尼爾.加堤、西蒙娜.楊、 貝特朗.德.比利、鄭明勳……等。

臺北愛樂歌劇坊創始成員之一,為國內少有的戲劇男高 音,帶有男中音深沉的音色且情感豐沛,橫跨男高音與 部分男中音的角色,擅長的歌劇角色有威爾第《茶花 女》、《奧泰羅》、雷昂卡發洛《丑角》、馬斯康尼《鄉 村騎士》、浦契尼《外套》、貝多芬《費黛里歐》及華 格納的《羅恩格林》、《女武神等。表演類型廣泛,近 年亦跨足音樂劇及舞臺劇!

Born in Seoul, South Korea, Ho-Yoon Chung began singing from an early age in a local church choir. He continued his musical studies at the Seoul National University and the Universität der Künste in Berlin and had his opera debut in 1998 as Nemorino in L'elisir d'amore in Seoul. Winner of the Grand Prix at "Concours International de Chant de Verviers" in 2001, Chung became known to the international music scene. He has sung Rodolfo in La Bohéme, Alfredo in Traviata, Mario Cavaradossi in Tosca, Fenton of Falstaff, Il Duca di Mantova in Rigoletto, Tamino in Die Zauberflöte, Don Jose from Carmen, Des Grieux in Manon and performed in Vienna Staatsoper, Semperoper Dresden, Hamburger Staatsoper, Stadttheater Bern, Teatro Verdi di Trieste, Opera Østfold, Teatro Filarmonico di Verona and Seoul Art Center Opera House. Hoyoon Chung is currently working with conductors such as Seiji Ozawa, Daniele Gatti, Simone Young, Bertrand de Billy, MyungWhun Chung among others.

2019/2/22, 24 托斯卡 Tosca

2015 年考取義大利浦契尼節慶歌劇院及浦契尼基金會歌 劇學院,受邀演出國際浦契尼音樂節系列音樂會及歌劇 樂季演出。 2013 年為李復興先生及郭彩連女士之贊助藝術家。 自 2007 年於兩廳院創辦之歌劇工作坊結訓後,便經常受 邀於國家戲劇院及音樂廳演出,並常與國內外知名音樂 家、樂團及導演合作。2009 年通過甄試進入臺北愛樂歌 劇坊研習更多有關歌劇藝術之領域。 Siao-Cheng Kong is a member of the Taipei Philharmonic Opera Studio. Even as a tenor, however, his vocal timbre retained its dark, baritonal colouration., he can span the role of the tenor and baritone part also, specializes in the classic opera are: Don José in Bizet's Carmen and Samson in Saint-Saëns's Samson et Dalila, Otello in Verdi's Otello, Canio in Leoncavallo's I Pagliacci, Turiddu in Mascagni's Cavalleria Rusticana, Luigi in Puccini's Il Tabarro, Florestan in Beethoven's Fidelio. Kong also embraced Wagnerian roles, such as Lohegrin in Lohengrin, Siegmund in Die Walküre. In 2015, Kong had admitted to Teatro Festival Pucciniano and Festival Pucciniano Fondazione l'academia to study and perform a series of concerts and opera performances a music season.

2019/2/23, 3/8,15 托斯卡 Tosca

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122 NSO 2018 19

男中音/趙方豪

石易巧 /女中音

FANG-HAO CHAO, baritone

I-CHIAO SHIH, alto

男中音,生於澎湖,國立臺灣師範大學音樂系畢業,師 事任蓉教授,2015 年自威瑪李斯特音樂院完成最高演奏 家演唱文憑,目前任教於文化大學以及東海大學音樂系。 旅德期間亦活躍於德國劇院演出。如在 Eisenach 劇院演出 輕歌劇《煙火》中的 Onkel Fritz;Bad Lauchstaedt 劇院以 及 Neuruppin 劇院演出《瘋狂的狄托》中的 Frullo。2012 年七月參加聖彼得堡第九屆「國際三世紀古典藝術歌曲 節比賽」榮獲第二獎。2014 年 4 月參與音樂院的歌劇製 作《愛情靈藥》,飾演 Belcore。2014-2016 年參與創世歌 劇團《波希米亞人》與《女人皆如此》的製作,飾演畫 家 Marcello 以及 Guglielmo。2016 年八月受吉隆坡城市歌 劇公司邀請 , 參與其《波希米亞人》的製作,再度飾演畫 家 Marcello 於吉隆坡演出。 2016 年十二月與臺北市立交 響樂團合作,演出卡爾 . 奧福的歌劇《聰明的女人》飾演 壞蛋二號。2017 年 6 月與臺北歌劇劇場《浮士德》於臺 中國家歌劇院演出,飾演 Valentin。

屏東市人,畢業於臺南女子技術學院、東海大學音樂系, 以及國立臺北藝術大學音樂研究所,先後師事蔡翠敏、 范豫平及徐以琳教授。

Fang-Hao Chao, a baritone. He obtained his bachelor's degree in Taipei with Prof. Ren Rong, and subsequently obtained his highest performance degree at the University of Music "Franz Liszt" in Weimar, Germany where he studied under Prof. HansJoachim Beyer. He won various international prizes notably the 2nd prize in the competition "Three centuries of classic romance" in St. Petersburg, Russia. Since 2010, he has made his appearance in numerous theatrical performances in Germany where he played the role Guglielmo in Mozart's Cosi fan tutte with the Jena Philharmonic . He also appeared as Uncle Fritz in Burkhard's Fireworks at the Eisenach State Theatre, he played the role Frullo in Wacky Dido at the Theater Bad Lauchstädt ; the role Geronimo in Il matrimonio segreto at the Theater Nordhausen with the Nordhausen Orchestra in 2013; Belcore in L'elisir d'amore with Weimar Music Academy Orchestra in 2014; In Taiwan he played Marcello in Puccini's La bohème in 2015 and Guglielmo in Mozart's Così fan tutte in 2016. He is now an Adjunct Assistant Professor at the Tunghai Univercity and Chinese Culture University.

2019/2/22-24 3/8, 15 托斯卡 Tosca

2008 年 10 月赴德國國立特羅辛根音樂院深造,取得藝術 家演唱文憑、最高獨奏家文憑,師事莫妮卡.莫登豪爾; 隨後於柏林的漢斯.艾斯勒音樂院攻讀室內樂藝術歌曲 碩士班,期間師事李格和賈格兩位著名藝術歌曲鋼琴家。 在臺灣求學期間,石易巧曾獲得許多獎項,包括臺灣區 音樂比賽女中音獨唱第一名、東海大學學術研究獎學金、 臺北藝術大學碩博士學術研究獎學金、世華聲樂大賽優 勝新秀獎,以及 2008 年永豐愛樂古典菁英獎聲樂組首獎 和 NSO 最佳潛力新人獎。旅德留學時,於 2010 年獲德 國留學生 DAAD 獎學金;2011 年獲德國音樂院大賽藝術 歌曲組第三名及寶拉-薩羅蒙-林登堡藝術歌曲比賽第 二名;並獲邀參加庫特.魏莫、厄文.賈格,及湯瑪斯. 漢普森大師班。 Born in Taiwan, I-Chiao Shih began her studies with Prof. Tsuimin Tsai and Yu-Ping Fan at Tainan Women's College in Arts and Technology. Further studies under Prof. Yi-Lin Hsu included a Master's degree at Taipei National University of the Arts, and a Bachelor's degree from the Tunghai University Department of Music in Taiwan. In October 2008, Ms. Shih furthered her education at Staatlichen Hochschule für Musik Trossingen in Germany under Prof. Monika Moldenhauer where she earned her Art Song Performance Diploma (Künstlerische Ausbildung)and Soloist Diploma (Solischen Ausbildung). She then studied under Prof. Wolfram Rieger and Irwin Gage at the Hochschule für Musik Hanns Eisler Berlin where she received her Master of Music degree in Chamber Music. Ms. Shih has won numerous prizes in competitions, including the Best Young Musician prize from National Symphony Orchestra in Taiwan (2008), 3rd prize for Lieder Duo at Germany Music College Contest (2011) and 2nd prize of "Das Lied" at Paula-Salomon-Lindenberg (2011). She also received the Wagner Scholarship at Bayreuth Festival (2014) and has been invited to attend master classes by Kurt Widmer, Irwin Gage and Thomas Hampson. 2019/3/3 三月布拉姆斯 Brahms in Spring 2019/5/23 大地之歌 Das Lied von der Erde


指揮/亞歷山大.德夏 ALEXANDER DRčAR, conductor

法國號/拉德克.巴伯羅柯

德夏 1966 年出生於德國慕尼黑,於維也納的奧地利高等 音樂暨藝術學院就讀,師事卡爾.厄斯特萊赫,以優越 成績畢業,自此持續擔任歌劇和音樂會指揮,包括維也納 音樂廳、漢堡國家歌劇院、漢諾威國家歌劇院、巴塞隆納 利賽奧大劇院、奧地利林茨國家劇院、弗阿貝格國家劇院 和烏爾姆劇院。德夏也與斯洛維尼亞愛樂樂團、漢諾威下 薩克森州立管絃樂團、林茨布魯克納管絃樂團、弗阿貝格 交響樂團和臺灣愛樂合作。他也參與許多當代音樂作品演 出,為維也納序列現代室內樂團定期客席指揮,製作的歌 劇《弄臣》、《卡門》,分別於 2014 年和 2015 年在奧地 利布雷根茨的弗阿貝格國家劇院演出。

巴伯羅柯是國際樂壇的傑出人物。他以獨奏家的身分與 世界頂尖樂團以及諸多一流指揮家和音樂家合作,如柏 林愛樂樂團,由巴倫波因、拉圖指揮;慕尼黑愛樂,由 李汶指揮。他也經常與小澤征爾舉行音樂會。

從 2016 年到 2017 年,邀請德夏擔任客席指揮的樂團有斯 洛維尼亞愛樂、臺灣愛樂、維也納「序列現代室內樂團」、 漢諾威國家歌劇院、斯洛維尼亞柳碧盧雅納音樂大學管 絃樂團、奧地利薩爾茲堡新音樂室內樂團。2018 年,德 夏擔任斯洛維尼亞馬里博交響樂團和薩爾茲堡新音樂室 內樂團的客席指揮。 Born in 1966 in Munich, Germany. Studied conducting with Karl Österreicher at the Hochschule für Musik und darstellende Kunst in Vienna/Austria, degree with excellence. Has been working as an opera and concert conductor since then: for example at Volksoper Wien, Hamburgische Staatsoper, Staatsoper Hannover, Teatre Liceu Barcelona, Landestheater Linz, Vorarlberger Landestheater and Theater Ulm. Concerts among others with Slovenian Philharmonic Orchestra, Niedersächsisches Staatsorchester Hannover, Bruckner Orchester Linz, Sinfonieorchester Vorarlberg and Taiwan Philharmonic. Many projects involving contemporary music, regular guest conductor with the ensemble 'die reihe' Vienna. Opera productions (Rigoletto, Carmen) at Vorarlberger Landestheater Bregenz, Austria in 2014 and 2015. From 2016-2017, guest conductor with the Slovene Philharmonic, Taiwan Philharmonic, ensemble 'die reihe' (Vienna), Staatsoper Hannover, Orchestra of the Music University of Ljubljana (Slovenia), oenm Salzburg (Austrian Ensemble for New Music). In 2018, guest conductor with the Maribor Symphony Orchestra (Slovenia) and the oenm Salzburg. 2019/3/22 布拉姆斯 第四 Brahms No.4

RADEK BABORÁK, french horn

身為室內樂名家,巴伯羅柯是捷克小交響樂團、布拉格 獨奏家室內樂團、捷克法國號合奏團、靈感五重奏和巴 伯羅柯合奏團的藝術總監及指揮。 巴伯羅柯生於 1976 年,八歲開始學習法國號,由卡列爾. 克雷涅克教授啟蒙。接著進入布拉格音樂學院,師事貝 奇克.提爾薩教授。巴伯羅柯是日內瓦、瑪諾基興和慕 尼黑 ARD 大賽的冠軍,現任教於布拉格音樂學院。 Radek Baborák ranks among the most outstanding figures on the international music scene. He performs as a soloist with leading world orchestras and collaborates with top conductors and musicians: Berlin Philharmonic conducted by Daniel Barenboim and Simon Rattle, Munich Philharmonic under James Levine. He also regularly gives concerts with Seiji Ozawa. Champion of chamber music, he is the artistic leader and conductor of the Czech Sinfonietta, Prague Chamber Soloists, Czech Horn Ensemble, Afflatus Quintet, and Baborák Ensemble. Born in 1976, he started playing the horn at the age of eight, taught by Prof. Karel Křenek. This was followed by the Prague Conservatoire with Prof. Bedřich Tylšar. He is the winner of competitions in Geneva, Markneukirchen, and the ARD Munich. Baborák teaches at the Academy of Music in Prague.

2019/3/22 布拉姆斯 第四 Brahms No.4

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指揮/莊東杰

琵琶/吳蠻

TUNG-CHIEH CHUANG, conductor

WU MAN, pipa

臺灣青年指揮家莊東杰是 2015 年馬爾科指揮大賽首獎得 主。他在馬爾科大賽奪冠之前,已贏得法蘭克福蕭提國 際指揮大賽二獎及觀眾票選獎以及馬勒大賽與布加勒斯 特青年指揮新銳大賽。莊東杰擔任過客席指揮的樂團包 括邦貝格交響、德國柏林交響樂團、丹麥國家交響樂團、 皇家斯德哥爾摩愛樂、波蘭國立廣播交響樂團、RTÉ 愛 爾蘭國家交響樂團、盧森堡愛樂、首爾愛樂、澳門樂團、 上海交響樂團和臺灣國家交響樂團。2017/2018 樂季首次 與 BBC、赫爾辛基愛樂、哥德堡交響樂團、奧斯陸愛樂 等樂團合作演出。

身為全球首屈一指的琵琶炫技獨奏家和中國音樂的領軍 形象大使,吳蠻不僅是獨奏家,也是教育家和作曲家, 她讓琵琶在傳統音樂和現代音樂中都扮演新的角色。吳 蠻為琵琶首演了數百首新作,也帶頭進行多媒體演出專 案,以保存和創造中國古代音樂傳統的意識。她多次舉 行個人獨奏會,並以獨奏家身份與世界各大樂團演出, 經常與各室內樂團合作。她也是絲路室內樂團的創始成 員。吳蠻錄製了 40 多張專輯,其中包括與絲路室內樂團 合作的葛萊美獲獎專輯《歌詠鄉愁》,當中亦收錄其創 作曲目。她獲選為「音樂美國」網站的 2013 年度器樂演 奏家,但她認為自己的成就在於:雖然琵琶可追溯到兩 千年前,但對大眾來說,卻已無時空距離。

莊東杰出身音樂世家,自幼即展現音樂才華,自小習鋼琴 與法國號,11 歲便初次登臺演出,曾就讀寇帝斯音樂院 及威瑪音樂院,師從吉布森、邁爾、穆勒與帕斯凱等人。

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Young Taiwanese conductor Tung-Chieh Chuang is the celebrated winner of the 2015 International Malko Competition in Copenhagen. Prior to this Chuang had already won numerous prizes and accolades, including a prize and the Audience Award at the Solti Competition in Frankfurt as well as being named a winner of the Gustav Mahler Competition in Bamberg and the Jeunesse Musicales Conducting Competition in Bucharest. As guest conductor Tung-Chieh Chuang has appeared with such orchestras as Bamberger Symphoniker, Deutsches Symphonie-Orchester Berlin, Danish National Symphony Orchestra, Royal Stockholm Philharmonic, Polish National Radio Symphony Orchestra, RTÉ National Symphony Orchestra, Orchestre Philharmonique du Luxembourg, Tapiola Sinfonietta, Seoul Philharmonic Orchestra, Taiwan Philharmonic, Macao Orchestra and Shanghai Symphony Orchestra. Highlights of the 2017/2018 season include debuts with the BBC Symphony Orchestra, Helsinki Philharmonic Orchestra, Gothenburg Symphony Orchestra, Oslo Philharmonic, and many others.

Recognized as the world's premier pipa virtuoso and leading ambassador of Chinese music, Wu Man is a soloist, educator and composer who gives her lute-like instrument a new role in both traditional and contemporary music. Wu Man has premiered hundreds of new works for the pipa, while spearheading multimedia projects to both preserve and create awareness of China's ancient musical traditions. She has performed in recital and as soloist with major orchestras around the world, and is a frequent collaborator with the Kronos and Shanghai Quartets, and The Knights, and is a founding member of the Silk Road Ensemble. Wu Man has recorded more than 40 albums, including the Grammy Award winning Sing Me Home with the Silk Road Ensemble that features her own composition. She was named Musical America's 2013 Instrumentalist of the Year, but the best measure of her achievement is that her instrument, which dates back 2000 years, is no longer an exotic curiosity.

Born into a family of professional musicians, Tung-Chieh Chuang showed great musical promise from an early age studying the horn and piano, giving his first public concert at the age of 11. He continued his education at the Curtis Institute of Music and at the Weimar Academy of Music. His mentors include Mark Gibson, Gustav Meier, Otto-Werner Mueller and Nicolás Pasquet. 2019/3/30 琵琶 交響 Wu Man & NSO

2019/3/30 琵琶 交響 Wu Man & NSO


男高音/傑.杭特.墨里斯

指揮/史蒂芬.布魯尼爾

JAY HUNTER MORRIS, tenor

STEFAN BLUNIER, conductor

葛萊美得主傑.杭特.墨里斯因 1995 年於百老匯演出泰 倫斯.麥納利《大師班》東尼一角獲得肯定。他現在經 常往來於澳洲、歐洲、亞洲和美洲演出。

史蒂芬.布魯尼爾在 2008 年到 2016 年之間任波昂市音樂 總監、波昂貝多芬管絃樂團和波昂歌劇院的首席指揮。 他的帶領為樂團注入活力,樂團愈來愈受歡迎,到中國 和美國的巡迴演出也非常成功。他在 2010 年到 2013 年之 間,也擔任比利時國家管絃樂團的首席客座指揮。

2011 年,莫里斯以齊格飛一角首次登上舊金山歌劇院的 舞臺,他最為知名的演出可能是大都會歌劇院於 2011 年 至 2013 年的勒帕吉新製作。該製作現場直播全球劇院, 並贏得 2013 年葛萊美最佳歌劇錄音。莫里斯也以當代歌 劇的演出而知名,包括《原子博士》、《越過死亡線》、 《慾望街車》、《聖誕頌歌》等,另外,他也在珍妮佛. 希格登的《冷山》中演出蒂格一角 ( 聖塔菲,2015 年 )。 今年,他以約翰.亞當斯的《來自另一個瑪莉的福音》 中於卡內基音樂廳首次登臺。2013 年,他的著作《大老 粗 歌 劇 日 記 》(Diary of a Redneck Opera Zinger, 暫 譯 ) 由 Opera Lively 出版發行。 Grammy winning Opera singer Jay Hunter Morris achieved national recognition originating the role of Tony in Terrence McNally’s celebrated play Master Class, on Broadway in 1995. Mr. Morris enjoys an international career, appearing regularly in Australia, Europe, Asia, and the Americas. He debuted the role of Siegfried with the San Francisco Opera in 2011, and perhaps most famously, at the Metropolitan Opera in their new production by Robert LePage from 2011-13. The production was broadcast live to cinemas worldwide, and won a Grammy for Best Opera Recording (2013). A well-known veteran of contemporary opera, Mr. Morris has been heard in world premiere productions including Doctor Atomic, Dead Man Walking, A Streetcar Named Desire, A Christmas Carol, among others and created the role of Teague in Jennifer Higdon's Cold Mountain (Santa Fe, 2015). This year he made his Carnegie Hall debut in John Adams' The Gospel According to the other Mary. In 2013 his book, Diary of a Redneck Opera Zinger was published by Opera Lively.

2019/5/23 大地之歌 Das Lied von der Erde

布魯尼爾幾乎在所有的德國廣播交響樂團都擔任過客席 指揮,此外還包括萊比錫布商大廈管絃樂團、路德維希 港國家愛樂、杜奕斯堡交響樂團。最近的重要演出還有 NHK 交響樂團、BBC 蘇格蘭交響樂團、愛爾蘭國家交響 樂團、斯圖加特愛樂、葡萄牙波爾多音樂廳交響樂團、 萊茵地法茲國家愛樂等。在歌劇方面,他曾在慕尼黑、 漢堡、萊比錫、斯圖加特、柏林、蒙佩利爾、奧斯陸、 伯恩等地進行製作。 General Music Director of the City of Bonn from 2008-2016, Stefan Blunier served as Chief Conductor of both the Beethoven Orchestra Bonn and Bonn Opera. Under his charismatic direction, a new musical awareness infused the orchestra which became increasingly in demand abroad with notable tours including highly successful visits to China and the USA. Alongside his appointment in Bonn, he was Principal Guest Conductor of the Orchestre National de Belgique (2010-2013). Blunier's guest-conducting engagements take him to nearly all the German radio symphony orchestras as well as the Leipzig Gewandhausorchester, Staatsphilharmonie Ludwigshafen, Duisburg Symphony Orchestra. Other recent highlights include the NHK Symphony Orchestra, BBC Scottish Symphony, National Symphony Orchestra of Ireland, Stuttgart Philharmonic, Orquestra Sinfónica do Porto Casa da Música, Staatsphilharmonie Rheinland-Pfalz, South Netherlands Philharmonic, Norwegian Radio and the Century Symphony Orchestra of Osaka. In the field of opera, he has conducted productions in Munich, Hamburg, Leipzig, Stuttgart, Berlin (Deutsche Oper and Komische Oper), Montpellier, Oslo, Bern, Geneva and London (ENO).

2019/6/14 璀璨雙城 1—夏日夜風 Promenade in Summer Breeze

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鋼琴/尚.艾弗藍.巴佛傑

小提琴/黃俊文

JEAN-EFFLAM BAVOUZET, piano

PAUL HUANG, violin

屢獲殊榮的鋼琴家巴佛傑有豐富的錄音和國際演出經驗, 經常與克里夫蘭管絃樂團、舊金山交響、倫敦愛樂、BBC 交響和 NHK 交響等樂團合作。合作過的指揮大師有阿胥 肯納吉、尤洛夫斯基、諾賽達、侯特、杜特華、塔卡許 – 納吉、戴維斯爵士等。

身為 2015 年艾佛瑞.費雪職業獎助和 2017 年林肯中心藝 術新星獎的得主,小提琴家黃俊文以豐富的表現力、獨 特的音色和精湛的技巧迅速受到矚目。在甘迺迪中心首 次登臺後,《華盛頓郵報》讚譽黃俊文是「一位底蘊深 厚的藝術家,非凡生涯指日可待」。

2017/18 樂季的重要演出有:與舊金山交響、西雅圖交響、 NHK 交響和 BBC 交響樂團的回歸演出。巴佛傑也將與蒙 地卡羅管絃樂團合作,於巴黎愛樂廳演出,並與底特律 和墨爾本交響樂團、聖保羅交響、蘇格蘭皇家國家樂團 和伯明罕交響樂團合作演出。

在 2018-19 樂季,黃俊文將首次在香港室內音樂節和聖塔 菲室內音樂節亮相。此外,黃俊文將繼續與林肯中心室 內樂協會合作,並擔任太平洋室內樂團 (Camerata Pacifica) 首席藝術家。

Award-winning pianist Jean-Efflam Bavouzet enjoys a prolific recording and international concert career and regularly works with orchestras such as The Cleveland Orchestra, San Francisco Symphony, London Philharmonic, BBC Symphony and NHK Symphony orchestras, and collaborates with conductors including Vladimir Ashkenazy, Vladimir Jurowski, Gianandrea Noseda, François-Xavier Roth, Charles Dutoit, Gábor Takács-Nagy and Sir Andrew Davis amongst others.

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Highlights during the 2017/18 season include returns to San Francisco Symphony, Seattle Symphony, NHK Symphony and BBC Symphony orchestras. Bavouzet will appear at the Philharmonie de Paris with Orchestre Philharmonique de MonteCarlo and also performs with Detroit and Melbourne symphony orchestras, Orquestra Sinfônica do Estado de São Paulo, Royal Scottish National and the City of Birmingham Symphony orchestras.

黃俊文出生於臺灣,七歲開始學習小提琴。他在茱莉亞 學院取得學士和碩士學位,師事姜孝和李宜濠,也是首 屆柯夫納獎學金的得主。他目前使用 1742 年瓜奈里名琴, 係由芝加哥史特拉第瓦里協會慷慨出借。這把琴曾由小 提琴名家韋尼奧夫斯基曾持有。黃俊文的網站是 www. paulhuangviolin.com。 Recipient of the prestigious 2015 Avery Fisher Career Grant and the 2017 Lincoln Center Award for Emerging Artists, violinist Paul Huang is quickly gaining attention for his eloquent music making, distinctive sound, and effortless virtuosity. The Washington Post proclaimed Mr. Huang as "an artist with the goods for a significant career" following his recital debut at the Kennedy Center. During the 2018-19 season, Mr. Huang will make debuts at the Hong Kong Chamber Music Festival as well as Santa Fe Chamber Music Festival. In addition, Mr. Huang continues his association with the Chamber Music Society of Lincoln Center and returns to Camerata Pacifica as their Principal Artist. Born in Taiwan, Mr. Huang began violin lessons at the age of seven. He is a proud recipient of the inaugural Kovner Fellowship at The Juilliard School, where he earned his Bachelor's and Master's degrees under Hyo Kang and I-Hao Lee. He plays on the 1742 ex-Wieniawski Guarneri del Gesù on loan through the generous efforts of the Stradivari Society of Chicago. His website is www. paulhuangviolin.com.

2019/6/14 璀璨雙城 1—夏日夜風 Promenade in Summer Breeze

2019/6/28-29 璀璨雙城 2—奧匈霞輝 Twin Cities and Three Bs


次女高音/愛蓮娜.迪科娃

男低音/巴林特.薩波

ELENA ZHIDKOVA, mezzo-soprano

BALINT SZABO, bass

次女高音愛蓮娜.迪科娃在柏林德意志歌劇院首次登臺, 曾於拜魯特音樂節演出。阿巴多亦邀請她演出音樂會形 式的《帕西法爾》與舒曼的《浮士德場景》,以及阿巴 多在柏林愛樂的告別音樂會。她也參與哈農庫特指揮柏 林愛樂演出韓德爾的《耶弗他》。

羅馬尼亞男低音,演出足跡遍及世界各地,包括漢堡國 家歌劇院 (《唐卡羅》、《土耳其人在義大利》)、法蘭 克福歌劇院 (《唐卡羅》的菲利普,《西蒙.波卡涅拉》 的費耶斯可、《唐喬凡尼》的唐喬凡尼,《浮士德》的 梅菲斯托,《拉美默的露琪亞》的賴蒙多,《魔笛》的 薩拉斯托,最近有《藍鬍子的城堡》),杜塞朵夫 (《浮 士德》、《拉美默的露琪亞》)、多特蒙聲樂藝術節 (《安 娜.波連納》)、慕尼黑巴伐利亞國家歌劇院 (《杜蘭朵》、 《盧克雷齊亞.波吉亞》)、上阿瑪高音樂節 (《納布果》)、 義大利馬切拉塔音樂節 (《阿伊達》)、米蘭史卡拉劇院 (《湖中少女》)、柯芬園皇家歌劇院 (《夏慕尼的琳達》、 《賽米拉密德》、《費加洛的婚禮》和《阿德莉亞娜. 雷古弗勒》)、布克斯頓音樂節 (《路易莎米勒》) 等。

她在馬林斯基劇院詮釋茱蒂絲,贏得俄國金面具獎的最 佳歌劇女演員獎。她也受邀在齋藤紀念音樂節演出該角, 由小澤征爾指揮 ( 也以 CD 方式發行 )。她也在柏林德意 志歌劇院以及日內瓦大劇院的《指環》新製作中飾演佛 莉卡 (《指環》) 一角。 本樂季的重要演出有漢堡國家歌劇院和馬德里國家歌劇 院的茱蒂絲、漢堡國家歌劇院安奈莉絲、柏林德意志歌 劇院的伊柏莉,以及和維也納國家歌劇院的歐楚德。

Highlights of the current season include Judith in Hamburg (State Opera) and Madrid (Orquesta Nacional de España), Amneris in Hamburg (State Opera), Eboli in Berlin (Deutsche Oper) and Ortrud in Vienna (State Opera).

Romanian bass, who appeared internationally in such countries as Germany (Hamburg State Opera: Don Carlo, Il turco in Italia; Frankfurt Opera: Philippe in Don Carlo, Fiesco in Simon Boccanegra, title role in Don Giovanni, Mephisto in Faust, Raimondo in Lucia di Lammermoor, Sarastro in Die Zauberflöte and recently in Duke Bluebeard's Castle; Düsseldorf: Faust, Lucia di Lammermoor; Festival Klangvokal Dortmund: Anna Bolena, Bavarian State Opera Munich: Lucrezia Borgia, Turandot; Festival Oberammergau: Nabucco ),Italy (Macerata Festival: Aida, Scala di Milano: La Donna del Lago), Great Britain (ROH Covent Garden: Linda di Chamounix, Semiramide, Le nozze di Figaro and Adriana Lecouvreur; Buxton Festival: Luisa Miller), France (Toulouse: Rigoletto, Don Carlo, Bluebeard's Castle); Monte Carlo: Il Viaggio a Reims; Paris Bastille: Don Carlo, La Clemenza di Tito, Queen of Spades), Switzerland (Geneve: La Donna del Lago, Les Vêpres Siciliennes, La Wally, Manon), Spain (Barcelona: Lucrezia Borgia), Chile (Santiago: Duke Bluebeard's Castle), Greece (Athens: Simon Boccanegra, I Puritani), etc.

2019/7/5 璀璨雙城 3—藍鬍子的城堡 A Walk in the Moonlight, A Mysterious Castle

2019/7/5 璀璨雙城 3—藍鬍子的城堡 A Walk in the Moonlight, A Mysterious Castle

Mezzo soprano Elena Zhidkova made her professional debut at the Deutsche Oper Berlin. She appeared at the Bayreuth Festival. Claudio Abbado invited her for the concert version of Parsifal, for Schumann's Faustszenen and for his farewell concert at the Berlin Philharmonic. Her interpretation of Judith (Duke Bluebeard's Castle) at the Mariinsky Theatre gained her the "Golden Mask" award as best singing actress in Russia. She was invited to sing the same part under Seiji Ozawas at the Saito Kinen Festival (also published on CD). Her appearance as Fricka (Ring des Nibelungen) could be witnessed at the Deutsche Oper Berlin and in the new production of the tetralogy at the Grand Théâtre de Genève.

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拉縴人男聲合唱團

台北愛樂合唱團

Taipei Male Choir

TAIPEI PHILHARMONIC CHORUS

拉縴人男聲合唱團,前身為成功高中校友合唱團,成員 以曾參加成功高中合唱團的團員為基礎。創立成功高中 合唱團的張為民老師,曾期許熱愛唱歌的「拉縴人」─ 在合唱的路上,要如同合作拉船的縴夫,同心協力,齊 聲歌唱。

1972 年創立,1983 年由杜黑擔任藝術總監至今,現由指 揮家古育仲擔任音樂總監,張維君擔任常任指揮。曾與 NSO 合作演出威爾第《安魂曲》、貝多芬第九號交響曲、 布瑞頓《戰爭安魂曲》、韓德爾《彌賽亞》、孟德爾頌 《以利亞》、馬勒第二、三、八號交響曲等;國人作品 首演方面,如錢南章《馬蘭姑娘》、歌劇《畫魂》、《十二 生肖》、馬水龍《無形的神殿》等。歷年出版專輯屢獲 金曲獎肯定。近年屢代表臺灣出訪,受邀赴新加坡濱海 藝術中心、北京國家大劇院、廣州星海音樂廳等國際知 名場館演出。

拉縴人男聲合唱團成立於 1997 年,首場音樂會即深獲各 方好評。2003 年迄今,均獲選為台灣文化部扶植演藝團 隊,並為 2008、2012、2016 傳藝類金曲獎「最佳詮釋(演 唱)」獎得主,經常於台灣各地演出,歷年來亦參與不 少國際賽事,贏得多座國際大獎殊榮並受邀至世界各地 演出,曾造訪日本、韓國、新加坡、馬來西亞、德國、 法國、波蘭、香港、上海等地,近年更與許多知名國際 指揮合作,現由亞洲桂冠指揮 松下耕擔任藝術總監、戴 怡音博士擔任常任指揮,致力推廣合唱藝術文化,實踐 「歌唱好好,好好歌唱」的信念。 Taipei Male Choir (TMC) was formerly known as Cheng-Gong High School Alumni Chorus. In the end of 1980s, graduated members from Cheng-Gong High School Chorus gathered together under the calling of respected music teacher, Mr. Zhang, Wei-Min, who expected everyone to sing in concord, just as the boat trackers on the upper stream of Yangtze River would work together.

128 NSO 2018 19

Taipei Male Choir was founded in 1997. Since then the choir has been invited to many international choral festivals and has won several important awards. The choir has toured extensively in Asia and Europe and collaborated with many internationally renowned choral conductors. Recently TMC invites Mr. Ko Matsushita as the Artistic Director, and Mrs. Tai, Yi-Yin as the Choral Conductor, with a dedicated heart to establish a greater environment for choral music and culture, and to live up the motto as to "Sing with Joy, love, and devotion".

Founded in 1972, Taipei Philharmonic Chorus was has established a reputation as one of the most prestigious choruses in Taiwan. The Chorus is awarded and sponsored by the Ministry of Cultural from 1994 to date as an "Outstanding Performing Group". The chorus has collaborated with NSO for several events, repertoire include Beethoven Symphony No.9, Mendelssohn's Elijah and Symphony No.2, Mahler Symphony No.2, 3, 8, Bizet's Carmen, Puccini's Madama Butterfly, Britten's War Requiem, Orff 's Carmina Burana, to name a few. From the 140-voice chorus, a 40-voice chamber choir is selected to tour and to perform more selected works, and has an impressive history of overseas performances. Together with the chorus, both groups have been invited to perform in many different festivals and countries.


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NSO 1819樂季手冊  

2018/19 Taiwan Philharmonic Season Brochure

NSO 1819樂季手冊  

2018/19 Taiwan Philharmonic Season Brochure

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