Page 1

感 謝 您 的 支 持 李光陸




( 以下依姓氏筆畫順序排列 )

NSO 守護者 王儷玲 ‧ 李松季 ‧ 吳淑芳 ‧ 吳英俊 ‧ 志英投資股份有限公司 巫慧燕 ‧ 李鎗吉 ‧ 財團法人建弘文教基金會 ‧ 悅聲志業股份有限公司 ‧ 楊鎮源 NSO 好朋友 王植熙 ‧ 陳婉如 ‧ 單聯璜 ‧ 劉思楨 NSO 築夢者 王昕華 ‧ 徐偉珉 ‧ 徐詩涵 ‧ 唐齊享 ‧ 蔡穗珍 ‧ 韓昆舉



音樂總監前言 Music Director's Foreword


樂季總覽 Season Calendar


音樂總監│呂紹嘉 Music Director Shao-Chia Lü


駐團指揮|張尹芳 Resident Conductor Yin-Fang Chang


國家交響樂團 Taiwan Philharmonic (NSO)


駐團音樂家 Artist in Residence

‧ 劉孟捷 Meng-Chieh Liu

‧ 陳其鋼 Qigang Chen

‧ 布萊特 ‧ 狄恩 Brett Dean


最後一哩路,告別與前行|焦元溥 The Last Mile, Farewell , and Onwards

44 46



愛情與死亡 ─崔斯坦與伊索德 │羅基敏


Wagner's Orchestral Magic │ Robert Markow

Ludwig van Beethoven - A Force of Nature │ Robert Markow

邁出音樂廳,往文化平權大步走 | 王嫈綠 54 Out of the Music Hall, Towards Cultural Equality 58

樂季音樂會 Season Concerts


國際巡演 International Tours


演奏廳系列 Lecture & Chamber Concerts


客席音樂家 Guest Artists


在「恆變」中追求「不變」 不時會被問到這類問題:音樂是什麼?在二十一世紀的臺灣,古典音樂能帶 給大家什麼樣的影響?為什麼在東亞的我們,要聽過去幾百年、來自遠方的 音樂 ?

記得德國哲學家叔本華有句話,大意是「科學的追求,永遠遵循因果原理, 像直線般往前、永無止盡;藝術的觀想與感動,沒有因果、沒有目的,像皎 潔的月亮般,靜止而永恒」。

在 2019/20 NSO 樂季浩瀚的音樂世界中,我們能聽到貝多芬的雄渾偉大、巴 爾托克的原創悸動、西貝流士的蒼勁精煉、蕭斯塔科維契的隱晦深刻、柴科 夫斯基的至情至性、史特勞斯的鬼斧神工、舒曼的纖細詩情、拉赫瑪尼諾夫 的浪漫高貴、德布西的行雲流水、拉威爾的魔幻易感、尼爾森的堅忍孤高、 普羅科菲夫的譏諷刁鑽、雷史畢基的光彩輝煌 ...... 這些來自不同時代、不同角 落、不同語言的音樂靈魂,他們固然對自己的聽眾說話,更對全人類說話。 他們帶給我們的,是超越地域時空、牽啟人類集體潛意識的純粹感動。這就 是為何至今,古典音樂仍然屹立不搖,始終能和這世上追求「精緻、深刻、 悸動」的心靈共鳴。我與 NSO 所做的,則是把不限於一地一時一派的經典, 透過我們的理解,帶給臺灣的愛樂者。


循著 NSO 多年來建立的馬勒傳統,今年我們再以「馬勒始末」對這位音樂巨 人做進一步的探討。在他十八歲初試啼聲的《悲嘆之歌》到人生末年的第九 號交響曲之間,馬勒窮盡心力,在每一首歌曲、每一闕交響曲,描繪出心目 中世界的一切,提出人生大問並試圖找出解答。即使渡過整個人生創作生涯 的萬重山,在其漫長多變的「始」與「末」之間,我們仍可辨識出清晰可見 的不變主軸—將宇宙人世間所有事物,不分美醜貴賤,一併入樂的音樂觀, 以及一顆熱切尋求自我認同與實現的心。

貝多芬的音樂是人性光輝的展現,是照亮困厄時代、激勵人心往前行的一線 6

希望。2020 適逢樂聖誕辰 250 年,我們將以近乎遍布整樂季的貝多芬作品, 向這位永遠的大師致敬。需要特別一提的,是我們將推出在臺灣難得上演的










一如往常,眾多國內外一流客席音樂家,本季也將與我們同台演出,尤其是 三位駐團音樂家—劉孟捷(鋼琴),Brett Dean(作曲、中提琴)與陳其鋼(作 曲),將透過多場音樂會及講座,以他們出自不同背景、領域的音樂經驗, 但同樣追求卓越與純粹的信念,與樂團及愛樂者深度分享他們的藝術造詣與 音樂思想。

華格納的出現,無疑是音樂史上的分水嶺,因為他將音樂各方面的可能性, 擴展至前無古人的新境地。一個浸淫過華格納歌劇音樂的交響樂團,必然在 潛移默化中將自己的音樂體驗與藝術表現提昇到另一層次。NSO 在多年耕耘 下,已可說是近年亞洲最「華格納」的樂團之一,本樂季尤其將在樂季初與 末分別演出他的兩部擎天鉅作《諸神黃昏》與《崔斯坦與伊索德》,敬請拭 目以待。

2019/20 是我擔任 NSO 音樂總監的最後一個樂季。在此,我由衷感謝大家一 直以來對 NSO 的支持與關愛。在音樂世界裡建立起我們的主體性與自覺心, 一直是我接任此職的中心信念。十年來,除了無數共享感動的音樂會外,與 眾多愛樂者面對面,近身接觸的「沙龍音樂會」與「呂紹嘉時間」,特別令 我難忘,因為,看著一雙雙熱切投入的眼神,我深深相信,臺灣是個充滿追 求「真、善、美」心靈的可愛地方。我深切盼望,在未來的日子,我們一起 持續追隨 NSO 的腳步,在這紛擾多變的現世中,一同仰望那永恆不變的星空, 凝視那澄淨皎潔的明月。



Music Director's Foreword

Pursuing the Eternal in the Ever-changing Trans. by Amity Chang

What is music? People sometimes ask. Why is western classical music still relevant to Taiwan in the 21st century? What has made us in East Asia listen to the music from centuries ago and thousands of miles away? As Arthur Schopenhauer, the German philosopher, once described, the pursuit of Science always follows logics and rationality, like an endless straight line that stretches forward; the pursuit of Art always follows afflatus and contemplation, never asking why or how, like the fair, still, and eternal moon. In the 2019/20 season, the NSO looks out to a grand panorama that incorporates the eloquence of Beethoven, the vigor of Bartók, the originality of Sibelius, the elusiveness of Shostakovich, the sincerity of Tchaikovsky, the genius of Strauss, the poetry of Schumann, the nostalgia of Rachmaninoff, the fluency of Debussy, the wizardry of Ravel, the fortitude of Nielsen, the tartness of Prokofiev, and the glamour of Respighi. These maestros of different eras and places have spoken with different languages both to their audience and to the entire human race. The pure, moving moments that they have brought us transcend time and space, expanding and connecting us in the great collective unconscious. Classical music has endured time to keep resonating with souls pursuing profoundness, sophistication, and heartfelt moments. Through our renditions, the NSO and I wish to bring these classics of various times, places, and genres closer to the music lovers in Taiwan. Let me briefly go through a few prominent features of this season: Following the convention that the NSO has established in past years, we once again explore Mahler, the music guru, with “Mahler: From Beginning to End” this year. From Das klagende Lied that he composed at the age of eighteen to Symphony No.9 in his later years, Mahler strained himself to portray the world he saw, to ask questions of existence, and to search for answers through every note he put down. On the peaks and in the valleys of Mahler’s creative journey, on the vast, wavy ocean between the Beginning and the End, there has been this clear, consistent theme. It is a worldview that incorporates into music every component 8 of our universe —— ugly and beautiful, gentle and simple, a view from the eyes of NSO

a soul that fervently sought self-identity and self-fulfillment.


The music of Beethoven emanates the noblest of humanity, a light in dark, difficult times that inspires us to keep on. In the year of 2020, we will celebrate the 250th birthday of Beethoven and pay tribute to the maestro with our rendition of his works throughout the entire season. I want to mention especially that we will include Missa solemnis, which is rarely performed in Taiwan. As challenging as Mt. Everest is to its climbers, this intricate masterpiece is one of the greatest compositions of Beethoven and a milestone of his late works. With his characteristic, exquisite counterpoints, Beethoven seemed to travel between times, reminiscing about the past and telling the future, balancing between humanistic contemplations and spiritual quests. With your company, we look forward to exploring the extraordinary mind of Beethoven through our rendition of this magnificent piece. As usual, we are blessed to have distinguished guest musicians both from Taiwan and abroad to perform with us. In this season, we have Meng-Chieh Liu (piano), Brett Dean (viola and composition), and Qigang Chen (composition), three artists in residence from diverse backgrounds with experience in different fields and the same devotion for excellence in art. Through the lectures and concerts we arrange, they will share in depth with the orchestra and the audience their thoughts, talents, and beliefs in art and music. The rise of Richard Wagner was doubtlessly a landmark in the history of classical music. He expanded the possibilities of music to the corners of a new, untouched realm. An orchestra that has immersed itself in the opera of Wagner will experience inevitable transformation and elevation in art and performance under its influence. After years of effort, the NSO is arguably the most “wagnerian” orchestra in Asia now. With confidence, we look forward to sharing with you Götterdämmerung and Tristan und Isolde, two masterpieces of Wagner, in the beginning and the end of the season. The 2019/20 season is my last season as the music director of the NSO. With all my heart, I wish to thank you for your constant support and love for the NSO. Since the first day I took office, the establishment of our identity and self-awareness in the world of music has been my calling. In the past decade, the time spent with music lovers during the Salon Concerts and Meet Maestro Lü is especially unforgettable. As I looked into your eyes of filled with passion and devotion, I realized how incredibly lovable Taiwan is as a place that pursues truth, beauty, and goodness. I sincerely hope that, in the ever-changing future yet to come, together with the NSO, we will stay by one another’s side to look up to the clear moon in the eternal, starry sky.


Music Director

2019/20 樂季宣告

2019 年來自臺灣 - 日本巡演


Season Calendar P.60

09 / 20 Fri. 19:30


開季音樂會 - 豪情初綻

10 / 20

Sun. 14:30

NSO 室內樂 - 夏末.秋初

Season Opening Concert

NSO Chamber Concerts - Summer & Autumn

指揮│呂紹嘉 Shao-Chia Lü, conductor

長笛|宮崎千佳 Chika Miyazaki, flute

鋼琴│劉孟捷 Meng-Chieh Liu, piano

雙簧管|阮黃松 Tung Nguyen Hoang, oboe

女高音|林玲慧 Ling-Hui Lin, soprano

單簧管|黃荻 Ti Huang, clarinet

女中音|翁若珮 Jo-Pei Weng, alto

低音管|陳奕秀 I-Hsiu Chen, bassoon

男高音|孔孝誠 Ezio Kong, tenor

法國號|劉品均 Pin-Chun Liu, horn

男中音|葉展毓 Chan-Yu Yeh, baritone

鋼琴|王佩瑤 Pei-Yao Wang, piano

合唱指導|莊舜旭 Shun-Hsu Chuang, chorus master 臺大校友合唱團 NTU Alumni Chorus


合唱指導|熊師玲 Shih-Ling Hsiung, chorus master 台北愛樂兒童合唱團 Taipei Philharmonic Children's Choir



09 / 26 Thu. 19:30

Ray Chen & NSO 指揮|張宇安 Yu-An Chang, conductor

Meng-Chieh's Chamber Music

小提琴|陳銳 Ray Chen, violin

小提琴|鄧皓敦、陳玟佐 Hao-Tun Teng, Wen-Tso Chen, violin

10 / 26 Sat. 19:30

中提琴|陳猶白 Jubel Chen, viola

勇源 X NSO

大提琴|王郁文 Yu-Wen Wang, cello


長笛|安德石 Anders Norell, flute

10 04 10 / 06 Sun. 15:00 10 / 10 Thu. 15:00 /


Beethoven's Vocal Works

Fri. 17:00

主講與女高音|林慈音 Grace Lin, lecturer & soprano 男中音|趙方豪 Fang-Hao Chao, baritone


男低音|羅俊穎 Julian Lo, bass 小提琴|王致翔 Chih-Hsiang Wang, violin

《尼貝隆指環》系列 NTT Ring Cycle

大提琴|韋智盈 Chih-Yin Wei, cello


鋼琴|徐嘉琪 Chia-Chi Hsu, piano

Richard Wagner: Götterdämmerung 指揮| 呂紹嘉 Shao-Chia Lü, conductor


導演| 卡盧斯.帕德利薩(拉夫拉前衛劇團) Carlus Padrissa, stage director (La Fura dels Baus)


音樂廳 ( 巡演 )

孟捷樂樂秀 鋼琴|劉孟捷 Meng-Chieh Liu, piano


10 / 24 Thu. 19:30 10 / 26 Sat. 19:30 │ 衛武營國家藝術文化中心・

10 / 18 Fri. 19:30 2019 萬海航運慈善音樂饗宴

王者交會 LÜ & Blacher 指揮 | 呂紹嘉 Shao-Chia Lü, conductor 領奏與小提琴 | 柯爾亞.布拉赫 Kolja Blacher, direct & violin

10 / 27 Sun. 14:30 │音樂廳


建築聲學大師 徐亞英與 NSO, 帶你聆賞衛武營 Albert Xu x NSO x Weiwuying 主講人|徐亞英 Albert Xu, lecturer 主持人|簡文彬 CHIEN Wen-Pin, moderator 指揮|張宇安 Yu-An Chang, conductor

●總監系列 ●名家系列 ● 駐團音樂家系列 P.66


11 / 08 Fri. 19:30


12 / 20 Fri. 19:30



LÜ & David Guerrier

The Wooden Prince

指揮│呂紹嘉 Shao-Chia Lü, conductor

指揮|呂紹嘉 Shao-Chia Lü, conductor

小號│大衛.格里爾 David Guerrier, trumpet

小提琴|雷諾.卡普頌 Renaud Capuçon, violin

11 / 16 Sat. 14:30


焦點講座 What is Composition?

12 / 21 Sat. 14:30 焦點講座 What is Composition?

勇源 X NSO



The Oriental and Unconventional: The Mighty Five's Russia and Folklore

Music and Literature: Vampire, Automata, and the Modern Prometheus

主講|焦元溥 Yuan-Pu Chiao, lecturer

主講|焦元溥 Yuan-Pu Chiao, lecturer

女高音|黃莉錦 Li-Chin Huang, soprano

女高音|林映旻 Ying-Min Lin, soprano

男低音|羅俊穎 Julian Lo, bass

男中音|葉展毓 Chan-Yu Yeh, baritone

鋼琴|盧易之 Yi-Chih Lu, piano

鋼琴|王佩瑤 Pei-Yao Wang, piano

11 / 22 Fri. 19:30 不朽 ‧ 命運 Vänskä & NSO 指揮│歐斯莫.凡斯卡 Osmo Vänskä, conductor


11 / 24 Sun. 14:30 NSO 室內樂 - A 調娛樂 NSO Chamber Concerts Music Entertainment in A Major



12 / 28 Sat. 19:30 12 / 31 Tue. 19:30 │臺中國家歌劇院・大劇院 ( 巡演 ) 歲末音樂會 –《風流寡婦》 Opera Concert – Die lustige Witwe 指揮|張尹芳 Yin-Fang Chang, conductor 導演|尚米歇爾.克奇 Jean-Michel Criqui, director 音樂指導|王佩瑤 Pei-Yao Wang, vocal coach 漢娜|林慈音 Grace Lin, Hanna Glawari 達尼羅伯爵|巫白玉璽 Wu Bai-Yu-Hsi, Danilo Danilowitsch


卡米爾伯爵|孔孝誠 Ezio Kong, Camille de Rosillon

Chu-Chun Tsai, Chih-Hong Tseng, violin

傑達男爵|趙方豪 Fang-Hao Chao, Baron Mirko Zeta

中提琴|呂昭瑩 Chao-Ying Lu, viola

法蘭琪娜|黃莉錦 Li-Chin Huang, Valencienne

大提琴|唐鶯綺 Ying-Chi Tang, cello

卡斯卡達|葉展毓 Chan-Yu Yeh, Vicomte Cascada

低音提琴|蔡歆婕 Hsin-Chieh Tsai, double bass

聖布里奧許|張殷齊 Yin-Chi Chang, Raoul de St Brioche

鋼琴|翁重華 Chung-Hua Weng, piano

合唱指導|古育仲 Yu-Chung John Ku, chorus master

12 06 Fri. 19:30

台北愛樂合唱團 Taipei Philharmonic Chorus

琴炫俄羅斯 Russian Feast 指揮|金寶.依希.埃多 Kimbo Ishii-Eto, conductor 大提琴|阿爾班.蓋哈特 Alban Gerhardt, cello




Season Calendar P.74

01 / 05 Sun. 19:30



02 / 22 Sat. 19:30 畫景敘事

Fall in Love with Tchaikovsky

Alexeev & Hu

指揮|呂紹嘉 Shao-Chia Lü, conductor

指揮|尼可萊.阿雷席夫 Nikolay Alexeev, conductor

女高音|葛里戈里恩 Asmik Grigorian, soprano

小提琴|胡乃元 Nai-Yuan Hu, violin

男中音|弗雷德森 Karl-Magnus Fredriksson, baritone


01 / 12 Sun. 14:30


02 / 28

Fri. 19:30



LÜ & Brett Dean

Beethoven Frenzy

指揮|呂紹嘉 Shao-Chia Lü, conductor

指揮|鄭立彬 Cheng Li-Pin, conductor

中提琴|布萊特.狄恩 Brett Dean, viola

小提琴|林品任 Richard Lin, violin 大提琴|秦立巍 Li-Wei Qin, cello


鋼琴|盧易之 Yi-Chih Lu, piano


02 / 07 Fri. 19:30 世紀之聲 Rico Saccani & Kun Woo Paik


03 / 01 Sun. 14:30 狄恩樂樂秀 Brett Dean's Chamber Music 主講與中提琴|布萊特.狄恩 Brett Dean, lecturer & viola 小提琴|蔡竺君、曾智弘

指揮|里科・斯卡尼 Rico Saccani, conductor

Chu-Chun Tsai, Chih-Hong Tseng, violin

鋼琴|白建宇 Kun Woo Paik, piano

中提琴|呂昭瑩 Chao-Ying Lu, viola

02 / 15 Sat. 19:30 NSO 室內樂 - 當管樂遇上絃樂 NSO Chamber Concerts - Beethoven & Dvořák 小提琴|李宜錦、曾智弘 I-Ching Li, Chih-Hong Tseng, violin 中提琴|陳猶白 Jubel Chen, viola 大提琴|王郁文 Yu-Wen Wang, cello 低音提琴|蘇億容 Yi-Jung Su, double bass 單簧管|朱玫玲 May-Ling Ju, clarinet 低音管|簡凱玉 Kai-Yu Jian, bassoon 法國號|劉宜欣 Yi-Hsin Cindy Liu, horn

大提琴|唐鶯綺 Ying-Chi Tang, cello 單簧管|賴俊諺 Chun-Yen Lai, clarinet 女高音|林慈音 Grace Lin, soprano 鋼琴|王佩瑤 Pei-Yao Wang, piano

●總監系列 ●名家系列 ● 駐團音樂家系列 P.115

03 / 07 Sat. 19:30


NSO 室內樂 - 黃金號角手與朋友們 NSO Chamber Concerts Radovan Vlatković with Friends

04 / 09 Thu. 19:30 來自臺灣 – 2020 歐洲巡演行前音樂會 From Formosa – 2020 Europe Pre-tour Concert

法國號 | 弗拉柯維克 Radovan Vlatković, horn

指揮|呂紹嘉 Shao-Chia Lü, conductor

小提琴|李宜錦、洪章文、蔡孟峰 I-Ching Li, Chang-Wen Hung, Meng-Fong Tsai, violin 中提琴|黃亞漢 Ya-Han Huang, viola


來自臺灣 – 2020 歐洲巡演

大提琴|陳怡婷 I-Ting Chen, cello 單簧管|賴俊諺 Chun-Yen Lai, clarinet 鋼琴|王佩瑤 Pei-Yao Wang, piano


04 / 19 Sun.- 04 / 28 Tue. From Formosa – 2020 Europe Tour 指揮|呂紹嘉 Shao-Chia Lü, conductor

03 / 08 Sun. 19:30

鋼琴|周善祥 Kit Armstrong, piano

迴聲華格納 P.88

指揮|準.馬寇爾 Jun Märkl, conductor


法國號|弗拉柯維克 Radovan Vlatković, horn


03 / 14

St. Clair & NSO 指揮|卡爾・聖克萊爾 Carl St. Clair, conductor

Sat. 19:30

鋼琴|劉孟捷 Meng-Chieh Liu, piano

牧之神.森之靈 LÜ & Kit 指揮|呂紹嘉 Shao-Chia Lü, conductor 鋼琴|周善祥 Kit Armstrong, piano


03 / 27 Fri. 19:30

05 / 08 Fri. 19:30


05 / 09 Sat. 14:30 焦點講座 What is Composition?



The Child and the Enchantments: Ravel’s Music World

Leonskaja & NSO

主講|焦元溥 Yuan-Pu Chiao, lecturer

指揮|安立奎.馬卓拉 Enrique Mazzola, conductor

小提琴|鄧皓敦 Hao-Tun Teng, violin

鋼琴|蕾昂絲卡雅 Elisabeth Leonskaja, piano

大提琴|連亦先 Yi-Shien Lien, cello 長笛|宮崎千佳 Chika Miyazaki, flute 女高音|林玲慧 Ling-Hui Lin, soprano 鋼琴|盧易之 Yi-Chih Lu, piano


Jun Märkl & Radovan Vlatković


Season Calendar P.101

05 / 16

Sat. 19:30


05 / 31 Sun. 14:30

來自臺灣 2020 日本巡演

NSO 室內樂 - 漫步布拉格

From Formosa – 2020 Japan Tour

小提琴|陳逸群、陳怡茹 Yi-Chun Chen, Yi-Ju Chen, violin

指揮|呂紹嘉 Shao-Chia Lü, conductor

中提琴|李思琪 Szu-Chi Li, viola

NSO Chamber Concerts - Beethoven in Prague

大提琴|蘇品維 Pin-Wei Su, cello

小提琴|黃俊文 Paul Huang, violin

鋼琴|翁重華 Chung-Hua Weng, piano

大提琴|范雅志 Felix Fan, cello 合唱指導|松下耕 Ko Matsushita, chorus master 東京大都會合唱團 The Metropolitan Chorus of Tokyo


06 / 06 Sat. 19:30 勇源 X NSO

拉縴人男聲合唱團 Taipei Male Choir

其鋼樂樂秀 P.90

Qigang's Chamber Music

05 / 23 Sat. 19:30 │衛武營國家藝術文化中心・ 音樂廳 ( 巡演 ) 05 / 24 Sun. 19:30

指揮|張尹芳 Yin-Fang Chang, conductor 小提琴|吳庭毓、李家豪 Ting-Yu Wu, Chia-Hao Lee, violin 中提琴|吳彥廷 Yen-Ting Wu, viola

呂紹嘉與 Kavakos

大提琴|黃日昇 Jih-Sheng Huang, cello

LÜ & Kavakos

低音提琴|蘇億容 Yi-Jung Su, double bass

指揮|呂紹嘉 Shao-Chia Lü, conductor

長笛|安德石 Anders Norell, flute

小提琴|列奧尼達斯·卡瓦科斯 Leonidas Kavakos, violin


單簧管|朱偉誼 Wei-I Chu, clarinet 雙簧管|王怡靜、 阮黃松

05 / 30 Sat. 19:30

I-Ching Wang, Tung Nguyen Hoang, oboe 低音管|簡恩義 En-Yi Chien, bassoon


小號|宇新樂 Nicolas Rusillon, trumpet

Missa solemnis

法國號|劉宜欣 Yi-Hsin Cindy Liu, horn

指揮|呂紹嘉 Shao-Chia Lü, conductor

豎琴|解瑄 Shuen Chieh, harp

女高音|林玲慧 Ling-Hui Lin, soprano

打擊|陳廷銓 Ting-Chuan Chen, percussion

女中音|翁若珮 Jo-Pei Weng, alto

鋼琴|許毓婷 Yu-Ting Hsu, piano

男高音|金東元 Dong-Won Kim, tenor 男低音|羅俊穎 Julian Lo, bass 合唱指導|古育仲、張維君 Yu-Chung John Ku, Wei-Chun Regina Chang, chrous master 台北愛樂合唱團 Taipei Philharmonic Chorus


06 / 12 Fri. 19:30 英雄生涯 Long Yu & NSO 指揮|余隆 Long Yu, conductor 小提琴|曾宇謙 Yu-Chien Tseng, violin

●總監系列 ●名家系列 ● 駐團音樂家系列


06 / 20 Sat. 19:30 呂紹嘉與馬勒第九 LÜ & Mahler 9 指揮 | 呂紹嘉 Shao-Chia Lü, conductor


06 / 21 Sun. 14:30 焦點講座 What is Composition?

音樂與文學系列: 吟詩、閱讀與寫作 Music and Literature: Reading, Writing and Reciting in Opera 主講|焦元溥 Yuan-Pu Chiao, lecturer 女高音|林慈音 Grace Lin, soprano 次女高音|翁若珮 Jo-Pei Weng, mezzo-soprano 男高音|林義偉 Yi-Wei Lin, tenor 男低音|羅俊穎 Julian Lo, bass 鋼琴|許惠品 Hui-Pin Hsu, piano

07 / 10 Fri. 17:00 07 / 12 Sun. 14:30 歌劇音樂會 –《崔斯坦與伊索德》 Opera Concert – Tristan und Isolde 指揮|呂紹嘉 Shao-Chia Lü, conductor 導演|黎煥雄 Huan-Hsiung Li, director 聲樂指導|安馬丁 Martin Andersson, vocal coach 崔斯坦|羅伯特.迪恩.史密斯 Robert Dean Smith, Tristan 伊索德|安.匹德森 Ann Petersen, Isolde 布蘭甘妮|石易巧 I-Chiao Shih, Brangäne 馬可王|李曉良 Liang Li, König Marke 庫威那|內森.貝格 Nathan Berg, Kurwenal 梅洛|孔孝誠 Ezio Kong, Melot 一位牧人與一位舵手|黃亞中 Ya-Chung Huang, Ein Hirt/ Ein Steuermann 合唱指導|戴怡音 Yi-Yin Tai, chorus master 拉縴人男聲合唱團 Taipei Male Choir



「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 (Shao-Chia Lü) style. What one does get is solid, deliberate, exceptionally well-honed performances that combine intense lyricism with power." — American Record Guide 2017


音樂總監 Music Director

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、

1 8

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,呂紹嘉與香港管弦樂團、NHK、新日本愛樂、首爾愛樂、韓國 KBS 及




自 2010 年 8 月起接任 NSO 國家交響樂團音樂總監。並於 2014 至 2017 年兼



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. 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 orchestras in China. Shao-Chia Lü has been Music Director of the Taiwan Philharmonic (the National Symphony Orchestra) since August 2010. He has also been Chief Conductor of the South Denmark Philharmonic (2014-2017).


Japan Philharmonic, Seoul Philharmonic, KBS Symphony Orchestra and leading

「這首節奏複雜的作品對每個樂團來說都會是挑戰,但香港城市室內樂團在 客席指揮張尹芳清晰的拍點與細膩的處理之下,成功地演繹了這首作品。」 — 香港《南華早報》2017 "Any orchestra would be challenged by the work’s complex rhythms, but the City Chamber Orchestra of Hong Kong fared well under guest conductor Chang Yinfang, helped by her attention to detail and clarity of gesture.” — Dirk Newton, South China Morning Post 2017


駐團指揮 Resident Conductor

YIN-FANG CHANG NSO 國家交響樂團駐團指揮。在臺灣接受完整音樂教育,畢業於國立臺北藝 術大學,曾師事徐頌仁、陳秋盛。2006 至 2015 年擔任國家交響樂團助理指 揮,期間參與策劃、指揮「NSO 永遠的童話」年度製作及推廣音樂會,結合 舞蹈、偶戲、繪本、傑出畫家與動畫,對於古典音樂教育及推廣不遺餘力。 並擅於各種跨界合作,曾分別與張艾嘉、王耀慶合作,製作演出結合戲劇與 音樂之節目,如《仲夏夜之夢》、《皮爾金》;並與金曲流行樂團蘇打綠同台, 以及與國際古典樂壇的知名組合「音樂駭客 Igudesman & Joo」多次合作,均 深受好評。 此外,張尹芳亦積極參與當代華人音樂家作品發表,曾指揮 NSO 錄製臺灣原 20

住民傳統歌謠創編交響樂曲專輯《山海琴原》,以及受臺北立市國樂團之邀, 指揮《反景入深林―向周文中致敬》音樂會並錄音發行。2018 年再受邀指揮









Yin-Fang Chang is Resident Conductor of the Taiwan Philharmonic ( National Symphony Orchestra ). She completed her musical education in Taiwan and served as Assistant Conductor from 2006 to 2015. During this period, Chang conducted well-received educational concerts and 'NSO Forever Tales' annually, co-producing new programs with puppet theatre, children's book illustrators, and animators. She is passionate about the transformative power of music in society and education. In addition, she has collaborated with film directors, television actors and indie bands, producing strikingly progressive crossover work. Her collaborations with Igudesman & Joo in particular are highly acclaimed. Chang is also an astute interpreter of Asian contemporary scores. She conducted ‘Tribute to Wen-Chung Chou’, featuring seven contemporary works, with Taipei Chinese Orchestra in a world premiere in 2013, and was nominated for the Taishin Arts Award. In 2017, she recorded new orchestral pieces of Taiwanese indigenous song, drawing on themes of tradition and identity and articulating them in innovative ways for contemporary audiences, underlining the value of both tradition and innovation. In 2018, she was invited to conduct the opening concert of the Asian

She debuted in Hong Kong and Japan, working with City Chamber Orchestra and Orchestra Ensemble Kanazawa in 2018 and 2019 respectively. In addition to her conducting career, Chang teaches conducting and score reading at Fu-Jen Catholic University and Taipei National University of the Arts.


Composers League Conference and Festival with many new compositions.

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 台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.





樂團首席 Concertmaster




「豐潤的音色。」 ─《舊金山古典之聲》2018 「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 音樂舞台絕對佔有一席之地。」 ─奧地利《信使報》2017 「在美國加州的首次登台是其北美小規模巡演的一站…。呂紹嘉與臺灣愛樂 卻以驚人、突出、充滿豐富音色變化的柴科夫斯基第五號交響曲獲得一次非 凡的勝利。」 ​​​​ ─《音樂美國》雜誌 2016

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,國家交響樂 團(NSO),從交響樂、室內樂到

國家交響樂團 自信而精銳

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」,由教育部於 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。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。歷任常任指揮為艾科卡 (Gerad Akoka)、史耐德 (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。自 2010 年 8 月, 旅德知名指揮呂紹嘉接任 NSO 音樂總監,以多元化主題貫穿樂季,整合與 2 6

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,將樂團打造為亞洲地區最具指標性樂




樂團現有 99 名團員,每年樂季演出約 75 場次。包含定期跨國抑或國內跨界 合作的歌劇作品,如:《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)、《托斯卡》(2019)、《藍鬍子公爵的城堡》(2019),每每展現令國際 樂評驚豔。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 精鍊厚實經典名作,也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,包含廣州亞運音樂節 (2011)、東北亞巡演 (2012)、日本巡演 (2019)、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 (2013、2018) 等均獲得國際樂評高 度讚譽。 近三十年來與 NSO 合作過的客席指揮家有馬捷爾、巴夏、馬利納爵士、史 拉特金、柯米希奧納、羅許德茲特溫斯基、霍格伍德、凡斯卡、葛拉夫、余 隆等;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、 洛堤、歐森、白建宇、鄧泰山、史蒂芬・賀夫、薩洛、王羽佳等;大提琴家馬 友友、顧德曼、羅斯托波維奇、麥斯基、卡普頌、楊文信、王健、伊瑟利斯、 穆勒-修特、嘉碧妲;小提琴家卡瓦科斯、胡乃元、夏漢、明茲、列賓、希 拉蕊 ‧ 韓、宓多里、林以信、陳鋭、黃俊文、林品任;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、約格 ‧ 魏德曼等千餘位國



“Lush Playing.” ─ San Francisco Classical Voice , 2018 “… vor allem bei Schostakowitsch’ Symphonie Nr. 5 d-moll war das Ergebnis mitreißend: Es geriet eine Orchestermaschine ins Arbeiten, mit fliegendenBögenund 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 “ as part of its first mini-tour of North America…Shao-Chia Lü and the underrated Taiwan Philharmonic scored a triumph with a stunning, ferventlyplayed, meticulously nuanced performance of Tchaikovsky’s Symphony No. 5. ”  ─ Musical America , 2016 Founded in 1986, the Taiwan Philharmonic, also known as the National Symphony Orchestra (NSO) at home, is hailed as one of the best orchestras in Asia 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 since 2010 by renowned conductor Shao-Chia

Taiwan Philharmonic, the National Symphony Orchestra

Lü its 5th music director, the NSO has cultural and music educational strength throughout Taiwan. The 99-member NSO presents a 40week musical season of approximately 75 concerts, chamber recitals and opera 2 8

productions each year. It also has launched numerous educational programs and outreach projects, which it continually develops. The symphony tours regularly


throughout Taiwan and overseas, including Vienna, Paris, Berlin, Geneva, Milan,


Seattle, San Francisco, Singapore, Kuala Lumpur, Tokyo, Osaka, Yokohama,


Seoul, Hong Kong , Beijing and Shanghai.


The NSO has worked with internationally acclaimed conductors, such as Lorin Maazel, Sir Neville Marriner, Rudolf Barshai, Leonard Slatkin, Christopher Hogwood, Oleg Caetani, Gennady Rozhdestvensky, Michael Sanderling, Vassily Sinaisky, Osmo Vänskä, Hans Graf, Long Yu and many famous soloists, including Mirella Freni, Ileana Cotrubas, Luciano Pavarotti, Placido Domingo, Bryn Terfel, Thomas Hampson, Narciso Yepes, Fou Ts'ong, Alicia de Larrocha, Jacques Thibaud, Stephen Kovacevich, Lilya Zilberstein, Louis Lortie, Garrick Ohlssono, Kun Woo Paik, Dang Thai Son, Alexandre Tharaud, Yuja Wang, Yo-Yo Ma, Natalia Gutman, Lily Maisky, Gautier Capuçon, Jian Wang, Steven Isserlis, Daniel Müller-Schott, Sol Gabetta, Leonidas Kavakos, Nai-Yuan Hu, Gil Shaham, Shlomo Mintz, Vadim Viktorovich Repin, Hilary Hahn, Midori, Joseph Lin, Ray Chen, Paul Huang, Richard Lin, Martin Grubinger, Sabine Meyer, Radek Baborák, Jörg Widmann, and Reinhold Friedrich. The NSO artistic reach extends to theater and opera. Its productions include collaborations 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, HansPeter Lehmann, Andreas Homoki and James Robinson. In addition to its own semi-staged opera productions such as Der Ring des Nibelungen, and Elektra (2011), Parsifal (2018) and Tosca (2019), the NSO has collaborated with worldclass opera houses for its multinational productions, such as Der Rosenkavalier with Deutsche Oper am Rhein in 2007, Carmen with Royal Opera House Covent Garden, Norwegian National Opera and Opera Australia in 2009, Madama Butterfly with Opera Australia in 2012, Fidelio with Opernhaus Zurich in 2015, as well as in-house production Die Walküre (2013), Salome (2014) Othello (2016)


and Il Trittico (2017).


National Symphony Orchestra 音樂總監





根特 ‧ 赫比希





第一小提琴 ★ 吳庭毓 ☆鄧皓敦 ○ 陳逸群




方俊人■ 黃佳頎

企劃演出經理 / 總監執秘


梁坤豪 陳逸農 李庭芳 賴佳奇


李家豪 曾智弘



第二小提琴 ● 陳怡茹 ◎ 孫正玫 ○ 陳玟佐










石玲玲 楊宇晴






謝 綾

中提琴 ● 黃瑞儀■ ◎鄧啟全 ○ 呂昭瑩



企劃專員 / 總監特助 傅獻靖




















陳詩涵 林柏年








林欣儀 陳靜怡


張筑昀 陳聿琦





NSO Live 講座計畫贊助

北藝大暨國家交響樂團 (NSO)




大提琴 ● 熊士蘭 ◎ 連亦先 ○ 韋智盈



低音提琴 ● 傅永和 ◎ 蘇億容 ○ 周春祥


林宜嫺 王淑宜

黃日昇 連珮致


王郁文 整銷推廣 整銷專案經理


長笛 ● 安德石 ◎ 宮崎千佳 李 浚 短笛


雙簧管 ● 王怡靜 ◎ 阮黃松




單簧管 ● 朱玫玲 ◎ 賴俊諺 朱偉誼


低音管 ● 簡凱玉 ◎ 陳奕秀



法國號 ● 劉宜欣 ◎ 劉品均 ○ 黃任賢



小號 ● 宇新樂 ◎ 陳長伯



長號 ● 李昆穎 ◎ 邵恆發



定音鼓 ● 賽堤恩 ◎ 陳廷銓

打擊樂 ● 陳哲輝



豎琴 ● 解 瑄

鍵盤 ▲ 許毓婷

簡恩義 曹予勉


低音號 ● 藤田敬介


3 0 NSO S E A S O N

2019/20 樂季起 NSO 加入 Ricordilab 計畫 NSO will participate in Ricordilab as associated partner from 2019/20 season. ★樂團首席 Concertmaster ☆樂團副首席 Associate Concertmaster ●首席 Principal ◎副首席 Associate Principal

Music Director

Shiao-Chia Lü

Conductor Laureate

Günther Herbig

Music Director

Shiao-Chia Lü

Conductor Laureate

Günther Herbig

Resident Conductor

Yin-Fang Chang

First Violin

★ Ting-Yu Wu Yu-Lin Kuo

Music Executive Director

Manager, Marketing & Development ○ Yi-Chun Chen Manager, Kun-Hao Liang Planning & Production / Secretary to Music Director Cecilia Fang■

☆ Hao-Tun Teng

Ji-Hung Lin

Yee-Nong Chen

Hsiao-Ching Cho

Jiachi Huang

Ting-Fang Lee

Meng-Ying Lin

Chia-Hao Lee

Manager, Administration

Chih-Hong Tseng

Linglin Shih

Yen-Yi Huang

Yu-Ching Yang

Hsin-Jung Kang

Mei-Jain Li

Chia-Chi Wen

Lin Hsieh

Coordinator / Assistant to MD

Jeffy Fu


Brittney Kao

Juin-Ling Shieh

Stage Manager

Kuan-Hsun Kao

Jubel Chen

Assistant Stage Manager

Yen-Lin Li

Ya-Han Huang

○ Wen-Tso Chen

Tsu-Mei Ku

Jen-Fu Chung

Meng-Fong Tsai

Wei-Hong Chen

Chih-Hsiang Wang



Chang-Wen Hung

● Grace Huang ■◎ Chi-Chuan Teng Yea-Chyi Hwang

Jing-Yi Lee

Meng-San Lu

Szu-Chi Li

○ Chao-Ying Lu

Ping-Chang Tsai Yen-Ting Wu ● Lana Hsiung

◎ Yi-Shien Lien

You-Wen Chou

I-Ting Chen

Yi-Hsien Lin

Jih-Sheng Huang Pin-Wei Su

Ying-Chi Tang

Double Bass


○ Chih-Yin Wei

Project Manager,

Yu-Wen Wang ● Yung-Ho Fu

◎ Yi-Jung Su

Gloria Lo

Marketing & Development

○ Chun-Shiang Chou

International Communication

Lizi Lai

Marketing Coordinator

Vivian Chen

Su-Yu Wang

Hsiao-Ching Huang Shu-Yi Wang

Bernie Lin

Pei-Chih Lien

Hsin-Chieh Tsai

Justina Fan

● Anders Norell

◎ Chika Miyazaki

Flute Piccolo Oboe English Horn Clarinet

Programme Coordinator

Ching-Hsi Lee

◎ Cheng-Mei Sun

I-Hui Wu

Gail Chang


Yu-Fen Huang

Bassoon Contrabassoon Horn Trumpet Trombone Bass Trombone

Chuin Lee

Mei-Chuan Chung ● I-Ching Wang

◎ Tung Nguyen Hoang Shu-Ting Yang

Ming-I Lee ● May-Lin Ju

◎ Chun-Yen Lai

Cheng-Jung Sun ● Kai-Yu Jian

Wei-I Chu

◎ I-Hsiu Chen

Ling-Feng Kao

En-Yi Chien ● Yi-Hsin Cindy Liu ◎ Pin-Chun Liu Jer-Yun Huang

Wan-Ju Wang

○ Jen-Hsien Huang

● Nicolas Rusillon ◎ Chang-Po Chen Loo-Kit Chong

Yu-Mien Tsao

◎ Hang-Fat Shiu

Hsiao-Yun Peng

Assistant Manager, Personnel

Cheryl Pi-Chu Lin

Legal Affairs

Cary Liu


Eileen Lin

Ching-I Chen

Administration Assistant

Yuny Chang

Yu-Chi Chen

Legal Consultant

Hsin-Ho Lin

Concert Dramaturgist

Yuan-Pu Chiao

Ching-Min Chang

● Kun-Ying Lee


Chung-Sheng Chen

Recording Partnership NSO-on-Campus Lecture Series


● Keisuke Fujita


● Sebastian Efler ◎ Ting-Chuan Chen

TUNA&NSO Intership Program


● Yi-Ju Chen

Paul Wang

Chia-Chi Lai

Chu-Chun Tsai Second Violin

Lydia Wen-Chen Kuo

Pi-Tzu Yang


● Jer-Huei Chen


● Shuen Chieh


▲ Yu-Ting Hsu

Chen-Hsing Chen

○助理首席 Assistant Principal ■留職停薪 On Leave ▲樂季合約人員 Season Contracted Musicians

備受矚目的高雄衛武營國家藝術中心於 2018 年 10 月 13 日開幕,在《揭 幕-璀璨閃耀》開幕音樂會中,邀請了旅美知名鋼琴家劉孟捷返國演出 李斯特《第一號鋼琴協奏曲》,這不管對於衛武營,抑或是對於出生於 高雄的劉孟捷來說,應該都具有特別的意義。從小展現過人天賦的劉孟 捷,1993 年以寇蒂斯音樂學院學生之姿,受邀替鋼琴大師安德烈.瓦茲 於費城音樂廳演出後即一戰成名,大型音樂會邀約接踵而來。畢業後, 劉孟捷隨即任教於寇蒂斯音樂院,同時展開職業鋼琴家的演奏生涯,但 蒸蒸日上的演奏事業,卻被一場突如其來的罕見疾病中斷。憑著堅毅的 決心,劉孟捷在嚴酷的物理治療後奇蹟似地恢復健康,繼續活躍於國際 舞台上。浴火重生之後,除了以獨奏家的姿態演出之外,亦與克里斯托 夫.艾森巴赫、古斯塔夫.杜達美、艾倫.吉伯特等知名指揮合作,演 出行腳遍及美國各大城市、臺、港、日、韓、中、英、法、西、紐、澳 等地。劉孟捷亦十分熱衷室內樂演出,2009 年加入芝加哥獨奏家樂集擔 任音樂總監一職。曾獲頒許多獎項的劉孟捷,其藝術成就早已受到肯定。

2019/09/20 Fri. 19:30 開季音樂會 -《豪情初綻》 Season Opening Concert 2019/09/26 Thu. 19:30 《孟捷樂樂秀》 Meng Chieh's Chamber Music 2020/05/08 Fri. 19:30 《俄羅斯幻境》 St. Clair & NSO

自 1993 年開始任教於寇蒂斯音樂 院,2014 年 加 入 新 英 格 蘭 音 樂 學 院師資。身為在世界各地旅行演奏

駐團音樂家 Artist in Residence


劉孟捷 Meng-Chieh Liu







的獨奏家,如何能在教學活動以及 面對不同曲目挑戰的獨奏與室內樂

中;從教學中能體會到教學相長的 道理,在教學中經由示範、講解,也同樣離不開鋼琴與音樂。劉孟捷在 忙碌的行程中,應允擔任 NSO 駐團音樂家,除了與樂團合作經典的鋼琴 協奏曲之外,也將與樂團的演奏家合作,帶來在國內較少被演奏的室內 樂曲目。被《芝加哥古典樂評》讚譽為「完美無瑕,周延且均衡的鋼琴 演奏」的劉孟捷,藉著這個樂季不同曲目的音樂會,將以其細膩的彈奏 32



A recipient of the prestigious Avery Fisher Career Grant, Meng-Chieh Liu first made headlines in 1993 as a 21-year-old student at The Curtis Institute of Music when he substituted at last minute's notice for AndrĂŠ Watts at the Academy of Music in Philadelphia. The concert earned high acclaim from critics and audience alike, and was followed by a number of widely praised performances, including a recital at the Kennedy Center and a concert on the Philadelphia All-Star Series. Already an accomplished artist at the time, Mr. Liu had made his New York orchestral debut two years earlier. Following Mr. Liu's triumph in Philadelphia, an appearance with the Philadelphia Orchestra was immediately scheduled, but it was not to be. The stellar beginning of his career was abruptly halted by a rare and debilitating illness that affected his connective tissues. Hospitalized and almost immobile for a year, doctors believed his chances for survival were slim and, should he survive, playing the piano would be "absolutely impossible." With arduous determination and relentless physical therapy, Mr. Liu has been restored to full health and is now once again performing on the concert stage. Since then, he has performed throughout the world as a soloist in recitals and with orchestras under conductors Christoph Eschenbach, Gustavo Dudamel and Alan Gilbert. In 2002, Liu received the Avery Fisher Career Grant and the Philadelphia Musical Fund Society Career Advancement Award. A sought-after musician and strong advocate of chamber music, Liu performs in music festivals across the globe and has worked with international musicians Shmuel Ashkenasi, David Soyer, Bernard Greenhouse, James Buswell, Wendy Warner as well as the Borromeo and St. Lawrence Quartets. Liu also collaborates with artists in varied disciplines, such as Mikhail Baryshnikov and the White Oak Dance Project, among other dance companies. His concerts have been heard over the airwaves around the world, and a biography on his life was broadcast on Taiwanese National Television. In recent seasons, Liu has appeared with orchestras in Miami, Philadelphia, Beijing, Shenzhen, Kunming, Qindao and Taichung, collaborating with conductors Long Yu, Daye Lin, Kah Chun Wong, Guoyong Zhang and David Wetherill. He was the featured soloist with the Forbidden City Chamber Orchestra in the world premiere of works written for him by Xiaogang Ye. Born in Kaohsiung, Taiwan, Meng-Chieh Liu began his piano studies early, and at age thirteen was accepted by The Curtis Institute of Music to study with Jorge Bolet, Claude Frank, Gary Graffman and Eleanor Sokoloff, and received first prizes in the Stravinsky, Asia Pacific and Mieczyslaw Munz piano competitions. His reputation as a teacher/mentor has brought him across the globe in summer festivals, masterclasses, and lecture recitals. Since 1993, Liu served on the piano and chamber music faculties at The Curtis Institute of Music, and recently added the New England Conservatory to his itinerary. For the last three summers, he was also a faculty member for the Tanglewood Music Center. Also a faculty member at Roosevelt University in Chicago from 2006-2014, Liu also joined Chicago Chamber Musicians in the fall of 2009, and served as Artistic Director of the ensemble from 2011-2014, where performances have already been 33

acclaimed for his "faultless, discreetly balanced pianism" (Chicago Classical Review).

旅居法國、中國出身的世界知名作曲家陳其鋼,青少年時期經歷過的文 化大革命並沒有澆熄他對音樂與作曲的熱情,反而讓他更珍惜可以努力 學習的機會。他先後進入競爭激烈的北京中央音樂院與法國巴黎高等音 樂院主修作曲,成績優異,其具有個人音樂語言的作品,多年來持續在 世界各地知名的音樂廳被重要的音樂團體演出。陳其鋼的藝術成就受到 許多獎項的肯定,例如:2013 年法國政府文化部頒發「藝術與文學騎士 勳章」,表彰對音樂藝術的貢獻。陳其鋼與臺灣的淵源深厚,多年前就 曾經數次訪臺,並與臺灣音樂家們有密切的交流,NSO 也曾演出過他的 作品。陳其鋼不執著於新穎音響、繁複結構與原創語言的探求,而是回 歸到相對簡易的素材與浪漫的風格。處於對新音樂手法不斷探索、走在 實驗音樂前端的巴黎,陳其鋼當然也在時代的風潮中學習了許多前衛的 技巧,但他終究選擇忠於自己,他的創作傾向著重於個人內心情感與心 志表露的語法,這樣的音樂吸引了許多的愛樂大眾。 在 2014 年來臺與 NSO 演出《逝去的時光》記者會中,陳其鋼表示二十

2019/11/08 Fri. 19:30 《璀璨音畫》 LÜ & David Guerrier 2020/06/06 Sat. 19:30 《其鋼樂樂秀》 Qigang's Chamber Music 2020/06/12 Fri. 19:30 《英雄生涯》 Long Yu & NSO

年前經常來臺訪問,「當時的臺灣 就 像 現 在 的 中 國, 急 於 名 利, 感 覺很浮躁」,但 2014 年時則感覺

駐團音樂家 Artist in Residence

的時光》、和《失樂園》(Naxos 發

陳其鋼 Qigang Chen

行 ) 的陳其鋼,於本樂季將首次擔


「臺北變優雅了」。曾與呂紹嘉 / NSO 合 作 錄 製《 二 黃 》、《 逝 去

任 NSO 駐團音樂家,NSO 將演出 陳其鋼寫給樂團的作品,也將演出

陳惠湄 實踐大學專任助理教授

陳其鋼幾首具有代表性的室內樂, NSO 的樂迷可透過不同編制的作品,感受這位溫文儒雅、談吐具有文人 氣息的作曲家,樂如其人的音樂風格。

3 4 NSO S E A S O N

Coming from an intellectual family, Qigang Chen began his musical studies as a child. When in his early teens, he was confronted with the Cultural Revolution and would spend three years locked up in a barracks, undergoing an 'ideological reeducation'. Nonetheless, his passion for music remained unshakeable and, in spite of the social pressure and anti-cultural policy, he pursued his training in composition. In 1977, Qigang Chen was one of 26 candidates out of two thousand to be accepted into the composition class at the Beijing Central Conservatory. After five years of studies with Luo Zhongrong, in 1983 he stood for the national competition where he came first. As a result, he was the only one in his field to be authorized to go abroad to pursue graduate studies in composition. Olivier Messiaen's last student, from 1984 to 1988. His first five years in France allowed him to broaden the scope of his culture and acquire new knowledge about 20th-century music. Qigang Chen is one of the living composers much performed around the world, winning him many accolades. In 2001 His orchestral work Wu Xing was selected from over 1000 entries as one of the five finalists of the Masterprize Award, hosted by the BBC. In 2003, EMI/Virgin Classics released an album devoted to his music, including the highly acclaimed work Iris devoilĂŠe. It was later voted by Gramophone Magazine as one of the Top Ten Classical Recordings of the Month. In 2005, He was awarded the Grand Prix de la Musique Symphonique by SACEM in recognition of his career achievement. He worked as Music Director of the Opening Ceremony of the 2008 Olympic Games in Beijing. Most recently, in 2013, he was decorated with Chevalier de l'Ordre des arts et des lettres by the French government. Qigang Chen has devoted himself to the cultivation of younger generation composers. With the support of the National Center of the Performing Arts (NCPA) as well as other organizations around the world, such dedication of his has led to the initiative and establishment of the NCPA Young Composer Programme in 2011.

platform for dialogues with, and between, young musicians.


In 2015, he launched a composition workshop at Gonggeng College in China, as a

來自澳洲布里斯本的布萊特.狄恩(Brett Dean),1984 年遷居至德國, 曾在世界音樂演奏家好手們憧憬的頂尖樂團-柏林愛樂擔任中提琴手長 達十四年,但他後來卻選擇成為一位自由音樂家。他曾在受訪中說,他 一直都體認到自己是一位演奏者,但音樂觸動了他的身心靈,他也希望 自己能夠寫出感動人身心靈的音樂,因而走上兼具演奏、作曲、指揮等 多重身份的音樂之路。雖然經常在獨奏家、指揮、作曲家這些不同身份 之間轉換,但他似乎不感到彼此之間有任何衝突,而且還在這些角色之 間游刃有餘、樂此不疲;無論是哪一種角色,他的音樂活動顯然都圍繞 著樂團。多年來,布萊特.狄恩與許多世界知名樂團合作演出自己寫作 的中提琴協奏曲;他同時是位室內樂音樂家,經常與其他合奏團與管絃 樂團的演奏家合作,演出自己的室內樂作品與標準曲目。他對於音樂會 的的曲目安排極具創意,通常以自己的作品為中心,再與其他作曲家的 作品巧妙搭配。狄恩與世界各地樂團合作,也擔任例如瑞典室內樂團、 雪梨交響樂團等樂團的駐團音樂家,也與樂團合作,進行節目企劃。他

2020/02/28 Fri. 19:30 《穿梭世紀的音符》 LÜ & Brett Dean 2020/03/01 Sun. 14:30 《狄恩樂樂秀》 Brett Dean's Chamber Music

是 BBC 交響樂團夥伴音樂家,以 中提琴家與指揮的身份擔綱多項工 作,包括首演自身創作、進行委託

駐團音樂家 Artist in Residence

獎項肯定,也由 BIS 和 ABC 古典

布萊特.狄恩 Brett Dean

錄 製、 發 行 專 輯。 對 於 由 雪 梨 交

撰文 |

創作以及其他演出等。狄恩的作品 由 世 界 著 名 樂 團 演 出, 曾 獲 許 多

響樂團演出、BIS 發行,狄恩創作 的 中 提 琴 協 奏 曲, 英 國《 衛 報 》 (Guardian ) 曾如此贊揚:「不僅是

陳惠湄 實踐大學專任助理教授

傑出而深具音樂底蘊的演奏家,也是一位令人深感佩服的作曲家……這 是展現狄恩作曲家才華的一部絕佳作品」。曾在柏林愛樂擔任中提琴手 多年,又以獨奏家、指揮、作曲家等身份活躍在世界各地的狄恩,比許 多同行更瞭解樂團演出工作與活動中,各個不同角色之間的立場,深諳 以同理心有效協調的道理,也因此從各地樂團來的邀約不斷。在 2016/17 樂季,狄恩曾擔任 NSO 駐團音樂家時,NSO 與英國國家廣播公司第三電 3 6

臺、蘇黎世音樂廳和丹麥國家交響樂團共同委託狄恩創作《哈姆雷特》 連篇歌曲並於《英雄再起》音樂會中演出。2019/20 樂季。本樂季再次應





邀擔任 NSO 駐團音樂家,將與 NSO 演出他自己的中提琴協奏曲,也將




Brett Dean studied in Brisbane before moving to Germany in 1984 where he was a member of the Berlin Philharmonic for fourteen years, during which time he began composing. His music is championed by many of the leading conductors and orchestras worldwide, including Sir Simon Rattle, Vladimir Jurowski, David Robertson, Andris Nelsons, Marin Alsop and Sakari Oramo. Much of Dean’s work draws from literary, political, environmental or visual stimuli, including a number of compositions inspired by artwork by his wife Heather Betts. Brett Dean began composing in 1988, initially concentrating on experimental film and radio projects and as an improvising performer. Dean’s reputation as a composer continued to develop, and it was through works such as his clarinet concerto Ariel's Music (1995), which won an award from the UNESCO International Rostrum of Composers, and Carlo (1997) for strings, sampler and tape, inspired by the music of Carlo Gesualdo, that he gained international recognition. In 2009 Dean won the Grawemeyer Award for music composition for his violin concerto The Lost Art of Letter Writing and in 2016 was awarded the Don Banks Music Award by Australia Council, acknowledging his sustained and significant contribution to Australia’s musical scene. In June 2017 his second opera Hamlet was premiered at Glyndebourne Festival Opera to great acclaim, winning both the 2018 South Bank Sky Arts Awards and International Opera Awards for opera. Dean enjoys a busy performing career as violist and conductor, performing his own Viola Concerto with many of the world’s leading orchestras. Dean is a natural chamber musician, frequently collaborating with other soloists and ensembles to perform both his own chamber works and standard repertoire, including projects with the Doric Quartet, Scharoun Ensemble and Alban Gerhardt. Dean’s imaginative conducting programs usually centre around his own works combined with other composers and highlights include his appointment as Creative Chair at Tonhalle-Orchester Zürich 2017/18, projects with the BBC Symphony, Los Angeles Philharmonic, Concertgebouw Orchestra, Melbourne Symphony, Sydney Symphony, BBC Philharmonic, Gothenburg Symphony, Toronto Symphony, Tonkünstler-Orchester, Stuttgart Chamber Orchestra and as Artist in Residence 37

with the Swedish Chamber Orchestra.

3 8








2O19 /2O



烈慶祝過三十周年,走過歐美亞洲多次巡演,國家交響樂團 (NSO) 始終持續成長進步,感謝樂迷一路支持,也感謝呂紹嘉總監的辛勤擘

劃。2019/20 樂季是呂總監任內的最後一年,樂團排出諸多深富紀念意義的 音樂會,期待和大家一同紀念這難得的十年時光。

最能代表如此重要意義的,就是首尾兩場馬勒,《悲嘆之歌》與第九號交響 曲。前者是馬勒念茲在茲的少作,樂譜幾經修改又幾度流浪,方成今日版本。 「哥哥為娶女王不惜殺死弟弟,後者屍骨被吟遊詩人作成笛子,在婚禮上唱 出真相」,馬勒親自作詞,改寫格林童話「會唱歌的骨頭」,將生活中的種 種鬱結,透過藝術排遣悲懷。這是需要超大編制樂團與合唱團,外加眾多獨 唱歌手,演奏時間超過一小時的驚人作品,馬勒生前也未能將三部分全本演 出。然而若想深入了解馬勒,足稱其作品源頭的《悲嘆之歌》,又是不聽不 可的創作。呂紹嘉任內已和 NSO 演過一輪馬勒交響曲全集,如今補上《悲 嘆之歌》,著實令人期待。至於第九號交響曲,他與 NSO 在 2005 與 2014 年各合作過一次,如今三度演出作為樂季壓軸,相信更是刻骨銘心。

這個樂季也是 NSO 這十年來,許 多重點作曲家的「完結篇」。比方 說西貝流士,NSO 早已演出過他的 交響曲全集,近年更演了諸多交響 詩,不少皆為臺灣首演,積累豐富 的演出心得。本樂季呂紹嘉將詮釋

最後一哩路, 告別與前行。

他的封筆巨作,第七號交響曲與交 響詩《塔比歐拉》,提出他對這位 作曲家最深刻的見解。同樣堪稱完 結篇的還有巴爾托克,NSO 演過他


焦元溥 倫敦國王學院音樂學博士

諸多高難度創作,包括全本《奇異 4 0

的滿洲人》與歌劇《藍鬍子公爵的 城堡》,也逐一獻上他兩首小提琴協奏曲、三首鋼琴協奏曲、中提琴協奏曲,










不只有自己的音樂進程,NSO 也呼應全球樂壇盛會。新樂季最重要的大事,莫過於貝多芬誕生 250 周年。從波 昂到維也納,這位出生於 1770 年底的音樂巨擘,以罕見的意志力與強烈個性,開創出豐富、深邃、前瞻又獨 特的藝術世界,其影響力鋪天蓋地,幾乎可說是史上最重要的作曲家。本樂季樂團排出貝多芬諸多名作,包括 第二、三、五、七、八號交響曲、第二號鋼琴協奏曲、小提琴協奏曲、三重奏協奏曲、《柯里奧蘭》音樂會序曲、 《普羅米修斯》序曲、劇樂《艾格蒙》序曲以及《莊嚴彌撒》,呈現其各個階段的代表作,也兼具熱門金曲與 挑戰性甚高的經典,尤其以《莊嚴彌撒》為最。在樂團場之外,NSO 也規劃室內樂場,以「貝多芬 PLUS」的 概念搭配組合其他作曲家名作,既展現貝多芬的影響,也讓人看到音樂創作的脈絡與傳承。2020 年必然會有許 多貝多芬紀念活動與相關出版,和 NSO 一起深入認識這位大師,絕對是事半功倍的選擇。

既有作曲家系列完結篇與周年紀念,新樂季也設計了橫向脈絡,讓聽眾徜徉於風格多樣的俄羅斯創作。從柴科 夫斯基第三、六號交響曲、第三號組曲、第一號鋼琴協奏曲與歌劇《尤金 ‧ 奧涅金》選粹,穆索斯基的《展 覽會之畫》,一路延伸至拉赫瑪尼諾夫第三號交響曲、普羅科菲夫《羅密歐與茱麗葉》組曲與《交響協奏曲》, 還有蕭斯塔科維契《慶典序曲》、第八號交響曲與第一號小提琴協奏曲。NSO 的愛樂者對這些名作應當不陌生, 許多也曾出現於過去樂季,柴科夫斯基、蕭士塔科維契與普羅科菲夫,更曾是樂團的焦點作曲家。這些曲目讓 我們欣賞俄羅斯精彩不凡的傳承—傾聽民族風與西化派的不同、對過去美好的眷戀、目睹時代悲劇的省思—也 讓 NSO 再度展現長期浸淫其中的心得,以最適當的聲音表現不同作品的精神。我也建議大家把雷史畢基的《羅 馬之泉》與《羅馬之松》和這個系列互相參照。雖然是義大利作曲家,雷史畢基曾在聖彼得堡與李姆斯基—柯 薩科夫研習五週,學得這位管絃配器聖手的真傳。他以前輩技巧為基底,又開發出屬於自己的手法,寫出傲視 群倫的色彩,甚至還有環繞音響的立體設計,每次演出都能掀翻音樂廳。

同樣是配器經典,本季也有巴伯《絃樂慢板》、德布西《牧神午後前奏曲》、拉威爾《鵝媽媽》組曲與史特勞 斯交響詩《英雄的生涯》。它們呈現截然不同的聲響世界,卻都有令人拍案叫絕的色彩與想像,美好旋律中更 有真摯情感與人性深度,不愧為最受歡迎的傑作。華格納《漂泊的荷蘭人》序曲與布魯克納第三號交響曲也將 重回 NSO 曲目,再度帶來劇力萬鈞的震撼。然而新樂季傳統作品中最值得推薦的,可能要數丹麥作曲家尼爾 森的第四號交響曲。這是受一次大戰激發,以音樂展現不屈鬥志的偉大創作。第四樂章兩組定音鼓「宛如決鬥」 的互相捶打搏擊,每每讓聽眾為之熱血沸騰。只有在現場,才能領會它好聽也好看的魅力,希望大家絕對不要 錯過。

他不只是卓越的獨奏家,更是室內樂高手,這次帶來兩首協奏曲與一場室內樂。本身是中提琴名家的狄恩,這 次二度駐團,帶來他廣受世界樂團演出的《科馬羅夫的墜落》與中提琴協奏曲,加上室內音樂會,希望愛樂者 共襄盛舉,欣賞他作曲與演奏合而為一的風采。首次駐團的陳其鋼,與呂紹嘉 /NSO 合作錄製的《二黃》、《逝 去的時光》和《失樂園》(Naxos 發行 ) 大獲好評。他本身是單簧管演奏好手,對中國傳統戲曲與民俗音樂瞭解


本季另一亮點,在於 NSO 破天荒請來三位駐團音樂家,也都是頗具默契的夥伴。鋼琴家劉孟捷大家必然不陌生。

甚深,加上曾赴巴黎與作曲大師梅湘學習,很早就形成迷人且獨特的風格,自此再一路發展,至今已是當今世 界樂壇具有鮮明語彙的重要作曲名家。他的管絃配器技法極為出眾,色彩與聲響可說與拉威爾、梅湘、杜堤耶 等大家一脈相承,作品有德布西的寬廣氣韻,也有明晰儒雅的古典精神,近年國際邀約絡繹不絕,新作曲曲轟 動。這次 NSO 要演出他的小號協奏曲《萬年歡》與新作小提琴協奏曲《悲喜同源》,加上難得的室內樂音樂會, 想和當代國際樂團無縫接軌,這都是不聽不可的演出。

邀來兩位當代重要作曲家駐團,也再度宣示 NSO 推動現代與當代創作的信念。這十年來樂團邀約作品愈來愈 多,本樂季有余忠元《歌聲之谷》與劉博健《曼聲長引》,亦演出其他國人作品包含李俊緯《最後一哩路》及 王怡雯《花園集景》。而《星際大戰》系列電影配樂作者約翰威廉斯的法國號協奏曲,也要首度現身臺灣。帶 來此曲的法國號大師弗拉柯維克,最近每次在臺演出,華麗溫潤的音色皆造成轟動。這次除了協奏曲也要和團 員合奏室內樂,必然是美好無比的美聲饗宴。本樂季 NSO 請來許多國際樂壇炙手可熱的名家,例如小提琴名 家卡瓦科斯、布拉赫與卡普頌,分別要和呂紹嘉合作蕭斯塔科維契、布瑞頓與貝多芬的小提琴協奏曲;曾宇謙 要挑戰陳其鋼新作,胡乃元要演奏巴爾托克,陳銳則帶來刺激炫技的維尼奧夫斯基第一號小提琴協奏曲。大提 琴家蓋哈特以技巧艱深至極的普羅科菲夫和 NSO 三度攜手,法國號與小號皆擅的格里爾,則用後者和 NSO 初 次共演。在鋼琴方面,睽違多年的蕾昂絲卡雅終於再度來訪,要演奏雄渾壯闊的布拉姆斯第二號鋼琴協奏曲; 和 NSO 一起歐巡的周善祥 (Kit Armstrong),要呈現洋溢異國風情的聖桑第五號鋼琴協奏曲《埃及》。凡此種種, 無不令人翹首盼望。加上小提琴家林品任、大提琴家秦立巍與鋼琴家盧易之合作的貝多芬三重協奏曲,指揮家 凡斯卡、阿雷席夫、馬寇爾、馬卓拉、聖克萊爾、余隆,還有明日之星張宇安的 NSO 首演,新樂季處處驚喜, 最好購買套票一網打盡。

至於亮點中的亮點,則是四場歌劇相關演出。NSO 和臺中國家歌劇院的華格納《指環》四部曲,將以本樂季《諸 神黃昏》畫下句點。以《尤金 ‧ 奧涅金》寫信場景驚艷樂迷的女高音葛里戈里恩,近年以《莎樂美》在薩爾 茲堡音樂節一炮而紅。這次她再度來臺重現經典,還要與男中音帶來更多著名唱段與場景。2020 不只是貝多芬 紀念年,也是雷哈爾誕生 150 年,他最熱門的歌劇《風流寡婦》想必又會成為各大劇院的焦點。NSO 提前以這 部名作為大師慶生,德文演唱加上中文對白,在歲末帶來浪漫又機智的歡笑逗趣。

至於任內最後一場演出,呂紹嘉將以《崔斯坦與伊索德》和聽眾告別。這是史上最重要也最迷人的音樂創作之 4 2

一,也是指揮家與樂團最艱鉅的考驗,可謂向愛樂者致上最誠心誠意的謝禮。且讓我們珍惜呂紹嘉與 NSO 的 所有演出,期待充實豐富且風格多樣的新樂季,在告別聲中繼續前行。



oyfully celebrating its thirtieth anniversary, the NSO continues to move forward and grow. We deeply appreciate the support of our patrons and the

unwavering direction of Shao-Chia Lü, our Music Director. The 2019/20 season will be the last of Maestro Lü’s tenure. In commemoration of our unforgettable decade together, the NSO has devised a series of notable concerts for the coming season. Among the most exceptional of these will be performances of Mahler’s Das klagende Lied and Ninth Symphony, which frame the season. Das klagende Lied was Mahler’s earliest large-scale, complete composition. Following initial rejection by the jury of the Beethoven Prize at the Vienna Conservatory, Mahler years later excised Part I and heavily revised the rest. The first complete performance did not occur until 1935, years after Mahler’s death. Mahler himself wrote the text, adapted from The Singing Bone, one of the Grimms Fairy Tales. Das klagende Lied (The Song of Lamentation) recounts the tale of two brothers, both of whom hope to wed a queen. The elder kills his sibling. A wandering minstrel finds one of the victim’s bones, carves it into a flute, and brings it with him to the wedding ceremony of the queen and the elder brother. When the minstrel plays his flute, the music that emerges accuses the player of his brother’s murder. Mahler’s huge work lasts over an hour and calls for a large orchestra, chorus, and vocal soloists. Das klagende Lied is a “must-hear” for all Mahler fans. Over the course of his tenure

The Last Mile, Farewell, and Onwards

with the NSO, Shao-Chia Lü has led the orchestra in all nine of Mahler’s complete symphonies. Now he adds Das klagende Lied, which predates all the symphonies, to the NSO’s Mahler repertory.

Yi-Teh Lü

During Maestro Lü’s tenure, the NSO has featured several composers, some of whom will be represented in the 2019/20 season. One of these is Sibelius. The NSO has performed all seven of his symphonies plus a number of his tone poems. Many of these were Taiwanese premieres. The NSO is now a master of this composer’s music. This season, Shao-Chia Lü will lead the orchestra in Sibelius’ final symphony and the tone poem Tapiola. Similarly, the NSO has performed many of Bartók’s challenging compositions, including the ballet score for The Miraculous Mandarin, the opera Bluebeard’s Castle, both violin concertos, the three piano concertos, the viola concerto, and Music for Strings, Percussion and Celesta. Following ten years of work, the NSO is now well versed in Bartók’s musical language. Included this season are his Second Violin Concerto and the complete ballet score for The Wooden Prince. The latter work extends still further the range of the NSO’s repertory from this master composer.


Trans. by

This season also by chance coincides with several musical events of global importance. Most significant of these is the 250th anniversary of the birth of Beethoven. He was born in Bonn in 1770, but it was in Vienna that he developed his career and astonished the world with his extraordinary music, profound thought, and powerful personality. His impact on the future of music has been phenomenal, easily making him one of the half dozen or so most influential composers in the entire history of music. The NSO will be performing a large number of Beethoven’s masterpieces, including Symphonies No.2, 3, 5, 7, 8, Piano Concerto No.2, Violin Concert, Triple Concerto, many overtures, and the Missa solemnis. In addition to orchestral concerts, the NSO will present a series of chamber music concerts around the theme of Beethoven, with music of others besides Beethoven to demonstrate the latter’s influence. There will of course be innumerable memorial events and publications on Beethoven in 2020, and the NSO will offer its share. The much-loved series of Russian composers continues. From Tchaikovsky we will hear Symphonies No.3 and 6, Suite No.3, Piano Concerto No.1, and excerpts from the opera Eugene Onegin. From Rachmaninoff there will be his Symphony No.3, from Prokofiev excerpts from Romeo and Juliet and the Symphony-Concerto and from Shostakovich the Festive Overture, Symphony No.8, and Violin Concerto No.1. Many of these works have appeared in previous seasons when Tchaikovsky, Shostakovich, and Prokofiev were already on among the NSO’s “feature composers.” This repertory has enabled audiences to enjoy the great heritage of Russian music and to recognize the difference between the Russian national composers and those following traditional European styles. Concertgoers might also consider Respighi’s Fountains of Rome and Pines of Rome as points of reference to the Russians. Though Italian, Respighi studied with Rimsky-Korsakov in St. Petersburg and assimilated the latter’s skill at orchestration, although he eventually developed his own, often highly colorful, style. Additional orchestral masterworks presented this season include Barber’s Adagio for Strings, Debussy’s Prélude à l'après-midi d'un faune, Ravel’s Ma mère l'Oye Suite, and Strauss’s tone poem Ein Heldenleben, all great crowdpleasers. Wagner’s Overture to The Flying Dutchman and Bruckner’s Third Symphony make return visits. Then there is the Fourth Symphony by the Danish composer Carl Nielsen, subtitled “The Inextinguishable.” In it, Nielsen, incensed by the tragedies of the First World War, portrays a dauntless fighting spirit through music. In the fourth movement, two sets of timpani engage in a duel whose full effect can only be experienced in a live performance. Another highlight is the NSO’s unprecedented decision to invite three artist to be in residence in the same season. Renowned pianist Meng-Chieh Liu is an outstanding soloist and chamber musician. He will perform two concertos and participate in a chamber music concert. Brett Dean, a virtuoso violist as well as composer and conductor, will serve as a resident artist of the NSO for the second time. He will be the soloist in his Viola Concerto, perform in an all-Dean program of chamber music, and see his orchestral work Komorov’s Fall conducted by Carl St. Clair. Qigang Chen joins the NSO as artist-in-residence for the first time. His previous collaborations with the orchestra resulted in Er Huang, Un Temps disparu, and Enchantements oubliés, all of which met with enthusiastic response. Chen also excels as a 4 4

clarinetist and in knowledge of traditional Chinese opera and folk music. These skills, combined with his study with the great French composer Olivier Messiaen, have shaped his beguiling, individual style. Chen’s skill in orchestration


is exceptional, featuring a tonal palette derived from Debussy, Ravel, Messiaen, and Dutilleux. He has become one of


the most sought-after composers globally, and all his new works meet with delighted approval. This season the NSO


will present his Joie éternelle for trumpet and orchestra as well as the recently-written violin concerto La Joie de la


souffrance. Additionally Chen will participate in chamber concerts. All these events are essential for those wishing to


keep up-to-date with the latest musical trends.

In inviting two major living composers to serve as artists-in-residence, the NSO amply demonstrates its mission to promote contemporary music. Over the past decade, the orchestra has commissioned more works than ever before. This season includes Chung-Yuan Yu’s Song Valley and Po-Chien Liu’s Klangvoll durch Klang. Also other works of Taiwanese composer, include Chun-Wei Lee’s The Last Mile, I-Uen Wang’s Garden Scenes. The Taiwanese premiere of the Horn Concerto by John Williams, famed for his Star Wars music, is another star in the NSO’s modern repertory for the 2019/20 season. Soloist in this concerto will be Radovan Vlatković, a past NSO guest artist who invariably impresses audiences with his spectacular playing. In addition to his solo appearance, Vlatković will also perform in chamber music concerts. Additional highly acclaimed figures the NSO has invited include violinists Leonidas Kavakos, Kolja Blacher, and Renaud Capuçon, who will collaborate with Shao-Chia Lü respectively in concertos of Shostakovich, Britten, and Beethoven. Yu-Chien Tseng will perform Qigang Chen’s violin concerto La Joie de la souffrance, Nai-Yuan Hu will play Bartók’s Second Concerto, and Ray Chen Wieniawski’s First. Cellist Alban Gerhardt will join the NSO for his third visit, this time performing the prodigiously difficult Symphony-Concerto of Prokofiev. David Guerrier, who plays both horn and trumpet, will collaborate with the NSO for the first time as trumpet soloist. Pianist Elisabeth Leonskaja will return following a long absence to perform Brahms’s majestic Piano Concerto No.2. Kit Armstrong, who will join the NSO on its upcoming European tour, offers Saint-Saëns’ Piano Concerto No.5, (the Egyptian). Violinist Richard Lin, cellist Li-Wei Qin, and pianist Yi-Chih Lu will join forces in Beethoven’s Triple Concerto. Guest conductors Osmo Vänskä, Nikolai Alexeev, Jun Märkl, Enrique Mazzola, Carl St. Clair, and Long Yu, along with rising star Yu-An Chang, will all contribute to highly pleasurable performances. The 2019/20 season will include several exciting operatic ventures. Wagner’s massive, four-opera cycle, Der Ring des Nibelungen, which the NSO has been producing jointly with the National Taichung Theater, concludes with the cycle’s final installment, Götterdämmerung. Soprano Asmik Grigorian became an overnight sensation for her performances of Strauss’s Salome at the Salzburg Festival. She arrived in Taipei to sing Tatiana’s Letter Scene from another opera in which she excels, Tchaikovsky’s Eugene Onegin. This season, Grigorian will sing this beloved operatic scenes again with baritone Karl-Magnus Fredriksson. The year 2020 also marks the 150th anniversary of the birth of Franz Lehár, who will be represented on NSO programs with two Opera Concert performances of his beloved Merry Widow on December 28 and 31. The vocal numbers will be sung in German and the narration will be in Mandarin, bringing festive joy to all. Shao-Chia Lü has chosen to conclude his tenure with the NSO with two Opera Concert performances of Wagner’s monumental Tristan und Isolde, one of the most extraordinary and revolutionary musical scores ever created. It presents a supreme challenge to the singers in the title roles as well as to the conductor and the orchestra. This is Maestro Lü’s way of showing his gratitude to all music lovers and of saying farewell on a grand scale. His many memorable performances over the years will long remain in our memories. We look forward to the coming season, Maestro Lü’s last


with us, in all its abundance and variety.


方的藝術性音樂,轉變成我們今天所謂的古典∕經典音樂(classic music)過程中,有一位作曲家有著超越其他人的貢獻:貝多芬。相

比於正經精細的巴赫、優雅詼諧的莫札特、溫和嚴肅的布拉姆斯、睥睨群雄 的華格納,等等一樣是創作出「經典音樂」的作曲家相比,貝多芬耿直不屈、 蓬頭亂髮的形象,令人格外印象深刻。這個形象,一方面顯示出他為一位充 滿著靈感的天才,另一方面,更深刻地,是他煥發出的那種不受歐洲傳統貴 族禮教拘束的特質,以及他為自己的人生拼搏奮鬥的樣貌。此一形象的兩個 面向結合在一起,產生了一種理想:音樂是一種具有靈性且自由獨立的藝術, 要被認真且嚴肅地傾聽。 其實和巴赫、莫札特一樣,貝多芬也是出身於一個音樂家的家庭裡,他的父 親甚至也想效法莫札特的例子,把貝多芬訓練成神童,讓他在大都會中展現 自己的才能。貝多芬在 1792 年 22 歲的時候,永久地從波昂移居到維也納, 臨行之前他的一位贊助者祝福他:「你將在海頓的手中,接過莫札特的精 神」。抵達維也納的前幾年,貝多芬必須先在貴族的世界中站穩腳步;他連 續創作了一批為木管樂器所寫的室內樂作品,例如 1796 年以莫札特詠嘆調 發展出來的給三支雙簧管的《〈牽 起你的手來〉變奏曲》,或是管樂 加上鋼琴的室內樂作品,例如《給 鋼琴、雙簧管、單簧管、法國號和 低音管的五重奏》,由於這些樂手

聽,貝多芬帶給我們 的「古典」與「自由」

通常是貴族府邸內的樂師,透過和 他們合作,貝多芬得以順帶展現自 己精湛的鋼琴琴藝,一邊收到鋼琴


學 生, 也 一 邊 在 貴 族 和 音 樂 圈 打




己的管絃樂作品,例如從 1788 年 起就不斷修改的第二號鋼琴協奏 曲,在 1795 年的維也納首演;更 進一步地,他開始嘗試更大的管絃樂曲種――交響曲,於是,第一號交響曲 4 6

(1800)和第二號交響曲(1802),就在這樣的氣氛下,得以在維也納誕生 和演出。






的音樂家而言,是多麼致命的打擊! 1802 年 10 月,貝多芬因為耳疾的問題

而想要自殺,寫下了「海利根施塔特遺書」,卻又在遺書中寫到,是藝術而讓他留住了生命,「要是不把我內 心所有的東西都創作出來,我是不可能離開這個世界的」。沒有結束自己生命的貝多芬,終究步上了一段新的 創作之路。據貝多芬的學生徹爾尼回憶到,貝多芬在 1802 年時曾說:「我對以前的作品都不很滿意,從今天 起,我要打開一條新道路(ein neuer Weg )」。的確,貝多芬在寫遺書的同一個月,亦寫信給出版社 Breitkopf & Härtel,說自己現在創作的樂曲,是屬於「真正全新的手法」(wirklich ganz neue Manier )。以此「新道路」、 「真正全新的手法」所實踐出來顯例,或許可見貝多芬於第三號交響曲《英雄》(1803)。這首交響曲第一樂 章,不但沒有十八世紀以來的慢板導奏,甚至連第一主題的呈式部都很難「定位」:3 到 6 小節在主調上的旋 律最後停在一個半音的偏離上,形成了一個無收尾的開放性旋律,說是「呈式」卻「尚未完成」;同樣的旋律 在 15 到 22 小節又出現,卻在二級和四級上面透過半音變化模進,說是「呈式」又「已不再是」。按照音樂學 家 Carl Dahlhaus 的說法,貝多芬的「新手法」,是不再按照曲式的框架來作曲,而是時時閃現發展潛力的「過 程個性」(Prozeßcharakter )之音樂形式。大家所熟知的第五號交響曲《命運》(1808),其實也是在這樣的 原則下,讓開頭單一的動機,不斷地反複、分散、蓄積、變形…. 出現在管絃樂團的眾聲部中,而形成一個連 綿不絕的網絡。換句話說,不是曲式的框架決定了樂曲的內容的邊境,而是內容的變化決定了外在的形式。這 樣的方式,使得《英雄》一曲的長度(約 45 分鐘),是貝多芬老師海頓的交響曲長度的幾乎兩倍,而《命運》 的動機所堆疊出的效果,讓樂評家 E.T.A. 霍夫曼聽見了「魄力和驅力」(Drängen und Treiben ),以及如同「火 焰竄起」、「浪潮湧現」的力量,這種「精神對精神的對話,…高度地說出了音樂的浪漫」。十九世紀的第一 個十年,貝多芬以自己發展出的獨特音樂語法,讓音樂在「浪漫主義」中有一席之地,並用此語法創作了適合 悲劇性題材崇高壯美精神的《柯里奧蘭》序曲(1807)和《艾格蒙》序曲(1809-1810)。 貝多芬的獨特,不時使他的作品難以立即為時人所接受;例如他 1806 年的小提琴協奏曲首演後,就被當時的 樂評家認為:「大家擔心,貝多芬若是繼續朝這個方向變化下去,會讓人不舒服;擔心音樂過不了多久,就會 變得讓那些不熟知藝術規則和難度的人,完全無法享受」。這些看法,使得這部協奏曲在貝多芬的有生之年都 沒有再被演出,而是直到作品誕生將近四十年後的 1844 年,才在孟德爾頌(1809-1847)的指揮下,由當年年 僅十二歲的小提琴家姚阿幸(1831-1907)擔綱獨奏,獲得成功;也就是說,這首協奏曲是在未來的「下一代」 和「下下一代」的人手中,才重新獲得認可、才晉身為小提琴協奏曲的經典(classic)曲目。 貝多芬不僅從「海頓的手中,接過莫札特的精神」,也頂開了他前輩沒到達的視野。他的人生真真確確地實踐 了一段在困境中迎來新希望的奮鬥過程;他的創作思維,反映了音樂的行動者對作品積極實驗的精神,而他作 品的接受史,容許了閱聽者重新詮釋直到意義完全地展現,甚或無盡地再現;古典 / 經典 (classic) 賴以存續的 本質,從來不是簡單的「古」和「經」,而是一再的返照和納入。馬勒說的:「傳統不是對灰燼的膜拜」,史 特拉汶斯基說的:「真正的傳統,不是去證明已變的過去」,甚至,荀貝格走出的「非調性」,和今人對於「現 的音樂給予後人一種,人類追求自由與自我實現的崇高意義,而與近代人類的社會與政治的主流發展連繫了起 來。音樂學家 Scott G. Burnham 認為,「很難想像貝多芬的音樂,有一天不再有其影響力,若有那一天的話, 西方世界可能真的進入另外一個紀元了」。豈止是西方,同樣追求多元自由的我們何嘗不是如此呢?

1 關於貝多芬生命中的奮鬥點滴,也請參考:沈雕龍,〈從「非鉅作」,再認識貝多芬這位英雄「人物」〉,《 MUZIK 古典樂刊》 2019/4 月號期,頁 70 -71。



“Do you really think I wrote my music . . . to provide safe, instant, old-master culture, sanitized, parboiled, pickled and packaged as a new kind of uplift religion? I wrote big, vital, relevant pieces full of ideas, conflicts, contradictions and dramas . . . not bloodless, pious, safe classics.” (Imaginary letter written by Beethoven to a modern reader) In 1792, a pock-marked, unkempt, awkward, yet supremely self-confident young musician from Bonn arrived in Vienna to carve out a career for himself. The world of music was never the same thereafter, for this man was not the sort of fellow who adjusted easily to his surroundings. He was already well on his way to becoming a titan who would force the world to accommodate itself to him. He was Ludwig van Beethoven. Beethoven’s initial purpose in coming to Vienna was to study with Haydn and to learn from the great master the forms and style of Viennese classicism. Additionally, he learned elements of his craft from Johann Albrechtsberger and Antonio Salieri, among others. But formal, disciplined study had little appeal to Beethoven’s brash, unruly spirit. He absorbed just what suited him and proceeded on his own course. Thus, we find even in his earliest published compositions a bold new voice in music, works that, despite their obvious adherence to classical forms, are impossible to confuse with anything by Haydn or Mozart – works like the Second Symphony and Second Piano Concerto, which will be heard in the NSO’s 2019/20 season. There is a distinctive voice even in these early works that shouts “Beethoven!,” a voice brimming with burning intensity, rough humor, irrepressible energy and audacious harmonies. Most listeners today come to Beethoven first through his middleperiod works, which span roughly the years 1802 to 1815: Symphonies No.3-8, Piano Concertos No.4 and

Ludwig van Beethoven – A Force of Nature

5, the Violin Concerto, the three “Razumovsky” Quartets Op.59, and many of the piano sonatas. (The Violin Concerto and Symphonies Nos. 3, 5, 7 and 8 will be performed

By Robert


during the NSO’s coming season.) Here we find music of unsurpassed power and direct emotional impact, music that for its time caused considerable unrest among audiences and critics alike. Even a man of Goethe’s artistic 4 8

understanding found the Fifth Symphony to be “a threat to civilization.” There were new directions in harmony, form and thematic treatment. The orchestra was bigger, more powerful. The intensity of emotional expression was greater


than anything that had come before. Critic Harold Schonberg flatly stated that “Beethoven’s music is not polite.” Osmo


Vänskä, who conducts the NSO in Beethoven’s Fifth this season, describes Beethoven’s symphonies as “immensely


strong music, powerfully structured and covering every conceivable human emotion. It can change lives.”


“Promethean” is a term that conjures up images of daring originality or creativity inspired by a rebellious character of great liberating force. The Greek legend of Prometheus tells how this son of Titan stole fire from the gods for the benefit of mankind, thus bringing both a physical phenomenon and a symbolic liberation from darkness. Beethoven too is often regarded as a Promethean figure, liberating composers from their “dark age” of servitude to church and nobility, and liberating music from its shackles to eighteenth-century conservatism. Hence, it is entirely fitting to include the composer’s Prometheus Overture in the 2019/20 season’s programming. It comes as no surprise to learn that audiences in Beethoven’s day found some of his compositions difficult to understand: the sheer boldness, the coarse humor, the power, the intensity, the depth of expression ̶ these were not qualities people expected, or even necessarily wanted, in their music. Beethoven made people want them. When his Fifth Symphony was premiered, one experienced listener exclaimed, “It moved and excited me so much that my head was reeling. One should not be permitted to write such music.” “Calm yourself," replied another. “It will not be done often.” Or take the Violin Concerto (performance on December 20). Beethoven’s single contribution to this genre was longer and more complex than any previous work of its kind, by a wide margin. In symphonic thought and expansiveness of gesture, it eclipsed all predecessors, and to this day is still considered one of the most exalted of all concertos for any instrument. Not everything in Beethoven is deeply serious and fraught with tension, however. Audiences in Beethoven’s time who were nourished on the sweet pleasantries and rococo grace of Mozart, Haydn and others found familiar comfort in a work like the early Septet, which is a kind of throwback or musical debt to the spirit of classicism. This charming and delightful work, scheduled for performance at an NSO chamber music concert on February 15, became one of Beethoven’s most popular pieces during his lifetime. The Triple Concerto for piano, violin, and cello (performed on January 12) is another delightful, easy-going throwback to the classical era. And just consider all the humor in the finale of the Second Symphony. It begins with the musical equivalent of a hiccup, a growl and a burp, which collectively constitutes the substance of nearly the entire movement. Beethoven was more than a great composer; he was a force of nature. He was the first important musician to break free successfully from the mentality of servant. He was an Artist, and he wrote for posterity, not just for mere mortals who happened to live at the same time as he. He was markedly lacking in social graces, but proud to the point where he could say to a prince and benefactor, straight to his face, “What you are, is by accident of birth; what I am, I created myself. There are, and have been, thousands, of princes; there is only one Beethoven.”


J.W.N. Sullivan, Beethoven: His Spiritual Development (Mentor Books, 1949) – a fascinating probe into the psychology of Beethoven and how his mind worked. Michael Steinberg, The Symphony: A Listener’s Guide (Oxford University Press, 1995) ̶ extended, in-depth program notes about each symphony by Beethoven (and by many others as well).


Maynard Solomon, Beethoven (Schirmer Books, 1977) – an excellent general biography with discussions of the music.

格納的歌劇作品中,《崔斯坦與伊索德》(以下簡稱《崔斯坦》)由 創作到首演,多方面映照著作曲家當時的感情世界,並伴隨他走出人

生困境,登上創作的巔峰。 1852 年 2 月, 流 亡 在 外 的 華 格 納 於 蘇 黎 世 結 識 了 富 商 魏 森 董 克(Otto Wesendonck)和他的年輕夫人瑪蒂德(Mathilde Wesendonck),後者的聰慧 和才華讓華格納傾倒,發展出一段知性感情。1858 年 4 月,華格納髮妻閔 娜(Minna Wagner)確認了這份曖昧,終於導致作曲家於同年 7 月遠走威尼 斯,繼續寫作《崔斯坦》。魏森董克雖知此事,卻不僅完全包容,並依舊對 華格納提供友情和金錢上的支援。由《崔斯坦》的情節看來,劇中人物正是 現實世界的寫照:崔斯坦是華格納,伊索德是瑪蒂德,魏森董克是馬可王。 《崔斯坦》取材自中古騎士文學,係德國詩人勾特弗利德(Gottfried von Straßburg)的同名史詩,大約寫於十一、十二世紀。文學裡,戀愛中的男女 不顧世間的道德規範,沈浸在自己愛情中,那份執著直讓世俗的道德觀顯得 可笑,應是讓十九世紀德語文學界 對它產生高度興趣的主因。在文學 原作中,兩人的愛情係發生在飲下 愛情藥酒後;換言之,沒有藥酒, 即沒有愛情。但在歌劇中,兩人心 中對對方早有愛意,卻壓抑在心。

愛情與死亡 ─ 華格納的 《崔斯坦與伊索德》

伊索德不甘於嫁給馬可王,又氣崔 斯 坦 竟 然 擔 任 護 送 的 工 作, 愛 恨 交加之下,決定要與他同死。但在 愛情藥酒的效力下,兩人終於不顧


羅基敏 臺灣師範大學音樂系音樂學教授

一切地相愛了。因之,在華格納筆 下,愛情藥酒只是一個催化劑,一 個煙幕彈,重要性遠不如在原著中那般。中古文學吸引華格納的自是那份對 50

愛情的頌讚,但華格納在歌劇中,將愛情與死亡相聯,賦予更深層的意義: 愛情就是死亡,只有死亡才能讓這段愛情永恆。全劇三幕發生在不同的地







1854 年 10 月,華格納開始構思《崔斯坦》,同時間,亦繼續著《指環》的譜曲工作。1857 年中,華格納認為, 《指環》首演遙遙無期,打算暫停譜曲,轉而寫作「小規模」的《崔斯坦》,期待首演後,能為他帶來收入。 同年 8 月 9 日,《指環》譜曲進行到《齊格飛》第二幕中間,作曲家不捨地完全中斷,開始全力寫作《崔斯坦》。 1859 年 8 月 6 日,《崔斯坦》全劇完工,華格納很快收到出版社寄來的稿費,但首演卻不如預期的順利,主因 在於男高音難覓。

《崔斯坦》前奏曲由大提琴開始,木管於第二小節加入,在前三小節開宗明義地奏出「渴望動機」(das Sehnsuchtsmotiv);大提琴與木管於第二小節第一個音共同呈現的全劇第一個和絃,即是著名的「崔斯坦和絃」, 至今依舊吸引和聲學理論學者的興趣。就全劇而言,這三個小節營造出的不安定感,不僅堆疊出整個前奏曲, 在全劇中亦處處可聞,傳達一股永遠的、不能獲得滿足的慾求與渴望。崔斯坦和絃更被以橫向、直向的方式多 元使用,搭配渴望動機,完成全劇音樂戲劇上的作用和意義,也反映了劇情的單一性(愛情)和複雜性(外在 的不允許)。在連年譜寫《指環》後,華格納的音樂語言進入另一境界,落實在《崔斯坦》裡,作曲家自稱其 為「過程的藝術」(Kunst des Übergangs);《崔斯坦》第二幕為其經典代表。 1864 年 5 月,巴伐利亞王路易二世找到華格納,接其至慕尼黑安居,華格納的生命終於出現了曙光。在國王支 持下,多部已完成的作品得以在慕尼黑首演,《崔斯坦》是第一部;路易二世亦是日後華格納終於得以在拜魯 特實踐音樂節夢想的重要贊助者。 《崔斯坦》的寫作雖和華格納與瑪蒂德的愛情有關,卻不是它的翻版。1857 年 9 月,畢羅(Hans von Bülow) 偕同新婚妻子柯西瑪(Cosima)至蘇黎世拜訪華格納。離開時,畢羅帶走了《崔斯坦》的劇本。在接下去幾年裡, 畢羅多方面協助《崔斯坦》首演事宜,卻都難有下文。1863 年 11 月,華格納至柏林拜訪畢羅夫婦,與柯西瑪 出遊時,兩人互訴衷曲。1864 年 6 月,柯西瑪赴慕尼黑與華格納共同生活。畢羅雖無力挽回妻子之心,依舊於 同年 11 月接下巴伐利亞王室指揮,來到慕尼黑任職。1865 年 4 月 10 日,畢羅進行《崔斯坦》的第一次樂團排 練。同一天,華格納與柯西瑪的大女兒伊索德出生。兩個月後,《崔斯坦》由畢羅指揮,在慕尼黑首演。


1 請參見羅基敏/梅樂亙,《華格納.《指環》.拜魯特》,台北(高談),2006。 2 畢羅係指揮家與鋼琴家,為李斯特(Franz Liszt)的得意門生;柯西瑪為李斯特的女兒。華格納與李斯特則係長年舊識。




uring the five-year period from 1848-1853, Wagner developed his new theory of opera, his music of the future that came to be called

Gesamtkunstwerk, or total artwork. According to the theory, all components of a staged production-the vocal roles, the orchestra, lighting, acting, sets, costumes, mime, poetic text-would all co-exist in more or less equal importance. That was the theory. Things didn’t quite work out that way. Wagner the musician took precedence over Wagner the theorist, and the orchestra became the dominant element in his operas. No other composer wrote so many operas from which extended orchestral passages can be extracted and performed in the concert hall. In many extended passages the voices can be omitted altogether without sacrificing the essential musical content (think of the “Liebestod” from Tristan und Isolde or the “Ride of the Valkyries”). He was a true master at ravishing the ears with the sheer sensuousness of the sounds he evoked from the orchestra. While at work on Das Rheingold, the first of the four Ring operas, Wagner described his Ring cycle to Franz Liszt as “a whole new world.” Though Wagner’s penchant for overstatement is well known, when one looks at the myriad imaginative uses of the orchestra in the Ring and subsequent operas, his comment is in this case is amply justified, for he raised the opera orchestra to an importance it

Wagner's Orchestral Magic By Robert


had never before known. Although Wagner had virtually no formal training in orchestration, he invariably knew how to draw just the right sound from the orchestra to achieve the effects he wanted. The very tone color, or unique 5 2

timbre of an instrument or instrumental combination was exploited to create vivid dramatic effects. Let’s look at some examples of this orchestral wizardry in the


two operas the NSO is presenting in its 2019/20 season, Tristan und Isolde and




TRISTAN UND ISOLDE Tristan und Isolde is a very special opera, even within the canon of Wagner’s own works. The music is of such sustained emotional intensity, its harmonies so bold, its colors so sensual, that virtually no one can remain indifferent to its impact. External action is reduced to a minimum while the real drama is played out in the minds of the characters-psychodrama, if you will-richly supported by the orchestra. In fact, the orchestra might be considered the main protagonist. Tristan was meant to be an opera that could be produced on a budget, relatively speaking, so the orchestra is of normal size. The brass are used more sparingly than in any other Wagner opera, and percussion is limited to timpani, triangle and a few cymbal crashes. Throughout the entire opera, Wagner tends to feature the richer, warmer and more somber colors of the orchestra. In piano reduction, it all looks quite ordinary, but when heard in the variegated range of sonorities and colors of the orchestra, the score takes on a glowing intensity the likes of which had never before been heard. Right from the opening notes of the Prelude – those first feeble, tentative sounds from the cellos in their upper range, Wagner begins to create the atmosphere of unappeasable longing that will grow to dominate the entire score. Chords dissolve and reform, motifs intertwine and grow into new ones as the music sweeps on inexorably searching for fulfillment. Offstage calls and brass fanfares are a feature found in every one of Wagner’s ten mature operas. At the very end of Act I trumpets and trombones accompany the cries of the sailors as the ship bearing Tristan and Isolde pulls into port. To portray King Mark’s nearby (but unseen) hunting party at the beginning of Act II, six horns offstage add a touch of realism to the scene. Notice how the horn calls finally fade away to blend seamlessly with the gentle murmur of clarinets and violins – a magical effect.

loneliness, profound melancholia and grief all hang heavily in the air. The impact of that first grim, heavy “thunk” in the low strings grabs you by the throat, and when the violins make their dissonant entrance on the second beat, the effect is searing. Thin wisps of sound from the violins waft upwards, suggesting a state


Act III opens with one of the bleakest pieces of music ever written. Spiritual

of terrible forlornness. The spiritual bleakness and physical oppressiveness is underscored by the mournful plaint of a shepherd’s pipe. If anyone doubts that the English horn (neither “English” nor a “horn,” let us recall, but rather the tenor member of the oboe family) must have been Wagner’s favorite instrument, here is all the proof you'll ever need, for it now gets to play what may be the longest solo ever written for the English horn, and totally unaccompanied at that. Its richly sonorous, poignant sound has long been exploited by composers to express sadness, longing, grief and the like - all emotions at the core of Tristan. The English horn also plays the very last motif we hear in the opera, that of Desire, first heard in the third and fourth bars of the Prelude hours ago. It settles comfortably, with a great sigh, into a gorgeously orchestrated B-major chord played by every instrument of the orchestra except, notably, the English horn, the instrument we have learned to associate with unfulfilled desire. This instrument is no longer needed. Tristan and Isolde are now finally together – in Death, beyond desire.

GÖTTERDÄMMERUNG With Götterdämmerung we again face an opera that is unique. For sheer length it has a few contenders (Parsifal, Die Meistersinger, Les Troyens), but it stands alone in its aura of epic grandeur. One feels engulfed by its immensity, dwarfed by the cosmic scenario being enacted, overwhelmed by the powerful momentum. And then there is the very sound of the music itself – a quality unique to Gōtterdämmerung: a consistent weightiness, even massiveness. The opera’s sound world is often dark, grim and dour as well, but even in the moments of levity, such as Hagen’s festivities in Act II, or the playfulness of the hunting party in Act III, there is an almost palpable heaviness and density of sound coming from the orchestra. 54 NSO

As a single example from Act I, consider that magnificent passage known as “Hagen’s Watch,” a monologue that occurs a bit less than halfway through Act


I (or more than halfway if you count the 45-minute Vorspiel, or Prelude, as part


of the act). Hagen sits immobile, guarding his castle at night and musing on the


imminent arrival of Brünnhilde, who will bring him the ring he so covets. But his words are really superfluous: the throbbing restlessness in the strings, the baleful sounds of the woodwinds, the sense of opaque darkness conveyed by the orchestra and the recurring Leitmotifs, some of them grotesquely distorted, all contribute to this vivid psychological profile of evil, one of the greatest scenes in the entire Ring. Contributing to the weight and power of this passage are the bass trumpet, contrabass trombone, and a quartet of Wagner tubas, all instruments Wagner requires beyond normal orchestral forces. There is no finer example of the art of transition than the purely orchestral passage that links the Vorspiel with Act I. It is a dawn scene (the first of three in this opera). As we move from the mysterious gloom and troubled world of the Norns to the bright of day up on Brünnhilde’s rock, Wagner takes us, over a span of several minutes, from the darkest colors and murkiest textures of the orchestra to the brightest and most resplendent. It is one of the longest continuous crescendos in music, a single arc of sound that culminates in an inevitable harmonic resolution in the heroic key of E-flat major for the entire seventeen-piece brass section proclaiming the motif of Siegfried’s horn call. This is “massive brassive” at its most impressive. If the woodwinds could be said to color the sound world of Tristan, then it is the brass that reign in Götterdämmerung. Mention must also be made of the eight horns required in the Ring – the first time in history a composer had required so many each with its own part. In another dawn scene, this one linking the first two scenes of Act II, we find an unaccompanied octet of horns, each horn entering individually at staggered intervals until the entire section is playing. Aside from the opening of Das Rheingold, there’s nothing else like it in all opera except for another similar, but far briefer, passage at the beginning of Act III. To conclude this monumental opera, and the entire fourteen-hour Ring cycle, Wagner created something truly colossal, a symphonic scenario of unprecedented woven tapestry of Leitmotivs. It is evocatively described by Wagner scholar Ernest Newman as “such music as the spirit of the universe might hear when world crashes into world at the end of time.”


grandeur and power summing up all that has happened in the cycle in a richly

家交響樂團(NSO)是亞洲頂尖的交響樂團之一,也是最能呈現臺灣 獨特聲音的音樂團體。近年音樂會與年度歌劇製作均深受樂迷好評,

持續在演出曲目規劃上加入臺灣在地觀點,以普世價值與國際接軌的努力是 有目共賭的。另一方面,NSO 更積極在文化平權落實上有具體的作為,規 劃運用其音樂藝術專業,嘗試發展提供多元藝術欣賞內容,以化解各種年齡 及身心障礙者參與文化活動之限制,期待透過音樂藝術推廣、參與及創作等 途徑,促進多元共融的社會環境。

音樂做為溝通的語言 音樂是一種強大而且有力的媒介,用來建立溝通的管道,支持個人在心 智、肢體、社會行為和情緒的學習與重建,於建立信心並提高生活品質 上有實質的成效。今年甫與 NSO 簽訂合作備忘錄的英國曼徹斯特室內樂 團(Manchester Camerata), 其 行 之 有 年 的 計 畫「 腦 海 樂 音 」(Music in Mind)即是個很好的例子。「腦海樂音」以即興創作為媒介,鼓勵失智症 患者自我表達並與他人溝通。失智症患者在曼徹斯特室內樂團音樂家及音樂 治療師的陪同下,以無限制的即興創作方式探索音樂,逐步為自己取回部 分的人生控制權,同時產生自我認 同。計畫案例顯示,音樂即興創作 可改善患者情緒,以及與社會的溝 通及互動,更有機會減輕焦躁感並 減少藥物使用。一位實際參與者表

邁出音樂廳, 往文化平權大步走

示:「我想我在這個計畫中感受到 的是,掙扎著使用語言溝通的人, 藉著聲音與照片,享受到可以表達 自我的樂趣,並獲得許多其他生活 上的回饋。」



56 NSO S E A S O N

參與式音樂設計弭平鴻溝 另一個今年 NSO 即將合作的單位是英國倫敦皇家音樂學院(Royal Academy of Music)。做為世界上最具威望 的音樂人才培育室之一,其所開辦的「開放學院」(Open Academy)透過不同的創意音樂計畫,將音樂學習與 參與的觸角延伸至學校、醫院、照護中心、社區等地方,不僅大幅提升音樂參與的機會與影響力,讓參與者經 歷發展自我表達的自信,也讓專業音樂家發掘有別於傳統音樂演出的另類音樂技巧應用方式。音樂本無菁英大 眾或高下優劣之分,而人對於音樂的感受力是公平的,透過參與式設計的音樂計畫,讓這項藝術能觸及更廣泛 的年齡層與族群。從實際案例中見證,計畫參與者在心理上能增進社會參與感,建立與他人的連結,並面向積 極的生命意義,即使單純地聆聽也能獲益良多。

以音樂回應社會現況 臺灣社會高齡人口快速增加,去年(2018)正式轉為「高齡社會」,推估將於 2026 年邁入「超高齡社會」, 高齡化速度較歐、美、日等國為快。在高齡社會面對的諸多問題當中,「失智症」是一項值得關注的社會問題, 其所衍生的直接成本與間接成本,也是目前所有慢性病中排名最高,導致照顧者(包含家屬、居服員、照服員 等)身心壓力巨大。也因此,在與英國曼徹斯特室內樂團及倫敦皇家音樂學院的合作上,NSO 即以研發關於失 智症健康照護的音樂科技計畫做為未來幾年發展關注的重點之一。 根據醫學研究實證,將音樂及藝術創作進一步應用於醫學範圍,其介入與互動能有效延緩部分病症的惡化,具 有實質的醫學輔療成效,並提升照顧者及患者的互動關係。NSO 計畫透過結合音樂藝術、醫學與科技技術等跨 領域專業,研發適合臺灣在地文化脈絡的音樂應用模組,讓照顧者能根據失智症患者的狀況,方便取得適合的 音樂、指引與工具。同時,也將發展與建構「跨域開放式研發平台」及「創新解決方案」,增進此項資源取得 之普及化,真正落實文化平權與社會兼融。

重新定義一個樂團能做的事 NSO 以音樂為載體,除了致力音樂的推廣,推出更多優質的節目,更要走出音樂廳,串連各界專業人士,連結 各種當代社會議題,積極擴大不同族群的文化參與權,以成為促進友善平權的機構。NSO 將以創意牽動各種受 眾的生活,為社會提供一個音樂療癒空間,讓其對「音樂藝術」的想像不再是高門檻的專門技藝,期待促進一



The NSO, one of the most prestigious orchestras in Asia, is adept at expressing the unique voice of Taiwan. Its concerts and opera productions have incorporated Taiwanese perspectives, and audiences easily identify with the orchestra’s efforts to connect the local with the global through the universal language of music. In promoting artistic projects that are pluralistic in nature, the orchestra helps to break down barriers by offering cultural events for the elderly and for people with disabilities.

Music as a Communicative Language Music as a language of communication is a powerful medium. It supports the learning and reconstructive process of an individual in physical, mental, emotional, and social aspects, effectively boosting confidence and improving the quality of life. The longtime project Music in Mind of Manchester Camerata, which just started collaborating with the NSO, is an outstanding example of this. Music in Mind encourages dementia patients to express themselves and to communicate with others. Assisted by a musical therapist and musicians from Manchester Camerata, these patients freely explore the world of music through improvisation, thus reaffirming their identities and gradually regaining control of their lives. Case studies show that musical improvisation can lead to mood improvement, better communication, social interaction,

Out of the Music Hall, Towards Cultural Equality

alleviation of anxiety, and the reduction of medical treatment. “I think this project has enabled people who

Trans. by Amity Chang

struggle with language to enjoy selfexpression through sound and pictures 58

and to gain daily-life feedback,� observed one patient.


Participatory Music Projects as a Bridge This year, the Royal Academy of Music, one of the most prominent institutions of musical talent in the world, will also become an NSO partner. Through creative music projects, their Open Academy extends the learning and participation of music to various domains such as schools, hospitals, nursing homes, and communities. The Open Academy not only broadens the influence of and creates opportunities for musical participation, boosting participants’ confidence for self-expression. It also leads professional musicians to the discovery and application of non-traditional alternative musical skills and methods. Distinctions between the elite and the popular, the great and the humble, evaporate in the world of music. Sensitivity to music lies equally in every soul.

Through participatory music projects, music as an art reaches out to people of all ages and groups. Case studies show that participants in such projects have a stronger sense of social interaction, connect better with people around them, and hold a more positive view towards life. Even just listening to music brings benefits to the participants.

Responding to Current Social Context Taiwan officially become an aged society in 2018, and is estimated to become a super-aged society in 2026, aging even faster than Japan, the U.S., and Europe. Among the social problems that an aged society confronts, dementia stands out with its colossal direct and indirect social costs, which surpass those of all other chronic diseases and become an enormous burden for caretakers, family, and health care workers. This is why, in its new partnership with Manchester Camerata and the Royal Academy of Music, the NSO will focus on projects of technological/musical development that can improve the health care of dementia patients. Scientific research indicates that the incorporation of creative art and musical participation into healthcare as an adjuvant therapy delays deterioration of certain diseases and improves the relationship between patients and caretakers. The NSO plans to combine expertise in music, medicine, and technology to develop applicable musical modules within the context of the local culture of Taiwan.

Redefining the Role of an Orchestra Beside promoting and producing music of high quality, the NSO also strives to step out of the music hall, to connect with professionals from all walks of life, to consider contemporary social issues, to boost cultural participation of various groups,

of tranquility with music, and breaking down the high walls surrounding the “high art� so as to co-create a society of love, peace, and equality.


and to actively advocate inclusiveness. The NSO plans on bringing creativity into the lives of the audience, building a space









2O19 /2O



Season Concerts


09 20


2 0 1 9

國家音樂廳 National Concert Hall 500‧800‧1200‧1600‧2000

開季音樂會 - 豪情初綻 Season Opening Concert 指揮|呂紹嘉 Shao-Chia Lü, conductor 鋼琴|劉孟捷 Meng-Chieh Liu, piano 女高音|林玲慧 Ling-Hui Lin, soprano 女中音|翁若珮 Jo-Pei Weng, alto 男高音|孔孝誠 Ezio Kong, tenor 男中音|葉展毓 Chan-Yu Yeh, baritone 合唱指導|莊舜旭 Shun-Hsu Chuang, chorus master 臺大校友合唱團 NTU Alumni Chorus 合唱指導|熊師玲 Shih-Ling Hsiung, chorus master 台北愛樂兒童合唱團 Taipei Philharmonic Children's Choir

李俊緯:《最後一哩路》 貝多芬 : 第二號鋼琴協奏曲 馬勒:《悲嘆之歌》 Chun-Wei Lee : The Last Mile Ludwig van Beethoven : Piano Concerto No.2 in B-flat major, Op.19 Gustav Mahler: Das klagende Lied

62 NSO S E A S O N

日後是光芒萬丈、撼動當時與後世的作曲家,貝多芬和馬勒在創作生涯之初,也就已展露令人側目的耀眼 才華。出版順序列為第二,創作時間實為第一的降 B 大調鋼琴協奏曲,是貝多芬用以征服維也納人心的 音樂會戰馬。其強勁節奏、燦爛技巧與明快樂風,處處可見青春少年兄的壯志豪情,慢板樂章又有超齡的 成熟,劉孟捷奏來必然深情款款。「這才是我的第一部作品」,作曲更作詞、翻修又改寫,《悲嘆之歌》 以大型管絃樂團、大型混聲合唱、諸多獨唱歌手與舞台後樂團的驚人編制,展現馬勒激越洶湧、心比天高 的浪漫情懷。由於規模龐大、演出不易,本場臺灣首演將是亞洲樂壇重要里程碑,加上李俊緯作品,果真 是錯過不再的「最後一哩路」,歡迎大家一同見證歷史! Before they became world renowned composers influencing their contemporaries and later generations, both Beethoven and Mahler had already manifested their unparalleled talent in the early years of their careers. Published as his second, though written first, Beethoven's Piano Concerto in B-flat major is a battle horse in concert which Beethoven used to conquer the Viennese audience’s hearts. The forceful rhythms, brilliant techniques and merry tone in the work thoroughly reveal a young person’s ambition. Yet the technique for expression during slow movements shows unexpected maturity. With Meng-Chieh Liu as soloist, the music is sure to stir your emotions. A work which Mahler himself recognized as “the first work in which I really came into my own as ‘Mahler’”, the music and lyrics for Das klagende Lied were both written by Mahler. After numerous revisions, it was finally presented on a grandiose scale including a full orchestra, large mixed-voice chorus, several vocal soloists, addtional an offstage orchestra. The work features Mahler’s unrestrained romantic sentiment. Requiring extensive preparation due to the scale of this piece, Das klagende Lied’s premiere in Taiwan will be a monumental event in the Asian classical music circle. At the same time, Chun-Wei Lee’s The Last Mile is a must-hear masterpiece. Come join us!

NSO Chatroom 會客室 2019/9/18 Wed. 19:45

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



總監系列 MD Series


2 0 1 9


10 18


國家音樂廳 National Concert Hall 400‧ 700‧1000‧1500‧ 1800‧2400‧3000

2019 萬海航運慈善音樂饗宴

王者交會 LÜ & Blacher 指揮|呂紹嘉 Shao-Chia Lü, conductor 領奏與小提琴|柯爾亞 ‧ 布拉赫 Kolja Blacher, direct & violin 巴伯:《絃樂慢板》 貝多芬:第八號交響曲 布瑞頓:小提琴協奏曲 Samuel Barber:Adagio for Strings Ludwig van Beethoven:Symphony No.8 in F major, Op.93 Benjamin Britten:Violin Concerto, Op.15

廣被電影運用,巴伯的《絃樂慢板》悠長愁思感人至深,是二十世紀少數家喻戶 曉的名曲。幽默又逗趣,玩笑中還有玩笑,貝多芬第八號交響曲以兩個詼諧曲樂 章聞名,就連終樂章都在不斷搞笑,是以嚴謹章法揮灑的歡快草書,讓人驚嘆作 曲家精心設計的狂想。布瑞頓小提琴協奏曲開頭宛如和貝多芬名作致敬,結構又 取法普羅科菲夫,寫出銳利刺激、酷勁十足又如烈火燃燒的奇妙樂思,讓人一聽 難忘。前柏林愛樂首席布拉赫和 NSO 可謂黃金拍檔,深刻又具爆發力的演奏總 令樂迷津津樂道。此次三度攜手合作,不但要再次展現領奏又獨奏,化管絃樂為 室內樂的獨到魅力,他更要和呂紹嘉互飆精彩,以布瑞頓互相炫技。如此組合究 64



Often heard in films, Barber’s Adagio for Strings touches listeners’ hearts with its endless melancholy, and is one of the most well-known pieces of the 20th century. Amusing and playful, jokes with jokes, Beethoven’s Eighth Symphony, known for its double scherzo movements, closes with jests in the finale. It is akin to swift calligraphic writing that utilizes strict stroke patterns, amazing listeners with the composer’s skill. Britten begins his Violin Concerto by paying tribute to Beethoven’s sole work in the same genre, while emulating the musical structures of Prokofiev’s violin concertos. The result is a work stimulating and passionate. The sound will linger in your mind once you’ve heard it. Kolja Blacher, former Concertmaster of the Berlin Philharmonic, is one of the best teammates of the NSO. Their intimate yet powerful collaboration is enthralling. Joining forces to perform for the third time, Blacher will showcase his ability to lead the ensemble, performing as the soloist, and turning the massive orchestral music into intimate chamber music. Moreover, he will be working with the equally talented conductor Shao-Chia Lü. We await the sparks



名家系列 Maestro Series

struck by this match.

* 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。




10 24 26 Thu.

2 0 1 9

國家音樂廳 National Concert Hall 500‧800‧1200‧1600‧2000


衛武營音樂廳 Weiwuying Concert Hall


Ray Chen & NSO

指揮|張宇安 Yu-An Chang, conductor 小提琴|陳銳 Ray Chen, violin 余忠元:《歌聲之谷》( 客家委員會委託創作,世界首演 ) 10/24 劉博健:《曼聲長引》( 客家委員會委託創作,世界首演 ) 10/26 維尼奧夫斯基:第一號小提琴協奏曲 柴科夫斯基:第三號交響曲 Chung-Yuan Yu:Song Valley (commissioned by Hakka Affairs Council, world premiere) 10/24 Po-Chien Liu : Klangvoll durch Klang (commissioned by Hakka Affairs Council, world premiere) 10/26 Henryk Wieniawski:Violin Concerto No.1 in F-sharp minor, Op.14 Pyotr Ilyich Tchaikovsky:Symphony No.3 in D major, Op.29 俄羅斯與波蘭在歷史上雖恩怨難解,文化上因位置毗鄰、血緣相近,經常往來互動。波蘭裔小提琴巨擘維尼奧夫斯基, 於聖彼得堡音樂院作育英才,開啟「俄國小提琴學派」。而柴科夫斯基第三交響曲中的波蘭舞曲則讓此作被暱稱《波 蘭》。NSO 將兩者之作並列,解讀因交流激發出的火花。被喻為「帕格尼尼再世」的維尼奧夫斯基八歲時被巴黎音樂 院破格錄取,11 歲畢業。17 歲時完成第一號小提琴協奏曲,對他易如反掌的技法,對獨奏者則構成莫大的挑戰,特 別是第一樂章的雙音及輝煌的裝飾樂段。輕聲呢喃而有「祈禱」之稱的第二樂章夾在前後兩個光芒四射的樂章之間, 留給聆者片段舒緩的空間。第三交響曲在柴科夫斯基同類作品中獨具一格,唯一使用大調,並包含五個樂章。柴科夫 斯基仰慕舒曼,此曲的五樂章形式及曲中開朗樂觀的氣氛,明顯受後者同為第三號的《萊茵》交響曲影響。音樂學者 曾表示,若舒曼是俄國人,他也會有相同的樂念。 Russian-Polish relations have had a long and turbulent history. As neighbors, Russians and Poles share linguistic roots and other cultural bonds. Interchanges between these two countries are frequent, including with classical music talents. Wieniawski, the virtuoso violinist of Poland, taught at the St. Petersburg Conservatory and inaugurated the "Russian Violin School". 名家系列 Maestro Series

Tchaikovsky, a Russian composer, employed the traditional polonaise in his third symphony, which gave the work the nickname “Polish”. Performing both composers' pieces in one concert, the NSO will reveal the sparks ignited by these cultural exchanges. Wieniawski, regarded as the ‘reincarnation of Paganini’, was admitted into the Paris Conservatory at the age of eight (the school making an exception for his age in accepting him) and graduated at 11. His first violin concerto, written at 17, contains passages of extreme virtuosity, particularly involving the multiple-stop technique and brilliant cadenza in the first movement, challenging for most soloists and yet a clear demonstration of his technical prowess. The second movement, Preghiera (Prayer), a short


lyrical interlude with echoes of its two brilliant surrounding movements which bring relaxation. Tchaikovsky’s third symphony is a unique one in his symphonic oeuvre. It’s the only one in a major key and comprises five movements. Tchaikovsky adored Schumann’s works. The adoption of five movements and tone of exultant optimism in the third symphony were undoubtedly influenced by the German composer's third symphony Rhenish.

2 0 1 9




衛武營音樂廳 Weiwuying Concert Hall 800

建築聲學大師徐亞英與 NSO, 帶您聆賞衛武營 合辦單位

Albert Xu x NSO x Weiwuying 主講人│徐亞英 Albert Xu, lecturer 主持人│簡文彬 CHIEN Wen-Pin, moderator 指揮│張宇安 Yu-An Chang, conductor

Credit Iwan Baan 建築聲學大師徐亞英與 NSO 共同攜手合作「愛樂實驗室」計畫,邀請觀眾一 同挖掘有趣的音樂知識,實際體驗音樂廳現場的空間與聲響變化! 武營國家藝術文化中心音樂廳,特別邀請衛武營音響設計大師徐亞英老師親 臨主講,衛武營藝術總監簡文彬監擔任主持人穿針引線,由國家交響樂團現 場演出柴科夫斯基的第三號交響曲,透過實際的聲感體驗,引領觀眾感受葡 萄園式音樂廳之聲學與建築之美,進一步認識音樂廳的多種建築類型與聲學 設計巧思,共同探索音樂會現場的更多可能性! Albert Xu, the master of architectural acoustics, will collaborate with the NSO on the “Music Map” project, presenting an architectural acoustics lecture and concert. This event will invite the audience to explore the sound, the science and the space of the music hall! NSO and the up-and-coming conductor Yu-An Chang will be performing at the Concert Hall of the National Kaohsiung Center for the Arts (Weiwuying), which is the first vineyard-style concert hall in Taiwan. Through architectural acoustics designer Albert Xu’s lecture, Artistic Director CHIEN Wen-Pin's introduction, and the NSO's live performance of Tchaikovsky’s Symphony No.3, the audience will grasp the beauty of the architecture and the acoustic design. From observation of the acoustic experience, the audience will in the future understand different venues' architectural styles, and the musical possibilities of live concerts!

徐亞英 Albert Xu 法籍華裔建築聲學大師徐亞英,為高 雄衛武營國家文化藝術中心及盧森堡 愛樂大廳聲學設計師,長年與貝聿 銘、法蘭克蓋瑞等多位普立茲克獎得 主的建築大師合作,以隱形的聲學設 計著稱,在世界各地設計和建造了近 百座文化演出和藝術展覽性建築。 Albert Xu, as the acoustic designer of the National Kaohsiung Center for the Arts (Weiwuying) and Philharmonie Luxembourg, has collaborated with several Pritzker Architecture Prize winners such as I. M. Pei and Frank O. Gehry. Famous for Invisible acoustic design, Xu has realized the acoustics of nearly a hundred major structures including arts venues and cultural centers.


NSO 與新星指揮張宇安,將帶領觀眾前進臺灣首座葡萄園式音樂廳設計 – 衛

2 0 1 9


11 08


國家音樂廳 National Concert Hall 400‧700‧1000‧1200‧1500

璀璨音畫 LÜ & David Guerrier 指揮|呂紹嘉 Shao-Chia Lü, conductor 小號|大衛 ‧ 格里爾 David Guerrier, trumpet

拉威爾:《鵝媽媽》組曲 陳其鋼:小號協奏曲《萬年歡》 雷史畢基:《羅馬之泉》


Maurice Ravel:Ma mère l'Oye Qigang Chen:Joie Eternelle Ottorino Respighi:Fontane di Roma Pini di Roma

想知道管絃樂團能發出何其神妙靈動的聲音,樂器能組合出何等燦爛豐富的色 彩,來這場演出就對了!拉威爾的《鵝媽媽》組曲旋律優美又洋溢天真稚趣,是 古典音樂裡的迪士尼樂園,詩意中更有不可思議的奇幻聲響。陳其鋼的管絃樂曲 是公認的當代一絕,寫給小號與樂團的《萬年歡》同樣有美妙瑰麗的音響幻境, 悠揚深情的古雅曲調令人陶醉,是夢與現實的絕妙融合。曾在聖彼得堡向李姆斯 基-柯薩科夫研習的雷史畢基,不只學會這位配器高手的不凡心得,更發展出屬 於自己的多變招數。《羅馬之泉》與《羅馬之松》的繽紛效果已是奇觀,其細膩 68

光影與立體聲響更是驚喜。一場盡現三位管絃大師頂尖創作,加上炙手可熱的小 號名家格里爾首度與 NSO 合作,絕對是令人期待的音樂饗宴。


Those who are interested in exploring the magical and celestial sounds of an orchestra or the sound palettes of different combinations of instruments can bring out, must not miss this concert. Ravel’s Ma mère l’Oye, with its delightful melodies and childlike ambiance, is like Disneyland for you to wander. It is generally acknowledged that orchestral works written by Qigang Chen are some of the most formidable modern musical works. His Joie Eternelle for trumpet and orchestra is imbued with surpassingly splendid sonority, and embellished with enchantingly passionate and elegant tunes, an unquestionably beautiful mixture of dream and reality. Respighi, who studied with Rimsky-Korsakov in St. Petersburg, not only assumed the orchestration skills of his mentor, but also developed his own voice. Fontane di Roma and Pini di Roma, written by Respighi, are breathtaking for their extraordinary reverberation, while the intricate glimmers of kaleidoscopic and threedimensional sounds capture the audience’s hearts further. A concert showcasing the masterpieces from these masters and featuring David Guerrier, the star trumpet soloist collaborating with NSO for the first time, is a musical feast worth looking


駐團音樂家 Artist in Residence

forward to.

2 0 1 9




國家音樂廳 National Concert Hall 400‧700‧1000‧1200‧1500



Vänskä & NSO

在藝術創作領域裡,似乎愈艱困的現實環境,愈能造就足以傳世的經典之作。 這個不成文的定律,古今皆然! 1807 年秋天,貝多芬在結束一段沒有前途的 愛情之後,他把心思轉回音樂創作。生活中的不順遂,他藉著音樂來抒發, 於是,「戰勝艱苦,邁向勝利」,成了他創作中期之後的指標。俗稱《命運》 的第五號交響曲,幾乎就是他內在世界的真實寫照。四個樂章,一氣呵成, 貝多芬寫的不只是音樂,更是戰勝命運的凱歌。二十世紀初,歐洲大陸因為 第一次世界大戰,陷入史無前例的浩劫,即便宣布中立的丹麥,也無法避免 戰事波及。丹麥作曲家尼爾森,在社會動盪之際,寫下第四號交響曲《不朽》, 在他看來,世間能永存不朽的,除了偉大的藝術之外,就只有人類的靈魂。 尼爾森突破傳統交響曲的創作架構,他以單樂章形式,闡述著烽火之下的人 心渴望。這份真實的感動,只有現場聆聽,才能深刻體會! In the field of artistic creation, it seems like it has become a rule that most masterpieces must be bred in unfavorable environments. The harsher the environment, the greater the piece. This rule applied both in the past and today. In the autumn of 1807, Beethoven experienced unrequited love, and threw himself fully into his composing. He tried to forget his failure in real life through music, with “defeat hardship and walk to victory”


becoming the motto for the middle stage of his composing career. Beethoven’s Fifth

Osmo Vänskä, conductor

Symphony, nicknamed Fate, truly reflected his inner world. In four movements that press onward with unrelenting momentum, Beethoven’s victory song proclaims

尼爾森 : 第四號交響曲《不朽》

his refusal to be defeated by fate. In the early 20th century, Europe was horribly

貝多芬 : 第五號交響曲《命運》

devastated by World War I , with Denmark, a neutral country, unavoidably affected.

Carl Nielsen:

During this tumultuous time, Danish composer Nielsen wrote his Fourth Symphony

Symphony No.4, Op.29, The Inextinguishable

The Inextinguishable. In his perception, which reaches beyond outstanding artistry,

Ludwig van Beethoven:

only the human soul is everlasting. Breaking through the form of the traditional

Symphony No.5 in C minor, Op.67, Fate

symphony Nielsen adopted the single movement form for this work, depicting

名家系列 Maestro Series

the tension of a war zone. Only a live concert will bring you an unforgettable experience. 主要贊助

7 0





12 06

1917 年的「十月革命」,讓俄羅斯走向新的政治宿命,影響所及,不少藝術


2 0 1 9


國家音樂廳 National Concert Hall

如此,在 1936 年發表的第三號交響曲,則是為他個人晚年的音樂事業,留下




尋味!相較之下,留在國內的普羅科菲夫和蕭斯塔科維契,似乎就沒那麼幸 運了。這兩位作曲家畢生都在與蘇維埃政權對抗,他們單純的藝術理念,往 往因為當局者的意識形態而被扭曲。或許是形勢比人強,他們的音樂必須要

Russian Feast

「為國家,為人民服務」,太過前衛和創新的手法,總會遭致當局和輿論撻 伐。蕭斯塔科維契發表於 1954 年的 《慶典序曲》,是為了慶祝俄國十月 革命三十七周年而作;普羅科菲夫將 自己的大提琴協奏曲改寫,於 1952 年重新以交響協奏曲的面貌問世,其 中增添了濃郁的民族色彩。兩部作品 各有不同創作動機,卻是殊途同歸― 只有大眾能夠接受的,才是唯一的標 準,但是當局者可能沒聽到的,則是 作曲家「不願妥協的心聲」! If there were only one word to describe Russia in the 20th century, the best choice

指揮|金寶 ‧ 依希 ‧ 埃多

might be “transition”. The October Revolution in 1917 forced Russia to face its new

Kimbo Ishii-Eto, conductor

political fate, while the aftermath led to the exile of countless artists. Rachmaninoff,


from a family of Russian aristocracy, lost a large estate in the revolution and was

Alban Gerhardt, cello

placed under the censorship of the communist establishment which finally forced him to choose self-imposed exile. He eventually settled down in the United States and served as a soloist to earn a living. Rachmaninoff’s Third Symphony which premiered in 1936 was the representative work written in his last years. With the distinctive melancholy which permeates all of Rachmaninoff’s compositions, blended with lyrical melodies and a humorous aura, the symphony has become a beloved work. On the other hand, Prokofiev and Shostakovich who chose to stay

普羅科菲夫 : 交響協奏曲 拉赫瑪尼諾夫 : 第三號交響曲 Dmitri Shostakovich: Festive Overture, Op.96

works which were regarded as “avant-garde” and “unconventional”. Shostakovich’s

名家系列 Maestro Series

Sergei Prokofiev:

Festive Overture, premiered in 1954, was written to mark the 37th anniversary of


in the Soviet Union,, remained living in fear. They had to constantly fight against

蕭斯塔科維契 :《慶典序曲》

government bureaucracy that constantly misinterpreted their original artistic concepts. The Central Committee requested that composers compose music that could be understood by the masses and uplift the Soviet people, and condemned

the October Revolution. Prokofiev revised his Cello Concerto, adding abundant folk elements, and gave it a new title of Symphony-Concerto which was premiered in 1952. Regardless of the differences in initial motivation for the composition of these works, both of them appeared to be compromises to the regime as “music that could be understood by the masses,” while hiding notes of “secret rebellion.”

Symphony-Concerto, Op.125 Sergei Rachmaninoff: Symphony No.3 in A minor, Op.44

2 0 1 9


12 20


國家音樂廳 National Concert Hall


木王子 The Wooden Prince 指揮|呂紹嘉 Shao-Chia Lü, conductor 小提琴|雷諾.卡普頌 Renaud Capuçon, violin

貝多芬 : D 大調小提琴協奏曲 巴爾托克 :《木偶王子》 Ludwig van Beethoven: Violin Concerto in D major, Op.61 Béla Bartók : The Wooden Prince

結構端正又不乏驚奇轉折,筆法大膽卻滿是過人才氣,貝多芬膾炙人口 的小提琴協奏曲由不尋常的定音鼓揭啟序奏,以「最富靈感的出場」讓 小提琴獨奏現身,既是作曲能力與崢嶸銳氣的瀟灑證明,更洋溢源源 不絕的前進動力與現代感。同樣從傳統出發,吸取前人技法而融會 貫通,巴爾托克不只能將質樸猛起的農村曲調整理成自己的創作語 彙,更以獨到觀點寫出前人未曾探索的心理層面。王子用木偶吸引 公主,怎知公主竟愛上木偶而非王子—愛情之無名,人生之諷刺, 全以幽微巧妙的手法在《木偶王子》裡娓娓道來,所幸還有令人 72

滿足的喜劇收場。當紅國際名家卡普頌首次與國內樂團合作,加 上 NSO 巴爾托克舞台作品最終篇,熱門經典搭配難得名作,敬請




Beethoven’s beloved violin concerto is a work built on the traditional concerto form with some unexpected rule-bending, and bold and brilliant strokes. It opens with unconventional repeated beats on the timpani. What follows is the God inspired entrance of a solo violin which testifies to Beethoven’s composition abilities and penchant for challenging tradition, as it is also permeated with incessant momentum and modern sensibility. Upon first hearing, Bartók’s The Wooden Prince seems to be the opposite, steeped in tradition. However, he assimilated his predecessors’ techniques and turned the non-ostentatious and fixed rhythm of folk music into his own musical language, and explored psychological issues from his distinctive point of view. It tells a story of a prince using a puppet to catch a princess’s attention, not expecting the princess to fall in love with the puppet rather than him. The absurdity of love and irony of life are subtly yet nimbly conveyed in this work with an eventual happy ending. Featuring Capuçon, the highly sought-after violinist who is collaborating with a Taiwanese orchestra for the first time, and the NSO’s last performance of


總監系列 MD Series

Bartók’s series, this concert is a must-hear for music lovers!

12 28 31





2 0 1 9

國家音樂廳 National Concert Hall

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

400‧700‧1000‧1500‧1800 2400 ‧3000


歲末音樂會 -《風流寡婦》 Opera Concert – Die lustige Witwe 指揮|張尹芳 Yin-Fang Chang, conductor 導演|尚米歇爾 ‧ 克奇 Jean-Michel Criqui, director 影像設計|王奕盛 Ethan Wang, visual design 燈光設計|郭建豪 Chien-Hao Kuo, lighting design 服裝設計|高育伯 Yu-Po Kao, costume design 音樂指導|王佩瑤 Pei-Yao Wang, vocal coach 漢娜|林慈音 Grace Lin, Hanna Glawari 達尼羅伯爵|巫白玉璽 Wu Bai-Yu-Hsi, Danilo Danilowitsch 卡米爾伯爵|孔孝誠 Ezio Kong, Camille de Rosillon 傑達男爵|趙方豪 Fang-Hao Chao, Baron Mirko Zeta 法蘭琪娜|黃莉錦 Li-Chin Huang, Valencienne 卡斯卡達|葉展毓 Chan-Yu Yeh, Vicomte Cascada 聖布里奧許|張殷齊 Yin-Chi Chang, Raoul de St Brioche 合唱指導|古育仲 Yu-Chung John Ku, chorus master 台北愛樂合唱團 Taipei Philharmonic Chorus

雷哈爾 :《風流寡婦》 Franz Lehár: Die lustige Witwe

74 NSO S



* 臺中場次票價及票券啟售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

逸樂無失品味,逍遙卻不放肆,《風流寡婦》從奧匈帝國遙望法國首府, 以維也納觀點向巴黎致敬,成功兼具兩者最高尚精緻的文化氛圍,是此二 城絢爛過往的絕美紀錄。「為富有寡婦尋找如意郎君,防止鉅款流向國外 導致小國經濟危機」,歡樂主軸雖然嬉鬧有趣,卻也融入時事而更添辛辣。 雷哈爾思緒翩翔飛轉,悠揚旋律縱橫全劇,宴會場景推陳出新,更寫出繁 複多變的高超管絃技法,讓舞曲成為塵世傳奇與人間神話。不只悅耳,此 劇令人酣醉的和聲色調也是「世紀末」風潮的產物—這是喝著香檳的華格 納,隱身快意氛圍的馬勒與理查・史特勞斯,讓你看熱鬧也可聽門道。德 語演唱、中文對白,就讓國內頂尖聲樂名家與 NSO 和你一起過新年,在歲 末預約一晚歡樂! Hedonistic but not vulgar, carefree but not wanton, Die lustige Witwe, bred in the soil of Austria-Hungary, is set in and pays tribute to Paris from Vienna. It successfully connects two elegant and sophisticated cultural ambiances and records the unforgettable histories of these two cities. In brief, the story is about one small country’s embassy in Paris working hard to find a compatriot husband for their country’s richest widow in order to prevent her estate from being transacted overseas. Although the main theme is light-hearted, hints of sardonicism loom inside, particularly with the interspersed tabloid fodders. With Lehár’s creativity, the operetta is imbued with suave tunes. More sensational notes built on intricate orchestration appear in the banquet scene that has immortalized this piece of dance music. In addition to its appealing tunes, the kaleidoscopic harmony manifests the aesthetics of the Fin de Siècle. It’s Wagner sipping champagne and hedonistic Mahler and Richard Strauss, an operetta Mandarin, Die lustige Witwe will merrily usher in the new year at the NSO with its topmost vocal soloists.


to entertain you and for you to appreciate. Sung in German and narrated in


01 05


2 0 2 0

國家音樂廳 National Concert Hall 500‧800‧1200‧1600‧2000

愛在柴科夫斯基 Fall in Love with Tchaikovsky 指揮|呂紹嘉 Shao-Chia Lü, conductor 女高音|葛里戈里恩 Asmik Grigorian, soprano 男中音|弗雷德森 Karl-Magnus Fredriksson, baritone

柴科夫斯基 : 第三號組曲 《尤金 ‧ 奧涅金》歌劇選粹 Pyotr Ilyich Tchaikovsky: Suite No.3 in G major, Op.55

Eugene Onegin (Excerpts)

從莫斯科大學法律系到聖彼得堡音樂院,柴科夫斯基追求自己的熱情與渴望,終 為世界留下深邃美麗的音樂寶藏。第三號組曲筆法細膩,悲歌、憂傷圓舞曲、詼 諧曲、變奏曲一路開展,流暢旋律始終美好迷人。「讓我毀滅吧!但我還想在眩 目的希望裡,召喚渺茫的幸福。」普希金於 1830 年發表的敘述體韻文小說《尤 金 ‧ 奧涅金》,是俄國現實主義文學眾口競傳的名作。既然原著無人不曉,柴 科夫斯基就可挑選重要段落譜寫「抒情場景」,另闢蹊徑反而成就不同流俗的偉 大歌劇。猶豫遲疑的貴族青年奧涅金與聰明多情的外省少女塔蒂雅娜,將在本場 76

選粹唱出他們的青春和惆悵、懊悔與心傷。令人陶醉也豐富深刻,柴科夫斯基的 多樣與偉大,期待您和我們一起品味。


Due to his passion for pursuing a career in music, Tchaikovsky left his job at the Ministry of Justice and enrolled at the Saint Petersburg Conservatory. He eventually left a bountiful and ravishing musical heritage. The well polished Suite No. 3 unfolds in sequence of Élégie, Valse mélancolique, Scherzo, and Tema con variazioni, always flowing with enchanting melodies. “Let me perish, but first let me summon, in dazzling hope the magic poison of desire.” (Onegin’s narration from Eugene Onegin) Eugene Onegin, Pushkin’s novel in verse written in 1830, is a beloved classic of modern Russian literature. Closely following passages in Pushkin’s original novel and retaining much

lass brought up in the countryside, will tell the stories of their youth, desolation, remorse, and anguish in this excerpt performance.


enduring success. Onegin, a shady nobleman, and Tatyana, a prudent and sentimental

總監系列 MD Series

of his poetry, Tchaikovsky’s opera with the same title brought him his first and most






2 0 2 0

國家音樂廳 National Concert Hall 400‧700‧1000‧1200‧1500

貝多芬狂潮 Beethoven Frenzy

起來,貝多芬可說是「大器晚成」,直到三十歲時,才推出個人處女作。不過, 他卻是「大雞慢啼」,而且一鳴驚人!雖然只有九部交響曲傳世,但每一首 都具有時代意義。第二號交響曲的創作期間,貝多芬因為耳疾問題而一度意 志消沉,並且留下著名的「海利根施塔特遺書」。奇妙的是,遺書寫完之後, 貝多芬原本陰霾的情緒得到了抒發,他重新振作精神,完成熱血激昂的第二 號交響曲。音樂中蘊含的「奮力搏鬥意志」,更成了他往後創作的指標。 At the precise point in time that bridges two eras, those persons who serve as a link between past and future will always become big names in history. Beethoven, the German composer, is a good example. Compared to some of his predecessors, he started late in symphony composition with his first symphony completed in 1800. However, he was a late bloomer whose accomplishments were stunning from the beginning. Beethoven only left us with nine symphonies, yet each one is monumental. Beethoven suffered from depression due to his loss of hearing during the composition of his Second Symphony, to the extent that he wrote

指揮|鄭立彬 Cheng Li-Pin, conductor

the famous Heiligenstädter Testament. Somehow his mood was miraculously

小提琴|林品任 Richard Lin, violin

boosted after he wrote the testament. He regained his strength, completing the

大提琴|秦立巍 Li-Wei Qin, cello

valiant second symphony. The will to fight and overcome his struggles as revealed

鋼琴|盧易之 Yi-Chih Lu, piano

through his music became Beethoven’s signature for all his compositions. In his

貝多芬: 第二號交響曲 名家系列 Maestro Series

三重奏協奏曲 Ludwig van Beethoven: Symphony No.2 in D major, Op.36 Triple Concerto in C major, Op.56

subsequent Triple Concerto, Beethoven separated the piano trio into soloists to converse with orchestra. The exchanges between each part bring out more grandiose responses which make the music more and more magnificent. Join us to witness this spectacular work presented at the National Concert Hall in honor of Beethoven’s 250th anniversary!

7 8


成了他那一代的「憤青」,反映在他的音樂裡,往往是有稜有角的性格。西 元 1801 年發表的普羅米修斯的創造物,敘述普羅米修斯以泥土創造人類,並 且賦予情感與靈性。舞劇開幕前的序曲,貝多芬寫得慷慨激昂,酣暢淋漓, 相當引人入勝。相較之下,同為德國作曲家的舒曼,少了反社會個性,卻多 了才情洋溢,他樂於活在自己的創作世界裡,可說是十九世紀前半的標準「文 青」。1840 年代先後完成的 A 小調鋼琴協奏曲以及第四號交響曲,充分展現 了舒曼兼具熱情與抒情的浪漫個性。

02 07




2 0 2 0

國家音樂廳 National Concert Hall


世紀之聲 Rico Saccani & Kun Woo Paik

If composers' personalities are reflected in their works, then this concert will be spirited and full of energy. The tumultuous life of the German composer Beethoven, his antisocial behavior and rebellious attitude towards nobility painted him as the “outraged youth” of his generation. His personality impressed upon his music, giving his music an acute sense of invincibility. Die Geschöpfe des Prometheus, written in 1801, depicts Prometheus’s creation of humanity from clay and his imbuement of our physical forms with emotion

指揮|里科 ‧ 斯卡尼

and soul. Beethoven’s touch lends the opening overture a robust and arresting

Rico Saccani, conductor

sharpness. On the other hand, his compatriot Schumann had no quarrel with society


and enjoyed the contentment brought on through creativity. He was a typical

Kun Woo Paik, piano

conformist of the first half of the nineteenth century. His Piano Concerto in A Minor and his Fourth Symphony, both written in the 1840s, perfectly capture Schumann’s


affectionate yet passionate personality.

舒曼:A 小調鋼琴協奏曲 第四號交響曲 Ludwig van Beethoven: Prometheus Overture Robert Schumann:


Symphony No.4 in D minor, Op.120

名家系列 Maestro Series

Piano Concerto in A minor, Op.54

2 0 2 0




國家音樂廳 National Concert Hall 400‧700‧1000‧1200‧1500

畫景敘事 Alexeev & Hu

十九世紀興起的民族主義,使得作曲家在創作中使用各種在地的故事題材和 音樂元素來建立自己的個性;這種本來零零碎碎的耳聞經驗,到了二十世紀 逐漸變成有系統的民歌採集。巴爾托克曾與柯大宜結伴,深入喀爾巴阡山區 採集馬扎兒民歌,並加以分析比較。他找出它們音樂語法的結構,用於自己 的作品中。不同於當時許多作曲家直接在作品中置入民歌片段的作法,巴爾 托克的樂曲完全建築在馬扎兒語韻上,別具一格。當他寫作第二號小提琴協 奏曲時,技巧已嫻熟,通篇掌握馬扎兒語的抑揚頓挫,精彩無比。穆索斯基 是俄國「五人團」作曲家中最勇於突破西歐音樂主流限制,創造屬於俄國自 己的音樂語法者。他參觀早逝的友人―畫家哈特曼的紀念展後獲得靈感,譜 寫了《展覽會之畫》鋼琴組曲,和聲新穎磅礡,音樂起伏變化的幅度鉅大, 從粗獷激昂到細膩纖巧,讓聆者如同目睹畫作,日後被改編為管絃樂作,色 彩璀璨瑰麗,深受喜愛。 The rise of nationalism in late nineteenth century Europe affected the circle of classical music. Composers were inspired to adopt national musical elements in their works. Two masterpieces written by two great nationalist composers will be presented by the NSO in this concert. Bartók, in collaboration with Kodály, traveled to the remote mountain ranges of the

指揮|尼可萊 ‧ 阿雷席夫

Carpathians to collect and research Magyar folk melodies. He eventually unraveled

Nikolay Alexeev, conductor

the patterns of Magyar musical phrasing and incorporated these elements into his


compositions. Unlike contemporary composers who used actual samples of folk

Nai-Yuan Hu, violin

melodies in their compositions, Bartók embodied folk music in his works. Bartók

王怡雯 :《花園集景》 巴爾托克 : 第二號小提琴協奏曲 穆索斯基 :《展覽會之畫》 I-Uen Wang Hwang: Garden Scenes 名家系列 Maestro Series

Béla Bartók: Violin Concerto No.2

was very good at maneuvering the articulation of Magyar folk music in his second violin concerto, making it a marvel to hear. As the most innovative composer of The Five in breaking the trappings of Western European musical tradition, Mussorgsky fervently devised intrinsic Russian elements for his compositions. He was inspired to compose the piano suite Pictures at an Exhibition after he visited the memorial

Modest Mussorgsky:

exhibition of Hartmann, a late painter and friend of Mussorgsky. With its novel and

Pictures at an Exhibition

majestic harmony and tonal variety, shifting from coarse and vivacious to elaborate and delicate, Pictures at an Exhibition is an amazing musical spectacle that brings Hartmann’s art to life. The orchestrated version which only served to enhance its magnificence, is among the most beloved pieces in musical history.

8 0


02 28


2 0 2 0

國家音樂廳 National Concert Hall 400 ‧700 ‧1000 ‧1200 ‧1500

穿梭世紀的音符 LÜ & Brett Dean

指揮|呂紹嘉 Shao-Chia Lü, conductor 中提琴|布萊特 ‧ 狄恩 Brett Dean, viola

貝多芬 :《柯里奧蘭》序曲 布萊特・・狄恩 : 中提琴協奏曲 貝多芬 : 第七號交響曲 Ludwig van Beethoven: Coriolan Overture, Op.62 Brett Dean: Viola Concerto Ludwig van Beethoven: Symphony No.7 in A major, Op.92

繼承並延續前輩心得,貝多芬從古典格式中創出浪漫精神,第七號交響曲自海頓 式序奏開頭,加以比美莫札特的動聽旋律,最後展現酒神狂歡般的白熱化升騰, 是華格納口中「舞蹈的神話」,更是廣被引用的經典。一邊是親情和懇求,一邊 是報仇與責任,悲劇《柯里奧蘭》盡訴兩難中的掙扎,貝多芬按情節鋪展出震撼 人心的樂想,細膩刻劃角色的受苦內心。中提琴與作曲皆擅,狄恩的創作總能展 現新奇想像,足稱當今南半球最重要的音樂名家。他的中提琴協奏曲結構獨樹一 幟,在獨奏技法的開創與管絃聲響的處理上皆有出色洞見,是令人印象深刻的傑 作。NSO 以貝多芬金曲與當代名家名作,在貝多芬 250 誕生年傳承創作火炬, 歡迎大家和 NSO 一起回顧偉大傳統、持續傾聽現代!

82 NSO S E A S O N

Building upon the musical styles of his predecessors, Beethoven brought an intrinsic romantic spirit to his compositions. His Seventh Symphony opens with a Haydnstyle introduction and contains lines as glamorous as Mozart’s, and strides forth in an ascending Dionysian blaze. Wagner called it the “apotheosis of the dance”, a delightful piece in music history. In Coriolan, a tragedy that portrays the hero’s

depicting the protagonist’s struggles. As an apt violist and composer, Dean has always imbued his compositions with such imagination that he has become the foremost composer of the southern hemisphere. His Viola Concerto, built on an unconventional structure, demonstrates stunning creativity in techniques for its solo and orchestration which have made it an unforgettable piece. In the year of Beethoven’s 250th anniversary, the NSO will present his signature works alongside the showpiece of a contemporary composer, symbolizing the passing of the torch. Join us! Witness the passing on of a legacy!


delineates impressive musical ideas corresponding to the narrative, exquisitely

駐團音樂家 Artist in Residence

inner struggle between familial duty and honor through vengeance, Beethoven




布魯克納崇拜華格納,曾魯莽地帶著第二、三號交響曲手稿赴拜魯特,詢問 後者對它們的看法。華格納稱讚第二號交響曲「很棒」,但承認他更喜歡第 三號。布魯克納興奮不已,將第三號交響曲題獻給他,這是此曲又被稱為「華

2 0 2 0


國家音樂廳 National Concert Hall




Jun Märkl & Radovan Vlatković

倫堡名歌手》的動機衍生的片段,但布魯克納已經巧妙地將它們化為自己的 音樂。華格納根據海涅小說及自己航海的經驗,譜寫了《漂泊的荷蘭人》。 序曲最後完成,集全劇情節及樂念發展於一。置前演出,如同音樂說書人, 緊湊揭示後續演變,留給聆者懸疑與期待。約翰 ‧ 威廉斯偏愛法國號,自云 它的聲音引人思古。其法國號協奏曲中,獨奏的音響如古老獵號,音樂具有 作曲家布瑞頓及凱爾特民謠風味,悠揚渺茫。 Wagner was Bruckner ’s idol. The latter once brought the manuscripts of his second and third symphonies to Wagner’s residence at Bayreuth, in order to hear the master’s opinion of them. Wagner studied the score of the Second and said, “Very nice,” but it was the Third Symphony which truly elicited his enthusiasm. Bruckner was delighted and dedicated the symphony to Wagner, which is why the composition is


sometimes known as the “Wagner Symphony.” Regardless of whether Wagner

Jun Märkl, conductor

considered Bruckner a fawning devotee at first, he was surely pleased to spot in


Bruckner’s Third Symphony motifs that paid tribute to his operas Die Walküre,

Radovan Vlatković, horn

Tristan und Isolde, Tannhäuser, and Die Meistersinger. Basing his work on Heine’s

華格納 : 《漂泊的荷蘭人》序曲 約翰.威廉斯 : 法國號協奏曲 布魯克納 : 第三號交響曲 Richard Wagner: 名家系列 Maestro Series

The Flying Dutchman Overture John Williams: Horn Concerto Anton Bruckner: Symphony No.3 in D minor

novel and his own experience of sea voyaging, Wagner composed Der fliegende Holländer. The overture, which was completed last, created a microcosm of the entire opera. As a show opener, it unfolds the story step by step, with each note ending on a cliff-hanger to capture the audience. John Williams has had a lifelong love of the French horn, attributing to it a sound capable of stirring memories of antiquity. John Williams's virtuosity makes the solo horn sound like the ancient hunting horn. The music, reminiscent of Britten's works blended with Celtic folk melodies, is sinuous and bucolic.

8 4



03 14


2 0 2 0

2020 TIFA 台灣國際藝術節 2020 Taiwan International Festival of Arts

國家音樂廳 National Concert Hall


牧之神.森之靈 LÜ & Kit

指揮|呂紹嘉 Shao-Chia Lü, conductor 鋼琴|周善祥 Kit Armstrong, piano

德布西:《牧神午後前奏曲》 聖桑 : 第五號鋼琴協奏曲《埃及》 西貝流士 : 《塔比歐拉》 第七號交響曲 Claude Debussy: Prélude à l’après-midi d’un faune Camille Saint-Säens: Piano Concerto No.5 in F Major, Op.103, Egyptian Jean Sibelius: Tapiola, Op.112

Symphony No.7 in C major, Op.105

旖旎夢幻,卻有震古鑠今的革命性力量。若說「現代音樂」開始於 1894 年首演 的《牧神午後前奏曲》,相信絕非誇大之詞。聖桑第五號鋼琴協奏曲是旋律優 美、流暢輕盈,又洋溢北非異國風情的名作。第二樂章的尼羅河畔歌調與終樂章 火花四射的觸技曲,總能令聽眾喝采不絕。從德國與俄國風格開始,西貝流士最 後不只蛻變出一家之言,還成為北歐共同的音樂語彙。清新而寬廣,厚實但不厚 重,他獨到的管絃配器色調迷離,聲響奇幻處處驚奇,現場欣賞才能真正領會其 魔力。第七號交響曲和《塔比歐拉》是他千錘百鍊的封筆之作,確是當之無愧的 86

不凡經典,交響樂的重要里程碑。這場音樂會帶來法國與芬蘭名家名曲,上下半 場又有形式創意的巧妙對照,必然令人大開眼界。


Ravishing and dreamlike yet revolutionary, Prélude à l’après-midi d’un faune’s premiere in 1894 unequivocally opened the age of modern music. Saint-Säens’ Fifth Piano Concerto is a showpiece that features beautiful and sleek airs imbued with exotic north-African flavor. Its second movement, based on a tune sung on the Nile, and the fiery toccata in the finale always receive thunderous applause from the audience. Influenced by German and Russian styles, Sibelius discovered his own musical language which ultimately became the common dialect of northern European music. Crisp but broad, compact but elegant, Sibelius’ orchestration comprises original and bewildering tonations with bizarre timbre. Attending a live performance is a must in order to appreciate the true depth of this work. Two of his

juxtaposing the two in one concert, the NSO will more than fulfill its audience’s

總監系列 MD Series



swan songs, Symphony No.7 and Tapiola, are phenomenal gems that are highly representative of Sibelius’s style. They are monumental works in the symphonic genre. By combining these French and Finnish masterpieces together, and




2 0 2 0

國家音樂廳 National Concert Hall 400‧700‧1000‧1200‧1500‧2000

「承先」與「啟後」,從來就不容易,貝多芬與布拉姆斯,一輩子都在思考 這件事。西元 1803 年,貝多芬完成了第三號交響曲《英雄》。當時,法國大 革命剛剛結束了一個舊的時代,而貝多芬則是以音樂開創新的紀元,不論是 架構或是實質內容,《英雄》交響曲都具有劃時代的意義。以樂曲規模而言, 在這部作品出現之前,從來沒有任何一首交響曲的演奏時間長達五十分鐘以 上,而貝多芬藉著宏偉篇幅,擴大了當時觀眾的欣賞格局。在樂章內容方面,

英雄與女皇 Leonskaja & NSO

貝多芬以活潑的「詼諧曲」,取代了以往的「小步舞曲」。此外,他在原本 的慢板樂章安排「送葬進行曲」,用以悼念所有為了崇高理想而犧牲的英雄 們,這般手法,堪稱音樂史上的第一人。貝多芬立下的典範,對後繼者來說, 絕對是壓力,但是從另一個角度來看,其實也是激勵,布拉姆斯就是個例子。 在第一號鋼琴協奏曲首演失敗二十三年之後,布拉姆斯才在 1881 年,推出了 他的第二號鋼琴協奏曲。布拉姆斯打破傳統的三樂章形式,大膽地加入第四 個樂章,並且強調整首樂曲是「以鋼琴演奏的交響曲」。從規模與氣勢來看, 布拉姆斯的企圖心,絕不下於前輩貝多芬。 To serve as a link between the past and the future is not easy, through out their lives, Beethoven and Brahms tried to live up to this task. In 1803, Beethoven completed his Third Symphony Eroica. At the time, the French Revolution had just marked the end of an era, and Beethoven opened a new epoch with his music. Eroica Symphony was groundbreaking in both structure and motifs. The duration of this piece is over fifty minutes, longer than any of its precedents from the same genre. In

名家系列 Maestro Series

指揮|安立奎 ‧ 馬卓拉

addition, Beethoven expanded the range of this symphony and refined his ability

Enrique Mazzola, conductor

to raise audience’s apprehension level. In playing with movement structure, he


replaced the minuet with the more-spirited scherzo. Moreover, he employed a

Elisabeth Leonskaja, piano

funeral march in the slow movement in order to pay tribute to heroes who died for their ideals, which has made this piece stand out throughout history.Beethoven was

布拉姆斯:第二號鋼琴協奏曲 貝多芬 : 第三號交響曲《英雄》 Johannes Brahms: Piano Concerto No.2 in B-flat major, Op.83

8 8

Ludwig van Beethoven: Symphony No.3 in E-flat major, Op.55, Eroica

a tough act to follow for later generations of musicians. Yet his work has also been inspirational for them. Brahms was one such loyal devotee. Brahms completed his Second Piano Concerto in 1881, twenty-three years after the failure of the premiere of his First Piano Concerto. Breaking with the traditional three-movement structure of concertos, Brahms daringly added in a fourth movement and turned the piece into “a symphony performed by piano”. Judging from the scale and ambience of this work, Brahms was striving to surpass Beethoven.


04 09








2 0 2 0

國家音樂廳 National Concert Hall

大起大落的陡然轉折,更是全然絕望的無情紀實。透過兩部風格不同卻皆 為曠世經典的大作,加上國人作品,這場演出將呈現 NSO 全方面的音樂能 力,期待大家現場聆賞。 Debussy had loved nature through all his life and among all, "water" had always been his favorite theme. La Mer is not a scenic postcard, but a fantasy as a vast ocean as in the spiritual and ideological world, including his unearthly and mysterious imagination. The composer finds the rhythm in the universe, enriches the musical texture to express the natural pulses, and makes the music paragraphs

來自臺灣 – 2020 歐洲巡演 行前音樂會

From Formosa – 2020 Europe Pre-tour Concert

become not only expositions but also developments, making music flow like realistic water. Tchaikovsky's Symphony No.6 is like a requiem written for himself. He reversed the thinking upon classical elements and expressed his most intimate, complicated feelings into a real painful shout-out. The drastically dramatic twist shows exactly, and truthfully, the ruthless total despair. Through the two masterpieces of different styles, both of which are world classics, plus the work 指揮|呂紹嘉 Shao-Chia Lü, conductor 委託創作國人作品 ( 世界首演 ) 德布西 : 《海》 柴科夫斯基 : 第六號交響曲《悲愴》 Commissioned work by Taiwanese Composer (world premiere) Claude Debussy: La Mer Pyotr Ilyich Tchaikivsky: Symphony No.6 in B minor, Op.74, Pathétique


by Taiwanese composer.Come and enjoy the Concert.




改變是轉機,也可能是危機。它是一種冒險,可能失敗;是進步的原動力, 但會造成不安全感,以致大多數人迴避改變。音樂史上有無數嘗試改變而在創 作之初飽受攻擊的例子,NSO 將演出分別由柴科夫斯基與普羅科菲夫譜寫的

2 0 2 0


國家音樂廳 National Concert Hall

時的傳統。尼古拉斯 ‧ 魯賓斯坦首次聆聽柴科夫斯基第一號鋼琴協奏曲時,


俄羅斯幻境 St. Clair & NSO

大肆抨擊,兩人因此一度交惡。魯賓斯坦覺得此曲有違傳統協奏曲形式,獨奏 部分無法演奏,他不欣賞柴科夫斯基的創新;相對地,指揮家馮 ‧ 畢羅卻稱 讚此曲的樂念「巍峨、強烈又充滿原創性…」。歷史證明柴科夫斯基的選擇無 誤,這首樂曲乃同類作品的經典。1936 年去國 18 年的普羅科菲夫帶著《羅密 歐與茱麗葉》手稿重返祖國,準備為祖國藝壇貢獻心力。他的夢想迅速破滅, 劇中男女主角都活下來的結局觸怒俄國官方,舞者也抱怨他的音樂無法入舞。 緊接著他 被 冠 上「 形 式 主 義 者 」 罪 名,普羅科菲夫迄逝日活在恐懼中。 《羅密歐與茱麗葉》卻以其突破傳統 舞劇的諧趣與奔放的節奏,成為現代 舞劇音樂的代表作之一。 Change is a turning point, and often a crisis. It is an adventure which might fail. It is the momentum of progress but also causes insecurity, leading many people to avoid changing. There are


many examples throughout history of composers attempting to create new innovative

Carl St. Clair, conductor

musical works and meeting with severe criticism. Tonight, the NSO will present


compositions written by Tchaikovsky and Prokofiev respectively, both are imbued

Meng-Chieh Liu, piano

with rich and dense harmonic textures, rhythms, and beats that are characteristic of Slavic music and run counter to the tradition of contemporary Western music.

駐團音樂家 Artist in Residence

布萊特・・狄恩 : 《科馬羅夫的墜落》

After Nikolai Rubinstein first heard Tchaikovsky’s First Piano Concerto, he abused

柴科夫斯基 : 第一號鋼琴協奏曲

Tchaikovsky verbally, resulting in a temporary break within their friendship. From

普羅科菲夫 : 《羅密歐與茱麗葉》組曲選段

Rubinstein’s perceptive, it was far removed from the traditional concerto form and

Brett Dean: Komarov's Fall

definitely unplayable. He was displeased by Tchaikovsky’s innovation. The German

Pyotr Ilyich Tchaikovsky:

conductor, Albeit von Bülow however regarded it highly, praising its “unsurpassed

Piano Concerto No.1 in B-flat minor, Op.23

originality, such nobility, such strength...” History has vindicated Tchaikovsky,

Sergei Prokofiev :

with this piano concerto now regarded as one of the best in its genre. In returning

Excerpts from Romeo and Juliet Suites

to Russia after eighteen years of absence in 1936, Prokofiev brought with him the manuscript of his ballet Romeo and Juliet. He dreamt of making waves in the artistic circle of the Soviet Union. Soon he realised his dream had been an illusion. Soviet cultural officials disliked the novel happy ending to the ballet, while dancers


complained its music was “impossible to dance to. Subsequently Prokofiev was attacked for his “decadent formalism” which left him in fear for the rest of his life. Despite its shaky beginnings, Romeo and Juliet, with its breakthrough humor and unrestrained rhythms unlike those found in traditional ballets, has become one of the most beloved masterpieces of modern ballet.


駐團音樂家 Artist in Residence




0523 24 Sat.

2 0 2 0

衛武營音樂廳 Weiwuying Concert Hall

國家音樂廳 National Concert Hall



呂紹嘉與 Kavakos LÜ & Kavakos

指揮|呂紹嘉 Shao-Chia Lü, conductor 小提琴|列奧尼達斯.卡瓦科斯 Leonidas Kavakos, violin

蕭斯塔科維契 : A小調小提琴協奏曲


Dmitri Shostakovich : Violin Concerto No.1 in A minor, Op.77 Symphony No.8 in C minor, Op.65

9 2 NSO S E A

* 05/23 場次票價及票券啟售資訊請密切關注衛武營官方網站。


Visit https://www.npac-weiwuying.org/ for more information.


「寧為信念受苦,也不願為信念殺戮」—雖然和貝多芬《命運》相似,也從 C 小調寫到 C 大調,蕭斯塔科維契第八號交響曲卻不見勝利凱旋,僅是浩劫餘 生。那是作曲家眼看二次大戰完全失控,家鄉列寧格勒圍城役慘至人獸相食, 發自內心的怒吼哭嚎。他展現全能作曲能力,讓所有章法格式規矩都為他說 話。全曲五樂章環環相扣,既寫大時代創傷,也有自傳式的體會感悟。同樣反 映個人心事,他的第一號小提琴協奏曲則是蓄積後的兇猛爆發,冷峻中透出溫 情,將不可思議的絕頂超技融於深沉內省的樂想,每次聆聽都像是借了他的真 實人生。當代絃樂巨擘卡瓦科斯,將與老友呂紹嘉在臺北二度合作。聽他們如 何透過蕭斯塔科維契的眼睛看世界,在荒原裡見到人性光輝。 “I prefer to suffer for my beliefs rather than kill for my beliefs.” Although similar to Beethoven’s Fate Symphony which opens in C minor and gradually shifts to C major, Shostakovich’s Eighth Symphony only portrays the havoc and devastation of war with no hint of the triumph. It is Shostakovich’s lament after he saw the rampant destruction of WWII, and the siege and famine of Leningrad, his hometown, forcing its residents to kill for food. He employed his versatile composing skill to manipulate all kinds of musical forms to build up this symphony. Five movements press onward with relentless momentum. They depict the agony of wartime and also

bleakness, the astounding virtuosity is intertwined with profound musical ideas. Each listening experience is like seeing through Shostakovich’s eyes. Kavakos, the contemporary virtuoso of string instruments, will collaborate with his colleague Shao-Chia Lü for the second time in Taipei. Witness how they navigate seeing the world from Shostakovich’s perspective, asking how we find the glory of humanity in the wasteland.


First Violin Concerto is a fierce eruption of energy. Transmuting geniality from

總監系列 MD Series

convey his firsthand experiences. As another autobiographical piece, Shostakovich’s


05 30


2 0 2 0

國家音樂廳 National Concert Hall 500‧800‧1200‧1600‧2000

貝多芬《莊嚴彌撒》 Missa solemnis

指揮|呂紹嘉 Shao-Chia Lü, conductor 女高音|林玲慧 Ling-Hui Lin, soprano 女中音|翁若珮 Jo-Pei Weng, alto 男高音|金東元 Dong-Won Kim, tenor 男低音|羅俊穎 Julian Lo, bass 合唱指導 | 古育仲、張維君 Yu-Chung John Ku, Wei-Chun Regina Chang, chorus master 台北愛樂合唱團 Taipei Philharmonic Chorus

貝多芬:《莊嚴彌撒》 Ludwig van Beethoven : Missa solemnis

大氣磅礡而明亮燦爛,劇力萬鈞兼具哲理幽思,貝多芬晚期名作《莊嚴彌撒》向 昔日傳統致敬,獨具個性的寫法又為未來指路。不只有恢弘絢麗的樂段、長大壯 闊的賦格,此曲也有宛如室內樂的細膩透明,以及感人至深的真誠訴說。然而, 94

《莊嚴彌撒》也是數一數二的難曲;獨唱難、合唱難、樂團難,更嚴格考驗指揮 的調度與詮釋,令人讚嘆也令人敬畏。這是貝多芬晚期作品中,名聲響亮卻最難




對位巧思如何展現作曲家澄澈通透的內在?讓我們跟隨呂紹嘉與 NSO、台北愛


樂合唱團與獨唱家的腳步,在貝多芬 250 誕生年,感受他超越時代的偉大心靈,



Exalted and splendid, maestoso yet with hints of percipience, Beethoven pays tribute to the past with his Missa solemnis,, while its inventive writing foretells the future. It is comprised of formidable and brilliant passages, extensive and colossal fugues, chamber-music-like delicacy, and sincere narration. These elements make Missa

the score. One of the most well-known of Beethoven’s late works, Missa solemnis is one of the hardest to present and leaves its listeners in awe. Music lovers should seize every opportunity to hear it performed live. How can religious devotion and humanist thinking be blended together? How can the deliberate employment of counterpoint be arranged to unveil the innermost workings of the composer? In Beethoven’s 250th anniversary, let’s follow Shao-Chia Lü who will lead the NSO, Taipei Philharmonic Chorus, and vocal soloists in putting his time-surpassing mind on display in this musthear Missa solemnis,.


and orchestra, and a trial for the conductor, challenging his ability to lead and interpret

總監系列 MD Series

solemnis extremely strenuous to perform. It’s a challenge for the vocal soloists, chorus,

2 0 2 0




貝多芬為歌德的戲劇《艾格蒙》所做的配樂,從序曲開始,就展現了澎湃激 昂的英雄氣概。在這之前,貝多芬的《命運》交響曲寫的就是戰勝命運的凱 歌,至於在《艾格蒙》序曲裡,貝多芬更昇華了他的英雄崇拜。歌德筆下的 悲劇英雄,為了人民的自由而自我犧牲,在貝多芬看來,死亡並不是終點,

國家音樂廳 National Concert Hall



理查 ‧ 史特勞斯卻採用「迂迴」手法,似乎有意無意地,為自己在五線譜上 立傳。1898 年,理查 ‧ 史特勞斯完成了他以「交響詩」命名的最後作品《英

英雄生涯 Long Yu & NSO

雄的生涯》,創作當時,理查 ‧ 史特勞斯年僅三十四歲,但是樂曲最後鋪陳 的情境,竟然與他個人晚年的實境,不謀而合!如果說這部作品是他自己的 人生寫照,我們聽到的,就是他的音樂傳記。如果音樂也能忠實反映人生, 陳其鋼的小提琴協奏曲《悲喜同源》,寫的就是他自己人生的大悲大喜。在 歷經家庭變故之後,陳其鋼看待人生,多了哲理意味,「人生的悲與喜,其 實就是得與失」。悲喜與得失,正是陳其鋼在《悲喜同源》裡所要表達的。 這首小提琴協奏曲的主題,取材自古琴曲《陽關三疊》,作曲家用二十四分 鐘的音樂,讓你聽見不一樣的人生感懷! Beethoven built up a Herculean tone in his incidental music for Goethe’s Egmont. From the start, the overture conveys a spectacular and marvelous atmosphere. Before this work was written, Beethoven composed a victory ode proclaiming the defeat of fate in his Fate symphony. And then in the Egmont Overture, he elevated his ideology of hero worship. To Goethe, the Count of Egmont is a tragic hero who made many

指揮|余隆 Long Yu, conductor

sacrifices to free his people; to Beethoven, death is not the end, but the ultimate

小提琴|曾宇謙 Yu-Chien Tseng, violin

triumph in eternity. Peers might laugh at contemporary composers who try to write their autobiographies through music. However, Richard Strauss subconsciously

駐團音樂家 Artist in Residence

貝多芬 : 《艾格蒙》序曲

adopted a roundabout route to complete an autobiography for himself in score form.

陳其鋼 : 《悲喜同源》小提琴協奏曲

His last symphonic poem Ein Heldenleben was written in 1898. He was thirty-four

理查.史特勞斯 :《英雄的生涯》

years old when he composed the work, yet elements of his work eerily reflect the

Ludwig van Beethoven: Egmont Overture

circumstances of his latest years. What a coincidence! If this work reflects his life

Qigang Chen: The Joy of Suffering

journey, then what we heard would be his musical autobiography. Providing music

Richard Strauss : Ein Heldenleben

that reflects the journey of life in all its candid detail, the violin concerto La Joie de la souffrance written by Qigang Chen depicts the sorrows and joys of his life. Walking through several family tragedies, Qigang Chen regards life largely from


a philosophical perspective. He realized that so-called ‘sorrow and joy’ of life is actually just ‘loss and gain’. He intends to portray the emotions in La Joie de la souffrance. Employing the tune from the guqin piece Three Refrains on the Yang Pass Theme as its main theme, this twenty-four minute long concerto leads the audience to walk through a different consciousness of life.



06 20


2 0 2 0

國家音樂廳 National Concert Hall 500‧800‧1200‧1600‧2000

呂紹嘉與馬勒第九 LÜ & Mahler 9 指揮|呂紹嘉 Shao-Chia Lü, conductor

海頓 : 第四十五號交響曲《告別》 馬勒 : 第九號交響曲 Franz Joseph Haydn: Symphony No.45 in F-sharp minor, Farewell Gustav Mahler: Symphony No.9 in D major

團員想回家,雇主不放人,身為樂長,究竟如何是好?海頓《告別》交響曲 以莞爾幽默表達立場,果然贏得圓滿結局。同樣是告別,馬勒則在音樂中表 現赤誠的吶喊與寂滅,將人生傷痕昇華為永恆藝術。經過實驗性質的第七號、 另探出路的第八號以及《大地之歌》的精神淘洗,他在第九號回歸器樂與四 樂章交響曲傳統,譜出劃時代的偉大格局與深邃內涵。一念天堂,一念地獄, 馬勒第九的神奇,在於光明和黑暗得以共處,愛情與死亡互為表裡,詮釋者 可以展現馬勒的宇宙,也能揮灑自己的天地。在 NSO 總監任內的尾聲,呂紹 嘉再度帶來這首曠世經典,搭配海頓的迷人機智,做為給愛樂者的離別贈言。 無論你聽過多少次馬勒第九,這仍是不可錯過的選擇,永存感動的紀念。 As the Kapellmeister, what would you do? Members of the orchestra you lead yearn to go home and yet their employer remains oblivious to their desire to leave. Haydn 98

picked a humorous method to give the employer a hint in his Farewell Symphony and received a happy ending. In a completely different way of saying “farewell”,


Mahler released his unfeigned anguish through howling music, and turned his


pain into an eternal monument. After his spiritual adventures of the experimental


Symphony No.7, freedom-seeking Symphony No.8, and Das Lied von der Erde, Mahler returned to the traditional orchestra-only, four-movement form in Symphony No.9 and built it from a groundbreaking setup and profound insights. Balanced on the knife’s edge between heaven and hell, the magic of Mahler’s Symphony No.9

end of Shao-Chia Lü's tenture as the Music Director of the NSO, he brings to the

總監系列 MD Series

audience this masterpiece once more, paired with the witty Farewell Symphony of


is his ability to balance light and darkness, negotiating their co-existence. Love and death become two faces of the same coin. The one who interprets this symphony can either present the universe of Mahler as it or uniquely reinterpret it. At the

Haydn, wisely saying “Auf Wiedersehen. ”No matter how many times you’ve heard Mahler’s Ninth, this performance will be a keepsake to treasure forever.




07 10 12 Fri.

2 0 2 0

國家音樂廳 National Concert Hall


歌劇音樂會 -《崔斯坦與伊索德》 Opera Concert – Tristan und Isolde 指揮|呂紹嘉 Shao-Chia Lü, conductor 導演|黎煥雄 Huan-Hsiung Li, director 聲樂指導|安馬丁 Martin Andersson, vocal coach 崔斯坦|羅伯特.迪恩.史密斯 Robert Dean Smith, Tristan 伊索德|安.匹德森 Ann Petersen, Isolde 布蘭甘妮|石易巧 I-Chiao Shih, Brangäne 馬可王|李曉良 Liang Li, König Marke 庫威那|內森.貝格 Nathan Berg, Kurwenal 梅洛|孔孝誠 Ezio Kong, Melot 一位牧人與一位舵手|黃亞中 Ya-Chung Huang, Ein Hirt/ Ein Steuermann 合唱指導|戴怡音 Yi-Yin Tai, chorus master 拉縴人男聲合唱團 Taipei Male Choir

華格納 : 《崔斯坦與伊索德》 Richard Wagner: Tristan und Isolde 愛與死一體兩面,經歷禁忌戀情的華格納,改編中古傳奇故事而成的《崔斯坦與伊索德》,將個人心事化作偉大藝術: 綿延不絕的無限旋律、神乎其技的動機運用、浪漫至極的揪心激情、豔麗絕倫的管絃聲響,無一不是頂尖絕藝。其嶄 新的和聲更大膽打破調性傳統,既掀起歌劇革命,也開啟未來音樂的道路。「它是所有夢中,最美麗的夢的紀念碑」, 無論是第一幕女主角難如登天的敘事曲,第二幕蝕骨銷魂的愛情二重唱,第三幕崔斯坦枯盡死滅的吶喊,或終景伊索 德的告別詠嘆,《崔斯坦與伊索德》的精彩醉人,讓它無愧名列史上最重要的藝術創作。呂紹嘉與 NSO 請來國內外 聲樂名家與拉縴人男聲合唱團,獻上交響與歌唱的極致藝術,華格納最革命性的浪漫,希望大家切勿錯過! 1 0 0

Defining love and death as two sides of the same coin, Wagner, who had a record of infidelity, adapted a medieval legend into the musical drama Tristan und Isolde and turned his personal anecdote into an immortal music piece. Formed from perpetual


and unrestrained tunes, nimbly created motives, fervent and romantic passion, and voluptuous sonority, this is a state-of-


art work in every perspective. Its unconventional harmony, which breaks the rules of the genre, is revolutionary and opens a


gateway leading to the music of the future. “I must erect a monument to the most beautiful of all my dreams,” wrote Wagner.


From the challenging ballad of the heroine in the first act, enchanting love duet in the second, Tristan’s desperate cry in the


third, and Isolde’s farewell aria in the final scene, Tristan und Isolde captures each listener’s heart and more than earns its

reputation as one of the foremost artworks in music history. The NSO, led by ShaoChia Lü, has joined forces with renowned vocal soloists from Taiwan and overseas, and the Taipei Male Choir, to present this rare gem of a symphonic and vocal work, the most revolutionary romantic music drama.

呂紹嘉時間 2020/7/4 Sat. 14:30 主講:呂紹嘉 國家交響樂團音樂總監 NSO 三樓排練室

憑本場次票券進場,限 150 席,額滿為止


( 請由國家音樂聽地面層 3 號門進場 )

04 /19 Sun. - 04 /28 Tue. 來自臺灣 –2020 歐洲巡演 From Formosa – 2020 Europe Tour 指揮|呂紹嘉 Shao-Chia Lü, conductor

荷蘭 The Netherlands

鋼琴|周善祥 Kit Armstrong, piano

格羅寧根音樂廳 De Oosterpoort, Groningen

1 02

委託創作國人作品 ( 世界首演 ) 聖桑 : 第五號鋼琴協奏曲《埃及》 柴科夫斯基:第六號交響曲《悲愴》 德布西:《海》 拉威爾:《達芙妮與克羅伊》第二號組曲 Commissioned work by Taiwanese composer (world premiere)

阿姆斯特丹皇家大會堂 The Royal Concertgebouw, Amsterdam 恩荷芬音樂廳 Muziekgebouw Frits Philips, Eindhoven

英國 United Kingdom 伯明罕交響音樂廳 Symphony Hall, Birmingham

瑞士 Switzerland 巴塞爾聖馬丁教堂 Martinskirche, Basel

Camille Saint-Säens: Piano Concerto No.5 in F major, NSO

Op.103, Egyptian


Pyotr Ilyich Tchaikovsky: Symphony No.6 in B minor,


Op.74, Pathétique


Claude Debussy: La Mer


Maurice Ravel: Daphnis et Chloé Suite No.2

法國 France 巴黎塞納河音樂廳 La Seine Musicale, Paris 普羅旺斯大劇院 Grand Théâtre de Provence, Aix-en-Provence

05 /16 Sat. 19:30 來自臺灣 –2020 日本巡演 From Formosa – 2020 Japan Tour 指揮|呂紹嘉 Shao-Chia Lü, conductor 小提琴|黃俊文 Paul Huang, violin 大提琴|范雅志 Felix Fan, cello 合唱指導|松下耕 Ko Matsushita, chorus master 東京大都會合唱團 The Metropolitan Chorus of Tokyo 拉縴人男聲合唱團 Taipei Male Choir 金希文:《日出臺灣》、《旅人的夜曲》 一柳慧: 雙協奏曲 貝多芬:第七號交響曲 Gordon Chin : Golden bean on the horizon of Formosa, Wayfarer's Night Song Toshi Ichiyanagi : Double Concerto 103

Ludwig van Beethoven : Symphony No.7 in A major, Op.92

東京 Tokyo 東京歌劇城音樂廳 Opera City Concert Hall, Tokyo






10 04 06 10 Fri.

2 0 1 9

華格納歌劇《諸神黃昏》 RICHARD WAGNER: Götterdämmerung 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 40 分鐘,含 2 次中場休息 Performed in German with English & Chinese surtitles Approx. 340 minutes including 2 intermissions

10 4 NSO

指 揮|呂紹嘉


導 演|卡盧斯.帕德利薩(拉夫拉前衛劇團)









古德倫 / 命運之女三|珊卓.特拉特尼希


瓦特勞特 / 命運之女二|蘿絲維特.穆勒









Shao-Chia Lü, conductor

Siegfried / Lance Ryan

Carlus Padrissa, stage director (La Fura dels Baus)

Gunther / Lauri Vasar

Esteban Muñoz, revival stage director

Alberich / Fang-Hao Chao

Roland Olbeter, set design

Hagen / Andrea Silvestrelli

Chu Uroz, costume design

Brünnhilde / Rachel Nicholls

Franc Aleu, video design

Gutrune, Third Norn / Sandra Trattnigg

Peter van Praet, lighting design

Waltraute, Second Norn / Roswitha Christina Müller

Gianni Paolo Mirenda, revival lighting

First Norn / Ting-Yu Fan

Martin Andersson, vocal coach

Woglinde / Eri Nakamura

Annie Chung, chorus master

Wellgunde / Catherine Martin

Vera Hui-Pin Hsu, piano rehearsal

Flosshilde / Renee Tatum


國家交響樂團 (NSO) 東海大學合唱團 特技空間與戊己劇場 National Symphony Orchestra Tunghai University Choir Acrodynamic & Wugi Troupe 主辦單位| 共製單位|西班牙瓦倫西亞蘇菲亞皇后劇院


A co-production of Palau de les Arts Reina Sofía and Maggio Musicale Fiorentino 臺中國家歌劇院.大劇院 Grand Theater at the National Taichung Theater


票價及票券啟售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

credit © Eva Ripoll

演奏廳系列 Lecture & Chamber Concerts

1 0 6 NSO S E A S O N




2 0 1 9

國家演奏廳 Recital Hall



Meng-Chieh’s Chamber Music

杜呂弗雷:前奏曲、宣敘調與變奏曲,作品 3 貝多芬:D 大調鋼琴三重奏《幽靈》 康果爾德:第二十三號組曲 Maurice Duruflé: Prelude, recitatif et variations, Op.3 Ludwig van Beethoven: Piano Trio in D major Op.70, No.1, Ghost Erich Wolfgang Korngold: Suite, Op.23 鋼琴|劉孟捷 Meng-Chieh Liu, piano 長笛|安德石 Anders Norell, flute 小提琴|鄧皓敦、陳玟佐 Hao-Tun Teng, Wen-Tso Chen, violin 中提琴|陳猶白 Jubel Chen, viola 大提琴|王郁文 Yu-Wen Wang, cello

NSO 駐團音樂家劉孟捷本樂季除與樂團合作兩首鋼琴協奏曲外,也帶來經 典的室內樂作品,包含寫於 1808 年,被稱為已展現貝多芬浪漫音樂精神的 作品編號 70 鋼琴三重奏,也帶來國內較少被演奏,法國二十世紀作曲家杜 呂弗雷 1928 年寫給長笛、中提琴與鋼琴的前奏曲、宣敘調與變奏曲,以及 奧地利出身的作曲家康果爾德寫於 1930 年,給兩把小提琴、大提琴與鋼琴 的第二十三號組曲。劉孟捷以其細膩的彈奏與音樂家們互動,透過不同作



03 01



2 0 2 0

國家演奏廳 Recital Hall 400‧600


Brett Dean’s Chamber Music 布萊特・狄恩:《親密決定》

《七個信號》( 亞洲首演 )


第二號絃樂四重奏 Brett Dean: Intimate Decisions

Seven Signals ( Asia premiere)

Rooms of Elsinore

String Quartet No.2 主講與中提琴|布萊特 · 狄恩 Brett Dean, lecturer & viola 小提琴|蔡竺君、曾智弘 Chu-Chun Tsai, Chih-Hong Tseng, violin 中提琴|呂昭瑩 Chao-Ying Lu, viola 大提琴|唐鶯綺 Ying-Chi Tang, cello 單簧管|賴俊諺 Chun-Yen Lai, clarinet 女高音|林慈音 Grace Lin, soprano 鋼琴|王佩瑤 Pei-Yao Wang, piano

NSO 駐團音樂家布萊特.狄恩已與許多知名樂團演出自己寫的中提琴協奏曲, 同時經常與其他演奏家合作演出自己的室內樂作品。這次音樂會將呈現狄恩 創作的不同編制室內樂作品,包含 1996 年寫給中提琴獨奏的《親密決定》, 2019 年寫給單簧管、小提琴、大提琴、鋼琴的《七個信號》,2006 年寫給中 1 0 8

提琴與鋼琴的《赫爾辛格的房間》,以及寫於 2013 年的第二號絃樂四重奏標 題《我曾演過奧菲利亞》。聽眾將可在音樂會中欣賞由作曲家親自演奏詮釋




2 0 2 0


06 06


國家演奏廳 Recital Hall


勇源 X NSO


Qigang's Chamber Music 陳其鋼 :《回憶》 《夢之旅》 《道情 2》 Qigang Chen: le souvenire Voyage d'un reve Extase II

指揮|張尹芳 Yin-Fang Chang, conductor 小提琴|吳庭毓、李家豪 Ting-Yu Wu, Chia-Hao Lee, violin 中提琴|吳彥廷 Yen-Ting Wu, viola 大提琴|黃日昇 Jih-Sheng Huang, cello 低音大提琴|蘇億容 Yi-Jung Su, double bass 長笛|安德石 Anders Norell, flute 單簧管|朱偉誼 Wei-I Chu, clarinet

I-Ching Wang, Tung Nguyen Hoang, oboe


低音管|簡恩義 En-Yi Chien, bassoon


小號|宇新樂 Nicolas Rusillon, trumpet


法國號|劉宜欣 Yi-Hsin Cindy Liu, horn

版的室內樂作品。1990 年之後,因委託創作或邀稿的緣故,陳其鋼先後創作

豎琴|解瑄 Shuen Chieh, harp

了給不同樂器編制的樂曲,為雙簧管與室內樂團所作的《道情 2》(1997)就

打擊|陳廷銓 Ting-Chuan Chen, percussion


鋼琴|許毓婷 Yu-Ting Hsu, piano

曲,呈現出陳其鋼多樣的創作風貌。透過這三首樂曲,可以觀察作曲家從初 抵法國,幾經探索、轉折,到逐漸形成自己的音樂風格之過程。



11 16



2 0 1 9

勇源 X NSO


What is Composition? Lecture Concerts

國家演奏廳 Recital Hall 400

音樂與文學系列: 吸血鬼與人造人 Music and Literature: Vampire, Automata, and the Modern Prometheus

馬施納:〈哈!我還有一整天〉,選自歌劇《吸血鬼》 拉威爾: 小奏鳴曲, 第二樂章:小步舞曲 沃爾夫: 〈普羅米修斯〉,選自《歌德歌曲集》 德利布: 華爾滋,選自芭蕾舞劇《柯碧莉亞》( 杜南伊改編 ) 奧芬巴赫:〈林中的鳥兒〉,選自《霍夫曼的故事》 洛維: 〈我本可跳通宵的舞〉,選自《窈窕淑女》 利 ‧ 哈萊與內德 ‧ 華盛頓:〈當你向星星許願〉,選自《木偶奇遇記》 羅森布拉特:原子小金剛主題幻想曲 亞當斯:〈擊打我心〉,選自歌劇《原子博士》

主講|焦元溥 Yuan-Pu Chiao, lecturer 女高音|林映旻 Ying-Min Lin, soprano

Heinrich Marschner: ‘Ha! Noch einen ganzen Tag’ from Der Vampyer

男中音|葉展毓 Chan-Yu Yeh, baritone

Maurice Ravel: Sonatine, mvt II: Mouvement de menuet

鋼琴|王佩瑤 Pei-Yao Wang, piano

Hugo Wolf: ‘Prometheus’ from Goethe Lieder Léo Delibes: Waltz from the Ballet Coppélia, arr. by Dohnanyi Jacques Offenbach: ‘Les Oiseaux Dans La Charmille’ from Les Contes D'Hoffmann Frederick Loewe: ‘I Could Have Danced All Night’ from My Fair Lady Leigh Harline and Ned Washington: ‘When You Wish upon a Star’ from Pinocchio Alexander Rosenblatt: Fantasy on The Theme of Astro Boy John Adams: ‘Batter my heart’ from Doctor Atomic

永生不死,究竟要付出什麼代價?嘗試造人,後果是否能夠承擔?愛上自己 的創造物,是否也就等於愛上理想的化身?即使瑪麗雪萊早以《科學怪人》 預言現代「普羅米修斯」的下場,人類仍然前仆後繼,要以自身努力彌補上 天缺憾,即使實現夢想可能也就招來災難。或執念或嚮往,種種傳說是民智 未開、科學發達之前的迷信,愧疚心理的折射變形,還是人定勝天的奮鬥, 明知不可而為之的勇敢與浪漫?從吸血鬼傳說到人造人,讓我們重新審視殭 屍、自動人形、宛如活物的機器娃娃,一路到小木偶與原子小金剛,透過作 曲家的眼睛,在音樂裡找答案。

1 1 0 NSO S E A S O N

12 21




What is Composition? Lecture Concerts

2 0 1 9

國家演奏廳 Recital Hall 400

The Oriental and Unconventional: The Mighty Five 's Russia and Folklore 主講|焦元溥 Yuan-Pu Chiao, lecturer 女高音|黃莉錦 Li-Chin Huang, soprano 男低音|羅俊穎 Julian Lo, bass 鋼琴|盧易之 Yi-Chih Lu, piano

巴拉基列夫:降 B 小調鋼琴奏鳴曲,第一樂章 庫宜:《沙皇村雕像前》、《我愛你》 鮑羅定:夜曲,選自《小組曲》、降 A 大調詼諧曲 柴科夫斯基:《難道我不是一根小草?》,選自七首羅曼史,作品 47 李姆斯基-柯薩科夫:《夜鶯與玫瑰》,選自六首歌曲,作品 2


穆索斯基:〈小夜曲〉、〈統帥〉,選自《死之歌與舞》 Mily Balakirev: Piano Sonata in B-flat minor, mvt I Cesar Antonovich Cui: Tsarskoselskaya Statuya I loved you Aleksandr Borodin: Petite Suite, VII. Nocturne Scherzo in A-flat major Pyotr Ilyich Tchaikovsky: Was I Not a Little Blade of Grass? from 7 Romances, Op.47, No.7 Nikolai Rimsky-Korsakov: The Rose and the Nightingale, Op.2, No.2 ‘Lullaby of The Sea Princess’ from Sadko Modest Mussorgsky: ‘Serenade’, ‘The Field-Marshal’ from Songs and Dances of Death 想到俄羅斯音樂,你會想到誰?柴科夫斯基?拉赫瑪尼諾夫?還是普羅科菲 夫?是的,這些都是俄國的代表,但這塊幅員遼闊的土地,孕育出的音樂必 然不止於此,風格也繽紛多樣。「為什麼俄國人要用別人的曲式與技巧?」 這場音樂會將聚焦於宣揚俄羅斯民族主義的「強力五人團」,聽他們如何排 拒西式結構與章法,尋求本土而另闢蹊徑,甚至嘗試讓曲調與俄文語韻融合 為一。有民間童話也有東方異想,還有迷離奇幻的神祕魔法,無所限制的靈 感與旋律才華,歡迎大家和我們一起探索,俄羅斯音樂的另一種美好。


另一種俄國: 東方、民俗、非典型


05 09



What is Composition? Lecture Concerts

2 0 2 0

國家演奏廳 Recital Hall 400

兒童與魔法: 拉威爾的音樂世界

拉威爾:《博物誌》,作品 50,第二樂章:〈蟋蟀〉 & 第三樂章:〈天鵝〉 《兩首猶太歌曲》 給小提琴與大提琴的奏鳴曲,第一樂章 《馬達加斯加之歌》

The Child and the Enchantments: Ravel’s Music World

G 大調第二號小提琴奏鳴曲,作品 77,第二樂章 A 小調鋼琴三重奏,作品 67,第二樂章:〈潘頓四行詩〉& 第四樂章:末樂章 Maurice Ravel: Histoires Naturelles, Op.50, mvt II: 'Le Grillon' & mvt III: 'Le Cygnet'

主講|焦元溥 Yuan-Pu Chiao, lecturer

Deux Mélodies Hébraïques

小提琴|鄧皓敦 Hao-Tun Teng, violin

Sonata for Violin and Cello, mvt I

大提琴|連亦先 Yi-Shien Lien, cello

Chansons Madecasses

長笛|宮崎千佳 Chika Miyazaki, flute

Violin Sonata No.2 in G major, Op.77, mvt II

Piano Trio in A minor, Op.67, mvt II: Pantoum & mvt IV: Finale

女高音|林玲慧 Ling-Hui Lin, soprano 鋼琴|盧易之 Yi-Chih Lu, piano

雖非神童,卻甚早就建立個人風格,學生時代就已名揚樂壇,日後更是一代 大師—拉威爾雖然謙稱自己不是偉大作曲家,卻是毫無敗筆,法國最受歡迎、 樂曲上演次數最頻繁的作曲家。他的曲風古雅工整,將種種奇特聲響包裝於 美好框架之內。雖然常把技巧寫在刀口,逼演奏者在鋼索上跳芭蕾,但傑出 效果又是毋庸置疑的美好回報,令聽眾目眩神迷。這場音樂會將為大家解析 拉威爾的音樂語彙,看他如何「自找麻煩」命題作文,如何讓「人工」成為 獨樹一幟的美學,又如何呼應時代,融合各式異國風格而提出一家之言,深 入認識這位「完美的作曲家」!

1 1 2 NSO S E A S O N

06 21




What is Composition? Lecture Concerts

2 0 2 0

國家演奏廳 Recital Hall 400

音樂與文學系列: 吟詩、閱讀與寫作 Music and Literature: Reading, Writing and Reciting in Opera

華格納:〈丁香何其芬芳〉,選自歌劇《紐倫堡的名歌手》 古諾:〈喔!我不朽的七弦琴〉,選自歌劇《莎弗》 摩爾:〈親愛的媽媽〉,選自歌劇《朵貝比的故事》 拉赫瑪尼諾夫:《給史坦尼斯拉夫斯基的信》 馬斯奈:〈夏綠蒂的讀信之歌〉,選自歌劇《維特》( 歌德原著 ) 浦契尼:〈誰能知道多蕾塔之夢〉,選自歌劇《燕子》 喬大諾:〈眺望蔚藍長空的那天〉,選自歌劇《安德烈謝尼葉》 祈利亞:〈一定是她! ...... 彷彿天堂!那天我做了什麼?〉,選自歌劇 《阿德莉雅娜.路克維爾》

主講|焦元溥 Yuan-Pu Chiao, lecturer

次女高音|翁若珮 Jo-Pei Weng, mezzo-soprano 男高音|林義偉 Yi-Wei Lin, tenor 男低音|羅俊穎 Julian Lo, bass 鋼琴|許惠品 Hui-Pin Hsu, piano

Richard Wagner: ‘Was duftet doch der Flieder’ from Die Meistersinger von Nürnberg Charles Gounod: ‘O ma lyre Immortelle’ from Sapho Douglas Moore: ‘Dearest Mama(The Letter Song)’ from The Ballad of Baby Doe Sergei Rachmaninoff: Letter to K.S. Stanislavsky...(Письмо К.С.Станиславскому) Jules Massenet: ‘Ces Lettres ! Ces lettres !’ from Werther Giacomo Puccini: ‘Chi Il Bel Sogno Di Doretta’ from La rondine Umberto Giordano: ‘Un dì all'azzurro spazio’ from Andrea Chénier Francesco Cilea: ‘E'quella dama al certo!.... Giusto cielo! che feci in tal giorno?’ from Adriana Lecouvreur 音樂與文學固然密不可分,但你可曾注意到,音樂創作中的「文學場景」? 從以詩人為主題的歌劇開始,這場音樂會將帶我們看歌劇與歌曲中的「閱讀 與寫作」,探討音樂中詩人與詩歌是怎樣的存在,角色如何寫、如何讀,如 何即興賦詩、當場創作,又如何從文本借力使力,在關鍵時刻發揮效用。我 們也將以此探討作曲家如何將內心世界展現於外,如何區辨歌唱與說話,又 如何塑造獨白的價值,使之成為戲劇脈絡中合理的環節。有思索有悲嘆,有 機智有熱血,還有震懾人心的告別與飆罵,曲曲精彩絕無冷場,好戲連台切 勿錯過!


女高音|林慈音 Grace Lin, soprano


10 20


2 0 1 9

國家演奏廳 Recital Hall 400‧600

夏末 ‧ 秋初 Summer & Autumn 貝多芬 : 木管五重奏,作品 16 〈牽起你的手來〉變奏曲 浦朗克 : 六重奏 巴伯 : 木管五重奏《夏樂》,作品 31 Ludwig van Beethoven: Quintet for Winds and Piano, Op.16 Variations in C major on Mozart’s la ci darem la mano Francis Poulenc: Sextet for Winds and Piano Samuel Barber: Summer Music for Woodwind Quintet, Op.31 長笛|宮崎千佳 Chika Miyazaki, flute 雙簧管|阮黃松 Tung Nguyen Hoang, oboe 單簧管|黃荻 Ti Huang, clarinet 低音管|陳奕秀 I-Hsiu Chen, bassoon 法國號|劉品均 Pin-Chun Liu, horn 鋼琴|王佩瑤 Pei-Yao Wang, piano

本場曲目涵蓋德、法、奧、美四國,橫跨古典、浪漫與現代,以貝多芬對管 樂作品的影響為發想。編制以木管五重奏,輔以鋼琴多變的音色聲響,見證 不同時代的作曲家所賦予的樂曲風貌。其兩首鋼琴與木管室內樂作品,時間 幅橫跨百餘年,聽眾可一窺貝多芬的古典主義,與法國六人組浦朗克新古典 主義風格的異同。而貝多芬改編莫札特歌劇《唐 ・ ・ 喬 凡尼》的〈牽起你的 1 1 4

手來〉變奏曲,甜美的旋律令人回味無窮。美國作曲家巴伯在古典手法的框 架中編織浪漫,與貝多芬對於古典浪漫的無縫接軌,兩位代表人物皆揉合時





10 26


2 0 1 9

國家演奏廳 Recital Hall 400

勇源 X NSO

英雄的浪漫之聲 Beethoven's Vocal Works 貝多芬 :《我愛你》、《阿德萊德》 < 我坐在山丘上 >,選自《致遠方的愛人》、《親吻》、根據歌德《浮士德》 〈鼓聲隆隆〉、〈快樂與悲傷〉,選自《艾格蒙》 〈現在,朋友,我們要快!〉、〈惡棍!你要往哪裡去?〉、 〈這地下的地窖很冷〉,選自《費黛里歐》 《這是傷心和不幸的季節》,選自二十首愛爾蘭民謠 《友誼萬歲》,選自十二首蘇格蘭民謠 Ludwig van Beethoven : Ich liebe dich, WoO123, Adelaide, Op.46 'Auf dem Hügel sitz ich spähend' from An die ferne Geliebte, Op.98 Der Kuss, Op.128, Aus Goethes Faust from 6 Gesänge, Op.75, No.3 `Die Trommel geruhret´, `Freudvoll und leidvoll´ from Egmond, Op.84 `Jetzt, Alter, jetzt hat es Eile! ´, `Abscheulicher! Wo eilst du hin? ´, `Wie kalt ist es in diesem unterirdischen Gewölbe' from Fidelio, Op.72 Sad and Luckless was the Season from 20 Irish Songs, WoO153 Auld Lang Syne from 12 Scottish Songs, WoO156

主講與女高音|林慈音 Grace Lin, lecturer & soprano 男中音|趙方豪 Fang-Hao Chao, baritone 男低音|羅俊穎 Julian Lo, bass 小提琴|王致翔 Chih-Hsiang Wang, violin 大提琴|韋智盈 Chih-Yin Wei, cello 鋼琴|徐嘉琪 Chia-Chi Hsu, piano

無可否認,貝多芬是古典音樂史上最重要的作曲家之一,大多數習樂者從小 就學習貝多芬的鋼琴作品,愛樂者對於他的交響曲更是瞭若指掌,然而貝多 芬的人聲作品,相對之下,我們除了貝多芬第九號交響曲的《歡樂頌》,或 是他唯一的歌劇《費黛里歐》之外,所知較少,然而,貝多芬十分喜愛為人 聲寫作,他在世時寫了許多藝術歌曲,宗教曲,彌撒以及民謠改編作曲,每 一個聲樂作品都表現他對詩詞的品味,以及鮮明的樂曲風格,甚至,會驚訝




11 24


2 0 1 9

國家演奏廳 Recital Hall 400‧600

A 調娛樂

Entertainment in A major 貝多芬 : 第五號絃樂四重奏,作品 18 舒伯特 : A 大調鋼琴五重奏《鱒魚》 Ludwig van Beethoven: String Quartet No.5, Op.18 Franz Schubert: Piano Quintet in A Major, D.667, Trout

小提琴|蔡竺君、曾智弘 Chu-Chun Tsai, Chih-Hong Tseng, violin 中提琴|呂昭瑩 Chao-Ying Lu, viola 大提琴|唐鶯綺 Ying-Chi Tang, cello 低音提琴|蔡歆婕 Hsin-Chieh Tsai, double bass 鋼琴|翁重華 Chung-Hua Weng, piano

變奏曲,此樂曲結構型式是以簡單樸素的主題開始,在主題的節奏、調性以 及和聲上面拆解重組,考驗作曲家對主題的巧思與安排。著名的變奏曲有巴 赫《郭德堡變奏曲》、莫札特《小星星變奏曲》,或貝多芬第三號交響曲《英 雄》的最終樂章等。爾後的作曲家更以非原創的主題來作曲,如布拉姆斯的 《海頓主題與變奏》、《帕格尼尼主題與變奏》,拉赫瑪尼諾夫的《柯瑞里 主題與變奏》等。本場音樂會以變奏曲篇章發想,曲目含貝多芬早期的絃樂 四重奏作品,再帶入視貝多芬為精神指標的舒伯特,用同樣的調性譜出愜意 1 1 6

的鋼琴五重奏《鱒魚》,以自己在藝術歌曲上的旋律,老歌新唱交由器樂重 新演繹。



02 15


2 0 2 0

國家演奏廳 Recital Hall 400‧600


Beethoven & Dvořák

貝多芬 : C 大調單簧管與低音管二重奏 德佛札克 : 第二號絃樂五重奏,作品 77 貝多芬 : 降 E 大調七重奏,作品 20 Ludwig van Beethoven: Duo No.1 in C major, from 3 Duets for Clarinet and Bassoon, WoO 27 Antonín Dvořák: String Quintet No.2 in G major, Op.77 (B.49) Ludwig van Beethoven: Septet in E-flat major, Op.20 小提琴|李宜錦、曾智弘 I-Ching Li, Chih-Hong Tseng, violin 中提琴|陳猶白 Jubel Chen, viola 大提琴|王郁文 Yu-Wen Wang, cello 低音提琴|蘇億容 Yi-Jung Su, double bass 單簧管|朱玫玲 May-Lin Ju, clarinet 低音管|簡凱玉 Kai-Yu Jian, bassoon 法國號|劉宜欣 Yi-Hsin Cindy Liu, horn

貝多芬在前往維也納發展初期,木管合奏室內樂形式 (harmoniemusik) 十分盛 行,他也開始嘗試此類型各種風格形式的創作。節目以木管二重奏作為開頭, 整場曲目安排包含高音與低音域的各種變化旋律線與起伏間,先是帶進浪漫 的德佛札克絃樂五重奏,作為管樂與絃樂之間的對比。有別於一般絃樂五重 奏編制,改以兩把中提琴來演奏,德佛札克選擇了低音提琴作為讓音域跟音 色變化更加豐富飽滿的樂器。據作曲家本人所說這首作品「獻給我的國家」, 並贏得作曲大獎獲得五枚金幣。原始版本為五樂章,幾經考慮後德佛札克決 定捨棄第二樂章間奏曲 (intermezzo) 以免整體時間過長。1888 年樂譜出版時 味濃厚的德佛札克絃樂室內樂作品,由貝多芬的降 E 大調七重奏作為絃樂與 管樂之間的大融合。這首作品於 1796-1800 年完成,1800 年在維也納布爾克 廳首演。這首早期作品以維也納古典樂派的手法寫成,風格類似嬉遊曲。這 首作品中,他將木管與絃樂總是分開進行的室內樂手法融合在一起,將管絃 合奏的音響效果用七重奏的方式表達的淋漓盡致。


出版商卻將作品編號改為 77 而非作曲家本人認定的編號 18。最後,對比鄉土

03 07



2 0 2 0

國家演奏廳 Recital Hall 400‧600

黃金號角手與朋友們 Radovan Vlatković with Friends 亞歷山大.烏宗諾夫:給法國號與絃樂四重奏《天鵝》 杜南依:六重奏,作品 37 布拉姆斯:法國號三重奏,作品 40 Alexandre Ouzounoff: Quintet for Horn and String Quartet, The Swan Ernő Dohnányi: Sextet for clarinet, horn, violin, viola, cello and piano, Op.37 Johannes Brahms: Horn Trio in E-flat major, Op.40 法國號|弗拉柯維克 Radovan Vlatković, horn 小提琴|李宜錦、 洪章文、 蔡孟峰 I-Ching Li, Chang-Wen Hung Meng-Fong Tsai, violin 中提琴|黃亞漢  Ya-Han Huang, viola 大提琴|陳怡婷 I-Ting Chen, cello 單簧管|賴俊諺 Chun-Yen Lai, clarinet 鋼琴|王佩瑤 Pei-Yao Wang, piano

法國號演奏家弗拉柯維克擁有樂團及室內樂豐富經歷,這次將與 NSO 獨奏家 及音樂家朋友們帶來兩首法國號經典室內樂曲 ; 布拉姆斯寫於 1865 年,給自 然號、小提琴與鋼琴的法國號三重奏,對法國號演奏者來說,是不可多得的 室內樂傑作。布拉姆斯刻意選擇使用復古的自然號,因為自然號深沈憂鬱的 聲音,為樂曲帶來獨特的氣氛。匈牙利作曲家杜南伊的音樂創作受布拉姆斯 影響甚深,他於 1935 年寫給單簧管、法國號、絃樂三重奏與鋼琴的六重奏, 1 1 8

編制較為特殊,旋律寬廣、和聲飽滿,雖寫於二十世紀,卻有著浪漫時期音 樂的風格。聽眾可透過這兩首含有法國號的室內樂曲,想像布拉姆斯與杜南 伊在音樂上的關聯。本場也將邀請擁有低音管演奏家及作曲雙重身分的亞歷







05 31



2 0 2 0

國家演奏廳 Recital Hall


漫步布拉格 Beethoven in Prague 貝多芬:第九號小提琴奏鳴曲《克羅采》,第一樂章 楊納傑克:第一號絃樂四重奏《克羅采奏鳴曲》 貝多芬:F 大調第十六號絃樂四重奏, 作品 135 Ludwig van Beethoven: Violin Sonata No.9, Kreutzer, mvt I Leoš Janáček: String Quartet No.1, Kreutzer Sonata Ludwig van Beethoven: String Quartet No.16 in F Major, Op.135 小提琴|陳逸群、陳怡茹 Yi-Chun Chen, Yi-Ju Chen, violin 中提琴|李思琪 Szu-Chi Li, viola 大提琴|蘇品維 Pin-Wei Su, cello 鋼琴|翁重華 Chung-Hua Weng, piano

貝多芬與布拉格? 貝多芬和波希米亞 ( 現在為包括布拉格在內的捷克共和國 ) 的情誼頗深,他的 許多重要作品都是題獻給出身於波希米亞的羅布柯維茨王子,也曾經多次到 波希米亞舉行演奏會和渡假,並在此結識德國文學泰斗歌德。在以捷克政治 民主化運動「布拉格之春」為背景創作的小說《生命中不能承受之輕》, 及電影《布拉格的春天》中,都可見到貝多芬的身影。《生命中不能承受之 輕》一男兩女交纏的愛情故事帶出了對政治、文化、人類生命的省思與嘲諷。 女主角是在一個演奏貝多芬最後三首絃樂四重奏的場合結識了來開會的男主

克作曲家楊納傑克的室內樂、鋼琴曲。其第一號絃樂四重奏《克羅采奏鳴曲》 靈感來自到托爾斯泰小說《克羅采》,故事重心便是落在貝多芬技巧相當困 難的《克羅采奏鳴曲》。



客席音樂家 Guest Artists

曾就讀義大利布雷夏國立音樂院,師事朱苔麗教授。2007 年、2011 年以最高 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。國內演出包括 2012 年與 NSO 交響樂團錄製「樂典 08 - 錢南章」專輯之《四 首原住民藝術歌曲》,及 NSO 跨國歌劇浦契尼《蝴蝶夫人》飾女主角蝴蝶; 2013 年威爾第《安魂曲》擔任女高音獨唱;2017 年浦契尼《瑪儂雷斯考》擔 任女主角 ; 2019 年 NSO 與國家兩廳院 TIFA 台灣國際藝術節浦契尼《托斯卡》 飾托斯卡及衛武營歌劇院浦契尼《杜蘭朵》擔任柳兒一角。 Ling-Hui Lin went to Italy in 2000, was admitted to Vocal Music of Conservatorio di Musica di Brescia, and studied with Italy-based Taiwanese soprano Chu Tai-Li.


Lin continued to study in PhD programs of vocal music and chamber music in the


same conservatory, and graduated in summer 2007 with honors again. She appeared

Ling-Hui Lin, soprano

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 for 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; the Manon Lescaut in Puccini’s Manon Lescaut by NSO in 2017; Tosca in Puccini's Tosca by the NSO's 2018 opera production.

美國約翰霍普金斯大學琵琶蒂音樂院碩士文憑,2005 年獲第四屆建華愛樂古 典菁英聲樂首獎。2007 年赴日本橫須賀參加第十二屆新聲歌唱大賽,獲亞洲 區優勝。曾參與演出包括馬斯卡尼《鄉村騎士》;浦契尼《修女安潔莉卡》、 《強尼史基基》、《蝴蝶夫人》;漢普丁《韓賽與葛麗特》;華格納《尼貝 龍根指環》;莫札特《魔笛》、《費加洛婚禮》;小約翰史特勞斯《蝙蝠》; 金希文《黑鬚馬偕》及錢南章《畫魂》世界首演。2014 年參與大劇院與馬林 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。 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

Jo-Pei Weng, mezzo-soprano

the winner of the 12th New Voice Competition (Asia region) in Yokosuga Japan in 1 22

2007. 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. 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


vocalist to perform in St. Petersburg's White Nights Festival.



opera director Valery Gergiev invited Weng to perform at the Mariinsky Theatre in Russia, making her the first Taiwanese


台北愛樂歌劇坊創始成員之一,為國內少有戲劇男高音,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角色,擅長的歌劇劇目有威爾第 《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《費黛里奧》、華格納《羅恩格林》及《女武神》等。 表演類型廣泛,近年亦跨足音樂劇及舞台劇!自 2007 年於兩廳院創辦之歌劇 工作坊結訓後,常受邀於國家戲劇院及音樂廳演出,並與國內外知名音樂家、 樂團及導演合作。2013 年為李復興先生及郭彩連女士之贊助藝術家。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。 男高音

孔孝誠 Ezio Kong, tenor

Ezio Kong is a member of the Taipei Philharmonic Opera Studio. As a tenor, his vocal timbre retained a dark, baritonal colouration, he can span the role of the tenor and baritone part. He specializes in the following classic opera roles: 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 was admitted to Teatro Festival Pucciniano and Festival Pucciniano Fondazione L'academia to study and perform a series of concerts and opera performances .

畢業於東海大學音研所,師事徐以琳、陳振芳老師。曾獲世華聲樂大賽 Paolo Silveri 美聲特別獎及第四名。重要演出含華格納《萊茵黃金》飾東內,威爾 第《奧泰羅》飾蒙塔諾,「跨新年音樂會—與你共舞」飾《蝙蝠》中典獄長、 《阿伊達》中祭司,《尤金・奧涅金》殺手,《納克索斯島上的阿莉亞德妮》 僕人 Lakai,歌劇《蝙蝠》典獄長,莫札特《女人皆如此》吉列莫,《魔笛》 捕鳥人,《唐・・喬凡尼》中雷波列羅一角;其他演出如巴赫《聖誕神劇》與 布拉姆斯《德意志安魂曲》、貝多芬《莊嚴彌撒》、《C 大調彌撒》、第九 號交響曲《合唱》及韓德爾《彌賽亞》。 男中音

Graduated with a master degree in voice at Tunghai University, where Chan-Yu


Yeh studied with Dr. Hsu Yi-Lin. Yeh is a current member of the Association of

Chan-Yu Yeh, baritone

Vocal Artists. Yeh won the Fourth Prize and also received the Special Prize of Paolo Silveri for Bel Canto Singing in the Mondial Chinese Vocalist Concours, In addition,

he was selected as one of the 2013 AVA New Voices. He played as Donner in Das Rheingold, Montano in Otello, Leporello in Don Giovanni, Don Alfonso and Gulielmo in Così fan Tutte, Frank in Die Fledermaus, Papageno in Die Zauberflöte. Yeh also Handel’s Messiah.


performed as a soloist in Brahms’ Ein deutsches Requiem, Puccini’s Messa di Gloria and Beethoven’s Missa Solemnis and

師事狄蕾和威格,以獨奏家之姿曾與柏林愛樂、慕尼黑愛樂、北德廣播 交響樂團、萊比錫布商大廈等樂團合作。也曾與吉利爾・佩特連科、楊 頌斯等指揮大師同臺。擅長曲目不只巴赫至貝里歐獨奏曲目、還包含古 典及浪漫時期重要曲目,及當代作品。近幾年專注於「領奏」形式音樂會, 以身兼獨奏家與樂團首席的「領奏」角色,與墨爾本交響、司徒加特室 內樂團、琉森節慶絃樂團等樂團演出。現任教於柏林漢斯艾斯勒音樂院。 目前使用來自鮑爾斯女士所慷慨出借的 1730 年史特拉第瓦里名琴「特利 頓」。 Studied at the Juilliard School of Music with Dorothy DeLay and with Sandor Vegh


in Salzburg. He performed as a soloist all over the world, with orchestras such as

柯爾亞 ‧ 布拉赫

Berlin Philharmonic, Munich Philharmonic, NDR Symphony, Gewandhaus Leipzig

Kolja Blacher, direct & violin

and others. He has worked with conductors including Kirill Petrenko, Vladimir Jurowski, and Mariss Jansons. Blacher’s programmatic spectrum comprises works for solo violin from Bach to Berio, the classical-romantic core repertoire, and contemporary music for violin and orchestra. In the past five years „Play-Lead“ concerts have become the new focus in Blacher’s artistic activities; as a leader – both as a soloist and from the concertmaster’s chair – he worked regularly with the Melbourne Symphony Orchestra, Stuttgart Chamber Orchestra and Festival Strings Lucerne. Kolja Blacher teaches at the Hochschule für Musik Hanns Eisler. He plays a 1730 “Tritton” Stradivari, generously on loan from Ms. Kimiko Powers.

2016 年獲布加勒斯特國際指揮大賽首獎後展開其指揮生涯,2018/19 樂季 起受聘為美國波士頓交響樂團助理指揮。於澎湖縣馬公高中時參加國樂 社團開始接觸音樂,後由許瀞瀞心教授啟蒙指揮,再赴德國漢斯艾斯勒音 樂學院隨愛華德及鮑姆兩位教授深入研習,現為管絃樂指揮最高藝術文 憑候選人。2019/20 樂季,將與波士頓交響樂團、檀格塢音樂節管絃樂團、 臺北市立國樂團、柏林音樂廳交響樂團、捷克愛樂、斯洛伐克國家愛樂、 萊比錫布商大廈孟德爾頌學院等樂團合作演出。 Born in Taiwan. Yu-An Chang won the first prize of the Bucharest international conducting competition in 2016, he currently serves as assistant conductor of the


Boston Symphony Orchestra, and continues his conducting activities across Europe,


America, and Asia. Chang begins his music journey at age 16 with traditional

Yu-An Chang, conductor

instrument, Prof. Apo Ching-Hsin Hsu was his first teacher on conducting, then 1 2 4

he pursued further studies in Hochschule für Musik Hanns Eisler, Berlin, under Prof. Christian Ehwald and Prof. Hans-Dieter Baum in Master and Meisterklasse degree. In 2019/20 season,, the orchestras Chang is working with include: Boston Symphony Orchestra, Tanglewood Music Center Orchestra, Taipei Chinese Orchestra, Berlin Konzerthausorchester, Czech Philharmonic,




為 2009 年伊莉莎白女王大賽及 2008 年曼紐因大賽冠軍得主,是當今頂 尖實力派年輕小提琴家。曾與倫敦愛樂、洛杉磯愛樂、匹茲堡交響等樂 團合作。也常與夏伊、佩特連科等指揮攜手演出。生於臺灣長於澳洲, 於寇帝斯音樂院就讀時師事亞倫.羅桑,並獲得「青年音樂家」獎助。 目前使用由日本音樂基金會出借的 1715 年「姚阿幸」史特拉第瓦里小提 琴,曾為著名匈牙利小提琴家約瑟夫 ‧ 姚阿幸所擁有。 Winner of the Queen Elisabeth and Yehudi Menuhin Competitions, Ray Chen is among the most compelling young violinists today. Ray has performed with the 小提琴

London Philharmonic Orchestra, Los Angeles Philharmonic, Pittsburgh Symphony


among others, and will make upcoming debuts with the San Francisco Symphony

Ray Chen, violin

and other orchestras. He works regularly with conductors such as Riccardo Chailly, Kirill Petrenko, and many others. Born in Taiwan and raised in Australia, Ray was

accepted to the Curtis Institute of Music at age 15, where he studied with Aaron Rosand and was supported by Young Concert Artists. He plays the 1715 “Joachim” Stradivarius violin on loan from the Nippon Music Foundation. This instrument was once owned by the famed Hungarian violinist, Joseph Joachim (1831-1907).

曾於法國里昂高級音樂院師事皮耶.杜托。2000 年 6 月,以特別優秀全 體通過一等獎畢業。後來也於該校學習法國號。曾獲得 Markneukirchen 國際器樂大賽首獎 (1998)、巴黎摩里斯.安德烈國際大賽首獎 (2000)、 慕尼黑 ARD 大賽首獎 (2003) 等大獎,距上次獲 ARD 大獎的小號家摩里 斯.安德烈已相隔四十年。並於 2004 年及 2007 年,在法國勝利大獎中 獲得了最佳器樂獨奏家勝利大獎。曾擔任法國國家管絃樂團和盧森堡愛 樂樂團法國號首席。現任教於法國里昂國立音樂學院。 David Guerrier entered the Lyon Conservatoire Supérieur de Musique to study 小號

with Pierre Dutot. In June 2000, he received an unanimous first prize with a special

大衛 ‧ 格里爾

mention for excellence. He began later on to study horn in the same Conservatoire.

David Guerrier, trumpet

David Guerrier was awarded many times: first prize at the Markneukirchen International Competition (1998). In October 2000, he received the first prize at the

Maurice André International Competition in Paris, and in 2003 he got the first prize at the ARD Competition in Munich. The last trumpetist who received this prize was Maurice André 40 years ago. In 2004 and 2007, he received the “Victoire du Soliste Orchestre Philharmonique de Luxembourg. He teaches at the Conservatoire National de Musique in Lyon.


Instrumental” at the French “Victoires de la Musique”. He has been horn solo for the Orchestre National de France and for the

任明尼蘇達管絃樂團音樂總監已十五年,曾於 2015 年帶領樂團到古巴, 締造了兩國政府關係正常化以來的首次歷史性訪問,2018 年 8 月至南非 參加曼德拉百年誕辰紀念活動。任內錄製了西貝流士和貝多芬交響樂全 集,其西貝流士第一號和第四號交響曲榮獲 2014 年葛萊美獎「最佳管絃 樂表現」,馬勒交響樂全集其中一張也獲得葛萊美獎 2018 年提名。 在前一個樂季與芝加哥交響、新世界交響、首爾愛樂和香港愛樂、赫爾 辛基愛樂、柏林德意志交響、倫敦愛樂合作,自 2014 年起擔任首席客席 指揮冰島交響樂團。 Music Director of the Minnesota Orchestra for 15 years, Osmo Vänskä has led the


orchestra's as historic trips to Cuba in May 2015, at the invitation of the Cuban

歐斯莫 ‧ 凡斯卡

Ministry of Culture, and South Africa in August 2018 as part of the world-wide

Osmo Vänskä, conductor

celebration of Nelson Mandela’s Centenary. Other key highlights include the complete recordings of Sibelius and Beethoven symphony cycles - winning a Grammy Award in 2014 for ‘Best Orchestral Performance’ (Sibelius symphonies, No.1 and 4), and the forthcoming cycle of Mahler symphonies, of which one disc garnered a Grammy nomination in 2018. In great demand as a guest conductor, in 2018/19 he received re-invitations to the Chicago and New World Symphonies and the Seoul Philharmonic Orchestra and Hong Kong Philharmonic Orchestras. In Europe he will make his regular appearances with Helsinki Philharmonic Orchestra and work with Deutsches Symphonie-Orchester Berlin, London Philharmonic Orchestra, and Iceland Symphony Orchestra, where he has been Principal Guest Conductor since 2014.

出生於臺灣,師事小松長生、小澤征爾與拉圖。2010 年起擔任馬格德堡 劇院音樂總監,期間指揮過《拉美莫的露琪亞》、《魔彈射手》等首演 製作。2006 年至 2008 年間,於柏林喜歌劇院擔任首席指揮,演出《費加 洛的婚禮》、《弄臣》、《杜蘭朵》等作品。曾任阿馬里洛交響樂團、 卡尤加室內樂團音樂總監,2009 年至 2013 年間擔任日本大阪交響樂團首 席客座指揮。曾受邀擔任德勒斯登愛樂、NHK 交響等樂團客座指揮。曾 獲 1995 年丹麥尼可萊馬寇國際指揮大賽、1996 年葛瑞戈里卓越表現獎, 於 2010 年獲索尼音樂齋藤秀雄紀念基金,並將獎金全額捐贈東京少年愛 樂。 指揮 Born in Taiwan, has studied under Chosei Komatsu, Michael Charry, Seiji Ozawa, and Sir Simon Rattle. Ishii has been General Music Director with Theater Magdeburg since 2010, and has conducted the premiere-productions of Lucia di

金寶 ‧ 依希 ‧ 埃多 Kimbo Ishii-Eto, conductor

Lammermoor, Der Freischütz, etc. During his tenure at the Komische Oper Berlin from 2006-2008 where he was active as 1 2 6

Principal Conductor, he conducted performances of The Marriage of Figaro, Rigoletto, Turandot, and other works. Ishii has served as Music Director to various orchestras, such as the Amarillo Symphony, Cayuga Chamber Orchestra and he also served as Principal Guest Conductor from 2009-2013 with the Osaka Symphony Orchestra. Kimbo Ishii guest conducted


Denmark's Nikolai Malko International Conducting Competition in 1995. He was awarded the George & Elizabeth Gregory



orchestras such as Dresden Philharmonic Orchestra, NHK Symphony Orchestra, and others. Ishii was a prizewinner of


Award for Performance Excellence (New York Arts Foundation) in 1996, and in 2010 he was also bestowed the Hideo


Saito Memorial Fund Award (Sony Music Foundation), from which he donated the entire prize money to the Tokyo Junior


Philharmonic Orchestra.

二十五餘年來,憑藉其強烈的音樂性,引人入勝的舞台表現和永不饜足 的藝術好奇心,對全球聽眾產生了獨特的影響,擅長在大家熟悉的作品 上,提出其新的觀點。近期將與納什維爾交響樂團、猶他州交響樂團合 作,也將於波哥大、安傑、柏林、利物浦、倫敦、巴塞隆納和華盛頓特 區等地演出。在早年的大賽告捷之後,蓋哈特的國際演出生涯於 1991 年 首次與畢契科夫指揮柏林愛樂合作後展開,合作對象包含:皇家大會堂、 倫敦愛樂、克里夫蘭管絃樂團、費城、芝加哥交響等。 Alban Gerhardt has, for more than twenty-five years, made a unique impact on 大提琴

audiences worldwide with his intense musicality, compelling stage presence and

阿爾班 ‧ 蓋哈特

insatiable artistic curiosity. His gift for shedding fresh light on familiar scores, along

Alban Gerhardt, cello

with his appetite for investigating new repertoire from centuries past and present, truly set him apart from his peers. Forthcoming highlights include concerts with the

Nashville Symphony Orchesra, Utah Symphony Orchestra. Gerhardt will also perform in Bogota, Angers, Berlin, Liverpool, and much as well as giving recitals in London, Barcelona, and Washington DC. Following early competition success, Gerhardt’s international career was launched by his debut with Berliner Philharmoniker and Semyon Bychkov in 1991. Notable orchestra collaborations since include Royal Concertgebouw, London Philharmonic, The Cleveland, The Philadelphia and Chicago Symphony Orchestras.

為國際上頂尖小提琴獨奏家和室內樂家。以優雅氣度、飽滿音色與精湛 技巧而名聞遐邇。1997 年,阿巴多邀請擔任馬勒青少年管絃樂團首席, 期間與布列茲、小澤征爾、魏瑟 - 莫斯特等指揮合作。自此便奠定獨奏 能力,並與柏林愛樂、維也納愛樂、倫敦交響等樂團,葛濟夫、巴倫波 因等指揮大師合作。 自 2014 年起擔任洛桑高等音樂院教授,2017 年成立了該校的洛桑獨奏家 樂團。目前使用的是瓜奈里名琴 Panette(1737),曾屬於艾薩克.史坦。 2011 年,獲頒國家優秀騎士勳章;2016 年獲頒榮譽軍團騎士勳章。 小提琴

雷諾.卡普頌 Renaud Capuçon, violin

French violinist Renaud Capuçon is firmly established internationally as a major soloist, recitalist and chamber musician. He is known and loved for his poise, depth of tone and virtuosity, and he works with the world’s most prestigious orchestras, artists,venues and festivals. In 1997, he was invited by Claudio Abbado to become

concert master of the Gustav Mahler Jugendorchester, working with conductors including Boulez, Ozawa and Welser-Möst. Since then, Capuçon has established himself as a soloist at the very highest level. He performs with leading orchestras such as the Berlin Philharmonic, Vienna Philharmonic and London Symphony Orchestra. His many conductor relationships include and former students of the Haute École de Musique de Lausanne, where he has held a professorship since 2014. He plays the Guarneri del Gesù Panette (1737), which belonged to Isaac Stern. In 2011 he was appointed Chevalier dans l'Ordre National du Mérite and in 2016 Chevalier de la Légion d'honneur by the French Government.


Gergiev, Barenboim, amongst others. In 2017, Capuçon founded a new ensemble, the Lausanne Soloists, comprised of current

擔任舞監長達二十五年,於巴黎夏特雷劇院任職過三個樂季,後轉為自由工 作者。曾在彭內爾等多位大師身旁學習。執導作品含葛路克《伊菲姬妮在杜 爾德》、奧芬巴哈《天堂與地獄》、玻瓦莫提耶《公爵夫人家的唐吉訶德》, 在香榭麗舍劇院演出《採訪莫札特》、十場巴黎夏特雷劇院 JF. 紀傑爾的《謎》 音樂會、羅西尼《婚姻的契約》和《布魯斯基諾先生》。與臺北國家戲劇院 合作七年間,執導拉威爾《小孩與魔法》、雷史畢基《睡美人》等,後者於 2015 年再製,在臺灣巡迴,並邀請泰雅族兒童合唱團演出。近期製作含《藍 鬍子的城堡》、《伊菲姬妮在陶里德》、《唐卡羅》、《茶花女》、《羅恩格林》、 《吟遊詩人》。 導演 Stage Manager for 25 years, 3 seasons at the Théâtre du Châtelet - Paris and freelance, he worked and learned alongside JP. Ponnelle, G. Stehler, A. Feyer,

尚米歇爾 ‧ 克奇 Jean-Michel Criqui, director

P. Stein, PL. Pizzi, L.Pasqual, B. Wilson, P. Audi, D. Mc Vicar, D. Mesguish, N. Lowery, P. Strosser, A. Engel, I. Brook, M. Martone. He staged Iphigénie en Tauride (CF. Glück), Un mari à la porte (J. Offenbach), Don Quichotte chez la Duchesse (J. Bodin de Boismortier), Mozart's Interview at the Théâtre des Champs Elysées, 10 Enigma concerts by JF Zygel at the Châtelet - Paris, La Cambiale di Matrimonio and Signor Bruschino ... And he has been working for 7 years with the National Theater in Taipei, for whom he directed L’enfant et les Sortilèges, Highlight of Operas and La Bella Dormente nel Bosco of Respighi, a production that was re-released in 2015 for a large tour of Taiwan, attended by a choir of Attayals’ children. Recently, Bluebeard's Castle - Human Voice and Iphigénie with K. Warlikowski (Paris Opera) and Don Carlo with R. Carsen, Traviata and Lohengrin with L. Desire, Trovatore with F. Negrin.

2015 年完成德國威瑪李斯特音樂學院最高演奏家演唱文憑。2014 至 2017 年 參與創世歌劇團《波希米亞人》、《女人皆如此》、《卡門》,飾演畫家 Marcello、Guglielmo、Escamillo,深獲好評。2016 年受吉隆坡城市歌劇公司 邀請參與《波希米亞人》再度飾演畫家 Marcello。 2016 年於北市交《聰明 的女人》中飾壞蛋二號。2017 年參與台北歌劇劇場《浮士德》飾 Valentin, 2017 年 NSO 浦契尼三部曲飾《強尼・ 史 基基》裡 Marco 一角。2018 年參與台 北愛樂管弦樂團莫札特歌劇《女人皆如此》飾演 Guglielmo。2018 年高雄春天 藝術節《波希米亞人》飾音樂家 Schaunard。2018 年,參與國臺交《西城故事》 飾幫派頭目 Riff。2019 年參與 NSO 歌劇《托斯卡》飾演教堂堂守以及夏羅奈。 目前任教於東海大學音樂系。 Fang-Hao Chao obtained his highest performance degree at the University of Music



Fang-Hao Chao, baritone

Franz Liszt in Weimar, Germany where he studied under Prof. Hans-Joachim Beyer. 1 2 8

In Taiwan he played Marcello in Puccini's La bohème in 2015 and Guglielmo in Mozart's Così fan tutte in 2016 . In June 2017, he performed as Valentin in Gounod's Faust at the National Taichung Theater. In July 2017, he took part in Puccini's Gianni Schicchi as Marco. In November 2017, he played in the production of Carmen as Escamillo. In February 2018, he played the


role Guglielmo again in Mozart's Così fan tutte with the Taipei Philharmonic Orchestra. At the Kaohsiung Spring Art Festival in


June 2018, he played the musician Schaunard. in Puccini's La bohème.


臺灣目前唯一由法國國立巴黎高等音樂院藝術文憑第一獎畢業,也是臺 灣第一位考進並於 2008 年取得該校專業演奏家文憑的聲樂家。自 2018 年起應聘專任於東吳大學音樂學系。曾獲奇美藝術獎、國家音樂廳樂 壇新秀、法國馬賽第十屆聲樂國際大賽評審獎、西班牙第四屆 Jaume Aragall 國際聲樂比賽第二名等殊榮。2017 年 1 月,參與 José Carreras 在 亞洲巡迴告別演唱會臺中場 , 與國立臺灣交響樂團演出;2018 年 6 月受 國立臺灣交響樂團之邀,於「無悔的愛~波西米亞人」飾 Musetta 一角 ; 2018 年 9 月,再度受國立臺灣交響樂團之邀,在臺中國家歌劇院與指揮 家廖國敏合作,於「愛與宿命的終極試煉 ~ 西城故事」飾演 Maria。 女高音


Li-Chin Huang, soprano

Born in Taiwan, Li-Chin Huang graduated from Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP), where she was awarded the first prize with honors in 2006 and the diploma of performance in 2008. Huang is currently

teaching at Soochow University in Taipei, Taiwan. She won the Youth Jury Prize at the International Opera Competition in Marseille in 2007, the Prize for Youth at National Chiang Kai Shek Cultural Center in Taiwan, the 19th and 20th Chimei artistic scholarship and, in 2008, the second price at Jaume Aragall International Singing Competition in Spain. Huang was invited to sing with tenor José Carreras in January 2017 on his Farewell Concert in Taichung, Taiwan.

出生於臺灣,1993 年遠赴義大利深造,1996 年畢業於義大利米蘭威爾第 音樂院,期間便受邀至各大城市音樂廳、教堂演唱中國民歌與西洋歌劇 選曲,1995 年更獲得貝爾加摩市音樂協會最佳歌劇演唱殊榮,演唱足跡 遍佈日、韓、中國大陸、美國,音色渾厚高亢,演技精湛,為臺灣最具 魅力的男演唱家。自 1990 年飾演第一部義大利歌劇至今,已累積將近百 場次歌劇表演經驗,為臺灣歌劇界難得實力派的演唱家,目前任教於實 踐大學、國防大學。 Wu Bai-Yu-Hsi, a baritone opera singer, the expressiveness of his full, resounding 男中音

voice and natural ease on stage have combined to make him one of the most


captivating performers in Taiwan. He graduated from the Conservatorio Giuseppe

Wu Bai-Yu-Hsi, baritone

Verdi di Milano in 1996. He received many invitations to perform while traveling in Italy during which he was received enthusiastically by Italian audiences. He was

honored by the Opera Association of Bergamo with the award as “Best Opera Singer” in 1994. Wu Bai-Yu-Hsi has performed operas such. as as Mozart's Cosi fan tutte (Gugliemo, Don Alfonso), Don Giovanni (Don Giovanni) , Le nozze di Figaro (Il

Die Fledermaus (Eisenstein) / Britten's Noah’s Ark (Noah).


Conte), Donizetti's Lucia di Lammermoor (Enrico), Verdi's Rigoletto (Rigoletto), Puccini's La Bohème (Marcello), Madama Butterfly (Sharpless), Manon Lescaut (Lescaut), Wagner's Das Rheingold (Donner) , Götterdämmerung (Gunther), J. Strauss'

英國皇家音樂院特優演唱文憑及音樂學士學位。國立藝專音樂科畢業。 近期演出包括臺北市立國樂團 / 無獨有偶《我的媽媽欠栽培》,台北愛樂 和 NSO《彌賽亞》,NSO《莫札特安魂曲》,NSO《帕西法爾》,臺北 愛樂管絃樂團《女人皆如此》,創世歌劇團《卡門》,2017 年臺中國家 歌劇院《女武神》,布萊特 ‧ 狄恩《哈姆雷特》連篇歌曲,NSO 歌劇《浦 契尼:三部曲》,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》,NSO《英雄再起》,2016 年澳門聲樂 節獨唱會「黃昏到黎明」,臺灣聲樂家協會「莎士比亞 200 週年音樂會」, 曾道雄教授古裝歌劇《鄭莊公涉泉會母》飾母后武姜等。2016 年獲選為 國立臺灣藝術大學傑出校友。 Grace Lin graduated from the Royal Academy of Music in London with



Grace Lin, soprano

performance diploma with distinction. Since coming back to Taiwan in 2000, she has engaged in various performances and has become one of the most sought-after singers in the country. She has been invited to sing in concerts and operas with major orchestras and companies in Taiwan and abroad. 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), A Vow to the Underworld Spring, composed by Professor Tzeng Dau Hsiong. Fidelio (NSO), Ariadne auf Naxos etc. Grace Lin was named an Outstanding Alumnus of National Taiwan University of Arts in 2016.

畢業於東吳大學音樂研究所,師事林中光、孫清吉和李秀芬。曾獲 2011 年臺北市大專音樂比賽男高音第一名、2012 年聲協新秀、2013 年中華 民國聲樂家協會德文藝術歌曲獎學金比賽第三名。重要演出包括北市交 《納克索斯島上的阿麗雅德妮》飾 Scaramuccio,國臺交《茶花女》飾 Gastone / Giuseppe,北市交《尤金・ 奧涅金》飾 Triquet,高市交《茶花 女》飾 Gastone / Giuseppe, servo du Violetta,及《卡門》飾 Remendado。 2019 年於義大利 Pesaro 的 R. Tebaldi,M. del Monaco 國際歌劇藝術學院 和喬治亞共和國巴統音樂中心共製《波希米亞人》飾 Rodolfo,於義大利 Teatro della Fortuna 演出。現為臺北私立光仁國小音樂班老師、臺灣銀行 合唱團聲樂指導、臺北愛樂市民合唱團聲樂指導。 Graduated with a Masters Degree from Soochow University’s Department of



Yin-Chi Chang, tenor

Music, he has studied voice with Chong-Kuang Lin, Hsiu-Fen Lee and Ching-Chi 13 0

Sun. Chang was honored as a New Talent of 2012 by the Association of Vocal Artists of R.O.C. in 2011. He won first place in the 2013 Cross-Strait University Singing Contest. In October of the same year he was awarded third place in the Association of Vocal Artists of R.O.C.’s German Lieder Scholarship Competition. Chang’s operatic performances including Giudice in Un


Ballo in Maschera, Gastone in La Traviata and Triquet in Eugene Onegin. 2016 saw him take the stage as Bardolfo in Falstaff


and Gastone and Giuseppe in La Traviata. He performed Maestro di Ballo and Lampionaio in Manon Lescaut and Remendado


in Carmen. 2018 saw him play Edmondo in addition to Maestro di Ballo and Lampionaio in Manon Lescaut.


生於維爾紐斯,於立陶宛音樂與戲劇學院時便開啟演出生涯。是維爾紐 斯市立歌劇院創始成員,於 2005 年首次登台飾唱《茶花女》女主角薇奧 莉塔,及 2010 年《瘋狂理髮師》飾樂薇太太,兩度獲頒黃金舞台十字獎 章,為立陶宛歌者最高榮譽。2016 年,在國際歌劇大獎中也贏得了年輕 女性聲樂家大獎。頻繁於羅馬歌劇院、科隆歌劇院、漢堡國立歌劇院、 維也納歌劇院等地登台。本樂季開始,將多次擔綱飾唱主角:瑪儂雷斯 考、蝴蝶夫人、諾瑪,以及由克里斯多福.洛伊打造的新製作《盧薩卡》。 也將繼續參與薩爾茲堡音樂節,及拜魯特音樂節。


Lithuanian soprano Asmik Grigorian was born in Vilnius, into a family of


musicians. She studied at the Lithuanian Music and Theatre Academy and started

Asmik Grigorian, soprano

her operatic career whilst still a student. A founding member of Vilnius City Opera, she has twice been awarded the Golden Stage Cross (the highest award for singers

in Lithuania), in 2005 for her debut as Violetta and in 2010 for her performance as Mrs. Lovett Sweeney Todd. In 2016, she was winner of the Young Female Singer Prize at the International Opera Awards. She appears regularly at houses including Teatro dell’Opera di Roma, Oper Köln, Hamburgische Staatsoper, Theater an der Wien, and others. This season and beyond she performs the title roles in Manon Lescaut, Cio-Cio-san in Madama Butterfly, Norma, and Ruskalka in a new production by Christof Loy. She continues her relationship with the Salzburg Festival and will participate in the Bayreuth Festival.

瑞典男中音,於 2004 年被任命為皇家宮廷歌手,是瑞典皇家音樂學院成員。 自 1999 年以來一直在斯德哥爾摩皇家歌劇院任職,飾唱過許多角色,包括: 《塞維里亞的理髮師》費加洛、《費加洛的婚禮》阿爾瑪維瓦伯爵、《波希 米亞人》馬切羅、《尤金.奧涅金》主角、《遊唱詩人》盧納伯爵、《茶花女》 傑蒙、《蝴蝶夫人》夏普勒斯、《假面舞會》雷納多,和《弄臣》中的男主 角(2018 年)。弗雷德森與許多一流指揮家合作過,如柯林.戴維斯爵士、 安德魯.戴維斯、嘉德納爵士等。常受邀至歐洲各國演出,經常舉辦德語藝 術歌曲音樂會、樂團歌曲、宗教作品和當代音樂,並錄製了三十多張 CD。 男中音

The Swedish baritone Karl-Magnus Fredriksson was appointed Royal Court Singer


in 2004 and is a member of The Royal Swedish Academy of Music. He has worked

Karl-Magnus Fredriksson, baritone

with the Royal Opera in Stockholm since 1999 where his many roles include Figaro (Il Barbiere di Siviglia), Count Almaviva (Le Nozze di Figaro), Marcello (La

Bohème), the title role in Eugene Onegin, Count Luna (Il Trovatore), Germont (La Traviata), Sharpless (Madama Butterfly), Renato (Un ballo in maschera) and the title role in Rigoletto (2018). Karl-Magnus Fredriksson has performed with many of the Cobos, Sakari Oramo, Herbert Blomstedt, Leif Segerstam, Andrew Manze and Lawrence Renes. He is a frequent guest in many European countries singing lieder concerts, orchestral songs, sacred works and contemporary music and has recorded over 30 CD’s.


foremost conductors in the world such as Sir Colin Davies, Andrew Davies, Sir John Eliot Gardiner, Alan Gilbert, Jesús López-

為目前臺灣樂界深受矚目且備受好評的指揮家,指揮曲目廣泛,音樂詮 釋深刻,無論是西方經典交響音樂還是當代作曲家新創作品,樂團均得 到最好的發揮。國立臺北藝術大學碩士班主修指揮畢業後,由擔任臺北 市立交響樂團助理指揮展開職業生涯,近年亦受邀客席指揮過臺灣所有 的中西職業樂團,廣至中國大陸、馬來西亞、香港、日本、美國等地演出, 橫跨中西樂團的指揮經歷及功力,實屬難得。演出之外,鄭立彬目前灌 錄了十五張有聲出版品公開發行,2017 年以《臺灣音畫》專輯獲得第 28 屆傳藝金曲獎「最佳詮釋獎―指揮類」;2018 年再以《瘋・原祭》專輯 獲得第 29 屆傳藝金曲獎最佳專輯製作人獎。曾任中國文化大學國樂系專 任副教授,2015 年起接任臺北市立國樂團團長。 Cheng Li-Pin is one of the most widely-acclaimed conductors in Taiwan. Noted for a versatile repertoire and profound interpretation, members of the orchestra



Cheng Li-Pin, conductor

can always reach their full potentials at his guidance. Cheng graduated with a Master’s Degree in conducting from Taipei National University of the Arts and was mentored by Henry Mazer. Sung-Jen Hsu and Felix Chiu-Sen Chen. In March 2006, he participated Maestro Lorin Maazel's master class, where he found great validation from the maestro. From 2003 to 2004, Cheng served as the assistant conductor of Taipei Symphony Orchestra. He also received invitations as a guest conductor from numerous local Chinese and Western Orchestras, and from China, Malaysia, Hong Kong and Japan. In addition, Cheng is committed to promote by Taiwanese composers, by programming and conducting their works in concerts. He also published 15 recording albums and won the Golden Melody Awards for Traditional Arts and Music for Best Interpretation of Conductor in 2017. In between 2007 to 2015, Cheng served at Chinese Culture University, Chinese Music Department as associate professor. He was appointed the general director of the Taipei Chinese Orchestra in 2015.

近幾年已成為國際樂壇最受矚目的小提琴新星。於 2018 年第十屆美國印地安 納波里斯國際小提琴大賽贏得華人史上第一面金牌及三項特別獎。曾獲日本 仙台國際小提琴大賽金牌和觀眾票選獎以及多項國際大獎。多次受邀於各大 音樂廳舉行獨奏會及指導大師班。日本 Fontec 唱片公司錄製於仙台國際大賽 演出並發行 CD。出生於美國亞歷桑納州鳳凰城,從小於臺灣受教育。十一歲 便與臺北市立交響樂團於臺北中山堂演出聖桑第三號小提琴協奏曲。十六歲 隨李東亨博士至美國奧克拉荷馬州深造。畢業於寇蒂斯音樂院及茱莉亞音樂 院,師事小提琴大師亞倫.羅桑與名教授路易斯.卡普蘭。 Richard Lin is the newly crowned Gold Medalist of the 10th Quadrennial


International Violin Competition of Indianapolis which took place in September of


2018. Richard has amassed a startling collection of top prizes at major international 13 2

competitions including Joseph Joachim in Hannover, Sendai, Singapore, Shanghai

Richard Lin, violin

Isaac Stern, Michael Hill, and the Wieniawski International Violin competitions. He has collaborated with numerous orchestras at celebrated concert venues, and has also given many recitals in distinguished venues in America, Europe, and Asia. In


addition, Richard has released two albums in Japan under the Fontec label. Richard began his violin studies at the age of four. He gave his public debut at age eleven performing the Saint-Saëns Violin Concerto No.3 with the Taipei Symphony Orchestra.


Richard graduated from the Curtis Institute of Music and The Juilliard School where he studied with Aaron Rosand and Lewis


Kaplan respectively.


為國際上炙手可熱的音樂名家,曾獲柴科夫斯基大賽銀獎、瑙姆堡國際 大提琴比賽金獎等,多次以獨奏家身份於倫敦逍遙音樂會演出。「一個

時尚且敏感的表演者,對音樂投以無與倫比的專注」 這是《留聲機》雜 誌對秦立巍與倫敦愛樂合作演奏《埃爾加 / 布瑞頓 / 沃爾頓協奏曲》專輯 的描述。曾合作對象含英國 BBC 旗下所有交響樂團、北德廣播交響樂團、 芬蘭廣播交響樂團、洛杉磯愛樂、倫敦愛樂等。指揮家包括:余隆、阿 什肯納齊,馬立克・ 雅諾夫斯基、貝洛拉維克、馬塞洛・ 維奧蒂、梅紐 因勛爵等。現任教於新加坡國立大學楊秀桃音樂學院。


Li-Wei Qin is an exclusive Universal Music China Artist. After achieving great


success at the 11th Tchaikovsky International Competition where he was awarded

Li-Wei Qin, cello

the Silver Medal, Qin has since won the first prize in the prestigious 2001 Naumburg Competition in New York. Two-time soloist at the BBC Proms in London’s Royal

Albert Hall, Qin has enjoyed successful artistic collaborations with many of the worlds great orchestras including all the BBC symphony orchestras, the Los Angeles Philharmonic, London Philharmonic, the NDR-Sinfonierorchester Hamburg among many others. Leading conductors with whom he has worked with include Sir Andrew Davis, Vladimir Ashkenazy, Marek Janowski, Jaap Van Zweden, Jiri Belohlavek, Hans Graf, Yu Long, the late Machello Viotti and the late Lord Menuhin. Li-wei now is a professor at the YST Conservatory, Singapore.

曾於仙台、胡邁爾、瑪麗亞卡納斯等 13 項區域及國際大賽獲得前三名佳 績,其演奏足跡遍及維也納金廳、柏林愛樂廳等各大音樂廳。德國阿爾 高日報讚譽他為「一個超技且深具音樂性的響宴…有著精細的表情與音

樂素養的鋼琴家」 。 至今已錄製蕭邦、布拉姆斯、臺灣作曲家陳泗治、 洪綺蓮及德國作曲家 Adolph Kurt Böhm 等九張專輯。2012 年其鋼琴專輯 《My Chopin; My Brahms》獲得金曲獎肯定。亦曾與歐亞知名樂團如奧 地利國家廣播電臺交響樂團、羅馬尼亞阿拉德愛樂、仙台愛樂、仙台市 民交響樂團合作演出。除獨奏之外,並積極從事室內樂及現代音樂的演 出。目前任教於國立臺灣藝術大學及中國文化大學音樂系。 鋼琴


Yi-Chih Lu, piano

Yi-Chih Lu, one of the most brilliant Taiwanese Pianist of his generation of Taiwanese pianists, is the winner of Maria Canals, Sendai, Hummel and other ten piano competitions. His CD My Chopin; My Brahms has been awarded the Gold Melody Award for the Classical Music category. He has been invited to give

piano recitals in America, Europe and Asia, at important venues such as Musikverein in Vienna, Berlin Philharmonie, National Philharmonic, Sendai City Symphony Orchestra, Taiwan Philharmonic (NSO), Sun Symphony Orchestra, Taipei Philharmonic Youth Symphony Orchestra, Arad Philharmonic, among others. Lu studied with Klaus Hellwig at the University of the Arts Berlin (Konzertexamen). In 2006, he received his Master Degree from the University for Music and Performing Arts Vienna. He is now holding adjunct assistant professorships at National Taiwan University of Arts and Chinese Culture University.


Concert Hall in Taipei, and has appeared as soloist with orchestras including Radio Symphony Orchestra Vienna, Sendai

於 1984 年奪得柏林卡拉揚國際指揮大賽首獎。隔年在維洛納愛樂劇院初 次登台指揮歌劇,威爾第《一日國王》。隨後在巴黎歌劇院和維也納國 家歌劇院指揮《茶花女》、佩沙洛羅西尼歌劇節指揮《在義大利的土耳 其人》、費城歌劇院指揮帕華洛帝主演的《波希米亞人》。合作對象包 括紐約大都會歌劇院、漢堡國家歌劇院、里昂歌劇院、巴黎喜歌劇院, 以及羅馬、德勒斯登、科隆等地的歌劇公司。1985 至 2004 年擔任匈牙利 國家歌劇院首席客席指揮,1996 至 2005 年擔任布達佩斯愛樂樂團的音樂 總監與藝術顧問。於 2005 年獲頒匈牙利榮譽軍團獎,以表彰「超過二十 年來對匈牙利文化生活的卓越貢獻」。 指揮 Rico Saccani won top prize in the Herbert von Karajan International Conducting Competition in 1984. The following year saw his operatic debut with Verdi's Un

里科 ‧ 斯卡尼 Rico Saccani, conductor

Giorno di Regno at the Teatro Filarmonico di Verona. Soon thereafter he led La Traviata at the Paris Opera and the Vienna State Opera, Il Turco in Italia at the Rossini Festival in Pesaro, and La Bohème at the Philadelphia Opera starring Luciano Pavarotti. Saccani has also appeared at the Metropolitan Opera in New York, the Hamburg State Opera, the Lyon Opera, the Arena de the Opéra Comique in Paris, and with companies in Rome, Dresden and Cologne. From 1985 to 2004 Saccani served as Principal Guest Conductor of the Hungarian State Opera, and from 1996 to 2005 he was also Music Director and Artistic Adviser of the Budapest Philharmonic. In 2005 he received Hungary's Legion of Honor Award in recognition of ''distinguished contributions to Hungary's cultural life for over twenty years''.

在林肯中心第一場紐約獨奏會後,即展開演出生涯,其曲目為全套拉威爾鋼 琴作品,並於卡內基音樂廳進行首度管絃樂團合作演出。曾與世界一流指揮 家合作,如梅塔、馬捷爾、楊頌斯、馬利納、薩瓦利許、賈維、余隆等。也 曾與各地樂團有過演出及錄音,包括倫敦交響、BBC 交響樂團、聖彼得堡 愛樂等。最近演出含紐約愛樂、琉森音樂節和柏林交響樂團合作演出,並於 卡內基音樂廳、史卡拉歌劇院、馬林斯基劇院以及歐亞各地舉行獨奏會。在 BMG、Decca 和 DG 有巴赫 / 布梭尼、史克里亞賓、李斯特、蕭邦、佛瑞、拉 赫瑪尼諾夫等錄音,以及全套普羅科菲夫鋼琴協奏曲。 Kun Woo Paik’s international career took off soon after his first New York recital at


the Lincoln Center, in which he performed the complete piano works by Maurice


Ravel, and his orchestral debut at the Carnegie Hall. Throughout his distinguished

Kun Woo Paik, piano

career, Paik has collaborated with the most renowned conductors such as Zubin 13 4

Mehta, Lorin Maazel, Mariss Jansons, Sir Neville Marriner, Wolfgang Sawallisch, Paavo Järvi, Ivan Fischer and Long Yu. He has performed and recorded extensively with orchestras all over the world including the London Symphony, BBC Symphony, St. Petersburg Philharmonic. Kun Woo Paik has recently performed with the New York Philharmonic, Lucerne and Berlin


Symphony orchestras and given recitals at Carnegie Hall, La Scala, the Mariinsky Theatre and all over Asia and Europe. He


has made numerous recordings with BMG, Decca and Deutsche Grammophon include pieces by Bach/Busoni, Scriabin, Liszt,


Chopin, Fauré, Mussorgsky, Rachmaninoff, Beethoven, Schubert and the complete Prokofiev piano concerti.


俄羅斯指揮樂派的代表人物之一,於葛令卡合唱學院和列寧格勒國立音 樂院師事米凱洛夫及楊頌斯。於 1982 年柏林卡拉揚基金會大賽獲首獎。 自 2000 年擔任聖彼得堡愛樂助理指揮。2001 年至 2010 年任愛沙尼亞國 家交響樂團音樂總監兼首席指揮,並獲愛沙尼亞共和國國家獎。偏好交 響樂和大型管絃樂經典,注重樂團聲響和技巧的精雕細琢。亦曾擔任札 格雷布愛樂和烏里揚諾夫斯克交響的首席指揮,後者長達十七年。還曾 與皇家大會堂、鹿特丹、德勒斯登、哥本哈根愛樂等樂團合作。現任聖 彼得堡李姆斯基 - 柯薩科夫國立音樂學院交響系主任。


Graduated from the Glinka Choir College and the Leningrad State Conservatory,

尼可萊 ‧ 阿雷席夫

where he majored in choir conducting in the class of Avenir Mikhailov and opera

Nikolay Alexeev, conductor

and symphony conducting in the class of Mariss Jansons. His career received its first major boost when he won First Prize at the Herbert von Karajan Foundation

Competition in Berlin (1982). Since 2000 he has been the Associate Conductor of the St. Petersburg Philharmonic. From 2001 to 2010, he was Music Director and Chief Conductor of the Estonian National Symphony Orchestra, and won the State Prize of the Republic of Estonia. Alexeev prefers the classics of symphonic music and large-scale orchestras, and pays great attention to elaboration of the sound and technique of the orchestra. Nikolay Alexeev has also been Chief Conductor of the Zagreb Philharmonic Orchestra and the Ulyanovsk Symphony Orchestra, the latter for seventeen years. Alexeev has worked with the Royal Concertgebouw Orchestra, the Rotterdam, Dresden, Stuttgart and Copenhagen Philharmonic Orchestras among many others. Nikolay Alexeev is currently Director of the symphonic department of the Rimsky-Korsakov Saint Petersburg State Conservatory.

獲 1985 年比利時伊莉莎白女王國際音樂大賽首獎。BBC 音樂雜誌對他演 奏的出神入化,曾描述 「來自臺灣的小提琴家胡乃元,是一位全方位的

演奏者,他怡然自得的演奏技巧,對音樂富有才智的詮釋,毫不猶疑的 神韻與活力,使他能與今日絃樂界的大師們並列。」 曾受許多樂團邀請, 如倫敦皇家愛樂、多倫多交響樂團、西雅圖交響樂團、東京愛樂、東京 大都會交響樂團和香港愛樂等。演奏足跡包括紐約林肯中心 David Geffen Hall 和 Alice Tully Hall、阿姆斯特丹音樂廳、巴黎 Cité de la Musique、東 京 Suntory Hall 等。也多次受邀國際大賽評審,包括比利時伊莉莎白國際 音樂大賽和韓國首爾國際小提琴比賽。 小提琴


Nai-Yuan Hu, violin

Since winning the first prize of the prestigious Queen Elisabeth Competition in 1985, violinist Nai-Yuan Hu has appeared on many of the world’s stages, including the Concertgebouw in Amsterdam, David Geffen Hall in New York, Cité de la

Musique in Paris, Suntory Hall in Tokyo and other major venues in the world. He has appeared as soloist with orchestras such as the Royal Philharmonic Orchestra of London, Toronto Symphony, Seattle Symphony, Orchestre National de Lille in France, an awesomely capable performer whose technical facility, musical intelligence and unfaltering verve place him among the higher echelons of today’s string virtuosi." Mr. Hu has served on the jury of international competitions such as Queen Elisabeth Competition in Brussels and Seoul Violin Competition.


Tokyo Philharmonic and others. In praise of his playing, BBC Music Magazine wrote, "Taiwanese violinist Nai-Yuan Hu is

生於札革雷布,先後隨札革雷布音樂院教授裴雷拉・德第凱,與德國德 特摩音樂院教授麥可・賀傑爾學習。曾獲得多項國際性比賽首獎,包括 1979 年義大利安科納音樂大賽,以及 1983 年慕尼黑 ARD 國際音樂大 賽,而當時這場大賽已有十四年不曾頒發獎項予法國號音樂家。獲獎後 受到全歐洲許多音樂節邀約,包括薩爾茲堡音樂節、維也納音樂節、愛 丁堡音樂節與杜布羅夫尼克音樂節等。出色的演奏技巧獲許多作曲家邀 請擔任首演,如:艾略特・ 卡特、海因・ 霍利格、克里斯多福・ 潘德列 茨基等。2014 年被倫敦皇家榮譽學院授與會員殊榮,是一項全球僅授 300 名音樂家的至高成就象徵。 法國號 Radovan Vlatković has been the recipient of numerous first prizes in national and international competitions, including the Premio Ancona in 1979 and the ARD

弗拉柯維克 Radovan Vlatković, horn

Competition in Munich in 1983 - the first to be awarded to a horn player in fourteen years. This led to numerous invitations to music festivals throughout Europe. Vlatković has participated in first performances of works by Elliott Carter, Sofia Gubaidulina, Heinz Holliger and Krzysztof Penderecki and several Croatian composers who have written concertos for him. In 2014 Vlatković was awarded an Honorary Membership of the Royal Academy of Music (Hon RAM), an honour bestowed upon only 300 distinguished musicians worldwide.

生於慕尼黑,師事傑利畢達克與邁爾,並在譚歌塢師事伯恩斯坦與小澤 征爾。多年來,馬寇爾是日耳曼體系交響及歌劇傳統等經典曲目的重量 級詮釋者,廣受景仰,近期他在法國印象派作品上的細緻刻劃和音樂語 彙探索,亦有目共睹。他在維也納、柏林、慕尼黑和德勒斯登森柏歌 劇院等等國家歌劇院的長期關係,也因近年來擔任里昂國家管絃樂團 (2005-11)和萊比錫中德廣播交響樂團(2012 年止)的音樂總監而增添 幾許光輝。2014-17 樂季擔任巴斯克國家管絃樂團的首席指揮。法國文化 部頒授他法蘭西藝術與文學騎士勳章以表彰他在里昂的成就。 Born in Munich, Jun Märkl studied conducting with Sergiu Celibidache in Munich, with Gustav Meier in Michigan, and at Tanglewood with Leonard Bernstein and Seiji Ozawa. Märkl has long been known as a highly respected


準 ‧ 馬寇爾 Jun Märkl, conductor

interpreter of the core Germanic repertoire from both the symphonic and 13 6

operatic traditions, and more recently for his refined and idiomatic explorations of the French impressionists. His longstanding relationships at the state operas of Vienna, Berlin, Munich and Semperoper Dresden have in recent years been complemented by his Music Directorships of the Orchestre National de Lyon (2005 to 11) and MDR Leipzig Radio


Symphony Orchestra (to 2012). From 2014 to 17 seasons, he is Principal Conductor to the Basque National Orchestra. In


recognition of his achievements in Lyon, he was honored by the French Ministry of Culture in 2012 with the Chevalier


de l’Ordre des Arts et des Lettres.


周善祥被《紐約時報》評論為「天才鋼琴家 ... 他的音樂揉合成熟格局與

年輕果敢,被期待在未來大放異彩。」 周善祥作為獨奏家頻繁地與世界最知名的樂團合作演出,並在亮眼的職 業生涯中兼顧演奏家及作曲家的雙棲身份。曾經合作過指揮包含克里斯 提安・ 提勒曼、布隆斯泰特等。也曾與維也納愛樂、德勒斯登、巴伐利 亞廣播交響樂團等合作。2018 年擔任德國梅克倫堡 - 西波美恩音樂節的 駐團音樂家。近期重要演出包含與柏林德意志交響樂團、北德廣播交響 樂團、法蘭克福博物館交響樂團、巴爾的摩交響樂團,以及東京都交響 樂團等樂團合作。也於香榭麗舍劇院、攝政王劇院、魯爾鋼琴音樂節、 鋼琴


Kit Armstrong, piano

盧森堡音樂廳及科隆音樂廳舉辦獨奏會。 Described by the New York Times as a “brilliant pianist” who combines “musical maturity and youthful daring in his exceptional playing”, Kit Armstrong performs

as a soloist with some of the world’s most famous orchestras while maintaining an active career as a recitalist and composer. Armstrong collaborates with many of the world’s most sought-after conductors, including among others Christian Thielemann, Herbert Blomstedt. He has appeared with some of the world’s finest orchestras, including the Vienna Philharmonic, Dresden Staatskapelle, Bavarian Radio Symphony Orchestra. He was artist-in-residence at the 2018 festival edition of Festspiele Mecklenburg-Vorpommern. In recent seasons Kit Armstrong performed with the DSO Deutsches Symphonie-Orchester Berlin, NDR Elbphilharmonie Orchestra, Frankfurt Museum Orchestra, Baltimore Symphony Orchestra and Tokyo Metropolitan Symphony Orchestra. Recent solo recitals brought him to the Théâtre des Champs-Elysées, Prinzregententheater München, Klavierfestival Ruhr, Philharmonie de Luxembourg and Kölner Philharmonie.

為美聲歌劇的專業詮釋者第一把交椅,也專精法國曲目,是各地競相邀 約的歌劇和交響曲指揮。自 2012/13 樂季擔任法國國家管絃樂團藝術暨 音樂總監,於 2018/19 樂季擔任柏林德意志歌劇院的首席客座指揮。2018 年,獲頒藝術與文學騎士勳章,以表彰他對法國音樂生活的重大貢獻。 近期演出包括維也納歌劇院《帕斯夸雷》和大都會歌劇院《聯隊之花》、 蘇黎世歌劇院《義大利的土耳其人》、布雷根茨音樂節《弄臣》、魁北 克交響樂團和倫敦愛樂及柏林德意志歌劇院進行《霍夫曼的故事》新製 作。 指揮

Renowned as an expert interpreter and champion of bel canto opera and a specialist

安立奎 ‧ 馬卓拉

in French repertoire, Italian conductor Enrique Mazzola is in demand worldwide as

Enrique Mazzola, conductor

both an operatic and symphonic conductor. He has been Artistic & Music Director of the Orchestre National d’Île de France since 2012/13 and from 2018/19 is

Principal Guest Conductor at Deutsche Oper Berlin. In October 2018 he was made a Chevalier de l’ordre des Arts et des Lettres reflecting his significant contribution to musical life in France. The recent plans included his debut with Wiener Staatsoper Festspiele (Rigoletto), Scottish Chamber Orchestra, Orchestre Symphonique de Quebec and London Philharmonic Orchestra. He returns to Deutsche Oper Berlin to conduct their new production of Les Contes d’Hoffmann.


(Don Pasquale) and return visits to Metropolitan Opera (La fille du regiment), Opernhaus Zurich (Turco in Italia), Bregenzer

作曲家 André Boucourechliev 曾在音樂雜誌《音叉》敘述:“蕾昂絲卡雅的藝 術旅程從一個巔峰邁向又一個巔峰。那種出自本能的內在渴望、激情與智慧, 驅動著她不斷超越自我,像克拉拉・哈斯基爾和迪努・裡帕蒂一樣,她創造 出的,不僅是這個時代的成就,而是劃時代的。放眼望去,只有那些最偉大 的藝術家方可立足於這樣的殿堂。" 為這時代指標性鋼琴家之一,曾於瑪格麗特・隆和伊莉莎白王后比賽獲獎。 演出經歷豐富,與世界上各大樂團及許多知名指揮家合作過。專輯《巴黎》 2014 年被國際古典音樂大獎 ICMA 評為年度最佳獨奏錄音。2006 年奧地利政 府頒發一等榮譽十字勳章,為相關領域最高等級榮譽。格魯吉亞政府 2015 年 也授予藝術祭司獎章。 „Elisabeth Leonskaja’s journey leads from one pinnacle to another. By constantly excelling herself, driven by her own personal demands, by her passion and her intelligence she has scaled the heights achieved only by the greatest, not just of


蕾昂絲卡雅 Elisabeth Leonskaja, piano

today, but of an entire epoch: those of a Clara Haskil, a Lipatti, and of modernity to boot.- Diapason by André Boucourechliev (Paris) For decades now, Elisabeth Leonskaja has been among the most celebrated pianists of our time. She won prizes in the prestigious Marguerite Long and Queen Elizabeth international piano competitions. Her recording 'PARIS' with works by Ravel, Debussy and Enescu released by the Berlin-based Label eaSonus was elected Solo Recording of the Year 2014 by the ICMA Jury (International Classical Music Awards). She has been made an Honorary Member of the Konzerthaus of Vienna. In 2006, she was awarded the Austrian Cross of Honor, First Class, for her services to the cultural life of the country – the highest award of its kind in Austria. In Tbilissi, Georgia she received the award The Priestess of Art in 2015.

擔任太平洋交響樂團藝術總監近三十年。憑著精湛的演出、對節目設計 安排、表演藝術的熱忱,帶領著太平洋交響樂團。這幾年樂團程度大幅 成長,2018 年受邀參與為期慶祝一整年當代名作曲家飛利浦.葛拉斯的 八十大壽系列音樂會,首度登台於美國卡內基音樂廳。聖克萊爾於 2014 年擔任哥斯大黎加國家交響樂團音樂總監。也曾以客席指揮的身份,與 許多世界知名樂團合作,包含德國威瑪爾、柏林、與司徒加的歌劇院與 交響樂團;波士頓、洛杉磯、紐約、與費城交響樂團。 Music Director of the Pacific Symphony for nearly three decades, Carl St. Clair has become widely recognized for his distinguished performances, programming,


and commitment. The largest ensemble formed in the United States, the Pacific


Symphony’s rapid artistic development is due largely to Mr. St. Clair’s leadership.

Carl St. Clair, conductor

In April 2018, he led the Symphony in its Carnegie Hall debut, as the finale to the 13 8

Hall’s yearlong celebration of pre-eminent composer Philip Glass’s 80th birthday. In 2014, Mr. St. Clair was named Music Director of the Orquesta Sinfónica Nacional de Costa Rica. An active guest conductor, he has led the Boston Symphony, Los Angeles Philharmonic, New York Philharmonic, The Philadelphia Orchestra. Worldwide, he has conducted orchestras in


German National Theater and Staatskapelle in Weimar, general music director of the Komische Opera in Berlin, and principal



Europe, South America, Australia, and Asia. Carl St. Clair has also served as general music director and chief conductor of the


guest conductor of the SDR/Stuttgart.


為 2015 年艾佛瑞.費雪職業獎助和 2017 年林肯中心藝術新星獎得主,以豐 富的表現力、獨特音色和精湛技巧受到矚目。於甘迺迪中心首次登臺後,《華 盛頓郵報》讚譽是「一位底蘊深厚的藝術家,非凡生涯指日可待」。2015 年起, 受邀成紐約林肯中心室內樂協會藝術家一員。2019/20 樂季將為譚盾的小提琴 協奏曲「火祭」於德國首演。出生於臺灣,於茱莉亞學院取得學士和碩士學位, 師事姜孝和李宜濠,是首屆柯夫納獎學金得主。目前使用 1742 年瓜奈里名琴, 由芝加哥史特拉第瓦里協會慷慨出借,曾為小提琴名家維尼奧夫斯基所擁有。 Recipient of the prestigious 2015 Avery Fisher Career Grant and the 2017 Lincoln 小提琴

Center Award for Emerging Artists, violinist Paul Huang is quickly gaining attention


for his eloquent music making, distinctive sound, and effortless virtuosity. The

Paul Huang, violin

Washington Post proclaimed Mr. Huang as "an artist with the goods for a significant career" following his recital debut at the Kennedy Center. The 2019/20 season will

also see Mr. Huang performing in the U.S. with the Tucson Symphony, New Mexico Philharmonic, Long Beach Symphony. 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.

為新世代知名大提琴家之一。曾與馬友友、夏罕和史塔克合作室內樂,於卡 內基音樂廳、甘迺迪中心等演出。在當代音樂領域也曾與克朗、亨澤、克努 森等當代重要作曲家合作。登上「樂侃群星」促成了他與葛拉斯及其他領域 藝術家的合作。1998 年,創立 Muzik3,致力推動現代音樂發展,著重整合戲 劇、舞蹈和影片。由范雅志、克羅辛和盧素組合的極靜三重奏。自 2004 年成 立,已首演二十多部作品,並錄製梅立慈和大衛朗的音樂。也參與由考夫曼 和柯恩兄弟編寫的系列廣播劇,此劇布歇米、菲利普.西摩.霍夫曼和梅莉. 史翠普主演。目前使用史特拉第瓦里名琴「豪斯曼」。 大提琴

Felix Fan's versatility has made him one of the most sought after cellists of his


generation. As a chamber musician, he has performed with Yo-Yo Ma, Gil Shaham

Felix Fan, cello

and Janos Starker, in venues such as Carnegie Hall, The Kennedy Center. Fan's interest in contemporary music has led to collaborations with today's leading

composers including George Crumb, Hans Werner Henze, Oliver Knussen, and others. Appearances with the Bang on a Can AllStars led him to work with Philip Glass and other artists in other fields. In 1998, Fan founded Muzik3, a performance series and video. Muzik3 led to the formation of Real Quiet, a trio consisting of Fan, David Cossin and Andrew Russo. Since its inception in 2004, Real Quiet has premiered over 20 works and recorded music by Marc Mellits and David Lang. In 2005, Fan performed a series of radio plays written by Charlie Kaufman and the Coen Brothers, starring actors Steve Buscemi, Philip Seymour Hoffman and Meryl Streep. Fan plays the 'Haussman' Stradivarius of 1724.


commissioning foundation dedicated to the advancement of modern music with an emphasis on integrating theater, dance and

出生於雅典音樂世家,是世界公認不可多得的優秀藝術家,以精湛技巧、超 凡的音樂實力與演奏真摯而聞名。21 歲時已贏得三項大獎:西貝流士(1985 年)、帕格尼尼和瑙姆堡大賽(同於 1988 年)。使他得以錄製西貝流士小提 琴協奏曲的原始錄音版本,也贏得 1991 年《留聲機》年度最佳協奏曲大獎。 近年建立了自己身為指揮家的堅實經歷,與倫敦交響樂團、波士頓交響樂團、 維也納交響樂團、布達佩斯節慶管絃樂團等合作。2018/19 樂季,為巴伐利亞 廣播交響樂團的駐團音樂家,以獨奏家及指揮的雙重之姿活躍於貝多芬的小 提琴協奏曲及第七號交響曲的詮釋。 Born into a musical family in Athens, Leonidas Kavakos is recognized around the world as an artist of rare quality, known for his virtuosity, superb musicianship and the integrity of his playing. By the age of 21, Kavakos had already won three major competitions: Sibelius (1985), Paganini, and Naumburg (both in 1988). These successes led to his recording of the original version of the Sibelius Violin Concerto,


列奧尼達斯. 卡瓦科斯 Leonidas Kavakos, violin

the first-ever of this work. This won him the Gramophone Concerto of the Year Award in 1991. In recent years Kavakos has also built a strong profile as a conductor, working with the London Symphony, Boston Symphony, Vienna Symphony, and Budapest Festival Orchestra, among many others. In the 2018/19 season, as Artist in Residence with the Bavarian Radio Symphony Orchestra, Kavakos will appear as both soloist and conductor when he performs Beethoven Violin Concerto and Symphony No.7, and will also perform Shostakovich Violin Concerto with Mariss Jansons and Berg Violin Concerto with Daniel Harding.

畢業於韓國中央大學,擁有聲樂學士及德國卡斯魯爾大學藝術文憑。在國際 大賽上曾榮獲西班牙 Francisco Viñas 國際歌唱大賽特別獎、以及科堡的國際 歌唱大賽及特羅吉爾的國際男高音大賽的大小獎項。曾在 2007-2008 年被德 國《歌劇世界》雜誌提名為年度歌手,同年贏得第七屆韓國歌劇新人獎。近 年來在韓國國際歌劇節與導演―莫辛斯基合作羅密歐與茱麗葉,擔綱羅密歐 一角。除了在歐洲演出超過 400 個歌劇外,也在哥廷根國際劇院學院擔任講 師、早稻田大學國際中心擔任客座教授。現為日本豐田基金會、群馬歌劇協 會駐點藝術家及韓國中央大學教授。 Graduated from Chung-Ang University with an undergraduate degree(BM) in voice


and also holds an Artist Diploma from Karlsruhe University of Music in Germany.


Kim has won international competitions such as the special prize from Francisco

Dong-Won Kim, tenor

Viñas International Singing Contest in Barcelona. He also received prizes from numerous international competitions including the Alexander Girardi International 14 0

Singing Competition in Coburg and the international Tenor Competition in Trogir. Kim’s impeccable talent was once more recognized as he was named 2007/2008 Singer of the Year by Opernwelt Magazine and


won Emerging Singer of the Year award at the 7th Korean Opera Awards. He recently performed Romeo in Elijah Moshinski’s production of Romeo et Juliette with Korea National Opera. Performing over 400 opera pieces with numerous orchestras across


Europe, Kim also served as a lecturing professor at Göttingen International Theater Academy and guest lecturer at Waseda


University’s International Center. Kim is currently a recurring guest artists at Toyota Foundation and Gunma Opera Association


in Japan, and a lecturing professor at Chung-Ang University.

2016 年在新加坡維多莉亞劇院演出的華格納歌劇《漂泊的荷蘭人》飾 船長 Daland,英國樂評人 Marc Rochester 稱其演唱為“ 堅實而可靠的歌 聲 "。2005 年於「全日本演奏家協會」主辦之第二屆「歌劇詠嘆調大賽」 中獲得首獎。隨後即考入日本「藤原歌劇團」。2005 年在歌劇《魔笛》 飾 Sarastro 一角,首度登上日本歌劇舞台。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。如:《茶花女》、《強尼史基基》、 《波西米亞人》、《托斯卡》、《阿依達》、《莎樂美》、《奧泰羅》、 《外套》、《尤金 ‧ 奧涅金》等。現為日本藤原歌劇團團員,東京市立 歌劇協會會員。並任教於新店高中音樂班。 男低音


Julian Lo, bass

Julian Lo was awarded the first-prize winner of “Japan Performers Association’s” Operatic Aria Competition in 2005, and “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 principle roles in many opera productions such as La Traviata, Cosi fan tutte, La Bohème, Aida, Salome, Otello and Faust, Eugene Onegin, etc. Lo was highly praised for his deep velvety voice and strong presence on stage. A member of Fujisawa Opera Company and Tokyo Opera association.

現任上海交響樂團音樂總監、中國愛樂藝術總監暨常任指揮、廣州愛樂 樂團音樂總監,以及香港愛樂首席客席指揮。除此之外,1998 年至 2008 年間也是北京音樂節的藝術總監。2018/19 樂季擔任各大樂團客席指揮, 包括紐約愛樂、匹茲堡交響樂團、北德廣播交響樂團等。2018 年六月與 德國留聲機公司簽訂合約,在 2019 年至 2021 年三年內,每年由 DG 在 全球發行一張唱片,並由余隆指揮上海交響樂團。而該公司成立 120 週 年音樂會也由余隆指揮,於當年十月在北京紫禁城舉辦。 Long Yu is the Music Director of the Shanghai Symphony Orchestra, Artistic 指揮

Director & Chief Conductor of the China Philharmonic Orchestra and Music


Director of the Guangzhou Symphony Orchestra. He is also the Principal Guest

Long Yu, conductor

Conductor of the Hong Kong Philharmonic Orchestra. Maestro Yu is the Founder of the Beijing Music Festival and was its Artistic Director from 1998 to 2018. In the 2018/19 season, Maestro Yu makes guest appearances across the globe,

including with the New York Philharmonic Orchestra, Pittsburgh Symphony Orchestra, NDR Elbphilharmonie Orchestra and Grammophon’s 120th anniversary celebrations in 2018/19, Maestro Yu conducted a spectacular launch concert in October at the site of Beijing’s historic Imperial Ancestral Temple at the Forbidden City, alongside artists such as Aida Garifullina, Daniel Hope and Daniil Trifonov.


others. In June 2018, Maestro Yu signed an exclusive recording contract with Deutsche Grammophon. As part of the Deutsche

曾就讀於寇蒂斯音樂學院,獲得新加坡國際小提琴比賽、西班牙薩拉沙 蒂國際小提琴比賽和韓國尹伊桑國際小提琴比賽第一名。贏得第十五屆 柴科夫斯基國際音樂小提琴大賽後,已與倫敦愛樂、慕尼克愛樂、馬林 斯基劇院交響樂團和捷克愛樂等樂團合作。2016 年與環球唱片 DG 簽約, 2018 年已發行二張專輯。曾與費城管絃樂團、比利時國家交響樂團、新 加坡交響樂團、NSO 國家交響樂團等合作。指揮曾與捷傑耶夫、吉裡・ 貝洛拉維克、埃薩・ 佩卡・ 薩洛寧、歐斯莫・・ 凡斯卡和雅切克・ 卡斯普 契克等合作。最近受到米哈伊爾·普萊特涅夫邀請,將於日本 ( 東京 ) 首 次登台。現使用義大利制琴大師 Giuseppe Guarneri del Gesu 在 1732 年製 作的小提琴,名為“Castelbarco-Tarisio",由奇美博物館提供。 A student at the Curtis Institute of Music, Tseng previously won first prizes at



the Singapore International Violin Competition, Sarasate Violin Competition in Yu-Chien Tseng, violin Pamplona, Spain and the Isang Yun Violin Competition in Korea, also awarded from XV International Tchaikovsky Violin Competition in 2015. Signed to Deutsche Grammophone in 2016, his first album was released in January 2017. His second album will be released in 2018. Tseng has appeared 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 and many others. He has worked with Maestros such as Valery Gergiev, Jiří Bělohlávek, Esa-Pekka Salonen, Osmo Vänskä, Jacek Kaspszyk. Tseng plays the 1732 Giuseppe Guarneri del Gesu Ex “Castelbarco-Tarisio” on loan from the Chi-Mei Culture Foundation, Taiwan.

現任人力飛行劇團藝術總監、東海大學表演藝術碩士學程專任副教授,歷任 河左岸劇團、創作社劇團創始成員、國立臺灣師範大學表演藝術研究所兼任 副教授。臺灣當代劇場活耀且極具影響力的青壯派中堅創作者,早在 80 年代 臺灣小劇場運動中,以河左岸劇團開創詩化意象劇場,以低限內斂,濃稠文 學質感的殊異風格,躋身臺灣第二波劇場新潮重要旗手。90 年代之後,更跨 足音樂劇、歌劇、新媒體劇場導演,堪稱同世代劇場最多元發展的代表。 近期主要導演作品:衛武營國家藝術文化中心 / 德國萊茵歌劇院《浦契尼:杜 蘭朵》(2015-2019,首位赴德執導歌劇臺灣劇場導演 ),臺中國家歌劇院開幕 季歌劇《朵夫:迷宮魔獸》。國家交響樂團歌劇音樂會華格納《帕西法爾》、 理查 ‧ 史特勞斯《艾蕾克特拉》、歌劇神話華格納《尼貝龍指環》、NSO 貝 里尼歌劇《諾瑪》、《很久沒有敬我了你》。 Li is currently Artistic Director at Mr.Wing Theatre Company, as well as full-time



Huan-Hsiung Li, director

associate professor at the Graduate Institute of Performing Arts, Tunghai University. 1 4 2

As a founding member of the Rive-Gauche Theatre Group and Creative Society Theatre Company, Li made his name as early as the Avant-garde Theatre Movement of 1980s Taiwan and became one of the most active and influential figure in contemporary Taiwan theatre. Later in 1990s, Li expanded his career into the category of musicals, operas and multimedia stage productions,


(Deutsch oper am Rhein/National Kaohsiung Center for the Arts-Weiwuying, 2015-19). J. Dove's Monster in the maze (National



and becoming one of the most presenting theatre director in Taiwan. Li’s recent directing works include: G. Puccini's Turandot


Taichung Theater, 2016). V. Bellini’s Norma, R. Wagner’s The Ring Cycle, R. Strauss’s Elektra, R. Wagner’s Parsifal and On


the Road with the NSO.

出生於美國堪薩斯州。曾就讀匹茲堡州立大學和紐約茱莉亞音樂學院。1997 年,在拜魯特音樂節演出華格納《紐倫堡的名歌手》,飾華爾特,自此便常 於拜魯特演出。曾受邀至柏林、慕尼黑、阿姆斯特丹、巴塞隆納、馬德里、 巴黎、倫敦、米蘭、維也納,紐約和東京等各大歌劇院擔任客席獨唱家。他 的曲目廣泛,飾唱過的角色有崔斯坦、唐懷瑟、華爾特、齊格蒙、羅恩格林、 奧泰羅、拉達美、格里歐、唐卡羅、阿爾法洛、巴庫斯、皇帝、弗洛瑞斯坦等。 Born in Kansas/USA. He studied at Pittsburgh State University and New York Juilliard School. He had his international breakthrough in 1997 as Stolzing in 男高音

羅伯特 ‧迪恩 ‧ 史密斯

Robert Dean Smith, tenor

Wagner's Die Meistersinger von Nürnberg at the Bayreuth Festival where he regularly appeared since then. He is performing as guest soloist at the major opera houses like Berlin, Munich, Amsterdam, Barcelona, Madrid, Paris, London, Milan, Vienna, New York and Tokyo. His wide-ranging repertoire includes roles such as Tristan, Tannhäuser, Stolzing, Siegmund, Lohengrin, Otello, Radames, Des Grieux, Don Carlo, Alvaro, Bacchus, Kaiser, Florestan. Furthermore, the artist regularly appears on the international concert stages, among others in Paris, London, Vienna and Munich.

以演唱華格納與理查.史特勞斯曲目最具代表性。近期演出含卡塞爾飾伊索 德,里昂歌劇院、北京中國國家大劇院 (NCPA) 飾伊索德,由楚林斯基執導; 與巴黎法廣管絃樂團合作理查.史特勞斯《最後四首歌》、於柏修伊大劇院 晚宴音樂會演出《唐懷瑟》第二幕,並首次飾唱《西部女郎》咪妮,義大利 佩特魯切利劇院與布魯塞爾皇家鑄幣局劇院飾伊索德,此製作由阿蘭.阿替 奧格茹指揮、沙夏.瓦茲任舞臺導演;以及由維德尼可夫指揮哥本哈根皇家 劇院樂團,演出《最後四首歌》和《唐懷瑟》第二幕昆德莉的兩場音樂會等。 Danish Ann Petersen is a well-known international Soprano and is notable for her 女高音

performances especially in the German repertoire of R. Wagner and R. Strauss.

安 ‧ 匹德森

Ann Petersen has recently performed Isolde in Tristan und Isolde in Kassel (2018) ,

Ann Peterson, soprano

Isolde in Tristan und Isolde at Opera de Lyon, and at the NCPA in Beijing, directed by Mariusz Trelinski (2017), 4 Letzte Lieder by R. Strauss with Orchestre National

de Radio France Paris, Gala Concert at Bolshoi Theatre (2 act. Tannhäuser), and Minnie (her debut) / Fanciulla del West in Copenhagen (2017). Some of her current and future engagements include Isolde/Tristan und Isolde at Teatro Petruzelli di Bari


and at la Monnaie de Bruxelles with Alain Altinglu and stage director Sascha Waltz.

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。2008 年赴德國國立特 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 Monika Moldenhauer;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 Wolfram Rieger 和 Irwin Gage。 求學期間曾獲得許多獎項,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,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,2011 年獲德國音樂院大賽藝術歌曲組 (Lieder Duo) 第三名及 Paula-Salomon-Lindenberg“Das Lied " 第 二 名; 並 獲 邀 參 加 Kurt Widmer、 IrwinGage,及 Thomas Hampson 大師班。 Born in Taiwan, I-Chiao Shih began her studies with Prof. Tsuimin Tsai and YuPing Fan at Tainan Women’s College in Arts and Technology. Further studies under



I-Chiao Shih, alto

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 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.

為備受讚譽的男低音歌唱家,活躍在世界各大歌劇院和音樂節舞台,曾獲得 慕尼黑 ARD 國際音樂大賽、德國貝塔斯曼基金會新聲音國際聲樂比賽、日本 靜岡國際歌劇比賽等。常合作指揮家包括楊松斯、祖賓・梅塔、賽門拉圖、 鄭明勛、長野健托馬斯・內托皮爾、西爾文・坎布萊靈和喬納森・諾特等。 也常年擔任巴登巴登音樂節客座嘉賓。 近期演出含,義大利那不勒斯歌劇院演《女武神》,日內瓦大劇院演《阿依 達》、《納布科》,漢堡國家歌劇院演《魔笛》、《崔斯坦與伊索德》,在 柏林德意志歌劇院演《西蒙・波卡涅拉》,馬德里皇家歌劇院演《杜蘭朵》, 斯圖加特國家歌劇院演《漂泊的荷蘭人》、《崔斯坦與伊索德》,薩爾茲堡 復活節音樂節演《杜蘭朵》等。 Liang Li has become a most sought-after singer for both opera and concert with performances at all important international companies and festivals. He won


李曉良 Liang Li, bass

numerous prizes at International Voice Competitions, e.g. the International ARD 1 4 4

Music Competition in Munich, “Neue Stimmen" of the Bertelsmann Stiftung and the International Opera-Competition in Shizuoka in Japan. He has collaborated regularly with conductors like Mariss Jansons, Zubin Mehta, Sir Simon Rattle, Myung-


Whun Chung, Donald Runnicles, Tomás Netopil, Silvain Cambreling, Jonathan Nott, Manfred Honeck, just to name a few. In following seasons, Liang Li will appear in following productions: Die Walküre in Teatro di San Carlo Napoli; Aida and


Nabucco in Grand Théâtre de Genève; Die Zauberflöte, Norma, Tristan und Isolde, Macbeth in Staatsoper Hamburg ; Simon


Boccanegra in Deutsche Oper Berlin, Turandot in Teatro Real Madrid, Beethoven Symphony No.9 with Radio-Symphonie-


Orchester Berlin and Tokyo Symphony Orchestra, etc..

被媒體譽為無可挑剔技巧的高大雄偉男低音、舞台上無法忽視的存在。近期 演出含《漂泊的荷蘭人》飾男主角,此場於柏休伊大劇院的首演獲全球讚譽; 其它演出含與首爾愛樂和蒙特婁歌劇院合作,飾唱《萊茵黃金》阿貝里希; 與 BBC 蘇格蘭交響和休士頓交響合作飾唱《伍采克》醫生,獲葛萊美獎;於 史卡拉首次登台,參與巴帝斯特利《CO2》羅伯.卡森世界首演製作。 2019/20 樂季,將在亞特蘭大和夏威夷歌劇院首次登台飾唱《莎樂美》約翰, 與多倫多交響合作演唱《泰伊思》帕雷蒙、與鹿特丹愛樂巡迴,並與赫爾辛 基愛樂合作《雷利歐》。 A “tall, majestic bass” with “impeccable technique” and “a palpable presence on 男低音

stage,” Canadian bass-baritone Nathan Berg’s career has spanned a vast range of

內森 ‧ 貝格

repertoire on the concert and operatic stage. His recent dramatic work has earned

Nathan Berg, bass

acclaim around the globe from the title role in Der fliegende Holländer in his Bolshoi Theatre debut, Alberich in Das Rheingold with the Seoul Philharmonic

Orchestra and Opéra de Montréal, Doktor in Wozzeck with the BBC Scottish Symphony Orchestra and the Houston Symphony, for which he won a Grammy Award, and his company debut at Teatro alla Scala, in Robert Carsen’s world-premiere production of Battistelli’s CO2. In the upcoming season, Mr. Berg makes his house and role debuts as Jochanaan in Salome with Atlanta Opera and Hawaii Opera Theatre. On the concert stage, Mr. Berg will join the Toronto Symphony to sing Palemon in Thaïs and perform Lélio with the Helsinki Philharmonic.

啟蒙於廖聰文,就讀東吳⼤學⾳樂學系師事孫清吉教授。於德國柏林藝術大學取 得歌劇以及藝術歌曲暨神劇雙碩⼠學位,師事 KS Markus Brück。 2017 年獲邀於柏林德意志歌劇院客席演出 (G.Verdi) 歌劇《蝴蝶夫人⼈》,飾演 Goro。同年獲 Foerderkreis der Deutschen Oper Berlin 獎學金,旋即成為柏林德 意志歌劇院駐院男高音至今。合作過名指揮家如:D. Runnucles、S. Rattle、 C. Rizzi 等, 並 與 歌 手 L. Nucci、A. Harteros、K.F. Vogt、G. Kunde、J. Calleja、D. Damrau 等同台演出。也曾於柏林喜歌劇院、卡塞爾國立劇院客 席,2019 年於下巴伐利亞州立劇院客席演出《萊茵黃金》火神 Loge。2020 年 將於柏林德意志歌劇院新製作華格納《尼貝龍指環》中,飾演 Mime。 男高音


Ya-Chung Huang, tenor

Ya-Chung Huang was born in 1989. He studied singing with Chong-Boon Liau and graduated from the Soochow University in Taipei with Prof. Ching-Chi Sun in 2011. From 2014 to 2018 he studied Opera and Lied/ Oratorio/ Concert in the

class of KS Markus Brück at the University of the Arts Berlin, and graduated with Master.Ya-Chung Huang made his debut as der Deutschen Oper Berlin e.V. and since the 2018/19 season Ya-Chung Huang has been a member of the ensemble at Deutsche Oper Berlin.


Goro in Madama Butterfly at the Deutsche Oper Berlin. In the 2017/18 season he was a scholarship holder of the Förderkreis

臺大校友合唱團 National Taiwan University Alumni Chorus

民國 94 年春,臺大合唱團跨屆核心團友在臺北市成立「臺大校友合唱團」, 號召臺大合唱團畢業團友、愛樂的臺大校友、教職員及其眷屬,加入這個以 聯繫校友情誼、追求卓越音樂品質為宗旨的大家庭。在合唱大師戴金泉教授 的帶領下,短短一年之內,它已成長為擁有百餘名現役團員、歌唱實力堅強 的團隊;而期年之內,旅居北加州、美東、南加州及休士頓地區的臺大人也 相繼籌組校友合唱團,本著對音樂的共同愛好,實踐臺大校訓「愛國、愛人」 的理念。臺大校友合唱團(臺北)成立至今已舉辦過十四屆年度公演,民國 93 年曾赴美西巡迴演唱,在國內經常受邀協演及從事公益演出。該團目前由 擁有指揮博士學位及歌唱家文憑的莊舜旭教授擔任音樂總監及駐團指揮,團 員素質整齊,訓練紮實,向心力堅強,是一支默契良好、聲情並美的合唱勁旅。

In the spring of 2004, core members across generations from the National Taiwan University Chorus gathered  in Taipei to launch the NTU Alumni Chorus, calling on all music lovers affiliated with NTU to join in the pursuit of musical and emotional harmony. Under the leadership of choral master Prof. Tai Ching-Chuan, within a year membership grew to over one hundred. At the same time, branches sprouted in Northern California, Southern California, Eastern U.S., and the Greater Houston Area. To date, NTUAC Taipei has held 14 annual concerts, toured the U.S. West Coast in 2005, and taken part in numerous performances within the country. Currently, the music director and resident conductor is Prof. Shun-Hsu Chuang, eminently qualified with a doctorate in conducting as well as master's degrees in choral conducting and vocal performance. The vision of NTUAC is perfection in choral singing.

台北愛樂合唱團 Taipei Philharmonic Chorus

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,指揮家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。近年屢代表台灣出訪,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。

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 the NSO for several events, repertoire include Beethoven Symphony No.9, Mendelssohn Elijah and Symphony No.2, Mahler Symphony No.2, 3, 8, Bizet Carmen, Puccini Madama Butterfly, Britten War 1 4 6

Requiem, Orff 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.


東京大都會 合唱團 The Metropolitan Chorus of Tokyo

由作曲家、合唱指揮松下耕擔任音樂總監,首席指揮的合唱團『耕友會』成 員所組成的男女混聲合唱團。除參加各項演出,也積極前往學校、福祉設施 參訪演奏,CD 錄音、海外公演和交流活動等,致力於合唱文化傳承保存及發 展。2008 年以「被曝國」合唱團身份獲美國明尼蘇達州聖保羅市之邀,世界 首演以長崎原爆為主題的《啊、長崎 從灰燼到光芒》。2015 年受邀於美國 猶他州鹽湖城,美國合唱指揮者協會 ACDA 舉辦的國際合唱會議表演。2016 年於韓國釜山國際合唱節表演。2018 年受邀於日本國際合唱作曲大賽頒獎典 禮為得獎作品作世界首演,且演出品質受到高度評價。

The Metropolitan Chorus of Tokyo is a mixed chorus led by composer Ko Matsushita, who is now the chief conductor and the music director of the chorus, which is consisted of male and female members of Koyukai. In addition to participating in various choral music festivals and events, they also dedicate themselves fervently to performances in schools and welfare facilities. Through CD recordings, overseas performances, and cultural exchanges, they have contributed to the preservation and development of choral music culture. In 2008, it was invited by the city of São Paulo, Minnesota, USA, as the “Exposed Country Chorus” to premiere Ah Nagasaki: Ashes into Light, a work centered on the theme of Nagasaki nuclear catastrophe, composed by Robert Kyr, and the premiere was well acclaimed. In 2015, it was invited to perform at the International Federation for Choral Music held in Salt Lake City, Utah, organized by ACDA, the American Choral Directors Association. In 2016, the chorus was invited to perform at the Busan International Choir Festival in South Korea. In 2018, they was invited to premiere the award-winning works in the celebration ceremony of the Japan International Choral Composition Competition, and the performance was highly recognized.

拉縴人 男聲合唱團 Taipei Male Choir

拉縴人男聲合唱團,前身為成功高中校友合唱團。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。 成立於 1997 年,2003 年起,拉縴人贏得多座國際大獎殊榮。更出版四張男聲 合唱的專輯,榮獲 2008、2012、2016 年三屆傳藝類金曲「最佳演唱獎」。歷 年曾造訪日本、韓國、新加坡、馬來西亞、德國、法國、波蘭、香港、上海等地, 並與許多知名國際合唱團、指揮合作。 目前,拉縴人邀請亞洲桂冠指揮松下耕擔任其藝術總監、戴怡音博士擔任常 任指揮、李孟峰擔任鋼琴伴奏,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. Wei-Min Zhang, who expected everyone to sing in concord, just as the boat trackers on the upper stream of Yangtze River would work together. TMC was founded in 1997. Since 2003, TMC has been invited to many international choral festivals and has won several Award at three sessions of Golden Melody Award(2008, 2011, 2016)in Taiwan. 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, Mrs. Yi-Yin Tai as the Choral Conductor, and Meng-Fen Lee as Pianist, 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".


important awards. TMC has released four CDs of classical and contemporary male choral music and won the Best Performance


1 50








1 52








1 54









1 58








1 60









NSO 愛樂套票

7/15-7/31 熱烈啟售  限量 388 套 凡購買套票者,加送限量樂季票袋乙個 ( 乙套限贈送乙個 ) 1. 愛樂套票 DIY( 音樂廳、演奏廳場次皆可選擇 ) ‧ 7 場以上 75 折 ‧ 10 場以上 7 折 贈送發光筆乙支 ‧ 20 場以上 6 折 贈送 NSO 精美 CD 乙片 ‧ 全壘打套票 (37 場 )5 折,限量 10 套,贈送 Chord & Major 耳機一副 音樂廳節目不包含最低兩級票價,演奏廳節目不限票級 2. 特別企劃 - 總監套票 ‧ 12 場 7 折贈送 NSO 樂季 T-shirt 乙件(歌劇《崔斯坦與伊索德》兩場擇一) 贈品兌換期間:2019/9/15~2020/1/1 至兩廳院服務台兌換 贈品數量有限,如兌換完畢,將改以等值贈品兌換 套票不得單場退換

國家交響樂團│樂季手冊 發行所

國家表演藝術中心 國家交響樂團





執行編輯 羅文君、楊宇晴、陳詩涵 主視覺 兩個八月創意設計有限公司 美術編輯 陳偉熙 撰述


中英翻譯 呂懿德、張葳、鄭可喬 編審 沈雕龍、Jacob Pruess、Robert Markow 攝影 


兩廳院售票系統 NTCH Ticketing Service http://www.artsticket.com.tw 國家交響樂團 National Symphony Orchestra 100 台北市中山南路 21-1 號 TEL:+886-2-3393-9888 FAX:+886-2-3393-9669 http://npac-nso.org 2019 年 7 月出版

1 64








Profile for NSO國家交響樂團National Symphony Orchestra

NSO 1920樂季手冊  

音樂總監呂紹嘉前言: 在「恆變」中追求「不變」 不時會被問到這類問題:音樂是什麼?在二十一世紀的臺灣,古典音樂能帶給大家什麼樣的影響?為什麼在東亞的我們,要聽過去幾百年、來自遠方的音樂? 記得德國哲學家叔本華有句話,大意是「科學的追求,永遠遵循因果原理,像直線般往前、永無止盡;...

NSO 1920樂季手冊  

音樂總監呂紹嘉前言: 在「恆變」中追求「不變」 不時會被問到這類問題:音樂是什麼?在二十一世紀的臺灣,古典音樂能帶給大家什麼樣的影響?為什麼在東亞的我們,要聽過去幾百年、來自遠方的音樂? 記得德國哲學家叔本華有句話,大意是「科學的追求,永遠遵循因果原理,像直線般往前、永無止盡;...