台積電經典饗宴 2022 NTT遇見巨人—莫札特歌劇《魔笛》

Page 1

臺中國家歌劇院 大劇院 Grand Theater, National Taichung Theater 全長約180分鐘,含中場休息20分鐘 德語發音,中英文字幕 Approx. 180 minutes with a 20-minute intermission Performed in German with Chinese and English surtitles. 2022 12.15 12.16 u. Fri. 19:30 12.17 12.18 Sat. Sun. 14:30
劇情概要 ............................................................................... 1 導演筆記 ............................................................................... 5 莫札特《魔笛》的音樂奧義 ................................................. 15 藝術創作群介紹 .................................................................. 17 演出人員介紹 ...................................................................... 27

莫札特歌劇《魔笛》的劇情是關於迷路的年輕王子塔米諾(我猜他是老二),有一天他大戰惡龍後 體力不支,被夜后的 3 名仕女所救,因而得知邪惡的大祭司薩拉斯特羅,綁架了夜后的女兒帕米娜; 王子對帕米娜的畫像一見傾心,因此踏上救回帕米娜的旅程。

童話故事也經常發生在黑森林裡,王子們在森林裡救了白雪公主、長髮公主、還有睡美人;塔米諾 則在森林裡吹起了魔笛,讓林間動物都出來跳舞,也讓帕米娜聽見他的呼喚。森林,除了明確的標 誌出歐洲大陸的地貌之外,也代表著舊時代對於未知與恐懼的總和。

導演威廉.肯特里奇眼中的《魔笛》不僅是童話故事,他認為整齣歌劇充滿了走出黑暗迎向光明的 隱喻,就像柏拉圖《理想國》洞穴比喻的寓言,一旦洞穴裡的囚徒看過了陽光,瞭解了真相,就有 責任回去洞穴,找到其他仍在黑暗中的人,並帶領或者強迫他們,迎向光明。

薩拉斯特羅違背帕米娜的意願綁架了她,要將她帶入啟蒙;決心拯救帕米娜的塔米諾,在很多場景

序言 進入《魔笛》的世界前,我好奇,為什麼童話故事裡有那麼多王子? 在童話起源的中世紀,歐洲小國林立,國王和王后所生的每個兒子都是王子,如果把領土平均劃分 給他們,小國就成了小小國,因此只有長子才能繼承王位,而其他的老二、老三等只好自尋出路, 找一個漂亮的、尤其是即將繼承王位的公主結婚,想辦法開拓自己的人生。
中站在黑暗中,從一開始的迷信、無知,經歷種種試煉獲得啟蒙,迎向結尾宛如太陽的明亮之光。 透過脅迫手段達成啟蒙的思想,對出身南非的肯特里奇來說,也成為殖民主義「為黑暗大陸帶來光 明」的辯解,讓他想起 19 世紀末被歐洲列強瓜分的非洲,以及 20 世紀初隨之而來的種族屠殺;而《魔 笛》,則暗示了啟蒙運動的烏托邦時刻。 此時此刻身在臺灣的我們,《魔笛》中的隱喻又是什麼呢? 臺中國家歌劇院 藝術總監|

文精神的追求。結合義大利、法國及德國歌劇的特色,莫札特選擇以德文說唱劇的形式,將其對真 善美追求的理想巧妙融於民間童話之中,為朗朗上口樸質的民謠曲調增添了高貴的音樂性,以強烈 的入世精神,帶領當時更多的大眾理解音樂的美好,而這股強烈的能量,迄今綿延傳遞。

經典是歷經時間粹鍊的精華。台積電文教基金會非常榮幸地能夠支持臺中國家歌劇院呈現歌劇《魔 笛》此部經典之作。南非藝術家威廉.肯特里奇( William Kentridge )所製作的《魔笛》,更是集 結了國內外菁英團隊,為原本的經典增添藝術層次及人文觀點。衷心期盼更多民眾走入劇場,透過 《魔笛》,體驗經典之作的魅力,感受世界的美好。

台積電文教基金會 董事長|

序言 莫札特,古典音樂史上最偉大的天才。以 4 歲之齡即創作出第一部奏鳴曲,7 歲寫出第一首協奏曲, 12 歲他產出第一部歌劇。在他 35 歲有如彗星般的生命中,總共為人類留下了 754 件作品。 論及莫札特的天才,我想起一部奧斯卡金獎電影──《阿瑪迪斯》。裡面飾演忌妒莫札特的作曲家薩里 耶里有一段台詞令我印象十分深刻;他說:「太不可思議了,超越理解,完全沒有修改。他只是寫出 腦中的音樂,一頁接著一頁,好像聽寫。而這是前所未見的悅耳音樂,換了一個音符就不完美。」
若說莫札特的誕生是上天賜予人類美好的禮物,而《魔笛》則是莫札特在人生走向終點最美好的天 鵝之歌。《魔笛》於 1791 年 9 月 30 日在奧地利的維登劇院首演,同年 12 月 5 日莫札特便離開了世 界。《魔笛》的價值,不僅是莫札特音樂天才的結晶,更是彰顯了一位音樂家對於藝術創新以及人
第一幕 故事開始於王子塔米諾被巨蛇追趕而驚嚇昏厥,三位仕女殺死巨蛇且前去稟報夜后。王子清醒後, 見到唱著〈我是一個捕鳥人〉的帕帕基諾,以為對方是自己的救命恩人,後者也未否認,而三位返 回原地的仕女見狀,便把捕鳥人的嘴巴鎖住當作懲罰,她們還對塔米諾展示公主帕米娜的畫像,一 首〈這幅畫像奇異地美麗〉,將王子的一見傾心表露無疑。夜后以既威嚴又哀憐的姿態現身,懇求 王子救回自己被薩拉斯特羅俘虜的愛女。塔米諾接受請託,而帕帕基諾則被迫與王子隨行,做為說 謊的代價。三位仕女將魔笛給予王子,帕帕基諾則得到一支銀鈴,在輕盈的樂聲中,她們還預告三 位仙童將會為兩人指引路途。 帕米娜被囚禁在薩拉斯特羅的宮殿裡,不停被看守她的摩爾人莫諾斯塔托斯騷擾,然而和塔米諾分 開的帕帕基諾找到了宮殿,並嚇跑莫諾斯塔托斯。帕帕基諾喚醒帕米娜,轉達王子的心意後,一首 他與公主的二重唱,讓帕帕基諾彷彿也理解了愛情的神聖責任。當兩人動身尋找王子時,王子來到 了三座分別代表「智慧」、「理性」和「自然」的神殿前,這時三位仙童出現,提醒王子要把握「堅
感謝眾神,帕帕基諾也以排簫回應。而公主和帕帕基諾卻冷不防地被尾隨的莫諾斯塔托斯捕獲,情 急之下,帕帕基諾演奏銀鈴,怪物們被音樂迷醉起舞。此時,薩拉斯特羅出現,懲罰了莫諾斯塔托 斯的淫邪之心,也原諒帕米娜的逃脫,並告誡她不能輕信母親的片面之詞。 劇情概要 蔡永凱/東海大學音樂系專任助理教授 1 │ 莫札特歌劇《魔笛》
毅」、「耐心」和「沈默」三個原則。王子被「理性」和「自然」兩神殿拒絕,而「智慧」神殿中 的一位老祭司則點破王子內心的仇恨及衝動,並告知帕米娜還活著,王子得知後,開心地演奏魔笛

The first act opens with prince Tamino being chased by a serpent. He faints in fright. The three ladies kills the giant serpent and leave to report to the Queen of the Night. The prince wakes up to Papageno, the bird-catcher, singing ‘Der Vogelfänger bin ich ja.’ He takes the bird-catcher as his savior and the latter accepts the credit. The three ladies return to see this and place a padlock over the bird-catcher's mouth as punishment. They also show Tamino a portrait of princess Pamina. ‘Dies Bildnis ist bezaubernd schön’ fully captures the prince's love at first sight. The Queen of the Night also appears in a majestic but distressed image and implores the prince to rescue her kidnapped daughter from Sarastro. Tamino accepts this mission and Papageno, with the fear of being eaten by Sarastro, is forced to accompany the prince paying the price for lying. The three ladies give the prince the magic flute, and Papageno receives silver bells. With soft music playing in the background, they also announce that the three spirits will guide their way.

Pamina is imprisoned in Sarastro's palace and constantly harassed by Monostatos, a Moor who keeps watch on her. The sudden appearance of Papageno scares Monostatos away. He wakes Pamina and relays Tamino's love to her. Papageno appears to understand the sacred responsibility of love through his duet with Pamina. The two set forth to find Tamino. Tamino reaches three temples which are dedicated to Wisdom, Reason, and Nature. The three spirits appear and give him the advice to be patient, silent and persevering. He is refused admittance to Reason and Nature. An old priest of the Wisdom temple points out that the prince is holding too much hatred and acts on impulse. When the prince learns that Pamina is still alive, he plays the magic flute to thank the gods and Papageno's pipes also sound in response. Papageno and Pamina inadvertently are captured by Monostatos who tails them. In desperation, Papageno plays the silver bells, and the enchanted monsters dance to the music. Sarastro appears and punishes Monostatos for his wicked intention, and pardons Pamina for her escape, but warns her not to believe her mother's one-sided words.

ACT 1
| 2
Die Zauberflöte by W.A. Mozart
第二幕 神殿裡聚集的眾人同意讓塔米諾接受試驗,雖然塔米諾意志堅定,但帕帕基諾想臨陣退縮,祭司則 以帕帕基娜來誘使帕帕基諾繼續旅程。當兩人被告誡保持沈默時,三位仕女到來且苦勸王子回頭, 雖然帕帕基諾快被說服,但塔米諾不為所動,仕女們只好離開。同一時間,當莫諾斯塔托斯試圖侵 犯睡覺中的公主,夜后突然出現,命令自己的女兒手刃薩拉斯特羅,並控訴死去的前夫不讓她繼承 日光之輪,她的怨懟與憤怒,藉由〈復仇地獄之火在我內心裡燃燒〉一曲表露無遺。在一旁偷聽的
地〉一曲,告誡公主務必消除復仇之念。 帕帕基諾遇見了一位自稱是帕帕基娜的老嫗,勉為其難答應要跟她結婚,卻被祭司質疑而無法如願。
銀鈴法力,當他奏起銀鈴時,帕帕基娜出現了,二重唱開始的〈帕、帕、帕〉傳神地描繪帕帕基諾 不可置信的神情。另一邊,與莫諾斯塔托斯合謀攻擊薩拉斯特羅的夜后,因計畫失敗,法力被破壞, 與她的仕女跌進永恆的黑夜。薩拉斯特羅宣告光明終將戰勝邪惡,眾人歌頌美與智慧之永恆。 3 │ 莫札特歌劇《魔笛》
莫諾斯塔托斯自告奮勇想為公主服務,卻被突然出現的薩拉斯特羅制止,他也以〈在圍牆環繞的聖
三位仙童在晶瑩清透的三重唱歌聲中,將魔笛和銀鈴歸還兩位主角。塔米諾的笛聲喚來了帕米娜, 但塔米諾必須完成神殿試驗,因而始終保持沉默,導致帕米娜以為塔米諾已經不再愛她。從詠嘆調 〈啊!我感到,愛情的幸福〉中,可以感受女孩的心碎,想要尋短的帕米娜被三位仙童所救,並引 領她和塔米諾會合。兩人靠著魔笛的幫助,通過烈火和洪水的考驗,並得到眾祭司的祝賀。然而, 只想交到女友共組家庭的帕帕基諾,卻在失望之餘準備上吊自殺,此時三位仙童出現,提醒他莫忘

In the second act, the group which gathers at the temples agree to put Tamino through the trial. Although Tamino is determined, Papageno constantly wants to back out. The priest entices Papageno into continuing the journey by promising the hand of Papagena. When the two are advised to remain silent, the three ladies arrive and talk the prince into turning back. Papageno is apparently about to give in while Tamino stays unwavering. The three ladies have no choice but to leave. At the same time, as Monostatos attempts to violate while Pamina is asleep, the Queen of the Night appears and order her daughter to kill Sarastro with a dagger. She accuses of her late husband of robbing her the entitlement to the Sun Wheel. Her resentment and anger are all embodied in ‘Der Hölle Rache kocht in meinem Herzen.’ Monostatos, who is eavesdropping in hiding, volunteers his service to the princess but is stopped by Sarastro. Through ‘In diesen heil'gen Hallen,’ he cautions the princess to forget about revenge.

Papageno meets an old woman who claims to be Papagena. Reluctantly, Papageno promises to marry her, but the marriage is stopped by the priests who challenge his worthiness. Entering in crystal trio, the three spirits return the magic flute and silver bells to the two protagonists. Pamina is summoned by the sound of Tamino's flute, but Tamino bound by his vow of silence, cannot answer her, and Pamina begins to believe that Tamino no longer loves her. The girl conveys her heartbreak through the aria ‘Ach, ich fühl's, es ist verschwunden’. Pamina, who tries to commit suicide is stopped by the three spirits and they guide her to find Tamino. With the help of the magic flute, the two pass the test of fire and water, and are congratulated by the priests. Papageno, who just wants to find a girl to start a family with, decides to hang himself out of despair. The three spirits remind him the magic power of silver bells. He plays the magic bells and Papagena appears, and the duet ‘Pa, Pa, Pa’ vividly expresses Papageno's astonishment. After her conspiracy with Monostatos to attack Sarastro fails, the Queen of the Night's power is vanquished, and she falls into eternal night with three ladies. Sarastro declares that light has finally conquered evil, and everyone sings to celebrate the eternity of beauty and wisdom.

ACT 2
Mozart | 4
Die Zauberflöte by W.A.

的繪畫,黑色線條就被轉換成白色、白紙就被 轉換成黑色背景。我當時選擇使用第二個方 式,很大程度上只是因這樣較有可能廣泛標記 符號,並且能輕鬆放手繪畫,而不是因為對於 反白繪畫的含意有了什麼想法。玩同一個圖像 正、負版本的遊戲,是在編輯過程中興起的, 然後在隨後而來的圖畫被擴展,就像是攝影的 正片與負片。我在探究共濟會象徵圖像的世 界、埃及神祇與神話領域的同時,也在研究巴 洛克劇場機械結構,嘗試找到這個作品自己的 語彙。我將這些圖畫和動畫序列圖編輯成歌劇 序曲的投影片版本,就投射在那個僧侶齋房中 一個老舊的學校黑板上。有一些「學會魔笛」 這項實驗中所使用的圖像,已會用在這部歌

導演筆記 威廉.肯特里奇 為歌劇《魔笛》所寫下的「導演筆記」,原是 2005 年為比利時布魯塞爾鑄幣局劇院首演撰 寫; 2018 年,日本東京新國立劇場重製《魔 笛》,再為其增添更新。 《魔笛》是我執導的第一齣大型歌劇,之後也 執導了其他幾部歌劇作品,但《魔笛》始終舉 足輕重,因為這是一齣關於歌劇的歌劇、關於 以音樂展現愛的力量的歌劇。 這部作品充溢了對於威權、暴虐、慈悲議題的 臆斷知識,換言之,這些議題,依然是此時此 刻政治觀點的核心。與此同時,美妙的單純天 真不僅在捕鳥人帕帕基諾身上看到,更貫穿於 全劇。 這部歌劇的魔力在於以輕巧的演譯,承載複雜 深邃的大哉問;也在於當音樂輕柔飄浮在我們 耳邊的同時,散發莊嚴穩重的風采。 下文即為準備 2005 年首演時記錄的筆記。 大祭司薩拉斯特羅的黑板:學會魔笛 大約八個月前,在我已經著手進行《魔笛》的 製作之後,我被邀請到一個小鎮的博物館舉辦 展覽。這個博物館是個古樸的露明木架結構 屋,其中一個房間原是僧侶的齋房,內裝了許 多木牆板及壁畫,藝術家們被禁止碰觸。我當 時決定將這房間作為投影空間,並利用房間內 的黑板當作投影螢幕,看看能否用黑色表面當 作投影幕,而不是通常會使用的白色。我那時 已需要開始思考《魔笛》,並決定在這製作中, 將黑板當作一種素描本,看會不會浮現出一種 新的視覺語彙。基本上,黑板表面得要白色線 條才明顯。 有二種畫白線的方式,第一個是用白粉筆畫在 黑紙上;另一個則是在白紙上畫黑線,然後將 這個圖像,翻轉到電影底片,運用這種底片式
劇裡(譬如,馬克.恩斯特的共濟會之眼節拍 器)。但,最重要的發現在於攝影的原始隱喻, 意識到這種特殊的黑白反差繪圖形式,與這部 大結構、多主題的歌劇,產生連結。圖像的內 容,遠不如圖像的形式(正片、負片)帶來的 聯想重要。 於是這部製作中有兩大重點,首先,是一種廣義 的正面/負面的隱喻,叩應到歌劇裡,映射在 夜后與光明大祭司薩拉斯特羅之間的衝突。黑 暗化為光明、陽光驅逐黑夜的訊息被引用貫穿 整部歌劇,是明確的察覺發現,而非僅是想望。 5 │ 莫札特歌劇《魔笛》

仁慈引導,但我們最終會更相信莫札特,相信 他那理性、魔幻與矛盾的混和體。 暗箱 假設,我們在相機內部,空曠的舞台就是相機 進行光學原理的工作空間,在這裡,三度立體 空間世界,以較小的尺寸扁平化被重建。巴洛 克式平面舞台場景的傳統,從下舞台到上舞台 的視角安排法,讓我想起了一種老式相機(大 畫幅相機)的多層蛇腹,也提醒了我從雙筒望 遠鏡中所看到平面距離的扁平現象,一種量子 透視法,由一系列跳接的平面形成的深度。

會投滿純淨之光。從影像角度來看,我們是在 電影尾聲,當最後一個影像穿越了投影鏡頭的 閘門,我們所擁有的只是投影燈泡,也就是, 一無所有。 在電影裡我們唯一的期望是,合理化光與影彼 此間的相互作用:凝視陽光時的那種柏拉圖式 的清晰與明確性,是真理與意義的終結,而非 創造。 這只是一個念頭閃過,不是要對舞台上會看到的 做詮釋,雖然我注意到了所有關於光明與黑暗的 「音樂」,以及舞台上不論是正投或背投的「投 影機」,這二者之間的關聯。但我們從對大祭 司薩拉斯特羅教導的反應中,已有跡可循。 自從莫札特寫了這部歌劇,多年來,讓我們對 哲人獨裁者更加心生警惕。之後強制性的凝聚 智慧,造成了無心但災難性的後果,不僅僅是 在這部歌劇創作完後的羅伯斯庇爾式的恐怖統 治年代,也在整個殖民年代,整個我們所處的 世紀。儘管我們可能相信大祭司薩拉斯特羅的
場結構,早期歌劇製作會使用的舞台與布景類 型的劇場。申克爾和他當時為《魔笛》所繪製 赫赫有名的布景圖,也成為設計元素。不同的 彩繪紗變成不同的投影層次。我和莎賓.托伊 尼森一起為《魔笛》合作舞台布景設計,試圖 為這些連結與動力提供一個可以更清晰與被擴 展的空間。空間夠簡潔,每個場景可以清晰地 發生,同時,也容許歌劇中更廣泛的提問與聯 想的浮現。 Die Zauberflöte by W.A. Mozart | 6
其次,在我開始順著這個發現思索,歌劇的很 大一部分似乎都符合。帕帕基諾和塔米諾在大 祭司薩拉斯特羅聖殿的地窖,實際上就是在一 個暗房,是一個有雙重意義的暗房,一個沖洗 底片與測驗感光材料的地方,也是相機鏡頭與 接目鏡之間的主體「暗箱」。 巴洛克視角 過了很久,在嘗試了很多素描繪畫,我不可避 免地意識到共濟會的核心意象之一:無身體之 眼。一只無臉之眼,隱身在鏡頭後方之眼。 寓意繁衍 舞台上將使用投影,是這計畫的預設形式。而 由攝影的隱喻引導而來的期望,是要將移動的 投影(形式本身),與歌劇的意義有所連結。 歌劇的結局帶領我們來到了太陽聖殿,舞台就
所以,現在我們有一個眾多元素的集合體:攝 影、相機、正片與負片、電影參照、巴洛克劇

影畫面保持精準的速度,反而造成二者間的脫 節。栩栩如生的是,如果歌手引導著影像,就 像正在創造它們,就像夜后的繁星是被召喚出 來的。(在舞台上,意味著夜后需要畫線,但 不是跟著螢幕上出現的速度,而是要更快,要 先於影像,要更果斷。)如果成功的話,就會 有一種主動性、力量和製作的感覺,我想這也 是其他組畫面的一個線索。我現在意識到會有 不少組的繪圖:帕帕基諾捕鳥場景就是在投影 幕上呈現、祭司們在繪製理想化的建築物設計 圖等。(僧侶齋房的投影黑板會一直在這部歌 劇中出現,主要是為三仙童打造的手段,也是 因為我發現黑板是共濟會學徒啟蒙儀式一個重 要部分)我直到這周的排練才意識到,繪畫作

衣冠楚楚的攝影師穿什麼 相機本身的隱喻和形象點燃了舞台與服裝的設 計決定。我們必須從 18 世紀轉移到 19 世紀, 這齣歌劇的時間軸上至少有三個時間點: 18 世 紀是歌劇寫作時間點( 1791 年維也納);未指 明的過去的埃及,是歌劇故事背景時間設定點; 以及具體的歌劇製作時間點( 2005 年布魯塞 爾)。不是從理論或抽象意義上講,而是從我 們作為觀眾的體驗,意識到莫札特和施卡內德 寫作的年代,允許我們自身進出製作所描述的 世界,同時也意識到我們身處在劇院裡。 19 世紀的設定(有些服裝是 1894 年的,有些 更早幾年)是因「攝影」的原生意念所定義。 但「攝影」又再次提出了更進一步的意像和方 式,投射到歌劇的部分內容。 男性學習專屬俱樂部 舉例來說,祭司們變得既不抽象,也不是想像中 古埃及具體的祭司;非 18 世紀的石匠協會,而 是男性共學的排他性社團,像是「英國皇家地理 學會」;而夜后與三位仕女不算是女權主義運動 者,但,一定有感被這個社團排除在外。 這些發現,舞台如相機,攝影的正負片世界, 提供的是一個大致的框架,能在其中偶遇每一 個角色、發現每一個場景。 2 週排練後的筆記 舞台繪圖 《魔笛》的舞台繪圖與動畫的初步工作是在我 位於約翰尼斯堡的工作室進行,用一個舞台模 型和木質裁剪成的人型進行測試,這是個挺不 錯測試影像的方式。其中一個未解決的重要問 題是如何為在現場演出的歌手與投影畫面之間 找到一個好的連結。不可能在模型上找得到的 答案:怎麼樣讓投影不可以只是作為背景、歌 手不可以被視而不見、現場演出的歌手與投影 並不相矛盾。已經出現了一些基本規則,歌手 並不會盯著螢幕看,螢幕上的影像是我們想像 這名角色正在看到的或想到的。歌手試圖與投
7 │ 莫札特歌劇《魔笛》
帕米娜公主的試煉才是這部歌劇的真正核心。 她的試煉,包括綁架、近乎被強暴、沉默的愛 人、試圖將她變成刺客的母親,我們不是佩服, 而是會有所感受。啟蒙運動的核心-我們本質 上並非固定的、我們通過經驗創造自我-與繪 畫過程中的意識建構之間存在著一個平行關係。 首演 2 週前筆記 大祭司薩拉斯特羅之手力 每一個場景已型塑完成,但在每一場景中還是 有些細節疑問可能會讓整齣歌劇的意義轉向。 薩拉斯特羅將手放在帕米娜的肩膀上,是為了 使她安心、要控制她、要她離開塔米諾。這隻 手掌要放在帕米娜肩上多長的時間?甚麼力 道?從安撫性的手,到侵略性的手,只消一秒 鐘的事,或者說,帕米娜的肩膀有一絲絲輕微 的抗拒。我們最後幾天排練的任務,就是要來 判斷甚麼樣的時間長度、甚麼樣的壓力,最能 表現出這部歌劇裡他們二人之間關係的所有曖 昧-控制、寬恕、冷酷、仁慈與權威。 塔米諾與帕米娜的相擁,在這歌劇中哪一個時 刻他們可以接觸,碰觸的性質是甚麼?可能的 接觸點有: ● 首次相遇,當莫諾斯塔托斯帶塔米諾去見薩 拉斯特羅和帕米娜時。這對戀人朝對方移動接 近時,被莫諾斯塔托斯阻撓。 ● 祭司們合唱之後的三重唱,薩拉斯特羅走到塔 米諾與帕米娜中間。有一個絕望的世界生成在 這段三重唱裡,是要正當化帕米娜的企圖自殺。 這個關聯可以生成或遺失,在這三人組中誰看 著誰,以及誰在哪一時刻轉身的精準時間中。 ● 地獄之門的會面,戲劇性事件在於塔米諾與 帕米娜之間最後不到 4 到 5 公厘之間的差距, 以及這個差距所產生的壓力。
成為薩拉斯特羅新成員的旅程,還是產生與鞏
| 8
為一種主動性的形象或主動性的喚起,如何在 這部歌劇中被定位。 我希望這樣的關係會增加,因為與歌劇另一個 大主題有關:通過經驗與時間角色的創造,或 至少角色的成長,他們的自我創造。塔米諾王 子的儀式是對這大主題的簡單圖解式描述,而
● 最後的大合唱。 塔米諾與帕米娜的試煉,目標是要通往智慧與
固愛情的旅程?這個大問題,不是通過宏偉的 舞台來認定,再一次,是再次通過釐米與秒之 間的安排,塔米諾與帕米娜有多近,薩拉斯特 羅有多近?還有,由帕米娜在最後一幕快板音 樂中衣服長度的安排。 Die Zauberflöte by W.A. Mozart
9 │ 莫札特歌劇《魔笛》

Die Zauberflöte: Director’s Note William Kentridge, 2005

Director’s note for Die Zauberflöte, first written in 2005 for the première at La Monnaie in Brussels, and updated for a revival of the opera at the New National Theatre in Tokyo in 2018.

The production of Die Zauberflöte was the first large-scale opera I directed. I have since directed several other operas, but Die Zauberflöte remains key. It is the opera about opera, about the power of music in the service of love.

The opera is f illed with questions of authority, tyranny, benevolence, with assumptions of knowledge – in other words, questions that are still central to politics today. There is also a wonderful naïve innocence, not only in Papageno, but through the whole opera.

The magic of the opera is in how complex and deep questions can be played out with such a light hand, and in the music, which simply floats to our ears, but which has such a gravitas to it at the same time.

The notes below were written as I was preparing the first production in 2005.

Sarastro’s Blackboard: Learning the Flute

Some eight months ago, after I had undertaken to do this production of Die Zauberflöte, I was invited to exhibit in a museum in a small town. The museum was in an old half-timbered house and one of the rooms – a monks’ refectory – was f illed with wood paneling and murals; not to be touched by the artist. I decided to do a projection in this room using a blackboard as a screen – apart from anything else, to see if one could use a black surface rather than the usual white as projection screen. I had needed to start thinking about Die Zauberflöte and decided to use the blackboard as a kind of sketch book for the production, seeing if a visual language would emerge. The blackboard demanded essentially white lines to show up on its surface.

There are two ways of doing drawing white lines. One is to, use chalk on black paper. The other is to use a black line on white paper and then to invert the image on film, using the negative of the drawing, making the black lines white and the white of the paper black. This was the way I chose, largely for the wider range of marks it was possible to make and the ease of drawing, rather than for any ideas of the meaning of negative drawing. But what emerged during the editing process and was expanded in subsequent drawing was the play between the positive and negative version of the same image – like a photographic positive and negative. I was exploring the world of Masonic images, of Egyptian gods and myths, looking also at baroque theatre machinery, trying to find a vocabulary for the production. These drawings and animated sequences I edited into a version of the overture to the opera and projected in the monk’s room on an old school blackboard. Some of the images from this experiment, “learning the Flute,” have stayed on in the production (Max Ernst’s Masonic metronome with an eye, for example). But the main discovery was the photographic ur-metaphor. The realization that the very way of working, of doing negative drawings, had a connection to the larger structure and themes of the opera. The specifics of the images shown were less significant than the associations thrown forward by their form, (the positive and negative).

This has come into the production in two significant ways. First was the broad metaphor of positive and negative, which in the opera maps onto the conflict between the Queen of the Night and the high priest of light, Sarastro. The references throughout the opera of turning darkness into light, of the light of the sun banishing the night, acted as conf irmation of something discovered rather than an idea pursued.

Die Zauberflöte by W.A. Mozart | 10

Secondly, when I started following this discovery, a large part of the opera seemed to f it. Papageno and Tamino in the crypt of the Sarastro’s temple are literally in the dark room – the dark room both in the sense of the place of developing and testing light sensitive material; and the dark room as in ‘chambre noir’ – the body of the camera between the lens and the eyepiece.

Baroque Perspective

Much later, after much drawing had been done, I realised of course that this is one of the central Masonic images – the disembodied eye. An eye without a face, an eye behind the viewing lens.

The Multiplication of Implications

The stage production will use video projections. This was the given form at the start of the project. But the hope, engendered by the photographic metaphor is that the form itself, moving projections, will connect to the meaning of the opera. At the end of the opera we are in the temple of the sun, the theatre filled with a pure light. In projection terms, were are at the end of the f ilm, when the last image has passed through the gate of the projector and all we have is the light of the projector lamp i.e. nothing. – our only hope in cinema is to make sense from the interplay between shadow and light – the platonic clarity and certainty of staring at the sun is the expiration of truth and meaning rather than its creation. – ( this is just a thought that passes through, not an interpretation of what we will see on stage but I am aware of connections between all the music about light and dark and the projectors at the back and front of the stage. But there is clue here as to our reaction to Sarastro’s teachings. The years since Mozart wrote the opera have made us more wary of philosopher autocrats. The enforced bringing of wisdom has had unintended but calamitous consequences all through the years, not just in the Robesperian terror of the years immediately after the writing of the opera, but throughout the colonial era, and throughout own century. Though we may believe in Sarastro’s benevolent guidance, in the end we believe in Mozart more, in his mix of the rational, the fantastic, the contradictory.)

The Chambre Noire

If we were in the belly of the camera, the empty stage is the working space for the optics of the camera. Where the three dimensional world is recreated on a smaller scale, in a flattened form. The tradition of baroque flat scenery, arranged in a perspective from the proscenium to the back of the stage put me in mind of the layers in a bellows of an old camera – also reminded me of the flattening of planes of distance one sees in binoculars –a sort of quantum perspective, depth given by a series of jumps of flat planes. So we now have a combination of elements –the photographic, the camera, the positive and negative, a reference to film, and the structure of the baroque theatre, the type of theatre and scenery that would have been used in early productions of the opera. Following this, Schinkel and his famous paintings for the scenery became an element of the design. The different painted gauzes become different layers for projections. The design of the stage and sets for the production which I did with Sabine Theunissen have tried to make a space for these associations and impulses to be clear and to expand. A space clean enough for each scene to play itself out clearly but still allow the broader questions and associations of the opera to emerge.

11 │ 莫札特歌劇《魔笛》

What the Well-Dressed Photographer Wears

The metaphor and image of the camera itself points outward to decisions about staging and costume. We have to move to the 19th century from the 18th. (The 18th century of course, is one of the at least three times in the opera – The time the opera is written, (Vienna 1791) the time it is set – an unspecified Egyptian past – and the time of the specific production (Brussels in 2005) – not in any theoretical or abstract sense but in the way we experience it as audience – aware of Mozart and Shickaneder’s time of writing and allowing ourselves in and out of the world depicted in the production, and aware of ourselves in the theatre.

The 19th century (some costumes are from 1894, some from a few years earlier) was given by the photographic ur-metaphor. But again photography suggested further images and approaches that mapped onto parts of the opera.

Exclusive Clubs of Male Learning

The priests, for example, become neither abstract nor specific priests of an imagined ancient Egypt; not 18th century masons but members of an exclusive society of male learning, ‘a Royal Geographic Society’; and the Queen of the Night and the three ladies are not exactly suffragettes, but certainly they feel their exclusion from this society.

These discoveries, the stage as camera, the positive and negative photographic world, provide a broad framework within which to find each character, each scene.

Notes – after two weeks of rehearsals.

Drawing the Stage

The preliminary work on the drawings and animations for Die Zauberflöte were done in my studio in Johannesburg and tested on a model of the stage with wooden cut out f igures. A good way of working with the video. One of the main unanswered questions was how to find a good relationship between the live singers and the projected drawings. Not possible on the model So that the projections are not just backdrops, that they do not make the singers invisible, and that the live performer and the projection are not at odds. There are some general principles that have emerged. Singers do not look at the screen, the image on the screen is what we imagine the character seeing or thinking. A movement of the singer which tries to be accurately at the same speed as the movement of the projections disconnects from it. What comes alive is if the singer leads the image, as if they are making it, as if the stars of the Queen of the night are called into being by her. (On stage this means she needs to draw lines, not at the speed they appear on screen, but faster, ahead of the image, more decisively.) When this happens successfully there is a sense of agency, of power, of making. I think this is a clue for other sequences too. I realize now there are many sequences of drawing, Papageno catches his birds by drawing them into projections, the priests draw an idealized architecture. (The blackboard from the projection in the monk’s refectory was always in the production, mainly as a vehicle for the three genii, but also because I discovered that blackboards were an important part of the rituals around the initiation of apprentice masons.)

Die Zauberflöte by W.A. Mozart | 12

What I had not realized until this weeks rehearsals how drawing as an image of agency or invocation of it was located in the production. A connection I hope will grow as it connects to the other large theme of the opera –the creation or at least growth of the characters through experience and time, their making of themselves. – The rituals of Tamino are a diagrammatic depiction of this, but Pamina’s trials are the real heart of the opera. Her trials, – abduction, near rape, a lover who is silent, a mother who tries to turn her into an assassin are we feel rather than admire. There is a parallel between the central enlightenment teaching – that we are not essentially f ixed, that we make ourselves through experience, and the construction of sense in the process of drawing.

Notes – two weeks before 1st performance

The Weight of Sarastro’s Hand

The shape of each scene is now set. But there are still questions of detail within each scene which can shift the sense of the whole piece.

Sarastro puts his hand on Pamina’s shoulder. To reassure her, to restrain her, to move her away from Tamino. How long and how firmly should this hand be on her shoulder. The shift from the hand being reassuring to it being predatory is a matter of a second, or the slightest resistence from Pamina’s shoulder. The task in the final days of rehearsals is to judge what duration, what pressure best brings out all the ambiguities of the relationship in the opera – control, generosity, insensitivity, benevolence and authority.

The embrace of Tamino and Pamina – at which moment in the opera may they touch – what is the nature of the contact? The possible touching points:

● The f irst meeting when Monostatos brings Tamino in to Sarastro and Pamina. The lovers’ movement towards each other is interrupted by Monostatos.

● The terzetto after the chorus of the priests – there Sarastro steps between them. There is a whole world of desperation to be generated in this trio which precedes and has to retrospectively justify Pamina’s attempted suicide. And this is generated or lost by the precise timing of who looks at who in which section of the trio and who turns at which moment.

● The meeting at the Gates of Hell – the drama is in the last 4 or 5 centimeters between them and the pressure generated by the gap.

● The f inal chorus.

The larger question of the goal of Tamino’s and Pamina’s trials as a journey towards wisdom and joining the initiates of Sarastro, or a journey to generate and consolidate love is given not by grand staging but again by a matter of centimeters and seconds – how close are Tamino and Pamina, how close is Sarastro. And by the length of Pamina’s dress in the f inal allegro.

13 │ 莫札特歌劇《魔笛》
Die
by W.A.
| 14
Zauberflöte
Mozart
莫札特《魔笛》的音樂奧義 ── 蔡永凱/東海大學音樂系專任助理教授 創作於 1791 年的德語歌唱劇《魔笛》,為莫札特最後一部歌劇。由於施卡內德( Emanuel Schikaneder )劇本採用許多共濟會的理念,導致長久以來對這部歌劇的解讀觀點也都 偏重在破解其中的象徵密碼。音樂面向上,最為人所知的,莫過於〈序曲〉開場的 3 個 和弦。這 3 個和弦堆疊成大三和弦,帶有附點節奏,且在歌劇第二幕開場的共濟會會議 再次被使用,具有明確符號指涉。但即使如此,早期歌劇中也常見以緩慢的附點節奏展 現神祇或貴族的莊嚴步伐,因此即使這個符號在《魔笛》對應至共濟會,卻不表示僅只 一種解讀的可能。也有人試圖歸納《魔笛》之調性和意義關聯,主張《魔笛》採用降 E 大調是取其「 3 」個降的神聖意義;然而若就劇情重點來看,劇中所強調的「光明」, 在傳統上卻更常以 C 大調代表。《魔笛》裡,代表「光明」的薩拉斯特羅雖在 C 大調 號角中登場,但兩個主要演唱段落都不在降 E 大調上,同時第二幕裡當莫諾斯塔托斯 打算侵犯沈睡中的帕米娜時,搭配的音樂也是 C 大調!顯然《魔笛》中各曲的調性使 用具有更多更複雜的考量,不能單純以角色的屬性來比附。 事實上,莫札特在《魔笛》音樂上的成就絕不限於宣揚特定教派或思想的理念,也非如 猜謎般的對應功能。莫札特在歌劇史上的貢獻之一,在於將德語地區的民歌風格融入義 語莊歌劇、法語抒情悲劇、義語諧歌劇中,不只在語言使用上,也在音樂內涵上建構出 新的德語歌劇類型。從《魔笛》中歌曲的「反覆」情形,可以清楚看到這部作品的歷史 縱深。由於音樂稍縱即逝,「重複」或「反覆」為音樂的必要原則,早期歌劇也不例外, 以大量的重複讓聽眾熟悉歌詞和曲調。 18 世紀上半葉,如葛路克( Christoph Willibald Gluck )等作曲家則開始打破這種音樂模式,試圖營造出更為流暢的音樂結構,以更符 合劇情之發展。 《魔笛》裡有 5 首歌曲使用詩節式( Strophic song ), 2 首為帕帕基諾獨唱,包括第一 幕帕帕基諾登場時的〈我是一個捕鳥人〉( Der Vogelfänger bin ich ja )和第二幕〈帕帕 基諾想要有個情人或老婆〉( Ein Mädchen oder Weibchen );第 3 首則為莫諾斯塔托斯 在第二幕準備侵犯熟睡的帕米娜時所唱。這 3 首歌曲似乎都藉由接近民謠的詩節式結 構,來凸顯出兩個角色的性格被原始慾望所驅動。但第一幕帕帕基諾和帕米娜二重唱, 及第二幕中薩拉斯特羅〈在圍牆環繞的聖地〉也採用類似曲式。這兩段歌曲,則可能著 眼於歌詞屬於理念的宣揚,不具帶有明確的劇情轉換功能,因此也以同一旋律套用多段 歌詞。 至於《魔笛》裡的通作式歌曲( Through-composed song )歌曲,則被視為這部歌劇 的精華。第二幕夜后的〈復仇地獄之火在我內心裡燃燒〉( Der Hölle Rache kocht in 15 │ 莫札特歌劇《魔笛》
meinem Herzen ),延續了莊歌劇傳統裡以花腔展現女性權勢的習慣。細看令人驚嘆的 花腔,歌曲第一段之同音反覆高音強調的是「永遠不再」( nimmer mehr ),警告女兒 若違背己意,將永遠被逐出家門;第二段則在「本性的連結」( Band der Natur )處, 先使用圓滑的三連音來對應「連結」字義,之後則轉變為分解和弦,比起第一段的高音 更勝一籌。因此即使這首歌曲兩段歌詞的涵義相近,在歌曲的兩段間也可以找到類似的 旋律片段,聽眾仍能清楚聽到夜后在歌曲兩個段落間的情緒積累。 第一幕由王子塔米諾唱出的〈這幅畫像奇異地美麗〉( Dies Bildnis ist bezaubernd schön ),樂團一開始的頓點猶如王子見到畫像時的震撼,下行的音型彷彿若有所思, 整體往上攀升的音域則暗喻王子內心被喚醒的情感。中段以單簧管詮釋當時王子仍無法 理解的奇異感,但當以絃樂為主體的樂團聲響開始加快時,王子已迫不及待準備前往尋 找公主。莫札特其實在歌曲後端埋藏了前端出現過的主旋律,然而聽眾卻更容易透過樂 團的先現及隨後的歌詞解釋中,如縮時攝影般見證了王子愛情的萌芽過程。 《魔笛》最讓人詬病的地方,除了看似前後矛盾的角色性格,還有瑣碎的場景變動。以 第一幕終景為例,龐大的段落在劇情具有繁重的任務,它匯聚了第一幕前端所鋪陳的 線索,包括三仙童終於現身,塔米諾復仇之意被神殿的老祭司轉化,帕米娜和塔米諾第 一次會面,魔笛和銀鈴施展法力,薩拉斯特羅登場等。由於這些主線都將成為第二幕劇 情進行的前提,造就出「終景」在劇情結構上不可避免的多線性。莫札特不僅以靈活多 樣的音樂風格,解決了這個難題,甚至還留下了許多令人難忘的精彩段落。在三仙童輕 盈潔淨的多聲部織體後,塔米諾的自我懷疑以宣敘調帶出;神殿的老祭司在提點塔米諾 時,莫札特卻揚棄了宣敘調或說白,改採具有旋律性的朗誦,預告了之後華格納歌劇裡 特殊的人聲風格;由長笛主奏的「魔笛」段落,在劇情上是塔米諾因帕米娜仍活著感謝 諸神,但在音樂上,卻將情緒由先前的沈重變為歡快,再進一步連接至帕帕基諾的排簫 聲,營造塔米諾和帕米娜初次相遇的欣喜情境。這個情緒雖然稍被半路殺出的莫諾斯塔 托斯打斷,但至帕帕基諾的「銀鈴」樂段再次回歸。聽眾的情緒得到調劑後,終景的後 段回到主旨,莊嚴的氣氛促使塔米諾接受挑戰,迎向第二幕的劇情。由此看來,《魔笛》 的第一幕終景非如其他歌劇般讓眾角色演唱同一旋律,搭配不同歌詞以建構出場景的統 一性,反而在以多元風格淋漓盡致傳達不同角色特質之同時,不知不覺間已將所有線索 收攏至共同的命運。《魔笛》的音樂奧義,在每個當下所串連起的過程。聽眾有如劇中 的塔米諾,由一個層次的終點開始追求更高層次的原點;聽眾也有如帕帕基諾,只求享 受當下愉悅,卻不自覺地在過程中實踐了生命的奧義。 Die Zauberflöte by W.A. Mozart | 16

( 2012-2015 )、新加坡交響樂團有史以來最

年輕的副指揮( 2008-2013 )和新加坡國家青

年管絃樂團音樂總監( 2010-2013 )等。在俄

羅斯深造期間,他與人共同創辦了聖彼得堡室 內愛樂樂團,將當代音樂引介給俄羅斯聽眾。 身為交響樂、室內樂和器樂獨奏作曲家,他的

Darrell ANG shot into the international spotlight in 2007 when he took all three top prizes at the prestigious 50th Besançon International Conducting Competition: Grand Prize, Audience Prize, and Orchestra Prize. Other major competition wins include first prize at the 9th Antonio Pedrotti International Conducting Competition, and the 8th Arturo Toscanini International Conducting Competition. Additional accolades include the French honour of Chevalier dans l’ordre des Arts et des Lettres in 2015, as well as a GRAMMY nomination for his recording of music by Chinese composers ZHOU Long and CHEN Yi (one of several recordings for the Naxos label).

Previous titled positions include Music Director of the Orchestre Symphonique de Bretagne (2012-2015), the youngest ever Associate Conductor of the Singapore Symphony (2008-2013), and Music Director of the Singapore National Youth Orchestra (2010-2013), amongst others. Whilst studying in Russia, he cofounded the St. Petersburg Chamber Philharmonic Orchestra, by way of introducing contemporary music to Russian audiences. A prolific composer of symphonic, chamber, and solo instrumental works, his Fanfare for a Frazzled Earth – a symphonic overture about man’s devastation of nature and the environment – was recently premiered by the Singapore National Youth Orchestra.

Born in Singapore, ANG received his early musical education at the age of four, when he began to play the violin and the piano. After studies in Composition under LEONG Yoon-pin in Singapore, he embarked on the study of Conducting in St. Petersburg with Professor Leonid Korschmar – heir to the grand tradition of the legendary Conducting Professor Ilya Musin – before continuing his education at Yale as the university’s very first Conducting Fellow, under the tutelage of Shin-ik HAHM. Amongst his conducting mentors are such luminaries as Valery Gergiev, EsaPekka Salonen, and the late Lorin Maazel.

指揮 Conductor 洪毅全 Darrell ANG 洪毅全在 2007 年國際聲名鵲起,在享譽盛名 的第 50 屆貝桑松國際指揮大賽中,他一舉囊 括 3 項大獎:首獎、觀眾獎和管絃樂團獎。其 他重要賽事獎項包括第 9 屆義大利佩卓地國際 指揮大賽首獎與第 8 屆托斯卡尼尼國際指揮大 賽首獎。其他殊榮包括 2015 年獲得法國藝術 與文學騎士勳章,以及為中國作曲家周龍和陳 怡錄製作品(為拿索斯唱片錄製的幾張專輯之 一)獲得葛萊美提名。 歷任職位包括布列塔尼交響樂團音樂總監
創作多產,《疲憊地球的號聲》是關於人類破 壞自然與環境的交響序曲,最近由新加坡國家 青年管絃樂團首演。 洪毅全出生於新加坡,四歲時開始接受學齡前 音樂教育,開始演奏小提琴和鋼琴。在新加坡 師從梁榮平學習作曲後,他開始在聖彼得堡跟 隨列昂尼德.科什馬教授學習指揮,科什馬為 傳奇指揮家穆辛衣缽繼承人,接著進入耶魯大 學深造,師從咸信益,並成為耶魯大學首位指 揮研究員。指揮恩師包括葛濟夫、馬捷爾和沙 隆年等巨擘。
17 │ 莫札特歌劇《魔笛》

2019 年 高松宮殿下紀念世界文化獎等殊榮。

自 1990 年代以來,全球各地的博物館與美術館 皆能見到威廉.肯特里奇的作品,包括紐約現 代藝術博物館、維也納阿爾貝蒂娜博物館、巴 黎羅浮宮、哥本哈根路易斯安那博物館、馬德 里索菲亞王后美術館、瑞士巴塞爾美術館等。

William Kentridge is among the most prominent contemporary artists today. He works in and across mediums of drawing, writing, film, performance, music, theatre and collaborative practices, to create works of art that are grounded in politics, science, literature and history, whilst maintaining a space for contradiction and uncertainty.

Kentridge’s work has been seen in museums, galleries and theatres around the world since the 1990s, including the Museum of Modern Art in New York, the Albertina Museum in Vienna, Musée du Louvre in Paris, Louisiana Museum in Copenhagen, the Reina Sofia museum in Madrid, and the Kunstmuseum in Basel. His work can be found in the collections of art museums and institutions across the globe.

Opera productions include Mozart’s Die Zauberflöte, Shostakovich’s The Nose , and Alban Berg’s Lulu and Wozzeck, and have been seen at opera houses including the Metropolitan Opera in New York, La Scala in Milan, English National Opera in London, Opera de Lyon, Amsterdam Opera, the Sydney Opera House and the Salzburg Festival.

In 2016 Kentridge founded the Centre for the Less Good Idea in Johannesburg: a space for responsive thinking and making through experimental, collaborative and cross-disciplinary arts practices. The Centre hosts an ongoing programme of workshops, public performances and mentorship activities.

He is the recipient of honorary doctorates from several universities including Yale and the University of London. Prizes include the Kyoto Prize (2010), the Princesa de Asturias Award (2017) and the Praemium Imperiale Prize (2019).

導演暨舞台設計 Stage Director & Set Design 威廉.肯特里奇 William Kentridge 威廉.肯特里奇擁有耶魯大學和倫敦大學等多 所大學的榮譽博士學位,是現今最傑出的當代 藝術家之一。他的創作手法結合了繪畫、寫作、 電影、表演、音樂、戲劇和合創製作,作品以 政治、科學、文學和歷史為本,同時又保留了 矛盾與未知的空間。曾獲得 2010 年京都獎、 2017 年西班牙阿斯圖里亞斯親王獎和
歌劇作品包括莫札特《魔笛》、蕭斯塔科維契 《鼻子》、貝爾格《露露》與《伍采克》等, 並曾在紐約大都會歌劇院、米蘭史卡拉歌劇 院、倫敦英國國家歌劇院、里昂歌劇院、阿姆 斯特丹歌劇院、雪梨歌劇院和薩爾斯堡音樂節 等地演出。 2016 年,威廉.肯特里奇在約翰尼斯堡成立了 一個只有實驗性、合作和跨領域藝術實踐的創 作空間「Centre for the Less Good Idea」,並持 續舉辦工作坊、公開表演與導師計畫等活動。
Die Zauberflöte by W.A. Mozart | 18
© Norbert Miguletz

勒合作室內樂歌劇《Refuse the Hour》。2013 年 於柏林國家歌劇院和米蘭史卡拉歌劇院擔任基. 蓋西耶製作的《諸神黃昏》動作指導;同年,與 派翠克.索因在里昂共同執導《魔笛》。呂克. 德維特最近擔任威廉.肯特里奇作品《The Head & the Load》的副導演和演員,其作品曾在倫敦 泰特現代美術館、德國魯爾藝術節和紐約公園大 道軍械庫藝術中心演出,並計劃於 2023 年至耶 魯大學和約翰尼斯堡演出。

Luc De Wit is an actor, director and drama teacher. He currently teaches at the Lassaad International School of Theatre in Brussels. Luc de Wit has worked as a co-director with William Kentridge since 2005, and often revives Kentridge's productions in international opera houses and theatres. Among these productions have been Die Zauberflöte, Il Ritornno di Ulisse, The Nose, Lulu and Wozzeck. In 2012 he worked with William Kentridge and composer Philip Miller on the chamber opera Refuse the Hour. The following year he worked as movement director on Guy Cassier's production of Götterdammerung at the Berlin State Opera and La Scala, Milan. That same year he co-directed Die Zauberflöte with Pierrick Sorin in Lyon. He recently worked with William Kentridge as associate director and actor on The Head & the Load, which performed at the Tate Modern London, The Ruhrtriennale Festival and the Park Avenue Armory in New York City. In 2023 this production will be seen in Yale University (January) and in Johannesburg (April/May).

布薩爾、澤田康子等助手。主要活躍於日本新國 立劇院和東京二期會歌劇團基金會。重要的助理 導演作品包括 2018 年宮本亞門製作的《蝴蝶夫 人》日本首演,該製作在東京和德國德勒斯登演 出大獲好評,預計將於舊金山和哥本哈根演出。 2020 年以舞台劇導演的身份出道,在東京室內 歌劇院導演了由牧野由多可作曲的日本歌劇《安 壽與廚子王丸》。

Graduated from the Hartt School of Music in America, majored in Voice and Music Management. The former apprentice of Santa Fe Opera. Shimada started his career as a technical staff, and he worked in various theaters in Japan such as Hyogo Performing Arts Center, Nissay Theater, and so on. From 2016, he started to work in stage directing. He has acted as an assistant of William Kentridge, Amon Miyamoto, Michael Hampe, Àlex Ollé, Vincent Boussard, Yasuko Sawada, and so on, and he mainly active in the New National Theater of Japan and Tokyo Nikikai Opera Foundation. Notable assistant directing works include, Japan Premiere of this production in 2018, Amon Miyamotoʼs production of Madama Butterfly , which had successful performances in Tokyo, and Dresden. Madama Butterfly is planned to perform in San Francisco, and Copenhagen. He debuted as a stage director in 2020, where he directed a Japanese opera, Anju to Zushio composed by Yutaka Makino, in Tokyo Chamber Opera.

共同導演 Co-director 呂克.德維特 Luc De Wit 執行導演 Revival Director 島田彌六 Miroku Shimada 呂克.德維特是一名演員、導演和戲劇老師,目 前在布魯塞爾的拉薩德國際戲劇學院任教。2005 年起與威廉.肯特里奇合作,並經常在國際歌劇 院和戲劇院重現其作品,包括《魔笛》、《尤里 西斯歸鄉記》、《鼻子》、《露露》及《伍采克》。 2012 年與威廉.肯特里奇和作曲家菲利普.米
畢業於美國哈特音樂學院,主修聲樂與音樂管 理。曾入選聖塔菲歌劇院的培訓人才計畫。入行 之初擔任技術人員,曾在日本的各大劇院工作, 如兵庫表演藝術中心與日生劇院。2016 年開始 從事舞台導演工作,曾擔任威廉.肯特里奇、宮 本亞門、麥可.漢普、艾力克司.歐雷、文森.
19 │ 莫札特歌劇《魔笛》
© Michiharu Okubo

格蕾塔.戈伊里斯於 1990 年代初在安特衛普學

2001 年起與導演約翰.西蒙斯合作,為眾多

《對時間的拒絕》、《The Head & the Load》、 《等待女先知》,以及最近的電影《Oh to Believe in Another World》。 2021 年,她製作了一部動畫電影《White Box Jacket》,目前正在為斯德哥爾摩的獵戶座劇 院製作 2024 年的實景版本。於 2016 年創立了 Squatelier 工作室,以團隊方式開發製作與研究。

《費黛里歐》、《藍鬍子公爵的城堡》、《阿 爾賽斯特》和《唐卡洛》等。 《魔笛》是她與威廉.肯特里奇長期合作的開 始,之後的合作包括《鼻子》、《露露》、《伍 采克》、《Refuse the Hour》、《冬之旅》、《感 傷機器》、《The Head & the Load》和《等待女 先知》等。

Sabine Theunissen studied architecture in La Cambre, Brussels. She joined the Royal Theater of la Monnaie where she worked 17 years as internal decor assistant in the design office. In 2003, she met William Kentridge. Their collaboration began with Die Zauberflöte. Since then, she designed sets for his opera productions, among which, The Nose, Refusal of Time, The Head & the Load, Waiting for the Sibyl, and recently, the sets of the movie Oh to Beleive in Another World.

In 2021, she made an animated film White Box Jacket and she is currently working on the scenic version of it for the Orion theatre in Stockholm for 2024. In 2016, she created the Squatelier, her studio where she develops her projects and research as a team.

Greta Goiris studied costume design in Antwerp and set design in Barcelona in the early 1990’s.

From 2001 onwards she collaborated as costume designer with Johan Simons on numerous musictheatre productions and operas; amongst others Das Leben ein Traum, Die Perser, King Lear, Ödipus Herrscher, Richard II, Geschichten aus dem Wiener Wald, Fidelio, Herzog Blaubarts Burg, Alceste and Don Carlos.

Die Zauberflöte would be the start of a long collaboration with William Kentridge. The Nose, Lulu, Wozzeck, and music-theatre productions Refuse the hour, Winterreise, O sentimental Machine, The Head & the Load and Waiting for the Sibyl all follow.

舞台設計 Set Design 莎賓.托伊尼森 Sabine Theunissen 服裝設計 Costume Design 格蕾塔.戈伊里斯 Greta Goiris 莎賓.托伊尼森在布魯塞爾的拉坎布雷藝術學 院學習建築,其後進入布魯塞爾皇家歌劇院的 設計辦公室任職,擔任內部舞台裝置助理。
2003 年她結識了威廉.肯特里奇,兩人的合作 始於《魔笛》。此後,她擔任威廉.肯特里奇 多部歌劇作品的舞台設計,其中包括《鼻子》、
習服裝設計以及巴塞隆納學習舞台設計。
音樂劇場作品和歌劇設計服裝,包括《人生如 夢》、《波斯人》、《李爾王》、《伊底帕斯 王》、《理查二世》、《維也納森林的故事》、
Die Zauberflöte by W.A. Mozart | 20
© Adine Sagalyn

》以及巴蘭欽為巴黎

2001 年 Dorothy and Lillian Gish Prize、 2003 年 Jerome Robbins Award、2008 年美國 Gracie Fellowship 和麥克阿瑟獎。

Jennifer Tipton is well known for her lighting for theater, opera and dance. Her recent work in theater includes To Kill a Mockingbird for Broadway, Beckett’s First Love for Zom and all of Richard Nelson’s Rhinebeck plays. Her recent work in opera includes Ricky Ian Gordon’s Intimate Apparel with libretto by Lynn Nottage, based on her play by the same name, at the Lincoln Center Mitzi Newhouse Theater; her recent work in dance includes Lauren Lovette’s Pentimento for the Paul Taylor Company and Balanchine’s A Midsummer Night's Dream for the Paris Opera Ballet. Among many awards she has received the Dorothy and Lillian Gish Prize in 2001, the Jerome Robbins Prize in 2003 and in 2008 she was awarded the USA “Gracie” Fellowship and a MacArthur Fellowship.

The Head & the Load》, 探討第一次世界大戰下,被忽視的非洲人歷 史。2021 年,她與攝影師芮.克特里夫和作曲 家菲利普.米勒合作創作裝置作品《Something This Way Comes》,並與藝術家李奧拉.法爾伯 合作拍攝了影片《Phantom Hurt》和《Ghosted Matter》。目前,她與喬安娜.達德利合作的作 品《We Will Slam You With Our Wings》正在墨 爾本聯邦廣場展出。現正與作曲家菲利普.米 勒和導演 Gregory Maqoma 合作創作一部新歌劇 《Glow, the vogue Opera》。

Catherine Meyburgh works as director, projection designer, editor and producer in documentary, fiction films and television. Her work in multi-projection design includes Lulu, The Nose, Wozzeck and Die Zauberflöte. She has recently collaborated with William Kentridge, Gregory Maqoma, Thuthuka Sibisi and Philip Miller on the multi-projection performance piece The Head & the Load addressing the neglected history of Africans in WW1. In 2021 she collaborated with photographer Jo Ractliffe and composer Philip Miller on the installation Something This Way Comes and with artist Leora Farber on the films Phantom Hurt and Ghosted Matter. Currently her work in collaboration with Joanna Dudley We Will Slam You With Our Wings is on exhibition at Federation Square in Melbourne. She is working with composer Philip Miller and director Gregory Maqoma on a new opera Glow, the vogue opera

燈光設計 Lighting Design 珍妮佛.提普頓 Jennifer Tipton 影像設計 Projection Design 凱薩琳.麥柏格 Catherine Meyburgh 珍妮佛.提普頓以戲劇、歌劇和舞蹈燈光設計 聞名。近期的戲劇作品包括百老匯的《梅崗城 故事》、貝克特的《First Love for Zom》和理查 德.納爾遜《蘋果家族》全系列。近期的歌劇作 品包括哥爾登在林肯中心米茲紐豪斯劇院執導 的琳.那特琪歌劇《親密內衣》,歌詞亦是那特 琪創作。近期舞蹈作品包括羅琳.洛維特泰勒芭 蕾舞團創作的《
Pentimento
歌劇院芭蕾舞團製作的《仲夏夜之夢》。諸多 殊榮包括
凱薩琳.麥柏格為紀錄片、電影和電視導演、投 影設計師、剪接師和製作人。她在多重投影設計 方面的作品包括《露露》、《鼻子》、《伍采克》 及《魔笛》。她最近與威廉.肯特里奇、Gregory Maqoma、Thuthuka Sibisi 和菲利普.米勒等人合 作了多重投影表演作品《
21 │ 莫札特歌劇《魔笛》
© Brigitte LaCombe

Scott Bolman was David Finn’s co-set and lighting designer for Sutra and re-created David Finn’s lighting for Parsifal and Helen Pickett’s Camino Real Scott designs for theater, dance and opera projects around the world and is a frequent collaborator with Robert Wilson. He is a professor of lighting design at California State University and a founding member of Wingspace Design Collective, an organization of designers and directors focused on promoting conversation, community and activism in the performing arts.

燈光執行 Lighting Design Associate 史考特.柏曼 Scott Bolman 史考特.柏曼是大衛.芬恩《舞經》的共同舞 台設計和燈光設計,並為大衛.芬恩《帕西法 爾》和海倫.皮克特《Camino Real》的重演, 重新設計燈光。史考特為世界各地的戲劇、舞 蹈和歌劇製作進行設計,並且經常與羅伯.威 爾森合作。他是加州州立大學燈光設計系教授, 也是 Wingspace Design Collective 的創始成員,
這是由設計師和導演組成的組織,並致力於促 進表演藝術的對話、社群和行動主義。
Zauberflöte by W.A. Mozart | 22
Die

Pianist HSU Chia-chi received her bachelor’s and master’s degrees in piano performance from Peabody Institute of the Johns Hopkins University, under the tutelage of Vera Danchenko and Ellen Mack. She further studied voice repertoire with Thomas Grubb. HSU has played for the Opera Workshop of National Theater and Concert Hall and Singapore International Violin Festival. She has collaborated on Bizet’s Carmen , Puccini’s La Bohème , and Puccini’s Madama Butterfly with Kaohsiung Spring Arts Festival; Britten’s The Turn of the Screw with Arts Evolution Music Festival, Rossini’s Il barbiere di Siviglia , Wagner’s Tannhäuser, Mozart’s D ie Zauberflöte with National Taichung Theater as vocal coach. HSU Brahms piano album I wish you love is released by Sunrise Records. She currently teaches at National Taiwan Normal University and National Taipei University of Education.

Ying-chu graduated from HfM Weimar and HfMT Leipzig in Germany. During her study in Europe, her excellent performance won her Yehudi Menuhin "LIVE MUSIC NOW" scholarship and became a regular collaborative pianist for the viola, French horn, and oboe classes at the school. After returning to Taiwan, she has actively become invovled in various types of chamber music performances. She is a member of the Crossplay Piano Ensemble and the Klangrede Piano Quartet. She was the pianist for the 2021 National Taichung Theater production of Tannhäuser.

聲樂指導暨排練指揮 Vocal Coach & Rehearsal Conductor 徐嘉琪 HSU Chia-chi 鋼琴排練 Rehearsal Pianist 蘇映竹 SU Ying-chu 美國約翰霍普金斯大學琵琶地音樂院鋼琴演奏 學士與碩士,鋼琴師從杜瓊英、馬淑娟、林公 欽、呂雪櫻、Vera Danchenko、Ellen Mack 等教 授,聲樂指導師承 Thomas Grubb。獲頒琵琶地 全額歌劇伴奏助教獎學金、克拉拉艾雪費爾德伴 奏獎及 2001 年臺北德文藝術歌曲大賽專業組最 佳伴奏獎。曾擔任國家兩廳院歌劇工作坊鋼琴 家,新加坡國際小提琴音樂節客席鋼琴家,奔放 樂集《碧廬冤孽》、 高雄春天藝術節旗艦歌劇《卡 門》、《波希米亞人》、《蝴蝶夫人》、臺中國家 歌劇院《塞維亞理髮師》、《唐懷瑟》、《魔笛》 之聲樂指導。個人鋼琴演奏專輯「布拉姆斯作品 集《致愛》」由上揚唱片發行。現任教於國立臺
灣師範大學和國立臺北教育大學音樂系。
畢業於德國威瑪和萊比錫音樂學院。旅歐期間, 以優異演出成績獲得德國 Yehudi Menuhin「LIVE MUSIC NOW」獎學金,並在學校擔任中提琴、 法國號、雙簧管班固定鋼琴合作。回臺後積極 參與各類型室內樂演出,為 CPE 鋼琴重奏團、 Klangrede 鋼琴四重奏團員,並於 2021 年參與臺 中國家歌劇院歌劇《唐懷瑟》,擔任鋼琴演出。 SU
23 │ 莫札特歌劇《魔笛》
| 24
Die Zauberflöte by W.A. Mozart
25 │ 莫札特歌劇《魔笛》
Die
by W.A. Mozart | 26
Zauberflöte

費南多。 2020/2021 樂季,泰倫斯在亞利桑那歌劇院的 歌劇音樂會中演出,並參與諾福克室內樂音樂 節,演出由 Daniel Bernard Roumain 作曲,以 卡斯帝爾槍擊命案為主題的作品。同時也參與 Gerdine 藝術新秀計畫,在聖路易斯歌劇院演 出威廉.斯提爾《一號高速公路》。2019/2020

Terrence Chin-Loy

American tenor Terrence Chin-Loy, whom Opera News described as having a “beautiful lyric tenor voice” pairs passionate performance with a full, sweet sound. Terrence opened the 2022/2023 season at the Metropolitan Opera singing Arbace (Cover) in Mozart’s Idomeneo. Thereafter, he sang the role of Don José in a Lincoln Center production of Carmen with MasterVoices. Later this season, he will sing Tamino again with Arizona Opera as well as appear with North Carolina Symphony in Mozart’s Requiem. He will also sing in the world premiere of The Factotum at Lyric Opera of Chicago.

In the 2021/2022 season, Terrence made his Metropolitan Opera debut in Terence Blanchard’s Fire Shut Up In My Bones. He also sang Henrik Egermann in A Little Night Music and Ferrando in Così fan tutte, both at Arizona Opera. He also appeared at Boston Lyric Opera as Benny Paret in Blanchard’s Champion. Terrence ended the season singing in the United States premiere of Sergei Tanayev’s At The Reading Of A Psalm at Carnegie Hall.

Terrence joined the Marion Roose Pullin Resident Artist Program at Arizona Opera in the 2020/2021 season. He is a 2018 Metropolitan Opera National Council Auditions National Semifinalist and William Matheus Sullivan Musical Foundation Grant Winner.

男高音,《歌劇新聞》雜誌讚譽泰倫斯.陳- 駱依擁有「優美的抒情男高音歌喉」,完美結 合了熱情的表演與飽滿甜美的嗓音。 他在紐約大都會歌劇院首度登台獨唱演出布蘭 查德《焚燒火困在我骨中》,開啟 2021/2022 年樂季的序幕。他在下一個樂季會回到亞利桑 那歌劇院,擔任歌劇院工作室計畫的駐館藝術 家,飾唱《小夜曲》亨利克以及《女人皆如此》
明果,參與紐約歌曲節在卡洛摩音樂藝術中心 的美聲新星系列演出。 泰倫斯於印第安納大學獲得表演學位,同時擁 有曼尼斯音樂學院和耶魯大學文憑。他擁有耶 魯大學音樂學士學位,主要研究音樂理論和音 樂學。他是 2018 年大都會歌劇院全國委員會 甄選準決賽選手。 塔米諾 Tamino ( 12.15 、 12.17 ) 泰倫斯.陳-駱依
加入大都會歌劇院劇團,飾唱《波吉與貝絲》
27 │ 莫札特歌劇《魔笛》
© Jiyang Chen

Tenor Konu KIM is the winner of Placido Domingo’s Operalia competition, his 2022/2023 season is marked by his return to Royal Opera House as Count Almaviva in Il Barbiere di Siviglia , debut at Dusseldorf Deutche Oper an Rhein as Tonio in La fille du régiment, return to Fondazione Teatro Donizetti as Leone de Casaldi in L'ange de Nisida, return to Wexford festival in part of Almuzir Zoraida di Granata

Last season was marked by his debut with Glyndebourne Festival as Ferrando in Cosi fan Tutte and later as Ernesto Don Pasquale, the role he performs also with the Finnish National Opera. He makes his US debut at San Diego Opera as Ferrando in Così fan Tutte, house debut at San Francisco Opera as Bao Yu in Dream of the Red Chamber, role debut as Arnold in William Tell at the Irish National Opera, and performs Petite Messe Solennelle with Maestro Mariotti for Wexford Opera Festival.

He joined the Jette Parker Young Artists Programme at the Royal Opera House at the start of the 2017/2018 Season. His roles there include Arturo Bucklaw in Lucia di Lammermoor, Mitrane in Semiramide, Fourth Jew in Salome, Voice in From the House of the Dead, Malcolm Macbeth and First Follower of Telramund in Lohengrin , Tonio in La Fille du régiment, Gastone in La traviata, and Chaplitsky in The Queen of Spades

並在韋克斯福德歌劇節與指揮家
演出《小莊嚴彌撒》。 他在 2017/2018 樂季之初加入了皇家歌劇院的 傑特帕克青年藝術家計劃。演出的角色包括 《拉美默的露琪亞》阿圖羅公爵、《賽密拉米 德》 Mitrane 、《莎樂美》第四位猶太人、《死 屋手記》的聲音、《羅恩格林》腓特烈的第一 追隨者、《聯隊之花》托尼歐、《茶花女》卡 斯東伯爵和《黑桃皇后》切卡林斯基。 塔米諾 Tamino ( 12.16 、 12.18 ) 金健雨 Konu KIM
男高音,多明哥世界歌劇大賽獲勝者, 2022/2023 樂季的亮點為其重返皇家歌劇院, 飾唱《塞維亞理髮師》阿瑪維瓦伯爵;首度於 杜塞道夫歌劇院登台,飾唱《聯隊之花》托尼 歐;重返董尼采第劇院,飾唱《尼西達的天使》 Leone de Casaldi ;重返韋克斯福德歌劇節參與 《 Almuzir Zoraida di Granata 》演出,並於愛 爾蘭國家歌劇院飾唱《威廉泰爾》阿諾德。 上個樂季的重點演出包括首度於格萊德邦歌劇 節飾唱《女人皆如此》費南多,也在芬蘭國家 歌劇院演出同樣角色。金健雨在美國以《女人 皆如此》費南多,首度於聖地亞哥歌劇院登台; 以《紅樓夢》寶玉,首度於舊金山歌劇院登台; 在愛爾蘭國家歌劇院飾唱《威廉泰爾》阿諾德,
Mariotti 合作
Die Zauberflöte by W.A. Mozart | 28
© Hwang philjoo

Born in Taiwan, soprano LAI Chueh-yu is currently a Doctor of Musical Arts candidate at National Taiwan Normal University. She obtained a master degree at the Royal College of Music in London, studying with Amanda Roocroft and Rosa Mannion, generously supported by a Charles Branchini Award. LAI got her bachelor degree from National Taiwan Normal University, studying with LEE Ching-mei and Irene YOUNG.

Operatic engagements include Tebaldo in Verdi’s Don Carlo, Berta in Rossini’s Il Barbiere di Siviglia, Gretel in Humperdinck’s Hansel und Gretel , Frasquita in Bizet's Carmen, Annina in Verdi's La Traviata, Despina in Mozart's Cosi fan tutte, The Princess in Respighi's la bella dormente nel bosco, Queen of the night in Mozart's Die Zauberflöte, and the semi choir in Donizetti’s Linda di Chamounix at the Royal Opera House, Covent Garden.

女高音,畢業於國立臺灣師範大學音樂系,師 從李靜美教授和楊艾琳教授。畢業後考取國家 兩廳院第一屆歌劇工作坊, 2010 年獲英國皇家 音樂院音樂碩士學位,師從 Amanda Roocroft 及 Rosa Mannion 。 曾受邀至英國倫敦柯芬園皇家歌劇院,參與董 尼采第《夏莫尼的琳達》演出暨錄音,並於英 國倫敦國家畫廊、英國倫敦聖史蒂芬教堂舉辦 獨唱會。亦曾入選參與台北巴赫廳《巴赫新聲》 演出,及獲得德國萊比錫克拉拉舒曼 Lieder Duo 大賽首獎。 參與歌劇演出包括《睡美人》、《女人皆如 此》、《茶花女》、《卡門》、《修女安潔莉 卡》、《糖果屋》、《憨第德》、《塞維亞理 髮師》、《唐卡洛》等。現為國立臺灣師範大 學博士候選人、兩廳院歌劇工作坊成員、中華 民國聲樂家協會會員,及斐陶斐榮譽學會榮譽 會員。 帕米娜
賴珏妤
Pamina ( 12.15
12.17 )
LAI Chueh-yu
29 │ 莫札特歌劇《魔笛》

Léna 。其他演出包括 於亞維儂歌劇院飾唱《圓桌武士》 Angelique 、 於布宜諾斯艾利斯哥倫布劇院演出 Fernando Fiszbein 《愛狗的男人》世界首演、於科隆歌 劇院飾唱《士兵們》瑪莉。

Jenny Daviet

French soprano Jenny Daviet is noted for her compelling stage presence, exceptional musicality and a versatile repertoire.

She has since established a reputation in 20th Century and contemporary works and most recently received unanimous acclaim for her performance of Messiaen, Poèmes pour Mi, recorded with Kent Nagano and Bayerischer Rundfunk and released on the BRKLASSIK label.

Recent highlights of Daviet’s diverse opera credits include George Benjamin Into the Little Hill at Madrid’s Teatro del Canal in collaboration with Teatro Real, and Léna in Saint-Saëns, La Princess jaune with Palazetto Bru Zane and Les Siècles at Opéra de Tours and Atélier Lyrique de Tourcoing. Further appearances include as Angelique in Hervé, Les Chevaliers de la table ronde for Opéra Grand Avignon, the world-premiere of Fernando Fiszbein El hombre que amaba a los peros for Teatro Colon, Buenos Aires and Marie in Zimmermann Die Soldaten at Oper Köln.

This season includes Daviet’s first performances as Eva in Stockhausen Freitag aus Licht with Maxime Pascal and Le Balcon with performances at Opéra national de Lille and Philharmonie de Paris.

本樂季演出包括於里爾國家歌劇院首度飾唱
帕米娜 Pamina (
) 珍妮.達維耶
女高音,因其難擋的舞台魅力、優異的音樂天 賦以及多元的劇目而深受矚目。 珍妮.達維耶以 20 世紀及當代劇作演出打響 名號,近期參與巴伐利亞廣播公司及指揮家長 野健錄製,並由 BR-KLASSIK 唱片發行的梅 湘《給 Mi 的詩集》,獲得一致好評。 近期歌劇演出亮點包括皇家劇院與馬德里 運河劇院共製喬治·班傑明《 Into the Little Hill 》;以及法國浪漫主義音樂中心、世紀交 響樂團、圖爾歌劇院、圖康樂坊共同製作的聖 桑《黃衣公主》,飾唱
《光之星期五》 Eva ,與指揮馬克西姆.帕斯 卡爾及巴黎愛樂樂團同台。
12.16
12.18
François MERLIER Die Zauberflöte by W.A. Mozart | 30
©

South Korean baritone Ilhun JUNG, graduated from Seoul National University, and the Hochschule für Musik und Theater München, Diploma and Konzertexamen/Meisterklasse. From 2009 to 2015, Ilhun JUNG was the main solo singer in Dresden National Opera of Germany. He has also served as a guest singer for many opera main roles in important European theaters, including National Opera Basel, National Prinzregententheater Munich, Metz Metropolitan Opera France, Tonhalle Zürich, KKL Luzern, Dresdner Musikfestspiele, Schlossoper Haldenstein Opera festivals in Swiss, also concert collaborated with Sächsische Staatskapelle, Dresden Philharmonic, Korean Symphony Orchestra, Seoul Metropolitan youth orchestra etc., and Korea National Opera, Seoul Metropolitan Opera, Seoul Arts Center.

In addition, he has collaborated with many famous conductors and singers in many concerts around the world, including Conductor Christian Thielemann, Fabio Luisi, Asher Fisch, Soprano Edita Gruberova, Anna Netrebko, Renee Fleming, Tenor Neil Shicoff, Bass Rene Pape, Erwin Schrott etc. He has also been active on the Taiwan opera stage in recent years. In 2018, he played as Marcello in La Bohème with Kaohsiung Symphony Orchestra. In 2021, played as Figaro in Il barbiere di Siviglia in National Taichung Theater. JUNG currently a full-time assistant professor at National Taiwan University of Arts.

男中音,於 2009 至 2015 年間擔任德國德勒 斯登森柏歌劇院駐院獨唱家。畢業於韓國首爾 國立大學,於德國慕尼黑音樂戲劇學院取得歌 劇、神劇/藝術歌曲文憑。常受邀至歐洲許多 重要劇院及音樂節演出,包含瑞士巴塞爾劇 院、德國慕尼黑攝政王劇院、法國梅茨大都會 歌劇院、瑞士蘇黎世音樂聽、德勒斯登音樂節
切洛; 2021 年受邀臺中國家歌劇院《塞維亞理 髮師》飾唱費加洛。現任國立臺灣藝術大學專 任助理教授。 帕帕基諾 Papageno ( 12.15 、 12.17 ) 丁一憲 Ilhun JUNG
等,亦經常與韓國國立歌劇團、首爾大都會歌 劇院合作。 此外,與世界許多知名指揮和歌手合作包括克 里斯蒂安.蒂勒曼、法比歐.路易斯、阿雪. 費許;女高音愛狄塔.格魯貝羅娃、安娜.涅 特列布科及芮妮.弗萊明;男高音內爾.席科 夫;男低音勒內.帕普、爾文.史若德等。近 年在臺灣亦有所發展, 2018 年受邀高雄春天藝 術節旗艦歌劇《波希米亞人》,飾唱畫家馬爾
31 │ 莫札特歌劇《魔笛》

基》; 2018 年台北愛樂管弦樂團《女人皆如

此》、高雄春天藝術節《波希米亞人》、國立

臺灣交響樂團《西城故事》; 2019 年國家交 響樂團《托斯卡》及《風流寡婦》、臺中國家

歌劇院《諸神黃昏》; 2020 年臺中國家歌劇院

Baritone CHAO Fang-hao obtained his bachelor’s degree in Taipei with Prof. Ren Rong, and subsequently obtained his highest performance degree at the University of Music “Franz Liszt” in Weimar, Germany where he studied under Prof. Hans-Joachim Beyer. He won various international prizes notably the 2nd prize in the competition “Three centuries of classic romance” in St. Petersburg, Russia.

Since 2010, he has made his appearance in numerous theatrical performances in Germany where he played the role Guglielmo in Mozart’s Così fan tutte with Jena Philharmonic. He also appeared as Uncle Fritz in Burkhard’s Fireworks at Eisenach State Theatre, sang the role Frullo in Wacky Dido at Theater Bad Lauchstädt, the role Geronimo in Il Matrimonio Segreto at Theater Nordhausen with Nordhausen Orchestra in 2013, Belcore in L’elisir d’amore with Weimar Music Academy Orchestra in 2014. In Taiwan, he sang 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 National Taichung Theater. In July 2017, he took part in Puccini's opera Il Trittico and as Marco in Gianni Schicchi. In November 2017, he sang in the production of Carmen as Escamillo. In February 2018, he sang the role Guglielmo again in Mozart’s Così fan tutte with Taipei Philharmonic Orchestra. At Kaohsiung Spring Art Festival in June 2018, he played the musician Schaunard in Puccini’s La Bohème.

男中音,德國威瑪李斯特音樂學院最高演奏家 演唱文憑。目前任教於東海大學音樂系、臺灣 師範大學音樂系。 歌劇演出經驗豐富,參與製作包括 2014 至 2017 年創世歌劇團《波希米亞人》、《女人皆 如此》、《卡門》; 2016 年吉隆坡城市歌劇公 司《波希米亞人》、臺北市立交響樂團《聰明 的女人》; 2017 年台北歌劇劇場《浮士德》、 國家交響樂團浦契尼歌劇三部曲《強尼.史基
歌劇院主辦之瘋歌劇系列講座音樂會演出。 帕帕基諾
趙方豪
《波希米亞人》; 2021 年臺中國家歌劇院《唐 懷瑟》; 2022 年臺中國家歌劇院《糖果屋》。 2017 至 2020 年亦參與 NSO 綠野講座音樂會 《跟著音樂去旅行》,並多次受邀於臺中國家
Papageno ( 12.16 、 12.18 )
CHAO Fang-hao
Die Zauberflöte by W.A. Mozart | 32

Soprano Yoko Yasui graduated from Toho Gakuen Collage and its post graduate course. She went on to study at Nikikai Opera Studio, and then obtained the scholarship from the Agency for Cultural Affairs, and further studied at Vienna National University. During the time in Vienna, she made her European debut, singing Ida in Henze’s Der junge Lord at Stadttheater Klagenfurt. This was followed by her performance of Queen of the Night in Die Zauberflöte at Musiktheater Vorarlberg, and Page and Rosalinde in Offenbach’s Blubeard in Bregenz Festival and St. Pölten Festival, which garnered critical acclaims by music journalists in Austria.

After her study in Vienna in 2008, she made her debut in Japan performing Zerbinetta in R. Strauss’s Ariadne auf Naxos, and her outstanding coloratura and abundant musical expressions caught many music critics. Especially, her Queen of the Night in Die Zauberflöte has been heard at various productions held at music theaters. Yoko Yasui is a member of Tokyo Nikikai Opera.

女高音,日本桐朋學園大學碩士,畢業後加入 二期會歌劇工作坊,並獲得文化廳獎學金,繼 續於維也納國立大學深造。在維也納期間,於 歐洲首度登台,在奧地利克拉根福市劇院飾唱 亨采《少爺》Ida。接著在奧地利福拉爾貝格音 樂劇院演飾唱《魔笛》夜后、布雷根茨音樂節 及聖珀爾滕音樂節飾唱奧芬巴哈《藍鬍子》侍
者及羅莎琳德,獲得了奧地利音樂記者的一致 好評。 2008 年結束維也納學業後,她在日本首度登 台,飾唱理查.史特勞斯《納克索斯島上的阿 麗雅德妮》薺別妮塔,其出色的花腔和豐富的 音樂表現力吸引了眾多樂評人注意。特別是她 飾唱的《魔笛》夜后已在多個音樂劇院演出。 現為東京二期會歌劇團團員。 夜后 Queen of the Night ( 12.15 、 12.17 ) 安井陽子 Yoko Yasui
33 │ 莫札特歌劇《魔笛》

學習聲樂

Viktorija Đurđek

Soprano Viktorija Đurđek was born in Zagreb. She studied singing at the Music Academy in Zagreb under the mentorship of Prof. Dunja Vejzović. In her second year of study, she made her debut with the title role in Händel’s Agrippina at the Croatian National Theatre in Zagreb. In the third year of study she performed as a soloist with the Zagreb Philharmonic Orchestra at the Vatroslav Lisinski Concert Hall in Zagreb. She has also performed as a soloist with the Stuttgarter Philharmoniker, Kammersymphonie Leipzig, Filharmonia Warminsko-Mazurska, Croatian Chamber Orchestra, orchestras of the Croatian National Theatres in Zagreb, Osijek and Rijeka and contemporary music with the Cantus Ensemble. She continued her studies at the Hochschule für Musik und Darstellende Kunst in Stuttgart, where she studied art song with Cornelis Witthoefft, and vocal technique with Frederique Friess. After her graduation in 2019, she made her debut with the role of The Queen of the Night in Mozart's Die Zauberflöte at the Croatian National Theatre in Zagreb.

Through the season 2020/2021 she sang the roles of The Queen of the Night as well as Rosina in Rossini’s Il barbiere di Siviglia. She had her debut as Queen of the Night at the Festival of the German Language at Goethe-Theater Bad Lauchstädt, as Frasquita in Bizet’s Carmen in Croatian National Theatre in Zagreb, and had her debut at the Magdeburg Theatre.

女高音,出生於克羅埃西亞札格勒布。在札格 勒布音樂學院學習聲樂,師從
教授。入學第二年,以韓德爾《阿格麗碧娜》 首度於克羅埃西亞國家劇院登台。第三年則在 瓦特羅斯拉夫.辛斯基音樂廳與札格勒布愛樂 樂團合作獨唱演出。合作過的樂團包括斯圖加 特愛樂樂團、萊比錫室內管絃樂團、瓦爾明斯
笛》夜后在巴特勞赫施泰特歌德劇院的「德語 節」登台,也在克羅埃西亞國家劇院首度飾唱 《卡門》法斯蓋達。 2020/2021 樂季在馬格德 堡劇院首度登台。 夜后 Queen of the Night ( 12.16 、 12.18 ) 維多莉亞.久爾杰克
Dunja Vejzović
科-馬祖斯卡愛樂樂團、克羅地亞室內管絃樂 團、札格勒布克羅埃西亞國家劇院管絃樂團、 奧西耶克和里耶卡樂團,並與坎圖斯樂團合作 演出當代音樂。她繼續在斯圖加特的音樂與表 演藝術大學學習,接受 Cornelis Witthoefft 指 導藝術歌曲,並向 Frederique Friess
技巧, 2019 年畢業後,她首度以《魔笛》夜后 在克羅埃西亞國家劇院登台。 2020/2021 樂季,除了飾唱《魔笛》夜后,也 飾唱《塞維亞理髮師》羅西娜,並首度以《魔
Die Zauberflöte by W.A. Mozart | 34

Bass Julian LO studied and obtained his Master degree in Music at Soochow University, Taiwan. He was the first-prize winner of Japan Performers Association’s Operatic Aria Competition, and was awarded Best Young Singer of the Year at the same time. He was then immediately accepted as a member of the Fujiwara Opera Company & The Japan Opera Foundation.

Since then, he has been performing more than 30 principle roles in many opera productions, and is recognized as one of the best bass singers in the country. LO was highly praised for his deep velvety voice and strong presence on stage. He was invited to perform with by orchestras such as National Taiwan Symphony Orchestra, Taipei Symphony Orchestra, Taiwan Philharmonic, Evergreen Symphony Orchestra, Tokyo City Symphony Orchestra, Tokyo Arakawa City Symphony Orchestra, Japan Shizuoka Symphony Orchestra, to name a few.

男低音,曾獲樂評盛讚「演技和角色塑造無與 倫比」、「深沉濃郁的歌聲及超群的存在感」, 於日本「歌劇詠嘆調大賽」中獲得首獎及年度 新人獎,隨後考入日本藤原歌劇團,並以《魔 笛》登上日本舞台,多年來陸續在國內外多部 歌劇製作中擔任主要角色。 合作過的樂團包括國家交響樂團、臺北市立交 響樂團、國立臺灣交響樂團、高雄市立交響樂
Niksa Bareza、Stefan Soltesz、Helmut
、 András Ligeti 、 Roberto
、 Wolfgang
等著名指揮共同演出。近年亦受邀
薩拉斯特羅 Sarastro
團、長榮交響樂團、東京都交響樂團、靜岡交 響樂團、東京都荒川市交響樂團等,並曾與陳 秋盛、呂紹嘉、飯森範親、大勝秀也、
Winschermann
Gabbiani
Wengenroth
於國內外各地舉辦講座與大師班,並任教於新 店高中音樂班及東吳大學。
羅俊穎 Julian LO
35 │ 莫札特歌劇《魔笛》

武營跨港臺歌劇《被遺忘的瑪麗亞》,飾唱瑪 麗亞;國光劇團《快雪時晴》,飾唱高曼青; 中國文化大學歌劇《波希米亞人》,飾唱咪咪; 台北歌劇劇場《短促的人生》,飾唱莎露德;

After graduating from the National Taipei University of the Arts, Soprano Jeannie CHIANG was awarded a gifted scholarship to study at the Johns Hopkins Peabody Institute and obtained a master's degree. During her stay in the United States, she was invited to sing main opera roles at the Stifel Theatre, and selected to perform the scenes of opera La Traviata with the Budapest Orchestra at the Magyar Allami Opera House. After returning to Taiwan, she was nominated for the Best Singing Award in the 19th Golden Melody Awards for Traditional Arts and Music.

In recent years, CHIANG has been active on various stages and performed roles as Maria in Maria de Buenos Aires by National Kaohsiung Center For The Arts, Mimi in La Bohème by the Chinese Culture University, Salud in La Vida Breve by Taipei Opera Theater, Amina in La Sonnambula by the TNUA, and Margaret in Faust by Taipei Opera Theater. She held several solo recitals at the National Recital Hall in Taipei, and was invited to perform with Shanghai Conservatory of Music in 2019. Currently CHIANG is teaching at the National Taipei University of the Arts and the National Taiwan University of the Arts.

女高音,畢業於國立臺北藝術大學以及美國約 翰霍普金斯大學琵琶蒂音樂院。大學期間,即 為新世界歌劇坊成員,演出經驗豐富。留美期 間,多次受邀於史帝佛劇院演出歌劇製作,擔 綱重要角色。曾與布達佩斯管絃樂團於匈牙利 國家歌劇院演出,並入圍第 19 屆傳藝金曲獎最 佳演唱獎。 近年活躍於樂界,受邀參與活動多元,包括衛
江蘇省立交響樂團於南京合作演出歌劇選粹。 目前任教於國立臺北藝術大學以及國立臺灣藝 術大學音樂系。 帕帕基娜 Papagena 蔣啟真 Jeannie CHIANG
高雄市立交響樂團歌劇《波希米亞人》,飾唱 穆賽塔;台北歌劇劇場《浮士德》,飾唱瑪格 麗特等。並曾受邀與上海音樂院師生於中國寧 波大劇院演出學術交流音樂會,及受邀與中國
Die Zauberflöte by W.A. Mozart | 36

While her repertoire includes music from all historical periods, soprano LIN Meng-chun’s specialty is in vocal chamber and contemporary music. LIN has received masters of Fine Arts from Taipei National University of the Arts in Vocal Performance, and bachelor of the Fine Arts from National Taiwan Normal University in Vocal Performance. She has won the Taiwan Ministry of Education Scholarship (2004-2007) and pursued doctor of Musical Arts at the College-Conservatory of Music in University of Cincinnati. She is currently a contract instructor at National Taiwan Normal University, and adjunct faculty at Taipei National University of the Arts, Soochow University, and Shih-Chien University, where she teaches voice lesson, opera performance, vocal chamber music, vocal pedagogy, and English diction and song literature.

交響樂環遊世界》女高音 獨唱、蕭泰然《福爾摩沙安魂曲》美國首演女 高音獨唱,並與世界知名男高音 Scott Piper 於 義大利音樂節演出二重唱。曾受邀參與國內外 多項大賽:德國慕尼黑大賽、維也納 Belvedere 國際聲樂大賽、國際歌劇新聲聲樂大賽、台灣 樂壇新秀歌劇大賽。 身為一位積極拓展不同範疇之歌唱家,期許以 多年演唱以及教學經驗,積極參與劇場製作、 演出及講座規劃,尤其投入古典音樂音樂向下 扎根的劇場教育。現任謎思星球劇團藝術總監。

Born in 1977, Soprano HSU Yu-chen entered the Music Department of Tunghai University and received a master Degree in Vocal Performance in 2002. She is now a singer and vocal teacher. As a professional singer and performer, she has been on most of the stages in U.S.A., Wien, Moravia, Taiwan, Korea and Japan. Opera roles include Le Nozze fi Figaro as Contessa, Don Giovanni as Donna Anna, La Bohème as Mimi, Suor Angelica as Genovieva, Electra as 5th Magde/Schlepptragerin, Don Pasquale as Norina, La Traviata as Violetta, Falstaff as Alice, Die Fledermaus as Rosalinde, L’Enfant et les Sortileges as L’Enfant, Sapho as Irene, to name a few.

第一仕女 First Lady 林孟君 LIN Meng-chun 第二仕女 Second Lady 許育甄 HSU Yu-chen 女高音,2004 年獲教育部公費留學獎學金,於 美國辛辛那提大學攻讀聲樂博士學位。返臺之 後,定期舉辦個人獨唱會及室內樂音樂會,多 次受邀參與中華民國聲樂家協會、臺中國家歌劇 院、國家交響樂團、臺北市立國樂團、樂興之時 管絃樂團、灣聲樂團等單位演出,並擔任「2013 國家交響樂團歐洲巡演」女高音。現為中華民國 聲樂家協會基本會員兼任理事、日文藝術歌曲研 究會會員及詠樂集歌手。於國立臺灣師範大學音 樂系專任,兼任於國立臺北藝術大學音樂系、實 踐大學音樂學系及東吳大學音樂系,並擔任師大 附中校友合唱團指導老師。 女高音,國立臺北藝術大學聲樂組博士班,東 海大學音樂研究所碩士,師從唐鎮教授、徐以 琳教授。合作單位包括國家交響樂團、長榮交 響樂團以及高雄市立交響樂團,擔任《2020 臺 南億載金城國慶煙火音樂會》女高音獨唱、 《NSO 星光音樂會
37 │ 莫札特歌劇《魔笛》

Lyric mezzo-soprano CHENG Hai-yun completed her doctor of Music Art in Voice Performance at the Boston University and received her master of Voice Performance at the New England Conservatory.

CHENG won the Third Prize of the Professional Group German Lieder Competition Taipei and the Second Prize of the Professional Group Taipei Chinese Art Song Competition. Recognized as a Young Star of Vocal Music by National Theater and Concert Hall. Her operatic role includes Cherubino in Ie nozze di Figaro, Dorabella in Cosi Fan Tutte, Hänsel in Hänsel und Gretel, Meg Page in Falstaff, Ciesca in Gianni Schicchi, Rosina in Ie barbiere di Siviglia, Angelina in La Cenerentola, Leonora in L'italiana in Algeri, Emillia in Otello, Nicklausse/ Muse in Ies contes d’Hoffmann , Orlofsky in Die Fledermaus and L’enfant in L'enfant et les sortilèges CHENG teaches at the Department of Music at Soochow University and is a member of the Taipei Philharmonic Opera Studio.

人》、謎思星球劇團《魔笛》及《灰姑娘》、台 北愛樂歌劇坊《頑童魔咒》、台北歌劇劇場《短 促的人生》、臺中國家歌劇院《焦元溥瘋歌劇- 百變羅西尼》、臺南億載金城國慶音樂會、花蓮 太魯閣峽谷音樂節等。

Baritone Rios LI graduated from Tunghai University where he received his bachelor's and master's degrees in Vocal Performance. Currently he is the member of Taipei Philharmonic Opera Studio, the Opera Workshop of National Theater & Concert Hall and the Association of Vocal Artstis of R.O.C. and serves as the vocal coach for Taipei Philharmonic Chorus and Taipei Chinese Orchestra Choir.

LI is active in both opera and concert fields. As an opera singer, he has performed the role of Conte in Le Nozze di Figaro , Yamadori in Madama Butterfly, Papageno in Die Zauberflöte, Falke in Die Fledermaus, L'ambasciatore/ Il Re/ Il Boscaiuolo in La bella dormente nel bosco, Second Soldier in Salome, Peter in Hänsel und Gretel, Don Giovanni in Don Giovanni, Marcello in La Bohème, Lindorf/ Coppelius/ Dr. Miracle/ Dappertutto in Les Contes d'Hoffmann, Zuniga in Carmen , Big Bad Wolf/ Fox in Three Little Pigs and Pinocchio, Maxmillian in Candide, Mandarin in Turandot, Tonio in Pagliacci, etc.

第三仕女 Third Lady 鄭海芸 CHENG Hai-yun 莫諾斯塔托斯 Monostatos 李增銘 Rios LI 抒情次女高音,波士頓大學聲樂博士、新英格蘭 音樂院聲樂碩士。東吳大學音樂學士。獲聲樂家 協會德文藝術歌曲大賽專業組參獎、中文歌曲大 賽專業組貳獎、國家兩廳院樂壇新秀。演出作品 包括:台北愛樂歌劇坊《費加洛婚禮》、《法斯 塔夫》、《塞維亞理髮師》、《霍夫曼的故事》、 《蝙蝠》、《頑童與魔法》;兩廳院歌劇工作坊《糖 果屋》、《灰姑娘》;國家交響樂團浦契尼《三 部曲》;臺中國家歌劇院《女武神》;樂興之時《旅 人之歌》及《大地之歌》女低音獨唱;台北愛樂 管弦樂團,貝多芬《第九號交響曲》女低音獨唱; 台北國際合唱音樂節《莫札特C小調彌撒》第 二女高音獨唱及國立臺灣交響樂團伯恩斯坦《詩 樂集》女低音獨唱。現任教於東吳大學音樂系, 為台北愛樂歌劇坊歌手。 男中音,東海大學音樂系聲樂組碩士,2017 年 台北歌劇重唱大賽第一名。現為台北愛樂歌劇坊 及謎思星球劇團歌手,並擔任台北愛樂合唱團、 臺北市立國樂團附設合唱團、臺北科技大學、淡 江大學、建國中學、師友合唱團聲樂指導及中華 民國聲樂家協會企劃演出組副召集。 近期演出包括衛武營《茶花女》、衛武營與萊茵 歌劇院《杜蘭朵》、臺中國家歌劇院《波希米亞
Die Zauberflöte by W.A. Mozart | 38

Baritone, obtained a master’s degree from the Music Department of Tunghai University in Taiwan. In 2017 he made his debut in La Traviata as Germont. In recent years, he has appeared in operas by the National Symphony Orchestra, Taipei Municipal Symphony Orchestra and National Taiwan Symphony Orchestra. The operas he has performed include Salome , La Bohème, Carmen , Gianni Schicchi , Der Mond , Macbeth , Il Trovatore , La Traviata, Götterdämmerung, West Side Story, L'elisir d'amore, Die Zauberflöte, Les Contes d'Hoffmann, La Cenerentola, Tosca, Die lustige Witwe, Le Nozze di Figaro, Tannhäuser, and so forth.

究所期間積極參與音樂會之演出,並多次在校內 外音樂會中擔任男高音獨唱及獎學金得主,2018 年演出台北歌劇劇場與國立台灣交響樂團《馬克 白》,飾唱馬爾康王子;2021 年臺中國家歌劇 院《唐懷瑟》,飾唱書記官漢利希。現任台中室 內合唱團、台中藝術家合唱團、台中濤韻男聲合 唱團之聲樂指導。

Tenor CHUANG Yun-ray was born in Penghu and he holds a master’s degree from the Music Department of Tunghai University in Taiwan. He studied under Professor HSU Yi-lin, and has previously been taught by professor CHAO Szu-chao, HUANG Jun-ching, and WU Shu-fang. CHUANG won the first prize of National Student Competition of Music three times and also granted scholarships by The Association of Vocal Artists of R.O.C. The operas he has performed including La Bohéme , Macbeth , Tannhäuser, La Traviata, Le Nozze di Figaro, Die Zauberflöte, and Mikado. He is now vocal coach of Taichung Chamber Choir, Taichung Artist Choir, and ManLody Male Singers.

男中音,東海大學音樂系研究所聲樂組碩士,師 從徐以琳、孫婉真、吳明杰教授。2017 年參與 校內歌劇製作《茶花女》,飾唱喬治歐.傑蒙, 同年獲得聲樂家協會年度新秀。近年合作樂團包 括國家交響樂團、臺北市立交響樂團、國立臺灣 交響樂團。演出作品:《莎樂美》、《波希米亞 人》、《卡門》、《強尼史基基》、《月亮》、 《馬克白》、《遊唱詩人》、《茶花女》、《諸 神的黃昏》、《西城故事》、《愛情靈藥》、《魔 笛》、《霍夫曼的故事》、《灰姑娘》、《托斯 卡》、《風流寡婦》、《費加洛的婚禮》、《女 人皆如此》、《塞維亞理髮師》及《唐懷瑟》等。 男高音,東海大學音樂研究所聲樂組碩士,臺 灣澎湖人,自 7 歲學習鋼琴,13 歲考入音樂班 接受專業音樂訓練,主修鋼琴,曾師從楊瑟蟬、 陳若琳、賴如琳。副修單簧管,曾師從王亮月。 14 歲學習聲樂,師從臺灣知名聲樂家徐以琳教 授。曾師從陳思照、黃俊欽、吳淑芳。大學及研
辯者、第一祭司、第二鎧甲兵 Speaker,
蔡政呈 TSAI Zheng-cheng 第二祭司、第一鎧甲兵 Second Priest & First Armored Man 莊昀叡 CHUANG Yun-ray 39 │ 莫札特歌劇《魔笛》
First Priest & Second Armored Man
by W.A.
| 40
Die Zauberflöte
Mozart

Founded in 1986, the Taiwan Philharmonic, also known as the National Symphony Orchestra (NSO) at home, has been hailed as one of the best orchestras in Asia. Under the leadership of music director Jun Märkl since January 2022, the NSO aspires to resonate throughout the world as the cultural ambassador of Taiwan. As the orchestra affiliated with the National Performing Arts Center, the NSO performs throughout Taiwan, but also tours regularly overseas, having performed in such musical centers as Paris, Vienna, Berlin, Tokyo, and Los Angeles. The NSO works regularly with internationally acclaimed conductors and soloists like Lorin Maazel, Luciano Pavarotti, Mirella Freni, and Mstislav Rostropovich. The orchestra’s extensive and varied activities include much chamber music, work with dance companies, opera productions, and events at nursing homes, mountain villages, and underprivileged communities.

國家交響樂團 National Symphony Orchestra 國家交響樂團( NSO )的前身「聯合實驗管絃樂團」成立於 1986 年,以打造頂尖交響樂團為目標; 2014 年 4 月改隸國家表演藝術中心,以「臺灣愛樂」立足國際。經過三十多年耕耘, NSO 參與交響 樂、室內樂、歌劇、舞蹈、跨界製作。樂團在歷任音樂總監張大勝、林望傑、簡文彬、呂紹嘉共同 悉心呵護下成長,以專業、開放、勇於創新的職業樂團為發展核心,現已成為亞洲地區最具指標性 的樂團。 2021 年 8 月,德國指揮家準.馬寇爾接任 NSO 藝術顧問, 2022 年 1 月起擔任音樂總監, 期望以樂團獨特的聲音擔任臺灣的文化大使,向全世界表達特有的身份和情感。
© 鄭達敬 41 │ 莫札特歌劇《魔笛》

指揮助理 陳元媛 葉政德 蔡明叡 鮑恆毅

第一小提琴

鄧皓敦★ 曾智弘☆ ☺ 林品任★ ♥

陳逸群○ 郭昱麟   林基弘

梁坤豪  陳逸農   卓曉青

方俊人  黃佳頎   李庭芳

賴佳奇  林孟穎   李家豪

曾智弘  蔡竺君   郭彥宏✽

陳姿廷✽

第二小提琴

陳怡茹● 孫正玫◎ 陳玟佐○

吳怡慧  李京熹  黃衍繹

顧慈美  康信榮  李梅箋

鍾仁甫  蔡孟峰   洪章文

陳偉泓  王致翔

中提琴

黃瑞儀● 鄧啟全◎ 呂昭瑩○

黃雅琪  李靖宜  謝君玲

呂孟珊  李思琪  陳猶白

吳彥廷  黃亞漢  劉詩珊

大提琴

連亦先◎ 韋智盈○ 周幼雯

陳怡婷  林宜嫺  黃日昇

蘇品維  唐鶯綺  林昕樺✽

萬兆九✽ 游承霖

低音提琴

傅永和● 蘇億容◎ 周春祥○

王淑瑜  黃筱清  王淑宜

連珮致  蔡歆婕  王暄淼✽

長笛

安德石● 宮崎千佳◎ 李 浚 江雅芸✽ 孫暐捷✽ 短笛 林于斐▲

雙簧管

王怡靜● 阮黃松◎ 楊舒婷

英國管 李明怡

單簧管

朱玫玲● 賴俊諺◎ 朱偉誼 孫正茸  陳美禔✽

低音管

簡凱玉● 陳奕秀◎ 高靈風 吳欣儒✽

倍低音管 簡恩義

法國號 劉宜欣● 劉品均◎■  黃任賢○ 黃哲筠  王婉如   楊景惠 ☺

陳馨晴✽ 張翔鈞▲

小號 宇新樂● 陳長伯◎ 張景民 鄒儒吉  侯丞勇✽

長號 李昆穎● 邵恒發◎ 陳志承 ☺

低音長號 彭曉昀

低音號 藤田敬介● 劉奕廷✽

定音鼓 艾庭安● 陳廷銓◎

打擊樂 陳哲輝● 陳振馨 楊璧慈

豎琴 解 瑄● 鍵盤 翁重華

執行長 郭玟岑 公關推廣經理 王承禹 行政管理經理 張念慈 音樂總監執行祕書 石玲玲 行銷暨數位發展經理 林瑩姿 企劃演出 企劃專員 奚慧如 徐珞玹 林晴暐        廖珝潔 專案執行專員 張啟哲 譜務專員 高婉瑜■ 陳筱淇

舞台監督 李艷玲  紀 琪

國家青年交響樂團 國家青年交響樂團組長 楊宇晴 專案執行專員 偕珈榕

行銷暨數位發展 整銷專案經理 羅文君 資深行銷專員 李心如 行銷專員 陳沁意 吳奕慧 班瑋妮

愛樂實驗室 愛樂實驗室組長 陳奇蕙 研究員 簡佑丞 專案執行專員 林語晏 駐團攝影 鄭達敬

公關推廣 公關組長 劉亭妤 公關專員 陳琬琳 行政專員 張筑昀

★樂團代理首席 ☆樂團首席 ●首席 ◎副首席 ○助理首席 ■留職停薪 ▲樂季合約人員 ☺ 試用期 ♥ 替代役 ✽TNUA 樂團職銜學程學員 劃底線者為協演人員 國家交響樂團
行政管理 人事組長 林碧珠 資深人事專員 陳宛瑜 資深法務專員 蔡木鎮 劉善謙 行政專員 陳靜怡 詹懿玲 呂欣庭
林竺叡 林芝年 音樂總監 準.馬寇爾 榮譽指揮 呂紹嘉 桂冠指揮 根特.赫比希 協同指揮 吳曜宇 楊書涵
Die Zauberflöte by W.A. Mozart | 42

I-chen

YANG I-chen earned a master of Music in Choral Conducting with distinction from Westminster Choir College in USA During her studied in Westminster Choir College, YANG was the assistant conductor of the Westminster Choir and had collaborated with the world’s leading orchestras, including: The New York Philharmonic, The Philadelphia Orchestra, The Spoleto Festival Orchestra, and The Lucerne Festival Orchestra.

YANG is an active conductor, lecturer and adjudicator of choral music. She currently serves as the artistic director of the Taichung Chamber Choir in Taiwan. She is also the artistic director of Chorus Taiwan and Taichung Children’s Choir, the ACA Country and Regional Representative, director and member of Taiwan Choral Association and Dalcroze Society of Taiwan, and the professor of National Tsing Hua University.

美國西敏合唱音樂學院合唱指揮碩士,曾擔任 該學院合唱團之助理指揮,與紐約愛樂、費城 管絃樂團、Spoleto Festival Orchestra 和琉森節 慶管絃樂團等合作演出。現任台中室內合唱團 藝術總監,常與國家交響樂團、國立臺灣交響 樂團、臺中國家歌劇院合作,擔任合唱指導。 同時,也擔任中部合唱中心藝術總監、台中少 年兒童合唱團藝術總監、亞洲合唱協會臺灣代 表、臺灣合唱協會常務理事、臺灣國際達克羅 士音樂節奏研究學會顧問,並任教於國立清華 大學音樂系。
演出人員介紹
43 │ 莫札特歌劇《魔笛》
合唱指導 Chorus Master 楊宜真 YANG
NTT 歌劇合唱團 NTT Choir 為培育人才、拓展臺中在地連結,NTT 歌劇合唱團由臺中國家歌劇院於 2020 年以公開甄選方式組成。 以培養歌劇院年度歌劇製作之合唱演出人才為目標,搭配戲劇肢體及音樂演唱雙軌訓練,為團員創 造站上專業歌劇舞台、參與跨國歌劇製作的機會。 To cultivate talents and develop NTT’s local connections in Taichung, NTT Choir was established by National Taichung Theater in 2020 through open audition. Intending to train stable cooperative choir members for NTT annual opera productions, the Choir offers body language and singing sessions, and creates opportunities for members to participate in professional opera performances and international opera productions. 第一仙童 First Spirit 鍾心欣 (12.15、12.17) 丁于恬 (12.16、12.18) 第二仙童 Second Spirit 黃惠儀 第三仙童 Third Spirit 吳庭萱 Soprano 林品君 孫子嵐 莊以柔 陳昱如 曹書文 劉昱均 林蕭淳顄 ● 劃底線者為《魔笛》協演人員 Alto 朱珮瑜 余佳霓 林麗菁 曹瑛敏 郭雙平 廖珮玉 顏宛宣 Tenor 林育澤 陳冠叡 黃 翔 詹傑閔 廖上凱 鄭琮翰 藍上杰 顏子晏 陳向昕 王 詠 Bass 林琮斌 吳溫鵬 陳奕成 黃皓偉 鄭元毓 趙仁傑 溫穎傑 陳亭屹 行政執行 周珮甄 黃美棠 Die Zauberflöte by W.A. Mozart | 44
東京新國立劇院( NNTT )是日本唯一專為歌劇、芭蕾、舞蹈和戲劇等表演藝術所設的國家劇院。 自 1997 年開幕以來, NNTT 不僅將世界級的表演搬上了位於東京的舞台,也帶到許多地區劇院。 NNTT 在日本的文化生活中佔有一席之地,親切且受人喜愛。 東京新國立劇院包括歌劇院( 1,814 席)、中劇院( 1,038 席)和小劇場(開放空間劇院,無固定座位, 最多可容納 468 席),這三個空間各展所長,每年呈現約 300 場的製作演出,帶給近 20 萬名劇場觀 眾愉快的體驗,其中包括許多海外觀眾。東京新國立劇院積極規劃自製節目,並與日本和海外的其 他劇院合作演出。 東京新國立劇院合唱團和日本國家芭蕾舞團是 NNTT 的常駐團體。東京新國立劇院合唱團成立於 1998/1999 樂季, NNTT 製作的大部分歌劇皆有參與演出。合唱團活動不僅限於歌劇表演,也在其他 音樂廳和音樂節亮相,並與交響樂團合作演出音樂會。 作為日本首屈一指的國家歌劇院,東京新國立劇院致力於打造一流作品,向大眾推廣,啟發並深入 人心的表演藝術,藉此成為一個全面而豐富心靈的所在,期待大眾更多的支持與參與。 東京新國立劇院 New National Theatre, Toyko 45 │ 莫札特歌劇《魔笛》

The New National Theatre, Tokyo (NNTT) is Japan's only national theatre dedicated to the performing arts of Opera, Ballet, Dance and Drama. Since we opened in 1997, the NNTT has presented world-class performances not only at our theatre in Tokyo but also at many regional theatres, and has come to occupy a familiar and much-loved place in the nation's cultural life.

The NNTT comprises the Opera Palace (1,814 seats), Playhouse (1,038 seats) and The Pit (open space theatre with flexible seating arrangements up to 468 seats), each of which uniquely contributes to an annual total of about 300 stage performances to the delight of approx. 200,000 theatregoers, including many visitors from overseas. The theatre is constantly active in staging productions, by itself or in collaboration with other theatres throughout Japan and overseas.

New National Theatre Chorus and The National Ballet of Japan are the two resident companies of the NNTT. NNT Chorus inaugurated since the 1998/1999 Season performs in most of the opera productions produced by NNTT. Their activities go beyond operatic performances while they also appear at other concert halls and music festivals and perform in concerts with symphony orchestra.

As Japan's foremost national opera house, New National Theatre Tokyo strives to create, promote and disseminate performing arts of the highest achievement to the public, in a way that inspires and engage with people on the emotional level. In doing so, we strive to be a full and enriching presence, and to this end we look to your support and partnership.

| 46
Die Zauberflöte by W.A. Mozart

指  揮|洪毅全

導演暨舞台設計|威廉.肯特里奇

共同導演|呂克.德維特

執行導演|島田彌六

舞台設計|莎賓.托伊尼森

服裝設計|格蕾塔.戈伊里斯

燈光設計|珍妮佛.提普頓

影像設計|凱薩琳.麥柏格

燈光執行|史考特.柏曼

舞台指導|濱崎俊幸、川崎泰輔

聲樂指導暨排練指揮|徐嘉琪

合唱指導|楊宜真

鋼琴排練|蘇映竹 英譯字幕|凱莉.洛克

塔米諾|泰倫斯.陳-駱依 (12.15、12.17) 金健雨 (12.16、12.18)

帕米娜|賴珏妤 (12.15、12.17) 珍妮.達維耶 (12.16、12.18)

帕帕基諾|丁一憲 (12.15、12.17) 趙方豪 (12.16、12.18)

夜  后|安井陽子 (12.15、12.17) 維多莉亞.久爾杰克 (12.16、12.18)

薩拉斯特羅|羅俊穎

帕帕基娜|蔣啟真

第一仕女|林孟君 第二仕女|許育甄 第三仕女|鄭海芸

莫諾斯塔托斯|李增銘

辯者、第一祭司、第二鎧甲兵|蔡政呈

Conductor | Darrell ANG Stage Director & Set Design | William Kentridge Co-director | Luc De Wit Revival Director | Miroku Shimada Set Design | Sabine Theunissen Costume Design | Greta Goiris Lighting Design | Jennifer Tipton Projection Design | Catherine Meyburgh Lighting Design Associate | Scott Bolman Set Supervisor | Toshiyuki Hamasaki, Taisuke Kawasakirmo Vocal Coach & Rehearsal Conductor | HSU Chia-chi Chorus Master | YANG I-chen Rehearsal Pianist | SU Ying-chu English Surtitles | Kelley Rourke

Tamino | Terrence Chin-Loy (12.15、12.17) Konu KIM (12.16、12.18) Pamina | LAI Chueh-yu (12.15、12.17) Jenny Daviet (12.16、12.18) Papageno | Ilhun JUNG (12.15、12.17) CHAO Fang-hao (12.16、12.18) Queen of the Night | Yoko Yashi (12.15、12.17) Viktorija Đurđek (12.16、12.18) Sarastro | Julian LO Papagena | Jeannie CHIANG First Lady | LIN Meng-chun Second Lady | HSU Yu-chen Third Lady | CHENG Hai-yun Monostatos | Rios LI

Speaker, First Priest & Second Armored Man | TSAI Zheng-cheng Second Priest & First Armored Man | CHUANG Yun-ray Third Priest | CHEN Yi-cheng First Spirit | Angelrela Cattleya TJOENG (12.15、12.17) TING Yu-tien (12.16、12.18) Second Spirit | HUANG Hui-yi Third Spirit | WU Ting-hsuan Performer | LIN Wei-sheng, HUANG Min-chun

National Symphony Orchestra NTT Choir

林煒盛、黃敏竣 國家交響樂團 NTT 歌劇合唱團 東京新國立劇院製作,皇家鑄幣局劇院 2005 年創作首演 Production of New National Theatre, Tokyo, created at Théâtre Royal de
in 2005. 藝術暨演出群 Creatives and Cast
第二祭司、第一鎧甲兵|莊昀叡 第三祭司|陳奕成 第一仙童|鍾心欣 (12.15、12.17) 丁于恬 (12.16、12.18) 第二仙童|黃惠儀 第三仙童|吳庭萱 舞台演員|
la Monnaie
47 │ 莫札特歌劇《魔笛》

藝術總監|邱 瑗

執行製作|謝祥雯、林宥慧、黃 璿

行銷宣傳|林思琪、徐韻婷、陳郁筑、張亦鵑

技術統籌|關 愛、陳威宇、龍佩榆

技術統籌助理|張雅涵

舞台監督|李立菁

舞台技術指導|曾嘉生

燈光技術指導|陳慶雄

道具技術指導|謝青鈺

妝髮技術指導|洪心愉

服裝管理指導|張嘉瑋

導演助理|林煒盛

助理舞監|鄒昌荃

舞監助理|陳其寬

製作舞監助理|官家如

舞台技術執行|楊博安、張文信、陳映辰

李振瑋、安皓澤、郭容嘉 何欣芸、丁彥銘、廖郡豪 鄭偉志、卓駿鵬、吳煜慶

林卉柔、連偉喆、祁 浩 鄭雯欣、蘇筱筠

林衍孝、林立逵、許瓊芳 蘇懷恩、王建庭、張翊鈞 程楚心 道具技術執行|徐譜喬、游佩諭、蔡佩茹 嵇少微、李佳儒、林昕誼 服裝管理執行|陳文秀、藍翊慈、陳文蕙 郭 萱、羅宇燦、于子評 方姿晴、郭雪兒、李佳璘 郭承達 臺中國家歌劇院製作團隊 影像執行|劉晏綺 影像執行助理|
妝髮造型執行|
洪心愉、賴麗卉、盧靖雯 蔡筱貞、陳欣妏、徐妏詩 黃家信、林駿貿、林妘軒 徐婕菲、胡喬盈、魏嘉凡 吳孫寧、陳永維、呂秀慧 楊岱璇
專案執行助理|
隨行翻譯|李穆堯、邱芳吟、劉人瑋、沈亮慧 英譯字幕|
美術設計|
宣傳影像編輯|
臺中國家歌劇院演出技術部 主辦單位| 指定住宿| 冠名贊助| 異業合作| Die Zauberflöte by W.A. Mozart | 48
燈光技術執行|曾羿佳、童偉倫、黃彥文
林晏誼、林俊文
好萊塢的秘密造型團隊
視訊協力|元亨浩有限公司 台灣松下銷售股份有限公司 陳智宥、陳彥民、陳美慧、游人權 林威任、林子凌、陳思皓 專案執行|杜佳舫
陳潔儀
凱莉.洛克 English subtitles owned by Kelley Rourke 字幕製作及執行|台北昆德利
朱俊銘
張尹劭
影|林峻永
49 │ 莫札特歌劇《魔笛》

Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.