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
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｜
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.
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.
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
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。
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
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.
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.
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.)
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.
（ 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.
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).
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.
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.
》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
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.
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.
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.
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
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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
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.
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.
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
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
