2021 NTT遇見巨人─羅西尼歌劇《塞維亞理髮師》

劇情概要

笑傲舞台兩百年：羅西尼《塞維亞理髮師》

專訪導演馬丁 • 林博 ─ 默片式歌劇《塞維亞理髮師》 藝術創作群介紹 演出人員介紹

P 2-5 P 6-7 P 8-11 P 14-18 P 20-29

劇情概要

笑傲舞台兩百年：羅西尼《塞維亞理髮師》

專訪導演馬丁 • 林博 ─ 默片式歌劇《塞維亞理髮師》 藝術創作群介紹 演出人員介紹

P 2-5 P 6-7 P 8-11 P 14-18 P 20-29

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Il barbiere di Siviglia by Gioachino Rossini

劇情概要 Synopsis

─ 蔡世豪

第一幕

因失去雙親而繼承了一大筆遺產的羅西娜，正由覬覦其財產的巴托羅醫生監管著，塞維亞萬事通──理髮 師費加洛唱著 < 讓路給本城大總管 > 登場，與費加洛相識的阿瑪維瓦伯爵向前尋求協助，恰巧聽到巴托羅 吩咐家僕，不得讓任何人進入屋子，除了表面身份是個音樂教師，實際上專做婚姻騙局的巴西里歐之外。 在費加洛慫恿下，阿瑪維瓦伯爵化名為「林多羅」於窗前唱出 < 若想知道我身份 >，這時屋內女子也哼唱 旋律回應，接著伯爵便與費加洛唱起 < 一想到那些金屬 > 二重唱，並決定佯裝成喝醉的士兵到巴托羅家借 住一宿。 在家中思念林多羅的羅西娜，唱起 < 我聽到一縷歌聲 > 並寫下一封情書。於此同時巴托羅正與巴西里歐計 畫著要與羅西娜舉行婚禮，巴西里歐則唱出 < 誹謗如一陣微風 >，要以此擊退伯爵。聽到這些計畫的費加 洛，把情況告訴羅西娜並傳達了林多羅對她的愛意；曾在窗下看過費加洛與林多羅互動的羅西娜，覺得費 加洛可能是可以幫助她與林多羅的人，於是決定將情書交給費加洛，希望他設法讓兩人相見。 伯爵偽裝成士兵來醫生家借住，與擁有寄宿豁免證的巴托羅發生衝突，兩人大打出手，惹來了官兵要逮捕 伯爵，然而在伯爵亮出真實身分後，軍官態度丕變不敢造次，此時全體錯愕唱出 < 我的腦袋好像……> 結 束第一幕。

Act I Rosina, who inherits a great fortune after losing her parents, is the ward of Dr. Bartolo who covets after her wealth. Barber Figaro, a Jack-of-all-trades, shows up on the stage singing Largo al factotum della città. Since Figaro and the Count Almaviva are old acquaintances, the Count asks him for assistance. By chance they overhear Bartolo telling his servant that no one can enter his house except Don Basilio, a marriage con artist in disguise as a music teacher. Persuaded by Figaro, the Count assumes the pseudonym, Lindoro, and sings outside the window Se il mio nome saper voi bramate and amazingly the woman inside also sings back. The Count and Figaro then start a duet All’idea di quel metallo. The Count decides to disguise himself as a drunken soldier, ordered to be billeted with Bartolo.

Thinking of Lindoro, Rosina sings Una voce poco fa and writes a love letter to him. At the same time, Bartolo and Basilio are planning the doctor's wedding with Rosina. Basilio sings La calunnia è un venticello, devising to defeat the Count in this sway. Figaro, after he overhears these plan, tells Rosina Lindoro's love for her. Rosina, who once witnesses Figaro interacting with Lindoro, believes that he is the one who can help her and Lindoro. She decides to give her letter to Figaro and hopes that he can arrange for them to meet.

The Count disguises as a soldier ordered to be billeted with the doctor and confronts Bartolo who has exemption paper. The two start a brawl and attract the attention of an officer and his troop. As they are about to arrest the Count, Almaviva reveals his true identity and the officer suddenly changes attitude and backs off. The astonished group sings Ehi di casa... buona gente... The end of Act I.

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Il barbiere di Siviglia by Gioachino Rossini

第二幕

打扮成士兵卻沒能如願與羅西娜互訴衷情的伯爵，這回喬裝為音樂教師，謊稱自己是巴西里歐的學生「阿 隆索」，要替生病的老師來為羅西娜上課，並拿出羅西娜寫給林多羅的信件，說服巴托羅將以此信件讓羅西 娜以為林多羅玩弄了她。 取得巴托羅信任的伯爵順利地見到了羅西娜，在伯爵的伴奏下，羅西娜唱出了 < 提防亦枉然 >，巴托羅則 接著唱出 < 當妳靠近我身邊 >。費加洛此時來為醫生刮鬍子，並藉機取得陽台的鑰匙；伯爵告訴羅西娜今 晚會來將她接走，豈料被巴托羅聽到，隨即趕走了伯爵與費加洛，此時家中女僕貝塔唱出 < 老頭找老婆 >。 接著巴托羅要巴西里歐立刻帶著公證人來處理結婚事宜，並將信件交給羅西娜，讓她相信已然被林多羅玩 弄。 伯爵與費加洛於暴風雨後從陽台潛進醫生家中，羅西娜斥責林多羅出賣了她，在林多羅表明自己即是阿瑪 維瓦伯爵並深愛著她之後，兩人重修舊好。陶醉於愛情的兩人與洋洋得意的費加洛唱起了 < 啊！出乎意料 的驚奇 >，這時巴西里歐與公證人抵達，伯爵威脅利誘他們為自己與羅西娜證婚。巴托羅隨後帶著官兵前 來，但在伯爵亮出自己的身份與已完成的婚約後，巴托羅只好承認自己搞砸了一切，在眾人的祝福歌聲中 喜劇收場。

Act II The Count has failed to reveal his feelings to Rosina when disguised as a soldier. This time he pretends to be a music teacher by claiming to be Basilio's student, Don Alonso, who steps in for his ill teacher. He also produces a letter written by Rosina to Lindoro to persudate Bartolo and claims that he is going to use this letter to convince Rosina that the Count fools her.

The Count successfully meets with Rosina after gaining Bartolo's trust. Accompanied by the Count's music, Rosina sings Contro un cor che accende amore and Bartolo sings Quando mi sei vicina. Figaro enters to shave the doctor and uses the opportunity to obtain the key to the balcony. The Count tells Rosina that he will take her away with him tonight, but Bartolo overhears them.

Bartolo kicks the Count and Figaro out of the house. Berta, the maid, sings Il vecchiotto cerca moglie. Then Bartolo orders Basilio to have the notary ready to handle the marriage and he gives the letter to Rosina, misleading her into believing that the Count is toying with her.

After a storm, the Count and Figaro sneak into the doctor's house through the balcony. Rosina accuses Lindoro of betraying her.

The two reconcile after Lindoro reveals his identity and confesses that he is deeply in love with her. The two enraptured lovers and triumphant Figaro sing together Ah! qual colpo inaspettato. The notary and Basilio arrive and using bribes and threats, the Count coerces the notary into marrying him to Rosina. Bartolo later also arrive with the officer and his troop. After the Count reveals his identity and proof of marriage, Bartolo admits he screws up everything. The opera concludes joyously with the celebratory singing of all.

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Il barbiere di Siviglia by Gioachino Rossini

笑傲舞台兩百年：羅西尼《塞維亞理髮師》

─ 焦元溥

關於羅西尼（Gioachino Rossini，1792-1868），最著名的形容，或許是下面這段文字： 拿破崙雖然故去，但新征服者已經降臨世界。從莫斯科到拿坡里，從倫敦到加爾各答，他的名字掛 在每個人的嘴上。這位英雄的名聲無遠弗屆，唯有文明傳播的疆界，才是其可能的止境……

史上最有名的作曲家

這段話出自羅西尼的狂熱崇拜者，也是不朽經典《紅與黑》的作者、法國一代小說名家斯湯達爾 （Stendhal，1783-1842）所著的《羅西尼傳》。驚人的是他下筆時是 1824 年，羅西尼才 32 歲，而 他的讚揚也成為預言⸺十年後，羅西尼的《灰姑娘》（La Cenerentola）真的在加爾各答上演。再 過十年，《灰姑娘》更在澳洲登台，哪裡有歐洲人，哪裡就有羅西尼。 斯湯達爾並非先知，而是「記者」，忠實描述這位作曲家名震天下的程度。拜倫記述羅西尼 1819 年 到威尼斯，該城民眾「不停對他呼喊、頌揚、款待，將他神格化，他獲得的禮遇遠超過任何帝王。」 1822 年羅西尼造訪維也納，權傾天下的帝國首相梅特涅設宴款待，更在當年十月「維洛納會議」上 稱羅西尼為「和聲之神」，即使奧地利自己有一位大名鼎鼎的貝多芬。羅西尼實踐「40 歲前就退休」 的生活，在 37 歲寫完第 39 部歌劇《威廉泰爾》（Guglielmo Tell）之後即退出歌劇舞台，但其機智 談吐仍使他成為上流社會的不墜明星。他在巴黎居所每週六舉行的音樂晚會，是人皆嚮往的社交活 動。當羅西尼於 1868 年過世，葬禮超過四千人參加，場面前所未見，留下的 142 萬美金遺產（約 合今日五億台幣）又再度提醒世人，誰是這世上的歌劇霸主。

生活磨出本事 自修練成絕技

少年得志又富貴到老，羅西尼有的，當然不是一般的才能。他繼承了歌劇演員母親的好嗓子，從小 看媽媽登台，最後自己也上場，或演唱或演奏，從實做中累積出無人可比的經驗與智慧。他在波隆 納接受正式音樂教育，從現場演出增廣見聞，城市與劇院也是他的老師。羅西尼音樂稟賦奇高，更 從小就獨具慧眼，喜歡當時義大利一般無甚興趣的海頓與莫札特。「莫札特是我少年時的偶像、壯 年的期盼、老年的安慰」，藉由分析這兩位前輩的創作，羅西尼靠自修快速成長，將南方義大利的 旋律美感與北方日耳曼的嚴謹豐富融會貫通，長曲調與短動機皆有靈動發展，更能展現俯瞰各段、 統整全局的宏大結構，成就獨一無二的音樂魅力。早在 1813 年底，藉由《唐克雷第》（Tancredi） 與《阿爾及利亞的義大利女郎》（L'italiana in Algeri）這兩部作品的成功首演，羅西尼已成為炙手 可熱的新一代義大利歌劇名家，而他才不過 21 歲。 過人經驗與本領，完全體現在寫於 1816 年的《塞維亞理髮師》。由於劇本與選角拖延，羅西尼必 須以疾如星火的速度完成樂譜。他曾誇耀自己僅用 12 或 13 天就完成總譜；雖然後來研究顯示，他 大概還多用了 6 至 7 日，但無論如何，這都是令人瞠目結舌的成就。因為他完成的，不只是他最知 名的代表作，更是史上最傑出音樂喜劇之一，至今熱演不輟。

脫胎於老套的新意

能寫的這麼快，原因之一，在於羅西尼回收了些許之前用過的音樂，包括鼎鼎大名的序曲和女主角 羅西娜的登場詠嘆調〈我聽到一縷歌聲〉。這不完全是偷懶，而是作曲家想複製已有的成功，用確 保能贏得掌聲的美好旋律鞏固新作的利基。所謂回收，並非照抄，而是將音樂材料重新思考整理。 羅西娜就是最好的例子。羅西尼之所以寫給次女高音，主因當然是為配合首演者。但次女高音本來 就是他偏愛的聲音類型，和女高音相比更顯渾厚豐腴，接近他心中「義大利女人的聲音」。在他筆 下，羅西娜青春但非輕佻，機智而不幼稚，情感豐富且真實，又有追求自身幸福的決心，確實不是 老套扁平的喜劇角色。 要做到這點並不容易，而這正顯示羅西尼的智慧。博馬謝（Pierre Beaumarchais，1732-1799）的《塞 維亞理髮師》本來想寫成法式喜歌劇劇本。後來雖改為話劇，歌劇式的人物架構仍然明晰，更可 和義大利行之有年的「即興喜劇」（Commedia dell'arte）對應。這種表演充滿定型角色，例如蠢老 人、風騷女、狡猾僕人與霸氣軍官，演員依此定型，每日即興發揮，插科打諢取樂觀眾。或許正因 轉換容易，此作在羅西尼之前，已有幾部歌劇版，最出名的是派西耶羅（Giovanni Paisiello，17401816）首演於 1782 的作品，其名聲之大，使羅西尼此劇首演時還需改成劇中伯爵之名以避鋒頭。 但相較於前人，羅西尼的版本不僅音樂更卓越，角色塑造也更立體，脫胎於定型角色又不囿於定型 角色：男主角是遊戲人間、四處獵豔的貴族，面對羅西娜倒也動了真心。巴托羅醫師雖是壞心丑角， 卻也是具有社會地位、受人敬重的醫師。音樂教師巴西里歐有著城市人機靈的小奸小惡，理髮師費 加洛則遠遠超越他的社會地位，成為和貴族名流不相上下的塞維亞地下總管。

是經典喜劇，更是音樂傑作

這固然得益於歌劇劇本作者史特比尼（Cesare Sterbini，1784-1831）優秀的改編，關鍵仍是作曲家 的音樂設計。光是費加洛出場的〈讓路給本城大總管〉，就活靈活現地展露他八面玲瓏的能耐，預 告他將縱橫全場。巴西里歐則是別人寫不來的諧趣男低音，證明羅西尼開發聲種潛能的本事。除了 招牌的快速唱段、群角競演，以及膾炙人口的「暴風雨音樂」，作曲家在此劇也如忙碌的費加洛， 只是來往穿梭的不是人物，而是各種風格。為伯爵譜寫，以吉他伴奏的情歌，不只雋永動人，還有 真正的即興風格。在著名的「音樂課場景」，他以音樂替戀人暗通款曲，又能刻意仿古，讓巴托羅 醫師唱出「屬於過去」的曲風，挖苦嘲諷恰到好處。審視羅西尼原譜，即可發現他的管絃樂寫作精 簡但富色彩，與平衡有度的角色聲種完美搭配⸺之所以提到原譜，在於《塞維亞理髮師》實在太 受歡迎，各種改寫、調度、增刪也應運而生，包括擴充樂團編制，以女高音演唱羅西娜，又把女僕 改成次女高音的種種版本，甚至演唱段落也不見得都是羅西尼原作，「音樂課場景」還變成女主角 小型演唱會，愛唱什麼就唱什麼。比較此劇各種錄音，特別是 1970 年代之前的版本，想必會有諸 多驚喜（或驚嚇）。

與時俱進的經典

種種更動，現在更展現於導演的設計。這次在臺中國家歌劇院登台的丹麥皇家劇院 2018 年版，我 們會看到相對精簡的劇情與默片風格化的舞台（從服裝、布景到字幕皆是），還有填滿視線、忙得 一刻不得閒的各種支線。聲樂家從序曲開始就有戲，得一路演到最後的和弦。台上角色雖然仍是我 們熟悉的性格，人設卻有更動。「什麼？費加洛其實不是理髮師！什麼？巴托羅醫生居然和……！」 導演顛覆既有印象並刺激觀眾思考，當然誘人想知道更多，興味盎然地看下去。超過兩百年的老劇， 還能變出什麼新把戲？看了你就知道了。

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Il barbiere di Siviglia by Gioachino Rossini

專訪導演馬丁 • 林博──默片式歌劇《塞維亞理髮師》 《塞維亞理髮師》的製作機緣？

《塞維亞理髮師》是我執導的第一齣歌劇。過去我以製作戲劇、經典劇作、當代劇作及 其他類型的音樂劇場為主，但從未參與過歌劇。丹麥皇家劇院策略性地希望開發新世代

的歌劇導演，因此他們主動和我聯繫，我非常興奮能有難得的機會參與執導，我也竭盡 所能地帶來最好的作品。

丹麥皇家劇院製作中，對歌劇的角色、故事、時空背景進行什麼 樣的改動？為什麼會有這些想法？ 我希望能創作「入門款的歌劇」，讓相對較少歌劇觀賞經驗的現代觀眾，可以共感和共 鳴。現代人能比 200 多年前的觀眾更快速地理解到戲劇結構，因此我覺得有必要讓故事

情節更加緊湊，並強化劇情，由配角帶來更多非主線的次要情節，讓觀眾時時刻刻關注 台上的一舉一動。在眾多劇情改動中，最大的變動是「塞維亞理髮師」並不是真的理髮

由執導戲劇轉換為歌劇的過程中有什麼樣的挑戰？

1993 年起我便開始擔任劇場導演，作品多富肢體感、具前衛性。從那時候開始，我參與 過各種類別的藝術形式，唯獨沒有歌劇，直到現在。在歌劇中，音樂與戲劇元素同樣重 要，但不像音樂劇使用麥克風或擴音器，因此過程中面臨的許多挑戰需要用有別於以往

的方式解決，對我來說這個經歷非常有趣。我喜愛歌劇的臨場感與親近感，同時現場規 模盛大且觸動人心。

服裝設計、舞台設計及肢體動作的創作發想和過程？

首先我們要選擇專注在哪些面向─我們想要接觸現代的觀眾；想要讓這個製作閃爍、

夢幻、有趣且令人興奮，就如同羅西尼的音樂和博馬舍原著劇本般精彩；我們想要有強 烈的劇情，並在布景呈現字幕，並非如一般歌劇在距離舞台很遠的上方。我們如何全部 都做到？我們不斷問自己這些問題，因此開拓了「默片式歌劇」的道路。

師，而是一個遊手好閒的遊民，假裝是個理髮師，並無意間為自己帶來許多難題。

選擇以黑白默片風格重新詮釋的原因？

透過《塞維亞理髮師》想向觀眾傳達的訊息？

眾多配角也有他們自己的故事，同時希望有節奏明快的演出風格，搭配肢體上的喜劇感，

劇作看似是無傷大雅的迷人喜劇，但從現實面來說，這是一種「在暴政下的生存策略」，

其實這是整個戲劇結構調整後的結果，我們將劇情主線設定在置身社會底層的主角，而

因此舞台設計萊格．尤倫德和我開始覺得這齣劇有點像巴斯特 • 基頓的默片電影。我 們都覺得這個想法很有趣，因為歌劇跟默劇根本沾不上邊！就這「默片式歌劇」的想法 在我們的想像力擴大發展，最後我們決定讓所有事物呈現黑白風格，並將故事背景設定 在 1910 年左右。

準備過程中，我閱讀博馬舍的原著，他寫作的當下同時在對抗美國和法國的暴政，他的

從第二幕羅西娜的詠嘆調中即可略知一二，她唱道：「愛比專制還堅強！」但在劇情中， 我們發現愛是需要詭計、幽默與魅力的，我們都活在不同形式與樣貌的專制之下，這根 本形同是人類的基本生存條件，但我想我們都能從羅西尼和博馬舍的作品獲得幫助，從 各種不同形式的專制下獲得解放與自由。

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Il barbiere di Siviglia by Gioachino Rossini

Interview with Director Martin Lyngbo How did you start your cooperation with The Royal Danish Theatre of il barbiere di Siviglia?

Il barbiere di Siviglia is my first opera. I come from the dramatic theater, classics, new writing and also other types of music theater, but never opera. I think The Royal Danish Theatre strategically wanted to develop a new generation of opera directors. They approached me and I was very excited about the opportunity so I tried to do my very best.

What are the differences between the original production and this production in 2018? (Ex: characters, plot, time and space, etc.)

What inspires you to make these changes?

I wanted to do an entry-level opera – a show that is exciting and relevant for a modern intelligent audience with perhaps little opera experience. Today we understand dramaturgy a lot quicker than people did 200 years ago. Therefore, I felt I needed to tighten and strengthen the plot and build a bunch of subplots around the main plot to keep audiences on their toes. One of the major changes I have done plot-wise is that the barber of Seville in our show is not a barber. He is a bum pretending to be a barber and that creates a world of difficulties for him.

Why did you choose to interpret the opera with aesthetics of blackand-white film?

That was really a consequence of the dramaturgical decisions. We wanted to have a fast-paced acting style with a lot of physical comedy, plus a low life main character, plus interesting supporting characters with individual agendas. Designer Rikke Juellund and I began to realize that all of that actually felt like a silent movie by Buster Keaton. We thought that was a little funny because an opera is not exactly silent. The idea of a silent movie opera sparked our imagination so we decided to make everything black and white, and set the story around 1910.

Can you share your previous experiences in theater production? What kind of challenges did you encounter from directing plays to opera productions?

I have directed theater since 1993. I began very physical and avant-garde. Since that, I have worked in almost all genres except opera – until now. In an opera, music is as important as the theatrical elements. Moreover, operas do not use microphones or amplification unlike we would do in music theater, which is quite a challenge that we have to solve in other ways. And that is very interesting, I think. I love that opera is live and up close, while at the same time it is large scale and emotional.

What's the creating concept / process of the costume design, stage design, and movement of this production?

We first chose which things we would like to focus on. We wanted to reach out towards modern audiences. We wanted to make it all sparkling, bubbly, and funny, exiting just as the music of Rossini and the original play by Pierre Beaumarchais. We wanted to have a strong plot and texting in the set as opposed to surtitles flying high over the stage. So how could we do all that? Those were the questions we asked ourselves. They let us on the path towards the idea of the silent movie opera.

Is there any message you would like to tell the audiences through this production?

I read books about Pierre Beaumarchais in my preparations. He wrote the story while he also fought against political tyranny in both America and France. His play appears to be nothing but a charming comedy, however in reality, it is also a sort of “Survival strategies for life under tyranny.”

Rosina directly addresses this in an aria in the second act. “Love is stronger than tyranny,” she sings. However, through the action of the play, we learn that love needs trickery, humor and charm to survive. We all live under tyrannies in different shapes and forms. It is almost as this is a basic human condition. We could all use a little help from the likes of Rossini and Beaumarchais to liberate us from the many different types of tyranny.

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Il barbiere di Siviglia by Gioachino Rossini

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Il barbiere di Siviglia by Gioachino Rossini

藝術創作群介紹

© Tat Keng Tey

廖國敏

指揮

現任澳門國際音樂節節目總監及香港管弦樂團駐團指揮的廖國敏曾獲美國《費城詢問報》譽為「令

人矚目的指揮奇才」，2014 年法國巴黎國際史雲諾夫斯基指揮大賽勇奪亞軍、觀眾大獎及樂團大

© Jon Kort

馬丁．林博

導演

劇場及歌劇導演、編劇及作家，其作品向來以打破創意疆界，吸引年輕新觀眾著稱。林博於丹麥 國立表演藝術學校主修導演，後成為丹麥實驗劇場 Mungo

Park 藝術總監，推出一系列成功戲劇

獎，並獲美國費城交響樂團委任為助理指揮，為該團史上首位華人助理指揮。

作品，巡迴於世界各地，在北歐表演藝術領域奠定一席之地。

廖國敏活躍於國際舞台，近期重要演出包括獲邀指揮維也納交響樂團，為樂團成立 121 年來樂季

2017 年，林博離開 Mungo Park，開啟歌劇及音樂劇導演職業生涯，此外也編寫劇本及著書。 2018 年受丹麥皇家劇院邀請首度執導《塞維亞理髮師》，首演後即大獲好評，更於 2020 年受邀

音樂會上首位華人指揮；獲法國政府委派與圖盧茲國家交響樂團首度出訪沙特阿拉伯；韓國平昌

音樂節；國立臺灣交響樂團共十場演出及香港管弦樂團樂季閉幕音樂會等。歌劇指揮也備受矚目，

於以色列特拉維夫劇院重演。林博執導風格充滿動態與美感，始終以當下狀況及表演者為本位，

蝶夫人》、《卡門》等；並獲指揮家瓦列里•格吉耶夫邀請客席指揮俄羅斯馬林斯基劇院。

榮。

指揮作品包括《波希米亞人》、《愛情靈藥》、《小丑》、《杜蘭朵》、《遊唱詩人》、《弄臣》、《蝴

其作品透過充分研究及一連串協作工作坊發展創作。現於丹麥及海外戲劇學校授課，作品屢獲殊

廖國敏獲選為 2021 香港十大傑出青年。

LIO Kuokman

Conductor

Currently serving as Programme Director of the Macao International Music Festival and Resident Conductor of the Hong Kong Philharmonic Orchestra, LIO is praised by the Philadelphia Inquirer as “a startling conducting talent.” He was the second prize winner of the third Svetlanov International Conducting Competition in Paris with audience prize and orchestra prize and has served as the first Chinese Assistant Conductor with the Philadelphia Orchestra.

LIO has successfully collaborated with many leading orchestras across the globe. This season he was invited as the first Chinese conductor to conduct subscription concert with the Vienna Symphony; invited by the French government to lead the first Saudi Arabia performance tour with Orchestre National du Capitole de Toulouse; completed 10 performances in Taiwan with NTSO; appearance at Music in PyeongChang Festival and conducted the season closing concert with Hong Kong Philharmonic. LIO has conducted in various opera productions including La bohème, L’elisir d’amore, Pagliacci, Turandot, IlTrovatore, Rigoletto, Madama Butterfly, Carmen; and was invited by Valery Gergiev as guest conductor at the Mariinsky Theatre.

LIO is the recipient of the 2021 Hong Kong Ten Outstanding Young Persons award.

Martin Lyngbo

Director

Martin Lyngbo is a Danish theater and opera director, playwright and author. His work has become known for breaking down creative boundaries and drawing in new, young audiences. After studying directing at The Danish National School of Performing Arts, Lyngbo came to Scandinavian prominence as a young artistic director of Mungo Park, a stage for experimental theater in Copenhagen. Lyngbo reorganized Mungo Park as an ensemble and repertoire company and developed a string of successful plays there, touring and coproducing both domestically and abroad.

In 2017 Lyngbo left Mungo Park to pursue a career directing operas and musicals in addition to writing plays and books. Il barbiere di Siviglia was his first opera at The Royal Danish Theatre. After two successful runs in Copenhagen the opera transferred to Tel Aviv in 2020. Lyngbo’s directing style is dynamic and aesthetic, always with the live situation and the human performer in the center. Often a staging by Lyngbo is based on thorough research and developed through strings of workshops with collaborators. Lyngbo teaches at theater schools in Denmark and abroad and has received a number of awards for his work.

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琳娜．柯曼

執行導演

專業劇場工作始於丹麥奧登色劇院助理導演，同時擔任奧登色國際音樂劇院演 員暨歌手，此後參與各類前後台工作。1997 年至 2016 年間，任職於哥本哈根 貝蒂南森劇院，推動大量丹麥國內及海外製作，涵蓋戲劇、歌劇、輕歌劇及音 樂劇。曾任職於歐洲各劇院，如哥本哈根皇家歌劇院人事總監、里昂國家歌劇 院、格拉茨歌劇院及馬斯喀特皇家歌劇院，並兼顧喜劇導演生涯，其作品持續 於國際巡演。2018 年協助馬丁 • 林博於丹麥皇家劇院推出《塞維亞理髮師》， 2020 年也再度與林博合作於以色特拉維夫劇院共同執導《塞維亞理髮師》。

Line Kromann

Revival Director

舞台暨服裝設計

丹麥舞台暨服裝設計師，畢業於丹麥國立表演藝術學校，其作品可見於丹麥、 瑞典、挪威、德國、荷蘭、以色列、美國紐約和臺灣。

選列作品包括：丹麥皇家劇院《塞維亞理髮師》及《理查三世》、丹麥地下劇 院《蝴蝶夫人》、日德蘭歌劇院《女人皆如此》、丹麥皇家芭蕾舞團《木頭人》 及《布魯日市集》、卑爾根國家劇院《櫻桃園》、奧登色劇院《屋頂上的提琴手》 及《西城故事》。

Rikke Juellund

Set & Costume Design

Danish set and costume designer, graduated from The Danish National School of Performing Arts. Juellund has worked in Denmark, Sweden, Norway, Germany, The Netherlands, Israel, New York USA and Taiwan.

A selection of works including Il barbiere di Siviglia by Martin Lyngbo, The Royal Danish Opera; Madama Butterfly by Anders Ahnfeldt-Rønne, Undergrunden Denmark; Così fan tutte

by Elisabeth Linton, Den Jyske Opera; L´homme de bois by Sidi Larbi Cherkaoui, The Royal Danish Ballet and Kermessen i Brügge by Lloyd Riggins / Bournonville, The Royal Danish Ballet; The Cherry Orchard by Ellen Lamm, The National Stage, Bergen Norway; Richard lll

by Jens Albinus, The Royal Danish Theatre; Fiddler on the Roof by Matrtin Lyngbo and West Side Story by Ronny Danielsson, Odense Teater.

燈光設計

丹麥燈光設計師。藝術工作涉獵廣泛，涵蓋表演藝術、電影、電視與建築，主 要在北歐劇場工作，如丹麥皇家劇院、奧胡斯劇院、瑞典皇家歌劇院及馬爾默 歌劇院。曾為丹麥皇家劇院的歌劇、芭蕾、音樂劇與戲劇設計燈光，包括卡盧 斯．帕德利薩執導《The Fall of the King》；赫伯特•弗里茲執導《Maquerade》； 塔爾•海默執導《群鬼》、凱蒂．米契爾執導《海鷗》、《土星之環》。歌劇燈 光設計作品包含日內瓦大劇院《安娜．波莉娜》、布雷根茲音樂節《唐吉軻德》 及維也納河畔劇院由瑪麗安•克萊門特執導《仙后》。

Ulrik Gad

Line Kromann began her professional career as assistant director at Odense Theater and as an actor and singer at Odense International Music Theater. She has worked in all sorts of contexts, both on and behind the stage. From 1997 to 2016, Kromann was employed at the Betty Nansen Theater in Copenhagen. This resulted in a multitude of productions, including theater, opera, operetta, cabaret and musicals in Denmark and abroad. She has worked at The Royal Danish Theatre, the Opéra national in Lyon, Oper Graz, and the Royal Opera in Muscat, alongside her own career as a comedy director and continuously reviving successful productions abroad.In season 2017/18 she assisted Martin Lyngbo at The Royal Danish Theatre when his production of Il barbiere di Siviglia was put up and since then she has revived the successful production on her own and most recently together with Lyngbo at the Israeli Opera in Tel Aviv.

萊格．尤倫德

烏萊克．格

Il barbiere di Siviglia by Gioachino Rossini

Lighting Design

Danish lighting designer. Artistically he covers a wide field of performing arts, film, television and architecture – primarily working in theaters around Scandinavia such as The Royal Danish Theatre, Aarhus Theatre in Denmark, and The Royal Opera and Malmö Opera in Sweden.

At The Royal Danish Theatre he designed light for opera, ballet, musical and drama - among other The Fall of the King directed by Carlus Padrissa, Masquerade directed by Herbert Fritsch, Ghosts directed by Michael Thalheimer and The Seagull directed by Katie Mitchell with whom he also did The Rings of Saturn at Schauspiel Köln. Opera titles includes Anna Bolena at Grand Theatre de Geneve, Don Quichotte at Bregnzer Festspiele and The Fairy Queen at Theater an der Wien directed by Mariame Clément.

克里斯蒂安．英基瑪松

動作設計

冰島表演藝術家、劇場工作者與導演，跨足劇場、舞蹈、馬戲、特技、默劇、 雜技和鬧劇。1998 年創立了克里斯蒂安．英基瑪松劇團，現擔任劇團藝術總監， 其劇團作品風格以活力充沛、趣味十足，並添加一抹超現實味道的喜劇見長， 包括《麥克•阿塔克》、《死亡的藝術》、《房間 4.1 直播》。

近年來英基瑪松投注於創作沉浸式劇場、影像製作及連結劇場藝術與網路的作 品，如《房間 4.1》線上播映製作及《房間 4.1 直播》沉浸式劇場演出。丹麥皇 家劇院《塞維亞理髮師》為他首度參與的歌劇製作。

Kristjan Ingimarsson

Choreographer

An award-winning Icelandic performing artist, theatremaker and director who is in constant development and is a crossover between theater, dance and circus as well as stunts, mime, acrobatics, and slapstick. Ingimarsson found Kristján Ingimarsson Company in 1998, where he now serves as artistic director. His style is characterized as high-energy, playful comedy with a surreal touch. His works include Mike Attack, The Art of Dying and ROOM 4.1 LIVE. In recent years Ingimarsson has been concentrating his creative energy on immersive theater, video production and the link between stage arts and internet. This has resulted in the making of the web-series ROOM 4.1 and the big immersive theater performance ROOM 4.1 LIVE. The making of Il barbiere di Siviglia that premiered at The Royal Danish Theatre, was his first time working with opera.

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徐嘉琪

Il barbiere di Siviglia by Gioachino Rossini

聲樂指導

臺灣少數與國際名家維持長年合作之誼的鋼琴家。美國約翰霍普金斯大學琵琶 第音樂院鋼琴演奏學士與碩士，鋼琴師事 Vera Danchenko, Ellen Mack, 曾獲頒 琵琶第全額歌劇伴奏助教獎學金、克拉拉艾雪費爾德伴奏獎及 2001 臺北德文 藝術歌曲大賽專業組最佳伴奏獎。曾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、高雄春天藝術節旗艦歌劇《卡門》、《波希米 亞人》聲樂指導。現任教於國立臺灣師範大學、國立臺北教育大學、實踐大學 等音樂系所，教授鋼琴、伴奏法、歌劇伴奏及總譜彈奏。個人布拉姆斯鋼琴作 品演奏專輯由上揚唱片發行中。

HSU Chia-chi

Vocal Coach

Pianist HSU Chia-chi received her bachelor’s and master’s degrees in piano performance from Peabody Institute of the Johns Hopkins University, studying under the tutelage of Vera Danchenko and Ellen Mack. She is a receiver of Peabody Opera Accompanying assistantship, Clara Asherfeld Award in accompanying and Best Accompanist Award in German Lieder Competition in Taiwan. HSU collaborated with international musicians including instrumentalist Peter Lukas-Graf, Trevor Wye, Robert Aitken, Shigenori Kudo, Amy Porter, to name a few; and vocalists Sumi Jo, Justin Lavender, John Ken Nuzzo and Ilhun Jung. Other appearances include the accompanist for the opera studio of the National Theater and Concert Hall, guest pianist for Singapore Violin Festival, and coach for the opera productions Carmen and La Bohème at the Kaohsiung Spring Festival. She is now an adjunct associate professor at National Taiwan Normal University, National Taipei University of Education, and Shih-Chien University. Her Brahms Piano Works album is published by Sunrise Records.

吳右如

鋼琴排練暨演出

自幼學習聲樂及鋼琴，2017 年以最高獎學金殊榮取得美國德州奧斯丁大學歌劇 指導博士學位，並在此校任教一年。在美期間，擔任助理指揮、鋼琴排練、及 聲樂指導許多經典歌劇包括《法斯塔夫》、《費加洛婚禮》、《女人皆如此》、 《波希米亞人》等；同時也涉獵二十世紀現代歌劇如布列頓《強暴路克雷夏》、 季克 • 黑吉《三個十二月》等。此外，曾受邀擔任麥菲斯歌劇院及匹茲堡歌劇 音樂節之音樂會、大師班鋼琴伴奏及歌劇鋼琴排練。2019 年起參與高雄衛武營 藝術文化中心製作的普契尼歌劇《杜蘭朵》、臺中國家歌劇院製作的浦契尼歌 劇《波希米亞人》、洪伯定克歌劇《糖果屋》及華格納歌劇《唐懷瑟》擔任鋼 琴排練。

WU Yu-ju

Pianist

WU Yu-ju received the Doctor of Musical Arts at University of Texas at Austin in opera coaching in 2017, and spent a year teaching over there as a vocal coach and a rehearsal pianist.

WU has performed in Austria, Canada, and throughout the United States, serving as pianist for the world premiere of Daron Hagan’s A Woman in Morocco with UT Austin Butler Opera Center, Three Decembers with Memphis Opera. Besides that, she has worked on many operas, such as The Rape of Lucretia, Falstaff, Le Nozze di Figaro and so on. She also played continuously on a harpsichord for Il Campanello with Memphis Opera, Così fan tutte with Butler Opera Center. From 2019-2021, she served as rehearsal pianist for Turandot at National Kaoshiung Center for the Arts Weiwuying, La Bohème, Hänsel und Gertel, Tannhäuser at National Taichung Theater.

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Il barbiere di Siviglia by Gioachino Rossini

演出人員介紹

丁一憲

費加洛

男中音，南韓炙手可熱的聲樂家之一，2009 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。近年受邀至歐洲許多重

翁若珮

羅西娜

次女高音，美國約翰霍普金斯大學琵琶第音樂院碩士。獲得獎項包含

2005 年第四屆建華愛樂古典菁英聲樂首獎、2007 年日本橫須賀第十二 屆新聲歌唱大賽亞洲區優勝。2009 年獲選為高雄世運會主場開幕音樂會

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、

唯一臺灣獨唱，與匹茲堡交響樂團、維也納歌劇院合唱團演出貝多芬第

常與韓國國立歌劇團、首爾大都會歌劇院合作。

2014 年受北京國家大劇院邀請飾唱歌劇《尤金•奧涅金》奧爾嘉，並

法國梅茨大都會歌劇院、瑞士蘇黎世音樂廳、德勒斯登音樂節等，亦經 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；男高音内爾•席科夫；男低音勒内•帕普、爾文•

九號交響曲《快樂頌》。2012 年獲國立臺北藝術大學頒發傑出校友獎。 獲葛濟夫大師邀請赴聖彼得堡白晝音樂節演出。近年多次受邀前往新加

坡、香港、日本等地演出，皆大獲好評。現為國立臺北藝術大學及私立 淡江高級中學聲樂兼任講師。

史若德等。近年在臺灣亦有所發展，2018 年受邀於高雄春天藝術節歌劇

曾參與過之歌劇演出包含馬斯卡尼《鄉村騎士》；浦契尼《修女安潔莉

授。

賽爾與葛麗特》；華格納《尼貝龍指環》；莫札特《魔笛》；小約翰史特

《波希米亞人》演繹畫家馬爾切洛。現任國立臺灣藝術大學專案助理教

Ilhun JUNG

卡》、《強尼史基基》、《蝴蝶夫人》、《瑪儂．雷斯考》；洪伯定克《韓 勞斯《蝙蝠》等。2010 年出版個人第一張聖樂專輯《遇見祢》。

Figaro

WENG Jo-pei

Rosina

Baritone Ilhun JUNG graduated from Seoul National University and Hochschule für Musik und Theater München. He was one of main solo singers in Semperoper Dresden of Germany between 2009 and 2015, and has been a guest singer in theatres and festivals including Theater Basel, Prinzregententheater München, Opéra-Théâtre-Metz Métropole, TonhalleOrchester Zürich, Dresdner Musikfestspiele, Korea National Opera, Seoul Metropolitan Opera and so on.

Mezzo-soprano WENG Jo-pei received her Master of Music degree from the Peabody Institute. She won the vocal first prize of the Young Artists Show Case from Bank SinoPac in 2005. In 2007, WENG was also the voice winner of the 12 th New Voice competition in Yokosuka. She was awarded the Outstanding Alumni Award by TNUA in 2012. In 2014, WENG was invited to sing Olga in Tchaikovsky's Eugene Onegin at China NCPA. In July, maestro V. Gergiev invited WENG to perform at the Mariinsky Theatre.

In addition, he has collaborated with many acclaimed singers around the world, including conductor Christian Thielemann, Fabio Luisi, Asher Fisch; soprano Edita Gruberova, Anna Netrebko, and Renee Fleming; tenor Neil Shicoff, bass Rene Pape, Erwin Schrott etc. Currently he is a full-time assistant professor at National Taiwan University of Arts.

WENG has been invited to sing in many opera productions, including Mascagni’s Cavalleria rusticana, Puccini’s Suor Angelica, Gianni Schicchi, Madama Butterfly, Manon Lescaut, Humperdinck’s Hänsel und Gretel, Wagner’s Ring Cycle, Mozart’s Die Zauberflöte, and Strauss’ Die Fledermaus.

Her first sacred music album Come across you was published in 2010.

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Il barbiere di Siviglia by Gioachino Rossini

李世釗

阿瑪維瓦伯爵

男高音，畢業於德國國立羅斯托克高等音樂與戲劇學院碩士班，聲樂師 從戲劇女高音柴寶琳教授及 Penka Christova。

參與過的歌劇角色包括《魔笛》飾唱塔米諾、《唐喬凡尼》飾唱唐奧塔 維奧、《法斯塔夫》飾唱芬頓、《里納多》飾唱戈弗多、《睡美人》飾唱

春之王子、《女高音也瘋狂》飾唱恩里克 •卡羅素和致命尼爾森、《木

偶奇遇記》飾唱傑佩托與貓等，並擔當多部神劇與合唱交響曲獨唱，包 括馬勒《大地之歌》、韓德爾《彌賽亞》、孟德爾頌《頌歌》、聖桑《聖 誕節清唱劇》、貝多芬《合唱幻想曲》、舒曼《詩人之戀》等。曾為國家

兩廳院歌劇工作坊、台北愛樂歌劇坊歌手、台北愛樂室內合唱團客席歌 手；現任職於德國巴伐利亞洲霍夫市劇院歌劇合唱團。

吳翰衛

巴托羅醫生

男中音，出生於新加坡，畢業於義大利國立維洛納音樂學院，師承女高

音朱苔麗。2013 年曾於義大利佛羅倫斯五月音樂節劇院參與普賽爾歌劇

《仙后》製作，後多次於歐亞洲歌劇製作擔任要角，包括《托斯卡》飾

唱斯卡比亞、《茶花女》飾唱杰爾蒙、《卡門》飾唱埃斯卡米洛、《愛情

靈藥》飾唱杜爾卡瑪拉醫生、《阿伊達》飾唱阿摩納斯洛、《帕西法爾》 飾唱克林沙、 《丑角》飾唱西爾維歐、 《女人皆如此》飾唱阿爾方索、《杜

蘭朵》飾唱平、 《塞維亞理髮師》飾唱巴托羅醫生，以及《漂泊的荷蘭人》 飾唱荷蘭人。

近期演出包含衛武營國家藝術文化中心 2021 年《茶花女》、2020 年布 瑞頓《戰爭安魂曲》男中音獨唱及 2019 與 2020 年《杜蘭朵》、2019 年

國家交響樂團（NSO）《托斯卡》、2019 年吉隆坡城市歌劇團《茶花女》

及新加坡歌劇團《卡門》等。

LEE Shih-chao

Count Almaviva

Tenor LEE Shih-chao received his Master degrees from Hochschule für Musik und Theater Rostock, Germany, under direction of soprano artist Penka Christova, and Chinese Culture University, where he studied under Prof. CHAI Pao-lin.

He has performed as Tamino in Zauberflöte, Ottavio in Don Giovanni, Fenton in Falstaff, Goffredo in Rinaldo, Principe April in La bella dormente nel bosco, Enrico Carouser and Nelson Dedly in Too Many Sopranos, Geppetto in Pinocchio. He has also taken roles as soloist in oratorios and choral symphonies including Mahler‘s Das Lied von der Erde, Händel’s Messias, Mendelssohn‘s Lobgesang, Saint-Saens’ Oratorio de Noel, Beethoven’s Chorfantasie, and Schumann’s Dichterliebe op.48. He is currently a member of Opernchor Theater Hof in Bavaria, Germany.

Martin NG

Don Bartolo

Baritone Martin NG was born in Singapore and graduated in voice at the Conservatorio dall'Abaco di Verona under the tutelage of Taiwanese soprano CHU Tai-li. He made his debut with the Florence Maggio Fiorentino in Purcell's The Fairy Queen, and has participated lots of opera productions in Europe and Asia.

His other notable roles include the title role in Viktor Ullmann's Der Kaiser von Atlantis at Milan's Teatro Rosetum, Silvio in I Pagliacci with the Teatro Sociale di Trento, the Holländer in Der Fliegende Holländer with the Richard Wagner Association of Singapore, Klingsor in Parsifal and Scarpia in Tosca with Taiwan’s NSO, and also Ping in Turandot, Escamillo in Carmen, Dulcamara in L'elisir d'amore, and Amonasro in Aida with the Singapore Lyric Opera.

His recent performances include Ping in Turandot (2019 & 2020), Baritone solo in Britten's War Requiem (2020), Germont in La Traviata (2021) at Weiwuying, Scarpia in Tosca with National Symphony Orchestra, and Turandot at Singapore Lyric Opera.

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Il barbiere di Siviglia by Gioachino Rossini

羅俊穎

巴西里歐

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」，曾獲日本「歌劇詠嘆調大賽」首獎。活

躍於國內外表演舞台，多年來陸續在三十多部歌劇製作中擔綱演出， 備受推崇。

經常受邀與各大交響樂團合作，包括臺灣國家交響樂團、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，

賴珏妤

貝塔

畢業於國立臺灣師範大學音樂系，師事李靜美教授、楊艾琳教授。畢業

後考取臺灣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，師事 Amanda Roocroft、Rosa Mannion。

曾受邀至英國倫敦柯芬園皇家歌劇院，參與董尼采第歌劇《夏莫尼的琳 達》演出暨錄音；於英國倫敦國家畫廊、英國倫敦聖史蒂芬教堂舉辦

獨唱會。獲選臺北巴赫廳《巴赫新聲》，德國萊比錫克拉拉舒曼 Lieder

Duo 大賽首獎。

Bareza、 Stefan Soltesz、Helmut Winschermann、András Ligeti、Roberto Gabbiani、Wolfgang Wengenroth 等著名指揮家合作。近年多次受

《修女安潔莉卡》、《糖果屋》、《憨第德》、《塞維亞理髮師》等歌劇，

灣聲樂家協會會員，並任教於東吳大學。2020 年出版個人演唱專輯

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。

並 曾 與 陳 秋 盛、 呂 紹 嘉、 飯 森 範 親、 大 勝 秀 也、Niksa

邀於國內外各地舉辦講座與大師班，現為日本藤原歌劇團團員、臺

《醉入拉赫曼尼諾夫》，2021 年與作家焦元溥及多位臺灣知名音樂

現居臺灣，參與演出《睡美人》、《女人皆如此》、《茶花女》、《卡門》、 並受邀至義大利、日本等地巡迴演出。現為師大博士候選人、兩廳院歌

家共同出版 CD 套書《樂讀普希金》。

Julian LO

Basilio

Bass Julian LO studied and obtained his Master degree in Music at SooChow University in 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 and made his Japanese stage debut as Sarastro in Die Zauberflöte. Since then, he has been offered more than 30 principle roles in many opera productions, 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 has performed with 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, etc., and collaborated with conductors including CHEN Chiu-sheng, Shao-chia LÜ, Darell Ang, N.Iimori, M.Osaki, S.Okatsu, F. Miyamoto, F. Tokito, Stefan Soltesz, Helmut Winschermann, András Ligeti, Niksa Bareza, Roberto Gabbiani, and Wolfgang Wengenroth.

LAI Chueh-yu

Berta

Soprano LAI Chueh-yu was born in Taiwan; she is currently a PhD candidates at National Taiwan Normal University. She obtained a Master degree at the Royal College of Music in London, studying with Amanda Roocroft, Rosa Mannion, generously supported by a Charles Branchini Award. A BMus Degree from National Taiwan Normal University in Taiwan, studying with LEE Ching-mei and Irene YOUNG. Operatic engagements include 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 Così fan tutte, 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, Royal Opera House, Covent Garden.

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Il barbiere di Siviglia by Gioachino Rossini

蔡政呈

方玠瑜

公證人、警官

東海大學音樂系研究所聲樂組碩士畢業，師事徐以琳、孫婉真、吳明杰

表演藝術工作者、舞台武打動作設計指導。受訓於法國

教授。2017 年參與校內歌劇製作《茶花女》飾演喬治歐•傑蒙，同年獲

戲曲、操偶及舞蹈演出。曾擔任《通靈少女一》群架動作指導；開設「打

響樂團、國立臺灣交響樂團。演出作品包括： 《莎樂美》、 《波希米亞人》、

得跟真的一樣」舞台打鬥工作坊，受邀至各劇團、單位授課指導。近年

《卡門》、《強尼史基基》、《月亮》、《馬克白》、《遊唱詩人》、《茶花女》、

合作團隊包含臺北表演藝術中心、阮劇團、紅鼻子醫生協會、賴翠霜舞

創劇場、奇巧劇團、AM 安徒生與莫札特的創意、偶偶偶劇團等。現為

《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》及《唐懷瑟》等。

魔梯形體劇場團長。

FANG Jie-yu

Notario & Officer

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.

劉冠林

Actress

A theatre performer, stage combat instructor and accordion player with works spanning across physical comedies, clowns and masks, puppet shows and props, dance and music etc., trained at the École Philippe Gaulier in France.

She served as the combat instructor of The Teenage Psychic (first season), started the “Fight Like You Mean It” stage combat workshop, and has been invited to speak at various institutions among others. She has performed and directed works with lots company including Taipei Performing Arts Center, Our Theatre, ChiChiao Musical Theatre, Anderson and Mozart Creative, Puppet Beings Theatre, Be Theatre, and Lais Creative Dance Theater. FANG currently is the Leader of the Multi-X Theatre Company.

動作指導暨演員

表演藝術工作者，受訓於法國 Philippe Gaulier 國際表演學校。表演風格

以無語言的肢體喜劇為主，受到卓別林、巴斯特•基頓的默劇風格啟發， 以精準的喜劇節奏、樂於分享天真及脆弱的小丑表演精神感動大人與小

孩。擅長默劇身體訓練指導、默劇小丑演出、舞台搏擊技巧、及操偶表 演，合作團隊包括紙風車劇團、野孩子肢體劇場、演摩莎劇團與無獨有 偶工作室劇團等。現為魔梯形體劇場默劇身體訓練指導。

Ryan LIU

Pantomime Instructor & Actor

A performance artist, trained at the École Philippe Gaulier in France. LIU’s performing style focuses on physical comedy, moving both adults and children alike by adopting Chaplin and Buster Keaton’s body movements in performance, using precise comedic rhythm, and having the eagerness to share the naïve and vulnerable clown theatrics.

An expert in mime instruction, mime performances, stage combat skills, and puppet shows; he used to work with Paperwindmill Theatre, Puppet and Its Double Theatre, Performosa Theatre, and L'Enfant S. Physical Theatre, among others. LIU is currently a member-cum-mime instructor of the Multi-X Theatre Company.

Philippe Gaulier

國際表演學校，擅於形體表演，作品跨足肢體喜劇、小丑面具、音樂劇、

得聲樂家協會年度新秀。近年合作樂團如：國家交響樂團、臺北市立交

TSAI Zheng-cheng

演員

王彥婷

演員

WANG Yen-ting

Actress

楊子誼

演員

YANG Zi-yi

Actress

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Il barbiere di Siviglia by Gioachino Rossini

國家交響樂團

國家交響樂團

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

桂冠指揮 根特•赫比希

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； 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 月起改任音樂總監， 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。

National Symphony Orchestra 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 artistic advisor Jun Märkl since August 2021, 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.

藝術顧問 準•馬寇爾

長笛

榮譽指揮 呂紹嘉

安德石● 宮崎千佳◎ 李浚

短笛

駐團指揮 張尹芳 榮譽指揮 呂紹嘉

協同指揮 吳曜宇 楊書涵 第一小提琴 鄧皓敦☆

陳逸群○■ 郭昱麟

卓曉青

方俊人

林基弘

李庭芳 李家豪

梁坤豪

陳逸農

賴佳奇

林孟穎

曾智弘

王珮珊✽

黃佳頎

林允中✽

蔡庭庭

蔡竺君

藍胤萱

第二小提琴

陳怡茹● 孫正玫◎ 陳玟佐○

吳怡慧

李京熹

黃衍繹

鍾仁甫

蔡孟峰

洪章文

顧慈美 陳偉泓

康信榮 王致翔

李梅箋

中提琴

黃瑞儀● 鄧啟全◎ 呂昭瑩○

黃雅琪

李靖宜

謝君玲

蔡秉璋

吳彥廷

黃亞漢

呂孟珊

李思琪

陳猶白

大提琴

熊士蘭● 連亦先◎ 韋智盈○ 周幼雯

黃日昇

陳怡婷 蘇品維

游承霖✽ 徐苑齡

林宜嫺 唐鶯綺

低音提琴

傅永和● 蘇億容◎ 周春祥○ 王淑瑜

連珮致

羅仕奇✽

黃筱清 蔡歆婕

王淑宜

許芳庭✽

行政管理經理 張念慈 藝術顧問執行祕書 石玲玲

雙簧管

王怡靜● 阮黃松◎ 楊凱婷

英國管

企劃演出

企劃專員 楊宇晴 温家琪 許品萱 陳建澤 李亭儀 奚慧如

李明怡

譜務專員 高婉瑜■ 陳筱淇

單簧管

朱玫玲● 賴俊諺◎ 朱偉誼 孫正茸

黃郁雯✽ 低音管

簡凱玉● 陳奕秀◎ 高靈風 李佳霖✽ 倍低音管 簡恩義

舞台監督 李艷玲 周仁慈

整銷推廣

整銷專案經理 羅文君

行銷專員 林柏年 李心如 王瀅綾 陳沁意 愛樂實驗室

研究員 張偉麟 簡佑丞 陳奇蕙

法國號

劉宜欣● 劉品均◎ 黃任賢○ 小號

公關推廣經理 王承禹 節目行銷經理 林欣儀

鐘美川

黃哲筠

執行長 郭玟岑

王婉如

宇新樂● 陳長伯◎ 張景民 鄒儒吉

長號

李昆穎● 邵恒發◎ 陳中昇■ 陳志承✽ 低音長號 彭曉昀

行政管理

人事組長 林碧珠

人事專員 陳宛瑜 法務專員 劉善謙

行政專員 陳靜怡 張筑昀 詹懿玲

行政助理 呂欣庭 法律顧問 林信和

平面視覺顧問 兩個八月 特約平面攝影 鄭達敬

低音號

北藝大暨國家交響樂團 (NSO)

藤田敬介●

教學演展計畫合作╱樂團職銜學分學程

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

許毓婷▲

※ 特別感謝臺北市立大學音樂學系教授鄭伊晴擔任本場大提琴客席首席。 © 鄭達敬

☆樂團副首席

●首席 ◎副首席 ○助理首席

■留職停薪 ▲樂季合約人員 ＊ TNUA 樂團職銜學程學員

劃底線者為本場協演人員

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Il barbiere di Siviglia by Gioachino Rossini

藝術暨製作群 指揮 ／廖國敏

導演 ／馬丁．林博

執行導演 ／琳娜．柯曼

戲劇顧問／亨利克．恩格布雷特 舞台暨服裝設計 ／萊格．尤倫德

燈光設計 ／烏萊克．格

動作設計 ／克里斯蒂安．英基瑪松 聲樂指導／徐嘉琪

鋼琴排練暨演出 ／吳右如

Creative and Production Team Conductor ／ LIO Kuokman Director ／ Martin Lyngbo Revival Director ／ Line Kromann Dramaturg ／ Henrik Engelbrecht Set & Costume Design ／ Rikke Juellund Lighting Design ／ Ulrik Gad Choreographer ／ Kristjan Ingimarsson Vocal Coach ／ HSU Chia-chi Pianist ／ WU Yu-ju

助理導演／陳仕弦

Assistant Director ／ Max CHEN Pantomime Instructor ／ Ryan LIU

費加洛 ／丁一憲

Figaro ／ Ilhun JUNG Rosina ／ WENG Jo-pei Count Almaviva ／ LEE Shih-chao Don Bartolo ／ Martin NG Basilio ／ Julian LO Berta ／ LAI Chueh-yu Notario & Officer ／ TSAI Zheng-cheng Actor & Actress ／ Ryan LIU, FANG Jie-yu, WANG Yen-ting, YANG Zi-yi

動作指導／劉冠林 羅西娜 ／翁若珮

阿瑪維瓦伯爵 ／李世釗 巴托羅醫生／吳翰衛 巴西里歐／羅俊穎 貝塔 ／賴珏妤

公證人 、警官／蔡政呈 演員／劉冠林、方玠瑜 王彥婷、楊子誼

國家交響樂團 (NSO)

National Symphony Orchestra

2018 年丹麥皇家劇院製作

Co-production with The Royal Danish Theatre

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蕇╚㏔㵶娬Ᵽꯗ鏬✑㏬갠 跖銋緶潑ꊮ橤

㕃鉿鏬✑卲皒곸匕✲薬鮝漥⩰ 鉿Ꙇ㵌⥝䨪䉤⡡卲䘽樎鮝蛤䙄 䪫銋簣禵ꬨ䠂꯴㥔㴔 薍⺬潑瀥匃皒裿

薍⺬䪫銋䭱㸮劁㈇气 旡⩱䪫銋䭱㸮꯴䢽겋 ꇕ⪾䪫銋䭱㸮颏귲ꖌ 㡄뒊䪫銋䭱㸮崼䖦䟜 劚鎥硆槏䭱㸮䒠㈇橌 ⲙ槏薍潑ꎎ價蠋

薍潑ⲙ槏卲擜潂嘼廅䞒ꊮꆎ儇 㕃鉿鏬✑ⲙ槏匃徏

䪫銋簣禵ⲙ槏䒠겎帏⼌䣛

薍⺬䪫銋㕃鉿卲⺪꯴糃嘼ⷈ㴙卲㳄领

ꇕ⪾䪫銋㕃鉿䕇館ㅜ䒠⻡㠂潛姒䙄廷✦領谚✦蟵 旡⩱䪫銋㕃鉿劁聾✲묚䔀倁盅⢕⡡卲皒ꆆ

劚鎥硆槏㕃鉿꯴倁貔꯴倁瑬⼌蛘樎⽠✲굗䒠겎䞒

㡄뒊ꅑ㒘㕃鉿㟳覬㗽溸璔㶕ꅑ㒘㏬갠颏僻澶谚矝鬕鮝몰ⶮ卲닇魉䕇椷雯 ⼌䙄儇꯴楻檇卲곞㨤

镅舤䪫銋俠⻉悎⮃䪫銋ꌄ 镅舤篂

걖鉿脌饖ꊮ蛤⻩

蝡饖㲼䋝╫뫖溽㵶Ᵽꯗ Royal Danish Theatre ╚饖㲼䋝꾺䗅肱

㲼䋝鏬✑㕃鉿尋㳇㦜꯴⪼㷮 ╭ꀡㅠ⛻б蕇╚㏔㵶娬Ᵽꯗ 䭱㴼⛿㶇б 沍噻⻉✑б