20130710-14 NSO Opera Die Walkure by NSO國家交響樂團National Symphony Orchestra

NSO 2012/13年樂季

華格納（Richard Wagner, 1813-1883）

女武神

Die Walküre 首演：1870年6月26日，慕尼黑 World Première: June 26, 1870, Munich 演出時間：2013年7月10、12日（July 10 & 12, 2013）18:00 2013年7月14日（July 14, 2013）14:30 演出地點：台北國家戲劇院（National Theater, Taipei）演出者：國家交響樂團（National Symphony Orchestra）

主辦｜贊助單位｜藝文支持｜指定住宿｜特別感謝｜

麗音影音

講座協力｜

台北都會音樂台

旅遊協力｜

台北都會音樂台

台

北

都

會

音

樂

台

藝術暨製作群及演出人員 Creative and Production Team 指揮 conductor 呂紹嘉 Shao-Chia Lü

影像設計 visual designer 王奕盛 Ethan Wang

導演暨燈光設計 stage director & lighting designer 漢斯-彼得．雷曼 Hans-Peter Lehmann

聲樂指導 vocal coach 艾希．凡魏 Ansi Verwey 王佩瑤 Pei-Yao Wang

舞台暨服裝設計 set & costume designer 蔡秀錦 Hsiu-Chin Tsai 燈光設計 lighting designer 李俊餘 Chun-Yu Lee

助理指揮 assistant conductor 張尹芳 Yin-Fang Chang 曾憲文 Hsien-Wen Tseng

齊格蒙 Siegmund 沃夫崗．史瓦寧格 Wolfgang Schwaninger

歐特琳德 Ortlinde 趙君婷 Chun-Ting Chao

齊格琳德 Sieglinde 陳美玲 Mei-Lin Chen

齊格魯娜 Siegrune 羅明芳 Ming-Fang Lo

渾丁 Hunding 安卓亞斯．霍爾 Andreas Hörl

葛琳傑德 Grimgerde 林孟君 Meng-Chun Lin

佛旦 Wotan 安德斯•羅倫施遜 Anders Lorentzson

羅斯薇瑟 Roßweiße 范婷玉 Ting-Yu Fan

布倫希德 Brünnhilde 依姆嘉德．費絲麥爾 Irmgard Vilsmaier

渾丁預備歌手 Hunding understudy 葉展毓 Chan-Yu Yeh

佛麗卡 Fricka 翁若珮 Jo-Pei Weng

齊格琳德預備歌手 Sieglinde understudy 林慈音 Grace Lin

女武神：潔希德Gerhilde 林玲慧 Ling-Hui Lin

布倫希德預備歌手 Brünnhilde understudy 林玲慧 Ling-Hui Lin 荷姆薇潔預備歌手 Helmwige understudy 戴曉君 Hsiao-Chun Tai

荷姆薇潔 Helmwige 林慈音 Grace Lin

潔希德/歐特琳德預備歌手 Gerhilde/Ortlinde understudy 許育甄 Yu-Chen Hsu

瓦特勞特 Waltraute 鐘梓瑄 Stephanie Chung

葛琳傑德/史維特萊德預備歌手 Grimgerde/Schwertleite understudy 王郁馨 Cindy Wang

史維特萊德 Schwertleite 張嘉珍 Juliana Chang 製作團隊製作人製作經理執行製作舞台監督導演助理助理舞監行政助理

平珩邱瑗杜佳舫李立菁陳仕弦鄒昌荃鐘宇揚、林詩祐

舞台技術指導舞台技術執行舞台設計助理燈光技術執行燈光設計助理服裝梳化製作執行道具製作執行

＊特別感謝：詹益昌先生及華格納圖書館

Werner Kastner 汪慶璋林汝霖聚光工作坊邱逸昕韻曄時尚工作室陳思玫

《女武神》專書顧問鋼琴排練中文字幕編譯英文字幕字幕製作及執行攝影指定投影機

羅基敏蔡學民紀美仰

Frederick Jameson 范芷語陳又維、吳宏達博揚國際有限公司

女武神

Die Walküre

第一幕75分鐘、第二幕95分鐘、第三幕75分鐘各幕之間休息25分鐘 Act I 75 minutes, Act II 95 minutes, Act III 75 minutes Intermission between acts: 25minutes 德文演唱，中英文字幕

performed in German with Chinese and English Captions

亞洲焦點 NSO歌劇製作《女武神》，不只是「歌劇」! 德國作曲家華格納的歌劇《尼貝龍指環》的創作以「總體藝術」為理念，不僅將德語歌劇帶到前所未有的境界，更對後世的音樂與戲劇發展有著決定性的影響。

2006 年NSO曾以音樂會形式演出全本《尼貝龍指環》，寫下亞洲首例，成為國際媒體爭相報導的年度大事。今2012/2013樂季壓軸，NSO結合國內外藝術家們的創意，包括曾於拜魯特節慶劇院擔任維藍和沃夫崗•華格納的助理導演長達13 年之久的漢斯- 彼得．雷曼擔任導演，優游於歌劇舞台多年的蔡秀錦擔任舞台與服裝設計，更邀集國內外聲樂家們以《女武神》的劇場版製作，向世界樂壇發聲，向華格納致敬，更提供國內聽眾一個不容錯過的藝術體驗。這齣源自中古神話故事的《女武神》是《尼貝龍指環》中最寫實、又浪漫的一齣，全劇圍繞著親情與慾望、愛情與背叛的衝突，關乎著每個人既在意又困擾的永恆命題—「愛」。華格納音樂中不論寫情寫景，豐沛的情感與絕妙的想像力，總令人驚艷；聽他將音樂的各種主題巧妙的連結、轉化，是一種歡快、一種狂喜的感覺。華格納在角色的描繪層層疊疊，在歌詞寫作的語意與隱喻，在在令人稱絕！華格納說：「沒有經過思考，不可能產生真正的藝術印象。」為此信念，他在拜魯特這個小地方建立了只演自己作品的專屬劇院，就是要讓所有聽眾都是「知其所以」而來，心無旁鶩的體驗他的總體藝術。本著一樣的精神，我們期待這次難得的《女武神》新製作演出，能成為一個大家將手邊

CD放下，全神投入，一起思考的藝術論壇。來聽《女武神》，不只是歌劇！是來成為華格納歌頌「愛」與「人性」的「總體藝術」的一部分。

國家交響樂團音樂總監

Die Walküre is More Than an Opera Der Ring des Nibelungen (The Ring of the Nibelungen) is a masterpiece by the German composer Richard Wagner based on the concept of "Gesamtkunstwerk" (the total work of art). Wagner's revolutionary style of composition not only took German opera to an unprecedented level but also exerted crucial inﬂuence on the development of modern music and drama.

In 2006, NSO presented the complete Ring cycle in semi-staged concert form. This recordbreaking production in Asia received high praise from the international press and became the highlight of the year. For the finale of the 2012/2013 season, NSO has invited artists from home and abroad to collaborate in producing the theatre production of Die Walküre, including the prestigious director Hans-Peter Lehmann, who was the assistant director for thirteen years at the Bayreuth Festival Theatre established by Wieland and Wolfgang Wagner, and Jean Tsai Kastner, a prominent figure in opera and theater circle as the set and costume designer. Domestic and international vocalists have also gathered together to join them in presenting this production to the world. Through the performance of Die Walküre, NSO seeks to pay tribute to Wagner and provide the audience in Taiwan with a magnificent artistic experience. Stemming from Middle Age mythology, the story of Die Walküre is the most realistic yet romantic one among the Ring cycle, depicting the conflicts between family bond and desire as well as love and betrayal. The central theme is what everyone cares and concerns for the whole life – love. Wager's music is richly expressive and illustrative with abundant emotions and impressive imaginations. Various themes are intricately connected and ingeniously transformed in the music, creating a joyful and even ecstatic listening experience. The characters are multi-layered and the libretto is full of symbolic meanings and metaphors. All these features give this work a quality like no other. Wagner once said that without thinking, it is impossible to produce real artistic impression. Based on this philosophy, he built his own opera house specially designed for performances of his works in the little town of Bayreuth. His idea was to provide a location where audiences with some knowledge of his operas could enjoy the experience of being immersed in the total work of art. In line with the same spirit, we hope this new production of Die Walküre would serve as an art forum for people to put aside their Wagner CDs temporarily and be fully engaged in aesthetic and collective thinking. Come and enjoy Die Walküre. It is more than an opera! Let's all be a part of Wagner's total work of art in praise of love and humanity

Music Director, National Symphony Orchestra

NSO歌劇《女武神》—演出史的精彩一頁文化為國家的根基，藝術則為文化淬煉的展現。歌劇在西方藝術中尤其重要地位，因為透過歌劇的欣賞，我們得以一窺聲樂、交響器樂、戲劇、文學以及視覺等多項藝術的集結呈現。而在諸多的西方歌劇作品中，後浪漫時期的歌劇創作家—華格納，其革命性的管絃樂法、如詩般的文學腳本，以其獨特的歌劇形式突破了美聲歌劇的桎梏，將西方古典歌劇帶帶領至一個全新的時代。華格納的歌劇雖華美獨特，但因製作難度極高，國人鮮有機會欣賞。今年度國家交響樂團在指揮大師呂紹嘉的帶領下，集結海內外優秀的演唱家，以國人之力首次製作華格納歌劇《女武神》，著實為台灣的歌劇演出史上，寫下了輝煌的一頁！台積電文教基金會榮幸今年度能夠支持國家交響樂團此一非凡製作，非常喜悅能將國人自製歌劇，精彩展現在國內樂迷眼前。《女武神》為華格納鉅作《尼貝龍指環》四連作歌劇中的第二部。腳本源自北歐傳說，敘述眾神為了爭奪指環所衍生一連串的故事，情節複雜，富含寓意。其中《女武神》因結構完整，主題音樂浪漫優美，最常被西方歌劇院單獨演出。為讓國內青年的朋友亦能感受華格納歌劇之美，此次也特別安排《女武神》校園讀劇活動，帶領高中學子以互動式的戲劇體驗及歌劇文本讀劇，開啟學子的藝術視野，領略華格納獨特的音樂美學。台積電文教基金會支持藝文不輟，不僅邀請國際級藝文團隊來台演出，亦長期舉辦藝術季、持續贊助國內大型表演製作，以實際的力量支持國內團隊，展現豐美的成果，《女武神》無疑的是其中最豐碩的果實。也期盼台積的這份支持，能夠拋磚引玉，讓國內的藝術生態更蓬勃！

台積電文教基金會董事長

A Splendid Page in Taiwan's Performing Arts History Culture is the foundation of a country, while art is the reﬁned expression of culture. In Western art, opera occupies a very important position. Opera provides us with the opportunity to enjoy the aesthetic combination of vocal, orchestra, drama, literature and visual arts. Works by Richard Wagner, a Post-Romantic opera composer, particularly stand out among the plethora of Western operatic compositions for its revolutionary orchestration and poetic libretti. By expanding beyond the limits of Bel Canto opera, Richard Wagner's unique compositional style ushered in a whole new era of Western classic opera. With exquisite textures and exceptional features, Richard Wagner's operas are extremely difficult to produce. That is why people in Taiwan rarely have the chance to appreciate the performance of his works. This year, under the leadership of Maestro Shao-Chia Lü, the National Symphony Orchestra (NSO) has gathered together top-notch vocalists from home and abroad to produce Wagner's Die Walküre for the very ﬁrst time in Taiwan. This has marked a splendid page in Taiwan's history of opera performance. It is the honor of the TSMC Education and Culture Foundation to sponsor this extraordinary work produced by the NSO. We are looking forward to its presentation in front of the audience of Taiwan. Die Walküre is the second of the four-opera cycle of Der Ring des Nibelungen. Taken from Norse

sagas, Der Ring des Nibelungen describes the struggles among gods over a magic ring. The plot is complex and full of moral implications. Due to its comprehensive structure and romantic music themes, Die Walküre is the most frequently performed work of the Ring cycle in western opera houses. In order to give youngsters in Taiwan an opportunity to appreciate Wagner's opera, staged readings of Die Walküre and interactive drama activities has been organized and held on high school campus. This will broaden students' aesthetic horizons and guide them into the unique world of Wagner's music. The TSMC Education and Culture Foundation has long been committed to supporting arts and cultural activities, including inviting international artists to perform in Taiwan and organizing art festivals regularly. In addition, through sponsoring large-scale local productions, we seek to provide concrete support for domestic groups. We have reaped fruitful results for our eﬀorts and Die Walküre is deﬁnitely one of the best. Through our commitment, we hope to set an example and help build a more vibrant environment for art and cultural activities in Taiwan.

Chairman TSMC Education and Culture Foundation

謝謝，華格納！謝謝，台北！ 1951年，華格納的孫子魏蘭德與渥夫崗．華格納（Wieland Wagner, 1917-1966; Wolfgang Wagner, 1919-2010）攜手重新開始拜魯特音樂節（Bayreuth Festival），建立了所謂「新拜魯特」（Neubayreuth），以華格納的理念為核心，由歌者為華格納發聲。1958年，我認識了魏蘭德，長年跟隨他，深入認識華格納的作品。1960 年，我第一次在拜魯特音樂節擔任助理導演。魏蘭德過世後，我在拜魯特，亦在世界各地執行他的製作演出。從此，華格納的歌劇成為我生命裡重要的一部份。兩年前，我喜愛的指揮、NSO音樂總監呂紹嘉問我，是否願意來臺導演《女武神》，我同意了。之後，呂紹嘉介紹蔡秀錦與我認識，我們的合作激盪出許多火花，成果展現在臺灣的觀眾眼前。一本我的原則，我們要呈現「華格納的《女武神》」，讓觀眾接近他的思想，而非「雷曼的《女武神》」。《尼貝龍指環》之故事理念，在於警告世人對於權力、金錢的慾望和貪婪等等的負面人性，人類唯一的希望在於「愛」。四部作品中，愛的主題在《女武神》裡找到它的源頭。在《女武神》的第三幕，齊格琳德得知，她懷了齊格蒙的孩子，這個孩子將成為救世英雄。當她由布倫希德口中聽聞此訊息後，原本一心尋死的低落情緒，立刻轉為求生的強大意念，並且唱出「愛的旋律」，是全劇四部最重要的音樂。它在最後一部《諸神的黃昏》結束時，於樂團中連續出現三次。這一切指明了，華格納告訴我們，「愛」是人性的未來。回顧我至今走過的人生，可以說，「歌劇是我的生命，歌劇呈現的就是生命。」五十年來，我有機會親身體驗，世界各地的人們如何接受華格納的作品，全世界的歌者如何將華格納的思想展現在他們的觀眾面前。我很高興，這部作品能在台北演出。我感謝大家對它的興趣，讓我深受感動。

導演暨燈光設計

Thanks to Richard Wagner! Thanks to Taipei! In 1951, Richard Wagner's two grandsons, Wieland Wagner (1917-1966) and Wolfgang Wagner (1919-2010), worked in tandem to revive the Bayreuth Festival and created the so-called New Bayreuth (Neubayreuth) era. Richard Wagner's concepts were at the core of their new productions and expressed through vocalists' efforts. In 1958, I met Wieland and worked under his direction for a long time to deepen my understanding of Wagner's works. In 1960, I took the job as assistant stage director of the Bayreuth Festival for the first time. After Wieland passed away, I directed many of his productions in Bayreuth and around the world. Since then, Wagner's operas have become an essential part of my life. Two years ago, my beloved conductor Shao-Chia Lü, Music Director of the NSO, asked if I was willing to come to Taiwan to direct the production of Die Walküre. I said yes. Lü then introduced the set designer, Jean Tsai Kastner, to me. Our collaboration has sparked many creative ideas that we are eager to present to the audience in Taiwan. My ultimate principle is to reproduce Richard Wagner's Die Walküre, not Lehmann's Die Walküre, and bring audience closer to his ideas. The story of Der Ring des Nibelungen aims to warn against the evil side of human nature such as greed and thirst for power or money and to emphasize love is the only hope. In this tetralogy, the theme of love has its origin in Die Walküre. In Act III, when Sieglinde is told that she is pregnant with Siegmund's son, who is destined to be a hero, her depressive mood and death thoughts suddenly recede and are replaced by a strong will for survival. She sings the Love Motive, the most important piece of the Ring cycle. At the end of the last opera, Götterdämmerung (Twilight of the Gods), this motive recurs three times. Obviously, Wagner was trying to say that love is the future of humanity. Looking back, I can only say opera is my life. I believe opera represents life. Over the past fifty years, I have had numerous first-hand experiences on how Wagner's works have been received by people around the world and how Wagnerian ideas have been presented through vocalists to the audience. I am so glad to see Die Walküre performed in Taipei. I would like to express my deepest appreciation for all those who have shown great interest in this work.

Stage Director & Lighting Designer

音樂與視覺的《情》與《境》音樂進入戲劇的情和境，完全是由音樂和劇本唱詞（libretto）的結合架構起來的。因此，在歌劇舞台的設計上，若缺少音樂架構整體的氛圍，就少了足以讓人感動的元素。歌劇舞台設計，首要之務為用心靈與思想去熟稔音樂，在此過程中，會進入不同的情與境。例如第二幕第二景裡，齊格蒙問，在神殿裡是否有位開心的女子等著我，其音樂營造出的期待，不是僅讀劇本唱詞能夠感受到的。要嘗試敲開華格納的《尼貝龍指環》，無論是其四部巨作中的任何一部，也無論是要跨入其戲劇或是設計的門檻，翻開音樂學的書頁是最基礎也是絕對必要的第一步。《女武神》第一幕的前奏音樂，通常在舞台上沒有演出，這一次則利用這段音樂，在舞台呈現故事的「前情提要」：佛旦的權慾計畫，犧牲了孩子的自由，讓他陷入生離死別的纏鬥。精簡的視覺意象融入音樂情緒的轉換，隨著舞台的前進與旋轉，見到了時間的行程，並適時走入了另一個「情」與「境」，即此次演出的第一幕第一景─渾丁的家。在第一幕結束之前，春天之門豁然打開，陽光與綠林迎接齊格琳德的自由出走，走入森林，襯托出戲劇效果與音樂帶給人的剎那感動；所有這些設計背景與元素都和音樂學有著牽扯不斷的緊密關係。第二幕第一景，理性與感性。以一張特別長的桌子，呈現出一個堅定、理性，但是卻又硬冷的距離感，來敘述思想與情感的糾葛。第三景裡，齊格蒙和齊格琳德的逃走過程，齊格琳德的迷茫、無助與惶恐，讓人進入了一個著無邊際的白茫場域，是現實？是夢境？而布倫希德的死亡預告，那段與齊格蒙的對話，總是讓人無法自拔地深深進入了這兩個不同角色的內心，並隨著音樂動機投射了兩者的不同情緒與思維，有著布倫希德剛中帶柔對英雄的拯救與照顧企圖，也有著齊格蒙期待親情，更渴望愛情相隨，卻又害怕失去的孤寂。第三幕，幕開時，原來的上、下、左、右舞台的布景，隨著音樂呈現出由空到滿的場景，到最後雖然僅是一個寧靜的場域，但是卻足以讓女武神們的戲劇張力發揮得淋漓盡致。即使我和導演在音樂中的舞台視覺情緒應用，有很大的不同，但是到最終能取得共識，都緣由於對音樂與戲劇背景的了解，最重要的是雙方對美感哲學的同樣重視。舞台設計，就如同其他的藝術創作，作品的呈現，視不同的時間點與不同的創作者，而有相異的表現與敘述方式，然而可以確定的是，它將因為時代的延續與變遷，會有不斷往前走的動力與多元的展現。

舞台暨服裝設計

The Art of Integrating Music and Visual The use of music to create dramatic emotions and situations depends on how music and libretto are juxtaposed and arranged. Designing stage for opera is an integral part since music plays an indispensable role in setting the scene. Without music, the touching element is missing. Therefore, a set designer's top priority is to be familiar with opera with his/her heart, soul and thoughts. Music evokes different moods and facilitates engagement in dramatic situations. For example, in Act II, Scene 2, when Siegmund asks whether he will be greeted by a joyful woman in Valhalla, the anticipation built in music cannot be felt by merely reading the libretto. In an attempt to produce or design for any of the four works of Wagner's Ring Cycle, the most fundamental and necessary step is to consult books of musicology. The prelude of Act I in Die Walküre is rarely performed on stage. However, in our production, this prelude serves to establish the "synopsis" of the story: Wotan's desire for power would not only deprive his children of freedom but also lead to the children's fatal struggle. We incorporate minimalist visual images into the change of mood in music. As the stage moves forward and turns, symbolizing the flow of time, new mood is set and audience are brought into a new situation – the first scene of Act I, Hunding's house. Near the end of Act I, the signs of spring bring in sunshine and green forest to welcome Sieglinde's runaway. This heightens dramatic effects and the emotional touch induced by music. All set elements and design in staging are intricately related to musicology. The first scene of Act II is on the struggle between sense and sensibility. We use a long table to create a hard, rational and cold sense of distance and to symbolize the entanglement of thoughts and emotions. Then the third scene depicts the runaway of Siegmund and Sieglinde. Sieglinde's feelings of confusion, helplessness and fear lead the audience into a borderless field of emptiness where the line between reality and dream becomes fuzzy. Brünnhilde's prophetic warning of Siegmund's death and their dialogue are especially powerful in keeping the audience engulfed in their inner world. Diverging emotions and thoughts of these two characters are projected through two motives. One expresses Brünnhilde's soft power and heroic attempts to take the role of savior and protector; the other depicts Siegmund's desire for a family bond, strong thirst for love and fear of loneliness after loss. As the curtains open in Act III, set elements from the top, bottom, left and right corners change with music and gradually fill the empty stage. Though only a silent space is left to the very end, it is no less effective in stretching the dramatic tension to its fullest extent. The director and I did have some diverging opinions on the arrangement of music and visual emotions on stage, but we have managed to reach a consensus based on our understanding of the musical and theatrical context. Most importantly, we both place great emphasis on aesthetics. Similar to other artistic creations, works of set design exude different representations and statements according to their times of creation and creators. However, what can be certain is that set design will be propelled to move forward and experiment with diversity due to continuation and change of the time.

Set & Costumes Designer 11

標西埃（Gaston Bussière），《布倫希德》（Brünnhilde），彩色版畫，50x32公分。

《女武神》劇情大意羅基敏（國立臺灣師範大學音樂系教授）整理

第一幕第一景：齊格蒙為逃避敵人追逐，躲入一間屋中，筋疲力盡地暈厥過去。齊格琳德驚訝地觀察著這位突然出現的陌生人，在他逐漸清醒時，端水給他喝，並告訴他這是渾丁的家，她則是渾丁的妻子。兩人都對對方有著莫名的好感。第二景：渾丁回來了，盡地主之誼招待著這位陌生人。言談中，渾丁證實了齊格蒙正是他追逐的對象，決定饒他渡過這一晚，次日兩人再決生死。渾丁和齊格琳德進房休息。第三景：齊格蒙一人留在廳中，手無寸鐵，只能怨嘆自己坎坷的命運，落入敵人手中，而當年父親應允他，在急難時，會有寶劍出現，在此時卻依然不見寶劍蹤影。齊格琳德在渾丁的飲料中下了藥，待他睡熟後，即自房中出來，和齊格蒙交談。齊格琳德敘述著自己不幸的身世，自小和父兄失散。當年，她被迫嫁給渾丁時，在宴會中，突然出現一位陌生老人，將一把寶劍插入樹中，並言此劍將屬於能將它自樹中拔出的人，至今沒有人能將劍拔出來。由齊格蒙先前的敘述中，齊格琳德已然明白，他們就是失散多年的雙胞胎，齊格蒙應該就是那個唯一可以將劍自樹中拔出的人。不僅如此，兩人在一見面時，都已愛上了對方。齊格蒙果然成功地拔出樹中的劍，命名為「諾盾」（Nothung）。一對雙胞胎戀人即帶著劍，相偕逃亡。第二幕第一景：佛旦命令他心愛的女兒布倫希德，在齊格蒙和渾丁的決鬥中，要幫助齊格蒙獲勝。父女正在交談時，布倫希德遠遠地看到佛麗卡怒氣沖沖地前來，於是識相地趕緊避開。身為婚姻的守護神，佛麗卡接受渾丁對雙胞胎戀人的控訴，前來向佛旦興師問罪。佛旦揚言二人係因愛而結合，齊格蒙自己拔出了劍。佛麗卡則道破這一切都是佛旦所安排，並言佛旦想藉著齊格蒙的手拯救諸神，是不可能的，因為齊格蒙雖然很辛苦地長大，但是佛旦一直暗中庇佑著他。佛麗卡更對佛旦的婚外風流行 13

為，大加撻伐，要求佛旦不得再保護他的兒子齊格蒙，也不得令女武神保護齊格蒙。佛旦無奈，只有答應。第二景：佛麗卡離開後，布倫希德看到佛旦的垂頭喪氣，意識到方才的爭執非同小可。在她的追問下，佛旦對他最心愛的女兒道出多年前的往事：年輕氣盛的佛旦不惜一切代價，追求統治世界的權力，卻捨不得放棄人間情愛。尼貝龍族的阿貝里希則發誓拒絕情愛，取得黃金打成指環，擁有統治世界的力量。佛旦在洛格的慫恿下，用計騙得指環，又在艾兒妲的警告下，放棄了指環。佛旦想多知道些未來的事，於是以情愛自艾兒妲口中套取消息，艾兒妲並為他生了布倫希德。佛旦將布倫希德和其他八個姐妹一同養大，組成一隻女武神的隊伍，她們為佛旦收集在戰爭中死亡的英雄，將他們帶到神殿，護衛著諸神。但是若指環回到阿貝里希手中，這一切防護都將無效。指環現在由法弗納看著，佛旦和阿貝里希都想自法弗納處拿到指環。佛旦不能親自下手，因為他依著當年和法弗納訂下的合約，將指環交給了法弗納。佛旦必須經由第三者，方能取得指環，因此，佛旦和威松族的人(Wälsung) 生下了齊格蒙，讓他自己長大，希望能藉他的手拿到指環，才好安心；為了保護齊格蒙，佛旦應允他一把寶劍。但是這一切計劃都被佛麗卡看穿，一語道破他計劃的不可行，更因雙胞胎的破壞婚姻契約行為，進而要求制裁齊格蒙。佛旦至此才明白，當年他曾接觸了指環，雖然適時逃過一劫，但指環的咒語並未放過他，他將失掉、甚至毀掉所有他心愛的一切。在得知阿貝里希強迫一女子懷了他的孩子後，佛旦總算明白了艾兒妲的話中玄機，阿貝里希的孩子將會為他奪得指環，這也將是諸神毀滅的時刻，沮喪的佛旦但求這一刻到來。佛旦並指示布倫希德，在齊格蒙和渾丁的戰爭中，要依佛麗卡的意思，為渾丁而戰。布倫希德不解地問佛旦，他明明深愛著齊格蒙，為什麼要齊格蒙戰死。佛旦大怒，斥責布倫希德，並再次強調齊格蒙必須死去。布倫希德懷著沈重的心情，前去執行任務。第三景：在逃亡途中，齊格琳德已接近崩潰的邊緣，齊格蒙扶持著她，並要她休息一下。齊格琳德雖與齊格蒙相愛，卻又自慚形穢，也意識到自己破壞了婚姻盟約，讓心愛的齊格蒙陷入危險中。她徘徊在各種極端情緒之間，幾近歇斯底里，產生看到齊格蒙慘死的幻象，最後終於暈厥過去。確定她仍活著之後，齊格蒙細心地呵護著她。第四景：布倫希德找到齊格蒙，向他宣告他的命運：她將帶他去佛旦的神殿。齊格蒙在得知齊格琳德不能同行後，聲稱兩人要同生同死，寧願手刃齊格琳德與腹中孩兒， 14

不能任其孤單一人活著。布倫希德被兩人的愛情感動，決定違反佛旦的命令，保護齊格蒙。第五景：渾丁找到齊格蒙，兩人交手。齊格琳德被雷聲驚醒，聽到兩個男人的爭戰聲。布倫希德護衛著齊格蒙，佛旦及時趕到，以他的矛毀了齊格蒙的劍，布倫希德亦無法繼續保護齊格蒙，渾丁得以殺死齊格蒙。齊格琳德聽到齊格蒙倒下的聲音，再度暈厥。布倫希德倉皇逃走，離開前，她撿拾了齊格蒙斷劍的碎片，並救走了齊格琳德。佛旦心碎地看著齊格蒙的屍體，嫌惡地賜死渾丁，又再度回到現實中，決定要懲罰違反命令的布倫希德。第三幕第一景：八位女武神吆喝著，忙著將戰死英雄的屍體運回神殿。她們驚訝地看到布倫希德神色倉皇地前來，還帶著一位女子。在得知發生的事情後，眾人都不敢幫助她。齊格琳德恢復神智後，只求一死，以和齊格蒙再聚。在布倫希德告訴她，她懷了齊格蒙的孩子後，齊格琳德又有了活下去的意念，向眾女武神求救。布倫希德要齊格琳德一人逃走，她則留下和佛旦週旋。眾女武神建議齊格琳德向東邊去，因為法弗納在東邊的林子裡，看守著寶藏，佛旦則從不去那裡。布倫希德將斷劍交給齊格琳德，並為她肚中的孩子命名為齊格飛。齊格琳德萬般感激，滿懷希望地逃走了。憤怒的佛旦追了上來，女武神們將布倫希德藏在她們當中，並為她求情。第二景：在佛旦的怒斥聲中，布倫希德自動出來受罰。佛旦決定削去她女武神的身份，逐出天庭，讓她長睡在山頭，直到有個男人找到她為止，她就得嫁他為妻。眾女武神被這個嚴厲的懲罰嚇到了，試圖求情，佛旦則更進一步禁止她們再和布倫希德接觸，眾女武神在驚嚇中退去。第三景：布倫希德和佛旦父女兩人再度獨處，回顧著發生的這些事。佛旦承認布倫希德所作所為，才是他衷心所盼的，但是他也無力去改變這一切。布倫希德告訴佛旦，齊格琳德懷孕了。佛旦則拒絕保護齊格琳德，並決定執行對布倫希德的懲罰。布倫希德見大勢已定，只能接受懲罰，但她請求佛旦，在她長睡時，於四週築起火牆，以嚇阻膽小的人找到她。佛旦答應了她的請求，親吻她的雙眼，布倫希德陷入了長眠。佛旦則不僅在她四週築起火牆，還加了一道障礙：害怕佛旦矛尖的人，無法穿過火牆。 15

1876 年拜魯特《尼被龍指環》首演，霍夫曼（ J o s e f Hoffmann，18311904）之舞台設計圖。《女武神》第一幕。

《尼貝龍指環》「首日」《女武神》的成形文｜羅基敏（國立臺灣師範大學音樂系教授）

由《尼貝龍神話》到《尼貝龍指環》十九世紀裡，不僅中古德文《尼貝龍之歌》（Das Nibelungenlied），還有北歐各種版本的神話記述，如《艾妲》（Edda）等等，因著與日耳曼民族起源的關係，引起德語文學界的高度興趣。融合各種神話創作完成的德語文學作品，數不勝數；華格納的《指環》亦是這股風潮的一個產品。華格納溶鑄神話人物和情節，並將眾人覬覦的對象，在尼貝龍寶藏外，再加上一個具有統治世界力量的指環，隱喻人世無止盡追求金錢與權力的宿命，最終一切都得回歸大自然，將華格納個人的人生觀注入了作品中。雖然將「指環」置入故事情節的源頭來自神話故事，但是，在各種版本神話裡，指環本身都沒有統治世界的力量，也不是各方追逐的目標。「指環」在華格納作品中具有的這一個多方面意義，正是他的《指環》與其他尼貝龍作品之關鍵不同處，也是作曲家用以貫穿四部作品的利器。

1848 年完成的《尼貝龍神話》（以下簡稱《神話》），呈現了華格納最早的戲劇構思，日後《指環》劇中各主要人物的關係，以及主要的劇情進行，都已經清楚地存在。相較於《神話》，1856 年定稿的《指環》四部劇本的主要劇情以及絕大部份的人物，並無重大改變，二者間的人物互動及情節上的差異，則可在不同的北方神話裡，找到來源。華格納將這些神話故事片段，散放在四部作品，精心編排後，重組出來的新故事，卻有了新的戲劇面貌。觀察《神話》到《指環》的改變，可以看到，四部作品中，《女武神》改變最大，《指環》諸多的人物關係的交待，亦都在《女武神》裡，當可明瞭，《女武神》之所以為「首日」的原因。

神話的基底中古德文《尼貝龍之歌》係以齊格蒙和齊格琳德的王國開始，齊格飛是他們的兒子。《指環》「首日」《女武神》以齊格蒙和齊格琳德的故事為中心，應肇源於此。歌劇裡，華格納 18

用了親子關係和名字，故事內容卻是由《佛松傳奇》（Völsungssaga）裡擷取。在這裡，齊格蒙佔了很大的篇幅，有過多次婚姻，並且有許多兒子。齊格蒙的故事裡，有一段是關於他和他妹妹的。齊格蒙的父親未經得唯一的女兒同意，即將她出嫁。婚禮上，一位老人將劍插入樹幹，齊格蒙拔出了劍，他的妹婿試圖向他買劍，卻被拒絕，親家立刻成了仇家。一場血腥混戰後，只有齊格蒙被妹妹救下，兩人決定復仇。妹妹發覺自己生的兒子不能為她們復仇，喬裝打扮後，至森林中找齊格蒙，後者沒有發覺她的真正身份，於是和她生了一個孩子。妹妹將孩子送至森林中，讓齊格蒙養大。父子二人打算復仇，卻被活捉，並被活埋。緊要關頭時，妹妹將寶劍丟入兩人被活埋處，救出二人。父子二人放火燒大廳，並守住出口，不讓任何人逃出來。妹妹雖然從未愛過自己的丈夫，但畢竟參與了謀殺親夫的計劃，決定留在廳內，終被燒死。齊格蒙故事的最後一段，係年長的齊格蒙向一位女子求婚，同時求親者尚有其他人，其中一人是渾丁。該女子選擇了最英勇的齊格蒙，於是渾丁興兵來攻，又是血戰多場。原本不敗的齊格蒙，在戰場上遇到一位老人，穿著大衣、獨眼、手持長矛，齊格蒙的寶劍遇上老人的長矛，斷成數片，於是齊格蒙戰敗。當他的妻子找到垂危的先生時，他交待她收好劍，將腹中兒子產下，兒子會將劍鑄合，再創基業。齊格蒙去世後，妻子果然產下一子，命名齊古兒（Sigurd），也就是齊格飛。這位穿著大衣、獨眼、手持長矛的老人，正是大神歐丁（Odin）；《指環》裡佛旦的造型，無疑地，源出於此。《神話》裡，與日後《女武神》相關的情節，僅有一段，並且，布倫希德僅是位違背大神命令的女武神。這段故事在各種版本的神話裡，都非常短，係出現在齊古兒的故事裡，在他解開她的盔甲，她醒來後，由她口中講出的故事：布倫希德違反了大神的命令，在戰爭中保護了不該保護的一方，因而被大神用睡眠刺處罰長睡；但她發誓不嫁膽小的人，於是大神在她四週逐起火牆。至於布倫希德抗命保護的對象是齊格蒙，並且兩人有血緣關係，則是華格納的《神話》中才有的轉化。

織入人間情愛《女武神》裡，華格納將兩段齊格蒙的故事移花接木，合成一個，但是讓兄妹自小失散，寶劍則是兩人日後相認的證物。這一段故事，在舞台上看不到，華格納安排由兄妹二人相見時，分別敘述各人的版本，告知觀者過去的事情，同時間，並由樂團暗示著寶劍和佛旦的關係。不巧借宿仇人家，是神話裡別處的動機，被轉用到齊格蒙身上，呈現一個天生苦 19

命的英雄。妹妹背叛親夫的情節，固也出於神話，但是，華格納讓渾丁成為她的夫婿，由此接上渾丁與齊格蒙大戰，後者寶劍斷於大神之矛，戰敗而死的情節。這一場兩個男人的戰爭，則在舞台上呈現。華格納並讓布倫希德在與齊格蒙一段感性對話後，決定保護齊格蒙，又在行動敗露後，落荒而逃，並帶走齊格蒙的斷劍和昏倒的齊格琳德，為故事的後續留下伏筆。不僅如此，無論在原來的神話或華格納的《神話》中，佛旦和雙胞胎以及布倫希德之間，都沒有任何家庭甚至親戚關係。在《女武神》中，故事細節雖然並無改變，但人物被簡化，致使恩怨情仇集中在少數幾個角色身上。並且，因著華格納賦予人物之間親密的父女、父子關係，致使全劇充滿了人間感情，並有著強烈的戲劇張力。佛旦為了要多知道未來的事，與艾兒妲（Erda）生了布倫希德；又因為要培養自由意志的人，為諸神頂罪，與威松族生了雙胞胎。他的「風流」行為讓齊格蒙與布倫希德成為同父異母兄妹，也讓神話故事中，高高在上的大神人性化了。

展現權力困境佛旦身為統治者，在以詭計和暴力取得指環的同時，即種下了諸神滅亡的必然後果。夫妻口角的一段，固令許多有類似經驗的男女會心一笑，觀者卻經常忽略了其中的精華所在。佛麗卡戳破佛旦的謊言，並不僅是元配的哀怨，亦不僅止於婚姻女神的職責，她指出，齊格蒙是佛旦所生，從小艱苦長大的種種，皆是佛旦安排的，他甚至為齊格蒙安排了一把寶劍，齊格蒙怎會是佛旦期待解救諸神免於滅亡的「英雄」？齊格蒙破壞神聖的婚姻，則是律法不容。面對妻子的振振有詞，言之成理，佛旦只能低頭退讓。之後，面對最鍾愛的聰慧女兒，佛旦先傾吐心中的苦楚，接著展開了長大的敘述，這段敘述看似說給女兒聽，實則告訴觀者許多未在舞台上發生事情的始末，交待了由《萊茵的黃金》到《女武神》之間發生的事情，還預示了後兩部的情節；如此的敘事手法亦是華格納成熟作品的一大特色。這兩段對話實為之後佛旦必須手刃親子、放逐親女的關鍵轉折點。既使如此，佛旦最終依舊無法改變諸神滅亡的結果。華格納試圖藉著《指環》的故事，表露統治者亦不能違反律法的理念，它透過諸神的行為和一再強調的諸神滅亡，直接、間接地傳達出來。「諸神」是神或人？作者挑戰著觀者的思考與認知。

華格納，1871年，慕尼黑，油畫，稜巴何（Franz von Lenbach）繪 21

華格納的音樂敘事：看不見的樂團與看不見的劇情文｜羅基敏（國立臺灣師範大學音樂系教授）梅樂亙（Jürgen Maehder，德國柏林自由大學音樂學研究所教授）

主導動機歷經廿餘年的時間，華格納完成了《尼貝龍指環》四部的鉅作，無論在音樂結構上或劇情進行上，均一氣呵成。能有此成就，應該歸功於華格納在構思過程中，對劇情進行的細密思考和以主導動機（Leitmotiv）為中心的、緊密的音樂結構，這也是他的作品中最受人囑目的手法。事實上，早在華格納以前，已有類似主導動機的手法出現，韋伯（Carl Maria von Weber,

1786-1826）的《魔彈射手》（Der Freischütz）即為一例。不同於前人的則是，華格納的早期作品，所謂「浪漫歌劇」（Romantische Oper）中，主導動機經常和某一固定的調性結合，在後期所謂「樂劇」（Musikdrama）中，也就是《羅恩格林》（Lohengrin）以後的作品，主導動機的使用則有立體的變化，它一方面會在旋律進行上有所改變，一方面在每次出現時，都會伴隨著一個旋律結構外的獨特性，例如和聲的基礎或配器的音色。華格納的和聲已有相當詳盡的研究，他的配器則至今尚未獲得應有的重視，應歸咎於他主導動機的運用和故事情節緊密結合帶來的副作用，大家將注意力集中在主導動機每次出現的用意，以及它如何在舞台上被表達出來，無形中忽略了其他精細的設計。如此地接觸華格納的作品，難免有「見樹不見林」的遺憾，導致許多樣板化的說法，妨礙了對華格納作品細密厚實的音樂戲劇語言更進一步的瞭解。《指環》中的主導動機為數甚多，形形色色。除了旋律性的動機外，還有以節奏為主的動機，例如巨人族和尼貝龍族的動機；也有以和弦為中心的動機，例如齊格飛吻醒布倫希德的動機；《諸神的黃昏》也是以這個動機開始。有一些動機則在人物或劇情出現前，就已發聲，例如齊格飛的動機在《女武神》第三幕中已經密集出現。《指環》全劇結束時，人間有愛的救贖動機也在《女武神》第三幕由齊格琳德唱出：在布倫希德告知她懷孕的消 22

息，並為未來的孩子命名為齊格飛後，齊格琳德全心求生，唱出這個動機，樂團以小提琴及木管在不同的八度上一同歌唱，支撐著人聲，也光亮了人聲。許多動機之間更有著音樂與戲劇上的密切關係，例如《萊茵的黃金》開始的降E大調分解和弦是全劇開始136 小節的音樂基礎，它代表了大自然。關鍵性人物的大地之母艾兒妲的動機，實是大自然動機的小調變形，諸神毀滅的動機則是大自然動機的反向進行，佛旦由艾兒妲處得知事情的嚴重性後，內心產生害怕的動機則是艾兒妲動機的減值並變形。這些彼此相關的動機透過不同的樂器搭配，展現出不同的面貌，顯然地，舞台上看不見的樂團正是全劇中舉足輕重的角色，是「全知的樂團」（das allwissende Orchester），不僅和歌者相呼應，還經常提示聽者過去發生過的事和未來將發生的事，頗有「旁觀者清」的冷靜。經由樂團，主導動機有如人的思想，不僅單獨出現、連續出現，甚至同時出現，在不同的段落中，有不同的設計和意義，串接了全劇，也展現出音樂藝術的獨有特性。

過程的藝術華格納被津津樂道的「過程的藝術」（Kunst des Übergangs）一詞，更強烈地傳達了一個呈現情節的理念。這個理念掌握了一種樂團的評論特質，它與舞台上的諸多角色做出持續當下的、心理上的認同。如此的樂團正是作曲技巧的職責所在，挑戰樂團語法將各種關聯掌握在一起之力量。「全知樂團」的音樂評論，必須搭配情節的進行以及言說者的討論過程，《女武神》第二幕裡，佛旦與佛麗卡夫妻長大的爭論，以及之後佛旦對布倫希德話說當年的敘事，均為佳例。對觀者而言，這種情形出現時，重要的資訊係由樂團的聲響整體傳達，然而，觀者卻經常不會注意到，站在音樂結構前景的，並不是主題動機基材，而是特定音響色澤之存在。以《女武神》第一幕齊格蒙的敘事為例，其中有一段歌詞： Doch war ich vom Vater versprengt;

但我與父親分散了；

seine Spur verlor ich,

他的行蹤，我失去，

je länger ich forschte;

再三地，我尋覓著；

eines Wolfes Fell

就一張狼皮

nur traf ich im Forst;

是我在林中找到的；

leer lag das vor mir,

空無一物，躺在我面前，

den Vater fand ich nicht.

父親，我卻找不到。

在該段歌詞之後出現的，不僅是神殿動機，更重要的是，藉著這個不容混淆的伸縮號聲響，指涉神殿世界，清楚地告訴聽者，齊格蒙父親實為何人。

《女武神》第二幕裡，佛旦在和布倫希德對話時，詛咒著自己的權力，以這一段話結束他的敘述： So nimm meinen Segen,

那麼帶著我的祝福，

Niblungen-Sohn!

尼貝龍之子！

Was tief mich ekelt,

那讓我深深厭惡的，

dir geb' ich's zum Erbe,

我都送給你承繼，

der Gottheit nichtigen Glanz:

神格裡毀滅的光亮：

zernage sie gierig dein Neid!

啃蝕它吧，貪婪地，你的忌妒！

在這裡，多個動機糾結在一起，形成一個複合體，加上不一致的音響色澤，做出高度密集的表達情形。在這一刻，音響色澤與破碎的動機片段之間產生一種緊張關係，它將佛旦詛咒裡的解構傾向當下化，反映敘事者五味雜陳的絕望心境，是華格納音樂戲劇手法的高明處。《女武神》結束時的〈魔火〉，被理查．史特勞斯（Richard Strauss, 1864-1949）在重新編篡白遼士（Hector Berlioz, 1803-1869）《配器法》一書時，寫進了書裡：有一種風格，它的特色在於，每個音型在每樣樂器上，都有絕對的清澈以及可演奏性。與其相對照的另一種風格，可以看做是樂團的「濕壁畫」（al fresco）處理方式。這種風格是華格納以特別好的方式引進的，那情形就像由十四、十五世紀小型繪畫出發的翡冷翠大師【意指鉅細靡遺的畫風】，發展到寬廣的繪畫方式，例如委拉斯貴茲（Velasquez）、林布蘭（Rembrandt）、哈爾斯（Franz Hals）與透納（Turner），他們那奇妙的混合顏色和有層次的光線效果。最引人著目的例子，是《女武神》第三幕的〈魔火〉音樂裡的小提琴使用方式。為了重現燃燒著的火焰的情形，華格納寫了一個音型，是沒有任何一位傑出的小提琴家能夠全部演奏出來，或是絲毫不差地精確演奏的。當十六位到卅二位小提琴手一起演奏時，這個合奏的段落是那麼美妙、效果非凡，有如重現燃燒著、有著千百混合色彩跳動的火焰，很難想像能有比這個更適合的手法了。以延續不斷的火焰為基底，華格納在這段音樂裡，先加入布倫希德入睡的五聲音階下行的睡眠動機，再由佛旦口中唱出齊格飛動機，搭配響亮的管樂，在三者交融一片，卻又各自清楚能辨的浩大音場裡，結束《指環》的首日，也預示了次日《齊格飛》的內容。

慶典劇院與音響色澤華格納的音樂節想法裡，要建造一個慶典劇院，這個劇院必須具備特殊的、符合作品結構的音響。這個特殊聲響，加上建造不同的新樂器，以及原則上擴大樂團編制的方式，完成了華格納聲響創新的手法。擴大樂團編制對於整體音量的功效，自不待言，然而，經由慶典劇院的樂團席位置，這份功效又部份被揚棄了。因之，《指環》總譜裡第一次標示的木管各由四人演奏，其主要功能不僅在於增強音量，也給了華格納可能性，將他在《羅恩格林》中嚐試成功的管樂聲部混成技法，更有沿續性地使用。在增加管樂的同時，絃樂編制也被增加到十九世紀裡未曾有過的強度，並且也是為了同樣的目的：演奏者人數增加，各樂器內部的分組可能性也就增加。《萊茵的黃金》裡，獨奏式的絃樂分部很早就出現，例如全劇開始時的大自然場景；它們正反映了華格納原始的聲響訴求。不僅在《指環》人物以及他們之衝突的戲劇呈現裡，也在樂團語法以及音響色澤發明的領域中，《萊茵的黃金》總譜都展現了一個世界的成形。華格納為開始幾小節所做的決定，定義了一個十六小時藝術結締的音響色澤邏輯。這個藝術結締對其後的現代樂團發展，有著不容低估的影響。

拜魯特慶典劇院樂團席，沾筆畫。

Die Walküre

Act I Siegmund, chased by a storm, stumbles into a house and collapses on the hearth. Sieglinde finds him and the two feel an immediate attraction, soon her husband Hunding returns. Calling himself "Woeful", Siegmund tells of a disaster-ﬁlled life, only to learn that Hunding is his enemy. Before retiring with his wife, Hunding tells his guest to defend himself in the morning. Left alone, Siegmund calls on his father Wälse, for the sword he once promised him. Sieglinde reappears and tells of her wedding, at which a one-eyed stranger thrust into a tree a sword that no one can pull out. Sieglinde hopes Siegmund can win the sword and save her from a woeful marriage, he ardently embraces her when moonlight ﬂoods the room and sings a song praising the marriage of love and spring. In the following duet, she finds out that their father was really Wälse and rapturously recognizes him as her twin brother. She names him Siegmund, and he draws the sword from the tree and claims Sieglinde as his bride.

Act II High in the mountains, chief god Wotan commands his Valkyrie daughter Brünnhilde to give Siegmund victory. Wotan's wife Fricka, the goddess of marriage, comes and tries to dissuade him. She points out that Wotan's plan to use Siegmund to win back the ring has a major problem. Wotan realizes he is caught in his own trap, and bitterly agrees. To the astonished Brünnhilde, Wotan reveals his mind and dilemma and ﬁnally orders her to let Hunding win. The twin lover approaches, Siegmund comforts the distraught Sieglinde, who feels herself unworthy of him, and watches over her when she falls asleep. Brünnhilde appears to him and announce his destiny to fall in the battle and a glorious life after death in Valhalla. Knowing that Sieglinde cannot go with him, Siegmund 28

refuses to accept his fate and threatens to kill himself and his bride if he has to die. Overwhelmed by the human passion and love, Brünnhilde promises Siegmund victory, against Wotan's command. However, Wotan intervenes the battle and shatters his sword, and Siegmund is killed by Hunding. Brünnhilde escapes with Sieglinde and the broken sword. Wotan contemptuously fells Hunding with a wave of his hand and furiously pursuits Brünnhilde.

Act III On the mountain top, Brünnhilde's eight Valkyrie sisters are gathering before bearing slain heroes to Valhalla. They are stunned to see her arriving with Sieglinde, fleeing Wotan's wrath. Brünnhilde tells Sieglinde that she bears a child - the greatest hero, and names him Siegfried. She will stays to face Wotan, so that Sieglinde can escape into the forest. Wotan soon arrives and announces Brünnhilde's punishment: she will lose her godhood and become a mortal woman. The other Valkyries are driven away, leaving Brünnhilde with Wotan. She pleads that she was doing what he really wished, but Wotan will not relent and insists on putting her into sleep, booty for any man who finds her. Brünnhilde asks the favor of being surrounded by fire so that only the bravest hero can win her. Touched by the idea, Wotan agrees and sadly bids his favorite daughter farewell. He kisses her and put her in sleep, then summons the fire god Loge to encircle the rock, finally announces that anyone who fears his spear will not pierce the fire.

《女武神》舞台設計圖：第二幕第一景

Manuscript of Act Ⅱ Scene 1 by Hsiu-Chin Tsai 29

An All-Too-Human Drama by Hugo Shirley

It should come as no surprise that the compositional history of Wagner's four-part Der Ring des Nibelungen (The Ring of the Nibelung), of which Die Walküre forms the second

installment, should be complicated. The first jottings for the cycle date from 1848; Wagner completed Götterdämmerung (The Twilight of the Gods), its final part, in 1874. Composition had been broken up by the standard elements of the composer's colorful biography: revolution, exile, numerous affairs, the accrual of debts and the evasion of debtors. In addition, Wagner had downed his pen after the ﬁrst act of the third part, Siegfried , for the ﬁrst of two interim projects, initially planned—with characteristically

wild optimism—as small-scale, money-making endeavours: Tristan und Isolde and Die Meistersinger von Nürnberg.

As the great German musicologist Carl Dahlhaus has noted, however, 'More amazing than the inconsistencies throughout the work is the degree of unity it displays, a unity less dramatic than epic and symphonic'. This unity was, in many ways, a result of Wagner's process of composition, which grew backwards from just one opera — provisionally entitled Siegfrieds Tod (Siegfried's Death)—that was to portray on the stage the ﬁnal drama of an epic saga. With the earliest prose draft of that opera, penned in 1849, the composer already had many of the main plot details worked out. However, he realised, as is clear from an aborted musical sketch, that it would be impossible, as he planned, to have these events simply recounted in the early stages of Siegfrieds Tod . As such, to that opera was added first Der junge Siegfried (The Young Siegfried, later just Siegfried), then Die Walküre and Das Rheingold . The latter was finally designated 'Vorabend' (a preliminary evening) to the subsequent three 'Tage' (days) of the tetralogy. Like all Wagner's mature dramas, the Ring reﬂects much of the turmoil of its composer's life. The cycle's early gestation is intimately and inextricably linked with Wagner's 30

《女武神》舞台設計圖：第一幕 Manuscript of Act Ⅰ by Hsiu-Chin Tsai

notorious engagement in the revolutions that spread across Europe in 1848-9. The exact extent of his engagement with the revolution in Dresden in 1849 has been the subject of a great deal of (auto-) biographical fabrication and speculation, but the earliest sketches of the cycle date from the previous year, where the composer's revolutionary fervour— fanned by the iconoclastic, anti-establishment philosophy of Ludwig Feuerbach (18041872)—had emphasised the cycle's narrative of tearing down and replacing the existing power structures of society: the conflagration of Valhalla was to lead the way for a new political age. Wagner's revolutionary activities led to a warrant for his arrest being issued on 16 May 1849, forcing him to flee Dresden—and an enviable post in the employ of the very court he had wanted to overthrow—and head to Zurich to start 12 years of exile. Zurich was clearly viewed as a temporary stop, and Wagner made further attempts to establish himself in Paris in early 1850, and also to escape East with a married woman he met there. A series of disappointments led to his greater belief in the need to reform the theatre. The first of his so-called Zurich essays followed, and they laid out in impassioned 31

and, in the case of the notorious 'Das Judentum in Musik' (completed August 1850), vindictively odious terms exactly what he felt was wrong with the state of opera. In his most important theoretical essay, 'Oper und Drama', he took issue with the term 'opera' itself, complaining that it promoted superﬁcial musical niceties ahead of dramatic truth, which should always serve as the 'fertilizing seed' of musical invention. 'Oper und Drama' was completed early in 1851, and a few months later Wagner set about expanding Siegfrieds Tod into two operas, adding Rheingold and Die Walküre the following year. He

explained his rationale in a letter to his friend, Theodor Uhlig, in November 1851: [It was] clear to me, as I dwelt on [the] realization [of Siegfrieds Tod] in terms of musical theatre, that it was more than ever necessary to present the whole tale and its background in a directly perceptible form. I see now that to be perfectly understood in the theatre I must have the whole myth performed on the stage. The is exactly what he did. The new libretto—or Dichtung (poem), to use the term Wagner preferred— for the cycle was completed by 15 December 1852. And Das Rheingold , whose score was completed less than two years later on 26 September 1854,

begins not just with the start of the myth but, in a prelude that grows organically out of

《女武神》舞台設計圖：第二幕第二景 Manuscript of Act Ⅱ Scene 2 by Hsiu-Chin Tsai

nothing but a sustained e-ﬂat pedal, with the beginning of existence itself. Das Rheingold deals exclusively with mythical characters— gods, giants, Rhine Maidens, Nibelung dwarves—in mythical spaces: beneath the Rhine, in the lofty heights of Valhalla, in the subterranean realm of the Nibelungs. As a work, too, it is the instalment of the Ring that comes nearest to Wagner's theoretical ideal: the music grows exclusively out of the drama and is determinedly welded to the words, which are in turn cast in the composer's knotty and alliterative Stabreim. The work also sets out the complex web of leitmotifs that would be used to tie the whole cycle—and its uniquely compelling mixture of epic and dramatic modes—together. Die Walküre introduces us to the human protagonists of the myth, and in its whole ﬁrst

act the only reference to earlier characters comes in veiled form during Sieglinde's 'Der Manner Sippe', linkable, with help from repeated iterations of the Valhalla motif, to the identity of the mysterious guest who thrust Notung into the trunk of the ash-tree during Hunding and Sieglinde's wedding party. When we meet Wotan and Fricka in Act Two, they appear in very different guises to those in Rheingold: here we are thrust into an alltoo-human domestic argument about bourgeois morality. Even the fearless Valkyrie, Brünnhilde, herself a product of Wotan's rebellious attitude to marriage, knows not to intervene in the dispute. But it is in the work's seamless shifts between the human and divine—or, perhaps, the public and private—that much of its power lies. Wotan might be the most powerful of the gods, but he is also the most fallible; he, like so many in positions of power, has become corrupted. And in his remarkable act-2 monologue he makes this realization and resolves to do his duty and right the wrongs he has unleashed. Brünnhilde's own resolve in carrying out this duty disappears during her revelatory scene with Siegmund, the so-called Todesverkündigung ; subsequently, during the course of the act-3 farewell, Wotan's resolve in punishing her disappears in turn. In Die Walküre, as so often throughout the whole Ring cycle, human weakness dictates that each opportunity to divert from the course of disaster is passed by; the greater good is subordinated— sometimes knowingly — to selfish concerns. But such is Wagner's genius, that these moments of weakness are clothed in the most affecting and persuasive music. We, in the audience, are convinced too by Siegmund's noble rhetoric in the Todesverkundigung ; we can see that Wotan has no choice in his farewell but to preserve Brünnhilde in fire until 33

a suitable hero—Siegfried, of course, as the music has hinted through a great deal of the act—is able to collect her (as happens in two and a half acts' time, in Act 3 of Siegfried ). Wagner had himself shown fallibility in failing to resist the siren song of music by the time he composed Die Walküre, too. The lofty theoretical stance of the Zurich essays, put into practice in the tautly dramaled Rheingold, was compromised in the second work of the cycle. In the interim Wagner had discovered the work of Arthur Schopenhauer. This not only set out the philosophy of renunciation that would seep, above all, into Tristan, but it also claimed music's position at the head of the arts: it was, Schopenhauer wrote, the only art form that could hope to reﬂect the inexpressible nature of existence—what he termed the Will. It was a happy discovery, for it resulted in Die Walküre in a new musical freedom and lyricism that was all the better able to portray the full beauty of the humanity that betrays us. *Hugo Shirley, PhD in musicology from King's College London; he is assistant editor of OPERA magazine and a critic for the Daily Telegraph.

《女武神》舞台設計圖：第三幕 Manuscript of Act Ⅲ by Hsiu-Chin Tsai

指揮｜conductor

呂紹嘉

Shao-Chia Lü

「精緻的品味和與生俱來的抒情性是呂紹嘉指揮(《修女安潔莉卡》) 的能量來源，不是為賦新詞強說愁，也不是利用大量的彈性速度。」

——《美國唱片指南》雜誌

「在呂紹嘉指揮下，NSO 將十九世紀末的音樂傳神地演繹。他不僅引導出團員的光與熱，更將史特勞斯 (《艾蕾克特拉》)引人入勝的樂曲發揮地淋漓盡致。」

——英國《歌劇》雜誌

呂紹嘉出生台灣新竹縣，自幼學習鋼琴。就讀台大心理系期間，受陳秋盛先生之啟發開始鑽研指揮藝術。先後赴美國印第安那大學及維也納國立音樂院主修鋼琴與指揮。曾入義大利

Accademia Musicale Chigiana di Siena指揮班，隨大師G. Rozhdestvensky學習。在連續贏得法國貝桑頌、義大利佩卓地和荷蘭孔德拉辛三大國際指揮大賽首獎後，呂紹嘉展開他在歐洲璀燦的指揮生涯。他先後獲聘擔任柏林喜歌劇院首席駐團指揮、德國萊茵愛樂交響樂團暨科布倫茲市立歌劇院音樂總監、德國漢諾威國家歌劇院音樂總監，並受邀在英國國家歌劇院、挪威皇家歌劇院、布魯塞爾皇家歌劇院、澳洲雪梨歌劇院、瑞典哥特堡歌劇院、德國司徒加特、柏林德意志、漢堡、法蘭克福歌劇院及維也納夏季音樂節（Klangbogen）擔任客席指揮。此外，他也曾率領柏林喜歌劇院於挪威貝爾根國際音樂節和日本東京及名古屋演出《霍夫曼的故事》。在出任德國國家萊茵愛樂交響樂團與柯布倫茲市立歌劇院音樂總監期間，呂紹嘉以無數精采深刻的音樂詮釋，獲得了團員及愛樂者的愛戴，他並曾帶領該團於北京、上海、義大利米蘭等地巡迴演奏。呂紹嘉於2004 年五月獲德國文化部長頒贈象徵該省文化最高榮譽的Peter Cornelius 獎章。在出任德國漢諾威國家歌劇院音樂總監期間，呂紹嘉大力拓寬劇院劇碼。除了傳統的德奧及義大利歌劇外，他成功的推出了楊納傑克及德布西的作品，使得劇院的名聲更推展至國際化的層次。他所指揮的德布西歌劇《佩利亞與梅麗桑》，於2004 年獲邀在舉世聞名的維也納音樂節及愛丁堡藝術季演出多場，獲得極高讚譽。除了歌劇領域外，呂紹嘉在音樂會上的表現也同樣耀眼，至今合作的主要交響樂團有：慕尼黑愛樂、柏林、西南德、中德、巴伐利亞、維也納廣播樂團，法國國家、里昂、杜魯士、史特拉斯堡交響樂團，英國利物浦愛樂、奧斯陸愛樂、貝爾根（Bergen）愛樂、赫爾辛基愛樂、瑞典廣播、挪威廣播、哥特堡交響樂團、羅馬聖西西里亞樂團...等。2011 年底呂紹嘉首度在阿姆斯特丹指揮了世界聞名的荷蘭皇家音樂大會堂管絃樂團，以史特拉汶斯基的《春之祭》博得滿堂彩。2012 年底首度在東京指揮新日本愛樂，演出多場貝多芬第九交響曲，2013 及 2014 年將陸續赴日指揮東京大都會及

NHK 交響樂團。在睽喡台灣多年後，呂紹嘉於2010 年秋返鄉接任國家交響樂團（NSO）音樂總監，期盼以「精緻．深刻．悸動」之信念，深耕台灣樂壇。

''Refined taste and inherent lyricism are at the heat of Lü's approach (to Suor Angelica), not sentimentality or a heavy handed does of rubato.'' — American Record Guide ''Under Lü, (NSO) made the fin-de-siècle sound world idiomatic. He coaxed from them a burnished, glowing sound that showed off Strauss' (Elektra's ) luscious orchestration.'' — OPERA Taiwan-born conductor Shao-Chia Lü studied music in Taipei, later at the Indiana University in Bloomington, USA, and also at the College of Music Vienna. His training was topped off with three important first prizes at renowned international conductor competitions: Besancon, Trento and Amsterdam. In 1995, he began his opera career as Erster Kapellmeister at the Komische Oper Berlin. Numerous guest performances followed, including the Australian Opera Sydney and the English National Opera, the Theatre de la Monnaie in Brussels, the opera houses of Frankfurt, Hamburg and Stuttgart as well as the Deutsche Oper Berlin. In 1998, Shao-Chia Lü took over the position of General Music Director of both the Staatsorchester Rheinische Philharmonie Koblenz and the Koblenz Theatre. Shao-Chia Lü, as General Music Director of the Staatsoper Hannover between 2001 and 2006, has established himself firmly as an excellent opera conductor through numerous outstanding performances during this period of such repertoire as: Aida, Ernani, Le nozze di Figaro, Jenufa, Vec Makropulos, Fidelio, Turandot, Madama Butterfly, Tosca , Tristan und Isolde, Der fliegende Holländer, Wozzeck, Der Rosenkavalier, Elektra and Salome.... In the summer 2004, Shao-Chia Lü and the Staatsoper Hannover earned international acknowledgement by performing Pelléas et Mélisande at the renowned Vienna and Edinburgh Festivals. Shao-Chia Lü's recent opera engagements include: Parsifal , Katja Kabanowa and Tosca in Goteborg, Sweden, La fanciulla del West in Stuttgart, Eugene Onegin at the Komische Oper Berlin, Madama Butterfly , Tosca and La Bohème in Sydney and Melbourne. Alongside his opera activities, Shao-Chia Lü is equally at home on concert podiums. In 1994, he had his debut with the Münchner Philharmoniker by replacing Sergiu Celibidache at the last moment for two unchanged programms (including Bruckner's Symphony No. 8). The triumph of these concerts brought him several further invitations from this orchestra. Apart from the Münchner Philharmoniker, Lü has worked repeatedly with many leading European orchestras, such as the Oslo Philharmonic, the Orchestra Sinfonica di Santa Cecilia in Rome, the Norwegian and Swedish Radio Orchestra, the Helsinki Philharmonic Orchestra, the Royal Liverpool Philharmonic, the Bournemouth Symphony Orchestra, the Goteborg Symphonics, the Orchestre National de France, the SWR Stuttgart, the Rundfunksinfonieorchster Berlin, the Staatskapelle Weimar and the Frankfurter Museumsorchester. In November 2011, Shao-Chia Lü made his much acclaimed debut with the Royal Concertgebouw Orchestra in Amsterdam. In Asia, after his debut with New Japan Philharmonic in December 2012, Shao-Chia Lü was invited to conduct the Tokyo Metropolitan Symphony Orchestra and the NHK Symphony Orchestra, among others, during the 2013/2014 season. Shao-Chia Lü has been Music Director of the Taiwan Philharmonic (the National Symphony Orchestra of Taiwan) since August 2010. 39

導演暨燈光設計｜stage director & lighting designer

漢斯-彼得．雷曼

Hans-Peter Lehmann

1934 年生於卡塞爾。雷曼曾於代特莫爾德學習音樂，後轉入柏林研習藝術史和戲劇。雷曼先在柏林市立歌劇院（現為德意志歌劇院）擔任塞爾納的導演助理，1960-70 年代轉往拜魯特節慶劇院，擔任維藍．華格納和沃夫崗．華格納旗下的助理導演；此外，他曾任烏爾姆、麥因茨、弗萊堡和紐倫堡歌劇院舞臺總監。1977年進而受聘為維斯巴登國家歌劇院戲劇導演，並自1980 年起擔任漢諾威國家歌劇院藝術總監，長達 21年之久。2001年卸任漢諾威歌劇院藝術總監一職，開始以資深歌劇導演身分活躍於歐美各大歌劇院，德國包括柏林、法蘭克福、慕尼黑等歌劇院；其他則包括蘇黎世、米蘭、威尼斯、巴黎、芝加哥歌劇院等。此外，他在漢諾威音樂與戲劇學院等多校任教。

Hans-Peter Lehmann was born in Kassel, Germany in 1934. He studied singing, flute and Pantomime in Detmold and art history and theater in Berlin. Lehmann has had a rich experience in opera production: director's assistant to G. R. Sellner at the Municipal Opera House, assistant director to Wieland Wagner and Wolfgang Wagner at the Bayreuther Festspiele in the 1960s; and stage director at opera houses in Ulm, Mainz, Freiburg and Nuremberg. In 1977 he became opera director at Staatstheater Wiesbaden, and artistic director since 1981 at Staatsoper Hannover for 21 years. Since his resignation in 2001, he started to be involved in major opera houses in Europe and the US as a senior opera director including Berlin, Frankfort, Munich, Zurich, Milan, Venice, Paris and Chicago. In addition, he teaches as a professor in a number of universities including the Hanover University of Music, Drama and Media. 40

舞台暨服裝設計｜set & costume designer

蔡秀錦

Hsiu-Chin Tsai

現任職大葉大學設計暨藝術學院院長的蔡秀錦，曾任職國立中山大學劇場藝術學系系主任、衛武營藝術文化中心副主任與國家兩廳院舞台技術主管。曾求學於奧地利格拉茲音樂暨表演藝術大學舞台設計系（Diplom＆Magister）以及在格拉茲．卡爾．法蘭茲大學美術史系；早期亦從事繪畫與展覽，其中包括入選巴黎的「秋季沙龍展」。並長期在國內外劇院從事舞台、燈光及服裝設計。設計作品有如：《莎樂美》、《弄臣》、《鄉村騎士》、《波西米亞人》、《微笑之國》、《奧菲歐與尤里迪切》、《奧泰羅》、《杜蘭朵》、《頑童驚夢》及《卡門》等。其作品發表的地點有如：德國Dortmund、Giessen、Erfurt 劇院、新加坡劇院、台北國家戲劇院等。目前正在在德國Erfurt市，兩座歌德式大教堂之間的著名藝術季「Domstufenfestspiele」演出的杜蘭朵。同時她也從事演出製作、導演和翻譯劇本的工作。她除了具有豐富的國內外劇場實務經驗外，也是國內劇場的空間規劃、設備，國家文藝獎的評審委員與高等教育評鑑委員。

Hsiu-Chin Tsai is currently the dean of College of Design and Arts at Da-Yeh University. She was once the director of Department of Theatre Arts at National Sun-Yat sen University. Also, she was the deputy director of Wei-Wu-Ying Center for the Arts and stage technique supervisor of NTCH for many years. She received a diploma and a master degree from University of Music and Performing Arts in Graz, Austria, and Art History in Karl Franz University Graz. Her early years were spent on paintings and exhibitions including works that were selected for the exhibition of Salon' d Automme in Paris. She has devoted to stage, lighting and costume design both domestically and internationally over a long period of time. Her design works include Salome, Rigoletto, Cavaleria Rusticana, La Boheme, Das Land des Laechelns, Orfeo ed Euridice, Otello, Turandot, Le Enfant et les Sortileges, Carmen, and so on. Her works have been staged in theatres such as Dortmund, Giessen and Erfurt theaters in Germany, theaters in Singapore and the National Theater in Taipei. Her current work Turandot, can be seen at two Gothic cathedrals in Erfurt city, Germany at the Domstufenfestspiele. Hsiu-Chin Tsai also engages in performance production, stage direction and script translation. Not only is she an expert in theatre with substantial practical experience both domestically and internationally, she is also a member of the Higher Education Evaluation and Accreditation Council of Taiwan, as well as a judge of the National Award for Arts. 41

燈光設計｜lighting designer

李俊餘

Chun-Yu Lee

李俊餘專職於劇場營運管理與燈光設計，現為聚光工作坊負責人、國立中山大學劇場藝術學系專業級講師及台灣技術劇場協會常務理事。作品包括綠光劇團《領帶與高跟鞋》、《結婚結昏》、《同學會》、《黑道害我真命苦》、《青春小鳥》、《女人要愛不要懂》、《都是當兵惹的禍》、《PROOF —求證》、《人間條件》系列、《台灣文學劇場－清明時節》及《台灣文學劇場－單身溫度》；國家交響樂團《崔斯坦與伊索德》、《諾瑪》、《火鳥情絃》、《指環》、《蝙蝠》、《希臘悲劇艾蕾克特拉》及《落葉傾城•張愛玲》；台北歌劇劇場《唐吉軻德與布偶》、《蘇珊納的秘密》、《後宮誘逃》、《斷頭台上的修女》、《伊多美聶歐》、《拉美默爾的露琪亞》及《藍鬍子的城堡》；新古典舞團《E世代國際舞壇崢嶸》、《尋找失去的舞跡重建唐樂舞文明》、《唐樂舞》、《團亂璇》、《2004曹丕與甄宓》、《青春之歌》、《民國四十六年》、《春之祭》及《揮劍烏江冷》。

With full dedication to theater operation management and lighting design, Chun-Yu Lee is the owner of Hispot, a lecturer at the Department of Theatre Arts of National Sun-Yat sen University and a standing director of the Taiwan Association of Theatre Technology. His works include Neckties & High-heeled Shoes, A Dizzy Woman, I Do I Do!, Neckties & High-heeled Shoes Part II, What's A Life!?, Forever Youth, Just Love Her!, Blame It All to the Draft, Proof, the Human Conditions series, The Taiwanese Literary Theater –Qing Ming Festival and The Taiwanese Literary Theater -Temperature of a Single Man by the Greenray Theatre Company; Tristan und Isolde, Norma, The Firebird, Der Ring des Nibelungen, Die Fledermaus, Elektra and Fall for Eileen Chang by the NSO; Don Quixote and the Glove Puppets, Susanna, The Abduction from the Seraglio, Dialogues des Carmélites, Idomeneo, Lucia Di Lammermoorr and Bluebeard's Castle by the Taipei Opera Theater; and Excelling at International Dance Community in the E Era, Searching the Lost Periods of Classic Dance & Rebuilding the Reconstruction of Tang Dynasty Dances, Tang Music and Dance, Circling, Ts'ao-Pi & Chen-Mi, Song of the Youth, 1957 A.D., The Rite of Spring and Wielding Sword along Chilly Wujiang by the Neo-Classic Dance Company. 42

影像設計｜visual designer

王奕盛

Ethan Wang

國立藝術學院劇場設計系第一屆畢業，主修舞台設計。倫敦中央聖馬丁藝術暨設計學院新媒體藝術碩士。曾任台北藝術大學駐校藝術家、元智大學藝術設計系、實踐大學時尚設計系講師，目前任教於國立台北藝術大學劇場設計系，專職劇場影像之教學與創作。設計作品有：中華民國建國百年跨年慶典開幕式，雲門舞集《屋漏痕》、《聽河》、《風．影》，果陀劇場《動物園》、《再見女郎》、《我是油彩的化身》、《最後14堂星期二的課》、《傻瓜村》、《梁祝》，創作社劇團《拉提琴》，鄭宗龍作品《在路上》，秀琴歌劇團《安平追想曲》，當代傳奇劇場《蛻變》、《康熙大帝與太陽王》、《水滸108—忠義堂》，綠光劇團《單身溫度》，唐美雲歌仔戲團《子虛賦》、《燕歌行》、《光目女救母》、《碧桃花開》、《大願千秋》、《六度經—仁者無仇》、《蝴蝶之戀》、《宿怨浮生》等。

Ethan Wang, a stage design major, was among the first to graduate from the Department of Theatre Arts, National Institute of the Arts and obtained a master degree in new media arts from the Central Saint Martins College of Art and Design in London. He was once an artist-in-residence of the Taipei National University of the Arts and a lecturer of the Department of Art and Design, Yuan Ze University and the Department of Fashion Design, Shih Chien University and is currently a full-time lecturer teaching creation of theater images at the Department of Theatrical Design and Technology, the Taipei National University of the Arts. His design works include the Republic of China Centennial Celebration Opening, Water Stains on the Wall, Listening to the River and Wind Shadow by the Cloud Gate Dance Theatre of Taiwan; At Home at the Zoo, The Goodbye Girl, I am Embodiment of Paint, Mitch Albom’s Tuesday’s With Morrie, Fool Village and Liang & Zhu Buterfly Lovers by the Godot Theatre Company; Playing the Violin by the Creative Society; On the Road by Cheng Tsung-Lung; Remembering An-ping by the Shiu-Kim Taiwanese Opera Troupe; Metamorphosis, Kangxi Emperor and King of the Sun and 108 Heroes: Tales from The Water Margin by the Contemporary Legend Theatre; Temperature of a Single Man by the Greenray Theatre Company; Zi Xu Fu, Deathless Beauty, A Brahmin Girl Rescued Her Mother, When the Night Has Come, A Benevolent Spirit, The Vengeance, Unfading Love and Entwined Fates by the Tang Mei Yun Taiwanese Opera. 43

聲樂指導｜vocal coach

艾希．凡魏

Ansi Verwey

出生於南非，艾希．凡魏於史德蘭博胥大學學習鋼琴、管風琴以及大鍵琴。完成學業後在南非德本、開普敦以及比勒陀利亞的歌劇院中擔任駐院鋼琴伴奏暨聲樂指導。1995 年首次於德國威斯巴登國家歌劇院參與歌劇《崔斯坦與伊索德》之製作；自1995 至 2009 年，凡魏任聘於漢諾威國家歌劇院，並與導演漢斯- 彼得．雷曼合作，擔任其華格納歌劇製作之聲樂指導。自2007 至 2009 年，凡魏在漢諾威國家劇院裡創立了「凡魏的華格納工作坊」，其音樂會大受當地聽眾喜愛。2010 年，凡魏受聘於法蘭克福歌劇院，並開始她「凡魏的華格納」系列獨唱會。自2012 年9 月起，她成為斯徒加特國立歌劇院的首席聲樂指導，並持續其音樂會演出。

Born in South Africa, Ansi Verwey commenced her studies of the piano, organ and harpsichord at the University of Stellenhosch. After completion of her studies, she was appointed as repetiteur and vocal coach at the Durban Opera House, the Nico Malan Theatre of Cape Town, and the State Theatre Pretoria (1985-1995). In 1995, Verwey was engaged at the Staatstheater Wiesbaden, participating in her ﬁrst production of Tristan and Isolde . From 1995 to 2009, she was engaged at the Staatstheater Hannover, working with director Hans-Peter Lehmann on Wagner's opera. From 2007 to 2009, she initiated the Verwey's Wagner Workshop during her engagement with the Staatstheater Hannover and its concerts were well-received by the local audience. In 2010, Verwey was engaged at the Frankfurt opera house, where she began her solo evenings of ''Verwegenes Zu Wagner''. Since September 2012, Verwey has been head of musical studies at the Staatstheater Stuttgart, continuing her concert appearances. 44

聲樂指導｜vocal coach

王佩瑤

Pei-Yao Wang

王佩瑤出生於台北，五歲習琴，八歲即登台演出。小學畢業後以資賦優異兒童身份出國留學，先後以全額獎學金和優異的表現畢業於美國寇蒂斯音樂院和耶魯大學研究所，於耶魯大學就讀時雙修音樂和建築科系。以詩人般的獨特風格和細膩的詮釋，受邀於全世界之各大廳院演出。2004-

2007 年受聘為林肯中心長駐室內樂鋼琴家，為台灣唯一獲此殊榮之鋼琴家。王佩瑤於2006 年起受聘為紐約大都會歌劇院之聲樂指導，合作過之世界知名聲樂家和指揮家不計其數。其參與製作並發行DVD 的歌劇《原子彈之父》(Doctor Atomic) 於2012 年2 月榮獲美國葛來美最佳歌劇錄音獎。2012 年起，每週一在漢聲電台頻道分享個人音樂的獨特經歷與見聞，普獲好評。

Born in Taipei, at the age of 12 Pei-Yao Wang was invited to study at the Curtis Institute of Music, where she worked with Seymour Lipkin and Institute Director Gary Graﬀman. She then studied with Claude Frank at Yale University, where she received the Master of Music degree, and also pursued a concentration in architecture. For several years she was under the tutelage of celebrated pianist Richard Goode. She has worked with noted conductor throughout the world, such as James Levine, New York Philharmonic Conductor Alan Gilbert to name a few. As part of the production team at the Metropolitan Opera, the noted opera production of Doctor Atomic by John Adams won a Grammy Award for Best Opera Recording in February of 2012. 45

齊格蒙｜Siegmund

沃夫崗．史瓦寧格

Wolfgang Schwaninger

德國男高音史瓦寧格以抒情男高音的歌喉在慕尼黑國家劇院首度登臺，飾演的歌劇角色包括《魔笛》的塔米諾王子、《後宮誘逃》的貝爾蒙特、《卡門》的荷西、《霍夫曼的故事》的霍夫曼等。隨著歌聲的日精月進，他的演唱足跡遍及國際各大劇院，並在歌劇舞台成功挑戰戲劇男高音曲目，如貝多芬《費戴里歐》的弗羅雷斯坦、《魔彈射手》的馬克斯、理查．史特勞斯《納克索斯島的亞麗阿德妮》的酒神等，2007年起演出華格納男高音角色如火神洛格、齊格蒙、崔斯坦、名歌手瓦特等也都成為他的強項。2010-12 年間，他以戲劇男高音歌喉征服韓國首爾國家歌劇院（貝爾格《露露》）和達姆史達特國家劇院（華格納《齊格飛》）。他卓越的歌唱表現，曾獲《歌劇世界》「2009年度歌手」提名肯定。

Schwaninger's career began as a lyric tenor at the State Theater Gartnerplatz in Munich, Germany where he performed roles such as Tamino, Belfiore, Belmonte, and later Duke, Don Jose, Hoffmann and Canio. He subsequently expanded his repertoire into the German fach including roles such as Max (Dresden), Florestan (Leipzig and Tokyo), and Bacchus (Munich, Wiesbaden, Darmstadt, and Leipzig). Guest engagements then led the tenor to perform throughout the greater part of Europe, Korea, Japan, the United States, and Canada. Mr. Schwaninger has worked with renowned directors such as August Everding, John Dew, Claus Guth, Hans-Peter Lehmann, Loriot, and Klaus Maria Brandauer, as well as prominent conductors such as Herbert Blomstedt, Lawrence Foster, Gustav Kuhn, and Constantinos Carydis, among others. In the 2011/2012 season, he sang the title role in Wagner's Siegfried at the State Theater in Darmstadt as well as guest engagements as Jim in Mahagonny in Istanbul. 50

齊格琳德｜Sieglinde

陳美玲

Mei-Lin Chen

亞洲華人聲樂大賽第二名以及世界華人聲樂大賽第三名得主，獲選德國新聲（Ne ue Stimmen）國際聲樂比賽亞洲區代表並入圍總決賽。曾獲選國立中正文化中心之校園菁英及「樂壇新秀」；台北愛樂文教基金會之「台灣樂壇新秀」；聲樂家協會「聲樂新秀」；台灣區音樂比賽女高音獨唱第一名；「台北德文藝術歌曲比賽」第三名。畢業於輔仁大學音樂系、東海大學音樂系碩士班，先後師事杜玲璋、徐以琳以及Judy Bellingham教授。現任教於台中新民中學、中壢高中、雙十國中音樂班、南華大學民族音樂系，並擔任台北愛樂合唱團、榮星合唱團之聲樂指導老師。

Born in Taiwan, soprano Mei-Lin Chen received well vocal performance training in Taiwan. She received her bachelor of Art degree from Fu-Jen Catholic University where she studied with Professor Lin-Chang Du, and her master degree of Art from Tunghai University where she studied with Dr. Yi-Lin Hsu. Chen was the ﬁrst prizewinner of Taiwan National Voice Competition in 1996, and one of the winners of Arising Stars Vocal Competition in 2000 in Taiwan. She also won the third prize in Mondial Chinese Vocalist Concours in 1999 and 2001, the second prize in Asia Chinese Vocal Competition in Singapore in 2000, and the third prize in Taipei German Lieder Competition in Taipei in 2001. She was also ﬁnalist of 8th International Singing Contest "Neue Stimmen" in Germany in 1999. In addition to opera performances, Chen has sung with major orchestras in Taiwan. 51

渾丁｜Hunding

安卓亞斯．霍爾

Andreas Hörl

德國年輕男低音安卓亞斯．霍爾的前途無可限量。他是柯特．摩爾大師班的學生，音色嘹亮優美，拿手曲目眾多。霍爾他從 2007/08 年樂季開始成為蘇黎世歌劇院的獨唱歌手，期間亦參與多場客座演出。莫札特的「歐斯敏」是他重要的角色之一（維也納人民歌劇院、蘇黎世歌劇院、法蘭克福歌劇院，以及柏林喜歌劇院）。2009年時，他演出了馬克國王、達藍船長（凱姆尼茲市立劇院），以及騎士長的角色（里斯本聖卡洛斯國家劇院）。 2011年時，霍爾在巴伐利亞國家歌劇院首次成功演出《波西米亞人》的哲學家柯林一角。自2012/13 年樂季起，霍爾加入維也納國家歌劇院，在此之前，他已在 2011年12月在該歌劇院演出大祭師薩拉斯妥一角。2012年初，他也在柏林國家歌劇院首度演出歐斯敏一角。

The young German bass Andreas Hörl makes a big career. He is Kurt Moll's master student. Hörl has a large and gorgeous timbre as well as an enormous repertoire. Andreas Hörl made important debuts early in his career. Since 2007/08 he has been a member of the ensemble of the Zurich Opera, and has always found the time for guest engagements. Mozart's Osmin has been one of his signature roles (Vienna Volksoper, Zurich Opera, Frankfurt Opera, Komische Oper Berlin). In 2009 he sang König Marke and Daland (Theater Chemnitz) as well as Commendatore (Teatro National Sao Carlos Lissabon). In 2011 Andreas Hörl made his successful debut at the Bavarian State Opera as Colline in La bohème. In 2012/13 Andreas Hörl will move to Austria and join the ensemble of the Vienna State Opera, where he can already be heard as Sarastro in December 2011. At the beginning of 2012 Andreas made his debut at the Berlin State Opera singing Osmin. 52

佛旦｜Wotan

安德斯．羅倫施遜

Anders Lorentzson

瑞典男低音/男中音安德斯．羅倫施遜曾就讀斯德哥爾摩國立歌劇藝術學院，並很快進入瑞典皇家歌劇院，演出《唐•喬望尼》的馬賽特、《帕西法爾》的提圖瑞爾，以及《紐倫堡的名歌手》的柯度爾。他從1996 年開始加入瑞典的哥德堡歌劇院，演出的角色包括《女武神》的大神佛旦、《漂泊的荷蘭人》主角、《托斯卡》的斯卡皮亞男爵、《費加洛的婚禮》的費加洛、《伍采克》的醫生，以及《彼得葛萊姆》的律師史瓦洛。2004 年夏天，他在斯德哥爾摩的皇后島劇院，世界首演瑞典作曲家傑納．楊頌的歌劇《西西莉亞與孫悟空》中玉皇大帝一角。他常受邀於音樂會中演出，曲目包括莫札特《安魂曲》、韓德爾《彌賽亞》與威爾第《安魂曲》。他近期的演出包括《法斯塔夫》的同名主角、《阿拉貝拉》的沃爾德納伯爵（與妮娜．史騰演共同演出）、《浮士德》的魔鬼梅斐斯德，以及《紐倫堡名歌手》的薩克斯。

The Swedish bass/bass-baritone Anders Lorentzson studied at the National College of Operatic Art in Stockholm. He was immediately engaged at the Royal Swedish Opera where he sang roles such as Masetto in Don Giovanni, Titurel in Parsifal as well as Herman von Ortel in Die Meistersinger von Nurnberg. Since 1996 he is a member of the ensemble at the Gothenburg Opera. His roles there include Wotan in Die Walküre, the title role in Der Fliegende Holander, Scarpia in Tosca, Figaro in Le nozze di Figaro, Doctor in Wozzeck , and Swallow in Peter Grimes . In the summer of 2004 he sang Jade Emperor in the world premier of the Swedish composer Reine Jonsson's opera Cecilia and the Monkey King at Drottningholm Theatre in Stockholm. He is a much sought after concert singer and his repertoire includes Mozart's Requiem, Handel's Messiah and Verdi's Requiem. Among recent performances are title role in Falstaff, Count Waldner in Arabella (opposite Nina Stemme), Mephistopheles in Faust, and Hans Sachs in Die Meistersinger. 53

布倫希德｜Brünnhilde

依姆嘉德．費絲麥爾

Irmgard Vilsmaier

費絲麥爾生於德國巴伐利亞，曾經先後入選為慕尼黑巴伐利亞國家歌劇院和茵斯布魯克歌劇工作室成員。2001年劇院合約滿後，以自由歌手身分活躍在國際各大舞台和拜魯特節慶劇院（2002-04）。她擁有宏偉壯闊的戲劇女高音歌喉，尤其擅長華格納女高音曲目，如《指環》系列的布倫希德和齊格琳德，《崔斯坦與伊索德》的伊索德。其他曲目還包括普羅科菲夫《三橘之戀》的女巫、理查．史特勞斯《玫瑰騎士》的伯爵夫人和《莎樂美》的母后希羅迪亞絲、馬斯卡尼《鄉村騎士》的珊杜札等。她近期的演出計畫則包括史特勞斯《艾蕾克特拉》女主角、華格納《羅恩格林》的歐楚德、雅納傑克《顏如花》的柯絲特妮契卡和貝爾格非調性歌劇《伍采克》的女主角瑪麗等。

Born in Frontenhausen/Bavaria and studied in Wuerzburg and Nuernberg, Vilsmaier was member of the opera studio of the Bavaria State Opera in Munich and afterwards of the Landestheater Innsbruck. From 2001 she has worked as a free artist. Her voice is dramatic to high dramatic soprano. She has studied with Astrid Varney, Josef Loibl, Gregory Lamar and Ada Zaperi. Her repertory list includes Sieglinde and Brünnhilde (Die Walküre), Isolde, Brangaene (Tristan und Isolde), Norn, Gutrune (Goetterdaemmerung ), Goneril (Lear), Fata Morgana (Love to the three oranges), Mother and Witch ( Haensel and Gretel ), Marschallin and Leitmetzerin ( Der Rosenkavalier), Mere Marie (Dialogue des Carmelites), Kundry (Parsifal ), Venus (Tannhaeuser), Santuzza (Cavalleria rusticana), Ghita (The dwarf ), Marie (Wozzeck), and many others. Opera houses where she sung for example Bayreuth (2000-2004), Salzburg, State Operas of Munich, Berlin, Hamburg, Budapest, Vienna, Nationaltheater Mannheim and Weimar. 54

佛麗卡｜Fricka

翁若珮

Jo-Pei Weng

翁若珮於2005 年取得美國約翰霍普金斯大學琵琶蒂音樂院碩士文憑，同年10 月更獲得第四屆建華愛樂古典菁英聲樂首獎。2007 年5 月赴日本橫須賀參加第十二屆新聲歌唱大賽，榮獲亞洲區優勝。曾參與重要演出包括馬斯卡尼歌劇《鄉村騎士》；浦契尼歌劇《修女安潔莉卡》、《強尼史基基》、《蝴蝶夫人》、《瑪儂．雷斯柯》；漢普丁歌劇《韓賽與葛麗特》；華格納歌劇《尼貝龍根指環》；莫札特歌劇《魔笛》、《費加洛婚禮》；小約翰史特勞斯歌劇《蝙蝠》；韓德爾神劇《猶大馬加比斯》、《彌賽亞》、《所羅門》等，並於金希文歌劇《黑鬚馬偕》及錢南章歌劇《畫魂》世界首演中擔綱演出。2012 年她獲國立臺北藝術大學頒發傑出校友獎。

In 2005, Jo-Pei Weng received her Master of Music degree in Vocal Performance from the Peabody Conservatory of Johns Hopkins University in Baltimore, and won the ﬁrst prize of the Young Artists Show Case from Bank SinoPac. Weng is also the winner of the 12 New Voice competition (Asia region) in Yokosuga Japan in 2007. Her oratorio credits include performances with the Taipei Gloria Oratorio Choir, Moment Musical Orchestra, Taipei Symphony Orchestra and Taipei National University of the Arts, Peabody Institute, Baltimore Concert Singners. As an opera singer, Weng has performed the role of Principessa from Puccini's Suor Angelica , Zita in Gianni Schicchi , Suzuki in Madama Butterf ly , and many other roles. She was awarded the Outstanding Alumni Award by National Taipei University of the Arts in 2012. 55

服裝設計圖

女武神

佛麗卡

齊格蒙

齊格琳德

2000 年留學義大利考入布雷夏國立音樂院（Conservatorio di Brescia）聲樂組，隨旅義女高音朱苔麗教授學習。在校攻讀聲樂、室內樂博士雙主修學位，2007、2011年夏天以最高成績「嘉獎滿分」取得聲樂與室內樂文憑。在義大利多年與名歌劇導演 Enrico

Conforti學習歌劇詮釋。畢業後曾受聘於布雷夏音樂院擔任朱苔麗教授聲樂助理並任合唱團聲樂指導，其間亦為布雷夏市多所音樂學校的聲樂教師。現為國立台北教育大學音樂系專任助理教授

潔希德｜Gerhilde

國內重要演出

林玲慧

2011 / 10 / 09、10 NSO2011國慶音樂會《千人合唱─馬勒第八》，擔任第二女高音

Ling-Hui Lin

2012 / 01

與NSO交響樂團錄製 ﹝樂典08 錢南章﹞《四首原住民藝術歌曲》

2012 / 07 / 25-30

NSO跨國歌劇《蝴蝶夫人》，擔任女主角「蝴蝶」

2013 / 03 / 02

國立中正文化中心主辦《落葉傾城張愛玲》，飾演「段綾卿」

Ling-Hui Lin went to Italy in 2000, was admitted to Vocal Music of Conservatorio di Musica di Brescia, and studied with Italy-based Taiwanese soprano Chu Tai-Li. Lin continued to study PhD programs of vocal music and chamber music in the same conservatory, and graduated in summer 2007 with honors again. She appeared in the Verona Eximia Forma, an opera workshop, for many years to study the interpretation of operas with opera director Enrico Conforti. Upon graduation, she was invited by the Conservatory as a vocal assistant to Chu and a vocal teacher at the school chorus. She also taught at some other conservatories in Brescia and conducted choruses. During her stay in Italy, she was active in the music community and received acclaims from the press for her numerous collaborations with music groups. 英國皇家音樂院特優演唱文憑，英國皇家音樂院音樂學士學位，國立藝專音樂科畢業。自2000 年返台以來，活躍於國內外歌劇、神劇、藝術歌曲等演唱領域，近期演出包括《佛瑞安魂曲》、《丑角》、《修女安潔莉卡》、《聖馬太受難曲》（台灣首演）、馬勒第二號交響曲、《莎弗》等。2010 年間受澳門樂團之邀，參與演出《彌賽亞》，同年並與

NSO演出馬勒第四號交響曲、孟德爾頌第二號交響曲和《詩篇 42篇》等。歌劇演出包括《霍夫曼的故事》、《糖果屋》、《唐．喬望尼》、《茶花女》、《指環》、《女人皆如此》、荷姆薇潔｜Helmwige

《強尼史基基》、《鄉村騎士》、《夢遊女》、《魔笛》、《黛朵與艾涅斯》等。林慈音對藝

林慈音

術歌曲推廣也不遺餘力，除了個人獨唱會之外，並參與室內樂、講座音樂會，備受好評。

Grace Lin

Graduated from the Royal Academy in Music in London with performance diploma with distinction, Grace Lin has engaged in various performances and has become one of the most sought-after singers in Taiwan. She has been invited to sing in concerts and operas with Taiwan Philharmonic, Taipei Symphony Orchestra (TSO), Taipei Philharmonic Foundation, Bangkok Opera and MidWales Opera etc. Her most recent performances include Taiwan premier of Bach St. Matthew Passion, Mahler Symphony No. 2, Faure's Requiem , Leoncavallo Pagliacci , Puccini's opera Suor Angelica . Past performances include Mahler's Symphony No. 4 with Taiwan Philharmonic, Messiah with the Macao Symphony Orchestra, and also Mendelssohn Symphony No. 2 "Lobgesang" and Psalm 42, again with Taiwan Philharmonic and Taipei Philharmonic Chorus. Her operatic performances include: Sapho, Les contes d'Hoffman, Hansel und Gretel, Don Giovanni, Die Walkure, Das Rheingold, Gianni Schicchi, Cosi fan tutte, La sonnambula, Die Zauberfloete, etc. Apart from concerts and operas, Grace Lin also devoted herself to art songs and recitals and lecture recitals. 59

於國立台北藝術大學音樂系及研究所畢業後，獲得皇家音樂院獎學金赴英深造。在校期間，獲頒伊莎貝（Isabel Jay）特獎並參與歌劇演出，飾演的角色包括《依多美聶歐》的伊蕾特拉、《唐•喬望尼》的愛薇拉、Cimemne 以及《蝴蝶夫人》，取得表演碩士學位。曾師事高慧容、呂怡惠、杜玲璋、徐以琳、V. Paperi、E. Ritchie、M. Hill等教授。曾獲選大都會國際聲樂大賽獎學金獎項、中華民國聲樂家協會新秀，同時也為兩廳院歌瓦特勞特｜Waltraute

鐘梓瑄

Stephanie Chung

劇工作坊成員，於歌劇《女高音也瘋狂》中飾演 Dame Doleful，《莎孚》中飾演 Divonne 以及《孩童與魔法》中飾演Maman和Une pastourelle。現任教於台北美國學校、國立台北藝術大學音樂系在職專班助理和中華民國聲樂家協會會員。

Stephanie Chung gained her MA from Royal Academy of music in UK and MFA from Taipei National University of the Arts in Taiwan. She was oﬀered Adah Rogalsky scholarship, received a Special Mention and commended in Isabel Jay Prize. Her operatic roles are Elettra, Donna Elvira, Cimemne and Madama Butterfly. She has studied with Ling-Chang Du, Yi-Lin Hsu, V. Paperi, E. Ritchie and M. Hill. And she was chosen as the Young Star of the Association of Vocal Artist (AVA) of the R.O.C. Being a member of NTCH Opera Studio, she has played Dame Doleful in Too Many Sopranos, Divonne in Sapho and Maman and une pastourelle in L'enfant et les sortileges. She is also a vocal lecture in Taipei American School and a member of AVA.

德國國立漢諾威音樂院歌劇獨唱、神劇及藝術歌曲演唱家雙文憑，2010 年滿分取得義大利國立都靈音樂院聲樂室內樂最高演唱文憑。憑藉其優異的演唱實力，曾獲選國家兩廳院樂壇新秀、奇美藝術人才培訓獎學金，並獲畢爾包及科隆國際聲樂大賽優勝。演唱足跡遍佈歐亞，如瑞士蘇黎士國家歌劇院、西班牙畢爾堡及義大利尼開利諾市立歌劇院、德國漢堡市立音樂廳、台北國家音樂廳等。近期演唱重要歌劇有《塞維理亞理髮史維特萊德｜Schwertleite

張嘉珍

Juliana Chang

師》、《凱撒大帝》、《狄托的仁慈》、《納索斯島的阿莉亞德涅》、《露易莎•米勒》、《灰姑娘》及《女武神》等。除歌劇演唱，亦活躍於神劇及藝術歌曲領域並多次舉辦個人獨唱會及受邀與管絃樂團演出《彌賽亞》、裴果雷西《聖母悼歌》、貝多芬第九號交響曲、白遼士《夏夜》、舒曼《女人的愛情與生命》以及馬勒《悼亡兒之歌》等現為義大利都靈市 Unione Musicale 維多利亞歌劇院獨唱家並任教於國立都靈音樂院。

Mezzo Soprano Juliana Chang graduated from University of Music and Drama, Hanover with Oper-Sologesang Diploma and künstlerischen Audbildung in Konzertgesang Diploma and received Diolpma di Laureale Superiore in Musica vocale da camera with highest score from Conservotorio Statale Giuseppe Verdi di Torino in 2010. She won the competition "The Rising Star" in Taiwan, received the scholarships of Chi-mei Cultural Foundation and was ﬁnalists in "Concorso Internazionale di Bilbao" and "International Singing Competition Cologne." Ms. Chang has sang in prominent stages around the world, including Zurich Opera House, Bilbao Opera House, Teatro Nichelino, Hamburg Musikhalle, National Concert Hall in Taipei. Recent important operatic Performances includes: Il Barbiere di Siviglia, Giulio Cesare, La clemenza di Tito, Ariade auf Naxos, Luisa Miller, La Cenerentola, and Die Walküre.Chang is also active in oratorio and recitals. She is invited frequently to perform in concerts with orchestras, such as Handel's "Messiah", Pergolesi's "Stabat Mater", Beethoven's ninth symphone, Berlioz's "Les nuits d ’été", Schumann's "Frauenliebe und Leben" and Mahler's "Kindertotenlieder". Chang is a current soloist in Teatro Victoria in Turin and also teaches in conservatorio Statale Giuseppe Verdi.

趙君婷畢業於國立台北藝術大學、東海大學碩士、並於2011年取得約翰霍普金斯大學琵琶第音樂學院演唱家文憑，現為天主教大學博士候選人。啟蒙於王望舒教授，先後師事席慕德教授、徐以琳教授、Marianna Busching，現隨Sharon Christman 學習。曾參與重要演出包括古諾歌劇《羅密歐與茱麗葉》、普契尼歌劇《蝴蝶夫人》、馬斯內歌劇《瑪儂》、拉威爾歌劇《頑童驚夢》、莫札特歌劇《女人皆如此》、裴爾高雷西《聖母頌歐特琳德｜Ortlinde

趙君婷

Chun-Ting Chao

歌》、莫札特《管風琴彌撒》。2009 年榮獲世華大賽新秀獎，2006 年獲選為2007聲協新秀。

Chun-Ting Chao is now a Doctoral candidate at the Catholic University of America in Vocal Performance under Sharon Christman. She has also obtained a Graduated Performance Diploma from the Peabody Institute, a Masters of Fine Arts from Thunghai University, and a Bachelor of the Fine Arts from the Taipei National University of the Arts. Many of Chao's performances include notable roles such as Juliette from Gounod's Romeo et Juliette, Cio Cio San from Puccini's Madama Butterfly, Pousette from Massenet's Manon, La Rossignol and L'ecureuil from Ravel's L'enfant et les Sortileges. Chao has also sung the solo in Magniﬁcat by Pergolesi, and Organ Solo Mass K. 259 by Mozart. In 2007, Chao was named Young Artist of the Year by the Mondial Chinese Vocalist Concourse.

美國紐約曼哈頓音樂院聲樂碩士、義大利國立米蘭威爾第音樂院聲樂家文憑。於美國參加第一屆國際聲樂大賽 Classical Production榮獲第二獎。2004 至 2013 年間多次與 NSO 合作，包括莫札特歌劇《唐•喬望尼》飾 Zerlina、威爾第歌劇《法斯塔夫》飾

Nanetta、莫札特歌劇《女人皆如此》飾Despina、《費加洛的婚禮》飾Barbarina、2007年跨年歌劇《風流寡婦》飾 Valencienne，及參與發現馬勒系列演出馬勒第八號交響曲，飾齊格魯娜｜Siegrune

羅明芳

Ming-Fang Lo

「光明的聖母」、《梧桐雨》飾嫦娥、《快雪時情》飾高曼青及 2008年跨年歌劇《蝙蝠》飾愛德蕾，及《修女安潔莉卡》。2005至 2008 年間與台北市立交響樂團合作演出歌劇《茶花女》飾Flora、莫札特歌劇《魔笛》飾Pamina、《糖果屋》飾Gretel，以及《強尼史基基》飾 Lauretta。2008 年1月與台北歌劇劇場製作莫札特之莊嚴歌劇《克里特王：依多美聶歐》飾Ilia，於台灣首演。目前任教於國立台灣藝術大學及基隆高中音樂班，並為中華民國聲樂家協會會員。

Ming-Fang Lo obtained her master's degree from the Manhattan School of Music in New York, and a vocalist diploma from the Conservatorio di G. Verdi di in Milano, Italy. Lo won second prize at the American International Vocal Competition and was invited to attend the winners' concert at New York's Carnegie Weil Hall. Lo's performances regularly bring her praise in the opera world. In recent years, she has worked with the National Symphony Orchestra (NSO), the Taipei Symphony Orchestra (TSO), the Taipei Opera Theater in many operas. Lo currently teaches at the National Taiwan University of Arts and National Keelung Senior High School. She is also a member of the Association of Vocal Artists of the R.O.C.

林孟君畢業於國立台灣師範大學音樂系、國立台北藝術大學音樂碩士，為美國辛辛那提大學音樂院聲樂博士候選人。曾獲 2001 台北德文藝術歌曲大賽專業組第四名，奇美文化基金會聲樂類藝術人才培訓獎金，2 0 0 3 聲協新秀，教育部公費留學，

Tanglewood Music Center 聲樂獎學金，美國聲樂教師協會比賽俄亥俄州第一名等獎項。擅長曲目涵蓋巴洛克至二十一世紀的聲樂室內樂及當代作品，多次參與NSO 國家交葛琳傑德｜Grimgerde

林孟君

Meng-Chun Lin

響樂團2011-12 / 2012-13 樂季節目演出；目前任教於實踐大學音樂學系暨碩士班及台北城市科技大學。

Lin is one of most active sopranos in Taiwan and regularly appears in NSO's concerts in 2011~2013 seasons. Her repertoire includes chamber music from all historical periods to contemporary. Lin has won numerous awards and scholarships, including the Tanglewood Music Center Fellowship, and represented CCM in Barbara Cook's Master-Class at Zankel Hall in Marilyn Horne Foundation Master-Class Series in 2007. She is now a candidate of Doctor of Musical Arts at the College-Conservatory of Music in University of Cincinnati. Lin obtained Masters of Fine Arts from Taipei National University of the Arts, and Bachelor of the Fine Arts from National Taiwan Normal University. Meng-Chun Lin is currently an adjunct instructor at Shih-Chien University and Taipei Chengshih University of Science and Technology, where she teaches voice lesson, vocal chamber music and liberal arts courses.

國立藝術學院（今國立台北藝術大學）音樂系聲樂組畢業後赴德進修；先後於德國國立漢諾威音樂暨戲劇學院 Hochschule für Musik und Theater Hannover拿下聲樂教育、聲樂演唱及歌劇組獨唱家文憑。2006 年獲選國立中正文化中心主辦之兩廳院樂壇新秀，舉辦個人獨唱會，表現優異於2007年再度受邀回國舉辦兩廳院樂壇新秀音樂會─室內樂篇。羅斯薇瑟｜Roßweiße

范婷玉

Ting-Yu Fan

留德期間，受台灣駐德辦事處文化組織之邀，於外交場合以室內樂形式演唱台灣民謠，同時積極參與國內外聲樂比賽。2006 年六月至 2009年八月受聘為奧地利林茲國家劇院（Landestheater Linz）歌劇合唱團的次女高音。2009年返台，多次受邀參加國家交響樂團、長榮交響樂團、台北愛樂文教基金會、台北市立交響樂團及輔仁大學音樂系主辦之系列音樂會活動及歌劇演出；今年五月甫獲得輔仁大學音樂學系研究所演奏（唱）組博士學位。

Ting-Yu Fan was born in Hsin-Chu, Taiwan. She entered the National Institute of the Arts (now National Taipei University of Arts), where she majored in voice and earned the Bachelor of Fine Arts in 1998. And then Fan continued her study with Michaela Krämer in Cologne, Germany during 1999-2000. and completed her degrees majoring in Voice, Musical Eudcation and Performance with Professor Gerhard Faulstich and Astrid Schirmer in "Hochschule für Musik und Theater Hannover" in Germany during 2000- 2006. Since 2006, Fan has developed her career as an choirsinger in Landestheater Linz, Austria. At the same time she sings actively in Concerts and Operas in Germany, Austria and in Taiwan, her native country. She continued her studies after returning to Taiwan in August 2009 and just earned the Doctor of Musical Arts (D.M.A.) at the Department of Music of Fu Jen Catholic University in May 2013.

協演單位國立臺灣戲曲學院

易佳穎

陳奕軒

陳濯恩

Jia-Yin Yi

Hsuan-Yl Chen

Cho-En Chen

陳冠融

鄭宜峰

石任平

Guan-Rong Chen

Sam Cheng

Ren-Ping Shi

李晉安

楊世豪

Elppa Lee

Shi-Hao Yang

邱嘉羚

洪瑞聰

Chia-Ling Chiu

Ray Hung

「⋯⋯在呂紹嘉的指揮下，我聽到令人信服的演出，(《修女安潔莉卡》) 令人陶醉的甜美，煥發內在的力量和強韌的信念，絃樂有著閃耀如陽光般的光芒，木管樂器合唱著如管風琴般和諧的樂音，而銅管 —奧地利《新標點》2012/04 圓潤毫不刺耳。」「樂團一直以飽滿的融和、精緻的質感演奏，似乎全然自在的悠遊於惡魔般困難的音樂裡。」 —《美國唱片指南》雜誌 2011/07 「馬勒第五的第二和第三樂章處理得特別細膩，波濤澎派之中韻律感十足，呂紹嘉和樂手們的互動幾乎到了水乳交融的的境界。(他與)台灣愛樂在廣州的演出，散發出來的吸引力，是一種對 —《亞洲週刊》2010/12 藝術美好的追求。」

自信而精銳國家交響樂團交響樂團在每個國家有不同的形成背景，在沒有西方管絃樂傳統的台灣，過去樂團都以文化教育體系營運。經過二十多年耕耘，我們可以驕傲的說，國家交響樂團（NSO），從交響樂、室內樂到歌劇，是一自信、精銳，有文化意識的台灣藝術代表團隊。國家交響樂團的前身「聯合實驗管絃樂團」，是教育部於1986 年集合優秀新生代音樂家，以打造頂尖交響樂團為目標所成立。2005 年成為國立中正文化中心附設團隊，以「台灣愛樂」立足國際。歷任常任指揮為Gerad Akoka、Urs Schneider 及音樂總監包括許常惠、張大勝、林望傑、簡文彬等人。近十年來NSO銳意求變，大步朝專業、開放、勇於創新的職業樂團發展，2010年八月，旅德知名指揮呂紹嘉接任NSO音樂總監，更將樂團打造為亞洲地區最具指標性樂團之一。樂團現有96 名團員，每年樂季演出約80場次。在前任總監簡文彬任內（2001-2007）以演出作曲家全套交響樂的「發現系列」為系統拓展曲目，更以歌劇、「永遠的童話」等跨界製作與國內外劇場菁英合作，開創多項國內先例。2006 年全本《尼貝龍指環》製作，更寫下亞洲歌劇演出里程碑。 2008-2010 樂季，前底特律及多倫多交響樂團音樂總監赫比希（Günther Herbig）成為NSO藝術顧問暨首席客座指揮，持續為NSO 訓練出堅實的演奏實力與動人音樂性；其任內之駐團作曲家及「NSO Call For Score」計畫，提供國人作品更多發表空間，並進一步提升NSO 的國際樂壇聲望。自2010 年起，在音樂總監呂紹嘉擘劃下，以多元化主題貫穿樂季，呈現給聽眾智性與感性兼具，整合與對比並存的廣博曲目，本著「精緻、深刻、悸動」的信念琢磨出樂團多變細膩的音色與深刻撼人的音樂表現。不僅積極拓展 NSO 演奏近代管絃樂作品的能力，從新維也納樂派、二十世紀法國到俄國近代皆有斐然成績，在致力於鞏固精鍊古典經典名作之同時，也持續委託國人管絃樂創作之演出、錄音。二十多年來與 NSO 合作過的客席指揮家：馬捷爾、巴夏、潘德瑞茨基、史拉特金、羅斯楚波維奇、柯米希奧納、羅許德茲特溫斯基、霍格伍德、譚盾等；及聲樂家芙雷妮、柯楚芭絲、帕瓦洛帝、多明哥、卡瑞拉斯、庫拉、特菲爾、波伽利；吉他大師耶佩斯；鋼琴家傅聰、拉羅嘉、提博德、魯迪、賀夫、巴弗傑、寇瓦謝維契、齊柏絲坦、洛堤、歐森、白建宇、拉貝克姐妹、鄧泰山等；大提琴家馬友友、顧德曼、麥斯基、卡普頌、王健、伊瑟利斯、穆勒- 修特、嘉碧妲；小提琴家林昭亮、胡乃元、夏漢、明茲、列賓、希拉蕊．韓、宓多里、絲凱德、林以信、哈格納；擊樂家葛蘭妮、葛魯賓格及其他器樂家莎賓．梅耶、巴伯羅柯、弗黎崔希等逾七百位音樂家。

"The Strings had an incandescent sheen, the woodwind choir sounded as balanced as a finely tuned organ, the brass never blared.” —Der neue Merker 2012/04 The orchestra played at all times with a richly blended, cultured quality and seemed completely at ease with the fiendishly difficult music…” —American Record Guide 2011/07 "Shao-Chia Lü handled the second and third movements of Mahler's No.5 with tremendous finesse; conductor and musicians interacted in perfect synthesis, fusing rhythmic and melodic sense, rendering a powerful delivery... Lü and Taiwan Philharmonic's concert in Guangzhou epitomized the pursuit of artistic perfection." —Yazhou Zhoukan (Asia Week) 2010/12

National Symphony Orchestra Founded in 1986, the National Symphony Orchestra (NSO), also known as Taiwan Philharmonic, is hailed as one of the best orchestras in the Asian Region and became an artistic affiliate of the National Chiang Kai-Shek Cultural Center, the nation's center for the performing arts, in 2005. Led by renowned conductor Shao-Chia Lü as its 5th music director starting August 2010, the NSO has increased the country's cultural richness and music educational strength throughout Taiwan. The NSO with 96 members presents a 40-week musical season of approximately 70 concerts/ chamber recitals and one to two operas each year. It also launched educational programs and outreach projects mostly at its resident venue, the National Concert Hall in Taipei. Tour performances are regularly offered throughout Taiwan and overseas. It has toured to Vienna, Paris, Berlin, Singapore, Kuala Lumpur, Sapporo, Tokyo, Yokohama, Hong Kong and major cities in China. The NSO works regularly with internationally acclaimed conductors, such as Lorin Maazel, Krzysztof Penderecki, Rudolf Barshai, Leonard Slatkin, Christopher Hogwood, Oleg Caetani, Gennady Rozhdestvensky and soloists, including Midori, Vadim Repin, Hilary Hahn, Baiba Skride, Viviane Hagner, Yo-Yo Ma, Gautier Capuçon, Alban Gerhardt, Mischa Maisky, Sol Gabetta, Evelyn Glennie, Martin Grubinger, Louis Lortie, Kun-Woo Paik, Stephen Hough, Stephen Kovacevich, Katia & Marielle Labèque, Sabine Meyer, Reinhold Friedrich and many others. The NSO has extended its artistic reach, involving in theater and opera productions, such as working with Lin Hwai-min, the world-renowned choreographer and founder of Taiwan's Cloud Gate Dance Theatre, Austrian digital artist Klaus Obermaier, and opera stage directors Tobias Richter, Moffatt Oxenbould, and Hans-Peter Lehmann. In addition to its record-breaking semistage concert operas Der Ring des Nibelungen, and Elektra, the NSO has collaborated with worldclass opera houses for its multinational productions, such as Der Rosenkavalier (Deutsche Oper am Rhein, 2007), Carmen (Royal Opera House Covent Garden, Norwegian National Opera and Opera Australia, 2009), and Madama Butterfly (Opera Australia, 2012) as well as in-house production Die Walküre (2013). 68

國家交響樂團音樂總監

呂紹嘉

桂冠指揮

根特．赫比希

樂團首席

吳庭毓李宜錦

樂團副首席

鄧皓敦

助理指揮

張尹芳

第一小提琴

○陳逸群郭昱麟林基弘侯勇光

執行長

邱瑗

企劃製作經理

杜佳舫

公關專案經理

王承禹

企劃行銷企劃/音樂總監特助黃毓棻企劃專員

梁坤豪陳逸農卓曉青方俊人

吳孟珊

黃佳頎李庭芳賴佳奇林孟穎第二小提琴

中提琴

大提琴

低音提琴

劉子瑛賴盈帆

李家豪

整合行銷專員

陳卜湄

●陳怡茹 ◎孫正玫吳怡慧李京熹

行銷專員

林欣儀

黃衍繹顧慈美于爾恩康信榮

鄭巧琪

李梅箋鍾仁甫蔡孟峰洪章文

王思懿

陳偉泓王致翔

陳怡汝

●黃瑞儀 ◎鄧啟全 ○呂昭瑩黃雅琪李靖宜謝君玲劉國蘭呂孟珊

演出及行政

李思琪陳猶白蔡秉璋

舞台監督

陳世傑

●熊士蘭 ◎連亦先■○韋智盈呂明美

人事組長

林碧珠

周幼雯陳怡婷林宜嫺黃日昇

譜務專員

高婉瑜

蘇酩惠唐鶯綺

行政專員

溫慧雯

●傅永和 ○周春祥王淑瑜黃筱清

助理舞監

陳玠維

王淑宜連珮致蔡歆婕

林哲正

長笛

●安德石 ◎宮崎千佳李浚

顏承宇

短笛

鐘美川

雙簧管

●王怡靜 ◎林麗玥楊舒婷■ 朱貞吟

英國管

李明怡

單簧管

●朱玫玲 ◎張凱婷朱偉誼孫正茸

低音管

●簡凱玉 ◎陳奕秀高靈風

倍低音管

簡恩義

法國號

●劉宜欣 ○黃任賢國田朋宏王婉如

音樂諮詢

焦元溥

曹予勉黃姿菁蘇毓婷王怡鈞小號

●宇新樂 ◎陳長伯張景民吳建銘

低音小號

伊東明彥

長號

●宋光清 ◎邵恆發陳中昇

低音長號

彭曉昀

低音號

●宮西純

定音鼓

●連雅文 ◎陳廷銓

打擊樂

●陳哲輝陳振馨楊璧慈

豎琴

●解瑄劉馨澧＊

●首席 ◎副首席 ○助理首席 ■留職停薪劃底線者為本場協演＊NSO樂團學苑學員

National Symphony Orchestra Music Director SHAO-CHIA LÜ Conductor Laureate GÜNTHER HERBIG Concertmaster TING-YU WU Concertmaster I-CHING LI Associate Concertmaster HAO-TUN TENG Assistant Conductor YIN-FANG CHANG

Executive Director Manager, Planning & Production Manager, PR & Development

JOYCE CHIOU SARAH TU PAUL WANG

Artistic Planning & Marketing Programme Coordinator/ Special Assistant to MD Programme Coordinator PR & Project Coordinator Marketing Coordinator

Production & Administration Stage Manager Assistant Manager, Personnel Librarian Production & Administration Coordinator Assistant Stage Manager

SHIH-CHIEH CHEN BIBI LIN BRITTNEY KAO HUI-WEN WEN CHIEH-WEN CHEN JE-JENG LIN CHENG-YU YEN YUAN-PU CHIAO

Concert Dramaturgist FIRST VIOLIN

○ Yi-Chun Chen

Yu-Lin Kuo Ji-Hung Lin Yung-Kuang Hou Kun-Hao Liang Yee-Nong Chen Hsiao-Ching Cho Cecilia Fang Jiachi Huang Ting-Fang Lee Chia-Chi Lai Meng-Ying Lin Chia-Hao Lee

VIOLA

● Grace Huang ◎ Chi-Chuan Teng ○ Chao-Ying Lu

Yea-Chyi Hwang Jing-Yi Lee Juin-Ling Shieh Guo-Lan Liu Meng-San Lu Szu-Chi Li Jubel Chen Ping-Chang Tsai

SECOND VIOLIN CELLO ● Yi-Ju Chen ● Lana Hsiung ◎ Cheng-Mei Sun ◎ Yi-Shien Lien ▓ I-Hui Wu ○ Chih-Yin Wei Ching-Hsi Lee Ming-Meei Lieu Yen-Yi Huang Yu-Wen Chou Tsu-Mei Ku I-Ting Chen ErAn Yu Yi-Hsien Lin Hsin-Jung Kang Jih-Sheng Huang Mei-Jain Li Ming-Huei Su Jen-Fu Chung Ying-Chi Tang Meng-Fong Tsai Chang-Wen Hung Wei-Hong Chen Chih-Hsiang Wang ● Principal

DOUBLE BASS

● Yung-Ho Fu ○ Chun-Shiang Chou

CLARINET

● May-Lin Ju ◎ Kai-Ting Chang

Su-Yu Wang Hsiao-Ching Huang Shu-Yi Wang Pei-Chih Lien Hsin-Chieh Tsai ●

FLUTE ● Anders Norell ◎ Chika Miyazaki Chuin Lee PICCOLO Mei-Chuan Chung OBOE

● I-Ching Wang ◎ Li-Yueh Lin

Shu-Ting Yang ▓ Jen-Yin Ju

ENGLISH HORN Ming-I Lee

YUFEN HUANG AMY LIU MENG-SHAN WU YING-FAN LAI PU-MEI CHEN EILEEN LIN CHIAU-CHI CHENG SANDY WANG TERESA CHEN

Wei-I Chu Cheng-Jung Sun

BASSOON Kai-Yu Jian ◎ I-Hsiu Chen Ling-Feng Kao

BASS TRUMPET Ito Akihiko TROMBONE

● Kuang-Ching Sung ◎ Hang-Fat Shiu

Chung-Sheng Chen BASS TROMBONE Hsiao-Yun Peng

CONTRABASSOON TUBA En-Yi Chien ● Jun Miyanishi HORN ● Yi-Hsin Cindy Liu ○ Jen-Hsien Huang Tomohiro Kunita Wan-Ju Wang Yu-Mien Tsao Tz-Jing Huang Yu-Ting Su Yi-Jiun Wang TRUMPET ● Nicolas Rusillon ◎ Chang-Po Chen Ching-Min Chang Chien-Ming Wu

◎ Associate Principal ○ Assistant Principal █ On Leave Auxiliary ＊NSO Orchestra Academy

TIMPANI

● Ya-Wen Lien ◎ Ting-Chuan Chen

PERCUSSION

● Jer-Huei Chen

Chen-Hsing Chen Pi-Tzu Yang HARP

● Shuen Chieh

Hsin-Li Liu＊