NSO 2014 跨新年音樂會 NSO 2014 New Year’s Eve Concert
與你共舞 Shall We Dance?
演出時間
2013年12月31日（星期二）9:30PM 2014年 1 月 1 日（星期三）7:30PM
演出地點
國家音樂廳 National Concert Hall, Taipei
演 出 者
指 揮│呂紹嘉 編導、說書人│蔡柏璋
女 高 音│林惠珍
Mewas Lin, soprano
Ming-Fang Lo, soprano
羅明芳
次 女 高 音│翁若珮
Jo-Pei Weng, mezzo-soprano
男
高
音│王
Fernando Wang, tenor
男
中
音│巫白玉璽 Wu Bai-Yu-Hsi, baritone
典
聲 樂 指 導│王佩瑤
Pei-Yao Wang, vocal coach
合 唱 指 導│吳尚倫
Shanglun Wu, chorus master
台北愛樂合唱團
Taipei Philharmonic Chorus
國家交響樂團
National Symphony Orchestra (NSO)
指定住宿 特別感謝
葉展毓
Chan-Yu Yeh, baritone
主辦單位
電子問券請掃描， 支持NSO愛地球。
Shao-Chia Lü, conductor Pao-Chang Tsai, stage director, scriptwriter & narrator
曲目 PROGRAM 上半場 約35分鐘 下半場 約90分鐘
金希文（1957- ）：《眼窗之舞》（世界首演）
雷歐納德．伯恩斯坦（1918-1990）：交響舞曲，選自《西城故事》 I.
〈序奏〉
VI.
〈相遇場景〉
II.
〈天堂某處〉
VII.
〈冷靜〉
III.
〈詼諧曲〉
VIII.
〈決鬥〉
IV.
〈曼波〉
IX.
〈終曲〉
V.
〈恰恰〉
～中場休息～
小約翰•史特勞斯（1825-1899）：《蝙蝠》序曲及選曲 序曲 第一幕，第四曲，三重唱〈我得獨自在家〉 第二幕，進場曲與重唱〈一場晚宴等著我們〉 第二幕，第七曲，詩節歌曲〈我喜歡邀請客人〉 第二幕，第八曲，重唱與笑聲詩節歌曲〈啊，各位先生與女士〉 第二幕，第十曲，加達許〈家鄉的聲音，你們喚醒我的思念〉 第二幕，第十一曲，終曲〈在葡萄的火熱激流裡，特啦啦啦〉、〈兄弟們、兄弟們與姐妹們〉 終曲結束樂段〈夠了，夠了！讓舞者退下！〉
本中心表演藝術圖書館典藏相關節目資料，詳見http://libserv.ntch.edu.tw/related_catalog/index.asp?q=2013012， 並歡迎親洽表演藝術圖書館(國家戲劇院地下層)借閱使用。
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GORDON CHIN (1957- ): Dance of Mata (World Premiere)
LEONARD BERNSTEIN (1918-1990): Symphonic Dance from West Side Story I.
‘Prologue’
VI.
‘Meeting Scene’
II.
‘Somewhere’
VII.
‘Cool Fugue’
III. ‘Scherzo’
VIII.
‘Rumble’
IV.
‘Mambo’
IX.
‘Finale’
V.
‘Cha-cha’
---Intermission---
JOHANN STRAUSS (1825-1899): Overture & excerpts from Die Fledermaus Overture Act I, No. 4, Terzett: ‘So muß allein ich bleiben’ Act II, No. 6, Entr’act und Ensemble: ‘Ein Souper heut’ uns winkt’ Act II, No. 7, Couplets: ‘Ich lade gern mir Gäste ein’ Act II, No. 8, Ensemble und Lach-Couplets: ‘Ach, meine Herrn und Damen’ Act II, No. 10, Csárdás: ‘Klänge der Heimat, ihr weckt mir das Sehnen’ Act II, No. 11, Finale ‘Im Feuerstrom der Reben, trala la la’
‘Brüderlein, Brüderlein und Schwesterlein’ Schluß des Finales, ‘Genug damit, genug! Diese Tänzer mögen ruh’n!’
For related information of the wonderful program of the Center for the Performing Arts Library Collection, please refer to http://libserv.ntch.edu.tw/related_catalog/index.asp?q=201312
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演出者簡介
指揮 conductor
呂紹嘉 Shao-Chia Lü 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。 4
“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-siecle 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. 5
演出者簡介
編導、說書人 stage director, scriptwriter & narrator
蔡柏璋 Pao-Chang Tsai 現任台南人劇團聯合藝術總監。台灣大學戲劇系第二屆畢業，英國倫敦皇家中央演說暨 戲劇學院音樂劇場碩士。 蔡柏璋是國內難得一見集編、導、演、唱多項才華於一身的創作者，自2009年起，他受 邀與呂柏伸共同擔任台南人劇團聯合藝術總監。由他擔綱演出的作品中多次獲得台新藝術 獎的肯定。音樂劇創作劇本《木蘭少女》不僅獲得府城文學獎的首獎，也被挑選作為台大 戲劇系2009創系十週年的紀念演出，並在台北國家戲劇院重製上演。此外，他所創作的 電視影集型式舞台劇《K24》，更是開創臺灣劇場史上第一齣連演六小時喜劇的新記錄， 演出成果深受兩岸學者專家與媒體觀眾的讚賞與好評，受邀擔任第八屆華文戲劇節開幕節 目。2011年受邀執導誠品春季舞台第三號作品《Re/turn》全省三十場銷售一空；同年更被 天下雜誌遴選為表演藝術類的Future Young Leader，同時獲亞洲文化協會（A.C.C.）贊助至 哈佛大學（Harvard University）美國定目劇團（A.R.T.）進修聲音演說課程半年，並遠赴莫 斯科藝術學院（MXAT）參訪學習三個月。 劇本著作包括《Q&A首部曲》、《木蘭少女》、《K24》及《Re/turn》。近期廣受討論 的金士頓年度廣告主題曲《It Was May》的歌詞，也是出自蔡柏璋之手。 Pao-Chang graduated from National Taiwan University with his BA in Drama & Theatre. During his college years, Pao-Chang was chosen to visit U.S.A. as an exchange student. He also received his MA in music theatre at Royal Central School of Speech and Drama, University of London. Pao-Chang has been actively involved with several productions in Taiwan theatre scene. In 2009, he was invited to be the co-artistic director in Tainaner Ensemble, one of the most established theatre companies in Taiwan. During his residency, Pao-Chang created several critically-acclaimed productions and was awarded the people of the year 2011 (Theatre genre) by PAR (Performing Arts Review). In the same year, Pao-Chang was awarded by Asian Cultural Council to visit American Repertory Theatre at Harvard University as a special Voice & Speech student for six months. Following his study in the U.S., Pao-Chang continued his theatre adventure in Moscow Arts Theatre (MXAT) for three months. His creations include CHAOS, MULAN, QUEST & AMNESIA and RE/TURN. Now he is a world traveler and based in Taipei. 6
製作團隊
演員
舞台設計│ 李柏霖 Po-Lin Li, set designer
張義宗 Yi-Zong Zhang
燈光設計│ 魏立婷 Li-Ting Wei, lighting designer
余治賢 Chih-Hsien Yu
舞台監督│ 張仲平 Dino Chang, stage manager
吳
顏行揚 Hsing-Yang Yen, stage manager 舞台技術│ 蘇俊學 Chun-Hsueh Su, technical director
昀 Yun Wu
吳詠筠 Yung-Yun Wu 陳冠豪 Kuan-Hao Chen
服裝造型│李育昇 Yu-Shen Li, wardrobe stylist 張義宗 Yi-Zong Zhang, wardrobe stylist 梳化造型│Charmant 全方位時尚藝術造型團隊, hair & make-up
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女高音 soprano / 羅莎琳德 Rosalinde
林惠珍 Mewas Lin 林惠珍畢業於羅馬S. Cecilia音樂院，曾獲V. Bellini 國際聲樂大賽第四獎，以及入選G. B. Viotti國際聲樂大賽決賽。1992年曾於舊金山歌劇院接受歌劇舞台演出訓練。曾擔任十餘齣 歌劇之主要角色演出，包括普契尼《杜蘭朵公主》、《蝴蝶夫人》、古諾《羅蜜歐與茱麗 葉》、威爾第《弄臣》、《法斯塔夫》、莫札特《魔笛》、 沃爾夫．費拉里《蘇珊娜的秘密》、雷昂卡發洛《丑角》，並曾為當代創作歌劇世界首 演，包括錢南章的《雷雨之夜》、《畫魂》；楊耀章和Frank Maus的《萬里長城》、馬水龍 《霸王虞姬》、郭芝苑《許仙與白娘娘》；蔡盛通《逐鹿傳說》。歌劇之外，其他聲樂曲目 涵蓋巴洛克至二十世紀之藝術歌曲、安魂曲等。現為國立臺北藝術大學音樂學系專任教授。 Graduated from Conservatorio di Santa Cecilia at Roma in Italy, Mewas has been praised by her clear and sweet voice. She made her recital debut at Weill Recital Hall at New York in 1989. Since then she has sung various opera leading roles such as Liù and Cio-Cio San of Puccini, Gilda of Verdi, Juliette of Gounod, Belinda of Purcell, Susanna of Wolf-Ferrari, Nedda of Leoncavallo among many others. In addition, she has also in the leading roles for several Chinese operas’ world premiere, including Emperor and The Concubine by Ma Hsui-lung, The Great Wall by Yang Yao-chang and Frank Maus, La Peintre, Yu-Lin by Chien Nan-Chang. Lin is one of the most active sopranos both on opera production as well as in concert stage in Taiwan.
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女高音 soprano / 阿德蕾 Adele
羅明芳 Ming-Fang Lo 活躍於樂壇的女高音羅明芳畢業於美國紐約曼哈頓音樂院聲樂碩士及義大利國立米蘭威 爾第音樂院聲樂家文憑。至今仍與旅義女高音朱苔麗教授學習，期間對於演唱技巧與樂 曲詮釋能力的精進，具深遠的影響，開啟聲樂另一新境界。2011年六月受邀於美國洛杉 機及聖地牙哥兩地獨唱會演出深獲好評，2004年至2013 年與NSO合作歌劇包括《唐．喬 望尼》、《法斯塔夫》、《女人皆如此》、《費加洛的婚禮》、《齊格飛》、《風流寡 婦》、《蝙蝠》及《修女安潔莉卡》等。2005年至2008年與北市交合作演出歌劇《茶花 女》、《魔笛》、《糖果屋》及《強尼史基基》等。目前任教於國立台灣藝術大學、實踐 大學，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 1st 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 Shih-Chien University. She is also a member of the Association of Vocal Artists of the R.O.C.
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次女高音 mezzo-soprano / 歐羅弗斯基 Orlofsky
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 12th 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 from Gianni Schicchi, Suzuki from Madama Butterfly, and many other roles. She was awarded the Outstanding Alumni Award by National Taipei University of the Arts in 2012.
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男高音 tenor / 艾森斯坦 Eisenstein
王典 Fernando Wang 王典畢業於中國文化大學及國立盧森堡音樂院，1999年以第一名成績取得盧森堡音樂院 兩項最高演唱文憑。1998年應男高音多明哥之邀，於萬人露天演唱會中與多明哥同台演唱 威爾第之二重唱。王典具備少有的華美音色及寬廣音域，在辛永秀、Arrigo Pola、Gianni Raimondi、Ionel Pantea、Camille Kerger、Edoardo Lanza 等多位大師指導下，技巧更臻完 備。曾獲得1994年香港亞洲聲樂大賽第四獎、1996年義大利Santa Margarita International Vocal Competition第一獎。他於台灣、盧森堡演唱之《波西米亞人》、《蝴蝶夫人》、《浮 士德》等皆獲得高度讚賞。溫暖而澄澈的音色加上完整的技巧及豐沛的涵養，使他的神劇 演唱如《彌賽亞》、《以利亞》等皆令人為之動容。亦曾演唱多部清唱劇及彌撒曲，並多 次演唱異常艱難的卡爾•奧福的《布蘭詩歌》。 Fernando Wang graduated from Chinese Culture University and Luxembourg Conservatory of Music. In 1999, Wang also acquired highest degree in diplomas in singing of Chant and Art lyric categories from Luxembourg Conservatory of Music. In 1998, he was invited by Placido Domingo to sing the duet from Verdi’s Macbeth in his open-door concert. Under the guidance of Yun-Hsio Hsin, Arrigo Pola, Gianni Raimondi, Ionel Pantea, Camille Kerger and Edoardo Lanza, he has perfected his skills that won him many awards, among them are No. 4 in 1994’s Hong Kong Asian Singing Competition, Laureate in 1996’s Santa Margarita International Vocal Competition, Italy, to name but a few. Wang specializes in Bel Canto operas, but he can take on parts by spinto tenors with ease as well. Wang has also proved himself to be an excellent oratorio singer with his warm timbre, wellinformed vocal technique, and rich cultural background.
11
男中音 baritone / 法爾可 Falke
巫白玉璽 Wu Bai-Yu-Hsi 「一位具優越成就的聲樂家，兼具機智敏捷而自信。」《台北時報》（Taipei Times）的 藝文評論曾如此讚譽巫白玉璽的演出。男中音巫白玉璽曾為多屆國內音樂比賽及台北市傳 統藝術季民歌大賽首獎得主。1989年獲選為國家戲劇院歌劇工作室成員，並隨導演Bernhard Hermich、Winfried Bauerfeind及唱法指導Joseph Giardina、Herman Bauer、Frank Maus等教授 研習歌劇理論及舞台表演，並同時展開職業演唱工作。1996 年以幾近滿分取得義大利國立 米蘭威爾第音樂院演唱文憑，回國後與國家交響樂團、台北市立交響樂團、台北市立國樂 團、國立台灣交響樂團、台北愛樂交響樂團、高雄市立交響樂團、台北樂興之時管絃樂團 等有多次合作經驗，多年來累積上百場次的演出。目前任教於實踐大學音樂系、國防大學 應用藝術系及新店高中音樂班。 The impressive effect of his full, resounding voice and natural ease on stage have made Wu BaiYu-Hsi one of the most captivating performers in Taiwan. He graduated from the Milan National Academy of Music, Italy, in 1996. He received many invitations to perform while in Italy, and was received enthusiastically by Italian audiences. He was honored by the Opera Association of Bergamo with the award of “Best Opera Singer” in 1994. Wu has 25 years of experience performing both in Taiwan and around the world. He has performed with many well-known conductors, symphonies, and choruses.
12
男中音 baritone / 法蘭克 Frank
葉展毓 Chan-Yu Yeh 葉展毓畢業於東海大學音樂研究所，曾師事徐以琳、陳振芳老師。曾獲世華聲樂大賽 Paolo Silveri美聲特別獎及第四名，全國學生音樂比賽男中低音組冠軍、聲樂家協會南海 扶輪社聲樂類獎學金第一名以及德文藝術歌曲獎學金甄選第二名。與NSO國家交響樂團 演出《跨新年音樂會─威爾第之夜》，飾演《阿伊達》中祭司Ramfis一角，演出原住民歌 劇《逐鹿傳說》飾演巫師Rahan一角。與東海大學歌劇團合作飾演莫札特《費加洛婚禮》 Figaro與Antonio二角。擔任過貝多芬《莊嚴彌撒》、韓德爾《彌賽亞》選粹男低音獨唱以 及布魯克納《感恩讚歌》男低音獨唱。為中華民國2013聲樂家協會年度新秀，目前為中華 民國聲樂家協會會員。 Graduated from the Master program in Voice at Tunghai University, where Chan-Yu Yeh studied with Dr. Hsu Yi-Lin. Yeh is a current member of the Association of Vocal Artists. Yeh won the Fourth Prize and also received the Special Prize of Paolo Silveri for Bel Canto Singing in the Mondial Chinese Vocalist Concours, and also awarded the first prize of National Student Competition of Music, first prize of AVA Nanhai Rotary Scholarship Awards Competition in Vocal Music and second prize of German Lieder Scholarship Awards Competition. In addition, he was selected as one of the 2013 AVA New Voices. He played as Rahan in The Legend of Dear Hunting, Ramfis in Aida, Figaro and Antonio in Le Nozze di Figaro. Yeh also performed as a soloist in Beethoven’s Missa Solemnis, Handel’s Messiah, and Bruckner’s Ten Deum Ladamus.
13
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.
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合唱指導 chorus master
吳尚倫 Shanglun Wu 東吳大學音樂藝術碩士；2007年獲全額獎學金赴美攻博士學位，現為美國亞利桑納大 學指揮博士候選人。曾任台北愛樂合唱團助理指揮、台北國際合唱音樂節合唱指導。曾帶 領台北愛樂青年合唱團赴美演出，於洛杉磯等地舉行巡迴音樂會。受教於巴赫及德奧音樂 權威Helmuth Rilling大師，曾任其助理指揮，協助排演布拉姆斯《德文安魂曲》，深受賞 識，亦曾數次受邀前往美國奧勒岡巴赫音樂節 。曾多次與兩廳院及國家交響樂團合作， 擔任NSO歌劇系列白遼士《浮士德天譴》、華格納《諸神的黃昏》、史特勞斯《艾蕾克特 拉》、馬勒第二號《復活》交響曲、第八號《千人》交響曲等演出之合唱指導。曾連續兩 年獲選入「世界名人錄」（Who’s Who in the World, 2007 & 2008）。2010年返台，現任台 北愛樂合唱團指揮。 Shanglun Wu, conductor of the Taipei Philharmonic Chorus, received his M.M. in choral conducting at Soochow University, Taiwan, and is currently the D.M.A. candidate at the University of Arizona. He had been appointed assistant conductor of Taipei Philharmonic Chorus and has been promoted as conductor since 2010. During his tenure, he has also prepared chorus for the National Symphony Orchestra (NSO), the repertoire including Berlioz’s La damnation de Faust, Wagner’s Götterdämmerung, Strauss’s Elektra, and others. Besides, he also serves as chorus master in the Taipei International Choral Festival since 2002. In recent years, he was invited at Oregon Bach Festival and worked with Maestro Helmuth Rilling frequently. Mr. Wu has been listed in the “Who’s Who in the World” in 2007 and 2008.
15
台北愛樂合唱團 Taipei Philharmonic Chorus 1972年創立，1983年起由杜黑教授擔任藝術總監至今，現由古育仲、吳尚倫擔任常任 指揮。1993年成立「台北愛樂室內合唱團」，每年皆獲邀參與國際重要音樂節，並於國內 各地巡演，深耕推廣合唱音樂。曾與NSO國家交響樂團合作演出威爾第《安魂曲》、貝 多芬第九號交響曲、比才歌劇《卡門》、布列頓《戰爭安魂曲》、奧福《布蘭詩歌》、韓 德爾《彌賽亞》、孟德爾頌《以利亞》、第二號交響曲《頌歌》、馬勒第二、三、八號交 響曲等，更經常首演國內外作曲家作品，如錢南章《馬蘭姑娘》、《佛教涅盤曲》、《娜 魯灣》、歌劇《畫魂》、《十二生肖》、許常惠歌劇《鄭成功》、馬水龍《霸王虞姬》、 《無形的神殿》、金希文歌劇《黑鬚馬偕》及巴赫《B小調彌撒》、《聖約翰受難曲》、 《聖馬太受難曲》、華爾頓《伯沙撒王的盛宴》等。歷年來出版多張專輯，多獲金曲獎肯 定。2006年獲台北市政府譽揚，訂定捷運東區地下街七號廣場為「台北愛樂合唱廣場」， 肯定本團對台灣音樂界的卓越貢獻。 Founded in 1972, Taipei Philharmonic Chorus was has established a reputation as one of the most prestigious choruses in Taiwan. The Chorus is awarded and sponsored by the Ministry of Cultural from 1994 to date as an “Outstanding Performing Group”. The chorus has collaborated with NSO for several events, repertoire include Beethoven Symphony No.9, Mendelssohn Elijah and Symphony No.2, Mahler Symphony No.2, 3, 8, Bizet Carmen, Puccini Madama Butterfly, Britten War Requiem, Orff Carmina Burana, to name a few. From the 140-voice chorus, a 40-voice chamber choir is selected to tour and to perform more selected works, and has an impressive history of overseas performances. Together with the chorus, both groups have been invited to perform in many different festivals and countries. 藝
術
總
監│杜 黑
常
任
指
揮│古育仲、吳尚倫
鋼
琴│劉惠珊
聲
樂
老
師│陳美玲、林慈音、陳珮琪、何欣蘋、王
駐
團
歌
手│何欣蘋、穆福淳、謝銘謀
團
長│吳梅華
聲 部 負 責 人│葉馨琦、李文雯、蘇建林、陳宗偉 聲 部 服 務 組│張芷瑄、黃瑋菁、鮑恆毅、陳仲陽 聲 部 音 樂 指 導│何欣蘋 活 動 組 組 長│王薈榕 學 術 組 組 長│林文正 財 務 組 組 長│詹素吟 企 16
劃
執
行│陳又慈、莊馥鴻、劉宜欣
典
第一女高音 方薇嘉‧何欣蘋‧吳姵瑩‧吳梅華‧林青蓉‧林愫嫺‧連
芯‧許淇鈞‧陳沅宜‧陳怡帆‧陳盈如
黃亭蓉‧黃莉宜‧蔡宜軒
第二女高音 王舒慧‧吳乃恩‧吳華芬‧吳福音‧李思捷‧范秋屏‧徐允心‧莫書琴‧黃怡尹‧廖郁琦‧廖珮玉 廖真羚‧趙慶薇
第一女中音 何沛嫻‧吳秀霞‧李文玲‧張愷芯‧陳
安‧陳韻竹‧程煒婷‧童錦華‧黃乃芬‧詹素吟
第二女中音 吳妙嬬‧夏慶儀‧張蔚慈‧許瑋芳‧郭嘉霖‧陳家欣‧劉冠志‧鄭蘭英
第一男高音 何家林‧周裕霖‧洪鈺清‧宮天平‧張殷齊‧陳長聖‧陳則豪‧黃奎霖‧謝孟哲
第二男高音 力博宏‧王復民‧王廉威‧余彥幟‧林文正‧張
新‧陳輝鐘‧黃彥翔‧潘叡智‧顏世俊
第一男低音 吳宏達‧林永志‧林育生‧翁茂琦‧莊馥鴻‧許家豪‧陳柏廷‧葉智偉‧廖怡敏‧蔡榮杰
第二男低音 丁
琪‧林威安‧徐宏宗‧陳宗偉‧黃宇軒‧葉子豪‧劉家宏‧謝國進
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樂團簡介
自信而精銳
國家交響樂團 National Symphony Orchestra 「……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，而銅管圓潤毫不刺耳。」 ─奧地利《新標點》2012/04 「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，是一種對藝術 美好的追求。」 ─《亞洲週刊》2010/12 「馬勒第十號交響曲的慢板是很棒的演出，呂紹嘉精準的演出捕捉了樂曲中的憂鬱元素…. NSO的 荀貝格改編自布拉姆斯G小調絃樂四重奏的管絃樂演奏則是光芒四射，叫人嘆為觀止。」 ─英國《留聲機》雜誌 2009/09 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恵、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8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、20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。 20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。 18
攝影 Raymond Huang
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National Symphony Orchestra “Under the Viennese-trained Lü, (NSO) made the fin de siecle sound world idiomatic. He coaxed from them a burnished, glowing sound that showed off Strauss’ (Elektra´s) luscious orchestration: the strings rippled with menace and the brass and woodwind relished their angst-filled discords.” - OPERA 2011/05 “Lü has an innate gift for flow and pulse. His tight, buoyant rhythms are the perfect match for this orchestra’s incisive rhythms and astounding ensemble-sine qua non qualities, ...” - American Record Guide 2011/01 “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 pe rfection.” - Yazhou Zhoukan (Asia Week) 2010/12 “There was also a convincing performance of the Adagio from Mahler’s Tenth Symphony, Lü’s carefully calibrated rendering capturing the angst...The second programme [featured] an utterly dazzling performance of Brahms´ Piano Quartet in G minor arranged by Schoenberg.” - Gramophone 2009/09 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, KunWoo 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 semi-stage concert operas Der Ring des Nibelungen, and Elektra, the NSO has collaborated with world-class 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). 20
樂曲解說
金希文：《眼窗之舞》（世界首演） 撰文│金希文
原本想就寫一首台灣舞曲，但是馬上聯想到江文也於1934年創作的《台灣舞曲》，只 好作罷。之後我想了許多與台灣地名，從故鄉嘉南開始、高雄港口、台東的山脈、東北 角海岸、阿里山、溪頭…等，但是都覺得用意太過於明顯而放棄。於是我開始聆聽原住 民的音樂，對山對海頌讚的曲調，也有慶典的曲調，但卻跟自己想像得到的舞曲無法結 合一起。台灣國家交響樂團委託我寫一首管 絃 樂小品，但我卻遲遲無法感受到想要表達 的內容。直到有一次，在網路上查詢資料時，無意中聽到了李筱峰教授的演講，內容提 及南島語系。李教授說，遠從復活島到紐西蘭，當然也包括了台灣所有原住民的語言─ 這些南島語系中眼睛的發音都是「Mata」。突然間我腦海裡浮出台灣各樣的風景畫面， 從古老到現在，所有的「Mata」都看見了的台灣─有高山有大海，有溪水有綠地，於是 眼睛裡的台灣舞動了起來。 或許歲月中的風景變化不大，但是看風景的眼睛，卻很不同。看見「醜陋」的眼睛， 也是看見「良善」的眼睛；看見「汙穢」的眼睛，也是可以看見「美」的眼睛。同樣是 眼睛，視野卻大不同。這讓我想起William Carlos Williams的一首詩： Unless there is A new mind there cannot be a new Line, the old will go on Repeating itself with recurring Deadliness. 的確，除非有新的心靈，否則無法寫出新的詩句；我們內在的眼睛也需要更新，才能 有新的看見。盼望台灣這塊土地上千萬對的眼睛，看見純潔、真實、自由；能夠看見 「美」在飛舞。《眼窗之舞》所表達著台灣山水，在我們的眼窗裡舞動著，鋼鐵般的節 奏、還有嚮往著純真而向上攀爬的旋律，激烈卻單純的舞姿，但願所有台灣人心靈的眼 睛都看見。
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舞蹈的生命 撰文│羅基敏（國立臺灣師範大學音樂系教授）
早在古希臘時期，就已有對舞蹈的記載，雖然當時如何起舞，難以得知全貌，但是各種 舞蹈的速度和節奏，代代相傳，得以留了下來。十六、十七世紀裡，器樂興起，各式舞曲 成了器樂發展的基礎，快、慢和二拍、三拍的變換，成了組曲的基礎。從此，舞蹈在器樂 作品中發展出自己的音樂生命。舞曲不僅不再全然為實際起舞而作，更可能成為器樂作品 曲式中不可或缺的一個樂章，例如交響曲中的小步舞曲。 十九世紀裡，民族主義興起，音樂的發展也漸顯現出各國、各地區的特質，舞曲經常以 獨立作品的姿態出現，例如波蘭舞曲、馬祖卡舞曲、匈牙利舞曲、斯拉夫舞曲等等。十九 世紀後半到廿世紀初，輕歌劇（Operette）盛行於維也納，於其中，各式舞曲亦與劇情結 合，成為維也納音樂的標誌。
雷歐納德．伯恩斯坦：交響舞曲，選自《西城故事》 撰文│陳怡文
1957年，音樂劇《西城故事》上演於紐約百老匯。作品由劇作家勞倫斯（Arthur Laurents, 19172011）、作曲家伯恩斯坦（Leonard Bernstein, 1918-1990）、編舞家羅賓斯（Jerome Robbins, 19181998）及作詞者桑德海姆（Stephen Sondheim, 1930年生）等共同製作。音樂劇劇情主要依莎 士比亞戲劇《羅密歐與茱麗葉》為藍本發展而成。故事發生於1950年代中期的紐約上城西 邊，描述一對來自不同幫派、不同族群的男女，湯尼（Tony）與瑪利亞（Maria），在偶然的 邂逅中擦出愛情火花，但最終以悲劇收場。 在音樂劇史上，《西城故事》佔有樞紐關鍵地位。雖然當時因題材及舞台呈現方式太過前 衛，總是叫好不叫座，但根據音樂劇拍攝之電影的原聲帶，卻意外贏得佳績，以純聽覺型態宴 饗著大眾。《西城故事》由拉敏（Sid Ramin, 1919年生）及柯士達（Irwin Kostal, 1911-1994）， 仔細根據伯恩斯坦的指示，將樂曲譜成管絃樂，之後再由伯恩斯坦依據其手稿修正。因此，嚴 格說來，《西城故事》的管絃樂，係由三人共同完成。1961年，伯恩斯坦自音樂劇選出九首樂 曲，僅由樂團演奏，命名為「交響舞曲」（Symphonic Dances）。此九段音樂依序為：〈序奏〉 、〈天堂某處〉、〈詼諧曲〉、〈曼波〉、〈恰恰〉、〈相遇場景〉、〈冷靜〉、〈決鬥〉及 〈終曲〉。 22
「交響舞曲」非用以詳述戲劇內容，而是呈現聲響上完美的銜接，故樂曲未依劇情先後順 序安排。自〈序曲〉開始，音樂即充滿「龐克」風味，點出兩幫眾相互較勁之嬉皮、黑色幽 默氣氛。原本出現於第二幕，男女主角遙想未來生活的情歌〈天堂某處〉，則提前至序曲後 出現。接著是三首舞曲：〈詼諧曲〉係根據歌曲〈有事降臨〉譜成；〈曼波〉是首性感、迷 人的青少年舞蹈；〈恰恰〉是湯尼與瑪利亞初次相擁而舞的音樂。〈冷靜〉則醞釀兩幫眾敵 對的情緒；至〈決鬥〉時，衝突引爆，音樂緊張氣氛抵達高點。〈終曲〉前，長笛歌唱著瑪 麗亞〈我有個愛〉的旋律，並以回憶〈天堂某處〉的旋律作結。伯恩斯坦以懇切深情的浪漫 旋律，烘托愛情故事；以極具動感的節奏素材，點明拉丁及暴戾氛圍。兩者完美融合，引領 聽眾進入音樂之殿，省思愛情與社會。
小約翰•史特勞斯：《蝙蝠》序曲及選曲 撰文│羅基敏
輕歌劇一詞早在十七、十八世紀已被使用，泛指一般較短、較輕鬆的歌劇。十九世紀時，由 一般規模較龐大、劇情較嚴肅的歌劇，衍生出來一種較輕巧、含有對白、歌曲及舞蹈的歌劇種 類，稱做「輕歌劇」。它在英語系國家的姐妹就是音樂喜劇（Musical Comedy，或稱Musical，音 樂劇），是廿世紀英語系國家最主要的音樂舞台劇種，傳到美國後，更加發揚光大，著名的百 老匯舞台劇即是由此而來。 輕歌劇的故事取材生活化、大眾化，但有別於一般的俚俗。真正為法國的輕歌劇打下基礎 的則是生於德國，卻幾乎都住在巴黎的奧芬巴哈（Jacques Offenbach, 1819-1880）。這一類輕 歌劇傳到維也納後，很受歡迎，作曲家如蘇佩（Franz von Suppe, 1819-1895）、小約翰．史特 勞斯（Johann Strauss, 1825-1899）等都留下許多膾炙人口的作品。其中，小約翰．史特勞斯的 《蝙蝠》（Die Fledermaus, 1874年於維也納首演）對於維也納輕歌劇能走上世界舞台，更有不 可磨滅的貢獻。時至今日，大部份輕歌劇雖已不再被演出，它們的序曲、單首歌曲、各式舞 曲得以單曲的方式，在音樂會中被演出，依舊是古典音樂入門者愛聽的小品。不同於法國的 輕歌劇，維也納的輕歌劇中經常反映出奧匈帝國首都維也納的特質，在生活中，融合了奧地 利、匈牙利及波西米亞地區的文化及色彩。諸此種種，都可在《蝙蝠》裡看到。
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劇名《蝙蝠》的名稱在第二幕裡才有交待。第二幕整幕為歐羅弗斯基王子家中的宴會，幕 啟後不久，王子不耐煩地問法爾可，如何能讓他高興，法爾可告知，好戲已在進行，名為 「蝙蝠復仇記」。在假扮匈牙利貴婦的羅莎琳德唱出一曲匈牙利民間舞曲〈加達許〉，讓眾 人對她的身份不再存疑後，晚宴終於開始。晚宴上，王子不耐煩地要知道「蝙蝠」的故事， 艾森斯坦搶著代法爾可回答：幾年前，他和法爾可一同參加一場化裝宴會。返家途中，法爾 可酒醉不支，倒臥路旁。艾森斯坦未將其帶回家，故意讓他睡至天明。光天化日之下，打扮 成蝙蝠的法爾可，在眾人譏嘲中，狼狽地回家。《蝙蝠》全劇正是法爾可的「蝙蝠復仇記」 ，他在第一幕以不同方式邀請不同人士以不同身份參加當晚王子的宴會，打亂了眾人原來的 生活步調。第二幕裡，晚宴貴賓除了王子和法爾可外，全以假的身份前來，每個人努力做合 乎身份的行為，引爆諸多笑點，其中，自命風流的艾森斯坦多次成為眾人譏嘲的對象。第三 幕為終宵達旦暢飲後的次日，在監獄裡，謎團一個個解開，艾森斯坦才知，他正是蝙蝠復仇 的目標。如同大多數的輕歌劇，眾人彼此原諒、接納，各取所需，以皆大歡喜收場。 第一幕第四曲的三重唱，正是艾森斯坦、阿德蕾分別被邀請後的一曲。表面上，三重唱為 艾森斯坦得短暫坐牢的告別曲，實際上，三人各懷鬼胎。羅莎琳德等著長年仰慕她的男高音 來約會；艾森斯坦假稱要提前入獄，其實去赴宴；阿德蕾意外放假，也要去赴宴。音樂裡清 楚呈現這樣的情形，歌聲雖憂傷，卻被舞曲的節拍洩漏內心的期待歡娛。以同樣的旋律搭配 不同段的歌詞，這種類似詩節歌曲的簡單曲式，幾乎在每一曲中都可見到，也是輕歌劇音樂 「輕」的特色。曲式雖輕，旋律的華麗與舞曲節拍的變化搭配，不時給予歌者精采討好的單 曲，例如歐羅弗斯基王子的〈我喜歡邀請客人來〉、阿德蕾的〈我的公爵先生〉（Mein Herr Marquis）、羅莎琳德的〈加達許〉，都是今日歌者們的必備曲目。將這樣的曲式每一段 分配給不同的獨唱者，加上合唱的呼應，可在簡單中做出繽紛，如同第二幕終曲的情 形。《蝙蝠》全劇的熱鬧歡笑和暢飲不休，反映了當時維也納的生活情調，今日則讓它成為 過年時經常被上演的劇目。 如同十九世紀初諸多歌劇序曲般，《蝙蝠》的序曲由劇中重要旋律段落組合而成，彷彿將 全劇濃縮其中，為之後正戲的歡樂氣氛暖身。
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Gordon Chin: Dance of Mata (World Premiere) By Gordon Chin
I initially intended to write a dance piece entitled Taiwan Dance, but had to abandon it after recalling Wen-Ye Jiang’s Taiwan Dance (1934). Then I thought of a number of Taiwanese locales while considering the subject matter of this composition, including Chianan, where I came from, the Port of Kaohsiung, the mountains in Taitung, the northeastern seaside, Mt. Ali, Xitou, etc. I gave up the idea once again, as the music’s association with these locales would be overtly explicit. I then channeled my ears to Taiwanese aboriginal music, including the aboriginals’ musical encomium for the mountain and the sea, and their festive music. Yet I could not quite relate that to the dance music that I had envisioned. The National Symphony Orchestra commissioned an orchestral character piece from me. Yet I could not decided what to write for a long time. An idea finally dawned on me from a rather unlikely source, an online lecture by Professor Shiao-Fong Lee. According to Professor Lee, in all Austronesian languages, the pronunciation of “eye”—in the regions between Easter Island and New Zealand, Taiwan included—is the same, which is “mata.” All of a sudden, a sparkle, a panorama of Taiwanese scenery, emerged in my mind’s eye: the Taiwan viewed by all the “eyes” from the ancient times up to today, the Taiwan with high mountains, oceans, streams, and green fields. With its own rhythm, its pulse of life, Taiwan starts to dance, as witnessed by all these “eyes.” The scenery may not have changed much over time. However, the eyes that have viewed it differ, drastically. The eyes that see the ugly are the same eyes that see the kind; the eyes that see the filthiness can also be the eyes that see the beauty. Seen by the same human eyes, the perceived visions can be fairly different. This reminds me of the poem by William Carlos Williams: Unless there is A new mind there cannot be a new Line, the old will go on Repeating itself with recurring Deadliness. Indeed, no new poetic lines could be inscribed without a new mind. Our inner eyes need to be renewed to behold a new vision. It is hoped that the thousands and thousands of eyes in Taiwan can see the pure, the true, and the free; that they can see the beautiful, which soars, high with jubilation. Dance of Mata means to convey how the Taiwanese scenery dances in front of our eyes. It dances with a triumphant rhythm, ascending lines that aspire to be innocent, and persistent yet simple dancing gestures. I hope that it is the inner vision that all the Taiwanese will be able to see, eventually. (Translated by Feng-Shu Lee)
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Leonard Bernstein: Symphonic Dance from West Side Story Although Leonard Bernstein is not generally thought of as an orchestral composer, his compositions include three symphonies, several works for solo instrument and orchestra, and a number of suites derived from his theatre and stage works. It would be more accurate to say that Bernstein never tackled a work the same way twice, giving rise to a number of hybrid compositions the ambiguity of which shows a composer caught between the European classical tradition and the American vernacular of jazz and musical. Three of the ways in which he strove to reconcile these are represented by the works here included. Opening at Broadway’s Winter Gardens Theater on 26th September 1957, West Side Story notched up a total of 1025 performances either side of its first American tour. With a book by Arthur Laurents and lyrics by Stephen Sondheim, this urban update of the Romeo and Juliet story broke new ground for music theatre, not least through the extensive and virtuosic choreography of Jerome Robbins. Lukas Foss and the New York Philharmonic gave the first performance of the Symphonic Dances on 13th February 1961, Bernstein dedicating the score to Sid Ramin, who, with Irwin Kostal, prepared the orchestration under the composer's supervision. Rather than take matters in chronological order, the Symphonic Dances freely re-order a selection of numbers from the musical, making for a coherent and satisfying suite. The ‘Prologue’ graphically depicts the violence between two street gangs, the Sharks, Puerto Rican immigrants, and the Jets, native Bronx. ‘Somewhere’ recalls the aspirations of the lovers Maria and Tony for a future of peaceful co-existence. A Coplandesque ‘Scherzo’ leads into the testosterone- fuelled high-school dance of ‘Mambo’. It is here that Maria and Tony first meet, join together cautiously in a Cha-Cha, and realize their mutual attraction in the ‘Meeting Scene’. The antagonism of the rival gangs, however, barely suppressed in a tense fugue on the song ‘Cool’, erupts in the ‘Rumble’, during which the gang leaders are killed. After a pensive flute cadenza, Maria’s I Have a Love looks forward to the musical's tragic yet cathartic outcome, a brief reminiscence of ‘Somewhere’ providing a questioning half-close.
© 2013 Naxos Digital Services Ltd
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Johann Strauss: Overture & excerpts from Die Fledermaus By Kii-Ming Lo
(Professor of Musicology, National Taiwan Normal University)
The term “operetta” was in use as early as the 17th- and 18th century, generally referring to an opera of briefer length and with a lighter subject matter. In the 19th century, a new type of opera emerged. Different than the prevailing, serious, and more grand opera, this new type of opera—known as “operetta”—was in nature lighter and included spoken dialogue, song, and dance. Its rough equivalent in English-speaking countries was musical (or musical comedy), a major type of musical in the 20th century. This genre spread to the United States of America, where it flourished. Broadway musical, for example, was a subset of this genre. The subject matter of operetta comes from ordinary life, yet its plot is by no means vulgar. Operetta owed its founding tradition to Jacques Offenbach (1819-1880), a German composer who spent most of his life in Paris. This type of light operas by such composers as Franz von Suppe (1819-1895) and Johann Strauss (1825-1899) gained much popularity in Vienna. A successful operetta in this era, Johann Strauss’s Die Fledermaus (premiered in Vienna, 1874) contributes to this genre’s international reputation. Although few operettas are produced, overtures and excerpts from them are singled out and performed in concerts, works popular among music lovers. Different from a French operetta, a Viennese operetta oftentimes reflects certain traits of Vienna, capital of the Austro-Hungary Empire. More specifically, a Viennese operetta mirrors the life styles and cultures of Austria, Hungary, and Bohemia. These traits prevail in Die Fledermaus. The meaning of this operetta’s title (“Die Fledermaus,” or “The Bat”) is not explained until Act II, in which a party takes place in the household of Prince Orlofsky. Soon after the curtain rises, the prince impatiently asks Dr. Falke what he had in store for the night’s entertainment. Falke reveals that a farce called “The Bat’s Revenge” is already in progress. The party commences soon after Rosalinde— disguised as a Hungarian countess—performs a Hungarian folksong (a csárdás), thereby confirming her “Hungarian” identity. During the party, the prince impatiently asks for the story of “the bat.” Eisenstein tells the story as follows: several years ago, he and Falke went to a masked ball together. On their way home, Falke was so dunk that he fell asleep on the road. Instead of taking Falke home, Einsenstein left him sleeping there on the road. Next morning, Falke—still in his bat costume— awaked in the daylight, becoming a laughing-stock; he returned home thus, highly embarrassed. Die Fledermaus is “A Bat’s [Falke’s] Revenge.” In Act I, under different premises, Falke invites various parties to the prince’s party. The guests are to disguise themselves with different identities. This causes a disturbance of and deviation from the routine of the parties in question. In Act II, all except Falke and the prince are masked with a false identity. Jokes of all kind occur while everyone attempts to behave 27
according to his or her false identity. Eisenstein, in particular, became the biggest laughing-stock of all. Act III takes place in the day following the party. In the jail, the mysteries are gradually solved: only then does Eisenstein realize that he was the target of the “bat’s” revenge. As in most operettas, Die Fledermaus concludes with a happy ending, with scenes of forgiveness and reconciliation. In the trio in Act I scene 4, three characters are invited to the party, respectively. Even though the trio appears to be a farewell scene before Eisenstein serves his brief term in jail, the three characters involved all have other plans. Rosalinde awaits her date, a tenor who admires her for years. Einsenstein claims to be going to jail early, but goes to the party instead. Adele attends the ball on her unexpected day-off. The music in this trio reflects exactly the situation: disguised in sadness, the music—its dance tune and rhythm, in particular—reveals the characters’ excitement. Strophic songs—same melody with different text—can be found everywhere, a feature conveying the “lightness” in this operetta. Despite its “light” music structure, its brilliant melody, often combined with dance rhythm, easily pleases the audience. Such songs as Prince Orlofsky’s “Ich lade gern mir Gäste ein,” Adele’s “Mein Herr Marquis,” and Rosalinde’s csárdás become opera singers’ repertoire. Giving one part of the same music to each singer and complementing each solo’s performance with the choir’s response, Johann Strauss creates a sense of refinement and brilliance out of simple music structure. This is exactly what happens in the finale of Act II. The merrymaking and incessant, hearty drinking reflect the Viennese’s life style in J. Strauss’s time. Today Die Fledermaus becomes a theatre piece for the celebration of the New Year. As most opera overtures in the 19th century, the overture of Die Fledermaus consists of the operetta’s most important melodies. As if condensing the entire operetta, it warms up the atmosphere for the audience, preparing them for the pleasant mood before the curtain rises. (Translated by Feng-Shu Lee)
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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 梁坤豪 陳逸農 卓曉青 方俊人 黃佳頎 李庭芳 賴佳奇 林孟穎 李家豪 藍胤萱✽ 第二小提琴 ● 陳怡茹 ◎ 孫正玫 吳怡慧 李京熹 黃衍繹 顧慈美 于爾恩 康信榮 李梅箋 鍾仁甫 蔡孟峰 洪章文 陳偉泓 王致翔
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 吳孟珊 劉子瑛 賴盈帆 整合行銷專員 賴廷恆 陳卜湄 行銷專員 林欣儀 鄭巧琪 王思懿 方歆婷 演出及行政 舞台監督 陳世傑 人事組長 林碧珠 譜務專員 高婉瑜 行政專員 溫慧雯 助理舞監 陳玠維 林哲正
中 提 琴 ● 黃瑞儀 ◎ 鄧啟全 ○ 呂昭瑩 黃雅琪 李靖宜 謝君玲 劉國蘭 呂孟珊 李思琪 陳猶白 蔡秉璋 陳映蓁✽
音樂諮詢 法律顧問
低 音 提 琴 ● 傅永和 ○ 周春祥 王淑瑜 黃筱清 王淑宜 連珮致 蔡歆婕 陳美君✽
指 揮 張尹芳 小 提 琴 王心妤 玉 珊 江 敏 余琬婷 吳宛蓁 吳庭芳 呂 昉 紀韋瑄 張暐姍 梁 艷 梁鈺函 郭承姍 陳又寧 楊晏如 廖元宏 潘俊蓁 蔡承宏 鄭囿蓉 駱思云 藍胤萱 魏苡庭 蘇品嘉 中 提 琴 陳映蓁 劉詩珊 蔡享享 賴昱如 羅培菁 大 提 琴 王甯嫻 王鈺淩 呂函涓 李 茜 林君翰 低音提琴 伏 芯 洪瑜蔚 陳弘之 陳美君 游婉婷 長 笛 石詠萱 吳媖蕎 徐鈺甄 陳瀅涵 雙 簧 管 李立品 周羽庭 單 簧 管 李昱柔 李璧任 低 音 管 黃晟育 陳芊彣 溫家琪 法 國 號 陳冠余 小 號 江帛軒 徐雲修 陳鏡元 黃書啟 長 號 毛介中 李季鴻 羅文宏 低 音 號 潘 將 打 擊 樂 林君庭 張瑜蓁 莊穎臻 陳又誠 豎 琴 林玉婷 劉馨澧
錄音製作 大 提 琴 ● 熊士蘭 ◎ 連亦先 ○ 韋智盈 呂明美 周幼雯 陳怡婷 林宜女閒 黃日昇 蘇酩惠 唐鶯綺 曾鈺婷 ✽NSO 樂團學苑
長 笛
● 安德石 ◎ 宮崎千佳 李 浚
短 笛 鐘美川 雙 簧 管
● 王怡靜 林麗玥 楊舒婷■ 王譽博▲
英 國 管 李明怡 單 簧 管
● 朱玫玲 ◎ 張凱婷 朱偉誼 孫正茸
中音薩克管 張文君 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 曹予勉
小 號
● 宇新樂 ◎ 陳長伯 張景民 江帛軒✽
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 王瓊燁
豎 琴
● 解 瑄
鍵 盤
▲ 許毓婷 黃時為
焦元溥 林信和
名錄
(按筆劃排序)
●首席 ◎副首席 ○助理首席 ■留職停薪 ▲樂季合約人員 劃底線者為本場協演人員 ＊NSO樂團學苑學員
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National Symphony Orchestra
Music Director SHAO-CHIA LÜ
Executive Director Manager, Planning & Production Manager, PR & Development
Conductor Laureate GÜNTHER HERBIG
JOYCE CHIOU
Artistic Planning & Marketing
Programme Coordinator/ Special Assistant to MD Programme Coordinator PR & Project Coordinator Marketing & Publications Coordinator Marketing & Media Coordinator
Concertmaster TING-YU WU I-CHING LI Associate Concertmaster HAO-TUN TENG Assistant Conductor YIN-FANG CHANG
Production & Administration
SARAH TU PAUL WANG YUFEN HUANG MENG-SHAN WU AMY LIU YING-FAN LAI TING-HENG LAI PU-MEI CHEN EILEEN LIN CHIAU-CHI CHENG SANDY WANG HSIN-TING FANG
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
Concert Dramaturgist Legal Consultant
YUAN-PU CHIAO HSIN-HO LIN
Recording Partnership 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 Yin-Hsuan Laun✽
SECOND VIOLIN ● Yi-Ju
Chen ◎ Cheng-Mei Sun I-Hui Wu Ching-Hsi Lee Yen-Yi Huang Tsu-Mei Ku ErAn Yu Hsin-Jung Kang Mei-Jain Li Jen-Fu Chung Meng-Fong Tsai
●Principal ◎Associate
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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 Ying-Chen Chen✽
CELLO ● Lana
Hsiung ◎ Yi-Shien Lien ■ ○ Chih-Yin Wei Ming-Meei Lieu Yu-Wen Chou I-Ting Chen Yi-Hsien Lin Jih-Sheng Huang Ming-Huei Su Ying-Chi Tang Yu-Ting Tseng Principal
○Assistant
Principal
DOUBLE BASS ● Yung-Ho
Fu ○ Chun-Shiang Chou Su-Yu Wang Hsiao-Ching Huang Shu-Yi Wang Pei-Chih Lien Hsin-Chieh Tsai Mei-Jun Chen✽
FLUTE
CLARINET ● May-Lin
Ju ◎ Kai-Ting Chang Wei-I Chu Cheng-Jung Sun
ALTO SAXOPHONE Wen-Chun Chang
BASSOON
◎ Chika
Jian ◎ I-Hsiu Chen Ling-Feng Kao
PICCOLO
CONTRABASSOON
● Anders
Norell Miyazaki Chuin Lee
Mei-Chuan Chung
● Kai-Yu
En-Yi Chien
OBOE
HORN
○ Jen-Hsien
● I-Ching
Wang Li-Yueh Lin Shu-Ting Yang ■ Yu-Po Wang ▲
ENGLISH HORN Ming-I Lee
■On
● Yi-Hsin
Cindy Liu Huang Tomohiro Kunita Wan-Ju Wang
TRUMPET ● Nicolas
Rusillon ◎ Chang-Po Chen Po-Hsuan Chiang✽
Leave ▲Season Contracted Musicians Auxiliary
TROMBONE ● Kuang-Ching
Sung Shiu Chung-Sheng Chen
◎ Hang-Fat
BASS TROMBONE Hsiao-Yun Peng
TUBA ● Jun
Miyanishi
TIMPANI ● Ya-Wen
Lien
◎ Ting-Chuan
Chen
PERCUSSION ● Jer-Huei Chen
Chen-Hsing Chen Pi-Tzu Yang Chiung-Yeh Wang
HARP
● Shuen
Chieh
KEYBOARD ▲ Yu-Ting
Hsu Shih-Wei Huang
＊NSO
Orchestra Academy
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