20151231_20160101 NSO Midsummer Magic in Winter Program Note

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跨新年音樂會

《仲夏夜之夢》 NSO 2016 New Year Concert – Midsummer Magic in Winter

演出時間 2015年12月31日 (星期四) 10:00 p.m. 2016年 1月 1日 (星期五) 7:30 p.m. 演出地點 國家音樂廳 National Concert Hall, Taipei 演出者 指 揮│張尹芳 Yin-Fang Chang, conductor 朗 讀│張艾嘉 Sylvia Chang, narrator 女 高 音│林慈音 Grace Lin, soprano 女 中 音│翁若珮 Jo-Pei Weng, alto 東吳大學音樂系合唱團 SCU Department of Music Choral 潔璐品歌手 Cherubim Singers 國家交響樂團 National Symphony Orchestra (NSO)

主辦單位

特別感謝

12/31

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電子問券請掃描，支持NSO愛地球。

歡迎 各位親愛的愛樂朋友，您好： 歡迎蒞臨欣賞「國家表演藝術中心」國家交響樂團音樂會，由衷感謝您的支持與參與。本中 心所屬單位包括國家兩廳院、臺中國家歌劇院、衛武營國家藝術文化中心及國家交響樂團， 我們期盼由這北中南串起的表演藝術平臺，能以最專業的團隊及服務，滿足大家的期待，共 享藝術的美好與感動！

國家表演藝術中心董事長

Welcome Dear Music Lover, Your support and participation toward the performances of the National Symphony Orchestra (NSO) is highly appreciated. The National Performing Arts Center, of which NSO is a part, also includes the National Theater & Concert Hall, Taipei, the National Taichung Theater, and the National Kaohsiung Center for the Arts, all of which are dedicated to providing a platform for the performing arts connecting the whole of Taiwan.

Chairman, National Performing Arts Center

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曲目

上半場 約 50 分鐘 下半場 約 50 分鐘

菲利克斯．孟德爾頌（1809-1847）：《仲夏夜之夢》 I. II. III. IV. V. VI.

序曲 詼諧曲 場景與精靈進行曲 合唱 場景音樂 間奏曲 ∼中場休息∼

VII. VIII. IX. X. XI. XII. XIII. XIV.

場景 夜曲 場景 結婚進行曲 場景與送葬進行曲 丑角之舞 場景 終曲

FELIX MENDELSSOHN（1809-1847）: A Midsummer Night's Dream I. II. III. IV. V. VI.

Ouverture Scherzo Scene and March of the Fairies Song with Chorus Scene Intermezzo ∼ Intermission ∼

VII. VIII. IX. X. XI. XII. XIII. XIV.

Scene Nocturne Scene Wedding March Scene and Marcia funebre A Dance of Clowns Scene Finale

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樂曲解說

精靈王國的永恆傳說： 莎士比亞與孟德爾頌的《仲夏夜之夢》 撰文．焦元溥（倫敦國王音樂學院音樂學博士）

從莎士比亞到孟德爾頌 對西方世界，特別是英語系國家而言，2014 和 2016 都是莎士比亞年：前者歡樂慶祝莎 翁四百五十歲生日，後者隆重紀念大師辭世四百載。前後三年，我們可有看不完的莎士比亞， 再一次領略這位巨擘的豐富與偉大：他的遣詞用字已是英文辭語之源，譬喻涵義之深更成不 朽典範。莎翁作品被一次次搬演，又被一次次改編：迪士尼《獅子王》是非洲草原上的《哈 姆雷特》，黑澤明《蜘蛛巢城》則是日本戰國版的《馬克白》。正因莎士比亞已成經典，所 以他永遠年輕，成為各類藝術的靈感，甚至日常生活的話語。他的作品真切影響我們，中文 世界也無法脫離他的力量。 和莎士比亞有關的音樂作品，數目可比希臘羅馬神話與聖經故事。NSO 今年以「早期 浪漫」為節目主軸，孟德爾頌 (Felix Mendelssohn，1809-1847) 自為本季要角。十二月在欣賞 完精彩絕倫、震撼人心的神劇《以利亞》以及優美精妙的《芬加爾岩洞》音樂會序曲之後， 歲末年初來聽他截然不同的另一經典《仲夏夜之夢》(A Midsummer Night's Dream) 序曲與劇 樂，相信更能觸類旁通。既可全面認識這位作曲大家，也可同時紀念莎士比亞。

莎士比亞的《仲夏夜之夢》 所謂「仲夏夜」，是指每年六月 24 日聖約翰節的前一夜。傳說這是精靈仙子現身遊玩 之夜，也是怪誕奇事發生之時。《仲夏夜之夢》是莎士比亞約於 1590 年至 1596 年間創作的 浪漫喜劇，以雅典大公提修斯 (Theseus) 和喜波麗達 (Hippolyta) 婚禮出發，開展出彼此交纏 的三條軸線。主角包括四名雅典戀人和六個業餘演員，以及陰錯陽差鬧出諸多趣事的精靈仙 子，是莎士比亞最受歡迎的作品之一。全劇故事大綱如下： 雅典大公要和非洲女王結婚，兩人開開心心籌劃宴會，不料轄下貴族青年卻談起四角戀 愛：大臣伊吉斯 (Egeus) 想把女兒赫米雅 (Hermia) 許配給狄米區 (Demetrius)，不料赫米雅愛

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的是另一貴族萊珊德 (Lysander)。兩人愛情不被祝福，於是決意趁夜晚私奔，討論時卻遇上 了來訪的海蓮娜 (Helena)，還把私奔的打算告訴了她。海蓮娜和狄米區曾經要好，狄米區卻 改而追求赫米雅，於是海蓮娜向他通風報信，希望如此示好能使狄米區重新愛上她。這下子 四人夜晚全都在森林裡追尋，累了就在林中入睡。 但這森林還有其他事正在發生。仙王奧伯龍 (Oberon) 和仙后譚妮亞 (Titania)，為了一個 印度侍童大吵一架。奧伯龍盛怒之下，要精靈帕克 (Puck) 取來相思花。趁譚妮亞熟睡時， 他將花汁點在她的眼睛上，這樣譚妮亞就會瘋狂愛上醒來初見的對象。 另一方面，城裡有一群工人為慶祝大公結婚，自告奮勇要演《最苦的喜劇：皮拉摩先生 和瑟斯貝小姐的千苦遺恨》一戲作為節目。日出後他們到林裡排戲，帕克見他們呆頭笨腦又 大聲吵鬧，於是把紡織工波頓 (Bottom) 變成驢頭，嚇跑其他五人。驢頭不慎吵醒仙后，仙后 旋即和波頓陷入熱戀。 仙王在森林裡見到海蓮娜苦苦追求狄米區，要帕克以相思花助她一臂之力。不料帕克搞 錯人物，導致萊珊德和狄米區全都愛上海蓮娜，無人去愛赫米雅。赫米雅認為海蓮娜偷走了 萊珊德，海蓮娜卻覺得大家都在作弄她。只見兩位男士要決鬥，兩位小姐也大打出手。奧伯 龍發現大事不妙，要帕克把四人支開，讓他們精疲力竭而睡著，再以相思花與解藥草將其重 新配對。奧伯龍也和仙后言歸於好。 仲夏夜森林一番喧鬧，最後竟得三對佳偶。萊珊德和赫米雅，狄米區與海蓮娜，雅典 大公以及非洲女王，婚禮後一起欣賞工人們誠心誠意卻錯誤百出的《皮拉摩先生和瑟斯貝小 姐》，哈哈大笑中各自回房。仙王和仙后召喚精靈為情人獻上祝福，全劇在帕克的收場白裡 歡喜寫下句點。

孟德爾頌的《仲夏夜之夢》音樂會序曲 (Op.21) 與戲劇音樂 (Op.61) 和《仲夏夜之夢》有關的音樂作品不少，德布西在鋼琴《前奏曲》第一冊中寫了〈帕克 之舞〉，普賽爾依此寫成《仙后》(The Fairy-Queen)，布瑞頓也將其譜成同名精彩室內歌劇。 但影響力最大的，相信仍是孟德爾頌所譜寫的音樂會序曲與戲劇音樂。作曲家先是在十七歲 那年，因著迷此劇，提筆寫下約十二分鐘長的《仲夏夜之夢》音樂會序曲。人間仙界兩相對

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樂曲解說

照，燦爛美麗又縱觀全局，莎士比亞的靈光四濺，竟讓一位青少年盡得精妙，在洗鍊輕盈的 旋律與音響中訴說此劇種種，有精靈天籟也有驢頭嘶叫，還有工人戲班的滑稽舞蹈，穠纖合 度甚至無法增減一分。就算是仙王奧伯龍親自譜寫，大概也無法和孟德爾頌的才情比美。 十七歲就寫出如此成熟作品，洋溢青春幻想又有功底扎實的老練筆法，完美結合浪漫情韻和 嚴謹古典奏鳴曲式，不可不謂之奇蹟之作。 但更讓人驚訝的，是十六年之後孟德爾頌又應普魯士國王威廉四世 (Frederick William IV of Prussia) 之邀，為《仲夏夜之夢》演出再度提筆，譜寫出十三段戲劇音樂，包含膾炙人口 的〈詼諧曲〉、〈仙后搖籃曲〉，還有無論聽不聽古典音樂都會知道，家喻戶曉的〈婚禮進 行曲〉。從神童到大師，此時已是萊比錫布商大廈管絃樂團總監，三十三歲的孟德爾頌，寫 作技巧已是爐火純青，可就音樂風格而言，新作竟讓人無法察覺十六年來的變化。畢竟這 十三段戲劇音樂，許多元素皆從當年序曲而來，包括序曲開頭的和弦運用、精靈飛舞主題、 工人跳舞主題等等。這當然能使劇樂首尾呼應且風格統一，前後不見扞格。 不過歲月還是有其助益。〈詼諧曲〉神乎其技的木管調度與絃樂設計，〈仙后搖籃曲〉 如夢似幻的聲樂編寫，〈夜曲〉優美至極的法國號運用，還有〈婚禮進行曲〉那在古典句法、 浪漫樂思，大小調裡悄悄遊走的旋律與和聲。歌頌情人結合，卻又道出愛情無明，樂曲本身 就是一則寓言─這就不見得是那十七歲少年所能懂的。

關於本次演出 由於孟德爾頌的《仲夏夜之夢》戲劇音樂，部分段落必須搭配劇情 ( 作曲家在樂譜上有 清楚指定 )，因此演出或錄音時往往省略不奏，僅以選曲方式呈現。此次 NSO 旨在「完整演 出」孟德爾頌譜寫的所有音樂，因此必須搭配劇情。然而孟德爾頌的戲劇音樂，扣除序曲後 不過四十分鐘出頭，戲劇本身卻可長達三小時。幾經思考，我們決定將莎士比亞《仲夏夜之 夢》劇本改以單人讀劇方式呈現，戲中戲《皮拉摩先生和瑟斯貝小姐》另以視覺方式表達。 藉由濃縮戲劇台詞與橋段，我們將完整演出孟德爾頌為此劇譜寫的所有音樂，且不遺漏任何 劇情。您所參與的兩場演出，也是本製作的世界首演。 本次演出除了少數場景將重複使用部分音樂外，音樂完全按照孟德爾頌樂譜 ( 以及劇情 ) 順序，依次如下：

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1. 序曲。 2. 詼諧曲：描寫精靈奔走飛舞的場景，接著帕克和精靈登場。 3. 場景與精靈進行曲：仙王隊伍出現的場景，之後仙王和仙后大吵一架。 4. 合唱：如夢似幻的仙后入睡場景，有仙后念白和精靈合唱： 譚妮亞： 來呀，來跳圓圈舞，來唱精靈歌； 然後，在一分鐘的第三段， 你，去消滅玫瑰花苞裡的害蟲， 你，去和蝙蝠討他們皮衣翅膀， 為我的小妖精們剪裁衣裳， 再來幾個，去趕走吵鬧的貓頭鷹， 他夜夜啼叫，張眼望著小精靈。 現在，唱歌讓我安歇， 之後你們各自差遣，我可要美夢香甜。 精靈一： 雙舌尖花蛇，長尖刺的箭豬， 你們可別露面； 壁虎與水蛇，也都聽從叮囑， 別來仙后身邊。 快離開！ 眾精靈： 夜鶯，乘著旋律， 和我們唱著甜美的搖籃曲； 睡呀，睡呀，好睡吧； 咒語、巫法和損傷， 全都離開我們的仙后娘娘。 晚安啦，晚安。。 精靈二： 織網的蜘蛛，可別過來； 長腳紡織娘，也快走開。 黑色的甲蟲，請勿徘徊；

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樂曲解說

蚯蚓與蝸牛，全都離開。 快離開！ 精靈一： 留個精靈在枝頭看哨當差。 這裡沒事了，大家離開！ 5. 場景音樂：仙王以相思花施展迷情咒。 6. 間奏曲：赫米雅焦急地尋找愛人；之後接以工人排戲的森林場景。 7. 場景：從帕克捉弄紡織工，到四男女大打出手，對應諸多情節。 8. 夜曲：四人在森林中的入睡場景。帕克將相思花汁點在有情人的眼上。天亮後，一切 將皆大歡喜。 9. 場景：大公到森林打獵，號角聲喚醒四青年男女。 10. 結婚進行曲：慶祝大公與女王，以及新加入的兩對佳偶。樂曲分成諸多段落，描寫 浪漫心事與未來憧憬。 11. 場景與送葬進行曲：《皮拉摩先生和瑟斯貝小姐》的背景音樂。 12. 丑角之舞：六位工人演完他們啼笑皆非的好戲後，應大公提議所跳的舞蹈。 13. 場景：仙王祝福新人。 14. 終曲：熱鬧精采的戲劇終景，我們又回到序曲，夢幻奇妙的精靈世界。 奧伯龍： 廳堂閃爍奇妙火焰， 幽暗不明光影點點， 奧伯龍歡迎各位精靈神仙， 大家手拉著手，舞姿翩翩， 我們也來舉辦歡樂酒宴！ 譚妮亞： 先把歌調排練好， 音音字字都唱牢， 手牽著手，展現仙姿曼妙， 齊聲歌唱，祝福宅主安好。 奧伯龍： 從午夜到黎明之前，

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我們再去拜訪新人的屋簷， 精靈們採集田野的仙露， 為佳偶獻上真心的祝福。 願他們相親相愛，歲歲年年， 孩子們眉清目秀，開懷笑臉。 所有不祥的災禍，全都消滅。 所有難得的好運，永遠不歇。 走遍房舍，穿廊繞戶， 仙子們請繼續跳舞。 我們為房子主人祈願看顧， 把恬靜安詳一路散布。 祝福，祝福，永遠祝福。 走吧，精靈們！ 待東方天亮，大夥兒和我碰頭！ 帕克： 咱們這些精靈，雖有冒犯之處， 結尾皆大歡喜，或許也就足以彌補。 世事多變，滄海桑田， 夢幻泡影，如露如電， 大家在這裡看了好戲一場， 如有怠慢，還請各位大德原諒。 我叫帕克，為人向來真實無欺， 此次僥倖得到大家好心， 如此恩德我可不會忘記。 晚安了，親愛的各位， 如果您願意「高抬貴手」， 為台上的大家拍拍手， 那麼，我永遠會是各位知恩圖報的好朋友。 由於劇情歡樂有趣，《仲夏夜之夢》常被安排在節慶演出。僅以此新製作祝福大家新年 快樂，也希望大家 2016 年繼續和 NSO 一起探索早期浪漫的豐富美好，莎士比亞的精彩巧妙。

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樂曲解說

Felix Mendelssohn: A Midsummer Night's Dream As an adolescent Felix Mendelssohn had developed a passion for Shakespeare, reading the plays in translation by A.W. Schlegel. He saw a production of A Midsummer Night's Dream in Berlin with his sister Fanny. And it was in 1826 at the tender age of seventeen that Mendelssohn composed his famous overture to A Midsummer Night's Dream

could play with his sister, but Mendelssohn soon orchestrated it. Its originality caused excitement in the musical world and helped to establish Mendelssohn's reputation as a prodigy. He, however, rejected the idea that he had broken new ground with this piece, saying that he had modeled the overture on Beethoven's overture to Fidelio. He told his friend Lobe, 'What did Beethoven do in his overture? He painted in tone pictures. I tried to do the same thing.' But he added roguishly, 'Unless, you want to consider it as new ground that I used the ophicleide.' A now long-forgotten wind instrument, the ophicleide is a cross between a bassoon and a serpent. Mendelssohn, despite his protest, was indeed breaking new ground, for A Midsummer Night's Dream a play. Mendelssohn declared that it was Shakespeare's imaginative portrayal of Oberon's fairy kingdom which inspired him, and which became the subject matter of the overture. During its composition Mendelssohn was teeming with musical ideas. On one occasion, lying on the grass with his friend Schubring, he suddenly seized him by the arm and whispered, 'Hush!' 'He afterwards " ##

to hear the sound it produced gradually die away.' Mendelssohn later pointed out to his friend the $ % & minor). Through a clever use of motifs Mendelssohn characterized the chief elements of the plot and some of its characters, notably Bottom, whom-as an ass-we hear braying, and also the mischievous Puck. The overture opens with four slow, suspended chords which are like the conjuring of a spell

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for Theseus and Hippolyta; this is followed by a romantic melody for the lovers which leads into a bucolic folk-tune representing the mechanicals, complete with the braying Bottom in the brass. A slow passage of descending scales might indicate the lovers' arrival in the wood, lying down and dropping off to sleep, then to have their vision enchanted by Puck's magic juice. When the fairy music next returns, it is accompanied by vulgar notes that mimic Bottom's snoring in the arms of Titania. The snoring is provided in the original scoring by Mendelssohn's concession to 'new ground'-the ophicleide. After a brief return to the world of Theseus, Puck and the fairies mischievously return, as they do in the play, to bless the Duke's house. The same four magic

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chords heard at the opening are repeated at the end of the overture, releasing the listener from the enchantment. In 1841 Mendelssohn was appointed Royal Kapellmeister to the Prussian court, and the King proposed that he write incidental music for a production of A Midsummer Night's Dream to be directed by the court poet and dramatist Ludwig Tieck. Mendelssohn approached his task with his customary energy, and it is a marvel that this new music blends so perfectly with his youthful overture. Though sixteen years had passed he effortlessly recaptured the world of his adolescent imagination, using and developing many of the themes found in his overture. Echoes of the overture are heard throughout the incidental music. + / Working independently from the stage director Tieck, Mendelssohn created music for the traditional

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3 + (

lovers, was now to be played with the curtain raised when the supine lovers were in full view of the audience. Also, Mendelssohn could not realize his original conception of the music and production 5 as the play ends. The Royal Court insisted on a half-hour interval for refreshments. + 7

0 + four human lovers, Hermia, Lysander, Helena and Demetrius, are characterized in the Nocturne, and also the Intermezzo, which leads effortlessly into a contrasting bucolic tune to accompany the appearance of Bottom and his fellow workmen. Later Mendelssohn gives them a raucous 'Dance of 9 5 + + portrayed in the grandiose Wedding March-perhaps the most famous piece Mendelssohn ever wrote. But it is the fairy music that lifts this score out of the merely functional. In the Overture, and the # $ # / 5 3

+ There are some breathtakingly beautiful moments, such as the truly magical transition in Act V-from the retiring of Theseus' court after the wedding festivities to the arrival in darkness of Oberon and Titania to bless the house with light. In a seamless transition the court exits to a reprise of the Wedding March, which fragments into the fairy motif in the strings. A nineteenth-century stage convention, a melodrama was musical accompaniment to the spoken text, to heighten the emotional content of certain scenes. Thus Oberon's application of the +

* opening bars of the Overture. Š 2015 Naxos Digital Services Ltd

11

演出者簡介

指 揮 conductor

張尹芳 Yin-Fang Chang

以創意的音樂會節目企劃、多元的指揮風格遊走於東西方管絃樂團；張尹芳參與規 劃、指揮的「NSO 永遠的童話」年度製作與各種大型音樂會演出，均深受好評與肯定。曾 於 2012 年 3 月「高雄春天藝術節」，臨陣替代身體不適的俄國指揮大師羅許德茲特溫斯基 （Gennady Rozhdestvensky）指揮蕭斯塔科維契第八號交響曲，受到樂界極大肯定；兩度受 邀指揮臺北市立國樂團《反景入深林─向周文中致敬》音樂會，其中為多首作品世界首演， 獲得台新藝術獎最佳演出節目提名，並出版錄音作品。 張尹芳於 2006-2015 年擔任國家交響樂團助理指揮，自 2015/16 樂季起成為 NSO 駐團 指揮。其傑出表現並可於 2012-2015 年間擔任 NSO 樂團學苑常任指揮，負責樂團學苑之訓 練及演出中看出成效。張尹芳指揮啟蒙於楊仁傑教授，並先後師事徐頌仁及陳秋盛教授，於 2004 年獲國立臺北藝術大學碩士學位。曾為高雄市青少年交響樂團與臺大杏林室內樂團指 揮。 Yin-Fang Chang is a talented conductor of the younger generation in Taiwan. Starting the 2015/16 season, Yin-Fang becomes the Resident Conductor of the NSO of which she was Assistant Conductor in 2006-2015. Yin-Fang earned high praise for the series "NSO Forever Tales" and various large-scale concerts. In March 2012, Chang replaced the ailing Gennady Rozhdestvensky on short notice to conduct Shostakovich's Eighth Symphony in the Kaohsiung Spring Arts Festival to great acclaim. In the same year, she made her debut with the Taipei Chinese Orchestra, conducting the world premieres of seven contemporary works in the "Tribute to WenChung Chou I & II" concert, which were nominated for the Taishin Arts Award in Performing Arts. Chang was invited to conduct the same program again the following year and to record several works. Yin-Fang graduated from Taipei National University of the Arts in 2004 with a Master of Fine Arts degree in orchestral conducting, and studied with Sung-Jen Hsu and Felix Chiu-Sen Chen. After graduation, she appeared as a conductor with the Kaohsiung Youth Orchestra and Hsing-Lin Chamber Orchestra. Since the 2012/13 season, Chang has been the Resident Conductor of the NSO Orchestra Academy, serving as a planner and mentor for the training program.

12

ćœ— 莀 narrator

ĺźľč‰žĺ˜‰ Sylvia Chang

ç”&#x;ć–źĺ?°ç Łĺ˜‰瞊ďźŒĺźľč‰žĺ˜‰č‡Şä¸ƒĺ? 嚴䝣ć–źĺ?°ç Łĺ?ŠéŚ™港ĺ…Šĺœ°é–‹ĺą•ĺ…śćź”č—?äş‹漭ďźŒĺžž役ĺ››ĺ? ĺš´ďźŒ丝 ćź”é Žçš„é›ťĺ˝ąčś…é Žä¸€ç™žéƒ¨ďźŒ幢ç?˛ĺ?°ç Łé‡‘錏ç?Žă€ 錙港金ĺƒ?ç?Žĺ?Šĺ¤šĺ€‹é›ťĺ˝ąçŻ€çš„ç?Žé …ć??ĺ??ďźŒ丌ć›žĺž—ćœ€ 佳弳丝č§’ďźŒćœ€佳弳é…?角ĺ?Šćœ€佳硨劇等掊挎。1981 嚴導柔了珏ä¸€éƒ¨é›ťĺ˝ąă€ŠčˆŠ夢ä¸?é ˆč¨˜ă€‹ďźŒč‡Ş ĺ§‹é†‰ĺżƒć–źĺš•ĺžŒçš„塼ä˝œă€‚ĺ&#x;ˇĺ°Žé›ťĺ˝ąĺŒ…ć‹Źă€Šćœ€ć„›ă€‹ă€ ă€Šĺ°‘弳ĺ°?ćź ă€‹ă€ ă€ŠäťŠ夊ä¸?回厜ă€‹ă€ ă€Šĺżƒĺ‹•ă€‹ă€ ă€Š20 30 40》〠《一個弽çˆ¸çˆ¸ă€‹ă€ ă€Šĺżľĺżľă€‹ç­‰ă€‚é™¤äş†ĺ?–ĺž—äşžć´˛ĺ?€č§€çœžäš‹čŽščłžĺ¤–ďźŒ弚ĺœ¨é›ťĺ˝ąĺœˆ çš„ćˆ?縞ĺœ¨ĺœ‹éš›ä¸Š二ćœ‰ç›¸ç•śçš„č ˛č­˝ă€‚ĺ€Ťć•Śé›ťĺ˝ąçŻ€ĺ?Šĺ¤šĺ€Ťĺ¤šé›ťĺ˝ąçŻ€ĺˆ†ĺˆĽć–ź 1989 ĺš´ĺ?Š 1992 ĺš´éƒ˝ć›ž čˆ‰螌ă€Œĺźľč‰žĺ˜‰é›ťĺ˝ąĺ›ž饧ĺą•ă€?。自硨〠自導〠自柔的《20 30 40ă€‹ĺ…Ľé ¸ 2004 ĺš´ć&#x;?林雝役節兜中 ä¸€éƒ¨çŤśčł˝ç‰‡ďźŒć&#x;?林雝役節 1992 嚴二曞邀荋弚ä˝œç‚şčŠ•寊。 Sylvia Chang began her career in both Taiwan and Hong Kong in the 1970s. For the past forty Golden Horse Awards and Hong Kong Film Awards, among others, and has won several awards for Best Actress, Best Supporting Actress, and Best Screenplay. Since her directorial debut with Once Upon a Time in 1981, Sylvia Chang has been absorbed in writing, directing, and producing her own works, including Passion, Siao Yu, Tonight Nobody Goes Home, Tempting Heart, 20 30 40, Run Papa Run, and Murmur of the Hearts ! Chang's achievements also earned her acclaim in the Western world. The London Film Festival and the Toronto International Film Festival presented special programs featuring Chang's work in 1989 and 1992 respectively. 20 30 40 # $ % % woman, was nominated for the Golden Bear at the 2004 Berlin International Film Festival. In 1992, # * $+nd Berlin International Film Festival.

13

柔出者簥䝋

弳 éŤ˜ é&#x;ł soprano

ćž—ć…ˆé&#x;ł Grace Lin

ćž—ć…ˆé&#x;łďź?č‹ąĺœ‹çš‡厜é&#x;łć¨‚é™˘ç‰šĺ„Şćź”ĺ”ąć–‡ć†‘ďźŒč‹ąĺœ‹çš‡厜é&#x;łć¨‚院é&#x;łć¨‚學壍學ä˝?ďźŒĺœ‹çŤ‹č—?ĺ°ˆé&#x;łć¨‚ 科畢漭。自 2000 ĺš´čż”č‡şäťĽäž†ďźŒć´ťčş?ć–źĺœ‹ĺ…§ĺ¤–ć­ŒĺŠ‡ă€ çĽžĺŠ‡ă€ č—?čĄ“ć­Œć›˛ç­‰ćź”ĺ”ąé ˜ĺ&#x;&#x;ďźŒčż‘ćœ&#x;柔出 ĺŒ…ć‹Źă€Š俎弳 • 厉潔莉ĺ?Ąă€‹ă€ ă€Šč –錏太ĺ?—難曲》( ĺ?°ç ŁéŚ–ćź” )〠錏ĺ‹’珏äşŒč™&#x;交é&#x;żć›˛ă€ 錏ć–ŻĺĽˆă€ŠčŽŽ 孚》〠訹常ćƒ ç´€ĺżľé&#x;łć¨‚ćœƒă€ ĺ?¤čŤžă€ŠčŽŠĺš´ĺ˝Œć’’》〠《鄉ć?‘騎壍》等。2010 嚴丌ĺ?—ćžłé–€ć¨‚ĺœ˜äš‹é‚€ďźŒ ĺ?ƒčˆ‡ćź”ĺ‡şă€Šĺ˝Œčł˝äşžă€‹ďźŒĺ?Œ嚴丌čˆ‡ NSO 柔出錏勒珏ĺ››č™&#x;交é&#x;żć›˛ă€ 《夊ć–šĺ¤œč­šă€‹ďźŒ䝼ĺ?Šĺ­&#x;垡爞 é Œ珏äşŒč™&#x;交é&#x;żć›˛ĺ’Œă€Š芊篇 42 çŻ‡ă€‹ç­‰ă€‚ć­ŒĺŠ‡ćź”ĺ‡şĺŒ…ć‹Źă€Šéœ?复ć›źçš„ć•…äş‹ă€‹ă€ ă€Šçł–ćžœĺą‹ă€‹ă€ ă€Šĺ”? ĺ–Źĺ‡Ąĺ°źă€‹ă€ ă€ŠčŒśčŠąĺĽłă€‹ă€ ă€Š弳歌缞》〠《č?ŠčŒľéťƒé‡‘》〠《弳人皆匂此》〠《埡尟ĺ?˛ĺ&#x;şĺ&#x;şă€‹ă€ 《夢 é Š弳ă€‹ă€ ă€Šé­”çŹ›ă€‹ă€ ă€Šéť›ćœľčˆ‡č‰žćś…ć–Żă€‹ç­‰ă€‚é™¤äş†大ĺž‹ćź”ĺ‡şäš‹ĺ¤–ďźŒĺ°?č—?čĄ“ć­Œć›˛ćŽ¨ĺťŁäš&#x;ä¸?é şé¤˜ĺŠ›ďźŒ 除了個人ç?¨ĺ”ąćœƒäš‹ĺ¤–ďźŒ丌ĺ?ƒčˆ‡厤內樂型ĺź?的菛座é&#x;łć¨‚ćœƒďźŒćź”ĺ‡şĺ…§ĺŽšĺ?Šĺž‹ĺź?多樣ĺŒ–ďźŒ飽ĺ?—弽芕。 Grace Lin graduated from the Royal Academy in Music in London with performance diploma with distinction. Since coming back to her home country Taiwan in 2000, she has enganged in various performances and has become one of the most sought-after singers in the country. Her most recent performances include Bach St. Matthew Passion (Taiwan premiere), Mahler Symphony No. 2, Puccini opera Suor Angelica, Mahler Symphony No. 4, Messiah, Mendelssohn Symphony No. 2 and Psalm 42, etc. Her operatic performances include: Sapho, Santuzza, Les contes d'Hoffman, Hansel und Gretel, Don Giovanni, Die Walkuere, Das Rheingold, Gianni Schicchi, Cosi fan tutte, La sonnambula, ; < =* > < < ?Wozzeck) and Bess (Porgy and Bess). Apart from concerts and operas, Grace Lin also devoted herself to art songs, recitals and lecture recitals.

14

弳 中 é&#x;ł alto

çż č‹Ľç?Ž Jo-Pei Weng

çż č‹Ľç?Žć–ź 2005 ĺš´ĺ?–ĺž—çžŽĺœ‹ç´„çż°éœ?晎金斯大學ç?ľç?śč’‚é&#x;łć¨‚é™˘ç˘ŠĺŁŤć–‡ć†‘ďźŒĺ?Œĺš´ĺ? ćœˆć›´ç?˛ĺž— 珏四幆坺č?Żć„›ć¨‚ĺ?¤ĺ…¸č? č‹ąč ˛ć¨‚éŚ–ç?Žă€‚2007 ĺš´äş”ćœˆčľ´ć—ĽćœŹćŠŤé ˆčł€ĺ?ƒĺŠ 珏ĺ? äşŒĺą†ć–°č ˛ć­Œĺ”ąĺ¤§čł˝ďźŒ 挎ç?˛äşžć´˛ĺ?€ĺ„Şĺ‹?。曞ĺ?ƒčˆ‡é‡?čŚ ćź”ĺ‡şĺŒ…ć‹ŹéŚŹć–Żĺ?Ąĺ°źć­ŒĺŠ‡ă€Šé„‰ć?‘騎壍》〠澌ĺĽ‘ĺ°źć­ŒĺŠ‡ă€Š俎弳厉潔 莉ĺ?Ąă€‹ă€ 《埡尟ĺ?˛ĺ&#x;şĺ&#x;şă€‹ă€ 《č?´č?śĺ¤Ťäşşă€‹ă€ 《瑪儂雡斯ć&#x;Żă€‹ă€ 柢ć™Žä¸ ć­ŒĺŠ‡ă€Šé&#x;“čł˝čˆ‡č‘›éş—ç‰šă€‹ă€ č?Żć źç´?ć­ŒĺŠ‡ă€Šĺ°źč˛?éž?ć šćŒ‡ç’°ă€‹ă€ čŽŤćœ­ç‰šć­ŒĺŠ‡ă€Šé­”çŹ›ă€‹ă€ ă€Š貝ĺŠ ć´›ĺŠš猎》〠ĺ°?ç´„çż°ĺ?˛ç‰šĺ‹žć–Żć­Œ 劇《č?™č? 》〠é&#x;“垡çˆžçĽžĺŠ‡ă€ŠçŒśĺ¤§éŚŹĺŠ ćŻ”ć–Żă€‹ă€ ă€Šĺ˝Œčł˝äşžă€‹ă€ ă€Šć‰€çž…é–€ă€‹ç­‰ďźŒ丌ć–źé‡‘ĺ¸Œć–‡ć­ŒĺŠ‡ 《靑鏚錏ĺ •ă€‹ĺ?ŠéŒ˘ĺ?—çŤ ć­ŒĺŠ‡ă€Šç•Ťé­‚ă€‹ä¸–ç•ŒéŚ–ćź”中擔眹柔出。2012 嚴弚ç?˛ĺœ‹çŤ‹č‡şĺŒ—č—?襓大學 é ’ç™źĺ‚‘ĺ‡şć Ąĺ?‹ç?Žă€‚ 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 , and many other roles. She was awarded the Outstanding Alumni Award by National Taipei University of the Arts in 2012.

15

演出者簡介

合 唱 指 導 chorus master

林舉嫻 Chu-Hsien Lin

中國文化大學音樂系畢業，主修聲樂，師事唐鎮教授。1986 年起 , 於美國紐澤西州立 大學羅格斯（Rutgers）大學，專攻合唱指揮。受教於紐約茱莉亞音樂院名師 Dr. Richard Westenburg 門下。Dr. Westenburg 曾讚譽林舉嫻為「一位擁有多項指揮能力的音樂工作者。 藉著她那自然、優雅的指揮技巧，很容易的就將她對音樂的摯愛與了解，傳遞給與她一同歌 唱的人，使人們隨著她一起走入音樂中真、善、美的殿堂」。1989 年，於獲得羅格斯大學 之音樂碩士後返台任教，曾任教於國立台灣藝術大學、國立臺北教育大學、國立陽明大學、 中國文化大學音樂系及基督教浸信會、台灣長老會、道生等三所神學院的聖樂系；教授合唱、 合唱指揮法、合唱教學法、合唱作品研究、聖樂合唱風格、合唱指揮研究、創意與表演、表 演 ( 舞台基素 ) 等課程。現任教於國立臺北藝術大學、私立東吳大學音樂系，擔任潔璐品聖 詠與歌手及音契合唱管絃樂團之合唱指導暨指揮。 Chu-Hsien Lin is a graduate of the Chinese Culture University and Rutgers University, the State University of New Jersey, where she received her Master of Music in Choral Conducting. Music Director of the Musica Sacra had said about her: She is a naturally graceful person in her gestures and possesses a fluid and attractive conducting technique, she is a thoroughly pleasant person to work with, and she is a persuasive leader of people, transmitting to them her enthusiasm for the beauties and the meanings of the music she is doing. Ms. Lin has taught choral conducting, body-movement and directs choirs at Taipei National University of the Arts and Soochow University since 1990. She also is a choral conductor of the Yin Qi Symphony Orchestra and Chorus. In 1999 Ms. Lin founded the Cherubim Singers, and has been its conductor since that time.

16

ć?ąĺ?łĺ¤§ĺ­¸é&#x;łć¨‚çłťĺ?ˆĺ”ąĺœ˜ SCU Department of Music Choral

ć?ąĺ?łĺ¤§ĺ­¸é&#x;łć¨‚çłťĺ?ˆĺ”ąĺœ˜ć–ź 1972 ĺš´ćˆ?çŤ‹ďźŒĺŽ&#x;ç‚şç´”ĺĽłč ˛çľ„ćˆ?çš„ĺ?ˆĺ”ąĺœ˜ďźŒč‡Ş 1999 嚴辡ç´?兼了 丝俎čˆ‡é ¸äżŽçš„ç”ˇč ˛ďźŒćˆ?ç‚şćˇˇč ˛ĺ?ˆĺ”ąĺœ˜ă€‚ĺ‰ľĺœ˜䝼äž†ďźŒć­ˇçś“éťƒĺĽ‰ĺ„€丝䝝〠ć?Žé?œć Šă€ 邹賢苹〠孍清 ĺ?‰ă€ 林麗瑛等多ä˝?č€ 帍ćŒ‡ĺ°Žă€‚č‡Ş 1991 嚴辡ďźŒĺ?łç”ąćž—čˆ‰卝č€ 帍ć“”äťťćŒ‡ć?Žčż„䝊。é&#x;łć¨‚çłťĺ?ˆĺ”ąĺœ˜ ĺœ¨čŞ˛ç¨‹中ďźŒćś‰ç?ľć›˛ç›ŽĺťŁćł›â”€ç”ąć–‡č—?垊čˆˆć™‚ćœ&#x;çš„ĺ?ˆĺ”ąä˝œĺ“ ĺˆ°čż‘䝣ďź›ĺ?Œč ˛ĺˆ°ćˇˇč ˛ďź›ĺ°?çľ„é‡?ĺ”ąĺˆ°ĺ¤§ ĺ?ˆĺ”ąďźŒč—‰č‘—柔唹ä¸?ĺ?Œć™‚ćœ&#x;çš„çś“ĺ…¸ä˝œĺ“ ďźŒäž†ĺ­¸çż’ä¸?ĺ?Œé&#x;łć¨‚é˘¨ć źçš„芎é‡‹ďźŒé?›é?Šć­Œĺ”ąçš„čƒ˝ĺŠ›čˆ‡ĺ?ˆĺ”ą 技塧ďźŒ亍ĺ?—ĺ?ˆĺ”ąé&#x;łć¨‚äš‹çžŽďź @ * X[+ ! \ ] <* # # ^ Not until 1999 did the choral recruit men in. The choral has experienced the instruction under Director Huang, Fong-Yi, Ching-En Li, Hsien-Ying Chiu, Ching-Chi Sun, Li-Ying Lin. Since 1991, professor Lin, Chu-Hsien has conducted the choral. Through the courses, the choral learns various music styles- from Renaissance to Modern, from male/female's choral to mixed choral. By performing works from different age, the choral acquires diverse interpretations for the styles, the _ * *

弳éŤ˜é&#x;łă€€çŽ‹ć˛›錨　ć?Ž佊éœ–ă€€ć?ŽçžŽč“ 　邹匂ć„?　ĺž?ć Źć Š 　　　　訹ć–‡錨ă€€éťƒéƒ ćśľă€€éťƒç…’ç?şă€€éťŽĺ‡ąćž—　čŹ?甄劕 弳中é&#x;łă€€ä˝™ĺ­Łĺ„’　ć?Ž忝匤　ć?Žă€€ć˜•ă€€ćž—麗悅　埾ç?Śćƒ ă€€ă€€ă€€ă€€é™łă€€č‘śă€€éťƒé?–é›Żă€€ĺť–éŒŚäż?ă€€ĺŠ‰äş­ç­ ă€€č•­ă€€ç‘€

17

柔出者簥䝋

ć˝”ç’?ĺ“ ć­Œć‰‹ Cherubim Singers

ć˝”ç’?ĺ“ ć­Œć‰‹ć˜Żç”ąä¸€瞤éĄ˜ć„?ă€Œç”¨é&#x;łć¨‚äž†čŚ‹č­‰ă€ ĺˆ†亍ç”&#x;ĺ‘˝ă€?的習樂者所羄ćˆ?ďźŒé›–ç„śäž†č‡Şć–źä¸? ĺ?Œçš„čƒŒć™Żă€ ĺ­¸ć ĄďźŒĺ¤šć•¸ĺ?ťćœ‰č‘—相ĺ?Œçš„俥䝰ďźŒčˆ‡ĺ°?é&#x;łć¨‚çš„ĺ&#x;ˇč‘—ĺ?Šç†ąĺżąă€‚除了ĺ?ˆĺ”ąďźŒäť–們äš&#x;掼ĺ?— ĺ€‹ĺˆĽçš„é‚€ç´„ĺœ¨ä¸?ĺ?Œçš„é&#x;łć¨‚ćœƒ中ďźŒć“”äťťç?¨ĺ”ąćˆ–é‡?ĺ”ąďźŒĺ°ˆ漭čƒ˝ĺŠ›ĺ?—ĺˆ°äş†ĺ¤šć–šçš„č‚ŻĺŽšă€‚é€™瞤ć­Œć‰‹ĺ€‘ ĺœ¨ä¸€辡čˆ‰čĄŒé Žă€Šč¤‡é&#x;łé&#x;łć¨‚䚋瞎》〠《芊çŻ‡čˆ‡é?ˆć­Œçš„ĺ°?芹ă€‹ă€ ă€Šč‹ąĺœ‹風 • ĺ?ˆĺ”ąć¨‚厴ă€‹ă€ ă€Šé˜ż 瑪迪斯ďź?上ĺ¸?䚋愛》〠《é&#x;“垡çˆžďźšĺ˝Œčł˝äşžă€‹ă€ ă€Š塴辍ďźšč –ćŻ?莚丝ć›˛ă€‹ă€ ă€Šçś“ć–‡ć­Œčˆ‡ć¸…ĺ”ąĺŠ‡ă€‹ă€ ă€Šé&#x;‹ç“ŚçŹŹçš„挎č€€é Œă€‹ç­‰ĺ°ˆéĄŒĺź?çš„é&#x;łć¨‚ćœƒďźŒçś“常應邀柔唹ä¸?ĺ?Œć™‚ćœ&#x;äš‹çś“ć–‡ć­Œă€ ç‰§ć­Œă€ éť‘äşşé?ˆć­Œă€ 中ĺ¤–ć°‘čŹ ĺ’Œĺ‰ľä˝œć­Œć›˛ç­‰ďźŒĺ†?ĺ†?čŽ“č ˝çœžĺ€‘ç•™ä¸‹äş†桹ĺˆťçš„ĺ?°čąĄă€‚ Cherubim Singers is a group of musicians who devote to "witness and share life with music". Though the members come from different educational or general backgrounds, most of them share mutual religious belief, and also the enthusiasm and perseverance towards music. Other than chorus performances, the members are invited individually to perform as solo singers or ensemble parts. Their strength as professional singers has been approved extensively. Cherubim Singers performed plenty of thematic concerts, such as "The Beauty of Polyphonic Music", "The Dialog between Psalms and Spiritual Songs", "The Choral Feast in English Style", ` * j { ` `| } < ` `~ ! = } < ` `< ` and "Vivaldi's Gloria". They are not only often invited to sing motets, madrigals of different historical periods, but also constantly perform black gospel music, Chinese and foreign folk songs, or even contemporary creations. Each performance impressed the audience dearly.

弳éŤ˜é&#x;łă€€çŽ‹䝼çžšă€€çŽ‹ćš˜ç­‘ă€€ćž—ĺ‡Ąéˆ´ă€€ćž—č˛žĺ?&#x;ă€€ĺ§šć˜Ľäźś ă€€ă€€ă€€ă€€éŤ˜é›…čŠłă€€ĺźľç‘€ç??ă€€ĺźľčŹ™ćƒ ă€€čŽŠč‹ĄčŽ›ă€€é„­ĺ¸†务 弳中é&#x;łă€€ĺ‡Œĺ­&#x;湜　庡ć˜­ĺœ‹ă€€芚采函　坖ç?Žč‰Żă€€ĺŠ‰塧祯 　　　　劉揣ć€Ąă€€ĺŠ‰ć˜ąĺ?‡ă€€č”ĄĺŽœĺş­ă€€çŠ†ć ŠçžŽă€€ç°Ąç’‡č“‰

18

劇 ćœŹ 攚 硨 script adaptation

ç„Śĺ…ƒ溼 YuanPu Chiao

ä¸?ĺ‹™正漭çš„ĺ?°ĺ¤§ć”żć˛ťçłťĺœ‹éš›é—œäż‚學壍ă€ çžŽĺœ‹ä˝›č?ŠĺĽ‘çˆžĺ­¸é™˘ćł•ĺž‹čˆ‡ĺ¤–交碊壍ďźŒäš&#x;ć˜Żä¸?誤正 漭çš„大č‹ąĺœ–ć›¸é¤¨ć„›迪ç”&#x;ç ”犜ĺ“ĄďźŒĺ€Ťć•Śĺœ‹çŽ‹ĺ­¸é™˘é&#x;łć¨‚ĺ­¸ĺ?š壍ă€‚č‘—ćœ‰ć¨‚čŠ•é ¸é›†ă€Šçś“ĺ…¸ CD 縹抍觀》 çłťĺˆ—ä¸‰ć›¸ďźˆč Żçś“ďźŒ2005ďź‰ă€ ă€ŠčŽŤćœ­ç‰šé&#x;łć¨‚ CD čŠ•é‘‘ă€‹ďźˆč Żçś“ďźŒ2006ďź‰ă€ ă€Šé Šč—?éť‘ç™˝â€”ä¸–ç•Œé‹ź ç?´ĺŽśč¨Şĺ•?éŒ„ă€‹ďźˆč Żçś“ďźŒ2007ďź›ć—Ľć–‡ç‰ˆç”ą Alphabeta Publishing ç™źčĄŒďź‰ă€ ĺ°ˆćŹ„é ¸é›†ă€Šć¨‚äž†ć¨‚ćƒłă€‹ ďźˆč Żçś“ďźŒ2008ďź‰čˆ‡ă€Šč ˝čŚ‹č•­é‚Śă€‹ďźˆč Żçś“ďźŒ2010ďź‰ă€‚ćœ€ć–°č‘—ä˝œç‚şĺ?¤ĺ…¸é&#x;łć¨‚ĺ…Ľé–€ć›¸ă€Šć¨‚äš‹ćœŹäş‹ă€‹ ďźˆč Żçś“ďźŒ2014ďź›ç°ĄéŤ”ç‰ˆç”ąç?†ćƒłĺœ‹ç™źčĄŒďź‰ă€‚ ć–‡ĺ­—ĺ‰ľä˝œĺ¤–ďźŒç„Śĺ…ƒ溼äš&#x;ć“”äťťĺœ‹厜交é&#x;żć¨‚ĺœ˜ă€Œç„ŚéťžčŹ›座ă€?ç­–ĺŠƒďźŒă€Œ20X10 č•­é‚Śé&#x;łć¨‚節ă€? ďźˆ2010ďź‰ĺ’Œă€ŒDebussy Touch é‹źç?´é&#x;łć¨‚節ă€?ďźˆ2012č—?襓總ç›ŁďźŒĺ?°ä¸­ĺ?¤ĺ…¸é&#x;łć¨‚ĺ?° FM97.7 ĺ’Œ Taipei Bravo 雝ĺ?° FM91.3ă€Œç„Śéťžé&#x;łć¨‚ă€?ĺ’Œă€ŒNSO Live 雲獯é&#x;łć¨‚ĺťłă€?丝ćŒ äşşďźŒĺ‰?者ç?˛é‡‘é?˜ç?Žćœ€ 佳é?žćľ čĄŒé&#x;łć¨‚節盎ç?Žďźˆ2013。 Born in Taipei, YuanPu Chiao is a PhD of Musicology, King's College, London. He has written nine books on piano music, pianists, and classical music in general, which have been published in ~ | # * * # and magazines in Taiwan and China. His radio programs can be heard on Taichung Classical Radio Station (FM97.7) and Taipei Bravo (FM91.3).

19

柔出者簥䝋

語 é&#x;ť ćŒ‡ ĺ°Ž diction coach

éƒŽçĽ–ç­ Tsu-Yun Lang

éƒŽçĽ–ç­ ç•˘ćĽ­ć–źĺ?°ç Łĺœ‹çŤ‹č—?čĄ“ĺ­¸é™˘ćˆ˛ĺŠ‡çłťďźŒ丝俎襨ćź”ďźŒç?žç‚şă€Œć˜ĽçŚžĺŠ‡ĺœ˜ć•™ĺ­¸ćš¨č—?襓總監ă€?。 ĺžžĺ°?熹愛襨ćź”ďźŒ1997 嚴䝼é›ťčŚ–ă€Šćˆ‘ĺ€‘ä¸€厜éƒ˝ć˜Żäşşă€‹éŚ–ĺš?雝茖金é?˜ç?Žă€‚1999 ĺš´äž?垪ĺ?¤çŚŽďźŒć‹œ ćŠ•ă€Œäşşé–“ĺœ‹寜ç›¸č ˛ĺ¤§ĺ¸Ťă€?ĺ?łĺ…†ĺ?—é–€ä¸‹ďźŒćˆ?為兜門下唯一弳ĺź&#x;ĺ­?ă€‚éš”ĺš´ďźŒ2000 ĺš´ĺ?łäťĽčą?ĺŻŒçš„ĺ‚ł 媒眓銗ĺ?Š桹ĺˆťĺĽłć€§ç?żć™şčŚ–é‡Žĺ‰ľçŤ‹äş†ă€Œć˜ĽçŚžĺŠ‡ĺœ˜ă€?ĺ?Šă€Œ襨ćź”ĺ­¸ĺ ‚ă€?ďźŒç›Žçš„ĺœ¨ĺ°‡č—?襓襨柔回鼋礞 ćœƒďźŒçŠ?漾ĺ&#x;šč‚˛čĄ¨ćź”č—?襓人ć‰?。2003 ĺš´ć˜ĽçŚžĺŠ‡ĺœ˜ĺ°‡čˆžĺ?°ĺŠ‡č‘—ä˝œă€Šć„›ćƒ…ĺ“‡ć˛™çąłă€‹ć”šçˇ¨ç‚şé›ťčŚ–ĺŠ‡ é›†ďźŒĺ?Œć™‚ĺ…Ľĺœ?金é?˜ç?Žĺ¤šé …掊挎。自 2006 嚴辡é€?揥ç?˛é‚€ć“”䝝坣播金é?˜čŠ•寊〠雝茖金é?˜ç?ŽčŠ•寊〠金錏ç?Ž獜賽片芕寊。2007 ĺš´ĺ&#x;ˇĺ°Žé›ťčŚ–ćƒ…ĺ˘ƒĺ–œĺŠ‡ă€Š弽瞎麗診ć‰€ă€‹ďźŒé–‹ĺ•&#x;ĺ?°ç Łé›ťčŚ–ĺ?˛ä¸Šć–°é˘¨ć źă€‚ 2009 ĺš´ć“”äťťé›ťčŚ–čżˇä˝ ĺ˝ąé›†ă€Šćœ‰ä˝ çœ&#x;弽》製ä˝œäşşďźŒ二ĺ…Ľĺœ?ĺ¤šé …é›ťčŚ–é‡‘é?˜ç?ŽćŽŠ挎。2014 嚴䝼雝 役ă€Šç”œčœœ掺ćŠ&#x;》兼ĺœ? 103 嚴庌金錏ç?Žćœ€佳弳é…?角ç?Žă€‚ Tsu-Yun Lang is the artistic director of the Spring Sun Performing Art Troupe. In 1997, she { = # % sitcom, All In the Family are Humans. Later in 1999, she followed the ancient ritual to be a protegĂŠe of the 'National Walking Treasure, the crosstalk master', Zhao-Nan Wu, and has become the only female student of his. Next in 2000, she founded the Spring Sun Performing Art Troupe, aiming to contribute to the society in return by giving performing art and by educating promising talents in +  ! !* Love Wasabi, into a television script, earning itself nominations in multiple categories of Golden Bell Awards. Since 2006, Lang has been successively invited as one of the board committees of Broadcast Golden Bell Awards, Television Golden Bell Awards, and Golden Horse Film Festival and Awards. In 2009, she was the producer of the TV mini-series, So Good to Have You, which was also nominated in many categories of Television Golden Bell Award. Lang was nominated the Best Supporting Actress in the 51st Golden Horse Award for her performance in Sweet Alibis in 2014.

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戲 劇 統 籌 visual director

石佩玉 Pei-Yu Shih

石佩玉現任飛人集社劇團團長。創作經歷 / 作品以「偶」為主要創作元素，2004 年起擔 任飛人集社劇團偶戲編導。曾與沙丁龐客劇團、河床劇團、NSO 合作，並多次獲台新藝術 獎提名。近期導演作品：2015 飛人集社《吉光片羽》/ 台南 321 小戲節；2015 國光劇團《幻 戲》/ 小劇場大夢想；2014 飛人集社《測量》、2011-2014 台法合作案《初生》、《長大的 那一天》、《消失─神木下的夢》； NSO《鼠際大戰》、《2009 萬聖派對》。偶戲設計製作： 2011 於美國愛荷華州 Grinnell College 合作《naked》；2015 於馬來西亞與【平台計劃劇團】 合作《赤鬼》。策畫經歷：2010 年起策畫第一屆【Close to YOU 超親密小戲節】至今。裝置 作品：2014《打包》北美館兒童藝術教育中心開幕展；2012《大野狼的肚子》第十三屆臺北 兒童藝術節 / 寶藏巖。 Pei-Yu Shih is a director and playwright of puppetry, as well as a senior producer and arts administrator with rich experience in performing arts companies' managements, international collaborations, and arts festival planning and execution. In 2004, she founded Flying Group Theatre, an arts company dedicated to puppetry, and has been a curator of Close to YOU International Puppet Festival Taipei since 2010. As a puppet designer, she has worked with Theatre De La Sardine, Riverbed theatre, Shakespeare's Wild Sisters Group, Shining Shoes children theatre, National Symphony Orchestra. She directed A Sleep and a Forgetting, a three-year production in Marseilles and Taipei.

21

演出者簡介

演 員 actor

劉向 Hsiang Liu

劉向畢業於樹德科技大學表演藝術系。曾參與戲盒劇團《島語錄》、《湊熱鬧》，偶偶 偶劇團《蠻牛傳奇》，飛人集社《吉光片羽》，狂想劇團《解》，紙風車劇團《紙風車幻想 曲》，圓頭阿尚《極樂幸福相談所》，九歌兒童劇團《燈籠傳奇》，達康 .come 漫才塾系列， 《SAMSUNG GALAXY S6 裝熟篇》( 影像製作 ) 等演出，同時，也是一位日式漫才演員。 除戲劇演出外，劉向擁有豐富劇場技術人員及製作助理經驗，多次參與臺灣各大劇團之劇場 製作。 Hsiang Liu graduated from the Department of Performing Arts of Shu-Te University. As a theatrical actor, Mr. Liu collaborated with many theater companies in Taiwan and participated in the productions such as Ca a l'air solitaire and DON DON LONG DON CHENG by Playbox Theatre; Undo by Fantasy theatre; The Legend of Lantern by Song Song Song Children's & Puppet Theatre, Ultimate Happiness Service Bar by Yan Dao A Sun, and works by Flying Group Theatre and Puppet Beings Theater Company. Mr. Liu is a Manzia performer as well.

22

飛人集礞ĺŠ‡ĺœ˜ Flying Group Theatre

飛人集礞ĺŠ‡ĺœ˜ćˆ?獋斟 2004 ĺš´ 5 ćœˆă€‚ă€ŒéŁ›äşşă€?ĺ?–兜荧é&#x;łă€Œé?žäşş = ĺ śă€?ďźŒć„?ćŒ‡ĺœ¨ĺŠ‡ĺ ´č‡Şç”ą éŁ›čĄŒçš„č—?čĄ“ĺ‰ľä˝œč€…é›†ĺ?ˆäš‹ć‰€ă€‚ä¸ťčŚ ĺ‰ľä˝œ形ç‚şă€Œĺ śă€?ďźŒä˝œĺ“ ć›žĺ¤š揥ç?˛ĺ?°ć–°č—?襓ç?Žć??ĺ??ďźŒ丌ĺ?—é‚€ č‡şç Łă€ ĺŒ—亏〠č?ˇč˜­ă€ ćł•ĺœ‹ă€ ć–°ĺŠ ĺ?Ąĺ?„č—?襓節柔出。製ä˝œčŚ?ć źĺŽšä˝?ç‚şă€Œ䝼ĺ¤šĺ…ƒč¤‡ĺ?ˆçš„粞缞製ä˝œ ĺ‰ľä˝œĺ°?čŚ?樥〠丌ćŒ‘ćˆ°ĺ‚łçľąč§€čłžčˇ?離的襨ćź”č—?čĄ“ä˝œĺ“ ă€?。ćˆ?çŤ‹č‡łäťŠďźŒä˝œĺ“ ç™źčĄ¨ĺ¤šĺ…ƒďźŒćśľč“‹ç?ž äťŁĺ śćˆ˛ă€ č ˝čŚşä˝œĺ“ ă€ čŁ?罎ä˝œĺ“ ă€Šć‰“ĺŒ…ă€‹ ĺŒ—çžŽ館ă€‚ĺœ˜é•ˇç&#x;łä˝ŠçŽ‰ć“”äťťĺ śćˆ˛ĺ°Žćź”ä˝œĺ“ ĺŒ…ć‹Ź NSOă€Šéź éš›大ćˆ°ă€‹ă€ ă€Šč?Źč –ć´žĺ°?》ĺ?Šă€ŠćŒ‡ĺ°–上的嚝蹥》光役設č¨ˆă€‚2010 嚴丝螌錖幆〔蜅茪密ĺ°?ćˆ˛çŻ€ă€• ( Close to YOU International Puppet Festival) ćŽ¨ĺ‹•čżˇä˝ ĺ śćˆ˛č‡łäťŠă€‚ç­–ç•Ťčˇ¨ĺœ‹ĺ?ˆä˝œćĄˆďźŒĺŒ…ć‹Ź 20112013ă€Œĺ?°ćł•ĺ?ˆä˝œćĄˆă€Šä¸€ç?Ąä¸€é†’ä¸‰éƒ¨ć›˛ă€‹ă€?ďźŒ2015-2016ă€Œĺ?°éŚŹĺ?ˆä˝œćĄˆă€Š辤鏟》ă€?。 Flying Group Theatre was established in May, 2004. In Chinese, its name is a phonetic wordplay on "non-human," suggesting puppetry, while at the same time evoking the image of a # > * # earlier years following the group's inception, puppetry was the main focus of creative expression. The group's work was nominated for the Taishin Art Award numerous times, and was invited to _ # = „ @ ! @ { * Theatre strives to produce performance pieces which follow the spirit of multimedia integration, are intimate in scale, and challenge the traditionally accepted distance between performer and spectator. ĺŠ‡ĺœ˜製ä˝œ瞤 ćˆ˛ĺŠ‡çľąçąŒâˆŁç&#x;łä˝ŠçŽ‰ 役ĺƒ?設č¨ˆâˆŁčł€饯ĺ…‰ ĺ…‰役ćˆ˛č¨­č¨ˆâ”‚訹䚃錨 ç‡ˆĺ…‰設č¨ˆâˆŁé„§ćŒŻĺ¨

čˆžĺ?° / ĺ°?é “ĺ…ˇč¨­č¨ˆâˆŁéťƒĺť‰棨 čˆžĺ?°ç›Łç?ŁâˆŁćž—岹蓉 役ĺƒ?ĺ&#x;ˇčĄŒâˆŁćž—韎泰

23

樂團簡介

自信而精銳 國家交響樂團 「…NSO 音樂總監呂紹嘉忠實地呈現出荀白克 ( 音樂 ) 的兩面，在他指揮下，（《古勒之歌》）如 華格納音樂般深厚的前半部，帶著猶似德布西音樂的透明感；並以如馬勒音樂般的寬宏展開後半部。」 ─英國《金融時報》2015.1 「今晚真正的明星是國家交響樂團。呂紹嘉與他訓練有素的團員，傾注全力激情流露。樂曲的高 潮令人震撼，但不咄咄逼人。唯有最好的世界級樂團能夠演奏得如此響亮而不刺耳。此曲有非常豐富的 細節，一般很難被鉅細靡遺的面面俱到，但在呂紹嘉帶領下，我聽到的細節比任何一張唱片都要多。」 ─奧地利《新標點》2015.2 「樂團迸發出如奔流般華麗宏大的音響，然而我幾乎不曾聽過舞台與樂池間如此完美的平衡。呂 紹嘉全然投入指揮，確實展現精緻的透明性。」

─英國《歌劇》雜誌 2015.1

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。經過近三十年耕耘，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「台灣之音」。 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，2014 年 4 月改隸國家表演藝術中 心，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 99 名團員，每年樂季演出約 75 場次。在歷任總監、藝術顧問的擘劃下，為樂團系統性拓 展曲目，以各種跨界製作開創多項國內先例；為 NSO 訓練出堅實的演奏實力與動人音樂性，建立駐團作 曲家計畫，提供國人作品更多發表空間。 2010 年起，音樂總監呂紹嘉以多元化主題貫穿樂季，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；歌劇演出從跨國製作到深耕國內：《艾蕾克特拉》(2011)、《蝴蝶夫人》(2012)、《女武神》(2013)、 《莎樂美》(2014) 、《費黛里歐》(2015)，次次展現令國際樂評驚豔的製作。呂紹嘉不僅積極拓展樂團演 奏近代管絃樂作品的能力，更致力於鞏固精鍊古典經典名作，同時持續國人管絃樂創作之演出、錄音。 2011 年起，呂紹嘉帶領樂團積極展開海外巡演，2011 年廣州亞運音樂節、2012 東北亞巡演、2013 歐洲 巡演等均獲得亞洲及歐美樂評的高度讚譽。 近 30 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、麥可桑德林等；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、薩洛等； 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、弗黎崔希等上千位國際知名音樂家。

24

National Symphony Orchestra “To his credit, NSO music director Shao-Chia LĂź was faithful to both SchĂśnbergs, rendering the Wagnerian depth of the opening section with almost Debussy-like transparency while letting the later ďź?Financial Times 2015/1/1 portions unfold with Mahlerian breadth.â€? “The real star of the show was Taiwan Philharmonic. Shao-Chia LĂź drew a full measure of passionate outpouring from his superbly trained musicians. Climaxes were overwhelming but never overbearing. Only world's greatest orchestras can play so loud without becoming garish. The score is so rich in detail that no single interpretation can reveal it all, but under LĂź's direction I heard more ďź?derneue Merker 2015/2 than in any recording. “ >+

such ideal balance between stage and pit. Shao-Chia Lß conducted with total commitment, ensuring �Opera, UK 2015/1 exquisite transparence.� Founded in 1986, the National Symphony Orchestra, also known as the Taiwan Philharmonic, is hailed as one of the best orchestras in the Asian Region and became the resident orchestra of the National Chiang Kai-Shek Cultural Center in 2005. Starting April 2014, the NSO has become

(

G J 9 Q Chia Lß 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 99 members presents a 40-week musical season of approximately 75 concerts/ chamber recitals and one opera production each year. It also launched educational programs and outreach projects constantly. Tour performances are regularly offered throughout Taiwan and overseas. It has toured to Vienna, Paris, Berlin, Geneva, Milan, Singapore, Kuala Lumpur, Sapporo, Tokyo, Yokohama, Hong Kong and major cities in China. The NSO works with internationally acclaimed conductors, such as Lorin Maazel, Krzysztof Penderecki, Rudolf Barshai, Leonard Slatkin, Christopher Hogwood, Oleg Caetani, Gennady Rozhdestvensky, Michael Sanderling 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 $\ 5 Rhein, 2007), Carmen $] 5 ^ 9 _ (

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5

5 Australia, 2009), $5 J `{|`3 Fidelio $} 5 `{|~3 well as in-house production Die WalkĂźre $`{| 3

Salome $`{|€3

25

樂團簡介

攝影 Raymond Huang

26

國家交響樂團

音樂總監 桂冠指揮

呂紹嘉 根特•赫比希

駐團指揮

張尹芳

第一小提琴

★ 吳庭毓

★ 李宜錦

☆鄧皓敦

○ 陳逸群

郭昱麟

林基弘

梁坤豪

陳逸農

卓曉青

方俊人

黃佳頎

李庭芳

賴佳奇

林孟穎

李家豪

曾智弘

蔡竺君

＊ 白浩胤

● 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

● 黃瑞儀

◎ 鄧啟全

○ 呂昭瑩

黃雅琪

李靖宜

謝君玲

呂孟珊

李思琪

陳猶白

蔡秉璋

吳彥廷

鄧宛雯

● 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

＊林君翰

低音提琴

● 傅永和

◎ 蘇億容

○ 周春祥

王淑瑜

黃筱清

王淑宜

連珮致

蔡歆婕

長 笛

● 安德石

◎ 宮崎千佳

李 浚

◎ 阮黃松

楊舒婷

王婉如

曹予勉

＊王濟揚

第二小提琴

中 提 琴

大 提 琴

短 笛

鐘美川

雙 簧 管

● 王怡靜

英 國 管

李明怡

單 簧 管

● 朱玫玲

◎ 張凱婷

朱偉誼

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

◎傅后銘

○黃任賢

小 號

● 宇新樂

◎ 陳長伯

張景民

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

豎 琴

● 解 瑄

鍵 盤

▲ 許毓婷

執行長 企畫演出經理 整銷推廣經理

邱 瑗 杜佳舫 王承禹

音樂總監執行祕書 黃毓棻

孫正茸

國田朋宏 鄒儒吉

楊璧慈

企畫演出

整銷推廣

企畫組長 謝祥雯 企畫專員 賴盈帆 賴曉俐 林珊卉 人事組長 林碧珠 譜務專員 高婉瑜 舞台監督 高冠勳 助理舞監 潘柏宏 蘇敬涵 法務專員 劉善謙 行政專員 苗媛如 行政助理 沈靜宜

行銷組長 鄭巧琪 行銷專員 陳卜湄 曾柏雄 郭玲孜 葉儒芯 潘薇方 林欣儀▓

★樂團首席 ☆樂團副首席 ●首席 ◎副首席 ○助理首席 ▓留職停薪 ▲樂季合約人員 ＊NSO樂團學苑學員

法律顧問 林信和 音樂諮詢 焦元溥 錄音製作

27

National Symphony Orchestra Music Director Shao-Chia Lü

Double Bass

Conductor Laureate Günther Herbig

◎

● ○

Resident Conductor Yin-Fang Chang First Violin ★ Ting-Yu Wu ★ I-Ching Li Hao-Tun Teng ○ Yi-Chun Chen Yu-Lin Kuo Ji-Hung Lin 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 Chih-Hong Tseng Chu-Chun Tsai ＊Hao-Yin Pai ● ◎

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 Chang-Wen Hung Wei-Hong Chen Chih-Hsiang Wang

Viola ● ◎ ○

Flute ● ◎

Grace Huang Chi-Chuan Teng Chao-Ying Lu Yea-Chyi Hwang Jing-Yi Lee Juin-Ling Shieh Meng-San Lu Szu-Chi Li Jubel Chen Ping-Chang Tsai Yen-Ting Wu Wan-Wen Eve Teng

Cello Lana Hsiung Yi-Shien Lien ○ Chih-Yi Wei Ming-Meei Lieu Yu-Wen Chou I-Ting Chen Yi-Hsien Lin Jih-Sheng Huang Ming-Huei Su Ying-Chi Tang ＊Chun-Han Lin

Mei-Chuan Chung

Oboe ● ◎

Ming-I Lee

Clarinet ●

May-Lin Ju Kai-Ting Chang Wei-I Chu Cheng-Jung Sun

Bassoon ● ◎

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

Percussion ●

Jer-Huei Chen Chen-Hsing Chen Pi-Tzu Yang

Harp ●

Shuen Chieh

Keyboard ▲Yu-Ting Hsu

Executive Director Joyce Chiou

Manager, Planning & Production Sarah Tu

Manager, Marketing & Development Paul Wang

Secretary of Music Director Yu-Fen Huang

Planning & Production Assistant Manager Shelby Hsieh

Programme Coordinator Ying-Fan Lai Lizi Lai Sophie Lin

Assistant Manager, Personnel Bibi Lin

Librarian Brittney Kao

Stage Manager Kuan-Hsun Kao

Assistant Stage Manager

Contrabassoon En-Yi Chien

Horn Yi-Hsin Cindy Liu ◎ Lewis Yeo Meng Poh ○ Jen-Hsien Huang Tomohiro Kunita Wan-Ju Wang Yu-Mien Tsao ＊ Chih-Yang Wang ●

Trumpet ● ◎

Nicolas Rusillon Chang-Po Chen Ching-Min Chang Loo-Kit Chong

Trombone ● ◎

Kuang-Ching Sung Hang-Fat Shiu Chung-Sheng Chen

Bass Trombone Hsiao-Yun Peng

◎

★Concertmaster

I-Ching Wang Tung Nguyen Hoang Shu-Ting Yang

English Horn

●

28

Anders Norell Chika Miyazaki Chuin Lee

Piccolo

◎

Second Violin

Yung-Ho Fu Yi-Juan Su Chun-Shiang Chou Su-Yu Wang Hsiao-Ching Huang Shu-Yi Wang Pei-Chih Lien Hsin-Chieh Tsai

Tuba ●

Odin Pan Ching- Han Su

Legal Affairs Cary Liu

Administrator Yuan-Ju Miao

Administration Assistant Jing-Yi Shen

Marketing & Development Assistant Manager Chiau-Chi Cheng

Marketing Coordinator Pu-Mei Chen Po-Hsiung Tseng Katherine Kuo Ashley Yeh Wei-Fang Pan Eileen Lin■

Legal Consultant Hsin-Ho Lin

Concert Dramaturgist Yuan-Pu Chiao

Recording Partnership

Jun Miyanishi

Timpani ● ◎

Ya-Wen Lien Ting-Chuan Chen

Associate Concertmaster ●Principal ◎Associate Principal ○Assistant Principal ■On Leave ▲Season Contracted Musicians ＊NSO Orchestra Academy

29

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