NSO 2021樂季手冊 by NSO國家交響樂團National Symphony Orchestra

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NSO 藝企夥伴

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黃尹方

李光陸

NSO 守護者 ‧ 財團法人建弘文教基金會 ‧ 財團法人新北市私立歐榮發社會福利慈善事業基金會王儷玲 ‧ 吳淑芳 ‧ 吳英俊 ‧ 李鎗吉 ‧ 李松季 ‧ 林燕 ‧ 姚啟甲 ‧ 陳桂標 ‧ 楊鎮源劉思楨 ‧ 樓海鳥 ‧ 謝炎盛

NSO 好朋友王伶文 ‧ 王植熙 ‧ 陳婉如 ‧ 單聯璜

NSO 築夢者宋記手作饅頭 ‧ 悅聲志業股份有限公司 ‧ 朱俊誠 ‧ 吳秋玲 ‧ 林妤妘林政雄 ‧ 林哲逸 ‧ 唐齊享 ‧ 蔡穗珍 ‧ 蔡昀廷 ‧ 謝宜璇 ‧ 韓昆舉

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目次 C O N T E N T S

藝術顧問前言時代的傳承與發揚文 / 李秋玫 Carrying Forward the Heritage of Time: Thoughts from Shao-Chia Lü, by Chiu-Mei Li

樂季行事曆 Season Calendar

藝術顧問｜呂紹嘉 Artistic Advisor Shao-Chia Lü

桂冠指揮｜根特・赫比希 Conductor Laureate Günther Herbig

駐團指揮｜張尹芳 Resident Conductor Yin-Fang Chang

樂團首席｜吳庭毓 Concertmaster Ting-Yu Wu

代理樂團首席｜鄧皓敦 Acting Concertmaster Hao-Tun Teng

認識國家交響樂團 About Taiwan Philharmonic (NSO)

駐團音樂家｜黃俊文：不當明星的小提琴家．文 / 劉煦 Paul Huang: the unassuming, rapidly-rising star of Taiwan, by Lu Hsu

2020/2021 SEASON OVERVIEW by Robert Markow

「世間諸事皆為玩笑」— 威爾第的《法斯塔夫》．文 / 羅基敏

VERDI: FALSTAFF, by Robert Markow

與君同樂，用音樂帶領不同族群共享歡「樂」時光．文 / 愛樂實驗室 Restoring joy to the elderly with dementia, by Music Lab

樂季音樂會 Season Concerts

室內樂與講座音樂會 Chamber & Lecture Concerts

108

客席音樂家 Guest Artists

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溯十九世紀末，經過了戰爭之後的歐洲出現了幾個新興的民族，不但躋身國際，也為藝術注入了別於傳統的新血。身為世界藝術的中心，維也納成為藝術的匯流

之地，在志同道合下，不同領域的藝術家們打造了分離派會館。閃耀的金色門楣上刻上了不朽的宣言－－「時代有它的藝術，藝術有它的自由」（Der Zeit ihre kunst, der Kunst ihre Freiheit）。兩行字，闡述的是當代的心聲，也融合著過往的基底與未來展望。而展間即使是繪畫，卻以馬勒的形象暗喻英雄角色，在貝多芬的合唱交響曲場景中得到昇華，處處響著雋永之聲。時至百年後的今天，音樂仍舊存在於每個已知的文明。踏在我們自己的土地上不免思考，若交響成為人們的藝術主張與嚮往，那麼陪伴身邊的樂團，便是精神的旗幟與堡壘。

藝術顧問前言

時代的傳承與發揚藝術顧問呂紹嘉專訪四個主軸穿梭貫穿整年的樂季從 2020 年伊始，病毒疫情造成全球動盪，更重創表演藝術界。幸虧 NSO 音樂總監呂紹

李秋玫│撰文

嘉首肯，七月繼續以藝術顧問的身份協助度過非常時期，在藉由音樂安慰人心之餘，也

PAR 表演藝術雜誌音樂企劃文編

成為堅實的橋樑與後盾，順利邁向新紀元。過去的十個樂季，他對於節目規劃總有整體的思考與堅持。但轉換了身分，呂紹嘉並未強勢主導，直到一月接下藝術顧問後，方以「傳承與發揚」為核心，將音樂會耙梳收攏，歸納出四個軸線穿梭整年的樂季。

首要的主軸是「斯特拉溫斯基」。2021 年是他逝世 50 年紀念，作為二十世紀現代音樂的傳奇人物，他開創性的風格不容置疑。在遊走俄國、法國、美國期間皆留下對後世的啟發。呂紹嘉分析，作曲家對音樂史最大的影響大致可分為兩方面：第一是早期的三大

芭蕾舞劇《火鳥》、《彼得洛希卡》與《春之祭》，每個作品的發表都是極大的震撼彈；另一個階段就是 1920 年之後的所謂的「新古典主義」例如《大兵的故事》、《普欽奈拉》等，如同畢卡索「立體派」的藝術一般。他認為：「那是廿世紀的一個重要的美學觀！反浪漫派誇張的個人情感累積到了馬勒、史特勞斯時，已大到無法承受而崩塌，繼以簡潔、古典的形式出現。不同的是，在古典形式中又藏著一些叛逆、一語雙關。」

接續的主軸就是「貝多芬」。在貝多芬誕辰 250 週年的今年，世界各地紛紛響起貝多芬的音樂。一年橫跨兩個樂季，NSO 上半年已策劃了數場音樂會紀念，下半年依然承襲著「傳承」的概念接續下去。由於德、奧系統是交響樂的根源，因此以貝多芬為樞紐，上自巴赫、海頓、莫札特，下至舒伯特、孟德爾頌、舒曼、布拉姆斯、史特勞斯、馬勒、荀貝格、魏本的經典作品，全然是樂季不可或缺的曲目。

在第三個主軸「斯拉夫」民族樂派的安排中，德沃札克、蕭斯塔科維契、拉赫瑪尼諾夫等獨具風味的樂曲也相當多。即使與德、奧根本的脈絡已有距離，但細看這些作曲家的走向，都是深受德奧傳統浸淫，藉由這根基讓自己民族語彙脫穎而出者。

最後，打造文化底蘊的「國人作品」更是基本主軸之一。十年來，呂紹嘉除了擅於介紹少見卻精采的曲目給國內聽眾外，更用心挖掘國人作曲家、委創新作，提供發表舞台。近年來 NSO 更與客家委員會合作原創樂曲，搭起平台並演出錄音，因此今年，中生代知名的臺灣作曲家如李元貞、林京美、顏名秀、陳可嘉等，也將各自以客家為元素創作，讓交響更增添在地的鄉土之聲。

各形式的音樂會交錯著主軸網絡四個主軸放諸樂季節目策劃中，更可清楚窺見其交織的網絡。首先「斯特拉溫斯基」主軸兩個層次的風格分散在樂季的節目中。三大芭蕾自是吸引愛樂者的大亮點，有趣的是，呂紹嘉卻是選擇以拉威爾的管絃代表作《達芙妮與克羅伊》芭蕾全曲揭開樂季序幕，為了勾勒出孕育斯特拉溫斯基及無數現代作曲家早年嶄露頭角的大搖籃—二十世紀初法國巴黎的藝術氛圍。隨之登場的斯特拉溫斯基的 D 大調絃樂協奏曲不諧和的音階諭示著戲謔、諷刺，充滿了新古典不蔓不枝的精鍊。而接續安排的貝多芬第一號交響曲與第一號鋼琴協奏曲，除了同樣有著突破古典形式的叛逆與創意外，也呼應著兩首樂曲當年在同一場音樂會由貝多芬本人首演的雙重意義。

新年音樂會對樂迷來說是一個獨特的時刻，然而呂紹嘉總是賦予它更高、更深層的意涵，讓新舊年交接之際不再只是火花式的慶典。他回想：「我一直嘗試讓新年音樂會不是只有圓舞曲，而是輕鬆娛樂外，也可以帶來反思，讓人深刻感動的一段時光。」的確，往年推出過的《古勒之歌》、馬勒第二號交響曲等，都是龐大且深沈的作品。多年下來，眾人也由驚喜漸漸轉化為認同與期待。今年的新年音樂會可以歸為第三個主軸「斯拉夫」，曲目依往例排除大眾化，以拉赫瑪尼諾夫的《鐘》作為主題串接人生故事。他說：「作曲家曾說過教堂的鐘聲深深地影響了他的音樂，從小到大，他不斷地聆聽當地的鐘聲……所以這首曲子他用了詩人愛倫坡的詩作，從第一個樂章唱出人的出生，鐘聲伴著雪鈴的聲音，接著的婚禮、葬禮都有鐘聲相伴。三位獨唱者與合唱唱出故事，算是一部清唱劇。」上半場穆索斯基的歌劇《霍凡斯基之亂》選粹以及《鮑利斯 ‧ 郭多諾夫》闡述大臣亂政，權臣謀位的宮鬥史實，在作曲家的筆下更透出俄國與土地的靈魂。當然其中最關鍵的，就是歌劇中襯托歡慶與悲泣的鐘聲。「傳統與創新」的概念在樂季最後一場音樂會節目中，有著豐富的論證。四位作曲家，在三首截然不同，絕然精彩的曲目中，呈現的是德奧音樂傳統的近兩百年的世代對話。傳承、交流、激盪、創新，俱在其中。雖然，傳統與創新的辯證論述卷帙浩繁，百家爭鳴，但至少在這場音樂會中，若問荀貝格與魏本，真正的創新是否植基於對傳統的尊重與了解？他們的答案應是毫不遲疑的「是」！而這個論點，在樂季壓軸的威爾第歌劇《法斯塔夫》中，可說是得到強力的「加持」。

好手上陣好戲上場歌劇，是樂迷每年最為期盼的壓軸大戲。本樂季即將推出的，是威爾第在將近八十歲所創作的作品《法斯塔夫》。擅長以音樂渲染戲劇效果的他，畢生說著無數可歌可泣的故事，但生前最後譜寫的歌劇，卻是一部喜劇。呂紹嘉感性地說：「劇情進展到最後是一個大合唱，說著『世間諸事皆為玩笑』，那是個帥氣、瀟灑步下人生舞台的終結。」最特別的是，威爾第在末尾所用的創作技法，竟選用了古典賦格的形式。那是對傳統的尊敬，就像威爾第對這部作品所留下的一句話──「回到古代，就是開創」。

頂尖音樂家的加持，如同是一個新樂季上耀眼的鑽石。在 2020/2021 樂季中，NSO 安排了為數眾多的明星與樂團合作。重量級的音樂家有指揮史拉特金、桂冠指揮赫比希、男中音湯瑪斯・漢普森、鋼琴家史蒂芬 ‧ 賀夫、尤森兄弟、作曲家暨指揮魏德曼、譚盾、小提琴家諏訪內晶子，還有旅美指揮陳美安、莊東杰、華裔大提琴家楊文信、鋼琴家

黃海倫等。強檔節目令人引頸期盼之外，由於本年度樂季期間樂團也肩負著找尋新任音樂總監的任務，因此千萬別錯過首屈一指的客席音樂家，因為場場音樂會都將是卯足全力、使出渾身解數的揮灑。

長年來，無論是駐團作曲家、演奏家或藝術家，都在密切合作中帶給團員新的刺激。不僅成果展現在演出中，也在排練與溝通之際建立了良好的關係。經歷上個樂季三位中生代駐團藝術家後，今年邀請了新生代的旅美小提琴家黃俊文擔任駐團音樂家。曾獲瑞士汐昂國際小提琴大賽首獎以及美國費雪獎的他，於 2017 年獲得林肯中心新銳藝術家獎，在首度於林肯中心登台後，《華盛頓郵報》旋即贊許他「絕對是一位具備良好條件，擁有遠大演奏生涯的音樂家。」身為獨奏家的他對室內樂多有鑽研，琴藝更有兩者相得益彰的加成蘊含，預期將為樂團注入嶄新風貌。

疫情之故，音樂廳熙來攘往的榮景被迫停歇。然而 NSO 將舞台從廳院移至線上，讓演出維持溫度。在樂團持續用樂音撫慰觀眾的同時，呂紹嘉也親自披掛上陣，以琴聲伴著團員、也陪著遠距離的人們。從音樂總監轉為藝術顧問，看似抽離，卻也讓心更為靠近。「所有的今日都是過去的累積」，當樂季重啟，再度邁進久違的音樂廳，我們將有幸聽到時代的聲音。以不同身份帶領樂團，刻意減少了自己指揮場次，雖然「沒有以往那般個人化的手印在其中」，但呂紹嘉自信地說：「仍然保證每一場音樂會的品質與樂曲的精彩！」

n the late nineteenth century, following various wars, Europe saw the formation of new nations. Likewise in the arts, traditions gave way to new dynamics.

Vienna, a world center of the arts, became a meeting place for artists of various disciplines who shared a common vision. Together they built the Sezessionsgebäude (Secession Building), and on its frieze beneath the golden dome was inscribed their manifesto: Der Zeit ihre kunst, der Kunst ihre Freiheit (To every time its art,

to every art its freedom). This proclamation resonated with the times, resting on the foundation of history and looking forward to the unbounded future. Artworks in the exhibition hall drew on the image of Mahler to express the longing for a hero. Audiences experienced a sense of sacred timelessness in Beethoven’s Choral Symphony, with music uniting the spirits of successive generations in human history. Even today, one hundred years later , music remains an integral part of every civilization. We cannot help but feel that if symphonies are the manifestation of our love and longing for art, orchestras are symbolic fortresses for our minds and spirits.

Carrying Forward the Heritage of Time: Thoughts from Shao-Chia Lü The Four Pillars of the 2020/2021 Season Since early 2020, the world has been in turmoil due to the pandemic that has

devastated the entire spectrum of the performing arts. In these uncertain times, the

Chiu-Mei Li

NSO is fortunate indeed to have former Music Director Shao-Chia Lü remaining on board. Beginning in July, he will continue to work with the orchestra as our Artistic Advisor to promote hope, communication, and collaboration through music. During the past ten seasons as Music Director, Lü has always demonstrated clear, global plans, and has led NSO with a steady hand. However, in his role of Artistic

Advisor, taking a strong lead does not seem to be his intent;

its roots in the Austro-German musical tradition, Beethoven

rather, he plans to devote himself to arranging and organizing

became a critical juncture that joined Bach, Haydn, Mozart,

artistic concepts in accordance with the season’s main theme,

and Schubert with Mendelssohn, Schumann, Brahms, Strauss,

Carrying Forward the Heritage of Time, which consists of

Mahler, Schoen-berg, and Webern. In the 2020-2021 season,

four pillars.

the NSO brings music of all these great men to its audiences.

The first of these pillars is the music of Igor Stravinsky. This

The third pillar consists of Slavic Nationalists - Dvořák,

legendary twentieth-century composer was a true pioneer.

Mussorgsky, and Rachmaninoff. Although these might appear

The year 2021 marks the fiftieth anniversary of his death.

to be on a different track from the Austro-German tradition,

During the years he lived in Russia, France, and the United

one realizes, after a closer look, that the soil in which these

States, Stravinsky created a great legacy and inspired future

nationalistic voices grew and developed was nourished with

generations. As Lü sees it, his influence on the history of

Austro-German nutrients.

music can be generally divided into two periods. In the first he composed the three super-famous and influential ballet scores,

The final pillar features music of Taiwan, a response to local

The Firebird, Petrushka, and The Rite of Spring. During the

culture. Over the past ten years, Lü has not only worked to

second period he wrote his neoclassical works, beginning

introduce a lesser-known yet stimulating repertory to NSO

around 1920. Compositions from this period include L’Histoire

audiences, but has made a dedicated effort to revealing young

du soldat and Pulcinella, which had their visual counterpart in

Taiwanese composers and musicians to local audiences. In

Cubism, one of the leading movements of twentieth-century

recent years, the NSO has collaborated with the Hakka Affairs

esthetics whose most famous representative remains Picasso.

Council of Taiwan in commissioning new compositions.

The anti-Romantics’ exaggerated, highly personal and

During the 2020-2021 season, renowned Taiwanese

emotional approach culminated in the densely scored, weighty

composers Yuan-Chen Li, Ching-Mei Lin, Ming-Hsiu Yen,

music of Mahler and Strauss. This was replaced by a new

and Ke-Chia Chen will hear their works performed by the

approach that harked back to a simpler, more classical style.

NSO in music that embodies the Hakka culture.

Yet even in Neoclassicism there was a spirit of rebelliousness, observes Lü.

Concerts of the Four Pillars

Beethoven constitutes the second pillar of the season. In

Under the rubric of the four pillars exists a splendid array of

2020, the 250th anniversary of his birth, Beethoven’s music is

concerts. Stravinsky’s works are found throughout the season.

resounding throughout the world with renewed vigor. In the

However, Lü has chosen for the opening concert Ravel’s

first part of the year, various NSO concerts were planned to

ballet score Daphnis et Chloé, a masterpiece premiered in

commemorate this musical giant. In the second part of 2020

Paris, the city that nourished Stravinsky and countless other

the NSO continues to honor him via the seasonal theme of

composers in the early years of their careers. Following the

Carrying Forward the Heritage of Time. As the symphony has

Daphnis et Chloé concert we hear Stravinsky’s Concerto in

D for Strings, which conveys a sense of banter and irony

The theme of Carrying Forward the Heritage of Time is

with its dissonant intervals, while its refined concision

obvious in the final orchestral concert of the season, in which

is a trademark of Neoclassicism. The rebelliousness of

the music of Bach and Brahms is filtered through the alem-bic

Stravinsky’s Neoclassicism is likewise found in Beethoven’s

of later composers, Webern and Schoenberg, who orchestrated

First Symphony. In juxtaposing Beethoven and Stravinsky, the

compositions by men of former times – a kind of grand

NSO pays tribute to two giants.

dialogue between generations of the Austro-German tradition from the past three centuries. Heritage, conversations,

The New Year’s Eve Concerts have always been memorable

inspirations and innovation are all here. There is a long,

experiences, but Lü finds a deeper, richer meaning in them

complicated history behind the grand musical debate between

beyond a few hours of sparkle and excitement. “I have al-

the traditional and the non-traditional. Nonetheless, if one

ways tried to bring contemplation and profound feeling to

were to ask Schonberg and Webern within the context of the

the New Year’s Eve Concerts so they become both light-

works presented in the program of July 9, “Is true innovation

hearted celebrations and a time for quiet reflection,” Lü

rooted in respect and understanding of tradition?,” their

notes. Indeed, some of the works in past New Year’s Eve

answer would be an unequivocal “Yes!” The season finale,

programs, such as Schoenberg’s Gurre-Lieder and Mahler’s

Verdi’s opera Falstaff, also provides powerful supporting evi-

Second Symphony (Resurrection) are profound, large-scale,

dence for this argument.

thought-provoking entities. Over the years, audiences have come to accept and to look forward to such repertory. This season, the NSO has assembled a splendid New Year’s Eve

Repertory and artists not to be missed

program built around the Russian Nationalists. As it often

Opera has always been a much-anticipated season finale

does, the orchestra has passed over popular repertory in favor

for NSO audiences. This year we offer Verdi’s masterpiece

of something less known, in this case The Bells by Rachmani-

Falstaff, written when he was nearly eighty. Verdi is known

noff. “Rachmaninoff once said that the love for bells is

for his ability to evoke all manner of human emotion in music,

inherent in every Russian,” explains Lü, “and if he has been

making all the more notable the fact that his last opera was

at all successful in making bells vibrate with human emotion

a comedy. Itconcludes with a ten-part vocal ensemble to the

in his works, it is largely due to the fact that most of his life

words “All the world is a joke.” As Lü puts it with a broad

was lived amid vibrations of the bells of Moscow. In this

smile, “What an unforgettable, magnificent gesture to wave

beautiful work for chorus, orchestra and three vocal soloists,

goodbye to the world!” Verdi set this concluding passage to

he portrays the journey of human life with sounds of different

the classical device of fugue, thus paying tribute to a long-

bells.” On the first part of the program, we hear excerpts from

standing traditional form. “To create is to return to the past,”

Mussorgsky’s operas Khovanshchina and Boris Godunov,

he said.

both of which tell tales of political power struggles in Russia as bells chime and bells toll.

The lineup of artists this season might be compared to a cluster of dazzling diamonds set in a crown. The roster of

renowned talents who will work with us through the 2020-

the NSO from a closer angle. When the season begins, we

2021 season include conductors Leonard Slatkin, Jörg

will again be hearing musical performances in a live setting.

Widmann, Tan Dun, and Günther Herbig (Conductor Laureate

As Artistic Advisor, Lü has reduced the number of concerts

of NSO), baritone Thomas Hampson, pianists Stephen Hough

he will conduct, but notes with confidence that “although the

and the Jussen brothers, and violinist Akiko Suwanai. From

familiar narrative in the selection of works has come to an

Taiwan we have conductors Mei-Ann Chen and Tung-Chieh

end, the quality of performances and brilliance of music are

Chuang, cellist Wen-Shinn Yang, and pianist Helen Huang.

guaranteed at every concert this season.”

Although the NSO is still in the process of searching for a new Music Director, our audiences surely will not want to miss splendid performances from every one of our guest artists! Over the years, close collaboration among composers, performers, and artists-in-residence have brought new inspiration to every musician on stage. This has been manifested not only in the performances, but also in the relationships established during rehearsals and conversations. Last season, the NSO enjoyed three artists-in-residence of the mid generation. This year, we have invited Paul Huang, a highly talented Taiwanese-American violinist of the younger generation, to fill this post. Huang is a first-prize winner at the International Violin Competition Sion-Valais and a winner of the Avery Fisher Career Grant. In 2017 he received the Lincoln Center Award for Emerging Artists and made his Lincoln Center debut. “He is definitely an artist with the goods for a significant career,” noted the Washington Post. Huang also has extensive experience in playing chamber music. His musicianship will add luster to the new season. Due to the pandemic, the lively arts scene in our concert halls was brought to a halt in March. However, the NSO managed to put performances online so as to sustain interaction with its audiences and to build bridges to listeners abroad. In his transition from the post of Music Director to Artistic Advisor, Lü is now able to step back and view the musical image of

9 19 ｜

Sat. 19:30

104

國家音樂廳 National Concert Hall

／

10 18 ｜

Sun. 14:30 國家演奏廳 Recital Hall

／

講座音樂會 Lecture Concerts

大師系列 Maestro Series

開季音樂會－絃舞魔幻

勇源 × NSO

Season Opening Concert - Daphnis et Chloé

焦點講座－

指揮｜呂紹嘉 Shao-Chia Lü, conductor

兒童與魔法：拉威爾的音樂世界

小提琴｜陳銳 Ray Chen,violin

What is Composition? The Child and the Enchantments: Ravel’s Music World

合唱指導｜古育仲、張維君 Yu-Chung John Ku, Wei-Chun Regina Chang, chorus master

主講｜焦元溥 Yuan-Pu Chiao, lecturer

台北愛樂合唱團 Taipei Philharmonic Chorus

小提琴｜鄧皓敦 Hao-Tun Teng, violin 62

大提琴｜連亦先 Yi-Shien Lien, cello

9 25 ｜ 9 26 ｜

Fri. 19:30

長笛｜宮崎千佳 Chika Miyazaki, flute

國家音樂廳 National Concert Hall

／

女高音｜林玲慧 Ling-Hui Lin, soprano

Sat. 19:30

鋼琴｜盧易之 Yi-Chih Lu, piano

衛武營音樂廳 Weiwuying Concert Hall

／

名家系列 Master Series 98

世紀交會

10 25 ｜

Sun. 14:30 國家演奏廳 Recital Hall

／

Timeless encounters

室內樂 Chamber Concerts

指揮｜呂紹嘉 Shao-Chia Lü, conductor 小提琴｜胡乃元、陳銳、魏靖儀

繽紛俄羅斯

Nai-Yuan Hu, Ray Chen, William Wei, violin

Colorful Russia 小提琴｜洪章文、蔡孟峰 Chang-Wen Hung, Meng-Fong Tsai, violin

Sun. 19:30

10 04 ｜

中提琴｜黃亞漢 Ya-Han Huang, viola

國家音樂廳 National Concert Hall

大提琴｜陳怡婷 I-Ting Chen, cello

NSO 室內樂 Chamber Concerts

鋼琴｜許惠品 Hui-Pin Hsu, piano

／

銳語四季 NSO Chamber Concerts-Ray & Friends

國家音樂廳 National Concert Hall

大師系列 Maestro Series

｜ NSO 獨奏家群

迴聲華格納 Jun Märkl & Radovan Vlatković

10 17 ｜

Sat. 19:30

／

Sat. 19:30

／

領奏 & 小提琴｜陳銳 Ray Chen direct&violin

10 31 ｜

指揮│準・馬寇爾 Jun Märkl, conductor

北藝大音樂廳 The Performing Arts Center Concert Hall of TNUA

2020 關渡音樂節－

北藝大 ×NSO《思鄉情懷》 NSO&I-Ching Li&Yao-Yu Wu 指揮｜吳曜宇 Yao-Yu, Wu, conductor 小提琴｜李宜錦 I-Ching Li, violin

法國號│弗拉柯維克 Radovan Vlatković, horn 94

11 03 ｜

Tue. 19:30

／

國家演奏廳 Recital Hall

NSO 室內樂 Chamber Concerts

黃金號角手與朋友們 Radovan Vlatković with Friends 法國號│弗拉柯維克 Radovan Vlatković, horn 小提琴│李宜錦、洪章文、蔡孟峰 I-Ching Li, Chang Wen Hung,

Meng-Fong Tsai, violin

中提琴│呂昭瑩 Chao-Ying Lu, viola

中提琴│黃亞漢 Ya-Han Huang, viola

大提琴│唐鶯綺 Ying-Chi Tang, cello

大提琴│陳怡婷 I-Ting Chen, cello

豎

琴│解瑄 Shuen Chieh, harp

單簧管│賴俊諺 Chun-Yen Lai, clarinet

鋼

琴│汪奕聞 Evan Wong, piano

鋼琴│王佩瑤 Pei-Yao Wang, piano

Fri. 19:30

12 11 ｜

國家音樂廳 National Concert Hall

NSO X CMS

96 67

11 06 ｜／

Fri. 19:30 國家演奏廳 Recital Hall

／

德奧巡禮

發現室內樂

Germanic Adventures

Discovering Chamber Music

指揮│準 ‧ 馬寇爾 Jun Märkl, conductor

鋼琴 Piano │⊕吳菡 Wu Han

鋼琴│嚴俊傑 Chun-Chieh Yen, piano

小提琴 Violin │⊕克里斯汀．李 Kristin Lee、⊕林品任 Richard Lin、鄧皓敦 Hao-Tun Teng、陳怡茹 Yi-Ju Chen、陳逸

11 21 ｜ 11 22 ｜／

Sat. 19:30

群 Yi-Chun Chen、曾智弘 Chih-Hong Tseng

國家音樂廳 National Concert Hall

中提琴 Viola │⊕馬修．李普曼 Matthew Lipman、⊕尤拉．

Sun. 19:30

李 Yura Lee、李思琪 Szu-Chi Li

苗北藝文中心演藝廳 Northern Miaoli Art Center 2020 苗北藝術節 - 經典交響系列

／

大提琴 Cello │⊕基斯．羅賓遜 Keith Robinson、⊕德米特里．阿托品 Dmitri Atapine、連亦先 Yi-Shien Lien、陳怡婷 I-Ting

名家系列 Master Series

Chen、蘇品維 Pin-Wei Su、唐鶯綺 Ying-Chi Tang、王郁文

琴戀 ‧ 彼得洛希卡

Yu-Wen Wang 長笛 Flute │安德石 Anders Norell

Stravinsky: Petrushka

豎笛 Calrinet │賴俊諺 Chun-Yen Lai

指揮｜張尹芳 Yin-Fang Chang, conductor

豎琴 Harp │解瑄 Shuen Chieh

鋼琴｜胡瀞云 Ching-Yun Hu, piano 69

11 28 ｜

Music Society of Lincoln Center musicians.

Sat. 19:30

／

國家音樂廳 National Concert Hall

大師系列 Maestro Series

琴挑 ‧ 火鳥

⊕註記者為 CMS 林肯中心室內樂協會音樂家 The Chamber

12 31 ｜／

Thu. 19:30 國家音樂廳 National Concert Hall

美聲系列 Vocal Series

The Firebird

歲末音樂會－北國鐘聲

指揮｜呂紹嘉 Shao-Chia Lü, conductor

The Bells

小提琴｜黃俊文 Paul Huang, violin

指揮｜呂紹嘉 Shao-Chia Lü, conductor

11 29 ｜ 12 04 ｜

Sun. 19:30 國家演奏廳 Recital Hall

／

Fri. 19:30 苗北藝文中心演藝廳 Northern Miaoli Art Center 2020 苗北藝術節 - 首席名家系列

／

12 05 ｜

Sat. 14:30 雲林聲泊廳 Ensemble Hall

／

女高音｜林玲慧 Ling-Hui Lin, soprano 男高音｜鄭皓允 Ho-Yoon Chung, tenor 男低音｜羅俊穎 Julian Lo, bass 合唱指導｜古育仲、張維君 Yu-Chung John Ku,

Wei-Chun Regina Chang, chorus master

台北愛樂合唱團 Taipei Philharmonic Chorus

室內樂 Chamber Concerts

勇源 × NSO

黃俊文的音樂共遊 Paul & Evan with Friends 小提琴｜黃俊文、曾智弘、蔡竺君 Paul Huang, Chih-Hong Tseng, Chu-Chun Tsai, violin

21 21 72

1 09 ｜

Sat. 19:30

／

Sat. 19:30

國家音樂廳 National Concert Hall

名家系列 Master Series

深情銳夜

楊文信 & NSO

Ray & NSO

Wen-Sinn Yang & NSO

指揮│鄭立彬

指揮｜楊書涵

Li-Pin Cheng, conductor

小提琴│陳銳 73

3 06 ｜／

國家音樂廳 National Concert Hall

Ray Chen, violin

1 16 ｜

Sat. 19:30 國家音樂廳 National Concert Hall

／

名家系列 Master Series

迴旋日耳曼 LÜ & NSO

Wen-Sinn Yang, cello

3 12 ｜

Fri. 19:30 國家音樂廳 National Concert Hall

／

名家系列 Master Series

琴躍新世界 From the New World

指揮│呂紹嘉

Su-Han Yang, conductor

大提琴｜楊文信

Shao-Chia Lü, conductor

指揮｜米格爾・・哈斯 - 貝多亞

雙簧管│王怡靜

鋼琴｜盧卡斯・尤森、亞瑟・尤森

I-Ching Wang, oboe

單簧管│朱玫玲

Miguel Harth-Bedoya, conductor Jussen Brothers (Lucas Jussen, Arthur Jussen), piano

May-Lin Ju, clarinet

法國號│劉宜欣 Yi-Hsin Cindy Liu, horn

低音管│ 簡凱玉 99

Kai –Yu Jian, bassoon

1 17 ｜

Sun. 19:30

／

國家演奏廳 Recital Hall

室內樂 Chamber Concerts

漫步布拉格 Beethoven in Prague 小提琴｜陳逸群、陳怡茹

Yi-Chun Chen, Yi-Ju Chen, violin

中提琴｜李思琪

Szu-Chi Li, viola

大提琴｜蘇品維

Pin-Wei Su, cello

鋼琴｜翁重華

Chung-Hua Weng, piano

3 18 ｜／

Thu. 19:30 國家音樂廳 National Concert Hall

大師系列 Maestro Series

史拉特金的春之祭 The Rite of Spring

3 26 ｜ 3 28 ｜／

／

Fri. 19:30 國家音樂廳 National Concert Hall

Sun. 14:30 衛武營音樂廳 Weiwuying Concert Hall

大師系列 Maestro Series

指揮｜雷歐納・史拉特金

史拉特金、黃俊文與 NSO

Leonard Slatkin & Paul Huang

Leonard Slatkin, conductor

指揮｜雷歐納 ‧ 史拉特金 105

3 19 ｜

Fri. 19:30 國家演奏廳 Recital Hall

／

講座音樂會 Lecture Concerts

勇源 × NSO

Leonard Slatkin, conductor

小提琴｜黃俊文

Paul Huang, violin

焦點講座－音樂與文學系列：吟詩、閱讀與寫作 What is Composition? Music and Literature: Reading, Writing and Reciting in Opera 主講｜焦元溥

Yuan-Pu Chiao, lecturer

女高音｜林慈音

Grace Lin, soprano

次女高音｜翁若珮

Jo-Pei Weng, mezzo-soprano

男高音｜林義偉

Yi-Wei Lin, tenor

男低音｜羅俊穎

Julian Lo, bass

鋼琴｜許惠品

Hui-Pin Hsu, piano

21 21 106

4 11 ｜

Sun. 14:30

國家演奏廳 Recital Hall

／

4 29 ｜

Thu. 19:30 國家音樂廳 National Concert Hall

／

室內樂系列 Chamber Concerts

大師系列 Maestro Series

大兵的故事

攀峰阿爾卑斯

The Soldier's Tale

Eine Alpensinfonie

指揮｜張尹芳 Yin-Fang Chang, conductor

指揮｜安東尼 ‧ 維特 Antoni Wit, conductor

小提琴｜鄧皓敦、陳逸群、陳玟佐 Hao-Tun Teng,

小提琴｜伊利亞 ‧ 葛林戈斯 Ilya Gringolts, violin

Yi-Chun Chen, Wen-Tso Chen, violin 中提琴｜呂昭瑩、陳猶白、黃亞漢 Chao-Ying Lu, Jubel Chen, Ya-Han Huang, viola

100

Fri. 19:30

國家演奏廳 Recital Hall

／

大提琴｜黃日昇、王郁文

4 30 ｜

室內樂 Chamber Concerts

Jih-Sheng Huang, Yu-Wen Wang, cello

低音提琴｜蘇億容、連珮致

來自波希米亞

From Bohemia

Yi-Jung Su, Pei-Chih Lien, double bass

長笛｜安德石 Anders Norell, flute

小提琴｜曾智弘、蔡竺君 Chih-Hong Tseng, Chu-Chun Tsai, violin

單簧管｜賴俊諺 Chun-Yen Lai, clarinet

中提琴｜呂昭瑩 Chao-Ying Lu, viola

低音管｜簡凱玉 Kai-Yu Jian, bassoon

大提琴｜唐鶯綺 Ying-Chi Tang, cello

法國號｜黃任賢、黃哲筠 Jen-Hsien Huang, Jer-Yun Huang, horn

單簧管｜賴俊諺 Chun-Yen Lai, clarinet

小號、短號｜宇新樂 Nicolas Rusillon, trumpet & cornet

低音管｜陳奕秀 I-Hsiu Chen, bassoon

長號｜李昆穎 Kun-Ying Lee, trombone

小號｜鄒儒吉 Loo-Kit Chong, trumpet

打擊｜陳廷銓 Ting-Chuan Chen, percussion

鋼琴｜翁重華 Chung-Hua Weng, piano

4 17 ｜

Sat. 19:30

／

5 08 ｜

Sat. 19:30 國家音樂廳 National Concert Hall

／

國家音樂廳 National Concert Hall

名家系列 Master Series

大師系列 Maestro Series

縱橫雙傑

俄羅斯狂潮

Weilerstein & Masleev

Shostakovich: Symphony No.10

指揮｜喬舒亞 ‧ 韋倫斯坦 Joshua Weilerstein, conductor

指揮｜卡爾 ‧ 聖克萊爾 Carl St. Clair, conductor

鋼琴｜狄米崔 ‧ 馬斯里夫 Dmitry Masleev, piano

鋼琴｜亞歷山大 ‧ 羅馬諾夫斯基 Alexander Romanovsky, piano

4 23 ｜

Fri. 19:30

2021 TIFA 臺灣國際藝術節

5 14 ｜

2021 Taiwan International Festival of Arts

名家系列 Master Series

美聲系列 Vocal Series

巨人之聲

／

國家音樂廳 National Concert Hall

歐爾嘉・貝芮蒂雅可與 NSO

Fri. 19:30

／

國家音樂廳 National Concert Hall

Mahler : Symphony No.1

Olga Peretyatko & NSO

指揮｜洪毅全 Darrell Ang, conductor

指揮｜米哈伊爾・阿格列斯特 Mikhail Agrest, conductor

小號｜泰妮─辛 ‧ 韓賽絲 Tine thing Helseth, trumpet

女高音｜歐爾嘉・・貝芮蒂雅可 Olga Peretyatko, soprano

101

5 15 ｜

Sat. 19:30

103

國家演奏廳 Recital Hall

／

室內樂 Chamber Concerts

五月。舞樂

斯拉夫風情・俄羅斯傳承 Slavic & Russia

長笛｜宮崎千佳 Chika Miyazaki, flute

小提琴｜陳逸群、陳怡茹 Yi-Chun Chen, Yi-Ju Chen, violin

雙簧管｜阮黃松 Tung Nguyen Hoang, oboe

中提琴｜李思琪、黃亞漢 Szu-Chi Li, Ya-Han Huang, viola

單簧管｜黃荻 Ti Huang, clarinet

大提琴｜蘇品維、王郁文 Pin-Wei Su, Yu-Wen Wang, cello

低音管｜陳奕秀 I-Hsiu Chen, bassoon

低音大提琴｜蘇億容 Yi-Jung Su, double bass

法國號｜劉品均 Pin-Chun Liu, horn

男中音｜趙方豪 Fang-Hao Chao, baritone

打擊｜艾庭安 Sebastian Efler, percussion

鋼琴｜蘇映竹 Ying-Chu Su, piano

5 20 ｜

Thu. 19:30

國家音樂廳 National Concert Hall

大師系列 Maestro Series

7 09 ｜／

Fri. 19:30 國家音樂廳 National Concert Hall

大師系列 Maestro Series

赫比希與 NSO

傳承 ‧ 新生

Herbig & NSO

Stephen Hough & Lü

指揮｜根特 ‧ 赫比希 Günther Herbig, conductor

指揮｜呂紹嘉 Shao-Chia Lü, conductor

小提琴｜瑟吉 ‧ 哈察特楊 Sergey Khachatryan, violin

鋼琴｜史帝芬 ‧ 賀夫 Stephen Hough, piano

6 11 ｜

Fri. 19:30

／

國家演奏廳 Recital Hall

室內樂 Chamber Concerts

勇源 × NSO

7 16 ｜ 7 18 ｜

Fri. 19:30

／

國家音樂廳 National Concert Hall

Sun. 14:30

Smetana & Dvořák & Janáček 小提琴｜吳庭毓 Ting-Yuh Wu, violin 小提琴｜李家豪 Chia-Hao Lee, violin 中提琴｜吳彥廷 Yen-Ting Wu, viola 大提琴｜黃日昇 Jih-Sheng Huang, cello 低音提琴｜蔡歆婕 Hsin-Chieh Tsai, double bass 鋼琴｜黃意淳 I-Chun Huang, piano

6 25 ｜

Fri. 19:30

／

捷克三傑波希米亞的民族魅力

國家演奏廳 Recital Hall

室內樂 Chamber Concerts

／

102

Sat. 19:30

／

Dancing in May

6 27 ｜

國家音樂廳 National Concert Hall

名家系列 Master Series

領奏貝多芬 Antje Weithaas & Beethoven 領奏與小提琴｜安緹兒 ‧ 維特哈絲 Antje Weithaas, direct & violin

國家音樂廳 National Concert Hall

歌劇音樂會－法斯塔夫 Opera Concert - Falstaff 指揮｜呂紹嘉 Shao-Chia Lü, conductor 導演｜尚米歇爾 ‧ 克奇 Jean-Michel Criqui, director 聲樂指導｜安馬丁 Martin Andersson, vocal coach 法斯塔夫｜路奇歐・蓋洛 Lucio Gallo, Falstaff 福特｜羅伯托・德・坎迪亞 Roberto de Candia, Ford 艾莉斯｜林慈音 Grace Lin, Alice 南妮塔｜黃莉錦 Li-Chin Huang, Nannette 梅格｜翁若珮 Jo-Pei Weng, Meg Page 奎克利夫人｜陳珮琪 Pei-Chi Chen, Mrs. Quickly 棻騰｜黃亞中 Ya-Chung Huang, Fenton 凱優斯醫生｜李世釗 Shih-Chao Lee, Dr. Cajus 巴爾道夫｜林義偉 Yi-Wei Lin, Bardolfo 皮斯托｜羅俊穎 Julian Lo, Pistola

呂紹嘉

SHAO-CHIA LÜ 「任何浮誇或是冗贅的詮釋皆非他（呂紹嘉）的風格。他的音樂充滿著堅定的態度，經過深思熟慮後紮實呈現，是情感張力與專注力量的完美結合。」 — 《美國唱片指南》2017 「指揮呂紹嘉是傳達音符之間氛圍意境的大師」 ─《南德日報》 "Overstatement and exaggeration are not his style. What one does get is solid, deliberate, exceptionally well-honed performances that combine intense lyricism with power." — American Record Guide 2017 “Der Dirigent Shao-Chia Lü ist ein Meister der Zwischentöne.” — Süddeutsche Zeitung

呂

紹嘉出身臺灣，為享譽國際樂壇的旅歐名指揮家。自鋼琴啟蒙，後隨陳秋盛研習指揮，繼而赴美印第安那大學及維也納國立音樂院深造。

在贏得法國貝桑頌、義大利佩卓地和荷蘭孔德拉辛三大國際指揮大賽首獎後，展開了他在歐洲的指揮生涯。

旅居德國期間先後擔任柏林喜歌劇院首席駐團指揮（1995-1998）、德國柯布倫茲市立歌劇院音樂總監（1998-2001）、德國國家萊茵愛樂交響樂團音樂總監（1998-2004）、德國漢諾威國家歌劇院音樂總監（2001-2006），並於 2004 年 5 月獲文化部長頒贈象徵該省文化最高榮譽的 Peter Cornelius 獎章。

在歌劇的領域中，曾於英國國家歌劇院、布魯塞爾皇家歌劇院、雪梨歌劇院、德國司徒加特、柏林德意志、漢堡、法蘭克福歌劇院客席指揮。呂紹嘉在交響樂指揮的表現也同樣耀眼。近年來合作的主要交響樂團有柏林、西南德、中德、巴伐利亞廣播、法國國家、里昂、杜魯士、史特拉斯堡、維也納廣播、

藝術顧問 Artistic Advisor

英國利物浦愛樂、奧斯陸愛樂、貝爾根愛樂、赫爾辛基愛樂、瑞典廣播、挪威廣播、哥特堡、羅馬聖西西里亞、及荷蘭皇家音樂大會堂管絃樂團等。在亞洲，呂紹嘉與香港管弦樂團、 NHK、新日本愛樂、首爾愛樂、韓國 KBS 及北京、上海等地的代表性樂團合作演出。 2010 年至 2020 年任國家交響樂團音樂總監，2020 年至 2021 年續受聘擔任藝術顧問。

aiwan-born conductor Shao-Chia Lü studied music in Taipei, later at the Indiana University in Bloomington, USA, and also at Vienna’s College of Music. His training resulted in

important first prizes at three renowned international conductor competitions: Besançon (France), Pedrotti (Italy) and Kondrashin (the Netherlands). Shao-Chia Lü accepted positions as General Music Director of the Koblenz Theatre (1998-2001), the Staatsorchester Rheinische Philharmonie Koblenz (1998-2004), and the Staatsoper Hannover (2001-2006). He has also been Chief Conductor of the South Denmark Philharmonic from 2014 to 2017. Shao-Chia Lü appears regularly as guest conductor at several world-renowned opera houses, including the Opera Australia in Sydney and Melbourne, the English National Opera, Théâtre de la Monnaie in Brussels, Den Norske Opera in Oslo, Gothenburg Opera, Oper Frankfurt, Staatsoper Hamburg and Stuttgart, Deutsche Oper and Komische Oper Berlin. Alongside his opera activities, Lü is equally at home on concert podiums. Lü has worked frequently with many leading European orchestras, such as the Oslo Philharmonic, Orchestra dell’Accademia Nazionale di Santa Cecilia, Norwegian and Swedish Radio Orchestras, Helsinki Philharmonic Orchestra, Royal Liverpool Philharmonic, Orchestre National de France, SWR

Philharmonic, KBS Symphony Orchestra and leading orchestras in China. Shao-Chia Lü has been Music Director of Taiwan Philharmonic (the National Symphony Orchestra) from 2010 to 2020 and continues to serve as Artistic Advisor of the orchestra.

A r t i s t i c

Lü has worked with the Hong Kong Philharmonic, NHK, New Japan Philharmonic, Seoul

藝術顧問

Frankfurter Museumsorchester and Royal Concertgebouw Orchestra in Amsterdam. In Asia,

A d v i s o r

Stuttgart, Rundfunksinfonieorchster Berlin, the Göteborgs Sinfoniker, Staatskapelle Weimar,

根特 ‧ 赫比希 GÜNTHER HERBIG

「樂團在赫比希的帶領下演奏得非常壯麗動人，在舒曼的第四號交響曲中，他以一種自律動人地演出作了既聰明又溫暖適意的詮釋！」 ─ 《太陽報》「如果你認為那些偉大指揮家的黃金年代已經不再，最好三思一下。赫比希昨晚指揮柴科夫斯基的交響曲《悲愴》充滿了高貴、激情與力量的詮釋，讓我聯想起巴畢羅里與楊頌斯。」 ─ 《曼徹斯特晚報》 ''The orchestra under Herbig played magnificently...in the Schumann Fourth Symphony, Herbig received beautifully disciplined playing for an interpretation that was as warm as it was intelligent...'' － The Sun ''If you thought the days of the great conductors were all in the past, then think again. Günther Herbig's presentation of the Pathétique Symphony of Tchaikovsky last night was one of nobility, emotion and power, the sort I remember from Barbirolli and Jansons.'' － Manchester Evening News

赫

比希在 1984 年從東德移居美國之後，開始在歐洲和北美洲地區快速活躍起來。期間，他也親臨亞洲二十多次，並與東京的幾個知名樂團，以

及香港、新加坡和臺灣等地樂團合作演出。1984 至 1994 年間，他先後擔任了底特律交響樂團和多倫多交響樂團音樂總監的職務。

赫比希在中歐開始了他的音樂教育，事師赫曼．阿本德羅斯、赫伯．馮．卡拉揚與赫曼．舍爾興。他的音樂事業則是開始於東德的威瑪與波茨坦。1972 年，他成為德勒斯登愛樂管絃樂團音樂總監；1977 至 1983 年間，他則轉任為柏林交響樂團音樂總監。1979 年轉赴西歐的他，受邀擔任英國國家廣播公司愛樂管絃樂團的首席客座指揮。很快地，他開始受邀與英國主要的樂團合作，包括倫敦交響、倫敦皇家愛樂、倫敦愛樂、巴黎管絃、以色列愛樂，以及其他主要城市的知名樂團等等。

在美國，他的音樂事業首先開始於受邀擔任達拉斯交響樂團首席客座指揮，隨後並於各大城市與多個知名樂團合作，足跡遍至紐約、芝加哥、波士頓、費城、克里夫蘭、舊金山、洛杉磯、多倫多、巴爾的摩等地。

桂冠指揮 Conductor Laureate

在 1984 年離開東德之前，他與東德各主要樂團合作錄製了將近 40 張專輯，其中包括海頓和布拉姆斯的交響曲系列。他的近期錄音，包括了與英國國家廣播公司愛樂管絃樂團合作錄製貝多芬第三號交響曲、第五號交響曲、舒伯特第八號交響曲、布拉姆斯第一號交響曲、馬勒第五號交響曲、理查．史特勞斯《英雄的生涯》交響詩，以及和其他倫敦的管絃樂團所一起合作的錄音作品。在 2001 至 2006 年擔任沙爾布魯克廣播交響管絃樂團首席指揮期間，他也和樂團一起錄製了馬勒與蕭斯塔科維契的重要交響曲作品。

2008-2010 年赫比希擔任國家交響樂團藝術顧問與首席客座指揮。在和國家交響樂團合作的二年裡，不僅合作演出挑戰性高的經典作品，並以 NSO Live 品牌實況錄音發行馬勒第六號、第九號及布魯克納第九號交響曲。自 2010 年起，接受 NSO 音樂總監呂紹嘉邀請成為桂冠指揮迄今。

ünther Herbig divides his activities today between Europe, North America and the Far East in a career that has been equally distinguished on all three continents.

Herbig’s musical training took place in Central Europe where he studied with Hermann Abendroth, Herbert von Karajan and Hermann Scherchen. In 1972 he was named General Music Director of the Dresden Philharmonic and held the same post with the Konzerthaus Orchester Berlin from 1977 to 1983. In Western Europe Herbig became Principal Guest Conductor of the BBC Philharmonic in 1979 and was soon invited to conduct such major ensembles as the Philharmonia Orchestra London, the London Symphony, the Royal Philharmonic London, the Orchestre de Paris, the Orchestre de la Suisse Romande in Geneva, the Residentie Orkest in The Hague and the Israel Philharmonic. In

others. He has toured the U.S. several times with the Detroit Symphony Orchestra and in 1989 conducted the orchestra on a European tour. 1991 he led the Toronto Symphony to Europe after having toured with them extensively in the USA, Australia, Singapore, Taiwan and Japan. Herbig has recorded more than 120 works, including cycles of Haydn and Brahms symphonies. His releases include Beethoven’s Symphony No.3 and 5, Schubert’s No.8 and 9, Brahms’s No.1, Mahler’s No.5 and Strauss’s Ein Heldenleben with the BBC Philharmonic and the Royal Philharmonic London. As Chief Conductor of the Deutsche Radio Philharmonie, he recorded between 2001 and 2006 several symphonies of Bruckner and Shostakovich. He has been the Conductor Laureate of the Taiwan Philharmonic since 2010.

C o n d u c t o r

Chicago, Boston, Philadelphia, Cleveland, San Francisco and Los Angeles among numerous

桂冠指揮

and later the Toronto Symphony Orchestra. He has since conducted the orchestras of New York,

L a u r e a t e

1984 Herbig moved to the United States and served for ten years as Music Director of the Detroit

駐團指揮

張尹芳

YIN-FANG CHANG 「這首節奏複雜的作品對每個樂團來說都會是挑戰，但香港城市室內樂團在客席指揮張尹芳清晰的拍點與細膩的處理之下，成功地演繹了這首作品。」 — 香港《南華早報》 "Any orchestra would be challenged by the work’s complex rhythms, but the City Chamber Orchestra of Hong Kong fared well under guest conductor Chang Yinfang, helped by her attention to detail and clarity of gesture." — Dirk Newton, South China Morning Post

SO 國家交響樂團駐團指揮。在臺灣接受完整音樂教育，畢業於國立臺北藝術大學，曾師事徐頌仁、陳秋盛。2006 至 2015 年擔任國家交

響樂團助理指揮，期間參與策劃、指揮「NSO 永遠的童話」年度製作及推廣

音樂會，結合舞蹈、偶戲、繪本、傑出畫家與動畫，對於古典音樂教育及推廣不遺餘力。並擅於各種跨界合作，曾分別與張艾嘉、王耀慶合作，製作演出結合戲劇與音樂之節目，如《仲夏夜之夢》、《皮爾金》；並與金曲流行樂團蘇打綠同台，以及與國際古典樂壇的知名組合「音樂駭客 Igudesman & Joo」多次合作，均深受好評。此外，張尹芳亦積極參與當代華人音樂家作品發表，曾指揮 NSO 錄製臺灣原住民傳統歌謠創編交響樂曲專輯《山海琴原》，以及受臺北立市國樂團之邀，指揮《反景入深林─向周文中致敬》音樂會並錄音發行。2018 年再受邀指揮亞太音樂節開幕音樂會，首演多位作曲家之作品。近年來曾受邀包括與日本金澤管絃樂團、香港城市室内樂團、臺北市立國樂團、台北愛樂管絃樂團、國立臺灣交響樂團、臺南市立交響樂團、高雄市立交響樂團合作，並受邀演出總統府音樂會、臺南國際藝術節及日本金澤音樂祭。除音樂會演出外，並兼任於國立臺北藝術大學、輔仁大學音樂系。

Resident Conductor

in-Fang Chang is Resident Conductor of the Taiwan Philharmonic (National Symphony Orchestra). She completed her musical education in Taiwan and served as Assistant

Conductor from 2006 to 2015. During this period, Chang conducted well-received educational concerts and 'NSO Forever Tales' annually, co-producing new programs with puppet theatre, children's book illustrators, and animators. She is passionate about the transformative power of music in society and education. In addition, she has collaborated with film directors, television actors and indie bands, producing strikingly progressive crossover work. Her collaborations with Igudesman & Joo in particular are highly acclaimed. Chang is also an astute interpreter of Asian contemporary scores. She conducted ‘Tribute to WenChung Chou’, featuring seven contemporary works, with Taipei Chinese Orchestra in a world premiere in 2013, and was nominated for the Taishin Arts Award. In 2017, she recorded new orchestral pieces of Taiwanese indigenous song, drawing on themes of tradition and identity and articulating them in innovative ways for contemporary audiences, underlining the value of both tradition and innovation. In 2018, she was invited to conduct the opening concert of the Asian Composers League Conference and Festival with many new compositions. She debuted in Hong Kong and Japan, working with City Chamber Orchestra and Orchestra Ensemble Kanazawa in 2018 and 2019 respectively. In addition to her conducting career, Chang

R e s i d e n t 駐團指揮

of the Arts.

C o n d u c t o r

teaches conducting and score reading at Fu-Jen Catholic University and Taipei National University

生

於高雄，1982 年畢業於國立藝專音樂科（現國立臺灣藝術大學），曾任國防部示範樂隊、臺北市立交響樂團首席，1988 年赴法國馬爾梅頌

國立音樂院最高級班留學，隨教授布里儂學琴。1989 年畢業返國後，擔任國家交響樂團首席至今。累積近三十年豐富的舞臺經驗，經常獲邀至國內外演出。2002 年應法國在台協會之邀錄製法國三百年繪畫展音樂 CD 以及音樂會

樂團首席

演出，並與俄羅斯愛樂室內樂團錄製韋瓦第的《四季》專輯；2007 年起擔任

Concertmaster

吳庭毓 TING-YU WU

「Salut Taiwan 夏綠台灣」國際音樂節的音樂總監，2008 年創立「NSO 首席絃樂團」，演奏技術備受肯定。除了各項音樂活動及指揮演出，吳庭毓也積極致力於教學，於交通大學研究所、輔仁大學、臺北藝術大學、臺灣師範大學以及臺灣藝術大學授課。 Born in Kaohsiung, Ting-Yu Wu graduated from the Conservatoire National de Region de Rueil-Malmaison in 1989 and studied violin with Melle Brignon in France. Upon returning to Taiwan in 1989, he was appointed Concertmaster of NSO, a position he still holds today. With nearly 30 years experiences with orchestras, Wu has been invited to various countries to perform, including China and Russia. In 2002 he recorded for the French Three-Hundred Years Art Exhibition music CD, as well as performing at the Exhibition's concert. In May 2002, he recorded Vivaldi's Four Seasons with the Philharmonic Chamber Orchestra of Moscow. Since 2007, he has been Music Director of the ''Salut Taiwan Music Festival'', and founded the ''NSO String Ensemble'' in 2008. As an incisive soloist as well as participant in recitals and chamber music performances, Wu has received much critical acclaim. In addition, Wu is committed to educating young talents in Taiwan, serving in renowned institutes such as National Chiao Tung University, Fu Jen Catholic University, Taipei National University of the Arts, National Taiwan University of Arts and National Taiwan Normal University. 24

出

生於臺北市，自幼即顯露優越的音樂才能。三歲半由馬孝駿博士啟蒙，就讀師大附中時期師事蘇正途教授，考入國立藝術學院之後，受教於

著名小提琴家林克昌。十七歲時獲得第七屆臺北市交協奏曲比賽小提琴組優勝；入選參加國際太平洋音樂節，赴日研習及演出。曾任長榮交響樂團首席小提琴及助理指揮。2004 年起擔任新成立的台北愛樂青年管絃樂團之駐團音樂家，隨即指揮該團參與臺北國際合唱音樂節的演出。2005、2006 夏季應玄

代理樂團首席 Acting Concertmaster

鄧皓敦

HAO-TUN TENG

音藝術邀請，擔任玄音國際音樂節小提琴教授，2010 赴維也納歐洲國際音樂節任教。自 2005 年起擔任國家交響樂團副首席至今。近年除了教學與獨奏會，亦積極參與室內樂的演出，其中以每年春季的「誠品室內樂節」最為受到矚目。 Prior to his being admitted to the National Institute of the Arts, Teng was awarded with prize of the violin at the 7th Concerto Competition, 1992, sponsored by the Taipei City Symphony. The summer followed, he was heard in the Pacific Music Festival, Sapporo, Japan. During the college days, he was the leader of the Taipei Orchestra, which was directed by his teacher, Maestro Kek-Tjiang Lim. Teng has been the associate concertmaster since 2005, and now acting concertmaster to the National Symphony Orchestra (Taiwan Philharmonic). In 2002, he was appointed the concertmaster and assistant conductor to the Evergreen Symphony Orchestra. He has been invited to be artist-in-residence to Taipei Philharmonic Youth Orchestra, and faculty in Shuan-Yin International Music Festival and EuroArts International Music Festival. His engagement in the annual Eslite Chamber Music Festival, as one of the founder members with the Infinite String Quartet, is in the spotlight for the high achievement of ensemble artistry.

「豐潤的音色。」－《舊金山古典之聲》2018 「他們的蕭斯塔科維契第五號交響曲十分扣人心弦：隨著樂團飛舞的弓弦與宏偉的雄心，他們的演出令人徹底信服。不需西方世界的背書，這個樂團在音樂舞台絕對佔有一席之地。」－奧地利《信使報》2017 「在美國加州的首次登台是其北美小規模巡演的一站…。呂紹嘉與臺灣愛樂卻以驚人、突出、充滿豐富音色變化的柴科夫斯基第五號交響曲獲得一次非凡的勝利。」－《音樂美國》雜誌 2016

國家交響樂團自信而精銳

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臺灣，過去樂團都以文化教育體系營運。經過三十年耕耘，國家交響

樂團（NSO），從交響樂、室內樂到歌劇，是自信、精銳，有文化意識的「臺灣之音」。國家交響樂團的前身「聯合實驗管絃樂團」，由教育部於 1986 年集合優秀新生代音樂家，以打造頂尖交響樂團為目標而成立。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「臺灣愛樂」立足國際。歷任常任指揮為艾科卡 (Gerad Akoka)、史耐德 (Urs Schneider) 及音樂總監包括張大勝、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。自 2010 年 8 月至 2020 年 7 月，旅德知名指揮呂紹嘉接任 NSO 音樂總監，並於

2021 年 8 月以藝術顧問的角色繼續守護樂團。過去十年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，將樂團打造為亞洲地區最具指標性樂團。樂團現有 99 名團員，每年樂季演出約 75 場次。包含定期跨國抑或國內跨界合作的歌劇作品，如：《艾蕾克特拉》(2011)、《蝴蝶夫人》(2012)、《女武神》(2013)、《莎樂美》(2014)、《費黛里歐》(2015)、《奧泰羅》 (2016) 及《外套》、《修女安潔莉卡》、《強尼 ‧ 史基基》(2017) 、《帕西法爾》(2018)、《托斯卡》(2019)、《藍鬍子公爵的城堡》(2019) 、《風流寡婦》(2019) 、《蝴蝶夫人》(2020) 以及以四年時間完成的《指環》 (2016、2017、2018、2019)，每每展現令國際樂評驚豔。呂紹嘉不僅積極拓展樂團演奏近代管絃樂作品的能力，更致力於精鍊厚實經典名作，也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，包含廣州亞運音樂節 (2011)、東北亞巡演 (2012)、日本巡演 (2019、2020)、歐洲巡演 (2013、2017)、兩岸三地巡演 (2015)、北美西岸巡演 (2016、2018) 及韓國巡演 (2013、2018) 等均獲得國際樂評高度讚譽。近三十年來與 NSO 合作過的客席指揮家有馬捷爾、巴夏、馬利納爵士、史拉特金、柯米希奧納、羅許德茲特溫斯基、霍格伍德、凡斯卡、葛拉夫、余隆等；及聲樂家芙蕾妮、柯楚芭絲、帕瓦洛帝、多明哥、特菲爾、韓普森、葛里戈里恩；吉他大師耶佩斯、鋼琴家傅聰、拉羅嘉、提博德、寇瓦謝維契、齊柏絲坦、洛堤、歐森、白建宇、鄧泰山、史蒂芬 ‧・賀夫、薩洛、王羽佳等；大提琴家馬友友、顧德曼、羅斯托波維奇、麥斯基、卡普頌、楊文信、王健、伊瑟利斯、穆勒－修特、嘉碧妲；小提琴家卡瓦科斯、胡乃元、夏漢、明茲、列賓、希拉蕊 ‧ 韓、宓多里、林以信、陳鋭、黃俊文、林品任；擊樂家葛魯賓格及其他器樂家莎賓 ‧ 梅耶、巴伯羅柯、弗黎崔希、約格 ‧ 魏德曼等千餘位國際知名音樂家。

“Lush Playing.” ─ San Francisco Classical Voice , 2018 “… vor allem bei Schostakowitsch’ Symphonie Nr. 5 d-moll war das Ergebnis mitreißend: Es geriet eine Orchestermaschine ins Arbeiten, mit fliegenden Bögenund wuchtigem Wollen, deren Produkt auf (fast) ganzer Linie überzeugen konnte. Da brauchtes kein gut gemeintes westliches Wohlwollen: Das Orchester hat seinen Platz im Konzerthaus wohl verdient. ” ─ Kurier, 2017 “ as part of its first mini-tour of North America…Shao-Chia Lü and the underrated Taiwan Philharmonic scored a triumph with a stunning, ferventlyplayed, meticulously nuanced performance of Tchaikovsky’s Symphony No. 5. ” ─ Musical America , 2016

Taiwan Philharmonic, the National Symphony Orchestra

ounded in 1986, the Taiwan Philharmonic, also known as the National Symphony Orchestra (NSO) at home, is hailed as one of the best

orchestras in Asia and became the resident orchestra of the National Chiang Kai-Shek Cultural Center in 2005. Starting April 2014, the NSO has become an affiliate orchestra to the National Performing Arts Center. From 2010 to 2020, led by renowned conductor Shao-Chia Lü as its 5th music director, the NSO has cultural and music educational strength throughout Taiwan. Starting 2021, Lü will continue as artistic advisor. The 99-member NSO presents a 40week musical season of approximately 75 concerts, chamber recitals and opera productions each year. It also has launched numerous educational programs and outreach projects, which it continually develops. The symphony tours

regularly throughout Taiwan and overseas, including Vienna, Paris, Berlin, Geneva, Milan, Seattle, San Francisco, Singapore, Kuala Lumpur, Tokyo, Osaka, Yokohama, Seoul, Hong Kong , Beijing and Shanghai. The NSO has worked with internationally acclaimed conductors, such as Lorin Maazel, Sir Neville Marriner, Rudolf Barshai, Leonard Slatkin, Christopher Hogwood, Oleg Caetani, Gennady Rozhdestvensky, Michael Sanderling, Vassily Sinaisky, Osmo Vänskä, Hans Graf, Long Yu and many famous soloists, including Mirella Freni, Ileana Cotrubas, Luciano Pavarotti, Placido Domingo, Bryn Terfel, Thomas Hampson, Asmik Grigorian , Narciso Yepes, Fou Ts'ong, Alicia de Larrocha, Jacques Thibaud, Stephen Kovacevich, Lilya Zilberstein, Louis Lortie, Garrick Ohlssono, Kun Woo Paik, Dang Thai Son, Alexandre Tharaud, Yuja Wang, Yo-Yo Ma, Natalia Gutman, Lily Maisky, Gautier Capuçon, Jian Wang, Steven Isserlis, Daniel Müller-Schott, Sol Gabetta, Leonidas Kavakos, Nai-Yuan Hu, Gil Shaham, Shlomo Mintz, Vadim Viktorovich Repin, Hilary Hahn, Midori, Joseph Lin, Ray Chen, Paul Huang, Richard Lin, Martin Grubinger, Sabine Meyer, Radek Baborák, Jörg Widmann, and Reinhold Friedrich.The NSO artistic reach extends to theater and opera. Its productions include collaborations with Lin Hwai-min, the world-renowned choreographer and founder of Cloud Gate Dance Theatre of Taiwan, Austrian digital artist Klaus Obermaier, and opera stage directors Tobias Richter, Moffatt Oxenbould, Hans-Peter Lehmann, Andreas Homoki and James Robinson. In addition to its own semi-staged opera productions such as Der Ring des Nibelungen, and Elektra (2011), Parsifal (2018) and Tosca (2019), the NSO has collaborated with worldclass opera houses for its multinational productions, such as Der Rosenkavalier with Deutsche Oper am Rhein in 2007, Carmen with Royal Opera House Covent Garden, Norwegian National Opera and Opera Australia in 2009, Madama Butterfly with Opera Australia in 2012, Fidelio with Opernhaus Zurich in 2015, as well as in-house production Die Walküre (2013), Salome (2014) Othello (2016) and Il Trittico (2017).

國家交響樂團

National Symphony Orchestra 藝術顧問

呂紹嘉

桂冠指揮

根特 ‧ 赫比希

駐團指揮第一小提琴

張尹芳

行政團隊執行長

★ 吳庭毓 ☆ 鄧皓敦 ○ 陳逸群郭昱麟

郭玟岑

林基弘公關推廣經理

王承禹黃毓棻

梁坤豪

陳逸農

卓曉青

方俊人

李庭芳

賴佳奇

林孟穎

李家豪

黃佳頎企劃演出經理 / 曾智弘藝術顧問執行秘書

蔡竺君 ◎ 孫正玫 ○ 陳玟佐

吳怡慧

李京熹鍾仁甫企劃演出

第二小提琴

● 陳怡茹

行政管理經理

黃衍繹

顧慈美

康信榮

李梅箋

蔡孟峰

洪章文

陳偉泓

王致翔

◎ 鄧啟全 ○ 呂昭瑩

黃雅琪

李靖宜

陳猶白

蔡秉璋

中提琴

● 黃瑞儀

企劃專員

謝君玲

呂孟珊

李思琪

吳彥廷

黃亞漢

大提琴低音提琴長笛短笛

● 熊士蘭

● 安德石 ● 王怡靜

英國管

李明怡

單簧管

● 朱玫玲

倍低音管法國號小號長號低音長號低音號

王郁文

王淑瑜

黃筱清整銷推廣

蔡歆婕

◎ 宮崎千佳李浚

鐘美川

雙簧管

低音管

唐鶯綺

連珮致

● 簡凱玉

◎ 阮黃松

◎ 賴俊諺朱偉誼 ◎ 陳奕秀

簡恩義 ● 劉宜欣

● 李昆穎

高靈風

◎ 劉品均 ○ 黃任賢 ◎ 陳長伯 ◎ 邵恆發

陳中昇

整銷專案經理

羅文君

行銷專員

林柏年

公關專員

范世銘

執行長秘書 / 公關專員

黃凱琳

李心如

黃哲筠

行政管理

王婉如人事組長法務專員

林碧珠劉善謙

鄒儒吉

行政專員

林欣儀

行政助理

張筑昀

法律顧問

林信和

平面視覺顧問

兩個八月

彭曉昀

● 藤田敬介

定音鼓

● 艾庭安

打擊樂

● 陳哲輝

◎ 陳廷銓陳振馨

豎琴

● 解瑄

鍵盤

▲ 許毓婷

楊璧慈

李艷玲

愛樂實驗室專案人員簡佑丞

張景民

吳凝芝

孫正茸

曹予勉 ● 宇新樂

楊舒婷

温溫家琪高冠勳

蘇品維

王淑宜

楊宇晴

樂團舞監

◎ 蘇億容 ○ 周春祥

黃日昇

石玲玲高婉瑜

周幼雯

林宜嫺 ● 傅永和

張念慈

譜務專員

陳怡婷助理舞監

◎ 連亦先 ○ 韋智盈

陳靜怡

錄音製作 NSO Live 講座計畫贊助北藝大暨國家交響樂團 (NSO) 教學演展計畫合作樂團職銜學分學程

★樂團首席 Concertmaster

☆代理樂團首席 Acting Concertmaste

○助理首席 Assistant Principal

●首席 Principal

▲樂季合約人員 Season Contracted Musician

◎副首席 Associate Principal

Artistic Advisor Shiao-Chia Lü Conductor Laureate Günther Herbig

Resident Conductor Yin-Fang Chang First Violin ★ Ting-Yu Wu ☆ 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 ◎ Cheng-Mei Sun ○ Wen-Tso Chen Second Violin ● Yi-Ju Chen I-Hui Wu Ching-Hsi Lee Yen-Yi Huang Tsu-Mei Ku Hsin-Jung Kang Mei-Jain Li Jen-Fu Chung Meng-Fong Tsai Chang-Wen Hung Wei-Hong Chen Chih-Hsiang Wang ◎ Chi-Chuan Teng ○ Chao-Ying Lu Viola ● Grace Huang Yea-Chyi Hwang Jing-Yi Lee Juin-Ling Shieh Meng-San Lu Szu-Chi Li Jubel Chen Ping-Chang Tsai Yen-Ting Wu Ya-Han Huang ○ Chih-Yin Wei Cello ● Lana Hsiung ◎ Yi-Shien Lien You-Wen Chou I-Ting Chen Yi-Hsien Lin Jih-Sheng Huang Pinwei Su Ying-Chi Tang Yu-Wen Wang ◎ Yi-Jung Su ○ Chun-Shiang Chou Double Bass ● Yung-Ho Fu Su-Yu Wang Hsiao-Ching Huang Shu-Yi Wang Pei-Chih Lien Hsin-Chieh Tsai ◎ Chika Miyazaki Chuin Lee ● Anders Norell Flute Piccolo Mei-Chuan Chung ◎ Tung Nguyen Hoang Shu-Ting Yang Oboe ● I-Ching Wang English Horn Ming-I Lee ◎ Chun-Yen Lai Wei-I Chu Clarinet ● May-Lin Ju Cheng-Jung Sun ◎ I-Hsiu Chen Ling-Feng Kao Bassoon ● Kai-Yu Jian Contrabassoon En-Yi Chien Horn ● Yi-Hsin Cindy Liu ◎ Pin-Chun Liu ○ Jen-Hsien Huang Jer-Yun Huang Wan-Ju Wang Yu-Mien Tsao Trumpet ● Nicolas Rusillon ◎ Chang-Po Chen Ching-Min Chang Loo-Kit Chong Trombone ● Kun-Ying Lee ◎ Hang-Fat Shiu Chung-Sheng Chen Bass Trombone Hsiao-Yun Peng ● Fujita Keisuke Tuba ● Sebastian Efler ◎ Ting-Chuan Chen Timpani ● Jer-Huei Chen Chen-Hsing Chen Pi-Tzu Yang Percussion ● Shuen Chieh Harp ▲ Yu-Ting Hsu Keyboard

Staffs Executive Director Manager, Public Relations Manager, Planning & Production Secretary of Artistic Advisor Manager, Administration

Lydia Wen-Chen Kuo Paul Wang Yu-Fen Huang Gail Chang

PLANNING & PRODUCTION Programme Coordinator Linglin Shih Yu-Ching Yang Peggy Wen Ning-Chih Wu Librarian Brittney Kao Stage Manager Kuan-Hsun Kao Assistant Stage Manager Yen-Lin Li

MARKETING & DEVELOPMENT Project Manager,Marketing Gloria Lo Marketing Coordinator Bernie Lin Cindy Hsin-Ju Lee Developing Coordinator Justina Fen Secretary of Executive Director / Kellin Huang Developing Coordinator Music Lab Project Coordinator Arthur Chien ADMINISTRATION Assistant Manager, Personnel Cheryl Pi-Chu Lin Legal Affairs Cary Liu Administrator Eileen Lin Sharon Chen Administration Assistant Yuny Chang Legal Consultant Graphic Design Consultant

Hsin-Ho Lin Biaugust

Recording Partnership NSO-on-Campus Lecture Series Sponsored by

TNUA & NSO Internship Program

2019/20 樂季起 NSO 加入 Ricordilab 計畫 NSO will participate in Ricordilab as associated partner from 2019/20 season.

2020/2021 樂季 NSO 室內樂音樂會將與饗響文教協會合作，赴雲林聲泊廳演出。 NSO will collaborate with The SHINE Association on chamber concerts in Ensemble Hall for the 2020/21 season.

在

臺灣，不少人對黃俊文的印象，停留在那個包辦大小獎項的神童、見到啟蒙老師獻花會落淚的男孩，那個十三歲就闖進茱莉亞音樂學

院先修班的小留學生。但是，他闖蕩國際樂壇的英文名字「黃保羅」（Paul Huang），多年來都伴隨不可思議的美譽。《紐約時報》形容他的紐約首場獨奏會「像一縷燈絲，輕巧但帶有金屬般的銳利」，《華盛頓郵報》則讚美他在甘迺迪中心的首演，以「無比完美的音準」，昇華「晶瑩、空靈的音色」。

駐團音樂家｜黃俊文 Artist in Residence Paul Huang

不當明星的小提琴家「演奏音樂不該有別的目標，否則就違背了音樂的本義」，在比拼大賽

劉煦│撰文

成就、合演履歷的古典音樂界，剛滿而立之年的小提琴家黃俊文，把評

自由撰稿人

論的美譽當作「參考就好」的個人留言，不追逐競賽廝殺、營造明星光環，只把所有的經驗當作學習，踏實前進。「常有人會說，你要這樣做才會更出名。我不知道什麼是出名，但我為我所做的感到快樂、每天的付出也讓我很充實。如果一路上剛好有美好的事情發生，那也很好、我很榮幸；但沒有也無妨，我就是想為人演奏音樂，那是我唯一的目標。」但是好聲音，總是會被更多人聽見。

2007 年，韓國小提琴家鄭京和因傷回到茱莉亞音樂學院任教，碰巧聽見黃俊文在音樂廳的演出，就主動寫 E-Mail 給他，希望推薦他到倫敦愛樂主辦的募款獨奏會演出。這位剛滿十八歲的臺灣學生，收到隨機的私人帳號傳來驚喜，還以為是詐騙信件，向校方確認後，才知道對方真的是大師本人。多年來，黃俊文深受鄭京和啓發，兩人一直保持亦師亦友的情誼；他多次受邀參加韓國的大關嶺音樂節，也從許多前輩身上習得待人處事的道理。「鄭京和每天奉獻時間、竭盡所能投入音樂；她的熱情越燒越旺，而且也用毅力克服障礙。她手傷復出的第一個計畫，就是演奏整套巴赫無伴奏，非常願意冒險，令人無法想像。」全心的投入、無畏的冒險，讓黃俊文有機會代替宓多里（Midori Goto）、慕特（Anne-Sophie Mutter）這樣的明星上場，受到夏漢（Gil Shaham）、明茲（Shlomo Mintz）這樣的大師讚揚。「我願意多方嘗試、有時候甚至無所畏懼，是因為我覺得只要盡力而為就夠了，並不會顧慮後果，但這樣其實也很危險。所以我覺得我很幸運，大概就是天時地利人和吧。」這個「人和」，也是台上和人合。「我沒有覺得自己是獨奏家，也很少用上這個字眼；比起努力經營獨奏職涯，更重要的是做一個面面俱到的音樂家。很多人認為獨奏家是一支獨秀的天王天后，但其實舞台上每一個人演奏的每個音符都很重要，樂團並不只是陪襯的伴奏；獨奏家的技術應該要臣服於音樂，而不是用來炫耀。」美國林肯中心室內樂協會的藝術總監吳菡，2017 年親自延攬黃俊文加入，就表示他不只是優秀的演奏家，「琴聲會讓人沐浴在溫暖和美感當中。」，也是謙沖和善、正面進取的音樂夥伴，「給我們很多靈感、互相成就彼此。」如今受邀擔任國家交響樂團史上最年輕的駐團音樂家，黃俊文也當作是共同成長的機會。「身為駐團音樂家，樂團好像會有鎂光燈聚焦在我身上；但我覺得這個鎂光燈應該照在同台所有的音樂家身上，讓我們一起學習，並且在計畫結束後一起進步。這是音樂的本質：不只是自我感覺良好，而是讓彼此都更好。」黃俊文也因此很期待與國家交響樂團的團員，一起和好搭擋鋼琴家黃海倫（Helen Huang）演出室內樂作品，讓臺灣觀眾聽見十九世紀法國樂界革命的縮影，以聖桑斯（Camille Saint-Saëns）為首，擺脫獨尊芭蕾和歌劇的主流，也激勵佛瑞（Gabriel Fauré）、蕭頌（Ernest Chausson），邁入室內樂的繽紛世界。

35 駐團音樂家 Artist in Residence

「樂團要能夠達到頂尖的狀態，就是要把曲子當作大型的室內樂，所有人都投入，不只是等指揮下達命令；我一直喜歡駐團身份，就是因為能夠近距離和團員一起工作、變得更親近，而不是單次搭配。」當然，黃俊文還是相當珍惜演出協奏曲的機會，尤其是與指揮家史拉特金（Leonard Slatkin）再次合作。2014 年，小提琴家宓多里本來要與底特律交響樂團（Detroit Symphony Orchestra）合演華爾頓（William Walton）艱難的小提琴協奏曲，臨時無法上陣，找來黃俊文代打。倉促就急，史拉特金把曲目改成較多人演奏的西貝流士（Jean Sibelius）的小提琴協奏曲，殊不知黃俊文其實也熟識原本的曲目。如今，兩人將來臺續緣，演出六年前錯過的作品。「華爾頓的協奏曲我演奏過很多次，知道它對指揮、樂團、獨奏家來說都非常艱難，尤其是有很多拍點完全空白，但你還是要繼續音樂的脈動。不過，史拉特金擅長仔細聆聽、即時對樂團的聲響反應，總是努力讓獨奏家隨興發揮；我相信我們能讓國家交響樂團的觀眾，聽到這首臺灣不常被演奏的作品。」這個「人和」，則是台下和人合。「我小時候很害羞，但在教會演出時我發現，只要我上台演奏小提琴，就感覺有連結人的能力、每個人都會安靜聆聽，我才體會到音樂真的能超越語言。」而黃俊文最在意的，正是聽他演奏音樂的人。「我最想念臺灣的人。」懷念起故鄉，來自臺南的小提琴家黃俊文沒提到美食，「臺灣的人特別熱情，讓我特別有家的感覺。」。世紀瘟疫衝擊各行各業，也包括音樂家：排練取消、演出無限延期，場館無法開放，少了生計，甚至喪失演奏的動力；黃俊文則應好友大提琴家沃格勒（Jan Vogler）邀請，加入了 24 小時的紐約音樂家線上馬拉松連演，把音樂送進每個人的家裡。「雖然這樣放送的音質不太好，聽不到掌聲、也不是能帶來收入的長久之計，但因為是 24 小時、能讓全球各時區的人加入，所以我希望這樣能在這個非常時期，帶一絲安慰給人們。後來收聽人的反應很好，也讓我很欣慰。」離開臺南多年，黃俊文勇闖天涯，用弓絃撐起了自己的音樂宇宙，讓全世界聽見他真摯的聲音；而這次他會接下臺灣第一個駐團的邀約，也是為了讓更多臺灣人聽見古典音樂的美好。「古典音樂並不是菁英文化，而是獨一無二能夠讓雙耳瞬間連心的藝術；每個人至少要給自己一次機會，體驗古典音樂在情感和智性上的力量，或許你可能就會因此發現一座過去不曾想像的花園。」

ainan-born Paul Huang enrolled in the Pre-College program at the famed Juilliard School of Music in New York at the age of just thirteen. Four

years later, the distinguished Korean violinist Kyung Wha Chung, who was teaching at Juilliard at the time, heard Huang perform and afterwards sent him an email, asking him to participate in a fundraising recital organized by the London Philharmonic. Never having met Chung, Huang at first thought this was a scam. But after the school confirmed the authenticity of the email, he was overcome with joy. Thereafter Chung also invited him to perform at the Great Mountains Music Festival and School in Korea. Huang had always been deeply inspired by Chung, and to this day maintains a friendship with her. From her he learned about passion and boldness in music-making. Further opportunities to advance his career arrived when he was invited to replace famous artists like Midori Goto and Anne-Sophie Mutter, and earned praise from others like Gil Shaham and Shlomo Mintz. “I guess I’ve been lucky, being in the right place at the right time,” chuckles Huang.

Paul Huang: the unassuming, rapidlyrising star of Taiwan by

Lu Hsu

Nevertheless, what has made Huang so “right” lies not only in luck, but also in musical talent and how he works with colleagues on stage. “Usually I don't feel like a soloist, and rarely use the word,” he comments. “It’s more important for me to be an all-around musician rather than just someone with a brilliant solo career. Many people think of soloists as kings and queens, but the truth is that every note played by every musician on stage matters; the orchestral involvement is not mere background; the soloist’s contribution is part of the whole picture, not a world unto itself.” 37

As the youngest artist-in-residence in the history of the NSO, Huang takes this opportunity to be one of mutual growth: “I've always liked residencies because

they’re about being able to work closely with other musicians rather than stopping by for a one-off collaboration. As an artist-in-residence, I sense the spotlight on me, but I feel that it should be on every musician on stage so that we can learn and grow together throughout this season and beyond, seeking transcendence in the company of one another.” Regarding the Walton concerto Huang plays this season, he says “I've performed this work several times already, and know it’s not an easy piece for anyone ̶ conductor, orchestra, or soloist. Leonard Slatkin [who conducts this concert] is adept at listening carefully, reacting immediately to the sound of the orchestra, and always striving to let the soloist play spontaneously. I’m very much looking forward to presenting this work to the NSO audience, especially since it is not often heard in Taiwan. Musing about the long absence from his homeland, Huang notes: “What I have missed most about Taiwan is the people. Audiences in Taiwan are especially warm, and truly make me feel at home.” On the subject of “home,” the violinist didn’t mention food, despite the fact that his home city of Tainan is well-known as Taiwan’s food capital. Huang firmly believes that “classical music is not an elitist culture, but one that touches everyone, instantly connecting the ears to the heart. Every individual owes it to him- or herself to experience the emotional and intellectual power of classical music, which can be likened to a garden filled with beauties beyond imagination.”

ach season of the National Symphony Orchestra (NSO) ̶ the Taiwan Philharmonic when it travels abroad ̶ is different. Its 35th will be one

of transition. Shao-Chia Lü, the orchestra’s esteemed music director of ten years’ standing, has stepped down after bringing the orchestra to world-class standards, presiding over numerous tours on three continents, and leading the orchestra in innumerable recordings. However, his presence will continue to be felt not only in the NSO’s resolute excellence, but in his return visits throughout the year to conduct repertory into which he holds profound insight.

THE OPENING CONCERT Shao-Chia Lü presides over the season’s opening concert, which is always something special. This year it consists of three works that individually merit

2O2O/2O21

SEASON OVERVIEW by

Robert Markow

unusual attention. All come from the late-nineteenth and early-twentieth centuries. The concert opener is Dukas’ fifteen-minute symphonic poem The Sorcerer’s Apprentice. Many people know it best through an animated Walt Disney film, but here in the National Concert Hall is the perfect opportunity to just listen to it and marvel at the orchestral sorcery Dukas conjures up. The First Violin Concerto by Polish composer Karol Szymanowski is one of the most remarkable works of its kind. Written in a single continuous movement, it is rapturously poetic in its emotional expressivity, requires an unusually large orchestra, is replete with the luxuriant textures and opulent tone colors of late Romanticism, and demands a phenomenal measure of technique and stamina from the soloist. As for Ravel’s hour-long ballet score Daphnis and Chloe, this is one of the great glories of early twentieth-century music, filled with opulent orchestral writing, orgiastic rhythms and ravishingly sensuous harmonies.

FAVORITE REPERTORY

(Eight Russian Folksongs), Prokofiev (Lieutenant Kijé

Bach, Haydn, Mozart, Beethoven, Mendelsohn, Chopin,

Rachmaninoff’s ever-popular Second Piano Concerto, and,

Berlioz, Brahms, Schumann, Dvořák, Tchaikovsky,

for the New Year’s Eve special, an all-Russian program

Bruckner, Mahler, Rachmaninoff, Ravel, Smetana, Strauss

consisting of highlights from operas by Mussorgsky

… all your favorite composers are represented in the

and Tchaikovsky plus Rachmaninoff’s richly romantic

season’s programming, many of them several times over.

setting for chorus, soloists, and orchestra of Edgar Allan

Beethoven appears on multiple programs, including one

Poe’s poem The Bells, reflecting the Russians’ historic

devoted entirely to him alone. From his canon of nine

fascination with bells of all sizes, shapes, and sounds.

Suite and the fiendishly difficult Second Piano Concerto),

symphonies we hear the First, which, ushered in a new century in 1800, and the Fourth, a work of exhilarating energy and brio. Then there are symphonies by Haydn

SOUNDS OF TAIWAN

(No.99), Brahms (No.4), Schumann (No.2), Dvořák

Composers from the NSO’s homeland always constitute

(No.9 – twice, with different conductors!), Tchaikovsky

an important part of the orchestra’s programming. This

(No.4), Bruckner (No.4), and Mahler (No.1). Strauss’s

season we hear works by Ming-Hsiu Yen, Ching Mei

Alpine Symphony is really a misnomer – it is a symphonic

Lin, Ke-Chia Chen, and Yuan-Chen Li. All four were

poem, not a symphony, but it takes pride of place as

commissioned by the Hakka Affairs Council, a cabinet-

an orchestral spectacular almost in a league of its own.

level unit of the Taiwanese government whose mission is

These are all well-known symphonies, but there is also

to revitalize the Hakka language and culture.

music by famous composers that doesn’t get played very often – Dvořák’s Othello Overture, for example, or Rachmaninoff’s large-scale choral work The Bells, set to the eponymous poem by Edgar Allan Poe.

VISITING CONDUCORS In this season of transition, conductors from nearly every corner of the earth will be coming to Taipei, each bringing

THE RUSSIAN CONNECTION

his or her expertise and special interests to stimulate

Russian music plays a particularly prominent role in

Russia, Peru, Singapore, the U.S., Germany, Poland,

this season’s programming. More than half of the main-

and elsewhere. Some are returning guests, others will be

stream concerts contain at least one Russian work, with

making their debuts with the NSO. The German Antje

Stravinsky leading the pack by a good margin. All three

Weithaas comes wearing two hats, as both conductor and

of his famous, early, Russian-inspired ballet scores –

soloist in Beethoven’s Violin Concerto. The American

Firebird, Petrushka, The Rite of Spring – will be heard,

Leonard Slatkin, indubitably one of the world’s most

each led by a different conductor. There will also be

renowned conductors, leads the NSO in two different

ballet music from Pulcinella as well as The Song of the

programs in March. Conductors making their NSO debuts

Nightingale, the Concerto in D for strings, and the Violin

include Miguel Harth-Bedoya, Joshua Weilerstein, Mikhail

Concerto. Other Russians include Shostakovich (two of

Agrest, Vassily Sinaisky, Markus Stenz, Enrique Mazolla,

his best-known symphonies, the First and Tenth), Liadov

Antoni Wit, Carl St. Clair, and Darrell Ang.

musicians and audiences alike: men and women from

TAIWANESE CONDUCTORS

addition, the Dutch brothers Lucas and Arthur Jussen in

Shao-Chia Lü’s guiding presence will be much in

there are concertos for cello (American Alisa Weilerstein

evidence as he comes with more programs than any other

playing Dvořák and the Swiss-born Wen-Sinn Yang

conductor. He returns for pivotal concerts in September,

playing Weinberg), oboe (German Albrecht Mayer playing

December, and July, respectively reflecting the pillars

Mozart), trumpet (Norwegian Tine Thing Helseth playing

of the season’s programming: the opening concerts, the

Arutiunian), and, most unusually, percussion, in Tan

New Year’s Eve concert, and the year-end concerts, one

Dun’s Water Concerto, which features various instruments

of which is the annual operatic offering (this year it’s

involving water for their tone production. Vocal soloists

Verdi’s comic masterpiece, Falstaff). Kaohsiung-born

include American baritone Thomas Hampson singing

Mei-Ann Chen returns to her homeland from a varied and

Mahler, Russian soprano Olga Peretyatko singing arias

highly successful career in the U.S. to conduct music by

from Italian and French operas, and Ling-Hui Lin, Ho-

her favorite composer, Tchaikovsky. Another Taiwanese

Yoon Chung, Carlo Kang. and singing Rachmaninoff’s

conductor to lead the NSO in the 2020/2021 season is Yin-

choral work The Bells and excerpts from Russian operas

Fang Chang, whose association with the orchestra began

for the New Year’s Eve special. The simulated sounds of

in 2005 and who has been its Resident Conductor since

Russian bells will be prominent in more than one work on

the 2015-2016 season. And then there is the young Tung-

this program.

Poulenc’s Concerto for Two Pianos will be heard. Then

Chieh Chuang, winner of the highly prestigious Malko Competition in Copenhagen in 2015 and who already enjoys an impressive worldwide career.

OPERA The NSO’s annual opera presentation in July will be one

SOLOISTS

of the few truly great operatic comedies in the repertory

As always, the NSO has invited an impressive array of

last opera, Falstaff, and, of his 26 works in the genre, his

star soloists to add luster to its programs. Pianists and

only comedy aside from an early, obscure work. It is an

violinists constitute the lion’s share, with such luminaries

opera rich in detail, filled with memorable characters, and

as Japanese violinist Akiko Suwanai in Szymanowski’s

bubbling over with delicious comic touches at every turn.

First Concerto, German violinist Carolin Widmann in

The orchestra is unusually prominent for an opera, making

the Second Concerto by her brother Jörg, the Taiwanese-

Falstaff an excellent choice for an NSO presentation.

American violinist Paul Huang in Walton’s concerto, the

Although Falstaff will be performed in the Concert Hall,

Russian pianist Dmitry Masleev in Rachmaninoff’s Second

Jean-Michel Criqui will direct the comings and goings of

Concerto, Russian violinist Ilya Gringolts in Stravinsky’s

the ten characters in a manner that keeps the eye occupied

concerto, Russian pianist Alexander Romanovsky in

as well as the ear.

Prokofiev’s Second Concerto, Armenian violinist Sergey Khachatryan in the Sibelius concerto, German violinist Antje Weithaas in Beethoven’s concerto, and English pianist Stephen Hough in Brahms’s First Concerto. In

(most of the great works are tragedies). This is Verdi’s

VOCAL AND CHORAL MUSIC

and a concerto for trumpet by Alexander Arutiunian, in

Three programs feature music for voices, either for

the western classical tradition. More musical discoveries

soloists or chorus or both. American baritone Thomas

await in the form of a cello concerto by a composer whose

Hampson is one of the most important interpreters of

life spanned most of the twentieth century but whose

German Romantic song, and renowned especially known

music is only now, in the twenty-first, being recognized,

for his performances of the music of Mahler. Hampson

Mieczyslaw Weinberg; a concerto for water percussion

sings a selection of Mahler’s songs with orchestra, each

(water cup drums, water basins, water tube, waterphone,

a masterpiece of emotional turmoil. The NSO’s New

etc.) by Tan Dun; and the Eight Russian Folk Songs by

Year’s Eve concert this season is an all-Russian, all-vocal

Anatoly Liadov. These are orchestral settings of folk tunes

program that includes highlights from great operas and

by a composer who has gone down in music history as

one of Rachmaninoff’s finest large-scale compositions,

one of the laziest and most dilatory, so he wrote little, and

The Bells. The Taipei Philharmonic Chorus joins the NSO

those few works rarely turn up on orchestral programs –

for this special event. In the spring, a Russian conductor

all the more reason to investigate this strange Russian.

which native Armenian musical impulses are wedded to

(Mikhail Agrest) and Russian soprano (Olga Peretyatko) arrive with a program of French and Italian opera excerpts ranging from the familiar (Carmen, Norma, Il trovatore) to

THE NEW YEAR’S EVE CONCERT

the seldom-heard (Bizet’s Vasco da Gama, Verdi’s I vespri

We ring in the new year with bells. Rachmaninoff ’s

siciliani).

35-minute, four movement “poem for soprano, tenor and baritone soloists, chorus and orchestra” (as inscribed on

TWENTIETH-CENTURY MUSIC

the score’s title page), The Bells, does not use real bells,

Music spanning the entire twentieth century will also be

terms based on Edgar Allan Poe’s poem of the same title.

on display, from Rachmaninoff’s Piano Concerto No.2

As of 1913, the year it was premiered, Rachmaninoff

of 1901 to Tan Dun’s Water Concerto of 1999. During

himself considered The Bells his finest work. Bells also

this century, events in the world of music, as in virtually

turn up in Mussorgsky’s epic opera Boris Godonov, from

every other field of endeavor, moved far faster than

which we hear mighty Coronation Scene, one of the

ever before, resulting in a fascinating, ever-changing

great glories of the choral repertory, featuring the Taipei

panorama of movements and styles, from the romanticism

Philharmonic Chorus.

but it evokes them in orchestral sonorities and literary

of Rachmaninoff and Walton to the harmonic piquancy of Stravinsky and Prokofiev to the brave new worlds of Tan Dun and Takemitsu. Some of the more unusual works to be heard are Arnold Schoenberg’s orchestration of one of Brahms’s most ravishing chamber works (the Piano Quartet No.1 in G minor), Anton von Webern’s enigmatic Five Pieces for Orchestra, a concerto for two pianos by Poulenc, a concerto for full orchestra by Bartók, 42

威

爾第（Giuseppe Verdi, 1813-1901）的歌劇多半取材自各國文學，且不侷限於當代作品，莎士比亞（William Shakespeare, 1564-

1616）一直對他有很大的吸引力。但終其一生，威爾第以莎士比亞作品為素材完成的歌劇僅有三部：《馬克白》（Macbeth, 1847/1865）、《奧泰羅》（Otello, 1887）與《法斯塔夫》（Falstaff, 1893）；他一直想寫的《李爾王》（Il re Lear）則未能如願。究其原因，應在於莎翁的作品人物眾多，場景變換頻仍，改寫成歌劇殊為不易；《馬克白》一修再修，威爾第依舊不是很滿意，即為明證。直至晚年，最後兩部作品終於完成他的心願，其中有位關鍵人物：劇作家柏依鐸（Arrigo Boito, 18421918）。

「世間諸事皆為玩笑」— 威爾第的《法斯塔夫》柏依鐸為義大利藝文界年輕一代中高呼改革甚力的一員，熱烈崇拜華格

羅基敏│撰文

納，將其作品譯為義大利文，引進義大利。柏依鐸不僅文筆好，也會作

國立臺灣師範大學音樂系退休教授

曲，只是將歌劇見解經由他音樂之筆落實時，似乎力有未逮。1 柏依鐸自己的歌劇創作雖然重質不重量，他執筆的歌劇劇本卻是質量並重，成就了不少作曲家的生平傑作。2 經由黎柯笛（Giulio Ricordi, 1840-1912），威爾第正式認識了柏依鐸，他的文學、戲劇修養，對歌劇的瞭解，讓劇作家與作曲家儘管年齡、輩份有所差異，卻真正處於合作的地位。柏依鐸針對威爾第提出的問題快速解答，並對高齡作曲家適當鼓勵，是威爾第能在上了七十歲後，甚至於八十高齡，仍能鼓足勇氣，再創創作高峰的一大重要精神支柱。

1 他的第一部歌劇作品《梅菲斯多費勒》（Mefistofele, 1868/1875）取材自歌德（Johann Wolfgang von Goethe, 1749-

1890 年底，在一封給朋友的信中，威爾第提到寫作《法斯塔夫》的計劃：要怎麼說呢？我想寫一部喜劇已經有四十年了，我知道《溫莎的快樂

1832）的《浮士德》（Faust），首演一

夫人們》有五十年了，但是，一大堆的「可是」讓我一直未能達成這

敗塗地。柏依鐸大幅改寫後，在威爾第

個心願。現在柏依鐸解決了所有的「可是」，他為我寫了一部和其他

的大力推薦下，於 1875 年再度推出，才算成功。第二部作品《尼祿王》（Nerone,

喜劇很不同的、富有詩意的喜劇。對我而言，譜寫這部作品是一個享

1877-1915/1924）為其畢生漚心瀝血之

受，我沒有任何計劃，甚至不知道我是否能寫完它，但是，我要再度

作，寫了三十多年，完成四幕，柏依鐸

強調，這是一個享受。法斯塔夫是個無賴，做什麼事都不成功，但失

認為還差一幕，他的出版商黎柯笛試著說服他，四幕已經可以了，卻徒勞無功。

敗地很可愛。他是一種典型。天下有那麼多種不同的典型！

《尼祿王》在柏依鐸逝世後六年才首演，還是四幕。 2 例如龐開利（Amilcare Ponchielli, 18341886）的《嬌宮妲》（La Gioconda,

由這段話可見，《法斯塔夫》的劇本在當時已經成形。由作曲家與劇作家的信件往來，可以推測，決定寫這部歌劇應是兩人討論的結果。1889 年七月六日，威爾第寫信給柏依鐸，信中，《法斯塔夫》出現了：

1876）。

在讀你的大綱前，我想先再讀一次《溫莎的快樂夫人們》、《亨利四世》、《亨利五世》，我只能一再地重覆：太棒了！沒有一個人能比你寫的更好。不過（這不是你的錯），全劇的氣氛並未持續到結束，第二幕結束時是全劇的高潮，法斯塔夫的臉孔夾在骯髒的衣物間載浮載沈，實在是一個很可愛的主意。我擔心的是，最後一幕雖然有很多很好的點子，但是會顯得很俗氣。……

我們現在有很多不同的事要討論，來看看究竟這個《法斯塔夫》或《快樂夫人們》會怎麼樣，我們兩天前的夢想是否能就此成真。何時？怎麼做？誰知道呢？

柏依鐸次日的回信展現他對戲劇的精闢見解：

沒錯！第三幕最無聊。這一直是劇場的問題。很不幸這是喜劇的定律。在悲劇中則不同。在接近一個悲劇的結尾時 ─ 無論是像在《奧塞羅》裡，事先已可預見，或是像在《哈姆雷特》中，無法預見 ─ 都會高度地增加心中的緊張，因為結局是可怕的。因此悲劇的最後一幕都是最好的。在喜劇裡，當這個結快被解開時，興趣會漸漸褪去，因為結局是快樂的。……無論對話多麼精采，角色依然可愛，

但劇情的動力卻弱下來，戲劇性亦然。在《溫莎

則參考了《亨利四世》（King Henry IV）第一部和第

的快樂夫人們》中，即使是莎士比亞如此的超級

二部。全劇開始，法斯塔夫在旅館以耍無賴的方式亮

大師，也躲不開這個基本問題。……對我而言，

相，係依著《溫莎的快樂夫人們》，但是內容則不全

《雪維里亞的理髮師》最後一景一直是全劇最弱

同。話劇中短短的一段在歌劇中被擴大，清楚刻劃著

的一環。如果我說得不對，請指正。在喜劇中一

法斯塔夫的人格特質。歌劇中增加的台詞並非空穴來

定有一個時候，包廂裡的人說：結束了。但舞台

風，讀旅館老闆送上帳單的一段，以及在台詞間點明

上的演出卻還沒有結束。

他是騎士出身，和王室有著特殊關係的種種，明顯地整合自《亨利四世》的不同段落。五幕的話劇轉化成

接著，柏依鐸有以下建議：

三幕的歌劇，劇情主軸依著原著走，但有所刪減。第一幕呈現沒落騎士法斯塔夫異想天開地想和兩位有錢

最重要的是，我們必須儘力解決第三幕的問題，這一幕仍有些特點。在前兩幕中還未被碰到的特殊情形，可以在這裡發揮，而能帶來新鮮感。我們有三個喜劇的特點，第一是法斯塔夫對頭上的角的獨白，第二為審判法斯塔夫的段落……，第三是喬裝後的兩個婚禮。我們可以將南妮塔和棻騰的二重唱延到這一幕的開始，在此之前，兩個人每次上場時，都讓他們抓住每個機會，偷偷地

人的妻子約會，希望能騙些錢花用。這兩位女子則決定將計就計，教訓這位又老又胖的色鬼。第二幕、第三幕分別呈現法斯塔夫被兩次作弄的情形。第二幕取自話劇第三幕，法斯塔夫被塞入洗衣籃，丟到泰晤士河中。第三幕則取自話劇最後一幕，眾人合作將法斯塔夫在森林中痛毆一頓。莎劇第四幕，法斯塔夫扮成老女巫，被厭惡女巫的福特先生痛打一頓的情形，則被刪去。

吻一吻，短暫地交換幾句話等等，這將會是一個最生動而愉快的愛情，一直受到阻撓，也隨時準備開始。

劇情雖無太大出入，人物安排卻有所變動，主要改變在於福特和佩吉兩家。莎劇中，福特一家只有夫婦兩人，但是佩吉一家卻有一女安、一子威廉。安和棻騰

當然，棻騰的歌會讓男高音有個獨唱，這不太好。是否要去掉它？

相戀，但安的父親則看中法國醫生凱優斯為理想女婿，安的母親則中意法官薜樓的姪兒斯蘭德。簡言之，莎劇中主導作弄法斯塔夫的是福特一家，在最後一幕中

完成的歌劇成品中，這幾個重點都巧妙地被織入。棻騰在第三幕有首獨唱，南妮塔和棻騰的二重唱在第一幕就出現，成為威爾第架構全劇音樂的利器。

年輕人有情人終成眷屬的情節，則發生在佩吉家。歌劇將所有戲份均集中在福特一家，安成了福特的女兒，威廉和佩吉先生均被刪去，佩吉夫人亦僅以幫腔的身份出現。歌劇還刪去了相當多的男性次要角色：法斯

《法斯塔夫》的劇情主要取自《溫莎的快樂夫人們》（The Merry Wives of Windsor），主角法斯塔夫的塑造

塔夫的三位隨從只剩兩位，其他的角色則只留了醫生凱優斯，做為追求安的代表，他曾在法斯塔夫手上吃

過虧，全劇即是由他向法斯塔夫興師問罪開始。凱優

到他的誠惶誠恐，要由「莎士比亞這顆大橘子中榨

斯的女管家奎克利夫人在歌劇中成了福特和佩吉家的

出汁，但要避免籽子掉進小杯子中」。作曲家的喜

鄰居，和凱優斯醫生全無關係。如此的更動結果，除

劇賦格願望落實在全劇結束，法斯塔夫帶頭唱出〈世

了法斯塔夫被作弄的主戲外，歌劇中亦呈現了男人和

間諸事皆為玩笑〉（Tutto nel mondo è burla），其

女人的戰爭。

他人先後加入，交織出一段賦格，熱鬧地結束威爾第最後一部歌劇，也為十九世紀後半歌劇史中幾乎

介於男人和女人戰爭之間的，則是安和棻騰這對小情

缺席的喜劇，留下一部精品。

人。在莎翁作品中，這一對情人沒有獲得任何家長的支持，全靠自己的智慧，方能如願。歌劇中，安的父親看中凱優斯，母親則支持女兒，在她的安排下，兩人才能結成連理。莎劇中，小兒女尚有一些專屬於他們的對話和場景，歌劇裡，兩人則只在有機會時，偷偷親熱一下，如同柏依鐸最早的建議。在威爾第筆下，這一個建議開展出獨到的音樂戲劇意義和效果。作曲家將這一對不屬於主戲的小兒女有時做為氣氛的調劑，讓全劇在笑鬧中，還能有一份抒情，有時則將他們做為音樂的軸心，軸心兩邊則是男人和女人的對立世界，例如第二幕結束時的情形。歌劇中特別突顯了轉型後的奎克利夫人。話劇中，她不時旁觀看熱鬧，對主人有意娶安一事，並無特別立場。歌劇中，她則加入女人的行列，是作弄法斯塔夫的先鋒，讓後者被修理後，看到她，就退避三舍。

經過如此的轉化與處理，威爾第的《法斯塔夫》呈現出一位如他所說的「法斯塔夫」：是個無賴，做什麼事都不成功，但失敗地很可愛。

早在 1889 年八月，柏依鐸開始寫劇本時，威爾第也已開始構思音樂。他告訴柏依鐸，想在劇中寫喜劇的賦格。柏依鐸八月二十日的回信表示認同，想辦法解決歌詞的問題就是。也在同一封信裡，劇作家提

he world of opera is filled with great tragedies: Verdi’s Otello, Bellini’s Norma, Wagner’s Tristan und Isolde, Puccini’s Tosca, Britten’s Peter

Grimes, and Berg’s Wozzeck just for starters. But what about comedies? How many truly great comedies are there? Very few. At the top of the list is surely Verdi’s Falstaff. There are no “big issues” here, no profound character development, no domed love ̶ just an engaging story filled with fun and frolic, youthful high spirits, memorable characters, scintillating music, and rapid-fire dialogue (no repeating the same words over and over!). Falstaff is an opera almost impossible not to love.

VERDI: FALSTAFF Ironically, Falstaff came at the very end of a career of a composer who had hitherto written only tragedies aside from one obscure, early flop. That was Il giorno di regno (1840), and it almost ended Verdi’s career then and there. Preceding Il giorno di regno was Oberto, a moderate success in its time, almost totally forgotten today, but in between Un giorno di regno of 1840 and Falstaff of 1893 – a span of 53 years ̶ came 23 more operas, many of which rank among today’s most popular: Nabucco, Macbeth, Rigoletto, Il trovatore, La traviata, La forza del destino, I vespri siciliani, Simon Boccanegra, Un ballo in maschera, Don Carlo, Aida, Otello, and others. In fact, there are more operas by Verdi in the active repertory today than by any other composer (His closest competitor in this regard is Wagner, who just by coincidence was born in the same year as Verdi, 1813.)

Robert Markow

Verdi’s 26 operas were not evenly spaced across his career.

there), laced with monologues from Henry IV Parts I

Between 1839 (Oberto) and 1850 (Steffelio) he turned out

and II. The result, first presented on February 9, 1893

an opera a year, sometimes two. Beginning with Rigoletto

at Milan’s La Scala, was predictably a roaring success.

in 1851 the spacing began to get wider. There were six

Notables from all over Europe attended. Tickets went for

more until 1862, then just four more over the next thirty

incredible sums. The applause afterwards lasted an hour.

years. With Otello in 1887, Verdi truly thought he had

Falstaff was given 23 more times in its first season alone

done enough, and looked forward to living out the rest

at La Scala.

of his life in quiet comfort (in fact, he lived well beyond Falstaff, right into the twentieth century, dying at the age

Here is what one biographer, Carlo Gatti, reported about

of 87 in 1901).

the premiere: “Hour by hour the crowd in the piazza grew larger until it became impossible to pass, and the

But there was one final masterpiece waiting to be born,

street had to be closed. At seven in the evening the door

and it was Verdi’s librettist for Otello, Arrigo Boïto (also

to the gallery was thrown open, and a shouting human

composer of Mefistofele), who was largely responsible for

river flooded up and up the stairway. At seven-fifteen the

its conception. Boïto knew that Verdi had long wanted to

fortunate souls who had seats hurried to their places, while

write a comedy. He also knew of Verdi’s profound love

in the piazza outside the crowd was as thick as a forest.

of Shakespeare. The bait Boïto dangled in front of Verdi

By eight o’clock La Scala was full, the boxes stuffed with

consisted of his adaptation of the bard’s comedy The

ladies and gentlemen, the last balcony like an ant hill. …

Merry Wives of Windsor (condensing here, expanding

The first scene in the tavern – rendezvous of rascals and refuge of Sir John – was received with applause, but the public was not yet convinced. The second scene, set in the garden of the Merry Wives, sparkled and flamed with gaiety, lightness, freedom and musical eloquence. The chatter of the wives, woven with the complaints of their husbands, enchanted the listeners … ” Falstaff was quickly recognized for what it is ̶ a magnificent synthesis of poetry, drama, and music, much in the manner of a Wagnerian music drama but without all the mythological and philosophical baggage. The action is swift, the design is compact, there is not a single wasted moment. Every word is important, and the orchestra is an equal partner with the singers, In fact, the orchestra is probably more important in Falstaff than in any other

Verdi opera, providing continuous commentary on the

the subject was probably Louis-August Papavoine, with

action and a vast array of colors to match the mood at any

Le vieux Coquet in 1761. Carl Ditters von Dittersdorf set

given moment. Often the music flies by so fast that it takes

Die lustigen Weiber (The Merry Wives) in 1796, Antonio

multiple hearings to catch it all, but a few moments stand

Salieri brought out his Falstaff in 1799, and there was

out. In the first scene, for example, when Falstaff looks in

another Lustigen Weiber by Otto Nicolai in 1849 (its

his purse for coins to pay the tavern-keeper, he discovers

overture occasionally turns up on orchestral programs

it is nearly empty, a notion reflected in the orchestra

today). From Shakespeare’s homeland there are two

by horns alone, sustaining widely-spaced long tones to

twentieth-century operas of note, Sir John in Love by

create the sensation of “emptiness” (no notes in between).

Ralph Vaughan Williams and The Boar’s Head by Gustav

Introducing Scene 2 is a deliciously appropriate bit of

Holst; also from England is an important symphonic

orchestral writing that perfectly sets the mood of frivolity

poem, Elgar’s Falstaff.

for the capricious, chattering ladies we are about to meet. Perhaps the most memorable moment for the orchestra

There are only about two hours of music in Falstaff, yet

occurs at the conclusion of Falstaff’s opening monologue

it has one of the longest librettos in the repertory. There

in Act III. As the wine he is drinking begins to take effect,

is a great deal of fast-paced dialogue, often with several

warming his body and mellowing his spirit, a single flute

characters singing simultaneously. Nevertheless, the plot

begins to trill. More flutes, then more woodwinds, strings,

can be briefly summarized. Despite his huge bulk and

and finally the entire orchestra ̶ even trombones! ̶ join

boorish behavior, Falstaff fancies himself a ladies man.

in to paint the unmistakable picture of Falstaff having

Always in need of money, he contrives a plan to dupe

returned to his jolly old self.

Alice Ford into having an affair with him so as to gain access to her husband’s fortune. Such a splendid plan this

There are ten characters in the opera, and all have

is, he thinks, that it should work equally well on Meg

important parts. There is an almost constant coming-and-

Page. Falstaff totally miscalculates, and Acts II and III

going of cast members, and numerous ensemble passages ̶

reveal how the two ladies (and their entourage of helpers)

even several rare examples of nonets. For this reason it is

expose Falstaff for what he is, thoroughly humiliating him

one of the most difficult operas in the repertory to conduct,

and punishing him for his indiscretions.

to prompt, to direct, or in which to manage the surtitles (or sidetitles). There are no passages suitable for excerpts

Falstaff has been called “among the loveliest dreams of

on operatic or vocal recital programs, either because they

yesterday ever imagined by the mind of man … It has

are too short, lack tidy endings, or just don’t work out of

the mobility of mercury and the durability of silver, and

context (Ford’s and Falstaff’s monologues, for example).

sounds as a combination of those two might come from a sorcerer capable of converting a sensation of the hand into

Verdi was by no means the only composer to write a

a sensation of the ear.” (Irving Kolodin)

Falstaff opera, but his eclipses all others. The first to treat

Kolodin’s reference to a sorcerer is apt. Verdi magically

eventually married, but not because of public censure. The

transformed the whole world of Italian opera. Even his

marriage produced no children, but the household in Sant’

early opera Nabucco (Verdi’s third and the one that made

Agata was filled with birds, cats, and dogs.

him famous) has a raw energy that went far beyond what Italians were used to hearing in their bel canto repertory.

Verdi’s public life was not limited to the world of opera.

The orchestra was larger and more powerful, the singers

He was deeply involved with a political and social

had more forceful and strongly defined roles, and the

movement known as the Risorgimento, whose purpose

entire opera was deeply imbued with dignity, monumental

was the overthrow of Austrian domination and unification

strength, tragic pathos and Biblical grandeur. These

of the various Italian city-states into a single country.

qualities carried over into many of Verdi’s subsequent

That famous chorus in Nabucco, “Va, pensiero,” in which

operas. The transformation of Italian opera reached even

the Hebrew exiles express longing for their homeland,

greater heights with the great central trilogy of Rigoletto,

quickly became a hit detached from the opera and served

Il trovatore, and La traviata. With these, Verdi became

as a symbol of Italian resistance to the Austrian yoke.

the only opera composer who could rival the French

It is unknown whether Verdi really intended this chorus

Meyerbeer, and by far the most popular Italian composer

to serve such a political purpose, but his next opera, I

of the mid nineteenth century. London’s Musical World

Lombardi, unequivocally dealt with the Italian move

noted in 1855 that Verdi “has revolutionized the musical

toward unification. Ernani and Attila too subtly involved

stage in his native country. Next to his operas, all others

nationalistic causes.

are forgotten. In time he made himself a name on the other part of the Alps. Other mobs caught up the enthusiasm,

Verdi lived to see his dream come true: Italy became a

which spread from kingdom to kingdom, until new

unified country in 1861. He was briefly a member of the

countries were invaded and conquered, and the mob-idol

country’s first Parliament, and even his name was turned

of one land became the mob-idol of all. Is this, or is it not,

into an acrostic symbolizing his nationalistic sentiment:

the secret of Signor Verdi’s career?”

Vittorio Emmanuele, Re D’Italia (Victor Emmanuel II was King of Sardinia from 1849 to 1861 and became the

Verdi was simple, very private man, strong-minded and a

first king of a united Italy in 1861). When Verdi died,

believer in personal freedom. His first wife, Margherita,

forty years after unification, all Italy went into mourning.

and their two young children all died from various

For the interment of his body in the crypt of the Casa

illnesses during a period of less than three years (1837-

di Riposo in Milan, a crowd of more than a quarter of a

1840), and he was understandably devastated. In 1839

million gathered for the event, and Arturo Toscanini led a

Verdi met soprano Giuseppina Strepponi, who sang in his

chorus of over eight hundred in “Va, pensiero.” Verdi the

first opera Oberto and several subsequent ones. Nine years

man was gone, but his legacy lives on, with operaphiles

later they began living together, which brought strong

around the world loudly singing the praises of Falstaff as

disapproval from mid-nineteenth-century Italians. They

one of his greatest achievements.

017 年 NSO 成立的愛樂實驗室（Music Lab），以此探索未知、尋求古典音樂及樂團的無限可能。2019 年起，愛樂實驗室展開全新的計

畫，以音樂照護及音樂治療為主軸，進而落實文化平權及共融等趨勢議題。我們震撼地感受到音樂所帶來的力量，遠遠地超乎了想像；過程中觀察到音樂使長者重展笑顏，也見證了照護者運用音樂打破了與言語喪失者的藩籬，為彼此的溝通找到渠徑。

與君同樂，用音樂帶領不同族群共享歡「樂」時光串連國際跨域整合 NSO 串連了各界夥伴，包括各大療養機構、醫院、教育單位，並與業界及參與民眾建立緊密的社群網。NSO 邁出第一步後，迴響熱烈，眾多關注此議題的機構、夥伴…等，均表達熱切期望參與愛樂實驗室的各項活動及未來計畫。

本樂季 NSO 將延續主題，舉辦樂齡音樂會暨國際研討會，再度邀請英國的曼徹斯特室內樂團（Manchester Camerata），以及來自日本的新夥伴 ─ 日本世紀交響樂團（Japan Century Symphony Orchestra），與 NSO 共同帶領學員走入醫院、安養中心及社區，走訪全臺各地，邀請長者走上舞台與音樂家共演量身打造的作品。NSO 將持續與東亞各大交響樂團分享有關文化平權及共融的經驗，並討論政府、企業、及醫療單位在失智症

議題所扮演的角色，希望藉此拓展音樂參與的影響力，擴大跨領域的專業整合。

結合科技發揮音樂效益當表達及行動力有所侷限，我們要如何優雅又有尊嚴的老去？又如何讓家屬不再為了照顧而降低生活品質，有更多喘息及學習的空間？本著創新的實驗精神，NSO 持續思索，如何結合音樂，將科技帶入失智症患者的世界。

NSO 將透過自身的專業，打造一款為失智症患設計的音樂手機應用程式。兼顧著陪伴、諮詢以及學習等功能，透過科技讓照護者喘息，醫院則藉由數據掌握患者的心智狀況，而音樂遊戲刺激患者腦部，陪伴患者一同學習並享受音樂、隨時收聽 NSO 經典演出。手機應用程式串連著醫療體系、照護機構及音樂場域，讓音樂發揮最大效益。

擴展社會連結的音樂會處方箋當失智患者說出「喜歡音樂」時，無論是家屬、醫護人員，抑或是 NSO 工作人員，都深刻感受到『音樂會處方箋』的深遠意義。

愛樂實驗室自 2019 年十一月開始，與台北市立聯合醫院合作『音樂會處方箋』，邀請失智患者及照護人員進入音樂廳聆賞音樂會，並探討音樂如何與醫療結合，在病患身上產生的效益如何科學量化 ?

音樂會處方箋概念源自於社交處方（Social Prescribing），是歐洲國家近年興起的醫療概念，強調社會連結，讓社交活動刺激腦部，達到身心舒緩而改善症狀。NSO 與聯合醫院推動的音樂會處方箋，主要分為四部分；首先開立音樂清單、在家聆聽音樂，第二步參與演前音樂導聆講座，第三步前往欣賞音樂會，最後「回診」做音樂會後訪談。NSO 積極地與醫療團隊開發處方箋模組，並畫將此模組推廣到其他鄉鎮及音樂廳。

期許「實踐友善平權」一個更深更廣的未來不僅是針對高齡者所設計的計畫，NSO 近年規劃多項參與式音樂活動，在企業的支持之下，每年夏天與各地文化單位合作，舉辦多場免費的綠野講座音樂會，近六千名觀眾在夏日的美好夜風中，近距離欣賞演出；也特別企劃適合兒童觀賞的歌劇，以互動方式，鼓勵家長陪伴小朋友一同聆賞歌劇；同時也走入偏鄉校園，以及邀請學童親赴排練室及音樂廳參與排練、欣賞演出。NSO 期許成為實踐友善平權、社會共融的音樂團隊與機構，用音樂帶領不同族群共享歡「樂」時光。

n 2017, in a spirit of adventure, the NSO launched Music Lab with the purpose of exploring the unknown and of discovering new possibilities for

orchestral music. In 2019, Music Lab came up with a new plan, one focusing on music care and music therapy, a plan that will incorporate current issues like cultural equality and inclusion. We have been amazed by the power of music to make the elderly smile again, and to see how instruments and voices resonate with people. We have also witnessed the use of music by caregivers to break the barrier of speech loss and to effectively find direct channels of communication.

RESTORING JOY TO THE ELDERLY WITH DEMENTIA International connections and the integration of Music Lab professionals by

The NSO brings together partners from numerous professions, including major nursing facilities, hospitals, and educational institutions, hence establishing a close social network with industry and participating organizations. Following initial steps, we discovered that we were not alone in our efforts. Many organizations care about dementia. Many of our partners eagerly look forward to participating in Music Lab's future plans, and are keen to join us in the journey to our next milestone. This season, the NSO will continue its mission by holding seniors concerts and international seminars, inviting the Manchester Camerata from the United Kingdom as well as our new partner, the Japan Century Symphony Orchestra. The NSO will accompany participants to

hospitals, nursing homes, and other institutions within the community. We will visit the southern townships, do hands-on music therapy with dementia patients, invite the elderly to come on stage, and perform music created jointly by the elderly and the musicians. Symphony orchestras from east Asia will be invited to seminars in which they will share experiences relating to cultural equality and inclusion. We will also invite government departments, businesses, and medical institutions to discuss the roles each can contribute to issues on dementia. We look forward to expanding the influence of participatory musical activities and to the professional integration of all through these events.

Activating technology, illuminating the human condition Care through music holds a promising future. As we age, and as our range of expression and activities contract, the question becomes how we can do so with elegance and dignity. Can we minimize our impact on the quality of life of family members and still carry on? In the spirit of innovative experimentation, the NSO is considering how best to combine music and technology in the daily lives of dementia patients. In partnership with professionals in the eldercare network, the NSO is designing a music mobile application for dementia patients. This app will provide companionship, counseling, and learning. It will allow caregivers to have more personal space and new forms of positive patient interaction. It will assist patients in learning about and enjoying music, and allow hospital staff to understand the mental state of patients through data received. Patients can be stimulated through playing musical games and by listening to classical music performed by the NSO on demand. It will connect the medical system, care home institutions, and the classical music industry using technology to maximize the benefits of music.

Musical prescription: inviting dementia patients to leave the home When the words "enjoying music" are spoken by patients with dementia, whether it be to family members, medical staff, or NSO musicians, a "concert

prescription" means not just attending concerts but also the profound impact these concerts have on the patients. Since November of 2019, Music Lab has been collaborating with Taipei City Hospital on "Concert Prescriptions" to invite dementia patients and family members to come enjoy concerts in the hall. Music Lab and its partners are studying how to combine music with medical treatment, and how the benefits generated in patients can be scientifically quantified. The concept of concert prescriptions originated in social prescribing, a medical concept that has emerged in European countries in recent years. It emphasizes connection with society and allows social activities to stimulate the brain in order to achieve physical and mental relief and to diminish symptoms. Concert prescriptions promoted by the NSO and Taipei City Hospital are divided into four main areas: (1) Establish a list of compositions for patients to listen to and study. (2) Participate in pre-concert lectures. (3) Enjoy the concert! (4) Finally, attend post-concert discussions. We are actively developing a set of modules with the medical team, and are planning to promote this module to other townships and concert halls. Listening to music is good medicine, both for the patientsâ&#x20AC;&#x2122; own health and for their relationships with others.

Accessing culture, bringing music to everyone Regardless of age, geographical location, or physical or mental condition, access to music is something everyone deserves to have. In recent years, the NSO has worked hard to bring music to audiences beyond the concert hall and to collaborate with cultural institutions around the world. We organize free NSO Outdoor Lecture Concerts every year, allowing thousands of people to enjoy classical music on beautiful summer evenings. The NSO also presents operas suitable for young people, and encourages parents to attend as well so they can share the operatic experience with their children. We bring the orchestra to schools in rural areas. We also invite children into rehearsal areas to give them a more personal, up-close view of a symphony orchestra. Our goal is that, in the near future, music will become accessible on an equal basis to everyone.

樂季音樂會

Season Concerts

19：30

919 Sat.

國家音樂廳 National Concert Hall 500‧800‧1200‧1600‧2000

大師系列｜ Maestro Series

開季音樂會

絃舞魔幻 Season Opening Concert

Daphnis et Chloé 指揮｜呂紹嘉 Shao-Chia Lü, conductor 小提琴｜陳銳 Ray Chen, violin 合唱指導｜古育仲、張維君 Yu-Chung John Ku, Wei-Chun Regina Chang, chorus master 台北愛樂合唱團 Taipei Philharmonic Chorus

當

最深的黑夜過去，清晨破曉時刻到來，我們就能重新迎回愛人、友誼和擁抱，一同跳舞、歡慶。拉威爾的《達芙妮與克羅伊》，描寫

希臘神話裡達芙妮與克羅伊，幾經命運戲弄與波折，在牧神潘、女神和牧羊人的協助下，終能重逢，開啟生命全新樂章。全曲有如施展管絃樂魔法，包括清透的日出景象，錯綜複雜的情感糾結，重逢時的欣喜，都在音樂裡展現。狄卡是另一位音樂魔法師，他所寫的《魔法師的小學徒》，因迪士尼動畫《幻想曲》配樂使用而廣為人知。光聽音樂，就像是能看見魔法師學徒施展法術，變出掃帚人提水、擦地，但又弄得一團亂、無法收拾的生動場面。法國作曲家聖桑斯在歌劇、交響曲、合唱、室內樂，乃至電影音樂都留下豐厚的資產，一生寫了十首協奏曲，而這場音樂會演出第三號小提琴協奏曲兼具名家展技與如歌詠嘆，當年是為了西班牙小提琴大師薩拉沙泰所寫，也由他首演。 To open the season, Shao-Chia Lü has chosen three works that splendidly show off the orchestra he has guided over the past ten years. First comes a composition that millions of people around the world first came to know through Walt Disney’s animated feature film Fantasia, in which Mickey Mouse assumes the title role in The Sorcerer’s Apprentice. French composer Paul Dukas wrote the music to this ancient fable, brilliantly utilizing the orchestra to evoke every detail of the storyline. Another early-twentieth-century Frenchman, Maurice Ravel, set the ancient Greek fable of Daphnis and Chloe as an hour-long ballet score that 狄卡：《魔法師的小學徒》

simply bursts with ravishing, evocative moments and ends with a veritable orgy

聖桑斯：第三號小提琴協奏曲

of sound. Camille Saint-Saëns’ Third Violin Concerto is one of the mainstays

拉威爾：《達芙妮與克羅伊》

of the romantic violin repertory, music of great lyrical beauty as well as of

Paul Dukas: L'apprenti sorcier Camille Saint-Saëns: Violin Concerto No.3

pyrotechnical displays.

Maurice Ravel: Daphnis et Chloé

獨家企業夥伴｜本場音樂會導聆由夜鶯基金會提供

19：30

925 Fri.

國家音樂廳 National Concert Hall

500‧700‧1000‧1600‧2000‧

926

19：30

2500‧3000

Sat.

衛武營音樂廳 Weiwuying Concert Hall 400‧700‧1000‧1600‧2000‧ 2500‧3000

名家系列 Master Series

世紀交會

Timeless encounters 指揮｜呂紹嘉 Shao-Chia Lü, conductor 小提琴｜胡乃元、陳銳、魏靖儀

Nai-Yuan Hu, Ray Chen, William Wei, violin

巴赫：第二號小提琴協奏曲巴赫：雙小提琴協奏曲韋瓦第：給三把小提琴的協奏曲斯特拉溫斯基：D 調絃樂協奏曲貝多芬：第一號交響曲

巴

赫的第二號小提琴協奏曲及雙小提琴協奏曲，是巴赫眾多作品中知名且深受喜愛，有別於第二號小提琴協奏曲的平易與清新，雙小提琴協

奏曲則是兩把份量均等的小提琴，以豐富的層次，堆疊出屬於巴洛克時期的精緻。分屬不同世代的小提琴家胡乃元、陳銳、魏靖儀，偶聚於音樂舞台，將在韋瓦第給三把小提琴協奏曲優雅如歌的旋律中，展現三人獨樹的風格。

Johann Sebastian Bach：Violin Concerto

1946 年，斯特拉溫斯基為巴塞爾室內管弦樂團譜寫 D 調絃樂協奏曲，全曲

No.2 in E major, BWV 1042

三樂章，精巧短小，聲響新穎且充滿動能，時有動聽旋律湧現，被視為新

Johann Sebastian Bach：Concerto for Two

古典主義風格的絕佳作品。貝多芬的第一號交響曲，承襲海頓、莫札特等

Violins in D minor, BWV 1043 Antonio Vivaldi：Concerto for Three Violins in F major, RV 551 Igor Stravinsky：Concerto in D for strings

人的古典技法，第一樂章和莫札特第 41 號交響曲相似。同時做了新嘗試，如：讓和聲基礎的低音聲部演奏主題旋律，一改以高音聲部為主的作法，既轉換樂曲氛圍，拓展樂器演奏的可能性，同時讓聽覺效果豐富。

Ludwig van Beethoven：Symphony No.1 in C major, Op.21

Among many celebrated works of Bach’s, the Violin Concerto No.2 in E major and the Concerto for Two Violins in D minor are deeply cherished by the music lovers. While the arrangement of Violin Concerto No.2 remains simple and elegant, the Concerto in D minor features two leadings violins, creating a rich, refined baroque sound. Through Concerto for Three Violins in F Major, NaiYuan Hu, Ray Chen, and William Wei —— three violinists from three different generations —— aim at presenting the genius of Vivaldi to audiences with their own unique personalities. Two works by musical giants composed nearly a century and a half apart, but which share a common theme: the composers’ efforts to “push the ceiling” of style current at the time and to create something different while incorporating values of the past. Beethoven’s First Symphony was a landmark event that not only initiated the great canon of nine from this composer, but was to have repercussions on the genre that reverberated across the span of the entire century: larger formal dimensions, an expanded time frame, bolder

共同主辦｜

and more sophisticated harmonic adventures, increased emotional intensity, and an emphatic sense of force and aggressiveness. In his Concerto in D for Strings, Stravinsky adopted the concerto grosso principle of the Baroque period in its contrasts of full string ensemble from which time to time emerge smaller groups of instruments in a quasi-solo capacity.

主要贊助｜

14：30

1004 Sun.

國家音樂廳 National Concert Hall 400‧700‧1000‧1200‧1500

國家交響樂團帶您探訪經典，享受美好的音樂時光。邀請活力與創意均豐沛的小提琴家陳銳，與 NSO 獨奏家群攜手呈現莫札特與韋瓦第知名經典作品。莫札特共創作了十三首絃樂小夜曲，G 大調《絃樂小夜曲》第十三號作品 K. 525，是其最負盛名的一首，全曲由四個樂章組成。以 G 大調寫成的第三號小提琴協奏曲，相較於莫札特其他作品的德奧風格，法國的雅緻則在此曲清晰流露。深受大家喜愛的韋瓦第《四季》，是巴洛克的不朽經典，韋瓦第以動聽的旋律，生動地描寫著每個季節的顏色與表情。

NSO 室內樂｜ Chamber Concerts

NSO 室內樂《銳語四季》

NSO Chamber Concerts - Ray & Friends 領奏 & 小提琴｜陳銳 Ray Chen, direct & violin NSO 獨奏家群 NSO musicians

Ray Chen, known for his energy and creativity, collaborates with the NSO in

莫札特：絃樂小夜曲，作品 K. 525

presenting classic works by Mozart and Vivaldi. Composed of four movements,

莫札特：G 大調第三號小提琴協奏曲，作品 K. 216

Mozart's Serenade No. 13 for strings in G major（K. 525）is probably the most well-known among his 13 serenades. Violin Concerto No.3 in G major（K.216）

韋瓦第：《四季》 Wolfgang Amadeus Mozart: Eine kleine Nachtmusik, K.525

showcases delicate French elements, making it differ from his other works in

Wolfgang Amadeus Mozart:

German-Austrian style. Vivaldi vividly portrays seasonal colors and expressions in

Violin Concerto No.3 in G major, K.216

his classic The Four Seasons , which has been loved by enthusiasts for centuries.

Antonio Vivaldi: The Four Seasons

19：30

1017 Sat.

北藝大音樂廳 The Performing Arts Center Concert Hall of TNUA

票價資訊詳頁面備註

鄉土韻味，向來最能打動人心。臺灣女性作曲家顏名秀，從客家傳統節慶「天穿日」取材，融入山歌曲調，為小提琴與管絃樂團量身打造《補天穿》。國家交響樂團前首席李宜錦細膩詮釋，客家風情，一「聽」無遺！匈牙利作曲家柯大宜，幼年居住在「加蘭塔」地區，當地吉普賽人群聚，保有濃郁的民族色彩和音樂歌謠。柯大宜耳濡目染，留下深刻記憶，1934 年發表的《加蘭塔舞曲》，不只是一首華麗的吉普賽樂章，也是他的「童年往事」。對於捷克作曲家德沃札克來說，創作音樂，除了寫旋律，更要寫出民族情感。他在旅居美國紐約期間創作的第九號交響曲《新世界》，其實是他寄給家鄉波希米亞的「音樂家書」，其中不只有他在新大陸接觸到的黑人靈歌、印地安舞蹈，更多的則是他骨子裡濃濃的鄉愁韻味。

2020 關渡音樂節北藝大 ×NSO《思鄉情懷》 NSO&I-Ching Li&Yao-Yu Wu 指揮｜吳曜宇 Yao-Yu Wu, conductor 小提琴｜李宜錦 I-Ching Li, violin

柯大宜：《加蘭塔舞曲》

Throughout this season, the NSO will be presenting no fewer than four compositions

顏名秀：《補天穿》為小提琴與管絃樂團

written by contemporary Taiwanese composers, all inspired by Hakka culture. The

（客家委員會委託創作，世界首演）德沃札克：第九號交響曲《新世界》

first of these is by Ming-Hsiu Yen, Her work is entitled Nu Wa (Mending the Sky),

Zoltán Kodály: Dances of Galánta

Inspired by the Hakka festival Tian-Chuan Day, it incorporates traditional folk

Ming-Hsiu Yen:

songs. The solo violin role will be taken by the NSO’s former co-concertmaster

NU WA for violin and orchestra

I-Ching Li. Also on the program are works by two of the most prominent composers

(commissioned by Hakka Affairs Council, world premiere)

from Eastern Europe. Kodály’s Dances of Galánta likewise incorporates folksongs,

Antonín Dvořák: Symphony No.9 in E minor,

these of Hungarian gypsy origin. (Galánta is a small town in Hungary.) Dvořák’s

Op.95, From the New World

most popular symphony (No.9), a great favorite of NSO audiences, was written in the New World (America), but it sings eloquently of the composer’s Bohemian homeland in Europe. There are no traditional folk songs in this work, but the themes are steeped in Slavonic soil and landscapes. 65

售票資訊請洽關渡藝術節官網及兩廳院售票 Visit https://kdaf.tnua.edu.tw/ for more information.

19：30

1031 Sat.

國家音樂廳 National Concert Hall 400‧700‧1000‧1200‧1500

布魯克納崇拜華格納，曾魯莽地帶著第二、三號交響曲手稿赴拜魯特，詢問後者對它們的看法。華格納稱讚第二號交響曲「很棒」，但承認他更喜歡第三號。布魯克納興奮不已，將第三號交響曲題獻給他，這是此曲又被稱為「華格納交響曲」的由來。或許讓華格納覺得這冒昧的後進是可造之材在於，第三號交響曲處處浮現自《女武神》、《崔斯坦與伊索德》、《唐懷瑟》及《紐倫堡名歌手》的動機衍生的片段，但布魯克納已經巧妙地將它們化為自己的音樂。華格納根據海涅小說及自己航海的經驗，譜寫了《漂泊的荷蘭人》。序曲最後完成，集全劇情節及樂念發展於一。置前演出，如同音樂說書人，

華格納：《漂泊的荷蘭人》序曲約翰．威廉斯：法國號協奏曲布魯克納：第三號交響曲

緊湊揭示後續演變，留給聆者懸疑與期待。約翰 ‧ 威廉斯偏愛法國號，自云

Richard Wagner: The Flying Dutchman Overture

它的聲音引人思古。其法國號協奏曲中，獨奏的音響如古老獵號，音樂具有

John Williams: Horn Concerto Anton Bruckner: Symphony No.3 in D minor

作曲家布瑞頓及凱爾特民謠風味，悠揚渺茫。

大師系列｜ Maestro Series

迴聲華格納

Jun Märkl & Radovan Vlatković 指揮｜準・馬寇爾 Jun Märkl, conductor 法國號｜弗拉柯維克 Radovan Vlatković, horn

Wagner was Bruckner’s idol. The latter once brought the manuscripts of his second and third symphonies to Wagner’s residence at Bayreuth, in order to hear the master’s opinion of them. Wagner studied the score of the Second and said, “Very nice,” but it was the Third Symphony which truly elicited his enthusiasm. Bruckner was delighted and dedicated the symphony to Wagner, which is why the composition is sometimes known as the “Wagner Symphony.” Regardless of whether Wagner considered Bruckner a fawning devotee at first, he was surely pleased to spot in Bruckner’s Third Symphony motifs that paid tribute to his operas Die Walküre, Tristan und Isolde, Tannhäuser, and Die Meistersinger von Nürnberg. Basing his work on Heine’s novel and his own experience of sea voyaging, Wagner composed Der fliegende Holländer. The overture, which was completed last, created a microcosm of the entire opera. As a show opener, it unfolds the story step by step, with each note ending on a cliffhanger to capture the audience. John Williams has had a lifelong love of the French horn, attributing to it a sound capable of stirring memories of antiquity. John Williams's virtuosity makes the solo horn sound like the ancient hunting horn. The music, reminiscent of Britten's works blended with Celtic folk melodies, is sinuous and bucolic.

19：30

1106 Fri.

國家音樂廳 National Concert Hall

400‧700‧1000‧1200‧1500

德奧巡禮

Germanic Adventures 指揮｜準・馬寇爾 Jun Märkl, conductor 鋼琴｜嚴俊傑 Chun-Chieh Yen, piano

海頓：第六十號交響曲莫札特：第二十七號鋼琴協奏曲，K. 595 布拉姆斯：第三號交響曲

海頓第六十號交響曲，曾被指揮肯尼斯 ‧ 伍茲（Kenneth Woods）描述為「可能是有史以來最有趣，也是最現代的交響曲」。原為法國喜劇《分心的人》

Franz Joseph Haydn:

所寫的戲劇配樂，後發展為古典樂派極其罕見的六樂章交響曲，曲調清新可

Symphony No. 60 in C major

愛，充滿幽默與玩笑，將海頓在多種風格之間輕鬆跳躍的絕對膽識表露無遺。

Wolfgang Amadeus Mozart: Piano Concerto No.27, K.595

莫札特第二十七號鋼琴協奏曲完成於他離開人世的 1791 年，這時候的莫札特

Johannes Brahms :

雖然抱病在身，卻依然發光發熱，專注地寫作《魔笛》和《安魂曲》，也繼

Symphony No. 3 in F major, Op.90

續完成第二十七號這部最後一首鋼琴協奏曲作品。布拉姆斯第三號交響曲則堪稱管絃美學的巔峰之作──火山熔岩般的聲響、一葉知秋的滄桑、溫暖絃樂與悠揚法國號，以及淡淡退出的雋永結尾。作曲家以古典技法呈現極其浪漫的英雄身影，並將昂揚與憂傷融合成音樂神話。

19：30

1121 22 Sun.

Sat.

國家音樂廳 National Concert Hall

苗栗縣苗北藝文中心演藝廳

Northern Miaoli Art Center

400‧700‧1000‧1200‧1500‧2000

2020 苗北藝術節 - 經典交響系列 100‧ 300‧500‧700‧1000

一首樂曲之所以迷人，除了旋律之外，音符背後的民族情感，往往更是不可或缺的催化劑。作曲家陳可嘉以豐富管絃樂法，編織成《客家故事》管絃樂組曲，迷人的鄉土之音，帶您聽見屬於臺灣的聲音。俄國作曲家斯特拉溫斯基，從俄國農村取材，於 1911 年發表芭蕾舞劇配樂《彼得洛希卡》。劇中三個角色，雖然都是木偶化身，但是斯特拉溫斯基的音樂，卻給了有血有肉的情感，尤其是劇中多首通俗俄國民謠，絕對引人入勝。享譽國際的旅美鋼琴家胡瀞云，以其奪目的鋼琴技巧、音樂性十足的演繹特色、直率且具傳染力的舞台魅力，風靡全世界，在她指尖下的蕭邦第一號鋼琴協奏曲，讓您體驗什麼是「真正的陶醉」！

名家系列｜ Master Series

琴戀 ‧ 彼得洛希卡 Stravinsky: Petrushka

指揮｜張尹芳 Yin-Fang Chang, conductor 鋼琴｜胡瀞云 Ching-Yun Hu, piano

The NSO’s Resident Conductor, Yin-Fang Chang, takes the helm for a most

陳可嘉：《客家故事》

stimulating program. The opening work is another in the NSO’s series of new

（客家委員會委託創作，世界首演）

works by Taiwanese composers and inspired by Hakka culture. This one is by

蕭邦：第一號鋼琴協奏曲

Ke-Chia Chen and is entitled Hakka Tales. Next comes Chopin’s First Piano

斯特拉溫斯基：《彼得洛希卡》 Ke-Chia Chen: Hakka Tales, (commissioned by

Concerto featuring the renowned pianist Ching-Yun Hu. Petrushka – the immortal

Hakka Affairs Council, world premiere)

and unhappy hero of every fair in all countries – was the second of Stravinsky’s

Frédéric Chopin : Piano Concerto No.1 in E minor,

Russian-inspired ballet scores (following The Firebird). Two surging crowd scenes set in Admiralty Square, St. Petersburg depict a swirling mass of motion and color at Carnival time. High spirits, dances, magicians, vendors, side shows, and

Op.11 Igor Stravinsky: Petrushka

11/22 指導單位｜

attractions of all sorts add up to a veritable riot of sound and color. These scenes frame two “inner” scenes, which depict the very human side of the puppet-come-tolife, Petrushka.

11/22 共同主辦｜ 11/21 場次音樂會導聆由夜鶯基金會提供

1128

19：30

駐團音樂家 Artist in Residence

Sat.

國家音樂廳 National Concert Hall 400‧700‧1000‧1200‧1500

李亞朵夫與俄國五人團交好，深獲穆索斯基器重。儘管才華洋溢，他對譜作大編制的樂曲缺乏興趣，傳世都是小品，八首俄羅斯民歌顯示其駕馭管絃樂法的優越技巧及創意。崇拜貝多芬的布拉姆斯遵循前者的風格譜寫他唯一的小提琴協奏曲，甚至同採 D 大調，並有冗長的第一樂章。當時馮畢羅、維尼奧夫斯基與薩拉沙特等都給予負評，首演則毀譽參半。不過此曲通過時間的考驗，已成為小提琴家的試金石。樂曲氣勢宏偉，又洋溢高貴的氣息。譽滿全歐的俄羅斯芭蕾舞團經理狄亞基列夫，原請李亞朵夫為舞劇《火鳥》譜曲，因後者遲遲不交稿，無奈求助於尚無國際聲譽的斯特拉溫斯基，沒想到這位無名小子一鳴驚人，以強烈、充滿驅動力的節奏，大膽突兀的和聲、不規則的音程變化、瑰麗燦爛的音色及清晰的旋律線，宣告一個新時代的到來。

大師系列｜ Maestro Series

琴挑 ‧ 火鳥

The Firebird

指揮｜呂紹嘉 Shao-Chia Lü, conductor 小提琴｜黃俊文 Paul Huang, violin 阿納拉利．李亞朵夫：八首俄羅斯民歌

Conductor Shao-Chia Lü leads in the NSO in a mostly Russian program that opens

布拉姆斯：小提琴協奏曲

with a little-known work by a little-known conductor and ends with one of music

斯特拉溫斯基：《火鳥》 Anatol Liadov:

history’s best-known composers in what is probably his best-known work. Anatoly

Eight Russian Folk Songs, Op.58

Liadov’s most memorable quality was his penchant for laziness and procrastination.

Johannes Brahms:

He composed little, so if he turns up seldom on symphony programs, well, that’s

Violin Concerto in D major, Op.77

his own fault! Stravinsky, on the other hand, has gone down as the composer of the

Igor Stravinsky: The Firebird

twentieth century. Placing Liadov and Stravinsky’s Firebird ballet score on the same program is entirely fitting, as Liadov was asked to provide the Firebird music before Stravinsky was, but he declined. The Firebird made Stravinsky famous overnight – so famous that he eventually became known as “Mr. Firebird”! In between the Russians we hear Taiwanese violinist and this season’s artist-in-residence with

本場音樂會導聆由夜鶯基金會提供

the NSO, Paul Huang, in the Brahms concerto, widely regarded as one of the two greatest ever written for the instrument (Beethoven’s is the other).

19：30

1231 Thu.

國家音樂廳 National Concert Hall

400‧700‧1000‧1500‧1800‧2400‧3000

美聲系列｜ Vocal Series

歲末音樂會

北國鐘聲 The Bells 指揮｜呂紹嘉 Shao-Chia Lü, conductor 女高音｜林玲慧 Ling-Hui Lin, soprano 男高音｜鄭皓允 Ho-Yoon Chung, tenor 男低音｜羅俊穎 Julian Lo, bass 合唱指導｜古育仲、張維君 Yu-Chung John Ku, Wei-Chun Regina Chang, chorus master 台北愛樂合唱團 Taipei Philharmonic Chorus

穆梭斯基：歌劇《霍凡斯基之亂》選粹 * 柴科夫斯基：連斯基的詠嘆調，選自《尤金．奧涅金》穆梭斯基：歌劇《鮑利斯 ‧ 戈多諾夫》選粹拉赫瑪尼諾夫：《鐘》 Modest Mussorgsky: Excerpt from Khovanshchina Pyotr Ilyich Tchaikovsky: Lensky's Aria from Eugene Onegin Modest Mussorgsky: Highlights from Boris Godunov Sergei Rachmaninoff: The Bells, Op.35 *《霍凡斯基之亂》(Khovanshchina) 依照國家教育研究院翻譯為《賀萬席奇納》

銀

色鐘聲，呈現白雪皚皚、星光點點的純真世界；金色鐘聲，訴說婚禮的幸福與喜悅；銅鐘聲，是災難中的示警，與人們的恐懼相互交

織；鐵鐘聲，是對逝者的告別，對生命的喟嘆；在沉重之處，聽見輕盈。拉赫瑪尼諾夫的《鐘》取材詩人愛倫坡同名詩作，以人聲與管絃樂團編制寫成，描寫人生從童年、長大成人、歷經塵世洗禮，又再歸於平靜的四種階段。同時也譜寫他一生中極為著迷的聲響，那無所不在的俄國教堂鐘聲，心靈的原鄉。我們經常在俄國作曲家作品中，聽見動聽旋律與歌唱式的表現手法，抒景抒情。如柴科夫斯基歌劇《尤金 ‧ 奧涅金》裡連斯基的詠嘆調，唱出對青春的感懷，也唱出對愛情的渴望。穆梭斯基歌劇《霍凡斯基之亂》、《鮑利斯 ‧ 郭多諾夫》，則是取材自俄國皇室歷史，無論是庶民觀點或是皇室人物的心理描寫，在音樂上都有深切的刻劃。 New Year’s Eve programs at the NSO are always special affairs, not only for their spirit of jollity and good cheer, but for the unusual repertory that often comes as part of the package. This year, in an all-Russian program, bells are a featured theme. Bells are part of the Russian national soul. They have held a special fascination for the Russians for centuries, and they seem to pervade their daily lives to a degree greater than in most other cultures. The featured work on this program is Rachmaninoff’s 35-minute setting for chorus, vocal soloists and orchestra of Edgar Allan Poe’s poem The Bells. Different kinds of ringing, tingling and tolling conjured up in purely instrumental terms portray various stages in man’s life. Bells are also a feature of the great Coronation scene from Mussorgsky’s huge opera Boris Godunov, widely regarded as the great Russian opera.

19：30

109 Sat.

國家音樂廳 National Concert Hall 400‧700‧1000‧1200‧1500

名家系列｜ Master Series

深情銳夜 Ray & NSO

指揮｜鄭立彬 Li-Pin Cheng, conductor 小提琴｜陳銳 Ray Chen, violin

莎士比亞浪漫喜劇《仲夏夜之夢》以雅典大公婚禮為中心開展三條軸線，角色包括四名雅典戀人和六位業餘演員，加上陰錯陽差鬧出諸多趣事的森林仙

孟德爾頌：《仲夏夜之夢》序曲孟德爾頌：小提琴協奏曲拉赫瑪尼諾夫：第二號交響曲

子，是廣受歡迎的戲劇名作。孟德爾頌十七歲寫下《仲夏夜之夢》序曲，燦

Felix Mendelssohn: A Midsummer Night's

爛美麗又縱觀全局。孟德爾頌為小提琴家好友，也是萊比錫布商大廈管絃樂

Dream Overture

團首席費迪南．大衛量身打造這首小提琴協奏曲，成就了一首與貝多芬、布

Felix Mendelssohn: Violin Concerto in E minor

拉姆斯、柴科夫斯基的創作並列演出最頻繁的小提琴協奏曲曲目，其明亮高

Sergei Rachmaninoff: Symphony No. 2 in

雅的旋律，讓人如沐春風。拉赫瑪尼諾夫第二號交響曲於 1908 年在聖彼得堡

E minor, Op. 27

首演，並由拉赫瑪尼諾夫親自指揮，旋律細緻豐富，當時即獲評為美好且新穎之作，而其樂曲長度在俄國交響曲中是最漫長的作品之一。

本場音樂會導聆由夜鶯基金會提供

19：30

116 Sat.

名家系列｜ Master Series

迴旋日耳曼 LÜ & NSO

指揮｜呂紹嘉 Shao-Chia Lü, conductor 雙簧管｜王怡靜 I-Ching Wang, oboe 單簧管｜朱玫玲 May-Lin Ju, clarinet 低音管｜簡凱玉 Kai –Yu Jian, bassoon 法國號｜劉宜欣 Yi-Hsin Cindy Liu, horn

出身富裕的孟德爾頌在長輩呵護下成長，造就他怡然曲風；而被家計耽誤，

小約翰．史特勞斯：《蝙蝠》序曲

中年才步入作曲生涯，對上帝敬虔到會隨處跪下禱告的布魯克納，則藉由每

莫札特：木管協奏交響曲

首作品看見他的信心。孟德爾頌的音樂會序曲《平靜的海洋與幸福的航行》

布魯克納：第四號交響曲 Johann Strauss: Overture to Die Fledermaus

根據歌德的詩而譜，忠實地捕捉海面風平浪靜時帶來的寧謐及孤寂。十八世

Wolfgang Amadeus Mozart: Sinfonia

紀的巴黎，盛行了融合交響曲與協奏曲元素的交響協奏曲式，莫札特也不例

Concertante for Four Winds in E-flat major, K.

外，在 1778 年譜寫了由木管樂器擔任獨奏的木管交響協奏曲，全曲音色豐富有著巴洛克時期的華麗線條。被布魯克納冠稱「浪漫」的第四號交響曲，規

297b Anton Bruckner: Symphony No. 4 in E-flat major

模宏偉、具有史詩般的堂皇及純粹的美感，磅礡的和聲襯托如同舒伯特般恬然抒情的旋律，使它成為布魯克納最受喜愛的作品之一。

本場音樂會導聆由夜鶯基金會提供

19：30

306 Sat.

國家音樂廳 National Concert Hall 400‧700‧1000‧1200‧1500

古典音樂史上，許多足以傳世的經典之作，有不少是來自文學啟發。德沃札克以英國文豪莎士比亞的《奧塞羅》為本，寫下音樂會演奏用的序曲。一樁因為嫉妒而無法挽回的婚姻悲劇，德沃札克以旋律鋪陳，說得扣人心弦！被譽為「二十世紀莫札特」的俄國作曲家蕭斯塔科維契，在十九歲時完成生平第一首交響曲，從此享譽國際樂壇。這位青少年作曲家的筆下，辛辣戲謔、深沉內斂，交織出旺盛的企圖心，在這首第一號交響曲，嶄露無遺。波蘭作曲家魏因貝格於 1948 年完成的大提琴協奏曲，或許知名度遠不及其他作曲家的同類型創作，但是在大提琴的帶領之下，時而如泣如訴，時而熱情詼諧，全曲一氣呵成，絕對引人入勝！

名家系列｜ Master Series

楊文信 &NSO

Wen-Sinn Yang & NSO 指揮｜楊書涵 Su-Han Yang, conductor 大提琴｜楊文信 Wen-Sinn Yang, cello

Many famous composers were highly precocious. Among them was the Russian

德沃札克：《奧塞羅》序曲

Dmitri Shostakovich, whose First Symphony, one of the half dozen most remarkable

魏因貝格：大提琴協奏曲

Firsts ever written, appeared when he was just nineteen. It heralded the arrival of

蕭斯塔科維契：第一號交響曲

a composer already bursting with a unique musical personality and marked for

Antonín Dvořák: Othello Overture, Op.93

greatness. Boldness of ideas, a sense of mischievousness, a flair for instrumental color, harmonic irregularities, dramatic events, virtuoso writing for the orchestra, and an overall infectious enthusiasm are just some of the reasons for the symphony’s widespread appeal. During the 2016/2017 season, cellist Yang was the NSO’s artist-

Mieczysław Weinberg : Cello Concerto in C minor, Op.43 Dmitri Shostakovich: Symphony No.1 in F minor, Op.10

in-residence. Yang returns to Taipei to perform the Cello Concerto by the Polishborn Soviet composer Mieczyslaw Weinberg. Weinberg’s music makes a fitting appearance beside that of Shostakovich, as the two were close friends, and Weinberg was heavily influenced by the older composer. To open this fascinating program, we hear a little-known work by a well-known composer, Dvořák’s Othello Overture. It does not follow Shakespeare’s play, or any other precise program, but rather, in a sequence of varying moods, seeks to give musical expression to the interplay of passion, bliss, suspicion, jealousy and fury.

本場音樂會導聆由夜鶯基金會提供

19：30

312 Fri.

國家音樂廳 National Concert Hall 400‧700‧1000‧1200‧1500‧2000 《普欽奈拉》是斯特拉溫斯基步入新古典主義風格的轉捩點，旋律及和聲都

作相當幅度的簡化，樂器編制只涵蓋三十三位演奏者及三位獨唱者。此外，儘管此曲是根據以作曲家裴哥雷西的樂曲為創作依據，它並非改編曲，斯特拉溫斯基以個人的和聲、節奏及配器法，讓全劇洋溢現代精神。組曲完成於 1920 年，包含八個樂章，並無人聲演唱。身為法國「六人組」之一，浦朗克的雙鋼琴協奏曲確切實踐他們的主張。直接、簡單、明快且具有通俗音樂的影痕。然而他擅長發展旋律的天份，讓音樂擄獲聆聽者的心靈，不顯枯燥。德沃札克擔任美國國家音樂院院長期間，完成了他最受歡迎的第九號交響曲。這段時間他接觸到黑人靈歌及印第安音樂，採用它們的民歌語法，當作主題動機，因此第九號交響曲獲得《新世界》的稱號。儘管如此，曲中依然散發出波希米亞的音樂風情，反映出德沃札克對家鄉的思念。

名家系列｜ Master Series

琴躍新世界

From the New World 指揮｜米格爾・・哈斯 - 貝多亞 Miguel Harth-Bedoya, conductor 鋼琴｜盧卡斯・尤・森、亞瑟・尤森 Lucas Jussen, Arthur Jussen, piano

斯特拉溫斯基：《普欽奈拉》組曲

The NSO’s focus on Stravinsky this season continues with another of his most

浦朗克：雙鋼琴協奏曲

famous ballet scores, Pulcinella. Pulcinella was inspired not by the Russian folklore

德沃札克：第九號交響曲《新世界》

of The Firebird, Petrushka and The Rite of Spring, but by French and Italian dance

Igor Stravinsky: Pulcinella Suite Francis Poulenc: Concerto for 2 Pianos in D minor Antonín Dvořák: Symphony No.9 in E minor, Op.95, From the New World

music of the early classical period (mid-eighteenth century). In place of the oversize orchestras he used for the Russian-inspired scores, Stravinsky resorted to a chamber orchestra of about 35 players. The result is music of elegance and charm, flavored with the pungent dissonances and quirky rhythms of Stravinsky’s own musical psyche. Concertos for two pianos are not common; Mozart’s is the best-known, followed by that of Francis Poulenc, a composer whose music is unmistakably his own. In the two-piano concerto, the traditional French qualities of wit, frivolity, brevity, and clarity come to the fore. Dvořák’s most popular symphony (No.9), and a great favorite of NSO audiences, was written in the New World (America), but it sings eloquently of the composer’s Bohemian homeland in Europe. There are no traditional folk songs in this work, but the themes are steeped in Slavonic soil and landscapes.

Thu.

國家音樂廳 National Concert Hall

400‧700‧1000‧1200‧1500

西元十八世紀，啟蒙運動的年代，藝術創作深受影響，就連作曲法則也有行事規矩。奧地利作曲家海頓開啟了交響曲的輝煌年代，樂章之間的發展，有如文章寫作的起承轉合。他的第九十九號交響曲，除了理性架構之外，甜美悅耳的旋律，搭配輝煌的音樂氣勢，更是引人入勝。貝多芬取材自歌德戲劇，在制式的創作形式之下，以澎湃激昂的管絃樂法，為史實人物艾格蒙勾勒了栩栩如生的悲劇英雄形象。而同樣有著反骨性格的俄國作曲家斯特拉溫斯基，以一齣舞劇音樂《春之祭》，徹底顛覆了二十世紀初觀眾的感官經驗。本場演出，三首樂曲，三種性格。美國指揮大師史拉特金，指揮棒下，點石成金。國家交響樂團，今年開春，經典鉅獻！ D

大師系列｜ Maestro Series

史拉特金的春之祭 The Rite of Spring

指揮｜雷歐納 ‧ 史拉特金 Leonard Slatkin, conductor

貝多芬：《艾格蒙》序曲

Volcanic sounds produced by a gigantic orchestra, explosive power, savage

海頓：第九十九號交響曲

rhythmic impulses, and rending dissonances combine in Stravinsky’s Rite of Spring,

斯特拉溫斯基：《春之祭》

one of the most memorable and influential scores in the entire history of music. Its

Ludwig van Beethoven: Overture to Egmont, Op.84 Franz Joseph Haydn: Symphony No.99 in E-flat major Igor Stravinsky: The Rite of Spring

premiere in Paris in 1913 resulted in one the most famous musical scandals ever, and reverberations are still being felt more than a century later. Explosive forces are at work as well in Beethoven’s incidental music for Goethe’s play Egmont. The story of the popular hero and freedom fighter Count Lamoral van Egmont embodied virtually all the themes and principles Beethoven most cherished: freedom, courage, brotherly love, defiance of tyranny, and heroic struggle. These sentiments were expressed in some of Beethoven’s most stirring music; the overture he wrote for this portrayal remains one of the composer’s most powerful utterances. Unlike Stravinsky’s Rite and Beethoven’s Egmont, Haydn’s Symphony No.99 has no programmatic background and bears no nickname, but it is indubitably one of the grandest symphonies of all from a composer who wrote more than a hundred of them.

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駐團音樂家 Artist in Residence

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國家音樂廳 National Concert Hall

衛武營音樂廳 Weiwuying Concert Hall

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票價訊息詳頁面備註

法國作曲家白遼士的作品，向來「語不驚人死不休」，他的音樂風格、樂器編制、音響效果，總是引起話題。他最大眾化的管絃樂曲《羅馬狂歡節》序曲，把他在羅馬的所見所聞，以生動的筆法、絢爛的音響，帶著我們的想像力，身歷其境。相較之下，德國作曲家布拉姆斯的音樂風格，往往帶著「曖曖內含光」的內斂。他晚年創作的第四號交響曲，多少像是個人心情筆記，人生的歷練和感懷心境，藉著四段樂章娓娓道來。英國作曲家華爾頓，應「俄國小提琴之神」海飛茲的委託，於 1939 年創作的小提琴協奏曲，在二十世紀初現代音樂語法之下，依然帶著濃郁的浪漫氛圍，其中運用蘇格蘭和義大利民謠風穿針引線，耐人尋味。所謂「典型在夙昔」，三位作曲大師的經典風範，由美國指揮大師史拉特金、駐團音樂家小提琴家黃俊文，帶您心領神會！

大師系列｜ Maestro Series

史拉特金、黃俊文與 NSO Leonard Slatkin & Paul Huang

指揮｜雷歐納 ‧ 史拉特金 Leonard Slatkin, conductor 小提琴｜黃俊文 Paul Huang, violin

American conductor Leonard Slatkin’s second consecutive week with the NSO

白遼士：《羅馬狂歡節》序曲

offers a program consisting of the standard formula of overture-concerto-symphony.

華爾頓：小提琴協奏曲

But there is nothing ordinary about any of the three compositions on this program.

布拉姆斯：第四號交響曲

Berlioz’ overture portrays the exhilarating joy of Carinval season in music of great orchestral brilliance and rhythmic energy. Walton’s Violin Concerto is one of the finest of its genre from the twentieth century, music of sensuous lyricism, a tonal orientation spiked with dissonance, hard-edged brilliance, and rhythmic virility

Hector Berlioz: Roman Carnival Overture William Walton: Violin Concerto Johannes Brahms: Symphony No.4 in E minor, Op.98

sometimes tinged with jazz. Like all great composers, Walton has an immediately identifiable quality to his music that marks it unmistakably and exclusively his own. He wrote his Violin Concerto for Jascha Heifetz, who gave the world premiere in 1939. The NSO’s soloist is Taiwanese-born Paul Huang, recipient of innumerable

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prestigious awards over the past ten years. Brahms’s magisterial Fourth Symphony, which concludes Slatkin’s program, is filled with wonderful moments that arrest the attention, and has been described as “tragedy with unsurpassable variety of expression and power of climax.”

77 售票資訊請洽衛武營官方網站 Visit https://www.npac-weiwuying.org/ for more information.

Sat.

國家音樂廳 National Concert Hall

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五線譜上，「民族風味」往往是最好的調味料。近年來備受矚目的臺灣女性作曲家李元貞，以敏銳而纖細的觀察，在她的管絃樂曲《美濃之道》當中，以美濃風情為主題，融入了客家八音與山歌元素。有了在地情感，音樂不只有溫度，更有深度！類似手法，在匈牙利作曲家巴爾托克的管絃樂協奏曲裡，也有異曲同工之妙；在現代感十足的音響裡所蘊含的，其實是當時遠居美國的巴爾托克，寫給家鄉的「音樂家書」。相較之下，俄國作曲家拉赫瑪尼諾夫的第二號鋼琴協奏曲，或許民族色彩並不明顯，但是貫穿全曲的是作曲家獨特的「多愁善感」性格！本場音樂會，2015 年「柴科夫斯基國際鋼琴大賽」金牌得主馬斯里夫，美國年輕指揮家韋倫斯坦，聯袂登台，讓您帶著濃郁的情感，滿載而歸！

名家系列｜ Master Series

縱橫雙傑

Weilerstein & Masleev 指揮｜喬舒亞 ‧ 韋倫斯坦 Joshua Weilerstein, conductor 鋼琴｜狄米崔 ‧ 馬斯里夫 Dmitry Masleev, piano

李元貞：《美濃之道》

Two big, famous concertos dominate Joshua Weilerstein’s program. One is

（客家委員會委託創作，世界首演）

Rachmaninoff’s Second Piano Concerto with the first-prize winner at the 2015

拉赫瑪尼諾夫：第二號鋼琴協奏曲

Tchaikovsky competition, Dmitry Masleev, as soloist. Through its sweeping

巴爾托克：管絃樂協奏曲 Yuan-Chen Li: Tao of Meinong (commissioned by Hakka Affairs Council, world premiere)

melodies, extravagant grandeur, melancholy, and passion, the concerto makes an unabashed appeal to the emotions, and justifiably qualifies as one the world’s most popular piano concertos. Another kind of concerto follows: Bartók’s Concerto

Sergei Rachmaninoff:

for Orchestra. As its title implies, the whole orchestra is treated as a collective

Piano Concerto No.2 in C minor, Op.18

soloist, with each section getting its chance in the spotlight. There have been

Béla Bartok: Concerto for Orchestra

many works written to this title, but Bartók’s is the best known by a huge margin, and has become one of the most frequently performed orchestral works from the past century. Conductors love to conduct it; musicians love to play it; audiences love to hear it! The opening work is the fourth this season of a series of newly commissioned works by the Hakka Affairs Council, Yuan-Chen Li’s Tao of

本場音樂會導聆由夜鶯基金會提供

Meinong.

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2021 TIFA 台灣國際藝術節 2021 Taiwan International Festival of Arts

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國家音樂廳 National Concert Hall 500‧700‧1000‧1600‧2000‧2500‧3000

西元十九世紀的歐洲樂壇，「浪漫主義」掛帥，其中最多元的表現媒介，就是「歌劇」，從視覺到聽覺、包括演唱和演奏，觀眾在劇院裡，極盡享受聲光效果之能事。如果以阿爾卑斯山為界，山南山北的歌劇發展，各有擅場，以當今市場受歡迎程度來看，義大利歌劇更堪稱佼佼者。俄國當紅女高音貝芮蒂雅可，生涯早期以演唱羅西尼與莫札特花腔女高音而聞名國際樂壇，近年來她積極拓展曲目，朝向更具分量的美聲與抒情角色邁進，從本場演出曲目來看，可一窺這位女高音的雄厚實力。音樂會上下半場，貝芮蒂雅可分別以法國歌劇、義大利歌劇，展現她細膩、優雅的美聲絕活，從比才、馬斯奈，到董尼采第、貝利尼、威爾第，十九世紀歌劇大師的經典之作，盡在美聲之比才：《卡門》第一號組曲

夜！

〈放開心懷〉，選自《瓦斯可・達・佳馬》

美聲系列｜ Vocal Series

歐爾嘉・貝芮蒂雅可與 NSO Olga Peretyatko & NSO

〈我一人獨處於黑夜中〉，選自《採珠人》夏布里耶：悲歌馬斯奈：嘉禾舞曲，選自《馬儂》古諾：華爾滋，選自《羅密歐與茱麗葉》董尼采第：序曲、〈那動人的目光直射騎士的心房〉，

指揮｜米哈伊爾・阿格列斯特

選自《帕思夸雷先生》

Mikhail Agrest, conductor 女高音｜歐爾嘉・貝芮蒂雅可

貝利尼：〈聖潔女神〉，選自《諾瑪》

Olga Peretyatko, soprano

浦契尼：交響前奏曲威爾第：〈愛情乘在玫瑰色翅膀〉，選自《遊唱詩人》〈謝謝朋友們〉，選自《西西里晚禱》 Georges Bizet: Carmen Suite No.1 ‘Ouvre ton coeur’ from Vasco da Gama ‘Me voila seule dans la nuit‘ from Les

Russian conductor Mikhail Agrest and Russian soprano Olga Peretyatko come to

Pecheurs de Perles

Taipei bringing a veritable cornucopia of treasures from nineteenth-century French

Emmanuel Chabrier: Lamento for Orchestra

and Italian opera. Their program includes popular favorites like an orchestral suite from Carmen, the suavely beautiful aria “Casta Diva” from Bellini’s Norma, and Juliet’s lighthearted, playful “Je veux vivre” from Gounod’s Roméo et Juliette. For

Massenet: Gavotte from Manon Charles Gounod: Valse from Romeo and Juliette Gaetano Donizetti: Overture, ‘Quel guardo il cavaliere’ from Don Pasquale

the connoisseur there are rarities like Puccini’s first published composition, the

Vincenzo Bellini: ‘Casta Diva’ from Norma

Preludio sinfonico, plus Chabrier’s Lamento and arias from Bizet’s “ode-symphony”

Giacomo Puccini: Preludio Sinfonico, Op.1

Vasco de Gama and Verdi’s opera I vespri siciliani.

Giuseppe Verdi: ‘D’amor sull’ali rose’ from Il Trovatore ‘Merce dilette amici’ from I vespri Siciliani

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國家音樂廳 National Concert Hall 400‧700‧1000‧1200‧1500

普羅科菲夫的《基傑中尉》交響組曲原為同名電影的配樂，而後由他改編為給室內樂團演奏的組曲。旋律新穎但簡樸，呈現他對十八世紀藝術的嚮往。斯特拉溫斯基為波蘭小提琴家杜胥金量身訂做、亦不時向後者請教技法的 D 大調小提琴協奏曲完成於 1931 年，具有新古典風格。斯特拉溫斯基曾問杜胥金某個特殊和弦在小提琴上是否可以演奏，杜胥金原本的答案是否定的，但他發現確實可奏時，斯特拉溫斯基以這個和弦作為每個樂章的開始。樂團編制極精簡，獨奏與樂團亦如同室內樂演奏者之間的互動。《阿爾卑斯交響曲》是理查 ‧ 史特勞斯以音樂譜寫的遊記。他擅以音樂刻劃景物，曾自云「我想要用音樂精確地描繪一杯啤酒，到每位聆賞者都可以分辨出它究竟是 Pilsner 還是 Kulmbacher 廠牌的地步。」

大師系列｜ Maestro Series

攀峰阿爾卑斯

Eine Alpensinfonie 指揮｜安東尼 ‧ 維特 Antoni Wit, conductor 小提琴｜伊利亞 ‧ 葛林戈斯 Ilya Gringolts, violin

Strauss’s Alpine Symphony might be regarded as the Mt. Everest of the orchestral

普羅科菲夫：《基傑中尉》交響組曲

repertory. Actually, it is not a “symphony” at all, but rather a 50-minute symphonic

斯特拉溫斯基：小提琴協奏曲

poem that vividly depicts in sound every aspect of the ascent and descent of an

理查 ‧ 史特勞斯：《阿爾卑斯交響曲》

Alpine peak over the span of 24 hours. As an orchestral spectacular it is virtually in a league of its own, revealing Strauss at the very peak of his powers of orchestration. Instruments are combined in unprecedented variety and pushed to the extremes of their range. Utmost virtuosity and stamina are required from every player. A supersized orchestra includes such seldom-encountered instruments as Wagner tubas, bass oboe, cowbells, wind machine, thunder sheet, celesta, and organ. Antoni Wit’s program opens with another piece of programmatic fancy, Prokofiev’s Lt. Kijé Suite, drawn from a film about a non-existent military official whose presumed existence has to be maintained for bureaucratic reasons. In between these two programmatic works Israeli violinist Ilya Gringolts is featured in Stravinsky’s cheery, jovial Violin Concerto, music filled with dancelike impulses (it has been choreographed), humor, sarcasm,and wit.

Sergei Prokofiev: Lieutenant Kijé Symphonic Suite, Op.60 Igor Stravinsky: Violin Concerto in D major Richard Strauss: Eine Alpensinfonie, Op.64

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國家音樂廳 National Concert Hall 400‧700‧1000‧1200‧1500‧2000 活躍於廿世紀俄國樂壇的普羅科菲夫與蕭斯塔科維契，在他們的作品反映了個人的歷練與苦難、與環境的磨合；奧國作曲家魏本畢生致力尋找新的音樂法則，飽受納粹抨擊，不改其志。他們的作品風格迥異，但同讓聆者領略到生命的光輝。魏本五首管絃樂小品簡約精練，不同樂器的各異音色，甚短的音符與短促的節奏，不連續的旋律線，紛紛一閃即逝，彷彿將「點描畫派」的手法置入音樂中，別具一格。普羅科菲夫第二號鋼琴協奏曲於 1913 年首演，造成震撼，就當時的標準是非常前衛之作，但原稿毀於俄國共產革命期間。 1923 年他在巴黎憑著記憶重寫，據他自己的說法「略為複雜、更加優雅、少了些稜角。」蕭斯塔科維契第十號交響曲旨在紀念一個苦難的時代，反映他與執政者的緊張關係，但並未大肆渲染。第二樂章多多少少是史達林的寫照，而德文字母 D, eS, C, H (D. Schostakowitsch) 所象徵的四個音符 D, 降 E, C, B 縈迴全曲，彷彿他倆在理念上的對峙。大師系列｜ Maestro Series

俄羅斯狂潮

Shostakovich: Symphony No.10

指揮｜卡爾 ‧ 聖克萊爾 Carl St. Clair, conductor 鋼琴｜亞歷山大 ‧ 羅馬諾夫斯基 Alexander Romanovsky, piano

魏本：五首管絃樂小品

Music by two Russian giants fills most of Carl St. Clair’s program. Shostakovich

普羅科菲夫：第二號鋼琴協奏曲

left an indelible mark on the twentieth century as one of its greatest symphonists,

蕭斯塔科維契：第十號交響曲

comparable to Beethoven in the nineteenth, some would contend. His Tenth is

Anton Webern: Five Pieces for Orchestra, Op.10 Sergei Prokofiev: Piano Concerto No.2 in G minor, Op.16 Dmitri Shostakovich: Symphony No.10 in E minor, Op.93

regarded by many as the best of his fifteen symphonies, and one of the greatest of the past century – a powerfully persuasive, fifty-minute musical statement that leaves feelings of deep sorrow and epic adventures. When Prokofiev presented his Second Piano Concerto to the public for the first time he was just 23, but already well on his way to acquiring a reputation as an enfant terrible of the music world. Nearly everyone was strongly affected by this brash, bold work, especially in the composer’s own spectacular performance as soloist in music of diabolical difficulty. To open the program, we hear something totally different – Webern’s five tiny pieces Op.10 whose very essence consists of brevity, compactness, delicacy, and fragile textures.

本場音樂會導聆由夜鶯基金會提供

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國家音樂廳 National Concert Hall 400‧700‧1000‧1200‧1500 西元十九世紀以來，西方作曲家最感興趣的創作元素，總少不了「異國情調」，這股風潮延續到二十世紀初，成為一種創作時尚。丹麥作家安徒生以中國為背景，寫成童話故事《夜鶯》，俄國作曲家斯特拉溫斯基改寫為歌劇，之後從其中取材，編寫為管絃樂演奏的交響詩《夜鶯》。雖然沒有視覺畫面，但音樂依然勾勒出引人入勝的東方情境。另一位俄國作曲家阿魯突尼安，則是從家鄉取材，寫下了亞美尼亞民謠風味的小號協奏曲。將近十六分鐘的單一樂章，呈現出粗獷、豪邁的野性美。巧合的是，馬勒最膾炙人口的第一號交響曲《巨人》，同樣隱含著來自民謠以及奧地利鄉間舞蹈的因子。也就因為這些元素，讓帶有民族與異國風的樂曲，始終在當今樂壇屹立不搖。本場音樂會，集結國際樂壇當紅小號演奏家韓賽絲、以及華裔指揮家洪毅全，經典馬勒與異國風味，即將征服您的感官體驗！

名家系列｜ Master Series

巨人之聲

Mahler : Symphony No.1 指揮｜洪毅全 Darrell Ang, conductor 小號｜泰妮─辛 ‧ 韓賽絲 Tine Thing Helseth, trumpet

Internationally renowned Singaporean conductor Darrell Ang arrives with a

斯特拉溫斯基：《夜鶯》

splendid program designed to delight all concert-goers. The performance opens

阿魯突尼安：小號協奏曲

with one of Stravinsky’s most dazzling scores, The Song of the Nightingale, which

馬勒：第一號交響曲《巨人》

is a 25-minute adaptation of purely instrumental music from his one-act opera Le Rossignol (The Nightingale), a setting of a fairy tale by Hans Christian Andersen. Next comes the best-known work by one of Armenia’s best-known composers, the Trumpet Concerto by Alexander Arutiunian. The soloist is a Norwegian, Tine Thing Helseth, who has become one of her country’s most famous international artists in recent years. Then, for the big symphony, Mahler’s First, a symphonic journey that takes the listener from its beginnings from the barely-audible, mysterious sounds of nature to a towering climax nearly an hour later with the orchestra gleaming in a thousand dazzling colors.

Igor Stravinsky: Song of the Nightingale Alexander Grigori Arutiunian: Trumpet Concerto Gustav Mahler : Symphony No.1 in D major, Titan

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520 Thu.

國家音樂廳 National Concert Hall 500‧800‧1200‧1600‧2000 如果從音樂來參透民族性，芬蘭作曲家西貝流士的音樂，往往能引起深刻共鳴。這位從小立志當小提琴家的作曲家，即便後來轉換跑道，努力耕耘五線譜，不過，他對小提琴所能發揮的極限，依然熟稔於心。創作於廿世紀初的小提琴協奏曲，與其說是一部協奏曲，不如說是獨奏小提琴搭配的交響樂章，北國獨特的冷冽色彩，在這首協奏曲裡，發揮得淋漓盡致。德國作曲家布拉姆斯歷經二十一年，在前輩貝多芬「巨大腳步聲」的壓力之下，完成人生的第一首交響曲，堪稱嘔心瀝血之作。有人形容，這是作曲家歷經了苦惱與掙扎，最終嘗到喜悅，高唱凱歌。二十一世紀的觀眾，即便沒有和布拉姆斯相同的際遇，卻能透過音樂「心領神會」。NSO 桂冠指揮赫比希，2000 年「西貝流士國際小提琴大賽」首獎得主哈察特楊，聯袂登台。指揮棒下，管絃交融，北國之聲，蒼茫、夠勁！

大師系列｜ Maestro Series

赫比希與 NSO Herbig & NSO

指揮｜根特 ‧ 赫比希 Günther Herbig, conductor 小提琴｜瑟吉 ‧ 哈察特楊 Sergey Khachatryan, violin

西貝流士：小提琴協奏曲

“Superb! Monumental! I have no doubts about the future of this concerto,”

布拉姆斯：第一號交響曲

exclaimed Willy Burmester, the violinist for whom Sibelius wrote his Violin

Jean Sibelius: Violin Concerto in D minor, Op.47

Concerto. Following the first performance in Berlin in 1905, with none other than

Johannes Brahms: Symphony No.1 in C minor, Op.68

Richard Strauss on the podium, Sibelius’ friend Rosa Newmarch remarked that “in fifty years, your concerto will be as much a classic as those of Beethoven, Brahms and Tchaikovsky.” How right she was! To this day it remains one of the most often heard and beloved concertos for this instrument. The soloist for this NSO performance is the Armenian-born Sergey Khachatryan, whose major prizes include first prize at the International Jean Sibelius Violin Competition in 2000, making him the youngest ever to win this prize. Few composers mange to turn out a masterpiece for their first symphony, but Brahms was one of the few who did (Sibelius was another). From opening struggle to concluding triumph, Brahms’s First Symphony stands as a work of enormous scope, power and impact. It has even been dubbed “Beethoven’s Tenth.”

19：30

625 Fri.

國家音樂廳 National Concert Hall 400‧700‧1000‧1200‧1500

貝多芬是生命的鬥士，他一生中經歷許多苦難，但未被擊倒，總是一關關通過考驗，持續向前邁進。他根據馮 ‧ 柯林的劇本寫了音樂會序曲《柯里奧蘭》，描述羅馬貴族柯里奧蘭遭羅馬領袖不公平對待，加入敵人陣營，準備進攻羅馬。因母親與妻子苦求，放棄攻城念頭，自刎而死。雖無戲劇演出，音樂充滿戲劇力量。貝多芬唯一的小提琴協奏曲譜於他創作力最活躍時日，當時他與女弟子泰瑞莎 ‧ 布蘭絲薇克相戀，亦是他生命中少有的快樂時光。這首小提琴協奏曲蘊含的恢宏氣勢與綿延活力，使它成為後世作曲家仿傚的典範，布拉姆斯的小提琴協奏曲正脫胎自這首作品。貝多芬第四號交響曲與小提琴協奏曲為同時期的創作。他的偶數編號交響曲都較奇數編號交響曲輕快明悅，第四號交響曲也不例外。此曲位於磅礡的第三號與熱烈的第五號之間，經常被忽視。樂團編制接近海頓晚期交響曲作品規模，風格亮麗開朗。

名家系列｜ Master Series

領奏貝多芬

Antje Weithaas & Beethoven 領奏與小提琴｜安緹兒 ‧ 維特哈絲 Antje Weithaas, direct & violin

貝多芬：《柯里奧蘭》序曲小提琴協奏曲第四號交響曲 Ludwig van Beethoven: Coriolan Overture, Op.62 Violin Concerto in D major, Op.61 Symphony No.4 in B-flat major, Op.60

For this all-Beethoven concert, Antje Weithaas comes to Taipei from Germany with a traditional program of overture-concerto-symphony, but with a difference – she will both conduct and serve as soloist in the Violin Concerto. Violin concertos had been written for nearly a century before Beethoven turned to the genre in 1806, but his only contribution to this repertory proved to be a landmark. Not only was it longer and more complex than any previous work of its kind, but in symphonic thought and expansiveness it eclipsed all predecessors. It is still considered one of the most exalted of all concertos for any instrument, and its only peer in the pantheon of violin concertos is the Brahms concerto. The symphony is the Fourth, not one of the best-known, but it contains as much drama as its do the symphonies on either side (the Eroica and the Fifth), filled with broad lyricism and rhythmic energy that leave the listener realizing that, in fact, this symphony is a masterpiece of the first order. The Coriolan Overture is a character study of a Shakespearean hero whose qualities include individualism, daring, and stubbornness.

19：30

709 Fri.

國家音樂廳 National Concert Hall 400‧700‧1000‧1200‧1500‧2000

大師系列｜ Maestro Series

傳承 ‧ 新生 Stephen Hough & Lü 指揮｜呂紹嘉 Shao-Chia Lü, conductor 鋼琴｜史帝芬 ‧ 賀夫 Stephen Hough, piano

巴

赫《音樂的奉獻》是音樂史上對位藝術的里程碑，由於並未指定給特定樂器演奏，因此也為後世創作者及演奏者帶來豐富的靈感與發揮空

間，魏本以師承荀貝格的配器觀念，賦予此曲前所未有的聲響色彩，清澄透明，充滿現代感而忠實於原著精神；新音樂的開拓者荀貝格，在自身的音樂道路上，雖使用十二音列、無調性等技法創作，卻不曾遺忘自身的德奧音樂傳統，他將布拉姆斯第一號鋼琴四重奏擴編為大型管絃樂版本，為原曲未改一音的穿上華麗的外袍－宏大、繽紛而炫目。綜觀兩位現代音樂先驅對前輩大師作品的處理一收、一放不同樣貌，卻不約而同的展現出他們對德奧傳統的熟稔與尊敬，及對自己作為現代作曲家，持續創新的責任感。

布拉姆斯的第一號鋼琴協奏曲，有著交響曲的恢弘格局，第一樂章長篇幅的序奏，足見作曲家超越自我的野心；對於鋼琴家而言，這首作品的音色、豐沛的和聲色彩，與布拉姆斯幽微與光明交錯的內在情感，最難掌握，是鋼琴演奏者的一大試金石。

Shao-Chia Lü returns to the podium for the final orchestral program of the season, in which the season’s theme of “Carrying Forward the Heritage of Time” is unmistakably in evidence. Works by Bach and Brahms originally composed for small forces (keyboard and piano quartet, respectively) have been reimaged for full orchestra by twentieth-century composers who, ironically, are remembered mostly for their twelve-tone music that many listeners find difficult to comprehend. How they refashioned old-fashioned music into full orchestral scores provides testament to the enduring greatness of the original music and to the skill Webern and Schoenberg demonstrate in their orchestrations. Pianist 巴赫：六聲部里切卡爾，選自

Stephen Hough also returns to the NSO to star in one of Brahms’s mightiest

《音樂的奉獻》（由魏本改編）

creations, the First Piano Concerto, which ranks among the most grandiose and

布拉姆斯：第一號鋼琴協奏曲

majestic ever written, and at about fifty minutes in length, one of the longest as

鋼琴四重奏（由荀貝格改編）

well.

Johann Sebastian Bach : Ricercar a 6, from Musical Offering, BWV1079 (arr. by Anton Webern) Johannes Brahms: Piano Concerto No.1 in D minor, Op.15 Piano Quartet Op.25 (arr. by Arnold Schönberg)

Fri.

14：30

19：30

716 18 Sun.

國家音樂廳 National Concert Hall 500‧800‧1100‧1500‧2000‧2400‧3000

歌劇音樂會－

法斯塔夫

Opera Concert - Falstaff 指揮｜呂紹嘉 Shao-Chia Lü, conductor 導演｜尚米歇爾・克奇 Jean-Michel Criqui, director 聲樂指導｜安馬丁 Martin Andersson, vocal coach 法斯塔夫｜路奇・歐・蓋洛 Lucio Gallo, Falstaff 福特｜羅伯托・德・坎迪亞 Roberto de Candia, Ford 艾莉斯｜林慈音 Grace Lin, Alice 南妮塔｜黃莉錦 Li-Chin Huang, Nannette 梅格｜翁若珮 Jo-Pei Weng, Meg Page 奎克利夫人｜陳珮琪 Pei-Chi Chen, Mrs. Quickly 棻騰｜黃亞中 Ya-Chung Huang, Fenton 凱優斯醫生｜李世釗 Shih-Chao Lee, Dr. Cajus 巴爾道夫｜林義偉 Yi-Wei Lin, Bardolfo 皮斯托｜羅俊穎 Julian Lo, Pistola

威爾第：《法斯塔夫》Giuseppe Verdi: Falstaff

呂

紹嘉擔任 NSO 國家交響樂團音樂總監十年期間，堅持為臺灣觀眾介紹多部不同風格、時期與樣貌的歌劇，並與國內好手合作，打造屬於自

己的聲音。2016 年 NSO 挑戰威爾第晚期代表作之一《奧泰羅》之後，這回再推出另一部經典《法斯塔夫》，這是威爾第最後一部歌劇作品，以莎士比亞劇作《溫莎的風流夫人》為本，劇情饒富趣味性、反映人性，同時可聽見義大利歌劇一貫的旋律性與明亮特質。威爾第在重唱與賦格寫作上十分著墨，全劇有不少難度頗高的演唱段落，如九重唱〈要一起給法斯塔夫好看〉，眾人七嘴八舌，在快速且複雜的節奏裡，對話感與音樂性的對比，是特別的手法，而終曲的十重唱〈世間諸事皆為玩笑〉，在嘈雜而眾聲喧嘩中，以大合唱作為結束，更是整齣戲精隨的最終宣告，讓觀眾聽來大呼過癮。

Each year, the NSO wraps up its season with a full operatic production, an event many Taiwanese look forward to with great interest. This time it’s a comedy, one of the very few great comedies in the repertory, Verdi’s Falstaff. It is an opera rich in detail, filled with memorable characters and bubbling over with delicious comic touches at every turn. The orchestra is unusually prominent for an opera, making Falstaff an excellent choice for an NSO presentation. Its text is an adaptation of Shakespeare’s play The Merry Wives of Windsor, laced with monologues from Henry IV Parts I and II. The premiere at Milan’s La Scala in 1893 was a roaring success. Notables from all over Europe attended, and tickets went for incredible sums. Although Falstaff will be performed in the Concert Hall, Jean-Michel Criqui will direct the comings and goings of the ten characters in a manner that keeps the eye occupied and the ear delighted.

本場音樂會導聆由夜鶯基金會提供

Thu.

Fri.

臺中國家歌劇院．大劇院

Grand Theater at the National Taichung Theater 售票資訊請關注臺中國家歌劇院官方網站 Visit www.npac-ntt.org for more information

Sat.

14：30

19：30

1224 25 26 27 Sun.

義大利語發音｜中、英文字幕｜全長約 100 分鐘，無中場休息 Performed in Italian with English & Chinese surtitles Approx. 100 minutes without intermission

浦契尼歌劇－

波希米亞人

Giacomo Puccini: La Bohéme 指揮｜呂紹嘉導演｜安德理亞．荷穆齊執行導演｜田尾下哲佈景設計｜哈特穆特．邁耶服裝設計｜梅希蒂爾德．賽佩爾燈光設計｜法蘭克．艾文聲樂指導暨排練指揮｜安馬丁合唱指揮｜楊宜真鋼琴排練｜吳右如 Shao-Chia Lü, conductor Andreas Homoki, stage director Tetsu Taoshita, revival stage director Hartmut Meyer, set design Mechthild Seipel, costume design Franck Evin, lighting design Martin Andersson, vocal coach and rehearsal conductor YANG I-chen, chorus master WU Yu-ju, piano rehearsal

咪咪｜席琳．伯恩（12/24、12/26）、林玲慧（12/25、12/27）穆賽塔｜黃莉錦（12/24、12/26）、薇若妮卡．格拉納蒂羅（12/25、12/27）魯道夫｜鄭皓允（12/24、12/26）、亞當．弗蘭森（12/25、12/27）馬爾切洛｜伊森．文森（12/24、12/26）、趙方豪（12/25、12/27）舒奧納｜葉展毓柯林｜羅俊穎班努瓦｜李增銘 MIMI ｜ Celine Byrne (12/24, 12/26), LIN Ling-hui (12/25, 12/27) MUSETTA ｜ HUANG Li-chin (12/24, 12/26), Veronica Granatiero (12/25, 12/27) RODOLFO ｜ Hoyoon Chung (12/24, 12/26), Adam Frandsen (12/25, 12/27) MARCELLO ｜ Ethan Vincent (12/24, 12/26), CHAO Fang-hao (12/25, 12/27) SCHAUNARD ｜ YEH Chan-yu COLLINE ｜ Julian LO BENOIT ｜ LI Tzeng-ming 樂團｜國家交響樂團 (NSO) 合唱團｜ NTT 歌劇合唱團、台中少年兒童合唱團演員｜特技空間、戊己劇場 National Symphony Orchestra NTT Choir Taichung Children’s Choir Acrodynamic & Wugi Troupe 主辦單位｜ 2008 年柏林喜歌劇院製作 An original production of the Komische Oper Berlin.

室內樂與講座音樂會 Chamber & Lecture Concerts

19：30

1103

室內樂｜ Chamber Concerts

Tue.

黃金號角手與朋友們 Radovan Vlatković with Friends

國家演奏廳 Recital Hall 400‧600

法國號演奏家弗拉柯維克擁有樂團及室內樂豐富經歷，這次將與 NSO 獨奏家及音樂家

亞歷山大．烏宗諾夫：

朋友們帶來兩首法國號經典室內樂曲。布拉姆斯寫於 1865 年，給自然號、小提琴與鋼

給法國號與絃樂四重奏《天鵝》（世界首

琴的法國號三重奏，對法國號演奏者來說，是不可多得的室內樂傑作；布拉姆斯刻意選擇使用復古的自然號，因為自然號深沈憂鬱的聲音，為樂曲帶來獨特的氣氛。匈牙利作

演）布拉姆斯：法國號三重奏，作品 40 杜南依：六重奏，作品 37

曲家杜南伊的音樂創作受布拉姆斯影響甚深，他於 1935 年寫給單簧管、法國號、絃樂

Alexandre Ouzounoff: Quintet for Horn and

三重奏與鋼琴的六重奏，編制較為特殊，旋律寬廣、和聲飽滿，雖寫於二十世紀，卻有

String Quartet, The Swan (world premiere)

著浪漫時期音樂的風格。聽眾可透過這兩首含有法國號的室內樂曲，想像布拉姆斯與杜

Johannes Brahms: Horn Trio in E-flat major,

南伊在音樂上的關聯。本場也將邀請擁有低音管演奏家及作曲雙重身分的亞歷山大・烏宗

Op.40 Ernő DohnányI: Sextet for clarinet, horn,

諾夫，委託創作一首法國號與絃樂五重奏作品，為本場演出精彩度加分。

violin, viola, cello and piano, Op.37

法國號 │ 弗拉柯維克 Radovan Vlatković,

單簧管 │ 賴俊諺 Chun-Yen Lai, clarinet

horn

鋼琴 │ 王佩瑤 Pei-Yao Wang, piano

小提琴 │ 李宜錦、洪章文、蔡孟峰 I-Ching Li, Chang Wen Hung, Meng-Fong Tsai, violin 中提琴 │ 黃亞漢 Ya-Han Huang, viola 大提琴 │ 陳怡婷 I-Ting Chen, cello

Paul & Evan with Friends 勇源 × NSO

1129 1204

19：30

黃俊文的音樂共遊

駐團音樂家 Artist in Residence

Sun.

國家演奏廳 Recital Hall 400‧600

19：30

室內樂｜ Chamber Concerts

Fri.

1205

14：30

苗北藝文中心 Northern Miaoli Art Center 2020 苗北藝術節 - 首席名家系列 300‧500‧700‧1000

Sat.

雲林聲泊廳 Ensemble Hall 350 11/29 冠名贊助｜ 12/4 指導單位｜ 12/4 共同主辦｜ 12/5 共同主辦｜

聖桑斯 : 小提琴與豎琴的幻想曲（11/29）

民族性，往往會影響到作曲家的創作風格。以法國為例，總地來說，優雅、

蕭泰然 : 《台灣頌》、《出外人》、

細緻，幾乎就是這個國家的典型音樂象徵。聖桑斯，絕大多數人對他帶有戲

《望春風》、《夢幻的恆春小調》（12/4.12/5）佛瑞 : C 小調第一號鋼琴四重奏勒克雷爾：E 小調第五號雙小提琴奏鳴曲，作品 3

謔趣味的《動物狂歡節》並不陌生，但事實上，他的室內樂作品也不惶多讓。小提琴與豎琴的幻想曲，色彩晶瑩剔透，氣質高貴優雅。以這首樂曲入門法

法朗克：F 小調鋼琴五重奏

國室內樂曲，可謂絕佳「敲門磚」。佛瑞的音樂風格，可謂「音樂如其人」，

Camille Saint-Saens:

溫文儒雅、含蓄內斂，就是他的作品寫照。他擅長小編制的室內樂創作，

Fantasie for Violin and Harp, Op. 124（11/29）

1879 年間完成的 C 小調第一號鋼琴四重奏，即便偶有戲劇性的起伏張力，

Tyzen Hsiao: The Song of Taiwan, The Vagabond, Bang

但整體而言，仍然是這位法蘭西好好先生一貫的婉約作風。勒克雷爾是法國

Chhun Hong, Fantasy Heng- Chhung Melody（12/4.12/5） Gabriel Fauré: Piano Quartet No.1 in C minor, Op.15 Jean-Marie Leclair（1697-1764）

小提琴家，同時也是作曲家與舞蹈家，當時義大利小提琴演奏技法影響了法國的創作，勒克雷爾的 E 小調第五號雙小提琴奏鳴曲，作品 3，也不例外，

:Sonata for Two Violins No. 5 in E minor, Op. 3

全曲共有三樂章。法朗克 F 小調鋼琴五重奏不但是作曲家的代表之作，更被

César Franck（1822-1890）: Piano Quintet in F minor

譽為近代法國器樂曲中的不朽，室內樂精髓在此作品淋漓展現。華裔小提琴黃俊文、鋼琴家汪奕聞，聯袂國家交響樂團絃樂菁英，獻給您滿滿的「法蘭西柔情」！

小提琴｜黃俊文、曾智弘、蔡竺君

鋼琴｜汪奕聞 Evan Wong, piano

大提琴｜唐鶯綺 Ying-Chi Tang, cello

Paul Huang, Chih-Hong Tseng,

中提琴｜呂昭瑩 Chao-Ying Lu, viola

豎琴｜解瑄 Shuen Chieh, harp (11/29)

Chu-Chun Tsai, violin

95 室內樂 Chamber Concerts

1211

室內樂｜ Chamber Concerts

19：30

NSO X CMS

發現室內樂

Fri.

Discovering Chamber Music

國家演奏廳 Recital Hall

400‧800‧1200‧1600

2020 林肯中心室內樂協會臺灣巡禮「發現室內樂」系列，為臺灣首見集展演、講座、導聆於一的室內樂教育推廣計畫，於演出最終場，國家交響樂團與林肯中心室內樂協會將首次聯袂演出。於國際古典樂壇中，雙方頂尖音樂家首度交鋒，共獻精湛絕倫技藝，絕對精彩可期！受《華爾街日報》評價爲 “ 音樂蒼穹下的一顆耀目明星 ” 的林肯中心室內樂協會（The Chamber Music Society of Lincoln Center，簡稱 CMS），是目前世界最具規模的室內樂組織，旗下百餘位來自全球、萬中選一的音樂家，每年於世界各地巡迴演出逾三百場。此次將與臺灣國家交響樂團頂尖音樂家，共同帶來拉威爾受世人喜愛且曲趣精妙的七重奏作品《前奏與快板》、匈牙利作曲家杜南依充滿新古典主義風格的第一號 C 小調鋼琴五重奏、作品廣受當今大提琴演奏家青睞的巴瑞耶爾大提琴奏鳴曲、由大提琴演奏家芬柯所改編的三首作品，以及孟德爾頌具交響曲規模的降 E 大調弦樂八重奏室內樂作品。絕妙的節目與世界頂尖音樂家陣容，將帶領樂迷沉浸在豐富的聽覺與視覺饗宴中，一窺室內樂百變樣貌。

拉威爾：為豎琴、長笛、單簧管與絃樂四重奏的《前奏與快板》杜南依：第一號 C 小調鋼琴五重奏，作品 1 巴瑞耶爾：給兩把大提琴的 G 大調奏鳴曲芬柯：三首為四把大提琴改編的歌曲 - 珀瑟爾：歌曲〈仙女和牧羊人〉，選自戲劇配樂《浪蕩男》 - 維多利亞：經文歌《偉大的奧秘》 - 歐布雷希特：歌曲《站著的少女》孟德爾頌：降 E 大調絃樂八重奏，作品 20 Maurice Ravel: Introduction et allegro for Harp, Flute, Clarinet, and String Quartet Ernő Dohnányi: Quintet No. 1 in C minor for Piano, Two Violins, Viola, and Cello, Op. 1 Jean-Baptiste Barrière: Sonata in G major for Two Cellos Michael Finckel: Three Arrangements for Four Cellos Purcell: “Nymphs and Shepherds” from The Libertine Victoria: O Magnum Mysterium Obrecht: Tsaat een Meskin Felix Mendelssohn: Octet in E-flat major for Strings, Op. 20

鋼琴 Piano│ ⊕吳菡 Wu Han

Lipman、⊕尤拉．李 Yura Lee、李思琪

Ying-Chi Tang、王郁文 Yu-Wen Wang

小提琴 Violin│ ⊕克里斯汀．李 Kristin

Szu-Chi Li

長笛 Flute│ 安德石 Anders Norell

Lee、⊕林品任 Richard Lin、鄧皓敦 Hao-

大提琴 Cello│ ⊕基斯．羅賓遜 Keith

豎笛 Calrinet│ 賴俊諺 Chun-Yen Lai

Tun Teng、陳怡茹 Yi-Ju Chen、陳逸群 Yi-

Robinson、⊕德米特里．阿托品 Dmitri

豎琴 Harp│ 解瑄 Shuen Chieh

Chun Chen、曾智弘 Chih-Hong Tseng

Atapine、連亦先 Yi-Shien Lien、陳怡婷

中提琴 Viola│ ⊕馬修．李普曼 Matthew

I-Ting Chen、蘇品維 Pin-Wei Su、唐鶯綺

⊕註記者為 CMS 林肯中心室內樂協會音樂家 The Chamber Music Society of Lincoln Center musicians.

14：30

1025

室內樂｜ Chamber Concerts

繽紛俄羅斯

Sun.

Colorful Russia

國家演奏廳 Recital Hall 400‧600

俄羅斯音樂在豐富的民間創作遺產和古典音樂的基礎上開始扎根，經過一段綿長的發展歷程，最終形成獨樹一幟的音樂風格，在此期間出現了許多優秀

斯特拉溫斯基：《義大利組曲》絃樂四重奏小協奏曲普羅科菲夫：

的音樂大師及音樂組織，這都推動了俄羅斯音樂快速發展，且屹立於世界音

F 大調第二號絃樂四重奏《卡巴爾達人》

樂之林。俄羅斯大文豪高爾基曾激動地評論俄羅斯的藝術和藝術家：「在任

玻羅定：C 小調鋼琴五重奏

何地方不到一百年的光景，都不曾像在俄國這樣人才輩出、群星璀璨……。」

Igor Stravinsky: Suite italienne for Cello and Piano

本場音樂會曲目風格多元，從斯特拉溫斯基新古典主義的《義大利組曲》，

Concertino for string quartet

再以絃樂四重奏編制回到民謠風格的普羅科菲夫絃樂四重奏，最後以浪漫情

Sergei Prokofiev: String Quartet No.2 in F major, Op.92,

懷的玻羅定鋼琴五重奏結尾。

Kabardinian Alexander Borodin: Piano Quintet in C minor

小提琴｜洪章文、蔡孟峰

大提琴｜陳怡婷 I-Ting Chen, cello

Chang-Wen Hung, Meng-Fong Tsai, violin

鋼琴｜許惠品 Hui-Pin Hsu, piano

中提琴｜黃亞漢 Ya-Han Huang, viola

漫步布拉格

19：30

117

室內樂｜ Chamber Concerts

Sun.

Beethoven in Prague

國家演奏廳 Recital Hall 400‧600

貝多芬：第九號小提琴奏鳴曲《克羅采》，第一樂章雅納捷克：第一號絃樂四重奏《克羅采奏鳴曲》

貝多芬與布拉格？貝多芬和波希米亞（現在為包括布拉格在內的捷克共和國）的情誼頗深，他的許多重要作品都是題獻給出身於波希米亞的羅布柯維茨王子，也曾經多次

貝多芬：F 大調第十六號絃樂四重奏，

到波希米亞舉行演奏會和渡假，並在此結識德國文學泰斗歌德。在以捷克政

作品 135

治民主化運動「布拉格之春」為背景創作的小說《生命中不能承受之輕》，

Ludwig van Beethoven: Violin Sonata No.9, Kreutzer, mvt I Leoš Janáček:

及電影《布拉格的春天》中，都可見到貝多芬的身影。《生命中不能承受之輕》一男兩女交纏的愛情故事帶出了對政治、文化、人類生命的省思與嘲諷。

String Quartet No.1, Kreutzer Sonata

女主角是在一個演奏貝多芬最後三首絃樂四重奏的場合結識了來開會的男主

Ludwig van Beethoven:

角。一樣以「布拉格之春」為時空背景的電影《布拉格的春天》大量使用捷

String Quartet No.16 in F Major, Op.135

克作曲家雅納捷克的室內樂、鋼琴曲。其第一號絃樂四重奏《克羅采奏鳴曲》靈感來自托爾斯泰小說《克羅采》，故事重心便是落在貝多芬技巧相當困難的《克羅采奏鳴曲》。

小提琴｜陳逸群、陳怡茹

大提琴｜蘇品維 Pin-Wei Su, cello

Yi-Chun Chen, Yi-Ju Chen, violin

鋼琴｜翁重華 Chung-Hua Weng, piano

中提琴｜李思琪 Szu-Chi Li, viola

99 室內樂 Chamber Concerts

19：30

430

室內樂｜ Chamber Concerts

來自波希米亞

Fri.

From Bohemia

國家演奏廳 Recital Hall 400‧600

波希米亞，古捷克名，以水晶、木偶聞名全球，二十世紀則出現具影響力的作家卡夫卡。本場曲目以三位捷克最重要的作曲家為重心，且彼此為師徒關

蘇克：A 小調鋼琴四重奏，作品 1 馬悌努：《廚房集錦》組曲，作品 161 德沃札克：A 大調第二號鋼琴五重奏，

係；約瑟夫 ‧ 蘇克為捷克絃樂四重奏的創團元老，其演奏生涯超過四十年，

作品 81

他以這首鋼琴四重奏作為第一首出版的作品，題獻給敬愛的恩師德沃札克，

Josef Suk: Piano Quartet in A minor, Op.1

曲中充滿了對創作的熱情以及企圖心。蘇克的學生馬悌努走在二十世紀的前

Bohuslav Martinů: La Revue de Cuisine Suite, H.161

端，身處在「美好年代」的巴黎，馬悌努吸取了來自當時印象主義、爵士音

Antonín Dvořák: Piano Quintet No.2 in A

樂和前衛藝術的養分，激發出大量的創作。他以毫不起眼的廚房器具為主角，

major, Op.81

寫作出帶有爵士風，詼諧的芭蕾舞劇音樂。德沃札克不僅是蘇克的老師，也是他的岳父，這首 A 大調第二號鋼琴五重奏是不滿於舊作的重新挑戰，樂曲的成功成為當今鋼琴五重奏中最膾炙人口的傑作之一。三位音樂家傳遞薪火，承先啟後，共同揮灑出捷克音樂的質樸、斑斕和瑰麗。

小提琴｜曾智弘、蔡竺君

大提琴｜唐鶯綺 Ying-Chi Tang, cello

小號｜鄒儒吉 Loo-Kit Chong, trumpet

Chih-Hong Tseng, Chu-Chun Tsai, violin

單簧管｜賴俊諺 Chun-Yen Lai, clarinet

鋼琴｜翁重華 Chung-Hua Weng, piano

中提琴｜呂昭瑩 Chao-Ying Lu, viola

低音管｜陳奕秀 I-Hsiu Chen, bassoon

100

五月。舞樂

19：30

515

室內樂｜ Chamber Concerts

Sat.

Dancing in May

國家演奏廳 Recital Hall 400‧600

法卡斯：古匈牙利舞曲

匈牙利作曲家法卡斯，戮力採集文藝復興時期的舞曲再將其重新編寫賦予新

斯特拉溫斯基：《普欽奈拉》

貌，這首古匈牙利舞曲便為其一。而法國作曲家伊貝爾寫給木管五重奏的三

（改編給木管五重奏）伊貝爾：三首小品

首小品，結合法式芭蕾舞曲的輕巧旋律，與爵士樂的動感節奏，輕鬆悅耳。

斯特拉溫斯基：《春之祭》

《普欽奈拉》，這首寫於 1920 年的芭蕾舞劇，無疑是斯特拉溫斯基最重要的

（改編給木管五重奏與打擊）

作品之一，開啟了其新古典風格的創作時期。而《春之祭》，為作曲家最廣

Ferenc Farkas: Early Hungarian Dances from

為人知的作品，描述古代以少女獻祭天神的習俗。原本氣勢磅礡的樂團編制，

the 17th Century Igor Stravinsky: Pulcinella (arr. for woodwind quintet)

縮減至管樂與打擊六人編制，如何保留原作的況味？我們以樂以舞，歌詠這五月的春天。

Jacques Ibert: Trois pièces brèves Igor Stravinsky: The Rite of Spring (arr. for woodwind quintet & percussion)

長笛｜宮崎千佳 Chika Miyazaki, flute

低音管｜陳奕秀 I-Hsiu Chen, bassoon

打擊｜艾庭安

雙簧管｜阮黃松 Tung Nguyen Hoang, oboe

法國號｜劉品均 Pin-Chun Liu, horn

Sebastian Efler, percussion

單簧管｜黃荻 Ti Huang, clarinet

101 室內樂 Chamber Concerts

19：30

611 Fri.

室內樂｜ Chamber Concerts

捷克三傑波希米亞的民族魅力

Smetana & Dvořák & Janáček

國家演奏廳 Recital Hall

勇源 × NSO

400‧600

由斯梅塔納奠基茁壯、雅納捷克固守堅持、德沃札克開枝散葉；將波希米亞民謠根植於捷克這片獨樹一幟的音樂沃土裡。質樸優美的民俗讚歌不斷地出

拉赫瑪尼諾夫： G 小調第一號鋼琴三重奏《悲歌》德沃札克：

現在這三傑的作品當中，有不禁錮於憂怨的「悲歌」、也有不耽溺於娛樂的「生

第四號鋼琴三重奏《悲歌》，作品 90

活」。以純絃樂的細膩和聲碰撞鋼琴的鏗鏘壯麗，以其同質性的美好與火花

斯梅塔納： E 小調第一號絃樂四重奏《來自我的生命》

頌讚三位偉大作曲家。

雅納捷克：為絃樂而作的組曲 Sergei Rachmaninoff : Piano Trio élégiaque No.1 in G minor Antonín Dvořák : Piano Trio No.4, Op.90, Dumky Bedrich Smetana : String Quartet No.1 in E minor, From My Life Leoš Janáček : Suite for Strings 冠名贊助｜

小提琴｜吳庭毓、李家豪

大提琴｜黃日昇 Jih-Sheng Huang, cello

Ting-Yuh Wu, Chia-Hao Lee, violin

低音提琴｜蔡歆婕

中提琴｜吳彥廷 Yen-Ting Wu, viola

Hsin-Chieh Tsai, double bass

102

鋼琴｜黃意淳 I-Chun Huang, piano

斯拉夫風情・俄羅斯傳承 Slavic & Russia

627

14：30

室內樂｜ Chamber Concerts

Sun.

國家演奏廳 Recital Hall 400‧600

葛令卡：降Ｅ大調大六重奏

「俄羅斯音樂之父」葛令卡說過：「創作音樂的是人民，作曲家只不過把它

李姆斯基－柯薩科夫：

變成曲子而已。」這個極具民族主義色彩的論斷，對後世影響甚廣。被葛令

《美》，選自五首羅曼史玻羅定：《傲慢》

卡視為接班人的巴拉基列夫，以及同期的玻羅定、庫宜、穆索斯基和李姆斯

葛令卡：《欲望之火於我血中燃燒》

基－柯薩科夫（「俄國五人組」）雖沒有受過系統的音樂教育，但他們努力

斯特拉溫斯基：三首絃樂四重奏

蒐集俄羅斯的民間故事、神話傳說、歷史事件、自然風光等成為創作源泉。

李姆斯基－柯薩科夫：Ａ大調絃樂六重奏

二十世紀享負盛名的斯特拉溫斯基，則是在 1902 年結識了李姆斯基－柯薩科

Mikhail Glinka: Grand Sextet in E-flat major Nikolai Rimsky-Korsakov: The Beauty from 5 Romances, Op.51 Alexander Borodin: Arrogance

夫，成為其門生後開始作曲生涯。從葛令卡，到俄國五人組，到斯特拉溫斯基，本場音樂會透過一脈相承的曲目安排，窺見屬於東斯拉夫的「斯拉夫風情．俄羅斯傳承」。

Mikhail Glinka: The Fire of Desire is Burning in My Blood Igor Stravinsky: 3 pieces for String Quartet Nikolai Rimsky-Korsakov: String Sextet in A major

小提琴｜陳逸群、陳怡茹

大提琴｜蘇品維、王郁文

男中音｜趙方豪 Fang-Hao Chao, baritone

Yi-Chun Chen, Yi-Ju Chen, violin

Pin-Wei Su, Yu-Wen Wang, cello

鋼琴｜蘇映竹 Ying-Chu Su, piano

中提琴｜李思琪、黃亞漢

低音大提琴｜蘇億容

Szu-Chi Li, Ya-Han Huang, viola

Yi-Jung Su, double bass

103 室內樂 Chamber Concerts

14：30

1018 Sun.

國家演奏廳 Recital Hall

勇源 × NSO

400

兒童與魔法：拉威爾的音樂世界 The Child and the Enchantments: Ravel’s Music World

雖非神童，卻甚早就建立個人風格，學生時代就已名揚樂壇，日後更是一代大師—拉威爾雖然謙稱自己不是偉大作曲家，卻是毫無敗筆，法國最受歡迎、樂曲上演次數最頻繁的作曲家。他的曲風古雅工整，將種種奇特聲響包裝於美好框架之內。雖然常把技巧寫在刀口，逼演奏者在鋼索上跳芭蕾，但傑出效果又是毋庸置疑的美好回報，令聽眾目眩神迷。這場音樂會將為大家解析拉威爾的音樂語彙，看他如何「自找麻煩」命題作文，如何讓「人工」成為獨樹一幟的美學，又如何呼應時代，融合各式異國風格而提出一家之言，深入認識這位「完美的作曲家」！

拉威爾：《博物誌》，作品 50，第二樂章：〈蟋蟀〉& 第三樂章：〈天鵝〉《兩首猶太歌曲》給小提琴與大提琴的奏鳴曲，第一樂章《馬達加斯加之歌》 G 大調第二號小提琴奏鳴曲，作品 77，第二樂章 A 小調鋼琴三重奏，作品 67，第二樂章：〈潘頓四行詩〉& 第四樂章：末樂章 Maurice Ravel:

主講｜焦元溥

Histoires Naturelles, Op.50, mvt II: 'Le Grillon' & mvt III: 'Le Cygnet'

Yuan-Pu Chiao, lecturer

Deux Mélodies Hébraïques

小提琴｜鄧皓敦

Sonata for Violin and Cello, mvt I

Hao-Tun Teng, violin

Chansons Madecasses

大提琴｜連亦先

Violin Sonata No.2 in G major, Op.77, mvt II

Yi-Shien Lien, cello

Piano Trio in A minor, Op.67, mvt II: ‘Pantoum’ & mvt IV: Finale

長笛｜宮崎千佳

倫敦國王學院音樂學博士，大英圖書館愛迪生研究員；著有《聽見蕭邦》、《樂之本事》與《遊藝黑白—世界鋼琴家訪問錄》（中、日文版）等專書十餘種，製作音頻節目「焦享樂」之「古典音樂入門指南」「一聽就懂的古典音樂史」與「貝多芬 PLUS」。 Yuan-Pu Chiao is a PhD of Musicology, King’s College, London. He has published eleven

Chika Miyazaki, flute 女高音｜林玲慧 Ling-Hui Lin, soprano 鋼琴｜盧易之 Yi-Chih Lu, piano

books in Chinese on piano music, pianists, and classical music in general. The Colors between Black and White, the collection of his interviews of 108 pianists, has been also translated into Japanese with great acclaim.

104

冠名贊助｜

19：30

319 Fri.

勇源 × NSO

國家演奏廳 Recital Hall 400

音樂與文學系列：吟詩、閱讀與寫作

Music and Literature: Reading, Writing and Reciting in Opera

音樂與文學固然密不可分，但你可曾注意到，音樂創作中的「文學場景」？從以詩人為主題的歌劇開始，這場音樂會將帶我們看歌劇與歌曲中的「閱讀與寫作」，探討音樂中詩人與詩歌是怎樣的存在，角色如何寫、如何讀，如何即興賦詩、當場創作，又如何從文本借力使力，在關鍵時刻發揮效用。我們也將以此探討作曲家如何將內心世界展現於外，如何區辨歌唱與說話，又如何塑造獨白的價值，使之成為戲劇脈絡中合理的環節。有思索有悲嘆，有機智有熱血，還有震懾人心的告別與飆罵，曲曲精彩絕無冷場，好戲連台切勿錯過！

華格納：〈丁香何其芬芳〉，選自歌劇《紐倫堡的名歌手》古諾：〈喔！我不朽的七弦琴〉，選自歌劇《莎弗》穆爾：〈親愛的媽媽〉，選自歌劇《朵貝比的故事》拉赫瑪尼諾夫：《給史坦尼斯拉夫斯基的信》馬斯內：〈夏綠蒂的讀信之歌〉，選自歌劇《維特》（歌德原著）浦契尼：〈誰能知道多蕾塔之夢〉，選自歌劇《燕子》喬大諾：〈眺望蔚藍長空的那天〉，選自歌劇《安德烈謝尼葉》齊雷亞：〈一定是她！…彷彿天堂！那天我做了什麼？〉，選自歌劇《阿德莉雅

主講｜焦元溥 Yuan-Pu Chiao, lecturer 女高音｜林慈音

娜 ‧ 路克維爾》 Richard Wagner: ‘Was duftet doch der Flieder’ from Die Meistersinger von Nürnberg Charles Gounod: ‘O ma lyre Immortelle’ from Sapho

Grace Lin, soprano

Douglas Moore: ‘Dearest Mama ‘The Letter Song’ from The Ballad of Baby Doe

次女高音｜翁若珮

Sergei Rachmaninoff: Letter to K.S. Stanislavsky

Jo-Pei Weng, mezzo-soprano

Jules Massenet: ‘Ces Lettres ! Ces lettres !’ from Werther

男高音｜林義偉

Giacomo Puccini: ‘Chi Il Bel Sogno Di Doretta’ from La rondine

Yi-Wei Lin, tenor

Umberto Giordano: ‘Un dì all'azzurro spazio’ from Andrea Chénier

男低音｜羅俊穎

Francesco Cilea: ‘E'quella dama al certo!.... Giusto cielo! che feci in tal giorno?’ from

Julian Lo, bass

Adriana Lecouvreur

鋼琴｜許惠品 Hui-Pin Hsu, piano

冠名贊助｜

105

14：30

411 Sun.

國家演奏廳 Recital Hall 500‧700

講座音樂會｜ Lecture Concerts

大兵的故事

The Soldier's Tale

指揮｜張尹芳 Yin-Fang Chang, conductor 小提琴｜鄧皓敦、陳逸群、陳玟佐 Hao-Tun Teng, Yi-Chun Chen, Wen-Tso Chen, violin 中提琴｜呂昭瑩、陳猶白、黃亞漢 Chao-Ying Lu, Jubel Chen Ya-Han Huang, viola 大提琴｜黃日昇、王郁文

西元二十世紀初，來自俄羅斯的作曲家斯特拉溫斯基，在巴黎香榭麗舍劇院，以芭蕾舞劇配樂《春之祭》，在觀眾席間掀起了前所未有的風暴。彼時，遠

Jih-Sheng Huang, Yu-Wen Wang, cello 低音提琴｜蘇億容、連珮致

在大西洋對岸的北美洲，爵士樂興起，為西方音樂發展樹立了全新里程碑。

Yi-Jung Su, Pei-Chih Lien, double bass 長笛｜安德石

故事》以及《拉格泰姆》當中，他雙臂擁抱爵士樂風，以傳統樂器呈現流行

Anders Norell, flute 單簧管｜賴俊諺

巴頓橡樹園》，斯特拉溫斯基反其道而行，他回歸巴赫，以現代音樂語法，

Chun-Yen Lai, clarinet 低音管｜簡凱玉 Kai-Yu Jian, bassoon 法國號｜黃任賢、黃哲筠 Jen-Hsien Huang, Jer-Yun Huang, horn 小號、短號｜宇新樂 Nicolas Rusillon, trumpet & cornet 長號｜李昆穎 Kun-Ying Lee, trombone 打擊｜陳廷銓 Ting-Chuan Chen, percussion

人稱「音樂變色龍」的斯特拉溫斯基，向來喜歡挑戰傳統底線。在《大兵的

時尚，即便到了二十一世紀，新鮮感還在！ 1930 年代創作的室內樂協奏曲《鄧

重現巴洛克樂派的優雅與精煉，不只反璞歸真，還多了灑脫。大兵說故事，不需要龐大樂團陪襯。由張尹芳領軍國家交響樂團菁英，即便只是簡單編制，言簡意賅，故事依然說得興味昂然…… 斯特拉溫斯基：《拉格泰姆》

室內樂協奏曲《鄧巴頓橡樹園》

《大兵的故事》

Igor Stravinsky : Ragtime

Concerto in E-flat Dumbarton Oaks

The Soldier's Tale

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客席音樂家 Guest Artists

為 2009 年伊莉莎白女王大賽及 2008 年曼紐因大賽冠軍得主，是當今頂尖實力派年輕小提琴家。曾與倫敦愛樂、洛杉磯愛樂、匹茲堡交響等樂團合作。也常與夏伊、佩特連科等指揮攜手演出。生於臺灣長於澳洲，於寇帝斯音樂院就讀時師事亞倫．羅桑，並獲得「青年音樂家」獎助。目前使用由日本音樂基金會出借的 1715 年「姚阿幸」史特拉第瓦里小提琴，曾為著名匈牙利小提琴家約瑟夫 ‧ 姚阿幸所擁有。 Winner of the Queen Elisabeth and Yehudi Menuhin Competitions, Ray Chen is among the most compelling young violinists today. Ray has performed with the London Philharmonic Orchestra, Los Angeles Philharmonic, Pittsburgh Symphony among others, and will make upcoming debuts with the San Francisco Symphony and other orchestras. He works regularly with conductors such as Riccardo Chailly, Kirill Petrenko, and many others. Born in Taiwan and raised in Australia, Ray was

小提琴

陳銳 Ray Chen,violin

accepted to the Curtis Institute of Music at age 15, where he studied with Aaron Rosand and was supported by Young Concert Artists. He plays the 1715 “Joachim” Stradivarius violin on loan from the Nippon Music Foundation. This instrument was once owned by the famed Hungarian violinist, Joseph Joachim (1831-1907).

小提琴家胡乃元，自贏得 1985 年比利時伊莉莎白女王國際音樂大賽首獎後，就經常在世界級的音樂廳演出。BBC 音樂雜誌對他演奏的出神入化，曾描述「來自台灣的小提琴家胡乃元，是一位全方位的演奏者，他怡然自得的演奏技巧，對音樂富有才智的詮釋，毫不猶疑的神韻與活力，使他能與今日絃樂界的大師們並列。」胡乃元曾受邀和許多知名樂團一起演出，如倫敦皇家愛樂、多倫多交響樂團、西雅圖交響樂團、荷蘭羅特丹愛樂、法國 Lille 國家交響樂團、奧匈海頓室內樂團、東京愛樂、東京大都會交響樂團、台灣國家交響樂團、中國愛樂和香港愛樂等。胡乃元的演奏遍及世界各重要的音樂廳，其中包括紐約林肯中心 David Geffen Hall 和 Alice Tully Hall、阿姆斯特丹音樂廳、巴黎的 Cité de la Musique、東京的 Suntory Hall 等。除了演出之外，胡乃元也多次受邀國際大賽評審，其中包括執牛耳的比利時伊莉莎白國際音樂大

小提琴

胡乃元

賽和韓國首爾國際小提琴比賽。 Since winning the First Prize of the prestigious Queen Elisabeth Competition in

Nai-Yuan Hu, violin

1985, violinist Nai-Yuan Hu has appeared on many of the world’s stages, including the Concertgebouw in Amsterdam, David Geffen Hall in New York, Cité de la Musique in Paris, Suntory Hall in Tokyo and other major venues in Europe, North and South Americas and Asia. He has appeared as soloist with such orchestras as the Royal Philharmonic Orchestra of London, Toronto Symphony, Seattle Symphony, Netherland and Rotterdam Philharmonic orchestras, Belgian National Orchestra, Orchestre National de Lille in France, Austro-Hungarian Haydn Chamber Orchestra, Tokyo Philharmonic and Tokyo Metropolitan Symphony and others. Mr. Hu’s recording of Goldmark’s Concerto and Bruch’s Second Concerto with Gerard Schwarz and the Seattle Symphony (Delos label) garnered “Critics’ Choice” from Gramophone as well as praises from many publications including BBC Music Magazine, The Times of London, and The Washington Post. In praise of his playing, BBC Music Magazine wrote, “Taiwanese violinist Nai-Yuan Hu is an awesomely capable performer whose technical facility, musical intelligence and unfaltering verve place him among the higher echelons of today’s string virtuosi.” Mr. Hu has served on the jury of international competitions such as Queen Elisabeth Competition in Brussels and Seoul Violin Competition.

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魏靖儀，2015 年比利時伊莉莎白女王國際音樂大賽桂冠優勝。2013 年，始於國際舞台展露頭角，一舉奪得「庫柏國際小提琴比賽」首獎（Thomas and Evon Cooper International Competition），並與指揮家林望傑和美國五大樂團之一克里夫蘭管絃樂團在賽佛倫斯音樂廳（Severance Hall）演出柴科夫斯基小提琴協奏曲。2015 年與 Marin Alsop 所指揮的比利時國家管絃樂團在伊莉莎白女王國際音樂大賽決賽時演出蕭斯塔高維契小提琴協奏曲，獨特的音色、精湛且極具表現力的演奏摘下桂冠殊榮，更獲得樂壇一致好評；除了《比利時時報》的盛譽以外，其傑出的樂感更受到《紐約音樂會評論》大力推崇：「演出者在 E 絃的能量與精準度都達到相當高的境界。」自此，便展開其個人的小提琴

世界巡迴演奏生涯。目前於德國柏林 Hanns Eisler 藝術學院，師從前柏林愛樂

魏靖儀

首席 Kolјa Blacher 門下。

William Wei, violin

Laureate of the prestigious 2015 Queen Elisabeth International Violin Competition, rising young Taiwanese violinist William Wei is quickly building an international

career as a soloist. Of his performance of the Shostakovich Violin Concerto with conductor Marin Alsop and the National Orchestra of Belgium, Le Soir wrote that William “gets everyone’s attention in the first movement; he expresses all the possibilities in the second movement; [and he] burns all his passion and freedom in the music till the end.” Radio Télévision Belge Francophone simply called his playing “superb”. A winner of the Salon de Virtuosi’s 2018 Career Grant, William has been invited twice by renowned New York Times music critic Robert Sherman to perform on WQXR’s Young Artists Showcase. He performed the Tchaikovsky Violin Concerto with conductor Jahja Ling and the Cleveland Orchestra at Severance Hall as a winner of the Thomas and Evon Cooper International Competition in 2013.

臺灣新生代指揮家，於 2013 年贏得第 53 屆法國貝桑頌國際青年指揮大賽首獎、樂團票選獎與觀眾票選獎。近年來曾合作過的樂團有聖彼得堡交響樂團、波蘭國家廣播交響樂團、法國羅亞省國家交響樂團、法國波爾多國家交響樂團、澳門交響樂團、國家交響樂團、臺北市立交響樂團、國立臺灣交響樂團等。合作過的音樂家包括 Alexie Volodin, Oliver Charlier, Tzimon Barto, Nemanja Radulovic, Jakub Jakowicz, Jean-Daniel Bugaj, 劉孟捷、曾宇謙、楊文信、吳蠻等。因其於音樂的執著與對年輕學子的影響，於 2013 年被評為兩廳院表演藝術雜誌音樂類年度人物，並於 2014 年受政府提名為 53 屆十大傑出青年候選人；其後，於 2017 年負笈國立維也納表演藝術大學深造，並於 2020 年接任指揮

台北愛樂首席指揮。

吳曜宇

Taiwan-born conductor Yao-Yu Wu began his conducting learning in Taipei

Yao-Yu Wu, conductor

National University of Arts, continue with Universität für Musik und darstellende Kunst Wien. In 2013, Wu won the Grand Prix de Direction (First Prize) of the 53rd

Besançon International Competition for Young Conductors, also Coup de Coeur L’Orchestre (Prize from Orchestra) and Coup de Coeur du Public (Prize from Public). In recent years his cooperated orchestras included St. Petersburg Symphony Orchestra, Polish National Radio Symphony Orchestra, Orchestre National des Pays de la Loire, National Orchestre de Lorraine, National Orchestre de Bordeaux, Macao Symphony Orchestra, Taiwan Philharmonic, Taipei Symphony Orchestra, National Taiwan Symphony Orchestra...etc. The cooperated artists included: Alexie Volodin, Oliver Charlier, Tzimon Barto, Nemanja Radulovic, Jakub Jakowicz, Jean-Daniel Bugaj, Men-Chieh Liu, Yu-Chien Tseng, Wu-Man, Wen-Sinn Yang...etc. Wu also recently conducted operas Bellini’s La Sonnambula (2013), Humperdinck’s Hansel und Gretel (2014), and Puccini’s Tosca (2019).

109 客席音樂家 Guest Artists

演奏風格兼具細膩及強烈感染力，在服務 NSO 國家交響樂團十七個樂季後， 2019 年應聘為臺北藝術大學音樂系專任副教授。曾師事蔡文河，方永信及小提琴名師 Ivan Galamian 嫡傳弟子 James Buswell，在臺求學期間以全省榜首保送高雄中學音樂班，大學赴美留學，精湛琴藝屢獲國際樂壇肯定，之後以學術科特優獎完成新英格蘭音樂學院碩士學位後服務於 NSO 國家交響樂團。近年熱心推廣兒童音樂教育，參與發想「NSO 媽媽說故事」系列音樂會，並錄製有聲 CD 及製作雲門劇場親子音樂會系列 ; 其領軍的 Infinite 首席四重奏連續參與誠品室內樂節，期許能完成演出整套巴爾托克絃樂四重奏的創舉。 A native of Kaohsiung, Taiwan, violinist I-Ching Li began her violin studies at age of nine. I-Ching has been praised for her depth of insight, virtuosity and creative flair. Her virtuosic performances had gained her top prizes at numerous competitions, both as a soloist and chamber musician. She started her position at

小提琴

李宜錦 I-Ching Li, violin

the Taiwan Philharmonic (National Symphony Orchestra) first as the associate concertmaster in 2002, and from 2004-2019 serving as the concertmaster, in 2019 she was offered the professorship at the Taipei National University of Arts.I-Ching has appeared under the baton of some of the worlds’ premier conductors. She enjoyed having a multifaceted career as soloist, orchestra member, chamber musician, teacher, and most important of all, a Mom. Being a mother, I-Ching recently devoted herself on children music education programs. She has co-produced and perform in the NSO Kids Concert series After being in the music business for more than a decade. I-Ching decided to devote herself into inspiring the young generations, from the babies to the going-to-be professionals.

盧易之曾在十三項國際及區域大賽獲獎，演奏足跡遍及全球四十個城市的重要音樂廳。 2016 年美國華盛頓州金縣 (King County) 特別訂 2016 年 7 月 9 日為『盧易之日』，表彰他在鋼琴演奏領域上卓越的成就。盧易之亦曾與歐亞知名的樂團如奧地利國家廣播電臺交響樂團、維也納太平洋室內樂團、羅馬尼亞阿拉德愛樂、仙台愛樂、以及 NSO 等樂團合作演出。2012 年，他的專輯『My Chopin; My Brahms』獲得金曲獎『最佳演奏獎』之肯定。 Yi-Chih Lu, a Taiwanese pianist, was born in 1982. He studied with Michael Krist at the University for Music and Performing Arts Vienna, later with Klaus Hellwig at the University of the Arts Berlin. He has won 13 important national and international piano competitions, such as Sendai, Hummel, Maria Canals etc. Concert tours have taken him through Austria, Germany, Slovakia, Italy, Holland, Romania, Taiwan, Japan, and the USA. His orchestral appearances have been with the Taipei Metropolitan Orchestra, Sendai Philharmonic, Arad Philharmonic, and

鋼琴

盧易之 Yi-Chih Lu, piano

Radio Symphonic Orchestra Vienna. He is also known as a chamber musician, piano companion and interpreter from modern music in different concerts. He is holding adjunct assistant professorship at National Taiwan Normal University, National Taiwan University of Arts and Chinese Culture University.

110

生於慕尼黑，師事傑利畢達克與邁爾，並在譚歌塢師事伯恩斯坦與小澤征爾。多年來，馬寇爾是日耳曼體系交響及歌劇傳統等經典曲目的重量級詮釋者，廣受景仰，近期他在法國印象派作品上的細緻刻劃和音樂語彙探索，亦有目共睹。他與維也納、柏林、慕尼黑和德勒斯登森柏等國家級歌劇院具有長期合作關係，近年來亦擔任里昂國家管絃樂團 (2005-11)、萊比錫中德廣播交響樂團 (2007-2012) 和巴斯克國家交響樂團 (2014-2017) 的音樂總監。曾擔任世界各大交響樂團的客席指揮，其中包括克里夫蘭交響樂團、費城交響樂團、NHK 交響樂團、捷克愛樂、慕尼黑愛樂、奧斯陸愛樂、蘇黎世音樂廳管絃樂團等等。眾多錄音專輯中包含與 NHK 交響樂團的全套舒曼交響指揮

曲實況錄音、與里昂國家管絃樂團的 9 張德布西專輯、以及一系列聖桑斯和

準 ‧ 馬寇爾

细川俊夫的作品。法國文化部頒授他法蘭西藝術與文學騎士勳章以表彰他在里昂的成就。

Jun Märkl, conductor Born in Munich, Jun Märkl studied conducting with Sergiu Celibidache in Munich, with Gustav Meier, and at Tanglewood with Leonard Bernstein and Seiji Ozawa. Märkl has long been known as a highly respected interpreter of the core Germanic repertoire from both the symphonic and operatic traditions, and more recently for his refined and idiomatic explorations of the French impressionists. His long-standing relationships at the state operas of Vienna, Berlin, Munich and Semperoper Dresden have in recent years been complemented by his Music Directorships of the Orchestre National de Lyon (2005-11) , Leipzig Radio Orchestra (2007 to 2012), and Basque National Orchestra (2014-17). Jun Märkl guests with many of the world’s leading orchestras, including the Cleveland Orchestra, Philadelphia Orchestra, NHK Symphony Orchestra Tokyo, Czech Philharmonic, Munich Philharmonic, Oslo Philharmonic, and Tonhalle Orchester Zürich and many others. Märkl’s extensive discography includes the complete Schumann symphonies live with the NHK Symphony , a highly acclaimed nine-disc Debussy set with the Orchestre National de Lyon, works by Saint Saens and Hosokawa. In recognition of his achievements in Lyon, he was honored by the French Ministry of Culture in 2012 with the Chevalier de l’Ordre des Arts et des Lettres.

生於札革雷布，先後隨札革雷布音樂院教授裴雷拉・德第凱，與德國德特摩音樂院教授麥可・賀傑爾學習。曾獲得多項國際性比賽首獎，包括 1979 年義大利安科納音樂大賽，以及 1983 年慕尼黑 ARD 國際音樂大賽，而當時這場大賽已有十四年不曾頒發獎項予法國號音樂家。獲獎後受到全歐洲許多音樂節邀約，包括薩爾茲堡音樂節、維也納音樂節、愛丁堡音樂節與杜布羅夫尼克音樂節等。出色的演奏技巧獲許多作曲家邀請擔任首演，如：艾略特・卡特、海因・霍利格、克里斯多福・潘德列茨基等。2014 年被倫敦皇家榮譽學院授與會員殊榮，是一項全球僅授 300 名音樂家的至高成就象徵。

法國號

弗拉柯維克 Radovan Vlatković, horn

Radovan Vlatković has been the recipient of numerous first prizes in national and international competitions, including the Premio Ancona in 1979 and the ARD Competition in Munich in 1983 - the first to be awarded to a horn player in fourteen years. This led to numerous invitations to music festivals throughout Europe. Vlatković has participated in first performances of works by Elliott Carter, Sofia

Gubaidulina, Heinz Holliger and Krzysztof Penderecki and several Croatian composers who have written concertos for him. In 2014 Vlatković was awarded an Honorary Membership of the Royal Academy of Music (Hon RAM), an honour bestowed upon only 300 distinguished musicians worldwide.

111 客席音樂家 Guest Artists

紐約市立大學鋼琴演奏博士；臺北藝術大學管絃樂指揮碩士。於臺、中、德、奧、義、美、以等地舉辦獨奏會；與以色列海法交響樂團演出協奏曲；與國家交響樂團錄製鋼琴協奏曲。演出頻繁，獨奏及鋼琴合作之外，亦擔任多齣大型歌劇之鋼琴排練，包括臺中國家歌劇院《指環》系列。投身教學，多次於美、中舉辦鋼琴講座，曾擔任以色列海法大學音樂系駐校音樂家。現定居臺北，任教於臺灣師範、輔仁、東吳大學音樂系，及師大附中音樂班。 Dr. Vera Hui-pin Hsu is a pianist and conductor. She studied piano with Martin Canin at City University of New York, where she received her doctorate. She gave recitals in China, Germany, Austria, Italy, Israel, U.S. and Taiwan. Vera performed with the New Haifa Symphony Orchestra in Israel and served as an Artist in Residence at

鋼琴

the University of Haifa. Vera also gave piano workshops at NYU Shanghai and the

許惠品

University of Chicago. In the capacity of orchestral pianist and rehearsal pianist,

Hui-Pin Hsu, piano

Vera has collaborated with NSO (the Taiwan Philharmonic) regularly since 2011 and with National Taichung Theater in its Wagner Ring cycle production. Vera’s talents as a conductor have led to work with NSO, Conservatory Orchestra at Jerusalem Academy of Music and Dance, Macon Symphony Orchestra, Chelsea Opera, etc. She is now the principal conductor of two leading youth orchestras in Taipei, and teaches in leading music departments.

嚴俊傑自 1997 年十三歲獲第三屆國際柴科夫斯基青少年音樂大賽第三獎起，便活躍於國內外樂壇，其演奏足跡遍及歐、亞、非、南北美世界五大洲；並以獨奏家身份與多位指揮名家及著名樂團合作演出並受邀在世界各地舉行演奏。嚴俊傑立下多項創舉：於台灣首演柴科夫斯基《第二號鋼琴協奏曲》；跨界與導演張艾嘉於上海世博合作演出，號招數萬觀眾；與台灣愛樂於 NAXOS 世界首錄陳其鋼的鋼琴協奏曲《二黃》；並於 2016 年開創世界創舉一日三饗音樂節，於一天內演奏三場不同獨奏會，備受佳評。嚴俊傑目前任教於台灣師範大學，歷年來多位學生於國際比賽榮獲大獎，並受邀至國際各大音樂節講學及演出如 Music Fest Perugia，Colburn Piano Festival 及 Almalfi Coast Music Festival 等。嚴俊傑於 2008 年獲第十九屆金曲獎「最佳古典演奏

鋼琴

獎」，並於 2017 年創辦國際大師鋼琴藝術節，致力於音樂藝術之推動。

嚴俊傑

One of the most distinctive pianists of his generation in Taiwan, Pianist Chun-Chieh

Chun-Chieh Yen, piano

Yen enjoys a vibrant career of performing and teaching across Europe, US, and Asia. Mr. Yen has performed with many of the world’s major orchestras such as the Russian National Orchestra, Staatsorchester Rheinische Philharmonie, and the Taiwan Philharmonic. He also enjoyed collaborations with conductors including Mikhail Pletnev, Henry Mazer, Uri Mayer, Shao-Chia Lü, and Günther Herbig. Mr. Yen’s debut album on Universal earned him the award of Best Classical Performer at the 19th Golden Melody Awards in Taiwan. In recent seasons Mr. Yen has completed different projects in concerts including performing Chopin complete 27 Etudes in one recital; premiering Tchaikovsky’s Piano Concerto No. 2 in Taiwan; world premier recording of Qigang Chen’s Piano Concerto “Erhuang” on Naxos; and giving three different recitals on the same day in “One Day Piano Festival x 3”. Mr. Yen is currently full time Associate Professor at the Taiwan Normal University. He also serves as faculty member at Music Fest Perugia, Almalfi Coast Music Festival in Italy and Colburn Piano Festival in the States. He is also the founder of International Maestro Piano Festival, during the past years his students have won top prizes at international competitions.

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曾獲以色列「魯賓斯坦國際鋼琴大賽」最高獎暨最具觀眾人緣獎、美國「紐約藝術家協會國際大賽」首獎、美國「古典郵報」2018 年度最具創新力演奏家獎。近年，頻繁受邀於世界重要音樂廳及音樂節演出。以色列愛樂管弦樂團總監特別邀請她演出貝多芬鋼琴協奏曲，並在以色列舉辦七場鋼琴獨奏會，開啟其演奏生涯，期間以客座鋼琴家的身份與世界各地五十多個樂團共同演出。2018 年，她的第三張個人獨奏專輯【胡瀞云：拉赫瑪尼諾夫】，由美國 Centaur Records 和 Naxos 全球數位發行，榮獲《Piano Magazine》雜誌五顆星超高評價。她在 2012 和 2013 年分別創辦臺北「云想國際音樂節」及於美國費城 PYPA 鋼琴家音樂節獲廣大迴響，被當地報紙譽為「未來鋼琴大師的搖鋼琴

籃」。出生於臺北，胡瀞云 14 歲赴美留學，取得茱莉亞音樂學院學士、碩士學位。

胡瀞云

隨後在德國漢諾威音樂戲劇學院與 Karl-Heinz Kammerling 進修，並於美國克

Ching-Yun Hu, piano

利夫蘭音樂學院取得最高演奏家文憑，師事謝爾蓋 · 巴拜楊。目前任教於美國費城天普⼤學，並擔任深圳藝術學校客座教授及 Steinway 史坦威國際藝術家。

Hailed by The Philadelphia Inquirer as a “first class talent” and by International Piano for “praises follow[ing] her around the world”, Taiwanese-American pianist Ching-Yun Hu is recognized and acclaimed worldwide. Her multi-faceted concert career has taken her to five continents after winning the top prizes at the Arthur Rubinstein International Piano Competition in Israel and the Concert Artists Guild Competition in New York. As an award-winning recording artist, her debut album “Ching-Yun Hu plays Chopin” (ArchiMusic) won the prestigious Golden Melody Award for “Best Classical Album of the Year”. Her latest album, “Ching-Yun Hu: Rachmaninoff” (2019), received “five stars” by Pianist magazine and was called “essential listening for Rachmaninoff admirers”. A passionate promoter for classical music, she founded the Yun International Music Foundation and the highly sought PYPA Piano Festival in Philadelphia. A Steinway Artist, Ching-Yun Hu serves as an artist in residence and faculty at Temple University. 臺灣小提琴家黃俊文於 2015 年獲得艾佛瑞 ‧ 費雪事業獎，2017 年獲得林肯中心新銳藝術家獎，被樂壇視為此世代最獨特的樂手之一。華盛頓郵報在林肯中心的獨奏後更稱其為「條件絕佳的藝術家，演奏生涯令人期待」。除了在韋爾山谷音樂節的演出，黃俊文近期也在瑞士琉森音樂節及美國亞斯本音樂節有獨奏演出。他近期的合作包括馬林斯基管絃樂團、柏林交響樂團、美國聖路克交響樂團、底特律交響樂團、休士頓交響樂團、首爾愛樂、巴爾蒂摩交響樂團、台北市立交響樂團、及臺灣國家交響樂團。 Born in Taiwan, Mr. Huang began violin lessons at the age of seven. Recipient of 小提琴

黃俊文 Paul Huang, violin

the prestigious 2015 Avery Fisher Career Grant and the 2017 Lincoln Center Award for Emerging Artists, violinist Paul Huang is considered to be one of the most distinctive artists of his generation. The Washington Post remarked that Mr. Huang "possesses a big, luscious tone, spot-on intonation and a technique that makes the most punishing string phrases feel as natural as breathing," and further proclaimed him as "an artist with the goods for a significant career" following his recital debut at the Kennedy Center. Mr. Huang's recent highlights have included acclaim debut

at Bravo!Vail Music Festival stepping in for violinist Anne-Sophie Mutter in the Mozart’s Violin Concerto No.4 with Chamber Orchestra Vienna-Berlin, appearances with the Mariinsky Orchestra with Valery Gergiev, Detroit Symphony with Leonard Slatkin, Houston Symphony with Andres Orozco-Estrada, Baltimore Symphony with Markus Stenz, and recital debuts at the Lucerne Festival in Switzerland and Aspen Music Festival.

113 客席音樂家 Guest Artists

第六屆日本仙台國際音樂大賽銀牌暨觀眾獎得主汪奕聞，其演出經歷遍及世界各地，包括美國紐約卡內基廳、波士頓喬丹廳、芝加哥文化中心、芬蘭音樂中心音樂廳、日本霧島音樂廳、仙台日立廳、南韓大邱音樂廳等。他曾以獨奏家的身分與日本仙台愛樂、佐賀愛樂、比利時皇家瓦隆室內樂團、墨西哥美藝室內樂團、美國南伊利諾音樂節交響樂團、美國市民交響樂團、新英格蘭愛樂等演出。汪奕聞擁有歐美雙博士 ── 德國漢諾威音樂戲劇學院鋼琴演奏博士（Solo Klasse）和美國西北大學音樂院音樂藝術博士（DMA）。他也是紐約茱莉亞音樂學院碩士以及波士頓新英格蘭音樂院學士。師承 Matti Raekallio、Jerome Lowenthal、Russell Sherman、Wha Kyung Byun、Boris Slutsky、Alan Chow、Ewa Kupiec、劉孟捷、魏樂富。第一張個人專輯《Evan

鋼琴

Wong》甫由德國 Acousence Label 發行。

汪奕聞

Silver medalist and audience prize winner of the 2016 Sendai International

Evan Wong, piano

Competition in Japan, Taiwanese American pianist Evan Wong has appeared in recitals and concerts throughout North America, Europe and Asia and has recently released his first solo album under the Acousence Label. Mr. Wong has appeared as a soloist with orchestras including the Sendai Philharmonic, New Sendai Philharmonic, Orchestre Royal de Chambre de Wallonie, World Civic Orchestra, Saga Philharmonic, Orquesta de Cámara de Bellas Artes de México, Southern Illinois Festival Orchestra, Taipei Century Symphony, Northwestern University Symphony and the NEC Philharmonia Orchestra. A frequent guest in several renowned festivals, Mr. Wong has performed at the Verbier, Lucerne, Ravinia, Aspen, Gilmore, Kneisel Hall festivals. Mr. Wong holds degrees from the Hannover Hochschule für Musik Drama und Medien in Germany (Solo Klasse), Northwestern University’s Bienen School of Music (D.M.A), The Juilliard School (M.M) and the New England Conservatory (B.M).

鄭立彬是目前臺灣樂界深受矚目且備受好評的指揮家，指揮曲目廣泛，音樂詮釋深刻。2003-04 年擔任臺北市立交響樂團助理指揮展開職業生涯，近年來亦受邀客席指揮過臺灣所有的中西職業樂團，並陸續應邀至中國大陸、馬來西亞、香港、日本、美國等地演出。亦灌錄了 15 張有聲出版品公開發行， 2017 年以《臺灣音畫》專輯獲得第 28 屆傳藝金曲獎「最佳詮釋獎─指揮」； 2018 年再以《瘋 ‧ 原祭》專輯獲得第 29 屆傳藝金曲獎「最佳專輯製作人獎」。2007- 15 年任教於中國文化大學國樂系專任副教授，2015 年起接任臺北市立國樂團團長。 Li-Pin Cheng is one of the most widely-acclaimed conductors in Taiwan. Noted for

指揮

a versatile repertoire and profound interpretation of the pieces. From 2003 to 2004,

鄭立彬

Cheng served as the assistant conductor of Taipei Symphony Orchestra. He has been invited as a guest conductor for numerous Chinese and Western Orchestras.

Li-Pin Cheng, conductor

Invitations from China, Malaysia, Hong Kong and Japan have also arrived for Cheng to perform there, where he plied his trade. Moreover, Cheng is committed to conducting and promoting pieces by Taiwanese composers, insisting on including works by Taiwanese artists in the concerts. He also published 15 recordings. In 2017, Cheng won the Golden Melody Awards for Traditional Arts and Music for Best Interpretation - Conductor. In between 2007 to 2015, Cheng served at Chinese Culture University, Chinese Music Department as associate professor. He was appointed the general director of the Taipei Chinese Orchestra in 2015.

114

王佩瑤出生於臺北，小學畢業後以資賦優異兒童身份及全額獎學金至美國寇提斯音樂院和耶魯大學研究所深造。曾受聘為紐約林肯中心長駐室內樂鋼琴家。並於 2006 年起於紐約大都會歌劇院擔任聲樂指導，期間所參與製作並發行 DVD 之歌劇「原子彈之父」Doctor Atomic 更於 2012 年 2 月榮獲美國葛萊美最佳歌劇錄音獎。參與國內外舞蹈，攝影，當代藝術等二十幾場跨領域演出，也受邀於國際現代音樂節擔任演出與委創人。2021 年受國家兩廳院邀請擔任 TIFA 臺灣國際藝術節節目策劃與演出。 Pianist Wang Pei-Yao is widely in demand as a soloist, chamber musician, vocal 鋼琴

王佩瑤 Pei-Yao Wang, piano

coach as well as producer. As a chamber musician, she has performed with numerous world renown string quartets as well as instrumentalist. As a graduate of the Metropolitan Opera Lindemann Young Artist Program, Ms. WANG has worked with various noted conductors, as well as over 30 opera productions in the US and Taiwan. Her involvement in the production of “Doctor Atomic” by John Adams

received the Grammy Award in 2011. Ms. Wang has commissioned and premiered over 20 solo and chamber works in the past. She made her conducting debut in 2017 at the National Concert Hall in Taipei, Taiwan, premiering 7 new vocal chamber works by Taiwanese female composers. In 2019/2020 season, Ms. Wang will be featured in performances around the world, including Netherlands, United States, Japan and China. In addition to performing, she served as the artistic director of the Yunlin Shine Foundation, hosting numerous concerts and cultural events throughout the year.

曾就讀義大利布雷夏國立音樂院，師事朱苔麗教授。2007 年、2011 年以最高成績取得聲樂與室内內樂最高雙文憑。現為國立臺北教育大學音樂系專任副教授。國內演出包括 2012 年與 NSO 交響樂團錄製「樂典 08 – 錢南章」專輯之《四首原住民藝術歌曲》，及 NSO 跨國歌劇浦契尼《蝴蝶夫人》飾女主角蝴蝶； 2013 年威爾第《安魂曲》擔任女高音獨唱；2017 年浦契尼《瑪儂雷思考》擔任女主角；2019 年 NSO 與國家兩廳院 TIFA 臺灣國際藝術節浦契尼《托斯卡》飾托斯卡及衛武營歌劇院浦契尼《杜蘭朵》擔任柳兒一角。 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 TaiLi. Lin continued to study in 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. Her important

女高音

林玲慧 Ling-Hui Lin, soprano

performances includes: recording of Four aboriginal Lieder for Soprano and Orchestra by Nan-Chang Chien in 2012, nominated for The Best Concert Award in the 24th Golden Melody Awards; female lead Butterfly in Puccini's Madama Butterfly by NSO in 2012; soprano solo in Verdi's Requiem during Taiwan International Festival of Arts in 2013; the Manon Lescaut in Puccini's Manon Lescaut by NSO in 2017; Tosca in Puccini's Tosca by the NSO's 2019 opera production.

115 客席音樂家 Guest Artists

男高音鄭皓允（Ho-Yoon Chung）出生於首爾，曾於首爾大學及柏林藝術大學修習聲樂。他在 1998 年首度於首爾擔綱主演歌劇《愛情靈藥》，開啟了職業演唱生涯。他曾加入漢堡國立歌劇院（2003-2006）與國家歌劇院（2006），近年曾擔綱演出的角色則有《安娜波烈娜》中的波西、《波希米亞人》中的詩人魯道夫、《愛情靈藥》中的內摩利諾、《假面舞會》中的古斯塔沃，與《茶花女》的阿弗列多等。鄭皓允深具說服力的演出使他成為當代世界歌劇舞台上獨特而深具潛力的演唱家。 Chung was born in Seoul and studied singing at the Seoul National University and Berlin’s University of the Arts. He made his professional debut in 1998 as

男高音

Nemorino (L’elisir d’amore) in Seoul. He was a member of Hamburg State Opera’s

鄭皓允

International Opera Studio (2003–6). He joined Vienna State Opera in 2006. His more recent operatic engagements include Riccardo Percy (Anna Bolena),

Ho-Yoon Chung, tenor

Rodolfo (La bohème) and Alfredo Germont for Opera Australia, Nemorino (L’elisir d’amore) for Deutsche Oper Berlin, Gustavo (Un ballo in maschera) in Chemnitz, Werther for Israeli Opera, Edgardo (Lucia di Lammermoor) for Teatro Comunale di Bologna, Des Grieux (Manon) for the Lithuanian National Opera and Vienna State Opera and Rodolfo for Teatro Verdi, Trieste. On 2019/2020 season, Ho-Yoon Chung makes his Royal Opera debut with Alfredo Germont (La traviata).

2016 年在新加坡維多利亞劇院演出的華格納歌劇《漂泊的荷蘭人》飾船長 Daland，英國樂評人 Marc Rochester 稱其演唱為「堅實而可靠的歌聲」。2005 年於「全日本演奏家協會」主辦之第二屆「歌劇詠嘆調大賽」中獲得首獎。隨後即考入日本「藤原歌劇團」。2005 年在歌劇《魔笛》飾 Sarastro 一角，首度登上日本歌劇舞台。此後陸續在亞洲地區三十多部歌劇中擔任主要角色，演出經驗豐富。如：《茶花女》、《強尼史基基》、《波西米亞人》、《托斯卡》、《阿依達》、《莎樂美》、《奧泰羅》、《外套》、《尤金 ‧ 奧涅金》等。現為日本藤原歌劇團團員，東京市立歌劇協會會員。並任教於臺灣東吳大學及新店高中音樂班。男低音

羅俊穎

Julian Lo was awarded the first-prize winner of Japan Performers Association’s

Julian Lo, bass

time. He was then immediately accepted as a member of the famous Fujiwara Opera

Operatic Aria Competition in 2005, and “Best Young Singer of the Year” at the same Company & The Japan Opera Foundation and made his Japanese stage debut as

Sarastro in Die Zauberflöte. Since then, he has been offered principle roles in many opera productions such as La Traviata, Cosi fan tutte, La Bohème, Aida, Salome, Otello and Faust, Eugene Onegin, etc. Lo was highly praised for his deep velvety voice and strong presence on stage. A member of Fujisawa Opera Company and Tokyo Opera association.

116

馬庫斯 ‧ 史坦茲師承旺格海姆、伯恩斯坦和小澤征爾，是當今著名的指揮家之一。他曾任職於荷蘭廣播愛樂樂團、巴爾的摩管絃樂團、首爾愛樂樂團、科隆愛樂樂團、哈雷管絃樂團、墨爾本交響樂團及倫敦小交響樂團等。史坦茲也擔任許多歌劇院和藝術節的客座指揮，如米蘭的史卡拉劇院、英國國家歌劇院、舊金山歌劇院、洛杉磯音樂中心歌劇院、柏林德意志歌劇院、慕尼黑巴伐利亞國立歌劇院、漢堡國立歌劇院、法蘭克福歌劇院、愛丁堡國際藝術節、薩爾茨堡藝術節等。 German conductor Markus Stenz has held an impressive number of high-profile positions with major orchestras, including Principal Conductor of the Netherlands Radio Philharmonic (2012-2019), Principal Guest Conductor of the Baltimore Symphony (2015-2019), Conductor-In-Residence of the Seoul Philharmonic (20162019), General Music Director of the City of Cologne and Gürzenich-Kapellmeister (2003-2014), Principal Guest Conductor of the Hallé Orchestra (2010-2014), Artistic Director and Chief Conductor of the Melbourne Symphony (1998-2004),

指揮

馬庫斯．史坦茲 Markus Stenz, conductor

Principal Conductor of London Sinfonietta (1994-1998), and Artistic Director of the Montepulciano Festival (1989-1995). Stenz has also conducted at many of the world’s leading opera houses, including those of Milan (La Scala), Brussels (La Monnaie), Chicago, San Francisco, Glyndebourne, Stuttgart, and Frankfurt. He is renowned as an expert in the operas of Hans Werner Henze and music of other modernists like György Kurtág and Detlev Glanet. Stenz’s wide-ranging discography includes a complete Mahler cycle with the Gürzenich Orchestra and numerous works of Richard Strauss.

畢業於國立臺北藝術大學，美國伊士曼音樂院 (Eastman School of Music)，主修鋼琴伴奏與室內樂，在取得碩士學位返國後致力於鋼琴合作藝術 (collaborative piano) 的演出，除受邀於聲器樂的獨奏 ( 唱 ) 會外，也參與各種室內樂音樂會。曾應臺北市立交響樂團邀請擔任年度歌劇排練，以及國家交響樂團邀請參加室內樂講座。2016 和 18 年與小提琴家蘇顯達共同錄製並發行專輯「真情台灣」與「花之夢」。2008 年開始於東吳大學音樂系策劃「室內弦話」系列音樂會，推廣精緻的室內樂音樂。 Chung-Hua Weng completed the Bachelor’s Degree in Piano Performance at Taipei National University of the Arts (TNUA) and graduated from the Eastman School

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of Music with a Master's degree in Piano Accompanying and Chamber Music. A

翁重華

student of Dr. Jean Barr, he also received vocal coaching from Dr. Russell Miller and chamber music training from Dr. Elinor Freer. As a professional chamber

Chung-Hua Weng, piano

musician, Mr. Weng has been frequently invited to duo recitals and chamber concerts with esteemed musicians, home and overseas. Currently Mr. Weng is a lecturer in the music department of Soochow University in Taipei, hr regularly gives chamber concerts with musicians from National Symphony Orchestra, Taipei Symphony Orchestra and Evergreen Symphony Orchestra.

117 客席音樂家 Guest Artists

來自義大利的安立奎 ‧ 馬卓拉精通美聲歌劇、法國曲目與早期韋瓦第曲目，是國際知名的交響指揮家。他曾任柏林德意志歌劇院的客席指揮、法國國家管絃樂團的音樂總監，也曾獲頒法國藝術及文學騎士勳章。在 2019/2020 樂季，他與芝加哥歌劇院、蘇黎世歌劇院、維也納交響樂團、柏林歌劇院、魁北克交響樂團、臺灣國家交響樂團與波蘭弗次瓦夫愛樂皆有合作。近幾個樂季中，樂迷也得以在法國土魯斯管絃樂團、蘇格蘭皇家管絃樂團、奧斯陸愛樂、布魯塞爾管絃樂團與倫敦愛樂管絃樂團等演出中看見他的身影。 As an expert interpreter and champion of bel canto opera and a specialist in French repertoire, Italian conductor Enrique Mazzola is in demand worldwide as both an operatic and symphonic conductor. He has been Artistic & Music Director of the Orchestre National d’Île de France since 2012/13 and from 2018/19 is Principal Guest Conductor at Deutsche Oper Berlin. In October 2018 he was made a Chevalier de l’ordre des Arts et des Lettres reflecting his significant contribution to musical life in France. This season’s plans include his debut with Wiener Staatsoper

指揮

安立奎・馬卓拉

Enrique Mazzola, conductor

(Don Pasquale) and return visits to Metropolitan Opera (La fille du regiment), Opernhaus Zurich (Turco in Italia), Bregenzer Festspiele (Rigoletto), Scottish Chamber Orchestra, Orchestre Symphonique de Quebec and London Philharmonic Orchestra. He returns to Deutsche Oper Berlin to conduct their new production of Les Contes d’Hoffmann and a special charity gala performance featuring renowned international singers. Plans with ONDIF this season include recordings, Beethoven’s Piano Concerto No.3 with Cédric Tiberghien and works by Respighi, of whose work he is an acclaimed interpreter.

楊文信充滿熱情，孜孜不倦於音樂上的精進，蔚為當今樂壇的大提琴巨匠。身為國際知名獨奏家，楊文信曾與諸多指揮合作過，包括柯林 ‧ 戴維斯爵士、洛林 ‧ 馬捷爾、馬里斯 ‧ 楊頌斯、呂紹嘉、傑郭許 ‧ 挪華克、丹尼爾 ‧ 克萊納、佐渡裕和米歇爾 ‧ 霍夫斯泰特。他也與許多樂團合作，如：巴伐利亞廣播交響、上海交響樂團、NHK 交響樂團、英國皇家愛樂及俄羅斯國家管絃樂團。他極度敏銳的樂感、高超技巧以及強烈的表現力都帶領他的演奏達到最高境界，並持續不斷開拓出聆賞世界的新視野。 In 1989, at the age of 24, Swiss-born Wen-Sinn Yang became principal cellist of 大提琴

楊文信 Wen-Sinn Yang, cello

the Bavarian Radio Symphony Orchestra, where he remained until 2005. Yang left the orchestra in 2005 when he was offered a chair at the University of Music and Performing Arts, in Munich. In 1991 he won first prize at the Geneva International Music Competition. As a soloist, Yang has performed all over the world, promoting twentieth-century music in addition to reviving music of nineteenth-century cello virtuosos such as Adrien François Servais and Karl Yulievich Davydov. During the

2016/2017 season he was Artist-in-Residence with the Taiwan Philharmonic. Yang’s wide-ranging repertory is documented on more than thirty CDs, which include not only important works by Boccherini, Haydn, Beethoven, Schubert, Saint-Saëns, Lalo, Tchaikovsky, and Dvořák, but also compositions by Henri Vieuxtemps, Frank Martin, Leonid Sabaneev and Sofia Gubaidulina, some of which are recording premieres.

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秘魯指揮家貝多亞畢業於柯蒂斯音樂學院與茱莉亞音樂學院，他擔任挪威廣播管絃樂團已有七個樂季，而他也將在今年結束在沃夫茲堡交響樂團長達二十年的指揮生涯。他與美國各大樂團皆固定合作（包括芝加哥、波士頓、克里夫蘭、費城、亞特蘭大與紐約交響樂團），同時也與赫爾辛基愛樂、萊比錫廣播交響樂團、西班牙國家交響樂團等有所合作。他創辦了交響指揮夏季學院（Summer Orchestral Conducting Institute）與非政府組織 Caminos Del Inka。 Born and raised in Peru, Miguel Harth-Bedoya has been conducting professionally 指揮

米格爾・哈斯貝多亞 Miguel Harth-Bedoya, conductor

for over 30 years. He has amassed considerable experience at the helm of orchestras, including seven seasons as Chief Conductor of the Norwegian Radio Orchestra and 20 seasons as Music Director of the Fort Worth Symphony Orchestra. Previously he has held Music Director positions with the Auckland Philharmonia and Eugene Symphony in Oregon. Harth-Bedoya is known as a master of colour, drawing idiomatic interpretations from a wide range of repertoire. He regularly conducts major US orchestras including Chicago, Boston, Cleveland, Philadelphia, New

York, and Atlanta, whilst elsewhere maintaining close relationships with the Helsinki Philharmonic, MDR Sinfonieorchester Leipzig, New Zealand Symphony, and Sydney Symphony Orchestras. His impressive discography includes a Grammy nomination for Higdon’s opera Cold Mountain and a number of critically-acclaimed albums on Harmonia Mundi, Deutsche Grammophon and Decca. He is the founder and Artistic Director of Caminos Del Inka, a non-profit organization dedicated to researching, performing and preserving the rich musical legacy of South America.

「這不只是兩位傑出的鋼琴家連袂演出，他們在音樂上能感應到彼此最細微的詮釋與呼吸」—馬里納爵士（Sir Neville Marriner）來自荷蘭的盧卡斯 ‧・尤森與亞瑟・‧ 尤森是國際交響樂壇的閃耀新星，深獲媒體與聽眾喜愛。尤森兄弟年紀輕輕便已與多個著名樂團合作過，包括費城交響樂團、荷蘭皇家大會堂管絃樂團、丹麥國家交響樂團、伯明罕市立交響樂團、達拉斯交響樂團、溫哥華交響樂團與雪梨交響樂團等。兩人的作品曾獲愛迪生聽眾大獎，並被《留聲機》選為五十大莫札特名盤之一。 From a very young age Dutch pianists Lucas and Arthur Jussen have amazed their audiences. Already as children they were invited to perform for Queen Beatrix of

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The Netherlands. “Here is not just a case of two good pianists playing together,”

盧卡斯・尤森、亞瑟・・尤森

remarked the distinguished conductor Sir Neville Marriner. “They sense each other’s smallest individual nuances of interpretation.” For at least a decade now, the brothers have been performing with major orchestras in Philadelphia, Boston, Montreal, Berlin, Shanghai, Birmingham, Dallas, Munich, as well as at the

Jussen Brothers (Lucas Jussen, Arthur Jussen), piano

Salzburg Festival and the Mostly Mozart Festival in New York. As duo-recitalists they have performed in such venues such as the Tchaikovsky Conservatory in Moscow, Tonhalle Zurich, Wigmore Hall in London, the Concertgebouw in Amsterdam, the Festspielhaus Baden-Baden and at the Schubertiade in Schwarzenberg. Recording exclusively with Deutsche Grammophon since 2010, their debut CD with works by Beethoven received platinum status. In fall 2019 they released their latest album with Bach concertos.

119 客席音樂家 Guest Artists

享譽國際的指揮大師雷歐納 ‧ 史拉特金現為底特律交響樂團及里昂國家管絃樂團榮譽音樂總監，並以作曲家、作家以及教育家的身份活躍於藝文界。他曾帶領過聖路易交響樂團、美國國家交響樂團、納許維爾交響樂團、底特律交響樂團以及里昂國家管絃樂團。史拉特金曾獲得美國國家榮譽藝術獎章及法國榮譽騎士勳章的肯定。他的著作《Conducting Business》獲得了奧地利榮譽銀獎、美國樂團同盟的金指揮棒獎和 2013 年 ASCAP 迪姆斯 ‧ 泰勒特別獎的肯定。 Leonard Slatkin is Music Director Laureate of the Detroit Symphony Orchestra and Directeur musical honoraire of the Orchestre National de Lyon in France. During the 2019-20 season, he celebrated his 75th birthday year with several of the major orchestras he has led over the course of his fifty-year career, including those of St. Louis, Washington D.C., Detroit, Nashville, and the Orchestre National de Lyon. In addition he has conducted nearly every major orchestra in the world, and has served as Principal Guest Conductor of half a dozen, including London’s Philharmonia, the

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雷歐納 ‧ 史拉特金 Leonard Slatkin, conductor

Pittsburgh Symphony, and the Los Angeles Philharmonic at the Hollywood Bowl. Slatkin has received six Grammy awards and 34 nominations for recordings in his extensive discography. He has received the National Medal of Arts, the highest award given to artists by the United States government, and holds the rank of Chevalier in the French National Order of the Legion of Honor.

美國指揮家與小提琴家喬舒亞 ‧ 韋倫斯坦出身音樂世家，他的父親是小提琴家唐諾 ‧ 韋倫斯坦，母親是鋼琴家薇薇安・霍尼 ‧・韋倫斯坦，姊姊則是大提琴家艾莉莎 ‧ 韋倫斯坦。韋倫斯坦來自波士頓，他於哥本哈根的馬爾科國際青年指揮大賽獲獎而展露頭角，旋即開始在紐約愛樂擔任助理指揮。他與美加的許多知名交響樂團皆有合作，也與丹麥、挪威、瑞典、法國與德國的一些重要樂團有著穩定關係。在 2016 年，喬舒亞 ‧ 韋倫斯坦成為了洛桑室內交響樂團的藝術總監。 Renowned for his clarity of musical expression, boundless enthusiasm, and deep 指揮

喬舒亞 ‧ 韋倫斯坦 Joshua Weilerstein, conductor

natural musicianship, Joshua Weilerstein is Artistic Director the Orchestre de Chambre de Lausanne and enjoys a flourishing guest conducting career throughout Europe and the USA, including the Orchestre Philharmonique de Radio France, Danish National Symphony Orchestra, Deutsche Kammerphilharmonie Bremen, Royal Liverpool Philharmonic Orchestra, Oslo Philharmonic Orchestra, New York Philharmonic, and the symphony orchestras of Baltimore, Detroit and Milwaukee, among others. His enthusiasm for a wide range of repertoire is combined with an

ambition to bring new audiences into the concert hall. During his time as Assistant Conductor with the New York Philharmonic (2012-2015), Weilerstein was involved in producing the orchestra’s Young People’s Concerts. During his tenure as Artistic Director of the OCL, the orchestra has thrived under Weilerstein’s leadership and cemented its reputation as one of Europe’s leading chamber orchestras. Weilerstein also hosts a wildly successful classical music podcast called “Sticky Notes”, which has been downloaded nearly a million times in 154 countries.

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來自俄國的馬斯里夫在 2015 年獲得柴科夫斯基大賽鋼琴首獎，成為國際樂壇最受矚目的年輕鋼琴家之一。幾年來，他與國際許多知名交響樂團皆有合作，特別是俄國、法國、德國等地的頂尖樂團，如慕尼黑愛樂、巴黎愛樂、柏林廣播交響樂團、法國廣播愛樂樂團、法國里昂管絃樂團等。他曾於巴黎的路易威登藝術基金會舉行首場獨奏並由電視台直播，也曾於魯爾鋼琴音樂節、法國拉羅克當泰龍國際鋼琴音樂節、萊茵高音樂節與德國基辛根夏季音樂節等音樂節演出。 Dmitry Masleev was born in Siberia between Lake Baikal and the Russian鋼琴

狄米崔・‧ 馬斯里夫 Dmitry Masleev, piano

Mongolian border. He came to international attention in 2015 as first-prize winner at the International Tchaikovsky Piano Competition in Moscow. Since then he has toured extensively throughout Europe, North and South Americas, and Asia. Among his most notable performances are those at Carnegie Hall, Elbphilharmonie, Konzerthaus Wien and Konzerthaus Berlin, Great Hall of the Moscow Conservatory, Tchaikovsky Hall in Moscow, Klavierfestival Ruhr, la Roque-d’Anthéron, the Bergamo and Brescia piano festivals, Maison de la Radio in Paris with the French

National Orchestra, and two tours of Japan with Valery Gergiev and Yuri Bashmet. Earlier this year, France Musique described Dmitry as a “super-soloist”. Reviewing the second of his albums, Süddeutsche Zeitung concluded that “One cannot be taught to play like this. It takes a lot of natural musicality… Masleev shows how within a small space one can open up an entire cosmos of a soul. That is great art and that is what you always want and rarely get as a listener.”

指揮家米哈伊爾 ‧ 阿格列斯特出生於聖彼得堡。他與家人於 1989 年移民美國，並畢業於印地安納音樂大學，師承 Josef Gingold。畢業後，他回到聖彼得堡音樂學院，在傳奇大師穆辛與楊頌斯的指導下繼續深造。他於 2001 年贏得義大利 A. Pedrotti 國際指揮比賽，在 2002 年贏得希臘 Mitropoulos 指揮大獎。亞格瑞斯特於 2001 年加入馬林斯基交響樂團，並曾與倫敦愛樂、BBC 交響樂團、溫哥華交響樂團、聖彼得堡交響樂團、不來梅愛樂管絃樂團等知名樂團合作演出。 Born and raised in St. Petersburg, Mikhail Agrest moved to the United States with 指揮

米哈伊爾・‧ 阿格列斯特 Mikhail Agrest, conductor

his family as a teenager and received a degree in violin performance from Indiana University. He then followed his true passion back to St. Petersburg to study conducting from the legendary Ilya Musin, whose other alumni include Valery Gergiev, Yuri Temirkanov, and Semyon Bychkov. In the great Russian conducting tradition, Mikhail Agrest has honed his craft at the Mariinsky Theater for over a decade, acquiring a considerable body of operatic and symphonic repertory and gaining crucial insights into orchestra development and artistic leadership.

Simultaneously, he forged meaningful artistic relationships with a number of the world’s premiere ensembles. Agrest’s appearance at the Metropolitan Opera in 2003, conducting the Mariinsky Opera on tour, sparked keen interest within the global opera community. Since then he has led many of the leading orchestras in Europe and North America, as well as operatic productions in Dresden, Zurich, Helsinki and many other cities.

121 客席音樂家 Guest Artists

當今最炙手可熱的女高音歐爾嘉 ‧ 貝芮蒂雅可生於聖彼得堡，她在十五歲時便加入了馬林斯基歌劇院的兒童合唱團。她曾於柏林的漢斯艾斯勒音樂院學習演唱，也是義大利羅西尼音樂院的高材生。她曾獲得多明戈世界歌劇大賽亞軍，也獲頒義大利評論家大獎。年紀輕輕的她已經在柏林德意志歌劇院、慕尼黑國家歌劇院、巴黎香榭麗舍歌劇院、威尼斯鳳凰歌劇院等地演唱過。除了前途不可限量的歌劇生涯，歐爾嘉也常在各個不同國家的獨奏會及音樂會中大展身手。 International star soprano Olga Peretyatko came to prominence as a prize-winner of Plácido Domingo’s prestigious Operalia Competition. She began her career at the Rossini Festival in Pesaro and confirmed her status as one of the world’s most sought-after sopranos with a portrayal of the title role in Robert Lepage’s production of Stravinsky’s The Nightingale in Toronto in 2009. She has sung key roles in nearly every major opera house in the world including those in Vienna, Berlin, Zurich, Lausanne, Venice, Milan, Paris, New York and her native St.

女高音

歐爾嘉 ‧ 貝芮蒂雅可 Olga Peretyatko, soprano

Petersburg. At the Metropolitan Opera, she was celebrated as Gilda in Rigoletto, the title role in Lucia di Lammermoor, and Elvira in Bellini’s I Puritani, a role she subsequently sang at the Vienna State Opera. In 2014, she sang under the Eiffel Tower of Paris for hundreds of thousands who watched the concert live and on TV. As a Sony recording artist, she has released several award-winning albums. Peretyatko holds a red belt in karate, and does yoga and jogging for relaxation and fitness. Her repertory is solidly grounded in the nineteenth-century classics, but she also enjoys electronic music.

安東尼 ‧ 維特是備享盛譽的波蘭指揮家，曾於 1971 年贏得卡拉揚指揮大獎。他曾任華沙愛樂的藝術總監及柯拉寇廣播交響樂團的首席指揮。他與國際各知名樂團皆有合作，包括德勒斯登愛樂、科隆西德廣播交響樂團、蘇黎世音樂廳管絃樂團、史卡拉愛樂管絃樂團、蒙特婁交響樂團、中國愛樂、皇家愛樂、愛樂管絃樂團及 BBC 管絃樂團等。維特曾七度獲葛萊美獎提名，於 2013 獲獎，他也曾獲法國金叉獎、法國唱片學術大獎、坎城音樂獎、EMI 年度唱片、世界音樂獎等獎項。他於 2015 年獲頒法國榮譽軍團勳章。 Antoni Wit is one of the most highly regarded Polish conductors and a champion of Polish music. A top prize winner at the Herbert von Karajan International Conducting Competition in 1971, he subsequently worked with all of the leading orchestras in Poland before taking up the position of General and Artistic Director of the Warsaw Philharmonic in 2001 for twelve years. He held the position of Music Director of the Orquesta Sinfónica de Navarra in Spain from 2013/2018, and

指揮

安東尼 ‧ 維特 Antoni Wit, conductor

he is Conductor Laureate of the Krakow Philharmonic in Poland. In addition, he has conducted dozens of major orchestras on four continents. These include the Berlin Philharmonic, the Tokyo Metropolitan Symphony Orchestra, the Hong Kong Philharmonic, and the Cleveland Orchestra. Nominated seven times for a Grammy Award, Wit has made over two hundred recordings for EMI, Sony and Naxos. On the Naxos label alone he has sold over six million CDs.

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來自俄國的小提琴家伊利亞 ‧ 葛林戈斯以其名家風範與細緻詮釋，擄獲滿堂聽眾的心。在獨奏上，他無畏挑戰古典及現代、熱門與冷僻的各式曲目，也與世界各地的管絃樂團合作，包括皇家利物浦愛樂管絃樂團、伯明罕市立交響樂團、BBC 交響樂團、柏林德意志交響樂團、聖彼得堡愛樂管絃樂團、洛杉磯愛樂樂團、NHK 交響樂團、馬勒室內樂團等。他在 1998 年贏得帕格尼尼國際小提琴大賽首獎，是該獎史上最年輕的冠軍。目前，葛林戈斯不僅是蘇黎世藝術學院的教授，也是位於格拉斯哥的皇家蘇格蘭音樂暨戲劇學院的國際院士。

小提琴

伊利亞 ‧ 葛林戈斯 Ilya Gringolts, violin

Russian violinist Ilya Gringolts is renowned for his virtuosity and sensitivity. In addition to the standard repertory, he regularly seeks out new and unusual music, and has premiered compositions by numerous contemporary composers such as Peter Maxwell Davies, Augusta Read Thomas, and Michael Jarrell. The music of Stravinsky is one of his specialties, and he has recorded the complete repertory of this composer’s violin music for which he received the Diapason d'Or. For his visit to Taipei this year he plays Stravinsky’s concerto. Gringolts is also first violinist in

the Gringolts Quartet, which he founded in 2008 and which has enjoyed great success at the Salzburg, Lucerne, and Edinburgh Festivals, among others. Gringolts studied in St. Petersburg, then went on to attend the Juilliard School of Music in New York, where he studied with Itzhak Perlman. In 1998, at the age of just fifteen, he won First Prize at the Premio Paganini International Violin Competition in Genoa, becoming the youngest finalist in the history of the competition.

擔任太平洋交響樂團的音樂總監逾二十年，卡爾 ‧ 聖克萊爾以其精采的音樂演出、創新的曲目編排及對音樂教育所投入的心力備受盛讚。位於南加州的太平洋交響樂團在聖克萊爾的卓越領導下，在藝術成就上快速成長。在美國，他曾指揮過與波士頓、洛杉磯、紐約、費城交響樂團等知名樂團，也與歐洲、南美、以色列、紐澳、香港及日本等地的交響樂團有所合作。他曾於斯圖加特廣播交響樂團擔任首席客席指揮，也曾任威瑪德意志國立歌劇院音樂總監以及柏林喜歌劇院的音樂總監。近年他亦受邀成為成為哥斯大黎加國家交響樂團的音樂總監。

指揮

卡爾 ‧ 聖克萊爾 Carl St. Clair, conductor

Music Director of the Pacific Symphony for nearly three decades, Carl St. Clair has become widely recognized for his distinguished performances, programming, and commitment. The largest ensemble formed in the United States, the Pacific Symphony’s rapid artistic development is due largely to Mr. St. Clair’s leadership. In April 2018, he led the Symphony in its Carnegie Hall debut, as the finale to the Hall’s yearlong celebration of pre-eminent composer Philip Glass’s 80th birthday. In 2014, Mr. St. Clair was named Music Director of the Orquesta Sinfónica Nacional

de Costa Rica. An active guest conductor, he has led the Boston Symphony, Los Angeles Philharmonic, New York Philharmonic, the Philadelphia Orchestra. Worldwide, he has conducted orchestras in Europe, South America, Australia, and Asia. Carl St. Clair has also served as general music director and chief conductor of the German National Theater and Staatskapelle in Weimar, general music director of the Komische Opera in Berlin, and principal guest conductor of the SDR/Stuttgart.

123 客席音樂家 Guest Artists

指揮大師朱里尼盛讚其為「天賦卓越的鋼琴奇才」，亞歷山大 ‧ 羅馬諾夫斯基於 1984 年在烏克蘭出生，年僅十七便奪得布索尼國際鋼琴大賽的冠軍， 2007 年更獲邀為教宗演奏。羅馬諾夫斯基與各大交響樂團皆有合作，包括英國皇家愛樂管絃樂團、英國室內樂團、哈雷管絃樂團、伯恩茅斯交響樂團等。紐約時報稱其「才華殊異、天資過人，其演奏不僅具有技巧卓絕，創意豐沛，在詮釋上更具有敏銳的音樂直覺」。羅馬諾夫斯基自 2014 年起擔任克萊涅夫國際鋼琴大賽的藝術總監。 Alexander Romanovsky is a riveting, distinct and subtle performer with an utterly engaging voice. Born in Ukraine in 1984, he was already performing at age eleven

鋼琴

as soloist with the Moscow Virtuosi under Vladimir Spivakov. In 1999, at the age

亞歷山大 ‧ 羅馬諾夫斯基

of fifteen, Romanovsky was awarded the title of Honorary Academician by the Accademica Filarmonica di Bologna; prior to this, only Rossini and Mozart had been accorded such an honor at that age. Two years later, Romanovsky won first

Alexander Romanovsky, piano

prize at the Ferruccio Busoni International Piano Competition in Bolzano, Italy. In 2007 he was invited to perform for Pope Benedict XVI. That year he also signed a recording contract with Decca Records, with which he has released five critically acclaimed CDs. Leading orchestras he has appeared with include the New York Philharmonic, Chicago Symphony, Royal Philharmonic, and Tokyo Philharmonic. Since 2014, Romanovsky has held the post of Artistic Director of the Vladimir Krainev Moscow International Piano Competition.

出生於新加坡，在 2007 年獲得第五十屆法國貝桑松國際青年指揮大賽金獎後，Darrell Ang 成為活躍在世界樂壇的一名傑出的青年指揮家。目前任四川交響樂團音樂總監、首席指揮。Darrell Ang 對交響樂和歌劇作品的指揮都頗有心得。曾與眾多知名樂團、劇院合作，包括倫敦愛樂樂團、愛樂管弦樂團、利物浦皇家愛樂樂團、法國國家交響樂團、法國廣播愛樂樂團、比利時國家交響樂團、柏林音樂廳管弦樂團、香港愛樂樂團、臺灣愛樂樂團、NHK 交響樂團、馬林斯基劇院、聖彼德堡歌劇院等。他也是亞洲現代音樂作品最有力的詮釋者。Darrell Ang 對音樂教育頗具熱情，也是一位涉獵廣泛的作曲家。 Darrell Ang is one of Asia’s most sought-after conductors. In his native Singapore he became the youngest Associate Conductor of the Singapore Symphony, served as Music Director of the National Youth Orchestra, and in 2010 led the World Youth Olympic Games Orchestra in the internationally televised opening ceremony

指揮

洪毅全 Darrell Ang, conductor

of the first-ever World Youth Olympic Games in Singapore. He is currently Chief Conductor of the Sichuan Symphony, is a regular guest at the Mariinsky Theater in St. Petersburg, and has conducted dozens of orchestras on four continents, including those in Auckland, Beijing, Tokyo, Taipei, Hong Kong, Manila, Munich, London, Barcelona, and Vienna. In one recent season he led twenty different orchestras. Ang has a special passion for twentieth-century Russian music as well as for French and contemporary Asian repertory. His first recording, of music by Zhou Long and Chen Yi, was nominated for a Grammy in 2016.

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泰妮─辛 ‧ 韓賽絲是當今最受矚目的小號演奏家，其靈魂洋溢的優美樂音與樂於合奏的熱情在全球都獲得極高評價。她的音樂富有創意，自由擁抱各種跨界的可能性，曲目橫跨古典與當代，亦積極探索新聲音。她於 2006 年在歐洲青少年音樂家大賽中獲得亞軍，2009 年獲得 BB 信託獎（Borletti-Buitoni Trust），2013 年獲得古典回聲獎，並在 2007 年成為首位拿下挪威葛萊美新人獎的古典音樂家。除了與知名樂團合作，蒂芮自 2020 年起也擔任挪威瑞瑟室內樂節（Risør Festival of Chamber Music）的音樂總監。 Norwegian trumpeter Tine Thing Helseth champions the trumpet repertory on six continents, earning the highest critical praise for her soulful sound and lyrical style. An artist who challenges the boundaries of the genre with an intensely creative, open-minded philosophy, Helseth’s ever-expanding repertory ranges from the classical period to contemporary works and new commissions. She has been the recipient of numerous awards for her work in classical music, including Newcomer of the Year at the 2013 Echo Klassik Awards, Helseth continues to undertake tours

小號

泰妮一辛 ‧ 韓賽斯 Tine thing Helseth, trumpet

with her ten-piece, all-female brass ensemble tenThing, an idea that began in 2007 for fun as exciting project with her closest musical friends. Helseth maintains an active role as a TV and radio presenter in Oslo, teaches at the Norwegian Academy of Music, and regularly performs in some of the most iconic jazz bars in Norway. In June 2013, she launched Tine@Munch in celebration of the 150th anniversary of the birth of Norway’s most famous painter, Edvard Munch.

黃荻畢業自美國新英格蘭音樂院，曾任臺北市立交響樂團單簧管副首席。演奏足跡遍及臺灣、美國、歐洲以及中國，並獲邀參加總統府第三屆「介壽館音樂會」。為「Ensemble Opus 5.0」與「魔笛單簧管四重奏」創始團員，後者為法國 Buffet 與 Vandoren 公司亞洲區代言音樂家，並擔任國家交響樂團 2012，與 2017-2019 樂季客席單簧管副首席。黃荻也常於美國、加拿大、中國與臺灣各地舉行大師班，並獲邀擔任國內與國際比賽評審。現為臺灣藝術大學專任副教授，並任教於臺北藝術大學。 Ti Huang leads an active musical life as a soloist, chamber musician and orchestra 單簧管

黃荻 Ti Huang, clarinet

player. Holding a Master’s degree from the New England Conservatory of Music, USA, she has served in Taipei Symphony Orchestra as Associate Principal Clarinet for twelve years. Ti has played numerous concerts worldwide, including a solo performance in the 3rd Presidential House Concert in Taiwan, as well as many concerto appearances with Taipei Symphony Orchestra and others. As a founder of the Ensemble Opus 5.0 and the Magic Clarinet Quartet which is the representative

ensemble of Buffet Crampon, Asia, and Vadoren Company, Ti devotes herself to chamber music. She was invited as Acting Associate Principal Clarinet of National Symphony Orchestra in Taiwan during 2017-2019 seasons. She has also given countless master classes around the world. Now Ti serves as full-time Associate Professor at National Taiwan University of Arts, and also teaches at National Taipei University of Arts.

125 客席音樂家 Guest Artists

2000 年，來自亞美尼亞的小提琴家瑟吉 ‧ 哈察特楊以史上最年輕得獎者之姿在西貝流士小提琴大賽中拿下冠軍，2005 年再於伊莉莎白女王大賽中奪冠。他不僅與許多知名指揮和樂團合作，也積極開拓自己的獨奏事業。他與姐姐露西妮紀念亞美尼亞大屠殺 100 週年的合奏專輯《我的亞美尼亞》於 2005 年發行，獲得古典回聲獎（Echo Lassik）。他與露西妮的合奏作品還有布拉姆斯三首鋼琴與小提琴奏鳴曲。此外，哈察特楊的錄音作品尚包含西貝流士與哈察都量協奏曲、蕭斯塔科維契及巴赫等。 Sergy Khachatryan was born in Armenia and now lives in Germany, where he gave 小提琴

瑟吉 ‧ 哈察特楊 Sergey Khachatryan, violin

his first performance with orchestra in Wiesbaden at the age of nine. Since the age of fifteen he has been winning major prizes, beginning with first prize at the International Louis Spohr Competition for Young Violinists in 2000. Also that year he won first prize at the International Jean Sibelius Violin Competition, making him the youngest ever to win this prize. Still in his teens, he won second prize at the Indianapolis competition, and in 2005 first prize at the Queen Elisabeth competition in Brussels. Khachatryan launched his discography on the Naïve label in 2003 with

a recording of the Sibelius and Khachaturian concertos, followed by the Shostakovich concertos, Brahms Sonatas, the complete solo Bach Partitas and Sonatas and of special note is his album entitled My Armenia, which contains folk song arrangements and works by composers from Khachatryan’s home country.

畢業於國立臺灣師範大學音樂系及演奏組碩士學位。學琴期間跟隨郭宗愷、陳郁秀、諸大明教授習琴。為 2003 年「行天宮菁音獎」全國音樂比賽鋼琴青少年組首獎得主。2005 年「臺中春之祭」鋼琴大賽無分齡組首獎。2007 年赴義大利 10th International Piano Competition 榮獲 Mauro Paolo Monopoli Prize。多次參與獨奏、室內樂以及樂團之演出，擁有豐富的演出經歷，並多次受邀與國內外知名獨奏家合作，也定期受邀於夏綠台灣國際音樂節、臺北大師新秀音樂節之大會指定鋼琴家，活躍於全國各大演藝廳。 I-Chun Huang was graduated from National Taiwan Normal University in 2008, and Master of Music at National Taiwan Normal University in 2010. She began

鋼琴

studying the piano at a very age, and subsequently studied piano performance with

黃意淳

famous pianist and piano educator: Prof. Tzong-Kai Kuo, Prof. Yu-Chiou Tchen and Prof. Daming Zhu. I-Chun Huang was the first prize winner of many famous piano

I-Chun Huang, piano

competitions, including the prestigious Hsing-Tien-Kong Music Competition in 2003, the Spring Festival Piano Competition in 2005, the 10th International Piano Competition "Mauro Paolo Monopoli Prize" in 2007. In recent years, I-Chun Huang was repeatedly invited to performance in solo, chamber music and orchestra, as well as perennial appearances performing at the Salut Taiwan Music Festival and the Taipei International Music

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「維特哈絲是當代最偉大的小提琴家之一。」— 德國權威音樂媒體《Fono 論壇》安緹兒 ‧ 維特哈絲以其深不可測的才華帶給世間熱情滿盈的樂音。她的演奏極具魅力、曲目廣泛，從莫札特、貝多芬與舒曼，到當代新作品，如約格．魏德曼（Jörg Widmann）、蕭斯塔科維契（Shostakovich）、普羅科菲夫（Prokofiev）、李蓋悌（Ligeti）、顧貝杜里那（Gubaidulina）、哈特曼（Hartmann）與舒克（Schoeck）等。她與國際上各大交響樂團合作，同時任教於漢斯 ‧ 艾斯勒音樂院。 German violinist Antje Weithaas brings her compelling musical intelligence and technical mastery to a wide-range of repertory that includes the great classical and romantic concertos by Mozart, Beethoven, Bruch, and Schumann; to twentiethcentury classics by Shostakovich and Prokofiev; to lesser-known modern works by Karl Amadeus Hartmann and Othmar Schoek; and to new works like Jörg Widmann’s Violin Concerto No. 1. Antje Weithaas has worked with most of Germany’s leading orchestras as well as with the Los Angeles Philharmonic, San

領奏與小提琴

安緹兒 ‧ ・維特哈絲 Antje Weithaas, direct & violin

Francisco Symphony, Philharmonia Orchestra and the BBC Symphony. She won the Kreisler Competition in Graz in 1987, the Bach Competition in Leipzig in 1988, and the Hanover International Violin Competition in 1991. After teaching at the Universität der Künste Berlin, Antje Weithaas became a professor of violin at the Hochschule für Musik “Hanns Eisler” in 2004. She plays a 2001 Peter Greiner violin.

趙方豪，男中音，德國威瑪李斯特音樂學院最高演奏家演唱文憑。目前任教於東海大學音樂系。2019 年 2 月，參與 NSO 歌劇《托斯卡》，飾演教堂堂守及夏羅奈；10 月參與台中歌劇院華格納歌劇《諸神黃昏》，飾演阿伯利希； 12 月參與 NSO 輕歌劇《風流寡婦》，飾演伯爵澤塔。2020 年底將於台中歌劇院的《波希米亞人》製作中，再度飾演畫家馬切洛。 Baritone CHAO Fang-hao obtained his bachelor’s degree in Taipei with Prof. Ren Rong, and subsequently obtained his highest performance degree at the University of Music "Franz Liszt" in Weimar, Germany where he studied under Prof. Hans男中音

趙方豪 Fang-Hao Chao, baritone

Joachim Beyer. He won various international prizes notably the 2nd prize in the competition "Three centuries of classic romance" in St. Petersburg, Russia. In February 2019, he sang Sacristan and Sciarrone in the production of Tosca.In October 2019, he performed as Alberich in Wagner's Götterdämmerung at National Taichung Theater. Then he took part in Die Lustige Witwe as Baron Mirko Zeta at the end of 2019. In December 2020, he sang the role Marcello again at National Taichung Theater .

127 客席音樂家 Guest Artists

畢業於國立臺北藝術大學、德國國立威瑪李斯特音樂學院、萊比錫孟德爾頌音樂學院，師事魏樂富教授、Prof. Waas、Prof. Moll、Prof. Brandt、Prof. Kammerlander。演出足跡遍佈歐洲及臺灣，多次受邀於德國威瑪李斯特之家，萊比錫孟德爾頌之家和舒曼之家，以獨奏與室內樂演出。旅歐時期，接受多位大師的指導，如 : Prof. Menahem Pressler、Prof. Bernard Ringeissen。現任教於臺北市敦化國小音樂班、臺中市光復國小音樂班以及彰化藝術高中音樂班。 Ying-Chu Su graduated from Taipei National University of Arts, HfM Weimar, HfMT Leipzig. Düring this time, she studied with Prof. Rolf-Peter Wille, Prof. 鋼琴

蘇映竹 Ying-Chu Su, piano

Waas, Prof. Moll, Prof. Kammerlander and Prof. Brandt and attended the masterclasses of Menahem Pressler and Bernard Ringeissen. She has obtained Künsterlische/ Pädagogische Diplom and Konzertexamen. Now she is an instructor at the music gifted classes of Taipei DunHua Elementary school and ChangHwa Arts Senior High School.

史蒂芬・賀夫是當代獨一無二的藝術家，身兼鋼琴家、作曲家與作家三職。他於 1983 年即在紐伯格大賽奪冠，2001 年獲頒麥克阿瑟獎，2010 年獲得英國皇家愛樂協會演奏獎，2014 年獲授大英帝國司令勳章，2016 年則獲頒皇家愛樂協會榮譽會員。賀夫和世界各大樂團與指揮皆頻繁合作，也是傑出的獨奏家。他超過六十張的錄音作品是各唱片大獎的贏家，也是市場銷售寵兒。除了耀眼的演奏生涯，賀夫在學術、作曲和寫作上皆有不凡成果。 Stephen Hough is one of the most distinctive artists of his generation, combining a distinguished career as pianist with those of composer (four piano sonatas, among more than twenty other works), and writer (his debut novel The Final Retreat was

鋼琴

published in 2018). Since winning first prize at the 1983 Naumburg Competition

史帝芬 ‧ 賀夫

in New York, Hough has performed with many of the world’s major orchestras and has given recitals in the most prestigious concert halls. Many of his sixty-

Stephen Hough, piano

plus recordings have won prizes, including the Deutsche Schallplattenpreis and the Diapason d’Or. He also has to his credit several Grammy nominations and eight Gramophone Awards. In 2008 he won Gramophone’s Gold Disc Award for his recording of the complete Saint-Saëns piano concertos. Hough teaches at the Royal Academy of Music in London and at the Juilliard School in New York. For three years beginning in 2019 he will be a Visiting Fellow at Oxford University. In 2014 he was made a Commander of the Order of the British Empire (CBE).

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擔任舞監長達二十五年，曾於巴黎夏特雷劇院任職，現為自由工作者。曾在彭內爾等多位大師身旁學習。執導作品含葛路克《伊菲姬妮在杜爾德》、奧芬巴哈《天堂與地獄》、玻瓦莫提耶《公爵夫人家的唐吉訶德》，在香榭麗舍劇院演出《採訪莫札特》、十場巴黎夏特雷劇院 JF. 紀傑爾的《謎》音樂會、羅西尼《婚姻的契約》和《布魯斯基諾先生》。與臺北國家戲劇院合作十一年間，執導拉威爾《小孩與魔法》、雷史畢基《睡美人》等，後者於 2015 年再製，在臺灣巡迴，並邀請泰雅族兒童合唱團演出。近期除於 2019 與 NSO 合作《風流寡婦》外，更包含《藍鬍子的城堡》、《吟遊詩人》、《屋頂上的提琴手》、《伊菲姬妮在陶里德》、《唐卡羅》、《茶花女》。導演 As stage Manager, at the Théâtre du Châtelet - Paris and freelance, he worked and learned alongside JP. Ponnelle, G. Stehler, A. Feyer, P. Stein, PL. Pizzi, I.Brook, L. Pasqual, B. Wilson, P. Audi, D. Mc Vicar, D. Mesguish, N. Lowery, P. Strosser, A. Engel, M. Martone. Working now with R. Carsen, K. Warlikowski, S. Waltz, F. Negrin, L. Désiré, N. Raab he restages their shows all over the world. As Director

尚米歇爾 ‧ 克奇 Jean-Michel Criqui, director

he staged Iphigénie en Tauride (CW. Glück), Un mari à la porte (J. Offenbach), Don Quichotte chez la Duchesse (J. Bodin de Boismortier), Mozart's Interview at the Théâtre des Champs Elysées, 10 Enigma concerts by JF Zygel at the Châtelet - Paris, La Cambiale di Matrimonio and Signor Bruschino in Strasbourg … He has been working for 11 years with the National Theater in Taipei, for whom he directed L'Enfant et les Sortilèges, Highlight of Operas and La Bella Dormente nel Bosco of Respighi, a production that was re-released in 2015 for a large tour of Taiwan, attended by a choir of Attayals’children. Recently, Merry Widow in Taiwan (N.S.O) Bluebeard's Castle - Human Voice, Capriccio (Opéra de Paris), Trovatore (Copenhagen – Madrid), Barkouf (Köln), Anatevka (Opéra du Rhin).

路奇歐 ‧ 蓋洛在都靈的威爾第音樂學院接受巴塔格利亞指導，畢業後開始了他輝煌的演出生涯，踏上紐約大都會歌劇院、倫敦柯芬園、薩爾茲堡音樂節、維也納國家歌劇院和黃金廳、柏林國家歌劇院與柏林愛樂、史卡拉歌劇院、莫斯科波修瓦劇院等世界一流的音樂廳和劇院。他也和阿巴多、巴倫波因、夏伊、梅塔、慕提、帕帕諾、薩瓦利許等指揮大師合作。蓋洛擁有詮釋音樂的天賦和精緻的聲樂技巧，他能從羅西尼唱到莫札特，從浦契尼到華格納、董尼采第、威爾第以及當代音樂。最近的演出有：波隆納市政劇院的《費黛里歐》、巴塞隆納利塞奧大劇院、首爾藝術殿堂和德意志歌劇院的《托斯卡》、紐約大都會歌劇院的《外套》、杜塞道夫的《帕斯夸男中音

雷先生》、以及新以色列歌劇院的《馬克白》等。

路奇歐 ‧ 蓋洛

Lucio Gallo, after graduating at Conservatory "Giuseppe Verdi" in Turin under

Lucio Gallo, baritone

the guidance of Elio Battaglia, has begun an outstanding career that led him to the most important concert halls and theaters, including Metropolitan New York;

Covent Garden London, Salzburg Festival, Staatsoper and Musikverein in Wien, Staatsoper and Philharmonie in Berlin, Teatro alla Scala, Bolshoi Theatre in Moscow, with such conductors as Claudio Abbado, Daniel Barenboim, Riccardo Chailly, Zubin Mehta, Riccardo Muti, Antonio Pappano, Wolfgang Sawallisch. His interpretative talent and his refined vocal technique allow him to sing from Rossini to Mozart, from Puccini to Wagner, Donizetti, Verdi and also contemporary music. Among his most recent successes, Fidelio (Don Pizarro) at Teatro Comunale di Bologna; Tosca at Liceu de Barcelona, at Seoul Arts Center, and

129

at Deutsche Oper Berlin; Il Tabarro (Michele) at Metropolitan New York; Don Pasquale in Düsseldorf; Macbeth at New Israeli

客席音樂家 Guest Artists

Opera Tel Aviv.

義大利男中音羅伯特．・坎迪亞曾主修大提琴演奏，後來他拜師男高音科兹瑪（Lajos Kozma）與義大利著名男中音布魯斯．康提尼（Sesto Bruscantini），邁上了演唱家之路，並於 1990 年贏得斯波萊托的亞卓安貝利獎。他在 1996 年時以《阿密德》中的烏保德（Ubalde）一角於米蘭的史卡拉歌劇院登台首演，此後便成了史卡拉舞台上常見的男中音歌唱家。自 1998 年起，他便常受邀至紐約大都會歌劇院演唱。最近，樂迷在威爾第的《弄臣》與《假面舞會》中都可以見到他擔綱演出主角的迷人演唱。 Since winning the Adriano Belli competition in Spoleto in 1990, Italian baritone 男中音

羅伯特・‧ 坎迪亞 Roberto de Candia, baritone

Roberto de Candia has been singing in the world’s leading opera houses. He appears regularly at the Teatro alla Scala in Milan, where he debuted in 1996, at the Rossini Festival in Pesaro since 1997, and at the Metropolitan Opera in New York since 1998. Other venues where he has sung include the Glyndebourne and Salzburg Festivals, Berlin’s Deutsche Oper, Zurich Opera, Netherlands Opera, the Teatro Colón in Buenos Aires, the Royal Opera House Covent Garden, and the New National Theater Tokyo. His roles include the title roles in Verdi’s Falstaff and

Rigoletto, the title role in Puccini’s Gianni Schicchi, Leporello (Mozart’s Don Giovanni), Figaro (Rossini’s Barber of Seville), Marcelo (Puccini’s La Bohème), Belcore (Donizetti’s L’Elisir d’amore), and Malatesta (Donizetti’s Don Pasquale), among many others.

英國皇家音樂院特優演唱文憑及音樂學士。近期演出 NSO 歌劇《風流寡婦》，主講及演唱 NSO 探索頻道《英雄的浪漫之聲》，獨唱會《想愛就愛吧！》，台北愛樂國際合唱節《海頓創世紀》，臺灣歌劇《我的媽媽欠栽培》、台北愛樂和 NSO《彌賽亞》、布萊特 ‧ 狄恩《哈姆雷特》連篇歌曲亞洲首演，及演出澳門聲樂節獨唱會「黃昏到黎明」、台灣聲樂家協會「莎士比亞 200 週年音樂會」等。 Grace Lin has a Bachelor degree and a performance diploma with distinction in the Royal Academy of Music in London.She becomes one of the most popular singers in the country since 2000; and invited to sing in concerts and operas with

女高音

major orchestras and companies in Taiwan also abroad. Her recent performances

林慈音

include Hanna in Die lustige Witwe, Donna Anna in Don Giovani, Fiordiligi in Cosi fan tutte, Michaela in Carmen, Helmwige in Die Walküre, Haydn’s The Creation,

Grace Lin, soprano

Handel’s Messiah, Asian premier of the renowned composer Brett Dean’s work From Melodious Lay, (a Hamlet Diffraction), A Vow to the Underworld Spring, composed by Professor Tzeng Dau Hsiong, etc. Grace Lin was named an Outstanding Alumnus of National Taiwan University of Arts in 2016.

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臺灣目前唯一由法國國立巴黎高等音樂院藝術文憑第一獎畢業，也是臺灣第一位考進並於 2008 年取得該校專業演奏家文憑的聲樂家。自 2018 年起應聘專任於東吳大學音樂學系。曾獲奇美藝術獎、樂壇新秀、法國馬賽第十屆聲樂國際大賽評審獎、西班牙第四屆 Jaume Aragall 國際聲樂比賽第二名等殊榮。2019 年 10 月與 2017 年 1 月，參與 José Carreras 在亞洲巡迴演唱會；2018 年 6 月受國立臺灣交響樂團之邀，於「無悔的愛～波西米亞人」飾 Musetta 一角 ; 2018 年 9 月，在臺中國家歌劇院與指揮家廖國敏及國立臺灣交響樂團合作，於「愛與宿命的終極試煉－西城故事」飾演 Maria。2019 年 12 月受邀於國家交響樂團，參與《風流寡婦》歲末音樂會演出，飾演 Valencienne。

女高音

Born in Taiwan, Li-Chin Huang graduated from Conservatoire National Supérieur

黃莉錦

de Musique et de Danse de Paris (CNSMDP), where she was awarded the first prize

Li-Chin Huang, soprano

with honors in 2006 and the diploma of performance in 2008. Huang is currently teaching at Soochow University in Taipei, Taiwan. She won the Youth Jury Prize at the International Opera Competition in Marseille in 2007, the Prize for Youth at National Chiang Kai Shek Cultural Center in Taiwan, the 19th and 20th Chimei artistic scholarship and, in 2008, the second price at Jaume Aragall International Singing Competition in Spain. Huang was invited to sing with tenor José Carreras in 2017 and 2019 Asian Tour in Taiwan.

美國約翰霍普金斯大學琵琶蒂音樂院碩士。曾擔綱的曲目及歌劇演唱包括：韓德爾《彌賽亞》，巴赫《馬太受難曲》、貝多芬《C 大調彌撒》；歌劇《魔笛》、《女人皆如此》、《卡門》、《女武神》、《阿伊達》等。2009 年獲選為高雄世運會主場開幕音樂會唯一臺灣獨唱家。2014 年受北京國家大劇院邀請，演出歌劇《尤金 ‧ 奧涅金》奧爾嘉一角。同年七月，受邀赴俄羅斯馬林斯基劇院演出，成為首位登上聖彼得堡白晝音樂節的臺灣人。 Jo-Pei Weng received her Master of Music degree in Vocal Performance from the Peabody Conservatory of the Johns Hopkins University in Baltimore. Weng 次女高音

翁若珮 Jo-Pei Weng, mezzo-soprano

has performed in works such as Handel’s Messiah, Bach’s St. Matthew Passion, Beethoven’s Mass in C major, Mozart’s Cosi fan tutte, Bizet’s Carmen, Wagner’s Die Walküre, Verdi’s Aida, etc. She was the only one Taiwanese singer invited by Pittsburgh Symphony Orchestra to performed Ode to Joy of Beethoven's Symphony No.9 at the opening concert of Kaohsiung World Game in 2009. Weng was invited to play Olga in Tchaikovsky's Eugene Onegin at Beijing's National Centre for the

Performing Arts in 2014. At the same year renowned conductor and opera director Valery Gergiev also invited Weng to perform at the Mariinsky Theatre in Russia, making her the first Taiwanese vocalist to perform in St. Petersburg's White Nights Festival.

131 客席音樂家 Guest Artists

陳珮琪擅長之演唱曲目多元而寬廣，常受邀與國內外知名樂團合作，擔任歌劇、神劇及各式大型作品獨唱。曾受邀與新加坡國家交響樂團演出楊納傑克《斯拉夫彌撒》、香港神劇協會演出羅西尼《聖母悼歌》、澳門音樂節演出孟德爾頌《以利亞》。國內演出包括《浮士德的天譴》、《修女安潔莉卡》、《尼貝龍指環》、《魔笛》、《糖果屋》、《假面舞會》、巴赫《聖誕神劇》、韓德爾《彌賽亞》、貝多芬《C 大調彌撒曲》、布拉姆斯《女低音狂想曲》等。 As an active singer in Taiwan, she appeared in a lot of important opera productions in Taiwan. In National Symphony Orchestra’s (NSO) opera productions, she has 女低音

陳珮琪 Pei-Chi Chen, alto

sung the role of Marguerite in Berlioz’s La Damnation de Faust, Miss Quickly in Verdi’s Falstaff , Marcellina in Mozart’s Le Nozze di Figaro, Fricka and Erda in Rheingold, Fricka in Die Walküre, Erda in Siegfried, Waltraute and first Norn in Götterdämmerung of Wagner’s Der Ring des Nibelungen, Zia in Puccini’s Suor Angelica. In National Taiwan Symphony Orchestra’s (NTSO) opera productions, She also sang Maman and Le fauteuil in Ravel’s Les enfant et les sortilèges, Ulrica

in Verdi’s Un Ballo in Maschera. In Taipei Symphony Orchestra’s productions, she sang 3rd Dame in Mozart’s Die Zauberflöte, Hexe in Humperdinck’s Hänsel und Gretel, and Zita in Puccini’s Gianni Schicchi.

啟蒙於廖聰文，就讀東吳大學音樂學系師事孫清吉教授。於德國柏林藝術大學取得歌劇以及藝術歌曲暨神劇雙碩士學位，師事 KS Markus Brück。2017 年獲邀於柏林德意志歌劇院客席演出威爾第歌劇《蝴蝶夫人》，飾演 Goro。同年獲 Foerderkreis der Deutschen Oper Berlin 獎學金，旋即成為柏林德意志歌劇院駐院男高音至今。合作過名指揮家如：S. Rattle、D. Runnucles 等，並與歌手 A. Netrebko、L. Nucci、R. Alagna、A. Harteros、K.F. Vogt、D. Damrau 等同台演出。也曾於柏林喜歌劇院、卡塞爾國立劇院、下巴伐利亞州立劇院客席。2020 年將於柏林德意志歌劇院新製作華格納《尼貝龍指環》中，飾演 Mime。男高音 Ya-Chung Huang was born in 1989. He studied singing with Chong-Boon Liau and graduated from the Soochow University in Taipei with Prof. Ching-Chi Sun in 2011. From 2014 to 2018 he studied Opera and Lied/ Oratorio/ Concert in the

黃亞中 Ya-Chung Huang, tenor

class of KS Markus Brück at the University of the Arts Berlin, and graduated with Master.Ya-Chung Huang made his debut as Goro in Madama Butterfly at the Deutsche Oper Berlin. In the 2017/2018 season he was a scholarship holder of the Förderkreis der Deutschen Oper Berlin e.V. and since the 2018/2019 season Ya-Chung Huang has been a member of the ensemble at Deutsche Oper Berlin.

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畢業於德國羅斯托克高等音樂與戲劇學院歌劇碩士班、中國文化大學音樂碩士班，師從女高音 Penka Christova 與柴寶琳教授。曾與兩廳院歌劇工作坊、台北愛樂、國家交響樂團合作演出，主要歌劇角色包括《魔笛》塔米諾、《唐喬望尼》唐奧塔維奧、《法斯塔夫》芬頓、《里納多》戈弗多、《睡美人》春之王子等，並擔當多部神劇與合唱交響曲獨唱，包括《彌賽亞》、《頌歌》、《莫札特 c 小調彌撒》、《大地之歌》、《合唱幻想曲》。現任職於德國巴伐利亞邦霍夫歌劇院合唱團。 Shih-Chao Lee received his Master degrees from Hochschule für Musik und Theater Rostock, Germany--under direction of soprano artist Penka Christova, and Chinese Culture University, where he studied under Prof. Pao-Lin Chai. Having collaborated with National Symphony Orchestra, National Theater and Concert Hall Opera Studio, and Taipei Philharmonic Foundation, Lee has performed as Tamino and Don Ottavio from Mozart's Die Zauberflöte and Don Giovanni, as Fenton from

男高音

李世釗 Shih-Chao Lee, tenor

Verdi's Falstaff, as Goffredo from Händel's Rinaldo, and as Principe Aprile from Respighi's La bella addormentata nel bosco. He has also taken roles as soloist in oratorios and choral symphonies including Händel's Messiah, Mendelssohn's Lobgesang, Mahler's Das Lied von der Erde, Mozart's Große Messe in C-Moll (K.427), and Beethoven's Chorfantasie. He is currently a member of Opernchor Theater Hof in Bavaria, Germany.

奧地利國立薩爾茲堡莫札特音樂大學藝術歌曲與神劇最高演唱文憑，師事王靜敏、P.Tukiainen、C.Strehl。同時也攻讀國立臺北藝術大學音樂藝術聲樂演唱博士，師事唐鎮、李葭儀與徐以琳教授。2006 年畢業於輔仁大學音樂系，師事張美莉教授。2008 年畢業於臺北藝術大學音樂系研究所後隨即赴義大利 Università per Stranieri di Perugia 進修。曾獲臺灣音樂比賽男高音獨唱第一名、兩廳院歌劇工作坊成員、永豐愛樂古典菁英獎永豐獎、聲樂家協會德文藝術歌曲獎學金首獎、臺灣盃中文藝術歌曲大賽首獎及最佳閩南語藝術歌曲詮釋獎。活躍於國內外表演舞台與各大音樂團體合作演出，旅歐期間更經常受臺灣駐外辦事處與德國好海洋藝術邀請於德國、奧地利主要城市演出當代臺灣男高音

作曲家的中文藝術歌曲。

林義偉

Born in Taiwan, Yi-Wei Lin began his studies with Prof. Cecilia Chang at Fu

Yi-Wei Lin, tenor

Jen Catholic University, and further studies under Prof. Renata Tang included a Master’s degree at Taipei National University of the Arts in Taiwan. From 2013, he began studying for D.M.A of Vocal Music at National Taipei University of Arts. In

2017, Mr. Lin furthered His education at Universität Mozarteum Salzburg in Austria under Ching- Miin Wang, Prof. Pauliina Tukiainen and Prof. Christoph Strehl where he earned his Soloist Diploma (Postgraduate Lied und Oratorium). Mr. Lin has won numerous prizes in competitions, including the second prize for vocal performance section in the 2008 Young Artist Showcase Competition in Taiwan (2008), first prize for Chinese Arts Song at Taiwan (2016) and first prize of Scholarship “German Lieder” at Association of Vocal Artists (2016). Mr. Lin actively participating in various performances on the German, Austrian and Taiwanese stages.

133 客席音樂家 Guest Artists

1972 年創立，1983 年由杜黑擔任藝術總監至今，現由指揮家古育仲擔任音樂總監，指揮家張維君擔任常任指揮。曾與 NSO 合作演出威爾第《安魂曲》、貝多芬第九號交響曲、布瑞頓《戰爭安魂曲》、韓德爾《彌賽亞》、孟德爾頌《以利亞》、馬勒第二、三、八號交響曲等；國人作品首演方面，如錢南章《馬蘭姑娘》、歌劇《畫魂》、《十二生肖》、馬水龍《無形的神殿》等。歷年出版專輯屢獲金曲獎肯定。近年屢代表臺灣出訪，受邀赴新加坡濱海藝術中心、北京國家大劇院、廣州星海音樂廳等國際知名場館演出。 Founded in 1972, Taipei Philharmonic Chorus was has established a reputation

台北愛樂合唱團 Taipei Philharmonic Chorus

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.

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本樂季起，夜鶯基金會將在所有NSO的週末音樂會演出前提供50分鐘的深度導聆，由專業講師帶路，提供最有效的「存活指南」樂曲解說，期許參與音樂會的樂迷們能在音樂中獲得更深刻的共鳴。

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本團保留演出異動權 NSO reserves the right to make changes to the program. 本書曲目寫法依據 David Daniels: Orchestral Msuic, 4th edition All details are correct at the time of printing.